CARNEGIE HALL PRESENTS

Performance Thursday, February 9, 2017 | 7:30 PM

Quicksilver

Sonatas from La Serenissima

Weill Recital Hall
Chamber music from the Venetian Republic is some of the most inventive and expressive of the Baroque era. Quicksilver, praised for “impeccable, soulful playing” (The New York Times), performs music from 17th- and 18th-century greats, ranging from the "radical" composers Castello and Marini, to the operatic lyricism of Legrenzi and spectacular virtuosity of Vivaldi.

Part of Salon Encores.

Performers

  • Quicksilver
    ·· Robert Mealy, Co-Director and Violin
    ·· Julie Andrijeski, Co-Director and Violin
    ·· Greg Ingles, Sackbut
    ·· Dominic Teresi, Dulcian and Bassoon
    ·· David Morris, Viola da Gamba and Cello
    ·· Avi Stein, Harpsichord and Organ
    ·· Charles Weaver, Theorbo and Guitar

Program

  • CASTELLO Sonata No. 14 from Sonate concertate in stil Moderno, Book II
  • CIMA Sonata a tre from Concerti ecclesiastici
  • LEGRENZI Sonata No. 3 from La cetra, sonate a 2-4, Book IV, Op. 10
  • ROSENMÜLLER Sonata à 5 in F Major (1682)
  • ROSSI Toccata No. 7 from Toccate e correnti
  • VIVALDI Sonata in D Minor for Two Violins and Continuo, RV 63, "La follia"
  • VIVALDI Concerto in B-flat Major for Bassoon, Strings, and Continuo, RV 501, "La notte"
  • MARINI "L'Aguzzona" from Affetti musicali
  • MERULA "Ballo detto Eccardo" from Canzoni overo sonate concertate per chiesa e camera, Book III
  • MERULA Ciaccona from Canzoni overo sonate concertate per chiesa e camera, Book III
  • NERI Sonata No. 5 à 4 from Sonate da sonarsi don varij stromenti, Op. 2
  • FONTANA Sonata No. 8 from Sonate à 1, 2, 3 ... (1641)
  • CASTELLO Sonata No. 12 from Sonate concertate in stil Moderno, Book II

  • Encore:
  • MERULA "Ballo detto Pollicio" from Canzoni overo sonate concertate per chiesa e camera à 2—3, Book III

Event Duration

The printed program will last approximately two hours, including one 20-minute intermission.

Bios

  • Quicksilver


    Led by violinists Robert Mealy and Julie Andrijeski, Quicksilver brings together leading historically informed performers in North America today, vibrantly exploring the rich chamber music repertoire from the early modern period to the High Baroque. The ensemble has been featured at numerous music series and prestigious festivals, receiving critical acclaim, standing ovations, and repeat invitations from coast to coast. The ensemble has also been requested at musicological conferences sponsored by the American Musicological Society and the Society for Seventeenth-Century Music. Quicksilver has released two critically acclaimed CDs that bring to light rarely heard 17th-century music: Stile Moderno and Fantasticus.

    Robert Mealy (co-director and violin) is one of America's most prominent Baroque violinists. He began exploring early music in high school, first with the Collegium of UC Berkeley and then at the Royal College of Music in London, where he studied harpsichord and Baroque violin. While an undergraduate at Harvard, he was asked to join the distinguished Tafelmusik Baroque Orchestra. He has gone on to record more than 80 albums of early music on most major labels, ranging from music by Hildegard von Bingen with Sequentia, to Renaissance consorts with The Boston Camerata, and operas by Rameau with Les Arts Florissants. Mr. Mealy regularly performs as a soloist and concertmaster in New York City, where he serves as principal concertmaster at Trinity Church Wall Street. As orchestra director for the Boston Early Music Festival, he has led festival productions, international tours, and Grammy-winning recordings for more than a decade. A keen scholar as well as a performer, Mr. Mealy is director of the Historical Performance program at The Juilliard School, leading his students in acclaimed performances at Alice Tully Hall as well as on international tours. He was previously on the faculty of Yale University, where he directed the postgraduate Yale Baroque Ensemble. Prior to that, he taught at Harvard, where he founded the Harvard Baroque Chamber Orchestra. Mr. Mealy teaches at many summer institutes, including the American Bach Soloists Academy and Oberlin's Baroque Performance Institute. In 2004, he received Early Music America's Thomas Binkley Award for outstanding teaching and scholarship.

