2015-2016 Concert Program Book
Transcription
2015-2016 Concert Program Book
ba ro qu e orc hest r a Jacques Ogg Artistic Director 2015–2016 Season CONCERT PROGRAMS T. Handler Consulting Terry Handler www.thandler.com [email protected] 651-452-5443 Providing fundraising systems and services counsel to the arts, education and health care 2015 2016 20 th Perfor mance Sea son 10 th Annual Greater Minnesota Tour SEPT 22 – OCT 26, 2015 Christmas in Baroque Malta DEC 17 – 20, 2015 2015-2016 Concert Season Sainte-Chapelle de Paris FEB 18 – 21, 2016 Sunday, November 15, 2015, 2pm Benson Great Hall, Arden Hills 20 Season Celebration MAY 1, 2016 Sunday, February 7, 2016, 2pm Orchestra Hall, Minneapolis The Last Queen of Hawaii Italian Majesty at Mdina Cathedral A King’s Quest for the True Cross th A May Day “Crowning” Performance AT THE NEW ORDWAY CONCERT HALL ROSEENSEM BL E . ORG | 6 5 1. 225. 4340 Sunday, May 1, 2016, 6:30pm Orchestra Hall, Minneapolis Le a r n mo re at m n y o u th s y m p h o n i es .o rg CONCERT I Two Bachs~ Two Harpsichords Elisabeth Wright | harpsichord Jacques Ogg | harpsichord Friday, September 18, 2015, 7:30 P.M. Zumbro Lutheran Church, Rochester, Minnesota Saturday, September 19, 2015, 8:00 P.M. Sundin Hall, Hamline University, St. Paul, Minnesota Christoph Graupner 1683–1760 Ouverture for 2 violins, viola, and basso continuo in C Minor, GWV 413 [Ouverture] • Plainte craintive • Menuet en echo • Tombeau: Grave • Air en Rondeau • Autre • Sarabande • Menuet alternat • Autre Johann Sebastian Bach 1685–1750 Concerto for 2 harpsichords and strings in C Minor, BWV 1062 [Allegro] • Andante e piano • Allegro assai intermission Harpsichordist and fortepianist ELISABETH WRIGHT is noted for her versatility as soloist, chamber musician, and teacher, and for her expertise in basso continuo improvisation. She has performed at distinguished international festivals such as the Boston and Berkeley Early Music festivals, Tage alter Musik, Tanglewood, Mostly Mozart, Aston Magna, Lufthansa of London, Santa Fe, Sydney, Early Music Vancouver, Festival Cervantino, Semana de Música Antigua Estella, Musica Antica Bolzano, and festivals in Belo Horizonte and Campinas, Brazil. For many years, she has performed and recorded with violinist Stanley Ritchie as Duo Geminiani, and with Música Ficta, an ensemble founded in Colombia that is dedicated to Spanish and Latin American Baroque vocal and instrumental repertoire. She is a member of Bloomington Baroque and collaborates with many artists of international renown. Soloist with Tafelmusik; the Lyra Baroque Orchestra; and the Seattle, Vancouver, and Portland baroque orchestras, Ms. Wright has recently toured in the Pacific Northwest, Holland, and Italy. She has recorded for Arion, Arts Music, Centaur, Milan-Jade, Focus, Classic Masters, Música Ficta, and Pro Música Antiqua labels. Professor of harpsichord and fortepiano at Indiana University’s Historical Performance Institute of the Jacobs School of Music in Bloomington, Ms. Wright is in frequent demand for master classes and seminars pertaining to performance practices of music from the late sixteenth through eighteenth centuries. A perpetual student of languages and interested in the relationship between music and text, she has done extensive research about musical settings of poetry by Giambattista Marino, a chapter about which was published in The Sense of Marino: Literature, Fine Arts and Music. Translator for Max Sobel’s scholarly edition of the Complete Works of Francesco Bonporti for Indiana University Press, she has written reviews for Early Keyboard Journal. A founding member of The Seattle Early Music Guild and Bloomington Early Music, she has served on the board of Early Music America, and as panelist for the National Endowment for the Arts, PEW Charitable Trust, and PennPat. Pietro Locatelli 1695–1764 Sinfonia funebre in F Minor Lamento: Largo • Alla breve mà moderato • Grave • Non presto • La Consolatione: Andante Carl Philipp Emanuel Bach 1714–1788 Concerto for 2 harpsichords, orchestra, and basso c ontinuo in F Major, Wq 46 Allegro • Largo con sordini • Allegro assai One of the most prominent and influential modern masters of harpsichord and fortepiano, JACQUES OGG performs worldwide as a soloist and continuo player. He was a member of one of the world’s leading period-instrument ensembles, the Orchestra of the 18th Century, directed by the late Frans Brüggen. He works regularly with baroque orchestras around the world, most recently in Brazil, South Korea, and Spain, and also performs regularly as part of the Dutch Masters Trio with flautist Wilbert Hazelzet and cellist Jaap ter Linden. Highly sought after as a pedagogue, Mr. Ogg is a harpsichord professor at the Royal Conservatoire of The Hague, one of the world’s foremost institutes for early music. He co-directs the Baroque Instrumental Program—an intensive summer music course in the Twin Cities—and has been the artistic director of the Lyra Baroque Orchestra since 2000. His discography includes more than 60 recordings with labels such as Philips, Sony, EMI, Deutsche Harmonia Mundi, and Glossa. Fono Forum, Germany’s largest music magazine, named Mr. Ogg’s CD of Bach’s Goldberg Variations the finest recording of this work presently available. Two Bachs~Two Harpsichords Program Notes by Donald Livingston Christoph Graupner • 1683–1760 Ouverture for 2 violins, viola, and basso continuo in C Minor, GWV 413 Christoph Graupner was an almost exact contemporary of Johann Sebastian Bach. Indeed, along with Telemann and a handful of others, Graupner was regarded more highly than was Bach during their lifetimes. In 1705 Graupner left Leipzig to play the harpsichord in the orchestra of the Hamburg Opera under the direction of Reinhard Keiser, alongside George Frideric Handel, then a young violinist. In addition to playing the harpsichord, he composed six operas in Hamburg, some of them in collaboration with Keiser, a popular composer of operas in Germany. Despite the relative obscurity of his name, Graupner is a linchpin in music history. In 1709 Graupner accepted a post at the court of the Langrave of HesseDarmstadt and in 1711 became the court orchestra’s Hofkapellmeister. Precarious finances in Darmstadt during the 1710s forced a reduction of musical life. The opera house was closed, and many court musicians’ salaries were in arrears. After many attempts to have his salary paid, and having several children and a wife to support, in 1723 Graupner applied for the Cantorate in Leipzig. Telemann had been the first choice for this position, but withdrew after securing a salary increase in Hamburg. Graupner’s “audition” Magnificat, set in the style of his teacher and mentor Kuhnau, secured him the position. However, Graupner’s patron Ernst Ludwig of Hesse-Darmstadt would not release him from his contract. Graupner’s past due salary was paid in full, his salary was increased, and he was to be kept on staff even if his Kapelle was dismissed. With such favorable terms, Graupner remained in Darmstadt, thus clearing the way for Bach to become the cantor in Leipzig. Graupner wrote music for nearly half a century, and in 1754 became blind and died six years later, after which his manuscripts became the subject of a protracted legal battle between his heirs and the Darmstadt court. A final decision denied the estate permission to sell or publish Graupner’s works, which contributed to keeping them veiled in obscurity. Johann Sebastian Bach • 1685–1750 Concerto for 2 harpsichords and strings in C Minor, BWV 1062 Bach’s “second” Concerto for Two Harpsichords and Strings in C Minor is a transcription of his Concerto for Two Violins in D minor, BWV 1043. Bach distributed the two solo violin parts to the right hands of the two solo harpsichords and filled the left hands with elaborations of the orchestral bass, but left the actual orchestral parts untouched except to transpose them down a major second. In the opinion of some critics, the two-harpsichord concerto is an inferior adaptation of pre-existing material; they point to the congestion of the left-hand parts and to the non-sustaining character of the harpsichord as the two major faults of Bach’s transcriptions. Other critics assert that the work is a brilliant adaptation and that the central Siciliano movement sounds especially lovely when played by two harpsichords. In 1940, George Balanchine made a ballet on this music, calling it Concerto Barocco. It is no surprise that the lively interplay of musical lines in this work was especially attractive to him. A fairly early instance of a ballet whose only subject was the music itself, and not always understood when it was new, Concerto Barocco is a luminous example of dance that adds new strands of counterpoint to those that Bach has already composed and, in doing so, illuminates