This preview provided by The Music House.

The Music House in Greenville staged a Baroque Music Festival last summer. In reviewing the festival, I suggested that it should become the “First Annual” and called for an encore. Such has come true, with The Music House 2015 Summer Baroque Festival.

Four days of exciting concerts are scheduled, Thursday through Sunday, 16 – 19 July.

Concerts are held in the acoustically-excellent Music House with seats for about sixty. No opera glasses needed; the audience and performers are together.  There will be drinks on the porch before the concerts, wine tasting and canapés during intermission, and dessert and coffee after the performances.

Suggested donations: $20 per concert, $75 for the Festival
Seniors-$15 per concert, $50 for the Festival   –   Students-$5 per concert, $20 for the Festival
The Music House runs a deficit of about $5000.00 per year.  Any donation above the suggested is most appreciated!

Thursday, Friday, and Saturday at 7pm. Sunday at 5pm.
Reservations Required.
Phone: (252) 367-1892]



The Art of the Baroque Sonata
Leslie Conner and Leah Peroutka, violins, Christopher Nunnally, cello
Rebecca Troxler, flute, Beverly Biggs, harpsichord, Chris Mann, recorder
Thursday    July 16    2015    7:00 p.m

Sonata in A Major for violin and continuo Op. 4 No. 10
  Francesco Geminian (1687-1762)

Sonata in D Major
  Arcangelo Corelli (1653-1713)

Parnassus, or the Apotheosis of Corelli (1724)
  François Couperin Gravement. (1668-1733)
     At the feet of Mt. Parnassus, Corelli prays that the Muses will receive him.
     Gayment. Charmed by his good reception on Mt. Parnassus, he is filled with joy; he continues on with his companions.
     Moderement. Corelli drinks from the Hippocrene stream and his band continues on.
     Vivement. Corelli is inspired by the waters of Hippocrene.
     Tres doux. After his excitement, Corelli sleeps, and his troupe plays the following very softly”
     Vivement. The Muses wake Corelli, and seat him next to Apollo
     Gayment. Thanks to Corelli.

Intermission and Wine Tasting

Sonata II in G Major, Op. 34/2
  Joseph Bodin de Boismortier  (ca. 1689 – 1755)
     (“SIX SONATES à quatre parties différentes et également travaillées”)

Sonata V in d minor, Op. 34/5
  Joseph Bodin de Boismortier (ca. 1689 – 1755)
     (“SIX SONATES à quatre parties différentes et également travaillées”)

Selections from Quintets #2 and #3 for 2 flutes, 2 violins and continuo
  Gaetano Pugnani (1731-1798)

Coffee and Dessert


Artists in Residence – Leah Peroutka, Leslie Conner, Christopher Nunally,
Rebecca Troxler, flute, Meg Owens, oboe, Beverly Biggs, harpsichord

Friday, July 17, 7:00 p.m.

Sonata in d minor for flute and continuo
   Michel Blavet (1700-1768)
     Les Caquets-Gavotta, Moderato

Sonata No.7 in A Major for 3 Dessus (trebles) (1713)
   Louis-Antoine Dornel (1685-1765)
     Air en gigue

Concerto in d minor Op. 26, No. 6 for Oboe and Organ
  Michel Corrette  (1707-1795)

Intermission and Wine Tasting

Huitiéme Concert dans le goût Théatral
  François Couperin  1668-1733)
     Grand Ritournelle
     Air noblement
     Air animé et léger
     Sarabande grave et tendre
     Air léger, air tendre
     AIr de Baccantes

Suite I in C major
  Marin Marais  (1656-1728)
     La Bagatelle

Coffee and Dessert


A Little Bit Sacred
Artists in Residence – Leslie Conner, Leah Peroutka, Christopher Nunally
Jacques Snyman-Wieciech
, counter-tenor, Robert O’Brien, cello
Meg Owens, Oboe, Joey O’Donnell, viola, John O’Brien, keyboard

Saturday, July 18, 2015, 7:00 p.m.

