The Austrian Connection… - Atlanta Baroque Orchestra

The Atlanta Baroque Orchestra
The Austrian Connection…
A Revelation of Baroque Music and Dance
Julie Andrijeski,
Violinist & Guest Director
Paige Whitley-Bauguess,
Baroque Dancer
Sunday 22 March 2009
3:00 p.m.
Peachtree Road United Methodist Church
3180 Peachtree Road NW
Atlanta, Georgia
The Austrian Connection
This program made possible in part by a gift from Janie R. Hicks
Concerto grossi in D, opus 6 no. 1
Largo – Allegro – Adagio – Allegro – Adagio – Allegro – Largo – Allegro
Largo
Allegro – Adagio
Allegro
Serenata con altre arie
Serenata
Allemande
Erlichino
Ciaccona
Campanella – Lamento
Arcangelo Corelli
(1653 – 1713)
Johann Heinrich von Schmelzer
(1623 – 1680)
Sonata V in G Major, from Armonico Tributo, 1682
Allemanda: Grave
Adagio
Fuga
Adagio – (Allegro) – Adagio
Passagaglia: Grave
Georg Muffat
(1653 – 1704)
intermission
Concerto grosso in F major, Opus 6, no. 9
Preludio: Largo
Allemanda: Allegro
Corrente: Vivace
Gavotta: Allegro
Adagio
Menuetto: Vivace
Arcangelo Corelli
Concerto V in D Major "Saeculum," from Auserlesene Instrumental-music, 1701
Sonata: Grave – Allegro
Allemanda: Largo
Grave
Gavotta: Alla breve ma non presto
Menuet: Allegro
Characters of the Dance
Chaconne (Amadis, 1684)
Menuet
Air des Polichinels (Les Fêtes Vénitiennes, 1710)
Entrée pour une femme (Carnaval de Venise, 1699)
Air, Rondeau (L’Europe galante, 1697)
Entrée Espagnolle pour un femme
Tempeste (Alcyone, 1706)
La Matelotte
Georg Muffat
Jean-Baptiste Lully (1632-1687)
Anonymous, arr. Hugh Murphy
André Campra (1660-1744)
André Campra
Marin Marais (1656-1728)
please come to a reception for the performers, sponsored by Susan Wagner, following the concert
THE AT LANT A B AROQUE ORC HEST RA
Julie Andrijeski, Violinist & Guest Director
Violin
Karen Clarke
Martha Perry
Valerie Arsenault
Ute Marks
Ruth Johnsen
Viola
Melissa Brewer
Elena Kraineva
Cello
Brent Wissick
Eckhart Richter
Flute
Catherine Bull
Janice Joyce
Harpsichord
Daniel Pyle
Violone
Melanie Punter
The Atlant a Baroque Orchest ra was founded under the leadership of Lyle Nordstrom, along
with founding-members Catherine Bull, Jeanne Johnson, Daniel Pyle, and Eckhart Richter, who felt
the need for a permanent, professional, historical-instrument orchestra in the Southeast. The
unique, transparent sheen of “early” instruments, coupled with their capability of a delightful
variety of articulations, allows voices and instruments to blend into a unified, yet clear, sound that
is very difficult to achieve with “modern” instruments. Since its founding in 1997, the ABO has
been applauded for its freshness and verve, and for its delightful, convincing performances of a
wide range of earlier works.
The Orchestra received initial generous support from the Atlanta Early Music Alliance and a
variety of individuals, and has also depended on donations of time and money from the musicians
themselves. The ABO is a not-for-profit corporation based in Atlanta, and is 501(c)3 (tax-exempt).
Contributions, which are tax-deductible, are greatly appreciated and are central to the survival of
a venture such as this. If you would like to support the ABO and its future programming, please
send checks made out to “The Atlanta Baroque Orchestra,” 303 Augusta Avenue SE, Atlanta,
GA 30315. There is also a great opportunity for friends of the arts in the community to serve on
the Atlanta Baroque Orchestra board. Please visit our website at www.atlantabaroque.org for
more information on the ABO.
