BLAZING BAROQUE

Sydney, Melbourne and Brisbane July/August 2016

Paul Dyer AO Artistic Director Shaun Lee-Chen Baroque Violin Australian Brandenburg Orchestra

PROGRAM Sammartini Overture to the opera Memet, J-C 88 Vivaldi Concerto for violin in D major, RV 208, Grosso mogul Telemann Grand Concerto in D major, TWV deest Interval Vivaldi Concerto for several instruments in F major, RV 569 Telemann Concerto for flute & recorder in E minor, TWV 52:e1 Fasch Concerto in D major, FWV L:D4a

Sydney Melbourne Brisbane City Recital Hall Melbourne Recital Centre Queensland Performing Arts Centre Wednesday 27 July, 7pm Saturday 30 July, 7pm Monday 8 August, 7:30pm Friday 29 July, 7pm Sunday 31 July, 5pm Wednesday 3 August, 7pm Friday 5 August, 7pm Saturday 6 August, 7pm Matinee Saturday 6 August, 2pm

Chairman’s 11 Proudly supporting our guest artists

The duration of this concert is approximately 2 hours including interval. We kindly request that you switch off all electronic devices during the performance. This concert will be broadcast on ABC Classic FM on Thursday 11 August, 1pm.

SERIES PARTNER PRINCIPAL PARTNER 1 shared Artistic Director's visions Message

Macquarie Group is proud to continue its It’s pretty rare in our performing calendar to be able to enjoy the stage all by partnership with one of Australia’s foremost ourselves, and so I have assembled a dream team of Brandenburg artists for cultural treasures, the Australian Brandenburg this Blazing Baroque concert. The stars of the Australian Baroque scene! – Orchestra. and playing on period instruments of the eighteenth century.

This is Macquarie Group’s ninth year as the Recently Shaun Lee-Chen (our concertmaster) and I performed with the Brandenburg’s principal partner and what West Australian Symphony Orchestra. Being part of Shaun’s performing makes this relationship so rewarding is our platform from coast to coast is such a privilege as he cements his character shared passion for the highest standards, and role within the Brandenburg, performing with WASO and teaching at underpinned by specialist skills and experience. the University of WA. I am thrilled to be part of this extraordinary musician’s journey and tonight he tackles the virtuosic concerto known as the As members of a peerless ensemble, the Grosso Mogul. Brandenburg is filled with extraordinary performers who shine as part of a team and as Every member of our orchestra is vital, professional, unique and extraordinary. soloists. There are a couple of special duos I’d like to spotlight: Melissa Farrow and Mikaela Oberg on baroque flute/recorder and sharing the stage with We congratulate the talented and charismatic them Emma Black and Kirsten Barry on baroque oboe. These four Artistic Director Paul Dyer on once again women illuminate our rehearsals and performances with programing a wonderful series. Our partnership cleverness, spontaneity, brilliance and determination. with the Orchestra in bringing these works to life means the immense talents of its musicians The onstage musicians trigger our wonderful baroque and visiting artists can be widely enjoyed and music, but it is the brilliant composers we feature in appreciated. this series – some not at all well-known who are the stars too. Researching the Blazing Baroque program uncovered a fascinating case of mistaken identity recently revealed at the Dresden Library. Being on the detective trail is one of the things I love about my role as Artistic Director, especially when we turn up these gems of discovery.

I hope you enjoy this concert series, as the orchestra brings to life a trail of Blazing Baroque!!!

Bill Marynissen Paul Dyer AO 2 Head of Wealth Management, Banking and Financial Services Artistic Director and Conductor 3 BLAZING BAROQUE MESSAGE from apa

Australian Brandenburg Orchestra APA as the official Series Partner of Blazing Baroque Paul Dyer AO Artistic Director is proud to welcome you to today’s performance. Shaun Lee-Chen Baroque Violin This year we are celebrating 15 years of partnership with the Australian Brandenburg Orchestra. We The musicians on period instruments value our relationship and the opportunity to bring our partners and customers together to enjoy this Baroque Violin 1 Baroque Cello Baroque Horn sensational music. Matt Bruce, Sydney* Jamie Hey, Melbourne+* Darryl Poulsen, Perth+ Associate Concertmaster Anthea Cottee, Sydney Dorée Dixon, Perth Just as Telemann, Vivaldi, Sammartini and Fasch Matthew Greco, Sydney Rosemary Quinn, Sydney were innovative in providing energetic explorations Cath Shugg, Melbourne Dan Curro, Brisbane Baroque Trumpet of music in their time; APA innovatively connects Skye McIntosh, Sydney Leanne Sullivan, Sydney+ Australians to energy, safely and reliably. Natalia Harvey, Melbourne Baroque Double Bass Alex Bieri, Sydney Rob Nairn, Adelaide3 Helen Gill, Candelo We also want to stay true to our roots, and are Baroque Violin 2 pleased to be hosting this national series. As part Ben Dollman, Adelaide+* Baroque Flute Timpani of this series we will extend the beauty of baroque Rafael Font, Sydney Melissa Farrow, Sydney* Richard Gleeson, Melbourne music to metropolitan and regional communities in Simone Slattery, Adelaide which we operate. David Irving, Melbourne1 Recorder Theorbo/Baroque Guitar Stephanie Eldridge, Melbourne Mikaela Oberg, Sydney Tommie Andersson, Sydney* I applaud the innovation of the musicians of all ages and every musician performing today. May they all Baroque Viola Baroque Oboe Harpsichord continue to blaze a trail in sharing the music with a Monique O'Dea, Sydney+2 Emma Black, Vienna+ Paul Dyer, Sydney+ whole new generation of listeners, and continue to Marianne Yeomans, Sydney Kirsten Barry, Melbourne* make this series a success. Christian Read, Melbourne Simón Gangotena, Melbourne Baroque Bassoon Peter Moore, Perth

