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Home , Antonio Vivaldi, Arcangelo Corelli, Baroque orchestra, Baroque violin, Bourbon Baroque, Chaconne

seventh season 72019-2020 Byron Schenkman & Friends EMERALD CITY LIVELY & SOCIAL Welcome to the IN SOUTH LAKE UNION. seventh season of Byron Schenkman & Friends at Benaroya Hall, celebrating the human spirit

SEPT 13/14: THE SOLDIER’S TALE through music. In these challenging times we

RETOLD IN BALLET • NOV 1/2: join together in community to lift our spirits

STRING QUARTET ENTIRELY IN with joyful music. We honor the contributions of extraordinary musicians, from Clara Schumann THE DARK • DEC 13/14: CLASSICAL on her 200th birthday weekend to some of the GUITARIST JASON VIEAUX • FEB women, foreigners, and African-Americans who 14/15: THE AIZURI QUARTET • shaped American art music in the 19th and 20th EVOLUTION OF THE MAR 27/28: centuries; to early , including a KEYBOARD • MAY 1/2: MARTINU, Jewish violinist and a Catholic nun; to late Baroque KORNGOLD masters not all of whom were male; and finally to Beethoven, whose music embodies triumph over SEASON 04 TICKETS AVAILABLE AT WWW.EMERALDCITYMUSIC.ORG adversity. Although our Beethoven program is all instrumental, these words from his Choral Fantasy seem apt: “All that was harsh and hostile has turned into sublime delight... When love and strength are united, Divine grace is bestowed upon humanity.”

Byron Schenkman Artistic Director Celebrating Beethoven’s 250th birthday! 2020 SEASON WINTER FESTIVAL, JANUARY 17–26 // Part 1 of Beethoven’s Cycle JAMES EHNES Artistic Director SUMMER FESTIVAL, JULY 6–AUGUST 1 // Part 2 of Beethoven’s String Quartet Cycle 206.283.8808 seattlechambermusic.org Illsley Ball Nordstrom Recital Hall at Benaroya Hall

page 1 Byron Schenkman & Friends

Mission Byron Schenkman & Friends presents artistically excellent Baroque and Classical chamber music to audiences in Seattle and beyond Byron Schenkman through lively and engaging concerts and recordings. Here we are in the Seventh Season & Friends of Byron Schenkman & Friends! 2019-2020 Vision Artistic Director Thank you for your part in making this happen. Byron Schenkman diverse and inclusive community Byron Schenkman & Friends builds a General Manager Anyone and everyone who attends a concert, buys through historically informed chamber music performances that Margy Crosby a CD, supports an advertiser, or makes a donation welcome, engage and inspire. Marketing & Operations supports the community that BS&F creates through Kai Wright Values music. Byron Schenkman & Friends thanks you Graphic Design Rebecca Richards-Diop for participating in all the ways you do. Through music we bring people together and foster an inclusive and RRD Design Co diverse community. We could not bring this music to the Web Development Lisette Ausin world without YOU! We perform at the highest levels of artistic expression and support our Austin Creative Inc musicians accordingly. Thank you! Board of Directors Our audiences are enriched by understanding the historical background Rob DeLine President and context of the music. Margy Crosby, General Manager Tom Lewandowski [email protected] Vice President Zhenyu Zhao Treasurer Peggy Monroe Byron Schenkman Friends Secretary 1211 E Denny Way, #179 BS&F is a non-profit Maria Coldwell Seattle, WA 98122-2516 501(c)(3) organization. Flora Lee Phone: 206-276-5490 Tax id# 81-5182891. Donna McCampbell [email protected] Your donation is tax-deductible. Joy Sherman Wyatt Smith www.byronandfriends.org Valerie Yockey page 2 page 3 Sept 15 Clara Schumann Bicentennial Celebration.... 6-7 Oct 27 Brahms, Dvorak and Still...... 8-9 Dec 29 Corelli: Baroque Splendor...... 12-13 Contents Feb 9 Baroque Bacchanalia...... 16-17 Mar 15 Vivaldi in Paris...... 24-25 April 19 Beethoven's Archduke Trio...... 26-27 musician bios ...... 28-31

Out of consideration for people with chemical sensitivities, ❖ please refrain from wearing perfumes or other scented personal products.

Byron Schenkman & Friends To our Series Founders would like to acknowledge that Robert DeLine and Carol Salisbury. we are on the traditional land of the first people of Seattle, Special To Tom Lewandowski for all his generous support and assistance. the Duwamish People past thanks and present, and honor with To our grantors gratitude the land itself and the Duwamish Tribe which has stewarded this land throughout the generations. page 4 page 5 September Clara Schumann notes on the program 15 Bicentennial Celebration By Byron Schenkman 2019

Jesse Irons u Tekla Cunningham u Clara Schumann, née Wieck, was one of the most In 1835 Felix Mendelssohn conducted the premiere of u Nathan Whittaker th Byron Schenkman u influential European musicians of the 19 century. sixteen year old Clara's Piano in A Minor, She began her career as a child prodigy whose op. 7, with her as soloist. The middle movement, performances dazzled international audiences and a romance in the surprising key of A-flat major, is (1732-1809) who published ten volumes of music while still in a luscious song without words for piano solo. An Trio in F, H.XVI:6 her teens. At 18, she was named “Royal and Imperial obbligato cello joins two-thirds of the way through, Chamber Virtuosa” at the Austrian court, a first turning a solo song into a duet. Vivace for anyone so young, let alone foreign, Protestant, Tempo di Menuetto and female. For most of the century, she was at the Robert and Clara Schumann were lifelong center of a circle of German musicians dedicated to companions, lovers, and close colleagues, who studied Clara Schumann (1819-1896) Trio in , op. 17 preserving and continuing the legacy of what would music together and often critiqued each other’s come to be known as Western . work. Clara outlived Robert by four decades. After Allegro moderato his tragic early death she worked tirelessly to edit, Following her triumph in , Clara composed a arrange, and oversee the publication of his complete Andante piece she called Souvenir de Vienne, which included works while supporting their large family. During Allegro variations on a theme by Joseph Haydn. Early in their one of their few happy years together, Robert wrote a u intermission u marriage, she and Robert Schumann jointly studied series of exquisite chamber works, including his only Clara Schumann scores of chamber music by Haydn, Mozart, and quartet for piano and strings. Clara premiered this Romance in A-flat Major, op. 7, no. 2 Beethoven. Thus it seems fitting to begin our tribute work at the Leipzig Gewandhaus on a program which with a short trio by Joseph Haydn, the first major also included Bach’s in D Minor and of piano trios. Beethoven’s “Waldstein” . Robert Schumann (1810-1856) Quartet in E-flat Major, op. 47 Clara’s only piano trio was composed in 1846 and Sostenuto assai – Allegro non troppo published the following year. Clara indicated in a Scherzo: Molto vivace letter that she dedicated her trio to the pianist and Andante cantabile composer Fanny Hensel (née Mendelssohn); Vivace however, that dedication never appeared in print. performed the work in 1854 in Hamburg, and violinist Joseph Joachim reported that it was a great favorite at the Hannover court where he was employed.

