A Case of Mistaken Identity

Release date: April 18, 2021, at 6pm (the concert is also available anytime for 30 days thereafter)

In this concert, we demonstrate that great music can be written by lesser- known composers: so great, in fact, that their work can be indistinguishable from the masters. At the end of this program, the composers are revealed. We encourage you to let the mystery continue until after you have enjoyed the piece on its own merits, then consult the notes.

Part I: The Baroque Era

Violin Sonata in E minor, Op. 5, no. 8 SOUNDS LIKE George Frideric Handel (1685-1759) Largo (Preludio) / Allegro (Allemanda) / Largo (Sarabanda) / Allegro (Gigue) Stephen Redfield and Mario Aschauer

Suonata in D major SOUNDS LIKE François Couperin (1668-1733) Performed as a single movement Grave / Vivace- e Presto - Adagio / Allegro / Adagio / Allegro / Aria affetusoso / Becarre allegro Marcus McGuff, Stephen Redfield, Eric Smtih, Mario Aschauer

Trio Sonata in C major, BWV (sic) 1037 SOUNDS LIKE Johann Sebastian Bach (1685-1750) Adagio / Alla breve / Largo / Gigue Marcus McGuff, Stephen Redfield, Eric Smtih, Mario Aschauer

A Case of Mistaken Identity

Part II: The Classical Era

Quartett in G major, Op. 8, no. 5 SOUNDS LIKE Wolfgang Amadè Mozart (1756-1791) Allegro / Rondo (Allegro) Stephen Redfield, Bruce Williams, Eric Smith, Anton Nel

Piano Trio no. 4 in G major, Op. 65 SOUNDS LIKE Ludwig van Beethoven (1770-1827) Allegro con spirito / Andante quasi allegretto / Rondo alla russa Stephen Redfield, Eric Smith, Anton Nel

Anton Nel, fortepiano, winner of the first prize in the 1987 Naumburg International Piano Competition at Carnegie Hall, enjoys a remarkable and multifaceted career that has taken him to North and South America, Europe, Asia, and South Africa. Following an auspicious debut at the age of twelve with Beethoven’s C Major Concerto after only two years of study, the Johannesburg native captured first prizes in all the major South African competitions while still in his teens, toured his native country extensively and became a well-known radio and television personality. A student of Adolph Hallis, he made his European debut in France in 1982, and graduated with highest distinction from the University of the Witwatersrand in Johannesburg. He came to the United States in 1983, attending the University of Cincinnati, where he pursued his Masters and Doctor of Musical Arts degrees under Bela Siki and Frank Weinstock.

Highlights of Mr. Nel’s nearly four decades of concertizing include performances with the Cleveland Orchestra, the symphonies of Chicago, San Francisco, Seattle, Detroit, and London, and many others.

As recitalist he has appeared at Carnegie Hall, Lincoln Center, the Metropolitan Museum and the Frick Collection in New York, at the Ambassador Auditorium in Pasadena, Davies Hall in San Francisco, and the Library of Congress in Washington, DC. Internationally he has performed recitals in major concert halls in Canada, England, France, Holland, Japan, Korea, and South Africa.

Eager to pursue dual careers in teaching and performing, he was appointed to the faculty of the University of Texas at Austin in his early twenties, followed by professorships at the Eastman School of Music, and the University of Michigan, where he was chairman of the piano department. In January 2010 he became the first holder of the new Joe R. and Teresa Lozano Long Endowed Chair in Piano at the University of Texas at Austin.

Anton Nel became a citizen of the United States of America on September 11, 2003. He is a Steinway artist.

Stephen Redfield, violin, concertmaster, also leads the orchestras of Conspirare, Santa Fe Pro Musica, Arizona Bach Festival and Victoria Bach Festival. A long-time participant with the Oregon Bach Festival, he has performed there as concertmaster, principal and soloist, and has participated in numerous recordings includ- ing the Grammy® award-winning disc Credo. Stephen served for five years as Assistant Concertmaster with the Austin Symphony while earning a doctorate at the University of Texas. He also per- forms internationally as a soloist and a chamber musician on both modern and Baroque violin. Stephen teaches violin at the Univer- sity of Southern Mississippi School of Music, where he joins his colleagues in the Impromptu Piano Trio. In 2019, Stephen received the Austin Critics Table award for best classical instrumentalist.

Eric Smith, gamba, has been praised by critics for his “flawless lightness and grace” and called “the very model of an elegant cellist”. Eric is a multi-faceted musician, performing early music on period instruments, to contemporary music. As a soloist, chamber musician, and continuo player, Eric has collabo- rated with the Dallas Bach Society, Orchestra of New Spain, Texas Camerata, Ars Lyrica Houston, Sonare, Ensemble VIII, Denton Bach Society, Dallas Chamber Players, Bach Society of Houston, New York’s Concert Royal, and the New York Baroque Dance Company. His recordings have been heard on both NPR’s Performance Today, and Public Radio Interna- tional, and he was featured in an interview in the 125th Anniversary issue of The Strad magazine.

Marcus McGuff, Baroque flute (traverso), plays both modern and Baroque flute. He holds degrees in flute performance from the Eastman School of Music and Indiana University, as well as a Doctor of Musical Arts in flute from the University of Michigan. In addition, he holds degrees in mathematics from the University of Rochester. He has taught flute at Austin Community College and at Concordia University. Currently, he is Professor of Mathe- matics at Austin Community College and teaches flute privately. He has studied Baroque flute with Wilbert Hazelzet, Michael Lynn, and Jed Wentz and modern flute with Bonita Boyd.

