Program Booklet 2011

31st Annual Season Gala Concert · June 26, 2011 BMF 1112 ad_Baroque Music Festival 4/30/2011 4:28 PM Page 1

2011-12 concert season

ORCHESTRAS RECITALS AND CHAMBER Mariinsky Theatre Orchestra with Valery Gergiev, conductor Beethoven’s Diabelli Variations Thursday, October 13, 2011, and Monday, October 17, 2011 (RHS) Marino Formenti, piano Elizabeth & Henry Segerstrom Select Series Saturday, January 7, 2012 (RHS) Chicago Symphony Orchestra with Riccardo Muti, conductor Elizabeth & Henry Segerstrom Select Series Friday, February 17, 2012 (RHS) Brentano String Quartet Donna L. Kendall Classical Series Saturday, February 11, 2012 (IBT) St. Petersburg State Symphony with Roman Leontiev, conductor Kalichstein-Laredo-Robinson Trio and Friends Mikhail Krutik, violin Thursday, February 23, 2012 (IBT) Tuesday, March 13, 2012 (RHS) Takács Quartet with Garrick Ohlsson, piano Donna L. Kendall Classical Series Tuesday, March 20, 2012 (IBT) Baltimore Symphony Orchestra with Marin Alsop, conductor “Night in Napoli” featuring Charles Castronovo, tenor Colin Currie, percussion Sunday, April 1, 2012 (IBT) Wednesday, March 28, 2012 (RHS) Donna L. Kendall Classical Series Cleveland Orchestra with Franz Welser-Möst, conductor LECTURES Tuesday, April 17, 2012 (RHS) “Drop Dead Gorgeous” Donna L. Kendall Classical Series Monday, October 24, 2011 (IBT) Academy of St. Martin in the Fields with Joshua Bell, leader and violin soloist “Beethoven: Son of Elysium, part I” Thursday, April 26, 2012 (RHS) Tuesday, February 21, 2012 (IBT) Donna L. Kendall Classical Series “Beethoven: Son of Elysium, part II” Los Angeles Philharmonic with Rafael Frühbeck de Burgos, conductor Monday, April 23, 2012 (IBT) Pepe Romero, guitar Saturday, April 28, 2012 (RHS) Elizabeth & Henry Segerstrom Select Series SPECIAL EVENTS New York Philharmonic with Alan Gilbert, conductor Fiesta Navidad Yeﬁm Bronfman, piano Tuesday, December 13, 2011 (RHS) Tuesday, May 8, 2012 (RHS) Laguna Beach Music Festival with Joshua Bell Elizabeth & Henry Segerstrom Select Series February 6-12, 2012 (LP)

Subscribe949.553.24 2Now!2 / PhilharmonicSociety.org Concerts held at the Renée and Henry Segerstrom Concert Hall (RH) at Segerstrom Center for the Arts, the Irvine Barclay Theatre (IBT), and the Laguna Playhouse (LP). All artists, programs, venues, dates are subject to change. BMF 1112 ad_Baroque Music Festival 4/30/2011 4:28 PM Page 1

2011-12 concert season

Subscribe949.553.24 2Now!2 / PhilharmonicSociety.org Concerts held at the Renée and Henry Segerstrom Concert Hall (RH) at Segerstrom Center for the Arts, the Irvine Barclay Theatre (IBT), and the Laguna Playhouse (LP). All artists, programs, venues, dates are subject to change. EASTBLUFF SHOPPING CENTER 2531 Eastbluff Newport Beach, CA 92660 949.718.9650 Monday - Saturday Sunday Lunch From 11:30 Brunch From 10:30 Dinner From 5:00 Dinner From 5:00

• 4 • 1151 PC Baroque Ad:Layout 1 5/23/11 1:38 PM Page 1

Celebrating John Alexander’s Season! John Alexander’s Gala Concert American November 6, 2011 March 11, 2012 RENÉE AND HENRY SEGERSTROM CONCERT HALL MENG CONCERT HALL, CSUF Works by American composers Pacific Chorale is joined by Pacific exemplifying the beauty, poignance and Symphony for a selection of the maestro’s power of our nation's choral tradition. favorite choral/orchestral works.

with the and John Alexander Singers April 29, 2012 MISSION BASILICA, SAN JUAN CAPISTRANO December 3, 2011 ST. WILFRID OF YORK EPISCOPAL CHURCH The John Alexander Singers return to the December 4, 2011 beautiful Mission Basilica for the closing S4T0. MthA RAK PREnSBnYiTvEeRrIAsNaCryHURCH concert of thVeir soeiacseosn. Two intimate musical evenings anticipating the Christmas season. Cathedral Echoes: from Tis the May 20, 2012 RENÉE AND HENRY SEGERSTROM CONCERT HALL December 18 & 214, 2001t1h Anniversary RENÉE AND HENRY SEGERSTROM CONCERT HALL The Église Saint-Sulpice is the second- Pacific Chorale's traditional holiday concert lMargesta cidhuernc h in PaMris, anadr Jtoyhrn Alexander Cwith Phraicsitfmic aSsymphony and the Southern conducts a program of works composed California Children’s Chorus. for this beautiful landmark. F R E E C O N C E R T ! Pacific Chorale’s Choral Festival Season subscriptions 2011–2012now on sale! August 14, 2011 RENÉE AND HENRY SEGERSTROM CONCERT HALL Call (714) 662-2345 or visit www.pacificchorale.org Featuring Pacific Chorale’s Festival Chorus and guest organist Jung-A Lee. for deStailasi.nt-Sulpice Season! OFFICIAL TELEVISION AWARD-WINNING WEB SPONSOR DESIGN AND HOSTING BY

• 5 • Welcome to the 31st annual Baroque Music Festival, Corona del Mar!

