Queen Christina’s Playlist
ACRONYM
ACRONYM
Sonata a8 in A minor
Sonata a8 in A minor
FESTIVAL CONCERT
A Tribute to Anne, the Princess Royal and Handel’s favorite pupil
Samuel Friedrich Capricornus (1628–1665)
Samuel Friedrich Capricornus (1628–1665)
Canzona a8 in C major
Canzona a8 in C major
Sonata a6 in G minor
Erik Bosgraaf, recorder Francesco Corti, harpsichord
Francesco Cavalli (1602–1676)
Francesco Cavalli (1602–1676)
Andreas Kirchhoff (fl. 1670)
Sonata a6 in G minor Andreas Kirchhoff (fl. 1670)
Sonata a4 in F major
Sonata a4 in F major
Johann Philipp Krieger (1649–1725)
Sonata in C major
Trio Sonata in C major, Op. 1, No. 7
Trio Sonata in C major, Op. 1, No. 7
Johann Philipp Krieger (1649–1725)
George Frideric Handel for Recorder and Basso Continuo, HWV 365 (1685–1759) Larghetto — Allegro — Larghetto — A tempo di Gavotta — Allegro
Arcangelo Corelli (1653–1713)
Arcangelo Corelli (1653–1713)
Sonata terza in G minor
Partita sopra la Aria della Follia da Spagna
Count Unico Wilhelm van Wassenaer for Recorder and Basso Continuo (1692–1766)
Partita sopra la Aria della Follia da Spagna
Grave — Allegro — Sarabanda. Grave — Giga presto
Trio Sonata in D minor
Bernardo Pasquini (1637–1710)
Bernardo Pasquini (1637–1710)
Alessandro Stradella (1639–1682)
Suite in D minor for Harpsichord, HWV 428 Handel Prelude — Allegro — Allemande — Courante — Air & Double — Presto
Trio Sonata in D minor
Suite a4 in G minor
Alessandro Stradella (1639–1682)
Sonata in G major, Op. 9, No. 7
Anonymous from Kassel 61d
Suite a4 in G minor Anonymous from Kassel 61d
Jean-Marie Leclair (l’aîné) for [Voice] Flute and Basso Continuo (1697–1764)
Sonata a6 in D minor
Andante — Allegro ma non tanto —
Aria. Affettuoso; Altro — Giga. Allegro moderato
Antonio Bertali (1605–1669)
Sonata a6 in D minor Antonio Bertali (1605–1669)
Sinfonia from Agar et Ismaele esiliati
Sinfonia from Agar et Ismaele esiliati
Grave — Allegro — Adagio — Giga presto
Sonata a8 in C major
Alessandro Scarlatti (1660–1725)
Sonata seconda in G minor Van Wassenaer for Recorder and Basso Continuo
Alessandro Scarlatti (1660–1725)
Clemens Thieme (1631–1668)
Sonata a8 in C major
Largo — Vivace — Furioso — Adagio — Alla breve —
Andante — A tempo di menuet
Clemens Thieme (1631–1668)
Sonata in B minor Handel for Voice Flute and Basso Continuo, HWV 367a
Sonata in E major, Op. 30, No. 7
Allegro — Siciliano — Allegro — Allegro — Giga — Allegro
The Boston Early Music Festival extends heartfelt thanks to Laura Beeghly for her leadership support of this afternoon’s performance by ACRONYM
Johann Christian Schickhardt for Recorder and Basso Continuo (ca. 1681–1762)
2023
W Double-manual German harpsichord by Allan Winkler, Medford, Massachusetts, 1989, X after Fleischer, property of the Boston Early Music Festival.
W Double-manual German harpsichord by Allan Winkler, Medford, Massachusetts, 1989, X after Fleischer, property of the Boston Early Music Festival.
