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Passamezzo Moderno Across the Alps: the Italian Baroque Moves North

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Passamezzo Moderno Across the Alps: the Italian Baroque Moves North The UC Davis De partment of Music Presents Passamezzo Moderno Across the Alps: The Italian Baroque Moves North Jonathan Davis, harpsichord and organ David Granger, dulcian Edwin Huizinga, violin Adriane Post, violin with guests Linda Tsatsanis, soprano John Lenti, theorbo PROGRAM Salve, O Regina from Seconda raccolta de’ sacri canti/ab admodum reverendo Claudio Monteverdi D. Laurentio Calvo in lucem editae (Venice, 1624) (1567–1643) Sonata undecima a due from Sonate, symphonie, canzoni, pass’emezzi, baletti, corenti, Biagio Marini gagliarde & retornelli…opera ottava (Venice, 1626) (1597–1663) Herr, wenn ich nur dich habe from Opella nova, ander Theil (Leipzig, 1626) Johann Hermann Schein (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 Symphoniae Sacrae I, Heinrich Schütz Opus Ecclesiasticum Secundum, opus 6 (Venice, 1629) (1585–1672) Sonata ottava from Sonate concertate in stil moderno, libro secondo (Venice, 1629) Dario Castello (fl. 1621–44) Herr unser Herrscher, wie herrlich is dein Nam, SWV 343 Schütz from Symphoniae Sacrae II, opus 10 (Dresden, 1647) Sonata Giardino corrupto from Canzoni Sonatae (Nuremberg, 1653) Johann Erasmus Kindermann (1616–55) Aus der Tiefe ruf’ ich, Herr, zu dir (Psalm 130) 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 Italy. 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,basso continuo 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 monody. Adherence to the text was of paramount importance, and even when writing sacred monody, he masterfully preserved the identity of the motet while dividing it into segments that accentuated the affect expressed by the words. In Monteverdi’s early works, and in the motets and madrigals of his contemporaries, the voice dominates. When instruments were first added, they often performed simpleritornellos serving to punctuate and allow a moment’s rest for the voice. But in the 1620s, motets for voices with one or more obbligato instruments enjoyed considerable popularity. German composers who visited Italy transplanted this style to the German-speaking lands. By the 1620s, motets had left behind the declamatory style of singing (stile rappresentativo) common to the first Baroque operas. The new, mixed style (stile misto) alternated between declamatory recitative and richly ornamented passages and melodic motifs. Other motets influenced by the Venetian aria 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, lute, viol, and double harp for the continuo. The sackbut, 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 Germany 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 Vienna 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 Europe. In 1624, Biagio Marini was offered a position, musico 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 Giovanni Gabrieli. 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 Saxony. 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 maestro di cappella at St. Mark’s in Venice in 1613, his reputation as a master composer 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 counterpoint 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 Brescia, 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 Parma, Neuburg, Germany, and Milan, 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 Brussels 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 Weimar 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.
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