Vivaldi Unwired - Australian Brandenburg Orchestra

AUSTRALIAN
BRANDENBURG
ORCHESTRA
VIVALDI
UNWIRED
Sydney, Melbourne and Brisbane MAY 2015
Paul Dyer AO Artistic Director and Conductor
Brendan Joyce baroque violin
Ben Dollman baroque violin
Christina Leonard soprano saxophone
Australian Brandenburg Orchestra
Program
BACH Brandenburg Concerto no.3, BWV 1048
VIVALDI Concerto for Two Violins op.3, no.8 RV 522 from L’estro armonico
C.P.E. BACH Concerto for Flute in A minor, Wq 166 (arr. soprano saxophone)
(arr. C. Leonard)
INTERVAL
RICHTER Recomposed – Vivaldi: The Four Seasons
Sydney City Recital Hall Angel Place
Wednesday 6 May, Friday 8 May, Saturday 9 May, Wednesday 13 May, Friday 15 May all at 7pm
Matinee Saturday 9 May at 2pm
Melbourne Melbourne Recital Centre
Sunday 17 May at 5pm
Monday 18 May at 7pm
Brisbane Queensland Performing Arts Centre
Monday 11 May at 7:30pm
Tuesday 19 May at 7:30pm
The duration of this concert is approximately 2 hours including interval.
We kindly request that you switch off all electronic devices during the performance.
Brisbane Series Sponsors
PRINCIPAL PARTNER
Shared
Visions
Artistic Director's
Message
Macquarie is again proud to be the principal partner of the
Australian Brandenburg Orchestra.
A few weeks ago I had the great pleasure of visiting MONA
in Hobart – what a magnificent place! My eyes lit up everywhere
in that extraordinary space as I flowed through the world of Old
and New. Tonight we explore this same blend of worlds and periods
with the genius of Sebastian Bach, his son Carl Philip Emmanuel,
the irrepressible Antonio Vivaldi and the Grammy Award winning
contemporary British composer Max Richter.
The 2015 program offers a series of musical collaborations to delight
audiences. Ranging from well-known composers such as Mozart
and Vivaldi to intimate works seldom performed in Australia, the
season promises musical virtuosity throughout.
Presenting both classics of the baroque repertoire as well as
unfamiliar compositions enables the depth of the baroque period to
be shared with modern listeners. It is this ability of the ensemble to
perform baroque pieces in as fresh and exciting a way as when they
were first performed that is one of the most enticing aspects of a
Brandenburg concert.
It is a privilege to continue our support for the Brandenburg and
congratulations once again to Artistic Director Paul Dyer for creating
a wonderful year of concerts. Our partnership with the Orchestra in
bringing these works to life means the immense talents of its
musicians and visiting artists can be widely enjoyed and appreciated.
We commend this year’s program to you.
Max has recomposed, reimagined and retouched Vivaldi’s
four brilliant Concertos – The Four Seasons and has opened up
contemporary sounds with this special composition. This remarkable
work, while utterly modern, shows complete respect for Vivaldi’s
celebrated masterpiece.
Tonight is the WORLD PREMIERE of Max Richter’s Recomposed
on period instruments. Inspired by Bach, rock, ambient electronica
and film music sounds, Max has created an electrifying fusion of Old
and New. This piece recently topped the iTunes Classical charts in
the UK, Germany and USA and we are excited to bring it to
Australian audiences tonight.
My keyboards for this series include our beautiful Flemish
harpsichord, Moog Synthesiser and AppleMac.
Shining their musical brilliance tonight together with the wonderful
Brandenburg artists are Baroque Violinist Brendan Joyce and
Saxophonist, Christina Leonard.
Also tonight we are thrilled to be celebrating the recent honour
of receiving the prestigious Sidney Myer Performing Arts Group
Award for 2014.
Shemara Wikramanayake
Chair, Macquarie Group Foundation
Paul Dyer AO
Artistic Director and Conductor
3
Australian
Brandenburg
Orchestra
VIVALDI UNWIRED
“…What stands out at concert after concert is the
impression that this bunch of musicians is having a
really good time. They look at each other and smile,
they laugh…there’s a warmth and sense of fun
not often associated with classical performance.”
Sydney Morning Herald
Paul Dyer AO Artistic Director and Conductor
Brendan Joyce baroque violin
Ben Dollman baroque violin
Christina Leonard soprano saxophone
Australian Brandenburg Orchestra
The Musicians on period instruments
Baroque Violin 1
Brendan Joyce, Brisbane
(Guest Concertmaster)*
Matt Bruce, Sydney*
Catherine Shugg, Melbourne
Skye McIntosh, Sydney
Matt Greco, Sydney
Tim Willis, Berlin
Baroque Violin 2
Ben Dollman, Adelaide+*
Sarah Dunn, Sydney
Simone Slattery, Adelaide
Stephanie Eldridge, Bendigo
Shaun Warden, Sydney
4
Baroque Viola
Monique O'Dea, Sydney+1
Marianne Yeomans, Sydney
Christian Read, Melbourne
Simón Gangotena, Melbourne
Soprano Saxophone
Christina Leonard, Sydney+
Baroque Cello
Jamie Hey, Melbourne+*
Anthea Cottee, Sydney
Rosemary Quinn, Sydney
Dan Curro, Brisbane
Theorbo/Guitar
Tommie Andersson, Sydney+*
Baroque Double Bass
Kirsty McCahon, Sydney+*
Libby Browning, Perth
Harpsichord
Joanna Tondys, Sydney
* Denotes Brandenburg Core Musician
+
Section Leader
1
Monique O’Dea appears courtesy of Presbyterian Ladies’ College, Sydney (staff)
Harp courtesy of Genevieve Lang (SYD) and John Connolly (BNE).
Harpsichord preparation by Geoffrey Pollard in Sydney and Alistair McAllister in Melbourne
Harpsichord preparation in Brisbane is by Michael Ryan
Australian
Brandenburg
Orchestra
Modern Harp
Melina van Leeuwen, Melbourne+
Harpsichord/Synthesiser
Paul Dyer, Sydney+*
The Australian Brandenburg Orchestra, led by
charismatic Artistic Director Paul Dyer, celebrates the
music of the sixteenth, seventeenth and eighteenth
centuries with excellence, flair and joy. Comprising
leading specialists in informed performance practice
from all over Australia, the Brandenburg performs
using original edition scores and instruments of the
period, breathing fresh life and vitality into baroque
and classical masterpieces – as though the music
has just sprung from the composer’s pen.
The Orchestra’s name pays tribute to the
Brandenburg Concertos of J.S. Bach, whose
musical genius was central to the baroque era.
After celebrating their 25th anniversary in 2014,
the Brandenburg continues to deliver exhilarating
performances.
The Brandenburg has collaborated with such
acclaimed and dynamic virtuosi as Andreas Scholl,
Fiona Campbell, Philippe Jaroussky, Kristian
Bezuidenhout, Emma Kirkby, Andreas Staier,
Elizabeth Wallfisch, Genevieve Lacey, Andrew Manze
and more.
