33rd SEASON

A Telemann Celebration

La Rêveuse FRANCE

Saturday 24 March 2018 Alix Goolden Hall Telemann: The European Spirit

Georg Phillipp TELEMANN (1681 – 1767) Sonata II for traverso, violin, & basso continuo TWV 43:g1 (Sei Quadri, Hambourg, 1730) Andante Allegro Largo Allegro

G. P. TELEMANN Sonata in a minor TWV 42:a7 for traverso, viol & basso continuo Andante Allegro Adagio Allegro

George Frederic HANDEL (1685 – 1759) Concerto à 4 (d minor) (C. 1715, ms. Graf von Schönborn, Wisentheid) Adagio Allegro Largo Allegro

INTERMISSION

G. P. TELEMANN Trio V for violin, viol & basso continuo TWV 42:g1 (Sechs Trios, Frankfurt 1718) Adagio Vivace Adagio Allegro

G. P. TELEMANN 6ème Quatuor TWV 43:e4 (Nouveaux Quatuors, Paris, 1738) Prélude Gai Vite Gracieusement Distrait Modéré

2 Programme Notes

Georg Philipp Telemann was a trailblazer in the musical pipes! In fact, Telemann played many instruments himself, world of the 18th century. He travelled all over Germany, some self-taught: spoke multiple languages, and was appreciative of the different European musical styles. He did not follow “The splendid executants I met here and there gave me the the same path as J. S. Bach but claimed instead to be desire to play my own instruments better; but I would have got self-taught. Soon after graduating from law school, further in that intention had a powerful urge not prompted his interests turned to music and he became one of the me to familiarize myself not only with the clavier, the violin, most fashionable musicians in Germany. He was wooed and the recorder, but also the oboe, the transverse flute, the by towns and courts with the best available positions chalumeau, the gamba, etc., right down to the double bass and worked in Sorau, Leipzig, Eisenach, Frankfurt, and and the Quintposaune.”1 Hamburg, radically reorganizing the musical world of each. He created collegium musicums or student orchestras Unlike Bach, he never mastered the harpsichord nor the of a very high standard, organized concerts, and composed violin, but he had a real gift for matching original tone music for many occasions. During his lifetime, Telemann colours. He had a fondness for the viol which was then was often preferred over Bach. going out of fashion in most of the European courts. Telemann was also an accomplished businessman, a practical man who fulfilled the expectations of amateur “Give each instrument what suits it best and the player will musicians, the numerous Kenner et Liebhaber in German perform it with pleasure, and you will enjoy hearing it…” towns. He targeted their needs and wrote sonatas such as Der Getreue Musikmeister, Essercizii Musici, and These lines from his 1718 autobiography sum up the Methodische Sonaten for the rising bourgeoisie, and secret magic of Telemann’s : each part fairly easy cantata cycles like Harmonischer Gottes- matches its instrument perfectly. He wrote admirable trios Dienst for poor parishes who could not afford and quartets in original combinations at a time when the musicians capable of writing music for the whole trio sonata with two treble instruments was still a dominant liturgical year. form. His avant-garde style placed him at the crossroads For accomplished musicians, he composed more between Baroque and Classicism. difficult instrumental pieces (such asQuadri and Nouveaux Quatuors), orchestral music, cantatas, and operas. Florence Bolton Everything piqued his interest and this variety is evident Translation Philippe Bolton (Edited) in his chamber music which included all the instruments of his time – hunting horns, chalumeaux, and even pan 1 translation by Charles Johnston

