I. Grave
II. [Moderato]
III. [Siciliana]
IV. [Minuetto]
Isabelle Douailly-Backman, baroque violin
Performed in Redpath Hall, May 17 2021, as part of my M.Mus Baroque Violin program at McGill University.
Program:
Most descriptions of Johan Helmich Roman label him as the “Father of Swedish Music,” and understandably so. While Sweden was not as musically enriched as its European counterparts, Roman propelled and stabilized the development of music in Sweden, much like Handel did in London.
Major musical and cultural development began with Sweden’s independence in 1532 and was propelled further by King Gustavus Adolphus, who ruled from 1611 to 1632. Considered as the first “musical” king, Gustavus was an accomplished lute player who enthusiastically encouraged music in the courts. After his death, Gustavus’ daughter Christina succeeded him as Queen of Sweden and actively continued her father’s musical tradition. Queen Christina’s expenditures on art and music were notoriously extravagant at the time, but proved to be detrimental to the development of music in the Swedish court. In 1646, Queen Christina employed six French musicians for her court ballets. These French musicians would be the first to introduce the violin to the Swedish court. Queen Christina’s relationship with the English Ambassador Bulstrode Whitelock also proved to be musically beneficial, and led to the arrangement of musician exchanges between the English Embassy and the Swedish court. Under Queen Christina, Swedish music flourished. By the 18th century, the flourishing musical atmosphere took hold of the common people. No longer confined to the court, capable musicians and musical guilds began to appear in the country. In turn, there was a higher demand for musical material from the public.
This change in Sweden’s musical scene coincided with Johan Helmich Roman’s career. Renowned as a distinguished violin and oboe player in the Swedish musical sphere, Roman left for London in 1715 on a grant from King Charles XII. There he would study with Johann Christoph Pepusch and come in contact with the leading composers in the school of Italian composition, including Ariosti, Geminiani, and Bonnoncini. Roman was also introduced to Handel’s music in London, music which he would admire for life. Roman would later have Handel’s works translated for performance in Sweden. Upon his return to Sweden, Roman was appointed to Vice Kapellmästare (deputy master of the chapel) in 1721 and eventually to Hofkapellmästare (court orchestra leader) in 1727. As Hofkapellmästare, Roman’s compositional output increased as he sought to bring music to the Swedish people. On top of improving the standards of the court orchestra, Roman introduced the first public concerts in Stockholm in 1731.
While much of his work burned in a fire at Åbö in 1827, Patrick Vretbald in his biography of Roman “Swenska Musikus Fader” catalogues a large number of works especially for violin, including 5 concertos, 20 sonatas with basso continuo, 17 trio sonatas for two violins and b.c., violin duets and studies. His 24 assaggis for solo violin are an extraordinary contribution to the genre and display mastery of the high baroque compositional style. Assaggio no. 8 in C minor is nothing short of a perfect example of his compositional mastery. The fantasia-like first movement, marked Grave, opens and ends with an immense sense of remoteness, followed by a rhythmically imaginative moderato movement. The third movement, in the style of a siciliana, brings relief and tenderness. The final movement returns to the gravity and seriousness of C minor in the style of a minuetto. Roman’s use of innovative repetition and accent of ideas, tonal plans, and remarkable rhythmic organization in this Assaggio certainly confirms his compositional genius, previously unseen in Swedish musical history. Roman was clearly deserving of the title: “Father of Swedish Music.”
Sources:
Åstrand, Hans, Leif Jonsson, Folke Bohlin, Axel Helmer, Margareta Jersild, and Märta Ramsten. Sweden. Oxford University Press, 2001.
Bengtsson, Ingmar, and Bertil H. van Boer. Roman, Johan Helmich. Oxford University Press, 2001.
Hodgson, Antony. Scandinavian Music: Finland & Sweden. 224 p. Rutherford : London ; Cranburry, NJ: Fairleigh Dickinson University Press ; Associated University Presses, 1984.
Straeten, Edmund S J van der. The History of the Violin; Its Ancestors and Collateral Instruments from Earliest Times to the Present Day. Vol. 2. 2 vols. Cassell and Company, Ltd., 1933.
---. The History of the Violin; Its Ancestors and Collateral Instruments from Earliest Times to the Present Day. Vol. 1. 2 vols. Cassell and Company, Ltd., 1933.
Suess, John G. Vitali Family. Oxford University Press, 2001.
3 окт 2024
