Experience a vibrant new energy brought to Vivaldi, Graun and Duchiffre. Macquarie’s CMA gives Sydney and Melbourne. October – November 2018. me confidence

The Cash Management Account preferred ARTISTS Paul Dyer AO Artistic Director, Conductor by 1 in 3 SMSFs* is now powered by an Lixsania Fernandez (Cuba) viola da gamba award-winning digital experience. Shaun Lee-Chen (Australia) Baroque violin Anthea Cottee (Australia) viola da gamba Australian Brandenburg Orchestra

PROGRAM Corelli, Scarlatti, Marais, Vivaldi Folia pasticcio Locatelli Violin Concerto in D Il laberinto armonico, Op. 3 No. 12 Vivaldi Concerto for 2 Violins & Viola da Gamba from L’estro armonico, Op.3 No.2, RV 578 Interval Graun Concerto for Viola da Gamba in G Major* Vivaldi Sinfonia al Santo Sepolcro, RV 169 Duchiffre Tango from Concerto for 2 Violas da Gamba

macquarie.com/cma SYDNEY CITY RECITAL HALL Wednesday 31 October at 7pm Friday 2 November at 7pm Saturday 3 November at 7pm Wednesday 7 November at 7pm Friday 9 November at 7pm Saturday 3 November at 2pm (Matinee)

MELBOURNE MELBOURNE RECITAL CENTRE Saturday 10 November at 7pm Sunday 11 November at 5pm Jane, with Macquarie since 2000 CHAIRMAN’S 11 Proudly supporting our guest artists.

WINNER SMSF Adviser Award for Cash Concert duration approximately 2 hours, including one 20-minute interval. Accounts and Term Deposits three years We kindly request that you switch off all electronic devices during the performance. in succession and 2018 Self Managed This concert will be broadcast on ABC Classic FM on Sunday 18 November, 12pm. Super Funds Coredata Awards for both * Denotes Australian Premiere SMSF Adviser and Member categories

This information is provided by Macquarie Bank Limited AFSL 237502 and does not take into account your objectives, financial situation or needs. LIXSANIA & THE LABYRINTH 1 You should consider whether it is appropriate for you. *Macquarie Bank Limited data, ATO Self-managed Super Fund Statistical Report. From the Artistic Director From our Paul Dyer Principal Partner

Tonight, charismatic Cuban viola da gamba player Lixsania Macquarie Group is delighted to welcome you to the Fernandez takes on a Baroque tango, a concerto and a folia whilst fifth concert series for 2018, Lixsania and the Labyrinth. Shaun Lee-Chen enters the Labyrinth by Pietro Antonio Locatelli.

Written above the notes of this scintillating piece Shaun’s explosive performance style and Macquarie Group appreciates the powerful impact The Brandenburg is renowned for presenting are the words ‘easy to enter, difficult to exit’… technical brilliance naturally lends itself to music has on people and is deeply invested in the historically informed music performance in a way but first Lixsania. the physical gymnastics required to escape advancement of arts and culture in Australia. that resonates with today’s audiences, and this the relentless maze of challenging passages in We are thrilled to continue our longstanding concert perfectly demonstrates this. I became a major fan of Lixsania Fernandez when this jaw-dropping concerto. partnership with the Australian Brandenburg I saw her playing in a monastery at a music festival I hope you enjoy this fantastic performance and Orchestra. The orchestra’s broad reach – through in France a few years back. She is a powerful It’s our 30th anniversary next year and I’ve I look forward to welcoming you again at future touring widely, introducing Baroque music to new musician with charisma to burn, and I couldn’t prepared a beautiful subscription program for Brandenburg concerts. audiences, and inspiring emerging artists – is vital keep my eyes off her for a second as she made you all. You can book a subscription immediately to the future of early music. music onstage. She’s vibrant, buoyant, beautiful, and casual tickets go on sale on the 5th of December and plays this exotic instrument with refinement just before our traditional Christmas concert series This concert series presents the incredible Lixsania and elegance. Lixsania is a virtuoso and modern- Noël! Noël! begins. Fernandez, a performer who energises audiences day champion of the viola da gamba, a six or seven and fellow musicians alike with her charisma and Enjoy! string instrument with frets which was one of the talent and a total command of her iconic instrument most popular instruments of the Renaissance and – the viola da gamba. Lixsania is celebrated for her Bill Marynissen Baroque periods. passionate and vibrant performances, bringing a Head of Wealth Management fresh vigour to the concert stage. This innovative The Cuban musician, who now lives in the Spanish and engaging approach is reflective of the values town of Sant Cugat del Valles just north of Barcelona, shared by Macquarie and the Brandenburg, namely makes her Australian debut with us in this series Paul Dyer AO excellence and innovation, underpinned by skill, with pieces written for the gamba, one of which is Co-Founder & Artistic Director knowledge and passion. an Australian premiere - Graun’s Concerto for Viola da Gamba in G major. Locatelli wrote a canon of highly virtuosic violin pieces primarily for his own performance. The ‘capricci’ in these works completely pushed the boundaries and physical possibilities of the violin and his ‘Harmonic Labyrinth’ violin concerto that you will hear tonight is the perfect piece for Brandenburg Concertmaster Shaun Lee-Chen to tackle.

2 AUSTRALIAN BRANDENBURG ORCHESTRA LIXSANIA & THE LABYRINTH 3 Biography Biography Lixsania Fernandez Paul Dyer

Charismatic Lixsania Fernandez’s energetic viola da gamba Paul Dyer is one of Australia’s leading specialists leads the Brandenburg in this tantalising twist on the Baroque. in period performance.

