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476 5105 GENEVIEVE LACEY | NEAL PERES DA COSTA | DANIEL YEADON Trios by HANDEL, VIVALDI AND TELEMANN

Transcript of Trios by HANDEL, VIVALDI AND TELEMANN - buywell.com · Trios by HANDEL, VIVALDI AND TELEMANN. 3 ......

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476 5105

GENEVIEVE LACEY | NEAL PERES DA COSTA | DANIEL YEADON

Trios byHANDEL, VIVALDI AND TELEMANN

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There’s a story about an old, old woman who collects bones.

When she has enough for a skeleton, she lays out the beautiful

sculpture of what might have been, stands above it, and sings.

As she sings, a creature takes shape, flesh and form.

She sings the bones to life.

Our instruments are old, and the music too. Not ancient, but from centuries back, fractured by time.

The manuscripts – the bones or maps that remain – we sing into being.

For us, making music is a way of making connections. It spins threads between us as players,

embraces you as listeners, and creates webs across centuries and countries.

Caught and transmitted here via digital technology, you hear our three bodies, hearts and minds in

conversation with one another, with ghosts, with history and with now. Playing wooden instruments,

dreamt hundreds of years ago, we’re singing up spirits as exuberant as ever, from the bones of this music.

Genevieve Lacey

A note on the artworkThe maps are a way of tracing the provenance of the music and musicians. The music was born in

18th-century London, Venice and Hamburg. Genevieve, Neal and Danny’s origins are in Wapenamanda(Papua New Guinea), Goa (India) and Huby (United Kingdom) respectively. The contemporary sources

of the music are Melbourne and Sydney, where rehearsals and recording took place. Like manuscripts, maps are visual shorthand for something much harder to contain.

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GEORGE FRIDERIC HANDEL Sonata in C major for recorder and continuo, HWV365 [10’40]

$ I. Larghetto 2’22% II. Allegro 2’11^ III. Larghetto 2’18& IV. A tempo di gavotte 1’25* V. Allegro 2’20

GEORG PHILIPP TELEMANN( Sonata in D major for solo viola da gamba, TWV40:1: I. Andante 3’24

GEORG PHILIPP TELEMANNTrio in B minor, TWV42:h4 [7’04]

) I. Largo 1’36¡ II. Vivace 1’46™ III. Dolce 1’34# IV. Vivace 2’08

ANTONIO VIVALDI¢ Concerto in D major for flute, violin and bassoon, RV91: II. Largo 3’07

Arranged for recorder, organ, harpsichord and cello

Total Playing Time 67’33

Genevieve Lacey recorder, voice fluteNeal Peres Da Costa harpsichord, organDaniel Yeadon viola da gamba, cello

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ANTONIO VIVALDI 1678-1741

Concerto for two violins in D minor (Concerto in A minor, RV522, L’estro armonico Op. 3 No. 8) [9’57]Arranged for recorder, organ, harpsichord and cello

1 I. Allegro 3’362 II. Larghetto e spiritoso 3’063 III. Allegro 3’13

GEORGE FRIDERIC HANDEL 1685-1759

Sonata in A minor for recorder and continuo, HWV362, Op. 1 No. 4 [10’53]4 I. Larghetto 2’345 II. Allegro 2’406 III. Adagio 2’067 IV. Allegro 3’33

GEORGE FRIDERIC HANDEL 8 Harpsichord Suite No. 5 in E major, HWV430 ‘Harmonious Blacksmith’:

IV. Air and Variations 4’24

GEORG PHILIPP TELEMANN 1681-1767

Trio in F major, TWV42:F3 from Essercizii musici [7’04]9 I. Vivace 2’510 II. Mesto 1’38! III. Allegro 2’35

GEORG PHILIPP TELEMANN@ Fantasia in C major for solo recorder, after Fantasia in A major for solo flute, TWV40:2 3’26

GEORGE FRIDERIC HANDEL £ Aria: ‘Par che mi nasca in seno’ from Tamerlano, HWV18 6’48

Arranged for cello, recorder and organ

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Put a pipe player, a string-bass player, and a keyboard player together and what do you get? Well, morethan you might first suppose. 3 is a snapshot of the artistic imaginings and the joyful play of three versatileperformers, enriched by the diverse tonal capabilities of more than double that number of instruments. It’salso a journey via three important 18th-century European cities, home to a triumvirate of celebrated late-Baroque composers – Antonio Vivaldi, George Frideric Handel and Georg Philipp Telemann.

