next generation baroque · bach ciaccona from violin partita no. 2 in d minor, bwv 1004 handel...

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NEXT GENERATION BAROQUE 1

2019

SYDNEY

City Recital Hall Wednesday 11 September 7:00PM Friday 13 September 7:00PM Saturday 14 September 2:00PM (Matinee) Saturday 14 September 7:00PM Wednesday 18 September 7:00PM Friday 20 September 7:00PM

MELBOURNE

Melbourne Recital Centre Saturday 21 September 7:00PM Sunday 22 September 5:00PM

Christian Li (Melbourne) violin Annie Gard (Hamburg) Baroque violin Madison Nonoa (London) soprano Paul Dyer AO Artistic Director Australian Brandenburg Orchestra

PROGRAM

Halvorsen Passacaglia for violin and viola after Handel

Bach Ciaccona from Violin Partita No. 2 in D minor, BWV 1004

Handel Ouverture from Julius Caesar, HWV 17

Handel ‘ Tu del ciel ministro eletto’ from Il Trionfo del Tempo e della Verità, HWV 46b

Handel ‘Da tempeste’ from Julius Caesar, HWV 17

Interval

Handel Concerto Grosso Op. 6 No. 12 in B minor, HWV 330

Handel ‘O nox dulcis’ from Saeviat tellus inter rigores, HWV 240

Handel ‘Let the bright Seraphim’ from Samson, HWV 57

Vivaldi Violin Concerto in G major Op. 9 No. 10, RV 300

Handel ‘V’adoro pupille’ from Julius Caesar, HWV 17

Handel ‘Tornami a vagheggiar’ from Alcina, HWV 34

CHAIRMAN’S 11

Proudly supporting our guest artists.

Concert duration is approximately 105 minutes, including one 20 min interval. Please note concert duration is approximate only and is subject to change. We kindly request that you switch off all electronic devices prior to the performance.

This concert will be broadcast on ABC Classic on 20 September at 1:00PM

Next Generation Baroque

FEBRUARY — MARCH

Visit Vivaldi’s Venice with extraordinary French harpist Xavier de Maistre in a performance shimmering with light and colour.

PROGRAM HIGHLIGHTSVivaldi Concerto for harp (lute) in D major, RV 93 Marcello Concerto for harp (oboe) in D minor, S D935 Vivaldi L’inverno, Concerto for harp (violin) in F minor, RV 297

Vivaldi’s Venice

The rich musical tradition of Notre-Dame told in a theatrical concert experience entwining music for orchestra and choir with spoken word and song.

SEPTEMBER

Notre- Dame

PROGRAMFeaturing music by French composers Campra, Lully, Rameau, Rebel and more.

APRIL — MAY

Mozart’s bright and achingly beautiful basset clarinet concerto performed on the rare and richly voiced instrument of the period.

PROGRAM HIGHLIGHTSMozart Concerto for oboe in C major, K 314 W.F. Bach Adagio e Fuga, F 65 Mozart Concerto for basset clarinet in A major, K 622

Mozart’s Clarinet

The mesmerising Whirling Dervishes are steeped in mystique and will return from Turkey to dazzle in Paul Dyer’s musical meditation.

PROGRAMA pasticcio featuring Allegri, Boccherini, Lully, Marais, Telemann, and traditional music from Turkey.

OCTOBER — NOVEMBER

Ottoman Baroque

Season 2020 The brilliant colours of Baroque

JULY

Thrilling German Baroque violinist Jonas Zschenderlein joins Brandenburg string soloists to perform concertos, sonatas and a suite by Bach.

PROGRAM HIGHLIGHTSBach Concerto for violin in E major, BWV 1042 Bach Concerto for three violins in D major, BWV 1064R Bach Orchestral Suite No. 3 in D major, BWV 1068

Bach’s Violin

Gather your family and friends together this Christmas and spend a joyous evening sharing rare carols, medieval hymns and a cheeky musical surprise.

PROGRAMFilled with timeless carols including O Come All Ye Faithful, Stille Nacht and many musical surprises.

DECEMBER

Noël! Noël!

SHAUN LEE-CHEN CONCERTMASTER

Call 1300 782 856 or visit brandenburg.com.au/season2020

ADULT SUBSCRIPTION PACKAGES START FROM $181JOIN THE BRANDENBURG FAMILY TODAY

4 AUSTRALIAN BRANDENBURG ORCHESTRA NEXT GENERATION BAROQUE 5

On behalf of Macquarie Group, it is my great pleasure to welcome you to the Australian Brandenburg Orchestra’s fourth concert series of 2019 – Next Generation Baroque.

Opportunity & ConnectionFrom our Principal Partner: Macquarie Group

This series gives audiences a taste of the future of Baroque performance – showcasing the extraordinary talent of three young artists who will take this genre forward with youthful energy. Violin prodigy Christian Li, Baroque violinist Annie Gard and soprano Madison Nonoa share their passion for the Baroque greats – Bach, Handel and Vivaldi – in a program that celebrates the timeless power of music to inspire and connect across generations.

Macquarie is proud to support the Brandenburg’s commitment to delivering innovative artistic programs that present the next generation of musical talent. This year is Macquarie’s twelfth year as the Principal Partner of the Brandenburg. What makes this relationship so rewarding is our shared vision of opportunity and forward thinking and our commitment to the highest standards of performance.