and enhances the play of Bach’s mind and spirit. Bach’s interest in the harpsichord concerto form can be inferred from the fact that he arranged every melody-instrument concerto as a harpsichord concerto, and while the harpsichord versions have been preserved, the same is not true of the melody-instrument versions. Pietro Locatelli • 1695–1764 Sinfonia funebre in F Minor Although details of the composer’s life are somewhat sketchy, it’s clear Locatelli was linked to some of the most influential aristocrats of the time. At some point he was under the protection of Monsignor Camillo Cybo, an advisor to the Pope, and at another point he was granted the title of virtuoso da camera by the Habsburgian governor of Mantua Philipp von Hesse Darmstadt. Just these fleeting details are enough to tell us of Locatelli’s growing reputation for virtuosic playing; legend has it that he and Jean-Marie LeClair once performed in a contest where it was declared LeClair played “like an angel” and Locatelli “like the devil.” His early reputation as a violinist is confirmed by the number of virtuosic concert appearances during the 1720s in Mantua and Venice (both places where he might have met Vivaldi), as well Munich, Kassel, Dresden, Frankfurt and Berlin. Evidence of Locatelli’s popularity in the German lands during his virtuoso years is provided by the number of manuscript copies of his works found in the libraries of the region’s various princely and electoral courts. One work that survives solely in such places is the F minor Sinfonia which in one source bears the title Sinfonia funebre composta per l’esequie della sua donna, che si celebrano in Roma (Mourning symphony composed for his wife’s funeral service, which took place in Rome). In fact, there is another German source that attributes the piece to one Michael Hoffmann, but experts seem generally to be of the opinion that Locatelli was indeed the composer, with the Roman provenance and generally Corellian manner suggesting that it was a relatively early work. It is unclear what funereal occasion was the impulse for this piece—Locatelli himself is not known to have married, so perhaps the wife in question was that of a patron or friend—but whatever it was, it drew from the composer a work of authentic morose effect. The first movement, subtitled Lamento, is dominated by stark, unforgivingly struck chords, and leads to a darkly fugal second movement. The somber mood is preserved in the third movement, and, while it relaxes slightly in the fourth, it is only in the final La Consolatione that it rises to optimism at last. Carl Philipp Emanuel Bach • 1714–1788 Concerto for 2 harpsichords, orchestra, and basso continuo in F Major, Wq 46 “My only teacher of composition and the harpsichord was my father.” These words appear in the course of the autobiography of C.PE. Bach, words that testify to a solid attachment to a famous family, and also emphasize the singular nature of his position as a creator. For it is certain that this extremely cultivated man, who was harpsichordist to the King of Prussia, and who wrote Essay on the art of harpsichord playing held in high esteem, would never pass for a servile epigone of the author of the Art of the Fugue. Fifteen of Bach’s fifty-two concertos are in minor keys, a rather high percentage compared to a composer like Mozart, who only wrote two concertos in minor keys (K 466 and K 491). This has led some commentators to look for Sturm und Drang (literally, storm and stress) characteristics in C.P.E. Bach’s music. What you find instead is an extremely refined, expressive quality, called Empfindsamkeit by contemporaneous German writers. Didn’t his friend, the famous poet Friedrich Gottlieb Klopstock, depict him as an artist who “unites novelty and beauty?” Such originality, always breaking bounds with imitation or pastiche, is one of the characteristics of the F Major Concerto. Written in Berlin in 1740, it necessitates an orchestra of the strings and two horns, whilst the solo-instrument tandem does not contain itself within the rhetorical limits of the baroque mold. It would be another half century before Emmanuel would return to the genre of the double concerto with his Double Concerto in E-flat Major for Harpsichord and Fortepiano. We should remember that most of C.P.E. Bach’s concertos were written before Mozart wrote any, and although Haydn and Mozart probably knew his sonatas more than the concertos or symphonies, there are copies in Vienna of some of the pieces. Baron van Swieten, for one, was a great enthusiast for music of the Bach family, and he collected fugues and other works by Johann Sebastian, Wilhelm Friedemann, and C.P.E Bach. In particular, these three deserve more recognition in the development of the keyboard concerto. Mozart is reported to have said of Bach: “He is the father, we are the boys. Those of us who know anything at all learned it from him; anyone who does not admit this is an ass.” CHORAL ARTS ENSEMBLE 2015–2016 SEASON PERFORMANCES September 25 & 26, 2015 SINGER SHOWCASE ZUMBRO LUTHERAN CHURCH November 7 & 8, 2015 MUSIC FOR THE CITY OF HEALING LOURDES CHAPEL, ASSISI HEIGHTS December 11-13, 2015 CHRISTMAS AT ASSISI LOURDES CHAPEL, ASSISI HEIGHTS February 13, 2016 A SINGING VALENTINE ROCHESTER INTERNATIONAL EVENT CENTER March 19 & 20, 2016 MOSTLY MOZART with MARIA JETTE CHRIST UNITED METHODIST CHURCH May 7, 2016 DIVERSE VOICES CENTURY HIGH SCHOOL Reserve your tickets now www.ChoralArtsEnsemble.org CONCERT II Morning, Noon, and Night Marc Destrubé | baroque violin Friday, November 20, 2015, 7:30 P.M. Christ United Methodist Church, Rochester, Minnesota Saturday, November 21, 2015, 8:00 P.M. Sundin Hall, Hamline University, St. Paul, Minnesota Joseph Haydn 1732–1809 Symphony No. 6 in D Major “Le Matin” Adagio-Allegro • Adagio-Andante-Adagio • Menuet & Trio • Finale: Allegro Symphony No. 7 in C Major “Le Midi” Adagio-Allegro • Recitativo: Adagio-Allegro-Adagio • Menuet & Trio • Finale: Allegro Canadian violinist MARC DESTRUBÉ is equally at home as a soloist, chamber musician, teacher, concertmaster and director of orchestras. He is co-concertmaster of the Amsterdam-based Orchestra of the 18th Century, with whom he has traveled all over Europe, North America, Australia, China and Japan. He has also appeared with the orchestra as director and as soloist, and is heard on more than fifty recordings by the orchestra for the Philips and Glossa labels. As first violinist with the Axelrod String Quartet, quartet-in-residence at the Smithsonian Institution, Destrubé performs on the National Museum of American History’s priceless collection of instruments by Stradivarius and Amati. He has recorded a dozen solo, chamber and orchestral discs, including an acclaimed recording of Haydn Violin Concertos on the ATMA label and a Grammy Award-winning recording of Penderecki’s Credo with the Oregon Bach Festival Orchestra. A highly regarded teacher, Destrubé is on the faculty of the Baroque Performance Institute at Oberlin College and the Berwick Academy of the Oregon Bach Festival. He is co-director of the Baroque Instrumental Program in the Twin Cities and has been a visiting artist at the Banff Centre, Indiana University, Case Western Reserve University and the Paris and Utrecht Conservatoires. He has given master classes at the Hong Kong School of the Arts, Moscow Conservatory, MacPhail School, and the University of Victoria, as well as summer courses in Poland, Germany, Portugal and Israel. He is Artistic Advisor to the New York ensemble Dorian Baroque, a member of the string quartet Microcosmos and Turning Point Ensemble (Vancouver), and Artistic Director of the Pacific Baroque Festival (Vancouver). INTERMISSION Harpsichord Concerto in F Major Hob.XVIII:3 Allegro • Largo cantabile • Presto Symphony No. 8 in G Major “Le Soir” Allegro Molto • Andante • Menuet & Trio • La Tempesta: Presto ROCHESTER MUSIC GUILD Dedicated to Music Appreciation, Education, and Performance – Today and Tomorrow Proudly endorses Lyra Baroque & appreciates our longtime partnership. Sponsors a Scholarship Competition for Young Musicians -‐ an annual tradition for over 50 years. Offers Educational Events throughout the year. Supports RSOC & other nonprofit music groups in the community. All made possible by the generous donations of our members. Check out our website, rochestermusicguild.org, hosted by MLT Group. Morning, Noon, and Night Program Notes By Donald Livingston Joseph Haydn • 1732–1809 Symphony No. 6 in D Major “Le Matin” Symphony No. 7 in C Major “Le Midi” Symphony No. 8 in G Major “Le Soir” The symphony as a musical form was not invented; it evolved from a musical strategy to keep restless opera audiences occupied while waiting for the curtain to rise. Three-part sinfonias—or overtures—were lengthened and structurally expanded to become the form of