PRINCIPAL PARTNER MEDITERRANEO WITH DANIEL PINTENO Feel the fervour of southern Spain

ONE WORLD PREMIERE | TWO AUSTRALIAN PREMIERES | BOLDLY BAROQUE Series One Series Two The Brandenburg English Baroque Concertos with Circa The Brandenburg Concertos reveal the imperishable A tumbling commotion of musicians and acrobats collide genius of J.S. Bach. In a highly-anticipated event, in an explosive collaboration of contemporary circus five concertos will be performed in one unforgettable and music from the English Baroque. With an inspired evening showcasing the immense talent of Australia’s pasticcio by Paul Dyer and Yaron Lifschitz from 16th and national Baroque orchestra in an array of daring 17th-century England, this dazzling concert experience instrumental combinations. will have you gripping your seat and gasping in awe.

27 FEBRUARY – 10 MARCH 8 – 21 MAY

Series Three Series Four Handel’s Anthems Next Generation & Fireworks Baroque A joyous and jubilant concert of crowning glories Introducing audiences to four electrifying young artists by master composer . who have glimpsed the future with a program to include: Handel Coronation Anthems, HWV 258-261 Halvorsen Passacaglia for Violin and Viola after Handel Handel Concerto for No. 3 in G Minor, HWV 287 Handel Tu del ciel ministro eletto from Julius Ceasar Handel Music for the Royal Fireworks, HWV 351 Vivaldi Violin Concerto in E Minor, Op. 11, No. 2

24 JULY – 4 AUGUST 11 – 22 SEPTEMBER

Series Five Series Six The Four Seasons Noël! Noël! From a biting winter to a summer storm, join acclaimed This immensely popular series is not just carols Baroque violin soloist, Shaun Lee-Chen, in a bold but a mischievous affirmation of life that fuses the re-imagining of this much-loved classic. modern with the ancient. Filled with many special Telemann Concerto for 4 Violins in G Major, TWV40:201 surprises and timeless musical treasures including Telemann Water Music, TWV 55:C3 O Come All Ye Faithful and Stille Nacht. Vivaldi The Four Seasons, Op. 8

32 1 – 15 NOVEMBER 7 – 18 DECEMBER 33 MEDITERRANEO WITH DANIEL PINTENO

Sydney, Melbourne, September 2018

Paul Dyer AO Artistic Director, Sydney Daniel Pinteño (Spain) Guest Director, Baroque violin City Recital Hall Melissa Farrow (Australia) Baroque flute Wednesday 5 September 7pm Australian Brandenburg Orchestra Friday 7 September 7pm Saturday 8 September 7pm Wednesday 12 September 7pm Program Friday 14 September 7pm Matinee: Saturday 8 September 2pm VICENTE BASSET Overtura a più stromenti D major, Bas-9 Melbourne Melbourne Recital Centre GIACOMO (JAIME) FACCO Saturday 15 September 7pm Concerto à 5 from Pensieri Adriarmonici in E Major, Sunday 16 September 5pm Op. 1, No. 3 Chairman’s 11 ANTONIO VIVALDI Proudly supporting our guest artists. Concerto for Flute La Notte in G Minor, Op. 10, No. 2 The duration of this concert is FÉLIX MÁXIMO LÓPEZ approximately 95 minutes with one Overtura con tutti instrumenti in B-flat Major interval. We kindly request that you switch off all electronic devices during Interval the performance. ANTONIO VIVALDI Concerto for Violin in D Major from L’estro Armonico, Op. 3, No. 9

CHARLES AVISON Concerto Grosso after Scarlatti in D Major, Op. 6, No. 6 (I Largo, II Con furia)

GAETANO (CAYETANO) BRUNETTI Sinfonia in C Minor Il Maniatico, L. 322

PRINCIPAL PARTNER 1 ARTISTIC CREATIVITY DIRECTOR'S AND INNOVATION MESSAGE

Just the other day, as I was flipping through our His passion and curiosity have resulted in the Macquarie Group is delighted to welcome The Brandenburg’s dedication to delivering 2019 Season Brochure – hot off the press with resurrection of numerous unknown pieces for you to Mediterráneo with Daniel Pinteño. innovative artistic triumphs, and Macquarie’s the scent of the ink still coming off the paper – I audiences around the globe, and I just had to have commitment to supporting these, is what started to think about all my favourite composers these mesmerisingly unique pieces brought out to This concert series presents the sensational empowers our partnership. Macquarie Group whose masterworks the orchestra and I have been our Australian audiences as well. Spanish Baroque violinist Daniel Pinteño, who is deeply invested in the advancement of the so incredibly lucky to perform for you and to share Artistic Director Paul Dyer believes is one of the arts and culture in Australia. What makes our with you. Most of these works have made journeys We’ll be delving into a treasure chest full of most exciting emerging young musicians. Prepare partnership with the Australian Brandenburg from the other side of the world, hundreds of years rare and magnificent jewels from the courts of to be utterly absorbed by a program that will Orchestra so rewarding is our shared vision after they were first penned. With no internet or the Spain that will showcase music from the entire showcase the richness of music from the Iberian of innovation and commitment to the highest printing technology we have today, it seems to be eighteenth century: some definitively Spanish and Peninsula during the 18th century. standards, underpinned by specialist skills and more and more of a giant miracle the longer I think others flowing with Italian flavours that are sure to experience. about it. leave you feeling like you’ve just come back from a Throughout history, the arts have been an Mediterranean holiday. important vehicle for people to record significant I hope you enjoy this performance and I look This is also what makes tonight’s program so events, reflect on society and keep stories alive forward to welcoming you again to future fascinating – doesn’t a world premiere of Baroque Flying across the Atlantic Ocean and fast forward for future generations. The Brandenburg is Brandenburg concerts. music just leave you tickling with curiosity? In to October, the astonishing Cuban viola da gamba renowned for presenting historically informed countries like France and England, vast resources player Lixsania Fernandez will join us in Lixsania music performance and bringing to life rare have been deployed for many decades to uncover and the Labyrinth. Stay tuned for further details Baroque works. Mediterráneo with Daniel as much of their rich musical history as possible, and get a ticket if you haven’t already – you won’t Pinteño showcases music from the 18th-century but in Spain this exciting new phase in musicology want to miss it! Spanish empire, when Spain was at the height is just beginning. With musicians who respect of its political and commercial power. This historically informed performance values as their Enjoy Mediterráneo! concert series has been curated by Daniel and foundation, endless archives of cathedrals and his fellow musicologists Raúl Angolo Díaz and Bill Marynissen palaces are finally being opened for the first time, Toni Pons in collaboration with Paul Dyer. It Head of Macquarie Wealth Management and not just in Spain but also in its former colonies traces the magnificent evolution leading to the like Mexico and Guatemala. birth of a properly Spanish gallant style of music that became definitive of this time. The program Aside from being an incredible Baroque violinist, presents several very rare Spanish baroque our Guest Director and Artist Daniel Pinteño, has works, including two Australian premieres and been hands on in this movement, exploring and Paul Dyer AO one world premiere, another example of the uncovering the forgotten music of Spain. Artistic Director and Conductor Brandenburg bringing new works to Australian

