CONTENTS PAGE
Program 3
Messages & biographies 7
Musicians 16
Program notes 19 You’re connected, personally
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Macquarie Private Bank is a division of Macquarie Bank Limited AFSL and Australian Credit Licence 237502 (MBL). This information With thanks doesn’t take into account your objectives, financial situation or needs – please consider whether it’s right for you. 37 SERIES 01 SERIES 01 Vivaldi’s Venice Vivaldi’s Venice
DATES ARTISTS Sydney City Recital Hall Xavier de Maistre (France) harp Wednesday 26 February 7:00 PM Paul Dyer AO Artistic Director Friday 28 February 7:00 PM Australian Brandenburg Orchestra Saturday 29 February 2:00 PM (Matinee) Saturday 29 February 7:00 PM PROGRAM Wednesday 11 March 7:00 PM Vivaldi Sinfonia in C major from L’Olimpiade, RV 725 Friday 13 March 7:00 PM i Allegro ii Adagio iii Allegro Brisbane Queensland Performing Arts Centre Vivaldi Concerto in D major, RV 93 Tuesday 3 March 7:30 PM i Allegro giusto ii Largo iii Allegro Melbourne Melbourne Recital Centre Parish Alvars La Mandoline, Op. 84 Thursday 5 March 7:00 PM Gregori* Concerto Grosso in D major, Op. 2 No. 2 Saturday 7 March 7:00 PM i Grave ii Allegro iii Largo iv Allegro Sunday 8 March 5:00 PM Marcello Concerto in D minor, S D935 Concert duration approximately 100 minutes, including one interval. i Andante e spiccato ii Adagio iii Presto Please note concert duration is approximate only and is subject to change. Interval We kindly request that you switch off all electronic devices prior to the performance. Vivaldi Concerto in G major, RV 310, Op. 3 No. 3 i Allegro ii Largo iii Allegro This concert will be recorded for delayed broadcast on ABC Classic. Albinoni/Giazotto Adagio in G minor CHAIRMAN’S 11 Pescetti Sonata in C minor Proudly supporting our guest artists. i Allegro ma non presto ii Moderato iii Presto Vivaldi L’inverno, Concerto in F minor, RV 297, Op. 8 No. 4 i Allegro non molto ii Largo iii Allegro
* Denotes Australian première
2 AUSTRALIAN BRANDENBURG ORCHESTRA VIVALDI’S VENICE 3 SHAUN LEE-CHEN 30 APR – 15 MAY 16–31 JUL CONCERTMASTER Mozart’s Bach’s Season Clarinet Violin
Mozart’s bright and achingly beautiful Thrilling German Baroque violinist 2020 basset clarinet concerto performed on Jonas Zschenderlein joins Brandenburg the rare and richly voiced instrument string soloists to perform concertos, of the period. sonatas and a suite by Bach. PROGRAM HIGHLIGHTS PROGRAM HIGHLIGHTS Mozart Concerto for oboe in C major, K 314 Bach Concerto for violin in E major, BWV 1042 The W.F. Bach Adagio e Fuga, F 65 Bach Concerto for three violins in D major, Mozart Concerto for basset clarinet in BWV 1064R A major, K 622 Bach Orchestral Suite No. 3 in D major, brilliant BWV 1068
2–19 SEP 22 OCT – 6 NOV colours Notre- Ottoman of Dame Baroque The rich musical tradition of Notre-Dame The mesmerising Whirling Dervishes told in a theatrical concert experience are steeped in mystique and will return entwining music for orchestra and choir from Turkey to dazzle in Paul Dyer’s Baroque with spoken word and song. musical meditation. PROGRAM PROGRAM Featuring music by French composers A pasticcio featuring Allegri, Boccherini, Campra, Lully, Rameau, Rebel and more. Lully, Marais, Telemann, and traditional music from Turkey.
5–16 DEC Noël! Noël!
Gather your family and friends together this Christmas and spend a joyous evening JOIN THE BRANDENBURG FAMILY TODAY sharing rare carols, medieval hymns and ADULT SUBSCRIPTION PACKAGES START FROM $181 a cheeky musical surprise. PROGRAM Filled with timeless carols including Call 1300 782 856 or visit O Come All Ye Faithful, Stille Nacht and brandenburg.com.au/season2020 many musical surprises FROM THE CO-FOUNDER & ARTISTIC DIRECTOR PHOTO CREDIT: STEVEN GODBEE Paul Dyer
The beautiful northern Italian if the distinct character of the square city of Venice is many things to inspired elements of their music. many people. Many of the compositions you will hear in Vivaldi’s Venice are adaptions To some it’s La Serenissima or the of works with solo parts written for Queen of the Adriatic. To others it’s other instruments such as the lute. the City of Masks or the City of Bridges. The sound of Xavier’s harp brings new To me it is the City of Antonio Vivaldi. colours and textures to these works This concert series explores the music and the musicians have been thrilled to of this great Venetian composer and be able to work intensely with him for many others who lived in the city or the last few weeks, and also on a rare who were inspired by it. work by Gregori that we discovered in Several years ago, on a late-night train our research and are excited to bring journey from Rome to Salzburg to meet to you . Xavier is one of the world’s close friend and countertenor Andreas great harpists and is in extremely high Scholl, I found myself with a couple of demand across the globe. We became hours to kill in Venice. It was midnight great friends in 2018, and I am delighted on a Sunday. It was peak winter and it that Xavier has chosen to return to was very dark and there was nobody Australia to once more perform with anywhere. I made my way by vaporetto the Orchestra. through the maze of canals and bridges Subscriptions to the Brandenburg’s to St Mark’s Square to find a little bar to 2020 season the Brilliant Colours of get a drink and cicchetti, the delicious Baroque are still open, and I urge you snacks served in Venice. As I stepped to visit the website to see the musical out of the sleek timber boat and into the menu we have on offer for you! vast open space of St Mark’s Square, I realised that I was the only person in the ancient piazza. I looked up at the giant bell tower, to the basilica and the Doge’s Palace and wondered Paul Dyer AO about all the people who had stood Co-founder and Artistic Director where I was standing. All those early Australian Brandenburg Orchestra travellers passing by the same Venetian Gothic architecture inspired by earlier Byzantine and Islamic travellers and travels. I wondered if Vivaldi or Albinoni had also been here alone at night and
6 AUSTRALIAN BRANDENBURG ORCHESTRA VIVALDI’S VENICE 7 BIOGRAPHY FROM OUR PRINCIPAL PARTNER: MACQUARIE GROUP Paul Dyer Connection & Inspiration
including the 1998, 2001, 2005, 2009 Macquarie is thrilled to Highly regarded as one of the and 2010 ARIA Awards for Best welcome you to the Australian world’s finest period orchestras, Classical Album. Brandenburg Orchestra’s the Brandenburg continues to scale ever higher peaks of artistic excellence, Paul has performed with many opening concert series for 2020, season after season. We are once international soloists including Andreas Vivaldi’s Venice. Scholl, Cyndia Sieden, Marc Destrubé, again inspired by Artistic Director Paul Dyer’s ability to bring Baroque Christoph Prégardien, Hidemi Suzuki, This concert series is particularly music and performance seamlessly Manfredo Kraemer, Andrew Manze, special, as we welcome Xavier de into the modern world. In doing so, the Yvonne Kenny, Emma Kirkby, Philippe Maistre who returns to star as a soloist Brandenburg excites and enchants Jaroussky and many others. In 1998 in Vivaldi’s Venice. Xavier de Maistre audiences across the nation. he made his debut in Tokyo with is renowned for connecting and Paul Dyer is one of Australia’s countertenor Derek Lee Ragin, leading inspiring audiences by redefining the I hope you enjoy this wonderful leading specialists in period an ensemble of Brandenburg soloists, boundaries of his craft. This approach performance and I look forward to performance. and in August 2001 Paul toured the has contributed to his reputation as one welcoming you again throughout the orchestra to Europe with guest soloist of the most creative and extraordinary Brandenburg’s exciting 2020 concert Paul co-founded the Brandenburg in Andreas Scholl. In 2015, he was featured musicians of his generation. season. 1989 after completing postgraduate on the soundtrack of the James Bond Macquarie is proud to be a studies at the Royal Conservatorium 007 movie, Spectre. long-standing supporter of 13 years and in The Hague, and has been Artistic A passionate cook, entertainer, foodie, Principal Partner of the Brandenburg. Director and conductor since that time. teacher, swimmer and traveller, he is What distinguishes this partnership He is a performing artist comfortable Sean West friends with people and artists from is our shared passion for the highest in his unique music arena – whether Head of Wealth Management Istanbul to India and Japan to Italy, and standards of performance, underpinned working in ancient music, contemporary creates a unique platform for overseas by unique capabilities and expertise. music, opera, with artists such as circus performing artists to work with him and performers, contemporary dance, or the Brandenburg in Australia. visual art. His busy performing schedule Among his list of achievements, in Europe, Asia, the USA and Canada Paul was awarded the Officer of the over the years has synchronised Order of Australia (AO) in 2013 for his perfectly alongside his bold stage ‘distinguished service to the performing work in Australia. arts in Australia’. Paul is Patron of St Paul is an inspiring teacher and Gabriel’s School for Hearing Impaired has been a staff member at various Children. In 2003 Paul was awarded conservatories throughout the the Australian Centenary Medal for his world. In 1995 he received a Churchill services to Australian society and the Fellowship and he has won numerous advancement of music, and in 2010 international and national awards for Paul was awarded the Sydney University his CD recordings with the Australian Alumni Medal for Professional Brandenburg Orchestra and Choir, Achievement.
