Sato and the Romantics

BLAZING BAROQUE

Sydney, Melbourne and Brisbane July/August 2016

Paul Dyer AO Artistic Director Shaun Lee-Chen Baroque Violin Australian Brandenburg OrchestraSATO & THE ROMANTICS 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

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.

PRINCIPAL PARTNER

PRINCIPAL PARTNER 1 SATO & THE ROMANTICS

Sydney and Melbourne September 2016

Shunske Sato Guest Director, Violin Paul Dyer AO Artistic Director, Conductor Australian Brandenburg Orchestra

PROGRAM Mendelssohn String Symphony No.3 in E minor, MWV N 3 Grieg Holberg Suite, Op. 40 Interval Paganini Violin Concerto No. 4 in D Minor, MS 60

Sydney Melbourne City Recital Hall Melbourne Recital Centre Wednesday 7 September, 7pm Saturday 10 September, 7pm Friday 9 September, 7pm Sunday 11 September, 5pm Wednesday 14 September, 7pm Friday 16 September, 7pm Saturday 17 September, 7pm Matinee Saturday 17 September, 2pm

Chairman’s 11 Strengthening our communities Proudly supporting our guest artists. The duration of this concert is approximately 2 hours including interval. The Macquarie Group Foundation is the philanthropic arm of Macquarie Group. It helps to strengthen We kindly request that you switch off all electronic devices during the performance. the communities Macquarie staff live and work in by facilitating thousands of hours of staff volunteering and pro bono programs each year with community organisations around the world. Macquarie employees and the Macquarie Group Foundation have also given generously, resulting in more than $A270 million donated to over 2,500 organisations globally since 1985.

For more information go to macquarie.com/community

PRINCIPAL PARTNER 1 SHARED ARTISTIC DIRECTOR’S VISIONS MESSAGE

On behalf of Macquarie Group, it is my great pleasure to welcome you to Sato and the Romantics. For this series, I have decided to peer around the corner to music of the nineteenth century, often referred to as the Romantic period. We are proud to continue our partnership with one of Australia’s foremost cultural treasures, the Australian Brandenburg Orchestra, who inspire and engage in a rapidly changing entertainment The contemporary word ‘romantic’ has a whole range of meanings environment with conviction, intimacy and purity. these days… a romantic feeling, a romantic getaway, dimmed light, a pet name and romantic music itself all tend to evoke a Macquarie appreciates the powerful impact music can have with the right support. This year is the soft, dreamy atmosphere, but not all Romantic music fits this Macquarie Group’s ninth year as the Brandenburg’s principal partner and what makes this relationship so description, and it certainly does not apply to the music for this rewarding is our shared vision and commitment for the highest standards, underpinned by specialist skills concert. The music you will hear tonight has great sophistication and experience. and depth, but also is incredibly passionate and unpredictable.

The Australian Brandenburg Orchestra would not be possible without the commitment and vision of I have always had a personal dream to program Grieg’s Holberg Artistic Director Paul Dyer and Managing Director Bruce Applebaum who along with their team have Suite and I am over the moon that finally the dream is coming true. worked tirelessly over the past 27 years to transform the company into the national baroque orchestra With deep affection for Mendelssohn and the fact that he was only it is today. 12 when he composed the String Symphony, I feel honoured to be presenting music of a young dynamic man who was searching for Each year the talented and charismatic Paul Dyer delivers to us internationally renowned artists who his personal voice. share the stage with the orchestra, and 2016 is no exception. Shunske Sato is an extraordinary performer and his collaboration with the Brandenburg highlights a fearless pursuit for excellence and For the first time in the Brandenburg’s history, we will have this virtuosity. special opportunity to play one of the most difficult pieces ever written for violin, Paganini’s Violin Concerto No. 4, and I am We thank the performers and congratulate them on their energy, passion and very generous spirit. extremely excited to bring to you one of the bravest musicians I know – Shunske Sato. It is a privilege to be a part of the Australian Brandenburg Orchestra’s journey and we hope you enjoy this concert. As the title of the concert suggests, Shunske is going to take us on a journey with three incredible composers: young Mendelssohn, serious Grieg and crazy Paganini. Shunske’s risky venture requires not only technical virtuosity and dexterity, but emotional depth and understanding to deliver unforgettable performance. We are proud to be part of his Australian debut and I hope that each of you will take this incredible experience with you to treasure forever.

Bill Marynissen Paul Dyer AO 2 Head of Wealth Management, Banking and Financial Services PRINCIPAL PARTNER Artistic Director and Conductor 3 SATO & PAUL THE ROMANTICS DYER

