Baroque specialist Julia Wedman leads Bach’s much-loved Air on the G String, plus Handel’s explosive Royal Fireworks, and a concerto inspired by bird song. Wedman also shines a light on Maria Grimani (the first woman to have her opera staged at the Vienna Court Theatre) and Anna Maria “dal Violin,” a student of Vivaldi who went from an orphan to become a famed violin soloist.
Julia Wedman, violin/leader
Originally from Saskatoon, Saskatchewan, baroque violinist Julia Wedman joined the Tafelmusik Baroque Orchestra in 2005 and quickly developed a reputation for her solo performances. She is regularly showcased on the orchestra’s home series and on tours throughout Canada, the U.S.A., Mexico, Puerto Rico, Australia, New Zealand, China, Korea and Japan. The Globe and Mail describes her playing as “extraordinarily intuitive,” “highly communicative,” and, her personal favourite, “zesty”! As a student, she developed a passion for historically informed performance, inspired by her work at Indiana University with baroque violinist Stanley Ritchie, as well as studies at the University of Western Ontario and the University of Toronto.
Julia is a member of the innovative baroque ensemble I FURIOSI. In addition to their successful Toronto concert series, IF has performed at music festivals in Canada, the U.S.A, Germany, England and Ireland. She is also one quarter of the Eybler Quartet, a period instrument group who specialize in excellent and underrated Classical works. Their recordings include music by their namesake Joseph Leopold Edler von Eybler, Haydn, Mozart, Backofen, Vanhal, Beethoven’s Op. 18 quartets and most recently the premier recording of Asplmayr’s Op. 2.
Over the past few years, Julia has become increasingly sought after as a teacher and coach. In addition to teaching privately, at the University of Toronto and at Tafelmusik’s Summer and Winter Institutes, she has taught classes at the Guildhall School for Music and Drama (London, England), the University of Saskatchewan (Saskatoon), the University of Western Ontario (London), Queens University (Kingston), and Fredonia University (NY), the Eastman School of Music (Rochester, NY), and Penn State (State College, PA). She was also on faculty at the Banff Centre for the Arts as part of their groundbreaking new program EQ: Evolution of the String Quartet with the Eybler Quartet, Parker Quartet and JACK Quartet in 2018 and 2019.
Julia’s debut solo recording of Biber’s Mystery Sonatas (Sonoluminus) was released in the spring of 2011 and has received rave reviews. The CD was featured in Gramophone magazine, which read “Rather exceptionally, one suspects, Wedman has approached Biber’s music as a true pilgrim, interpreting key moments in the life of Christ thoughtfully, vividly and with evident personal humility and warmth. Her performances exude humanity and have about them a radiance that somehow transcends the sound of her lovely 1694 instrument.”
Recent performance highlights include guest concertmaster/solo debuts with the Orchestra of the Age of Enlightenment (London) and the Orchestra of the 18th Century (Amsterdam).
Julia has been focusing intensively on the performance of J.S. Bach’s music both in recital and as part of the exciting new Toronto Bach Festival, directed by Tafelmusik oboist John Abberger. She is also midway through a three-year cycle of Bach’s solo violin music in collaboration with the fantastically expressive dancer Brian Solomon for the Gallery Players of Niagara.
Mark McDonald, organ
Mark McDonald is an organist, harpsichordist, and choral director based in Victoria. Recognized for his sensitive interpretations of a wide range of repertoire and styles from early music to the avant garde, his recent engagements have included performances at the Pacific Baroque Festival, Edmonton’s Winspear Centre, and St Mark’s Cathedral, Seattle.
Laureate of several international competitions, he was the third-prize winner of the prestigious Arp Schnitger International Organ Competition in Hamburg Germany in 2014. He has also received wide acclaim for his recording of Holst’s The Planets transcribed for organ by Peter Sykes which was a featured broadcast at the Royal Canadian College of Organists’ National Festival in 2020. His diverse career has included performances with orchestras (NYO Canada, McGill Symphony Orchestra, Victoria Symphony), early music ensembles (Victoria Baroque, Camerata Nova), and even Cirque du Soleil.
He holds degrees and diplomas from McGill University, Queen’s University and the University of the Arts Bremen. He presently serves as Instructor of Organ at the University of Victoria and as Assistant Director of Music at Christ Church Cathedral in Victoria, one of Canada’s leading centres for Anglican choral music and education.
Bach: Suite No. 3 in D major
Grimaldi: Sinfonia from Pallade e Marte
Vivaldi: Violin Concerto in D minor “For Anna Maria”: I. Allegro
Handel: Organ Concerto No. 13 in F Major, “The Cuckoo and the Nightingale”
Handel: Royal Fireworks Music
It is not clear when Johann Sebastian Bach premiered his Orchestral Suite No. 3, but it most certainly would have comprised an evening’s entertainment at Leipzig’s famed Café Zimmermann. Bach served as Cantor at Leipzig’s St. Thomas Church and its associated music school. He was also the director of the Collegium Musicum, a performance society comprised of some professional musicians alongside students from the University of Leipzig. On a typical Friday night between 1729 and 1741, they would hold a “meeting” at Zimmermann’s coffee house and give a performance that was free to the public. Audiences might have enjoyed works for small ensembles, choral and vocal pieces (including the “Coffee” Cantata, of course) and the occasional piece for chamber orchestra.