8 AUSTRALIAN BRANDENBURG ORCHESTRA VIVALDI’S VENICE 9 BIOGRAPHY BIOGRAPHY Xavier de Maistre Xavier de Maistre
Salzburg, Orquestra Sinfônica do Verbier, Budapest Spring, Würzburg He has taught at Musikhochschule in Estado de São Paulo and Orchestre de Mozartfest and Mostly Mozart in Hamburg since 2001. la Suisse Romande. In his native France New York. He plays on a Lyon & Healy instrument. he has worked with Orchestre de Paris, Xavier has been an exclusive Sony the national orchestras of France and Music artist since 2008, when he Lyon; the philharmonic orchestras of recorded his first album, Nuit d’Etoiles, Xavier de Maistre is a virtuoso Radio France, Monte-Carlo, Montpellier, dedicated to Debussy, winning an Lille and Nancy; and recitals in Paris Echo Klassik Award as Instrumentalist of the highest order, profoundly and Lille operas, Lyon, Bordeaux, of the Year. Further releases included musical and capable of realising Nice, Poitiers and Avignon, among Hommage à Haydn (2009), Aranjuez a remarkable range of nuance. other places. (2010) and Notte Veneziana (2012), GRAMOPHONE Xavier de Maistre is one of Parallel to his orchestral concerts, featuring significant Baroque repertoire. today’s leading harpists and a Xavier is passionate about chamber Recent releases have included a DVD profoundly creative musician. music and regularly puts together of performances with Diana Damrau, original recital projects. In 2019/20 he his transcription of Mozart’s Piano As a fierce champion of his starts a new collaboration with tenor Concerto No. 19 in F major, K 459, instrument, he has broadened the Rolando Villazón, with whom he will with Mozarteum Salzburg under the harp repertoire, commissioning record a project of South American folk baton of Ivor Bolton, Moldau (2015), new work from composers. He also songs for Deutsche Grammophon over solo harp pieces by Slavic composers, creates transcriptions of important the coming season. They will perform in and La Harpe Reine (2016) with Les Arts instrumental repertoire, and is the only Moscow’s Zaryadye Hall, Oper Frankfurt, Florissants and William Christie. harpist in the world to perform works Rheingau Musik Festival, Vienna, Born in Toulon, Xavier studied the such as Mozart’s Piano Concerto Prague and a multi-city tour in Germany. harp with Vassilia Briano at his local No. 19 in F major, K 459. Last season he worked with flamenco conservatoire, before perfecting his and castanet legend Lucero Tena in This musical vision has led him to work technique with Catherine Michel and a programme of Spanish repertoire, with conductors including Sir André Jacqueline Borot in Paris. He also touring Europe, Japan and China, Previn, Sir Simon Rattle, Riccardo Muti, studied in Sciences-Po Paris and then performing in Hong Kong’s French May Daniele Gatti, Philippe Jordan, Kristjan at the London School of Economics. festival and releasing an album. He Järvi, Bertrand de Billy, Andrés In 1998 he was awarded First Prize has also worked with Diana Damrau, Orozco-Estrada, Daniel Harding and (and two interpretation prizes) atthe Arabella Steinbacher, Daniel Müller- Mirga Gražinytė-Tyla. He has been prestigious USA International Harp Schott, Baiba Skride, Antoine Tamestit, invited by orchestras such as Chicago, Competition (Bloomington) and Mojca Erdmann, and Magali Mosnier. Montreal, City of Birmingham and became, in the same year, the first Finnish Radio Symphony orchestras; As a soloist, he has been a frequent French musician to be admitted at London, St Petersburg and China guest of many high-profile festivals, the Wiener Philharmoniker. Philharmonic orchestras; Tonhalle- including Rheingau, Salzburger Orchester Zürich, Mozarteum Orchester Festspielen, Wiener Festwochen,
10 AUSTRALIAN BRANDENBURG ORCHESTRA VIVALDI’S VENICE 11 “What a fabulous magic night at the Brandenburg. Xavier was a pure angel.” SUBSCRIBER REVIEW THE HARPIST 2018
PHOTO CREDIT: STEVEN GODBEE BIOGRAPHY BIOGRAPHY Australian Brandenburg Orchestra Australian Brandenburg Orchestra
The Brandenburg has collaborated The Australian proclaimed that with such acclaimed and dynamic “a concert with the Australian virtuosi as Andreas Scholl, Philippe Brandenburg Orchestra is like Jaroussky, Kristian Bezuidenhout, stepping back in time, as the sounds Emma Kirkby, Andreas Staier, of period instruments resurrect Elizabeth Wallfisch, Genevieve Lacey, Baroque and classical works with Andrew Manze and more. reverence and authority”. Through its annual subscription The Brandenburg’s 20 recordings with series in Sydney and Melbourne, ABC Classics include five ARIA Award the Australian Brandenburg Orchestra winners for Best Classical Album performs before a live audience (1998, 2001, 2005, 2009 and 2010). in excess of 58,000 people, and In 2015 the Australian Brandenburg hundreds of thousands more through Orchestra was the recipient of the national broadcasts on ABC Classic Sidney Myer Performing Arts Group FM. The Orchestra also has a regular Award and in 2016 the Helpmann commitment to performing in regional Award for Best Chamber Concert. Australia. Since 2003 the Australian Discover more at brandenburg.com.au Brandenburg Orchestra has been a member of the Major Performing Arts The Australian Brandenburg Comprising leading specialists in Group, which comprises 28 flagship Orchestra, led by charismatic informed performance practice from ...what stands out at concert all over Australia, the Brandenburg national arts organisations supported Artistic Director Paul Dyer, after concert is the impression performs using original edition by the Australia Council for the Arts. celebrates the music of the scores and instruments of the period, The Orchestra began regular touring that this bunch of musicians is sixteenth, seventeenth and breathing fresh life and vitality into to Queensland in 2015. having a really good time. They eighteenth centuries with Baroque and classical masterpieces Since its beginning, the Brandenburg look at each other and smile and excellence, flair and joy. – as though the music has just sprung has been popular with both audiences laugh... there’s a warmth and from the composer’s pen. and critics. In 1998 The Age proclaimed sense of fun not often associated the Brandenburg “had reached the The Orchestra’s name pays tribute to with classical performance. ranks of the world’s best period the Brandenburg Concertos of J.S. Bach, SYDNEY MORNING HERALD whose musical genius was central to the instrument orchestras”. In 2010 the Baroque area. Celebrating their 30th UK’s Gramophone Magazine declared Anniversary in 2019, the Brandenburg “the Australian Brandenburg Orchestra continues to deliver exhilarating is Australia’s finest period-instrument performances. ensemble. Under their inspiring musical director Paul Dyer, their vibrant concerts and recordings combine historical integrity with electrifying virtuosity and a passion for beauty”.
