DOCSLIB.ORG

Composer & Citizen

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Composer & Citizen Composer & Citizen: Chamber Landscapes Curated by Marshall McGuire Friday 6 – Monday 9 March 2020 UKARIA Cultural Centre 1 WEEKEND DIARY 6pm FRI 6 MAR UKARIA Bar opens 7.30pm Concert: Hidden Secrets This concert is also performed on Mon 9 Mar p.8 10am UKARIA Bar opens SAT 7 MAR 11.30am Concert: Roomful of Teeth p.7 12.30pm Lunch Bookings essential. Meal not included with day pass 2.30pm Concert: Composer & Citizen 1 p.12 In Conversation: The Composer's Voice 4.15pm Marshall McGuire with composer Lembit Beecher The Adelaide Festival has always sought to provoke responses, uncover MARSHALL secrets, present new and old side by side, and celebrate artists from 5pm Concert: Siobhan Stagg in Recital p.9 Australia and around the world as they tell their stories and bring us all 6.45pm Dinner MCGUIRE closer together. Bookings essential. Meal not included with day pass In these turbulent times, we have assembled some outstanding not included in day pass Welcome musicians—storytellers—to look at their personal experiences as artists, 6.45pm Sunset: A Guided Experience 1 as people living their lives in music, and giving us their responses to the events around them. 10am Through the voices of forgotten women; through the eyes of soldiers UKARIA Bar opens SUN 8 MAR impacted by battle; through the heroic Beethoven, and his influence on Tippett; through contemporary American song; and through the intimacy 11.30am Concert: The Female Voice of recital, we hope this weekend of music provokes not just thought, but 12.45pm Lunch p.9 some joy, and a connection to beauty, shared between us all. Bookings essential. Meal not included with day pass Welcome to Composer & Citizen: Chamber Landscapes 2020. 2.30pm Concert: Composer & Citizen 2 In Conversation: Beethoven's World p.12 4.15pm Marshall McGuire with Cambridge historian Christopher Clark 5pm Concert: One Among Many Marshall McGuire, March 2020 6.45pm Dinner Bookings essential. Meal not included with day pass p.14 6.45pm not included in day pass Acknowledgements Generously supported by Leading Patron Ulrike Klein AO. Sunset: A Guided Experience 2 Roomful of Teeth's appearance at Adelaide Festival is supported by the United States Government. Support for the development and presentation of Lembit Beecher’s work 10am UKARIA Bar opens has been provided by the ANZAC Centenary Arts & Culture Fund through MON 9 MAR the Department of Infrastructure, Transport, Regional Development and Communications. 11.30am Concert: Hidden Secrets This concert is also performed on Fri 6 Mar p.8 Adelaide Festival acknowledges that this music-making and conversation takes place on the traditional lands of the Peramangk peoples. We also Lunch 12.45pm Bookings essential. Meal not included with day pass acknowledge and respect their spiritual relationship with country and their role as custodians for more than 40,000 years. 2.30pm Concert: Composer & Citizen 3 p.13 Marshall McGuire and Adelaide Festival would like to offer their thanks to Ulrike Klein, Alison Beare and all the staff at UKARIA, Kylie McRae, and Yarmila Alfonzetti for their support. Adelaide Festival reserves the right to change its artists, repertoire and scheduling without notice. Every effort has been made to ensure the accuracy of the detail in its free programs. 2 3 music is voluptuous and his text is often the arresting sonorities of Bartók, nor do any of challenging in its symbolism (though his deep its motifs have that tactile quality of a sound- COMPOSERS & CITIZENS: religious faith is always evident). object’; in fact in this work, perhaps, Tippett comes closest to the artistic ‘impersonality’ AN INTRODUCTION BY GORDON KERRY The contrast between devout, uxorious that another idol, poet T. S. Eliot, proclaimed Messiaen with his direct contemporary, the back in 1919. What is novel here is the form: flamboyantly gay, new-agey Michael Tippett the three odd-numbered movements are all couldn’t be greater, yet there are powerful fugues, while the two even-numbered ones similarities. Both explore higher truths—those are slow strophic pieces, and, as Kemp says, of the Catholic faith in Messiaen’s case and of From around 1573 a group of humanist thinkers Caccini, celebrated for her operas, was ‘each movement is to be identified with a single mythic archetypes in Tippett’s; both expressed in Florence met regularly to discuss a variety of among the first women to become esteemed characteristic sound’ rather than dramatising ecstatic