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Home , Girolamo Frescobaldi, Karel van Steenhoven, Luca Marenzio, Tarquinio Merula, Tristan Keuris

UNIVERSITY MUSICAL SOCIETY LOEKI STARDUST QUARTET Daniel Briiggen Bertho Driever Paul Leenhouts Karel von Steenhoven

Monday Evening, February 11, 1991, at 8:00 Rackham Auditorium, Ann Arbor, Michigan PROGRAM

From the Baldwine Commonplace Book (England, 1581-1606): Four-part piece by John Baldwine (? - 1615) Four-part piece by (1553/4-1599)

Canto Fermo Primo del Primo Tuono ...... (1575-1647) Canzon Francesa Terza ...... Trabaci

Ricercar del quarto tono ...... Giovanni Battista Conforti (, 16th Century) Canzon Decima detta la Paulini ...... (1583-1643) Capriccio V sopra la Bassa Fiamenga ...... Frescobaldi

Canzon la Lusignuola ...... (1594-1655) Three from II primo libra de Motetti a quattro voce pari (1584) ...... Dum Illuscescente Beati (1533-1604) Iste Est Joannes O Gloriosa Domina

INTERMISSION

Fantasia on the Hexachord ...... Alfonso Ferrabosco II (1575-1628) Suite No. 1 in D minor ...... Matthew Locke Fantasia (1621-1677) Ayre From The Art of , BWV 1080: ...... Contrapunctus IV (1685-1750) Contrapunctus IX Quartet in C major ...... Allegro Rondo grazioso (1735-1782)

The Amsterdam Loeki Stardust Quartet is represented by Hillyer International, Inc., New York City. The Quartet records for L'Oiseau Lyre ( Polygram, London).

Twenty-second Concert of the 112th Season Twenty-eighth Annual Chamber Art Series Program Notes ost works writ­ court, changing employment as conditions ten between 1550 and 1650 altered. Some even received invitations to were based on vocal compo­ work abroad, as did a number of Italians who sitions, such as arrangements fulfilled important positions at the Chapel of polyphonic French songs, Royal in England. The organist Giovanni theM Canzone Francese. Eventually, these can- Maria Trabaci was an exception, remaining zonas took on their own identity, separate and working in Naples under the Spanish from the vocal forms. Besides the , house of Aragon. instrumental works such as the , ca- priccio, and fantasia grew in popularity. Most lfonso Ferrabosco II, second of them are based on contrapunctal imitation generation of an Italian family and variation in rhythm and proportion. In of musicians at the Royal the fantasia, the form takes second place to Court of England, was music extemporization and imagination, rather than master to Prince Henry and following a standard structure. KingA Charles I. Compositions based on scale The Royal Manuscript, from which the fragments, often used as a ground, enjoyed first two compositions derive, was copied in considerable popularity in the sixteenth cen­ a very fine hand during the years 1581 to 1606 tury. In his Fantasia of the Hexachord, the by John Baldwine. It contains numerous scale formula descends chromatically each vocal and instrumental works by 24 different time it returns, creating hitherto uncommon . Tonight's first four-part piece, tonalities. composed by Baldwine himself, has a cantus Matthew Locke was one of the most firmus written in unusual 5/4 time in the bass talented and vocal proponents of English line. ( is a preexistent melody music in the seventeenth century. He was used as the basis of a new polyphonic compo­ appointed -in-ordinary to King sition; cantus firmus dominated the music of Charles II after the Restoration, but shortly the fourteenth- and fifteenth centuries, par­ afterwards fell out of favor as musical tastes ticularly sacred vocal music.) The first piece began to change. The English tradition of also features changing proportions and con­ polyphonic compositions for consort was tinuous syncopation between parts. The sec­ being challenged by foreign elements flooding ond work from this exceptional collection is England. The court was enamoured of the by the Italian master of the Luca French style, and many Italian performers and Marenzio. (Headings of these pieces as they composers helped popularize the and appear in the Baldwine Commonplace Book: the trio . Locke steadfastly refused to 4:voc:iohn:baldwine:-; luca marensio:4 voc:-.) bow to popular taste and claimed that he "never saw any Forain Instrumental Compo­ irolamo Frescobaldi is no sition [a few French Courants excepted] worth doubt the best known of the an Englishman's Transcribing." Italian composers represented in the first half of this program. ohann Sebastian Bach composed The It is still worth noting, how­ Art of Fugue during the last years of his ever,G that the musical culture of his time was life and was only partially able to over­ to a very large extent shaped and sustained see the first publication shortly before by less famous masters. Composers and musi­ his death. The main body of his im­ cians traveled extensively during the second pressive musical testament consists of half of the sixteenth century, particularly 14 , all based on the same subject, in within the triangle of musical centers Jwhich Bach exploits the widest possible vari­ , and Rome. Tarquinio Merula ety of contrapunctal devices. The score, in was organist in his home town of ; which each part has its own stave, bears no Claudio Merulo was employed as organist at indication of any instrumentation. Because of St. Mark's in Venice and later in Parma; and this, earlier generations considered the work Giovanni Battista Conforti was a gambist at merely a textbook for scholars. It is only in the Court of Rome. Most of these musicians the present century that it has revealed its would have been attached to a church or treasures to performers and audiences alike. Johann Christian Bach was the youn­ director and music master to the family of gest son of J. S. Bach. He was a student of King George III. He obtained a reputation as Martini in Bologna, Italy, and became organ­ a composer of symphonies and chamber music ist at the Milan cathedral. He later moved to and did much to increase the popularity of England, hence his nickname as the the pianoforte, which was still in the early "London" or "English Bach." He dominated stages of development in England at that the English musical scene just as Handel had time. The Quartet in C major was originally done before him, becoming and concert written for string quartet.