Recently lauded for her "invigorating verve and imagination" by the Washington Post, JULIE
ANDRIJESKI is among the leading baroque violinists in the U.S. She was until recently a full-time
member of the early-music trio, Chatham Baroque, an award-winning ensemble that performs
throughout the Americas, and is now on the music faculty of Case-Western Reserve University.
In January of this year she was one of the musicians who took part in the activities surrounding the
presidential inauguration in Washington. In addition, Ms. Andrijeski regularly appears with several
other baroque groups including, among others, Cleveland's Apollo's Fire, the Boston Early Music
Festival Orchestra, Cecilia's Circle, Spiritus Collective, and the King's Noyse. Ms. Andrijeski's unique
performance style is greatly influenced by her knowledge and skilled performance of baroque
dance, and she often teaches both violin and dance at workshops. She has been on the faculty of
the Baroque Performance Institute at the Oberlin Conservatory for over a decade and will teach
at the Madison Early Music Workshop again this year. Ms. Andrijeski received her Doctorate of
Musical Arts degree in Early Music from Case Western Reserve in May 2006. Previous degrees
include a B.M. in Violin Performance from the University of Denver (1985) and an M.M. in Violin
Performance from Northwestern University (1986). She has recorded extensively, and awaits the
release of Chatham Baroque's most recent recording project, sonatas from Prothimia suavissima,
on Dorian Recordings.
PAIGE WHITLEY-BA UGUESS is director of the Baroque Arts Project and Atlantic Dance
Theatre in New Bern, NC, where she also directs two social dance troupes, the New Bern
Dancing Assembly (youth) and the Craven Historical Dancers (adults). She has produced two
baroque dance DVDs, Introduction to Baroque Dance-Dance Types and Dance of the French
Baroque Theatre featuring her collaborative work with dance partner Thomas Baird. Paige
has stage directed baroque operas for the Bloomington Early Music Festival, the Peabody
Conservatory, and East Carolina University, and is on the faculties of the Oberlin Baroque
Performance Institute and the East Coast Baroque Dance Workshop at Rutgers University. She
holds an MA in Dance History from the University of California at Riverside and a BFA in Ballet
from the NC School of the Arts where she also attended high school. www.BaroqueDance.com
The Austrian Connection
Musicians and music-lovers in the 17 and 18 centuries saw their musical culture as polarized
between two distinct and incompatible styles, the Italian and the French. To us, three- and four-hundred
years later, these “opposites” may not seem so extremely different, but to them it was, as we might now
say, “a very big deal.” It aroused feelings so strong and deep that in the 1690’s François Couperin felt
compelled to publish his first “sonatas” (an Italian form) under a pseudonym, for fear that he would be
dismissed from his positions at the royal court; and in the mid-18 century, there was actual physical
combat in the streets of Paris between proponents of the French and Italian styles of opera — the socalled “War of the Buffoons.”
The musical style which we now refer to as Baroque arose in the late 16 century in the city-states of
northern Italy, especially Venice and Florence. There were two key factors in its evolution: the
simplification of the polyphonic textures of the Renaissance (a linear approach to composing in several
voices) into vertically-oriented block chords, such as found in the canzone and polychoral motets of
Giovanni Gabrieli; and the development of the recitative-style, a way of composing musical dialogue with
simple chordal accompaniment that made possible the creation of the first operas in the late 1590’s.
These two factors were combined in the early 1600’s with a newly-evolving literature for the violin, which
led to the style of instrumental and vocal music embodied by the sonatas and concertos of Arcangelo
Corelli and later Antonio Vivaldi.
In France at the same time there was great awareness of developing Italian styles, primarily because
of the influence of two queens from Florence, Catherine des Medicis in the 16 century (wife of Henry II)
and Marie des Medicis (wife of Henry IV). French Baroque style took different paths from the Italian,
however, primarily because of the different characters of rhythm and accentuation in the languages and
literatures of France and Italy. Ironically, the musician who came to embody the French style above all
others, Jean-Baptiste Lully, was Florentine by birth, even though his training as a violinist, dancer, and
composer all took place in Paris.
