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Friday, 31 March 2017, 6 p.m.

Happy Birthday JSB: An Evening in the Palace of Reason

Because of the shift from the Julian to the Georgian calendar, scholars now think Bach's actual birthday is March 31 (the date of this Happy Hour!). I've organized a Bach birthday program. I've entitled, the program: Evening in the Palace of Reason. The book by that title by. James R. Gaines describes the interaction that Bach and Frederick the Great had which resulted in the Musical Offering.

Sarah Biber

Stacey Brady

Mary Harrison

Frank Nowell

Program

Violin Sonate wq 73 in C major - Carl Philipp Emanuel Bach (1714-1788)
Allegro di Molto
Andante
Allegretto

Solo Suite for cello BWV 1008 - Johann Sebastian Bach (1685-1750)
Prelude
Allemande
Courante
Sarabande
Minuets
Gigue

A Sonata sopr'il Soggetto Reale - J. S. Bach
(from the Musical Offering)
Largo
Allegro
Andante
Allegro

Friday, 24 February 2017, 6 p.m.

Jubal Fulks: Virtuosic Baroque Violin Plus

What do compositions for solo violin from the Baroque era have in common with Steve Reich’s 1967 minimalist work for solo violin and looping effects, “Violin Phase?” Come find out on February 24!!

Jubal Fulks

Program

JS Bach (1685-1750)
Partita no. 3 for solo violin

Preludio – Loure - Gavotte en rondeaux - Menuet 1 and 2 - Bourée - Gigue

J.S. Bach was born in Eisenach, Germany in 1685 and died in Liepzig in 1750. Because of the composer’s towering presence and far-reaching musical influence, the Baroque era is widely regarded to have ended with his passing. His Sei Solo, a Violino senza Basso accompagnato were written while Bach served as Kappellmeister to Prince Leopold of Köthen, known to be a Calvinist theologically opposed to a prominent role for music in worship. Consequently, Bach focused almost exclusively on secular music during this time, including the Brandenburg concerti, the solo violin sonatas, cello suites, and sonatas for violin and continuo. The Partita No. 3 is in the bright key of E major, and begins with a perpetual-motion Prelude, followed by the dance movements Loure, Gavotte en Rondeux, a pair of Menuets, Bourrée, and Gigue. Except for the Gavotte, which is repeated in round form, the dances are in two-part form, with the repeats providing ample opportunity for the violinist to invent embellishments.

HIF von Biber (1644-1704)
Passacaglia for solo violin


Heinrich Ignaz Franz von Biber (1644 – 1704) was born in Wartenburg, Bohemia (now part of the Czech Republic). Biber’s livelihood in music was assured in 1690 when he successfully petitioned Emperor Leopold I, a member of the Habsburg family, for ennoblement. He was then awarded the station of “Lord High Steward,” which earned him a stipend, lodging, bread, wine, and firewood—a fine life indeed! The Passacaglia concludes a set of works otherwise for violin and continuo, portraying the fifteen Mysteries of the Rosary, known as the “Mystery” sonatas. These pieces date from the 1670’s, when Biber was in the service of Archbishop Maximilian Gandolph von Khuenberg in Salzburg. A Passacaglia is a type of recurring bass line, much like the underlying progression of J.S. Bach’s famous Chaconne. In fact, it is likely that Bach would have been familiar with Biber’s work, and that this Passacaglia served to prepare the way for Bach’s epoch-defining work. In Biber’s version, the bass line is a simple descending four-note phrase, repeated throughout, with variations on top. This Passacaglia is one of the very first examples of solo violin music, and certainly the most virtuosic of the turn of the eighteenth century.

Steve Reich (b. 1936)
Violin Phase


American composer Steve Reich’s “Violin Phase” is very much a “passacaglia” for the 21st century. Written in 1967, it is composed mainly of a short, single, repeated, pulsing motive. As the motive repeats, the performer “phases” in between subdivisions of beats, finally landing on the next subdivision precisely, creating a rhythmic version of tension and resolution, and eventually creating a whole new motive. These are contrasted with sections where new material is performed on top of the repeating musical line, in very much the same way that Biber conceived of his “passacaglia” three hundred years prior.

Friday, 27 January 2017, 6 p.m.

STRING: á Trois Violes - with guest artist Harumi Rhodes, baroque violin

Three premier gambists of the region will be joined by CU violinist Harumi Rhodes in an intimate evening of masterpieces from the 16th & 17th Centuries

Ann Marie Morgan

Sandra Miller

Sarah Biber

Harumi Rhodes

Program

Fantasia No. 2 - Orlando Gibbons (1583-1625)

Pièces á Trois Violes - Jean-Baptiste Forqueray (1699-1782)
Allemande
Courante
Sarabande

In Nomine - Gibbons

from Pièces de violes, 1er Livre - Marin Marais (1656-1728)
Prelude
Courante
Fantaisie en Echo
Sarabande
Gigue
Gavotte

Fantasia No. 1 - Gibbons

Instruments featured in the performance:

6 String Bass Viol by Peter Tourin
From in the Karl Reque collection –
Baroque Violin by Hopf
From the Morgan Studio collection –
Tenor Viol by Edward Maday (through the generosity of Jann Benson [1936-2016] of Ft. Collins)
7 String Bass Viol by Richard Hart (through the generosity of Lloyd Smith of Philadelphia)
7 String Bass Viol by François Bodart

Bows by Ralph Ashmeade, Chris English, and Harry Grabenstein

Friday, 16 December 2016, 6 p.m.

The Richness of 16th & 17th C. Plucked Strings

Keith Barnhart, Nicolò Spera and Patrick Smith will delight your senses with solos, duos and trios spanning from Renaissance England to Seventeenth century Italy and in between. Come hear the delicate sounds of the theorbo, Baroque guitar and lute.

