Featuring the Brandenburg performing Zadok the Priest Paul Dyer AO Artistic Director, Conductor 2019 Australian Brandenburg Brandenburg Choir Emma Black (Vienna) Baroque City Recital Hall Wednesday 24 July 7pm PROGRAM Friday 26 July 7pm Handel No. 1 Zadok the Priest, HWV 258 Saturday 27 July 2pm (Matinee) Handel Coronation Anthem No. 4 My Heart is Inditing, HWV 261 Saturday 27 July 7pm Wednesday 31 July 7pm Handel Coronation Anthem No. 2 Let Thy Hand be Strengthened, Friday 2 August 7pm HWV 259

You’re connected, personally Handel Coronation Anthem No. 3 The King Shall Rejoice, HWV 260 BRISBANE QPAC Interval Tuesday 30 July 7:30pm Handel Concerto for Oboe No. 3 in G minor, HWV 287 At Macquarie Private Bank you have the power of being i Grave ii Allegro iii Largo iv Allegro MELBOURNE connected, personally. You control your financial future, Melbourne Recital Centre and we find your way there together. Handel Music for the Royal Fireworks, HWV 351 i Ouverture ii Bourée iii La Paix iv La Réjouissance v Menuet 1 & 2 Saturday 3 August 7pm Sunday 4 August 5pm Macquarie are proud to be a long-standing supporter CHAIRMAN’S 11 and Principal Partner of the Brandenburg since 2007. Proudly supporting our guest artists. Concert duration is approximately 110 minutes, including one interval. Please note concert duration is approximate only and is subject to change. We kindly request that you switch off all electronic devices prior to the performance. This concert will be broadcast on ABC Classic on 11 August at 12noon. QPAC performance is proudly supported by Brisbane Schools Choir. The Australian Brandenburg Orchestra would like to give special thanks to Brisbane Girls Grammar School, Brisbane Grammar School, Brisbane State High School, and John Paul College.

macquarie.com/privatebank

Macquarie Private Bank is a division of Macquarie Bank Limited AFSL and Australian Credit Licence 237502 (MBL). This information doesn’t take HANDEL'S ANTHEMS & FIREWORKS 1 into account your objectives, financial situation or needs – please consider whether it’s right for you. From our Principal Partner: Macquarie Group Biography Shared Vision Paul Dyer

On behalf of Macquarie Group, it is my great pleasure to welcome Paul Dyer is one of ’s leading specialists you to the Australian Brandenburg Orchestra’s third concert series in period performance. of 2019 – the iconic Handel’s Anthems & Fireworks.

At Macquarie we appreciate the powerful impact Australian Brandenburg Orchestra and Choir, music can have, which is why we are thrilled to including the 1998, 2001, 2005, 2009 and 2010 continue our longstanding partnership with the ARIA Awards for Best Classical Album. Australian Brandenburg Orchestra. This year is Paul has performed with many international Macquarie Group’s twelfth year as the Brandenburg’s soloists including Andreas Scholl, Cyndia Sieden, Principal Partner and what makes this relationship so Marc Destrubé, Christoph Prégardien, Hidemi rewarding is our shared vision of infinite possibilities Suzuki, Manfredo Kraemer, Andrew Manze, and commitment to the highest standards, Yvonne Kenny, Emma Kirkby, Philippe Jaroussky underpinned by specialist skills and experience. and many others. In 1998 he made his debut in This is the first time that the Brandenburg will Tokyo with countertenor Derek Lee Ragin, leading stage the complete set of Handel’s Coronation an ensemble of Brandenburg soloists, and in Anthems alongside his spectacular Music for August 2001 Paul toured the orchestra to Europe the Royal Fireworks. Artistic Director Paul Dyer with guest soloist Andreas Scholl, and in 2015 leads the brilliant musicians of the Orchestra and featured on the soundtrack of the James Bond Choir. In this performance, he will also be joined 007 movie, Spectre. on stage by internationally acclaimed Baroque He co-founded the Brandenburg in 1989 after A passionate cook, entertainer, foodie, teacher, oboist Emma Black, who has returned from Vienna completing postgraduate studies at the Royal swimmer, traveller, he is friends with people and for this performance as a soloist. This promises to Conservatorium in The Hague, and has been artists from Istanbul to India and Japan to Italy be a unique and uplifting production with a stellar Artistic Director and conductor since that time. creating a unique platform for overseas performing showcase of exceptionally talented artists from Paul is a performing artist comfortable in his artists to work with him and the Brandenburg both Australia and overseas. unique music arena – whether working in ancient in Australia. It is a privilege to be a part of the Australian music, contemporary music, opera, with artists Among his list of achievements, Paul was awarded Brandenburg Orchestra’s journey and we hope such as circus performers, contemporary dance, the Officer of the Order of Australia (AO) in 2013 you enjoy this concert. or visual art. His busy performing schedule in for his ‘distinguished service to the performing arts Europe, Asia, the USA and Canada over the years in Australia’. Paul is Patron of St Gabriel’s School has synchronised perfectly alongside his bold for Hearing Impaired Children. In 2003 Paul was stage work in Australia. awarded the Australian Centenary Medal for Paul is an inspiring teacher and has been a staff his services to Australian society and the member at various Conservatories throughout the advancement of music, and in 2010 Paul was

world. In 1995 he received a Churchill Fellowship awarded the Sydney University Alumni Medal Sean West and he has won numerous international and for Professional Achievement. Head of Macquarie Wealth Management national awards for his CD recordings with the

2 AUSTRALIAN BRANDENBURG ORCHESTRA HANDEL'S ANTHEMS & FIREWORKS 3 From our 30th Anniversary Presenting Partner: APA From the Co-Founder & Artistic Director Connecting Australia to Baroque Music Let's celebrate with anthems & fireworks!

APA Group is proud to support the Australian Brandenburg Handel moved into his London house at number Orchestra as Series Partner of Handel's Anthems & Fireworks. 25 Brook Street in stylish Mayfair in 1723 shortly We are delighted to welcome you to this performance. after his court appointment to the Chapel Royal.