Through its annual subscription series in Sydney and
Melbourne, the Australian Brandenburg Orchestra
performs before a live audience in excess of
40,000 people, and hundreds of thousands more
through national broadcasts on ABC Classic FM.
The Brandenburg also has a regular commitment
to performing in regional Australia. Since 2003 the
Australian Brandenburg Orchestra has been a
member of the Major Performing Arts Group, which
comprises 28 flagship national arts organisations
supported by the Australia Council for the Arts.
The Brandenburg is pleased to be performing two
concert series in Brisbane 2015.
Since its beginning, the Brandenburg has been
popular with both audiences and critics. In 1998
The Age proclaimed the Brandenburg “had reached
the ranks of the world’s best period instrument
orchestras”. In 2010 the UK’s Gramophone
Magazine declared “the Australian Brandenburg
Orchestra is Australia’s finest period-instrument
ensemble. Under their inspiring musical director
Paul Dyer, their vibrant concerts and recordings
combine historical integrity with electrifying
virtuosity and a passion for beauty.”
The Australian proclaimed that “a concert with the
Australian Brandenburg Orchestra is like stepping
back in time, as the sounds of period instruments
resurrect baroque and classical works with reverence
and authority.”
The Brandenburg's seventeen recordings with ABC
Classics include five ARIA Award winners for Best
Classical Album (1998, 2001, 2005, 2009 and 2010).
Discover more at brandenburg.com.au
5
PAUL
DYER
In January 2013 Paul Dyer AO was awarded the Officer
of the Order of Australia (AO) for his ‘distinguished
service to the performing arts, particularly orchestral
music as a director, conductor and musician, through
the promotion of educational programs and support
for emerging artists’ in recognition of his achievements
as Co-founder and Artistic Director of the Australian
Brandenburg Orchestra and Brandenburg Choir.
Paul Dyer is one of Australia’s leading specialists in
period performance styles. He founded the ABO
in 1990 and has been the orchestra’s Artistic Director
since that time. Paul has devoted his performing life to
the harpsichord, fortepiano and chamber organ as well
as conducting the Brandenburg Orchestra and Choir.
Paul completed postgraduate studies in solo
performance with Bob van Asperen at the Royal
Conservatorium in The Hague, performed with
many major European orchestras and undertook
ensemble direction and orchestral studies with
Sigiswald Kuijken and Frans Brüggen.
Paul appears as a soloist, continuo player and
conductor with many major ensembles including
the Sydney Symphony Orchestra, West Australian
Symphony Orchestra, Queensland Orchestra,
Australia Ensemble, Australian Chamber Orchestra,
Opera Australia, Australian Youth Orchestra, Victorian
State Opera, Malaysian Philharmonic Orchestra,
the Pacific Baroque Orchestra, Vancouver, and the
Orchestra of the Age of Enlightenment, London.
6
Paul has performed with many prominent international
soloists including Andreas Scholl, Cyndia Sieden,
Elizabeth Wallfisch, Andreas Staier, Marc Destrubé,
Christoph Prégardien, Hidemi Suzuki, Manfredo
Kraemer, Andrew Manze, Yvonne Kenny, Emma
Kirkby, Philippe Jaroussky and many others. In 1998
he made his debut in Tokyo with countertenor Derek
Lee Ragin, leading an ensemble of Brandenburg
soloists, and in August 2001 Paul toured the orchestra
to Europe with guest soloist Andreas Scholl. As a
recitalist, he has toured Germany, France, Belgium,
the Netherlands and the United States.
Paul is an inspiring teacher and has been a staff
member at various Conservatories throughout the
world. In 1995 he received a Churchill Fellowship and
he has won numerous international and national awards
for his CD recordings with the Australian Brandenburg
Orchestra and Choir, including the 1998, 2001, 2005,
2009 and 2010 ARIA Awards for Best Classical album.
Paul is Patron of St Gabriel’s School for Hearing
Impaired Children. In 2003 Paul was awarded the
Australian Centenary Medal for his services to Australian
society and the advancement of music. In 2010 Paul
was awarded the Sydney University Alumni Medal
for Professional Achievement.
Christina Leonard
Soprano saxophone
Brendan Joyce
baroque violin
Born in Coonamble, Christina Leonard is one of
Australia’s leading classical Saxophonists. For the past five
years Christina has featured in the Australian Brandenburg
Orchestra’s Noël! Noël! concert series, and was one of the
soloists in the Elena Kats-Chernin commission to celebrate
the ABO’s 25th Anniversary.
Christina is a Saxophonist with both the Sydney
Symphony Orchestra and the Australian Opera Ballet
Orchestra. She has held these key positions for many years
and has performed orchestrally in Sydney, Melbourne,
Brisbane, Adelaide and in Hobart as a soloist with the
Tasmania Symphony Orchestra. Christina has also performed
with the ACO, the Song Company, Match Percussion,
Synergy, and the Sonic Art Ensemble.
Christina is co-artistic director of the Australian World
Orchestra’s Chamber Music Festival in the Southern Highlands.
She has made many recordings and live broadcasts for ABC
Classic FM and Fine Music FM. Christina has premiered newly
commissioned music with Marshall McGuire at the Utzon
Room Chamber music series at the Opera House and will
record a CD of this and other new music later in the year.
Christina has recently recorded a CD of Saxophone and Piano
repertoire with Tamara-Anna Cislowska.
Christina was awarded a Queens Trust Scholarship to
complete a postgraduate degree at the Guildhall School of
Music and Drama, London. Christina completed her Masters
of Music (Performance) at the Sydney Conservatorium
of Music and has been lecturing Saxophone, examining
and facilitating workshops and classes there since 1997.
Christina’s transcriptions of Baroque music for Saxophone
and keyboard, are included on the current AMEB and
ABRSM, (London) Syllabi.
Christina continues to champion opportunities for
classical Saxophone commissions and performances and is
the first Australian to be endorsed as an International Artist
with Japanese instrument maker Yanagisawa.
Brendan Joyce is a long-standing member of the Australian
Brandenburg Orchestra and one of its guest Concertmasters.
Brendan hails from Brisbane where he is Leader of
Camerata of St John's – a Queensland based chamber
orchestra. His leadership of Camerata was recently described
by The Australian as "dynamic" and he frequently appears
as soloist with the group. Brendan's leadership has resulted
in milestones such as the ensembles first recordings, tours,
broadcasts, collaborations, and in acclaimed performances at
the festivals of Tyalgum, Darwin, Queensland Music and the
Australian Festival of Chamber Music. Brendan coordinates
Camerata's revered programming, and is an alumnus of
the original version of Camerata that played to high critical
acclaim 1987–1997. He appears as a Concertmaster for the
Orchestra of the Antipodes, and has played with the ACO
and the Smithsonian Chamber Orchestra. During his youth
orchestra days Brendan led the Queensland Youth Symphony
and Australian Youth Orchestras. Between 2011–2013 he
performed the complete cycle of Bartok's String Quartets
as a member of the Kurilpa String Quartet. During 2015 he
has performed the Beethoven Violin Concerto with Brisbane
Symphony Orchestra, and Marjan Mozetich’s “Affairs of the
Heart” Violin Concerto with Camerata of St John’s.