symphony we know. And although Haydn can not take credit for inventing the genre, he certainly was its greatest proponent, having composed over a hundred of them. Haydn’s trilogy of symphonies (Nos. 6, 7 and 8, Le Matin, Le Midi, and Le Soir) represents a remarkable example of his uncanny ability to write music that pleased the patron for whom it was composed and yet was uncompromising in technical, formal and instrumental level of standards. Written at the behest of his patron Prince Paul II of Esterházy who had a penchant for programmatic music of the Italian baroque, they have been described as an answer to Vivaldi’s Quattro Stagioni in the classical style. However, it is not the symphonies’ programmatic element but Haydn’s use of his orchestra that is of greatest compositional significance. One of Haydn’s first tasks upon his employment at the Esterházy household was to employ new musicians for the orchestra, which he began to do in 1761, the year of composition of the trilogy of symphonies. By writing symphonies featuring virtuosic solos for a range of different instruments (even including the double bass and bassoon!) in an up-to-date version of the Italian Concerto Grosso, not only was Haydn attempting to curry favor with his employer Prince Paul II, but also with the players of the Esterházy orchestra themselves. Indeed, the extensive violin and cello solos throughout the symphonies were presumably intended to showcase his choice of concertmaster, the Italian violinist Luigi Tomasini, and the equally famous cellist Joseph Weigl. The orchestration of these symphonies did not serve merely to embellish; rather, the interaction between different instruments, their different timbres and varying roles as soloists and tutti, was the very source of the musical drama. The first symphony of the trilogy opens with a gorgeous programmatic introduction invoking the sunrise of le matin. The evocation of sunrise became a topic in Haydn’s later works, including his so-called Sunrise Quartet, Op. 76, No. 4, and the orchestral opening to “In splendour bright is rising now the Sun” from The Creation. The passages from Le Matin and The Creation are remarkably similar, comprising a simple rising D major scale beginning in the violins before a gradual textural crescendo as each instrument enters, creating suspensions and dissonances until the sun metaphorically breaks through the clouds into glorious orchestral harmony. The role of orchestration and instrumentation lies at the very heart of these symphonies. Indeed, the Allegro of the first movement begins with a theme for solo flute, which is then answered by the oboes; this is a theme reserved for the woodwind of the orchestra, and it never features in the strings. Haydn uses this idea to comic effect at the recapitulation, which is wittily anticipated by a statement of the theme by solo horn; in hindsight it is so idiomatic it is as though it should have belonged to the horn from the beginning! This is a remarkably forward-looking structural moment, and anticipates a similar moment in the first movement of Beethoven’s Eroica Symphony No. 3, which also features a “wrongsounding” anticipation of the recapitulation by the horns. As his student Ferdinand Ries recounted “I was standing next to Beethoven and, believing that he had made a wrong entrance, I said, That damned hornist! Can’t he count? It sounds frightfully wrong. I believe I was in danger of getting my ears boxed. Beethoven did not forgive me for a long time.” Whereas the opening to Le Matin is mysterious and ethereal, Le Midi opens with a grand ceremonial march featuring dotted rhythms in the style of a French Overture. Indeed, the Allegro which follows has the character of the opening of a Neapolitan Opera, with the opening orchestral tutti setting the scene for the ensuing dialogue between the operatic characters, represented by the “voices” of solo violins, cello and oboes. Throughout this movement, as in other movements of the trilogy, the music is structured through the use of textural contrasts between ripieno and concertante, and the character and timbres idiomatic to the different solo instruments. The violins have virtuosic flourishes in high registers, the cello has singing, lyrical melodies, and the oboes’ solo melody harmonized using mainly minor thirds has a mournful character. In the recapitulation, the solo violin dramatically subverts the theme to take on the character of a sighing, lamenting soprano, in an anticipation of what is to come in the second movement: a dramatic Recitative in which the solo violin imitates the human voice. The introduction of an operatic form into purely instrumental music is remarkable in a symphonic context, as is the written-out, lengthy cadenza for solo violin and cello in the second half of the movement. We are back to the world of the court at the beginning of Le Soir, which begins with a dance-like gigue. The final movement of Symphony No. 8, La Tempesta (The Storm), is the only explicitly programmatic movement throughout all of the symphonies. The storm was a common subject for imitation in the baroque period, as exemplified by pieces such as Vivaldi’s La Tempesta di mare. The title of the movement would have invoked a set of expectations from the courtiers at Esterházy, who were musical connoisseurs. Indeed, as they would have expected, the exposition is full of stormy figurations, rapid scales in the strings, surprising changes of dynamics and textural contrasts. However, the notion of audience expectation in this movement is a paradoxical one, in which the element of surprise and the unexpected becomes part of the rhetoric of the “storm” topic; the unexpected is the expectation. Haydn is able to use this to witty effect: for example, in the recapitulation, certain elements that previously surprised us are omitted, and dynamic schemes are reversed so that passages which were previously forte are now piano. Right at the end of the recapitulation just as we think everything is going to proceed normally to the end, a solo cello interjects with a passage that was previously given to the solo violin; the much lower, comic register and introduction of a new soloist right at the end of the movement could hardly have failed to amuse the audience at Esterházy. Harpsichord Concerto in F Major Hob.XVIII:3 The Harpsichord Concertos Hob.XVIII belong to the earlier period of Haydn’s creative life, the 1750s, but are first mentioned in the Breitkopf catalogue of 1767. It is one of a group of such works apparently designed initially for the organ, as may be gathered from the keyboard range expected in the solo part, and consequently possibly for church use. Haydn’s own employment as an organist in various Vienna churches at this period strengthens the attribution. The original version seems to have been for organ and strings, although early versions exist with wind and timpani parts that are probably not by Haydn. It was, in any case, described in Haydn’s catalogue of his music as Concerto per il clavicembalo. The concerto was at one time attributed to Galuppi and it is not until the last movement that Haydn comes into his own. Haydn’s only surviving concerto for two solo instruments, the Double Concerto in F Major for Harpsichord, Violin, and Strings, Hob.XVIII:6, was probably also intended originally for the organ. In later years, Haydn himself seemed to remember it as having been written and performed for the solemn profession of Therese Keller, his future sister-in-law, as a nun in 1756. Others have preferred a slightly later date, presuming that Haydn had confused the work with the Organ Concerto in C Major, Hob.XVIII:1, which was certainly played on that occasion. It appeared in the Breitkopf catalogue in 1766. The initial scoring for organ of what is a relatively extended work is again suggested by the relatively limited range of the keyboard used, fitting Viennese organs of the period, while apparently avoiding notes possible on the contemporary harpsichord. Grow with us, & make your business stand out. Outdoor Color Installation & Maintenance Indoor Plant Leasing & Maintenance Garden Center Serving Rochester since 1978. 