italian baroque music for...
TRANSCRIPT
ABO Board of Directors President: Eckhart Richter Ephraim McLean
Vice President: Cathy Adams William E. Pearson III
Vice President for Development: Janie Hicks John Lemley
Secretary: Susan Wagner Melanie Punter Treasurer: Peter DeWitt Scott Atchison
Daniel Pyle, Resident Director
Hotel accommodation for The Atlanta Baroque Orchestra Support is also provided by musicians is graciously provided by
Do Not Miss the Rest of Our 2006-07 Season!
Dieterich Buxtehude 300th Anniversary Membra Jesu Nostri (Seven meditations) Sonatas for strings and basso continuo
Sunday 11 March 2007
Handel & Haydn Handel: Concerti grossi from Op. 3 & Op. 6
Haydn: “Little Organ” Mass
With soprano Arietha Lockhart Chamber Choir of Peachtree Road United Methodist Church
(Scott Atchison, Director)
Sunday 13 May 2007
Visit our web-site at
www.atlantabaroque.org
The Atlanta Baroque Orchestra John Hsu, Artistic Director & Conductor
Italian Baroque Music for Strings
Sunday 28 January 2007 3:00 p.m.
Peachtree Road United Methodist Church 3180 Peachtree Road NW
Atlanta, Georgia
ITALIAN BAROQUE MUSIC FOR STRINGS
Concerto in C Major, Op. 8, No. 1 Giuseppe Torelli
for 2 violins, strings and continuo (1658-1709)
Vivace
Largo-Allegro ma non Presto-Largo
Allegro
Sinfonia No. 12 in A Minor Antonio Caldara
“La passione di Gesu Signor nostro” (1670-1736)
Grave-Allegretto-Adagio-Allegro
Sinfonia No. 4 in B Minor Antonio Caldara
“Morte e sepoltura di Christo”
Grave-Allegretto-Allegro assai
Concerto Grosso in C Minor, Op. 6, No. 3 Arcangelo Corelli
for 2 violins, cello, strings and continuo (1653-1713)
Largo-Allegro
Grave
Vivace
Allegro
intermission
Concerto Grosso in C Major, Op. 3, No. 12 Francesco Manfredini
“Per il santissimo natale” (1688-1748)
for 2 violins, cello, strings, and continuo
Largo (Pastorale)
Largo
Allegro
Sinfonia in B Minor, RV 169 Antonio Vivaldi
“Al Santo Sepolcro” (1675-1741)
Adagio molto-Allegro ma poco
Concerto Madrigalesco in D Minor, RV 129 Antonio Vivaldi
Adagio-Allegro
Adagio-Allegro ma non troppo
Concerto in G Minor, Op. 3, No. 2, RV 578 Antonio Vivaldi
for 2 violins, cello, strings, and continuo
Adagio e spiccato-(Allegro)
Larghetto
Allegro
Embellish A Melody!
Bach Club ($1.000 +) Telemann Club ($100-249) An anonymous donor Niels Brix Andersen An anonymous donor John & Linda Austin Cathy Callaway Adams Mr. & Mrs. Roger S. Austin Dr. & Mrs. David Bright Mr. & Mrs. William H. Austin, Jr. Dr. & Mrs. Peter DeWitt Daniel Baba Federal Home Loan Bank of Atlanta Mr. & Mrs. Roy B. Bogue Janie R. Hicks Patrick L. Boyle & Paula G. Ciembor Martha J. R. Hsu Mr. & Mrs. A. C. Briley, Jr. Douglas Leonard Stratton H. Bull Mr. & Mrs. William E. Pearson III Susan K. Card Daniel Pyle & Catherine Bull Dr. & Mrs. Robert M. Cates Lois Z. Pyle Dr. & Mrs. M. Dwayne Collier Dr. & Mrs. Eckhart Richter Dr. & Mrs. Jack R. Edgens Donald E. Snyder Homer Edwards Susan Wagner Drs. Thomas & Shauna Farmer Larry Thorpe & Dr. Barbara Williams Dr. & Mrs. Peter G. Gilmer Ms. Anne P. Halliwell Handel Club ($500-999) Dymples E. Hammer Donald N. Broughton & Susan L. Olson Dr. & Mrs. Daniel Hanks, Jr. James E. Honkisz & Catherine A. Binns Dr. & Mrs. Bannester L. Harbin Dr. & Mrs. William P. Marks, Jr. Dr. Buford G. Harbin Dr. George Riordan & Karen Clarke Margaret T. Harbin Rome Area Council for the Arts Mr. & Mrs. Allan R. Jones Southeastern Historical Keyboard Society Virginia Ware Killorin Dr. & Mrs. Joel D. Todino Hans & Christa Krause George H. Lanier Vivaldi Club ($250-499) Dr. & Mrs. Richard W. Leigh Martha Bishop Mr. & Mrs. Gordon A. Leiter Michael Clifford & Sandra Murray Mrs. Hugh T. Moore Nancy Musselwhite