audiences. PRINCIPAL PARTNER

2 3 DANIEL PAUL DYER PINTENO

Born in Málaga (Spain), Daniel Pinteño began his studies in the Conservatorio Profesional de Música de Murcia, under the supervision of Emilio Fenoy, and later completed them with Juan Luis Gallego in the Conservatorio Superior de Música de Aragón. Daniel then moved to Germany, where he continued his advanced studies under Professor Nachum Artistic Director Erlich in the Staatliche Hochschule für Musik Paul Dyer is one of Australia’s leading Marc Destrubé, Christoph Prégardien, Hidemi Karlsruhe. specialists in period performance. He Suzuki, Manfredo Kraemer, Andrew Manze, Yvonne co-founded the Brandenburg in 1990 after Kenny, Emma Kirkby, Philippe Jaroussky and many In 2010, he began to focus his attention to the completing postgraduate studies at the Royal others. In 1998 he made his debut in Tokyo with period between the earliest violin music of the Conservatorium in The Hague, and has been countertenor Derek Lee Ragin, leading an ensemble sixteenth century and the Romantic works of Artistic Director and conductor since that time. of Brandenburg soloists, and in August 2001 Paul the mid-nineteenth century. With this aim in Paul is a performing artist comfortable in his toured the orchestra to Europe with guest soloist mind, he undertook study in musicology at unique music arena – whether working in ancient Andreas Scholl, and featured on the soundtrack of the University of La Rioja while simultaneously music, contemporary music, opera, with artists the James Bond 007 movie, Spectre. taking part in masterclasses by historicist such as circus performers, contemporary dance, musicians such as Enrico Onofri, Anton Steck, or visual art. His busy performing schedule in A passionate cook, entertainer, foodie, teacher, swimmer, traveller, he is friends with people and artists Catherine Manson, Enrico Gatti, Jaap Ter Europe, Asia, the USA and Canada over the from Istanbul to India and Japan to Italy creating a Linden and more. years has synchronised perfectly alongside his bold stage work in Australia. unique platform for overseas performing artists to work with him and the Brandenburg in Australia. He studied Baroque violin in the Paul is an inspiring teacher and has been a staff Conservatoire à Rayonnement Régional de member at various Conservatories throughout the Among his list of achievements, Paul was awarded Toulouse (France) under Swiss violinist Gilles world. In 1995 he received a Churchill Fellowship the Officer of the Order of Australia (AO) in 2013 Colliard, as well as in the Real Conservatorio and he has won numerous international and for his ‘distinguished service to the performing Superior de Música de Madrid (Spain), national awards for his CD recordings with the arts in Australia’. Paul is Patron of St Gabriel’s under professors Hiro Kurosaki and Alberto Australian Brandenburg Orchestra and Choir, School for Hearing Impaired Children. In 2003 Martínez Molina. including the 1998, 2001, 2005, 2009 and 2010 Paul was awarded the Australian Centenary ARIA Awards for Best Classical Album. Medal for his services to Australian society and Currently, he develops his artistic work the advancement of music, and in 2010 Paul was leading Concerto 1700 and collaborates with Paul has performed with many international awarded the Sydney University Alumni Medal for 4 various European historicist ensembles. soloists including Andreas Scholl, Cyndia Sieden, Professional Achievement. 5 MEDITERRANEO AUSTRALIAN WITH BRANDENBURG DANIEL PINTENO ORCHESTRA

Paul Dyer AO Artistic Director, harpsichord “…what stands out at concert after concert is the impression that this bunch of Daniel Pinteño (Spain) Guest Director, Baroque violin musicians is having a really good time. They look at each other and smile and laugh... Melissa Farrow (Australia) Baroque flute there’s a warmth and sense of fun not often associated with classical performance.” Australian Brandenburg Orchestra Sydney Morning Herald The Australian Brandenburg Orchestra, led by Orchestra has been a member of the Major charismatic Artistic Director Paul Dyer, celebrates Performing Arts Group, which comprises 28 The Musicians on period instruments the music of the sixteenth, seventeenth and flagship national arts organisations supported by eighteenth centuries with excellence, flair and the Australia Council for the Arts. The Orchestra Baroque Violin Baroque Cello Bassoon joy. Comprising leading specialists in informed began regular touring to Queensland in 2015. Shaun Lee-Chen*† Jamie Hey*† Brock Imison performance practice from all over Australia, Concertmaster Anthea Cottee the Brandenburg performs using original edition Since its beginning, the Brandenburg has been Ben Dollman*† Dan Curro Horn scores and instruments of the period, breathing popular with both audiences and critics. In Rafael Font Rosemary Quinn Michael Dixon† fresh life and vitality into baroque and classical 1998 The Age proclaimed the Brandenburg Matthew Greco Dorée Dixon masterpieces – as though the music has just “had reached the ranks of the world’s best Natalia Harvey Double Bass sprung from the composer’s pen. period instrument orchestras”. In 2010 the UK’s Bianca Porcheddu˚ Rob Nairn* Theorbo/ Baroque Guitar Gramophone Magazine declared “the Australian Catherine Shugg Tommie Andersson* The Orchestra’s name pays tribute to the Brandenburg Orchestra is Australia’s finest Simone Slattery Oboe Brandenburg Concertos of J.S. Bach, whose period-instrument ensemble. Under their inspiring Emma Williams Emma Black† Harpsichord musical genius was central to the baroque area. musical director Paul Dyer, their vibrant concerts Kirsten Barry* Paul Dyer* Celebrating their 29th anniversary in 2018, the and recordings combine historical integrity with Baroque Viola Brandenburg continues to deliver exhilarating electrifying virtuosity and a passion for beauty”. †~ performances. Monique O'Dea The Australian proclaimed that “a concert with James Eccles The Brandenburg has collaborated with such the Australian Brandenburg Orchestra is like Christian Read acclaimed and dynamic virtuosi as Andreas stepping back in time, as the sounds of period Marianne Yeomans Scholl, Philippe Jaroussky, Kristian Bezuidenhout, instruments resurrect baroque and classical Emma Kirkby, Andreas Staier, Elizabeth Wallfisch, works with reverence and authority”. Genevieve Lacey, Andrew Manze and more. The Brandenburg’s 20 recordings with ABC Through its annual subscription series in Sydney Classics include five ARIA Award winners for and Melbourne, the Australian Brandenburg Best Classical Album (1998, 2001, 2005, 2009 Orchestra performs before a live audience in and 2010). In 2015 the Australian Brandenburg excess of 52,000 people, and hundreds of Orchestra was the recipient of the Sidney Myer * Denotes Brandenburg Core Musician thousands more through national broadcasts Performing Arts Group Award and in 2016 the † Section Leader on ABC Classic FM. The Orchestra also has a ˚ Appears courtesy of St. Francis Xavier College, Florey ACT (staff) Helpmann Award for Best Chamber Concert. ~ Appears courtesy of Presbyterian Ladies' College, Sydney (Staff) regular commitment to performing in regional 6 Harpsichord preparation by Joanna Butler, Sydney Australia. Since 2003 the Australian Brandenburg Discover more at brandenburg.com.au 7 AUSTRALIAN BRANDENBURG ORCHESTRA

