Yale Collection of Musical Instruments presents
El Mundo Ensemble Jennifer Ellis Kampani, soprano Maureen Murchie, violin Nurit Pacht, violin Serafim Smigelskiy, cello Dongsok Shin, harpsichord Richard Savino, baroque guitar, theorbo, & director
in
The Kingdoms
of
Castile
S pa n i s h , I ta l i a n & L at i n A m e r i c a n M u s i c f r o m t h e 17 t h & 18 t h C e n t u r i e s
15 Hillhouse Avenue New Haven 12 April 2015 3:00 p.m.
This concert is made possible by the generous support of the Associate Members of the Collection
Special Performances Morse Recital Hall At Sprague Memorial Hall May 4 - Yale Baroque Ensemble 7:30 pm Robert Mealy, director
This concert is being recorded and streamed live over the Internet; please turn off all cell phones and pagers.
Yale Collection of Musical Instruments presents
El Mundo Ensemble The Kingdoms of Castile Domenico Scarlatti (1685-1757)
Symphonia para empezar
Jose Marin (1619-1699)
Ojos pues me desdeñais
Andrea Falconieri (1585 – 1656) Ciaconna Juan Hidalgo (1614 - 1685) Ay que si! Ay que no! Santiago de Murcia (1689-1755)
Fandango
Georg Frederich Handel (1681-1767) Cantata a voce sola con chitarra Espagnola Aria, Recitative, Aria Alessandro Piccinini (1566 – 1638) Tocatta Giovanni Kapsberger (1580 – 1651) Tocatta Giovanni Legrenzi (1626 -1690) Sonata La Zabarella Rafael Castellanos (fl.18th cent.) Oygan una Xacarilla INTERVAL Anon. La Folia Domenico Zipoli (1688-1726) San Ignacio (an excerpt) No. 1 Symphonia/Intro: fine No. 2 Arioso: ¡Ay! Que tormento No. 3 Aria: Oh, vida cuanto duras No. 5 Arioso: ¡Oh! Que contento No. 6 Aria: Cuanto Fui, soy y sere Antonio Vivaldi (1678-1741) Concerto for Baroque Guitar Allegro, Largo, Allegro Juan Irribarren (1699-1767) Por aquel horizonte Antonio de Salazar (1650 - c.1711) Tarara qui yo soy Anton Harpsichord by Andreas Ruckers, Antrewp, 1640
About the Performers Director Richard Savino’s performances and recordings have received praise from critics throughout the world. Among the highlights of his over 30 commercial recordings are a 2012 GRAMMY nomination as conductor for The Kingdoms of Castile, a Diapason d’Or from Compact (a French Grammy) a 10 du Rèpertoire (Paris), and a “Great Discoveries” designation from the latter which they deem as essential to any classical music collection. In 2011 he was a principal instrumentalist on the Ars Lyrica 2011 GRAMMY nominated cd of Hasse’s Anthony and Cleopatra. Mr. Savino’s recordings have twice been featured as the Global Hit on the Public Radio International program The World and he has also been the subject of specials on the PRI, NPR, CBC and BBC networks. Additional recordings include Venice Before Vivaldi, a Portrait of Giovanni Legrenzi, Villancicos y Cantadas (sacred music from Spain and Latin America), Sebastian Duron’s zarzuela Salir el Amor del Mundo (1696), romantic solo guitar music of Johann Kaspar Mertz, virtuoso sonatas by Paganini and Giuliani with violinist Monica Huggett, an extensive collection of 18th century guitar music from Mexico by Santiago de Murcia (4 Stars: Goldberg), The Essential Giuliani Vol. 1 (Koch), Op. 21 Solo Sonatas by Ferdinando Carulli, Music Fit for a King (solo baroque guitar music by Robert De Viseé and Françios Campion) Baroque Guitar Sonatas (1696) of Ludovico Roncalli (Dorian), the first period instrument versions of the Boccherini Guitar Symphonia and the Op. 30 Concerto for Guitar by Mauro Giuliani and three additional recordings of music by Barabara Strozzi (Emanuella Galli, mezzo soprano), Biagio Marini (with Monica Huggett) and Giovanni Buonamente (with Monica Huggett and Bruce Dickey). Among the groups that Mr. Savino has guest directed are the Santa Fe Chamber Music Festival, Connecticut Early Music Festival, Milano Classica, Ensemble Rebel and the Aston Magna Music Festival. As a continuo player and accompanist Mr. Savino has performed in recital with some of the world’s most important musicians, including mezzo-soprano Joyce DiDonato, and he is a principal with the Santa Fe Opera, Los Angeles Opera and many other orchestras and opera companies. A student of Andres Segovia, Jerry Willard, Oscar Ghiglia, Albert Fuller and Eliot Fisk, Mr. Savino received his Doctoral degree from SUNY at Stony Brook. He is a Professor of Music at Sacramento State University and a collegiate Professor at the San Francisco Conservatory of Music. For a more complete discography and bio information go to www.richardsavino.net. GRAMMY nominated soprano Jennifer Ellis Kampani, who” offers a freshness of voice, fineness of timbre, and ease of production that place her in the front rank of early-music sopranos,” (andante.com) is one of the leading interpreters of the Baroque repertoire. She has performed with the Richmond