lixsania-and-the-labyrinth-program.pdf - Australian ...

Experience a vibrant new energy brought to Vivaldi, Graun and Duchiffre.

LIXSANIA & THE LABYRINTH 1

macquarie.com/cma

Jane, with Macquarie since 2000

Macquarie’s CMA gives

me confidenceThe Cash Management Account preferred

by 1 in 3 SMSFs* is now powered by an award-winning digital experience.

This information is provided by Macquarie Bank Limited AFSL 237502 and does not take into account your objectives, financial situation or needs. You should consider whether it is appropriate for you. *Macquarie Bank Limited data, ATO Self-managed Super Fund Statistical Report.

WINNER SMSF Adviser Award for Cash Accounts and Term Deposits three years in succession and 2018 Self Managed Super Funds Coredata Awards for both SMSF Adviser and Member categories

SYDNEY CITY RECITAL HALL

Wednesday 31 October at 7pmFriday 2 November at 7pmSaturday 3 November at 7pm Wednesday 7 November at 7pmFriday 9 November at 7pmSaturday 3 November at 2pm (Matinee)

PROGRAM Corelli, Scarlatti, Marais, Vivaldi Folia pasticcio Locatelli Violin Concerto in D Il laberinto armonico, Op. 3 No. 12 Vivaldi Concerto for 2 Violins & Viola da Gamba from L’estro armonico, Op.3 No.2, RV 578 IntervalGraun Concerto for Viola da Gamba in G Major* Vivaldi Sinfonia al Santo Sepolcro, RV 169 Duchiffre Tango from Concerto for 2 Violas da Gamba

ARTISTS Paul Dyer AO Artistic Director, Conductor Lixsania Fernandez (Cuba) viola da gamba Shaun Lee-Chen (Australia) Baroque violin Anthea Cottee (Australia) viola da gambaAustralian Brandenburg Orchestra

MELBOURNE RECITAL CENTRE

Saturday 10 November at 7pm Sunday 11 November at 5pm

MELBOURNE

Concert duration approximately 2 hours, including one 20-minute interval. We kindly request that you switch off all electronic devices during the performance. This concert will be broadcast on ABC Classic FM on Sunday 18 November, 12pm.* Denotes Australian Premiere

CHAIRMAN’S 11Proudly supporting our guest artists.

Sydney and Melbourne. October – November 2018.

2 AUSTRALIAN BRANDENBURG ORCHESTRA LIXSANIA & THE LABYRINTH 3

Macquarie Group appreciates the powerful impact music has on people and is deeply invested in the advancement of arts and culture in Australia. We are thrilled to continue our longstanding partnership with the Australian Brandenburg Orchestra. The orchestra’s broad reach – through touring widely, introducing Baroque music to new audiences, and inspiring emerging artists – is vital to the future of early music.

This concert series presents the incredible Lixsania Fernandez, a performer who energises audiences and fellow musicians alike with her charisma and talent and a total command of her iconic instrument – the viola da gamba. Lixsania is celebrated for her passionate and vibrant performances, bringing a fresh vigour to the concert stage. This innovative and engaging approach is reflective of the values shared by Macquarie and the Brandenburg, namely excellence and innovation, underpinned by skill, knowledge and passion.

The Brandenburg is renowned for presenting historically informed music performance in a way that resonates with today’s audiences, and this concert perfectly demonstrates this.

I hope you enjoy this fantastic performance and I look forward to welcoming you again at future Brandenburg concerts.

Bill Marynissen Head of Wealth Management

Written above the notes of this scintillating piece are the words ‘easy to enter, difficult to exit’… but first Lixsania.

I became a major fan of Lixsania Fernandez when I saw her playing in a monastery at a music festival in France a few years back. She is a powerful musician with charisma to burn, and I couldn’t keep my eyes off her for a second as she made music onstage. She’s vibrant, buoyant, beautiful, and plays this exotic instrument with refinement and elegance. Lixsania is a virtuoso and modern-day champion of the viola da gamba, a six or seven string instrument with frets which was one of the most popular instruments of the Renaissance and Baroque periods.

The Cuban musician, who now lives in the Spanish town of Sant Cugat del Valles just north of Barcelona, makes her Australian debut with us in this series with pieces written for the gamba, one of which is an Australian premiere - Graun’s Concerto for Viola da Gamba in G major.

Locatelli wrote a canon of highly virtuosic violin pieces primarily for his own performance. The ‘capricci’ in these works completely pushed the boundaries and physical possibilities of the violin and his ‘Harmonic Labyrinth’ violin concerto that you will hear tonight is the perfect piece for Brandenburg Concertmaster Shaun Lee-Chen to tackle.

Shaun’s explosive performance style and technical brilliance naturally lends itself to the physical gymnastics required to escape the relentless maze of challenging passages in this jaw-dropping concerto.

It’s our 30th anniversary next year and I’ve prepared a beautiful subscription program for you all. You can book a subscription immediately and casual tickets go on sale on the 5th of December just before our traditional Christmas concert series Noël! Noël! begins.

Enjoy!

Paul Dyer AO Co-Founder & Artistic Director

Macquarie Group is delighted to welcome you to the fifth concert series for 2018, Lixsania and the Labyrinth.

Tonight, charismatic Cuban viola da gamba player Lixsania Fernandez takes on a Baroque tango, a concerto and a folia whilst Shaun Lee-Chen enters the Labyrinth by Pietro Antonio Locatelli.

Principal PartnerPaul DyerFrom ourFrom the Artistic Director


He co-founded the Brandenburg in 1989 after completing postgraduate studies at the Royal Conservatorium in The Hague, and has been Artistic Director and conductor since that time. Paul is a performing artist comfortable in his unique music arena – whether working in ancient music, contemporary music, opera, with artists such as circus performers, contemporary dance, or visual art. His busy performing schedule in Europe, Asia, the USA and Canada over the years has synchronised perfectly alongside his bold stage work in Australia.

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 has performed with many international soloists including Andreas Scholl, Cyndia Sieden, 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, and featured on the soundtrack of the James Bond 007 movie, Spectre.

A passionate cook, entertainer, foodie, teacher, swimmer, traveller, he is friends with people and artists from Istanbul to India and Japan to Italy creating a unique platform for overseas performing artists to work with him and the Brandenburg in Australia.

Among his list of achievements, Paul was awarded the Officer of the Order of Australia (AO) in 2013 for his ‘distinguished service to the performing arts in Australia’. 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, and in 2010 Paul was awarded the Sydney University Alumni Medal for Professional Achievement.

