Carole Terry and Tekla Cunningham direct UW music students in an All-Bach Extravaganza, performed by an array of student soloists playing period instruments. Program includes Brandenburg Concertos Nos. 4, 5, and 6; and the Concerto for Four Harpsichords.
PROGRAM
All-Bach Extravaganza
Concerto in A minor for Four Harpsichords, BWV 1065
(after Concerto in A minor for Four Violins by Antonio Vivaldi)
[Allegro]
Largo
Allegro
Emily Acri & Judith Kim, baroque violin
Emmeran Pokorny, baroque viola / Ryan Farris, baroque cello
Steven Damouni, Andrew Koch, Samuel Libra, Wyatt Smith, harpsichord
Brandenburg Concerto VI in Bb Major, BWV 1051
[Moderato]
Adagio, ma non tanto
Allegro
Vijay Chalasani & Emmeran Pokorny, baroque viola
Ryan Farris & Christopher Young, viola da gamba
Isabella Kodama, baroque cello / Samuel Libra, harpsichord
Brandenburg Concerto V in D Major, BWV 1050
Allegro
Affetuoso
Allegro
Gemma Goday Díaz-Corralejo, transverse flute
Emily Acri, violin solo / Judith Kim, baroque violin
Vijay Chalasani, baroque viola
Christopher Young, baroque cello
Wyatt Smith, harpsichord
Brandenburg Concerto IV in G Major, BWV 1049
Allegro
Andante
Presto
Miyo Aoki & Vicki Broeckman, recorder
Judith Kim, violin solo / Emily Acri, baroque violin
Vijay Chalasani, baroque viola
Christopher Young, baroque cello
Andrew Koch, harpsichord
Director Bios
Carole Terry's career as a renowned performer and pedagogue of the organ and harpsichord has taken her to many cities and universities throughout the United States, Europe, and the Far East. Especially known for her performances and recordings of German Romantic music, she is also an expert on the physiology of keyboard performance -- the subject of her forthcoming academic work.
As a performer and master teacher, Terry participated in the Bamboo Organ Festival, in Manila, Philippines, as well as the Attersee Barock Akademie, Schleswig-Holstein Musik Festival, in Lübeck, Germany. She has also been involved in various summer academies, such as the International Summer School for Young Organists in Oundle, Great Britain and the Mount Royal College Organ Academy and International Summer School in Calgary, Canada. A frequent judge for competitions, Terry has adjudicated the prestigious International Musachino Organ Competition in Tokyo and in 2003, the Third Mikael Tariverdiev International Organ Competition.
In the United States, Terry has participated in conferences and seminars such as the San Anselmo Organ Festival, The Historical Organ in America (Arizona), the Oregon Bach Festival, and the Montreat Festival of Worship and Music (North Carolina). She has been a featured recitalist at many conventions of the American Guild of Organists.
As Resident Organist and Curator for the Seattle Symphony from 2000 to 2003, Terry helped inaugurate the new C.B. Fisk organ in Seattle's acclaimed Benaroya Hall, playing many solo concerti, in addition to monumental works for organ and orchestra. In 2004, she was honored to be the first American organist to perform in Perm, Russian Federation, on the new Glatter-Götz Organ of the Perm Concert Hall. In 2006, Terry performed on the newly installed Wolff organ in Christ Church Cathedral, Victoria, B.C., as part of an international conference sponsored by the Westfield Center for Keyboard Studies and Christ Church Cathedral.Her recent convention and concert appearances include the American Guild of Organists Pedagogy Conference in Knoxville, Tennessee; the McGill Summer Organ Academy in Montreal; and recitals in San Francisco, Seattle, and New York. Terry's recordings include Brombaugh Organs of the Northwest and The Complete Organ Works of Johannes Brahms (based on the Henle edition) for the Musical Heritage label. As a harpsichordist, she recorded works of Albright, Persichetti, Cowell, and Rorem for CRI, and baroque chamber music for Crystal Records (with violist Yitzhak Schotten). Her most recent recording, Carole Terry in Schwerin, is a two-CD set of German romantic organ music recorded on the notable 1871 Ladegast organ at Schwerin Cathedral, Germany.Terry is Professor of Organ and Harpsichord at the University of Washington School of Music in Seattle. She is on the Board of Governors of The Westfield Center for Keyboard Studies, a national resource for the advancement of keyboard music, and chairs the Center's Concert Scholar Committee. As a member of the College of Mentors at The John Ernest Foundation, her role is to promote the enrichment of young organ scholars, organ performances, and the encouragement of organ studies.
Tekla Cunningham, baroque violin, viola and viola d'amore, enjoys a varied and active musical life. At home in Seattle, she is concertmaster of Stephen Stubbs' Pacific MusicWorks, principal second violin with Seattle Baroque Orchestra & Soloists, and plays regularly as concertmaster and principal player with the American Bach Soloists in California. She directs the Whidbey Island Music Festival, a summer concert series presenting vibrant period-instrument performances of repertoire ranging from Monteverdi to Beethoven.
She has appeared as concertmaster/leader or soloist with the American Bach Soloists, Baroque Chamber Orchestra of Colorado, Seattle Baroque Orchestra, and Musica Angelica (Los Angeles). She has also played with Apollo’s Fire, Los Angeles Opera, Philharmonia Baroque Orchestra, and at the Carmel Bach Festival, San Luis Obispo Mozart Festival, Indianapolis Early Music Festival, Savannah Music Festival and the Bloomington Early Music Festival. She has worked with many leading directors including Rinaldo Alessandrini, Giovanni Antonini, Harry Bicket, Paul Goodwin, Martin Haselböck, Monica Huggett, Nic McGegan, Rachel Podger, Jordi Savall, Stephen Stubbs, Jeffrey Thomas, Elizabeth Wallfisch and Bruno Weil.
An avid chamber musician, Tekla enjoys exploring the string quartet repertoire of the 18th and early 19th century with the period-instrument Novello Quartet, whose abiding interest is the music of Haydn. She is also a member of La Monica, an ensemble dedicated to music of the 17th century, whose concerts have been reviewed as “sizzling”, and praised for their “irrepressible energy and pitch-perfect timing”. With Jillon Dupree, harpsichord, and Vicki Boeckman, recorders, she plays in Ensemble Electra, known for its inventive programs and energetic performances.
She can be heard on recordings with the American Bach Soloists, Apollo’s Fire, Philharmonia Baroque Orchestra, Tafelmusik, Seattle Baroque Orchestra, San Francisco Bach Choir, various movie soundtracks including Disney’s Casanova, La Monica’s recent release The Amorous Lyre, a recording of repertoire of Merula and his contemporaries and the Novello Quartet’s recording of Haydn’s Op. 50 string quartets. This summer she recorded Mozart’s Flute Quartets with Janet See, Laurie Wells and Tanya Tomkins.
Tekla received her musical training at Johns Hopkins University and Peabody Conservatory (where she studied History and German Literature in addition to violin), Hochschule für Musik und Darstellende Kunst, in Vienna, Austria, and at the San Francisco Conservatory of Music, where she completed a Master’s degree with Ian Swenson. She teaches Suzuki violin in both German and English and is on the early music faculty of Cornish College for the Arts.
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