Brendan attained a Doctor of Musical Arts in Violin
Performance from The University of Maryland, USA, receiving
awards there for his leadership of the Maryland Handel Festival
Opera Orchestra, as well as for presentations and premieres of
the music of twenty Australian composers. His early teachers
included Joyce Crooks, Lyn Darveniza and Stephen FrewenLord in Ayr, Queensland. He undertook extensive studies and
mentoring with Elizabeth Morgan in Brisbane. Brendan also
studied in the United States with Gerald Fischbach, and in
chamber music with David Salness and the Guarneri String
Quartet.
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VIVALDI UNWIRED
Johann Sebastian Bach (1685–1750)
Brandenburg Concerto No. 3 in G major, BWV 1048
BEN DOLLMAN
BAROQUE VIOLIN
Ben Dollman is one of Australia’s leading performers on
baroque violin, having held the position of Principal 2nd
violin in the ABO for over ten years.
Studies in modern violin at Adelaide University were
followed by time at Indiana University in the US where
he developed a love of early music through work with
the Australian violinist Stanley Ritchie. Upon returning
to Australia, Ben was further mentored by then ABO
concertmaster Lucinda Moon, and was invited to
become a regular member of the ABO in 1999. He has
since also performed as soloist and concertmaster on
a number of occasions.
Based in Adelaide, he is an active chamber musician
in other early music ensembles as well as in more
contemporary music on the modern violin. Over many
years he has also been a regular guest with the Adelaide
Symphony Orchestra. He maintains a keen teaching
practice in addition to which he has been involved with
a number of educational programs including for Musica
Viva and the Australian Youth Orchestra.
8
[Allegro]
Adagio
Allegro
In March 1721 Bach sent “Six Concertos for Several Instruments” to the Margrave of
Brandenburg, who was the uncle of King Friedrich Wilhelm I of Prussia. Using the conventional
obsequious style he reminded him that he had performed for him in Berlin two years earlier
and that on that occasion the Margrave had asked for some of his compositions. This is the
only definitive information we have about the history of the musical works now known as the
“Brandenburg Concertos”.
From what we do know it seems that Bach did not compose them especially for the Margrave
nor did he compose them as a set but rather, that he selected these concertos because their
enormous variety of form and instrumentation showed his range as a composer, and he was
hoping that the Margrave might offer him a job.
Scholars now believe that Bach composed the concertos during the years 1713 to 1721, when he
held positions at the courts of Weimar and Cöthen. He was appointed court organist and chamber
musician at Weimar in 1708, later being promoted to the rank of concert master, or orchestra
leader, and it was here that he developed significantly as a composer. In 1714 the court acquired
a large number of scores recently printed in Amsterdam and this enabled Bach to study the new
Italian style of Torelli, Alessandro and Benedetto Marcello and, above all, Vivaldi.
Although Bach’s talent was acknowledged by the Weimar court, internal politics meant that he
was overlooked for the position of Kapellmeister (music director) when it became available, and
he began to look for another post elsewhere. Like most German composers of his time, Bach’s
options for earning a living were limited; he could work as a court or chamber musician for a
member of the nobility, or as a church or civic musician for a municipal authority. Throughout his
career he continually sought out better paid positions that gave him maximum artistic control, so
when he was offered the role of Kapellmeister by Prince Leopold of Anhalt–Cöthen towards the
end of 1717, he enthusiastically accepted. Taking up the position was not as straightforward as
simply resigning from his current job at Weimar, however. As a servant of the Dukes of Weimar,
Bach required their permission to leave his current post and he was imprisoned for almost a
month for being impertinent enough to ask for his own dismissal.
Although Cöthen was a small, nondescript mid-German town, Prince Leopold was a music
connoisseur who paid Bach double the salary of the previous Kapellmeister. Like most noblemen
9
VIVALDI UNWIRED
the Prince had his own orchestra but his was particularly fine, due to the presence of a number of
virtuoso musicians who had found themselves out of a job when Friedrich Wilhelm I of Prussia, no
music lover, dissolved the Berlin court capelle in 1713. Bach composed some of his most famous
instrumental music for this group, and his five years at Cöthen, from 1717 to 1722, were among
the most productive and artistically satisfying of his career.
What to listen for
The years 1719 to 1721 were very difficult ones for Bach personally, however. During this time
his brother and his fifth child died. High rates of infant mortality were a part of everyday life in the
eighteenth century, and only ten of Bach’s twenty children survived past childhood. Worse was
to come, however, with the death of his wife Maria Barbara. According to his son Carl Phillip
Emmanuel Bach, only six years old at the time of his mother’s death:
In this, as in most of his concertos, Bach broadly followed Vivaldi’s model of three movements,
fast–slow–fast, the fast movements structured around a refrain (ritornello) that is stated with
variations by the full orchestra, alternating with different thematic material (known as episodes) for
the soloists. Bach took ritornello form to a new level of complexity, with his layering of orchestral
texture and virtuosic writing for solo instruments.
After thirteen years of blissful married life with his first wife, the misfortune overtook
him, in the year 1720, upon his return to Cöthen from a journey with his Prince to
Carlsbad, of finding her dead and buried, although he had left her hale and hearty on his
departure. The news that she had been ill and died reached him only when he entered
his own house.
After the death of his wife it appears that Cöthen lost its appeal for Bach. Prince Leopold’s
marriage to an un-musical princess and overstretched finances foreshadowed a down-sizing of the
court’s musical establishment, and provided further impetus for Bach to look for a new position.
History does not record what the Margrave thought of Bach’s gift but the next job offer came not
from Berlin but from Leipzig, where Bach moved in 1723.
We know very little about the performance history of Bach’s instrumental works and there is no
record that the Brandenburg Concertos were performed anywhere in Bach’s lifetime, although the
Prince’s orchestra at Cöthen certainly included musicians capable of playing this very demanding
music. The autograph score remained in the possession of the Prussian royal family but the
concertos were largely neglected and unknown, and were not mentioned either in Bach’s obituary
or his first biography published in 1802. They were published only in 1850 when a German
musicologist stumbled upon them in a library in Berlin, but it was not until one hundred years later,
with the early music revival of the 1950s, that they began to be widely heard.
Brandenburg Concerto No. 3 may be the earliest of all the concertos. Some scholars have dated
at least the first movement to 1714, the period when Bach was beginning to immerse himself in
the new Italian concerto style for one or two soloists made popular by Antonio Vivaldi.