    Julie Andrijeski (co-director and violin) is a performer, scholar, and teacher of early music and dance. Her unique style is built upon her knowledgeable blend of early music and dance, imbuing her performances and teaching with gestural and rhythmic nuance. In addition to her work with Quicksilver, she is artistic director and concertmaster of the Atlanta Baroque Orchestra, a principal player with Apollo's Fire, and frequently performs with Les Délices and the Boston Early Music Festival Orchestra. Dr. Andrijeski joined the faculty at Case Western Reserve University in 2007, where she teaches early music performance practice and directs the Baroque Music and Dance ensembles. In addition, she teaches Baroque violin at the Cleveland Institute of Music. She has been invited to share her performance, teaching, and research skills at other institutions, including a semiannual residency as a visiting lecturer at The Juilliard School and regular engagements at the Oberlin Conservatory, Temple University, Peabody Conservatory, and Indiana University. Her special interest in 17th-century music has led to the publication of a chapter on violin performance from that era in the second edition of A Performer's Guide to Seventeenth-Century Music (Indiana University Press). In 2016, Dr. Andrijeski received a coveted Creative Workforce Fellowship from Cuyahoga County Arts & Culture to further her research and performance of 17th-century music in manuscript and Early Music America's Thomas Binkley Award.

    Greg Ingles (sackbut) studied at the Interlochen Arts Academy and the Oberlin Conservatory. Shortly after graduating from Oberlin, he earned the position of solo trombone with the Hofer Symphoniker in Hof, Germany. Dr. Ingles returned to the US to start graduate studies at Stony Brook University (SUNY). Concurrent with his time at Stony Brook, he was the adjunct trombone professor at Hofstra University. It was his work with Arthur Haas at Stony Brook that led to his conversion to early music. Dr. Ingles's early sackbut studies were with members of Concerto Palatino: Charles Toet and Wim Becu. Shortly thereafter, he became a member of the renaissance wind bands Piffaro (Philadelphia) and Ciaramella (Los Angeles). Dr. Ingles has been a guest artist with such ensembles as American Bach Soloists, Chatham Baroque, Orchestra of the Renaissance, I Furiosi, The Handel and Haydn Society, and Tafelmusik Baroque Orchestra. One of Dr. Ingles's most interesting projects was as part of the Globe Theatre's Broadway production of Twelfth Night and Richard III, starring Mark Rylance and Stephen Fry. As the music director of the early brass ensemble Dark Horse Consort, he enjoys unearthing rarely heard masterworks and joining in collaborations with other artists. Dr. Ingles is the lecturer in sackbut at Boston University and teaches at the Madison Early Music Festival each summer.

    Dominic Teresi (dulcian and bassoon) is principal bassoon of Tafelmusik Baroque Orchestra, Boston Early Music Festival Orchestra, and Carmel Bach Festival. He also teaches historical bassoons and chamber music at The Juilliard School, and bassoon at the University of Toronto. As a chamber musician, he plays regularly with Quicksilver, Juilliard Baroque, and the Toronto Consort, and has enjoyed guest appearances with Le Concert d'Astrée, Orchestre Révolutionnaire et Romantique, American Bach Soloists, Philharmonia Baroque Orchestra, Arion, I Furiosi, Ensemble Caprice, Chatham Baroque, The Eybler Quartet, The Smithsonian Chamber Players, The Handel and Haydn Society, and Apollo's Fire. Dr. Teresi was an invited featured artist on CBC Radio, where he performed a nationally broadcast radio concert of bassoon concertos and sonatas, and has appeared as a soloist throughout Europe, North America, and Australia. In addition to his work at Juilliard and the University of Toronto, Dr. Teresi also teaches at the Tafelmusik Baroque Summer Institute and the American Bach Soloists Academy, and has presented research on the dulcian at the Musikinstrumentenbau Symposium in Saxony-Anhalt. His recordings can be found on Tafelmusik Media, Analekta, Acis, CPO, Dorian, Naxos, CBC, and ATMA labels.