This year, APA celebrates the Brandenburg’s 30th The stampede caused a traffic jam that blocked Anniversary and our 18-year relationship as one of London Bridge for three hours, and the chaos the Orchestra’s longest corporate sponsors. continued with rain soaking both the waiting crowds and the fireworks – many crackers misfired Our partnership began in 2001, the year after we and fizzled! Despite all the rain, one functioning started as a business. Since then, both organisations firework strayed causing the stage to catch fire, have grown, through vision and commitment, burning the wooden pavilion to the ground. No from humble beginnings to national importance. contemporaneous account exists of what the crowd While we have worked tirelessly to connect thought of Handel’s music; however, although the energy sources across Australia, enabling regional fireworks display went completely pear-shaped, and national growth, season after season the Handel’s music is unquestionably glorious. Brandenburg breathes fresh life into music, infusing In sharp contrast to the rowdy public occasion of the it with history and heritage. THE HOUSES OF JIMI HENDRIX AND GEORGE FRIDERIC royal fireworks exhibition, the coronation ceremony APA Group is one of Australia’s leading energy HANDEL AT NUMBER 23 AND 25 (NOW THE MUSEUM) SHOWN BY THE BLUE PLAQUES. of a British monarch is a statement of structure, infrastructure businesses, and through sponsorship formality and order. Humans around the world and of the Orchestra, we value the opportunity to bring throughout history have developed rites and rituals Brook Street is in a well-to-do area of London, a Baroque music to audiences in the metropolitan that transport us momentarily from the routine of short stroll from the music and artistic communities and regional communities where we operate. daily life and catapult our imagination and spirit into of Soho and Covent Garden, but near to St. James’s another dimension. Handel’s Coronation Anthems It is a significant privilege to be part of the Australian Palace, where Handel performed his official duties, is the soundtrack for one of those moments and Brandenburg Orchestra’s journey. We wish you and the King’s Theatre in Haymarket, the focus reaches another plane entirely. Our concert tonight a joyful evening and hope you enjoy the concert. of his Italian opera career. Handel was a supreme is one of these important human rituals we share. dramatist and he must have been a man of enormous character. Let the Choir, the Orchestra, Emma Black and Handel catapult your imagination somewhere It was in Brook Street that Handel composed the beautiful! three pieces on tonight’s program. It’s a 14-minute walk from Handel’s house to Green Park and I always Rob Wheals chuckle as I imagine the mess that was stirred up at APA Group Managing Director and CEO the rehearsal and final production of the Music for the Royal Fireworks in April 1749. A massive Italian style wooden pavilion was constructed in Green Paul Dyer AO Park to house the fireworks display, and Londoners Co-Founder & Artistic Director rushed and crushed to get close to the action. Australian Brandenburg Orchestra

4 AUSTRALIAN BRANDENBURG ORCHESTRA HANDEL'S ANTHEMS & FIREWORKS 5 Musicians Biography Australian Brandenburg Orchestra Australian Brandenburg Orchestra

Paul Dyer AO Artistic Director, Conductor The Australian Brandenburg Orchestra, led by charismatic Australian Brandenburg Orchestra Brandenburg Choir Artistic Director Paul Dyer, celebrates the music of the sixteenth, seventeenth and eighteenth centuries with excellence, flair and joy. Orchestra Comprising leading specialists in informed supported by the Australia Council for the Arts. BAROQUE VIOLIN BAROQUE VIOLA BAROQUE BAROQUE HORN performance practice from all over Australia, The Orchestra began regular touring to Queensland Shaun Lee-Chen* (Perth) Monique O’Dea3 (Sydney) Jane Gower (Copenhagen) Michael Dixon (Sydney) Concertmaster Marianne Yeomans (Sydney) Simone Walters (Hobart) Dorée Dixon (Perth) the Brandenburg performs using original edition in 2015. Matt Bruce* (Sydney) James Eccles (Sydney) Lisa Wynne-Allen4 (Sydney) scores and instruments of the period, breathing BAROQUE OBOE Since its beginning, the Brandenburg has been Associate Concertmaster Christian Read (Melbourne) fresh life and vitality into Baroque and classical Emma Black (Vienna) TIMPANI Ben Dollman* (Adelaide) popular with both audiences and critics. In 1998 BAROQUE CELLO Kirsten Barry* (Melbourne) Brian Nixon masterpieces – as though the music has just James Armstrong+ (Sydney) The Age proclaimed the Brandenburg “had reached Jamie Hey* (Melbourne) Kaori Katayama (The Hague) sprung from the composer’s pen. Rafael Font (Sydney) PERCUSSION the ranks of the world’s best period instrument Anthea Cottee (Sydney) Matthew Greco (Sydney) BAROQUE TRUMPET Adam Cooper-Stanbury Rosemary Quinn (Sydney) The Orchestra’s name pays tribute to the ”. In 2010 the UK’s Gramophone Magazine Natalia Harvey (Melbourne) Leanne Sullivan (Sydney) Dan Curro (Brisbane) CHAMBER ORGAN Brandenburg Concertos of J.S. Bach, whose musical declared “the Australian Brandenburg Orchestra Anna McMichael (Sydney) Richard Fomisom (Brisbane) Heidi Jones5 (Sydney) genius was central to the Baroque area. Celebrating is Australia’s finest period-instrument ensemble. Shane Lestideau (Melbourne) BAROQUE Alex Bieri (Sydney) 1 their 30th Anniversary in 2019, the Brandenburg Under their inspiring musical director Paul Dyer, Bianca Porcheddu (Canberra) James Munro (Amsterdam) Matthew Manchester (Sydney) HARPISCHORD Lorraine Moxey2 (Orange) Libby Browning (Perth) Paul Dyer* (Sydney) continues to deliver exhilarating performances. their vibrant concerts and recordings combine Catherine Shugg (Melbourne) historical integrity with electrifying virtuosity and The Brandenburg has collaborated with such a passion for beauty”. acclaimed and dynamic virtuosi as Andreas Choir Scholl, Philippe Jaroussky, Kristian Bezuidenhout, The Australian proclaimed that “a concert with the Emma Kirkby, Andreas Staier, Elizabeth Wallfisch, Australian Brandenburg Orchestra is like stepping SOPRANO ALTO TENOR BASS Samantha Ellis Robert Adam Jonathan Borg Hayden Barrington Genevieve Lacey, Andrew Manze and more. back in time, as the sounds of period instruments resurrect Baroque and classical works with Wei Jiang Philip Butterworth Spencer Darby Craig Everingham Through its annual subscription series in Sydney Belinda Montgomery Timothy Chung6 Daine Ellicott Nick Gilbert reverence and authority”. Amy Moore Austin Haynes Miguel Iglesias Sébastien Maury and Melbourne, the Australian Brandenburg Jennifer Rollins Mark Nowicki Brendan McMullan Philip Murray Orchestra performs before a live audience in excess The Brandenburg’s 20 recordings with ABC Classics Josie Ryan Andrew O’Connor Erin Peterson Hugh Ronzani of 52,000 people, and hundreds of thousands more include five ARIA Award winners for Best Classical Anna Sandström Paul Tenorio Richard Sanchez Rodney Smith through national broadcasts on ABC Classic FM. Album (1998, 2001, 2005, 2009 and 2010). In 2015 Lauren Stephenson The Orchestra also has a regular commitment to the Australian Brandenburg Orchestra was the Adria Watkin performing in regional Australia. Since 2003 the recipient of the Sidney Myer Performing Arts Group Hester Wright Australian Brandenburg Orchestra has been a Award and in 2016 the Helpmann Award for Best member of the Major Performing Arts Group, which Chamber Concert. comprises 28 flagship national arts organisations Discover more at brandenburg.com.au * Denotes Brandenburg Core Musician 4 Lisa Wynne-Allen appears courtesy of the Opera Australia Orchestra + Member of the Brandenburg Young Mentorship Program 5 Heidi Jones appears courtesy of SCEGGS, Sydney (staff) “...what stands out at concert after concert is the impression that this bunch of musicians is 1 Bianca Porcheddu appears courtesy of Gold Creek Senior School, 6 Timothy Chung appears courtesy of Santa Sabina College, Sydney (staff) an International Baccalaureate World School, Canberra (staff) Harpsicord preparation by Joanna Butler in Sydney, Melbourne & Brisbane. having a really good time. They look at each other and smile and laugh... there’s a warmth 2 Lorraine Moxey appears courtesy of Kinross Wolaroi School, Orange (staff) and sense of fun not often associated with classical performance.” 3 Monique O’Dea appears courtesy of Presbyterian Ladies’ College, Sydney (staff) SYDNEY MORNING HERALD

