Mystery Sonata No. 1 “The Annunciation” by Heinrich Ignaz Franz Biber (1644-1704)

H. I. F. Biber lived in Bohemia, serving as director of music at both the court and the cathedral in Salzburg. He was the outstanding non-Italian violinist of his century, also composing solo violin music, operas, sacred vocal music, and instrumental ensemble music. The Mystery Sonatas, or Sonatas of the Rosary, were an outcome of the Catholic Counter-Reformation. The goal of Catholic writers, painters, and composers of that time was to illuminate the mysteries of the faith and create an emotional state of mind open to the mystical experience. The Mystery Sonatas of Biber represent a meditation on each of the events in the New Testament story, corresponding with the beads of the rosary. The Annunciation, with its fantasie-like preludium, represents the angels coming to Mary.

Lisa Marie Lawson, violin
Michael Lawson, violone and theorbo

 

"Quand Jésus naquit à Noël" by Claude Balbastre (1724-1799)

Claude Balbastre was one of the foremost French composers of his time, serving both as organist of the Notre-Dame cathedral, and official harpsichordist of the French court. "Quand Jésus naquit à Noël" comes from a collection of suites published in 1770, all based on traditional French carols. The translation of the first verse is as follows: When Jesus was born at Christmas, There in Judea, On that solemn day Joy poured down. There was no one young or old, Who would not bring a present, And no', no', no' no', And nobody who did not offer, And no', no', And nobody who did not offer unceasingly, All his riches.

Faythe Vollrath, harpsichord

 

Suite from Abdelazer's Feast: Rondeau by Henry Purcell (1659-1695)

England in the early Baroque period was under the reign of Charles I, who sponsored music at the court in the form of dances and masques. Violins were primarily used for dance music, in the French tradition, and viols were used for chamber music. Musical life underwent a deep depression with the civil war and the beheading of Charles I in the mid 17th-century. Musicians had no place of permanent employment, as under the new government of Cromwell there was no music in church, no theatre, and no court. The restoration of Charles II in 1661 was soon followed by further affliction with the plague of 1665, which killed one third of the population or 100,000 people, and the Great Fire of London in 1666, which left 80 thousand people homeless.

It was in this tumultuous time that Henry Purcell was born into a family of long-time court musicians. He was to become the highest-regarded English composer in history. Purcell joined the Chapel Royal as a chorister at age 7 or 8 and was taught organ, violin, viols, lutes, composing, and was given a good general education. At his graduation in 1673 he was made assistant to John Hingston, who supervised the care of all instruments at court. Over time Purcell was given numerous positions at court including Composer in Ordinary for the Violins, Groom of the Robes, Musician in Ordinary, Musician for the Lute and Voices, and Gentleman of the Chapel Royal. In these positions he was expected to produce and prepare music for the day to day life of the court; for dancing, for mealtimes, for state entertainment, and for the choir. The violins also played at two theaters sponsored by the court.

Tonight's concert includes the Rondeau from Purcell’s Abdelazer Suite. This piece will be recognized by its theme, borrowed by Benjamin Britten in his Young Person’s Guide to the Orchestra. Purcell’s prolific output of theatrical, sacred music, hymns, secular songs, and ensemble music demonstrates a distinctively English style with Italian and French influences.

The Abdelazer Suite is incidental music to the play The Moor’s Revenge by Aphra Gehn. The suite begins with an overture in the French style, followed by the famous Rondeau with its broad arpeggio in the first bar followed by the familiar sequence of descending patterns. The suite is made up of several French styled airs followed by a characteristically English Jig and Hornpipe.

Lisa Marie Lawson, violin and Music Director
Tyler Lewis, Naomi Rogers-Hefley, Laura Jeannin, violins
Mariéke Furneé, viola
Richard Webb, cello
Michael Lawson, violone
Faythe Vollrath, harpsichord

 

Mystery Sonata No 16: Passacaglia by Heinrich Ignaz Franz Biber (1644-1704)

The Passacaglia for Solo Violin is the last of a set of Sonatas written for the 15 Mysteries of the Rosary, which since the 13th century, were meditations on important moments in the life of Christ and the Virgin Mary. In the Rosary processions, believers walked around a cycle of fifteen paintings and sculptures reciting corresponding prayers. We can assume that they would also have listened to Biber's musical selections with each meditation. The sixteenth sonata, the Passacaglia in G minor, uses a bass pattern which is the same as that of the first line of a hymn to the Guardian Angel. It has been considered the most outstanding work of its type before the Bach Chaconne.