It is a privilege to be a part of the Australian Brandenburg Orchestra’s journey and we hope you enjoy this concert.

Sean West Head of Macquarie Wealth Management

What will Baroque performance hold 30 years from now? I'd love to introduce to you three tremendous young talents.

Paul DyerFrom the Co-Founder & Artistic Director

won the Junior First Prize in the prestigious Yehudi Menuhin Violin Competition in Switzerland.

After completing her undergraduate studies in Sydney, Baroque violinist Annie Gard was accepted into the elite squad of the famous Juilliard School in New York and is now performing with world-renowned orchestras in Europe.

And in the world of voice, soprano Madison Nonoa completed her undergraduate studies in New Zealand and headed straight for the wonderful Guildhall School of Music & Drama in London to perfect her art under distinguished Australian soprano, and dear friend, Yvonne Kenny.

Each of these fabulous young artists will pour their heart and soul alongside their colleagues of the Orchestra tonight. This is the new generation, the new spark of radiance, the new exciting generation of the future.

With a blaze of beautiful music, I’d love to introduce you all to Christian, Annie and Madison – our Next Generation.

Paul Dyer AO Co-Founder & Artistic Director Australian Brandenburg Orchestra

In our contemporary landscape of Classical music, there are many young children who have gravitated towards the art form. From an early age, we start with music lessons – guided by teachers, parents and mentors engaging in rigorous daily practice - requiring technique, precision, courage and hours of time alone discovering and persevering. If you are lucky, you then get to broaden your performance experience with others and so, the process develops.

Not everyone has a gift and not everyone has the qualities that make an outstanding artist. To be outstanding calls for complete emersion, often sacrificing many normal life experiences and the devotion of every spare minute to practice and experiment.

As a young artist, the aim is to develop an extremely high level of virtuosity and accuracy. Then comes ambition, boldness, brilliance, clarity, creative impulse, stamina and discipline.

At this stage of my career, I have the privilege of discovering and engaging with many brilliant, young period musicians who are just starting their journey. Last month, I gathered 200 students from four different schools in Brisbane to perform alongside my professional, adult Brandenburg Choir. The energy and passion that resulted was inspiring to all.

Young Melbourne violinist Christian Li is just 11 years old and has already propelled his career as a young professional musician having recently


APA Group is proud to support the Australian Brandenburg Orchestra as 30th Anniversary Presenting Partner of Next Generation Baroque. We are delighted to welcome you to this performance.

Connecting Australia to Baroque MusicFrom our 30th Anniversary Presenting Partner: APA

This year, APA celebrates the Brandenburg’s 30th Anniversary and our 18-year relationship as one of the Orchestra’s longest corporate sponsors.

Our partnership began in 2001, the year after we started as a business. Since then, both organisations have grown, through vision and commitment, from humble beginnings to national importance.

While we have worked tirelessly to connect energy sources across Australia, enabling regional and national growth, season after season the Brandenburg breathes fresh life into music, infusing it with history and heritage.

APA Group is one of Australia’s leading energy infrastructure businesses, and through sponsorship of the Brandenburg, we value the opportunity to bring Baroque music to audiences in the metropolitan and regional communities where we operate.

It is a significant privilege to be part of the Australian Brandenburg Orchestra’s journey. We wish you a joyful evening and hope you enjoy the concert.

Rob Wheals APA Group Managing Director and CEO

" This 10-year-old Australian violin prodigy is so good you might cry" CLASSICFM

Christian LiBiography

Christian Li, 11 years-old, was born in Melbourne Australia in October 2007 and began learning the violin at the age of 5, showing great interest and talent in music. He is studying under Dr. Robin Wilson, Head of Violin at the Australian National Academy of Music in Melbourne.

Christian came to international attention in April 2018 when at the age of 10 he became the youngest-ever joint Junior 1st Prize-winner of the Yehudi Menuhin International Violin Competition in Geneva, performing with the Geneva Chamber Orchestra and the Royal Philharmonic Orchestra London. He also received the Audience Prize and the Composer Award in 2018 Menuhin Competition.

Christian made his solo orchestral debut at the age of 9 with the Australasian Orchestra and made his professional solo concerto debut at 10, performing the Mendelssohn Violin Concerto with Orchestra Victoria. In 2019 he made his solo debut with the Melbourne Symphony Orchestra and future performances include with the Melbourne and Sydney Symphony Orchestras and appearances and solo recitals at the Melbourne and Sydney Recital Centres as well as performances in Norway, Germany, UK and the USA.

Previously, at the age of 9, Christian won First Prize in the violin category of the 2017 Young Artist Semper Music International Competition in Italy and gave many solo and chamber music performances as part of the Semper Music International Festival and Summer Academy. In June 2017 Christian was selected to perform at Carnegie Hall in New York in the American Protégé Showcase 10-year Anniversary concert. In 2014 he won First Prize in the ‘Golden Beijing’ violin competition in China and in 2013 was chosen for a TV commercial in China that features him playing the violin. Christian performs on a rare 3/4-size violin made by Dom Nicolo Amati made in Bologna, Italy in 1733, on generous loan from Reuning & Son Violins of Boston, USA, and a rare bow by Pierre Simon kindly on loan from Florian Leonhard Fine Violins, London. Christian also enjoys reading, swimming and soccer.


