VANCOUVER BACH FESTIVAL 2019...2019/07/19 · oboe Francis Colpron recorder Femke Bergsma recorder Johann Sebastian Bach (1685-1750): Brandenburg Concerto No. 2 in F Major bwv 1047

earlymusic.bc.ca Bach’s Complete Brandenburg Concertos Vancouver Bach Festival 2019 1

the artists

bach’s complete brandenburg concertos part i

Les Boréades de Montréal

Francis Colpronartistic director

soloists:

Olivier Braultconcertmaster, violin & viola

Alexis Basquenatural horn

Matthew Jennejohnoboe

Francis Colpronrecorder

Femke Bergsmarecorder

Johann Sebastian Bach (1685-1750):

Brandenburg Concerto No. 2 in F Major bwv 1047for horn, recorder, oboe, violin, strings and basso continuoSoloists Alexis Basque natural horn, Francis Colpron recorder, Soloists Matthew Jennejohn oboe, and Olivier Brault violin

[Allegro] Andante Allegro assai

Concerto in A minor bwv 1041for violin, strings and basso continuoSoloist Olivier Brault violin

[Allegro moderato] Andante Allegro molto

INTERVAL

Brandenburg Concerto No. 6 in Bb Major bwv 1051for 2 violas, 2 violas da gamba, violoncello, violone and harpsichord

[alla breve] Adagio ma non tanto Allegro

Brandenburg Concerto No. 4 in G Major bwv 1049for violin, 2 recorders, strings and basso continuoSoloists Olivier Brault violin, Francis Colpron & Femke Bergsma recorders

[Alla breve] Adagio ma non tanto Allegro

See page 3 for Part II of Bach’s Complete Brandenburg Concertos,

which will be performed tomorrow evening at Christ Church Cathedral.

THE UNAUTHORISED USE OF ANY VIDEO OR AUDIO RECORDING

DEVICE IS STRICTLY PROHIBITED

Pre-concert chat with host Matthew White at 6:45:

Francis Colpron & Olivier Brault

Generously supported by

Eric Wyness, Jocelyn Pritchard,

Dr. Katherine E. Paton Melody Mason

andFran Watters

in association with

Chan Endowment Fund at the University of British Columbia

with the support of

and the canada council circulation and touring programme

VANCOUVER BACH FESTIVAL 2019

tuesday july 30 at 7:30 pm | chan centre

2 Vancouver Bach Festival 2019 Bach’s Complete Brandenburg Concertos [email protected]

PARTNERSboard of directors

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Sherrill GraceMelody Mason

Tim Rendell cpa,caJohanna Shapira Ingrid Söchting

Vincent Tan÷

José Verstappen cmartistic director emeritus

÷

staffMatthew White

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EMV’s performances at the Chan Centre are presented in partnership with the Chan Centre for the Per-forming Arts, with the support of the Chan Endowment Fund at the University of British Columbia.

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the artists

bach’s complete brandenburg concertos part ii

Les Boréades de Montréal

Francis Colpronartistic director

soloists:

Mark Edwardsharpsichord

Francis Colpronrecorder & traverso

Olivier Braultconcertmaster,

violin & violino piccolo

Johann Sebastian Bach (1685-1750):

Brandenburg Concerto No. 1 in F Major bwv 1046for 2 horns, 3 oboes, bassoon, violino piccolo, strings and basso continuo [Allegro moderato] Andante Allegro Menuet – Trio I – Menuet – Polacca – Menuet – Trio II – Menuet

Brandenburg Concerto No. 5 in D Major bwv 1050for harpsichord, traverso, violin, strings and continuoSoloists Mark Edwards harpsichord,

Francis Colpron traverso, and Olivier Brault violin Allegro Affettuoso Allegro

INTERVAL

Brandenburg Concerto No. 3 in G Major bwv 1048for 3 violins, 3 violas and 3 cellos, with bass for the harpsichord [Alla breve] Adagio Allegro

Georg Philipp Telemann (1681-1767):

Overture (Suite) in A minor twv 55:a2 (Hamburg, c.1740) for recorder, strings and basso continuo

Soloist Francis Colpron recorder

Ouverture Les Plaisirs I & II Air à l’italien (largo-allegro) Menuets I & II Réjouissance (vite) Passepieds I & II Polonaise

VANCOUVER BACH FESTIVAL 2019

wednesday july 31 at 7:30 pm | christ church cathedral

THE UNAUTHORISED USE OF ANY VIDEO OR AUDIO RECORDING

DEVICE IS STRICTLY PROHIBITED

Pre-concert chat with host Matthew White at 6:45:

Francis Colpron & Olivier Brault

Generously supported by

Eric Wyness, Jocelyn Pritchard,

Dr. Katherine E. Paton Melody Mason

andFran Watters

with the support of

and the canada council circulation and touring programme


PROGRAMME NOTESby christina hutten

In 1721, Johann Sebastian Bach offered a collection of his finest instrumental music, carefully copied in his own hand, to Margrave Christian Ludwig of Brandenburg-Schwedt. With florid rhetoric, Bach’s dedicatory preface honoured the Margrave and positioned himself as a modest servant-craftsman.

