Program Booklet 2017

37th Annual Season June 18-25, 2017 2 Welcome to the 37th annual Baroque Music Festival, Corona del Mar!

he Baroque Music Festival continues the fine tradition established by our Tfounder, Burton Karson, in presenting five concerts over eight days. This year our season takes a novel approach, featuring unique elements and unusual repertoire designed to delight our audiences. Our musicians perform in Baroque style using original instruments or authentic historical replicas. Likewise, we select venues that evoke the intimate audience experience of earlier centuries.

Now in her seventh year as the Festival’s artistic director, internationally re- nowned violinist Elizabeth Blumenstock has created a series replete with the unexpected. The opening concert continues our exploration of J.S. Bach’s Branden- burg Concertos — this time No. 6 — along with a foray into fencing set to music. On Monday, we are treated to a rare quartet of violas da gamba in concert, performing early Baroque works mostly from the British Isles — evocative of our 2016 program, yet entirely new and different. As we move into a garden setting for the next two concerts, we explore first the rich musical depths of Thomas Jefferson’s library at Monticello before venturing just beyond the Baroque period into the early Classical movement. For our Festival Finale, our musicians partner with the Los Angeles–based ensemble Tesserae, led by Alexandra Opsahl, to combine instrumental and vocal forces in a presentation of majestic works by Monteverdi and Gabrieli.

Brass music al fresco precedes the first four concerts of the Festival. A special event showcasing unusual instruments from the 18th century will precede the final program. Following each concert, a wine and waters reception welcomes audience members to mingle with each other as well as with the musicians.

Thanks for being an integral part of this vibrant and venerable musical tradition. We remain grateful to our individual and foundation contributors, our corporate partners, our local advertisers, and the Arts Commission of the City of Newport Beach for their ongoing and generous support.

Let’s enjoy great music together once again! Festival Board of Directors Patricia Bril, President

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Store Hours Mon-Sat 10-6pm Festival Program Patricia Bril, Editorial Director Robert Bonds, Editor Law Wai Man, Production Manager Mayer Printing (Placentia), Printing

4 Board of Directors Shifberg-Mencher Dorothy Boesch S Associates, Inc. Patricia Bril, President M 17842 Irvine Blvd., Suite 146 A Tustin, CA 92780-3259 Virginia Cassara Phone: (714) 832-8600 Judith Chodil Fax: (714) 838-3301 E-Mail: [email protected] Steven Dember, Treasurer Katie Friedel Services Products • Financial Planning • Annuities Philip Friedel • Estate & Retirement • Tax Advantaged Doreen Hamburger Planning Investments • Tax Planning & • Life & Long Term Carol Kirkwood Preparation Care Insurance Dr. Susan L. Powers • Representation • Health & Disability Before All Tax Insurance Ralph E. Smith, Jr., Past President Authorities Trisha Smith Enrolled to Represent Taxpayers Before the IRS Dr. Vina Spiehler, Secretary California Enrolled Agent-of-the-Year 1998-99 Fellow – National Tax Practice Institute Masters in Business Administration Advisory Board Life Agent Lic. # 0635996 Albert M. Shifberg-Mencher, PFP, EA Patricia Albers Norris Battin Donald Evarts Heather Goss, Past President Andrew Guilford Sigrid Hecht, Past President Paula Korn Judy McKay Ruth Norman · Wayne Norman Walter B. Rios John Stahr · Jacques Vanders Marilyn Wolfsberg Lynne Hayward Worley

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5 The Festival Directors Gratefully Acknowledge

 Sherman Library & Gardens (Paul  For sponsoring our post-concert Wormser, Library Director; Scott wines and waters receptions: Patri- LaFleur, Garden Director), Saint cia Brown (June 18), Judith Chodil Michael & All Angels Episcopal (June 21), Dr. John McHugh (June Church (The Very Rev’d Canon Pe- 23), and Nancy Feit (June 25). ter D. Haynes, Rector; Dr. Ray Ur-  Pacific Symphony for the loan of win, Minister of Music), Newport music stands and related perform- Harbor Lutheran Church (The Rev. ance equipment; and Shawne Zaru- Richard Rollefson, Interim Pastor; bica, Director of Pacific Symphony The Rev. William Wells, Minister of Youth Ensembles, for partnership ef- Music), and St. Mark Presbyterian forts on behalf of student attendees. Church (The Rev. D. Mark Davis, Pastor; Richard Messenger, Director  Wayne & Ruth Norman for spon- of Music) for hosting our concerts. soring the performance of Janet Worsley Strauss, violin.  For grants in support of our 37th season, the Colburn Foundation,  Will Hunter, stage manager, assisted the Ann and Gordon Getty Founda- by members of Phi Mu Alpha, Omi- tion, the Boeing Company, the Arts cron Pi Chapter (California State Commission of the City of Newport University, Fullerton) for stage man- Beach, and the PIMCO Foundation. aging, ushering and other event fa- cilitation; and Tina McKinley, Gor-  Paul & Carol Levin for the use of don Smith and Jacques Vanders for their splendid Dowd harpsichord, ushering. and for recording our events.  Wayne Norman for developing and  Virginia Cassara & Tim Hunter, maintaining our Facebook page, cu- Bobbi & Jerry Dauderman, and rated by Dr. Vina Spiehler. Terrell & Deborah Koken for providing artist accommodations.  Rob Norquist of First Team Estates for providing Board meeting space;  For underwriting our pre-concert Paula Korn for publicity assistance; brass performances: Dr. Terri Mun- Carol Knox for database support. roe (June 18, 19, 21, 25) and Dor- othy J. Solinger & Thomas P. Bern-  Dorothy Boesch, Patricia Bril, Vir- stein (June 23). ginia Cassara, Judith Chodil, Tina McKinley, Dr. Vina Spiehler and  Starbucks, Corona del Mar, for pro- Lynne Worley for advertising liaison. viding coffee at our events; Califor- nia Pizza Kitchen of Fashion Island  Dr. Burton Karson, our Artistic Di- for artists’ rehearsal meals. rector Emeritus, for his continuing inspiration and guidance.  Ralph & Trisha Smith for supporting our KUSC partnership.  Advertisers in this program (p. 62) and our generous Supporters (p 60) for the financial assistance that MEDIA PARTNER makes our Festival possible.

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7 Baroque Music Festival, Corona del Mar Sunday, June 18, 2017, 4 p.m. Newport Harbor Lutheran Church This concert was underwritten through the generous donation of Patricia Bril All a Bout: Dialog in Music & Fencing

Elizabeth Blumenstock, violin Rob Diggins, viola

Festival Orchestra Elizabeth Blumenstock, leader

Serenata con altre arie Johann Schmelzer (c. 1620/23–1680) Serenata Erlicino Ciaccona Campanella Lamento Campanella

Battalia a 10 Heinrich Ignaz Franz von Biber (1644–1704) Presto – Allegro – Presto Der Musquetier Mars Presto Aria Die Schlacht Lamento der Verwundeten

8 Fechtschule Schmelzer

Aria · Aria Sarabande · Courante Fechtschule · Bader Aria

For the demonstration of fencing skills accompanying this piece we are grateful to two Junior Olympian saber team members from the Laguna Fencing Center: Ezekiel Gremillion, a sophomore at Pacifica Christian High School in Newport Beach, who is also a Royal School of Church Music chorister at St. Matthew's Anglican Church; and Vera Kong, a freshman at Sage Hill School in Newport Coast, an accomplished violinist who has won numerous competitive performance awards in both China and the United States.

Brandenburg Concerto No. 6 in Johann Sebastian Bach B-flat major, BWV 1051 (1685–1750)

[Allegro] Adagio ma non tanto Allegro

Air (Adagio) Bach from the Orchestral Suite No. 3 in D major, BWV 1068

Italian Concerto in F major, BWV 971 Bach transcribed for violin and orchestra

Allegro Andante Presto

9 All a Bout: Notes

he first half of our pro- self was one of them. Tgram explores some The inclusion in the quite unusual music by Serenata con altre arie two 17th-century Aus- of a campanella (an trian composers, Jo- imitation of the sound hann Schmelzer and of passing funeral Heinrich Biber. Take a cortege bells) and a look at the movement lamento are some- titles; I will wager there what unusual. How- are a handful that are ever, between wars and new to you! diseases, death was cer- Schmelzer was an em- tainly common and gen- ployee of two Hapsburg erally publicly observed. emperors who loved mu- It is possible that the Johann Schmelzer sic — Ferdinand III and work was written upon his son and heir, Leopold I — mostly the occasion of the death of a member composing ceremonial, chamber and of the nobility or royal family, but this dance music for the Viennese court. is pure speculation on my part. Biber, the preeminent violin virtuoso of 17th-century continental Europe, d was employed at the nearby Salzburg court roughly a generation later; the Biber’s Battalia is an evocative depic- two composers knew each other, and tion of scenes prior to, during and fol- Biber may actually have studied with lowing a battle. The piece was com- Schmelzer. posed in 1673; the Polish-Ottoman All three of the pieces in the first War of 1672–1676 was ongoing not half of our program evoke scenes that far from Salzburg, so it is not incon- would have been familiar to their au- ceivable that he drew his inspiration diences. Another quick look at the from this conflict. More likely, though, movement titles shows that the pieces as war was a prevalent part of life, it share, to some degree, a preoccupa- was an obvious theme for an imagination with scenes of grieving and/or tive composer. It is an odd, bemusing combat. Austria in the 17th century fact that the Battalia is dedicated not was embroiled in frequent wars; the to Mars, the god of war, but to Bac- Thirty Years War killed some 7–8 mil- chus, the god of wine, which rather lion people throughout Europe. The puts the lie to the possibility the piece 17th century also saw many outbreaks is any sort of serious commentary of the Black Plague, as increasing ur- about war. banization without public sanitation The second and third Presto move- nurtured new and virulent pathogens. ments function mostly as short, en- Some 76,000 Viennese died in the tertaining palate-cleansers, situated plague of 1679. Sadly, Schmelzer him- before more specific programmatic

10 depictions. After the electric opening A prayer for survival? Then the battle Presto, you may be worried that we is on, full of rhythmic, drum-like re- have gotten lost! The Allegro is peated notes, slashing blows and an utterly unique movement trumpet calls in a ferocious in which eight different crescendo. Immediately af- regional folk songs are ter the battle is done, we played, in several differ- hear the agonized cries ent keys and three dif- of the wounded, la- ferent meters. As you menting their sad fate can imagine, the result in pathetic falling lines. is cacophony, and is designed to imitate the d effect of a large group of soldiers drawn from far- Schmelzer’s Fechtschule flung places assembled in (“fencing school”), an- a war camp and enjoying other diverting assem- some raucous free time. blage of dances, is con- Note the unusual use Heinrich Ignaz Franz siderably less pictorial of left-hand pizzicato von Biber than the Battalia, begin- in the next Presto! Der ning with four simple Musquetier Mars presents the god of dances before addressing its titular war as a gunslinging warrior, strutting subject, a fencing school bout. Where proudly through the war camp. Biber Biber’s depiction of mass hand-to- calls for paper to be inserted between hand warfare is turbulent and violent, the strings and fingerboard of the vi- Schmelzer’s portrayal of the more for- olone, so as to create the sound of a malized, non-lethal and rule-driven snare drum when the violone player fencing match is correspondingly more plucks the strings. organized and good-natured. The con- After the third Presto, we hear a cluding Bader Aria refers to the post- slow and poignant air. With no title bout remedial visit to the baths, where beyond “Aria,” it is up to us to imag- the fencers could soak themselves and ine what it means. Saying farewell to get wounds dressed. one’s sweetheart before the battle begins? The last sleep before the battle? d

