Publications for Daniel Yeadon 2021 2019 2018 2017 2016 2015 2014
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Ayres and Graces Concert Program
Ayres & Graces CONTENTS PAGE Program 5 Messages 7 Biographies 11 the Australian Program notes success story that’s 22 built on energy. Get to know the future of connected energy. We’re Australia’s largest natural gas infrastructure business. With thanks We’ve been connecting Australian energy since 2000. From small beginnings we’ve become a top 50 ASX-listed company, 33 employing 1,900 people, and owning and operating one of the largest interconnected gas networks across Australia. We deliver smart, reliable and safe energy solutions through our deep industry knowledge and interconnected infrastructure.. www.apa.com.au SPECIAL EVENT Ayres & Graces DATES Sydney City Recital Hall Tuesday 27 October 7:00PM Wednesday 28 October 7:00PM Friday 30 October 7:00PM Saturday 31 October 2:00PM Saturday 31 October 7:00PM Online Digital Première Sunday 1 November 5:00PM Concert duration approximately 60 minutes with no interval. Please note concert duration is approximate only and is subject to change. We kindly request that you switch off all electronic devices prior to the performance. 2 AUSTRALIAN BRANDENBURG ORCHESTRA PHOTO CREDIT: KEITH SAUNDERS SPECIAL EVENT SPECIAL EVENT Ayres & Graces Ayres & Graces ARTISTS PROGRAM Melissa Farrow* Baroque flute & recorder Jean-Baptiste Lully Prologue: Ouverture to Cadmus et Hermione, LWV 49 Mikaela Oberg Baroque flute & recorder Marin Marais Musettes 28 and 29 from Pièces de Viole, Livre IV, Suite No. 4 Rafael Font Baroque violin in A minor Marianne Yeomans Baroque viola Anton Baba Baroque cello & viola da -
Cimf20201520program20lr.Pdf
CONCERT CALENDAR See page 1 Beethoven I 1 pm Friday May 1 Fitters’ Workshop 6 2 Beethoven II 3.30 pm Friday May 1 Fitters’ Workshop 6 3 Bach’s Universe 8 pm Friday May 1 Fitters’ Workshop 16 4 Beethoven III 10 am Saturday May 2 Fitters’ Workshop 7 5 Beethoven IV 2 pm Saturday May 2 Fitters’ Workshop 7 6 Beethoven V 5.30 pm Saturday May 2 Fitters’ Workshop 8 7 Bach on Sunday 11 am Sunday May 3 Fitters’ Workshop 18 8 Beethoven VI 2 pm Sunday May 3 Fitters’ Workshop 9 9 Beethoven VII 5 pm Sunday May 3 Fitters’ Workshop 9 Sounds on Site I: 10 Midday Monday May 4 Turkish Embassy 20 Lamentations for a Soldier 11 Silver-Garburg Piano Duo 6 pm Monday May 4 Fitters’ Workshop 24 Sounds on Site II: 12 Midday Tuesday May 5 Mt Stromlo 26 Space Exploration 13 Russian Masters 6 pm Tuesday May 5 Fitters’ Workshop 28 Sounds on Site III: 14 Midday Wednesday May 6 Shine Dome 30 String Theory 15 Order of the Virtues 6 pm Wednesday May 6 Fitters’ Workshop 32 Sounds on Site IV: Australian National 16 Midday Thursday May 7 34 Forest Music Botanic Gardens 17 Brahms at Twilight 6 pm Thursday May 7 Fitters’ Workshop 36 Sounds on Site V: NLA – Reconciliation 18 Midday Friday May 8 38 From the Letter to the Law Place – High Court Barbara Blackman’s Festival National Gallery: 19 3.30 pm Friday May 8 40 Blessing: Being and Time Fairfax Theatre 20 Movers and Shakers 3 pm Saturday May 9 Fitters’ Workshop 44 21 Double Quartet 8 pm Saturday May 9 Fitters’ Workshop 46 Sebastian the Fox and Canberra Girls’ Grammar 22 11 am Sunday May 10 48 Other Animals Senior School Hall National Gallery: 23 A World of Glass 1 pm Sunday May 10 50 Gandel Hall 24 Festival Closure 7 pm Sunday May 10 Fitters’ Workshop 52 1 Chief Minister’s message Festival President’s Message Welcome to the 21st There is nothing quite like the Canberra International Music sense of anticipation, before Festival: 10 days, 24 concerts the first note is played, for the and some of the finest music delights and surprises that will Canberrans will hear this unfold over the 10 days of the Festival. -
The Voice and Histories of Emotion: 1500-1800 Performance Collaboratory