Our journey is book-ended with Venetian-inspired music. For many, Vivaldi’s name immediately brings tomind the solo and multiple string concertos assembled in L’estro armonico (The Harmonic Garden),Op. 3, published 1712, as well as his immortal violin concertos representing the four seasons (Le quattrostagioni) which open the collection Il cimento dell’armonia e dell’inventione (The Contest BetweenHarmony and Invention), Op. 8, published in 1725. These and many other works stand testament to hismastery of the Italian three-movement concerto form, in which the outer movements alternate a ritornelloor refrain scored for tutti ensemble, restated in different keys, with episodes comprising different, free andmodulating material for a solo instrument. His catchy melodies, harmonies and rhythms (often strikingfor their shape, length or unusual progression) and his colourful and effective orchestration made hiscontemporaries sit up and take note. Many clamoured to make his acquaintance, to study with him, or tocopy out his compositions. J.S. Bach went so far as to transcribe six concertos from L’estro armonico:three for solo harpsichord, two for solo organ and one for four harpsichords accompanied by strings.Bach’s solo organ transcription of the Concerto for two violins in A minor, RV522 (Op. 3 No. 8) fromL’estro armonico remains a popular concert piece.

Another more recent arrangement of the work, in D minor and scored for recorder in F with obbligatoharpsichord, forms the basis for our own version – with a slight twist. In the two outer rambunctiousAllegro movements, the recorder and organ spin out the orchestral ritornelli and virtuoso solo episodes, thewhole time vigorously underpinned by the cello. For the austere middle movement – Larghetto e spiritoso –we’ve borrowed from a highly ornamented anonymous manuscript arrangement (presumably 18th-century)for recorder and harpsichord. Here the filigree melodic lines are sounded on recorder and harpsichord(right hand) while the figured bass line is realised on both harpsichord (with buff stop register) and organ.But wait, there’s only one keyboard player on this recording, so guess who’s playing the organ?

Our journey finishes with music that is very familiar, but in an unfamiliar guise. The slow movement –Largo – from Concerto No. 4 (RV297) of The Four Seasons, ‘L’inverno’ (Winter), certainly conjures upthe fireside warmth and cosiness of indoors (the solo violin arioso) contrasted with the drenching rain(the pizzicato first and second violin parts) described in Vivaldi’s accompanying sonnet:

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with five variations or doubles in the division style of 17th-century English composers. In the firstvariation, the right hand plays semiquaver divisions, which are transferred to the left hand in the secondvariation. The third and fourth variations follow a similar pattern but with triplet divisions, the fourthand fifth likewise with demi-semiquaver divisions. Handel published his Eight Harpsichord Suites in1720, concerned that erroneous copies of some of the works were being circulated abroad. There areseveral theories as to the provenance of the title, which in any case was not given by Handel. Certainly,elements of the composition might suggest the regular crashing of a hammer on an anvil.

Our arrangement of one of Handel’s most beautiful and popular opera arias, ‘Par che mi nasca in seno’from Act II of Tamerlano, HWV18, acts as a gentle prelude to his Sonata in C major, HWV365. Set to atext by Nicola Francesca Haym, Tamerlano was composed in just twenty days during 1724. The originalaria, marked Larghetto and sung by Irene, has a pastoral quality characterised with gently rocking rhythms:

Par che mi nasca in seno It seems that in my breast is bornun raggio di speranza a ray of hopea consolarmi il cor. to console my heart.Ma non contenta a pieno But my heart cannotdel seno la costanza, truly find peacese l’agita il timor. if it is shaken by fear.

