The Recorder in the French Baroque
Cléa Galhano, la flute a bec
Julie Elhard, viole de gambe
Donald Livingston, clavecin
saturday, oct 15 | 3:00 pm
St. mary's episcopal church
For centuries instruments have traveled across borders, and visited many lands, and none more so than the recorder. Particularly in France, a rivalry had developed between the recorder (flûte a bec) and the flute (flûte traversier). This concert explores the repertory of the recorder in France during the Baroque.
Program includes d'Anglebert, Morel, Hotteterre, Boismortier, and Leclair.
B I O G R A P H I E S
Cléa Galhano, recorder
Brazilian recorder player Cléa Galhano is an internationally renowned performer of early, contemporary and Brazilian music. Galhano has performed in the United States, Canada, South America and Europe as a chamber musician and soloist. Among several important Halls, Clea gave concerts at Wigmore Hall, London. Weill Hall at Carnegie Hall, New York and Palazzo Santa Croce in Rome, always receiving acclaimed reviews. Ms. Galhano recently received the prestigious McKnight fellowship award, MSAB Cultural collaborative and MSAB Arts Initiative. She is the Music Director of the Recorder Orchestra of the Midwest, the Executive Artistic Director of the St. Paul Conservatory of Music, a faculty member at Macalester College, and recently appointed to the faculty of the Historical Performance Institute at the Indiana University Jacobs School of Music. Ms. Galhano has eight recordings available and she is the recipient of the National Arts Associate of Sigma Alpha Iota.
Julie Elhard, viole de gambe
Julie Elhard, viola da gamba, appears regularly as a soloist and chamber musician and has made several appearances with the St. Paul Chamber Orchestra, including the St. Matthew Passion by Bach under the direction of Nicholas McGegan. Ms. Elhard has received multiple grants from the Minnesota State Arts Board as well as a Jerome Foundation grant. Ms. Elhard received a Performing Artist Certificate from the Royal Conservatory of Music in The Hague, Netherlands and has taught at workshops in North America and at the Viola da Gamba Society of America’s national conclaves. She currently teaches viola da gamba at St. Olaf and Macalester colleges, and at the St. Paul Conservatory of Music where she has created a viola da gamba method for children and non-string players called the Passamezzo Method.
Donald Livingston, clavecin
Donald Livingston is sought after for his performance on harpsichord, fortepiano, and organ, and collaborates with musicians from across the musical spectrum. Director of Ensemble Sprezzatura, he has been associate director of Consortium Carissimi and has performed with such ensembles as Bach Sinfonia (Washington DC), Musica Antigua (Panama City), La Donna Musicale (Boston), Lyra Baroque, the Bach Society of Minnesota, and Glorious Revolution Baroque, Minnesota Orchestra and the St. Paul Chamber Orchestra, as well as with soloists and collaborators Cléa Galhano, Maria Jette, Fernando Bustos, Immanuel Davis, Jacques Ogg, Elisabeth Wright, Joel Frederiksen, Barthold Kuijken, and Dame Emma Kirkby. A finalist in the 2017 McKnight Fellowship, his current endeavors are focused on developing the Twin Cities Early Music Festival, which he founded in 2014. After two years as organist at St. Martin’s Lutheran Church in Austin, Texas and Lecturer of Organ and Harpsichord at the University of Texas at Austin Butler School of Music, he is currently organist and music director at Grace Episcopal Cathedral (Topeka, KS), executive director of the Sunflower Music Festival at Washburn University, and keyboardist for the South Dakota Symphony Orchestra.