Annie Gard dreamt of being a professional musician from at least the age of four, when she began attending her brother’s concerts at the Conservatorium of Music High School.

Annie GardBiography

Madison NonoaBiography

New Zealander Madison Nonoa is a recent graduate of the prestigious Guildhall School of Music & Drama Opera Programme where she studied under the tutelage of distinguished Australian Soprano, Yvonne Kenny. Since moving the UK in 2017, Madison has performed numerous operatic roles including Susanna from Mozart’s Le Nozze di Figaro, Despina in Cosi fan tutte, Tytania in Britten’s Midsummer Night’s Dream and Giulietta in Bellini’s I Capuleti e I Montecchi; most recently Madison has featured as the soprano soloist in Berlioz’s La Damnation de Faust for Glyndebourne Festival Opera.

At this year’s festival, Madison has sung as a chorus member and covered the role of First Spirit for the mainstage production of Cendrillon (Massenet); she has also made her operatic debut with the company as First Siren in Handel’s Rinaldo. In 2020 she will perform the role of Asteria in Handel’s Tamerlano with Cambridge Handel Opera Company. Madison is proud to return to Australia to perform with the Australian Brandenburg Orchestra with maestro Paul Dyer. She acknowledges the ongoing support of the Dame Kiri Te Kanawa and Dame Malvina Major Foundations.

When Annie took her own place at that school she found the ideal environment in which to strive for both technical excellence and genuine musicality among like-minded peers.

After achieving a Bachelor of Music Performance with first class Honours from the Sydney Conservatorium of Music, Annie knew that she had to explore broader horizons and auditioned for The Juilliard School. Two years later she found herself standing in the Lincoln Center with a Masters degree in one hand and a ticket to Europe in the other.

The summer that followed found Annie performing in Leipzig’s Gewandhaus under the baton of Masaaki Suzuki, at William Christie’s Dans les Jardins,

Pinchgut Opera’s production of Athalia, and Teatro Nuovo, a festival in New York working to rediscover classic Italian opera in line with current research in performing practice. Historically informed performance became a part of Annie’s life in her first year of university when she fell in love with the rich timbres of gut strings and the musical possibilities which suddenly became available.

Currently residing in Germany and delighting in its rich musical fabric, the coming year will see Annie tour Europe and America with The English Concert, record with Boston Early Music Festival, and once again return to Australia to join Pinchgut Opera. Most of all Annie loves the act of making music with people and sharing those stories that as Mendelsohn wrote are “not too indefinite for words, but rather too definite”

" [Madison Nonoa's] exquisitely contained soprano, delicately spun with vibrato, shimmering over the sound of the choir" LIMELIGHT MAGAZINE


Christian Li (Melbourne) violin Annie Gard (Hamburg) Baroque violin Madison Nonoa (London) soprano Paul Dyer AO Artistic Director, ConductorAustralian Brandenburg Orchestra

* Denotes Brandenburg Core Musician 1 Monique O’Dea appears courtesy of Presbyterian Ladies’ College, Sydney (staff) 2 Rob Nairn appears courtesy of The Conservatorium of Melbourne (staff)Harpsichord preparation by Joanna Butler in Sydney & Melbourne.

Musicians

Australian Brandenburg Orchestra

BAROQUE VIOLIN

Shaun Lee-Chen* (Perth) Concertmaster Matt Bruce* (Sydney) Associate Concertmaster Ben Dollman* (Adelaide) Aaron Brown (Brisbane) Rafael Font (Sydney) Matthew Greco (Sydney) Natalia Harvey (Melbourne) Shane Lestideau (Melbourne) Catherine Shugg (Melbourne) Simone Slattery (Adelaide) Emma Williams (Amsterdam)

BAROQUE VIOLA

Monique O’Dea1 (Sydney) Marianne Yeomans (Sydney) Christian Read (Melbourne) Katherine Yap (Melbourne)

BAROQUE CELLO

Jamie Hey* (Melbourne) Anthea Cottee (Sydney) Rosemary Quinn (Sydney

BAROQUE BASS

Rob Nairn*2 (Adelaide)

BAROQUE OBOE

Kirsten Barry* (Melbourne)

BAROQUE BASSOON

Jane Gower (Copenhagen)

BAROQUE TRUMPET

Leanne Sullivan (Sydney)

THEORBO

Tommie Andersson* (Sydney)

HARPISCHORD

Paul Dyer* (Sydney)

Orchestra

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

Paul DyerBiography

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 in 2015 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.

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


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 30th Anniversary in 2019, 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 58,000 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.