joy in life and the physical universe. philosophical, artistic and scientific subjects, professional musicians in 17th-century Italy. the drama of thematic development. and some members resolved to recreate the A generation younger, Leonarda was a prolific Like many gay men in early 20th-century Tippett completed no new quartets until the sung drama of the ancient Greeks. This was composer, while fulfilling her duties as Mother Britain, Tippett was drawn to left-wing politics, Fourth, in 1978, and then in 1991 his final, a profoundly moral enterprise: both Greek Superior of the convent she had entered as a and despite the inevitable drift towards two-movement Fifth, which, as Soden puts it, is drama and early Baroque opera—which is what young woman. respectability, a knighthood and the Order of ‘poised on the brink of gaiety and heartbreak, the Florentines inadvertently invented—were Merit, his uncompromising pacifism would Five centuries before, another nun, Hildegard, turmoil and serenity.’ Here the model is again frequently allegories of virtue, offering models endure and provide the engine for numerous had in 1150 founded her own community at late Beethoven, and the score’s epigraph of how citizens and their rulers should behave. works through the next decades. He joined the Bingen where she expounded her visionary alludes to the singing of nightingales; the work’s British Communist Party in 1934, but by the To replicate Greek drama’s choral commentary, theology in writing, art and music such as journey is towards a radiant calm. time war broke out, had ‘ceased to be a rigorous composers repurposed the popular domestic O viridissima virga, a hymn to the Virgin, ‘the political’ and was drawn to Gandhian non- Beethoven and Tippett shared a strong belief form of the madrigal. But the solo roles required greenest bough’ that blossomed giving birth violent disobedience. ‘Fighting for music, liberty, in humanity, though Tippett would argue in music, unencumbered by the elaborate to Jesus. Hildegard’s music was all religious, conscience, simplicity’, he became a registered his Third Symphony that the ‘brotherhood’ polyphony of religious music, that would make whereas Leonarda was also a pioneer of the conscientious objector in 1940, and after two of Beethoven’s Ninth had failed us dismally. the text immediately intelligible and respond solo sonata, of which she published many, years of tribunals and principled refusal to do And Beethoven was no democrat in any to the changing emotions of a character. The while her direct contemporary, Barbara Strozzi anything towards the war effort, Tippett was modern sense, and was capable of despising resulting recitativo, or arioso, as composer concentrated on composing and performing imprisoned at Wormwood Scrubs. He had in the ‘innkeepers, cobblers and tailors’ and liked the Giulio Caccini wrote in Le nuove musiche, ‘could what we would now call solo art song. previous months been working on his Second company of Archdukes and other aristocrats. almost speak in tones, employing in it a certain Love has always been a favourite theme in art String Quartet, which was premiered in March But he hated tyranny and abuse of power, which noble negligence [that is, breaking the rules] of song. We find it in Claude Debussy’s setting 1943, writing to a friend, ‘work has gone very he dramatised in his opera Fidelio and the song’. This ‘naturalistic’ manner was perfect for of Paul Verlaine in his Ariettes oubliées: well and the quartet moves. But the prison walls incidental music to Goethe’s Egmont. the new secular entertainment whose greatest ‘Il pleure dans mon coeur’ which explores worry me and sometimes dry everything up.’ As composer in the early Baroque was Claudio The struggles of the string quartets are amorous sadness but, ever the sensualist, luck would have it, on Tippett’s release on Monteverdi. Dating from 1624, his perhaps more internal: the Op.18 group dates Debussy allows for some requital—‘C’est 21 August 1943 the composer was able to Il combattimento di Tancredi e Clorinda, from 1798 to 1800, his early years in Vienna, l’extase’ describes post-coital languor. Of a attend a performance, with his friends Benjamin based on a story by Tasso set during the First and represents his first foray onto ground younger generation, Francis Poulenc was a Britten and Peter Pears, at Wigmore Hall. Crusade, is one of two ‘opusculi in genere occupied by his former teacher Joseph Haydn. prolific composer of songs, including the cycle rappresentativo’—little works ‘representing’ Tippett’s