Ensemble Connect
Part of Salon Encores.
Performers
Ensemble Connect
·· Mika Sasaki, Harpsichord
·· ToniMarie Marchioni, Oboe (Alumni)
·· Rebecca Anderson, Violin
·· Adelya Nartadjieva, Violin
·· Andrew Gonzalez, Viola
·· Maren Rothfritz, Viola
·· Caeli Smith, Viola (Guest)
·· Julia Yang, Cello
·· Lizzie Burns, Double Bass
·· Rebecca Farley, Soprano (Guest)
·· Ian Koziara, Tenor (Guest)
·· Xiaomeng Zhang, Baritone (Guest)
Caroline Shaw, Violin
Program
ROSENMÜLLER Sonata No. 4 in C Major
MONTEVERDI Il combattimento di Tancredi e Clorinda (arr. Berio)
MARCELLO Oboe Concerto in C Minor
CAROLINE SHAW Stucco & Brocatelle (NY Premiere, commissioned by Carnegie Hall)
VIVALDI Sinfonia in B Minor, RV 169, "Al Santo Sepolcro"
VIVALDI Concerto in G Major, RV 151, "Alla rustica"
Event Duration
The printed program will last approximately 90 minutes, including one 20-minute intermission.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.
Additional support has been provided by Mr. and Mrs. Nicola Bulgari, Leslie and Tom Maheras, Susan and Elihu Rose Foundation, Sarah Billinghurst Solomon and Howard Solomon, and Trust for Mutual Understanding.
Public support is provided by the New York City Department of Education, and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.
Ensemble Connect is also supported, in part, by an endowment grant from The Kovner Foundation.
At a Glance
JOHANN ROSENMÜLLER Sonata No. 4 in C Major
The early Baroque composer Johann Rosenmüller published this attractive trio sonata in 1682, around the time he returned to Germany after more than two decades in Italy. It is distinguished by its adventurous chromatic harmonies and symmetrical seven-part structure.
CLAUDIO MONTEVERDI Il combattimento di
Tancredi e Clorinda (arr. Luciano Berio)
A “warlike madrigal” based on a story set during the First Crusade, Il combattimento di Tancredi e Clorinda is cut from the same cloth as Monteverdi’s operatic masterpieces. As musicologist Manfred Bukofzer observed, Monteverdi’s dramatic genius provided the vital “spark” that transformed the declamatory idiom of early–17th-century monody into “living music.”
ALESSANDRO MARCELLO Oboe Concerto in C
Minor
Alessandro Marcello was active in Venice at the same time as Vivaldi. Unlike the latter’s hundreds of concertos, however, he wrote fewer than 10, among them one of the earliest concertos for oboe. A lavishly ornamented slow movement is sandwiched between a sweetly lyrical Andante and a fast, virtuosic finale.
CAROLINE SHAW Stucco & Brocatelle
Caroline Shaw composed this piece for Ensemble Connect, saying that “the contrasting textures of stucco and a heavy brocade known as brocatelle, combined with a consideration of Vivaldi’s swirling string textures and harmonic progressions, inspired this piece. It is filled with curves and filigree, hard and soft edges, and odd harmonic shifts that Vivaldi might have taken in an alternate universe.”
ANTONIO VIVALDI Sinfonia in B Minor, RV
169, “Al Santo Sepolcro”; Concerto in G Major, RV 151, “Alla rustica”
The wide expressive and coloristic range of Vivaldi’s music is exemplified by these two short works for strings. In contrast to the rustic exuberance of the Concerto in G Major, the two movements of the Sinfonia in B Minor—one intense and otherworldly, the other lively and fugal—are suffused with religiosity.