G. R. and Caroline Nuckolls Dr. Marie P. Griffith and Music Academy of Rome Shawn Pagliarini & Russell Williamson Dr. & Mrs. David Halverson Mr. & Mrs. Jerry Pollard Dr. Henry Kahn & Mary Gilmore--Kahn Mary Roth Riordan Dr. Jerry McCormick — Certified Collision Specialists Dr. & Mrs. William H. Robison III Dr. & Mrs. Ephraim R. McLean Dr. & Mrs. D. Michael Rogers Mr. & Mrs. John L. Mortison Dr. & Mrs. Jim L. Rogers Holly, Mark, Jack, & Sara Murphy Ann R. Rollins Dr. & Mrs. Roderick Remoroza Dr. Jack Runninger Mr. & Mrs. Thomas J. Thomas Michael & Cheri Schneider Mr. & Mrs. Paul Timm-Brock Dr. & Mrs. Stuart A. Smith Hans & JoAnn Schwantje Mr. & Mrs. James H. Tuttle Dr. & Mrs. Gary Voccio
The Atlanta Baroque Orchestra would like to thank the following persons and establishments For contributing their time, talents, and energy in regard to the details of ABO concerts.
Atlanta Early Music Alliance (AEMA) William & Ute Marks Janice Joyce & Chris Robinson Eckhart & Rosemary Richter Nancy & Wayne Musselwhite Gisella Torresala & Sheraton Midtown Hotel Janie Hicks Valerie Prebys Arsenault Peter and Patricia DeWitt Sid & Linda Stapleton Martha Bishop Susan Wagner Peachtree Road United Methodist Church: Scott Atchison Linda Bernard & RyeType Design
Ephraim & Jane McLean Cathy Adams & The Federal Home Loan Bank of Atlanta The ABO would also like to acknowledge the several thousand dollars worth of rehearsal time that has been graciously given to the orchestra by its members. These concerts could not be given without their enthusiasm and support.
section of his Kyrie, RV 587. In view of the brevity of the movements, and the alternation of slow
harmonic and fast polyphonic music, this concerto is more like a seventeenth-century Italian canzona than
a madrigal.
Vivaldi’s Concerto in G Minor is the first of four concertos for two violins, cello, and orchestra in the
collection of twelve concertos for violins, Opus 3, entitled “L’estro armonico,” published in 1711. As the
title suggests, this is music inspired by harmony. The concerto begins with an Adagio introduction of
plain but expressive harmonic progressions, devoid of rhythmic or melodic interest. It leads into the
brilliant fast movement in which sparkling virtuosic melodic figurations from the solo violins alternate
with rich sonorities of the tremolo-like sixteenth-note passages from the orchestra. In the Larghetto
movement we witness Vivaldi’s expressive and dramatic use of contrasting dynamics and silence. The final
Allegro, a joyful gigue, is a concerto grosso movement with clear-cut alternation of the sonorities of the
orchestra and the solo group.
THE ATLANTA BAROQUE ORCHESTRA John Hsu, Artistic Director & Conductor
Violin Concertato Viola Violone
Karen Clarke Melissa Brewer Melanie Punter
Valerie Prebys Arsenault Nancy Schechter
Shawn Pagliarini Harpsichord
Violoncello Daniel Pyle
Violin II Brent Wissick
Ute Marks Eckhart Richter
Ruth Johnsen
Peter Rovit
The Atlanta Baroque Orchestra was founded under the leadership of Lyle Nordstrom, along with
founding-members Catherine Bull, Jeanne Johnson, Daniel Pyle, and Eckhart Richter, who felt the need
for a permanent, professional, historical-instrument orchestra in the Southeast. The unique, transparent
sheen of “early” instruments, coupled with their capability of a delightful variety of articulations, allows
voices and instruments to blend into a unified, yet clear, sound that is very difficult to achieve with
“modern” instruments. Since its founding in 1997, the ABO has been applauded for its freshness and
verve, and for its delightful, convincing performances of a wide range of earlier works.
