QUICKSILVER BAROQUE ENSEMBLE

April 20, 2018 C-2 QUICKSILVER: APRIL 20, 2018 Guitar andlute Charles Weaver Harpsichord andorgan Avi Stein Dulcian Dominic Teresi Trombone Greg Ingles Viola dagamba David Morris Violins andco-directors Robert MealyandJulieAndrijeski Strange andWonderful Musicfrom the17thCentury STILE MODERNO Baroque Ensemble Quicksilver SPONSORS &ACKNOWLEDGEMENTS |

@cupresents |cupresents.org |303-492-8008 | Hosted bytheCUBoulderCollege ofMusic Seventeenth-Century Music 26th AnnualConference oftheSocietyfor QUICKSILVER: APRIL 20, 2018 C-3 Dario Castello Dario Castello Johann Schmeltzer Johann Kaspar Kerll (1605–1669) Antonio Bertali @cupresents | @cupresents i (1605–1646) Johannes Vierdanck Johann Kaspar Kerll (1627–1693) (1616–1674) Matthias Weckmann Johann Rosenmüller (1619–1684) Johann Schmeltzer (c.1623–1680) (c.1621–c.1670) Massimiliano Neri 17th century) (fl. early Dario Castello

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from Sonate Concertate in Stil Moderno, Libro II, Venice 1629 II, Venice Sonate Concertate in Stil Moderno, Libro from from Sacroprofanus concentus-musicus, Nuremberg 1662 concentus-musicus, Nuremberg Sacroprofanus from from Sonate Concertate in Stil Moderno, Libro II, Venice 1629 II, Venice Sonate Concertate in Stil Moderno, Libro from from Ander Theil geistlicher Concerten, Rostock 1643 Ander from from Sonate, opera seconda, Venice 1651 Venice Sonate, opera seconda, from from the Ludwig Partiturbuch, Gotha 1662 the Ludwig Partiturbuch, from from Sonate Concertate in Stil Moderno, Libro II, Venice 1629 II, Venice in Stil Moderno, Sonate Concertate Libro from

Sonata duodecima Sonata à 2 in F Major the Rost MS, Baden-Baden c.1660 from

Sonata No. 7 à 5 Sonata decima Sonata à 3 in G minor Sonata à 5 in F Major 1682 & altri, Nuremberg da arco Sonate à 2, 3, 4, e 5. Stromenti from INTERMISSION Canzon No. 21 in C Major Sonata No. 2 à 4 Polnische Sackpfeiffen MS, Baden-Baden c.1660 the Rost from

Sonata quinta à 4 Sonata quinta Sonata à 4 in D minor Sonata à 4 in D Sonata decimaquarta Sonata Program SPONSORS & ACKNOWLEDGEMENTS C-4 QUICKSILVER: APRIL 20, 2018 which isthen discussedbytheensemble at a littleepigram, astatementand itsanswer, Castello’s Sonatadecimaquartabeginswith thought theywere something special. were reprinted—proof that hiscontemporaries his all thatweknowofCastellotodayisthrough he some musicaldetailstheyshare, it’s clearthat he on decades ofthecentury, orthat(asheclaims name evenexistedinVenice duringtheearly There are norecords thatsomeonewith know imagination—yet apartfrom hismusic,we most remarkable This program is framed by works from one in conversation. except thepassionategive-and-takeoffriends composer andnostandard formalshape with noagendabuttheimaginationof work, apiecesimplymeanttobe“sounded,” new invention,the in instrumental music, as it was invented by virtuosomodern Tonight’s concertisanexaminationofthis tapestry ofrenaissance polyphony. statements instrikingcontrasttothesmooth in dramaticoppositionsandvividemotional musicdelightedself-consciously “modern” invent a was oneinmusic,ascomposersbeganto universe. Earth wasnolongeratthecenterof economic systemwasdevelopingandthe New technologieswere emerging, ourmodern the this that reminds uswhatatransformativemoment period”byhistorians,ausefultermmodern The 17th century is often called the “early By RobertMealy Program Notes Germany. the was ever sonatas, moment was absolutely striking title a nuove musiche worked in close pages Among Western figure composers, It’s when which flights colleague nothing also at of sonata | who these

