Foothill Community Concert Series

- Early Music -

the the
Peralta Consort Peralta
Consort
Upcoming Peralta Consort concerts:
Sat. June 9 11:00AM Christian Science Organization,
2601 Durant Ave, Berkeley
Thurs. June 28 7PM Museum of American Heritage
351 Homer Ave., Palo Alto

The Foothill Presbyterian Church Music Series was created to promote

varied music to the community. Proceeds from the Music Series
Concerts will go to the Foothill Church Music Series Fund to provide
more musical events like these. Thank you for your support.
(http://www.FoothillPC.org)
Foothill Presbyterian Church
5301 McKee Road
San José, CA 95127

Rev. Lindsay Woods Wong

Rev. Andy Wong
Co-Pastor
Co-Pastor
BLACKBEARD IS DEAD!
Judi Sherwood FCCS Administrator
Kraig Williams Early Music Series Director Foothill Presbyterian Church
San José, California
Special Thanks to:
Julie Cline, Peg Nickl, Saturday, June 2, 2018, 3:00 PM
& The Session of Foothill Presbyterian Church
 Blackbeard the Pirate
the
Peralta Consort Edward Teach (c. 1680 – 22 November
1718), better known as Blackbeard, was
an English pirate who operated around
the West Indies and the eastern coast of
Britain's North American colonies. Little
BLACKBEARD IS DEAD! is known about his early life, but he may
June 2, 2018 have been a sailor on privateer ships
during Queen Anne's War before settling
Program on the Bahamian island of New
Providence, a base for Captain Benjamin
Hornigold, whose crew Teach joined
around 1716. Hornigold placed him in
Hamburger Ebb und Flut (Wassermusik) Georg Philipp Telemann command of a sloop that he had
(TWV 55:C3) (1681 – 1767) captured, and the two engaged in
1. Ouverture numerous acts of piracy. Their numbers
were boosted by the addition to their
Hamburger Ebb und Flut Telemann fleet of two more ships, one of which
was commanded by Stede Bonnet; but
2. Sarabande: Die schlaffende Thetis Hornigold retired from piracy towards
3. Bourrée: Die erwachende Thetis the end of 1717, taking two vessels with
6. Harlequinade: Die scherzenden Tritonen him.
Teach captured a French merchant vessel, renamed her Queen Anne's Revenge, and
equipped her with 40 guns. He became a renowned pirate, his nickname derived
from his thick black beard and fearsome appearance; he was reported to have tied lit
Quartet No. 2 in e minor Johann Joachim Quantz fuses (slow matches) under his hat to frighten his enemies. He formed an alliance of
pirates and blockaded the port of Charles Town, South Carolina, ransoming the port's
(QV 4:9) (1697 – 1773)
inhabitants. He then ran Queen Anne's Revenge aground on a sandbar near Beaufort,
1. Vivace North Carolina. He parted company with Bonnet and settled in Bath Town, where he
2. Grave accepted a royal pardon. But he was soon back at sea, where he attracted the
3. Allegro attention of Alexander Spotswood, the Governor of Virginia. Spotswood arranged
for a party of soldiers and sailors to capture the pirate, which they did on 22
November 1718 following a ferocious battle. Teach and several of his crew were
killed by a small force of sailors led by Lieutenant Robert Maynard.
Sonata in a minor Johann Christoph Schickhardt
Op. 22 No. 6 (1681 – 1762) Teach was a shrewd and calculating leader who spurned the use of force, relying
1. Adagio instead on his fearsome image to elicit the response that he desired from those whom
2. Allemanda he robbed. Contrary to the modern-day picture of the traditional tyrannical pirate, he
commanded his vessels with the consent of their crews and there is no known
3. Allegro account of his ever having harmed or murdered those whom he held captive. He was
4. Giga Allegro romanticized after his death and became the inspiration for an archetypal pirate in
5. Allegro works of fiction across many genres.