Second Quartet reflects his lifelong In 1806 he produced the three Op.59 pieces Fiançailles pour rire (A betrothal for laughs) action and emotion. The vocal lines ‘speak in engagement, which biographer Oliver Soden to a commission from Count Razumovsky, to poems by his friend Louise de Vilmorin, who tones’, the accompaniment graphically depicts characterises as ‘from imitation to argument, including some Russian flavour in each for had made several ill-advised marriages, lately the action, such as Tancredi appearing on his then rejection and, finally, reconciliation’, with his patron’s amusement. Biographer Maynard to a Hungarian count. The famous fifth song horse, introduces new sounds like pizzicato, the music of Beethoven. Solomon reminds us that Vienna was full of of the cycle, ‘Violon’ likens the instrument and and the mood, which Monteverdi called stile displaced and wounded Russian soldiers at the its player to a mismatched, but loving couple, The quartet shows little evidence of Tippett’s concitato, expresses the agitation of the time, suggesting that this particular work’s tone in music of vaguely Baroque dotted rhythms fear of incarceration, though the slow contending characters.
Load more

Recommended publications
  • Monteverdi's L'orfeo
    Australian Brandenburg Orchestra MONTEVERDI’S L’ORFEO Paul Dyer, Artistic Director and Conductor Brendan Ross, Staging Justin Nardella, Styling Teresa Desmarchelier, Italian Diction Coach Narelle French & Lynne Murray, Surtitles Joanna Tondys, Surtitle Operator SINGERS Markus Brutscher – Sara Macliver Fiona Campbell – Wolf Matthias Friedrich Tobias Cole – Robert MacFarlane – Morgan Pearse Sarah Ampil – Siobhan Stagg – Anna Sandström Richard Butler – Nick Gilbert – Paul Sutton ORCHESTRA Brendan Joyce – Aaron Brown – Monique O’Dea – Marianne Yeomans Jamie Hey – Kirsty McCahon – Laura Vaughan Melissa Farrow – Mikaela Oberg – Matthew Manchester – Russell Gilmour Roslyn Jorgensen – Nigel Crocker – Jamie Kennedy – Keal Couper – Brett Page Brian Nixon – Jess Ciampa – Tommie Andersson – Samantha Cohen Marshall McGuire – Paul Dyer – Donald Nicolson This concert will last approximately 2 1/2 hours including interval. We request that you kindly 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 1 Council, its arts funding and advisory body. Government through Arts NSW. PRINCIPAL PARTNER LORFEO Program_FINAL.indd 1 13/09/12 7:37 PM CAST AND CHARACTERS PROLOGUE: La Musica (Music) Sara Macliver THE UPPER WORLD Apollo, god of music and the sun Morgan Pearse Orfeo, son of Apollo Eurydice, loved by Orfeo Markus Brutscher Sara Macliver La messagiera (Messenger), friend of Eurydice Fiona Campbell
    [Show full text]
  • Utzon Music Series Utzon Room, Sydney Opera House
    MEDIA RELEASE: 24 NOVEMBER 2014 SYDNEY OPERA HOUSE presents Utzon Music Series Utzon Room, Sydney Opera House Marshall McGuire & Friends • Harry Christophers & Members of The Sixteen Gabriela Montero • Florian Boesch & Malcolm Martineau • Australian World Orchestra’s Berlin Trio • Pinchas Zukerman Trio • London Haydn Quartet • Benjamin Grosvenor Cameron Carpenter Sydney Opera House today announced the line-up for the 2015 Utzon Music Series, a year-long chamber music and recital program from renowned artists presented in the intimate setting of the Utzon Room. Utzon Music Series curator Yarmila Alfonzetti said, “I am thrilled to be able to share this program of exceptional artists in the Utzon Music Series with you. These are names you know and musicians whom I adore; join me to revel in good friends and fine music as we welcome some of the best instrumentalists to our little corner of the world, delight in masterful interpretations and experience some of the great beauty of the classical music canon.” Sydney Opera House CEO Louise Herron AM said, “Yarmila Alfonzetti has once again assembled an inspired line-up of brilliant international musicians along with some of our homegrown heroes. Their exciting programs of old favourites and plenty of surprises show that 2015 promises to be another great year of music-making in this beautifully intimate setting" The 2015 season features 12 concerts, including an Australian premiere, with artists from Venezuela, Austria, UK, USA and Australia. All patrons will receive a complimentary drink and program with specially commissioned articles, while enjoying the recitals against sparkling harbour views. The season will open on February 15 with a birthday celebration for one of Australia’s most versatile and most charming musicians, Marshall Maguire and Friends.
