Come Hear our other 2007-08 Concerts!

30 March 2008, 3:00 pm

Bach’s Cantata 82 “Ich habe genug” plus concerto

For Two Violins & Brandenburg Concerti nos. 3 & 5 sponsored by an anonymous donor

11 May 2008, 3:00 pm

Classical Chamber Music for Strings and Winds Haydn: String Quartet op. 77 no. 2; Feld-Parthie in F

Mozart: Divertimenti nos. 12 & 13 for Wind Sextet sponsored by Peter & Patricia DeWitt

Visit our new web-site at

www.atlantabaroque.org

These concerts are made possible in part by a gif rom

The Atlanta Baroque Orchestra

John Hsu, Artistic Director & Conductor

Descript ive Music By

Ital ian Composers

Sunday 17 February 2008 3:00 p.m.

Peachtree Road United Methodist Church 3180 Peachtree Road NW

Atlanta, Georgia

Pro-Mozart Society of Atlanta Presents

Jennifer Stumm, viola Sunday 6 April 2008, 7:00 pm

Northside Drive Baptist Church (chapel) 3600 Northside Drive NW

Descriptive Music by Italian Composers

made possible by the sponsorship of Lois Z. Pyle

Concerto Grosso Op. 5, No. 6, “Christmas” Giuseppe Sammartini for strings and continuo (1693-1751) Spiritoso-Allegro-Spiritoso Rondo: Allegro moderato e grazioso Pastorale: Andante sostenuto Concerto a quattro in E-flat Major, Pietro Locatelli Op. 7, No. 6, “Lament of Arianna” (1695-1764) for 2 violins, viola, cello, and strings Andante-Allegro-Adagio-Andante-Allegro Largo-Largo andante-Grave Allegro-Largo

intermission

“The Inchanted Forest” Francesco Geminiani for 2 violins, viola, cello, 2 flutes, (1687-1762) trumpet, 2 horns, strings and continuo PART I Andante Allegro moderato Andante Allegro moderato-Andante-Adagio Allegro moderato Andante spiritoso Allegro Grave-Allegro PART II Andante affetuoso [Allegro vivace] Allegro moderato Andante-Allegro-Andante-Allegro Allegro molto Andante

Allegro-Affetuoso-Allegro

Embellish A Melody!

Bach Club ($1.000 +) Vivaldi Club ($250-499) An anonymous donor Anne P. Halliwell An anonymous donor Dr. & Mrs. Ephraim R. McLean An anonymous donor Cathy Callaway Adams Dr. & Mrs. David Bright Peter & Patricia DeWitt Telemann Club ($100-249) Federal Home Loan Bank of Atlanta Joan Althouse Janie R. Hicks John & Linda Austin Martha J. R. Hsu Mr. & Mrs. Roger S. Austin Douglas A. Leonard Beth Bell & Stephen Morris William E. Pearson III Mr. & Mrs. Roy B. Bogue Lois Z. Pyle Stratton H. Bull Dr. & Mrs. Eckhart Richter Susan K. Card Donald E. Snyder Moncure and Sandy Crowder Larry Thorpe & Dr. Barbara Williams Jeffrey & Martha Freeman Susan Wagner Dr. Alan Goodman Dymples E. Hammer Handel Club ($500-999) Mr. & Mrs. Allan R. Jones Donald N. Broughton & Susan L. Olson Virginia Ware Killorin Dr. & Mrs. William P. Marks, Jr. Hans & Christa Krause Dr. George Riordan & Karen Clarke Rich & Caroline Nuckolls Rebeccas M. Pyle Hans & JoAnn Schwantje Season Sponsors ($2,500 or more) Anonymous Donor Anonymous Donor Peter & Patricia DeWitt Janie R. Hicks William E. Pearson III Lois Z. Pyle Donald Snyder Larry Thorpe & Dr. Barbara Williams

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) Eckhart & Rosemary Richter Janice Joyce & Chris Robinson Russell Williamson 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 And Camilla Cruikshank 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 Cathy Adams

Vice President: William E. Pearson III Dr. Alan Goodman

Vice President for Development: Janie Hicks Janice Joyce Secretary: Susan Wagner Ephraim McLean

Treasurer: Peter DeWitt Melanie Punter Resident Director: Daniel Pyle Larry Thorpe

