RESTROOMS are located: Single stall in main lobby (accessible) Orchestra level inside the hall, the men’s on house left and women’s on

house right. Requires going down steps. Balcony Level through center door in back, under the exit sign

LATECOMERS will be seated after the first piece on the program. If you must leave during the performance, please quietly use the rear exit of the hall.

LARGE PRINT PROGRAMS are available in the back of the hall. Please ask an usher to bring you one.

WHEELCHAIR ACCESS is located house left. Please the R&B staff mem-ber or usher stationed at this door for help. Arrangements can also be made in advance when purchasing tickets to the performance.

ACCESSIBILITY R&B is committed to making our concert series accessible. If an accommodation would help you fully participate in our programs, please contact Gail Luley (director@rbsp.org or 412.361.2048) two weeks before the event.

FOR THE ENJOYMENT OF ALL PATRONS…

Please turn off all cell phones and electronic devices before the con-cert begins and refrain from texting or using any lighted device dur-ing the performance.

Take a moment to unwrap candies, lozenges or tissues before the concert begins.

Flash photography and the use of recording devices of any kind, audio or video, are strictly prohibited.

Thank you for your consideration!

PHONE:

(412) 361-2048 CONNECT:

www.rbsp.org facebook.com/PittsburghRB twitter: PittsburghRB

OFFICE ADDRESS:

Renaissance & Baroque 5530 Penn Avenue Pittsburgh, PA 15206

FOR YOUR INFORMATION

Renaissance & Baroque is music of the Middle Ages, Renaissance, Baroque, and Early Classical periods (roughly 1200 to 1800) per-formed by artists who specialize in historical performance.

It's HIP — which means "Historically Informed Performance." Our

performers go back in time for music, instrument designs, and performance styles - bringing music to the 21st century as it sounded in the time and place of its creation.

It’s unpredictable. Sometimes "historically informed" means im-

provised, which is music composed on the spot by the performer. It’s quirky and full of surprises. You might hear a turn-of-the-millennium piece from either 1000 or 2000. You might hear Vi-valdi's Four Seasons played not on strings but on recorders.

2014-2015 marks R&B’s 46th season of bringing the best in Early

Music to Pittsburgh, which has included concerts by over 200 dif-ferent ensembles.

R&B produces an outreach and education program in the com-

munity. The musicians performing on the concert series extend their time in Pittsburgh to teach, demonstrate, lecture, and per-form in schools, universities, medical facilities, and concert halls.

Synod Hall is one of the finest acoustic spaces for early music in

Pittsburgh. In style and acoustics, the auditorium in Synod Hall resembles a Renaissance "oratorio" - a room for orations (and the origin of the musical term).

For more information about Renaissance & Baroque visit www.rbsp.org

DID YOU KNOW? Letter from the Board

As many of you already know, contributions for the arts from gov-ernment and foundations has not been increasing at the rate that costs are increasing. We here at the Renaissance and Baroque are most appreciative of the generous support provided over the years by various foundations. Sadly, we have been told that one founda-tion will be withdrawing operating support for Renaissance and Baroque in future years. We are extremely grateful for the founda-tion’s long generosity and for forewarning us about the upcoming change. Obviously, we are studying how to cope with what will be a significant reduction in revenue. What can you do to help? First, encourage people to come to our concerts. The best advertis-ing is by word of mouth. Invite your friends and acquaintances. Spread the word that the beautiful music of the Renaissance and Baroque can be heard live in Pittsburgh. Second, if you are already a donor, please consider increasing fu-ture contributions by 10%. Third, if you are not already a donor, please consider becoming one. Our annual appeal is coming up, but you do not have to wait until then to become a donor.

Finally, we greatly appreciate all of you who have supported R&B over the years and continue your support today. Your love for this great music is the reason our series remains vital and successful.

Thank you.

Ensemble Caprice

Chaconne: Voices of Eternity

Matthias Maute — recorder, traverso

Sophie Lariviere — recorder, traverso

Susie Napper — violoncello

David Jacques — guitar

Ziya Tabassian — percussion

Death and the Maiden? Death and Arleccino!

Serenata con altre arie Johann Heinrich Schmelzer

Serenata 1623-1680

Arlecchino

Adagio

Allegro

Ciacona

Campanella e Lamento

Chaconnes of Heaven and Hell / part I

Sonata sopra la Monica Biagio Marini

1594-1663

Passacalle (1650) Andrea Falconieri

1586-1656

Aria di Fiorenza y sua Corente Carlo Calvi

1610-?