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11 We proceed with Bach’s marvelous the eighth note, a kind of delighted Brandenburg Concerto No. 6. While fencing match of their own. In the lei- the six Brandenburgs are famous surely slow movement, the violas for their enormously diverse get their own trio sonata (the orchestration, the sixth, gambas drop out), allowing scored for two solo violas their distinctive mellow and a backup band of voices a golden chance two violas da gamba, to glow. The robust cello, violone and harp- last movement finds sichord, is certainly the them in rambunctious most unusual of them dialog, streaking from — and provides a huge top to bottom of their boost to Baroque viola ranges and back at high repertoire! speeds, with earthy vig- The viola has been the or and boundless energy. dogsbody of the string family pretty much for- d ever. Its tenor-ish voice — Johann Sebastian Bach in a style devoted largely Bach’s Air — the second to the splendors of high voices, with movement of his Orchestral Suite No. 3 a low-voice foundation — doomed it — is popularly and erroneously known to occupying the relatively unadmired as the “Air on a G String,” a title that middle ground. French composers actually applied to a late–19th-centu- routinely turned the composition of ry arrangement of the movement for viola parts over to their students. The violin and piano by virtuoso violinist enormously popular Baroque trio so- August Wilhelmj. The name has clung nata form dispensed with violas al- rather annoyingly to the original piece together, and the number of Baroque for more than a century. For those able concertos involving a solo viola can to stomach it, Hamlet Cigars uses the be counted on the fingers of one hand. Air as background music for its styl- Even the less common viola d’amore ishly goofy cigar advertisements, which has more concertos. So a concerto fea- are very entertaining! Google “hamlet turing not one but two viola solo parts cigar air” to bring up the link and view is a radical thing! the ads on YouTube. In any case, the The choice of violas da gamba Air is justly famous, and one of Bach’s as the backup band, while very unu- loveliest compositions. sual, makes a great deal of sense in this case. One wants backup instru- d ments that are not much higher than one’s soloists, and that sound differ- Bach’s Italian Concerto for solo harp- ent, so using the usual violins and vio- sichord was included as part of the las would not be an effective option. Clavier-Übung II, published in 1735, In the first movement, the two solo- when Bach was working in Leipzig. ists virtually erupt from their wonted Bach studied Italian concertos, notably anonymity in ebullient character, one those of Vivaldi, and transcribed sev- chasing the other in a close canon at eral of them for solo harpsichord and

12 organ. In this way he movement more than learned to compress recovers a wonder- the interplay between ful joie de vivre — soloist and orchestra bright, sunny, opti- into the simpler key- mistic, and featuring board format. a solo viola in some His Italian Con- delightful dialog with certo can perhaps be the solo violin. viewed as the fruit of This charming this study, being all and masterful tran- his own invention, scription was made not borrowed from by the harpsichordist another composer. Salvatore Carchiolo, The solo sections are first performed by the set off from the tutti ensemble Insieme di sections in the usual Roma with Giorgio way, by reducing the The original title cover of Bach’s Sasso on solo violin. number of instru- Clavier-Übung II of 1735, We use it with grati- ments accompanying in which his Italian Concerto tude to them for shar- was first published the solo. The middle ing it with us. movement is a long outpouring of melancholy and longing, but the third Notes by Elizabeth Blumenstock

13 Baroque Music Festival, Corona del Mar Monday, June 19, 2017, 8 p.m. Saint Michael & All Angels Episcopal Church Four Viols at Play

Julie Jeffrey, viola da gamba Mary Springfels, viola da gamba Heather Vorwerck, Leif Woodward, viola da gamba

Hugh Aston’s Masque Hugh Aston (1485–1558)

Browning Elway Bevin (1554–1638)

Ut re me fa sol Thomas Tomkins (1572–1656)

Fantasy a 2 Orlando Gibbons (1583–1625)

Fantasy a 4 Gibbons

The Virgin’s Muse Tobias Hume from Captain Hume’s Poeticall Musick, 1605 (1569–1645)

Captain Hume’s Pavin Hume from Musicall Humors, 1609

A Merry Conceit Hume from Captain Hume’s Poeticall Musick, 1605

Suite in C Samuel Scheidt from Ludi Musici, 1621 (1587–1654)

Paduan — Galliard — Alamande

14 Canzon terza a 4 Biagio Marini (c. 1594–1663)

Sonata in C major Giovanni Legrenzi from La Cetra, 1673 (1626–1690)

Pavan and Fantasia John Jenkins for two basses (1592–1678)

Fantasia a 4 Jenkins

Fantazia a 3 Henry Purcell (1659–1695)

Fantazia a 4 Purcell

Hornpipe on a Ground Purcell from The Married Beau, 1694

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15 Four Viols at Play: Notes

f this performance marks style that imitated the lute. Ithe first time you have Adventurous musicians listened to a consort of might attempt to mas- viols, there will be sev- ter the art of virtuosic eral things you’ll notice improvisation, called about the instruments “division viol” play- themselves and the ing. However, at the sounds they make. All center of the violist’s members of the viol repertoire was the fan- family are held verti- tasy, also known as the cally, on or between the fancy or fantazia, de- knees; the bow is held pending on the whims with an underhand grip; of Tudor/Stuart spelling. and the soft, silvery, ho- Thomas Tomkins mogenous sound is the d acoustical product of its fretted fingerboard, deep ribs and flat back. The composer and theorist Thomas The word “consort” could not bet- Morley described the fantasy as the ter describe an ensemble of viols. The most important English instrumen- combined effect of their consorting is tal genre of the era. Between 1580 a true marriage of voices. In the 17th and 1680, thousands of these con- century, Dutch painters used the fam- cise, densely written compositions for ily of viols, played by fathers, mothers two to six instruments were carefully and their children, as an emblem of copied by hand and circulated among domestic harmony. Unlike the typical friends. If you wished to compose a early modern human family, however, fantasy, you would hold up as an ex- the viol consort was devoid of hierar- ample the free association of ideas of chy. Every voice had an equal vote in a human mind at play. According to the destiny of the music. Morley, “The musician [composer] The viol, or viola da gamba (“viol taking a point [musical idea] at his of the leg”), seems to have appeared pleasure, wresting and turning it as he on the musical scene in the late 15th will, making either as much or as little century. By about 1540, it was an im- of it as seems to him best. In this, more portant solo and ensemble instrument. art may be shown than in any other In England at that time, viols were music, because the composer is tied court instruments played by profes- to nothing but that to which he may sionals. By around 1590, the viol be- add, diminish or alter at his pleasure.” came the chosen instrument of wealthy Of course, the effect of spontaneous amateurs at court and in rural stately artlessness is illusory. Incredible skill mansions. A solitary player could goes into the making of a beautifully entertain him- or herself on the viol composed, natural-sounding fantasy. played “lyra-way,” a highly chordal Early Tudor composers built fan-

16 tasies on any number of organizing peroration or conclusion. In the pieces principles perfected by Franco-Flem- by Orlando Gibbons and Henry Pur- ish composers in the 15th century. cell, contrasting sections are very These included simple repeat- clearly outlined, while John ing grounds, as in the case Jenkins manipulated the of the dreamy Masque by form with more subtlety. Hugh Aston, or the writ- er could construct a set d of variations based on a folk tune, like Elway In contrast to these ex- Bevin’s charming, or- amples of polyphonic nate Browning. Tone virtuosity, we have rows, like the simple included a sampling scale Ut re me fa sol, of other music for the can be turned into a tour viol. Tobias Hume was de force by a late Tudor by profession a private composer of the stature soldier and passionate of Thomas Tomkins. Orlando Gibbons apologist for the viol. It’s likely that Shakespeare d took a jab at him in the person of the lovably inept Sir Andrew Aguecheek, The next generation of musicians who who was a soldier of sorts, and played wrote for viols wrote pure counter- at the “viol de gamboys” in Twelfth point. However, the “madrigal fan- Night. Hume was an autodidact and, tasy,” as this new form was known, while his music is idiosyncratic, it is was not without shape. These pieces also deeply felt. At its best, it supplies should be thought of as songs with- unusual insight into a lost emotional/ out words — fluid, conversational, musical world that a more polished rhetorical and grammatical — very music cannot give us. much in the style of the Italian madrigal as perfected by Luca Marenzio. d In England, the craze for madrigal singing (in Italian or English) was On the Continent, the viol was used short-lived. However, by adapting the quite differently. Due to the presence conventions of the vocal model to the of English expat actors and musicians idioms of the viol, English musicians in German courts, native composers created a unique and enduring form. got a taste of the British aesthetic. No contemporary European culture Samuel Scheidt and his contemporar- produced so much counterpoint of ies avoided the fantasia, and instead such high quality. produced richly textured dance suites In classic form, the madrigal fan- that were apt for any instrumental tasy tended to fall into three large sec- ensemble. It’s hard to know whether tions: the exordium, in which each these were meant for practical per- voice introduces what it has to say; formance — they are very intricate — a series of five to seven short “argu- or were “art” dance music, intended ments’” or contrasting sections; and a for the pleasure of the players and a

17 stationary listening audience. Scheidt’s It is surmised the fantasies were writ- wonderful dance sets are among the ten for the private entertainment of his best of the genre. singing friends at the Abbey, who were perhaps members of a d vanishing tribe of consort players. While the fanta- Italian music for viol sies follow a traditional consorts was relatively structure — a stately rare, given that the exordium followed by violin and its music a series of contrasting held primacy in Italy sections — their sheer from the first quarter brilliance of inven- of the 17th century. tion could have been The stately Canzon by matched by few earlier Biagio Marini can be composers. played by any ensemble of low instruments, while d Legrenzi’s marvelously Henry Purcell evocative church sonata The violin as an art in- from La Cetra was specifically scored strument was first received with cau- for viols and therefore is something of tion in England. But by 1700, the a novelty. instrument and its music had thoroughly supplanted the old consort. In d the 1720s, biographer Roger North famously wrote: “Of these fancys Henry Purcell’s 14 astonishing fanta- whole volumes are left, scarce ever to sias were all written in the summer of be made use of but either in the Ay- 1680, when he was 21 years old and res for Kites or in ye fire for singeing already established as a professional pullets… In a short time none will be musician. He began singing with the left.” Happily for us, North was over- Chapel Royal at the age of 10, com- ly gloomy in his predictions of the ex- posing for the court violins at the age tinction of this wonderful music. of 18, and serving as an organist at Westminster Abbey by the age of 20. Notes by Mary Springfels

18 Baroque Music Festival, Corona del Mar Wednesday, June 21, 2017, 8 p.m. Sherman Library & Gardens Music from Monticello

Elizabeth Blumenstock, violin Jolianne von Einem, violin Rob Diggins, viola Heather Vorwerck, violoncello Ian Pritchard, harpsichord

Jennifer Ellis Kampani, soprano

Overture to Alessandro, HWV 21 George Frideric Handel (1685–1759) [Grave] — Allegro — Lentement — Allegro

Beneath a Weeping Willow’s Shade Francis Hopkinson (1737–1791) Beneath a weeping willow’s shade, She sat and sang alone; Her hand upon her heart she laid, And plaintive was her moan. The mockbird sat upon a bough And listen’d to her lay; Then to the distant hills he bore The dulcet notes away.