Handel colours the text with two flutes, sometimes playing in unison with strings, at others echoing orinterjecting with the voice. We’ve tried to preserve this effect by rendering the orchestral parts withrecorder and organ. The sonority of the cello is perfect for singing the vocal line.

Handel’s Sonata in C major for recorder and continuo, HWV365, is a jubilant work that has the feel of adance suite. The romanesca-style walking bass of the opening Larghetto conveys a feeling of generosityand good nature that is reminiscent of the bass line of the opening Andante from Handel’s Sonata a 5 forviolin and strings in B-flat major, HWV288. The ascending sweep of the recorder part immediately sets anoptimistic tone that is emphasised by intermittent dotted figurations. In the feisty Allegro triple-timedance that follows, the music is propelled by a jaunty bass line and strong imitation between the parts.The third movement, Larghetto, is a lamenting passacaglia-like interlude with a simple but hauntingmelody. This is followed by a characterful gavotte to which one could certainly dance. The final Allegro,a passepied-like dance in triple time, is a tour de force. In the outer sections, the two-bar phrases,characterised by an accented second beat in the first bar and a silent third beat in the second bar, are

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Passar al foco i di quieti e contenti To pass quiet and contented days by the fire Mentre la pioggia fuor bagna ben cento. while a hundred outside are soaked by the rain.

Like so many composers of the era, Vivaldi borrowed from his own music to create new works. Similarmusic can be heard in the slow movement (also a Largo) from Vivaldi’s Concerto for flute, violin, andbassoon without accompanying instruments, RV91. In our arrangement, based on this version, the warmth-inducing melody is given alternatively to the organ and recorder, played by one and the same person! Thepitter-patter of raindrops is played on the harpsichord with alternating buff and un-buffed stops. The effectis enhanced by the addition of a decorated cello part (ostinato octave figuration) emulating the manuscriptcello part found in the copy of The Four Seasons preserved in the Manchester public library.

From our stopover in the great 18th-century musical centre of London, we bring you small-scale gems bythe cosmopolitan Handel. Celebrated now for his oratorios, not least Messiah, and for his many vibrantstage works which remain firmly in the mainstream repertory, his celebratory outdoor works includingWater Music and Music for the Royal Fireworks, his sacred and secular vocal works, and his monumentalconcerti grossi, Handel possessed an uncanny ability to synthesise the best elements of German, French,Italian and English styles. Able to commit his ideas to manuscript with remarkable speed and finesse, hecornered the London market. The theatricality, mood setting, colour and textural variety so appealing inhis larger-scale works also grace his smaller-scale instrumental concertos, sonatas and solos.

Handel’s Sonata in A minor for recorder and continuo, HWV362, conveys, through its contrastingmovements, the feeling of a tragic opera. The opening Larghetto sets a darkly-dramatic scena juxtaposinga dotted-note figure in the bass, made particularly poignant by sequences of 7-6 suspensions, with amelodic line that combines jaggedly arching motives with triplet figures that seem to search for theunattainable. This gives way to a stormy Allegro, a predominantly harmonic sketch in which the notes of the harmony are rhetorically announced in the recorder part, to be angrily punctuated with almostcontinuous alberti bass figurations. In the Adagio that follows, Handel gives his heroine refuge from thestorm. This is a stunning instrumental aria in which serenity and hope are underpinned by a typicalHandelian walking bass. The ‘opera’ concludes with an Allegro in which Handel cleverly refers back tothe thematic material of the opening Larghetto, disguised in a different rhythmic form. While some senseof tragedy prevails, the movement’s energy convinces the listener that the heroine is resigned to her fate.

