Welcome to the
'Angelus Concert Series of Sacred Early Music,' which was established with a
gift of Cynthia Haney, honoring the memory of her late husband Dr. Michael
Haney of the USD Psychology Department and his devotion to music.
Offered each Spring in the exquisite setting and splendid acoustics of USD's Founders Chapel, the series which is directed by Dr. Marianne Pfau, brings performances of sacred music from the Middle Ages through the Early Classical Era, featuring period instruments and historical performance practices.
Each concert introduces a different ensemble, highlights one historical period, and offers works appropriate to the liturgical season.
Matthias Grunewald (c. 1475 – 1528)
The “angelic orchestra,” from the
Isenheim Altarpiece, Alsace
Toccata!
Music of the Early Baroque for Lent
performed by
Toutes Suites
Dicce♦Funck♦Lutterman♦ Pfau ♦ Salzedo ♦Wilson
University of San Diego
Founders Chapel
Sunday • 2 March 2008 at 2pm
PROGRAM
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Girolamo Frescobaldi (1583-1643)
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Toccata 8 from Book 3 (1637) for harpsichord
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Heinrich Ignatz Franz von Biber (c.1644-1704)
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Sorrowful Mysteries: “The Agony in the Garden” (No. 6) from 16 Rosary Sonatas (c. 1676) for violin and BC
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Johann Rosenmüller (1619-1684) |
“Aeterne Deus” from Kernsprüche for soprano, alto recorder, oboe and BC
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Arcangelo Corelli (1653-1713)
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Sonata in F Major, Op. 5 No. 4 for alto recorder and BC Adagio-Allegro-Vivace-Adagio-Allegro
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Biber |
“The Crucifixion” (No. 10) from 16 Rosary Sonatas for vln. and BC
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Francesco Supriani (1678-1753) |
Toccata in g minor (undated) for violoncello
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Dario Castello (ca. 1590 – 1650s) |
Sonata 12 for two soprano recorders, cello, and BC (1644). |
INTERVAL (10 min)
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Michel-Richard de Lalande (1657-1726) |
“Sustinet” from De Profundis (1689), for Soprano, oboe and BC
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Johann Jacob Sweelinck (1562-1621) |
Allein Gott in der Hoeh’ sei Ehr for harpsichord
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Biber |
Passagalia (Feast of the Guardian Angel, 1676), for unaccompanied violin
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Domenico Gabrielli (1651-1690) |
Sonata in A Major
for cello and BC (c.1689)
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Tarquinio Merula (1594-1665) |
Sonata Chromatica for harpsichord
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Jean Michel Muller (1683-1743) |
Sonata VIII from XII Sonates a un Hautbois de Concert…, op. 1 (Paris, 1710. Adagio-Allegro-Presto-Adagio-Allegro-Menuet |
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Instruments played by toutes suites
VIOLIN David Wilson
Timothy Johnson, Hewitt, Texas, 2007 (after Stradivari)
RECORDER Inga Funck
Alto recorder by Von Huene, Boston 1993 (after Denner)
Soprano recorder by Moeck, Germany 1989 (after Steenbergen)
RECORDERS & OBOE Marianne Pfau
Alto Recorder by S. Blezinger, Germany 1998 (after Bressan)
Soprano Recorder by Von Huene, Boston 1999 (after Terton)
Oboe by Bernhard Schermer, Basel, Switzerland 2001, (after Bradbury, London c. 1720)
CELLO John Lutterman
Peter Walmsley in London, c.1720
HARPSICHORD Jonathan Salzedo
Flemish single-manual, built by Charlotte and Earl Schuster, 1970’s
Given in their memory to USD by Judi Hiltner and Meg Quigley in 2005
A=415hz • Temperament: Salzedo 2 (1/6 Comma)
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About the Program
Each concert in the Angelus series invites the listener into a different time and historical space, attempting to touch (toccare, lat.) him or her perceptibly today through the sounds of centuries past. This year’s focus on the 17th century offers a particularly interesting perspective on how sacred music of the early Baroque period has tried to touch and move its listeners. Using all the devices of a musical rhetoric, it defined a style much less smooth or sweet, but more daring and demanding than either before or after. The composers of this so-called secconda practica did everything to “move the listeners’ affections,” i.e., they tried to speak through their music directly to the heart. And they did so at a time of tremendous political and religious upheaval. Our concert might be a tribute to Music’s power to move, touch, and to transcend even across deepest religious divides.
