B E S W E P T A W A YB Y S T I R R I N G S T R I N G S

& S W E E T A I R S

BYRD | GIBBONS | HANDEL | PURCELL | TALLIS | VAUGHAN WILLIAMS

Soar with the Australian Brandenburg Orchestra & Choir. Featuring countertenor Max Riebl.

Paul Dyer AO Artistic Director, Conductor Max Riebl (Australia) Countertenor Australian Brandenburg Orchestra Brandenburg Choir

PROGRAM

GIBBONS Prelude in G major

BYRD Ave verum corpus

GIBBONS Drop, drop slow tears (instrumental)

The silver swan

Drop, drop slow tears (vocal)

Great Lord of Lords

Hosanna to the Son of David

PURCELL Overture & Rondeau from Abdelazer

Cold Song from King Arthur

HANDEL Concerto Grosso, Op. 6/7: I Largo & II Allegro

Fammi combattere from Orlando, HWV 31

Interval

LOCKE Curtain tune from The Tempest

TALLIS If ye love me

Agnus Dei from Missa puer natus est nobis

Why fumeth in fight from Tunes for Archbishop Parker’s Psalter

VAUGHAN Fantasia on a theme by Thomas Tallis WILLIAMS

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Sydney and Melbourne, February and March 2018

SYDNEY City Recital Hall Wednesday 21 February at 7pm Friday 23 February at 7pm Wednesday 28 February at 7pm Friday 2 March at 7pm Saturday 3 March at 2pm & 7pm

MELBOURNE Melbourne Recital Centre Saturday 24 February at 7pm Sunday 25 February at 5pm

Chairman’s 11 Proudly supporting our guest artists

The duration of this concert is approximately 100 minutes, with one interval. We kindly request that you switch off all electronic devices during the performance.

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Macquarie Group is delighted to welcome you to the first concert series for 2018, Thomas Tallis’ England.

Macquarie Group is deeply invested in the advancement of arts and culture in Australia, and this year we celebrate our eleventh year as Principal Partner of the Brandenburg. Our commitment to supporting innovative artistic triumphs and the Brandenburg’s dedication to achieving these is what empowers our partnership. 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. Together, we will continue to celebrate creativity and culture.

Macquarie believes in innovation, ingenuity and entrepreneurial spirit, all of which are reflected in this program as we celebrate some of England’s finest composers. Tallis, regarded as one of the most important English composers of choral music, was a true entrepreneur and innovator of his time. His influence as a teacher and mentor, especially to William Byrd, is Tallis’ legacy and was the inspiration for one of the highlight pieces in this program, Fantasia on a theme by Thomas Tallis by Vaughan Williams.

Macquarie has a strong focus on supporting emerging talent. This commitment is shared by the Brandenburg who continues to nurture and develop many emerging artists. This concert welcomes Australia’s fast rising star, countertenor Max Riebl, as he reunites with the Brandenburg Choir, marking a decade of collaboration with Paul Dyer and the Australian Brandenburg Orchestra.

I hope you enjoy this extraordinary performance and I look forward to welcoming you again throughout the Brandenburg’s exciting 2018 concert season.

Bill Marynissen Head of Macquarie Wealth Management

POWER IN PARTNERSHIPS

One Sunday, just over a year ago, I was practising the harpsichord in the orchestra’s music studio. One of my favourite works happens to be the largest manuscript collection of English keyboard music surviving from the 16th and 17th centuries. The manuscript was once called Queen Elizabeth's Virginal Book, a title that has been abandoned because it has been determined that she never owned it. Nevertheless, Queen Elizabeth was an accomplished keyboard player, and owned a virginal - a small keyboard instrument. The manuscript collection, now known as The Fitzwilliam Virginal Book, includes 297 pieces of music dating from approximately 1550 to 1620 by John Bull, William Byrd, Orlando Gibbons, Thomas Tallis, and many others.

As I was playing, I realised that the Brandenburg hasn’t performed much music from this period. Many of us love stories, movies, and dramas of the English kings and queens which led me to start thinking about the music of those composers.

Thomas Tallis impacted all the composers in this program in one way or another; and his exquisite vocal and keyboard music impacted me personally from a very early age. His career was emblematic of dramatic 16th century England. Tallis, who lived into his eighties, served under four monarchs, was caught between two religions, and endured several ongoing wars all whilst crafting a remarkable career. The entrepreneurial Tudor musician had the savvy to survive the reign of Henry VIII, and was a key figure in the development of an English choral tradition.

In the early 20th century Tallis was famously brought back into the public’s imagination by English composer Ralph Vaughan Williams who based his enigmatic Fantasia on Tallis’ hymn Why fumeth in fight.

That afternoon in the Brandenburg studio, my mind focused on the Brandenburg Choir, the orchestra, and the hymn, the link between Tallis and Vaughan Williams, and my program emerged. I got very excited and wanted to bring it to you. I couldn’t stop singing Tallis’ hymn for weeks and I assume it was the same for Vaughan Williams! This concert is a celebration of the English music tradition, and will climax with Vaughan Williams’ soaring work for double string orchestra.

Since Max Riebl first appeared in the Brandenburg Choir as an alto in 2009 he has gone on to forge a brilliant career as a highly sought-after countertenor. Max will perform several achingly beautiful works by Purcell and Gibbons, and will rejoin the Choir for several more.

Harpist extraordinaire Xavier de Maistre will star in our second series for the year, The Harpist, in May. He’s without doubt one of the finest musicians in the classical world right now. You do not want to miss him!

Enjoy!

Paul Dyer AO Artistic Director and Conductor

ARTISTIC DIRECTOR' S MESSAGE

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MAX RIEBL

ARTISTIC DIRECTOR

Paul Dyer is one of Australia’s leading specialists in period performance. He co-founded the Brandenburg in 1990 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 in 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 many awards and medals, Paul was awarded the Officer of the Order of Australia (AO) 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. In 2010 Paul was awarded the Sydney University Alumni Medal for Professional Achievement.

PAUL DYER

Countertenor (Australia)

Max performs regularly as a solo artist, arranging alternative programs at festivals and contemporary venues. As a concert singer, he has appeared throughout Australia, Europe and the UK with ensembles such as the Australian Brandenburg Orchestra, La Cetra Baroque Orchestra, the London Handel Orchestra and Orchestra Victoria.

He has performed in the Melbourne Recital Centre and Hamer Hall, City Recital Hall, the Forum, Basel Opera House, the Vienna Konzerthaus and Musikverein and the Royal Albert Hall. He studied baroque and early music at the Schola Cantorum Basilinis with Gerd Turk and currently coaches with Dermot Tutty in Melbourne.

