Sunday Sept 18, 3:30 pm 
St. Martin's Church Providence Baroque Orchestra & Schola Cantorum 
of Boston J. S. Bach: Missa Brevis in 
A major Music of Buxtehude and Johann Ludwig Bach Even in staunchly Lutheran Leipzig, Bach was allowed to perform Latin Masses on the three main Feast Days of the year – Christmas, Easter and Pentecost. In the 1730s Bach considered and rewrote selected church Cantata movements and created four Missa Brevis- consisting of only Kyrie and Gloria. For each Mass he chose seven of his favorite Cantata movements to reset with Latin texts. The A-Major Mass for chorus, 2 flutes and strings is among Bach’s most charming Galant works. An orchestral suite by Bach’s cousin Johann Ludwig rounds out the program. "There can never be enough singing at this level“ 
(Josiah Fisk, the Boston Herald) Sunday Oct 23, 3:30 pm First Unitarian Church Chatham Baroque: Stylus Fantasticus Music of Castello, Fontata, Biber, Schmelzer and Bertali Andrew Fouts and Paul Miller violins; Patricia Halvorson, gamba; Scott Pauley, theorbo The Jesuit author, scientist and inventor, a true baroque polymath, Athanasius Kircher describes the stylus fantasticus in his book, Musurgia Universalis (1650): “The fantastic style is especially suited to instruments. It is the most free and unrestrained method of composing, it is bound to nothing, neither to any words nor to a melodic subject, it was instituted to display genius and to teach the hidden design of harmony and the ingenious composition of harmonic phrases and fugues.” This style of composition was made popular first in Italy, but the steady interchange of musicians between Italy, Germany and Austria helped disseminate and popularize this wild and unfettered way of composing “One of the country’s most distinguished period ensembles” (Palisadian Post)

Sunday Nov 13, 3:30 pm 
First Unitarian Church


Les Canards Chantant:

The Song of Solomon

Vocal Music from 16th Century Munich:

Works of Lassus, Lechner and Eccard

Eric Brenner, countertenor; R
obin Bier, alto; Jacob Perry, tenor; Graham Bier, bass

Few texts in history blur the lines between earthly and spiritual as compellingly as the Song of Songs, or Song of Solomon. These sensuous biblical poems, which can be read both as a celebration of romantic love and as an allegory of the love between God and the Church, were set to music countless times during the Renaissance. Leonhard Lechner’s rarely heard German-language version, Das Hohelied Salomonis (1606) is as sublime as they come, but with a subtly boozier joie de vivre that is mirrored in the popular music and poetry of the day. Join Les Canards Chantants for a tasting of King Solomon’s uber-love song and other works inspired by the triple muse of love, life, and good wine, curated by Lechner and his teacher, the inimitable Orlando di Lassus.

“finely-tuned vocals, robust singing, emotional flexiblity, and sense of adventure”
(Broad Street Review)


Sunday Jan 8, 3:30 pm 
First Unitarian Church House of Time: 
Music for the Sun King Music of Lully, Couperin and de la Guerre Gonzalo Ruiz, oboe; Tatiana Daubek, violin; Matt Zucker, cello; Elliott Figg, harpsichord At Versailles, music was an important part of daily life at court. Whether in the Chapel, for masked balls at the Hall of Mirrors, or intimate chamber concerts in the private apartments of the King or Queen, music reflected the glory of Louis XIV and his court. The House of Time focuses on three composers associated with Versailles – Elizabeth Jaquet de la Guerre, who was a teen-age sensation – performing on the harpsichord at court, and publishing her own music. Lully was in charge of Opera and the grand spectacles staged in the gardens. François Couperin was part of a musical dynasty of 18th-century France, and composed chamber music for Versailles. Come revel in the grandeur of the Sun King! “Musically suave … volatile and beguiling” (San Francisco Chronicle) Sunday March 5, 3:30 pm 
First Unitarian Church Bürger Quartet: A Viennese Salon Music of Mozart, Beethoven and Hoffmeister Jeremy Rhizor & Anna Luce, violins; Dan McCarthy, viola; Arnie Tanimoto, cello The Bürgers, as defined by Johann Pezzl, were the independent merchants and craftsmen occupying the social space between nobles and servants. These middle-class households of Enlightenment era Vienna provided a new mode of music-making — distinct from the court or the church — the domestic salon where friends would gather to play and hear the latest compositions. Haydn and Mozart found a ready audience and market for their newly published compositions. Mozart’s Adagio and Fugue in C minor will be played, as well Beethoven’s Quartet in C minor. Rarely heard works from outside German-speaking lands include the ”Spanish Mozart” Juan Arriaga as well as a Hoffmeister quartet that deviates from the normal instrumentation by featuring the Viola d’Amore. “Virtuosic” and heralded for their “colorful music making” (Seen and Heard International)