Twilight Musical Dialogues 2019 presents

Father and Daughter Miriam Allan - Soprano Sally Walker - Flute Christopher Allan - Piano

Friday August 9th, 2019 Adamstown Uniting Church 7pm Wine tasting from 6pm Father and Daughter

“A musical festivity of family in all its incarnations” was how ClassikON described our frst Musical Kin concert. CELEBRATION is the predominant feeling, of course amongst others, with which we conclude our Twilight Musical Dialogue series. In our three years, we have provided a total of 17 concerts in Newcastle, Canberra, Gunnedah and Quirindi, featured 22 main artists, employed 15 young artists, 6 young adminis- trators and enjoyed 9 world premieres.

The recent successes of our main artists are too many to list, but perhaps David Greco’s “Winterreise” Cd (ABC Classics) and the Omega Ensemble “American Masters” fve star reviewed performance with the ABC Classics CD recording where Clemens Leske, David Rowden, Sally Whitwell and I performed, de- serve a special mention. Our Featured Young Artists played everything from Violin to Venu and some of those artists’ subsequent successes include performances in the Commonwealth Games, entry into various orchestras and winning prizes in the Sydney Eisteddfod. Equally with our young administrators: Joseph Asquith now writes regularly for CutCommon and Sounds Like Sydney, Hannah Caterer is employed by the Riverina Conservatorium and Pippa Van Helden is employed by ClassikON.

Some of our composers’ highlights: Cyrus Meurant was nominated for ‘Innovation of the Year – Demen- tia Solution’ for “Monday to Friday” at the Asia Pacifc Eldercare Innovation Awards, Andrew Chubb’s “Berceuse” has since been performed in the USA by our guests Duo Anno as well as in France, and Elena Kats-Chernin’s opera “Whiteley” (commissioned by Opera Australia) premiered last month. Also during our series, Dr Bernard Curran, head of our committee, was appointed a member of the Order of Australia.

Some of my favourite series’ highlights would have to be: my concert shoes being inadvertently abducted shortly before a concert, hearing Bernie’s address from backstage, pretending to be Freud psychoanalys- ing David Greco, Mary Curran and Marilyn Sainsbury delighting in set design, seeing which costumes our young ushers would come up with, Hannah Caterer stepping up to play piano in the Quirindi recital following a road blockage which prevented Gabriella Pusner from making the performance. A further highlight was banishing Elena Kats-Chernin ofstage with industrial headphones to write new music for us.

In our fnal concert, we bring together family and friends, with father/daughter Christopher and Miriam Allan as well as myself. Although neither needs any introduction to Newcastle audiences, celebrated So- prano Miriam Allan has worked with the world’s greatest historical ensembles and her father, “Renaissance man” Christopher Allan, has worked as a baritone, pianist, organist, harpsichordist, violist, actor, theatre administrator, music educator, choir conductor, university academic and … does the graphic design for Twilight Musical Dialogues. He has also been my friend and colleague through thick and thin, so I am par- ticularly happy to perform this last concert with him.

Like our frst concert this year, tonight’s concert features a known composer from a musical family with a lesser known one and we explore familial themes through the music of the Bach, Mozart and Schumann families as well as a joyous work by Henry Bishop. As always, my heartfelt thanks to the performers, the extraordinary committee: Hannah Caterer, Bernard Curran, Mary Curran, Marilyn Sainsbury and Pippa Van Helden, as well as our generous donors and volunteers who make this series possible. It is ftting that we fnish with the Newcastle Music Festival. As we began, it was with a wish to provide excellent chamber music from within Newcastle. As we fnish, it is with the satisfying feeling that the festival is going from strength to strength, providing Newcastle’s audiences with fne, creative programming.

The title of the artwork for this series is “Musical Tree”. It was painted by my frst music teacher, Judith Clingan. We welcome you to another night further exploring the extended musical tree.