His baroque performance repertoire includes Handel’s Messiah, Giulio Cesare and Dixit Dominus, John Blow’s Venus and Adonis, Purcell’s Ode for St Cecilia’s Day, Bach’s St John Passion, Weinachstoratorium, St Matthew Passion, Magnificat and B-Minor Mass, Vivaldi’s Stabat Mater, Gloria and Nisi Dominus, Buxtehude’s Membra Jesu Nostri and Pergolesi’s Salve Regina and Stabat Mater.

He has received top prizes in the Herald Sun Aria, the IFAC Australian Singing Competition, the London Handel Competition, the Chicago International Classical Singer Competition and the Royal Philharmonic Arias.

Max has performed in four solo series with the Brandenburg including, Noël! Noël!, Bach’s

Magnificat, Mozart’s Requiem and now Thomas Tallis’ England. 2018 also

marks a decade of working with Paul Dyer and the

Australian Brandenburg Orchestra, an event Max

is always thrilled to be a part of.

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The Musicians on period instruments

Brandenburg Choir

Violin Shaun Lee-Chen*† Concertmaster Matt Bruce* Associate Concertmaster Ben Dollman*† James Armstrong Rafael Font Matt Greco Christina Katsimbardis Shane Lestideau Anna McMichael Lorraine Moxey5

Bianca Porcheddu4 David Rabinovici Julia Russoniello Catherine Shugg Shaun Warden Emma Williams

Viola Monique O'Dea1† Marianne Yeomans Christian Read James Eccles Simón Gangotena Katherine Yap

Cello Jamie Hey*† Anthea Cottee Rosemary Quinn Dan Curro Alexander Nicholls Joseph Eisinger

Double Bass Rob Nairn*† Libby Browning

Theorbo/ Baroque Guitar Tommie Andersson*

Chamber Organ Heidi Jones2

Harpsichord Paul Dyer*

Soprano Samantha Ellis Belinda Montgomery Amy Moore Josie Ryan Anna Sandström

Alto Philip Butterworth Timothy Chung3 Mark Nowicki Paul Tenorio

Tenor Spencer Darby Miguel Iglesias Eric Peterson Richard Sanchez

Bass Craig Everingham Nick Gilbert Sébastien Maury Rodney Smith

* Denotes Brandenburg Core Musician† Section Leader 1 Monique O’Dea appears courtesy of Presbyterian Ladies’ College, Sydney (staff)2 Heidi Jones appears courtesy of SCEGGS, Sydney (staff)3 Timothy Chung appears courtesy of Santa Sabina College, Sydney (staff)4 Bianca Porcheddu appears courtesy of St. Francis Xavier College, Florey ACT (staff)5 Lorraine Moxey appears courtesy of Kinross Wolaroi School, Orange (staff)Harpsichord and organ preparation by Joanna Butler, SydneyHarpsichord prepared by Alistair McAllister, MelbourneOrgan prepared by Ken Falconer, Melbourne

Paul Dyer AO Artistic Director, Conductor Max Riebl (Australia), Countertenor Australian Brandenburg Orchestra Brandenburg Choir

The Australian Brandenburg Orchestra, led by charismatic Artistic Director Paul Dyer, celebrates the music of the sixteenth, seventeenth and eighteenth centuries with excellence, flair and joy. Comprising leading specialists in informed performance practice from all over Australia, the Brandenburg performs using original edition scores and instruments of the period, breathing fresh life and vitality into baroque and classical masterpieces – as though the music has just sprung from the composer’s pen.

The Orchestra’s name pays tribute to the Brandenburg Concertos of J.S. Bach, whose musical genius was central to the baroque 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

“…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

AUSTRALIAN BRANDENBURG ORCHESTRA

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Matt BruceAssociate Concertmaster

Ben DollmanPeriod Violin

Paul DyerArtistic Director/Harpsichord

Shaun WardenPeriod Violin

Lorraine MoxeyPeriod Violin

Emma WilliamsPeriod Violin

Rafael FontPeriod Violin

Bianca PorchedduPeriod Violin

Anna McMichaelPeriod Violin

Matt GrecoPeriod Violin

Catherine ShuggPeriod Violin

Christina Katsimbardis Period Violin

Shane LestideauPeriod Violin

David RadinoviciPeriod Violin

James ArmstrongPeriod Violin

Julia RussonielloPeriod Violin

Monique O'DeaPeriod Viola

Marianne YeomansPeriod Viola

Christian ReadPeriod Viola

James EcclesPeriod Viola

Simón GangotenaPeriod Viola

Katherine YapPeriod Viola

AUSTRALIAN BRANDENBURG ORCHESTRA

Shaun Lee-ChenConcertmaster

Jamie HeyPeriod Cello

Anthea CotteePeriod Cello

Joseph EisingerPeriod Cello

Rosemary QuinnPeriod Cello

Dan CurroPeriod Cello

Alexander NichollsPeriod Cello

Heidi JonesChamber Organ

Tommie AnderssonTheorbo / Baroque Guitar

Rob NairnPeriod Double Bass

Libby BrowningPeriod Double Bass

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“There was vigour and passion in this performance just as there was great subtlety and finely shaded nuances of feeling and colour.” Sydney Morning Herald

“The Brandenburg Choir was polished and responsive, powerfully conveying the work's celebratory magnificence in their full-voiced climaxes sung in unison.” The Australian

The Brandenburg Choir is renowned for its astonishing vocal blend and technical virtuosity. Established by Artistic Director Paul Dyer in 1999 to perform in the first-ever Noël! Noël! Brandenburg Christmas concert, the Choir has become a regular part of the Brandenburg year. The first Noël! Noël! concert combined medieval chant and polyphony as well as carols from around the world in their original settings and languages.

“Music from earlier centuries often requires the sound of the human voice. I wanted to put a group of excellent singers together adding a rich complement to our period instruments. Our Choir is a ravishing blend of radiant Sydney singers”, says Paul Dyer.

Originally 13 voices, the Choir joined our Orchestra and wowed audiences with truly beautiful renditions

of both familiar Christmas favourites and rarely-heard sacred works, performing music from the eleventh century to the baroque. It was an instant success, combining musical, literary and scholarly performances that thrilled audiences and critics alike.