6 AUSTRALIAN BRANDENBURG ORCHESTRA HANDEL'S ANTHEMS & FIREWORKS 7 Musicians Musicians Australian Brandenburg Orchestra Australian Brandenburg Orchestra

PAUL DYER SHAUN LEE-CHEN MATT BRUCE BEN DOLLMAN JAMES ARMSTRONG DAN CURRO JAMES MUNRO LIBBY BROWNING JANE GOWER SIMONE WALTERS Harpsichord Baroque Violin Baroque Violin Baroque Violin Baroque Violin Baroque Cello Baroque Bass Baroque Bass Baroque Bassoon Baroque Bassoon

RAFAEL FONT MATTHEW GRECO NATALIA HARVEY ANNA MCMICHAEL SHANE LESTIDEAU EMMA BLACK KIRSTEN BARRY KAORI KATAYAMA LEANNE SULLIVAN RICHARD FOMISOM Baroque Violin Baroque Violin Baroque Violin Baroque Violin Baroque Violin Baroque Oboe Baroque Oboe Baroque Oboe Baroque Trumpet Baroque Trumpet

BIANCA PORCHEDDU LORRAINE MOXEY CATHERINE SHUGG MONIQUE O’DEA MARIANNE YEOMANS ALEX BIERI MATTHEW MANCHESTER MICHAEL DIXON DORÉE DIXON LISA WYNNE-ALLEN Baroque Violin Baroque Violin Baroque Violin Baroque Viola Baroque Viola Baroque Trumpet Baroque Trumpet Baroque Horn Baroque Horn Baroque Horn

JAMES ECCLES CHRISTIAN READ JAMIE HEY ANTHEA COTTEE ROSEMARY QUINN BRIAN NIXON ADAM COOPER- HEIDI JONES Baroque Viola Baroque Viola Baroque Cello Baroque Cello Baroque Cello Timpani STANBURY Chamber Organ Percussion

8 AUSTRALIAN BRANDENBURG ORCHESTRA HANDEL'S ANTHEMS & FIREWORKS 9 Biography Brandenburg Choir

The Brandenburg Choir is renowned for its astonishing vocal blend and technical virtuosity.

Established by Artistic Director Paul Dyer in 1999 Noël! Noël! has proven to be so popular, the to perform in the first-ever Noël! Noël! Brandenburg Brandenburg has released their third live recording Christmas concert, the Choir has become a regular of the concert at St Francis of Assisi Church, part of the Brandenburg year. The first Noël! Noël! Paddington, Sydney. Noël! Noël! was recorded in concert combined medieval chant and polyphony as 2016. This beautiful collection of festive music is well as carols from around the world in their original available in leading music stores. In addition to settings and languages. the annual Noël! Noël! concerts, the Choir now regularly performs as part of the Brandenburg’s “Music from earlier centuries often requires the annual subscription season. Bach Cantatas, Handel's sound of the human voice. I wanted to put a group of Coronation Anthems, and Mozart’s great Requiem excellent singers together adding a rich complement and Coronation Mass are among the best loved to our period instruments. Our Choir is a ravishing performances of the Choir. Their performance of blend of radiant Sydney singers”, says Paul Dyer. Handel’s Ode for St Cecilia’s Day received critical Originally 13 voices, the Choir joined our Orchestra acclaim, with The Sydney Morning Herald declaring: and wowed audiences with truly beautiful “[The Brandenburg Choir is] one of the finest renditions of both familiar Christmas favourites choruses one could put together in this town”. and rarely-heard sacred works, performing music The current members of the Brandenburg Choir from the eleventh century to the Baroque. It was an are all professional singers, many of whom also instant success, combining musical, literary and hold music degrees, but they do not all sing full time. scholarly performances that thrilled audiences From music teachers to lawyers, business managers and critics alike. to medical doctors and nurses, each member looks forward to the opportunity to perform with the Brandenburg throughout the year.

