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Plays Baroque PLAYS BAROQUE SUNDAY 5 MARCH 2017 CONCERT PROGRAM WELCOME ABOUT THE MSO Welcome to the Established in 1906, the Melbourne first Chamber Symphony Orchestra (MSO) is an concert of 2017. arts leader and Australia’s oldest Our diverse professional orchestra. Engaging over Chamber Series 2.5 million people each year, the MSO brings a touch reaches a variety of audiences through of delight, quirk live performances, recordings, TV and and celebration radio broadcasts and live streaming. to your Sunday morning. Within the As a truly global orchestra, the MSO series you can expect everything from collaborates with guest artists and arts the sonorous and virtuosic sounds organisations from across the world. Its of woodwind, to the dynamic and international audiences include China, distinctively local flavours of the where MSO performed in 2016 and MSO’s Composer in Residence, Elena Kats-Chernin, right through to today’s Europe where the MSO toured in 2014. oh-so-intriguing Baroque concert and The MSO performs a variety of a tasty entrée to our Mozart Festival concerts ranging from core classical when MSO Plays Mozart over the first performances at its home, Hamer Hall weekend in June. at Arts Centre Melbourne, to its annual In 2017 the MSO celebrates a variety free concerts at Melbourne’s largest of composers and this year’s Mozart outdoor venue, the Sidney Myer Music Festival delivers the greatest pieces Bowl. The MSO also delivers innovative and lesser-known gems by the great and engaging programs to audiences composer brought to life by the MSO of all ages through its Education and under the masterful British conductor, Outreach initiatives. Richard Egarr. Hear renowned works like Eine Kleine Nachtmusik, The MSO also works with Associate Symphony No.40, the Requiem and the Conductor Benjamin Northey and extraordinary score to the Academy the Melbourne Symphony Orchestra Award®-winning film Amadeus based Chorus, as well as with such eminent on the composer’s life, all in a two- recent guest conductors as Thomas week festival during July. Ades, John Adams, Tan Dun, Charles Dutoit, Jakub Hrůša, Mark It’s a wonderful experience to see Wigglesworth, Markus Stenz and and hear our musicians up close and Simone Young. It has also collaborated personal. What a way to start your with non-classical musicians including Sunday morning with the glorious Burt Bacharach, Nick Cave, Sting, sounds of a chamber performance! I look forward to sharing our 2017 Tim Minchin, Ben Folds, DJ Jeff Mills season with you. and Flight Facilities. Sophie Galaise Managing Director Melbourne Symphony Orchestra 2 ARTISTS Soprano Antoinette Halloran Violin Işin Cakmakçioğlu Viola Gabrielle Halloran Cello David Berlin Harpsichord Donald Nicolson Presenter Mairi Nicolson REPERTOIRE Leclair Overture in A Handel Un’ alma inamorata Schmelzer Duodena Selectarum Sonatorum: Sonata No.12 INTERVAL Stradella Sinfonia in D minor Vivaldi Lungi dal vago volto Biber Harmonia artificiosa-ariosa: Partia No.4 Running time 1 hour and 50 minutes including a 20-minute interval. 3 IŞIN CAKMAKÇIOĞLU In 1996, Gabby returned to Europe VIOLIN on an MSO Friends study grant and attended summer schools in Salzburg Işin Cakmakçioğlu has been a member and Siena (with Yuri Bashmet), of the Melbourne Symphony Orchestra followed by lessons with David Takeno since migrating to Australia in 1993 in London. She has been a member and teaches at the University of of MSO for more than 20 years, and Melbourne. performs regularly with MSO Chamber Born in Germany of Turkish parents, Players. Işin completed a Bachelor of Music at the Istanbul University Conservatorium and was awarded a state scholarship DAVID BERLIN to study at the Hochschule für Musik CELLO in Vienna and at the Royal Academy of David Berlin holds the position of MS Music in London, where he completed Newman Family Principal Cello Chair a Master of Music. at the Melbourne Symphony Orchestra Işin has performed solo and chamber and has held the position of Principal music concerts in Turkey, Britain, Cello since 1989. David studied the Germany, France, Luxembourg, Israel, cello with Lois Simpson at the Sydney Malaysia, Brunei and New Zealand. Conservatorium and with Channing His interest in contemporary music Robbins at the Juilliard School of has led to continuous collaborations. Music in New York. Işin regularly performs for Melbourne David has made numerous Composers League and in ABC appearances as soloist with these and Classic FM chamber music broadcasts other Australian orchestras and has featuring works by Australian been invited to play guest Principal composers. Cello with the Sydney and Tasmanian Symphony orchestras, Australian Chamber Orchestra and the Australian GABRIELLE HALLORAN World Orchestra. VIOLA In London in 1992, David gave the Gabrielle (Gabby) Halloran has been a world premiere performance of the member of the Melbourne Symphony complete works for cello and piano by Orchestra’s Viola section since 1993. Franz Liszt, with Leslie Howard. Gabby studied viola at the VCA with David plays on a cello made by Lawrie Jacks and at the Mozarteum Ivan Zgradic in Sherman Oaks, Salzburg with revered Austrian California in 1982. teacher Thomas Riebl. During her time in Salzburg, Gabby performed in various chamber ensembles, including concerts in Paris for the Mozart Bicentenary in 1991. 