UNIVERSITY OF MISSOURI-COLUMBIA

1983 1984

presents

I MUSIC! with PINA CARMIRELLI

Wednesday, April 25, 1984

FINANCIAL ASSISTANCE FOR THIS EVENT HAS BEEN PROVIDED BY THE MISSOURI ARTS COUNCIL

Kazuko Hillyer International, Inc. 250 West 57th Street New York, New York 10107 Kazuko Hillyer, President

Philips Records I MUSIC! AND THEIR INSTRUMENTS

Pina Carmi re 11 i Violino A. Stradivari (Cremona, 1732) Anna Maria Cotogni Violino H. Amati (Cremona, 1696) Arnaldo Apostoli Violino G. Gagliano (Napoli, 1730) Walter Gallozzi Violino Matthias Klotz (Tirolo, 1742) Pasquale Pellegrino Violino G. B. Gabbrielli (Firenze, 1752) Claudio Buccarella Violino F. Goffriller (Udine, 1739) Luciano Vicari Viola A. Marconcini (Ferrara, 1776) Massimo Paris Viola P. Guarnieri (Mantova, 1697) Francesco Strano Violoncello G. B. Guadagnini (Milano, 1755) Vito Paternoster Violoncello L. Ventapane (Napoli, 1820) Lucio Buccarella Contrabasso A. Mariani (Pesaro, 1678) Maria Teresa Garatti Clavicembalo G. C. Klop (Garderen, 1980) The Italian chamber orchestra I Musici was formed in 1952 when twelve students of the Academy of Santa Cecilia of Rome, who had often played together for pleasure, gave their first public concert. Their success was so complete and so immediate that by the end of that same year they had toured not only Italy, but also Portugal, Spain, and France. In the next two years they appeared throughout Europe, and soon with overseas tours to North and South America, to South Africa, and to Japan and Australia, their worldwide fame was well established. In Europe they added to early triumphs highly memorable performances at festivals fo Graz, Menton, Aix-en-Provence, Copenhagen, Salzburg, and Edinburgh. I Musici's leader, Pina Car­ mirelli, has been acclaimed both as a chamber player and as a solo­ ist. She is a member of the faculty of the Academy of Santa Cecilia. While the ensemble has been most closely associated with the music of the Baroque Era and has played a vital role in promoting a wider appreciation of the works of and lesser-known com­ posers of the Italian Baroque, its repertory is of greater scope. I Musici has won equal praise for its interpretations of music by such contemporary masters as Bela Bartok, Benjamin Britten, Frank Martin, and Samuel Barber. In the field of recording, I Musici has been more successful than any other group of its kind. Its first Grand Prix du Disque was awarded in 1956 for Vivaldi's Four Seasons, a recording that re­ mains an international best-seller. It was the forerunner of an impressive discography, which includes collaborations with notable guest soloists. On March 30, 1977, I Musici celebrated its Silver Jubilee and re­ ceived tributes from the world of music, the international music press, civic dignitaries, and officials from the Italian govern­ ment and the Vatican. THE PROGRAM

Concerto Armonico No. l in G Major U. W. Van Wassenaer Grave Allegro Grave, staccato Allegro

Concerto in A Major G. Tartini for , Strings, and Continuo Allegro Larghetto A11 egro mo lto Francesco Strano, Soloist

Concerto in A Minor, RV 523, A. Vivaldi for Two , Strings, and Continuo Allegro molto Largo Allegro Pina Carmirelli & Claudio Buccarella, Soloists

Intermission

Concerto in D Major, BWV 1064, J . S. Bach for Three Violins, Strings, and Continuo Allegro Adagio Allegro Pina Carmirelli, Pasquale Pellegrino & Walter Gallozzi, Soloists

Divertimento in D Major, K. 136 W. A. Mozart Allegro Andante Presto PROGRAM NOTES