“There was vigour and passion in this performance just as there was great subtlety and finely shaded nuances of feeling and colour.” SYDNEY MORNING HERALD

“The Brandenburg Choir was polished and responsive, powerfully conveying the work’s celebratory magnificence in their full-voiced climaxes sung in unison.” THE AUSTRALIAN LAUREN STEPHENSON, ANNA SANDSTRÖM, HESTER WRIGHT, JOSIE RYAN, CHRIS HOPKINS, ADRIA WATKIN, 10MARK NOWICKI, SPENCER DARBY AUSTRALIAN BRANDENBURG ORCHESTRA HANDEL'S ANTHEMS & FIREWORKS 11 Musicians Musicians Brandenburg Choir Brandenburg Choir

SAMANTHA ELLIS WEI JIANG BELINDA MONTGOMERY AMY MOORE PAUL TENORIO JONATHAN BORG SPENCER DARBY DAINE ELLICOTT Soprano Soprano Soprano Soprano Alto Tenor Tenor Tenor

JENNIFER ROLLINS JOSIE RYAN ANNA SANDSTRÖM LAUREN STEPHENSON MIGUEL IGLESIAS BRENDAN MCMULLAN ERIC PETERSON RICHARD SANCHEZ Soprano Soprano Soprano Soprano Tenor Tenor Tenor Tenor

ADRIA WATKIN HESTER WRIGHT ROBERT ADAM PHILIP BUTTERWORTH HAYDEN BARRINGTON CRAIG EVERINGHAM NICK GILBERT SÉBASTIEN MAURY Soprano Soprano Alto Alto Bass Bass Bass Bass

TIMOTHY CHUNG AUSTIN HAYNES MARK NOWICKI ANDREW O’CONNOR PHILIP MURRAY HUGH RONZANI RODNEY SMITH Alto Alto Alto Alto Bass Bass Bass

12 AUSTRALIAN BRANDENBURG ORCHESTRA HANDEL'S ANTHEMS & FIREWORKS 13 Biography Emma Black Discover the Internationally acclaimed oboist returns to perform with the Brandenburg Tales of Baroque Podcast

the Wiener Akademie, most recently performing Listen to Dr Alan Maddox in conversation with Mozart and Haydn oboe concertos in the Vienna the Brandenburg’s Hugh Ronzani in an in-depth Musikverein. discussion of Handel’s Anthems & Fireworks. In the fascinating new podcast Tales of Baroque, Over the past 15 years Emma Black has pursued Alan and Hugh explore Handel’s life and times a strong interest in early music and study of the and the music he composed. period oboe. This interest had its genesis following her move to Zurich in 1993 where she began playing with the Orchester der Opernhaus Zurich with conductors such as Nicholas Harnoncourt, Nello Santi and Franz Weiser-Möst. It was here she had her first experiences with period instruments in the opera house orchestra La Scintilla. This led to a decision to study period oboe and performance practice at the Scuola Cantorum, Basel. She subsequently became an active member of the Zurich Bläser Quintett recording several CDs with Australian born Emma Black is the Principal Oboist this group and making regular radio recordings with the Balthasar Neumann Ensemble (Germany) ALAN MADDOX HUGH RONZANI and performances in leading European festivals. and Principal and soloist with the Wiener Akademie (Vienna) and Le Concert de la Loge (Paris). With Between the years 2005-2009, Emma was the these aforementioned orchestras she has performed Principal Oboist of the Kammerakademie Potsdam, in all major European festivals and can be heard in at the time under the artistic direction of Sergio numerous CD and radio recordings. Azzolini and then Andrea Marcon. Emma Black also plays and records regularly Emma Black’s musical studies commenced at the with Musica Aeterna (Teodor Currentzis), the Victorian College of the Arts in Melbourne before Bach Vereinigung (Netherlands), the Orchestra relocating to Europe where she studied with Heinz of the Antipodes, Pinchgut Opera, the Australian Holliger the Musik Hochschule Freiburg and Maurice Brandenburg Orchestra, Le Cercle de l'Harmonie, Bourgue at the Conservatoire de Genève. the Wiener Kammerorchester, Radio Symphony Between the years 2014-2019 she held the position Tales of Baroque will be released in our Orchestra of Vienna, Budapest Festival Orchestra, of Professor for Oboe at the Kunstuniversität Graz Keynotes e-Newsletter every six weeks. Ensemble Prisma, Bach Consort Wien, Les Talens and from 2019 she will be teaching Baroque oboe Lyriques, The Australian Romantic and Classical Sign up at brandenburg.com.au/keynotes at the Hochschule für Musik in Vienna. Orchestra. As a soloist, she performs regularly with

Dr Alan Maddox appears courtesy of The University of Sydney, 14 AUSTRALIAN BRANDENBURG ORCHESTRA HANDEL'S ANTHEMS & FIREWORKS Sydney Conservatorium of Music. 15 The Quire stalls at . The original medieval quire stalls were replaced in the 18th century and again by the present ones in 1848. The black and white marble floor dates from 1677. CREDIT © DEAN AND CHAPTER OF WESTMINSTER

16 AUSTRALIAN BRANDENBURG ORCHESTRA HANDEL'S ANTHEMS & FIREWORKS 17 Program Notes Program Notes Handel's Anthems & Fireworks Handel's Anthems & Fireworks

