2015-2016 Concert Program Book

ba ro qu e
orc hest r a
Jacques Ogg
Artistic Director
2015–2016 Season
CONCERT
PROGRAMS
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Christmas in Baroque Malta
DEC 17 – 20, 2015
2015-2016
Concert Season
Sainte-Chapelle de Paris
FEB 18 – 21, 2016
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Benson Great Hall, Arden Hills
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MAY 1, 2016
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The Last Queen of Hawaii
Italian Majesty at Mdina Cathedral
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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.”
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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
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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.
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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 info@thespcm.org
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
jean@honeysucklemusic.com
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
info@lyrabaroque.org
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
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Janet Swanson
ST. PAUL VOLUNTEERS
Amy Berg
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Judy Gilats
Rick Giovinazzo
Britta Jepsen
John Judd
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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
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Monson
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Schmitz Jr.
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BENEFACTOR: $500–$999
Tom & Marti Abts
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PATRON: $100–$499
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Anonymous
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McIlrath
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Peroz
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Pratt
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Brandvold
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FRIEND: up to $99
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Deborah Achenbach
Stella Anderson
Anonymous
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Mitsuyo Baumer
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Simonson
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Nancy Sponaugle
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Schleh
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Cynthia Stokes
John Stuart
Lee & Leslie Swenson
Mariann Tiblin
Jane & David Townsend
Michael Turpin
Stephanie Cain Van D’’Elden
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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:
johanna@lyrabaroque.org.
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 | info@thebaroqueroom.com | 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