Sally Walker, Artistic Director, Twilight Musical Dialogues Programme

Wolfgang Amadeus Mozart - Il re pastore K. 208, L’Amero saro costante

Leopold Mozart - From Nannerl’s Notebook

Fanny Cäcilia Hensel - Fünf Lieder Op. 10: Nach Süden, Vorwurf, Bergeslust

Felix Mendelssohn - Songs Without Words Op.53 no.19 in A Flat Major

Clara Schumann - Nocturne in F major Op. 6. No 2. (featured Young Artist Elliot Kozary)

Robert Schumann - Romanze Op. 94/2

Johann Sebastian Bach - Cantata BWV82 “Ich habe genug”: Schlummert Ein

Johann Christoph Bach - Sonata No. 1 for Flute and Obligato Continuo in D minor

Henry Bishop - Lo! Here the gentle Lark

Miriam Allan - Soprano

Sally Walker – Flute

Christopher Allan – Piano

Elliott Kozary – Piano (featured Young Artist) Notes on the works:

Wolfgang Amadeus Mozart’s (1756- 1791) Il re pastore K. 208 (The Shepherd King) was an opera seria composed in 1775 commissioned by Empress Maria Theresa’s youngest son for a visit to Sal- zburg by the Archduke Maximilian Francis. In the orchestral version, the aria of devotion L’Amero saro costante (I shall love her, I shall be constant) features a violin obligato and prominent fute parts, which we have integrated into tonight’s performance.

Following our most famous Mozart, we will revisit the Notenheft für Nannerl which certainly has the authorship of Wolfgang’s father Leopold Mozart (1719 – 1787) and some would argue some in- put by Wolfgang’s precocious sister Maria Anna Walburga Ignatia Mozart, known as “Nannerl” (1751 – 1829). Nothing of Nannerl Mozart’s compositions, greatly admired by her brother, remain.

Musical siblings Fanny Hensel née Mendelssohn Bartholdy (1805 –1847) and Felix Mendelssohn (1809 –1847) championed each other’s compositions and were so close that Felix died two months after Fanny, at the age of 38. Both were great writers of songs. Miram and Chris will perform three from Fanny’s Opus 10, including Bergeslust, which she wrote on the day she died. Whilst Fanny’s father said music could only be “an ornament, never the basis of your being and doing”, Fanny’s fan- cé, Prussian court painter Wilhelm Hensel, declared he wouldn’t marry her unless she carried on composing. It is worth considering that her last Opus is “10”, whilst the work of the eight year old Wolfgang we performed last concert, is Opus 14.

Felix famously wrote “What the music I love expresses to me, is not thought too indefnite to put into words, but on the contrary, too defnite.” Felix wrote extraordinary songs, both with and without words. In the latter, he composed no less than eight books of ‘Songs Without Words’ for piano solo. Tonight, Chris has chosen to perform Felix’s Song without Words Op.53 no.19 in A Flat Major.

Frederick Wieck was not only Robert Schumann’s (1810 –1856) father in-law, he was original- ly his piano teacher. Marriage to Wieck’s prodigiously talented daughter was hard won; Clara Schumann (1819 – 1896) was a great composer and concert pianist in her own right. Not sur- prisingly, she wrote many fne works for piano, including the Nocturne in F major (No. 2 from Soirées Musicales, Op. 6). Composed in 1836, it was dedicated to the German pianist and salon- nière Henriette Voigt, who was also well known to the Mendelssohns.

At the beginning of their courtship, Robert would often wait for hours just to see Clara in secret for a few stolen minutes following her performances. His love for her was intense and complete, even naming a musical motif after her and ingeniously weaving it into many compositions. Those who came to our “Musical Subterfuge” concert last year will remember more about this. Robert had periods of extreme prolifcacy and in 1849 he composed works for wind instruments and piano, including: “Three Fantasy Pieces” Op. 73 for clarinet and piano, the “Adagio and Allegro” for Horn and piano and the “Three Romances” for the Oboe and Piano Op. 94.” The work performed this evening was a Christmas gift from Robert to Clara.