*Denotes Brandenburg Core Musician +Section Leader 1David Irving appears courtesy of Melbourne Conservatorium of Music, The University of Melbourne 2Monique O’Dea appears courtesy of Presbyterian Ladies’ College, Sydney (staff) 3Rob Nairn appears courtesy of The Julliard School, New York Mick McCormack 4 Harpsichord preparation by Geoffrey Pollard in Sydney, Alistair McAllister in Melbourne and Joanna Tondys in Brisbane Managing Director, APA SERIES PARTNER 5 PAUL Shaun DYER Lee-Chen

In January 2013 Paul Dyer AO was awarded Shaun Lee-Chen completed his Bachelor of Music (Performance) at the the Officer of the Order of Australia (AO) for University of Western Australia in 2000 with first class Honours, studying his ‘distinguished service to the performing under Paul Wright and Pal Eder. He was the most outstanding graduate arts, particularly orchestral music as a for music at the University of Western Australia in 2000, and in 2001 director, conductor and musician, through was accepted into the Australian National Academy of Music in the promotion of educational programs and Melbourne. support for emerging artists’ in recognition of his achievements as Co-founder and Artistic Director Shaun Lee-Chen is Artist-in-Residence at the University of Western of the Australian Brandenburg Orchestra and Australia and holds a part time position as Violinist in the West Brandenburg Choir. Australian Symphony Orchestra. In 2016 Shaun was announced the Brandenburg’s Concertmaster. Paul Dyer is one of Australia’s leading specialists in period performance styles. He founded the Shaun is at home on both Baroque and Modern violin and was ABC Orchestra in 1990 and has been Artistic Director Young Performer of the Year in 2007. He has appeared as Soloist with since that time. Paul has devoted his performing numerous groups including the West Australian Symphony Orchestra, life to the harpsichord, fortepiano and chamber Hidemi Suzuki, Manfredo Kraemer, Andrew the Queensland Symphony Orchestra and the Tasmanian Symphony organ as well as conducting the Australian Manze, Yvonne Kenny, Emma Kirkby, Philippe Orchestra. Shaun is one of the featured Soloists in the 2015 Aria- Brandenburg Orchestra and Choir. Jaroussky and many others. In 1998 he made nominated Brandenburg Celebrates CD. He has also performed as his debut in Tokyo with countertenor Derek Lee Guest Principal with the Sydney, West Australian and Tasmanian Paul completed postgraduate studies in solo Ragin, leading an ensemble of Brandenburg Symphony Orchestras. performance with Bob van Asperen at the Royal soloists, and in August 2001 Paul toured the Conservatorium in The Hague, performed with orchestra to Europe with guest soloist Andreas Shaun has played with various chamber music many major European orchestras and undertook Scholl. As a recitalist, he has toured Germany, groups including the Flinders Quartet, Pacifica ensemble direction and orchestral studies with France, Belgium, the Netherlands and the United Quartet and the Hilliard Ensemble. Sigiswald Kuijken and Frans Brüggen. States.

Paul appears as a soloist, continuo player Paul is an inspiring teacher and has been and conductor with many major ensembles a staff member at various Conservatories including the Sydney Symphony Orchestra, throughout the world. In 1995 he received a West Australian Symphony Orchestra, Churchill Fellowship and he has won numerous Queensland Orchestra, Australia Ensemble, international and national awards for his CD Australian Chamber Orchestra, Opera Australia, recordings with the Australian Brandenburg Australian Youth Orchestra, Victorian State Orchestra and Choir, including the 1998, 2001, Opera, Malaysian Philharmonic Orchestra, the 2005, 2009 and 2010 ARIA Awards for Best Pacific Baroque Orchestra, Vancouver, and the Classical Album. Paul is Patron of St Gabriel’s Orchestra of the Age of Enlightenment, London. School for Hearing Impaired Children. In 2003 Paul was awarded the Australian Centenary Paul has performed with many prominent Medal for his services to Australian society and international soloists including Andreas Scholl, the advancement of music. In 2010 Paul was Cyndia Sieden, Elizabeth Wallfisch, Andreas awarded the Sydney University Alumni Medal for 6 Staier, Marc Destrubé, Christoph Prégardien, Professional Achievement. 7 Australian Brandenburg Orchestra

“…What stands out at concert after concert is the impression that this bunch of musicians is having a really good time. They look at each other and smile, they laugh…there’s a warmth and sense of fun not often associated with classical performance.” Sydney Morning Herald

Australian Brandenburg Orchestra, led by performing in regional Australia. Since 2003 the charismatic Artistic Director Paul Dyer, celebrates Australian Brandenburg Orchestra has been a the music of the sixteenth, seventeenth and member of the Major Performing Arts Group, which eighteenth centuries with excellence, flair and comprises 28 flagship national arts organisations joy. Comprising leading specialists in informed supported by the Australia Council for the Arts. The performance practice from all over Australia, the Orchestra began regular touring to Queensland Brandenburg performs using original edition scores in 2016. and instruments of the period, breathing fresh life and vitality into baroque and classical masterpieces Since its beginning, the Brandenburg has been – as though the music has just sprung from the popular with both audiences and critics. In 1998 composer’s pen. The Age proclaimed the Brandenburg “had reached the ranks of the world’s best period instrument The Orchestra’s name pays tribute to the orchestras”. In 2010 the UK’s Gramophone Brandenburg Concertos of J.S. Bach, whose Magazine declared “the Australian Brandenburg musical genius was central to the baroque era. Orchestra is Australia’s finest period-instrument Celebrating their 27th anniversary in 2016, the ensemble. Under their inspiring musical director Brandenburg continues to deliver exhilarating Paul Dyer, their vibrant concerts and recordings performances. combine historical integrity with electrifying virtuosity and a passion for beauty". The Brandenburg has collaborated with such acclaimed and dynamic virtuosi as Andreas Scholl, The Australian proclaimed that “a concert with the Philippe Jaroussky, Kristian Bezuidenhout, Australian Brandenburg Orchestra is like stepping Emma Kirkby, Andreas Staier, Elizabeth Wallfisch, back in time, as the sounds of period instruments Genevieve Lacey, Andrew Manze and more. resurrect baroque and classical works with reverence and authority". Through its annual subscription series in Sydney and Melbourne, the Australian Brandenburg Orchestra The Brandenburg's nineteen recordings with ABC performs before a live audience in excess of Classics include five ARIA Award winners for Best 40,000 people, and hundreds of thousands more Classical Album (1998, 2001, 2005, 2009 and 2010). through national broadcasts on ABC Classic FM. The Orchestra also has a regular commitment to Discover more at brandenburg.com.au

