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Home , Biagio Marini, Christoph Bernhard, Dario Castello, Johann Hermann Schein, Sackbut, Stile rappresentativo

The UC Davis De partment of Music Presents Passamezzo Moderno Across the Alps: The Italian Moves North

Jonathan Davis, and organ David Granger, Edwin Huizinga, Adriane Post, violin

with guests

Linda Tsatsanis, John Lenti,

PROGRAM

Salve, O Regina from Seconda raccolta de’ sacri canti/ab admodum reverendo D. Laurentio Calvo in lucem editae (, 1624) (1567–1643)

Sonata undecima a due from Sonate, symphonie, canzoni, pass’emezzi, baletti, corenti, gagliarde & retornelli… ottava (Venice, 1626) (1597–1663)

Herr, wenn ich nur dich habe from Opella nova, ander Theil (, 1626) (1586–1630)

Sonata a tre sopra il Ballo del grand ducca from Il quarto libro Giovanni Battista Buonamente de varie sonate, sinfonie, gagliarde, corrente,e brandi per sonar…(Venice, 1626) (d. 1642)

Exultavit cor meum in Domino, SWV 258 from , Heinrich Schütz Opus Ecclesiasticum Secundum, opus 6 (Venice, 1629) (1585–1672)

Sonata ottava from Sonate concertate in stil moderno, libro secondo (Venice, 1629) (fl. 1621–44)

Herr unser Herrscher, wie herrlich is dein Nam, SWV 343 Schütz from Symphoniae Sacrae II, opus 10 (, 1647)

Sonata Giardino corrupto from Canzoni Sonatae (Nuremberg, 1653) Johann Erasmus Kindermann (1616–55)

Aus der Tiefe ruf’ ich, Herr, zu dir () from Geistliche Harmonien (Dresden, 1665) Christoph Bernhard (1628–92)

12:05 pm, Thursday, 19 November 2009 Ramsey Rancheria Grand Lobby, Mondavi Center

This concert is being recorded professionally for the university archive. Please remain seated during the music, remembering that distractions will be audible on the recording. Please deactivate cell phones, pagers, and wristwatches. Flash photography and audio and video recording are prohibited during the performance.

This performance is made possible in part by the generous support from the Joy S. Shinkoskey Series of Noon Concerts endowment. Program Notes

ACROSS THE ALPS: The Italian Baroque Moves North

Origins of the Baroque In the late 16th-century a group of philosophers, thinkers, and musicians who frequented the Medici court in Florence sought to revive classic Greek ideals in modern . One goal was to reclaim Greek practices for the declamation of poetry, which they believed was sung in ancient times. It was decided that simple music—one voice with limited instrumental accompaniment—best represented what the Greeks must have done. In conjunction with this new aesthetic, a new system of notation developed in which the middle voices of polyphony were omitted in favor of only a bass with figures indicating chord progressions. Thus, was developed, and the musical era, which we call the Baroque, began.

Claudio Monteverdi’s mastery and profound knowledge of musical traditions allowed him to revolutionize musical language. He channeled the virtuosic effects of the Venetian style into the new manner of writing for solo voice, producing a huge array of works in the genre that came to be known as . Adherence to the text was of paramount importance, and even when writing sacred monody, he masterfully preserved the identity of the while dividing it into segments that accentuated the affect expressed by the words. In Monteverdi’s early works, and in the and of his contemporaries, the voice dominates. When instruments were first added, they often performed simple serving to punctuate and allow a moment’s rest for the voice. But in the , motets for voices with one or more obbligato instruments enjoyed considerable popularity. German who visited Italy transplanted this style to the German-speaking lands.

By the 1620s, motets had left behind the declamatory style of (stile rappresentativo) common to the first Baroque . The new, mixed style (stile misto) alternated between declamatory and richly ornamented passages and melodic motifs. Other motets influenced by the Venetian began including extended passages in triple meter. Venetian composers imitated the new vocal style for the instruments they thought best suited: The cornetto and violin for the soprano; the organ, harpsichord, , , and double for the continuo. The , the dulcian, and the viol also were favored for concertante bass parts. This new manner of instrumental writing was called stil moderno.

From Italy to Monteverdi’s ties to German courts were well established. His son, Massimiliano (named after the Hapsburg Holy Roman Emperor), had the brother of the future Ferdinand II for a godfather, and we know that Monteverdi visited the Imperial Court at Innsbruck and Prague with Duke Vincenzo of Mantua. Following the marriage of the duke’s daughter, Eleonora di Gonzaga, to Ferdinand II in 1622, Monteverdi adapted his second opera for performance in in 1628. Monteverdi’s relation with the Imperial Court continued to the end of his life. His last two great publications were dedicated to Ferdinand III, who had succeeded Ferdinand II, his father, in 1637. Monteverdi was not alone in his ties to the Imperial Court. Under Ferdinand II Vienna was a center for the transmission of modern Italian music north of the Alps. A sizable number of Italian composers made Vienna their home.