Lixsania Fernandez is from a small town in the province of Matanzas, Cuba and began playing the modern violin and viola at just eight years old.

Lixsania was initially introduced to the viola da gamba when working with Ars Longa, a group directed by Teresa Paz, where she fell in love with early music. After leaving Cuba at 24 years old, Lixsania went on to study the viola da gamba in the Manuel Castillo Conservatory of Music in Seville and later in the Juan Crisostomo Arriaga Conservatory of Music in Bilbao. She was then awarded a degree in viola performance from the National Art Schools of Havana. In 2006, Lixsania was also awarded a scholarship from the University of Salamanca.

Lixsania has participated in several classes offered by renowned musicians including Jordi Savall, Sigiswald Kuijken and Vittorio Ghielmi and has taught at prestigious music schools such as the Miguel Hernández University of Elche and the Sebastián Albero School of Music in Pamplona. She has recorded two CDs for the prestigious Dutch label Brilliant Classics, including her first solo disc with the ensemble Recondita Armonia.

Paul Dyer is one of Australia’s leading specialists in period performance.

Charismatic Lixsania Fernandez’s energetic viola da gamba leads the Brandenburg in this tantalising twist on the Baroque.

Lixsania FernandezBiography

Paul DyerBiography


Shaun was the most outstanding graduate for music at the University of Western Australia in 2000, and in 2001 was accepted into the Australian National Academy of Music in Melbourne.

Shaun Lee-Chen is Artist-in-Residence at the University of Western Australia and holds a part time position as Violinist in the West Australian Symphony Orchestra.

In 2016 Shaun was announced the Brandenburg’s Concertmaster. Shaun is at home on both Baroque and Modern violin and was ABC Young Performer of the Year in 2007. He has appeared as Soloist with numerous groups including the West Australian Symphony Orchestra, the Queensland Symphony Orchestra and the Tasmanian Symphony Orchestra. Shaun is one of the featured Soloists in the 2015 Aria nominated CD Brandenburg Celebrates. He has also performed as Guest Principal with the Sydney, West Australian and Tasmanian Symphony Orchestras.

Anthea studied in London at the Guildhall School of Music and Drama with Stefan Popov on modern cello, and Anthony Pleeth on Baroque and Classical cello. She regularly performs on a variety of instruments from modern, Baroque and Classical cello to other instruments including the viola da gamba and basse de violon. She enjoys the challenges of exploring these different instruments, and the changes of nuance and colour they bring to the music.

Anthea has appeared as a soloist on both Baroque cello and gamba for the Australian Brandenburg Orchestra, where she has been a regular member since 1998. She has performed as principal cellist for Sydney Philharmonia, Opera Australia, Australian Haydn Ensemble, and Orchestra of the Antipodes for Pinchgut Opera, and the Hobart and Brisbane Baroque Festivals. In addition to her work in Baroque and Classical performance, Anthea toured with Circa for their acclaimed program Il Ritorno, and also premiered Gouttes d’un sang etranger for Viola da Gamba and Saxophone by Felicity Wilcox as part of the Vivid Festival.

Anthea plays on a viola da gamba made by Gary Bridgewood in 1987.

Anthea Cottee began her musical life as a violinist and viola player, then at 18 she started the cello with Janis Laurs at the University of Adelaide.

Shaun Lee-Chen completed his Bachelor of Music (Performance) at the University of Western Australia in 2000 with first class Honours, studying under Paul Wright and Pal Eder.

Shaun Lee-ChenBiography

Anthea CotteeBiography


HARPSICHORD

Paul Dyer* (Sydney)

BAROQUE VIOLIN

Matt Bruce*+ Associate Concertmaster (Sydney) Ben Dollman*+ (Adelaide) Rafael Font (Sydney) Catherine Shugg (Melbourne) Natalia Harvey (Melbourne) Matthew Greco (Sydney) Aaron Brown (Brisbane) Annie Gard (New York)

BAROQUE VIOLA

Monique O’Dea+1 (Sydney) Marianne Yeomans (Sydney) Christian Read (Melbourne)

BAROQUE CELLO

Jamie Hey*+ (Melbourne) Rosemary Quinn (Sydney)

DOUBLE BASS

Rob Nairn* (Adelaide)

THEORBO/BAROQUE GUITAR

Tommie Andersson* (Sydney)

Musicians

* Denotes Brandenburg Core Musician + Section Leader 1 Monique O’Dea appears courtesy of Presbyterian Ladies’ College, Sydney (staff)

Harpsicord preparation by Joanna Butler, Sydney and Donald Nicolson, Melbourne

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 area. Celebrating their 29th anniversary in 2018, the Brandenburg continues to deliver exhilarating performances.

The Brandenburg has collaborated with such acclaimed and dynamic virtuosi as Andreas Scholl, 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 52,000 people, and hundreds of thousands more through national broadcasts on ABC Classic FM. The Orchestra 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 Orchestra began regular touring to Queensland in 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 20 recordings with ABC Classics include five ARIA Award winners for Best Classical Album (1998, 2001, 2005, 2009 and 2010). In 2015 the Australian Brandenburg Orchestra was the recipient of the Sidney Myer Performing Arts Group Award and in 2016 the Helpmann Award for Best Chamber Concert.

Discover more at brandenburg.com.au

Biography

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.

Paul Dyer AO Artistic Director, Conductor Lixsania Fernandez (Cuba) viola da gamba Shaun Lee-Chen (Australia) Baroque violin Anthea Cottee (Australia) viola da gambaAustralian Brandenburg Orchestra

Australian Brandenburg Orchestra Australian Brandenburg Orchestra


Australian Brandenburg OrchestraMusicians

PAUL DYERArtistic Director/harpsichord

MATT BRUCEBaroque Violin

NATALIA HARVEYBaroque Violin

SHAUN LEE-CHENBaroque Violin

RAFAEL FONTBaroque Violin

BEN DOLLMANBaroque Violin

ANTHEA COTTEEViola da Gamba

CATHERINE SHUGGBaroque Violin

MATTHEW GRECOBaroque Violin

Australian Brandenburg OrchestraMusicians

AARON BROWNBaroque Violin

MARIANNE YEOMANSBaroque Viola

ROSEMARY QUINNBaroque Cello

ANNIE GARDBaroque Violin

CHRISTIAN READBaroque Viola

ROB NAIRNDouble Bass

MONIQUE O’DEABaroque Viola

JAMIE HEYBaroque Cello

TOMMIE ANDERSSONTheorbo/Baroque Guitar


The instrument is played while being balanced between the legs (‘da gamba’) , unlike the violin, which was originally called ‘da braccio’ (‘on the arm’). Viols have six strings (sometimes seven or less commonly five) rather than the violin family’s four, and are also constructed differently, having a flat back and a fretted neck rather like a guitar. The body of a viol is very lightly constructed, of very fine wood.

