11-25 Berkeley Festival & Exhibition

The biennial Berkeley Festival and Exhibition celebrated its twentieth anniversary June 6-13, 2010. Last years festival celebrated the magnificence of Italian music in and around 1610 from the glories of St. Mark’s Cathedral in Venice to the haunting spiritual cloisters of Milan.

The Berkeley Festival and Exhibition featured seven Main Stage concerts, a Conference (exploring “400 Years of Vespers”), a Exhibition and Music Marketplace and more than 60 self-produced Fringe concerts by soloists and ensembles from around the world.

The Berkeley Festival & Exhibition is presented by the San Francisco Early Music Society in Association with Early Music America, Cal Performances, Magnificat, Artists Vocal Ensemble, Indiana University – Jacobs School of Music, and The American Recorder Society.

For more information about the Berkeley Festival & Exhibition visit http://bfx.berkeley.edu/

Highlights of the San Francisco Early Music Society’s 2010-11 Season

Odette and Hargis

Join SFEMS for an exciting 2010-11 season including Ellen Hargis, soprano and Paul O’Dette, lute; Musica Pacifica with soprano DominiqueLabelle; Tanya Tomkins performing the Bach Cello Suites; Ciaramella; Voices of Music; Hallifax & Jeffrey, viols; Wieland Kuijken and Friends; and Hopkinson Smith, solo baroque guitar, performing Spanish guitar music of the 17th century.

The next Berkeley Festival & Exhibition is scheduled for June, 2012.

For more information about the San Francisco Early Music Society visit http://www.sfems.org/

The Berkeley Festival also is made possible with the generous support of Early Music America. You can learn more at EMA’s website, www.earlymusic.org.


Legrenzi: Sonata for Two Violins and Continuo: La Spilemberga (Music’s Re-Creation)
Monteverdi: Laudate Dominum omnes gentes (Sacabuche)
Piccinini: Toccata (Sacabuche)
Monteverdi: T’amo mia vita (Artek)
Castello: Sonata Quinta in C (1621) (Marion Verbruggen Trio)
Barbara Strozzi: O Maria (Magnificat, Jennifer Ellis Kampani, soprano)
Fontana: Sonata Terza in C Major (Marion Verbruggen Trio)
Gesualdo: Nocturnus: Tenebre III (AVE)
Monteverdi: E cosi, a poco a poco (Artek)
Jenkins: Fantazia (Music’s Re-Creation)
Schutz: Der Engel Sprach with brass ensemble (Sacabuche)
Gabrieli: Canzona, Canzon VIII (Sacabuche)
Schutz: Fili mi Absalon (Sacabuche)
Monteverdi: Troppo ben Puo Questo (Artek)
Matteis: Violin Sonata: Corrente (Music’s Re-Creation)
Gesualdo: Nocturnus II: Tamquam (AVE)
Gesualdo: Nocturnus I: Vinea Mea Electa (AVE)
Lawes: Fantazia (Music’s Re-Creation)
Cozzolani: O mi Domine
Vivaldi: Concerto in E Minor for 4 Violins: II
Vivaldi: Magnificat

You can listen to the entire program here:

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Ave (Artists’ Vocal Ensemble)

Jonathan Dimmock, director

AVE (artists’ vocal ensemble) was founded on St. Cecilia’s Day, 2004, as a professional, mixed-voice, vocal ensemble concentrating on Renaissance and contemporary sacred polyphony. Concerts are designed to create a spiritual, intellectual, and emotional experience—with the aim of creating a memorable and moving experience for our audience. The music chosen is often overt in its call to contemplation and reflection—something that they believe can aid in healing a very broken and divided world.