6904 18th Ave NW, Rochester (507) 282-1988 www.greenwoodplants.com CONCERT III Berlin in the Baroque Wilbert Hazelzet | baroque flute Paul Jacobson | baroque flute Friday, January 29, 2016, 7:30 P.M. Zumbro Lutheran Church, Rochester, Minnesota Saturday, January 30, 2016, 8:00 P.M. Sundin Hall, Hamline University, St. Paul, Minnesota Francesco Geminiani 1687–1762 Concerto Grosso Op. 2, No. 5 in D Minor Grave • Allegro • Adagio • Allegro Wilhelm Friedemann Bach 1710–1784 4 Fugues, F.31 D Major • D Minor • E-flat Major • C Minor Johann Joachim Quantz 1697–1773 Concerto in G Major, QV 5:174 Allegro • Arioso, e mesto • Presto INTERMISSION Johann Gottlieb Janitsch 1708–1763 Sinfonia in F Major Allegro • Larghetto • Allegro Georg Philipp Telemann 1681–1767 Tafelmusik Ouverture-Suite in E Minor, TWV 55:e1 Ouverture • Rejouissance • Rondeau • Loure • Passepied • Air: un peu vivement • Gigue • Conclusion Since 1970 WILBERT HAZELZET has been dedicated exclusively to the baroque transverse flute. He specializes in ancient instrumental techniques and the performance of music from the eighteenth century according to contemporary treatises about flute playing and singing. Considered by many as the world’s leading baroque flute player, Hazelzet has been a member of Musica Antiqua Köln. With this world-famous ensemble he appeared in Japan, India, China, the US, Canada, and across Europe, from Finland to Portugal and from Ireland to Russia. He now forms permanent duos with Jacques Ogg, harpsichord, and with Joachim Held, lute, and is a frequent guest with ensembles throughout Europe and North America. He is first flautist of Ton Koopman’s Amsterdam Baroque Orchestra and on the faculty of the Berwick Academy of the Oregon Bach Festival and the Baroque Instrumental Program in the Twin Cities. Hazelzet has made recordings for numerous radio and TV stations all over the world and for several recording companies such as DGG, Erato, Harmonia Mundi, and Glossa. He is a Professor at the Royal Conservatory in The Hague, Tilburg, and Utrecht. PAUL JACOBSON, principal flutist and co-founder of the Lyra Baroque Orchestra and The WolfGang, has appeared as soloist with leading baroque orchestras and chamber ensembles nationwide and abroad. He has served on the National Flute Association’s board of directors, has chaired its Historical Flutes Committee, and has been vice president of Early Music America. Having done graduate work in composition and sacred music at Union Theological Seminary and Columbia University, he has spent most of his career in the vocation of historical instrument performance. Paul is a composer of music for the church and, in the eighteenthcentury tradition, transcribes large-scale works for chamber ensemble. He also makes baroque flutes. Berlin in the Baroque Frederick II, born in 1712, was King of Prussia from 1740 to 1786. He practiced a form of enlightened absolutism and gained fame across Europe as an extraordinarily multifaceted monarch, capturing the imagination of his contemporaries as Philosopher King and Frederick the Great. He mainly spoke and wrote in French, and developed a high-profile friendship with Voltaire in order to gain a place among the cultural opinion-leaders of Europe. He established Prussia as a European power in the Seven Years’ War (1756–63), which involved much of the contemporary world. Frederick’s mother, Sophia Dorothea of Hanover, was at home in the world of learning and entertainment, fostering her children’s love of French culture, but his father King Frederick William I banned all artistic pursuits for his son as effeminate. He subjected Frederick to a highly repressive regime that culminated in his incarceration for a year after a failed attempt to flee to Britain in 1730. Nevertheless, music became Frederick’s great passion, an expression of pleasure and an escape from the trials of his everyday duties at court. He shared this passion—alongside a love of dogs—with his elder sister and confidante Wilhelmine, who was to establish the musical culture of Bayreuth as Margravine of Brandenburg-Bayreuth. Frederick took his flute everywhere with him, practicing in his tent even in times of war. It was his “principessa,” the great love of his life, and rival to his sister’s lute, her “principe.” On ascending the Prussian throne in 1740, Frederick surrounded himself with an impressive entourage of outstanding musicians at his beloved Sanssouci Palace in Potsdam, inaugurated in 1747. These included various members of the Graun and Benda families, accompanist Carl Philipp Emanuel Bach, and the renowned flautist Johann Joachim Quantz. Flute lessons, which had previously taken place clandestinely, now became part of the daily schedule together with concerts at which Frederick reportedly played several sonatas and concertos every evening. He amassed a huge private repertoire, much of which has never been published. All the flute sonatas and concertos composed for Frederick testify to his impressive technical ability. In 1714 Geminiani moved to London, where he enjoyed immediate success as a performer and the patronage of Johann Adolf Baron von Kielmansegg, the Hanoverian courtier who had been instrumental in bringing Handel to Hanover and thence to England. In London, Geminiani continued teaching and performing, taking part in series of subscription concerts and in 1732 publishing two sets of concerti grossi, including Op. 2 and 3. The form of the concerto grosso owes much to Geminiani’s teacher, Arcangelo Corelli. Written as early as the 1680s, but published only posthumously in 1713, Corelli’s twelve concerti epitomize a form that was to appeal to a very wide public, attracting both professional and amateur performance. If the dominant instrumental form of the period was the trio sonata, the concerto grosso was an extension of this. The latter form contrasts a small solo concertino group—usually of two violins, cello and harpsichord—with the main body of the orchestra and its keyboard instrument. It was easy enough to transform the sonata into a concerto by allowing the ripieno body of the orchestra to reinforce the louder sections, leaving softer passages to the concertino. The concerto grosso soon developed more individual concertino parts that differed in elaboration from those of the ripieno, establishing the foundation of the virtuosic concerto of the later 18th century. In origin, then, the concerto grosso may be seen as a trio sonata writ large, a trio sonata arranged for orchestra. It should be added that both trio sonata and concerto grosso existed as either secular da camera compositions or as sacred da chiesa works, the former akin to a dance suite in a number of movements and the latter incorporating more solemn fugal elements in the second and often the fourth of its four movements. The rigid distinction between the two forms, clear enough in Corelli, did not c ontinue. The Concerto, Opus 2, No.5, begins with its Corellian Adagio, introducing a contrapuntal Allegro. This leads to a relatively short Andante, linked to a final movement that brings frequent contrasts between the smaller and larger groups of players. Aside from his contributions to the development of the concerto grosso, Geminiani’s significance today is largely due to his 1751 treatise Art of Playing the Violin, which is the best known summation of the eighteenth-century Italian method of violin playing and is an invaluable source for the study of late Baroque performance practice. Francesco Geminiani • 1687–1762 Wilhelm Friedemann Bach • 1710–1784 Program Notes by Donald Livingston Concerto Grosso Op. 2, No. 5 in D Minor The violinist and composer Francesco Geminiani was one of those Italian musicians who found a ready livelihood in England in the first half of the eighteenth century. Born in Lucca in 1687, he was a pupil of Corelli and of Alessandro Scarlatti in Rome, after earlier violin lessons from his father, whom he succeeded in Lucca in 1707 in the Capella Palatina, the principal musical establishment of the city. He was released from his obligations there in 1710, as a result of the alleged frequency of his absences, and led the opera orchestra in Naples from the following year. Here he was referred to as furibondo, a reference to a tendency to rubato that was not always welcome, a trait perhaps acquired from his teacher Corelli, who had had his own problems in Naples. 