Australian Brandenburg Orchestra In January 2013 Paul Dyer AO was awarded Shunske Sato Guest Director, Violin the Officer of the Order of Australia (AO) for Paul Dyer AO Artistic Director and Conductor his ‘distinguished service to the performing arts, particularly orchestral music as a director, conductor and musician, through the promotion THE MUSICIANS ON PERIOD INSTRUMENTS of educational programs and support for emerging artists’ in recognition of his achievements as Period Violin 1 Period Cello Period Bassoon Co-founder and Artistic Director of the Australian Shaun Lee Chen, Perth+ Jamie Hey, Melbourne+* Peter Moore, Perth+ Brandenburg Orchestra and Brandenburg Choir. Concertmaster Anthea Cottee, Sydney Joanne Littlely, Perth Matt Bruce, Sydney* Rosemary Quinn, Sydney Paul Dyer is one of Australia’s leading specialists Associate Concertmaster Dan Curro, Brisbane Period Horn in period performance styles. He founded Catherine Shugg, Melbourne Darryl Poulsen, Perth+ the Orchestra in 1990 and has been Artistic Bianca Porcheddu, Canberra1 Double Bass Dorée Dixon, Perth Director since that time. Paul has devoted his Simone Slattery, Adelaide Rob Nairn, Adelaide+3 performing life to the harpsichord, fortepiano Natalia Harvey, Melbourne Libby Browning, Perth Trumpet and the chamber organ as well as conducting Leanne Sullivan, Sydney* the Australian Brandenburg Orchestra and Choir. Period Violin 2 Period Flute /Piccolo Simon Wolnizer, Sydney Ben Dollman, Adelaide+* Melissa Farrow, Sydney+* Paul completed postgraduate studies in solo Rafael Font, Sydney Mikaela Oberg, Sydney Period Trombone performance with Bob van Asperen at the Royal and many others. In 1998 he made his debut in Stephanie Eldridge, Melbourne Nigel Crocker, Sydney Conservatorium in the Hague, performed with Tokyo with countertenor Derek Lee Ragin, leading Emma Williams, Melbourne Period Oboe Roslyn Jorgensen, Sydney many major European orchestras and undertook an ensemble of Brandenburg soloists, and in Shane Lestideau, Melbourne Emma Black, Vienna+ Brett Page, Sydney ensemble direction and orchestral studies with August 2001 Paul toured the orchestra to Europe Kirsten Barry, Melbourne* Sigiswald Kuijken and Frans Brüggen. with guest soloist Andreas Scholl. As a recitalist, Period Viola Timpani he has toured Germany, France, Belgium, the Monique O’Dea, Sydney+2 Period Clarinet Brian Nixon, Sydney Paul appears as soloist, continuo player and Netherlands and the United States. Marianne Yeomans, Sydney Craig Hill, Melbourne conductor with many major ensembles including Christian Read, Melbourne Ashley Sutherland, Melbourne Percussion the Sydney Symphony Orchestra, West Australian Paul is an inspiring teacher and has been a staff James Eccles, Sydney Murray Parker, Sydney Symphony Orchestra, Queensland Orchestra, member at various Conservatories throughout the Australia Ensemble, Australian Chamber world. In 1995 he received a Churchill Fellowship Orchestra, Opera Australia, Australian Youth and he has won numerous international and Orchestra, Victorian State Opera, Malaysian national awards for his CD recordings with the Philharmonic Orchestra, the Pacific Baroque Australian Brandenburg Orchestra and Choir, Orchestra, Vancouver, and the Orchestra of the including the 1998, 2001, 2005, 2009 and 2010 Age of Enlightenment, London. ARIA Awards for Best Classical Album. Paul is Patron of St Gabriel’s School for Hearing Impaired Paul has performed with many international Children. In 2003 Paul was awarded the Australian * Denotes Brandenburg Core Musician soloists including Andreas Scholl, Cyndia Sieden, Centenary Medal for his services to Australian +Section Leader Marc Destrubé, Christoph Prégardien, Hidemi society and the advancement of music. In 2010 1 Bianca Porcheddu appears courtesy of St. Francis Xavier College, Florey ACT (staff) Suzuki, Manfredo Kraemer, Andrew Manze, Paul was awarded the Sydney University Alumni 2 Monique O’Dea appears courtesy of Presbyterian Ladies’ College, Sydney (staff) 4 3 Rob Nairn appears courtesy of Penn State University Historical Performance Faculty, The Juilliard School Yvonne Kenny, Emma Kirkby, Philippe Jaroussky Medal for Professional Achievement. 5 AUSTRALIAN BRANDENBURG SHUNSKE ORCHESTRA SATO

“...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 and laugh... there’s a warmth and sense of fun not often associated with classical performance.” Sydney morning Herald

Australian Brandenburg Orchestra, led by 28 flagship national arts organisations supported charismatic Artistic Director Paul Dyer, celebrates by the Australia Council for the Arts. The Orchestra the music of the sixteenth, seventeenth and began regular touring to Queensland in 2015. eighteenth centuries with excellence, flair and joy. Comprising leading specialists in informed Since its beginning, the Brandenburg has performance practice from all over Australia, the been popular with both audiences and critics. Brandenburg performs using original edition scores In 1998 The Age proclaimed the Brandenburg and instruments of the period, breathing fresh life “had reached the ranks of the world’s best and vitality into baroque and classical masterpieces period instrument orchestras”. In 2010 the UK’s Shunske Sato is a violinist known for his distinctive – as though the music has just sprung from the Gramophone Magazine declared “the Australian and engaging performances on both modern composer’s pen. Brandenburg Orchestra is Australia’s finest and historical instruments. Equally in demand as period-instrument ensemble. Under their inspiring concertmaster, chamber musician, soloist and The Orchestra’s name pays tribute to the musical director Paul Dyer, their vibrant concerts teacher, the diversity of his activities reflects his Brandenburg Concertos of J.S. Bach, whose and recordings combine historical integrity with versatile and resourceful nature. musical genius was central to the baroque area. electrifying virtuosity and a passion for beauty”. Celebrating their 27th anniversary in 2016, the Resident in The Netherlands, Shunske serves His discography is extensive and most notably Brandenburg continues to deliver exhilarating The Australian proclaimed that “a concert with the as concertmaster of Concerto Köln and the includes works for solo violin by Telemann, performances. Australian Brandenburg Orchestra is like stepping Netherlands Bach Society, and is often invited Paganini and Eugène Ysaÿe. back in time, as the sounds of period instruments as a guest concertmaster for ensembles such as the Freiburger Barockorchester and the Scottish The Brandenburg has collaborated with such resurrect baroque and classical works with In the roles of both soloist and concertmaster Chamber Orchestra. In 2013 he was invited to Shunske has worked with numerous conductors, acclaimed and dynamic virtuosi as Andreas reverence and authority”. join the faculty of the Amsterdam Conservatory, including Ivor Bolton, Richard Egarr, Christopher Scholl, Philippe Jaroussky, Kristian Bezuidenhout, where he teaches violin in the context of historical Hogwood, and Kent Nagano. Emma Kirkby, Andreas Staier, Elizabeth Wallfisch, The Brandenburg’s 19 recordings with ABC performance practice. Genevieve Lacey, Andrew Manze and more. Classics include five ARIA Award winners for In 2010 Shunske was awarded Second prize and Best Classical Album (1998, 2001, 2005, 2009 He has performed as soloist with American and the Audience prize at the 17th International Johann Through it’s annual subscription series in and 2010). In 2015 the Australian Brandenburg European orchestras such as the Deutsche Oper Sebastian Bach Competition in Leipzig. He also Sydney and Melbourne, the Australian Orchestra was the recipient of the Sidney Myer Berlin, Bavarian Radio Philharmonic, Orchestre won the Young Concert Artists award at the age Brandenburg Orchestra performs before a Performing Arts Group Award and in 2016 the Philharmonique de Radio France and National of 12, the youngest ever to date. live audience in excess of 51,000 people, and Helpmann Award for Best Chamber Concert. Symphony Orchestra, as well as with orchestras in hundreds of thousands more through national Japan such as the NHK Philharmonic and Osaka Born in Tokyo, Shunske immigrated to the US at broadcasts on ABC Classic FM. The Orchestra Discover more at brandenburg.com.au Century Orchestra. Shunske has recorded violin the age of four. He studied at the Juilliard School concertos by Haydn and Mozart with Orchestra also has a regular commitment to performing in New York, Conservatoire National de Région in Libera Classica under the baton of Hidemi Paris and Hochschule für Musik und Theather in in regional Australia. Since 2003 the Australian Suzuki, and in 2011 gave the first performance Munich. His teachers include Chin Kim, Dorothy Brandenburg Orchestra has been a member of of Paganini’s second violin concerto on historical DeLay, Masao Kawasaki, Gérard Poulet, Eiichi 6 the Major Performing Arts Group, which comprises instruments with the Academy of Ancient Music. Chijiiwa and Mary Utiger. 7 SATO & THE ROMANTICS