Catherine Shugg 8 Baroque Violin Blazing baroque

In the eighteenth century all audiences wanted to hear was new music. Billboards and flyers advertised Giovanni Battista Sammartini (1700–1775) ‘new music never before heard’, and composers were under pressure to constantly produce new works either for a public audience or for their own aristocratic employers. In an era of no recordings, it was Overture to the opera Memet, J-C 88 possible to hear a particular piece again only if you played it yourself or you were a nobleman with your own orchestra, and an enormous quantity of music was produced, most never to be heard again after its Presto first outing. Andante Presto ma non tanto Depending on the fame of the composer and how astute he was as a businessman, some of his music might have been published, but even if it had, once a composer died, interest in his music largely died Giovanni and his brother Giuseppe, both renowned oboists and composers, were born in Milan, but with him. unlike his brother and many other Italian musicians of the period who built a successful career in England, Giovanni established his career at home. At the peak of his career Giovanni Sammartini was recognised So what happened to those thousands of scores and manuscripts? Much has certainly been lost, either as Milan’s leading church composer. He held the musical directorship of eight of the city’s churches, and through not being valued at the time or through the wars which have ravaged Europe’s cultural institutions played a leading role in Milan’s musical life. He befriended Mozart and his father Leopold when they in the last two hundred years. The music that was preserved often ended up in private collections in stayed there in 1770 for Mozart’s opera Mitridate Re di Ponto, (Sammartini was ‘a person whom everyone unlikely places: a considerable quantity of Sammartini’s musical output is held in Prague, for example, and trusts’, according to Leopold), and he provided his support when intrigues among the singers threatened a large quantity of Vivaldi scores was found in an Italian monastery in the early twentieth century. Many of to de–rail the opera. Publication of his music in London and Paris meant that he was better known as a the music collections in libraries have not been precisely catalogued, and it is often discovered that composer outside Italy than he was in his own country. compositions have been attributed to the wrong composer. The Sammartini overture in this concert is an example of this: the copy held in the Dresden state library was wrongly attributed until a major English music historian Charles Burney also met Sammartini in Milan in 1770, and noted that despite his examination of their scores was undertaken in 2011. age his ‘fire and invention still remain in their utmost vigour’. Burney thought that his music was ‘very ingenious, and full of the spirit and fire peculiar to that author’, although it ‘would please more if there Dedicated musicological sleuthing continues to unearth hitherto unknown Baroque masterpieces: the were fewer notes, and fewer allegros in it: but the impetuosity of his genius impels him to run on in a Telemann Grand Concerto you will hear in this concert is one such piece. It was one of over five thousand succession of rapid movements, which in the end fatigue both the performer and the hearers’. manuscripts and scores which formed the musical estate of Johann Sebastian Bach’s son Carl Phillip Emmanuel, and which he bequeathed to the Singakademie library in Berlin. This priceless collection was Sammartini was very highly regarded in his own time but, like Vivaldi, his music was not rediscovered until thought to have been destroyed during World War II, but twenty years of determined searching by two the early twentieth century. He was a prolific composer, and while much of his music was published musicologists discovered that it had been moved in 1943 by the Nazis to a remote castle in what is now during his lifetime, it is thought that a large amount has also been lost or attributed to other composers, Poland. It was captured by the Red Army in the dying days of the war, and ended up in a library in Kiev particularly to his brother Giuseppe. under the safekeeping of the KGB. Finally in 1999, after years of denials of its existence by Soviet authorities, musicologists were allowed to access the collection and found that it includes works by major Sammartini started his career composing in the late Baroque style, but finished as one of the most eighteenth century composers, including five hundred works, some previously unknown, by J S Bach innovative composers of the early Classical period, and is now considered the first great master of the himself. Classical symphony. He was Gluck’s teacher, and contemporaries heard strong parallels between Sammartini’s compositions and those of Haydn. So we expect there is still plenty of work for enterprising musicologists, and plenty of ‘new’ music to be newly appreciated by twenty first century performers and audiences. What to listen for

This composition is a short sinfonia, a concerted piece which functioned as the overture to operas of this period and which was the forerunner of the classical symphony. This one is from the opera Memet, which Sammartini wrote in 1732 for the town of Lodi, near Milan. This was relatively early in his career, when he was still strongly influenced by the northern Italian concerto form popularised by Vivaldi, and we can hear Vivaldi’s 10 influence in the strong rhythmic drive and extravagant flourishes from unison violins in the first movement. 11 Blazing baroque

The second movement is also Vivaldi–like, being slower and more lyrical with a guitar–like strummed Georg Philipp Telemann (1681–1767) effect. Instead of the more usual energetic final movement, Sammartini introduces instead a stately dance which sets the mood for an opera about the Emperor of Turkey. Grand Concerto in D major, TWV deest

Antonio Vivaldi (1678–1741) Spirituoso – Adagio – Spirituoso Allegro Concerto for violin in D major ‘Grosso mogul’, RV 208 Adagio Presto – Grave, Adagio Allegro Vivace Recitativo: Grave Allegro In his own time Telemann was considered the greatest living German composer (ahead of his friends Handel and J S Bach), which is astonishing considering that he was largely self–taught. Energy and an Of the five hundred or so concertos that Vivaldi composed, about two hundred and thirty are for solo astonishing facility for composition were the hallmarks of Telemann’s long life, most of which was spent violin. Vivaldi was himself a violin virtuoso, and although he composed mostly for other people his works (after short stints in Poland, Eisenach and Frankfurt) in Hamburg as director of music with responsibility nevertheless require an extremely high level of technical expertise. The impression created by his own for the five main churches, one of the top jobs in the German musical world. He was enormously prolific, brilliant playing was captured by a German traveller to Venice in 1715: producing literally thousands of works.

