House of Time, Feb 26, 2017

Yale Collection of Musical Instruments presents

House Of Time Tatiana Daubek, violin Gonzalo X. Ruiz, oboe and recorders Beiliang Zhu, violoncello and viola da gamba Leon Schelhase, harpsichord

in

Imaginary Theater Instrumental music from operas by Handel and Rameau 15 Hillhouse Avenue New Haven 26 February 2017 3:00 p.m.

Upcoming performances in the 2016-2017 series

April 2 - Benjamin Bagby, baritone & Anglo-Saxon harp 3:00 pm Beowulf: the epic in performance

Orders for SERIES tickets should be mailed to the Collection at 15 Hillhouse Avenue, New Haven, CT 06520 or submitted by telephone at (203)432-0822; series tickets will be mailed to subscribers. Individual tickets should be ordered by telephone at the Yale School of Music box office at (203)432-4158 or over the Internet at: www.music-tickets.yale.edu Tickets -

$25.00 each, reserved seating $100.00, series of 5 concerts $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.

Photography and recording during the performance is prohibited.

Yale Collection of Musical Instruments 15 January 2017 3:00 pm

15 Hillhouse Avenue New Haven presents

House Of Time Georg Friedrich Handel Overture, Adagio, and Allegro from Il Pastor (1685-1756) Fido, HWV 8 (1712) Suite from Il Pastor Fido Marche Air pour les chasseurs Bourreìe Passepied Rigaudon Musette Menuets

Selections from Rinaldo

arr. W. Babbel (1690-1723)

Suite from Il Pastor Fido Air Gigue Sarabande Menuet Gavotte Passacaille INTERVAL

Jean-Phillipe Rameau Pieces de clavecin, RCT 7 (1741) (1683-1764) Premier Concert La Coucilam La Livri: Rondeaux Gracieux La Veìzinet Suite from Zaïs, RCT 60 (1748)

Ouverture

Entreie noble

Gavottes

Orage

Movement de chaccone

Gigue Entreìe des peuples eìlementaires

Air modereì

Contredanse en rondeau

Program Notes Some of the most exciting and vivid music of the Baroque was written for the opera stage. House of Time features instrumental gems by Handel and Rameau, the greatest composers of Italian and French opera in new arrangements including several made by Gonzalo X. Ruiz from Rameau’s rarely heard Zaïs. The daring, impressionistic overture depicts the creation of the world, proceeding from chaos to order, while the dances that follow present the kaleidoscopic world of 18th century ballet music through the lens of Rameau’s colorful wit. In Il Pastor Fido (The Faithful Shepherd), Handel evokes a vision of the Arcadian ideal. From the stately overture to the thrilling concerto-like movements and pastoral dances, this sublime music carries us from the court to the countryside and back.

Rounding out this unique program are Rameau’s Piéce de Clavecin in C minor, one of the masterpieces of French Baroque chamber music and a direct predecessor of the Classical piano trio, and Handel’s own harpsichord arrangement of music from Rinaldo, including Lascia ch’io pianga, perhaps the most beloved of his countless arias.

About the Performers Most people experience time as a stream, an ever-changing present fading into an ever-receding past. We prefer to think of it as an enormous house with countless rooms, each preserving a slice of history as it was.

If we have the right key we can visit these rooms, unlock bits of time and interact with them. The House of Time is where history waits for us to come alive. House of Time is an ensemble dedicated to music of the 17th through the 20th century played on period instruments. Members include faculty and graduates of the Juilliard School as well as prize-winners of major international competitions. Over the past two seasons, House of Time has performed both well-known and underperformed repertoire from the 17th and 18th centuries. They have incorporated their own arrangements and transcriptions based on an in-depth understanding of the repertoire. House of Time has been presented by the Czech Center in New York City, and has also given headline performances at the Berkeley Early Music Festival and Early Music Festival: NYC.

Tatiana Daubek plays regularly as concertmaster for New York’s oldest Bach cantata series, Bach Vespers Holy Trinity. In addition, she performs with the American Classical Orchestra, Handel and Haydn Society, Musica Angelica, and Trinity Baroque Orchestra. Ms. Daubek is a founding member of House of Time, a chamber ensemble with a thriving series in Manhattan dedicated to performing music on period instruments. They are currently in their fourth season as ensemble in residence at Holy Trinity Lutheran Church in Manhattan and have been presented by The Czech Center New York, Berkeley Early Music Festival, Early Music Festival: NYC, San Diego and San Francisco Early Music Societies, and The University Club in New York City. Ms. Daubek has taken part in multiple tours across North and South America with Musica Angelica/Wiener Akademie of The Infernal Comedy and The Giacomo Variations starring John Malkovich. An active member of her Czech heritage, Ms. Daubek helped start the Festival Jarmily Novotne, a festival in the Czech Republic commemorating the life of star soprano and grandmother, Jarmila Novotna. She has collaborated abroad with the Czech ensemble, Musica Florea and was a featured soloist broadcast live on Czech Radio. Daubek holds degrees from the University of North Texas, Boston University and The Juilliard School. Aside from music, Tatiana is also a photographer specializing in portraiture and street photography.