Its light body and low tension of the strings makes the viol very resonant and responsive to even the lightest touch with the bow, but its sound is not powerful. The method of using the bow is the opposite to that used for a violin or cello. The bow is held underhand, with the palm facing upwards, so the amount of weight applied from the arm is reduced and articulation is more subtle. Viols were originally made in a range of sizes from treble to contrabass, and were extremely popular in the Renaissance and early Baroque periods. By the eighteenth century viols had virtually disappeared in Italy, their soft-grained sound having been overtaken by the more penetrating violin, but in France the bass viol was still considered the most sophisticated and aristocratic of instruments.

Viola da gamba

Although the viola da gamba looks like a cello, it actually belongs to a separate family of instruments, the viols. FOLIA PASTICCIO

The folia was a popular dance form which originated in Portugal in the late fifteenth century. Its name means ‘mad’ or ‘empty-headed’, and indeed the dance was so fast and noisy that the dancers seemed out of their minds. The musical framework of the folia was re-worked by the French composer Lully in the 1670s, and many composers throughout the Baroque period wrote sets of variations over its repeating bass line. In music a pasticcio (pastiche) is a work which contains music from a number of different composers, in this case drawing from the famous folia variations composed by Arcangelo Corelli, Marin Marais, Alessandro Scarlatti and Antonio Vivaldi.

Corelli was educated in Bologna but spent almost all his adult life in Rome, where he had become one of the city’s foremost violinists by the age of only twenty-three. The publication of his six volumes of trio sonatas and concertos coincided with the boom in music publishing which occurred about 1700, and made him famous throughout Europe. His works remained enormously influential across Europe for many years, particularly in England where they developed almost a cult following, and his compositions and compositional style were much imitated. Corelli’s folia variations were published as part of his Opus 5 set of violin sonatas in 1700.

Born the son of a poor Parisian shoemaker, Marin Marais was a viol virtuoso. When he was a child he began to have lessons with the famous bass viol player, Sainte-Colombe, and he was reputed to have exceeded his teacher in ability after only six months. A position in the orchestra of the Paris Opéra soon followed, in 1675, and this brought him to the

attention of the great composer and conductor Lully, who was to become his mentor. Marais was one of the first French musicians to gain a reputation as a soloist, and his performances of his own works for viol drew public acclaim for his playing ‘like an angel’. Marais composed nearly six hundred works for viol. He based his folia, a set of thirty-two variations, on that of Corelli. Marais’ life was the subject of the 1992 film Tous les matins du monde, starring Gerard Dépardieu as Marais.

Alessandro Scarlatti was as famous for vocal music as Corelli was for instrumental music. His compositions were considered the crowning achievement in Italian vocal music towards the end of the seventeenth century, and established him in his own time as the most famous composer in Italy and much of Europe. Scarlatti was born in Sicily but lived in Rome from the age of twelve. The pope banned operas from being performed publicly, so Scarlatti moved to Naples to further his career as an opera composer. He was a prolific composer in all genres, writing more than fifty operas, and hundreds of cantatas, motets and masses. His variations on the folia were composed for keyboard in 1715.

Antonio Vivaldi’s version, entitled ‘La Follia’, is in the form of a trio sonata (in D minor, Opus 1 No. 12, RV 63). It was published in Venice in 1705, only five years after the publication of Corelli’s Opus 5. This is early Vivaldi, six years before the L’estro armonico set of concertos which made his name all over Europe, and ten years before the Four Seasons concertos. Vivaldi’s version consists of a theme and nineteen variations in one long movement, and was clearly inspired by Corelli’s original.

Arcangelo Corelli (1653–1713) Marin Marais (1656–1728) Alessandro Scarlatti (1660–1725)

Antonio Vivaldi (1678 - 1741)

Program NotesProgram Notes


VIOLIN CONCERTO IN D MAJOR IL LABERINTO ARMONICO, OP. 3, NO. 12

Allegro, Capriccio Largo, Presto Allegro, Capriccio

Locatelli is often regarded as the founder of modern instrumental virtuoso playing. He was born in Bergamo in northern Italy, and travelled to Rome at the age of sixteen to study the violin with the fine players associated with the great violinist and composer Arcangelo Corelli. During the 1720s he toured extensively throughout Europe, creating a sensation with his spectacular style of playing, which was ‘like a devil’, according to one listener. As a player, he was revolutionary. He experimented with new kinds of articulation and extended the range of notes of the violin into an extreme high range then unheard of, expanding the boundaries of violin technique in ways that still challenge players today.

In 1729, at the age of only thirty-four, Locatelli retired to Amsterdam where he remained for the rest of his life, supervising the publishing and sale of his compositions and giving private concerts (one observer commented that ‘he never will Play any where but with Gentlemen’). Unusually, he did not teach, and indeed an Englishman who heard him wrote, ‘he is so afraid of People Learning from him, that He won’t admit a Professed Musician into his Concert’.

In 1733 Locatelli arranged for the publication in Amsterdam of his Opus 3, entitled The Art of the Violin. It consisted of a set of twelve concertos, each with the by then standard three movements, as well as a capriccio for solo violin at the end of the first and last movements of each concerto. A capriccio (or caprice) is the term for a whimsical, fantastical piece of music. The concertos were described by a player later in the eighteenth century as ‘long and very difficult ... well-known rocks for a thousand shipwrecks … One difficulty follows the other, daredevil intricacies come in rapid succession’.

The capriccios are not really part of the musical structure of the concertos, are often longer than the movement to which they are attached, and are meant to be played at breakneck speed. As they called for techniques which few if any violinists then possessed, they were incredibly difficult, and remain extremely challenging. To play them successfully the eighteenth century violinist needed to use the bow in quite different ways, and the extreme high notes and difficult chords call for exceptional dexterity in the left hand. Locatelli was well aware of what he was asking for, and wrote on the score ‘Il laberinto armonico: facilis aditus, difficilis exitus’ – ‘the harmonic labyrinth: easy to get into, difficult to get out of’.