    David Morris (viola da gamba and cello) has performed and recorded across the US, Canada, and Europe on baroque cello, viola da gamba, lirone, and a variety of other historical stringed instruments. A member of the Galax Quartet and a frequent guest performer with the NYS Baroque, he also has performed with the Boston Early Music Festival Orchestra, Tragicomedia, Pacific Baroque Orchestra, Tafelmusik Baroque Orchestra, Boston Symphony Orchestra, Philharmonia Baroque Orchestra, Musica Pacifica, American Bach Soloists, Musica Angelica Baroque Orchestra, Seattle Baroque Orchestra, Mark Morris Dance Group, and Seattle's Pacific Music Works. He was the founder and musical director of the Bay Area Baroque opera ensemble Teatro Bacchino, and has produced operas for the Berkeley Festival and the San Francisco Early Music Society. Mr. Morris received both his bachelor's and master's degrees from UC Berkeley, and has been a guest instructor in the practice early music performance at UC Berkeley, UC Santa Cruz, UC Davis, San Francisco Conservatory of Music, Mills College, Oberlin Conservatory, Madison Early Music Festival, and Cornell University. He has recorded for the Harmonia Mundi, New Albion, Dorian, New World, and Drag City labels, as well as CBC Radio and New Line Cinema.

    Avi Stein (harpsichord and organ) is the artistic director of the Helicon Foundation, as well as the associate organist and chorus master at Trinity Church Wall Street, where he takes part in liturgical events, a weekly Bach cantata series, and a recent Carnegie Hall performance of works by Ives and Ginastera. He also teaches continuo accompaniment and chamber music at The Juilliard School. Mr. Stein performed on the 2015 Grammy-winning recording by the Boston Early Music Festival of Charpentier's La descente d'Orphée aux enfers and La couronne de fFleurs. He was also featured recently in Early Music America as part of the new generation of leaders in the field. He has performed throughout the US, Europe, Canada, and Central America. He directed the young artists' program at the Carmel Bach Festival and has conducted a variety of ensembles, including the Opéra Français de New York, Opera Omnia, Amherst Early Music's opera, and a critically acclaimed, annual series called the 4x4 Baroque Music Festival. Mr. Stein studied at Indiana University, the Eastman School of Music, and the University of Southern California, and was a Fulbright Scholar in Toulouse, France.

    Charles Weaver (theorbo and guitar) performs on early plucked-string instruments both as a recitalist and as an accompanist. He has appeared in chamber music performances with Quicksilver, Early Music New York, Piffaro, the Folger Consort, and Musica Pacifica, and under the auspices of the Boston Early Music Festival, Great Blue Heron Music Festival, and Chamber Music Society of Lincoln Center. He is a member of the faculty of The Juilliard School, where he teaches historically informed performance with a focus on plucked instruments. In 2016, he was the assistant conductor for Juilliard Opera's production of Cavalli's La Calisto. He also works with the New York Continuo Collective, an ensemble of players and singers exploring 17th-century vocal music in semester-length workshop productions. He has taught at the Lute Society of America's summer workshop, the Madison Early Music Festival, and the Western Wind's workshops. He is associate director of music at St. Mary Roman Catholic Church in Norwalk, Connecticut, where he focuses Renaissance polyphony and Gregorian chant.

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At a Glance

Venice in the early 17th century was the birthplace of a new kind of modern art: the sonata, an abstract instrumental work simply meant to be “sounded,” with no agenda but that of the imagination of the composer, and no standard form but the passionate give-and-take of friends in conversation. The composers working in Venice consciously began to create “new music,” a stile moderno, replete with dramatic emotional contrasts very different from the smooth tapestry of Renaissance polyphony, establishing an instrumental analogue to the passionate voices being heard in the new opera houses of the time. Quicksilver, a distinguished ensemble devoted to the vividly imaginative, virtuosic, and experimental music of the Baroque era, explores the development of this new art with dramatic instrumental works by the mysterious Dario Castello (one of Monteverdi’s colleagues); his friend and virtuoso violinist Giovanni Battista Fontana; Giovanni Legrenzi, the brilliant composer best known for writing opera; German fugitive Johann Rosenmüller; and the young Antonio Vivaldi in a portrait of 17th-century Venice as home to impassioned musical invention—not only for opera, but also for instrumental music.
Program Notes
La Serenissima: Music and Arts from the Venetian Republic is sponsored by Chubb.
The Italian Ministry of Cultural Heritage and Activities and Tourism has granted La Serenissima: Music and Arts from the Venetian Republic its official support (“Patrocinio”) in recognition of Carnegie Hall’s celebration of Italy’s extraordinarily rich cultural legacy.

Carnegie Hall gratefully acknowledges the support of the Ministry of Heritage and Culture and Tourism in Rome; the Embassy of Italy in Washington, DC; and the Consulate General of Italy in New York.
This performance is part of Early Music in Weill Recital Hall.

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