page 6 page 7 October Brahms, Dvorak notes on the program 27 and Still By Byron Schenkman 2019

Rachell Ellen Wong u Violin Byron Schenkman u Piano In 1885 Jeanette Thurber established a National Maud Powell was the first American superstar Conservatory of Music with the radical idea of violinist and was hugely influential in the sponsoring Black students, women, and students with development of western classical music in America. Antonin Dvorak (1841-1904) disabilities, to develop a uniquely American school Powell gave the American premieres of the Sibelius Sonatina in G Major, op. 100 of music. Seven years later Thurber persuaded Czech and Tchaikovsky violin , and performed composer Antonin Dvorak to move to New York and the Dvorak concerto with the New York Allegro risoluto Larghetto become director of the conservatory. In his three years Philharmonic under his supervision. She also Molto vivace there, Dvorak championed the idea of developing commissioned a concerto from the Black British Allegro an American national music built on the music of composer Samuel Coleridge-Taylor, whose father was African-American and Indigenous people. Dvorak a descendant of enslaved African-Americans. Harry T. Burleigh (1866-1949) incorporated American themes into his own music, On Bended Knees most famously in his ninth symphony, “From the Amy Beach, née Cheney, was one of the most New World,” and also in chamber works such as the successful American composers of her time, with Samuel Coleridge-Taylor (1875-1912) sonatina for violin and piano which he composed in large-scale works premiered by the Boston Deep River (transcribed for violin and piano by Maud Powell) 1894 as a gift to his children. Symphony and the Handel & Haydn Society. Her romance for violin and piano was One of the Black students whom Dvorak met and written for Maud Powell and premiered at the Amy Beach (1867-1944) Romance for violin and piano (dedicated to Maud Powell) befriended at the National Conservatory was Henry Chicago World's Fair in 1893. Thacker Burleigh, who played double in the u intermission u school orchestra and developed an impressive career Despite the efforts of visionaries such as Thurber, as a singer, composer, and arranger. In addition to his Dvorak, and Powell, white males have continued to Johannes Brahms (1833-1897) concert career, Burleigh was a soloist at St. George’s dominate American classical music. Johannes Brahms, Sonata in A Major, op. 100 Episcopal Church and a member of the choir at an early champion of Dvorak’s work, is among the Allegro amabile Temple Emanu-El in New York. His art songs were best of them. William Grant Still, one of the great Andante tranquillo u Vivace u Andante u Vivace di più u Andante u Vivace performed by many of the leading singers of his time. composers of the 20th century, has been called “The Allegretto grazioso (quasi andante) Dean of African-American Composers.” The three movements of his suite for violin and piano were William Grant Still (1895-1978) inspired by African-American artworks. Suite for violin and piano I. Suggested by Richmond Barthe’s “African Dancer” II. Suggested by Sargent Johnson’s “Mother and Child” III. Suggested by Augusta Savage’s “Gamin”

page 8 page 9 PDQ Bach, Schubert, Dienescu, Alhaj, Bentleyandmore. This season willfeature the Aspen Trio, NOCCO’s upcoming sixthseason features dynamicprogramming includingworks by Wagner, professional conductorless chamberensemble whosemembers putcollaboration at the heart of their music-making. NOCCOThe musicians of performanextremely music–all diverserange of and winners of ourannualconcerto Rahim competition. Alhajandwinnersof Come take part inthisunique Founded friendsandcolleagues byagroup in2014, of North Corner Chamber Orchestra isa October 19/20October •December 14/15 22/23• •February “This isclearly whichtotake agroup note.” of Kiraly, -Philippa Magazine Arts City concert experience withSeattle’s conductorlesschamberorchestra! For further details andto purchase details tickets, visit further please For with the spontaneity and flexibility of chambermusic. with the spontaneity andflexibility of Mark yourMark calendars: www.nocco.org 2019-2020 Season April 25/26 April

Photo: Rosemary DaiRoss

contact us for advertising opportunities [email protected] May 30,2020 For AllOurSisters Seattle BaroqueSoloists April 18&19,2020 Music forLove andWar Rachel BartonPine,violinsoloist Seattle BaroqueOrchestra March 14,2020 Ars Longa delaHabana F Vivaldi’s Montezuma(1733) Ensemble Caprice January 18,2020 The Play ofDaniel Christmas inGabrieli’sVenice Festive Northwest BaroqueMasterworks ember 24,2019 Nov Sea SongsandChanties La Nef September 29,2019 Bach: Brandenburg Concertos2and4 Seattle BaroqueOrchestra Boston Camerata December 20&21,2019 ebruary 9,2020 earlymusicseattle.org |206-325-7066 P.O. Box 25893|Seattle, WA 98125 musical journey. Come along for a

