CAL PERFORMANCES PRESENTS PROGRAM

Saturday, November 9, 2013, 8pm Johann David Heinichen (1683–1789) Selections from Grosso in G major, First Congregational Church SeiH 213

Entrée — Loure Menuet & L’A ir à L’Ita lien Apollo’s Fire The Cleveland Orchestra Heinichen in C major, SeiH 211

Jeannette Sorrell, Director Allegro — Pastorell — Adagio — Allegro assai

Francis Colpron, recorder Kathie Stewart, traverso PROGRAM Debra Nagy, oboe Olivier Brault, violin

Johann Sebastian Bach (1685–1750) “Brandenburg” Concerto No. 3 in G major, BWV 1048 Bach “Brandenburg” Concerto No. 4 in G major, BWV 1049 Allegro — Adagio — Allegro Allegro — Andante — Presto

Olivier Brault, violin Bach “Brandenburg” Concerto No. 5 in D major, Francis Colpron & Kathie Stewart, recorders BWV 1050

Allegro Affettuoso The Apollo’s Fire national tour of the “Brandenburg” is made possible by Allegro a generous grant from the National Endowment for the Arts.

Jeannette Sorrell, Apollo’s Fire’s CDs, including the complete “Brandenburg” Concertos, are for sale in the lobby. Olivier Brault, violin The artists will be on hand to sign CDs following the concert. Kathie Stewart, traverso

INTERMISSION

Cal Performances’ 2013–2014 season is sponsored by Wells Fargo.

