Žak Ozmo

Historical Performance Specialist

Recital Samples:

Pearls of La Serenissima: Jewels of Venetian Baroque Music

Program:

1. Trio in G minor for Violin, Lute, and Basso Continuo, RV 85—Antonio Vivaldi (1678-1741)

* Andante
* Larghetto
* Allegro

2. Dite Ohimè (from La fida Ninfa)—Antonio Vivaldi

3. Sonata quarta [à 2], Op.1—Biagio Marini (1594-1663)

4. Toccata no. 25—attr. Andrea Falconieri (1585-1656)

5. Sonata seconda a due, violini, Op. 10—Giovanni Legrenzi (1626-1690)

6. A Dio, Roma (from L’incornazione di Poppea)—Claudio Monteverdi (1567-1643)

7. Concerto in D Major for Lute and Strings, RV 93—Antonio Vivaldi

* Allegro
* Largo
* Allegro

A Pearl of Irregular Shape

Program:

1. Ohimé ch’io cado—Claudio Monteverdi (1567-1643)

2. Sinfonia à 2—Francesco Corbetta (1615-1681)

3. Cupido solo dice—Francesco Lambardi (1587-1642)

4. Lamento della Ninfa—Claudio Monteverdi

5. Prelude in d—Angelo Michele Bartolotti (early 17th c.-after 1668)

6. Sonata for Two Violins and Basso Continuo No. 7—Giovanni Batista Fontana (1589-1630)

Music of the Baroque Courts

Program:

1. Trio Sonata in G—Johann Adolf Hasse (1699-1783)

* Adagio
* Allegro
* Largo
* Allegro Vivace

2. Sweeter than Roses—Henry Purcell (1659-1695)

3. Sonata IX, Op.2—Archangelo Corelli (1653-1731)

* Allegro
* Adagio
* Adagio
* Allegro

4. Suite No.2 in E minor—Jaques Hotteterre (1673-1763)

* Prelude
* Sarabande
* Menuet
* Rondeau

5. Music for a While—Henry Purcell

6. Trio Sonata in D - Heinrich Ignaz Franz von Biber (1644-1704)

Lecture-recitals:

Tune Thy Musicke to Thy Hart: The English Air from 1596-1622

This lecture-recital describes the rise of the English air in the early sixteenth-century. The influence of other musical genres on the development of the air are also discussed. These include the Italian-derived part-song tradition of madrigals, balletts, and canzonets as well as the consort song and broadside ballad. The context of the English air as a response to Italian monody is illustrated through rhetorical elements of the solo vocal line and its accompaniment.

Musical examples include:


1. Tobacco! Tobacco!
Tobias Hume (1579-1645)

The First Part of Ayres, 1605
2. As Ceasar Wept
William Byrd (1540-1623 )

Bodleian Library, Oxford, Ms. Mus. Sch.e. 423, c.1575-1586
3. Lacrimae
British Library, London, Add. Ms. 38539, c.1610
4. Flow My Tears
John Dowland (1563-1626)

The Second Booke of Songes or Ayres, 1600
5. Come away, come sweet love
John Dowland (1563-1626)

The First Booke of Songes or Ayres, 1597
6. In Darkness Let Me Dwell
John Dowland (1563-1626)

A Musicall Banquet, 1610
7. O Sweet Flower
John Coprario (c.1570-1626)

Funeral Teares, 1606
8. Come Hither You That Love
Robert Johnson (c.1583-1633)

Beaumont and Fletcher: The Captain, c.1612

Liuti in concerto: A Lecture Recital

The lecture recital follows the development of the lute duet from the early fifteenth through the eighteenth century. The origins of the genre in the unwritten Italian vocal tradition, its importance in the context of developing solo lute literature, as well as trends and variations in the different types of lute duets within the major European musical traditions are discussed.

Musical examples include:


1. Flat Pavan
John Johnson (f.1579-94)
2. Piva
Joan Ambrosio Dalza (fl.1508)
3. Ricercar seconda
Jean Matelart (1538-1607)

Francesco da Milano (1497-1543)
4. Branles de village
Jean Baptiste Besard (c. 1567-after 1616)

Robert Ballard (c.1575-after1649)
5. Contrapunto primo di B.M.
Vincenzo Galilei (1520-1591)

Contrapounto secondo di B.M.
6. Assiste Parata
Enriquez de Valderrábono (fl.1547)

Nicolas Gombert (c.1495-c.1560)
7. Spanish Pavan
Alfonso Ferrabosco (c.1575-1628)