Carnival in Vienna Sunday, June 7, 2009, 3:00PM St. John’s Episcopal Church

Program

Canzon [Partitur Buch 86] Anonymous Capriccio stravagante Carlo Farina (c.1600-1639)

[Intrada] / La lire [The Hurdy Gurdy] / Il Fiferino [The Little Shawm] / Lira variata [The varied Hurdy Gurdy]

/ [Interludium] / Qui si bate con il legno del archetto sopra le corde [Here one hits the strings with the wood of

the bow] / [Interludium] / La trombetta [the Trumpet] / La Clarino [the Clarino trumpet] / La Gallina [the

Chicken] / il Gallo [the Rooster] / Presto [Interludium] / Il Flautino pian piano [the small flute, pianissimo] /

[Interludium] / Il tremulanto [the tremulant organ stop] / [Interludium] / Fiferino della Soldatesca - il

Tamburo [the Soldier’s Fife and Drum] / Il Gatto [the Cat] / Il Cane [the Dog] / [Interludium] / La Chitarra

Spagniola [the Spanish Guitar] / [Coda].

Aria XLIV: “Nambli, wol kann ich jetzt glauben” Johann Jacob Prinner (1624-1694) Musicalisches Urwerck Anonymous Deutsch Liedt: “In jenem gefilde wo doppelte Treue” Johann Heinrich Schmeltzer (1623-1680) FechtSchule á 4 J.H. Schmeltzer Aria 1. / Aria 2. / Sarabande / Courente / Fechtschule. / Bader Aria. Serenate con altre arie J.H. Schmeltzer Serenata / Erlicino / Ciaccona / Campanella–Lamento

✽ Membership Reception to Follow ✽

Become a member, and come to the party!

Notes on the Program

In popular perceptions, the celebration of Carnival during the baroque period is often

associated with Venice, but many other European centers developed their own unique

Carnival traditions. This concert by the Tallahassee Bach Parley is focused on the music from

one of the most musical centers of the seventeenth century, Vienna. During the reigns of

successive Hapsburg emperors — Ferdinand II , Ferdinand III, and Leopold I — the court

sponsored elaborate operas, balls, and other court entertainments, all of which provided

examples of musical games. Carlo Farina’s Capriccio stravagante (Extravagant Caprice) is filled

with musical imitations of animals and even a poorly trained organist. This same carnival

playfulness is evident in the Musicalisches Urwerck (The Musical Alarm Clock) in which a solo

violin chimes the hours until the alarm rings. During his career in Vienna, Johann Heinrich

Schmeltzer wrote music for many balls and entertainments. His FechtSchule (Fencing School)

may have accompanied a pantomime dance in which the clash of sabers mirror the musical

parries and thrusts. His Serenate con altre arie was composed for the last night of carnival, and

ends with a lament for the end of the party

and the beginning of Lent. Charles E. Brewer

The Tallahassee Bach Parley would like to thank all of its donors and volunteers for their support, especially St. John’s Episcopal Church, Betsy Calhoun and Lindsay Hardy for hosting this concert, Erica Thaler for help with publicity, Patty Herrington for distributing posters, and David Dolson for the loan of the cello by Andreas Ferdinand Mayr, Slazburg 1737. Special thanks to Mimi Jones for organizing today’s reception.

The Tallahassee Bach Parley 2008-2009 Membership (as of May 31, 2009)

Sponsor Mimi Jones & Bill Brubaker William P. & Karyl Louwenaar Lueck

Benefactor Ronald A. Kanen

Patron Fred & Linda Hester Debby Kearney Frances Dwyer & Charles Mathews Mr. and Mrs. Ed Mellon Tom & Ava Prebys Dana Preu William & Jeanne Ryder Tom & Jean Souter Louis R. Testardi Kay A. Young

Sustaining Carolyn and Leonard Adams Woody & Charlotte Dudley Sanford A. Safron & Penny Gilmer Barbara Jorgenson Jeffery & Helga Kite-Powell Rev Bernhard & Mrs B. F. Kurzweg Nora K. Loyd Denis & Bobbi Markiewicz Jim & Chandler Russell John & Virginia Walker Mike & Kathleen Wright & Family