Pietro Locatelli (1695–1764)

WHAT TO LISTEN FOR

The first and last movements of this concerto are similar in structure to those by Vivaldi, with the full orchestra alternating with episodes for the solo violin. Unusually, however, the first movement begins with a long introductory passage for solo cello which is then joined by the full orchestra taking up the same theme. The writing for the solo violin is virtuosic, with chromatic passages and long phrases consisting just of double stopping (playing two strings at once). The orchestra drops out completely for the capriccio, then re-joins the solo violin with a restatement of the theme.

The central movement opens with the full orchestra playing a series of slow moving chords before the solo violin enters with long expressive lyrical lines, accompanied by solo cello. Unusually there is a much faster second section to this movement, with the solo violin playing rapid leaps at the absolute upper limit of its range. The final movement in an energetic dance rhythm features the solo violin playing an arpeggiated figure throughout. As in the first movement, everything stops for the treacherously high capriccio, then the orchestra joins in for the conclusion.

Locatelli must surely be allowed by all to be an earthquake … What bow strokes! What fire! What energy! He plays with so much fury upon his fiddle, that in my humble opinion, he must wear out some dozens of them in a year. … He has the most affected look just before he begins to play, that I ever saw in my life…”AN ENGLISH AMATEUR WHO HEARD HIM IN AMSTERDAM IN 1741

Program Notes

“

Program Notes


CONCERTO FOR TWO VIOLINS & VIOLA DA GAMBA IN G MINOR, FROM L’ESTRO ARMONICO, OP. 3 NO. 2, RV 578

Adagio e spiccato Allegro Larghetto Allegro

Vain, egotistical, boastful, grasping, and with an extraordinary zest for life – these words, among many others, have been used to describe Antonio Vivaldi, who was known as ‘the Red Priest’, supposedly because of the colour of his hair. He was ordained as a priest in 1703 but had to stop saying mass only three years later because of a debilitating chest complaint (probably bronchial asthma). ‘I almost always stay at home and go out only in a gondola or carriage, since my chest ailment … prevents me from walking.’ His ill health did not stop him from becoming one of Italy’s most successful opera composers in the first decades of the eighteenth century. He claimed to have written over ninety operas, although so far only forty-nine have been identified.

Unlike most other musicians in the first half of the eighteenth century, Vivaldi was never employed on a long-term basis by either a member of the nobility or the church, but in his home town of Venice he was hailed as a teacher and violin virtuoso. He was particularly associated with the Pio Ospedale della Pietà, one of four Venetian ospedali which cared for orphans and children of the destitute and which maintained an all-female orchestra and choir as a means of providing the institution with a source of income. Under Vivaldi’s guidance their orchestra became one of the finest and most versatile ensembles in all of Italy and attracted travellers from throughout Europe. A number of the girls grew into renowned virtuosi, and many lived their whole lives at the ospedali, performing and teaching.

Vivaldi composed nearly five hundred concertos, of which two hundred and thirty were for solo violin. We know very little about the origins of most of the concertos, not even when they were written, or for whom. This particular concerto was composed by Vivaldi for two solo violins and solo cello, and was one of twelve concertos, published in 1711 under the title L’estro armonico. Their publication made Vivaldi famous throughout Europe and had an enormous influence on other composers who modelled their concertos on his. In this concert, the solo cello part will be played by viola da gamba.

WHAT TO LISTEN FOR

Vivaldi pioneered the use of ritornello form, a concerto structure in which the orchestra plays a recurring refrain (ritornello) contrasted with episodes played by the solo instruments. Vivaldi’s limitless musical imagination created endless possibilities based on this simple foundation, as can be heard in this concerto, where the ritornello and episodes are continually varied to create interest and give the music momentum.

Most of Vivaldi’s concertos are in three movements, with the fast outer movements being in ritornello form, however here he begins with a dramatic slow first movement, marked to be played ‘spiccato’, a technique in which the bow is bounced on the string to give a detached effect. It leads without pause to a tension filled fast second movement in ritornello form. An implacably rising bass line, repeated by the violins along with brilliant episodes from the soloists, drive the movement to its conclusion. Vivaldi’s slow movements tended to be lyrical occasions for the soloist, but here the drama continues with powerful detached chords from the orchestra with just the occasional interjection from the solo instruments. The last movement relieves the tension in a bouncy dance.

CONCERTO FOR VIOLA DA GAMBA IN G MAJOR

Allegro Adagio ma non tanto con sordino Allegro

Violin virtuoso Johann Gottlieb Graun was the first musician hired by Prussian Crown Prince Frederick when he was starting his own small orchestra, which then became the orchestra of the royal court based in Berlin once the prince became King Frederick the Great in 1740. 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, and his orchestra with forty players was one of the largest in Germany. They included the flute virtuoso Johann Quantz, who was also Frederick’s teacher, J.S. Bach’s son Carl Philipp Emanuel Bach, a keyboard virtuoso, and Graun’s brother, the opera composer Carl Heinrich Graun.

Frederick was a great military tactician, and ran his court in a similar manner. Every night except Monday and Friday (when he went to the opera) private chamber concerts were held, beginning precisely at 7pm. It was part of Graun’s duties to compose music for these concerts, and also for the public court concerts presided over by Frederick’s wife Queen Elisabeth Christine (Frederick had been forced into marriage by his father and barely spoke to her). Over the thirty years that Graun was concertmaster of the orchestra, he produced an enormous number of compositions, including nearly one hundred sinfonias, a large quantity of chamber music, and forty-six concertos.

He also wrote twenty-two major works for viola da gamba, including ten concertos, because Frederick’s orchestra included Ludwig Christian Hesse, a player who was described at the time as the greatest viola da gamba player in Europe. By this time the instrument was no longer fashionable, and the position of gambist only continued in the Berlin orchestra while Hesse stayed to fill it. When he left, after twenty-two years, his position was scrapped, and a cellist hired instead. Frederick’s younger brother August Wilhelm and his nephew Friedrich Wilhelm, later king, were also accomplished gamba players.

WHAT TO LISTEN FOR

Graun’s compositions for viola da gamba show detailed knowledge of gamba technique and were clearly written for a virtuoso player. His concertos are considered to be among the most difficult music written for gamba. They use the full range of the instrument, with difficult chords and series of double trills.

Graun structured his concertos like those of Vivaldi, in three movements and using ritornello form, although his ritornelli tend to be much longer than those composed by Vivaldi. This is particularly effective when the viola da gamba is the solo instrument, as it allows for strong contrasts between the full orchestra and the solo episodes. The orchestral accompaniment to the gamba is very light so as not to drown out ‘the weak and somewhat husky sound of this otherwise tender and pleasant instrument’ as it was described by the German music critic Johann Adolf Scheibe, writing in 1739.