Florence Bolton & Benjamin Perrot music directors

Serge Saitta traverso

Stéphan Dudermel violin

Florence Bolton bass viol

Benjamin Perrot theorbo

Carsten Lohffharpsichord

3 The Artists

La Rêveuse Théâtre de l’Éventail (Raphaël de Angelis), andL’Heure Founded by Benjamin Perrot and Florence Bolton, La verte with the composer Vincent Bouchota, a show Rêveuse is an ensemble of solo musicians interested in focusing on the poets of the Cabaret du Chat Noir. the heritage of the seventeenth and eighteenth centuries, La Rêveuse works regularly with youth audiences. In a period rich in artistic experimentation and invention of 2016, it created Jack et le Haricot Magique, a puppet show many kinds. based on illustrations by the artist Walter Crane, which has La Rêveuse is frequently invited to appear in prestigious enjoyed great success ever since. Educational and outreach venues in France (including Auditorium de Radio France, projects involving primary and secondary school students La Folle Journée de Nantes, Les Concerts Parisiens, are undertaken each year. Its most recent was “Les Lettres Fontevraud Abbey, Théâtre de l’Athénée, the Chambord persanes revisitées” (a finalist for the Prix de l’Audace and Radio-France Montpellier festivals, Les Scènes Culturelle et Artistique 2016), engaging with migrants Nationales , the TNP de Villeurbanne) and abroad: the studying at schools in Orléans. As well, over the past few United Kingdom, the Netherlands, Belgium, Switzerland, years, the Ensemble has developed for museum and media Germany, Poland, Russia, Japan, the United States, libraries, a series of concert-lectures which illuminate the and Canada. parallels between music and painting of the seventeenth The Ensemble›s recordings and awards are numerous: and eighteenth centuries. These are given in collaboration Locke & Purcell: The Theater of Musick (2006); Purcell with Jean-Philippe Guye of the Conservatoire National (2008); Buxtehude/Reinken (2009); Elisabeth Jacquet de La Supérieur de Musique de Lyon. Guerre (2010); Sébastien de Brossard (2011); Henry Lawes Each year, La Rêveuse undertakes educational and (2013); Telemann (2015; fff Télérama); Purcell: Devotional outreach projects involving primary and secondary school Songs and Anthems (2015; CHOC de Classica, Choix de students. Its most recent, “Les Lettres persanes revisitées”, France Musique). The discBuxtehude: Trio Sonatas from the engaging with migrants studying at schools in Orléans’, was Uppsala Manuscript (2017) received many prizes including a finalist for the Prix de l’Audace Culturelle et Artistique ffff Télérama, Choc Classica, 5 de Diapason, Choix de 2016. France Musique, Choix Radio Classique, Joker Crescendo, La Rêveuse is also invested in knowledge transfer through 5 croches Pizzicato, and Clef de Resmusica; it was selected the creation of the Académie d’Été de Seuilly (a summer in the Bestenliste for the prestigious Preis der Deutschen school for young musicians about to enter the profession as Schallplattenkritik. well as experienced amateurs) and Les Ateliers de Musique La Reveuse’s lastest, Marin Marais: Pièces de viole (2018) Ancienne (Early Music Workshops). These introduce is now available and has already been awarded Le Choix de the music and arts of the seventeenth and eighteenth France Musique. centuries to a wide audience through a range of activities Wishing to forge links between the different artistic including chamber music courses at the Conservatoire disciplines, the Ensemble often collaborates with the d’Orléans, lectures and ‘discovery concerts’. In addition to world of the theatre and literature to offer a different the creation of new concert and recording programmes, slant to classic texts. Among the notable productions it future projects include an extended tour of rural areas in has premiered: L’Autre Monde ou les États et Empires de la the Centre-Val de Loire Region on board the Opéra Bus, a Lune by Cyrano de Bergerac, Les Caractères de La Bruyère vehicle converted into a mobile concert hall. with the actor and director Benjamin Lazar, Le Bourgeois In 2017 La Rêveuse was awarded the Gold Medal Gentilhomme by Molière/Lully with Catherine Hiegel and of the Académie Arts-Sciences-Lettres for its overall François Morel, Molière’s Monsieur de Pourceaugnac with achievement.