Contributing Jim Ciotti & Anne Swerlick Laura & Barnett Cook James & Rochelle David Beth Fusaro Eric & Phyllis Hytnen Catherine Lemoine David & Rosa McNaughton Martha J. Miller Gayle Muenchow &

Richard Hopkins Bob & Janet Newburgh Martha Ray Phineas St. Michael Saxon Nat Turnbull

Individual Bob Allen &

Cheryl McGhan John Andrews & Marie Donnelly John & Nancy Barfield Tom & Cathy Bishop Barbara Bitter Patricia Curtis Patrick J. Fowler John Fraser Julia Goldstein Susan Gross Amy Higgins Cindy Horne Mr. & Mrs. James F. Jones Alice J. Jones Dr. Toni Fuss Kirkwwod-

Tucker John A. Knoblauch Tom McCaleb Derek McLean Marjorie Morgan Elizabeth Platt Hank Rosen Joan D. Ryder Betty Serow Pam & Joe Sobodowski Joanne S. Taylor Katya S. Taylor Raiden & Claire Thaler

Board of Directors Charles E. Brewer, President; Charles Witmer, Vice President; Charles E. Brewer, Treasurer (acting); Michael Corzine; James Davis; Gerry Hammond

www.tallahasseebachparley.org

Texts & Translations

Johann Jakob Prinner, Aria XLIV: “Nambli, wol kann ich jetzt glauben” 1. Nambli wol kann ich jetzt glauben, Nambli, I can well believe just now,

warumb im Dorf unsre Dauben why in the village our doves,

jungs und alts ins Feld ausfliegen, young and old, fly away into the field,

dahs sie ein Wätz Kerndlein kreig that they find a beautiful little nut

und schnäblen sich zu sammen. and bill and coo together.

Ich had mich oft g’wundert I have often wondered

warumb sich aufmundert why the house hound calls

der Haushund wenn Fremde an kummen when a stranger comes,

durch bellen und laufen through barking and running,

mit ihnen will rauffen he will fight with him

und b’sorgt sich es werd’ ihm g’nummen and anxiously will help himself to him

seine speis, und will nicht leiden as his food, and he will not bemoan

daß man ihm darumb soll b’neiden for that reason that one should be envious of him.

jetzt find ich d’Ursach’ beisammen. Now together I will find the cause.

2. Kent ihr nicht unsere Dieren Do you not know our animals,

die sich alltag pflegt zu zieren, who all day take care to adorn themselves,

und die schennste unter allen and the most beautiful of all

will der ganzen welt gefallen. will please the whole world?

schaut wie es ihr jetzt tuet ergehen Look how it is that you now indulge in flattery,

ein jeder wills haben, each person wishes to have one,

die Alten wie d’Knaben the elderly (like children)

die Bärt ihnen lassen bescheren are allowed to give beards to them,

und zeigen golt bazen, and they are observed to use gold.

mit Haendt und Fueß krazen With hand and foot they scratch

wie reichlich sie ‘s wollen ernähren as amply they wish to feed,

her endgegen auch die Jungen here the young ones also reply,

ihre liebe liedlein sungen who have sung their beloved little songs,

und lassen sich prächtig ansehen. and let themselves look sumptuous.

3. Aber ich wollte schier wetten But I would almost bet that they

daß sie sich gewiß nicht laßt netten certainly would not allow themselves to make nice

und verblendten durch die gaben and to blind themselves through presents,

so die Alten ihr zeigt haben as the elders seem to you to have done,

dan lieb laßt sich selten erkauffen since love seldom allows itself to be bought,

was sollten Duggaten erzeigen für Tatten why should ducats appear for the acts?

bey jungen und lustigen Herzen In young and lusty hearts

nur greinen und brummen there are only whines and groans,

hat allzeit benummen love has always called forth

den willen zum liebreichen scherzen, the desire for amorous pains.

was für freid ist dan zu hoffen What is there then to be hoped for peace,

wan darbey der Zweck getroffen when by that the purpose is met,

es geht ja als überein Hauffen. it certainly happens as they embrace together.

