An exotic pasticcio by La Camera delle Lacrime of ancient melodies, chants, and songs with members of the Australian Brandenburg Orchestra and Brandenburg Choir KARAKORUM A MEDIEVAL MUSICAL JOURNEY NARRATED BY WENHAM

Sydney, Melbourne and Brisbane, July - August 2018

LA CAMERA DELLE LACRIME SYDNEY City Recital Hall Bruno Bonhoure Music Director, voice Wednesday 25 July at 7pm Khaï-dong Luong Director, original concept Friday 27 July at 7pm Saturday 28 July at 7pm Mokrane Adlani Violin, voice Wednesday 1 August at 7pm Martin Bauer Kamanche Friday 3 August at 7pm Matinee: Saturday 28 July at 2pm Michèle Claude Percussion Yan Li Erhu, voice MELBOURNE Melbourne Recital Centre Christophe Tellart Flutes, hurdy-gurdy, cornamuse Saturday 4 August at 7pm Sunday 5 August at 5pm Paul Dyer Artistic Director, organ David Wenham Narrator BRISBANE QPAC Constantine Costi Director Tuesday 7 August at 7:30pm John Rayment Lighting Designer Chairman’s 11 Costi English Text Proudly supporting our guest artists Australian Brandenburg Orchestra Brandenburg Choir

The duration of this concert is approximately 80 minutes with no interval. We kindly request that you switch off all electronic devices during the performance SERIES PARTNER 1 ARTISTIC DIRECTOR'S INFINITE MESSAGE POSSIBILITIES

Macquarie Group is delighted to welcome you to the third concert series for 2018, Karakorum: a medieval musical journey. One of the most beautiful moments I can Karakorum: a medieval musical journey is the remember was driving a few years ago from story of a Franciscan monk, of a missionary, but Macquarie Group is deeply invested in the advancement of arts and culture the small village of Domaine -Roche to most of all of a man. The Karakorum concert is, of in Australia, with a focus on supporting initiatives that promote innovation and the medieval town of La Chaise-Dieu. It is in course, normally narrated in French, so I engaged create memorable experiences. What makes our partnership with the Australian the Auvergne region of France, south west of one of the world’s finest actors David Wenham to Brandenburg Orchestra so rewarding is our shared vision of innovation and Lyon. I was attending the annual summer La narrate young Sydney playwright Michael Costi’s commitment to the highest standards, underpinned by specialist skills and Chaise-Dieu Music Festival. The drive took an text which has been imaginatively adapted from experience. It is a privilege to support one of Australia’s foremost cultural treasures hour, through a vast magical emerald forest William of Rubruck’s ancient diary from 1253. that continues to engage and foster local creative talent, as well as inspire and climaxed when I saw a huge majestic audiences across the country. The Brandenburg is renowned for presenting Abbey rising from a mountaintop in the tiny To make this all happen theatrically, there’s only one person I wanted to work with on this - theatre historically informed music performance in a way that resonates with today’s historic town. The town is best known for The audiences, and this concert is a perfect demonstration. Abbey Church of Saint-Robert founded by the and opera director Constantine Costi has returned from Italy to cleverly stage this production. Bruno, Benedictine Robert de Turlande in 1043. Karakorum presents the ‘medieval world folk’ ensemble, La Camera delle Lacrime The site was breathtaking! Khaï-dong, Constantine, Michael and I have collaborated to bring you this amazing diary, in partnership with the Brandenburg. It follows William of Rubruck’s quest to convert the Great Khan to Christianity in the Mongol capital, Karakorum, and One afternoon at the festival, Bruce Applebaum joined by the outstanding French musicians of La Camera delle Lacrime performing alongside showcases the Christian, Islamic and Eurasian worlds as he travels from west to (co-founder of the Brandenburg) suggested we members of our Australian Brandenburg Orchestra east. In this moving performance, forgotten hymns, melodies and chants will be attend a concert in the Chapelle des Pénitents and Choir with David Wenham. performed on an eclectic range of rare instruments. As Principal Partner of the within the abbey, called Orient et Occident. It Australian Brandenburg Orchestra, we are delighted to support them in presenting was performed by the French ensemble La Also at that festival in La Chaise-Dieu was Camera delle Lacrime, directed by a charismatic this compelling story which showcases some rarely heard pieces and instruments astonishing Cuban viola da gamba player to Australian audiences. singer Bruno Bonhoure along with his colleague Lixsania Fernandez. Lixsania will be performing in Khaï-dong Luong and five incredible musicians, Lixsania and the Labyrinth in October. Stay tuned I hope you enjoy this wonderful performance and I look forward to welcoming you specialising in various medieval instruments. for further details and get a ticket if you haven’t again throughout the Brandenburg’s exciting 2018 concert season. The story behind the concert reimagines the already – you won’t want to miss it! music and cultures encountered by 13th- century Flemish monk William of Rubruck Enjoy Karakorum! on his extraordinary Silk Road journey from Constantinople to Karakorum - the ancient capital of the Mongol empire. Following the performance I rushed backstage with Bruce to speak with Bruno Bonhoure and Khaï-dong Luong where I instantly invited them to come to Australia and Paul Dyer AO Bill Marynissen 2 perform with the Brandenburg. Artistic Director and Conductor Head of Macquarie Wealth Management 3 APA. ENERGY. CONNECTED.

