The CCP proudly presents music of the 17th and 18th centuries,  with music of three historically excluded women composers.  Baroque, which comes from the Portuguese word for misshapen pearl, barroco, was first used as a derogatory term by 19th century critics who found Baroque art to be old fashioned.  Today, we joyfully celebrate the music of the baroque, and ask the question: where did women composers fit into the Baroque era?  Were women composers the actual Misshapen Pearls?

Program:

Elisabeth Jacquet de la Guerre (1665-1729): G minor trio sonata, arr. For two violas d’amore, gamba and archlute  

Isabella Leonarda (1620-1704): Sonata duodecima, arr. For viola d’amore, gamba and archlute  

Lucrezia Orsina Vizzana (1623) : Domine, arr. For 2 violas d’amore, gamba and archlute

Georg Phillip Telemann (1681-1767): Fantasia No. 7 in E-Flat Major for Solo Viola, TWV 40:20   

Heinrich Biber (1644-1704): Partita IV from the Harmonia Artificiosa, for scordatura violin, scordatura viola, gamba and archlute
 

Performers:

Dan Urbanowicz, baroque violin and viola d’amore

Barbara Hamilton, baroque viola and viola d’amore

Sarah Biber, viola da gamba

Peter Schimpf, archlute