Do Not Miss the

Final Concert

of

Our 2008-09 Season!

May 17, 2009, 3:00 pm Music from Albion’s Shore…

music from the English Baroque masters Works by Purcell, Locke, Avison, Handel

Elizabeth Wallfisch, Violinist and Guest Director

Visit our web-site at

www.atlantabaroque.org

The At lanta Baroque Orches t ra

The Austr ian Connect ion… A Reve la t ion o f Baroque Music and Dance

Jul ie Andr i jeski, Viol in is t & Gues t Director

Paige Whit l ey-Baugues s, Baroque Dancer

Sunday 22 March 2009

3:00 p.m.

Peachtree Road United Methodist Church

3180 Peachtree Road NW

Atlanta, Georgia

The Austrian Connection This program made possible in part by a gift from Janie R. Hicks

Concerto grossi in D, opus 6 no. 1 Arcangelo Corelli

Largo – Allegro – Adagio – Allegro – Adagio – Allegro – Largo – Allegro (1653 – 1713)

Largo

Allegro – Adagio

Allegro

Serenata con altre arie Johann Heinrich von Schmelzer

Serenata (1623 – 1680)

Allemande

Erlichino

Ciaccona

Campanella – Lamento

Sonata V in G Major, from Armonico Tributo, 1682 Georg Muffat

Allemanda: Grave (1653 – 1704)

Adagio

Fuga

Adagio – (Allegro) – Adagio

Passagaglia: Grave

intermission

Concerto grosso in F major, Opus 6, no. 9 Arcangelo Corelli

Preludio: Largo

Allemanda: Allegro

Corrente: Vivace

Gavotta: Allegro

Adagio

Menuetto: Vivace

Concerto V in D Major "Saeculum," from Auserlesene Instrumental-music, 1701 Georg Muffat

Sonata: Grave – Allegro

Allemanda: Largo

Grave

Gavotta: Alla breve ma non presto Menuet: Allegro

Characters of the Dance

Chaconne (Amadis, 1684) Jean-Baptiste Lully (1632-1687)

Menuet Anonymous, arr. Hugh Murphy

Air des Polichinels (Les Fêtes Vénitiennes, 1710) André Campra (1660-1744)

Entrée pour une femme (Carnaval de Venise, 1699)

Air, Rondeau (L’Europe galante, 1697) André Campra

Entrée Espagnolle pour un femme

Tempeste (Alcyone, 1706) Marin Marais (1656-1728)

La Matelotte

please come to a reception for the performers, sponsored by Susan Wagner, following the concert

Embellish A Melody!

Bach Club ($1.000 +) Handel Club ($500-999) An anonymous donor Donald N. Broughton & Susan L. Olson An anonymous donor Dr. & Mrs. William P. Marks, Jr. Cathy Callaway Adams John & Zoe Pilgrim Dr. & Mrs. David Bright Dr. George Riordan & Karen Clarke Peter & Pat DeWitt Federal Home Loan Bank of Atlanta Telemann Club ($100-249) Janie R. Hicks Atlanta Early Music Alliance Martha J. R. Hsu John & Linda Austin Douglas A. Leonard Mr. & Mrs. Roger S. Austin William E. Pearson III Beth Bell & Stephen Morris Lois Z. Pyle Mr. & Mrs. Roy B. Bogue Dr. & Mrs. Eckhart Richter Stratton H. Bull Donald E. Snyder Susan K. Card Larry Thorpe & Dr. Barbara Williams Moncure and Sandy Crowder Susan Wagner Dr. & Mrs. Robert A. Derro Dr. Alan Goodman Vivaldi Club ($250-499) Dymples E. Hammer Aslan Productions Suzanne W. Howe Mr. & Mrs. Jeffery A. Freeman Mr. & Mrs. Allan R. Jones Anne P. Halliwell Hans & Christa Krause Virginia Ware Killorin North Side Women’s Club Dr. & Mrs. Ephraim McLean Rich & Caroline Nuckolls Mary Roth Riordan Rebecca M. Pyle Hans & JoAnn Schwantje