Noël! Noël! has proven to be so popular, the Brandenburg has released its fourth live recording of the concert. Noël! Noël! was recorded live at St Francis of Assisi Church, Paddington, Sydney in 2016. This beautiful collection of festive music is available in leading music stores. In addition to the annual Noël! Noël! concerts, the Choir now regularly performs as part of the Brandenburg’s annual subscription season. Bach Cantatas, Handel Coronation Anthems, and Mozart’s great Requiem and Coronation Mass are among the best loved performances of the Choir. Their performance of Handel's Ode for St Cecilia's Day received critical acclaim, with the Sydney Morning Herald declaring: “[The Brandenburg Choir is] one of the finest choruses one could put together in this town”.

The current members of the Brandenburg Choir are all professional singers, many of whom also hold music degrees, but they do not all sing full time. From music teachers to lawyers, business managers to medical doctors and nurses, each member looks forward to the opportunity to perform with the Brandenburg throughout the year.

BRANDENBURG CHOIRSamantha EllisSoprano

Anna Sandström Soprano

Craig EveringhamBass

Mark Nowicki Alto

Timothy ChungAlto

Philip ButterworthAlto

Miguel Iglesias Tenor

Sébastien Maury Bass

Spencer Darby Tenor

Nick Gilbert Bass

Belinda MontgomerySoprano

Amy MooreSoprano

Paul Tenorio Alto

Josie RyanSoprano

Richard SanchezTenor

Eric PetersonTenor

Rodney Smith Bass

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ORLANDO GIBBONS (1583 – 1625)

Prelude in G major

This program traces the evolution of both sacred and secular music in England over the course of around four centuries, and begins with one of its most iconic figures: Orlando Gibbons. He was born in Oxford, and became a chorister in his youth at King’s College, Cambridge. Like Tallis and Byrd before him, and Locke and Purcell after, he was appointed organist of the Chapel Royal. This highest position of music-making in England at the time unites all five of these Renaissance and Baroque composers featured in this program. Gibbons was also organist at Westminster Abbey, thus it is no surprise that this prelude for organ is as brilliant as it is technically challenging. It was also most likely a renowned piece during Gibbons’ lifetime and afterwards, as 16 extant sources are known, a large number for a work of the period.

WILLIAM BYRD (C. 1540 – 1623)

Ave verum corpus

Although Byrd was 40 years younger than Tallis, the two musical giants were close friends. Byrd was the elder’s successor as organist at the Chapel Royal, and together the two men set the standard for church music in England for a generation. Eventually, they were jointly granted a monopoly over all song printing in England by Queen Elizabeth I in 1575. However, both men were Catholic and lived through much religious upheaval during their lives. In this highly volatile time, Byrd dangerously refused to conform to Elizabeth’s reinstatement of Anglicanism and composed music for Catholic services which were held secretly in private residences. These occasions were mostly conducted in Latin, and were forbidden on penalty of fines, torture or death.

He cunningly avoided punishment by frequently dedicating works to the new queen, and no doubt due to his exemplary skill as a musician. This particular piece comes from a collection of Byrd’s music for Catholic liturgies called Gradualia Book I, first published in 1605.

ORLANDO GIBBONS

Drop, drop slow tears (Instrumental version)

Gibbons was another 40 years again younger than his colleague William Byrd, though they died only two years apart. This hymn was written in the last few years of Gibbons’ life, and is one of his most famous and beloved works. Its moving text is by the English poet Phineas Fletcher. Like Gibbons, he studied at King’s College, Cambridge, and left a very sizeable output, including prose, epics, dramas, lyrics, epistles, psalms and hymns. This particular text is thoroughly mournful, expressing the deep grief of seeing Christ upon the cross. As a result, the piece is usually performed during Lent, the forty-day period leading up to Easter, a tradition which the Brandenburg is respecting during these performances. The hymn will first be performed by an ensemble of violas and cellos drawn from the orchestra, and then, following The silver swan, will be performed again by the Brandenburg Choir in its original version with Fletcher’s text.

ORLANDO GIBBONS

The silver swan

The silver swan is perhaps the most famous work by Gibbons, written for five-part choir. This song presents the ancient belief that, after a lifetime of silence, swans sing a beautiful song just before their death. Although it is now considered nothing more than a legend, it was a commonly-held belief in ancient Greek times, and is referenced by Aristotle,

Plato, Ovid, Chaucer, da Vinci and Shakespeare. The piece was first published in Gibbons’ First Set of Madrigals and Motets of 5 parts in 1612. This collection was dedicated to his musical patron, Sir Christopher Hatton, who may have also penned the text to the song. It is usually considered to be a madrigal, a form which was particularly popular in England during the Renaissance, and which aimed to express the meaning of each individual line rather than observing a fixed overarching structure. However, the work may be considered an early departure from the style due to its melodic repetition.

The silver swan, who, living, had no note, when Death approached, unlocked her silent throat. Leaning her breast upon the reedy shore, thus sang her first and last, and sang no more: "Farewell, all joys! O Death, come close mine eyes! More Geese than Swans now live, more Fools than Wise."

ORLANDO GIBBONS

Drop, drop slow tears (Vocal version)

Drop, drop, slow tears, and bathe those beauteous feet, which brought from heaven the news and Prince of peace. Cease not, wet eyes, his mercies to entreat; to cry for vengeance sin doth never cease. In your deep floods drown all my faults and fears; nor let his eye see sin, but through my tears.

ORLANDO GIBBONS

Great Lord of Lords

This anthem, Great Lord of Lords, is for five-part choir and alto soloist, here sung by Max Riebl alongside the Brandenburg Choir. It also features two other short solos that interweave with the principal soloist: a second alto and a bass. At the time of this work’s composition in 1617, James I reigned as the first king of both England and

Scotland. His mother, Mary Queen of Scots, had tried to assassinate his predecessor, Queen Elizabeth I, and reinstate Catholicism across Britain. Although she had considerable support in Scotland, her plot to overthrow Elizabeth was ultimately unsuccessful and Mary was beheaded as a result. However, her son James learned his lesson from the conflict and vowed to visit Scotland every three years after taking the English crown in order to maintain support there. In the end, he did not keep his vow, and visited just once. Gibbons, and indeed the entire Chapel Royal, made the perilous sea voyage to Edinburgh to perform for the king during his visit and this piece was first sung at Holyrood Palace as the king arrived.

Great Lord of Lords, supreme immortal King, O give us grace to sing thy praise, which makes earth, air and heaven to ring.

O Word of God from ages unbegun, the Father’s only Son, with Him in power, in substance Thou art One.

O Holy Ghost, whose care doth all embrace, Thy watch is over our race, Thou source of life, Thou spring of peace and grace.

