The Atlanta Baroque Orchestra

John Hsu, Artistic Director & Conductor

Italian Baroque
Music for Strings
Sunday 28 January 2007
3:00 p.m.
Peachtree Road United Methodist Church
3180 Peachtree Road NW
Atlanta, Georgia

ITALIAN BAROQUE MUSIC FOR STRINGS

Concerto in C Major, Op. 8, No. 1
for 2 violins, strings and continuo
Vivace
Largo-Allegro ma non Presto-Largo
Allegro

Giuseppe Torelli
(1658-1709)

Sinfonia No. 12 in A Minor

La passione di Gesu Signor nostro
Grave-Allegretto-Adagio-Allegro

Antonio Caldara
(1670-1736)

Sinfonia No. 4 in B Minor

Morte e sepoltura di Christo
Grave-Allegretto-Allegro assai

Antonio Caldara

Concerto Grosso in C Minor, Op. 6, No. 3

for 2 violins, cello, strings and continuo
Largo-Allegro
Grave
Vivace
Allegro

Arcangelo Corelli
(1653-1713)

intermission
Concerto Grosso in C Major, Op. 3, No. 12
Per il santissimo natale
for 2 violins, cello, strings, and continuo
Largo (Pastorale)
Largo
Allegro

Francesco Manfredini
(1688-1748)

Sinfonia in B Minor, RV 169

Al Santo Sepolcro
Adagio molto-Allegro ma poco

Antonio Vivaldi
(1675-1741)

Concerto Madrigalesco in D Minor, RV 129

Adagio-Allegro
Adagio-Allegro ma non troppo

Antonio Vivaldi

Concerto in G Minor, Op. 3, No. 2, RV 578

for 2 violins, cello, strings, and continuo
Adagio e spiccato-(Allegro)
Larghetto
Allegro

Antonio Vivaldi

THE ATL ANT A BAR OQUE OR CHEST RA

John Hsu, Artistic Director & Conductor

Violin Concertat o
Karen Clarke
Valerie Prebys Arsenault
Shawn Pagliarini
Violin II
Ute Marks
Ruth Johnsen
Peter Rovit

Viola
Melissa Brewer
Nancy Schechter
Violoncello
Brent Wissick
Eckhart Richter

Violone
Melanie Punter
Harpsichord
Daniel Pyle

The Atlanta Baroque Orchestra was founded under the leadership of Lyle Nordstrom, along with
founding-members Catherine Bull, Jeanne Johnson, Daniel Pyle, and Eckhart Richter, who felt the need
for a permanent, professional, historical-instrument orchestra in the Southeast. The unique, transparent
sheen of early instruments, coupled with their capability of a delightful variety of articulations, allows
voices and instruments to blend into a unified, yet clear, sound that is very difficult to achieve with
modern instruments. Since its founding in 1997, the ABO has been applauded for its freshness and
verve, and for its delightful, convincing performances of a wide range of earlier works.
The Orchestra received initial generous support from the Atlanta Early Music Alliance and a variety of
individuals, and has also depended on donations of time and money from the musicians themselves. The
ABO is a not-for-profit corporation based in Atlanta, and is 501(c)3 (tax-exempt). Contributions, which are
tax-deductible, are greatly appreciated and are central to the survival of a venture such as this. If you would
like to support the ABO and its future programming, please send checks made out to The Atlanta
Baroque Orchestra, 303 Augusta Avenue SE, Atlanta, GA 30315. There is also a great opportunity for
friends of the arts in the community to serve on the Atlanta Baroque Orchestra board. Please visit our
website at www.atlantabaroque.org for more information on the ABO.
John Hsu is the Old Dominion Foundation Professor of Music Emeritus at Cornell University, where he
taught for 50 years (1955-2005). He was the founder and conductor of the erstwhile Apollo Ensemble (a
period instrument chamber orchestra) and a renowned virtuoso player of the viola da gamba and baryton.
As both a conductor and an instrumentalist, he has been awarded grants by The Fund for U.S. Artists at
International Festivals and Exhibitions, a public/private partnership of the National Endowment for the
Arts, the United States Information Agency, The Rockefeller Foundation, and the Pew Charitable Trusts.
He has performed throughout North America and Europe, and made award-winning recordings. Among
them are his CD of Haydn Baryton Trios (with violist David Miller and cellist Fortunato Arico), which was
chosen Winner in the Music Retailers Association's Annual Award for Excellence in London, 1989; and
his CD Symphonies for the Esterhazy Court by Joseph Haydn (with the Apollo Ensemble), which was
nominated for the 1996 International Cannes Classical Music Award. In recognition of his edition of the
complete instrumental works of Marin Marais (1656-1728), the most important composer of music for the
viola da gamba, and for his performances and recordings of French baroque music for the viola da gamba,
the French government conferred on him the knighthood Chevalier de l'Ordre des Arts et des Lettres in
May of 2000.
He is a graduate of the New England Conservatory of Music, which awarded him the Honorary Doctor of
Music degree in 1971, and the Outstanding Alumni Award in 2003. He is also Artistic Director Emeritus