    [Show full text]
  • Forbidden Colours
    476 3220 GERARD BROPHY forbidden colours TASMANIAN SYMPHONY ORCHESTRA Almost every Australian composer born literature, made Sculthorpe (vernacular) and between the end of the First World War and the Meale (international) obvious first generation end of the baby-boomer generation owes even leaders. The upheavals of 1968, and the social their most modest reputation to a half-truth: that revolution that followed in their wake, helped it was only in the early 1960s that our post- convince their students that their Australian colonial music culture caught up with the world identity should derive from looking both inward and produced its first distinctive national school and outward. But to Brophy in the next Gerard Brophy b. 1953 of composers. In press columns, and in his generation, the first to grow up in a multicultural 1967 book Australia’s Music: Themes of a New globalising environment, such a self-conscious 1 The Republic of Dreams 8’32 Society, Roger Covell gave culturally literate pursuit of Australianness came to seem not only Genevieve Lang harp, Philip South darabukka Australians their first reliable list of composers creatively irrelevant, but a failure of imagination. worth following, most of them contemporary. For Brophy, what would once have been Mantras [14’36] And what Donald Peart dubbed ‘The Australian described as a ‘cosmopolitan’ outlook comes 2 Mantra I 3’42 Avant-garde’ owed as much to frustrations of naturally to a contemporary Australian artist. 3 Mantra II 3’10 journalists, academics and conductors with the 4 Mantra III 7’44 deadening local cult of ‘musical cobwebs’ as it Born into an ‘ordinary Anglo-Irish family’ in did to the talents of the new movement’s Sydney’s eastern suburbs, Brophy grew up in 5 Maracatú 11’11 anointed leaders, Peter Sculthorpe, Richard country Coonamble.
    [Show full text]
  • Southern Star Booklet
    Southern Star 476 6349 WILLCOCK k SOUTHERN STAR BRITTEN k A CEREMONY OF CAROLS CHRISTOPHER WILLCOCK b. 1947 BENJAMIN BRITTEN 1913-1976 Southern Star [25’14] A Ceremony of Carols [21’34] 1 I. Love is Born 2’08 % I. Procession 1’32 2 II. Christmas 2’01 ^ II. Wolcum Yole! 1’21 3 III. Gratitude and Grief 3’21 & III. There is no Rose 2’27 4 IV. The Holy Child 1’54 * IVa. That Yongë Child 1’34 5 V. Gul Gul Dja Mardji 3’28 ( IVb. Balulalow 1’24 6 VI. Hold the Baby Jesus 2’34 ) V. As Dew in Aprille 1’00 7 VII. Southern Star 4’00 ¡ VI. This Little Babe 1’22 8 VIII. What Did You Get? 1’46 ™ VII. Interlude 3’29 9 IX. Real and Right and True 4’01 # VIII. In Freezing Winter Night 3’30 Suzanne Shakespeare soprano 2, 4, 7 ¢ IX. Spring Carol 1’15 ∞ X. Adam Lay i-Bounden 1’07 JOHN RUTTER b. 1945 § XI. Recession 1’33 0 Mary’s Lullaby 4’06 Kristy Biber soprano I (, #, ¢, Clare Kenyon soprano II *, #, ¢ Jonathan Bradley organ Total Playing Time 63’11 MICHAEL LEIGHTON JONES b. 1947 ! Jesus Christ the Apple Tree 2’46 Marshall McGuire harp @ That Lord that Lay in Assë Stall 2’31 Choir of Trinity College, University of Melbourne WILLIAM KIRKPATRICK 1838-1921 arr. DONALD HUNT b. 1930 Michael Leighton Jones director £ Away in a Manger 3’18 ANDREW CARTER b. 1939 $ Mary’s Magnificat 3’42 Siobhan Stagg soprano, Jonathan Bradley organ 2 3 As one of the highest holy-days of the church – as is Benjamin Britten’s A Ceremony of Carols, was ordained a Jesuit priest in 1977 and Leunig’s art and poetry explore how his private and thus now one of secular society’s most thus making the two works obvious and pursued doctoral studies in sacramental and notions of innocence and of the sacred can exist observed holidays – Christmas has always been intended companion pieces.