One living Trinity, one unseen Light, the earth is Thine, Thy light beholds alike the bounds of depth and height. Amen.

ORLANDO GIBBONS

Hosanna to the Son of David

This anthem by Gibbons takes its text from the story of the triumphant entry of Jesus to Jerusalem, told in both the gospels of Matthew and Mark. It paints a picture of the throngs of jubilant onlookers to the scene, portrayed by the six independent parts that again sing polyphonically – independently but simultaneously. It may have originally been composed for a ceremony associated with the English monarchy, as its mood and subject is fitting

PROGRAM NOTES

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of such a glorious occasion. Indeed, the monarch at the time, King James I, saw his position as head of the English and Scottish church as analogous to Christ’s, and as such the anthem may have been performed to herald his arrival at an important service, much as it depicts Jesus’ arrival in Jerusalem. The opening phrase uses a joyous and memorable ascending melody, which is repeated by all six voices in turn. A section wholly different in character begins with the text “peace in heaven”, which is fittingly conveyed by splitting the choir in two and with smooth, angelic phrases. The work closes with a return to the festive melody of the opening, again tossed around between all the voice parts before a united ending.

Hosanna to the Son of David. Blessed be He that cometh in the name of the Lord. Blessed be the King of Israel. Peace in heaven, and glory in the highest places. Hosanna in the highest heavens.

HENRY PURCELL (1659 – 1695)

Overture & Rondeau from Abdelazer

Henry Purcell is the towering figure of the Baroque period in England, and perhaps its last world-class composer until the likes of Vaughan Williams and Edward Elgar came to prominence around two hundred years later. However, like Gibbons, Tallis and Byrd before him, he was a gentleman of the Chapel Royal, and their influence can be traced through to Purcell, particularly through his predecessor John Blow. Purcell is probably best remembered for his theatrical music and songs, as well as his incidental compositions – music that accompanies a play or other visual production. These two movements are an example of this, composed in 1695 for a staging of the play Abdelazer, sometimes spelled Abdalazar, and also known as The Moor’s Revenge. It comprises nine

instrumental movements, followed by a single song. The first two movements will be performed: the Overture, the opening section of the work; and the Rondeau, which was the inspiration of Benjamin Britten’s famed The Young Person’s Guide to the Orchestra, written over 350 years later.

HENRY PURCELL

Cold Song from King Arthur

The sixteenth century saw the boom of the masque in England – a form of entertainment featuring music, dance, acting and stage design in combination. By Purcell’s time, the evolution of this form into what is now known as opera was underway, although his works in the style are perhaps best labelled as semi-operas. They tended to combine spoken plays with elements of masque such as singing and dancing. King Arthur is one such example: while there are many instrumental and vocal movements in the work, the principal characters are speaking roles only. It is only the supernatural, pastoral and intoxicated characters which sing in this semi-opera, and this particular aria is sung by a spirit of the cold. This spirit is usually sung as a bass role, but the part is equally well sung by a male alto, and here is brought new life by countertenor Max Riebl.

What power art thou, who from below hast made me rise unwillingly and slow from beds of everlasting, everlasting snow. See’st thou not how stiff, how stiff and wondrous old, far unfit to bear the bitter cold I can scarcely move or draw my breath. Let me, let me freeze again to death.

GEORGE FRIDERIC HANDEL (1685 – 1759)

Concerto Grosso, Op. 6/7: I Largo & II Allegro

George Frideric Handel was born in modern-day Germany, but moved to England at the age of 27

and eventually became a naturalised British citizen. Such was his esteem as an adoptive Briton that he was given a full state funeral and was buried at Westminster Abbey. This collection of twelve Concerti Grossi, is one of Handel’s most complex, extensive and powerful works, published together in 1741, the year before the premiere of his famous Messiah. They are based on the older model of the Italian composer Arcangelo Corelli’s Concerti Grossi, and were first intended for performance during the intervals of other theatrical works. They take inspiration from a vast array of styles, including opera, sonata, sinfonias, dances and fugues, and as a result are considered highly experimental. This particular concerto, the seventh, is the only in the set which is for full orchestra without soloists. Two movements will be played by the Brandenburg Orchestra: the Largo, the concerto’s broad and stately opening; and the Allegro, an inventive elaboration upon a single note, repeated with ever faster rhythms.

GEORGE FRIDERIC HANDEL

Fammi combattere from Orlando, HWV 31

During the decade before his Twelve Grand Concertos, Handel wrote an enormous volume of operas, primarily in Italian. One of these was Orlando, which was not a popular success at the time of its first performances in 1733 but which is now considered an artistic masterpiece. Like many Baroque works, it fell out of favour after Handel’s lifetime, and was not performed again until 1922. This aria, Fammi combattere, is sung by the title character, Orlando, who would have at the time been performed by a castrato – a male singer castrated before puberty in order to preserve his highest register. In this aria, Orlando tells the Princess Angelica that he could only ever love her, vowing to fight fierce monsters, knock down walls, and battle magic in order to prove it.

MATTHEW LOCKE (C. 1621 – 1677)

Curtain tune from The Tempest

Matthew Locke was yet another organist at the Chapel Royal, and trained under Edward Gibbons, the brother of the more famous Orlando. He also collaborated frequently with Orlando’s son Christopher Gibbons; together they produced the sole surviving dramatic work with music from the mid-seventeenth century. Like Purcell’s Abdelazer, Locke’s The Tempest is an example of incidental music: in this case based on the play by the immortal Shakespeare. This adaptation was first staged in 1674, and while layers upon layers of rewrites, edits and incomplete sources cloud the work’s original form, it was by all accounts hugely popular at the time. It included eleven instrumental movements; this is the first, which depicts the development of a calm sea into a raging storm that marks the opening of The Tempest. Its evocation of the storm is accompanied by the first known indication in English language of a crescendo, marked on the score as “lowder by degrees”.