Europe his cultural San (unusually of an or two 17th-century about wrote first : apure instrumental Marco. exploration cultural stile moderno of @cupresents |cupresents.org |303-492-8008 | books became history. Monteverdi. in Dario Italy some for Judging

of revolutions the This and Castello. sonatas) modern. musical of of . time) their then This was But the by

material. folk tunes, interspersedwithmore courtly Polish bagpipersknits togetheranumber of Schmeltzer’s wonderfullyvividportraitof Italy. from thewars and plaguesof mid-century where severalvirtuosoviolinists soughtrefuge style across the Alps tothe Holy Roman Empire, century quirky dancerhythms—istheheartof17th- abrupt transitions,passionateharmoniesand This kindofhighlysectionalizedwork—with melodic phrases. the soloistssketchsomewonderfullywarped coda withalong-heldbassnoteoverwhich sections, virtuoso an elaborate duet for the two violins, who trade follows buildstoagrandclimax.We thenhear length. I, whowasfond of musical entertainment forthe music-loving Leopold Vienna, spentmuchofhiscareer providing Kapellmeister totheImperialcourtin Johann Schmeltzer, thefirstGerman audiences musicians ofthecourtsalsooffered their Along withthehighartsofsonata, ensemble tonegotiate. extremely trickyrhythmicgamesforthewhole of sonatasistypicalhiswork,withsome Cologne. his career asKapellmeister fortheElectorof was ennobled by the Emperor, before ending San he spentmanyyearsinVenice asorganist at ofItalians working at the Munich court,Born the male Massimiliano Neri (not to be confused with the Anton UlrichofBraunschweig. Ludwig asagiftforthehighlyintellectualDuke prepared bytheGothamusicianJohann His Sonata à 4 was included in an anthology became Bertali, whoarrivedinVienna around 1624and most Marco. model One sonata. The passagework. Kapellmeister the His Its widely He of of some ending sonata strongly Sonata later these the Italian

traveled same moved finishes less-refined is quinta composers migrants to After rhetorical particularly the name) of to some from with Emperor Vienna, our was was an his adagio festive brought composers. pleasures. eccentric: extended where 1651 possibly bizarrie in Antonio 1649. triple that this set he .

QUICKSILVER: APRIL 20, 2018 C-5

we the this find San puts work of Sonata In we five-part The collection adagio, His follows spaces Castello several works. suddenly charged grand

actually interjections. mid-century Baden-Baden. this the But speech. vivid includes form of of His After recall Its full @cupresents | @cupresents brusque i closing players. that musicus, by sonatas. style.” Margrave the together. final up

effects a collection the solo a comes a series of passionate solo episodes, comes a series of passionate solo episodes, broken material out with a return to the opening rounds and closes with a spectacular coda that features device—a brilliant series of a classic Venetian echo first heard. it was where Marco concentus atmospheric works, among them the highly sonata performed tonight. Sonata à 2 appears in a huge manuscript Kerll’s assembled anthology of 157 trio sonatas for the use by a cleric, Franz Rost, probably of the extravagance of sonata, Kerll explores solos for the Italian sonata—with extended in virtuosity this all places violins—but both South German a context of characteristically lyric melancholy. closes with one last piece by The program Castello, perhaps his most theatrical sonata in duodecima opens with an old-fashioned Renaissance theme, tossed back and forth among ourselves in a kind of ensemble recitative, with all the instruments declaiming a wordless rhetoric move into a syncopated triple-time dance; then Italian opera singers there, he moved to Vienna to Vienna moved he there, singers opera Italian the Emperor. to organist he became where more of Castello’s we hear one Next up, decima the Sonata sonatas, outrageous “in the book of sonatas his second from modern a public speech, with of classical structure which is then a statement an introduction, ideas of opposing discussion elaborated, a and full figures, musical vivid in discourse this and declamatory of virtuosic passagework with a disconcerting trill solos, finally closing in parallel fourths. violinists of greatest one of the Considered published works include his time, Schmelzer’s as well several volumes of ensemble sonatas, as Sacro-profanus of ensemble pieces, the

