Sunday October 28, 2018

3:00pm

Sunset Center, Carmel

Single Tickets: $60, $53, & $45

Single Tickets available August 1

Click for ticket information


Program

"Air — a Baroque Journey"

Diego Ortiz (1510-1570)
  Ricercata segunda

Georg Friedrich Handel (1685-1759)
  Sarabande HWV 437 (arrangement Olivier Fourés)

Andrea Falconieri (1585/6-1656)
  La suave melodia

Johann Paul von Westhoff (1656 -1705)
  Imitazione delle campane

Nicola Matteis (1650-1713)
  Diverse bizzarrie sopra la Veccia Sarabanda o pur Ciaccona

Antonio Vivaldi (1678 - 1741)
  Sonate for 2 Violins: "La Follia"

Intermission

Andrea Falconieri (1585/6-1656)
  Passacaglia a 3

Johann Paul von Westhoff (1656-1705)
  La guerra così nominata di sua maestà

Traditional
  Greensleeves

Jean-Marie Leclair (1697-1764)
  Le Tambourin

Marco Uccelini (1603 ou 1610-1680)
  Aria Sopra la Bergamasca

Nicola Matteis (1650-1703)
  Ground after the Scotch Humour

Johann Paul von Westhoff (1656-1705)
  Imitazione del liuto

Andrea Falconieri (1585-1656)
  Ciaccona

Daniel Hope and Friends appear by arrangement with David Rowe Artists


Web Links:

Daniel Hope's fascinating website

Daniel Hope's Complete Discography

Daniel Hopes on YouTube



Daniel Hope "recomposes" Vivaldi's Four Seasons



 


Daniel Hope and Friends
"Air – a Baroque Journey"

Daniel Hope – violin
Simos Papanas – violin
Nicola Mosca – cello
Emanuele Forni – lute, baroque guitar
Naoki Kitaya – harpsichord
Michael Metzler – percussion

Daniel HopeViolinist Daniel Hope has toured the world as a virtuoso soloist for 25 years and is celebrated for his musical versatility as well as his dedication to humanitarian causes. Winner of the 2015 European Cultural Prize for Music, whose previous recipients include Daniel Barenboim, Plácido Domingo and the Berlin Philharmonic Orchestra, Daniel Hope appears as soloist with the world's major orchestras and conductors, also directing many ensembles from the violin. Hope is Music Director of both the Zurich Chamber Orchestra and the New Century Chamber Orchestra, and is one of the world's most prolific classical recording artists, with more than 25 albums to his name. His recordings have won the Deutsche Schallplattenpreis, the Diapason d'Or of the Year, the Edison Classical Award, the Prix Caecilia, seven ECHO-Klassik Awards and numerous Grammy nominations.

When preparing to tour "Air – A Baroque Journey", Hope invited some of his favorite musical collaborators to join him. Among them are some of Europe's most respected soloists and orchestra musicians. Simos Papanas, an accomplished soloist and recording artist, is also concertmaster of the Thessaloniki State Symphony Orchestra. Nicola Mosca is principal cellist with the Zurich Chamber Orchestra. A master of both luthe and guitar, Emanuele Forni has performed and recorded across genres with a variety of composers, performers, and conductors at concert halls from Carnegie Hall in New York to the Berlin Konzerthaus to the Philharmonia in St. Petersburg. Naoki Kitaya, a native of Tokyo, has spent the majority of his career in Zurich, Switzerland. As a soloist and chamber music partner he has appeared with artists Cecilia Bartoli and Hilary Hahn, among others, and with the Orchestra Ensemble Kanazawa in Japan led a wide range of programs ranging from baroque to modern pieces by Philip Glass and others. Percussionist Michael Metzler is an internationally sought after teacher in historical percussion and has made more than 120 CD productions documenting his worldwide concert, studio, and teaching activities within the field of early music.

About the program

Daniel Hope

The "Air" program, inspired by Hope's 2009 Deutsche Grammophon recording of the same name, traces the evolution of the violin during one of its most dynamic periods of development, discovery and experimentation. Including repertoire by composers both familiar (Bach, Vivaldi, Handel, Telemann) and obscure (Falconieri, von Westhoff, Matteis, and Uccelini), the program demonstrates how musicians and composers traveled widely to gain inspiration and exchange ideas – some of the earliest examples of "crossover." Having toured this program internationally for several years, Daniel Hope and Friends will at last bring the live experience of "Air" to North American audiences in October, 2018.

An introduction by Daniel Hope:

Nobody knows who invented the violin. Its magic is culturally omnipresent, from the simplest of Roma folk melodies to the most intricate sonatas of Bach.

While the origins of the violin can be traced back thousands of years to Mongolia and India, it was the Italians, and most importantly Andrea Amati in the mid-sixteenth century, to whom we can almost certainly attribute the creation of the violin in its modern form. The first known image of such an instrument is portrayed in the hands of cherubs in a Renaissance fresco, painted in 1530 by Gaudenzio Ferrari. But despite its angelic appearance, the violin was also referred to as the instrument of the devil, its curvaceous, feminine form and its voice admired and even lusted after: "stealing the hearts of men" with "a soul which makes it sing most like the human voice".

From Amati's creation, the long journey which the violin has taken to the present day has been an extraordinary and tempestuous one. Arguably its greatest development was during the baroque era, as violinists and composers, in a sense liberated from the austerity and contrapuntal strictures of the Renaissance, went on a journey, both musically and geographically, avidly seeking more extravagant and original ways in which to express themselves on this fascinating new instrument.

Air sets out to trace one such baroque journey. It is the story of four unique composers, three of whom were virtuoso violinists, one a lutenist - Falconiero, Matteis and Vivaldi from Italy, and Westhoff from Germany. They wandered throughout Europe during the 17th and 18th centuries in search of musical inspiration and cross-pollination, and their music and art of performance intrigued and delighted kings, contemporaries and audiences alike. As well as works by these four composers, this program also features some of the music of their time, in an attempt to show the cultural exchange which took place, much of it intuitively, between musical minds across borders. Some of these composers were influenced directly by what they heard, whether it was Geminiani by Handel, Bach by Westhoff or Matteis by the wealth of folk music he encountered on his travels to the British Isles.

With "Air," my colleagues and I aim to reveal just how diverse the music of the baroque era was. While the music speaks eloquently for itself, I will serve as a sort of narrator or tour guide to help provide context, and illuminate just some of the many fascinating connections within the concert.

The program blends the simplest and at times most primitive forms of dance music with the most sophisticated and revolutionary compositions of the day, culminating in a work by Bach - the great master, whose title is my inspiration for this collection, and whose music remains for me today more modern than that of anyone else.

--Daniel Hope