Fond echo to her strains reply’d, The winds her sorrows bore; Adieu, dear youth, Adieu, she cry’d, I ne’er shall see thee more. The mockbird sat upon a bough And listen’d to her lay; Then to the distant hills he bore The dulcet notes away.

19 Trio Sonata in C major, Op. 3, No. 8 Arcangelo Corelli (1653–1713) Largo Allegro Largo Allegro

The White Cockade Arr. Franz Joseph Haydn Traditional Scottish folksong (1732–1809)

My love was born in Aberdeen, The bonniest lad that e’er was seen, But now he makes our hearts fu’ sad. He takes the field with his white cockade.

Refrain: O, he’s a rantin’ rovin’ lad, He is a brisk and a bonny lad, Betide what may I will be wed, And follow the boy with the white cockade.

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20 I’ll sell my rock, my reel, my tow, My gude grey mare, and hawkit cow To buy mysell a tartan plaid, To follow the boy with the white cockade. Refrain

Adagio, Wq 52/6 Carl Philipp Emanuel Bach for keyboard (1714–1788)

Aye, Waking O! Arr. Haydn Lyrics: Robert Burns

Aye, waking O! Waking, aye, and weary, Rest I canna get for thinking of my dearie. O, this love, this love! Aye, waking O! Life to me how dreary! When I sleep I dream; when I wake I’m eerie. O, this love, this love!

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21 O, this love, this love! Can I cease to care, can I cease to languish, While my darling fair is on her couch of anguish? O, this love, this love!

Long, long the night, heavy comes the morrow, While my soul’s delight is on her bed of sorrow. O, this love, this love! Hear me, Pow’rs divine; O, in pity hear me; Take aught else of mine, but my Chloris spare me! Spare, O spare my Love!

String Quartet in C minor, Op. 2, No. 1 Luigi Boccherini (1743–1805) Allegro Comodo Largo Allegro

Ogni dolce aura Maria Cosway (1760–1838)

Ogni dolce aura che spira The sweet breath of every gentle breeze par che dica ecco il mio ben. seems to say, “Behold my beloved.” L’alma in sen d’amor sospira. The soul in the breast of love sighs. Qua l’attendo e mai non vien. Here I wait, but my love never comes.

String Trio in G major, Op. 20, No. 6 Felice de Giardini (1716–1796) Andante Adagio Rondeau: Allegro

Cujus animam gementem Giovanni Battista Pergolesi Aria from Stabat Mater, 1736 (1710–1736)

22 Cujus animam gementem, Through her heart, His sorrow sharing, contristatam et dolentem, All His bitter anguish bearing, pertransivit gladius. Now at length the sword has passed.

Vidit suum dulcem natum Pergolesi Aria from Stabat Mater, 1736

Vidit suum dulcem Natum, She beheld her tender Child, moriendo desolatum, Saw Him hang in desolation, dum emisit spiritum. Till His spirit forth He sent.

Bess of Bedlam Henry Purcell Lyrics: anonymous (1659–1695)

From silent shades and the Elysian groves Where sad departed spirits mourn their loves, From crystal streams and from that country where Jove crowns the fields with flowers all the year, Poor senseless Bess, cloth’d in her rags and folly,

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23 Is come to cure her lovesick melancholy. Bright Cynthia kept her revels late while Mab, the Fairy Queen, did dance, And Oberon did sit in state when Mars at Venus ran his lance.

In yonder cowslip lies my dear, entomb’d in liquid gems of dew; Each day I’ll water it with a tear, its fading blossom to renew. For since my love is dead and all my joys are gone, Poor Bess for his sake a garland will make, my music shall be a groan.

I’ll lay me down and die within some hollow tree, The rav’n and cat, the owl and bat shall warble forth my elegy.

Did you not see my love as he pass’d by you? His two flaming eyes, if he comes nigh you, They will scorch up your hearts. Ladies beware ye Lest he should dart a glance that may ensnare ye!

Hark! Hark! I hear old Charon bawl, his boat he will no longer stay; And furies lash their whips and call: “Come, come away, come away!”

Poor Bess will return to the place whence she came, Since the world is so mad she can hope for no cure; For love’s grown a bubble, a shadow, a name, Which fools do admire and wise men endure.

Cold and hungry am I grown. Ambrosia will I feed upon, Drink nectar still and sing: who is content? Does all sorrow prevent? And Bess in her straw, whilst free from the law, In her thoughts is as great as a king.

Duo in A major Carlo Antonio Campioni for two violins (1720–1788)

Allegrino Presto scherzando

To Anacreon in Heaven John Stafford Smith Official song of the Anacreontic Society (1750–1836)

To Anacreon in Heav’n, where he sat in full glee, A few Sons of Harmony sent a petition,

24 That he their inspirer and patron would be; When this answer arriv’d from the jolly old Grecian,

“Voice, fiddle and flute, no longer be mute, I’ll lend you my name and inspire you to boot And besides I’ll instruct you, like me, to intwine The myrtle of Venus with Bacchus’s vine.”

Ye Sons of Anacreon, then join hand in hand; Preserve unanimity, friendship, and love! ’Tis yours to support what’s so happily plann’d; You’ve the sanction of gods, and the fiat of Jove. While thus we agree, our toast let it be. May our Club flourish happy, united, and free! And long may the Sons of Anacreon intwine The myrtle of Venus with Bacchus’s vine.

SOUNDSCAPE Musical Architects of the Baroque MARCH 2, 3 Subject to Change Alessandro Scarlatti, Stabat Mater J.S Bach, Jesu, meine Freude BWV 227 Claudio Monteverdi, Magnificat a 6 Heinrich Schütz, Die Himmel erzählen die Ehre Gottes Schütz, Selig sind die Toten & Nunc Dimittis (from Musikalische Exequien) Scott Allen Jarrett, Guest Conductor SEASON 2017-2018 WELCOME TO ALL THE PLEASURES! bachcollegiumsd.org Henry Purcell: [email protected] | 619-341-1726 The Sacred and the Profane MAY 11, 12 Now does the glorious day appear (Birthday Ode for Queen Mary, 1689) G.F. HANDEL: G.F. HANDEL: Welcome to all the Pleasures (Ode to St. Cecilia’s Day, 1683) Rejoice in the Lord alway (Bell Anthem) ACIS & GALATEA MESSIAH Man that is born of a woman HWV 49 (1718 version) HWV 56 In the midst of life OCTOBER DECEMBER (from Funeral Music for Queen Mary) 20, 21 18, 19, 20 Hear my prayer, O Lord including music from King Arthur and Fairy Queen

25 Music from Monticello: Notes

homas Jefferson (1743– and Handel’s overture is T1826), Governor of appropriately brimming Virginia, author of the with vitality, determina- Declaration of Inde- tion and pomp. pendence and third President of the United d States, was an accomplished violinist and Francis Hopkinson ardent student of phi- was, rather like Jef- losophy and the arts. ferson, a man of var- His passionate love of ied accomplishments: a music is evident in many lawyer, judge, scientist, of his letters, in the time inventor, and very ac- he took to learn to play Thomas Jefferson tive musician. In 1788, the violin well, and in his he composed eight songs large and wide-ranging music library, (authoring the words as well), and which provides us with all the pieces dedicated them “To his Excellency, in tonight’s program. But our concert George Washington, Esquire.” In is about more than the music we will his dedication, he claimed to be the perform: it’s also about the man who United States’ first native composer. collected it. Sections throughout our It is hard for me to believe that no program will be introduced by a quote American composed any music be- read aloud from Jefferson’s personal tween 1776 and 1788, even allowing letters, so as to let the man speak for for upheaval in the post-revolutionary himself. era, and surely Hopkinson could not have proved his claim. I forgive him d entirely, however, being charmed by the thought of a politician composing Jefferson had a set of the overtures sentimental songs for another politi- to every one of Handel’s operas and cian! I have tried without success to oratorios in his library. If it seems odd think of a modern-day parallel. to see a mere five players performing what should be a work for full d orchestra, consider that Jefferson un- doubtedly hoped to play the music he Corelli’s music is no stranger to this bought, but would have had no hope festival, but this is the first time we of assembling an adequate orchestra have performed one of his trio sona- at Monticello. Alessandro (Alexander tas, a genre that comprises 48 of his the Great) was, as we know, a preco- mere 72 published works. The Opus 3 cious warrior and military strategist, sonatas, unlike those in Opuses 1, 2

For an unabridged version of these notes, visit the Festival website: www.bmf-cdm.org

26 and 4, are sonate da chiesa (church complished keyboard player. The mar- sonatas) — which means that the riage, though darkened by the early movements are ordered slow- deaths of four of their six children, fast-slow-fast and contain a was a very happy one. Not fugal movement, with no a long one, alas; Martha dancing allowed! never recovered from her The opening Largo last childbirth, and died is a sunny affair, with a few months later at only the merest sug- the age of 33. As a wid- gestion of clouds, ower, Jefferson was an and is followed by a attentive father to his lively little fugal piece. two young girls, deter- The next slow move- mined to see them well ment is in the relative educated and produc- minor key, but Corelli’s tive. His plan for their signature harmonic dis- daily schedules — which sonances are not particu- might put dragon moms larly intense; he seems to Francis Hopkinson to shame! — included be reluctant to dig too time for music practice, deeply, to affect too strongly, prefer- reading, drawing, and dance lessons. ring to suggest pain without actually delivering any. The last movement is d the usual busy, spirited closer. At age 17, as a first-year student at d William and Mary College in Wil- liamsburg, Jefferson was already ad- The White Cockade and Aye, Wak- vanced enough as a violinist to be ing O! are two of the several hundred invited to play string quartets (to gen- Scottish songs arranged by Haydn eral acclaim) at the home of Francis during one of the many enthusiastic Fauquier, the city’s royal governor. rediscoveries of that wonderful reper- Already an interesting social compan- toire. The first song is simple enough, ion, he was also invited to Fauquier’s but the second, with poetry by Robert excellent dinner parties, where he was Burns, is a remarkably touching la- introduced to high-level political and ment of a man for his dying lover. philosophical discussion, to which he took like a duck to water. In a similar d testament to youth, Boccherini’s string quartets, Opus 2, were composed I was unfamiliar with the keyboard when Boccherini was only about 20. works of C.P.E. Bach until research- The first movement of our quartet ing this program, and am delighted is immediately engaging, and won- and astonished by them. They run a derfully clear in its form. The second very large gamut in mood, figuration, reminds us that Boccherini was a vir- composerly technique, and imagina- tuoso cellist, beginning with a luscious tive inspiration. cello solo, handed over to the first Jefferson’s wife Martha was an ac violin. The last movement begins in a

27 fiery mood, which keeps reappearing tained quite a few Christian sacred unexpectedly in the milder sections. works, including Pergolesi’s Stabat Mater, which was composed in d the last days of a very short life; Pergolesi died of tuber- While serving as the U.S. culosis at the age of 26. Minister to France from The piece immedi- 1785 to 1789, Jeffer- ately became enor- son met the charming mously popular, and young painter Maria has remained so. Cosway and became While I enjoy much of infatuated with her. it, I must confess that Though it is highly I agree with one of its doubtful their relation- detractors at the time, ship became intimate, Giovanni Battista Sam- as the lady was married, martini — a Franciscan the two maintained a friar and himself a very substantial and affec- Felice de Giardini fine Baroque composer tionate correspondence — who found Pergo- until Jefferson’s death. A celebrated lesi’s style too frivolous to convey the painter, Mrs. Cosway’s musical en- profound grief of the text. In the first deavors may not have equaled her of our two arias, for example, notice artistic work, but her little song Ogni the positively jazzy syncopations of dolce aura has an undeniable charm. the principal theme! The second aria, though, is one of the most expressive d of the whole work.