in in of tre by his the our with over style court à of full styles. on escape sonatas figure arrested dramatic dramatic is the take days, one of to Italian canzona 2 at to studied was Italian heartbreaking Sonata This set the pieces developments. Kapellmeister musical No. fiercely he Leipzig about late career Valentini, inventive latest | 303-492-8008 | cupresents.org | | 303-492-8008 | cupresents.org Kerll’s managed Venice. court his own learned His earliest an uses the syncopated syncopated the uses his was when musical combine leading to the with Sonata In Weckmann He his J.K. the Kerll He with in the flee His later) of began become 1682 canzona gesture. day. way, studied was career. and to closes in Matthias One Kerll his interesting he training years his passages. pieces. half in similar 30 Undoubtedly, prison as Italians theatrical homosexuality. first some a in Munich, but, after a violent dispute with the the with dispute violent a after but, Munich, in first with and later traveled to Rome to work Vienna, Carissimi. with excellent German craftsmanship in his in his excellent German craftsmanship with imitative firsthand: In combines the Italian taste for extravagant solos and published fugues. adagios with beautifully well-wrought instrumental music was largely dance suites for dance suites for instrumental music was largely the university students; once he got to Venice, melody the power of operatic he discovered from style as trajectory transformed his musical well as Thomaskantor (the same job Bach would Bach would as Thomaskantor (the same job have for to Rosenmüller Leipzig With Johann Rosenmüller, we come to a major major a to come we Rosenmüller, Johann With life events led composer whose unexpected dance rhythms of the Renaissance to create a a to create dance rhythms of the Renaissance festive atmosphere. who spent most of his career in Denmark and and Denmark in career his of most spent who Friesland. this program, Our Vierdanck, another student of Schütz, Johann foreign wonderful sequence of with a quirky gestures, at its close. visionary sonorities from Venice, Rome, Vienna, Munich, Dresden, Dresden, Munich, Vienna, Rome, Venice, from etc.” these among heard sonatas were ensemble Jacobikirche in Hamburg, where he organized organized he where Hamburg, in Jacobikirche distinguished with concerts weekly of series a performed “the best things musicians who Heinrich Schütz in Dresden, from whom he he whom from Schütz in Dresden, Heinrich received of music at the the director He later became Next, we move to the far northern reaches of far northern move to the Next, we of reaches Germany. a tune fragment played in unison that peters that peters unison in played fragment a tune to nothing. out C-6 QUICKSILVER: APRIL 20, 2018 Madison Early MusicFestival. unearthing Twelfth Night Tafelmusik. Baroque, of in the UnitedStatestostudyatSUNYStonyBrook, where hereceived hismaster’s degree anddoctorate subsequently GREG INGLES research andperformanceof17th-centurymusicinmanuscript. scholarship, She hasreceived EarlyMusicAmerica’s BinkleyAward foroutstandingachievementinperformanceand is and the music anddanceoftenculminateinworkshops specialteachingengagementsatschoolssuchas lessons and the Cleveland Institute of Music, Andrijeski leads classes in historical performance practices, teaches Fire with States. JULIE ANDRIJESKI Award founded Yale CollegiumMusicum.Priortothat,hetaughtatHarvard Universityformore thanadecade,where he 2009 to2015,hetaughtatYale University, directing thepostgraduateYale Baroque Ensemble andthe as repertoire accompanied RenéeFlemingontheDavidLettermanShow, andrecorded andtoured awidevarietyof He hasalsoledtheMarkMorrisDanceGroup MusicEnsembleinperformanceshere andinMoscow, Boston orchestral leader, servingasprincipalconcertmasteratTrinity Wall Street andtheorchestra director ofthe One forthcoming nextseason. Musikzeitschrift/Austrian 2014, the GermanSeventeenthCentury”hasbeennamedoneofTheNewYorker’s Ten NotableRecordings of (Early described Society. (Washington), Early Center, Hall,VirginiaRecent appearancesincludeCarnegie Arts Festival,MostlyMozartFestival at Lincoln series the “irresistible” as ENSEMBLE “Revered Biographies published music. Piffaro, performing, “drop Oberlin early (Principal at of the Music Music—Oxford praised for and the several Early In Toronto in Atlanta the Quicksilver’s dead like Concurrently, outstanding Concerto modern with Quicksilver addition as baroque America’s rarely One prestigious

