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Chamber Music Preview

Carolina Pro Musica Presents "Divinely Inspired" on February 10-13

provided by presenter

Karen Hite Jacob
Holly Maurer
Rebecca Miller Saunders
Eddie Ferrell

Event  Information

Charlotte -- ( Sat., Feb. 10, 2018 )

Carolina Pro Musica: "Divinely Inspired"
$16-$8 -- Saint Mary's Chapel , (704) 334-3468 , http://www.carolinapromusica.org -- 8:00 PM

Belmont -- ( Mon., Feb. 12, 2018 )

Belmont Abbey College: "Divinely Inspired"
Performed by Carolina Pro Musica
Free (donations gladly accepted) -- Abbey Basilica , (704) 461-6012 , http://www.bac.edu/ -- 8:00 PM

February 10, 2018 - Charlotte, NC:

This preview has been provided by Carolina Pro Musica.

Have you ever considered from where a composer's inspiration may come? It may be the musical styles of the time, the texts supplied or simply from the composer's own imagination and creativity. Carolina Pro Musica's Divinely inspired focuses on composers whose employment required creating new works on a continuing basis. Works have been selected to highlight ensemble members and show the creativity and sensitivity of the composers. Arrigoni, Castello and Monteverdi helped to advance music from the Renaissance style to the Baroque. Their works have contrasting sections with no specific movements. Giovanni Giacomo Arrigoni (1597–1675) was engaged as organist at the Imperial chapel in Vienna in the 1630s. Two volumes of his publications were dedicated to Ferdinand II, Holy Roman Emperor (1619–1637).

Dario Castello was an Italian composer and instrumentalist who worked in Venice. Publications indicate he worked at the Basilica of St. Mark's where Monteverdi was maestro di capella. Castello's music is inventive and technically challenging. His polyphonic sections alternate with dramatic recitatives, in keeping with the title of the publications "in stil moderno." Claudio Monteverdi, an Italian composer from Cremona, came to work at San Marco in Venice. He is also credited with development of opera there. His exciting "Laudate Dominum", dates from Venice, 1641.

In the eighteenth century composers often used instruments to enhance texts or movements of a work. J.S. Bach immediately comes to mind, but our program demonstrates that Telemann and Vivaldi did similarly. The opening selection of our concert is part of 72 cantatas for the three liturgical year cycles that Telemann composed and published in Hamburg, 1725-26, under the title Harmonische Gottesdients. This joyous aria in da capo form uses the upper register of the recorder pushing it to the limit, perhaps as Christ wants us to do when we are His disciples.

The recorder is featured differently in Handel's recorder sonata from his Opus 1 dating from his time in Rome. Handel reused this work for his Organ Concerto, Opus 4 #5, published in London, 1738.

Handel's Marian antiphon "Haec est Regina Virginum", dates from Rome, 1707. Some think the work was written for the annual Carmelite Festival patronized by Cardinal Carlo Colonna who was also one of Handel's first patrons and supporters. The work is serene, invoking the Virgin Mary. The instrumental parts present a musical theme that would surface years later in London.

Bach's "Bete, Bete" dates from 1724 in Leipzig. It is the fourth movement of Cantata 115 Mache dich, mein Geist, bereit. This movement is scored for traverso, bass viol and voice. The continuo supports the three parts which are intertwined and have much thematic repetition while maintaining a peaceful yet pleading manner.

Antonio Lotti spent a large part of his life in Venice associated with the Basilica of San Marco. He was a male alto in the choir, second organist and first organist (1704). Between 1703 and 1730 he composed sacred works, and also 27 operas between 1693 and 1717. He spent two years in Dreden directing his operas, then returned to Venice. Lotti's trio sonata in G, perhaps a later work, has flowing musical lines and specifies viola da gamba as the bass solo.

Antonio Vivaldi was an Italian composer, virtuoso violinist, teacher and priest, best-known for his work The Four Seasons, he also had some success with expensive stagings of his operas in Venice, Mantua and Vienna.

Vivaldi produced three known settings of Psalm 112 (113 in Protestant Bibles). We present part of the last setting on our program. Dating from around 1730, it appears to have been composed for a member of a group of seven Italian singers at the Saxon-Polish court in Dresden who had trained in Venice and Bologna between 1724 and 1730. The most memorable movement is the seventh, 'Gloria Patri', in which the composer calls for an obbligato flute, a relatively new instrument in Venice. Vivaldi encountered the flautist Johann Joachim Quantz on Quantz's visit to Venice in 1726. This movement was most likely inspired by that contact. (Michael Talbot © 2001).

Many vocal works on our program seem to have a poignant intensity. In a delicate manner they infuse us with what we should do to have a good life. The instruments follow (or lead) in an imitative style and all in the proper direction.

This program will be presented:

February 10, 2018, 8:00 PM at St. Martin's Episcopal, Charlotte, NC

February 11, 2018, 4:00 PM, St. Ann Catholic Church, Charlotte, NC, Gaudium Musicum Series

February 12, 2018, 8:00 PM, Belmont Abbey Basilica, Belmont NC, Arts at the Abbey Series

February 13, 2018, 7:00 PM, St. Andrew's Episcopal Church, Bessemer City NC, GEMS (Gaston Early Music Series) supported in part by a Grassroots grant of the NC Arts Council

Details can be found at www.carolinapromusica.org