Our trio by Felice de Giardini presents d very nice examples of the moods fa- vored by Rococo and early Classi- Bess of Bedlam was published in “Or- cal composers — moods designed to pheus Brittanicus,” a collection of Pur- charm, to please, to stir mildly. In oth- cell songs owned by Jefferson. It is an er words, the very sorts of effects de- example of a genre known as “mad sired by well-bred, well-heeled bour- songs,” which became popular in geois concertgoers. Breezy virtuosity, 17th-century England. London had a simple sentiment and high spirits are large population of beggars, vagrants the order of the day. and mentally unstable people. Many were confined at Bedlam, the city’s d insane asylum, where more fortunate citizens could view them for a penny Though Jefferson was brought up in each. Purcell was attracted to this the Anglican faith, his college studies genre; perhaps the nature of madness of Enlightenment thinkers convinced has a natural affinity for the artistic him that natural reason offered a finer imagination! The (anonymous) poetry basis for morality than supernatural conveys a rueful awareness of suffer- faith. Nevertheless, his library con- ing as part of the lives of all of us, and

28 a beautifully sympathetic acknowledg- Jefferson tried repeatedly to develop a ment of mad Bess’s essential humanity. vineyard at Monticello, and was frus- trated just as repeatedly. But we d remember his love of wine with the English drinking A huge part of Jeffer- song that closes tonight’s son’s music library is program, To Anacreon devoted to violin duets, in Heaven. It was the including volumes of official anthem of an pieces by Roeser, God- 18th-century London win, Campioni, Tes- men’s social club sarini, Besozzi, Sam- called the Anacreontic martini, Battino, Figlio, Society, which devoted de Giardini, Borghi, itself to “wit, harmony Chintzer and Haydn! and the god of wine,” Though many of these and whose members, enjoyable pieces are like Jefferson, were ama- rather slight, I found Giovanni Battista teur musicians. I suspect the Campioni duos par- Pergolesi you will find the tune ticularly charming. rather familiar!

d Notes by Elizabeth Blumenstock

29 Baroque Music Festival, Corona del Mar Friday, June 23, 2017, 8 p.m. Sherman Library & Gardens This concert was underwritten through the generous donation of Ike Kempler Beyond Baroque

David Shostac, flute Elizabeth Blumenstock, violin Timothy Landauer, violoncello Andrew McIntosh, violin, viola Lara Wickes, oboe

Quintet in G major, Op. 8, No. 1 Giuseppe Maria Cambini (1746–1825) Allegro Rondo: Allegro

Trio in F major, Op. 9, No. 3 Johann Georg Albrechtsberger for strings (1736–1809)

Allegro moderato Menuetto – Trio Finale: Presto

Oboe Quartet in F major, K. 370 Wolfgang Amadeus Mozart (1756–1791) Allegro Adagio Rondeau: Allegro

30 Flute Quartet in D major, K. 285 Mozart

Allegro Adagio Rondeau

Divertimento in B minor, Hob. V:3 Franz Joseph Haydn for string trio (1732–1809)

Adagio Allegro Tempo di Minuetto

Quintet in D major, Op. 11, No. 6 Johann Christian Bach (1735–1782) Allegro Andantino Allegro assai

In memory of the good times Ginny had at the Friday concerts Ginny Kempler 1932-2015

31 Beyond Baroque: Notes

nly occasionally do formally clear, using melod- Owe know many de- ic conventions effectively, tails about the lives of but not displaying any Baroque composers. If great emotional reach. the composer was suc- cessful, his contempo- d raneous critics, histo- rians and fans wrote Austrian Johann Georg about him. If he was Albrechtsberger is prin- obscure, even assidu- cipally remembered for ous research by modern his writings on music scholars often comes up theory and for being one short. Record-keeping of Beethoven’s compo- was unreliable across Giuseppe Maria Cambini sition teachers, school- the board, and of course ing him thoroughly in many records, articles and letters have the mastery of strict counterpoint. been lost over the centuries. His abilities in this regard are nicely It is nonetheless somewhat surpris- on display in his string trios, which ing to discover how much of the bi- achieve an admirable and rewarding ography of the much later Giuseppe balance of light thematic material and Maria Cambini, who was very well contrapuntal complexity. known in his lifetime, is peppered Oddly, three of our composers this with large empty stretches and dubi- evening share a cathedral, St. Stephen’s ous details. Cambini himself turns in Vienna. The young Haydn sang in out to be responsible for some of the the boy’s choir there, Mozart’s wed- misinformation; he falsely claimed ding and memorial service were held to have worked with Manfredi, Boc- there, and Albrechtsberger became the cherini and Nardini, and to have been cathedral’s assistant Kapellmeister in a personal friend of Haydn. More 1791, the year Mozart died. colorfully, and equally falsely, the notable music critic and theorist François d Fétis two generations later spread the inexplicable fiction that Cambini and Having commented above that the his betrothed had been kidnapped by young Mozart was wanting in depth, Barbary pirates and ransomed by a we turn to one of his mature master- music-lover. pieces, the Oboe Quartet in F major, Whomever Cambini studied with, composed for the virtuoso first oboist he learned to compose well enough, of the Munich orchestra when Mozart targeting the prevailing taste for un- was 25. (Yes, for Mozart, 25 was ma- challengingly pleasant music with ture. And a good thing, too, as he was great success. His music reminds me dead at 35.) a wee bit of the child Mozart’s, being The first movement is winsome

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34 long, but a composition of this kind tune, there were hordes of execrable goes out into the world, and naturally amateur flutists whose performances I do not want to have cause to could well have revolted the be ashamed of my name on young genius and soured his the title page. Moreover, attitude. Whether Mozart you know I am quite seriously meant what he powerless to write for wrote to his father or an instrument which I not, he was most defi- cannot bear.” And the nitely not powerless; patron paid him less he always wrote very than half of the agreed- beautifully for the in- upon commission. strument. The Quartet The received wis- in D major is a verita- dom that Mozart dis- ble exemplar of happy liked the flute rests al- Classicism, perfectly pro- most entirely upon this portioned, possessed of a one rant, which, in my fine gamut of moods, and opinion, is a somewhat Wolfgang Amadeus with enough virtuosity to shaky foundation. Be- Mozart keep even the least com- cause Baroque and Clas- mitted listener engaged. sical flutes were not difficult to learn to play, but were difficult to play in d

Music is the divine way to tell beautiful, poetic things to the heart.

— Pablo Casals

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35 Out of some 165 string trios Haydn atic wail from the first violin. In fact, wrote, his Divertimento in B minor this whole trio appears to be about is one of only five in a minor a violin with issues. In the agi- key. Indeed, the Classical tated second movement, the era could almost be called violin seems determined the “Era of the Triumph to break out of its mis- of the Major Mode.” ery, and succeeds some- Baroque composers al what, but in a manic so leaned heavily on and not entirely con- the major mode, but vincing fashion. In the not to the extent seen closing Menuetto we later. If the early Ba- see a sadder but wiser roque era oversaw the violin: the wailing and transition from several manic tendencies are modes to just two, the still there, but are held Classical era perhaps in check, and this bal- saw the establishment ance seems to suggest a of those two modes, Franz Joseph Haydn good-as-it-gets accept- major and minor, as ance of the situation. diametrically opposed characters: happy/sad, outgoing/introspective, d healthy/disturbed, bright/dark. Minor-key movements are fre- Music of J.C. Bach, Johann Sebastian’s quently sandwiched between major- youngest son, has been performed key outer movements, perhaps as a at this Festival in previous years, but way of quarantining the more trou- only in company with Baroque mu- bled mood safely “inside,” and pre- sic. When heard alongside music of senting a more conventionally happy the more mature Classical style, par- public face at start and finish; both of ticularly that of Mozart, it becomes our Mozart quartets follow this pat- evident what a truly seminal figure tern. All three of Haydn’s movements Johann Christian was in the develop- here, however, are in B minor. The ment of the Classical style. In fact, first movement is indeed disturbed Mozart met “John Bach,” as he was and dark, a sort of extended oper- known in London, in 1764, when Mo-

36 zart was only eight years old, and the the gracefulness, charm and canta- two struck up a remarkable and du- bile style we associate with Mozart is rable relationship, characterized abundantly present in the older by lifelong mutual respect. man’s Quintet in D major. Mozart’s talented older The connection is appar- sister Nannerl wrote, ent in the suave and tune- “Herr Johann Chris- ful opening movement, tian Bach, music mas- but is remarkable in ter of the Queen, took the profoundly sweet Wolfgang between his Andantino. The clos- knees. He would play ing movement, though a few measures; then not named as such, is Wolfgang would con- a rondo, with three re- tinue. In this manner frains separated by two they played entire sona- episodes, a sort of early tas. Unless you saw it version of the form. The with your own eyes, you refrain is notable for a would swear it was one Johann Christian Bach profusion of thematic person playing.” elements succeeding one There is no doubt whatsoever another with irrepressible energy. that Mozart’s style was strongly in- fluenced by Johann Christian’s music; Notes by Elizabeth Blumenstock

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37 Baroque Music Festival, Corona del Mar Sunday, June 25, 2017, 4 p.m. St. Mark Presbyterian Church This concert was underwritten through the generous donation of Dr. Vina R. Spiehler Festival Finale: A Quire of Choirs Polyphonic Music from the Edge of the Baroque

A COLLABORATIVE PROGRAM OF THE BAROQUE MUSIC FESTIVAL ORCHESTRA AND THE LOS ANGELES-BASED ENSEMBLE TESSERAE

ELIZABETH BLUMENSTOCK, ARTISTIC DIRECTOR, BAROQUE MUSIC FESTIVAL ALEXANDRA OPSAHL, MUSIC DIRECTOR, TESSERAE

Corey Carleton, soprano N. Lincoln Hanks, tenor Jennifer Ellis Kampani, soprano Matthew Tresler, tenor Pablo Corá, tenor Edward Levy, bass Jimmy Traum, tenor Brett McDermid, bass

Elizabeth Blumenstock, leader

Canzon XVI a 12, Ch. 209 Giovanni Gabrieli (1554/57–1612)

Plaudite, psallite a 12, Ch. 41 Gabrieli

Plaudite, psallite, Clap [your hands], sing praises, jubilate Deo, make a joyful sound to God, omnis terra — alleluja. all the earth — hallelujah.

