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Philharmonia Baroque Orchestra and Chorale

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Philharmonia Baroque Orchestra and Chorale Philharmonia Baroque Orchestra and Chorale With Anne Sofie von Otter WHEN: VENUE: WEDNESDAY, MARCH 6 BING CONCERT HALL 7∶30 PM Program Artists George Frideric Handel (1685–1759) Nicholas McGegan, conductor Overture to Partenope, HWV 27 Anne Sofie von Otter, mezzo-soprano “Ch’io parta?” from Partenope Daniel Moody, countertenor Daniel Moody, countertenor “Will the sun forget to streak” from Solomon, HWV 67 Anne Sofie von Otter, mezzo-soprano Made possible with “Furibondo spira il vento” from Partenope generous support from Daniel Moody The Bernard Osher Foundation “No more...Iris, hence away” from Semele, HWV 58 and from Anne Sofie von Otter The Dr. Ross E. Armstrong “Welcome as the dawn of day” from Solomon Baroque Vocal Works Fund Anne Sofie von Otter & Daniel Moody Concerto Grosso Op. 3, No. 2 in B flat major, HWV 313 Vivace Largo Allegro Menuet Gavotte — Intermission — Arvo Pärt (b. 1935) Summa Vater Unser Daniel Moody Es sang vor langen Jahren Anne Sofie von Otter & Daniel Moody Caroline Shaw (b. 1982) The Edge * Red, Red Rose ** Anne Sofie von Otter Henry Purcell (1659–1695) Suite from The Fairy Queen, Z. 629 First Music: Prelude and Hornpipe Second Music: Aire and Rondeau Fairies Dance Dance for the Followers of Night Act III Prelude Dance for the Green Men PROGRAM SUBJECT TO CHANGE. Please be considerate Chaconne of others and turn off all phones, pagers, and watch alarms. Photography and recording of any kind are not * World premiere ** Bay Area premiere permitted. Thank you. 2 Program Notes Period instruments, originally introduced Philharmonia has commissioned works irrelevant. Each principal character is to modern audiences by historically by Caroline Shaw suited to our sound given a variety of arias, each to informed performers in their effort to re- and instrumentation. The transparency demonstrate a single aspect of his or create the sonority of instrumental of an assiduously tuned string choir her personality. These two arias for music from the seventeenth and unobscured by vibrato and gut strings Arsace, Partenope’s principal suitor, eighteenth centuries, are recently being played with featherlight bows not only were written for the alto castrato recognized by contemporary composers serve the fleet passagework of Handel Antonio Bernacchi. Handel would for their potential as a new source of and Vivaldi but also the transcendent classify “Ch’io parta?” as a “pathetick orchestral timbre. Once heralded as harmonies of modern composers such aria,” in which Arsace’s genuinely “authentic instruments” in recordings in as Shaw and Arvo Pärt. broken heart is expressed in wide leaps the 1970s, they were perceived as and expressive silences, stripped bare musically inferior to their “improved” of orchestral pretense and ornament. symphonic counterparts embraced by HANDEL: Overture to Partenope “Furibondo spira il vento,” on the other countercultural ensembles. Through This overture to one of Handel’s hand, is a “simile aria,” a bravura patient and rigorous study, however, a frothiest Italian operas demonstrates depiction of a windstorm calling for a generation of virtuoso performers has that all “dotted figures” are not created theatrical display of vocal agility sure mastered their unruly idiosyncrasies— equal. So-called because of the to incite enthusiastic applause at the the fickle intonation of gut strings, the notated “dot” that prolongs the first end of Act II. precarious accuracy of valveless brass, note of a two-note rhythmic pattern, it and challenges of scantily keyed first appears in its conventional form as woodwinds—and period instrument the slow introduction to a stately HANDEL: “Will the sun forget to orchestras, like PBO, have taken their “French overture.” However, the streak” and “Welcome rightful place alongside their customary Allegro which follows as the dawn of day” from Solomon nineteenth-century progeny. transforms the majestic into the Though Handel had all voice types on flippant, not unlike Dvorak’s hand for the premiere of his oratorio Likewise, the countertenor voice, a Humoresque known to beginning Solomon in 1749, he chose a female technically mastered use of falsetto or violinists. The concluding Presto is an alto (Caterina Galli) for the title role naturally high “chest voice” by an adult Italian giga of nonstop galloping opposite soprano Giulia Frasi in the man, has emerged in the past fifty eighth-notes, appropriately introducing double role as Solomon’s Queen and years or so from a curiosity spurned or the comedy of errors which follows. (in the final act) the Queen of Sheba. scorned by voice teachers to a The latter, whose arrival is greeted by legitimate vocal fach (category) taking one of Handel’s greatest orchestral a rightful place alongside soprano, HANDEL: “Ch’io parta?” and hits, is not a love interest but a tourist mezzo, tenor, baritone, and