This series of concerts represents a departure from its traditional repertoire for the Australian Brandenburg Orchestra, as it features music composed not in the seventeenth or eighteenth centuries, but in the nineteenth. This was a time of huge political, economic and social upheaval, and these changes were reflected in Romanticism, the artistic movement which arose in the late eighteenth century. In music, the Romantic period is considered to start around 1820, when it took over from the Classical style exemplified by Mozart and Haydn. Music of the Classical period embodied the ‘classical’ characteristics of ancient Greek and Roman art and architecture – formal clarity, balance, an absence of excessive ornamentation, and the expression of universal emotions. Romanticism on the other hand was concerned with individualism, self-expression, and nature, and in music this change expressed itself in the rise in the importance of instrumental music, which was considered to be the ideal vehicle for depicting intense thoughts and feelings. Classical forms and genres were retained, but musical works were longer and more complex, and composers and audiences valued beautiful melody and striking harmony above all.

Shunske Sato 8 Guest Director, Violin 9 SATO & THE ROMANTICS

Felix Mendelssohn Bartholdy (1809–1847) When he died the following year from a stroke at the age of thirty-eight, his death was mourned as an international tragedy. Unfortunately, however, his memory was popularly idealised and his life story turned String Symphony No. 3 in E minor, MWV N3 into a syrupy romantic novel, and by the end of the century his compositions, his scholarship, and his musical legacy had been so downgraded in the public mind that George Bernard Shaw was able to Allegro di molto condemn his ‘kid-glove gentility, his conventional sentimentality and his despicable oratorio mongering’. Andante Allegro In German musical circles in the same period Mendelssohn’s reputation suffered due to anti-Semitism (shamelessly promoted by Wagner), and it was further trashed by the Nazis who banned his music and “As far as mere technical execution goes, musical prodigies are probably not so rare any more: removed his statue from its place outside the Leipzig Conservatory. It was only at the end of the twentieth but what this young fellow can improvise and play at sight borders on the miraculous, and I did century that a complete edition of his compositions was prepared for publication, and many primary not consider it possible in one so young. …” source materials relating to his life and work still remain unexamined. German poet Johann Wolfgang von Goethe What to listen for

Mendelssohn was a child prodigy, whose musical genius was on a par with that of Mozart. Indeed With money no object, Mendelssohn’s parents found him the best teachers available. Twice a week from Goethe, who heard both of them as children, considered that Mendelssohn was far the superior of the the age of eight to fifteen he had composition lessons with the eminent composer Carl Friedrich Zelter, two. Mendelssohn was born into an eminent German family – the philosopher Moses Mendelssohn was who considered him a genius and who constantly remarked on his astounding progress. Under his his grandfather – and he grew up at the centre of Berlin’s intellectual and cultural life. His family was instruction Mendelssohn undertook two years’ rigorous study of harmony, musical form and counterpoint Jewish but his father, a wealthy banker, had Felix and his sister baptised, and he converted to Christianity at a level far exceeding that of the averagely talented nine-year-old. The next task which Zelter set him himself when Felix was thirteen. At that time the family changed their surname to Mendelssohn Bartholdy was to compose twelve string symphonies, of which this is the third. These were more extended pieces (Bartholdy was Felix’s mother’s maiden name). Felix’s prodigious musical talent was fostered by his through which he was to explore more advanced compositional techniques. These little symphonies parents, who supplied the best available teachers for his musical and general education. He started received their first performances at the lavish musicales which the Mendelssohn family held at their home composing seriously at the age of eleven and his compositional style was fully developed by the time he every second Sunday morning. A collection of some of the best professional musicians in Berlin, hired by was a teenager. his father, would play, and Mendelssohn would conduct these and others of his compositions. His teacher Zelter would criticise his work in front of the players and audience, and at the following Sunday gathering Mendelssohn was strongly influenced by his study of the works of Handel, J.S. Bach, Haydn, and Mozart. the piece would be performed again, with corrections. Mendelssohn was still only twelve years old. He was largely responsible for the revival of Bach’s music in the nineteenth century; in 1829 at the age of twenty he prepared and conducted Bach’s St Matthew Passion in its first performance since Bach’s The string symphonies were modelled on the eighteenth century Italian sinfonia (they are often called by death in 1750. He edited the first critical editions of Handel oratorios and J. S. Bach’s organ music, and that title) and are structured in three short movements, rather than the four movements of the classical conducted a performance of Handel’s Israel in Egypt in Düsseldorf, which led to a revival of interest in symphony. This one is dazzlingly accomplished for a twelve-year-old and reflects his interest in Bach, Handel’s music in Germany. Handel and Mozart. The fugal writing in the dramatic first movement owes a debt to J S Bach, while the slow second movement has a Mozartian formal poise. The third movement, which follows on immediately At the age of just twenty-four Mendelssohn was appointed music director of the city of Düsseldorf, and after the second, is reminiscent of Handel but is also touched by the drama and passion of Beethoven two years later he became music director at Leipzig. With the premiere of his oratorio St Paul at the age and of Carl Maria von Weber, whose romantic opera Der Freischütz had made a huge impression on of twenty-seven, he was renowned internationally as a composer and conductor. His life was marked Mendelssohn when it premiered in Berlin in 1821. by frequent travel, often to conduct his own commissioned compositions, but he found the travel very stressful and it took its toll on his health. He visited Britain ten times, becoming part of English musical life as a composer, conductor, pianist and scholar. Queen Victoria and Prince Albert were admirers of his music, and his oratorio Elijah premiered to huge acclaim in Birmingham in 1846.