Special Pre-Concert Performance

On the patio at 3:15 p.m. ∙ Featuring the Italian influence in various music, performed on original antiques Curtis Berak, an internationally respected harpsichord builder, is an avid collector, restorer and player of hurdy-gurdys. Bruce Teter, a member of the UCLA Brain Research Institute and associate professor of neurology, plays zampogna and musette bagpipes, among other Baroque instruments. Both perform extensively with period ensembles and the Los Angeles Chamber Orchestra.

38 Benedicant Dominum omnes gentes, Let all nations bless the LORD, collaudantes eum — alleluja, joining in his praises — hallelujah, quia fecit nobiscum Dominus for the LORD has had misericordiam suam — alleluja, mercy on us — hallelujah, et captivam duxit captivitatem, and he has led captivity captive, admirabilis et gloriosus estimable and venerable in saecula — alleluja. for [all] ages — hallelujah.

Dixit Dominus secondo, SV 264 Claudio Monteverdi from Selva morale e spirituale, 1640–41 (1567–1643)

PSALM 110

Dixit Dominus Domino meo: The LORD says to my Lord: Sede a dextris meis, “Sit at my right hand, donec ponam inimicos tuos until I make your enemies scabellum pedum tuorum. your footstool.”

Virgam virtutis tuae emittet Dominus The LORD sends forth from Zion ex Sion: dominare in medio your mighty scepter. Rule in the midst inimicorum tuorum. of your enemies. Tecum principium in die virtutis tuae Your people will offer themselves freely in die virtutis tuae on the day of your power in splendoribus sanctorum; in holy garments; ex utero, ante luciferum, from the womb of the morning, genui te. the dew of your youth will be yours. Juravit Dominus, The LORD has sworn, et non poenitebit eum: and will not change his mind: Tu es sacerdos “You are a priest in aeternum secundum forever after the order ordinem Melchisedech. of Melchizedek.”

Dominus a dextris tuis; The LORD is at your right hand; confregit in die irae he shall shatter kings suae reges. on the day of his wrath. Judicabit in nationibus, He will judge among the nations, implebit ruinas; filling them with corpses; conquassabit capita he will shatter chiefs in terra multorum. over the wide earth. De torrente in via bibet; He will drink from the brook by the way; propterea exaltabit caput. therefore he will lift up his head.

Gloria Patri, et Filio, Glory to the Father, and to the Son, et Spiritui Sancto: and to the Holy Spirit:

39 Sicut erat in principio, As it was in the beginning, et nunc, et semper, is now, and always et in sæcula sæculorum. Amen. will be forever. Amen.

Canzon noni toni a 8, Ch. 173 Gabrieli

Canzon duodecimi toni a 10, Ch. 178 Gabrieli

Beatus vir, SV 268 Monteverdi from Selva morale e spirituale, 1640–41

PSALM 112

Beatus vir, qui timet Dominum, Blessed is the man who fears the LORD, In mandatis eius rolet nimis. who delights greatly in his commandments. Potens in terra erit semen eius; His offspring will be mighty in the land; Generatio rectorum benedicetur. the generation of the upright will be blessed. Gloria et divitiae in domo eius; Wealth and riches are in his house; Et justitia eius manet and his righteousness endures in saeculum saeculi. for ever and ever.

Exortum est in tenebris lumen rectis; Light dawns in the darkness for the upright; Misericors, et miserator et justus. he is gracious, merciful and righteous. Jucundus homo It is well with the man qui miseretur et commodat; who deals generously and lends; disponet sermones suos in judicio. who conducts his affairs with justice.

Quia in aeternum non commovebitur; For the righteous will never be moved; in memoria aeterna erit justus. he will be remembered forever. Ab auditione mala non timebit. He is not afraid of bad news. Paratum cor eius sperare in Domino; His heart is firm, trusting in the ordL ; Confirmatum est, cor eius; his heart is steady; Non commovebitur, he will not be afraid, Donec despiciat inimicos suos. until he looks in triumph on his enemies. Dispersit, dedit pauperibus; He disperses generously to the poor; Justitia eius manct in saeculum saeculi; his righteousness endures forever; Cornu eius exaltabitur in gloria. his horn is exalted in honor.

Peccator videbit, et irascetur; The wicked man sees it and is angry; Dentibus suis fremet et tabescet; he gnashes his teeth and melts away; Desiderium peccatorum peribit. the desire of the wicked will perish.

40 Sanctus, Ch. 47 Gabrieli from Sacrae Symphoniae, 1615

Sanctus, Sanctus, Sanctus, Holy, holy, holy, Dominus Deus Sabaoth. LORD God of Hosts. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of your glory. Osanna in excelsis. Hosanna in the highest. Benedictus qui venit Blessed is he who comes in nomine Domini. in the name of the Lord. Osanna in excelsis. Hosanna in the highest.

Canzon XVII a 12, Ch. 209 Gabrieli

Confitebor tibi Domine a 13, SV 265 Monteverdi

Confitebor tibi Domine I will give thanks to the Lord in toto corde meo; with my whole heart; narrabo mirabilia tua, I will recount all your wonderful deeds, Laetabor et exultabor in te; I will be glad and exult in you; psallam nomini tuo Altissime; Sing to praise to your name, O Most High; Exultabit cor meum in salutari tuo. My heart shall rejoice in your salvation.

Cantabo Domino I will sing to the Lord qui bona tribuit mihi; who has dealt bountifully with me; Psallam nomini Domini Altissimi. Sing to the name of the Lord Most High. Psallite Domini Sing praises to the Lord qui habitat in Sion. who sits enthroned in Zion.

41 Annunciate inter gentes opera eius Tell among the peoples his deeds Regnabit Dominus in aeternum The Lord is king et in saeculum saeculi. forever and ever.

Sonata a 6 Francesco Cavalli from Musiche sacre, 1656 (1602–1676)

Hor che’l ciel e la terra, SV 147 Monteverdi from the Eighth Book of Madrigals, 1638

Hor che’l ciel e la terra Now that the sky and the earth e’l vento tace and the wind are silent e le fere e gli augelli and the wild creatures and the birds il sonno affrena, are reined in sleep, Notte il carro stellato Night leads its starry chariot in giro mena in its round e nel suo letto il mar and the sea without a wave senz’onda giace, lies in its bed,

Veggio, penso, ardo, piango; I look, think, burn, weep; e chi mi sface and she who destroys me sempre m’è inanzi is always before my eyes per mia dolce pena: to my sweet distress: guerra è’l mio stato, war is my state, d’ira e di duol piena, filled with grief and anger, e sol di lei pensando and only in thinking of her ò qualche pace do I find peace.

Cosí sol d’una chiara fonte viva So from one pure living fountain move’l dolce e l’amaro flow the sweet and bitter ond’io mi pasco; which I drink; una mano sola one hand alone mi risana e punge; heals me and pierces me;

E perché’l mio martir and so that my ordeal non giunga a riva, may not reach haven, mille volte il dí moro I am born and die e mille nasco, a thousand times a day, tanto da la salute mia son lunge. I am so far from my salvation.

42 Canzon noni toni a 12, Ch. 183 Gabrieli

Omnes gentes a 16, Ch. 52 Gabrieli

PSALM 47:1–6

Omnes gentes, plaudite manibus; Clap your hands, all peoples; jubilate Deo in voce exsultationis; Shout to God with loud songs of joy; for quoniam Dominus excelsus, terribilis, the Lord, the Most High, is to be feared, rex magnus super omnem terram. a great king over all the earth. Subjecit populos nobis, He subdued peoples under us, et gentes sub pedibus nostris. and nations under our feet. Elegit nobis haereditatem suam, He chose our heritage for us, speciem Jacob quam dilexit. the pride of Jacob whom he loves. Ascendit Deus in jubilo, God has gone up with a shout, et Dominus in voce tubae. the Lord with the sound of a trumpet.

This concert is presented in the memory of Dagmar M. Rios (1927-2016) Dedicated Festival supporter and Board member for 35 years

and recognized by contributions from the following:

Birgitta Black William K. Cassell Ronald Siu Dorothy Boesch Donald & Karen Evarts Gerald & Ilene Spear Penha & Dave Brevig Carol Kirkwood Dr. Vina R. Spiehler Patricia Bril & Gordon Smith Marcia Marlowe Max & Marilyn Wolfsberg

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43 A Quire of Choirs: Notes

he period of music we parable to their traditional Tnow know as the Ba- Renaissance counterparts roque era did not begin but with the addition all at once, but rather as of basso continuo and the culmination of sty- obbligato instrumen- listic innovations that tal parts. These genres gathered like a wave reflected the new tex- throughout the musi- tural possibilities of cal world. These inno- late Renaissance and vations, which started early Baroque music, appearing around 1600 and the new “concerted” and were largely devel- style grew to dominate oped by northern Italian the early Baroque style court musicians and the- Giovanni Gabrieli that emerged from Italy, orists, include the inven- crossed the Alps, and tion of basso continuo accompaniment took over the rest of Western Europe. notation; the new declamatory vocal The addition of basso continuo styles of Jacopo Peri and Giulio Cac- — another of the major innovations cini, which we now know as monody; of the early Baroque style — is also a the recitative style and its offspring, form of “concerting,” if not the most opera; and the so-called “concerted” important one. Chordal instruments or concertato style. such as organs, lutes and harpsichords It is this latter innovation that, had traditionally doubled vocal music more than any other, ties together the throughout the Renaissance, but it was music heard in today’s program. Most the invention of new continuo parts simply, concertato music involved — conceived independently from the a sort of dialogue between diverse vocal or obbligato instrumental ones groups of singers and instrumental- — that gave us true concertato vocal ists. Instead of the relatively mono- music. This radical innovation meant tone sound of Renaissance polyphony, that composers no longer had to use the new style emphasized contrast the vocal parts for full harmony, open- and diversity of texture, often with a ing up a new world of flexibility in heightened sense of dramatic possibil- texture, affect and effect. ity. “Concerted music” could also re- The innovations that brought us fer to the addition of obbligato instru- the Baroque era were pioneered by mental parts to the traditional vocal many people, from noble enthusiasts genres of the late Renaissance, which to radical humanist scholars to prac- were — at least as notated — vocal tical musicians. As with all histori- works intended to be sung a cappella. cal narratives, though, music history The decades around 1600 saw the tends to be dominated by a few major development of the concertato mad- figures. Two of these — quite disparate rigal and the sacred concerto, com- in their musical interests and composi-

44 tional styles, but both associated with and singers alike, and this role was the famous Basilica of San Marco in reflected in his published books of in- Venice — also dominate the music strumental and vocal music. However, heard in this afternoon’s program. the three sacred concertos and the Sanctus (an independent Mass move- d ment) that we’ll hear this afternoon don’t feature strictly obbligato parts Giovanni Gabrieli was never officially — that is, ones specifically created by the director of the music program at the composer — but rather reflect the the basilica, but rather one of the two practice of instruments either dou- organists, originally alongside his un- bling or independently playing vocal cle Andrea. This didn’t mean his role parts, creating a kaleidoscopic texture wasn’t powerful; indeed, he probably of alternating blending and contrast- was the most powerful figure within ing sections. This is still a form of the the establishment. concerted style, which was certainly San Marco featured a veritable a mode of performance as much as it Renaissance “orchestra” staffed by was a compositional practice. Indeed, the finest players in Italy. It is no sur- the practice of instrumental doubling prise that many of the innovations in certainly played a practical role in the concertato music sprung from this fer- development of the concertato style in tile ground. Gabrieli played a major composition. role in working with instrumentalists Gabrieli’s music embodies other

