The Festival Music Society of Indiana presents The 2006 Indianapolis Early Music Festival A Coast-to-Coast Panorama in Sound of American Early Music Ensembles Celebrating the 230th Anniversary of Our Nation's Founding "From Sea to Shining Sea" O beautiful for spacious skies, For amber waves of grain, For purple mountain majesties Above the fruited plain! America! America! God shed his grace on thee, And crown thy good with brotherhood From sea to shining sea. America the Beautiful. Words, Katharine Lee Bates, 1893. Tune MATERNA, Samuel A. Ward, c. 1885. Frank and Katrina Basile Theater, Indiana History Center - 450 West Ohio Street Safe, secure, well-lighted parking lot at north side of building. Please enter from West New York Street, which is one-way east. THEV^ • OF PERSONAL SERVICE fNffieriAL BANK^NDIANAPO DOWNTOWN MERIDIAN-KESSLER 107 North Pennsylvania Street 49th and Pennsylvania Street CHAMBER OF COMMERCE CASTLETON 320 North Meridian Street Bash Road and East 82nd Street AUL BUILDING NORTHWEST One American Square Ditch Road and 84th Street GREENWOOD CARMEL 1689 West Smith Valley Road 650 East Carmel Drive WEST CARMEL-ZIONSVILLE 10590 North Michigan Road THE NATIONAL BANK^NDLANAPOLIS 261-9000 www.nbo/i.com Member FD1C Equal Of the festival music societp of intriana, inc. I SINCE 1967 OFFICERS AND 6471 Central Avenue BOARD OF Indianapolis, Indiana 46220-1606 DIRECTORS (317) 251-5190 FAX: (317) 251-8027 Igor Kipnis E-Mail: [email protected] Mrs. Samuel J. Mantel www.emindy.org James Weaver Honorary David A. Garrett President Concerts - PAGE Gail McDermott-Bowler Vice President Friday and Sunday at 7:30 p.m. Friday, June 23 Neal J. Rothman Seattle's Baroque Northwest .. 5 Vice President / Treasurer Sunday, June 25 Dorit S. Paul Seattle's Baroque Northwest 15 Secretary / Assistant Treasurer Friday, July 7 The Baltimore Consort 21 Ralph K. Bedwell Suzanne B. Blakeman Sunday, July 9 Charlotte Elizabeth Brayton New Orleans Musica John R. Carr, Jr. da Camera 33 Dr. David H. Chandler Alan S. Duncanson Saturday, July 22 Frances M. Girdwood Albuquerque Baroque Players 41 Judith N. Hamaker Sunday, July 23 Richard A. Johnson 47 Ross A. Kipka New York State Baroque Linda Leary Joan R. Leibman J. David Litsey, D.P.M. Susan N. Pratt Lectures - Evaline H. Rhodehamel Stanley Ritchie Sunday at 3:00 p.m. Margo M. Scheuring FRANK COOPER, Lecturer The Rev. Robert A. Schilling Fred E. Schlegel June 25 - Baroque Forces in Italy Frank C. Springer, Jr. and France - Wars of Will and Taste 13 Rosalind J. Wilgus Harriet A. Wilkins July 9 - Entanglements of Life, Ken E. Winslow Music and Art in Medieval Europe... 31 Frank Cooper July 23 - The Extraordinary Story Musical Director of Bach's Mass in B Minor 44 Mary Ellen Roberts Executive Secretary Index of Advertisers 21st Amendment 45 Hoosier Village 20 Bank of Indianapolis IFC Indiana Repertory Theatre IBC Bazbeaux Pizza 52 Indianapolis Arts Chorale 40 The Bungalow 27 Indianapolis Baroque Orchestra.... 10 Cappella Romana 55 Indy Voice Works 14 Capri 9 International Center Carlisle 16 Indianapolis 57 Dance Kaleidoscope 60 Katz, Sapper & Miller 46 Ensemble Voltaire 10 Meridian Heights Cleaners 57 The Fine Arts Society 4 Oxford Shop 8 Hamaker Pharmacy 57 Print Directions 13 Hollyhock Hill 38 G. Thrapp Jewelers 50 List of donors / sponsors 58-59 Annual Report 61-63 Calendar of Events 64 Taking of photographs or use of any sound-recording device during a performance is strictly forbidden. The harpsichords used this season were built by Robert Duffy of Indianapolis. The French double-manual is a copy of an Andreas Ruckers, one of two generations of Flemish makers of the 17th century. The audience is cordially invited to join the performers in the lobby following each concert for an informal visit and refreshments. ARTSRSlNDIANA wjiu # INDIANA ARTS COMMISSION 103.7>, 95.1> REGIONAL PARTNERS 106.1> 1003B Connecting people to the sro Provided with support from Central Indiana Community Foundation, Inc., the Indiana Arts Commission, a state agency, With the support of the and the National Endowment for the Arts, NAPOL,s a federal agency. »T^^J^^ and City of Indianapolis Indiana Humanities Council In partnership with the National Endowment lor the Humanities FMS Lecture Series 2006 Presented by Frank Cooper, FMS Musical Director A TRIAD OF EXPLORATIONS RELATED TO OUR CONCERTS Three opportunities to become immersed in elegant afternoons of discovery about the past and its fascinations for modern ears and eyes - created for us by one of America's most thought-provoking lecturers. Lectures take place at The Indiana History Center in the classroom at the canal level. FRANK COOPER, Professor of Music at the University of Miami in Coral Gables, Florida has appeared in the U.S., Canada, Mexico, the Caribbean, and Europe as pianist, harpsichordist and lecturer. His research into keyboard literature, styles and techniques has resulted in more than 100 published