Australian Chamber Orchestra International Associate Ensemble at Milton Court 3–5 Oct 2019

Australian Chamber Orchestra Richard Tognetti director & Jack Saltmiras Jack

Part of Barbican Presents 2019–20

Please do ... Turn off watch alarms and phones during the performance. Please don’t ... Take photos or make recordings during the performance. Use a hearing aid? Please use our induction loop – just switch your The City of hearing aid to T setting on entering the hall. Corporation is the founder and principal funder of Programme produced by Harriet Smith; the Barbican Centre advertising by Cabbell (tel 020 3603 7930) 2 editing Bill Henson Richard Tognetti Australian Chamber Orchestra Pe¯ teris Vasks Music from Britten andJanácˇ ekto R.E.M.and Luminous 7.30pm, Milton CourtConcertHall Fri 4Oct Erin Helyard Richard Tognetti Australian ChamberOrchestra Variations, BWV988 J SBach, arrBernard Labadie interval a Goldberg Ground, BWV1087 J SBach, arrRichard Tognetti Thomas Adès Stravinsky Goldberg Variations 7.30pm, Milton CourtConcertHall Thu 3Oct Lior at Milton Court Milton at Ensemble Associate International Australian Chamber Orchestra vocals 20minutes photography, cinematography & Three Piecesfor stringquartet keyboards The Four Quarters –Nightfalls director &violin director &violin 14 Canonson Goldberg Goldberg

Richard Tognetti Australian ChamberOrchestra Guildhall ChamberOrchestra Schoenberg Vaughan Williams interval Britten 11 solo strings Pe The larkascending 7.30pm, Milton CourtConcertHall Sat 5Oct - teris Vasks,Stefanarr Vanselow 20minutes Variations onaThemeof Frank Bridge Verklärte Nacht

director &violin The larkascending

Viatore for which again iscloselyrelated to the comes oneof Tognetti’s own – of time,andnight-timeinparticular. After this the string quartet continuing withamovement from ThomasAdès’s with Stravinsky immediately post- have anear-tingling array of pieces,beginning specialist Bernard Labadie. Priorto this,we by thegreat Canadian least becausewe’re hearingitintheorchestral Variations iconic works intherepertoire –Bach’s in thisfirst programme, inwhichoneof themost and nowhere isthatmore vividlyillustrated than projects thatallow usto experience musicafresh They excel atputtingtogether programmes and its brilliantlyinnovative director Richard Tognetti. Court, theAustralian ChamberOrchestra, and International Associate EnsembleatMilton Welcome to thisresidency featuring our Welcome Damian Walsh The RtHontheBaroness Liddellof Coatdyke Sony Leydecker Kathy Lette Rebecca Hossack Alison Harbert Richard Evans Professor Edward Byrne John Taberner ACO UKDirectors experience andengage withtheACO. Chamber Orchestra intheUnited Kingdom andprovides opportunitiesfor theBritishpublicto ACO UKisanindependent,charitable company whichsupportstheactivities of theAustralian ACO UK their supportof theseperformances. The ACO gratefully acknowledges itsACO UKFriendsand membersof itsChairman’s Councilfor Goldbergs –ispresented inanew light,not The FourQuarters , is concerned with the passing , isconcernedwiththepassing Chair ac , which,like The Rite Goldbergs Goldberg and and . Helen Liddell Patricia Thomas Friends John Coles John &Kate Corcoran Patrons Stephen Fitzgerald Ambassadors ACO UKFriends Head of Music Huw Humphreys I hopeyou enjoy theresidency. contemplative moodwith Frank Bridge of Schoenberg’s lark ascending pastoral ethereality of Vaughan Williams’s repertoire istypicallywide-ranging, from the collaborations of 2017 and2018. Again, the in afollow-up to thehighlysuccessful joined by theGuildhallChamberOrchestra, For thefinal concert,theACO andTognetti are ranging from Purcell andSchnittke to R.E.M. Bill Hensonfor Australian photographer andcinematographer ACO andTognetti joinforces withlegendary experiences – presented oneof itsmesmerisingaudio-visual During lastseason’sresidency theACO Variations; theconcertbeginsin Mountain , viathedecadent harmonies Luminous

Verklärte Nacht ao &JulieFitzgerald

; this season the ; thisseasonthe , withasoundtrack Pe¯ teris Vasks’s ,

to Britten’s Viatore The The .