45 hallmarks of the Venetian style. Most In many respects, the music of Clau- notably, it features the distinctive poly- dio Monteverdi was a bellwether of choral idiom, in which groups the early Baroque style. His of voices and instruments al- collections of vocal music ternate as a kind of special published over the entire effect — one grounded course of his life, espe- in the unique acoustical cially his eight books properties of San Mar- of madrigals (with a co, and also of course ninth appearing post- reflective of the concer- humously), always tato style. Audiences reflected the latest sty- in the basilica would listic trends. From the be awed by the grand fifth book onwards, sonorous effects created the addition of basso by dispersed groups of continuo and obbligato instruments and voices, instruments to create the perfect counterpart the concertato madrigal Claudio Monteverdi to the visual splendor become the norm. The of the church’s interior. It is this quasi- sole madrigal heard this afternoon, propagandistic element that explains Hor che’l ciel e la terra, is taken from the tendency of these texts towards the Monteverdi’s most famous collection, topics of praise and glory: they glori- the Eighth Book, which the composer fied the Venetian state as much as they called “madrigals of love and war.” did God. Other aspects of the Venetian Here, the splendid possibilities of the style may reflect the influence of San new concerted style are on full display. Marco’s instrumentalists, such as the Equally on display is Monteverdi’s su- lively triple-meter “Alleluias” and the preme mastery of drama, reminding catchy refrains — both of which origi- us that he was of course the first true nally appear in the Renaissance vocal master of the then-new form of opera. chanson but were further developed by One of the paradoxes of Mon- instrumentalists in the new genre of the teverdi’s career was that he spent a instrumental canzona. good part of his life in the service of San Marco — a church job, in other d words — but only published two ma-

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46 jor collections of sacred music. (An- onstrate Monteverdi’s keen command other paradox is that Monteverdi of drama in music. This is especially was first hired by the Gonzaga evident in the dramatic and court in Mantua as an in- highly declamatory style of strumentalist, but pub- text setting; the works also lished no purely instru- demonstrate a mastery mental music.) Luckily, of the possibilities of the two sacred collec- the concertato style, tions he did publish exploiting all avail- are massive in scope able resources of tex- and contain some of ture, timbre, and tonal the finest church mu- color. His experience sic of the entire Ba- as a madrigal composer roque period. In our is also on display in his program, you will hear dramatic use of harmony, two of his best-known sometimes enlivened by works, Dixit Dominus bold chromaticism. Francesco Cavalli and Beatus vir, both from his second major collection, d the 1641 Selva morale e spirituale (“moral and spiritual grove,” selva Lastly, our program features an instru- here representing a wooded place to mental sonata by Francesco Cavalli, rest in the shade and contemplate). Monteverdi’s successor at San Marco. Compared to the Gabrieli works, Cavalli was one of the leading opera these demonstrate the full-fledged, composers of the mid-17th century, mature concertato style, here tak- but this work — included in another ing on a more “classical” guise with large-scale collection of sacred music a standard scoring of two obbligato — is strangely retrospective, glancing violins (or cornetti), obbligato bass back towards Gabrieli, rather than and continuo. Of course, other in- foreshadowing the new instrumental struments could and did still carry on concertos by composers such as Core- the tradition of doubling vocal parts, lli and Vivaldi. as you will hear today. These two sacred pieces also dem- Notes by Ian Pritchard

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47 About the Performers

lizabeth Blumenstock is a long- tivals, the Carmel Bach Etime concertmaster, soloist and Festival, the Oulunsalo Soi leader with the Bay Area’s Philhar- festival in Finland, and the monia Baroque and American Bach San Luis Obispo Mozart Soloists; concertmaster of the Inter- Festival, among many oth- national Handel Festival in Goettin- ers. She has recorded over 100 CDs for gen, Germany; and artistic director of Harmonia Mundi, Dorian/Sono Lumi- the Baroque Music Festival, Corona nus, Virgin Veritas, Koch, Naxos, Ref- del Mar. She is widely admired as a erence Recordings and others. Baroque violinist of expressive elo- An enthusiastic teacher, Blumen- quence and technical sparkle whose stock conducts classes at the San performances have been called “rap- Francisco Conservatory of Music, and turous” and “riveting.” She studied teaches at the American Bach Solo- viola at the University of California, ists’ summer Festival and Academy, at Berkeley, and the Royal Conservatory the International Baroque Institute at of Music in The Hague, and switched Longy, and at the Valley of the Moon to the Baroque violin in the early ’80s. Music Festival in Sonoma, California. Blumenstock’s love of chamber She began teaching Historical Per- music has involved her in several ac- formance at Julliard last fall. She plays complished and interesting smaller a violin built by Andrea Guarneri in ensembles, including Musica Pacifica, 1660, in Cremona, which is on gener- the Galax Quartet, Ensemble Mira- ous loan to her from the Philharmonia ble, Live Oak Baroque, the Arcadian Baroque Period Instrument Trust. Academy, Trio Galanterie, and Voices Elizabeth Blumenstock’s perform- of Music. She has performed at the ance and artistic directorship is spon- Boston and Berkeley Early Music Fes- sored by Terry & Jane Hipolito.

Corey Carleton is a native sica Angelica, Musica Pacifica, Faire Californian who special- Viols, Ensemble Vermillion, and the izes in Baroque music. Her Grammy Award–winning Los Angeles clear, agile voice has been Chamber Singers. described as “bell-like” by Since 2006 Carleton has also been the San Jose Examiner and “glassy- a member of Les Violettes, a Bay Area– toned” by the East Bay Express. She based chamber ensemble that champi- has performed around the United ons French Baroque music. She can be States and internationally in the early- heard on recordings released on the music genre as both a soloist and en- Harmonia Mundi and Naxos labels. semble musician with orchestras and She lives in Los Angeles with her hus- chamber groups such as Tesserae, Mu- band and 13-year-old daughter.

48 Pablo Corá holds music Rob Diggins is a princi- degrees from Ithaca Col- pal player with the Port- lege and Indiana Universi- land Baroque Orchestra ty. Originally from Buenos and Music Angelica. He Aires, he has performed at performs regularly with the Argentine Colón Theatre, Amster- the jazz trio RLA; Wiener Akademie, dam Concertgebouw, Lincoln Center directed by Martin Haselböck; and and the Brooklyn Academy of Music, Magnificat San Francisco, directed by among many others, and locally has Warren Stewart. He was a featured sung with the Los Angeles Philhar- artist on the recently released folk al- monic, Los Angeles Master Chorale, bum Roses in the Snow and Drought Los Angeles Chamber Singers, Musica and performed on Joanne Rand’s Angelica and the Concord Ensemble. Southern Girl. His many recordings He has often collaborated with period include solo work on a recent Port- ensembles such as the Folger Con- land Baroque Orchestra recording of sort, Piffaro and Camerata Pacifica the complete string concerti of J.S. Baroque in works ranging from Ren- Bach, and he was featured as viola so- aissance Florentine songs to operas by loist in the 2013 film Giacomo Varia- Marc-Antoine Charpentier. tions starring John Malkovich. Corá’s recording credits include In addition to his performance work for the Harmonia Mundi label schedule, Diggins maintains a flour- with Paul Hillier’s Theater of Voices ishing private teaching studio. He is and the Pro Arte Singers, for Dorian a Bhaktin (devotional musician) and with the Concord Ensemble and Pif- a Samayacharin guided by the Hima- faro, and the recent release of Steve layan yoga tradition Parampara. Last Reich’s You Are (Variations) on None- November he completed his 500-hour, such. He was featured in last year’s Level 2 certification in the practice of Grammy-winning recording Padilla: yoga philosophy in Rishikesh, India. Sun of Justice with the Los Angeles When not on the road, he enjoys at- Chamber Singer’s Cappella. Upcoming tending to various sustainable garden- recording releases include Steve Re- ing and community projects in North- ich’s Daniel Variations for Nonesuch. ern California. Rob Diggins’s performance is spon- d sored by Terrell & Deborah Koken.

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49 Jolianne von Einem per- groups in the Los Angeles area, and forms with Philharmonia directs Pepperdine University’s Pick- Baroque Orchestra, Port- ford Ensemble, which performs new land Baroque Orchestra, works scored for silent film. Archetti Strings, Musica Hanks directs the composition pro- Angelica, Les Conversations Gal- gram at Pepperdine, where he is the lants, and Magnificat. She has toured Blanch E. Seaver Professor of Fine Arts. South America, Mexico, US and Can- He has received numerous awards for ada with John Malkovich, the Weiner his compositions, and his dramatic Akademie and Musica Angelica in The cantata Tegel Passion was recently Infernal Comedy and Giacomo Vari- honored as a finalist for the Lilly Fel- ations. She recorded the double violin lows’ Arlin G. Meyer Prize. His works concerto of J.S. Bach in a 2015 release have been performed by the Pittsburgh by the Portland Baroque Orchestra. Symphony Orchestra, the Cyprus With degrees from UCLA and String Quartet and the Dale Warland USC, von Einem studied violin with Singers, among many others. His epic Alex Treger and Alice Schoenfeld, and solo piano work Monstre sacré was Baroque violin with Monica Hug- recently featured on New Genera- gett. She toured and recorded in Eu- tions, a solo CD recording with pianist rope with Hausmusik and Huggett’s Paul Barnes on Philip Glass’s Orange Trio Sonnerie, and in Japan with the Mountain Music label. Amsterdam Baroque Orchestra, recording and filming half of Mozart’s d symphonies under Ton Koopman. Among her many other recordings are Julie Jeffrey has been play- the acclaimed CD of Mendelssohn’s ing the viola da gamba Octet with Hausmusik on EMI, and since 1976. Based in the Eighteenth-Century Music for Lute San Francisco area, she and Strings with Trio Galanterie on has performed and record- Audioquest. ed throughout the U.S., in Canada, Mexico, Europe and Australia, and d teaches both privately and at workshops in the U.S. and abroad. She is a N. Lincoln Hanks thrives member of the critically acclaimed Sex in the outer regions of Chordae Consort of Viols, which has the music spectrum as a toured extensively and has released composer and performer. three well-received recordings for He studied performance the Centaur label. She is the creative practice at Indiana University’s Early mastermind of Wildcat Viols, a three- Music Institute, and while there co- woman trio of viola da gamba per- founded the Concord Ensemble, an a formers based in the Bay Area, which cappella group that won Grand Prize she founded in 2001. And, along with in the first Early Music America/Do- early-music specialist Peter Hallifax, rian Records Competition. He often she performs in the viol duo Hallifax performs as a singer with the Baroque & Jeffrey, which has been promoting ensemble Tesserae and other vocal viola da gamba music since 2005.