ACRONYM
Adriane Post, Johanna Novom, Edwin Huizinga, Beth Wenstrom & Manami Mizumoto, violin
Kyle Miller, viola
ACRONYM
Loren Ludwig & Kivie Cahn-Lipman, viola da gamba
Adriane Post, Johanna Novom, Edwin Huizinga, Beth Wenstrom & Manami Mizumoto, violin
Paul Dwyer, violoncello
Doug Balliett, violone
Kyle Miller, viola
Elliot Figg, harpsichord & organ
A Tribute to Anne, the Princess Royal and Handel’s favorite pupil
Loren Ludwig & Kivie Cahn-Lipman, viola da gamba
Daniel Swenberg, theorbo & Baroque guitar
Paul Dwyer, violoncello
Notes on the Program
Doug Balliett, violone
Elliot Figg, harpsichord & organ
Daniel Swenberg, theorbo & Baroque guitar
Erik Bosgraaf, recorder Francesco Corti, harpsichord
Fiercely intelligent and independent, Queen Christina of Sweden (1626–1689) maneuvered herself to the center of the European political and cultural landscape that emerged from the turmoil of the Thirty Years’ War (ca. 1618–1648). Confidante of popes and monarchs, fluent in eight languages, and friend and patron to luminaries like Rene Descartes and Gottfried Liebnitz, Christina would become an influential patron of artists, musicians, and intellectuals across Europe. Her musical palate was particularly diverse and sophisticated, encompassing the latest music from England, France, Germany, and Italy. Drawing on a wide range of historical sources, the musicians of ACRONYM have assembled a royal playlist, a collection of works associated with Christina’s travels and patronage over the course of her career in major cultural centers across the continent. These works offer a snapshot of the best music of mid-century Europe and testify to the taste and power of this exceptional woman and her capacity to leave an indelible mark on the sound of European Baroque music.
Notes on the Program
Sonata in C major George Frideric Handel for Recorder and Basso Continuo, HWV 365 (1685–1759)
Larghetto — Allegro — Larghetto — A tempo di Gavotta — Allegro
Sonata terza in G minor Count Unico Wilhelm van Wassenaer for Recorder and Basso Continuo (1692–1766)
Grave — Allegro — Sarabanda. Grave — Giga presto
Suite in D minor for Harpsichord, HWV 428 Handel
Prelude — Allegro — Allemande — Courante — Air & Double — Presto
Sonata in G major, Op. 9, No. 7 Jean-Marie Leclair (l’aîné) for [Voice] Flute and Basso Continuo (1697–1764)
Alessandro Stradella (1639–1682), who composed a new prologue for the 1671 performance of Cavalli’s Scipione re-dedicated to Christina, was also a prolific opera composer during his short life. Among his several surviving instrumental compositions is a brilliant trio sonata in D minor, composed for solo violin, solo violoncello (in one of the earliest specified pieces for that instrument), and basso continuo. Arcangelo Corelli (1653–1713), a violin virtuoso and perhaps the most famous European composer during his own lifetime, spent formative decades in Rome that coincided with Christina’s residency there later in her life. Corelli dedicated to Christina his Opus 1 (1681), a collection of twelve trio sonatas for two violins and continuo, of which the seventh sonata appears on this evening’s program. Christina sponsored several operas by Bernardo Pasquini (1637–1710), a prolific composer of theatrical music now best remembered as one of the preeminent keyboardists of his day. Pasquini composed a set of harpsichord variations on La Folia, a tune associated with Corelli due to the latter’s sonata of the same name, but actually one of the most popular bass lines of the seventeenth century.
Andante — Allegro ma non tanto —
Fiercely intelligent and independent, Queen Christina of Sweden (1626–1689) maneuvered herself to the center of the European political and cultural landscape that emerged from the turmoil of the Thirty Years’ War (ca. 1618–1648). Confidante of popes and monarchs, fluent in eight languages, and friend and patron to luminaries like Rene Descartes and Gottfried Liebnitz, Christina would become an influential patron of artists, musicians, and intellectuals across Europe. Her musical palate was particularly diverse and sophisticated, encompassing the latest music from England, France, Germany, and Italy. Drawing on a wide range of historical sources, the musicians of ACRONYM have assembled a royal playlist, a collection of works associated with Christina’s travels and patronage over the course of her career in major cultural centers across the continent. These works offer a snapshot of the best music of mid-century Europe and testify to the taste and power of this exceptional woman and her capacity to leave an indelible mark on the sound of European Baroque music.
