CAL PERFORMANCES PRESENTS PROGRAM Tuesday, May 1, 2012, 8pm Zellerbach Hall San Francisco Symphony Michael Tilson Thomas, music director Jane Glover, conductor Bach Brandenburg Concerto No. 6 in B-flat major, bwv 1051 [Allegro] PROGRAM Adagio ma non tanto Allegro Jonathan Vinocour viola I Yun Jie Liu viola II George Frideric Handel (1685–1759) Water Music Suite No. 3 in G major, Barbara Bogatin viola da gamba I hwv 350 (1717) Marie Dalby Szuts viola da gamba II [Sarabande] or [Menuet] Rigaudons I and II Menuets I and II [Bourrées I and II] Handel Music for the Royal Fireworks, hwv 351 (1749) Overture Bourrée La Paix Johann Sebastian Bach (1685–1750) Brandenburg Concerto No. 3 in G major, La Réjouissance bwv 1048 Menuet I [Allegro] Menuet II Adagio Allegro Bach Brandenburg Concerto No. 2 in F major, bwv 1047 [Allegro] Andante Allegro assai Cal Performances’ 2011–2012 season is sponsored by Wells Fargo. Nadya Tichman violin Robin McKee flute Jonathan Fischer oboe John Thiessen trumpet INTERMISSION 28 CAL PERFORMANCES CAL PERFORMANCES 29 PROGRAM NOTES PROGRAM NOTES George Frideric Handel (1685–1759) Johann Sebastian Bach (1685–1750) Brandenburg Concerto No. 3 “for three presumably means a recorder when he just says Water Music Suite No. 3 in G major, hwv 350 Brandenburg Concerto No. 3 in G major, violins, three violas and three violoncelli, with flauto; however, as in most modern-instrument (1717) bwv 1048 bass for the harpsichord” (all the instrumenta- performances in large halls, the part will here be Brandenburg Concerto No. 2 in F major, tions are transcribed from Bach’s autograph) has translated to regular flute). Handel’s life is the source of many anec- bwv 1047 no players specifically and consistently desig- Brandenburg Concerto No. 6 in B-flat for dotes, none more famous than the story of Brandenburg Concerto No. 6 in B-flat major, nated as soloists, but Bach can arrange his seven “two violas, two violas da gamba, violoncello, the Water Music. In 1712–1713, Handel, then bwv 1051 voices—three violins and three violas, with ev- bass and harpsichord” would, for Bach’s audi- Capellmeister to the Elector of Hanover, out- erybody else working on the bass line—to get ence, have introduced a new sound: the contrast rageously overstayed a leave of absence. He had Bach moved to Cöthen at the end of 1717 more different combinations than any orthodox of the gambas with their modern replacement, gone to England and had all but settled there. to assume the post of Kapellmeister to His solo concertino could provide. All the violin and the violoncello. The Adagio is an impassioned In the summer of 1714, the Elector of Hanover Most Serene Highness, Leopold, Prince of viola parts at some point become soloistic, and vocal duet like the Adagio in No. 1, the finale a became King George I of England, so Handel Anhalt-Cöthen, a dignitary who loved music. all contribute to the tutti in what is texturally gigue as in No. 5. But how different the adagios found himself again within easy reach of his Bach’s chief task was to compose instrumental the most inventive of the Brandenburgs. and gigues are, how varied Bach is even when former and understandably angry employer. music and see to its performance, and he was Bach’s concertos, like those of Vivaldi (on the same labels must serve. The first movement’s Baron Kielmansegge, Master of the Horse at staggeringly productive. which they are modeled), normally have three closely woven canon between the two violas is Hanover and now part of the new king’s court Bach composed the concertos we know as movements, fast–slow–fast. Brandenburg No. 1 one of Bach’s most renowned tours de force. in London, arranged reconciliation. When the the Brandenburgs not later than March 1721 in is an exception, in that it adds a minuet with king took an excursion by barge on the Thames, the ordinary fulfillment of his duties to Prince three contrasting trios; Brandenburg No. 3 is an- Michael Steinberg Kielmansegge had a second barge with musi- Leopold, but by then he had grown restless other in that it lacks a slow movement. Between cians follow. The music they played was by and was determined to leave Cöthen. With the two Allegros there is only a pair of chords Handel, and it so enchanted the king that he his departure in mind, he prepared a presen- marked Adagio and forming a possible close to Handel forgave the delinquent composer. tation copy and sent it to His Royal Highness a movement in E minor, the relative minor of Music for the Royal Fireworks, hwv 351 (1749) Charming as the story is, it does not seem Christian Louis, Margrave of Brandenburg. the home key of G. It is perfectly clear from the to be true. Handel was never in trouble with the (Brandenburg is the Prussian