2015-2016 CONCERT SERIES Friday 18 December, 7.30pm JOGLARESA Sing We Yule! Great St Mary’s Church Friday 26 February, 7.30pm MAGNIFICAT, directed by Philip Cave Scattered Ashes: Josquin & Byrd Emmanuel United Reformed Church Saturday 19 March, 7.30pm RICHARD BOOTHBY & CHRISTOPHE COIN L’entente Cordiale: Music for two viols St Bene’t’s Church Saturday 25 June, 7.30pm THE SOCIETY OF STRANGE & ANCIENT INSTRUMENTS Sound House: The musical experiments of philosopher Francis Bacon Wesley Methodist Church 2016 FESTIVAL OF THE VOICE 12-15 May 2016 Thursday 12 May, 8.00pm VOX LUMINIS Light & Shadow: Music at the time of Elizabeth I St John’s College Chapel Friday 13 May, 1.00pm THE GESUALDO SIX Old & New: Monteverdi, Gesualdo & Ligeti St Bene’t’s Church Friday 13 May, 7.30pm VOCES8 Bach Motets Trinity College Chapel Saturday 14 May, 3.30pm THREE MEDIEVAL TENORS Conductus: The forgotton song of the Middle Ages Little St Mary’s Church Sunday 15 May, 1.00pm VOCES8 Lassus: Sacrae Lectiones ex Propheta Job Jesus College Chapel Sunday 15 May, 7.30pm JAMES GILCHRIST (tenor) & ANNA TILBROOK (fortepiano) Songs by Schubert, Haydn and Beethoven Howard Theatre, Downing College Cambridge Early Music FUTURE CONCERTS include Cambridge Early Music, Box 111, 23 King Street, Cambridge, CB1 1AH, United Kingdom; Registered Charity Number 1127932 Trustees: Dame Mary Archer, John Bickley, Martin Darling, Professor Peter Holman, Annabel Malton, Professor David McKitterick, Libby Percival, Dr Frankie Williams and Mark Williams | Administrator: Dr Christopher Roberts All details are subject to change Principal sponsor Corporate partners The Howard Foundation Box Office 0333 666 3366 www.CambridgeEarlyMusic.org / CambridgeEarlyMusic @CambsEarlyMusic 2015 - 2016 CONCERT SERIES www.CambridgeEarlyMusic.org LA SERENISSIMA Antonio Vivaldi: Le Quattro Stagioni Saturday 21 November 2015, 7.30pm PROGRAMME £2
Transcript
2015-2016 CONCERT SERIES Friday 18 December, 7.30pm JOGLARESA Sing We Yule! Great St Mary’s Church Friday 26 February, 7.30pm MAGNIFICAT, directed by Philip Cave Scattered Ashes: Josquin & Byrd Emmanuel United Reformed Church Saturday 19 March, 7.30pm RICHARD BOOTHBY & CHRISTOPHE COIN L’entente Cordiale: Music for two viols St Bene’t’s Church Saturday 25 June, 7.30pm THE SOCIETY OF STRANGE & ANCIENT INSTRUMENTS Sound House: The musical experiments of philosopher Francis Bacon Wesley Methodist Church
2016 FESTIVAL OF THE VOICE 12-15 May 2016 Thursday 12 May, 8.00pm VOX LUMINIS Light & Shadow: Music at the time of Elizabeth I St John’s College Chapel Friday 13 May, 1.00pm THE GESUALDO SIX Old & New: Monteverdi, Gesualdo & Ligeti St Bene’t’s Church Friday 13 May, 7.30pm VOCES8 Bach Motets Trinity College Chapel Saturday 14 May, 3.30pm THREE MEDIEVAL TENORS Conductus: The forgotton song of the Middle Ages Little St Mary’s Church Sunday 15 May, 1.00pm VOCES8 Lassus: Sacrae Lectiones ex Propheta Job Jesus College Chapel Sunday 15 May, 7.30pm JAMES GILCHRIST (tenor) & ANNA TILBROOK (fortepiano) Songs by Schubert, Haydn and Beethoven Howard Theatre, Downing College
Cambridge Early Music FUTURE CONCERTS include
Cambridge Early Music, Box 111, 23 King Street, Cambridge, CB1 1AH, United Kingdom; Registered Charity Number 1127932 Trustees: Dame Mary Archer, John Bickley, Martin Darling, Professor Peter Holman, Annabel Malton, Professor David McKitterick, Libby Percival, Dr Frankie Williams and Mark Williams | Administrator: Dr Christopher Roberts All details are subject to change Principal sponsor Corporate partners The Howard Foundation
Viola: Elitsa Bogdanova, Jim O’Toole, Katie Holmes
Cello: Gareth Deats (continuo), Vladimir Waltham
Bass: Carina Cosgrave
Theorbo: Lynda Sayce
Harpsichord: Robert Howarth
Programme
Concerto per violino in tromba marina, strings & continuo in G, RV 311
Allegro
Andante
Allegro
Concerto per Maestro dè Morzin for bassoon, strings & continuo in g, RV 496
Allegro
Largo
Allegro
Concerto per violino in tromba marina, strings & continuo in D, RV 221
Allegro
Andante
Allegro
Concerto La Notte for bassoon, strings & continuo in B flat, RV 501
Largo – Andante molto
Presto: Fantasmi – Presto – Adagio