Concerto No. 3 is just for strings, with three parts for each of violins, violas and cellos,
accompanied by double bass and harpsichord continuo. The dance-like first movement is
brimming with exhilaration and zest. Each instrument or instrumental group takes a solo role
in turn, but in a far more complex and original way than in Vivaldi’s concertos. The second
movement consists of just two bars with no direction on the score as to their interpretation.
Did Bach deliberately omit a movement from the copy he wrote out for the Margrave, or did he
envisage a solo improvisation at this point? And on what instrument? Musicians of the day would
have been similarly perplexed, having never encountered such an issue in any of the concertos
published to that time, with not even an “ad lib” in the score to guide them. In this performance the
second movement will be an improvisation played by the first violinist. The rushing third movement
is in the form of a gigue.
Antonio Vivaldi (1678–1741)
Concerto Op. 3 No. 8 for two violins RV 522 from L’estro armonico
Allegro
Larghetto e spirituoso
Allegro
Vivaldi died penniless and unknown in 1741, yet only thirty years earlier he had been the most
famous instrumental composer in Europe after the publication in 1711 of his Opus 3, a collection
of twelve concertos that he called L’estro armonico. Described by the Vivaldi scholar Michael
Talbot as “perhaps the most influential collection of instrumental works to appear during the whole
of the eighteenth century”, this seminal work provided a model for concerto composition that was
followed and built on by other composers from France to Germany to Italy for years to come.
10
11
VIVALDI UNWIRED
Vivaldi’s nearly eight hundred works might have remained in obscurity had it not been for a
revival of interest in JS Bach during the nineteenth century, when scholars found that Bach had
developed his compositional style by studying and transcribing some of Vivaldi’s violin concertos.
This piqued an interest in Vivaldi for his own sake and his published works began to be studied,
but it was not until 1926 that the bulk of Vivaldi’s works were rediscovered. Bach transcribed six
of the L’estro armonico concertos for other instruments; this concerto was the basis for his organ
concerto BWV 593.
What to listen for
L’estro armonico means frenzied or passionate harmony, an appropriate title given the sheer
energy and vigour of Vivaldi’s style expressed in forceful rhythms and endless variety which, along
with the concertos’ originality in terms of musical form, made them so fascinating. Vivaldi wrote
about two hundred and thirty concertos for solo violin and twenty five for two solo violins like this
concerto, most of them thought to have been written for the exceptionally fine female players at
the Pietà, the orphanage for girls for whom Vivaldi worked on and off for most of his life.
The fast first and third movements are built on repeated refrains (ritornellos), slightly varied each
time to maintain interest and give a sense of momentum. Rapidly descending scales are a feature
of the first movement.
Vivaldi was himself a virtuoso violinist, and much of his writing for violin is extremely technically
demanding. Johann Uffenbach, a traveller from Germany and a keen amateur musician, was
astounded at his technical feats:
Vivaldi played a solo accompaniment – splendid – to which he appended a cadenza
which really terrified me, for such playing has never been nor can ever be; he came with
his fingers within a mere grass-stalk’s breadth of the bridge, so that the bow had no
room – and this on all four strings with imitations and at incredible speed.
12
Matt Bruce Baroque Violin,
Marianne Yeomans Baroque Viola,
Kirsty McCahonBaroque Double Bass.
VIVALDI UNWIRED
Carl Philipp Emanuel BACH (1714-1788)
Concerto for flute in A minor Wq 166,
arr. for soprano saxophone by C. Leonard
Allegro assai
Andante
Allegro assai
He is the father, we are the children. Those of us who do anything right learned it from
him. Whoever does not admit to this is a scoundrel.
From the late 1740s Bach started to apply for other positions including that of music director
in Leipzig after his father’s death, but he was unsuccessful. Finally, in 1768, he was appointed
resident composer and music director for the city of Hamburg, succeeding Telemann. He
took a leading part in the city’s musical life, performing, teaching, and overseeing two hundred
performances a year until his death twenty years later.
In a composing career spanning over sixty years, from the late Baroque to the high Classical
periods, Emanuel Bach produced over a thousand works in all genres from keyboard sonatas to
symphonies, concertos, songs and sacred vocal works. He was one of the most original musical
thinkers of his time, always trying something new, and always with the goal of engaging and
moving the listener.
attributed to Mozart by 18th century music historian Johann Rochlitz
What to listen for
In the eighteenth century Carl Philip Emanuel was the most famous of the musical Bach family,
far more than his father and teacher Johann Sebastian. Emanuel was for many years a member
of the brilliant musical establishment at the Berlin court of the Prussian king Frederick the Great.
He was recognised by his contemporaries (but not by the King) as the leading keyboard player of
his time, and his Essay on the True Art of Playing Keyboard Instruments was required reading for
composers such as Haydn, Czerny and Beethoven. It remains one of the most comprehensive
and precious resources in understanding both the practicalities and the aesthetics of music in the
eighteenth century.
Emanuel Bach was hired by Frederick the Great in 1740 as one of two harpsichordists in an
orchestra which with forty players was one of the largest in Germany. With virtually unlimited power
and wealth and an almost obsessive interest in music, Frederick was able to employ the finest
musicians in Germany as players, conductors and composers. They included the flute virtuoso
Johann Quantz, who was also his teacher. Frederick was a great military tactician, and ran his
court in a similar manner. Every night of the week except Monday and Friday (when he went to the
opera) private concerts were held, beginning precisely at 7pm. At every concert the king played
six of the three hundred or so concertos composed for him by Quantz in the conservative style
he favoured, and it was the job of CPE Bach, virtuoso keyboardist and one of the most original
composers of the period, to accompany him. Not surprisingly, after years spent accompanying
“ten thousand flute solos” played by a capable but amateur soloist with an unreliable sense of
rhythm, Bach became bitter and felt that his abilities were not properly recognised especially as
he was not paid at the level of the other musicians in the court. As he confided to a friend, “If you
are under the impression that the King loves music, you are mistaken. He only loves the flute, and
more than that, the only flute he loves is his own”.
14
Ben Dollman, Period Violin
Bach was highly respected in Berlin musical life outside the court, and he used the concertos he
had composed for an indifferent Frederick for public concerts, with the solo parts re-composed to
suit different solo instruments. This concerto, which he composed in 1750, was one of these. It
exists in three authentic versions, for either flute, harpsichord or cello as solo instrument. For this
performance the flute version has been further arranged for solo saxophone by Christina Leonard.
This concerto seems quite unpredictable compared to the structured ritornello model developed
by Vivaldi. Emanuel Bach was an exponent of a mid-eighteenth century artistic movement known
as Empfindsamkeit, or sensitive style, and believed that music should touch the heart and move
the emotions. He wrote that he wanted his music to express many emotions, one after another,
and this changeability characterises much of his music, giving it an intimate, conversational feel.
