BAROQUE 1 & BURNIE

zoo}-zoo} Baroque Pops Efficiency without THURSDAY TELEMANN 21 APRIL 7.30PM Sonata in D, Sinfonia spirituosa sacrificing power FEDERATION Spirituoso CONCERT HALL, Largo HOBART Vivace FRIDAY & 22 APRIL 7.30PM Duration 8 mins BURNIE TOWN HALL INTERVAL

Graham Abbott conductor Duration 20 mins G GABRIELI HANDEL Canzona on the 12th tone à 10 , Suites 1, 2 and 3 1 Ouverture Duration 4 mins 2 Adagio e staccato VEJVANOVSKÝ 3 [Allegro] - Sonata La posta 4 Andante 5 [Allegro] da capo Duration 3 mins 6 Air 7 Minuet VIVALDI 8 Bourrée Concerto in D, RV 121 9 [Allegro] 10 [Air] Adagio 11 [Ouverture] Allegro 12 Alla Hornpipe 16 Minuet in G major Duration 6 mins 17 Rigaudon PACHELBEL 18 Rigaudon in G minor 17 Rigaudon da capo Canon and Gigue in D 14 Lentement Duration 5 mins 15 Bourrée 19 Minuet in G minor J H SCHMELTZER 20 Minuet in G minor [with flauto piccolo] Balletto in C m{zd{6. life without compromise. 21 Country Dance in G minor Intrada 22 Country Dance in G major Too often we must compromise in order to achieve excellence. In building the Mazda6 we Balletto 23 Minuet in D major chose to do it without compromise. While SKYACTIV TECHNOLOGY offers exceptional fuel Borea (Bourrée) Duration 50 mins efficiency it never fails to provide a thrilling and powerful performance. In addition, the Sarabande This concert will end advanced technology of i-ACTIVSENSE safety features and the connectivity of MZD Duration 8 mins at approximately 9.30pm. Connect never compromise the character and elegance of KODO Design. Experience life SPONSORED BY without compromise for yourself. Mazda6.com.au

Tasmanian Symphony Orchestra concerts are broadcast and streamed throughout Australia and around the world by ABC Classic FM. We would appreciate your cooperation in keeping coughing to a minimum. Please ensure that your mobile phone is switched off. 38 Features listed are standard on Atenza model shown. 86744 39 TSO BAROQUE POPS

The Portuguese word barocco describes music dramatically embodied the religious a misshapen pearl, but what we now call mysteries of ascendant Protestantism Baroque music was born in Florence in and the equally assertive Catholicism of the late 16th century, when the Florentine the Counter-Reformation, as well as the Camerata, a group of artists led by ritualised life in the courts of Versailles and Vincenzo Galilei (father of the astronomer), Westminster. GRAHAM ABBOTT sought to recreate the sung dramas of ancient Greece and accidentally invented “BAROQUE MUSIC WAS FLEXIBLE opera. AND CAPABLE OF SUDDEN CONTRASTS A respected speaker and broadcaster, Graham Abbott has been Conductor-in- BETWEEN SOLO INTROSPECTION Graham has been producer and presenter The music of the late was Residence at the Elder Conservatorium AND CHORAL AFFIRMATION, BETWEEN of Music in Adelaide, Musical Director of of Keys To Music on ABC Classic FM dominated by the vocal polyphony of church music, the stylised fanfares and SONG AND DANCE; IT WAS, IN A WORD, Adelaide Philharmonia Chorus, Associate since 2003. DRAMATIC.” Conductor of the Melbourne Symphony dances of aristocratic or royal court, and Most recently Graham conducted Don the more domestic forms of the solo song Orchestra, Musical Director of Melbourne Giovanni for State Opera of South Australia, Chorale and, in 1997, was Guest Chorus or the ensemble form of the . The Baroque music frequently responded to for the Queensland Symphony liturgical music represents the triumph of the physical environment in which it was Master of the Chorus of the Royal Scottish Orchestra and Canberra Choral Society, National Orchestra. polyphony, where each of the individual to be performed. In Venice, for instance, Bach’s St Matthew Passion for Opera lines in a piece have more or less equal composers like Andrea and Giovanni He is a frequent guest conductor with all of Queensland, Beethoven’s Symphony roles to play, weaving elaborate textures Gabrieli (1554–1612), and Monteverdi at the major Australian orchestras and opera No 3 for Camerata of St John’s and the as thematic material is passed from one one time, employed at the basilica of San companies, leading choral societies and Melbourne Chamber Orchestra, as well as voice to another. But this democratic Marco, were inspired by the building’s numerous new and ensembles. concerts with the Adelaide and Melbourne texture didn’t suit the requirements of space and shape to develop a distinctive While his repertoire