The Orchestra received initial generous support from the Atlanta Early Music Alliance and a variety of
individuals, and has also depended on donations of time and money from the musicians themselves. The
ABO is a not-for-profit corporation based in Atlanta, and is 501(c)3 (tax-exempt). Contributions, which are
tax-deductible, are greatly appreciated and are central to the survival of a venture such as this. If you would
like to support the ABO and its future programming, please send checks made out to “The Atlanta
Baroque Orchestra,” 303 Augusta Avenue SE, Atlanta, GA 30315. There is also a great opportunity for
friends of the arts in the community to serve on the Atlanta Baroque Orchestra board. Please visit our
website at www.atlantabaroque.org for more information on the ABO.
John Hsu is the Old Dominion Foundation Professor of Music Emeritus at Cornell University, where he
taught for 50 years (1955-2005). He was the founder and conductor of the erstwhile Apollo Ensemble (a
period instrument chamber orchestra) and a renowned virtuoso player of the viola da gamba and baryton.
As both a conductor and an instrumentalist, he has been awarded grants by The Fund for U.S. Artists at
International Festivals and Exhibitions, a public/private partnership of the National Endowment for the
Arts, the United States Information Agency, The Rockefeller Foundation, and the Pew Charitable Trusts.
He has performed throughout North America and Europe, and made award-winning recordings. Among
them are his CD of Haydn Baryton Trios (with violist David Miller and cellist Fortunato Arico), which was
chosen Winner in the Music Retailers Association's Annual Award for Excellence in London, 1989; and
his CD Symphonies for the Esterhazy Court by Joseph Haydn (with the Apollo Ensemble), which was
nominated for the 1996 International Cannes Classical Music Award. In recognition of his edition of the
complete instrumental works of Marin Marais (1656-1728), the most important composer of music for the
viola da gamba, and for his performances and recordings of French baroque music for the viola da gamba,
the French government conferred on him the knighthood Chevalier de l'Ordre des Arts et des Lettres in
May of 2000.
He is a graduate of the New England Conservatory of Music, which awarded him the Honorary Doctor of
Music degree in 1971, and the Outstanding Alumni Award in 2003. He is also Artistic Director Emeritus
of the Aston Magna Foundation for Music and the Humanities, the pioneering musical organization in
the historical performance movement in this country, founded by Albert Fuller in 1972
Program Notes by John Hsu
Giuseppe Torelli was born in Verona in 1658 but lived most of his life in Bologna. He became a violinist
in the Accademia Filarmonica in 1684, and a member of the cathedral orchestra of San Petronio in 1686.
He was active in Ansbach, Berlin, and Vienna between 1696 and 1670, but returned to Bologna in 1701.
Torelli composed both concerti grossi and solo violin concertos. The two solo concertos in Opus 6,
published in 1698, are most likely the first such concertos from the seventeenth century. His Opus 8,
containing six concerti grossi and six solo violin concertos, was published in 1709, the year of his death.
Torelli’s Concerto in C Major, Op. 8, No. 1 is a rather typical concerto grosso, except that it begins with
the solo group rather than the orchestra, as is more common. The first movement consists of five pairs of
solo-orchestral alternation of sonorities. The first and last pairs are in C major, and those in between are
in closely related keys. The third and fourth appearances of the solo group are lengthened and feature the
solo violins in brilliant fast figurations. The second movement, Largo, is expanded by the addition of a
fast section (Allegro, ma non troppo) in E minor and another slow section (adagio) in A minor, but
alternation of sonorities occurs only in the first section. Unlike the first movement, the third begins and
ends with the orchestra, thus there is a final orchestral appearance following five pairs of orchestral-solo
alternation of sonorities. The first pair and last orchestral section are in C major, and the middle sections
are each in a different tonality.
Antonio Caldara was born in Venice in 1671. He was an important composer in his day, having held the
position of Kapellmeister in Mantua and Rome before settling in Vienna, where he was Vice-Kapellmeister
of the imperial court for 20 years, until his death in 1736. He was a prolific composer of operas and
oratorios as well as instrumental works, whose music was heard regularly at court. It is undeserved that
his instrumental music is almost totally neglected today. As their titles suggest, these two Sinfonias are
examples of sacred instrumental music composed for Holy Week. The first two movements of each of the
two sinfonias were composed originally as introductions to two oratorios with those titles. To transform
these two-movement introductions into independent sinfonias, Caldara added two movements to form the
first sinfonia and one movement to form the second. With the somber and sorrowful portions of the
sinfonias one could imagine the music as descriptive of the suffering and death of Christ. But what
associations could one make with the final fast movements? Might the one in the “Death” sinfonia be a
prefiguration of the resurrection of Christ?
