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Jft,Uston Friends of Alusic, Inc. Lbepherd L,Ehool of S\Lusic TWENTY-FIFTH SEASON SEVENTH CONCERT Jft,uston Friends of Alusic, Inc. and lbepherd l,ehool of S\lusic PRESENT THE Violin: Helen Kwalwasser Double Bass: Bassoon: Hamao Fujiwara Julius Levine Charles McCracken Christopher Lee Flute: Trumpet: Viola: Paul Dunkel Edward Carroll > Ynez Lynch Ann Briggs French Horn: Judson Griffin Oboe: Sharon Moe Jennie Hansen Melvin Kaplan Roger Wendt Cello: Marc Schachman Harpsichord: Joshua Gordon John Abberger Elizabeth Metcalfe Roberta Cooper .. Daniel Mcintosh Thursday, March 7, 1985 Hamman Hall 8:00P.M. Rice University PROGRAM THE BRANDENBURG CONCERTI Johann Sebastian Bach Concerto No. 3 in G Major Allegro Adagio Allegro Concerto No. 5 in D Major Allegro Affettuoso Allegro Concerto No. 1 in F Major Allegro Adagio Allegro Menuetto-Trio-Polacca-Trio INTERMISSION Concerto No. 6 in B-flat Major Allegro Adagio ma non tanto Allegro Concerto No. 4 in G Major Allegro Andante •i Presto Concerto No. 2 in F Major Allegro Andante Allegro assai The NEW YORK CHAMBER SOLOISTS are represented by Melvin Kaplan, Inc., 115 College Street, Burlington, VT 05401 and 1860 Broadway, Suite JOJO, New York, New York 10023. Recordings: Decca, CR/, Nonesuch, Project Three Photographing and sound recording are prohibited. We further request that audible paging devices not be used during performances. Paging arrangements may be made with ushers. If it is anticipated that tickets will not be used, subscribers are encouraged to turn them in for resale. This is a tax-deductible donation. Call 527-4933 THE HOUSTON FRIENDS OF MUSIC is a non-profit organization dedicated to the presentation of chamber ensembles with national and interna­ tional reputations and to the development of new audiences. 1984 - 1985 HOUSTON FRIENDS OF MUSIC CHAMBER MUSIC SERIES Tuesday, October 16 .............................................. Tokyo String Quartet Thursday, October 18 ...................... Tokyo String Quartet " Clarinet Quintet Evening" Gervase de Payer, Clarinet Thursday, November 15 ........................ Kuijken Quartet "Baroque Quartet Evening" 1st Presbyterian Church Thursday, December 6 ............. ................... Borodin Trio " Piano Trio Evening" Thursday, January 10 ...........................................• Emerson String Quartet Thursday, February 21 .............................................. Ridge String Quartet Thursday, March 7.................................. ... .. .... New York Chamber Soloists "Baroque Evening - Brandenburg Concertos" Tuesday, April 2 ................................................. • Eastman Brass Quintet Tuesday, April 30 ................................................ Guarneri String Quartet BENEFACTORS Dennis & Susan Carlyle George E. Coughlin Mr. & Mrs. Seymour Wexler Dr. & Mrs. Denton Cooley Dr. & Mrs. Grady L. Hallman Cultural Arts Council of Houston National Endowment for the Arts ,) PATRONS Ors. Vlasta & Ervin Adam Gary L. Hollingsworth Julia Mazow Lutz & Mariel Birnbaumer Barbara Kauffman Irving Schweppe Mr. & Mrs. Emory T. Carl Tomas & Marcella Klima Br. & A. 0. Susholtz Alex & Ann "Goldstein Walter & Ilse Mannheimer Margaret Waisman SPONSORS Dr. & Mrs. J. K. Alexander Tom & Frances Leland Horty & Malcolm Sher Drs. Chester & Jaimie Cochran Ario Weltge & Janet Macheledt Robert & Natalie Thrall Lila-Gene George. Heather·& Richard Mayor Steven J. Tillinger Harvey & Sandy Gordon Aaron & Helen Mintz Angela &.Samuel Weiss Mr. & Mrs. C.H. Hewitt Drs. Robert & Susan Rich Ors. A. & J. Werch H. Blandin Jones Richard & Eva Rosencranz Ron & Margrit Young J. Parry Lauzon, M. D. Robert & Edith Zinn CONTRIBUTORS Ralph A. Anderson, Jr. Ors. Fred & Eva Haufrect Steven & Barbara Meltzer Dr. Francisco Aviles Dr. & Mrs. H. L. Huddleston Gretchen & Peter Mieszkowski Mary & Bob Colligan Ors. A. J. & B. D. Kahn Alfredo Montero, M.D. Dr. & Mrs. G. Eknoyan John S. W. Kellett Daniel & Karol Musher Lloyd & Margie Elliott Dr. & Mrs. L. B. Kudisch Mr. & Mrs. Nathan M. Pryzmt Ann Fairbanks William P. Landfield, Jr. Mark & Amanda Schnee Judith T. Feigon, M. D. Carole & Howard Marmell Irving & Ida Wadler Helen Wils & I£OD8l"d Goldstein Stanley & Hilde Weitzner BOARD OF DIRECTORS Ervin Adam Arthur S. Ginzbarg Jack B. Mazow James Alexander Harvey L. Gorclon Daniel Musher Ira J. Black Constance Bolford David G. Parsons Kent Coleman Barbara Kauffman Roslyn Ruethain Carter Crawford Tomas Klima Paul Stark Edward 0. Doughtie Daniel Krohn Irving Wadler Elmer Eisner Larry Livingston Margaret Waisman Ann Fairbanks Walter Mannheimer Seymour Wexler FRIENDS OF MUSIC OFFICERS President .....••................••...............•.....................•.. Dan Musher ... Vice Presidents . ........... Jack Mazow, Barbara Kauffman, Tomas Klima, Margaret Waisman Secretary .................................................