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Twilight Musical Dialogues 2019 Presents Father and Daughter Miriam Allan

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Twilight Musical Dialogues 2019 Presents Father and Daughter Miriam Allan 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.
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