Early Music in the Chapel at St Luke's

Les Goûts Réunis

Timothy Neill Johnson—tenor & Timothy Burris—Lute with Michael Albert—violin & Eliott Cherry—'cello

So wünsch ich mir zu guter letzt ein selig Stündlein J.S. Bach (1685 - 1750) Jesu, meines Herzens Freud Bist du bei mir Der Tag ist hin

Et è per dunque vero Claudio Monteverdi (1567 - 1643)

Sonata seconda Dario Castello (c. 1590 – c. 1658)

Prelude Amila François Dufaut (1600 – 1671) Tombeau de Mr Blanrocher

Music for a while Henry Purcell (1659 – 1695) Evening Hymn Sweeter than roses

Domine, Dominus noster André Campra (1660 – 1744) The Composers J.S. Bach The three chorales with figured bass included here are from the Gesangbuch published by Georg Christian Schemelli in 1736. The 69 pieces attributed to Bach in the mammoth Gesangbuch (which contains no fewer than 950 pieces!) are marked by quiet and pious sentiments, unobtrusive and effortless harmonies. The aria “Bist du bei mir” (BWV 508) was part of Gottfried Heinrich Stölzel's opera Diomedes, oder die triumphierende Unschuld that was performed in Bayreuth on November 16, 1718. The opera score is lost. The aria had been part of the Berlin Singakademie music library and was considered lost in the Second World War, until it was rediscovered in 2000 in the Kiev Conservatory. The continuo part of BWV 508 is more agitated and continuous in its voice leading than the Stölzel aria; it is uncertain who provided it, as the entry in the Notebook is by Anna Magdalena Bach herself. Claudio Monteverdi Claudio Monteverdi, the oldest of five children, was born in Cremona, where he was part of the cathedral choir and later studied at the university. He went on to a distinguished career as a composer and conductor, first at Mantua and later at St Mark's in Venice, where he restored the standard of music to its former glory. He championed the seconda pratica, a new style of writing music that distinguished it from the older Palestrina style, or prima pratica. His final masterpieces were the operas Il ritorno d'Ulisse in patria (1641) and L'incoronazione di Poppea (1642). L'incoronazione is especially noteworthy, containing as it does a mixture of tragic, romantic, and comedic scenes, as well as a more realistic portrayal of the characters than was the case with earlier operas. Dario Castello Almost nothing is known of the life of Castello—even his birth and death dates are speculation: some scholars think he lived as late as 1658, but others that he died during the great plague of 1630. He worked and published in Venice, and was probably associated with St. Mark's cathedral, where Claudio Monteverdi was maestro di capella. This association is also suggested by Castello's use of the stile concitato—quick repeated-note figures—characteristic of Monteverdi, and fully on display in his Sonata seconda. François Dufaut Dufaut was a student of Denis Gaultier, and though little of his music survives, his reputation as an instrumentalist is attested to by many contemporary sources, which described him as one of the greatest lutenist of his time. Charles Fleury, Sieur de Blancrocher was a French lutenist and one of the leading performers of his day. No fewer than four major composers wrote tombeaux in his memory: lutenists Denis Gaultier and François Dufaut, and harpsichordists Louis Couperin and Johann Jakob Froberger. The latter witnessed Blancrocher's death, and the lutenist apparently died in Froberger's arms, after falling down the stairs.. Henry Purcell Thomas Tudway, one of Purcell's contemporaries, called him ‘…the greatest Genius we ever had.’ To this day, Purcell is regarded as one of Britain’s finest composers. His career saw him go from choir-boy at the Chapel Royal to assistant to one John Hingeston, whose responsibilities included tuning and maintaining the organ and other instruments. Occasionally, he worked as a paid copyist. In 1677, he was appointed a court composer for the king's 'Twenty-four Violins'. In 1679, he took over the duties of orgainst at Westminster Abbey, succeeding no less a figure than John Blow. Numerous songs by Purcell—including those on today's program—were published posthumously in two volumes entitled Orpheus Britannicus, in 1698 and 1702 respectively. André Campra Campra was an important French composer and conductor, whose career placed him between Jean-Baptiste Lully (1632-1687) and Jean-Philippe Rameau.(1683-1764), and who played a significant role in the renewal of French opera. After two appointments in the provinces, in 1694 he became maître de musique at Paris's cathedral of Notre-Dame, and in 1697 began to turn his attention toward the theater, where he distinguished himself as few of his generation. From 1720 onwards, he returned to the composition of sacred music, including “Domine, Dominus noster”, the work on today's program. The Artists Timothy Neill Johnson—tenor Mr. Johnson has performed and recorded with many ensembles here and abroad. These include the Los Angeles Baroque Ensemble, La Petite Bande, Collegium Vocale, Handel Society of Baltimore, Le Concert Spirituel of Paris, and the Portland Symphony. His repertoire ranges from English ayres to the song cycles of Benjamin Britten. He is on the faculty of both Bowdoin College and the University of Maine in Augusta. Timothy Burris—lute Mr Burris has performed widely in Europe and the US, including appearances with world-renowned early music specialists Derek Lee Ragin and Julianne Baird. His recordings include modern premieres of 18th-century ensemble works including lute and written for the Dresden court (the subject of his dissertation—Duke, 1997). Lute instructor at the Royal Flemish Conservatory of Music in Antwerp from 1990-96, he is currently on the faculty of the Portland Conservatory of Music. Michael Albert—violin Michael Albert has performed as a solo oboist, vocalist, and violinist for many orchestras and chamber ensembles throughout the U.S. and Canada, including Seraphic Fire and the Firebird Orchestra based in Miami, and Ecclesia, Tableau, Blue Lobster, and Portland Pro Musica. He plays oboe with the Portland and Bangor Symphonies, the North Shore Philharmonic Orchestra in Massachusetts, the Maine Chamber Ensemble, and the Colby College Orchestra. His collaborations with Maine composer Jan Carter include scores to the PBS documentaries "Sweet Ambition", "The Polygamist's Daughter", and “Swift Justice”. He has an adjunct faculty position at Colby College teaching oboe. Eliott Cherry—'cello Eliott Cherry was born and raised in New York City, with first music lessons from his father, who was a cellist in the Metropolitan Opera Orchestra. His studies continued at the Cathedral Boy's Choir School, High School of Music and Art, Leonard Davis Center for the Arts of City College, and with numerous private teachers. He moved to Maine in 1984 and has been active as a composer, cellist, and teacher. He was also a classical music radio host for many years.