Ciacona di Paradiso, et dell inferno Anonymous

Rome, 1657

Stories of Love and Solitude

Czech Folk songs Anonymous

Byl jest v Kunštátě 16th century

Ach mlynářko, mlynářko

Keby som já mala

Stuoj, formánku, nehýbaj

Proč, kalino, v struze stojíš

Jidech tam vedle řeky

Vij mi věnec

Zvolil jsem sobě

CORPORATE AND MATCHING GIFTS Bank of New York Mellon

Buchanan, Ingersoll, & Rooney, PC Dollar Bank

Erie Insurance Google, Inc.

Highmark, Inc. The Hillman Company

ABIGAIL MCGUIRE FUND 2014—2015 Sherry Bloom & G. Frederic Roth

Lin & Anne Cook Patrick Curry & Susan Campbell

Laura Haibeck & Ed Levitan Fred & Susan Hansen Bob & Selina Johnson

Kathryn Logan

Chaconnes of Heaven and Hell / part II

Ciacona Tarquinio Merula

1595-1665

Sonata seconda op.III,3 Johann Heinrich Schmelzer

Battalla de Barabaso yerno de Satanas Andrea Falconieri

---Intermission---

Voices of Eternity

Lamentabile for 2 flutes Wilhelm Friedemann Bach

1710-1784

Chaconne BWV 1004 Johann Sebastian Bach

arr. for 2 recorders and basso continuo by M. Maute 1685-1750

Madmen and Broken Hearts

Two in one upon a Ground Henry Purcell

1659-1696

The Duke of Norfolk, or Paul’s Steeple (1684) Anonymous

17th century

A New Scotch Tune Henry Purcell

1659-1696

Budro Anonymous

17th century

Fullmoon in Spain

La Jota Santiago de Murcia

1673-1739

Mad….But Happy!

Sonate op.I,12 La Follia Antonio Vivaldi

1681-1741

Music tells stories. What a simple statement – but how far-reaching are the consequences generated by the intrusion of fiction into music! The music of the 17th and 18th century was often conceived with a narrative or a particular situation in mind : When J.H.Schmelzer in his Serenata con altre arie leads us through the whole cycle of carnival, including the dances, the comedia dell arte of arlecchino, and then subsequently the regrettable end of the festivities on Ash Wednesday garnished with a deathbell and a repeated lamento, we witness a whole story unfolding within a very condensed time frame. Whereas carnival lasted several days, the last sounds of Schmelzer’s serenata die away after just a couple of minutes. Evidently music can depict a whole world within a short segment of our life! It is no accident that many stories that we ourselves have ben told when we were young start with an evocation of the 4th dimension: “Once upon a time…” Time and its mysteries have fascinated human beings throughout the evolution of our civilization. The notion of mortality versus eternity was and still is at the heart of most religions : We have organized our life down to the minute but at the same time we hope for eternity… However, interestingly enough during the 17th and 18th century people attributed to music the power to bring the notion of eternity into their daily life. The chaconne became the synonym for eternity and a symbol for music which reaches out to higher dimensions. The fact that the bass pattern is repeated over and over again, turning around like a spinning wheel has made it possible to associate a fairly simple (however very powerful!) harmonic progression with a dimension of time which goes beyond our human measurements. Bach’s famous Chaconne BWV 1004 comes with an aura of death and vanity : supposedly he wrote it as instrumental lament for his first wife Maria Barbara, who tragically passed away wile Bach was traveling.

PROGRAM NOTES

SPONSORS

($125-249)

Jorunn & Ties Allersma Arthur & Betty Evans Craig & Linda Everhart Don & Joan Franklin Roger Guzik & Charles

Felix Patricia and Gregory

Halverson Catherine Hebert Patti & R.A. Heilman Philo & Erika Holcomb Olivia Isil & Nancy L.

Hammond Richard & Janice Kleiser Gail Luley & Paul

Nicolaysen James McCabe Anita Newell Richard Ozanick Christine Pietrandrea Thomas Ricketts Paul & Carolynn

Schrading Urban G. Schuster Howard Seltman & K.

