///Canzona Crew// //Monday, January 30: The Italian Canzona in Tacoma

///Canzona Crew// //Monday, January 30: The Italian Canzona in Tacoma /      ✷  ✣  ✷  ✣  ✷  ✣  ✷ — Monday, January 30, 2023 at 7:00 PM: • *The Four-Part Italian Canzona* (1580-1625) • with Vicki Boeckman (renaissance recorders), Anna Marsh (renaissance bassoon), Lindsey Strand-Polyak (viola), and Jeffrey Cohan (renaissance transverse flute) *St. Luke's Memorial Episcopal Church* 3615 North Gove Street in Tacoma    — suggested donation $20 or $25 (free will offering, pay as you wish)     ✷  ✣  ✷  ✣  ✷  ✣  ✷ In 1528 in Paris, Pierre Attaignant was the first to publish music more inexpensively with movable type on a large scale. Among his 111 publications that survive are included over 1500 chansons which were often played by instruments as well as sung. The program will include chansons by four French composers for three and four voices published by Attaignant in 1529 and 1533, including several which Attaignant specifically marked as suitable for performance on transverse flutes and recorders. Often these well-loved chansons were elaborately ornamented by instrumentalists, as will be illustrated with a set of published embellishments from 1553 by Diego Ortiz on Arcadelt's O felici occhi miei (1539). A Ricercare ("to seek" in Italian) by Adrian Willaert will provide an example of one of the popular purely instrumental idioms of this same period, prior to the emergence of the canzona, that combined equal voices in conversation with one another in imitative and always imaginative ways. In 1577, after decades during which vocal music made up a significant portion of the music played by instrumentalists, the "canzona" was born when well loved chansons were printed for instrumentalists alongside works composed specifically for them with the chanson as a model. We'll demonstrate how these became ever more dramatic and intrinsically instrumental, even virtuosic, diverging from the vocal model from decade to decade through to the 1630's, and finally evolving into the instrumental forms with which we are more familiar today, such as the sonata. Biumi. Cangliasi. Canale. Andrea and Giovalli Paulo Cima. Maschera. Merulo. Buonamente. Gabrieli. These are such fabulous composers! and we're excited to share their music with you in this unique program, reveling in a combination of instrumental sororities (flute and recorders and viola and bassoon!) that is so full of potential. We hope to see you on Monday at St. Luke's. *****Early Music America***** /The Salish Sea Early Music Festival is pleased to be an affiliate organization of Early Music America, which develops, strengthens, and celebrates early music and historically informed performance in North America./