Boreas Quartett Bremen & Han Tol, February 3, 2019

Yale Collection of Musical Instruments presents

B o r e a s Q ua rt e t t B r e m e n & Han tol

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Il Flauto Magico Jin-Ju Baek, Elisabeth Champollion, Julia Fritz, Luise Manske, and Han Tol, recorders 15 Hillhouse Avenue

New Haven 3 February 2019 3:00 p.m.

Yale Collection of Musical Instruments 15 Hillhouse Avenue New Haven

Il Flauto Magico

3 February 2019 3:00 pm

Highlights of Over Four Centuries of Recorder Music Antonio Vivaldi

Concerto in d (RV 565) Allegro - Largo e spiccato - Allegro

Christopher Tye

In Nomine: Howld fast O lux beata Trinitas In Nomine: Crye

John Dowland (1563-1626) Thomas Simpson

Lachrimae Antiquae Novae

Sรถren Sieg

Circle Dance - Sad Song - Consolation Simple Solution

Eustache du Caurroy

Variations on Une jeune fillette

Hans Leo Haร ler

La Monica

Anthony Holborne

Paradizo The Fairie-round

Johann Sebastian Bach

Aus Kunst der Fuge: Contrapunctus I Contrapunctus XII Contrapunctus IX

Joseph Bodin de Boismortier

Concert for 5 Flutes, op.15/6 Adagio - Allegro - Allegro

(1678-1741)

(~1525-1572)

(1582-1628) (*1966)

(1549 - 1609) (1564-1612)

(1545-1602)

(1685-1750)

(1689-1755)

Galliard

This concert is being recorded and streamed live over the internet.

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Program Notes Il flauto magico A fascinating choice of recorder music from medieval to modern times. Highlights are works by Johann Sebastian Bach, Antonio Vivaldi and Hans Leo Haßler as well as pieces by the contemporary composers Piet Swerts and Sören Sieg. An afternoon full of contrasts: a gamut of instruments in a flashing presentation of magicical consort sound.

With a fascinating choice of recorder music from the Renaissance, Baroque and Modern era, the Boreas Quartett Bremen and Han Tol promise an evening full of contrasts in their “Il Flauto Magico“ program. The musicians combine the warmth and magical color of Renaissance music with the rhetorical and virtuosic qualities of the Baroque period. Highlights of Modern times expand this program’s musical spectrum to a range of almost 500 years, taking the listener on a trip through the history of the instrument.

In his famous diary, written around 1670, the English diplomat Samuel Pepys described how he went to the theatre one evening and heard the enchanting sound of a recorder consort: “…it is so sweet that it ravished me, and indeed, in a word, did wrap up my soul so that it made me really sick, just as I have formerly been when in love with my wife; that neither then, nor all the evening going home, and at home, I was able to think of anything else…” This paints an ideal picture for the Han Tol and the Boreas Quartett Bremen, and it is their goal to create that very sentiment in the souls of the listeners that attend their concerts.

Antonio Vivaldi, Johann Sebastian Bach and Joseph Bodin de Boismortier are contemporaries that represent the three leading nations in music during the Baroque era.

Vivaldi, a Venetian, invented and proposed the new style of the Concerto, an ideal vehicle to display the virtuosity and flamboyance that was so characteristic for, as he was called, the “Red Priest”. Bach, the German master, explores the boundaries of composition in his Magnum Opus; a tour de force in which he was able to combine intricate harmonies, full of expression and drama, with lingering ethereal melodies, yet always operating within the very strict rules of counterpoint. Boismortier, our ambassador for French repertoire, shows us how talented composers of the day were able to adapt Italian forms and flavor them with French elegance, through the expressive use of delightful ornaments, and exhibiting their flawless rhythmic instinct. The title of the piece though, as well as the movements, carry their Italian name and this surprisingly illustrates the unabated influence of the Italians.

Although King Henry VIII had taken Italian musicians, such as the Bassano brothers, under his wing, his actions on the political and religious scene of the day lead to a separation between England and the Continent during the first half of the 16th Century. However, music continued to thrive here and a part of this program is dedicated

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to some of the most astonishing repertoire that evolved during the reign of Henry’s daughter, Elisabeth I (r.1558-1603). The collection of variations on the In Nomine melody by Christopher Tye, organist and composer, displays enormous diversity of character and style and in their compositional principles. These variations are set around a melody in long notes, audible in the tenor voice of the ensemble, which Tye had taken from a mass by John Taverner (±1540), in which he shows his inventiveness and ability to breathe new life and charisma into the archaic theme. Prince Edward VI (r.1547-1553), Elisabeth’s shortlived half-brother and predecessor, addressed Tye, who was awarded a degree of Doctor in Music in 1545, as follows: “England one God, one truth, one Doctor hath For Musick’s art, and that is Doctor Tye, Admired for skill in musick’s harmony.”