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The “Austrian Connection” to which this concert refers is to the Austrian composer Georg
Muffat. Although born in the region then known as Savoy (now the very northwestern part of Italy),
he was educated in Paris, studying with Lully himself, before pursuing his own career as organist and
composer in Austria, first in Vienna and then Salzburg, finally in Passau. But he also was well-versed
in the Italian style: after moving to Austria he was given leave to spend time in Rome studying with
the famous organist Pasquini, and where he became a friend of Arcangelo Corelli. He admired
Corelli’s concerti grossi very much, and his own compositions in that style were performed in
Corelli’s home by the master himself. Thus Muffat became the first major composer to unite the
“conflicting” French and Italian styles in his own music, prefiguring the accomplishments in the
same “unification” of Bach, Handel, and Telemann.
Daniel Pyle
Notes on the Dance
During the early years of his reign, Louis XIV performed in theatrical works such as Le Ballet de la
Nuit of 1653, an all night production in which he dressed as Apollo in the final entrée (act),
portraying the rising sun at dawn. Of significance is that the on-stage cast included not only Louis
XIV, but also young Jean-Baptiste Lully, who later composed the great tragédies-lyriques of the
Académie Royale de Musique (eventually the Paris Opéra); actor and playwright Molière; and dancer
Pierre Beauchamps, who later became the king's dancing master and composer of ballets. Beauchamps
is credited for the early development of a dance notation system, (officially published by Raoul-Auger
Feuillet in 1700), as well as for the codification of the five positions of the feet still used in ballet
today. The notation conveys floor patterns, music, steps, a clear marking for music measure divisions,
and some indication of step timing within the measure. Notation publications provided courts all
over Europe easy access to the most fashionable dances and insured French influence on the art form.
Instructions on specific dance style, arm movements, and step execution were presented verbally in
dancing manuals that also included information on ballroom etiquette; how to sit, stand, and give
honors (bow); how to remove one’s hat; etc. Louis XIV's last theatre performance was in 1670.
The music for the “Chacone of Amadis Performd’ by Mr. Dupré” is from Lully’s 1684
Amadis and was choreographed by Anthony L’Abbé, a French dancing master working in London, and
published in c1725. The chaconne occurs at the end of the opera in the enchanted palace of
Apollidon: Amadis passes through the Arch of Loyal Lovers and by doing so releases heroes and
heroines who had been captives awaiting their own true lovers.
The “Menuet performd’ by Mrs. Santlow” is also by Anthony L’Abbé and was published in
London in c1725. Hester Santlow was a Drury Lane Theatre actress and dancer and, as the wife of
Barton Booth, also known as Mrs. Booth. The audience of the day would have been delighted to see
Hester’s variations on the simple ballroom menuet step.
The “Entrée pour une femme” was danced by Mlle. Victoire in the Ballet du Carnaval de
Venise composed by André Campra in 1699. The dance, choreographed by Guillaume Louis Pécour
and published in 1704, is a forlana performed by “masques” in the last scene: Le Bal.
Dances with a Spanish flavor became popular at the French court, not surprising since Louis XIV’s
marriage to Spanish-born María-Teresa was just one of many royal alliances to straddle the Pyrenees.
Spanish characters appeared in the French theater and it became fashionable to dance Spanish entrées
while playing castanets. The “Entrée Espagnolle pour un femme,” a loure, was danced by Mlle.
Subligny in the Ballet de L’Europe galante composed by Campra in 1697. Like the previous dance, it was
choreographed by Pécour and published in 1704.
Marin Marais’ Alcyone (1706) includes a tune, Marche des Matelots, which you may recognize as the
Christmas carol Masters in this Hall. The Marche pre-dates the carol, though, and must have been very
popular as it was used for four known notated dances: a solo for a man, two duets for a man and
woman, and a popular contredanse called La Matelote (The Female Sailor). I have arranged the manuscript
solo “Entrée de matelot par mr. feüillet” and the 1706 duet “La Matelotte par Mr. Feüillet” for
this performance.