4 Fugues, F.31 Once derided as a perpetual drunk, reviled as the Bach son who dared sign his father’s name to his own work, and his reputation barely surviving its usage as a fictionalized cause celèbre by the Nazi party, Wilhelm Friedemann Bach is starting, at the beginning of the twenty-first century, to come into his own at last. Fugues occupied a prominent place in an edition of Friedemann’s Organ Works by Traugott Fedtke (1968), where they were divided between separate volumes containing manualiter and pedaliter works, respectively. But the autograph of the eight manualiter fugues (F.31) designates no instrument; a copy assigns them to harpsichord or organ, and a low B flat in the C minor fugue (F.32) shows that at least this piece was probably not conceived for organ. Persistent references to the latter instrument in connection with Friedemann’s manualiter fugues may stem for his dedication of F.31 to Princess Anna Amalie, who owned two famous chamber organs, both with an unusually wide range. Even in the 1770s, however, the temperaments of some organs probably rendered the performance of Friedemann’s music problematic. Johann Joachim Quantz • 1697–1773 Concerto in G Major, QV 5:174 The German flautist, flute maker, and composer Johann Joachim Quantz (1697-1773) is chiefly remembered as the author of a work he wrote for Frederick the Great on the art of playing the transverse flute, Versuch einer Anweisung die Flöte traversiere zu spielen, published in 1752. Quantz was well known and respected as an extremely versatile, widely traveled and experienced musician. He had met and impressed Alessandro Scarlatti and Johann Adolph Hasse, and when he visited London in 1727, Handel apparently urged him to remain there. However, unlike Handel, Quantz returned to his employment in Germany at the thriving musical establishment of Augustus II the Strong in Dresden. It was here, on a state visit in 1728, that Frederick first heard Quantz play, and from then on their lives were inextricably linked. In 1741, Quantz was officially engaged as flute teacher and master of the chamber concerts to his most illustrious and fanatically keen pupil, the new King of Prussia, on a staggering salary of 2000 thalers per year. In addition, he received bonuses for each new flute and every new composition he produced, which include some five hundred works for flute. Needless to say, Quantz became one of the richest musicians of his day. Johann Gottlieb Janitsch • 1708–1763 Sinfonia in F Major Johann Gottlieb Janitsch is one of the “lesser” composers figured among those of the Berlin School. Born in Silesia (now Poland), Janitsch was educated in Frankfurt, and while a student gained a reputation as a composer and bass viol player, receiving a number of commissions. He joined the chapel of the Prussian crown prince in 1736 and started a concert series called “Friday Academies,” which continued in Berlin after Frederick’s ascension to the imperial throne. Janitsch was influenced by several emerging styles of the eighteenth century. While Frederick demanded music in the gallant style, the townspeople of Berlin perfered the Empfinsamerstil, and Janitsch furnished music for both. His works came to be housed in a celebrated collection in Berlin that was sent to Poland during World War II, stolen by the Russians, and then returned after the fall of the Soviet Union. The symphonies are currently preserved in the court at Darmstadt archives where Christoph Graupner was Kapellmeister. Georg Philipp Telemann • 1681–1767 Tafelmusik Ouverture-Suite in E Minor, TWV 55:e1 Nobody has ever come up with an adequate explanation for Telemann, in his day the most famous composer in Germany. He apparently wrote more music than anyone in history while holding down two major jobs nearly everywhere he went, doing his own engraving for his many musical publications, writing and publishing his own poetry and theoretical writings, and finding time to raise a family and network widely with friends, among them Bach and Handel. Where did he get the time and energy? The most likely explanation—that he had identical triplets—is not widely accepted, probably because there is no actual evidence for it. Maybe he just never slept. Telemann’s Musique de Table, supported by strong publicity and the composer’s contacts with booksellers and distributors from Berlin, Leipzig, Nuremberg, Frankfurt, London and Amsterdam, was immediately and immensely successful: nearly 250 subscribers responded, people from the bourgeoisie, magistrates, ministers, clergymen, kapellmeisters, professional and amateur musicians. Among the German subscribers were Georg Pisendel and Joachim Quantz—the latter ordering six copies. More than twenty subscribers came from Denmark, Norway, Spain, Holland and Switzerland (Italy was the sole absentee). From England, it listed “Mr Hendel, Doctor of Music.” It was in France, however, that the greatest interest for the collection was shown: thirty-three names were listed in the first edition. The work was presented in three volumes: an overture followed by a suite of dances and characteristic pieces, a quartet, a concerto, a trio, a solo sonata, and a conclusion. This closing piece had the same instrumentation as the overture, and thus not only closed the suite, but also substantiated the cyclical aspect much desired by Telemann for each of his three productions. That Telemann, at a time when the convention was to publish by groups of six or twelve works belonging to the same genre, choose to break with tradition is only further testimony of his interest in mixing elements of Italian, French—and in the case of Telemann, Polish—characteristics. Musical works written and published with a reference to the table had been legion since the beginning of the seventeenth century. The Taffel-Consort, published by Thomas Simpson in Hamburg in 1621, the Partitas of Heinrich Biber’s Mensa sonora (1680) or the Simphonies pour les souper du Roy of Michel-Richard Delalande, among other examples, were all written in accordance with the idea, typical of Baroque aesthetics, that all human activities should coincide and that life’s delights should meet, but were also conceived with the aim elevating the arts to princely heights. In Telemann’s Musique de Table we find Baroque pedagogical intent: the work presents itself first and foremost as a school for instrumental performance where Telemann, as he states in one of his writings, lovingly chose a part “suited for each instrument,” so that every musician can find pleasure. Telemann, perhaps here more than in any other of his compositions, reaches great heights of invention: the melodic richness, variety, and ingenuity are astonishing and transcend established forms. Such quality no doubt contributed to the emergence of German artistic and intellectual pride, and surely helped Germans realize how great was their talent in musical matters. In a letter to a friend, Telemann wrote: “I do hope this work will one day contribute to my fame.” Considering its place in history and how often performed it is today, we can easily state that his wish has indeed been granted. Music for a Medici Wedding Early Music Day: February 21, 2016 1presented to 6 pm by 26 East Exchange St, Suite 500 Saint Paul MN www.thespcm.org Experience the art of playing with experts in the field while working on a portion of the Florentine Intermedi of 1589, called “La Pellegrina,” an extended musical tableau which was performed at the celebrated wedding of Ferdinando I de’ Medici and Cristina di Lorena. Phil Rukavina, Director Julie Elhard, SPCM Early Music Department Head World class teachers Passion for teaching Commitment to all Vibrant community Our Renaissance and Baroque program features viola da gamba consorts for all ages, youth renaissance band, adult baroque ensemble, and private instruction for viola da gamba, recorder, harpsicord and baroque violin. All ages All levels All Instruments For more information call 651-224-2205 or view classes and register at www.thespcm.org The Saint Paul Conservatory of Music, 26 Exchange St, Ste 500 www.thespcm.org 651-224-2205 [email protected] CONCERT IV The Dramatic Voice of the Baroque Christopher Temporelli | bass-baritone Friday, March 4, 2016, 7:30 p.m. Zumbro Lutheran Church, Rochester, Minnesota Saturday, March 5, 2016, 8:00 P.M. Sundin Hall, Hamline University, St. Paul, Minnesota Johann Christoph Friedrich Bach 1732–1795 Sinfonia in D Minor Allegro • Andante amoroso • Allegro assai Concerto for Harpsichord in A Major* Allegro • Andante ma non troppo • Presto INTERMISSION Pygmalion, cantata for bass & orchestra* *Twenty-first century premiere CHRISTOPHER TEMPORELLI is an American classically trained singer based between the United States and South Korea. He leads an international career as singer, actor and entertainment field notable. His debut with Michigan Opera Theater was hailed “triumphant” by the Detroit Theater Examiner. Opera News named him a “vibrant force” (Philip Glass’ Orphée) and “macho” (Glimmerglass Festival). For his Canadian debut (Toronto, Opera Atelier), music critic Paula Citron (Globe and Mail) declared him “clearly one to watch—the total package.” After his first Columbus Day gala performance, announcer Maria Bartiromo (CNBC/ Fox) introduced him on ABC TV fondly, “you’re going to love him–beautiful.” As a singer, Mr. Temporelli has performed at the Concert Hall of the Kennedy Center in Washington D.C., at Weill Hall, Carnegie Hall, with the National Arts Centre Orchestra in Ottawa with Maestro Pinchas Zuckerman, and in a co-production between Beseto Opera and the Prague State Opera at the Seoul Arts Center Main Opera House. He is highlighted in the opera fan base Barihunks, and in their yearly calendar of singers. In October 2015 he will return to sing the American and Italian national anthems for the Columbus Day Parade Gala at the New York City WaldorfAstoria Hotel and to appear