Giovanni Battista Buonamente was a violinist in the service of Vincenzo di Gonzaga in Mantua. In 1622, at the marriage of Eleonora di Gonzaga, Buonamente accompanied his mistress to Vienna and soon became chamber musician to the Hapsburg emperor.

Although it is not known whether Dario Castello ever served or even visited the Imperial Court, he did dedicate his second volume of Sonate concertate in stil moderno to Emperor Ferdinand II. It is clear that Castello’s style was influential, particularly judging by the numerous editions of his works and their presence in collections throughout .

In 1624, Biagio Marini was offered a position, riservato, at the Wittelsbach court in Neuburg Germany, with which he would be variously connected with for the next 25 years.

From Germany to Italy, and Back Johann Hermann Schein and Heinrich Schütz often are mentioned together as the leading German composers of the first half of the 17th century. Schein was one of the first to absorb thestil moderno of the Italian Baroque and, in the forward to his instrumental collection, Banchetto Musicale, of 1617, he announced his intention to produce music fully in the new Italian style in his next collection. Schütz twice made the trip to Italy to study the musical language of the Baroque. At the age of 24, he spent four years studying with . At age 43 and now famous, he returned to Italy to keep up with latest developments and to escape the troubles of the Thirty Years War.

In 1634, Nuremberg officials granted Johann Erasmus Kindermann permission and money to travel to Italy to study. Nothing is known about his stay in Italy, and in 1636 he returned to Nuremberg to take the position of second organist of the Frauenkirche.

Christoph Bernhard made two sojourns to Italy to further his musical education. His first visit in 1650 was to Venice, and, after his appointment as assistant Kapellmeister in Dresden in 1655, he went to Rome. On both occasions he returned with Italian musicians for the court of the Prince Elector of . TEXT AND TRANSLATION (Continued) The Composers and Their Music

Aus der Tiefe ru’ ich, Herr, zu dir Out of the depths, Lord, I call to you Claudio Monteverdi was born in 1567 in Cremona. In 1590, he began working at the court of Vincenzo I of Gonzaga in Mantua as a vocalist and viol Aus der Tiefe ru’ ich, Herr, zu dir. Out of the depths, Lord, I call to you. player. By the time Monteverdi became di cappella at St. Mark’s in Venice in 1613, his reputation as a master was well established Herr, höre mein Stimme, laß deine Ohren Lord, hear my voice; let your ears hear throughout Italy. In addition to his operas, his most influential contributions are his nine books of madrigals, the first six composed in Mantua merken auf die Stimme meines Flehens. the voice of my beseeching. and the rest in Venice. Through them he evolved his vision of what he termed seconda prattica, the use of free with a hierarchy of So du willst, Herr, Sünde zurechnen, If you, Lord, would reckon sins, voices, emphasizing soprano and bass, where word dominates harmony. Salve, O Regina, O Mater, although anonymous, is almost undoubtedly by Herr, wer wird bestehen? Lord, who would stand? Monteverdi. It is a variant on the Salve Regina text and was first published in a collection by Lorenzo Calvi, who at that time a bass at Pavia Cathedral. Denn bei dir ist Vergebung, For with you there is forgiveness, dass man dich fürchte. that you may be feared. Biagio Marini, born in , one the most famous violinists of the time, first appears in records at the age of 15 at St. Mark’s. He returned to Ich harre des Herrn, meine Seele harret, I wait for the Lord, my soul waits, Brescia in 1620, traveled to , Neuburg, Germany, and , and then returned to Venice in 1653. His opus 8, one of the largest instrumental und ich hoffe auf sein Wort. and I hope in his word. collections of its time, is dedicated to Archduchess Isabella Clara Eugenia of Austria, whom he had met on a visit to in 1624. Meine Seele wartet auf den Herrn My soul waits for the Lord, von einer Morgenwache bis zur andern. from one morning watch to the next. Johann Herman Schein was born in Saxony and received his education in the Dresden Court Chapel. He was appointed Hofkapellmeister in in Israel, hoffe auf den Herren, Israel, hope in the Lord, 1615, then cantor of the Thomaskirche in Leipzig in 1616, a post that he held for the rest of his life. On the title page of his Opella Nova II, he writes denn bei dem Herren ist die Gnade, for with the Lord there is grace, that these sacred were composed “according to the Italian invention now in use.” However, Schein retained traditional German Lutheran und viel Erlösung be ihm; and much redemption with him; sources and Biblical texts predominate. Und er wird Israel erlösen aus allen seinen Sünden. And he will deliver Israel from all its sins. Born in Mantua, Giovanni Battista Buonamente was probably a student of Monteverdi there. After his tenure in Vienna, he returned to Italy to settle in Assisi at the Basilica di San Francesco, the highest honor for a composer in the Franciscan Order. Buonamente composed seven books of instrumental works, but only the last four have survived. The famous theme, Il Ballo del gran Duca, is the last piece in the intermezzi of La Pellegrina composed by Emilio de’ Cavalieri for the marriage of Ferdinand de Medici in 1589.