Emerging from the turmoil of the Thirty Year War (1618-1648), the second half of the 17th century sees a renewed expressive freedom in all the arts. Music in particular becomes a vehicle for joyful spiritual contemplation, asserting itself again with redoubled energy after the protracted and paralyzing religious and political struggles that had resulted from the rift between the two Christian denominations and had escalated the cultural gap between the Catholic south and the Protestant northern and central parts of Europe. A newfound expressive freedom in sacred music of the late 17th and early 18th centuries becomes especially palpable in German and Italian composers’ works on the mysteries of faith.
Girolamo Frescobaldi (1583-1643) was an Italian composer and teacher of entire generations of composers who exported his style of keyboard playing across Europe. His solo harpsichord Toccata 8 from Book 3 (1637) shows all the wild Italian traits of the early Baroque period, and presents virtuosity and inventiveness at its best. The genre is named after toccare, meaning "to touch". This word in keyboard music refers in a literal manner to the performer who, by touching the keys and improvising musical phrases, checked the condition of the instrument as well as its tuning. The composed version of these improvisations tends to be sectional, with strong contrasts between these sections. Used in Catholic services, the Toccata is not primarily intended to demonstrate the dexterity of the performer or the beauty of the instrument he or she touches - despite the obvious virtuosity - but is also a kind of rumination on wide-ranging musical and expressive possibilities, as if searching for ever new ways in which to move the listener.
Heinrich Ignatz Franz von Biber (1644-1704) was a Bohemian violinist and composer who served the Archbishops of Salzburg (Austria). His outstanding virtuosity did much to establish the violin as a premier solo instrument in the 17th century. Indeed, Biber’s technical and artistic use of an amazing variety of altered tunings (scordatura) helped to create an individual oeuvre quite unmatched in violin literature.
Each of the “Sixteen Mysteries of the Rosary” is
portrayed by one Sonata, each of which uses a different tuning for the violin.
These precious Rosary
Sonatas survive in a carefully prepared manuscript (München, Bayerische Staatsbibliotek Mus. MS 4123),
dated around 1676, in which each sonata is preceded by a woodcut print, depicting
the event or “mystery” being portrayed. At the end of the collection, Biber
includes a work for unaccompanied violin marked Passagalia, which is
preceded by a woodcut print of an angel holding the hand of a child.
“Guardian Angel” from Biber’s Passacaglia,
on the Feast of the Guardian Angel, 1676
The German composer, organist and teacher Johann Rosenmüller (1619-1684) transmitted the Italian styles of church music to the north. He studied music at the Lateinschule at Oelsnitz and theology at the University of Leipzig, and in 1658 went to Italy as a trombonist at San Marcos in Venice. From 1678-1682 he taught at the famed Ospedale della Pieta in Venice, where a young Vivaldi should later succeed him. Near the end in his life he returned to Germany and worked at Wolfenbüttel. The epitaph there declares Rosenmüller “the Amphion of his age.”
His vocal music, nearly all of it sacred, includes two published collections of small sacred concertos, Kernsprüche [fundamental truths] (Leipzig, 1648) and Andere Kernsprüche (Leipzig, 1652-53). His “Aeterne Deus” from the former collection is scored for Soprano, two obbligato melody instruments (here oboe and recorder) and BC. The aria can work for any time during the liturgical year, but seems especially fitting during the introspective season of Lent.
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Aeterne
Deus, clementissime Pater, in sempiterna saecula. Amen. |
Eternal
God, most clement Father, and
to you also Holy Spirit, |
In Italy, instrumental sonatas of great refinement and polish were admitted into church music. Composers embraced this new genre called Sonata da Chiesa. Such a sonata has four movements with alternating tempi, slow followed by fast, then again a slow movement, followed by a final fast movement.
Arcangelo Corelli (1653-1713) published his exemplary “opus 5” Sonatas da Chiesa in 1700 as a set of 12 Sonate a Violino e Violone o Cimbalo in Rome. Their fame spread quickly, and soon editions appeared in Amsterdam and in London. In 1702, Walsh of London printed a transposed arrangement of the last six sonatas for alto recorder and basso continuo; and in 1707, he published yet another version of sonatas 3 and 4 from the Opus 5 set, with the title “Artfully transpos’d and fitted to a flute and a bass, yet continued in the same key they were composed in.” The slow movements of each are ornamented “with proper graces by an eminent master,” possibly by Corelli himself. The sonata here, performed on alto recorder and BC, is virtuosic while the style is dignified and aims to reach the soul rather than merely to dazzle.