APA is proud to support the Australian Brandenburg Orchestra as Series Partner of Karakorum: a medieval musical journey and delighted to welcome you to this performance. This year we PAUL DYER celebrate 17 years of partnership with the Australian Brandenburg Orchestra. We value our relationship and the opportunity to ARTISTIC DIRECTOR bring baroque music to audiences in the metropolitan and regional communities in which we operate. While seemingly very Paul Dyer is one of Australia’s leading Marc Destrubé, Christoph Prégardien, Hidemi different types of organisations, The Australian Brandenburg specialists in period performance. He Suzuki, Manfredo Kraemer, Andrew Manze, Yvonne Orchestra and APA have grown from small beginnings to national co-founded the Brandenburg in 1990 after Kenny, Emma Kirkby, Philippe Jaroussky and many importance through vision and commitment. completing postgraduate studies at the Royal others. In 1998 he made his debut in Tokyo with Conservatorium in The Hague, and has been countertenor Derek Lee Ragin, leading an ensemble The Australian Brandenburg Orchestra would not be possible Artistic Director and conductor since that time. of Brandenburg soloists, and in August 2001 Paul without the vision and commitment of Artistic Director Paul Paul is a performing artist comfortable in his toured the orchestra to Europe with guest soloist Dyer and Managing Director Bruce Applebaum who, along unique music arena – whether working in ancient Andreas Scholl, and featured on the soundtrack of with their team, have worked tirelessly over the past 29 years music, contemporary music, opera, with artists the James Bond 007 movie, Spectre. to transform the company into the national baroque orchestra it is today. And throughout its 18 years, APA has worked such as circus performers, contemporary dance, tirelessly to connect sources of energy to where it is needed, or visual art. His busy performing schedule in A passionate cook, entertainer, foodie, teacher, and to enable regional and national growth. It is a privilege to swimmer, traveller, he is friends with people and artists Europe, Asia, the USA and Canada over the be part of the Australian Brandenburg Orchestra’s journey and from Istanbul to India and Japan to Italy creating a years has synchronised perfectly alongside his we hope you enjoy this concert. bold stage work in Australia. unique platform for overseas performing artists to work with him and the Brandenburg in Australia. Paul is an inspiring teacher and has been a staff member at various Conservatories throughout the Among his list of many awards and medals, world. In 1995 he received a Churchill Fellowship Paul was awarded the Officer of the Order of and he has won numerous international and Australia (AO) for his ‘distinguished service to the national awards for his CD recordings with the performing arts in Australia’. Paul is Patron of Mick McCormack Australian Brandenburg Orchestra and Choir, St ’s School for Hearing Impaired Children. Managing Director, APA including the 1998, 2001, 2005, 2009 and 2010 In 2003 Paul was awarded the Australian ARIA Awards for Best Classical Album. Centenary Medal for his services to Australian society and the advancement of music. In 2010 Paul has performed with many international Paul was awarded the Sydney University Alumni 4 soloists including Andreas Scholl, Cyndia Sieden, Medal for Professional Achievement. SERIES PARTNER 5 BRUNO BONHOURE KHAI-DONG LUONG

Musical director and voice Director and original concept

Bruno Bonhoure spent his childhood on a little Khaï-dong Luong was born in Cambodia in 1971. farm in the north of the region of Aveyron before His and his family’s life was turned upside down slowly becoming an urbanite during the course in April 1975 when the Khmer Rouge took over of his studies which took him from Clermont- Phnom Penh. Ferrand to Paris. At just five years old, he walked into exile traversing Bruno polished his vocal technique with Gaël as far as Vietnam and finally arriving at a town in de Kerret (singing specialism, Conservatoire France called Le Mans. Studying for dual honours Erik Satie, Paris) and in masterclasses with Udo at university, he was awarded the possibility to Reinemann (German baritone, 1942-2013). Bruno teach math in 1994 and also achieved a Bachelor in Cinema Studies. He then pursued a diploma in has also obtained a Masters in Musicology. language, literature and foreign civilisations and a LA CAMERA DELLE LACRIME From 1996 he collaborated with Italian musicians Masters in Media management. Patrizia Bovi and Adolfo Broegg (1961-2006) on His first collaboration with Bruno Bonhoure in 2003 La Camera delle Lacrime is characterised by practices. They fashion their shows out of Italian repertoire from the fourteenth century and led to the creation of a musical animated short the double artistic leadership of singer Bruno historical sources of the Middle Ages, essentially became the tenor of the ensemble Micrologus. film which was selected by Annecy Festival and Bonhoure and scenic director Khaï-dong Luong. from the twelfth and thirteenth centuries, crafting In 1999, he participated in the project Cantico a contemporary view which is aware of the supported by the