he Baroque Music Festival marks its 31st annual season with Tthis year’s gala concert of choral and instrumental music on the theme of “Handel in Italy.” Elizabeth Blumenstock, a Festival favorite, returns as concertmistress, and John Alexander conducts the Pacific Chorale’s John Alexander Singers in this special program of works by Handel and composers who influenced him during his Italian sojourn between 1706 and 1710. As always, we seek to recreate the Baroque style and sound through the use of period instruments and intimate venues. Earlier this year, our esteemed founding artistic director and conductor, Burton Karson, retired after 30 remarkable seasons. We are currently in the process of developing new leadership to continue this successful tradition, building upon the strong foundation laid by Dr. Karson. During this period of transition, we have established a welcome partnership with both the Pacific Chorale and the Philharmonic Society of Orange County. Together with these fine organizations, we will be returning once again in 2012 to present our traditional Festival series of five concerts. The Festival prides itself on its unique role in the artistic life of the community. We remain grateful to our individual contributors, to advertisers in this program booklet, and to the Arts Commission of the City of Newport Beach for their ongoing and generous support. Let us once again enjoy great music together! Festival Board of Directors Ralph E. Smith, Jr., President

• 6 • Gold Award 10 Years Consecutively – Southern California 2 and 3-Course Prix Fixe Menus: Restaurant Writers Lunch for $10 and Dinner for $20 A La Carte Menu Available Highly rated Featuring Innovative and by Zagat Healthful Preparations – 10 Years Consecutively

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    September 24 & 25, - Concertmaster Ilia Korol is joined by Natalia Grigorieva on forte piano for Schubert & Beethoven sonatas

November 12 & 13 - Lutenist John Schneidermann, tenor Daniel Plaster and members of Musica Angelica pay tribute to the ensembles’ founders, lutenist Michael Eagan and gambist Mark Chatfield

January 28 & 29 - Countertenor Daniel Taylor returns with one of the world’s most celebrated early music specialists, soprano Dame Emma Kirkby, in a program that includes Pergolesi’s Stabat Mater

February 18 & 19 - Music Director Martin Haselböck leads a program of Bach Cantatas featuring soprano Mary Wilson

May 5 & 6, - The always-popular Concerto program concludes the season with double concertos by Vivaldi, Handel, Bach, Telemann and Krebs

Saturdays in Pasadena and Sundays in Santa Monica   • 7 • 32nd Annual Season 17-24 June 2012 Dates subject to change

To be placed on our mailing list for advanced information, please contact us: Baroque Music Festival, CdM P.O. Box 838 Corona del Mar, CA 92625-0838 (949) 760-7887 Knightsbridge [email protected] Asset Management, LLC www.bmf-cdm.org Portfolio management for personal, trust and retirement accounts Festival Program Alan T. Beimfohr Dhawal Nagpal, Patricia Bril Ph.D Michelle M. Brown Editorial Director Chad H. Neault M. Lisette Campbell Robert Bonds Raymond F. Pentz Jane E. Couperus, Editor CFA Gene E. Phillips Law Wai Man Michelle J. Ho John G. Prichard, CFA Production Manager John W. Kittrell, Ph.D Teresa A. Wagner Patricia Bril Ivan B. Lee Miles E. Yourman Advertising Manager Matthew C. Lui Jacqueline S. Lopez Administrative Support 660 Newport Center Drive,Suite 460 Newport Beach, CA 92660 Kwik Kolor (Huntington Beach) Tel: 949 644 4444 • Fax: 949 717 5030 www.knightsb.com Printing

• 8 • The Festival Directors Gratefully Acknowledge

 Newport Harbor Lutheran  Paul & Carol Levin, Manhattan Church (The Rev. Bradley Beach, for the use of their Stienstra, Pastor; The Rev’d splendid Dowd harpsichord, and William Wells, Minister of Music for recording our events for our & Organist) for the beautiful private library. setting of our Gala Concert. d d  Community Church  The Arts Commission of the City Congregational, Corona del Mar of Newport Beach for a financial (Rev. Chip Fisher, Senior Pastor; grant in support of our 31st season. Rodger Whitten, Minister of Music) for hosting our February d Winter Musicale.

 Kelly Ruggirello, CEO of the d Pacific Chorale, andDean Corey, President and Artistic Director  Trader Joe’s, Crystal Cove, for of the Philharmonic Society of providing beverages for post- Orange County, for their guidance concert receptions and our during this transitional season and Patrons Supper. their organizational support of our mission and our future. d

d  Advertisers in this Festival Program (see page 34) and  Graydon Beeks, Professor of our many generous individual Music at Pomona College and Supporters (see page 32) for President of the American providing the essential financial Handel Society, for writing the assistance that makes this concert program notes. Festival possible.

hanks Burton Karson for his exceptional leadership in the Tmusical community of Orange County for these past decades. Congratulations to Maestro Karson and the Festival!

• 9 • THE CHEER LEADER.