2 15
 The Golden Age of Piracy

Factors contributing to piracy during the Golden Age included the rise in quantities
of valuable cargoes being shipped to Europe over vast ocean areas, reduced
Dance of the Blessed Spirits Christoph Willibald von Gluck
European navies in certain regions, the training and experience that many sailors From the opera, Orpheus and Eurydice (1714 – 1787)
had gained in European navies (particularly the Royal Navy), and ineffective
government in European overseas colonies. The colonial powers at the time
constantly fought with pirates and engaged in several notable battles and other
related events.
Concerto Grosso No. 7 in B-flat major George Frideric Handel
In 1713 and 1714 a series of peace treaties ended the War of the Spanish Op. 6 No. 7 (HWV 325) (1685 – 1759)
Succession. As a result, thousands of seamen, including Britain's paramilitary 1. Largo
privateers, were relieved of military duty, at a time when cross-Atlantic colonial 4. Hornpipe
shipping trade was beginning to boom. In addition, Europeans who had been pushed
by unemployment to become sailors and soldiers involved in slaving were often
enthusiastic to abandon that profession and turn to pirating, giving pirate captains a
steady pool of recruits in west African waters and coasts.

In 1715, pirates launched a major raid on Spanish divers trying to recover gold from Intermission
a sunken treasure galleon near Florida. The nucleus of the pirate force was a group
of English ex-privateers. The attack was successful, but contrary to their
expectations, the governor of Jamaica refused to allow the pirates to spend their loot
on his island. With Kingston and the declining Port Royal closed to them, they
founded a new pirate base at Nassau, on the island of New Providence in the
Bahamas, which had been abandoned during the war. Until the arrival of governor Harpsichord Concerto No. 6 in F major Johann Sebastian Bach
Woodes Rogers three years later, Nassau would be home for these pirates and their (BWV 1057) (1685 – 1750)
many recruits. 1. Allegro
Many of the pirates had originally been either sailors for the Royal Navy,
2. Andante
privateersmen, or merchant seamen. Most pirates had experience living on the sea, 3. Allegro assai (fuga)
and knew how harsh the conditions could be. Sailors for the king would often have
very little to eat while out on the sea, and would end up sick, starving, and dying.
That resulted in some sailors deserting the king and becoming pirates instead. This
also allowed for pirates to better fight the navy. Unlike other seaman, pirates had
strict rules for how they were to be treated on the ship. Unlike what many people
Concerto for diverse instruments in F major Antonio Vivaldi
think, captains did not have a dictatorship over the rest of the pirates on their ship. (RV 558) (1678 - 1741)
Captains had to be voted in, and there were strict rules for them to follow as well.
The captain was not treated better (with more food, better living conditions, etc.) Allegro Molto
than the other members of the crew, and was to treat the crew with respect. This was
because many merchant captains treated their crews terribly. Many pirates had
formally served on these merchant ships and knew how horrid some captains could
be. The captain only had full authority in times of battle and could be removed from
this position if they showed cowardice in the face of the enemy.

