DOCSLIB.ORG

La Gamme Et Autres Morceaux De Simphonie

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
La Gamme Et Autres Morceaux De Simphonie La Gamme et autres morceaux de simphonie TRIO SONNERIE MARIN MARAIS ANTOINE FORQUERAY La Gamme et autres morceaux de simphonie Trio Sonnerie Monica Huggett Baroque violin Emilia Benjamin Viola da gamba James Johnstone Harpsichord Recorded at Post-production by St. Mary’s Church, François Eckert Dalton-in-Furness, Design by Cumbria, UK gmtoucari.com 7-9 June 2011 Photographs of Produced and recorded by Monica Huggett by Hiroshi Iwaya François Eckert Emilia Benjamin by Marco Borggreve James Johnstone by Stefan Schweiger Trio Sonnerie by Ben Joseph Cover image: Young Woman Playing a Viola da Gamba (oil on canvas), Sir Anthony van Dyck (1599-1641) / Alte Pinakothek, Munich, Germany / Giraudon / The Bridgeman Art Library 2 Marin Marais (1656 – 1728) La Gamme en forme de petit Opéra 1. UT – ......................................................................................08:53 2. SOL – ......................................................................................05:59 3. UT – .......................................................................................08:03 4. SOL – ......................................................................................12:47 5. Sonate à la Marésienne ...........................................................12:57 Antoine Forqueray (1671 – 1745) Pièces de viole, avec la basse continue: Suite No. 1 en ré mineur 6. Allemande. La Laborde ..........................................................04:39 7. La Forqueray ..........................................................................03:26 8. La Cottin .................................................................................03:15 9. La Bellmont ............................................................................03:37 10. La Portugaise ..........................................................................02:54 11. La Couperin ............................................................................04:35 Marin Marais 12. Sonnerie de Sainte Geneviève du Mont de Paris ...................07:54 Total Time: .................................................................................79.00 3 owards the end of the first decade of the 18th century in Paris an unusual and ambitious project was under way for an imposing Tmonument, surrounded by equally elaborate gardens. Le Parnasse Français, brainchild of the highly cultivated man of letters Titon du Tillet (1677-1762), was to be a celebration of the glorious succession of poets and musicians during the reign of Louis XIV. Increasing artistic ambition and rising costs lent the project an air of a mad folly and eventually it was abandoned. But even if the physical representation of such artistic giants as Corneille, Molière, Racine and Lully proved impracticable, Titon du Tillet set down his work in word. For this we can be grateful, for he provided us with vital biographical information about composers such as Monsieur de Sainte-Colombe, Louis Couperin, De la Lande, Bernier, as well as Marin Marais. Titon du Tillet tells us that, born in Paris on 31st May 1656, Marais studied first with Nicolas Hotman, then with the renowned viola da gamba virtuoso and pedagogue, Monsieur de Sainte-Colombe. According to Titon du Tillet, this opportunity was short lived for after a mere six months the older man realised that his pupil had surpassed him. In 1676 Marais became a member of Lully’s orchestra, L’Académie Royale de Musique; three years later he was appointed the Ordinaire de la chambre du Roi pour la viole, and remained in royal service until his retirement 46 years later in 1725. Marais’ five books ofPièces de Viole, covering the period 1686-1725, demonstrate the pervasive and incremental influence of Italian style, highlighting the threat to French cultural autonomy expounded in Le Parnasse Français. Whilst his Premier Livre (1686) respected the classical sequence of dances following a prelude, the Quatrième Livre (1717), published six years prior to La Gamme, significantly includes a section entitledSuitte d’un Gout Etranger containing 33 pieces of diverse character, titles and keys. It is therefore not surprising to find Marais’ continued exploration of Italian taste in his next publication. 