Keith Barnhart

Nicolo Spera

Patrick Smith

Program

Sonate del Terzo Tuono (from Capricci Armonici Sopra la Chitarra Spagnola) - 1692 - Ludovico Roncalli (fl. late 17th century)
Preludio
Alemanda
Corrente
Gigua
Sarabanda
Passacaglÿ

Sinfonia (from Varii Capricii for Ghittara Spagnuola) - 1643 - Francesco Corbetta (ca. 1615 – 1681)

Two selections from D' Intavolatura di Chitarrone - 1604 - Giovanni Girolamo Kapsberger (1580–1651)
Canario
Toccata II arpeggiata

Three John Johnson lute duets John Johnson (c. 1545 – 1594)
The Flatt Pavan
The Flatt Galliard
Dump, "Queen's Treble"

Sonata No. 6 (from Sonate d'intavolatura di leuto Op. 1) - 1718 - Giovanni Zamboni (fl. early 18th century, possibly 1664-1721)

Chaconne en G sol re ut, tierce majeur (from Vaudry de Saizenay manuscript) - 1699 - Robert de Viseé (ca. 1655 – 1732/1733)

Trio Sonata in D minor 'Variations on La Folia', RV63 (from Suonate da camera a tre, Op.1) - 1715 - Antonio Lucio Vivaldi (1678 – 1741)

Friday, 21 October 2016, 6 p.m.

Unveiling the Cello da Spalla

Boulder Bach Festival Artistic Director Zachary Carrettin presents his violoncello da spalla in collaboration with BBF artists Greta Parks, violoncello, and Keith Barnhart, baroque guitar. The trio will perform Vivaldi cello sonatas RV 43 in A Minor, and RV 46 in B-flat Major. Carrettin will play Bach’s first cello suite, BWV 1007 in G Major, and will offer some historical background on shoulder-held basso instruments

Zachary Carrettin

Greta Parks

Keith Barnhart

Friday, 15th April 2016, 6 p.m.

1600: Songs from the First Decade of the 17th Century

Abigail Chapman, soprano
Peter Schimpf, lute, theorbo, Baroque guitar

Abigail and Peter will take you on a thrilling journey that follows in song the route that led from the Renaissance to the Baroque: Italian influence, new styles, new instruments, and new expressivity.

Abigail Chapman

Peter Schimpf

Program

[Forthcoming]

Program Notes

In first decade of the 17th century, European art music witnessed a rich confluence of styles. For most musicians, the hallmark elements of the Renaissance musical composition continued unabated; equal-voiced textures remained a primary part of composition. But radical new experiments coming out of Italy offered a fresh approach to vocal music, utilizing improvised instrumental accompaniments that allowed solo musical lines to be more nuanced and more expressive. From 1600-1610 the Renaissance and Baroque essentially coexisted, as musicians outside of Italy began to absorb the new music. Solo songs particularly thrived in this decade. As John Dowland and his English contemporaries began to publish numerous volumes of lute songs and ayres, Giulio Caccini and his Florentine compatriots revealed their new musical experiments in publications that would have dramatic effects on the direction of European musical style. New instruments such as the theorbo and the five course “Baroque” guitar also emerged in this decade, specified in musical publications for the first time.

Wednesday*, 23rd March 2016, 6 p.m. *** CANCELLED ***

CORDE À VIDE

Lorna Peters, harpsichordist
Jubal Fulks, violinist

Happy Hour Chamber Concerts is fortunate to present the Baroque duo sensation Corde à vide, an early music ensemble described widely as “fiery”. You will be introduced to some wonderful composers you don’t hear every day. It promises to be a gem.

Lorna Peters

Jubal Fulks

Program

George Frideric Handel (1685-1759)
Sonata in g minor for violin and continuo HWV 364

Larghetto
Allegro
Adagio
Allegro

Biagio Marini (1594-1663)
Sonata quarta “per sonar con due corde”

Heinrich Ignaz Franz von Biber (1644-1704)
Passacaglia für Violine allein

Georg Muffat (1653-1704)
Sonata in D Major for violin and continuo

Adagio
Allegro
Adagio
Allegro
Adagio

Giovanni Pandolfi Mealli (1630-1669)
Sonata Op. 3, No. 3, “La Melana” for violin and continuo

Program Notes

Though born in Germany, George Frideric Handel (1685-1759) spent most of his adult life in London, moving there in 1712 and becoming a naturalized British subject in 1727. Handel was born into a non-musical family, and his father was interested in having him study law. In 1702, he enrolled in law studies at the University of Halle, but the pull of music proved too strong, and after only one year at law school withdrew and accepted a position as violinist and harpsichordist with an orchestra in Hamburg. At the invitation of Ferdinando de Medici in 1706, Handel travelled to Florence, Italy. This would be an important time in his life, as the Italian style remained an influence on Handel’s work for the rest of his career. The sonata here was composed between in London between 1722-1724. Originally published in 1732 as an oboe sonata, it is in the Italian style that came to define most of Handel’s work.

Born in Brescia, Italy, Biagio Marini (1594 –1663) was widely traveled, occupying posts in such far-reaching places as Brussels, Neuberg an der Donau, Düsseldorf, and at St. Mark’s Cathedral in Venice with Claudio Monteverdi. His printed works were influential throughout the European musical world. While Marini wrote both instrumental and vocal music, he is better known for his innovative instrumental compositions. He contributed to the early development of violin playing by expanding the range of the solo violin and incorporating slurs and double--and even triple--stops, and was the first to write explicitly notated tremolo effects. Marini sought out novel compositional procedures, like constructing an entire sonata without a cadence (as in his aptly titled Sonata senza cadenza). The title of his Sonata quarta, “Per sonar con due corde” refers to a section of the sonata which features overlapping motives in the violin on two strings, a technique that would have been new and daring at the time. His surviving works exhibit inventiveness, lyricism, harmonic boldness, and a growing tendency toward tonality.

