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Tuesday Baroque July 23, 2013 Fancois Couperin II, Le Grand French composer and organist Born: November 10, 1668 in Paris Died: September 11, 1733 in Paris Concert Pieces for Cello and Piano I. Prelude II. Siciliene III. La Tromba IV. Plainte V. Air de Diable François Couperin "Le Grand" was the most celebrated member of a family dynasty of composers which extended from the late 1500s through the early 20th century. For almost two centuries the family provided a continuous line of organists at the Church of St. Gervais, located in the legendary Marais section of Paris. Often revered as the heir to J.S. Bach, Couperin Le Grand wrote hundred of instrumental works, many with evocative titles, of which the current suite is a fine example. The set was adapted for solo cello and chamber strings by the celebrated French cellist Paul Bazelaire (1886-1958), who also served on the faculty of the Paris Conservatoire from 1918 through 1956. Bezelaire was surely influenced by another famous suite devoted to the music of 'Le Grand,' i.e. Ravel's brilliant Le Tombeau de Couperin. (a 'Tombeau' is a tribute form of poetry or music, written as a memorial). Bazelaire set all five movements in a modal tonality of G, which provides an ideal register for the soloist to highlight the lyrical themes and savvy virtuosity along the way. The suite begins with a stately Prelude, swinging between minor and major. The main theme is like a cantilena, chanted over tender harmonies in the strings and brushed with exquisite dissonances. A Sicilienne is a plaintive, often sad narrative in the manner of a Baroque arioso, often representing a pastoral reverie. A Tromba is an Italian trumpet and a familiar 'stop' on the Baroque organ. The sprightly theme emulates the 'bugle' intervals heard on the natural trumpets of the era. The fourth movement Plainte (marked slowly and sadly) often represented poetic heartache in courtly ballet scenes. Air de Diable (The Devil's Song) is a witty, joyful delight, full of melodic and rhythmic mischief. We are reminded of the insight of the English playwright and London music critic George Bernard Shaw who quipped: "The devil always gets the best tunes." Voilà..! Johann Sebastian Bach German composer and organist Born: March 21, 1685, Eisenach Died: July 28, 1750, Liepzig Violin Sonata in E major, BWV 1016 Adagio I. Allegro II. Adagio ma non tanto III. Allegro The influence of J.S. Bach on the evolution of serious music can be put in a single word: profound. No other composer in history is so widely praised by listeners, composers, performers, historians and critics - at last they all agree on something: the music of Bach is without parallel in the power of its spiritual expression and in its poetic blend of science and art. Listen to any work by J.S. Bach - the message is indelibly clear - the harmony is perfectly lucid, the counterpoint sounds like bouquets of heavenly geometry, the rhythm seems dictated by a mystical clock that finds the perfect tempo for any simple or virtuosic phrase, the melody is exquisitely spiritual or inscrutably human (Bach used many folk tunes - even in his liturgical scores). Bach's Violin Sonata in E major is the third of six he wrote just after he moved to Leipzig in 1723. Originally scored for violin and harpsichord, the work is widely performed today with piano. Cast in E major, the opening Adagio represents the composer's 'all-for-glory' manner, as if Bach were tonepainting a Renaissance canvas. In the same key, the second movement Allegro offers an unexpected contrast, buoyant, even dance-like, with savvy counterpoint in the keyboard. Set in C-sharp minor, the third movement conjures a glorious arioso, with sublime timbres and harmonies - a celestial cantabile. Returning to E major, the closing Allegro is a joyful dash for both instruments. A middle section of triplets in the violin over 16ths in the keyboard adds rhythmic intrigue before the upbeat final measures. L'Allegro In notes with many a winding bout Of linked sweetness long drawn out, Untwisting all the chains that tie The hidden soul of harmony. - John Milton (1608-1674) Georg Philipp Telemann German composer Born: March 14, 1681, Magdeburg Died: June 25, 1767, Hamburg Trio Sonata for Flute, Oboe and Continuo in A minor, TWV 42:a4 I. Largo II. Vivace III. Affettuoso IV. Allegro Georg Phillip Telemann was prolific - indeed the word is barely big enough to represent his vast catalog of more than 3000 original works. For reference;; he scored even more music than his compatriot, Johann Sebastian Bach (they were close friends). Georg Philipp also composed in every possible genre, including sacred and secular cantatas, masses, oratorios, passions, operas, hundreds of instrumental concertos, songs and a wealth of chamber music. Completed in Frankfurt in 1718, the Trio Sonata in A minor was originally written for the recorder, a role often filled today by the flute (a close acoustical cousin, despite appearances). The continuo part is usually taken up by the cello or bassoon, with background harmony from the harpsichord. Telemann enjoyed particular success with his many trio sonatas. In his memoirs he wrote: "How could I ever remember all I invented for string and wind instruments? I focused on writing trios and arranged it so that the second part appeared to be the first, and the bass voice carried a natural melody, close-knit with harmonies where each note has to be just so and cannot be changed. Some have flattered me saying that the trios are my finest work." Set in four movements, all in A minor, the work begins with an aria-like theme in the flute, replied by a tender