We leave the tragedy behind with Handel’s Air and Variations, nicknamed ‘The Harmonious Blacksmith’,from his Suite No. 5 in E major for solo harpsichord, HWV430. In this, a binary-form Air is followed

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Like the F major Trio, Telemann’s Trio in B minor, TWV42:h4 comes from Essercizii musici. The broodingmood of the opening Largo gives way to a sunnier section. The energetic second movement weavesintricate contrapuntal lines and shows Telemann at his most inventive and most German. The Dolce thirdmovement is a beautiful portrayal of simplicity and innocence. In the Vivace that follows, syncopatedrhythms drive the motion with foot-stomping vigour that brings to mind an eastern European influence.

© Neal Peres Da Costa

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coquettishly humorous. This theme bears some similarity with the opening of the fourth movement ofHandel’s Concerto grosso Op. 3 No. 2. A darker, more menacing mood prevails in the middle section.

On to another musical centre, Hamburg, to sample the appealing style of one of the greatest and mostprolific of 18th-century composers. Georg Philipp Telemann’s music never fails to bring joy to players andlisteners alike, eliciting a broad spectrum of emotions. Like Handel, he had an uncanny ability tosynthesise different styles and national traits. He hastened the change of attitude towards music-making inGermany by breaking down the traditional barriers that governed it. For him, the idea of the publicconcert, through which everyone could enjoy music of different genres, was of paramount importance. Hemade his own compositions thoroughly accessible by writing in a style that was not overly taxing from atechnical standpoint but always found a way to be interesting. And he made it his business to publish asmany compositions as possible for maximum impact. For a generation of professional musicians,including Graupner, Heinichen, Pisendel and Fasch, whom he actively supported, Telemann became a rolemodel. He was ranked by theorists of his era as one of the most progressive of German composers.

We give you four instrumental works that demonstrate Telemann’s ingenuity. His Trio in F major forrecorder, viola da gamba and continuo, TWV42:F3, is part of a set of works entitled Essercizii musici(Musical Diversions) published in Hamburg (c. 1739). The outer movements, Vivace and Allegro,practically bubble away. They are both elegant dances, predominantly imitative in style, exploiting thewell-balanced sonorities of the recorder and gamba. A short second movement marked Mesto (Sad) tugsat the heartstrings with its haunting theme and chains of descending 7-6 harmonies. Telemann’s Fantasiain A major, TWV40:2, transposed into C major for recorder, is a gorgeous postlude to this. It is first inthe set of twelve Fantasias for one-keyed flute composed in Hamburg in 1732-33. The whole setexperiments with structure and sonority and is innovative in presenting for the first time forms, such asthe fugue, that had been considered impossible on the flute.

The Andante from the Sonata in D major for solo viola da gamba, from the collection Der getreue Music-Meister (The Trusty Music Master) is a sonorous prelude to Telemann’s Trio in B minor, TWV42:h4. Thecollection was published in Hamburg during 1728 and 1729 as a type of music periodical in fortnightlyinstalments. Made up of vocal and instrumental works, it provided amateurs (who were in fact finemusicians) with gratifying and varied solo and ensemble music. Many of the works in the collection,including this Andante, call for virtuoso skills.

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GENEVIEVE: WAPENAMANDA (PAPUA NEW GUINEA)

DANNY: HUBY (UNITED KINGDOM)

Genevieve, Neal and Danny have beenperforming together since 2003.

They share a love for music from many periods and styles.

NEAL: GOA (INDIA)

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GENEVIEVE LACEY

Genevieve Lacey is a recorder virtuoso, artistic director and serialcollaborator. Alongside her recording career and her engagements as aninternational soloist, she also commissions and creates new works. For2012-13, she is the recipient of a Fellowship from the Australia Council for the Arts.

Genevieve performs music spanning ten centuries, working in contexts asdiverse as her medieval duo with Danish pipe and tabor player PoulHøxbro, guest appearances with The Black Arm Band, who present musicof the Australian Indigenous experience, and her role in Liza Lim’s operaThe Navigator, directed by Barrie Kosky. She created en masse withLondon filmmaker Marc Silver, and the music for Namatjira, by Scott Rankin, the Namatjira family andBig hART.