14 AUSTRALIAN BRANDENBURG ORCHESTRA VIVALDI’S VENICE 15 MUSICIANS MUSICIANS Australian Brandenburg Orchestra Australian Brandenburg Orchestra
Xavier de Maistre (France) harp Paul Dyer AO Artistic Director Australian Brandenburg Orchestra
BAROQUE VIOLIN BAROQUE CELLO Shaun Lee-Chen* (Perth) Anthea Cottee (Sydney) PAUL DYER SHAUN LEE-CHEN MATT BRUCE BEN DOLLMAN Concertmaster Rosemary Quinn (Sydney) Harpsichord Baroque Violin Baroque Violin Baroque Violin Matt Bruce* (Sydney) Associate Concertmaster BAROQUE BASS Ben Dollman* (Adelaide) Rob Nairn* (Adelaide) Aaron Brown (Brisbane) THEORBO / BAROQUE GUITAR Rafael Font (Sydney) Matthew Greco (Sydney) Tommie Andersson* (Sydney) HARPSICHORD / CHAMBER ORGAN BAROQUE VIOLA Monique O’Dea1 (Sydney) Paul Dyer* (Sydney) AARON BROWN RAFAEL FONT MATTHEW GRECO MONIQUE O’DEA Marianne Yeomans (Sydney) HARP – SOLOIST Baroque Violin Baroque Violin Baroque Violin Baroque Viola Xavier de Maistre (France)
MARIANNE YEOMANS ANTHEA COTTEE ROSEMARY QUINN ROB NAIRN Baroque Viola Baroque Cello Baroque Cello Baroque Bass
* Denotes Brandenburg Core Musician 1 Monique O’Dea appears courtesy of Presbyterian Ladies’ College, Sydney (staff) TOMMIE ANDERSSON Harpsichord and Chamber Organ preparation by Joanna Butler Harp courtesy of Opera Australia Orchestra Theorbo / Baroque Guitar
16 AUSTRALIAN BRANDENBURG ORCHESTRA VIVALDI’S VENICE 17 PROGRAM NOTES Vivaldi’s Venice
DISCOVER OUR PODCAST
Tales of Baroque
Episode Five – Life, and Harps, in Baroque Venice With Xavier de Maistre returning to woo audiences in Vivaldi’s Venice, Dr Alan Maddox also returns to share the microphone with Hugh Ronzani. Together they take a look at life, and harps, in Venice during the affluence of the Baroque period
ALAN MADDOX HUGH RONZANI
Tales of Baroque will be released in our Keynotes e-Newsletter every six weeks. Sign up at brandenburg.com.au/keynotes
PHOTO CREDIT: Dr Alan Maddox appears courtesy of The University of Sydney, STEVEN GODBEE Sydney Conservatorium of Music.
VIVALDI’S VENICE 19 PROGRAM NOTES PROGRAM NOTES Vivaldi’s Venice Vivaldi’s Venice
From the twelfth to the sixteenth been taken aback by the sight of many Antonio Vivaldi (1678–1741) CONCERTO IN D MAJOR, RV 93 century Venice had been one of the people wearing masks. Mask-wearing Allegro giusto SINFONIA IN C MAJOR FROM great trading centres of Europe, but was a centuries-old tradition, regulated Largo L’OLIMPIADE, RV 725 by the eighteenth century its main by law. In the early eighteenth century Allegro Allegro trade was culture. Tourists were drawn masks could be worn for six months of Adagio Vivaldi was taught violin by his father, from all over Europe to see the city’s the year, and nobles had to wear masks Allegro who played in the orchestra at the art treasures, majestic churches and at state ceremonies and public events, Basilica of San Marco and was also grand palazzos, to hear the magnificent and at the theatre. Vivaldi was one of the most successful a barber and wig-maker. Vivaldi was displays of sound and pageantry at opera composers in Italy in the first Much of the best instrumental and ordained as a priest in 1703, and known public festivals, and to attend the decades of the eighteenth century. choral music could be heard at the thereafter as the Red Priest, probably church services which contained His opera-composing career covered four ospedali, charitable institutions because of the colour of his hair. He was so much music they were more like almost thirty years, and he spent long which cared for orphans and destitute not particularly pious: the priesthood concerts than religious ceremonies. periods travelling throughout Italy children, and which each maintained was an accepted career path in Italy About 30,000 foreigners visited Venice staging his own operas. Like Handel, all-female orchestras and choirs especially for someone who was keen every year, rowed in a gondola four Vivaldi was very entrepreneurial. whose standard was equal to anything to improve their social standing. After a kilometres across the lagoon, to the one could hear anywhere in Europe. L’Olimpiade dates from 1734, year he gave up saying mass, claiming one hundred and eighteen islands Venetian composers were at the composed for the carnival season a debilitating chest complaint: ‘I almost which make up the city. (The connecting cutting edge of the new Italian style, at the Teatro Sant’ Angelo in Venice, always remain at home and go out only bridge was only built in 1933). Many at once impassioned and lyrical. when Vivaldi was impresario of in a gondola or carriage, since my chest visitors hired guides to accompany Chief among them was Antonio Vivaldi, the theatre. This sinfonia, or short ailment prevents me from walking.’ It them through the maze of alleys, canals who revolutionised the concerto and symphony, functioned as the overture. did not prevent him from maintaining and bridges, and to protect them from changed the direction of instrumental In this period the music of the overture a unique level of virtuosity on the violin, armed bands of thieves and assassins music for generations to come. did not directly relate to that of the or from travelling throughout Italy, who roamed the city at night. Time was opera to follow but set the mood more mounting his many operas to great different in Venice: the new year began generally. Vivaldi builds excitement acclaim. It also did not prevent him from on the 1st of March, so travellers might from the beginning with a typically working for the Pietà, most famous of leave France or Germany in January vigorous first movement with its rushing the Venetian ospedali, where he was 1723 but find themselves back in 1722 semiquavers and signature rapid octave a violin teacher and then music director when they arrived. For the Venetians leaps, which struck his contemporaries on and off for much of his working life, (along with most of Italy) the first hour as thrillingly innovative. A lyrical second and for whom he wrote most of his over of the day was the hour after the sun movement leads to the typical dance- five hundred concertos. In 1723 the set – so midnight could be 4 o’clock, like third movement, which reminded governors contracted him to compose or 8 o’clock, depending on whether it the audience that the opera would, as two concertos a month, even when he was summer or winter. Unsuspecting usual, have a happy ending. was away from Venice, ‘in order to keep travellers from English-speaking the … ensemble in as high repute as it countries would have been further has reached up to the present’. bamboozled by the use of the twenty- four-hour clock, and all would have Vivaldi probably wrote this particular concerto in 1730. He and his father had
