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Music for Peace: Bach Sonatas, Arias and a Partita
March 15, 2019 @ 7:30 pm - 10:00 pm$10 – $35
*** NOTE! This concert is on a FRIDAY! ***
Dana Maiben, baroque violin
Kay Ueyama, harpsichord
Junko Watanabe, soprano
Violin Sonata No. 4 in c minor, BWV 1017
Aria “Hört, ihr Völker” from BWV 76
Aria “Ich bin vergnügt in meinem Leiden” from BWV 58
Violin Sonata No. 5 in f minor, BWV 1018
Partita for Harpsichord No. 1 in B flat major, BWV 825
Aria “Die Schätzbarkeit der weiten Erden” from BWV 204
Violin Sonata No. 6 in G major, BWV 1019
In the second concert of our 2018- 2019 Music for Peace series, Dana Maiben (baroque violin), Kay Ueyama (harpsichord), and Junko Watanabe (soprano) will perform an All Bach program, including violin sonatas, and arias, and a partita.
Benefits Massachusetts Peace Action Education Fund; part of the Music for Peace Series. Single concert: seats $25 in advance for Mass. Peace Action members, $35 for non-members, $10 for students, $35 at the door. Series of 3 concerts: member $65, non-member $80, student $25.
To reserve, write a check to “Massachusetts Peace Action Education Fund” and mail to 11 Garden Street, Cambridge, MA 02138, or call 617-354-2169 with credit card number. Or reserve seats online for the single concert or purchase online for the entire series.
Donations to support our work for peace are needed in any amount. Supporters donate $250 or more to Massachusetts Peace Action Education Fund; they receive two tickets with preferred seating in the first 3 rows to each concert and recognition in the programs. Sponsors donate $500 and receive four tickets; Benefactors donate $1,000 and receive eight tickets.
The audience is invited to join the musicians and Peace Action members at a reception after the concert.
Violinist and conductor Dana Maiben, hailed by the Boston Globe for her “supremely joyous artistry,” has earned international recognition for her performances of the 17th- and 18th-century solo violin and ensemble repertory. She was a founder member of the groundbreaking ensemble for 17th century music, Concerto Castello, whose debut recording, Affetti Musicali, was nominated for a Deutsche Schallplatten Preise, and for whom she designed and co-directed the 1985 Schuetz anniversary celebration concert for the Boston Early Music Festival. Colin Tilney, writing in Continuo Magazine, cited her as “high priestess of the Italian 17th century solo.” In 2002 Maiben launched a new ensemble for 17th century music, Concerto Incognito. Dana is founding music director of Foundling Baroque Orchestra and Women’s Advocacy Project, and served for many years as concertmaster for Apollo Ensemble, Arcadia Players, and New York Collegium. Recording credits include projects for Centaur, Dorian, EMI, Erato, fuga libera, and Hyperion. A recording of the complete Violin Sonatas of Elisabeth Jacquet de la Guerre is forthcoming. Conducting and directing engagements include Handel’s Messiah, Purcell’s Odes for Saint Cecilia’s Day, programs of Bach cantatas, and early operas from Monteverdi to Mozart, as well as orchestral programs in Amherst, Ann Arbor, Atlanta, Cambridge, Ithaca, Providence, Rochester, Saint Paul, Toronto, and Washington, D.C. The International Alliance for Women in Music awarded her the 2018 Miriam Gideon Prize for her composition The Green House, settings of poetry by Martha Collins scored for Contralto, flute, bassoon, viola, metal windchimes, and piano. Her chamber opera, Look and Long, based on the play by Gertrude Stein, has been presented in staged workshop at Smith College.
Dana studied early music at Oberlin Conservatory and Schola Cantorum Basiliensis (Switzerland), holds degrees from Smith College and the University of Massachusetts, Amherst, and counts violinists Jaap Schroeder and Elaine Richey, medievalist Thomas Binkley, early music visionary James Caldwell, choreographer Paula Josa Jones, and composers Ron Perera, and Lou Harrison as important mentors. A Resident Scholar at the Women’s Studies Research Center of Brandeis University, Dana has taught at the Eastman School of Music in Rochester, NY, the Jacobs Music School of Indiana University, and in numerous summer festivals, and is a longtime member of the faculty of the Longy School of Music of Bard College in Cambridge, Massachusetts, where she teaches baroque violin and viola, and medieval, renaissance, baroque, and classical performance practice, conducts early opera, and coaches chamber music.