Adagio: Il Sonno
Allegro: Sorge l’Aurora
INTERVAL – refreshments served
Cambridge Early Music gratefully acknowledges the support of its generous Patrons & Benefactors for 2015-2016:
Dame Mary Archer Sue Edwards & David Lavender Mick Swithinbank Keren & Jo Butler Linda Gower Alex Thornton Peter Cains Bill Janeway Christopher Thorpe Anne Culver Anne Jordan Prof. Tony Watts Martin Darling Annabel & Gerald Malton Ann Wintle Sue Davies Brent Mendelsohn Stephanie Rosenbaum Clare Dawson George Smerdon Adrian Lush Stephen Keynes Mark Williams and those Patrons & Benefactors who wish to remain anonymous Honorary Patrons: Sir Gregory Winter, The Master of Trinity College; Suzi Digby, Lady Eatwell Peter Nash
Le Quattro Stagioni / The Four Seasons (Manchester version)
Le Quattro Stagioni first gained popularity when Vivaldi published the concertos as part of his Opus 8 concerti, Il cimento dell’armonia e invenzione (The Fusion of Harmony and Invention). One of the most original characteristics of these works is the programmatic element found in the descriptive tags given to each section and the sonnets which accompany each concerto (probably written by Vivaldi himself) to which Vivaldi provides cues in the score through a series of letters. The Opus 8 was published in Amsterdam in 1725 by the house of Le Cene. The composer’s autograph manuscript has since been lost but in Manchester, there survives a set of parts in the hand of his father. These were probably prepared c1726 to be presented to Cardinal Ottoboni. Vivaldi states that they were not freshly composed for the 1725 publication, and that their inclusion was due to the fact that they had ‘so long enjoyed the indulgence of Your Most Illustrious Lordship’s kind generosity’, and in addition ‘I have added to them besides the sonnets a very clear statement of all the things that unfold in them, so that I am sure they will appear new to you.’ It is probable that this version represents the composer’s intentions more fully. In places the musical
text is more logical, the articulations more Vivaldian, and the correlation between the sonnets and cues in the parts makes more sense. The subject of The Four Seasons was widespread through European art of the post-Renaissance, harking back to the Arcadian poetry of Theocritus’ Idylls and Virgil’s Eclogues. These influenced writers, artists and musicians of the Renaissance, whose standardised figures, subjects and symbols continued to be used until the end of the eighteenth century. Painters used ‘invention’ to draw inspiration for their pictorial composition and composers used a similar process to develop ‘figures’ in order to express affects in much the same way; it is probable that it is this to which Vivaldi refers in his title. Several themes contained within these works can be found among stock aria-types from his operatic oeuvre including Birds (Spring (i) & Summer (i)), Storm (Spring (i), Summer (i – iii)), Sleep (Spring (ii), Summer (ii), Autumn (ii), Winter (ii)), Hunting (Autumn (iii)) and War (Winter (iii)). In addition to these we can find various ‘affects’ and ‘concepts’, devices that the baroque opera composer used to communicate with his audience including nature, calm, faith, love, melancholy and suspicion. These ideas enabled Vivaldi to implement a tonal structure similar to those found throughout his operas when presented with similar ideas. With such an apparently complex plan to hand, one wonders whether Le Quattro Stagioni has an overall allegorical plan and whether this can be pursued further through the rest of the Opus 8. Features contributing to this enigma include the use of the dog – the personification of Melancholy – in conjunction with the key of c sharp minor in La Primavera; the appearance of the cuckoo as the first bird of L’Estate, foretelling doom for the unfortunate lover whose emotional state of mind is subsequently shown through the means of a storm in this concerto’s finale (a common operatic device); the recycling of rhythmic material from La Primavera in L’Autunno; echoes of the heat of L’Estate in the coming of the Sirocco in L’Inverno.