George Frideric Handel (1685–1759) An anthem is a sacred choral work sung during an Mr Hendel has composed the Musick for the The rehearsal went well, according to the Norwich Anglican church service, and anthems have been Abbey at the Coronation, and the Italian Voices Gazette, which reported that there were: 40 Voices, Handel was one of the most acclaimed composers part of the coronation liturgy for centuries. They are [Italian singers from Handel’s opera company], and about 160 Violins, Trumpets, Hautboys [], of the Baroque period. Although he came from sung at significant points in the ritual, with the same with above a Hundred of the best Musicians will Kettle-Drums, and Bass's proportionable; besides an Germany, most of his career was spent in London, texts frequently used, taken from the Bible or the perform; and the Whole is allowed by those Judges Organ, which was erected behind the Altar: And both where he became very successful as a composer Anglican Book of Common Prayer. the Musick and the Performers were the Admiration mostly of operas and later oratorios. Unlike most in Musick who have already heard it, to exceed of all the Audience. other composers in the eighteenth century, Handel According to the eighteenth-century English music any Thing heretofore of the same Kind: It will made his living as a freelance musician and was historian Charles Burney, Handel had words sent be rehearsed this Week, but the Time will be kept London was full of people for such a major event, never employed long-term by a court or church. to him, by the bishops, for the anthems; at which private, lest the Crowd of People should be an and the Earl Marshall issued notice of traffic Nevertheless he developed a close relationship he murmured, and took offence, as he thought it obstruction to the Performers. arrangements on the day and detailed instructions with the British royal family, and was commissioned implied his ignorance of the Holy Scriptures: “I have PARKER’S PENNY POST, 4TH OCTOBER 1727 listing all the people who would take part, what by them to write ceremonial works which would read my Bible very well, and shall chuse for myself.” they had to wear, and the order in which they would process. ‘The Herb-woman, with her Maidservants, become his most famous: the anthems for the Some of the texts Handel chose had in fact been strewing sweet Herbs &c.’ came first, and the coronation of King George II in 1727, including the used at previous coronations, and are all from the king came last. Then as now, there were to be no instantly recognisable Zadok the priest, and Music Old Testament: Zadok is based on I Kings, Let Thy interlopers entering Westminster Abbey but only for the Royal Fireworks. Hand Be Strengthened is from Psalm 89, The King those with official tickets ‘signed and marked with shall rejoice comes from Psalm 21, and My heart ANTHEMS FOR THE CORONATION OF KING my Name and Seal’, and peers and peeresses were GEORGE II is inditing is based on passages from Psalm 45 sternly told not to bring their servants. Zadok the priest, HWV 258 and Isaiah. About the coronation service itself, however, we have Let thy hand be strengthened, HWV 259 Handel’s was not the only music in the service. only two pieces of information. One of these was the The King shall rejoice, HWV 260 Unusually for an age when most music had a order of service. One hundred copies were printed, My heart is inditing, HWV 261 very short ‘shelf life’, much of the music for the but only the Archbishop of Canterbury’s copy still Coronation Service was to be old, tradition dictating George II asked Handel to compose the anthems survives, with his hand-written notes in the margins. the choice of works dating back as far as the late for his coronation and that of his wife, Queen The other record of the ceremony was the Chapel Renaissance, including music by Thomas Tallis and Caroline, which was to take place on 11 October 1727 Royal’s list of the music as it was actually performed. at Westminster Abbey. This was a task that only a Gibbons, and from the seventeenth century, British subject could perform, so it was lucky that by Henry Purcell and John Blow. From these, it appears that the coronation did shortly before he died King George I had signed into not go according to plan, at least as far as the law ‘An Act for naturalizing… , music was concerned. The first anthem (not one of and others’. Handel’s) was omitted altogether ‘by the Negligence of the Choir of Westminster’ as the Archbishop of The English coronation ceremony has remained Canterbury noted tersely. Then, where the printed essentially unchanged since it was first devised order listed Handel’s second anthem The King shall more than a thousand years ago. Heavy with rejoice, the fourth, Let thy hand be strengthened, religious symbolism, it consists of a series of rituals was performed instead. The Archbishop scribbled designed to impress those present with the wealth Memorial to George Frideric Handel crossly, ‘The Anthem all in confusion: All irregular and power of the monarch and to emphasise that at Westminster Abbey in the Music’. the monarch derives his or her power from God. CREDIT © DEAN AND CHAPTER OF WESTMINSTER

18 AUSTRALIAN BRANDENBURG ORCHESTRA HANDEL'S ANTHEMS & FIREWORKS 19 Program Notes Program Notes Handel's Anthems & Fireworks Handel's Anthems & Fireworks

WHAT TO LISTEN FOR Its contrapuntal ‘Alleluia’ ending is more affirming Handel called on all his operatic experience in The Coronation Anthems were composed for than exultant. composing this anthem, first creating a gentle Britain’s most significant ceremonial occasion and ambience to represent the Queen, before trumpets The King shall rejoice should have been sung first for the reverberant space of Westminster Abbey, and drums enter to add a stately lustre to the in the coronation service, at the Recognition, when so Handel composed powerful, extrovert, ‘big conclusion of the first movement. The words ‘Kings’ the people are asked to pay homage to the monarch. picture’ music which exploited the extraordinarily daughters were among thy honourable women’ are ‘The People signifie their Willingness and Joy, by large number of players and singers recruited for then symbolically introduced by the upper voices of loud and repeated Acclamations, all with one Voice the occasion. the choir, while ‘Upon thy right hand did stand the crying out, ‘God Save King George the Second’. Queen in vesture of gold’ unfolds in appropriately The text of Zadok the Priest relates to the anointing Then the Trumpets sound. And the choir sing this luxuriant, rich harmonies. In the final section of the of King and the words have been used at Anthem.’ Whether it was actually sung at that point, anthem the rushing fanfare-like figures of the violins every English coronation since 973. It is sung at the or later during the Crowning, remains unclear. This and oboes are again reinforced by the trumpets most crucial point of the coronation, the Anointing, anthem is in four distinct, contrasted movements. and drums, creating a thrilling climax to the whole when the monarch is anointed on hands, head, The future composer of can be heard in the ceremony. chest, shoulders and elbows with holy oil to show pastoral triplets of the second movement, and in the he or she has been chosen by God. Handel’s setting long seemingly endless vocal melismas which depict Zadok the Priest, and Nathan the Prophet anointed was immediately popular and is the only piece the word ‘blessings’ in the third (listen for a little of Solomon King. And all the people rejoiced, and said: of music to be performed at every subsequent ‘Worthy is the lamb’ and ‘And he shall purify’). The God save the King! Long live the King! May the King coronation of a British monarch. It must have made final movement is a weighty and majestic ‘Alleluia’, live for ever, Amen, Alleluia. an astonishing impact, with its long whisper-quiet again with all voices and instruments blazing, My heart is inditing of a good matter: I speak of instrumental introduction and sudden thundering underlining the legitimacy of George II’s power. the things which I have made unto the King. Kings power of the first choral entry with all voices and The fourth anthem, My heart is inditing, was sung daughters were among thy honourable women instruments sounding, including three trumpets during the coronation of the Queen, which took Upon thy right hand did stand the Queen in vesture and timpani. Handel’s dynamic marking in the score place towards the end of the ceremony. All the texts of gold and the King shall have pleasure in thy at that point is simply, ‘loud’. The music’s sense The Coronation Chair in St George’s Chapel come from the King James’ version of the Bible, and beauty. Kings shall be thy nursing fathers, and of inexorability is enhanced by its being in three CREDIT © DEAN AND CHAPTER OF WESTMINSTER the meaning can be somewhat obscure. In modern queens thy nursing mothers. continuous movements, ending in shouts of ‘God usage the first two lines of this anthem would be, save the King!’ and a jubilant Alleluia. Let thy hand be strengthened and thy right hand be ‘My heart overflows with a noble theme as I address exalted. Let justice and judgment be the preparation Let thy hand be strengthened should have been my verses to the King’. Similarly, the final line, ‘Kings of thy seat! Let mercy and truth go before thy face. sung when the king finally ascended the throne shall be thy nursing fathers, and Queens thy nursing Let justice, judgment, mercy and truth go before towards the end of the ceremony, but it was actually mothers’ might now be expressed as: ‘kings shall thy face. Allelujah. performed early in the coronation at the point known be your guardians and their queens your nurses’. as the Recognition, where the king is presented This comes from the Old Testament Book of Isaiah, The King shall rejoice in thy strength, O Lord to the people as their sovereign. This anthem, in which God promises the Jewish people that their Exceeding glad shall he be of thy salvation. like the other three, is in three sections, but it is enemies will be defeated and all other nations Glory and great worship hast thou laid upon him. the only one scored without trumpets and timpani. will serve them, and was probably intended as a Thou hast prevented him with the blessings of It is more reflective and less overtly grand than the metaphor for the power of the king of Great Britain goodness and hast set a crown of pure gold upon other anthems, its second section in a minor key, ‘Let relative to those of other nations. his head Allelujah. justice and judgment’, being particularly subdued.