Francesco Supriani (1678-1753) left a beautiful Toccata for solo violoncello inspired by the spirit of improvisation and inventiveness learned among others from Frescobaldi.
Dario Castello (ca. 1590 – 1650s) lived in Venice, a flourishing city of considerable wealth and home to a rich musical life. Its prolific presses played a central role in the diffusion of printed music throughout Europe. Nearly all our knowledge of Dario Castello’s life comes from the title pages of two volumes, Sonate concertate, published in Venice in the early part of the 17th century. From those title pages we know that he was a member of the Venetian Doge’s piffari, a band of six wind-players, and that by 1621 he worked at the famous San Marcos basilica where Claudio Monteverdi was maestro di cappella at the time. It is therefore not surprising that Castello’s music shows the influence of this great Italian master who himself did not leave any independent instrumental music.
The Sonata 12 from Castello’s Sonate concertate in stile moderno published in 1644, shows this influence of the virtuosic vocal writing of Monteverdi, which was equally characteristic of early opera as of church music in its highly inventive and technically challenging style. There are again contrasting sections: concertante exchanges between players alternate with strictly worked polyphonic passages, followed by dramatic recitatives over basso continuo, in keeping with the title in stile moderno, followed by an older Canzona style. This early Sonata is still cast as one continuous movement, which subsumes the short sections of contrasting textures and tempi and of active as well as lyrical melodic lines.
Historically significant, Volume I is the first printed collection ever to be devoted entirely to instrumental works, Volume II the first to consist entirely of sonatas. Castello is also among the first composers to include clear tempo markings. Judging by the numerous editions of his works and their presence in collections throughout Europe, it is clear that his style was influential. Some believe that Castello died in the 1630 plague that ravaged Venice. Others conjecture he lived on until the 1650s. A reprint edition of his sonatas of 1658 suggests that he was no longer alive.
Michel-Richard de Lalande (1657-1726) was the leading French composer of the Baroque Grand Motet, a concerted genre of Church Music favored by both Louis XIV and Louis XV whom he served as director of the royal chapel at Versailles. “Sustinet” is the central aria from such a grand motet, scored for Soprano and oboe, and supported by the basso continuo of cello and harpsichord. The two melodic lines, one sung, the other played, perform an animated dialogue, echoing each other here, aligning in parallel motion there. It is a concerted effort to ponder and then affirm the meaning of the text.
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Sustinuit anima mea in verbo ejus; |
My soul has trusted in his word; |
Jan Pieterson Sweelinck (1562-1621) was perhaps the most successful member of a famed family of Dutch organists who served the Oude Kerk in Amsterdam for nearly 100 years. Taught in music primarily in his early youth by his father, who died when Sweelinck was 11, he went on to become one of the most influential and sought-after teachers of his time. He never left Amsterdam for more than a few days. Instead, students from all over Europe flocked to him. Although none of his 70 keyboard works were printed during his life time, they enjoyed wide circulation in Europe through these international students pupils.
Sweelinck’s duties at the Oude Kerk, where he is buried, were to provide music twice daily in the church, an hour in the morning and in the evening. When there was a service, this musical hour came before or after it. He was known particularly for his organ and harpsichord improvisations during these free concerts. More than once the proud city authorities brought important foreign visitors to the church, to hear their “Orpheus of Amsterdam.”
The variations for solo harpsichord on the Chorale tune Allein Gott in der Hoeh’ sei Ehr [Glory to God on High] follow a clear compositional principle learned perhaps from the great English Virginalists. In each variation he presents the largely unembellished chorale tune in a different register – soprano, alto, tenor, or bass- and varies the number of voices in the counterpoint to the chorale. The variations form an ordered whole, exhibiting a structured unfolding of the theme in a controlled manner, deliberate and rather reflective manner.
