33rd Annual Season June 16-23, 2013

Welcome to the 33rd annual Baroque Music Festival, Corona del Mar!

uilding upon the musical achievements of the 2012 Festival, with its Breturn to our traditional five-concert format, we’re celebrating our 33rd annual season with another week of superb Baroque music. As you’ll discover, our internationally acclaimed artistic director, Elizabeth Blumenstock, has programmed this year’s five concerts to embrace a wide selection of Baroque masterpieces, ranging from works you may have enjoyed before to ones that will almost certainly be surprising and unfamiliar.

Indeed, this year’s Festival offers much to be excited about. After a two-year hiatus, we’re bringing back the highly regarded Monday evening organ recital. Our other concerts will introduce seldom-heard works for the viola d’amore, violoncello, oboe, and countertenor voice. Friday’s Viva Italia! program will showcase Italian composers of the Baroque period. And our Festival Finale will feature a full concert performance of Handel’s exquisite opera Acis and Galatea.

We are pleased to be returning to our familiar and welcoming local venues: St. Mark Presbyterian Church, St. Michael & All Angels Episcopal Church, the Sherman Library & Gardens, and the Newport Harbor Lutheran Church. These delightfully intimate settings, along with the use of period instruments and faith- fully crafted modern reproductions, create an ambiance and sound that will let us experience chamber music in much the same way it was enjoyed during the Baroque era. And our pre-concert brass performances and post-concert recep- tions will encourage audiences to mingle with one another — and our perform- ers — in a convivial environment, just as musicians and music-lovers did in the 17th and early 18th centuries.

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

Let us once again enjoy great music together! Festival Board of Directors Ralph E. Smith, Jr., President

3 Michael and Rena Weisshaar 1763 Orange Avenue Costa Mesa, California, 92627 (949) 548-1287

Winter Musicale Violinmakers Newmaking to Order, February 16, 2014 Sales, Repairs, Rentals Violins - Violas - Celli - Bows - Accessories 34th Annual Festival Best phone times June 15-22, 2014 9:00 to 11:30 am, 1:00 to 5:30 pm Tuesday through Saturday Dates subject to change

To be placed on our mailing list for advance information, Shifberg-Mencher please contact us: Associates, Inc. S Baroque Music Festival, CdM M 17842 Irvine Blvd., Suite 146 A Tustin, CA 92780-3259 P.O. Box 838 Phone: (714) 832-8600 Corona del Mar, CA 92625-0838 Fax: (714) 838-3301 E-Mail: [email protected] (949) 760-7887 [email protected] Services Products www.bmf-cdm.org • Financial Planning • Annuities • Estate & Retirement • Tax Advantaged Planning Investments • Tax Planning & • Life & Long Term Preparation Care Insurance Festival Program • Representation • Health & Disability Before All Tax Insurance Patricia Bril Authorities Editorial Director Enrolled to Represent Taxpayers Before the IRS Robert Bonds California Enrolled Agent-of-the-Year 1998-99 Editor Fellow – National Tax Practice Institute Masters in Business Administration Law Wai Man Life Agent Lic. # 0635996 Production Manager

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4 Board of Directors Your custom jeweler for 22 years Established 1991 Patricia Albers Dorothy Boesch Patricia Bril Irmeli Desenberg, President Emerita William B. “Skip” Freely Katie Friedel Philip Friedel Doreen Hamburger 1280 Bison, Suite B6, at MacArthur Newport Beach Dr. Susan L. Powers 949.644.7804 Dagmar M. Rios www.royal-jewelers.com Walter B. Rios Ralph E. Smith, Jr., President Store Hours Trisha Smith Mon-Sat 10-6pm Dr. Vina Spiehler, Treasurer Marilyn Wolfsberg, Secretary

Advisory Board Norris Battin Donald Evarts Heather Goss, Past President Andrew Guilford Sigrid Hecht, Past President Dr. Alex Maradudin Judy McKay Your Experts For: Jody Pike Arch Supports John Stahr Dorothy Taylor Comfort Shoes Professional Fit Sports Performance Foot Pain Relief Artistic Direction 2000 Harbor Blvd, SteA108 Elizabeth Blumenstock Costa Mesa, CA92627 Artistic Director (949) 335-9898 Burton Karson www.footsolutions.biz Artistic Director Emeritus

5 The Festival Directors Gratefully Acknowledge  Sherman Library & Gardens (Dr.  Ralph & Trisha Smith for host- William O. Hendricks, Director of ing the Fall Preview Salon, and the Library; Wade Roberts, Direc- Doreen Hamburger for hosting tor of the Gardens), Saint Michael the Spring Salon; and Dr. Vina & All Angels Episcopal Church Spiehler for underwriting pro- (The Very Rev’d Canon Peter D. duction of Winter Musicale re- Haynes, Rector), Newport Har- cordings given to supporters. bor Lutheran Church (The Rev. Bradley Stienstra, Pastor; The  Trader Joe’s, Crystal Cove, and Rev’d William Wells, Minister Peet’s Coffee & Tea, Corona of Music), and St. Mark Presby- del Mar Plaza, for providing terian Church (The Rev. Curtis water and coffee at our events; Webster, Interim Pastor; Richard and Whole Foods Market and Messenger, Director of Music) for California Pizza Kitchen, both hosting our concerts. of Fashion Island, for rehearsal meals for artists.  The Arts Commission of the City of Newport Beach for a grant in  Adrian Noack, stage manager, support of our 33rd season. assisted by members of Phi Mu Alpha, Omicron Pi Chapter (CSU  William B. “Skip” Freely for un- Fullerton) for ushering and other derwriting our pre-concert brass event facilitation; and Mary and performances on June 16th, 19th Jim White for ushering. and 23rd.  Dorothy Boesch, Patricia Bril,  Paul & Carol Levin for the use of Heather Goss, Dagmar Rios and their splendid Dowd harpsichord, Joyce Winter for advertising liaison. and for recording our events.  Dr. Burton Karson, our Artistic  Doreen Hamburger, Alice Remer, Director Emeritus, for his con- and Ralph & Trisha Smith for tinuing inspiration, support and providing artist accommodations. guidance.  St. Michael & All Angels Episco-  Advertisers in this program (p. 54) pal Church for hosting our Winter and our generous Supporters Musicale; and Dagmar M. & Wal- (p. 52) for the essential financial ter B. Rios for underwriting Timo- assistance that makes this annual thy Landauer’s performance. Festival possible.

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6 Season 2013-2014 •The Eleventh Season

G.F. Handel: Dixit Dominus HWV 232 J.S. Bach: Christ lag in Todesbanden BWV 4 September 27 & 28 2013 G.F. Handel: Messiah HWV 56 December 8 & 9 2013 Michael Praetorius: Christmas Vespers with Tenet NYC and Dark Horse Consort December 20 & 21 2013 J.S. Bach and the Florilegium Portense February 7 & 8 2014 J.S. Bach: B minor Mass BWV 232 April 5 & 6 2014 G.F. Handel: Il Trionfo del tempo e del disinganno HWV 46 May 30 & 31 2014 All repertoire and dates subject to change

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7 Baroque Music Festival, Corona del Mar Sunday, June 16, 2013, 4 p.m. St. Mark Presbyterian Church This concert was partially underwritten through the generous donation of Doreen Hamburger Baroque Concertos

Elizabeth Blumenstock, violin, viola Rob Diggins, violin, viola Jolianne von Einem, violin Janet Worsley Strauss, violin Adriana Zoppo, viola d’amore Shirley Edith Hunt, violoncello Leif Woodward, violoncello

Festival Orchestra Elizabeth Blumenstock, leader

Sinfonia in G major, RV 149 Antonio Vivaldi for strings and harpsichord (1678-1741)

Allegro molto Andante Allegro

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Concerto in D major, GWV 317 Christoph Graupner for viola and viola d’amore (1683-1760)

Grave, e staccati Vivace Grave Allegro

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Concerto in G minor, RV 531 Vivaldi for two violoncellos

Allegro Largo Allegro

8 Concerto Grosso in D major, Op. 12, No. 6 Charles Avison (1709-1770)

Largo Con Furia Adagio Vivacemente d

Concerto in D major, TWV 40:202 Georg Philipp Telemann for four violins (1681-1767)

Adagio, Allegro Grave Allegro d

Concerto in G major, TWV 51:G9 Telemann for viola

Largo Allegro Andante Presto d

Concerto in B minor, RV 580 Vivaldi for four violins

Allegro Largo–Larghetto–Largo Presto

9 Notes on the Baroque Concertos

ntonio Vivaldi has he worked alongside a Along been consid- young violinist named ered the father of the Georg Frideric Han- Baroque concerto, but del. He moved from that genre (well rep- there to a lifelong post resented in today’s as Kapellmeister and program) was by no composer at the court means the only form of Hesse-Darmstadt, in which he excelled. where he was employed He also composed many in the court of Landgrave string sinfonias, one of Ernst Ludwig. (From which opens our con- this position he applied cert. The little Sinfonia for the post of Cantor in G major is a breezy Antonio Vivaldi at the Thomaskirche in and remarkably galant Leipzig in 1723, but the work; Vivaldi was mak- prize went to J.S. Bach, ing a serious attempt to be light- and Graupner remained in Darm- hearted and charming, remaking his stadt.) Even though Graupner went style in the image of the current pop- on to achieve fame during his lifetime, ular trends. He was quite successful we have no idea what he looked like: at this, melding his trademark high- he would not allow his likeness to be energy and often repetitive figura- painted, believing that it would be un- tion into an engaging and entertain- seemly for a humble Lutheran to be ing first Allegro. immortalized in this way. The Andante is a miracle of In Graupner’s era, few concer- crafty texture and effective mood- tos were written specifically for viola setting: half of each string section d’amore, and even fewer for viola. bows the printed notes, while the Even one concerto for solo viola and other half plucks them! The result viola d’amore would have been unu- is piquant and perhaps even faintly sual... but Graupner composed two! sinister. Whimsical and eccentric, the Perhaps even more unusual is the last movement is an athletic romp; overall character of today’s concerto. though again founded on limited One does not think of either the viola musical ideas, they are so artfully or the viola d’amore as a martial in- combined, with such rhythmic élan strument — indeed, d’amore suggests and quirkiness, that the piece rises love, not war — but there is indeed far above its material. a bit of a military character present in every movement. The two solo d instruments escape this in the third movement, leaving the orchestra to Christoph Graupner’s first post was as their severe rhythms, while indulging a harpsichordist in Hamburg, where themselves in more florid exchanges.

