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2018 Bach Festival bach society of charleston Ricard Bordas, Artistic Director presents 2018 Bach Festival Baroque Concertos Bach, Corelli, Handel and Vivaldi First (Scots) Presbyterian Church, Charleston | March 1, 7:30 p.m. Charleston Baroque Orchestra Led by Cynthia Roberts and Phoebe Carrai Organ Recital St. Michael’s Church, Charleston | March 2, 7:30 p.m. Christopher Jacobson, organ Credo A Year with Johann Sebastian Bach (1685–1750) Christopher Jacobson, organ St. John Passion (in German) Johann Sebastian Bach First (Scots) Presbyterian Church | March 3, 7:00 p.m. Ricard Bordas, conductor Charleston Baroque Orchestra Charleston Baroque Voices and Soloists Bach Festival on the Islands presented with the Town of Kiawah Island Arts Council Holy Spirit Catholic Church, Johns Island | March 4, 4:00 p.m. Brandenburg Concerto No. 4 in G Major, BWV 1049 and St. John Passion (selections) Young Artists Recital an outreach program of The Bach Society of Charleston Bishop Gadsden Chapel, James Island | March 3, 3:00 p.m. bach society of charleston presents Baroque Concertos First (Scots) Presbyterian Church Thursday, March 1, 7:30 p.m. Charleston Baroque Orchestra Led by Cynthia Roberts and Phoebe Carrai We very much want your opinions about our concerts. We will use the information to Concerto Grosso Opus 6 No. 4 in D major Arcangelo Corelli evaluate our performances and publicity and to make plans for the coming year. Adagio—Allegro—Adagio—Vivace 1653-1713 1. How did you hear about today’s concert? (Check all that apply) Brandenburg Concerto No. 4 in G major, BWV 1040 Johann Sebastian Bach ____ I am a regular attender of Bach Society Concerts Allegro—Andante—Presto 1685-1750 ____ Friend ____ City Paper Intermission ____ Newspaper article (please indicate which) ____________________________ ____ Bach Society Poster Concerto for two flutes and strings in C major, RV 533 Antonio Vivaldi ____ Charleston Symphony Orchestra Program Booklet Allegro—Larghetto—untitled 1685-1741 ____ SCETV ____ SC Public Radio Concerto Grosso Op. 6, No. 12 in B minor George Frideric Handel ____ Other (please describe) __________________________________________ Largo—Allegro—Larghetto—Largo—Allegro 1685-1759 In what community do you live? ___________________________________________ Orchestral Suite No. 1 in C major, BWV 1066 J. S. Bach Please add me to your mailing list Overture—Courante—Gavotte—Forlane Name____________________________ Email _____________________________ Menuet I,II—Bourée I,II—Passepied I,II I would like to volunteer: Charleston Baroque Orchestra ____ Usher ____ Housing (out of town performers) First violins: Cynthia Roberts, Isabelle Seula Lee, Sarah Jane Kenner ____ Transportation (out of town performers) Second violins: Alana Youssefian, Allison Willett ____ Assist with Publicity Viola: Stephen Goist; Cello: Phoebe Carrai; Bass: Melanie Punter ____ Production assistant for events or other logistical support Viola da gamba Flute : Gail Schroeder; : Jonathan Slade, Mili Chang How would you describe yourself? Oboe/recorder: Sian Ricketts, William Thauer Age Bassoon: Joe Jones; Harpsichord: Jennifer McPherson _____ under 29 _____ 30-50 _____ 51-64 _____ 65+ _____ Thank you very much! Board of Directors—The Bach Society of Charleston TEAR OFF We are grateful to our many friends and supporters Whose efforts make this concert possible: Baroque Concertos Program notes by Williams D. Gudger Joel Bateman, photography Nancy Guerry, photography J. S. Bach spent 1717-1723 at the ducal court in Coethen, where he concentrated on com- David Hoskinson, photography Bob Dukes, photography posing instrumental music. While arranging for the delivery of a new harpsichord in Berlin, he met the Margrave of Brandenburg, to whom he sent a set of six concertos “for several Keith Blake, publicity William D. Gudger, program notes instruments” demonstrating his ability to write for most every instrument in use at the time. Megan Elger, graphic design George & Phyllis Dickenson, tickets The Margrave apparently did not have the resources to have the music per-formed. There is Rachel Remsburg, production assistant no evidence of performance or even acknowledgment of the receipt of the score, much less a gift of money to the composer. Bach had carefully written out the score of the concertos, all of musician hosts which had likely been performed in earlier versions in Coethen. Brandenburg Concerto No. 4 calls for a virtuosic violin solo, two “flauti d’echo,” and the usual group of strings as ripieno. Ralph and Nancy Edwards, Ben and Stephanie Hess, David Hunt, The flauti d’echo are recorders, not transverse flutes as often heard in modern performances. First Baptist Church, Mitzi Legerton, Hank and Betsy Martin, The echo effect may refer to the middle movement where the solo violin leaves its virtuoso role Bryan and Carol Ann Smalley, Murray and Hazel Somerville, to be the bass under the two recorders, creating a charming echo effect. The three movement Jim Kimmett and Robbie Staubes, Susan Sully, and