THOMAS TALLIS (C. 1505 – 1585)

If ye love me

The second half of the program leads us to its earliest composer and its core: Thomas Tallis. The early life of Thomas Tallis remains shrouded in mystery, and no portraits of the composer produced during his lifetime exist. It was certainly a tumultuous time; music-making of the period was inextricably tied to the monarchy and their desires, and Tallis worked under the reign of four English monarchs during his career. Almost every change in sovereign saw a drastic change in taste, which required deft musical and political 1514

skill to navigate. However, Tallis rose to the challenge, and was shrewd enough to make his way into the choir of Canterbury Cathedral as its star singer, which became the centre of the newly-founded Anglican church following Henry VIII’s appointment as Supreme Head of the Church of England in 1534. After the king’s death, his nine-year-old son was crowned as Edward VI, and it is during the young boy’s reign that this piece was composed. Thomas Cranmer was Archbishop of Canterbury at the time, and he imposed a series of strict policies dictating the rules of composition of choral music. Tallis and his fellow composers were thus charged with creating a new Anglican liturgy in the language of the people, designed to appeal to the common man on the street. It was also now believed that the florid elaborations of the previous Catholic period got in the way of the meaning of the word, so clarity and simplicity were now valued above all else. This song is a classic example of one of the Archbishop’s central dictums: “to each syllable a plain and distinct note”. However, far from being awkward in observing this principle, this anthem is beautiful and innovative. As was common of anthems in the period, it follows an ABB structure: the first section appearing once and then the second section appearing twice, in that order. As a call for obedience from Jesus’ disciples, the text expresses not a romantic love but a Biblical one.

If ye love me, keep my commandments. And I will pray the Father, and he shall give you another comforter, That he may ‘bide with you forever, e’en the spirit of truth.

THOMAS TALLIS

Agnus Dei from Missa puer natus est nobis

Although Tallis wrote a wide range of music, the bulk of his output is dedicated to the church. This mass, titled Puer natus est nobis – A Child is Born to Us – is one such example. It is believed to have been written for Christmas in 1554, when it was

widely thought that Queen Mary was expecting the birth of a child, although this later was proven false. Unusually, the music lacks the typical top voice of a choir, the treble or soprano voice. It is thought that this is because the mass was performed for a service with both Queen Mary and Prince Philip of Spain in attendance by a symbolic joint English and Spanish choir, the latter of which lacked that voice type. However, here the Brandenburg Choir performs a version that does include sopranos. The work is written for seven distinct voice parts, and represents one of the most complex and crowning examples of English Renaissance polyphony – the style in which many voices sing lines independently but simultaneously.

THOMAS TALLIS

Why fumeth in fight from Tunes forArchbishop Parker’s Psalter

Our chronological journey through Tallis’ music continues: after Mary’s death, her half-sister Elizabeth took the throne and returned the country to the Anglicanism of their father Henry VIII. She was the fourth monarch under whom Tallis had worked, and during her reign his works reached their zenith. Under her rule, the sale of music from overseas – “forren Realmes” – was forbidden. This led to the Tallis-Byrd monopoly of music from 1575, although their first published collaboration was not a commercial success. Thomas Cranmer was succeeded as Archbishop of Canterbury by Matthew Parker, who was a key figure of Elizabeth’s agenda. He is known for producing a psalter containing one hundred and fifty psalms of David that was translated from Latin to English. This book is known as Archbishop Parker’s Psalter. This tune is Tallis’ setting of the second psalm, known by its first words: Why fumeth in fight. The descriptive text is reflected in Tallis’ powerful setting, which continues to observe the maxim that one syllable should

correspond to one note. This text is provided below in the original spelling and wording of Archbishop Parker’s Psalter.

Why fumeth in fight: the Gentils spite, in fury raging stout? Why taketh in hond: the people fond, vayne thinges to bring about? The kinges arise, the lordes devise, in counsayles mett therto: Agaynst the Lord: with false accord, against his Christ they go.

Let us they say: breake down their ray, of all their bondes and cordes: We will renounce: that they pronounce, their loores as stately lordes. But God of might: in heaven so bright, shall laugh them all to scorne. The Lord on hie: shall them defie, they shall be once forlorne.

With iron rod: as mighty God, all rebels shalt thou bruse: And breake them all: in pieces small, as sherdes the potters use. Be wise therefore: ye kinges the more, receyve ye wisdomes lore. Ye judges strong: of right and wrong, advise you now before.

The Lorde in feare: your service beare, with dread to him rejoyce: Let rages be: resist not ye, him serve with joyfull voyce. The Sonne kisse ye: lest wroth he be, lose not the way of rest: For when his ire: is set on fire, who trust in hym be blest.

RALPH VAUGHAN WILLIAMS (1872 – 1958)

Fantasia on a theme by Thomas Tallis

This program culminates with a landmark performance of a work by one of England’s most renowned composers, Ralph Vaughan Williams. The “theme by Thomas Tallis” of the work’s title is the very theme just performed by the Brandenburg Choir, based on the tune of Why fumeth in fight. The work was first performed in Gloucester

Cathedral in 1911, and it is said that the piece left an indelible mark on the great composers Gustav Holst and Herbert Howells, who were both in attendance. While the label of “fantasia” sometimes denotes an improvisational composition without strict musical form, Vaughan Williams uses the term to evoke something more like a fantasy from the Elizabethan period of Tallis himself. Such fantasies were instrumental pieces which developed several themes, often with complex variations, in independent sections. This describes the structure of this fantasia quite well; after a brief opening sequence of very quiet chords from the entire orchestra, Tallis’ theme begins, starting with low plucked strings. After one statement, it builds into a glorious statement by the entire orchestra, marked appassionato – passionately. Eventually, Vaughan Williams introduces a theme of his own making, first played as a solo by Brandenburg principal viola player Monique O’Dea. This leads to a statement of the theme by the Brandenburg concertmaster, Shaun Lee-Chen, which then builds to a string quartet, including principal second violin Ben Dollman and principal cello Jamie Hey. These four players form the backbone of the orchestra as well as the newly-formed Brandenburg Quartet. Aside from the quartet, which often functions as a kind of orchestra of its own, Vaughan Williams divides the orchestra into two: a full-sized first orchestra, and a second orchestra comprising a single desk of musicians from each section. As a result, this constitutes the largest string ensemble ever assembled by the Australian Brandenburg Orchestra. The separation of the sections also serves to emphasise their function: the second orchestra often mirroring and echoing the first. The orchestral setup is also said to mirror the configuration of an organ: the quartet representing the swell division, the first orchestra the great division and the second orchestra the choir division. In this way, the piece brings us full circle to the solo organ of the performance’s opening. 1716

COMPOSER LIFE EVENTS CONTEMPORARY EVENTSTallis

1505 Born around this time Bermuda is discovered by Spanish explorers 1505

Byrd

1540 Born around this time A heatwave strikes Europe and many die from lack of drinking water 1540

1547 Charged with composing in English Henry VIII dies, his son Edward VI takes the throne 1547

1553 Granted a manor by the new queen May have been a chorister at the Chapel Royal Edward VI dies, Mary I later takes the throne 1553