Bach’s orchestral suites comprise a series of shorter, courtly dances preceded by more grandly scaled French overture. In fact, Bach himself referred to his four suites as “Ouvertures,” following the example of French composers such as Lully and Rameau. When they compiled individual movements from their ballets or operas for a concert performance, the overture to the complete work was included as the suite’s first movement. Alongside strings and continuo in the opening movement of Suite No. 3, the musical punctuation of the oboes, trumpets and timpani evoke images of a regal procession. The opening French overture serves as a solemn introduction with its characteristic slow, dotted rhythm followed by a more lively fugue. The much-loved Air is next, with its walking bass-line and a long, lyrical melody played by just the strings and continuo. Its status a much-loved musical bon-bon is thanks to a German violinist, August Wilhelmj, who published his arrangement of it in 1871 under the title “Air on the G String.” A pair of Gavottes are then presented in alternation, followed by a Bourrée and a lively Gigue, the most frequent conclusion to any set of dances.
Leader and violin soloist Julia Wedman takes this opportunity to shine a light on Maria Margherita Grimani – the first woman to have her opera performed at the Vienna Court Theatre – and Anna Maria “dal Violin” – an orphan at the Ospedale della Pietà in Venice who, under the guidance of Antonio Vivaldi, went on to become a famed violin soloist.
It’s interesting that as far back as 1980, Grimani’s three-part Sinfonia had been recorded by the New England Women’s Symphony, led by Jeanne Lamon. Ms. Lamon subsequently mentored generations of baroque specialists (Julia Wedman among them) as the leader of Tafelmusik. Very little is known of Grimani’s early life, beyond being born in 1680 as Maria Margherita Vitalini, and her marriage to Giovanni Andrea Grimani (1672—1723), Doctor of Law, lawyer and lecturer at the University of Bologna. She was an accomplished baroque violinist and composer, who evidently earned the attention of the Vienna court of Charles VI, Holy Roman Emperor and ruler of the Austrian Habsburg monarchy. Her surviving manuscripts consist of two oratorios (The Visitation of Elizabeth and The Beheading of St. John the Baptist) and the dramatic work, Pallade e Marte, the score of which is inscribed “April 5, 1713, Bologna.” It was staged in November of that year at the Imperial court on the name day of the emperor, with a soprano and alto soloist in the role of two deities who take it in turn to praise the Emperor. The opening sinfonia featured today provides a brief taste of Grimani’s underexposed but no less delightful work.
Grimani’s relatively short life stands in contrast to that of Anna Maria “dal Violin,” who arrived at the Ospedale della Pietà as an orphan in the late 1690s, delivered secretly through a small hatch. She spent her entire life of more than 82 years at the Pietà, firstly as one of Vivaldi’s most accomplished students, and subsequently as a violin soloist and teacher of further generations of female musicians. She learned to play seven instruments, and countless tourists from throughout Europe flocked to Venice to hear her performances. According to one anonymous poet, it was said that when she played, “countless angels dare to hover near.” Vivaldi wrote no less than 28 concertos especially “for Anna Maria,” including the excerpted Allegro movement from the Concerto in D minor (RV229) featured today.
George Frideric Handel began his career at the age of 17, as a church organist, and went on to play in opera orchestras in Hamburg in his native Germany. At 21, he travelled to Italy to develop his skills as a composer and before the age of 30, in 1714, he had settled in England and quickly gained fame for his opera, oratorios and instrumental suites and concertos.
The Organ Concerto in F Major was premiered in April of 1839, as an interlude at the King’s Theatre, Haymarket, during a production of Handel’s oratorio Israel in Egypt. Handel took advantage of these musical breaks in the action as an opportunity to display his virtuosity at the keyboard, frequently embellishing them with some “ad libitum” movements. Later in life, as his eyesight deteriorated, he was still able to play from memory and to improvise at the keyboard.
The F major concerto is often included in compilations of Handel’s greatest hits, perhaps owing to its catchy nickname, “The Cuckoo and the Nightingale.” Following the first movement’s slow introduction, you will be able to catch Handel’s inspiration! About a minute in, he imitates the voice of the Cuckoo with its falling interval of a third. Then after another minute, the more lyrical voice of the Nightingale is heard, marked by rapid runs and quavering, sixteenth notes.