4 In 1723, two years before relinquishing his post to his son Vincent, and five years before his demise, Marais published three works in a single volume (presented here in its entirety): La Gamme et autres morceaux de simphonie pour le violon, la viole et le clavecin. In scope and instrumentation they are unique in Marais’ output. To be performed on the same instruments throughout– violin, viola da gamba and harpsichord – they explore the extraordinarily varied musical language of a mature composer. La Marésienne is a violin sonata with movements from the French suite mixed in equal measure with Italianate compositional idiom; Sonnerie de Sainte Geneviève du Mont de Paris is a chaconne on 3 notes – D, F, E – with a now emancipated independent viola da gamba part; and La Gamme, an ‘Opéra’ of some 35 minutes of continuous music, alternating between trio and duo textures. Titon du Tillet cites two works by Marais in Le Parnasse Français: ‘a pièce from his fourth book entitled Le Labyrinth, which passes through various keys, strikes various dissonances and notes the uncertainty of a man caught in a labyrinth through serious and then quick passages; he comes out of it happily and finishes with a gracious and natural chaconne. But he (Marais) surprised musical connoisseurs even more successfully with his pieces called La Gamme, which is a pièce de symphonie that imperceptibly ascends the steps of the octave; one then descends, thereby going through harmonious songs and melodious tones, the various sounds of music.’ In some ways La Gamme is, at nearly 900 bars in length, as unusual and unexpected to our ears as it must have been to contemporary audiences. Given Marais’ increasing predilection for character pieces, it was a short step from the classical French suite to creating a larger canvas from contrasting musical units. In Le Labyrinth he had found success following a programmatic scheme; in La Gamme an ascending harmonic scale, while less harmonically adventurous, provided a unifying element, both in figuration and long term structure. 5 The 45 sections of over half an hour of musical thought, in the key sequence C, d, e, F, g/G, a, b, C/c/C, b, a/A, G/g, F, E, d/D, C, contain a myriad of changing characters, metre and tempi as well as instrumental textures. Dances and forms explored include an allemande, gigues, chaconnes, fugues, and rondeaux. The viola da gamba is by turns an obligato virtuoso – witness the extended F Major chaconne during the ascent – and a reinforcer of the continuo bass line. Transitions, often merely a single bar in length, ease us from one ‘holding pattern’ tonality to the next position, or foothold, on this musical colossus. Acknowledging in his Avertissement (notably also given in Italian) the very considerable length of La Gamme, Marais suggests possible divisions of the work into two, three or even four sections, ‘so as not to bore the listener’. Whilst not anticipating ennui in our listeners, we have however transplanted his advice to our modern age by dividing the work into four separate tracks for ease of listening navigation. Written on two staves, Sonate à la Marésienne comprises seven clearly delineated sections or movements within a continuous whole: prélude, allemande, courante, sarabande, chaconne, gravement, and gigue. The fifth section, echoing as it does the scale of the ‘Petit opéra’ and foreshadowing the ostinato of the Sonnerie, is in asymmetrical binary form with the ostinato passing between bass and violin while becoming more elaborate in note value and rhythm. The Sonnerie, written on three staves and again highlighting the viola da gamba, continues this exploration of ostinato form. Over the course of some 302 bars the harmonically static, hypnotic three-note ostinato evokes the ringing bells under a display of virtuosic, improvisatory writing. Whilst many contemporaries considered Marais the foremost viola da gamba exponent of his day, there was a rival, some 16 years his junior, who now laid claim to his crown: Antoine Forqueray. ‘Crabbed, whimsical and odd’ was 6 Hubert le Blanc’s assessment of this awe-inspiring performer. He went further: ‘The viol was viewed with favour by King Louis XIV ... the elder Marais for his Pieces, and the elder Forcroi for his Preludes preceding the Sonata. The one was said to have played like an Angel, and the other to have played like the Devil.’ Some of this diabolic virtuosity is evident in his works for the viola da gamba, stretching the technical limits of any performer now or then. Antoine’s son Jean-Baptiste, also a viola da gamba player, was clearly a chip off the old block in terms of musical talent. Given that Forqueray père was an intensely jealous man, proud, inflexible, cruel, and determined to be the greatest viola da gamba player ever, one can only imagine the sounds that filled the house during Jean-Baptiste’s lessons. Their strained relationship came to a head when Forqueray père succeeded in having his son imprisoned and later attempted to banish him from the kingdom for ten years on charges of debauchery and stealing from the houses of his patrons. Seemingly without any grudge, Forqueray fils published in 1747 his father’s gamba music under the title Piéces de Viole avec la Basse Continuë Composées par Mr Forqueray le Pere. Forqueray père composed more than 300 pieces, of
Load more

Recommended publications
  • Keyboard Arrangements of Music by Jean-Baptiste Lully: Introduction
    Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 Introduction, p. i Abbreviations Bonfils 1974 Bonfils, Jean, ed. Livre d’orgue attribué à J.N. Geoffroy, Le Pupitre: no. 53. Paris: Heugel, 1974. Chung 1997 Chung, David. “Keyboard Arrangements and Their Significance for French Harpsichord Music.” 2 vols. PhD diss., University of Cambridge, 1997. Chung 2004 Chung, David, ed. Jean-Baptiste Lully: 27 brani d’opera transcritti per tastiera nei secc. XVII e XVIII. Bologna: UT Orpheus Edizioni, 2004. Gilbert 1975 Gilbert, Kenneth, ed. Jean-Henry d’Anglebert, Pièces de clavecin, Le Pupitre: no. 54. Paris: Heugel, 1975. Gustafson 1979 Gustafson, Bruce. French Harpsichord Music of the 17th Century: A Thematic Catalog of the Sources with Commentary. 3 vols. Ann Arbor: UMI Research Press, 1979. Gustafson 2007 Gustafson, Bruce. Chambonnières: A Thematic Catalogue—The Complete Works of Jacques Champion de Chambonnières (1601/02–72), JSCM Instrumenta 1, 2007, r/2011. (http://sscm- jscm.org/instrumenta_01). Gustafson-Fuller 1990 Gustafson, Bruce and David Fuller. A Catalogue of French Harpsichord Music 1699-1780. Oxford: Clarendon Press, 1990. Harris 2009 Harris, C. David, ed. Jean Henry D’Anglebert: The Collected Works. New York: The Broude Trust, 2009. Howell 1963 Howell, Almonte Charles Jr., ed. Nine Seventeenth-Century Organ Transcriptions from the Operas of Lully. Lexington: University of Kentucky Press, 1963. LWV Schneider, Herbert. Chronologisch-Thematisches Verzeichnis sämtlicher Werke von Jean-Baptiste Lully. Tutzing: Hans Schneider, 1981. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed.
    [Show full text]
  • Thanks Are Due Sainte Colombe – the Soundtrack from “Tous Les Matins De Monde” Has Some Wonderful Examples to Danny, Tommie, Belinda, of Sainte Colombe’S Music
    directed by Jennifer Eriksson In 2007, ABC Classic FM initiated the Lute Project ABC Classics. Daniel has performed and recorded and commissioned four Australian composers with “The Marais Project” on several occasions. to write for him. Tommie Andersson appears on more than 35 CDs and lectures in Lute at Jennifer Eriksson completed her initial musical the Sydney Conservatorium of Music. He is a studies at the Sydney Conservatorium of founding member of The Marais Project. Music. She subsequently studied the viola da gamba with Jaap ter Linden at the Rotterdam Daniel Yeadon has a worldwide career as a cellist Conservatorium where she completed post- and viola da gamba player; his repertoire ranges graduate studies in baroque music. She founded from renaissance to contemporary. His regular The Marais Project in 2000 and also directs 3.00pm Sunday 23rd October 2011 | Recital Hall East, Sydney Conservatorium of Music chamber music collaborators in Australia include the Musica Viva in Schools ensemble, Sounds Daniel Yeadon & Jennifer Eriksson – viola da gamba | Tommie Andersson – theorbo Neal Peres Da Costa, Genevieve Lacey, Ironwood, Baroque. Jennifer is widely recognised as one ”The Marin-ettes“ featuring Belinda Montgomery, Narelle Evans & Mara Kiek – voice Romanza, Kammer, Elision and The Collective. of Australia’s best known and most versatile He has appeared as soloist with the Australian viola da gambists having released several CDs Brandenburg Orchestra, tours frequently with the and recorded frequently for the ABC. She has He was travelling without his renowned 17th century French Australian Chamber Orchestra, plays every year also commissioned numerous new Australian Welcome from viol and borrowing instruments maker.