Heinrich Ignaz Franz von Biber (1644 – 1704) was born in Wartenburg, Bohemia (now part of the Czech Republic). Biber’s livelihood in music was assured in 1690 when he successfully petitioned Emperor Leopold I, a member of the Habsburg family, for ennoblement. He was then awarded the station of “Lord High Steward,” which earned him a stipend, lodging, bread, wine, and firewood—a fine life indeed! The Passacaglia concludes a set of works otherwise for violin and continuo, portraying the fifteen Mysteries of the Rosary, known as the “Mystery” sonatas. These pieces date from the 1670’s, when Biber was in the service of Archbishop Maximilian Gandolph von Khuenberg in Salzburg. A Passacaglia is a type of recurring bass line, much like the underlying progression of J.S. Bach’s famous Chaconne. In fact, it is likely that Bach would have been familiar with Biber’s work, and that this Passacaglia served to prepare the way for Bach’s epoch-defining work. In Biber’s version, the bass line is a simple descending four-note phrase, repeated throughout, with variations on top. This Passacaglia is one of the very first examples of solo violin music, and certainly the most virtuosic of the turn of the eighteenth century.

Georg Muffat (1653 – 1704),born in Megève in the French Alps, was of Scottish descent. After studying in Paris with Jean-Baptiste Lully between 1663 and 1669, he worked as organist in Molsheim and Sélestat, both in Alsace, France. From 1690 to his death, he was Kapellmeister to the bishop of Passau, in southeast Germany. Muffat’s sonata is very forward-looking, hinting at developments of sonata form: it is bookended by an Adagio section which gives a sense of recapitulation at the end. Between these sections, Muffat makes much use of the circle of fifths to extend melodic motives, offset by some downright startling harmonic progressions in the central slow section.

Little is known about the life of Giovanni Antonio Pandolfi Mealli (ca. 1630 – ca. 1669), except that he worked in the court of Archduke Ferdinand of Habsburg at Innsbruck, Austria. His only surviving works are twelve sonatas for violin and harpsichord, opp. 3 and 4. There are reports that Pandolfi, during his time of employment at the Cathedral of Messina, Sicily, murdered a castrato during an argument. He subsequently, and perhaps hastily, boarded a ship, eventually disembarking in Spain, where he was employed in the Royal Chapel, again by the Habsburgs, and remained until his death. Each of Pandolfi’s sonatas bears a nickname, which likely refers to the ground used for the triple-meter section at the center of each sonata. The Sonata terza, nicknamed “La Melana,” displays Pandolfi’s inventive yet transparent writing, which leaves plenty of room for the performers to interject their own invention.

*NOTE: In a rare departure, we scheduled this concert on Wednesday owing to artist availability and venue constraints during Holy Week. We hope you find that Happy Hour can be equally engaging on Wednesdays, too!

Friday, 12th February 2016, 6 p.m.

The Flowering and Fading of Love

One amazing soprano, One two-manual harpsichord, four ingenious instrumentalists on period instruments, and a flurry of fabulous Italian baroque composers (one a woman!)

Amanda Balestrieri

Parish House

Amanda Balestrieri, Soprano, with Parish House Baroque
Elisa Wicks and Terri Moon, baroque violins
Pamela Chaddon, baroque 'cello
Eric Wicks, harpsichord

Program

Attilio Ariosti (1666-1729)
La Rosa

Heinrich Ignaz Franz von Biber (1644-1704)
Annunciation Sonata (from the Rosary Sonatas)

Barbara Strozzi (1619-1677)
Hor che Apollo / Che si può fare (passacaglia)

Antonio Lucio Vivaldi (1678-1741)
La Folia

Friday, 20th November 2015, 6 p.m.
ANN MARIE MORGAN, baroque cellist and violas da gambist

Happy Hour Chamber Concerts is happy to present the string artistry of internationally acclaimed ANN MARIE MORGAN. There is nothing quite like the warmth of Ann Marie’s playing. When you pair with friends, nibbles, and a glass of wine—a perfect prelude to the evening.

Ann Marie Morgan

Ciaccona from Sei Solo a Violino senza Basso
accompagnato (Partita No. 2 in D Minor)……………Johann Sebastian Bach 1685-1750 (Transcribed for Viola da Gamba by Ann Marie Morgan)

“Rosebuds Dancing” for Viola da Gamba
and electronics………………John Drumheller, John Dowland, Ann Marie Morgan

Suite IV in Eb for Unaccompanied Violoncello………J.S. Bach
Prelude, Allemande, Courante, Sarabande, Bourrées I &II, Gigue

Notes on the Program for November 20, 2015

When I was a young girl growing up in a Chicago suburb my older sister began to study classical guitar. One of my favorite pieces to listen to from her LP entitled Julian Bream Plays Bach was the “Chaconne” (ciaconna). I had no idea at the time that it has been written for violin originally and, by the first time I heard it performed on violin, the recorded performance of Mr. Bream was indelibly imprinted in my aural memory. The potential of the best of both worlds (the bowed and the plucked) became apparent several decades later – why not make a transcription for solo bass viola da gamba? The viol evolves out of the Spanish guitar (vihuela), is fretted and is most often bowed. After each of my several performances of this piece in recent years I have reworked sections in attempt to come up with the most violistically idiomatic settings possible. I would like to thank my instrument, Zoe, for being most instructive in this process!

The second piece on the program had its debut last May in Denver. The work, entitled "Rosebuds Dancing”, is a piece written for and dedicated to me by Colorado composer John Drumheller. A collaboration of both the composer and performer, Drumheller's contribution is a fixed media electronic backdrop with materials taken exclusively from my recording of the song "Among Rosebuds" by Nicholas Lanier (from the album by that same title on Centaur Records). The dance flanks and is interwoven into a lengthy lament over which I interject phrases from John Downland's "Lachrimae" in live performance on the viol. I find it fascinating that the historical practice of taking a familiar tune and composing or improvising around it is approached differently here – and, in fact, that the “reworking” precedes the interjection of the famous tune!