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a mountaintop experience: extraordinary power to move, delight, and cap- Concerto No. 5 requires from the harpsi- performing concertos for the virtuoso bands of europe tivate audiences for 250 years. But what is it that chordist a level of speed in the scalar passages gives them that power—that greatness that we that far exceeds anything else in the repertoire. n march 1719, , Likewise, the Prince of Köthen, for whom all intuitively sense? One has to train for this piece the same way one IKapellmeister to the Prince of Köthen, Bach had actually written and performed the To start with, most of Bach’s instrumenta- trains for an athletic event. Also, the unusual travelled to Berlin on an errand to purchase “Brandenburgs” originally, had first offered tions are unique and daring. (Ten solo string role of the harpsichord in this Concerto—start- a two-manual harpsichord. Always on the his job to someone else, before players? Harpsichord as a solo instrument in a ing off playing basso continuo easy( ), then play- lookout for career opportunities, he took out settling for Bach. His first choice was Johann concerto?!) He also uses both texture and form ing solo melodies in dialogue with the flute and time while in Berlin to perform for a certain David Heinichen. But Heinichen had bigger in unprecedented ways, blending the solo con- violin (moderately difficult), then getting carried Margrave Christian Ludwig of Brandenburg. fish to fry. certo and group concerto (concerto grosso) forms. away into virtuoso scales (very difficult), and fi- The Margrave was so delighted with Bach’s play- Heinichen, like Handel, studied in Italy Concertos Nos. 4 and 5 feature primarily one nally leaving the others in the dust as one con- ing that he commissioned Bach to write several where he learned the latest musical styles. (Bach solo instrument (violin and harpsichord, respec- templates the universe in a huge solo cadenza pieces for him. Two years later, the Margrave never had the opportunity to do this. Instead, he tively), but also feature groups of solo instru- (mountaintop experience)—makes this piece a received a beautifully bound manuscript, dedi- walked 250 miles on foot to study for a few weeks ments in contrast. unique emotional experience each time one cated to him, and containing the six magnificent with the great German organist Buxtehude.) In addition, the contrapuntal complexity of plays it. pieces which Bach called Six Concerts à plusieurs While in Venice, the young Heinichen met the Bach’s compositional textures (far exceeding the What makes the “Brandenburgs” so great, d’instruments. Elector of , who was vacationing there as concertos of Vivaldi) is surely one of the qualities in the end, is best understood through Bach’s We know them as the “Brandenburg” were many German princes. Dresden was a great that makes us feel we hear something new and words as a teacher of how to play basso continuo: Concertos, but they were not, in fact, composed artistic capital of Europe—second only to Venice different each time we listen. He also achieves “The aim and reason of the basso continuo, as of specifically for the Margrave. Rather, these are itself. And the orchestra of the Dresden palace extraordinary textural variety: for example, the all music, should be none else but the glory of six individual pieces that Bach had written was famous for its virtuosity. So when the Elector slow movement of No. 4 is a poetic and rhetori- God and the refreshing of the mind.” at various times for use with his orchestra at offered Heinichen the post of Kapellmeister in cal dialogue between the trio of soloists and the Heinichen’s concertos for Dresden are fas- Köthen. Being a busy man and a practical one, Dresden, Heinichen jumped. But this left the full ensemble. By contrast, the slow movement cinating counterparts to the “Brandenburgs.” he simply collected six concertos which repre- door open for Bach to get the job in Köthen. of No. 5 take us into a chamber music environ- Like the “Brandenburgs,” Heinichen’s pieces are sented his best work, and copied them out for The Prince of Köthen kept a small but ment, where the pool of light centers on the showcases for individual stars of the ensemble the Margrave. Apparently the Margrave did not excellent orchestra of eight to eleven musi- three soloists alone; here, the music unfolds with and groups of soloists as well. The Dresden have the musical personnel necessary to perform cians. We believe that Bach composed the haunting, expressive individuality and a timeless orchestra, for whom Heinichen was writing, these works; thus, he never used the score, nev- “Brandenburgs” for this ensemble, during his sense of measured order. was larger than Bach’s ensemble in Köthen. er sent Bach a fee, and never thanked him. So years as Kapellmeister in Köthen. The fact that Above all, there is a sense of exhilara- Heinichen’s pieces sometimes include up to five much for the Margrave. he composed these concertos at different times tion that all of us feel from performing the soloists, and often consist of suites featuring dif- Today, it is shocking to think that Bach’s for different occasions means that they have “Brandenburgs.” Some of that is due to sheer ferent soloists in each movement. His writing miraculous “Brandenburg” Concertos could extremely diverse instrumentation (each one virtuosity: the featured solo instrument(s) in shows great variety, and each of his concertos is ever have been so unappreciated. But in Bach’s requires a different group of players). This also each piece requires a level of virtuosity that is individually crafted, containing three, four or lifetime, he was nowhere near as successful or demonstrates that the six concertos were never literally athletic. For example, there is that exu- five movements. Heinichen builds up thematic popular a composer as his German colleagues intended to be performed as a set. To perform berant celebration of democracy in music: the material in the Allegro movements from a suc- Telemann or Heinichen—not to mention all six is impractical from the point of view of Concerto No. 3, where each individual string cession of tiny, contrasting motives—a tech- Handel. Bach spent his last 25 years as the music musical personnel. Moreover, the structural player is an equal soloist. Designed to showcase nique later used by Haydn and Beethoven. His director for the principal churches of Leipzig—a coherence that Bach always instilled in pieces the virtuoso musicians of the Köthen orchestra, slow movements show colorful imagination in moderately prestigious post, but not very well that he composed as a set (i.e., key relationships, the piece remains a thrilling workout for any the use of texture and instrumentation. Rather paid. Bach was the Town Council’s fourth form, instrumentation, etc.) does not exist be- ensemble today. Bach composed two substantial than the sense of uplifting spirituality that rings choice for that post. They offered it to Telemann, tween the six “Brandenburgs.” Rather, each one movements for this concerto, leaving the players through Bach’s music, Heinichen seems to enjoy Graupner, and Fasch before finally settling for is an individual gem—a sparkling and perfectly to improvise a transitional second movement, musical jokes and the fun of playing together. As Bach. The records of the Leipzig Town Council structured entity on its own. for which he provided only two chords. such, his pieces make a wonderful complement contain the discouraged quote from Councillor Music writers in the 18th century often Concerto No. 4 features revolutionary pyro- to an evening of “Brandenburgs.” Platz: “As the best men cannot be gotten, we talked about the goal of musical performance: technics for the violin, and the recorder parts are must settle for the mediocre.” Their “mediocre” to move the affections (moods, emotions) of the rather devilish as well. The triumphant counter- Jeannette Sorrell composer Bach gave them the St. Matthew and listener. The “Brandenburg” Concertos are mas- point of the finale proves once and for all that Cleveland, 2013 St. John passions, among other things. terful examples of this. They have proven their that fugal writing can be fun.