National Centre for Cinema in della Terra with Giovanna Marini. The same year, the context of funding for innovation. Khaï-dong‘s Program conception, repertoire choice, invitation distance between the medieval source and he met Vincent Dumestre and worked with him of musicians and singers always occur after a its sonic and visual manifestation during each modern vision of how to interpret ancient repertoires across eight productions and about 100 concerts long period of reflection and thought. This is a performance. has led him to consider new ways of transmitting all through Europe in a span of five years. key strength that continually reinforces the unique the music reflected in the participative projectLivre identity of this ensemble. Their professional performance activity allows Vermeil de Montserrat (Red Book of Montserrat). them to present their shows in landmark French In 2005, Bruno Bonhoure and Khaï-dong Innovation and the search for meaning are the festivals and venues of classical and early Luong founded the ensemble La Camera delle Since 2017 he has been studying for a doctorate two constant challenges which this group has set music such as Philharmonie de Paris, Festival Lacrime to bring together source study, ritual with a focus on scenography in medieval music itself since their formation in 2005. With the help de la Chaise-Dieu, Fondation Royaumont, and vocal practice in order to create theatrical performances at the University Paul Valery and the of specialists and academics, La Camera delle national theatres, other government-funded performances coming out of the musical traces Centre d'Études Médiévales (Centre of Medieval 6 Lacrime’s vocation is the creation of dramatic establishments, as well as opera houses. of the Middle Ages. Studies) in Montpellier. 7 AUSTRALIAN KARAKORUM BRANDENBURG A MEDIEVAL MUSICAL JOURNEY ORCHESTRA Paul Dyer AO Artistic Director, organ La Camera delle Lacrime (France) Australian Brandenburg Orchestra “…what stands out at concert after concert is the impression that this bunch of Brandenburg Choir 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 The Musicians on Members of the The Australian Brandenburg Orchestra, led by Orchestra has been a member of the Major period instruments Brandenburg Choir charismatic Artistic Director Paul Dyer, celebrates Performing Arts Group, which comprises 28 the music of the sixteenth, seventeenth and flagship national arts organisations supported by eighteenth centuries with excellence, flair and the Australia Council for the Arts. The Orchestra joy. Comprising leading specialists in informed began regular touring to Queensland in 2015. performance practice from all over Australia, the Brandenburg performs using original edition Since its beginning, the Brandenburg has been scores and instruments of the period, breathing popular with both audiences and critics. In Shaun Lee-Chen*† fresh life and vitality into baroque and classical 1998 The Age proclaimed the Brandenburg Paul Dyer* Concertmaster / masterpieces – as though the music has just “had reached the ranks of the world’s best Artistic Director / Organ Period Violin Hugh Ronzani Richard Butler sprung from the composer’s pen. period instrument orchestras”. In 2010 the UK’s Gramophone Magazine declared “the Australian The Orchestra’s name pays tribute to the Brandenburg Orchestra is Australia’s finest Brandenburg Concertos of J.S. Bach, whose period-instrument ensemble. Under their inspiring musical genius was central to the baroque area. musical director Paul Dyer, their vibrant concerts Celebrating their 29th anniversary in 2018, the and recordings combine historical integrity with Brandenburg continues to deliver exhilarating electrifying virtuosity and a passion for beauty”. Matt Bruce* performances. Associate Concertmaster Ben Dollman*† The Australian proclaimed that “a concert with / Period Violin Period Violin Richard Sanchez Sébastien Maury The Brandenburg has collaborated with such the Australian Brandenburg Orchestra is like acclaimed and dynamic virtuosi as Andreas stepping back in time, as the sounds of period Scholl, Philippe Jaroussky, Kristian Bezuidenhout, instruments resurrect baroque and classical Emma Kirkby, Andreas Staier, Elizabeth Wallfisch, works with reverence and authority”. Lacey, Andrew Manze and more. The Brandenburg’s 20 recordings with ABC Through its annual subscription series in Sydney Classics include five ARIA Award winners for and Melbourne, the Australian Brandenburg Best Classical Album (1998, 2001, 2005, 2009 Jamie Hey*† Orchestra performs before a live audience in and 2010). In 2015 the Australian Brandenburg Bass Violin Spencer Darby excess of 52,000 people, and hundreds of Orchestra was the recipient of the Sidney Myer thousands more through national broadcasts Performing Arts Group Award and in 2016 the Bass Violin courtesy of Pinchgut Opera on ABC Classic FM. The Orchestra also has a * Denotes Brandenburg Core Musician Helpmann Award for Best Chamber Concert. † Section Leader regular commitment to performing in regional 8 Organ preparation by Joanna Butler, Sydney, Melbourne and Brisbane Australia. Since 2003 the Australian Brandenburg Discover more at brandenburg.com.au 9 DAVID WENHAM