“ ...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 and laugh... there’s a warmth and sense of fun not often associated with classical performance.” SYDNEY MORNING HERALD

Musicians


PAUL DYERHarpsichord

SHAUN LEE-CHENBaroque Violin

MATT BRUCEBaroque Violin

BEN DOLLMANBaroque Violin

AARON BROWNBaroque Violin

RAFAEL FONTBaroque Violin

CATHERINE SHUGGBaroque Violin

MARIANNE YEOMANSBaroque Viola

MATTHEW GRECOBaroque Violin

SIMONE SLATTERYBaroque Violin

CHRISTIAN READBaroque Viola

NATALIA HARVEYBaroque Violin

EMMA WILLIAMSBaroque Violin

KATHERINE YAPBaroque Viola

SHANE LESTIDEAUBaroque Violin

MONIQUE O’DEABaroque Viola


Musicians

Australian Brandenburg OrchestraDiscover the Tales of Baroque Podcast

Tales of Baroque will be released in our Keynotes e-Newsletter every six weeks. Sign up at brandenburg.com.au/keynotes

Dr Alan Maddox appears courtesy of The University of Sydney, Sydney Conservatorium of Music.

Listen to Dr Alan Maddox in conversation with the Brandenburg’s Hugh Ronzani in an in-depth discussion of Next Generation Baroque. In this episode of Tales of Baroque Alan and Hugh delve into the challenges facing young Baroque musicians, and how we learn from the ‘Greats’.

HUGH RONZANIALAN MADDOX

ANTHEA COTTEEBaroque Cello

ROSEMARY QUINNBaroque Cello

ROB NAIRNBaroque Bass

JANE GOWERBaroque Bassoon

LEANNE SULLIVANBaroque Trumpet

TOMMIE ANDERSSONTheorbo

KRISTEN BARRYBaroque Oboe

JAMIE HEYBaroque Cello


Next Generation BaroqueProgram Notes

Johan Halvorsen (1864-1935)

PASSACAGLIA FOR VIOLIN AND VIOLA AFTER HANDEL

Halvorsen was a Norwegian composer, a contemporary of Grieg with whom he would share a close friendship despite being twenty-one years his junior. He was also a virtuoso violinist and one of Norway’s leading conductors, holding the post of chief conductor at the National Theatre in Christiania (now Oslo) for thirty years until he retired in 1929. While little is recorded about Halvorsen’s early musical development, as a professional he composed music for the theatre and incidental music for thirty plays, as well as orchestral works with an emphasis on solo violin and ceremonial pieces. His style shows influences of French romanticism and the Norwegian nationalism of Grieg and other Norwegian composers.

Halvorsen composed this duet for violin and viola in 1894. He based it on the passacaglia, a set of variations played over a repeating, or ground, bass, from Handel’s Keyboard Suite No. 7 in G minor (HWV 432).

Johann Sebastian Bach (1685–1750)

CIACCONA FROM PARTITA NO. 2 IN D MINOR, BWV 1004

This particular partita was composed in 1720 and comes from a collection of six sonatas and partitas for solo violin composed by Bach when he worked as music director for Prince Leopold of Anhalt-Cöthen from 1717 to 1723. Bach composed some of his most famous instrumental music while at Cöthen, including the French Suites, The Well-Tempered Clavier, and the Brandenburg Concertos, and his years there were among the most productive and artistically satisfying of his career.

While Bach’s main instrument was keyboard, he was also an exceptionally fine violinist and the sonatas and partitas pushed the boundaries of contemporary violin technique. He intended them to be played unaccompanied and in this he was following the German tradition of composition for solo violin. Nevertheless, the nineteenth- century view was that something was lacking, and both Schumann and Mendelssohn wrote piano accompaniments for them.

In this period a partita was similar to a suite and consisted of a number of dance movements. The Ciaccona is the last movement in Partita No 2. Described as ‘the greatest structure for solo violin that exists’ by Yehudi Meuhin, it is an extraordinary set of sixty-four variations on a theme.

Brahms wrote about them to Clara Schumann, wife of Robert Schumann, in 1877:

“On one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings. If I imagined that I could have created, even conceived the piece, I am quite certain that the excess of excitement and earth-shattering experience would have driven me out of my mind.”

George Frideric Handel (1685–1759)

OUVERTURE TO THE OPERA GIULIO CESARE (JULIUS CAESAR) HWV 17

Giulio Cesare premiered in London in 1724 and was Handel’s eleventh opera. He had arrived in London from his native Germany, via Italy, for the 1711 opera season, and over the next twenty-five years he mounted a series of phenomenally successful Italian opera performances for the London stage, undertaking the joint roles of composer and impresario.

Handel’s overtures are usually in the French style and this is no exception, so a majestic slow first section is followed by a lively fugal second section. An inveterate borrower of his own (and sometimes others’) work, Handel had previously used the second section in the overture to his opera Ottone. It was only in the nineteenth century that the overture became part of the dramatic narrative, so this ouverture contains no references to other music in the opera.

‘TU DEL CIEL MINISTRO ELETTO’ FROM IL TRIONFO DEL TEMPO E DELLA VERITÀ, HWV 46B

Il Trionfo del Tempo e della Verità (The Triumph of Time and Truth) premiered in London in 1737. It was a re-working of an allegorical oratorio, Il trionfo del Tempo e del Disinganno (The Triumph of Time and Disillusionment) which Handel had composed in Rome in 1707 for one of his patrons, the wealthy and influential Cardinal Benedetto Pamphili. Pamphili also wrote the libretto. Handel re-worked the oratorio a further time, in 1757, with an English text and under the English title of The Triumph of Time and Truth.