    [Show full text]
  • This Paper Is a Revised Version of My Article 'Towards A
    1 This paper is a revised version of my article ‘Towards a more consistent and more historical view of Bach’s Violoncello’, published in Chelys Vol. 32 (2004), p. 49. N.B. at the end of this document readers can download the music examples. Towar ds a different, possibly more historical view of Bach’s Violoncello Was Bach's Violoncello a small CGda Violoncello “played like a violin” (as Bach’s Weimar collegue Johann Gottfried Walther 1708 stated)? Lambert Smit N.B. In this paper 18 th ­century terms are in italics. Introduction Bias and acquired preferences sometimes cloud people’s views. Modern musicians’ fondness of their own instruments sometimes obstructs a clear view of the history of each single instrument. Some instrumentalists want to defend the territory of their own instrument or to enlarge 1 it. However, in the 18 th century specialization in one instrument, as is the custom today, was unknown. 2 Names of instruments in modern ‘Urtext’ editions can be misleading: in the Neue Bach Ausgabe the due Fiauti d’ Echo in Bach’s score of Concerto 4 .to (BWV 1049) are interpreted as ‘Flauto dolce’ (=recorder, Blockflöte, flûte à bec), whereas a Fiauto d’ Echo was actually a kind of double recorder, consisting of two recorders, one loud and one soft. (see internet and Bachs Orchestermusik by S. Rampe & D. Sackmann, p. 279­280). 1 The bassoon specialist Konrad Brandt, however, argues against the habit of introducing a bassoon in every movement in Bach’s church music where oboes are played (the theory ‘wo Oboen, da auch Fagott’) Bach­Jahrbuch '68.
    [Show full text]
  • Marin Marais
    Florence Bolton MARIN MARAIS PIÈCES DE VIOLE la rêveuse Florence Bolton, basse de viole - Benjamin Perrot, théorbe & guitare baroque Carsten Lohff, clavecin - Robin Pharo, basse de viole MARIN MARAIS (1656-1728) - Pièces de viole 1 Prélude 2’16 2 Le Jeu du Volant 1,2 1’57 3 Le Petit Badinage 2’05 4 Le Rondeau Villeneuve 1,2 2’50 5 Rondeau Le Troilleur 1,2 4’07 6 Les Barricades Mystérieuses* François Couperin (1668-1733) 3’04 7 Prélude 1 2’47 8 Gavotte Singulière 1,2 1’50 9 Rondeau Le Bijou 1,2 4’15 10 Fête Champêtre 1 4’34 11 La Biscayenne 1,2 2’49 12 Le Badinage 6’19 13 La Paraza 1,2 3’54 14 Le Tact 1 1’50 15 Le Dodo ou l’Amour au Berceau* François Couperin 4’16 16 Rondeau Le Doucereux 1 5’06 17 La Provençale 1,2 3’08 18 La Rêveuse 6’19 * Transcription pour théorbe, Benjamin Perrot TRACKS 2 PLAGES CD LA RÊVEUSE Florence Bolton, basse de viole Benjamin Perrot, théorbe & guitare baroque (+ basse de viole « tact » dans Le Tact) Carsten Lohff, clavecin (1) Robin Pharo, basse de viole (2) Instruments Florence Bolton Basse de viole 7 cordes François Bodart 2010 d’après Barak Norman Archets Fausto