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TABEA DEBUS, Recorder Winner, 2019 Concert Artists Guild Competition

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TABEA DEBUS, Recorder Winner, 2019 Concert Artists Guild Competition TABEA DEBUS, recorder Winner, 2019 Concert Artists Guild Competition Ode to an Earworm Recorder & Theorbo (full-length program mixed) “I was [un]able to think of any thing, but remained all night transported, so as I could not believe that ever any musick hath that real command over the soul of a man as this did upon me.” (Samuel Pepys, 1668) Until the 15th century music was predominantly an aural tradition. However, with the invention of the printing press this tradition began to disappear. Still, some melodies are innately memorable, haunting even – why? Anonymous (14th century) Lamento di Tristano & La Rotta Ciaconna – after Antonio Bertali (1605-1669), Tarquinio Merula (1595-1665), Claudio Monteverdi (1567-1643) Anonymous (16th century) La Monica or Une jeune fillette Pierre-Francisque Carroubel (1556-1611/15) Spagnolette - from: Terpsichore, Musarum Aoniarum (Michael Praetorius, 1612) Andrea Falconieri (1585-1656) La suave melodia, y su corrente – from: Il primo libro di canzone... (Napoli 1650) Anonymous Vuestros ojos tienen d’amor – from: A Musicall Banquet (Robert Dowland, 1610) Padre Antonio Soler (1729-1783) Fandango in D minor, R. 146 Freya Waley-Cohen (born 1989) Caffeine for solo recorder (commissioned by Listenpony for Tabea Debus, 2019) INTERMISSION Gareth Moorcraft (born 1990) Diaries of the Early Worm (2019, for Tabea Debus) Anonymous When Daphne did from Phoebus fly – with diminutions by Jacob van Eyck (c. 1590-1657) John Dowland (1563-1626) The Earle of Essex Galiard, or Can she excuse my wrongs Henry Purcell (1659-1695) Fairest Isle - from: King Arthur (Z. 628) and Orpheus Britannicus (London, 1698) George Frideric Handel (1685-1759) Lascia ch’io pianga – from: Rinaldo (HWV 7b) Jig – from: Siroe, re di Persia (HWV 24) Francesco Geminiani (1687-1762) Auld Bob Morrice – from: An Introduction to Good Taste in Musick (London, 1749) Pietro Castrucci (1679-1752) Sonata in D minor, op. 1 no. 10 Adagio, Allegro, Adagio Alessandro Marcello (1673-1747) Adagio – from: Concerto in D minor (ornaments: BWV 974) Arcangelo Corelli (1653-1713) The Favourite Gigg in Corelli’s 5th Solo with Divisions by Sig. Cateni & Valentini Ode to an Earworm Recorder & Theorbo (full-length programme (early music)) “I was [un]able to think of any thing, but remained all night transported, so as I could not believe that ever any musick hath that real command over the soul of a man as this did upon me.” (Samuel Pepys, 1668) Until the 15th century music was predominantly an aural tradition. However, with the invention of the printing press this tradition began to disappear. Still, some melodies are innately memorable, haunting even – why? Anonymous (14th century) Lamento di Tristano & La Rotta Ciaconna – after Antonio Bertali (1605-1669), Tarquinio Merula (1595-1665), Claudio Monteverdi (1567-1643) Anonymous (16th century) La Monica or Une jeune fillette Pierre-Francisque Carroubel (1556-1611/15) Spagnolette - from: Terpsichore, Musarum Aoniarum (Michael Praetorius, 1612) Giovanni Bassano (1561-1617) & Francesco Rognioni (around 1620) Diminutions on “Ancor che col partire” (madrigal by Cipriano de Rore) Andrea Falconieri (1585-1656) La suave melodia, y su corrente – from: Il primo libro di canzone... (Napoli 1650) Anonymous Vuestros ojos tienen d’amor – from: A Musicall Banquet (Robert Dowland, 1610) Padre Antonio Soler (1729-1783) Fandango in D minor, R. 146 INTERVAL John Dowland (1563-1626) Flow my tears - with variations by Jacob van Eyck (c. 1590-1657) & Johann Schop (1590-1667) John Dowland (1563-1626) The Earle of Essex Galiard, or Can she excuse my wrongs Anonymous When Daphne did from Phoebus fly – with diminutions by Jacob van Eyck (c. 1590-1657) Henry Purcell (1659-1695) Fairest Isle - from: King Arthur (Z. 628) and Orpheus Britannicus (London, 1698) George Frideric Handel (1685-1759) Lascia ch’io pianga – from: Rinaldo (HWV 7b) Jig – from: Siroe, re di Persia (HWV 24) Francesco Geminiani (1687-1762) Auld Bob Morrice – from: An Introduction to Good Taste in Musick (London, 1749) Pietro Castrucci (1679-1752) Sonata in D minor, op. 1 no. 10 Adagio, Allegro, Adagio Alessandro Marcello (1673-1747) Adagio – from: Concerto in D minor (ornaments: BWV 974) Arcangelo Corelli (1653-1713) The Favourite Gigg in Corelli’s 5th Solo with Divisions by Sig. Cateni & Valentini Ode to an Earworm Recorder & Theorbo Lunchtime Concert “I was [un]able to think of any thing, but remained all night transported.” – Samuel Pepys Music has a tendency to continue playing inside our minds, whether we want it to or not. Today, studies are being conducted to examine the causes and cures of such so-called earworms. From Peyps, we gather that musical earworms are in no way unique to our century. Without specific studies of the phenomenon to guide us, how can we follow the traces of earworms back in time? Anonymous (14th century) Lamento di Tristano & La Rotta Ciaconna – after Antonio Bertali (1605-1669), Tarquinio Merula (1595-1665), Claudio Monteverdi (1567-1643) Anonymous (16th century) La Monica or Une jeune fillette Pierre-Francisque Carroubel (1556-1611/15) Spagnoletta - from: Terpsichore, Musarum Aoniarum (Michael Praetorius, 1612) Gareth Moorcraft (born 1990) Diaries of the Early Worm (2019, for Tabea Debus) Andrea Falconieri (1585-1656) La suave melodia, y su corrente – from: Il primo libro di canzone... (Napoli 1650) Anonymous Vuestros ojos tienen d’amor – from: A Musicall Banquet (Robert Dowland, 1610) Padre Antonio Soler (1729-1783) Fandango in D minor, R. 146 Freya Waley-Cohen (born 1989) Caffeine for solo recorder (commissioned by Listenpony for Tabea Debus, 2019) Anonymous When Daphne did from Phoebus fly – with diminutions by Jacob van Eyck (c. 1590-1657) John Dowland (1563-1626) The Earle of Essex Galiard, or Can she excuse my wrongs Henry Purcell (1659-1695) Fairest Isle - from: King Arthur (Z. 628) and Orpheus Britannicus (London, 1698) George Frideric Handel (1685-1759) Lascia ch’io pianga – from: Rinaldo (HWV 7b) Jig – from: Siroe, re di Persia (HWV 24) Pietro Castrucci (1679-1752) Allegro – from: Sonata in D minor, op. 1 no. 10 Alessandro Marcello (1673-1747) Adagio – from: Concerto in D minor (ornaments: BWV 974) Arcangelo Corelli (1653-1713) The Favourite Gigg in Corelli’s 5th Solo with Divisions by Sig. Cateni & Valentini .
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