of the Aston Magna Foundation for Music and the Humanities, the pioneering musical organization in
the historical performance movement in this country, founded by Albert Fuller in 1972
Program Notes by John Hsu

Giuseppe Torelli was born in Verona in 1658 but lived most of his life in Bologna. He became a violinist
in the Accademia Filarmonica in 1684, and a member of the cathedral orchestra of San Petronio in 1686.
He was active in Ansbach, Berlin, and Vienna between 1696 and 1670, but returned to Bologna in 1701.
Torelli composed both concerti grossi and solo violin concertos. The two solo concertos in Opus 6,
published in 1698, are most likely the first such concertos from the seventeenth century. His Opus 8,
containing six concerti grossi and six solo violin concertos, was published in 1709, the year of his death.
Torellis Concerto in C Major, Op. 8, No. 1 is a rather typical concerto grosso, except that it begins with
the solo group rather than the orchestra, as is more common. The first movement consists of five pairs of
solo-orchestral alternation of sonorities. The first and last pairs are in C major, and those in between are
in closely related keys. The third and fourth appearances of the solo group are lengthened and feature the
solo violins in brilliant fast figurations. The second movement, Largo, is expanded by the addition of a
fast section (Allegro, ma non troppo) in E minor and another slow section (adagio) in A minor, but
alternation of sonorities occurs only in the first section. Unlike the first movement, the third begins and
ends with the orchestra, thus there is a final orchestral appearance following five pairs of orchestral-solo
alternation of sonorities. The first pair and last orchestral section are in C major, and the middle sections
are each in a different tonality.
Antonio Caldara was born in Venice in 1671. He was an important composer in his day, having held the
position of Kapellmeister in Mantua and Rome before settling in Vienna, where he was Vice-Kapellmeister
of the imperial court for 20 years, until his death in 1736. He was a prolific composer of operas and
oratorios as well as instrumental works, whose music was heard regularly at court. It is undeserved that
his instrumental music is almost totally neglected today. As their titles suggest, these two Sinfonias are
examples of sacred instrumental music composed for Holy Week. The first two movements of each of the
two sinfonias were composed originally as introductions to two oratorios with those titles. To transform
these two-movement introductions into independent sinfonias, Caldara added two movements to form the
first sinfonia and one movement to form the second. With the somber and sorrowful portions of the
sinfonias one could imagine the music as descriptive of the suffering and death of Christ. But what
associations could one make with the final fast movements? Might the one in the Death sinfonia be a
prefiguration of the resurrection of Christ?
Arcangelo Corelli, considered by many of his contemporaries as the Orpheus of our day, was a virtuoso
violinist, influential teacher and composer. Born in Fusignano in 1653, he spent most of his life in Rome
in the service of Cardinals Pamphili and Ottoboni. He composed only instrumental works: namely, violin
sonatas, trio sonatas, and concerti grossi. His twelve concerti grossi Op. 6 were published posthumously
in Amsterdam in 1714. They achieved instant fame and remain to this day among the most popular works
for strings. As suggested by the composer, these concertos may also be played as trio sonatas, since the
solo instruments play the complete music throughout. However, it is his imaginative use of the orchestra
that gives his concerti grossi its musical fascination.