How can one resist programming a Bach unaccompanied suite for cello? Bach’s key choice of Eb for the fourth suite is the least “cello friendly” of the six suites. Nevertheless, it is well worth the added struggle to bring forth its glory. For me as a performer what often occurs as I work towards presenting such a multiple-movement piece is that a programmatic element reveals itself to me. Usually I keep this story line to myself, letting it assist me in the delivery of the piece to an audience. Because of the unique opportunity that the Happy Hour Concerts provides for us to share with you, the audience, in writing, I am going to break with tradition and reveal my “inner story” for the suite:

Prelude – Mindfulness, conscious breathing, being in the moment. Intermittent worry.
Allemande – Walking meditation
Courante – Animals frolic
Sarabande – Old age
Bourrées I & II – Children play/battle
Gigue – Celebration of LIFE dance – return to self.

Ann Marie Morgan 10/19/15

Friday, 9th October 2015, 6 p.m.
LINDA LUNBECK, recorderist, and ELENA MATHYS, keyboardist

Happy Hour Chamber Concerts presents the dazzling duo of LINDA LUNBECK (recorders) and ELENA MATHYS (harpsichord) in an unforgettable evening of Baroque masterpieces. The intimacy of recorder and harpsichord transports you with sonatas and fantasias of the three pillars of the high Baroque. Pairs well with reds or whites

Linda Lunbeck

Elena Mathys

G. F. Handel  Sonata in B flat major, for recorder and basso continuo  HWV 377 (c. 1724-25, published 1730-32)

  • [Allegro]
  • Adagio
  • Allegro
  • J. S. Bach  Sonata in B minor, for recorder (originally for transverse flute) and obbligato harpsichord,  BWV 1030 (1736-37)

  • Andante
  • Largo e dolce
  • Presto - [Allegro]
  • G.P. Telemann  Fantasia No. 8 in G Minor for harpsichord  TWV 33:8 (1732-33)
    from Fantaisies pour le clavessin; 3 Douzaines [36]

  • Vivace
  • Cantabile
  • Vivace [da capo]
  • Handel  Sonata IV in A minor, for recorder and basso continuo  HWV 362 (c. 1725-26, pub. 1730-32)

  • Larghetto
  • Allegro
  • Adagio
  • Allegro
  • Telemann  Fantasia No. 1 in C Major (original flute key A major)  TWV 40:1 (c. 1727)
    from 12 Fantasie per il [Flauto] senza Basso

  • Vivace
  • [Adagio allegro]
  • Allegro
  • Handel  Sonata II in G Minor, for recorder and basso continuo  HWV 360 (c. 1725-26, pub 1730-32)

  • Larghetto
  • Andante
  • Adagio
  • Presto
  • Friday, 15 May, 6 p.m.

    Happy Hour Chamber Concerts presents the sizzling duo of Ann Marie Morgan and Yayoi Barrack playing viols for you. Come kick off your shoes, grab a libation and some nibbles, greet your friends, and sit back as Ann and Yayoi bring you an hour of attention-grabbing solo and duo music for the viola da gamba. You'll hear music of Jenkins, Schenk, Simpson and others.



    Program

    Suite in A Minor for Two Bass Viols
    John Jenkins (1592-1678)
    Fantasia - Ayre - Courant

    Fantazia - Almande - Corante in D Minor for Two Bass Viols
    John Hingeston (ca 1606-1683)

    Divisions on a Ground - for Two Bass Viols, in G Major
    Christopher Simpson (1602? -1669)

    Fire, Fire
    Nicholas Lanier (1588-1666)

    So, so, leave off this last lamenting kisse
    Alfonso Ferrabosco II (ca. 1575 – March 1628)

    Sonata in D Major for Bass Viol Solo (selections)
    August Kühnel (1645 – ca. 1700)

    Duetto in D Minor for Two Bass Viols -
    Christoph Schaffrath (1709-1763)
    Poco Allegro

    Click here for Program Notes

    Friday, 9 May, 6 p.m.

    Music for Three Voices: Emily Bowman, viola, Stacey Brady, violin, and Sandra Miller, cello. Music of Bach, Telemann and Capricornus



    Samuel Capricornus: Ciacona
    Telemann: Trio in B Minor for violin, viola and continuo
    J.S. Bach: excerpts from the Goldberg Variations (transcribed for violin, viola and cello


    Program Notes

    Emily Bowman (viola), Stacey Brady (violin) and Sandra Miller (cello), are founding members of the Eldorado String Quartet and have been performing together in the Boulder-Denver area for the past fifteen years. Equally comfortable on both modern and period instruments, they perform regularly with the Baroque Chamber Orchestra of Colorado and Seicento Baroque, and among other musical organizations on the front range. This concert will be performed on period-style instruments and features works by Czech composer Samuel Friedrich Capricornus (1628-1665) and Georg Phillip Telemann (1681-1767). Excerpts from J.S. Bach’s renowned Goldberg Variations will also be on the program. There will be a brief informal discussion about the merits and challenges (and integrity !) of transcribing Bach’s keyboard work for three separate voices.

    Friday, 28 March, 6 p.m.

    Cadmus
    ARCADIAN DRAMA: Dialogues by Stradella and Blow
    After a year’s hiatus, Cadmus returns to HHCC to present a concert of operatic cantatas, drawn from the works of Italian baroque secular cantatas, and from the English stage entertainments collected by John Playford in his Theater of Music publications:

    	“A Choice Collection of the newest and best Songs
    	Sung at the Court and Public Theaters.
    	The Words composed by the most ingenious Wits of the Age, and set to
    	Music by the greatest Masters in that Science.”

    These two works represent the love between shepherds and nymphs and explore mistrust and fidelity in musical exchanges between two characters. The action takes place between two or three singers with continuo, and is amplified by the addition of two violins and short instrumental interludes.
    To punctuate the action, we will add a witty ditty from The Theater of Music, “Cupid, the slyest rogue alive,” a short self-contained song about Cupid and his mother Venus and the sting of love’s dart.

    For this concert:
    Artistic Director, Amanda Balestrieri
    Guest Artistic Director, Andrus Madsen
    Harpsichord generously supplied by William Adams

    The Musicians:
    	Instruments~
    		Alexandra Eddy, violin
    		Elisa Wicks, violin
    		Ann Marie Morgan, viola da gamba
            
    	Voices~
    		Amanda Balestrieri, soprano
    		Marjorie Bunday, alto
    		Kenneth Donahue, bass

    Program

    Lasciate ch’io respiri, ombre gradite
    Alessandro Stradella, 1639-1682

    A pastoral dialogue between an arcadian shepherd, Tirsi, and his nymph, Licori, who both think that their feelings are unrequited and complain to each other in no uncertain terms!

