CAB Notes 

Vol. 2 Issue 2                                                   The Electronic Newsletter for Concert Artists of Baltimore
                                                                 Edward Polochick, Artistic Director

Message from the Maestro

Dear Friend of Concert Artists,

It is surely wonderful to live in an area where one can experience and enjoy four distinct seasons.  As the dog-days of summer give way to crisp, cool autumn air, it is refreshing to feel a collective energy creating the excitement of a new concert year. And we at Concert Artists are eagerly anticipating our opening concert PRESTO! on Saturday, October 23^rd , 8pm at the Gordon Center.  I would like to share some thoughts with you on this program.

This season’s opener will celebrate the beauty, drama, lyricism and contrasts of music from the Baroque Era and feature two of the great composers of this period, Antonio Vivaldi and George Frideric Handel.  The Baroque was the first period in history to establish instrumental music as equal in importance to vocal music.  The period also witnessed a dramatic development of new musical instruments as well as the perfection of the old.  Playing techniques grew more fluent as audiences demanded more virtuosity and spectacular musical displays.  Many composers not only wrote increasingly difficult music, but they themselves also became virtuoso performers, e.g., Bach and Handel at the organ, Corelli and Tartini on the violin.  As a result, the concerto became one of the pre-eminent compositional forms, and Baroque composers produced two types:  the solo concerto for a solo instrument and an accompanying instrumental group, and the concerto grosso, based on the opposition between a smaller group of instruments (often soloistic in nature) and a larger group.  The concerto was the embodiment of what was considered “the fire and fury of the Italian style.”  And of the many Italian masters of the concerto (Corelli, Tartini, Torelli, Geminiani, Albinoni, Locatelli), it was Antonio Vivaldi who contribute most significantly to the development of the concerto form as well as the one who was the most prolific.

On the first half of our October 23^rd program we will present The Four Seasons of Vivaldi (1678-1741), featuring our wonderfully talented concertmaster, José Miguel Cueto, as soloist.  This work is perhaps the most beloved and well-known of all of the composer’s works.  It is, in actuality, a compilation of four violin concertos, each in the typical three movement form of fast-slow-fast.  What I find most intriguing about this work is the fact that Vivaldi wrote a poem for each season describing its joys, reminiscences, and hardships.  Each line of each poem was written above a particular passage in the score, and the music at that point paints a picture, as graphically as possible, of that action described.  This was quite common practice in Baroque vocal music, where the composer would tone paint that which the text being sung would describe. But in The Four Seasons, this was the first time a composer attempted to “text” paint “instrumentally.”

Vivaldi discovered unique and clever ways to depict certain actions:  the barking dog (played by violas as interruptions to the lyrical solo line) in the second movement of Spring, the tremendous winds and thunderstorms in Summer, the pleasures of the hunt in Autumn and the doomed fate of the dying fox, and teeth chattering from the cold and people slipping on the ice in Winter.  However, it is important to note that although the pictorial image influences the design of and creative idea for the musical motive, once it is stated, it is treated in a purely musical fashion—it becomes the music.

From both a soloistic/virtuosic and musical point of view, The Four Seasons is a very demanding and challenging work.  As with most music of this period, many decisions must be made based on very sparse indications given by the composer.  Indeed, the performer is saddled with an enormous responsibility to “interpret” and make educated decisions, even guesses, as to just what the composer had in mind.  For example, a tempo indication such as Allegro (which in Italian means “quick, lively, bright”) does not give with any precision just how fast to perform a designated section.  Since Maelzel’s invention of the metronome didn’t really come into practical use until the early 1800s (Beethoven’s time!), it is impossible to know absolutely a composer’s intent.  The metronome afforded the composer a precise way to indicate to the performer an exact tempo.  It is through the critical research afforded us by music scholars, the study of many composers of the period and the knowledge of performance practices that one can come to some “valid” decisions in presenting and performing Baroque music.

One of my favorite aspects of conducting Baroque music is the ability and challenge of conducting from the harpsichord.  It was often the practice in this period for the composer to lead his ensembles while seated at the keyboard (organ was also often used as a “continuo” instrument).  Since no keyboard part was written out (the composer wrote only a bass line under which he occasionally scribed numbers to give indications for harmonies or chordal progressions—this is what is referred to as “figured bass”), it affords the keyboard player an incredible opportunity to display his/her improvisatory skills.  For me it is extremely stimulating and great fun.