Lixsania Fernandez is from a small town in the Brandenburg Orchestra and Choir, including the province of Matanzas, Cuba and began playing 1998, 2001, 2005, 2009 and 2010 ARIA Awards for the modern violin and viola at just eight years old. Best Classical Album. Lixsania was initially introduced to the viola da Paul has performed with many international gamba when working with Ars Longa, a group soloists including Andreas Scholl, Cyndia Sieden, directed by Teresa Paz, where she fell in love with Marc Destrubé, Christoph Prégardien, Hidemi early music. After leaving Cuba at 24 years old, Suzuki, Manfredo Kraemer, Andrew Manze, Yvonne Lixsania went on to study the viola da gamba in the Kenny, Emma Kirkby, Philippe Jaroussky and many Manuel Castillo Conservatory of Music in Seville and others. In 1998 he made his debut in Tokyo with later in the Juan Crisostomo Arriaga Conservatory countertenor Derek Lee Ragin, leading an ensemble of Music in Bilbao. She was then awarded a degree of Brandenburg soloists, and in August 2001 Paul in viola performance from the National Art Schools toured the orchestra to Europe with guest soloist of Havana. In 2006, Lixsania was also awarded a Andreas Scholl, and featured on the soundtrack of scholarship from the University of Salamanca. the James Bond 007 movie, Spectre. Lixsania has participated in several classes offered A passionate cook, entertainer, foodie, teacher, by renowned musicians including Jordi Savall, He co-founded the Brandenburg in 1989 after swimmer, traveller, he is friends with people and Sigiswald Kuijken and Vittorio Ghielmi and has completing postgraduate studies at the Royal artists from Istanbul to India and Japan to Italy taught at prestigious music schools such as the Conservatorium in The Hague, and has been creating a unique platform for overseas performing Miguel Hernández University of Elche and the Artistic Director and conductor since that time. artists to work with him and the Brandenburg in Sebastián Albero School of Music in Pamplona. Paul is a performing artist comfortable in his unique Australia. She has recorded two CDs for the prestigious Dutch music arena – whether working in ancient music, Among his list of achievements, Paul was awarded label Brilliant Classics, including her first solo disc contemporary music, opera, with artists such as the Officer of the Order of Australia (AO) in 2013 for with the ensemble Recondita Armonia. circus performers, contemporary dance, or visual art. his ‘distinguished service to the performing arts His busy performing schedule in Europe, Asia, the in Australia’. Paul is Patron of St Gabriel’s School USA and Canada over the years has synchronised for Hearing Impaired Children. In 2003 Paul was perfectly alongside his bold stage work in Australia. awarded the Australian Centenary Medal for his Paul is an inspiring teacher and has been a staff services to Australian society and the advancement member at various Conservatories throughout the of music, and in 2010 Paul was awarded the world. In 1995 he received a Churchill Fellowship Sydney University Alumni Medal for Professional and he has won numerous international and national Achievement. awards for his CD recordings with the Australian

4 AUSTRALIAN BRANDENBURG ORCHESTRA LIXSANIA & THE LABYRINTH 5 Biography Biography Shaun Lee-Chen Anthea Cottee

Shaun Lee-Chen completed his Bachelor of Music (Performance) Anthea Cottee began her musical life as a violinist and viola at the University of Western Australia in 2000 with first class player, then at 18 she started the cello with Janis Laurs at the Honours, studying under Paul Wright and Pal Eder. University of Adelaide.

Shaun was the most outstanding graduate for music Anthea studied in at the Guildhall School at the University of Western Australia in 2000, and of Music and Drama with Stefan Popov on modern in 2001 was accepted into the Australian National cello, and Anthony Pleeth on Baroque and Classical Academy of Music in Melbourne. cello. She regularly performs on a variety of instruments from modern, Baroque and Classical Shaun Lee-Chen is Artist-in-Residence at the cello to other instruments including the viola University of Western Australia and holds a part da gamba and basse de violon. She enjoys the time position as Violinist in the West Australian challenges of exploring these different instruments, Symphony Orchestra. and the changes of nuance and colour they bring to In 2016 Shaun was announced the Brandenburg’s the music. Concertmaster. Shaun is at home on both Baroque Anthea has appeared as a soloist on both Baroque and Modern violin and was ABC Young Performer cello and gamba for the Australian Brandenburg of the Year in 2007. He has appeared as Soloist with Orchestra, where she has been a regular member numerous groups including the West Australian since 1998. She has performed as principal cellist Symphony Orchestra, the Queensland Symphony for Sydney Philharmonia, Opera Australia, Australian Orchestra and the Tasmanian Symphony Orchestra. Haydn Ensemble, and Orchestra of the Antipodes Shaun is one of the featured Soloists in the 2015 Aria for Pinchgut Opera, and the Hobart and Brisbane nominated CD Brandenburg Celebrates. He has also Baroque Festivals. In addition to her work in Baroque performed as Guest Principal with the Sydney, West and Classical performance, Anthea toured with Circa Australian and Tasmanian Symphony Orchestras. for their acclaimed program Il Ritorno, and also premiered Gouttes d’un sang etranger for Viola da Gamba and Saxophone by Felicity Wilcox as part of the Vivid Festival. Anthea plays on a viola da gamba made by Gary Bridgewood in 1987.

6 AUSTRALIAN BRANDENBURG ORCHESTRA LIXSANIA & THE LABYRINTH 7 Musicians Biography Australian Brandenburg Orchestra Australian Brandenburg Orchestra

Paul Dyer AO Artistic Director, Conductor The Australian Brandenburg Orchestra, led by charismatic Lixsania Fernandez (Cuba) viola da gamba Shaun Lee-Chen (Australia) Baroque violin Artistic Director Paul Dyer, celebrates the music of the sixteenth, Anthea Cottee (Australia) viola da gamba seventeenth and eighteenth centuries with excellence, flair and joy. Australian Brandenburg Orchestra

HARPSICHORD Comprising leading specialists in informed Since its beginning, the Brandenburg has been Paul Dyer* (Sydney) performance practice from all over Australia, popular with both audiences and critics. In 1998 the Brandenburg performs using original edition The Age proclaimed the Brandenburg “had reached BAROQUE VIOLIN scores and instruments of the period, breathing the ranks of the world’s best period instrument + Matt Bruce* Associate Concertmaster (Sydney) fresh life and vitality into baroque and classical orchestras”. In 2010 the UK’s Gramophone Magazine + Ben Dollman* (Adelaide) masterpieces – as though the music has just sprung declared “the Australian Brandenburg Orchestra is Rafael Font (Sydney) from the composer’s pen. Australia’s finest period-instrument ensemble. Catherine Shugg (Melbourne) Under their inspiring musical director Paul Dyer, The Orchestra’s name pays tribute to the Natalia Harvey (Melbourne) their vibrant concerts and recordings combine Brandenburg Concertos of J.S. Bach, whose musical Matthew Greco (Sydney) historical integrity with electrifying virtuosity and genius was central to the baroque area. Celebrating Aaron Brown (Brisbane) a passion for beauty”. Annie Gard (New York) their 29th anniversary in 2018, the Brandenburg continues to deliver exhilarating performances. The Australian proclaimed that “a concert with the BAROQUE VIOLA Australian Brandenburg Orchestra is like stepping The Brandenburg has collaborated with such Monique O’Dea+1 (Sydney) back in time, as the sounds of period instruments acclaimed and dynamic virtuosi as Andreas Marianne Yeomans (Sydney) resurrect baroque and classical works with Scholl, Philippe Jaroussky, Kristian Bezuidenhout, Christian Read (Melbourne) reverence and authority”. Emma Kirkby, Andreas Staier, Elizabeth Wallfisch, BAROQUE CELLO Genevieve Lacey, Andrew Manze and more. The Brandenburg’s 20 recordings with ABC Classics + include five ARIA Award winners for Best Classical Jamie Hey* (Melbourne) Through its annual subscription series in Sydney Album (1998, 2001, 2005, 2009 and 2010). In 2015 Rosemary Quinn (Sydney) and Melbourne, the Australian Brandenburg the Australian Brandenburg Orchestra was the Orchestra performs before a live audience in excess DOUBLE BASS recipient of the Sidney Myer Performing Arts Group of 52,000 people, and hundreds of thousands more Rob Nairn* (Adelaide) Award and in 2016 the Helpmann Award for Best through national broadcasts on ABC Classic FM. Chamber Concert. THEORBO/BAROQUE GUITAR The Orchestra also has a regular commitment to Tommie Andersson* (Sydney) performing in regional Australia. Since 2003 the Discover more at brandenburg.com.au Australian Brandenburg Orchestra has been a member of the Major Performing Arts Group, which comprises 28 flagship national arts organisations supported by the Australia Council for the Arts. The Orchestra began regular touring to Queensland * Denotes Brandenburg Core Musician in 2015. + Section Leader 1 Monique O’Dea appears courtesy of Presbyterian Ladies’ College, Sydney (staff) Harpsicord preparation by Joanna Butler, Sydney and Donald Nicolson, Melbourne

