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Bach &: Kennebec Early Music Festival — Dynamic Classical Chamber Music
August 13 @ 7:30 pm - 9:30 pm EDT$10 – $25
A BACH LOVER’S DELIGHT! Enjoy the music of the Bachs, father and son, and their good friend Telemann as Vicki Boeckman, Baroque recorders, Susanna Ogata, 1772 Klotz violin, Sarah Freiberg, 1784 Merlin violoncello, and Tamara Friedman, 1780 South German Fortepiano, serve up an overture, a rondo, fantasias, and suites of dances from late Baroque Germany.
J. S. Bach – Ouvertüre from the Partita No. 4 in D major for Fortepiano, BWV 828
Georg Philipp Telemann – Two Fantasias for Solo Recorder, TWV 40:3 and 7
J. S. Bach – Suite No. 3 in C major for Solo Violoncello, BWV 1009
J. S. Bach – Sarabande and Bourée Anglaise from Partita in C Minor for Recorder (after the Partita in A Minor for Flute, BWV 1013)
Carl Philipp Emanuel Bach – Rondo in C Minor for Fortepiano, Wq. 59 No. 4
J. S. Bach – Partita No. 3 in E major for Solo Violin, BWV 1006
Vicki Boeckman is playing on copies of Denner, Bressan, and Ganassi recorders built by the late Fred Morgan of Australia.
Susanna Ogata’s violin was made in 1772 by Joseph Klotz of a well-known family of luthiers in Mittenwald, Germany. Mozart owned a Joseph Klotz violin.
Sarah Freiberg’s violoncello was crafted by John Joseph Merlin (London, 1784), an ingenious mechanic whose inventions included various types of intricate clocks and automata, a perpetual motion machine, inline skates, and mathematical and keyboard instruments which he displayed in Merlin’s Mechanical Museum in London.
Tamara Friedman’s fortepiano is a replica of an instrument by Johann Andreas Stein (Augsburg, early 1780s), built and revised by several craftsmen. In 1777 Mozart wrote home to his father very enthusiastically about Stein’s fortepianos.
VICKI BOECKMAN is an active and passionate performer of all styles of music and plays all sizes of recorders. Her travels and performances have taken her across the United States as well as Canada, Denmark, Norway, Sweden, England, Scotland, and Germany. In the Pacific Northwest, she has performed with the Seattle Baroque Orchestra, Portland Baroque Orchestra and Opera, and the Philharmonia Northwest Orchestra. In great demand as a teacher of the recorder and related performance practices, Vicki coaches and teaches at workshops and seminars all over the United States and in British Columbia. She taught at the Royal Danish Academy of Music in Copenhagen for 12 years, and at the Ishøj Municipal School of Music for twenty-three years. She co-founded a regional recorder youth orchestra that continues to flourish and grow in Denmark. Her students from the Royal Academy are all now professional performers and teachers passing on the tradition. She was the recorder-in-resident at the Sitka Center for Art and Ecology in 2005 and 2010. She is the new Artistic Director of the Port Townsend Early Music Workshop and is the Music Director of the Portland Recorder Society. Vicki has been on the faculty of the Music Center of the Northwest in Seattle since 2005, and with her colleague, Darlene Franz, is the resident recorder teacher for the third-grade recorder program at West Woodland Elementary School. Vicky was also co-founder of two Danish-based ensembles: Opus 4 and WoodNFlutes and continues to perform with both of these ensembles as often as she can in spite of the geography.
Enjoy Vicki’s playing with WoodNFlutes at http://www.vickiboeckman.com (click on Videos)
Violinist SUSANNA OGATA enjoys an active performance schedule in greater New England and beyond. She has been praised for “totally convincing, spontaneous and free-flowing playing” (The Berkshire Review), her “musical sensitivity and fire” (Boston Musical Intelligencer), and “playing of electrifying energy, awesome technical command, and rollicking dialogue” (Arts Fuse Magazine) where her concert appearance was distinguished as best solo performance of 2016. Her first recording in a complete set of Beethoven’s violin sonatas gained acclaim from the New York Times for “elegant readings that are attentive to quicksilver changes in dynamics and articulation.” Their performance of the Sonata No. 4 in A minor is “darkly playful,” their Kreutzer Sonata “brilliant and stormy.” The BBC Music Magazine has praised the recording for its “altogether compelling performances” and the music for being “always vividly characterized,” and further pronounced that “the atmosphere of excitement in both works is very well captured by Susanna Ogata and Ian Watson.” Susanna is a tenured member of the venerable Handel and Haydn Society in Boston and was recently appointed as Assistant Concertmaster of the orchestra. She has served on the violin faculty of the Longy School of Music and is a founding member of the Boston Classical Trio, the Copley String Quartet, and the Coriolan String Quartet.
Enjoy Susanna’s playing at https://mail.google.com/mail/u/0/#search/og/164250f2bc566885?projector=1
SARAH FREIBERG is principal cellist of Boston Baroque and a tenured member of the Handel and Haydn Society. She has performed with the New York Collegium, the Philharmonia (San Francisco), Portland (Oregon), and Seattle Baroque Orchestras, the Boston Early Music Festival, and Arion (Montreal). As a corresponding editor for Strings magazine, she has contributed dozens of articles and reviews on a wide range of subjects. Sarah edited the long-forgotten Guerini cello sonatas for both PRB Productions and Broude Brothers, and recorded both Guerini and Laurenti cello sonatas for Centaur. As well as teaching in the Historical Performance department at Boston University, she is Chair of Strings and Chamber Music at the Powers Music School in Belmont and teaches at the Amherst Early Music Festival. Sarah can be heard on numerous recordings, including as soloist on the Boston Baroque CD of works by Vivaldi and Geminiani.
Enjoy Sarah’s playing at https://www.youtube.com/watch?v=sGkg5fbfUuc and www.sarahfreiberg.com
Pianist TAMARA FRIEDMAN, praised for the depth, wit, and humor of her performances (Seattle Times), attended the Oberlin Conservatory and received her master’s degree from the Mannes College of Music (NYC). She has collaborated with such artists as Stanley Ritchie, Jaap Schröder, and Max van Egmond, and appears with violinist Elizabeth Blumenstock as Duo Amadeus. In the Pacific Northwest she has performed on the Seattle Camerata, Allegro Baroque and Beyond, Belle Arte, Early Music Guild, Gallery Concerts, and Mostly Nordic series and for the Governor’s Chamber Music Festival. Tamara has been the featured performer in early piano workshops for Pacific Lutheran University (Tacoma, WA) and the Western Early Keyboard Association, and maintains a private studio in Seattle, where she teaches modern piano and fortepiano on the collection of eighteenth- and nineteenth-century keyboard instruments on display at SEKM! – the Skagit Early Keyboard Museum. Her summers are spent in Bath, Maine, where she also has a group of historic pianos.
Enjoy Tamara’s playing at https://www.youtube.com/watch?v=6iIrBWKV1nk
The Kennebec Early Music Festival is supported by grants from the
MAINE ARTS COMMISSION
EDGARD AND GERALDINE FEDER FOUNDATION
GEORGE P. DAVENPORT TRUST FUND
BATH SAVINGS TRUST COMPANY
WILLIAM RAVEIS/CARLETON REAL ESTATE