‘Towards the end Vivaldi played a solo accompaniment – splendid – to which he appended a Telemann’s employers were mostly civic, not aristocratic, so he was largely free to compose in the way cadenza which really frightened me, for such playing has never been nor can be: he brought his that he wanted. He developed a distinctive style, incorporating French, Italian and Polish musical fingers up to only a straw’s distance from the bridge, leaving no room for the bow – and that on influences, which looked forward to the new century and the influence of the Enlightenment. Telemann is all four strings with fugues and incredible speed. With this he astounded everyone ...’ now regarded as an important link between the late Baroque and early Classical styles.

This concerto is one of nine Vivaldi concertos which J S Bach transcribed for organ (BWV 594). What to listen for

What to listen for This concerto forms the overture to a serenata entitled Pastorelle en Musique written between 1713 and 1716 when Telemann was in Frankfurt. A serenata was a small scale vocal composition popular with Vivaldi gave a number of his concertos descriptive titles like this one, which refers to the Moguls who European nobility from the middle of the seventeenth century until the middle of the eighteenth century. It ruled India from the sixteenth to mid nineteenth century. There is nothing remotely Indian in the music, typically celebrated a particular occasion, in this case probably a wedding. Serenatas were often part of however, although it is thought that Vivaldi may have composed it as the overture to a stage work set in lavish entertainments including fireworks, banquets and pageants, and were usually performed in the India. It is particularly flamboyant, requiring a great deal of skill on the part of the violin soloist especially in open air (the word serenata comes from the Italian sereno, meaning clear sky), hence Telemann’s use of the long fiery cadenzas (unaccompanied solo passages) towards the end of the fast first and third instruments whose sound would carry outdoors, such as trumpets and oboes, and timpani. movements. Vivaldi pioneered the use of cadenzas in concertos to allow for even more virtuosic display. He wrote this concerto relatively early in his career and composed the cadenzas, which are meant to Although titled ‘concerto’ this piece is actually a suite, with six separate movements based on particular sound improvised; in his later concertos he marked the place on the score with ‘stop here and play a dance styles. Telemann himself implied that he composed about two hundred similar works (also referred cadenza if you like’, but left it up to the soloist to invent their own. to by the French title ouverture) between 1705 and 1718, although not all survive. In this work Telemann shifts between the prevailing French and Italian compositional styles. The French style was characterised The second movement is unusual for Vivaldi. Its title, ‘Recitativo’, refers to the passages of sung dialogue by simplicity and elegance, the Italian by bravura and spirit, as well as lyricism. Telemann was a master of in opera accompanied only by bass instruments and harpsichord, but here it takes the form of a long both and was particularly fond of the French style, declaring that he was ‘a great partisan of French seemingly improvisatory solo for violin. Perhaps Vivaldi had intended it to conjure up the exotic East, as music, I confess it!’. the unusually ambiguous ending floats mysteriously away. 12 13 Blazing baroque

A suite commonly began with a majestic French overture which this one does, but Telemann interposes Georg Philipp Telemann (1681–1767) an Italian–style slow Adagio where we would expect to hear a fugue. The second movement is a stirring Allegro with a hunting horn motif played by the winds, while the following Adagio for strings alone is in the Concerto for flute & recorder in E minor, TWV 52:e1 form of a graceful Sarabande, a French dance. A sprightly Presto, also for strings, returns to Italy, with the final movement again in the form of a French dance. Largo Allegro Interval Largo Presto Antonio Vivaldi (1678–1741) Telemann composed hundreds of instrumental compositions covering all genres, including one hundred Concerto for several instruments in F major, RV 569 and twenty five concertos. His knowledge of instruments and the ability to compose specifically for each of them was developed as a child, when he taught himself to play virtually every instrument available. ‘An Allegro exceedingly intense fire’, he wrote, drove him ‘to make myself familiar not only with the harpsichord, violin Grave and recorder, but also with the oboe, transverse flute, chalumeau, gamba, etc. up to the double bass and Allegro trombone’.

Of the five hundred concertos by Vivaldi, twenty eight are for several solo instruments with orchestra. The date of composition of this double concerto for the very unusual combination of flute and recorder is Vivaldi wrote two concertos of this type for the famous Dresden court orchestra, but most are thought to not known, but it is thought that Telemann had written almost all his instrumental music by 1740 and in have been composed for the Pio Ospedale della Pietà in Venice, the girls’ orphanage where Vivaldi was any case by that time the recorder was dying out, having been superseded by the flute. music director and violin teacher on and off for most of his working life, and whose orchestra was one of the finest in Italy. The Pietà girls’ ability to play a wide range of instruments fired Vivaldi’s limitless musical The various names used for the recorder have been confusing players and audiences alike since at least imagination in putting together works for all manner of unusual instrumental combinations. the late 1600s.The name ‘recorder’ comes from the Latin ‘ricordari’, meaning to remember, or to recall for another. In medieval England minstrels were ‘recorders’ who re–told past events through song, and the What to listen for instruments they played were known by the same name. When the Baroque recorder was introduced into England by French players in the 1670s, it was called by the French word for recorder, ‘flute’. When the This concerto dramatically contrasts the timbres of horns, oboes, bassoon and solo violin, but also shows transverse flute overtook the recorder in popularity it too was called the flute, although clearly the the way forward to later orchestration in which these sounds would be seamlessly integrated into a warm instruments are very different. European languages distinguish between the two instruments with the orchestral texture by later eighteenth century composers such as Haydn and Mozart. addition of an adjective for the recorder (flauto dolce, Blockflöte etc.).