3 Welcome 4 10 Alio modo, per syncopationes et per ligaturas à2 ligaturas et per syncopationes per modo, Alio 10 Alto in soggetto il à3, simplex à3 Fundament besagtes über simplex 6 Canon econtrario recto motu simplex 1 Canon BWV1087 Ground, a Goldberg on Canons 14 1965) (born J SBach –INightfalls 28 Op Quarters, Four The Adès Thomas Erin Helyard Helyard Erin Tognetti Richard Orchestra Chamber Australian Variations, BWV988Goldberg J SBach minutes 20 interval: Diminutionem à5 Noten à5 Fundament übers I [Danse] I [Danse] quartet for string Pieces Three Stravinsky Igor Milton Court Concert Hall 7.30pm 3October Thursday . . II [Eccentrique] [Eccentrique] II 13 Canon triplex à6 triplex Canon 13 keyboards director & violin &violin director

Bernard Labadie (born 1963) (born Labadie Bernard , arr (1685–1750), arr . 2 All’ roverscio roverscio 2All’

. 12 Canon duplex über besagte Fundamental- besagte über duplex Canon 12 . 4 Motu contrario e recto erecto contrario 4Motu . III [Cantique] III (born 1971) (born . 9 Canon in unisono post semifusam à3 semifusam post unisono in 9Canon . 14 Canon à 4 per Augmentationem et Augmentationem à4per Canon 14 (1882–1971) . 3 Beede vorigen zugleich, Canones Richard Tognetti . 7 Idem à3 7Idem . 5 Canon duplex à4 duplex 5Canon

. 11 Canon duplex duplex Canon 11

. 8 Canon Canon 8

and hisincomefrom Russian publisherscutoff. resulted inStravinsky’s estate beingconfiscated Three years later, in1917, theRussianRevolution Austria andthebeginningof theFirstWorld War. assassination of Archduke Franz Ferdinand of represents aturningpointinhistory: itsaw the The year thatfollowed 19th-century Romanticism. 1913 hehad allbutexhausted thepossibilities of which are basedonRussianfolk material – butby nationalist approach inhisearlyballets–allof members. Theyoung Stravinsky harnessedthis teacher Nikolay Rimsky-Korsakov amongits musical nationalistswhichcounted Stravinsky’s transformed by TheFive –a‘MightyHandful’of musical landscapewas already beingdrastically He was borninto Tchaikovsky’s Russia,whose going public. simply to meettheexpectations of theconcert- large-scale works. ButStravinsky was never one notoriety for hiscolourfulandgroundbreaking whohad received both adulation and short, peculiarpiecesare quite unexpected from a One couldbeforgiven for thinking thatthese first works hecomposedafter Three Piecesfor stringquartet of 1914 isoneof the musical language. them withinhisdistinctandhugelyinfluential to jazzand12-tone –andcompletely reinvent musical styles–from folk, Baroque andClassical, his uniqueabilityto take influences from different became somethingof achameleon,thanks to In thedecades thatfollowed century music. permanently ingrained into thenarrative of 20th- than 100 years later, tales of the‘riot’ itignited are such ascandalatits1913 premiere that,more is Stravinsky’s most famous example of thiskindof association 1955 recording asto bedefined by it.Perhaps the inexplicably linked withGlennGould’slandmark programme for awork thathasbecomeso Look nofurtherthanthelastitem onthis consciousness withasingle,famed event. that have becomeassociated inthepublic Classical musicisrife withexamples of pieces Three Piecesfor stringquartet Igor Stravinsky music of hishomeland andtowards theClassical his creative impulsesmoved away from thefolk He was now effectively exiled from Russia and The Rite of Spring The Rite The Rite The Rite , which caused , whichcaused ’s premiere , Stravinsky ’s premiere. century music. have alastingimpact onthedirection of 20th- to reinvent therules–adeepimpulsethatwould Quartet inChicago, shows usaStravinsky eager Three Pieces,premiered in1915 by theFlonzaley ‘Eccentrique’ and‘Cantique’. for orchestra, givingthemthetitles‘Danse’, music of thattime’.Helater arranged thepieces that thelast20barswere ‘someof my best is entirely homophonic,withStravinsky writing than withRussianfolk music.Thethird piece have more incommonwithaWebern miniature music, whichreflect theperformer’s movements, Vaslav Nijinsky, andthesuddenchangesin movements fascinated dancersaseminent saw perform in1914. LittleTich’sjerky, balletic inspired by theclown LittleTich,whomStravinsky little to dowithoneanother. Thesecondpieceis their own rhythmic impulsesthatseemto have in musicians. Itsmelodyisnot unlike thosefound The first pieceislike amerrydancefor clockwork musical movements of the20thcentury. and serialism,both of whichwere to bemajor and themore innovative periodsof neo-Classicism stylistic development, bridginghisRussianperiod the mostimportant turning-pointinStravinsky’s In thislight,Three Piecesfor stringquartet marks Symphony inC (1938–40). (1919–20), theViolinConcerto (1931) andthe Classical period,withworks suchas influences thatwould cometo define hisneo- somehow. Ithinkitwillbringouttheepic.’ cathedral acoustic: ithasmore depth andspace when you play something,orsing something,ina will give itamplitudeinthesound.It’salittlelike are avery specialmediumand[thisperformance] sound very beautiful,’hesays. ‘String orchestras ChamberOrchestra. ‘Ihopeitwill character heexpects itwillhave whenplayed by unveiling by theACO in 2018. Heisexcited by the The FourQuarters first movement excerpted from hisstringquartet .Heistalking about‘Nightfalls’, the pianist, isspeakingfrom hishomeandstudioin Thomas Adès, thecomposer, conductor and about hisarrangement of ‘Nightfalls’ Romy Ash inconversation with Thomas Adès Programme note ©Bernard Rofe Petrushka , buttheother componentshave , composedin2010, priorto its Pulcinella