In his Concerto Grosso in C Minor, he treats the alternation of sonorities in different ways in each
movement. In the first movement, long orchestral passages predominate, with snippets of the solo
ensemble interspersed occasionally. This movement is a French overture with a Largo introduction in duple
time and an Allegro fugal section in triple time, but with neither section repeated. The second movement,
Grave, is for the orchestra without soloists. The richness of the continuous orchestral sonority accords well
with the intense expressiveness of the music, which is derived from the successive dissonant harmonies that
result from sequential suspensions. In texture, the Vivace movement is a trio-sonata punctuated by frequent
and random orchestral intrusions, which gives the movement its whimsical and humorous quality. The
gigue-like final movement is in fact a concerto movement for two violins with orchestral accompaniment.
Francesco Manfredini was born in Pistoia in 1684, and died there in 1762. He went to Bologna in his youth
to study with Torelli, and became a member of the Accademica Filarmonica in 1704. His published works
for strings included 12 Concertini da camera, Opus 1 (1704); 12 sinfonias, Opus 2 (1709); and 12 concertos,
Opus 3 (1718). His music shows clearly the influence of Torelli. He is known to have composed nine
oratorios, but they are lost.
As indicated by the title, Manfredinis Concerto Grosso in C Major Opus 3, No. 12, is a Christmas
concerto. It is therefore fitting that the first movement is a pastorale (a slow siciliano in 12/8 meter) that
evokes the rural scenes of shepherds and shepherdesses associated with Christmas. The second is a ripieno
movement for the orchestra without soloists. It is a serene piece in A minor and duple time, with a melodic
line made up of broken-chord figures. The gigue-like last movement returns to C major and reverts to the
concerto grosso characteristic of alternation between the orchestra and the solo group. The simple
harmonic progressions and melodic figures, frequently accompanied by drones, evoke a shepherd's dance
played by a bagpipe.
With hundreds of concertos and sinfonias to his credit, Antonio Vivaldi (1678-1741) is perhaps the most
prolific composer of music for string orchestra. He was the leading violin virtuoso of his time, and his over
two hundred violin concertos represent not only the most technically advanced violin writing of the time,
but also the most imaginative orchestral writing. His works influenced all the composers of the time,
including J.S. Bach, Telemann, and Handel.
Although Vivaldi was born in Venice and died in Vienna, he was also active in Mantua and Rome for many
years. It is likely that the initial impetus for writing concertos was his appointment as maestro di violino at
the Pio Ospedale della Piet in 1703. The Piet was a kind of orphanage for girls in Venice that had a strong
music program, and directing the string orchestra there and composing music for it were among Vivaldis
duties. He held the position until 1716, but continued to compose music for this institution for many years
following.
Many of his works bear descriptive titles that are helpful to the players and listeners in their understanding
and appreciation of the music. As the title Al santo sepolcro suggests, this Sinfonia is a sacred work for
Holy Week. The solemnity of the occasion is portrayed by the tempo of the music, the agony by the
chromatic harmony of the first movement, and the pathos by the descending chromatic steps in the theme of
the second movement.
The title Concerto Madrigalesco is used for this concerto because its themes are comprised almost
completely of recycled material from the composers sacred vocal works. The first Adagio and second
Allegro are taken from the beginning and end of his Magnificat, RV 610, and the first Allegro from the last

section of his Kyrie, RV 587. In view of the brevity of the movements, and the alternation of slow
harmonic and fast polyphonic music, this concerto is more like a seventeenth-century Italian canzona than
a madrigal.
Vivaldis Concerto in G Minor is the first of four concertos for two violins, cello, and orchestra in the
collection of twelve concertos for violins, Opus 3, entitled Lestro armonico, published in 1711. As the
title suggests, this is music inspired by harmony. The concerto begins with an Adagio introduction of
plain but expressive harmonic progressions, devoid of rhythmic or melodic interest. It leads into the
brilliant fast movement in which sparkling virtuosic melodic figurations from the solo violins alternate
with rich sonorities of the tremolo-like sixteenth-note passages from the orchestra. In the Larghetto
movement we witness Vivaldis expressive and dramatic use of contrasting dynamics and silence. The final
Allegro, a joyful gigue, is a concerto grosso movement with clear-cut alternation of the sonorities of the
orchestra and the solo group.

Bach Club ($1.000 +)

An anonymous donor
An anonymous donor
Cathy Callaway Adams
Dr. & Mrs. David Bright
Dr. & Mrs. Peter DeWitt
Federal Home Loan Bank of Atlanta
Janie R. Hicks
Martha J. R. Hsu
Douglas Leonard
Mr. & Mrs. William E. Pearson III
Daniel Pyle & Catherine Bull
Lois Z. Pyle
Dr. & Mrs. Eckhart Richter
Donald E. Snyder
Susan Wagner
Larry Thorpe & Dr. Barbara Williams

Embellish A Melody!