20 AUSTRALIAN BRANDENBURG ORCHESTRA HANDEL'S ANTHEMS & FIREWORKS 21 Program Notes Program Notes Handel's Anthems & Fireworks Handel's Anthems & Fireworks

CONCERTO FOR OBOE NO. 3 IN G MINOR, HWV 287 This is both Handel’s earliest concerto and the oldest MUSIC FOR THE ROYAL FIREWORKS HWV 351 Not to mention King George II himself, who said that Grave surviving concerto for solo oboe. The oboe had been Ouverture: Adagio – Allegro – Lentement - Allegro he did not want any music but if there had to be any, Allegro an orchestral instrument from the mid-seventeenth Bourrée it must be ‘martial musick … and he hoped there Sarabande: Largo century but the early eighteenth century saw a rush La Paix [The Peace] would be no fidles [violins].’ Allegro of composers keen to exploit its haunting and lyrical La Réjouissance [Rejoicing] Initially the event was advertised as having ‘a Band sound. Both Handel and Bach used the oboe as Menuet 1 In 1703, when he was eighteen, Handel moved from of a Hundred Musicians’ including forty trumpets an obbligato (solo) instrument in vocal music, and Menuet 2 his home town of Halle to take up a job with the and twenty French horns, ‘with 100 cannon to go concertos for solo oboe were composed by Vivaldi Hamburg opera orchestra. He stayed there until late Handel composed the suite known as Music for off singly at intervals.’ As late as three weeks before and Albinoni, among many others. 1706, playing the violin and later the harpsichord. the Royal Fireworks to accompany an elaborate the event Handel threatened to pull out if he could This concerto is believed to date from the same WHAT TO LISTEN FOR fireworks display which celebrated the conclusion not have violins, although this may have been an period although its origin is not clear, and for a time This concerto is in four movements (the of the War of the Austrian Succession, which had ambit claim to reduce the unworkably high numbers it was thought not to be by Handel at all. Handel was three-movement concerto had not yet been lasted from 1740 to 1748 and had involved most of of brass instruments wanted by Montagu and a renowned re-user of his own work, but while the popularised by Vivaldi), and features the mixture Europe. The celebrations had initially been intended Frederick. concerto does not use material from any of his other as rather low-key, but the peace treaty’s conditions of French and Italian styles then fashionable in To partially defray the huge cost of the exercise early compositions, there are similarities with the were not that favourable to Britain, and the Hamburg. The dotted rhythms in the first movement Montagu decided that the rehearsal was to be a operas he is known to have composed in the same government decided that something was needed are reminiscent of a French overture, while the third public concert at the pleasure gardens at Vauxhall. period. He re-used the final Allegro in his Organ to play up the role of the King and downplay their movement is a very expressive Sarabande, a French Handel would not agree, probably because he had Concerto in G minor Op 4 No 3 (HWV 291). own role. dance form. The two Allegro movements feature planned his own fee-paying concert of the music fast passage-work and interplay between the oboe All London watched for months as an elaborate which was to take place only a month later at the and first violin. Doric temple on which the fireworks would be Foundling Hospital, but he was obliged to go ahead displayed was slowly erected in Green Park. The when the Duke of Montagu threatened in turn to use temple was in Palladian style, 34 metres high and another composer’s music instead. The rehearsal 124 metres long, with a lower wing at either side and was so well-attended (although more likely by 3,000 a pavilion at each end. Made of wood and canvas people than the reported 12,000) that carriages on whitewashed to look like stone, it was ornamented London Bridge caused London’s first traffic jam, and with a false balustrade, translucent windows lit from probably Handel was among those delayed, as the behind, statues, and the King’s arms. Hundreds of rehearsal started two hours late. men worked feverishly to finish the building in time, After such a tremendous build-up, the event itself scandalising the population by working on Sundays. was bound to be an anticlimax, and so it proved, A view of the fire-workes and according to politician and man of letters Horace illuminations at His Grace the Duke From the outset the event was plagued by poor Walpole: of Richmond's at Whitehall and on the planning and disagreements between all involved: the managers appointed by parliament, the Duke of River Thames on Monday 15 May 1749. The next day were the fire-works, which by no Montagu and Charles Frederick, the French theatre Performed by the direction of Charles means answered the expense, the length of designer charged with building the ‘Machine’ to Fredrick Esq. preparation, and the expectation that had been display the fireworks, the Italian firework makers, raised; indeed, for a week before, the town was Hand coloured etching showing the and the German composer, Handel, who seems to like a country fair, the streets filled from morning Royal Fire-workes and Illuminations in have been asked to compose the accompanying Whitehall and on the River Thames. music almost as an afterthought. to night, scaffolds building wherever you could or could not see, and coaches arriving from 22 AUSTRALIAN BRANDENBURG ORCHESTRA HANDEL'S ANTHEMS & FIREWORKS 23 Program Notes Handel's Anthems & Fireworks

every corner of the kingdom. … The rockets and WHAT TO LISTEN FOR whatever was thrown up into the air succeeded The exact instruments Handel ended up using mighty well, but the wheels and all that was to on the day are not known, but his autograph score compose the principal part, were pitiful and ill- indicates that it was indeed a particularly warlike conducted, with no changes of coloured fires and band which would have suited the King: twenty-four shapes: the illumination was mean, and lighted oboes in three parts, nine horns in three parts, nine so slowly that scarce anybody had patience to wait trumpets in three parts, twelve in two the finishing; and then what contributed to the parts, a contrabassoon, and three sets of timpani. awkwardness of the whole, was the right pavilion The score shows that he doubled the woodwind catching fire, and being burned down in the with strings, with the number of players reduced, and it was this orchestration that he used for the middle of the show. performance at the Foundling Hospital in London. The musicians, conducted by Handel, performed Modern performances now follow this model. between 6 and 7 o’clock, just as well, as it was the pavilion in which they were seated which caught The work begins with a particularly grand fire. Smoke obscured the grand sun on the top of first movement, the splendid Ouverture in the the building with ‘Vivat Rex’ (long live the King) triumphant key of D major. All instruments play in in the centre, and in the resulting confusion the this extended movement, distributed across fifteen remaining fireworks were let off in the wrong order separate musical parts, with trumpets and timpani and the effect was lost. Emotions ran high among dominating. By comparison with the very weighty the organisers and Servandoni, who designed the texture of the first movement, the second movement building, drew his sword on Charles Frederick. is a light and elegant dance in four parts without any brass instruments, and even the woodwinds There is no record of what anyone thought about drop away on the repeats, leaving just strings. the music. La Paix (the peace) is also a graceful dance, played by all instruments except timpani. The sense of royal occasion returns with La Réjouissance (rejoicing) and the commanding final Menuet. In both movements Handel keeps the interest across several repeated sections by varying the instrumentation.