The dramatic opening of the first movement announces the unusual combination of soloists. Although this What to listen for concerto is not specifically programmatic, a violin solo evokes bird song, as in The Four Seasons, and this is complemented by the rustic references of hunting horn calls and cheerful oboe melodies reminiscent of Keys in this period were considered to be associated with particular emotional qualities, and composers peasant pipes. The second movement provides the greatest possible contrast of texture with the outer chose keys based on the mood they wanted the piece to convey. The German music theorist Johann movements, in the form of a lilting Siciliana for the solo violin accompanied for most of the movement only Mattheson, a friend of Telemann and Handel, wrote that E minor, the key of this concerto, ‘expresses by unison upper strings (without the cellos and other continuo instruments). In the finalAllegro horns, incomparably a despairing or completely mortal sadness; it is most comfortable with matters of the oboes, violin and now also solo cello take turns to show off what they can do, led as always by the extreme helplessness and hopelessness of love and has in certain circumstances what is mordent, spectacular virtuosity of Vivaldi’s own instrument, the violin. irrevocable, suffering and piercing that it may be likened to nothing but a fatal parting of body and soul’.

While a subdued, reflective mood is maintained throughout the two slow movements, the second movement is a fast moving fugal dialogue between the two solo instruments. The final movement is a 14 dashing Polish folk dance. 15 Blazing baroque

Johann Friedrich Fasch (1688 – 1758) Other composers Year Telemann Vivaldi & events Concerto in D major FWV L:D4a 1678 Born in Venice First woman awarded university degree 1681 Born in Magdeburg Last dodo killed Allegro Andante 1685 Handel and J S Bach born. Allegro 1688 Fasch born 1700 Sammartini born Contemporary of Bach and Handel and friend of Telemann, Johann Friedrich Fasch was at least as well Director of Leipzig opera Appointed violin teacher at 1703 Fire brigade founded in Edinburgh known a figure in German music in his own time as J S Bach. He was descended from a line of Lutheran house the Pietà in Venice cantors and theologians and for a period he was resident composer to Count Wenzel Morzin in Prague, Music director in Poland 1705 Isaac Newton knighted whose orchestra was much admired by Vivaldi and to whom he dedicated The Four Seasons. In 1722 and Eisenach, Germany Fasch accepted the position of court music director in Zerbst, a provincial city south of Berlin. Although it Acclaimed as virtuoso had a very active musical life Fasch was never happy there, and almost as soon as he arrived he applied Gains new position as violinist & composer after Tuning fork invented. Handel's first London opera 1711 for the position of cantor of the church of St Thomas in Leipzig. He was rated second behind Telemann music director in Frankfurt publication of L’estro Rinaldo performed but when Telemann withdrew Fasch decided that he could not leave Zerbst so soon and withdrew as armonico concertos. well. The Leipzig authorities eventually appointed the sixth ranked applicant, regretfully announcing that Leaves the Pietà to 1717 Handel composes Water Musick Suite ‘since the best could not be obtained, a mediocre candidate would have to be accepted’. That candidate produce his own operas was J S Bach.

Appointed music director Fasch found himself just as busy at Zerbst as Bach was at Leipzig, composing at least three cantatas a 1721 Smallpox vaccine first administered in England week for the royal chapel as well as regularly churning out new instrumental music to entertain the royal in Hamburg Publication of The Four family at dinner. During his thirty six years there he was primarily occupied with the composition of church 1725 Second performance of J S Bach's St John Passion cantatas and festival music for the court, but his fame as a composer spread from Hamburg (where Seasons violin concertos Telemann performed a cycle of his church cantatas in 1733) to as far afield as Prague and Vienna. He 1732 Sammartini composes opera Memet composed at least sixty seven concertos, eighty seven overtures, a considerable amount of sacred vocal Takes up gardening, Dies poor and alone in music and four operas, but none of his compositions were published during his lifetime. It is thought that 1741 requests plants from Vienna after moving there Handel composes Messiah and Samson probably only about one third of his output has been preserved. Handel hoping for work 1747 Samuel Johnson starts dictionary What to listen for 1758 Fasch dies 1759 Begins to go blind British Museum opens in London. Handel dies. This concerto is for solo violin accompanied by a richly scored orchestra including three trumpets, drums, two oboes, and bassoon. Fasch wrote it for his friend Johann Georg Pisendel, virtuoso violinist and leader Dies. Succeeded in Hamburg by his godson of the Dresden court orchestra which was then renowned as the best in Europe. Like most of Fasch’s 1767 First European visits Tahiti CPE Bach, son of JS concertos it follows the traditional Italian concerto model with fast outer movements structured around Bach repeating themes for orchestra contrasted with episodes for the soloist. 1770 Mozart meets Sammartini in Milan Fasch was particularly noted by his contemporaries for his use of wind instruments which he often 1775 Sammartini dies employed in pairs, and used for ‘exclamations’ and for echoing what had already been played by other instruments. The distinctive sonority of the trumpet can be heard in its fanfare–like figurations, especially 16 in the two fast movements. © Program notes & timeline Lynne Murray 2016 17 Australian Brandenburg

Orchestra Paul Dyer Artistic Director Harpsichord

Shaun Lee-Chen Matt Bruce Matthew Greco Catherine Shugg Anthea Cottee Rosemary Quinn Dan Curro Rob Nairn Concertmaster Associate Concertmaster Baroque Violin 1 Baroque Violin 1 Baroque Cello Baroque Cello Baroque Cello Baroque Double Bass

Skye McIntosh Natalia Harvey Ben Dollman Rafael Font Melissa Farrow Mikaela Oberg Emma Black Kirsten Barry Baroque Violin 1 Baroque Violin 1 Baroque Violin 2 Baroque Violin 2 Baroque Flute Recorder Baroque Oboe Baroque Oboe

Simone Slattery David Irving Stephanie Eldridge Monique O'Dea Peter Moore Darryl Poulsen Dorée Dixon Leanne Sullivan Baroque Violin 2 Baroque Violin 2 Baroque Violin 2 Baroque Viola Baroque Bassoon Baroque Horn Baroque Horn Baroque Trumpet