    [Show full text]
  • 104-Peninsula-Summer-Music-Festival
    • To attract visitors to the region by partnering with the local business • To inspire and educate young musicians of the Mornington Peninsula Our festival attracts an audience of all age groups and increasingly through local support we are able to offer free and community engagement events across the festival. As a professional festival, we pride ourselves in attracting the highest quality musicians in the fields, and are increasing opportunities across genres including classical, baroque, world music, jazz, folk and electronic music. In 2021 and beyond, PSMF is committed to building sustainable models of delivery of professional music and further develop the audience base for live classical, chamber and high quality music. Over the past 13 years, PSMF has established itself as an icon on the classical music calendar in Australia and we are seeking further Council support to ensure the ongoing high-quality performances professional musicians for local audiences. Each year we run at break even and do not have a sustainable and solid base to build on. The 2020 festival came extremely close to being cancelled due to lack of financial reserves, and only through the generosity of private donations was it able to continue. We respectfully request $28,013.00 (See attached budget table breakdown) to support our significant contribution to the Mornington Peninsula events and musical community. Do you currently have money (partial or otherwise) to fund this project? We are partially funded through targeted ticket sales and private donations and some accumulated contingency funds Do you plan to seek additional funding sources, i.e. grants, donations, etc.
    [Show full text]
  • Etruscan Concerto
    476 3222 PEGGY GLANVILLE-HICKS etruscan concerto TASMANIAN SYMPHONY ORCHESTRA As a still relatively young nation, Australia could composing that they had no option but to go be considered fortunate to have collected so away. Equally true, relatively few of our few notable dead composers! For most of the composing women flourished ‘abroad’ for long, 20th century, almost every composer we could though Tasmanian Katharine Parker (Longford- claim was very much alive. Yet, sadly, this did born and Grainger protégée) did, and Melburnian not stop us from losing track of some of our Peggy Glanville-Hicks is the notable other. Peggy Glanville-Hicks 1912-1990 most talented, who went away and stayed Indeed, Edward Cole’s notes for the 1956 away, as did Percy Grainger and Arthur Benjamin American first recording of her Etruscan Etruscan Concerto [15’17] (the only Australian composer blacklisted by Concerto make the unique claim: ‘Peggy 1 I. Promenade 4’05 Goebbels), or returned too late, like Don Banks. Glanville-Hicks is the exception to the rule that 2 II. Meditation 7’26 And we are now rediscovering many other women composers do not measure up to the 3 III. Scherzo 3’46 interesting stay-aways, like George Clutsam (not standards set in the field by men.’ Caroline Almonte piano just the arranger of Lilac Time), Ernest Hutchinson, John Gough (Launceston-born, like Talented Australian women of Glanville-Hicks’ 4 Sappho – Final Scene 7’42 Peter Sculthorpe) and Hubert Clifford. generation hardly lacked precedent for going Deborah Riedel soprano Meanwhile, among those who valiantly toiled abroad, as Sutherland, Rofe and Hyde all did for away at home, we are at last realising that a while, with such exemplars as Nellie Melba 5 Tragic Celebration 15’34 names like Roy Agnew, John Antill and David and Florence Austral! Peggy Glanville-Hicks’ Letters from Morocco [14’16] Ahern might not just be of local interest, but piano teacher was former Melba accompanist 6 I.
