Saturday Evening, February 17, 2018, at 7:30 The Juilliard School presents Handel in Rome Juilliard415 and Vox Luminis Elizabeth Blumenstock , Concertmaster Lionel Meunier , Artistic Director, Vox Luminis Sarah Jane Kenner , Violin Anneliese Klenetsky , Soprano GEORGE FRIDERIC HANDEL (1685–1759) Nisi Dominus , HWV 238 Nisi Dominus Vanum est vobis Cum dederit dilectis Sicut sagittae Beatus vir Gloria Patri HANDEL Violin Concerto in B-flat major, HWV 288 Andante Adagio Allegro SARAH JANE KENNER, Violin Intermission Juilliard’s full-scholarship Historical Performance program was established and endowed in 2009 by the generous support of Bruce and Suzie Kovner. The taking of photographs and the use of recording equipment are not permitted in this auditorium. 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 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. HANDEL Laudate pueri Dominum , HWV 237 Laudate pueri Sit nomen Domini A solis ortu Excelsus super omnes Quis sicut Dominus Suscitans a terra inopem Qui habitare facit Gloria Patri ANNELIESE KLENETSKY, Soprano HANDEL Dixit Dominus , HWV 232 Dixit Dominus Virgam virtutis Tecum principium Juravit Dominus Tu es sacerdos in aeternum Dominus a dextris tuis Judicabit in nationibus De torrente in via bibet Gloria Patri Performance time: approximately 1 hour, 40 minutes, including one intermission Vox Luminis is grateful for the support from Wallonie-Bruxelles International for their U.S. tour and is represented exclusively in North America by Alliance Artist Management, 5030 Broadway, Suite 812, New York, NY 10034 Notes on the Program toward music. Our composer nonetheless smuggled a small clavichord into the fam - by James M. Keller ily’s attic and developed privately into an accomplished keyboard player. Once his tal - GEORGE FRIDERIC HANDEL ent became publicly known, the duke of Born February 23, 1685, in Halle, Saxony Saxe-Weissenfels urged Handel Sr. to allow (Germany) the gifted son to study music properly. Died April 14, 1759, in London, England Handel refined his abilities under the tute - lage of a church organist in his native city, Not much is known with certainty about acquiring skill not only as a keyboard player Handel’s formative years. His father, a but also as a violinist and in such disciplines respected barber-surgeon, was 63 years as harmony, counterpoint, and composition. old when George was born. (He was bap - tized under the name Georg Friederich When Handel entered Halle University in Händel, but he later adopted an anglicized 1702, he apparently did so as a law stu - version of his name, George Frideric Handel, dent. Within a month he was back in the which is generally used today in English- organ loft, this time at the local Calvinist speaking lands.) The father decided that Cathedral, though he was a baptized the son should study law and therefore did Lutheran. A year later, in 1703, he left for not encourage Handel’s early inclinations the musical capital of Hamburg, where he befriended Georg Phillip Telemann (then Nearly all of Handel’s Latin church music still a student) and gained a position in the dates from 1707, when he was living in municipal opera house, initially as a second Rome surrounded by ecclesiastical person - violinist, later as a harpsichordist. He vis - ages. His motet Nisi Dominus (HWV 238) ited the aging Dieterich Buxtehude in and Laudate pueri Dominum (HWV 237) nearby Lübeck but somehow managed to were almost certainly written for the Feast miss meeting Johann Sebastian Bach, his of Our Lady of Mount Carmel (Madonna exact contemporary, not only in those early del Carmine) at the Church of Santa Maria years but, indeed, at any point in his life. di Monte Santo in Rome, which was cele - brated through a Vespers service on July 15, By 1706, at the age of 21, he was off to 1707, a Mass on July 16, and another Italy, a magnet for any composer at the Vespers later on July 16. Cardinal Colonna turn of the 18th century. It was his base of and Marchese Ruspoli were major patrons operations from late 1706 through early of the Carmelite order, and the former was 1710, during which span he spent time in especially active underwriting special Florence, Rome, Venice, and Naples. He music for the order’s festivities. The motet arrived in Rome at the beginning of 1707, Dixit Dominus (HWV 232) probably relates and that is where we encounter him in this to the same ceremonies, but its associa - concert. It was an exciting place to be, a tion is less certain. Handel composed it in city of some 125,000 residents encom - April 1707, perhaps for a separate occa - passing, on one hand, desperate poverty sion; but, even in that case, it seems likely and rampant crime and, on the other, fan - that it may have also been