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Kris Kwapis u Ingrid Matthews u Violin The music of is a culmination of a In the second half of the 17th century the new Rachell Ellen Wong u Violin Nathan Whittaker u Cello century of innovation in European music. The which had first developed in northern Byron Schenkman u 17th century marked the beginning of what we call spread throughout Europe. Many musicians the Baroque Era. At that time composers made a traveled internationally and learned different conscious choice to break from the traditions of the ways of making music from colleagues. Godfrey Salomone Rossi (1570-1630) . These composers often identified the Finger was a Moravian player employed at the Four pieces for two and continuo music they were writing as “new” or “modern.” English court of James II. Heinrich Biber, probably Sonata IV sopra Ruggiero the most famous violinist of the 17th century, was Sonata I “La Moderna” Much of the earliest published instrumental music born in a small town in Bohemia and spent most Corrente II “La Cecchina” was for unspecified instruments. Salamone Rossi was of his career at the Salzburg court, where Leopold Sonata VI sopra L’ di Tordiglione the first to publish music specifically for violins. He Mozart later worked. Pavel Josef Vejvanovský, a was also the first to publish trio-, sonatas for Moravian trumpet virtuoso, was music director for (1620-1704) Trio-sonata op. 16, no. 1 two violins and continuo, such as those featured on the Hapsburg court in Kromeriz, where he worked tonight’s program. Rossi was employed as a violinist with both Finger and Biber. and composer at the court. He published Godfrey Finger (c.1655-1730) Trio-sonata in C many volumes of secular vocal and instrumental Arcangelo Corelli was a great violinist and one of the music as well as a rare example of polyphonic Jewish most influential European composers of any era. His Arcangelo Corelli (1653-1713) liturgical music. Aside from the music he had perfectly constructed music was widely imitated and Sonata in D Minor, op. 5, no. 12 “” already published, there is no trace of Rossi after the formed the basis for what would become known as destruction of Mantua’s Jewish ghetto in 1630. common practice harmony. u intermission u

Heinrich Biber (1644-1704) Many women published music in Italy in the for solo violin 17th century. Some were professional musicians, such as Francesca Caccini, nicknamed La Cecchina, who Pavel Vejvanovský (c.1633-1697) became the highest paid musician at the Florentine Sonata Tribus Quadrantibus court; some were members of the aristocracy, such as the great composer ; and Arcangelo Corelli many were nuns. Isabella Leonarda was one of the Trio-sonata in G Minor, op. 1, no. 10 greatest of the latter category. She published hundreds of sacred vocal works in addition to a collection of Arcangelo Corelli instrumental chamber music. Sonata in for trumpet, two violins, and continuo

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contact us for advertising opportunities [email protected] company: [email protected] Let usknowhowwecanhelpyour Microsoft, andseveralothercompanies. We areanapprovedvendoratGoogle, user experiences and developingcustom Researching, designing, ▫ ▫ ▫ ▫ ▫ ▫ ▫ ▫ ▫ ▫ ▫ ▫ developer onsitestaffing staffing, PM,andsoftware UX research staffing,UXdesign Product hosting Full product development scheduling services Study participantrecruitment, Training and usabilityengineering Medical devicehumanfactors UI development Software UIdesign Prototyping Agile UX/backlogprioritization surveys Choice-based modeling/ Usability studies Caelus LLC www.caelus-usa.com Sales Appraisals R Repairs Sales Appraisals R Repairs Sales Appraisals R Repairs Sales Appraisals R Repairs Third Generation Violin Maker Generation Third www.kirklandviolins.com “Voted Evening Magazine’s “VotedMagazine’s Evening Third Generation Violin Maker Generation Third Third Generation Violin Maker Generation Third www.kirklandviolins.com “Voted Evening Magazine’s “VotedMagazine’s Evening www.kirklandviolins.com Best of Western WA!” “Voted Evening Magazine’s “VotedMagazine’s Evening Third Generation Violin Maker Generation Third Best of Western WA!” www.kirklandviolins.com Best of Western WA!” (425)822-0717 “Voted Evening Magazine’s “VotedMagazine’s Evening entals (425)822-0717 (425)822-0717 entals entals Best of Western WA!” (425)822-0717 entals February notes on the program 9 Baroque Bacchanalia By Byron Schenkman 2020