program THE VOICE AND HISTORIES OF EMOTION: 1500-1800 Performance Collaboratory Presented by ARC Centre of Excellence for the History of Emotions Hosted by Department of Performance Studies The University of Sydney 29 September – 1 October 2014 program THE VOICE AND HISTORIES OF EMOTION: 1500-1800 Performance Collaboratory Presented by ARC Centre of Excellence for the History of Emotions (CHE) Hosted by Department of Performance Studies The University of Sydney 29 September – 1 October 2014 Venues Collaboratory Organising Committee Main Venue Jane Davidson & Penelope Woods, CHE The Rex Cramphorn Studio Alan Maddox, Ian Maxwell & Glen McGillivray, Department of Performance Studies The University of Sydney The University of Sydney The studio is on Level 1 of the John Woolley Building, A20, and is accessed from Manning Rd, down the concrete steps opposite the Old Teachers’ College. sydney.edu.au/arts/about/maps.shtml?locationID=A20 Monday Afternoon Venue The Old School, Building G15 Important Notice Maze Crescent, University of Sydney. Participants can access wifi internet through the The Old School building backs onto Cadigal Green ‘UniSydney’ network, not ‘Uni-Sydney Guest’ network. in the Darlington section of campus, a 5-10 minute account name: historyofemotions walk from Performance Studies. password: 58316659 sydney.edu.au/arts/about/maps.shtml?locationID=G15 program Day 1: Monday 29 September, Rex Cramphorn Studio 8.30am Registration at The Rex Cramphorn Studio 9.15am Welcome 9.30–10.30am Session 1: KeynoTe Chaired by Jane davidson -
Cpo 555 156 2 Booklet.Indd 1 12.06.2020 09:36:39 Jean-Philippe Rameau
Jean-Philippe Rameau Pigmalion · Dardanus Suites & Arias Anders J. Dahlin L’Orfeo Barockorchester Michi Gaigg cpo 555 156_2 Booklet.indd 1 12.06.2020 09:36:39 Jean-Philippe Rameau cpo 555 156_2 Booklet.indd 2 12.06.2020 09:36:39 Jean-Philippe Rameau (1683–1764) Pigmalion Acte-de-ballet, 1748 Livret by Sylvain Ballot de Sauvot (1703–60), after ‘La Sculpture’ from Le Triomphe des arts (1700) by Houdar de la Motte (1672–1731) (selected movements: Suite & Arias) 1 Ouverture 4'41 2 [Air,] ‘Fatal Amour’ (Pigmalion) 3'22 3 Air. Très lent – Gavotte gracieuse – Menuet – Gavotte gai – Chaconne vive – 5'44 Loure – Passepied vif – Rigaudon vif – Sarabande pour la Statue – Tambourin 4 Air gai 2'19 5 Pantomime niaise 0'44 6 2e Pantomime très vive 2'07 7 Ariette, ‘Règne Amour’ (Pigmalion) 4'35 8 Air pour les Graces, Jeux et Ris 0'50 9 Rondeau Contredanse 1'37 cpo 555 156_2 Booklet.indd 3 12.06.2020 09:36:39 Dardanus Tragedie en musique, 1739 (rev. 1744, 1760) Livret by Charles-Antoine Leclerc de La Bruère (1716–54) (selected movements: Suite & Arias) 10 Ouverture 4'13 11 Prologue, sc. 1: Air pour les [Jeux et les] Plaisirs [et la Jalousie et sa Suite] 1'06 12 Air pour les [Jeux et les] Plaisirs 1'05 13 Prologue, sc. 2: Air gracieux [pour les Peuples de différentes nations] 1'30 14 Rigaudon 1'41 15 Act 1, sc. 3: Air vif 2'46 16 Rigaudons 1 et 2 3'36 17 Act 2, sc. 1: Ritournelle vive 1'08 18 Act 4, sc. -
The “Sublime Singing” (Gramophone, 2017) of Soprano Miriam Allan
The “sublime singing” (Gramophone, 2017) of Soprano Miriam Allan has been enjoyed across the world, from her native Australia, through Japan and Singapore, as well as at festivals throughout Europe and North America. During the 2019-20 season she will perform with David Bates’ La Nuova Musica at London’s Wigmore Hall & St John’s Smith Square, reunite with Dunedin Consort for Bach’s St Matthew Passion and sing Monteverdi Vespers and Mozart’s Mass in C Minor at Cadogan Hall. 2019 has, thus far, seen her return to Australia as artist in residence at the Newcastle Music Festival, sing Iphis (Jeptha, Handel) at Trigonale Festival, perform as Emma Kirkby’s guest during the latter’s 70th birthday recital at the Wigmore Hall, and sing Handel & Corelli motets with Les Arts Florissants prior to continuing their cycle of Gesualdo Madrigals. Of her performance as Josabeth (Athalia, Handel, Pinchgut Opera) the Sydney Morning Herald said “Miriam Allan … sang with ravishing sound, limpid elegance and precision, decorating lines with stylish ornamental arabesque.” Other recent performances have seen her debut with Sir Roger Norrington and the London Philharmonic Orchestra (2nd woman, Dido and Aeneas, Purcell) as well as Bach St Matthew Passion at Wigmore Hall with Dunedin Consort and John Butt and her debut with Portland Baroque, performing Messiah. A performance of this same work was “the vocal magic of the night…she took the audience’s breath away.” (Sydney Morning Herald, 2017) Other recent highlights have included Bach cantatas at the BBC Proms, a recital of Dowland lute songs within the enclaves of Windsor Castle and performances with the Queensland Orchestra and Erin Helyard. -