10 There is a return to the disciplined much cellos can be “regular” instru- rhythmicity that informs the military ments: there is not so much focus character in the last movement, com- here on the deep lower register, much posed in AABB form. more emphasis on playfulness, rhyth- Comparing Graupner to Vivaldi, mic vivacity, and lively dialogue. you may find that Graupner’s move- ments are more homogeneous, more d “about the same thing” than Vivaldi’s. While that may mean there is less vari- Charles Avison is not a familiar name ety to be found within the movement, to most of us, but he was moderately it suggests that Graupner felt each famous in his time. He wrote sever- movement to be devoted to a more al opuses of concerti grossi, a form or less single effect, which was not an hugely popular in England as a re- uncommon sentiment among Baroque sult of the phenomenal popularity of composers. Corelli’s immortal Opus 6. In today’s concerto, as in the other concertos d in this opus, Avison indulged his fas- cination with the keyboard works The Concerto in G minor for two cel- of Domenico Scarlatti, borrowing a los, one of Vivaldi’s finest in a high- movement and arranging it for or- class field, opens memorably, not chestra. (The borrowed work is Scar- with the usual ritornello but with the latti’s K. 21, and it appears as the last two soloists growling, muttering and movement of the concerto grosso.) stamping their feet, as only cellists The first movement is a gracious can. Vivaldi’s basic approach to com- and agreeable opener; the second position is amply on display: look for movement, with its unusual mark- plenty of fast repeated notes and lots ing con furia, became sufficiently of dialogue between the soloists. well known at the time to become The grumpiness of the first move- part of a Laurence Sterne novel; the ment yields to a melancholy Largo third movement recalls Geminiani for the soloists without any upper in its ornate and expressive writing; strings. In the final Allegro, Vivaldi and the lively, athletic character of seems to want to show us just how Scarlatti’s keyboard model is faith-

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11 fully rendered in the closing Adagio, he more than makes movement. up for in the Grave.

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The first of two Tele- At a time when com- mann concertos on posers like Vivaldi, Al- our program today is binoni and Bach were an unusual concerto writing solo concertos for four violins with- hewing to the standard out orchestra. Its open- Italian three-move- ing slow movement ment model (fast-slow- is so very brief as not fast), Telemann (like to really be worthy of Graupner) persisted in the name; it functions Charles Avison writing concertos in more as an introduc- four movements (slow- tion to the “real” first fast-slow-fast), which movement. Both fast movements are is the standard structure for the more quite Italianate in figuration, relying intimate Concerto in G for viola. The Vivaldi-like on small repetitive fig- opening Largo sings a noble song; ures, shared in conversational style; both fast movements give the viola and both feature canonical entranc- the rare opportunity to shine; and the es, where each soloist enters in turn, third movement is more typical of a playing the same thematic material. Vivaldian slow movement — with its Telemann is really using the word melancholy tune over a unison bass “concerto” here in its simplest mean- line — than any of our actual Vivaldi ing, “together.” Unpredictable shifts concertos today. among the soloists are an integral part of why the piece seems to spar- d kle: you, the audience, are having your focus constantly moved from Vivaldi’s deservedly well-known player to player. What Telemann Concerto in B minor for four vio- gave up in the length of the opening lins and orchestra is founded on

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12 rhythmic drive, repetitive consistent pattern of short figuration, and lively or slurred notes, while the solo exchanges, all par first violin plays arpeggi- for Vivaldi’s course. So ated thirty-second notes what it is about this on the highest line. piece that makes it so The violas and cel- particularly great? los maintain steadily Sometimes Vival- repeated eighth notes di’s phrase lengths throughout, the whole can seem pretty pre- amounting to an elabo- dictable. Not in this rate rhythmic machine. piece! One is constantly There is no melody, only being surprised when this machine, wending a phrase is completed its way through a phan- earlier than expected, Georg Philipp tasmagoric sequence of or is extended enor- Telemann harmonies. This is a mously; in other words, novel approach to com- Vivaldi’s abundant and eccentric position, almost unique in the period. rhythmic gifts are given maximum The aforementioned phrase ir- play here. regularities reappear in spades in In addition, his usual cantabile the final movement, and Vivaldi’s slow movement is nowhere to be reliance on dialogue is greatly en- found. Instead, he offers one in two hanced, mostly because there are so quite contrasting parts, the first a many participants in the conversa- formal and majestic section in which tion — you’ll find your attention each solo instrument (including vio- being shifted from one soloist to las!) is given a fragmentary solo; the unpredictable next in very rapid this functions as a sort of overture succession! The final solo section to the meat of the movement, which briefly recreates something like the is positively minimalist. The second, concerted rhythmically interlocked third, and fourth violin soloists play texture of the slow movement. a quite mechanical pattern of six- teenth notes, each with their own Notes by Elizabeth Blumenstock

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CS-0642_Baroque_NewPort_CoAd.indd 1 13 5/30/12 4:38 PM Baroque Music Festival, Corona del Mar Monday, June 17, 2013, 8 p.m. Saint Michael & All Angels Episcopal Church Organ Recital

Ian Pritchard, organ

Praeludium in C major, BuxWV 137 Dieterich Buxtehude (1637-1707)

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Ciaccona in E minor, BuxWV 160 Buxtehude

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Three Pieces from the Messe pour les Couvents François Couperin (1668-1733) Plein jeu, premier kyrie Fugue sur la trompette Offertoire sur le grands Jeux

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An Wasserflussen Babylon Johann Adam Reincken (1643-1722) Prelude Allemande Courante Sarabande Minuets I & II Gigue Allegretto

14 Fugue in G minor Johann Heinrich Buttstett (1666-1727) d

Concerto in A minor, BWV 593 Johann Sebastian Bach based on the concerto for two (1685-1750) violins, RV 522, by Antonio Vivaldi

(No tempo indicated) Adagio Allegro d

Pièce d’orgue, BWV 572 Bach

15 Notes on the Organ Recital

his evening’s program of the ending ciaccona. Thas been organized Although the piece is not in the mode of a in three distinct sec- traditional modern tions, they are not so organ recital, with an clearly delineated to be historically diverse se- thought of as “move- lection of repertoire, ments.” Rather, they but rather as a collec- progress in a seamless tion of music likely on way, with shared mo- hand for an organist ac- tives providing further tive in east-central Ger- unity among them. many around the years 1700 to 1720 — perhaps d a young organist such as Dietrich Buxtehude Johann Sebastian Bach. The ciaccona (“cha- The program includes conne” in English) was music from printed volumes that en- originally a dance, with a characteris- joyed European-wide dissemination, tic rhythmic pattern. In the Baroque, as well as selections from German each national tradition developed its manuscript sources. own version of the chaconne; to a North German organist, a ciaccona d was an elaborate variation set built over an ostinato bass, with a heavy Apart from Bach, the Danish-born reliance on complex polyphonic composer Dieterich Buxtehude is textures. The well-known Bach Pas- probably the most famous representa- sacaglia is an example. tive of the North German school of It was also this type of ciaccona organists. And the Praeludium in C that formed the conceptual basis for major (sometimes known as the “Prel- the Finale of Johannes Brahms’ Hay- ude, Fugue and Chaconne”) is prob- dn Variations, as well as the finale of ably his most famous piece of organ his Fourth Symphony. The Ciaccona music. Although it is often heard to- in E Minor by Buxtehude was in fact day as a concert piece, it was likely beloved by Brahms; the early Bach written down as a model for teaching scholar Philipp Spitta compared it to the virtuosic, extemporaneous play- a ballade and remarked on its deeply ing (the stylus fantasticus) that repre- Romantic sensibility. sented the artistic culmination of the North German organ school. d Many elements of the piece are evocative of improvisation, notably Couperin’s two organ masses, pub- the elaborate variations over the fa- lished together in 1690, are one of mous ostinato (repeated) bass line the high points of the French Clas-

16 sical organ school. Despite Reincken was a close friend the composer’s young and a formidable influ- age (Couperin was 21 ence; in many ways he at the time of publi- was one of the princi- cation), these works pal conduits through demonstrate many which Bach absorbed of the characteristics the North German that mark his later tradition of Buxtehude keyboard works: a and his colleagues. remarkable gift for This particular set- melody, as well as a ting can be seen as an skillful balancing of apotheosis of the litur- counterpoint with gically based improvi- graceful, lighter tex- satory keyboard skills tures. The individual Johann Adam of the North German pieces in each mass Reincken school. The chorale were intended to be melody is treated in performed alternatim with plain- a variety of textures, and the piece chant, within the context of a litur- progresses through an exceedingly wide gical service. The first two pieces range of compositional techniques. presented here mirror a “prelude” and “fugue”; the grand Offertoire d exploits the tonal possibilities of the French Classical organ. Johann Heinrich Buttstedt was a student of Johann Pachelbel. That d Bach would have known his music is demonstrated by the inclusion of Reincken’s massively conceived cho- two of his compositions in the well- rale fantasia on the 16th-century known Andreas Bach/Möller manu- hymn An Wasserflussen Babylon script collections compiled by Bach’s was well known in the circle of or- elder brother Johann Christoph. For ganists to which Bach belonged. Al- a long time this fugue was thought though not a teacher of Bach’s per se, to have been composed by Reinck-