dialog from the other players. Marked Vivace, the second movement is a sprightly Baroque dance, with dashing filigree on the fly in breezy 16ths, à la Vivaldi. Affettuoso is the style cue for the poetic narrative of the third movement - an affectionate sonnet for soprano and baritone, with Renaissance tone painting from the heart. For the final Allegro, like courtly jesters, the trio springs to life with strutting accents in the continuo and a tour de force of fleet virtuosity from the flute and oboe. Pure charm. Antonio Vivaldi Italian composer Born: March 4, 1678, Venice died: July 28, 1741, Vienna, Austria Trio for Flute, Bassoon and Continuo in A minor, RV.86 Largo Allegro Allegro cantabile Allegro molto Antonio Vivaldi produced a catalog of more than 850 works, including at least 475 concertos, 94 operas, and a generous assortment of chamber music. With regard to his life and times, complete biographies reveal a worldly individual with enough color and zest for a Hollywood film. Antonio became an ordained priest in 1703 (a means to the best education in Italy). By 1709 he was assigned to teach music at the Ospedale della Pieta in Venice, a school for abandoned or orphaned girls. During that time he picked up his famous name tag - il prete rosso 'the red priest' - because of his flaming red hair and ecclesiastical office. (To be sure, his celebrated flamboyance also had something to do with the nickname). Della Pieta was a first class institute, with many gifted students. Under Vivaldi's direction both the school orchestra and choir flourished and became known around Europe for their regular Sunday concerts. Vivaldi produced the greatest body of his catalog for those performances, including the Four Seasons and specialty pieces like the current work. The Trio for Flute, Bassoon and Continuo, RV.86 is believed to date from about 1740. In fact, the work was originally scored for recorder, which at the time rivaled the Baroque flute with regard to dynamics (loudness) and technical agility. It would require another 60 years or so for the standard flute to approach the full-voiced, tonal presence of our present-day instruments. As for the continuo player, the accompanying role was generally filled by the harpsichord or cello. Most trio sonatas of that era were written in the Baroque tradition of three movements (fast-slow-fast). But in RV.86 Vivaldi adds an alluring Largo, reflecting a praeludium (prelude) which had gained favor in solo works for violin or organ by J.S. Bach and others of the Late Baroque. Johann Sebastian Bach German composer and organist Born: March 21, 1685, Eisenach Died: July 28, 1750, Liepzig Brandenburg Concerto No. 2 in F Major S. 1047 In May of 1718, Johann Sebastian Bach, Kapellmeister (music director) to Prince Leopold of Anhalt-Cothen, accompanied his royal employer to Carlsbad, where the Prince periodically went to take the waters as the fashionable spa there. In all probability, it was during this journey that Bach met Margrave Christian Ludwig of Brandenburg, a music-loving Prussian nobleman who maintained at his court in Potsdam a small instrumental ensemble as well as an excellent library of works by the noted composers of that time. Some two and a half years later, Bach sent to the Margrave a meticulously hand-written set of six concertos which was prefaced with an elaborate and flowery dedication couched in elegant French prose. It is generally assumed that these concertos were a response to a request or a commission from the Margrave;; however, it is also possible that Bach may have been seeking a post at the Margrave's court and submitted them as an example of his abilities. Regardless, the Margrave apparently was not impressed with them because, judging from the absence of tell-tale marks on the manuscripts, he did not even bother to catalogue them, let alone favor them with a performance. Moreover, when the Margrave's library was being disposed of following his death in 1734, these concertos were auctioned off for the approximate equivalent of eight cents apiece. Fortunately for posterity, the manuscripts soon came into more preciative hands, namely those of Bach's pupil Johann Philipp Kirnberger, a composer, conductor, and theorist. He in turn passed them on to one of his pupils, Princess Amalie, the sister of Frederick the Great, and she eventually bequeathed them to the Royal now State) Library of Berlin. Finally published in 1850, these six concertos are today regarded as being among the crowning glories of the Baroque era. Ironically, under their collective title of Brandenburg Concertos, an appellation which was bestowed upon them in 1880 by Bach's first biographer, Philipp Spitta, they alone perpetuate the memory of the indiscriminate Margrave of Brandenburgr to whom they were dedicated and who thought so little of them. Each of the six Brandenburg Concertos is scored for a different ombination of instruments. The Second Concerto borrows its form from the Italian concerto grosso. Here, a small group of soloists, or concertino. Consisting of solo violin, flute (Bach specified a recorder), oboe, and trumpet are contrasted with the accompanying group of strings, or ripieno. The harpsichord fulfills a continuo role by playing in unison with the bass line and filling in harmonies. The high, clear sound of the trumpet dominates the lively outer movements, although the other soloists also have their share of the spotlight. In the aria-like middle movement, the trumpet is given a chance to catch its breath while the violin, flute, and oboe expressively interweave a gracefully arching melody above a basso ostinato provided by the cello and harpsichord. Kenneth C. Viant