Paul Dyer Shaun Lee-Chen Artistic Director/ Concertmaster/ Ben Dollman Rafael Font Matthew Greco Anthea Cottee Dan Curro Rosemary Quinn Rob Nairn Emma Black Harpsichord Baroque Violin Baroque Violin Baroque Violin Baroque Violin Baroque Cello Baroque Cello Baroque Cello Double Bass Oboe

Tommie Andersson Natalia Harvey Bianca Porcheddu Catherine Shugg Simone Slattery Emma Williams Kirsten Barry Brock Imison Michael Dixon Dorée Dixon Theorbo/ Baroque Violin Baroque Violin Baroque Violin Baroque Violin Baroque Violin Oboe Bassoon Horn Horn Baroque Guitar

Monique O'Dea James Eccles Christian Read Marianne Yeomans Jamie Hey Baroque Viola Baroque Viola Baroque Viola Baroque Viola Baroque Cello

8 9 PROGRAM NOTES

In 1737 the castrato Farinelli, the greatest singer produced by Farinelli in the magnificent gardens royal family were offended by Facco’s refusal, a recurring ritornello (refrain) alternating with in Europe, was appointed by King Philip V of of the Buen Retiro royal palace at Madrid. because when Maria Bárbara married the heir contrasting episodes featuring the soloist. After Spain, as ‘my servant, who answers only to me or to the Spanish throne and moved to Madrid, a short expressive second movement built on to the queen, my very beloved wife, for his unique What to listen for accompanied by Scarlatti, Facco’s standing slowly changing harmonies, the last movement talent and skill in the art of singing’. Philip gave within the court dramatically declined. begins with a short fugue in four parts before him an extremely generous salary, ‘a decent and This overture is described as a più stromenti – for launching into a buoyant saltarello, a dance form suitable Lodging for his person and family as well many instruments – but this seems a misnomer, Facco composed a number of operas for the based on a hopping figure. in all my Royal Seats as in any other place where as it is a showcase for the solo violin, with two Spanish court, and was the first composer to he may be ordered to attend on my Person’, two other violin parts, supported by continuo. It is in write an opera in the new modern Italian style ANTONIO VIVALDI (1678–1741) mules for city travel and six mules for the country, three short movements, the last being marked but with a Spanish libretto. He also composed and various other perks. Farinelli had to sing to ‘presto spiccato’. Spiccato is an advanced bowing cantatas and serenades, and a significant Concerto for Flute La Notte in G Minor, the king every night, as a cure for his depression, technique used to play short notes, in which the amount of instrumental music, however nearly Op. 10, No. 2 and as artistic director of the opera theatres bow appears to bounce on the string. all of it was lost in a fire in the royal palace in at Madrid and Aranjuez he mounted fabulous Madrid, and his music was not heard again until Largo Presto – Fantasmi (Ghosts) productions of Italian opera, employing Italian GIACOMO (JAIME) FACCO (1676–1753) the score of the collection of concertos entitled singers and Italian orchestral players. Pensieri adriarmonici was discovered in an Largo Concerto from Pensieri Adriarmonici archive in Mexico City in 1961. On the title page Presto Farinelli was the most famous and best paid of in E Major, Op. 1, No. 3 Facco describes himself as ‘Venetian musician Largo – Il sonno (Sleep) the many Italian musicians who arrived in Spain and currently servant of His Excellency’ the Allegro in the first half of the eighteenth century, in Allegro assai Viceroy of Sicily, so it appears that he composed response to the new enthusiasm for Italian music Adagio the collection before he moved to Madrid. It was Vivaldi gave three of his concertos the title ‘La among the Spanish elite. This was driven in large Allegro assai published in Amsterdam between 1716 and 1718, notte’, or night. This one for solo flute, dating part by Philip V (who was in fact French). He soon after Vivaldi’s L’estro armonico which almost from 1729, is an extended arrangement of the wanted to project an image of himself at home Facco was born near Padua, in northern Italy, but certainly inspired it. first, a chamber concerto (for a small number and abroad as a modern cosmopolitan ruler, other than his birthplace nothing is known about of instruments with no orchestra) written about and adopting the latest fashionable Italian music his early life or how he came to be working for What to listen for ten years earlier. Along with his Four Seasons bolstered that image. the Spanish Viceroy of Sicily in the 1710s, when concertos, it is the most programmatic of he was described as the Viceroy’s ‘Virtuoso’. Facco’s birthplace of Padua was at that time part Vivaldi’s music, that is, it is instrumental music When the Viceroy returned to Spain Facco went of the Venetian Republic, hence his description of which depicts a story or scene. VICENTE BASSET (ACTIVE 1748–1762) with him, and worked as a violinist and cellist in himself as a Venetian musician. Venice lies on the Overtura a più stromenti in D Major, Bas-9 the orchestra which served the Spanish court. Adriatic Sea, and the title of the collection means In the Baroque period certain keys were He also served as music teacher to the teenaged ‘reflections on Adriatic harmonies’. ‘Adriatic’ associated with particular affects or emotions. Allegro assai sons of the Spanish king, and composed works probably should be taken to imply ‘Venetian’, G minor represented fear, agitation or revenge, Moderato for important court occasions. It is clear that he as these concertos are very much in the new and was a deliberate choice by Vivaldi for a Presto spiccato was highly regarded, as he was asked by the Venetian style popularised by Vivaldi, being for concerto which was intended to conjure up King of Portugal to teach his daughter, Princess solo violin and strings in three movements. In silence, mystery and disturbing nocturnal visions. Little is known about Vicente Basset, not even Maria Bárbara, however he refused and the this concerto, however, for the most part the Nothing is known about why it was composed or his nationality. His name appears on lists of position was taken instead by the famous Italian soloist joins with the first violins and is not given for whom, however the virtuosic flute part pushed orchestral players in Madrid in the middle of the composer and keyboard player Domenico an opportunity for the virtuosic display which the boundaries of contemporary flute playing eighteenth century, and he played the violin in Scarlatti, son of the equally famous Alessandro was typical of Vivaldi’s concertos. The bright technique and Vivaldi must have intended it for Scarlatti. It appears that the Portuguese 10 the orchestra which accompanied Italian operas first movement is closest in style to Vivaldi, with an excellent flute player. 11 PROGRAM NOTES