Quartet in Eb Major Opus 2 for Oboe, 2 Violins, and Continuo
  Johann Gottlieb Janitsch  (1708-1763)
     Allegro ma moderato
     Allegro assai

Sonata in c minor for Oboe, Viola and continuo
  Georg Philipp Telemann  (1681-1767)

Concerto RV 547 in Bb Major for Violin and Cello
  Antonio Vivaldi  (1678-1741)
     Allegro molto

Intermission and Wine Tasting

Stabat Mater RV 621
  Antonio Vivaldi
     Stabat mater dolorosa
     Cujus animam gementem
     O quam tristis et afflicta
     Quis est homo
     Quis non posset contristari
     Pro peccattis suae gentis
     Eia mater, fons amoris
     Fac ut ardeat cor meum

At the Cross her station keeping,
 stood the mournful Mother weeping,
 close to her Son to the last.  Through her heart, His sorrow sharing,
 all His bitter anguish bearing,
 now at length the sword has passed.  O how sad and sore distressed
 was that Mother, highly blest,
 of the sole-begotten One.  Christ above in torment hangs,
 she beneath beholds the pangs
 of her dying glorious Son.  Is there one who would not weep,
 whelmed in miseries so deep,
 Christ’s dear Mother to behold?  Can the human heart refrain 
from partaking in her pain, in that Mother’s pain untold?  For the sins of His own nation,
 She saw Jesus wracked with torment,
 All with scourges rent:  She beheld her tender Child,
 Saw Him hang in desolation,
 Till His spirit forth He sent.  O thou Mother! fount of love!
  Touch my spirit from above,
 make my heart with thine accord:  Make me feel as thou hast felt;
 make my soul to glow and melt
 with the love of Christ my Lord.  Holy Mother! pierce me through, 
in my heart each wound renew 
of my Savior crucified:  Let me share with thee His pain,
 who for all my sins was slain,
 who for me in torments died.  Let me mingle tears with thee, 
mourning Him who mourned for me,
 all the days that I may live:  By the Cross with thee to stay,
there with thee to weep and pray,
 is all I ask of thee to give.  Virgin of all virgins blest!  
Listen to my fond request:
 let me share thy grief divine;  Let me, to my latest breath, in my body bear the death
 of that dying Son of thine.  Wounded with His every wound, 
steep my soul till it hath swooned,
 in His very Blood away;  Be to me, O Virgin, nigh,
 lest in flames I burn and die,
 in His awful Judgment Day.  Christ, when Thou shalt call me hence,
 be Thy Mother my defense,
 be Thy Cross my victory;  While my body here decays,
 may my soul Thy goodness praise,
 Safe in Paradise with Thee.  Amen.

Translation by Edward CaswallLyra Catholica (1849)

Coffee and Dessert


Vivaldi, Cellos and The Art of the Countertenor – Jacques Snyman, Countertenor
Artists in Residence –Leah Peroutka, Leslie Conner, Christopher Nunally
Robert O’Brien, cello, Joey O’Donnell, viola, John O’Brien, keyboard
Sunday, July 19, 2015, 5:00 p.m.

Sonata for cello in Bb Major, RV 46, No. 6
  Antonio Vivaldi   (1678-1741)

Sonata for cello in a minor, RV 43, No. 3
  Antonio Vivaldi   (1678-1741)

Concerto Opus 3, No. 11 for 2 violins in d minor
  Antonio Vivaldi  (1678-1741)
     Allegro-Adagio e Spiccato-Allegro-Adagio
     Largo e Spiccato

Intermission and Wine Tasting

 Four Arias written for Handel’s favorite male singer:  Senesino
  George Frideric Handel  (1685-1759)
     Ombra cara    (Radamisto)
        Ghost of my dear wife, Ah! Rest in peace, and, happy,
        wait for the revenge that I will take. 
        Then soon where you stand, see me flying to you and faithful, I will embrace you.

     Stille amare (Tolomeo)
        Bitter drops, already I feel you all in my breast, calling for death.
        Already I feel you dull my torment, already I feel you restore my happiniess.

