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Ayres & Graces

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CONTENTS PAGE

Program

Messages

Biographies

Program notes

With thanks

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SPECIAL EVENT

Ayres & GracesDATES

Sydney City Recital Hall Tuesday 27 October 7:00PM Wednesday 28 October 7:00PM Friday 30 October 7:00PM Saturday 31 October 2:00PM Saturday 31 October 7:00PM

Online Digital Première Sunday 1 November 5:00PM

Concert duration approximately 60 minutes with no 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.

PHOTO CREDIT: KEITH SAUNDERS2 AUSTRALIAN BRANDENBURG ORCHESTRA

PROGRAM

Jean-Baptiste Lully Prologue: Ouverture to Cadmus et Hermione, LWV 49

Marin Marais Musettes 28 and 29 from Pièces de Viole, Livre IV, Suite No. 4 in A minor

Jacques-Martin Pourquoy doux rossignols from Airs et Brunettes Hotteterre

Jean-Baptiste Lully La jeune Iris from Trios de la Chambre du Roi, LWV 35

François Couperin Air de Baccantes from Huitième Concert dans le goût Théâtral, Les goûts-réunis

Jean-Baptiste Lully Sommeil and Entrée des Zephyrs from Atys, LWV 53

Jean-Baptiste Lully Chaconne des Scaramouches, Trivelins et Arlequin from Le Bourgeois Gentilhomme, LWV 43

Henry Purcell Curtain Tune on a Ground from Timon of Athens, Z 632

John Playford Strawberries and Cream from The English Dancing Master (1657)

Richarde Sumarte Lachrymae from the Manchester Gamba Book

John Walsh Thomas Baltzar John Playford

Francesco Geminiani

Medley of tunes from The Division Flute, The Division Violin, and The English Dancing Master (1657):Paul’s Steeple John come kiss me now An Italian Rant

Auld Bob Morrice from A Treatise of Good Taste in the Art of Musick

George Frideric Recorder Sonata in B-flat major, HWV 377 Handel Adagio and Allegro

George Frideric Excerpts from Berenice, regina d’Egitto, HWV 38 Handel Andante, Larghetto, Gigue

SPECIAL EVENT

Ayres & GracesSPECIAL EVENT

Ayres & GracesARTISTSMelissa Farrow* Baroque flute & recorder Mikaela Oberg Baroque flute & recorder Rafael Font Baroque violin Marianne Yeomans Baroque viola Anton Baba Baroque cello & viola da gamba Tommie Andersson* Theorbo, Baroque guitar & archlute Paul Dyer AO Artistic Director

DIGITAL PREMIÈRE CREATIVESVideo Director Oliver Miller Sound Engineer Richard Hundy Imagery Design Silvana Azzi Heras & Paul Dyer Video/Sound Editor Oliver Miller Lighting Design Sophie Pekbilimli

* Denotes Core Brandenburg Musician

4 5AUSTRALIAN BRANDENBURG ORCHESTRA AYRES & GRACES

FROM THE CO-FOUNDER & ARTISTIC DIRECTOR

Paul DyerWelcome back to live music! The electricity and buzz of a live performance are absolutely irreplaceable.

Ayres & Graces is our first live concert since March and the familiar surge and rush of energy from the Brandenburg musicians - and from audiences - as we rehearse and prepare has been simply amazing. Our passion to perform has never been greater!

Throughout this bizarre year I have explored creative new ways to deliver our performances. For tonight’s performance, I have designed a visual stage experience featuring fourteen breathtaking images which form the vibrant backdrop for musicians. The images are inspired by the flavours of France and England and will be displayed on an enormous stage-wide LED screen. The effect for audiences is a heightened visual experience which complements the sound of our period instruments and, in this concert, Melissa Farrow’s beautiful spoken narrative. Melissa has done a truly outstanding job curating this gorgeous program.

As the year edges towards Christmas, I feel buoyed by the positive mood and sense of momentum in the community. Our 20th successive season of Noël! Noël! concerts are just around the corner and to celebrate I have invited one of Australia’s finest stage designers to add an extra flash of panache! The sparkling 2021 subscription season will be launched on 10 November and you will receive detailed information in the coming weeks about all the beautiful music that awaits.

A very special thank you to Melissa Farrow, Oliver Miller, Silvana Azzi Heras and the entire creative and production teams who worked tirelessly to make these fabulous concerts a reality.

