Like a number of rodav's distinguished compos- ~ers, Leon Kirchner has also been recognized forhis performing abilities, both as a conductor andas a pianist. He has participated in numerousprograms of contemporary music and has assistedin the premieres of important works by Americanand European composers. Currently the directorof the Harvard Chamber Players and the Har-vard Chamber Orchestra, Mr. Kirchner has alsoappeared as soloist and/or conductor with anumber of orchestras. He has also appeared assoloist and composer-in-residence at the Aspenand T anglewood Festivals. His compositions havereceived accolades including the NaumbergAward and the Pulitzer Prize. In 1962, Mr.Kirchner was elected to the National Institute ofArts and Letters and the Academy of Arts andSciences as welL His works have been performedthroughout the world.Rornuald Tecco has served as The Saint PaulChamber Orchestra Concertmaster for the pastnine seasons and has been first violinist of theSPCO String Quartet for equally as long. Mr.Tecco has also been Concertmaster of The Ensem-ble (New York) and was a member of the NewYork String Quartet. He has performed in theUnited States and Europe including performancesat the Royal Stockholm Festival and at the Cabril-10 (California) Festival where he served as Concert-master and soloist. Mr. Tecco has also presented anumber of American and world premieres, includ-ing two written especially for him. Mr. Teccostudied at the Paris Conservatory and at the[uilliard School of Music with Rene Beneditti andIvan Galamian.Peter Howard, Saint Paul Chamber OrchestraPrincipal cellist for the sixth season, has been afeatured soloist and is a member of the SPCOString Quartet. Mr. Howard has participated andwon prizes in both the Casals InternationalCompetition and the International Competitionfor String Quartets (Queen of Belgium). He was amember of the National Symphony and AssistantPrincipal Cellist of the Cleveland Orchestra.Peter Howard has also appeared as soloist withthe Cleveland Orchestra and with numerousorchestras in the U.S. and abroad. He hasperformed recitals in Berlin, London, the Hague,and elsewhere throughout the world. Mr. How-ard has served as a faculty member with theOberlin College Conservatory, the ClevelandInstitute of Music, and the North CarolinaSchool of the Arts' International Music Program.Mr. Killmer's biography appears on page 26.

JBaroque Series Concert III

Temple of Aaron, St. PaulWednesday, November 12, 1980

Temple Israel, MinneapolisThursday, November 13, 1980

Colonial Church of EdinaFriday, November 14, 1980

St. Paul's United Church of Christ, St. Paul<.Saturdav, November 15, 1980

All concerts begin at 8 p.m.

William McGlaughlin, conductorThe Dale Warland Chamber SingersRichard Killmer, oboeThomas Tempel, oboe

CLAUDIO MONTEVERDISinfonie e ritornelli from L'Orfeo

AllegroAllegro energico

Lento.AllegroMoresca

TOMASO ALBINONIConcerto in C Major for Two Oboes, Op. 7, No.5

AllegroAdagioAllegro

LUIGI BOCCHERINILa musica notturna di MadridI. Ave Maria- Minuetto dei ciechi

II. II RosarioIll. I spagnoli si divertono per Ie strade

IV. Ritirata

INTERMISSION

continued

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ANTONIO VIVALDIGloria in D MajorGloria in excels is Deo

Et in terra pax hominibusLaudamus te

Gratias agimus tibiPropter magnam gloriam tuam

Domine DeusDomine Fili Unigenite

Domine Deus, Agnus DeiQui tollis peccata mundiQui sedes ad dexteram

Quoniarn tu solus SanctusCum Sancto Spiritu

This concert is sponsored in part by a grant from the National Endowment for the Arts.

Latecomers will be seated during the pause between movements,or another appropriate interval, as directed by the ushers.

Extra musicians joining the Orchestra for tonight's performance are Gary Bordner,trumpet and Larry Barnhart, percussion.

