Barbara Kallaur, flute
John Abberger, oboe
Christopher Verrette, violin
Elizabeth Macdonald, cello
Thomas Gerber, harpsichord

Quartet in G Major, from Tafelmusik: 1    Georg Philipp Telemann for flute, oboe, violin and continuo                  (1681-1767)

Largo-Allegro-Largo
Vivace-Moderato-Vivace
Grave-Vivace

Sonata in e minor                                          Johann Georg Pisendel
for violin and continuo                                     (1687-1755)

Largo- Moderato-Scherzando

Sonata No. 3 in F Major (cf. op.1 no. 5)   George Frideric Handel
for oboe and continuo                                     (1685-1759)

Largo
Allegro
Adagio
Bourrée Angloise

Solo in b minor from Tafelmusik: 1         Telemann
for flute and continuo

Cantabile
Allegro
Dolce
Allegro

Quintet in D Major, op.22                            John Christian Bach
for flute, oboe, violin, cello, & harpsichord    (1735-1782)

Allegro
Andantino
Allegro Assai

program subject to change

Program Notes

Northern German composers were exceptional in the 1700’s for the attention they paid to woodwind instruments. Beginning with Reinhard Keiser’s adventurous orchestrations of his operas and pasticcios, and moving on to J.S Bach, whose use of (and in the case of the oboe da caccia, invention of) wind instruments for their unique colors, woodwind writing was very advanced and clearly demonstrates access to a pool of highly skilled professional players.

Georg Philipp Telemann was the master of the quartet—he wrote over 40 –and they include a wide range of instrumental combinations. The Quartet in G major and the Solo in b minor are taken from Tafelmusik :1, a banquet of forms, including the French suite, the concerto, the trio sonata, the quartet, and a solo. “ Perhaps Telemann’s most original contribution to the history of chamber music came in his quartets for three melody instruments and continuo. These works feature colourful instrumentations (usually a mixture of strings and winds), intricate motivic interplay and kaleidoscopic shifts of texture among the upper parts.” (Zohn)

Johann Georg Pisendel was the foremost violinist in Germany in the 1720’s through 1740’s. He held the prestigious position of Concertmaster at the court in Dresden, and was the recipient of several works written in his honor by notables such as Vivaldi, Albinoni and Telemann. His output of music is small—his performing and teaching duties left little time for composition.

George Frideric Handel wrote a small amount of instrumental wind music, probably before he arrived in England, where he spent the bulk of his career. Handel was a great borrower of his own work (and others’ work as well!). The Sonata in F major also exists in a version in G for flute and continuo. The piece is unusual in that it combines Italian aspects in the Largo and Allegro, and then adds a French component in the Adagio (a passacaglia), Bourée Angloise, and Menuet.

John Christian Bach (known as the English Bach) was the youngest son of J.S. and Anna Magdalena Bach. Only 15 when his father died, he was sent to the care of his older brother, C.P.E. in Berlin. While there he clearly absorbed much of the “new” style of composition of his older brother. J.C. Bach represents a break with the baroque—he is less the son of his father’s tradition that a precursor to the Classical style of Mozart and Haydn. J.C. Bach’s gift for melody is clearly heard in the lovely middle movement of this Quintet.