•................ Ira J. Black Treasurer ..................................................•.............. Ervin Adam NEW YORK CHAMBER SOLOISTS Since 1957, the NEW YORK CHAMBER SOLOISTS has been acclaimed as an outstanding ensemble of distinguished vir­ tuosi performing a widely diverse repertoire in creatively pro­ grammed concerts. A 9-member ensemble of voices, strings, winds, and keyboard - increasing to as many as 20 with the addi­ tion of guest artists - the Chamber Soloists have had the flexibility to offer many works seldom heard due to the unusual combina­ tion of performing forces for which they have been written. With more than 250 works in their repertoire, the Chamber Soloists have made a valuable contribution to this country's musical life over the past 25 years, and have helped to stimulate the ever ex­ panding audience for chamber music. They have added substan­ tially to the catalog of 20th century chamber works in the more than 25 compositions written especially for them by such signifi­ cant American composers as Hugh Aitken, Gun~her Schuller, Mario Davidovsky, Hugo Weisgall, Henry Brant, Ezra Lader­ man, Elliott Schwartz, and Mel Powell. PROGRAM NOTES The Brandenburg Concerti by Johann Sebastian Bach (1685-1750) found their precedent in the numerous concertos of eighteenth century Italian composers, and most notably those of Antonio Vivaldi. The importance of Vivaldi's music during the Baroque era is indicated by the fact that so much of it was copied and arranged by his peers. Bach became acquainted with Vivaldi's solo concertos in 1713 at Weimar where he held the position of organist and later concertmaster of the orchestra. He consequently arranged nine of them for organ or for one or more harpsichords with orchestra. There was little necessity for Bach to compose his own concertos at Weimar because most music was intended for use in the Lutheran church. However, in 1717 Bach obtained the position of Kappellmeister at Anhalt-Kothen, in the service of Prince Leopold, who maintained an excellent orchestra and who was an ac­ complished viola da gambist. The Reformed Church in that area banned elaborate music from the chapel, and so for these reasons, Bach was required to compose secular chamber music. Thus it was in Kothen that Bach wrote the majority of his clavichord and harpsichord music and instrumental sonatas and concertos. In 1718, Christian Ludwig, Margrave of the Prussian province of Brandenburg, requested some compositions from Bach. The composer selected six "Concertos with Several Instruments" from pieces he had available already and which appear to have been composed between 1708 and 1721 (in the order of No. 6, 3, 1, 2, 4 and 5). In 1721 Bach finally recopied the Concerti and sent them with a dedicatjon to the Margrave. It is not known how the Concerti were received by Christian Ludwig, but they were not listed in the Margrave's catalog of his vast music collection. Compared to the concertos of Vivaldi and other Italians, those of Bach were not considered worthy of being mentioned by the composer's name. They were placed in a group of either 77 or 100 concertos ''by different masters for various instruments'' which were divided up among the heirs after the Margrave's death in 1734. It was not until the late nineteenth century, when Philipp Spitta wrote a comprehensive biography of Bach, that his compositions were given the title, Brandenburg Concerti. The significance of Bach's Concerti is found in the fact that they abandon the standard type of concerto grosso, which featured the use of a small group of solo instruments, called the concertino, against the full orchestra, called tut­ ti or ripieni. The solos were usually two violins and basso continuo (the com­ bination of cello with harpsichord). The orchestra consisted of strings, although winds occasionally were added. The mixture of instruments which Downtown­ Main at Rusk Texas Commerce Bank Member FDIC Bach used in the Brandenburg Concerti therefore was most atypical. Their . variety suggests the continuing tradition of Venetian tone colors, an.d the em­ phasis on wind instruments reflects the heritage of the German Stadtpf eifer (municipal bands). The formal scheme of the late Baroque concerto grosso was most e>ften that of a three-movement work, fast-slow-fast. Again, the influence of Viva_ldi is shown in the trend aw~ from contrapuntal textures toward a m ore transparent sound, with cop.cise opening motives, rhythmic precision and dynamic drive. In the Brandenburg, Concerti, however, Bach did not always retain the standard structures and forms, nor did he abandon contrapuntal writing. Rather, he synthesized the_many varied elements of Baroque composi­ tion from the more serious fugue to bright dance movements.
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