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Independence Bank - Baroque Music Festival 2013 1.0.indd 1 5/9/2013 11:11:24 AM 17 en. It features a typical turns the piece into a true “motoric” subject of tour de force for organ, rapidly repeated six- with a particularly ac- teenth notes; this style tive role for the pedals. can also be heard in This includes instances many of Bach’s early of double pedaling as keyboard works. well as the addition of virtuosic flourishes. d d Of all of the musical influences that formed A relatively early work Bach’s mature compo- (the first extant manu- sitional style, none was Johann script source dates from more important than Sebastian Bach around 1714), Bach’s the Italian concerto Pièce d’orgue is not as idiom developed by composers such French in style as its title indicates. as Torelli, Albinoni and Vivaldi. The “French” section is the lengthy This is evident from the body of contrapuntal alla breve in the mid- concertos that Bach transcribed for dle; the outer two sections belong organ and harpsichord; the Con- to the Italianate, violinistic stylus certo in A minor is a transcription fantasticus that Bach inherited from of one of the double violin concertos his North German predecessors. Al- (No. 8) from Vivaldi’s famous col- though a relatively youthful work, lection L’Estro Armonico Op. 3, a the Pièce demonstrates Bach’s re- print that enjoyed major circulation markable ability to assimilate and throughout Europe. refashion the contemporary styles As a model, Vivaldi’s music pro- that surrounded him, reworking vided Bach with the subtleties of ritor- them skillfully into a musical lan- nello form as well as a certain sense guage that can be described only as of intensity in harmonic progression, uniquely his own. both of which are clearly heard in this concerto. Bach’s transcription Notes by Ian Pritchard

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18 Baroque Music Festival, Corona del Mar Wednesday, June 19, 2013, 8 p.m. Sherman Library & Gardens Music in the Gardens I “Hearing Inner Voices”

Clifton Massey, countertenor Elizabeth Blumenstock, violin, viola d’amore Jolianne von Einem, violin Rob Diggins, violin, viola Adriana Zoppo, viola, viola d’amore Shirley Edith Hunt, violoncello John Kevin Cooper, lute, guitar Ian Pritchard, harpsichord

Festival Orchestra Elizabeth Blumenstock, leader

Concerto in C major, RV 112 Antonio Vivaldi for strings and harpsichord (1678-1741)

Allegro Andante Presto d

Totus Amore Languens Alessandro Scarlatti (1660-1725) Aria: Totus amore languens – Largo

Totus amore languens, Sick of love, totus ardore succensus, inflamed with fire erga altaris sacramentum, at this blessed altar, fidelis animus ardebat the faithful soul, ablaze, et in extasim raptus, sic dicebat: and rapt in ecstasy, spoke thus:

Aria: Epulare

“Epulare, delectare, “A banquet, please, felicissimum cor meum. most happy heart, Datur tibi manducare I will give to you to eat panem coeli, verum Deum.” the bread of Heaven, the true God.”

19 Recitativo: Quid hoc coelesti ardore

Quid hoc coelesti What is more delightful ardore delectabilius? than this heavenly burning? Quid suavius? What is sweeter?

Arioso: Non mannae dulcedo – Grave

Non mannae dulcedo, Not the sweetness of manna, non lactis pinguedo, not the fat of milk, non favus, non mel. not honeycomb, not honey.

Allegro: Ite procul

Ite procul o dapes mundanae. Be gone, O worldly feast! Ite vanae, vos non quero, Go vain, I do not want you! non cupio vestra gaudia, I do not desire your delights, foris amena, On the outside charming, intus poena, but on the inside pain. cibus vester non satiat. Your food does not satisfy. Eia ergo, o anima mea, Turn then, O my soul, ad haec incendia divina to this divine fire semper ardens, semper spirans always burning, always breathing, curre propera festina. hurry, hurry, hurry!

Thanks to Voices of Music for generously sharing their edition and translation of this Scarlatti cantata.

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Three movements from the Partita VII Heinrich Ignaz Franz Biber for two violas d’amore (1644-1704)

Praeludium Sarabande Trezza d

Widerstehe doch der Sünde, BWV 54 Johann Sebastian Bach (1685-1750)

Aria: Widerstehe doch der Sünde

Widerstehe doch der Sünde, Just resist sin, Sonst ergreifet dich ihr Gift. lest its poison seize you. Laß dich nicht den Satan blenden; Don’t let Satan blind you; Denn die Gottes Ehre schänden, for those who defile God’s honor Trifft ein Fluch, der tödlich ist. will incur a fatal curse.

20 Recitativo: Der Art verruchter Sünden

Die Art verruchter Sünden The appearance of vile sin Ist zwar von außen wunderschön; is indeed outwardly very beautiful; Allein man muß however, one must Hernach mit Kummer und Verdruß afterwards with trouble and frustration Viel Ungemach empfinden. experience much hardship.

Von außen ist sie Gold; On the outside it is gold; Doch, will man weiter gehn, yet, going further in, So zeigt sich nur ein leerer Schatten it shows itself as only an empty shadow Und übertünchtes Grab. and a whitewashed grave.

Sie ist den Sodomsäpfeln gleich, It is like the apples of Sodom, Und die sich mit derselben gatten, and those who engage themselves with it Gelangen nicht in Gottes Reich. will not achieve God’s Kingdom.

Sie ist als wie ein scharfes Schwert, It is like a sharp sword Das uns durch Leib und Seele fährt. that pierces through body and soul.

Aria: Wer Sünde tut, der ist vom Teufel

Wer Sünde tut, der ist vom Teufel, Whoever sins is of the Devil, Denn dieser hat sie aufgebracht. since he has brought it forth.

Doch wenn man ihren schnöden Yet if one is able, with virtuous Banden devotion, Mit rechter Andacht widerstanden, to withstand its contemptible bonds, Hat sie sich gleich davongemacht. it is already done away with.

Sonata a cinque, HWV 288 George Frideric Handel (1685-1759) Andante Adagio Allegro

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21 Selections from Orlando, HWV 31 Handel

Recitativo: T’ubbidirò

T’ubbidirò, crudele, I obey you, cruel one, e vedrai in questo istante and you will see che della principessa fui solo difensor, That I only defended the princess, ma non amante. And did not love her.

Aria: Fammi combattere

Fammi combattere, mostre e tifei, Go bid me fight monsters and beasts, novi trofei se vuoi dal mio valor. New trophies, if you want, of my love. Muraglie abbatere, disfare incanti, Battlements to overturn, spells to unbind, se vuoi ch’io vanti darti prove d’amor. If you want me to prove my love to you.

Recitativo: Ah, stigie larve!

Ah, stigie larve! Ah, Stygian monsters, Ah, scelerati spettri, villainous specters! che la perfida donna ora ascondete, That now hide that faithless woman! perchè al mio amor offeso, Why do you not give her up to my wronged love al mio giusto furor non la rendete? And my just fury? Ah, misero e schernito! Ah, miserable and forsaken, L’ingrata già m’ha ucciso; That ingrate has killed me; sono lo spirto mio da me diviso; I am now a spirit divided from myself; sono un’ombra, I am a shadow, e qual ombra adesso io voglio and this shadow now will sink varcar là giù ne regni del cordoglio. itself into the gloomy realms of woe.

Ecco la Stigia barca. There is the Stygian boat, Di Caronte a dispetto In spite of Caronte, gia solco l’onde nere. I ride the waves, the black waves. Ecco di Pluto le affumicate soglie, Here the smoking throne of Pluto, e l’arso tetto. And the head of the god! Già latra Cerbero, Now Cerberus howls, e già dell’Erebo ogni terribile And hideous furies scowl at me squallida furia sen viene a me. From every corner of Hades.

Ma la furia, che sol me diè martoro, But the Fury that torments me only, dov’è? Questo è Medoro. Where is he? That is Medoro. A Proserpina in braccio In Proserpina’s arms he sits, vedo che fugge. Or a strapparla I wrest him from her. io corro. Ah! Proserpina piange! Ah! Proserpina weeps!

22 Vien meno il mio furore, My fury lessens, se si piange all’inferno anco d’amore. Since even in Hell, love sheds tears.

Arioso: Vaghe pupille

Vaghe pupille non piangete, no, Lovely eyes, do not weep, no, che nel pianto ancor nel regno A sight so moving può in ognun destar pietà; Will make my rage abate. vaghe pupille, non piangete, no. Lovely eye, do not weep, no, Ma sì, pupille, sì, piangete, sì, But yes, weep! che sordo al vostro incanto For I am deaf to your weeping ho un core d’adamanto, and have a heart of stone, nè calma al mio furor. And will not calm my fury. Ma sì, pupille, sì, piangete, sì. But yes, eyes, weep, yes!

Sinfonia from Act III

Recitativo: Già per la man

Già per la man d’Orlando Now by the hand of Orlando d’ogni mostro più rio purgato The world is rid of its worst è il mondo! monsters! Ora giunge la notte dalle cimerie Night descends from the gloomy caves, grotte ed è seco Morfeo, With it comes Morpheus, che I papaveri suoi sul crin me Whose poppies anoint my head, sfronda, porgende a gustar a Lete l’onda. And makes me taste the streams of oblivion.