on the red carpet of the 2015 Columbus Day Parade on 5th Avenue—appearing to millions of viewers worldwide. Mr. Temporelli’s acting includes the lead role in the documentary, Ibagujom-hajiye (Let’s talk) which won the “Grand-Prix” in the Haeundae Bada TV network’s original film competition 2015. He is a popular figure in South Korea featured on KBS 1 (TV), Busan English Radio FM 90.5, KNN radio, Noblesse luxury magazine, Busan Daily Newspaper , EBS TV (national broadcast) and Korea’s Classical Music Magazine . He made his Japanese debut in Fukuoka in 2015. His CD, House of the Storyteller, is available on sites such as yes24.com and when aired on Seoul KBS radio he was named “one of the most beautiful bass voices of our time.” He is the International Professor for Education (voice) at Yeungnam University in South Korea and represented by Robert Gilder and Associates of New York and London. The Dramatic Voice of the Baroque Program Notes by Donald Livingston Johann Christoph Friedrich Bach • 1732–1795 Written in the 1770s when Bach played them, the fortepiano still wasn’t a common instrument in England. It’s interesting to note that when Bach was playing the fortepiano in public, Muzio Clementi—who was to become a manufacturer of fortepianos—was still playing the harpsichord. Sinfonia in D Minor Pygmalion, cantata for bass & orchestra Johann Christoph Friedrich Bach, the second youngest son of Johann Sebastian, was the last son to have received his musical training from his father, and was tutored by his distant cousin, Johann Elias Bach. He studied at the St. Thomas School, and some believe he studied law at the university there, although there is no evidence of his study. In 1750, William, Count of Schaumburg-Lippe appointed Johann Christoph harpsichordist at Bückeburg, and in 1759, he became konzertmeister of the Hofkapelle. The arrival in Bückeburg about 1793 of the brilliant Bohemian musician Franz Neubauer presented Bach with unaccustomed competition in the last years of his life. It inspired him to write new works (including a dozen largescale symphonies and several double concertos), but it also intensified the latent depression from which he had been suffering since the death of his half-brother Carl Philipp Emanuel, and which may have hastened the course of the chest ailment that brought about his death in 1795. Although he spent his entire professional life in the service of the Bückeburg court, some of his works were already known in this country in his lifetime. His Sinfonia in D Minor, in the gallant style of the early Classical period, is typically tuneful and homophonic, simple in structure and direct in expression. The modern edition of this undated work is based on a set of original instrumental parts, which was acquired by the German-American J. F. Peters around 1768 and is now in the library of the Moravian Music Foundation in Winston-Salem, North Carolina. The secular cantata Pygmalion belongs to a genre that is peculiar to the eighteenth century: the melodrama. Meaning a musical drama, either in the sense of opera or of spoken drama interspersed with music, it became a hybrid form in the late eighteenth century to mean sung and/or spoken text accompanied by music, often of a programmatic nature. Short-lived in popularity, the genre is dominated by the work of Georg Benda. J. C. F. Bach’s Pygmalion, while sung, belongs to a specific genre of melodrama called monodrama, in which only one person carries the speaking voice. Jean Jacques Rousseau’s Pygmalion (1770), labeled scène lyrique, is generally viewed as the prototype of the melodrama. The story goes that Pygmalion was a Cypriot sculptor who carved a woman out of ivory. According to Ovid, after seeing the daughters of Propœtus—who dared to deny that Aphrodite was a goddess and for this became first to prostitute their bodies and their reputations in public, and, losing all sense of shame, lost the power to blush—he was not interested in women. But his statue was so fair and realistic that he fell in love with it. In time, Aphrodite’s festival day came, and Pygmalion made offerings at her altar. There, too scared to admit his desire, he quietly wished for a bride who would be “the living likeness of my ivory girl.” When he returned home, he kissed his ivory statue, and found that its lips felt warm. He kissed it again, and found that the ivory had lost its hardness. Aphrodite had granted Pygmalion’s wish. Pygmalion married the ivory sculpture changed to a woman under Aphrodite’s blessing. The story of Pygmalion has been used in Germany for musical purposes before Rousseau. Johann Elias Schlegel wrote a cantata on Pygmalion myth in 1744. However, it was never set to music. And a later version, a Pygmalion cantata written by Karl Wilhelm Ramler from 1768, was set to music twice–a first by Christian Gottfried Krause, and a second one by J.C.F. Bach, the latter performed in Bückeburg in 1772. Concerto for Harpsichord in A Major In the 18th century, two important developments in the realm of keyboard music took place. Firstly, the role of the keyboard in music for instrumental ensemble changed. Traditionally it was limited to playing the basso continuo, but during the first half of the eighteenth-century composers began to write music in which the keyboard was given a concertante part. Johann Sebastian Bach was one of the first to do so in his harpsichord concertos and his sonatas for keyboard and violin. Secondly, the dominance of the harpsichord was broken around the middle of the century with the emergence of the fortepiano, which had been developed around 1700 by Bartolomeo Cristofori. It wasn’t until the 1770s that the fortepiano was fully accepted as an alternative to the harpsichord. Most music for keyboard, whether solo or as part of an instrumental ensemble, could be played on harpsichord or fortepiano. That does not mean it doesn’t matter which instrument is chosen. It is an established fact that Johann Christian Bach played the fortepiano in public concerts, and that makes it plausible to choose this instrument to perform the concerto performed tonight. THURSDAY MUSICAL 2015-2016 CONCERT SEASON Thursday Morning Artist Series 10:30 am Free Coffee and Donuts 10:00 am MacPhail Center for Music October 8, 22 November 5, 19 December 3 January 21 February 4, 18 March 3, 17 April 14, 28 Membership $75, Seniors $65 Single Tickets $10 (at the door) 612-333-0313 thursdaymusical.org CONCERT V Hamburg, Magdeburg, and Brandenburg VI Jaap ter Linden | viola da gamba Friday, April 29, 2016, 7:30 P.M. Zumbro Lutheran Church, Rochester, Minnesota Saturday, April 30, 2016, 8:00 P.M. Sundin Hall, Hamline University, St. Paul, Minnesota Michel Corrette 1707–1795 Concert “Le Phénix” Allegro • Adagio • Allegro Johann Gottlieb Graun 1703–1771 Concerto for Viola da Gamba in A Major, GranWV A:XIII:11 Allegretto • Adagio • Allegro Cellist and conductor JAAP TER LINDEN has devoted his illustrious career to historical performance practice, reaching out to audiences with his moving performances and inspiring colleagues and students with his musical enthusiasm and integrity. His relentless curiosity for the music of Haydn, Beethoven and Mozart has led him to concentrate on this repertoire in his current conducting projects— including a Beethoven cycle with the Wroclaw Symphony—and was the driving force behind a recording of the complete Mozart symphonies with his own Mozart Akademie. The same fascination extends to his chamber music endeavors: this year he will record the complete Beethoven cello and piano works with American forte pianist David Breitman. In upcoming performances, Elizabeth Wallfisch joins them to play the Beethoven, Schubert and Brahms trios. Jaap is a regular guest conductor and performer with a number of ensembles, including Ensemble Arion (Montreal), Portland Baroque Orchestra, and the Lyra Baroque Orchestra. Recently retired from the Royal Conservatory in The Hague, he continues teaching a handful of advanced students and gives regular master classes throughout Europe and the United States. He enjoys having more time to dedicate to a long-lost passion for photography, as well as writing about various themes related to music and movement, and further exploring the world of music and meaning. Jaap has made numerous recordings: among his personal favorites are the two different versions of the Bach suites, the old Vivaldi L’Estro Armonico recording with the English Concert, and his Mozart symphonies. INTERMISSION Johann Sebastian Bach 1685–1750 Brandenburg Concerto No. 6 in B-flat Major, BWV 1051 [Allegro] • Adagio, ma non tanto • Allegro Georg Philipp Telemann 1681–1767 Ouverture-Suite in D Major Ouverture: Largo-Allegro-Largo • La trompette • Sarabande • Rondeau • Bourrée • Courante & Double • Gigue Honeysuckle Music Music for