8 AUSTRALIAN BRANDENBURG ORCHESTRA LIXSANIA & THE LABYRINTH 9 Musicians Musicians Australian Brandenburg Orchestra Australian Brandenburg Orchestra

PAUL DYER SHAUN LEE-CHEN ANTHEA COTTEE AARON BROWN ANNIE GARD MONIQUE O’DEA Artistic Director/harpsichord Baroque Violin Viola da Gamba Baroque Violin Baroque Violin Baroque Viola

MATT BRUCE RAFAEL FONT CATHERINE SHUGG MARIANNE YEOMANS CHRISTIAN READ JAMIE HEY Baroque Violin Baroque Violin Baroque Violin Baroque Viola Baroque Viola Baroque Cello

NATALIA HARVEY BEN DOLLMAN MATTHEW GRECO ROSEMARY QUINN ROB NAIRN TOMMIE ANDERSSON Baroque Violin Baroque Violin Baroque Violin Baroque Cello Double Bass Theorbo/Baroque Guitar

10 AUSTRALIAN BRANDENBURG ORCHESTRA LIXSANIA & THE LABYRINTH 11 Program Notes Program Notes

Viola da gamba (1653–1713) Marin Marais (1656–1728) Alessandro Scarlatti (1660–1725) Although the viola da gamba looks like a cello, (1678 - 1741) it actually belongs to a separate family of instruments, the viols. FOLIA PASTICCIO attention of the great composer and conductor Lully, The folia was a popular dance form which originated who was to become his mentor. Marais was one of in Portugal in the late fifteenth century. Its name the first French musicians to gain a reputation as a The instrument is played while being balanced means ‘mad’ or ‘empty-headed’, and indeed the soloist, and his performances of his own works for between the legs (‘da gamba’) , unlike the violin, dance was so fast and noisy that the dancers viol drew public acclaim for his playing ‘like an angel’. which was originally called ‘da braccio’ (‘on the arm’). seemed out of their minds. The musical framework Marais composed nearly six hundred works for viol. Viols have six strings (sometimes seven or less of the folia was re-worked by the French composer He based his folia, a set of thirty-two variations, on commonly five) rather than the violin family’s four, Lully in the 1670s, and many composers throughout that of Corelli. Marais’ life was the subject of the and are also constructed differently, having a flat the Baroque period wrote sets of variations over its 1992 film Tous les matins du monde, starring Gerard back and a fretted neck rather like a guitar. The body repeating bass line. In music a pasticcio (pastiche) Dépardieu as Marais. of a viol is very lightly constructed, of very fine wood. is a work which contains music from a number of Alessandro Scarlatti was as famous for vocal Its light body and low tension of the strings makes different composers, in this case drawing from the music as Corelli was for instrumental music. His the viol very resonant and responsive to even famous folia variations composed by Arcangelo compositions were considered the crowning the lightest touch with the bow, but its sound is Corelli, Marin Marais, Alessandro Scarlatti and achievement in Italian vocal music towards the end not powerful. The method of using the bow is the Antonio Vivaldi. of the seventeenth century, and established him in opposite to that used for a violin or cello. The bow Corelli was educated in Bologna but spent almost his own time as the most famous composer in Italy is held underhand, with the palm facing upwards, all his adult life in Rome, where he had become one and much of Europe. Scarlatti was born in Sicily so the amount of weight applied from the arm is of the city’s foremost violinists by the age of only but lived in Rome from the age of twelve. The pope reduced and articulation is more subtle. Viols were twenty-three. The publication of his six volumes banned operas from being performed publicly, so originally made in a range of sizes from treble to of trio sonatas and concertos coincided with the Scarlatti moved to Naples to further his career as an contrabass, and were extremely popular in the boom in music publishing which occurred about opera composer. He was a prolific composer in all Renaissance and early Baroque periods. By the 1700, and made him famous throughout Europe. genres, writing more than fifty operas, and hundreds eighteenth century viols had virtually disappeared in His works remained enormously influential across of cantatas, motets and masses. His variations on Italy, their soft-grained sound having been overtaken Europe for many years, particularly in England where the folia were composed for keyboard in 1715. by the more penetrating violin, but in France the they developed almost a cult following, and his bass viol was still considered the most sophisticated Antonio Vivaldi’s version, entitled ‘La Follia’, is in compositions and compositional style were much and aristocratic of instruments. the form of a trio sonata (in D minor, Opus 1 No. 12, imitated. Corelli’s folia variations were published as RV 63). It was published in Venice in 1705, only part of his Opus 5 set of violin sonatas in 1700. five years after the publication of Corelli’s Opus 5. Born the son of a poor Parisian shoemaker, Marin This is early Vivaldi, six years before the L’estro Marais was a viol virtuoso. When he was a child he armonico set of concertos which made his name all began to have lessons with the famous bass viol over Europe, and ten years before the Four Seasons player, Sainte-Colombe, and he was reputed to have concertos. Vivaldi’s version consists of a theme and exceeded his teacher in ability after only six months. nineteen variations in one long movement, and was A position in the orchestra of the Paris Opéra clearly inspired by Corelli’s original. soon followed, in 1675, and this brought him to the

12 AUSTRALIAN BRANDENBURG ORCHESTRA LIXSANIA & THE LABYRINTH 13 Program Notes Program Notes

Pietro Locatelli (1695–1764)