Symphony, Washington Bach Consort, Bach Choir of Bethlehem, and New York Collegium. She has performed with appe American Bach Soloists, Baroque Band, Portland Baroque Orchestra, Seattle Baroque Orchestra, Opera Lafayette, Apollo’s Fire, Musica Angelica, Boston Camerata, Bach Sinfonia, Magnificat, and the Washington Catherdral Choral Society. Jennifer has been heard in many concert series and festivals including Le Flaneries Musicales de Reims in France, Aston Magna, Da Camera Society, Houston Early Music, Staunton Music Festival, Music Before 1800, Carmel Bach, and the Berkeley and Boston Early Music Festivals. Ms Kampani has recorded Kingdoms of Castille (GRAMMY nomitation 2012), Salir el Amor del Mundo, andPassion and Lament for Dorian, Villancicos y Cantatas and The Essential Giuliani for Koch, the works of Chiara Cozzolani (Gramophone editors pick, August 2002) for Musica Omnia, and Carissimi Motets for Hungaroton. Born in San Francisco Jennifer is a graduate of the University of Michigan and the Guildhall School of Music in London.
The Spanish influence on composers residing in Naples continued throughout the early 18th century. And in 1708 the great Georg Freiderich Handel too fell under its spell. While there he composed No se emenderá jamas, one of his few works in Spanish and the only work that specifies the use of a guitar. A short work, it consists of two da capo arias separated by a recitative. Although the piece is Italianate in structure, Handel demonstrates his extraordinary ability to compose in any nationalist style by seeding it with characteristically Spanish rhythms and harmonies. Following the change from the Spanish Hapsburgs to the Bourbons and the subsequent Spanish War of Succession (1700-1713), Spanish cultural styles began to shift. This became more pronounced when Philip V (the son of Louis XIV) married the Italian Isabella Farnese. Italian musicians such as Domenico Scarlatti and Farinelli (Carlo Broschi) were brought to Madrid while others were exported to her colonies. Slowly Spanish and colonial musicians began to embrace a composite Italianate/Spanish compositional style that included recitatives and da capo arias rather than the more common (and characteristically Spanish) coplas and estribillos, all the while continuing to maintain uniquely Spanish rhythmic and harmonic traditions. (Note: While there was a decided change favoring an Italianate style in the music of the Royal Court and the Royal Theatre, the more traditional Spanish style continued to be employed throughout the eighteenth century in the public theatres through the genre known as the tonadilla and in the church through the continued use of the villancico.) Throughout the 17th and 18th centuries the Spanish colonies of Central and South America became wellsprings of cultural sophistication. In particular, the Vice Royalty of Mexico (which included what is now known as Guatemala) flourished, and cathedrals and courtly life demanded a varied and active musical scene. Often, the indigenous populations were drawn into the arts and participated in their production. The musical result was a style that even in sacred compositions bears the imprint of folk music. Rafael Antonio Castellanos, (c. 1725 – 1791), a native son of Guatemala, was appointed maestro de capilla of the Guatemala cathedral in 1765. As with many Latin American composers he was well versed in 16th-century polyphony but also incorporated dance music into his sacred compositions, all the while retaining the essential villancico form. His Oygan una xacarilla is a brilliant example of a secular, petty ruffians’ dance having been co-opted for sacred purposes. To my ears it presents an early, and more successful example of what Vactican II attempted to accomplish in the 1960’s. An unjustly neglected composer who served as maestro di capella at two of Spain’s most important cathedrals, those in Salamanca and Malaga, is Juan Irribarren. He composed hundred of villancicos as well as Italianate “cantadas.” His Por aquel horizonte is a perfect example of a Spanish composer embracing the Italian recitativo and aria setting. The Chiquitos-area Jesuit mission churches astonish the visitor with their sheer size and the splendor of their carved altars, pulpits, and confessionals, many dating from the colonial era. The historic Chiquitos reductions, missions founded by the Jesuits between 1691 and 1767 in the vast plains of lowland Bolivia and Paraguay, are as remote and difficult to reach as any other. Yet, despite their remoteness, the Chiquitos reductions flourished beyond anyone’s expectations. Before their expulsion in 1767, the Jesuits founded eleven mission towns, of which ten survive today, moving from west to east toward the Paraguay River.