Jonathan Woody u Bass-Baritone Ingrid Matthews u Violin Great movements in the history of Western music Baroque cantatas are like miniature , featuring Elisabeth Reed u Viol have often resulted from migrations and foreign one solo voice with just a few accompanying Byron Schenkman u Harpsichord influences. Franco-Flemish musicians working in instruments. As with the operas of the period, the 16th century Italian courts established Italy as the subject matter is often drawn from Classical Greek Jean-Féry Rebel (1666-1747) center of musical influence for all of Europe in the mythology. Heroic figures such as Orpheus are Sonata no. 1 in A Major for violin and continuo late Renaissance and early Baroque eras. One hundred represented by high voices while monsters such as Grave years later Italian musicians at the French court set the cyclops Polyphemus and comic figures such as Gai the trends for Europe in the late Baroque. Louis XIV Bacchus are represented by low voices. Bacchus and Grave established French cultural dominance in part by his gifts are celebrated in both of the light-hearted Musette: Gracieusement et gai bringing some of the best Italian musicians and their cantatas on our program. students to . The early composers André Campra (1660-1744) represented on tonight’s program were all French André Campra, son of an Italian immigrant, was one Cantata Silène musicians who wrote in the Italian style – usually of the leading French composers of his time with a discernably French accent. and music director at the Notre Dame Cathedral Elisabeth Jacquet de la Guerre (1665-1729) in Paris. Nicolas Bernier was principally a church Sonata no. 1 in D Minor for violin and continuo In the Baroque era there was no distinction between musician, but he also published dozens of secular (Grave) composers and performers. To become a musician cantatas. A 1773 biography states that he studied Presto meant being trained in singing, playing various with in . That is surprising Adagio instruments, and composing. That said, the best since Caldara was a bit younger than Bernier, but Presto – Adagio musicians often excelled at one instrument in conceivable, since Bernier might have wanted to learn Presto particular. Jean-Féry Rebel, Elisabeth Jacquet de la directly from an Italian musician. Aria Guerre, and were virtuoso performers Presto on the violin, harpsichord, and viol, respectively. u intermission u Rebel’s violin sonatas were modeled closely on those of Arcangelo Corelli. Jacquet’s sonatas show more Jean-Philippe Rameau (1683-1764) Les Cyclopes for harpsichord direct influence from those of Isabella Leonarda, which she most likely encountered in the library of Marin Marais: her friend Sebastian de Brossard. Our first piece by Plainte and Chaconne in D Major from Book 3 for viol and continuo Marais is a lament which relates to the expressive vocal music of the period. The chaconne which Nicolas Bernier (1664-1734) follows introduces us to the world of French Cantata Bachus courtly dance. page 16 page 17 Air Aria Respectez la tranquillité, Respect the tranquility translations D’un buveur charmé qui sommeille ; Of a charming drinker who sleeps; Il n’aime à revoir la clarté, He would rather not revive his clarity, Que lorsque sa soif le réveille. Unless his thirst awakens him. Loin de son esprit enchanté, Far from his delighted mind, Son ivresse écarte les songes, His drunkenness dispels dreams, Dont il serait épouvanté Which would frighten him, Silène (1714) Et n’admet que l‘heureux mensonges. And only allows happy lies. Respectez, etc… Respect the tranquility, etc… Music by André Campra Libretto by Antoine Danchet Récitatif Je les arrête en vain: excité par leur bruit, I stop them needlessly: Excited by their noise, Sous un feuillage épais, je vois le vieux Silène Beneath a thick foliage, I see the old Silenus, Silène se réveille et le sommeil s’enfuit . Silenus awakens and his sleep escapes. Dans les bras du sommeil ; Nestled in the arms of sleep; La bergère Doris, qui rit de l’aventure, The shepherdess Doris, who laughs at the adventure, Le vin, qui dans son sang coule de veine en veine, The wine, which flows from vein to vein in his blood, Ose le noircir de ce fruit, Dares darken him with that fruit, Rend son teint plus vermeil. Renders his complexion ruddy. Qui du sang de Pyrame a reçu la teinture. Applying the color of the blood of Pyramus. Ces pampres, et les fleurs dont il pare sa tête, These vines, and the flowers which adorn his head C’est assez de m’avoir surpris, It is enough to have surprised me, Ce vase teint encore d’un nectar parfumé, This vessel, still containing a scented nectar, Dit-il en s’éveillant : brisez mon esclavage, He said, in rising, “Break my chains, Tout m’apprend qu’il vient de la fête All appears to me like he has come from celebrating Bergers ; pour ma rançon je vais sous ce feuillage, Shepherds; for my ransom I will, under this canopy, Du dieu que ses soins ont formé. The god that his efforts have conjured. Vous répétez des que l’autre jour j’appris : Repeat to you the songs that I learned the other day: Mais si jamais sur la fougère, But if ever under the ferns, Ariette Arietta Je trouvais à l’écart cette jeune Bergère, I were to find this young shepherdess alone, Liqueur enchanteresse, Enchantress liquor, Je lui réserve un autre prix. I would reserve another price for her.” Source de nos plaisirs, Source of our pleasures, Par une douce ivresse With a sweet drunkenness, Alors d’un creux profond sa voix se fit entendre : Then, with a deep cry, his voice made itself heard: Rempli tous nos désirs. Has fulfilled all our desires. Les arbres, les rochers attentifs à ses sons, The trees and the rocks, attentive to his sounds, Efface de nos peines Wipes away the unwelcome De toutes parts semblaient descendre, Seemed to descend on all sides, L’importun souvenir ; memories of our sorrows Tandis qu’il disait ces . While he sang these songs. Banni les craintes vaine Banished vain fears Air Aria D’un obscur avenir : In some obscure future. Tristes captifs d’une cruelle, Sad captives of a cruel one, Liqueur enchanteresse, etc… Enchantress liquor, etc… Brisez vos chaînes, vengez-vous, Break your chains, take your revenge, Tu tiens lieu de richesse ; You take the place of riches, Accourez, Bacchus vous appelle Hasten, Bacchus is calling you Tu fais régner les jeux ; You reign among games, Venez boire et rire avec nous. Come drink and laugh with us. Tu détruis la tendresse You destroy the tenderness De vos maux cherchez le remède Look for the remedy of your ills Des Amants malheureux. Of unhappy Lovers. Dans ce nectar délicieux : In this delicious nectar: Liqueur enchanteresse, etc… Enchantress liquor… C’est le même, que Ganiméde It’s the same that Ganymede Récitatif Recitative Présente au Souverain des Dieux. Presented to the Sovereign of Gods. Mais tandis qu’au sommeil Silène s’abandonne, But, while Silenus surrenders himself to sleep, Tristes captifs, etc… Sad captives, etc… Des bergers d’alentour la troupe l’environne. A troupe of nearby shepherds arrives. A son aspect, l’ennui s’envole, At his appearance, boredom flies away, Quel dessein les peut amener ? What purpose can they bring? Et céde aux plaisirs les plus doux ; And cedes to the sweetest pleasures, Ils s’empressent de l’enchaîner They are eager to tie him up L’Amant rebuté se console, The spurned lover is consoled, De ces fleurs dont il se couronne. With the flowers with which he crowns himself. L’Amant trahi n’est plus jaloux. The betrayed lover is no longer jealous. Tristes captifs, etc… Sad captives, etc…

