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FACULTY RECITAL the “Goldberg” Variations Charlotte Mattax

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FACULTY RECITAL the “Goldberg” Variations Charlotte Mattax FACULTY RECITAL The “Goldberg” Variations Charlotte Mattax Moersch, harpsichord Krannert Center for the Performing Arts Foellinger Great Hall March 8, 2020 3:00 PM JOHANN SEBASTIAN BACH Aria mit 30 Veränderungen, BWV 988 (1685‐1750) Aria Variatio 1 a 1 Clav. Variatio 2 a 1 Clav. Variatio 3 Canone allʹUnisuono a 1 Clav. Variatio 4 a 1 Clav. Variatio 5 a 1 ovvero 2 Clav. Variatio 6 Canone alla Seconda a 1 Clav. Variatio 7 a 1 ovvero 2 Clav. Al tempo di Giga Variatio 8 a 2 Clav. Variatio 9 Canone alla Terza a 1 Clav. Variatio 10 Fughetta a 1 Clav. Variatio 11 a 2 Clav. Variatio 12 Canone alla Quarta a 1 Clav. Variatio 13 a 2 Clav. Variatio 14 a 2 Clav. Variatio 15 Canone alla Quinta a 1 Clav. Andante Pause Variatio 16 Ouverture a 1 Clav. The recipient of several important awards and prizes, she was honored with a Solo Recitalist Variatio 17 a 2 Clav. Grant from the National Endowment for the Arts, and a Harriet Hale Woolley Scholarship for Variatio 18 Canone alla Sesta a 1 Clav. study in Paris. She is a specialist in seventeenth‐century French music; her book, Accompaniment Variatio 19 a 1 Clav. on Theorbo and Harpsichord: Denis Delair’s Traité of 1690, is published by Indiana University Press. Variatio 20 a 2 Clav. Variatio 21 Canone alla Settima a 1 Clav. She has recorded for Koch, Dorian, Amon Ra, Newport Classic, Analekta, and Centaur Records. Variatio 22 a 1 Clav. Alla breve Her solo harpsichord discography includes J.S. Bach’s Goldberg Variations, W.F. Bach’s sonatas, Variatio 23 a 2 Clav. and the complete Pièces de clavecin of Jean Henry D’Anglebert, Armand‐Louis Couperin, Charles Variatio 24 Canone allʹOttava a 1 Clav. Noblet, and Pierre Février. The Bach Legacy, her most recent recording, features sonatas and Variatio 25 a 2 Clav. Adagio polonaises of C.P.E., J.C.F., and W.F. Bach. Variatio 26 a 2 Clav. Variatio 27 Canone alla Nona a 2 Clav. Professor Mattax directs Illinoisʹ period instrument ensemble Concerto Urbano, which she Variatio 28 a 2 Clav. founded in 1998. At Illinois’ Krannert Center for the Performing Arts, she has directed fully Variatio 29 a 1 ovvero 2 Clav. staged period performances of Baroque operas, including Rameau’s Zéphyre, Purcell’s Fairy Variatio 30 Quodlibet a 1 Clav. Queen, Monteverdi’s Poppea, Cavalli’s La Calisto, Handel’s Acis and Galatea, and Lully’s Armide Aria da capo with Baroque dance choreography by UI Professor of Dance Phillip Johnston. Also at Illinois, Mattax Moersch has served as the Director of Graduate Studies (DGS) as well as Harpsichordist Charlotte Mattax Moersch has performed worldwide as a soloist and chamber Coordinator of Faculty Affairs. As Coordinator, she ran a taskforce in faculty workload equity, musician. Since capturing First and Third Prizes in basso continuo and solo playing in the revised the Faculty Handbook, and oversaw tenure and promotion cases. In 2009, she won the International Harpsichord Competitions in Paris, France and Bruges, Belgium, she has appeared Campus Award for Excellence in Graduate Teaching, and was honored with the Campus in solo recitals in New York, London, Edinburgh, Rome, Geneva, Paris, and Amsterdam, and at Research Board’s Arnold O. Beckman Research Award. historic venues, among them Carnegie Hall, the Royal Albert Hall, the Mozarteum, and the Palazzo della Cancelleria. Called a “nonpareil harpsichordist” by Early Music America, she has https://publish.illinois.edu/charlottemattax/ received critical acclaim for her playing, at once “dashing yet intelligent” (Classical Times, London), and “fluent and expressive” (Fanfare Magazine). As a guest artist, she has performed at the Festival of the Associazione Musicale Romana, Festival Estival de Paris, Tage alter musik Regensburg, and the Bethlehem and Boulder Bach Festivals, and has toured Europe with San Francisco’s American Baroque and the Orpheus Chamber Orchestra. As harpsichordist with New York’s Grande Bande, she performed in a production of Rameauʹs opera Platée at the Brooklyn Academy of Music, with Pilobolus dancers and renowned soprano Renée Fleming. She has partnered with other dancers as well, performing programs of French music with Baroque dancer Catherine Turocy of the New York Baroque Dance Company, and J.S. Bach’s harpsichord concerti with Paul Taylor’s “Taylor 2” Dance Company. She collaborated with jazz vocalist Bobby McFerrin in a concert with the New Jerscy Symphony at the PNC Bank Arts Center, a 17,000‐seat amphitheater, .
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