Johann Gottlieb Graun (1702–1771) AUSTRALIAN PREMIERE


Antonio Vivaldi (1678–1741)


SINFONIA FOR STRINGS IN B MINOR, AL SANTO SEPOLCRO, RV 169

Adagio molto Allegro ma poco

As is the case with many of Vivaldi’s works, the reasons behind the composition of this short sinfonia are unclear. By the late 1730s, when this sinfonia is thought to have been written, Vivaldi’s music was becoming unpopular in Venice, and he travelled to Vienna in 1740, hoping for work from the Austrian emperor Charles VI. The sinfonia’s title means ‘at the Holy Sepulchre’, the church in Jerusalem containing the tomb where Christ was said to have been buried. It was a Viennese tradition to perform ‘Sepolcro’ oratorios in the week before Easter, and this sinfonia is in the same style as those composed by other Viennese oratorio composers. So it could be that Vivaldi wrote this and another work with the same title by way of a job application, to demonstrate his versatility to the Austrian court. In the end however his timing was off: Charles VI died at the end of 1740 and all the theatres, where Vivaldi could have hoped for opera commissions, closed until well into the following year. Perhaps too poor, or too ill, to return home, Vivaldi died there, in poverty, in July 1741.

WHAT TO LISTEN FOR

A sinfonia was a short instrumental work in three or occasionally two movements which functioned as an overture to an eighteenth-century opera. The mood created in this introverted work for four-part strings is quite different from Vivaldi’s extrovert and flashy concertos. Its intense, chromatic melodies in a minor key and unstable harmonies suggest that it could have been intended for Holy Week (the week before Easter), as such music was often used in the Baroque period to represent Christ’s suffering and death.

Antonio Vivaldi (1678–1741)

CONCERTO FOR TWO VIOLAS DA GAMBA IN D MINOR

IV Tempo di Tango

Renato Duchiffre is the nom de plume of Baroque cellist and gamba player René Schiffer. He is a founding member of Apollo’s Fire (also known as the Cleveland Baroque Orchestra). He has performed with period orchestras such as La Petite Bande, the Amsterdam Baroque Orchestra, and Tafelmusik, and has composed music theatre, choral and instrumental works. He wrote this concerto in 2001, writing that his aim was ‘to show that the viola da gamba can be a strong instrument, and that Baroque and classical composers were wrong in their failure to provide us with true concertos for it’.

WHAT TO LISTEN FOR

The Concerto in D Minor for Two Violas da Gamba was written for period instruments in the Baroque style. In the fourth movement the gambas, instruments once synonymous with the French aristocratic court, lead the orchestra in a ten-minute tango. Schiffer explained his reasons for this. ‘Though the Tango is, of course, a twentieth-century genre, I felt it was the perfect ending for this concerto: in form because of the dance’s signature elements of rhythmic simplicity and harmonic ostinato structure, which are also characteristic of many Baroque dance forms, used to conclude many pieces of the time; in substance because of its dark and violent character, which I saw as the fulfilment of the dark insistence of the Allegro.’

Renato Antonio Duchiffre (1962–)



PRINCIPAL

MEDIA TRUSTS AND FOUNDATIONS

GOVERNMENT

AUSTRALIAN BRANDENBURG ORCHESTRA IS ASSISTED BY THE AUSTRALIAN GOVERNMENT THROUGH THE AUSTRALIA

COUNCIL, ITS ARTS FUNDING AND ADVISORY BODY

AUSTRALIAN BRANDENBURG ORCHESTRA IS SUPPORTED BY THE NSW GOVERNMENT THROUGH CREATE NSW

MAJOR

PRESENTING

SUPPORTING

30TH ANNIVERSARY PRESENTING PARTNER

TO FIND OUT MORE ABOUT BECOMING A PARTNER OF THE AUSTRALIAN BRANDENBURG ORCHESTRA PLEASE CONTACT OUR DEVELOPMENT TEAM ON 1300 782 856 OR [email protected]

A heartfelt thank you to our generous family of supporters.

“ Thanks to the tremendous generosity of you and your fellow Brandenburg supporters, we have established nothing short of cultural excellence as Australia’s national Baroque orchestra for nearly 30 years. Our dream is to continue doing exactly this – achieving excellence, inspiring audiences and sharing our music with you for many more years to come.”

PAUL DYER AO Artistic Director BRUCE APPLEBAUM Managing Director

Anthony Adair and Karen McLeod Adair Antoinette Albert+

Aidan Allen#

John Almgren AM and Yvonne AlmgrenGlenn BarnesGraham Bradley AM and Charlene Bradley#

Jillian Broadbent AO

Dr Catherine Brown-Watt PSM and Mr Derek Watt+

David and Leith Bruce-SteerRoxanne Clayton+

Jane and David DuncanMichael Ebeid AM and Roland HowlettJohn and Jenny Fast#

Lesley Grant and John CupplesTom Hayward and Fiona Martin-Weber#

Mary Holt and the late Dr John HoltMrs W G Keighley in memory of GeoffreyJ and R MacLeodJacqui and John Mullen#

Alison Park in loving memory of Richard ParkLady Potter AC CMRI#

Rodwell FoundationRowan Ross AM and Annie RossJeanne-Claude Strong in memory of James StrongVictoria Taylor+

Peter Weiss AO

Cameron WilliamsCarol Haynes and Skipp Williamson#

Anonymous

CHRISTINA $10,000 OR ABOVE

BOYCE Family Office#

Mrs Ros Bracher AM

Wayne Burns and Kean Onn SeeJoan and Wallace CameronLouise ChristieRick and Sue Coles*The Faithfull Family^In memory of Darrel FraserGandel Philanthropy

Ann Gordon*Jenny and Peter HordernIphygenia KallinikosDr Diana Marks and Dennis BluthRobyn Martin-WeberRichard and Rowena McDonaldThe Hon Jane Mathews AO

Rohan MeadRointon Nugara and Brendan Nugent

In memory of Jenny ParramoreGreg Ward+

Sheryl WeilDr Jason WenderothRay Wilson OAM in memory of James Agapitos OAM

Anonymous

RUSPOLI $5,000 - $9,999

Mary Holt and the late Dr John Holt

LIFE PATRONS

Peter Almond#

J M AlroeBrett Andersen and Brad BowenJohn and Robyn ArmstrongPhilip Bacon AM

Ian Baker and Cheryl SaundersPeter BarclayChloe & Kelvin Barry#

Frederic Baudry and Paul BaileyMarc Besen AC and Eva Besen AO

Warwick Bray#

Keith and Louise BrodieKay BuckeridgeHenry Burmester and Peter MasonElizabeth Butcher AM