Season Sponsors ($2,500 or more) Peter & Pat DeWitt

Janie R. Hicks Lois Z. Pyle

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) Eckhart & Rosemary Richter Janice Joyce & Chris Robinson Russell Williamson Janie Hicks Valerie Prebys Arsenault Peter and Pat DeWitt Sid & Linda Stapleton Peachtree Road United Methodist Church: Scott Atchison Susan Wagner and Camilla Cruikshank & Judy Koch Linda Bernard & RyeType Design Daniel Pyle & Catherine Bull 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: Cathy Adams Alan Goodman

Vice President: Eckhart Richter Janice Joyce Vice President for Development: Janie Hicks William E. Pearson III

Secretary: Susan Wagner Melanie Punter

Treasurer: Peter DeWitt Daniel Pyle, Resident Director

Catering by Jessica Ray, Culinary Artistry Personal Chef Service, Inc. Support for ABO is provided by

http://mychefsite.com/chefjessica

Subligny in the Ballet de L’Europe galante composed by Campra in 1697. Like the previous dance, it was choreographed by Pécour and published in 1704.

Marin Marais’ Alcyone (1706) includes a tune, Marche des Matelots, which you may recognize as the Christmas carol Masters in this Hall. The Marche pre-dates the carol, though, and must have been very popular as it was used for four known notated dances: a solo for a man, two duets for a man and woman, and a popular contredanse called La Matelote (The Female Sailor). I have arranged the manuscript solo “Entrée de matelot par mr. feüillet” and the 1706 duet “La Matelotte par Mr. Feüillet” for this performance. Johann Heinrich Schmelzer was born in lower Saxony and received his education in Vienna. He was employed as a violinist in Vienna and later appointed Kapellmeister in Frankfurt. Schmelzer is best known for his instrumental compositions and especially his dance suites, and in fact, was given the official title of ballet composer to the Viennese court in 1665 and continued to write dance music until shortly before his death in 1680. Since there was not yet a system for notating dances, a gap remains in our knowledge of specific dance movement between the Navarro treatise of 1642 in Spain and the Favier dance score of 1688 in France. Thus, in reviving a Schmelzer ballet, one is confronted with questions concerning the dance steps and style as well as the ballet plot and performance occasion. Since Schmelzer’s music contains a movement titled Erlicino (Harlequin), I have choreographed the Serenata

con altre arie as an episode during Carnival in which various commedia del’ arte characters appear: Scaramouche, Pulcinella, Harlequin, and Columbine. Allow your imagination to decide the circumstances…but the Campanella (pealing bell) announces that dawn is near. Paige Whitley-Bauguess

THE ATLANTA BAROQUE ORCHESTRA Julie Andrijeski, Violinist & Guest Director

Violin Vio la Flu te Karen Clarke Melissa Brewer Catherine Bull Martha Perry Elena Kraineva Janice Joyce Valerie Arsenault Ute Marks Cello Harps ichord Ruth Johnsen Brent Wissick Daniel Pyle Eckhart Richter Violone Melanie Punter

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. Recently lauded for her "invigorating verve and imagination" by the Washington Post, JULIE ANDRIJESKI is among the leading baroque violinists in the U.S. She was until recently a full-time member of the early-music trio, Chatham Baroque, an award-winning ensemble that performs throughout the Americas, and is now on the music faculty of Case-Western Reserve University. In January of this year she was one of the musicians who took part in the activities surrounding the presidential inauguration in Washington. In addition, Ms. Andrijeski regularly appears with several other baroque groups including, among others, Cleveland's Apollo's Fire, the Boston Early Music Festival Orchestra, Cecilia's Circle, Spiritus Collective, and the King's Noyse. Ms. Andrijeski's unique performance style is greatly influenced by her knowledge and skilled performance of baroque dance, and she often teaches both violin and dance at workshops. She has been on the faculty of