recorders, strings, flute, guitar & chamber groups ... Recorders & accessories Jean Allison Olson 1604 Portland Ave. St. Paul, MN 55104 651.644.8545 www.honeysucklemusic.com [email protected] Hamburg, Magdeburg, and Brandenburg VI Program Notes by Donald Livingston Michel Corrette • 1707–1795 Concert “Le Phénix’” Less to provoke peals of laughter than to elicit a smile, Michel Corrette takes delight in borrowing from popular tunes, songs, musical theatre ditties and noels, adapting, harmonizing, and stringing them together in workmanlike fashion in his innumerable “comic concertos” and symphonies for various combinations of instruments. Corrette’s devotion to the popular idiom places him in the worthy company of several other composers of note who, like Liszt or Bartók, drew much of their inspiration from the folklore of their native lands. But Corrette’s activity as a composer far outstripped his career as an organist. He wrote works in all the vocal and instrumental genres of the times: cantatas, cantatilles, ballets, motets, leçons de Ténèbres, pieces and noels for the organ, pieces and sonatas for the harpsichord, concertos, and symphonies. He was the first in France to compose concertos for wind instruments—this was before 1730—and for organ, modeled on those of Handel. His career spanned almost the entire century, and his last composition, dated July 1792, was Symphonie à grand orchestre on the revolutionary air Ah! Ça ira. But his enormous output and his long life, combined with the shift in taste that took place near mid-century, prompted the musicologist Boisgelou to pen a less than flattering assessment: “Corrette was a prolific composer, but his work died before he did.” Johann Gottlieb Graun • 1703–1771 Concerto for viola da gamba in A Major, GranWV A:XIII:11 In Italy the viola da gamba hardly played a role in the first half of the 18th century. Vivaldi used it in one aria in his opera L’incoronazione di Dario, but otherwise he avoided the instrument, with the exception of his Concerto in A. Scored for violin and a violoncello all’inglese, this is interpreted as a reference to the viola da gamba, at that time still quite popular in England. Tartini’s instrumental music comprises sonatas and solo concertos for his own instrument, the violin. There are two concertos with a solo part for a low string instrument, but in the manuscripts there is no indication as to what instrument Tartini had in mind. Interestingly it was a student of Tartini, Johann Gottlieb Graun, who for most of his life acted as concertmaster of the court orchestra of the Prussian King Frederick the Great, that became the most significant composer of gamba concertos in the eighteenth century. One of the members of the orchestra was Ludwig Christian Hesse, son of Ernst Christian, who for many years was gambist at the court in Darmstadt, and had been a pupil of Marin Marais and Antoine Forqueray. Ludwig Christian received his first lessons from his father and worked for some years in the court chapel in Darmstadt as well. In Berlin the gamba was still highly appreciated. Frederick the Great’s nephew, Crown Prince Frederick William II, learned to play the gamba at the age of 13. From 1761 until 1771 Hesse was a member of the crown prince’s private chapel. Graun composed five solo concertos for Hesse that reflect his technical prowess. One wonders how Hesse would have played them, as his education was strongly French orientated. In 1732 Frederick moved into his palace at Ruppin, and Graun became the first musician to be appointed in his service. In the summer of 1732 he must have met—possibly as a competitor—Johann Pfeiffer (1697–1761), whom Frederick’s sister Wilhelmine had recommended to him. Pfeiffer did not obtain a position, and Frederick compared him unfavorably to Graun. Pfeiffer was the only other German composer to write a solo concerto for the gamba. Johann Sebastian Bach • 1685–1750 Brandenburg Concerto No. 6 in B-flat Major, BWV 1051 Scholars must speculate to fill the many lapses in our knowledge of so much of Bach’s music. Nearly half his output is deemed lost and many of his concertos exist only in later arrangements or spurious copies. But his so-called Brandenburg Concertos survive in his original manuscript, which he had sent to the Margrave of Brandenburg in late March 1721. Bach’s own title was Six Concerts Avec plusieurs Instruments (Six Concertos With several Instruments); the familiar label adhered after first being applied by Philipp Spitta in an 1880 biography. Bach left a brief but telling account of their origin in his dedication to the presentation copy of the score, handwritten in awkward, obsequious French: Since I had a few years ago, the good luck of being heard by Your Royal Highness, by virtue of his command, & that I observed then, that He took some pleasure in the small talents that Heaven gave me for Music, & that in taking leave of Your Royal Highness, He wished to make me the honor of ordering to send Him some pieces of my Composition: I therefore according to his very gracious orders, took the liberty of giving my very-humble respects to Your Royal Highness, by the present Concertos, which I have arranged for several Instruments; praying Him very-humbly to not want to judge their imperfection, according to the severity of fine and delicate taste, that everyone knows that He has for musical pieces . . . In other words, Bach intended the Brandenburgs as his resumé for a new job. The attempt was unsuccessful. Indeed, it is unclear what, if anything, the Margrave did with the presentation score once he received it. Common wisdom is that the Margrave never bothered to perform these fabulous works, and perhaps never even examined the score. The three-fold basis for this notion is that the manuscript, which passed through private hands into a library, is in such fine condition as to suggest that it never was used, that Bach never received an acknowledgement (much less any reward), and that the works were considered so worthless that they were sold for a pittance upon the Margrave’s death. Yet, Malcolm Boyd deflates these myths, pointing out that a performance would not have used the full score, but rather copies of the individual parts, that the mere absence of any record of a response could evidence nothing more than the typically sparse documentation of the time, and that the score wasn’t sold, but rather assigned a nominal value solely to assure that the Margrave’s estate was divided equitably among his heirs. The last of the Brandenburg Concertos is often considered the oldest, as its instrumentation conjures a seventeenth-century English consort of viols, similar scoring had been used by Bach in his earlier Weimar cantatas. Yet, typically, Bach combines a knowing salute to the past with a bold leap into the future, raising the violas, customarily embedded in the continuo accompaniment, to solo status. The unprecedented gesture was triply suitable—the viola was Bach’s own favorite orchestral instrument (as he once put it, placing him “in the middle of the harmony”). It was also the instrument played by his patron Prince Leopold, and the Margrave’s orchestra was known to have employed two especially accomplished violists. Georg Philipp Telemann • 1681–1767 Ouverture-Suite in D Major In his Versuch einer Anweisung die Flöte traversiere zu spielen, Quantz contented himself with providing a few points about the French overture’s style and noting that “Lully has provided good models for it; but some German composers, among others especially Handel and Telemann, have far surpassed him . . . since the overture produces such a good effect, however, it is a pity that it is no longer in vogue in Germany.” As a self-styled “grand partisan de la musique Française,” Telemann cultivated an interest in the French style from his teens through old age, an interest reflected in numerous suites, sonatas, concertos, cantatas, and operas. The fact that his faîte de la gloire came during his eight-month visit to Paris in 1737–38—the composer’s only documented trip outside Germany—further underscores his Gallic sympathies, as does his advocacy of French recitative in a fascinating correspondence with Graun during the 1750s. Telemann’s involvement with the French style is most vividly documented by his overture-suites, a repertory that also offers some unusually rich expressions of the mixed taste. This blend of stylistic purity and heterogeneity undoubtedly helps explain the music’s great popularity among the composer’s contemporaries, for in this sense it could hardly be more German in expression. The ba ro qu e VIOLIN BASSOON Lucinda Marvin, concertmaster Theresa Elliott Jubal Fulks Margaret Humphrey Marc Levine Spencer Martin Conor O’Brien Miriam Scholz-Carlson Joanna Shelton Mary Sorlie Ginna Watson Elizabeth York Joseph Jones VIOLA