DOCSLIB.ORG

A Celebration of Baroque Dance

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Celebration of Baroque Dance 34th SEASON A Celebration of Baroque Dance London Handel Players with Mary Collins and Steven Player October 27 September 2018 Alix Goolden Hall 2018-19 Concert Season “My heart trembles” Jeszcze Marcinie: Renaissance Cantatas by Handel Polish Keyboard 17 November 2018 Saturday 8pm 24 February 2019 Sunday 3pm Alix Goolden Hall St. Andrew’s Presbyterian Church Byron Schenkman and Friends Corina Marti harpsichord (SWITZERLAND) (SEATTLE) Reginald Mobley countertenor (MIAMI) Quartets of Haydn, Beethoven, and Schubert A Festive Baroque 9 March 2019 Saturday 8pm Christmas Alix Goolden Hall 22 December 2018 Saturday 8pm Chiaroscuro String Quartet Alix Goolden Hall (EUROPE) Victoria Baroque Players (VICTORIA) Jeanne Lamon violin and direction Victoria’s Requiem (TORONTO) and Penitential Motets co-presented by Rebecca Genge soprano (TORONTO) 23 March 2019 Saturday 8pm Kris Kwapis trumpet (SEATTLE) Christ Church Cathedral Choir of Clare College Cambridge (UK) J.S. Bach: The Circle of Creation Gate to the East 26 January 2019 Saturday 8pm 6 April 2019 Saturday 8pm Alix Goolden Hall Alix Goolden Hall Tafelmusik Baroque Orchestra Constantinople (MONTREAL) (TORONTO) Marco Beasley tenor (ITALY) Elisa Citterio violin and direction Kiya Tabassian setar and direction A Celebration of Baroque Dance London Handel Players Adrian Butterfield violin Katherine Sharman cello Rachel Brown flute and recorder Silas Wollston harpsichord Mary Collins and Steven Player dancers Pavane des Saisons (from Idylle sur la Paix LWV 68) J.B. Lully (1632 – 1687) La Bourgogne (choreography by Pécour) Anon Courante - Bourée - Sarabande - Passepied Suite in D major (from Pièces en Trio pour les flutes, violon, et dessus de viole) M. Marais (1656 – 1728) Prélude - Gigue - Simphonie lentement Marche pour la Cérémonie des Turcs (from Le Bourgeois Gentilhomme LWV 43) Lully Premier Air pour les Espagnols (from L’Europe Galante) Loure A. Campra (1660 – 1744) Chaconne d’Arlequin (from Le Bourgeois Gentilhomme LWV 43) Lully Suite in G major: Prélude; Chaconne Rondeau J.H. D’Anglebert (1635 –1691) (from Pièces de Clavecin - 1689) Passacaille (from Persée LWV 60) Lully Rigaudon Les Vandangeuses (from Les Ages) Campra La Biscayenne Tambourin Anon Les Caractères de la Dance J.F. Rebel (1666 – 1747) Prélude - Courante - Menuet - Bourée - Chaconne - Sarabande - Gigue - Rigaudon - Passepied - Gavotte - Sonate - Loure - Musette - Sonate INTERMISSION Overture and March, Queen Caroline (from Scipione HWV 20) J.F. Handel (1685 – 1759) Rigaudon (set by L’Abbé) Mer hahn en neue Oberkeet (from Peasant Cantata BWV 212 ) J.S. Bach (1685 – 1750) Allegro - Andante - Allegro - Adagio - Allegro - Presto Cello Suite No.3 in C major BWV 1009 Bach Prélude - Courante - Sarabande - Gigue Terpsicore (Prologue to Il Pastor Fido HWV8b) Minuet - Gigue Handel Partita in A minor for solo flute BWV 1013 Bach Allemande - Corrente - Sarabande - Bourée angloise La Folia, Violin Sonata Op.5 No.12 in D Min A. Corelli (1653 – 1713) Programme Notes On September 1, 1715, just before his 77th birthday, Louis passion called the sarabande, with the tension resolved in XIV died at Versailles, ending his 72-year reign – the the playful joy of the passepied. longest of any European monarch. The famous French viol player Marin Marais wrote The arts flourished greatly in France during this some exquisite chamber music and this suite is from a set ‘grand siècle’. Through lavish theatrical productions and notable for being the first published trio sonatas to specify an extravagant social life, Louis established his cultural the flute, in 1692. A typically livelyGigue is framed by two supremacy, his might, and his majesty, silencing unrest at expansive movements, a Prélude and a Simphonie lentement. home whilst pursuing military interests abroad. The harpsichord suites of Jean Henri D’Anglebert One of