the Baroque Performance Institute at the Oberlin Conservatory for over a decade and will teach at the Madison Early Music Workshop again this year. Ms. Andrijeski received her Doctorate of Musical Arts degree in Early Music from Case Western Reserve in May 2006. Previous degrees include a B.M. in Violin Performance from the University of Denver (1985) and an M.M. in Violin Performance from Northwestern University (1986). She has recorded extensively, and awaits the release of Chatham Baroque's most recent recording project, sonatas from Prothimia suavissima, on Dorian Recordings. PAIGE WHITLEY-BAUGUESS is director of the Baroque Arts Project and Atlantic Dance Theatre in New Bern, NC, where she also directs two social dance troupes, the New Bern Dancing Assembly (youth) and the Craven Historical Dancers (adults). She has produced two baroque dance DVDs, Introduction to Baroque Dance-Dance Types and Dance of the French Baroque Theatre featuring her collaborative work with dance partner Thomas Baird. Paige has stage directed baroque operas for the Bloomington Early Music Festival, the Peabody Conservatory, and East Carolina University, and is on the faculties of the Oberlin Baroque Performance Institute and the East Coast Baroque Dance Workshop at Rutgers University. She holds an MA in Dance History from the University of California at Riverside and a BFA in Ballet from the NC School of the Arts where she also attended high school. www.BaroqueDance.com

The Austrian Connection

Musicians and music-lovers in the 17th and 18th centuries saw their musical culture as polarized between two distinct and incompatible styles, the Italian and the French. To us, three- and four-hundred years later, these “opposites” may not seem so extremely different, but to them it was, as we might now say, “a very big deal.” It aroused feelings so strong and deep that in the 1690’s François Couperin felt compelled to publish his first “sonatas” (an Italian form) under a pseudonym, for fear that he would be dismissed from his positions at the royal court; and in the mid-18th century, there was actual physical combat in the streets of Paris between proponents of the French and Italian styles of opera — the so-called “War of the Buffoons.”

The musical style which we now refer to as Baroque arose in the late 16th century in the city-states of northern Italy, especially Venice and Florence. There were two key factors in its evolution: the simplification of the polyphonic textures of the Renaissance (a linear approach to composing in several voices) into vertically-oriented block chords, such as found in the canzone and polychoral motets of Giovanni Gabrieli; and the development of the recitative-style, a way of composing musical dialogue with simple chordal accompaniment that made possible the creation of the first operas in the late 1590’s. These two factors were combined in the early 1600’s with a newly-evolving literature for the violin, which led to the style of instrumental and vocal music embodied by the sonatas and concertos of Arcangelo Corelli and later Antonio Vivaldi.

In France at the same time there was great awareness of developing Italian styles, primarily because of the influence of two queens from Florence, Catherine des Medicis in the 16th century (wife of Henry II) and Marie des Medicis (wife of Henry IV). French Baroque style took different paths from the Italian, however, primarily because of the different characters of rhythm and accentuation in the languages and literatures of France and Italy. Ironically, the musician who came to embody the French style above all others, Jean-Baptiste Lully, was Florentine by birth, even though his training as a violinist, dancer, and composer all took place in Paris.

The “Austrian Connection” to which this concert refers is to the Austrian composer Georg

Muffat. Although born in the region then known as Savoy (now the very northwestern part of Italy), he was educated in Paris, studying with Lully himself, before pursuing his own career as organist and composer in Austria, first in Vienna and then Salzburg, finally in Passau. But he also was well-versed in the Italian style: after moving to Austria he was given leave to spend time in Rome studying with the famous organist Pasquini, and where he became a friend of Arcangelo Corelli. He admired Corelli’s concerti grossi very much, and his own compositions in that style were performed in Corelli’s home by the master himself. Thus Muffat became the first major composer to unite the “conflicting” French and Italian styles in his own music, prefiguring the accomplishments in the same “unification” of Bach, Handel, and Telemann.

