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Ecstasy and Melancholy: A Visual Journey

Friday, May 12, 2023      7:30PM

Come experience the Passion and Drama of early Baroque music with Cleveland's Affekt Ensemble as we bring you on a dramatic journey of aural and visuals for this one-night only event at Resonance Events on May 12th!


From Judith's fearless annihilation of an Assyrian general, to Phaeton's prideful fall from the Sun God's chariot, Affekt Ensemble juxtaposes each image with music by a contemporary of the artist, guiding you through a dramatic journey of Ecstasy and Melancholy.  


Be transported back in time to 17th-century Italy and France as Affekt Ensemble's breathtaking music and visuals come to life on stage!


Jessica Korotkin,cellist

Founding member of the Ximenez Quartet, Jessica Korotkin is a passionate chamber musician, composer, and historical cello specialist. She specializes in baroque cello, and also plays a number of historical bowed bass instruments including the viola da gamba, violone, and bass violin. She has performed with a variety of award-winning ensembles from Canada and the United States. Ms. Korotkin has been featured at a variety of prominent music festivals including the XIII Festival Internacional de Musica Barroca y Renacentista “Misiones de Chiquitos”, Montréal Baroque Festival, Vancouver Bach Festival, Portland Bach Festival, Cleveland Bach Festival, Festival Classica, and Montréal Bach Festival. She is the Artistic Co-Director of Kol Hanashama, an ensemble sponsored by the Mount Parnassus Foundation dedicated to exploring Jewish baroque music. Ms. Korotkin served as a summer faculty member at the Cornish College of the Arts where she taught a baroque improvisation workshop. As a composer, she has been published under the American Composers Alliance and had a composition commissioned by Earth World Collaborative. Ms. Korotkin received a bachelor’s degree in music from the Peabody Institute of Johns Hopkins University, and a master’s degree in historical performance from the Oberlin Conservatory. At this time, Ms. Korotkin has qualified as a doctoral candidate at McGill’s Schulich School of Music.

Dr. Tan Qin Ying's concerto appearance with City Music lauded her as "an excellent soloist, a compelling performer who is equally comfortable handling long strings of notes... and singing through emotive melodies with her instrument." This season's performances included appearances with City Music, Apollo's Fire, Piano Cleveland, ORMACO Inc., the Performing Arts Series at the Cleveland Museum of Art, SEA Music Academy, and Affekt.  Dr. Tan co-directs up-and-coming ensemble Affekt with baroque violinist, Guillermo Salas Suárez, an ensemble which focuses on early music accessibility, education and diversity across Cleveland. 

Dr. Tan is also known to be a "a natural and knowledgeable speaker who helped to bring perspective to the program" (Cleveland Classical).  A firm believer of story-telling through music, Tan's influences steep from a pool of diverse music which includes baroque French court dance, Indonesian gamelan, the Chinese guzheng, as well as community song and dance.  Dr. Tan currently serves as music director at Forest Hills Presbyterian Church and harpsichord faculty at Baldwin-Wallace Conservatory of Music. 

Qin Ying Tan, harpsichord

Costa Rican Baroque violinist Guillermo Salas-Suárez made his directorial debut with the Indianapolis Baroque Orchestra in Fall 2021. Guillermo holds a Doctorate of Musical Arts in Historical Performance from Case Western Reserve University, where he studied with Dr. Julie Andrijeski. In demand as a period player, he has performed with the Atlanta, Austin, and Lyra Baroque Orchestras, Apollo’s Fire, Bourbon Baroque, The Newberry Consort, and currently leads the Baroque ensemble from CityMusic Cleveland.


Guillermo has collaborated and trained with seminal figures in the field such as Malcolm Bilson, Paolo Pandolfo, Jaap ten Linden, Barthold Kuijken, Bruce Dickey and the late Jeanne Lamon at the early music festivals in Boston, Bloomington, Bach Oregon, Urbino (Italy), Daroca (Spain), Saintes (France), and the Stuttgart Bachwoche (Germany). He has also shared the stage with modern conductors and soloists Manfred Honeck, Carlos Miguel Prieto, Robert Spano, Yefim Bronfman, Jean-Yves Thibaudet, Midori, Lang Lang, and Renée Fleming at the Aspen Music Festival, Severance Hall, Sala São Paulo (Brazil), and the National Theatres of Costa Rica, Panama, Nicaragua, and Honduras.


As a music scholar of 18th-century Spain and Mexico, he has presented his research in conferences at Boston, Indiana, and Oregon Universities, and Early Music America. As an educator, Guillermo is committed to the advancement of historical performance in Latin America, currently on the faculty at the Festival de Musica de Santa Catarina (Brazil), and is regularly invited to conduct workshops and masterclasses at the Academia de Música Antigua de Medellín (Colombia), as well as the premier universities of his home country.  


Outside of music, Guillermo enjoys literature, learning languages, and practicing yoga. He plays on a violin by Jason Viseltear and bows by James Dodd II, H.F. Grabenstein, Michelle Speller, and Pieter Affourtit.

Guillermo Salas-Suárez, baroque violin

Kabinett Johann Schop 

        VI. Lachrimae 

        XI Als Jupiter gedacht

Sonata No. 5 “La clemente” Giovani Antonio Pandolfi

Now is the Month for Maying Thomas Morley 

Fine Knacks for Ladies John Dowland 

Violin sonata No. 2 Heinrich Ignaz Franz von Biber

Suite no. 2 in A minor Elisabeth Jacquet de la Guerre

Lamento for Ferdinando IV Johann Jakob Froberger 


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