As I had the good fortune a few years ago to be heard by Your Royal Highness, at Your Highness’s commands, and as I noticed then that Your Highness took some pleasure in the little talents which Heaven has given me for Music, and as in taking Leave of Your Royal Highness, Your Highness deigned to honour me with the command to send Your Highness some pieces of my Composition: I have in accordance with Your Highness’s most gracious orders taken the liberty of rendering my most humble duty to Your Royal Highness with the present Concertos, which I have adapted to several instruments; begging Your Highness most humbly not to judge their imperfection with the rigor of that discriminating and sensitive taste, which everyone knows Him to have for musical works, but rather to take into benign Consideration the profound respect and the most humble obedience which I thus attempt to show Him.

But, the Margrave never read that dedication. Despite a personal appreciation for the music of the Prince of Köthen’s kapellmeister, Christian Ludwig likely did not have a court ensemble capable of executing the demanding music, and Bach’s gift lay unopened until the Margrave’s death in 1734, when it was sold for the equivalent of about $30. The reception history of the Brandenburg Concertos is but one of their surprises. They are not concertos as we normally define that term. They are not for the standard ensemble that we call an orchestra. In fact, they use instrumental combinations that Bach’s own colleagues would have considered highly irregular.

Today, a concerto is typically understood as a large-scale composition for solo instrument and orchestral. However, the term derives from the Latin word concertare, meaning both to contend or dispute, and to work together with someone. Bach’s cousin Johann Gottfried Walther gave a very broad definition of “concerto” in his Musicalisches Lexicon

In a strict manner of speaking, this word is often taken to mean chamber music for both voices and instruments... and more strictly still, pieces for strings composed in such a way that each part in turn comes into prominence and vies, as it were, with the other parts; hence also in such pieces ... where only the uppermost part is dominant, and where among several violins one, called violino concertino, stands out on account of its especially rapid playing.

Antonio Vivaldi was, perhaps, the most famous composer of concertos in the early eighteenth century. He developed a musical form that juxtaposed a large instrumental ensemble, the ripieno, with a single soloist or a small group of soloists, the concertino. The large ensemble played recognizable, recurring thematic material – a refrain (or ritornello in Italian). The small ensemble played more virtuosic, freer, episodic material between the refrains. Bach encountered Vivaldi’s concertos in 1713, and they revolutionized his approach to composition. He combined concerto ritornello form with the German preference for contrapuntal rigour and the French love of dance music.

So, in Bach’s instrumental concertos, the soloists often explore and unfold the thematic material presented in the ripieno’s ritornellos, rather than indulging in purely virtuosic figuration. To the three movement, allegro-adagio-allegro, scheme typical of Italian concertos, Bach added dance movements, so his Brandenburg Concerto No. 1 looks rather like Telemann’s Orchestral Suite twv 55:a2.

Perhaps most unusual are instrumental combinations of the Brandenburg Concertos. Bach often treated instrumentation flexibly, reworking music for different players. His Violin Concerto in A Minor, BWV 1041, for instance, he later revised as the Harpsichord Concerto in G Minor, BWV 1058. The titles of the Brandenburg Concertos, however, are extremely specific. Each concerto employs a different ensemble, and the instrumental combinations often overturn conventional orchestral hierarchy in a way that scholar Michael Marissen has interpreted as deliberate social commentary.

Concerto No. 1 for Two Hunting Horns, Three Oboes and Bassoon, Piccolo Violin Concertato, Two Violins, a Viola with Basso Continuo

This concerto uses four groups of instruments each characteristic of a particular stratum of society: two horns, associated with the mounted hunt, a symbol of aristocracy; three oboes and bassoons, the instruments of the Stadtpfeifer, ceremonial musicians employed by German towns; a string group, the average courtly musical ensemble; a piccolo violin, a folk instrument associated with tavern music-making. At first, these different groups are at odds with one another, the horns playing the distinctive greeting call of Saxon huntsmen in rhythmic and harmonic conflict with the rest of the ensemble. As the first movement progresses, however, the different social groups “learn” to cooperate and play together harmoniously.