Marianne Yeomans Christian Read Simón Gangotena Jamie Hey Alex Bieri Helen Gill Richard Gleeson Tommie Andersson 18 Baroque Viola Baroque Viola Baroque Viola Baroque Cello Baroque Trumpet Baroque Trumpet Timpani Theorbo/Baroque Guitar 19 The Australian Brandenburg Orchestra gratefully A heartfelt thank you acknowledges the support of our Partners To our generous family of supporters

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DURAZZO $1,000 – $4,999 CHAIRMAN’S 11 BRANDENBURG FOUNDATION

Janet Abernethy Rosemary Farrow David and Andree Milman DONORS Paula Adamovich Wendy and Ron Feiner Paul O'Donnell Dedicated to the memory of James Strong AO. Janet Allen Brian and Philippa France Alison Park in loving memory of Richard Park J M Alroe Carrillo and Ziyin Gantner Trevor J Parkin Chairman’s 11 supports international and local artists. The purpose of the Brandenburg Foundation John and Robyn Armstrong Justin and Anne Gardener Professor David Penington Membership is by invitation only. is to ensure the longevity of the Orchestra. Ian Baker and Cheryl Saunders Bill and Julie Goold Dr John Percy Frederic Baudry and Paul Bailey Richard and Anna Green W J and R Poate Jillian Broadbent AO In memory of a first class The Foundation’s capital funds can be used Jeanette Beaumont Dr Jan Grose OAM Jim and Christine Pollitt Marc Besen AC and Eva Besen AO Ken Groves and Yun-sik Jang Ted and Jean Radford Louise Christie cricketer (UK), W G Keighley for special projects such as finding a BOYCE Family Office Audrey Hawkins Patricia H Reid Endowment Pty Ltd Jan and Frank Conroy Grant and Jennifer King permanent home for the Orchestra. Diana Brookes Jane Hemstritch Lois Roffey Richard Fisher AM and Susan Maple-Brown AM Dr Catherine Brown-Watt PSM and Mr Derek Watt J Holden Family Foundation Dr David and Dr Gillian Ritchie Kay Buckeridge Jenny and Peter Hordern Justice Ronald Sackville AO and Mrs Pamela Sackville Diana Fisher Ms Gretel Packer Jenny and Henry Burger J L Hossack John Scott Chris and Gina Grubb Anonymous AMATI $250,000 – $500,000 Henry Burmester and Peter Mason Jill and David Hunt Paul Sheehan and Susan Wyndham Wayne Burns and Kean Onn See Dr Alastair Jackson Mr Charlie Shuetrim AM and Mrs Sandra Shuetrim The Eileen Marie Dyer AM Fund Elizabeth Butcher AM Cynthia Jackson AM Alan and Jennifer Smith INAUGURAL ORCHESTRAL CHAIR Dr Beverley and Mr Alan Castleman The Hon Rod Kemp and Mrs Daniele Kemp Chris and Bea Sochan Anonymous Dr Jeffrey Chan and Colin Hudson Nicholas Korner Brendan Sowry Mr Peter Clark and Mrs Jan Clark Arthur and Vicky Koumoukelis Dr Murray Stapleton AM Rebecca and Craig Clarke Ann and James Lahore Mrs Suzy and Dr Mark Suss In memory of Lloyd Martin . STRADIVARI $100,000 – $249,999 Melinda Conrad and David Jones Mr John Lamble AO Mark and Debra Taylor The following donors have supported the P Cornwell and C Rice Airdrie Lloyd Jane Tham and Philip Maxwell Dom Cottam and Kanako Imamura Richard and Elizabeth Longes Annalise Fairfax establishment of the Theorbo/ Baroque Guitar Chair, Cary and Rob Gillespie Toula and Nicholas Cowell Aggie Maisano* Mr Mike Thompson currently held by Tommie Andersson. Anonymous Tim and Bryony Cox Dr Diana Marks and Dennis Bluth Anne and Richard Travis A L Crotty Barrie Martin PD and CM Vaughan-Reid David Davies and Paul Presa Robyn Martin-Weber Stephen and Ruth Walsh The Alexandra and Lloyd Martin Brian and Jocelyn Nebenzaal Margaret and Chris de Guingand Joanna B Maxwell Justice Anthony Whealy Family Foundation Faye Parker GUARNERI $50,000 – $99,999 Brian and Nathalie Deeson Mora Maxwell In memory of Dr Ron White Graham Bradley AM and Judy Soper and James Sullivan Ms Emmanuelle Delannoy Richard and Rowena McDonald Yanina White Macquarie Group Foundation Susan Dixon and Stephen Rix Peter McGrath* Judith Williams Charlene Bradley Noel Staunton Emeritus Professor Dexter Dunphy AM J A McKernan K A Wratten Elizabeth Butcher AM Victoria Taylor The Martin Family in memory of Lloyd Martin AM Jane Edmanson OAM John Milhinch OAM Anonymous x 18 Ken Groves and Yun-sik Jang Kim Williams Christine Yip and Paul Brady Ralph and Maria Evans Dr David Millons AM and Mrs Barbara Millons Jennifer Hershon Anonymous Anonymous Cynthia Jackson AM SUPPORTER I $500 - $999 MAESTRI $25,000 – $49,999 corporate donors Tony and Angie Adams Dr Ailsa Hocking and Dr Bernard Williams Dr Kevin Pedemont John and Robyn Armstrong Jaci Armstrong Geoff Hogbin John Peisley and Ros Royal Baiba Berzins Geoff Howard Christina Pender APA Group Chris and Kathy Harrop Annette and Kevin Burges In memory of Dean Huddlestone Alexander and Rosemary Roche Bain & Company Greg Hutchinson AM and Lynda Hutchinson David and Louise Byrne Michael Jones Margot Ross Link Market Services Nick and Caroline Minogue Jim Cousins AO and Libby Cousins George Lawrence Gabrielle J Rowe Rowan Ross AM and Annie Ross Dr John Dale AO and Mrs Joan Dale Harvey and Janette Lewis Jeannette Sharpe Pacific Equity Partners Deborah Debnam Paul Lindwall Dr Gideon and Mrs Barbara Shaw QANTAS Loyalty Carol des Cognets Greg Livingstone Robyn Smiles Margaret Dobbin Betty Lynch Margot Smith ARCANGELI $15,000 – $24,999 Nita Durham Elizabeth Mackenzie and Michael Bremner Professor Fiona Stewart Anton Enus and Roger Henning Lola Martin Sue Thomson PLANNED GIVING J Farren-Price Jewellers Richard Masiulanis Frank Tisher OAM and Dr Miriam Tisher Melinda Conrad and David Jones Peter Fletcher AM and Kate Fletcher Wendy E McCarthy AO Mr and Mrs J Turecek BEQUEST Glenn Moss and the late Dr Ken Moss AM Malcolm and Barbara France Lois McCutchan Ronald Walledge David and Rachel Zehner Christine George Janet McDonald AO and Donald McDonald AC Dr J and A Whaite Karl Goiser Frank and Susan Morgan Sally and Geoffrey White Philip and Anabel Gosse Mrs June Musgrove in memory of Dr Peter Musgrove Gregory W Won The Australian Brandenburg Orchestra warmly Peter and Deirdre Graham Dr Paul Nisselle AM and Mrs Sue Nisselle Sally P Young acknowledges the bequest it has received from CAMERATA $10,000 – $14,999 Sandra Haslam B P O'Connell Anonymous x 18 the Estate of Valda Astrida Siksna. Mr David Baffsky AO and Mrs Helen Baffsky SUPPORTER II $250 - $499 PLAY ON: A LASTING LEGACY Graham Bradley AM and Charlene Bradley The Clayton Family