~ Vivaldi produced c500 concertos, half of which are for solo violin, a fact not surprising given his prodigious skill as a violinist. More extraordinary is that the instrument for which Vivaldi composed the next highest tally of concerti – 39 – is the bassoon. One explanation oft cited for this was that he was supplying the Ospedale della Pietà with works for their talented female musicians; this cannot be the case however as the Pietà neither owned bassoons nor employed any teacher of the instrument. In addition to one concerto that gives the name of a local Venetian player Gioseppino Biancardi, we know that three others were written for the orchestra of Count Wenzel von Morzin where they were probably played by resident virtuoso Anton Reichenauer; the concerto RV 496 even bears the name of Morzin on the manuscript. Michael Talbot now thinks that it is more than likely that a large number of the other concertos were written for Reichenauer and this would explain the disparity between the high numbers of bassoon concertos and the low-incidence of the bassoon used as an obligatist in his operas. The concerto La notte (RV 501) (which shares its title with a chamber and flute concerto (RV 104 & 439)) features programmatic elements similar to those found in Le Quattro Stagioni with
As a chamber musician Peter has collaborated with the Belcea Quartet, Francois Leleux, Robert Levin, Kris Bezuidenhout, Anthony Marwood and Monica Huggett and appears with Tori Amos in her album Night of Hunters recorded for Deutsche Gramophone (2011). Peter has also has worked with many of the finest orchestras including the London Symphony Orchestra, Australian Chamber Orchestra, the English Baroque Soloists and The English Concert. Peter currently holds the position of principal bassoon with both the Scottish Chamber Orchestra and the Mahler Chamber Orchestra and is professor at the Guildhall School of Music and Drama, the Royal Northern College of Music and the Royal Scottish Conservatoire.
La Serenissima was formed in 1994 for a performance of Antonio Vivaldi’s La Sena festeggiante and has now firmly established itself as one of the leading exponents of the music of Antonio Vivaldi and connected composers. Since its first CD release in 2003, La Serenissima has been applauded by publications including Gramophone Magazine, The Sunday Times, BBC Music Magazine, Diapason, Fanfare Magazine, American Record Guide, The Independent, The Strad and The Evening Standard for its performances on the Avie Label. Their records have received numerous award nominations and in 2010 Vivaldi: The French Connection won the Gramophone Award for Best Baroque Instrumental CD. La Serenissima celebrated its 21st birthday in 2015 by recording The Four Seasons (Manchester version) alongside works for violino in tromba marina, a reconstruction project undertaken by violinist Adrian Chandler, luthier David Rattray and musicologist Michael Talbot which is a first in modern times. This recording entered the UK Specialist Classical Chart at number 8 on release in September 2015 and has already attracted international acclaim. La Serenissima has appeared at many of the UK’s leading festivals including the Bath Bach, Bath International, Beverley, Buxton, Cambridge and Cambridge Summer, Chelsea, Cheltenham, Lichfield, South Bank, Warwick and York Early Music Festivals, and venues including St George’s Bristol, Snape Maltings, Cadogan Hall, Queen Elizabeth Hall and Wigmore Hall. The group has also appeared in Belgium, Germany, Ireland, Israel, Italy, Malta, Mexico and Spain to great acclaim. Nearly the entire repertoire of La Serenissima is edited by Director Adrian Chandler from manuscript or contemporary printed sources, a testament to its commitment and passion for rare and exciting Italian music; a feat which makes it unique amongst other ensembles. Follow us on Twitter: @LaSerenissimaUK Like our Facebook page Visit our website: www.laserenissima.co.uk