14 3
 musician bios
the
Peralta Consort
Breathing new life into Early Music
Kraig Williams (Director, recorders) was a brass
musician in school, dabbling in the recorder. After
college (BS Stanford; MBA Santa Clara), and “some
years” of work, he started getting serious about
recorders, studying under Letitia Berlin, Hanneke van
Proosdij, and now Judy Linsenberg. While honing his
individual skills as a musician, Mr. Williams formed a
series of recorder and mixed instrument
ensembles exploring Renaissance and Baroque music,
and in 2006 founded the Peralta Consort. Kraig also
has performed as a soloist with choral groups, operas,
and played with the Berkeley and Barbary Coast
Recorder Orchestras. Beyond the roles of recorder
student and performer, he is also a concert impresario. In this latter role Kraig created
in 2007 the early music concert series at Foothill Presbyterian Church,, filling the
niche for early music concerts in the South Bay Area. Mr. Williams works as a
program manager in the tech industry. Kraig.Williams@alumni.Stanford.edu
Mike Megas (recorders, flute) played in an Air
Force band for several years and then continued to
make music while completing degrees in
mathematics and engineering and pursuing a career
in software development. He also plays in Ye Olde
Towne Band, a fifty-piece concert band that gives
outdoor Sunday afternoon concerts at Shoup Park in
Los Altos.
4 13
the
Peralta Consort
The Peralta Consort is a mixed-instrument ensemble that emphasizes music of the
Baroque musical era (1600-1750), but strays into earlier and later genres as the spirit
moves us. The ensemble was formed in 2006 to perform the world premiere of Glen
Shannon’s Trio Sonata No. 1 in d minor, for which we were coached by the
composer. We are the resident chamber ensemble of Foothill Presbyterian Church in
San Jose (www.FoothillPC.org), rehearsing in the bright acoustic space of Foothill’s
sanctuary, and contributing musically to the Foothill’s services, as well as those of
other Bay Area churches. The Peralta Consort also performs partial and full program
concerts at various venues in the Bay Area.
Baroque music describes an era and a set of styles of European classical music which
were in widespread use between approximately 1600 and 1750 for a discussion of the
problems inherent in defining the beginning and end points). This era is said to begin
in music after the Renaissance and to be followed by the Classical music era. Since
Baroque listeners did not want any more "old-fashioned" music from the Renaissance
period, composers and musicians realized the importance of music as a main source
of entertainment and thus created works of art which were significant contributions to
their society. They were realizing a basic goal in life which was learning to serve their
fellow men.
The word baroque was a Portuguese term for a pearl (barocco) with an irregular
shape. Jean-Jacques Rousseau wrote in 1768 in the Encylopedié: "Baroque music is
that in which the harmony is confused, and loaded with modulations and
dissonances.”
For many music connoisseurs, the works of the Baroque period -- in all their beauty
and ornamented delicacy -- are simply unsurpassed. Some of the most memorable
pieces ever emerged from this period, such as Vivaldi's Four Seasons, Handel's
Messiah and Bach's Brandenburg Concertos. It is hard to imagine that the works of
such giants as the latter were nearly forgotten for a long time, until the Baroque
revival of the following century, spearheaded by Felix Mendelssohn. The fact
remains, though, that this music showcases some of the most brilliant
accomplishments in the art of harmony. Although a significant amount of music from
this period is highly technical in nature, it never loses its appeal to musician and lay
listener alike, something which does not happen in, say, most 20th Century and
contemporary classical music.
www.thePeraltaConsort.com
 Program Notes
Antonio Lucio Vivaldi was born in 1678 in Venice, and was baptized immediately after
his birth at his home by the midwife, which led to a belief that his life was somehow in
danger either due to poor health or the earthquake that shook the city that day. Vivaldi's
health was problematic. His symptoms, strettezza di petto ("tightness of the chest"), have
been interpreted as a form of asthma. This did not prevent him from learning to play the
violin, composing or taking part in musical activities, although it did stop him from
playing wind instruments. In 1693, at the age of fifteen, he began studying to become a
priest. He was ordained in 1703, aged 25, and, with his distinctive red hair, was soon
nicknamed il Prete Rosso, "The Red Priest".
In that same year Vivaldi became maestro di violino (master of violin) at an orphanage
called the Pio Ospedale della Pietà (Devout Hospital of Mercy) in Venice. Vivaldi was
only 25 when he started working at the Ospedale della Pietà. Over the next thirty years
he composed most of his major works while working there. There were four similar
institutions in Venice; their purpose was to give shelter and education to children who
were abandoned or orphaned, or whose families could not support them. They were
financed by funds provided by the Republic. The boys learned a trade and had to leave
when they reached 15. The girls received a musical education, and the most talented
stayed and became members of the Ospedale's renowned orchestra and choir.
Shortly after Vivaldi's appointment, the orphans began to gain appreciation and esteem
abroad, too. Vivaldi wrote concertos, cantatas and sacred vocal music for them. He
composed an oratorio or concerto at every feast and taught the orphans both music
theory and how to play certain instruments. We know some of his music has been lost
(such as the opera whence today’s “Di Due Rai Languir Costante“ comes), but “new”
pieces continue to be discovered.
His relationship with the board of directors of the Ospedale was often strained. The
board had to take a vote every year on whether to keep a teacher. The vote on Vivaldi
was seldom unanimous, and went 7 to 6 against him in 1709. After a year as a freelance
musician, he was recalled by the Ospedale with a unanimous vote in 1711; clearly
during his year's absence the board realized the importance of his role. He became
responsible for all of the musical activity of the institution when he was promoted to
maestro de' concerti (music director) in 1716.
Throughout his career, he had his choice of commissions from nobility and the highest
members of society, the ability to use the best performers, and enough business savvy to
try to control the publication of his works, although due to his popularity, many were
published without his consent. Later in life Vivaldi was plagued by rumors of a sexual
liaison with one of his vocal students, and he was censured by ecclesiastical authorities.
His Italian career on the rocks, he headed for Vienna. He died there and was buried as a
pauper in 1741, although at the height of his career his publications had earned a
comfortable living.
12
musician bios
Amy Hunter (harpsichord, organ, flute) received her
Bachelor of Music and Master of Music degrees in
Piano Performance from Temple University’s Esther
Boyer School of Music and Dance in Philadelphia,
PA. After that Amy taught and performed
professionally a number of years in the Philadelphia
and Washington DC areas, and managed community
outreach programs at the Washington Performing Arts
Society. In 2012 Ms. Hunter moved to San Jose,
established the Amy Hunter Piano School, and then
the Hunter School of Music. In addition to making
music Amy loves cooking, discovering new
restaurants, spending time in her herb and vegetable
garden, participating in outdoor activities, attending concerts, traveling, and creating
memories with friends and family. (https://hunterschoolofmusic.com/)
Romola Georgia (cello) holds degrees in
Anthropology and Music from the University of
California, Berkeley where she played in both the
Collegium Musicum and the Contemporary Chamber
Ensemble. Her enthusiasm for chamber music
continues to span all eras – from early music to
contemporary and everything between. Romola is a
Master Gardener specializing in edible and sustainable
landscaping. She teaches fruit tree pruning and care
and lives on a mini-farm with 28 fruit trees.
Breene Yuen (baroque flute) is an engineer
who started taking flute lessons as an adult.
Humorous and fumbling attempts at playing the
trumpet resulted in a switch to flute. After
being guided to listen to different music styles
and different flute players, Breene fell in love
and latched onto early music of the baroque
period. He now plays on a modern day replica
of a baroque wooden flute, circa 1790.
5
 musician bios
Eric Finley (violin) started his musical
training when he was eight. Since then,
he has played with, and served as
concertmaster with many orchestras and
ensembles in the Bay Area, including
the Redwood Symphony, Nova Vista
Symphony, the San Jose State
University Symphony and Chamber
Ensemble. He has also appeared as
guest violinist in early music ensembles
throughout the Bay Area and the United
States. Currently, Eric studies baroque
violin with Carla Moore. He has also
studied with Michael Sand, David Douglass, and Mary Lou Galen. Eric
holds a BA in Environmental Studies from San Jose State University and a
MA in Education from the University of San Francisco.
Yu-Ting Wang (viola) is a cellist and
music educator living in San José, CA.
She received her Bachelor of Music in
Cello Performance and Music
Education from San José State
University in 2011. She finished the
teaching credential program at San
José State in 2012 and is currently
teaching elementary string classes in
the Berryessa Union School District.
6
program notes
Johann Sebastian Bach was better known as a virtuoso organist than as a composer in
his day. His sacred music, organ and choral works, and other instrumental music had an
enthusiasm and seeming freedom that concealed immense rigor. Bach's use of
counterpoint was brilliant and innovative, and the immense complexities of his
compositional style -- which often included religious and numerological symbols that
seem to fit perfectly together in a profound puzzle of special codes -- still amaze
musicians today. Many consider him the greatest composer of all time.
Like many other composers, Bach occasionally “repurposed” his works, and the
harpsichord concerto No. 6 is one such example. You will probably recognize this piece
as the more familiar Brandenburg Concerto No. 4. The musical lines have shifted,
primarily from solo violin to harpsichord, and the key has ben shifted down, but
otherwise the pieces are identical. The history or purpose of the piece is subject to
conjecture. It may be that this arrangement was made to accommodate musicians
available, or intended to be featured for performances at Café Zimmermann. A coffee
house in Leipzig, it was the site of public concerts, including the first performances of
many of Bach’s secular cantatas. The café hosted the Collegium Musicum founded by
Telemann (as a law student), and later directed by Bach.
The Brandenburg Concertos are a collection of six instrumental works presented by
Bach to Margrave Christian Ludwig of Brandenburg (1677-1734), the son of Frederick
William, Elector of Brandenburg (1620-1688), and brother of Frederick I, King of
Prussia (1657-1713). They were presented in 1721 (though probably composed earlier)
at a time of transition in Bach’s life: He’d enjoyed a tremendous run as music director in
the court of the German Prince Leopold, but his job security was beginning to look
uncertain. The concertos may have been Bach’s attempt to secure an appointment in his
court, but as far as we know, the Margrave never even heard them performed.
Interesting Facts
•Georg Philipp Telemann was the first choice to be cantor of St. Thomas Church in
Leipzig, but turned down the position, forcing the administration to choose a "mediocre"
second choice, Johann Sebastian Bach.
•After being overruled in one of his many quarrels with Leipzig authorities and the
officials of St. Thomas School, Bach once addressed his protest to:
His Most Serene Highness, the Mighty Prince and Lord, Frederick Augustus, King of
Poland, Grand Duke in Lithuania, Reuss, Prussia, Mazovia, Samogitia, Kyovia,
Vollhynia, Podlachia, Lieffland, Smolensk, Severia and Czernienhovia, Duke of Saxony,
Julich, Cleve, Berg, Engern and Westphalia, Archmarshal and Elector of the Holy
Roman Empire, Landgrave of Thuringia, Margrave of Meissen, also of Upper and
Lower Lausiz, Burgrave of Magdeburg, Prince and Count of Henneberg, Count of the
Marck, Ravensburg and Barby, Lord of Ravenstein, My Most Gracious King, Elector
and Master.
11
 program notes musician bios

