Emmanuel Chapel

Welcome to the site for the Early Music in St Luke’s Chapel Series, about to embark on its sixth season. The intimate space that is St Luke’s Cathedral Chapel is a perfect venue for the performance of chamber music, offering a marvelous acoustic combined with a lovely and intimate setting. Reminiscent in character of the intimate spaces where much of this music was first performed, only a little fantasy is required to imagine yourself in a salon at a European court.


Tickets for all performances are available at the door: $15, and $10 for seniors (students 17 and under,  free)

Concerts in the 2017-2018 Season:

  • An Age of Invention: Music of 17th-Century Italy for ‘Cello and Theorbo
  • Timothy Burris, theorbo & Raffael Scheck, ‘cello
  • 9/2/17, at 7pm
  • 17th-century Italy witnessed unparalleled musical experimentation, including the creation and expansion of improvisatory instrumental styles. Three of the many remarkable talents of the era were Domenico Gabrielli, Giovanni Girolamo Kapsberger, and Girolamo Frescobaldi. Domenico Gabrielli’s historical significance is due to his virtuosity on the ‘cello, and as the composer of some of the earliest music for the instrument. His canons, ricercares and sonatas showcase both an advanced performing technique and a keen awareness of the instrument’s sonority. Giovanni Girolamo Kapsberger, nicknamed “Il Tedesco della tiorba” (‘the German of the theorbo’) composed for lute and theorbo, but also in several other genres, to great acclaim. Arguably the most famous of the three was Girolamo Frescobaldi. Although best known for his keyboard works including his magical Fiori musicali (which contains no fewer than three organ masses!), he penned a toccata which names lute as one of the performance options, his “Toccata per Spinettina sola, over Liuto”. These and other works provide an introduction to the Italian style of the 17th century.


  • A Baroque Christmas
  • Music’s Quill with special guest Erin Chenard
  • 12/2/17, at 7pm
  • This annual Christmas concert combines seasonal music of the the Renaissance and Baroque with period readings.


  • The Second Booke of Ayres, by John Dowland
  • With special guest Todd Borgerding, viola da gamba and voice
  • 2/3/18, at 7pm
  • The full title of Dowland’s second book of songs is of a length characteristic of the period (all spellings original): “The second booke of songs or ayres, of 2. 4. and 5. parts vvith tableture for the lute or orpherian, with the violl de gamba. Composed by Iohn Dovvland Batcheler of Musick, and lutenist to the King of Denmark: also an excelent lesson for the lute and base viol, called Dowlands adew. Published by George Eastland, and are to be sould at his house neere the greene Dragon and Sword, in Fleetstreete.”
  • The entire second book (published 1600) will be performed, including such well-known songs as: I saw my lady weep; Flow my tears; Sorrow stay; Fine knacks for ladies; and Shall I sue. Also included is the only known triptych of songs of the period: Time’s eldest son, Old Age; Then sit thee down and say; When others sing Venite.


  • Classical Trio Sonatas
  • Sylvia Berry, fortepiano, assisted by members of the Berry Collective
  • 3/10/18, at 7pm
  • Program details to follow.


  • Bach arias for tenor and violoncello piccolo
  • Featuring Timothy Neill Johnson, tenor; Myles Jordan, violoncello piccolo; Sean Fleming, harpsichord
  • 4/14/18, at 7pm
  • In J.S. Bach’s first year at Leipzig (1723), he broadened his exploration of the cantata genre, including adding a number of new instruments (compared with the Weimar cantatas). Brass–mainly trumpets and horns–are emphasized (from no. 75 onwards). The flute, oboe d’amore, and oboe da caccia (the latter from no. 167) are introduced as new instruments. Subsequently, he added the violino piccolo and violoncello piccolo to the instrumentarium.
  • This program will include all of Bach’s arias for tenor and violoncello piccolo.



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