his first acts upon his accession to the throne represent one of the pinnacles of French harpsichord music. in 1661 at the age of 18, was to create the Académie de Published in 1689, just two years before the composer’s Dance, followed by the Académie de Musique in 1669. He death, they build on the tradition of Chambonnières employed vast numbers of musicians, singers, and dancers. and Couperin. The pieces combine a melodic simplicity Chief among them was Jean-Baptiste Lully who, though with an exceptional rhythmic subtlety and precision in born Italian, became the driving force in the development ornamentation. D’Anglebert’s table of ornaments, the most of French opera and ballet. sophisticated of its age, formed the basis of Bach’s, and Louis’ passion for dance inspired a pan-European provided the model for others, including Rameau. These fascination with the various French dances and there ornaments, some of which are unique to D’Anglebert, was scarcely a court in Europe without a French dancing epitomise the refinement, elegance, and extravagance of master. At Louis’ behest, Pierre Beauchamps devised a the French school. system of notating the dance steps and patterns and these Between these two instrumental items are two dances were published in 1700 in an extensive manual by Raoul from the theatre rather than the ballroom: the fiery Loure Auger Feuillet. This method caught on quickly and dance by André Campra is danced by a wicked sorceress after treatises and choreographies were published in France, which the rogue character of Harlequin enters and pokes England, Germany, Spain, Italy, and Portugal. fun at the Chaconne. The rediscovery of these dances leads us to a new Pécour’s choreography of the Passacaille for the 1703 and understanding of dance music and a fresh perspective on 1710 revivals of Lully’s opera Persée displays the rhetorical the compositions of the great composers of the baroque nature of dance, as described in 1589 by Thoinot Arbeau era, since so much of the music is dance-based. The in his treatise Orchésographie. It is a beautiful depiction subtlety and complexity of footwork and rhythm exhibited of the meeting of two characters and their developing in French court dance generated a virtuosic style in which relationship. the dancer became another line of the music – dancer and Two instrumentally-performed, rustic dances follow: musician coexisted as a complete ensemble. a rigaudon (also known as rigadon, rigadoon) by Campra, Tonight's programme includes most of the important Les Vandangeuses, depicting merry grape harvesters dances of the period and a number of them will be and an anonymous tambourin, La Biscayenne. Simple performed to original notated choreography. The first half harmonies and drones capture the raw, earthy energy of contains French music whilst the second comprises music the peasant dances which were incorporated into theatrical from England, Germany, and Italy. productions in stark contrast to the sophisticated elegance La Belle Danse, as this style was designated, imbued of the courtly dances. individual dances with specificcaractères to differentiate In Les Caractères de la Dance, Jean-Féry Rebel them. In La Bourgogne was a set of dances choreographed by incorporated most of the French dances of the time and Louis Pécour for the Dauphine, the Duchess of Bourgogne provided a platform for the inestimable talents of the in 1700, including the courante, a dance of majestic display première danseuse of the Paris Opéra, Françoise Prévost. She which was Louis XIV’s favourite. Following this is a bourée was noted for her ‘protean’ charms and Rebel’s piece leads expressing simple pleasure, then a dance of smouldering the audience through a sequence of narratives introducing 4 different caractères along the way. Prévost trained two Corrente and Gigue are both joyfully energetic whilst the students who went on to make Les Caractères their own: underlying passion of this Sarabande is