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Home , Baroque orchestra, Henry Purcell, Julianne Baird

UNIVERSITY of PENNSYLVANIA LIBRARIES KISLAK CENTER

Music• • • • • in the • • • • • • • • • • • • • • • Pavilion• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Kleine Kammermusik January 26, 2018

Kleine Kammermusik: Ensemble Music from the Period

http://www.library.upenn.edu/exhibits/music_series.html Kleine Kammermusik January 26, 2018

Preconcert talk by Emma Barnaby

Marche du Prince d’Orange quand il fit son Entré dans Londres, 16[88] Anon. Philidor MS

La Steinquerque (1693) François Couperin

Suite Angloise Contemporary 4-part arrangement of movements from The Fairy Queen and , If Love’s a Sweet Passion, Prelude, , Hornpipes, Two in One upon a Ground

Suite in d minor for (HWV 436) G. F. Handel , Allegro, Air lentement, Gigue

Sonata in for 2 , and (FaWV N:g1) Largo, Allegro, Largo, Allegro

INTERMISSION

Overture Suite (TWV 55: B2) Based on Partita I from Kleine Cammer-Musik (1716), reworked by the Overture, Preludio, Dolce, Vivace, Largo, Allegro for Bassoon and Basso Continuo (TWV 41: f1) Georg Philipp Telemann From Der Getreue Music-Meister (1728) Triste, Allegro, Andante, Vivace

Trio Sonata in c minor (HWV 386a) G. F. Handel Andante, Allegro, Andante, Allegro

The Queen’s Farewell Thomas Tollet From John Banister’s Sprightly Companion, 1699

Kleine Kammermusik

Michele Corbman Photography

Geoffrey Burgess & Meg Owens OBOES & RECORDERS

Stephanie Corwin BASSOON

Rebecca Humphrey DA GAMBA &

Leon Schelhase HARPSICHORD Kleine Kammermusik Program Notes

Kleine Kammermusik takes its name ~ !eine from a set of six partitas published by Telemann in 1716 (Fig. 1) and dedicated ". ammer ~Mus re. to four oboists who were members of an ensemble known also by the VI. PARTIEN, same name at the Dresden court. ~cldjc bor 'Die Violinc / Flucc cramfc , roir aud) UOl'~ Clavier, Ensembles such as this, emulating the 6cfonb(tlt o.btr 11or t>lc grander model of the Douze Grands HAUT BOIS, Hautbois (Fig. 2) at the French court ttadj cmct of Louis XIV, sprang up in courts !\'.eitf)ten un'O fingenben ~rt 1 11tfo 1 across Europe. In Restoration , ~aO 11dJ fo roobl rin Wnf,ln~er barinnen tl6cn I al6 aucb cm Vinuofc barmtt ~Orm {affm tcm / Charles II could aford to maintain cillf!nid)tct a substantial band comprising largely French players. This served ~l~ffl;~e org ijfi tlipp"""" ~etemann1 as his principal musical entourage, a [apeUmei1lcrn in firancffurt am gjlaun. practice retained by his successors. ~) 0 ( ea,> The “Kleine Kammermusik,” being a

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This evening’s program presents music drawn from the repertoire of such ensembles in Germany and England. We start with the tune to which William of Orange marched into London as he claimed the throne of England after the fight of Catholic James II. The immensely popular tune, known as Lilliburlero was published by Henry Purcell in his Music’s Handmaid (1689) as “a new Irish tune”, and also appears in French sources, including the collection of military marches and hunting calls compiled by Louis XIV’s royal music librarian, André Danican Philidor where it is identifed with William of Orange. With a long history starting in the seventeenth century, Fig. 2

Lilliburlero has been strongly associated with religious conflicts in England and Ireland. Its transnationalism is symbolic of the Hautboist who was often obliged to transgress national and political-religious boundaries in search of employment.

In the François Couperin, the most accomplished of a distinguished family of French musicians, composed a series of trio including La Steinquerque. Later he recalled his motivation for the fusion of the French and Italian styles: “Charmed by the sonatas of Signor Corelli, whose works I shall love as long as I live, just as I do the French works of Monsieur de Lully, I attempted to compose one myself.” Shot through with the noise of battle, and ringing with jubilant fanfares, La Steinquerque also includes moments of tranquil repose and joyous festivity as it celebrates a hard-fought French victory in the Nine Years’ War.

The short sequence of music from Henry Purcell’s Fairy Queen and King Arthur appears in a set of four part books preserved in the , where it bears the simple title English Suite. The source contains a substantial repertoire of four-part music suitable for performance either by an oboe band, or an ensemble of mixed winds and strings. Although the provenance of the source is unclear, given the coincidence of the names of identifed and those of members of Queen Anne’s oboe band, these part books may preserve a sampling of musical activities at the English court in the early decades of the eighteenth century. The Purcell excerpts were doubtless popular even after the composer’s death, but unlike most of the other contents of the part books, they lean more towards music for listening rather than for the accompaniment of social dancing.

