PRINCIPAL PARTNER MEDITERRANEO WITH DANIEL PINTENO Feel the fervour of southern Spain

ONE WORLD PREMIERE | TWO AUSTRALIAN PREMIERES | BOLDLY BAROQUE PROGRAM NOTES

In 1737 the castrato Farinelli, the greatest singer produced by Farinelli in the magnificent gardens royal family were offended by Facco’s refusal, a recurring ritornello (refrain) alternating with in Europe, was appointed by King Philip V of of the Buen Retiro royal palace at Madrid. because when Maria Bárbara married the heir contrasting episodes featuring the soloist. After Spain, as ‘my servant, who answers only to me or to the Spanish throne and moved to Madrid, a short expressive second movement built on to the queen, my very beloved wife, for his unique What to listen for accompanied by Scarlatti, Facco’s standing slowly changing harmonies, the last movement talent and skill in the art of singing’. Philip gave within the court dramatically declined. begins with a short fugue in four parts before him an extremely generous salary, ‘a decent and This overture is described as a più stromenti – for launching into a buoyant saltarello, a dance form suitable Lodging for his person and family as well many instruments – but this seems a misnomer, Facco composed a number of operas for the based on a hopping figure. in all my Royal Seats as in any other place where as it is a showcase for the solo violin, with two Spanish court, and was the first composer to he may be ordered to attend on my Person’, two other violin parts, supported by continuo. It is in write an opera in the new modern Italian style ANTONIO VIVALDI (1678–1741) mules for city travel and six mules for the country, three short movements, the last being marked but with a Spanish libretto. He also composed and various other perks. Farinelli had to sing to ‘presto spiccato’. Spiccato is an advanced bowing cantatas and serenades, and a significant Concerto for Flute La Notte in G Minor, the king every night, as a cure for his depression, technique used to play short notes, in which the amount of instrumental music, however nearly Op. 10, No. 2 and as artistic director of the opera theatres bow appears to bounce on the string. all of it was lost in a fire in the royal palace in at Madrid and Aranjuez he mounted fabulous Madrid, and his music was not heard again until Largo Presto – Fantasmi (Ghosts) productions of Italian opera, employing Italian GIACOMO (JAIME) FACCO (1676–1753) the score of the collection of concertos entitled singers and Italian orchestral players. Pensieri adriarmonici was discovered in an Largo Concerto from Pensieri Adriarmonici archive in Mexico City in 1961. On the title page Presto Farinelli was the most famous and best paid of in E Major, Op. 1, No. 3 Facco describes himself as ‘Venetian musician Largo – Il sonno (Sleep) the many Italian musicians who arrived in Spain and currently servant of His Excellency’ the Allegro in the first half of the eighteenth century, in Allegro assai Viceroy of Sicily, so it appears that he composed response to the new enthusiasm for Italian music Adagio the collection before he moved to Madrid. It was Vivaldi gave three of his concertos the title ‘La among the Spanish elite. This was driven in large Allegro assai published in Amsterdam between 1716 and 1718, notte’, or night. This one for solo flute, dating part by Philip V (who was in fact French). He soon after Vivaldi’s L’estro armonico which almost from 1729, is an extended arrangement of the wanted to project an image of himself at home Facco was born near Padua, in northern Italy, but certainly inspired it. first, a chamber concerto (for a small number and abroad as a modern cosmopolitan ruler, other than his birthplace nothing is known about of instruments with no orchestra) written about and adopting the latest fashionable Italian music his early life or how he came to be working for What to listen for ten years earlier. Along with his Four Seasons bolstered that image. the Spanish Viceroy of Sicily in the 1710s, when concertos, it is the most programmatic of he was described as the Viceroy’s ‘Virtuoso’. Facco’s birthplace of Padua was at that time part Vivaldi’s music, that is, it is instrumental music When the Viceroy returned to Spain Facco went of the Venetian Republic, hence his description of which depicts a story or scene. VICENTE BASSET (ACTIVE 1748–1762) with him, and worked as a violinist and cellist in himself as a Venetian musician. Venice lies on the Overtura a più stromenti in D Major, Bas-9 the orchestra which served the Spanish court. Adriatic Sea, and the title of the collection means In the Baroque period certain keys were He also served as music teacher to the teenaged ‘reflections on Adriatic harmonies’. ‘Adriatic’ associated with particular affects or emotions. Allegro assai sons of the Spanish king, and composed works probably should be taken to imply ‘Venetian’, G minor represented fear, agitation or revenge, Moderato for important court occasions. It is clear that he as these concertos are very much in the new and was a deliberate choice by Vivaldi for a Presto spiccato was highly regarded, as he was asked by the Venetian style popularised by Vivaldi, being for concerto which was intended to conjure up King of Portugal to teach his daughter, Princess solo violin and strings in three movements. In silence, mystery and disturbing nocturnal visions. Little is known about Vicente Basset, not even Maria Bárbara, however he refused and the this concerto, however, for the most part the Nothing is known about why it was composed or his nationality. His name appears on lists of position was taken instead by the famous Italian soloist joins with the first violins and is not given for whom, however the virtuosic flute part pushed orchestral players in Madrid in the middle of the composer and keyboard player Domenico an opportunity for the virtuosic display which the boundaries of contemporary flute playing eighteenth century, and he played the violin in Scarlatti, son of the equally famous Alessandro was typical of Vivaldi’s concertos. The bright technique and Vivaldi must have intended it for Scarlatti. It appears that the Portuguese 10 the orchestra which accompanied Italian operas first movement is closest in style to Vivaldi, with an excellent flute player. 11 PROGRAM NOTES