relatively relaxed Marie Camargo (‘La Cupis’) was acclaimed for her virtuosic and intimate. technique and entrechats while Marie Sallé, who came to Il Pastor Fido (1712) was the second opera Handel work in London with George Frederic Handel and Auguste wrote for London. After the huge success of Rinaldo Noverre, favoured the newer style of natural acting. Like (1711), Handel seems to have misjudged his audience the other two principal dancers, Sallé danced Les Caractères with this production though it contains beautiful music. as a solo but she premiered it in London in 1734, Marie Sallé’s stay in London in the mid-1730s offered dancing the piece as a duet with her brother. Tonight’s him the opportunity to revive it in an adapted form and performance is based upon this version. Les Caractères was he added a special celebration of the dance, Terpsicore, published in 1715 and was a core repertoire piece at the as a prologue. No original choreography survives from Paris Opéra for 30 years. these performances, but the dancers have based their The 1728 duet Queen Caroline was set by Anthony realisation on the notations of original choreography for L’Abbé, King George II’s royal dancing master and theatrical similar dances. choreographer, to the popular March from Handel’s In the 18th century, many considered that it was Scipione (1726). It reflects the composer’s popularity with impossible to write for solo wind instruments since they both the royal family and London audiences. could not produce harmony. However, with skillful use of Queen Caroline was George II’s consort and, like arpeggios, Bach created a masterpiece for the solo flute in Handel, was a native German. She was a respected amateur the Partita with a strong harmonic structure. Nevertheless, musician and an influential patron of the arts. The dance, this work raises many questions. The opening Allemande, a rigaudon, is an elegant expression of pleasure typical in written as a moto perpetuo, leaves no comfortable places for style of the robust, less flighty Hanoverian monarchy. the flute player to breathe, and concludes with an ascent to Johann Sebastian Bach was hugely prolific in the field of the highest note ever written for the flute at that time.
Load more

Recommended publications
  • Sarabande | Grove Music
    Sarabande Richard Hudson and Meredith Ellis Little https://doi.org/10.1093/gmo/9781561592630.article.24574 Published in print: 20 January 2001 Published online: 2001 Richard Hudson One of the most popular of Baroque instrumental dances and a standard movement, along with the allemande, courante and gigue, of the suite. It originated during the 16th century as a sung dance in Latin America and Spain. It came to Italy early in the 17th century as part of the repertory of the Spanish five- course guitar. During the first half of the century various instrumental types developed in France and Italy, at first based on harmonic schemes, later on characteristics of rhythm and tempo. A fast and a slow type finally emerged, the former preferred in Italy, England and Spain, the latter in France and Germany. The French spelling ‘sarabande’ was also used in Germany and sometimes in England; there, however, ‘saraband’ was often preferred. The Italian usage is ‘sarabanda’, the Spanish ‘zarabanda’. 1. Early development to c1640. The earliest literary references to the zarabanda come from Latin America, the name first appearing in a poem by Fernando Guzmán Mexía in a manuscript from Panama dated 1539, according to B.J. Gallardo (Ensayo de una biblioteca española de libros raros y curiosos, Madrid, 1888–9, iv, 1528). A zarabanda text by Pedro de Trejo was performed in 1569 in Mexico and Diego Durán mentioned the dance in his Historia de las Indias de Nueva-España (1579). The zarabanda was banned in Spain in 1583 for its extraordinary obscenity, but literary references to it continued throughout the early 17th century in the works of such writers as Cervantes and Lope de Vega.