5 Programme note 6 of my own brain,’ heexplains, laughing. that Icanhit,justto give myself alittle–to getout have littletoy instruments,littletoy , orthings know why. Icanuseother instruments.Isometimes The proportions getalittleharder to judge.Idon’t to write, it’slike thingsgettoo longortoo short. where I’ve not had apianoandI’ve beentrying keep, inthemusic,asenseof proportion. Inplaces to putyour pencils’,butgoeson, ‘italsohelpsyou right description.’Hehalfjokes: ‘It’ssomewhere like akindof apalette, thoughthat’snot quite the something that…’hepauses,then:‘Isupposeit’s piano. ‘Thepianoisacross between atable and Looking across thestudio,hesettleson something, we hope,eventually emerges.’ table andthefloor. Outof thatapparent chaos pinned to thewall, someof themallover the in scribblesof different colours, someof them ‘there are hundreds of piecesof papercovered a lot of piecesof paper. ‘Atthemoment,’hesays, depending onthestage of thepiecehe’swriting, In Adès’s studiothere’s apiano,table and, time’. there’s an‘awareness of thecyclical nature of Goldberg Variations ‘Nightfalls’ willbeplayed asaprelude to Bach’s they linkhandsandbecomeonething.’ movement actually describestheprocess where one breath, into asinglemovement. Thewhole of itclimbsandthenfalls. They really turninto melody underneath.It’salways falling. Some other plane,whichisavery slow, sortof sighing, underneath are thelower strings.They are the – butitturns,like aslowly turningcosmos.And fixed –thenotes are fixed andtherelationship if you imagine thenightskyturning,it’salways at thestart are oneplane.It’slike acycle and eventually ‘linkhands’.Heexplains: ‘Theviolins it’s composedasifontwo separate planesthat Adès speaks aboutthemovement andtheway piece, thestars comeout.’ end of theday, thetwilight;andatcloseof if you like, goingwest. It’sthatatmosphere of the you hearthathappen…sothemusicisalways, you continuallyseethesundisappearingandthen hear itinthemusic–it’salways endings.It’sasif only thatmoment,oneday after another. Andyou that’s whatnightfall is,butIwanted itto beasifit’s ‘the specialtimeintheday’. Headds, ‘Ofcourse, magic of itbecomingnight,whichherefers to as Adès describesthemovement asbeingaboutthe . Inboth pieces,Adès says, if you canstop, you should.ButIcan’t.’ can’t of somekind,’helaughs.‘Abad headline. No.I I don’tknow whatI’ddo.becomeaheadline, do itbecauseIdon’thave achoice, ifIdidn’tdoit He hasspoken of composingasacompulsion.‘I composed hisfirst , early work helater withdrew from publication.He but onewithitsown setof problems. Someof his public eye, anincredibly privilegedplace to be, about learningandgrowing asacomposerinthe that pointthere was noturningback. Hespeaks opus 1at18, the another sincehewas 10 years old.Hewrote his Adès hasbeencomposinginsomeform or a great relief.’ but it’sastrange, magical moment.Andit’sreally personalities. I’mnot sure ifI’mgettingthatright, different from you andthatthey’ve got theirown that strange momentwhenyou realise thatthey’re hear, whatfriendsof minewhohave children say: is aweird moment.Iimagine itmightbelike, I seems to have alife andamindof itsown, which else thatyou’d never noticed before anditliterally realise thatsomethingjoinsupwith ‘Some quite surprisingthingscanhappen.You doesn’t want to move again.’ falls into place, anditcan’treally move again; it interlock. Somethinghappens where everything possibilities, orversions of things,suddenlystart to things thatseemto beproblems orconflicting my experience itusuallysettlesinto itselfand Of thecompositionprocess, Adès says: ‘In and even upsidedown orback to front. sometimes higher orlower thanitsfirst statement, theme mustimitate itselfafter aspecified duration, form of contrapuntal writing,inwhich asingle in canonicexperimentation. Canon isthestrictest Musical Offering they appear to befrom around thetimeof The exact date of thesecanonsisn’tknown, but on thefirst eightnotes of the score and,insidetheback cover, 14 canons based contains hisown handwritten corrections to the Variations In 1974 Bach’s personalcopy of the Canons onaGoldberg Ground, BWV1087 Johann SebastianBach (arrRichard Tognetti) Programme note ©Romy Ash not do it. I think, as someone famously said, doit.Ithink,assomeonefamously