province immedi- autograph that nothing is lost or missing. We do In October 1748, England and France signed king, What is true is that Handel did compose ately north of Berlin.) That copy went accompa- not know what Bach intended, and many solu- the Treaty of Aix-la-Chapelle, ending the War music for at least one royal river excursion, and nied by a letter in Bach’s most courtly French, a tions have been tried. of the Austrian Succession. The war actually in- at the king’s request. The one we know of for bid for employment. Two of the Brandenburgs are for strings volved Austria and Prussia, but Britain was an certain took place on July 17, 1717. Similar royal The presentation is as to a connoisseur, and alone, and there Bach sets himself the challenge ally of Austria while France, in an uncharacteris- river trips with music followed. That the music Bach picked carefully from his Cöthen repertory, of creating contrast where none explicitly exists. tic moment, was in league with the Prussians (as on those occasions was Handel’s is possible but revising while he was at it and, as usual when In Brandenburg Concerto No. 2 in F for “one was Spain). In any case, the treaty ensured that not certain. assembling a collection, taking pains to make its trumpet, one flute, one oboe, one violin, all solo, the war was about to conclude. To celebrate, an Several movements exist in variant versions, members as diverse as possible. Musicians have and two violins, one viola and bass in the or- immense structure in Palladian style was built but no autograph material exists for any of the always been struck by the wonderful timbral chestra, with violoncello and bass for the harp- in London’s Green Park, meant as a launching Water Music. The whole composition consists variety of the Brandenburgs. No doubt Bach sichord,” Bach’s task is the opposite: to integrate pad for a spectacular fireworks display to cel- of 22 movements that fall into three groups, wished to impress his prospective patron with his most heterogeneous consort of instruments. ebrate the peace. Handel was the man to supply or suites, distinguished by key and instrumen- the coloristic possibilities a composer on his No wonder the dynamics are marked in unprec- the music. tation. This eloquent and ingratiating music plane of imagination and technique could draw edented detail. The Andante is for the three gen- Mirroring the graciousness towards a former captures the spirit of 18th-century dance. We from a band of 18 players. tler-voiced soloists with figured bass only. Here enemy expressed in the signing of the Treaty of can well imagine how delighted the king must Bach was the first composer to respond to is another beautifully made passage that attests Aix-la-Chapelle, Handel here writes music “in have been. the orchestra as such, not just to the nature of to Bach’s concern with texture as structure: The French.” The French overture style, as codi- specific instruments. Again and again in the pathetic three-note sighs are, at their last ap- fied by Lully and adapted in the 18th century Michael Steinberg Brandenburgs, he defines and articulates the pearance, so consistently voiced as to be serial by Rameau, had provided a model for many succession of musical events by textural-timbral in their instrumentation. What is best remem- composers outside France. Structurally, it in- means. This is music “about” its textures, its col- bered about this concerto is the trumpet part, volved a slow, often pompous opening section, ors, its instrumentation. the zenith of the whole clarino tradition, and on followed without break by rapid music marked the right day the most spectacular sound in all by considerable imitative counterpoint. Handel of baroque music. (Since Bach specifies a traver- generally follows that plan here, inserting a brief sière or transverse flute in Concerto No. 5, he modulating passage between the two parts of 30 CAL PERFORMANCES CAL PERFORMANCES 31 PROGRAM NOTES the overture. But he adapts the classic models in a way that is entirely his own. Notice, for ex- ample, how far the opening music transcends mere pomposity, achieving a noble, hymnlike feeling. And who but Handel would have gone the extra distance to harmonize that opening material in three different ways as it recurs in the movement? The composer is similarly idio- syncratic in the Allegro section, which is based on fanfare figures and their echoes, and which keeps the ear alert through constant variation of instrumental groupings. A French dance follows, a merry Bourrée for two upper parts plus bass. The next two move- ments reflect the import of the occasion: a gentle siciliano titled La Paix (“Peace”), and a martial movement called La Réjouissance (“Rejoicing”).