The music

This year’s central theme is the music from the time of the Peace of Utrecht (1713). This peace treaty had a profound influence on life everywhere in Europe, and also on music. The virtuoso Italian style, the French taste for 'sweetness' and the more melancholy English manner had enormous influence on German and Czech baroque music. Central works in this course are Handel's Utrecht Te Deum and Jubilate and Rameau's Deus noster refugium, both composed to celebrate the occasion of the Peace Treaty.

Handel’s Utrecht Te Deum and Jubilate

Handel’s Utrecht Te Deum and Jubilate is a sacred work in two parts, written to celebrate the Peace of Utrecht in 1713. It was Handel’s first commission by the English Royal family, which established his career in London. It was also his first major sacred work on English texts. Handel followed the models of Henry Purcell's 1694 Te Deum and Jubilate with strings and trumpets, which was regularly performed for official functions in St Paul's even after the composer's death, and a 1709 setting by William Croft. As in these models, Handel composed a combination of two liturgical texts, the Ambrosian Hymn Te Deum, We praise thee, O God, and a setting of Psalm 100, O be joyful in the Lord, all ye lands, which is a regular canticle of the Anglican Morning Prayer. Handel's work was first performed in a public dress rehearsal on 5 March 1713 in St Paul's Cathedral. The official premiere took place after the tedious peace negotiations had finished, in a solemn thanksgiving service on 13 July 1713.

The work is festively scored for six soloists (two sopranos, two altos, tenor and bass), mixed choir, two trumpets, flute, two oboes, bassoon, strings (three violins, viola, cello), and basso continuo. The choir is in five parts (SSATB) for most of the movements, but occasionally alto and tenor are divided; the final doxology begins in eight parts. Almost all movements are set for solo singers and chorus; there are no real arias. Handel could rely on the trained musicians of the Chapel Royal who were able to sing both solo and choir. The choir is divided in a double choir for Day by day we magnify thee and divided in eight parts for the homophonic Glory be to the Father.

Te Deum

1. We praise Thee, O God (Adagio, SATB)
2. To Thee all Angels cry aloud (Largo e staccato, 2 altos, TB unison)
3. To Thee Cherubin and Seraphim (Andante, 2 sopranos, SSATB)
4. The glorious Company of the Apostles (Andante - Adagio - Allegro- adagio - Allegro, tenor, bass, two sopranos, SSATB)
5. When thou took’st upon thee to deliver man (Adagio - allegro - adagio - Allegro, SSATB)
6. We believe that thou shalt come to be our judge (Largo, soprano, alto, tenor, bass, SATB)
7. Day by day we magnify thee (Allegro, double choir: SST AATB)
8. And we worship thy name (SSATB)
9. Vouchsafe, O Lord (Adagio, SSAATB)
10. Lord, in thee have I trusted (Allegro, SSATB)

Jubilate

1. O be joyful in the Lord, all ye lands (alto, SATB)
2. Serve the Lord with gladness (SSATB)
3. Be ye sure that the Lord he is God (duet: alto, bass, violin, oboe)
4. go your way into his gates (SATB, strings)
5. For the Lord is gracious (Adagio: 2 altos, bass, oboes, violins)
6. Glory be to the Father (SSAATTBB)
7. As it was in the beginning (SSATB)

Rameau's Deus noster refugium

Jean-Philippe Rameau (1683 - 1764) was not only an organist, harpsichordist and music educator, but is considered a very important music theorist whose influence can be felt up to the present day.

In 1713 we find Rameau as organist in Lyon. In 1715 he moved to Clermont-Ferrand and was organist there until he finally left for Paris in 1722. Most of his secular and sacred choral music originated in his Lyon and Clermont-Ferrand period, including the grand motet Deus noster refugium, that was destined for a festive church service on the occasion of the conclusion of the Peace of Utrecht.

The motet is written for soloists SSATTB, SSATB chorus, flute, 2 oboes, strings and continuo.

Baroque dance

The Baroque dance in this summer's programme will focus on notated choreographies by Pecour and L’Abbé and especially on those dances that have a close connection to instrumental and/or vocal pieces from Baroque operas. Thus students will work on dances (danses à deux and solos) which will then be incorporated into beautiful small theatrical units together with singers and the orchestra.

Martin van Tulder A great extra benifit were Dorothée's instructions for the singers how to assume baroque poses

A few examples of these are the Marche des Matelots, the aria Amants malheureux and the Entrée de Matelot, all to the same music in Marais’ Alcione; the Forlana and Menuet plus arias in the Italian part of Campra’s L'Europe Galante; and, to music from the Turkish part in the same musical source, L’Abbé’s wonderful trio of choreographies called ‘Turk’.

In order for students to enjoy an ensemble piece as well, Dorothée Wortelboer will create a choreography to movements from Handel's Water Music. A choice of these dance scenes will be made for the final presentation, which will be performed ‘semi-staged’ in the Vokův sál, Bechyně castle's splendid historic hall.