Handel’s first page of the ‘Ouverture’ from the Music for the Royal Fireworks, HWV 352

PROGRAM NOTES & TIMELINE © LYNNE MURRAY 2019

24 AUSTRALIAN BRANDENBURG ORCHESTRA HANDEL'S ANTHEMS & FIREWORKS 25 Timeline Handel's Anthems & Fireworks

Handel’s life and career Contemporary Events

1685 Born in Halle, Germany 1685 Henry Purcell's anthem My heart is inditing performed at the coronation of King James II

Moves to Hamburg, plays violin and harpsichord for the 'Oper am Gänsemarkt', 1703 1703 City of St Petersburg founded by Peter the Great the first public opera house in Germany

1705 Composes first opera and Oboe Concerto No 3 1705 Infamous English highwayman Dick Turpin born

1706 Travels to Rome and Florence 1706 German composer Johann Pachelbel dies

1710 Appointed music director to the Elector of Hanover; makes first visit to London 1710 World's first copyright legislation passed in

1711 Sees first London opera performed; returns to Germany 1711 Tuning fork invented in England

1712 Back in London permanently 1712 Dutch East India company ship wrecked off the coast of Western Australia

1713 Dismissed from the court of Hanover; granted annual pension by Queen Anne of Great Britain 1713 Violinist and composer Arcangelo Corelli dies

1714 Composes Te Deum to welcome new royal family 1714 Queen Anne dies; the Elector of Hanover is proclaimed George I, King of Great Britain and Ireland

1717 Composes Water Musick to accompany king's outing on the River Thames 1717 Thousands die in North Sea flood

1724 Premiere of opera (Julius Caesar) 1724 First performance of JS Bach’s St John Passion in Leipzig

1727 Composes anthems for the coronation of George II; becomes a British subject 1727 First performance of JS Bach’s St Matthew Passion in Leipzig

1735 Premiere of 1735 The British Witchcraft Act makes it a crime to accuse a person of witchcraft

1738 His statue is erected in Vauxhall Gardens, London 1738 Excavation of Herculaneum begins

1741 Gives last performance of Italian opera 1741 Irish famine kills an estimated 13-20% of the population. Vivaldi dies.

1742 Messiah premieres in Dublin 1742 Celsius devises centigrade thermometer

1743 Messiah premieres in London 1743 Thomas Jefferson born

1748 Composes oratorio Solomon 1748 War of the Austrian Succession ends

1749 Composes Musick for the Royal Fireworks 1749 A rhinoceros called Clara exhibited in Paris creates sensation & inspires wigs à la rhinocéros

1751 Begins to go blind, will be almost totally blind by 1753 1751 New Year’s Day occurs on 25 March for the last time in England and Wales

1752 First performance of oratorio 1752 Benjamin Franklin proves that lightning is electricity

1759 Dies on 14 April, buried in Westminster Abbey 1759 British Museum opens to the public

26 AUSTRALIAN BRANDENBURG ORCHESTRA HANDEL'S ANTHEMS & FIREWORKS 27 Become a Series Four Brandenburg Next Generation Baroque 2019 Season Introducing audiences to three electrifying young artists who have glimpsed the future with a program to include: Subscriber Halvorsen Passacaglia for Violin and Viola after Handel Handel Tu del ciel ministro eletto from Julius Caesar Why Subscribe? Vivaldi Violin Concerto in G major Op. 9 No. 10, RV 300

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32 AUSTRALIAN BRANDENBURG ORCHESTRA HANDEL'S ANTHEMS & FIREWORKS 33 Our Donors

ORCHESTRAL CHAIRS CHAIRMAN’S 11 BRANDENBURG OPERA CIRCLE Concertmaster Chair supported by Dedicated to the memory of The following donors have supported Jacqui and John Mullen James Strong AO. the establishment of the Brandenburg Baroque Cello Chair supported by Chairman’s 11 supports the Opera Circle, enabling the Orchestra Mrs W. G. Keighley Brandenburg’s international to expand its repertoire into the world of Baroque opera, as well as nurturing Theorbo/Baroque Guitar Chair and local guest artists. young opera singers and creative teams. supported by The Alexandra and Lloyd Louise Christie Martin Family Foundation and friends, Roxane Clayton Toula and Nicholas Cowell in memory of Lloyd Martin AM Frank and Jan Conroy Wendy and Ron Feiner Angus Coote Deborah Fox and Harald Jahrling Richard Fisher AM and Diana Fisher Justin and Anne Gardener CORPORATE DONORS Richard Grellman AM Irene and John Garran Ken Groves and Yun-sik Jang Accenture Chris and Gina Grubb Mary Holt and the late Dr John Holt APA Group Carol Haynes and Skipp Williamson A le Marchant Bain & Company Mrs. W. G. Keighley for Geoffrey Peter McGrath Centre for Corporate Public Affairs Grant and Jennifer King Dr Agnes Sinclair Elwyn Consulting Susan Maple-Brown Victoria Taylor Link Group Ms Gretel Packer Greg Ward Pacific Equity Partners Anonymous Ray Wilson OAM in memory of QANTAS Loyalty James Agapitos OAM Telstra Corporation Limited Christine Yip and Paul Brady The Lancemore Group Anonymous x 2