The modern concert-goer can recognize the music dating from the approximately one hundred fifty years now known as the Baroque Era (1600-1750) in various ways. The most easily heard clue, perhaps, is the presence of a "general rhythm" created by regular, typically decisive figurations that pervade the musical fabric from top to bottom and start to finish. This controlled but insistent approach to rhythmic energy is the justification for labelling pieces from this epoch with faster tempos "sewing-machine music." General rhythm is, in fact, a manifestation of a fundamental rule of Baroque composition--that each movement of music must exhibit only one "affection." Accordingly, each movement is intended to conjure up only one mood or one passion, and there is a corresponding uni­ formity of musical gesture within a movement. Dramatic contrast is consequently heard only between movements. Unlike earlier music, displays a polarity to voices in its texture, that is, the listener can usually perceive an em­ phasis on the highest voices (often the top two) and the lowest voice (the bass line that serves as foundation for the newly evolv­ ing harmonic language of the day). This "melo-bass" dominance is enhanced by the almost universal employment of the basso continue, usually a pair of instruments given the responsibility of deliver­ ing the harmonic and metric essence of the music. This unit, com­ prised of a bass instrument to supply the bass line (gamba, cello, ranckett, bassoon, etc.) and a chording instrument to provide the specific details of the harmonic rhythm {harpsichord, organ, lute, guitar, etc.)~ functions much like the culturally distant rhythm section of a jazz ensemble of recent times. The nature of Baroque melody, moreover, was very much influenced by the capabilities of preferred instruments, such as the cornetto, the oboe, the trans­ verse flute, and the family. This again represents a strik­ ing departure from the past, when all music had reflected a vocal ideal for melodic details. The treatment of volume levels is another matter of obvious con­ vention. Compositions are typically designed to exhibit the alter­ nation of uniformly loud and uniformly soft passages, known as terraced dynamics. One should not infer because of this practice that Baroque music was rendered in a neutral or static fashion, without tasteful variations in dynamics to bring it to life, but the kind of drastic crescendos and decrescendos of later music is not of this style. Terraced dynamics are often built into the music by the composer--through the dispos ition of instruments, through orchestration, or, in the case of keyboard music, through registration. Another central feature of Baroque music, one closely related to terraced dynamics, is the systematic manipulation of contrasting blocks of sound--the so-called concertato principle. Derived from the "stereophonic" ceremonial music of end-of-the-Renaissance Venice, in which vocal and instrumental forces were separated into choirs with distinctive sonorities and then alternated in the course of a composition, this practice became accepted as the operative organi­ zational concept not only for individual movements, but for the grander multi-movement genres of the period: cantata, oratorio, opera, sonata, sinfonia, and concerto. In the concerto, considered the most important instrumental genre of the Baroque, the confrontation of differing blocks of sounds takes the form of a juxtaposition of passages perfonned by a small group of soloists (the concertina) and by the total orchestra (the ripieno). The contrast is even more conspicuous in the solo con­ certo, in which the concertina is comprised of a soloist accompanied by the continua. It is entirely appropriate to note the spirit of competition created by such compositional procedures: the Latin root of "concerto" means "to strive together." Tonight's program presents an interesting sampling of the Baroque concerto. The works by Antonio Vivaldi (1678-1741) and (1685-1750) are products of the mature Baroque style; the concerto by Giuseppe Tartini (1692-1770) bears evidence of the transition that will culminate in the new ideas of the Classic Era. All three of these men played important roles in exploring the idio­ matic advantages of stringed instruments. The piece by Bach is better known as a concerto for three harpsichords, which the com­ poser is known to have created from it; scholars have reconstructed the original. The concerto grosso by Count Unico Wilhelm van Was­ senaer (1692-1766), a noble Dutch stateman and amateur composer, is the first of a famous set of six Concerti Armonici surrounded in controversy for many years. The authorship of these pieces had been a matter of scholarly conjecture until recently, when a manu­ script score was discovered in the Netherlands with evidence to settle the debate. The concert will conclude with light-hearted entertainment music from Classic Era Austria--Divertimento in D Major for strings, K. 136 (1772) by Wolfgang A. Mozart (1756-1791). In practice pieces designated by composers as divertimentos exhibit a great variety of treatments: instrumental forces of various kinds and numbers; a series of relatively short movements (often three to eight); individual movements drawing on many sources (dances, marches, variations, sonata movements). The appearance of this three-move­ ment work as the finale of a program of Baroque concertos should point up effectively how music changed in the eighteenth century. Notes by Michael Budds THE UMC CONCERT SERIES THANKS ITS SUPPORTERS