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APOLLO’S FIRE Library of Congress, the Tropical Baroque the cleveland baroque orchestra Festival in Miami, and the Ojai Music Festival Jeannette Sorrell, Music Director in California. In 2010, the ensemble performed the Monteverdi Vespers in an eleven-concert na- violin tional tour. At home in Cleveland, Apollo’s Fire Olivier Brault, concermaster enjoys sold-out performances at its subscription Andrew Fouts, principal series, which has drawn national attention for Evan Few creative programming. Upcoming U.S. projects Adriane Post next season include tours of the Monteverdi Emi Tanabe Vespers and of Ms. Sorrell’s acclaimed cross- Beth Wenstrom over program Sacrum Mysterium: A Celtic Christmas Vespers. viola Apollo’s Fire has released 20 commercial Karina Schmitz, principal CDs, and currently records for the British la- Kristen Linfante bel Avie. Since the ensemble’s introduction into Adriane Post* the European CD market in 2010, Apollo’s Fire’s recordings have won rave reviews in the London press. Four of the ensemble’s CD re- René Schiffer leases have become bestsellers on the classical Mimé Y. Brinkmann Billboard chart: the Monteverdi Vespers, Bach’s David Ellis “Brandenburg” Concertos, and Ms. Sorrell’s two crossover programs, Come to the River: An Early bass American Gathering and Sacrum Mysterium.

Sue Yelanjian Photos by Roger Mastroianni Jeannette Sorrell (conduc- traverso & recorder Named for the classical god of music and the tor & harpsichord) has Francis Colpron, principal recorder sun, Apollo’s Fire: The Cleveland Baroque quickly gained interna- Kathie Stewart, principal traverso Orchestra was founded in 1992 by the award- tional attention as a lead- winning young harpsichordist and conductor ing creative voice among oboe Jeannette Sorrell. Ms. Sorrell envisioned an en- the new generation of ear- Debra Nagy semble dedicated to the baroque ideal that music ly-music conductors. She should evoke the various Affekts or passions in has been credited by the harpsichord the listeners. Apollo’s Fire is a collection of cre- United Kingdom’s BBC Jeannette Sorrell ative artists who share Ms. Sorrell’s passion for Music Magazine for forging “a vibrant, life-af- drama and rhetoric. firming approach to the re-making of early mu- Hailed as “one of the pre-eminent peri- sic…a seductive vision of musical authenticity.” * “Brandenburg” Concerto No. 3 only od-instrument ensembles” (The Independent, One of the youngest students ever ac- London), Apollo’s Fire made its London debut cepted to the prestigious conducting courses in 2010 in a sold-out concert at Wigmore Hall, of the Aspen and the Tanglewood festivals, with BBC broadcasting. Apollo’s Fire returned Ms. Sorrell studied conducting under Robert to Europe in fall 2011, as part of a major inter- Spano, Roger Norrington, and Leonard national tour with French countertenor Philippe Bernstein, as well as harpsichord with Gustav Jaroussky. The ensemble was met with standing Leonhardt in Amsterdam. She won both First ovations in Madrid, Bordeaux, Lisbon, Metz, Prize and Audience Choice Award in the 1991 Boston, Toronto, Los Angeles, and Berkeley. Spivey International Harpsichord Competition, Apollo’s Fire has also toured throughout competing against over 70 harpsichordists North America, appearing at the Aspen Music from Europe, Israel, the United States, and the Festival, the Boston Early Music Festival, the Soviet Union.