     Vivi tiranno    (Rodelinda)
        Live, Tyrant!  I have saved you.
        Now kill me, ingrate, unleash your rage!
        I wished to save you only to show you that my heart is greater than my fate.

     Bel contento    (Flavio)
        Now my soul enjoys sweet content nor fears it must suffer again,
        for the peaceful calm of love is come to bless my heart.

Coffee and Dessert


Leslie Conner grew up in Greenville, North Carolina where she began Suzuki violin lessons at the age of three with Jon Shaw and then with Katherine Jenkins and later with Joanne Bath. As a young student, Ms. Conner was a member of the Eastern Youth Orchestra and a featured soloist with the J.H. Rose High School Orchestra under the direction of Glenna Theurer. Ms. Conner went on the receive a Bachelor’s Degree in Violin Performance from East Carolina University where she studied with Ara Gregorian and completed Suzuki teacher training with Joanne Bath. While at ECU, Ms. Conner pursued instruction in baroque performance practice with Dr. John O’Brien and Dr. Thomas Huener and participated in various master classes and performances with professional baroque performers including Julie Andrijeski, Gesa Kordes and Annie Loud.

In 2006 Leslie moved to Bloomington, Indiana where she pursued her Master of Music studies in Baroque Violin at Indiana University’s prestigious Jacob’s School of Music. While her primary instructor in violin was Stanley Ritchie, she was also coached regularly by Wendy Gillespie, Nigel North and Elizabeth Wright.

Leslie Conner currently resides in Atlanta, Georgia where she is in demand both as a performer and as a teacher. Ms. Conner was the concertmaster of the Georgia Philharmonic from 2011-2013 and has performed with the Atlanta Baroque Orchestra, Indianapolis Baroque Orchestra, Bourbon Baroque, Bertamo Trio and as a featured soloist for the North Carolina Baroque Orchestra. A dedicated music educator, Leslie maintains an active violin studio of Suzuki and collegiate students ages 3-adult. She currently teaches at the Georgia Academy of Music and Eclectic Music Atlanta.

Violinist Leah Peroutka holds degrees from UNC-Chapel Hill (BM 2007) and the Cleveland Institute of Music (MM 2009).  She has performed throughout the eastern United States and in Europe on both modern and Baroque violin, playing a wide range of styles from early Baroque to Classical to contemporary repertoire.  She is a founding member of the NC Baroque Orchestra, and can also be heard in concert with the Mallarme Chamber Players, Baroque Arts Project, the Vivaldi Project with John Hsu, and UNC Faculty Baroque Ensemble, as well as with faculty members from UNC, Duke University, ECU, and UNC-Greensboro.  She performs regularly with the North Carolina Symphony, NC Opera, and New Music Raleigh, and she is the coordinator of the Chapel Hill Chamber Music Workshop.  Ms. Peroutka has been on faculty at UNC-Chapel Hill as a Lecturer in Violin and Chamber Music since 2010, and she has an active private studio at her home in Chapel Hill.  Her instruments include a violin by Jan Hus Bursik and bows by Ole Kanestrom, H. F. Grabenstein, and Stephen Marvin.

Christopher W. Nunnally. B.M., magna cum laude, ECU, 2002; J.D. New York Law School, 2008.

Mr. Nunnally started playing cello @ Wahl-Coates Elementary in the 5th grade. His middle school orchestra director @ E.B. Aycock, Lynn Roberson, encouraged him to pursue private cello lessons with a local teacher, Wendy Bissinger.  His high school music director at J.H. Rose, Mrs. Glenna Theurer, further fostered his love of music. He currently serves as orchestra director at his alma mater, J.H. Rose High School and at The Oakwood School. Mr. Nunnally also periodically performs with members of the North Carolina Baroque Orchestra and recently appeared as guest artist in the Four Seasons Next Generations Concert Series.