Laura Jeannin, violin

 

Bring a Torch, Jeannette Isabella – Music traditional French carol, words by Émile Blémont 1901. The tune to this carol has been known since the 14th century as a lively dance, first appearing in print in 1553 as a dance for the French nobility.

When we think of early music, we often might think of obscure songs written in strange symbols on parchment, found in a library somewhere across an ocean. In truth, many of our best-loved carols are actually very old. These carols come to us through a tradition of music performed over hundreds of years, and have survived not only because they are part of a continuing tradition but also because they affect us deeply. Each carol presents a concept in a simple, direct manner that appeals to our inherited joy in dance and in song.

In today’s performance we bring these old tunes into the present, played by instruments of the past. Instead of attempting to recreate a performance from the Baroque era, our arrangements are attempts to recreate the spirit of Christmas as it may have been felt long ago.

The Christmas carol has roots in communal celebrations in several places. In England, communal songs such as carols were sung at harvest as well as at Christmas. And the word carol was synonymous with dance as well as song, with the carole being a Medieval ring dance. Creche scenes and miracle plays became a stimulus for writing Christmas carols, and in France, late in the 15th century, the French carol tradition noël developed, connected exclusively with Christmas.

Though dance was an integral part of worship from early times, the Church succeeded in suppressing the dance element in the Middle Ages. Christmas carols were not sung in church until the late 1800s.

Lisa Marie Lawson, violin
Cathie Apple, traverso
Marieke Furnée, violin
Michael Lawson, guitar
Faythe Vollrath, harpsichord
Steven Coughran, drums

 

“Freu dich sehr, o meine Seele” by Georg Böhm (1661-1733)

The organist and composer Georg Böhm occupies an influential place in music history. In 1700 a young Bach left Ohrdruf to attend the St. Michaelisschule in Lüneberg. The 15-year old stayed under Böhm's roof for at least one day, perhaps more, to copy out two great organ works of Buxtehude and Reincken. A signature from Böhm on the score attests to this. It seems clear that Böhm taught Bach in some capacity around this time and they were to become friends for life. Böhm had spent his formative years (which are not known in detail) in Hamburg and Lübeck absorbing much of the North German school, and in Lüneberg, where French musicians and a French-staffed court existed, the French Classical style. His music exploits both styles with expertise. In his many hymn partitas (variations) Böhm was to influence a young Bach, who also composed a number of chorale partitas. In the partita featured today, on "Freu dich sehr" (that we know as the Advent hymn "Comfort, comfort ye my people"), the French style predominates with profuse ornamentation yet the lightness, the harmony, and dance breathes the influence of North Germany as well. One hears a variety of texture and registration and this shows off the many tone colors of the Johnson & Son organ to great effect. Only the last two variations feature obligato pedal.

Ryan Enright, organ

 

Greensleeves – Traditional English, 16th Century, arr. Lisa Lawson

The melody we know as Greensleeves, or "What Child is This," was first mentioned in 1580 as a “new northern dittye of the Lady Greene Sleeves. ” It has been used with many texts and even mentioned in Shakespeare’s Merry Wives of Windsor. English writer William Dix wrote the text after a near-fatal illness.

The Gael – Music by Dougie MacLean -- This fiddle tune by the Scottish singer-songwriter Dougie Maclean was made famous when it was used as the main theme in the movie “Last of the Mohicans.”

Lisa Marie Lawson, violin
Cathie Apple, traverso
Marieke Furnée, violin
Michael Lawson, guitar
Faythe Vollrath, harpsichord
Steven Coughran, drums

 

The Twelve Days of Christmas – Traditional English, 18th century.

Though the song was first published in England in 1780, it may be French in origin. The carol may have begun as a “memories and forfeits” game, and was published as such in its original printing in the children’s book, Mirth without Mischief.

