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Jerome L. Greene Concert

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Jerome L. Greene Concert ALICE TUllY HAll Home of The Chamber Music Society of Lincoln Center The Juilliard School presents the JEROME L. GREENE CONCERT Monday Evening, February 5, 2007, at 8:00 JUILLIARD CHAMBER ORCHESTRA JUILLIARD CHORAL UNION JUDITH CLURMAN, Conductor 7'7JeJttiliiard Chamber Orchestra, part of the Orpheus Institute at [uilliard, will also perform several works without conductor BIBER Battalia (Sonata di rnarche) Sonata Die leiderliche Geseltschaft von allerey Humor: Allegro Presto DerMars Presto Aria Die Schlacht Lamento der Verwundten Musquetirer: Adagio ]UILLIARD Ca. ....MBER ORCHESTRA ).S. BACH Orchestral Suite in C major, BWV 1066 Ouvcrture Courante Gavottes 1 and II Forlane Menuets I and II Bourrees I and II Passepieds I and II ]UILUARD CHAMBER ORCHESTRA {centinued} This performance is supported in part by Goldman, Sachs & Co. At> a cent..-a!part of the Orpheus Institute at Juilliard, the Juilliard Chamber Orchestra is supported by a grant to Orpheus from the Peter Jay Sharp Foundation, along with additional funding from the Skirball Foundation and individual donors to Orpheus. Please make certain that the electronic signal on your watch, pager, or ceil phone is turned off during the concert. The raking of photographs and the use of recording equipment an: not permitted in this auditorium. Further information regarding gifts to the School may be obtained from: The Juilliard School Development Office 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, Ext. 278 wwwjuilliard.eduj/giving J.S. BACH Es ist ein trotzig und verzagt Ding (Cantata for Trinity, BWV 176) Es ist ein trotzig wnd- verzagt Ding (Chorus) Lch meine, recht verzagt (Recitative: Contralto) Dein sonst hell beliebter Schein (Aria: Soprano) So wundre dich, 0 Meister) nicht (Recitative: Bass) Ermuruert euch (Aria: Contralto) Auf dass wir also allzugleich (Choral) ERIN MORLEY, Soprano TBD, Mezzo-soprano DAVID WILLIAMS, Baritone Intermission PURCELL Chacony for Strings in G minor, Z.730 JUILLIARD CHAMBER ORCHESTRA J.S. BACH Christ lag in Todes Bandon (Cantata for the First Day of Easter, BWV 4) Sinfonia Versus I: Christ lag in Todes Baruien (Chorus) Versus II: Den Tad niemand zwil1iJen kmwt (Chorus, Soprano, Contralto) Versus III: Jesus Cbristns, Gottes Sohn (Chorus, Tenor) Versus IV: Es /Var in wunderlicher Krieg (Chorus) Versus V: Hier ist das rechte Osterlatnni (Bass) Versus VI: So[eiern wir das bobe Fest (Chorus, Soprano, Tenor) Versus VII: Wir essen 1wd Leben wobl (Choral) ARIANA WYAIT, Soprano SOLA..KGE M.ERDINiAl"'\', Mezzo-soprano MICHAEL KELLY, Tcuor MARc WEBSTER, Bass Notes on the Program by James Keller Battalia (Sonata di marche) point the composer could employ the very HEINRICH IGNAZ FRANZ BlBER complete name of Heinrich Ignaz Franz Born August 1644--baptized on the 12th of Biber von Bibern when he chose to-e-which that month--in Wartenberg, Bohe.mia-now we assume he did not ifhe was in a hurry. On Stniz pod Ralskem, Czech Republic the heels of this honor he was named Lord Died May 3, 1704, in Salzburg High Steward by the new Prince-Archbishop of Salzburg (Biber's original Salzburg boss Mention the Austrian city of Salzburg and had died in 1687), marking the lofty apex of music-lovers instinctively think of Wolfgang his professional and social ascent. Despite his Amade Mozart, its most famous native son. expertise as a violinist he appears not to have Far fewer people are likely to think of it as pursued a touring career as a virtuoso, the city of Heinrich Ignaz Franz Biber, who instead applying himself to his work in moved to Salzburg in 1670 and stayed for Salzburg. Nonetheless, he apparently was the remaining 34 years of his life. Keep your known in Munich (about seventy miles dis- eyes peeled next time you find yourself in tant) as he was twice decorated by the Salzburg and you may spot the h.istorical Bavarian Court there. His reputation lin- marker posted on a downtown building gered long after his death. A century later the marking his one-time residence. eminent British music historian Charles As a teenager Biber was already fraterniz- Burney wrote, "Of all the violin players of ing with the important Bohemian composer the last century Biber seems to have been the Pavel Vejvanovsky (still appreciated today, best, and his solos are the most difficult and especially by brass players), and in 1668 he most fanciful of any music I have seen of the was named musician and valet de chambre to same period." the Prince-Bishop of Olmutz (Olomouc), Indeed, it is for his string music that we where Vejvanovsky was working as a trum- mostly remember Biber today, although the peter. He achieved distinction as a virtuoso recen t revival of his vastly scaled, richly violinist, and in 1670 the Prince-Bishop sent scored masses and other sacred works alerts him to the Iuthier Jacob