VIOLIN CONCERTO IN D MAJOR IL LABERINTO In 1733 Locatelli arranged for the publication in WHAT TO LISTEN FOR “Locatelli must surely be allowed ARMONICO, OP. 3, NO. 12 Amsterdam of his Opus 3, entitled The Art of the The first and last movements of this concerto are by all to be an earthquake … Allegro, Capriccio Violin. It consisted of a set of twelve concertos, each similar in structure to those by Vivaldi, with the full Largo, Presto with the by then standard three movements, as well orchestra alternating with episodes for the solo What bow strokes! What fire! Allegro, Capriccio as a capriccio for solo violin at the end of the first violin. Unusually, however, the first movement begins What energy! He plays with so and last movements of each concerto. A capriccio with a long introductory passage for solo cello Locatelli is often regarded as the founder of modern (or caprice) is the term for a whimsical, fantastical which is then joined by the full orchestra taking up much fury upon his fiddle, that instrumental virtuoso playing. He was born in piece of music. The concertos were described by a the same theme. The writing for the solo violin is in my humble opinion, he must Bergamo in northern Italy, and travelled to Rome player later in the eighteenth century as ‘long and virtuosic, with chromatic passages and long phrases wear out some dozens of them in at the age of sixteen to study the violin with the very difficult ... well-known rocks for a thousand consisting just of double stopping (playing two fine players associated with the great violinist and shipwrecks … One difficulty follows the other, strings at once). The orchestra drops out completely a year. … He has the most affected composer Arcangelo Corelli. During the 1720s he daredevil intricacies come in rapid succession’. for the capriccio, then re-joins the solo violin with a look just before he begins to play, toured extensively throughout Europe, creating restatement of the theme. a sensation with his spectacular style of playing, The capriccios are not really part of the musical that I ever saw in my life…” structure of the concertos, are often longer than The central movement opens with the full orchestra which was ‘like a devil’, according to one listener. As AN ENGLISH AMATEUR WHO HEARD HIM the movement to which they are attached, and are playing a series of slow moving chords before the a player, he was revolutionary. He experimented with IN AMSTERDAM IN 1741 new kinds of articulation and extended the range meant to be played at breakneck speed. As they solo violin enters with long expressive lyrical lines, of notes of the violin into an extreme high range called for techniques which few if any violinists then accompanied by solo cello. Unusually there is a then unheard of, expanding the boundaries of violin possessed, they were incredibly difficult, and remain much faster second section to this movement, with technique in ways that still challenge players today. extremely challenging. To play them successfully the the solo violin playing rapid leaps at the absolute eighteenth century violinist needed to use the bow upper limit of its range. The final movement in an In 1729, at the age of only thirty-four, Locatelli retired in quite different ways, and the extreme high notes energetic dance rhythm features the solo violin to Amsterdam where he remained for the rest of and difficult chords call for exceptional dexterity in playing an arpeggiated figure throughout. As his life, supervising the publishing and sale of his the left hand. Locatelli was well aware of what he in the first movement, everything stops for the compositions and giving private concerts (one was asking for, and wrote on the score ‘Il laberinto treacherously high capriccio, then the orchestra observer commented that ‘he never will Play any armonico: facilis aditus, difficilis exitus’ – ‘the joins in for the conclusion. where but with Gentlemen’). Unusually, he did not harmonic labyrinth: easy to get into, difficult to get teach, and indeed an Englishman who heard him out of’. wrote, ‘he is so afraid of People Learning from him, that He won’t admit a Professed Musician into his Concert’.

14 AUSTRALIAN BRANDENBURG ORCHESTRA LIXSANIA & THE LABYRINTH 15 Program Notes Program Notes

Antonio Vivaldi (1678–1741) Johann Gottlieb Graun (1702–1771) AUSTRALIAN PREMIERE

CONCERTO FOR TWO VIOLINS & VIOLA DA GAMBA Vivaldi composed nearly five hundred concertos, of CONCERTO FOR VIOLA DA GAMBA IN G MAJOR He also wrote twenty-two major works for viola da IN G MINOR, FROM L’ESTRO ARMONICO, which two hundred and thirty were for solo violin. Allegro gamba, including ten concertos, because Frederick’s OP. 3 NO. 2, RV 578 We know very little about the origins of most of the Adagio ma non tanto con sordino orchestra included Ludwig Christian Hesse, a player Adagio e spiccato concertos, not even when they were written, or for Allegro who was described at the time as the greatest Allegro whom. This particular concerto was composed by viola da gamba player in Europe. By this time the Violin virtuoso Johann Gottlieb Graun was the first Larghetto Vivaldi for two solo violins and solo cello, and was instrument was no longer fashionable, and the musician hired by Prussian Crown Prince Frederick Allegro one of twelve concertos, published in 1711 under the position of gambist only continued in the Berlin when he was starting his own small orchestra, which title L’estro armonico. Their publication made Vivaldi orchestra while Hesse stayed to fill it. When he left, Vain, egotistical, boastful, grasping, and with an then became the orchestra of the royal court based famous throughout Europe and had an enormous after twenty-two years, his position was scrapped, extraordinary zest for life – these words, among in Berlin once the prince became King Frederick the influence on other composers who modelled their and a cellist hired instead. Frederick’s younger many others, have been used to describe Antonio Great in 1740. With virtually unlimited power and concertos on his. In this concert, the solo cello part brother August Wilhelm and his nephew Friedrich Vivaldi, who was known as ‘the Red Priest’, wealth and an almost obsessive interest in music, will be played by viola da gamba. Wilhelm, later king, were also accomplished gamba supposedly because of the colour of his hair. He Frederick was able to employ the finest musicians players. was ordained as a priest in 1703 but had to stop WHAT TO LISTEN FOR in Germany as players, conductors and composers, saying mass only three years later because of a Vivaldi pioneered the use of ritornello form, a and his orchestra with forty players was one of the WHAT TO LISTEN FOR debilitating chest complaint (probably bronchial concerto structure in which the orchestra plays largest in Germany. They included the flute virtuoso Graun’s compositions for viola da gamba show asthma). ‘I almost always stay at home and go a recurring refrain (ritornello) contrasted with Johann Quantz, who was also Frederick’s teacher, J.S. detailed knowledge of gamba technique and were out only in a gondola or carriage, since my chest episodes played by the solo instruments. Vivaldi’s Bach’s son Carl Philipp Emanuel Bach, a keyboard clearly written for a virtuoso player. His concertos ailment … prevents me from walking.’ His ill health limitless musical imagination created endless virtuoso, and Graun’s brother, the opera composer are considered to be among the most difficult music did not stop him from becoming one of Italy’s most possibilities based on this simple foundation, as can Carl Heinrich Graun. written for gamba. They use the full range of the successful opera composers in the first decades of be heard in this concerto, where the ritornello and instrument, with difficult chords and series of double the eighteenth century. He claimed to have written Frederick was a great military tactician, and ran his episodes are continually varied to create interest trills. over ninety operas, although so far only forty-nine court in a similar manner. Every night except Monday and give the music momentum. have been identified. and Friday (when he went to the opera) private Graun structured his concertos like those of Most of Vivaldi’s concertos are in three movements, chamber concerts were held, beginning precisely at Vivaldi, in three movements and using ritornello Unlike most other musicians in the first half of the with the fast outer movements being in ritornello 7pm. It was part of Graun’s duties to compose music form, although his ritornelli tend to be much eighteenth century, Vivaldi was never employed on form, however here he begins with a dramatic slow for these concerts, and also for the public court longer than those composed by Vivaldi. This is a long-term basis by either a member of the nobility first movement, marked to be played ‘spiccato’, a concerts presided over by Frederick’s wife Queen particularly effective when the viola da gamba is or the church, but in his home town of Venice he technique in which the bow is bounced on the string Elisabeth Christine (Frederick had been forced into the solo instrument, as it allows for strong contrasts was hailed as a teacher and violin virtuoso. He was to give a detached effect. It leads without pause to marriage by his father and barely spoke to her). Over between the full orchestra and the solo episodes. particularly associated with the Pio Ospedale della a tension filled fast second movement in ritornello the thirty years that Graun was concertmaster of The orchestral accompaniment to the gamba is very Pietà, one of four Venetian ospedali which cared form. An implacably rising bass line, repeated by the the orchestra, he produced an enormous number light so as not to drown out ‘the weak and somewhat for orphans and children of the destitute and which violins along with brilliant episodes from the soloists, of compositions, including nearly one hundred husky sound of this otherwise tender and pleasant maintained an all-female orchestra and choir as a drive the movement to its conclusion. Vivaldi’s slow sinfonias, a large quantity of chamber music, and instrument’ as it was described by the German means of providing the institution with a source of movements tended to be lyrical occasions for the forty-six concertos. music critic Johann Adolf Scheibe, writing in 1739. income. Under Vivaldi’s guidance their orchestra soloist, but here the drama continues with powerful became one of the finest and most versatile detached chords from the orchestra with just the ensembles in all of Italy and attracted travellers from occasional interjection from the solo instruments. throughout Europe. A number of the girls grew into The last movement relieves the tension in a bouncy renowned virtuosi, and many lived their whole lives dance. at the ospedali, performing and teaching.

