BEGIN:VCALENDAR VERSION:2.0 PRODID:-//wp-events-plugin.com//7.2.3.1//EN TZID:America/New_York X-WR-TIMEZONE:America/New_YorkBEGIN:VCALENDAR VERSION:2.0 PRODID:-//wp-events-plugin.com//7.2.3.1//EN TZID:America/New_York X-WR-TIMEZONE:America/New_York BEGIN:VEVENT UID:1327@earlymusicamerica.org DTSTART;TZID=America/Los_Angeles:20260611T140000 DTEND;TZID=America/Los_Angeles:20260611T153000 DTSTAMP:20260424T160605Z URL:https://www.earlymusicamerica.org/events/musings/ SUMMARY:Musings DESCRIPTION:Musings — In Concert\nMusings is a collection of reimagined w orks inspired by fragments of history\, beloved texts\, folk\ntraditions\, and the unending curiosity that fuels artistic creation. Each track begin s with a muse—\nsome ancient\, some modern\, some personal—and grows i nto something newly shaped through\nimprovisation\, composition\, and coll aboration. The album invites listeners into a world where\nbaroque meets f olk\, classical meets contemporary\, and memory becomes the spark for musi cal\ninvention.\nGail Hernández Rosa - violin\, viola\, vocals\nDaniel Tu rkos - contrabass\, octave mandolin\, guitar\, vocals\nPeter Maund - percu ssion\nAlexa Haynes-Pilon - cello\, bassoon\nKjell Nordeson - Vibraphone\n \n\n\n\n\nMission Statement\nBeneath A Tree (BAT) believes baroque music i s not a relic—it is a living language\, capable of crossing cultures\, g enerations\, and traditions. Founded in 2017 by violinist Gail Hernández Rosa and double bassist Daniel Turkos\, this California-based ensemble bri dges historical performance with folk\, global\, and contemporary traditio ns in bold\, genre-defying programs. In concert halls\, schools\, and comm unity spaces\, we invite audiences into a dynamic relationship with early music—transforming how it is experienced\, shared\, and understood throu gh immersive performances and community collaborations that make it releva nt\, inclusive\, and alive. We are rooted in the past while fearlessly ope n to the future\, building a more expansive musical landscape for audience s everywhere.\nBeneath A Tree is a fiscally-sponsored affiliate of InterMu sic SF\, a not-for-profit organization dedicated to small-ensemble music i n the San Francisco Bay Area.\n#weplaywithguts\n———-\nBIO\nBeneath A Tree (BAT) is a multi-genre ensemble led by violinist Gail Hernández Ros a and bassist Daniel Turkos that explores the deep and often overlooked re lationships between baroque music and global folk traditions. Founded in 2 017 in Philadelphia and shaped through performances in both urban and rura l communities—from concert halls to pubs in Chester County—BAT emerged from a shared curiosity: how do composed and traditional musical language s intersect\, and how do these connections continue to resonate today?\nRo oted in historical performance practice\, BAT approaches music as a living continuum rather than a fixed canon. Our work examines the kinship betwee n baroque repertoire and vernacular traditions such as Celtic\, bluegrass\ , and other global folk idioms. These genres\, often separated by institut ional boundaries\, share common ground in their reliance on improvisation\ , ornamentation\, storytelling\, and communal exchange. By bringing them i nto dialogue\, we aim to dissolve artificial divisions and illuminate thei r shared origins.\nOur creative process is collaborative\, intuitive\, and research-driven. It begins with careful study of historical sources along side deep listening to folk traditions\, followed by experimentation throu gh improvisation and arrangement. We perform on period instruments as well as folk instruments—including violin\, contrabass\, octave mandolin\, a nd voice—allowing us to move fluidly between stylistic worlds. Each proj ect evolves organically\, shaped by the musicians involved and the cultura l contexts we engage. Rather than presenting a static interpretation\, we treat each performance as an opportunity to rediscover and reinterpret the music in real time.\nThe artistic voice of BAT is deeply informed by the distinct yet complementary paths of its founders. Gail Hernández Rosa\, b orn and raised in Puerto Rico\, grew up in a culture where music is an int egral part of daily life. Her early immersion in both vocal and instrument al traditions\, combined with her father’s influence as a classical bari tone\, led her to pursue a career in violin performance at the highest lev el. Her specialization in historical performance—cemented through advanc ed study at the Royal Academy of Music in London—has taken her across Eu rope and the United States\, performing with ensembles such as the Gabriel i Consort &\; Players\, Florilegium\, Scottish Chamber Orchestra\, Phil harmonia Baroque\, and American Bach. Her cultural experiences\, including her Puerto Rican heritage\, Scottish connections\, and Galician roots\, h ave profoundly shaped her artistic perspective\, fostering a deep affinity for the interplay between baroque and folk traditions.