    [Show full text]
  • Gaspard Le Roux 1660-1707 Pièces De Clavessin (1705)
    Gaspard Complete HarpsichordLe Roux Music Pieter-Jan Belder Siebe Henstra Gaspard le Roux 1660-1707 Pièces de Clavessin (1705) Suite in D minor/major Suite in F major 39. Sarabande (en douze couplets) 13’00 Pieter-Jan Belder harpsichord I 1. Prélude 0’46 21. Prélude 1’25 40. Menuet 1’01 (Solo on 16-26) 2. Allemande, “la Vauvert” 4’25 22. Allemande grave 3’05 41. Gigue (pour deux Clavecins) 1’52 Siebe Henstra harpsichord II 3. Courante 1’17 23. Courante 1’27 42. Courante (avec sa contre partie) 1’31 (Solo on harpsichord I, on 33-42 ) 4. Sarabande grave 2’05 24. Chaconne 4’03 5. Menuet 1’20 25. Menuet & 2 Doubles Suite in A minor/major Harpsichord I: Titus Crijnen after 6. Passepied 0’40 du Menuet 1’55 (solo version) Ruckers 1624, Sabiñan 2014 7. Courante luthée 1’55 26. Passepied 0’54 43. Prélude 0’50 Harpsichord II: Titus Crijnen after 8. Allemande grave, 27. Allemande 1’54 44. Allemande “l’Incomparable” 2’21 Blanchet 1731, Sabiñan 2013 “la Lorenzany” 3’28 45. Courante 1’29 9. Courante 1’28 Suite in F-sharp minor 46. Sarabande 2’02 10. Sarabande gaye 2’51 28. Allemande gaye 1’10 47. Sarabande en Rondeau 2’15 11. Gavotte 1’09 29. Courante 1’27 48. Gavotte 1’05 30. Double de la Courante 1’32 49. Menuet & double du Menuet 1’01 Suite in A minor/major 31. Sarabande grave en Rondeau 2’25 50. Second Menuet 0’32 12. Prélude 0’50 32.
    [Show full text]
  • Allemande Johann Herrmann Schein Sheet Music
    Allemande Johann Herrmann Schein Sheet Music Download allemande johann herrmann schein sheet music pdf now available in our library. We give you 1 pages partial preview of allemande johann herrmann schein sheet music that you can try for free. This music notes has been read 4280 times and last read at 2021-09-29 13:16:38. In order to continue read the entire sheet music of allemande johann herrmann schein you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Bassoon Solo Ensemble: Mixed Level: Beginning [ READ SHEET MUSIC ] Other Sheet Music Canzon No 23 A Baroque Madrigal By Johann Hermann Schein For Brass Quintet Canzon No 23 A Baroque Madrigal By Johann Hermann Schein For Brass Quintet sheet music has been read 3565 times. Canzon no 23 a baroque madrigal by johann hermann schein for brass quintet arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-27 17:32:11. [ Read More ] Allemande From The French Suite Number V By Johann Sebastian Bach Arranged For 3 Woodwinds Allemande From The French Suite Number V By Johann Sebastian Bach Arranged For 3 Woodwinds sheet music has been read 3664 times. Allemande from the french suite number v by johann sebastian bach arranged for 3 woodwinds arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-29 13:16:24. [ Read More ] Hinunter Ist Der Sonne Schein Fr Posaunenquartett Hinunter Ist Der Sonne Schein Fr Posaunenquartett sheet music has been read 3235 times.