Cangelosi – Craig Ryder Benjamin Perrot Théorbe Maurice Ottiger 2005 d’après Matteo Sellas Guitare baroque Stephen Murphy 2002 d’après Stradivari Carsten Lohff Clavecin Michel de Mayer 1998, d’après Pierre Donzelague 1716 Robin Pharo Basse de viole 7 cordes Judith Kraft 2012 d’après Guillaume Barbey Archet Pierre Patigny Enregistrement du 6 au 9 septembre 2016 au Château de Chambord, et le 13 juin 2017 à l’église de Franc-Waret (Belgique) (plages 6 et 15) / Prise de son et direction artistique : Hugues Deschaux / Montage numérique : Hugues Deschaux, Florence Bolton & Benjamin Perrot / Accord du clavecin : Thomas de Grunne / Administration et suivi de production La Rêveuse : Marion Paquier / Photos noir & blanc : Robin Davies / Conception et suivi artistique : René Martin, François-René Martin et Christian Meyrignac / Design : Jean-Michel Bouchet – LM Portfolio / Réalisation digipack : saga illico / Fabriqué par Sony DADC Austria / & © 2017 MIRARE, MIR386.
    [Show full text]
  • Violinist Rodolfo Richter Returns As Guest Director for a Grand Tour of Italy, December 1 to 4 & 6, 2016
    Violinist Rodolfo Richter Returns as Guest Director for A Grand Tour of Italy, December 1 to 4 & 6, 2016 “Rodolfo Richter led with his violin; when his solo playing came to the fore he displayed a notably smooth, glowing tone.” (Concerto.net) Toronto, Canada, October 20, 2016 … Acclaimed violin virtuoso Rodolfo Richter returns as guest director for A Grand Tour of Italy, December 1 to 4 at Jeanne Lamon Hall, Trinity-St. Paul’s Centre, and December 6 at Toronto Centre for the Arts. This Tafelmusik program captures the ambitious, experimental energy that characterized the Seventeenth-century Italian music scene, and demonstrates how early innovators inspired later masters, including Vivaldi and Corelli. A Grand Tour of Italy features the Tafelmusik solo concerto debut of the orchestra’s own Cristina Zacharias, violin. Seventeenth-century Italy was at the vanguard of European musical trends, and tourists flocked there to devour the new “baroque” style, finding music that was fresh, exhilarating, and even shocking in its use of free form and improvisation. A Grand Tour of Italy includes music by Dario Castello and Giovanni Legrenzi, who experimented with the sonata form as early as 1629; a lively set of variations on the bergamasca bass line by Marco Uccellini; and selections by two well-travelled musicians, Antonio Bertali and Biagio Marini, who brought their compositions and musical influence to Austria, Germany, and Belgium. These early innovators paved the way for a subsequent generation of Italian composers whose music will be performed on the program: the Concerto grosso in A Minor by Giuseppe Valentini, the beloved Christmas Concerto by Arcangelo Corelli, and the Concerto no.