Barocca Programme
BAROCCA PROGRAMME Kamala Bain (recorder) Emma Goodbehere (cello) Erin Helyard (harpsichord) Rowena Simpson (soprano) This brand new ensemble is the latest addition to the New Zealand early music scene, combining the talents of four immensely talented Wellington-based musicians including the brilliant harpsichordist Erin Helyard, founder of Sydney’s Pinchgut Opera. Emma Goodbehere and Rowena Simpson are both recent TAURANGA MUSICA graduates of The Royal Conservatory in The Hague, one of the foremost conservatories world-wide for the study of historical performance practice. Emma specialised in baroque cello with 2013 Jaap ter Linden, and since her return has become a core member of New Zealand’s premier baroque orchestra, NZ Barok. She toured concert series with the Wallfisch Band for Chamber Music NZ in 2010 and runs a highly successful Suzuki cello studio in Wellington. Rowena remained in The Netherlands for a few years, performing with some of the top Dutch chamber music ensembles before returning to New Zealand with her young family. She sings with the Chapman Tripp Opera Chorus and is in demand as a specialist in baroque singing. Her latest passion is the development of small theatrical projects, most recently the show ‘Home’, which toured In association with Chamber Music New Zealand New Zealand twice during 2012. Kamala Bain is a performance graduate of the Conservatory proudly presents of Amsterdam, renowned as a pre-eminent centre for recorder studies. While in the Netherlands, she toured and worked as assistant director for the Amsterdam-based consort, the Royal Wind Music. Now based in Wellington, with a busy private teaching practice, her work as a performer and teacher takes her Barocca regularly back to Europe and Australia. -
Maarja Nuut Davíð Þór Jónsson Rahim Alhaj & Karim
Seidler Salon Series MAARJA NUUT DAVÍÐ ÞÓR JÓNSSON RAHIM ALHAJ & KARIM WASFI GENEVIEVE LACEY, DANIEL YEADON & NEAL PERES DA COSTA GOLDNER STRING QUARTET VOX CLAMANTIS Photo: Photo: Nicholas Watt Music and architecture come together in a series of talks and concerts hosted in, and inspired by, the unique buildings of Australia’s most famous modernist architect, Harry Seidler. I am so pleased to welcome you to experience music in Seidler spaces. The five venues cover 50 years of architectural creativity; each one makes a distinct spatial experience. It was the Rose Seidler house of 1950 which brought Harry to Australia; 9–28 JANUARY it instantly became a beacon for modernism, creating an informal way of life and blending with nature. Our own house at Killara almost 20 years later is where Harry loved to play Bach on the piano. The house is tougher, made of concrete and stone, a split-level construction; both houses remain identical to the time of their completion. The Milsons Point apartment of 1988 and Cove Apartments of 2003 illustrate Harry’s increasing use of grand curved spaces, and the Elizabeth Street office venue of the late ’90s is an example of robust commercial architecture. Harry and I loved having music fill the spaces and I hope you will also enjoy music in architecture. Penelope Seidler December 2017 2 Photo: Photo: Renee Altrov Jón Páll Eyjolfsson Photo: MAARJA NUUT DAVÍÐ ÞÓR JÓNSSON ESTONIA ICELAND SEIDLER PENTHOUSE, NORTH SYDNEY HARRY AND PENELOPE SEIDLER HOUSE, KILLARA 9 JANUARY AT 6.30PM 13 JANUARY AT 2.30PM & 6.30PM 10 JANUARY AT 6.30PM 90 MINS 11 JANUARY AT 11AM & 6.30PM 90 MINS TALK TALK Philip Cox in conversation with Simon Marnie Penelope Seidler AM in conversation with (ABC Radio Sydney) Simon Marnie (ABC Radio Sydney) One of Australia’s pre-eminent architects, Philip Cox Inside the Harry and Penelope Seidler home that they designed buildings feature across our major cities. -