About the Artists sixteenth-century piece at the Musica Anti- qua Competition in Bruges, the ensemble has made numerous radio and television broad­ casts, performed in most European countries, and undertaken concert tours in Indonesia, Australia, Japan, and the United States. Its U.S. debut was in 1987 with appearances in Chicago and at the Boston Fes­ tival. In addition to their concerts, the four musicians teach at diverse workshops for in­ terpretation of early and modern recorder music. The Quartet has worked with instru­ ment makers throughout the world and has built up a unique collection of 50 and recorders, ranging from the eight-inch Exilent to the Great measuring over six feet. The Quartet also works closely with several modern composers in Holland, such as Frans Geysen and Daan Manneke, and for the last few years has published a series of new recorder music in association with Moeck, under the title "The ombining their unique talents to Amsterdam Loeki Stardust Quartet Presents . . .." bring a fresh and unconven­ In the recording field, the Quartet has tional approach to recorder released two recordings on Decca's L'Oiseau- music, , Lyre label: "Virtuoso Recorder Music" (1984) Daniel Bruggen, Bertho and "Baroque Recorder Music" (1987), both Driever,C and Paul Leenhouts formed the Am­ of which received the prestigious Edison sterdam Loeki Stardust Quartet in 1978 while Award. The jury stated in its report: "It is the they were students at Amsterdam's Sweelinck intense musical quality, complete sincerity, Conservatory. From the start, they have ex­ and evident pleasure in performance that plored and extended the instrument's range immediately holds one's attention to the with music from the Renaissance and itself." Two new recordings, "Extra eras to modern compositions, including their Time" and "Sixteenth-Century Consort own works and arrangements of others. One Music," are being released on London Re­ of their goals is to present the wide range of cords early this year. techniques and sonorities within the frame­ The Quartet chose its whimsical name work of a recorder consort. from one of its early arrangements: the "Loeki The Amsterdam Loeki Stardust Quartet the Leeuw" (Loeki the Lion) jingle featured has won worldwide recognition as a serious in Dutch TV commericals. ensemble of unparalleled virtuosity. Since The Amsterdam Loeki Stardust Quar­ 1981, when it received acclaim for its prize- tet now makes its first appearance in Ann winning (albeit unorthodox) rendering of a Arbor with this program of early music. Daniel Briiggen was born in Haarlem, Born in Wageningen, Holland, in Holland, in 1958, and studied recorder with 1953, Bertho Driever studied with Carla Kees Boeke at the Sweelinck Conservatory, Mahler and Jerome Minis in Arnhem, going receiving his soloist diploma in 1983. He on to study under Walter van Hauwe at the teaches extensively and gives concerts and Sweelinck Conservatory. He is active as an workshops in Holland, France, Germany, and arranger of recorder music and presently Austria. teaches at the Conservatory and Paul Leenhouts, born in Leiden in gives workshops on recorder techinque. 1957, studied recorder with Marijke Ferguson Born in Voorburg, Holland, in 1958, and Walter van Hauwe at the Sweelinck Karel van Steenhoven was the First Prize Conservatory, where he received his soloist winner at the German-Dutch Recorder Festi­ diploma in 1981. He teaches at Leiden, is val in Miinster in 1976. He went on to study closely involved with the Dutch Chamber with Kees Boeke and Walter van Hauwe at Music Society, and regularly gives concerts the Sweelinck Conservatory and was awarded and workshops in the and his soloist diploma in 1983. Since then, he abroad. Mr. Leenhouts is well known for his has studied composition with Robert Heppner numerous arrangements of jazz works for the and and gives workshops in recorder. contemporary music and improvisation tech­ nique.