Telemann was sufciently proud of his Kleine Cammer-Musik collection that at some later date he expanded the original two-part music by adding a further two inner parts. He also prefaced the original sequence of prelude and six dance-inspired movements (called ) with a French- style overture. Our presentation will weave the two versions together to represent the metamorphosis from solo to ensemble music.

Telemann’s f minor sonata for bassoon is the frst ever published for the instrument. It appeared in instalments in his music periodical Der Getreue Musikmeister (The Faithful Music Master). As most of the music in this periodical was intended for domestic music making by amateurs, we may well ask how many subscribers would have had the requisite skills to master the work. The melancholic Triste, with intertwined chromatic lines, is expertly tailored to the bassoon, as are the more vigorous passages in later movements. But, at the same time there is nothing that stamps the part as uniquely suited to the bassoon. The range ascends to high G, but it only rarely takes advantage of the bassoon’s hybrid character as both bass and melodic instrument, and the music is easily transferrable to other instruments. Indeed Telemann added a note that it can also be played on recorder. Still, the work placed the bassoon on an equal footing with other instruments, and bassoonists can proudly claim this sonata as every bit as good as the best of Telemann’s sonatas for other instruments.

Johann Friedrich Fasch, although himself a violinist, composed a substantial quantity of music for wind instruments, including some twelve trios for two oboes and basso continuo. At the court of Zerbst, where he was active for the last thirty-six year of his life, he must have had a excellent oboists and a fne bassoonist at his disposal, as in half of his trios he wrote demanding parts for the treble instruments, and called for the bassoon to move between the role of continuo and independent solo voice.

Like most composers of this period, Handel was adept at providing music adaptable to diferent situations and instrumentations. One of the fnest examples of his work in the genre, his H386 exists in two versions—in b minor with the upper part for fute and in c minor where the same part is played by recorder. Being a favorite key for oboe music, the c minor version is also readily adaptable to oboes. We have taken the liberty of redistributing the double stops in the third movement to create a more continuous accompaniment for the -like melody in thefrst oboe part.

The Queen’s Farewell by Thomas Tollett is one of two marches composed for the funeral of Queen Mary, William of Orange’s wife, who died in 1694. The music was printed fve years later in John Bannister’s Sprightly Companion, the earliest known method for the oboe. Elsewhere it is recorded that in funeral processions the sound of the oboes took on a special veiled quality from the use of mutes.

This February at the KISLAK CENTER

A Raging Wit: The Life and Legacy of Jonathan Swift On exhibit February 5 - May 16, 2018 Goldstein Family Gallery

n honor of the 350th anniversary of Jonathan Swift's birth, this exhibition, based Ion the collections of the Penn Libraries, will explore the many facets of Swift's life and legacy through an examination of his many voices; his complicated relationships with both men and women; his ever-evolving politics; his many travels, whether by foot, horse, or ship, or in solely his imagination; and his views on the role of religion in society. It will examine how these infuences manifested themselves in his writings and in the world's reaction to his words.

2018 Jay I. Kislak Program Jonathan Swift in the 21st Century Conference: February 22 - 24, 2018 Class of 1978 Orrery Pavilion

onathan Swift was a traveller, in his imagination as well as in life, regularly Jmaking his way, by ship and by foot, back and forth between Ireland and England during major periods of his life. Swift also travelled through genres and voices, among men and women, and between politics and religion. His works have travelled as well, through space and time, in numerous editions, along with translations, responses, adaptations, abridgements, continuations, and illustrated versions. This conference seeks to reconsider Swift and his works through a contemporary lens, exploring how they have travelled across three centuries and around the world.

For more information and registration: www.library.upenn.edu/exhibits/swift350.html Kleine Kammermusik

Formed in 2013, Kleine Kammermusik is dedicated to bringing to life the wealth of intimate from the courts of Europe. Each member brings superb artistry and a high level of virtuosity to music full of dazzling surprises. With paired treble woodwind instruments (oboe and recorder) and supportive continuo group of mixed woodwind, string, and keyboard, the group is a versatile blend suited to a wide range of music. Its members are all leading exponents and hold prominent posts in early music ensembles across the North East. Not only are they fne virtuoso players in their own right, but together they have developed an intuitive feeling for the musical style, and their rapport produces performances full of elegant control and superb artistry.

Geofrey Burgess has played Baroque oboe around the globe for over thirty years. A key fgure in the early-instrument revival in Australia, and for twenty years a member of Les Arts Florissants in Paris, Geofrey appears regularly with the Washington Bach Consort, Philadelphia Bach Festival, Concert Royal, and Boston Early Music Festival Ensemble, and Old City Music in Philadelphia. Dr. Burgess is also an active scholar, with a PhD on French Baroque from Cornell University, and the award-winning study The Oboe, and two recent books pertaining to early music: Well-Tempered Woodwinds, and The Pathetick Musician. As well as teaching for Amherst Early Music, he is currently on the faculty of the .

