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Juilliard
Baro q u e
TRUSTEES EMERITI
June Noble Larkin, Chair Emerita
Mary Ellin Barrett Sidney R. Knafel Elizabeth McCormack John J. Roberts
JUILLIARD COUNCIL
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Historical Performance
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Jazz
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† In Memoriam
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The Juilliard School
presents
Juilliard
Baro q u e
Part of the Daniel Saidenberg Faculty Recital Series
Monday, November 2, 2015, at 7:30pm • Paul Hall
Sandra Miller, flute
Monica Huggett, violin
Dominic Teresi, bassoon
Sarah Cunningham, viola da gamba
Avi Stein, harpsichord
Chamber Music of Georg Philipp Telemann
Quartet in E Minor, TWV 43:e3 from Six Quatuors ou Trios (Hamburg, 1733)
Largo
Presto
Cantabile
Allegro
Fantasia No. 6 for solo violin in E Minor, TWV 40:19
from Fantasias (Hamburg, 1735)
Grave
Presto
Siciliana
Allegro
Trio No. 2 for viola da gamba, harpsichord, and basso continuo in G Major,
TWV 42:G6 from Essercizii musici (Hamburg, 1740)
Andante
Allegro
Largo
Presto
Concerto Primo in G Major, TWV 43:G1 from Quadri (Hamburg, 1730)
Grave-Allegro-Grave-Allegro
Largo
Presto
Largo
Allegro
Intermission
Photo by Todd Rosenberg

Notes on the Program
Sonata for violin, bassoon, and basso continuo in F Major, TWV 42:F80
Andante
Allegro
Largo
Allegro
Fantasia No. 10 for solo traverso in F-sharp Minor, TWV 40:11
A tempo giusto
Presto
Moderato
Concerto for flute, gamba, and bassoon in B Minor, TWV 43:h3
Adagio
Vivace
Andante
Presto
Quartet in A Minor, TWV 43:a1 from Six Quatuors ou Trios (Hamburg, 1733)
Andante
Divertimento I-Vivace
Divertimento II-Presto
Divertimento III-Allegro Allegro
Juilliard's full-scholarship Historical Performance program was established and
endowed in 2009 by the generous support of Bruce and Suzie Kovner.
Major funding for establishing Paul Recital Hall and for continuing access to its series
of public programs has been granted by The Bay Foundation and the Josephine Bay
Paul and C. Michael Paul Foundation in memory of Josephine Bay Paul.
Please make certain that all electronic devices are turned off during the performance.
The taking of photographs and the use of recording equipment are not permitted in this auditorium.
By Robert Mealy
Georg Philipp Telemann was one of the great entrepreneurs of the
18th century. A tireless advocate for music, he created new
concert opportunities wherever he worked, maintained an extensive
correspondence with colleagues across Europe, and managed his own
publishing business, even engraving much of his music himself. His
compositions are as cosmopolitan as his life, a testament to his
remarkable facility in mixing French elegance with the energy of
Italianate sonata and concerto forms. Tonight’s program displays his
inventiveness in forms ranging from the solo fantasia to the chamber
concerto, with stops along the way for the traditional Baroque solo
and trio sonata.
Our concert opens with a quartet, which, despite its name, is really a
trio; Telemann suggests as much on the title page of his collection of
these Six quatuors ou trios. Here the Frenchness of the music lies in the
elegant charm of their construction, proudly written by the “Directeur
de la Musique à Hambourg.” This E-minor Quatuor begins with a
civilized conversation between the players, then introduces some fugal
complications in the chromatic theme of the second movement. All is
resolved in the gorgeous duetting that follows in the cantabile.
One of the most interesting genres Telemann explored in the early
1730s was that of the unaccompanied fantasia. He wrote four sets of
these, for flute, keyboard, violin, and viola da gamba; these last were
assumed to be lost, until they were rediscovered just a few weeks ago.