he Amsterdam Loeki Stardust Pictured vertically, the Quartet's battery of recorders in­ show a conical bore, ornate embellishment cludes representatives of the two including ivory joints, and a sound more distinct families: Renaissance intimate and flexible than that of the Renais­ and Baroque. The Renaissance sance. Tfamily, pictured horizontally, have an almost The Quartet's recorders are made for cylindrical bore and are quite plain looking, them by the finest craftsmen in Denmark, with little decoration. They produce a rich Japan, Holland, and Germany. The Great tone, especially in the lower registers. Bass, shown at top, measures over six feet Baroque instruments contrast with the Sopranino, not quite eight inches. those of the Renaissance in almost every way. Metropolitan Opera Orchestra

A Benefit Concert for the University Musical Society

JamesLevine JessyeNorman

30 April 1991 Eight o'clock Hill Auditorium

Benefit Concert Ticket Prices (Tax-deductible contributions listed in parentheses.) Ludwig van Main Floor $200(5144) Scene and , Ah, Perfido!, Op.65 Includes Post-concert Champagne Reception $150(5114) 575 ($46) Berg 550 ($21) Three Pieces for Orchestra, Op.6 51,000(5885) Includes Pre-concert Dinner at Escoffier and Post-concert Champagne Reception

First Balcony Richard Strauss $125(590) Le Bourgeois Gentilhomme Suite, Op.60 550 ($22)

Second Balcony $75 ($50) Richard Wagner $25 (55) "Immolation" Scene from Gotterdammeriing

Reservations for this gala evening are being taken now/ Please place your University Musical Society telephone order by calling of The University of Michigan 313.764.2538. Burton Memorial Tower Ann Arbor, Michigan 48109-1270 Gewandhaus Orchestra of Leipzig Ku r t M asur, conductor

May 1-4, 1991 8:00 p.m. Hill Auditorium Midori, violinist Christian Funke, violinist Jiirnjakob Timm, cellist Elisabeth Leonskaja, pianist Claudine Carlson, mezzo-soprano The Festival Chorus Thomas Hilbish, director

Pr o g r a m s

We dnesday, May 1 Sibelius: Violin in D minor (Midori) Mendelssohn: Symphony No. 3, "Scottish"

Thu rsday, May 2 Brahms: "Double" Concerto in A minor for Violin, , and Orchestra (Funke/Timm) Brahms: Symphony No. 2 in D major

Fr i day, M ay 3 Prokofiev: Excerpts from Romeo and Juliet Henze: Seven Love Songs for Cello and Orchestra (Timm) Strauss: Till Eulenspiegels lustige Streiche

Saturday, May 4 Glinka: Ruslan and Ludmila Overture Tchaikovsky: Piano Concerto No. 2 in G major (Leonskaja) Prokofiev: Alexander Nevsky, for Mezzo-soprano, Mixed Chorus, and Orchestra (Carlson) programs subject to change

Series Prices All Four Concerts

Block A $130 Block C $90 Block B $105 Block D $65 Tickets to individual concerts on sale March 1, 1991

Music Happens Here 313.764.2538 Monday-Friday 10:00 a.m. to 6:00 p.m. Saturday 10:00 a.m. to 1:00 p.m. University Musical Society of The University of Michigan Burton Memorial Tower Ann Arbor, Michigan 48109-1270