10 11 SATO & THE ROMANTICS

Edvard Grieg (1843–1907) Grieg championed Norwegian folk music, and he was successful in establishing a Norwegian Academy of Music and a national musical movement. His strong nationalist outlook was tempered somewhat through Holberg Suite, Op. 40 the lengthy and very successful concert tours to other countries which he undertook until the very end of his life and in which he performed as conductor and pianist, playing only his own works. His music Prelude: Allegro vivace became increasingly popular in the last part of the nineteenth century, largely due to its accessibility. His Sarabande: Andante Lyric Pieces for piano made him internationally famous among amateur pianists who found the pieces Gavotte: Allegretto/Musette perfectly suited both their taste and their limitations, and the melodic charm of his incidental music for Air: Andante religioso Ibsen’s play Peer Gynt ensured it a regular spot on concert programmes. Rigaudon: Allegro con brio Grieg himself considered this a double-edged sword, and was not sure that he liked his compositions “If anyone should break in here, please leave the musical scores, since they have no value to being played ‘in third-rate hotels and by school-girls … I suppose this popularity is all right, but it is dearly anyone except Edvard Grieg” bought. My reputation as a composer is suffering because of it’. He was particularly annoyed by the concert reviews he received on his last tour to Germany. ‘The audiences have been on my side … but the critics in Munich and Berlin have let me know in no uncertain terms, that they think I am a dead man … I When he went away on tour Grieg would leave this note on the desk in the simple wooden hut in which comfort myself with the thought that it is not the critics, who govern the world’. he composed, built especially below his house overlooking part of a fjord in central Norway. Close by, set into the side of the mountain, is his tomb, starkly outlined in black granite and with his name carved in What to listen for runes. It is a fitting memorial for a composer whose music was inspired by the Norwegian landscape, and which was strongly rooted in Norwegian folk music tradition. Grieg composed the Holberg Suite in 1884 as part of a commission to mark the bicentenary of the birth of Ludwig Holberg. Holberg was an eighteenth century Norwegian playwright considered to be Grieg was of Scottish descent on his father’s side, and grew up in Bergen where his father was the British the founder of Scandinavian drama, hence the work’s title, which in full is ‘From Holberg’s Time: Suite consul. Like Mendelssohn, his talent was recognised and fostered early, and on the advice of his relative in the Olden Style.’ Grieg composed it initially for piano but arranged it immediately afterwards for string Ole Bull, a Norwegian violin virtuoso, at the age of fifteen he was sent to the conservatorium in Leipzig orchestra. The work is a suite of dances in the baroque style, modelled on the keyboard suites written by in Germany to acquire a musical education. It was not a happy time: although he enjoyed the city’s Bach and Handel. Grieg wrote that this composition was an exercise ‘in concealing his own personality’, flourishing musical life he disliked the discipline of the course, and he was to suffer ill health all his life from but it in fact is a mixture of baroque form and his own romantic sensibility as attested by the rich string a collapsed lung due to pleurisy and tuberculosis that he contracted there. After completing his studies sound (according to Grieg a string orchestra should be large, sixty instruments was ideal) contrasted he spent some time in Copenhagen, and became convinced that the style of his music was to be one of against its difficult violin solos. romantic nationalism. Determined to make his career in his own country, he returned to Norway in 1866, and mainly through giving concerts of music by himself and other Norwegian composers, he became INTERVAL known as one of Norway’s foremost young musicians.

12 13 SATO & THE ROMANTICS

Niccolò Paganini (1782–1840) Paganini was born in Genoa in Italy, where he was initially taught by his father, a dock worker and amateur musician. By the age of fourteen he was already an accomplished composer and by the age Violin Concerto No. 4 in D minor, MS 60 of nineteen he had acquired a reputation as an outstanding virtuoso player. He had also acquired a reputation for licentious conduct bordering on criminality: he eloped with a young girl and was charged Allegro maestoso with abduction and imprisoned, although only for a few days. This episode would later become the basis Adagio flebile con sentimento (tearful and with feeling) of one of the many fantastical stories about him. Rondo galante: andantino gaio Paganini travelled around Italy for eighteen years, giving concerts and building up a large following. When “What a man, what a violin, what an artist! Heavens! What suffering, what misery, what tortures in he finally left Italy in 1828 it was to take Europe by storm in a series of phenomenally successful concert those four strings! … As for his expression, his manner of phrasing, they are his very soul!” tours to all major capitals which made him enormously wealthy in a very short time. He was particularly Franz Liszt, on hearing Paganini play in Paris in 1832 successful in Paris, where he played to packed houses and his first performance was attended by Liszt, Rossini and Donizetti, and also in London where he decided to cash in on the frenzy around his concerts and charge far above the usual ticket price. Although he was forced to lower his prices in the face of a “His bow shimmers like a steel blade; his face is as pale as a crime; his smile is beautiful, like public backlash it did not make him any less popular, in fact the following he gathered resembled a cult. Dante’s Inferno; his violin cries like a woman.” People travelled long distances to hear him, women were infatuated by him, and he only had to step out Anonymous reviewer in Paris, 1831 of his house to be mobbed.