16 AUSTRALIAN BRANDENBURG ORCHESTRA LIXSANIA & THE LABYRINTH 17 Program Notes Program Notes

Antonio Vivaldi (1678–1741) Renato Antonio Duchiffre (1962–)

SINFONIA FOR STRINGS IN B MINOR, WHAT TO LISTEN FOR CONCERTO FOR TWO VIOLAS DA GAMBA WHAT TO LISTEN FOR AL SANTO SEPOLCRO, RV 169 A sinfonia was a short instrumental work in three IN D MINOR The Concerto in D Minor for Two Violas da Gamba Adagio molto or occasionally two movements which functioned IV Tempo di Tango was written for period instruments in the Baroque Allegro ma poco as an overture to an eighteenth-century opera. The Renato Duchiffre is the nom de plume of Baroque style. In the fourth movement the gambas, As is the case with many of Vivaldi’s works, the mood created in this introverted work for four-part cellist and gamba player René Schiffer. He is a instruments once synonymous with the French reasons behind the composition of this short strings is quite different from Vivaldi’s extrovert and founding member of Apollo’s Fire (also known as the aristocratic court, lead the orchestra in a ten- sinfonia are unclear. By the late 1730s, when this flashy concertos. Its intense, chromatic melodies in Cleveland Baroque Orchestra). He has performed minute tango. Schiffer explained his reasons for sinfonia is thought to have been written, Vivaldi’s a minor key and unstable harmonies suggest that it with period orchestras such as La Petite Bande, the this. ‘Though the Tango is, of course, a twentieth- music was becoming unpopular in Venice, and he could have been intended for Holy Week (the week Amsterdam Baroque Orchestra, and Tafelmusik, century genre, I felt it was the perfect ending for this travelled to Vienna in 1740, hoping for work from before Easter), as such music was often used in the and has composed music theatre, choral and concerto: in form because of the dance’s signature the Austrian emperor Charles VI. The sinfonia’s Baroque period to represent Christ’s suffering and instrumental works. He wrote this concerto in 2001, elements of rhythmic simplicity and harmonic title means ‘at the Holy Sepulchre’, the church in death. writing that his aim was ‘to show that the viola da ostinato structure, which are also characteristic of Jerusalem containing the tomb where Christ was gamba can be a strong instrument, and that Baroque many Baroque dance forms, used to conclude many said to have been buried. It was a Viennese tradition and classical composers were wrong in their failure pieces of the time; in substance because of its dark to perform ‘Sepolcro’ oratorios in the week before to provide us with true concertos for it’. and violent character, which I saw as the fulfilment of Easter, and this sinfonia is in the same style as those the dark insistence of the Allegro.’ composed by other Viennese oratorio composers. So it could be that Vivaldi wrote this and another work with the same title by way of a job application, to demonstrate his versatility to the Austrian court. In the end however his timing was off: Charles VI died at the end of 1740 and all the theatres, where Vivaldi could have hoped for opera commissions, closed until well into the following year. Perhaps too poor, or too ill, to return home, Vivaldi died there, in poverty, in July 1741.

18 AUSTRALIAN BRANDENBURG ORCHESTRA LIXSANIA & THE LABYRINTH 19 Our Partners Our Donors

PRINCIPAL A heartfelt thank you to our generous family of supporters.

“Thanks to the tremendous generosity of you and your fellow Brandenburg supporters, we have established nothing short of cultural excellence as Australia’s national Baroque orchestra for nearly 30 years. Our dream is to continue doing exactly this – achieving excellence, inspiring audiences and sharing our music with you for many more years to come.”

PAUL DYER AO Artistic Director BRUCE APPLEBAUM Managing Director

GOVERNMENT LIFE PATRONS Mary Holt and the late Dr John Holt

CHRISTINA $10,000 OR ABOVE AUSTRALIAN BRANDENBURG ORCHESTRA IS ASSISTED BY AUSTRALIAN BRANDENBURG ORCHESTRA IS SUPPORTED THE AUSTRALIAN GOVERNMENT THROUGH THE AUSTRALIA BY THE NSW GOVERNMENT THROUGH CREATE NSW COUNCIL, ITS ARTS FUNDING AND ADVISORY BODY Anthony Adair and Karen McLeod Adair Jane and David Duncan Rodwell Foundation Antoinette Albert+ Michael Ebeid AM and Roland Howlett Rowan Ross AM and Annie Ross Aidan Allen# John and Jenny Fast# Jeanne-Claude Strong in memory of MAJOR John Almgren AM and Yvonne Almgren Lesley Grant and John Cupples James Strong Glenn Barnes Tom Hayward and Fiona Martin-Weber# Victoria Taylor+ Graham Bradley AM Mary Holt and the late Dr John Holt Peter Weiss AO 30TH ANNIVERSARY and Charlene Bradley# Mrs W G Keighley in memory of Geoffrey Cameron Williams PRESENTING PARTNER Jillian Broadbent AO J and R MacLeod Carol Haynes and Skipp Williamson# Dr Catherine Brown-Watt PSM Jacqui and John Mullen# Anonymous PRESENTING and Mr Derek Watt+ Alison Park in loving memory of David and Leith Bruce-Steer Richard Park Roxanne Clayton+ Lady Potter AC CMRI#