What to listen for What to listen for the publication in 1711 of his Opus 3, a collection What to listen for of twelve concertos that he called L’e s t r o The concerto is atypical of Vivaldi’s usual This work is variously described as either an armonico. It was the largest and most expensive A particularly striking feature of Vivaldi’s compositional style in many respects. All of the overture or a sinfonia. It could have been collection of music published up to that time. compositional style, and one which other ‘night’ concertos have six movements (instead of intended as an overture, probably to a comic L’estro armonico means frenzied or passionate composers quickly followed, was to build the the usual three), and are characterised by sudden opera, judging by the style of the first movement harmony, an appropriate title given the sheer fast first and third movements of his concertos changes of tempo, bizarre twists and turns which alternates quick running melodic patterns energy and vigour of Vivaldi’s style expressed on repeated refrains (ritornellos), which he slightly in harmonic direction, and unexpected shifts with held repeated notes. Alternatively it could in forceful rhythms and endless variety, which varied each time to maintain interest and give a between major and minor. The first movement have been a concert symphony, however by along with the concertos’ originality in terms of sense of momentum. These are played by the of this concerto begins with the orchestra in 1780, when López composed this piece, it had musical form made them so fascinating. full orchestra, and are contrasted with virtuosic unison in a dotted rhythm, which though similar become standard practice for a symphony to solo episodes, also varied each time. This can to a French overture is full of foreboding. The have four movements, whereas this work has This seminal work provided a model for concerto be heard very clearly in this concerto’s lively second fast movement, titled ‘Ghosts’ by Vivaldi, only three. composition that was followed and built on by first movement, which is then contrasted with a is marked by rushing ascending scales. A Largo other composers from France to Germany to graceful, gentle slow central movement. This is (slow) movement provides a calm interlude of rest The first movement opens with military style Italy for years to come. J S Bach developed his again typical of Vivaldi, with all the interest given before another agitated Presto. In the second fanfare motifs for horns, and extended solo compositional style by studying and transcribing to the solo violin, while the orchestra essentially Largo, ‘Sleep’ is represented by long, soft notes passages for a pair of . This was innovative six of these concertos; this particular concerto plays accompanying chords. The final movement which barely seem to change in an unusually writing for the period, when it was still quite was the basis for his harpsichord concerto BWV is also dominated by the solo violin, whose part static harmony. new to feature wind instruments in this way. 972. Other composers transcribed them for is increasingly virtuosic. Unexpectedly, a contrasting middle section for instruments as varied as the carillon, harp, glass solo violin has the character of a concerto as harmonica and unaccompanied violin. FÉLIX MÁXIMO LÓPEZ (1742–1821) CHARLES AVISON (1709–1770) does the slow second movement, where again Overtura con tutti instrumenti in B-flat Major the solo violin dominates while other strings Vivaldi wrote about two hundred and thirty Concerto Grosso after Scarlatti in are relegated to an accompanying role. The concertos for solo violin, most of them thought D Major, Op. 6, No. 6 Allegro moderato third movement of a Classical symphony, such to have been written for the exceptionally fine Andante as those by Mozart or Haydn, is a minuet, but female players at the Pietà, the orphanage for I Largo Allegro unusually here López incorporates a minuet into girls in Venice for whom Vivaldi worked on and II Con furia the fast final movement, which is a lively gigue. off for most of his career. Vivaldi was himself Félix Máximo López is probably best known as a virtuoso violinist, and much of his writing ‘Of the lowest Class … VIVALDI …, whose the subject of a painting by the famous Spanish Compositions being equally defective in various ANTONIO VIVALDI (1678–1741) for violin is extremely technically demanding. portrait painter Vicente López Portaña, which Johann Uffenbach, a traveller from Germany and Harmony and true Invention, are only a fit now hangs in the Prado Museum. López spent Concerto for Violin in D Major from a keen amateur musician, was astounded at his Amusement for Children; nor indeed for these, most of his career as an organist at the royal L’estro Armonico, Op. 3, No. 9 technical feats: if ever they are intended to be led to a just chapel in Madrid, starting as fourth organist in Taste in Music.’ 1775, during the reign of Charles III. Promotion Allegro Vivaldi played a solo accompaniment – splendid was only possible when the incumbents of Larghetto – to which he appended a cadenza which really Charles Avison, An Essay on Musical Expression, positions higher up the hierarchy died, so it was Allegro terrified me, for such playing has never been 1752 not until 1805 that he became first organist. nor can ever be; he came with his fingers within López composed many works for organ and Vivaldi died penniless and unknown in 1741, yet a mere grass-stalk’s breadth of the bridge, so Charles Avison was an English organist, keyboard, as well as vocal works, and some only thirty years earlier he had been the most that the bow had no room – and this on all four composer, teacher, and concert manager. were published during his lifetime, however only a famous instrumental composer in Europe after According to the eighteenth century music 12 strings with imitations and at incredible speed. 13 very few pieces by him have survived. PROGRAM NOTES