Johann Heinrich Schmelzer was born in lower Saxony and received his education in Vienna. He was
employed as a violinist in Vienna and later appointed Kapellmeister in Frankfurt. Schmelzer is best known
for his instrumental compositions and especially his dance suites, and in fact, was given the official title
of ballet composer to the Viennese court in 1665 and continued to write dance music until shortly
before his death in 1680. Since there was not yet a system for notating dances, a gap remains in our
knowledge of specific dance movement between the Navarro treatise of 1642 in Spain and the Favier
dance score of 1688 in France. Thus, in reviving a Schmelzer ballet, one is confronted with questions
concerning the dance steps and style as well as the ballet plot and performance occasion. Since
Schmelzer’s music contains a movement titled Erlicino (Harlequin), I have choreographed the Serenata
con altre arie as an episode during Carnival in which various commedia del’ arte characters appear:
Scaramouche, Pulcinella, Harlequin, and Columbine. Allow your imagination to decide the
circumstances…but the Campanella (pealing bell) announces that dawn is near.
Paige Whitley-Bauguess
Embellish A Melody!
Bach Club ($1.000 +)
An anonymous donor
An anonymous donor
Cathy Callaway Adams
Dr. & Mrs. David Bright
Peter & Pat DeWitt
Federal Home Loan Bank of Atlanta
Janie R. Hicks
Martha J. R. Hsu
Douglas A. Leonard
William E. Pearson III
Lois Z. Pyle
Dr. & Mrs. Eckhart Richter
Donald E. Snyder
Larry Thorpe & Dr. Barbara Williams
Susan Wagner
Handel Club ($500-999)
Donald N. Broughton & Susan L. Olson
Dr. & Mrs. William P. Marks, Jr.
John & Zoe Pilgrim
Dr. George Riordan & Karen Clarke
Telemann Club ($100-249)
Atlanta Early Music Alliance
John & Linda Austin
Mr. & Mrs. Roger S. Austin
Beth Bell & Stephen Morris
Mr. & Mrs. Roy B. Bogue
Stratton H. Bull
Susan K. Card
Moncure and Sandy Crowder
Dr. & Mrs. Robert A. Derro
Dr. Alan Goodman
Dymples E. Hammer
Suzanne W. Howe
Mr. & Mrs. Allan R. Jones
Hans & Christa Krause
North Side Women’s Club
Rich & Caroline Nuckolls
Rebecca M. Pyle
Hans & JoAnn Schwantje
Vivaldi Club ($250-499)
Aslan Productions
Mr. & Mrs. Jeffery A. Freeman
Anne P. Halliwell
Virginia Ware Killorin
Dr. & Mrs. Ephraim McLean
Mary Roth Riordan
Season Sponsors ($2,500 or more)
Peter & Pat DeWitt
Janie R. Hicks
Lois Z. Pyle
The Atlanta Baroque Orchestra would like to thank the following persons and establishments
For contributing their time, talents, and energy in regard to the details of ABO concerts.
Atlanta Early Music Alliance (AEMA)
Eckhart & Rosemary Richter
Janice Joyce & Chris Robinson
Russell Williamson
Janie Hicks
Valerie Prebys Arsenault
Peter and Pat DeWitt
Sid & Linda Stapleton
Peachtree Road United Methodist Church: Scott Atchison
Susan Wagner
and Camilla Cruikshank & Judy Koch
Linda Bernard & RyeType Design
Daniel Pyle & Catherine Bull
Cathy Adams & The Federal Home Loan Bank of Atlanta
The ABO would also like to acknowledge the several thousand dollars worth of rehearsal time that has been graciously given to the
orchestra by its members. These concerts could not be given without their enthusiasm and support.
ABO Board of Directors
President: Cathy Adams
Vice President: Eckhart Richter
Vice President for Development: Janie Hicks
Secretary: Susan Wagner
Treasurer: Peter DeWitt
Alan Goodman
Janice Joyce
William E. Pearson III
Melanie Punter
Daniel Pyle, Resident Director
Catering by Jessica Ray, Culinary Artistry Personal Chef Service, Inc.
http://mychefsite.com/chefjessica
Support for ABO is provided by
Do Not Miss the
Final Concert
of
Our 2008-09 Season!
May 17, 2009, 3:00 pm
Music from Albion’s Shore…
music from the English Baroque masters
Works by Purcell, Locke, Avison, Handel
Elizabeth Wallfisch, Violinist and Guest Director
Visit our web-site at
www.atlantabaroque.org