The musical talents of Heinrich Schütz were discovered by Moritz von Hessen-Kassel while Schütz was a choirboy. Mortiz sent Schütz to Venice from 1609–13 to study with Giovanni Gabrieli. Schütz was appointed court composer of the Elector of Saxony in Dresden in 1617 and held this position for the rest of his life. He wrote Symphoniae Sacrae, named in probable honor of his teacher’s great work, Sacrae symphoniae, during his second trip to Venice. The texts are mostly taken from the Old Testament and are in Latin (instead of Luther’s German translations used in most of Schütz’s other compositions). His second collection of Symphoniae Sacrae came after a long period without publications. While the firstSymphoniae Sacrae called for varied combinations of instruments, the second catered to German performing conditions, calling for just two and a . Considerably more virtuosity is required from both singers and players, but the major difference is that the second Symphoniae Sacrae is in German, largely taken from the .

Dario Castello published in Venice two volumes of Sonate concertate, and nearly all our knowledge of Castello’s life comes from the title pages and dedications to these volumes. He was a member of the Venetian Doge’s six-member piffari (wind-players) and a musician at St. Mark’s. His first volume is the first printed collection ever to be devoted entirely to instrumental works, while his second is the first ever to consist entirely of sonatas. Castello was a pioneer of musical notation, being one of the first to include clear tempo markings, bar lines throughout, and indications to use the harpsichord instead of the organ as a continuo instrument.

Johann Erasmus Kindermann was born in Nuremberg. After a visit to Italy, he remained in Nuremberg for the rest of his life, becoming an acclaimed musician and teacher. Kindermann was also instrumental in spreading the Italian style in music in south Germany, publishing several collections of his own music and of others. His Sonata Giardino corrupto refers not to a patch of weeds but to the maze Kindermann creates by supplying the same music for each of the violinists, only one begins in the upper left-hand corner of the first page while the other beings in lower left-hand corner of the second page, momentarily meeting for brief, consecutive unisons.

Christoph Bernhard was born in Kolberg, Pomerania. He studied in Gdansk and and by the age of 20 was singing at the electoral court in Dresden under Heinrich Schütz. When he was 35, he moved to to work for the Johanneum, and for the next ten years he directed the latest compositions from Italy and Vienna. Bernhard was recalled to Dresden in 1674, where he continued composing, directing, and caring for the music library in Dresden until his death in 1692. Schütz’s influence is clearly seen in the rhetorical declamation and vivid song lines ofAus der Tiefe ruf’ ich. About the Artists TEXT AND TRANSLATION

