Season 32 • Summer Concert Series
Aug 16 • Baroque Sonatas
3:00pm • First Unitarian Universalist Church
This concert is generously supported by Rebecca Canary
Sonata No. 3 in D Minor, BWV 527
J.S. Bach (1685–1750)
I. Andante
II. Adagio e dolce
III. Vivace
Trio Sonata in B-flat Major, TWV 42:B4
G.P. Telemann (1681–1767)
I. Dolce
II. Vivace
III. Silicana
IV. Vivace
Lascia ch’io piango
G.F. Handel (1685–1759) / arr. John Lenti
Sonata for Violin & Harpsichord in E Major BWV 1016
J.S. Bach (1685–1750)
I. Adagio
II. Allegro
III. Adagio ma non tanto
IV. Allegro
Trio Sonata in B Minor, HWV 386b
G.F. Handel (1685–1759)
I. Andante
II. Allegro
III. Largo
IV. Allegro
Performers
Mark Teplitsky, Flute
Eric Gratz, Violin
Allan Steele, Cello
Ian Pritchard, Harpsichord
John Lenti, Theorbo
Program Notes
Sonata No. 3 in D Minor, BWV 527 (1727–1732)
Johann Sebastian Bach
Bach's six Trio Sonatas for Organ, BWV 525–530, occupy a unique place in his output. According to early accounts, Bach wrote them in part as advanced studies for his son, Wilhelm Friedemann, though their musical sophistication extends far beyond a pedagogical purpose. Likely composed during his years in Leipzig, they combine the elegance of chamber music with the contrapuntal demands of organ playing. The Third Sonata, BWV 527, is among the most lyrical of the set. Its expressive slow movement is especially admired for its graceful melody and warm harmonic language, while the outer movements balance clarity, vitality, and finesse. Together, the six sonatas represent Bach at his most refined, uniting intellectual craftsmanship with remarkable expressive beauty.
Trio Sonata in B-flat Major, TWV 42:B4 (1740)
Georg Philipp Telemann
One of the most prolific composers of the Baroque era, Telemann was celebrated throughout Europe for his ability to blend German contrapuntal craftsmanship with the elegance of French and Italian styles. His chamber music was especially admired for its inventiveness, melodic charm, and accessibility. The Trio Sonata in B-flat Major, TWV 42:B4, exemplifies these qualities. Written for a small ensemble of equal partners, the work allows each instrument moments of prominence. Like much of Telemann's chamber music, the Sonata favors arched melodies and rhythmic integrity over displays of complexity, reflecting the composer's gift for writing music that is sophisticated but still immediately appealing.
​Lascia ch’io piango (1711)
George Frideric Handel / arr. John Lenti
One of Handel's most beloved melodies, Lascia ch’io pianga comes from his 1711 opera, Rinaldo. Sung by the captive heroine Almirena, the aria is a plea for freedom and a lament for lost happiness. Its simple, flowing melody and poignant text have made it one of the most enduring examples of Baroque vocal music. In this arrangement by John Lenti, Handel's melody is adapted for instrumental performance. Stripped of its text, the music continues to communicate through its restrained beauty, securing its place among Handel's most cherished works.
​Sonata for Violin & Harpsichord in E Major, BWV 1016 (1717–1723)
Johann Sebastian Bach
Bach's six Sonatas for Violin and Obbligato Harpsichord, BWV 1014–1019 represent a significant departure from the traditional Baroque sonata. Rather than assigning the keyboard a purely accompanying role, Bach gives both instruments equal importance, creating a rich and intricate partnership between violin and harpsichord. The Sonata in E Major, BWV 1016, is among the most expansive works in the set. Its four movements contrast brilliance with introspection, from the opening Adagio to the energetic final Allegro. Throughout the Sonata, Bach applies his ability to unite intellectual rigor with expressive warmth. The result is chamber music of remarkable balance, in which both performers engage in a continuous and compelling musical dialogue.
​Trio Sonata in B Minor, HWV 386b (1733)
George Frideric Handel
Handel's chamber music reflects the cosmopolitan style that made him one of the most celebrated composers of the eighteenth century. Drawing on German, Italian, and French influences, his trio sonatas combine expressive melody, clear formal design, and lively interplay between the instruments. The Trio Sonata in B Minor, HWV 386b, is among Handel's most dramatic chamber works. Cast in a sequence of contrasting movements, the Sonata's expressive minor-key language lends it particular depth, while Handel's gift for memorable melody ensures that even the most intricate passages retain a sense of direction. As in much of his chamber music, technical craftsmanship serves expressive purposes, creating a work that is deeply engaging.