Harpsichordist Kay Ueyama was born in London, and grew up in Tokyo. She earned prizes at the Paola Bernardi Harpsichord competition in Italy in 2003 and in the Yamanashi Early Music competition in Japan in 2005. She studied piano at the Toho Gakuen School of Music in Tokyo (Japan), Performance Diploma in piano at the Longy School of Music in Cambridge (USA); harpsichord at the Amsterdam Conservatory (Holland), and earned Masters Degrees from both The Longy School of Music (USA) in harpsichord and The Royal Conservatory of Brussels (Belgium) in fortepiano. She has studied piano under Victor Rosenbaum and harpsichord under Peter Sykes, Menno van Delft (Amsterdam), Christophe Rousset and Huguette Dreyfus(France).
Kay Ueyama is active as both a soloist and a chamber musician in Europe, the USA, and Japan. She has been invited to a number of major music venues, including Mozart festival at the UNESCO World Heritage Centre Würzburg residence (Germany), Salle Pleyel (France), The Royal Chapel at the Château de Versailles (France), and at the Cambridge Early Music Society (UK). In 2002, she first performed J.S. Bach’s Goldberg Variations (BWV 988) in Boston.
Her performances have been broadcast on Dutch AVRO classic radio channel, Mezzo TV, France musique and Tokyo FM. In 2011, She recorded her first solo album Bach: Goldberg Variations on an original harpsichord by J.Ruckers 1632/1745 and the recording was selected as “Le Diapason Découverte” in France, “The best disque” by Record Geijyutsu (Art of Disque) and the Asahi Shimbun in Japan. She has also recorded sonatas for cello of J.P. Duport with Raphael Pidoux on Integral Classic. In 2018, her second CD, J.S.Bach: Six Partitas was recorded on an original harpsichord by C. Kroll in 1776 which has selected to receive the “silver prize” by Record Geijyutsu (Art of Disque). See a video of Kay playing Partita No. 2 (Sarabande and Rondeaux) at https://youtu.be/P6_Q1WeVusU.
Kay teaches harpsichord at the Kyoto City of Art University and Doshisha Women’s College of Liberal Arts in Japan. (www.kayueyama.com)
“Ueyama has a profound and mature vision, it is emotional and perfectly organized. The opening Aria is a disarming splendour which dodges the usual trap of pomposity. (…) We bet this version of very high quality will be considered as a reference for a long time, among an already prestigious discography. And look out for her concerts…!” – Philippe Ramin, Diapason (June 2012)
“The Japanese harpischordist projects Bach’s score in a symphonic whirlwind which is invading and rejoicing. It is full of feelings, from witty humour to the absolute diziness that is engaged here. A wonderful disc!” – ConcertoNet.com (July 2012)
Junko Watanabe, soprano, has performed widely in operas, oratorios, and recitals in the U.S. and in her native Japan. Her performances have been acclaimed for her “sweet, liquid tones” (Opera News), “ravishing soprano line” and a “tone that was steady, pure, and colorful all the way up into the empyrean above the staff” (Boston Globe). She has been featured as a soloist with the Boston Lyric Opera, Chorus pro Musica, Masterworks Chorale, Northwest Florida Symphony Orchestra, Osaka Philharmonic Orchestra, and the New England Bach Festival.
As a participant in the Marlboro Music Festival from 2004 through 2007, she performed with Ken Noda, Martin Isepp, and Richard Goode. As well as collaborating with Victor Rosenbaum on Schubert’s lieder, in recent years Ms. Watanabe has been featured as a soloist in Haydn’s “Lord Nelson Mass,” Handel’s “Messiah,” Mozart’s “Requiem,” Poulenc’s “Gloria,” and Brahms’ “Requiem.” She has also performed various contemporary compositions, including Stephen Albert’s “To Wake the Dead,” Lester Trimble’s “Four Fragments from the Canterbury Tales,” Eric Sawyer’s “Curiosity” and “Vocalise,” the world premier of Paul Dedell’s “The Latitudes of Heaven,” and George Crumb’s “Madrigals, Book I.”
For the 2018-2019 season, her engagements include a collaboration with pianist Chiao-Wen Cheng on songs by Rachmaninoff for Concerts at 7 in Plainfield, the soprano solo in Michael Haydn’s “Requiem” and Joseph Haydn’s “The Creation” with the Hampshire Chorale, and Bach’s “Magnificat” with the South Hadley Chorale in South Hadley, Massachusetts.
Ms. Watanabe holds master’s degrees from Osaka College of Music and Longy School of Music. She was a finalist in the Oratorio Society of New York Solo Competition and winner of the NATS Competition Professional Division in Boston. Currently, she is on the faculty of Amherst College, Brattleboro Music Center, and Rivers School Conservatory.