Genevieve has performed at many of the world’s preeminent festivals including The Proms, Festivald’Automne in Paris, Chekhov International Theatre Festival in Moscow, Klangboden Wien (Vienna),Copenhagen Summer Festival, David Oistrakh Festival in Estonia, Seoul International Music Festival, andthe Cheltenham, Huddersfield and Spitalfields Festivals.

Genevieve has served on the Australian Music Centre advisory group, the boards of Astra and Elision, the Musica Viva Artistic Review Panel, and panels for the Ian Potter Music Commissions, Sidney MyerPerforming Arts Award and City of Melbourne Arts Grants. She was Artistic Director of the MelbourneAutumn Music Festival from 2001 to 2003, and of the Four Winds Festival from 2010 to 2012.

Her accolades include an ARIA Award; Australia Council, Freedman and Churchill Fellowships; BestPerformance of an Australian Composition (APRA–AMC Classical Music Awards); and OutstandingMusician (Melbourne Prize for Music). Genevieve holds academic and performance degrees (including adoctorate) in music and English literature from universities in Melbourne, Switzerland and Denmark.

www.genevievelacey.com

European boxwood treble recorder at 415 by F.G. Morgan, after Bressan 1-3, 9-!, @, $-*

Honduras rosewood treble recorder at 415 by J.G. Saunders, after Steenbergen 4-7, ¢

Rock maple voice flute at 415 by F.G. Morgan, after Stanesby £, )-#

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NEAL PERES DA COSTA

Neal Peres Da Costa is a performing scholar and music educatorspecialising in historically informed performance. He is an AssociateProfessor and Chair of Early Music at the Sydney Conservatorium ofMusic (University of Sydney) with previous posts at the University of NewSouth Wales, the Royal Academy of Music and Trinity College in London,and the University of Leeds where he was awarded a PhD in 2002. Hismonograph Off The Record: Performing Practices in Romantic PianoPlaying (Oxford University Press: New York, 2012) was the subject of afive-part radio series broadcast by the ABC during the Sydney InternationalPiano Competition.

Neal has performed with a host of distinguished soloists and ensembles in Australia and abroad. He hasperformed Bach’s monumental Goldberg Variations at the Festival Baroque in Perth (2009) and thePeninsula Summer Festival (2010), broadcast on ABC Classic FM. With Ironwood, he is involved in severalprojects including performances and recordings of late-Romantic chamber repertoire in period style.

His discography includes award-winning recordings with Florilegium; The Baroque Trombone withChristian Lindberg and the Australian Chamber Orchestra (BIS, 2009); The Galant Bassoon withMatthew Wilkie and Kees Boersma (Melba, 2009), nominated for an ABC Limelight Award; and BaroqueDuets (Vexations 840, 2011), also nominated for a Limelight Award, which he directed, with FionaCampbell, David Walker and Ironwood. For ABC Classics he has recorded Bach’s Sonatas for violin andobbligato harpsichord with Richard Tognetti and Daniel Yeadon (2008 ARIA Award for Best ClassicalRecording); Bach’s Sonatas for viola da gamba and obbligato harpsichord with Daniel Yeadon (2009);and music by Purcell and Handel with Ironwood and soprano Miriam Allan (2012).

In 2010 Neal was music historian for the Australian Youth Orchestra’s Style Workshop and was alsodirector and soloist with Orchestra Victoria. He has given papers at many international conferences.

Neal Peres Da Costa appears courtesy of the Sydney Conservatorium of Music.

Double manual harpsichord by Andrew Garlick, Somerset, England, after Jean Goujon, France, 18th century 2, 4-6, 8, )-¢

Chamber organ by Henk Klop, Garderen, The Netherlands 1, 2*, 3, 7, 9-!, £-*, ¢*

*2 Daniel Yeadon, ¢ Genevieve Lacey organ

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Executive Producers Robert Patterson, Laura BellRecording Producer Stephen SnellemanRecording Engineer Jim AtkinsEditing and Mastering Alex StinsonPublications Editor Natalie SheaBooklet Design Imagecorp Pty LtdArtist Photographs Keith Saunders

Recorded in the Iwaki Auditorium, ABC Southbank, Melbourne.