Flourishing within the rich cultural environment of the 17th century Hapsburg court were two musicians who were renowned for their tonos humanos: Juan Hidalgo (1614 - 1685) and José Marín (1619 - 1699). The latter was a guitarist with a rather sordid past. Although an ordained priest, he was imprisoned in 1654 for theft and two years later was implicated in another robbery/murder scheme, for which he was tortured and jailed. Yet, he was an extraordinary and prolific composer of tonos humanos and his obituary praised his abilities as a performer and composer. Marín’s works are characterized by: a passionate style, which is often coupled with meter changes and a liberal use of chromaticism. In addition to composing his tonos in a monodic setting with basso continuo, he is one of the few composers to have left us guitar tablature (obbligato) accompaniments to his works. Hidalgo was active as court harpist from 1632 until his death and was also responsible for the palace’s chamber music. But it was his association with the playwright Calderón for which he is most noted. Hidalgo left us a wonderful repertory of zarzuelas, operas and tonos humanos. Throughout the seventeenth and eighteenth centuries Spain ruled vast areas of the Italian peninsula, including all of the area south of Rome, as well as the area surrounding Milan. Many Spanish composers studied in, and/or had their works published in Italy and many Italian composers migrated to Spain. The musical consequence of this cross-cultural confluence is quite remarkable, Italian composers embraced the Spanish concept of danza y diferencias and Spanish composers eventually embraced the Italianate setting of recitativo and da capo arias. The former demonstrates how 17th -century Spanish instrumental music was rooted in the art of improvisation. Then, as now, musicians often improvised over “standard” harmonic patterns or “chord changes.” Some of the most characteristic, and widely exploited Spanish dances from the baroque era are the fandango, ciaconna and folia, which most other cultures refer to as the Spanish Folia. The most important Italian city under direct Spanish rule during the 17th and 18th centuries was Naples. Seat of power to the Spanish Viceroy and home to the great Spanish painter Zubarán, Naples also cultivated a hybrid Italian/Spanish musical aesthetic. An important contributor to this was the composer Andrea Falconieri (15851656), who both was born and died there. From 1639 to 1647 he served as lutenist to the royal chapel, and from 1647 until his death was its maestro di capella. His instrumental collection of 1650 contains is a fantastic collection of instrumental works, each of which bears a dedication to a member of the Spanish nobility living in Naples at the time. Included in this collection are numerous dances such as brandi, corrente, folias and ciaconnas. The ciaconna (chacona in Spanish), was introduced to Spanish popular culture toward the end of 16th century, and most likely originated in the New World. Though no examples are extant from this period, references by Cervantes, Lope de Vega, Quevedo and other writers indicate that it was a dance-song associated with servants, slaves and Amerindians. It was often banned for its lascivious gestures and irreverent texts, and was traditionally accompanied by guitars, tambourines and castanets. The fandango on our program is an amalgam that begins with a fandango composed by Santiago de Murcia, which then segues into a fandango from an anonymous source and an excerpt from the famous harpsichord fandango by Padre Antonio Soler (1729 – 1783). We present this piece in the spirit of trying to recreate an eighteenth century fandango “jam session.” And finally, the folia you will hear in the second half is an anonymous work that comes from a manuscript housed in the Biblioteca Nacionale in Madrid. While there is no accompaniment part to this work, in the spirit of the Spanish improvisatory tradition I have created one to accompany the violin part.