    [Show full text]
  • M4^CHORAL UNION SERIES-Ms SIXTEENTH SEASON SECOND CONCERT (No
    UNIVERSITY MUSICAL SOCIETY F. W. KELSEY, President A. A. STANLEY, Director m4^CHORAL UNION SERIES-ms SIXTEENTH SEASON SECOND CONCERT (No. CXXXI1. Complete Series) University Hall, Thursday Evening, December 8, 1904 At Eight O'clock MUSIC OF BY-GONE CENTURIES Interpreted by Arnold Dolmetsch Mrs. Arnold Dolmetsch Miss Kathleen Salmon PROGRAM PART I 1. Two Pieces for the Lute i, Cascarda. ii. Canaries . Anonymous c iboo Mr. Arnold Dolmetsch 2. Song accompanied by the Lute " O Mistris Myne " .... Anonymous c, 1550 Miss Kathleen Salmon 3. A Piece for the Virginals "Muscadin" ..... Anonymous c. 1610 Mr Arnold Dolmetsch 4. Fantazie for Treble and Bass Viols " La Caccia" ..... Thomas Morley 1595 Mr. Arnold Dolmetsch. Mrs. Mabel Dolmetsch 5. Two Pieces for the Viola da Gamba accompanied by the Harpsichord i. Divisions On a Ground . Christopher Sympson 1656 ii. Prelude and Sarabande .... Marin Marais I6QS Mrs. Mabel Dolmetsch PART II 6. Two Pieces for the Harpsichord. i. " Le COUCOH" . Claude Daquin c. ijao ii. Sonata in A major .... Domenico Scarlatti c, 1720 Mr. Arnold Dolmetsch 7. Song, accompanied by the Harpsichord ** Qia il Sole" ... Alessandro Scarlatti c. 1700 Miss Kathleen Salmon 8. "The Harmonious Blacksmith," with variations for the Harpsichord . , G, F, Handel 1721 Miss Kathleen Salmon 9. Sonata for the Viola d'Amore, accompanied by the Harpsichord : Attilio Ariosto c. IJ15 Mr. Arnold Dolmetsch 10. "Troisieme Concert " for the Viola d'Amore, Viola da Gamba and Harpsichord i. «« La Lapopliniere," ii. " La Timide," Hi. Deux Tambourins . J. P. Rameau 1731 Mr. Arnold Dolmetsch Mrs. Mabel Dolmetsch Miss Kathleen Salmon The next Concert in the Choral Union Series will be given by The Kneisel Quartette, January 13, 1905, • Lockwood Lecture Recitals A series of six Historical lecture-Recitals will be given by Albert Lockwood, head of the Pianoforte Department of the University School of Music, on the following dates, at 4.30 p.
    [Show full text]
  • Download Booklet
    95779 The viola da gamba (or ‘leg-viol’) is so named because it is held between the legs. All the members of the 17th century, that the capabilities of the gamba as a solo instrument were most fully realised, of the viol family were similarly played in an upright position. The viola da gamba seems to especially in the works of Marin Marais and Antoine Forqueray (see below, CD7–13). have descended more directly from the medieval fiddle (known during the Middle Ages and early Born in London, John Dowland (1563–1626) became one of the most celebrated English Renaissance by such names as ffythele, ffidil, fiele or fithele) than the violin, but it is clear that composers of his day. His Lachrimæ, or Seaven Teares figured in Seaven Passionate Pavans were both violin and gamba families became established at about the same time, in the 16th century. published in London in 1604 when he was employed as lutenist at the court of the Danish King The differences in the gamba’s proportions, when compared with the violin family, may be Christian IV. These seven pavans are variations on a theme, the Lachrimae pavan, derived from summarised thus – a shorter sound box in relation to the length of the strings, wider ribs and a flat Dowland’s song Flow my tears. In his dedication Dowland observes that ‘The teares which Musicke back. Other ways in which the gamba differs from the violin include its six strings (later a seventh weeps [are not] always in sorrow but sometime in joy and gladnesse’.
    [Show full text]
  • PROGRAM NOTES: Marin Marais
    PROGRAM NOTES: Marin Marais (1656-1728) established himself as a virtuoso of the viola da gamba at a young age, earning the opportunity to study gamba with Monsieur de Saint Colombe and composition with Jean-Baptiste Lully. Marais became one of the most prolific composers of bass viola da gamba repertoire. Marais approached composition differently than his predecessors. Rather than leaving ornamentation to the discretion of the performer, Marais created his own system of symbols depicting specific graces. His desire to have complete control over every gesture stemmed from his studies with Lully, a composer who was also notorious for adding precise ornamentation instructions. La Gamme en forme d’un petit Opera (1723) is one of several trio sonatas Marais composed for violin, viola da gamba, and harpsichord. Each instrumental part in this piece is equally challenging, creating a contrast of virtuosic lines throughout each voice. The title “a scale in the form of a petit opera” suggests that Marais’ goal through this composition was to depict the same drama and variation as a short opera. Beginning in the key of C Major, Marais travels through each step of the scale to create these various operatic scenes. Unlike Marais’ earlier works, this piece has very few instructions on where to ornament. Therefore, the biggest challenge as a performer is finding ways to embellish nuances in order to depict the vast amounts of character changes that take place in this enormous work. Because the piece was composed in the last year of his life, Marais probable assumed anyone performing it would have studied his earlier music and would therefore understand the style of ornamentation he demands.