Domenico Gabrielli (1651-1690) is known to historians as a student of Legrenzi and as a successful composer of Venetian opera and oratorios, but he was also among the very first virtuoso cellists. In fact, his Bolognese contemporaries affectionately referred to him as Mingéin dal viulunzčl ["Nicky the cellist"]. Although cello-like instruments of the violin family had been around since the early 16th century, technical developments in the manufacture of gut strings in Northern Italy during the late 17th century allowed the creation of a new, slightly smaller instrument that was more suited to virtuosic solos, and a new term was minted to describe this instrument: "violoncello," which translates as a "little big viola." This new cello quickly became a very popular solo instrument, and virtuoso performers were in great demand, often commanding the highest salaries in the orchestras of the important courts and opera houses. The fact that so little of the music that these virtuosi played has survived is a reflection of the predominantly oral culture in which professional soloists lived and worked. Effective techniques were often treated as trade secrets to be carefully guarded, and when solo music was written down, it was most often for the benefit of students or as a kind of souvenir for wealthy amateurs. Preserved in a carefully copied manuscript, Gabrielli's A Major sonata is almost certainly an example of the latter. Along with a companion sonata in G Major, it is the earliest known sonata written specifically for the violoncello, and follows the Sonata da Chiesa tradition.
Tarquinio Merula (1594-1665) is considered one of the finest and most progressive Italian composers of his generation who excelled in both vocal and instrumental music. He began as organist at the Carmelite Church of Cremona, then moved to Warsaw where he served Sigismondo III, Kind of Poland as chapel and chamber organist, then returned to Italy, cycling through at least ten different posts until completing the journey of his creative life again in Cremona. A Knight of the Golden Spur, he was cosmopolitan and fond of change. Many of his surviving keyboard works show similarities to those of Frescobaldi. But the Chromatic Fantasy on the pitches D C# C B Bb A D G is a departure, and presents a wonderfully expansive musical journey.
Jean Michel Muller (1683-1743) is forgotten and unreferenced today, except for the new recording just released by toutes suites (2008). According to documents in the Hessische Landesbibliothek in Kassel, he was born 1683 in Schmalkalden (Thuringia today), Martin Luther’s native land. From 1704 until his death in 1743, Muller appears in Hanau (Hessia) where he served as music director and organist at St. Mary’s, and also as organist, Director Musicae, and finally Praeceptor at the reformed Gymnasium (high school). Evidently, he cultivated ties to the court, for the oboe sonatas are dedicated to Count Philippe Reinhard of Hanau.
Both as music director at St. Mary’s and as organist and deputy principal at the important humanist academy of Hanau, Muller wrote almost exclusively for the reformed church. Between 1718 and 1741, he published six large books of hymns in Frankfurt/Main, each with c. 1000 settings. They offer figured basses for all then known church hymns, for the songs of Neander, and for the 150 Psalms, and also provide numerous keyboard preludes and fugues for service and private devotion.
These books must have found wide circulation. In a rhymed Preface to the 1736 Chorale Book, Georg Philipp Telemann of Hamburg recommended them, writing: “That in these modern times/ the art of melody in all its charm continues/ one cannot doubt/ if one is to use one’s rational mind and one’s ear./ For this present volume proves this/ since it delights the old and new, the heart, eye, and ear./ One must laud the author’s industry/ who has set it all in pleasant harmony.”
The 12 Sonates a un Hautbois de Concert..., indeed concerti grossi, date from Mullers early period in Hanau. Long presumed lost, a print from Amsterdam of c. 1710 does survive in the Engelhardt Collection at Lund University Library in Sweden. The Sonatas present a colorful set, displaying much French influence, but also Italian and German characteristics in an eclectic stylistic mix. None of the Sonatas follows the by then standard four-movement model, but rather hark back with their many internal sections to the single-movement Italian sonatas. The changes of tempo and mood evoke the older Venetian multi-choral style of Gabrieli, or the Toccata style of Frescobaldi and Froberger. There are also decided references to Corelli’s Sonata da Chiesa and to the sacred concerto of Schütz. Instead of profound, Muller’s is a light, pleasant, yet dignified approach, designed to move the listeners’ affections by pleasing rather than startling.