said, was discovered inStrasbourg. It (1747), whenBach was immersed Five Eliot Landscapes Powder HerFace Goldberg Goldberg Goldberg , and from , andfrom bass line. bassline. , at 24. , at24. The The conceived asa conceit. Yes, itisperformed asa Labadie thatIhave furtherre-imagined, is This interpretation, inanarrangement by Bernard the future. quantum time.Helives inthethen,now and piece alive isto acknowledge thatBach lives in ? Rather, thebestway to keep the these variations intheir‘authentic’form onsolo suggest thatwe mustputinaspicandpresent hear andwhatwe have heard, cananyone really Given whatwe know, whatwe feel, what we piece itselfissoovertly polystylistic? ourselves ininterpretation (polystylism) whenthe experimentalism andsoon.Sohow canwe deny andchaconne to SouthGerman Bach drawing onmany different styles,from the tunes of lighthearted character, but italsosees ostensibly arandom selectionof commonfolk demonstration of polystylism. Not onlyisit the If you lookatVariation 30,theQuodlibetof vehicle. means polystylism –for whichBach istheperfect extent, thenew way forward is early musicmovements are still be there atexactly therightmoment.While be 10 years too early, 10 years too late, oryou can With interpretation, aswithcomposition,you can Goldberg Variations Richard Tognetti oninterpreting Bach’s interval Programme note ©Bernard Rofe Kurtág’s Bach transcriptions. translucent clarityandquietcandourof György orchestrations of LeopoldStokowski andthe vitality of jazzpianistJacques Loussier, thebold of harpsichordist Richard Egarr, therhythmic and pianoevokes theenergetic Baroque spirit Richard Tognetti’s playful arrangement for strings how thepuzzleisto besolved. few shortbarsof musicare given, andaclueasto written inakindof shorthand,like riddles.Onlya canons have nospecified instrumentation andare As withthosein of theorchestra of Bach’s time–for example, you grosso Goldberg Variations 20minutes inspired by theimaginary sounds The MusicalOffering , you find theultimate hybrid à lamode , these , these , and hybrid , andhybrid , to an , to an wanted to do.’ Bach absolutely nailedme.Iknew thisiswhatI me. Itchangedmy life completely. Igot soexcited. never forget theimpression thechorusmade on the first of the and Choir. Thefirst pieceontheprogramme was concert withtheQuebecSymphony Orchestra or 1975. Thedead of winter. Itwas aChristmas reason,’ hesays. ‘SometimeinDecember1974 he wanted to becomeamusician.‘Bach was the Bernard Labadie knows precisely whenandwhy Bernard Labadie Goldberg Variations withRichard Tognetti and McKenzie-MurrayMartin discussesthe Bach: theimagination knows nobounds. something aboutreleasing theinnerimpulsesof Mozart. You can’tdoitto Beethoven. Butthere’s that itresonates inthenow. You can’tdothisto rather thanbeing10 years too early, let’shope integrity of theoriginal–thisispolystylism. And Adopting ahybrid approach whilerespecting the none other. could unleashtheinternal rhythm of Bach like wisdom of thejazzgeniusJacques Loussier, who and theextraordinary fluidity andharmonic 1970s and1980s, thehardware of thegutmob, equally, from theallegedauthenticistsfrom the time, whereby Ihumblyacknowledge inspiration, interpretation takes itinto therealm of quantum when you listen to ourVariation 29.Butthis may thinkof theThird Brandenburg Concerto thinking aboutmusic. Death’shandreordered he resumed istelling. Labadie never stopped , hedid sofrom achair. The fact he had to relearn how to walk. Whenheresumed Once heemerged from hisdeathlysuspension, placed for amonthinmedicallyinducedcoma. Its progress was aggressively swift, andhewas In 2014, Labadie was diagnosed withlymphoma. had known my doctor, they’d beingreat shape.’ help reflecting onthefact thatifBach, orHandel, see thelightatendof thetunnel.Icouldn’t and theneverything willbeperfect. Icanliterally cortisone. Now Ineedtwo more laser surgeries induced from allthemedicationIreceived, mostly frosting is‘thelastgiftof my cancer from 2014 – from theirremoval. Labadie says thehostile cataracts. Unlike Bach, hehasn’tfatally suffered able to read. Like Bach, Labadie developed months thattherenowned conductor hasbeen The day IspeakwithLabadie isthefirst day in Christmas Oratorio , and I’ll , andI’ll