It is apparent in the strongly contrasting elements in the outer movements of this concerto. In the
first movement the lyricism of the solo instrument is continually confronted by a raging, anxious full
orchestra. After a calmer second movement the dialogue of soloist with orchestra picks up again
in the final movement, the soloist giving half-finished answers to questions which are more playful
and less anxious than the first movement’s.
INTERVAL
15
Max Richter (1966 -)
Recomposed – Vivaldi: The Four Seasons
Max Richter was born in Germany but grew up in England, and studied piano and composition at
the University of Edinburgh and the Royal Academy, and with post-modernist composer Luciano Berio
in Florence. He is known for his interest in neoclassical composition and the bringing together of
contemporary classical and alternative popular musical styles. Although he is classically trained, he is
also influenced by punk and electronic music. As well as composing and recording his own music, for
stage, opera, ballet and cinema, he is also known for collaborations with performance, installation and
media artists.
What to listen for
Richter’s version of Vivaldi’s The Four Seasons was premiered in London in October 2012. He described
it then as a re-composition, not an arrangement, as he said that three-quarters of the notes in the score
are his, and not Vivaldi’s. In an interview he gave to London’s Guardian newspaper before the premiere,
Richter discussed how he came to re-write arguably the most famous piece of classical music ever
written.
“The Four Seasons is something we all carry around with us. It’s just everywhere. In a way, we stop
being able to hear it. So this project is about reclaiming this music for me personally, by getting inside
it and rediscovering it for myself – and taking a new path through a well-known landscape. … There
are times I depart completely from the original, yes, but there are moments when it pokes through.
I was pleased to discover that Vivaldi's music is very modular. It’s pattern music, in a way, so there's
a connection with the whole post-minimalist aesthetic I’m part of.”
So what is left of Vivaldi? The original overall structure remains – four concertos each with three
movements – but Richter has added a shimmering introduction before the opening “Spring” concerto.
The instrumentation also is essentially the same with the addition of a harp, but a major difference
is the inclusion of different electronic effects composed by Richter for each movement and played
on synthesiser. In each movement Richter has retained a fragment of Vivaldi – a melody, a rhythm –
and re-used them through the repetition and regular continuous rhythmic patterns characteristic of
minimalism. Through this he has arrived at his own interpretations of the seasons.
16
Jamie Hey
Baroque Cello
Richter would be very happy if his version encourages listeners to return to Vivaldi’s work with fresh ears.
“The original Four Seasons is a phenomenally innovative and creative piece of work. It’s so dynamic, so
full of amazing images. And it feels very contemporary. It’s almost a kind of jump-cut aesthetic – all those
extreme leaps between different kinds of material. Hats off to him. That’s what I'm really pleased with:
my aim was to fall in love with the original again – and I have.”
17
YEAR
1678
Vivaldi
Ordained as a priest.
Appointed violin teacher at
the Pietà girls’ orphanage in
Venice
1708
Contemporary Events
Roman catholics banned from English
parliament
Born in Eisenach
Handel born
First job as lackey and
musician at court of Weimar
Fire brigade founded in Edinburgh
Appointed organist &
chamber musician at Weimar
Construction of St Paul’s cathedral in London
completed
1711
L’estro armonico Opus 3
published
Handel mounts first London opera
1713
First opera performed, in
Vicenza
The Guardian newspaper founded in England
1714
Becomes impresario &
1st movement of
composer at S. Angelo opera Composes
Brandenburg Concerto No 3
theatre, Venice
1717
Leaves the Pietà to mount
productions of own operas
throughout Italy
1721
1723
Contracted by Pietà to
produce two concertos a
month
1725
Born
Handel composes Water Musick
Sends concertos to the
Margrave of Brandenburg
Smallpox vaccine first administered in
England
Appointed cantor of St
Thomas’s, Leipzig
parliament makes it an offence
Attends Thomasschule where British
punishable by death to black one’s face to
he is taught by his father
hunt deer
Canaletto paints the Grand Canal, Venice
Four Seasons published
1727
1736
Re-hired by Pietà as maestro
di concerti
1740
Leaves for Vienna
1741
Dies in poverty in Vienna
Queen Anne dies; Elector of Hannover
becomes George I, King of Great Britain
Accepts post at Cöthen;
jailed for 1 month by Weimar
court for attempting to leave
First performance of St John
Passion
1724
18
CPE Bach
Born in Venice
1685
1703
J S Bach
Catherine I becomes Empress of Russia
First performance of
St Matthew Passion
Takes part in JS Bach's
performances while
studying law
Handel composes coronation anthems for
George II
Appointed Royal Polish
& Electoral-Saxon court
composer
Teaching and composing at
university in Frankfurt
Statue of Handel erected in Vauxhall Gardens,
London
Appointed harpsichordist to
Frederick II of Prussia
Rule, Brittania! first performed at home of
Prince of Wales
Handel composes Messiah and Samson
1747
Travels to Potsdam to visit
CPE Bach; meets Frederick
the Great
Completes Magnificat
Proof that citrus fruit prevents scurvy
1750
Two eye operations. Dies on
28 July aged 65
Unsuccessfully applies for
his father’s job in Leipzig.
Composes flute concerto
Wq 166
First use of the umbrella in England.
Beginning of the Industrial Revolution.
1753
Publication of treatise on
keyboard playing
British parliament extends citizenship to
Jewish people
1755
Threatens to leave & given
salary raise by Frederick
First dictionary of the English language
published by Samuel Johnson
1767
Appointed city music director
in Hamburg
Fragonard paints The Swing
1788
Dies
First Fleet arrives in Botany Bay
Program notes and timeline © Lynne Murray 2015
Marianne Yeomans
Baroque Viola
Australian
Brandenburg
Orchestra
20
Paul Dyer AO
Harpsichord/Synthesiser
Brendan Joyce
Gust Concertmaster
Christina Leonard
Soprano Saxophone
Ben Dollman
Baroque Violin
Matt Bruce
Baroque Violin
Catherine Shugg
Baroque Violin
Skye McIntosh
Baroque Violin
Matt Greco
Baroque Violin
Simón Gangotena
Baroque Viola
Jamie Hey
Baroque Cello
Anthea Cottee
Baroque Cello
Rosemary Quinn
Baroque Cello
Tim Willis
Baroque Violin
Sarah Dunn
Baroque Violin
Simone Slattery
Baroque Violin
Stephanie Eldridge
Baroque Violin
Dan Curro
Baroque Cello
Kirsty McCahon
Baroque Double Bass
Libby Browning
Baroque Double Bass
Melina van Leeuwen
Modern Harp
Shaun Warden
Baroque Violin
Monique O'Dea
Baroque Viola
Marianne Yeomans
Baroque Viola
Christian Read
Baroque Viola
Tommie Andersson
Theorbo/Guitar
Joanna Tondys
Harpsichord
21
The Australian Brandenburg Orchestra gratefully
acknowledges the support of our Partners
City Recital Hall
Angel Place
Anne-Marie Heath
General Manager
A City of Sydney Venue
Clover Moore
Lord Mayor
City Recital Hall
Angel Place
2-12 Angel Place,
Sydney, Australia
GPO Box 3339,
Sydney, NSW 2001
Managed by
PEGASUS VENUE
MANAGEMENT (AP) PTY LTD
Administration
02 9231 9000
Box Office
02 8256 2222
Facsimile
02 9233 6652
Website
www.cityrecitalhall.com
Christopher Rix
Founder
The Australian Brandenburg Orchestra is assisted
by the Australian Government through the Australia
Council, its arts funding and advisory body.