Daniel Pyle

Notes on the Dance

During the early years of his reign, Louis XIV performed in theatrical works such as Le Ballet de la Nuit of 1653, an all night production in which he dressed as Apollo in the final entrée (act), portraying the rising sun at dawn. Of significance is that the on-stage cast included not only Louis XIV, but also young Jean-Baptiste Lully, who later composed the great tragédies-lyriques of the Académie Royale de Musique (eventually the Paris Opéra); actor and playwright Molière; and dancer Pierre Beauchamps, who later became the king's dancing master and composer of ballets. Beauchamps is credited for the early development of a dance notation system, (officially published by Raoul-Auger Feuillet in 1700), as well as for the codification of the five positions of the feet still used in ballet today. The notation conveys floor patterns, music, steps, a clear marking for music measure divisions, and some indication of step timing within the measure. Notation publications provided courts all over Europe easy access to the most fashionable dances and insured French influence on the art form. Instructions on specific dance style, arm movements, and step execution were presented verbally in dancing manuals that also included information on ballroom etiquette; how to sit, stand, and give honors (bow); how to remove one’s hat; etc. Louis XIV's last theatre performance was in 1670.

The music for the “Chacone of Amadis Performd’ by Mr. Dupré” is from Lully’s 1684 Amadis and was choreographed by Anthony L’Abbé, a French dancing master working in London, and published in c1725. The chaconne occurs at the end of the opera in the enchanted palace of Apollidon: Amadis passes through the Arch of Loyal Lovers and by doing so releases heroes and heroines who had been captives awaiting their own true lovers.

The “Menuet performd’ by Mrs. Santlow” is also by Anthony L’Abbé and was published in London in c1725. Hester Santlow was a Drury Lane Theatre actress and dancer and, as the wife of Barton Booth, also known as Mrs. Booth. The audience of the day would have been delighted to see Hester’s variations on the simple ballroom menuet step.

The “Entrée pour une femme” was danced by Mlle. Victoire in the Ballet du Carnaval de Venise composed by André Campra in 1699. The dance, choreographed by Guillaume Louis Pécour and published in 1704, is a forlana performed by “masques” in the last scene: Le Bal.

Dances with a Spanish flavor became popular at the French court, not surprising since Louis XIV’s marriage to Spanish-born María-Teresa was just one of many royal alliances to straddle the Pyrenees. Spanish characters appeared in the French theater and it became fashionable to dance Spanish entrées while playing castanets. The “Entrée Espagnolle pour un femme,” a loure, was danced by Mlle.

the Baroque Performance Institute at the Oberlin Conservatory for over a decade and will teach at the Madison Early Music Workshop again this year. Ms. Andrijeski received her Doctorate of Musical Arts degree in Early Music from Case Western Reserve in May 2006. Previous degrees include a B.M. in Violin Performance from the University of Denver (1985) and an M.M. in Violin Performance from Northwestern University (1986). She has recorded extensively, and awaits the release of Chatham Baroque's most recent recording project, sonatas from Prothimia suavissima, on Dorian Recordings. PAIGE WHITLEY-BAUGUESS is director of the Baroque Arts Project and Atlantic Dance Theatre in New Bern, NC, where she also directs two social dance troupes, the New Bern Dancing Assembly (youth) and the Craven Historical Dancers (adults). She has produced two baroque dance DVDs, Introduction to Baroque Dance-Dance Types and Dance of the French Baroque Theatre featuring her collaborative work with dance partner Thomas Baird. Paige has stage directed baroque operas for the Bloomington Early Music Festival, the Peabody Conservatory, and East Carolina University, and is on the faculties of the Oberlin Baroque Performance Institute and the East Coast Baroque Dance Workshop at Rutgers University. She holds an MA in Dance History from the University of California at Riverside and a BFA in Ballet from the NC School of the Arts where she also attended high school. www.BaroqueDance.com

The Austrian Connection

Musicians and music-lovers in the 17th and 18th centuries saw their musical culture as polarized between two distinct and incompatible styles, the Italian and the French. To us, three- and four-hundred years later, these “opposites” may not seem so extremely different, but to them it was, as we might now say, “a very big deal.” It aroused feelings so strong and deep that in the 1690’s François Couperin felt compelled to publish his first “sonatas” (an Italian form) under a pseudonym, for fear that he would be dismissed from his positions at the royal court; and in the mid-18th century, there was actual physical combat in the streets of Paris between proponents of the French and Italian styles of opera — the so-called “War of the Buffoons.”