German born composer and organist George Frideric Handel (naturalized Dylan Librande (harpsichord, organ) is a
Englishman from 1726). Son of barber-surgeon who opposed music as his son's pianist, educator, and composer born and
career though he permitted lessons. Händel studied law at Halle University, turning raised in the Bay Area. After completion of a
to full-time musician when his father died. He went to Hamburg in 1703 where he BM degree in Music Composition at
joined the opera house under the composer Reinhard Keiser, playing 2nd violin in Willamette University, he returned to
the orchestra. His first opera Amira, written because Keiser lost interest in the California to share his passion with the next
libretto, which Händel took over. In 1706 Händel went to Italy in a prince's retinue, generation of musicians. Dylan works with
meeting Corelli, the Scarlattis, and other leading figures, and rapidly attained the nonprofit Music for Minors as an
mastery of Italian style in opera, chamber music, and vocal music. He was elementary school music teacher, teaches
acclaimed as a genius, the rival of his Italian contemporaries. private jazz and classical piano lessons at
South Bay School of Music in Milpitas and
In 1710 he was appointed court conductor in Hanover and was also invited to write Ale’s Music Studio in Fremont, and is the
an opera (Rinaldo) in London, where he quickly realized the possibilities for his accompanist for Sunnyhills United Methodist
own success and, after settling his affairs in Hanover, settled there permanently. For Church.
the next 35 years, Händel was immersed in the ups and downs of operatic activity in
London where the Italian opera seria was the dominant force.