RUSPOLI $5,000 - $9,999 BOYCE Family Office# Ann Gordon* In memory of Jenny Parramore SUPPORTING Mrs Ros Bracher AM Jenny and Peter Hordern Greg Ward+ Wayne Burns and Kean Onn See Iphygenia Kallinikos Sheryl Weil Joan and Wallace Cameron Dr Diana Marks and Dennis Bluth Dr Jason Wenderoth Louise Christie Robyn Martin-Weber Ray Wilson OAM in memory of Rick and Sue Coles* Richard and Rowena McDonald James Agapitos OAM The Faithfull Family^ The Hon Jane Mathews AO Anonymous In memory of Darrel Fraser Rohan Mead Gandel Philanthropy Rointon Nugara and Brendan Nugent MEDIA TRUSTS AND FOUNDATIONS DURAZZO $1,000 – $4,999 Peter Almond# Frederic Baudry and Paul Bailey David and Louise Byrne J M Alroe Marc Besen AC and Eva Besen AO Dr Beverley and Mr Alan Castleman Brett Andersen and Brad Bowen Warwick Bray# Mr Peter Clark and Mrs Jan Clark John and Robyn Armstrong Keith and Louise Brodie Rebecca and Craig Clarke Philip Bacon AM Kay Buckeridge Margaret and Bernard Coles TO FIND OUT MORE ABOUT BECOMING A PARTNER OF THE AUSTRALIAN Ian Baker and Cheryl Saunders Henry Burmester and Peter Mason Professor Geoffrey N Cooper BRANDENBURG ORCHESTRA PLEASE CONTACT OUR DEVELOPMENT TEAM Peter Barclay Elizabeth Butcher AM Phillip Cornwell and Cecilia Rice ON 1300 782 856 OR [email protected] Chloe & Kelvin Barry# James Butler and John Govan Dom Cottam and Kanako Imamura

20 AUSTRALIAN BRANDENBURG ORCHESTRA LIXSANIA & THE LABYRINTH 21 Our Donors Our Donors

DURAZZO $1,000 – $4,999 SUPPORTER I $500 - $999

Jim Cousins AO and Libby Cousins#^ The Hon Rod Kemp Mr Paul Rein Elizabeth Mackenzie Andrew Naylor Charles Such Toula and Nicholas Cowell and Mrs Daniele Kemp# Dr David and Dr Gillian Ritchie and Michael Bremner Paul O’Donnell Sue Thomson David Davies and Paul Presa A Koumoukelis Family Alexander and Rosemary Roche Richard Masiulanis John Peisley and Ros Royal Dr Diane Tibbits Margaret and Chris de Guingand L. Krienbuhl Lois Roffey Peter McCall Helen Perlen Mr Frank Tisher OAM Ms Emmanuelle Delannoy Mr John Lamble AO Peter Rush Wendy E McCarthy AO John and Bridget Polanin and Dr Miriam Tisher Michelle Dixon# John & Anne Lawson Justice Ronald Sackville AO Margaret McKenna Julian and Jane Rait# Joy Wardle Emeritus Professor Dexter Dunphy AM A le Marchant and Mrs Pamela Sackville Ross McNair and Robin Richardson Micheal L Rattigan Kenneth Watkins# Elisabeth and Grahame Elder Greg Livingstone Miss Adrienne Sartori Dr Kerry Mills Tony Schlosser Alvie Webster# Ralph and Maria Evans Richard and Elizabeth Longes John Scott Alistair and Fran Minson# Marysia Segan Dr. Anthony Williams Rosemary Farrow^ Aggie Maisano Dr Celina Seeto Peter Miszalski Daniela Shannon Bruce Williams Roslyn and Michael Feeney# Carina Martin Dr Gideon and Mrs Barbara Shaw Richard and Elaine Moore# Jeannette Sharpe Joyce Yong Wendy and Ron Feiner Joanna B Maxwell Paul Sheehan and Susan Wyndham Susan and Frank Morgan Speer Family# Anonymous x 22 Brian and Philippa France Mora Maxwell John and Cathy Simpson Mrs June Musgrove in memory of Ross Steele AM David and Georgie Gall# Peter McGrath Dr Agnes Sinclair Dr Peter Musgrove The Stirling Family Carrillo and Ziyin Gantner J A McKernan Jann Skinner Justin and Anne Gardener Elizabeth Mildwater Robyn Smiles SUPPORTER II $250 - $499 Charles and Cornelia Goode John Milhinch OAM Alan and Jennifer Smith Carole Bailey Judith Gibson Julie Ann Morrison Bill and Julie Goold Dr David Millons AM Margot Smith Anne Beaumont Keren Gould John and Susan Myatt Richard and Anna Green and Mrs Barbara Millons Chris and Bea Sochan Professor Fran Boyle AM Roger and Scarlet Hawke Penelope Oerlemans Carol Ann Griffin Dr Paul Nisselle AM and Mrs Sue Nisselle Brendan Sowry Christine Yip and Paul Brady Dr Stéphane Hemmerter in memory of Morag Orr Bruce and Jo Hambrett^ Rosemary and James O’Collins Mrs Beverley Southern Catherine Broady Gérard Hemmerter Ken Ramshaw Kate Hayward# Brendan O’Connell David Stanford# Axel and Alexandra Buchner Frank Hemmings Fiona Reynolds Sam Hayward# Trevor J Parkin Dr Murray and Mrs Joy Stapleton J and M Cameron Geoff Howard Professor Steve and Dr Sharon Schach* R and Y Hazell Remembering Tom Loreto Toorak Kerin Carr In Loving Memory of Dean Huddlestone Judith Shelley Jane Hemstritch and Jenny Parramore Mark and Debra Taylor# Chris and Trudy Coote Hilary Kelman Natalie & Tanya Stoianoff Dr Ailsa Hocking Dr Kevin Pedemont Mr Mike Thompson Mr Charles P. Curran AC Pamela Kenny in memory of Peter* Anthony Tarleton and Dr Bernard Williams Christina Pender Richard and Lynne Umbers M. Dalziel Joshua Kim and Richard House Amanda Trenaman and Steven Turner J L Hossack Professor David Penington AC Professor Roy Janet Doust Dr Micheline Lane Margot Vaughan Jill and David Hunt Dr John Percy and Doctor Kimberley MacLeod Andrew Dunn George Lawrence Stephanie Wainberg Belinda Hutchinson AM Helen Perlen Sally and Geoffrey White Bronwyn Evans and Peter Gordon Vicki and Adam Liberman Dr J and A Whaite Dr Alastair Jackson AM Jim and Chris Pollitt Judith Williams Kay Fell Gill Lister Michael and Caroline Williams Jasper Family Foundation# Joan Poulton Richard Willis Peta Forster and Mark Anderson Mrs Iris Luke in Memory of Richard & Lale Williamson Gayl Jenkins & Chris Pellegrinetti Kevin Powell and Alison Deans Dr David Wood and Mr Gary Fung Deborah Fox and Harald Jahrling Dr Clifton Luke Gregory W Won Jim & Kim Jobson Ted and Jean Radford K A Wratten Janine Francis Neil Mackintosh and Stuart Brown Anonymous x 55 Michael Jones Patricia H Reid Endowment Pty Ltd Anonymous x 20 Rosie Freeman Katrina Molino