    [Show full text]
  • Media Kit 2015 Season
    MEDIA KIT 2015 SEASON Partnerships www.australianworldorchestra.com.au MEDIA RELEASE The Australian World Orchestra brings Australia’s finest musical talent home for three extraordinary concerts “… the Mehta Stravinsky and Mahler concert was such a thrilling night of brilliant musicianship (always GREAT when Melbourne audiences get to their feet in rapture!)” – Geoffrey Rush “The Australian World Orchestra brings together some of the finest musicians I have had the pleasure to make music with. I adored conducting them last year.” – Zubin Mehta In July/August 2015, the Australian World Orchestra (AWO) performs under the baton of Chief Conductor of the Berlin Philhar- monic Orchestra, Sir Simon Rattle, together with internationally renowned mezzo-sopranoMagdalena Kožená. AWO will perform three electrifying performances in Australia, at the Sydney Opera House and the Arts Centre Melbourne, Hamer Hall, before the orchestra makes its international debut, accepting Zubin Mehta’s invitation to perform in India in October 2015. AWO Founder and Artistic Director, Alexander Briger, said: “It’s so exciting that the AWO will come together in 2015 to work with the incomparable Sir Simon Rattle in Australia, and that we give our first international performances, reuniting with Maestro Zubin Mehta in India.” Since its inaugural concert series in 2011, AWO has dazzled Australian audiences and established its place as one of the world’s premier orchestras. Founded through the creative vision of internationally acclaimed conductor Alexander Briger, AWO brings Australia’s utmost classical music talent from around the world to perform together. The 2015 season includes 95 Australian musicians from over 30 cities and 45 of the world’s leading orchestras and ensembles, from the Berlin and Vienna Philharmonic Orchestras, the Royal Concertgebouw, and the London and Chicago Symphony Orchestras, as well as Australia’s own magnificent state orchestras.
    [Show full text]
  • Monteverdi - Love & War
    MONTEVERDI - LOVE & WAR Tuesday 7 March 6pm, Salon PRESENTED BY Melbourne Recital Centre & Ludovico's Band ARTISTS Ludovico's Band Helen Thomson & Erika Tandiono soprano Timothy Reynolds & Robert Macfarlane tenor Nicholas Dinopoulos bass-baritone Rachael Beesley & Natalia Harvey violin Marshall McGuire harp Tommie Andersson theorbo Samantha Cohen theorbo/guitar Ruth Wilkinson viola da gamba PROGRAM Claudio Monteverdi (1567—1643) Chiome d'oro O come sei gentile Dario Castello (c1590–c1658) Terza Sonata a doi soprani Claudio Monteverdi O sia tranquillo il mar Ardo e scoprir Mentre vaga angioletta Marco Uccellini (1603–1680) Sonata Decima ottava a doi violini Claudio Monteverdi Lamento della Ninfa Zefiro Torna ABOUT THE ARTISTS Ludovico’s Band is one of Australia’s most dynamic Baroque bands. Taking its name from the influential 16th-century Spanish harpist Ludovico, the Band is acclaimed for its performances of music from the 16th to the 18th centuries, including the great works from the Italian and Spanish Baroque. Formed in 2002, the ensemble emerged from the desire to create a predominately plucked basso continuo band, whilst highlighting the solo repertoire of early plucked instruments. The ensemble has collaborated with leading soloists, such as Genevieve Lacey, Liane Keegan, Brenton Spiteri and Jane Edwards in programs ranging from early English Folk music to 17th-century Italian song. In 2006 Ludovico’s Band and vocal ensemble e21 collaborated on a theatrical presentation of Monteverdi’s Eighth Book of Madrigals, including the mini-opera Il Combattimento di Tancredi e Clorinda, which has been performed in Castlemaine, Ballarat and the Sydney Opera House Studio. The group has performed extensively throughout Australia, for Musica Viva Australia; Melbourne Festival; Ballarat Organs of the Goldfields Festival; Historic Houses Trust Sydney; Sydney Opera House, and ABC Classic FM.Ludovico’s Band released its first CD – The Italian Ground – in 2007, and performed Monteverdi’s L’Orfeo: favola in musica for the Queensland Music Festival the same year.
