Festival Program

As always, the Festival’s Artistic Director, Marc Destrubé, has selected a broad palette of music for the Festival audience’s annual journey of discovery.

Tickets available Online and in selected outlets
Festival Pass: $100 (Adults); $80 (Seniors/Students)

Telemann’s Fantasy
11am – Thursday 16 February
Alix Goolden Performance Hall. 907 Pandora
Doors open 10:30am; ticket holders are invited for coffee at 10am in Wood Hall hosted by The Renaissance Retirement Residence.

Telemann composed sets of twelve solo fantasias for flute, for violin and for viola da gamba between 1732 and 1735. The viola da gamba set was considered lost until the manuscript was found in a private collection in 2015.  This concert’s audience will be one of the first to experience a live performance of some of these rediscovered works.

Fantasia no. 1 for flute in a major, TWV 40:2
Fantasia no.5 for viola da gamba in B-flat major, TWV 40:30
Fantasia no. 2 for flute in a minor, TWV 40:3
Fantasia no.7 for violin in eb Major, TWV 40:20
Canonic sonata no. 2 in g minor for violin and viola da gamba, tWv 40:119
Fantasia no.9 for flute in e major, TWV 40:10
Fantasia no.1 for violin in Bb Major, TWV 40:14
Canonic sonata no. 3 in D Major for flute and violin,TWV 40:120
Fantasia no.11 for viola da gamba in D minor, TWV 40:36 (Hamburg 1735)
Fantasia no.12 for flute in g minor, TWV 40:13

Marc Destrubé – baroque violin
Soile Stratkaukaus – baroque flute
Natalie Mackie – viola da gamba

In stile concertato
8pm – Thursday 16 February
Christ Church Cathedral, Quadra at Rockland
Doors open 7pm; preconcert talk 7:15pm.

In Germany during the eighteenth century, composers like Bach and Telemann kept abreast of international musical trends while also maintaining close relationship with colleagues. Telemann would have been very familiar with the music in this program.  It explores music from all over Bach’s professional circle: a transcription by Bach of a concerto by Vivaldi, a transcription  of a concerto of Telemann by one of Bach’s cousins, a surprisingly modern Fantasia by Bach’s last pupil Müthel, and one of Bach’s late masterworks, The Canonic Variations on Von Hoch, composed as an audition piece for one of Germany’s most prestigious clubs for composers.

G..P. Telemann/ J.G. Walther – Concerto in C minor
J. S. Bach – BWV 678 Dies sind den heiligen zehn Gebot
J.S.  Bach – BWV 684 Christ unser Herr zum Jordan kam
J.S.  Bach – Triosonata in e minor
J.S.  Bach – Wir Glauben all an eine Gott BWV 680
J.S.  Bach – Wir Glauben all an eine Gott BWV 681

Johann Gottfried Muthel – Fantasia in F
J.S. Bach – Canonic Variations on Von Himmel Hoch
J.S. Bach/A. Vivaldi – Concerto in d minor

John Walthausen – organ

The Faithful Music Master Goes to Paris
8pm – Friday 17 February
Alix Goolden Performance Hall. 907 Pandora
Doors open 7pm; preconcert talk 7:15pm.

By the time Telemann visited Paris in 1737 he was already famous across Europe, and was eagerly awaited by the four French virtuosi who had invited him. With Telemann at the harpsichord, they performed all twelve of his ‘Paris’ quartets, works which are now considered among his finest chamber music, and gems in the larger baroque repertoire.

“The admirable performances of these quartets … would be worth describing were it possible for words to be found to do them justice. In short, they won the attention of the ears of the court and the town, and procured for me in a very little time an almost universal renown and increased esteem.” (Telemann, 1740)

He was no doubt influenced in his writing for viola da gamba by the work of Johann Schenk, whose set of 12 sonatas for two solo instruments, entitled ‘The Nymph of the Rhine’ is described as “some of the most original and esoteric works you could ever ask for…haunting duet suites filled with gorgeous lyricism and counterpoint, and bearing the influence of German, Italian, and French composing techniques.”

G.P. Telemann
–  Premier Quatuor (‘Paris’ Quartet No. 7) in D Major, TWV 43:D3, from ‘Nouveaux quatuors en six suites’ (Paris, 1738)
–  Sonata for Flute and Violin, TWV 40:111, from ‘Der Getreuer Musikmeister’ (1728)
–  Sonata I (‘Paris’ Quartet No. 3), in A major, TWV 43:A11, from ‘Quadri’ (Hamburg, 1730)
–  Sixième Quatuor (‘Paris’ Quartet No. 6) in e minor, TWV 43 : e 4, from Nouveaux Quatuors

Johann Schenk
– Sonata VI in g minor for two solo violas da gamba, from Le Nymphe di Rheno, Op.8 (1702)

Soile Stratkauskas – baroque flute
Marc Destrubé – baroque violin
Natalie Mackie – viola da gamba
Kenneth Slowik – viola da gamba
Michael Jarvis – harpsichord/organ

Three Lapsed Lawyers – Music by Telemann, Graupner and Heinichen
8pm – Saturday 18 February
Alix Goolden Performance Hall. 907 Pandora
Doors open 7pm; preconcert talk 7:15pm.

Northern Germany in the mid-18th century was a place where musical influences gathered. This program displays the rich variety of music composed by Telemann and his contemporaries, including French suites, Italian-style concertos for unusual combinations of instruments, and music for the church.

G.P. Telemann – Motet: Ein feste Burg ist unser Gott, TWV 8:7
J.D. Heinichen (or Telemann) – Concerto for Flute and Violin in E Minor, (TWV 52:e3)
Christoph Graupner – Overture (Suite) for strings in C, GWV402

G.P. Telemann – Concerto for four violins in g minor
G.P. Telemann – Suite in D Major for viola da gamba, strings and continuo, TWV 55:D6
G.P. Telemann – Missa Brevis “Komm, Heiliger Geist, Herre Gott”, TWV 9:10

Kenneth Slowik – viola da gamba
Soile Stratkauskas – baroque flute
Pacific Baroque Festival Orchestra (Marc Destrubé, baroque violin/director)
Victoria Children’s Choir/St Christopher Singers (Madeleine Humer, director)

A North German Choral Evensong
4:30pm – Sunday 19 February
Christ Church Cathedral, Quadra at Rockland

G.P. Telemann – Motet: Werfet Panier auf im Lande, TVWV 8:15
G.P. Telemann – Motet: Das is meine Freude, TWV deest
G.P. Telemann – “Deutsche Magnificat”
G.P. Telemann – Motet: Komm, heiliger Geist, TWV 3:92
C. Graupner – Cantata “Herr nun lässest du deinen Diener” GWV 1169/45a
Modern premiere: this cantata has likely not been performed in the 250 years since Graupner’s death.

Catherine Webster – soprano (Graupner)
Zachary Windus – countertenor (Graupner)
Adam Dyjach – tenor (Graupner)
Nathan McDonald – bass (Graupner)
Pacific Baroque Festival Ensemble (Marc Destrubé, baroque violin/director)
St Christopher Singers (Madeleine Humer, director)

“Something we look forward to brighten the dark and dreamy days of February.”