March House Concert Features Camellia Camerata playing Music from Handel’s London

Mar 8th, 2010 | By | Category: Member Concerts

634332_recorderThe March House Concert will take place Saturday, March 13th at 7:00pm at the home of Alex & John Ives.
It will feature the Camellia Camerata playing
Music from Handel’s London”:

Music in Händel’s London Program:

Trio Sonata in g minor……….Georg Friedrich Händel (1685-1759)

Sonata IV in a minor, Op.1#4……G. F. Händel

Sonata in e minor.……….Carl Friedrich Abel
Moderato-Minuet (1723-1787)

Sonata in d minor, “Fitzwilliam”, HWV 367A………..G. F. Händel
breve-Andante-A tempo di menuet

Sonata in F Major, for 2 recorders and Basso continuo,
HWV 405….G. F. Händel


Gerry Greer & Billie Hamilton, recorders,
Alex Ives, harpsichord,
Dorothy Orolin, viola da gamba


Program Notes:

When Händel settled in England in 1712, a major shift in musical taste had taken place in just the 17 years since the death of Henry Purcell, whose generation of composers wrote mainly in the then dominant French style that was preferred by the Restored Stuart monarchy. Händel and his contemporaries wrote mainly in the Italian style, as Italian opera had become a major source of entertainment in London’s theaters.

The Trio Sonata in g minor exists in a score in e minor titled: “Sonata Con due Flauti Travers. Del Sr Hend.” Here it has been transposed up a minor third in accordance with 18th century recorder practice.

Sonata IV in a minor, Op. 1, #4 comes from John Walsh’s print of 12 solo sonatas for various instruments published in 1730 and again in a corrected edition in 1732.

Carl Friedrich Abel arrived in London during the 1758-59 concert season, and gave his first public concert there on April 5th 1759 just days before Handel’s death. He was a virtuoso viola da gamba player and composer who joined forces with J.C. Bach in 1763. By 1765 they had established a concert series which continued until 1781.

Sonata in d minor, “Fitzwilliam” takes it’s name from the location of the manuscript which is found in the Fitzwilliam Museum at Cambridge. It was never printed as a recorder sonata during Handel’s lifetime, but did appear in print transposed for the traverso in Walsh’s print of the solo sonatas. From the paper used for the autograph manuscript, the sonata can be dated to 1726, and the range of the original suggests recorder although no instrument is indicated.

Sonata in F Major, for 2 recorders and Basso continuo
is the only trio Sonata Handel wrote specifically for recorders. The final movement uses the same material as the finale of the F major solo recorder sonata written in London around 1726. The same material was recycled into at least a couple of other compositions by Handel who was never embarrassed to reuse a good tune.


Performer Bios:


Pictured above: Billie Hamilton, Gerry Greer, Alex Ives, and Dorothy Orolin

Camellia Camerata is an ensemble dedicated historically informed performance of the chamber music of the 17th and 18th centuries on period instruments.

GerryGreer-recorders3-10Gerry Greer, recorders: Gerry holds a degree in music performance from CSUS, was a clarinetist with the Camellia Symphony Orchestra, was artistic director of the pioneering early music group, the St. John’s Pro Musica Antiqua. He has played for seven years in the Gate Band at the Northern California Renaissance Faire and is an active performer and arranger around the northern California area.

He studied clarinet with Frealon Bibbins, and Dr, Frederick W. Westphal. He studied recorder and historical performance with Marilyn Boenau, Dr. Judith Linsenberg and Dr. Frances Feldon, and has taken master classes with Marion Verbruggen, Reine Marie Verhaggen, Geert Van Gele, Dan Lauren, David Beluggi, and John Tyson.

A current member of River City Renaissance Band, the Rotary Rooters Swing band, and the Fred Morgan Big Band where he plays clarinet, alto, tenor and baritone saxophones, in 2003 he retired from the Sacramento County Department of Social Welfare to dedicate himself full time to music. He is also currently writing arrangements for the Los Angeles based Limited Edition Glenn Miller Orchestra and the Fred Morgan Big Band.

BillieHamilton-recorder3-10Billie Hamilton, recorders: Billie has played clarinet and recorder since age 16. She is co-founder and past president of the Sacramento Recorder Society. A retired public school treacher, she currently gives private recorder lessons to adults and volunteers her talents teaching recorder to seniors.

She has studied with Judith Linsenberg, Eileen Hadidian, Frances Feldon, Frances Blaker and has taken master classes with Marion Verbruggen and Geert Van Gele. Ms. Hamilton is a member of River City Renaissance Band, sings in a madrigal group, plays viola da gamba, and is a member of a medieval/renaissance instrumental group.

AlexIvesonHarpsichord3-10Alex Ives, harpsichord: Alex holds a degree in music education. She has taught K-12 music and been organist and choirmaster at various locales in Modesto, California; Yerington, Nevada; and Seattle, Washington; and Sacramento, California.

She currently studies harpsichord with Lorna Peters and has taken master classes with Colin Tilney, Arthur Haas, and Webb Wiggins. Previous studies included organ with Robert Cundick and Frances Pierce McKnight, piano with Mileta Kilroy and B.J. Colton.

Former press secretary in the California State Senate, she currently plays with several ensembles, rabble rouses on housing and environmental issues, studies harp and bagpipes, and makes jewelry.

DorothyOrolin-violadagambaDorothy Orolin, tenor viol & bass viola da gamba: Dorothy has a degree in music education and has been a choral conductor as well a public school teacher.

As a teenager she was influenced by the Society of Ancient Instruments in Philadelphia which drew her to an interest in early music.

Dorothy has sung in choirs in Philadelphia, Princeton, and Sacramento. She has taken master classes on the viola da gamba with Mary Springfels, Martha McGaughy, and Margriet Tindemans, and is currently studying with John Dornenburg. As her schedule allows, Dorothy attends as many viola da gamba workshops as possible, playing treble, tenor and bass viols. In Sacramento, she enjoys playing in a consort of viols.

Dorothy has recently retired from her job as a social worker with the developmentally disabled.

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