Historical Performance Practice at the Beginning of the New Millennium
Historical Performance Practice at the beginning of the new millennium Dorottya Fabian An interest in early music and performing practices of the past has a long history by now. Its characteristics in the nineteenth century have been mapped by several authors, especially in relation to the revival of Johann Sebastian Bach’s music, the Cecilian Movement and various musical developments in England. Even more pub- lications are available on its twentieth-century history.1 The initiatives during the early decades (e.g. the organ and recorder movements of the 1920s, the establish- ing of the Schola Cantorum in Basel in 1933) and the contribution of pioneers like Wanda Landowska and Arnold Dolmetsch have been extensively studied togeth- er with lesser-known figures, places and institutions.2 But as is well-known, it was during the second half of the twentieth century that the Early Music or Historically Informed Performance Movement has truly taken off, becoming a major force in the world of classical music. Many books and papers have been dedicated to the history of this development, its various phases, musical characteristics, key figures, aesthetic outlook and philosophical assumptions, and its achievements. There was a burgeon- ing of such literature and heated debates during the 1980s and 1990s followed by more comprehensive and ‘corrective’ analyses published during the early years of the 2000s, most focussing on the second half of the twentieth century.3 Much less has 1 Harry Haskell, The Early Music Revival – A History, London 1988; George B. Stauffer, Changing Issues of Performance Practice, in: John Butt (Hg.), Cambridge Companion to Bach, Cambridge 1997, S. -
Salvaging the Style of Frei Aber Einsam in the Music of Brahms
Graduate Theses, Dissertations, and Problem Reports 2018 Salvaging the Style of Frei Aber Einsam in the music of Brahms: Proposing a Historically Informed Performance Practice for the Three Sonatas for Violin and Piano of Johannes Brahms, Opp. 78, 100, and 108 Phillip Alexander Ducreay Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Musicology Commons, and the Music Performance Commons Recommended Citation Ducreay, Phillip Alexander, "Salvaging the Style of Frei Aber Einsam in the music of Brahms: Proposing a Historically Informed Performance Practice for the Three Sonatas for Violin and Piano of Johannes Brahms, Opp. 78, 100, and 108" (2018). Graduate Theses, Dissertations, and Problem Reports. 7494. https://researchrepository.wvu.edu/etd/7494 This Thesis is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Salvaging the Style of Frei Aber Einsam in the music of Brahms: Proposing a Historically Informed Performance Practice for the Three Sonatas for Violin and Piano of Johannes Brahms, Opp. -
Haunting Handel
Australian Brandenburg Orchestra Haunting Handel PAUL DYER artistic director and harpsichord FIONA CAMPBELL mezzo soprano KIRSTEN BARRY baroque oboe S Y DN EY City Recital Hall Angel Place Friday 13, Saturday 14, Wednesday 18, Friday 20, Saturday 21 May all at 7pm M EL BO UR N E Melbourne Recital Centre Sunday 22 May at 5pm, Monday 23 May at 7pm This concert will last approximately 2 hours including interval. We kindly request that you switch off all electronic devices during the performance. The Australian Brandenburg Orchestra is assisted The Australian Brandenburg by the Australian Government through the Australia Orchestra is assisted by the NSW Council, its arts funding and advisory body. Government through Arts NSW. PRINCIPAL PARTNER Program Haunting Handel Vivaldi Sinfonia in C Major from Farnace RV 711 FION A C A MPB ELL Orlando Vivaldi Aria "Sorge l’irato nembo" from RV 728 mezzo soprano Vivaldi Aria "Sol da te mio dolce amore" from Orlando RV 728 Vivaldi Concerto for Oboe in C Major RV 450 A U st RAL I A N Handel Aria "Where shall I fly" fromHercules HWV 60 BRA nd E nb U R G O R C HE st RA IN TERVA L The musicians on period instruments Handel Overture to Giulio Cesare HWV 17 Handel Aria "Mi lusinga a dolce affetto" from Alcina HWV 34 VI O L I N 1 THEORBO/GU I TAR Rachael Beesley Tommie Andersson*+ Handel Aria "Se bramate d’amar" from Xerxes HWV 40 (Guest Concertmaster) Handel Concerto Grosso Op 3 No 2 HWV 313 Julia Fredersdorff F L UTE Handel Aria "Lascia ch’io pianga" from Rinaldo HWV 7* Brendan Joyce Melissa Farrow*+ Matt -
Baroque Duets
BAROQUE DUETS Fiona Campbell | David Walker Ironwood Neal Peres Da Costa FRANCESCO CAVALLI (1602–1676) L’Ormindo: 1 “De’nostri abeti…Amo Erisbe, amo Ormindo” (Act II) 2:55 Prison Scene from Act III 14:04 2 “Di te me pesa… sola, sola poss ’io morir” 3:39 3 “Ah, questo è l’imeneo…Sì, che questa note” 4:51 4 “Ormindo, io sento” 2:34 5 “Piangete, amori” 3:00 AGOSTINO STEFFANI (1654–1728) La libertà contenta: 6 “Volate, momenti” (Act II)* 2:21 GEORGE FRIDERIC HANDEL (1685–1759) Alcina: 7 “Verdi prati” (Act II) 3:39 CLAUDIO MONTEVERDI (1567–1643) / BENEDETTO FERRARI (c.1603–1681) L’incoronazione di Poppea: 8 “Pur ti miro” (Act III) 4:14 HANDEL Giulio Cesare in Egitto: 9 “Son nata a lagrimar” (Act I) 7:40 Susanna: 10 “When thou art nigh, my pulse beats high” (Act I) 3:04 Theodora: 11 “To thee, thou glorious son of worth” (Act II) 5:03 Alexander Balus: 12 “Calm thou my soul… Convey me to some peaceful shore” (Act III) 3:08 CAVALLI La Calisto: 13 “Vivo per te pietosa…Dolcissimi baci” (Act III) 4:31 HANDEL “Caro autor di mia doglia” – Duet, HWV 182b* 6:37 14 “Caro autor di mia doglia” 2:35 15 “Nò, che d’altui che di te” 2:00 16 “Dagli amori flagellata” 2:02 * World premiere recording 1 CAVALLI CAVALLI L’Ormindo L’Ormindo Finale Finale to Act to ActII II 1 ERISBE & ORMINDO De’ De’nostri nostri abeti abeti amor amor sia Tifi sia Tifi accorto, accorto, My love, may Tiphys, helmsman of the Argo, egli eglici guidi ci guidi fortunati fortunati in porto. -
2002 Subscription Series: Concert Four
2021 Subscription Series: Concert One Friday 29 January 7.30pm, Albert Hall, CANBERRA Sunday 31 January 3.00pm, Verbrugghen Hall, SYDNEY Rebels Amy Moore Soprano Sally Melhuish Recorder Hans-Dieter Michatz Recorder Matthew Greco Baroque Violin Julia Russoniello Baroque Violin Karina Schmitz Baroque Viola Tim Blomfield Baroque Cello Simon Martyn-Ellis Theorbo Monika Kornel Harpsichord Salut! Artistic Directors: Sally Melhuish & Tim Blomfield A huge thank you for all for the amazing support you gave us in 2020. We greatly appreciate your donations and offers to convert tickets into donations during such a difficult time, especially as we received no government funding or support. It has been inspiring to receive such crucial support – we could not have done it without you, and we look forward to continuing the baroque music journey with you in 2021. Salut! wishes to thank the following for their generous support in 2021: Sonata da chiesa ($1,000+) Andrew Singer Friends ($10-$99) Fugue ($500-$999) Michael Barton Mary Nagle & Deirdre Whitford John & Cynthia Blount Anonymous Keith Brister Kay Britcliffe & Margaret Pitt Sarabande ($100-$499) Barbara Burns Geoffrey Bartlett Pamela Harris Andrew Bennett Ailsa Hocking Susan Cox & Bernard Williams Peter Cumines Pamela Kenny Robert Dingley Brigitte Kestermann & Elizabeth Lawson Celia Lindsay Ross & Elizabeth Hindmarsh Peter Marshall Rosemary Greaves Elizabeth & John Oliver Paul and Betty Meyer Anne Quinane Dr Louise Moran Stuart Read Elizabeth Murphy Edward Reid George & Margaret Nichols Pamela Swaffield Helen White & Bob Susan Tanner Richardson Sheila Thompson Anonymous Anonymous Program Johann Joseph Fux (1660-1741) Ouverture in D minor K.357 (1701) Overture; Pour le Rosignol; Gigue Nicola Porpora (1686-1768) Aria Alto giove from Opera Polifemo, Act III, Scene V (1735) Georg Frideric Handel (1685-1759) Concerto in G minor Op.