Savannah Baroque

Spivey Hall Performance

January 30, 2018

Savannah Baroque: Savannah Baroque is a group of professional musicians dedicated to

communicating the beauty, stories and passions of Early Music to today’s audiences.

Today’s performance features Soprano, Ashley Adams, viola da gamba, Marcy Jean Brenner,

Baroque flute, Jeana Melilli, and Anne Acker on harpsichord.

Program

Hark the Ech'ing Air Henry Purcell (1659-1695) From The Faerie Queen

Listening example: https://www.youtube.com/watch?v=NeQMxI1S84U

Strike the Viol From Come, ye sons of art, away, Z323 no.5 (Birthday Ode for Queen Mary II, 1694)

Listening example: https://vimeo.com/32067294

Tickle, Tickle from The First Part of Ayres Tobias Hume (c.1579-1645) Listening example: https://www.youtube.com/watch?v=qGsm7knO7tM

Where the Bee Sucks, There Lurk I Thomas Arne (1710-1778) Listening example: https://www.youtube.com/watch?v=Ai667PUic7E

When Daisies Pied Listening example: https://www.youtube.com/watch?v=tawM6N8GFZ8

Under the Greenwood Tree Listening example: https://www.youtube.com/watch?v=7P-IUVocot4

Tambourin Jean Philippe Rameau (1683-1764)

Listening example: https://www.youtube.com/watch?v=sX9Snn8rhls

Les Soupirs Listening example: https://www.youtube.com/watch?v=nfw4T6ob2ZQ

Sweet Bird from L'Allegro, Il Penseroso ed Il Moderato George Frideric Handel (1685-1759) Listening example: https://www.youtube.com/watch?v=JSZzFPgaTiU performed by Savannah

Baroque

Presto from Flute Sonata in G Major Michel Blavet (1700-1768) Listening example: https://www.youtube.com/watch?v=HkptN6oSTcY start at 10:40

Lysander I pursue in Vain John Blow (1649-1708) Listening example: https://www.youtube.com/watch?v=jKryxsE8ky4&t=32s

About the Instruments: Harpsichord: This is a precursor to the modern-day piano. It was

in common use from the 1400s up to the late 1700s. The

keyboard on a harpsichord causes the strings to be plucked by

quills to make sound, whereas in the piano, pressing a key causes a

small covered hammer to be thrown at the strings. The unique

sound of the plucking is softer than the modern day piano. Also

unlike the piano, the sound from an individual single string always

has the same dynamic level, so other methods are used to change

the relative volume while playing such as adding additional sets of

strings sounding at once and through the texture of the music.

The modern-day piano, invented by a famous harpsichord maker

in Italy, was originally called a ‘clavicembalo col piano e forte’,

that is, a harpsichord with soft and loud. It looked like a

harpsichord, but the hammers allowed the player to change the

dynamic level of individual notes by playing harder or softer on

the keys.

Anne Acker, Savannah Baroque’s director and harpsichodist, also builds these beautiful instruments.

Viola da gamba: Referred to as a “viol,” “gamba” or “viola da

gamba,” this instrument precedes the invention of the cello. It is a

bowed instrument that is held by the gambe (Italian for legs). They

are known to have been in use by the 15th century and were very

popular from the Renaissance through the Baroque period. These

instruments come in a variety of sizes (much like modern string

instruments from violin down to the double-bass). The gamba has

5 (some pardessus,) 6 (almost all viols,) or 7 strings,, as opposed to

the cello’s 4, and it takes a little while to tune it. The bow is held

underhanded, as opposed to the overhand cello position, and the

curve of the stick of the bow is convex. The viol was a fretted

instrument like the lute or guitar. The seven frets are used strings,

which are strands of sheep’s gut, that are tied around the neck.

Baroque flute: This one-keyed version of the modern-day flute was a

huge improvement on the Renaissance flute, which had no keys. Also

known as the traverso, the Baroque flute is played held horizontally,

and it overtook the recorder as the preferred wind instrument during

the Baroque period. It has a beautiful range, a variety of colors, and

much better dynamic control than the recorder. It is in 4 pieces instead

of the modern flute’s 3, and it is made of wood.

All of our instruments are copies of original instruments. Because the

originals are sometimes over 300 years old, instrument makers base

their copies off of museum pieces or private collections.

Anne is playing a double manual harpsichord made by herself in 2009,

based on instruments by the famed 17th and 18th century Ruckers

family of Flemish builders.

Marcy’s 7 string viola da gamba, a copy of Wieland Kuijken's

instrument built by Niclas (sic) Bertrand in 1741, was made by

Matthias Bölli in 1991. Bow by Thomas Gerbeth.

