BYU- I D M - Central Authentication Service · violin virtuoso and composer, best remembered for...
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BYU- IDAHO DEPARTMENT OF MUSIC PRESENTS MARCH 16, 2017 – 7:30 PM BARRUS CONCERT HALL bow and a light, softer up bow, meant to emphasize the inequalities of strong and weak beats. Basso continuo refers to the preferred harmonic accompaniment used during the baroque era. From a printed bass line with a few harmonic clues indicated as numerical “figures,” musicians improvised chordal accompaniments which best fit the unique qualities of their instruments and supported the upper solo lines -- similar to the way a modern jazz rhythm section will “comp” behind a vocal or saxophone solo. This single bass line might include a colorful variety of both melodic and chord playing instruments. Tonight’s basso continuo section includes: • Harpsichord, featuring plucked brass strings across a light wood frame, resulting in a delicate, transparent tone which contrasts with the strong iron frame and hammered tone of the modern piano • Baroque style organ, using a mechanical “tracker” mechanism instead of electronics to route air to each pipe Baroque era art and architecture featured extreme ornamentation, the illusion of energetic motion and dramatic contrasts in light and dark. Tonight’s concert explores the striking, dramatic side of the instrumental baroque featuring the dark, stormy, expressive minor mode including several important composers representing Italian, Germanic, French and English musical style: • Having his life tragically shorten by tuberculosis, history still recognizes Henry Purcell as one of the great English born composers. His music contains French and Italian influences, combined in his unique English style. • Although composing over 80 opera, Venetian Thomas Albinoni is best known for his string and oboe concertos. Born to a wealthy family, his career in music was unusual in that he never sought permanent employment, rather was free to compose, as he desired. • Heinrich Ignaz Franz Biber represented a leading 17th century Austrian violin virtuoso and composer, best remembered for his increasing use of extreme techniques in violin music. The demanding left-hand and bowing requirements in his compositions were very advanced. • Know chiefly for his many Italian operas, Nepalese Composer Alessadro Scarlatti’s music was an important link between the later baroque and early classical style • As a student of Lully, Georg Muffat introduced the musical style of Louis the 14th’s Court to Austria. Even more important than his finely crafted music, Muffat’s detailed writings on French baroque performance serve as an indispensible resource for performers of baroque music today. • George Frideric Händel is best remembered for his dramatic works, including opera and oratorio. He was also a gifted organist and instrumental composer whose music reflected his cosmopolitan lifestyle having worked in Germany, Italy and England.
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Transcript of BYU- I D M - Central Authentication Service · violin virtuoso and composer, best remembered for...
BYU-IDAHODEPARTMENTOFMUSICPRESENTS
MARCH16,2017–7:30PMBARRUSCONCERTHALL
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bowandalight,softerupbow,meanttoemphasizetheinequalitiesofstrongandweakbeats.Bassocontinuoreferstothepreferredharmonicaccompanimentusedduringthebaroqueera.Fromaprintedbasslinewithafewharmoniccluesindicatedasnumerical“figures,”musiciansimprovisedchordalaccompanimentswhichbestfittheuniquequalitiesoftheirinstrumentsandsupportedtheuppersololines--similartothewayamodernjazzrhythmsectionwill“comp”behindavocalorsaxophonesolo.Thissinglebasslinemightincludeacolorfulvarietyofbothmelodicandchordplayinginstruments.Tonight’sbassocontinuosectionincludes:
• Harpsichord,featuringpluckedbrassstringsacrossalightwoodframe,resultinginadelicate,transparenttonewhichcontrastswiththestrongironframeandhammeredtoneofthemodernpiano
• Baroquestyleorgan,usingamechanical“tracker”mechanisminsteadofelectronicstorouteairtoeachpipe
Baroqueeraartandarchitecturefeaturedextremeornamentation,theillusionofenergeticmotionanddramaticcontrastsinlightanddark.Tonight’sconcertexploresthestriking,dramaticsideoftheinstrumentalbaroquefeaturingthedark,stormy,expressiveminormodeincludingseveralimportantcomposersrepresentingItalian,Germanic,FrenchandEnglishmusicalstyle:
• Havinghislifetragicallyshortenbytuberculosis,historystillrecognizesHenryPurcellasoneofthegreatEnglishborncomposers.HismusiccontainsFrenchandItalianinfluences,combinedinhisuniqueEnglishstyle.
• Althoughcomposingover80opera,VenetianThomasAlbinoniisbestknownforhisstringandoboeconcertos.Borntoawealthyfamily,hiscareerinmusicwasunusualinthatheneversoughtpermanentemployment,ratherwasfreetocompose,ashedesired.
• HeinrichIgnazFranzBiberrepresentedaleading17thcenturyAustrianviolinvirtuosoandcomposer,bestrememberedforhisincreasinguseofextremetechniquesinviolinmusic.Thedemandingleft-handandbowingrequirementsinhiscompositionswereveryadvanced.