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The nation's Number 1 Mercedes-Benz Center proudly Board of Directors supports the Corona del Mar Baroque Music Festival’s Patricia Albers 31st Annual Season. B. Norris Battin Dorothy Boesch Experience The Fletcher Jones Difference. L. Dave Brevig, Treasurer FLETCHER JONES MOTORCARS N E W POR T BEAC H Patricia Bril 330 0 Jamb o r e e Road • w w w.f jmercedes.co m Irmeli Desenberg, President Emerita 9 4 9 7 1 8 3 0 0 0 William B. “Skip” Freely Doreen Hamburger Sigrid Hecht, Past President Judy McKay Dagmar Rios Walter Rios Ralph E. Smith, Jr., President Trisha Smith Dr. Vina Spiehler Dr. M. Penha Trés-Brevig Jacques Vanders Marilyn Wolfsberg, Secretary Advisory Board Jean Beh Beek Donald Evarts Heather Goss, Past President Hugh Gourdin Andrew Guilford Dr. Alex Maradudin Jody Pike Robert Sattler John Stahr Elizabeth Strahan Dorothy Taylor • 10 • ComeCome celebrate celebrate our our 35-Y34-Yearear Anniv Anniversaryersary withwith our our “Gold-A“Gold-Awwardard WWinninginning Restaurants”Restaurants” RoyRoyalal T Thaihai Cuisine Cuisine Open Daily Open Daily Lunch 11:00 – 3:00 Dinner 5:00 – 10:00 Lunch 11:00 – 3:00 Dinner 5:00 – 10:00 WeWeekendekend Champ Champagagnene Br Bruunchnch Royal ai Specializes in Royal Exaiotic S peciCateringalizes in ExcExitingotic Co Cateringoking Classes Exciting Cooking Classes Call Sam or Francisco Call Sam or Francisco 949-645-8424949-645-8424 NEWPORT BEACH NEWPO4001 WRT. Coa BEAst CHHwy 4001949-645- W. CoastTH HAIwy Fr949-645-ee Delivery THwithinAI 5 miles Free Delivery within 5 miles LAGUNA BEACH SAN DIEGO L1750AGUN S.A Co BEAast CHHwy. S467AN 5th DIE AGOvenue 1750949-494- S. CoastTH HwAIy. 467619-230- 5th AvenueTHAI 949-494-THAI 619-230-THAI Dr. Burton Karson: A Tribute

t still seems hard social calendars I to believe that would be empty”). this year’s Baroque The concept grew; Music Festival, Co- planning commit- rona del Mar, isn’t tees were formed; being overseen by venues were found; Barton Karson. and the Baroque It’s also hard Music Festival, Co- to believe that it rona del Mar, was has now been a full inaugurated in 30 years since he June 1981 under cofounded the Fes- Karson’s able artis- tival, together with tic directorship. art historian Irmeli That first Fes- Desenberg and her tival, consisting of husband Bud. And three concerts and it’s just as astound- a lecture, was a ing to realize that, hit. As critic Dan- for every one of iel Cariaga wrote those 30 years, he served as its ar- afterward in the Los Angeles Times, tistic director, conductor, organizer, “The no-man’s land between the champion, muse and creative force. winter and summer seasons raises Yet, after guiding the Festival some strange one-time-only blooms, from strength to strength through but the little Baroque Festival that three decades of steady growth, Kar- emerged in Corona del Mar last week son announced this past winter that deserves to blossom annually.” From he felt the time had come to retire. that point on, there was no doubt And so the first chapter of the Fes- that the Festival would become a tival’s remarkable history ends, even yearly event. as a new one is beginning. Nor was there any doubt that The original concept of the Karson had the enthusiasm and ex- Festival evolved from a dinner con- perience to make it happen. As a versation one evening in 1980 at the Professor of Music at California Desenbergs’ home. Karson and the State University, Fullerton, he was other classical music–lovers present well known and respected in the lo- were lamenting the dearth of local cal music community, writing regu- concerts, especially during the sum- larly in a variety of publications. mer. As they talked, they began to And in the years to come he would brainstorm the idea of organizing become even more beloved for his a small series of musical events the engaging lectures for the Los Angeles following June (“when,” as Karson Philharmonic Orchestra, the Carmel later quipped, “our academic and Bach Festival, the San Diego Opera • 12 • and Symphony Orchestra, the Long insightful program notes and concert Beach Symphony and other groups. commentary, so that audiences could (He continues today as a regular pre- gain a fuller appreciation of the concert speaker for the Philharmonic works themselves and the cultural Society of Orange County.) context in which they were created. Throughout each of the follow- From the beginning, he undertook to ing 29 summers, Karson consistently link the music with literature, history produced a crowd-pleasing and criti- and visual arts from the period. cally acclaimed series of concerts. One of the primary objectives His Festivals brought together dis- that Karson established for the Fes- tinguished Baroque musicians, from tival early on was to recapture the both the local region and the broader feel of musical experiences from the national scene, for a week in June to Baroque era by holding events in perform in a series of concerts and small churches, gardens, even private recitals. Karson conducted the cho- homes. It was largely through his ral and orchestral ensembles himself, personal associations that the initial and in many instances also accompa- venues for the Baroque Music Festi- nied the performers on piano, organ, val emerged — the Sherman Library or harpsichord. and Gardens and Saint Michael & Each season, he worked tire- All Angel’s Church. The fine reputa- lessly to select musical works from tion of the Festival made it welcome both well-known and less familiar in a number of other settings as well: Baroque composers. Thanks to his hence, in 2009 and 2010, the Festi- meticulous research and study of un- val Finale was performed in St. Mark published manuscripts in European Presbyterian Church and Newport musical archives, Corona del Mar Harbor Lutheran Church, respec- had the distinction of hosting the tively. Other features of the Festival first modern performances of long- were designed to evoke the intimacy forgotten pieces of historical impor- of Baroque-era performance: inter- tance. He also broadened our focus mission and post-concert refresh- to include neo-Baroque pieces by Ro- ments were provided, and audience mantic and contemporary compos- members were encouraged to mingle ers, and commissioned several works with the performing artists. especially for the Festival. Beyond his artistic direction, Karson often developed con- Karson handled much of the admin- certs or entire Festivals around sig- istrative responsibilities of the Festi- nificant musical themes or events. He val since its inception, ranging from frequently transcribed and arranged planning events and raising funds to music to suit particular instruments drafting press releases and locating or vocalists. He insisted that period accommodations for out-of-area mu- instruments be utilized in perform- sicians. He worked collaboratively ances whenever possible, to achieve with the volunteer Board of Direc- an authentically Baroque style and tors and many others who helped sound. In addition, he sought to ex- make the Festival a reality each year. plain the musical selections through And it was all a labor of love for him: • 13 • he never received any payment for Bluewater Grill his work as artistic director, adminis- CASUAL , MODERATE LY P R I C E D O P E N 7 DAYS 11:30AM-10PM trator, conductor or performer. One annual fundraising event he introduced was a Winter Musi- cale, which provided an occasion to reach beyond the Baroque epoch and showcase talented soloists in a lively HEREAS program. The Musicale this past Feb- W Burton Karson, PhD., ruary also served as an opportunity did envision a community musicale; and for the Board of Directors and others come in, to celebrate his long-standing contri- WHEREAS Dr. Karson did name it the bution to the Festival, as it coincided Corona del Mar Baroque Music Festival; and get hooked with his well-deserved “retirement.” The Board is commissioning a piece WHEREAS Dr. Karson did organize community NEWPORT B E AC H 630 Lido Park Drive of neo-Baroque music in his honor, leaders to support it; and (949) 675 3474 which will be performed at a future REDONDO BEACH Festival concert. WHEREAS Dr. Karson did recruit the best Baroque musical 665 North Harbor Drive TV w at (310) 318 3474 Bluewater air no om on rgrill.c To all who appreciate the ex- artists in the United States to perform in the orchestra; and bluewate TUSTIN traordinary dedication Dr. Karson 2409 Park Avenue, The District (714) 546 3474 has shown in his stewardship of this WHEREAS Dr. Karson did select and arrange in all its organization, he is and always will be complexity the music to be performed, and did conduct the the esteemed “Maestro.” His long- orchestra and soloists for 30 years of increasingly standing contributions to the musical well-attended and highly regarded performances; and culture of our community are truly exceptional, and they have allowed WHEREAS Dr. Karson’s Performers, Musicians, Members of the Baroque Music Festival to achieve the Board of Directors, and two generations of audiences did its distinction as the oldest continuing and do love, esteem, regard and extol him; performing arts organization in New- port Beach. The outstanding success NOW, THEREFORE, by the unanimous agreement of the of the thirtieth Festival season last Your Experts For: members of the Board of Directors of the Corona del Mar year, as evidenced by sold-out per- Baroque Music Festival does the said Board solemnly and Arch Supports formances, represented a fitting cap- stone to his illustrious career. gratefully acknowledge his selfless commitment to thirty Comfort Shoes All of us on the Board of Direc- years of outstanding professional and personal leadership. Professional Fit tors of the Baroque Music Festival, Sports Performance Corona del Mar, owe Burton Karson Foot Pain Relief our warmest thanks. And even as we still find it hard to believe that he has retired, we wish him all the best in his future endeavors! Costa Mesa 949.734.2020 Board of Directors Baroque Music Festival www.footsolutions.biz Corona del Mar • 14 • WHEREAS Burton Karson, PhD., did envision a community musicale; and