historian Charles Burney, Avison was ‘an What to listen for with an appetite for new music, and when he After a slow introduction, the ‘mania’ (Brunetti ingenious and polished man, esteemed and became king he established a new royal chamber wrote the word over the first entry of the solo respected by all who knew him; and an elegant This concerto is one of a set of concertos orchestra, with Brunetti as director. Most of cello), is represented by fast repetitive minor writer upon his art’. He was also one of the published in 1758, and which Avison based Brunetti’s four hundred and fifty compositions seconds. The cellist is isolated from the rest of most important and influential English writers on enormously popular keyboard pieces were chamber pieces or symphonies composed the orchestra, stuck in musical detail, ‘obsessed’ in the field of musical aesthetics, publishing his by the Italian composer . for this orchestra, but he also introduced music with repeating this one small interval. The controversial and influential Essay on Musical Each concerto has the usual concerto grosso by other European composers who wrote in the orchestra has the rational melody, whereas Expression in 1752. He favoured moderation and movement form of slow–fast–slow–fast, and early Classical style favoured by the king. Haydn the cellist’s part consists of the fixed inflexible shunned what he considered the extravagance typically contrasts the full orchestra against a was a particular favourite. repetition of detail. The maniac’s motif appears of Vivaldi and Handel, although history clearly small group of soloists. Despite what Avison again in the second movement, but then is has disagreed with him. He disliked the display wrote about the music of others, his own Brunetti was an imaginative composer, but absent for most of the third movement until of virtuosity or excessive ornamentation, concertos are full of baroque exuberance because very few of his compositions were foreshadowed by an unsettling change to the considering it was done ‘merely from a Desire of and energy. In this concert only the first published in his lifetime he has remained largely minor: the obsession is still present after all. being distinguished’. For him, an effective solo two movements will be played. The second forgotten since the eighteenth century. During the first section of the last movement, performance was to be found ‘in the tender and movement tests all players, particularly the solo which is in three parts, the solo cellist, seemingly delicate Touches, which to such indeed are least violinist, as they play ‘con furia’ – furiously – What to listen for rehabilitated, joins with the other cellists. A perceptible, but to a fine Ear productive of the twice through the entire movement, as directed relapse back into obsession occurs in the minor highest Delight.’ in the score. Brunetti wrote this symphony in 1780. It is middle section of the movement, as the rest of programmatic, in that it sets out to musically the orchestra, disheartened, start to join in, until Avison lived most of his life in Newcastle depict a narrative. Its Spanish title, Il Maniatico, GAETANO (CAYETANO) BRUNETTI finally all is resolved in a bright major key. upon Tyne, and probably because of this his means ‘the maniac’, or perhaps more accurately (1744–1798) compositions were limited to accompanied ‘the obsessive person’, as the explanation that keyboard sonatas and string concertos. The four Sinfonia in C Minor Il Maniatico, L. 322 Brunetti wrote in his introduction to the score movement concerto grosso or ‘grand concerto’ makes clear: was the main type of orchestral music composed I Introduzione: Largo, Andantino in England in the first half of the eighteenth II Allegro This is a symphony which describes as much as century, long after it had been superseded in III Quintetto Allegretto one can by using only instruments, without the Europe by the Vivaldian three movement solo IV Allegro Spiritoso – Andantino – Allegro help of words, the fixation of a delirious person on concerto. Although Europeans would have Spiritoso an objective, and this part is performed by a solo considered it old-fashioned, it was an ideal form cello, to which are joined the other instruments, to use when composing for provincial orchestras, An Italian, Brunetti was one of the leading rather like friends, who are committed to freeing as the difficult solo sections could be played composers in Spain in the second half of the him from his delirium, presenting him with an by professional musicians and the easier tutti eighteenth century. He moved to Madrid at the infinite variety of ideas, an infinite variety of motifs. sections by the gentleman amateurs who made age of eighteen and played as a violinist in the The maniac remains fixed on his primary objective up the rest of the ensemble. There was a great royal court orchestra (like López, he had to wait for a long time, until he meets a cheerful motif demand for pieces of this type in the middle of for those further up the hierarchy to die before that can persuade him, and makes him unite the century, and Avison was one of the most he could advance to a more senior position), and with the others. After a momentary relapse, finally, prolific and accomplished composers of them, from 1770 he was also violin teacher to King carried along by a joint impulse, it concludes with writing no less than ninety-two! Charles III’s adult son, the Prince of Asturias. The all happily united. Prince was particularly interested in art (he was Goya’s patron) and was an accomplished violinist, 14 Program notes and timeline © Lynne Murray 2018 15 COMPOSERS CONTEMPORARY EVENTS

1676 Facco born near Padua, Italy Bacteria discovered 1678 Vivaldi born in Venice Roman Catholics banned from English parliament

Vivaldi is ordained as a priest and appointed violin teacher at the Pietà girls' 1703 Fire brigade founded in Edinburgh orphanage in Venice

1709 Avison born Cast iron produced for the first time 1711 Vivaldi's L'estro armonico Opus 3 published; Facco working in Sicily Handel mounts first London opera 1713 Vivaldi's first opera performed, in Vicenza The Guardian newspaper founded in England 1716 Facco's concerto collection Pensieri adriarmonici published Beijing becomes the largest city in the world 1717 Leaves the Pietà to mount productions of own operas throughout Italy Handel composes Water Musick 1723 Contracted by Pietà to produce two concertos a month British parliament makes it an offence punishable by death to black one’s face to hunt deer 1725 Vivalid's Four Seasons published Catherine I becomes Empress of Russia Domenico Scarlatti arrives in Madrid as music master to Portuguese princess Maria Barbara, on her 1729 Vivaldi writes La notte concerto marriage to future king of Spain Ferdinand VI 1737 Farinelli moves to Madrid employed by King Philip V; he never sings in public again 1740 Basset working in Madrid; Vivaldi leaves Venice for Vienna Rule, Britannia! first performed at home of Prince of Wales 1741 Vivaldi dies in poverty in Vienna Handel composes Messiah and Samson 1742 López born Messiah first performed 1744 Brunetti born Canaletto paints the Grand Canal in Venice 1753 Facco dies British parliament extends citizenship to Jewish people 1762 Basset dies Native American Cherokee chief visits George III in England 1770 Avison dies Captain Cook drops anchor in Botany Bay 1775 López attains position of fourth organist at Madrid royal chapel Mozart composed five violin concertos in Salzburg 1780 López composes Sinfonia; Brunetti composes Il Maniatico symphony Goya paints Christ Crucified 1798 Brunetti dies Platypus discovered by Europeans 1821 López dies Napoleon dies; caffeine identified 16 17 OUR PARTNERS OUR DONORS