What to listen for What to listen for the publication in 1711 of his Opus 3, a collection What to listen for of twelve concertos that he called L’e s t r o The concerto is atypical of Vivaldi’s usual This work is variously described as either an armonico. It was the largest and most expensive A particularly striking feature of Vivaldi’s compositional style in many respects. All of the overture or a sinfonia. It could have been collection of music published up to that time. compositional style, and one which other ‘night’ concertos have six movements (instead of intended as an overture, probably to a comic L’estro armonico means frenzied or passionate composers quickly followed, was to build the the usual three), and are characterised by sudden opera, judging by the style of the first movement harmony, an appropriate title given the sheer fast first and third movements of his concertos changes of tempo, bizarre twists and turns which alternates quick running melodic patterns energy and vigour of Vivaldi’s style expressed on repeated refrains (ritornellos), which he slightly in harmonic direction, and unexpected shifts with held repeated notes. Alternatively it could in forceful rhythms and endless variety, which varied each time to maintain interest and give a between major and minor. The first movement have been a concert symphony, however by along with the concertos’ originality in terms of sense of momentum. These are played by the of this concerto begins with the orchestra in 1780, when López composed this piece, it had musical form made them so fascinating. full orchestra, and are contrasted with virtuosic unison in a dotted rhythm, which though similar become standard practice for a symphony to solo episodes, also varied each time. This can to a French overture is full of foreboding. The have four movements, whereas this work has This seminal work provided a model for concerto be heard very clearly in this concerto’s lively second fast movement, titled ‘Ghosts’ by Vivaldi, only three. composition that was followed and built on by first movement, which is then contrasted with a is marked by rushing ascending scales. A Largo other composers from France to Germany to graceful, gentle slow central movement. This is (slow) movement provides a calm interlude of rest The first movement opens with military style Italy for years to come. J S Bach developed his again typical of Vivaldi, with all the interest given before another agitated Presto. In the second fanfare motifs for horns, and extended solo compositional style by studying and transcribing to the solo violin, while the orchestra essentially Largo, ‘Sleep’ is represented by long, soft notes passages for a pair of . This was innovative six of these concertos; this particular concerto plays accompanying chords. The final movement which barely seem to change in an unusually writing for the period, when it was still quite was the basis for his concerto BWV is also dominated by the solo violin, whose part static harmony. new to feature wind instruments in this way. 972. Other composers transcribed them for is increasingly virtuosic. Unexpectedly, a contrasting middle section for instruments as varied as the carillon, harp, glass solo violin has the character of a concerto as harmonica and unaccompanied violin. FÉLIX MÁXIMO LÓPEZ (1742–1821) CHARLES AVISON (1709–1770) does the slow second movement, where again Overtura con tutti instrumenti in B-flat Major the solo violin dominates while other strings Vivaldi wrote about two hundred and thirty Concerto Grosso after Scarlatti in are relegated to an accompanying role. The concertos for solo violin, most of them thought D Major, Op. 6, No. 6 Allegro moderato third movement of a Classical symphony, such to have been written for the exceptionally fine Andante as those by Mozart or Haydn, is a minuet, but female players at the Pietà, the orphanage for I Largo Allegro unusually here López incorporates a minuet into girls in Venice for whom Vivaldi worked on and II Con furia the fast final movement, which is a lively gigue. off for most of his career. Vivaldi was himself Félix Máximo López is probably best known as a virtuoso violinist, and much of his writing ‘Of the lowest Class … VIVALDI …, whose the subject of a painting by the famous Spanish Compositions being equally defective in various ANTONIO VIVALDI (1678–1741) for violin is extremely technically demanding. portrait painter Vicente López Portaña, which Johann Uffenbach, a traveller from Germany and Harmony and true Invention, are only a fit now hangs in the Prado Museum. López spent Concerto for Violin in D Major from a keen amateur musician, was astounded at his Amusement for Children; nor indeed for these, most of his career as an organist at the royal L’estro Armonico, Op. 3, No. 9 technical feats: if ever they are intended to be led to a just chapel in Madrid, starting as fourth organist in Taste in Music.’ 1775, during the reign of Charles III. Promotion Allegro Vivaldi played a solo accompaniment – splendid was only possible when the incumbents of Larghetto – to which he appended a cadenza which really Charles Avison, An Essay on Musical Expression, positions higher up the hierarchy died, so it was Allegro terrified me, for such playing has never been 1752 not until 1805 that he became first organist. nor can ever be; he came with his fingers within López composed many works for organ and Vivaldi died penniless and unknown in 1741, yet a mere grass-stalk’s breadth of the bridge, so Charles Avison was an English organist, keyboard, as well as vocal works, and some only thirty years earlier he had been the most that the bow had no room – and this on all four composer, teacher, and concert manager. were published during his lifetime, however only a famous instrumental composer in Europe after According to the eighteenth century music 12 strings with imitations and at incredible speed. 13 very few pieces by him have survived. PROGRAM NOTES