WHEREAS Dr. Karson did name it the Corona del Mar Baroque Music Festival; and

WHEREAS Dr. Karson did organize community leaders to support it; and

WHEREAS Dr. Karson did recruit the best Baroque musical artists in the United States to perform in the orchestra; and

WHEREAS Dr. Karson did select and arrange in all its complexity the music to be performed, and did conduct the orchestra and soloists for 30 years of increasingly well-attended and highly regarded performances; and

WHEREAS Dr. Karson’s Performers, Musicians, Members of the Board of Directors, and two generations of audiences did and do love, esteem, regard and extol him;

NOW, THEREFORE, by the unanimous agreement of the members of the Board of Directors of the Corona del Mar Baroque Music Festival does the said Board solemnly and gratefully acknowledge his selfless commitment to thirty years of outstanding professional and personal leadership. Baroque Music Festival, Corona del Mar 2011 Gala Concert Sunday, June 26, 4:00 p.m. Newport Harbor Lutheran Church Handel in Italy

Pacific Chorale’s John Alexander Singers Festival Orchestra Elizabeth Blumenstock, Concertmistress John Alexander, Conductor

Gloria from Messa di Santa Cecilia Alessandro Scarlatti (1660–1725)

I. Gloria in excelsis Glory to God in the highest. And on earth peace to all those of good will. Katharin Rundus, Soprano · Lorraine Joy Welling, Soprano Jason Francisco, Countertenor · Nicholas Preston, Tenor Aram Barsamian, Bass

II. Laudamus te We praise thee. We bless thee. We worship thee. We glorify thee. Sarah Thompson, Soprano · Zanaida Robles, Soprano Laura Harrison, Alto · Brandon Brack, Tenor Thomas Ringland, Bass

III. Gratias agimus We give thanks to thee according to thy great glory. Jason Francisco, Countertenor

IV. Dominus Deus Lord God, Heavenly King, God the Father almighty. Lord Jesus Christ, the only begotten Son. Lord God, Lamb of God, Son of the Father. Katharin Rundus, Soprano · Lorraine Joy Welling, Soprano Daniel Babcock, Tenor

V. Qui tollis Thou who takest away the sins of the world, have mercy upon us. Thou who takest away the sins of the world, receive our prayer. Thou who sittest at the right hand of the Father, have mercy upon us. Maria Cristina Navarro, Soprano · Zanaida Robles, Soprano Emmanuel Miranda, Bass

• 16 • VI. Quoniam For Thou alone art holy. Thou alone art the Lord. Thou alone art the most high, Jesus Christ.

VII. Cum Sancto Spiritu With the Holy Spirit in the glory of God the Father. Amen.

Miserere in E minor Domenico Scarlatti Psalm 50 (51) (1685–1757)

Have mercy on me, O God, according to thy loving-kindness; according to thy abundant mercy blot out my transgressions.

Wash me thoroughly from my iniquity, and cleanse me from my sin! For I know my transgressions, and my sin is ever before me.

Against thee, thee only, have I sinned, and have done that which is evil in thy sight, so that thou art justified in thy sentence and blameless in thy judgment.

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• 17 • Behold, I was brought forth in iniquity, and in sin did my mother conceive me.

Behold, thou desirest truth in the inward being; therefore teach me wisdom in my secret heart. Purge me with hyssop, and I shall be clean; wash me, and I shall be whiter than snow.