His remarkable technique was undisputed – there are first hand reports not just from critics but from “A shining sphere hovered in the centre of this space, on which a man of great pride and stature musicians like Schumann, Berlioz and Schubert – but he was also remarkable at marketing himself and stood, playing the violin. Was that sphere the sun?” his own image, in a way which was completely new. At his concerts he delayed his entry onto the stage The German poet Heinrich Heine, on hearing Paganini play in1836 until the last possible moment, when audiences were in a frenzy of expectation. (He often sold tickets in the box office beforehand – in disguise – so keen was he to exert complete control over every aspect Heine continued: of the concert, particularly the takings). Once he was well established he rarely played anything other than his own compositions. He would only rehearse with the orchestra on the day of the concert, if at “Paganini, ideally beautiful, celestially transfigured, smiling, and at peace. His body was in the all. He played from memory, and as soon as the performance was finished he personally took away bloom of vigorous manhood, and a light–blue garment clothed his noble limbs. The splendid the orchestral parts so that they could not be copied. As a result many of his compositions remained locks of his black hair fell about his shoulders, and as he stood there, firm and confident, a unpublished in his lifetime. sublime divinity, and played the violin, it seemed as if all creation were obeying his song. He was the human planet around whom the universe revolved …” The aura of mystery which Paganini cultivated around the source of his virtuosic skill was aided by his striking appearance. He was tall, elegant, slim, with dark curly hair, and he took to appearing on stage dressed in black, long before it was customary for orchestral musicians to do so. As time went on, the Paganini was the most famous violin virtuoso who ever lived. He had a phenomenal technique, but he extreme doses of mercury he took for syphilis made him gaunt and hunched and his face deathly pale, was just as famous for his flamboyance and his ‘rock star’ showmanship: a hundred and fifty years before and when he played he would bend double and ‘a sort of shuddering and rage appears to seize him’. Jimi Hendrix smashed his guitar in concert Paganini would walk onto the stage with three of the strings He held himself differently to other violinists –‘when he plays, he uses the whole body’ – although that on his violin ostentatiously dangling, unplayable – then on the sole remaining string launch into a bravura would not now be considered a criticism. piece so difficult that many of the audience thought it had to be magic or the devil’s work. Women flocked to his performances, and off stage, he could have his pick – and did. He was also an astute marketer, an opportunistic entrepreneur, very stingy with money, and in league with the devil (so it was said). He liked visiting hospitals to watch people dying of cholera, and then, ‘I amuse myself by watching them bury the victims at the cemetery,’ as he wrote to a friend. In short, he was a very strange man indeed. 14 15 SATO & THE ROMANTICS

Niccolò Paganini (continued) Year Paganini and Grieg Mendelssohn Contemporary Events

His eccentric appearance and manner only made him more fascinating and cemented the belief, in a Mozart’s opera Die Entführung aus dem 1782 Paganini born more credulous time, that he had sold his soul to the devil – how else was he able to play in a way which Serail premieres in Vienna seemed humanly impossible? Among many quite bizarre rumours it was said that he had murdered his 1809 Orchestra director at Lucca Born in Hamburg Haydn dies lover and used part of her intestines as the G string on his violin, and that when he stamped his foot on stage (to keep the beat) it was because he had a cloven hoof – the sign of Satan. Even Heinrich Heine 1821-23 Concert tours of Italy Writes 12 string symphonies Napoleon dies in exile thought that Paganini resembled ‘a corpse risen from the grave’ and that ‘his bow arm [was] guided by 1824 Plays at La Scala. Already Composes first symphony First performance of Beethoven’s the devil himself’. ill with venereal disease for full orchestra Symphony No 9 1826 Tours central and Composes A Midsummer Last execution by burning by Spanish Despite his enormous wealth he made some disastrous financial decisions, and advanced venereal southern Italy Night’s Dream overture Inquisition. Beethoven dies following year disease (which caused him to lose the power of speech) caused him to retire from public life in 1838. Directs first performance Metropolitan Police Service established He attempted to cure himself by drinking asses’ milk and eating steak, but he died in Nice in 1840. His 1829 Begins European tours of St Matthew Passion in London story does not end with his death: he did not receive the last rites (he had sent the priest away), and so since Bach’s death the Catholic bishop refused to allow him to be buried in consecrated land. His remains were buried and Paganini premieres Composes Hebrides 1830 Chopin composes Revolutionary Étude exhumed five times until put into their final resting place in Parma in 1896. Violin Concerto no 4 Overture

1833 Appointed Düsseldorf Brahms born. Donizetti’s opera The Daughter What to listen for music director of the Regiment premieres in Paris Very ill. Leaves Paris 1834 Music director at Leipzig Slavery abolished in the British empire Paganini composed six concertos for violin, for himself to play. He would not allow anyone to even see for Parma in Italy the scores, and they were not published until after his death. His protectiveness was not necessary – he Charles Darwin arrives in Sydney on 1836 Composes oratorio St Paul designed his compositions to show off his virtuosity and there was no contemporary player who could HMS Beagle play them. Loses money in 1837 Marries Victoria becomes Queen of Great Britain casino enterprise Unlike other concertos for solo instrument and orchestra, there is no dialogue between orchestra and soloist in Paganini’s concertos: the orchestra is there to accompany. Paganini offhandedly said, ‘I only 1840 Paganini dies Tchaikovsky born use it to fill in the gaps between my solo passages so that I can get my breath’, and for the extended and First parliamentary elections held in 1843 Grieg born extravagant solo passages the orchestra falls away often to simple guitar-like plucked chords. Australia – but only for males of a certain wealth 1846 Oratorio Elijah premieres Railway bridge from the mainland to He gave many of his slow movements flowery titles, usually containing the word ‘love’. He directed that this in Birmingham, England Venice opens one, which suggests a funeral march, should be played ‘tearfully, with feeling’, and at one point he even has 1847 Dies Wuthering Heights published the violin appear to sob (Paganini was famous for making the violin speak or cry). While the whole concerto Composes Piano 1868 Last convict ship arrives in Australia is extremely virtuosic, the most stunning technical pyrotechnics are saved for the last movement. Concerto in A minor 1876 Premiere of Peer Gynt Telephone patented by Alexander Graham Bell 1884 Composes Holberg Suite Patent issued in Turin for an espresso machine First telephone call between Melbourne 1907 Grieg dies and Sydney

16 © Program notes & timeline Lynne Murray 2016 17 AUSTRALIAN BRANDENBURG ORCHESTRA

Paul Dyer Shaun Lee-Chen Matt Bruce Dan Curro Rob Narin Libby Browning Melissa Farrow Artistic Director and Conductor Concertmaster Associate Concertmaster Period Cello Double Bass Double Bass Period Flute/Piccolo

Catherine Shugg Bianca Porcheddu Simone Slattery Natalia Harvey Mikaela Oberg Emma Black Kirsten Barry Craig Hill Period Violin 1 Period Violin 1 Period Violin 1 Period Violin 1 Period Flute Period Oboe Period Oboe Period Clarinet

Ben Dollman Rafael Font Stephanie Eldridge Emma Williams Ashley Sutherland Peter Moore Joanne Littlely Darryl Poulsen Period Violin 2 Period Violin 2 Period Violin 2 Period Violin 2 Period Clarinet Period Bassoon Period Bassoon Period Horn

Shane Lestideau Monique O’Dea Marianne Yeomans Christian Read Dorée Dixon Leanne Sullivan Simon Wolnizer Nigel Crocker Period Violin 2 Period Viola Period Viola Period Viola Period Horn Trumpet Trumpet Period Trombone

James Eccles Jamie Hey Anthea Cottee Rosemary Quinn Roslyn Jorgensen Brett Page Brian Nixon Murray Parker 18 Period Viola Period Cello Period Cello Period Cello Period Trombone Period Trombone Timpani Percussion 19 OUR PARTNERS OUR DONORS Brandenburg applauds our wonderful partners who proudly support our 2016 season. A heartfelt thank you to our generous family of supporters.