In 1737 Händel's health cracked under the strain of his operatic labours and he had a
stroke. Following his recovery, he wrote a series of oratorios, including Messiah, Marie Park (violin) grew up locally in San
produced Dublin, 1742. By this work his name is known throughout the world, yet it Jose, and played in the San Jose Youth
is something of an oddity in Händel's work since he was not a religious composer in Symphony. She majored in Communications
the accepted sense. But its power, lyricism, sincerity, and profundity make it one of and minored in music and education at the
the supreme musical creations as well as an outstanding example of devotional art. University of California Davis. She
For the last seven years of his life Händel was blind, but he continued to conduct performed with the UCD Symphony
oratorio performances and to revise his scores with the assistance of his devoted Orchestra, Davis Baroque Ensemble, Santa
friend John Christopher Smith. Rosa Symphony, North Bay Opera,
Sacramento Opera, San Francisco Opera,
Interesting facts: Awesome Orchestra, various corporate
• In 1704, Handel and another composer (and friend) Johann Mattheson got into events etc. Marie earned a Master's Degree at
an argument over who had the right to play continuo in the opera pit. A duel Loyola Marymount University as a
ensued, and Mattheson won. Handel’s life was spared only because a button on credentialed teacher, and she volunteered and
his coat broke the sword’s near-fatal blow. taught music at over ten schools. She
• It has often been joked that Handel was half German, half Italian, and half currently teaches violin, viola, and piano
English. In truth, he was a very large man. privately and can be reached at
amazingmisspark@gmail.com