    (Text and translation to come)

    Cupid, the slyest rogue alive
    Henry Purcell, 1659-1695

    A song from The Theater of Music, II, London, 1685

    Cupid, the slyest rogue alive,
    One day was plund'ring of a hive,
    But as with too, too eager haste,
    He strove the liquid sweets to taste,
    A bee surpris'd the heedless boy,
    Prick'd him and dash'd the expected joy.
    The urchin, when he felt the smart
    Of the envenom'd, angry dart,
    He kick'd, he flung, he spurn'd the ground,
    He blow'd, and then he chaf'd the wound,
    He blow'd, and chaf'd the wound in vain,
    The rubbing still increas'd the pain.
    Straight to his mother's lap he hies,
    With swelling cheeks and blubber'd eyes.
    Cries she "What does my Cupid ail?"
    When thus he told his mournful tale,
    "A little bird they call a bee,
    With yellow wings, see, mother, see,
    How it has gor'd and wounded me!"
    "And are not you," replied his mother,
    "For all the world just such another,
    Just such another peevish thing,
    Like in bulk, and like in sting?
    For when you aim a pois'nous dart
    Against some poor unwary heart,
    How little is the archer found,
    And yet how wide, how deep the wound!"

    Septimnius and Acme, Ode from Catullus
    John Blow, 1649-1708

    From The Theater of Music, I, London, 1685
    Text from Gaius Valerius Catullus, c84-c54BC, as translated by Abraham Cowley, 1618-1667


    Whilst on Septimnius's panting breast
    (Meaning nothing less than rest)
    Acme lean'd her loving head,
    The pleas'd Septimnius thus said:

    "My dearest Acme, if I be
    Once alive, and love not thee
    With a passion far above
    All that e'er was called love;
    In a Libyan desert may
    I become some lion's prey;
    Let him, Acme, let him tear
    My breast, when Acme is not there."

    The god of love, who stood by to hear him
    (The god of love was always near him)
    Pleas'd and tickled with the sound,
    Sneez'd aloud; and all around
    The little loves, that waited by,
    Bow'd, and blest the augury.
    Acme, enflam'd with what he said,
    Rear'd her gently-bending head;
    And, her purple mouth with joy
    Stretching to the delicious boy,
    Twice (and twice could scarce suffice)
    She kissed his drunken rolling eyes.

    "My little life, my all" (said she)
    "So may we never servants be
    To this blest god, and n'er retain
    Our hated liberty again!
    So may thy passion last for me,
    As I a passion have for thee,
    Greater and fiercer much than can
    Be conceiv'd by thee a man!
    It reigns not only in my heart,
    But runs, like life, through every part."
    She spake; the god of love aloud
    Sneez'd again, and all the crowd
    Of little loves that waited by,
    Bow'd and blest the augury.

    Friday, 24 January, 6 p.m.

    Frank Nowell And Yayoi Barrack
    Happy Hour Chamber Concerts is very pleased to present two of Colorado’s finest early music musicians on Friday, 24th of January. Frank Nowell is much in demand as a harpsichordist – most notably, as the Artistic Director of the Baroque Chamber Orchestra of Colorado. And Yayoi Barrack who has moved to Colorado fairly recently, from the West Coast, is an innovative and talented gambist. You will be sure to enjoy the combination of these two instruments and the dynamic players who make the music come alive. This will be a great way to start your weekend…come enjoy wine, nibbles, chocolate, and the warm intimacy of the venue.

    Program

    Frank Nowell:

    Elisabeth Jacquet de la Guerre (1665-1729)
    Suite in D Minor
    Prelude (unmeasured)
    Courante
    Sarabande
    Chaconne L’Inconstante

    Francois Couperin (1668-1733)
    Les Folies Francaises (Les Dominos)

    Yayoi Barrack:

    Marin Marais
    Sarabande a l’Espagnole (published 1717)
    Suite in E Minor (published 1701)
    Prelude
    Fantasie
    Allemande
    Sarabande a l’Espagnole
    Gigue
    Rondeau Champetre
    La Guitarre (published 1711)
    Chaconne in D (published 1686)
    Couplets de Les Folies d’Espagne (published 1701)

    Friday, December 13, 6 p.m.

    A Medieval Christmas Feast - The Denver Early Music Consort: Amanda Balestrieri, soprano, Marjorie Bunday, Alto, Adam Ewing, baritone, Yayoi Barrack, vielle

    Program

    				
    Denver Early Music Consort A Medieval Christmas Feast Amanda Balestrieri, soprano Yayoi Barrack, vielle Marjorie Bunday, alto Adam Ewing, baritone
    Welcome, Sir Christmas (Ritson MS) Proface, Welcome, Welcome (Ritson MS) Nowel: Owt of your slepe aryse (Selden MS, 15th c.) Now make we joy (Ritson MS) A solis ortus cardine (Sarum chant) / A solis ortus cardine (three-voice conductus, Florence) Make we joy (Selden MS) Lux refulget (polyphonic versus London BL) Nowell: Tydynges trew ther be cum new (15th c. Bodleian Library MS) Of a Rose sing we (Selden MS) Flos ut rosa floruit (Conductus, London, British Library) Edi be thu, Heven-Queene (14th c. English) Nova! nova! (15th c. Hunterian Museum MS) Hayl, Mary, ful of grace (15th c. Trinity roll) Angelus ad Virginem / Gabriel, fram Heven-King (13th c. Arundel MS; 14th c. Cotton Fragments;14th c. Dublin Troper) Alma Redemptoris Mater (Trinity MS) / Lullay, lullay: Als I lay on Yoolis Night (14th c. Cambridge University MS) Alleluya Christo iubilemus – Alleluya: Dies sanctificatus (W. de Wycombe or Wichbury) Nowell Sing We (Selden MS) Angelorum Gloriae (14th c. tropus-conductus) Nowell: The borys hede (Ritson MS)

    Friday, October 4, 6 p.m.