page 18 page 19 Rècitatif Recitative Bacchus (1703) Profanes, fuyer de ces lieux! Unholy ones, flee this place! Music by Nicolas Bernier Je cede aux mouvements que ce grand jour m’inspire. I yield to the motions that this great day inspires in me. Libretto by Jean-Baptiste Rousseau Fidèles sectateurs du plus charmant des dieux, Faithful followers of the most charming of the gods, Ordonnez le festin, apportez-moi ma lyre: Ordain the feast, bring me my lyre: Récitatif Recitative Célébrons entre nous un jour si glorieux. Let us celebrate together such a glorious day. Chantons le dieu Bacchus; Let us sing to the god Bacchus, Mais, parmi les transports d’un aimable délire, But, amongst the transports of a pleasant delirium, Chantons, et que sa gloire Let us sing and let his glory Éloignons loin d’ici ces bruits séditieux Begone the seditious noises Soit l’éternel objet de nos plus doux concerts. Be the eternal object of our most sweet concerts. Qu’une aveugle vapeur attire: That a blind mist attracts: Qu’un autre apprenne a l’univers Let another teach the universe Laissons aux Scythes inhumains We leave it to the inhuman Scythians Du fier vainqueur d’Hector la glorieuse histoire; The glorious story of Hector’s proud conqueror; Méler dans leurs banquets le meurtre et le carnage, To mix their banquets with murder and carnage, Qu’il ressuscite, dans ses vers, Let him revive, in his verses, Les dards du Centaure sauvage The darts of the savage Centaur Des enfants de Pélops l’odieuse mémoire: The odious memory of the children of Pelops. Ne doivent point souiller nos innocentes mains. Must never soil our innocent hands. Puissant dieu des raisins, Mighty God of wine, Air Aria Digne objet de nos voeux, Worthy object of our desires, Bannissons l’affreuse Bellone Let us banish the hideous Bellona, C’est à toi seul que je me livre; It is to you alone that I abandon myself; De l’innocence des repas, From the innocence of our meals, De pampres, de festons, couronnant mes cheveux, Wreaths and garlands crowning my hair, Les Satyres, Bacchus, et Faune, The Satyrs, Bacchus and Fauna, En tous lieux je prétends te suivre; in all places I aspire to follow you; Détestent l’horreur des combats. Detest the horror of combat. C’est pour toi seul que je veux vivre It is for you alone that I want to live Parmi les festins et les jeux. Among the banquets and the games. Malheur aux mortels sanguinaires, Woe to the bloodthirsty mortals, Air Aria Qui, par de tragiques forfaits, Who, by their tragic crimes, Ensanglantent les doux mystères Bloody the sweet mysteries Ta bonté suprême prévient nos souhaits, Your supreme generosity prevents our wanting, D’un dieu qui préside à la paix. Of a god who presides over peace. Ta douceur extrême calme nos regrets Your extreme sweetness calms our regrets, Sans toi Venus même serait sans attraits. Without you, Venus herself would lose her charms, Banissons, etc... Let us banish, etc... Tu sers la constance des cœurs amoureux You serve the constancy of lovers’ hearts, Tu rends l’espérance aux plus malheureux. You provide hope for the most unfortunate. Rècitatif Recitative Ta bonté supreme, etc... Your supreme bounty... Veut-on que je fasse la guerre? Do they want me to go to war? Suivez-moi, mes amis; accourez, combattez, Follow me, my friends; run, fight, Récitatif Recitative Remplissons cette coupe, entourons-nous de lierre, Let us fill this cup, let’s surround ourselves with ivy, Mais quels transports involontaires But what involuntary transport Bacchantes, prêtez-moi vos thyrses redoutés. Bacchantes, lend me your dreaded thyrsi. Saisissent tout à coup mon esprit agité? Grasps, all of a sudden, my restless mind? Que d’athlètes soumis! que de rivaux par terre! How many subdued athletes! How many rivals struck to ground! Sur quel vallon sacré, dans quel bois solitaire Upon which sacred valley, into which solitary wood O fils de Jupiter, nous ressentons enfin Oh, son of Jupiter, we experience at last Suis-je tout à coup transporté? Am I suddenly being transported? Ton assistance souveraine; Your sovereign assistance; Bacchus à mes regards dévoiles ses mystères; Bacchus has unveiled his mysteries before my eyes; Je ne vois que buveurs étendus sur l’arène, I see only drinkers extended across the pit, Un mouvement confus de joie et de terreur A confused movement of joy and terror Qui nagent dans des flots de vin. Who are swiming on rivers of wine. m’inspire une nouvelle audace, Inspires in me a new daring, Et les Ménades en fureur And the Maenads in fury Air Aria N’ont rien vu de pareil dans les antres de Thrace. Have seen nothing of the sort in the Thracian lairs. Triomphe! victoire! Triumph! Victory! Honneur a Bacchus, Honor to Bacchus, Air Aria Publions sa gloire. Let us publish your glory. Descendez, mère d’Amour, Come down, mother of Love, Triomphe! victoire! Triumph! Victory! Venez embellir la fête Come adorn the festivities Buvons aux vaincus. We drink to the vanquished. Du dieu qui fit la conquête Of the god who has made conquest Des climats où naît le jour. Of the realms where the day was born. Bruyante trompette, Raucous trumpet, Descendez, mère d’Amour; Come down, mother of Love; Secondez nos voix, Amplify our voices, Mars trop longtemps vous arrête. Mars has stopped you for too long. Sonnez leur defaite: Sound out their defeat: Bruyante trompette, Raucous trumpet, Déjà le jeune Sylvain, Already the young Silvanus, Chantez nos exploits. Sing of our exploits. Ivre d’Amour et de vin, Drunk on love and wine, Poursuit Doris dans la plaine; Pursues Doris in the plains; Triomphe! victoire, etc... Triumph! Victory, etc... Et les Nymphes des foréts And the nymphs of the forests D’un jus petillant et frais With a sparkling, fresh nectar, Arrosent le vieux Silène Douse the old Silenus. Descendez, etc... Come down, etc... page 20 page 21

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contact us for advertising opportunities [email protected] Organ in the Chapel and the Noack Organ in the Church. own dynamicduowill offer a recital onboththePasi Zach Hemenway and Wyatt Smith, organists. Epiphany’s Sunday, 12|6:15p.m. January Four Hands,Four Feet of Seattle’s finestBaroque instrumentalists. bybe accompanied Byronand Schenkman an ensemble soprano Natalie Ingrisano & tenor Ross Hauck. They will and Eve, will be paired with music of G.F. Handel, featuring Johann Ernst Galliard’s sublime work, Sunday, November 17 The HymnofAdamandEve Zach Hemenway at four different . Stoppels Dupree, Mark Brombaugh, Wyatt Smith and multiple harpsichords and strings. Featuring Jillon Music by Sebastian Johann Bach, composed for Sunday, October6 All Bach:Four Harpsichords, EightHands | 6:15p.m. S | 6:15p.m. eattle 1805 38thAve |Seattle,WA 98122|206-324-2573www.epiphanyseattle.org The Hymn ofAdam All community concerts areAll communityconcerts free of charge andopen tothe public. Series Community Concert Jordan, soloists. Morse, José-Luis Muñoz, Zach Finkelstein, and Darrel Myers, composition. Arwen Danielle Sampson, Tyler body, crucified Christ’s the work is widely considered to be Buxtehude’s of greatest part different a medieval on focusing a on based is of sevenhymn. Consisting small cantatas, each which cycle, cantata unique join with guest soloists to present Dietrich Buxtehude’s The EpiphanyChoirand will period instrumentensemble Sunday, March 15|6:15p.m. Buxtehude’s MembraJesuNostri Sinfonietta. Philharmonia, and Northwest Northwest Society, Chamber Seattle Ballet, Northwest Pacific Opera, moving has worked to Seattle, Nerys with the Seattle pearly presence, diction’clean sound, and crystal-clear (The Times). Since real Mezzo, ‘focused her for Praised Sunday, February 16|6:15p.m. Jones,mezzo-soprano Nerys S eattle BISCHOFBERGER Professional Repairs, Appraisals, &Sales www.bviolinsltd.com S eattle 1314 E.JohnSt. 206-324-3119 VIOLINS Seattle, WA S eattle S eattle S eattle March Vivaldi in Paris: notes on the program 15 Baroque Virtuosity By Byron Schenkman 2020