Paul Dyer AO Co-founder and Artistic Director Australian Brandenburg Orchestra


FROM THE CO-FOUNDER & MANAGING DIRECTOR

Bruce ApplebaumWe return to the concert hall stage with a renewed sense of passion and purpose.

Throughout 2020, the Brandenburg has connected with audiences through innovative new digital performances on Brandenburg One in the Bach Series which has paved the way for Ayres & Graces, a concert-length digital production and five live concerts at City Recital Hall.

Directed by Principal Baroque Flute and Recorder Melissa Farrow, Ayres & Graces celebrates what we love most: the shared joy of experiencing Baroque music performed on period instruments by the world’s best musicians live in the concert hall.

I would like to thank City Recital Hall management and staff and the entire Brandenburg team for the detail and care which they have prepared for these concerts. The health and safety of our musicians and staff, our loyal audiences and the broader arts community has been paramount in our planning.

Please enjoy Ayres & Graces and welcome back to the concert hall!

Bruce Applebaum Co-Founder and Managing Director Australian Brandenburg Orchestra


BIOGRAPHY

Paul Dyer

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

Paul 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. He 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. In 2015, he was featured on the soundtrack of the James Bond 007 movie, Spectre.

A passionate cook, entertainer, foodie, teacher, swimmer and traveller, he is friends with people and artists from Istanbul to India and Japan to Italy, and creates 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.

FROM OUR PRESENTING PARTNER: APA GROUP

Connection & InspirationAPA Group is pleased to support the Australian Brandenburg Orchestra as Presenting Partner of Ayres & Graces

This year, APA celebrates our nineteen year relationship as one of the orchestra’s longest corporate sponsors.

Our partnership began in 2001, and since then both organisations have grown through vision and commitment, from humble beginnings to national importance. At APA, we are enormously proud of the role we have played in the Australian Brandenburg Orchestra’s journey.

Season after season the Brandenburg breathes fresh life into music, infusing it with dynamism and brilliance. Through our sponsorship, APA Group values the opportunity to bring this work to audiences across metropolitan and regional Australia.

Thank you for joining us in celebrating the Australian Brandenburg Orchestra’s return to the main stage in Ayres & Graces. We trust you enjoy this very special performance.

Rob Wheals APA Group Managing Director and CEO


BIOGRAPHY

Melissa Farrow

Melissa enjoys a fulfilling career as a period flautist, recorder player, and teacher on the Australian early music scene.

She plays a variety of instruments, including various models of traverso (side-blown flute) and recorder.

Growing up in Auckland, New Zealand, Melissa came to Sydney in 1994 to study Undergraduate flute and recorder at the Sydney Conservatorium of Music. She then completed postgraduate studies at the Conservatorium of Amsterdam in flute, recorder and traverso. On her return to Australia, Melissa chose to focus her attention on the area she loves most, early music, collecting and playing historical instruments from early French model Baroque flutes through to mid-nineteenth century flutes.

Since 2003, Melissa has been Principal Baroque Flute and Recorder of the Australian Brandenburg Orchestra, and is a core member of the Australian

Born into a musical family in Sydney, Mikaela began her studies on the recorder and flute at an early age.

She completed a double degree in performance and music education at the Sydney Conservatorium of Music in 2007 where she also began her studies on the Baroque flute with Melissa Farrow.

In 2010, Mikaela left for postgraduate studies at the Royal Conservatoire of The Hague where she further specialised in historical flutes with Barthold Kuijken. During this time, she performed in The Netherlands and further abroad including with the Orchestra of the Age of Enlightenment and the Orchestra of the Eighteenth Century under the leadership of Frans Brüggen.

Haydn Ensemble and the Orchestra of the Antipodes. Melissa is regularly asked to play with other notable ensembles such as the Australian Chamber Orchestra, Pinchgut Opera, the Australian Haydn Ensemble, Adelaide Baroque, New Zealand Barok, Ironwood, Latitude 37, Ludivico’s Band, The Marais Project, and for the Sydney and Brisbane Festivals.

As a Baroque flute and recorder soloist with the Australian Brandenburg Orchestra, Melissa has performed a number of concertos including Vivaldi’s Concerto for Flute La Notte, RV 439, JS Bach’s Brandenburg Concertos No. 5 and No. 4, Telemann’s Concerto for Flute and Violin and his Concerto for Recorder and Flute, Mozart’s Andante in C major and his Concerto for Flute and Harp. She features on several of the Brandenburg’s recordings including The Romantics and Brandenburg Celebrates playing Telemann’s Concerto for Flute and Violin with Shaun Lee-Chen.