Arcangelo Corelli, considered by many of his contemporaries as the “Orpheus of our day,” was a virtuoso
violinist, influential teacher and composer. Born in Fusignano in 1653, he spent most of his life in Rome
in the service of Cardinals Pamphili and Ottoboni. He composed only instrumental works: namely, violin
sonatas, trio sonatas, and concerti grossi. His twelve concerti grossi Op. 6 were published posthumously
in Amsterdam in 1714. They achieved instant fame and remain to this day among the most popular works
for strings. As suggested by the composer, these concertos may also be played as trio sonatas, since the
solo instruments play the complete music throughout. However, it is his imaginative use of the orchestra
that gives his concerti grossi its musical fascination.
In his Concerto Grosso in C Minor, he treats the alternation of sonorities in different ways in each
movement. In the first movement, long orchestral passages predominate, with snippets of the solo
ensemble interspersed occasionally. This movement is a French overture with a Largo introduction in duple
time and an Allegro fugal section in triple time, but with neither section repeated. The second movement,
Grave, is for the orchestra without soloists. The richness of the continuous orchestral sonority accords well
with the intense expressiveness of the music, which is derived from the successive dissonant harmonies that
result from sequential suspensions. In texture, the Vivace movement is a trio-sonata punctuated by frequent
and random orchestral intrusions, which gives the movement its whimsical and humorous quality. The
gigue-like final movement is in fact a concerto movement for two violins with orchestral accompaniment.
Francesco Manfredini was born in Pistoia in 1684, and died there in 1762. He went to Bologna in his youth
to study with Torelli, and became a member of the Accademica Filarmonica in 1704. His published works
for strings included 12 Concertini da camera, Opus 1 (1704); 12 sinfonias, Opus 2 (1709); and 12 concertos,
Opus 3 (1718). His music shows clearly the influence of Torelli. He is known to have composed nine
oratorios, but they are lost.
As indicated by the title, Manfredini’s Concerto Grosso in C Major Opus 3, No. 12, is a “Christmas”
concerto. It is therefore fitting that the first movement is a pastorale (a slow siciliano in 12/8 meter) that
evokes the rural scenes of shepherds and shepherdesses associated with Christmas. The second is a ripieno
movement for the orchestra without soloists. It is a serene piece in A minor and duple time, with a melodic
line made up of broken-chord figures. The gigue-like last movement returns to C major and reverts to the
concerto grosso characteristic of alternation between the orchestra and the solo group. The simple
harmonic progressions and melodic figures, frequently accompanied by drones, evoke a shepherd's dance
played by a bagpipe.
With hundreds of concertos and sinfonias to his credit, Antonio Vivaldi (1678-1741) is perhaps the most
prolific composer of music for string orchestra. He was the leading violin virtuoso of his time, and his over
two hundred violin concertos represent not only the most technically advanced violin writing of the time,
but also the most imaginative orchestral writing. His works influenced all the composers of the time,
including J.S. Bach, Telemann, and Handel.
Although Vivaldi was born in Venice and died in Vienna, he was also active in Mantua and Rome for many
years. It is likely that the initial impetus for writing concertos was his appointment as maestro di violino at
the Pio Ospedale della Pietà in 1703. The Pietà was a kind of orphanage for girls in Venice that had a strong
music program, and directing the string orchestra there and composing music for it were among Vivaldi’s
duties. He held the position until 1716, but continued to compose music for this institution for many years
following.
Many of his works bear descriptive titles that are helpful to the players and listeners in their understanding
and appreciation of the music. As the title “Al santo sepolcro” suggests, this Sinfonia is a sacred work for
Holy Week. The solemnity of the occasion is portrayed by the tempo of the music, the agony by the
chromatic harmony of the first movement, and the pathos by the descending chromatic steps in the theme of
the second movement.