Concerto No. 2 for One Trumpet, One Recorder, One Oboe, One Violin Concertati, and Two Violins, One Viola and Violone in Ripieno with Cello, Bass for the Harpsichord

Here Bach combines traditional outdoor instruments – trumpet and oboe – with quiet indoor instruments – flute (or recorder) and violin to form the concertino group. Much has been made of the extraordinarily high and virtuosic trumpet part in this concerto. However, parts copied by Bach’s student Christian Friedrich Penzel assign the trumpet part to the “Tromba, o vero corno da caccia” (trumpet or hunting horn). The hunting horn, sometimes called the Jaegertrompete, would sound the part an octave lower than the natural trumpet. The result is less brilliant but creates a more satisfyingly unified ensemble sound. Further, in Bach’s day, horn and trumpet were often played by the same musician, a “musician of the stables” employed for the prestigious task of playing military and hunting signals.

Concerto No. 3 for Three Violins, Three Violas, and Three Cellos with Bass for the Harpsichord

In this concerto, Bach avoids designating particular players as soloists. Instead, the strings equitably take turns playing in concertino groups.

Concerto No. 4 for Principal Violin, Two Echo Recorders, Two Violins, a Viola and Violone in Ripieno, Cello and Continuo

Again, Bach challenges instrumental stereotypes. In this concerto’s title, he assigns the recorders the role of echoing the solo violin. By this time, the recorder was considered somewhat outdated, having been supplanted as melody instrument by the traverse flute, violin, and oboe. It was a secondary instrument of oboists used for occasional colouristic effects. Here, however, the recorders play important thematic

material, even gaining the upper hand over the violin in the Andante movement. Meanwhile, the violin, that esteemed leader of the court orchestra, plays technically demanding, but thematically unimportant material.

Concerto No. 5 for a Traverso, a Principal Violin, a Violin and a Viola in Ripieno, Cello, Violone and Concertato Harpsichord

Perhaps the most historically influential instrumental innovation of the Brandenburg Concertos is Bach’s transformation of the harpsichord from a chording continuo instrument embedded in the ensemble to star soloist, which spurring the development of the keyboard concerto for which his son Johann Christian Bach, Wolfgang Amadeus Mozart, and others became famous.

Concerto No. 6 for Two Violas, Two Violas da Gamba, Cello, Violone and Harpsichord.

Bach counters orchestral hierarchy, giving complicated solo lines to two violas, normally charged with playing inner accompanimental parts. (When you have a spare moment, google “La Serenissima viola cam” to experience how marginalized the viola sometimes is in Vivaldi’s concerto writing.) By contrast, the violas da gamba, instruments with a long history of courtly solo and chamber music playing, are given basic inner parts.

These Concertos celebrate the combination of different national styles and musical genres, the collaboration among unusual instrumental ensembles, the mixing of music from different social spheres. Lowly and outdated instruments receive exalted roles, while prestigious ones act as supporting servants. Bach’s Brandenburg Concertos are marvels of integration.

Schwedt Castle in 1669


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White Rock Concertscongratulates Early Music Vancouver

on its 50th Anniversary and vitalcontribution to the revival of early musicand historically informed performance.

Now in our 63rd season, White RockConcerts Society offers a member-only

series of seven concertsMore information can be found at:

www.whiterockconcerts.com

White Rock Concertscongratulates Early Music Vancouver

on its 50th Anniversary and vitalcontribution to the revival of early musicand historically informed performance.

Now in our 63rd season, White RockConcerts Society offers a member-only

series of seven concertsMore information can be found at:

www.whiterockconcerts.com


Les Boréades de MontréalFrancis Colpron artistic director

Olivier Brault concertmaster, 1st violin & viola

Noémy Gagnon-Lafrenais 1st violin

Sari Tsuji 1st violin & viola

Tanya LaPerrière 2nd violin

Peter Lekx 2nd violin & viola

Jacques-André Houle viola

Margaret Little viola & viola da gamba

Mélisande Corriveau violoncello & viola da gamba

Félix Deak violoncello & viola da gamba

Jessica Korotkin violoncello

Pierre Cartier double bass

Mark Edwards harpsichord & organ

Matthew Jennejohn oboe

Curtis Foster oboe

Andrew Maruzzella oboe

Francis Colpron traverso & recorder

Femke Bergsma recorder

François Viault bassoon

Alexis Basque natural horn

Christopher Francis Price natural horn

Founded by Francis Colpron in 1991, Les Boréades focuses on early music. The ensemble has chosen an interpretative approach in keeping with the spirit of the Baroque era, by adhering to the rules of performance practice of the past and playing on period instruments. Critics and audiences alike in Canada and abroad have been unanimous in hailing the group’s energy and spontaneity as well as its theatrical, expressive and elegant playing, indicative of a unique flair for Baroque aesthetics.