1737 was a difficult year for Handel. A competing opera company had been set up, drawing audiences away and poaching Handel’s best and most expensive imported Italian singers. Handel managed to keep his company afloat, seeing out the rival company which collapsed later in the year, but he sustained heavy financial losses and the stress took its toll on his health. He had a stroke a few days after the final performance of Il Trionfo:

The ingenious Mr. Handell is very much indispos’d, and it’s thought with a Paraletick Disorder, he having at present no Use of his Right Hand.

THE LONDON EVENING POST, 14 MAY 1737

The plot of Il Trionfo is a competition between Beauty and Pleasure on one hand and Time and Disillusionment on the other. Naturally, Time and Disillusionment prevail (unfortunately!). In this aria which comes at the end of the work, Beauty sadly realises that her pursuit of vanity and pleasure has been futile, and in a reflection of eighteenth-century religious beliefs she repents and vows to trust in God instead (the plot was written by a Cardinal after all.

Like most Baroque arias, this aria is in da capo form, that is, in three parts with the first part repeated after a contrasting middle section. The singer was expected to add extra ornamentation on the repeat, to heighten the mood of the aria and to show off his or her virtuosity and artistry.

Program Notes



Program Notes

Tu del ciel ministro eletto non vedrai più nel mio petto voglia infida, o vano ardor. E se vissi ingrata a Dio ei custode del cor mio a lui porti il nuovo cor.

You, heaven’s elected minister, will no longer see in me treacherous desire or frivolous passion. And if I have lived in a manner ungrateful to God, the custodian of my heart, I will bring to him a new one.

‘DA TEMPESTE’ FROM GIULIO CESARE (JULIUS CAESAR), HWV 17

The plot of Giulio Cesare concerns the love affair between the Roman general Julius Caesar and Cleopatra, Queen of Egypt. The role of Cleopatra was created by the great prima donna Francesca Cuzzoni, one of the biggest names of late-Baroque opera. She arrived in London amid much publicity in 1723 and sang with Handel’s company throughout the mid-1720s. Their relationship did not start well: she refused to sing an aria he had written for her; he threatened to throw her out a window if she did not. Cuzzoni amazed audiences with her singing of fast bravura passages, in a style then completely new in England. According to eighteenth-century music historian Charles Burney, during one performance a man called out, ‘Damme, she has a nest of nightingales in her belly.’

Each of Cleopatra’s arias shows different facets of her personality and collectively they demonstrate the range of Handel’s extraordinary ability in musical characterisation. Written especially for Cuzzoni, they show clearly why she was known as ‘complete mistress of her art’.

This aria occurs near the end of the opera, after the various plot contrivances have been cleared away for the requisite happy ending. It is a ‘tempest’ aria, a device often used in operas of this period to convey a character’s emotional turmoil, here depicted by the many leaps from high to low notes in the vocal line.

Da tempeste il legno infranto, se poi salvo giunge in porto, non sa più che desiar. Così il cor tra pene e pianto, or che trova il suo conforto torna l’anima a bear.

The boat battered by the tempest, does not desire anything more once it safely reaches the port. In the same way the heart between pain and tears, now finds comfort, the soul turns to rejoicing.

Program Notes

CONCERTO GROSSO IN B MINOR, OP. 6 NO. 12, HWV 330

Largo Allegro Larghetto, e piano Largo Allegro

With the financial collapse of the opera industry in the mid-1730s and the waning interest in Italian opera, Handel began to introduce oratorios, a genre which he invented, into his subscription seasons of opera. They were immensely popular and made Handel so much money for relatively little effort compared to opera, that after 1741 he spent the rest of his life composing and performing oratorios. Eighteenth-century audiences were accustomed to spending four or five hours at an evening at the opera, however, so to extend his oratorio concerts Handel inserted instrumental works between the acts, composing the twelve Opus 6 Concerti grossi specifically for that purpose. This novelty also compensated for the lack of visual interest as oratorios were not staged. Handel announced these ‘new Concerto’s, never before heard’ in advertisements in the London papers throughout the 1739/1740 concert season.

In an astute piece of marketing he ensured that all twelve concertos had been heard in performance before their publication in April 1740. By that time copies had been ordered by various members of the Royal Family and by the musical societies made up of both professional musicians and gentlemen amateurs for whom Handel’s orchestral music was an essential part of their repertory.

Handel modelled his Opus 6 concerti on Archangelo Corelli’s Opus 6 concerti grossi, which in England were extremely popular with both amateur and professional musicians even though by this time

they were the best part of thirty years old. He chose to follow the by then outdated multi-movement Corellian concerto grosso instead of structuring the concertos on the newer three movement solo concerto form made fashionable by Vivaldi. The concerto grosso used a small group of soloists, typically two violins and cello (the concertino), who led the orchestra (the ripieno) and also played virtuosic solo sections on their own.

WHAT TO LISTEN FOR

The concerto opens with a stately introductory Largo in the French manner, the last few bars of which are declaimed by the orchestra like a spoken prologue announcing the tempestuous Allegro. It is here that the concertino (solo group) has its first opportunity to shine, with dashing figuration and scintillating interplay between the two solo violins and cello. This is followed by a beautiful Larghetto, in effect a serene aria for orchestra. A few bars of mysterious Largo then serve as an introduction to the final Allegro, a fugue built on a vigorous dance rhythm.