The title “Concerto Madrigalesco” is used for this concerto because its themes are comprised almost
completely of recycled material from the composer’s sacred vocal works. The first Adagio and second
Allegro are taken from the beginning and end of his Magnificat, RV 610, and the first Allegro from the last
of the Aston Magna Foundation for Music and the Humanities, the pioneering musical organization in
the historical performance movement in this country, founded by Albert Fuller in 1972
Program Notes by John Hsu
Giuseppe Torelli was born in Verona in 1658 but lived most of his life in Bologna. He became a violinist
in the Accademia Filarmonica in 1684, and a member of the cathedral orchestra of San Petronio in 1686.
He was active in Ansbach, Berlin, and Vienna between 1696 and 1670, but returned to Bologna in 1701.
Torelli composed both concerti grossi and solo violin concertos. The two solo concertos in Opus 6,
published in 1698, are most likely the first such concertos from the seventeenth century. His Opus 8,
containing six concerti grossi and six solo violin concertos, was published in 1709, the year of his death.
Torelli’s Concerto in C Major, Op. 8, No. 1 is a rather typical concerto grosso, except that it begins with
the solo group rather than the orchestra, as is more common. The first movement consists of five pairs of
solo-orchestral alternation of sonorities. The first and last pairs are in C major, and those in between are
in closely related keys. The third and fourth appearances of the solo group are lengthened and feature the
solo violins in brilliant fast figurations. The second movement, Largo, is expanded by the addition of a
fast section (Allegro, ma non troppo) in E minor and another slow section (adagio) in A minor, but
alternation of sonorities occurs only in the first section. Unlike the first movement, the third begins and
ends with the orchestra, thus there is a final orchestral appearance following five pairs of orchestral-solo
alternation of sonorities. The first pair and last orchestral section are in C major, and the middle sections
are each in a different tonality.
Antonio Caldara was born in Venice in 1671. He was an important composer in his day, having held the
position of Kapellmeister in Mantua and Rome before settling in Vienna, where he was Vice-Kapellmeister
of the imperial court for 20 years, until his death in 1736. He was a prolific composer of operas and
oratorios as well as instrumental works, whose music was heard regularly at court. It is undeserved that
his instrumental music is almost totally neglected today. As their titles suggest, these two Sinfonias are
examples of sacred instrumental music composed for Holy Week. The first two movements of each of the
two sinfonias were composed originally as introductions to two oratorios with those titles. To transform
these two-movement introductions into independent sinfonias, Caldara added two movements to form the
first sinfonia and one movement to form the second. With the somber and sorrowful portions of the
sinfonias one could imagine the music as descriptive of the suffering and death of Christ. But what
associations could one make with the final fast movements? Might the one in the “Death” sinfonia be a
prefiguration of the resurrection of Christ?
Arcangelo Corelli, considered by many of his contemporaries as the “Orpheus of our day,” was a virtuoso
violinist, influential teacher and composer. Born in Fusignano in 1653, he spent most of his life in Rome
in the service of Cardinals Pamphili and Ottoboni. He composed only instrumental works: namely, violin
sonatas, trio sonatas, and concerti grossi. His twelve concerti grossi Op. 6 were published posthumously
in Amsterdam in 1714. They achieved instant fame and remain to this day among the most popular works
for strings. As suggested by the composer, these concertos may also be played as trio sonatas, since the
solo instruments play the complete music throughout. However, it is his imaginative use of the orchestra
that gives his concerti grossi its musical fascination.
In his Concerto Grosso in C Minor, he treats the alternation of sonorities in different ways in each
movement. In the first movement, long orchestral passages predominate, with snippets of the solo
ensemble interspersed occasionally. This movement is a French overture with a Largo introduction in duple
time and an Allegro fugal section in triple time, but with neither section repeated. The second movement,
Grave, is for the orchestra without soloists. The richness of the continuous orchestral sonority accords well
with the intense expressiveness of the music, which is derived from the successive dissonant harmonies that
result from sequential suspensions. In texture, the Vivace movement is a trio-sonata punctuated by frequent
and random orchestral intrusions, which gives the movement its whimsical and humorous quality. The
gigue-like final movement is in fact a concerto movement for two violins with orchestral accompaniment.
Francesco Manfredini was born in Pistoia in 1684, and died there in 1762. He went to Bologna in his youth
to study with Torelli, and became a member of the Accademica Filarmonica in 1704. His published works
for strings included 12 Concertini da camera, Opus 1 (1704); 12 sinfonias, Opus 2 (1709); and 12 concertos,
Opus 3 (1718). His music shows clearly the influence of Torelli. He is known to have composed nine
oratorios, but they are lost.
