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20-03-04 CPE Bach & Telemann Final WEB Version partners Early Music Vancouver gratefully acknowledges the assistance and support of: GOVERNMENT SUPPORT board of directors Fran Watters We acknowledge the support of president the Province of British Columbia Supported by the Province of British Columbia Chris Guzy past president Johanna Shapira vice president FOUNDATIONS Ron Kruschen THE BRENNAN SPANO treasurer FAMILY FOUNDATION Ilia Korkh THE DRANCE FAMILY secretary EARLY MUSIC VANCOUVER FUND Sherrill Grace 2019-20 PRODUCTION PARTNERS Tony Knox Melody Mason EMV’s performances at the Chan Centre are presented in partnership with the Chan Centre for the Vincent Tan Performing Arts, with the support of the Chan Endowment Fund at the University of British Columbia. ÷ pacific baroque orchestra José Verstappen cm alexander weimann MUSIC director artistic director emeritus ÷ staff Matthew White executive & artistic director Nathan Lorch business manager Michelle Herrewynen resource development manager PRODUCTION PARTNERS IN VICTORIA BC Jonathan Evans production manager Laina Tanahara marketing & volunteer coordinator CORPORATE SUPPORT Jan Gates event photographer Rosedale on Robson Suite Hotel VANCOUVER, BC Tony Knox Barrister & Solicitor, Arbitrator Tel: 604 263 5766 Cell: 604 374 7916 Fax: 604 261 1868 Murray Paterson Email: [email protected] 1291 West 40th Avenue, Vancouver, B.C. V6M 1V3 Canada www.knoxlex.com Marketing Group We also gratefullyKnox & Co. denotes D.A.Knox Lawacknowledge Corporation the generosity of our many donors and volunteers. marketing & media relations Trevor Mangion thank you! and The Chan Centre Box Office Staff You can be in good company too! emv ticket office: 604.822.2697 The corporate sponsors of Early Music Vancouver give back to their community through the support of our performances and education & outreach programmes. Their efforts make a meaningful difference for concertgoers and musicians alike. 1254 West 7th Avenue, Our wide range of activities offers unique sponsorship opportunities for both large and Vancouver BC, V6H 1B6 small companies to support us while also reaching their corporate goals. A range of sponsorship advantages is available, including logo recognition, complimentary tickets for tel: 604.732.1610 your clients, employee discounts, and many other benefits tailored to your specific needs. fax: 604.732.1602 Contact Michelle Herrewynen to discuss how our audience profile may fit [email protected] with your company’s objectives: 604 732 1610 or [email protected] earlymusic.bc.ca Early Music Vancouver acknowledges that it operates and performs on the unceded Indigenous land belonging to the Coast Salish peoples, including the territories of the xʷməθkʷəy̓ əm (Musqueam), Sḵwx̱ wú7mesh (Squamish), Stó:lō and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) Nations. We are grateful for this privilege. 2 Early Music Vancouver 2019 | 2020 Telemann and C.P.E. Bach Chamber Works [email protected] the artists programme Marc Destrubé Carl Philipp Emanuel Bach (1714 – 1788) violin Sonata in d minor for flute, violin and basso continuo Wq.145 (Berlin 1747) Wilbert Hazelzet Allegretto traverso Largo Jaap ter Linden Allegro violoncello Georg Philipp Telemann (1681 – 1767) Jacques Ogg Sonata in D Major harpsichord for cello and basso continuo (“Der getreue Musikmeister” TWV 41:D6, Hamburg 1728/29) Lento Allegro Largo Allegro Jean-Philippe Rameau (1683 – 1764) Concert V in d minor for harpsichord, flute and violin (“Pieces de Clavecin en Concerts”, Paris 1741) La Forqueray, Fugue La Cupis La Marais interval Carl Philipp Emanuel Bach Sonata in D Major for harpsichord and violin, Wq.71 (Potsdam 1747) Poco adagio Allegro Adagio Menuet I&II Jean Marie Leclair (1697 – 1764) Sonata in e minor generously supported by for flute and basso continuo Op.9 No. 2 (Paris 1743) José Verstappen Dolce: Andante Allemanda: Allegro ma non tropo Sarabanda: Adagio Pre-concert chat with Minuetto: Allegro non tropo host Matthew White at 6:45: Marc Destrubé Georg Philip Telemann Concerto Primo in G major for flute, violin, violoncello & basso continuo TWV 43 (“Six Quatuors”, Paris 1730) THE UNAUTHORISED USE OF Grave ANY VIDEO OR AUDIO RECORDING Allegro DEVICE IS STRICTLY PROHIBITED Largo - Presto – Largo Allegro earlymusic.bc.ca Telemann and C.P.E. Bach Chamber Works Early Music Vancouver 2019 | 2020 3 Help EMV take advantage of a historic gift! An anonymous donor will match all gifts up to $50,000 for the commissioning of an exquisite new copy of an early 19th century fortepiano in celebration of EMV’s 50th Anniversary. Brief description of the EMV’s mandate and activities: Founded in 1970 and celebrating its 50th anniversary in May 2020, Early Music Vancouver (EMV) has a long-standing international reputation for the presentation, production and study of musical repertoires played on period instruments and using historically informed performance practices. Historically informed performance is an approach to the performance of music which aims to be faithful to the approach, manner and style of the era in which a work was originally conceived. It is based on two