Yale Collection of Musical Instruments

15 Hillhouse AvenueNew Haven

11 November 20155:30 p.m.

p r e s e n t s

TIAM GOUDARZI recorder

in

Dissertazione Corelliana:Rise and Dissemination of the Roman School of

Instrumental Music in the 18th century

PAOLO ZANZUharpsichord

February 14 - Lina Tur BoneT, violin 3:00 pm KenneTh Weiss, harpsichord

March 6 - aLexei LuBimov, piano 3:00 pm

April 10 - smiThsonian ChamBer PLayers

3:00 pm Vera Beths, violin Nicholas Cords, viola Kenneth Slowik, violoncello Robert Nairn, double bass Charles Neidich, clarinet Dominic Teresi, bassoon with William Purvis, horn

Still life with a violin and RecorderBy Jean-Baptiste Oudry, French, 18th centuryPrivate Collection

Cover GraphiC

UpCominG performanCes in the 2015-2016 series

speCial performanCes February 17 - marK KroLL, harpsichord 5:30 pm

Tickets should be ordered by telephone at the Yale School of Music box office at (203)432-4158 or over the Internet at: www.yale.edu/music

Tickets - $25.00 each, reserved seating $20.00 each, senior citizens & Yale staff $10.00 each, students

This concert is being recorded and streamed live over the internet.Please turn off all cellphones and electronic devices.

This concert is made possible by the generous supportof the Associate Members of the Collection.

The harpsichord heard in this evening’s performance was made by François Etienne Blanchet the Elder in Paris, c. 1740.

Arcangelo Corelli Sonata op. V No. 9 in B-flat major (1653-1713) Preludio Largo Giga Allegro Adagio Tempo di Gavotta Allegro

Domenico Scarlatti Sonata in A major, K.113/L.345/P.160 (1685-1757) Sonata in A major, K.114/L.344/P.141 Spirito e presto Georg Friedrich Händel Sonata in D minor, HWV367a (1685-1759) Largo Vivace Furioso Adagio Alla breve (fuga) Andante A tempo di menuet

G. F. Händel “Vo’ far guerra” after a transcription of an aria from Rinaldo by William Babell (1689-1723)

G. F. Händel Harpsichord suite in B-flat Major, HWV 434 Prelude Sonata Aria con variazoni

A. Corelli Sonata op. V, No. 1 in E-flat major Grave-Allegro-Adagio Allegro Allegro Adagio Allegro

Yale Collection of Musical Instrumentsp r e s e n t s

Dissertazione corelliana:

I N T E R V A L

PAOLO ZANZUharpsichord

Rise and dissemination of the Roman school of instrumental music in the 18th century

TIAM GOUDARZI recorder

tiam GouDarzi was born in Teheran, Iran. He began his recorder studies in Paris, France, before moving in 2002 to Barcelona, Spain, where he studied with Pr. Pedro Memelsdorff in the Escola Superior de Musica de Catalunya (ESMUC) between 2002 and 2006, specializing in late-medieval polyphony (14th and 15th century ars nova). This initial training has left a profound mark on the way he conceives historically-informed performance practice and the symbiotic relation between performance and musicology, beyond the simple boundaries of medieval music. His highly eclectic tastes enable him to tackle many different repertoires, from troubadour songs of the 12th century to the High Baroque, up to contem-porary composers of the 21th century. After being selected first recorder of the European Academy of Early Music in 2008, Tiam became a full-time member of Les Arts Florissants (William Christie) in 2010. He has taught recorder, chamber music, Renaissance counterpoint and baroque ornamentation in several conserva-tories in France and Spain and was appointed professor of recorder and chamber music in the ESMUC, Barcelona, in 2013. In addition to his musical activities, he also holds a degree in philosophy and aesthetics from Paris University.

Paolo zanzu was born in Cagliari, Italy. After completing his studies in Ca-gliari and Bologna conservatories, Paolo moved to France and studied with Noëlle Spieth and later, at the Paris CNSM, where he obtains his two diplomas in harp-sichord and basso continuo. He took advanced classes with Carole Cerasi, James Johnstone at the Royal Academy of Music of London and at the Accademia Chigiano of Sienna, with Christophe Rousset. His keen interest for 19th century music leads him to study pianoforte with Patrick Cohen and conducting with Nicolas Brochot. Since his 3rd prize at the Bruges International Harpsichord Competi-tion in 2010, he has developed a solo activity all over Europe and plays regu-larly with violinist Tami Troman and recorder player Tiam Goudarzi. As a con-tinuo player, he collaborates with Les Arts Florissants (William Christie), Le Cercle de l’Harmonie (Jérémie Rhorer) and many other baroque ensembles, in prestigious major concert halls and festivals around the world. Paolo has been William Chris-tie’s assistant for many years; he also teaches basso continuo at the Conservatoire Royal de Bruxelles. His didactic works are published by Ricordi.

aboUt the performers