20 AUSTRALIAN BRANDENBURG ORCHESTRA VIVALDI’S VENICE 21 PROGRAM NOTES PROGRAM NOTES Vivaldi’s Venice Vivaldi’s Venice left Venice at the end of 1729 to travel Elias Parish Alvars (1808-1849) a necessity for modern orchestral an arpeggiated accompaniment, was to Vienna, where his new opera Argippo music. In 1842 Parish Alvars acquired known as the ‘three-handed technique’. LA MANDOLINE, OP. 84 was being performed, and then on to the latest in double-action harps, the This term was also used to describe Prague. While they were in Prague it ‘Gothic’ model, larger, more strongly a technique required to play piano is likely that Count Johann Joseph von constructed, and with more strings compositions in this period and for the Wrtby, the royal governor of Bohemia, This man is a magician. In his hands than its predecessors. This inspired same reason - it gave the impression commissioned this concerto and two the harp becomes a siren, with lovely him to develop even more innovative that three hands were playing. trios for lute. As is the case for almost neck inclined and wild hair flowing, techniques which used the instrument Another technique which Parish Alvars all of Vivaldi’s works, the intended stirred by his passionate embrace to in an entirely new way, and for invented and which can be heard performer is not known, although it utter the music of another world. which he was greatly admired by his in the Mandoline was ‘bisbigliando’ could have been Count Wrtby himself as contemporaries including Mendelssohn (‘whispering’ in Italian), a special effect HECTOR BERLIOZ, AFTER HEARING PARISH ALVARS the lute was still a popular recreational PLAY IN FRANKFURT and Liszt. A newspaper article from only possible on a double action pedal instrument in that part of Europe. 1842 described him in the romantic harp. This involves playing the same Parish Alvars was an English virtuoso terms popular in the period, focusing note very fast and softly alternately on WHAT TO LISTEN FOR harpist and composer for the harp. as much on his looks as his playing: adjacent strings, giving a shimmering The Pietà girls and young women He was baptised Eli Parish in Devon where ‘From beneath his prominent forehead or whispering effect. played a wide range of instruments, his father was a local organist, but at some speak his dreamy eyes, expressive which Vivaldi used in all manner of time and for reasons unknown he changed of the glowing imagination which Giovanni Lorenzo Gregori unusual combinations and which helped his name to Elias Parish Alvars, and all of lives in his compositions.’ Berlioz was (1663-1745) his compositions were published under develop his strong sense of tonal colour fascinated by him after hearing him CONCERTO GROSSO IN D MAJOR, that name. At the age of twelve he began and texture. In this concerto he ensured play in Dresden in 1843, and in his OP. 2 NO. 2 studying in London with the virtuoso harpist that the soft-grained sound of the lute music treatise on instruments and Grave Nicolas-Charles Bochsa, whose colourful (here the harp) was not swamped by orchestration he described Parish Allegro life ended in Sydney in 1855 (his elaborate the more vibrant bowed strings. The Alvars as ‘the most extraordinary Largo tomb is in Camperdown Cemetery). From fast outer movements are built around player’ ever heard. Allegro passages alternating between full the early 1830s Parish Alvars based himself orchestra and soloist, in a structure in Vienna, and embarked on the first of WHAT TO LISTEN FOR A composer, music theorist and known as ritornello form which the many concert tours that he was to Most nineteenth-century solo harp violinist, Gregori came from Lucca, Vivaldi was the first composer to use make throughout Europe. He travelled as music was intended for talented a walled city in Tuscany which was extensively. In the soloist’s passages the far afield as St Petersburg, Moscow and amateurs, but Parish Alvars composed also the birthplace of Boccherini and orchestra drops right away, leaving the Constantinople, where he played for for virtuosos like himself and many Puccini. Gregori played violin in the harp supported only by the continuo the Sultan Mahmud II. of his eighty works for solo harp are orchestra of the ducal palace there for over fifty years. (bass instruments and harpsichord). Parish Alvars was innovative in exploiting fiendishly difficult. His Grand Study in The distinctive strumming rhythms of the many effects and harmonic capabilities Imitation of the Mandoline, published the first movement are followed by one of the new double-action pedal harp, in 1846, required the player to master of Vivaldi’s most exquisitely serene slow developed in 1810 by French harp builder many of his new techniques. One, in movements, and the concerto ends with Sébastien Erard. The pedals meant that which the melody is played with the a lively dance-like Allegro. the instrument could be played in any key, thumbs while fingers of both hands play
22 AUSTRALIAN BRANDENBURG ORCHESTRA VIVALDI’S VENICE 23 PROGRAM NOTES PROGRAM NOTES Vivaldi’s Venice Vivaldi’s Venice
WHAT TO LISTEN FOR mathematics scholar, a skilled globe six of the twelve concertos for other have made it very appealing as film The concerto grosso was developed maker, and poet. He played the violin instruments, including this one music, and it has been used in countless in the early eighteenth century. and collected musical instruments, and (BWV 978) for two harpsichords. movies, commercials, and television Gregori’s Opus 2 collection of concerti spoke seven languages. He was also programs. was published in 1698 and were early expert in drawing and painted pictures WHAT TO LISTEN FOR examples of the form, which used a for the family palaces in Venice and at The first movement features a cheerful Giovanni Battista Pescetti small group of soloists, typically two their country villa, and for the ceiling of theme characterised by series of rising (1704-1766) violins and a cello, contrasted against the Marcello parish church. scales played by the solo violin (here SONATA IN C MINOR the harp). The second slow movement the full orchestra. This concerto opens Marcello composed a number of Allegro ma non presto in a serious minor key is an extended with an extended slow harpsichord concertos, violin sonatas, and cantatas Moderato solo, structured around strong chords introductory movement leading to for the finest singers of the day, Presto a lively elegant rhythmic Allegro. played by full orchestra. Typically for including the castrato Farinelli and the The world’s first public opera house A delicate Largo provides a link to Vivaldi, the third movement is a lively celebrated soprano Faustina Bordoni opened in Venice in 1637, and by the a short brisk final movement. dance in triple time. who was Benedetto Marcello’s pupil. early 1700s opera had become such Tomaso Albinoni/ a tourist attraction that there were Alessandro Marcello Antonio Vivaldi (1678–1741) (1673–1747) Remo Giazotto (1910-1998) nineteen theatres in operation. In fact, CONCERTO IN G MAJOR, RV 310, it is estimated that Venice offered more ADAGIO IN G MINOR CONCERTO IN D MINOR, S D935 OP. 3 NO. 3 performances and new productions of Giazotto was an Italian musicologist Andante e spiccato Allegro opera than the other major Italian cities who claimed to have discovered a Adagio Largo put together. The eighteenth-century fragment of the manuscript of an Presto Allegro opera-going public only wanted to unknown Albinoni sonata in the state hear new music, which meant Venetian Alessandro Marcello came from a Vivaldi’s fame was cemented by the library in Dresden. He never allowed theatres had to be continually supplied Venetian noble family, who counted publication in 1711 of his Opus 3, a anyone to see the fragment and it was with new operas and which in turn a Doge painted by Titian among their collection of twelve concertos entitled not recorded in the library’s catalogue, provided local composers like Pescetti ancestors and who had a palazzo on the L’estro armonico (meaning ‘harmonic so there is considerable