BYU- IDAHO DEPARTMENT OF MUSIC PRESENTS...Venice at the end of his l • violin Europe.” He wa Germany. • BYU- IDAHO DEPARTMENT OF MUSIC PRESENTS The baroque era represent a large

BYU-IDAHODEPARTMENTOFMUSICPRESENTS

AMUSICALTOUROFBAROQUEEUROPE

JUNE15,2017–7:30PMSNOWRECITALHALL

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bowtechnique.Thetonequalityissofter,moreresonant,yetlessdirectthantheviolin.Bothinstrumentfamiliescoexistedduringthe16ththrough18thcenturies,usuallyplayingdifferentrepertoire.Bassocontinuoreferstothepreferredharmonicaccompanimentusedduringthebaroqueera.Fromaprintedbasslinewithafewharmoniccluesindicatedasnumerical“figures,”musiciansimprovisedchordalaccompanimentswhichbestfittheuniquequalitiesoftheirinstrumentsandsupportedtheuppersololines--similartothewayamodernjazzrhythmsectionwill“comp”behindavocalorsaxophonesolo.Thissinglebasslinemightincludeacolorfulvarietyofbothmelodicandchordplayinginstruments.Tonight’sbassocontinuosectionincludes:

• Harpsichord,featuringpluckedbrassstringsacrossalightwoodframe,resultinginadelicate,transparenttonewhichcontrastswiththestrongironframeandhammeredtoneofthemodernpiano

• Baroquestyleorgan,usingamechanical“tracker”mechanisminsteadofelectronicstorouteairtoeachpipe

Thebaroqueerarepresentalargetimeperiodofdiversemusicalstylesfromavarietyofregions.Thiseveningweexplore,inchronologicalordertherangeanddevelopmentofmusictouringacrossbaroqueItaly,FranceandAustriafinallyendingbackinItalywiththehighbaroquestyleofVivaldi.Severalimportantcomposerarerepresented:

• JewishviolinistSalomoneRossitransitionedfromthelateRenaissancestyle.Hisworksareamongtheearliesttospecifytheviolin.

• BiagioMarini’sinnovativecompositionshelpedadvancethetechniqueofbaroqueeraviolinplaying.HeperformedandcomposedallacrossEurope,finallysettlinginVeniceattheendofhislife.

• JohannHeinrichSchmelzerwasrecognizedinhisdayasVienna'sforemostviolinistandaleadingcomposer.Itisunknownwherehereceivedhismusicaltrainingbutonetravellerreferredtohimas“nearlythemosteminentviolinistinEurope.”HewaskeyinthedevelopmentoftheinstrumentalsonatainAustriaandGermany.

• AstudentofSchmelzer,HeinrichIgnazFranzBiberrepresentedaleadinglate17thcenturyAustrianviolinvirtuosoandcomposer,bestrememberedforhisincreasinguseofextremetechniquesinviolinmusic.Thedemandingleft-handandbowingrequirementsinhiscompositionswereveryadvanced.

• TrainedinRome,Marc-AntoineCharpentierwasmentoredincompositionbyItalianGiacomoCarissimi,becomingbestknownforhismasteryofsacredvocalstyle.HespentmajorityofhiscareerasmaîtredemusiquefortheSainte-ChapelleinParis.

• ComparedfavourablytothefamouscourtcomposerLullybyLouistheXIV,André-CardinalDestouchesspendthefirstpartofhislifeasasoldier,finallyquittingthearmyin1696topursuemusicfulltime.

• KnowchieflyforhismanyItalianoperas,NepaleseComposerAlessadroScarlatti’smusicwasanimportantlinkbetweenthelaterbaroqueandearlyclassicalstyle

• TheprolificAntonioVivaldiisknownforhisdevelopmentofthree-movementconcertoform.Anextravagantviolinist,hecarriedthenickname“ilpreteroso”(theredpriest)becauseofhisredhair.

Dr.Tueller

PROGRAMIlprimolibrodellesinfonieegagliarde1607.........................................SalomoneRossi

I. Passagio 1570–1630II. SinfoniaIII. GaglairdaMassara

Perognisortedistrumentomusicale,Op.221655...................................BiagioMarini

I. Sinfonia 1594–1663 II. CouretteIII. Passacalio

SonataIXfromSacro-ProfanusConcentusMusicus1662..JohannHeinrichSchmelzer

1623–1680SonataIVfromFidiciumSacro-Profanum1683...................HeinrichIgnazFranzBiber

1644–1704Concertpourquatrepartiesdevioles1680..........................Marc-AntoineCharpentier

I. PreludeI 1643–1704II. PreludeII III. SarabandeIV. GigueangloiseV. GiguefrancoiseVI. Passecaille

PassacaillefromAmadisdeGréce1687............................André-CardinalDestouches

1672–1749 ConcertoIIinFMinor.................................................................AlessandroScarlatti

I. Allegro 1660–1725II. Grave III. Minuetto

ConcertoIforFourViolinsfromL’estroAmonicoOp.31711................AntonioVivaldi

I. Allegro 1678–1741II. LargoespiccatoIII. Allegro

MatthewGardner,MissyMcKenna,AndreGaspar,GretaHansen,violinDr.Tueller,violoncello

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NOTESTheUniversityBaroqueEnsemble,initssixteenthyearatBYU-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,quickdownbowandalight,softerupbow,meanttoemphasizetheinequalitiesofstrongandweakbeats.Inadditiontotheinstrumentsoftheviolinfamily(includingviolin,viola,andvioloncello),ourensembleusesvioladagambas.Violadagambas(stringinstrumentsheldattheleg)wereafamilyofinstrumentsdistinctfromtheviolinfamilyorvioladabraccios(stringinstrumentsheldatthearm).Gambashavefrets,sixormorestringstunedinfourths,andanunderhand

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PERSONNELDr.RobertTueller,Director

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ViolinIMatthewGardnerMissyMcKennaLeahJeppsonViolinIIAndreGasparGretaHansen

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Viola/VioladaGambaAritaJustusMarkShipleyVioladaGamba/VioloneMichaelRollins

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Violone/VioloncelloDr.TuellerHarpsichord/OrganRobertBarthel