Norman Gillespie Carole Bailey Richard and Heather Gorrell M L Rattigan We are hugely appreciative to all those who have Keith and Claire Beecher Dr Stéphane Hemmerter in memory of Barbara and Malcolm Richardson Rohan Mead Cathie Boag Gérard Hemmerter Gabrielle J Rowe included the Brandenburg in their Will. Katalin Bognar Ross Holmes Professor Steve and Dr Sharon Schach Professor Fran Boyle AM Hilary Kelman Charles Such Catherine Broady A le Marchant Patrick and Sally Smith* The Faithfull Family Penelope Oerlemans Joyce and Holly Brown Morris and Helen Margolis Anthony Tarleton Brian and Leonie Fisher Joan and Lloyd Poulton Kerin Carr Peter McCall Susan and Peter Timmins In memory of Betty Curtain Dr Kerry Mills Amanda Trenaman and Steven Turner R J Irwin Art and Cynthia Raiche Janet Doust Marie Morton Susan Young Peter McGrath Anonymous x 6 Andrew Dunn Andrew Naylor Anonymous x 28 Kerri Eager Robert Neill Angela Egan In memory of Jenny Parramore Rita Erlich Beverly and Ian Pryer To find out more, or to make a donation please get in touch Marguerite Foxon* Ken Ramshaw *Donors to the Brandenburg International Baroque Study Program 22 This donor list is current for a 12-month period to 16 June 2016 www.donations.brandenburg.com.au E: [email protected] T: 02 9363 2899 23 GALA DINNER MELBOURNE

City Recital Hall Ltd 2-12 Angel Place, Sydney, Australia CEO Elaine Chia GPO Box 3339, Sydney, NSW 2001 Board of Directors Renata Kaldor AO, Chair Telephone Timothy Cox AO, Deputy Chair 02 9231 9000 Helen Bauer Box Office Jo Dyer 02 8256 2222 The Hon Justice Elizabeth Fullerton Facsimile Kerri Glasscock 02 9233 6652 City of Sydney is a Marcus McArdle Principal Sponsor of Clive Paget Website City Recital Hall Maria Sykes www.cityrecitalhall.com

Chair ACKNOWLEDGMENT Chris Freeman AM The Queensland Performing Arts Trust is a statutory body of the Deputy Chair State of Queensland and is partially Paul Dyer AO and Rhonda White AO funded by the Queensland Government Lady Primrose C. Potter AC CMRI Trust Members Kylie Blucher The Honourable Annastacia Palaszczuk MP QUEENSLAND PERFORMING Simon Gallaher Premier and Minister for the Arts Patron: Lady Primrose C. Potter AC CMRI ARTS CENTRE Sophie Mitchell Director-General, Department of the PO Box 3567, South Bank, QLD 4101 Premier and Cabinet : David Stewart Mick Power AM T: (07) 3840 7444 For one night only, the Australian Brandenburg Orchestra hosted a night of baroque splendour W: qpac.com.au Chief Executive: John Kotzas Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE in celebration of the Orchestra’s continued growth in the great city of Melbourne. In May 2016, our ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest inaugural Gala Dinner was held in the magnificently restored, heritage-listed George Ballroom in St Kilda. EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre. A huge thank you to everyone who generously supported the Brandenburg’s first fundraising event in Melbourne.