James Butler and John Govan

David and Louise ByrneDr Beverley and Mr Alan CastlemanMr Peter Clark and Mrs Jan ClarkRebecca and Craig ClarkeMargaret and Bernard ColesProfessor Geoffrey N CooperPhillip Cornwell and Cecilia RiceDom Cottam and Kanako Imamura

DURAZZO $1,000 – $4,999

Our Partners Our Donors


Peter AllanJaci ArmstrongJenny and Henry BurgerAnnette and Kevin BurgesIta Buttrose AO OBEProfessor Dianne CampbellMarianne CochraneGuy and Jeanette CooperIn memory of Betty CurtainDr John Dale AO and Mrs Joan DaleDeborah DebnamAnne and Jennifer Dineen

Margaret DobbinJane Edmanson OAM

Rita ErlichRoslyn and Michael FeeneySarah FindlayPeter Fletcher AM and Kate FletcherBarbara and Malcolm FranceChristine GeorgeArthur Georgopoulos#

Norman GillespieRichard and Heather GorrellPhilip and Anabel Gosse

Late H. E. GowerCarole A. P. GracePeter and Deirdre GrahamKathryn Greiner AO

Greg and Sophie Griffith#

Sandra HaslamGeoff HogbinLiana Kestelman#

Nicholas KornerPaul LindwallAnne Loveridge & Graeme FosterBetty Lynch

SUPPORTER I $500 - $999

DURAZZO $1,000 – $4,999

Jim Cousins AO and Libby Cousins#^Toula and Nicholas CowellDavid Davies and Paul PresaMargaret and Chris de GuingandMs Emmanuelle DelannoyMichelle Dixon#

Emeritus Professor Dexter Dunphy AM

Elisabeth and Grahame ElderRalph and Maria EvansRosemary Farrow^Roslyn and Michael Feeney#

Wendy and Ron FeinerBrian and Philippa FranceDavid and Georgie Gall#

Carrillo and Ziyin GantnerJustin and Anne GardenerCharles and Cornelia GoodeBill and Julie GooldRichard and Anna GreenCarol Ann GriffinBruce and Jo Hambrett^Kate Hayward#

Sam Hayward#

R and Y HazellJane HemstritchDr Ailsa Hocking and Dr Bernard WilliamsJ L HossackJill and David HuntBelinda Hutchinson AM

Dr Alastair Jackson AM

Jasper Family Foundation#

Gayl Jenkins & Chris PellegrinettiJim & Kim JobsonMichael Jones

The Hon Rod Kemp and Mrs Daniele Kemp#

A Koumoukelis FamilyL. KrienbuhlMr John Lamble AO

John & Anne LawsonA le MarchantGreg LivingstoneRichard and Elizabeth LongesAggie MaisanoCarina MartinJoanna B MaxwellMora MaxwellPeter McGrathJ A McKernanElizabeth MildwaterJohn Milhinch OAM

Dr David Millons AM and Mrs Barbara MillonsDr Paul Nisselle AM and Mrs Sue NisselleRosemary and James O’CollinsBrendan O’ConnellTrevor J ParkinRemembering Tom and Jenny ParramoreDr Kevin PedemontChristina PenderProfessor David Penington AC

Dr John PercyHelen PerlenJim and Chris PollittJoan PoultonKevin Powell and Alison DeansTed and Jean RadfordPatricia H Reid Endowment Pty Ltd

Mr Paul ReinDr David and Dr Gillian RitchieAlexander and Rosemary RocheLois RoffeyPeter RushJustice Ronald Sackville AO and Mrs Pamela SackvilleMiss Adrienne SartoriJohn ScottDr Celina SeetoDr Gideon and Mrs Barbara ShawPaul Sheehan and Susan WyndhamJohn and Cathy SimpsonDr Agnes SinclairJann SkinnerRobyn SmilesAlan and Jennifer SmithMargot SmithChris and Bea SochanBrendan SowryMrs Beverley SouthernDavid Stanford#

Dr Murray and Mrs Joy StapletonLoreto ToorakMark and Debra Taylor#

Mr Mike ThompsonRichard and Lynne UmbersProfessor Roy and Doctor Kimberley MacLeodSally and Geoffrey WhiteJudith WilliamsRichard WillisDr David Wood and Mr Gary FungK A WrattenAnonymous x 20

SUPPORTER I $500 - $999

Carole BaileyAnne BeaumontProfessor Fran Boyle AM

Christine Yip and Paul BradyCatherine Broady Axel and Alexandra BuchnerJ and M CameronKerin CarrChris and Trudy CooteMr Charles P. Curran AC

M. DalzielJanet DoustAndrew DunnBronwyn Evans and Peter GordonKay FellPeta Forster and Mark AndersonDeborah Fox and Harald JahrlingJanine FrancisRosie Freeman

Judith GibsonKeren GouldRoger and Scarlet HawkeDr Stéphane Hemmerter in memory of Gérard HemmerterFrank HemmingsGeoff HowardIn Loving Memory of Dean HuddlestoneHilary KelmanPamela Kenny in memory of Peter*Joshua Kim and Richard HouseDr Micheline LaneGeorge LawrenceVicki and Adam LibermanGill ListerMrs Iris Luke in Memory of Dr Clifton LukeNeil Mackintosh and Stuart BrownKatrina Molino

Julie Ann MorrisonJohn and Susan MyattPenelope OerlemansMorag OrrKen RamshawFiona ReynoldsProfessor Steve and Dr Sharon Schach*Judith ShelleyNatalie & Tanya StoianoffAnthony TarletonAmanda Trenaman and Steven TurnerMargot VaughanStephanie WainbergDr J and A WhaiteMichael and Caroline WilliamsRichard & Lale WilliamsonGregory W WonAnonymous x 55

SUPPORTER II $250 - $499

^ Donors to the Brandenburg Quartet # Donors to the Brandenburg Instrument Fund + Donors to the 30th Anniversary Book

This donor list is current for a 12-month period to 27 September 2018. Supporter III donations are acknowledged at donations.brandenburg.com.au

Elizabeth Mackenzie and Michael BremnerRichard MasiulanisPeter McCallWendy E McCarthy AO

Margaret McKennaRoss McNair and Robin RichardsonDr Kerry MillsAlistair and Fran Minson#

Peter MiszalskiRichard and Elaine Moore#

Susan and Frank MorganMrs June Musgrove in memory of Dr Peter Musgrove

Andrew NaylorPaul O’DonnellJohn Peisley and Ros RoyalHelen PerlenJohn and Bridget PolaninJulian and Jane Rait#

Micheal L RattiganTony SchlosserMarysia SeganDaniela ShannonJeannette SharpeSpeer Family#

Ross Steele AM

The Stirling Family

Charles SuchSue ThomsonDr Diane TibbitsMr Frank Tisher OAM and Dr Miriam TisherJoy WardleKenneth Watkins#

Alvie Webster#

Dr. Anthony WilliamsBruce WilliamsJoyce YongAnonymous x 22

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

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.