!Sacabuche! with Paul Elliott & Nigel North

Linda Pearse, director

¡Sacabuche! is fast emerging as America’s premier sackbut and cornetto ensemble. ¡Sacabuche!, which began as a collegium ensemble based at Indiana University Jacobs School of Music’s Early Music Institute, performs the beautiful and lesser-known repertoire of Baroque trombones, organ, and voice, specializing in German and Italian music of the seventeenth century. ¡Sacabuche! won the 2009 Early Music America Collegium Musicum grant competition, resulting in a well-reviewed performance at the Boston Early Music Festival Fringe festival. The full-flavored sonorities created by that sumptuous blend of Baroque brass instruments with voices is combined with an attention to textual and expressive detail inherent in the music of this period.

The Marion Verbruggen Trio

Marion Verbruggen, recorder
Margriet Tindemans, recorder
Jillon Stoppels Dupree, viola da gamba

The Marion Verbruggen Trio brings together two Dutch musicians with a Dutch-American harpsichordist with strong Dutch connections. Ms. Verbruggen and Ms. Tindemans have known each other since the 1970s, when they were both recorder students in Holland, albeit on opposite ends of the country, small as it is. Ms. Dupree went to the Netherlands to study with Gustav Leonhardt. They have performed in various combinations and ensembles throughout the decades, but came together as the present Trio in 2008 to play at the Abbey Bach Festival in Oregon.


Warren Stewart, artistic director

For two decades, magnificat has explored the emotionally charged music of the seventeenth century. With dramatic flair and sensitivity to historical perspective context, Magnificat imbues each concert with an infectious joy and a delight in musical make-believe. In the past decade, Magnificat has taken a special interest in promoting the works of women composers, undertaking a project to record the complete works of Chiara Margarita Cozzolani, devoting entire programs to the music of Barbara Strozzi and Isabella Leonarda, and hosting a conference on Women and Music in Seventeenth-Century Italy. Magnificat has recorded for Koch International and Musica Omnia.

Music’s Re-creation

Carla Moore, violin
John Dornenburg, viola da gamba, violone
Lorna Peters, harpsichord, organ

Since its founding in 1979, Music’s Re-creation has performed to high acclaim in both Europe and America. They have made eight critically praised compact disc recordings for the Meridian and Centaur labels that traverse a wide stylistic range of music. Music’s Re-creation is well known for its performances of trios, quartets, and chamber cantatas from the Baroque Era, and has also expanded in size to perform such large-scale works as Monteverdi’s Vespers of the Blessed Virgin. Music’s Re-creation has held artistic residencies with the University of Washington in Seattle and the Renaissance and Baroque Society of Pittsburgh, and is presently based in the San Francisco Bay Area. The ensemble’s name was inspired by Jean-Marie Leclair’s Recreation de Musique (1736), and John Playford’s Musick’s Recreation on the Viol (1682).


Gwendolyn Toth, director & harpsichord

Audiences love ARTEK concerts for their exciting, dramatic performances of Baroque music, with compelling musical settings of beautiful poetry and infectious dance rhythms that infuse the performances with vitality and spirit. Founded by director Gwendolyn Toth in 1986, ARTEK features some of America’s finest singers and instrumentalists in performances of seventeenth- century repertoire from Italy and Germany. ARTEK’s recordings of Monteverdi’s Orfeo and other early Italian repertoire have been widely praised. In spring 2001, director Gwendolyn Toth was awarded the Newell Jenkins Prize for excellence in early music performance in recognition of her work with ARTEK. ARTEK made its Lincoln Center debut in spring 2010 on the “What Makes It Great” series with Robert Kapilow, and traveled in June to the Berkeley Festival & Exhibition.


Archetti was founded by violinist Carla Moore and gambist and violonist John Dornenburg for the purpose of performing the rich concerto and ensemble repertory of the Baroque era. The ensemble’s size is perfectly suited to the bountiful violin concerti of such composers as Vivaldi, Corelli, Handel, and Torelli, but it is also small enough for the intimacy of Bach’s harpsichord concerti. Archetti is dedicated to using chamber-music techniques to creatively illuminate this dynamic music without a conductor. Archetti means “bows” in Italian, and it naturally alludes to the dominance of Italian string music in the Baroque concerto repertory.