PRINCIPAL As a non-profit organisation, the Brandenburg “The Brandenburg has given me so many relies on the invaluable support of music lovers memorable experiences. By making an annual like you to maintain the breadth and quality of our donation I know I am playing my part in developing work. Each year, we run fundraising campaigns to the Orchestra’s work and helping more people to enable us to present outstanding performances of be uplifted and inspired through experiencing the baroque music, while continuing to innovate as an thrill of live baroque music.” organisation. – Brandenburg donor

If the Brandenburg has enriched your life or if To find out more, or to make a donation

GOVERNMENT you would like to deepen your involvement with please get in tough us, we would be thrilled to welcome you into our W: donations.brandenburg.com.au valued family of supporters. E: [email protected] T: 1300 782 856

The Australian Brandenburg Orchestra is assisted The Australian Brandenburg Orchestra by the Australian Government through the Australia is assisted by the NSW Government Council, its arts funding and advisory body through Arts NSW BRANDENBURG ANNUAL GIVING DONORS

MAJOR LIFE PATRONS

Mary Holt and the late Dr John Holt

CHRISTINA $10,000 or above RUSPOLI $5,000 – $9,999

PRESENTING Anthony Adair and Karen McLeod Adair Antoinette Albert Aidan Allen John Almgren AM and Yvonne Almgren Stephen and Sophie Allen Andrew and Melanie Baigent Graham Bradley AM and Charlene Bradley Glenn Barnes The Clayton Family Mrs Ros Bracher AM Jane and David Duncan Catherine and Phillip Brenner Mary Holt and the late Dr John Holt David and Leith Bruce-Steer SUPPORTING Michael Ebeid and Roland Howlett Louise Christie Mrs W G Keighley in memory of Geoffrey Rick and Sue Coles* Susan Maple-Brown AM and the Mrs Janet Cooke late Robert Maple-Brown John and Jenny Fast Nick and Caroline Minogue Don and Deirdre Faithfull in memory Lady Potter AC CMRI of Harold and Edna Johnston The Rodwell Foundation In memory of Darrel Fraser Rowan Ross AM and Annie Ross Ann Gordon* Jeanne-Claude Strong in memory D and I Kallinikos MEDIA TRUSTS AND FOUNDATIONS of James Strong J and R MacLeod Peter Weiss AO The Alexandra and Lloyd Martin Family Foundation Cameron Williams E S Morgan Anonymous x 2 Louis Mostert The Suich Family Dr Jason Wenderoth To find out more about becoming a partner for the Australian Brandenburg Orchestra Ray Wilson OAM and James Agapitos OAM 20 please contact our Development team on 1300 782 856 or [email protected] Anonymous 21 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. AMATI $250, 000 – $500,000 Brett Andersen and Brad Bowen Justin and Anne Gardener Professor David Penington Membership is by invitation only. John and Robyn Armstrong Bill and Julie Goold Dr John Percy Cathy Aston Ms Lesley Grant W J and R Poate Jillian Broadbent AO In memory of a first class The Eileen Marie Dyer AM Fund Susan Astor-Smith Richard and Anna Green Jim and Christine Pollitt Ian Baker and Cheryl Saunders Ken Groves and Yun-sik Jang Ted and Jean Radford Louise Christie cricketer (UK), W G Keighley Anonymous Peter Barclay and Victoria Le Gallais Audrey Hawkins Patricia H Reid Endowment Pty Ltd Jan and Frank Conroy Grant and Jennifer King Frederic Baudry and Paul Bailey Jane Hemstritch Dr David and Dr Gillian Ritchie Richard Fisher AM and Susan Maple-Brown AM Jeanette Beaumont Dr Ailsa Hocking and Dr Bernard Williams Lois Roffey STRADIVARI $100,000 – $249,999 Marc Besen AC and Eva Besen AO J Holden Family Foundation Justice Ronald Sackville AO and Mrs Pamela Sackville Diana Fisher Ms Gretel Packer BOYCE Family Office Jenny and Peter Hordern John Scott Chris and Gina Grubb Anonymous Cary and Rob Gillespie Dr Catherine Brown-Watt PSM and Mr Derek Watt J L Hossack Dr Celina Seeto Carol Haynes and Kay Buckeridge Jill and David Hunt Paul Sheehan and Susan Wyndham Anonymous Jenny and Henry Burger Dr Alastair Jackson Mr Charlie Shuetrim AM and Mrs Sandra Shuetrim Skipp Williamson Henry Burmester and Peter Mason Cynthia Jackson AM Robyn Smiles Wayne Burns and Kean Onn See Mary Jones Alan and Jennifer Smith GUARNERI $50,000 – $99,999 Elizabeth Butcher AM Nicholas Korner Chris and Bea Sochan Dr Beverley and Mr Alan Castleman Arthur and Vicky Koumoukelis Brendan Sowry ORCHESTRAL CHAIRS Mr Peter Clark and Mrs Jan Clark Ann and James Lahore Dr Murray Stapleton Macquarie Group Foundation Rebecca and Craig Clarke Mr John Lamble AO Mrs Suzy and Dr Mark Suss P Cornwell and C Rice Airdrie Lloyd Mark and Debra Taylor Concertmaster Chair supported by The Martin Family in memory of Lloyd Martin AM Dom Cottam and Kanako Imamura Richard and Elizabeth Longes Annalise Fairfax Christine Yip and Paul Brady Toula and Nicholas Cowell Aggie Maisano* Mr Mike Thompson Jacqui and John Mullen Tim and Bryony Cox Dr Diana Marks and Dennis Bluth Anne and Richard Travis Anonymous A L Crotty Barrie Martin PD and CM Vaughan-Reid Shaun Lee-Chen David Davies and Paul Presa Robyn Martin-Weber Stephen and Ruth Walsh Margaret and Chris de Guingand Joanna B Maxwell Justice Anthony Whealy MAESTRI $25,000 – $49,999 Ms Emmanuelle Delannoy Mora Maxwell In memory of Dr Ron White Theorbo/Baroque Guitar Chair supported by Susan Dixon and Stephen Rix Richard and Rowena McDonald Yanina White Emeritus Professor Dexter Dunphy AM Peter McGrath* Judith Williams The Alexandra and Lloyd Martin Family Foundation John and Robyn Armstrong Nita Durham J A McKernan K A Wratten and friends, in memory of Lloyd Martin AM Chris and Kathy Harrop Jane Edmanson OAM John Milhinch OAM Anonymous x 15 Greg Hutchinson AM and Lynda Hutchinson Ralph and Maria Evans Dr David Millons AM and Mrs Barbara Millons Tommie Andersson Nick and Caroline Minogue Rowan Ross AM and Annie Ross SUPPORTER I $500 – $999 CORPORATE DONORS ARCANGELI $15,000 – $24,999 Jaci Armstrong Michael Jones Alexander and Rosemary Roche Baiba Berzins Harvey and Janette Lewis Jeannette Sharpe APA Group Annette and Kevin Burges Paul Lindwall Dr Gideon and Mrs Barbara Shaw Bain & Company Melinda Conrad and David Jones Jim Cousins AO and Libby Cousins Greg Livingstone Dr Agnes Sinclair Link Market Services Dr John Dale AO and Mrs Joan Dale Betty Lynch Margot Smith Glenn Moss and the late Dr Ken Moss AM Deborah Debnam Elizabeth Mackenzie and Michael Bremner Professor Fiona Stewart Pacific Equity Partners David and Rachel Zehner Carol des Cognets Lola Martin Sue Thomson QANTAS Loyalty Margaret Dobbin Richard Masiulanis Frank Tisher OAM and Dr Miriam Tisher Anton Enus and Roger Henning Wendy E McCarthy AO M Titterton CAMERATA $10,000 – $14,999 J Farren-Price Jewellers Janet McDonald AO and Donald McDonald AC Ronald Walledge Peter Fletcher AM and Kate Fletcher Frank and Susan Morgan Sally and Geoffrey White PLANNED GIVING Malcolm and Barbara France Mrs June Musgrove in memory of Dr Peter Musgrove Gregory W Won Mr David Baffsky AO and Mrs Helen Baffsky Christine George Dr Paul Nisselle AM and Mrs Sue Nisselle Sally P Young Philip and Anabel Gosse B P O’Connell Susan Young BEQUEST Graham Bradley AM and Charlene Bradley Peter and Deirdre Graham Dr Kevin Pedemont Anonymous x 19 The Clayton Family Geoff Hogbin John Peisley and Ros Royal Norman Gillespie In memory of Dean Huddlestone Christina Pender The Australian Brandenburg Orchestra warmly Rohan Mead acknowledges the bequest it has received from SUPPORTER II $250 – $499 the Estate of Valda Astrida Siksna.