PART I Andante: Crusaders’ encampment, stark but peaceful Allegro moderato: Crusaders’ dance Andante: Crusaders’ song Allegro moderato: Appearance of belligerent demons - Andante: Demons’ threats - Adagio: Crusaders’ fear Allegro moderato: Attempt to resume the dance Andante spiritoso: Appearance of heroic leaders Allegro: Battle between Crusaders and demons Grave - Allegro: Demons’ defeat - Crusaders’ high spirits PART II Andante affetuoso: A love scene [Allegro vivace]: Children at play Allegro moderato: Fortification of the encampment Andante: Moment of peace curtailed by the following inflictions imposed by the King of Demons - Allegro: noisy disturbance - Andante: ghostly visions - Allegro: raging fire Allegro molto: drought Andante: Suffering of the Crusaders and their prayer to God Allegro: God’s answer symbolized by the appearance of rain - Affetuoso: Crusaders' expression of gratitude - Allegro

THE ATLANTA BAROQUE ORCHESTRA

John Hsu, Artistic Director & Conductor

Violin Violoncello Flute

Karen Clarke Stephanie Vial Catherine Bull

Gesa Kordes Eckhart richter Janice Joyce

Shawn Pagliarini

Martha Perry Violone Horn

Valerie Arsenault Melanie Punter Richard Seraphinoff

Ruth Johnsen Russell Williamson

Ute Marks Harpsichord

Daniel Pyle Trumpet

Viola Barry Bauguess

Melissa Brewer

Elena Kraineva

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

The three composers on this program were all Italians who spent their professional lives elsewhere. Giuseppe Sammartini (1695-1750) and Francesco Geminiani (1687-1762) went to England, and Pietro Antonio Locatelli (1695-1764) to Amsterdam. Giuseppe Sammartini was born in Milan in 1695. He and his younger brother Giovanni Battista studied the oboe with their father, and both became oboists of the ducal theatre orchestra in Milan. He immigrated to London in 1729, and soon became oboist in the King’s Theatre and Music Master in the household of Frederick, Prince of Wales. He was considered the leading oboist of his time, and many of Handel’s works for the oboe were intended for him. As a composer, he composed mostly sonatas and concertos, and is best known for his 24 concerti grossi for two violins, cello, and orchestra of strings, to which the “Christmas” Concerto belongs. In the history of program music, Christmas was certainly among the most popular occasions for which music was specifically composed. Sammartini’s “Christmas” Concerto shares a common trait with similar works by his contemporaries in having a pastorale movement (here the last movement) that evokes scenes of shepherds, integral to the story of the Nativity. The common musical devices used in such a movement are the dotted rhythm of the siciliana and the presence of the drone. The first two movements of this concerto both contain unusual features. The first movement, in the form of a French overture (usually a fast fugal section enclosed by two similar slow sections) has a closing section that is totally different in musical content and character from the introductory section. The second movement is a minuet in Rondo form, in which the final couplet is itself a theme with variations. Both movements are in the key of G minor, which makes the Pastorale in G major especially peaceful and soothing. Pietro Locatelli was born in Bergamo in 1695, and went to Rome for his violin training in 1711. He became a frequent performer at distinguished musical events in Rome between 1716 and 1723. Thereafter, he sojourned in Mantua and Venice during 1723-1727, and concertized in Munich, Berlin, Frankfurt, Dresden, and other German cities in 1727-1728, before settling in Amsterdam in 1729. Locatelli may well be considered the first virtuoso of modern violin playing. His 12 concertos for the violin introduced innovative technical demands that explored and broadened every aspect of violin playing of the time, many of which remain challenging for players today. In spite of his stature as a virtuoso violinist, he seldom performed during his 35 years in Amsterdam, preferring the life of a composer instead. His works were published by the well-known Dutch publisher Roger & Le Cène, and were widely circulated. Locatelli’s “Arianna’s Lament” is a deeply moving and emotionally powerful work that depicts a specific dramatic scene from a legend, in this instance, Arianna’s sorrow and suffering after being abandoned by her lover Theseus on the island of Naxos. It is a concerto grosso with an unusual concertino that adds a viola to the usual solo group of two violins and cello, and an unusual formal structure of ten sections instead of the usual three or four movements. Although the composer gave no titles to each of the ten sections, I see this work as divided into three parts: the depiction of the Isle of Naxos, the Lament, and the depiction of Arianna’ agony and submission to fate. I hope that the imagined titles that I offer below will help both listeners and performers to appreciate the composer's masterful tone painting in this sensitive work of pathos.