John and Susan Witty structure (fast - slow - fast) was popularized by the Venetian Vivaldi, as in the Concerto for Two Flutes heard today. The Bach Society of Charleston expresses its gratitude to First (Scots) Presbyterian “Concerto” derives from Latin words which mean either to play together or to contend. The Church for providing our rehearsal space and our performance hall. dichotomy of the concerto is found most clearly in the concerto grosso, which pits a small group (“concertino,” a trio of two violins and cello) against the larger (“grosso”) group with full Th e Bach Society of Charleston thanks Bishop Gadsden strings, filling up the texture (“ripieno”). Together the groups form the “tutti” (“all”). Corelli’s for its support of the Young Artists Recital. Opus 6 Concerti Grossi (from Rome) were not the first but certainly the most popular. This standardized the scoring for strings alone, followed by later composers such as Handel, whose London-composed and published concerti grossi formed his similarly numbered Opus 6, per- haps an homage to Corelli. If the concerto grosso was Italian in origin, the other popular ensemble piece of the Baroque was the suite, French in origin, with an “ouverture” in regal style prefacing a sequence of styl- ized dances. Bach’s use of the French titles and spellings betrays the origins of the suite in the court of Louis XIV. John Phillips Harpsichord The First (Scots) Presbyterian Church harpsichord being used by the Bach Festival was built by John Phillips of Berkeley, California in 2001. It is patterned after one built in Dresden, Germany, by Johann Heinrich Gräbner the Younger in 1739. In all likelihood, the original instrument was used in a court theater or chapel, where its unusual DD-d” range of four octaves would have been ideal for accompaniment. Because of its Germanic style, the new instrument is especially well suited for the music of J. S. Bach, Handel, Pachelbel, Buxtehude and other composers of the High German Baroque Period. Made entirely by hand rather than constructed from kits (which are assembled by amateurs), this harpsichord is a world-class, museum-quality instrument, and one of only two of its type (a Germanic harpsichord with a DD-d” range) in the United States. bach society of charleston patrons of the bach society of charleston presents BACH SOCIETY ($5000 and up) CORELLI COLLEAGUES (up to $499) Dr. George and Phyllis Dickinson A & E Printing Murray and Hazel Somerville Anonymous Credo Netrist Solutions, LLC Robert and Lynell Baldwin A year with Johann Sebastian Bach (1685-1750) Pam Pollitt Bishop Gadsden Dr. John and Susan Witty James and Barbara Buckley Clarence and Frances Calcote St. Michael’s Church, Charleston Friday, March 2,2018 HANDEL CIRCLE ($2500-$4999) Jim and Judy Chitwood Gordon and Linda Bondurant Susan Durkalski Christopher Jacobson, organ Dr. Boyd and Charlotte Gillespie Paul and Dianne Friel Herzman-Fishman Foundation Richard and Dr. Patricia Frisch Toccata in F major, BWV 540 Robert G. and Cathy Hill Hay Tire Company Dr. Bryan and Carol Ann Smalley Isabel Hopkins Advent Edwin Johnson Kommst du nun, Jesu, von Himmel herunter auf Erden, BWV 650 VIVALDI ASSOCIATES ($1000-$2499) Judith Johnson (Art thou coming, Lord Jesus, from heaven down to earth?) Emmy Lou Anderson Lee and Elsie Kohlenberg Dr. Charles and Bonnie Bensonhaver Louise B. Lancaster Christmas Charles (Buddy) Darby III Andrew Lawson Vom Himmel kam der Engel Schar, BWV 607 (From heaven came the host of angels) Gonzalez & Oberlander, LLP Mitzi Legerton Bill and Becky Johnson Epiphany Elizabeth Rivers Lewine Janice Key, in memory of Lyndon Key Jesus Christus, under Heiland, der von uns den Zorn Gottes wandt, BWV 688 Richard and Lasca Lilly Dr. Jenny Kinnard (Jesus Christ, who turned God’s anger away from us) Marilyn Long Mrs. Sandra Korn LW and Elizabeth McAnally Poplar Tent Presbyterian Church Palm Sunday Joan McLees Clark and Joyce Remsburg Chorale Fantasia: Valet will ich dir geben, BWV 736 (All glory, laud and honor) Slade and Ina Metcalf Drs. Paul and Mary Jane Roberts O Mensch, bewein’ dein’ Sünde groß, BWV 622 (O man, bewail thy grievous sin) Kevin Mizell Dr. Tom and Sugar Slabaugh David and Elaine Neff Maundy Thursday Lawrence and Ingrid Speakman Lloyd and Margaret Ann Pearson O Lamm Gottes unschuldig, BWV 656 (O spotless Lamb of God) South State Bank Drs. Jose and Lori Rafols Drs. Carl and Debbie Stanitski Dr. Frederick and Grace Reed Good Friday Bert Storey and Barbara Kraemer Durch Adam’s Fall ist ganz verderbt, BWV 637 (By Adam’s fall has man sinned) Ed Ritchen Es ist das Heil uns kommen her, BWV 638 (Salvation has come to us) PURCELL ALLIANCE ($500-$999) Taylor Rucker Laurie Bonneau John and Aileen Sanders Easter Thomas and Gail Bunn Julienne Smith Nun freut euch, liebe Christian g’mein, BWV 734 (Now rejoice, all Christians) Sarah Christopher and Remley Campbell Dr. Thomas and Lynn Springer Jesus Christus, unser Heiland, BWV 665 (Jesus Christ, our Savior) Barbara Campbell and Arnold Marcus Miles Tager Dr.
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