Aria: Gia l’ebro mio ciglio

Già l’ebro mio ciglio Drugged by this sweet liquid, quel dolce liquore invita a posar. Sleep comes upon me. Tu, perfido Amore, volando o You, faithless love, spinning and scherzando mocking, non farmi destar. Will no longer disturb me. d

Passacaglia from Sonata V Georg Muffat (1653-1704)

23 Music in the Gardens I: Notes

onight’s program fo- and this one is shorter than Tcuses on the “inner Sunday’s offering. While voices” between the so- Sunday’s sinfonia was prano and bass, which galant and quirky, this are somewhat less one is more typically well-heard in ensem- High Baroque, fea- bles, as they do not turing Vivaldi’s trade- enjoy the more obvi- mark rhythmic drive, ous aural profile of small repeated figures, the top and bottom and well-defined con- voices. The alto focus trasting sections. The is provided by our vo- second movement is no- cal soloist, countertenor table for its mournful, Clifton Massey, and the chromatically descend- tenor focus is provided Alessandro Scarlatti ing, repeating bass line by two violas d’amore, (a kissing cousin of the about which more in a moment. “Lament” from Purcell’s Dido and Despite the word “tenor” con- Aeneas). The final Presto is notable tained in the word “countertenor,” for its brevity! the countertenor is a falsetto male voice occupying the mezzo-soprano d and alto range. Baroque counterten- ors were either men singing in fal- Alessandro Scarlatti composed over setto voice or castrati, men castrated 600 cantatas, both secular and sa- before their voices changed. The cred, the vast majority of which have cruel practice began to die out during not had a hearing in centuries. To- the Classical era; the last castrato per- night’s cantata Totus amore languens formed in Venice in 1824. is of the sacred variety, in which the soul longs for God with passionate d intensity. Note particularly the rap- turous, harmonically beguiling in- Those of you who attended our tertwined voices of the countertenor Sunday concerto program are now and violins in Non mannae dulcedo. acquainted with a Vivaldi string sin- fonia. We open our program tonight d with another one; this one is called a concerto per archi e cembalo (con- Heinrich Ignaz Franz Biber, the great- certo for strings and harpsichord), est violin virtuoso of the 17th century, but really there is no discernible dif- composed a set of seven partitas (a ference between a sinfonia per arch e partita is a suite, or set of dances), the cembalo and a concerto for the same. seventh of which is scored for two Many of these pieces are quite short, violas d’amore and continuo. Unlike

24 the violin, the viola d’amore has no Trezza — a lively triple-meter dance standard tuning, although a D — is rustic and short. minor arpeggio is often used. Typically, the composer d of a piece for d’amore will indicate the tun- Bach’s Cantata No. ing he recommends: if 54, Widerstehe doch none is given, it is up der Sünde (Stand fast to the player to deter- against sin), is likely mine what tuning will his first cantata for work best. The tone solo voice, composed color of the d’amore is during his years in sweet and faintly nasal, Weimar. Written for often quite resonant, be- the Seventh Sunday af- cause of the tuning and ter Trinity, it is short in the presence of sympa- duration, consisting of thetic strings, those that Heinrich Ignaz just two arias with a are tuned but not bowed. Franz Biber recitative between, but The Praeludium is full of mighty in effect. brief contrasting sections, the Sara- The lesson for that Sunday was bande luscious and grave, and the “the wages of sin is death,” certainly

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25 a severe and strong text, and resembles a trio sonata with Bach does not shrink from an added viola line than a setting it emphatically. concerto. As in a trio so- From the remarkable nata, there is plenty of and startling opening imitation between the harmony to the deter- two treble parts, and mined and powerful relatively limited solos. fugal final aria, the The last movement is music is a splendid the most concerto-like, example of how music offering clear-cut dis- can reflect and enhance tinctions between solo text. Notice the use and tutti sections. The of insistent repeated piece is perhaps disap- rhythms, which serve pointing to concerto- to reinforce the text Georg Muffat lovers when viewed as exhorting the sinner a concerto, but perfect- to resist sin in the first ly satisfying when con- aria, and the “disobedient” synco- sidered as an enhanced trio sonata. In pated rhythms and sneaky descending other words, don’t expect a dazzling chromatic lines in the highly imitative solo concerto, and you will enjoy it second aria, which depict the tempta- for what it really is! tions of the Devil. d d Handel’s Orlando is a member of Handel wrote in almost every com- a rather large class of operas upon mon Baroque form — solo sonatas, which his phenomenal musical gifts trio sonatas, cantatas, oratorios, op- were lavished far out of proportion eras, motets — but his solo concerto to the quality of the plots. Our three output was limited almost entirely arias, with their recitatives, paint a to organ concertos. He did compose nearly complete psychological pic- quite a few splendid concerti grossi, ture of the title character, a born war- which feature a small group of solo rior with no talent for love. players set against the backdrop of a In his first recitative, Orlando full orchestral tutti, one of which you endeavors to assure the object of will hear at our Festival Finale this his affections, Angelica (who is only Sunday. And then there is this Sonata pretending to care), that he gives not a cinque, that is, a sonata in five parts: a fig for the beautiful princess he has a standard string quartet of 2 violins, just rescued in a dramatic off-stage viola and cello, plus a violin line more battle. He says that he is a fighter, prominent than the other parts. This not a lover, thereby undercutting is about as close as Handel ever got to his own suit, and then sings an aria writing a violin concerto. praising his own valor. Things go This sonata, although having vir- increasingly poorly for him; halluci- tuosic and soloistic elements, more nating by the end of Act II, he sings

26 Handel’s most glorious mad scene — Many composers of the Baroque era spooky, eerie and pathetic. employed four-part string groups — The intermission fails to cure two violins, viola, and cello — but the hero, and in Act III, he murders earlier in the era it was not unusual Angelica’s lover Medoro and hurls to employ an extra viola part, which Angelica into a cave. Suddenly pro- enriches the texture. While many of foundly tired, he imagines he has the pieces so scored can be, and were, drunk the waters of Lethe, the Greek performed as trio sonatas by leaving river of forgetfulness, sings the out the violas altogether, we are de- aria Già l’ebro mio ciglio, and falls lighted to be able to offer tonight the asleep. This is one of the most unu- full original scoring. sually scored arias in all of opera: A passacaglia is a kind of cha- countertenor, two violas d’amore, conne, or repeating bass line, with and pizzicato bass, the loveliest ex- elaborate variations above. This pas- ample of middle voices singing to- sacaglia is also part rondo. In one gether imaginable. masterly variation, Muffat manages to marry this recurring theme to a d particularly jazzy rhythmic variation, to stunning effect. We close our program with a won- derful passacaglia by Georg Muffat. Notes by Elizabeth Blumenstock

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27 Baroque Music Festival, Corona del Mar Friday, June 21, 2013, 8 p.m. Sherman Library & Gardens This concert was generously underwritten by Patricia Bril Music in the Gardens II Viva Italia!

David Shostac, flute Lara Wickes, oboe Elizabeth Blumenstock, violin Timothy Landauer, violoncello Gabriel Arregui, harpsichord

Concerto da Camera in F major, RV 99 Antonio Vivaldi (1678-1741) Allegro Largo Allegro d

Sonata Prima Giovanni Benedetto Platti for violoncello (1697?-1763)

Adagio Allegro Largo Presto d

Trio in C minor Giuseppi Antonio Brescianello for oboe, violin and continuo (1690-1758)

Largo Allegro Adagio Allegro d

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29 Concerto da camera in D major, RV 94 Vivaldi

Allegro Largo Allegro

Sonata in G major Pietro Antonio Locatelli for flute (1695-1764)

Adagio Allegro Largo (Allegro molto)

d

Toccata in A minor Alessandro Scarlatti for solo harpsichord (1660-1725) d

Sonata in C minor Platti for oboe

Adagio assai Allegro assai Non tanto adagio Giga – Presto d

Concerto da camera in G minor, RV 107 Vivaldi

Allegro Largo Allegro

30 Music in the Gardens II: Notes

hree of the pieces on namented flute solos. The Ttonight’s program work ends with a bizarre are chamber concer- and comical back-and- tos by Vivaldi. So far, forth in which the flute if you have attended keeps trying to launch our previous two a solo, and is repeated- chamber concerts this ly defeated by the rest week, you have en- of the band. countered “normal” concertos, in which a d soloist stands in front of an orchestra and the two The cello sonata of Gio- parties take turns being vanni Benedetto Platti is important; you’ve met Giovanni Benedetto full of mellifluous sun- a concerto by Telemann Platti niness. In the first move- for four solo violins and ment, he does man- no orchestra at all; and you’ve heard age to get from friendly D major to some chamber music. And now you the darker B minor — but just isn’t might well be wondering what a troubled enough to dwell on it, and chamber concerto (concerto da cam- instead simply returns, without for- era) could be! mal modulation, to his happy home These Vivaldi chamber concertos key. In the second movement, he is resemble the aforementioned Tele- somewhat more harmonically adven- mann in that there is no orchestra turous, visiting a couple of troubled involved. However, unlike the Tele- minor-key neighborhoods, but again mann, Vivaldi writes these pieces in never allowing his cantabile to be in- a true ritornello form: the five in- fected by them. struments involved take on the role The third movement is entirely of the missing orchestra when play- in the relative minor (B minor), but ing the recurring thematic material even here, the initial serious dot- together, and then accompany each ted rhythms give way almost im- other to some degree in more solois- mediately to flowing slurred figures. tic passages. Platti evidently has no appetite in this The F major Chamber Concerto movement for emotional stress! The is very flute-centered; there are vir- final Presto is an engaging gigue, call- tually no solos for oboe or violin. ing Vivaldi, or even Corelli, to mind. The first movement is ebullient and explosive by turns, the second is a d very simple flute tune with an even simpler accompaniment, and the last Giuseppe Antonio Brescianello did is eccentric and colorful, full of pe- not have a highly distinguished culiar phrase lengths and highly or- career, but even modestly talented