David Wenham is one of Australia’s most respected actors, acclaimed for his diverse performances in film, theatre and television.

David’s film credits include Lion, Lord of the Rings, The Two Towers and Return Of The King, Pirates Of The Carribean Dead Men Tell No Tales, Moulin Rouge, Australia, 300, Molokai The Story Of , The BRANDENBURG CHOIR Boys, Three Dollars and The Bank. “There was vigour and passion in this performance of both familiar Christmas favourites and rarely- David recently wrote and directed his debut just as there was great subtlety and finely shaded heard sacred works, performing music from the feature, Ellipsis, and directed the short nuances of feeling and colour.” eleventh century to the baroque. It was an instant Commission as part of the film adaptation of Sydney Morning Herald success, combining musical, literary and scholarly Tim Winton’s The Turning. performances that thrilled audiences and critics alike. “The Brandenburg Choir was polished and David’s accolades include Best Actor at the responsive, powerfully conveying the work's Noël! Noël! has proven to be so popular, the AFI Awards, IF Awards, and The Film Critics celebratory magnificence in their full-voiced Brandenburg has released its fourth live recording Circle of Australia. climaxes sung in unison.” of the concert. Noël! Noël! was recorded live at David is well known to television audiences The Australian St Church, Paddington, Sydney as Diver Dan in Seachange, in the miniseries in 2016. This beautiful collection of festive music Simone De Beauvoir’s Babies, and recently The Brandenburg Choir is renowned for its is available in leading music stores. In addition to Jane Campion’s Top Of The Lake, The astonishing vocal blend and technical virtuosity. the annual Noël! Noël! concerts, the Choir now Code, Romper Stomper, and Iron Fist. Established by Artistic Director Paul Dyer in regularly performs as part of the Brandenburg’s 1999 to perform in the first-ever Noël! Noël! annual subscription season. Bach Cantatas, His numerous stage appearances include Brandenburg Christmas concert, the Choir has Handel Coronation Anthems, and Mozart’s great performances for Melbourne and Sydney become a regular part of the Brandenburg year. Requiem and Coronation Mass are among the Theatre Companies, Belvoir, Griffin Theatre, The first Noël! Noël! concert combined medieval best loved performances of the Choir. Their Sydney and Melbourne Festivals and chant and polyphony as well as carols from performance of Handel's Ode for St Cecilia's Day Sydney Opera House Trust. around the world in their original settings and received critical acclaim, with the Sydney Morning languages. Herald declaring: “[The Brandenburg Choir is] one of the finest choruses one could put together in “Music from earlier centuries often requires the this town”. sound of the human voice. I wanted to put a group of excellent singers together adding a rich The current members of the Brandenburg Choir complement to our period instruments. Our Choir are all professional singers, many of whom also is a ravishing blend of radiant Sydney singers”, hold music degrees, but they do not all sing full says Paul Dyer. time. From music teachers to lawyers, business managers to medical doctors and nurses, each Originally 13 voices, the Choir joined our Orchestra member looks forward to the opportunity to perform 10 and wowed audiences with truly beautiful renditions with the Brandenburg throughout the year. 11 DIRECTOR'S NOTE KARAKORUM A MEDIEVAL MUSICAL JOURNEY Constantine Costi that shifts and turns to create an awe-inspiring aural landscape. Why was William chosen to go on this journey? Michael’s adaptation has fused historical record He certainly wasn’t the first choice of Louis IX with emotional empathy. In the process of or Innocent IV to go east on behalf of the adapting he asked himself, how would I feel if I Christian world. had to go on this dangerous journey? Nervous? Giovanni da Pian del Carpine left Europe for the Overwhelmed? Exhilarated? PROLOGUE SCENE 3 – Batu Kahn Mongol Empire in 1245. The Pope presented him Anyone who has travelled to a foreign city knows Spoken introduction by the Narrator Ural with the daunting task to criticise the Mongols for that feeling of sensory overload. New sights, Miserere mei Deus their previous acts of violence against Christians. smells, sounds, and faces that make you wonder, SCENE 1 – Leaving home It’s amazing he made it back alive. Vexilla Regis “Am I dreaming?” Ay! Dieus Salve Regina Between 1245 and 1251 André de Longjumeau I’m sure William felt the same way. The Black Sea was sent to Constantinople by Louis IX, and Pope SCENE 4 – The storm Innocent IV ordered him to Syria to deliver letters William would have been out of his depth and Sri Devi Ashtottara Shata Namavalih to a Mongol envoy. struggling, and yet, simultaneously enchanted Credo in unum Deum and enlightened. As you, or I, or anyone we know, SCENE 2 – Travelling Other friars, Lawrence of Portugal, Ascelin of would be today. through a strange land SCENE 5 – Finding the Lombardy and (the somewhat casually named) Loving the beauty of Layla Armenian monk David and Mark, were all sent East before William. Perhaps this is the power of all great art: the realisation that despite the vast distances of time Pos anc no-us ualc amors Heart Beating in the steppes So why William? and place human beings are largely the same. Ave Regina Caelorum His credentials were hardly as impressive as A Solis ortus cardine André de Longjumeau who spoke Arabic and Chaldean (a language widely spoken in the SCENE 6 – A feast Middle East of the time). Tang Tang In contrast, William was an unremarkable monk from an obscure village in northern France. Drinking Song Louis’ reasoning to send William to Karakorum Veni Sancte Spiritus remains unknown. SCENE 7 – The debate at Karakorum This mystery struck me. Vision of the Beloved I realised that this is not the story of an The Debate at Karakorum extraordinary monk. It’s the story of an ordinary man thrust into an extraordinary endeavour. SCENE 8 – Farewell Working with Paul Dyer and the Australian Veni Veni Emmanuel Brandenburg Orchestra alongside La Camera delle Lacrime is a distinct joy. The beating heart With hearts high of this evening is the music. Much like the vast plains, mountains and oceans William traversed, 12 the music is a journey through a distant world 13 14 15 A Simple Monk with a Higher Purpose

William of Rubruck was a Flemish Franciscan monk sent on the journey of a lifetime. His idea, to travel and preach to the Mongol Empire, though supported by the King of France, Louis IX, was born from a simple purpose. It was to fulfil an oath. A clear set of instructions handed down by the head of his order, Saint Francis of Assisi, who venerated poverty and saw the natural world as the mirror of God. The Franciscan monks were bound by vows of poverty, chastity and obedience, and a will to live in charity for all mankind. They also took the responsibility of announcing God throughout the world. For William, this meant pilgrimaging to distant lands never walked by Christians. In the face of innumerable dangers, he tested his faith, and, in turn, tested the faith of the unconverted. And in keeping his word, he left for the East with little more than official letters and a promise to report what he saw. His pilgrimage would last almost three years. He was also the first European to visit the Mongol capital of Karakorum on the Orhon River. On his return, he endeavoured to write an Itinerarium or journal in which he recounted his voyage. As for William himself, it cannot be said we know a huge amount about the man, other than from English philosopher Roger Bacon who speaks of the monk in the geographical section of his Opus maius (1267).