50 Jeffrey is co-founder and co-di- place her in the front rank rector of the Barefoot Chamber Con- of early-music sopranos” certs, a popular early-music series in (andante.com), is a leading the Bay Area, and is a co-founder and interpreter of the Baroque active member of the Viola da Gamba vocal repertoire. She has Society’s Pacifica Chapter. She has also performed with the Washington Bach served on the board of directors for Consort, Bach Choir of Bethlehem, the Viola da Gamba Society of Ameri- and New York Collegium. Her inter- ca. She has appeared with the Carmel national career has included appear- Bach Festival, California and Ashland ances with period instrument groups Shakespeare Festivals, San Francisco such as the American Bach Soloists, Early Music Festival, the Regensburg Baroque Band, Portland Baroque Or- Tage Alter Musik in Germany, the chestra, Seattle Baroque Orchestra, Festival Internacional Cervantino in Opera Lafayette, Apollo’s Fire, Musica Mexico, and the Melbourne Autumn Angelica, and the Boston Camerata. Music Festival in Australia. Kampani has been heard in many concert series and festivals includ- d ing Les Flâneries Musicales de Reims (France), Aston Magna, Da Camera Jennifer Ellis Kampani, a soprano who Society, Houston Early Music, Mu- “offers a freshness of voice, fineness sic Before 1800, Carmel Bach, and of timbre, and ease of production that the Berkeley and Boston Early Music

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51 Festivals. Highlights among the many ral music. Since moving to CDs she has recorded are Kingdoms Southern California, he of Castille, which was nominated for has performed with the a Grammy Award in 2012; and the Los Angeles Master Cho- works of Chiara Cozzolani, which was rale and the LA Opera, a Gramophone editors’ pick in 2002. has been featured in the Bach festivals in Los Angeles, Carmel and Oregon, d and has sung in many local churches and synagogues. He may be heard on Timothy Landauer was many movie soundtracks. hailed as “a cellist of ex- Levy’s wide-ranging solo reper- traordinary gifts” by the toire includes the music of Perotin New York Times when he and Machaut; cantatas and oratorios won the coveted Concert of Bach, Handel and Telemann; req- Artists Guild International Award of uiems of Mozart, Brahms, 1983 in New York. Now principal Fauré and Duruflé; and the vocal mu- cellist of the Pacific Symphony, he sic of Schoenberg, Stravinsky, Pend- has won numerous prestigious prizes, erecki and John Adams. He has been among them the National Gregor Pi- a frequent guest artist with such en- atigorsky Memorial Cello Award, the sembles as the Lark Musical Society, Samuel Applebaum Grand Prize of the Musica Angelica and the Los Angeles American String Teacher’s Associa- Chamber Singers/Capella, as well as a tion, and the 1984 Hammer-Rostrop- variety of other chamber ensembles. ovich Scholarship Award. Landauer’s extensive engagements d include his highly acclaimed recitals at Carnegie Hall, the Ambassador Audi- Brett McDermid holds a torium in Los Angeles, the Orford Arts bachelor’s degree in Thea- Center in Montreal, and the City Hall tre Arts from Concordia Theatre in Hong Kong. He has per- College in Moorhead, formed as a soloist with orchestras in Minnesota. After gradu- Russia, Portugal, Hong Kong, Taiwan, ation, he spent several years touring Beijing and Shanghai. In the U.S. he the United States and internationally has also appeared with the Maryland with various choirs. He has performed Symphony and the Grand Teton Festi- with the Concordia Choir, Kentucky val Orchestra. Opera, Cornerstone Chorale, the Pal- Timothy Landauer’s performance las Ensemble and the Cardinal Sing- is sponsored by Philip & Katie Friedel. ers. He is an original member of the male vocal ensemble Chanson, which d has released four studio albums. McDermid currently sings with the Edward Levy has been singing in Los Clarion Singers, the Los Angeles Mas- Angeles and around the country since ter Chorale, the Choir of St. James, the 1980s. A native of Phoenix, Arizo- LASchola, the De Angelis Vocal En- na, he attended Arizona State Univer- semble, the Horizon Chamber Choir, sity, where he studied organ and cho- the Pacific Bach Ensemble, and the

52 Los Angeles Chamber Singers. He is a tonation and the quirks of symmetry,” member of the early-music ensemble McIntosh has composed pieces that Tesserae, and works as a TV and inter- have been featured at major venues in net voice-over artist. the Netherlands, Germany, Austria, Switzerland, England, Los Angeles, d New York, and most recently at Walt Disney Concert Hall in the Los Ange- Andrew McIntosh is a les Philharmonic’s Green Umbrella se- composer, violinist, viol- ries. He currently serves on the faculty ist and Baroque violinist. of the California Institute of the Arts Among the early-music teaching violin, viola, composition performers with whom and Baroque performance practice. he has collaborated are the American Bach Soloists, Bach Collegium San Di- d ego, Los Angeles Master Chorale, Mu- sica Angelica, Les Surprises Baroques, Alexandra Opsahl studied Tesserae and Preethi de Silva. He was recorder with Peter Holt- recently featured as a Baroque violinist slag and Daniel Bruggen performing solo Bach at the San Fran- at the Royal Academy of cisco Symphony’s SoundBox series. Music, and cornetto with Described in the Los Angeles Times Bruce Dickey at the Schola Cantorum as “an explorer into the cracks of in- Basiliensis. She was the winner of the

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53 2003 Moeck Solo Recorder competi- McGegan, Trevor Pinnock, Kenneth tion, the 2001 and 2003 RAM Early Gilbert and Gustav Leonhardt. He Music Prizes, and the 2003 Hilda earned his Bachelor of Music degree Anderson Dean Award. She has per- at Oberlin, then moved to London to formed with the Amsterdam Baroque study at the Royal Academy of Music. Orchestra, Orchestra of the Age of He is currently pursuing his PhD in Enlightenment, Boston Early Music Historical Musicology at USC. Festival, the Green Mountain Project, Pritchard appears frequently with Oslo Opera and Glyndebourne Opera. leading local musical ensembles such She is music director for the Baroque as the Los Angeles Philharmonic, L.A. ensemble Tesserae and is a member of Master Chorale, Musica Angelica and Dark Horse Consort. the L.A. Chamber Orchestra, and was Opsahl has recorded Vivaldi’s a founding member of the early-music Concerto in C Minor, RV 441 with ensemble Tesserae. His interests in- the Norwegian period orchestra clude keyboard music of the late Ren- Barokkanerne, and recently recorded aissance and early Baroque, improvi- Johan Daniel Berlin’s cornetto con- sation, notation and performance certo with the Norwegian Baroque practice. He is currently a full-time Orchestra. Upcoming performances of faculty member at the Colburn School Monteverdi works this summer include Conservatory of Music, and in 2015 L’Orfeo with I Fagilolini at St. John’s was elected an Associate of the Royal Smith Square in London, Vespers at the Academy of Music. Carmel Bach Festival, and Il Ritorno Ian Pritchard’s performance is d’Ulisse at the Innsbrucker Festwochen sponsored by Dr. Terri Munroe. der Alten Musik in Austria. Alexandra Opsahl’s performance d is sponsored by J. Winthrop & Carole Aldrich. David Shostac was ap- pointed principal flute of d the Los Angeles Chamber Orchestra in 1975. An Ian Pritchard specializes alumnus of Juilliard and in historical keyboard Tanglewood, he has also served as practice as a harpsichord- principal flute of the St. Louis, Mil- ist, organist and musicolo- waukee and New Orleans symphony gist. He has performed orchestras. He has taken part in nu- with many leading early-music en- merous music festivals, and has ap- sembles, such as the Academy of An- peared with the American Symphony cient Music, the Orchestra of the Age Orchestra, the Boston Symphony and of Enlightenment and Florilegium. the Los Angeles Philharmonic. He has As a chamber musician he has won worked with many prominent con- numerous international prizes and ductors, including Eugene Ormandy, has collaborated with leading figures Zubin Mehta, Leopold Stokowski, in early music such as Monica Hug- Seiji Ozawa, Karl Richter, Helmuth gett, Elizabeth Wallfisch, Christopher Rilling and Christopher Hogwood. Hogwood, Emanuelle Haïm, Nicholas Shostac’s most recent recording is

54 Vivaldi Flute Concertos with Song of tury. She has worked with many of the the Angels Flute Orchestra; his discog- country’s leading early-music ensem- raphy also includes J.S. Bach: The Six bles, including the Waverly Consort, Flute Sonatas and Masterpieces from American Bach Soloists, Philharmonia the French Repertoire. He is active in Baroque Orchestra, Folger Consort, the motion picture recording indus- Seattle Baroque Orchestra, Ars Lyrica try and can be heard on hundreds of of Houston, and the Texas Early Mu- movie soundtracks. He has taught at sic Project. She was also a founder of USC, UCLA, the California Institute Les Filles de Sainte-Colombe, Second of the Arts, the Aspen Music School City Music, Newberry Consort, and and the Idyllwild Arts Academy. He is Severall Friends. a faculty member of CSU Northridge. Springfels was Musician-in-Res- idence at the Newberry Library in d Chicago for 25 years, and has made dozens of recordings. She is active as Mary Springfels began an instructor, having been a Senior her professional career Lecturer at Northwestern University at the age of 21 with the and the University of Chicago, and legendary New York Pro enjoys long-lasting relationships with Musica, and has been at the SFEMS workshops, Viols West, work steadily ever since as a gambist and the annual Conclaves of the Viola and specialist in music of the 14th cen- da Gamba Society of America.

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55 Jimmy Traum graduated cum laude from West- ® minster Choir College in 2010. As a student, he performed under the ba- tons of Michael Tilson-Thomas, Pierre Boulez, Kurt Masur, Mariss Jansons, Sir Roger Norrington, Christoph Es- chenbach, Gilbert Kaplan, John Rut- CAFE & MARKET ter and John Adams. In 2011, he won the Planet Connections Award for CORONA DEL MAR Outstanding Lead Actor in a Musical 3222 E. Coast Hwy Corona del Mar, CA 92625 in the off-Broadway show He’s Not 949.719.9462 Himself. In 2013, he played the lead [email protected] role in the musical Stay on the Line at Theatre 68 in Los Angeles. In 2016, LAGUNA BEACH LOS ANGELES —ARTS DISTRICT he made his solo debut at the Broad 350 Ocean Avenue 580 Mateo St. Lagund Beach, CA 92651 Los Angeles, CA 90013 Stage in Santa Monica, performing in 949.494.6302 323.825.5381 Mozart’s Regina Coeli and Durante’s [email protected] [email protected] Magnificat. Earlier this year, Traum performed www.zinccafe.com as the tenor soloist in the Mozart Requiem as part of the special Con- cert of Remembrance organized by St. James in-the-City Episcopal Church. In addition to his work with the St. James Choir, he sings regularly with LASchola, the De Angelis Vocal En- semble, the Clarion Singers, Tonality and the Golden Bridge.