31 composers can occasionally outdo portunities fall to the violin, except themselves. In his Trio in C in the slow movement, which minor, the highly rhetori- is again scored for flute and cal opening Largo gives basso continuo. way to an Allegro char- acterized by clearly d defined phrase struc- tures, and equally Locatelli’s Flute Sona- well-defined con- ta in G major is beau- trasting sections. The tifully proportioned, opening ritornello is sweet, graceful, and handled imitatively, dazzling — everything almost fugally, and a flute sonata ought to makes a splendid con- be. The rather predict- trast with the virtuosic able phrases and se- passaggi between its quences of the opening reappearances. Much Giuseppi Antonio Adagio are decorated of the brilliance in this Brescianello with charming rou- movement is provided lades. In the subsequent by arpeggiated violin figuration Allegro, an emphatic opening meas- (Brescianello was principally a vio- ure gives way immediately to tricky linist), but you will notice that the flute figures, each more brilliant than bass line dominates the action in a the last. Locatelli writes the simple dashing fashion for a bit. and lovely Largo in the subdominant The violin takes the lead in key, C major, a harmonic move that the Adagio which follows. In this produces a sense of expansive relaxa- movement, particularly, Bres- tion. If the word “rococo” may be cianello’s familiarity with the defined as “elaborately ornamental,” forward-looking Neapolitan man- the closing Allegro is a rococo piece ner is evident; one can almost feel par excellence! the Classical style waiting in the wings. The lively and quirky final d Allegro is full of rhetorical queries and leaping figures, as the two so- In addition to composing at least loists accompany, interrupt and 600 cantatas, more than 50 op- comment on each other. eras, and many motets and masses, Alessandro Scarlatti turned his in- d ventive and dynamic attention to more intimate works, composing Vivaldi’s D major chamber concer- many fugues, dances and toccatas to, with which we end the first half for solo keyboard. Toccatas are of this evening’s program, is a sub- generally designed to show off the stantial piece, featuring more and performer’s flashy fingerwork, and longer solos than the others. Atypi- Scarlatti’s Toccata in A minor is no cally, the lion’s share of the solo op- exception. The full and impressive

32 gamut of arpeggios, scales, blocky tail-chasing jig, with virtuoso figu- chords, triplets, and stunning ration galore. speed is run here in double- quick time. d

d The first movement of Vivaldi’s G minor A sonata’s opening chamber concerto is slow movement often full of determined has an explicitly in- brilliance; the sec- troductory character. ond is the only slow Not true in the Oboe movement of the Sonata by Platti. The three concertos scored music immediately takes for all players. The last a flying leap into har- movement is a ciacco- monic, figurative, and na, a relatively uncom- expressive complexity. Pietro Antonio mon formal choice for Though this is not a long Locatelli Vivaldi — and judging movement, Platti finds by this one, it’s a real time to move from C minor through shame he employed it so rarely! It E-flat major, G minor and F minor begins tautly and builds in tension before returning to the home key. and complexity all the way to the The following Allegro assai con- end. The repeated bass line consists tinues in the harmonically and me- of eight bars, but midway through lodically complex vein he is mining, the movement Vivaldi manages to full of unpredictable phrase lengths, increase the tension by eliding the and short-lived bursts of ornamen- last of the eight bars with the first tal figuration that threaten to un- of the next eight. This composi- dermine the stability of the piece. tional trick shortens the phrase The third movement is perhaps length by one bar, subtly creating a more “legible,” having markedly wonderfully breathless feel. more conventional phrase lengths, and the closing Presto is a headlong Notes by Elizabeth Blumenstock

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33 Baroque Music Festival, Corona del Mar Sunday, June 23, 2013, 4 p.m. Newport Harbor Lutheran Church This concert was partially underwritten through the generous donation of Dr. Vina Spiehler Opera Festival Finale

Christine Brandes, soprano Alice Murray, alto (in choruses) Brian Thorsett, tenor Matthew Tresler, tenor John Bischoff, bass

Festival Orchestra Elizabeth Blumenstock, leader Michael DuPree, oboe Inga Funck, recorder

Concerto grosso in A major, Op. 6, No. 11 George Frideric Handel (1685-1759) Andante Larghetto e Staccato Allegro Largo Andante Allegro

Acis and Galatea, HWV 49 Handel Full concert performance

Dramatis Personae Galatea – Christine Brandes Acis – Brian Thorsett Damon – Matthew Tresler Polyphemus – John Bischoff

34 Act One

Sinfonia

Chorus

Oh, the pleasure of the plains! Happy nymphs and happy swains, Harmless, merry, free and gay, Dance and sport the hours away. For us the zephyr blows, For us distills the dew, For us unfolds the rose, And flow’rs display their hue. For us the winters rain, For us the summers shine, Spring swells for us the grain, And autumn bleeds the vine.

Recitative (Galatea)

Ye verdant plains and woody mountains, Purling streams and bubbling fountains, Ye painted glories of the field, Vain are the pleasures which ye yield; Too thin the shadow of the grove, Too faint the gales, to cool my love.

Aria (Galatea)

Hush, ye pretty warbling quire! Your shrilling strains Awake my pains, And kindle fierce desire. Cease your song, and take your flight, Bring back my Acis to my sight!

Aria (Acis)

Where shall I seek the charming fair? Direct the way, kind genius of the mountains! O tell me, if you saw my dear! Seeks she the groves, or bathes in crystal fountains?

Recitative (Damon)

Stay, shepherd, stay! See how thy flocks in yonder valley stray!

35 What means this melancholy air? No more thy tuneful pipe we hear.

Aria (Damon)

Shepherd, what art thou pursuing? Heedless running to thy ruin; Share our joy, our pleasure share. Leave thy passion till tomorrow, Let the day be free from sorrow, Free from love, and free from care.

Aria (Acis)

Lo, here my love! Turn, Galatea, Hither turn thy eyes; See, at thy feet the longing Acis lies!

Aria (Acis)

Love in her eyes sits playing, And sheds delicious death; Love on her lips is straying, And warbling in her breath! Love on her breast sits panting, And swells with soft desire; No grace, no charm is wanting, To set the heart on fire.

Recitative (Galatea)

Oh! didst thou know the pains of absent love, Acis would ne’er from Galatea rove.

Aria (Galatea)

As when the dove laments her love, All on the naked spray; When he returns, no more she mourns, But loves the live-long day. Billing, cooing, panting, wooing, Melting murmurs fill the grove, Melting murmurs, lasting love.

Duet (Acis, Galatea)

Happy we! What joys I feel!

36 What charms I see! Of all youths, thou dearest boy! Of all nymphs, thou brightest fair! Thou all my bliss, thou all my joy!

Act Two

Chorus

Wretched lovers! Fate has passed This sad decree: no joy shall last. Wretched lovers, quit your dream! Behold the monster Polypheme! See what ample strides he takes! The mountain nods, the forest shakes; The waves run frightened to the shores. Hark, how the thund’ring giant roars!

Recitative (Polyphemus)

I rage, I melt, I burn! The feeble god has stabb’d me to the heart.

37 Thou, trusty pine, Prop of my god-like steps, I lay thee by! Bring me a hundred reeds of decent growth, To make a pipe for my capacious mouth; In soft enchanting accents let me breathe Sweet Galatea’s beauty, and my love.

Aria (Polyphemus)

O ruddier than the cherry, O sweeter than the berry, O nymph more bright Than moonshine night, Like kidlings blithe and merry! Ripe as the melting cluster, No lily has such lustre; Yet hard to tame As raging flame, And fierce as storms that bluster!

Recitative (Polyphemus, Galatea)

Polyphemus: Whither, fairest, art thou running, Still my warm embraces shunning?

Galatea: The lion calls not to his prey, Nor bids the wolf the lambkins stay.

Polyphemus: Thee, Polyphemus, great as Jove, Calls to empire and to love, To his palace in the rock, To his dairy, to his flock, To the grape of purple hue, To the plum of glossy blue, Wildings, which expecting stand, Proud to be gather’d by thy hand.

Galatea: Of infant limbs to make my food, And swill full draughts of human blood! Go, monster! Bid some other guest: I loathe the host, I loathe the feast!

Aria (Polyphemus)

Cease to beauty to be suing, Ever whining love disdaining. Let the brave their aims pursuing, Still be conqu’ring, not complaining.

38 Aria (Damon)

Would you gain the tender creature, Softly, gently, kindly treat her: Suff’ring is the lover’s part. Beauty by constraint possessing, You enjoy but half the blessing, Lifeless charms without the heart.

Recitative (Acis)

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Aria (Damon)

Consider, fond shepherd, How fleeting’s the pleasure, That flatters our hopes In pursuit of the fair! The joys that attend it, By moments we measure, But life is too little come in, To measure our care. get hooked

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39 Trio (Acis, Galatea, Polyphemus)

Acis, Galatea: The flocks shall leave the mountains, The woods the turtle dove, The nymphs forsake the fountains, Ere I forsake my love!

Polyphemus: Torture! fury! rage! despair! I cannot, cannot bear!

Acis, Galatea: Not show’rs to larks so pleasing, Nor sunshine to the bee, Not sleep to toil so easing, As these dear smiles to me.

Polyphemus: Fly swift, thou massy ruin, fly! Die, presumptuous Acis, die!

Recitative (Acis)

Help, Galatea! help, ye parent gods! And take me dying to your deep abodes.

Chorus

Mourn, all ye muses! weep, all ye swains! Tune, tune your reeds to doleful strains! Groans, cries and howlings fill the neighb’ring shore: Ah, the gentle Acis is no more!

Solo and Chorus (Galatea, Chorus)

Galatea: Must I my Acis still bemoan, Inglorious crushed beneath that stone?

Chorus: Cease, Galatea, cease to grieve! Bewail not whom thou canst relieve.