    Love, Drinking, Singing and Sex: Pleasures of the 17th Century

    Boulder's own Evanne Browne (Artistic Director, Seicento Baroque Ensemble), and Denver's Marjorie Bunday (Denver Early Music Consort and a favorite Seicento Soloist), join forces to bring you our opening Happy Hour concert of the new season. Soloists from the Seicento Baroque Ensemble present music of Henry Purcell, Claudio Monteverdi, Luzzasco Luzzaschi, William Lawes and other composers of the 1600s expressing passion, love, desire and the joy of imbibing with Bacchus.

    With a twinkle in their eyes, the ensemble of three solo singers, harpsichord and baroque cello, will present and express age-old ways and universal human longing through song. Seicento, Colorado's only choir to specialize in the historic-performance of 17th and 18th century music and noted for its performances of lesser known baroque music, brings music not often heard: Purcell's beautiful solo and chamber music, his most inspired drinking songs and his humorous catches (rounds); and Monteverdi’s lush, melodic and passionate Italian chamber duets and trios.

    In spite of the concert’s name, the program is perfectly suitable for the family. You're in for a treat - come, join us for a glass of wine and great musical fun.

    Program

    Parlo miser                       Claudio Monteverdi (1567 –1643)
    O come sei gentile                Monteverdi
    Cor mio                           Luzzasco Luzzaschi (c. 1545-1607)
    O dolce anima mia                 Jacopo Peri (1561-1633)
                         ==========
    Dialog on a Kisse                 Mr. William Lawes (1602-1645)
    Sweeter than Roses                Henry Purcell (1659-1695)
    Were thou yet Fairer              Giovanni Giacomo Gastoldi (1554-1609)
    Tom Kisses the Book               I. King (17th C.)
                         ==========
    As Soon as Chaos was Made         Purcell
         into Form
    Catches on Drinking               Purcell
    Bacchus is a Pow’r Divine         Purcell
                         ==========
    The Bustle                        Thomas Arne (1710-1778)
    The Grocer of London Town         Purcell
    Tell Me Fair One                  Purcell
    I Prethee Send Me Back My Heart   John Lawes
    Aria di Passacaglia: Cosi mi      Girolamo Frescobaldi (1583–1643)
         disprezzate?
    Lamento di tre amanti             Antonio Lotti (ca. 1667 –1740)

    Texts and Translations

    Parlo miser
    Should I, poor wretch, speak or be silent? If I keep silent, what good will my death be in easing my pain? If I speak, will my boldness be forgiven? Stay silent, you who understands the burning of a confined flame. Pity speaks in me; beauty speaks in you, and this beautiful face says to the stony heart, “who can look at me and not languish for love?”

    O come sei gentile
    Oh, how gentle you are, sweet little bird! Oh, how my state of being in love resembles your state. You are a captive, I am a captive; you sing, I sing; you sing for the sake of the one who has bound herself to you, and I sing to her. But there is a difference in my sorrowful fate: it is worth your while to sing; you live singing, and I die singing.

    Cor mio
    Dear heart, I prithee do not waste away, for my soul would waste away with you. Hear my urgent signs, they come to you borne by pity. See from my eyes, dimmed by a lover’s tears, how grief consumes me. If my death could bring relief to you I would die that you might live. But you live, alas! For death is culpable when other lives depend upon your own. But you live unjustly in the heart of another.

    O dolce anima mia
    O my sweet beloved, is it true, then, that, changing your mind, you abandon me for another? If you seek a heart that adores and loves you move, your search is an unjust one; if you seek constancy, see the faith that loves you when you give to another its sweet reward and your gentle, much-desired pity; but if you seek beauty, then do not look upon me, my heart but upon yourself engraved upon this countenance, upon this heart.

    Dialog on a Kisse
    Among thy fancies tell me this, what is the thing we call a kiss? I shall resolve you what it is: it is a creature born and bred betwixt the lips, all cherry red, but love and warm desires fed. And makes more sweet the bridal bed. It is an active flame that flies first to the babies of the eyes, and charms it there with lullabies. And stills the bride, too, when she cries. Then to the chin, the cheek, the ear; it frisks, it flies, now here, now there; ‘tis now far off, and now ‘tis near. ‘Tis here and there and everywhere.

    Has it a voicing virtue? Yes. How speaks it then? Do you but this: part your joined lips then speaks the kiss. And this loves sweetest language is. Has it a body? I, and wings, with thousand various colorings, and as it flies is sweetly sings: Love honey yields but never stings!

    Sweeter Than Roses
    Sweeter than roses or cool evening breeze on a warm flowery shore, was the dear kiss. First trembling made me freeze, then shot like fire all o’er. What magic has victorious love! For all I touch or see since that dear kiss, I hourly prove, all is love to me.

    Were Thou yet Fairer
    Were thou yet fairer than thou art, which lies not in the p’wer of art, or hadst thou in thine eyes more darts, then cupid ever shot at hearts, yet if they were not thrown at me, I would not cast a thought on thee.

    I’d rather marry a disease than court a thing I cannot please, She that would cherish my desires, must court my flames with equal fires, Would you know then, what that will be, I’ll then love you when you love me.

    Tom Kisses the Book when to the Justice he goes to complain of John Surly his neighbour. John’s wife swears her husband took Tom by the nose and his carcass did foundly belabour. Ev’ry night of his life these quarrels are rife good neighbors avoid such contention and strife.

    As Soon as Chaos
    As soon as chaos was made into form, and the first race of Men knew a good from a harm; they quickly did joy’n, in acknowledge divine, that the world’s chiefest blessings were women and wine. Since when by example improving delights, wine governs our days, love and beauty our nights. love on them, and drink; ‘tis a folly to think of a mystery out of our reaches, be moral in thought, to be merry’s no fault, tho’ an elder the contrary preaches; for never my friends, was an age of more vice, than when knaves wou’d seem pious, and fools wou’d seem wise.

