Fri, 22 Jan 2010, 7 Pm

THE UC DAVIS DEPARTMENT OF MUSIC PRESENTS

Dan Flanagan & Michael Sand, directors

Fri, 22 Jan 2010, 7 pm

Larry & Rosalie Vanderhoef Studio Theatre, Mondavi Center Violin Festival–Recital

7 pm, Friday, 22 January 2010 Vanderhoef Studio Theatre, Mondavi Center

Fritz Gearheart, violin w i t h John Cozza, piano

Program

Sonata in E Minor, K. 304 (1778) Wolfgang Amadeus Mozart Allegro (1756–91) Tempo di minuetto Sonata for Violin and Piano Claude Debussy Allegro vivo (1862–1918) Intermède: Fantasque et léger Finale: Très animé Sonatina, op. 2 Fritz Gearheart Oblivious (b. 1964) Blindsided Epilogue

Intermission Sonata in G Major, op. 78 Johannes Brahms Vivace ma non troppo (1833–97) Adagio Allegro molto moderato

This concert is being recorded professionally 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.

About The Artists

Fritz Gearhart joined the University of Oregon string faculty in 1998, teaching violin and chamber music and performing regularly with the Oregon String Quartet. A third-generation professional musician, Gearhart received his master’s degree and the prestigious Performer’s Certificate from the Eastman School of Music, where he studied with Donald Weilerstein. Gearhart’s earlier studies were at the Hartt School of Music, where he worked with Charles Treger and members of the Emerson Quartet. Gearhart has performed in major concert halls around the country, including Alice Tully Hall, Carnegie Recital Hall, and the Terrace Theater at the Kennedy Center. He has also been heard frequently on public radio, including live broadcasts on WFMT Chicago, WQXR New York, and NPR’s Performance Today. He has recorded nine well-received compact discs, including The Complete Works for Violin by Robert Casadesus and Oregon Festival of American Music Presents: William Grant Still, released in 2001 and 2002, respectively. Most recently, Gearhart worked with the Oregon String Quartet to complete their newest recording: The Oregon String Quartet and All That Jazz, Jazz Influences in the Contemporary American String Quartet on the Koch Entertainment label. Prior to his appointment at the University of Oregon, Gearhart was first violinist of the Chester String Quartet, which was singled out as a highlight of the 1989 American String Quartet Congress. A dedicated educator, Gearhart has taught at the university level since 1990, including previous appointments at East Carolina University and Indiana University at South Bend. He has also presented master classes at music schools around the country, including Ithaca College, the Eastman School, and the Hartt School. In addition to his many teaching and performing activities, Gearhart has appeared as a guest conductor at several string festivals around the country.

John Cozza is a lecturer in applied piano and accompanying and joined the faculty of the University of the Pacific Conservatory of Music in 2004. He holds bachelor’s and master’s degrees in piano performance from the University of Southern California, diplomas in piano performance and chamber music from the Hochschule für Musik in Vienna, and a doctoral degree in solo performance, chamber music, and accompanying from Northwestern University. He has studied with Daniel Pollack in Los Angeles, David Kaiserman in Chicago, and Hans Graf and George Ebert in Vienna. He has collaborated with singers and instrumentalists throughout the United States, and his international engagements have included performances as soloist, accompanist, and chamber musician in European cities such as Vienna, Bologna, Milan, Cologne, and Budapest. Most recently, he taught applied piano and was the director of accompanying at Baylor University. Cozza is a member of Pi Kappa Lambda, Phi Mu Alpha, the American Liszt Society, and the Franz Schmidt Society in Austria.

2 Violin Festival—Baroque Recital

Jaap Schröder, violin Michael Sand, violin Marc Vanscheeuwijck, violoncello Phebe Craig, harpsichord

Program

Pavaen Lachrime (T’Uitnement Kabinet) Johann Schop (1590–1667) Jaap Schröder, violin Phebe Craig, harpsichord

Sonata No. 1 (“Il Corisino”) for Two Violins, Cello, and Continuo (1624) Francesco Turini (c. 1589–1656)

Sonata No. 3 for Two Violins, Cello, and Continuo (1624) Turini

Jaap Schröder & Michael Sand, violin Marc Vanscheeuwijck, violoncello Phebe Craig, harpsichord

Fantasia for Violin Solo Nicola Matteis II (c. 1678–1737) Jaap Schröder, violin

Sonata in Bb Major for Two Violins and Continuo, op. 2, no. 3, HWV 388 Georg Frideric Handel Andante – Adagio (1685–1759) Allegro Larghetto – Adagio Allegro Jaap Schröder & Michael Sand, violin Marc Vanscheeuwijck, violoncello Phebe Craig, harpsichord

Intermission

Sonata in G Minor for Two Violins Jean-Marie Leclair [l’Aîné] (The Elder) Un poco Andante (1697–1764) Un poco Andante Sarabanda:Largo Giga: Prestissimo Jaap Schröder & Michael Sand, violin

Sonata in Bb Major, op. 4, no. 2 Leclair [l’Aîné] Adagio Allegro ma non troppo Largo cantabile Allegro assai Jaap Schröder & Michael Sand, violin Marc Vanscheeuwijck, violoncello Phebe Craig, harpsichord