\nDaniel Turkos bri ngs an equally expansive and multifaceted musical background. A freelance bassist\, educator\, and arts administrator based in Sonoma County\, Dan ’s work spans orchestral\, chamber\, jazz\, bluegrass\, and theatrical s ettings. He has performed with ensembles including American Bach\, Handel &\; Haydn Society\, Tempesta di Mare\, Opera Philadelphia\, and the Cha mber Orchestra of Philadelphia\, among many others. His commitment to musi c as a vehicle for social impact is reflected in his extensive work in edu cation and community engagement\, including leadership roles with The Prim avera Fund and Play On\, Philly!\, as well as his involvement in culturall y driven initiatives such as the Prometheus Chamber Orchestra. His experie nce across genres informs BAT’s grounded\, exploratory approach\, bridgi ng rigorous historical practice with the spontaneity of vernacular music-m aking.\nTogether\, Gail and Dan form the core of an ensemble that is both deeply personal and inherently collaborative. Their partnership\, which be gan in 2012 in an unlikely setting—a dilapidated gothic revival cathedra l in North Philadelphia—has grown into a shared artistic vision rooted i n authenticity\, curiosity\, and resilience. Beneath A Tree reflects not o nly their musical convergence but also their belief in lifelong artistic e volution. As performers\, educators\, and community members\, their work i s continuous and ever-changing\, shaped by both individual journeys and co llective experiences.\nSince relocating to Northern California in 2018\, B AT has entered a significant period of artistic growth\, expanding its pre sence through performances\, recordings\, and interdisciplinary collaborat ions. The ensemble has appeared at venues and festivals including the Amer ican Bach Soloists Festival\, San Francisco Early Music Society\, Chamber Music Society of San Francisco\, California Jazz Conservatory\, and the Gr een Music Center\, among others. BAT has also maintained a strong commitme nt to alternative and community-based spaces\, performing in wellness cent ers\, schools\, farms\, breweries\, and private homes—contexts that fost er intimacy\, accessibility\, and direct audience connection.\nBAT’s rec ordings reflect its evolving artistic identity. The ensemble’s 2022 rele ase\, My Cup of Tea\, recorded at St. Stephen’s Episcopal Church in coll aboration with lutenist Paul Holmes Morton\, captures an early stage of th is cross-genre exploration. In 2025\, BAT recorded its latest project\, Mu sings\, at Skywalker Sound with twice Grammy-nominated producer Geoffrey S ilver\, marking a significant step in refining and expanding its sonic vis ion. The anticipated release in April 2026 represents not only a culminati on of years of artistic inquiry but also a forward-looking statement of th e ensemble’s direction.\nCentral to BAT’s mission is a commitment to c ommunity engagement and education. Both Gail and Dan are dedicated educato rs\, bringing their expertise into academic institutions\, youth programs\ , and public workshops. Their work with organizations such as Sonoma State University\, local school districts\, and outreach initiatives reflects a belief in music as a tool for empowerment\, connection\, and lifelong lea rning. BAT’s performances often extend beyond the concert stage\, incorp orating elements of storytelling\, dialogue\, and participatory experience that invite audiences into the creative process.\nThe ensemble’s influe nces are as diverse as its repertoire. From baroque composers such as Tele mann\, Vivaldi\, and Bach to traditional fiddle music\, bluegrass practice s\, and global folk traditions\, BAT draws from a wide spectrum of musical languages. These influences are not presented as contrasts but as interco nnected threads within a larger cultural tapestry. By highlighting these r elationships\, BAT seeks to reframe early music not as a distant or specia lized field\, but as a vibrant\, relevant\, and accessible art form.\nReco gnition of BAT’s work includes features in Early Music America’s Emerg ing Artist Showcase\, the Boston Early Music Fringe Festival\, and various media appearances\, as well as multiple nominations for the San Francisco Classical Voice Audience Choice Awards\, including Best Early Music Ensem ble and Best Chamber Ensemble. These acknowledgments reflect both the ense mble’s artistic excellence and its growing impact within and beyond the early music community.\nAt its core\, Beneath A Tree is guided by a simple yet profound belief: that music is a living\, evolving practice rooted in human connection. By bridging genres\, histories\, and communities\, we a im to create work that is both deeply informed and widely resonant—music that invites curiosity\, fosters dialogue\, and reflects the shared human ity at the heart of all artistic expression.\n————-\nProgram Notes \nBeneath A Tree — Baroque to Folk\nComposers: Gail Hernández Rosa (b. 1980) &\; Daniel Turkos (b. 1984)\nReimagined\nMuse: Bach Minuets &\ ; Gigue\, from Cello Suite No. 1\, BWV 1007 &\; a seed planted by a dea r\nfriend\nComposers: Gail Hernández Rosa &\; Daniel Turkos\nA highly respected colleague and lifelong Bach interpreter once shared their belief that “Bach\nnever wrote melodies—only harmony.” This single stateme nt became the seed for Reimagined.