Over the past ten years, Melissa has been given the fantastic opportunity of curating some of the Brandenburg’s smaller chamber music performances for City of Sydney community centres, Australian Unity communities, Art Gallery of NSW, National Gallery of Australia, and Regional Tours.

Melissa enjoys teaching recorder and Baroque style for both modern and Baroque flute and is a casual lecturer in Baroque Flute at the Sydney Conservatorium of Music.

Mikaela returned to Australia in 2014 and has had the great pleasure of performing historically informed programs with a variety of local and nationally based ensembles. She regularly appears with the Australian Brandenburg Orchestra, Pinchgut Opera, the Muffat Collective, Bach Akademie Australia, Salut! Baroque and the Australian Haydn Ensemble.

BIOGRAPHY

Mikaela Oberg


BIOGRAPHY

Rafael Font

Rafael started his violin studies at the age of five in his hometown of Caracas, Venezuela.

After completing high school, Rafael moved to London to attend the Guildhall School of Music and Drama, where he obtained a Bachelor of Music on violin under the tutelage of Jacqueline Ross, while also taking Baroque violin lessons with Pavlo Beznosiuk.

During his time in Europe, Rafael worked with many leading British early music groups including the Academy of Ancient Music, La Nuova Musica, La Serenisima, Poeticall Musicke and Charivari Agreable. He was also a participant in the Ann and Peter Law Orchestra of the Age of Enlightenment Experience scheme. Rafael performed in many of the most important music venues of the UK including the Royal Albert Hall, Royal Festival Hall, Queen Elizabeth Hall, Barbican Hall, York Cathedral and St George’s Bristol under

Marianne began learning the violin at the age of 7 after finding she was too small to play the viola, which was her first choice.

She started on the viola when she was 14 and continued to study both instruments at the Sydney Conservatorium of Music High School.

Marianne then went on to gain her Bachelor of Music from the Sydney Conservatorium and soon after headed to the UK, where she continued postgraduate studies at the Royal Northern College of Music in Manchester. She studied both Modern and Baroque viola at the RNCM with Pedrag Katanic and Annette Isserlis. It was during her time in the UK that Marianne also found her love of chamber music and gained her Master of Music in String Quartet Performance with Distinction.

the baton of artists such as Sir Colin Davis, Marin Alsop, William Christie and Richard Egarr.

Rafael pursued postgraduate studies in Baroque and Classical violin at the Royal Conservatoire of The Hague with teachers Kati Debretzeni and Walter Reiter, where his main topic of research was the writing of cadenzas in Mozart’s violin concertos. A highly versatile performer, Rafael has interests ranging from seventeenth Monteverdi to nineteenth Tchaikovsky in both violin and viola.

Since moving to Sydney, Rafael performs regularly with Australia’s leading early music ensembles including the Australian Brandenburg Orchestra, Pinchgut Opera, the Australian Haydn Ensemble and Salut! Baroque. Rafael is also a dedicated music teacher, regularly tutoring violin and viola and conducting ensembles across several schools in Sydney.

Rafael is a founding member of the Muffat Collective, one of the most exciting new early music small ensembles in Sydney. The Muffat Collective was formed by four friends who met while studying in the Royal Conservatoire of The Hague, bringing bravura and historical style to the trio sonata repertoire of the seventeenth and eighteenth centuries.

Marianne spent several years in the UK touring and playing with the Rivoli String Quartet as well as the BBC Philharmonic and the Royal Liverpool Philharmonic Orchestras. The pull of the Australian outdoor lifestyle was eventually too strong to ignore and Marianne headed back to Australia in 2008. Since returning to Australia, Marianne has enjoyed playing with the Australian Brandenburg Orchestra and is also a sought-after musician, enjoying a lively and varied career performing with Australia’s leading ensembles and orchestras on both period and modern violas.

BIOGRAPHY

Marianne Yeomans


BIOGRAPHY

Anton Baba

Anton is an Australian-born violoncellist specialising in historically informed performance practice.

He obtained his Bachelor’s degree in Classical cello at the Eastman School of Music in USA (2006) and Master’s Degree in Baroque cello at the Royal Conservatoire of The Hague (2013), where he simultaneously undertook studies in viola da gamba. He has performed regularly across Europe with leading period ensembles.