Fill me with joy and gladness; let the bones thou hast broken rejoice. Hide thy face from my sins, and blot out all my iniquities.

Create in me a clean heart, O God, and put a new and right spirit within me. Cast me not away from thy presence, and take not thy holy Spirit from me.

Restore to me the joy of thy salvation, and uphold me with a willing spirit. Then I will teach transgressors thy ways, and sinners will return to thee.

Deliver me from bloodguiltiness, O God, thou God of my salvation, and my tongue will sing aloud of thy deliverance. O Lord, open thou my lips, and my mouth shall show forth thy praise.

For thou hast no delight in sacrifice; were I to give a burnt offering, thou wouldst not be pleased. The sacrifice acceptable to God is a broken spirit; a broken and contrite heart, O God, thou wilt not despise.

Do good to Zion in thy good pleasure; rebuild the walls of Jerusalem. Then wilt thou delight in right sacrifices, in burnt offerings and whole burnt offerings; then bulls will be offered on thy altar.

Sdegno la fiamma estinse A. Scarlatti Madrigal for five voices

Disdain extinguished the flame that scorched me, blunted the arrow that struck me, and untied the bonds that fettered me. The heart fears neither bonds nor wounds nor flames and pays no heed to lightning.

Thou faithless one! When thine eyes are so serene, happy and free from love’s torments, thou canst be disdainful of the fire, the arrow and the bonds. Katharin Rundus, Soprano · Lorraine Joy Welling, Soprano Jason Francisco, Countertenor · Daniel Babcock, Tenor Thomas Ringland, Bass

• 18 • On the occasion of the Tenth Anniversary of September 11, 2001

A Concert of Hope & Remembrance Sunday Evening September 11, 2011 7:00 PM

Full Orchestra & the Choirs of

Mesa Verde United Methodist Church Newport Harbor Lutheran Church Orange County Women’s Chorus Guest Soloists Eliza Rubenstein, conductor

Newport Harbor Lutheran Church 798 Dover Drive, Newport Beach, Ca 92663 949-548-3631 • www.nhlcs.org

Ticket Donation $20

NHLC Baroque Ad B&W.indd 1 5/11/11 2:26 AM Concerto Grosso in D, Op. 6, No. 7 Arcangelo Corelli (1653–1713) Vivace · Allegro · Adagio Allegro Andante largo Allegro · Adagio Vivace d

No, di voi non vo’ fidarmi, HWV 189 George Frideric Handel Duetto da camera for two sopranos and continuo (1685–1759)

No, I do not want to trust you, blind Love, cruel Beauty. You lie too much, like blandishing gods. Once before you managed to trap my trusting heart. I know from experience your lies; you will always be two tyrants. Maria Cristina Navarro, Soprano · Zanaida Robles, Soprano

Dixit Dominus, HWV 232 Handel Psalm 109 (110)

I. Dixit Dominus The Lord says to my lord: “Sit at my right hand, till I make your enemies your footstool.” Sarah Thompson, Soprano · I-Chin Feinblatt, Alto Nicholas Preston, Tenor

II. Virgam virtutis tuae The Lord sends forth from Zion your mighty scepter. Rule in the midst of your foes! I-Chin Feinblatt, Alto

• 20 • III. Tecum principium in die virtutis Your people will offer themselves freely on the day you lead your host upon the holy mountains. From the womb of the morning like dew your youth will come to you. Maria Cristina Navarro, Soprano

IV. Juravit Dominus The Lord has sworn and will not change his mind,

V. Tu es sacerdos in aeternum “You are a priest forever after the order of Melchizedek.”

VI. Dominus a dextris tuis The Lord is at your right hand; he will shatter kings on the day of his wrath. He will execute judgment among the nations, filling them with corpses; he will shatter chiefs over the wide earth. Sarah Thompson, Soprano · Lorraine Joy Welling, Soprano Laura Harrison, Alto · Brandon Brack, Tenor Aram Barsamian, Bass

VII. De torrente in via bibet He will drink from the brook by the way; therefore he will lift up his head. Maria Cristina Navarro, Soprano · Zanaida Robles, Soprano

VIII. Gloria Patri Glory be to the Father, and to the Son, and to the Holy Spirit. As it was in the beginning, is now, and ever shall be, world without end. Amen.