‘O NOX DULCIS’ FROM SAEVIAT TELLUS INTER RIGORES, HWV 240

In 1706 Handel travelled to Italy to immerse himself in the fashionable Italian musical style, and in Rome he was taken up by some of the most wealthy and influential people in the city and patrons of the arts, the Cardinals Ottoboni, Pamphili and Colonna. Although Handel himself was Lutheran, he composed a number of sacred works for Catholic church services under the cardinals’ patronage and, apart from one or two minor pieces, all his church music in Latin, including this work, dates from the same year, 1707.

Next Generation Baroque Next Generation Baroque

Handel, Giulio Cesare, 1723, first bars of Cleopatra's aria, 'V'adoro pupille'

CREDIT © BRITISH LIBRARY BOARD, R.M.20.B.3. F.78R


Program Notes

Cardinal Carlo Colonna had a longstanding relationship with the Carmelite religious order, and asked Handel to compose music for their annual celebrations in July 1707. The Feast of Our Lady of Mount Carmel at the church of Santa Maria di Monte Santo in Rome was a lavish two-day affair. (In the Catholic tradition each saint has a particular day dedicated to them, known as a feast day). Illuminated arches were erected in the surrounding streets and the event drew large numbers of people who came to listen to the spectacular music played during the services. In previous years a platform had even been specially erected in the church to hold the musicians, but this led to a scandal when the congregation turned their backs on the altar to look at the players, and one year the platform collapsed and one of the singers was killed.

The text of Handel’s motet Saeviat tellus inter rigores tells the story of the founding of the Carmelite order through a vision of the Virgin Mary which appeared to Pope Honorius III on Mount Carmel in what is now Israel, in the thirteenth century. Its opening line is ‘Let the earth rage amid its tribulations, be not afraid, Carmelites, of its violent tumult’. The music Handel supplied for such an important occasion showed off his already virtuosic compositional skills but also the technique of the soprano for whom it was composed. That would almost certainly have been not a female soprano but a castrato, as at that time women were not allowed to perform on public occasions in regions of Italy under the Pope’s control. O nox dulcis is the second aria in the motet. Its reflective mood and long lyrical lines were intended to convey the peace and serenity in which the Carmelites lived with the Virgin Mary’s protection.

O nox dulcis, quies serena, Carmelitis sis longa, sis stabilis. Non te turbet tristis Megera dum Mariae lux nitet amabilis.

O gentle night, tranquil repose, be lasting and peaceful for the Carmelites. May sad Megaera* not trouble you while the light of Mary shines with love.

*In Greek mythology Megaera was a fury, the cause of jealousy and envy.

‘LET THE BRIGHT SERAPHIM’ FROM SAMSON, HWV 57

Handel composed the oratorio Samson towards the end of 1741, at the same time as Messiah. An oratorio was similar in scale to an opera but shorter, and its subject was always sacred. An oratorio’s libretto (text) was always in English, unlike other sacred vocal music whose text came directly from church liturgy (a Mozart Mass, for example). Oratorios were given ‘in concert’, without stage action, sets or costumes.

This celebratory aria occurs at the end of the oratorio and is sung by a character who is not part of the narrative and is simply called ‘an Israelitish woman.’ It was famously sung by Kiri Te Kanawa at the wedding of Prince Charles and Lady Diana Spencer.

Let the bright Seraphim in burning row Their loud uplifted trumpets blow. Let the cherubic host in tuneful choirs Touch their immortal harps with golden wires.

Program Notes

Next Generation Baroque Next Generation Baroque

Antonio Vivaldi (1678–1741)

VIOLIN CONCERTO IN G MAJOR OP. 9 NO. 10, RV 300

Allegro molto Largo cantabile Allegro

Vivaldi’s Opus 9 collection of twelve concertos entitled La Cetra, from which this solo violin concerto comes, was published in Amsterdam in 1727. Vivaldi dedicated the collection to the Austrian emperor Charles VI: La Cetra, meaning ‘lyre’, was appropriate for a collection of concertos for violin, but the lyre was also associated with the Habsburg dynasty, rulers of Austria and Hungary. It was common practice for composers to dedicate their published works to a wealthy patron, with the hope that the dedicatee would assist in defraying publishing costs, but Vivaldi was particularly renowned for being an assiduous self-promoter. He made the long journey to Trieste in 1728 to meet Charles VI and give him a copy of the concertos. In return he received ‘much money, together with a gold chain and medal’ and made him a knight. ‘The emperor conversed with Vivaldi for a long time about music, and people say that he spoke more to him in private in two weeks than he speaks to his ministers in two years.’ This was the report of Antonio Conti, a Venetian nobleman and one of many who took a dim view of Vivaldi’s social climbing.

By 1727 Vivaldi’s reputation was well established throughout Europe, cemented through publication of his Opus 8 concertos, containing Le quattro stagioni The Four Seasons, two years earlier. In his hometown of Venice he was hailed as a teacher and violin virtuoso and his services as a composer were in constant demand. Vivaldi was contracted to compose and direct the performances of two

new concertos a month for the Pietà, a Venetian orphanage for girls famous throughout Europe for its elite musicians, and he was increasingly preoccupied by the joint roles of opera composer and entrepreneur of his own operas, an activity which was to take him more and more to cities throughout Italy and in other parts of Europe.