    [Show full text]
  • Harpsichord Suite in a Minor by Élisabeth Jacquet De La Guerre
    Harpsichord Suite in A Minor by Élisabeth Jacquet de la Guerre Arranged for Solo Guitar by David Sewell A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved November 2019 by the Graduate Supervisory Committee: Frank Koonce, Chair Catalin Rotaru Kotoka Suzuki ARIZONA STATE UNIVERSITY December 2019 ABSTRACT Transcriptions and arrangements of works originally written for other instruments have greatly expanded the guitar’s repertoire. This project focuses on a new arrangement of the Suite in A Minor by Élisabeth Jacquet de la Guerre (1665–1729), which originally was composed for harpsichord. The author chose this work because the repertoire for the guitar is critically lacking in examples of French Baroque harpsichord music and also of works by female composers. The suite includes an unmeasured harpsichord prelude––a genre that, to the author’s knowledge, has not been arranged for the modern six-string guitar. This project also contains a brief account of Jacquet de la Guerre’s life, discusses the genre of unmeasured harpsichord preludes, and provides an overview of compositional aspects of the suite. Furthermore, it includes the arrangement methodology, which shows the process of creating an idiomatic arrangement from harpsichord to solo guitar while trying to preserve the integrity of the original work. A summary of the changes in the current arrangement is presented in Appendix B. i ACKNOWLEDGMENTS I would like to express my great appreciation to Professor Frank Koonce for his support and valuable advice during the development of this research, and also to the members of my committee, Professor Catalin Rotaru and Dr.
    [Show full text]
  • Featuring the Brandenburg Choir Noël! Noël! Featuring the Brandenburg Choir
    Noël! Noël! Featuring the Brandenburg Choir Noël! Noël! Featuring the Brandenburg Choir Morgan Balfour (San Francisco) soprano 2019 Australian Brandenburg Orchestra Brandenburg Choir SYDNEY Matthew Manchester Conductor City Recital Hall Paul Dyer AO Artistic Director, Conductor Saturday 14 December 5:00PM Saturday 14 December 7:30PM PROGRAM Wednesday 18 December 5:00PM Mendelssohn Hark! The Herald Angels Sing Wednesday 18 December 7:30PM Anonymous Sonata à 9 Gjeilo Prelude MELBOURNE Eccard Ich steh an deiner Krippen hier Melbourne Recital Centre Crüger Im finstern Stall, o Wunder groβ Saturday 7 December 5:00PM Palestrina ‘Kyrie’ from Missa Gabriel Archangelus Saturday 7 December 7:30PM Arbeau Ding Dong! Merrily on High Handel ‘Rejoice greatly, O daughter of Zion’ NEWTOWN from Messiah, HWV 56 Friday 6 December 7:00PM Head The Little Road to Bethlehem Gjeilo The Ground PARRAMATTA Tuesday 10 December 7:30PM Vivaldi La Folia, RV 63 Handel Eternal source of light divine, HWV 74 MOSMAN Traditional Deck the Hall Wednesday 11 December 7:00PM Traditional The Coventry Carol WAHROONGA Traditional O Little Town of Bethlehem Thursday 12 December 7:00PM Traditional God Rest Ye Merry, Gentlemen Palmer A Sparkling Christmas WOOLLAHRA Adam O Holy Night Monday 16 December 7:00PM Gruber Stille Nacht Anonymous O Come, All Ye Faithful CHAIRMAN’S 11 Proudly supporting our guest artists. Concert duration is approximately 75 minutes without an interval. Please note concert duration is approximate only and subject to change. We kindly request that you switch off all electronic devices prior to the performance. This concert will be broadcast on ABC Classic on 21 December at 8:00PM NOËL! NOËL! 1 Biography From our Principal Partner: Macquarie Group Paul Dyer Imagination & Connection Paul Dyer is one of Australia’s leading specialists On behalf of Macquarie Group, it is my great pleasure to in period performance.