He is artistic director for The West Side Cello School whose mission is to foster positive growth of our music community while encouraging the revitalization of the Greater Greenville Downtown area through neighborhood contact, civic education, and good old fashioned friend and music making. He is thrilled to play with his friends this evening and is particularly excited to do so west of Evans in our fair city.

Rebecca Troxler has been on the faculty of the Duke University Music department since 1981. She received the B.Mus and M.Mus. degrees from the Julliard School. Her teachers include Julius Baker, Michel Debost, and Jean-Pierre Rampal. She was a founding member of the Orpheus Ensemble, now the Orpheus Orchestra, a conductorless group in New York; and has participated in concerts with NC Baroque Orchestra. Ms. Troxler has a special love for historic flutes and plays both baroque (1-keyed) and classical (6-keyed) flutes. She has recorded two volumes of Haydn Trios (Arabesque label) and has just released a double CD, Rebecca Troxler Plays Flute Music by Sons of Bach (Albany Records). Ms. Troxler lives in Chapel Hill with her husband and too many animals.

Harpsichordist Beverly Biggs’ performances have been described as elegant, fiery, sensitive, spirited, and beautifully paced. Beverly holds degrees in performance from Oberlin Conservatory and Southern Methodist University. Her post-graduate work was done with Alan Curtis and Gustav Leonhardt. She has collaborated with violinist Stanley Ritchie, baritone Max van Egmond, conductor Richard Sparks, and many other well-known musicians in the field of early-music. As co-director of both Connoisseur Concerts and Allegro (Spokane, Washington) she co-founded the Northwest Bach Festival, Royal Fireworks Concert, Allegro’s Viennese Ball, Music in Historic Homes, and Period Music at The Met. Now based in North Carolina, she is a freelance harpsichordist and the Artistic Director of Baroque & Beyond.

Beverly has performed in concert halls from San Diego to Calgary, Canada; universities throughout the United States; the Boston Early Music Festival Fringe; and a highly interesting fortnight as artist-in-residence in the remote northeast quadrant of Montana. Past research projects include concert life in early America (East and West coasts); baroque wind-band concerts (indoor and outdoor); and twenty concerts for a world exposition in the Pacific Northwest. She is featured on several recordings released by Bravura Discs.

Bev is part of the continuo team for North Carolina Baroque Orchestra and a member of the innovative Continuo to Go. When not immersed in concerts, she can be found dancing Argentine tango.

Chris Mann is originally from Germany and better known in Greenville as a surgeon, especially laparoscopic (minimally invasive) and bariatric (weight loss) surgery.  He is also a martial artist and holds a Black Belt in Judo and a Brown Belt in Brazilian Jiu Jitsu.  He has taught grappling and self defense in Greenville for many years.  He is also an enthusiastic recorder player, having started playing again several years ago after a long period of inactivity.  He is a member of the American Recorder Society and has had several performances in Greenville, solo and in ensemble.

 In demand as a performer on historical oboes, Meg Owens appears with many of North America’s baroque orchestras, including American Bach Soloists, Handel and Haydn Society, Opera Lafayette, Tafelmusik, Tempesta di Mare, and Washington Bach Consort. This season’s concerts include solo appearances with REBEL Baroque Ensemble, the Bach Sinfonia, the Boston Early Music Festival, and the Staunton (VA) Music Festival. New ventures in chamber music include upcoming performances with Kleine Kammermusik and Bläserband, of which Ms. Owens is a founding member. Hailing from eastern North Carolina, Ms. Owens earned degrees in oboe performance at the University of North Carolina at Greensboro, the Manhattan School of Music, and the City University of New York. Ms. Owens teaches historical oboes at Indiana University, modern oboe at George Mason University, and directs Mason’s baroque chamber orchestra.   Ms. Owens plays a baroque oboe by Randall Cook (Basel, 2014), after Jonathan Bradbury (London, early 18th century). For further information about chamber music activities, please visit and

Jacques Snyman is from Baltimore, Maryland, by way of South Africa and the United Kingdom.  Growing up in South Africa, sport was Jacques “go to”, participating in Track and Field, rugby, gymnastics, and tennis, and still plays rugby today.  He represented South Africa in the World Championships in the decathlon, and was on an international rugby team as well.  On the opposite side of spectrum, he also was an accomplished musician, singing in boys choirs. 

