UC DAVIS BAROQUE ENSEMBLE Michael Sand and Phebe Craig, directors The Department of Music presents UC Davis Baroque Ensemble The UC Davis Baroque Ensemble specializes in the music from the 17th and 18th centuries. We strive to play in a stylistic way, following Michael Sand and Phebe Craig, directors the performance practices and using the instrumental techniques of the Baroque era. We play on gut strings, not metal, and usually at the old pitch of A = 415hz (modern G ). UC Davis is fortunate to own an extensive collection of early instrument replicas and bows (stringed # with the instruments, Baroque , , , and a continuo organ). These instruments are available for the use of our students. In the last few years, we have played a great range of music, including Bach cantatas and the Brandenburg Concertos Nos. 3 and 4, Rameau’s one-act opera Pygmalion, Purcell’s Dido and Aeneas, and Handel’s Apollo and Dafne. We perform three times during the year and frequently collaborate with the Early Music Ensemble, the vocal ensemble directed by David Nutter. Davis High School Baroque Orchestra Traversos Angelo Moreno, director Wesley Wang, concertmaster Meghan Dingman Emilie Benedon Lowell Ashbaugh Devin Hough Jonathan Martinez Ron Hsu Caitlin Murray PROGRAM Jason Lee UC Davis Baroque Ensemble Beth Levy Emma Gavenda Morgan McMahon Olivia Glass Suite from Le Bourgeois Gentilhomme (The Beourgeois Gentleman) Jean-Baptiste Lully Sora Soo Steve Hudson Ouverture (1632–87) Milena Schaller Canarie Deuxieme Air Marche pour la Ceremonie des Turcs Chaconne des Scarmouches, Frivelins, et Arlequins

Sinfonia No. 3 * Domenico Scaralatti Allegro (1686 –1757) DAVIS HIGH SCHOOL BAROQUE ORCHESTRA Andante trans. Michael Sand Angelo Moreno, director Allegro * based on Scarlatti’s harpsichord sonatas K. 37, 91, and 96

- Intermission - Violin I Viola Bass Lia Perroud, concertmaster Jesse Simmons, section leader Katherine Flanigan, section leader Davis High School Baroque Ensemble Eric Bai Jacob Dunaway Hannah May Concerto Grosso in D Major, op. 2, no. 4 Francesco Geminiani Emily Barr Beverly Nguyen Andante (1687–1762) Anna Langewiesche Harpsichord Allegro non troppo Corinna Ma Cello Nicole Castanon Andante Jason Tang Carrie Miller, section leader May Zhang Allegro Katja Waldron Peter Aumann Megan Crawford UC Davis Baroque Ensemble Violin II Sasha Hill Concerto for Four Harpsichords, BWV 1065 * Chiara Moore, section leader Haemin Hong Allegro (1685–1750) Mallory Barnes Largo Chelsea Dingman Larghetto Yang Liu Largo Anne Slabach Allegro Eddie Tian Phebe Craig, Emma Gavenda, David Deffner, and Sandra Graham, harpsichord Lucy Winterhalder * based on Antoni Vivaldi’s Concerto for Four , op. 3, no. 10, (“L’Estro Armonico”) Zachary Zender Yu-Wei Zhang 3 pm, Saturday, 1 May 2010 Rumsey Rancheria Grand Lobby, Mondavi Center

This concert is being professionally recorded for the University archive. Please remain seated during the music, remembering that distractions will be audible on the recording. Please deactivate cell phones, pagers, and wristwatches. Flash photography and audio and video recording are prohibited during the performance. NOTES ABOUT THE SOLOISTS AND DIRECTORS

This afternoon’s program features three works that illustrate a common practice of Baroque composers: making arrangements of other Originally from Colorado, Phebe Craig spent her student years in Berlin, Brussels, and San Francisco. She has earned a reputation as composers’ music. a versatile (virtuoso) chamber musician and recitalist and has performed and recorded with many early music ensembles. As a specialist in realization, she has accompanied many prominent early music soloists. She has appeared at the Carmel Bach Festival, It was the habit of J.S. Bach to study works by composers he admired, such as Vivaldi, by rewriting their pieces. He recomposed three the Regensburg Tage Alter Musik, and the Berkeley Early Music Festival. In addition to performing with many local ensembles, Craig also of Vivaldi’s concertos from the great collection L’Estro Armonico: two for solo organ and the one we are playing tonight—which is for four belongs to New York State Baroque. She teaches at UC Davis and is on the faculty of numerous summer workshops. Craig is accessible, violins in Vivaldi’s original version—for four harpsichords. patient, humble, and quirky. Knowledgeable about all things Baroque, she helps her students engender that quaint but bizarre period in their musical performance. She is particularly amused by Louis XIV’s vanity regarding his shapely legs. Francesco Geminiani was a violin student of the great Arcangelo Corelli, and in tribute to his master, he arranged all twelve of Corelli’s violin sonatas, opus 5, as concerti grossi: concertos with two violin and one ’cello solo, in the style also formulated by Corelli. David Deffner has been a church musician for 30 years and has been making music in the Sacramento area for 11 years. In addition to solo organ recitals and piano duet recitals with his wife, Ellen Schinnerer Deffner, he has performed with the Sacramento Area Bach Many of Scarlatti’s harpsichord sonatas were arranged into Corelli-style concerti grossi by the undistinguished English composer, Festival, the Sacramento Symphony Orchestra, and the Sacramento Chamber Orchestra. Currently, Deffner teaches at American River Charles Avison (1709–70). The equally undistinguished Michael Sand has followed this tradition by arranging three of Scarlatti’s works College and UC Davis and is director of music at Davis Community Church. Deffner received his doctorate in church music from into tonight’s “Sinfonia” for two flutes, strings, and continuo. Northwestern University and holds degrees from Valparaiso University and the University of Minnesota. He studied conducting with Helmuth Rilling at the Staatliche Hochschule für Musik in Frankfurt and has studied organ with Karel Paukert, Philip Gehring, and Wolfgang Rübsam. —M. Sand UC Davis Emma Gavenda is a fourth-year harpsichord performance major here at UCDavis. She studies with Phebe Craig and performs regularly with the Baroque Ensemble, Early Music Ensemble, and University Chorus and has A virtuoso of considerable reputation in his day, Francesco Geminiani was born at Lucca, in Tuscany, in December of 1687. At also participated in the chamber ensemble program, Chamber Singers, and the Cal Aggie Marching Band-uh! In the fall, Emma will begin a very young age, he showed great skill as a violinist, and at the age of 24 was working as a leader of the Town Opera Orchestra. His her Master of Music degree in Early Music Performance at the Longy School of Music in Cambridge, Massachusetts. brilliance was reportedly difficult to follow in the beginning of the creation of most of his works, where it was regarded as virtuosic improvisation. Sandra Graham received degrees from St. Lawrence University, Moravian College, and New York University. She founded the program in ethnomusicology at UC Davis, where she teaches courses in musics of the world, ethnomusicology (intellectual history, Some of his pieces include his famous opus 3 Concerti Grosso, and his other well known opuses, 1, 4, 5, and 7, were reportedly so methods, theory), African American music, American music, and folk/popular musics of Central Europe. She has been a visiting professor difficult to play that few violinists at the time actually ever performed them in public. In addition, he was reported to have written several at the University of Ljubljana in Slovenia, the Music Academy at the University of Zagreb in Croatia, the University of Illinois at Urbana- treatise on the playing of music, such his The Art of Playing on the Violin. However much he shines from history, it is no better reflected than in how his music is still played today, especially in today’s opus two concerto grosso. Champaign, New York University, and Washington University.