Pitch: A=415HzVallotti temperamentHarpsichord preparation and tuning: Neal Peres Da CostaChamber organ preparation and tuning: Ken Falconer and Campbell HargravesThanks to Victoria Watts for page turning and organ registration

1-3, £, ¢ arranged by Genevieve Lacey, Neal Peres Da Costa and Daniel Yeadon.

About the mapsp3: London in 1741-5, by John Rocque. (WikimediaCommons: public domain)p6: Venice, copper engraving c.1650. (WikimediaCommons: licensed under Creative CommonsAttribution 3.0 Unported)p11: ‘Hamburg, Famous Imperial City’, 1730, by J. Covens and C. Mortier (Wikimedia Commons: public domain)

p12 (left): Papua New Guinea, from Papua NewGuinea Resource Atlas, ed. Edgar Ford, TheJacaranda Press Pty Ltd, Milton, Queensland, 1974. Reproduced with he kind permission of Wiley Pressp12 (right): Huby, United Kingdom (Reproduced from Ordnance Survey digital map data © Crowncopyright 2012. All rights reserved. Licence number0100031673)p13: Goa, India, 1946, by Chrisnanath Vassu Naique.Edition Livraria Singbal, 1947 (Public domain).Supplied courtesy of Neal Peres Da Costapp14, 17: ‘Melbourne Town: The Shire of Lacey’ and‘Sydney: District of Yeadon & Peres Da Costa’ bySophie Raymond © 2012

ABC Classics thanks Andrew Delaney, Dux Newton,Jonathan Villanueva and Virginia Read.

www.abcclassics.com

� 2012 Australian Broadcasting Corporation. � 2012Australian Broadcasting Corporation. Distributed in Australiaand New Zealand by Universal Music Group, under exclusivelicence. Made in Australia. All rights of the owner of copyrightreserved. Any copying, renting, lending, diffusion, publicperformance or broadcast of this record without the authority ofthe copyright owner is prohibited.

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DANIEL YEADON

Daniel Yeadon is exceptionally versatile as a cellist and viola da gambist,performing repertoire ranging from the Renaissance to contemporary. As achamber musician he has performed in many major venues and festivalsthroughout the world. He co-founded Ironwood, an Australian ensembleknown for its presentations of the classics alongside new commissions forearly instruments. Daniel is a part-time member of the Australian ChamberOrchestra, has appeared as soloist with the Australian BrandenburgOrchestra, and has performed on several national chamber music tours forMusica Viva Australia. He performs every year with Pinchgut Opera.

Originally from the UK, Daniel read physics at Oxford University andstudied historical performance at the Royal College of Music in London. For many years he was amember of the renowned period-instrument ensemble Florilegium, and later joined the Fitzwilliam StringQuartet. Daniel continues to be guest principal cellist with many of the period-instrument ensemblesbased in London, including the English Baroque Soloists and the Orchestra of the Age of Enlightenment.

Daniel has made many award-winning recordings, including an ARIA-winning disc of sonatas by J.S. Bach with Richard Tognetti and Neal Peres Da Costa, Bach’s Sonatas for viola da gamba andharpsichord with Neal Peres Da Costa, and Bach cantatas and Brandenburg Concertos with John EliotGardiner and English Baroque Soloists, in addition to many critically acclaimed recordings withIronwood, Florilegium and the Fitzwilliam Quartet.

Daniel is a lecturer at the Sydney Conservatorium of Music and has a key role in the education team ofthe Australian Chamber Orchestra. He is currently undertaking a PhD focussing on the group learningexperiences of students in tertiary music institutions.

Cello by Michael Watson, Kent, England, 1991, after Guarnerius 1-7, £-*, ¢

Viola da gamba by Petr Vavrous, Prague, Czech Republic, 2002, after Bertrand, c.1720 9-!, (-#