Martin Bernstein u Recorder Anna Marsh u Around 1737 a set of six sonatas was published in The blending of French and Italian styles, popular in Byron Schenkman u Harpsichord Paris as Il Pastor Fido (The Faithful Shepherd), late Baroque Paris, led directly to the Classical style op. 13, by . This collection of pieces with its simpler harmonies, regular phrase lengths, for , hurdy-gurdy, recorder, oboe, or violin, and virtuosic sequences. The Six Sonatas, Opus One, Nicolas Chédeville (1705-1782) Joseph Bodin de Boismortier with continuo , was not actually by by Marie-Emmanuelle Bayon (Paris, 1769) are early Sonata no. 1 in C Major from Trio in G Minor, op. 37, no. 4 Vivaldi. The composer Nicolas Chédeville, and his examples of this increasingly popular new musical Il Pastor Fido (attributed to Vivaldi) Allegro publisher Élisabeth-Catherine Boivin, were merely language. In addition to sonatas for keyboard and Moderato Adagio making the most of the current Parisian fashion violin, Bayon was best known for her comic opera Allegro: Tempo di Gavotta Allegro for Italian music and Vivaldi’s name. Chédeville Fleur d’épine (Thorny flower), published under her Aria: Affettuoso included bits of music by Vivaldi, and music that married name Bayon-Louis. Allegro u intermission u Giga: Allegro might sound like Vivaldi, but by and large this is Joseph Bodin de Boismortier typical French domestic music from the time of Jean-Marie Leclair studied in Italy before settling in Antonio Vivaldi (1678-1741) Harpsichord suite in G Minor Louis XV. Paris, where he was in demand as a virtuoso violinist, Sonata in C Minor, RV 8 Rondeau La Serenissime a sort of French version of Vivaldi. Much of Leclair’s Preludio: Andante La Galloise The long list of possible instruments on the title violin music is ferociously difficult and completely Allemanda: Allegro Rondeau La Rustique page of Il Pastor Fido was a ploy to sell as many idiomatic to the violin. However he intended Corrente: Allegro La Choquante copies as possible. This was standard practice in some of the sonatas, including the one on tonight’s the early 18th century and much of the music of program, to be playable by either violin or flute. Marie-Emmanuelle Bayon (1746-1825) Jean-Marie Leclair Harpsichord sonata in E-flat Major, (1697-1764) that time is easily adaptable to diverse instruments. Sonata in E Minor, op. 2, no. 1 op. 1, no. 3 Thus we did not hesitate to adapt a Joseph Bodin de Boismortier was one of the first Adagio Allegro for recorder from the Opus Two set by the real composers to make a living entirely by selling Allegro ma poco Presto Antonio Vivaldi and to include an 18th century music to the public, including many charming and Sarabanda bassoon arrangement of François Couperin’s delightful pieces suitable for amateurs. We decided Allegro Francois Couperin (1668-1733) Les Bergeries (more shepherd music!), originally that his trio for one treble and one bass instrument Les Bergeries Antonio Vivaldi for solo harpsichord. with continuo accompaniment would be a good Joseph Bodin de Boismortier Trio in A Minor, RV 86 French counterpart to the Vivaldi trio we are (1689-1755) Largo playing. It is a rare piece specifically for recorder, Rigaudons in D Minor Allegro bassoon, and continuo. for bassoon and continuo Largo cantabile Allegro molto

page 24 page 25 April Beethoven’s notes on the program 19 Archduke Trio By Byron Schenkman 2020

Rachell Ellen Wong u Violin Nathan Whittaker u Cello In 1794 a young pianist and aspiring composer Most of Beethoven’s music is quite joyful. Even Byron Schenkman u Piano named published his Opus pieces which start out in a tragic vein usually end One, three trios for piano, violin, and cello. With in triumph; the famous fifth symphony is just one these trios, Beethoven established himself as an artist such example. The violin sonata on tonight’s Ludwig van Beethoven (1770-1827) who would consistently go beyond what even the program is unusual, in that it starts and ends in a Trio in E-flat Major, op. 1, no. 1 best composers of his time were doing. Beethoven’s dark and stormy mood, although there are rays of Allegro Adagio teacher Joseph Haydn and Beethoven’s idol hope along the way. Scherzo: Allegro had already expanded Finale: Presto the trio from its origins as a simple accompanied Much of Beethoven’s work was dedicated to royal keyboard sonata (suitable for amateurs to play at patrons, some of whom became close personal Ludwig van Beethoven home) into a sophisticated conversation among friends of the composer. The three works on Sonata in C Minor, op. 30, no. 2 three instrumentalists. Beethoven took the form out tonight’s program were dedicated respectively to the Allegro con brio of the drawing room altogether, writing for three Prince Lichnowsky, Tsar Alexander I of Russia, and Adagio cantabile instruments with the grandeur others reserved for Archduke Rudolph of Austria. The youngest child Scherzo: Allegro Finale: Allegro large-scale symphonic works. of the Holy Roman Emperor, Archduke Rudolph, was a student, patron, and friend of Beethoven’s, Beethoven’s first trio is a joyful work full of good and was the dedicatee of several of the composer’s u intermission u humor and musical jokes but also surprisingly most monumental works. This includes the so- rich harmony and technical challenges in all three called “Emperor Concerto” and the Missa Solemnis. Ludwig van Beethoven parts. Although Beethoven is mainly known as an The “Archduke Trio” was the last work Beethoven Trio in B-flat Major, op. 97 “Archduke” instrumental composer who wrote relatively little played in public before he gave up performing as a Allegro moderato vocal music, his work seems to be inspired by the result of his loss of hearing. In spite of the challenges Scherzo: Allegro human voice. This is apparent in the movements Beethoven was undoubtedly facing this is a work of Andante cantabile and variations marked “cantabile” – in a songlike manner. The three supreme triumph and joy. Allegro moderato – Presto “cantabile” movements on tonight’s program could be heard as prototypes for the expressive character pieces of the 19th century, such as Felix Mendelssohn’s Lieder Ohne Worte (Songs Without Words).

