Arthur Haas, harpsichord, and Friends, January 26, 2019

Robert Blocker, Dean

faculty artist series

Arthur Haas, harpsichord and Friends Saturday, January 26, 2019 | 7:30 pm | Morse Recital Hall in Sprague Memorial Hall

A Rhine Journey: French and German Music from the 17 th and 18th Centuries Dietrich Buxtehude 1637–1707

Trio Sonata in A minor, Op. 1, No. 3 I. Adagio II. Allegro III. Lento – Vivace – Largo VI. Presto – Adagio Daniel S. Lee, violin Martha McGaughey, viola da gamba Arthur Haas, harpsichord

Johann Sebastian Bach 1685–1750

Wir danken dir, Gott, wir danken dir, BWV 29 III. Aria: “Halleluja, Stärk und Macht” James Taylor, tenor Daniel S. Lee, violin Martha McGaughey, viola da gamba Arthur Haas, harpsichord

Bach

Sonate für Clavier und Violine, BWV 1016 I. Adagio II. Allegro III. Adagio ma non tanto IV. Allegro Daniel S. Lee, violin Arthur Haas, harpsichord

intermission

François Couperin 1668–1733

14e Concert from Les goûts-réunis (1724) I. Gravement II. Allemande III. Sarabande grave

IV. Fuguéte Daniel S. Lee, violin Martha McGaughey, viola da gamba Arthur Haas, harpsichord

Marin Marais 1656–1728

Pièces de viole, Livre III (1711) CVIII. Prélude CXII. Sarabande CXX. Saillie du Caffé Martha McGaughey, viola da gamba Arthur Haas, harpsichord

Jean-Philippe Rameau 1683–1764

Ve Concert, RCT 11 I. La Forqueray: Fugue II. La Cupis III. La Marais Daniel S. Lee, violin Martha McGaughey, viola da gamba Arthur Haas, harpsichord

Rameau

Cantate avec Simphonie: Orphée, RCT 27 Récit: “Par le charme vainqueur d’un chant harmonieux” Air très gay: “Que du bruit de tes hauts exploits” Récit: “Mais son âme sensible” Air gratieux: “J’ay pour témoin de ma victoire” Récit: “Inutiles regrets à sa douleur mortelle” Air gay: “En amour, il est un moment marqué” James Taylor, tenor Daniel S. Lee, violin Martha McGaughey, viola da gamba Arthur Haas, harpsichord

As a courtesy to others, please silence all devices. Photography and recording of any kind is strictly prohibited. Please do not leave the hall during musical selections. Thank you.

Artist Profiles Arthur Haas, harpsichord

Daniel S. Lee, violin

Arthur Haas is one of the most soughtafter performers and teachers of Baroque music in the United States today. He received the top prize in the Paris International Harpsichord Competition in 1975 and then stayed in France for a number of years as an active member of the growing European early music scene. While in Paris, he joined the Five Centuries Ensemble, a group acclaimed for its performances and recordings of Baroque and contemporary music. He is a member of the Aulos Ensemble, one of America’s premier period instrument ensembles, whose recordings of Bach, Vivaldi, Telemann, and Rameau have won critical acclaim in the press, as well as Empire Viols, and the exciting new group, Gold and Glitter. He has recorded harpsichord music of Jean-Henry D’Anglebert, Forqueray, Purcell and his contemporaries, Elisabeth Jacquet de La Guerre, François Couperin, Bernardo Pasquini, and the complete harpsichord works of Rameau. Annual summer workshop and festival appearances include the International Baroque Institute at Longy, Portland (ME) Bach Festival, and the Amherst Early Music Festival, where he served as artistic director of the Baroque Academy from 2002 to 2011. Haas is professor of harpsichord and early music at Stony Brook University and is a founding faculty member of Juilliard’s historical performance program. In fall 2012, he joined the distinguished faculty of the Yale School of Music.

Praised by The New York Times for his “ravishing vehemence,” violinist Daniel S. Lee has appeared as a soloist and leader with Early Music New York, the Freiburg Baroque Orchestra, the Quodlibet Ensemble, and the Yale Schola Cantorum, among other groups. He is the founding director of the critically acclaimed period ensemble, the Sebastians. He has given lectures and master classes at the Manhattan School of Music, Connecticut College, Purchase College (SUNY), the University of Kansas, and the University of North Carolina at Chapel Hill. He teaches early music and chamber music at the Yale School of Music.