Sonata VIII offers much for the delight and edification of the listener: It begins with a meditative, toccata-like opening that seems particularly suited for a first rendering by the harpsichord alone, then a repeat by all the instruments together. The increasingly festive and weighty tone is followed by a light, dance-like faster section. Next comes a short but striking moment for the ponderous bass, with short responses by the ensemble. The affect shifts again in the ensuing arias, laments of sort that offer the expressive zenith of the piece. Two dances, one a bit muscular, the other elegant conclude the Sonata, the last returning to the quiet mood of opening. Muller calmly settles the piece, letting it fade away as it were into a distance, allowing the listener to pause for a moment before emerging from his or her immersion in a world of the musical imagination.
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About the Musicians
Soprano Anne-Marie Dicce has sung throughout North America and Europe, most recently in Mexico City with the Bach Collegium San Diego, and since 2004, at the annual Bachakademie European Music Festival in Stuttgart under Helmuth Rilling. She will appear as soloist in the Mass in B Minor with the Bach Collegium San Diego 2008. She is also a member and soloist with Cappella Gloriana, a San Diego-based professional chamber choir.
Equally at home with contemporary music, Ms. Dicce enjoys premiering works by her colleagues and professors. She is featured on an upcoming recording of music by Roger Reynolds and just released a CD on the Tzadik label with works by Derek Keller. Anne-Marie is a Doctor of Musical Arts Candidate at the University of California, San Diego, where she also teaches. She studies with Carol Plantamura and holds an M.A. from UCSD and a B.A. in Music from Loyola Marymount University. She is currently working on her doctoral thesis which includes research in synaesthesia and the connection between early and contemporary vocal music techniques.
Born in Hamburg, Germany, Inga Funck grew up in a musical
family and played recorder from early childhood. She studied historical
recorders and flutes with Peter Holtslag at the Hochschule für Musik und
Theater, Hamburg, and participated in many workshops throughout Europe. Funck has been featured in solo performances and period instrument ensembles in Germany, Austria, Hungary, Denmark, and the Netherlands. Aspiring to find a balance of appreciating
the past while engaging the present, she sets high standards in the
authenticity of her early music performances and at the same time is expanding
the musical dimension of the recorder into modern days. Performances with
members of the Los Angeles Philharmonic in the Walt Disney Concert Hall have
included the contemporary piece by György Kurtįg, Quasi una fantasia, conducted by Esa-Pekka Salonen and
Bach’s Brandenburg Concertos conducted by Giovanni Antonini. She has performed
as a member of Les Folies,
a recorder ensemble, playing at the Microfest at REDCAT.
Ms. Funck also concertizes with Musica Angelica, the Los Angeles Baroque Orchestra, Los Angeles Musica Viva, South West Chamber Music, and the Los Angeles Chamber Orchestra, and can be heard on recordings with Ensemble de' Medici. She is adjunct faculty at the California Institute of the Arts, regularly conducts the monthly meetings of the Southern California Recorder Society, the Orange County Recorder Society, the San Diego Recorder Society, and teaches workshops as well as private lessons.
Cellist John Lutterman
has given solo recitals in New York, Washington, Basel, The Hague, Munich, Salzburg, Vienna, Innsbruck and Linz, offering the Bach Cello Suites and the works
of Brahms and Chopin for Cello and Piano. He is principal cellist of the
Apollo Baroque Orchestra and the Capella Sacra, Salzburg, and has performed
with American Bach Soloists, Philharmonia Baroque, Magnificat, Jubilate and
Archangelli Strings.
Mr. Lutterman holds a Ph.D. in musicology from UC Davis,
a DMA in Cello from Stony Brook University, and an MM from Mannes School of
Music. His dissertation is on composition and improvisation in the 18th
century. Mr. Lutterman teaches at UC Davis, and has served on the faculty of Lawrence University, the Wisconsin Conservatory, the Knox School, the University of the
Pacific, and Stony Brook University.
Oboist Marianne Richert Pfau is Professor of Music History at the University of San Diego and director of the Angelus Sacred Early Music Series. As baroque oboist and recorder
virtuoso, she performs and records with American Bach Soloists, Jubilate
Baroque Orchestra, and California Bach Society in San Francisco, LA Baroque, Musica Angelica and Corona del Mar Festival in Los Angeles, Trinity Consort in Portland, and Rebel in New York. In Europe she plays and records with Musica Alta Ripa,
Corona Musica Kassel, and Cythara Ensemble Hamburg.