Bruce Williams, viola, is principal violist with the Austin Symphony. In 2003, he won the Austin Critics Table award for Outstanding Instrumentalist for his performance with the Austin Symphony of “Harold in Italy” by Hector Berlioz.

Mr. Williams is a founding member and manager of the Artisan Quartet, presenting the “Artisan Quartet Series” since 2012 in Austin. The Quartet has performed at Carnegie Hall presented by MidAmerica Productions. The AQ was recently named Quartet in Residence with the Mozart Festival Texas, the Texas Bach Festival, and also the Mason County Chamber Music Festival where he also serves as Artistic Director.

Praised a performer with “unconventional ludic drive” by the press, Mario Aschauer works as conduc- tor, harpsichordist, and musicologist at the interface of music scholarship and performance.

As Associate Professor of Music, Mario teaches music history, historically informed performance and early keyboard instruments at the Sam Houston State Uni- versity School of Music (Huntsville, TX). He holds an MA in harpsichord performance from the University of Music and Performing Arts, Vienna, an MPhil and a PhD in musicology from the University of Vienna, as well as a degree in conducting from the Linz Bruckner Conservatory.

As a performer on historical keyboard instruments Mario has built up a diverse reper- toire specializing in Austrian Baroque music. He is member of the Calamus-Consort, which won first prize at the International H.I.F. Biber Competetion in 2009 and since then has been invited to numerous renowned early music festivals such as Reso- nanzen Wien, Bach Fest Leipzig (Germany), and Itinéraire Baroque en Périgord Vert (France).

His book on German Keyboard Treatises in the Second Half of the Eighteenth Cen- tury (Kassel: Bärenreiter, 2011) is considered a standard reference in the field.

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CAUTION: Following are the true composers of the works featured on the program. If you enjoy the mystery of listening to a piece and enjoying it on its own merits, whether written by a “name” composer or not, DO NOT GO FUTHER UNTIL YOU HAVE ENJOYED THE PIECE.

Violin Sonata in E minor, Op. 5, no. 8 Arcangelo Corelli (1653 – 1713)

The similarity of this music to that of Handel is no accident. Early in his career, Handel left Hamburg to study and work in Italy, at that time the hot bed of innovation in the Baroque period. He almost certainly met, and perhaps studied with, Corelli, who at the time was the premier violinist and composer in Rome, and 32 years Handel’s senior.

Handel’s sonatas for violin follow this slow-fast-slow-fast model, with the last movement often being a gigue as here.

Suonata in D major Elisabeth Jacquet de la Guerre (1665 – 1729) There aren’t many “success stories” for women as either performers or composers, but Elisabeth Jacquet was certainly one. Her talent was recognized by King Louis XIV and she was accepted into his court. Her skills in harpsichord and composition were acclaimed throughout France.

In this sonata, she adopts the same form that Couperin uses in, for example, his Sonades from his Les Nations suites: a continuous movement within which are individual sections of contrasting character. Throughout there is the same Couperin elegance of expression (so-called “le bon goût”).

Trio Sonata in C major, BWV (sic) 1037 Johann Gottlieb Goldberg (1727 – 1756)

This composition even fooled the first compilers of the complete works of Bach, the Bach Werke Verzeichnis, who assigned it a BWV number of 1037. Later, at least two manuscripts revealed the author to be Goldberg.

Yes, this is the same Goldberg referenced in the Goldberg Variations by Bach (although the authenticity of that story has been questioned). Nonetheless, Goldberg was a virtuoso harpsichord player and obviously a fine composer.

Quartett in G major, Op. 8, no. 5 Johann Christian Bach (1727 – 1756) J.C. Bach was J.S. Bach’s youngest and most musically successful son. His compositions could be found throughout Europe and the American colonies. Among his most ardent admirers was Mozart himself: no wonder, since the same sense of beautiful melody and classical balance are on ample display.

Mozart is often acknowledged as the “inventor” of the piano quartet when he wrote his first one in 1785. We don’t know when J.C. Bach wrote this quartet, but we do know he died in 1782. Without question, this composition preceded Mozart’s!

Piano Trio no. 4 in G major, Op. 65 Johann Nepomuk Hummel (1778 – 1837)

Hummel was a child prodigy on piano and counted among his teachers Mozart and Clementi. He was admired by Haydn. He and Beethoven had a lifelong personal friendship and professional respect for each other (as well as the temperamental Beethoven could maintain such relationships.)

This piece resembles works composed by Beethoven in his middle period: a sophisticated and dramatic first movement; a heartfelt slow movement; and a snappy, engaging final movement. Who “copied” who, who knows?

This project is supported in part by the Cultural Arts Division of the City of Austin Economic Development Department

This project is supported in part by an award from the National Endowment for the Arts.

for music and the arts in East Austin

Our thanks to Bill Cory, who tuned and regulated the fortepiano for this concert.

Board of Directors Staff Tracy Reindel, President Frank Adkins, Venue Manager Louis Galie, Vice President Gregory Eaton, Secretary Pamela Corn, Treasurer George Dupere Charles Smaistrla

La Follia Austin Baroque PO Box 29773; Austin, TX 78755

http://lafollia.org [email protected] 512.879.6404