7 Programme note 8 best to interpret hismusic.Out of thisdebate a been many unresolved disputes asto how In thecenturiessince Bach’s death,there have instead, itactually enhancesit.’ But understanding doesn’ttake themagic away; keys to understand it.Iwas feeling itinmy body. made animpression onmewithouthaving the there was somethingoverwhelming about itthat you don’t understand architecture,’ hesays. ‘But Christmas inQuebec.‘Whenyou’re 11 years old, knew noneof thiswhenhefirst heard Bach one exquisite geometrybeneaththebonnet–buthe rarefied appreciation of Bach’s composition–the It’s nodifferent for Labadie. Like Tognetti, hehasa knows nothing atallandletitwash over you.’ together; oryou canjustsitback assomeone who dig around andbeamazedby how it’sallput those levels: underthebonnet,mechaniccan that meansnothing. ButBach operates onall that you cancreate great mathematicalnotation what was underthebonnet.What’sincredible is identifying withthesymmetry. Hedidn’tknow afterwards, “Bach isbest,isn’the?”Andhewasn’t recalls, ‘andmy brother –whoisn’tmusicalsaid ‘We were givingaconcert,’Richard Tognetti these laws to enjoy Bach’s music. yet, thelistener doesn’tneedany knowledge of heavenly communionwere paved withrules.And the laws of engineering andaesthetics –pathsto who designedthegrand Gothic churches worked and heworked thelaws of musicmuchlike those words of criticAlex Ross, asa‘vessel of divinity’ intellectual. Butheisn’t.Bach treated music,inthe Which mightsuggestthatBach isbloodlessly exhausted –itbecomesaself-contained cosmos. Goldberg Variations will diverge, thentriumphantlyintegrate. Withthe elaborated, reversed, inverted. Atheme’sspawn music talking to itself–themesare introduced, grammar. Bach’s scores are often examples of musicians withitslogicalpurityandfastidious whimsy. For centuries,Bach’s work hasastonished Labadie’s analogyof cosmicharmony isn’t come. It’slike theplanetsinrevolution.’ structure, you canguesswhatkindof musicwill like theseasons’cycle. Ifyou know inadvance the ‘The sunrisesatthebeginning,andend.It’s are like theEarthspinningonanorbit,’hesays. talent asheever has.‘The Labadie speaks aseffusively of thecomposer’s music remained. So,too, didthecentrality of Bach. his perspective butthepleasure andpurposeof , Bach’s theme is elegantly , Bach’s themeiselegantly Goldberg Variations be respected initsfundamentals, but alsotreated who argue thattheirfounding documentshould to itsauthors’words andintentions; andthose groups: originalists,whostress unbendingfidelity US constitutionhas,broadly speaking,yieldedtwo For decades now, thequestion of interpreting the United States’ constitution. the ideaof ‘authenticity’–anditsparallel withthe does itinhibit?Ispoke withboth arrangers about much doesreverence inspire –andhow much Modernise him?Shouldonedoitatall?How How shouldonearrange Bach? Transliterate him? Matters of interpretation have longbeenpolitical. Baroque andClassicalmusichasitsown turfwars. most endeavours filled withpassionate people, mastery anddullfetishisation of hisgifts.Like line exists between ahealthy respect for Bach’s Together, thismay lead usto wonder where the bosom shortlybefore thecreation of theworld’. with itself,asmighthave happenedinGod’s was ‘asiftheeternal harmony were communing were taking notes, and Goethesaidof himthat it know of hisinfluence –Beethoven andMozart organist DietrichBuxtehude play inLübeck.We 250 milesthrough snow to watch thefamed know of hiscommitmentto hiscraft –hetrekked explicit expression of hisLutheran thought.We left ahighlyannotated Calov Bible,themost about Bach. We know thedepthof hisfaith –he Like Shakespeare, littleisknown biographically interpreters? question emerges: doesreverence inhibitmodern understand theconcepts of arrangement for a ‘authenticity’ is,ironically, confected. ‘Onehasto Labadie suggests thattheinsistence onmusical might enjoy itmore ifit’s adapted.’ can’t make itsingandzingfor other peoplewho mean thescriptcan’tbeadapted, andthatyou worth revering ifyou thinkitworks. But thatdoesn’t us. I’manoriginalist,actually. Thescriptreally is would Iever change thegiftthatBach hasgiven ‘The way Ilookatitislike this:not for asecond in music,too. Globe –‘historical pronunciation’. We have that the timeof Shakespeare’s performances atthe work outhow certain words were pronounced at You know, there are peoplewhoclaim they can We have noideawhatthecomposerintended. ‘“Just whatthecomposerintended.” Excuse me? ‘People talk aboutauthenticity,’ Tognetti says. as aliving,breathing document. Labadie andTognetti respectfully disagree heard: Gouldin1955. measured it against theonlyrecording they’ve criticised performances of itbecause they’ve Tognetti tells me that audiencesinthepasthave played with a‘fanatically crisparticulation’. Goldberg Variations of Gould’s1955 recording whendiscussingthe of alltime.’Today, it’sstillhard to avoid mention Horowitz. Mind-blowing! Oneof thegreat pianists Gould was anoriginal,withthetechnique of of themusic.Withsomeartistsit’sallhype. But ‘Throwing himselfinto it. Themythology isbecause of it.‘Hewas thegreat Romantic,’ Tognetti says. rather, hesays, we are consciousof thembecause For Tognetti Gould’sticsdidn’tobscure histalent – of focus. though, was hissingular, unabashedsense a worn square of carpet.Most memorable, chair. Beneathhisfeet, hehabituallyplaced and coat,lesthecatch acold;thesamesqueaky he was known for histics–humming;gloves radio shows. Intheyears hedidperform publicly, he diedreclusively wrote essays andrecorded died prematurely from astroke atjust50.Before puberty. Heretired from concertlife at32and 1932, Gouldwas composingandtouring before by hisstrange fingerprints. BorninToronto in first abestsellerthatcriticsstillsay issmudged by recordings of the Glenn Gould’sprofessional life was bookended whenever they thoughtitwas needed.’ was alivingmaterial whichthey couldtransform That‘s a20th-centuryinvention. For them,music originals. Butthere’s noreference to “authenticity”. other timeshisversions would bevery closeto the would make somestrikingtransformations, but to soundasidiomaticpossible.Sometimeshe ‘Bach had noinhibition–hispurposewas always career. from other composersthroughout hiswhole was doingthesamething–hewas borrowing feeling. Handelborrowed to lightthefire. Bach musician would not have beeninhibited by that means inthehistory of music.Butan18th-century – becausewe know whatheisand that comeswiththeutmostrespect for Bach we’ve beencontaminated by thecertain rigour different to how we seeitnowadays. Somehow musician inthe18th century,’ hesays. ‘It’svery, very that music canremain, even for theglobally without their skills, may find pleasure in knowing on Gould–and other matters. And we, those . Itisfast –very fast –and Goldberg Variations , the , the