McIntyre-Seltman Isla & Dan Stefanovich Barbara & Arthur

Westerberg CONTRIBUTORS

($75-124)

Louanne Baily Linda Bamberg Diane Barati Susan Barclay Thomas Black Sherry Bloom & G.

Frederic Roth Frank & Laurie Bruns Rosemary Coffey

Margaret & William Crawford

James & Gwendolyn DeMarco

Stephen Engstrom John Farquhar John Fencho Dr. Arnold Freedman Pamela Groff Margaret Hamstead Jonathan Harris Paul Heilman Pat Kelly David and Verna Laman Polly McQueen S.A. and Sue Neff Eliza & Hugh Nevin Anita Newell Mr. & Mrs. Patrick

O’Donnell Tod & Mary Ann Pike Leila J. Richards Dr. A. Kim & Candace

Ritchey Jane and David Rodes George & Karen

Schnakenberg Carol Skinger and John

Horn Elena Swann Andrew Swensen Stephanie Swoveland Ann Unger

FRIENDS

($40-74) Alyce Amery-Spencer Veronica Bernard Orlando Bolland Susan Bonello Mia Bonnewell Don and Ann Boyd Dale & Jody Colby

John & Karen Cooper Catherine Davidson Mary & Dennis

Doubleday Rebecca and Patrick

Hecking Adam M. Janssen Dan & Carole Kamin George Keiser Sonda Krimmel Dennia & Linda Lawler Larry & Michelle Lesniak Jane MacLeod Eleanor Mayfield &

Robert Pego Peter Moshein Andris Niedra Kevin & Karen Parsons Melissa Rabassi Joanne Scheier Nancy Schwarzkopf Rosa Snyder-Boyd Sidney & Shirley Stark Carolyn Steglich Dean & Libby

Sutherland Aron & Irene Szulman Frederick Whelan &

Margaret Fried Whelan

Erin Yanacek Miriam L. Young There were 30 gifts made under $40. Thank you!

R&B GIFTS AND PLEDGES (CONT’D)

Lindsley F. Cook, President Jeffrey Morrow, Vice President Paul Heilman, Secretary Margaret M. Barth, Treasurer David Bennett Darlene Berkovitz

RENAISSANCE & BAROQUE

BOARD OF DIRECTORS

Laura Haibeck Ray Hricik Adam M. Janssen Robert Johnson Kathryn Logan William J. McAllister Richard Stern Andrew Swensen Mary Tabasko Erin Yanacek

Gail Luley, Managing Director Laura SanBoeuf, Operations & Communications Manager

R&B DONORS

THANK YOU!

ALL GIFTS LISTED HAVE BEEN MADE IN THE PAST 12 MONTHS.

ARTIST UNDERWRITERS

($1,000+)

Anonymous Russ & Kathy Ayres James F. Carroll Clifford Chen & Robin

Zeigler Alan & Hazel Cope Lin & Anne Cook Rhoda & David

Hartmann Ray & Karyn Hricik Bob & Selina Johnson Diana & Jeffrey Morrow Michael Natelson David & Barbara Swan Mary Tabasko SUSTAINING MEMBERS

($750-999)

William McAllister & Janet Sarbaugh

Richard & Lauren Stern

BENEFACTORS

($500-749)

Anonymous Margaret Barth Darlene Berkovitz &

Robert Zinn Gail & Bill Bevan Patrick Curry & Susan

Campbell Ken & Cathy Glick Laura Haibeck & Ed

Levitan Rodger Hendrix & Susan

Godfrey Bernadette Harris &

Timons Esaias Robert W. Thomson

PATRONS

($250-499)

David Bennett Donald & Mary Block Graham & Mary Bullen

Joe & Peggy Charny Anthony & Marge

DeArdo Alexandre Dombrovski Ann Felter & David

Martin Fred & Susan Hansen Mark Heine & Helen

Bender Susan & Peter Koehler Kathryn Logan Norman May Rebecca & Anthony

Rollett James Sahovey Jacob Simon Helen Thornton Ann Valdes James Weddell & Sandra

Faulk Norman Wien

Purcell’s Two in one upon a ground presses on into unknown territory of our experience of time : whereas the repeated bass line refers to eternity, the canon of the two recorders integrates both past and future into one line brought to life by two different performers. While player 1 shows the future (we already know what the other player will perform), player 2 shadows the past of his colleague who is always a step or two ahead in time. From there it is only a small step to the depiction of heaven and hell (Ciacona di Paradiso, et dell inferno), the anxiety of a young girl who does not want to enter a convent (Sonata sopra la Monica), Falconiero’s battle between Satan and Barabas or Vivaldi’s breathtaking excursions into the wild world of madness (La Follia).