    [Show full text]
  • Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano
    Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano A Performance Edition with Commentary D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of the The Ohio State University By Antoine Terrell Clark, M. M. Music Graduate Program The Ohio State University 2009 Document Committee: Approved By James Pyne, Co-Advisor ______________________ Co-Advisor Lois Rosow, Co-Advisor ______________________ Paul Robinson Co-Advisor Copyright by Antoine Terrell Clark 2009 Abstract Late Baroque works for string instruments are presented in performing editions for clarinet and piano: Giuseppe Tartini, Sonata in G Minor for Violin, and Violoncello or Harpsichord, op.1, no. 10, “Didone abbandonata”; Georg Philipp Telemann, Sonata in G Minor for Violin and Harpsichord, Twv 41:g1, and Sonata in D Major for Solo Viola da Gamba, Twv 40:1; Marin Marais, Les Folies d’ Espagne from Pièces de viole , Book 2; and Johann Sebastian Bach, Violoncello Suite No.1, BWV 1007. Understanding the capabilities of the string instruments is essential for sensitively translating the music to a clarinet idiom. Transcription issues confronted in creating this edition include matters of performance practice, range, notational inconsistencies in the sources, and instrumental idiom. ii Acknowledgements Special thanks is given to the following people for their assistance with my document: my doctoral committee members, Professors James Pyne, whose excellent clarinet instruction and knowledge enhanced my performance and interpretation of these works; Lois Rosow, whose patience, knowledge, and editorial wonders guided me in the creation of this document; and Paul Robinson and Robert Sorton, for helpful conversations about baroque music; Professor Kia-Hui Tan, for providing insight into baroque violin performance practice; David F.
    [Show full text]
  • Meet Our New Officers and Board Members
    Volume 24, No. 6 June 2010 Meet Our New Officers and Board Members The Pacifica Chapter Board happily announces the election of three new officers, the re-election of its Vice- President, and the appointment of two new Members at Large. The new Board officers and members will serve two-year terms beginning June 1. Dalton Cantey will be our new President. We could say he has been re-elected, since he was president of the chapter in 1994, but a few years have intervened. Dalton also serves as the coordinator of playday groups, driving up from Santa Cruz every month to combine people with music. Ricardo Hofer has been re-elected as Vice President, for his third term, proving himself to be a tireless leader on behalf of the chapter. Our new Secretary is Carolyn Butler, who recently joined the Ricardo Hofer chapter. And our new Treasurer is Alice Benedict, who Vice-President has been a playing member for 10 years but is new to the Board. The two new Members at Large are Ellen Fisher and Betsy St. Aubin. ~ Mary Elliott and Lyle York Carolyn Butler Secretary Dalton Cantey Alice Benedict President Treasurer Ellen Fisher Betsy St. Aubin Board Member at Large Board Member at Large Membership Address Update Donating to VdGS-Pacifica Pj Savage The Pacifica Chapter is an affiliate of the San Francisco 20 Glengreen St. Early Music Society (SFEMS), and along with other Santa Rosa CA 95409 privileges this affiliation confers, we can receive tax- (707) 843-7266 deductible donations. These include not only cash but [email protected].
