BYU- IDAHO DEPARTMENT OF MUSIC PRESENTS

NOVEMBER 8, 2016 ~ 7:30 PM BARRUS CONCERT HALL

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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

Tonight’s concert chronicles the development of the baroque instrumental music, featuring several important composers representing Italian, Germanic, and French musical style:

• 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.

• Heinrich Ignaz Franz Biber represented a leading 17th century Austrian violin virtuoso and composer, best remembered for his increasing use of extreme techniques in violin music. The demanding left-hand and bowing requirements in his compositions were very advanced.

• Most listeners are familiar with Joahnn Pachelbel’s Canon, not realizing that he was a highly respected organist, teacher, and composer. The Partie for five instrumental parts is a suite of contrasting baroque dances played together with very little pause.

• As a student of Lully, Georg Muffat introduced the musical style of Louis the 14th’s Court to Austria. Even more important than his finely crafted music, Muffat’s detailed writings on French baroque performance serve as an indispensible resource for performers of baroque music today.

• Arcange lo Core ll i 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.

• Although composing over 80 opera, Venetian Thomas Albinoni is best remembered for his string and oboe concertos. Born to a wealthy family, his career in music was unusual in that he never sought permanent employment, rather was free to compose, as he desired.

• Bolognese violinist and student of Giuseppe Torelli, Francesco Mafredini spent most of his career in Pistoia, directing music at the Cathedral of St. Philip from 1727 until his death in 1762. Though most of his music was lost, what remains shows a highly accomplished composer in the Italian style.

Dr. Tueller

PROGRAM Sonata VIII from Sacro-profanus concentus musicus 1662 .................... Johann Heinrich Schmelzer

1623 – 1680 Sonata V from Fidicinium Sacro-profano 1683 .................. Heinrich Ignaz Franz Biber

1644 – 1704 Partie a5 ....................................................................................... Johann Pachelbel

I. Sonatina 1653 – 1706 II. Ballet

III. Sarabande IV. Aria V. Gigue

Sonata I from Armonico Tributo (1682) ............................................... Georg Muffat

I. Grave – Allegro e presto 1653 – 1704 ............................ II. Allemanda

III. Grave IV. Gavotte V. Grave

VI. Menuet Concerto Grosso, Op.6 No. 7 ........................................................ Arcangelo Corelli

I. Vivace – Allegro – Adagio 1653 – 1713 ............................ II. Allegro

III. Andante largo IV. Allegro V. Vivace

Sinfonia II from Sinfonie e Concerti a5, Op.2 ................................... Tomaso Albinoni

I. Largo 1671 – 1751 ............................ II. Allegro

III. Grave IV. Allegro

Concerto Grosso Op. 3 No. 12 Pastorale per il santissimo natale Francesco Manfredini

I. Pastorale: Largo 1684 – 1762 ............................ II. Largo

III. Allegro

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NOTES The University Baroque Ensemble, in its fifteenth 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. 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.

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PERSONNEL Dr. Robert Tueller, Director

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Violin I Rebecca Fagersten* Crista Guthrie Matthew Garnder Violin II Sarah Bagley* Greta Hansen Andre Gaspar

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Viola Arita Justis* Violoncello Sebastian Fraser* Joe van Duren Charlotte Petersen* Grant Pray

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Violone Dr. Tueller Harpsichord/Organ Andrew Woodruff * soloists on Muffat, Corelli & Mandfredini