doubt as with regular employment. Vivaldi is Grand Canal. Venice in the eighteenth inspiration’). Their originality in terms to whether it ever existed. Giazotto known to have composed about fifty century was a highly stratified of musical form and the sheer energy published the Adagio in 1958, under operas (although he claimed in a letter society, with all political, judicial and and vigour of Vivaldi’s style expressed his own name and copyright, but in 1739 that he had written ninety-four), administrative power exercised directly in forceful rhythms and endless variety maintained that it was a reconstruction but even a lesser known composer like by the small hereditary aristocracy. made them a model for concerto of the Albinoni sonata’s slow movement. Pescetti composed twenty-five. As an aristocrat Marcello was a member composition that was followed by He later changed his story and said of the governing council, a diplomat, other composers for years afterwards. that the piece was entirely his, perhaps In 1736 Pescetti travelled to London and a magistrate, but he could not be The Vivaldi scholar Michael Talbot because by then it had become hugely where he landed the plum job of a professional musician as that was describes them as ‘perhaps the most successful commercially. Its simple director of the Opera of the Nobility a career path open only to artisans, influential collection of instrumental melodic line and minor key wistfulness in London, the company set up by the lowest strata of Venetian society. works to appear during the whole of the the Prince of Wales in opposition Like many aristocrats Marcello was eighteenth century’. Bach transcribed to Handel’s Italian opera company. exceptionally well educated. He was a
24 AUSTRALIAN BRANDENBURG ORCHESTRA VIVALDI’S VENICE 25 PROGRAM NOTES PROGRAM NOTES Vivaldi’s Venice Vivaldi’s Venice
Unfortunately for Pescetti the company extended first movement, followed by full orchestra to set the scene, with as they try to regain their balance, collapsed in 1737, but Pescetti stayed a slower second movement. The sonata transient events or sounds portrayed the soloist being the last one to fall. in London, working as a composer and concludes in typical fashion with a short in short musical episodes usually by The final section of the movement contributing arias to pasticcio operas final movement in the style of a lively the soloist. predicts the arrival of spring with the until 1745, when he returned to Venice. gigue. warm Sirocco wind, but it is driven WHAT TO LISTEN FOR After many years he obtained an back by the warring winds of winter in (1678–1741) The first movement begins with the appointment as second organist at Antonio Vivaldi a thrilling conclusion to the concerto. the Basilica of San Marco, but died L’INVERNO (WINTER), CONCERTO IN instruments entering part by part, their just two years later. F MINOR, RV 297, OP. 8 NO. 4 single, steady repeated notes conjuring frozen travellers fighting their way The eighteenth-century English The Four Seasons concertos were through the snow. The first episode music historian Charles Burney published in 1725 and in his own from the soloist represents the biting heard Pescetti’s music in London and lifetime, as in ours, they were Vivaldi’s wind, and the full orchestra returns, still thought that he was ‘a very elegant most popular work in part because of trudging in the cold but now stopping to and judicious writer for the voice’, and their astonishingly vivid depiction of the stamp their feet. The soloist reappears that ‘his melodies are extremely simple changing seasons and the relationship in flurries of snow, which the orchestra and graceful.’ However, he added, ‘his between nature and humanity. interrupts with gusts of bitterly cold style was then too meagre and simple The three movements of each concerto wind. Fast repeated notes from the for our ears, which had been long reflect events related to that season, violins and soloist represent the accustomed to the rich food with which as described in a three verse sonnet chattering of teeth, and the movement they had been fed by Handel’, an unfair attached to the score of each concerto ends with the travellers stamping the comparison, given that Pescetti was and probably written by Vivaldi himself. snow from their feet once more before a generation younger than Handel and He marked the scores to indicate which finding warmth before the fire in the that musical style overall had moved musical passages represent which second movement. The change to to greater harmonic simplicity. verse or in some places which line a comforting major key and plucked of the sonnet, and in some places he WHAT TO LISTEN FOR strings representing the rain falling added more details to give, as he wrote, The Ospedale della Pietà in Venice (before the While in London Pescetti wrote a set outside on a cold winter afternoon make construction, at the beginning of the 19th century, ‘a very clear statement of all the things this one of Vivaldi’s most beautiful slow of the facade of the church) of sonatas for harpsichord, published that unfold’. in 1739. It was common practice in the movements. Back to the harsh minor period to substitute one solo instrument Although they were not his only key for the third movement which for another, and here the harp takes the representational music, that is, music begins with the soloist alone on the ice. place of another plucked instrument, which depicts scenes or sounds found The orchestra joins, and as they walk the harpsichord. in nature, the concertos were unique ‘slowly and fearfully’ (the bouncing in the extent to which the music of bows on strings suggests hearts A sonata is an instrumental piece of ‘narrates’ the specific details from the beating faster) the music rises in pitch music intended to be played by a solo sonnets. Vivaldi achieved this in the until everyone suddenly falls onto the instrument or small ensemble. In this fast movements by using recurring ice in a series of descending passages. work Pescetti conformed to the sonata ritornellos (refrains) played by the Vivaldi depicts every twist and turn structure prevailing at the time, with an
26 AUSTRALIAN BRANDENBURG ORCHESTRA VIVALDI’S VENICE 27 PROGRAM NOTES PROGRAM NOTES Vivaldi’s Venice Vivaldi’s Venice
I ALLEGRO NON MOLTO Agghiacciato tremar tra nevi algenti Frozen, shivering in the icy snow Al severo spirar d’orrido vento, at the cutting breath of the dreadful wind, Correr battendo i piedi ogni momento; run, stamping your feet all the time, E pel soverchio gel battere i denti; the extreme cold making your teeth chatter;
II LARGO Passar al foco i dì quieti e contenti Pass quiet and contented days by the fire Mentre la pioggia fuor bagna ben cento while the rain pours down outside;
III ALLEGRO Camminar sopra il ghiaccio, Walk on the ice e à passo lento per timor with careful slow steps for fear di cader girsene intenti; of falling or tripping on it; Gir forte, sdrucciolar, cader a terra, turn suddenly, slipping and falling to the ground; Di nuove ir sopra il ghiaccio e correr walk onto the ice again and running heavily Sinfonia - First page from a manuscript copy of forte Vivaldi’s opera, L’Olimpiade, RV 725, dated c.1734 Sin ch’il ghiaccio si rompe, e si disserra; until the ice cracks and breaks; Sentir uscir dalle serrate porte hear Sirocco, Boreas, and all the warring winds Sirocco, Borea, e tutti i Venti in guerra as they whistle through closed doors: Quest’ è ’l verno, This is winter, ma tal, che gioia apporte. but it brings joy.