Jacques only discovered his ability to sing in the Countertenor vocal range three years ago, quite by accident, and has been honing his skills ever since.  Works he has performed include:

  • Tenor selections from Messiah, by Handel London
  • Tenor soloist in Haydns Seven last words Cape Town South Africa
  • Don Curzio in The Marriage of Figaro and First Priest in The Magic Flute, AAC opera for all London
  • Alto soloist in Vivaldi Gloria, Broward College Fort Lauderdale
  • Rocky in The Rocky horror picture show, AACC Baltimore
  • Concerts in New York, San Francisco, Fort Lauderdale, Nashville, Baltimore, Tampa, Charlotte, Miami, Florence Italy
  • Concert tour of South Africa and Concerts in Greenville North Carolina and Greenville South Carolina
  • Chichester Psalms (Bernstein) with Chesapeake choral arts society in June 2015

The other passion in Jacques life, in addition to sports and music, is the cause of anti-bullying, and is actively pursuing avenues where he can contribute his talents and background to further the anti-bullying campaign.

Born in Princeton, NJ, Robert O’Brien began started playing the cello at age eight.  Mr. O’Brien plays regularly throughout the Southeast and has appeared recently as a soloist with the Foothills Philharmonic and the Macon (Georgia) Symphony.  As a chamber musician his programs have been heard on Peachstate Public Radio and on South Carolina Educational Radio.  Recent performances include solo recitals in Kinston, NC and Greenville, SC.  A former instructor at the Columbus (Georgia) Academy of Music, Mr. O’Brien was part of the first successful HUD sponsored Suzuki string program.  Through this innovative program he was involved in bringing Suzuki and traditional cello instruction to public housing projects in western Georgia.  In addition to his position as cello instructor of the South Carolina Governor’s School for the Arts and Humanities, Mr. O’Brien is assistant principal cellist of the Greenville Symphony Orchestra.  Mr. O’Brien holds a degree from Peabody Conservatory in cello performance where he was a student of Stephen Kates.  He has also worked with Leonard Rose, Janos Starker and former Fine Arts Quartet violinist Abe Loft.  Mr. O’Brien was recently the recipient of a grant from the Surdna Foundation to study Baroque cello technique with members of Tafelmusik Baroque Orchestra and cellist Pieter Wispelwey of the Netherlands.  Mr. O’Brien performs on a modern cello made in 2002 by David Burgess.

Joey O’Donnell, baroque viola, received his Masters in Viola Performance (studying under Ara Gregorian and Yoram Youngerman) and Suzuki Pedagogy (training under Joanne Bath) from East Carolina University.  While at ECU, Joey was an avid performer of new music, old music, and everything in between.  His initial contact with early music was in ECU’s first early music ensemble, led by Drs. Tom Huener and John O’Brien.  He has since performed in Baroque ensembles across the country, including Baroque & Beyond concerts in Washington and North Carolina; numerous appearances at the Berkeley Early Music Festival in California with Wild Rose, Ensemble Vermillian, and the Bertamo Trio; and the acclaimed chamber choir Seraphic Fire.  He is a founding member of the North Carolina Baroque Orchestra.  In addition to early music, Joey also performs with various groups around North Carolina, including an English Country Dance band that can’t seem to settle on a name for more than a few months at a time (Collard Greene, Syllabub, The Bonny Cuckoos).  Joey is a founding member of Triangle Area Suzuki, a group of teachers in the Triangle dedicated to nurturing students musically, intellectually, and emotionally.  They perform outreach concerts of both classical and traditional music on a regular basis.  He has taught at Greenville’s own North Carolina Suzuki Institute and the Blue Ridge Suzuki Camp in Northern Virginia. In addition to music, Joey enjoys cooking, word puzzles, and origami.  He is thrilled to be back in Greenville for its 2nd early music festival.