    Bacchus is a Pow’r Divine
    Bacchus is pow’r divine, for he no sooner fills my head with mighty wine, but all my cares resign, and droop, then sink down dead. Then the pleasing thoughts begin, and I in riches flow, at least I fancy so. And without thought of want I sing, stretch'd on the earth, my head all around with flowers weav'd into a garland crown'd.

    Then I begin to live, and scorn what all the world can show or give. Let the brave fools that fondly think of honour, and delight, to make a noise and fight, go seek out war, whilst I seek peace and drink.

    Then fill my glass, fill it high; some perhaps think it fit to fall and die, but when the bottles rang'd to make war with me, the fighting fool shall see, when I am sunk, the diff'rence to lie dead, and lie dead drunk.

    The Bustle: Dear Jenny, I love you by this, and by this. No coyness, come kiss me – oh further my bliss! The old woman’s lame, we have nothing to dread; I’m dying, nay, now I am dead!

    The Grocer of London Town
    A Jolly young Grocer of London Town, fell deeply in love with his maid: and often he courted her to lye down, but she told him she was afraid: sometimes he would struggle, but still she would boggle, and never consent to his wicked will; but said he must tarry, until he would marry, and then he should have his fill.

    But when that he found he could not obtain, the blessing he thus pursu'd; for tho' he had try'd her again and again, she vow'd she would not be leud. At last he submitted, to be so outwitted, as to be catch'd in the nuptial snare; altho' the young hussie, before had been busie, with one that she lov'd more dear. The morning after they marry'd were, the drums and the fiddles came; then oh what a thumping and scraping was there, to please the new marry'd dame. There was fiddle come fiddle, with hey diddle diddle, and all the time that the musick play'd; there was kissing and loving, and heaving and shoving, for fear she should rise a Maid. But e'er three Months they had marry'd been, a thumping boy popp'd out; says he you confounded queen, why what have you been about? You're a strumpet cries he, you're a cuckold cries she, and when he found he was thus betray'd; there was fighting and scratching, and rogueing and bitching, because she had prov'd a jade.

    Tell Me Fair One
    Why so coming, why so shy. Tell me why, you’ll neither let me flight nor fly; why you’ll neither let me live nor dye.

    I Prethee Send Me Back My Heart
    since I cannot have thine; for if from yours you will not part, why then should you keep mine? Yet how I think on it, let it lye, to send it me were vain, for th’hast a thief in either eye will steal it back again.

    Aria di Passacaglia: Cosi mi disprezzate?
    Thus you disdain me? This you make a mockery of me? Time will come, Love will make of your heart what you make of mine. No more words - farewell." "Inflict more torment on me, mock my sighs, deny me my just dues, outrage my fidelity - soon you'll see in yourself what you make of me. Beauty does not reign forever, even if it counsels you to disdain my faith. I'm going to laugh, eventually."

    Lamento di tre amanti
    Love binds our hearts with three chains. Mine from a lip came out. Mine a bosom. Mine was a face that drew us equally into servitude. I for delightful words, I for a snowy breast, I for two lovely eyes am burning, yes, but how I cannot say, nor do I know the reason for that flame from which I burn. A fair lip, a fair bosom, a dear face. Whence in equal punishments, love tied our hearts with three chains.

    Friday, April 26, 2013, 6 p.m.



    Matthew Dane, viola
    Frank Nowell, harpsichord


    This program will feature music of the Baroque for viola and viola d’amore plus harpsichord. We are excited to present pieces by the master J. S. Bach alongside fascinating ones by lesser-known composers Attilio Ariosti and William Flackton. While Ariosti was Italian by birth, both he and Flackton composed the pieces we will perform in Flackton’s native England. Ariosti was an early player and advocate for the viola d’amore, an exotic instrument of at least twelve strings whose intimate, resonant voice attracted many composers of the time- including Bach. The sonata for viola and harpsichord by Flackton is one of a set of four he wrote for the express purpose of “establishing a higher Veneration and Taste for this excellent, tho’ too much neglected Instrument.”

    Program:

    J. S. Bach (1685-1750): Two Preludes

      From Suite #4 in E-flat Major, BWV 1010
      From Suite #2 in D Minor, BWV 1008

    William Flackton (1702-1793): Sonata in G Major, Op. 2 #6

      Adagio
      Allegro
      Minuets 1 & 2

    Attilio Ariosti (1666-1729): Lezione #6 in D Major

      A Tempo Giusto
      Corrente
      Giga
      Rondeaux

    J. S. Bach: Sonata in G Minor, BWV 1029

      Vivace
      Adagio
      Allegro

    Friday, January 11, 2013, 6 p.m.

    The Denver Early Music Consort will present 'To Drive the Cold Winter Away', with Marjorie Bunday, contralto; Adam Ewing, baritone; Lyn Loewi, harpsichord; and Linda Lunbeck, recorder.

    The Program:

    Country Dance tunes from John Playford's"The English Dancing Master" (1651)
    Cold and Raw
    To drive the cold winter away

    The nights get longer...
    Long Cold Nights
    Now winter nights enlarge

    What shall we do to keep ourselves warm?
    A Tavern-Club Song: Some wine boys, some wine
    Of Drinking: Tosse the pot;
    Of Drinking: Trudge away quickly
    When I drink, my Heart is possest

    An instrumental interlude, meant to evoke fond memories of recent holidays
    Nowel's Galliard
    The New Year's Gift

    More selections from Playford's "Theater of Music" on the warming themes of wine, women, and song
    How lovely's a woman before she's enjoy'd
    Fill me a Boul, a mighty Boul
    Fill the boul with rosie wine

    It's still cold...will Spring ever return?
    In Winter Cold - Whereat an Ant
    Next, winter comes slowly
    Return, fair princess of the blooming year

    Good Lord, preserve the ostrich feather
    From stormy windes and grievous weather

    In spite of cold weather...'Tis Love that has warmed us
    Frost Scene from "King Arthur" (1691)
    Cupid, Cold Genius, Chorus of Cold People

    December 14, 2012

    A Christmas Book of Songs. Cadmus Ensemble presents a program of spirited, fun, and beautiful Christmas music as an antidote to the 'muzak' that currently pervades the public spaces in our world. Two voices with harp and cello draw influences from the British, French and German traditions, with plenty of holly, ivy, snow and silver bells. A set of beautiful French carols sung in style, compliment the familiar themes, and cello and harp solos are drawn from the baroque and ancient Irish worlds., while the voices delve back to medieval chant and early English carols. Each set of music blends seamlessly in the style of a traditional music band. The final set will provide the audience with a chance to join the singers and instrumentalists in a reconstructed rendering of Franz Gruber's beloved Stille Nacht, Heilige Nacht (Silent Night, Holy Night).