SUPPORTER I $500 - $999 ^ Donors to the Brandenburg Quartet # Donors to the Brandenburg Instrument Fund + Donors to the 30th Anniversary Book Peter Allan Margaret Dobbin Late H. E. Gower This donor list is current for a 12-month period to 27 September 2018. Jaci Armstrong Jane Edmanson OAM Carole A. P. Grace Supporter III donations are acknowledged at donations.brandenburg.com.au Jenny and Henry Burger Rita Erlich Peter and Deirdre Graham Annette and Kevin Burges Roslyn and Michael Feeney Kathryn Greiner AO Ita Buttrose AO OBE Sarah Findlay Greg and Sophie Griffith# If the Brandenburg has enriched your life or if you would like to deepen your involvement Professor Dianne Campbell Peter Fletcher AM and Kate Fletcher Sandra Haslam with us, we would be thrilled to welcome you into our valued family of supporters. Marianne Cochrane Barbara and Malcolm France Geoff Hogbin Guy and Jeanette Cooper Christine George Liana Kestelman# TO FIND OUT MORE, OR TO MAKE A DONATION, PLEASE GET IN TOUCH WITH OUR DEVELOPMENT TEAM. In memory of Betty Curtain Arthur Georgopoulos# Nicholas Korner Dr John Dale AO and Mrs Joan Dale Norman Gillespie Paul Lindwall PHONE 1300 782 856 Deborah Debnam Richard and Heather Gorrell Anne Loveridge & Graeme Foster EMAIL [email protected] Anne and Jennifer Dineen Philip and Anabel Gosse Betty Lynch VISIT DONATIONS.BRANDENBURG.COM.AU

22 AUSTRALIAN BRANDENBURG ORCHESTRA LIXSANIA & THE LABYRINTH 23 Our Donors Venues

ORCHESTRAL CHAIRS CHAIRMAN’S 11 BRANDENBURG OPERA CIRCLE CITY RECITAL HALL LIMITED Concertmaster Chair supported by Dedicated to the memory of The following donors have supported Jacqui and John Mullen James Strong AO. the establishment of the Brandenburg BOARD OF DIRECTORS 2 Angel Place Baroque Cello Chair supported by Chairman’s 11 supports the Opera Circle, enabling the Orchestra Renata Kaldor AO (Chair) Sydney NSW 2000 Mrs W. G. Keighley Brandenburg’s international to expand its repertoire into the world Timothy Cox AO (Deputy Chair) of baroque opera, as well as nurturing Theorbo/Baroque Guitar Chair and local guest artists. Helen Bauer ADMINISTRATION young opera singers and creative teams. supported by The Alexandra and Lloyd Louise Christie The Hon Justice 02 9231 9000 Toula and Nicholas Cowell Martin Family Foundation and friends, Roxane Clayton Elizabeth Fullerton in memory of Lloyd Martin AM Jan and Frank Conroy Wendy and Ron Feiner Kerri Glasscock BOX OFFICE Angus Coote Deborah Fox and Harald Jahrling Richard Fisher AM and Diana Fisher Justin and Anne Gardener Marcus McArdle 02 8256 2222 Irene and John Garran CORPORATE DONORS Richard Grellman AM Carol Mills Ken Groves and Yun-sik Jang Chris and Gina Grubb CEO Maria Sykes WEBSITE Accenture Mary Holt and the late Dr John Holt Carol Haynes and Skipp Williamson Elaine Chia Louise Walsh cityrecitalhall.com APA Group Mrs. W. G. Keighley for Geoffrey A le Marchant Bain & Company Grant and Jennifer King Peter McGrath Centre for Corporate Public Affairs Susan Maple-Brown Dr Agnes Sinclair Elwyn Consulting Ms Gretel Packer Victoria Taylor MELBOURNE RECITAL CENTRE Link Group Anonymous Greg Ward Pacific Equity Partners Ray Wilson OAM in memory of QANTAS Loyalty James Agapitos OAM EXECUTIVE STAFF Corner Southbank Boulevard The Lancemore Group Christine Yip and Paul Brady Euan Murdoch and Sturt Street Anonymous x 2 Chief Executive Officer Southbank VIC 3006

PLANNED GIVING BRANDENBURG FOUNDATION DONORS Jasja van Andel Head of Operations ADMINISTRATION BEQUEST AMATI $250,000 – $500,000 ARCANGELI $15,000 – $24,999 03 9699 2228 The Australian Brandenburg Orchestra The Eileen Marie Dyer AM Fund Mr David Baffsky AO Marshall McGuire warmly acknowledges the bequest it Anonymous and Mrs Helen Baffsky Director of Programming has received from the Estate of Valda Melinda Conrad and David Jones FOUNDING PATRON BOX OFFICE STRADIVARI $100,000 – $249,999 Robert Murray Astrida Siksna. Cary and Rob Gillespie Glenn Moss and the late Dr Ken Moss AM The Late Dame 03 9699 3333 Director of Marketing & PLAY ON: A LASTING LEGACY Anonymous David and Rachel Zehner Elisabeth Murdoch AC DBE Customer Relations We are hugely appreciative to all GUARNERI $50,000 – $99,999 CAMERATA $10,000 – $14,999 FACSIMILE those who have pledged a bequest Chris and Kathy Harrop Graham Bradley AM BOARD OF DIRECTORS Sandra Robertson 03 9207 2662 to the Brandenburg. and Charlene Bradley Macquarie Group Foundation Kathryn Fagg (Chair) Director of Development R. Cook The Martin Family in memory of The Clayton Family Peter Bartlett WEBSITE Janet Doust Lloyd Martin AM Norman Gillespie Sandra Stoklossa The Faithfull Family Christine Yip and Paul Brady Rohan Mead Stephen Carpenter Director of Corporate Services melbournerecital.com.au Brian and Leonie Fisher Anonymous Joseph Corponi R J Irwin MAESTRI $25,000 – $49,999 The Hon Mary Delahunty Lilly K John and Robyn Armstrong Paul Donnelly Peter McGrath Greg Hutchinson AM Jody Evans Penelope Oerlemans and Lynda Hutchinson Joan and Lloyd Poulton Nick and Caroline Minogue Eda Ritchie AM Art and Cynthia Raiche Rowan Ross AM and Annie Ross Margaret Farren-Price Anonymous x 15 Margaret Taylor Audrey Zibelman