1558 Mary I dies and her sister Elizabeth I becomes queen 1558

1575 Jointly produced and published a vast collection of music known as the Cantiones Sacrae Elizabeth grants Tallis and Byrd a monopoly on printing songs in England 1575

Gibbons

1583 Implicated in a plot to kill the queen Born in Oxford The world's oldest surviving amusement park is founded in Denmark 1583

1585 Died peacefully in his home in London Composed an elegy for Tallis' death Chocolate is introduced to Europe commercially 1585

1603 Elder brother Ellis dies Elizabeth I dies and James I becomes king 1603

1611 Composed one of the earliest string fantasies Contributed to first printed collection of keyboard music Shakespeare's play The Tempest is first performed 1611

Locke

1621 Born around this time in Exeter Colonists in Plymouth, Massachusetts make the first treaty with native Americans 1621

1623 Died in his home in Essex Became organist at Westminster Abbey

The central source for most of Shakespeare's plays, The First Folio, is published 1623

1625 Died of a brain condition James I dies and Charles I is crowned 1625

1648 Travelled to the continent to work The Second English Civil War begins, resulting in the abolition of the monarchy 1648

Purcell

1659 Met Purcell's father, Henry Senior Born as the middle of three sons The first known cheque is issued 1659

1660 Appointed composer to the king The monarchy is reinstated with Charles II as king 1660

1677 Died in London Made a court musician by Charles II The population of Paris exceeds 500,000, perhaps the world's largest city at the time 1677

Handel

1685 Composed for James II's coronation Born in Halle, modern-day Germany James II takes the throne 1685

1695 Died young and at the height of his career Press censorship in England ends, but a fine for swearing is instituted 1695

1712 Settled permanently in England The capital of Russia moves from Moscow to St Petersburg 1712

1727 Composed Zadok the Priest George I dies and his son George II is crowned 1727

1733 Orlando premiered The first Freemasons lodge opens in America 1733

1741 Composed Twelve Grand Concertos The population of China surpasses 143 million 1741

1759 Died as a blind and wealthy man The British Museum opens to the public 1759

1910 First performance of Ralph Vaughan Williams' Fantasia on a theme by Thomas Tallis in Gloucester Cathedral (UK) 1910 1918

To find out more about becoming a partner for the Australian Brandenburg Orchestra please contact our Development team on 1300 782 856 or development@brandenburg.com.au

Principal

Government

Major

Presenting

Supporting

Media Trusts and Foundations

Australian Brandenburg Orchestra is assisted by the Australian Government through the Australia

Council, its arts funding and advisory bodyAustralian Brandenburg Orchestra is supported by the NSW Government through Create NSW

Brandenburg applauds our wonderful partners who proudly support our 2018 season.

OUR PARTNERS

“ 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

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.

To find out more, or to make a donation please get in touch with our Development team: T: 1300 782 856 E: development@brandenburg.com.au W: donations.brandenburg.com.au

BRANDENBURG ANNUAL GIVING DONORSLIFE PATRONS

Mary Holt and the late Dr John Holt

CHRISTINA $10,000 or above

Anthony Adair and Karen McLeod AdairAidan AllenStephen and Sophie AllenGraham Bradley AM and Charlene BradleyJillian Broadbent AO

Jane and David DuncanMichael Ebeid AM and Roland HowlettGandel Philanthropy#

Ms Lesley GrantAlison HarropMary Holt and the late Dr John HoltMrs W G Keighley in memory of GeoffreyNick and Caroline MinogueAlison Park in loving memory of Richard ParkLady Potter AC CMRI#

Rodwell FoundationRowan Ross AM and Annie RossJeanne-Claude Strong in memory of James StrongPeter Weiss AO

Cameron WilliamsAnonymous x 3

RUSPOLI $5,000 – $9,999

Antoinette AlbertGlenn BarnesBOYCE Family OfficeMrs Ros Bracher AM

David and Leith Bruce-SteerWayne Burns and Kean Onn SeeLouise ChristieRick and Sue Coles*Ms Emmanuelle DelannoyThe Faithfull Family^

In memory of Darrel FraserAnn Gordon*Iphygenia KallinikosRichard and Rowena McDonaldJ and R MacLeodRobyn Martin-WeberJ A McKernanRohan MeadHarold Mitchell#

Victoria TaylorDr Jason WenderothRay Wilson OAM in memory of James Agapitos OAM

A heartfelt thank you to our generous family of supporters.

OUR DONORS

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DURAZZO $1,000 – $4,999Paula AdamovichJ M AlroeBrett Andersen and Brad BowenJohn and Robyn ArmstrongPhilip BaconAndrew and Melanie BaigentIan Baker and Cheryl SaundersPeter BarclayFrederic Baudry and Paul BaileyJeanette BeaumontMarc Besen AC and Eva Besen AOVirginia Braden WoolleyDr Catherine Brown-Watt PSM and Mr Derek WattKay BuckeridgeDr Christopher BuckleyHenry Burmester and Peter MasonElizabeth Butcher AMJames Butler and John GovanDr Beverley and Mr Alan CastlemanMr Peter Clark and Mrs Jan ClarkRebecca and Craig ClarkeThe Clayton FamilyMargaret and Bernard ColesProfessor Geoffrey N CooperDom Cottam and Kanako ImamuraJim Cousins AO and Libby Cousins^

Tim and Bryony CoxDavid Davies and Paul PresaMargaret and Chris de GuingandSusie Dickson and Martin Dickson AM#

Emeritus Professor Dexter Dunphy AMRalph and Maria EvansRosemary Farrow^

John and Jenny FastBarbara and Malcolm FranceBrian and Philippa FranceCarrillo and Ziyin GantnerJustin and Anne GardenerCharles and Cornelia Goode

Bill and Julie GooldBruce and Jo Hambrett̂Jane HemstritchDr Ailsa Hocking and Dr Bernard WilliamsCarr and Ann HordernJenny and Peter HordernJ L HossackJill and David HuntBelinda Hutchinson AMDr Alastair Jackson#

Gayl Jenkins & Chris PellegrinettiMary JonesNuala and Ajit KamathThe Hon Rod Kemp and Mrs Daniele KempLiana KestelmanCarmichael Fisher (Vic) P/LMark and Rhonda Korda#