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• 21 • Program Notes

n late 1706, an eager of Santa Maria Maggiore I young musician named and entered the service George Frideric Han- of Cardinal Ottoboni. del set out from Ham- His Passion Oratorio, burg, Germany, on set to a text by Otto- a pilgrimage to the boni, was performed great musical centers on the Wednesday of of Italy: Florence, Ven- Holy Week in 1708 ice and Rome. During at Ottoboni’s palace, his three-year visit, he and this was followed made the acquaintance by the first performance of some of the leading of Handel’s oratorio La composers of his day, Resurrezione on Easter including Arcangelo Co- George Frideric Sunday at the palace of relli and the father/son Handel the Marchese Ruspoli, team of Alessandro and Handel’s patron. Scar- Domenico Scarlatti. In this after- latti resumed his old position in Na- noon’s program, we explore some ples in late 1708 and remained there of the music that inspired Handel’s for the rest of his life with only oc- budding genius — and some of the casional visits to Rome. music that Handel wrote during his Although Alessandro was pri- Italian sojourn. marily a composer of operas, cantatas, serenatas and oratorios, he also d wrote a not-insignificant amount of church music. Most of these works Alessandro Scarlatti: are for chorus a cappella or with or- Gloria from the St. Cecilia Mass gan accompaniment in the conserva- When, sometime in late 1706, the tive stile antico. A small number, 21-year-old Handel arrived in Italy, however, are in the more modern he hoped to profit from personal concertato style, with chorus and acquaintance with the most famous solo voices accompanied by string Italian musicians of his time. One of orchestra. Among the latter the most these was Alessandro Scarlatti, who, important are the large-scale settings although born in Palermo, had spent of the Mass and Vespers written in his formative years in Rome under 1720 and 1721. Both were commis- the protection of the exiled Queen sioned by Cardinal Acquaviva for Christina of Sweden. the celebration of the Feast of St. Ce- From 1684 to 1702, Scarlatti cilia at the church of Santa Cecilia in was in Naples as the maestro di cap- Trastavere in Rome. pella of the Spanish viceroy. When he The Gloria from the Mass returned to Rome, he took on the po- stands somewhere between the sition of music director at the church through-composed settings of the • 22 • 17th century and the so- line for the unison violins. called “cantata mass” of The “Cum Sancto the 18th century, which Spiritu” that concludes is divided into clear-cut the Gloria is a virtuosic movements, each with choral fugue whose a different scoring and subject, a series of as- style. It is written for cending pitches in long- five voices (SSATB) er note values, seems to accompanied by four- be derived from the into- part string orchestra nation of the plainsong and basso continuo. In Introit for the Feast of the faster sections the St. Cecilia, which Scar- soloists tend to sing rap- latti quoted on his score. id roulades which that Alessandro Scarlatti are answered by chord- d al interjections from the chorus. In the slower sections the chorus sings Domenico Scarlatti: lyrical lines that produce expressive Miserere in E Minor dissonances, generally created by Alessandro’s son Domenico was suspensions. The only true aria is the Handel’s exact contemporary. A pre- “Gratias agimus,” in which the alto cociously talented youth, he spent his soloist is paired with an obbligato early career in Naples and Venice. He

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• 23 • is said to have engaged in certain amount of church a keyboard competition music, especially during with the newly arrived the years 1714-1728 Handel, after which when he held posi- it was concluded that tions that required it. the German was the Almost all of his sur- superior organist but viving sacred music is the Italian prevailed at in the stile antico, his the harpsichord. most famous work be- After his father ing a setting of the Sta- returned to Naples, bat Mater for ten voices Domenico flourished in and organ. Rome, becoming music The Miserere in E master to Maria Casimi- Arcangelo Corelli performed today was ra, the exiled Queen of written for the Capella Poland, from 1709 to 1714, and then Giulia, and the lack of a Doxology maestro di cappella at the Capella indicates it was performed to con- Giulia. In 1719 he moved to Lis- clude the service of Tenebrae on the bon, becoming mestre to the Portu- Thursday, Friday and Saturday of guese court chapel and harpsichord Holy Week. It is an alternatim set- teacher to Princess Maria Barbara. ting in which only the odd-numbered When his pupil married the Spanish verses are sung polyphonically, while Crown Prince and moved to Madrid the even-numbered verses are chant- in 1728, Domenico accompanied her ed to the appropriate psalm tone. and spent the rest of his life at the Spanish court. d Domenico initially aspired to be a composer of secular vocal works Alessandro Scarlatti: like his father. Only after his move Sdegno la fiamma estinse to Lisbon did he begin to concentrate A number of Baroque composers, on the composition of the keyboard including Alessandro Scarlatti and sonatas that assured his lasting fame. Antonio Lotti, continued the Renais- Like his father, he also composed a sance tradition of writing madrigals;

• 24 • Scarlatti wrote eight in all. years in the service of Cardi- These through-composed nal Ottoboni, and he led settings of secular texts the orchestra for Handel’s were probably intend- two Italian oratorios, ed for ensembles of Il trionfo del tempo e solo singers, perhaps del disinganno in May accompanied by a dis- 1707 and La Resurrezi- creet continuo group one at Easter 1708. but possibly sung a Retiring from his cappella. performing career later “Sdegno la fiam- in 1708, Corelli spent ma estinse,” written for his remaining years as- five voices (SSATB), is sembling the collection typical of the genre in of Concerti grossi even- its dramatic alternation Domenico Scarlatti tually published as his of recitative-like chord- Op. 6 in 1712. Some al passages with sophisticated imita- of these may have been newly com- tive sections, and in it use of melodic posed, but many were revisions of figures, dissonance and silence to works written and performed as ear- convey the meaning of the text. ly as the 1680s. Corelli’s Op. 6 Con- certi grossi gained lasting popularity, d especially in England, and Handel’s own Op. 6 was clearly modeled on Corelli: Concerto grosso Corelli’s set. in D, Op. 6, No. 7 The form as conceived by Core- Arcangelo Corelli was the most fa- lli was based on the contrast between mous and influential Italian violinist a group of soloists, termed the con- and composer of instrumental music certino, with a larger body of strings, in the latter part of the 17th century. termed the concerto grosso. The con- His published collections of violin certino consisted of two violins and sonatas and trio sonatas circulated a single cello — often performed by throughout Europe. At the time of Corelli himself, his student Matteo Handel’s visit he had been for many Fornari, and the Spanish cellist G.B.

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• 25 • Lulier. In the Corellian tradition, vir- ments only, without the intervening tuosity takes second place to elegance recitative sections, and all the cham- and polish. ber duets that Handel subsequently Concerto No. 7 in D begins composed reproduce this format. with two fast movements, the first The bulk of Handel’s cham- consisting mostly of chords and the ber duets were composed in Italy or second opening with fanfare-like when he was Kapellmeister at the figures in the concertino and clos- Electoral Court of Hanover between ing with a chordal Adagio. The third 1710 and 1712. However, at the be- movement is another Allegro, this ginning of July 1741 he composed time in binary form and built over two more duets, and these were fol- a “walking bass.” The fourth move- lowed by several others in 1742 and ment, marked Andante largo, fea- 1745. The circumstances and per- tures short phrases tossed back and formers for whom these duets were forth between the solo violins over a written remain unknown. bass line that features octave leaps. Handel used the first and last The fifth movement is a fugue, and movements of “No, di voi non vo’ the concerto closes with a dance-like fidarmi” — the second of these duets movement in triple meter. to have been written — as the basis for the choruses “For unto us a child d is born” and “All we like sheep” in Messiah, which was drafted in Au- Handel: No, di voi non gust 1741. vo’ fidarmi, HWV 189 The chamber duet, with a secular d text sung by two singers accompanied by continuo, was cultivated by a Handel: Dixit Dominus, HWV 232 number of Italian composers. One of When Handel travelled to Italy to the first things Handel seems to have learn to compose in the Italian style, done after he arrived in Italy was to he presumably intended to concen- acquire a manuscript of chamber du- trate on secular vocal and instru- ets composed by the master of the mental music. Nonetheless, the ear- genre, Agostino Steffani. Curiously, liest large-scale work he produced this volume preserved the duet move- was Dixit Dominus, a setting of