    [Show full text]
  • Charles Dieupart Ruth Wilkinson Linda Kent PREMIER RECORDING
    Music for the Countess of Sandwich Six Suites for Flûte du Voix and Harpsichord Charles Dieupart Ruth Wilkinson Linda Kent PREMIER RECORDING A rare opportunity to experience the unusual, haunting colours of the “voice flute”. Includes two suites copied by J.S. Bach. First release of the Linda Kent Ruth Wilkinson complete suites of Charles Dieupart. Six Suites for Flûte du Voix and Harpsichord (1701) by Charles Dieupart Music for the Countess of Sandwich P 1995 MOVE RECORDS Suitte 1 A major (13’35”) Suitte 4 e minor (12’23”) AUSTRALIA Siutte 2 D major (10’10”) Suitte 3 b minor (12’44”) Suitte 6 f minor (13’46”) Suitte 5 F major (14’19”) move.com.au harles Dieupart was of the 17th century for her health: a French violinist, it was possible that she became C harpsichordist and Dieupart’s harpsichord pupil composer who spent the last before returning to England. 40 years of his life in England. Two versions of the Suites He was known as Charles to his were published simultaneously contemporaries in England but about his final years. One story in Amsterdam by Estienne there is some evidence from letters claimed that Dieupart was on the Roger: one for solo harpsichord signed by Dieupart that he was known brink of going to the Indies to follow and the other with separate parts as Francois in his native France. He a surgeon who proposed using music for violin or flute with a continuo was active in the operatic world: as an anaesthetic for lithotomies. part for bass viol or theorbo and we learn from Sir John Hawkins Hawkins gives us the following figured bass.
    [Show full text]
  • Le Temple De La Gloire
    april insert 4.qxp_Layout 1 5/10/17 7:08 AM Page 15 A co-production of Cal Performances, Philharmonia Baroque Orchestra & Chorale, and Centre de musique baroque de Versailles Friday and Saturday, April 28 –29, 2017, 8pm Sunday, April 30, 2017, 3pm Zellerbach Hall Jean-Philippe Rameau Le Temple de la Gloire (The Temple of Glory) Opera in three acts with a prologue Libretto by Voltaire featuring Nicholas McGegan, conductor Marc Labonnette Camille Ortiz-Lafont Philippe-Nicolas Martin Gabrielle Philiponet Chantal Santon-Jeffery Artavazd Sargsyan Aaron Sheehan New York Baroque Dance Company Catherine Turocy, artistic director Brynt Beitman Caroline Copeland Carly Fox Horton Olsi Gjeci Alexis Silver Meggi Sweeney Smith Matthew Ting Andrew Trego Philharmonia Baroque Orchestra & Chorale Bruce Lamott, chorale director Catherine Turocy, stage director and choreographer Scott Blake, set designer Marie Anne Chiment, costume designer Pierre Dupouey, lighting designer Sarah Edgar, assistant director Cath Brittan, production director Major support for Le Temple de la Gloire is generously provided by Philharmonia Baroque Orchestra & Chorale supporters: David Low & Dominique Lahaussois, The Waverley Fund, Mark Perry & Melanie Peña, PBO’s Board of Directors, and The Bernard Osher Foundation. Cal Performances and Philharmonia Baroque Orchestra & Chorale dedicate Le Temple de la Gloire to Ross E. Armstrong for his extraordinary leadership in both our organizations, his friendship, and his great passion for music. This performance is made possible, in part, by Patron Sponsors Susan Graham Harrison and Michael A. Harrison, and Francoise Stone. Additional support made possible, in part, by Corporate Sponsor U.S. Bank. april insert 4.qxp_Layout 1 5/10/17 7:08 AM Page 16 Title page of the original 1745 libretto of Le Temple de la Gloire .
    [Show full text]
  • The Influence of the Unaccompanied Bach Suites
    Cedarville University DigitalCommons@Cedarville Music and Worship Student Publications Student Scholarly Activity 2012 The nflueI nce of the Unaccompanied Bach Suites Meredith Lawrence Cedarville University, [email protected] Follow this and additional works at: http://digitalcommons.cedarville.edu/ music_and_worship_student_publications Part of the Composition Commons Recommended Citation Lawrence, Meredith, "The nflueI nce of the Unaccompanied Bach Suites" (2012). Music and Worship Student Publications. 5. http://digitalcommons.cedarville.edu/music_and_worship_student_publications/5 This Conference Proceeding is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in Music and Worship Student Publications by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Proceedings of the National Conference On Undergraduate Research (NCUR) 2012 Weber State University, Ogden Utah March 29, 31, 2012 The Influence of the Unaccompanied Bach Suites Meredith Lawrence Music and Worship Department Cedarville University 251 N. Main St. Cedarville, Ohio 45314 USA Faculty Advisor: Dr. Sandra Yang Abstract Bach was very influential in changing the function of the violoncello from an accompanying instrument to a solo instrument, showing the cello’s potential in his writing of the unaccompanied cello suites. Throughout the cello’s history, the instrument was considered to be primarily an accompanying instrument, playing the basso continuo line of most music. Through research of primary and secondary sources, it was found that during Bach’s time in Cöthen, he was given freedom and the resources to compose what he wished. These resources included excellent musicians such as the gambist, played by Abel and the cellist, Linigke.