bass. “Furibondo spira il vento” from and admirer from exotic lands. The Found especially in the performance of Partenope lush orchestration of her aria features Baroque vocal music today in lieu of Partenope was the second production a composite sonority of oboe and the extinct castrati, countertenors were of the season now known as Handel’s transverse flute playing stately regal known to have sung some of the alto Second Academy in 1729-30. The story rhythms over pulsating harmonies in solos in Handel’s church music and of the suitors of Partenope, Queen of the strings, while the queen in modest oratorios. In his operas, castrati and Naples had already been set in 23 phrases proclaims her admiration for female mezzos in male dress (called operas before Handel got to it, and the Solomon’s wisdom and splendor. “trouser roles”) were used somewhat details of the plot need not concern us interchangeably, according to the here. The beauty of hearing arias from The duet ‘twixt Solomon and his wife, circumstances of supply and demand. these serious operas (opere serie) of “Welcome as the dawn of day,” Handel out of context as opposed, say, introduces one of the raciest scenes in Just as Wanda Landowska to those in Puccini’s Tosca, is that only English Biblical oratorio. It was so commissioned new works for her Pleyel the musical signifiers of the emotion, erotic, in fact, as to be expurgated harpsichord from Francis Poulenc and called Affekt by the Germans, are from the early Novello edition. The Manuel de Falla in the 1920s, essential; the intrigues of the plot are king and his bride express their 3 passion before they “haste to the with the dotted rhythms of the French some twelve years later. Although he cedar grove” to consummate their love overture over a repeated bass, out of did not specify period instruments, the “while nightingales lull them to sleep which emerges Italianate passagework clarity of their intonation and with their song.” Their melodic lines of of two solo violins. The languid Largo transparency of their sound fugal imitation entwine in this duet begins with the atmosphere of an Italian complement the transcendence of the while the strings discreetly comment aria. Pulsing strings interwoven with a mesmerizing harmony. There is a from the sidelines. cello duet precedes an oboe solo that gentle, jaunty lilt to the rocking two- begs for ornamentation. The spell is note motif that pervades the work with broken by the rather pedantic German Baroque regularity, and the repetitions HANDEL: “Iris, hence away!” fugue which follows. The last two give a spiritual mantra-like dimension from Semele movements are French court dances. to the piece. Following on the heels of the oratorios First comes a passepied, a fast minuet, Messiah and Samson, the appearance with the shifting textures of an Italian Vater Unser. Pärt’s setting of the Lord’s of Semele in February 1744, based on concerto grosso. The solo group begins Prayer was a spontaneous work Ovid’s Metamorphoses, dashed the with a trio of two oboes and cello, joined written for boy’s voice and piano in expectations of audiences expecting later by two solo violins. The finale is a 2005. Dedicated to Pope Benedict XVI, another Biblical epic. Handel’s friend gavotte with two variations (doubles), it was performed at the Vatican Mary Delany, who found it charming, first with a running (not walking) bass, celebration on the 60th anniversary of wrote that “Semele has a strong party then by continuous triplets in the violins his ordination in 2011. The text is against it, viz. the fine ladies, petit which give this French dance the spirit of intoned with childlike simplicity over maîtres, an dignoramus’s [sic].” In this an Italian gigue (giga). gently oscillating violins supported by inter-deity sitcom, the goddess Juno a placid bass line. beckons Iris, messenger of the Gods, to join her flight to the darkened realm of PÄRT: Summa, Vater Unser, Es sang vor langen Jahren was written in Somnus, god of sleep, whose peaceful Es sang vor langen Jahren 1984 for the composer and theorist slumber she intends to “molest with The music of the Estonian composer Diether de la Motte (1928–2010). The noise and light.” Urgent repeated notes Arvo Pärt is perhaps the polar opposite interweaving of the violin and viola in the bass impel sporadic interjections of Baroque music. While the aesthetic and pervasive rocking rhythm suggest from the violins while Juno of the latter values complexity, the tedium of the pining lover who breathlessly describes their route “o’er movement, bravura expressivity, and sings of spinning “bright, clean Scythian hills to the Meotian lake.” virtuosity, Pärt embraces an austere threads.” The plangent minor melody tonal style he calls “tintinnabulation,” in a sparse musical landscape evokes inspired by Medieval chant and both the loneliness and nostalgia in the HANDEL: Concerto Grosso in B-flat Renaissance polyphony. text by Clemens Brentano (1778–1842).
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