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Baroque Pops 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 Water Music, Suites 1, 2 and 3 1 Ouverture Duration 4 mins 2 Adagio e staccato VEJVANOVSKÝ 3 [Allegro] - 4 Andante Sonata La posta 5 [Allegro] da capo Duration 3 mins 6 Air 7 Minuet VIVALDI 8 Bourrée Concerto in D, RV 121 9 Hornpipe [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 Renaissance 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 madrigal. The Baroque music frequently responded to Messiah 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 early music 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, Ariodante, Agrippina and 2016 will see Graham return to the the texture. “recitation tones” – melodic fragments La resurrezione, 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 Fidelio, 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, Orlando, The Marriage of Figaro, proportion, and through the use of a welter secular ceremonies and courtly or public Don Giovanni, 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 London. 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 Amsterdam-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.
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