    [Show full text]
  • Ludovico's Band
    Ludovico’s Band DESTINATION NAPLES Tuesday 2 August 6pm, Salon Presented by Melbourne Recital Centre and Ludovico’s Band ARTIST Rachael Beesley, violin Rosanne Hunt, cello Marshall McGuire, triple harp Tommie Andersson, theorbo Samantha Cohen, theorbo PROGRAM PROGRAM FRANCESCO DURANTE (1684-1755) NICOLA MATTEIS (1650-c.1715) Aria in D minor Aria amorosa PROGRAM A story in two parts based on the Sonnets of William Shakespeare (1564-1616) NICOLA PORPORA (1686 - 1768) ANDREA FALCONIERI (1586-1656) Sonata in F for solo cello La suave melodia e Su Corrente I Largo Brando dicho el Melo II Allegro III Adagio GIOVANNI BONONCINI (1670-1747) IV Allegro non presto Sonata No.1 in A minor I Andante FRANCESCO MANCINI (1672-1737) II Allegro Sonata No.12 in G III Grazioso–Minuet–Grazioso I Allegro–Largo II Allegro CARLO AMBROGIO LONATI (c.1645-c.1715) III Andante Violin Sonata No.12 in G IV Allegro I Ciaccona ABOUT THE MUSIC Durante was best known for his sacred music, while also playing an important role as an educator, with the Italian composer, violinist and organist Giovanni Pergolesi amongst his most famous students. Jean-JacquesRousseau claimed he was ‘the greatest master of harmony of Italy, that is to say, of the whole world’, though some felt this was a little overstated. Porpora had a successful career as an opera composer in his lifetime. He too was an influential teacher; famous students include the castrato Farinelli and Haydn. Mancini was Director of the Conservatorio di Santa Maria as well as being first organist and maestro of the Capella Reale in Scarlatti’s absence – who was a great influence on his compositions.
    [Show full text]
  • Genevieve Lacey PLEASURE GARDEN Thursday 22 September 6Pm, Salon Presented by Melbourne Recital Centre
    Genevieve Lacey PLEASURE GARDEN Thursday 22 September 6pm, Salon Presented by Melbourne Recital Centre ARTIST Genevieve Lacey, recorder with Jim Atkins, sound design PROGRAM Jan Bang & Genevieve Lacey Jacob van Eyck Lichen Marie Jacob van Eyck Jacob van Eyck, Jan Bang & Genevieve Lacey Amarilli Bermagui Dawn Jan Bang & Genevieve Lacey Jacob van Eyck, Jan Bang & Genevieve Lacey Granite Daphne Jacob van Eyck, Jan Bang & Genevieve Lacey Jan Bang, Genevieve Lacey & Jim Atkins Her Nest Feather Storm Jan Bang & Genevieve Lacey Jacob van Eyck One Tree Hill Amarilli Variation IV Jacob van Eyck Jacob van Eyck, Jan Bang & Genevieve Lacey Amarilli Variation II–III Pale Blue Evenings Jan Bang & Genevieve Lacey Whipbird Jan Bang & Genevieve Lacey Bee Halo ABOUT THE MUSIC Jacob van Eyck (c.1590-1657), blind from birth, was hailed as ‘the Orpheus of Utrecht’. Famed and loved in his lifetime, he was mourned in poetry, song and statue on his death. Employed by the city of Utrecht to play and tend to the cathedral carillon bells, he was also famously given a pay rise to wander through Janskerkhof public gardens in the evenings, to entertain passers-by on ‘his little flute’. Inspired by van Eyck’s story and music, Pleasure Garden combines excerpts from his work, set within newly-composed music. The project began its life as a kinetic sound installation in Vaucluse House gardens, for Sydney Festival 2016. Its second iteration is a CD, released by ABC Classics. Tonight is its debut as a live performance. Pleasure Garden creates undulating textures and musical patterns that shift, sometimes almost imperceptibly.