Arthur and Vicky KoumoukelisKatie Lahey AM and Robert MarriottAnn and James LahoreMr John Lamble AOPaul LindwallGreg LivingstoneRichard and Elizabeth LongesAggie MaisanoDr Diana Marks and Dennis BluthThe Hon Jane Matthews AOJoanna B MaxwellMora MaxwellPeter McGrathJohn Milhinch OAMDr David Millons AM and Mrs Barbara MillonsA J Myers AC QCDr Paul Nisselle AM and Mrs Sue NisselleRointon Nugara and Brendan NugentRosemary and Jim O'CollinsB P O'ConnellPaul O'DonnellTrevor J Parkin

Remembering Tom and Jenny ParramoreProfessor David PeningtonDr John PercyHelen PerlenWJ and R PoateJim and Chris PollittKevin Powell and Alison DeansTed and Jean RadfordPatricia H Reid Endowment Pty LtdDr David and Dr Gillian RitchieAlexander and Rosemary RocheLois RoffeyJustice Ronald Sackville AO and Mrs Pamela SackvilleJohn ScottDr Gideon and Mrs Barbara ShawPaul Sheehan and Susan WyndhamMr Charlie Shuetrim AM and Mrs Sandra ShuetrimJohn and Cathy SimpsonAlan and Jennifer SmithChris and Bea SochanMrs Beverley SouthernBrendan SowryKeith StammersDr Murray and Mrs Joy StapletonThe Suich FamilyPenny SwainMark and Debra TaylorMr Mike ThompsonRichard and Lynne Umbers#

Mrs C and Mr P Vaughan-ReidStephen and Ruth WalshProfessor Roy and Doctor Kimberley MacLeodSally and Geoffrey WhiteYanina WhiteJudith WilliamsRichard WillisGregory WoodK A WrattenAnonymous x 22

SUPPORTER I $500 – $999Jaci ArmstrongCatherine BroadyKeith and Louise BrodieJenny and Henry BurgerAnnette and Kevin BurgesIta ButtroseDavid and Louise ByrneMarianne CochraneEmeritus Professor Martin Comte OAMChris and Trudy CooteA L CrottyIn memory of Betty CurtainDr John Dale AO and Mrs Joan DaleDeborah DebnamCarol des CognetsMalcolm Dingle#

Margaret DobbinNita DurhamJane Edmanson OAMElisabeth and Grahame ElderRita ErlichSarah FindlayPeter Fletcher AM and Kate FletcherLeigh GarvanChristine George

Norman GillespiePhilip and Anabel GosseLate H. E. GowerCarole A. P. GracePeter and Deirdre GrahamRichard and Anna GreenKathryn Greiner AOSandra HaslamPenelope HughesMichael JonesA le MarchantBetty LynchElizabeth Mackenzie and Michael BremnerJ & J MartinRichard MasiulanisRoss McNair and Robin RichardsonDr Kerry MillsThe Hon Susan and Dr Frank MorganMrs June Musgrove in memory of Dr Peter MusgroveJohn and Susan MyattBaillieu MyerAndrew NaylorB P O'ConnellMoffatt Oxenbould AM and Graeme Ewer AMDr Alice J Palmer

Dr Kevin PedemontJohn Peisley and Ros RoyalChristina PenderMicheal L RattiganMr Paul ReinSusan Dixon and Stephen RixGrant Robson#

G J RowePeter RushMarysia SeganDaniela ShannonJeannette SharpeJann SkinnerMargot SmithCharles SuchAnthony TarletonSue ThomsonMr Frank Tisher OAM and Dr Miriam TisherSusanne WardBruce WilliamsJillian WaltonDavid Wood and Gary FungSusan Young

SUPPORTER II $250 – $499Peter AllanCarole BaileyProfessor Fran Boyle AMJ and M CameronProf Dianne CampbellToula and Nicholas CowellJanet DoustBronwyn Evans and Peter GordonWendy and Ron FeinerKay FellPeta Forster and Mark AndersonJanine FrancisDr Mark Garwood and Mrs Elizabeth GarwoodRichard and Heather GorrellRoger and Scarlet Hawke

Meredith HellicarDr Stéphane Hemmerter in memory of Gérard HemmerterFrank Hemmings*Geoff HogbinGeoff HowardIn Loving Memory of Dean HuddlestonePamela Kenny in memory of Peter*Joshua Kim and Richard HouseGeorge LawrenceVicki and Adam LibermanAnne LoveridgeRosemary MangiamelePeter McCallJulie Ann MorrisonPenelope Oerlemans

E K PalmerNella PinkertonKen RamshawBarbara and Malcolm RichardsonProfessor Steve and Dr Sharon SchachJudith ShelleyCathy and John SimpsonNatalie & Tanya StoianoffAmanda Trenaman and Steven TurnerMargot VaughanHenry Vindin and Vail BrombergerJoy WardleDr J and A WhaiteDr. Anthony WilliamsRichard & Lale Williamson

*Donors to the Brandenburg International Baroque Study Program. ^Donors to the Brandenburg Quartet. #Donors to the Brandenburg Music LibraryThis donor list is current for a 12-month period to 23 Jan 2018. Supporter III donations are acknowledged at donations.brandenburg.com.au

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

CHAIRMAN’S 11

Dedicated to the memory of James Strong AO. Chairman’s 11 supports the Brandenburg’s international and local guest artists.

Louise Christie Roxane ClaytonJan and Frank ConroyAngus CooteRichard Fisher AM and Diana FisherRichard Grellman AMChris and Gina Grubb

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

BRANDENBURG OPERA CIRCLE

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 Marchant

Peter McGrathDr Agnes SinclairVictoria TaylorGreg WardRay Wilson OAM in memory of James Agapitos OAMChristine Yip and Paul BradyAnonymous x 2

CORPORATE DONORS AccentureAPA GroupBain & Company

Link GroupPacific Equity PartnersQANTAS Loyalty

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

Play on: a lasting legacy We are hugely appreciative to all those who have pledged a bequest to the Brandenburg.