Despite the variety of different stories being told, all these pieces share one feature: repeated patterns open the ear to a perception of time which is nourished by the mystery of life and death. The concert tonight is certainly only a drop in a seemginly endless sea, but the composers’ boats float on waters which have been travelling to the edge of space and time and back again… Matthias Maute

R&B would like to thank the

Amadeus String Quartet for their performance prior to the main concert.

Maggie Caballero, violin 10th Grade, Winchester Thurston Anna Gorske, violin 9th grade, CAPA Yosen Wang, viola 9th grade, North Allegheny Intermediate High School Christopher Fedor, cello 9th grade, North Allegheny Intermediate High School

PROGRAM NOTES

Ensemble Caprice, a baroque ensemble which performs on period instruments, was founded by acclaimed recorder soloist Matthias Maute and has become known for its innovative and adventuresome approach to an increasingly expanding musical repertoire. In addition to its series of concerts in Montreal, the group tours extensively, giving dozens of concerts in Quebec, Canada, the USA, Europe, and even Asia. The ensemble is a regular guest at many prestigious European festivals: the Lufthansa Festival of Baroque Music in London, the Bruges (Belgium) and Utrecht (Netherlands) festivals, the Felicia Blumenthal International Music Festival in Tel Aviv; and in Germany, the Musikfestspiele Potsdam Sanssouci, the Regensburg Early Music Festival, the Händel-Festspele in Halle, and the Stockstadt festival. In the USA the group performs at New York’s Frick Collection and Miller Theater, Boston’s Early Music Festival and the Library of Congress in Washington D.C. In Canada, the ensemble can be heard at the Ottawa International Chamber Music Festival, Early Music Vancouver, Early Music Voices in Calgary, the Edmonton Chamber Music Society, the Elora Festival and the Festival International du Domaine Forget. This remarkable touring schedule has established Ensemble Caprice as one of the most important baroque ensembles on the present day musical scene. In November of 2009, The New York Times published a lengthy article hailing the musicians’ innovative and refreshing approach, praising them as “imaginative, even powerful; and the playing is top-flight”. The Ensemble’s recording activity is every bit as impressive, comprising over twenty CD’s having appeared on the Analekta, ATMA Classique and Antes labels, sold in some fifty countries around the world. These recordings have gained many honors and much critical acclaim. The CD Gloria! Vivaldi and his Angels received a JUNO Award in 2009 from the Canadian recording industry. The Conseil québécois de la musique presented the group with three prestigious Prix Opus awards: “Performer of the year”, “Concert of the year” for its performance of Bach’s B Minor Mass during the 2011 Montreal Bach Festival, and

ABOUT THE ARTISTS

Tabassian. In addition to Ensemble Caprice he has collaborated with the Kronos Quartet, the Nouvel Ensemble Moderne, En Chordais, and the Studio de musique ancienne de Montreal. His solo CD, entitled TOMBAK was recently released on the Ambiances Magnetiques label. David Jacques was born in Saint-Georges de Beauce, Quebec in 1978 and has a Doctorate in the interpretation of early music from the Université de Montréal. He began his studies of classical guitar at the Cégep de Sainte-Foy, continuing at Université Laval and later at the Québec Conservatory. He has recorded more than 15 CDs on the XXI-21, ATMA and Analekta labels and collaborated on numerous other productions. His Pièces de guitarre de Mr Rémy Médard (Productions XX-21) won the Conseil Québécois de la Musique’s 2008 Prix Opus Disc of the Year award in the early music category. David has also published several arrangements for guitar for Les Productions d'OZ. Active both in Canada and internationally, he has performed over 2000 concerts in 30 countries on all five continents. He is currently Professor of Classical Guitar at Université Laval and the Cégep de Sainte-Foy and is frequently invited by other musical organizations to give master classes and workshops.