As indicated by the title, Manfredini’s Concerto Grosso in C Major Opus 3, No. 12, is a “Christmas”
concerto. It is therefore fitting that the first movement is a pastorale (a slow siciliano in 12/8 meter) that
evokes the rural scenes of shepherds and shepherdesses associated with Christmas. The second is a ripieno
movement for the orchestra without soloists. It is a serene piece in A minor and duple time, with a melodic
line made up of broken-chord figures. The gigue-like last movement returns to C major and reverts to the
concerto grosso characteristic of alternation between the orchestra and the solo group. The simple
harmonic progressions and melodic figures, frequently accompanied by drones, evoke a shepherd's dance
played by a bagpipe.
With hundreds of concertos and sinfonias to his credit, Antonio Vivaldi (1678-1741) is perhaps the most
prolific composer of music for string orchestra. He was the leading violin virtuoso of his time, and his over
two hundred violin concertos represent not only the most technically advanced violin writing of the time,
but also the most imaginative orchestral writing. His works influenced all the composers of the time,
including J.S. Bach, Telemann, and Handel.
Although Vivaldi was born in Venice and died in Vienna, he was also active in Mantua and Rome for many
years. It is likely that the initial impetus for writing concertos was his appointment as maestro di violino at
the Pio Ospedale della Pietà in 1703. The Pietà was a kind of orphanage for girls in Venice that had a strong
music program, and directing the string orchestra there and composing music for it were among Vivaldi’s
duties. He held the position until 1716, but continued to compose music for this institution for many years
following.
Many of his works bear descriptive titles that are helpful to the players and listeners in their understanding
and appreciation of the music. As the title “Al santo sepolcro” suggests, this Sinfonia is a sacred work for
Holy Week. The solemnity of the occasion is portrayed by the tempo of the music, the agony by the
chromatic harmony of the first movement, and the pathos by the descending chromatic steps in the theme of
the second movement.
The title “Concerto Madrigalesco” is used for this concerto because its themes are comprised almost
completely of recycled material from the composer’s sacred vocal works. The first Adagio and second
Allegro are taken from the beginning and end of his Magnificat, RV 610, and the first Allegro from the last
section of his Kyrie, RV 587. In view of the brevity of the movements, and the alternation of slow
harmonic and fast polyphonic music, this concerto is more like a seventeenth-century Italian canzona than
a madrigal.
Vivaldi’s Concerto in G Minor is the first of four concertos for two violins, cello, and orchestra in the
collection of twelve concertos for violins, Opus 3, entitled “L’estro armonico,” published in 1711. As the
title suggests, this is music inspired by harmony. The concerto begins with an Adagio introduction of
plain but expressive harmonic progressions, devoid of rhythmic or melodic interest. It leads into the
brilliant fast movement in which sparkling virtuosic melodic figurations from the solo violins alternate
with rich sonorities of the tremolo-like sixteenth-note passages from the orchestra. In the Larghetto
movement we witness Vivaldi’s expressive and dramatic use of contrasting dynamics and silence. The final
Allegro, a joyful gigue, is a concerto grosso movement with clear-cut alternation of the sonorities of the
orchestra and the solo group.
THE ATLANTA BAROQUE ORCHESTRA John Hsu, Artistic Director & Conductor
Violin Concertato Viola Violone
Karen Clarke Melissa Brewer Melanie Punter
Valerie Prebys Arsenault Nancy Schechter
Shawn Pagliarini Harpsichord
Violoncello Daniel Pyle
Violin II Brent Wissick
Ute Marks Eckhart Richter
Ruth Johnsen
Peter Rovit
The Atlanta Baroque Orchestra was founded under the leadership of Lyle Nordstrom, along with
founding-members Catherine Bull, Jeanne Johnson, Daniel Pyle, and Eckhart Richter, who felt the need
for a permanent, professional, historical-instrument orchestra in the Southeast. The unique, transparent
sheen of “early” instruments, coupled with their capability of a delightful variety of articulations, allows
voices and instruments to blend into a unified, yet clear, sound that is very difficult to achieve with
“modern” instruments. Since its founding in 1997, the ABO has been applauded for its freshness and
verve, and for its delightful, convincing performances of a wide range of earlier works.