Galatea: Must the lovely charming youth Die for his constancy and truth?

Chorus: Cease, Galatea, cease to grieve! Bewail not whom thou canst relieve; Call forth thy pow’r, employ thy art, The goddess soon can heal thy smart.

Galatea: Say what comfort can you find? For dark despair o’erclouds my mind.

40 Chorus: To kindred gods the youth return, Through verdant plains to roll his urn.

Recitative (Galatea)

’Tis done: thus I exert my pow’r divine; Be thou immortal, though thou art not mine!

Aria (Galatea)

Heart, the seat of soft delight, Be thou now a fountain bright! Purple be no more thy blood, Glide thou like a crystal flood. Rock, thy hollow womb disclose! The bubbling fountain, lo! it flows; Through the plains he joys to rove, Murm’ring still his gentle love.

Chorus

Galatea, dry thy tears, Acis now a god appears! See how he rears him from his bed, See the wreath that binds his head. Hail! thou gentle murm’ring stream, Shepherds’ pleasure, muses’ theme! Through the plains still joy to rove, Murm’ring still thy gentle love.

Elizabeth Blumenstock, artistic direction “Every note that Blumenstock touched with “We could use more surprises in a concert her 1660 Andrea Guarneri was like gossa- scene so often encased in ritual and for- mer poetry, and her colleagues played as if mula… The surprise, (when) it came, en- inspired by her example.” (Laurence Vittes, livened the afternoon in a theatrical Huffington Post ) way.” (Richard Ginell, LA Times)

For tickets or more information on our 2013-2014 season, go to www.lessurprisesbaroques.org.

41

           

 Notes on the Opera Festival Finale

andel’s Opus 6 col- di’s Orfeo and Purcell’s Hlection of concerti Dido and Aeneas on a grossi is justly famous very short and very dis- — buoyant, expressive, tinguished list of mini- inventive and endlessly ature operas (Handel engaging. The opening called it “a little op- movement of No. 11 era”) that deliver all is quite unusual, fea- the dramatic punch of turing a repeated note Baroque opera without figure that increases in its usual duration, or its speed and sweetly bird- frequently silly plots! like solos for the violin, The first version of all set in a sublime or- the work was composed chestral soundworld of George Frideric during 1716 and 1717 sylvan ease. Handel while Handel was the Into this expansive in-house composer at comfort zone arrives the second Cannons, the home of the Duke of movement, an energetic fugue whose Chandos, and had its first perform- subject features falling scales, while ance there, on a terrace overlook- the countersubject is made of little ing the gardens. It was revived, fully tightly coiled bursts of rising notes. A staged and without Handel’s partici- brief transitional Largo leads to the pation, in 1731 by the great English fourth movement, an extended, rap- composer Thomas Arne, in an ex- turous dialogue between the “bird” tremely successful production. of the first movement, now a night- Apparently somewhat peeved ingale, and the orchestra, which al- at this, Handel reworked the piece ternately accompanies the solos, and from its original one act into a three- richly joins in. The violin’s figuration act serenata the following year, and increases in intensity with each suc- mounted an unstaged production, cessive solo, culminating in a brief which was not as successful. While cadenza, and a final contented tutti. the lack of staging probably didn’t The piece could be finished here, help matters, the real problem was but Handel is not; there follows one that Handel, exhibiting surprisingly of the most playful, exuberant Alle- poor judgment for such a successful gros he ever wrote, a real Baroque impresario, mixed his original Eng- hoedown. lish arias with some from his Ital- ian-language version, Aci, Galatea e d Polifemo (1708), creating what can only have been a strange and unsatis- Acis and Galatea is beloved among fying mishmash. Handel afficionados and performers Handel continued to rework the of Baroque music. It joins Montever- piece, finishing with the two-act

42 version in 1739. The piece has en- tle opera” contains one of the very joyed frequent cycles of popularity, finest, “The Flocks Shall Leave the and has been revived in significant Mountains,” which begins as a love productions in every century. This duet but then develops into a high- popularity is due to several factors: a ly dramatic trio with the approach simple and moving story, brevity, and of the monstrous and murderously of course Handel himself, at the top jealous monster Polyphemus. In this of his game. Particularly fine are the stunning bit of drama, the horror arias “As When the Dove,” “Love in bearing down on the oblivious lovers Her Eyes Sits Playing,” and “O Rud- is visible only to the audience and the dier than the Cherry.” chorus of terrified shepherds. Handel did not compose a huge number of vocal trios, but this “lit- Notes by Elizabeth Blumenstock

Acis and Galatea: Synopsis cis is a shepherd in love with ing near. The lovers are too deep in Athe beautiful and semidivine their private amorous world to no- water nymph Galatea, who is like- tice their danger. Polyphemus woos wise in love with him. The commu- Galatea (with considerable charm, nity of shepherds is a happy one, full considering he is a cannibalistic cy- of dancing and reveling, and most clops!), but of course Galatea rejects of Act I is concerned with the joys him, full of revulsion. Her scorn and and anxieties of undeclared love, disgust enrage him, and he picks up a and the development of the budding boulder, crushes the life out of Acis, romance, helped along, albeit reluc- and quits the scene. tantly, by Acis’s friend Damon, and The inconsolable Galatea is now the chorus of shepherds. reminded by the shepherds that her Act II opens with the chorus semidivine powers enable her to “Wretched Lovers,” portending transform Acis’s body into a foun- tragedy. The monster Polyphemus, tain, and this she does, with the final besotted with Galatea himself, and words, “Be thou immortal, though murderously jealous of Acis, is draw- thou art not mine.”

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43 About the Performers

lizabeth Blumenstock, whose ble Mirable, and Trio Eperformances have been called Galanterie. She has per- “rapturous” and “riveting,” is a formed at the Boston and frequent violin soloist, concertmas- Berkeley Early Music Fes- ter and leader with Philharmonia tivals, the Carmel Bach Baroque Orchestra under Nicholas Festival, the Oulunsalo Soi festival McGegan, American Bach Soloists in Finland, and the San Luis Obispo under Jeffrey Thomas, the Italian en- Mozart Festival, among many others. semble Il Complesso Barocco under She has recorded over 100 CDs for Alan Curtis, the Goettingen Han- Harmonia Mundi, Deutsche Gram- del Festspielorchester, and the newly mophon, Virgin Classics, Dorian, formed Los Angeles–based group Les BMG and others. Surprises Baroques. An enthusiastic teacher, she is an She studied viola at the University adjunct faculty member at the San of California, Berkeley, and the Royal Francisco Conservatory of Music, Conservatory of Music in The Hague, and teaches at both the American and switched to the Baroque violin in Bach Soloists Academy and the Inter- the early ’80s. Her love of chamber national Baroque Institute at Longy. music has involved her in several of She plays a violin built by Andrea California’s finest period instrument Guarneri in 1660, in Cremona, which ensembles, including Musica Pacifica, is on generous loan to her from the Live Oak Baroque, the Galax Quar- Philharmonia Baroque Period Instru- tet, the Arcadian Academy, Ensem- ment Trust.

Gabriel Arregui holds ing graduate from the Accompanying degrees from the Univer- Department. sity of Southern Califor- He has appeared in recital with nia (Accompanying and sopranos Julianne Baird and Rosa Collaborative Piano) Lamoreaux, has taught 18th-century and Loma Linda University (in Or- counterpoint, and has performed gan Performance). His professors for Queen Elizabeth II, the Duke of have included Gwendolyn Koldofsky, Edinburgh, and the Archbishop of Brooks Smith, and Jean Barr (Col- Canterbury. Arregui currently serves laborative Piano), Anita Norskov as Organist-Choirmaster at St. An- Olson (Solo Piano), Malcolm Ham- drew’s Episcopal Church in Encini- ilton (Harpsichord), and Donald J. tas, California. He has been involved Vaughn (Organ). While at USC, he with the Baroque Music Festival, won the Hans Schiff Memorial Schol- Corona del Mar, since 1994, per- arship for excellence in chamber mu- forming at one time or another in sic, as well as the award for outstand- each of the five concerts.

44 John Bischoff is a versatile with the most distinguished play- performer frequently fea- ers of both the Baroque and mod- tured in operatic, orches- ern styles. This season saw the pre- tral and choral perform- miere of a new work by Eric Moe, ances throughout the San Of Color Braided All Desire, which Francisco Bay Area and beyond. He was written especially for her and the appeared recently as the Sacristan in Brentano Quartet. Tosca with Livermore Valley Opera, Brandes has sung for the orches- the Commendatore in Don Giovanni tras of Cleveland, Chicago, Phila- with West Bay Opera, and Tripaldi delphia, New York, Los Angeles, in Ainadamar with Opera Parallèle. San Francisco, Seattle, Toronto and This season’s solo engagements in- Tokyo, among others. She has also clude Bach’s Weihnachts-Oratorium performed for the New York City with Soli Deo Gloria, Handel’s Sam- Opera, as well as with the opera son with San Francisco City Chorus, companies of San Francisco, Seattle, Verdi’s Requiem with the San Fran- Minnesota, Los Angeles, Philadel- cisco Sinfonietta, and the inaugural phia and Portland. She has recorded concerts presented by San Diego’s for numerous labels. Pacific Bach Project. Bischoff was privileged to sing d with the renowned choral ensemble Chanticleer and continues to perform Rob Diggins has per- with numerous professional choirs formed at home and in the Bay Area, including the Phil- abroad on the stage and harmonia Chorale and Clerestory. in the studio with most Before pursuing a career in music, he of the important turn- taught English in Guangzhou, China, of- the-century period instrument or- and worked as a journalist for Min- chestras and ensembles. He currently nesota Public Radio in St. Paul as a plays with Les Conversations Galan- producer, reporter and host. te, Magnificat, the Portland Baroque Orchestra, Music from Green Moun- d tain, and the Dizzy Vipers, his gyp- syjazz band. While touring with his Christine Brandes, so- wife, violinist Jolianne von Einem, prano, enjoys a career and their daughter, he studies South that runs the gamut from Indian classical music with Shree intimate chamber con- Vidya Chandramouli and yoga with certs and recitals to op- Swami Veda Bharati and other senior era and oratorio. Most recently she students of H.H. Swami Rama. has appeared in operas by Mozart Diggins teaches yoga and medita- and Gluck with the Seattle Opera, tion in the Himalayan Yoga tradition Washington National Opera and Ar- and, when not on the road, enjoys izona Opera. Concerts have included teaching his many talented string stu- the L.A. Philharmonic, the National dents in the Eastern European classi- Symphony, and chamber concerts cal tradition and attending to various

