Early Music Ensemble Collegium - April 2022 Program

College of Fine Arts presents:

Early Music Ensemble PROGRAM

Sonata in E major for flute and basso continuo (BWV 1035) Johann Sebastian Bach (1685-1750) I. II. III. IV.

Adagio ma non tanto Allegro Siciliano Allegro assai Grace Pupkiewicz, flute Michelle Kim, harpsichord

Violin Concerto No. 5 in A major, RV. 519 I. II. III.

Allegro Largo cantabile Allegro

Requiem ex F con terza minore I.

Antonio Vivaldi (1678-1741)

Heinrich Franz Ignaz Biber (1644-1704)

Introitus et Kyrie a. Requiem aeternam b. Te decet hymnus c. Requiem aeternam d. Kyrie

II. Sequentia a. Dies Irae b. Quantus tremor c. Judex ergo d. Recordare

Friday, April 22, 2022

7:30 p.m.

Dr. Arturo Rando-Grillot Recital Hall Lee and Thomas Beam Music Center University of Nevada, Las Vegas

III. Offertorium a. Domine Jesu Christe b. Libera c. Quam olim Abrahae d. Hostias e. Quam olim Abrahae IV. Sanctus et Benedictus a. Sanctus b. Osanna c. Benedictus d. Osanna V. Agnus Dei et Communio a. Agnus Dei b. Dona eis requiem c. Lux aeterna d. Cum sanctis tuis

PERSONNEL Flute Grace Pupkiewicz

Viola Andrew Vasquez

Violin Evyn Joseph, principal Ciya Clyde Gabriella Krygier

Double Bass Sam Morgan Harpsichord Michelle Kim

Trombone Brian Kurtz, alto Paul Cho, tenor Alan Quan, bass Vocalists Haylee Glenn, soprano Tyler Urbano, soprano Yile Huang, alto Micah Sandoval, bass

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(BRIEF) PROGRAM NOTES The Sonata in E major for Flute and Basso Continuo was composed in 1741 just prior to a trip the elder Bach made to Potsdam to visit his son Carl Philipp Emanuel who had taken the position of harpsichordist to the Crown Prince Frederick of Prussia, also a flutist and later Frederick the Great. Like the E minor and C major sonatas before it, it is written with a basso continuo accompaniment in place of an obbligato keyboard part. Typically, the basso continuo is performed by a harpsichord. (notes by Joseph DuBose) Vivaldi was trained as a violinist, so many of his over 200 concerti feature the violin. His later works show mastery of the medium in form, balance, and contrast. RV 519 features a lovely second movement that tethers the more buoyant first and third movements together.

Biber’s choral music is centered on musical text interpretation. The structure is determined by the text, which is separated into thematic/conceptual units. Meant to compliment and contrast one another, each section varies in some way with its preceding and succeeding passage. Triple and ala breve are often placed against one another, each caesura in the text is mirrored by the music.

This contrast is amplified using stile concertato and stile antico.

Biber composed two Requiem settings: one for fifteen voices, the other (which you’ll hear this evening) for a reduced force of five voices, with plentiful instrumental “backup”. This setting employs strings and trombones colla parte within the ripieno sections, but it allows the first violin the freedom to create a part that sounds “above” the rest of the ensemble. All told, the key of fminor (rarely encountered in music of the time) and the richer, darker tones of viola, double bass, and trombone lend a somber but solid grounding to a work filled with lament, plea, chaos, order, despair, and hope.

POSTSCRIPT This has been a challenging semester for students. After a year and a half of limited to no rehearsing or in-person performance, UNLV’s students have jumped right back into the deep end of the pool with a demanding academic schedule. You will note a few pieces missing from this evening’s concert. Since so many students put such time and care into learning this challenging music, we have decided to continue with the performance to honor everyone’s commitment, curiosity, and artistry. Thank you for your understanding and support!

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