Program notes, translations & timeline Canaletto - The Grand Canal near the Ponte di Rialto, 1725 © Lynne Murray 2020
28 AUSTRALIAN BRANDENBURG ORCHESTRA VIVALDI’S VENICE 29 TIMELINE TIMELINE Vivaldi’s Venice Vivaldi’s Venice
Vivaldi Other Composers & Contemporary Events
1663 1663 Gregori born in Lucca; Vermeer paints Young Woman with a Water Jug
1671 1671 Albinoni born in Venice; Paris Opera opens
1673 1673 Marcello born in Venice; French writer Molière dies in Paris
1678 Born in Venice 1678 First woman awarded a university degree, a doctorate from the University of Padua
1685 Father joins orchestra at St Mark’s Basilica, Venice 1685 Handel born in Halle; JS Bach born in Eisenach
1698 1698 Gregori’s Concerti grossi published
1700 Becomes a deacon 1700 Albinoni’s Opus 2 published in Venice
1703 Ordained as a priest; appointed violin teacher at the Pietà girls’ orphanage in Venice 1703 Earthquake in Norcia, central Italy; up to 9,000 dead estimated
1704 Receives a raise in salary from the Pietà 1704 Giovanni Pescetti born in Venice; Handel almost killed in a duel in Hamburg
1711 L’estro armonico set of concertos published 1711 Handel’s first opera in London, Rinaldo, premières
1713 First opera performed, in Vicenza 1713 JS Bach transcribes Vivaldi and Marcello concertos for harpsichord
1714 Becomes impresario & composer at S. Angelo opera theatre, Venice 1714 The Ottoman Empire declares war on the Venetian Republic
1717 Leaves the Pietà 1717 Marcello’s oboe concerto published
1718 In Mantua as music director to Prince Philip of Hesse-Darmstadt 1718 English pirate Blackbeard blockades Charleston, South Carolina
1720 Returns to Venice 1720 First cafe in Europe, Caffè Florian, opens in the Piazza San Marco, Venice
1723 Contracted by the Pietà to produce two concertos a month 1723 JS Bach appointed cantor at Thomaskirche in Leipzig
1725 Four Seasons published 1725 Canaletto paints The Grand Canal near the Ponte di Rialto
1730 Travels to Prague, composes concerto RV 93 1730 JS Bach composes motet Jauchzet Gott, BWV 51
1734 Composes opera L’Olimpiade for Venice 1734 Lutherans expelled from Salzburg set sail for America
30 AUSTRALIAN BRANDENBURG ORCHESTRA VIVALDI’S VENICE 31 TIMELINE TIMELINE Vivaldi’s Venice Vivaldi’s Venice
Vivaldi Other Composers & Contemporary Events
1736 Re-hired by Pietà as maestro di concerti 1736 Pescetti appointed director of the Opera of the Nobility in London
1739 Feraspe, Vivaldi’s last known opera, performed in Venice 1739 Pescetti publishes his keyboard sonatas in London
1740 Leaves for Vienna 1740 Frederick the Great of Prussia comes to power
1741 Dies in poverty in Vienna 1741 JS Bach composes the Goldberg Variations, BWV 988
Pescetti leaves London and returns to Venice due to Jacobite rising in Scotland; 1745 1745 Gregori dies in Lucca
1747 1747 Marcello dies in Venice
1751 1751 Albinoni dies in Venice
1756 1756 Mozart born in Salzburg
Pescetti appointed second organist at the Basilica of San Marco in Venice; 1762 1762 Gluck’s opera Orfeo ed Euridice premieres in Vienna
1765 1765 Pescetti gives lessons to recently-orphaned teenager Antonio Salieri
1766 1766 Pescetti dies in Venice; Mozart family returns to Salzburg after European tour
1808 1808 Parish Alvars born in Devon; Governor Bligh overthrown in Rum Rebellion in Sydney
1832 1832 Parish Alvars performs for Sultan Mahmud II in Constantinople
Parish Alvars appointed solo harp at Vienna Opera; 1836 1836 Donizetti’s L’Elisir d’amore premieres in Milan
Berlioz hears Parish Alvars play in Dresden; 1843 1843 Charles Dickens’ A Christmas Carol published in London
Parish Alvars dies in Vienna; 1849 1849 Edmund Barton, first Prime Minister of Australia, born in Glebe
32 AUSTRALIAN BRANDENBURG ORCHESTRA VIVALDI’S VENICE 33 WITH THANKS Our Partners
PRINCIPAL
GOVERNMENT
Australian Brandenburg Orchestra is assisted by Australian Brandenburg Orchestra is supported the Australian Government through the Australia by the NSW Government through Create NSW Council, its arts funding and advisory body
MAJOR
PRESENTING SUPPORTING
SUPPORTING
The Australian Brandenburg Orchestra‘s A chamber group of musicians from the 5th Annual Gala Dinner will be held on Thursday Orchestra led by Paul Dyer AO, Artistic Director 28 May 2020 at Metropolis, Melbourne. and Conductor, will charm with beautiful Baroque masterpieces during the evening and Join us for an evening of exquisite food and guests will have the chance to meet Paul and wine and exceptional music as we celebrate MEDIA TRUSTS AND FOUNDATIONS the musicians after their performances. the continued growth of Australia’s national Baroque orchestra.
CORPORATE CIRCLE
This fundraising event directly supports the work INVESTA PROPERTY GROUP VINCENT YOUNG of the Orchestra, ensuring we can continue to share Baroque music with audiences across Australia.
FOR MORE INFORMATION ON THIS SPECIAL EVENT: To find out more about becoming a partner of the Australian Brandenburg Orchestra please Visit: brandenburg.com.au/2020gala contact our Development Team on 1300 782 856 or [email protected] Email: [email protected] Call: 1300 782 856 VIVALDI’S VENICE 35 WITH THANKS WITH THANKS Our Donors Our Donors
A heartfelt thank you to our generous family of supporters. Sir James Gobbo Remembering Tom and Tony Cardamone Bill and Julie Goold Jenny Parramore David Castillo and Marian Magee “Thanks to the tremendous generosity of you and your fellow Brandenburg supporters, we have Richard and Anna Green Christina Pender Marianne Cochrane established nothing short of cultural excellence as Australia’s national Baroque orchestra for Ken Groves and Yun-sik Jang Professor David Penington AC Cooper Family more than 30 years. Our dream is to continue doing exactly this – achieving excellence, inspiring Michael Halliday WJ and R Poate Chris and Trudy Coote audiences and sharing our music with you for many more years to come.” Bruce and Jo Hambrett Joan Poulton Michael Crawcour Jane Hemstritch Ted and Jean Radford Dr John Dale AO and Mrs Joan Dale Paul Dyer AO Artistic Director Dr Ailsa Hocking and Wayne Redman Deborah Debnam Bruce Applebaum Managing Director Dr Bernard Williams Patricia H Reid Endowment Pty Ltd Anne and Jennifer Dineen Carr and Ann Hordern Mr Paul Rein Margaret Dobbin LIFE PATRONS RUSPOLI $5,000 - $9,999 John and Robyn Armstrong J L Hossack Alexander and Rosemary Roche Jane Edmanson OAM Mary Holt and the late Dr John Holt Andrew and Melanie Baigent Ian Baker and Cheryl Saunders Jill and David Hunt Lois Roffey Elisabeth and Grahame Elder Peter Barclay Glenn Barnes Belinda Hutchinson AM* Sylvia Rosenblum Helen Fleming Admiral Christopher Barrie AC and CHRISTINA $10,000 OR ABOVE Mrs Ros Bracher AM Dr Alastair Jackson AM Justice Ronald Sackville AO and Peter Fletcher AM and Anthony Adair and David and Leith Bruce-Steer+ Mrs Maxine Barrie Gayl Jenkins & Chris Pellegrinetti Mrs Pamela Sackville Kate Fletcher Karen McLeod Adair Wayne Burns and Kean Onn See Frederic Baudry and Paul Bailey Jim & Kim Jobson Alison Savage Peta Forster and Mark Anderson ^ Antoinette Albert+ Jim Cousins AO and Libby Cousins Caroline Brand Nuala and Ajit Kamath Tony Schlosser Deborah Fox and Harald Jahrling Aidan Allen The Faithfull Family Keith and Louise Brodie Helen Keir John Scott Rosie Freeman Stephen