The group has received many grants from the Québec and Canada governments and has toured extensively in Canada and abroad, taking part in several renowned festivals. The musicians also performed at the Frick Collection of New-York, Concertgebouw in Amsterdam, Salle Gaveau in Paris, Vancouver Festival, Musikfest Bremen and at the Tage Alter Musik Regensburg.

Les Boréades has performed with world-renowned artists such as Hervé Niquet, director of the Concert Spirituel de Paris; Skip Sempé, harpsichordist and director of Capriccio Stravagante; violinists Manfred Kraemer and Adrian Butterfield; harpsichordist Alexander Weimann; conductor Eric Milnes; cornettist William Dongois; recorder player Stefano Bagliano; as well as with tenor Charles Daniels, and Canadian singers Matthew White and Karina Gauvin. The ensemble Les Boréades owns a solid discography of 25 titles on the Atma Classique label, which are distributed around the world.

Francis Colpron artistic director, recorder & traverso soloistRecorder and traverso player Francis Colpron is recognized as one of the most talented musicians of his generation. During the past three decades, the public, critics, and cultural authorities have acclaimed his abilities to innovate as an artist and performer. In 1991, he founded the ensemble Les Boréades de Montréal, of which he is the artistic director, and which puts on a very successful annual concert series in Montreal, performs in North America and Europe, and records on the ATMA Classique label. Les Boréades has performed with world-renowned artists such as Hervé Niquet, director of the Concert Spirituel de Paris; Skip Sempé, harpsichordist and director of Capriccio Stravagante; violinists Manfred Kraemer and Adrian Butterfield; harpsichordist Alexander Weimann; cornettist William Dongois; recorder player Stefano Bagliano; as well as with tenor Charles Daniels, and Canadian singers Matthew White, Karina Gauvin, and Laura Pudwell. >

Photo credit: Hugo B. Lefort

LES BORÉADES DE MONTRÉAL


MARI BOINEDAKHABRAKHAWE SHALL OVERCOME

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Francis Colpron was associate fl utist with Trinity Consort of Portland from 2000 to 2009. He has been a guest soloist with groups such as Apollo’s Fire of Cleveland, the Edmonton Symphony, the National Arts Centre Orchestra, Opera Atelier, Thirteen Strings, the Studio de musique ancienne de Montréal, Les Violons du Roy, the Nova Scotia Orchestra, and L’Harmonie des Saisons. As well as teaching at the Université de Montréal, he is frequently invited to share his experience as a teacher at well-known summer music camps such as Amherst in the United States, CAMMAC in Quebec, and Boxwood in Nova Scotia. His discography consists of more than 40 recordings.

— —

Olivier Brault concertmaster & violin soloistOlivier Brault has enjoyed an international career for almost thirty years. Baroque violin teacher at McGill University, he is the director of Sonate 1704 (Québec) and of the ensemble Les Goûts Réunis (Luxembourg), principal violin with the Four Nations Ensemble (New York) and Les Boréades de Montréal and has been concertmaster of Apollo’s Fire Baroque Orchestra (Cleveland) from 2011 to 2018. He can be heard on more than sixty recordings. In 2007, he completed a doctorate at the Université de Montréal on French music for violin and fi gured bass, an expertise that leads him to give lectures and masterclasses in prestigious institutions such as the Conservatoire royal de musique de Bruxelles and the Conservatoire de musique et de danse de Paris.

In 2011, he was awarded the medal of the Assemblée Nationale du Québec. In 2016, an article from the Canadian Broadcasting Corporation placed him among the ten Canadian violinists that must be known.

Alexis Basque natural horn soloistAlexis Basque is a graduate of the Conservatoire de musique du Québec, where he received his formal training in modern trumpet performance and began his fi rst foray into composition and orchestration.

He picked up the Baroque trumpet in 2005 in an attempt to better understand the origins of his instrument and in order to familiarize himself with historically-informed performance practices. He was then able to deepen his knowledge by attending the Mozarteum Sommerakademie of Salzburg with Susan Williams in 2012, and was introduced to the world of natural brass playing while working with renowned trumpet and natural horn players Graham Nicholson and Jean-François Madeuf. The discovery of the practice of instrumental doubling, as commonly seen in the baroque period, compelled him to add the baroque horn and tromba da tirarsi to his arsenal of instruments.