    Local favorites Amanda Balestrieri, soprano, and Marjorie Bunday, mezzo-soprano, are joined by Margot Krimmel (Gadbaw & Krimmel Duo) harp and Beth Rosbach (Sphere Ensemble) cello.

    Program Notes:

    Once in Royal David's City ~ Good King Wenceslas ~ The Holly and the Ivy

    Quittez Pasteurs ~ Quelle est cette odeur ~ Noel nouvelet ! ~ Les Anges dans nos campagnes

    The Salutation of the Angel ~ There is No Rose of Such Virtue ~ Gabhaim Molta Bride (harp) ~ Hodie Aparuit (Hildegard von Bingen) ~ Congaudeat Ecclesia ~ Puer Natus in Bethlehem (Praetorius)

    Salve Regina (Domenico Scarlatti)

    Bach, Courante (cello) ~ Quando Nascette Nino ~ Kling, Glockchen ~ Stille Nacht

    Please join us for a glass of wine, and some great music !

    October 28, 2012:

    We will open our first season with a concert by Cynthia Miller Freivogel, violinist and leader of the Baroque Chamber Orchestra of Colorado. She will play sonatas by Telemann. Cynthia is currently living in The Netherlands. Cynthia Miller Freivogel received a BA in musicology at Yale University and an MM in violin performance at the San Francisco Conservatory. She performs on both modern and period instruments. In addition to being the leader and concertmaster of the Baroque Chamber Orchestra of Colorado, Ms. Freivogel has played most recently with Amsterdam Baroque Orchestra with Ton Koopman, Philharmonia Baroque Orchestra (San Francisco), American Bach Soloists, and the Handel & Haydn Society (Boston). She has been a member of chamber ensembles including the recently formed Belcher Trio, Brandywine Baroque in Wilmington, Delaware, Magnificat Ensemble, and Voices of Music, which has made numerous videos you can find on Youtube. Ms. Freivogel has long been dedicated to the performance of the string quartets of Haydn and his contemporaries on period instruments. She was a founding member and second violinist of the Novello Quartet and a founding member of the Coriolan Quartet (Boston). Ms. Freivogel has performed at the Boston Early Music Festival, the Colorado Music Festival in Boulder, as well as at Tanglewood, San Luis Obispo Mozart Festival, the State Orchestra of Sao Paulo, Brazil, Apollo’s Fire, Portland Baroque, American Russian Young Artist’s Orchestra, and Amerus Chamber Players. Ms. Freivogel studied principally with Camilla Wicks, and Marylou Speaker Churchill, and is a dedicated and certified Suzuki teacher.

    Program Notes:

    Music for solo instrument with out bass (as it is notated in the baroque era) or unaccompanied (as we commonly called it today) is all about illusion.The great baroque cellist, Anner Bijlsma, put it this way, "you are like the puppet master, in control of all of the character …. but underneath the theater, there are still only two legs." To say that a piece of music is for violin "with out bass" actually means something particular in the baroque era. Telemann's music, much like that of jazz, was deeply rooted in the bass line, and the harmonies that result from that bass. The fantasies for solo violin are no less dependent on the bass line compositionally, the title means only that there is not a separate person playing that line. The challenge for composing solo violin music, is to create the illusion that that the bass line, the harmonies, and all of the different characters are on stage all at once. At the same time, the joy of experiencing a performance of solo piece is the thrill of knowing that one person is doing it all.

    Generally, when we think of solo violin music, we think of Bach, who wrote three partitas (suites of dances) and three sonatas for solo violin. The sonatas each have an introductory movement followed by a fugue- a compositional structure which is an intellectual working out of three or four voices with very specific rules. These fugues create incredible stretches for the technique of the violinist- huge chords and challenges in coordination of the bow with the left hand as one tries to play three or four separate lines at once. In the dance movements of the partitas and sonatas, the challenge is less about creating the illusion of polyphony, and more about balancing the freedom and necessity of taking time to accomplish Bach's technical demands while maintaining the rhythm of the dance.

    The collection of twelve pieces by Telemann are, by contrast, real fantasias, free forms with both sonata and dance elements. They are much shorter and less serious than the more famous works of Bach, but no less brilliant or engaging. There are a couple of fugues in the set (one in the E minor #6 and in the A major #5) but never reach nearly the level of intensity of Bach's. The fugal section in the A major never can get going because it is interrupted by a Corelli-like flurry of notes. While Bach wrote out all of the ornamentation that he desired, not trusting musicians to ornament his work properly, Telemann left much discretion to the performer, not only concerning ornamentation (the slow movements are practically just harmonic sketches compared to Bach's working out of every last trill and flourish) but in terms of dynamics, and the length and direction of the phrase.

    It is possible that some of the freedom of the performer comes from the repertoire being more obscure, but some comes from the actual nature of the music. Furthermore, the fantasia form afforded Telemann almost boundless compositional freedom. Telemann was very popular in his time and successful (unlike Bach, who is much more popular now) but he was no less of an innovator than Bach. The experimentation with compositional form in the Fantasias is a beautifully distilled example of that. Listening, and performing, we feel as if we are following one whim to the next, but like a great short story, (or one act puppet show) the structure is compact and complete and not without the occasional surprise ending.