• KnowchieflyforhismanyItalianoperas,NepaleseComposerAlessadroScarlatti’smusicwasanimportantlinkbetweenthelaterbaroqueandearlyclassicalstyle
• AsastudentofLully,GeorgMuffatintroducedthemusicalstyleofLouisthe14th’sCourttoAustria.Evenmoreimportantthanhisfinelycraftedmusic,Muffat’sdetailedwritingsonFrenchbaroqueperformanceserveasanindispensibleresourceforperformersofbaroquemusictoday.
• GeorgeFridericHändelisbestrememberedforhisdramaticworks,includingoperaandoratorio.HewasalsoagiftedorganistandinstrumentalcomposerwhosemusicreflectedhiscosmopolitanlifestylehavingworkedinGermany,ItalyandEngland.
PROGRAMOverturefromDidoandAeneas(1688)....................................................HenryPurcell
1659–1695SinfoniaVIfromSinfonieeConcertia5,Op.2......................................TomasoAlbinoni
I. Adagio 1671–1751...............................II. AllegroIII. GraveIV. Allegro
Battalia(1673)......................................................................HeinrichIgnazFranzBiber
I. Sonata 1644–1704II. Allegro:ThedissolutehordeofmusketeersIII. Presto IV. MarsV. PrestoVI. AriaVII. TheBattleVIII. Adagio:Lamentofthewoundedmusketeers
SinfoniainFMinor..........................................................................AlessandroScarlatti
I. Grave 1660–1725II. Allegro III. LargoIV. [Allemande]
SonataIIfromArmonicoTributo(1682)...................................................GeorgMuffat
I. Grave–Allegro 1653–1704...............................II. Grave–Forteeallegro–GraveIII. AriaIV. Grave–SarabandeV. GraveVI. Borea
RebeccaFagerston,SarahBagley,violin,AritaJustus,viola,TaylorRhodes,SebastianFraser,violoncello
ConcertoGrosso,Op.6No.10.....................................................GeorgeFridricHändel
I. Overture:[Adagio]–Allegro 1685–1759...............................II. AirIII. AllegroIV. AllegroV. Allegromoderato
RebeccaFagerston,SarahBagley,violin,TaylorRhodes,violoncello
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NOTESTheUniversityBaroqueEnsemble,initsfifteenthyearatBYU-Idaho,presents17thand18thcenturymusicwithanemphasisonappropriatestyleandperformancepractice.Inthelastseveraldecades,musicianshaveincreasinglyfocusedonhowmusicmayhavesoundedinitsowntimeperiod.Awealthofhistoricalinformationexistsontheperformanceconventionsofthetime.Fromthesewritingswediscoverstylisticconsiderationssuchasarticulationdifferencesofthebow;howun-indicateddynamicchangescouldbeapplied;embellishmentandornamentation;temposandthesparinguseofvibrato.Amoredirectwaytoapproachbaroquemusicisbyusinginstrumentspatternedafter17thand18thcenturyexamples.TheUniversityBaroqueEnsembleperformsonearlyinstrumentscraftedfrom18thcenturymodels.Whilevisuallyresemblingtheirmoderncounterparts,thestringinstrumentsofthetimeuseddifferentfittingsandbows,resultinginamuchlighterandmoretransparentsound.Plainsheepgutwasthepreferredmaterialforstringsuntiltheearly20thcentury.Gutstringsproduceasofter,sweeter,andmorecolorfulsound,comparedtomodernsteelstrings.Eventhoughmetalstringtechnologywasusedinharpsichordsandotherinstrumentsofthetime,violinistspreferredgutforitssoundquality,acceptingthenegativeeffectsoftemperatureandhumiditychangesontuningandstability–particularlyfeltinourdesertclimate.Baroqueinstrumentsuseaflatterneckandbridgeangleresultinginlessstringtension.Thisproducesagentler,moreresonantsound,whichreactsinareverberantperformancevenue.Youmayalsonoticeseveralobviousvisualdifferencesinbaroqueinstruments--thelackofendpinforcelloandthelackofchinandshoulderrestforviolinsandviolas.Ourensembleusesasetofbaroquebowspatternedafterexistinghistoricexamplesfromtheearly18thcentury.Thesebowsarelighter,shorter,andhaveaslightoutwardcurveresultingincharacteristicbaroquearticulation--astrong,quickdown
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PERSONNELDr.RobertTueller,Director
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ViolinIRebeccaFagerstenCristaGuthrieMatthewGardnerDavidTruscottViolinIISarahBagleyGretaHansenAndreGasparMissyMcKenna
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ViolaAritaJustusMarkShipleyVioloncelloTaylorRhodesSebastianFraserCharlottePetersen
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ContrabassNathanMayHarpsichord/OrganRobertBarthelTatianaHawksAndrewWoodruff
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