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The Dale Warland Chamber Singers, con-ducted by Dale Warland, is a separate butauxiliary chamber ensemble affiliated with TheDale Warland Singers and is based in St. Paul.The Chamber Singers' final appearance of the1979-80 season was in the Hit Parade Pops Con-certs with the Minnesota Orchestra, conductedby Norman Leyden, at Orchestra Hall in June1980. Appearances by The Dale Warland Cham-ber Singers during the 1980-81 season, other thantonight's appearance, will include Gian-CarloMenotti's Amahl and the Night Visitors with theMinnesota Orchestra, December 2-3, 1980; and aperformance of works by Minnesota composerssponsored by the Minnesota Composers Forumin Landmark Center's Weyerhaeuser Auditoriumon Februarv 22.1981.Thomas Tempel has played oboe with TheSaint Paul Chamber Orchestra since 1969. Fortwo summers he also performed as soloist withthe Platteville Summer Music Festival. A nativeMinnesotan, Mr . Tempel studied at the U niversi-ty of Minnesota with Rhadames Angelucci, for-mer Principal oboe of the Minnesota Orchestra,and in April and May of 1969, toured theU.S.S.R. as a member of the University ofMinnesota Concert Wind Ensemble. Mr. Tempeltaught at the Saskatchewan Summer School ofthe Arts in 1976 and has been an instructor atGustavus Adolphus College. In addition to theoboe, Mr. Tempel plays the recorder and Englishhorn. Mr. Killmer's biography appears on page 26.

Program Notesby Dennis D. Rooney

Sinfonie e Ritornelli from L'OrfeoClaudio Monteverdi(h. Crcrnona. baptized Mav 1), 1,67; d. Venice, November 2<),I04J1

Monteverdi's favola in musica L'Orfeo isnot the first opera, but opinion generallyconcurs that it is the first great opera.Two previous settings (by ]acopo Periand Giulio Caccini) had been made ofthe legend of Orpheus and Eurydice.Both Peri and Caccini were members ofthe Florentine 'Camerata', that group ofaristocratic intelligentsia which soughtto re-create Greek drama in its originalcombination of words and music. It wasMonteverdi, however, whose L'Orfeowas first presented in Mantua in 1607,who was able to go beyond theory andinvest the new form with true dramaticforce. The Camerata stressed the impor-tance of the understandability of thetext, which meant that the polyphonicstyle of the high Renaissance had to bereplaced by music that stressed the sololine and natural declamation. Montever-di vivified this new monodic style bothby his own questing musical imaginationand the enriching incorporation ofaspects of earlier styles. According to thelate].A. Westrup (one of the severalmodern editors of L'Orfeo), theseinclude "the rhythmical subtlety of theFrench chanson, the traditional poly-

.phony of motet and madrigal, the con-ventional practice of embellishing avocal line with [iotituie, the chromaticdevices of madrigal transferred to mono-dy ... L'Orfeo is hardly an experimentalwork; it is rather a successful attempt tocombine into a single work the variedmethods of music expression current atthe time." Experimental or not, L'Orfeo,in common with all of Monteverdi'screative output, points ahead. Real dra-matic force is combined with a very'modern' harmonic sense that seems toanticipate the shift from modality to

tonality, as well as an equally advancedsensitivity to instrumental color. InL'Orfeo, one especially notices the waysin which the composer shifts his instru-mental forces to suggest and reinforcedramatic nuances.

The instruments of the modernorchestra were, for the most part, not inthe orchestra of Monteverdi's day. Sev-eral modern realizations of the score inthis century have been undertakenwhich permit performances withoutresort to antique instruments. Of thesereconstructions, the most generallyknown is by Gian Francesco Malipiero(1882-1973)who extracted several of theshort instrumental portions of the operato fashion the present five movementsuite for string orchestra. Sinfonia andritomello (meaning 'little return') areterms of some interchangeability in thisperiod, but the latter usually refers to arecurring musical section that connectsdeclamatory recitative or providesatmosphere within a scene, whereas asinfonia is usually a solemn introductioneither to an entire scene or a portionthereof. Actually, this suite of sinfonie eritomelli begins with a toccata, for that iswhat Monteverdi called the C Majorinstrumental movement which is playedbefore the closed curtain at the verybeginning. When heard performed bythe instruments specified by the compos-er (including multiple harpsichords andorgans, several large lutes, recorders,cornetts, trumpets, trombones andstrings), the striking innovationof Mon-teverdi's instrumental thought becomesparticularly apparent.

Inthe opera itself, this toccata leadsdirectly to the dignified ritornello whichbegins the fourth movement of the suite.Malipiero has here interposed two move-ments comprised of sections from laterparts of the work. The slow third move-ment contains music from the opera'ssimilarly numbered act (in whichOrpheus gains entrance to P 'as with

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