Jeana’s traverso is a copy of a Robbert Wijne flute from 1698 made by Simon Pollack (Amsterdam)

in 2015.

Baroque Music: The Baroque period spans, more or less, 1600-1750. The great composers of the

period include Johann Sebastian Bach, George Friderich Handel, Georg Philipp Telemann, Francois

Couperin, Jean-Philippe Rameau, Domenico Scarlatti, Antonio Vivaldi, Elizabeth Jacquet de la

Guerre, Barbara Strozzi and many others. Most composers were either employed by the Church

(Roman Catholic, Church of England, or other Protestant churches), or the royal courts.

The Baroque period saw the rise of opera, solo instrumental works (such as sonatas), cantatas,

oratorios and other sacred works, and suites that incorporated rhythms and melodic material to suit

the dances that were common at the various royal courts throughout Europe. Each country had a

distinctive style—Handel bridges the very scholarly style of German music to the celebratory and

song-based music of England. The French composers relied heavily on the dance suite (made up of

dances such as the sarabande, gigue, and allemande). The Italians were famous for featuring small

groups of instrumental soloists within a larger group of instruments, known at the time as the concerto

grosso, and evolving into the modern-day concerto.

The music from Savannah Baroque’s performance comes mostly from the court of Kings George I

and II of England and King Louis V of France. Many of the songs come from Shakespeare’s plays.

The British composers were heavily influenced by the great literary giants of England—Dryden,

Milton, Shakespeare, among others. Like their French counterparts, they worked for the royal court,

as well as writing sacred music for the Church. Their music was popular throughout England and

Europe, and even in the New World. Many of the Founding Fathers, particularly those who

travelled to Europe, such as Benjamin Franklin and Thomas Jefferson, experienced performances of

all of the composers featured.

About the Composers

Thomas Arne (1710-1778): A descendant of a long line of upholsterers, he and his

brother and sister, who were both singers and actors, all became involved heavily in

musical theater. His father helped with managing ticket sales from his business for

Arne’s productions. Arne composed music for many 18th century productions, including

revivals of Shakespeare’s plays. He was a contemporary of and influenced by Handel.

They frequently used the same performers and topics for their productions. His most

famous song is Rule Britannia from a show written originally for a private performance

for the Prince of Wales, and is also well known for composing the British national

anthem, God Save the King.

Michel Blavet (1700-1768): A flutist for King Louis XV, Blavet, like many

Baroque performers, also composed music. His flute sonatas are still

standard repertoire for modern flutists. Because the Baroque flute has no

metal rods, it can be played horizontally, held in either direction. Blavet was

known for playing the flute to the left—unusual, even for his day.

John Blow (1649-1708): Famous for composing English cantatas and

operas as well as dazzling keyboard solos, John Blow was also Henry

Purcell’s teacher. He also served as organist at Westminster Abbey. His

song, Lysander, I pursue, is part of the “mad song” repertoire.

George Frideric Handel (1685-1759): Born in Halle,

Germany, Handel spent most of his life and career in

London. He studied organ and harpsicord, as well as

oboe and violin as a child. As a young man, Handel

began his composition career with operas in the Italian

style, which he continued to do throughout his career.

He briefly studied music in Italy, and not long after his

return to Germany, his employer, Georg Ludwig of

Hanover, became King George I of England. Handel,

who had visited London a few year’s prior, moved with

his royal employer and never left. His most famous

works are Water Music (written for musicians to play on

barges in the Thames River during a royal outing),

Music for the Royal Fireworks, and Messiah. Handel’s

influence on future composers is vast—Beethoven and

Mozart, in particular, thought highly of him as they

learned to compose.

Savannah Baroque’s program features Handel’s: Sweet

Bird, which comes from Handel’s oratorio L'Allegro, il Penseroso ed il Moderato, from the poetry of

John Milton.

An oratorio is a dramatic work with singers and instruments that is similar to opera, except it is not

staged.

Tobias Hume (circa 1579-1645): A Scottish composer, mercenary, and

viol enthusiast, Tobias Hume wrote Marcy’s solo piece, Tickle, Tickle. It

is from The First Part of Ayres, 1605. The viol was just starting to become

a solo instrument and was soon to replace the lute as the most popular

instrument. Little else is known about Hume, but his compositions live

on.

Henry Purcell (1659-1695): England’s most famous composer

until the 20th century, Purcell’s output was large for his short life.