Aria. Affettuoso; Altro — Giga. Allegro moderato
Sonata seconda in G minor Van Wassenaer for Recorder and Basso Continuo
Alessandro Stradella (1639–1682), who composed a new prologue for the 1671 performance of Cavalli’s Scipione re-dedicated to Christina, was also a prolific opera composer during his short life. Among his several surviving instrumental compositions is a brilliant trio sonata in D minor, composed for solo violin, solo violoncello (in one of the earliest specified pieces for that instrument), and basso continuo. Arcangelo Corelli (1653–1713), a violin virtuoso and perhaps the most famous European composer during his own lifetime, spent formative decades in Rome that coincided with Christina’s residency there later in her life. Corelli dedicated to Christina his Opus 1 (1681), a collection of twelve trio sonatas for two violins and continuo, of which the seventh sonata appears on this evening’s program. Christina sponsored several operas by Bernardo Pasquini (1637–1710), a prolific composer of theatrical music now best remembered as one of the preeminent keyboardists of his day. Pasquini composed a set of harpsichord variations on La Folia, a tune associated with Corelli due to the latter’s sonata of the same name, but actually one of the most popular bass lines of the seventeenth century.
During her eventful life Queen Christina resided or stayed for extended periods in some of the major cultural centers of seventeenth-century Europe, including Stockholm, Antwerp, Innsbruck, Rome, and Paris. In each of these (as well as other) cities, Christina heard the newest music played by luminary performers and composers from across the continent. Venetian-born Francesco Cavalli (1602–1676) succeeded his teacher Claudio Monteverdi as the leading opera composer of the seventeenth century. In 1671 Christina chose Cavalli’s Scipione affricano to open the rebuilt Teatro Tor di Nona, the first public opera house in Rome. The composer’s Canzona a8, published in 1656 in a mixed collection of sacred vocal and instrumental music, showcases in Venetian polychoral style the musical splendor that served as a key ingredient in Cavalli’s rise to fame.
During her eventful life Queen Christina resided or stayed for extended periods in some of the major cultural centers of seventeenth-century Europe, including Stockholm, Antwerp, Innsbruck, Rome, and Paris. In each of these (as well as other) cities, Christina heard the newest music played by luminary performers and composers from across the continent. Venetian-born Francesco Cavalli (1602–1676) succeeded his teacher Claudio Monteverdi as the leading opera composer of the seventeenth century. In 1671 Christina chose Cavalli’s Scipione affricano to open the rebuilt Teatro Tor di Nona, the first public opera house in Rome. The composer’s Canzona a8, published in 1656 in a mixed collection of sacred vocal and instrumental music, showcases in Venetian polychoral style the musical splendor that served as a key ingredient in Cavalli’s rise to fame.
Grave — Allegro — Adagio — Giga presto
Sonata in B minor Handel for Voice Flute and Basso Continuo, HWV 367a
Largo — Vivace — Furioso — Adagio — Alla breve — Andante — A tempo di menuet
As she traveled among the major capitals of Baroque Europe, it was inevitable that the charismatic and strategic Christina would be drawn into diplomatic intrigues. Christina hatched a plan to mediate between Spain and France in their contest to control Naples, a major cultural and musical center on the west coast of the Italian peninsula. The plan fell through, but Christina supported the young Alessandro Scarlatti (1660–1725) in Rome, just prior to his move to Naples, where he would revitalize the musical importance of that city. Though principally remembered for his operas, Scarlatti is represented on tonight’s program by a sinfonia from one of his many oratorios.
Sonata in E major, Op. 30, No. 7 Johann Christian Schickhardt for Recorder and Basso Continuo (ca. 1681–1762)
Allegro — Siciliano — Allegro — Allegro — Giga — Allegro
As she traveled among the major capitals of Baroque Europe, it was inevitable that the charismatic and strategic Christina would be drawn into diplomatic intrigues. Christina hatched a plan to mediate between Spain and France in their contest to control Naples, a major cultural and musical center on the west coast of the Italian peninsula. The plan fell through, but Christina supported the young Alessandro Scarlatti (1660–1725) in Rome, just prior to his move to Naples, where he would revitalize the musical importance of that city. Though principally remembered for his operas, Scarlatti is represented on tonight’s program by a sinfonia from one of his many oratorios.