Adrian Chandler (director, violin) Born on Merseyside in 1974, Adrian Chandler studied modern and baroque violin at the Royal College of Music with Rodney Friend and Catherine Mackintosh. Whilst a student at the Royal College he founded the ensemble La Serenissima with whom he has since performed numerous solo recitals and concerti in major festivals such as Bruges, Chelsea, Cheltenham, Handel Halle, Lake District Summer Music, Lichfield, Southwark, South Bank Early Music, Spitalfields and York Early Music, as well as in concert series in Denmark, Estonia, Germany, Ireland, Israel, Italy, Malta, Mexico, Spain and the UK. His performances have been broadcast by BBC Radio 3, Radio Scotland, Dutch Radio, Radio 3 Belgium, Radio France, Danish Radio, Classic FM and on Japanese TV. He has also appeared as guest director/soloist with various ensembles, most recently at the Oslo Chamber Music Festival. Adrian was awarded an Arts and Humanities Research Council fellowship in 2006 at Southampton University in order to research the development of the North Italian violin concerto 1690 – 1740; this research culminated in the release of the third CD in La Serenissima's North Italian Violin Concerto series. He recently finished a two year post as a Turner Sims Professor at the University of Southampton. His recording of virtuoso solo violin sonatas Per Monsieur Pisendel 2 released on the Avie label during 2014 attracted rave reviews and featured on the soundtrack of hit American TV series The Originals. His interpretation of Vivaldi’s Le Quattro Stagioni with La Serenissima debuted on the UK Specialist Classical Chart at number 8 and is attracting international attention following its September release. Peter Whelan (bassoon) Equally at home on modern and historical instruments, Peter has a diverse repertoire spanning over four centuries and is in demand as a soloist, chamber musician and director. As a concerto soloist, Peter has performed in many of the world's most prestigious venues, including the Musikverein, the Lincoln Centre and the Wigmore Hall. He has recorded the Weber bassoon concerto for Linn records with the Scottish Chamber Orchestra and the Mozart Concerto and Haydn Sinfonia Concertante for Hyperion with Arcangelo. In May 2016, Peter will premiere a specially commissioned bassoon concerto by American composer Michael Gordon with the Orchestra of the Age of Enlightenment at the Southbank Centre, London. Peter is the founder and artistic director of Ensemble Marsyas. Specialising in virtuoso wind music from the baroque and classical era, their recording of Zelenka Sonatas and subsequent disc of music by Fasch both received a Supersonic Award and were named BBC Music Magazine's Editor’s Choice.
movements such as Fantasmi (Ghosts) and Il Sonno (Sleep) – where the bassoon concerto treats the latter movement in a similar way to its appearance in L’Autunno; the finale to the concerto is titled ‘The Rising Dawn’.
~ One of the most unusual instruments to appear in Vivaldi’s concerti was the violino in tromba marina, a pimped-up violin for which Vivaldi himself may have provided the stimulus and which was intended to produce a sound not dissimilar to a tromba marina. This was a single-stringed instrument that can be traced back as early as the 12th century and was still in use during Mozart’s youth. It was commonly used in convent chapels as it was deemed inappropriate for nuns to play trumpets. The surviving evidence suggests that the violino in tromba marina was unique to the Ospedale della Pietà. All the surviving music for this instrument was written by Vivaldi (with one exception by Nicola Porpora). The Pietà account books record payments to Matteo Sellas for old violins to be fitted with tromba marina bridges and supplied with strings. Given that the Pietà must have had a supply of standard gut strings, we can assume that these strings were probably made of a different material not normally associated with string playing techniques of the time. We opted for wire strings wound in brass. Maybe it’s no coincidence that the technique of producing wound strings had been perfected in nearby Bologna during the 1660s and 1670s. With regards to the specified tromba marina bridge designed to carry a monochord, this cannot have been the solution used as it wouldn’t have been able to vibrate in the intended way with multiple strings. We therefore needed to find another way of producing the trumpet-like rasp of the tromba marina. The solution was to position a small, metal pin through the hole in the bridge, onto the back of which were placed two small rings whose purpose was to vibrate against each other giving a convincing effect. Judging by the regularity with which Vivaldi writes piano in the solo part, we think the instrument must have produced a loud sound. This is corroborated by the high incidence of double stops played by the soloist in the ritornelli passages. These passages are doubled by the violins (without the double-stopping); if the solo instrument isn’t noticeably louder than the orchestral violins, this effect is lost. Michael Talbot hypothesises that this instrument had three strings, tuned g-d’-a’. This is amply supported by evidence found in the scores.