articles, annotations for recordings, radio and television broadcasts, and multiple series of public lectures. He regularly teaches courses in Music History and Literature, Aesthetics of Music, Music in Society, Keyboard Literature, Symphonic Literature, Chamber Music Literature and seminars in the Classical and Romantic Eras. He is the Musical Director of both the Coral Gables Mainly Mozart Festival and the Indianapolis Festival Music Society, and an Advisor to the Miami International Piano Festival of Discovery. He has judged the National Chopin Competition, the Alienor Competition of the Southeastern Historical Keyboard Society, Kingsville (TX) International Piano Competition, as well as concerto competitions for the Indianapolis Symphony, Louisville Orchestra and Indiana University. The Indianapolis Museum of Art and Miami's Vizcaya Museum have awarded him honorary curatorships. The National Federation of Music Clubs presented him its Presidential Citation, and the Hungarian Ministry of Culture its Franz Liszt Centennial Medal. CeCe6rating 3 7 years Seattle's Baroque Northwest Friday, June 23, 7:30 p.m. Revolutionary Baroque: Music of Thomas Jefferson's Library Kim Pineda, Transverse flute and Recorder Ronnee Fullerton, Viola da gamba and Voice Elizabeth Brown, Baroque guitar August Denhard, Theorbo, Baroque guitar, and Lute Special Guest: Jack Ashworth, Violin Carl Philipp Emanuel Bach (1714-1788) Poco adagio, from Sonata in a, H. 562 Karl Friedrich Abel (1723-1787) Untitled movement, from his Sketchbook From Evening Amusement (1796) Stoney Point What a beau your Granny was College Hornpipe Solders Joy Roslin Castle Tho Prudence Thou soft flowing Avon Money Musk General Washington's March Henry Purcell (1659-1695) from The Indian Queen (1664) "We the Spirits of the Air," Act III "I attempt from Love's sickness," Act III 3rd Act Tune, Act III "They tell us that your mighty powers," Act IV 4th Act Tune, Act IV Carlo Tessarini (c. 1690-1766) Sonata in F Largo Allegro Adagio. Cantabile Vivace C.P.E. Bach Allegro, from Sonata in a, H. 562 K. F. Abel Adagio, from Sketchbook Ignatio Sancho (1729-1780) Suite from Minuets, Cotillions, & Country Dances . Composed by an African lust so in the North Nothing at all Le lour de May L' Etourderie de Catos The Merry Wives of Westminster Intermission Ferdinando Carulli (1770-1841) Serenade, Op. 109, No. 1 Larghetto espressivo Poco allegro "Lord Ronald," Appalachian ballad #13 From English and Scottish Popular Ballads, 1882-1898, compiled by Frances James Child, 1825-1896 Peter Pelham (1721-1805) Minuet Anonymous (18th century) Vaudeville (La Confession) Arcangelo Corelli (1653 - 1713) Sonata in D-Major, Op. 5, No. 1 Grave-Allegro-Adagio-Allegro-Adagio Allegro Adagio Allegro From Evening Amusement (1796) (And other 18th century collections) The White Cockade The Highland Reel When Bidden to the Wake or Fair America, Commerce and Freedom Mrs. Frasers Strathspay The Flowers of Edinburgh Lochaber (James Johnson) Presidents March Gilderoy Rural Felicity PROGRAM NOTES - Seattle's Baroque Northwest Thomas Jefferson was a complicated person. Ridiculously obvious, I know, and I'd be stunned if I met any US citizen over the age of 10 who did not know about Thomas Jefferson. In addition to his political career (in the Pacific Northwest we know him as the man behind the Corps of Discovery), I knew that he played the violin. What I didn't know before I began concert research and preparation, was that he had an incredible music collection and was very knowledgeable about all types of music. He also counted Patrick Henry as one of his chamber music partners. We included the music of Ignatio Sancho because lefferson knew his music. Jefferson's opinion of Sancho was that his music was good ... for an African, but not as good as Peter Pelham. Jefferson was wrong. No one playing in the concert tonight would ever call him- or herself a political genius as Jefferson, but we can safely say that Jefferson's opinion of Sancho was misinformed, and made from a skewed perspective. From our perspective (music written by dead guys or gals; they're all the same—dead), Sancho's music is as good or better than anyone else at the time. This program puts several elements together: "classical" music (Bach, Abel, Carulli, Corelli, Purcell, and Tessarini), where one sits and listens, dance music (Sancho, et al), with not much sitting, music for the theater, and traditional music. Please note that in the 18th century (and earlier) the musicians who played classical music (on the page) and traditional music (off the page) were often the same people. Thomas Jefferson's brother, a highly educated person, at some point decided to ONLY play traditional music. One thing I noticed when researching the program is the lack of continuity in concert programs from the 18th-century. A movement from one piece followed by a song, followed by a completely contrasting movement from another piece.