The opus two concerto grosso was written in 1732. A four-part concerto featuring a slow, yet beautiful beginning andante, in which the Angelo Moreno, violin, is a graduate of UC Davis, where he received his Bachelor of Arts and Master of Arts in Orchestral violin solo carries a melodic D-major stream of eighth notes. Alternating with other instruments, the movement is a delicate, refined, and Conducting under the direction of D. Kern Holoman. In fall 2002, he also received his teaching credential in music education from yet beautifully expressive one, ending with a surprising chord and question: Where does the piece lead? Sacramento State University. During his time at UC Davis, he served as principal second violin and was a loyal orchestra member for six years. He also participated for six years as concertmaster and soloist of the Baroque Ensemble. He is a former member of the Napa Valley Philharmonic, in which he served as concertmaster and soloist. He is the director of the Davis Joint Unified School District Secondary The Allegro begins with an exciting and bold soli violin and viola, later joined by the second violins, and then tutti orchestra. Many Orchestral program, where he has been teaching at Emerson and Holmes Junior Highs and Davis Senior High School since 2000. In historians believe Geminiani took a lot of inspiration from his teacher, Corelli. This is certainly evident when this piece is compared to addition to his work in the public schools, he is the director of the Sacramento Youth Symphony, Academic Symphony Orchestra, which Corelli’s concerto grosso, opus 6, number four. Both feature beautiful bold violin solos, mixed with an almost melodic chamber orchestra he began conducting in the fall 2002. In 2005, he received the Teacher of the Year Award from the Sacramento State College of Education. accompaniment. In 2006, he was honored by State Assemblywoman Lois Wolk and given a resolution from the California Legislature recognizing his work in music education. Earlier this year, the Sacramento News & Review honored him at the Jammies Concert with the Sacramento Music Geminiani’s third movement—also andante—returns to the beginning tempo. This time, Geminiani chooses to relish in an almost minor Educators Outstanding Achievement Award. In addition to conducting, Moreno is a professional violinist with an active private teaching key area. Yet, softly, and deftly, the music surrounds you with the compelling and complementing solos from each of the sections, leading studio. To contrast his classical endeavors, he enjoys improvisation on the electric violin. into a beautiful tutti, leading forth into the final movement.

Michael Sand has become one of the leading Baroque violinists in America. A founding member and first musical director of Jumpy and exciting from the first bar on, the allegro tempo of the fourth movement is only accentuated by the line of spritely eighth notes the Philharmonia Baroque Orchestra of San Francisco, Sand is also the director of Arcangeli Baroque Strings and of New York State jumping like spring-night fireflies from the violins. Yet sudden silences help to contrast the beautiful melodies of this three-quarter time Baroque, an Ithaca-based chamber orchestra. He has guest-led performances of numerous chamber orchestras throughout this country movement with the virtuosic solos, again, from the violin. Several areas of the piece move into two-quarter time in a tutti exclamation of and abroad, including Israel, Canada, and Australia. After 20 years of playing in a historically informed manner, Sand delight, to roll back once again into a series of solos. Finally, with grandly ascending melodies, Geminiani brings the piece to an end that recently turned his attention to the stylistic performance of Romantic music, influenced by the surviving recordings of such 19th-century almost never fails to catch the listener off guard. violinists as Joachim and Ysaÿe. Sand has recorded for Meridian, Harmonia Mundi (both in France and the United States), Art and Music, KATastroPHE, Wildboar, and Titanic Records. He teaches at UC Davis, Fresno Pacific University, and the San Francisco Early Music —Jesse Simons Society’s Baroque Music Workshop at Dominican College. Davis High School