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Ms. Sorrell founded Apollo’s Fire in 1992. obbligato soloists as guest musician with the Cleveland Orchestra, Since then, she and the ensemble have built Tafelmusik Baroque Orchestra, and Cleveland one of the largest audiences of any baroque or- Olivier Brault (concertmaster) brings his com- Opera. She is also an accomplished performer chestra in North America. She has led Apollo’s municative enthusiasm and historical scholar- on Irish and folk flutes, and is featured on Fire in sold-out concerts at London’s Wigmore ship to concerts throughout Canada, Europe, Apollo’s Fire’s bestselling recording Come to the Hall, Madrid’s Teatro Real, the Grand Théâtre and the United States. A native of Montréal, he River, as well as the “Brandenburgs” and a disc de l’Opéra in Bordeaux, the Boston Early performs as soloist with many Canadian ensem- of Telemann concertos. Music Festival, the Library of Congress in bles, including Ensemble Caprice, Les Boréades, Washington, D.C., and the Aspen Music and the Quatuor Franz Joseph. He joined Festival, among others. Apollo’s Fire in 2010. Also an accomplished Ms. Sorrell made her debut with the baroque dancer, he holds a doctorate from the Pittsburgh Symphony in 2013 as conductor Université de Montréal, where he specialized and soloist in the complete “Brandenburg” in 18th-century French violin repertoire. He Concertos. Upcoming conducting engagements is the recipient of the medal of the Assemblée include the Seattle Symphony, Los Angeles Nationale du Québec for his cultural contribu- Chamber Orchestra, and Omaha Symphony. tions to his nation. He can be heard on many She has also conducted the Handel and Haydn award-winning recordings on the Atma and Society in Boston, the Opera Theatre of Saint Analekta labels. Louis with the St. Louis Symphony, and the Grand Rapids Symphony (conductor and solo- Francis Colpron (recorder) is recognized as one ist), and has appeared as guest keyboard artist of the most talented instrumentalists of his gen- with the Cleveland Orchestra. eration. His capacities for artistic and interpre- Ms. Sorrell and Apollo’s Fire have released tative innovation have been acclaimed by the 20 commercial CDs, of which four have been public, critics, and cultural authorities alike. In bestsellers on the Billboard classical chart. Her 1991, he founded the ensemble Les Boréades de recordings include the complete “Brandenburg” Montréal, of which he serves as artistic director. and harpsichord concertos of Bach (with This ensemble has recorded many albums on the Ms. Sorrell as harpsichord soloist and director). Atma label, in addition to achieving great suc- She has also released four discs of Mozart. Her cess locally with their concert series in Montréal other recordings include Handel’s Messiah and and internationally across North America the Monteverdi Vespers. and Europe. Ms. Sorrell has attracted national atten- tion and awards for creative programming. Debra Nagy (oboe) regularly performs with pe- She holds an honorary doctorate from Case riod instrument ensembles across the United Western University, two special awards from States, and is the founder of the Cleveland- the National Endowment for the Arts for her based ensemble Les Délices, whose debut CD work on early American music, and awards from was named “One of the Top Ten Early Music the Cambridge Society of Early Music and the Discoveries of 2009” by NPR’s Harmonia. A American Musicological Society. Passionate lecturer in the early music program at Case about guiding the next generation of perform- Western Reserve University, she was recently ers, Ms. Sorrell has led many baroque projects awarded a 2010 Creative Workforce Fellowship. for students at Oberlin Conservatory and the Cleveland Institute of Music. Kathie Stewart (traverso & recorder) is one of the leading baroque flutists of North America, and is a founding member of Apollo’s Fire. She teaches baroque flute at Oberlin Conservatory, and holds a Master’s in flute performance from the Mannes School of Music. She has performed

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