performed, if tastic wealth that extended to a plethora of not premiered, at the Carmelite celebra - aristocratic palaces and the unbelievable tion. Each of the Vespers services required splendor of the Vatican. Handel (or the singing of five psalms; lavish settings “Endel,” as Italian sources sometimes (such as the 1707 feast) would include identified him, doing their best phoneti - polyphonic psalm settings, while more cally) was welcomed into the cultural cir - modest venues might realize them at least cles of four highly placed personages in mostly through chant. Handel’s extant particular: Cardinal Pietro Ottoboni (whose psalm settings line up remarkably well maestro di concerto was Arcangelo with the musical exigencies of the 1707 Corelli), Cardinal Benedetto Pamphilj (or Carmelite services, where they likely Pamphilii, or Panfili), Cardinal Carlo Colonna, would have been intermingled with set - and the Marchese (Marquis) Francesco tings by other composers. Maria Ruspoli. He became acquainted with such musical eminences as Corelli, Handel had an extraordinary ability to Alessandro Scarlatti, and Domenico Scarlatti absorb disparate regional styles and refract (visiting from Madrid), and was thoroughly them through the distinctive prism of his exposed to the latest trends in church personal voice. An Italianate sound cer - composition as well as the new concerto tainly informs all the pieces on this pro - grosso techniques of Corelli, Torelli, and gram, yet they also sound very much like Vivaldi. Handel left Italy in February 1710, Handel, memorable in rhythmic and melodic worked for a while in Hanover, and in outlines, imaginative in deployment of August 1710 traveled for the first time to voices and instruments, filled with specific England, where he would soon settle for character and musical surprise. The three the remainder of his illustrious career. motets require different forces. Nisi Dominus , a setting of Psalm 127 (or 126 in manuscript titled S onata a 5 , scored for the Vulgate numbering) is scored for three solo violin, two oboes (easily doubled with vocal soloists (contralto, tenor, and bass), “orchestral” violins), viola, and basso con - chorus, strings (including solo violin in one tinuo. This work has obscure origins. It aria), with basso continuo. Handel signed was quite possibly written in Italy, perhaps off on the piece on July 8, 1707. The in Florence or Venice in 1706 or 1707, per - work’s final doxology was thought destroyed haps in Rome. Though the piece is rarely in a fire in the 19th century, but it is now heard in this form, its first movement may widely believed that the doxology setting sound familiar. Handel, an inveterate recy - intended for this work is one Handel com - cler of his compositions, also employed it posed that expands the texture to a double in his Oboe Concerto “No. 2” in B-flat chorus and double string orchestra. major (perhaps a spurious work), in his Chandos Anthem No. 5 (1717–18), in the Laudate pueri (Psalm 113; Vulgate 112) is first of his 7 Sonatas for 2 Violins (or for strings plus two oboes (which operate German Flutes), Op. 5 (published in 1739), as an independent instrumental family and, in developed form, in the oratorio rather than just doubling the violins), a four- Belshazzar (1745). Such self-borrowing part chorus, and a florid solo soprano part, was common in Handel’s vocal music, too. in addition to basso continuo. This work The Dixit Dominus , for example, furnished was completed on July 13—really down to music he later used in his oratorio Deborah the deadline. Dixit Dominus (Psalm 110; (1733), and the Qui habitare fecit move - Vulgate 109) is the most imposing of these ment in Laudate pueri invites us to think motets, and although it was composed ahead to the famous aria “Oh, had I Jubal’s three months prior to the Carmelite cele - lyre” in his oratorio Joshua (1748). brations (it is said to be Handel’s earliest Repurposing of that sort was common surviving manuscript that can be defini - among many late-Baroque composers, but tively dated), it would have been a perfect in Handel’s case, it is remarkable how eas - choice to launch the Second Vespers (the ily music penned during his journeyman spot where the Dixit Dominus text falls), years in Italy could be fit into the pieces he which characteristically began with a par - composed many years later—a reflection ticularly elaborate musical selection. Here of the exceptional mastery he had already Handel requires five soloists (two sopra - achieved as an emerging composer in his nos, contralto, tenor, and bass), five-part early 20s. chorus, strings, and basso continuo, which are woven into a sequence of constantly James M. Keller is program annotator of the varying textures.