45 sustainable gardening and commu- monia Baroque Orchestra, Magnifi- nity projects in Northern California. cat, and Portland Baroque Orches- tra, and has also been featured with d the Allard String Quartet, American Bach Soloists, California Bach Soci- Michael DuPree stud- ety, Los Angeles Baroque Orchestra, ied the modern oboe Musica Angelica, and the Seattle with Raymond Duste at Baroque Orchestra; in Europe she Stanford University and has performed and recorded with with Dr. Allan Vogel at the Amsterdam Baroque Orchestra, the University of California at Los Hausmusik, and Trio Sonnerie. Re- Angeles. After changing to Baroque cordings include the acclaimed CD instruments, he attended the Konin- of Mendelssohn’s Octet with Haus- klijk Conservatorium in The Hague, musik on EMI; Early Music of the where he studied with Ku Ebbinge. Netherlands 1700-1800 with Trio DuPree lives in Los Angeles and Sonnerie on Emergo; and Eighteenth- performs with Musica Angelica. He Century Music for Lute and Strings has performed and recorded with nu- with Trio Galanterie on Audioquest. merous national ensembles, including the Philharmonia Baroque Orchestra, d American Bach Soloists, San Francisco Bach Choir, Seattle Baroque Orches- Inga Funck was born tra, Portland Baroque Orchestra, Trin- in Hamburg, Germany. ity Consort, Orchestra of New Spain, She studied recorder and and Philadelphia Classical Symphony. flutes with Peter Holtslag He has participated as tenor oboist in at the Hochschule für the oboe band and orchestra of the Musik und Theater, Hamburg. She Boston Early Music Festival produc- has been featured in solo perform- tion of Lully’s Thésée. Internationally, ances and period instrument ensem- he has performed with Tafelmusik and bles in Germany, Austria, Hungary, Les Arts Florissants. Denmark and the Netherlands. Per- formances with members of the Los d Angeles Philharmonic have included György Kurtág’s Quasi una fantasia, Jolianne von Einem re- conducted by Esa-Pekka Salonen, ceived her musical train- and Bach’s Brandenburg Concertos, ing at UCLA and USC, conducted by Giovanni Antonini. where she studied mod- Funck has performed as a mem- ern violin with Alex ber of the Los Angeles Opera, the Treger and Alice Schoenfeld. Con- Los Angeles Chamber Orchestra, currently she studied Baroque vio- and Musica Angelica, and is a found- lin with Monica Huggett and began ing member of Les Folies, a recorder dedicating her career to historical ensemble. She is a founding member performance practices. of Les Surprises Baroques and serves She is a member of the Philhar- as the organization’s executive direc-

46 tor. She conducts the monthly meet- Award of 1983 in New York. Today, ings of the Southern California Re- as principal cellist of the Pacific Sym- corder Society, the Orange County phony, he can look back on many Recorder Society, and the San Diego prestigious prizes, among them the Recorder Society. National Gregor Piatigorsky Memo- rial Cello Award, the Samuel Apple- d baum Grand Prize of the American String Teacher’s Association, and the Shirley Edith Hunt em- 1984 Hammer-Rostropovich Schol- braces life as a multi-in- arship Award. strumentalist and collab- Landauer’s extensive engage- orator in the Bay Area. ments include his highly acclaimed Equally at home on Ba- recitals at Carnegie Hall, the Ambas- roque and modern cello as well as sador Auditorium in Los Angeles, the the viola da gamba, she performs ex- Orford Arts Center in Montreal, and tensively with Philharmonia Baroque the City Hall Theatre in Hong Kong. Orchestra, American Bach Soloists, He has performed as a soloist with Musica Angelica, Wiener Akademie, orchestras in Russia, Portugal, Hong Agave Baroque, and Bach Collegium Kong, Taiwan, Beijing and Shanghai. San Diego. Recent engagements in- He has also appeared with the Mary- clude performances with Archetti, land Symphony and Grand Teton Berkeley Symphony, Musica Pacifica, Festival Orchestra, and has conduct- Mark Morris Dance Group, Port- ed numerous master classes. land Baroque Orchestra and the San Francisco Symphony. She holds de- d grees from Northwestern University and USC. She has been an artist-in- Clifton Massey is known residence at the Banff Centre for the for his stylish interpre- Arts, a visiting teaching artist at Cali- tations of wide-ranging fornia Institute of the Arts, and has musical styles. Praised given master classes at Cornish Col- by San Francisco Clas- lege of the Arts and Willamette Uni- sical Voice for “gloriously rounded versity. She can be heard on the NCA tone,” his singing has taken him to and Origin Classics labels, as well as many festivals and venues including on numerous pop/rock albums and Tanglewood, Ravinia, Metropolitan feature film soundtracks. Museum of NY, Tokyo Opera City, and the Bach festivals of Berke- d ley, Bloomington and Kalamazoo, Michigan. He performs frequently Timothy Landauer was with Spire Ensemble, Clerestory, hailed as “a cellist of American Bach Soloists, and Phil- extraordinary gifts” by harmonia Baroque. the New York Times Massey was a member of Chan- when he won the coveted ticleer, with whom he performed Concert Artists Guild International over 200 concerts in some of the

47 world’s most renowned concert David Shostac, principal halls. He teaches with the Piedmont flutist and a frequent so- Choirs, directing young singers in loist with the Los Ange- the Bay Area. les Chamber Orchestra, has collaborated as a d featured artist with conductors Sir Neville Marriner, Iona Brown, Karl Ian Pritchard earned his Richter, Jean-Pierre Rampal, Cristof BMus in harpsichord Perick, Christopher Hogwood, Ger- performance at Oberlin, ard Schwarz, Claudio Scimone, Hel- then moved to London in mut Rilling, Jorge Mester, Jeffery 2000 to study at the Roy- Kahane, Henryk Szeryng, and many al Academy of Music, where he grad- others. Solo appearances have in- uated with Distinction. While living cluded the Hollywood Bowl, Lincoln in Europe he performed with groups Center’s Mostly Mozart Festival, the such as Florilegium, the Academy of Casals Festival of Puerto Rico, the Ancient Music, the Orchestra of the Aspen Music Festival, the Ojai Festi- Age of Enlightment, the Orquesta val, the Stratford (Ontario) Festival, Nacional de España and the Irish and the Carmel Bach Festival. Baroque Orchestra, and as a cham- Shostac holds a master’s degree ber musician with Monica Huggett, from Julliard. He has recorded on the Rachel Podger and Peter Holtslag, Crystal, Angel, Nonesuch, Excelsior among others. Records and Columbia labels, most Pritchard has appeared frequent- recently J.S. Bach: The Six Flute So- ly on BBC Radio 3 and on the BBC 2 natas with harpsichordist Igor Kip- production “Vivaldi Unmasked.” He nis and cellist John Walz. Formerly won First Prize in the 2001 Broad- a faculty member at the University wood Harpsichord Competition and of Southern California and currently was a prizewinner in the 2003 First on the faculty of California State Uni- International Harpsichord Compe- versity Northridge, he is the author of tition P. Bernardi in Bologna, Italy. Super Warm-ups for the Flute, and his In the same year, he was awarded a recording of the Vivaldi flute concer- US Fulbright Scholarship to Italy to tos with the Song of the Angels Flute research early Italian keyboard mu- Orchestra has been released on CD. sic. He is currently pursuing his PhD in Historical Musicology at USC, d where he plans to write his disserta- tion on Italian keyboard music, no- Janet Worsley Strauss en- tation, and performance practice in joys an active career as a the 16th century. He is organist and leading Baroque violin- director of music at Trinity Lutheran ist in Los Angeles. She Church, Pasadena, and is involved has performed with the with the early-music groups Tesserae Los Angeles Opera and Los Angeles (of which he is a founding member) Master Chorale, is a principal mem- and Les Surprises Baroques. ber of the Musica Angelica Baroque