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BEQUEST AMATI $250,000 – $500,000 ARCANGELI $15,000 – $24,999 The Australian Brandenburg Orchestra The Eileen Marie Dyer AM Fund Mr David Baffsky AO warmly acknowledges the bequest it Anonymous and Mrs Helen Baffsky has received from the Estate of Valda STRADIVARI $100,000 – $249,999 Melinda Conrad and David Jones Astrida Siksna. Cary and Rob Gillespie Glenn Moss and the late Dr Ken Moss AM PLAY ON: A LASTING LEGACY Anonymous David and Rachel Zehner the Australian We are hugely appreciative to all GUARNERI $50,000 – $99,999 CAMERATA $10,000 – $14,999 those who have pledged a bequest Chris and Kathy Harrop Graham Bradley AM to the Brandenburg. Macquarie Group Foundation and Charlene Bradley thesuccess Australian story that’s R. Cook The Martin Family in memory of The Clayton Family Janet Doust Lloyd Martin AM Norman Gillespie The Faithfull Family Christine Yip and Paul Brady Rohan Mead successbuilt on story energy. that’s Brian and Leonie Fisher Anonymous R J Irwin MAESTRI $25,000 – $49,999 Lilly K John and Robyn Armstrong builtGet to know on the future energy of connected energy. Peter McGrath Greg Hutchinson AM Penelope Oerlemans and Lynda Hutchinson Get toWe’re know Australia’s the future leading of connected energy infrastructure energy. business. Joan and Lloyd Poulton Nick and Caroline Minogue Art and Cynthia Raiche Rowan Ross AM and Annie Ross We’ve been connecting Australia with smart, Anonymous x 15 reliable We’veand safe been natural connecting gas solutions Australian since 2000. energy since 2000. From Over 15,000kmsmall beginningsof pipeline network we’ve acrossbecome the a top 50 ASX-listed company, 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. small. And we’re changing the way our nation is supplied with energy. www.apa.com.au energy.connected We deliver smart, reliable and safe energy solutions for Australia. 34 AUSTRALIAN BRANDENBURG ORCHESTRA HANDEL'S ANTHEMS & FIREWORKS 35 www.apa.com.au APA001 APA_FP_210x297.indd 1 5/30/16 4:07 PM Credits

PATRON Her Excellency the Honourable Margaret Beazley AO QC, Governor of ART DE VIVRE

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* Dr Alan Maddox appears courtesy of the Sydney Conservatorium Of Music, The University of Sydney (Staff)

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36 AUSTRALIAN BRANDENBURG ORCHESTRA HANDEL'S ANTHEMS & FIREWORKS 37 Venues CITY RECITAL HALL LIMITED Where the BOARD OF DIRECTORS 2 Angel Place Renata Kaldor AO (Chair) Sydney NSW 2000 apartments are Timothy Cox AO (Deputy Chair) ADMINISTRATION David Albert Helen Bauer 02 9231 9000 as eye catching The Hon Justice Elizabeth Fullerton BOX OFFICE Kerri Glasscock 02 8256 2222 as the skyline Marcus McArdle Carol Mills WEBSITE Jennie Sager cityrecitalhall.com WORLD-CLASS CEO Maria Sykes RETIREMENT LIVING Elaine Chia Louise Walsh At The Grace you’ll be drawn to the spectacular MELBOURNE RECITAL CENTRE views. In one direction, Albert Park Lake, in FOUNDING PATRON Corner Southbank Boulevard the other, the city skyline. The Grace lifestyle The Late Dame and Sturt Street is equally stunning. Live an active, inner-city Elisabeth Murdoch AC DBE Southbank VIC 3006 retirement and enjoy exclusive wellness and EXECUTIVE STAFF ADMINISTRATION club-style facilities. At The Grace, you won’t Euan Murdoch 03 9699 2228 just live the high life, you’ll live the ‘wow’ life. Chief Executive Officer BOX OFFICE BOARD OF DIRECTORS Jasja van Andel Display open at 128 Albert Road, 03 9699 3333 Prof Andrea Hull AO, Chair Head of Operations South Melbourne. Call 0420 102 534 Peter Bartlett Marshall McGuire FACSIMILE to book your appointment Stephen Carpenter Director of Programming 03 9207 2662 Joseph Corponi Robert Murray thegracealbertparklake.com.au The Hon Mary Delahunty Director of Marketing & WEBSITE Paul Donnelly Customer Relations melbournerecital.com.au Assoc Prof Jody Evans Sandra Robertson Margaret Farren-Price Director of Development Eda Ritchie AM Sandra Stoklossa Audrey Zibelman Director of Corporate Services

QUEENSLAND PERFORMING ARTS CENTRE

CHAIR Grey St and Melbourne St, Professor Peter Coaldrake AO South Brisbane QLD 4101

DEPUTY CHAIR TELEPHONE Leigh Tabrett PSM 07 3840 7444

CHIEF EXECUTIVE TRUST MEMBERS WEBSITE John Kotzas Dare Power qpac.com.au Susan Rix AM Leanne de Souza

The Queensland Performing Arts Trust is a statutory body of the State of Queensland and is partially funded by the Queensland Government The Honourable Leeanne Enoch MP, Minister for Environment and the Great Barrier Reef, Minister for Science and Minister for the Arts Director-General, Department of Environment and Science: Jamie Merrick. QPAC respectfully acknowledges the Traditional Owners of the Lands across Queensland and pays respect to their ancestors who came before them and to Elders past, present and emerging.Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest 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.

38 AUSTRALIAN BRANDENBURG ORCHESTRA HANDEL'S ANTHEMS & FIREWORKS 39

Artists impression of The Grace in aerial photograph Australian Unity Retirement Living Services Limited, ACN 085 317 595, June 2019.

AUST4277 TG BRN FP 180x222 SO1 FA.indd 1 14/6/19 3:30 pm In addition to our Annual Giving, the Brandenburg has other philanthropic programs that contribute towards specific areas of the Orchestra’s work.

Orchestral Chairs Chairman’s 11 Our Orchestral Chair program is vital to our Our Chairman’s 11 program is for members who future as Australia’s national Baroque orchestra. share a passion for artistic excellence. This enables This important fund helps us attract and us to invite outstanding guest artists from Australia retain the very best period musicians from and overseas to perform with the Orchestra. all over Australia.

If you are interested in supporting one of our philanthropic programs please contact our Development Team via email or phone.

Visit brandenburg.com.au/support-us/philanthropic-programs Email [email protected] 40 AUSTRALIAN BRANDENBURG ORCHESTRA PhoneHANDEL'S 1300 ANTHEMS 782 856 & FIREWORKS 41 Next Generation Baroque What will Baroque performance hold 30 years from now? These tremendous next-generation talents have glimpsed that future.

PROGRAM FEATURES WORKS BY BACH, HANDEL & VIVALDI CHRISTIAN LI (MELBOURNE) VIOLIN ANNIE GARD (HAMBURG) BAROQUE VIOLIN MADISON NONOA (LONDON) SOPRANO

SYDNEY 11–20 SEPTEMBER MELBOURNE 21 & 22 SEPTEMBER

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