The Australian Brandenburg Orchestra
is assisted by the NSW Government
through Arts NSW
Founding Patron
Dame Elisabeth Murdoch AC DBE
MELBOURNE
RECITAL CENTRE
Corner Southbank Boulevard and Sturt Street
Southbank VIC 3006
Administration: 03 9699 2228
Box Office: 03 9699 3333
Facsimile: 03 9207 2662
Website: melbournerecital.com.au
Board of Directors
Kathryn Fagg, Chair
Peter Bartlett
Tommas Bonvino
Stephen Carpenter
Des Clark
Joseph Corponi
Margaret Farren-Price
John Higgs
Julie Kantor
Official Wellbeing Partner
Executive Staff
Mary Vallentine AO, Chief Executive
Nesreen Bottriell, Director Corporate Services
Robert Murray, Director Marketing & Customer Relations
Sandra Robertson, Director Development
Kirsten Siddle, Director Programming & Presenter Services
Brisbane Series Sponsors
Digital Partner
Chair
Chris Freeman AM
Deputy Chair
Rhonda White AO
QUEENSLAND
PERFORMING ARTS CENTRE
PO Box 3567, South Bank, QLD 4101
T: (07) 3840 7444
W: qpac.com.au
Trustees
Kylie Blucher
Simon Gallaher
Sophie Mitchell
Mick Power AM
Chief Executive: John Kotzas
ACKNOWLEDGMENT
The Queensland Performing Arts Trust
is a statutory body of the
State of Queensland and is partially
funded by the Queensland Government
Sponsor of
business strategy development
Education Partner
Sponsor of
creative branding & graphic design
M.J. Bale dresses
the men of the Orchestra
Sponsor of hotel
accommodation in Melbourne
The Honourable Annastacia Palaszczuk MP
Premier and Minister for the Arts
Mr David Stewart Director-General,
Department of the Premier and Cabinet
Media supporter
22
Carla Zampatti dresses
the women of the Orchestra
Wine partner
23
A HEARTFELT THANK YOU
TO OUR GENEROUS FAMILY OF SUPPORTERS
BRANDENBURG
FOUNDATION PATRONS
BRANDENBURG
ANNUAL GIVING PROGRAMS
The purpose of the Brandenburg Foundation is to ensure
the longevity of the Orchestra. The Foundation’s capital funds
can be used for special projects such as finding a permanent
home for the Orchestra.
As a not-for-profit organisation, the Brandenburg relies on the
invaluable support of music lovers like you to maintain the breadth
and quality of our work. Each year, we need to raise at least
11% of our income through support from individuals to keep our
position as the country’s leading presenter of baroque music.
AMATI $250,000 – $499,999
The Eileen Marie Dyer AM Fund
Anonymous
If the Brandenburg has enriched your life or if you would like
to deepen your involvement with us, we would be thrilled to
welcome you into our valued family of supporters.
STRADIVARI $100,000 – $249,999
Cary and Rob Gillespie
Anonymous
“The Brandenburg has given me so many memorable
experiences. By making an annual donation I know I am playing
my part in developing the Orchestra’s work and helping more
people to be uplifted and inspired through experiencing the
thrill of live baroque music.” Brandenburg donor
GUARNERI $50,000 – $99,999
Macquarie Group Foundation
The Martin Family in memory of Lloyd Martin AM
Christine Yip and Paul Brady
Anonymous
To find out more, or to make a donation please get in touch
www.donations.brandenburg.com.au
Email: development@brandenburg.com.au
Telephone: 02 9363 2899
MAESTRI $25,000 – $49,999
John and Robyn Armstrong
Chris and Kathy Harrop
Greg Hutchinson AM and Lynda Hutchinson
Nick and Caroline Minogue
Rowan Ross AM and Annie Ross
CHAIRMAN’S 11
Dedicated to the memory of James Strong AO.
Chairman’s 11 supports international and local artists who will
feature in each Series annually.
Membership is by invitation only.
ARCANGELI $15,000 – $24,999
Founding Members
Melinda Conrad and David Jones
Glenn Moss and the late Dr Ken Moss AM
David and Rachel Zehner
In memory of a first class cricketer (UK), W G Keighley
Jillian Broadbent AO
Louise Christie
Diana and Richard Fisher
Chris and Gina Grubb
Grant and Jennifer King
Susan Maple-Brown AM
Ms Gretel Packer
Anonymous
CAMERATA $10,000 – $14,999
Graham Bradley AM and Charlene Bradley
The Clayton Family
Norman Gillespie
Rohan Mead
BRANDENBURG DONORS
LIFE PATRONS
Mrs Mary Holt and the late Dr John Holt
CHRISTINA $10,000 or above
24
Aidan Allen
John Almgren AM and Yvonne Almgren
Peter Barclay and Victoria Le Gallais
Graham Bradley AM and Charlene Bradley
The Clayton Family
Crown Resorts Foundation
Jane and David Duncan
Don and Deirdre Faithfull in memory of Harold and Edna Johnston
Mrs Mary Holt and the late Dr John Holt
Mrs W G Keighley in memory of Geoffrey
Macquarie Group Foundation
Susan Maple-Brown AM and the late Robert Maple-Brown
The Alexandra and Lloyd Martin Family Foundation
Rohan Mead
Nick and Caroline Minogue
Packer Family Foundation
Lady Potter AC
The Rodwell Foundation
Rowan Ross AM and Annie Ross
Jeanne-Claude Strong in memory of James Strong
Greg Ward
Cameron Williams
RUSPOLI $5,000 - $9,999
Antoinette Albert
Glenn Barnes
Mrs Ros Bracher AM
David and Leith Bruce-Steer
Louise Christie
Rick and Sue Coles*
In memory of Darrel Fraser
Despina and Iphygenia Kallinikos
Katie Lahey AM and Robert Marriott
Glenn Moss
Mrs Joyce Sproat and Mrs Janet Cooke
Peter William Weiss AO
Ray Wilson OAM and James Agapitos OAM
Anonymous x 2
DURAZZO $1,000 - $4,999
Janet Abernethy
Anthony Adair and Karen McLeod Adair
Janet Allen
J M Alroe
Brett Andersen
John and Robyn Armstrong
Ian Baker and Cheryl Saunders
Frederic Baudry and Paul Bailey