itself inothers’ work, before creating itsown. But heard –thattalent first passionately immerses intuitive, subliminaladoption of thingsalready It ignores thefact thatinspiration isoften the told ignores individualintelligence andeffort. loves thestory andsodowe. Butthestory as the working title‘Scrambled Eggs’.McCartney retained –scribbleddown thechords under sleep andonwaking –themelodymiraculously McCartney wrote themelodyof ‘Yesterday’ inhis most cherishedsongs.ApopularoneisthatPaul We love myths of creation. Stories thatadorn our most talented. that thebiasof afirst encounter exists amongthe sounded too fast.’ Itmightbereassuring to know it was later Iheard the1955 version andthought it the beguilingworld of the oneIgrew upwith,’hesays. ‘Igazedfirst into captured not longbefore Gould’sdeath.‘That’s Variations heheard was theonefrom 1981 – Tognetti says thefirst Gouldrecording of the agenda.’ natural. It’sare-creation by someonewithan notes, of hyper-articulation. Itdoesn’tsound sound like 18th-century music.Thislove of short Gould thanitsoundslike Bach. Itcertainly doesn’t unbelievably fascinating, butitsoundsmore like recording of the thing once,’Labadie tells meof Gould’s1955 ‘I’ve never beenableto getthrough thewhole interpretations. renowned, amatter of taste andsplintering that hewould like to have some clavier pieces ‘Once theCountmentioned inBach’s presence insomnia. antechamber, soasto play for himduringhis times, Goldberg had to spendthenightinan was often illandhad sleepless nights.Atsuch him given musicalinstructionby Bach. TheCount the aforementioned Goldberg, inorder to have stopped inLeipzigandbrought there withhim court of Saxony, CountKeyserling, whooften former Russianambassador to theelectoral writes, ‘we have to thanktheinstigationof the the existence of the Forkel 50years after hissubject’sdeath.For biography of Bach, written by JohannNikolaus The foundation for thisstory isfound inanearly a wealthy patron makes aneccentriccommission. The myth of the what matters mostisthesongitself. do we care? Thepleasure of thestory remains, but Goldberg Variations Goldbergs Goldberg Variations Goldberg . ‘For me, it’s . ‘For me,it’s and Gould, and andGould, isdifferent: , Forkel