The listener will certainly approve of these remarks, while savoring the unexpected harmonic and rhythmical turns in his heavenly “O Lux”. It makes us sad to realize that so much of his music was lost!

Holborne was active at Elisabeth’s court and highly regarded by Dowland, who dedicated one of his compositions to “the most famous, Anthony Holborne”. In 1599 Holborne published a set of Pavans, Galliards and Almaines, the largest surviving English collection of consort music. The dances are most likely arrangements from works originally written for the lute. And this leads us inevitably back to Dowland, who also made the consort setting of the Lacrymae in today’s program with the lute in mind.

Neither Dowland nor Holborne were church-trained musicians, but rather virtuosi on plucked instruments, producing secular music for a growing group of refined music lovers.

Almost all the Renaissance recorder types are heard here, copies of original instruments by the Schnitzer family of Nuremberg. During the first half of the sixteenth century many members of this family were active as instrument builders. They included Sigmund Schnitzer, who gained great renown outside Germany and was particularly famous for his “great oversized pipes”. They are perfectly fit, for an interpretation of the famous “Jeune Fillette” song. This melody was the basis for countless variations and it is played by one of the members of the group in a solo version to allow for better recognition in the virtuosic settings that follow.

Who is more accomplished to offer a commentary to Sören Sieg’s composition than Mr. Sieg himself?: “Ixesha in Xhosa means time. An African proverb says: “The Europeans have the clock, the Africans have the time.” I tried to capture this African feeling of time in this work: relentless repetition, joyful variation, endless floating: time slows down and goes in circles until it nearly stands still. So enjoy the flow, take your time and forget the clock!” We hope you enjoy the concert!

-- Han Tol

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About the Performers Boreas - god of the north wind - is the inpiration behind the name for the quartet.

Wind, i.e. breathing air, brings to life the instruments on which the Boreas Quartet Bremen plays music of the heyday of the Consort. In the press, the four musicians are praised for their “sound-sensual championship”, their “lively, great expressiveness, outstanding technique, perfect intonation and incredible precision in interaction”.

The BQB stands for immersion in the rich, rich sound of consort music and combines these with expressive compositions of the 20th and 21st centuries. In the luggage: an instrument of more than 40 flutes of various design and size, including a twelve-part Renaissance consort by Peter van der Poel, built after original instruments of the 16th century.

Jin-Ju Baek, Elisabeth Champollion, Julia Fritz and Luise Manske studied from 2004 to 2009 together at the Hochschule für Künste Bremen in the field of Early Music Recorder with Prof. Han Tol. In 2014, the BQB received a scholarship from the German Music Council in the finals of the German Music Competition and was included in the 59th “Bundesauswahl Konzerte Junger Künstler”. In 2012, the Boreas Quartet Bremen won the Förderpreis Alte Musik of the Saarländischer Rundfunk and the Fritz Neumeyer Academy in Saarbrücken as well as the Audience Award.

The BQB is supported by the Foundation Laudate, Cantate (Bremen) and played at the Musikfest Bremen, the MDR Musiksommer, the days Alter Musik Saarbrücken, Musica Antica Urbino (I), Taiwan International Recorder Festival, Concentus Moraviae (CZ), baroque mürz (A), Life I Live Festival (NL), Musica Viva Osnabrück and in the studio for New Music Siegen.

In 2013 the CD “In Nomine - Works by Christopher Tye” by cpo (classic production osnabrück) was released.

The consort: an interplay of several identical or different instruments such as violins, gambas, lutes or even recorders. Samuel Pepys wrote in his famous diary (circa 1670) of the moving characteristics of this wooden wind instrument: “... it is so sweet that it has ravished me, and indeed, in a word, did not wrap up my soul so that it really made me sick , just as I have been in love with my wife; that sound, that he beguiled me, and in fact he embraced my soul, that I from becoming really ill, just as I used to, when I fell in love with my wife, and neither then nor the whole evening on the way home, nor at home could I think of anything else ... “) Jin-Ju Baek was born in South Korea where she studied recorder and piano. She is a prize-winner of several competitions for solo recorder in Korea and was invited to continue her studies in Germany by Christian Seher, Professor of recorder in Aachen.

Jin-Ju completed her studies in the Early Music department at the University of the Arts in Bremen in 2009. She is teaching annual Masterclasses in Korea and is a member of the jury for the Academy Competition in Seoul. Jin-Ju has worked as an assistant in Han Tol’s concerts and Masterclasses in Korea since 2008. In 2012 she finished her masterstudies at the University of Music and Theatre in Hamburg with Peter Holtslag.

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Luise Manske studied recorder and historical bassoon (from dulcian to romantic bassoon) with Han Tol, Christian Beuse, Donna Agrell, Josep Borrás and Corina Marti in Bremen and Basel. Luise has performed with numerous ensembles including the Akademie für Alte Musik Berlin, Elbipolis Barockorchester Hamburg, Göttinger Barockorchester and Ensemble Weser-Renaissance Bremen. She appears regularly at festivals such as the Mozartfest Bogota and Mexico City, Taiwan International Recorder Festival, International Gluck-Opera-Festival Nürnberg, Mannheimer Mozartsommer, Bachfest Leipzig, Musikfest Bremen and the International Händel-Festival Göttingen.

