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BYU- IDAHO DEPARTMENT OF MUSIC PRESENTS AMUSICAL TOUR OF BAROQUE EUROPE JUNE 15, 2017 – 7:30 PM SNOW RECITAL HALL bow technique. The tone quality is softer, more resonant, yet less direct than the violin. Both instrument families coexisted during the 16th through 18th centuries, usually playing different repertoire. 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 The baroque era represent a large time period of diverse musical styles from a variety of regions. This evening we explore, in chronological order the range and development of music touring across baroque Italy, France and Austria finally ending back in Italy with the high baroque style of Vivaldi. Several important composer are represented: • Jewish violinist Salomone Rossi transitioned from the late Renaissance style. His works are among the earliest to specify the violin. • Biagio Marini’s innovative compositions helped advance the technique of baroque era violin playing. He performed and composed all across Europe, finally settling in Venice at the end of his life. • Johann Heinrich Schmelzer was recognized in his day as Vienna's foremost violinist and a leading composer. It is unknown where he received his musical training but one traveller referred to him as “nearly the most eminent violinist in Europe.” He was key in the development of the instrumental sonata in Austria and Germany. • A student of Schmelzer, Heinrich Ignaz Franz Biber represented a leading late 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. • Trained in Rome, Marc-Antoine Charpentier was mentored in composition by Italian Giacomo Carissimi, becoming best known for his mastery of sacred vocal style. He spent majority of his career as maître de musique for the Sainte-Chapelle in Paris. • Compared favourably to the famous court composer Lully by Louis the XIV, André- Cardinal Destouches spend the first part of his life as a soldier, finally quitting the army in 1696 to pursue music full time. • 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 • The prolific Antonio Vivaldi is known for his development of three-movement concerto form. An extravagant violinist, he carried the nickname “il prete roso” (the red priest) because of his red hair. Dr. Tueller

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Page 1: 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

Page 2: 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

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


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