Stainer in Absam us to how much we have missing by not (just outside Innsbruck, Austria) to purchase knowing his vocal compositions. new instruments for the court. Biber didn't Nonetheless, today he is represented princi- make it that far. While passing through pally by his marvelous violin sonatas, includ- Salzburg en route, he was offered, and ing a contemplative series based on the accepted, a position with the Prince- Mysteries of the Rosary, and his chamber Archbishop of Salzburg. His ex-employer works for string ensembles. Among the latter was not amused and held off releasing Biber is the unusual piece Biber produced in 1673 from his service officially until 1676, by under the title Battalia: Das leiderliche which time it was clear that Biber would not Schwiirmen der Musquetirer, Mars, die be coming back. In the meantime Biber had Schlacht Undt Lamento der Verwundten, mit at least tried to temper the situation by send- Arien imitirt Und Bacco dedicirt ("'Battle: ing musical compositions back to the Prince- The Dissolute Reveling of Musketeers, Bishop in Olmiitz. March, the Battle, and Lament of the He rose quickly through the ranks of Wounded, Imitated with Airs and Dedicated courtiers in Salzburg, publishing several col- to Bacchus"). lections of instrumental music that he pru- This was one of several programmatic dently dedicated to his new Prince- "representational pieces" Biber produced; Archbishop. In 1684 he was appointed others include a serenade depicting a night Kapellmeister and dean of the choir school in watchman making his rounds and a piece in Salzburg. In recognition of his expertise as a which the solo violin is made to imitate a cat, violinist and composer and his service to his a frog, and a variety of birds. The extended community, Emperor Leopold I raised him title of Battalia basically alerts listeners to to the noble rank of knight in 1690, at which what they may expect in terms of plot, PROGRAM although the dedication to Bacchus may sug- is that he chooses not to end with the excite- gest a celebratory ending at odds with what ment and glory of the battle itself. Instead, really happens. Biber wrote this piece in he opts for deeper realism and appends as his 1673, probably for convivial Carnival cele- finale a Lamento der VerwulIdten brations at the Salzburg Court, which helps Musquetircr ("Lament of the Wounded explain the Bacchus dedication. It calls for a Musketeers"), a dismal Adagio in which lavish ten-part ensemble comprising three descending chromatic motifs and "painfully" violins, four violas, two violoncs (double extended suspensions evoke the maimed and basses), and harpsichord (with other instru- expiring soldiers left on the field when the ments participating in the basso continuo as smoke clears. desired), and it unrolls through eight shorr movements that depict the various episodes of the battle, from its preparation to its after- JOHANN SEBASTIAN BACH math. Throughout, Biber provides hyper- Orchestral Suite in c majorl BWV 1066 depietive music enhanced by unusual effects Born March 21, 1685, ill Eise1lach, to bring the sense of the event alive. Thuringia, Germany, In the opening Sonata the "special effect" Died July 28) 1750) in Leipzig) Saxony is col legno playing, in which the strings are struck with the wood of the bow. The second Johann Sebastian Bach was 32 years old movement, Die leiderliche Geselisdmft von when he assumed the position of allerey Humor ("The Dissolute Company Kapellmeister (music director) at the Court with all Kinds of Humor") sounds about 250 of Prince Leopold of Anhalt in Cothen, in years ahead of its time: it's a quodlibet in December 1717. It was a big decision for the which eight popular songs are played simul- composer, who already had a perfectly good taneously in teeth-gritting dissonance (both job as orchestra leader for the Duke of harmonic and metric). One of the tunes you Weimar, where he had worked since 1708. have probably heard before: Kraut Imd Accepting the new position was personally Ruben haben mich vertrieben ("Cabbage and disruptive quite beyond the fact that it Beets have Driven Me Away"), which entailed moving Bach's quickly growing fam- Johann Sebastian Bach would use seven ily the distance of about sixry miles; the Duke decades later in the quodlibet that caps off refused to accept Bach's resignation, and had his Goldberg Variations. In a notation in the him held under arrest for a month before he second violin part Biber unnecessarily finally relented and let his orchestra leader informs us, Hie dissonant ubioue nam ebrii go. sic diversis Cantilenis clamare solent ("Here it Bur the allures of Cothen were substan- is dissonant everywhere, for thus are drunks tial. Leopold's realm may have been small accustomed to bellow with different songs"). (with just 5,000 subjects), but his passion for A short and harmless Presto follows, and music was boundless.
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