Renaissance & Baroque is a proud member of the Pittsburgh

Music Alliance

ABOUT THE ARTISTS

Larivière has appeared in numerous concerts, in particular in Israel (Tel Aviv and the Mediterranean Arts Festival), Europe (Vienna, Berlin, and Stuttgart), the United States (Chicago, Los Angeles and the Boston Early Music Festival) and Canada (Edmonton, Grande Prairie and a Debut Atlantic tour). A facile and eloquent performer, Ms. Larivière is invited regularly to appear with such early music ensembles as the Arion Ensemble, the Opéra de Montréal, Le Studio de musique ancienne de Montréal, La Nouvele Sinfonie, the Theatre of Early Music, Rebel (New York), Les Violons du Roy (Quebec), the New York Collegium Musicum and Le Concert Spirituel (Paris). Ms. Larivière has made recordings on the Analekta, Virgin Classics, Atma Classique, Antes Edition and Interdisc labels. Susie Napper was awarded Quebec’s “Personality of the Year” Prix Opus in 2002. She is the founder and Artistic Director of the Montreal Baroque Festival. Having grown up in an artistic milieu in London, she then studied at the Juilliard School in New York and later at the Paris Conservatory. Since then, Ms. Napper has appeared with several internationally-known early music ensembles, such as the Philharmonia Baroque Orchestra, Stradivaria in France, the Studio de musique ancienne de Montréal, the Trinity Consort of Portland, Tafelmusik, Ensemble Caprice and the viola da gamba duo Les Voix Humaines. Her concert tours have taken her as far afield as China, Japan, New Zealand, India, the Middle East, Europe and North America. Ms. Napper’s recordings, which include most of the known repertoire for two viols, can be heard on the Harmonia Mundi, EMI, Erato, ADDA, CBC Records, Naxos, Analekta and most notably on the Atma Classique labels. Ziya Tabassian began playing the tombak at the age of eleven. He began his formal training in Iran, pursuing his studies with Master Tehrani's method. In Canada, he studied classical percussion with Julien Gregoire at the University of Montreal and later returned to Iran to continue his training with M. Bahman Rajabi. Ziya is an active member of Constantinople, which he co-founded with his brother Kiya

ABOUT THE ARTISTS ABOUT THE ARTISTS

then again “Concert of the year” for Le Faste de la France, a collaboration with the Studio de Musique ancienne de Montréal. Ensemble Caprice was also recognized for its artistic approach and the quality of its performances by being selected “People’s choice” (2008-2009 season) and was a finalist in the music category for the Montreal Arts Council’s Grand Prix de Montréal for 2009. The group also earned the Echo Klassic award in Germany and several other nominations for the Association québécoise de l’industrie du disque and Prix Opus awards. And finally, the acclaimed publication Gramophone Magazine chose the group’s CD Telemann and the Baroque Gypsies as one of its recommended recordings. Matthias Maute has achieved an international reputation as one of the finest recorder and baroque flute players of his generation and as a composer. In 1990, he won First Prize in the soloist category at the prestigious Early Music Competition in Bruges, Belgium. Mr. Maute is also esteemed for his artistic direction of Ensemble Caprice, for whom he produces ingenious and fascinating programs. The ensemble has appeared at several major venues in Europe, North America, Taiwan and Israel. In addition to his work with Ensemble Caprice, Mr. Maute is invited to appear as a soloist at important festivals in Europe and the United States, as well as with the baroque ensemble Rebel. In 2003 and 2005, he was the featured recorder virtuoso at the Boston Early Music Festival and he will make his debut at New York City’s Lincoln Center in December 2008. His compositions hold an important place in the world of contemporary recorder music and are published by Breitkopf & Härtel, Amadeus, Moeck and Carus. Mr. Maute has made twenty recordings on the Analekta, Vanguard Classics, Bella Musica, Dorian, Bridge and Atma Classique labels. He is a professor at McGill University in Montreal. Sophie Larivière has been a member of Ensemble Caprice since 1997 and is the Artistic Co-Director. In this capacity, she helps to enrich the creative direction of the ensemble in its quest for musical discoveries that blend virtuosity with expressivity. With Ensemble Caprice, Ms.

R&B would like to extend a special thank you to all of the donors that gave during Arts Day

of Giving on Oct 2, 2014, as well as the Greater Pittsburgh Arts Council and the Pittsburgh

Foundation for sponsoring the event.

R&B appreciates your commitment to and pas-sion for the arts.

THANK

YOU!