After intermission we will feature a work of another musical giant of the Baroque—George Frideric Handel (1685-1759).  Like Vivaldi, Handel was a very prolific composer who was greatly influenced by the Italian Baroque masters and developed their concepts of form and style to a very high degree.  But unlike Vivaldi, Handel was not a religious man.  Vivaldi was ordained in the Catholic church as “the red priest” (because of his abundant and bright red hair) and wrote considerably for liturgical purposes.  Handel, on the other hand, was more fascinated with theatre, opera, and writing on commission.  Born in Halle, Germany in 1685 (only 7 years after Vivaldi), Handel left for Italy in 1706 eventually settling in Rome for the following three years.  He cultivated his passion for Italian opera and attained such mastery of the style that he rivaled his Italian contemporaries.  However, in an effort to curry favor with the Italian nobility and the Church political hierarchy, he composed a series of occasional works based on texts from Psalms and prayers to the Blessed Virgin which became known as the Roman Vespers.  From this set, it is the Dixit Dominus (Psalm 110) which will be performed on October 23^rd.

Composed when Handel was only 19 years old, this amazing work, sung in Latin, is in eight sections of virtuosic writing for chorus, soloists, and string orchestra.  Handel’s choice of key, G minor, imbues the work with a certain somberness and strength, and foreshadows his genius for dramatic outlay, exquisite lyricism, daring harmonic experimentation, and vocal and instrumental technical challenges.  Even in the very opening measure Handel demonstrates ingenious tone painting with the first violins stating the word of the Lord coming down to earth from on high with a two-octave plus descending arpeggio, answered immediately in concertato (from the term concerto, implying in a soloistic, contrasting or imitative manner) style by the second violins.  This equal treatment of first and second violins is typical in Baroque writing and prompted my decision to seat the second violins on stage left, directly opposite the first violins.  (This would have been the manner of orchestral seating in the 17^th and 18^th centuries, changing in the 19^th century to our more familiar seating with seconds behind the firsts on stage right as the writing for the seconds became more in tandem with, or support of, the first violins.)

We arrive only at measure six when Handel introduces an odd dissonance in D-flat, which even by today’s standards is quite a surprise, let alone how it must have shocked and piqued the interest of the listener in Handel’s day.  This magnificent introduction leads up to the alto entrance, a cappella, of a dramatic statement of the text “The Lord said unto my lord,” (“Dixit Dominus”) followed by a powerful exclamation by the full chorus in five parts (sopranos are divided).  Choral soloists follow in a concertato manner leading to Handel’s incorporation of an old style of Church writing—a familiar Church melody in the soprano line, extravagantly accompanied and ornamented by the rest of the chorus and orchestra.

The work continues to unfold with exquisite vocal solo writing and phenomenal text painting for both soloists and chorus.  One of my favorite examples is in movement six (the most extensive of all the sections) where Handel treats the word “conquassabit,” which means “to shatter.”  (The text states “He will shatter chiefs over the wide earth.”)  Handel begins with the lowest forces (basses, cellos and chorus basses) and builds the intensity by gradually adding the upper forces of the ensemble with the chorus on a continuous “ah” vowel (from the third syllable of “con-quas-sa-bit”) with bludgeoning chords and striking harmonic changes.  It is a brilliant technique, one which, to my knowledge, had not been utilized so dramatically up until that time.  And although I don’t have time to explore the entire piece with you, I must also mention the absolutely incredibly beautiful soprano duet in the penultimate movement.  The two high voices are accompanied by the upper strings and answered alternately by the lower male voices and lower strings.  The beauty and poignancy of this section leaves both the listener and the performer in awe of the subtle power and understated majesty of Handel’s genius.

It is no wonder that Handel totally wowed his patrons and his audiences.  Within moments of the opening strains he demonstrates a facility of style and form, a knowledge of the “old school” of composition, a clarity of vocal and instrumental writing and a daring and ingenious attempt at dramatic harmonic experimentation.  These traits served him well throughout his lifetime; an early work like the Dixit Dominus foreshadows the great oratorios which were to follow: Israel in Egypt, Samson, Solomon, and, of course, Messiah.  We are excited to present a program of such musical and technical richness and one of such stunning contrasts.  I hope you will join us on October 23^rd for a truly unique and magnificent Baroque experience!