48 Orchestra, and is co-founder of the ten-Pears Young Artist Programme chamber ensemble Angeles Consort. at Aldeburgh, England. He has spent She often appears with Seattle Ba- two summers at the Music Acad- roque, Portland Baroque Orchestra, emy of the West, and is currently on and Trinity Consort (Portland, Or- the faculty at Santa Clara University, egon), where she has worked with where he directs the Opera Workshop. Monica Huggett, Eric Milnes, Re- inhard Goebel, Paul Goodwin, and d Richard Egarr. Strauss has performed with the Matthew Tresler is in American Bach Soloists, Musica his fifth year at Irvine Pacifica, San Francisco Bach Choir, Valley College, serving Magnificat, Camerata Pacifica, and as Academic Chair of Galanterie. She has performed at the Music. He holds a Bach- Indianapolis Early Music Festival, elor of Music degree in voice from Tage Alte Musik Regensberg, and Northern Arizona University and the the Brighton Early Music Festival. M.M. and D.M.A. degrees in cho- She holds a Bachelor of Music degree ral conducting from the University in performance from the University of Miami. An active professional of Southern California and has re- ensemble singer, he sings with the corded for Koch, Centaur, and Loft. Los Angeles Master Chorale, Santa Fe Desert Chorale, Conspirare, Se- d raphic Fire, Bach Collegium San Di- ego, Tucson Chamber Artists, and Brian Thorsett has been Spire Ensemble. He was a member seen and heard in over of the Grammy award-winning 100 roles since taking Phoenix Chorale for eight seasons. to the operatic stage Also active as a solo singer, Mat- in 2001. This season thew has performed with the New he sings Arnalta in Monteverdi’s World Symphony under Michael L’Incoronazione di Poppea, Quint in Tilson Thomas, the Flagstaff Sym- Britten’s The Turn of the Screw, and phony, the Arizona Bach Festival, the title role in Handel’s Samson. He the Victoria Bach Festival, the Miami has sung in concert halls across Eu- Bach Society, and the Master Cho- rope and the United States, including rale of South Florida. solo recitals and vocal-chamber per- formances presenting the premieres d of works by Ian Venables, David Conte, Shinji Eshima, Michel Bosc, Lara Wickes is principal Noah Luna and Laurence Lowe. oboist of the Santa Bar- Thorsett is a graduate of San bara Symphony. She per- Francisco Opera’s Merola Program, forms regularly with the Glimmerglass Opera’s Young Ameri- Pasadena Symphony, Pa- can Artist program, the American cific Symphony, San Diego Sympho- Bach Soloists’ Academy, and the Brit- ny, Los Angeles Chamber Orchestra,

49 and the Los Angeles Philharmonic. turer at USC and the Colburn School, She holds a Doctor of Musical Arts and is on the faculty for orchestra degree from USC, a Master of Fine and chamber music at the Orange Arts degree from the California In- County High School of the Arts and stitute of the Arts, and a Bachelor of Long Beach Poly High School. He Music degree from the University of adjudicates for competitions such as Oregon. She works frequently as a the Los Angeles Spotlight Awards, recording musician, and can be heard MTAC State Finals, CMEA, and the playing oboe and English horn on Long Beach Mozart Festival. many motion picture soundtracks. Her appearances at music festi- d vals have included the Lucerne Music Festival under the direction of Pierre Adriana Zoppo, a win- Boulez, as well as the Spoleto Festival ner of the Consortium USA, Henry Mancini Institute, Nor- of Southern California folk Chamber Music Festival, and Chamber Music Present- Sarasota Music Festival. She has ap- ers, performs profession- peared on TV with several legendary ally on violin, viola, baroque violin, singers, including Prince, Mariah Baroque viola, and viola d’amore, Carey, and Andrea Bocelli. In addi- serving in the string sections of the tion to oboe, she plays theremin, and Santa Barbara, Pacific and Long has performed in Carnegie Hall and Beach Symphonies, and with the Disney Hall on both instruments. Long Beach Opera, Los Angeles Master Chorale, Pacific Chorale and d other symphonic groups. She appears frequently on the Glendale Noon Leif Woodward holds Concerts series, where she is Director a Doctoral degree from of the early-music Ergo Musica sub- USC’s Thornton School series. She also plays with the Musica of Music, where he grad- Angelica Baroque Orchestra, Les Sur- uated Pi Kappa Lambda, prises Baroques, Bach Collegium San as well as Master’s and Bachelor’s Diego, and the Los Angeles Baroque degrees from the San Francisco Con- Players. A member of the Carmel servatory of Music. He performs with Bach Festival Orchestra for several Musica Angelica, Los Angeles Master years, she has served on the faculty of Chorale, Pacific Chorale, Les Surpris- the Maud Powell Festival as Baroque es Baroques, Santa Barbara Sympho- violin performer and teacher. ny, Bach Collegium San Diego, and Zoppo has played in numerous Tesserae. He appears at the Carmel film soundtracks, solo artist record- Bach Festival, San Luis Obispo Mo- ings, Broadway musicals and live zart Festival, and on chamber music shows. She currently plays for the TV series at the Getty Museum, LACMA, programs American Idol and Mad Les Salons de Musiques, and Red- Men, and played viola d’amore on lands Chamber Music Society. the soundtrack of the newly released Woodward has been a guest lec- filmAfter Earth.

50 Festival Orchestra Violin Viola Elizabeth Blumenstock, Ondine Young, principal concertmaster/leader Jane Levy Rob Diggins Jolianne von Einem Violoncello Susan Feldman Shirley Edith Hunt, principal Carrie Kennedy (June 16) Leif Woodward Andrew McIntosh Violone Joel Pargman (June 23) Denise Briesé (June 16) Janet Worsley Strauss Gabriel Golden (June 23) Adriana Zoppo

Recorder (June 23) Oboe (June 23) Inga Funck Harpsichord Michael DuPree, Timothy Howard principal Lute (June 19) Sarah Davol John Kevin Cooper d The South Coast Brass John Deemer, Steve Kraus, trumpets Craig McKnight, trombone Mark Ghiassi, horn Robert Aul, tuba

The South Coast Brass performs al fresco for 45 minutes prior to each concert. Here is a listing of what they are playing this week.

Die Bankelsangerlieder...... Anonymous Contrapunctus I...... Johann Sebastian Bach (1685–1750) Sheep May Safely Graze...... Bach Von Himmel hoch, da komm ich her...... Bach Earle of Oxford’s Marche...... William Byrd (1543–1623) Prelude to Te Deum...... Marc-Antoine Charpentier (1644–1704) Canzona per sonare...... Giovanni Gabrieli (1557–1612) “Hornpipe” from Water Music...... George Frideric Handel (1685–1759) Verbum carol factum est...... Hans Leo Hassler (1564–1612) Two Pieces...... Anthony Holborne (c. 1545–1602) Five Pieces from Pavans and Galliards...... Holborne Rondeau...... Jean-Joseph Mouret (1682–1738) Purcell Suite...... Henry Purcell (1659–1695) Voluntary on Old 100th...... Purcell Galliard Battaglia...... Samuel Scheidt (1587–1654) Canzona...... Scheidt Renaissance Dances...... Tielman Susato (c. 1510/15–1570?)

51 Festival Supporters The Board of Directors recognizes with thanks these supporters, whose contributions towards our 33rd season have been indispensable in sustaining the Festival’s reputation for excellence.

 Benefactors  Arts Commission of the Dr. Terri Munroe City of Newport Beach Wayne & Ruth Norman Norris Battin Dr. Susan L. Powers Patricia L. Bril Alice Remer William B. “Skip” Freely & Mary Kryder Walter B. & Philip & Katie Friedel Dagmar M. Rios Margaret Gates Ralph & Trisha Smith Doreen B. Hamburger Dr. Vina R. Spiehler Judy J. McKay Max & Marilyn Wolfsberg

 Sponsors   Donors  Dorothy Boesch Patricia N. & Rand Albers Dr. David & Diana Casey Ruth Casteel Terry & Jane Hipolito Joseph Dworniczak & Judith Chodil Joan Petty Donald & Karen Evarts Nancy W. Sattler Ann Heiney

 Contributors  Anonymous Sharon McNalley Barbara Bing Celso Morrison & Julie Chrzanowski Ruth Ding Drs. Amelia & Aaron Neustadt Nancy Feit Marjorie Ringwalt Jim & Ginny Heringer Harry & Judith Selling Carol Kirkwood Tully & Jane Seymour Vincent J. LePore III Judith Wagner Peggy & Alex Maradudin Mary & Jim White

52  Festival Subscribers  Patricia N. Albers Terry & Jane Hipolito Dorothy Boesch Mr. & Mrs. Claude Kastenholz Patricia L. Bril & Gordon W. Smith Carol Kirkwood Dr. David & Diana Casey Deborah & Terrell Koken Virginia Cassara Paul & Janice Massatt Ruth Casteel Judy J. McKay Bradley B. Davis & Duke Funderburke Wayne & Ruth Norman Steven & Cynthia Dember Harry & Judith Selling Jacqueline A. Dombroski Ralph & Trisha Smith Joseph Dworniczak & Judith Chodil Dr. Vina R. Spiehler William B. “Skip” Freely Brian & Mary Taylor & Mary Kryder Judith Wagner Philip & Katie Friedel Mary & Jim White Monika Goodwin Max & Marilyn Wolfsberg Doreen B. Hamburger Lists are complete as of publication deadline.

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53 Index of Advertisers Friends of the Baroque Music Festival are urged to patronize the following, who support the Festival with their advertisements.

Amelia’s Restaurant...... 43 Mayer Printing...... 54

Bach Collegium...... 7 Mother’s Market & Kitchen...... 55

Bluewater Grill...... 39 Newport Auto Center...... 18

Bristol Farms...... 29 Newport Floor Covering...... 6

Capital Source Bank...... 13 Newport Harbor Lawn Bowling Club...... 37 Champagnes Deli & Grill...... 33 Pascal...... 27 Coldwell Banker, David McCulloch...... 53 Philharmonic Society of Orange County...... 2 Crab Cooker Restaurant...... 29 Prudential California Realty, Foot Solutions...... 5 Sally Shipley...... 11

Francis-Orr Stationers...... 12 Regents Point...... 56

Ganahl Lumber...... 39 RE/MAX Real Estate, Lauren Scott...... 7 Hearthstone...... 15 Royal Jewelers...... 5 Hutchins Consort...... 25 Shifberg-Mencher Associates...... 4 Independence Bank...... 17 Violinmakers Michael & Les Surprises Baroques...... 41 Rena Weisshaar...... 4

THANK YOU!

For 800.356.2769 Years!

54 Baroque Music Ad_2013 3/26/13 3:16 PM Page 1

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