4 DONALD NICOLSON ANTOINETTE HALLORAN HARPSICHORD SOPRANO Donald Nicolson undertook In 2015/2016 Antoinette Halloran sang postgraduate studies at the Royal the title role in Madama Butterfly and Conservatorium in The Hague, the Fata Morgana in The Love for Three Netherlands studying under Ton Oranges for Opera Australia, and Mrs Koopman and Tini Mathot, focussing Lovett in a new production of Sweeney especially on the interpretation of Todd for Victorian Opera and New the sixteenth-century English virginal Zealand Opera (Helpmann Award music and the keyboard music of nomination). seventeenth-century France. 2017 engagements include a major Now a Melbourne-based role début for West Australian Opera, harpsichordist, organist and pianist, The Fox in The Cunning Little Vixen Donald is a prominent figure in for Victorian Opera, associate artist performance and research of the for José Carreras’ National Tour music of seventeenth- and eighteenth- and concert appearances with the century Europe, continuing to Melbourne, West Australian and work on both sides of the Tasman Christchurch Symphony Orchestras. as keyboardist for the ACO, MSO, Antoinette also featured as a guest SSO, and New Zealand Symphony judge and panellist on the ABC Orchestra. He has directed numerous television series Operatunity Oz, performances from the harpsichord appeared regularly on the hit show including the Melbourne Symphony Spicks and Specks and was a presenter and Australian Chamber Orchestras, for ABC’s Art Nation – covering stories and teaches baroque practice at the on opera and music theatre. University of Melbourne. Currently Donald is completing his PhD (Musicology and Performance) MAIRI NICOLSON at the University of Melbourne PRESENTER investigating societal, rhetorical and Mairi Nicolson can be heard six days a reflexive elements in the performance week on ABC Classic FM – Weekday of the Unmeasured Preludes of Louis Afternoons from midday to 4pm and Couperin. The Opera Show, Saturdays at 4pm. Mairi regularly presents pre-concert artist talks, and hosts live broadcasts from Melbourne for the Melbourne Symphony Orchestra, Opera Australia, Musica Viva and the Melbourne International Chamber Music Competition. She has toured to Europe twice as broadcaster with the MSO. 5 PROGRAM NOTES JEAN-MARIE LECLAIR HEINRICH IGNAZ FRANZ (1697-1764) VON BIBER (1644-1704) Overture in A, Op.13, No.3 Grave – Allegro – Largo – Allegro assai Harmonia artificiosa-ariosa: Partia No.4 GEORGE FRIDERIC HANDEL Adagio – Allegro – Adagio (1685-1759) Allamanda Cantata: Un’alma innamorata, Trezza: Presto HWV 173 Aria Recitative: Un’alma innamorata Canario Aria: Quel povero core Gigue: Presto Recitative: E pur benche egli veda Polcinello: Presto Aria: lo godo, rido e spero The Portuguese word barocco Recitative: In quanto a me ritrovo describes a misshapen pearl. It was Aria: Ben impari come se ama first used to disparage the dramatic asymmetries in architecture and the JOHANN HEINRICH SCHMELZER visual arts that appeared in reaction (1620-1680) to the ordered calm of Renaissance Duodena selectarum sonatarum: art. What we now call Baroque music Sonata No.12 was born in Florence in the late Adagio – Allegro – Andante 16th century, when the Florentine Camerata, a group of artists led ALESSANDRO STRADELLA by Vincenzo Galilei (father of the (1639-1682) astronomer), sought to recreate the sung dramas of ancient Greece and Sinfonia in D minor, No.2 accidentally invented opera. The Andante – Allegro spiccato – Adagio – music of the late Renaissance was Vivo – Adagio – Allegro dominated by the vocal polyphony of church music, the stylised fanfares and ANTONIO VIVALDI dances of aristocratic or royal court, (1678-1741) and the more domestic forms of the Cantata: Lungi dal vago volto, RV 680 solo song or the ensemble form of the Recitative: Lungi dal vago volto madrigal. The ‘democratic’ textures of Aria: Augelletti, voi col canto polyphony didn’t suit the requirements of the Florentine Camerata; out of Recitative: Allegrezza, mio core the need to differentiate character Aria: Mi stringerai sì came monody, where a single melodic line carries the musical argument, supported by a strong bass part and 6 PROGRAM NOTES
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