in orchestral, choral and Symphony Orchestras. International the Florentine Camerata; out of the need polychoral style, where groups of voices operatic fields spans almost all periods and highlights have included presenting to differentiate character came monody, and/or instruments were placed in different styles, Graham Abbott is most respected and conducting Auckland Philharmonia where a single melodic line carries the parts of the church to create antiphonal, as a conductor of, and enthusiast for, the Orchestra’s Unwrap the Music series, musical argument, supported by a strong or stereophonic, effects. Often, as in the music of Handel. He has conducted Messiah Dvorˇák’s Stabat Mater with the Prague bass part and coloured by emotionally work we hear today, the composer creates more than seventy times, with all the major Chamber Orchestra, concerts with the Royal affecting harmony. The bass part would the effect of echoes in a vast space. Australian orchestras and many other Scottish National Orchestra in Glasgow and soon evolve into what was termed basso Gabrieli’s canzone generally don’t specify organisations, and has given first Australian Edinburgh, and with the Ulster Orchestra in continuo, where the line was reinforced by a orchestration so much as the numbers performances of major Handel works Northern Ireland. keyboard instrument that helped to fill out of players, and are usually based on such as Athalia, , and 2016 will see Graham return to the the texture. “recitation tones” – melodic fragments , as well as conducting the to which certain parts of the Mass were Adelaide Philharmonia Chorus, Sydney Baroque music was, therefore, flexible Australian première of Handel’s complete routinely chanted. Philharmonia Choirs and New Zealand and capable of sudden contrasts between Carmelite Music for the Adelaide Chamber Symphony Orchestra. Singers. Graham is a Life Member of the solo introspection and choral affirmation, Aristocratic courts, like churches, were American Handel Society. between song and dance; it was, in a word, the major employers of composers and dramatic. The visual arts of the Baroque trained musicians during the Baroque An experienced conductor of opera, created breathtaking effects from the period, especially during the middle of the Graham’s repertoire includes , manipulation (and sometimes distortion) 17th century. They could be called upon Aida, L’elisir d’amore, Julius Caesar, of light and colour, perspective and to create music for religious observance, , The Marriage of Figaro, proportion, and through the use of a welter secular ceremonies and courtly or public , La traviata, Il trovatore, of ornamental detail, such as we see in entertainment. Not surprisingly, Italian Don Pasquale, Un ballo in maschera and the architecture of Bernini or Wren, or the composers dominated, though Johann Pelléas et Mélisande. He was also Assistant paintings of Caravaggio or Velazquez. In Heinrich Schmelzer (?1620–1680) Conductor for the Australian première literature something similar happens in the made history as the first Austrian-born season of John Adams’ Nixon in China at powerful rhythm and sometimes tortuous Kapellmeister, or head of music, at the the 1992 Adelaide Festival and in 2001- syntax of Milton’s poetry. In the period Imperial Court in Vienna in 1679. He had 2002 was Music Advisor to Chamber Made between Galilei and Monteverdi and the of course worked under the previous Opera in Melbourne. generation of Bach, Vivaldi and Rameau, Kapellmeister for many years, producing,

40 41 staggered, or imitative, entries and layering Telemann (1681-1767) is one such piece. between ceremonial and popular music. of the melody in the upper parts. The In three movements, the first contrasts Handel had taken up a post in 1710 at Gigue provides a conventional contrast of an elegant 3/4 melody with more martial the court of Georg Ludwig, the Elector of metre and character, but it too uses elegant repeated-note figures, and looks forward Hanover (the Electors were several princes counterpoint to create a rich texture. to Haydn (and, in fact, back to Renaissance who nominally elected the Holy Roman Towards the end of the Baroque period, music) in giving the bass part some of this Emperor) and twice took advantage of a there was an explosion of instrumental material towards the movement’s end. generous travel allowance to go to . music for court– or city-based orchestras The slow movement has a sinuous D-minor Enjoying some success there on his second down to intimate chamber groupings; a melody that contrasts with the bright trip in 1712, Handel stayed on, but in growing middle class provided a market, major material of the Vivace finale. 