9 Programme note 10 Nic Walker Richard Tognetti Australian Chamber Orchestra. Hehas Richard Tognetti isArtisticDirector of the Richard Tognetti About the performers And Ilove that,Ilove thatdilemma.’ anti-artistic positioningasto beabitof ajoke. and pullingitapart,buthere’s thishumbleand doing it.Sowe canstudyevery note, analysing it people to sleep.” Buthecan’tdeny hisown genius ‘“Sure, [Bach says], I’llwrite somethingto send mind to –sendingpeopleto sleep. thing you’d imagine thegreat Bach would puthis ‘My attraction to thisisthatinsomniathelast For Tognetti, thecontrast isamusinglysubversive. talent usedto render onerichmanunconscious. servicing banality, aboutahistorically enlivening sleep. Theinsomniamyth is,inpart,aboutgenius interpreters –employed to putanailingcount to dynamically implored thegeniusof hisvarious of God–whoseVariations have, for centuries, so muchmusicto awaken others to theglory Which isstrange: thesaintlyBach, whowrote means of variations.’ Bach thoughthimselfbestableto fulfil thiswishby a littlecheered upby theminhissleeplessnights. and somewhat lively character thathemightbe for Goldberg, whichshouldbeof suchasmooth director &violin

Programme note ©MartinMcKenzie-Murray impossible.’ exactly thesame,’hesays. ‘Isn’tthatfabulous? But existed thehistory of musicwould have been was suchacomplete universe thathad henot remains scepticalof it.‘SomeonesaidthatBach Labadie shares aquote heloves –even ifhe anyone oranything inhistory.’ spacecraft, whichhastravelled farther than the realm of oursolarsystem viatheVoyager sense. Hismusichaseven ventured beyond though he’soneof theleasttravelled inaphysical ‘is thathe’sthemosttravelled composer–even a very direct andobjective sense,’Tognetti says, first heard hismusic.‘WhatBach meansto me,in Labadie Bach remains asbeguilingwhenthey about itsinterpretation. Butfor both Tognetti and Myths blossomaround genius;so,too, dodebates they’re too muchfun. despite theliteral truth,orfor thefact that,simply, debunked’ –for himthey’re stillinstructive, says that perhaps‘somemyths shouldn’tbe But Tognetti laughsmischievously whenhe There’s scholarlydoubtaboutitever happening. Festival MariborinSlovenia from 2008to 2015. New SouthWales, andwas Artistic Director of the He created theHuntington Festival inMudgee, lead violin and,subsequently, ArtisticDirector. November was appointed astheOrchestra’s the Australian ChamberOrchestra, andthat Later thatyear heledseveral performances of Tschumi Prizeasthetop graduate soloistin1989. Conservatory, where hewas awarded the Conservatorium, andIgorOzimattheBern continued withAliceWaten attheSydney withWilliamPrimrose, then He beganhisstudiesinhometown of individualism. his compellingperformances andartistic established aninternational reputation for central memberof theaward-winning Montreal- 2009–10, whilefrom 2003to 2012 hewas a Scholar (CornellUniversity) onfortepiano for Montreal. Hewas namedtheWestfield Concert the SchulichSchoolof Music,McGillUniversity, and aPhDinmusicologywithTom Beghinat completed hisMasters infortepiano performance first-class honoursandtheUniversity Medal. He from theSydney Conservatorium of Musicwith He graduated inharpsichord performance and performance. about promoting discoursebetween musicology , andascholarwhoispassionate conductor, aperformer ontheharpsichord and Erin Helyard isequallyacclaimed asa Erin Helyard Australian private benefactor. del Gesùviolin,lentto himby ananonymous He performs onthe1743 ‘Carrodus’ Guarneri was made aNationalLivingTreasure in1999. doctorates from three Australian universities and Order of in2010. Heholdshonorary Richard Tognetti was appointed anOfficer of the The Reef including theACO’s documentary films composed for numerous film soundtracks, at Milton CourtConcertHall.Hehasalso the BarbicanCentre’s first Artist-in-Residence the world’s leading orchestras andin2016 was and/or soloist,hehasappeared withmany of performed throughout theworld. Asdirector the chamberorchestra repertoire andbeen compositions andtranscriptions have expanded instruments andhisnumerous arrangements, He performs onperiod,modernandelectric based Ensemble Caprice. based EnsembleCaprice. Erin Helyard and keyboards Musica Surfica . Mountain , Eighteenth-Century PrintCulture Transdisciplinarity: Image, Music,andText in for acollaborative project entitled Australian Research CouncilDiscovery Grant In 2017 ErinHelyard was awarded amajor renowned Alkan exponent Stephanie McCallum. 19th-century repertoire onhistorical pianoswith He alsohasaduetpartnership,performing orchestras andAustralian Haydn Ensemble. Tasmanian andQueensland Symphony As aconductor hehasworked withtheAdelaide, Festival. Music Direction for Handel’s in 2017 hewas awarded aHelpmannfor Best Awards for three consecutive years (2015–17) and been awarded BestOpera attheHelpmann ( Baroque). hehasdirected have Aeneas ( Baroque); andPurcell’s (New ZealandOpera); Handel’s (Pinchgut Opera); Handel’s Theodora Sweep Griselda and (Montreal Baroque Festival); Cavalli’s performances of Purcell’s in Australia. Hehasdirected from thekeyboard excellence inhistorically informed performance () hehasforged new standards of Opera andtheOrchestra of theAntipodes As ArtisticDirector andco-founder of Pinchgut transformative musicalexperiences. is unwavering in itscommitmentto creating or Wollongong, New SouthWales, theACO Whether performing inManhattan, New York, than 100 concertsacross Australia each year. Richard Tognetti andtogether they give more Since 1990 ithasbeenledby ArtisticDirector collaborations. commissions, andadventurous cross-artform future, juxtaposing celebrated classicswithnew are steeped inhistory butalways lookingto the brave interpretations. TheACO’s programmes for itscombinationof explosive performances and breathes music,makingwaves around theworld The Australian ChamberOrchestra lives and Australian Chamber Orchestra courtesy of Pinchgut Opera. and Monteverdi’s Giasone , Grétry’s andHandel’s and , Rameau’s , Purcell’s Bajazet L’amant jaloux L’incoronazione diPoppea , Salieri’s Pigmalion Faramondo Dioclesian The Fairy Queen The FairyQueen Acis andGalatea Saul The Chimney , Handel’s , Handel’s and . He appears . Heappears Dido and Dido and Orlando , Vivaldi’s attheAdelaide and Performing Anacréon L’Ormindo Agrippina