historian Charles Burney, Avison was ‘an What to listen for with an appetite for new music, and when he After a slow introduction, the ‘mania’ (Brunetti ingenious and polished man, esteemed and became king he established a new royal chamber wrote the word over the first entry of the solo respected by all who knew him; and an elegant This concerto is one of a set of concertos orchestra, with Brunetti as director. Most of cello), is represented by fast repetitive minor writer upon his art’. He was also one of the published in 1758, and which Avison based Brunetti’s four hundred and fifty compositions seconds. The cellist is isolated from the rest of most important and influential English writers on enormously popular keyboard pieces were chamber pieces or symphonies composed the orchestra, stuck in musical detail, ‘obsessed’ in the field of musical aesthetics, publishing his by the Italian composer . for this orchestra, but he also introduced music with repeating this one small interval. The controversial and influential Essay on Musical Each concerto has the usual concerto grosso by other European composers who wrote in the orchestra has the rational melody, whereas Expression in 1752. He favoured moderation and movement form of slow–fast–slow–fast, and early Classical style favoured by the king. Haydn the cellist’s part consists of the fixed inflexible shunned what he considered the extravagance typically contrasts the full orchestra against a was a particular favourite. repetition of detail. The maniac’s motif appears of Vivaldi and Handel, although history clearly small group of soloists. Despite what Avison again in the second movement, but then is has disagreed with him. He disliked the display wrote about the music of others, his own Brunetti was an imaginative composer, but absent for most of the third movement until of virtuosity or excessive ornamentation, concertos are full of baroque exuberance because very few of his compositions were foreshadowed by an unsettling change to the considering it was done ‘merely from a Desire of and energy. In this concert only the first published in his lifetime he has remained largely minor: the obsession is still present after all. being distinguished’. For him, an effective solo two movements will be played. The second forgotten since the eighteenth century. During the first section of the last movement, performance was to be found ‘in the tender and movement tests all players, particularly the solo which is in three parts, the solo cellist, seemingly delicate Touches, which to such indeed are least violinist, as they play ‘con furia’ – furiously – What to listen for rehabilitated, joins with the other cellists. A perceptible, but to a fine Ear productive of the twice through the entire movement, as directed relapse back into obsession occurs in the minor highest Delight.’ in the score. Brunetti wrote this symphony in 1780. It is middle section of the movement, as the rest of programmatic, in that it sets out to musically the orchestra, disheartened, start to join in, until Avison lived most of his life in Newcastle depict a narrative. Its Spanish title, Il Maniatico, GAETANO (CAYETANO) BRUNETTI finally all is resolved in a bright major key. upon Tyne, and probably because of this his means ‘the maniac’, or perhaps more accurately (1744–1798) compositions were limited to accompanied ‘the obsessive person’, as the explanation that keyboard sonatas and string concertos. The four Sinfonia in C Minor Il Maniatico, L. 322 Brunetti wrote in his introduction to the score movement concerto grosso or ‘grand concerto’ makes clear: was the main type of orchestral music composed I Introduzione: Largo, Andantino in England in the first half of the eighteenth II Allegro This is a symphony which describes as much as century, long after it had been superseded in III Quintetto Allegretto one can by using only instruments, without the Europe by the Vivaldian three movement solo IV Allegro Spiritoso – Andantino – Allegro help of words, the fixation of a delirious person on concerto. Although Europeans would have Spiritoso an objective, and this part is performed by a solo considered it old-fashioned, it was an ideal form cello, to which are joined the other instruments, to use when composing for provincial orchestras, An Italian, Brunetti was one of the leading rather like friends, who are committed to freeing as the difficult solo sections could be played composers in Spain in the second half of the him from his delirium, presenting him with an by professional musicians and the easier tutti eighteenth century. He moved to Madrid at the infinite variety of ideas, an infinite variety of motifs. sections by the gentleman amateurs who made age of eighteen and played as a violinist in the The maniac remains fixed on his primary objective up the rest of the ensemble. There was a great royal court orchestra (like López, he had to wait for a long time, until he meets a cheerful motif demand for pieces of this type in the middle of for those further up the hierarchy to die before that can persuade him, and makes him unite the century, and Avison was one of the most he could advance to a more senior position), and with the others. After a momentary relapse, finally, prolific and accomplished composers of them, from 1770 he was also violin teacher to King carried along by a joint impulse, it concludes with writing no less than ninety-two! Charles III’s adult son, the Prince of Asturias. The all happily united. Prince was particularly interested in art (he was Goya’s patron) and was an accomplished violinist, 14 Program notes and timeline © Lynne Murray 2018 15 COMPOSERS CONTEMPORARY EVENTS

