Featuring Elizabeth Blumenstock

"Allan Vogel is an aristocrat of his instrument, an oboe virtuoso with few equals." Los Angeles Times

The numinous music of the Baroque period, performed by the Baroque Ensemble and the Period Instrument Ensemble of the CalArts School of Music. Directed by oboist Allan Vogel, the Ensembles feature harpsichordist Patricia Mabee, cellist Erica Duke-Kirkpatrick, violinist Mark Menzies, Baroque oboist Paul Sherman, Baroque bassoonist Charles Koster, and Baroque violonist Denise Briese playing with the talented students of CalArts. This evening’s special guests are internationally acclaimed violinist Elizabeth Blumenstock, resident artistic director of Musica Angelica and soloist with leading Baroque ensembles around the world, performing a Biber sonata and leading a performance of the Bach Cantata 170; and Sand Dalton, eminent Baroque oboe maker, who will deliver a new oboe da caccia and play it in an aria from Bach Cantata 80. Special features will be performances of the Telemann Concerto a 6 for three oboes and three violins, and a Handel Trio Sonata, both played on original instruments. 


Heinrich Ignaz Franz von Biber, Sonata for Violin and Harpsichord (A-415)
Elizabeth Blumenstock, violin
Patricia Mabee, harpsichord

J.S. Bach, Sonata in G min. BWV 1030b for Oboe and Harpsichord, (A-440)
Allan Vogel, oboe
Patricia Mabee, harpsichord
Erika Duke-Kirkpatrick, cello

J.S. Bach, Cantata 80, Aria 7, Wie selig sind doch die, die Gott im Munde tragen
For oboe da caccia and violin (A-415). 
This work introduces the new oboe da caccia that Sand Dalton has built for CalArts.

Elizabeth Blumenstock, violin
Sand Dalton, oboe da caccia
alto TBA
tenor TBA
Melinda Rice, violin 
Mark Menzies, viola
Patricia Mabee, harpsichord/organ 
Denise Briese, violone
Charles Koster, bassoon

Telemann, Concerto a 6 for 3 oboes and 3 violins (A-415)
Sand Dalton, oboe
Paul Sherman, oboe
Kathryn Pisaro or Kimaree Gilad, oboe
Elizabeth Blumenstock, violin
Melinda Rice, violin
Mark Menzies, violin
Patricia Mabee, harpsichord
Denise Briese, violone
Charles Koster, bassoon

Handel Trio Sonata #6 (G maj.) (A-415)
Melinda Rice, violin
Kathryn Pisaro, oboe
Heather Cano, bassoon
organ TBA

J.S. Bach, Cantata 170, Vergnügte Ruh, beliebte Seelenlust (A-440)
Elizabeth Blumenstock, violin 
Mark Menzies, violin
CalArts student performers TBA


Elizabeth Blumenstock, whose performances have been called “magical,” “rapturous,” and “riveting,” is one of the country’s leading baroque violinists. A frequent soloist, concertmaster, and leader with Philharmonia Baroque Orchestra, American Bach Soloists, Chicago Opera Theater, and the Italian ensemble Il Complesso Barocco, she is also a member of several of California’s finest period instrument ensembles, including Musica Pacifica, Trio Galatea, Trio Galanterie, the Arcadian Academy, and American Baroque, which focuses not just on Baroque performance, but on the growing repertoire of new music written for old instruments. Ms. Blumenstock was recently named Resident Artistic Director of the Los Angeles-based period-instrument orchestra, Musica Angelica. With over 80 recordings to her credit, she has recorded for Dorian, harmonia mundi, Virgin Classics, BMG, Reference Recordings, Koch International, Sony, New Albion, and others. Ms. Blumenstock has appeared with period orchestras and chamber ensembles throughout the United States and abroad, and she has performed at the Boston and Berkeley Early Music Festivals, the Santa Fe Chamber Music Festival, Los Angeles Opera, the Carmel Bach Festival, and the San Luis Obispo Mozart Festival, among others. She is instructor of Baroque violin at the University of Southern California and U.C. Berkeley, has taught at Oberlin’s Baroque Performance Institute and the International Baroque Institute at Longy, and is available for residencies in Baroque style at conservatories and universities. Ms. Blumenstock is also organist/choir director at Holy Trinity Episcopal Church in Richmond, CA, and is an avid Scrabble and pinball player.

Sand Dalton began playing the baroque oboe in 1975 after graduating from the California Institute of the Arts, where he studied modern oboe with Allan Vogel. A year later he made his first instrument and began an extensive and on-going study of historical oboes which has taken him to many museums and private collections in Europe and North America. Concurrently, he has pursued an active career as a performer and teacher. Over the years he has performed and recorded with many ensembles, including the Philharmonia Baroque Orchestra, Boston Baroque, the Handel and Haydn Society, Magnificat, Portland Baroque Orchestra, Seattle Baroque and the Pacific Baroque Orchestra of Vancouver, B.C. His long experience playing in baroque orchestral and chamber music has provided him with an ideal “laboratory” in which to test and refine his ideas about making good musical instruments. He has been on the faculties of the New England Conservatory, the University of British Columbia and Longy School of Music, and has taught at summer workshops for the San Francisco Early Music Society, the Vancouver Early Music Program, the Amherst Early Music Workshop and the International Baroque Institute at Longy. In 2000 be began directing his own summer workshop for Baroque oboes and bassoons on Lopez Island in Washington State. Described by CBC-Radio as “one of the leading Baroque oboists in North America, whose fine instruments are played around the world,” Sand Dalton is dedicated to making oboes of the highest musical and technical quality.