Telemann certainly knew the unaccompanied violin sonata of the
Dresden virtuoso Johann Georg Pisendel, and may have known Bach’s
unaccompanied works. His own fantasias are less technically relentless
than these; Telemann prided himself on writing as gracefully as
possible for each instrument. Unjustly neglected in the shadow of
Bach’s magisterial works, Telemann’s fantasias offer fascinating and
ingenious lessons in how to construct a musical argument with only
one instrument.
In his printed catalogue of 1735, Telemann divides these solos into
two categories: “six include fugues and six are Galanterien.” The
Fantasia in E Minor, No. 6, falls in the middle of the collection, and is
in some ways the most serious. Opening with a sonorous sarabandelike
movement, this fantasia moves to a highly worked-out fugue full
of double stops. A lighter Siciliana and a closing binary dance are
much less dense; the final folk-like movement is a kind of rigaudon.
Where most trio sonatas feature at least four players, others can have
fewer. Telemann, like Bach, was interested in the possibilities of the
trio sonata with obbligato keyboard, where the harpsichord’s right
Georg Philipp
Telemann
Born:
March 14, 1681,
Magdeburg,
Germany
Died:
June 25, 1767,
Hamburg
2 3

Notes on the Program (continued)
One
contemporary
critic wrote that
“the famous
Telemann has
really surpassed
all other
composers with
his excellent
quartets.”
hand is an equal partner with the solo instrument. The Trio No. 2 from
his Essercizii Musici may seem like a solo sonata, but really the gamba
is in conversation with the obbligato harpsichord. Unlike Bach,
Telemann also includes a separate bass part that only occasionally
reinforces the left hand of the harpsichord. Telemann’s collection was
published in Hamburg in 1740, but its individual sonatas were
probably written much earlier in the 1720s. This collection combines
true solo sonatas with obbligato trios, among the earliest examples of
this genre to be written.
Telemann also excelled at the more complicated genre of the
concerted quartet. As the critic Johann Adolf Scheibe remarked,
“these pieces require much thorough work as well as a great deal of
experience and care. All three upper voices must be given their own
melodies; they must all agree with each other. No constraint or
harmonic filling is allowed. Everything must be singable and flowing.”
He goes on to note that “the famous Telemann has really surpassed
all other composers with his excellent quartets.”
Although several of these are known today as his “Paris Quartets,”
the first set was actually published in Hamburg with the Italian title of
Quadri. They feature a good deal of brilliant Italianate concerto-like
texture, filtered through the balanced good taste of French galant
style. This collection has a pair each of concerti, sonatas, and balletti
or suites, mixing national styles to create what François Couperin
described as “the perfection of music”: the mixed, or reunited style,
where cosmopolitan virtues win out over regional prejudices.
The Concerto Primo we hear tonight opens the Quadri. After a brief
introductory Grave, we are presented with an Allegro that offers
brilliant solo episodes for all three concertante instruments, and where
virtuosity never outstays its welcome. To create an elegant
architectural symmetry, the whole pattern is then repeated in the
dominant. After this opening, we move to another paired
combination of Largo–Presto–Largo, where cadenza-like flourishes in
each instrument give way to a brisk fugal texture, full of ingenious
episodes combining pairs of the solo instruments. The quartet closes
with a brilliant gigue-like movement in the galant rondeau form, with
an opening theme that returns between two dramatic episodes.
Unlike the violin fantasias, Telemann’s flute fantasias have no distinct
forebears. Along with J.S. Bach’s solo partita and C.P.E. Bach’s solo
sonata, Telemann’s fantasias are the most important unaccompanied
works for the flute written before the 20th century. Each of these
fantasias is in a different key; the 10th fantasia is in the remote
tonality of F-sharp minor, and explores a variety of forms with an
ingenious evocation of a much denser texture by clever use of voiceleading.
Its opening movement is a kind of corrente, with a fugal
Presto following; the final Moderato is a minuet.