Brandenburg applauds our wonderful partners who proudly support our 2018 season. A heartfelt thank you to our generous family of supporters. “Thanks to the tremendous generosity of you and If the Brandenburg has enriched your life or if Principal your fellow Brandenburg supporters, we have you would like to deepen your involvement with established nothing short of cultural excellence as us, we would be thrilled to welcome you into our Australia’s national baroque orchestra for nearly valued family of supporters. 30 years. Our dream is to continue doing exactly this – achieving excellence, inspiring audiences To find out more, or to make a and sharing our music with you for many more donation please get in touch with years to come.” our Development team: T: 1300 782 856 Government Paul Dyer AO Artistic Director E: [email protected] Bruce Applebaum Managing Director W: donations.brandenburg.com.au

Australian Brandenburg Orchestra is assisted Australian Brandenburg Orchestra is supported by the Australian Government through the Australia by the NSW Government through Create NSW Council, its arts funding and advisory body BRANDENBURG ANNUAL GIVING DONORS Major LIFE PATRONS Mary Holt and the late Dr John Holt

Presenting CHRISTINA $10,000 OR ABOVE RUSPOLI $5,000 – $9,999 Anthony Adair and Karen Tom Hayward and Glenn Barnes Rohan Mead McLeod Adair Fiona Martin-Weber# BOYCE Family Office# Rointon Nugara and Antoinette Albert Mary Holt and the late Mrs Ros Bracher AM Brendan Nugent Aidan Allen# Dr John Holt David and Leith Bruce-Steer In memory of John Almgren AM and Mrs W. G. Keighley in memory Wayne Burns and Jenny Parramore Supporting Yvonne Almgren of Geoffrey Kean Onn See Victoria Taylor Graham Bradley AM and Robyn Martin-Weber Joan and Wallace Cameron Sheryl Weil Charlene Bradley# Jacqui and John Mullen# Louise Christie Dr Jason Wenderoth Jillian Broadbent AO Alison Park in loving memory Rick and Sue Coles* Ray Wilson OAM in memory of Dr Catherine Brown-Watt PSM of Richard Park The Faithfull Family James Agapitos OAM and Mr Derek Watt Lady Potter AC CMRI# In memory of Darrel Fraser Jane and David Duncan Rodwell Foundation Gandel Philanthropy Media Trusts and Foundations Michael Ebeid AM and Rowan Ross AM Ann Gordon* Roland Howlett and Annie Ross Jenny and Peter Hordern John and Jenny Fast# Jeanne-Claude Strong in Iphygenia Kallinikos Lesley Grant and memory of James Strong J and R MacLeod John Cupples Peter Weiss AO Dr Diana Marks and Alison Harrop Cameron Williams Dennis Bluth Carol Haynes and Anonymous x 1 Richard and To find out more about becoming a partner for the Australian Brandenburg Orchestra Skipp Williamson# Rowena McDonald 18 please contact our Development team on 1300 782 856 or [email protected] 19 OUR DONORS OUR DONORS