The musical style which we now refer to as Baroque arose in the late 16th century in the city-states of northern Italy, especially Venice and Florence. There were two key factors in its evolution: the simplification of the polyphonic textures of the Renaissance (a linear approach to composing in several voices) into vertically-oriented block chords, such as found in the canzone and polychoral motets of Giovanni Gabrieli; and the development of the recitative-style, a way of composing musical dialogue with simple chordal accompaniment that made possible the creation of the first operas in the late 1590’s. These two factors were combined in the early 1600’s with a newly-evolving literature for the violin, which led to the style of instrumental and vocal music embodied by the sonatas and concertos of Arcangelo Corelli and later Antonio Vivaldi.

In France at the same time there was great awareness of developing Italian styles, primarily because of the influence of two queens from Florence, Catherine des Medicis in the 16th century (wife of Henry II) and Marie des Medicis (wife of Henry IV). French Baroque style took different paths from the Italian, however, primarily because of the different characters of rhythm and accentuation in the languages and literatures of France and Italy. Ironically, the musician who came to embody the French style above all others, Jean-Baptiste Lully, was Florentine by birth, even though his training as a violinist, dancer, and composer all took place in Paris.

The “Austrian Connection” to which this concert refers is to the Austrian composer Georg

Muffat. Although born in the region then known as Savoy (now the very northwestern part of Italy), he was educated in Paris, studying with Lully himself, before pursuing his own career as organist and composer in Austria, first in Vienna and then Salzburg, finally in Passau. But he also was well-versed in the Italian style: after moving to Austria he was given leave to spend time in Rome studying with the famous organist Pasquini, and where he became a friend of Arcangelo Corelli. He admired Corelli’s concerti grossi very much, and his own compositions in that style were performed in Corelli’s home by the master himself. Thus Muffat became the first major composer to unite the “conflicting” French and Italian styles in his own music, prefiguring the accomplishments in the same “unification” of Bach, Handel, and Telemann.

Daniel Pyle

Notes on the Dance

During the early years of his reign, Louis XIV performed in theatrical works such as Le Ballet de la Nuit of 1653, an all night production in which he dressed as Apollo in the final entrée (act), portraying the rising sun at dawn. Of significance is that the on-stage cast included not only Louis XIV, but also young Jean-Baptiste Lully, who later composed the great tragédies-lyriques of the Académie Royale de Musique (eventually the Paris Opéra); actor and playwright Molière; and dancer Pierre Beauchamps, who later became the king's dancing master and composer of ballets. Beauchamps is credited for the early development of a dance notation system, (officially published by Raoul-Auger Feuillet in 1700), as well as for the codification of the five positions of the feet still used in ballet today. The notation conveys floor patterns, music, steps, a clear marking for music measure divisions, and some indication of step timing within the measure. Notation publications provided courts all over Europe easy access to the most fashionable dances and insured French influence on the art form. Instructions on specific dance style, arm movements, and step execution were presented verbally in dancing manuals that also included information on ballroom etiquette; how to sit, stand, and give honors (bow); how to remove one’s hat; etc. Louis XIV's last theatre performance was in 1670.

The music for the “Chacone of Amadis Performd’ by Mr. Dupré” is from Lully’s 1684 Amadis and was choreographed by Anthony L’Abbé, a French dancing master working in London, and published in c1725. The chaconne occurs at the end of the opera in the enchanted palace of Apollidon: Amadis passes through the Arch of Loyal Lovers and by doing so releases heroes and heroines who had been captives awaiting their own true lovers.

The “Menuet performd’ by Mrs. Santlow” is also by Anthony L’Abbé and was published in London in c1725. Hester Santlow was a Drury Lane Theatre actress and dancer and, as the wife of Barton Booth, also known as Mrs. Booth. The audience of the day would have been delighted to see Hester’s variations on the simple ballroom menuet step.

The “Entrée pour une femme” was danced by Mlle. Victoire in the Ballet du Carnaval de Venise composed by André Campra in 1699. The dance, choreographed by Guillaume Louis Pécour and published in 1704, is a forlana performed by “masques” in the last scene: Le Bal.