24 AUSTRALIAN BRANDENBURG ORCHESTRA LIXSANIA & THE LABYRINTH 25 Credits

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 THE BOARD THE BRANDENBURG COUNCIL Paul Dyer AO David Zehner, Chairman Jillian Broadbent AO Alison Harrop, Deputy Chair Greg Hutchinson AM MANAGING DIRECTOR Aidan Allen Max Suich Bruce Applebaum Bruce Applebaum David Baffsky AO Richard Boyce Paul Dyer AO John C Fast Rohan Mead Sheryl Weil

HEAD OF MARKETING HEAD OF ARTISTIC HEAD OF BUSINESS OPERATIONS & CUSTOMER SERVICES PLANNING & MANAGEMENT Susan Casali Tom Morgan Ashley Giles EXECUTIVE ASSISTANT CONTENT MARKETING ORCHESTRA MANAGER Susan Duffy EXECUTIVE Valérie Morgan-Pertus Shiki Chan ACCOUNTANT PRODUCTION COORDINATOR John Scott PUBLICIST Shannon O’Hara Steven Godbee Publicity ASSISTANT ACCOUNTANT ARTISTIC PLANNING Ian Creevey CUSTOMER RELATIONS MANAGER COORDINATOR Kateryna Collier Joanna Butler AUDITORS KPMG the Australian DATABASE SYSTEMS & ASSISTANT MUSIC RESOURCES BOX OFFICE MANAGER Alex Palmer REPERTOIRE ADVISORS Thomas Chiu (HONORARY) success story that’s SENIOR DEVELOPMENT MANAGER the Australian Charles Gwynn ADMINISTRATION/TICKETING Aislinn Frayne Andrew O’Connor ASSISTANT PHILANTHROPY MANAGER Christopher Price successbuilt on story energy. that’s Nastassia Laptev Andrew Brook PRE-CONCERT TALKS RECEPTIONIST/TICKETING Dr Alan Maddox Get to know the future of connected energy. ASSISTANT DEVELOPMENT EVENTS MANAGER built on energy Ewelina Ellsmore Vlach Ashton Get toWe’re know Australia’s the future leading of connected energy infrastructure energy. business. CORPORATE PARTNERSHIPS MANAGER We’ve beenWe’ve connecting been connecting Australia with Australian smart, energy since 2000. From reliable and safe natural gas solutions since 2000. Madeline O’Dwyer small beginnings we’ve become a top 50 ASX-listed company, Over 15,000km of pipeline network across the employing over 1,700 people, and owning and operating one of BRANDENBURG ENSEMBLE LIMITED TRADING AS AUSTRALIAN BRANDENBURG ORCHESTRA country and a workforce that has grown from IS A NON-PROFIT ORGANISATION REGISTERED AS A COMPANY LIMITED BY GUARANTEE. ABN 41 003 908 183 6 to 1600the people, largest means interconnected we’re anything gas but networks across Australia. ADDRESS 142 NEW SOUTH HEAD ROAD, EDGECLIFF NSW 2027 | POST GPO BOX 4416, SYDNEY NSW 2001 small. And we’re changing the way our nation TELEPHONE 61 2 9328 7581 | WEBSITE BRANDENBURG.COM.AU | EMAIL [email protected] is suppliedWe with deliver energy. smart, www.apa.com.au reliable and safe energy solutions for Australia.energy.connected

26 AUSTRALIAN BRANDENBURG ORCHESTRA LIXSANIA & THE LABYRINTHwww.apa.com.au 27

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BABY I NEED YOUR LOVING • I CAN’T HELP MYSELF REACH OUT I’LL BE THERE • IT’S THE SAME OLD SONG BOOK NOW AT TICKETEK.COM.AU Sofi tel Melbourne On Collins 5-8 December 28 AUSTRALIAN BRANDENBURG ORCHESTRA LIXSANIA & THE LABYRINTH 29 Brandenburg Fundraising Events

Each year the Australian Brandenburg Orchestra hosts a series of unique fundraising events that pair exquisite music with sumptuous food and wine in sublime settings. Artist Impression Support the Brandenburg’s mission of making magnificent music by attending one of these special events. Retire in Style at Albert Park Lake Upcoming Events The Grace Albert Park Lake by Australian Unity presents residents with a prestigious SUNSET SOIRÉE GALA DINNER BRANDENBURG HIGH TEA lifestyle. A world-class design of 1, 2 and 3 bedroom apartments and a penthouse Thursday 8 November 2018 Wednesday 27 March 2019 Sunday 31 March 2019 International Towers Sydney Metropolis Werribee Mansion Hotel & Spa gives you a superior level of accommodation, amenity and service. Barangaroo NSW Southbank VIC Werribee VIC Full-size Display Residence now open by appointment. Located at 114 Albert Road, South Melbourne. TO STAY UPDATED ON THESE AND OTHER UPCOMING EVENTS CONTACT PATRICIA ON 0488 880 382 | THEGRACEALBERTPARKLAKE.COM.AU GO TO BRANDENBURG.COM.AU/SUPPORT-US/FUNDRAISING-EVENTS OR CONTACT THE DEVELOPMENT TEAM: PHONE 1300 782 856 EMAIL [email protected] Developed by Architecture by Interiors by Sales Agent

30 AUSTRALIAN BRANDENBURG ORCHESTRA LIXSANIA & THE LABYRINTH 31 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.

27 FEBRUARY – 10 MARCH 8 – 21 MAY

Series Three Series Four Handel’s Anthems Next Generation & Fireworks Baroque A joyous and jubilant concert of crowning glories Introducing audiences to four electrifying young artists by master composer . who have glimpsed the future with a program to include: Handel Coronation Anthems, HWV 258-261 Halvorsen Passacaglia for Violin and Viola after Handel Handel Concerto for Oboe No. 3 in G Minor, HWV 287 Handel Tu del ciel ministro eletto from Julius Ceasar Handel Music for the Royal Fireworks, HWV 351 Vivaldi Violin Concerto in E Minor, Op. 11, No. 2

24 JULY – 4 AUGUST 11 – 22 SEPTEMBER

Series Five Series Six The Four Seasons Noël! Noël! From a biting winter to a summer storm, join acclaimed This immensely popular series is not just carols Baroque violin soloist, Shaun Lee-Chen, in a bold but a mischievous affirmation of life that fuses the re-imagining of this much-loved classic. modern with the ancient. Filled with many special Telemann Concerto for 4 Violins in G Major, TWV40:201 surprises and timeless musical treasures including Telemann Water Music, TWV 55:C3 O Come All Ye Faithful and Stille Nacht. Vivaldi The Four Seasons, Op. 8

32 AUSTRALIAN BRANDENBURG ORCHESTRA 1 LIXSANIA– 15 NOVEMBER & THE LABYRINTH 7 – 18 DECEMBER 33 The Brandenburg Choir joins the Australian Brandenburg Orchestra in this mischievous affirmation of life that fuses the modern with the ancient.

SYDNEY 10–19 DECEMBER MELBOURNE 8 DECEMBER

TICKETS ON SALE NOW! brandenburg.com.au 1300 782 856