In demand as a performer on historical oboes, Meg Owens appears regularly with many of North America’s baroque orchestras, including , Ars Lyrica, Folger Consort, Mercury Baroque, National Cathedral , Opera Lafayette, Tafelmusik, Tempesta di Mare, and Washington Bach Consort. Recent concerts include solo appearances with REBEL, Four Nations, Chatham Baroque, Arcanum, Sebastian Chamber Players, and Berkshire Bach Society. Upcoming engagements include concerts at the Staunton Music Festival, the International Double Reed Society Conference (New York City) and the Victoria Bach Festival (Victoria, Texas). Ms. Owens teaches historical oboes in the Early Music Institute at Indiana University, modern oboe at George Mason University, and is the founder and director of George Mason’s new baroque chamber orchestra.

Bassoonist Stephanie Corwin enjoys a varied musical career playing modern, classical, baroque and renaissance instruments. As a soloist, she was named the inaugural winner of the Meg Quigley Vivaldi Bassoon Competition and was a semifnalist in the 2007 Ima Hogg Young Artists Competition. Stephanie is based in New York City and performs with ensembles across the country, including the American Classical Orchestra, Apollo’s Fire, Handel and Haydn Society, Clarion, Philharmonia Baroque, The Charlotte Symphony Orchestra, Indianapolis Baroque Orchestra and Trinity Baroque Orchestra. She also enjoys teaching and has held positions at the University of Virginia and Hunter College. After attending Davidson College, Stephanie earned degrees from Yale University (MM) and Stony Brook University (DMA). Her interest in early music led her to continue her studies at Indiana University, where she received a Performer Diploma in historical . Her principal teachers are Frank Morelli and Michael McCraw.

Rebecca Humphrey lives in Philadelphia, PA, where she is an active freelancer. She has performed as a core member of Tempesta di Mare, and was a founding member of Aurelio and The Merion Trio. She spends much of her time playing with the Washington Bach Consort, and the Handel Singers of Baltimore, and in New York City with Rebel and Quicksilver. She is also a founding member of Belladonna Baroque Quartet, which has toured widely in the United States, Brazil and in Europe. Rebecca lived in Switzerland for three years where she was the principle cellist for Luzern Kammerensemble and in Basel with Capriccio Basel. Her recordings with Tempesta di Mare on the Chandos Label have received wide acclaim, and the group has toured extensively with their Handel’s “Flaming Rose,” featuring soprano .

A native of Cape Town, South Africa, Leon Schelhase found himself resonating with from an early age. His musical studies brought him to the harpsichord, and subsequently landed him in the United States where he has become sought after as both soloist and continuo performer. A recipient of the American Bach Soloists’ prestigious Goldberg Prize, Leon’s solo performances have been praised as “exquisite” and flled with “virtuosity” by the Boston Musical Intelligencer, and his continuo playing as revealing “clean and clear lines… distinct within the surrounding textures.” In Boston, Leon has had the privilege of performing with Emmanuel Music, Ensemble Florilege, and the Gardener Museum Orchestra. His involvement with conductor-less string band A Far Cry, described by the Montpelier Times Argus as “matching [the soloists’] tasteful ornamenting with unusual sensitivity,” culminated in an appearance as guest artist on their frst CD “Debut.” In 2009, he joined famed conductor Joshua Rifin on tour to Japan, directing the ensemble in an epoch-making performance of J.S.Bach’s “St. Matthew Passion.” Leon holds a BMus (Hons) from the University of Cape Town, and a Master’s Degree in Historical Performance from Boston University where he was a student of Peter Sykes and teaches harpsichord at the Curtis Institute of Music. Music in the Pavilion

he University of Pennsylvania's Music Department and the Kislak TCenter for Special Collections, Rare Books and Manuscripts invite you to join us for the final concert of our second annual music series for the 2017-2018 year.

Concordian Dawn March 23, 2018: Fortuna Antiqua et Ultra

SERIES DIRECTORS: Music Dept: Mauro Calcagno and Mary Channen Caldwell (faculty) Penn Libraries: William Noel (Director, Kislak Center and Director, Schoenberg Institute of Manuscript Studies), Richard Griscom (Director of Collections & Liaison Services), Liza Vick (Head, Otto E. Albrecht Music Library and Eugene Ormandy Music and Media Center)

WE ARE ESPECIALLY GRATEFUL TO: Anna Weesner, Chair (Music Dept.); Maryellen Malek, Coordinator (Music Dept.); Eugene Lew, Director of Sound & Music Technology (Music Dept.); Veronica Jurkiewicz, Performance Coordinator (Music Dept.); Elizabeth Bates, Director of Operations (Kislak Center); Andrea Gottschalk, Head of Exhibitions and Publications (Kislak Center); and John Pollack, Curator (Kislak Center).

Musical Partnerships at Play: The Marlboro Music School and Festival

On exhibit through June 21, 2019 Eugene Ormandy Gallery, Otto E. Albrecht Music Library, Van Pelt-Dietrich Library, 4th floor www.library.upenn.edu/exhibits/marlboro.html

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