Our Donors Our Donors


Our DonorsCHAIRMAN’S 11 BRANDENBURG OPERA CIRCLE

BRANDENBURG FOUNDATION DONORS

ORCHESTRAL CHAIRS

Concertmaster Chair supported by Jacqui and John Mullen

Baroque Cello Chair supported by Mrs W. G. Keighley

Theorbo/Baroque Guitar Chair supported by The Alexandra and Lloyd Martin Family Foundation and friends, in memory of Lloyd Martin AM

CORPORATE DONORS

AccentureAPA GroupBain & CompanyCentre for Corporate Public Affairs Elwyn ConsultingLink GroupPacific Equity PartnersQANTAS LoyaltyThe Lancemore Group

Dedicated to the memory of James Strong AO.

Chairman’s 11 supports the Brandenburg’s international and local guest artists.

Louise ChristieRoxane ClaytonJan and Frank ConroyAngus CooteRichard Fisher AM and Diana FisherRichard Grellman AM

Chris and Gina GrubbCarol Haynes and Skipp WilliamsonMrs. W. G. Keighley for GeoffreyGrant and Jennifer KingSusan Maple-BrownMs Gretel PackerAnonymous

PLANNED GIVING

BEQUESTThe Australian Brandenburg Orchestra warmly acknowledges the bequest it has received from the Estate of Valda Astrida Siksna.

PLAY ON: A LASTING LEGACYWe are hugely appreciative to all those who have pledged a bequest to the Brandenburg.

R. Cook Janet DoustThe Faithfull Family Brian and Leonie FisherR J IrwinLilly KPeter McGrathPenelope OerlemansJoan and Lloyd PoultonArt and Cynthia RaicheAnonymous x 15

AMATI $250,000 – $500,000The Eileen Marie Dyer AM FundAnonymous

STRADIVARI $100,000 – $249,999Cary and Rob GillespieAnonymous

GUARNERI $50,000 – $99,999Chris and Kathy HarropMacquarie Group FoundationThe Martin Family in memory of Lloyd Martin AM

Christine Yip and Paul BradyAnonymous

MAESTRI $25,000 – $49,999John and Robyn ArmstrongGreg Hutchinson AM and Lynda HutchinsonNick and Caroline MinogueRowan Ross AM and Annie Ross

ARCANGELI $15,000 – $24,999Mr David Baffsky AO and Mrs Helen BaffskyMelinda Conrad and David JonesGlenn Moss and the late Dr Ken Moss AM

David and Rachel Zehner

CAMERATA $10,000 – $14,999Graham Bradley AM and Charlene BradleyThe Clayton FamilyNorman GillespieRohan Mead

The following donors have supported the establishment of the Brandenburg Opera Circle, enabling the Orchestra to expand its repertoire into the world of baroque opera, as well as nurturing young opera singers and creative teams.

Toula and Nicholas CowellWendy and Ron FeinerDeborah Fox and Harald JahrlingJustin and Anne GardenerIrene and John GarranKen Groves and Yun-sik JangMary Holt and the late Dr John HoltA le MarchantPeter McGrathDr Agnes SinclairVictoria TaylorGreg WardRay Wilson OAM in memory of James Agapitos OAM

Christine Yip and Paul BradyAnonymous x 2

Venues

BOARD OF DIRECTORSRenata Kaldor AO (Chair)Timothy Cox AO (Deputy Chair)Helen BauerThe Hon Justice Elizabeth FullertonKerri GlasscockMarcus McArdleCarol MillsMaria SykesLouise Walsh

CEOElaine Chia

ADMINISTRATION02 9231 9000

BOX OFFICE02 8256 2222

WEBSITEcityrecitalhall.com

2 Angel PlaceSydney NSW 2000

CITY RECITAL HALL LIMITED

FOUNDING PATRONThe Late Dame Elisabeth Murdoch AC DBE

BOARD OF DIRECTORSKathryn Fagg (Chair)Peter BartlettStephen CarpenterJoseph CorponiThe Hon Mary DelahuntyPaul DonnellyJody EvansEda Ritchie AM

Margaret Farren-PriceMargaret TaylorAudrey Zibelman

EXECUTIVE STAFFEuan Murdoch Chief Executive Officer

Jasja van Andel Head of Operations

Marshall McGuire Director of Programming

Robert Murray Director of Marketing & Customer Relations

Sandra Robertson Director of Development

Sandra Stoklossa Director of Corporate Services

MELBOURNE RECITAL CENTRE

ADMINISTRATION03 9699 2228

BOX OFFICE03 9699 3333

FACSIMILE03 9207 2662

WEBSITEmelbournerecital.com.au

Corner Southbank Boulevardand Sturt StreetSouthbank VIC 3006


We’ve been connecting Australia with smart, reliable and safe natural gas solutions since 2000. Over 15,000km of pipeline network across the country and a workforce that has grown from 6 to 1600 people, means we’re anything but small. And we’re changing the way our nation is supplied with energy. www.apa.com.au

Get to know the future of connected energy.

energy.connected

the Australian success story that’s built on energy

APA001 APA_FP_210x297.indd 1 5/30/16 4:07 PM

the Australian success story that’s built on energy.Get to know the future of connected energy.

We’re Australia’s leading energy infrastructure business.

We’ve been connecting Australian energy since 2000. From small beginnings we’ve become a top 50 ASX-listed company, employing over 1,700 people, and owning and operating one of the largest interconnected gas networks across Australia.