Janet DoustThe Faithfull Family Brian and Leonie FisherR J IrwinLilly K

Peter McGrathPenelope OerlemansJoan and Lloyd PoultonArt and Cynthia RaicheAnonymous x 15

BRANDENBURG FOUNDATION DONORS

AMATI $250,000 – $500,000

The Eileen Marie Dyer AM FundAnonymous

STRADIVARI $100,000 – $249,999

Cary and Rob GillespieAnonymous

GUARNERI $50,000 – $99,999

Chris and Kathy HarropMacquarie Group FoundationThe Martin Family in memory of Lloyd Martin AM

Christine Yip and Paul BradyAnonymous

MAESTRI $25,000 – $49,999

John and Robyn ArmstrongGreg Hutchinson AM and Lynda HutchinsonNick and Caroline MinogueRowan Ross AM and Annie Ross

ARCANGELI $15,000 – $24,999

Mr 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 – $14,999

Graham Bradley AM and Charlene BradleyThe Clayton FamilyNorman GillespieRohan Mead

To find out more, or to make a donation please get in touch: T: 1300 782 856 E: development@brandenburg.com.au W: donations.brandenburg.com.au 2322

CITY RECITAL HALL LIMITED

Board of Directors Renata Kaldor AO (Chair) Timothy Cox AO (Deputy Chair) Helen Bauer The Hon Justice Elizabeth Fullerton Kerri Glasscock Marcus McArdle Maria Sykes

CEO Elaine Chia

2 Angel Place Sydney NSW 2000

Administration 02 9231 9000

Box Office 02 8256 2222

Website cityrecitalhall.com

MELBOURNE RECITAL CENTRE

Corner Southbank Boulevard and Sturt Street Southbank VIC 3006

Administration 03 9699 2228

Box Office 03 9699 3333

Facsimile 03 9207 2662

Website melbournerecital.com.au

Founding Patron The Late Dame Elisabeth Murdoch AC DBE

Board of Directors Kathryn Fagg, Chair

Peter Bartlett

Stephen Carpenter

Joseph Corponi

The Hon Mary Delahunty

Paul Donnelly

Eda Ritchie AM

Margaret Farren-Price

Margaret Taylor

Executive Staff

Euan Murdoch, Chief Executive Officer

Marshall McGuire, Director of Programming

Robert Murray, Director Marketing & Customer Relations

Sandra Robertson, Director of Development

Sandra Stoklossa, Director Corporate Services

A special thanks again to everyone who supported the Gala Dinner Melbourne in May 2017:Anthony Adair and Karen McLeod AdairAidan AllenPhilip BaconAndrew and Melanie BaigentBOYCE Family OfficeDr Christopher BuckleyJenny and Henry BurgerMr Peter Clark and Mrs Jan ClarkRoxane ClaytonJulian CouzinsSusie Dickson and Martin Dickson AMJohn and Jenny FastLeigh GarvanCharles and Cornelia GoodeDr Alastair JacksonMary JonesGandel PhilanthropyLian KestelmanCarmichael Fisher (Vic) P/LMacquarie GroupRohan MeadBaillieu MyerA J Myers AC QCDr Paul Nisselle AM and Mrs Sue NisselleB P O'ConnellAlison Park in loving memory of Richard ParkLady Potter AC CMRIQANTAS LoyaltyJohn and Cathy SimpsonNoel StauntonRichard and Lynne UmbersAnonymous x 6

And a special thank you to those who pledged donations to the Brandenburg Music Library:Susie Dickson and Martin Dickson AMMalcolm DingleGandel PhilanthropyDr Alastair JacksonMark and Rhonda KordaHarold MitchellLady Potter AC CMRIGrant RobsonRichard and Lynne UmbersAnonymous x 7

UPCOMING MELBOURNE EVENTSHigh Tea at Werribee Sunday 18th March, 2018 (3pm for 3:30pm) Exclusive high tea with Brandenburg musicians at Werribee Mansion Hotel and Spa

Gala Dinner Melbourne Thursday 17th May, 2018 (6:30pm for 7pm) Brandenburg’s 3rd annual prestigious Gala Dinner Melbourne at Metropolis, Southbank

For more information visit www.brandenburg.com.au/support-us or call 1300 782 856.

GALA DINNER MELBOURNE

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Executive Assistant Susan DuffyOrchestral Operations Manager Ashley GilesAssistant to Artistic Director Joanna ButlerMusic Resources Alex PalmerProduction Coordinator Shannon O’Hara

Marketing Manager Tom MorganMarketing Manager, Digital Tina SempleContent Marketing Executive Shiki ChanPublicist Steven Godbee PublicityPhilanthropy Manager Andrew Brook

Corporate Partnerships Manager Julia OwensBox Office Manager Kateryna CollierActing Box Office Manager Thomas ChiuReceptionist/Ticketing Assistant Ewelina EllsmoreAdministration/Ticketing Assistant Nastassia Laptev

Accountant John ScottAssistant Accountant Ian CreeveyAuditors KPMGRepertoire Advisors (honorary) Charles Gwynn Andrew O’Connor Christopher PricePre-Concert Talks Dr Alan Maddox

PatronsHis Excellency General the Honourable Sir Peter Cosgrove AK MC (Ret'd) Governor-General of AustraliaHis Excellency General the Honourable David Hurley AC DSC (Ret'd) Governor of New South Wales

Artistic DirectorPaul Dyer AO

Managing DirectorBruce Applebaum

The Brandenburg CouncilJillian Broadbent AOGreg Hutchinson AMMax Suich

The BoardGreg Ward, ChairmanAidan AllenBruce ApplebaumDavid Baffsky AORichard BoycePaul Dyer AOJohn C FastLesley GrantAlison HarropRohan MeadDavid ZehnerBridget O’Brien, Company Secretary

Deputy General ManagerBridget O’Brien

Brandenburg Ensemble Limited trading as Australian Brandenburg Orchestrais a non-profit organisation registered as a company limited by guarantee. ABN 41 003 908 183Address 142 New South Head Road, Edgecliff NSW 2027 | Post GPO Box 4416, Sydney NSW 2001Telephone 61 2 9328 7581 | Website brandenburg.com.au | Email mail@brandenburg.com.au26

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‘ART DE VIVRE’

Hotel. Restaurant. BarSofi tel-Melbourne.com.au

Front row: Adria Watkin, Wei Jiang, Roslyn Jorgensen.Back row: Josie Ryan, Phil Butterworth, Heidi Jones, Nick Gilbert, Brian Nixon.

The Australian Brandenburg Orchestra

SERIES TWO

the harpistXAVIER DE MAISTREVisit inner worlds of exquisite sensitivity, filled with light and shade.

SERIES ONE

Soar gently above the rolling, patchwork fields of England.

Thomas Tallis England

Karakorum A musical Journey

SERIES THREE

Cross from west to east, from concert hall to theatre, on a mysterious, cultural, and spiritual journey.

SERIES SIX

SERIES FOUR

THe BURNING ViolinStefano Montanari is a true baroque star and a thrilling performer.

WITH STEFANO MONTANARI

Lixsania and the Labyrinth

SERIES FIVE

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

Follow your starLike discovering Prague’s Christmas market in the middle of your hometown.

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