In considering our most famous musical dynasty, the Bachs, the decision is not which works to include, but which to leave out. With over three hundred years of musical Bachs, we have such splendid choice. The most known Bach is easily identifable and tonight we perform an aria from Johann Sebastian’s (1685 – 1750) well known Cantata BWV82a “Ich habe genug”. This is an apt choice for our fnal concert as this translated literally means “I have enough” and lost in direct translation is a meaning closer to “I am content.” With a plethora of options of “Bach sonatas”, we chose one by J.C. Bach for tonight. But which? There were at least four J.C Bach composers: two of J.S. Bach’s sons, one of his brothers and a cousin. The sonata we perform tonight is three movement Sonata in D minor (no opus number attributed) by Johann Christoph Friedrich Bach (1732 – 1795), the oldest surviving son of J.S and Anna Magdalena Bach. He was born in Leipzig and studied at the St. Thomas specialist mu- sic School, but chose to study law. His legal studies were interrupted by his father’s death and he accepted a position as harpsichordist at the Bueckeburg court of Count Wilhelm of Schaum- berg-Lippe. One can hypothesise about why he turned to a career in music at this emotional time.

We conclude this concert in the celebratory manner we intended, with Lo! Here the gentle Lark from Comedy of Errors, by English composer Sir Henry Rowley Bishop (1786 –1855). He was the com- poser of numerous dramatic works, including 80 operas, cantatas, and ballets. He worked for all the major theatres of London and later became Professor of Music at the universities of Edinburgh and Oxford. In terms of musical kin, Bishop had some colourful links. His cousin was a music publisher and for a while they worked together. Bishop’s second wife was the noted soprano Anna Bishop, twenty three years his junior, who made musical headlines by abandoning him and their three children. Further, she then had an open liaison with harpist Nicholas-Charles Bochsa and moved with him to Sydney during gold rush times. Lo! Here the gentle Lark of course takes its text from Shakespeare’s “Comedy of Errors” and speaks of a Lark that, whilst weary, beholds glory and majesty.

© Sally Walker 2019

Miriam Allan Sally Walker Christopher Allan

Scenes from previous concerts featuring Tango dancers, David Greco being psychoanalysed by ‘Dr Freud’ and an intense moment with Sally, Aiko Goto and Simon Tedeschi. (Photos by Aki Cuthbertson and Sarah Monk)

Performers:

The “sublime singing” (Gramophone, 2017) of Soprano Miriam Allan has been enjoyed across the world, from her native Australia, through Japan and Singapore, as well as at festivals throughout Europe and North America.

Last season she sang Bach’s St Matthew Passion at Wigmore Hall with Dunedin Consort and John Butt, returned to Australia in the role of Josabeth (Athalia, Handel) for Pinchgut Opera, Sydney, toured books of Gesualdo Madrigals with Les Arts Florissants and made her debut with Portland Baroque performing Messiah. A recent performance of this same work inspired the Sydney Morn- ing Herald to write “the vocal magic of the night…she took the audience’s breath away.” Other recent highlights have included Bach cantatas at the BBC Proms, a recital of Dowland lute songs within the enclaves of Windsor Castle and performances with the Queensland Symphony Orchestra and Erin Helyard.

On the opera stage she is a regular company soloist with Pinchgut Opera, for whom she has sung Isifle (Giasone, Cavalli) and Costanza (Griselda, Vivaldi). For the Innsbruck Festival she has sung Galatea (Acis & Galatea, Handel), whilst she has taken various roles in The Fairy Queen for Glyn- debourne Festival Opera, Opera Comique, Paris, and Brooklyn Academy of Music, New York. Other roles include Queen of the Night (Magic Flute, Mozart), Musica and Proserpina (Orfeo, Mon- teverdi) and various roles in Dardanus, Rameau.