We deliver smart, reliable and safe energy solutions for Australia.

www.apa.com.au

HEAD OF MARKETING & CUSTOMER SERVICES

Tom Morgan

CONTENT MARKETING EXECUTIVE

Shiki Chan

PUBLICIST

Steven Godbee Publicity

CUSTOMER RELATIONS MANAGER

Kateryna Collier

DATABASE SYSTEMS & ASSISTANT BOX OFFICE MANAGER

Thomas Chiu

ADMINISTRATION/TICKETING ASSISTANT

Nastassia Laptev

RECEPTIONIST/TICKETINGASSISTANT

Ewelina Ellsmore

HEAD OF ARTISTIC PLANNING & MANAGEMENT

Ashley Giles

ORCHESTRA MANAGER

Valérie Morgan-Pertus

PRODUCTION COORDINATOR

Shannon O’Hara

ARTISTIC PLANNING COORDINATOR

Joanna Butler

MUSIC RESOURCES

Alex Palmer

SENIOR DEVELOPMENT MANAGER

Aislinn Frayne

PHILANTHROPY MANAGER

Andrew Brook

DEVELOPMENT EVENTS MANAGER

Vlach Ashton

CORPORATE PARTNERSHIPS MANAGER

Madeline O’Dwyer

HEAD OF BUSINESS OPERATIONS

Susan Casali

EXECUTIVE ASSISTANT

Susan Duffy

ACCOUNTANT

John Scott

ASSISTANT ACCOUNTANT

Ian Creevey

AUDITORS

KPMG

REPERTOIRE ADVISORS (HONORARY)

Charles Gwynn Andrew O’Connor Christopher Price

PRE-CONCERT TALKS

Dr Alan Maddox

ARTISTIC DIRECTOR

Paul Dyer AO

MANAGING DIRECTOR

Bruce Applebaum

THE BOARD

David Zehner, Chairman Alison Harrop, Deputy Chair Aidan Allen Bruce Applebaum David Baffsky AO Richard Boyce Paul Dyer AO John C Fast Rohan Mead Sheryl Weil

THE BRANDENBURG COUNCIL

Jillian Broadbent AO Greg Hutchinson AM Max Suich

PATRONS

His Excellency General the Honourable Sir Peter Cosgrove AK MC (Ret’d) Governor-General of Australia His Excellency General the Honourable David Hurley AC DSC (Ret’d) Governor of New South Wales

Credits

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 2001 TELEPHONE 61 2 9328 7581 | WEBSITE BRANDENBURG.COM.AU | EMAIL [email protected]


presents

CABARET DINNER &

SHOW IN THE BALLROOM

THE

BOOK NOW AT TICKETEK.COM.AU

Sofi tel Melbourne On Collins5-8 December

BABY I NEED YOUR LOVING • I CAN’T HELP MYSELF REACH OUT I’LL BE THERE • IT’S THE SAME OLD SONG


Artist Impression

Retire in Style at Albert Park LakeThe Grace Albert Park Lake by Australian Unity presents residents with a prestigious

lifestyle. A world-class design of 1, 2 and 3 bedroom apartments and a penthouse

gives you a superior level of accommodation, amenity and service.

Full-size Display Residence now open by appointment.

Located at 114 Albert Road, South Melbourne.

Developed by Architecture by Interiors by Sales Agent

CONTACT PATRICIA ON 0488 880 382 | THEGRACEALBERTPARKLAKE.COM.AU

Brandenburg Fundraising Events

Upcoming EventsSUNSET SOIRÉE

Thursday 8 November 2018International Towers Sydney Barangaroo NSW

Each year the Australian Brandenburg Orchestra hosts a series of unique fundraising events that pair exquisite music with sumptuous food and wine in sublime settings.

Support the Brandenburg’s mission of making magnificent music by attending one of these special events.

TO STAY UPDATED ON THESE AND OTHER UPCOMING EVENTS GO TO BRANDENBURG.COM.AU/SUPPORT-US/FUNDRAISING-EVENTS OR CONTACT THE DEVELOPMENT TEAM: PHONE 1300 782 856 EMAIL [email protected]

GALA DINNER

Wednesday 27 March 2019Metropolis Southbank VIC

BRANDENBURG HIGH TEA Sunday 31 March 2019

Werribee Mansion Hotel & Spa Werribee VIC


The Brandenburg Concertos

Series One

The Brandenburg Concertos reveal the imperishable genius of J.S. Bach. In a highly-anticipated event, five concertos will be performed in one unforgettable evening showcasing the immense talent of Australia’s national Baroque orchestra in an array of daring instrumental combinations.

27 FEBRUARY – 10 MARCH

English Baroque with Circa

Series Two

A tumbling commotion of musicians and acrobats collide in an explosive collaboration of contemporary circus and music from the English Baroque. With an inspired pasticcio by Paul Dyer and Yaron Lifschitz from 16th and 17th-century England, this dazzling concert experience will have you gripping your seat and gasping in awe.

8 – 21 MAY

Handel’s Anthems & Fireworks

Series Three

A joyous and jubilant concert of crowning glories by master composer George Frideric Handel. Handel Coronation Anthems, HWV 258-261 Handel Concerto for Oboe No. 3 in G Minor, HWV 287 Handel Music for the Royal Fireworks, HWV 351

24 JULY – 4 AUGUST

The Four SeasonsSeries Five

From a biting winter to a summer storm, join acclaimed Baroque violin soloist, Shaun Lee-Chen, in a bold re-imagining of this much-loved classic. Telemann Concerto for 4 Violins in G Major, TWV40:201 Telemann Water Music, TWV 55:C3 Vivaldi The Four Seasons, Op. 8

1 – 15 NOVEMBER

Noël! Noël!Series Six

This immensely popular series is not just carols but a mischievous affirmation of life that fuses the modern with the ancient. Filled with many special surprises and timeless musical treasures including O Come All Ye Faithful and Stille Nacht.

7 – 18 DECEMBER

Next Generation Baroque

Series Four

Introducing audiences to four electrifying young artists who have glimpsed the future with a program to include: Halvorsen Passacaglia for Violin and Viola after Handel Handel Tu del ciel ministro eletto from Julius Ceasar Vivaldi Violin Concerto in E Minor, Op. 11, No. 2

11 – 22 SEPTEMBER

SYDNEY 10 –19 DECEMBER MELBOURNE 8 DECEMBER

TICKETS ON SALE NOW!

brandenburg.com.au 1300 782 856

The Brandenburg Choir joins the Australian Brandenburg Orchestra in this mischievous affirmation of life that fuses the modern with the ancient.

lixsania-and-the-labyrinth-program.pdf - Australian ...

Documents

Transcript of lixsania-and-the-labyrinth-program.pdf - Australian ...