1676 Facco born near Padua, Italy Bacteria discovered 1678 Vivaldi born in Venice Roman Catholics banned from English parliament

Vivaldi is ordained as a priest and appointed violin teacher at the Pietà girls' 1703 Fire brigade founded in Edinburgh orphanage in Venice

1709 Avison born Cast iron produced for the first time 1711 Vivaldi's L'estro armonico Opus 3 published; Facco working in Sicily Handel mounts first London opera 1713 Vivaldi's first opera performed, in Vicenza The Guardian newspaper founded in England 1716 Facco's concerto collection Pensieri adriarmonici published Beijing becomes the largest city in the world 1717 Leaves the Pietà to mount productions of own operas throughout Italy Handel composes Water Musick 1723 Contracted by Pietà to produce two concertos a month British parliament makes it an offence punishable by death to black one’s face to hunt deer 1725 Vivalid's Four Seasons published Catherine I becomes Empress of Russia Domenico Scarlatti arrives in Madrid as music master to Portuguese princess Maria Barbara, on her 1729 Vivaldi writes La notte concerto marriage to future king of Spain Ferdinand VI 1737 Farinelli moves to Madrid employed by King Philip V; he never sings in public again 1740 Basset working in Madrid; Vivaldi leaves Venice for Vienna Rule, Britannia! first performed at home of Prince of Wales 1741 Vivaldi dies in poverty in Vienna Handel composes Messiah and Samson 1742 López born Messiah first performed 1744 Brunetti born Canaletto paints the Grand Canal in Venice 1753 Facco dies British parliament extends citizenship to Jewish people 1762 Basset dies Native American Cherokee chief visits George III in England 1770 Avison dies Captain Cook drops anchor in Botany Bay 1775 López attains position of fourth organist at Madrid royal chapel Mozart composed five violin concertos in Salzburg 1780 López composes Sinfonia; Brunetti composes Il Maniatico symphony Goya paints Christ Crucified 1798 Brunetti dies Platypus discovered by Europeans 1821 López dies Napoleon dies; caffeine identified 16 17 Series One Series Two The Brandenburg English Baroque Concertos with Circa The Brandenburg Concertos reveal the imperishable A tumbling commotion of musicians and acrobats collide genius of J.S. Bach. In a highly-anticipated event, in an explosive collaboration of contemporary circus five concertos will be performed in one unforgettable and music from the English Baroque. With an inspired evening showcasing the immense talent of Australia’s pasticcio by Paul Dyer and Yaron Lifschitz from 16th and national Baroque orchestra in an array of daring 17th-century England, this dazzling concert experience instrumental combinations. will have you gripping your seat and gasping in awe.

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