The evening concludes with another of Handel’s greatest hits: Music for the Royal Fireworks. In 1749, the British Monarch, George II, commissioned Handel to compose a celebratory work to mark end of the War of the Austrian Succession, which had drawn on throughout Europe for more than eight years. Dozens of military instruments of both winds and percussion were assembled at a specially built pavilion in Green Park, opposite the location of Buckingham Palace. Cannon fire, rockets, and pinwheels were set up to entertain the masses of spectators. However, this was London, in late spring, and the weather was less than cooperative. Rain delays meant some effects fizzled, a woman’s dress caught fire, explosions injured some soldiers and the stage itself caught fire and burned to the ground! Handel’s festive music was the brightest element of the production. Within a month, he had revised the score to include stringed instruments and held a benefit performance that raised more than £2500 for the Foundling Hospital of London. As with Bach’s suite presented earlier, a French Overture opens the proceedings, followed by a series of baroque dances. The peace treaty itself is celebrated with the Siciliana movement, La Paix, and the public’s joyous celebration with La Réjouissance.
Notes: Matthew Baird
Air on the G String from Bach’s Orchestral Suite No. 3
Sinfonia, from Maria Margherita Grimani’s Pallade e Marte
Allegro from Vivaldi’s Concerto ‘per Anna Maria,’ in D major, RV 229
The Cuckoo and the Nightingale from Handel’s Organ Concerto in F Major
Le Rejouissance from Handel’s Royal Fireworks
Partner/Patron Offer & SPONSOR SPOTLIGHT
July/August 2024
Huntingdon Hotel and Suites
Presenting Sponsor: 2024 Symphony in the Summer Festival
Partner/Patron Offers
We have two patron offers from Presenting Sponsor Huntingdon Hotel and Suites:
Tea & Symphony Delight at the Pendray Tea House:
Show your Victoria Symphony ticket and enjoy 15% off our exquisite Afternoon Teas at the historic Pendray Tea House, located in Victoria’s Inner Harbour.
This offer is available year-round and cannot be combined with other promos or discounts. Some blackout dates may apply.
How to redeem your offer: Book through the website | Call 250-388-3892 | Email info@pendrayinnandteahouse.com
Victoria Getaway Package at the Huntingdon Hotel and Suites:
Discover the perfect getaway with us! Experience the summer charm of the Inner Harbour with our Victoria Getaway Package at Huntingdon Hotel and Suites. This offer is available until September 1, 2024 and includes:
• Stay at Huntingdon Hotel and Suites: Enjoy the comfort of our well-appointed rooms.
• A Free Upgrade to Pendray Tea House Breakfast: Start your day with a delightful breakfast at the historic Pendray Tea House.
• Free Parking: Convenient and hassle-free parking included (subject to availability upon arrival).
• Free Upgrade to Loft Suite: Experience our spacious and newly renovated Loft Suites (upon request and subject to availability. Note that the lofts have stairs and are not recommended for guests with mobility issues).
How to redeem your offer: Use Promo Code SYMPHONY to Book
Reserve through the website | Call 1-800-663-7557 | Email reservations@huntingdonhotelandsuites.com
Sponsor Spotlight Interview with Erin Cassels, General Manager at Huntingdon Hotels and Suites
1. Why did you decide to sponsor Victoria Symphony’s Symphony in the Summer Festival?
We decided to sponsor Victoria Symphony’s Symphony in the Summer Festival because it perfectly aligns with our core values of quality, community engagement, and enriching the cultural fabric of Victoria. At our hotel, we believe in creating memorable experiences for our guests, and supporting local arts and culture is a natural extension of that commitment.
Music holds a unique power to bring people together, transcending barriers and fostering a sense of community and shared experience. The Symphony in the Summer Festival not only offers world-class performances but also makes classical music accessible to a broader audience, contributing to the cultural vibrancy of our city. By supporting the Victoria Symphony, we are investing in the cultural and artistic growth of Victoria, ensuring that music continues to be an integral part of our community’s identity. We are proud to partner with the Victoria Symphony and contribute to an event that brings joy, inspiration, and a sense of unity to our community.
2. What initiatives or special projects has Huntingdon been involved in recently that are impacting the community?
At Huntingdon Hotel and Suites and Pendray Inn and Tea House, we take immense pride in our community and sustainability initiatives. Our efforts include a vibrant community garden and the recent distinction of Pendray Inn and Tea House becoming the first in Canada to achieve the Pledge 2023 for its exceptional food waste reduction efforts. Additionally, our 5th annual Canada Day community breakfast successfully raised thousands of dollars for the Women’s Transition House, showcasing another commitment to giving back to the community.
3. If there was one other thing you feel people should know about Huntingdon, what would it be?
Our team has worked tirelessly to revitalize this beautiful heritage property, a true local treasure. Our dedication to sustainability has earned us multiple awards, certificates, and accolades, including Biosphere certification. We are also deeply committed to charitable efforts within our community. These achievements reflect the hard work and passion of our team, demonstrating our commitment to operating a business that benefits both the community and the planet.
4. Pops or Classics?
I grew up in a very musical family, so I love it ALL.
5. Do you have a music-themed joke to share?
Q: Why did the mom bring a ladder to the music concert?
A: Because she wanted to hear the high notes!
6. What’s one thing that brought you joy this week?
My kids 😊… (and my nightly chocolate fix).
Thank you, Erin!
Victoria Symphony deeply appreciates our community partners — Thank you for supporting local businesses that support the music you love!
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