M. Pfau studied historical wind instruments at the Hochschule für Musik und Kunst in her native Hamburg, music therapy at the Guildhall London, and earned her Ph.D. in musicology at Stony Brook University in New York. She has published an edition of Hildegard von Bingen's Symphonia. Her monograph Hildegard von Bingen: Der Klang des Himmels with Stefan Morent, Boehlau 2005, has garnered enthusiastic reviews on both sides of the Atlantic. Her ensemble ‘toutes suites’ has two recordings: Georg Philipp Telemann. Der getreue Music-Meister: A Musical Journal of 1724, Hamburg 2007; and Jean Michel Muller. XII Sonates a un Hautbois de Concert (1710), Leipzig, 2008.
Since moving to California 25
years ago, British-born harpsichordist Jonathan Salzedo has become a
popular collaborator with leading Bay Area orchestras (Jubilate, San Francisco
and Monterey Symphonies, Classical Philharmonic), choruses (Soli Deo Gloria,
Baroque Choral Guild, Coro Hispano) and ensembles (Whole Noyse, Tea Time Bach,
Santa Cruz Chamber Players). He also performs new music (Richard Worn
Ensemble, Latin American Chamber Music Society) and works with innovative
soloists (Karen Bentley, Viviana Guzman) creating varied programs using the
harpsichord in new contexts (tango, new age).
Through his youth, Jonathan had been an active and occasionally prize-winning pianist. He first took up harpsichord while a mathematics student at Oxford, England. After graduating, he intended to study harpsichord seriously with someone really famous, but ended up learning most of what he knows from careful listening and from working with terrific soloists. Once a maker of instruments, Jonathan enjoys the challenges harpsichord present. He is an acknowledged expert on early tuning systems based on mathematical models, such as the “1/6 comma” tuning he used for this concert. He carefully revoiced our USD instrument two years ago. In his spare time, Mr. Salzedo runs a software consulting business in the Palo Alto, and practices as a licensed Alexander Technique teacher.
Violinist David Wilson has performed extensively with period instrument ensembles
in the United States and Europe. An avid chamber musician, he has played with
the Baroque Northwest and Magnificat, and he is a founding member of
Florilegia, the Galax Quartet, Aurora Baroque, and other ensembles. A
co-founder of the Bloomington Early Music Festival, he also performs regularly
at the Boston Early Music Festival, the Berkeley Early Music Festival, and the
San Luis Obispo Mozart Festival. He has taught baroque violin at Indiana
University, where he earned the Doctor of Music degree in Early Music, and he
holds degrees in violin from Bowling Green State University in Ohio and The
Catholic University of America in Washington, D.C.
Mr. Wilson’s interests outside of music include cosmology, zymurgy, and science fiction (and he would love to discover a science fiction novel about a home brewing cosmologist). He is the author of Georg Muffat on Performance Practice, published by Indiana University Press.
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CDs by TOUTES SUITES
Georg Philipp Telemann. Der getreue Music-Meister: A Musical Journal
Hamburg: virtilia 2007
Jean Michel Muller. XII Sonates pour un Hautbois de concert…, double CD Album
Leipzig: genuin 2008
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Angelus Concert Series of Sacred Early Music
Marianne R. Pfau, Ph. D., Professor of Music Hirsoty, Director
Dr. Pfau heads the music history and
literature program at USD, and has taught special interdisciplinary courses
with faculty from the literature, theology, philosophy, and political science
departments. She received her doctorate in historical musicology from Stony Brook University in New York, with a dissertation on Hildegard von Bingen. Prior to
coming to the US, she obtained graduate degrees and a solo diploma in
historical performance practices and in early wind instruments from the
Musikhochschule Hamburg, and holds a licentiate in music therapy from the
Guildhall School of Music and Drama in London.
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Please note
We are seeking tax-deductible donations to USD’s ‘Cynthia and Michael Haney Sacred Early Music Fund’. It is our hope that the series will ultimately be able to offer large-scale works, including Bach’s S. John Passion, S. Matthew Passion, and Christmas Oratorio, using period instruments. Please contact Dr. Pfau if you would like to contribute. For more information on Angelus, please see www.sandiego.edu/music/angelus.
Acknowledgements
Cynthia Haney
C. Backhaus
Judith Hiltner and Meg Quigley
Dr. Ron Shaheen
Founders Chapel
Upcoming Concerts USD