BYU – IDAHO DEPARTMENT OF MUSIC PRESENTS

DECEMBER 6, 2018 – 7:30 PM BARRUS CONCERT HALL

Our ensemble uses a set of baroque bows patterned after existing historic examples from the early 18th century. These bows are lighter, shorter, and have a slight outward curve resulting in characteristic baroque articulation -- a strong, quick down 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

This evening’s performance features suites, sinfonia and concerti by prominent composers from the 17th and early 18th century:

§ 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.

§ Johann Heinrich Schmelzer was recognized in his day as Vienna's foremost violin virtuoso 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

§ Arcangelo Corelli composed exclusively for violin using remarkable detail, care and musical perfection. His Opus 6 Concerto Grosso (for a trio of soloists accompanied by orchestra) helped define this important baroque genre.

§ Virtuoso violinist Calro Farina trained at Mantua, worked in Dresden eventually dying from the plague in Venice. Even though short lived he is credited with advancing violin technique including the first use of double stops and con legno bow effects

§ 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

Dr. Tueller

PROGRAM Sinfonia in G major, RV 146 ................................................................... Antonio Vivaldi

I. Allegro 1678 – 1741 II. Andante

III. Presto

Fetchschule .......................................................................... Johann Heinrich Schmelzer I. Aria I c. 1620 – 1680

II. Aria II III. Sarabande IV. Courente V. Fechtschule

VI. Bader Aria Concerto VIII Fatto per la note di natale From 12 Concerti Grossi, op. 6 ............................................................ Arcangelo Corelli

I. Vivace – Grave 1653 – 1713 II. Allegro

III. Adagio – Allegro – Adagio IV. Vivace V. Allegro

VI. Pastorale: Largo Sara Bagley, Bryce Boydston violin, Sebastian Fraser, cello

Sinfonia Al santo sepolcro, RV 169 ........................................................ Antonio Vivaldi

I. Adagio molto II. Allegro ma poco

Capriccio stravagante .................................................................................. Carlo Farina The Lira (Hurdy Gurdy) The Hen & Rooster c. 1600 – 1639 The Little Fife The Little Flute Lira Variation An Organ with Tremolo The Trumpet The Soldier’s Fife and Drum The Clarino (High Trumpet) Cats & Dogs Timpani The Spanish Guitar Abdelazer Suite ......................................................................................... Henry Purcell

I. Overture 1659 – 1695 II. Rondeau

III. Air IV. Air V. Minuet

VI. Air VII. Jig

VIII. Hornpipe IX. Air

NOTES The University Baroque Ensemble, in its sixteen year at BYU-Idaho, presents 17th and 18th century music with an emphasis on appropriate style and performance practice. In the last several decades, musicians have increasingly focused on how music may have sounded in its own time period. A wealth of historical information exists on the performance conventions of the time. From these writings we discover stylistic considerations such as articulation differences of the bow; how un-indicated dynamic changes could be applied; embellishment and ornamentation; tempos and the sparing use of vibrato. A more direct way to approach baroque music is by using instruments patterned after 17th and 18th century examples. The University Baroque Ensemble performs on early instruments crafted from 18th century models. While visually resembling their modern counterparts, the string instruments of the time used different fittings and bows, resulting in a much lighter and more transparent sound. Plain sheep gut was the preferred material for strings until the early 20th century. Gut strings produce a softer, sweeter, and more colorful sound, compared to modern steel strings. Even though metal string technology was used in harpsichords and other instruments of the time, violinists preferred gut for its sound quality, accepting the negative effects of temperature and humidity changes on tuning and stability – particularly felt in our desert climate.

PERSONNEL Dr. Robert Tueller, Director

Violin I Sarah Bagley McKenna Motto Krystell Taylor Noelle Singleton Violin II Bryce Boydston Emily Rapp Mikayla Carey Nathan Hooper

Viola Clayton Johnson Chloe Knutsen Laura Berghout Violoncello Sebastian Fraser Charlotte Petersen Alex Kempton Jaquell Taylor

Violone Nathan May Harpsichord Katelyn Fitzen Erin Jossie

NOTES The University Baroque Ensemble, in its sixteenth year at BYU-Idaho, presents 17th and 18th century music with an emphasis on appropriate style and performance practice. In the last several decades, musicians have increasingly focused on how music may have sounded in its own time period. A wealth of historical information exists on the performance conventions of the time. From these writings we discover stylistic considerations such as articulation differences of the bow; how un-indicated dynamic changes could be applied; embellishment and ornamentation; tempos and the sparing use of vibrato. A more direct way to approach baroque music is by using instruments patterned after 17th and 18th century examples. The University Baroque Ensemble performs on early instruments crafted from 18th century models. While visually resembling their modern counterparts, the string instruments of the time used different fittings and bows, resulting in a much lighter and more transparent sound. Plain sheep gut was the preferred material for strings until the early 20th century. Gut strings produce a softer, sweeter, and more colorful sound, compared to modern steel strings. Even though metal string technology was used in harpsichords and other instruments of the time, violinists preferred gut for its sound quality, accepting the negative effects of temperature and humidity changes on tuning and stability – particularly felt in our desert climate. Baroque instruments use a flatter neck and bridge angle resulting in less string tension. This produces a gentler, more resonant sound, which reacts in a reverberant performance venue. You may also notice several obvious visual differences in baroque instruments -- the lack of endpin for cello and the lack of chin and shoulder rest for violins and violas.