Part I, Naxos Part II, Lament Andante: Starkness of the Isle of Naxos Largo Allegro: Turbulance of the sea Largo andante Adagio: Arianna wailing Grave Andante: Starkness of the Isle of Naxos Allegro: Turbulance of the sea Part III, Arianna Allegro: Arianna’s agony Largo: Her submission to fate Francesco Geminiani was born in Lucca in 1687, studied with Corelli in Rome, but lived mostly in England from 1714 until his death in 1762. In his lifetime, he was highly regarded not only as a composer, often considered as an equal of Handel and Corelli, but also as a virtuoso player, influential teacher, and author of musical treatises. As both a performer and composer, his propagation of Corelli’s musical styles in England was enthusiastically received. The King was said to be among those who heard Geminiani perform Italian violin sonatas accompanied by Handel. Geminiani composed The Enchanted Forest for a stage production by the famous French Baroque theater director Giovanni Niccolò Servandoni, based on selected events drawn from the thirteenth canto of Torquato Tasso’s heroic poem La Gerusalemme Liberata (Jerusalem Delivered), which took place on March 31, 1754, in the theater of the Tuileries Palace in Paris. This was neither an opera nor a ballet, but a pantomime. According to a review of the event, it was a spectacular show that made use of the best available stagecraft of the time.

Structurally, this composition is in two parts. The first part, beginning and ending in D minor, is divided into eight sections of different lengths; the second part, beginning and ending in D major, is divided into seven. The longer sections are complete movements in various forms, while the shorter ones are transitional in character. It is in style a concerto grosso, featuring a concertino of two violins, viola, and cello, with an orchestra consisting of strings, two flutes, two horns, trumpet, and basso continuo. When the music was published in London in 1755, it was introduced as “The Inchanted Forrest, an instrumental composition expressive of the same ideas as the poem of Tasso of that title by F. Geminiani.” However, no programmatic notes were given for any part of this work to indicate the various events, scenic effects, or action of the mimes that the music was accompanying. Thus, it behooves performers of this music today to imagine the possible portrayal and action on stage in order to recapture the essence of each section of music in this lengthy work. The imagined titles that I provide below are drawn from those accounts in the canto of Tasso’s poem that deals with the struggles of the Crusaders who encamped near the ghostly forest of the demons and witches outside Jerusalem. I hope that my attempted matching of music to the narrative helps to enhance our enjoyment of this series of vignettes.

Program Notes by John Hsu

The three composers on this program were all Italians who spent their professional lives elsewhere. Giuseppe Sammartini (1695-1750) and Francesco Geminiani (1687-1762) went to England, and Pietro Antonio Locatelli (1695-1764) to Amsterdam. Giuseppe Sammartini was born in Milan in 1695. He and his younger brother Giovanni Battista studied the oboe with their father, and both became oboists of the ducal theatre orchestra in Milan. He immigrated to London in 1729, and soon became oboist in the King’s Theatre and Music Master in the household of Frederick, Prince of Wales. He was considered the leading oboist of his time, and many of Handel’s works for the oboe were intended for him. As a composer, he composed mostly sonatas and concertos, and is best known for his 24 concerti grossi for two violins, cello, and orchestra of strings, to which the “Christmas” Concerto belongs. In the history of program music, Christmas was certainly among the most popular occasions for which music was specifically composed. Sammartini’s “Christmas” Concerto shares a common trait with similar works by his contemporaries in having a pastorale movement (here the last movement) that evokes scenes of shepherds, integral to the story of the Nativity. The common musical devices used in such a movement are the dotted rhythm of the siciliana and the presence of the drone. The first two movements of this concerto both contain unusual features. The first movement, in the form of a French overture (usually a fast fugal section enclosed by two similar slow sections) has a closing section that is totally different in musical content and character from the introductory section. The second movement is a minuet in Rondo form, in which the final couplet is itself a theme with variations. Both movements are in the key of G minor, which makes the Pastorale in G major especially peaceful and soothing. Pietro Locatelli was born in Bergamo in 1695, and went to Rome for his violin training in 1711. He became a frequent performer at distinguished musical events in Rome between 1716 and 1723. Thereafter, he sojourned in Mantua and Venice during 1723-1727, and concertized in Munich, Berlin, Frankfurt, Dresden, and other German cities in 1727-1728, before settling in Amsterdam in 1729. Locatelli may well be considered the first virtuoso of modern violin playing. His 12 concertos for the violin introduced innovative technical demands that explored and broadened every aspect of violin playing of the time, many of which remain challenging for players today. In spite of his stature as a virtuoso violinist, he seldom performed during his 35 years in Amsterdam, preferring the life of a composer instead. His works were published by the well-known Dutch publisher Roger & Le Cène, and were widely circulated. Locatelli’s “Arianna’s Lament” is a deeply moving and emotionally powerful work that depicts a specific dramatic scene from a legend, in this instance, Arianna’s sorrow and suffering after being abandoned by her lover Theseus on the island of Naxos. It is a concerto grosso with an unusual concertino that adds a viola to the usual solo group of two violins and cello, and an unusual formal structure of ten sections instead of the usual three or four movements. Although the composer gave no titles to each of the ten sections, I see this work as divided into three parts: the depiction of the Isle of Naxos, the Lament, and the depiction of Arianna’ agony and submission to fate. I hope that the imagined titles that I offer below will help both listeners and performers to appreciate the composer's masterful tone painting in this sensitive work of pathos.