Passamezzo Moderno, founded in 2005, is a period ensemble that performs the music of three centuries, from 1530 to 1830, and specializes in the Salve, O Regina Hail, O Queen virtuoso instrumental music of the 17th-century. Its members are David Granger, dulcian and , Jonathan Davis, harpsichord and organ, and Salve, O Regina, O mater, O vita, O spes, Hail, O Queen, O mother, O life, O hope, Edwin Huizinga and Adriane Post, violins. The group is committed to providing their audiences the highest caliber performances on salve, O clemens, O pia, O dulcis Virgo Maria. hail, O gentle one, O holy, O sweet Virgin Mary. period instruments in historically authentic style. Passamezzo Moderno is gaining an international reputation due to the recent release of their first Salve, regina, mater, mater misericordiae, Hail, queen, mother, mother of mercy, CD, From Venice to Vienna in the 17th Century. Ron Klimko, in the International Double Reed Society’s Quarterly Journal, wrote: “All of the performers salve, vita, dulcedo et spes nostra, salve. hail, our life, our sweetness and our hope, hail. exhibit considerable skill ... nice lyricism and a lot of spirited and percussive ‘punch’ when the music calls for it ... a must-have recording for lovers of Ad te, adte clamamus, To you we cry out, early music performance.” Passamezzo Moderno is an affiliate of the San Francisco Early Music Society. exsules filii Hevae. exiled children of Eve. Ad te suspiramus gementes et flentes To you we sigh mourning and weeping A native of Berkeley, Jonathan Davis holds a Master of Music degree in harpsichord performance from the Mannes College of Music in New York City, in hac lacrimarum valle. in this valley of tears. where his principal teachers included Arthur Haas and Myron Lutzky. In New York, Davis performed with the New York Continuo Collective, under Eja ergo advocata nostra, illos tuos Lo then, gracious advocate, turn the direction of Stephen Stubbs, La Rappresentatione de Anima, e di Corpo by Cavelliere on period instruments. While an undergraduate at the San misericordes oculos ad nos converte. towards us your merciful eyes. Francisco Conservatory of Music, Davis was Laurette Goldberg’s teaching assistant. Davis is the recipient of outstanding performance awards from the Et Jesum, benedictum fructum ventris tui, And show us Jesus, the blessed fruit of your womb, Mu Phi Epsilon Honors Foundation, the San Francisco Conservatory of Music, and the Mannes College of Music. As the winner of the 2003 Indiana nobis post hoc exsilium ostende. after this exile, show us. University Baroque competition, he was a featured soloist with the IUB Baroque . He has performed throughout Italy as a soloist O regina, O mater, O vita, O spec, O queen, O mother, O life, O hope, and chamber musician, most recently at the Accademia Bartolomeo Cristofori in Florence. O clemens, O pia, O dulcis Virgo Maria. O gentle one, O holy, O sweet Virgin Mary.