page 26 page 27 Violinist Jesse Irons modern trumpet, with a BM and MM in trumpet enjoys a busy and excitingly performance from the University of Michigan, Dr. Musician Bios diverse musical life in and Kwapis holds a DMA in historical performance, and around his home city of Boston. lectures on historical brass performance practice. Byron Schenkman He appears regularly with the Dr. Kwapis enjoys sharing her passion with the next of The Hague with Reine-Marie Verhagen and Han Handel and Haydn Society, as generation of performers as a faculty member at believes in the power of music to Tol; he has also studied with Michael Form. Bernstein guest concertmaster with Boston Indiana University’s Jacobs School of Music Historical

bring people together for healing has won awards at several national and international Daubek Tatiana Baroque, with the Boston Early Performance Institute (teaching cornetto and baroque and joy. By the time Byron competitions, including first prize at the Mieke van Music Festival, and with numerous small ensembles trumpet) in addition to teaching at her home in went to their first music camp Weddingen International Recorder Competition in including Gut Reaction. He has recently appeared Seattle and online. When not making music, Kris at the age of eleven, they knew Belgium and second prize in the International Young as soloist with Newton Baroque, Sarasa, Chicago’s explores the visual art medium of encaustic painting. that playing chamber music Talent Search hosted by and the Baroque Band, and the City Orchestra of Hong Will Austin Will would be an important part of Malaysian Philharmonic Orchestra. Bernstein has Kong. A member and co-artistic director of the Anna Marsh, baroque their life’s work. They have since been a founding been featured on US National Public Radio and he GRAMMY-nominated ensemble A Far Cry, he has member of several ensembles, including the Seattle serves on the faculty at various American early bassoon, was highlighted by appeared in concert across North America, Europe, Broad Street , which they codirected until music festivals and workshops. He is currently Philadelphia’s and Central and Southeast Asia. Jesse’s playing has Review: 2013. In addition to performing live on harpsichord, pursuing a degree in history and philosophy at “…memorable solos been described as “insinuating” by the New York for Anna Marsh…a perfect fortepiano, and piano, Byron can be heard on more Harvard University. Times, and he’s pretty sure they meant it in a good than forty CDs, including recordings on historical evocation of a flowing river” and way. As an educator, Jesse has worked with students Daily Camera: instruments from the , Boulder’s “the real

Tekla Cunningham Don Lassell , on entrepreneurship and chamber music at MIT, highlight may have been Anna Vermillion, and the Museum of Fine Arts, Boston. , viola, and viola Yale, Stanford, Eastman, Peabody, and New Byron received the Erwin Bodky Award from the Marsh on bassoon. Marsh’s concerto received a well- d’amore, enjoys a varied and Conservatory. u jesseirons.com earned and warm ovation.” Anna owns six Cambridge Society for Early Music and was voted active musical life. At home in “Best Classical Instrumentalist” by the readers of from different eras and plays with Opera Lafayette, Seattle, she is concertmaster Acclaimed for her ‘sterling Tempesta Di Mare, Tafelmusik, Opera Atelier, Seattle Weekly. Highlights of the 2019/2020 season of Stephen Stubbs’ Pacific include historical piano recitals for the Boston Early tone’ in the New York Times, Pacific Musicworks, Atlanta and Portland Baroque, MusicWorks, and plays regularly Kris Kwapis appears Trinity Wall Street Baroque Orchestra, Washington Music Festival and Vancouver Bach Festival, Bach’s Tam Teresa as concertmaster and principal fifth “Brandenburg” Concerto with Portland Baroque regularly as soloist and principal Bach Consort, among others. She is bassoon faculty player with the in California. trumpet with period-instrument at the San Francisco Early Music Society Baroque Orchestra, a solo harpsichord recital for New York’s From 2006-2013 she was principal second violin Music Before 1800, and a production of Francesca ensembles across North Workshop and the Hawaii Performing Arts Festival with Seattle Baroque Orchestra & Soloists. She America, including Portland where she also runs the Instrumental program. She is