Since returning to Australia in 2018, Anton has been a regular member of the Australian Brandenburg Orchestra, Pinchgut Opera, Australian Haydn Ensemble, Australian Romantic and Classical Orchestra and is a core member of the Muffat Collective.

Tommie, born in Bodafors, Sweden and based in Sydney since 1984, is regarded as Australia’s leading specialist in lutes and early guitars.

He completed his studies at the State Conservatorium of Music (Musikhögskolan) in Göteborg, Sweden with a Master’s Degree in Performance (Soloist Diploma), studying under Josef Holecek. Tommie was then awarded a Swiss Government Scholarship for further studies at the Schola Cantorum Basiliensis, where his teachers included Eugen M. Dombois and Hopkinson Smith.

He has toured extensively in Sweden and has given performances and masterclasses in Scandinavia, Western Europe, Malaysia, Singapore and Japan as well as tours of South America and Asia.

Aside from performing, Anton is a dedicated teacher and educator providing music lessons and ensemble coaching for students across Sydney. As a member of the Australian Chamber Orchestra Foundations team, Anton has been giving free music lessons at St Marys North Public School. This is an exciting program designed to provide music lessons to students at a critical stage of their early development, building lasting benefits across their academic and creative skills.

During COVID-19 restrictions, Anton has learnt some new skills and now regularly enjoys knitting and throwing a frisbee in his local park.

Tommie is a founding member and principal player of the Australian Brandenburg Orchestra and co-directs (with Marshall McGuire) the harp/theorbo consort Ludovico’s Band. As a recitalist he has performed in all the major Australian capital cities and festivals and he gives regular concerts and live broadcasts for the ABC.

Tommie is highly sought after, both as a soloist and as a continuo player, and performs regularly with the Australian Chamber Orchestra, Opera Australia, Sydney Philharmonia, the Sydney Symphony Orchestra, the Song Company, Pinchgut Opera, the Orchestra of the Antipodes, Ensemble Battistin, Sydney Chamber Choir and The Marais Project amongst others.

Tommie appears on more than 50 albums including a solo CD of baroque lute and guitar music released on the Swedish label Musica Rediviva. He lectures in Lute and Early Guitar at the Sydney Conservatorium of Music and is frequently approached by universities and conservatoriums around the country to teach and perform.

BIOGRAPHY

Tommie Andersson


BIOGRAPHY

Australian Brandenburg Orchestra

Comprising leading specialists in informed performance practice from all over Australia, the Brandenburg performs using editions based on original sources 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 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.

BIOGRAPHY

Australian Brandenburg OrchestraThe 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

...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


BIOGRAPHY BIOGRAPHY

Silvana Azzi Heras Oliver Miller

Silvana began her collaboration with award-winning costume and production designer Catherine Martin in 1997 after completing a Bachelor of Design in Visual Communications graduating with Honours.

In the twenty-three years since, Silvana has worked as Head Designer at Bazmark Inq., working closely with Catherine and Baz Luhrmann to create some of the most well-known Australian films such as Moulin Rouge!, Australia and most recently as Assistant Costume Designer on The Great Gatsby where Silvana won her first APDG and AA CTA award. The Great Gatsby also received an Academy Award and a BAFTA for Costume Design.

In addition to her work on film, Silvana also worked as Assistant Designer on award-winning theatre shows such as La Boheme on Broadway and Strictly Ballroom the Musical as well as iconic ads for Chanel featuring Nicole Kidman

Oliver Miller has had an eclectic career as a filmmaker, cellist, pianist, composer, arranger, sound engineer, music producer, antique restorer, and photographer, and is a co-founder of the improvising ensembles The NOISE string quartet, Amphibious and Bungarribee.

Over the last ten years, Oliver has worked closely with composer Georges Lentz and architect Glenn Murcutt developing the Cobar Sound Chapel, a permanent sound installation currently under construction in the Australian outback.

Early 2019 saw the completion of Electric, a twenty-three-minute short film focused on the world’s first experiments with shock therapy in Italy in 1938. It screened in London as well as in Italy and Australia. During 2020, Oliver has also created an Electric six-minute film off-shoot titled

and Gisele Bundchen and the 2014 Academy Awards.

Outside of the film and theatre world, Silvana was Head Designer at Catherine Martin homewares collaborating with Mokum Textiles, Designer Rugs, Anthropologie and Tiffany & Co to create memorable pieces featured in homes and commercial properties around the world. This includes the amazing new Faena hotel in Miami, which was designed by the Bazmark and Catherine Martin Homewares team.