4 La Rêveuse receives support from the Ministère de la Culture Studio Baroque de Versailles (Centre de Musique (DRAC Centre-Val de Loire) and the Région Centre-Val de Baroque de Versailles). Loire as an ensemble conventionné, and from the City of Perrot has been invited to appear as a soloist and Orléans. Mécénat Musical Société Générale is the principal continuo player in France and abroad. Giving priority patron of La Rêveuse. The ensemble’s vocal activities also to chamber music, he performs with such ensembles as receive support from the Fondation Orange. It is a member of Il Seminario Musicale (Gérard Lesne), Le Concert Brisé the professional bodies FEVIS and Profedim, and the Bureau- (William Dongois), Musica Favola (Stephan Van Dyck), Export. Ensemble Pierre Robert (Frédéric Désenclos), and Le This tour is supported by the SPEDIDAM. Poème Harmonique (Vincent Dumestre). He also appears in orchestral music, notably with Le Concert Spirituel Florence Bolton base viol (Hervé Niquet) or Les Arts Florissants (William Christie). Florence Bolton began her musical studies at the age He also created the production l’Autre Monde ou les of seven, learning harpsichord and recorder. A penchant Etats et Empires de la Lune with the actor and director for string instruments led her to specialize in the viola Benjamin Lazar. da gamba. After gaining premiers prix in viola da gamba Benjamin Perrot appears on over fifty recordings for and chamber music at the Saint-Cloud Conservatoire labels such as Accent, Accord, Alpha, Calliope, Glossa, under Sylvia Abramowicz, she entered the early music K617, Mirare, Naïve, Zig-Zag Territoires. department at the Conservatoire National Supérieur He teaches lute and theorbo at the Conservatoire of Musique et Danse (CNSM) de Lyon where she studied Versailles and is a répétiteur at the Centre de Musique with Marianne Muller, obtaining a premier prix t Baroque de Versailles. here in 2001. As soloist and continuo player, she appears at festivals Serge Saitta traverso in France and abroad with such ensembles as Akadêmia, After university and classical music studies in Lyon and Doulce Mémoire, La Fenice, Musica Favola, Il Seminario Créteil with Marius Beuf, Maurice Pruvost, and Pierre Musicale, Ensemble Pierre Robert, and Le Poème Séchet, Serge Saitta studied at the Royal Conservatory of Harmonique. Along with Benjamin Perrot, she is co- Music in Brussels with Barthold Kuijken. He obtained two founder of La Rêveuse. first prizes with great distinction (traverso and chamber In the field of Baroque theatre, she worked with Alain music), then a higher diploma of perfection in traverso. Zaepffel at the Comédie Française in 2003 on Racine’s Since 1988, he has participated as a soloist with Les Arts Esther, and with Benjamin Lazar on Cyrano de Bergerac’s Florissants. His work with this ensemble has resulted in several L’Autre Monde ou les Etats et Empires de la Lune, first recordings, including the works of Rameau, Charpentier, produced in 2004 and subsequently revived many times and Mozart on Erato, and Lalande on Harmonia Mundi. on tour, notably at the Théâtre de l’Athénée in Paris, and Saitta also enjoys fruitful collaborations with other the TNP in Villeurbanne. groups: , Concerto Köln, Les Musicians Florence Bolton has recorded with Alpha, Arion, K617, du Louvre-Grenoble, and Opera Fuoco. In 1995, he Ligia Digital, Mirare, Naïve, and Zig-Zag Territoires, and created the ensemble Mercure Galant with which he teaches the viol and Baroque chamber music. recorded Les Motets de Brossard for Astrée, as well as Telemann’s Tod Jesu and Handel’s Saint-Jean’s Passion Benjamin Perrot theorbo for Vox Temporis. He regularly performs today with Having studied lute, theorbo and Baroque guitar with artists such as Philippe Jaroussky, Artaserse Ensemble, Eric Bellocq and Claire Antonini at the Conservatoire Florence Malgoire, Olivier Fortin, and Paul Agnew. National Régional (CNR) in Paris, Perrot graduated in In the 2008-2009 season, Saitta directed the International 1997 with a Diplôme Supérieur de Musique Ancienne. Academy of the Baroque Music Festival of Ambronay He continued to advanced study with Pascal Monteilhet. in the discovery of the French comic opera Les Troqueurs In 1996-97 he was also trainee accompanist at the by Antoine Dauvergne. In 2008, he gave a master class