Conservatory, Harvard Festival, and brings (Fanfare and in Music serving rock the Player) Houston as

many Mealy enjoyed summer gorgeous “A Baroque of Consort heard “fantasticus, Richard III was “breakthrough period Ingles’ stars Performer’s to Festival together violin Palatino, | Baroque distinguished is amongtheleadingbaroque violinistsandearlymusicpedagoguesintheUnited and most as and Magazine), directs

Vancouver Journal). teaching co-directing debut named masterworks. Early formative Ingles festivals, workshops. within solo Orchestra Music Guest Les and with most to Ciaramella Indiana prominent . Orchestra As leading recording, Music, the The trombonist

Chamber Orchestra Délices. @cupresents |cupresents.org |303-492-8008 | directs Creative was indeed” a the and Quicksilver’s Guide interesting music Journal). Artist wonderful of study Early high Quicksilver Juilliard receiving ensembles, early University, Quicksilver, adjunct scholarship. (Artistic the Early historically-informed Andrijeski’s and Ingles historical the director As (BEMF); to baroque. Series, Music at (Gramophone) Orchestra. “Stile Workforce year...breathtaking” music of with Seventeenth-Century a the has baroque Quicksilver’s School’s Music projects full-time the trombone is Director), interplay critical recording Interlochen vibrantly the Moderno: been Festival, lecturer of The Chamber he both scene” string Renaissance, she He The the Hawaii, article Hofer has In Fellow music Juilliard was has distinguished a senior acclaim, maintains here early 2004, guest of ensemble players, New received professor in and explores (New “Fantasticus: Early recorded Symphoniker recording with New on timbres” sackbut Center Music Music and and brass performers by instructor York a Mealy artist violin School, the York (Huffington “recommended Music Music standing ROBERT MEALY in Cuyahoga I dance an a Music” Furiosi, Before for ensemble State in Europe. the Globe has at Grammy more at with Historical received Times), (Early performance active “The Historic the Hofstra Boston from Now rich the at Extravagant been in ensembles. in Baroque American than Arts Theater 1800 Case (Indiana ovations Hof, Handel (very) North Music Committed University Post) chamber performance Arts the the (Milwaukee), Award Dark Early featured and University. University 80 Sites Performance Germany. and Western purchase” Seventeenth QUICKSILVER BAROQUE & First CDs America and in (Concertmaster), America) the Horse in isafrequent soloistand and Music University Bach Culture, for and its San and (Los Her the music Oberlin on “convincing...terrific” of Viennese to his Broadway at Haydn Reserve Consort, and repeat Soloists, combined Diego Virtuosic most early Colorado He’s schedule, Ingles America’s education Angeles), Dumbarton today. numerous work (Osterreichische and Program. repertoire supporting teaches Century,” Conservatory, Press, is major baroque Society Early with returned invitations. praised School” a Described University debuts he Chatham Music member Apollo’s Boulder skills Binkley playing Boston as labels. enjoys BEMF. 2012). Music music at From Oaks from was well and her the era as to of of in is

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Le for the the the the and City New artist Early at music Group on Cornell with Juilliard de teaches teaches degrees with baroque bassoon of and Chamber American Drag performed University, Orchestra, Collective: he of and The also Dance Area conductor Madison program at polyphony Quicksilver, research Stein degree Français Piffaro, director and master’s where Bay Players, the Indiana performed Records, concert Baroque Continuo Festival Morris at engagements music the and artists’ York, assistant has Opera spring. of Quartet, School York radio master’s World presented Mark School, the a He Music associate New the Chamber renaissance young studied next live is Workshop,

enjoyed New has Galax , and has performed throughout , and has performed throughout chamber in New a was the director holds He Early Juilliard the Music Philharmonia @cupresents | @cupresents the also Stein he Juilliard i and He Teresi undergraduate including Orchestra, The Ensemble. with Summer has The Dorian, Early his at musical 2016, directed Smithsonian singing. of Noyse, He