On a long road to the Eastern World A Journal of things seen and unseen

William’s journey would start from humble beginnings. The monk was most likely Before departing, King Louis instructed William to keep a record of everything he from the small village of Rubrouck, near Saint-Omer in today’s northern France. heard and saw; after all, this was to be a momentous journey. And to his credit, In 1253, King Louis the IX of France (St Louis) was in Palestine, continuing his William’s journals can be said to have an almost scientific precision. However, crusade. On May 7, 1253, William left from the bustling streets of Constantinople William’s Itinerarium was written in Vulgate Latin and is not organised thematically. with his companion Bartholomew of Cremona, a fellow Franciscan monk. One The result is a sporadic, yet incredibly detailed series of descriptions of the natural must wonder if either man knew just how far they had to voyage. After reaching the landscape, its peoples and their customs. William even takes time to discuss the Crimean town of Sudak they secured wooden carts and oxen, braving the elements strange animals he passed, including the ‘yak’ and horned sheep that would later to reach the camp of Batu Khan, the fearless Mongol ruler of the Volga River. take its name from Marco Polo. William's fascination with other religions is also However, their stay was short-lived. They were instructed to travel a further 5,000 apparent as he gives invaluable descriptions of Mongol shamanism, Nestorian miles to meet the Möngke Khan at the court of Karakorum in central Mongolia. And Christians in Mongolia, and is also the earliest Western writer to provide a so, riding on horseback, they set off on September 16, 1253. It was on this journey description of Buddhism. that they faced tremendous hardship. Freezing cold, starvation, and dangerous roads plagued their steps. They would go north of the Caspian and Aral seas to the Talas River, through the Cailac Valley, and to the great plains of Mongolia, The Religions on the journey finally reaching Karakorum. They remained there until July 10, 1254, engaging in theological debates and numerous attempts to convert the Khan’s people. On the William of Rubruck’s journey would culminate in a great theological debate that journey home, they took a more northerly route arriving in Tripoli, northern Lebanon, occurred in the Court of Karakorum on May 30, 1254. The discussion was held 16 on August 15, 1255. between different faiths, namely Nestorian Christians, Buddhists and Muslims. 17 The population of the city contained a microcosm of the religious diversity of the The Sounds of Karakorum: some period instruments used in this concert Mongol empire. Shamanism, the Mongolian indigenous religion, was practised, as well as Islam brought by Muslim traders in earlier centuries. Buddhism was very The KAMANCHE, played by Martin Bauer, is a four-stringed bowed popular in the city at this time too, as was Nestorian Christianity. To put the event instrument common in Iran (Persian Music) and in other Middle into perspective, we need to briefly discuss the religions mentioned above. Eastern and Arabic traditions. It can be found all over the near and middle east, and in countries such as Azerbaijan and Russia. It The Muslim faith centres on the worship of the Prophet Muhammad, viewed by has a resonance box made of hardwood, such as walnut, which most branches of Islam to be God's final messenger. Muhammad was sent to is covered with a very thin young goat’s skin. Its wooden bridge is confirm the monotheistic teachings of those such as and who curved to allow bowing separate strings. Some resonance boxes came before him. The Buddhists, on the other hand, worship the Buddha, a former are made of a whole piece, and some, in Iran, are made of several Prince who suddenly realised that conditioned experiences could not provide strips bound together. The neck is also made of a very hard wood lasting happiness or provide protection from suffering. Further away, the Mongolians and is attached to the resonance box, and has pegs at the top end Kamanche practised a folk religion known as Shamanism, an animalistic and shamanic to tune the strings. At the bottom end, there is a spike, which is teaching adopted in surrounding regions since the dawn of recorded history. used to hold the instrument upright as it is played. Traditionally, the Shamanism was an all-encompassing spiritual belief that traversed medicine, most common tuning is a series of fifths, like the western violin. religion, and nature, by using male shamans (boo) and female shamanesses (ugdan) as conduits between the human and spiritual world. And finally, there were the The ERHU played by Yan Li is a two-stringed bowed Nestorian Christians, a sect originating in Asia Minor and Syria after their leader, instrument, more specifically a spike fiddle, often referred to as Southern Nestorius, was condemned. They stressed the independence of the divine and Fiddle or Chinese violin. It is used as a solo instrument as well as in human nature of Christ, suggesting the two were loosely united. small ensembles and large orchestras. It is the most popular of the huqin family of traditional bowed string instruments used by various It is clear that all of the above religions have a unique interpretation of divinity and ethnic groups of China. The Erhu can be traced back to proto-Mongolic the meaning of faith and worship. Each religion would also originate from different instruments introduced to China more than a thousand years ago. It is corners of the world. Muhammad united Arabia into a single Muslim polity which believed to have evolved from the Xiqin, which originated from the Xi would in turn lead to the creation of the Quran, the basis of all Islamic belief. The people of Central Asia, and came to China in the tenth century. Buddha would start his journey of self-enlightenment in the foothills of Nepal and India almost 2600 years ago. These Buddhists teachings on the nature of the mind The HURDY-GURDY is a stringed instrument that produces sound by a hand crank-turned, rosined wheel rubbing against the strings. The and enlightenment would later influence the Mongolians and their shamanism. And Erhu even today, the Nestorians are represented by the Church of the East, or Persian wheel functions much like a violin bow, and single notes played on Church, and have followers predominately based in Syria and Iran. the instrument sound similar to those of a violin. Melodies are played on a keyboard that presses tangents—small wedges, typically made And in all this was William of Rubruck, a humble Franciscan monk sent to of wood—against one or more of the strings to change their pitch. convert followers just as devout in their own faiths as himself. After the debate Like most other acoustic stringed instruments, it has a soundboard and hollow at Karakorum, William laments the fact that few converted. This could be said to cavity to make the vibration of the strings audible. Most hurdy-gurdies be a product of cultural difference as well as William’s inability to communicate have multiple drone strings, which give a constant in other languages. William describes his first encounter with Buddhist monks in pitch accompaniment to the melody, resulting in a his journal: “All the shave their heads, and are dressed in saffron colour, sound similar to that of bagpipes. The hurdy-gurdy is and they observe chastity from the time they shave their heads, and they live in generally thought to have originated from fiddles in congregations of one or two hundred. They keep their heads uncovered as long as either Europe or the Middle East sometime before the they are in temple, reading in silence and keeping in silence… I tried every means of eleventh century AD. Hurdy-Gurdy 18 inducing them to talk, but was unable to do so.” 19 PROLOGUE SCENE 1 – LEAVING HOME

13 April 1253 – Palm Sunday – Constantinople

To Louis, King of the French by the grace of God, brother William of Rubruck, inconsequential in order of the brothers Minor, sends his salutations. It is written in Ecclesiastes about the Wise: “In terram alienigenarum gentium pertransiet, bonaenim et mala in hominibus temptabit” (He will pass through the land of strange peoples, he will be tested by all things of good and evil). This have I done, O Lord my King.