Carole Bailey Norman Gillespie Dr Kerry Mills Keith and Claire Beecher Richard and Heather Gorrell Marie Morton PLAY ON: A LASTING LEGACY Cathie Boag Peter Hales Andrew Naylor Katalin Bognar Dr Stéphane Hemmerter in memory of In memory of Jenny Parramore Professor Fran Boyle AM Gérard Hemmerter Ken Ramshaw We are hugely appreciative to all those who Catherine Broady Owen James M L Rattigan have included the Brandenburg in their Will. J and M Cameron Pamela Kenny in memory of Peter* Barbara and Malcolm Richardson Christine Clough George Lawrence Gabrielle J Rowe In memory of Betty Curtain A le Marchant Professor Steve and Dr Sharon Schach Janet Doust Penelope Oerlemans Janet Doust Morris and Helen Margolis Patrick and Sally Smith* The Faithfull Family Joan and Lloyd Poulton Andrew Dunn Peter McCall Charles Such Brian and Leonie Fisher Art and Cynthia Raiche Kerri Eager Lois McCutchan Amanda Trenaman and Steven Turner Rita Erlich Ross McNair and Robin Richardson Anonymous x 30 R J Irwin Anonymous x 6 Marguerite Foxon* Ivan and Priscilla Mellado Peter McGrath