Gonzalo X. Ruiz is one of America’s most sought after historical woodwind soloists. In recent seasons Mr. Ruiz has appeared as principal oboist and soloist with leading groups in the U.S. and Europe, such as The English Concert, Sonnerie, Wiener Akademie, Philharmonia, Trinity Wall Street, The Boston Early Music Festival, and Musica Angelica, under such conductors as McGegan, Savall, Manze, Antonini, Huggett, Goodwin, Pinnock, Hasselböck, Rattle, Hogwood, and Egarr. He has been featured in numerous recordings of orchestral, chamber, and solo repertoire and his reconstructions of the original versions of Bach’s Orchestral Suites received a Grammy nomination in 2010. Critics have declared Mr. Ruiz “one of only a handful of truly superb baroque oboists in the world” (Alte Musik Aktuell) and “a master of expansive phrasing, lush sonorities, and deft passagework” (San Francisco Chronicle).

For years he has taught at Oberlin Conservatory, the Longy School of Music, and most recently was appointed professor at The Juilliard School.

Mr. Ruiz has given master classes at Yale University, Indiana University, the New World Symphony, and his former students now fill the ranks of many top groups across the country. Equally accomplished on the modern oboe, he has been principal oboe of the Buenos Aires Philharmonic, the New Century Chamber Orchestra, with recent performances including the concertos of Mozart, Vaughn Williams, and Strauss. For many years Mr. Ruiz led the ensemble American Baroque, specializing in new music commissions, for which he received the 2000 ASCAP Award for Adventurous Programming. He is an acknowledged expert in historical reed techniques and examples of his work are on permanent display at the Metropolitan Museum of Art.

Beiliang Zhu won the 1st prize and the Audience Award at the XVIII International Bach Competition 2012 (Violoncello/Baroque Violoncello) as the first string player to have received this honor on a baroque instrument. She received her Master of Music from the Juilliard School in Historical Performance, Bachelor of Music Degree and Performer’s Certificate from the Eastman School of Music. Beiliang is currently pursuing a Doctor of Musical Arts at the Eastman School of Music, under the guidance of Steven Doane. Hailed by the New York Times as “particularly exciting”, and by the New Yorker as bringing “telling nuances”, and being “elegant and sensual, stylishly wild”, Beiliang has performed with internationally acclaimed artists and ensembles, such as William Christie, Masaaki Suzuki, Monica Huggett, the Boston Early Music Festival, the Juilliard Baroque, the Philadelphia Orchestra, the Trinity Wall Street Orchestra and many more. As Beiliang is interested in a wide range of repertoire and different roles as a modern cellist, baroque cellist, and violist da gamba, she has won a section cellist position of the Rochester Philharmonic Orchestra during undergraduate, has held the principal cellist position of Mercury Houston, and has won awards including the Eastman Cello Concerto Competition, 2nd prize in the Holland America Music Society International Competition, and the 2010 Henry I. Goldberg Young Artist Prize at the American Bach Soloists Academy.

A native of Cape Town, South Africa, Leon Schelhase holds a Bachelor of Music from the University of Cape Town and a Master’s degree in Historical Performance from Boston University, where he was a student of Peter Sykes. Mr. Schelhase performed with Emmanuel Music, Ensemble Florilege, and the Gardner Museum Orchestra and also appeared on the band A Far Cry’s first CD, Debut. He is one of the founding members of Cambridge Concentus, an ensemble specializing in the music of Bach; and a recipient of the American Bach Soloists’ prestigious Goldberg Prize. Mr. Schelhase has performed with the chamber ensemble Old City Music, La Rocinante (Colombia), Ars Antiqua, Choral Arts Society of Philadelphia, the Philadelphia Bach Festival Orchestra, New York State Baroque, and Pegasus Early Music (Rochester, NY). He is continuo accompanist fellow at the Baroque Performance Institute, Oberlin, OH. He has also appeared as guest soloist with the American Bach Soloists (CA) and served as assistant conductor in Handel’s Teseo at the Chicago Opera Theater. Mr. Schelhase joined the faculty of the Curtis Institute of Music in 2012.

Cover Images Left: Portrait of Jean-Phillipe Rameau. Jacques Aved, 1728. Oil on canvas.

Musée des beaux-arts de Dijon, France.

Right: The “Chandos” Portrait of Georg Friedrich Handel. James Thornhill, c. 1720.

Händel-Haus, Halle, Germany.

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