Ay! Dieus/Oh God! – Austorg d’Aurillac (1225-1291) / Peirol d’Auvernha (1160-1225) – Troubadour song

Austorg d'Aorlhac VII of Aurillac was a son of Astorg VI of Aurillac and Marguerite de Malemort. He was knighted by King Louis IX on a Pentecost Day 1267, but he also was an Auvergnat troubadour. The only surviving sirvente (a type of Old

Palais du Khan, Photo Credit: Khaï-dong Luong© Khaï-dong Credit: Photo Khan, du Palais Occitan lyric poetry practiced by the troubadours) written by him is “Ay! Dieus!” It was composed after the defeat of the Seventh Crusade under Louis IX of France in 1250. This sirvente is a contrafactum (a substitution of one text for another without KARAKORUM – the ancient capital of Mongolia substantial change to the music) of a canso (song) by Peirol, who also was an KARAKORUM was founded by Genghis Khan in 1220 to serve as the capital of the Auvergnat troubadour, and mostly wrote songs of courtly love. Mongol Empire, with its construction being completed in 1235 during the reign of his successor Ögedei Khan. Karakorum in the thirteenth century was home to more The Black Sea – Melody from the Caucasus than ten thousand people, including royalty, noblemen, ministers, military leaders, craftsmen, traders, clergy, and foreign guests, in addition to nomads inhabiting 7 May 1253, we entered the Black Sea. compounds of gers (Mongolian tents). The remarkable size and diversity of the city’s population is reflected by the fact that there were, according to the account Sri devi ashtottara shata namavalih – Extract from the Buddhist hymn of the of William of Rubruck, "twelve idol temples belonging to different people, two 108 names of the Goddess Durga mosques where the religion of Mahomet is proclaimed, and one Christian church at the far end of the city". In addition to possessing significant resident populations of Chinese, Alans, Ruthenians, Georgians, Hermenians and other non-Mongol peoples, Karakorum was also host to a stream of foreign emissaries and traders. The city received official delegations from as far away as India, Arabia, Armenia and , as well as merchants from China, Persia, and other countries along the Silk Route. Today, very little remains of the former grand city, except for heaps of gravel indicating the outlines of former buildings and streets, and four granite turtles 20 marking the corners of the ruin. 21 SCENE 2 – TRAVELLING THROUGH A STRANGE LAND SCENE 3 – BATU KHAN

21 May 1253, we were heading East, with nothing to see other than the sky and the earth. 1 August, we were led into the great tent of Batu Khan. I then presented to him your letters in Greek, with an Arabic translation. We stayed standing before him for the 3. Loving the Beauty Lovingof Layla the beauty of Layla – Sufi chant time which is necessary to say « Miserere mei Deus ». ﻲﻠﺻ ﺎﯾ مﻼﺳ ةﻼﺻ ﺔﻠﯾﻣﺟ ﻲﻠﻋ حﺎﺑﺻﻣ ا مﻼﺿﻟ ﮫط ﺔﻠﯾﻔﻛ Ural – Melody of the sacred mountain ﻲﻧﻗرأ ا مارﻐﻟ نﻣ نﺳﺣ ﻟ ﯾ ﻰﻠ او ﻟ ﻘ بﻠ ﻲﻓ ﯾھ مﺎ ﻊﻣ ا ﯾﻣﺟﻟ ﺔﻠ Miserere mei Deus – Lenten penitential psalm sung on the ancient psalm tone – Gregorian chant دﻣﻌﻲ ﻓﻲ اﻧﺳﺟﺎم ﻋﻣﻠت ﻣﺳﯾﻠﺔ ُﻣذ أﺻﺎﺑﺗﻧﻲ ﺳﮭﺎم ﺻرت ﻋﻠﯾﻠﺔ

Batu ordered me to speak. I bent down on one knee as one does before a man, but تﻟﺎﻗ ﺎﯾ مﻼﻏ لﮭﻣأ ﻼﯾﻠﻗ وﻧداو ﻲﻧﻣ مارﺗﺣﺎﺑ و ﻲﻔﺷا ﻼﯾﻠﻐﻟا

our guide made a sign that I should bend both, which I did. And since I had knelt on * كﯾﻠﻋ مﻼﺳﻟا تﻠﻗ ﻰﻠﯾﻟ و ﻲﻠﻋ ﻊﻣﺟﻟا مارﻛﻟا مھ ﺔﻠﯾﺳوﻟا both knees, I began my speech with a prayer. Loving the beauty of Layla, I became a slave. My heart, prey to a mad love, was wandering with the beautiful one. Hunger, thirst, cold and fatigue were innumerable hardships. We walked in the 15. Vision of the BelovedOh Layla! "That salvation be upon you", I say to her and company of Batu for the first five weeks. The journey to Cailac lasted until the feast "On all the nobles who are your successors" accord oh my God of All . On 1 November, we entered this town, carrying high our banner and ﷲ ﷲ ﷲ ﷲ a sublime blessing to the beacon of the night, taha the well-doer. the cross, passing through the middle of the Saracen quarter.

Magdalene we arrived at the great river Vexilla regis – Christian hymn to Holly Cross and Muslim call to prayer ﻓ ﻘ د ز ا تﻟ Mary ا ﻟ بوﺟﺣ of Saint نﻋ بﺣ ﺣFeast ﯾ ن ﺑ د ا A few days before the

Don, which separates Asia from Europe, as the Nile separates Asia from Africa. ا ﺎﯾ قﺎﺷﻋ بوﺑﺣﻣﻟا تﻗو دوﮭﺷﻟا اذھ We left the town of Cailac on 30 November. Not far from there, we found an entire

.has never favoured you – Bertran de Nestorian village. Once within the church, we sang in full voice Salve Regina ﻣن َذا ﯾlove رﯾد مﮭﻔﯾ نﻣ ﺎﻧرﺳ ا موﺗﻛﻣﻟ Pos anc no-us ualc amors/Since Lamanon (1210-1270) & Granet (active 1240-1257) / Bernat de Ventadorn (1130- Salve Regina – Marian antiphon – Gregorian chant ﯾ وﻧد و ﯾ ﻠﻌﺗ م ﺗ ﺑ ود ﻟ ﮫ ا موﻠﻌﻟ Troubadour song – (1190