Martha McGaughey, viola da gamba Martha McGaughey studied with Jordi Savall and with Wieland Kuijken. She is a founding member of the New York-based Empire Viols, which was in residence at Second Presbyterian Church for almost 20 years, and now performs at the Church of the Transfiguration. She has recorded for the Fonit Cetra and Erato labels, as well as for EMI. She has twice been a Regents’ Lecturer at the University of California.

Last year, she was a featured soloist with the China National Symphony in Beijing, gave several master classes in France, and appeared with Chatham Baroque in Pittsburgh. She has taught at the Ecole Nationale de Musique in Angoulême (France), at Stanford University, and since 1986 at The Mannes College of Music, where she currently teaches Baroque Performance Practice as well as a Performance Workshop

Artist Profiles cont. for ESL students. She also teaches ESL at Building One Community, the Center for Immigrant Opportunity, in Stamford.

James Taylor, tenor Tenor James Taylor is one of the world’s most sought-after Bach Evangelists. His career has taken him throughout the United States, South America, Japan, and Israel, and to virtually all the major concert halls of Europe including the Concertgebouw, Musikverein, and the Royal Albert Hall. Taylor made his New York Philharmonic debut in Bach’s Saint Matthew Passion led by Kurt Masur and has performed across Europe with such esteemed conductors as Helmuth Rilling, Masaaki Suzuki, and Nikolaus Harnoncourt.

He is Associate Professor of Voice and Coordinator of the Vocal Track in Early Music, Oratorio, and Chamber Ensemble at the Yale School of Music.

Texts and Translations Wir danken dir, Gott, wir danken dir bach Arie Halleluja, Stärk und Macht Sei des Allerhöchsten Namen!

Zion ist noch seine Stadt,

Da er seine Wohnung hat,

Da er noch bei unserm Samen

An der Väter Bund gedacht.

Aria Hallelujah, power and might be the names of the Most High!

Zion is still His city,

where He has His dwelling,

where He still with our offspring

remembers the covenant of our fathers.

Orphée Rameau Récitatif Par le charme vainqueur d’un chant harmonieux Orphée à l’empire des ombres Arrachait l’objet de ses vœux Et le fils de Vénus, dans ces routes trop sombres, Conduisait son triomphe à l’éclat de

ses feux.

Un plaisir seul manquait à ce mortel heureux: Pluton, par une loi bizarre, Avait, jusqu’au pied du Ténare Contraint ses regards amoureux; Mais de jeunes Amours une escorte riante Essayait d’amuser son âme impatiente Par ces chants gracieux.

Recitative By the conquering charm of a harmonious song Orpheus snatched the object of his love From the realm of shadows; And the son of Venus, on those gloomy paths, Was leading his triumph by the brilliant

light of his flame.

This happy mortal lacked but one pleasure: Pluto, by capricious decree, Had forbidden him loving glances Until they reached the good of Taenarus.

But a laughing escort of young cupids Tried to divert his impatient spirit With these graceful songs:

Air ‘Que du bruit de tes hauts exploits L’Univers toujours retentisse, Et qu’aux sons vainqueurs de ta voix Désormais la terre obéisse.

L’enfer en respecte les lois.

Elle a su réparer l’outrage Que t’avait fait l’injuste sort, Et l’avare sein de la mort Te rend la beauté qui t’engage.

Que du bruit…’

Air ‘May the universe ever resound With the fame of your heroic exploits, And may the earth henceforth obey The conquering sound of your voice.

Hell respects its commands: It has repaired the outrage Done to you by unjust Fate, And the miserly bosom of death Has resorted the beauty to whom you are bound.

May the universe…’

Texts and Translations cont.

Récitatif Mais son âme sensible à la seule Eurydice, Ne songe qu’au plaisir dont le terme est prochain: Cessez, dit-il, cessez un éloge si vain !

Recitative But his spirit, aware of Eurydice alone, Thinks only of the delights that will soon

be his: ‘Cease,’ he declares, ‘cease such vain praises!’

Air gracieux ‘J’ai pour témoin de ma victoire Les beaux yeux qui m’ont enflammé.

C’est le seul prix, la seule gloire, Dont mon cœur puisse être charmé.’

Air (gracious) ‘I have, as proof of my victory, The fair eyes that set me aflame.

That is the only prize, the only glory That can charm my heart.’

Récitatif A ce penser flatteur, il s’émeut, il se trouble, Il cède enfin au violent transport De sa flamme qui se redouble.

Attend, fais sur ton cœur encor quelques efforts!