She has appeared alongside Sir John Eliot Gardiner & English Baroque Soloists, Masaaki Suzuki & Bach Collegium Japan, Nicholas Collon & Aurora Orchestra and Lars Ulrik Mortensen & Concer- to Copenhagen as well as conductors William Christie, Stephen Layton and Laurence Cummings and orchestras including the BBC Philharmonic, Melbourne Symphony, Les Violins du Roy, Aus- tralian Chamber Orchestra, Orchestra of the Age of Enlightenment and the Academy of Ancient Music. She has sung Mozart Mass in C Minor in Lincoln Centre, New York, Bach Magnifcat in the Musikverein, Vienna, Handel Messiah in Sydney Opera House, Haydn Die Schöpfung at the Barbi- can, London, Rameau In Convertando in Chapelle Royale, Versailles and appeared in Mozart Opera Galas at the Royal Opera House, Covent Garden and Salle Pleyel, Paris.

Her discography includes the Gramophone award winning series of Monteverdi Madrigals with Les Arts Florissants and Paul Agnew, with whom she can also be seen in the DVD release of Orfeo as Proserpina , as well as the Mozart Requiem with Leipzig Kammerorchester, a recital of Handel and Purcell on ABC Classics and Pinchgut Opera’s series of live recordings. Reviewing the lat- ter’s release of Giasone, Gramophone remarked that her “stylish [Isifle] steals the show several times,’ whilst Voix des Arts wrote of the same performance “the timbre is one of polished gold from the top to the bottom.”

Sally Walker is Principal Flautist with the Omega Ensemble, regular Guest Principal with the Aus- tralian Chamber Orchestra and Artistic Director of the Twilight Musical Dialogues Chamber Music Series. In 2018, she became Lecturer in Classical Performance (Woodwind) at the Australian Na- tional University, following twelve years as Lecturer of Flute at the University of Newcastle where she was awarded the Vice Chancellor’s Prize for Excellence in Teaching. She has also received awards from the German Academic Exchange, Friedrich Kuhlau International Flute Competition, Ian Potter Foundation, Australia Council and the Queen’s Trust. Sally has toured and recorded with the Berlin Philharmonic and Leipzig Gewandhaus Orchestras and has performed as Guest Principal Flute with the City of Birmingham Symphony Orchestra, BBC National Orchestra of Wales, Kammerakademie Potsdam and the NDR Radio Philharmonie Hannover. She has a strong interest in historical performance and is a keen exponent of contemporary music, pre- miering many new works written for her, including Elena Kats-Chernin’s Night and Now Flute Concerto and Andrew Ford’s Once upon a Time there were Two Brothers… She has appeared in the London Proms, Salzburg, Lucerne, Tanglewood and Edinburgh Festivals and this season is featured in the Australian Festival of Chamber Music, the Canberra International Music Festival and the Newcastle Music Festival.

Christopher Allan has enjoyed performing with others throughout his professional life. As a pianist he has collaborated with singers presenting vocal recitals including Lieder, Art Song and Opera and has acted as repetitur for singers and vocal ensembles and as chamber accompanist to instrumentalists. He recently retired as Senior Lecturer in Voice at the University of Newcastle and is well known as a baritone soloist with many choral institutions such as Sydney Philharmonia Choirs, Newcastle University Choir and has appeared as guest artist with The Song Company for many years, Opera Australia and Pinchgut Opera. He also toured extensively for Musica Viva with The Song Company and the early music ensemble Sounds Baroque. Chris enjoys ensemble singing and performs regularly with the professional chamber choir Can- tillation.

Elliot Kozary grew up in Newcastle and is a year 12 student at Merewether High School. He has been playing the piano for 13 years and has been learning from Andrew Chubb for the last 6 years. He wishes to pursue a career in music and plans to begin a Bachelor of Music next year. Last year, he received an A+ for his 8th grade piano exam and is currently preparing for the Certifcate of Performance in Piano towards the end of this year. He has participated in the Taree eisteddfod for fve consecutive years, in three of which he won the Smile Scholarship. He was also asked to play in the grand concert of the Taree eisteddfod in 2017. “I am 17 years old and have enjoyed music for as long as I can remember. I fnd music and piano to be an integral part of my life and have found it to be a huge blessing for my life and a pleasure to be able to play and create music with other musicians.” (Elliot Kozary)