Marc Besen AC and Eva Besen AO
BOYCE Family Office
Catherine and Phillip Brenner
Diana Brookes
Dr Catherine Brown-Watt PSM and Mr Derek Watt
Kay Buckeridge
Henry Burmester and Peter Mason
Wayne Burns and Kean Onn See
Elizabeth Butcher
Beverley and Alan Castleman
Dr Jeffrey Chan and Colin Hudson
Mr Peter Clark and Mrs Jan Clark
Frank and Jan Conroy
P Cornwell and C Rice
Dom Cottam and Kanako Imamura
David Davies and Paul Presa
Susan Dixon and Stephen Rix
Emeritus Professor Dexter Dunphy AM
Juliana Engberg and Kay Campbell
Ralph and Maria Evans
Rosemary Farrow
Wendy and Ron Feiner
John Forsyth AM and Ann Verschuer
Brian and Philippa France
Carrillo and Ziyin Gantner
Justin and Anne Gardener
Bill and Julie Goold
Ann Gordon*
Richard and Anna Green
Ken Groves and Yun-sik Jang
Jane Hemstritch
J Holden Family Foundation
Peter and Jenny Hordern
Mrs Joan L Hossack
Jill and David Hunt
Dr Alastair Jackson
The Hon Rod Kemp and Mrs Daniele Kemp
Ann and James Lahore
Mr John Lamble AO
Airdrie Lloyd
Richard and Elizabeth Longes
Elizabeth Mackenzie and Michael Bremner
John and Rosemary MacLeod
Aggie Maisano*
Dr Diana Marks and Dennis Bluth
Robyn Martin-Weber
Joanna B Maxwell
Mora Maxwell
Richard and Rowena McDonald
Peter McGrath*
J A McKernan
Dr Jan Milburn OAM
Nola Nettheim
Paul O'Donnell
Trevor J Parkin
Professor David Penington
John and Catherine Percy
Jane Perry and Bob D'Arcy
W J and R Poate
Jim and Chris Pollitt
Ted and Jean Radford
Patricia H Reid Endowment Pty Ltd
Dr David and Dr Gillian Ritchie
John Scott
Dr Celina Seeto
Daniela Shannon
Paul Sheehan and Susan Wyndham
Mr Charlie Shuetrim AM and Mrs Sandra Shuetrim
Dr Agnes Sinclair
Alan and Jennifer Smith
Dr Murray Stapleton
Max and Jennie Suich
Victoria Taylor
Mr Mike Thompson
Anne and Richard Travis
Stephen and Ruth Walsh
Dr Jason Wenderoth
Justice Anthony Whealy
Judith Williams
Gregory Wood
Jan and David Young
Anonymous x 21
Christine George
Karl Goiser
Philip and Anabel Gosse
Becco Restaurant and the Hartley Family
Dr Ailsa Hocking and Dr Bernard Williams
Judith Hoy
Michael Jones
A and V Koumoukelis
Antoinette le Marchant
PJ Lindwall and JM Frederikson
Betty Lynch
Janet McDonald AO and Donald McDonald AC
Wendy E McCarthy AO
Ian and Pam McGaw
John Milhinch OAM
Dr David Millons AM and Mrs Barbara Millons
Frank and Susan Morgan
Dr Paul Nisselle AM and Mrs Sue Nisselle
In memory of Jenny Parramore
Dr Kevin Pedemont
John Peisley and Ros Royal
Christina Pender
Beverly and Ian Pryer
Robyn Raffles
The Ranken Family
Gabrielle J Rowe
Jeannette Sharpe
Robyn Smiles
Sue Thomson
Gregory W Won
Anonymous x 12
George Lawrence
Gill Lister
Dr Susan Locke and Dr Nicholas Locke
Mrs Iris Luke
Peter McCall
Lois McCutchan
Dr Allan and Mrs Patricia McLay
Dr Kerry Mills
Brendan O'Connell
Janette Owen
Dr Alice J Palmer
E K Palmer
Nella Pinkerton
Barry and Marie-Claire Price
Ken Ramshaw
M L Rattigan
Barbara and Malcolm Richardson
Alexander and Rosemary Roche
Stephen and Sharon Schach
Mrs E l Sevior
Dr Gideon and Mrs Barbara Shaw
Judith Shelley
Charles Such
Dr Mark Suss
Anthony Tarleton
Miriam and Frank Tisher
Jennifer and Julian Turecek
Ronald Walledge
Joy Wardle
Deborah Whitford
Susan Young
Anonymous x 16
SUPPORTER I $500 - $999
Peter Allan
Gillian Appleton
Jeanette Beaumont
Cathie Boag
Jan Burnswoods
Rebecca and Craig Clarke
Jeanette Cooper and Guy Cooper PSM
Jim Cousins AO and Libby Cousins
Tim and Bryony Cox
In memory of Betty Curtain
Deborah Debnam
Carol des Cognets
Margaret Dobbin
Jane Edmanson OAM
Anton Enus and Roger Henning
Peter Fletcher AM and Kate Fletcher
Marguerite Foxon*
SUPPORTER II $250 - $499
Jaci Armstrong
Keith and Claire Beecher
Baiba Berzins
Professor Fran Boyle AM
Catherine Broady
Professor David Bryant
Kerin Carr
Chris and Trudy Coote
Raymond Debus
Janet Doust
Dr Mary T Freeman
Richard and Heather Gorrell
Geoff Hogbin
Andrew and Fiona Johnston
Hilary Kelman
Jann Kohlman
CORPORATE DONORS
APA Group
Bain & Company
Link Market Services
Macquarie Group Limited
Pacific Equity Partners
QANTAS Loyalty
BEQUEST
The Australian Brandenburg Orchestra warmly acknowledges the bequest it has received from the Estate of Valda Astrida Siksna.
* Donors to the Brandenburg International Baroque Study Program
This donor list is current for a 12-month period to 30 March 2015.
25
recordings
The Australian Brandenburg Orchestra has released seventeen recordings,
with soloists including Andreas Scholl, Genevieve Lacey, Yvonne Kenny,
Elizabeth Wallfisch, Sara Macliver, Graham Pushee and Cyndia Sieden.
Several of these recordings have received awards, including five ARIA
Awards for Best Classical Album.
A Celtic Christmas
Brandenburg Choir
Australian Brandenburg Orchestra
Paul Dyer, artistic director
Maximilian Riebl, countertenor
ABC 481 1317
Patron
His Excellency General the Honourable Sir Peter Cosgrove AK MC (Retd)
Artistic Director
Paul Dyer AO
The Brandenburg Council
Jillian Broadbent AO
Greg Hutchinson AM
Max Suich
a brandenburg
christmas
tapas
Great Vivaldi Concertos
Sanctuary
Brandenburg Choir
Australian Brandenburg Orchestra
Paul Dyer, artistic director
Christina Leonard, saxophone
Louise Prickett, soprano
ABC 476 4687
Australian Brandenburg Orchestra
Paul Dyer, artistic director. Featuring
guest artists such as Genevieve Lacey,
Elizabeth Wallfisch, Hidemi Suzuki,
Lucinda Moon and many more.