Bertran de Lamanon was a Provençal knight and troubadour. He was also an official, diplomat and ambassador at the court of the Count of Provence. There are only twenty-two works of his that survive, many dealing with Crusading themes. In one manuscript Bertran’s life is described in only twenty-seven words "Bertran d’Alamanon was from Provence, the son of Lord Pons de Brugières. He was a courtly knight and an eloquent speaker. And he composed good tensos and sirventes." In the song "Pos anc no-us ualc amors" Bertran eagerly awaits the arrival of the Antichrist, in order that he may possess a lady who is resisting him. The melody of this song is most likely based on one of the songs composed by a 22 prominent troubadour of the twelfth century, Bernat de Vertadorn. 23 SCENE 4 – THE STORM SCENE 5 – FINDING THE ARMENIAN MONK

The second Saturday of Advent, we were passing through a truly frightening place. 26 December 1253, we entered a plain, as vast as a sea. Our guide made me pronounce good words to send away demons… By the grace of God, we passed without harm. And so they asked me to write papers that they Heart beating in the steppes – Mongolian chant 鸿 雁 ，天空上 ， wore on their heads. I wrote for them “Credo”: “I believe”. 对对排成行， The wild geese in the sky fly one behind the other. Credo in unum Deum – Gregorian chant 江 水 长 ，秋草黄 ， Alongside the stream, the grasses of the steppes seem 草原上琴声忧伤。 made of gold in autumn and whistle a melancholy air. 鸿雁，向南方， The wild geese above the reeds fly towards the south. 飞过芦苇荡， In this limitless grey sky where are they going? 天 苍 茫 ，雁何往 ， My home is where my heart is. 心中是北方家乡。

The next day, we arrived at the camp of Möngke Khan. I saw a house with a cross above it. We entered with confidence. There was a large cross made of silver. An oil lamp was burning before the altar, and an Armenian monk was seated there. We sang in full voice Ave Regina Caelorum.

Ave Regina Caelorum – Marian antiphon – Gregorian chant

At the octave of the Innocents, 4 January 1254, we were led to the court of Möngke Khan. Nestorian priests arrived and, like us, were still celebrating the Nativity. We began to sing A solis ortus cardine.

A solis ortus cardine – Christian hymn – Gregorian chant

It is a Latin hymn, written c.430 by the early Christian poet Sedulius. The text recounts Christ’s life from his birth to his resurrection. The melody dates to the fifth century, beginning in the Dorian mode and ending in the Phrygian mode. The hymn is still in use in the modern Catholic liturgy. Letter ‘E’ showing Christ blessing four saints, from the Rimini Antiphonal, 1328 / illuminated by Neri da Rimini (Ref. Richardson 273, folio 71r). Courtesy: State Library of New South Wales.

24 25 3. Loving the Beauty of Layla

ﻲﻠﺻ ﺎﯾ مﻼﺳ ةﻼﺻ ﺔﻠﯾﻣﺟ ﻲﻠﻋ حﺎﺑﺻﻣ ا مﻼﺿﻟ ﮫط ﺔﻠﯾﻔﻛ

ﻲﻧﻗرأ ا مارﻐﻟ نﻣ نﺳﺣ ﻟ ﯾ ﻰﻠ او ﻟ ﻘ بﻠ ﻲﻓ ﯾھ مﺎ ﻊﻣ ا ﯾﻣﺟﻟ ﺔﻠ

دﻣﻌﻲ ﻓﻲ اﻧﺳﺟﺎم ﻋﻣﻠت ﻣﺳﯾﻠﺔ ﻣذ أﺻﺎﺑﺗﻧﻲ ﺳﮭﺎم ﺻرت ﻋﻠﯾﻠﺔ SCENE 6 – A FEAST SCENEُ 7 – THE DEBATE AT KARAKORUM

Möngke Khan at his court in Karakorum. About the تﻟﺎﻗwith ﺎﯾ مﻼﻏarrived لﮭﻣأwe ﻼﯾﻠﻗ وﻧداو,Sunday ﻲﻧﻣPalm مارﺗﺣﺎﺑ و ﻲﻔﺷا ﻼﯾﻠﻐﻟا So I said to Möngke Khan: “Lord, in the Holy Land, we have heard it said that Sartaq, the son of Batu, was Christian. The Christians greatly rejoiced about it and, town of Karakorum: you should know that, except for the palace of the Khan, the of Saint-Denis and the monastery of Saint-Denis is كﯾﻠﻋ مﻼﺳﻟاvillage تﻠﻗthe ﻰﻠﯾﻟ worth و isn’t ﻲﻠﻋ ﻊﻣﺟﻟاplace مارﻛﻟا مھ ﺔﻠﯾﺳوﻟا in particular, the King of the French, who makes a pilgrimage and fights against the Saracens there. So, accord us the permission to stay here to serve God.” worth ten times that of the palace. There are twelve idol temples, one church and two mosques. He called for us to be served with a drink based on rice, transparent and delicious like white wine. 15. Vision of the Beloved Vision of the Beloved – Sufi chant

ﷲ ﷲ ﷲ ﷲ Tang Tang – Mongolian melody

ﻓ ﻘ د ز ا تﻟ ا ﻟ بوﺟﺣ نﻋ بﺣ ﺣ ﯾ ن ﺑ د ا Drinking song – Mongolian melody

At the octave of Epiphany, Möngke Khan came in person and entered the church. ا ﺎﯾ قﺎﺷﻋ بوﺑﺣﻣﻟا تﻗو دوﮭﺷﻟا اذھ We sang « Veni Sancte Spiritus ». Come Holy Ghost.

ﻣن َذا ﯾرﯾد مﮭﻔﯾ نﻣ ﺎﻧرﺳ ا موﺗﻛﻣﻟ Veni Sancte Spiritus – Pentecostal sequence – Gregorian chant

* ﯾ وﻧد و ﯾ ﻠﻌﺗ م ﺗ ﺑ ود ﻟ ﮫ ا موﻠﻌﻟ

When my beloved appeared, she was unveiled! Oh! You who are in love with the beloved. It is the time to contemplate, that he who wishes to pierce our secret is approaching and learning. All knowledge will be revealed to him.