Allan Vogel is one of America’s leading wind soloists and chamber musicians. Hailed as “an aristocrat of his instrument, an oboe virtuoso with few equals” (Los Angeles Times) and “undoubtedly one of the few world masters” (San Diego Union), he is principal oboist of the Los Angeles Chamber Orchestra. He has appeared as soloist with orchestras throughout the world and has been featured at the Chamber Music Northwest, Marlboro, Santa Fe, Aspen, Mostly Mozart, Summerfest, Sarasota and Oregon Bach Festivals. Vogel has been guest principal oboist with the Boston Symphony Orchestra. He has also performed with the Academy of St. Martin in the Fields, the Orpheus Chamber Orchestra and the Berlin Philharmonic. Since 1994 he has been a guest with the Chamber Music Society of Lincoln Center in New York City. In that same year he completed his third tour to Japan. In the 1995–96 season, Vogel performed concerti by Vaughan-Williams, Strauss, Bach and Telemann. His discography includes recordings for RCA, Nonesuch and Delos with ensembles including Musical Offering Baroques Ensemble, the Los Angeles Chamber Orchestra Winds and Tashi. He participated in recordings of the Bach cantatas with Helmuth Rilling in Germany and has recently begun a series of solo recordings. Vogel is a founding faculty member at CalArts and his former students hold many prominent orchestral and university positions throughout the country.

Oboe da cacciafrom Wikipedia, the free encyclopedia

The oboe da caccia (Italian: “hunting oboe”) is a musical instrument in the oboe family, pitched a fifth below the oboe and used primarily in the Baroque period of European classical music.

This instrument was likely invented by Johann Sebastian Bach in collaboration with J.H. Eichentopf, both of Leipzig. Bach apparently wanted a mellower lower-pitched oboe which was more technically secure in the lower ranges for use as a solo instrument in his orchestra (see the May 1973 Gilpin Society Journal for more details). This instrument first appears in Bach’s Christmas Oratorio (1734) and in his Cantata, BWV 13, “Mein Seufzer, meine Tränen” (1736), for the Second Sunday after Epiphany, so it is safe to assume that it was invented during the 27-year period between 1723–1750 and probably around 1733 at the earliest based on the date of the Christmas Oratorio. Bach wrote significant parts for the da caccia in his Christmas Oratorio, the Passions (Johannespassion and Matthäuspassion) and cantatas.

After Bach the oboe da caccia gradually fell out of use. The knowledge of exactly how it sounded and was constructed was lost, and instruments once believed to be caccias have proven not to be this instrument at all, or to consist only of parts of one. There were no known surviving instruments from Bach’s time to tell us just what this instrument was and how it was constructed. Then in the late 20th century, a musicologist in Europe came across a surviving specimen from the Baroque period and the information that follows is based on what has been found.

In construction the oboe da caccia has a very wide bore and tube curved ending in a brass bell similar to a trumpet bell. It has a double reed similar to that used by the modern bassoon. Its sound is very mellow and supple. Like the modern oboe, the instrument is a double reed woodwind instrument, but, unusually, its tube is curved. It is pitched a perfect fifth below the conventional oboe with a range close to that of the English horn--that is, from the E above the C below middle C on the piano up to B above middle C. The higher range of the instrument is seldom used.

Oboes da caccia are made today by Jonathan Bosworth of Boston, Massachusetts, a city noted for its luthiers and where one can purchase many reconstructions of ancient musical instruments or have them custom made, such as Hubbard harpsichords, Finkenbeiner glass harmonicas, the organs made by the now-defunct Aeolian-Skinner Organ Company, early pianos, and other instruments.

The oboe da caccia was used most widely in the late Baroque period, after which it generally fell out of use until interest in authentic performance in the 20th century caused it to be revived. No one seems to know why this happened except that perhaps the Romantics were more interested in instruments of their own invention (such as the English horn, which stole its way into the repertoire much the same way the piano extinguished, with the French Revolution, the harpsichord, except in Spain. According to Cecil Forsyth, in his famous book on orchestration, Beethoven was the last composer to write a part for the oboe da caccia until modern times.

While of the oboe family, the oboe da caccia is not an oboe and neither is it an English horn (which is neither English nor a horn). Neither was the oboe da caccia the predecessor of the cor anglais because it has nothing to do with this instrument except its register; the English horn has an egg-shaped bell whereas the da caccia has a flared brass one. The caccia sounds like none of the foregoing per se and no other instrument may legitimately substitute for it, although the English horn has been illegitimately used to substitute for both the oboe d’amore and oboe da caccia in modern performances. Such substitution is unnecessary as these instruments are not the same and caccias are now made by various manufacturers. 

Funded by a generous grant from an Anonymous Donor.

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hur 6.25.09 8:30 pm

Date/Time G ST CA
Mon 5.15.06, 8:30 pm
$18 $14 $10

G - General Audience

M - REDCAT Members

ST - Students

CA - CalArts Students/Faculty/Staff