WHAT TO LISTEN FOR

Vivaldi, more than any other composer, was responsible for the modern form of the solo concerto, with its fast–slow–fast three movement pattern. He is also credited with the development of ritornello form, which was hugely influential on composers of his own and succeeding generations. Vivaldi typically structured the fast (outer) movements of his concertos around a refrain (ritornello) which is stated with variations by the full orchestra, alternating with episodes for the soloist which use different thematic material. Vivaldi continually varies the ritornelli and episodes as they cycle through a number of different tonalities, giving the music its typical ‘Vivaldian’ drive. The middle movement in his concertos is always slow and lyrical. In this concerto it is a delicate violin solo accompanied by pizzicato strings, a contrast to the energetic and dramatic outer movements.

‘V’ADORO PUPILLE’ FROM GIULIO CESARE (JULIUS CAESAR), HWV 17

Cleopatra wants Caesar to help her overthrow her brother who has usurped her position as ruler of Egypt. She goes about this by pretending to be her maid (a common plot device in eighteenth-century opera), with whom Caesar promptly falls in love.


PROGRAM NOTES & TIMELINE © LYNNE MURRAY 2019

‘V’adoro pupille’ is one of the finest seduction arias in all opera. From Act II, it climaxes an amazing theatrical tour de force, a play within a play in which Cleopatra appears, still as her servant but now dressed as Virtue, one of the Muses of Greek mythology, in order to seduce Caesar. The score of Giulio Cesare is one of Handel’s most sumptuous, particularly in his use of the orchestra. Here Cleopatra is accompanied by a double orchestra: an onstage band consisting of oboe, violin, viola, bassoon, cello, harp and the by then old-fashioned viola da gamba and theorbo, is contrasted against and supported by the full orchestra.

V’adoro, pupille, saette d’amore, le vostre faville son grate nel sen.

Pietose vi brama il mesto mio core, ch’ogn’ora vi chiama l’amato suo ben.

I adore you, eyes, arrows of love, Your sparks are welcome in my breast

Miserable, my sad heart yearns for you, At every hour it calls to you, its beloved.

‘TORNAMI A VAGHEGGIAR’ FROM ALCINA, HWV 34

The story of the wicked enchantress Alcina was Handel’s major hit of 1735. Although the plot is concerned with the supernatural, Handel turned it into something far greater through music which depicts the humanity of the characters. Alcina was made famous to modern audiences by Joan Sutherland’s performances in the title role, and the opera is considered to be one of his masterpieces. This aria was composed for the relatively minor role of Morgana, Alcina’s sister, however it was such a success that it has often been appropriated by

prima donnas who did not agree that such a fine aria should go to a secondary character!

During the 1720s and ‘30s singers and composers began to push the boundaries of what had been considered possible for voices to do in terms of both range and agility. ‘Tornami a vagheggiar’ is a good example of this new virtuoso style, with its high range and difficult arpeggio leaps demanding perfect intonation.

Tornami a vagheggiar, te solo vuoi amar quest’anima fedel, caro mio bene.

Già ti donai il mio cor; fido sarà il mio amor; mai ti sarò crudel, cara mia speme.

Return to delight me, this faithful soul wants to love only you, my darling.

I have already given you my heart; my love will be faithful; I will never be cruel to you, my dearest hope.

Program Notes


Handel, Giulio Cesare, 1723CREDIT © BRITISH LIBRARY BOARD, R.M.20.B.3. SPINE


Next Generation BaroqueTimeline

Handel’s life and career Bach, Vivaldi & Halvorsen

1678 Vivaldi born in Venice 1678 First woman awarded a university degree, in Padua Italy

1685 Born in Halle, Germany JS Bach born 1685 First organised street lighting in London

1703First job playing violin & harpsichord in Hamburg opera orchestra

Bach's first job at court of Duke of Saxe-Weimar; Vivaldi violin teacher at the Pietà girls’ orphanage in Venice

1703 City of St Petersburg founded by Peter the Great

1707Composes Il trionfo del Tempo e del Disinganno and Saeviat tellus inter rigores in Rome

Bach becomes organist at Mühlhausen 1707 Last recorded eruption of Mt Fuji in Japan

1710Appointed music director to the Elector of Hanover; makes first visit to London

1710 Four Native American leaders travel from America to meet Queen Anne in London

1711Sees first London opera Rinaldo performed; returns to Germany

Vivaldi acclaimed after publication of L’estro armonico concertos.