She recorded with the Bremer Barock Consort for the CPO label (Classic Production Osnabrück) and with the Göttinger Barockorchester for Coviello Classics. Luise has taken masterclasses with Daniel Brüggen, Gerd Lünenbürger, Peter Van Heyghen, Lyndon Watts, Sigiswald Kuijken, Hervé Niquet and Richard Egarr.

Julia Fritz was a prize winner at the 8th International Telemann Competition in 2015 and the International 2006 ERTA- Competition for solo recorder. In 2007 she was selected to play as a member of the European Union Baroque Orchestra, and was chosen to assist in the masterclass of Han Tol at the International Summer Academy Salzburg in the summer of 2010 and 2012. 2014 till 2016 she was teaching at the “Hochschule für Musik Trossingen”, since February 2017 she holds the position as a professor of recorder at the “Vorarlberger Landeskonservatorium” in Feldkirch, Austria. She graduated summa cum laude in 2008 as a student of Han Tol at the “Hochschule für Künste” in Bremen, studying recorder. Consequently, the institute offered her the opportunity to do a Prix d’Excellence, a highly selective advanced performance course, which she finished with distinction in 2011. She began her studies in Salzburg with Dorothee Oberlinger before moving to Bremen. As recorder and cornett player, Julia Fritz has recorded with the Bremer Barock Consort for the CPO label (Classic Production Osnabrück), and performed with numerous ensembles including Oltremontano and Weser-Renaissance Bremen at the Utrecht Early Music Festival, the Musikfest Bremen, Musica Viva Osnabrück and the International Recorder Festival in Taiwan.

Elisabeth Champollion studied recorder with Dörte Nienstedt, Han Tol and Pierre Hamon in Bremen and Lyon. Concert tours with orchestras like L’Arpeggiata (Christina Pluhar), New Dutch Academy (Simon Murphy) and Elbipolis Barockorchester Hamburg (Jürgen Groß) bring her to play solo recorder concertos, chamber music and orchestral music in the Raad van State Den Haag, Bijloke Gent, Musikfestspiele Sanssouci Potsdam, Istanbul Festival, Premiere Performances Hong Kong, MDR Musiksommer or Tage Alter Musik Herne. Elisabeth curates an Early Music concert series in Bremen, does musicological

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research on women instrumentalists of the classical period, and studies cornetto with Gebhard David. She is first prize winner of the competition for recorder solo in Nordhorn, Germany (2014) and was awarded first prize of the International Biber Competition in St. Florian (Austria) in 2015, together with her ensemble PRISMA. www. elisabethchampollion.de Han Tol represents a new generation in the tradition of the Dutch recorder school. In addition to his duty as professor at the Hochschule für Künste in Bremen, Germany, he is much sought as a teacher of master-classes in Europe and the United States. Mr. Tol has given courses in Vienna, Geneva, Frankfurt am Main, Freiburg, Munich, Dresden, Leipzig, Copenhagen, Utrecht, Amsterdam and at the Mozarteum in Salzburg.

His trio La Dada (including David Mings, bassoon and Patrick Ayrton, harpsichord) founded in 1984 has set new standards in the interpretation of Italian music of the 17th century. His recorder trio La Fontegara Amsterdam is also famous for exciting concerts of modern and old music. Both as an orchestra musician and soloist, he has worked together with such well known musicians Gustav Leonhardt, Nikolaus Harnoncourt, Frans Brüggen, William Parrot, Roy Goodman, Paul McCreesh, Holman, Thomas Hengelbrock and Ton Koopman. Han Tol has also made extensive concert tours with the Freiburger Barockorchester.

This concert was made possible by the generous support of Museum Associates and through a collaboration with the Boston Early Music Festival.

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upcomIng performanceS In the 2018-2019 SeaSon Feb. 24

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Steven ISSerlIS, cello robert levIn, piano Beethoven Cello Sonatas in F, D, and A Major

Mar. 31

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QuIckSIlver baroQue Violini a due: An Italian Journey Works for two violins and continuo

April. 8

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the SebaStIanS “Everywhere sharp-edged and engaging.�

--The New York Times

Apr. 28

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a & a harpSIchord duo Danse Macabe a program of madness and love, life and death

Tickets may be ordered by telephone from the Yale School of Music box office at (203)432-4158 or over the Internet at: www.yale.edu/music Tickets

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$30.00 each, reserved seating $125.00, series of 5 concerts $25.00 each, senior citizens & Yale staff $15.00 each, students $25.00 each, Associate Member $100.00 series, Associate Member

cover Image Hendrick Avercamp Winter Landscape with a Windmill Dutch, ca. 1615 Oil on copper Private collection