Part I, Naxos Part II, Lament Andante: Starkness of the Isle of Naxos Largo Allegro: Turbulance of the sea Largo andante Adagio: Arianna wailing Grave Andante: Starkness of the Isle of Naxos Allegro: Turbulance of the sea Part III, Arianna Allegro: Arianna’s agony Largo: Her submission to fate Francesco Geminiani was born in Lucca in 1687, studied with Corelli in Rome, but lived mostly in England from 1714 until his death in 1762. In his lifetime, he was highly regarded not only as a composer, often considered as an equal of Handel and Corelli, but also as a virtuoso player, influential teacher, and author of musical treatises. As both a performer and composer, his propagation of Corelli’s musical styles in England was enthusiastically received. The King was said to be among those who heard Geminiani perform Italian violin sonatas accompanied by Handel. Geminiani composed The Enchanted Forest for a stage production by the famous French Baroque theater director Giovanni Niccolò Servandoni, based on selected events drawn from the thirteenth canto of Torquato Tasso’s heroic poem La Gerusalemme Liberata (Jerusalem Delivered), which took place on March 31, 1754, in the theater of the Tuileries Palace in Paris. This was neither an opera nor a ballet, but a pantomime. According to a review of the event, it was a spectacular show that made use of the best available stagecraft of the time.

Structurally, this composition is in two parts. The first part, beginning and ending in D minor, is divided into eight sections of different lengths; the second part, beginning and ending in D major, is divided into seven. The longer sections are complete movements in various forms, while the shorter ones are transitional in character. It is in style a concerto grosso, featuring a concertino of two violins, viola, and cello, with an orchestra consisting of strings, two flutes, two horns, trumpet, and basso continuo. When the music was published in London in 1755, it was introduced as “The Inchanted Forrest, an instrumental composition expressive of the same ideas as the poem of Tasso of that title by F. Geminiani.” However, no programmatic notes were given for any part of this work to indicate the various events, scenic effects, or action of the mimes that the music was accompanying. Thus, it behooves performers of this music today to imagine the possible portrayal and action on stage in order to recapture the essence of each section of music in this lengthy work. The imagined titles that I provide below are drawn from those accounts in the canto of Tasso’s poem that deals with the struggles of the Crusaders who encamped near the ghostly forest of the demons and witches outside Jerusalem. I hope that my attempted matching of music to the narrative helps to enhance our enjoyment of this series of vignettes.

PART I Andante: Crusaders’ encampment, stark but peaceful Allegro moderato: Crusaders’ dance Andante: Crusaders’ song Allegro moderato: Appearance of belligerent demons - Andante: Demons’ threats - Adagio: Crusaders’ fear Allegro moderato: Attempt to resume the dance Andante spiritoso: Appearance of heroic leaders Allegro: Battle between Crusaders and demons Grave - Allegro: Demons’ defeat - Crusaders’ high spirits PART II Andante affetuoso: A love scene [Allegro vivace]: Children at play Allegro moderato: Fortification of the encampment Andante: Moment of peace curtailed by the following inflictions imposed by the King of Demons - Allegro: noisy disturbance - Andante: ghostly visions - Allegro: raging fire Allegro molto: drought Andante: Suffering of the Crusaders and their prayer to God Allegro: God’s answer symbolized by the appearance of rain - Affetuoso: Crusaders' expression of gratitude - Allegro

THE ATLANTA BAROQUE ORCHESTRA

John Hsu, Artistic Director & Conductor

Violin Violoncello Flute

Karen Clarke Stephanie Vial Catherine Bull

Gesa Kordes Eckhart richter Janice Joyce

Shawn Pagliarini

Martha Perry Violone Horn

Valerie Arsenault Melanie Punter Richard Seraphinoff

Ruth Johnsen Russell Williamson

Ute Marks Harpsichord

Daniel Pyle Trumpet

Viola Barry Bauguess

Melissa Brewer

Elena Kraineva

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.