As we have seen, a sonata can be a suite, and it can also be a kind of
concerto. Telemann’s interest in unusual sonorities comes to the fore
again with his chamber concerto of the three very different voices of
flute, viola da gamba, and bassoon. Here the bassoon essentially takes
over the bass line for the third and fourth movements, leaving the flute
to duet with the viola da gamba. This work is very much in the galant
style, although the two fast movements hint at Telemann’s experiences
in Eastern Europe with their off-kilter folk-like phrasing and energy.
Where some of the Quatuors ou trios are fugally complex, others are
intended to be pure diversion: the final quartet of tonight’s program
is clearly in this category of divertissement, with finely-balanced
phrases that point the way from galant style towards the Classical
language of the later 18th century.
Telemann also wrote plenty of the more standard variety of Baroque
trio sonatas, though often with his own ingenious twists. The Sonata
in F Major, TWV 42:F8, can be played either by violin, recorder, and
continuo, or by violin, bassoon, and continuo: the wind part is
adaptable to either octave.
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Meet the Artists
Sarah Cunningham
Sarah Cunningham, cofounder with Monica Huggett of the ensemble
Sonnerie, has toured the world with numerous ensembles, including
Fretwork, Phantasm, Sequentia, Camerata Kilkenny, and the Orchestra
of the Age of Enlightenment. She has performed as a soloist under
Simon Rattle, John Eliot Gardiner, Trevor Pinnock, and Ton Koopman,
and has recorded extensively on ASV, Virgin/EMI, Harmonia Mundi, and
Warner. A former faculty member at the Hochschule für Künste in
Germany, the Guildhall School in London, and the Sibelius Academy in
Helsinki, Ms. Cunningham has presented workshops and master classes
in Sweden, Canada, London, Boston, New York, and San Francisco. She
is the founder and first artistic director of the East Cork Early Music
Festival in Ireland and a founding member of Les Filles de Sainte
Colombe. Ms. Cunningham has been on the Juilliard faculty since 2011.
Monica Huggett
Monica Huggett is artist-in-residence of Juilliard Historical Performance
and has been with the program since its inception. Ms. Huggett is artistic
director of the Portland Baroque Orchestra and the Irish Baroque
Orchestra. She cofounded the Amsterdam Baroque Orchestra with Ton
Koopman; cofounded the London-based ensemble Sonnerie; worked
with Christopher Hogwood at the Academy of Ancient Music and Trevor
Pinnock and the English Concert; and toured the U.S. with James
Galway. Ms. Huggett has served as guest director of the Arion Baroque
Orchestra, Montreal; Tafelmusik, Toronto; the Los Angeles Chamber
Orchestra; Philharmonia Baroque; the Norwegian Chamber Orchestra;
and Concerto Copenhagen. Her CD Flights of Fantasy was named the
2010 CD of the Year by Alex Ross in his New Yorker review. Ms. Huggett
holds an honorary fellowship at the Royal Academy of Music in London.
Avi Stein
Avi Stein is associate organist and chorus master at Trinity Wall Street,
teaches at The Juilliard School and Yale University, and serves as artistic
director of the Helicon Foundation. The New York Times described him
as “a brilliant organ soloist” in his Carnegie Hall debut and he was
featured in an Early Music America magazine article on the new
generation of leaders in the field. He appears regularly as a continuo
player with the Boston Early Music Festival, Quicksilver, the Clarion
Music Society, and Bach Vespers NYC. Mr. Stein has directed the young
artists’ program at the Carmel Bach Festival and has conducted for
Opera Français de New York, Opera Omnia, Amherst Festival Opera,
and the critically acclaimed 4x4 Festival. He studied at Indiana
University, the Eastman School of Music, and the University of
Southern California and was a Fulbright scholar in Toulouse.
Dominic Teresi
A native of California, Dominic Teresi is principal bassoonist of
Tafelmusik, teaches historical bassoons and chamber music at The
Juilliard School, plays regularly with the Boston Early Music Festival
Orchestra, American Bach Soloists, and Carmel Bach Festival, and is a
member of Quicksilver and Juilliard Baroque. He has also performed
with Le Concert d’Astrée, Orchestre Révolutionnaire et Romantique,
Philharmonia Baroque, Arion, Ensemble Caprice, Toronto Consort, and
Apollo’s Fire. Mr. Teresi is in demand for performances on dulcian and
Baroque, Classical, and modern bassoons. His playing has been
described as “supple … lively and graceful” (The New York Times) and
“dazzling” (Toronto Star). He has won acclaim as a concerto soloist
throughout Europe, North America, and Australia. Mr. Teresi holds
degrees from Yale University and Indiana University.