1711 Tuning fork invented in England

1712 Back in London permanently 1712 Dutch East India company ship wrecked off the coast of Western Australia

1713Dismissed from the court of Hanover; granted annual pension by Queen Anne of Great Britain

Vivaldi's first opera performed 1713 Violinist and composer Arcangelo Corelli dies

1717Composes Wassermusik (Water Musick) to accompany king's outing on the River Thames

Bach becomes music director at Cöthen; Vivaldi mounts productions of his operas throughout Italy

1717 Thousands die in North Sea flood

1720 Composes opera Radamisto Bach writes Partita including Ciaccona 1720 Mozart's mother born

1724 Premiere of opera Giulio Cesare (Julius Caesar) First performance of Bach’s St John Passion in Leipzig 1724 German philosopher Immanuel Kant born

1727Composes anthems for the coronation of George II and Queen Caroline

Vivaldi's Opus 9 La Cetra concertos published; Bach’s St Matthew Passion performed in Leipzig

1727 The last execution for witchcraft occurs in Scotland

1735 Premiere of Alcina 1735 The British Witchcraft Act makes it a crime to accuse a person of witchcraft

1737His statue is erected in Vauxhall Gardens, London

1737 Tropical cyclone kills c.300,000 in Bengal

1740 Opus 6 Concerti grossi published Vivaldi travels to Vienna seeking work 1740 Frederick II (The Great) becomes king of Prussia

1741 Oratorio Samson premieres in London Vivaldi dies in poverty in Vienna aged 63 1741 Irish famine kills an estimated 13-20% of the population

1750 Bach dies on 28 July aged 65 1750 Westminster Bridge opens in London

1759 Dies on 14 April, buried in Westminster Abbey 1759 Mozart is aged 3, Haydn is 27

1864 Johan Halvorsen born in Norway 1864 Poet Banjo Paterson born

1894 Halvorsen composes Passacaglia 1894 Reichstag building completed in Berlin

1899 Halvorsen becomes conductor of National Theatre in Oslo 1899 Movie director Alfred Hitchcock born

1935 Halvorsen dies 1935 Luna Park opens officially in Sydney

Contemporary Events


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GOVERNMENT

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

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PRESENTING SUPPORTING

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PAUL DYER AO Artistic Director BRUCE APPLEBAUM Managing Director

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Our DonorsCHAIRMAN’S 11 BRANDENBURG OPERA CIRCLE

BRANDENBURG FOUNDATION DONORS

ORCHESTRAL CHAIRS

Concertmaster Chair supported by Jacqui and John Mullen

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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 AffairsElwyn ConsultingLink GroupPacific Equity PartnersQANTAS LoyaltyTelstra Corporation LimitedThe Lancemore Group

Dedicated to the memory of James Strong AO.

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

R. Cook Professor Geoffrey N. Cooper Janet Doust The Faithfull Family Brian and Leonie Fisher R J Irwin Lilly K Peter McGrath Penelope Oerlemans Joan and Lloyd Poulton Art and Cynthia Raiche Anonymous x 15

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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.

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32 AUSTRALIAN BRANDENBURG ORCHESTRA

PATRON His Excellency General the Honourable David Hurley AC DSC (Retd), Governor-General of Australia Her Excellency the Honourable Margaret Beazley AO QC, Governor of New South Wales

ARTISTIC DIRECTORPaul Dyer AO

MANAGING DIRECTORBruce Applebaum

THE BRANDENBURG COUNCILJillian Broadbent AC Greg Hutchinson AM Max Suich

THE BOARDDavid Zehner, Chairman Alison Harrop, Deputy Chair Aidan Allen Bruce Applebaum David Baffsky AO Richard Boyce Paul Dyer AO

John C Fast Susan Hilliard Glenice Maclellan Rohan Mead John Pickhaver Sheryl Weil

HEAD OF MARKETING & CUSTOMER RELATIONSTom Morgan

MARKETING MANAGERShiki Chan

DIGITAL MARKETING MANAGERLeo Gaica

PUBLICISTArticulate PR

CUSTOMER RELATIONS MANAGERKateryna Collier

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ASSISTANT BOX OFFICE MANAGERNastassia Laptev

RECEPTIONIST/TICKETINGASSISTANTEwelina Ellsmore

HEAD OF ARTISTIC PLANNING & MANAGEMENTAshley Giles

ORCHESTRA MANAGERValérie Morgan-Pertus

ARTISTIC PLANNING COORDINATORJoanna Butler

MUSIC RESOURCESHugh Ronzani

HEAD OF DEVELOPMENTAislinn Giugni

PHILANTHROPY MANAGERAndrew Brook

PHILANTHROPY & EVENTS MANAGERFreya McGahey

CORPORATE PARTNERSHIPS MANAGERMadeline O’Dwyer

HEAD OF BUSINESS OPERATIONSIan Creevey

EXECUTIVE ASSISTANTSusan Duffy

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AUDITORS

BDO East Coast Partnership

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PRE-CONCERT TALKSDr Alan Maddox*

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Chairman’s 11Our Chairman’s 11 program is for members who share a passion for artistic excellence. This enables us to invite outstanding guest artists from Australia and overseas to perform with the Orchestra.

Orchestral ChairsOur Orchestral Chair program is vital to our future as Australia’s national Baroque orchestra. This important fund helps us attract and retain the very best period musicians from all over Australia.

In addition to our Annual Giving, the Brandenburg has other philanthropic programs that contribute towards specific areas of the Orchestra’s work.

If you are interested in supporting one of our philanthropic programs please contact our Development Team via email or phone.

Visit brandenburg.com.au/support-us/philanthropic-programs Email [email protected] Phone 1300 782 856

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PAUL DYER AO ARTISTIC DIRECTOR AUSTRALIAN BRANDENBURG ORCHESTRA SHAUN LEE-CHEN (PERTH) BAROQUE VIOLIN

next generation baroque · bach ciaccona from violin partita no. 2 in d minor, bwv 1004 handel...

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