Sonetto Dimostrativo La PRIMAVERA Giunt’ e’ la Primavera e festosetti La Salutan gl’augei con lieto canto, E i fonti allo spirar de’Zeffiretti Con dolce mormorio scorrono intanto. Vengon’ coprendo l’aer di nero amanto E lampi, e tuoni ad annuntiarla eletti Indi tacendo questi, gl’Augelletti; Tornan’ di nuovo allor canoro incanto. E quindi sul fiorito ameno prato Al caro mormorio di fronde e piante Dorme’l caprar col fido can’ à lato. Di pastoral zampogna al suon festante Danzan Ninfe e Pastori nel tetto amato Di primavera all’apparir brillante. L’ESTATE Sotto dura staggion dal sole accesa Langue l’huom, langue’l gregge, ed arde il Pino Scioglie il cucco la voce, e tosto intesa Canta la tortorella e’l gardelino. Zeffiro dolce spira, mà contesa Muove Borea improviso al suo vicino E piange il Pastorel, perche sospesa Teme fiera borasca, e’l suo destino. Toglie alle membra lasse il suo riposo Il timore de’Lampi, e tuoni fieri E de mosche, e mossoni il stuol furioso! Ah che pur troppo i suoi timor son veri Tuona e fulmina il ciel grandinoso Tronca il capo alle spiche e a’grani alteri.
SPRING Spring has arrived and joyously the birds welcome her return with happy song and brooks, caressed by soft airs murmur sweetly as they course along. Casting their inky mantle over the heavens, thunder and lightning, natures heralds, roar. When they are quiet, the birds return to their songs once more. Now, upon the pleasant flowery meadow beneath the rustling of the leafy canopy a goatherd sleeps, his dog at his side. To the festive sound of rustic bagpipes, nymphs and shepherds dance beneath the green brilliant mantle of spring. SUMMER Beneath the blazing sun’s relentless heat man and flock languish, pines are seared; the cuckoo calls and, soon heard are, the songs of the turtledove and goldfinch. Zephyr blows gently, but suddenly Boreas sweeps his neighbour aside; the shepherd weeps, because he fears a fierce storm in the offing and his destiny. His tired limbs are disturbed from their repose by the fear of lightening, the clash of thunder, and a furious swarm of flies and mosquitoes. Ah, his fears are only too justified, thunder roars and fulminates and hail flattens the corn and other ripened grains.
L’AUTUNNO Celebra il vilanel con balli e canti Del felice raccolto il bel piaccere E del liquor di Bacco accesi tanti Finiscono col sonno il lor godere. Fà ch’ogn’uno tralasci e balli e canti L’aria che temperate dà piacere, E la staggion ch’invita tanti e tanti D’un dolcissimo sonno al bel godere. Il cacciatore alla nov’alba à caccia Con corni, schioppi, e canni escono fuore Fugge la belva, e seguono la traccia; Già sbigottita, e lassa al gran rumore De’schioppi e canni, ferita minaccia Languida di fuggir, mà oppressa muore. L’INVERNO Aggiacciato tremar trà nevi algenti Al severo spirar d’orrido vento, correr battendo i piedi ogni momento; E pel soverechio gel batter i denti; Passar al foco i di quieti e contenti Mentre la pioggio fuor bagna ben cento Caminar sopra’l giaccio, e à passo lento Per timor di cader girsene intenti; Gir forte sdruzziolar, cader à terra Di nuovo ir sopra’l giaccio e corer forte Sin ch’il giaccio si rompe, e si disserra; Sentir uscir dale ferrate porte Sirocco Borea, e tutti i venti in Guerra Quest’e’l verno, mà tal, che gioja apporte.
AUTUMN The peasant celebrates with dance and song the happy harvest safely gathered in and with much of Bacchus’ liquor many finish their revels in sleep. As the singing and dancing die away the air is tempered with pleasure, and the season invites all to partake in the sweetest of slumbers. At first light, hunter is off to the hunt with horns, guns and dogs the wild beast flees and they follow the trail. Already tired and frightened by the noise of the guns and dogs, wounded, it tries weakly to flee, but overcome, it dies. WINTER To tremble from the cold in the icy snow in severe biting winds, to constantly stamp ones’ feet, our teeth a-chattering. To spend peaceful, contented days before the fire while rain pours down outside, to tread the icy path, with cautious steps for fear of falling. To make a brave turn, then to slip and fall to go on the ice once more and to run hard, until the ice cracks and breaks up. To hear the winds burst forth from iron gates, Sirocco, Boreas and all the winds at war, this is winter, and such are its’ joys.
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