5 on French music at the Juilliard School in New York as William Christie. In 2000, he won a first prize for baroque part of a residency with Les Arts Florissants, including a violin at CNSM. performance at Carnegie Hall. In 2009, leading a Handel Dudermel regularly performs with various ensembles: Le project, also at Juiilliard, Saita performed at Alice Tully Hall Concert Spirituel Ensemble Pierre Robert, Le Parlement in New York. This collaboration continued in 2010, at the de Musique (Martin Gester), New London Consort invitation of Monica Hugget and Juilliard’s new Historical (Philip Pickett), Ensemble Elyma (Gabriel Garrido), and Performance Program. Saitta teaches historical flute L’Ensemble Vocal de Lausanne. at the Haute Ecole de Musique in Geneva. Carsten Lohffharpsichord Stéphan Dedermel violin Born in 1961 in Hamburg, Carsten Lohff first studied Stéphan Dedermel was born in 1975 and began violin harpsichord and music theory. Numerous CDs, notably studies at the age of 7. He won an unanimous gold medal with Cantus Cölln and Le concert brisé, showcase his at the CNR in 1991. At age 17, he studied at CNSM talent for basso continuo and as a soloist. under Peter Csaba, receiving his degree in 1996. His teachers included Johann Sonnleitner, Bob van Also in that year, he joined Odile Edouard’s baroque Asperen, Gustav Leonhardt, and Christoph Hohlfeld. In violin class at CNSM, expanding his knowledge of Baroque 1998, he studied baroque harp in Italy with Maria Galassi. repertoire with (Chigiana Academy of In addition to a busy concert career, Lohff now teaches Siena) and Enrico Gatti. In 1998, he collaborated with antique keyboard instruments at the Bremen School of the Orchestra of the Baroque Academy of Ambronay in Fine Arts, as well as harpsichord and basso continuo at the the production of Lully’s Theseus under the direction of School of Music and Theater, Hamburg.

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The programme, notes, and artist biographies are available on the EMSI website prior to each concert

EMSI wishes to thank…

The EMSI Volunteer Guild Alix Goolden volunteers Caroline Mitic, graphic designer for EMSI David Strand, maintainer of the EMSI website

www.earlymusicsocietyoftheislands.ca

6 ...and to close the Concert Season

War and Peace 22 April 2018 Sunday 3pm Alix Goolden Hall

The Tallis Scholars UK Peter Phillips music director To commemorate the centenary of the end of World War I, Peter Phillips has put together a stirring program with masses on the theme of the Armed Man (L’homme armé), chansons describing a battle (La Batalla), movements from Victoria’s Mass, and deeply moving funeral motets: Tavener from the funeral of Princess Diana, Mouton from the funeral of Anne of Brittany, and Lobo from the funeral of Philip II of Spain. Supporting the Society

Make a Donation help the Fund grow. These operating grants will both assist The Early Music Society of the Islands relies on in presenting artists who would otherwise be unaffordable individual donations, memberships, and grants to and ensure the long-term sustainability of the Society. sustain its operations each year. Your donation will help Tax receipts will be provided. to present concerts featuring internationally-renowned artists and to promote interest and appreciation of Early You can contribute directly to this Fund in three ways: Music in the community. MAIL By sending a cheque to: Ways to Donate Early Music Endowment Fund, Victoria Foundation, ONLINE To make a secure online donation Suite #109–645, Fort Street Victoria, BC V8W 1G2 by Visa, MasterCard or AmEx, visit: www.earlymusicsocietyoftheislands.ca ONLINE Donate online by Visa, MasterCard, Amex at the Victoria Foundation’s Web site: MAIL Please send cheque payable to EMSI to: http://www.victoriafoundation.bc.ca/web/give/ways Click EMSI Donations c/o McPherson Box Office, on “give now” to go to CanadaHelps, select “Donate #3 Centennial Square, Victoria BC V8W 1P5 Now” and choose “Early Music Endowment Fund” from the drop-down list. THROUGH UNITED WAY OR EMPLOYEE CAMPAIGNS If your employer participates in BEQUESTS OR GIFTS OF SECURITIES the United Way or other employee campaigns, Bequests or gifts of life insurance or securities may you can support the Early Music Society of the Islands be arranged through the Victoria Foundation. by writing in the gift on your pledge For more information, visit www.victoriafoundation.bc.ca card. Our charitable registration number is or phone the Foundation at (250) 381–5532. 11889-0367-RR0001. Sponsorships To discuss donation options, please contact BUSINESS SPONSORS The Society welcomes business Rondallyn Perras, Fundraising Director sponsorships and will provide appropriate public [email protected] acknowledgement of such support. Tax receipts are issued for all donations of $10 and over. CONCERT SPONSORS James Young, Artistic Director [email protected] would be Donate for the Future pleased to offer guidance and information relating to gifts The Early Music Endowment Fund is owned and to support a specific concert. managed on our behalf by the Victoria Foundation. Each year, part of the investment income is given as Please contact us at: a grant to EMSI and the balance is re-invested to [email protected]

Thank you for your generosity in supporting Early MusicS on southern Vancouver Island www.earlymusicsocietyoftheislands.ca PHONE 250-882-5058

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