COMMON THREADS

Imitation
Trio Sonata in B mionor, Op. 10,
No.1
Adagio, Allegro, Largo, Vivace

Henry Purcell
(1659-1695)
VIOLINS: Joshua Wang,
Lucia Carapella, Aimee
Gallagher, Jadyn Mardi,
John Jobin McAuliffe,
Stephanie Guaman
CELLOS: Justin Koe,
Nicholas Affatato
Canon

Arch

Robert Davidson
(1965-)
VIOLAS: Rachel Sakol,
Emily Chan, Jimin Lee
Music over a fixed note

Fantasia on One Note

Henry Purcell
(1659-1695)
VIOLINS: *Hyunju Ji, Nora
Koe, Zachary Mezzo,
Joshua Wang, Jimin Lee,
Jadyn Mardi, Lucia
Carapella, John Jobin
McAuliffe, Stephanie
Guaman VIOLAS: Rachel
Sakol, Emily Chan,
CELLOS: Justin Koe,
Nicholas Affatato
Theme and Variations

The Carneval of Venice, Op.

119

Charles Dancla
(1817-1907)
VIOLINS: *Hyunju Ji, Emily
Li, Nora Koe, Zachary
Mezzo

INTERMISSION
Komin Brayut, Sekar sungsang, Piru Bole- John Bergamo
Kembang Kirang
YOWANA SARI ORCHESTRA
Brian Maulick
Chris Mulz
Dmetri Fernandez
Juan Herrera
Steve DeBellis

Assisting musicians and coaches: Hyunju Ji, Shiori Chazono

Directors: Heawon Kim & Dale Stuckenbruck
Thank you to the Waldorf School of Garden City for allowing Kammermusik to use the
facilities of this extraordinary school!

Common threads between the Gamelan Music from Bali

and Early music
from the West.
Presented by Kammermusik and Gamelan Ensemble from
Queens College, Yowana Sari
https://www.facebook.com/YowanaSari/info/?
tab=page_info
1 Changes over a fixed note
I reserved for myself the Fantasia Upon One Note. I have
long been fascinated by pieces, or movements, in which
the most varied harmonies hover around a central, fixed,
immovable pitch. Wonderful examples of this technique
can be found in Debussy, Ravel, Respighi and Britten (who
once played Purcell's single note on the viola for a famous
78rpm recording), but the Fantasia Upon One Note
remains the archetype.
http://www.theguardian.com/music/2009/mar/20/henry-purcell
CARTER - A Fantasy about Purcell's Fantasia Upon One Note

Composed in 1974.
Purcell's "Fantasia Upon One Note" for an ensemble of viols (early violins) is a
unique piece in that one viol repeats the note of middle C throughout. Elliot Carter,
whose 90th birthday was honored last year with a great many performances of his
music, became fascinated with Purcell's technique when he was still a student; it
influenced a movement of his woodwind piece called "Eight Etudes and a Fantasy,"
and it is also the source of the music he arranged in 1974 as a gift for the American

Brass Quintet. The setting transposes Purcell's original one tone lower: B-Flat
instead of C. Carter's own description calls attention to "a repeated, tolling, bell-like
note sounding through musical episodes of contrasting character."
http://www.encoreccm.org/pieces/470

Born into a musical family, Henry Purcell spent his boyhood in

London as a chorister for the Chapel Royal. At eighteen he
was appointed to a position as a court composer, and two
years later he became the organist for Westminster Abbey, a
position he held for the rest of his life. During the reigns of
Charles II and James II, Purcells royal duties accounted for
most of his music, but his court responsibilities shrank in the
wake of the Glorious Revolution of 1788. Only in the last
seven years of his short life did Purcell concentrate on the
theater music for which he is best known today, including
Dido and Aeneas and The Fairy Queen.
Purcell probably composed the Fantasia upon One Note
around 1680, at the time when he prepared a number of
Fantasias for a viol consort, an ensemble that had been a
fixture of the Kings Private Musick since the mid-sixteenth
century. Like the members of the violin family, viols are
bowed string instruments that range from a small treble viol
to the deep violone; unlike violins, viols have frets tied around
the fingerboard, flat instead of arched backs, and in all sizes
are held upright, like a cello. Purcell was one of the last
composers to write for the disappearing viols, and these
Fantasias may have been primarily undertaken as exercises
for the twenty-year-old, modeled after an earlier
compositional style. (This performance transports Purcells
Fantasias to the modern string choir.)
The basic structure of a Fantasia or Fancy was to introduce
a melody and then elaborate upon it using imitative
counterpoint. A treatise written by the composer Christopher
Simpson in 1667 could very well have been describing the
work that young Purcell composed thirteen years later:
Of Musick designd for Instruments the chief and most
excellent, for Art and Contrivance, are Fancies, of 6, 5, 4, and
3 parts, intended commonly for Viols. In this sort of Musick

the Composer (being not limitted to words) doth imploy all his
Art and Invention solely about the bringing in and carrying on
of Fuges, according to the Order and Method formerly
shewed. When he has tryed all the several wayes which he
thinks fit to be used therein; he takes some other point, and
does the like with it: or else, for variety, introduces some
Chromatick Notes, with Bindings and Intermixtures of
Discords; or, falls into some lighter Humour like a Madrigal, or
what else his own fancy shall lead him to: but still concluding
with something which hath Art and excellency in it.
The joke of the Fantasia upon One Note, as made plain by the
title, is that a middle voice drones on the note C throughout,
holding steady through chromatic alterations, key changes,
and tempo adjustments.
https://content.thespco.org/music/compositions/fantasia-upon-one-note-henrypurcell/

2. Imitation

https://www.youtube.com/watch?v=crsL3naasWk
3. Canon
Arch, 3 violas, Robert Davidson
http://www.australianmusiccentre.com.au/workversion/davidson-robertarch/10536
4. Theme and Variation
Carnval of Venice, Charles Dancla, 4 violins