Serafim Smigelskiy, winner of numerous international competitions and awards including the First Prize of the Russian State Music Competition, the Salzburg Festspiele and many others, actively performs a wide variety of repertoire ranging from contemporary music to early music. Mr. Smigelskiy has worked directly with composers such as Georg Friedrich Haas, Chaya Czernowin, Mathias Pintscher, Magnus Lindberg, Steve Reich, and others which have led to performances and recordings of their music at concert venues such as Carnegie Hall, Alice Tully Hall, Peter Jay Sharp Theater at Lincoln Center, Merkin Hall, Benaroya Hall, Moscow Philharmonic Hall, and Saint Petersburg Philharmonic Hall, as well as at Harvard, Cornell, Stanford, and Columbia Universities. As a soloist Mr. Smigelskiy has toured across the U.S., Russia, Europe, Japan and the United Arab Emirates. He has appeared as the principal cellist with the Juilliard Orchestra, Ensemble du Monde, and the Ars Viva Strings Orchestra; and was a soloist with the Kansas City Philharmonic, Axiom, ECCE Ensemble, Argento Chamber Ensemble, Dal Niente, Jupiter Chamber Players, Rimsky Korsakov String Quartet, Quartet Accorda, among others. Currently serving as the Artistic Director of the ECCE ensemble based in New York, he has commissioned, premiered and recorded numerous new works by both emerging and established composers of the current generation. Serafim has recently been appointed as the cellist of the Tesla Quartet. Mr. Smigelskiy was born in St. Petersburg, Russia, and has been playing the cello since the age of six.
Notes on the Program Los reinos de Castilla (The Kingdoms of Castile) Spanish, Italian and Latin American Music from the 17th & 18th Centuries Spanish arts, and music in particular, have evolved through the interaction and blend of the many unique cultures from within Spain’s borders, the most prominent of which are Christian, Arabic, Jewish, and Romani (Gitano/Gypsy). By the 17th century additional contributions from indigenous New World influences helped create a fertile environment for an emerging nationalist style in the arts, one that was uniquely Hispanic and still exists to this day. From its position of political prominence 17th- century Spain spread its might, as well as rich culture heritage, to various colonial outposts throughout the globe. Musicians migrated to distant colonial centers to service Catholic missions and cathedrals, as well as the courts of the Spanish Vice-Royalty. In the process the Spanish musical vernacular was disseminated to, and often absorbed by these local cultures. This program presents a selection of works demonstrating the rich musical repertoire and close cultural connections between Spain, and the most important of these, those located in Latin America and Italy. The dominant Spanish vocal genre of the 17th century was the tono humano. These secular songs bore a structural similarity to the 16th century villancico, that is, consisting of estribillos (refrains) alternating with coplas (verses). By this time the term villancico almost always indicated a sacred or semi-sacred composition with a similar structure. Additionally, the Italian monodic style with a basso continuo accompaniment had by now also become the norm in Spain and most tonos were composed in this fashion.