To find out more, or to make a donation please get in touch *Donors to the Brandenburg International Baroque Study Program 22 This donor list is current for a 12-month period to 10 August 2016. W: donations.brandenburg.com.au E: [email protected] T: 1300 782 856 23 Sydney, Melbourne and Brisbane July/August 2016 CITY RECITAL HALL LTD 2-12 Angel Place, Sydney, Australia AO Artistic Director Paul Dyer CEO Elaine Chia GPO Box 3339, Shaun Lee-Chen Baroque Violin Sydney, NSW 2001 Australian Brandenburg OrchestraBoard of Directors Renata Kaldor AO, Chair Telephone PROGRAM Timothy Cox AO, Deputy Chair 02 9231 9000 Sammartini Overture to the operaHelen Memet, Bauer J-C 88 Box Office Vivaldi Concerto for violin inJo D Dyer major, RV 208, Grosso mogul 02 8256 2222 Telemann Grand Concerto in TheD major, Hon Justice TWV Elizabethdeest Fullerton Facsimile Kerri Glasscock 02 9233 6652 Interval Marcus McArdle Clive Paget Website Vivaldi Concerto for severalMaria instruments Sykes in F major, RV 569 cityrecitalhall.com 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 MELBOURNE Founding Patron Executive Staff RECITAL CENTRE The Late Dame Elizabeth Euan Murdoch, Murdoch AC DBE Chief Executive Corner Southbank Boulevard Greg Diamantis, Director of and Sturt Street Board of Directors Production & Presenter Services Southbank VIC 3006 Kathryn Fagg, Chair Marshall McGuire, Head of Peter Bartlett Artistic Planning Administration Stephen Carpenter Robert Murray, Director Marketing 03 9699 2228 Joseph Corponi & Customer Relations Box Office Mary Delahunty Sandra Robertson, Director 03 9699 3333 Paul Donnelly of Development Facsimile Eda Ritchie AM Sandra Stoklossa, Director 03 9207 2662 Margaret Farren-Price Corporate Services Website melbournerecital.com.au Melissa Farrow 24 Period Flute/Piccolo 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 Patrons Sieden. Several of these CHRISTMAS CELEBRATES Brandenburg Choir recordings have received awards, Australian Brandenburg Orchestra Australian Brandenburg Orchestra Australian Brandenburg Orchestra His Excellency General the Honourable Sir Peter Cosgrove AK MC (Retd) Governor General of Australia Brandenburg Choir Brandenburg Choir Paul Dyer, Artistic Director including five ARIA Awards Paul Dyer, Artistic Director Paul Dyer, Artistic Director Maximillian Riebl, countertenor His Excellency General the Honourable David Hurley AC DSC (Retd) Governor of New South Wales for Best Classical Album. ABC 481 2176 ABC 481 1929 ABC 481 1317 Artisitc Director Paul Dyer AO Managing Director Bruce Applebaum The Brandenburg Council Jillian Broadbent AO Greg Hutchinson AM A BRANDENBURG TAPAS BAROQUE FAVOURITES HANDEL Max Suich CHRISTMAS Australian Brandenburg Orchestra Australian Brandenburg Orchestra CONCERTI GROSSI Brandenburg Choir Paul Dyer, Artistic Director Paul Dyer, Artistic Director Australian Brandenburg Orchestra The Board Australian Brandenburg Orchestra 2010 ARIA Award: ABC 476 4056 Paul Dyer, Artistic Director Paul Dyer, Artistic Director Best Classical Album 2009 ARIA Award: Greg Ward, Chairman Christina Leonard, saxophone ABC 476 3828 Best Classical Album Louise Prickett, soprano ABC 476 3436 Aidan Allen ABC 476 4687 Bruce Applebaum Cathy Aston David Baffsky AO Richard Boyce Paul Dyer AO John C Fast Lesley Grant Alison Harrop GREAT VIVALDI CONCERTOS SANCTUARY VIVALDI – IL FLAUTO DOLCE MOZART CLARINET Katie Lahey AM Australian Brandenburg Orchestra Australian Brandenburg Orchestra Australian Brandenburg Orchestra CONCERTO & ARIAS Rohan Mead Paul Dyer, Artistic Director. Featuring Paul Dyer, Artistic Director Paul Dyer, Artistic Director Australian Brandenburg Orchestra guest artists such as Genevieve Lacey, Kirsten Barry, baroque oboe Genevieve Lacey, recorder Paul Dyer, Artistic Director David Zehner 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 Bridget O’Brien, Company Secretary ABC 476 923-3 ABC 476 284-0 ABC 461 828-2 ABC 476 1250 Deputy General Manager Bridget O’Brien

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

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 Address 142 New South Head Road, Edgecliff NSW 2027 | Post GPO Box 4416, Sydney NSW 2001 Paul Dyer, Artistic Director Paul Dyer, Artistic Director Paul Dyer, Artistic Director Paul Dyer, Artistic Director Sara Macliver, soprano Elizabeth Wallfisch, baroque violin Graham Pushee, countertenor ABC 434 720-2 26 Telephone 61 2 9328 7581 | Website brandenburg.com.au | Email [email protected] ABC 456 692-2 ABC 456 364-2 ABC 446 272-2 27 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

Chairman’s 11 Proudly supporting our guest artists.

Brian Nixon 28 Timpani PRINCIPAL PARTNER 29 BLAZING BAROQUE

Sydney, Melbourne and Brisbane July/August 2016

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

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 the Australian Matinee thesuccess Australian story that’s Saturday 6 August, 2pm Chairman’s 11 successbuilt on story energy. that’s Proudly supporting our guest artists. built on energy The duration of this concert is approximately 2 hours including interval. Get to know the future of connected energy. We kindly request that you switch off all electronic devices during the performance. Get to know the future of connected energy. This concert will be broadcast on ABC Classic FM on Thursday 11 August, 1pm.

We’ve beenWe’ve connecting been connecting Australia with Australia smart, with smart, reliable reliableand safe andnatural safe gas natural solutions gas since solutions 2000. since 2000. Over 15,000kmOver 15,000km of pipeline networkof pipeline across network the across the country countryand a workforce and a workforce that has grown that from has grown from 6 to 1600six people, to 1600 means people, we’re means anything we’re but anything but small. And we’re changing the way our nation small. And we’re changing the way our nation is supplied with energy. www.apa.com.au energy.connected is supplied with energy. www.apa.com.au

30 SERIES PARTNER PRINCIPAL PARTNER 31

APA001 APA_FP_210x297.indd 1 5/30/16 4:07 PM ORCHESTRAL CHAIRS

You can directly support a position within the Thriving in Orchestra by joining the Brandenburg’s newly launched Orchestral Chair program. Invest in the Brandenburg’s artistic future, connect harmony with your instrument of passion and ensure that the Brandenburg continues to attract and develop Australia’s most talented early classical and Music moves us, lifts our spirits and can take us to another time baroque musicians. and place. That’s why Australian Unity has proudly supported the Australian Brandenburg Orchestra for over 10 years. Contact our Philanthropy Manager As wellbeing partner, we help Artistic Director Paul Dyer and Rebecca Warren his celebrated musicians bring their charismatic performances T: 02 9363 2899 or to audiences across Australia. E: [email protected]

Call us on 13 29 39 or

32 visit australianunity.com.au

APA001 APA_FP_210x297.indd 1 5/30/16 4:07 PM

is supplied with energy. www.apa.com.au

energy.connected

is supplied with energy. www.apa.com.au

small. And we’re changing the way our nation

six to 1600 people, means we’re anything but

6 to 1600 people, means we’re anything but

country and a workforce that has grown from

Over 15,000km of pipeline network across the Over 15,000km of pipeline network across the

reliable and safe natural gas solutions since 2000. reliable and safe natural gas solutions since 2000.

We’ve been connecting Australia with smart, We’ve been connecting Australia with smart,

Get to know the future of connected energy.

Get to know the future of connected energy. built on energy

built on energy. success story that’s

success story that’s the Australian the Australian AVI AVITAL The heart races. The pulse quickens. The sting of 1,000 emotions rises up. He’s back, and more magnetic than ever.

BOOK NOW AND FALL IN LOVE ALL OVER AGAIN.

PRINCIPAL PARTNER SERIES PARTNER City Recital Hall 26 October – 4 November Melbourne Recital Centre 5 – 6 November Queensland Performing Arts Centre 8 November

brandenburg.com.au / 1300 782 856 cityrecitalhall.com / 02 8256 2222 34 melbournerecital.com.au / 03 9699 3333

qpac.com.au / 136 246 Deutsche Grammophon. Photo: Guy Hecht.