A student of John Blow, Purcell was a gifted keyboardist. He

wrote many choral pieces, operas, songs, and even some

instrumental music. His most famous opera, Dido and Aeneas is still

performed often today, and was originally written for a girls’

boarding school (Grout 335). His song, Hark: the Ech’ing Air

comes from his setting of The Fairy Queen (based on Shakespeare’s

A Midsummer Night’s Dream). Strike the Viol comes from the Ode to

Queen Mary II.

Jean Philippe Rameau (1683-1764): One of the first composers to write about composition and

the modern theory behind music, Rameau was a gifted keyboardist and composer. His success came

late in life, but he was famous for his many French operas. Much of his music was written for his

benefactor, Alexandre Jean Joseph Le Riche de La

Poupelinière, who employed him to write music for

all manner of special occasions. He wrote three

books of Pièces de clavecin (French for harpsichord).

His music varies from suites based on formal

dances, to rustic dances (such as Tambourin), to birds

and chickens, to or, even an earthquake as well as

personalities and emotions (Les Soupirs). His most

famous operas are Castor et Pollux and Dardanus

among many others. His book Treatise on Harmony, is

still an important book for all composers and music

theorists. The French instrumental style is very

different from the English songs, as you will hear in

Savannah Baroque’s performance.

CURRICULUM STANDARDS

Standard Explanation

MMSMA.9 MHSMA.9

Understanding music in relation to history and culture a. Identify and explain a particular music example’s historical and cultural significance. b. Compare and evaluate the roles of musicians throughout history. c. Recognize music’s role in today’s culture. d. Identify sources of American music genres, trace their evolution, and identify musicians associated with them.

Program Focus

MMSMA.6 MHSMA.6

Listening to, analyzing, and describing music a. Identify and describe simple forms of music. b. Use music terminology to describe tempo, dynamics, and texture. c. Analyze the uses of elements of music in representing diverse genres and cultures. d. Explain characteristics that distinguish musical styles

MMSMA.7 MHSMA.7

Evaluating music and music performances a. Identify and examine criteria for evaluating music performances. b. Identify various uses of music in daily experiences. c. Apply specific criteria to evaluate the quality of their own performance. d. Offer constructive suggestions for improvement of classroom performances.

MMSMA.8 MHSMA.9

Understanding relationships between music, the other arts, and disciplines outside the arts a. Describe ways in which other disciplines taught in the school are interrelated with those of music. b. Identify and describe common terminology used in music and another fine art. c. Discover and research persons who have achieved professional or commercial success in more

than one fine art discipline. d. Explain how the roles of creators, performers, and others involved in the production and presentation of the arts are similar to and different from one another in the various arts.

ELACC6RL4 ELACC7RL4 ELACC8RL4

Determine the meaning of words and phrases as they are used in a text, including figurative and connotative meanings; analyze the impact of a specific word choice on meaning and tone; analyze the impact of rhymes and other repetitions of sounds (e.g., alliteration) on a specific verse or stanza of a poem or section of a story or drama; including analogies or allusions to other texts.

ELACC6RI4 ELACC7RI4 ELACC8RI4

Determine the meaning of words and phrases as they are used in a text, including figurative, connotative, and technical meanings; analyze the impact of a specific word choice on meaning and tone; including analogies or allusions to other texts.

ELACC6RL5 Analyze how a particular sentence, chapter, scene, or stanza fits into the overall structure of a text and contributes to the development of the theme, setting, or plot.

ELACC7RL5 Analyze how a drama’s or poem’s form or structure (e.g., soliloquy, sonnet) contributes to its meaning.

ELACC8RL5 Compare and contrast the structure of two or more texts and analyze how the differing structure of each text contributes to its meaning and style.

ELACC6RI5 Analyze how a particular sentence, paragraph, chapter, or section fits into the overall structure of a text and contributes to the development of the ideas.

ELACC6RL6 Explain how an author develops the point of view of the narrator or speaker in a text.

Standard Explanation

ELACC6RI6 Determine an author’s point of view or purpose in a text and explain how it is conveyed in the text.

ELACC6RL7 Compare and contrast the experience of reading a story, drama, or poem to listening to or viewing an audio, video, or live version of the text, including contrasting what they “see” and “hear” when reading the text to what they perceive when they listen or watch.

ELACC6RL9 Compare and contrast texts in different forms or genres (e.g., stories and poems; historical novels and fantasy stories) in terms of their approaches to similar themes and topics.

ELACC7RI7 Compare and contrast a text to an audio, video, or multimedia version of the text, analyzing each medium’s portrayal of the subject (e.g., how the delivery of a speech affects the impact of the words).

ELACC8RI7 Evaluate the advantages and disadvantages of using different mediums (e.g., print or digital text, video, multimedia) to present a particular topic or idea.