PRESTO!                                                                NO STRINGS ATTACHED

Saturday, October 23, 2004                             Saturday, December 4, 2004

8:00 pm                                                   8:00 pm

Handel:    Dixit Dominus                                                        Adams:  Grand Pianola Music

Vivaldi:     The Four Seasons                                                Bruckner:  Mass in e minor

                José Miguel Cueto, Violin

EASTERN SKY                                                  A ROYAL INVITATION

Saturday, February 19, 2005                         Saturday, May 14, 2005

8:00 pm                                                 8:00 pm

Tchaikovsky: Orchestra Suite No. 1                                Barber:  Adagio

                      Choral selections by                                      Barber:  Cello Concerto

                      Penderecki and Bartok                                 Gita Ladd, Cello

Martinu:         Concerto for Two Pianos                            Argento: A Royal Invitation
                      Clinton-Narboni Duo

                                                                                               Ginastera: Estancia

Classy Classic Concerts are performed at the Gordon Center for the Performing Arts; 3506 Gwynbrook Avenue, Owings Mills.  Set in the heart of the Greenspring Valley, only 20 minutes away from Baltimore, the area offers close wonderful restaurants and the Gordon Center provides ample free parking in its private, well-lit parking lot, and best of all—it’s just minutes from I-695.

2004-2005 Music at the Mansion

Chamber Music Series

Sunday, December 12, 2004

2:30 pm

Christmas Cheer

“Now, I know it’s Christmas!” is so often resounded by audience members as vocalists, instrumentalists, and audience join together to enjoy holiday music from around the world.  Our annual Christmas tree lighting, sing-along, and champagne toast makes this a perfect way to usher in the holiday season.

Sunday, February 13, 2005

2:30 pm

Double Your Pleasure

The dynamic piano duo Mark Clinton and Nicole Narboni present a varied virtuosic program of four-hand piano music.  Featured will be Debussy, Petite Suite; Stravinsky, Rite of Spring; Mendelssohn, Allegro Brilliante, and Mozart’s Sonata in F Major.

Sunday, April 17, 2005

2:30 pm

QuinTango!

QuinTango’s all-or-nothing performance brings the dramatic heart of the tango with music by Carlos Gardel, Astor Piazzolla, and the masters of the Golden Age.  This award winning quintet of two violins, cello, bass, and piano brings a century’s worth of tango repertoire alive with accompanying narration.

Music at the Mansion concerts are performed at Baltimore’s historic Garrett-Jacobs Mansion at 11 W. Mt. Vernon Place.  For a modest additional charge, make it a completely memorable afternoon and treat yourself to a delectable pre-concert brunch in the Mansion’s beautiful dining room.

Did You Know. . .

The Gordon Center for Performing Arts was names Baltimore’s “Best Concert Venue” in 2001.  Located only 20 minutes away from Baltimore City, The Gordon Center offers:

·      An intimate atmosphere

·      Acoustic Grandeur

·      Comfortable Seating

·      Ample FREE Parking

All Classy Classic Concerts are performed at The Gordon Center for the Performing Arts in the heart of the Greenspring Valley at 3506 Gwynbrook Avenue, Owings Mills.  Come see what all the fuss is about!

Concert Artists of Baltimore’s inventive programs and engaging conductor are not only favorites with adult audiences, but children and students as well.  Full-time students (with ID) enjoy a ticket price of only $8 and children 8-18 only $5. With these kinds of savings, CAB is an economical event for the entire family!

Saturday, April 23, 2005

7:30 pm

St. Ignatius Church

749 North Calvert Street

Baltimore, MD

Opera Goes to Church

Rossini: Petite Messe Solennelle

Tickets only $10

Help support the wonderful outreach projects of St. Ignatius Church as you revel in the majesty of this powerful work, which combines the beauty of opera with the sacred text of the mass.

To purchase tickets, call 410-625-3525, or visit our website at www.cabalto.org to fill out a ticket order form.

Did You Know. . .

That you could enjoy a scrumptious brunch before any of the Music at the Mansion concerts.

NOVEMBER 6, 2004. . .SAVE THIS DATE

 Swingin’ to the Sounds of the ‘40s

Join us on Saturday, November 6, 2004 at the Grey Rock Mansion (400 Grey Rock Road, Pikesville, MD) to celebrate the gone-by era of Zoot Suits, Kilroy was Here, Glenn Miller, Tommy Dorsey, and Duke Ellington at Concert Artists’ 2004 gala fund raiser Swingin’ to the Sounds of the ‘40s. CAB galas are always loads of fun with fabulous food & drink, silent auctions with marvelous items, dancing, cigar & scotch bar, and lots of other activities.  To request an invitation, please call 410-625-3525.

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