Cheryl Zylla Jennifer Kalika o rc h e st r a HORN Celeste Holler Richard Seraphinoff STAFF Jacques Ogg, Artistic Director Johanna Lorbach, Executive Director Tami Morse, Development Director 275 East Fourth Street Suite 280 St. Paul, MN 55101 Laura Handler (651) 321-2214 [email protected] www.lyrabaroque.org CELLO/VIOLA DA GAMBA Board of Directors Julie Elhard Tulio Rondón Ellen Rider, President Bonnie Turpin, Treasurer Joan Rabe, Secretary & Rochester Representative Kevin Geraghty Nancy Levine CELLO BASS Sara Thompson FLUTE Paul Jacobson Immanuel Davis OBOE Stanley King Ellen Rider Lyra is grateful for the following volunteers and in-kind donors, without whom these performances would not be possible. ROCHESTER VOLUNTEERS Zumbro Lutheran Church Carol Benson Nancy Dingel Lester & Dianna Horntvedt Kathryn Horntvedt Joan Rabe & Jay Kurtz Phil & Betty Schmalz Ben & Sally Scott Dave & Pat Siljenberg Janet Swanson ST. PAUL VOLUNTEERS Amy Berg Lori Beyer Cheryl Dixon Dan & Jeanne Doty Judy Gilats Rick Giovinazzo Britta Jepsen John Judd Laura & Terry Handler Paul & Diane Jacobson Bruce Jacobs & Ann Jennen Linda King Alan Kolderie The Kustritz Family Buffy Larson Allen & Nancy Levine LaVonne Nerge Derek Parshall Kristina Rodel Rob Schauinger Doug & Miriam Scholz-Carlson Mark Stanton Bonnie & Mark Turpin Jane & Dobson West Lyra Annual Contributors Thank you for supporting the music you love! CHAMPION: $5,000+ Dr. & Mrs. Peter J. & Isabelle Dyck Paul & Diane Jacobson Jacques Ogg Ellen Rider & Stanley King LEADER: $1,000–$4,999 Lowell Anderson & Kathy Welte Judy Gilats The Arthur R. & Elaine C. Halbardier Fund of the Lutheran Community Foundation Laura & Terry Handler Douglas R. Heidenreich Bruce Jacobs & Ann Jennen Ben Jacobson Allen & Nancy Levine Mrs. Sally S. Levy Amaria & Patrick O’Leary Nancy & Bert Poritsky Joan Rabe & Jay Kurtz Dr. Thomas Dillon Redshaw Dr. Paola Sandroni Richard Schieffer & Becky Monson Robert & Cora Scholz Sara Thompson & James A. Schmitz Jr. Bonnie & Mark Turpin Jane & Dobson West Bruce & Beth Willis BENEFACTOR: $500–$999 Tom & Marti Abts Mike & Kendra Creevy Inger & Don Dahlin Kevin & Marie Geraghty Dianna & Lester Horntvedt Margaret Humphrey Ted & Marjorie Kolderie Tami Morse & Marc Levine Gerard & Louise Olson Bruce Rovner & Ann Barclay Charles & Myrna Smith Arturo Steely PATRON: $100–$499 Colin & Patricia Aldis James & Sharon Allen Brian Alton Peter & Bari Amadio Lori Anderson Olson Woodbury H. 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Tindall Paul & Dorie Turpin Paul Tweet Layne & Karen Vinje William Volkmar & Sheri Brandvold Michael & Kate Walters Ginna Watson & Ian Westray Don & Sue Wester Ken & Martha Williamson Sharon Chiappa Windebank Holly Windle & Richard Rames Mark Winning Marcia Yeater FRIEND: up to $99 Lyle & Zoe Abrahamson Deborah Achenbach Stella Anderson Anonymous Claire Aronson Barbara F. Aslakson Mitsuyo Baumer Bill & Marla Berg Cory & Pam Biladeau Cecelia Boone Rufus Botzow Laurel Browne Jackson Bryce Ann Buran Bill Burg Elizabeth Buschor Sara & Ed Conley Jim & Jo Coon Greg & Marcia Coon Susan & Daniel Crowell Stephen Dahl Colleen Danner Jim & Marian Dyck Lowell & Carol Erdahl Maryse Fan Julie Farnham Ira & Wendy Freshman Marcia & Edward Friedrichs Cléa Galhano Andrew John Gesell Bob & Kristy Giere Michelle & Judd Gilats Bridget Handke Emily Harris Frank & Dottie Hawthorne Judith Healey S.E. & Lynn W. Hodulik John & Ramona Hughes Bob & Janet Johnson Riki Jursik Winston Kaehler Amanda Kaler & Brian Ellis Margaret Kirkpatrick Dr. Donald W. Klass William Klein Chris Kraft & Nelson Capes Vicki Krueger Laurel & Eric Lein LaVonne H. Mayer Jay & Cynthia McLaren Craig & Mary Murphy Charles & Susan Muscoplat Lucia Newell Terrance P. O’Leary Lyelle & Mary Frances Palmer Michael & Paula Pergament Esther Pfeifer Noelyn & Truman Porter Mr. & Mrs. Len & T. A. Powell Rachel & Satish Ramadhyani Lois Rem Anne Rider Georgiana C. Rider Pringle & Nancy Rodman Roger Rosko Richard & Dianne Rowse Conor Ryan Susan Schaefer Leonard & Linda Schloff John Schultz Sally Scoggin Joseph Sharp Pauline Siepka Leonore Silberman Mr. & Mrs. James & Carol Simonson Deb Sittko Glenn & Mary Skoy Nancy Sponaugle Robert A. Stanich & Jeanne L. Schleh Mark Stanton Terrance & Donna Stewart Cynthia Stokes John Stuart Lee & Leslie Swenson Mariann Tiblin Jane & David Townsend Michael Turpin Stephanie Cain Van D’’Elden Lydia Volz Rev. Paul Walker Martha Wallen H Hillard Ward Margaret Weglinski Daniel Wichman & Deborah Klinkert Carol Willett Susan & Scott Williams Alex & Marguerite Wilson This list reflects donations received between January 1, 2014 and August 1, 2015. If your name has been omitted, please accept our apologies and contact Johanna Lorbach: [email protected]. MEMORIALS AND TRIBUTES In honor of Randy Bourne Paul & Dorie Turpin In honor of Judy Gilats Dr. Thomas Dillon Redshaw In honor of Paul Jacobson Chris Kraft & Nelson Capes In honor of Tami Morse Cheryl Brown In memory of John & Mark Callahan Dorothy Callahan In memory of Dorothy Carlile Inger & Don Dahlin In memory of James B. Danner Colleen Danner In memory of John R. Hanlon Mrs. Oliver Beahrs, Barbara J. Hanlon, Mrs. Betty Kirby, and Mr. & Mrs Frank Bernard In memory of the Jursik Family Riki Jursik In memory of Ray Poritsky Nancy & Bert Poritsky CORPORATE & FOUNDATION Art and Martha Kaemmer Fund of HRK Foundation The Elizabeth C. Quinlan Foundation Emerson Charitable Trust General Mills German-American Heritage Foundation Greenwood Plants House of Note IBM Corporation MAJOR FUNDERS Thanks to the Metropolitan Regional Arts Council, St. Paul Cultural STAR and the generous donations of our audience members for their support of Lyra’s 2015–2016 season. This activity is made possible by the voters of Minnesota through a grant from the Metropolitan Regional Arts Council, thanks to a legislative appropriation from the arts and cultural heritage fund. INTERNATIONAL ARTIST SERIES ilya poletaev wilbert hazelzet jacques ogg $20 | $10 Students Monday, December 14, 7:30 P.M. Ilya Poletaev, harpsichord The Complete Well-Tempered Clavier, Book II Sunday, January 24, 3:00 P.M. Wilbert Hazelzet, traverso Jacques Ogg, harpsichord The Schubert Club International Artist Series Introducing New Morning Concerts at the Ordway David Finckel, cello Wu Han, piano Philip Setzer, violin Thu, Oct 1, 2015, 7:30 PM Fri Oct 2, 2015, 10:30 AM $20 | $15 Seniors & Students FLYING FORMS Saturday, October 3, 8:00 P.M. Trios of Giovanni Benedetto Platti Joshua Bell, violin Marc Levine, baroque violin Tulio Rondón, baroque cello and viola da gamba Tami Morse, harpsichord Saturday, December 12, 8:00 P.M. Sunday, December 13, 3:00 P.M. A Baroque Christmas Sam Haywood, piano Sun, Nov 1, 2015, 3:00 PM Igor Levit, piano How refreshing to meet this youthful group that plays old music as if it were the newest, coolest thing going. southampton press Friday, March 18, 8:00 P.M. Saturday, March 19, 8:00 P.M. Sunday, March 20, 3:00 P.M. Handel’s The Messiah Tue, Feb 16, 2016, 7:30 PM Wed, Feb 17, 2016, 10:30 AM Michael Collins, clarinet Michael McHale, piano This abridged, chamber version of Handel’s The Messiah is presented in collaboration with Glorious Revolution Baroque Fri, Mar 18, 2016, 10:30 AM Sat, Mar 19, 2016, 7:30 PM Saturday, May 7, 8:00 P.M. Sunday, May 8, 3:00 P.M. Nature and The Four Seasons With guest Cléa Galhano, recorder Bryn Terfel, baritone Natalia Katyukova, piano tulio rondón Wed, Apr 20, 2016, 7:30 PM tami morse & marc levine THE BAROQUE ROOM’S 2015–16 SEASON WILL ALSO FEATURE: The Saint Paul Classical Music Crawl | The Lyra Baroque Orchestra Family Concert Series | The Baroque Room’s Lunchtime Concert Series | Chamber Music in The Baroque Room | and performances by Glorious Revolution Baroque | Joseph Jones, bassoon | Immanuel Davis, traverso | The Saint Paul Lute Cooperative | Gail Olszewski and Donald Livingston, fortepianos | John West, recorder and composer | and many more! THE BAROQUE ROOM | 275 East 4th Street #280 | Saint Paul, MN 55101 www.thebaroqueroom.com | [email protected] | 651-705-6772 Concerts at the Ordway schubert.org 651.292.3268 Igor Levit HIP Historically Informed Performances FROM PALESTRINA TO BACH Choral music from the end of the Renaissance to Bach October 17, 2015 Saturday, 7:30 PM St. Paul, Minnesota October 18, 2015 Sunday, 3:00 PM Winona, Minnesota LOSS, HEALING & ACCEPTANCE Bach’s Cantatas 8, 78, and 72 February 27, 2016 Saturday, 7:30 PM St. Paul, Minnesota February 28, 2016 Sunday, 3:00 PM Winona, Minnesota BAROQUE MUSIC FOR STRINGS Sigiswald Kuijken, guest director/violinist/violist da spalla Works by Schmelzer, Corelli, Vivaldi, and Bach April 1, 2016 Friday, 7:30 PM St. Paul, Minnesota April 2, 2016 Saturday, 7:30 PM Winona, Minnesota April 3, 2016 Sunday, 4:00 PM Moorhead, Minnesota 2015–2016 | Bach Society of Minnesota | 83rd Season