and Sophie Allen John Forsyth and Ann Verschuer Diana Brookes The Hon Rod Kemp and Dr Celina Seeto Valmae Freilich * Kay Buckeridge Graham Bradley AM and Ann Gordon Mrs Daniele Kemp Dr Gideon and Mrs Barbara Shaw Richard and Heather Gorrell Charlene Bradley Susan Hilliard Henry Burmester and Peter Mason Liana Kestelman Paul Sheehan and Philip and Anabel Gosse Elizabeth Butcher AM Jillian Broadbent AC Jenny and Peter Hordern Lizanne and Julian Knights AO^ Susan Wyndham Carole A. P. Grace Ita Buttrose AO OBE Dr Catherine Brown-Watt PSM Katie Lahey AM and Anna and Richard Kopinski Mr Charlie Shuetrim AM and Peter and Deirdre Graham and Mr Derek Watt+ Robert Marriott Robin Campbell A Koumoukelis Family Mrs Sandra Shuetrim Sandra Haslam Dr Beverley and Louise Christie Greg Livingstone Mr John Lamble AO Dr Agnes Sinclair Frank Hemmings Roxane Clayton+ J and R MacLeod Mr Alan Castleman John & Anne Lawson Robyn Smiles In memory of Armon Hicks Jnr Jane and David Duncan Dr Diana Marks and Dennis Bluth Bella Church A le Marchant Alan and Jennifer Smith Geoff Hogbin Mr Peter Clark and Mrs Jan Clark Michael Ebeid AM and The Hon Jane Mathews AO Harvey and Janette Lewis Chris and Bea Sochan Ian and Suzanne Holden Roland Howlett Richard and Rowena McDonald^ Rebecca and Craig Clarke Richard and Elizabeth Longes Mrs Beverley Southern# Simon and Katrina Holmes à Court John and Jenny Fast Rohan Mead Bernard Coles QC Glenice & James Maclellan^ Brendan Sowry Lynne Jensen^ Carol Haynes and Hugh Morgan AC and Emeritus Professor Aggie Maisano Dr Murray and Mrs Joy Stapleton Irene Kearsey and Michael Ridley Skipp Williamson^ Elizabeth Morgan^ Martin Comte OAM Morris and Helen Margolis Charles Such Philippa Kearsley * Mary Holt and the late Dr John Holt Rointon Nugara and Frank and Jan Conroy Joanna B Maxwell Chee Ling Tan^ Pamela Kenny in memory of Peter* Mrs W. G. Keighley in memory of Brendan Nugent Professor Geoffrey N Cooper Mora Maxwell Mr Mike Thompson Nicholas Korner Geoffrey In memory of Jenny Parramore Dom Cottam and Kanako Imamura Peter McGrath Mrs C and Mr P Vaughan-Reid Marcel and Mimi Kreis^ ^ Mick and Lyndall McCormack Pip Smith Toula and Nicholas Cowell Judith A McKernan Judith Williams Mira Levy Jacqui and John Mullen The Stirling Family^ Tim and Bryony Cox Professor Roy and Michael and Caroline Williams Anne Loveridge & Graeme Foster Chum Darvall AM John and Joanne Pickhaver Mark and Debra Taylor Doctor Kimberley MacLeod Dr Peter C Wilton Wendy E McCarthy AO + David Davies and Paul Presa Lady Potter AC CMRI Greg Ward Fiona Mellor and Scott Tanner^ Dr David Wood and Mr Gary Fung Janet McCredie Dr David and Dr Gillian Ritchie Sheryl Weil Margaret and Chris de Guingand Elizabeth Mildwater K A Wratten Ross McNair and Emeritus Professor Rodwell Foundation Dr Jason Wenderoth John Milhinch OAM David Zehner Robin Richardson Dexter Dunphy AM Rowan Ross AM and Annie Ross Ray Wilson OAM in memory of John Mitchell Anonymous x 18 Dr David Millons AM and Jeanne-Claude Strong James Agapitos OAM Ralph and Maria Evans Mrs June Musgrove in memory of Mrs Barbara Millons in memory of Peter and Jenny Wohl Rosemary Farrow Dr Peter Musgrove SUPPORTER I $500 - $999 Dr Kerry Mills and Di Pease Wendy and Ron Feiner James Strong Anonymous Robert Niall and Dr Jill Sewell AM Priscilla Adey Peter Miszalski Nancy Fox and Bruce Arnold Peter Weiss AO+ Dr Paul Nisselle AM and Philip Bacon AM Niq Morcos & Morgaine Williams Barbara and Malcolm France Sally and Geoffrey White+ DURAZZO $1,000 - $4,999 Mrs Sue Nisselle^ Q Bryce Anne Murphy Cruise Brian and Philippa France Cameron Williams Janet Abernethy and Richard Willis Rosemary and James O’Collins Shane Buggle & Rosie Callanan John and Susan Myatt Eleanor Freeman Anonymous Paula and Alex Adamovich Mrs Roslyn Packer AC Jenny and Henry Burger Andrew Naylor Carrillo and Ziyin Gantner Richard Adams Trevor J Parkin David and Louise Byrne Brendan O’Connell Justin and Anne Gardener J M Alroe JM & MA Cameron E. K. Palmer Christine George Brett Andersen and Brad Bowen Professor Dianne Campbell Dr Kevin Pedemont
36 AUSTRALIAN BRANDENBURG ORCHESTRA VIVALDI’S VENICE 37 WITH THANKS WITH THANKS Our Donors Our Donors
John Peisley and Ros Royal Dr Christopher Buckley Geoff Lavender and ORCHESTRAL CHAIRS CHAIRMAN’S 11 BRANDENBURG Dr John Percy Kerin Carr Elizabeth A. Lavender Artistic Director supported by Dedicated to the memory of FOUNDATION DONORS Helen Perlen Dr S Cherian Vicki and Adam Liberman Mick and Lyndall McCormack James Strong AO. AMATI $250,000 – $500,000 Jim and Chris Pollitt Christine Clough Mrs Iris Luke in Memory of Concertmaster Chair supported by Chairman’s 11 supports the The Eileen Marie Dyer AM Fund Peter and Karen Reid Jean Cockayne Dr Clifton Luke Jacqui and John Mullen Brandenburg’s international and Anonymous Peter Rush Miles Coolican Elizabeth Mackenzie and local guest artists. STRADIVARI Marysia Segan Mr Charles P. Curran AC Michael Bremner Principal Baroque Cello Chair $100,000 – $249,999 Jeannette Sharpe Anthony Darcy Richard Masiulanis supported by Mrs W. G. Keighley Roxane Clayton Cary and Rob Gillespie Jann Skinner Janet Doust Peter McCall Principal Theorbo / Baroque Richard Fisher AM and Anonymous Margot Smith Kerri Eager Janet McDonald AO and Guitar Chair supported by The Diana Fisher Sue Thomson Rita Erlich Donald McDonald AC Alexandra and Lloyd Martin Family Chris and Gina Grubb GUARNERI $50,000 – $99,999 Mr Frank Tisher OAM and Bronwyn Evans and Peter Gordon Ms Judith McDonald Foundation and friends, in memory Carol Haynes and Chris and Kathy Harrop Dr Miriam Tisher Mrs Kay Fell Phillippa and Colin McLachlan of Lloyd Martin AM Skipp Williamson Macquarie Group Foundation * Mrs W. G. Keighley for Geoffrey The Martin Family in memory of Jane, remembering Marguerite Foxon Beatrice Moignard Principal Baroque Flute / Recorder Susan Maple-Brown AM Lloyd Martin AM Harris van Beek Janine Francis A & K Molino Chair supported by Alison Park in loving memory of Christine Yip and Paul Brady Margot Vaughan Dr Mark Garwood and Collin Myers AM and Marilyn Myers Robyn Martin-Weber and Richard Park Anonymous Ronald Walledge Mrs Elizabeth Garwood Myles Neri Victoria Taylor Dr J and A Whaite Judith Gibson Evan Petrelis Anonymous MAESTRI $25,000 – $49,999 Dr. Anthony Williams Trish Goodman Nella Pinkerton PLANNED GIVING John and Robyn Armstrong BRADENBURG OPERA CIRCLE Richard & Lale Williamson Late H. E. Gower Ken Ramshaw BEQUEST Greg Hutchinson AM and The following donors have Gregory W Won Dr Stéphane Hemmerter Fiona Reynolds The Australian Brandenburg Lynda Hutchinson supported the establishment of Anonymous x 23 in memory of Leslie and Jennifer Rosen Orchestra warmly acknowledges Nick and Caroline Minogue the Brandenburg Opera Circle, Gérard Hemmerter Michael Roset and Christine Paull the bequest it has received from Rowan Ross AM and Annie Ross SUPPORTER II $250 - $499 enabling the Orchestra to expand Stephen Hider Professor Steve and the Estate of Valda Astrida Siksna. David and Rachel Zehner Kay Anderson In Loving Memory of Dr Sharon Schach* its repertoire into the world PLAY ON: A LASTING LEGACY ARCANGELI $15,000 – $24,999 Philippa and John Armfield Dean Huddlestone Elizabeth Scott of baroque opera, as well as We are hugely appreciative to all Mr David Baffsky AO and Jaci Armstrong John Hughes Reeva Segal nurturing young opera singers and those who have pledged a bequest Mrs Helen Baffsky