As another season comes to a close, the staff of the University of Missouri-Columbia Concert Series is happy to acknowledge publicly the assistance and support of individuals and organizations in our community. Unfor­ tunately the arts can flourish only with the generosity and enthusiasm of local patrons. We are, of course, grateful to the concert-going public in general; the following, however, are worthy of our special gratitude. Contributors to the Herbert ORGANIZATIONS Schooling Concert Series Museum Associates Endowment Fund Friends of Music UMC Choral Union UNIVERSITY OF MISSOURI University Singers UMca Administration Phi Mu Alpha Sinfonia UMC Administration and Staff Sigma Alpha Iota Chancellor Barbara S. Uehling The Culture Connection Provost Ronald Bunn Columbia Commission on the Arts Associate Provost Gerald Brouder Missouri Arts Council Assistant Provost Otis Jackson Mid-America Arts Alliance John Yeager, Academic Budget National Endowment for the Arts and Resource Officer Boone County Community Trust Dean Milton Glick Faculty and Staff of the Depts. AREA BUSINESSES of Music, Theater, and Dance Columbia Missourian Museum of Art & Archaeology Columbia Tribune Alumni Center Campustown Journal Development Fund KTGR TV-13 Business Office Group WCable TV-1O Cashier's Office KFRU Parking Operations KOPN Student Development KARO UMC Printing Services All other cooperating news­ UMC Publications papers, radio stations, and UMC Labor Shop television stations UMC Police Wilhelm Piano Service KBIA Hennessy & Sons Music KOMU TV-8 Columbia Public Schools Mizzou Weekly Columbia Public Library UMC News Service Missouri Bookstore Spectrum Boone County Bank Maneater Commerce Bank of Columbia UMC Memorial Union Farm and Home Savings UMC Hospital & Clinics Neate's UMC Extension Streetside Records University Bookstore The Record Bar Missouri Students Association Whizz Record Exchange AREA BUSINESSES (CONTINUED) INDIVIDUALS Simmons Moving and Storage Clarissia L. Smits Taum Sauk Wilderness Outfitters Ronald Gini The Pen Point Donnie Wren School Music Services, Inc. Professor Kay Henderson Shaw Music Professor Michael Simms Missouri Art Gallery Professor Eula Simmons The Columbia Art League Professor Jill Raitt Erlene's Hallmark Cards Judy Wilson and Gift Shop Patrick Atkinson Carousel Debra Bruch The Stereo Buff The Kaffeeklatsch JESSE AUDITORIUM STAFF Kaylor's Pipe and Tobacco Shop Kenneth Lewis, Auditorium Biscayne Bookstore attendant Lois Brown School of Dance Peggy Bowscher, Usher Perlman School of Dance Renee Dowd, Usher Dance Arts of Columbia Tricia Jorgen, Usher Columbia Dance Center Cathy McCandless, Usher AREA COLLEGES TICKET-TAKERS Stephens College William Christman Admi ni strati on Elton Crane Depts. of Music and Dance Kevin Crane William Woods College Glen Maxwell Central Methodist College John McCrory Columbia College Robert Wiley Lincoln University CONCERT SERIES STUDENT HOSPITALITY ASSISTANTS President and Mrs. James C. Olson James Nacy, Operations Chancellor Barbara S. Uehling Jeff Zumsteg, Operations Mrs. Thomas Culley Catherine Troutner, Dr. and Mrs. Carlos Perez-Mesa Operations Dr. and Mrs. Gerald Perkoff John Lauerman, Operations Mr. and Mrs. Gary Evans Jeff Meyer, Publicity Mrs. Ellie O'Donnell David Mccalley, Publicity Mr. and Mrs. Robert Deming Holly Owens, Publicity Mr. and Mrs. Ron Bartlett Christine Rewolinski, Dr. and Mrs. Sidlee Leeper Box Office Drs. John and Sandra Davenport Rocky Hilburn, Box Office Mr. and Mrs. Henry Lowe Mr. and Mrs. Ray Hodges WE SUPPORT:

ADDITIONAL ACKNOWLEDGEMENTS

The UMC Concert Series is grateful to the Hilton Inn of Columbia for providing complimentary transportation for the members of I Musici during the ensemble's visit to Columbia. The following local businesses were kind enough to display "tab1e tents" announcing spring Concert Series events in their establish­ ments. The Concert Series appreciates their assistance and good will. Memorial Union Hawthorn Room Jack's Malachi's The Haden House Original Jack's Stephens Faculty Club & Student Cafeteria ✓ Sachs Sixth Avenue Mildred Pierce The Yarnery

1984-1985 CONCERT SERIES SEASON ANNOUNCEMENTS

Those concert patrons who have not yet received an announcement of the 1984-1985 UMC Concert Series schedule, with ticket information, may contact the Concert Series Office at your convenience (882-3875 or 135 Fine Arts Building, UMC}. Because of the fine response to Concert Series events this season, the supply of program covers, printed last fall, has been exceeded by the demand. We apologize for the inconvenience of make-shift covers for this last concert, but are gratified to be confronted with such a problem. Thanks for your rnderstanding.

I MUSICI DISCOGRAPHY (through January, 1984)

Vivaldi: 4 Seasons 6500 017 7300 312 Mozart: Eine Kleine Nachtmusik, etc. 6500 537 7300 273 Vivaldi: Oboe Concertos w/Holliger (D) 6514 167 7337 167 Pachelbel: Kanon, etc. (D) 6514370 7337 370 Vivaldi: 9 Concerti "Rustica." (D) 6514 371 7337 371 Vivaldi: 4 Seasons (D) 6514372 7337 275 Vivaldi: 12 Concerti, Op. 7 w / Accardo & Holliger (2) 6700100 NO TAPE Vivaldi: Cimento dell' Armonia, Op. 8 (3) 6747 311 7699 011 Geminiani: 12 Concerti Grossi 6768 179 7699 156 Vivaldi: L'estro Armonico 6768 307 7656 307 Scarlatti: 12 Symphonies (2) (D) 6769 066 7654066 Albinoni: 12 Concerti a cinque (2) (D) 6769 082 7654082 Vivaldi: Oboe concerti w/Holliger 9500044 7300443 Vivaldi: 6 Concerti, Op. 6 9500438 NO TAPE Vivaldi: 4 Violin Concerti 9500439 7300 646 Scarlatti: 6 Concerti 9500 603 NO TAPE Vivaldi: 5 Oboe Concerti w/Holliger 9500 604 7300 726 Vivaldi: Oboe Concerti w/Holliger 9500 742 7300 827 Telemann: Flute Concerti w/Gazzelloni 9502 011 7313 011 Albinoni: Oboe Concerto, Op. 9 w/Holliger 9502 012 7313 012 Albinoni: Oboe Concerti, Op. 9 w /Holliger 9502 042 7313 042 Locatelli: Concerti Grossi, Op. 1 9502 069 7313 069 Pachelbel: Kanon, et al. 6527 104 7311104 Mozart: Eine kleine Nachtmusik, etc. 6527 189 7311189 Albinoni: Adagio & Oboe Concerti w/Holliger 6570085 7310 085 Christmas Concerti 6570179 7310 179 Barber: Adagio for Strings, et al. 6570 181 7310 181 Vivaldi: Flute Concerti w/Gazzeloni 6570 186 7310 186 Corelli: Concerti Grossi, Op 6 (3) 6770023 7650 023 Vivaldi: Stravaganza, Op. 4 (2) 6770 029 7650029 Vivaldi: La Cetra (3) 6770 160 7699 160 (All Philips. LP# on left, Cassette# on right) (D indicates Digital recording) This Discography Compliments of:~

IIIIIIIIIDI 111(011D1

~ ® 301 E. Broadway ~ Columbia, Mo. 65201 314/ 875-7105