The Orchestra received initial generous support from the Atlanta Early Music Alliance and a variety of
individuals, and has also depended on donations of time and money from the musicians themselves. The
ABO is a not-for-profit corporation based in Atlanta, and is 501(c)3 (tax-exempt). Contributions, which are
tax-deductible, are greatly appreciated and are central to the survival of a venture such as this. If you would
like to support the ABO and its future programming, please send checks made out to “The Atlanta
Baroque Orchestra,” 303 Augusta Avenue SE, Atlanta, GA 30315. There is also a great opportunity for
friends of the arts in the community to serve on the Atlanta Baroque Orchestra board. Please visit our
website at www.atlantabaroque.org for more information on the ABO.
John Hsu is the Old Dominion Foundation Professor of Music Emeritus at Cornell University, where he
taught for 50 years (1955-2005). He was the founder and conductor of the erstwhile Apollo Ensemble (a
period instrument chamber orchestra) and a renowned virtuoso player of the viola da gamba and baryton.
As both a conductor and an instrumentalist, he has been awarded grants by The Fund for U.S. Artists at
International Festivals and Exhibitions, a public/private partnership of the National Endowment for the
Arts, the United States Information Agency, The Rockefeller Foundation, and the Pew Charitable Trusts.
He has performed throughout North America and Europe, and made award-winning recordings. Among
them are his CD of Haydn Baryton Trios (with violist David Miller and cellist Fortunato Arico), which was
chosen Winner in the Music Retailers Association's Annual Award for Excellence in London, 1989; and
his CD Symphonies for the Esterhazy Court by Joseph Haydn (with the Apollo Ensemble), which was
nominated for the 1996 International Cannes Classical Music Award. In recognition of his edition of the
complete instrumental works of Marin Marais (1656-1728), the most important composer of music for the
viola da gamba, and for his performances and recordings of French baroque music for the viola da gamba,
the French government conferred on him the knighthood Chevalier de l'Ordre des Arts et des Lettres in
May of 2000.
He is a graduate of the New England Conservatory of Music, which awarded him the Honorary Doctor of
Music degree in 1971, and the Outstanding Alumni Award in 2003. He is also Artistic Director Emeritus
ITALIAN BAROQUE MUSIC FOR STRINGS
Concerto in C Major, Op. 8, No. 1 Giuseppe Torelli
for 2 violins, strings and continuo (1658-1709)
Vivace
Largo-Allegro ma non Presto-Largo
Allegro
Sinfonia No. 12 in A Minor Antonio Caldara
“La passione di Gesu Signor nostro” (1670-1736)
Grave-Allegretto-Adagio-Allegro
Sinfonia No. 4 in B Minor Antonio Caldara
“Morte e sepoltura di Christo”
Grave-Allegretto-Allegro assai
Concerto Grosso in C Minor, Op. 6, No. 3 Arcangelo Corelli
for 2 violins, cello, strings and continuo (1653-1713)
Largo-Allegro
Grave
Vivace
Allegro
intermission
Concerto Grosso in C Major, Op. 3, No. 12 Francesco Manfredini
“Per il santissimo natale” (1688-1748)
for 2 violins, cello, strings, and continuo
Largo (Pastorale)
Largo
Allegro
Sinfonia in B Minor, RV 169 Antonio Vivaldi
“Al Santo Sepolcro” (1675-1741)
Adagio molto-Allegro ma poco
Concerto Madrigalesco in D Minor, RV 129 Antonio Vivaldi
Adagio-Allegro
Adagio-Allegro ma non troppo
Concerto in G Minor, Op. 3, No. 2, RV 578 Antonio Vivaldi
for 2 violins, cello, strings, and continuo
Adagio e spiccato-(Allegro)
Larghetto
Allegro
Embellish A Melody!