Maureen Murchie received her Bachelor of Arts degree (magna cum laude) and Master of Music degree from Baylor University where she studied under violinist Bruce Berg. She received her Doctor of Musical Arts in violin performance from the University of Illinois at Urbana-Champaign, where she studied violin with Peter Schaffer. Widely sought after as an orchestral, chamber, and solo player on violin and viola, Ms. Murchie has held numerous leadership roles and is a founding member of Houston-based Zephyr Ensemble, with whom she toured Japan in 2007. She has held teaching positions at McLennan Community College in Waco, TX, Eastern Illinois University in Charleston, IL, and at the University of Illinois. Violinist Nurit Pacht made her U.S. solo debut at age 17 with the Houston Symphony Orchestra and has since won top prizes in international competitions in Europe and the United States, including the Tibor Varga International Violin Competition in Switzerland. In 2000 she was selected as one of the “Stars of the Year “ by Le Monde de la Musique and since then her career has blossomed with appearances in London’s Wigmore Hall, Vienna’s Musikverein, Moscow’s Great Hall, Washington’s Kennedy Center, Carnegie’s Weill Hall, The People’s Hall of China in Beijing and at Ravinia’s Rising Stars Series. Nurit has also has toured as soloist with the Israeli Chamber Orchestra and on a tour of China with the Young Israel Philharmonic, performing in the major concert venues of Beijing, Shanghai and Guangzhou. In the United States she has been a soloist with the Rhode Island Philharmonic, Houston Symphony, Pacific Symphony, Santa Barbara Symphony, Des Moines Symphony, Brooklyn Philharmonic, Alliance Players, American Youth Symphony and Santa Rosa Symphony. She is now in her third season serving as the artistic director of the “Alliance Players,” a dynamic group of musicians who perform innovative programs in New York City. Nurit performed in duo recitals with Philip Glass playing the composer’s works for violin and piano. She commissioned and premiered works from other leading composers including, Michael Hersch, Noam Sheriff, Annie Gosfield and Octavio Vazquez. She plays on a violin made by P. Guarneri in 1750. Dongsok Shin was born in Boston and played the modern piano from the age of four. Since the early 1980’s, he has specialized exclusively on harpsichord, organ, and fortepiano. Much in demand as a soloist and continuo player, Mr. Shin has appeared with the American Classical Orchestra, ARTEK, Concert Royal, Early Music New York, Carmel Bach Festival, Mark Morris Dance Group, the New York Philharmonic, the Orchestra of St. Luke’s and the Orpheus Chamber Orchestra. He has toured throughout North America, Europe, and Mexico, has been heard on numerous radio broadcasts nationally and internationally, and has recorded for ATMA Classique, Bridge Records, Dorian/ Sono Luminus, Hänssler Classic, Helicon, Lyrichord, and Newport Classic. He was a founding member of the Mannes Camerata, receiving international critical acclaim as music director for their productions of early baroque operas, and he was a member, as well as a guest director of NYS Baroque in Ithaca, NY. Since 1197 he has been a core member of REBEL since 1997, and has performed with El Mundo on numerous other occasions. In his spare time, he tunes and maintains harpsichords in the New York area (he is the harpsichord technician for the Metropolitan Opera and tuner of the antique keyboards at the Metropolitan Museum), and he is well known as a recording engineer, producer and editor of numerous early music recordings. He is married to early keyboard player and director of ARTEK, Gwendolyn Toth, and they are the proud parents of three children and one new cat.
In these “reductions” music was an important part of daily life, and was not limited to the prayer and worship. In contrast to the Franciscans, the Jesuits encouraged more dramatic musical presentations and from this fertile environment comes the wonderful mission opera San Ignacio. Although often attributed exclusively to Domenico Zipoli, San Ignacio comes from multiple sources (Zipoli, Martin Schmidt and anonymous) and exhibits elements of Italian opera (recitative and da capo arias) imbued with a folkloric style. Zipoli, a young musician from Prato, Italy, entered the Society of Jesus (the Jesuits) in 1716 in Seville, Spain, in order to travel to the New World to work in the famous Jesuit Reductions of Paraguay. Already a noted composer and organist, Zipoli spent the rest of his life in Cordoba (now Argentina), studying theology and composing until his death in 1726. For our performance we focus on the opening numbers of from the first act of the opera where St. Ignatius, the founder of the Society of Jesus, calls into question his own faith. Throughout the opera many of the central themes of Ignatius’ Spiritual Exercises are examined, prompting consideration of the eternal questions of human identity - Who am I? Whose am I? Who am I called to be? We conclude with Tarara qui yo soy Antón, a 17th century negrilla dance in a villancico setting by Antonio de Salazar. Salazar was born in La Puebla de Los Angeles in 1650 and in 1688 became chapelmaster of the Cathedral of Mexico City. This period was known as the cathedral’s golden age. Salazar also composed several villancicos on texts by Sor Juana Inés de la Cruz, one of the most important Latin American writers of the 17th century. In Tarara one hears the rhythmic vitality of Spanish and indigenous cultures combined is a setting that reflects an African influence. Richard Savino ©2015
Translation of the Texts Ojos pues me desdeñais
Ay, que sí, ay, que no
Eyes, since you scorn me, don’t look at me, for I don’t wish for you to achieve the look with which you kill me.
