Program Notes for November 25, 2022 Concert
The Baroque period (1600–1750) was a fluid time in the development of musical styles and genres. Baroque composers developed a popular following by writing music that brought comfort, peace and joy to the soul. Handel (1685–1759) and Bach (1685–1750) were renowned in their success at this. Corelli, Torelli, Locatelli and Manfredini, through the musical content of their concerti grossi, also provided listeners with the same. In today’s world the effect is similar. In a timeless way these compositions make the early winter months a season of warmth and light.
Arcangelo Corelli (1653–1713) wrote music that is sunny and simple. In his concerto “made for Christmas night” there are rarely more than two musical elements at a time, and the rhythms perfectly suit bowed string instruments. The first three chords make a strong statement and lead directly into the Grave. The following Allegro and Adagio-Allegro-Adagio showcase rich harmonies. The Vivace and Allegro utilize the contrast between the concertino ensemble and the larger group that is inherent in a concerto grosso. The final Pastorale is characteristic in the presentation of seasonal music that was once played by shepherds. Corelli’s patron, Cardinal Pietro Ottoboni, was pleased with the musical results of this commission in 1690.
Giuseppe Torelli (1658–1709), an Italian violist and violinist, pedagogue and composer, was born in Verona. In 1684, as a violinist, he became a member of the Accademia di Filarmonica at Bologna’s Academy of Music. Subsequently he participated as a violist in the orchestra of the Basilica di San Petronio in Bologna from 1686 to 1695. Torelli composed his 12 concerti grossi “con una pastorale” late in his career. The most notable among his many pupils was Francesco Manfredini.
Shortly before Corelli’s Opus 6 was published, Pietro Locatelli (1695–1764) arrived in Rome to study violin and composition. His first publication mirrored Corelli’s last: a set of 12 concerti grossi in a format and style that paid homage to the master. The opening of concerto No. 8 is rich and sombre, with divided viola parts and in the dark key of F minor. This darkness of sound persists in the following movements until the sun comes out in the lilting pastorale, in the key of F. The work has a similar structure to Corelli’s concerti. Both have a concertino of two violins and cello; melodic material is presented in thirds in the violin voices.
Francesco Manfredini (1684–1762) entitled his concerto “Pastorale for Holiest Christmas”. The first movement is a siciliano (a slow dance in triple time). The second movement features a tranquil melody of descending arpeggios in a minor key. It segues directly to the third movement, which portrays a pifferari* performance. The orchestral strings imitate zampogne* in their simple harmonic support as the soloists perform the trills and ornaments characteristic of the high pitched pifferi*. The last movement is marked Allegro, but it retains the pastoral feeling. A held bass note partway through supports the violins’ melody in thirds. This pedal point reappears in the final measures. The result is a tranquil conclusion that brings to the listener the peacefulness of shepherds watching their flocks.
George Frideric Handel’s Concerto a due cori (concerto for two instrumental choirs) was written as interval music within his oratorio Joshua. The work is scored for antiphonal groups of wind instruments plus string orchestra. In our performance the wind instruments are replaced by string trios (violins and celli). This concerto was written in 1748, late in Handel’s career. It includes reworkings of earlier material drawn primarily from oratorio choruses. Handel’s audiences would have recognized this. The main theme “And the Glory of the Lord”, a well-known chorus from Messiah, appears following the overture. Passages from other works are quoted throughout.
Many aspiring musicians studied with Dietrich Buxtehude (1637–1707) during his long career as organist at St. Mary’s Church, Lübeck. Handel and Bach did so in the early years of the 18th century. Organists draw connections between the music of Buxtehude and that of J. S. Bach. The latter borrowed from his mentor in useful ways, adapting concepts to his own needs. Buxtehude was the first to require the use of pedals in a passacaglia. With an ostinato melody carried by the pedal bass line, the organist’s hands are free to play complex variations above it. In the arrangement performed tonight, the upper strings play melismatic figures above the bass line. Overall, there is a formal plan: four sections in D-, F+, A- and D- present seven variations, each supported by the four-measure bass melody. Buxtehude is known to have composed choral works to be performed throughout Advent, but, unfortunately much of his output has been lost.