    [Show full text]
  • Trevor Pinnock Journey
    TREVOR PINNOCK JOURNEY Two Hundred Years of Harpsichord Music TREVOR PINNOCK JOURNEY Two Hundred Years of Harpsichord Music ANTONIO DE CABEZÓN (c.1510–1566) GIROLAMO FRESCOBALdi (1583–1643) 1. Diferencias sobre 15. Toccata nona ................................ 4:32 ‘El canto del caballero’ .................. 3:10 16. Balletto primo e secondo .............. 5:39 from Toccate d’intavolatura di cimbalo et WILLIAM BYRD (c.1540–1623) organo,1637 2. The Carman’s Whistle .................. 3:58 GEORGE FRIDERIC HAndel (1685–1759) THOMAS TaLLIS (c.1505–1585) 17. Chaconne in G major, HWV 435 ... 6:36 3. O ye tender babes ........................ 2:37 DOMENICO SCARLAtti (1685–1757) JOHN Bull (1562/3–1628) Three Sonatas in D major, K. 490–92 4. The King’s Hunt ............................ 3:25 18. Sonata, K. 490: Cantabile ............ 5:02 JAN PIETERSZOON SWEELINCK 19. Sonata, K. 491: Allegro ................ 4:57 (1562–1621) 20. Sonata, K. 492: Presto ................. 4:17 5. Variations on ‘Mein junges Leben hat ein End’, SwWV 324 .............. 6:10 Total Running Time: 68 minutes JOHANN SEBASTIAN BACh (1685–1750) French Suite No. 6 in E major, BWV 817 6. Prélude ......................................... 1:31 7. Allemande .................................... 3:28 8. Courante ...................................... 1:47 9. Sarabande ................................... 3:22 10. Gavotte ........................................ 1:07 11. Polonaise ...................................... 1:20 12. Bourrée ........................................ 1:41 13.
    [Show full text]
  • Johann Sebastian Bach Orchestral Suite No. 3 in D Major, BWV No. 3 in D Major, BWV 1068
    PROGRAM NOTES by Phillip Huscher Johann Sebastian Bach Born March 21, 1685, Eisenach, Thuringia, Germany. Died July 28, 1750, Leipzig, Germany. Orchestral Suite No. 3 in D Major, BWV 1068 Although the dating of Bach’s four orchestral suites is uncertain, the third was probably written in 1731. The score calls for two oboes, three trumpets, timpani, and harpsichord, with strings and basso continuo. Performance time is approximately twenty -one minutes. The Chicago Sympho ny Orchestra’s first subscription concert performances of Bach’s Third Orchestral Suite were given at the Auditorium Theatre on October 23 and 24, 1891, with Theodore Thomas conducting. Our most recent subscription concert performances were given on May 15 , 16, 17, and 20, 2003, with Jaime Laredo conducting. The Orchestra first performed the Air and Gavotte from this suite at the Ravinia Festival on June 29, 1941, with Frederick Stock conducting; the complete suite was first performed at Ravinia on August 5 , 1948, with Pierre Monteux conducting, and most recently on August 28, 2000, with Vladimir Feltsman conducting. When the young Mendelssohn played the first movement of Bach’s Third Orchestral Suite on the piano for Goethe, the poet said he could see “a p rocession of elegantly dressed people proceeding down a great staircase.” Bach’s music was nearly forgotten in 1830, and Goethe, never having heard this suite before, can be forgiven for wanting to attach a visual image to such stately and sweeping music. Today it’s hard to imagine a time when Bach’s name meant little to music lovers and when these four orchestral suites weren’t considered landmarks.