Descriptive Music by Italian Composers

made possible by the sponsorship of Lois Z. Pyle

Concerto Grosso Op. 5, No. 6, “Christmas” Giuseppe Sammartini for strings and continuo (1693-1751) Spiritoso-Allegro-Spiritoso Rondo: Allegro moderato e grazioso Pastorale: Andante sostenuto Concerto a quattro in E-flat Major, Pietro Locatelli Op. 7, No. 6, “Lament of Arianna” (1695-1764) for 2 violins, viola, cello, and strings Andante-Allegro-Adagio-Andante-Allegro Largo-Largo andante-Grave Allegro-Largo

intermission

“The Inchanted Forest” Francesco Geminiani for 2 violins, viola, cello, 2 flutes, (1687-1762) trumpet, 2 horns, strings and continuo PART I Andante Allegro moderato Andante Allegro moderato-Andante-Adagio Allegro moderato Andante spiritoso Allegro Grave-Allegro PART II Andante affetuoso [Allegro vivace] Allegro moderato Andante-Allegro-Andante-Allegro Allegro molto Andante

Allegro-Affetuoso-Allegro

Embellish A Melody!

Bach Club ($1.000 +) Vivaldi Club ($250-499) An anonymous donor Anne P. Halliwell An anonymous donor Dr. & Mrs. Ephraim R. McLean An anonymous donor Cathy Callaway Adams Dr. & Mrs. David Bright Peter & Patricia DeWitt Telemann Club ($100-249) Federal Home Loan Bank of Atlanta Joan Althouse Janie R. Hicks John & Linda Austin Martha J. R. Hsu Mr. & Mrs. Roger S. Austin Douglas A. Leonard Beth Bell & Stephen Morris William E. Pearson III Mr. & Mrs. Roy B. Bogue Lois Z. Pyle Stratton H. Bull Dr. & Mrs. Eckhart Richter Susan K. Card Donald E. Snyder Moncure and Sandy Crowder Larry Thorpe & Dr. Barbara Williams Jeffrey & Martha Freeman Susan Wagner Dr. Alan Goodman Dymples E. Hammer Handel Club ($500-999) Mr. & Mrs. Allan R. Jones Donald N. Broughton & Susan L. Olson Virginia Ware Killorin Dr. & Mrs. William P. Marks, Jr. Hans & Christa Krause Dr. George Riordan & Karen Clarke Rich & Caroline Nuckolls Rebeccas M. Pyle Hans & JoAnn Schwantje Season Sponsors ($2,500 or more) Anonymous Donor Anonymous Donor Peter & Patricia DeWitt Janie R. Hicks William E. Pearson III Lois Z. Pyle Donald Snyder Larry Thorpe & Dr. Barbara Williams

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) Eckhart & Rosemary Richter Janice Joyce & Chris Robinson Russell Williamson 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 And Camilla Cruikshank 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 Cathy Adams

Vice President: William E. Pearson III Dr. Alan Goodman

Vice President for Development: Janie Hicks Janice Joyce Secretary: Susan Wagner Ephraim McLean

Treasurer: Peter DeWitt Melanie Punter Resident Director: Daniel Pyle Larry Thorpe

Come Hear our other 2007-08 Concerts!

30 March 2008, 3:00 pm

Bach’s Cantata 82 “Ich habe genug” plus concerto

For Two Violins & Brandenburg Concerti nos. 3 & 5 sponsored by an anonymous donor

11 May 2008, 3:00 pm

Classical Chamber Music for Strings and Winds Haydn: String Quartet op. 77 no. 2; Feld-Parthie in F

Mozart: Divertimenti nos. 12 & 13 for Wind Sextet sponsored by Peter & Patricia DeWitt

Visit our new web-site at

www.atlantabaroque.org

These concerts are made possible in part by a gif rom

The Atlanta Baroque Orchestra

John Hsu, Artistic Director & Conductor

Descript ive Music By

Ital ian Composers

Sunday 17 February 2008 3:00 p.m.

Peachtree Road United Methodist Church 3180 Peachtree Road NW

Atlanta, Georgia

Pro-Mozart Society of Atlanta Presents

Jennifer Stumm, viola Sunday 6 April 2008, 7:00 pm

Northside Drive Baptist Church (chapel) 3600 Northside Drive NW