Dances with a Spanish flavor became popular at the French court, not surprising since Louis XIV’s marriage to Spanish-born María-Teresa was just one of many royal alliances to straddle the Pyrenees. Spanish characters appeared in the French theater and it became fashionable to dance Spanish entrées while playing castanets. The “Entrée Espagnolle pour un femme,” a loure, was danced by Mlle.

Subligny in the Ballet de L’Europe galante composed by Campra in 1697. Like the previous dance, it was choreographed by Pécour and published in 1704.

Marin Marais’ Alcyone (1706) includes a tune, Marche des Matelots, which you may recognize as the Christmas carol Masters in this Hall. The Marche pre-dates the carol, though, and must have been very popular as it was used for four known notated dances: a solo for a man, two duets for a man and woman, and a popular contredanse called La Matelote (The Female Sailor). I have arranged the manuscript solo “Entrée de matelot par mr. feüillet” and the 1706 duet “La Matelotte par Mr. Feüillet” for this performance. Johann Heinrich Schmelzer was born in lower Saxony and received his education in Vienna. He was employed as a violinist in Vienna and later appointed Kapellmeister in Frankfurt. Schmelzer is best known for his instrumental compositions and especially his dance suites, and in fact, was given the official title of ballet composer to the Viennese court in 1665 and continued to write dance music until shortly before his death in 1680. Since there was not yet a system for notating dances, a gap remains in our knowledge of specific dance movement between the Navarro treatise of 1642 in Spain and the Favier dance score of 1688 in France. Thus, in reviving a Schmelzer ballet, one is confronted with questions concerning the dance steps and style as well as the ballet plot and performance occasion. Since Schmelzer’s music contains a movement titled Erlicino (Harlequin), I have choreographed the Serenata

con altre arie as an episode during Carnival in which various commedia del’ arte characters appear: Scaramouche, Pulcinella, Harlequin, and Columbine. Allow your imagination to decide the circumstances…but the Campanella (pealing bell) announces that dawn is near. Paige Whitley-Bauguess

THE ATLANTA BAROQUE ORCHESTRA Julie Andrijeski, Violinist & Guest Director

Violin Vio la Flu te Karen Clarke Melissa Brewer Catherine Bull Martha Perry Elena Kraineva Janice Joyce Valerie Arsenault Ute Marks Cello Harps ichord Ruth Johnsen Brent Wissick Daniel Pyle Eckhart Richter Violone Melanie Punter

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. Recently lauded for her "invigorating verve and imagination" by the Washington Post, JULIE ANDRIJESKI is among the leading baroque violinists in the U.S. She was until recently a full-time member of the early-music trio, Chatham Baroque, an award-winning ensemble that performs throughout the Americas, and is now on the music faculty of Case-Western Reserve University. In January of this year she was one of the musicians who took part in the activities surrounding the presidential inauguration in Washington. In addition, Ms. Andrijeski regularly appears with several other baroque groups including, among others, Cleveland's Apollo's Fire, the Boston Early Music Festival Orchestra, Cecilia's Circle, Spiritus Collective, and the King's Noyse. Ms. Andrijeski's unique performance style is greatly influenced by her knowledge and skilled performance of baroque dance, and she often teaches both violin and dance at workshops. She has been on the faculty of

The Austrian Connection This program made possible in part by a gift from Janie R. Hicks

Concerto grossi in D, opus 6 no. 1 Arcangelo Corelli

Largo – Allegro – Adagio – Allegro – Adagio – Allegro – Largo – Allegro (1653 – 1713)

Largo

Allegro – Adagio

Allegro

Serenata con altre arie Johann Heinrich von Schmelzer

Serenata (1623 – 1680)

Allemande

Erlichino

Ciaccona

Campanella – Lamento

Sonata V in G Major, from Armonico Tributo, 1682 Georg Muffat

Allemanda: Grave (1653 – 1704)

Adagio

Fuga

Adagio – (Allegro) – Adagio

Passagaglia: Grave

intermission

Concerto grosso in F major, Opus 6, no. 9 Arcangelo Corelli

Preludio: Largo

Allemanda: Allegro

Corrente: Vivace

Gavotta: Allegro

Adagio

Menuetto: Vivace

Concerto V in D Major "Saeculum," from Auserlesene Instrumental-music, 1701 Georg Muffat

