Jordi Savall: Tous Les Matins du Monde, February 26, 2019

oneppo chamber music series David Shifrin, artistic director

Tous les Matins du Monde Jordi Savall and Le Concert des Nations Jordi Savall, bass viol and direction • Manfredo Kraemer, violin Charles Zebley, flute • Philippe Pierlot, bass viol Daniel Swenberg, theorbo • Luca Guglielmi, harpsichord

Co-sponsored by the Yale Collection of Musical Instruments

Tuesday, February 26, 2019 | 7:30 pm Morse Recital Hall in Sprague Memorial Hall

Robert Blocker, Dean

Program Tous les Matins du Monde Jean-Baptiste Lully 1632–1687

Suite Le Bourgeois Gentilhomme (Paris, 1670) Marche pour la Cérémonie Turque 1er Air des Espagnols 2e Air des Espagnols Gavotte Canaries Chaconne des Scaramouches

Mr. de Sainte-Colombe, le père ca. 1640–ca. 1701

Concert XLI à deux violes égales (ca. 1680): Le Retour Le Retour En gigue En menuet En gigue En courante Balet tendre En pianelle

Anonymous (traditional) Eustache du Carroy 1549–1609

Une jeune fillette 3 Fantasies sur Une jeune fillette

Marin Marais 1656–1728

Pièces de Viole du 3e livre (Paris, 1711) Prélude Menuets I & II Muzettes I & II La Sautillante

Marais

Sonnerie de Ste. Geneviève du Mont-de-Paris

intermission As a courtesy to others, please silence all devices. Photography and recording of any kind is strictly prohibited. Please do not leave the hall during musical selections. Thank you.

François Couperin 1668–1733

Jean-Philippe Rameau 1685–1764

Les Concerts Royaux (Paris, 1722) and Nouveaux Concerts (Paris, 1724) Prélude, Gracieusement (2e Concert) Plainte pour les Violes, Lentement et douloureusement (10e Concert) Muzettes I & II, Naïvement (3e Concert) Pièces de clavecin en Concerts (Paris, 1741) Tambourins I & II (3e Concert)

de Sainte-Colombe, le père

Concert XLIV à deux violes égales: Tombeau Les Regrets Les Regrets Quarrillon Appel de Charon.

Les Pleurs Joye des Elizées Les Elizées

Marais

Pièces de Viole du 2e livre (Paris, 1701) Les Voix humaines Couplets de Folies

Jean-Marie Leclair 1697–1764

Sonate VIII à Trois (D major, Op. 2, No. 8) « Avec un Violon ou Flûte Allemande une Viole et Clavecin » Second livre de sonates (Paris, 1728) Adagio Allegro Sarabanda: Largo Allegro assai

With the support of the Departament de Cultura of the Generalitat de Catalunya and the Institut Ramon Llull

Artist Profiles Jordi Savall For more than fifty years, Jordi Savall, one of the most versatile musical personalities of his generation, has rescued musical gems from the obscurity of neglect and oblivion and given them back for all to enjoy. A tireless researcher into early music, he interprets and performs the repertory both as a gambist and a conductor. His activities as a concert performer, teacher, researcher and creator of new musical and cultural projects have made him a leading figure in the reappraisal of historical music. Together with Montserrat Figueras, he founded the ensembles Hespèrion XXI (1974), La Capella Reial de Catalunya (1987) and Le Concert des Nations (1989), with whom he explores and creates a world of emotion and beauty shared with millions of early music enthusiasts around the world.

His essential contribution to Alain Corneau’s film Tous les Matins du Monde, which won a César for the best soundtrack, his busy concert schedule (140 concerts per year), his recordings (6 albums per year) and his own record label, Alia Vox, which he founded with Montserrat Figueras in 1998, Jordi Savall has proved not only that early music does not have to be elitist, but that it can appeal to increasingly diverse and numerous audiences of all ages. As the critic Allan Kozinn wrote in The New York Times (2005), his vast concert and recording career can be described as “not simply a matter of revival, but of imaginative reanimation.”