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• 26 • Psalm 109 in the Vulgate Bible. The autograph is dated April 1707 and scholars disagree as to who might have commissioned such a work. Dixit Dominus is scored for five soloists, five-part chorus (SSATB), and string orchestra and was presumably performed at Vespers on an appropriate festal occasion, perhaps even Easter. There are so many wonderful Serving So. California Since 1884 moments in Dixit Dominus that it is Anaheim ∙ Buena Park difficult to know which to highlight. Capistrano Beach ∙ Corona Almost every chorus is a contrapun- Costa Mesa ∙ Laguna Beach Lake Forest ∙ Los Alamitos tal tour de force, while “De torrente Returning soon to Pasadena in via bibet” (“He shall drink from the brook by the road”), the penulti- 1220 E. Ball Road Anaheim, CA 92805 mate duet for the soprano soloists accompanied by slowly changing chro- Tel. (714) 772-5444 Fax (714) 772-0639 matic harmonies in the strings, is one www.ganahllumber.com of Handel’s most sublime compositions. The closing Doxology, with its wide-ranging fugue subject, insistent the solo writing is not as virtuosic as countersubject, and even faster con- that found in several other of his Ital- cluding section with octave-leaping ian compositions, the technical de- “amens,” must have astonished all mands on the choral singers and in- who first heard it. strumentals are formidable. Handel Dixit Dominus is one of Han- condensed the music and tightened del’s youthful masterpieces, and the its structure when he reused some of music reflects the styles and tech- it later in English works, but he never niques he had observed in the music again matched the reckless abandon of the other composers on this pro- of his Italian calling card. gram. The scale and sheer energy of the music are captivating, and while Notes by Graydon Beeks

This concert is dedicated to the memory of Stanley Crandon (1927-2010) Member, Board of Directors Baroque Music Festival, Corona del Mar