    [Show full text]
  • A CHAT with RODOLFO RICHTER You Were Born in Brazil, Have a German Last Name, and Are Now Based in the UK
    British/Brazilian violinist Rodolfo Richter appears as soloist and director with, among others, Academia Montis Regalis (Italy), Bach Collegium San Diego (US), Barokkanerne (Norway), B’Rock (Belgium), Orchestra of the Age of Enlightenment, English Concert, and Academy of Ancient Music (UK) in concert halls around the world, including such prestigious venues as London’s Wigmore Hall, Amsterdam’s Concertgebouw, Vienna’s Konzerthaus, Sydney’s City Hall, Chicago’s Orchestra Hall, and New York’s Alice Tully and Carnegie Halls. He is also very active as a chamber musician, and is a member of the acclaimed Palladian Ensemble. Rodolfo has recorded Vivaldi solo concertos, Bach and Telemann triple concertos, Bach Brandenburg Concertos with AAM, Handel Trio Sonatas op. 2 and op. 5, Petersen Violin Sonatas, Vivaldi Four Seasons, a CD of sonatas by Tartini and Veracini, and the first recording of the complete sonatas by Erlebach. Future recording plans include the premiere recording of Guretzkyi’s violin concerto, as well as sonatas and concertos by Bach. Rodolfo was trained as a modern violinist with Moysés de Castro, Klaus Wüsthoff, and Pinchas Zukerman, and studied composition with Hans-Joachim Koellreutter and Pierre Boulez. He later specialized in the baroque violin with Monica Huggett at the Royal Academy of Music. He was a prizewinner at the prestigious International Early Music Competition for Ensembles in Bruges (2000), and won first prize at the Antonio Vivaldi International Violin Competition (2001). Rodolfo Richter is concertmaster of the Academy of Ancient Music and B’Rock, professor of baroque violin at the Royal College of Music in London, and director of the Early Music Course and Festival at the Oficina de Música de Curitiba in Brazil.
    [Show full text]
  • L ' O P E R a a U S a L
    L ' O P E R A A U S A L O N ܟ a suite with airs from the great french baroque operas of the siècle d'or français Des éclats la sombre origine, Les progrès, l'éclat, la ruine Repassent encore sous nos yeux ; Et, présents à tout, nous y sommes Contemporains de tous les hommes, Et citoyens de tous les lieux. A. H. de La Motte ܟ Scène I Heureux qui peut être assuré de disposer de son coeur à son gré ! C'est un secret digne d’envie ; Mais de tous les secrets, c'est le plus ignoré. Ph. Quinault OUVERTURE (from "Roland" LWV 65, J.-B. Lully) MENUETS I & II (from "L'Europe galante", A. Campra) RITOURNELLE (from "Alcyone", M. Marais) PETIT AIR (from "Phaëton", J.-B. Lully) AIR DES FURIES (from "Sémélé", M. Marais) Scène II Chacun porte en son cœur son plus grand ennemi. Ph. Quinault PRÉLUDE POUR LE PREMIER CAVALIER ESPAGNOL (from "L'Europe galante") AIR POUR LE DEUXIMÈME CAVALIER ESPAGNOL (from "L'Opera galante") AIR POUR LES DÉMONS ET LES MONSTRES (from "Amadis", J.-B. Lully) Scène III Le dépit est plus fort, moins il est apparent, et l'orage est à craindre où le calme est trop grand. Ph. Quinault PRÉLUDE (from "Alcyone") TREMBLEMENT DE TERRE (from "Sémélé") TEMPÊTE (from "Alcyone") Scène IV Mort, le dernier pas qu'on fait, et souvent un faux pas. Ph. Quinault SOMMEIL (from "Atys", J.-B. Lully) CHACONNE (from "Sémélé", M. Marais) ܟ Featured composers in this programme: Jean-Baptiste Lully (1632 – 1687); Marin Marais (1656 – 1728); André Campra (1660 – 1744) ܟ In the French Golden Age, during the reign of Louis XIV, «the Sun King», France becomes the most powerful nation in Europe.
    [Show full text]