David Granger serves as principal bassoonist with the Sacramento Philharmonic Orchestra, the Modesto Symphony Orchestra, the Napa Valley Herr, wenn ich nur dich habe Lord, when I have thee Symphony, the Fremont Philharmonic, and is a member of the Oakland East Bay Symphony and the Marin Symphony. He received his Bachelor of Herr, wenn ich nur dich habe, Lord, when I have thee, Music in 1973 and his Master of Music in 1975 from the Manhattan School of Music. He was principal bassoonist of the Sacramento Symphony from so frag ich nichts nach Himmel und Erden, then I ask nothing of heaven and earth, 1981 until 1996. In 1983, he began teaching at UC Davis, and, in 1985, he became coordinator of the music department’s student Ob mir glechi Leib und Seel ver schmachtet, Although my body and soul do languish, program. He began teaching at UC Berkeley in 2002 and at California State University, Stanislaus, this year. Granger attended Indiana University’s so bist du doch, Gott, allezeit Thou art, Lord, at all times. Early Music Institute and received a Performer Diploma in Baroque bassoon in 2004. There he studied early with Michael McCraw and meines Herzen Trost und mein Teil. my heart’s solace and my cheer. worked with some of the leading artists in period instrument performance. His period instrument experiences include performances with the American Bach Soloists and the Tafelmusik in Toronto, Canada. Granger plays on a copy of an early 17th-century dulcian built by Leslie Ross, New York, 2000. Exsultavit cor meum My heart rejoiceth Exsultavit cor meum in Domino, My heart rejoiceth in the Lord, Edwin Huizinga is a recent graduate of the Oberlin Conservatory of Music in Ohio, where he studied Baroque and modern violin with Marilyn et exaltatum est meum in Deo meo, mine is exalted in the Lord McDonald. Edwin began playing the violin at the Suzuki string school in Guelph, Ontario, at age 5. In 1998, he began studies with Mark Fewer at Dilatatum est os meum super inimicos meos: my mouth is enlarged over mine enemies: the Glenn Gould School of Music’s Young Artist Performance Academy in Toronto. In January 2005, he traveled to Panama, where he toured with quia laetata sum in salutary tu meo. because I rejoice in thy salvation. his quartet and taught at the National Music Festival in Panama City. He has appeared as soloist with the Kitchener Waterloo Chamber Orchestra, Non est sanctus ut est Dominus, There is none holy as the Lord: performing Mozart’s Violin Concerto No. 5, and with the Oberlin Baroque orchestra. He also performed in both the chamber and contemporary neque enim est alius extra te, for there is none beside thee, at the Oberlin Conservatory. From December 2005 through January 2006, he participated in the Oberlin Orchestra tour of China. This et non est fortis sicut Deus noster. neither is there any rock like our God. past summer, he studied in Berlin with the concertmaster of the Berliner Philharmoniker, and he was invited to play in the 2006 Carmel Bach Festival Orchestra. He will be returning to Carmel for this upcoming summer’s festival. On a recital given as a fundraiser during the summer of 2005, Herr unser Herrscher O Lord our Lord the Puslinch Pioneer wrote, “[Huizinga’s] ambition is to bring to the attention of younger people in such a way that makes it more Herr unser Herrscher, O Lord our Lord, appealing to them. It was a wonderful, magical evening of music.” Huizinga currently is continuing his studies in performance and chamber music at Wie herrlich is dein Nam in allen Landen, How excellent is thy name in all the earth, the San Francisco Conservatory. Da man dir danket im Himmel. Who hast set thy glory above the heavens. Aus dem Munde der jungen Kinder und Säuglinge Out of the mouth of babes and sucklings Adriane Post received her Bachelor of Music from the Oberlin Conservatory of Music, studying both modern and with Marilyn Hast du eine Macht zugerichtet um deiner Feinde willen, Has thou ordained strength because of thine enemies, McDonald. She currently is pursuing her Master of Music at the Juilliard School as a member of the new Historical Performance program, where Daß du vertilgest den Feind und den rachgierigen. That thou mightest still the enemy and the avenger. she studies with Monica Huggett and Cynthia Roberts. She is a member of Apollo’s Fire and New Trinity Baroque; she has performed with Baroque Denn ich werde sehen die Himmel, diener Finger Werk, When I consider the heavens, the work of thy fingers, groups such as Concert Royal, New York State Baroque, Publick Musick, and L’academie; and this season she appeared at Festivals in Europe and the Den Monden und die Sternen, die du bereitest, The moon and the starts which thou hast ordained, United States, including the International Handel Festival in Göttingen, Germany, and the Carmel Bach Festival in California. Was is der Mensch, daß du sein gedenkest, What is Man, that thou art mindful of him, Was ist des Menschen Kind, daß du dich sein annimmst? And the son of Man that thou visitest him? Hailed by the Seattle Times as a duo “that anyone with ears and a soul can love,” Linda Tsatsanis, soprano, and John Lenti, lute, explore the myriad Du wirst ihn lassen eine Klein Zeit von Gott verlassen sein, For thou hast made him a little lower than the angels, opportunities for musical expression with voice and lute. With their Seattle concert series entering its third season, they also released their first album Aber mit ehren und Schmuck wirst du ihn krönen. And hast crowned him with glory and honor. in February 2009 with Origin Classical, And I Remain: Three Love Stories. They began their collaboration at Indiana University’s Early Music Institute Du wirst ihn zum Herren machen über deiner Hände Werk. Thou madest him to have dominion over the works of thy hands. and have gone on to busy solo careers in addition to their work as a duo. Both Tsatsanis and Lenti are members of Plaine & Easie, winners of the Alles hast du unter seine Füsse gethan, Thou hast put all things under his feet, 2009 Early Music America Medieval/ Competition. Schaf und Ochsen allzumal, dazu auch die wilden Thier, All sheep and oxen, yea, and the beasts of the field, Die Vögel unter dem Himmel und die Fisch im Meer, The fowl of the air and the fish of the seas John Lenti has performed on lute and theorbo in concert and at music festivals across the U.S. and abroad, and his performances have been broadcast Und was im Meer gehet. And whatsoever pass through the paths of the seas. on Performance Today and Harmonia. His playing cited as “a joy to behold” (Seattle Times) and praised for its “nuanced beauty and character” Herr unser Herrscher, O Lord our Lord, (Gramophone). Besides maintaining a busy freelance career, Lenti is assistant music director and plays continuo for the Seattle Baroque Orchestra and Wie herrlich is dein Nam in allen Landen. How excellent is thy name in all the earth. is a founding member of the ensembles Plaine & Easie and the I-90 Collective. He studied lute with Nigel North, Jacob Heringman, and Elizabeth Kenny and holds degrees from the North Carolina School of the Arts and Indiana University.

Canadian soprano Linda Tsatsanis enjoys an active and diverse career. Hailed as “ravishing” (New York Times) and possessing a voice with “crystalline purity” (Seattle Times), her career spans the concert hall, opera stage, and performance in movies and television. She has appeared as soloist with orchestras such as the Seattle Baroque Orchestra, the Auburn Symphony, and the Pacific Baroque Orchestra and has made recent appearances at the Indianapolis, Boston, and Bloomington . She keeps a demanding performance schedule in the Pacific Northwest in addition to performances around the U.S. and Canada. She holds degrees from the University of Toronto and Indiana University.