The Baroque period (1600–1750) was a fluid time in the development of musical styles and genres. Baroque composers developed a popular following by writing music that brought comfort, peace and joy to the soul. Handel (1685–1759) and Bach (1685–1750) were renowned in their success at this. Corelli, Torelli, Locatelli and Manfredini, through the musical content of their concerti grossi, also provided listeners with the same. In today’s world the effect is similar. In a timeless way these compositions make the early winter months a season of warmth and light.
Arcangelo Corelli (1653–1713) wrote music that is sunny and simple. In his concerto “made for Christmas night” there are rarely more than two musical elements at a time, and the rhythms perfectly suit bowed string instruments. The first three chords make a strong statement and lead directly into the Grave. The following Allegro and Adagio-Allegro-Adagio showcase rich harmonies. The Vivace and Allegro utilize the contrast between the concertino ensemble and the larger group that is inherent in a concerto grosso. The final Pastorale is characteristic in the presentation of seasonal music that was once played by shepherds. Corelli’s patron, Cardinal Pietro Ottoboni, was pleased with the musical results of this commission in 1690.
Giuseppe Torelli (1658–1709), an Italian violist and violinist, pedagogue and composer, was born in Verona. In 1684, as a violinist, he became a member of the Accademia di Filarmonica at Bologna’s Academy of Music. Subsequently he participated as a violist in the orchestra of the Basilica di San Petronio in Bologna from 1686 to 1695. Torelli composed his 12 concerti grossi “con una pastorale” late in his career. The most notable among his many pupils was Francesco Manfredini.
Shortly before Corelli’s Opus 6 was published, Pietro Locatelli (1695–1764) arrived in Rome to study violin and composition. His first publication mirrored Corelli’s last: a set of 12 concerti grossi in a format and style that paid homage to the master. The opening of concerto No. 8 is rich and sombre, with divided viola parts and in the dark key of F minor. This darkness of sound persists in the following movements until the sun comes out in the lilting pastorale, in the key of F. The work has a similar structure to Corelli’s concerti. Both have a concertino of two violins and cello; melodic material is presented in thirds in the violin voices.
Francesco Manfredini (1684–1762) entitled his concerto “Pastorale for Holiest Christmas”. The first movement is a siciliano (a slow dance in triple time). The second movement features a tranquil melody of descending arpeggios in a minor key. It segues directly to the third movement, which portrays a pifferari* performance. The orchestral strings imitate zampogne* in their simple harmonic support as the soloists perform the trills and ornaments characteristic of the high pitched pifferi*. The last movement is marked Allegro, but it retains the pastoral feeling. A held bass note partway through supports the violins’ melody in thirds. This pedal point reappears in the final measures. The result is a tranquil conclusion that brings to the listener the peacefulness of shepherds watching their flocks.
George Frideric Handel’s Concerto a due cori (concerto for two instrumental choirs) was written as interval music within his oratorio Joshua. The work is scored for antiphonal groups of wind instruments plus string orchestra. In our performance the wind instruments are replaced by string trios (violins and celli). This concerto was written in 1748, late in Handel’s career. It includes reworkings of earlier material drawn primarily from oratorio choruses. Handel’s audiences would have recognized this. The main theme “And the Glory of the Lord”, a well-known chorus from Messiah, appears following the overture. Passages from other works are quoted throughout.
Many aspiring musicians studied with Dietrich Buxtehude (1637–1707) during his long career as organist at St. Mary’s Church, Lübeck. Handel and Bach did so in the early years of the 18th century. Organists draw connections between the music of Buxtehude and that of J. S. Bach. The latter borrowed from his mentor in useful ways, adapting concepts to his own needs. Buxtehude was the first to require the use of pedals in a passacaglia. With an ostinato melody carried by the pedal bass line, the organist’s hands are free to play complex variations above it. In the arrangement performed tonight, the upper strings play melismatic figures above the bass line. Overall, there is a formal plan: four sections in D-, F+, A- and D- present seven variations, each supported by the four-measure bass melody. Buxtehude is known to have composed choral works to be performed throughout Advent, but, unfortunately much of his output has been lost.