PROGRAM Sinfonia in G major, RV 146 ................................................................... Antonio Vivaldi

I. Allegro 1678 – 1741 II. Andante

III. Presto

Fetchschule .......................................................................... Johann Heinrich Schmelzer I. Aria I c. 1620 – 1680

II. Aria II III. Sarabande IV. Courente V. Fechtschule

VI. Bader Aria Concerto VIII Fatto per la note di natale From 12 Concerti Grossi, op. 6 ............................................................ Arcangelo Corelli

I. Vivace – Grave 1653 – 1713 II. Allegro

III. Adagio – Allegro – Adagio IV. Vivace V. Allegro

VI. Pastorale: Largo Sara Bagley, Bryce Boydston violin, Sebastian Fraser, cello

Sinfonia Al santo sepolcro, RV 169 ........................................................ Antonio Vivaldi

I. Adagio molto II. Allegro ma poco

Capriccio stravagante .................................................................................. Carlo Farina The Lira (Hurdy Gurdy) The Hen & Rooster c. 1600 – 1639 The Little Fife The Little Flute Lira Variation An Organ with Tremolo The Trumpet The Soldier’s Fife and Drum The Clarino (High Trumpet) Cats & Dogs Timpani The Spanish Guitar Abdelazer Suite ......................................................................................... Henry Purcell

I. Overture 1659 – 1695 II. Rondeau

III. Air IV. Air V. Minuet

VI. Air VII. Jig

VIII. Hornpipe IX. Air

NOTES The University Baroque Ensemble, in its sixteen year at BYU-Idaho, presents 17th and 18th century music with an emphasis on appropriate style and performance practice. In the last several decades, musicians have increasingly focused on how music may have sounded in its own time period. A wealth of historical information exists on the performance conventions of the time. From these writings we discover stylistic considerations such as articulation differences of the bow; how un-indicated dynamic changes could be applied; embellishment and ornamentation; tempos and the sparing use of vibrato. A more direct way to approach baroque music is by using instruments patterned after 17th and 18th century examples. The University Baroque Ensemble performs on early instruments crafted from 18th century models. While visually resembling their modern counterparts, the string instruments of the time used different fittings and bows, resulting in a much lighter and more transparent sound. Plain sheep gut was the preferred material for strings until the early 20th century. Gut strings produce a softer, sweeter, and more colorful sound, compared to modern steel strings. Even though metal string technology was used in harpsichords and other instruments of the time, violinists preferred gut for its sound quality, accepting the negative effects of temperature and humidity changes on tuning and stability – particularly felt in our desert climate.

PERSONNEL Dr. Robert Tueller, Director

Violin I Sarah Bagley McKenna Motto Krystell Taylor Noelle Singleton Violin II Bryce Boydston Emily Rapp Mikayla Carey Nathan Hooper

Viola Clayton Johnson Chloe Knutsen Laura Berghout Violoncello Sebastian Fraser Charlotte Petersen Alex Kempton Jaquell Taylor

Violone Nathan May Harpsichord Katelyn Fitzen Erin Jossie

NOTES The University Baroque Ensemble, in its sixteenth year at BYU-Idaho, presents 17th and 18th century music with an emphasis on appropriate style and performance practice. In the last several decades, musicians have increasingly focused on how music may have sounded in its own time period. A wealth of historical information exists on the performance conventions of the time. From these writings we discover stylistic considerations such as articulation differences of the bow; how un-indicated dynamic changes could be applied; embellishment and ornamentation; tempos and the sparing use of vibrato. A more direct way to approach baroque music is by using instruments patterned after 17th and 18th century examples. The University Baroque Ensemble performs on early instruments crafted from 18th century models. While visually resembling their modern counterparts, the string instruments of the time used different fittings and bows, resulting in a much lighter and more transparent sound. Plain sheep gut was the preferred material for strings until the early 20th century. Gut strings produce a softer, sweeter, and more colorful sound, compared to modern steel strings. Even though metal string technology was used in harpsichords and other instruments of the time, violinists preferred gut for its sound quality, accepting the negative effects of temperature and humidity changes on tuning and stability – particularly felt in our desert climate. Baroque instruments use a flatter neck and bridge angle resulting in less string tension. This produces a gentler, more resonant sound, which reacts in a reverberant performance venue. You may also notice several obvious visual differences in baroque instruments -- the lack of endpin for cello and the lack of chin and shoulder rest for violins and violas.

BYU – IDAHO DEPARTMENT OF MUSIC PRESENTS

DECEMBER 6, 2018 – 7:30 PM BARRUS CONCERT HALL

Our ensemble uses a set of baroque bows patterned after existing historic examples from the early 18th century. These bows are lighter, shorter, and have a slight outward curve resulting in characteristic baroque articulation -- a strong, quick down 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

This evening’s performance features suites, sinfonia and concerti by prominent composers from the 17th and early 18th century:

§ 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.

§ Johann Heinrich Schmelzer was recognized in his day as Vienna's foremost violin virtuoso 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

§ Arcangelo Corelli composed exclusively for violin using remarkable detail, care and musical perfection. His Opus 6 Concerto Grosso (for a trio of soloists accompanied by orchestra) helped define this important baroque genre.

§ Virtuoso violinist Calro Farina trained at Mantua, worked in Dresden eventually dying from the plague in Venice. Even though short lived he is credited with advancing violin technique including the first use of double stops and con legno bow effects

§ 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

Dr. Tueller