C’en est fait ... et ses yeux ont vu ceux d’Eurydice!

Triste jouet de l’infernal caprice, Prête à quitter les sombres bords, Une barbare main la retient chez les morts.

Recitative At this delightful thought, he is moved

and perturbed; He yields at last to the violent transport Of his redoubled passion.

Wait, restrain your heart a little longer!

Too late – his eyes have met Eurydice’s!

Ah, that sad plaything of Hell’s capriciousness!

As she was on the point of quitting the

gloomy regions, A merciless hand kept her in the realm of

the dead.

Ému par des nouveaux accords, Ce malheureux époux croit attendrir Mégère.

Elle est sourde, et ce n’est qu’à l’enfant de Cythère Qu’il fait entendre ainsi sa plainte et ses remords:

Vainly, in new strains of song, The unhappy husband tries to move

Megaera. (a fury) She is deaf; and only to the child of

Cythera (Cupid) Can he lament thus his woes:

Air ‘Amour, amour, c’est toi qui fais mon crime.

Ne saurais-tu le réparer?

C’est à toi de le réparer.

Des feux que tu sus m’inspirer Ma chère épouse est la victime.

Vole aux enfers le réparer !

Ah ! Devaient-ils nous séparer Pour un transport si légitime ?

Amour, amour, c’est toi qui fais mon crime.

Ne saurais-tu le réparer?’

Air ‘Love, Love, you are responsible for my crime; Can you not make amends?

It is up to you to make amends!

My beloved wife is the victim Of the passion you stirred in me.

Fly to Hell to make amends!

Ah! Should we have been separated For so justified a transport?

Love, Love, you are responsible for my crime; Can you not make amends?’

Récitatif Inutiles regrets !.. à sa douleur mortelle Tout l’abandonne sans retour.

Ce n’est plus qu’en quittant le jour Qu’il peut rejoindre ce qu’il aime.

Recitative Vain regrets! All abandon him for ever To his mortal grief.

Only by quitting the light of day Can he rejoin the one he loves.

Air gai ‘En amour il est un moment Marqué pour notre récompense.

Si quelquefois par indolence On échappe ce point charmant, Plus souvent encor un amant Se perd par trop d’impatience.

De ses désirs impétueux L’amant habile est toujours maître ; Il tâche avec soin de connaître L’instant qui doit combler ses vœux.

Tel aujourd’hui serait heureux S’il n’avait voulu trop tôt l’être !

En amour…’

Air (cheerful) ‘In love, there is a moment Marked out for our reward.

Though sometimes it is through insensibility That we let that delightful opportunity go by, Oftener still, a lover Misses it through excessive impatience.

A skilled lover is always the master Of his impetuous desires; He takes pains to discern The instant when his wishes will be granted.

Many a man today would be happy Had he not desired his happiness too soon.

In love…’

Upcoming Events jan 29 Brentano String Quartet Oneppo Chamber Music Series The Brentano String Quartet, YSM’s outstanding ensemblein-residence, opens the second half of the season.

7:30 pm | Morse Recital Hall

Tickets start at $28, students $13 feb 3 Il flauto magico

Collection of Musical Instruments The recorder ensemble Boreas Quartett Bremen performs works

by Tallis, Byrd, Bach, and more, with guest artist Han Tol. 3 pm | Collection of Musical Inst.

Tickets $30, Yale staff and seniors and museum associates $25, students $15 feb 13 Roberto Prosseda, piano

Horowitz Piano Series A performance by guest artist Roberto Prosseda, whom Gramophone has said “has a fiery and fluent technique.”

7:30 pm | Morse Recital Hall

Tickets start at $23, students $11

feb 15 Eugene Onegin feb 16 Yale Opera feb 17 Yale Opera presents a new production of Tchaikovsky’s Eugene Onegin with the Yale Philharmonia.

fri & sat 8 pm | sun 2 pm

Shubert Theater Tickets start at $19 • shubert.com feb 22 Philharmonia in Sprague Yale Philharmonia

The Yale Philharmonia performs its annual concert in the intimate Morse Recital Hall in Sprague Memorial Hall.

7:30 pm | Morse Recital Hall Tickets start at $12, Yale faculty/ staff $8, students $5 feb 24 Steven Isserlis, cello, and Robert Levin, fortepiano

Collection of Musical Instruments “Put them together and something magical happens” – Gramophone 3 pm | Collection of Musical Inst.

Tickets $30, Yale staff and seniors and museum associates $25, students $15

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