key aspects: the application of the stylistic and technical aspects of performance, and the use of historical instruments or replicas of those in use at the time of the music’s composition. The 50th anniversary season in 2019-2020 has, for the first time, seen the organizations’ budget grow to just under $2 million. EMV has become one of the most active and prolific organizations of our type in North America. About the instrument and the maker: To mark our 50th anniversary and embark on presenting a whole new repertoire of period performance practices, EMV has commissioned Paul McNulty to build a copy of an instrument originally designed by the Viennese builder Conrad Graf in 1819. This is the instrument that the which it was written is utterly transformative and at the heart of what early romantic composers would have known and for which they were we value as an organization. writing. The availability of such an instrument in Vancouver will have a significant During Beethoven’s time (and partly thanks to his influence and his and long-term impact on the early music scene in Vancouver, and on demands on contemporary builders), fortepiano construction underwent the musical community in general. Preliminary plans include festive a substantial development. One of the most influential builders of the inaugural performances and workshops by world-renowned artists time was Conrad Graf. He created an instrument for Beethoven in the including Kristian Bezuidenhout and Andreas Staier, a Beethoven piano last years of his life, offering a 6½-octave range rather than the 5-octave, works cycle featuring a number of young Vancouver keyboard players, designed especially to fulfil the demands for larger instruments by and a special two-week summer course focusing on piano works and Beethoven and contemporaries. Lieder from Beethoven to Schubert. Paul McNulty is an American living in the Czech Republic and is considered the most experienced living builder of copies of 19thcentury Potential other partners: fortepianos. Since 1985 he has made more than 220 historical pianos. Although EMV will be the sole owner of the instrument, it will be His customers have included Kristian Bezuidenhout, Malcolm available to the UBC School of Music for teaching purposes and for Bilson, Nicolas Harnoncourt, The Chopin Institute in Warsaw, The performances. It will also be made available for partnerships with valued Glyndebourne Festival, The Amsterdam Conservatory, The Chinese arts organizations in and around the city including The Vancouver University of Hong Kong, The Royal College of Music and many more. Recital Society, The Vancouver Chopin Society, The Friends of Chamber Music, The Vancouver Symphony, The Vancouver Opera and more. Why do we need this instrument now? Project revenues and expenses: For years, EMV has maintained and made available to the broader community an outstanding historical instrument collection. Though The cost for a McNulty 6½-octave fortepiano after Conrad Graf, including we own a “stable” of keyboard instruments that trace almost the whole a padded cover, shipping crate, and shipping costs & insurance presently basic history of the keyboard from the late Renaissance to the present, stands at approximately $100,000 Cdn. As a special gift in honour of we are sadly still missing a vital piece of the puzzle. This early romantic the late Dr. Ralph Spitzer, a long-time supporter of EMV, an anonymous piano is that missing piece. Hearing the music of late Beethoven, donor is willing to match all donations up to $50,000 to help us with the Schubert, Schumann, Mendelssohn, and others, on the instrument for purchase of this instrument. To support this campaign, please contact: Michelle Herrewynen, EMV Resource Development Manager (Vancouver Society for Early Music) 1254 West 7th Avenue, Vancouver BC, V6H 1B6 | Tel: 604-732-1610 | E-mail: [email protected] Charitable registration number: BN 10816 7776 RR0001 4 Early Music Vancouver 2019 | 2020 Telemann and C.P.E. Bach Chamber Works [email protected] programme notes BY JUSTIN HENDERLIGHT In the middle of the Eighteenth Century, European courtiers fashionable. Even though it was composed in 1728 at the were expected to be galant. This term first appeared emergence of galant music, Telemann already embraced that in writings of seventeenth-century authors such as le aesthetic in his Sonata in D major for cello and continuo TWV Chevalier de Méré, who wrote a series of Conversations 41:D6. The work was published in his Getreue Musikmeister, describing the ideal way to conduct oneself in courts of a publication aimed at delineating all of the current styles the nobility. To be galant was to be “sparkling”, “cheerful”, in the major Western European nations for the edification and to know how to insinuate oneself into a conversation. of musicians and connoisseurs. One of the most salient A successful galant courtier would be knowledgeable but galant features appears in the first movement – the surprise not overly learned – in a modern sense, a Renaissance Man appearance of triplets in a work where the beat is primarily rather than a scholar.
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