1714 the Elector, as the closest Protestant relation to British royalty, was proclaimed which was serviced by advances in printing Telemann, as American writer Sam King George on the death of Queen Anne technology. In the early 18th century, Morgenstern has pointed out, “founded and crowned at Westminster. It might have -based printer Estienne or revived the Collegia Musica in been awkward, and an early biographer did Roger hit on the solution of engraving Leipzig, Frankfurt and Hamburg, thereby indeed put about the story that king and plates (rather than using a “block” for inaugurating concert life as we know it”. composer were estranged over the latter’s each individual note), and using beams While his sinfonias and sonatas adhere to long absence from Hanover. The story goes to link shorter notes like quavers and the Italian model developed by Vivaldi, that the King’s Master of the Horse, Baron semiquavers. Music could be reprinted at Telemann is also credited with popularising Johann von Kielmansegg, wanted to effect will – and as Roger published the music the French-style orchestral suite – an ANTONIO VIVALDI a reconciliation and so arranged, without of Antonio Vivaldi (1678–1741), this was overture followed by around five dance the King’s knowledge, for an entertainment quite an advantage to both. Vivaldi had movements, all in the same key – among among other things, numerous suites of involving a barge cruise on the Thames. In enjoyed early success as a virtuoso, German-speaking composers. This was dance music. Vienna always had a thing for fact, as Jonathan Keates points out, while entrepreneur and composer. His works encouraged, in the case of Handel, by an dance, and not just for humans – among Kielmansegg paid for it, it was the King’s include some 500 concertos as well as avidly Francophile employer. Schmelzer’s many balletti is a horse-ballet many operas, instrumental sonatas and a idea – as Elector he had enjoyed similar with a series of dances to accompany large body of sacred music. His playing The Water Music by George Frideric events on the lake at his summer palace, the formal movement of the horses and was clearly prodigious. Vivaldi effectively Handel (1685–1759) inhabits a grey area Herrenhausen, and the family, moreover, saltatori, or acrobats. standardised the concerto, usually casting Schmelzer’s music was also appreciated his in three movements (fast-slow-fast). in other cities, notably by the Bishop The first and third movements are of Olmütz (now Olomouc in the Czech structured around the alternation of a Republic), Karl Lichtenstein-Castelcorn. ritornello (or refrain) from the orchestra Schmelzer sent numerous copies of interspersed with virtuosic episodes, while works to the Bishop, who also employed the central slow movement is usually simple several composers such as Pavel Josef in form. A number of his concertos, known Vejvanovský (?1633–1693). Moravian-born as “ripieno concertos”, have no soloist, Vejvanovský contributed to the growing but adhere otherwise to this model. The genre of the instrumental sonata, that is, D-major work performed in this concert an abstract composition to be “sounded” juxtaposes a unison ritornello with more (as against sung). elaborate episodes, the slow movement is a quiet hymnal interlude in B minor, and the The celebrated Canon by Johann finale gains energy from repeated figures Pachelbel (1653–1706) and its and contrapuntal passages. accompanying Gigue are also examples of the vogue for abstract ensemble music. The ripieno concerto and the sinfonia are The success of this piece since its relatively effectively one and the same, the latter recent discovery has sadly obscured having its origins as a kind of overture. Pachelbel’s large and fascinating output. The last generation of Baroque composers The Canon demonstrates a quintessential largely followed the Vivaldian model in such aspect of Baroque music, with a strong bass works and in chamber pieces of a similar line that propels the music forward, while scale written for concert performance. AN IDEALISED PAINTING OF HANDEL AND KING GEORGE I LISTENING TO creating a complex texture from the simple The Sinfonia spirituosa by Georg Philipp THE WATER MUSIC, BY EDOUARD JEAN CONRAD HAMMAN

