Steven McDonlad - conductor/harpsichord

Margaret Marco, oboe

Véronique Mathieu, violin

Orchestral Suite No. 1 in C major, BWV 1066

Gavotte I - Gavotte II - Gavotte I
Menuet I
Bourrée I - Bourrée II - Bourrée I
Passepied I - Passepied II - Passepied I

Chaconne - from Partita no. 2 in D minor for solo violin. Arranged for string quartet by Boris Vayner

Alla Aranovskaya & Igor Khukhua, violins; Boris Vayner, viola; Daniel Veis, cello 


Concerto for oboe and violin in C minor, BWV 1060


Margaret Marco, oboe & Véronique Mathieu, violin

Brandenburg Concerto no. 3 in G major, BWV 1048

"Marco's deft and lilting expression ...was often reminiscent of a soprano's operatic aria." 

“Canadian violinist Véronique Mathieu has positive mojo in spades: chops to burn, rock solid musicianship, solo and concerto gigs around the world and a doctorate in music. ”


The four orchestral suites – or ouvertures as Bach called them – are four suites comprised of dance movements. The year of composition of the suites is uncertain, but the first and fourth are believed to have been written first, around 1725. The suite no. 1 opens with a large-scale French overture, attributed to the influence of Jean-Baptiste Lully, and is followed by popular forms of Bach’s days. Each of the suites was written for different players that Bach knew, and has its distinctive personality.

The Chaconne is one of Bach’s most iconic instrumental works. The original version of this piece is the final movement of the Partita no. 2 in D minor for unaccompanied violin (from the 6 Sonatas and Partitas for solo violin). It is part of a typical baroque dance suite, following an Allemande, Courante, Sarabande, and Gigue. A chaconne is a movement built
on a ground bass in triple meter, over which a melodic line is repeated and varied.

Neither the date of composition of this concerto nor the first performance of the work is known. The only surviving score of the piece is an arrangement as a concerto for two harpsichords, althgouth the original version was for solo violin and oboe, with strings and continuo. Bach used a truly unique instrumentation, and to this day, not many composers took up the challenge of writing for such dissimilar instruments.

The Brandenburg Concertos are a collection of six instrumental works written for the Margrave of Brandenburg-Schwedt in 1721. It is believed that these works were based on concertos composed several years earlier, while Bach was working as Kapellmeister in Köthen. Musicologist Christoph Wolff comments about the concertos : “Every one of the six concertos set a precedent in scoring, and every one was to remain without parallel”.

Steven McDonald

Originally from Reading, Mass., Steven McDonald, director of orchestral activities, has served on the faculties of the University of Kansas, Boston University and Gordon College. While in Boston, he conducted a number of ensembles, including Musica Modus Vivendi, the student early music group at Harvard University. McDonald also directed ensembles at the Massachusetts Institute of Technology, serving as founder and music director of the Summer Opera and Independent Activities Period Orchestra, and conductor of the MIT Chamber Orchestra and the Gilbert and Sullivan Players. At the University of Kansas, McDonald served as assistant conductor of the KU Symphony, and was the founder and music director of the Camerata Ensemble of non-music majors, and of the chamber orchestra “Sine Nomine,” a select ensemble of performance majors. Additionally, he has conducted performances of the KU Opera. He has also served as vocal coach at the Boston University Opera Institute and at Gordon College.

​Véronique Mathieu

Described as a violinist with 'chops to burn, and rock solid musicianship' (The Whole Note, TORONTO), Canadian violinist Véronique Mathieu enjoys an exciting career as a soloist, chamber musician, and music educator. Recent engagements have taken her throughout Europe and Asia, and she continues to work extensively with composers. Her CD ARGOT was recently featured on a BBC series dedicated to the music of Lutoslawski, and receives frequent airplay in the US. Highlights of this season include the Canadian premiere of Marc-André Dalbavie's violin concerto with Esprit Orchestra, the release of a second solo CD, and numerous recitals throughout North America.

Shah Sadikov

The Kansas City Star describes Margaret Marco’s oboe playing as “wistful and utterly engaging,” while the Dubuque Telegraph Herald reports "Marco's deft and lilting expression ...was often reminiscent of a soprano's operatic aria."  Margaret Marco's "utterly engaging" performances have been heard in Europe, South and Central America, Canada and the United States. Her musical appointments have included principal oboe of the Orquesta Sinfònica de Maracaibo, in Venezuela, the Spoleto Festival in Spoleto, Italy, the Rome Festival Orchestra, Banff Centre for the Arts in Alberta, Canada and the Kansas City Chamber Orchestra.  Dr. Marco is the Associate Professor of Oboe at the University of Kansas where she has taught since 1998.  Her teachers include Ray Still, Grover Schiltz, Dan Stolper, Mark Weiger, Dean Sayles and Nancy Ambrose King.  She holds degrees from Northwestern University, The University of Iowa and the University of Illinois in Champaign-Urbana.

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