Arthur Haas harpsichord
faculty artist series January 21, 2015 • Morse Recital Hall
Robert Blocker, Dean
Faculty Artist Series
Arthur Haas · harpsichord Wednesday, January 21, 2015 • 7:30 pm • Morse Recital Hall Henry Purcell 1659–1695
Suite in G minor, Z. 661 I. Prelude II. [Almand] III. Corant IV. Saraband
Bernardo Pasquini 1637–1710
Pieces in G minor I. Tastata II. Ricercare III. Variationi
Jean-Henry D’Anglebert 1635–1691
Transcriptions de Lully I. Ouverture de Cadmus II. Courante avec Double III. Sarabande. Marais IV. Gigue V. Passacaille d’Armide intermission
George Frideric Handel 1685–1759
Suite in E major, HWV 430 I. Prelude II. Allemande III. Courante IV. Air with Variations, “The Harmonious Blacksmith”
Domenico Scarlatti 1685–1757
Three Sonatas K. 147 in E minor K. 261 in B major K. 262 in B major
Johann Sebastian Bach 1685–1750
Chromatic Fantasia and Fugue, BWV 903 Fantasia — Rezitativ Fugue
As a courtesy to the performers and audience, please silence all electronic devices. Please do not leave the hall during selections. Photography or recording of any kind is prohibited.
Artist Profile • Notes on the Program
Arthur Haas, harpsichord The American harpsichordist Arthur Haas is renowned throughout Europe and the United States as a pedagogue and performer of baroque and contemporary music. After receiving top prize in the 1975 Paris harpsichord competition, he performed at most major French early music festivals, including the Festival Estival de Paris, Mai Musical de Bordeaux, and the Festival de Saintes. He has also appeared as a soloist in the Festival de Saintes, Spectaculum (Vienna), Festwochen der alten Musik (Innsbruck), Festival di Ascona, Dresdner Musikfestspiele, Mostly Mozart (New York), and the Berkeley Music Festival. His partners for duo recitals and concerts with early music specialists include Marius van Altena, Julianne Baird, James Bowman, Phoebe Carrai, William Christie, Alan Curtis, Bruce Dickey, Jan DeGaetani, Laurence Dreyfus, Paul Leenhouts, Judith Nelson, Paul O’Dette, Stephen Preston, and Marion Verbruggen. In 1994, he gave the premiere of William Albright’s Concerto for Harpsichord and Orchestra. Currently he is a member of the Aulos Ensemble, Aula Harmoniæ, and Empire Viols. Praised by Le Monde for his interpretation of French keyboard music, Haas has recorded duo harpsichord music of Gaspard Le Roux with William Christie and solo CDs of music by Jean-Henri d’Anglebert and Forqueray, as well as harpsichord music of the English Restoration. Arthur Haas is a faculty member of Stony Brook University and the Juilliard School of Music’s recently-created Historical Performance Program, as well as of the summer early music institutes in Berkeley, Amherst, and the Longy School of Music.
The year 2014 marks the the 250th anniversary of the death of Jean-Philippe Rameau. In honor of this important musical anniversary year, Arthur Haas has recorded the composer’s three books of harpsichord pieces, 1706, 1724, and 1728, all on magnificent and fully restored antique harpsichords from the Flint-woods Collection in Delaware. This two-CD set has been produced and issued by Plectra Music and is available at plectra.org. Notes on the Program The year 1685 had far-reaching consequences for the history of music. Three of the most distinguished Baroque musicians and composers who had ever lived were born in that year – Johann Sebastian Bach and George Frideric Handel in Germany, and Domenico Scarlatti in Italy. Bach never left Germany and in fact spent most of his life working in the region where he was born. Handel, on the other hand, left Germany early, spent a formative time of his young life in Italy, then finally settled in London. Scarlatti, for his part, left his native Italy, where he was under the domineering influence of his father, Alessandro Scarlatti, and then spent most of his working life in Portugal and then Spain. Although these three musical giants were born in the same year, their music varies enormously and illustrates three very different stylistic trends prevalent in the early to middle 18th century. As a backdrop to their harpsichord compositions that I will perform in the second half of this recital, I will first paint the world they inherited with three composers from different capitals of Europe who were renowned during the 1680s: Henry Purcell in London, Bernardo Pasquini in Rome, and Jean-Henry D’Anglebert in Paris.
Upcoming Events
Yongyan Hu, guest conductor
Brentano String Quartet
january 23 Woolsey Hall | Friday | 7:30 pm Yale Philharmonia Ravel: La Valse and Bolero; Debussy: La Mer; Montsalvatge: Cinco canciones negras Tickets start at $10 • Students $5 $3 surcharge for purchases at the door
january 27 Morse Recital Hall | Tuesday | 7:30 pm Oneppo Chamber Music Series Music by Charpentier, Haydn, and Brahms Tickets start at $26 • Students $13
Yale Percussion Group january 24 Morse Recital Hall | Saturday | 7:30 pm YSM Student Ensembles Paul Lansky: Threads; Mauricio Kagel: Dressur; Michael Laurello: Spine; and more Robert van Sice, director Tickets start at $10 • Students $5
Wei-Yi Yang, piano february 4 Morse Recital Hall | Wednesday | 7:30 pm Horowitz Piano Series Selections from Scriabin’s enigmatic and mystical Etudes and Poèmes to commemorate the 100th anniversary of the composer’s death, intertwined with works of Chopin and Liszt Tickets start at $13 • Students $7
Beethoven: Complete Cello Sonatas Wendy Sharp and Friends january 25 Morse Recital Hall | Sunday | 4 pm Faculty Artist Series Wendy Sharp, violin; Marka Gustavsson, viola; Mimi Hwang, cello; and Melvin Chen, piano. Music by Beethoven, Fauré, and more Free Admission
february 8 Morse Recital Hall | Sunday | 2 pm Faculty Artist Series Ole Akahoshi, cello, and Peter Frankl, piano, perform the complete Beethoven sonatas for cello and piano Free Admission
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Robert Blocker, Dean