Carole Bailey Nicola and Ian Jackman Natalie & Tanya Stoianoff creative teams. to the Brandenburg. Melinda Conrad and David Jones Joan and Jeff Barcham Michael Jones George Szonyi Toula and Nicholas Cowell Glenn Moss and the late R. Cook Jean Birrell Hilary Kelman Anthony Tarleton Wendy and Ron Feiner Dr Ken Moss AM Gordon and Barbara Black Joshua Kim and Richard House Mrs Anne E Thomas Professor Geoffrey N Cooper Deborah Fox and Harald Jahrling Janet Doust CAMERATA $10,000 – $14,999 Professor Fran Boyle AM Alasdair King Caroline Thornton Justin and Anne Gardener Graham Bradley AM and Dr Jerry Koliha and Amanda Trenaman and The Faithfull Family Irene and John Garran Robert Bradshaw Charlene Bradley Ms Marlene Krelle Steven Turner Brian and Leonie Fisher Ken Groves and Yun-sik Jang Catherine Broady The Clayton Family L. Krienbuhl S Walker R J Irwin Mary Holt and the late Dr John Holt Dr Roderick Brooks and Norman Gillespie Julie Laforest Janice Windsor and David Brazier Lilly K A le Marchant Ms Carol Shaw Rohan Mead Nerida Bryce Dr Micheline Lane Anonymous x 46 Peter McGrath Peter McGrath Penelope Oerlemans Axel and Alexandra Buchner Anne Latreille Dr Agnes Sinclair CORPORATE DONORS Joan and Lloyd Poulton Victoria Taylor APA Group * Donors to the Brandenburg International Baroque Study Program Art and Cynthia Raiche Greg Ward Bain & Company # Donors to the Brandenburg Instrument Fund Anonymous x 15 Ray Wilson OAM in memory of Centre for Corporate Public Affairs + Donors to the 30th Anniversary Book James Agapitos OAM Elwyn Consulting ^ Donors to the New Works Circle Christine Yip and Paul Brady Gilbert + Tobin Anonymous x 2 This donor list is current for a 12-month period to 24 January 2020. Supporter III donations are acknowledged at Link Group donations.brandenburg.com.au Macquarie Group Pacific Equity Partners If the Brandenburg has enriched your life or if you would like to deepen your involvement with us, The Lancemore Group we would be thrilled to welcome you into our valued family of supporters. Toll Group To find out more, or to make a donation, please get in touch with our Development Team. Phone 1300 782 856 | Email [email protected] Visit donations.brandenburg.com.au
38 AUSTRALIAN BRANDENBURG ORCHESTRA VIVALDI’S VENICE 39 RT_ABO_Program_Ad_FP-A5.indd 1
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energy.connected 5/30/16 4:07PM 14/01/2020 2:23:08 PM WITH THANKS Credits
PATRON His Excellency General the Honourable David Hurley AC DSC (Retd), Governor-General of the Commonwealth of Australia
Her Excellency the Honourable Margaret Beazley AO QC, Governor of New South Wales
ARTISTIC DIRECTOR THE BOARD Paul Dyer AO David Zehner, Chairman John C Fast Alison Harrop, Deputy Chair Susan Hilliard MANAGING DIRECTOR Aidan Allen Glenice Maclellan Bruce Applebaum Bruce Applebaum John Pickhaver THE BRANDENBURG David Baffsky AO Sheryl Weil COUNCIL Paul Dyer AO Jillian Broadbent AC Greg Hutchinson AM
Max Suich
HEAD OF MARKETING HEAD OF ARTISTIC HEAD OF BUSINESS & CUSTOMER RELATIONS PLANNING & MANAGEMENT OPERATIONS Tom Morgan Ashley Giles Ian Creevey
MARKETING MANAGER ORCHESTRA MANAGER EXECUTIVE ASSISTANT Shiki Chan Valérie Morgan-Pertus Susan Duffy
CUSTOMER RELATIONS ARTISTIC PLANNING ACCOUNTANT MANAGER COORDINATOR John Scott Kateryna Collier Joanna Butler AUDITORS BUSINESS SYSTEMS MUSIC RESOURCES BDO East Coast Partnership ANALYST Hugh Ronzani REPERTOIRE ADVISORS Thomas Chiu HEAD OF DEVELOPMENT (HONORARY) ASSISTANT BOX OFFICE Aislinn Giugni Charles Gwynn MANAGER Andrew O’Connor PHILANTHROPY MANAGER Nastassia Laptev Christopher Price Andrew Brook RECEPTIONIST/TICKETING PRE-CONCERT TALKS PHILANTHROPY & EVENTS ASSISTANT Dr Alan Maddox* MANAGER Ewelina Ellsmore Freya McGahey * Dr Alan Maddox appears courtesy of the Sydney Conservatorium Of Music, CORPORATE PARTNERSHIPS The University of Sydney (Staff) MANAGER Madeline O’Dwyer
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42 AUSTRALIAN BRANDENBURG ORCHESTRA PARIS – MELBOURNE – SYDNEY – LONDON – NEW YORK – BEIJING – BALI WITH THANKS Venues
CITY RECITAL HALL MELBOURNE RECITAL CENTRE QPAC
CHAIR CEO BOARD OF DIRECTORS Professor Peter Coaldrake AO Elaine Chia Prof Andrea Hull AO (Chair) Peter Bartlett DEPUTY CHAIR BOARD OF DIRECTORS Stephen Carpenter Leigh Tabrett PSM Renata Kaldor AO (Chair) Deborah Cheetham AO TRUST MEMBERS Timothy Cox AO Joseph Corponi Dr Sally Pitkin (Deputy Chair) The Hon Mary Delahunty Dare Power David Albert Paul Donnelly Georgina Richters Helen Bauer Assoc Prof Jody Evans Susan Rix AM Rachel Launders Margaret Farren-Price Leanne de Souza Paul Mason Eda Ritchie AM Marcus McArdle Audrey Zibelman CHIEF EXECUTIVE Carol Mills John Kotzas Jennie Sager FOUNDING PATRON The Late Dame PO Box 3567, South Bank, 2 Angel Place Elisabeth Murdoch AC DBE Queensland 4101 Sydney NSW 2000 EXECUTIVE STAFF TELEPHONE ADMINISTRATION Euan Murdoch (07) 3840 7444 02 9231 9000 Chief Executive Officer WEBSITE BOX OFFICE Jasja van Andel qpac.com.au 02 8256 2222 Head of Operations Sarah MacPherson WEBSITE Director of The Queensland Performing Arts Trust is a statutory body of the State of Queensland cityrecitalhall.com Corporate Services and is partially funded by the Queensland Marshall McGuire Government Director of Programming The Honourable Leeanne Enoch MP, Minister for Environment and the Great Robert Murray Barrier Reef, Minister for Science and Director of Marketing & Minister for the Arts Director-General, Where you’ll love the views Customer Relations Department of Environment and Science: Jamie Merrick. QPAC respectfully Sandra Robertson acknowledges the Traditional Owners of but live for the location Director of Development the Lands across Queensland and pays respect to their ancestors who came Corner Southbank Boulevard before them and to Elders past, present Live a connected inner-city lifestyle at The Grace. South Melbourne, and Sturt Street and emerging. Patrons are advised that the the city, the Arts Centre and South Yarra dining and retail are Performing Arts Centre has EMERGENCY Southbank VIC 3006 EVACUATION PROCEDURES, a FIRE moments away. At The Grace, you won’t just live the Melbourne life, ALARM system and EXIT passageways. BOX OFFICE In case of an alert, patrons should remain you’ll live your best life. World-class retirement apartments now selling. 03 9699 3333 calm, look for the closest EXIT sign in GREEN, listen to and comply with Call 0477 775 786 or visit thegracealbertparklake.com.au directions given by the inhouse trained FACSIMILE attendants and move in an orderly fashion 03 9207 2662 to the open spaces outside the Centre.
WEBSITE melbournerecital.com.au
Australian Unity Retirement Living Services Limited, ACN 085 317 595, January 2020. 44 AUSTRALIAN BRANDENBURG ORCHESTRA Do you need distinctive entertaining experiences for your clients, executives or staff? Cultivate important client relationships and connect with like-minded supporters at our unique and memorable concerts and events.
FOR MORE INFORMATION PLEASE CONTACT OUR DEVELOPMENT TEAM: Email: [email protected] Call: 1300 782 856 Mozart’s bright and achingly beautiful basset clarinet concerto performed on the rare and richly voiced instrument of the period.
STARRING SOLOISTS: CRAIG HILL (AUSTRALIA) BASSET CLARINET EMMA BLACK (AUSTRIA) CLASSICAL OBOE
MELBOURNE 30 APRIL – 3 MAY 2020 SYDNEY 6–15 MAY 2020 PARRAMATTA 14 MAY 2020
BOOK NOW PHOTO CREDIT: brandenburg.com.au JAMES BRAUND