Caccini’s opera “Alcina” with the Orpheus Project Gaul Frances directs the Whidbey Island Music Festival, a summer Baroque Orchestra, Early Music the co-director of the Renaissance and Baroque group in Juneau, Alaska. Byron is a graduate of the New concert series now in its eighth season producing and England Conservatory and received the Master of Vancouver, Pacific MusicWorks, Bach Collegium Ensemble Lipzodes. She holds a Doctorate of Music presenting vibrant period-instrument performances of San Diego, Staunton Music Festival, Indianapolis in Historical Performance from Indiana University Music degree with honors in performance from the repertoire ranging from Monteverdi to Beethoven. Indiana University Jacobs School of Music. Baroque Orchestra, Chicago’s Haymarket Opera and her MM from University of Southern California. She has appeared as concertmaster/leader or soloist Company, Tafelmusik, Bach Society of Minnesota, She played the Opera Royal in Versailles six times and u byronschenkman.com with the American Bach Soloists, Baroque Chamber Callipygian Players, , and Lyra performed and lectured for the music department Orchestra of Colorado, Seattle Baroque Orchestra, Baroque. Her playing is heard on Kleos, Naxos, of the Washington DC National Gallery of Art. She Martin Bernstein and Musica Angelica (Los Angeles). She has also ReZound, Lyrichord, Musica Omnia and Dorian has been heard on Performance Today, Harmonia, has been heard with numerous played with Apollo’s Fire, Los Angeles Opera, labels, including the 2013 GRAMMY nominated the Super Bowl, CBC radio and on the record labels ensembles across the world, Philharmonia Baroque Orchestra, and at the Carmel recording of Handel’s “Israel in Egypt,” and broadcast Chandos, Analekta, Centaur, Naxos, Avie, and on in venues ranging from Bach, San Luis Obispo Mozart Festival, Indianapolis, on CBC, WNYC, WQED (Pittsburgh), Portland All- Musica Omnia’s Grammy nominated album of 17th-century Roman palazzos Savannah and Bloomington Festivals. She has worked Classical (KQAC), Sunday Baroque and Wisconsin Handel’s “Israel in Egypt.” to modern art museums in with many leading directors including Public Radio. A student of Armando Ghitalla on Reykjavik to the concert halls Alessandrini, Giovanni Antonini, Harry Bicket, Paul Tatiana Daubek Tatiana of New York City. Bernstein Goodwin, Martin Haselböck, Monica Huggett, began studying recorder at age five, first with Charles Nic McGegan, , , Stephen Sibirsky and later with Nina Stern. At 18, he left Stubbs, Jeffrey Thomas, Elizabeth Wallfisch, and New York City to study at the Royal Conservatoire Bruno Weil. page 28 page 29 Ingrid Matthews, musician with Voices of Music, Archetti, and Wildcat Performing with “unerring Bass-baritone Jonathan Music Director Emeritus of , she has also appeared with the Smithsonian beauty” (The Classical Music Woody is a sought-after Seattle Baroque Orchestra Chamber Players, the Seattle, Portland, Pacific, and Network), international prize- performer of early and new (1994-2013), won first prize in Philharmonia Baroque , American Bach winning violinist Rachell music in New York and across the Erwin Bodky International Soloists, Byron Schenkman & Friends, Gallery Ellen Wong is recognized North America. He has been Competition for Early Music Concerts, and Pacific Musicworks. She has performed as an “emerging artist to featured with historically- in 1989, and was a member at the Boston Early Music Festival, the Berkeley Early watch and seek out” (Early informed orchestras such as Keith Race Tara Gimmer Tara of Toronto’s Tafelmusik Music Festival, the Ohai Festival, the Whidbey Island Chen Jiyang Music America). Her virtuosic Apollo’s Fire, Boston Early Baroque Orchestra before founding SBO with Music Festival, and the San Luis Obispo Mozart performances span the musical spectrum; she is Music Festival, Tafelmusik Baroque Orchestra, Bach Byron Schenkman in 1994. She has performed Festival. She can be heard on the Virgin Classics, known for applying historically informed practices to Collegium San Diego, Portland Baroque Orchestra around the world as a soloist, chamber musician and Focus, Plectra, and Magnatunes recording labels and music of all periods. and New York Baroque Incorporated, earning praise has many HD videos on the Voices of Music Youtube guest director with groups including the New York Originally from Seattle, Wong has soloed with as “charismatic,” “riveting,” and “wonderfully channel. She also teaches viola da gamba and Baroque Collegium, the Australian Brandenburg Orchestra, orchestras across the US and abroad. Recent dramatic.” Jonathan is also committed to ensemble cello at the University of California at Berkeley. She the Bach (Washington DC), Ars Lyrica appearances include Juilliard415, Orquesta Sinfónica singing at the highest level and has performed with is a Guild- certified practitioner of the Feldenkrais (Houston), and many others, and is currently a Nacional de Panamá, New Zealand String Quartet, the Choir of Trinity Wall Street, TENET, the Method of Awareness Through Movement, with a member of the esteemed Bay Area group Musica and recitals with world renowned pianist Anton Nel. Clarion Music Society and New York Polyphony, Pacifica. She has won high critical acclaim for her focus on working with musicians and performers. among others. An avid performer of new music, She most recently won the 4th prize in the XXI extensive discography; her recording of the Sonatas Jonathan has premiered works including Ellen Reid's International J.S. Bach Competition. She has also and Partitas of J.S. Bach is the top recommendation Nathan Whittaker, p r i s m (2019 Pulitzer Prize winner), Ted Hearne's won grand prizes in the 52nd Sorantin International for this music by both American Record Guide and violoncello, enjoys a unique The Source, Missy Mazzoli’s Breaking the Waves (NYC String Competition and International Crescendo Third Ear’s Classical Music Listening Companion. and diverse career as a concert premiere), and Du Yun’s Angel’s Bone (2017 Pulitzer Music Awards. Recent music festivals include Berkeley Matthews has taught at Indiana University, the soloist, chamber musician, Prize winner). He has appeared with Staunton Music Early Music Festival, Valley of the Moon Music University of Toronto, Oberlin College, the University recitalist, teacher, and historical Festival, Aldeburgh Festival, Portland Bach Festival, Festival, London Masterclasses, and the Sarasota of Southern California/Los Angeles, and the Cornish cello specialist with concert Carmel Bach Festival, Oregon Bach Festival, Opera Music Festival. College of the Arts in Seattle. She also plays jazz and stops ranging from Seattle to Lafayette, Gotham Chamber Opera, and Beth swing styles and is active as a visual artist. Chuck Moses New York to Dubai. He is the Rachell is a proud Kovner Fellow in the Juilliard Morrison Projects. Jonathan has recorded with the u ingridmatthews.com Artistic Director of Gallery Concerts (Seattle) and School’s Historical Performance program. She Choir of Trinity Wall Street (Musica Omnia), Boston regularly plays with the Seattle Baroque Orchestra, received her Master’s as a Jacobs Fellow from Indiana Early Music Festival (RadioBremen), and New York Elisabeth Reed teaches Pacific Baroque Orchestra, Portland Baroque University, where she studied with Mark Kaplan Polyphony (BIS Records). Jonathan's musical pursuits viola da gamba and Baroque Orchestra, and has served on the faculty of Cornish and Stanley Ritchie. Her Bachelor’s as a Starling extend beyond his voice; he has been commissioned cello at the San Francisco College of the Arts. He can be heard on recordings Distinguished Violinist is from the University of as a composer for groups including Lorelei Ensemble, Conservatory of Music, where by ATMA Musique and Harmonia and broadcasts Texas. She loves to explore her multi-race heritage by the Handel & Haydn Society and the Uncommon she is also co-director of the by NPR, CBC, and KING FM. He completed a studying diverse styles, including the Scottish . Music Festival. Currently based in Brooklyn, NY, Baroque Ensemble. Recent Doctorate of Musical Arts from the University of Jonathan holds degrees from McGill University and teaching highlights include Washington in 2012 and also holds degrees from the University of Maryland, College Park and is Teresa Tam Teresa master classes at the Juilliard Indiana University. u nathanhwhittaker.com represented by Miguel Rodriguez of Athlone Artists. School, the Shanghai Conservatory and Middle School, and the . Her playing has been described as, “intense, graceful, suffused with heat and vigor” and “delicately nuanced and powerful” (Seattle Times). A soloist and chamber

page 30 page 31 Byron Schenkman & Friends

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