    [Show full text]
  • Download Brochure
    MARY DELAHUNTY MP MINISTER FOR THE ARTS Each spring, passionate music enthusiasts, local communities and visitors from near and far gather together in Port Fairy for an exciting musical is a picturesque fishing village on the beautiful experience in truly magical surroundings. Shipwreck Coast of Western Victoria. Since 1990 it has provided a unique environment for The Port Fairy Spring Music Festival the Port Fairy Spring Music Festival. Visitors showcases leading international and local to this special, ‘festival town’, always remark musicians, including many gifted and dedicated artists who live and perform in on the accessibility of the venues, which are Victoria throughout the year. This year’s within easy walking distance from one another program highlights the contribution that and on its historic beauty. many young Australian artists are making to our vibrant arts scene. One of Victoria’s There is a vast array of colourful, friendly most successful regional festivals, the restaurants and accommodation ranges from Port Fairy Spring Music Festival opens the luxurious to the budget oriented. Local the door to creative engagement and attractions include a world class golf course community participation. The Bracks and excellent beach walks. The Port Fairy and Government passionately believes in the Region Visitor Information Centre would be vital role the arts play in building strong, happy to provide more details. harmonious and vibrant communities. A community where people take part in cultural activity has greater potential Each concert usually lasts about one hour, for connection and caring. I encourage including a short informative pre-concert talk, you to join in with the spirit of the Port so there is ample time to explore the town or Fairy Spring Music Festival and here’s to simply enjoy a coffee or other refreshments.
    [Show full text]
  • Charm Booklet
    476 5951 charM . MARSHALL McGUIRE 20th-century music for harp BERIO :: BRITTEN :: TAKEMITSU :: PÄRT :: KATS-CHERNIN CAGE :: TIPPETT :: GLANVILLE-HICKS CD1 MARCEL TOURNIER 1879-1951 1 Vers la source dans le bois (Towards the spring in the woods) (1919/22) 4’41 PAUL HINDEMITH 1895-1963 Sonata (1939) [10’22] 2 I. Mässig schnell 4’49 3 II. Lebhaft 2’29 4 III. Lied 3’04 JOHN CAGE 1912-1992 5 In a Landscape (1948) 7’40 PEGGY GLANVILLE-HICKS 1912-1990 Sonata (1950) [9’48] 6 I. Saeta 4’01 7 II. Pastorale 2’14 8 III. Rondo 3’33 LUCIANO BERIO 1925-2003 9 Sequenza II (1963) 8’34 BENJAMIN BRITTEN 1913-1976 Suite Op. 83 (1969) [14’17] 0 I. Overture 2’59 ! II. Toccata 1’29 @ III. Nocturne 3’29 £ IV. Fugue 1’18 $ V. Hymn (St Denio) 5’02 TORU TAKEMITSU 1930-1996 % Stanza II for harp and tape (1971) 6’44 PAUL STANHOPE b. 1969 ^ The Arch Window (1997) 6’01 Total Playing Time 68’10 2 3 CD2 In contemporary music the harp has become a his Sequenza II and the prominent harp part in FRANCO DONATONI 1927-2000 versatile and international instrument – crossing his song cycle Circles. 1 Marches (1979) 8’38 geographical and musicological borders with ease. However, as so often in post-war music, it was It has adapted successfully to serious and light not the instrument alone that inspired the MICHAEL FINNISSY b. 1947 music and is equally at home in concert halls and repertoire, but particular performers: in this case Two Scenes from ‘Shameful Vice’ (1994) [7’52] more relaxed environs.
    [Show full text]