Alexis is an avid performer of Baroque music, playing and recording regularly with Montréal’s most active and innovative ensembles, including the Ensemble Caprice, the Bande Montréal Baroque, les Idées Heureuses, the Theater of Early Music, la Nef and the Studio de musique ancienne de Montréal. >

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Outside of Quebec, he has performed with the Toronto’s Schola Cantorum, Aradia Ensemble, Thirteen Strings and the Pacific Baroque Festival Orchestra. In 2013 he was invited to play in the Ensemble Barrocade of Tel-Aviv’s Israeli tour of the music of J.S. Bach, and he has performed with the Bach Society of Minnesota since 2016 on both horn and trumpet.

Femke Bergsma recorder soloistAfter completing her studies on the recorder at the Utrecht Conservatory in Holland, Femke Bergsma established herself in Montreal. She worked initially as an assistant for recorder maker Jean-Luc Boudreau, and soon started performing with several ensembles. These include Les Boréades de Montréal, Clavecin en Concert, Les Idées Heureuses, Thirteen Strings Chamber Orchestra in Ottawa and Tafelmusik in Toronto. Later, her interest in medieval music led her to study the vielle as well as voice. She performs with diverse medieval ensembles in Montreal as well as in Quebec City and is part of Les Reverdies de Montréal, who organize Montreal’s Journées Médiévales. She founded the ensemble Eya with viellist Liette Remon and has been part of the

creation of the children’s theatre show Glouglou from Le Théâtre de Quartier. She teaches at Cammac Music Centre’s summer camp, among others.

Mark Edwards harpsichord soloistFirst prize winner in the 2012 Musica Antiqua Bruges International Harpsichord Competition, Canadian harpsichordist and organist Mark Edwards is recognized for his captivating performances, bringing the listener “to new and unpredictable regions, using all of the resources of his instrument, [...] of his virtuosity, and of his imagination” (La Libre Belgique). Since 2016, he is Assistant Professor of Harpsichord at Oberlin Conservatory.

He has given solo recitals at a number of prominent festival and concert series. He has had concerto performances with a number of award-winning ensembles, including Ensemble Caprice (Canada) and the Montreal Symphony Orchestra. He is also an active chamber musician.

His début solo CD, Orpheus Descending, was released in 2017 on the early-music.com label and was reviewed warmly. Passaggi (ATMA 2013), his CD with the Canadian recorder player Vincent Lauzer, was nominated for an ADISQ award.

In addition to his success in Bruges, Mark has distinguished himself as a prize-winner in a number of important competitions, including the 2012 Jurow International Harpsichord Competition. He is the recipient of academic grants from the Social Sciences and Humanities Research Council of Canada and the German Academic Exchange Service. He studied at the Eastman School of Music where he earned his Bachelor of Music with highest distinction, and completed graduate degrees at McGill University and the Hochschule für Musik Freiburg. He is currently a doctoral candidate at Leiden University and the Orpheus Instituut, Ghent, where his research examines the intersection of memory, improvisation, and the musical work in seventeenth-century France.

Matthew Jennejohn oboe soloistMatthew Jennejohn leads a very active career as a soloist, orchestral and chamber musician on the cornetto and baroque oboe, performing and recording with many of the leading early music ensembles in North America including Ensemble Arion, Pacific Baroque Orchestra, Les Idées Heureuses, Tafelmusik, La Bande Montréal Baroque, Les Boréades, Les Voix Humaines, The Toronto Consort and the Boston Early Music Festival Orchestra. He is also co-founder of the Montreal-based cornetto and sackbut ensemble La Rose des Vents.

He studied early music at the Royal Conservatory of The Hague, McGill University and the University of British Columbia. He has recorded on the ATMA, CBC, Early-Music.com, CPO, Analekta and Naxos labels.

He teaches private instruction in cornetto and baroque oboe and coaches early music chamber ensembles at McGill University in Montreal. Mr. Jennejohn has also made extensive research on the construction of the cornetto and has become one of the world’s premier builders of the instrument. He performs on his own instruments and markets them to players throughout the world.

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Documents

VANCOUVER BACH FESTIVAL 2019...2019/07/19 · oboe Francis Colpron recorder Femke Bergsma recorder Johann Sebastian Bach (1685-1750): Brandenburg Concerto No. 2 in F Major bwv 1047