ABC 476 923-3
Noël! Noël!
Brandenburg Choir
Australian Brandenburg Orchestra
Paul Dyer, artistic director
Sara Macliver, soprano
ABC 472 606-2
Australian Brandenburg Orchestra
Paul Dyer, artistic director
2010 ARIA Award:
Best Classical Album
ABC 476 3828
Australian Brandenburg Orchestra
Paul Dyer, artistic director
Kirsten Barry, baroque oboe
2005 ARIA Award:
Best Classical Album
ABC 476 284-0
Andreas Scholl – Vivaldi
Australian Brandenburg Orchestra
Paul Dyer, artistic director
Andreas Scholl, countertenor
ABC 466 964-2
BAROQUE FAVOURITES
Australian Brandenburg Orchestra
Paul Dyer, artistic director
ABC 476 4056
VIVALDI – Il Flauto Dolce
Australian Brandenburg Orchestra
Paul Dyer, artistic director
Genevieve Lacey, recorder
2001 ARIA Award:
Best Classical Album
ABC 461 828-2
The Australian
Brandenburg
Orchestra Collection
Australian Brandenburg Orchestra
Paul Dyer, artistic director
ABC 465 428-2
HANDEL
CONCERTI GROSSI
Australian Brandenburg Orchestra
Paul Dyer, artistic director
2009 ARIA Award:
Best Classical Album
ABC 476 3436
Mozart Clarinet
Concerto & Arias
Australian Brandenburg Orchestra
Paul Dyer, artistic director
Craig Hill, basset clarinet
Cyndia Sieden, soprano
ABC 476 1250
Handel Arias
Australian Brandenburg Orchestra
Paul Dyer, artistic director
Yvonne Kenny, soprano
1998 ARIA Award: Best Classical Album
ABC 456 689-2
The Board
Greg Ward, Chairman
Bruce Applebaum
Cathy Aston
David Baffsky AO
Melinda Conrad
Paul Dyer AO
Katie Lahey AM
Rohan Mead
Simon Pillar
David Zehner
Bridget O'Brien, Company Secretary
Managing Director
Bruce Applebaum
Deputy General Manager
Bridget O'Brien
Stephen Attfield
Development Manager
Rob Dyball
Orchestra Manager
Shannon O'Hara
Production Coordinator
Steven Godbee Publicity
Publicist
Kyle Buchanan
Development
Coordinator
Anna Hay
Receptionist/Ticketing
Assistant
John Scott
Accountant
KPMG
Auditors
Bridget Cody
Marketing Manager
Lilla Ito
Project and Concert
Management Consultant
Tina Semple
Marketing Manager, Digital
Charles Gwynn
Andrew O'Connor
Christopher Price
Repertoire
Advisors (honorary)
Kateryna Collier
Box Office Manager
Ian Creevey
Accounts Assistant
Susan Duffy
Executive Assistant
If Love’s A Sweet Passion
26
Australian Brandenburg Orchestra
Paul Dyer, artistic director
Sara Macliver, soprano
ABC 456 692-2
The Four Seasons
Australian Brandenburg Orchestra
Paul Dyer, artistic director
­Elizabeth Wallfisch, baroque violin
ABC 456 364-2
Handel Arias
Australian Brandenburg Orchestra
Paul Dyer, artistic director
Graham Pushee, countertenor
ABC 446 272-2
Brandenburg Favourites
Australian Brandenburg Orchestra
Paul Dyer, artistic director
ABC 434 720-2
David Joyce
Systems Consultant
Aishlinn McCarthy
Marketing Executive
Joanna Tondys
Assistant to
Artistic Director
Rebecca Warren
Philanthropy Manager
Beth Wilson
Assistant Box Office Manager
Brandenburg Ensemble Limited trading as Australian Brandenburg Orchestra
is a non-profit organisation registered as a company limited by guarantee. ABN 41 003 908 183
Address 142 New South Head Road, Edgecliff NSW 2027 | Post GPO Box 4416, Sydney NSW 1008
Telephone 61 2 9328 7581 | Website www.brandenburg.com.au | Email mail@brandenburg.com.au
27
28
30
31
Your support
is integral
to our success
There’s such a variety of activity behind the scenes at the Brandenburg – and you can be part of it!
Each year we run fundraising campaigns to enable us to present outstanding performances of
baroque music, while continuing to innovate as an organisation. We rely on you, our family of
supporters, to respond through one-off donations or annual pledges.
Here, we’ve featured just a few of the items and services required by the Orchestra to make
each concert series a success. Please consider making a donation to support us.
$300
A Masterclass for a
tertiary music student
led by a Brandenburg
musician – to inspire
the next generation
of baroque
musicians
$100
A bouquet of beautiful
flowers to show our
appreciation for a guest
artist on the opening
night concert of
a series
$1,200
A day’s studio hire to
begin recording a new
Brandenburg CD
with ABC Classics
(perhaps even another
ARIA Award winner!)
$600
$850
Four nights’
accommodation for
one musician on tour
with the Brandenburg, as
part of our commitment
to bringing baroque
music to regional
Australia
To care for and
prepare period instruments
in the Brandenburg’s
instrument collection
in the run up to
a concert series
$2,000
To source original
edition scores and prepare
them for their journey
from manuscript to the
Brandenburg stage,
so that each part is ready
to be played by our
musicians
To find out more, or to make a donation please get in touch www.donations.brandenburg.com.au Email: development@brandenburg.com.au Telephone: 02 9363 2899
MUSIC
ENERGISES
THE SOUL
AND APA GROUP ENERGISES AUSTRALIA
We’re Australia’s leading natural gas infrastructure
business, delivering close to half of the nation’s natural
gas usage.
APA is an ASX Top 50 company, with over $12 billion
of energy assets.
APA Group
INTERESTED IN ENERGY?
www.apa.com.au
ASX: APA
NE X T CONCERT
French
Baroque
With
A tantalising journey
through heaven and earth
lit by the romance and
glamour of French baroque
Paul Dyer artistic director and director
Claire Lefilliâtre (France) soprano
Circa
Yaron Lifschitz (Circa) artistic director
Australian Brandenburg Orchestra
Music
Rameau
Overture to Naïs
Le Camus Laissez durer la nuit
Rameau
Suite from Les Indes Galantes
A pasticcio created by Paul Dyer featuring Marais, Lully, Tessier, Boesset and more
Sydney
City Recital Hall Angel Place
Wed 22 Jul, Fri 24 Jul, Wed 29 Jul, Fri 31 Jul,
Sat 1 Aug all at 7pm
Matinee Sat 1 Aug at 2pm
Melbourne
Melbourne Recital Centre
Sat 25 July at 7pm
Sun 26 July at 5pm
Series Partner
BOOK NOW
brandenburg.com.au | 02 9328 7581
cityrecitalhall.com | 02 8256 2222
melbournerecital.com.au | 03 9699 3333