\nWhat happens when Bach’s solo lines —played here on octave mandolin—are treated purely as\nharmonic materi al? What emerges when a new violin melody is composed atop Bach’s implie d\nbass and inner voices?\nThe result is a dialogue across centuries: Bach ’s harmonic genius transformed into a foundation\nfor new musical storyt elling.\nUncle John’s Band\nMuse: Robert Hunter’s lyrics\, Emily Dicki nson’s poetry\, and the original Grateful Dead acoustic\nrecording\nComp oser: Daniel Turkos\nEmily Dickinson’s poem #478 asks us to consider tim e\, love\, and the fragility of life:\n“I had no time to Hate—\nBecaus e the Grave would hinder Me…”\nRobert Hunter expresses a similar senti ment in his own way:\nAin’t no time to hate\, barely time to wait…Perh aps Dickinson’s meditation was Hunter’s unwitting muse. Both poets cen ter the urgency of\nliving fully—and lovingly—while we can.\nTurkos’ s reharmonization frames these lyrics with the contemplative “tick-tock ” of the octave\nmandolin\, inviting listeners to reflect on their own p assing moments. As the opening track on the\nGrateful Dead’s Workingman ’s Dead (1970)\, Uncle John’s Band was Turkos’s entry point into\nth e world of acoustic folk music. Here\, it becomes a bridge between past an d present\, poetry and\nsong.\nO\, Were I on Parnassus Hill\nMuse: Robbie Burns’s poem &\; Hernández Rosa’s years in Scotland\nComposers: Ga il Hernández Rosa &\; Daniel Turkos\nIn this setting\, the poetry of R obbie Burns takes center stage. The sparse opening melody evokes\nthe dist ant Corsincon hillside\, while pizzicato strings echo the trickle of the R iver Nith. Burns\ngazes upon the Scottish landscape and remembers his wife dancing on the hill—a moment of\naching beauty.\nThe music mirrors this memory: beginning with minimalist text painting before blossoming into\nl ush\, springlike harmonies.\nWondrous Machine\nMuse: Henry Purcell’s “ Wondrous Machine” &\; Artificial Intelligence\nComposer: Daniel Turko s\nPurcell’s celebrated ode to the organ becomes a lens through which to explore our modern\nfascination—and unease—with artificial intelligen ce.\nTurkos reimagines Purcell’s contrapuntal oboe lines on synthesizers \, grounds them with baroque\nbassoon ostinatos\, and propels them forward with electro-pop rhythms. The fusion of 17th-\ncentury craftsmanship and 21st-century technology asks: What does it mean to be a “wondrous\nmachi ne” today?\nThe result is a vibrant reframing of Purcell that invites ne w listeners to discover baroque music.\nGreensleevesMuse: English folk tra dition &\; time spent with loved ones\nComposer: Daniel Turkos\nA melod y known for centuries becomes a reflection on past joy\, present gratitude \, and the hope\nof future togetherness. The violin’s playful variations dance through a large-scale baroque\nhemiola\, suggesting two overlapping time signatures.\nThe familiar tune becomes something fresh—nostalgic y et forward-looking.\nOrgan Preludes — BWV 624\, 637\, 721\, 639\nMuse: J .S. Bach &\; ECM Euro-Jazz\nArranger: Kjell Nordeson\nIn this unconvent ional trio of baroque viola\, baroque double bass\, and vibraphone\, Bach ’s dense\norgan textures gain new transparency. Each movement begins wit h a free improvisation\,\nallowing the ensemble to explore the timbral col ors of a rarely heard combination.\nThe result is meditative\, spacious\, and unmistakably contemporary—yet rooted in Bach’s\nharmonic language. \nSuite de Bailes Barrocos\nMuse: Latin American heritage &\; the dance suites of the French baroque\nComposer: Daniel Turkos\nDrawing on melodie s preserved in manuscripts from México\, California\, and Argentina\, thi s six-\nmovement suite celebrates the convergence of European forms and In digenous traditions across\nthe Americas.\nMany of these melodies—docume nted in the José María García and Santiago de Murcia\nmanuscripts—wer e danced on the 1775 expeditions between México and Alta California.\nTur kos’s settings honor these cultural crossings\, weaving them into a vibr ant new suite.\nClosing Reflection\nMusings challenges the conventional so und world of historical performance. It invites listeners to\nexperience t he baroque from fresh perspectives—blended with folk traditions\, contem porary\ncomposition\, and electronic textures. From Purcell refracted thro ugh AI\, to Bach reimagined asharmonic landscape\, to dances born of cross -cultural exchange\, the album expands what\nhistorical performance can be while honoring its roots.\nAbove all\, Musings invites curiosity: a chanc e to listen\, reflect\, and rediscover.\n\n\n\n\n ATTACH;FMTTYPE=image/jpeg:https://www.earlymusicamerica.org/wp-content/upl oads/2026/04/IMG_1376.png CATEGORIES:Concerts,Festivals LOCATION:Berkeley Piano Club\, 2724 Haste St\, Berkeley\, CA\, 94704\, Unit ed States GEO:37.866538;-122.252842 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=2724 Haste St\, Berkeley\, CA\, 94704\, United States;X-APPLE-RADIUS=100;X-TITLE=Berkeley Piano Club: geo:37.866538,-122.252842 END:VEVENT BEGIN:VTIMEZONE TZID:America/Los_Angeles X-LIC-LOCATION:America/Los_Angeles BEGIN:DAYLIGHT DTSTART:20260308T030000 TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT END:DAYLIGHT END:VTIMEZONE END:VCALENDAR