Handel Club ($500-999)

Donald N. Broughton & Susan L. Olson
James E. Honkisz & Catherine A. Binns
Dr. & Mrs. William P. Marks, Jr.
Dr. George Riordan & Karen Clarke
Rome Area Council for the Arts
Southeastern Historical Keyboard Society
Dr. & Mrs. Joel D. Todino
Vivaldi Club ($250-499)
Martha Bishop
Michael Clifford & Sandra Murray
Nancy Musselwhite
Dr. Marie P. Griffith and Music Academy of Rome
Dr. & Mrs. David Halverson
Dr. Henry Kahn & Mary Gilmore--Kahn
Dr. Jerry McCormick Certified Collision Specialists
Dr. & Mrs. Ephraim R. McLean
Mr. & Mrs. John L. Mortison
Holly, Mark, Jack, & Sara Murphy
Dr. & Mrs. Roderick Remoroza
Mr. & Mrs. Thomas J. Thomas
Mr. & Mrs. Paul Timm-Brock

Telemann Club ($100-249)

Niels Brix Andersen
John & Linda Austin
Mr. & Mrs. Roger S. Austin
Mr. & Mrs. William H. Austin, Jr.
Daniel Baba
Mr. & Mrs. Roy B. Bogue
Patrick L. Boyle & Paula G. Ciembor
Mr. & Mrs. A. C. Briley, Jr.
Stratton H. Bull
Susan K. Card
Dr. & Mrs. Robert M. Cates
Dr. & Mrs. M. Dwayne Collier
Dr. & Mrs. Jack R. Edgens
Homer Edwards
Drs. Thomas & Shauna Farmer
Dr. & Mrs. Peter G. Gilmer
Ms. Anne P. Halliwell
Dymples E. Hammer
Dr. & Mrs. Daniel Hanks, Jr.
Dr. & Mrs. Bannester L. Harbin
Dr. Buford G. Harbin
Margaret T. Harbin
Mr. & Mrs. Allan R. Jones
Virginia Ware Killorin
Hans & Christa Krause
George H. Lanier
Dr. & Mrs. Richard W. Leigh
Mr. & Mrs. Gordon A. Leiter
Mrs. Hugh T. Moore
G. R. and Caroline Nuckolls
Shawn Pagliarini & Russell Williamson
Mr. & Mrs. Jerry Pollard
Mary Roth Riordan
Dr. & Mrs. William H. Robison III
Dr. & Mrs. D. Michael Rogers
Dr. & Mrs. Jim L. Rogers
Ann R. Rollins
Dr. Jack Runninger
Michael & Cheri Schneider
Dr. & Mrs. Stuart A. Smith
Hans & JoAnn Schwantje
Mr. & Mrs. James H. Tuttle
Dr. & Mrs. Gary Voccio

The Atlanta Baroque Orchestra would like to thank the following persons and establishments
For contributing their time, talents, and energy in regard to the details of ABO concerts.
Atlanta Early Music Alliance (AEMA)
William & Ute Marks
Janice Joyce & Chris Robinson
Eckhart & Rosemary Richter
Nancy & Wayne Musselwhite
Gisella Torresala & Sheraton Midtown Hotel
Janie Hicks
Valerie Prebys Arsenault
Peter and Patricia DeWitt
Sid & Linda Stapleton
Martha Bishop
Susan Wagner
Peachtree Road United Methodist Church: Scott Atchison
Linda Bernard & RyeType Design
Ephraim & Jane McLean
Cathy Adams & The Federal Home Loan Bank of Atlanta
The ABO would also like to acknowledge the several thousand dollars worth of rehearsal time that has been graciously given to the
orchestra by its members. These concerts could not be given without their enthusiasm and support.

ABO Board of Directors

President: Eckhart Richter

Vice President: Cathy Adams
Vice President for Development: Janie Hicks
Secretary: Susan Wagner
Treasurer: Peter DeWitt
Daniel Pyle, Resident Director
Hotel accommodation for The Atlanta Baroque Orchestra
musicians is graciously provided by

Ephraim McLean
William E. Pearson III
John Lemley
Melanie Punter
Scott Atchison

Support is also provided by

Do Not Miss the Rest of

Our 2006-07 Season!
Dieterich Buxtehude 300 Anniversary
th

Membra Jesu Nostri (Seven meditations)

Sonatas for strings and basso continuo

Sunday 11 March 2007

Handel & Haydn

Handel: Concerti grossi from Op. 3 & Op. 6

Haydn: Little Organ Mass
With soprano Arietha Lockhart
Chamber Choir of Peachtree Road United Methodist Church
(Scott Atchison, Director)

Sunday 13 May 2007

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