Sandra Miller
A graduate of the Curtis Institute of Music, Sandra Miller has been the
recipient of a Solo Recitalist’s Fellowship from the National Endowment
for the Arts, first prize in the Bodky Competition for Early Music, and
a New York recital debut sponsored by the Concert Artists Guild. She
has performed extensively throughout the U.S. and abroad with
Concert Royal, the American Classical Orchestra, the Trinity Baroque
Orchestra, Tafelmusik, and Boston’s Handel and Haydn Society. For
many years a professor of music at Purchase College (SUNY), she has
also served as instructor of Baroque flute at Mannes College the New
School for Music and the New England Conservatory of Music. In
2009, she joined the faculty of Juilliard’s Historical Performance
program. Her solo recordings include the complete Bach flute sonatas
and the three Mozart concertos.
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About Juilliard Baroque
Established in 2009, Juilliard Baroque brings together some of the
world’s most respected and accomplished period instrument
specialists. Its members are virtuoso performers, award-winning
recitalists, Grammy-nominated recording artists, soloists, and/or
principals with nearly every major international early-music ensemble.
Juilliard Baroque has a wide-ranging repertoire and performs in a
number of guises, from a handful of players for intimate chamber music
concerts to the orchestral forces required for larger-scale works.
Juilliard Baroque’s debut season in 2009 included performances in New
York and Madrid. The ensemble made its debut at the Library of
Congress in Washington, D.C., in a concert featuring Bach’s Musical
Offering. Juilliard Baroque has also appeared in the Music Before 1800
and Salon/Sanctuary concert series. The ensemble’s debut CD,
Couperin’s Les Nations on the Naxos label, was issued in spring 2015
(naxos.com).
Juilliard Scholarship Fund
The Juilliard School is home to over 800 actors,
dancers, and musicians, representing the future
of the performing arts. More than 90% of these
students receive financial aid in order to study
at Juilliard, and scholarship support is needed
now more than ever.
Juilliard’s Historical Performance program embarks on its seventh
season in 2015–16. The program offers both master’s and doctoral
degrees and features its own performing group, Juilliard415, which has
toured domestically and internationally.
Historical Performance
ADMINISTRATION
Robert Mealy, Director
Benjamin Sosland, Administrative Director
Mary Poole, Manager, Historical Performance Activities
Annelise Wiering, Administrative Assistant
FACULTY
Violin and Viola
Monica Huggett,
Artist-in-Residence
Robert Mealy
Cynthia Roberts
Cello
Phoebe Carrai
Viola da Gamba
Sarah Cunningham
Double Bass
Robert Nairn
Flute
Sandra Miller
Oboe
Gonzalo Ruiz
Bassoon
Dominic Teresi
Plucked Instruments
Daniel Swenberg
Charles Weaver
Harpsichord
Richard Egarr
Béatrice Martin
Peter Sykes
Continuo Skills
Steven Laitz
Avi Stein
Core Studies
Robert Mealy
David Schulenberg
Secondary Lessons
R.J. Kelley, Horn
Nina Stern, Recorder
John Thiessen, Trumpet
Visiting Artists
William Christie
Richard Egarr
Jordi Savall
Your fully tax-deductible gift to the Juilliard scholarship fund
is a direct investment in the future of the performing arts.
By making a scholarship gift, you have the opportunity to
affect the lives of these young artists during their studies
at Juilliard and beyond.
To learn more about making a gift to the Juilliard
scholarship fund, please call (212) 799-5000, ext. 278,
or visit giving.juilliard.edu/scholarship.
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Photo by Todd Rosenberg