Johann Heinrich Schmeltzer, Deutsch Liedt: “In jenem gefilde wo doppelte Treue” In jenem gefilde wo doppelte True In that field, where doubled fidelity

Im doppeltem Schilde de Herzen die reye. Is in the doubled shield, the line of

Der Hirten mit Myrten Von andern entscheid, Shepherds departed with others’ myrtles,

Zu weillen mit Pfeillen und Köchern beklayd, For the moment clad in arrows and quiver.

Gibts arge, beklickte, vergniegte, getreye, There are [among them] the bad, the fortunate,

Gehorsam verstrickte, verplichte und freye. The faithful, the obediently bound, the obliged, the free.

So alle undt jede von herzens verlangen All and each, of their own hearts’ desires,

Der Lieb Ihre Güete durch Trey zu erlangen To win Love’s kindness through fidelity,

Verehren, begehren der lieb ihre Gunst Honor and crave Love’s favor,

Bedenckhen und krenckhen sich dannoch umbsunst, And scruples and vexations are in vain –

Dieweill Jene Freude, nach der sie verlangen As that joy they seek

Vom Eüffer und Neide oft wird hintergangen. Will be undone by jealousy and envy.

Man muess eh die Truebe des Unglückhss geniessen, Rather must one enjoy the bitterness of misfortune,

Eh das sich die liebe begingt zu versiessen Before Love begins to sweeten;

Wann d’Sterne in d’ferne von himmlischer wohn, When the stars in distance of their heavenly home

Entweichen, erbleichen, dakhomt erst die Sonn, Grow pale and part, only then comes the sun.

Der Unglückh khünt leiden, kan entlich geniessen Those who can suffer woe can enjoy in the end;

Auf trauriges scheiden khombt fröhliches gruessen. After sad parting comes joyous greeting.

Translations by Lawrence Rosenwald, Jeffery and Helga Kite-Powell, and C.E. Brewer

Today’s Performers

VALERIE PREBYS ARSENAULT is a principal player and soloist with the Atlanta Baroque Orchestra, a member of the Tallahassee Symphony and has performed and recorded with the Apollo Ensemble (NY) and Apollo's Fire. She has earned degrees from the New England Conservatory (BM), the Indiana University School of Music (MM, Early Music), and the Florida State University College of Music (DM). As Visiting Assistant Professor at Florida State University she directs the Baroque Ensemble (on period instruments) and the Irish Ensemble. She also maintains a thriving private violin studio of students of all ages at Cavatina Music Studios. In their spare time she and her husband Brian are avid Irish fiddlers, and their band, The Ned Devines, recently released their first CD “Out Late” as a benefit and to date has raised over $6,000 for the Tallahassee Homeless Shelter. MIRIAM BARFIELD began studying violin at the age of six with Melissa Brewer. She has just completed her sophomore year at Florida State University where she is majoring in Viola Performance and studies with Dr. Pamela Ryan. She has attended many summer music festivals, including the Brevard Music Center Festival in Brevard, North Carolina, the Schlern International Music Festival in Völs am Schlern, Italy, and the Meadowmount School of Music in Westport, New York. Miriam was the only musician from Florida to be accepted to the National High School Honors Orchestra in 2005 in Reno, Nevada. She was a member of the FSU Philharmonia when she was a sophomore in high school and served as the principal violist when she was a senior. She is currently a member of the Tallahassee Symphony Orchestra, the FSU Symphony Orchestra, and the FSU Baroque Ensemble. CHARLES E. BREWER is Associate Professor of Musicology in the College of Music at The Florida State University. His research interests concerning the music of the Seventeenth Century has focused on the instrumental compositions from Central and East Central Europe, and has been conducted at archives throughout the region. The results of his research have been presented at scholarly conferences, in publications, in concert, and on recordings by Tafelmusik and Hesperion XXI. MELISSA BREWER began her professional studies in violin and viola at the University of Miami, studying with George Zazofsky and Victor Stern and with David Becker at the University of Wisconsin Madison. She has performed with groups as diverse as the Florida Philharmonic, Miami Chamber Orchestra, West Palm Beach Opera Company, Tallahassee