Anthony Adair and Karen McLeod Adair KPMG BOYCE Family Office Katie Lahey Jenny and Henry Burger Macquarie Group Robin Campbell Richard and Rowena McDonald Tony Cardamone Rohan Mead Mr Peter Clark and Mrs Jan Clark Katrina Molino Jim Cousins AO and Libby Cousins Julie Ann Morrison Founding Patron Julian Couzins Alison Park in loving memory of Richard Park The Late Dame Elisabeth Murdoch AC DBE Margaret and Chris de Guingand Lady Potter AC CMRI John and Jenny Fast Qantas Loyalty MELBOURNE Board of Directors Charles and Cornelia Goode Ruth Ross RECITAL CENTRE Kathryn Fagg, Chair Peter Bartlett Executive Staff Dr Drew Hewson Dr Murray Stapleton Corner Southbank Boulevard and Sturt Street The Hon Rod Kemp and Mrs Daniele Kemp Anonymous x 3 Stephen Carpenter Mary Vallentine AO, Chief Executive Southbank VIC 3006 Joseph Corponi Greg Diamantis, Director of Production & Presenter Services Liana Frolova Administration: 03 9699 2228 Mary Delahunty Marshall McGuire, Head of Artistic Planning Box Office: 03 9699 3333 Paul Donnelly Robert Murray, Director Marketing & Customer Relations To register your interest in our 2017 Gala Dinner Melbourne contact our Development Team Facsimile: 03 9207 2662 Eda Ritchie AM Sandra Robertson, Director of Development T: 02 9363 2899 or Website: melbournerecital.com.au Margaret Farren-Price Sandra Stoklossa, Director Corporate Services 24 E: [email protected] 25 recordings The Australian Brandenburg Orchestra has released nineteen recordings, with soloists including Andreas Scholl, Genevieve Lacey, Yvonne Kenny, Elizabeth Wallfisch, Sara Macliver, Graham Pushee and Cyndia A VERY BRANDENBURG BRANDENBURG A Celtic Christmas Sieden. Several of these Christmas CELEBRATES Brandenburg Choir Patrons recordings have received awards, Australian Brandenburg Orchestra Australian Brandenburg Orchestra Australian Brandenburg Orchestra including five ARIA Awards Brandenburg Choir Brandenburg Choir Paul Dyer, artistic director His Excellency General the Honourable Sir Peter Cosgrove AK MC (Retd) Governor-General of Australia Paul Dyer, artistic director Paul Dyer, artistic director Maximilian Riebl, countertenor for Best Classical Album. ABC 481 1317 His Excellency General the Honourable David Hurley AC DSC (Retd) Governor of New South Wales ABC 481 2176 ABC 481 1929 Artistic Director Paul Dyer AO The Brandenburg Council Jillian Broadbent AO Greg Hutchinson AM Max Suich The Board a brandenburg tapas BAROQUE FAVOURITES HANDEL christmas Australian Brandenburg Orchestra Australian Brandenburg Orchestra CONCERTI GROSSI Greg Ward, Chairman Brandenburg Choir Paul Dyer, artistic director Paul Dyer, artistic director Australian Brandenburg Orchestra Bruce Applebaum Australian Brandenburg Orchestra 2010 ARIA Award: ABC 476 4056 Paul Dyer, artistic director Paul Dyer, artistic director Best Classical Album 2009 ARIA Award: Cathy Aston Christina Leonard, saxophone ABC 476 3828 Best Classical Album Louise Prickett, soprano ABC 476 3436 David Baffsky AO ABC 476 4687 Richard Boyce Paul Dyer AO John C Fast Lesley Grant Katie Lahey AM Rohan Mead David Zehner Bridget O'Brien, Company Secretary Great Vivaldi Concertos Sanctuary VIVALDI – Il Flauto Dolce Mozart Clarinet Australian Brandenburg Orchestra Australian Brandenburg Orchestra Australian Brandenburg Orchestra Concerto & Arias Managing Director Paul Dyer, artistic director. Featuring Paul Dyer, artistic director Paul Dyer, artistic director Australian Brandenburg Orchestra Bruce Applebaum guest artists such as Genevieve Lacey, Kirsten Barry, baroque oboe Genevieve Lacey, recorder Paul Dyer, artistic director Elizabeth Wallfisch, Hidemi Suzuki, 2005 ARIA Award: 2001 ARIA Award: Craig Hill, basset clarinet Lucinda Moon and many more. Best Classical Album Best Classical Album Cyndia Sieden, soprano Deputy General Manager ABC 476 923-3 ABC 476 284-0 ABC 461 828-2 ABC 476 1250 Bridget O'Brien

Assistant Box Orchestra Manager Production Coordinator Philanthropy Manager Office Manager Rob Dyball Shannon O'Hara Rebecca Warren Thomas Chiu Receptionist/Ticketing Librarian Publicist Box Office Manager Assistant Alex Palmer Steven Godbee Publicity Kateryna Collier Chris Goebel Accountant Auditors Noël! Noël! Andreas Scholl – Vivaldi The Australian Handel Arias Brandenburg Choir Australian Brandenburg Orchestra Brandenburg Australian Brandenburg Orchestra Head of Development Corporate Partnerships John Scott KPMG Australian Brandenburg Orchestra Paul Dyer, artistic director Orchestra Collection Paul Dyer, artistic director Kirsty Divehall Manager Paul Dyer, artistic director Andreas Scholl, countertenor Australian Brandenburg Orchestra Yvonne Kenny, soprano Marketing Manager, Digital Repertoire Sara Macliver, soprano ABC 466 964-2 Paul Dyer, artistic director 1998 ARIA Award: Best Classical Album Accounts Assistant Matthew Higgins Tina Semple Advisors (honorary) ABC 472 606-2 ABC 465 428-2 ABC 456 689-2 Ian Creevey Systems Consultant Assistant to Charles Gwynn Executive Assistant David Joyce Artistic Director Andrew O'Connor Susan Duffy Marketing Executive Joanna Tondys Christopher Price Aishlinn McCarthy

Brandenburg Ensemble Limited trading as Australian Brandenburg Orchestra is a non-profit organisation registered as a company limited by guarantee. ABN 41 003 908 183 If Love’s A Sweet Passion The Four Seasons Handel Arias Brandenburg Favourites Australian Brandenburg Orchestra Australian Brandenburg Orchestra Australian Brandenburg Orchestra Australian Brandenburg Orchestra Paul Dyer, artistic director Paul Dyer, artistic director Paul Dyer, artistic director Paul Dyer, artistic director Address 142 New South Head Road, Edgecliff NSW 2027 | Post GPO Box 4416, Sydney NSW 2001 Sara Macliver, soprano ­Elizabeth Wallfisch, baroque violin Graham Pushee, countertenor ABC 434 720-2 26 Telephone 61 2 9328 7581 | Website www.brandenburg.com.au | Email [email protected] ABC 456 692-2 ABC 456 364-2 ABC 446 272-2 27 Jamie Hey Principal Baroque Cello Secure your Health, Wealth and Living the Australian thesuccess Australian story that’s successbuilt on story energy. that’s built on energy Get to know the future of connected energy. Get to know the future of connected energy.

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