Sacramento Baroque Soloists' arrangement has been back by popular request since we first performed it in 2010. The current stay-at-home order inspired us to create this video compilation which offers you an intimate glimpse into the players' homes in the holiday season.

Lisa Marie Lawson, violin and harp
Laura Jeannin, Ondine Young,
Naomi Rogers-Hefley, Shannon Houston, violins
Kim LaSavio, viola
Cathie Apple, traverso
Michael Lawson, violone
David Wells, bassoon
Faythe Vollrath, harpsichord

 

Sacramento Baroque Soloists extends our deepest gratitude
to our many supporters
Wishing you the warmest greetings
for good health and peace throughout this Holiday Season and the New Year!

 

Link to Performers' Biographies

 

Concerts are presented free of charge, but we ask that you consider making a donation.
Your support is more important than ever at this time.

Click here to donate

 

Sacramento Baroque Soloists thank the following donors to the 2020-21 Season!

Esterhazy
($500-999)

Fantastic Fund
of the Sacramento Regional Community Foundation
Peter Doyle
Margaret and Al Geelhaar
AJ Watson

 

La Poupliniere
($249-499)

Rod & Sheri Barbour
Bruce Donehower
Mary Carol Gustafson
Claudia Kirkpatrick
Walter, Linda, & Anna Koochoo
in memory of Carolyn Booker
David Lawson
Stuart & Vana Lott
Meda Rebecca
Lynn Sellman
Rick Soehren
John & Sue Vroman

 

Brandenburg
(up to $249)

Merry Benard
Laurel Benedetti
Randy Berka
Diane Boyer-Vine
Kathleen Bramall
David Brillenz
Judy Brush
Mars & Mayre Burnside
Michael Dazey & Linda Carter
Cynthia Charters
Liz Chasse-Crouse
Krishna Chaturvedula
Carla Comiter
Dennis & Susan Cook
John Cozza
Andrew Crawford
Lorraine Crozier
Fred Deneke
Ajit de Silva
Phyllis Ehlert & Dennis Blegen
Eric Fjerstad
Patricia Garcia
Lorraine Barr & Neil Glick
Linda & David Gordon
Roberta & Steven Gould
Meg Halloran
James R Hargrove
Nannette Henderson
Ashley Hill
David Hill
Olivia Huff
Charles Johnson
Elizabeth Johnson
Frances Jones
Margaret Keeler
Sandra Kennedy
Rodney Kingsnorth
Steven Kloose
Temmo Korisheli
Katherine LaForge
Kristen Lee
Leland & Esther Lee
Jim Lerner
Helen Mackintosh
Lorraine Martin
Heidi McLean
David Meeker
Paul Mercurio
Marcia Mooney
Bonnie Mintun
Rothgarn-Moore Family
Tomoko Murata
Jarrett Oddo
Akira Onishi
Carol Paris
Molly Penberth
Kathy Perez
Ingrid Tracy Peters
Emily Piltch
Martin Piltch
Alasdair Porteus
Rik Rasmussen
Doug MacPherson & Goli Sahba
Vicki & Bob Schaevitz
William Senecal
John Shirey
Roberta Silveira
Steven Smith
Fran Spitale
Mark & Daria Stoner
Gay Tanner
William Taylor
Shaunda Thomas
Allyson Trethewey
Pamella Vaughn
Harry Wang
Paul Wells
Chris & Sandy Whetstone
Alice Williams
in memory of cellist Kurt Behnke, COVID victim
Lili Williams
Robert Wissmath
James Wilson
Kenneth Winter
Lisa Woodard-Mink
Ondine Young
Larry Zeagler

 

Sacramento Baroque Soloists thanks our dedicated volunteers 2020-21:

Artistic Director: Michael Lawson

Board of Directors: Nancy Finch, President
Michael Lawson, Vice President and Treasurer
James Moses, Secretary
Stuart Lott
Denise Maclachlan
Dan Sackheim

Graphics: Scott Olling
Audio and Video Recording: Cameron Lawson
Concert Managers: Bill Senecal (St. Paul’s)
Concessions Manager: Anndrija Long
Volunteers:
Michelle Cordova
Kathy Davis
Peggy Geelhaar
Richard Kennedy
Sharon Kennedy
Jay King
Vana Lott
Doug Mattes
Patricia Altschul Moses