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Tags for: Chamber Music in the Galleries
  • Performance
CIM/CWRU Joint Music Program

Chamber Music in the Galleries

Wednesday, March 7, 2018, 6:00–7:00 p.m.
Location:  217 Italian Baroque
Donna and James Reid Gallery
Reid Gallery | Gallery 217

About The Event

The series of monthly chamber music concerts continues, featuring young artists from the Cleveland Institute of Music and the joint program with Case Western Reserve University’s early and baroque music programs. Outstanding conservatory musicians present mixed repertoire ranging from the standard to unknown gems amid the museum’s collections for a unique and intimate experience—and they often feature instruments from the museum’s keyboard collection. These early-evening, hour-long performances are a delightful after-work encounter or the start of a night out.

Free, no ticket required.


PROGRAM

CWRU Baroque Chamber Ensembles
With guest harpist, Maria Cleary

Evaristo Felice Dall’Abaco (1710–1805)   
Cello Concerto, op. 2, no. 11

Eva Lymenstull, cello solo

Alice Culin-Ellison and Guillermo Salas Suárez, violin; Alan Choo, viola; Sarah Coffman, cello; Michael Quinn, harpsichord

*     *     *     *     *

Friedrich Wilhelm Zachow (1663–1712)
“Herr, wenn ich nur dich habe”

Sarah Coffman, soprano; Merav Eldan, mezzo-soprano; Nathan Dougherty, tenor; Daniel Fridley, bass
Alice Culin-Ellison and Guillermo Salas Suárez, violin; Alan Choo and Maia Hoffman, viola; Eva Lymenstull, cello; Garrett Law, organ; Maria Cleary, harp

*     *     *     *     *

Dall’Abaco    
Trio sonata, op. 3, no. 5

Alan Choo and Alice Culin-Ellison, violin; Eva Lymenstull, cello; Michael Quinn, harpsichord

*     *     *     *     *

Improvisations on La Folia

Laura Osterlund, recorder; Alan Choo, Alice Culin-Ellison, and Guillermo Salas Suárez, violin; Eva Lymenstull and Sarah Coffman, cello; Michael Quinn, harpsichord; Maria Cleary, harp

Presented in conjunction with the exhibition Eyewitness Views: Making History in Eighteenth-Century Europe.


ABOUT THE GUEST ARTIST

Native of Ireland, Maria Cleary holds degrees from Dublin (ARIAM: Teaching Diploma), London (LTCL: Performance Diploma), Den Haag (UM: Soloist Degree, AKM: Masters in Chamber Music) and Bruxelles (Masters in Performance). She studied harp with Susanna Mildonian and Andrew Lawrence-King.

Specializing in historical harps, Maria owns an original classical harp from the late 18th century, and plays single-action harps, Baroque chromatic harps (arpa doppia and arpa de dos ordenes) and various medieval harps. She has developed a chromatic medieval harp where she plays repertoire from the 13th to the 15th century, and has used this instrument on recordings with the ensemble Tetraktys.

Maria has performed as soloist with the Amsterdam Baroque Orchestra, Orchestra of the Antipodes, Bayerisches Staatsoper, Portland Baroque Orchestra, Arion Ensemble Montreal and the RTE Concert Orchestra. In 2014 she was a featured soloist at the World Harp Congress in Sydney, premiering a Krumpholtz Concerto on a single-action harp.

Maria performs regularly with Davide Monti as Duo Arparla, a violin/harp duo specializing in repertoire from the 17th to 19th centuries. Arparla’s first CD, So mach’ die Augen zu, deals with the music of Louis Spohr for violin and harp. This was the first CD of Spohr’s music using historical instruments and historical performing practices. The second CD, Le Grazie del Violino, is a journey through Italian music of the 17th century, both violin sonatas and solo pieces for harp. Arparla has toured Australia, Singapore, Uganda, Japan, and right across Europe.

Maria has been guest teacher at the Guildhall School of Music London, Singapore Conservatory, Brisbane Conservatory, Kraków Academy of Music, and has held a teaching post at the Conservatory of Music in Padova from 2005 to 2008.

She is currently completing a Ph.D. in Artistic Performing at Leiden University and the Orpheus Instituut Ghent, working on the pedal technique of the 18th century.

 

These programs made possible in part by the Ernest L. and Louise M. Gartner Fund, the P. J. McMyler Musical Endowment Fund, and the Anton and Rose Zverina Music Fund.

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