• 27 • About the Performers

ohn Alexander, his programming. He J Artistic Director of has conducted many Pacific Chorale since premieres of works 1972, is one of Amer- by composers such as ica’s most respected Jake Heggie, Morten choral conductors. Lauridsen, Eric Whita- His inspired leader- cre, Frank Ticheli, and ship both on the podi- James Hopkins. um and as an advocate Alexander is na- for the advancement tionally recognized of the choral art has for his leadership in garnered national and the musical and or- international admira- ganizational develop- tion and acclaim. ment of the performing arts. He is Alexander’s long and distin- a board member and former presi- guished career has encompassed dent of Chorus America, the service conducting hundreds of choral and organization for choruses in North orchestral performances nation- America. Alexander also has served ally and in 27 countries around the on artistic review panels for national, globe. He has conducted his singers statewide and local arts organiza- with orchestras throughout Europe, tions, including the National Endow- Asia, the former Soviet Union and ment for the Arts, the California Arts South America and, closer to home, Council, and the Los Angeles County with Pacific Symphony, Pasadena Arts Commission. Symphony, Musica Angelica and the Alexander retired in spring Los Angeles Chamber Orchestra. 2006 from his position as Direc- Equally versatile whether on the po- tor of Choral Studies at California dium or behind the scenes, Alexan- State University, Fullerton, having der has prepared choruses for many been awarded the honor of Professor of the world’s most outstanding or- Emeritus. From 1970 to 1996, he held chestral conductors, including Zubin the position of Director of Choral Mehta, Pierre Boulez, Seiji Ozawa, Studies at California State University, Michael Tilson Thomas, Leonard Northridge. Alexander continues his Slatkin, Esa-Pekka Salonen, Gustavo involvement in the pre-professional Dudamel, Lukas Foss, Max Rudolf, training of choral conductors. He is Carl St.Clair, Gerard Schwarz, Marin in demand as a teacher, clinician, and Alsop, John Mauceri, John Williams, adjudicator in festivals, seminars and and Keith Lockhart. workshops across the United States. A proponent of contempo- In 2003, Chorus America honored rary American music, Alexander is him with the establishment of the noted for the strong representation of “John Alexander Conducting Faculty American works and composers in Chair” for their national conducting • 28 • workshop program. Trio Galanterie, the Ar- Alexander is a cadian Academy, and celebrated and prolific American Baroque. composer, and serves Her many acclaimed as the editor of the festival appearances John Alexander Cho- include the Boston and ral Series with Hin- Berkeley Early Music shaw Music. His nu- Festivals, Germany’s merous tributes and Goettingen Handelfest- awards include the spiel, the Carmel Bach “Distinguished Fac- Festival, the Oulunsalo ulty Member” award Soi festival (Finland), from California State the San Luis Obispo University, Fullerton Mozart Festival, and (2006); the Helena Modjeska Cul- the Santa Fe Chamber Music Festival. tural Legacy Award (2003), present- An active and enthusiastic ed in honor of his lifetime achieve- teacher, Blumenstock is an instruc- ment as an artistic visionary in the tor at the International Baroque In- development of the arts in Orange stitute at the Longy School of Music County; the “Outstanding Individual in Cambridge, Massachusetts, and is Artist” Award (2000) from Arts Or- on the teaching staff of the San Fran- ange County; the “Gershwin Award” cisco Conservatory of Music, the (1990), presented by the county of University of Southern California, Los Angeles in recognition of his and UC Berkeley. She has taught at cultural leadership in that city; and the Baroque Performance Institute the “Outstanding Professor” Award at Oberlin and the Austrian Baroque (1976) from California State Univer- Academy; has coached Baroque en- sity, Northridge. In June 2008, Al- sembles at Roosevelt University, the exander received the “Michael Korn University of Virginia, and at the Founders Award for Development of School for Music in Montevideo, the Professional Choral Art” from Uruguay; and has served as organist Chorus America. and choir director at the Holy Trin- ity Episcopal Church in Richmond, d California. Blumenstock has over 100 re- Elizabeth Blumenstock is one of the cordings to her credit across a range country’s leading Baroque violinists. of distinguished labels, including A frequent concertmaster with the Harmonia Mundi, Virgin Classics, Philharmonia Baroque Orchestra, Dorian, BMG, and Koch Interna- American Bach Soloists, Chicago Op- tional, among others. The violin she era Theater, and the Italian ensemble plays — an Andrea Guarneri built in Il Complesso Barocco, she is also a Cremona, Italy, in 1660 — is made member of several of California’s fin- available to her through the generos- est period-instrument ensembles, in- ity of the Philharmonia Baroque Pe- cluding Musica Pacifica, Trio Galatea, riod Instrument Trust. • 29 • The John Alexander Singers, Pacific vals sponsored by the California State Chorale’s professional chamber choir, University system, including the Sum- is a 24-voice ensemble of outstand- mer Arts Festivals at Humbolt State ing choral musicians from through- University and CSU Long Beach, out Southern California. While most and the California Conducting Sym- of these singers also serve as part posium at CSU Fullerton. The John of the paid core to Pacific Chorale’s Alexander Singers have appeared as 140-voice ensemble, their work with a featured chorus at the American the John Alexander Singers focuses Choral Directors Association confer- on specialized repertoire appropriate ence in Los Angeles in 2000, Chorus for a professional chamber chorus. America’s national conference in Los The Pacific Chorale regularly Angeles in June 2007, and the Asso- presents the John Alexander Singers ciation of California Symphony Or- in concert venues throughout South- chestras’ annual conference in Costa ern California. The Singers have en Mesa in August 2007. joyed an extensive and fruitful col- The John Alexander Singers’ laboration with Musica Angelica, first recording, Sweet Harmony, Southern California’s premier period contains music by Lili Boulanger, instrument orchestra. Benjamin Britten, Cecil Effinger and Some other notable collabora- Frank Ticheli. In addition, Sweet tions include performances with the Harmony features the world pre- Los Angeles Philharmonic on their miere recordings of John Alexander’s “Green Umbrella” new-music series, compositions “Sweet Harmony” and performances with the Kronos and “In Praise of Music,” as well as Quartet, Mark Morris Dance Com- James Hopkins’ cycle “The Rossetti pany, The Royal Ballet of Covent Songs,” commissioned by Pacific Garden, Los Angeles Chamber Or- Chorale. The Singers’ follow-up CD, chestra, Philharmonia Baroque Or- Shenandoah: Songs of the American chestra and Pacific Symphony. Spirit, which focuses on American The ensemble has served as the folksong, is now available on the resident chorus for several arts festi- Gothic Records label. • 30 • Pacific Chorale’s John Alexander Singers Daniel Babcock, Tenor Emmanuel Miranda, Bass Roger W. Johnson Memorial Chair Maria Cristina Navarro, Soprano Aram Barsamian, Bass Linda Williams Pearce, Soprano Brandon Brack, Tenor Nicholas Preston, Tenor Carver Cossey, Bass Thomas Ringland, Bass Joseph Cruz, Countertenor/Tenor Zanaida Robles, Soprano/Alto I-Chin Feinblatt, Alto Katharin Rundus, Soprano Jason Francisco, Countertenor Jane Shim, Soprano/Alto Laura Harrison, Alto Gregorio Taniguchi, Tenor Kellee King, Soprano Sarah Thompson, Soprano Ricardo McKillips, Bass Lorraine Joy Welling, Soprano

d Festival Orchestra First Violins Cello Elizabeth Blumenstock Leif Woodward Concertmistress Amy Wang Violone Adriana Zoppo Denise Briese

Second Violins Organ/Harpsichord Sue Feldman Timothy Howard Joel Pargman Carrie Kennedy Lute

Daniel Zuluaga Violas Ondine Young Suzana Giordano-Gignac

d Festival Brass Steve Kraus, Trumpet Craig McKnight, Trombone Richard Chasin, Trumpet Robert Aul, Tuba Mark Ghiassi, Horn

• 31 • Festival Supporters The Board of Directors recognizes with thanks these supporters, whose contributions towards our 31st season have been indispensable in sustaining the Festival’s reputation for excellence.

 Benefactors  Arts Commission of the Harry & Judy Selling City of Newport Beach Ralph & Trisha Smith Patricia Bril Dr. Vina Spiehler Judy McKay

 Sponsors   Donors  Norris Battin Wm. B. “Skip” Freely & Wayne & Ruth Norman Mary Kryder Max & Marilyn Wolfsberg Sharon McNalley Walter & Dagmar Rios Dr. Terri Munroe

 Contributors  Dr. Michael Bear Celso C. Morrison Penha & Dave Brevig Drs. Aaron & Amelia Neustadt Dr. David & Diana Casey Joan Petty Irmeli Desenberg Dorothy Taylor Dr. Charles & Doreen Hamburger Mary & Jim White Terry & Jane Hipolito Jim Woody & Maurice & Kathleen Jacques Kathleen McMurray Lists are complete as of publication deadline.

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• 33 • Index of Advertisers Friends of the Baroque Music Festival are urged to patronize the following, who support the Festival with their advertisements.

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