Bach Parley, and the Tallahassee Symphony Orchestra. The breadth of her repertoire stretches from symphonic to chamber, opera to popular, and she has performed with artists as varied as Perlman and Sinatra. On period instruments, she has performed with the F.S.U. Baroque Ensemble, Baroque Southeast, the Apollo Ensemble, and is Principal Violist with the Atlanta Baroque Orchestra. She plays on a 1760 Locky Hill viola. MARNIE KIM JONES, violoncellist, holds a Bachelors in Music degree and an Artist Diploma from McGill University (studio of Antonio Lysy) and a Masters in Music degree from the Eastman School of Music (studio of Steven Doane). While at Eastman she also studied string pedagogy with Louis Bergonzi and Baroque performance practice with Paul O'Dette and Christel Thielmann. Kim is originally from Calgary, Alberta, where she studied with John Kadz; she has also performed in masterclasses for Anner Bylsma, Bernard Greenhouse, Franz Helmerson, Desmond Hoebig, Steven Isserlis, Laurence Lesser, Siegfried Palm, Aldo Parisot, Fred Sherry, Janos Starker, and Tsuyoshi Tsutsumi. Previously a tenured member of the Rochester Philharmonic Orchestra, she now serves as associate principal cellist with the Tallahassee Symphony Orchestra and maintains a private studio of over twenty students. KARYL LOUWENAAR LUECK joined the faculty of the Florida State University School of Music in 1972 as an Assistant Professor of Piano. Over time, harpsichord, fortepiano, basso continuo, Baroque Ensemble, and courses in keyboard literature and performance practice were added to her assignment; and during the last six years of her tenure she also served as Coordinator of the Keyboard Area. Since her retirement in 2007, she has continued as an Adjunct Professor at the College of Music. In 1981 The Tallahassee Bach Parley was founded by Karyl and friends Lillian and Clark Pearson; later she founded also the Jurow International Harpsichord Competition under the auspices of the Southeastern Historical Keyboard Society. She has appeared as soloist and ensemble harpsichordist in Germany, Costa Rica, and in many major cities and institutions of higher education in the U.S., especially in the eastern half of the country. MELANIE PUNTER is Associate Professor of Double Bass at Florida State University. As a member of the Juilliard Music Advancement Program faculty, she coached chamber music and bass ensembles and taught double bass. She is a member of New York's prestigious Orchestra of St. Luke's performing at Carnegie Hall and Lincoln Center and is principal bassist of the Tallahassee Symphony Orchestra. She has performed with the American Symphony Orchestra, the Opera Orchestra of New York, Joffrey Ballet, New York City Ballet and the American Ballet Theatre. She performs regularly at the Caramoor International Music and has participated in Festival of Two Worlds in Charleston, SC and in Spoleto, Italy. An active

chamber musician, she is a member of the Atlanta Baroque Orchestra performing on period instruments. ELIZABETH RONAN SILVA is noted for her “delightfully clear fresh singing” (Opera News) “rich voice… deepening embodiment” and “canny use of her wide dynamic range,” (San Francisco Classical Voice). She performs a broad range of repertoire that spans many styles including renaissance and baroque, contemporary and children’s music. Since receiving a Master’s degree from Mannes College of Music in 1997, she has performed with various early music ensembles including Teatro Lirico, Seattle Baroque Orchestra, Reconstruction, Company of Strings, Lizzy and the Theorboys, Albuquerque Baroque Players and the Camerino Band. Her opera roles include Valletto (L’incoronazione di Poppea), Cherubino (Nozze di Figaro), Nerone (Agrippina), and Venere (Ercole Amante). Elizabeth was a founder and President of Caprock Early Music Association in Lubbock TX, where she performed and taught voice for four years. She relocated to Tallahassee in August 2007 where she performs with the Bach Parley and teaches voice and music classes for children.