DURAZZO $1,000 – $4,999 SUPPORTER I $500 – $999 Paula Adamovich Charles and Cornelia Goode Remembering Tom and Peter Allan Geoff Hogbin Brendan O'Connell Peter Almond# Bill and Julie Goold Jenny Parramore Jaci Armstrong Michael Jones Paul O'Donnell J M Alroe Carole A. P. Grace Professor David Penington AC Carole Bailey Liana Kestelman# John Peisley and Ros Royal Brett Andersen and Brad Bowen Richard and Anna Green Dr John Percy Jenny and Henry Burger Pamela Kenny in memory of Peter* Christina Pender John and Robyn Armstrong Richard Grellman AM Helen Perlen Annette and Kevin Burges Nicholas Korner John and Bridget Polanin Philip Bacon AM Carol Ann Griffin Jim and Chris Pollitt Emeritus Professor Martin Comte OAM A le Marchant Julian and Jane Rait# Ian Baker and Cheryl Saunders Bruce and Jo Hambrett^ Joan Poulton In memory of Betty Curtain Betty Lynch Susan Dixon and Stephen Rix Peter Barclay Kate Hayward# Kevin Powell and Alison Deans Margaret Dobbin Elizabeth Mackenzie and Marysia Segan Chloe & Kelvin Barry# Sam Hayward# Ted and Jean Radford Jane Edmanson OAM Michael Bremner Daniela Shannon Frederic Baudry and Paul Bailey R and Y Hazell Patricia H Reid Endowment Pty Ltd Rita Erlich J & J Martin Jeannette Sharpe Marc Besen AC and Eva Besen AO Jane Hemstritch Mr Paul Rein Sarah Findlay Richard Masiulanis Jann Skinner Warwick Bray# Dr Ailsa Hocking and Dr David and Dr Gillian Ritchie Peter Fletcher AM and Kate Fletcher Margaret McKenna Speer Family# Keith and Louise Brodie Dr Bernard Williams Alexander and Rosemary Roche Christine George Ross McNair and Robin Richardson Ross Steele AM Kay Buckeridge J L Hossack Lois Roffey Arthur Georgopoulos# Dr Kerry Mills Sue Thomson Henry Burmester and Peter Mason Jill and David Hunt Justice Ronald Sackville AO Norman Gillespie Alistair and Fran Minson# Dr Diane Tibbits Elizabeth Butcher AM Belinda Hutchinson AM and Mrs Pamela Sackville Philip and Anabel Gosse Peter Miszalski Mr Frank Tisher OAM and James Butler and John Govan Dr Alastair Jackson AM Miss Adrienne Sartori Late H. E. Gower Richard and Elaine Moore# Dr Miriam Tisher Ita Buttrose AO OBE Jasper Family Foundation# John Scott Peter and Deirdre Graham Susan and Frank Morgan Kenneth Watkins# David and Louise Byrne Gayl Jenkins & Chris Pellegrinetti Dr Celina Seeto Kathryn Greiner AO Mrs June Musgrove in memory of Alvie Webster# Dr Beverley and Mr Alan Castleman The Hon Rod Kemp and Dr Gideon and Mrs Barbara Shaw Greg and Sophie Griffith# Dr Peter Musgrove Joyce Yong Mr Peter Clark and Mrs Jan Clark Mrs Daniele Kemp# Paul Sheehan and Susan Wyndham Sandra Haslam Andrew Naylor Anonymous x 18 Rebecca and Craig Clarke A Koumoukelis Family Mr Charlie Shuetrim AM and The Clayton Family Ann and James Lahore Mrs Sandra Shuetrim Margaret and Bernard Coles Mr John Lamble AO John and Cathy Simpson SUPPORTER II $250 – $499 Professor Geoffrey N Cooper A le Marchant Dr Agnes Sinclair Phillip Cornwell and Cecilia Rice Paul Lindwall Robyn Smiles Anne Beaumont Dr Mark Garwood and Penelope Oerlemans Dom Cottam and Kanako Imamura Greg Livingstone Alan and Jennifer Smith Professor Fran Boyle AM Mrs Elizabeth Garwood Morag Orr Jim Cousins AO and Libby Cousins^# Richard and Elizabeth Longes Chris and Bea Sochan Christine Yip and Paul Brady Richard and Heather Gorrell Evan Petrelis Toula and Nicholas Cowell Professor Roy and Mrs Beverley Southern Dr Roderick Brooks and Ms Carol Shaw Roger and Scarlet Hawke Fiona Reynolds Dr John Dale AO and Mrs Joan Dale Doctor Kimberley MacLeod Brendan Sowry J and M Cameron Dr Stéphane Hemmerter in memory of Barbara and Malcolm Richardson David Davies and Paul Presa Aggie Maisano David Stanford# Prof Dianne Campbell Gérard Hemmerter Professor Steve and Dr Sharon Schach* Margaret and Chris de Guingand Carina Martin Dr Murray and Mrs Joy Stapleton Kerin Carr Frank Hemmings Judith Shelley Ms Emmanuelle Delannoy The Hon Jane Matthews AO Loreto Toorak Chris and Trudy Coote Geoff Howard Natalie & Tanya Stoianoff Michelle Dixon# Joanna B Maxwell The Suich Family Mr Charles P. Curran AC In Loving Memory of Dean Huddlestone Amanda Trenaman and Steven Turner Emeritus Professor Dexter Dunphy AM Mora Maxwell Mark and Debra Taylor# Anne and Jennifer Dineen Mary Jones Margot Vaughan Elisabeth and Grahame Elder Richard and Rowena McDonald Mr Mike Thompson Janet Doust Joshua Kim and Richard House Stephanie Wainberg Ralph and Maria Evans Peter McGrath Richard and Lynne Umbers Andrew Dunn Dr Micheline Lane Joy Wardle The Faithfull Family^ J A McKernan Sally and Geoffrey White Keren Gould George Lawrence Dr J and A Whaite Rosemary Farrow^ Elizabeth Mildwater Yanina White Bronwyn Evans and Peter Gordon Vicki and Adam Liberman Dr. Anthony Williams Roslyn and Michael Feeney# John Milhinch OAM Judith Williams Kay Fell Anne Loveridge Michael and Caroline Williams Wendy and Ron Feiner Dr David Millons AM and Richard Willis Peta Forster and Mark Anderson Neil Mackintosh and Stuart Brown Richard & Lale Williamson Barbara and Malcolm France Mrs Barbara Millons Dr David Wood and Mr Gary Fung Deborah Fox and Harald Jahrling Peter McCall Anonymous x 43 Brian and Philippa France Dr Paul Nisselle AM and Mrs Sue Nisselle Gregory Wood Janine Francis Julie Ann Morrison David and Georgie Gall# Rosemary and James O'Collins K A Wratten Rosie Freeman John and Susan Myatt Carrillo and Ziyin Gantner Trevor J Parkin Anonymous x 18 *Donors to the Brandenburg International Baroque Study Program Justin and Anne Gardener ^Donors to the Brandenburg Quartet #Donors to the Brandenburg Instrument Fund 20 This donor list is current for a 12-month period to 25 July. Supporter III donations are acknowledged at donations.brandenburg.com.au 21 ORCHESTRAL CHAIRS BRANDENBURG FOUNDATION DONORS Concertmaster Chair supported by Jacqui and John Mullen NSW REGIONAL Baroque Cello Chair supported by Mrs W. G. Keighley AMATI $250,000 – $500,000 Theorbo/ Baroque Guitar Chair supported by The Alexandra and Lloyd Martin Family Foundation and friends, in memory of The Eileen Marie Dyer AM Fund Anonymous TOUR | Lloyd Martin AM

STRADIVARI $100,000 – $249,999 CHAIRMAN'S 11 Notturno | Music for the still of night Cary and Rob Gillespie Dedicated to the memory of James Strong AO. Chairman’s 11 Anonymous The program the Brandenburg Ensemble brings to you supports the Brandenburg’s international and local guest artists. is titled Notturno, simply meaning ‘night’. This name Louise Christie Mrs. W. G. Keighley for GUARNERI $50,000 – $99,999 reflects the evocative and sometimes dreamy mood of Roxane Clayton Geoffrey the music presented here. Jan and Frank Conroy Grant and Jennifer King Chris and Kathy Harrop Angus Coote Susan Maple-Brown Macquarie Group Foundation Richard Fisher AM and Diana Fisher The Martin Family in memory of Lloyd Martin AM It features the unusual combination of guitar, flute and Ms Gretel Packer Richard Grellman AM Christine Yip and Paul Brady strings which is a blend of a decidedly exotic flavour. Chris and Gina Grubb Anonymous Anonymous Carol Haynes and Skipp Williamson The ensemble showcases some delightful from the Classical period with works by Mozart MAESTRI $25,000 – $49,999 BRANDENBURG OPERA CIRCLE and some of his guitar-playing contemporaries: John and Robyn Armstrong Luigi Boccherini, Anton Diabelli and the Bohemian The following donors have supported the establishment of the Greg Hutchinson AM and Lynda Hutchinson composers Johann Caspar Mertz and Wenzel Nick and Caroline Minogue Brandenburg Opera Circle, enabling the Orchestra to expand its Matiegka. repertoire into the world of baroque opera, as well as nurturing Rowan Ross AM and Annie Ross young opera singers and creative teams. At times, the ensemble breaks into small clusters to Toula and Nicholas Cowell Peter McGrath ARCANGELI $15,000 – $24,999 highlight various instrumental colours and then finally Wendy and Ron Feiner Dr Agnes Sinclair Mr David Baffsky AO and Mrs Helen Baffsky play as a tutti ensemble for an arrangement of the Deborah Fox and Harald Jahrling Victoria Taylor Greg Ward Melinda Conrad and David Jones lilting Pastorale from Boccherini’s famous Fandango Justin and Anne Gardener Glenn Moss and the late Dr Ken Moss AM Ray Wilson OAM in memory of Irene and John Garran David and Rachel Zehner guitar quintet. The musical program for this tour has James Agapitos OAM Ken Groves and Yun-sik Jang Christine Yip and Paul Brady been curated by the Brandenburg’s principal flute Mary Holt and the late Dr John Holt Anonymous x 2 player, Melissa Farrow. A le Marchant CAMERATA $10,000 – $14,999