7
10
 program notes
Georg Philipp Telemann did not come from a musical family, but a clerical one. He
was largely self-taught, except for singing lessons as a 10-year old and keyboard studies
for two weeks, but by the age of 12, he had taught himself to play three other
instruments and composed an opera. His mother forbad him to study music any further,
but he continued secretly on his own.
Telemann went to Leipzig to study law, but he continued to pursue music on the sly
(against his parents’ wishes), and within a year he had become the director of the
Leipzig opera, was composing for the two major churches in Leipzig, and soon became
the organist at the Neukirche (New Church). So much for being a respectable lawyer.
Telemann first found employment in the courts of nobles, then tired of the nobility and
took the post of city director of music and Capellmeister of Frankfurt. In Frankfurt,
Telemann relished civic music making with dedicated amateurs and professionals,
reviving the Collegium musicum there for weekly public concerts. In 1714, he married
the 16-year-old daughter of the city clerk, with whom they had eight sons and one
daughter. Telemann, a savvy businessman published his own work, he successfully
overseeing every stage of publication, from engraving to printing to sales.
Telemann is one of the most prolific composers in history[1] (at least in terms of
surviving oeuvre)[2] and was considered by his contemporaries to be one of the leading
German composers of the time—he was compared favorably both to his friend Johann
Sebastian Bach, who made Telemann the godfather and namesake of his son Carl
Philipp Emanuel, and to George Frideric Handel, whom Telemann also knew personally.
Johann Joachim Quantz, the son of a blacksmith, was one of the most significant
figures in the early history of the transverse flute, both as a composer and performer. As
a youth he had the capacity to master nearly any instrument. Only late in his
development did he specialize in the flute, an instrument that would lead him to a highly
paid and highly honored position with King Frederick the Great of Prussia.
In 1718 Quantz became oboist in the Polish chapel of Augustus II, King of Poland,
spending time in both Warsaw and Dresden. But in 1719, realizing how few
opportunities for promotion he faced as an oboist, Quantz took up the transverse flute.
In 1728, the same year he became a member of the Dresden court chapel, Quantz was
engaged to teach Crown Prince Friedrich in Berlin. He commuted between Berlin and
Dresden, where he also made flutes starting in 1739. When the Crown Prince became
King of Prussia in 1740, he soon summoned Quantz to Berlin to supervise private
evening concerts and continue serving as his flute teacher. Quantz's salary was increased
by 150 percent, and he received extra payment for each flute and composition he
produced. (He was also the only person authorized to criticize the king's flute playing.)
8 9
program notes
The name of Johann Christian Schickhardt is known today almost solely to
recorder players, and even to them is not well known. The circumstances of his life
point to a journeyman composer and performer, not fortunate enough to gain a
position at an important court or in an important city. He constantly moved from one
minor court or city to another dedicating numerous compositions to one prince or
duke after another in the hope of being employed, and eventually he settled in the
Netherlands, which was important for music publishing, but not in the vanguard of
musical composition or performance at that time.
Christoph Willibald von Gluck studied music and philosophy at Prague, In 1754
Empress Maria Theresa appointed him opera Kapellmeister to court theatre in
Vienna, a post which required him to compose in the more lively and flexible style of
the fashionable French opéras comiques. In 1779 he returned to Vienna and retired,
living in a grand manner.The simplicity and sublimity of Gluck's melodies, supported
by a vivid dramatic snese, have ensured the survival of a large proportion of his
music.
Orfeo ed Euridice (French: Orphée et Eurydice; English: Orpheus and Eurydice) is
based on the myth of Orpheus and set to a libretto by Ranieri de' Calzabigi. It belongs
to the genre of the azione teatrale, meaning an opera on a mythological subject with
choruses and dancing. The piece was first performed at the Burgtheater in Vienna on
5 October 1762, in the presence of Empress Maria Theresa. Orfeo ed Euridice is the
first of Gluck's "reform" operas, in which he attempted to replace the abstruse plots
and overly complex music of opera seria with a "noble simplicity" in both the music
and the drama.
The opera is the most popular of Gluck's works, and was one of the most influential
on subsequent German operas. Variations on its plot—the underground rescue-
mission in which the hero must control, or conceal, his emotions—can be found in
Mozart's The Magic Flute, Beethoven's Fidelio, and Wagner's Das Rheingold.
Though originally set to an Italian libretto, Orfeo ed Euridice owes much to the genre
of French opera, particularly in its use of accompanied recitative and a general
absence of vocal virtuosity. Indeed, twelve years after the 1762 premiere, Gluck re-
adapted the opera to suit the tastes of a Parisian audience at the Académie Royale de
Musique with a libretto by Pierre-Louis Moline. This reworking was given the title
Orphée et Eurydice,[3] and several alterations were made in vocal casting and
orchestration to suit French tastes.