Savall has recorded and released more than 230 discs covering the Medieval, Renaissance, Baroque and Classical music repertories, with a special focus on the Hispanic and

Mediterranean musical heritage, receiving many awards and distinctions such as the Midem Classical Award, the International Classical Music Award and the Grammy Award. His concert programmes have made music an instrument of mediation to achieve understanding and peace between different and sometimes warring peoples and cultures.

Accordingly, guest artists appearing with his ensembles include Arab, Israeli, Turkish, Greek, Armenian, Afghan, Mexican and North American musicians. In 2008 Jordi Savall was appointed European Union Ambassador for intercultural dialogue and was named “Artist for Peace” under the UNESCO “Good Will Ambassadors” programme.

He has played a seminal role in the rediscovery and performance of Una cosa rara and Il burbero di buon cuore by the composer Vicent Martín i Soler. He has also conducted Le Concert des Nations and La Capella Reial de Catalunya in performances of de Monteverdi’s L’Orfeo, Vivaldi’s Farnace, Fux’s Orfeo ed Euridice and Vivaldi’s Il Teuzzone. Jordi Savall’s prolific musical career has brought him the highest national and international distinctions, including honorary doctorates from the Universities of Evora (Portugal), Barcelona (Catalonia), Louvain (Belgium) and Basel (Switzerland), the order of Chevalier de la Légion d’Honneur (France), the Praetorius Music Prize awarded by the Ministry of Culture and Science of Lower Saxony, the Gold Medal of the Generalitat of Catalonia, the Helena Vaz da Silva Award and the prestigious Léonie Sonning Prize, which is considered the Nobel prize of the music world. “Jordi Savall testifies to a common cultural inheritance of infinite variety. He is a man for our time” (The Guardian, 2011).

Le Concert des Nations Jordi Savall, bass viol and direction Manfredo Kraemer, violin Charles Zebley, flute Philippe Pierlot, bass viol Daniel Swenberg, theorbo Luca Guglielmi, harpsichord Founded in 1989 by Jordi Savall and Montserrat Figueras during the preparation of their project on Marc-Antoine Charpentier’s Canticum Beatae Virgine, the orchestra Le Concert des Nations was born out of the need for an orchestra of period instruments capable of performing a repertory spanning from the Baroque to the Romantic period (1600–1850). Its name comes from François Couperin’s work Les Nations, a concept which represents the coming together of musical tastes and the idea that Art in Europe would always bear its own particular stamp, that of the Age of Enlightenment.

Le Concert des Nations, under the direction of Jordi Savall, was the first orchestra to be composed of a majority of musicians from Latin countries (Spain, Latin America, France, Italy, Portugal, etc.), all leading international specialists in the performance of early music using original period instruments on historical principles. From the outset, the group’s manifest aim has been to raise awareness of historical repertory by combining rigorous respect for the original spirit of each work with a revitalising approach to their performance, as is apparaent from their recordings of works

by Charpentier, J. S. Bach, Haydn, Mozart, Handel, Marais, Arriaga, Beethoven, Purcell, Dumanoir, Lully, Biber, Boccherini, Rameau, and Vivaldi.

In 1992 Le Concert des Nations made its opera debut with a production of Martín i Soler’s Una Cosa Rara staged at the Théatre des Champs Élysées in Paris, the Gran Teatre del Liceu in Barcelona and the Auditorio Nacional in Madrid. The group subsequently performed Claudio Monteverdi’s L’Orfeo at the Gran Teatre del Liceu, the Teatro Real in Madrid, the Konzerthaus in Vienna, the Arsenal in Metz and the Teatro Reggio in Turin. In 2002 the production returned to the re-opened Teatre del Liceu in Barcelona, where it was recorded for a BBC-Opus Arte DVD. It was subsequently also staged at the Palais des Arts in Brussels, the Grand-Théâtre in Bordeaux and the Piccolo Teatro in Milan during the Mito Festival. In 1995 the orchestra performed another opera by Martín i Soler, Il Burbero di Buon Cuore in Montpeller, followed in 2000 by Juan Hidalgo and Calderón de la Barca’s Celos aun del Ayre matan staged in a concert version in Barcelona and Vienna.