Sonata: Grave – Allegro

Allemanda: Largo

Grave

Gavotta: Alla breve ma non presto Menuet: Allegro

Characters of the Dance

Chaconne (Amadis, 1684) Jean-Baptiste Lully (1632-1687)

Menuet Anonymous, arr. Hugh Murphy

Air des Polichinels (Les Fêtes Vénitiennes, 1710) André Campra (1660-1744)

Entrée pour une femme (Carnaval de Venise, 1699)

Air, Rondeau (L’Europe galante, 1697) André Campra

Entrée Espagnolle pour un femme

Tempeste (Alcyone, 1706) Marin Marais (1656-1728)

La Matelotte

please come to a reception for the performers, sponsored by Susan Wagner, following the concert

Embellish A Melody!

Bach Club ($1.000 +) Handel Club ($500-999) An anonymous donor Donald N. Broughton & Susan L. Olson An anonymous donor Dr. & Mrs. William P. Marks, Jr. Cathy Callaway Adams John & Zoe Pilgrim Dr. & Mrs. David Bright Dr. George Riordan & Karen Clarke Peter & Pat DeWitt Federal Home Loan Bank of Atlanta Telemann Club ($100-249) Janie R. Hicks Atlanta Early Music Alliance Martha J. R. Hsu John & Linda Austin Douglas A. Leonard Mr. & Mrs. Roger S. Austin William E. Pearson III Beth Bell & Stephen Morris Lois Z. Pyle Mr. & Mrs. Roy B. Bogue Dr. & Mrs. Eckhart Richter Stratton H. Bull Donald E. Snyder Susan K. Card Larry Thorpe & Dr. Barbara Williams Moncure and Sandy Crowder Susan Wagner Dr. & Mrs. Robert A. Derro Dr. Alan Goodman Vivaldi Club ($250-499) Dymples E. Hammer Aslan Productions Suzanne W. Howe Mr. & Mrs. Jeffery A. Freeman Mr. & Mrs. Allan R. Jones Anne P. Halliwell Hans & Christa Krause Virginia Ware Killorin North Side Women’s Club Dr. & Mrs. Ephraim McLean Rich & Caroline Nuckolls Mary Roth Riordan Rebecca M. Pyle Hans & JoAnn Schwantje

Season Sponsors ($2,500 or more) Peter & Pat DeWitt

Janie R. Hicks Lois Z. Pyle

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) Eckhart & Rosemary Richter Janice Joyce & Chris Robinson Russell Williamson Janie Hicks Valerie Prebys Arsenault Peter and Pat DeWitt Sid & Linda Stapleton Peachtree Road United Methodist Church: Scott Atchison Susan Wagner and Camilla Cruikshank & Judy Koch Linda Bernard & RyeType Design Daniel Pyle & Catherine Bull 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: Cathy Adams Alan Goodman

Vice President: Eckhart Richter Janice Joyce Vice President for Development: Janie Hicks William E. Pearson III

Secretary: Susan Wagner Melanie Punter

Treasurer: Peter DeWitt Daniel Pyle, Resident Director

Catering by Jessica Ray, Culinary Artistry Personal Chef Service, Inc. Support for ABO is provided by

http://mychefsite.com/chefjessica

Do Not Miss the

Final Concert

of

Our 2008-09 Season!

May 17, 2009, 3:00 pm Music from Albion’s Shore…

music from the English Baroque masters Works by Purcell, Locke, Avison, Handel

Elizabeth Wallfisch, Violinist and Guest Director

Visit our web-site at

www.atlantabaroque.org

The At lanta Baroque Orches t ra

The Austr ian Connect ion… A Reve la t ion o f Baroque Music and Dance

Jul ie Andr i jeski, Viol in is t & Gues t Director

Paige Whit l ey-Baugues s, Baroque Dancer

Sunday 22 March 2009

3:00 p.m.

Peachtree Road United Methodist Church

3180 Peachtree Road NW

Atlanta, Georgia