Matthew Tresler holds Join us! Members receive degrees in voice and con- ducting from Northern an informative newsletter, Arizona University and a calendar of early- the University of Miami. Praised for his “feathery light acro- music concerts, batics” (Orange County Register) and “voice of “unearthly beauty” and discounts on (Miami Herald), he has appeared as SCEMS events. a soloist with the Los Angeles Mas- ter Chorale, New World Symphony, www.earlymusicla.org Flagstaff Symphony, Les Surprises P.O. Box 41832, Los Angeles, CA 90041-0832 · (310) 358-5967 Baroques, and Early Music Hawaii,

56 among others. An active ensemble She is a graduate of the singer, he performs with the Los An- Oberlin Conservatory, geles Master Chorale, Conspirare, where she studied with Seraphic Fire, Bach Collegium San Catharina Meints and Pe- Diego, True Concord and Vox Hu- ter Rejto and received the mana, and works as a studio singer E. Russell Award for Excellence in for film soundtracks in Los Angeles. Historical Performance. She earned Tresler is now in his ninth year as an MFA in cello performance at Mills director of vocal music at Irvine Valley College, where she was active in the College, where he also serves as Aca- new-music scene, and studied at the demic Chair of Music. He has taught Royal Conservatory in the Nether- choral music at Highland High School lands with Jaap ter Linden and Anneke in Gilbert, Arizona, and was director Pols. Most recently she has performed of music ministries at the Coral Ga- with Musica Angelica, Tesserae and bles Congregational Church in Flori- Agave Baroque. da. He has also sung with the Phoenix Before her recent move to San Di- Chorale and Spire. ego, Vorwerck was a freelancer and soloist throughout the Midwest, of- d ten performing with Apollo’s Fire and the Cleveland Baroque Orchestra. In Heather Vorwerck is principal cellist 2001 she was the viola da gamba so- withOCFAS the Program Bach AD_Layout Collegium 1 San2/19/16 Diego. 8:54 AM loistPage for1 the Rotterdam Baroque Or-

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57 chestra’s production of Bach’s St. John peared on TV with several legendary Passion. She can be heard on the ex- singers, including Prince, Mariah perimental-rock studio recording The Carey and Andrea Bocelli. In addition Happy End Problem with Fred Frith. to oboe, she plays theremin. In San Diego she plays fiddle with the indie-country band Ypsitucky, which d was formed in 2015. Leif Woodward is a Pi Ka- d ppa Lambda alumnus of the University of South- Lara Wickes is principal ern California Thornton oboist of the Santa Bar- School of Music, where bara, Pasadena and New he received the Colburn Foundation West Symphonies. She has Scholarship for studies in Early Mu- performed with the Pacific sic Performance. He holds a doctorate Symphony, San Diego Symphony, Los from USC as well as bachelor’s and Angeles Chamber Orchestra and the master’s degrees from the San Francis- Los Angeles Philharmonic. She holds co Conservatory of Music. He teaches a Doctor of Musical Arts degree from at Mount St. Mary’s University and USC, a Master of Fine Arts degree the Orange County School of the Arts, from the California Institute of the and has been a guest instructor at USC Arts, and a Bachelor of Music degree and the Colburn School of Music. from the University of Oregon. She Woodward frequently performs works frequently as a recording musi- with Musica Angelica, Los Ange- cian, and can be heard playing oboe les Master Chorale, Pacific Chorale, and English horn on many motion Santa Barbara Symphony, Bach Colle- picture and TV soundtracks. gium San Diego, and Tesserae. He has Wickes’ appearances at music festi- appeared at the Carmel Bach Festival vals have included the Lucerne Music and San Luis Obispo Mozart Festival, Festival under the direction of Pierre among others. He has participated Boulez, as well as the Spoleto Festival in chamber music series at the Getty USA, Henry Mancini Institute, Nor- Museum, LACMA, Les Salons de Mu- folk Chamber Music Festival, and siques and the Redlands Chamber Sarasota Music Festival. She has ap- Music Society.

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58 Festival Orchestra Violin Violone Elizabeth Blumenstock, Gabriel Golden (June 18) concertmaster/leader Cornetto (June 25) Jolianne von Einem · Susan Feldman Alexandra Opsahl Andrew McIntosh (June 18) Kiri Tollaksen Stephen Escher Amy Wang (June 18) · Janet Worsley Strauss (June 18) Sackbut (June 25) Adriana Zoppo (June 18) Rebecca Burrington Nicholas Daley · Greg Ingles Viola Rob Diggins Bass Sackbut (June 25) Ramón Negrón Perez (June 18) Adam Bregman · Noah Goldstone Harpsichord (June 18) Violoncello Ian Pritchard Heather Vorwerck Mikala Schmitz (June 18) Organ (June 25) Leif Woodward Ian Pritchard · Bernard Gordillo d The South Coast Brass John Deemer, Steve Kraus, trumpet Craig McKnight, trombone Mark Ghiassi, horn Robert Aul, tuba This group performs al fresco for 45 minutes prior to the Festival’s first four concerts (June 18, 19, 21, 23) from the playlist below. Adson, John (c. 1587–1640)...... Two Ayres for Cornetts & Sagbuts Anonymous...... Die Bänkelsängerlieder Bach, Johann Sebastian (1685–1750)...... Vom Himmel hoch, da komm ich her Fugue in G minor, BWV 578 · Prelude and Fugue in G minor, BWV 558 Contrapunctus · While Sheep May Safely Graze Byrd, William (1543–1623) ...... Earle of Oxford’s Marche Charpentier, Marc-Antoine (1644–1704)...... Prelude to Te Deum Gabrieli, Giovanni (1557–1612)...... Canzona per sonare Handel, George Frideric (1685–1759)...... “Hornpipe” from Water Music Royal Fireworks Music Hassler, Hans Leo (1564–1612)...... Verbum carol factum est Holborne, Anthony (c. 1545–1602).....Elizabethan Dance Suite · Assorted Pieces Mouret, Jean-Joseph (1682–1738)...... Rondeau Pezel, Johann Christoph (1639–1694)...... Sonata No. 22 Purcell, Henry (1659–1695)...... Purcell Suite · Voluntary on Old 100th Scheidt, Samuel (1587–1654)...... Canzona · Galliard Battaglia Simpson, Thomas (1582–c. 1628)...... Suite of 17th-Century Dances Susato, Tielman (c. 1510/15–1570?)...... Renaissance Dances Vivaldi, Antonio (1678–1741)...... Suite in E-flat Major

59 Festival Supporters The Board of Directors recognizes with thanks these supporters, whose contributions towards our 37th season have been indispensable in sustaining the Festival’s reputation for excellence.

 Philanthropists  Patricia Bril Ike Kempler Dr. Vina R. Spiehler

 Partners  The Colburn Foundation Ann & Gordon Getty Foundation

 Benefactors  The Boeing Company Terry & Jane Hipolito Steven & Cynthia Dember Dr. Terri Munroe

 Patrons  Arts Commission of the Philip & Katie Friedel Wayne & Ruth Norman City of Newport Beach Margaret M. Gates Norman J. Powell Norris Battin Doreen Hamburger Ralph & Trisha Smith Judith Chodil & Carol Kirkwood Martha Yohe Joseph Dworniczak

 Donors  Anonymous Donald & Karen Evarts Mary L. Taylor J. Winthrop & Paul & Carol Levin Mary & Jim White Carole M. Aldrich Merrill Lynch, Lynne Hayward Dorothy S. Boesch Newport Beach Worley Catherine & Dorothy J. Solinger & Cameron Emmi Thomas P. Bernstein

LIKE YOU, WE’RE DRIVEN TO EXCELLENCE. The All-New The nation's Number 1 2017 E 300 Mercedes-Benz Center* Luxury Edition is a proud sponsor of the Experience The Fletcher Jones Difference. 2017 Baroque Music Festival. FLETCHER JONES MOTORCARS *Number One claim based on MBUSA New and NEWPORT BEACH Pre-Owned Sales Report December 3, 2016. 949.718.3000 •Jamboree at the 73 • www.fjmercedes.com

60  Contributors  Rochelle Bowe Terrell E. & Dr. John McHugh John B.T. & Deborah S. Koken Sharon McNalley Anne Campbell Juan A. & Jane Laguna Evan & Jean Siegel Ruth Casteel Paul & Janice Massatt

 Friends  Patricia N. Albers Mr. & Mrs. William F. The PIMCO Penha & Dave Brevig Kroener III Foundation Patricia A. Brown Helen Lotos Jackie Pirkle Peggie Fariss Lynne T. Marsh Janet Rappaport Nancy Feit Judy J. McKay Marjorie Ringwalt Steven & Sylvia Freije Marjorie Murray Brian Ross John & Carolyn Gaylord June Lusk Nelson Gerald & Ilene Spear Fred & Cheryl Heinecke The OFF DUTY Emmanuel Sharef Hong Kong Family Karen Jacoby Peggy Strong Joan S. Petty Becky Jones

 Festival Subscribers  Patricia N. Albers Duke Funderburke & Lynne T. Marsh Norris Battin Bradley B. Davis Paul & Janice Massatt Dorothy S. Boesch Margaret M. Gates Judy J. McKay Penha & Dave Jon & Carolyn Gaylord Dr. Terri Munroe Brevig Debbie & Wayne & Ruth Norman Anthony Gonzalez Patricia Bril & Beatrice C. Parker Gordon W. Smith Monika & Joan S. Petty Virginia Cassara & Nicole Goodwin Norman J. Powell Tim Hunter Doreen Hamburger Martha Radosevich Ruth Casteel Terry & Jane Hipolito Janet Rappaport Judith Chodil & Marlene & Claude Joseph Dworniczak Kastenholz Walter B. Rios Ernani D’Angelo Ike Kempler Brian Ross Steven & Carol Kirkwood Ralph & Trisha Smith Cynthia Dember Terrell E. & Dr. Vina R. Spiehler David William Freely Deborah S. Koken Mary L. Taylor Roger Douglas Freely Juan A. & Jane Laguna Lynne Hayward Worley Philip & Katie Friedel Paul & Carol Levin Martha Yohe Lists are complete as of publication deadline.

61 Index of Advertisers Those who enjoy the Baroque Music Festival are encouraged to patronize the following advertisers, whose support is integral to the Festival’s success.

Bach Collegium San Diego...... 25 Mother’s Market & Kitchen...... 63 Berkshire Hathaway California Musica Angelica...... 21 Properties, Sally Shipley...... 49 Newport Floor Covering...... 11 Bluewater Grill...... 5 On The Wall Gallery...... 46 Bristol Farms...... 7 Orange County Fine Art Storage.....57 Champagne’s Bistro & Deli...... 58 Osher Lifelong Learning Institute Coast Family Chiropractic...... 15 (OLLI), UCI Extension...... 20 Coldwell Banker Real Estate, Pacific Chorale...... 53 Virginia Cassara...... 35 Philharmonic Society of Crab Cooker...... 7 Orange County...... 2 Farmers & Merchants Bank...... 37 Regents Point...... 64 First Team Real Estate/Christie’s Royal Jewelers...... 4 International Real Estate...... 55 San Diego Early Music Society...... 18 Fletcher Jones Motorcars...... 60 Shifberg-Mencher Associates...... 5 Ganahl Lumber...... 34 Sole Comfort...... 47 Gelson’s Market...... 36 Southern California Hearthstone...... 29 Early Music Society...... 56 Hutchins Consort...... 45 Suzanne’s Catering...... 13 Lexus of Westminster...... 23 Tesserae...... 41 Long Beach Opera...... 51 Weisshaar & Son Violin Shop...... 4 Mayer Printing...... 62 Zinc Café...... 56 Merrill Lynch...... 33

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