    [Show full text]
  • Pavey Poster Final.Pptx
    French Impressionism and the Baroque: Connection and Influence The Rise of Early Music in France Diémer and the Harpsichord The interest in Baroque music in France began at least partially from a sense of Along with the increased interest in music from the past, there was a pronounced nationalistic pride in France in the late 19th century. At this time, publications of fascination with early instruments and, in particular, the harpsichord. The German music emphasized a sense of lineage and canon of composers stemming harpsichord was displayed at the Exposition Universelle (1889) inParis in recitals from the early Baroque, to the present day. French composers consciously began performed by Louis Diémer, a French pianist and harpsichordist. Shortly after looking back to music from earlier periods in France to create their own lineage, becoming a professor at the Paris Conservatoire, Diémer founded the Société des ancestry, and canon. Composers and performers of late 19th century France, explored Instruments Anciens, which organized additional concerts for audiences a variety of Baroque music, but of particular popularity were works by Jean-Baptiste interested in early instruments. Lully, Jean-Philippe Rameau, and François Couperin. Diémer’s performances helped to popularize not only the harpsichord, but also Composers of this period, including Claude Debussy and Maurice Ravel turned to the repertoire written for the instrument. In the early 20th century, he edited early French Baroque works for inspiration and imitated formal techniques, textural several volumes of Les Clavecinistes Français, which published works of F. elements, and dance styles. Excepting “Clair de lune,” Debussy’s Suite bergamasque Couperin, Rameau, Daquin, Dandrieu, and more.
    [Show full text]
  • Spring 2015 CUES Internet at the Speed of Whoa
    OPERAVolume 55 Number 05 | Spring 2015 CUES Internet at the speed of whoa. XFINITY® Internet delivers the fastest and most reliable in-home WiFi for all rooms, all devices, all the time. To learn more call 866-620-9714 or visit comcast.com Restrictions apply. Not available in all areas. Features and programming vary depending on area and level of service. WiFi claims based on April and October 2013 study by Allion Test Labs, Inc. Actual speeds vary and are not guaranteed. Reliably fast speed based on February 2013 FCC Broadband Report. Call for restrictions and complete details. ©2014 Comcast. All rights reserved. All trademarks are property of their respective owners. DIE WALKÜRE APRIL 18, 22, 25, 30 MAY 3 SWEENEY TODD APRIL 24, 26, 29 MAY 2, 8, 9 PATRICK SUMMERS PERRYN LEECH ARTISTIC & MUSIC DIRECTOR MANAGING DIRECTOR Margaret Alkek Williams Chair ADVERTISE IN OPERA CUES Opera Cues is published by Houston Grand Opera Association; all rights reserved. Opera Cues is produced by Houston Grand Opera’s Communications Department, Judith Kurnick, director. Director of Publications Laura Chandler Art Direction / Production Pattima Singhalaka Contributors Kim Anderson Paul Hopper Perryn Leech Elizabeth Lyons Patrick Summers For information on all Houston Grand Opera productions and events, or for a complimentary season brochure, please call the Customer Care Center at 713-228-OPERA (6737). Houston Grand Opera is a member of OPERA America, Inc., and the Theater District Association, Inc. Find HGO online: HGO.org facebook.com / houstongrandopera twitter.com / hougrandopera instagram.com/hougrandopera Readers of Houston Grand Opera’s Opera Cues magazine are the Mobile: HGO.org most desirable prospects for an advertiser’s message.
    [Show full text]