11 About the performers 12 by Kay Bryan Kay by sponsored Chair Satu Vänskä Dixon Daryl & Kate by sponsored Chair Helena Rathbone Violin Roberts Andrea & Andrew Syndicate Syndicate Medical by The sponsored Chair Liisa Pallandi Meldrum Meg Cambell by & sponsored Chair Ilya Isakovich Steiner Julie & Sachs Prof by Judyth sponsored Chair Mark Ingwersen Foundation Lee Sharon & by Anthony sponsored Chair Aiko Goto Campbell Christine Campbell by Terry sponsored Chair Glenn Christensen Myer & Martyn Myer Myer Martyn & Myer Louise McMullin, Ruth & Peter Edwards, by Wendy sponsored Chair Richard Tognetti Lead Violin Director/Artistic Australian Chamber Orchestra and musicianswhoshare itsideology:from The Orchestra regularly collaborates withartists challenge audiences. to present concertsthatinspire, emboldenand Centre, withwhichthey share acommitment at Milton Courtinpartnership withtheBarbican residency asInternational Associate Ensemble Last seasontheACO beganathree-year London * ao & &

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Grist & Stewart Families Stewart & The by Grist sponsored Chair Julian Thompson Wenderoth J Mrs & by Dr sponsored Chair Melissa Barnard Weiss by Peter sponsored Chair Timo-Veikko Valve Nathan Greentree Bacon by Philip sponsored Chair Elizabeth Woolnough Lansdown by Ian sponsored Chair Nicole Divall Peck Marten & Peck Hartel von Peck Robert architects: by peckvonhartel sponsored Chair Ida Bryhn Jameson Di by sponsored Chair Ike See Tindale by Alenka sponsored Chair Maja Savnik am ao # am am , Rachel Rachel ,

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* cinematic collaboration decades, andthesoundtrack to theacclaimed first Australian-produced classicalvinyl for two Recent releases include programme across CD,vinyl anddigital formats. schedule, theACO hasanactive recording In addition to itsnationalandinternational touring to visualartistsandfilm makers. instrumentalists, vocalists andcabaret performers, Axel Wolf Erin Helyard Harpsichord &Piano Foundation Darin by Cooper sponsored Chair Maxime Bibeau going to press correct at thetimeof The listof players was # guestprincipal * principal # # * * Water Mountain Anna Melville Anna Melville Administrator Artistic Tom Farmer Manager Assistant Tour Lisa Mullineux Tour Manager Cameron-Fraser Alexandra Officer Chief Operating Richard Evans Managing Director Touring Team | NightMusic . , the , the