Bach Club ($1.000 +) Telemann Club ($100-249) An anonymous donor Niels Brix Andersen An anonymous donor John & Linda Austin Cathy Callaway Adams Mr. & Mrs. Roger S. Austin Dr. & Mrs. David Bright Mr. & Mrs. William H. Austin, Jr. Dr. & Mrs. Peter DeWitt Daniel Baba Federal Home Loan Bank of Atlanta Mr. & Mrs. Roy B. Bogue Janie R. Hicks Patrick L. Boyle & Paula G. Ciembor Martha J. R. Hsu Mr. & Mrs. A. C. Briley, Jr. Douglas Leonard Stratton H. Bull Mr. & Mrs. William E. Pearson III Susan K. Card Daniel Pyle & Catherine Bull Dr. & Mrs. Robert M. Cates Lois Z. Pyle Dr. & Mrs. M. Dwayne Collier Dr. & Mrs. Eckhart Richter Dr. & Mrs. Jack R. Edgens Donald E. Snyder Homer Edwards Susan Wagner Drs. Thomas & Shauna Farmer Larry Thorpe & Dr. Barbara Williams Dr. & Mrs. Peter G. Gilmer Ms. Anne P. Halliwell Handel Club ($500-999) Dymples E. Hammer Donald N. Broughton & Susan L. Olson Dr. & Mrs. Daniel Hanks, Jr. James E. Honkisz & Catherine A. Binns Dr. & Mrs. Bannester L. Harbin Dr. & Mrs. William P. Marks, Jr. Dr. Buford G. Harbin Dr. George Riordan & Karen Clarke Margaret T. Harbin Rome Area Council for the Arts Mr. & Mrs. Allan R. Jones Southeastern Historical Keyboard Society Virginia Ware Killorin Dr. & Mrs. Joel D. Todino Hans & Christa Krause George H. Lanier Vivaldi Club ($250-499) Dr. & Mrs. Richard W. Leigh Martha Bishop Mr. & Mrs. Gordon A. Leiter Michael Clifford & Sandra Murray Mrs. Hugh T. Moore Nancy Musselwhite G. R. and Caroline Nuckolls Dr. Marie P. Griffith and Music Academy of Rome Shawn Pagliarini & Russell Williamson Dr. & Mrs. David Halverson Mr. & Mrs. Jerry Pollard Dr. Henry Kahn & Mary Gilmore--Kahn Mary Roth Riordan Dr. Jerry McCormick — Certified Collision Specialists Dr. & Mrs. William H. Robison III Dr. & Mrs. Ephraim R. McLean Dr. & Mrs. D. Michael Rogers Mr. & Mrs. John L. Mortison Dr. & Mrs. Jim L. Rogers Holly, Mark, Jack, & Sara Murphy Ann R. Rollins Dr. & Mrs. Roderick Remoroza Dr. Jack Runninger Mr. & Mrs. Thomas J. Thomas Michael & Cheri Schneider Mr. & Mrs. Paul Timm-Brock Dr. & Mrs. Stuart A. Smith Hans & JoAnn Schwantje Mr. & Mrs. James H. Tuttle Dr. & Mrs. Gary Voccio
The Atlanta Baroque Orchestra would like to thank the following persons and establishments For contributing their time, talents, and energy in regard to the details of ABO concerts.
Atlanta Early Music Alliance (AEMA) William & Ute Marks Janice Joyce & Chris Robinson Eckhart & Rosemary Richter Nancy & Wayne Musselwhite Gisella Torresala & Sheraton Midtown Hotel Janie Hicks Valerie Prebys Arsenault Peter and Patricia DeWitt Sid & Linda Stapleton Martha Bishop Susan Wagner Peachtree Road United Methodist Church: Scott Atchison Linda Bernard & RyeType Design
Ephraim & Jane McLean Cathy Adams & The Federal Home Loan Bank of Atlanta The ABO would also like to acknowledge the several thousand dollars worth of rehearsal time that has been graciously given to the orchestra by its members. These concerts could not be given without their enthusiasm and support.
ABO Board of Directors President: Eckhart Richter Ephraim McLean
Vice President: Cathy Adams William E. Pearson III
Vice President for Development: Janie Hicks John Lemley
Secretary: Susan Wagner Melanie Punter Treasurer: Peter DeWitt Scott Atchison
Daniel Pyle, Resident Director
Hotel accommodation for The Atlanta Baroque Orchestra Support is also provided by musicians is graciously provided by
Do Not Miss the Rest of Our 2006-07 Season!
Dieterich Buxtehude 300th Anniversary Membra Jesu Nostri (Seven meditations) Sonatas for strings and basso continuo
Sunday 11 March 2007
Handel & Haydn Handel: Concerti grossi from Op. 3 & Op. 6
Haydn: “Little Organ” Mass
With soprano Arietha Lockhart Chamber Choir of Peachtree Road United Methodist Church
(Scott Atchison, Director)
Sunday 13 May 2007
Visit our web-site at
www.atlantabaroque.org
The Atlanta Baroque Orchestra John Hsu, Artistic Director & Conductor
Italian Baroque Music for Strings
Sunday 28 January 2007 3:00 p.m.
Peachtree Road United Methodist Church 3180 Peachtree Road NW
Atlanta, Georgia