Madison performing specializes In Festival. He works and Tafelmusik, the he Dido and Aeneas Academy. Albion, music Baroque America 4x4 Symphony King’s ensembles, faculty also received Radio, of Quicksilver, the Saxony-Anhalt. of ensemble Baroque. accompaniment New La Couronne de Fleurs La Couronne He the The State America. where . in in Romantique, Soloists College; of CBC and Purcell’s on Instruments. Boston Morris co-founder chamber and et Society York is of on variety include Mundi, Juilliard the a and was continuo Bach Central Tragicomedia, opera Lute La Calisto Oberlin series. New member and artist Workshop Plucked and a Weaver the Connecticut, the Morris on is Pacifica, teaches at Harmonia production Festival Wind American bassoons Society and conducted Cavalli’s appearances College; Orchestra, He Révolutionnaire featured Canada for | 303-492-8008 | cupresents.org | | 303-492-8008 | cupresents.org of and a Quicksilver Seattle. has gamba, taught Norwalk, Musica Viols Ensemble. Mills Music in of music Amherst Western da in of Juilliard’s was Street. and historical has Performance Festival performs on early plucked-string instruments both as a recitalist and as an and as an instruments both as a recitalist performs on early plucked-string Europe, the the recorded Early Orchestre is principal bassoon of Tafelmusik, Boston Early Music Festival and Carmel Bach Festival and Carmel Bach Boston Early Music Tafelmusik, bassoon of principal is in viola Institutes Wall Music;

production , direct Soloists, Teresi member Chamber and has Church of Music Chamber Consort Musikinstrumentenbau-Symposium Festival La Descente d’Orphée aux Enfers Weaver a teaches will Informed Musicworks He States, is the artistic director of the Helicon Foundation and associate organist and chorusmaster chorusmaster and and associate organist of the Helicon Foundation is the artistic director Bach the He Church and d’Astrée, He Francisco Opera’s Early Bach at Quartet. Mary’s Festival Festival Tafelmusik OperaOmnia, Chordae Pacific San United St. Trinity the Music at chant. Gregorian Juilliard workshop music in semester-length an ensemble of players and singers exploring 17th-century vocal productions. Music Society of Lincoln Center, the Folger Consort, Blue Heron, Musica Pacifica and the Boston Early Musica Pacifica and the Boston Early Blue Heron, the Folger Consort, Music Society of Lincoln Center, Music Historically CHARLES WEAVER accompanist. Carmel York, the University of Southernthe Eastman School of Music and California, Fulbright scholar in and was a France. Toulouse, on the 2015 Grammy Award-winning recording by the Boston Early Music Festival of Marc-Antoine Early Music Festival of Marc-Antoine by the Boston recording on the 2015 Grammy Award-winning Charpentier’s the AVI STEIN AVI at School. dulcian Indiana University. University and a doctorate in early music from Yale diploma in modern from bassoon Eybler Australia and North Europe, as a concerto soloist throughout concertos and sonatas, and has appeared America. at Festival, Concert I Furiosi, Ensemble Caprice and Arion, Handel and Haydn Society, Baroque, Bach Soloists, Philharmonia and New Line Cinema. Records TERESI DOMINIC performance practice there, as well as at the University of California, Santa Cruz; the San Francisco of California, as well as at the University the San Francisco Santa Cruz; there, performance practice Conservatory University. opera ensemble Teatro Bacchino, and has produced operas for the Berkeley Early Music Festival and and Early Music Festival for the Berkeley operas and has produced Bacchino, Teatro opera ensemble the of California, the University in early music and has been a guest instructor Berkeley in music from Sex Boston American and DAVID MORRIS DAVID 2018–2019 Season Season tickets on sale now!

Dee Dee Bridgewater · Jessica Lang Dance · Venice Baroque Orchestra (pictured) Sarah Chang, violin · Canadian Brass · Silkroad Ensemble · Kodo · Tafelmusik Batsheva Dance Company · Dorrance Dance

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