Refrain: Oh! but yes, Oh! but no: since I myself feel what afflicts me. I am “Pedro Grullo” telling tales of my passion: and my sorrow is a nightmare that does not confess its leaden weight of emotion through the lightness of my voice. Oh! but yes, Oh! but no: since I myself feel what afflicts me.
End the frowns and the severity; Eyes, behold what madness is: to risk your loveliness by doing me a discourtesy. If fear doesn’t cause you to lessen your charms, don’t look at me, for I don’t wish that you achieve the look with which you kill me. And if your harsh behavior is for nothing more than to kill me, you may let me forgo the pain, for I will die from not seeing you. But if it is true that you want me to be at peace, don’t look at me, or I don’t wish that you achieve the look with which you kill me.
Verse: Go on, my good friends, make way for my grief to expand; for a constricted heart deserves the same as a tight bodice. God has given me two mistesses, if indeed it is God who assigns mistresses, but it is not on heaven’s account that I procure unhappiness. They are very elegant to their lovers, and treat them with great veneration, but in absence their eyes reveal whatever their voices conceal. Of the secrets of the soul, the soft breathing explains all that is not spoken by the concealment of the torment. Because Elice scorned him Toecles was turned into a lion, in a castle she put him in a room not Spanish. And now Antigona joins her and shows her anger with punishment by the militia for the quarrels of love.
Cantata a voce sola con chitarra Espagnola Aria My heart will never stop loving you And slowly I am losing my senses Slowly, with each movement This crime of loving you becomes clearer. Recitado One day I hope to learn how to love you as much as you deserve since growing in me are love and knowledge. And if you dnot love me, my love, in your perfection, listen to what your first desires tell you in hushed voices, how beautiful you are my love. Aria My eyes tell you in silent passion, pain without complaint, words without voice. My heart only wanted to love you, And in loving you, I am already satisfied.
Oygan una xacarilla Estribillo Hear the royal girl’s jacara, the light shines and sparkles, the rosey rays blush and call, the light shines and sparkles. Hear the ecos, I must sing to her. Estribillo The babe conceived, a gracious life and without sin, she will give God the eternal, royal light of life. Ana, blessed among women, holds her in her womb, Ana I pray to you, the temple of our Holy Queen. Fortune of God and of his Church, bird that rises to the heavens, at the summit she shines, triumphant over Satan. Soul in which God recreating, creating world without sin, in the lofty heavens he confirms his beloved Queen.
San Ignacio (an excerpt)
Por aquel horizonte
Aria Breve Oh, oh! What torment! To live far from you My Lord, my well being, my God.
Recitative On the horizon of heaven, a resplendent light descends the mountain, its glory repeated in a thousand choirs. Clear songs of sweet birds: this is the awaited, joyous day in which everything will be bathed in happiness, and, as the star rises, so does hope, and all desire what the world today receives.
Aria Oh Life, how long you last. Oh death, how long you delay. Oh sweet love! Why do you delay in breaking chains? Let me loose, and separate me from my body in death, because I want to see you forever, oh my God, face to face. Aria Breve Oh! Oh! Oh! How happy! To suffer here for you, Oh my Lord, me well being, my God. Aria Whatever I was, am, and will be, Whatever I deserved and hope for With a sincere spirit, I have already given everything to you. So happy was my lot that I cannot tell you, even if here I could serve you, though I risk not seeing you. Aria Breve Oh! Oh! Oh! How happy! To suffer here for you, Oh my Lord, me well being, my God.
Aria: All the delighted world shows joy; tender dawn and gentle breeze accompany the merriment and glee that resound today in Bethlehem. In the straw of a stall and in the arms of dawn, As the sun adorns the mountaintops, tender affection adorns our celebrated being. Tarara qui yo Anton Estribillo Tarara tarara, I am Anton, little black one since birth, and I sing it alot, and oh my oh! Coplas I am Anton, a miller, and this boy who was born is also the son of a peasant woman, one that I hold in highest esteem. So with my rattle, my bells and my drum, I’m going to dance in Bethlehem, dances from Puerto Rico and Camaroon. See how many shepherdesses are looking for the Child God, they go running to the portal to offer him their adoration. The country-girl cherubim, clothed in splendor, sings her villancico, a gloria with rhythm and melody.