Graham Bradley AM and Charlene Bradley Melissa Farrow Period flute CORPORATE DONORS The Clayton Family Matt Bruce Period violin Norman Gillespie Rohan Mead Accenture Pacific Equity Partners Marianne Yeomans Period viola APA Group QANTAS Loyalty Jamie Hey Period cello Bain & Company The Lancemore Group Tommie Andersson Period guitar Link Group Young Saturday 20 October 3pm PLANNED GIVING Orange Monday 22 October 7pm Blackheath Tuesday 23 October 7pm Bequest The Australian Brandenburg Orchestra warmly acknowledges the Singleton Wednesday 24 October 7pm bequest it has received from the Estate of Valda Astrida Siksna. www.brandenburg.com.au Play on: A lasting legacy We are hugely appreciative to all those who have pledged a bequest to the Brandenburg. To find out more or to make a donation Janet Doust Peter McGrath please get in touch: The Faithfull Family Penelope Oerlemans T: 1300 782 856 Brian and Leonie Fisher Joan and Lloyd Poulton E: [email protected] 22 R J Irwin Art and Cynthia Raiche W: donations.brandenburg.com.au 23 Lilly K Anonymous x 15 SUPPORT A BRANDENBURG

CITY RECITAL HALL LIMITED 2 Angel Place DREAM Sydney NSW 2000 Board of Directors Renata Kaldor AO (Chair) Administration Timothy Cox AO (Deputy Chair) 02 9231 9000 The Brandenburg has dreamed big for nearly 30 years Helen Bauer and our dreams for the next 30 are even bigger. The Hon Justice Elizabeth Fullerton Box Office Kerri Glasscock 02 8256 2222 We need your support to turn our dreams into realities. Marcus McArdle Carol Millls Website Your support can help us change the lives of young Maria Sykes cityrecitalhall.com musicians, deliver thrilling concert experiences and Louise Walsh

bring the Brandenburg to audiences across Australia. CEO Elaine Chia Donate online at: brandenburg.com.au/support us Or support one of our specific philanthropic programs:

Orchestral Chairs Allowing us to attract and retain the very best period musicians.

Chairman’s 11 Enabling us to showcase outstanding guest artists from around the world. MELBOURNE Founding Patron Executive Staff International Baroque Study Program RECITAL CENTRE The Late Dame Elisabeth Euan Murdoch, Supporting our musicians' professional development. Corner Southbank Boulevard Murdoch AC DBE Chief Executive Officer and Sturt Street Board of Directors Jasja van Andel, Southbank VIC 3006 New Instrument Fund Kathryn Fagg, Chair Head of Operations Administration Peter Bartlett Allowing us to invest in world-class period instruments. Marshall McGuire, 03 9699 2228 Stephen Carpenter Director of Programming To support one of these programs, Box Office Joseph Corponi 03 9699 3333 The Hon Mary Delahunty Robert Murray, Director please contact us: Paul Donnelly Marketing & Customer Relations Facsimile T: 1300 782 856 03 9207 2662 Jody Evans Sandra Robertson, E: [email protected] Eda Ritchie AM Director of Development Website Margaret Farren-Price melbournerecital.com.au Sandra Stoklossa, Margaret Taylor Director of Corporate Services Audrey Zibelman

24 25 Patrons His Excellency General the Honourable Sir Peter Cosgrove AK MC (Ret'd) Governor-General of Australia His Excellency General the Honourable David Hurley AC DSC (Ret'd) Governor of New South Wales

Artistic Director The Brandenburg The Board Paul Dyer AO Council David Zehner, Chairman Richard Boyce Managing Director Jillian Broadbent AO Alison Harrop, Deputy Paul Dyer AO Bruce Applebaum Greg Hutchinson AM Chairman John C Fast Max Suich Aidan Allen Rohan Mead Bruce Applebaum Greg Ward David Baffsky AO Sheryl Weil

Head of Marketing Head of Artistic Head of Business Senior Development and Customer Planning & Operations Manager Services Management Susan Casali Aislinn Frayne Tom Morgan Ashley Giles Executive Assistant Philanthropy Manager Content Marketing Orchestra Manager Susan Duffy Andrew Brook Executive Valérie Morgan-Pertus Receptionist/ Repertoire Advisors Shiki Chan Production Ticketing Assistant (honorary) Publicist Coordinator Ewelina Ellsmore Charles Gwynn the Australian Steven Godbee Publicity Shannon O’Hara Accountant Andrew O’Connor Customer Relations Artistic Planning John Scott Christopher Price Manager Coordinator Assistant Accountant Pre-Concert Talks thesuccess Australian story that’s Kateryna Collier Joanna Butler Ian Creevey Dr Alan Maddox Database Systems & Music Resources Auditors successbuilt on story energy. that’s Assistant Box Office Alex Palmer KPMG Manager Get to know the future of connected energy. Thomas Chiu built on energy

Administration/ Get toWe’re know Australia’s the future leading of connected energy infrastructure energy. business. Ticketing We’ve beenWe’ve connecting been connecting Australia with Australian smart, energy since 2000. From Assistant reliable and safe natural gas solutions since 2000. small beginnings we’ve become a top 50 ASX-listed company, Nastassia Laptev Over 15,000km of pipeline network across the country employingand a workforce over that1,700 has people, grown from and owning and operating one of 6 to 1600the people, largest means interconnected we’re anything gas but networks across Australia. Brandenburg Ensemble Limited trading as Australian Brandenburg Orchestra small. And we’re changing the way our nation is a non-profit organisation registered as a company limited by guarantee. ABN 41 003 908 183 is suppliedWe with deliver energy. smart, www.apa.com.au reliable and safe energy solutions for Australia.energy.connected Address 142 New South Head Road, Edgecliff NSW 2027 | Post GPO Box 4416, Sydney NSW 2001 26 Telephone 61 2 9328 7581 | Website brandenburg.com.au | Email [email protected] www.apa.com.au

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