Recent productions have included Vivaldi’s Farnace, staged at the Teatro de la Zarzuela in Madrid, and Vivaldi’s Il Teuzzone, performed in a semi-concert version at the Òpera Royal at Versailles.

Le Concert des Nations’ numerous recordings have won various awards and distinctions, including the Midem Classical Award and the International Classical Music Awards. The impact of their productions, recordings and performances in the major cities and music festivals around the world have earned them recognition as one of the best orchestras specialising in performance using period instruments and an eclectic, diverse repertory ranging from the earliest music composed for orchestra to the

Artist Profiles, cont. masterpieces of the Romantic and Classical periods.

Jordi Savall plays a 7-string bass viol by Barak Norman, London 1697.

Program Notes all the mornings of the world Baroque dialogues; grace and folly Jean-Baptiste Lully & François Couperin Monsieur de Sainte Colombe & Marin Marais Following the huge success of Alain Corneau’s film Tous les matins du monde (1992 César Award for the best Original Music soundtrack and another seven Césars), based on the book of the same name by Pascal Quignard, and the triumph of Marin Marais and François Couperin’s music with the public, Jordi Savall and some of the musicians who took part in that original recording now commemorate its 25th anniversary. In so doing, they pay tribute to Alain Corneau and Pascal Quignard, and to all the musicians of France’s grand siècle whose work the film helped to make more widely known: Lully, the intendant of Louis XIV’s music, who shaped the musical tastes of a whole century, but also François Couperin, Eustache de Caurroy, and, of course, the film’s two protagonists, Sainte-Colombe the elder— with his concerts for two viols— and Marin Marais, thanks to the luminous virtuosity of these wonderful pieces for viol, and which, thanks to Jordi Savall, gave the film its extraordinary depth.

“I remember the first time I met Jordi Savall, in 1990”, writes Pascal Quignard. “He had read the novel: such was his concentration that I imagined it was Sainte-Colombe himself… They recorded at the dead of night.

It was cold. And I fell asleep on a bench in the chapel [Saint Lambert des Bois]; I remember very little about the occasion. There was an old 17th century score on which Jordi copied out by hand Sainte-Colombe’s piece entitled ‘Les Pleurs’, and underneath it he wrote, ‘For Pascal, a memento of a dream…’

Sometimes dreams have a life far beyond the night on which they are dreamed.”

Oneppo Chamber Music

2018–2019 Season apr 16

A Far Cry gravity: a progression of works for strings.

Pärt: Silouan’s Song Xenakis: Aroura Kernis: Musica Celestis Bartók: Divertimento for String Orchestra Golijov: Tenebrae

May 7

Competition Winners Performances by the winners of the School’s annual Chamber Music Competition

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Upcoming Events mar 1 Renee Rosnes Quartet Ellington Jazz Series Pianist and composer Renee Rosnes performs selections from her albums Written in the Rocks and Beloved of the Sky. 7:30 pm | Morse Recital Hall Tickets start at $22, Students $10

apr 16 A Far Cry

Oneppo Chamber Music Series

The chamber orchestra collective presents a program of music by Pärt, Xenakis, Aaron Jay Kernis, and Bartók.

7:30 pm | Morse Recital Hall Tickets start at $28, students $13

mar 31 Quicksilver Baroque: Violini a due

Collection of Musical Instruments

The period-instrument chamber ensemble explores the musical styles of 17th-century Italy.

3 pm | Collection of Musical Inst.

Tickets $30, Yale staff, seniors and associates $25, students $15

apr 26 Peter Oundjian, principal conductor

Yale Philharmonia Reinecke’s Flute Concerto in D major, Op. 283, and Brahms’ Symphony No. 1 in C minor, Op. 68.

7:30 pm | Woolsey Hall Tickets start at $12, Yale faculty and staff $8, students $5

apr 5

apr 28 A&A Harpsichord Duo

Collection of Musical Instruments

A nastasia Antonova and Anna Kiskachi perform Saint-Saëns’ Danse Macabre, and more.

3 pm | Collection of Musical Inst.

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Carolyn Kuan, guest conductor Yale Philharmonia

Carolyn Kuan conducts the Yale

Philharmonia in Copland’s suite

from Appalachian Spring and more.

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