42 43 had on several occasions witnessed aquatic For this performance, however, conductor pageants in Venice. Such events, in any Graham Abbott is using the order found Leaving a case, were not uncommon in London. in a recently discovered manuscript copy dating from 1719, which may reflect how Handel was demonstrably in good favour the music was first performed. It conflates with the King by 1717, having travelled the suites in D and G, providing dramatic in the royal retinue back to Hanover the contrasts of key, timbre and mood, and previous year. The King was keen to raise IS ONE OF THE MOST juxtaposing examples of the same dance Bequest his own public profile in London, especially form in different keys. ENDURING GIFTS given the bitter rivalry that had broken out YOU CAN GIVE. between him and his son, the Prince of Much of the music, using the carrying Wales, and Handel would have been wise power of reed and brass instruments, to display his loyalty. The pageant, held on is clearly designed to be heard from Gifts in wills offer a lasting legacy 17 July 1717, was essentially a party on a a distance, though without, of course, and enrich the lives of generations series of barges that “drove with the Tide today’s ambient sounds of cars, trains and to come. without Rowing” from Whitehall up-river to motor-boats. The Suite in F begins with the When the time is right for Chelsea, where the King dined, and then expected French ouverture, that is, a slow you to write or rewrite your back. Contemporary reports assure us that opening section full of “ceremonial” dotted will, please remember the TSO. “His Majesty liked [the music] so well, that rhythms and trills that is succeeded by a Every contribution, whether large he had it plaid over three times in going faster section in formal fugal counterpoint. or small, is appreciated and makes and returning”. The movements that follow offer a study in a tremendous difference to the Handel’s brilliant orchestration. Not all have future of the orchestra. “FOR THIS PERFORMANCE, CONDUCTOR identifying dance titles or tempo markings GRAHAM ABBOTT IS USING THE ORDER but, as Beethoven noted approvingly We often talk at length with FOUND IN A RECENTLY DISCOVERED of Handel’s music generally, they make those who are thinking of a gift MANUSCRIPT COPY DATING FROM 1719, great effects with the simplest of means. in their will and look forward to WHICH MAY REFLECT HOW THE MUSIC This includes contrasts of solo and tutti discussing with you the best WAS FIRST PERFORMED.” writing, and antiphonal effects (as in the way to lend your support. D major “Ouverture” and the celebrated We undertake such conversations with utmost discretion and “Handel’s Celebrated Water Musick” hornpipe) that remind us of the Venetian encourage benefactors to was only published in full score after the heritage of Baroque instrumental music. discuss the details of their gift composer’s death, with the now-customary This performance brings the Water Music with a legal professional. division into three separate suites in F, D to a close with the bright strains of the and G. Sadly, no autograph manuscript “” minuet from the Suite in D. For further information about has survived, so it is not possible to say © Gordon Kerry 2016 leaving a bequest to the TSO, definitively which movements were played please contact Jessica Armson, and in what order. It may be, as Keates Philanthropy Coordinator, notes, that certain movements were on 03 6232 4405 or email intended for specific points of the journey. [email protected]. The ordering by key reflects the traditional disposition of the “French suite” and the suites’ different orchestrations, which reflect “I have made a gift to the TSO that some early instruments were restricted in my will because I want future in the choice of keys that they could use. In generations of Tasmanians to enjoy fact, the score is the first English piece to the life affirming pleasures of our use “crooked” horns, which allows them to gem of an orchestra. I encourage play in more than one key. The movements you to include the TSO as a gift in F feature oboes, bassoon, horns, strings recipient in your will.” and basso continuo, while those in D add PAT LEARY, . The movements in G offer the TSO FOUNDATION BOARD gentle contrast of a palette of and strings. Expert advice and solutions. 44 45