3 About The Artists

The distinguished Dutch violinist (regular and Baroque), conductor, and pedagogue, Jaap Schröder, studied violin at the Amsterdam Conservatory and in Paris. He also attended classes in musicology at the Sorbonne. Jaap Schröder then served as concert-master of the Hilversum Radio Chamber Orchestra, and was a member of the Netherlands String Quartet. In 1975 he founded the Quartetto Esterhazy, which gave performances of music from the Classical era on period instruments. It was dissolved in 1981. He subsequently served as music director and concertmaster of the Academy of Ancient Music in London. Since 1981 he has toured extensively worldwide. In 1982 he was appointed visiting music director of the Smithsonian Chamber Players in Washington, D.C. He also oraganized there the Smith son Quartet. Now he is a faculty member of the School of Music at Yale University. He also teaches at the Universities of Virginia and Maryland, Peabody Conservatory, Case Western Reserve University, and the Banff School of the Arts. Jaap Schröder has recorded for the Smithsonian label, Harmonia mundi (Haydn quartets and Beethoven’s Op. 18), and Virgin Classics (Mozart quartets and quintets). He has long been engaged in research on unknown violin literature of the 17th and 18th centuries, and asa result has recorded many compositions by such virtuosi as Uccellini, Leclair, and Biber. He has released the six J.S. Bach solo sonatas (Smithsonian), a complete Beethoven cycle with Jos van Immerseel (Harmonia mundi), Mozart sonatas with Lambert Orkis (Virgin Classics), Schubert and Mendelssohn sonatas with Christopher Hogwood (Decca), and the Schubert Octet with the Atlantis Ensemble (Virgin Classics). As an orchestra leader and soloist he has recorded with the Concerto Amsterdam (Teldec) and performed with the Salzburg Mozarteum Orchestra, the Drottningholm Court Orchestra, and the Smithsonian Chamber Orchestra, with which he has recorded works by Mozart and several Beethoven symphonies (Smithsonian). With Christopher Hogwood, he directed the first complete recording of the Mozart symphonies on Classical instruments with the Academy of Ancient Music (Decca) and recorded Bach’s violin concertos and the Fourth Brandenburg Concerto.

Praised by Isaac Stern as making “a most convincing argument for the Baroque violin,” Michael Sand has become one of the leading Baroque violinists in America. A founding member and first musical director of the Philharmonia Baroque Orchestra of San Francisco, Sand is also the director of Arcangeli Baroque Strings, a string ensemble dedicated to the concerto grosso repertoire. In great demand as a guest musical director and lecturer, he has led performances of numerous chamber orchestras throughout the U.S. and abroad, including Israel, Canada, and Australia. He plays with the chamber ensemble Musical Assembly, is director of the New York State Baroque, and appears with many local Bay Area early music groups. Sand has recorded for Meridian, Harmonia Mundi (France and the U.S.), Arts and Music, KATastroPHE, Wildboar, and Titanic. He teaches at UC Davis and at the San Francisco Early Music Society’s Baroque Music Workshop.

Marc Vanscheeuwijck is a baroque cellist and an associate professor of musicology at the University of Oregon. Vanscheeuwijck teaches the undergraduate and graduate music history surveys of the Renaissance, Baroque, and Classical periods, Performance Practice, Baroque Cello, and directs the Collegium Musicum ensemble, which specializes in early music. Vanscheeuwijck is a frequent performer and recording artist with European early music ensembles, including the Cappella Musicale di San Petronio (Bologna), More Maiorum and Les Muffatti (Belgium), and with such American ensembles as Arcangeli Baroque Strings (Berkeley), and New York State Baroque (Ithaca, NY).

Vanscheeuwijck studied cello and chamber music at the Bruges and Ghent Conservatories and baroque cello with Wouter Möller; he holds degrees in art history, Romance languages, and pedagogy, and a doctorate in musicology from the University of Ghent (1995). His current research focuses on late 17th-century music in Bologna and on the history and repertoire of bass violins. Several articles he revised on Bolognese composers appeared in the New Grove Dictionary of Music and Musicians (2001) and in Die Musik in Geschichte und Gegenwart (1994–2007). Vanscheeuwijck’s book titled The Cappella Musicale of San Petronio in Bologna under Giovanni Paolo Colonna (1674–1695): History- Organization-Repertoire was published in 2003 by the Belgian Historical Institute in Rome. He has written liner notes and program notes for a variety of CD companies and early music festivals, and the publication of critical facsimiles and editions. Already available (from Forni in Bologna) are the facsimiles of Domenico Gabrielli’s complete works for cello solo and with basso continuo (1998), Giuseppe Jacchini’s Opus 1 (2001), and Giovanni Battista degli Antonii’s Opus 1 (2007).

Originally from Colorado, Phebe Craig spent her student years in Berlin, Brussels, and San Francisco. She has earned a reputation as a versatile (virtuoso) chamber musician and recitalist and has performed and recorded with many early music ensembles. As a specialist in basso continuo realization, she has accompanied many prominent early music soloists. She has appeared at the Carmel Bach Festival, the Regensburg Tage Alter Musik, and the Berkeley Early Music Festival. In addition to performing with many local ensembles, Craig also belongs to New York State Baroque. She teaches at UC Davis and is on the faculty of numerous summer workshops. Craig is accessible, 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.