The Sunday before Pentecost, the great secretaries of the court came to see me. “You are all here, Christians, Saracens and Tuins, and each one says that his law is the best, and that his writings are the truest. Möngke Khan wishes that you all assemble for a debate…”

We had a meeting therefore on 30 May 1254, the eve of Pentecost.

“Here is the order of Möngke Khan. That no one dare pronounce aggressive or injurious words against anyone else, neither arouse an uproar which impedes this undertaking, under pain of death…” 26 27 All the Tuin priests got together and repeated ceaselessly these words: Om Ma Ni Pad Me Hum: Generosity, Ethics, Patience, Diligence, Renunciation, Wisdom.

The Debate at Karakorum “What do you believe on the subject of God?” “We believe that there is only one God.” “Do you believe that he is of the spirit or of corporeal substance?” “We believe that he is spirit.” “Do you believe that he was once clothed in human nature?” “Not at all!” “Why do you therefore create bodily images?” “We believe that he is spirit.” “We do not depict these images for God, but when among us a man comes to die, we worship the image in his memory.” “Where is your soul?” “In our bodies!”

SCENE 8 – FAREWELL

The following day, Möngke Khan called me and said: “We believe that there is only one God. But as God has given to the hand several fingers, in the same way he has given to men several pathways. You have stayed here a long time, and I now would like you to return. You have a long journey to make. Strengthen yourself by eating heartily, so that you can arrive in your country in good health.”

Veni Veni Emmanuel – Advent hymn of Franciscan origin – Gregorian chant

With hearts high – Melody from Kyrgyzstan

28 *Thanks to Brett Hatfield and Alene Khatcherian for their assistance with Arabic text. 29 OUR PARTNERS OUR DONORS

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Patrons His Excellency General the Honourable Sir Peter Cosgrove AK MC (Ret'd) Governor-General of Australia His Excellency General the Honourable David Hurley AC DSC (Ret'd) Governor of New South Wales Artistic Director Hotel. Restaurant. Bar Paul Dyer AO Managing Director Sofi tel-Melbourne.com.au Bruce Applebaum R The Brandenburg Council Jillian Broadbent AO Greg Hutchinson AM Max Suich The Board David Zehner, Chairman Alison Harrop, Deputy Chair Aidan Allen Bruce Applebaum David Baffsky AO Richard Boyce Paul Dyer AO John C Fast Rohan Mead Greg Ward Sheryl Weil

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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 Address 142 New South Head Road, Edgecliff NSW 2027 | Post GPO Box 4416, Sydney NSW 2001 36 Telephone 61 2 9328 7581 | Website brandenburg.com.au | Email [email protected] CITY RECITAL HALL LIMITED 2 Angel Place Sydney NSW 2000 Board of Directors Renata Kaldor AO (Chair) Administration Timothy Cox AO (Deputy Chair) 02 9231 9000 Helen Bauer The Hon Justice Elizabeth Fullerton Box Office Kerri Glasscock 02 8256 2222 Marcus McArdle Carol Mills Website Maria Sykes cityrecitalhall.com Louise Walsh

CEO Elaine Chia

MELBOURNE Founding Patron Executive Staff RECITAL CENTRE The Late Dame Elisabeth Euan Murdoch, Corner Southbank Boulevard Murdoch AC DBE Chief Executive Officer and Sturt Street Board of Directors Jasja van Andel, Southbank VIC 3006 Kathryn Fagg, Chair Head of Operations Administration Peter Bartlett Marshall McGuire, 03 9699 2228 Stephen Carpenter Director of Programming Box Office Corponi Robert Murray, Director 03 9699 3333 The Hon Mary Delahunty Marketing & Customer Relations Proudly supporting the Paul Donnelly Facsimile Sandra Robertson, 03 9207 2662 Eda Ritchie AM Director of Development Margaret Farren-Price Sandra Stoklossa, Australian Brandenburg Website Margaret Taylor melbournerecital.com.au Director Corporate Services Orchestra since 2010 Chair ACKNOWLEDGEMENT The Queensland Performing Arts Professor Peter Coaldrake AO Trust is a statutory body of the State of Queensland and is partially funded by Deputy Chair the Queensland Government Leigh Tabrett PSM The Honourable Leeanne Enoch MP, Minister for Environment and the Great Barrier Reef, QUEENSLAND PERFORMING Trust Members Minister for Science and Minister for the Arts ARTS CENTRE Director-General, Department of Environment Dare Power and Science: Jamie Merrick Susan Rix AM QPAC respectfully acknowledges the Traditional PO Box 3567, Leanne de Souza Owners of the Lands across Queensland and pays respect to their ancestors who came before South Bank, QLD 4101 them and to Elders past, present and emerging. Chief Executive Patrons are advised that the Performing Telephone John Kotzas Arts Centre has EMERGENCY EVACUATION 07 3840 7444 PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest Website EXIT sign in GREEN, listen to and comply qpac.com.au with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre. SUPPORT A BRANDENBURG DREAM

The Brandenburg has dreamed big for nearly 30 years and our dreams for the next 30 are even bigger. We need your support to turn our dreams into realities. Your support can help us change the lives of young musicians, deliver thrilling concert experiences and bring the Brandenburg to audiences across Australia. Donate online at: brandenburg.com.au/support us Or support one of our specific philanthropic programs: Orchestral Chairs Allowing us to attract and retain the very best period musicians. Chairman’s 11 Enabling us to showcase outstanding guest artists from around the world. International Baroque Study Program Supporting our musician’s professional development. New Instrument Fund Allowing us to invest in world-class period instruments. To support one of these programs, please contact us: T: 1300 782 856 E: [email protected]

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