Twilight Musical Dialogues: a Retrospective

2017 “Five Continents” Austro-Germany Empire Guest Performance: Duo Anno Sally Walker – Flute Kirsten Stoner - Flute Gabriella Pusner – Piano Manabu Takasawa – Piano Sarah Dockrill – Soprano (featured young artist) Regional Concert – Quirindi Sally Walker – Flute Kingdom of Bohemia Christopher Allan – Piano David Greco - Baritone Hannah Caterer – Flute (featured young art- Sally Walker – Flute/Piccolo ist) Christopher Allan – Piano Neil Simpson – Accordion (featured young Philanthropists’ Choice artist) Jenny Duck-Chong – Mezzo Soprano Sally Walker – Flute Russia Neil Simpson – Accordion Sally Walker – Flute Peter Guy - Organ Tamara-Anna Cislowska – Piano Elena Kats-Chernin – Composer, Piano Zachary Yoshinaga Donoghoe – Clarinet (fea- 2018 “Musical Luminati” tured young artist) Apollo’s Gift: Music and the Mind Australia Prof. Eckart Altenmüller – Flute -Neurologist- Sally Walker – Flute presenter Sally Whitwell – Piano Sally Walker – Flute Sarah Monk – Venu (featured young artist Peter Guy – Organ accompanied by Nikhil Chandran – Carnatic Bronwen Ackermann – Physiotherapist- pre- singer) senter Benjamin Crosby (featured young artist) Spain/South America Sally Walker – Flute Bach in the Dark Daniel Rojas – Piano Sally Walker - Flute William Cararro – Violin (featured young Rachel Scott – Cello artist) Christopher Pantelidis – Oboe (featured young artist) 2018 continued 2019 “Musical Kin”

Musical Subterfuge Husband and Wife Sally Walker – Flute Ami Williamson – Singer-Songwriter Aiko Goto – Violin Sally Walker – Flute Simon Tedeschi – Piano Clemens Leske – Piano Tobias Reimann – Cello (featured young Naomi Blanch – Saxophone (featured artist) young artist, accompanied by Alexander Quayle) Salon Société (also with a Canberra con- cert) Father and Daughter Sally Walker – Flute Miriam Allan – Soprano David Rowden – Clarinet Sally Walker – Flute Clemens Leske – Piano Christopher Allan – Piano Gerard Nicholls – Composer (featured Elliot Kozary – Piano (featured young young artist) artist)

Regional Tour (Quirindi and Gunnedah) Sally Walker – Flute Gabriella Pusner – Piano Keely Murphy - Composer (featured young artist) Zali Kiss – Flute (featured young artist)

Our thanks: Anon (4), Christopher Allan, Miriam Allan, David Ayling, Adamstown Uniting Church, Adamstown Arts, David Banney, Naomi Blanch, John Boulton, Kim Brent, William Cant, Hannah Caterer, Christ Church Cathedral, Andrew Chubb, The Crosby Family, Paul Cutlan, Bernard Curran, Mary Curran, Aki Cuthbertson, Ken Davis, John and Libby Dickeson, José De Doná, Brian and Prim Fraser, Isla Graham, Peter Guy, John Hamilton, Jonathan Henderson, Elizabeth Horwitz, Hunter Professional Arts, Tina Irving, William Jefery, Sarah Monk, Newcastle Weekly, Newcastle Herald, Michael Power, Indiana Ryan, Marilyn Sainsbury, Jill and John Stowell, Music Teachers’ Association Newcastle, Mu- sica Viva Australia, Newcastle Music Festival, NIMA, Pippa Van Helden.

Set concept and design: Marilyn Sainsbury and Mary Curran Graphic Design: Christopher Allan Cover Image: Judith Clingan

“I have also loved listening and hearing new repertoire, as well as the thematic and intellectual considerations you have made throughout. These have given me an opportunity to learn more about music I am unfamiliar and familiar with” Twilight Musical Dialogues Concert goer.