Silvana has also been Guest Art Director of the special Collectors Edition of Vogue Living and was featured in Harper’s Bazaar as one of Australia’s

‘new Influencers’ and named as one of Australia’s top 100 Inspiring women by Madison Magazine.

She has also provided her design talents to brands such as Prada, Chanel, Emirates, Vogue Living, Tiger Beer, Absolut Vodka, Semi Permanent, Facebook, General Pants, Eclipse, McDonald’s, Squealing Pig Wines and Virgin Australia.

Silvana was appointed as the Designer of the Emirates Marquee for the 2016 Melbourne Cup and has most recently created custom rug and textile designs for the Sydney Children’s Hospital Gold Dinner. Her own homewares brand House of Heras specialises in wallpaper, linen and cushions as well as a rug range with Designer Rugs.

www.houseofheras.com

Electric: The Experiment that is currently in submission to festivals.

Over 2019 and 2020, Oliver has worked extensively directing and creating filmed performances of music and dance including work with Synergy, Taikoz, The Australian String Quartet, Pinchgut Opera, Bandaluzia and The Australian Brandenburg Orchestra.

Oliver has been commissioned by a number of Australian contemporary music and arts organisations to create experimental films including Read/Write Error (2018) for Ensemble Offspring and Video Tunnels (2019) for Backstage music.

In addition to composing music for his own ensembles, Oliver also composes music for film, and has recently composed scores for the successful short films Friends of Mine (2020) and What Do You See? (2018).

Oliver has performed extensively as a cello player in Australia, including performing with the Australian Brandenburg Orchestra and Sydney Philharmonia. In late 2020, Oliver will feature on a newly released album for the Cutlan String Project, titled Living.

In 2018, Oliver completed a Master of Arts Screen at the Australian Film Television and Radio School with research focused on the convergence of multi-mediality within film. He also completed a Bachelor of Music in cello performance at the Sydney Conservatorium of Music.


PHOTO CREDIT: KEITH SAUNDERS

Ayres & Graces

Program notes


PROGRAM NOTES

Ayres & GracesIn today’s concert, Ayres & Graces, you will be hearing the Brandenburg Ensemble performing uplifting music from the English and French Baroque on our distinctive period instruments.

Ayres & Graces is a journey through the diverse French and English musical landscapes of the late seventeenth to early eighteenth centuries. The charm and lyricism of folk music of the time is revealed, alongside the formality and grandeur of music written for theatres and lavish palaces in London, Paris and Versailles.

A glimpse into late seventeenth-century Paris.

1. Jean-Baptiste Lully (1632-1687)

PROLOGUE: OUVERTURE TO CADMUS ET HERMIONE, LWV 49

It is 1673 and along with the French nobility we have just witnessed the première of Jean-Baptiste Lully’s Cadmus et Hermione, the first ever tragédie en musique, a genre invented by the composer himself.

Our performance opens with a bold, majestic French ouverture, another musical form Lully pioneered in the 1650s made up of two parts – one slow in dotted rhythms, and one fast in fugal style.

2. Marin Marais (1656-1728)

MUSETTES 28 AND 29 FROM PIÈCES DE VIOLE, LIVRE IV, SUITE NO. 4 IN A MINOR

Now, from the court of Louis XIV we are travelling to the countryside where pastoral music – the more popular music of the people – can be heard. Marin Marais, a student of Lully, was a master of the viol and wrote the two musettes performed in this program. A musette is in fact an instrument, a type of shepherd’s bagpipe. It represents the epitome of the desirable pastoral aesthetic.

PROGRAM NOTES

Ayres & Graces3. Jacques-Martin Hotteterre (1674-1763)

POURQUOY DOUX ROSSIGNOLS FROM AIRS ET BRUNETTES


LA JEUNE IRIS FROM TRIOS DE LA CHAMBRE DU ROI, LWV 35

Continuing with the pastoral theme are two airs from the sixteenth century, ‘Pourquoy doux Rossignols’ originally by Boesset and ‘La Jeune Iris’ by Lully. These particular airs et brunettes were so popular that over centuries many arrangements and variants of them were created. For this program, the Brandenburg Ensemble is performing an instrumental arrangement of ‘Pourquoy doux Rossignol’ by Jacques Hotteterre for solo flute and basso continuo, and Lully’s ‘La Jeune Iris’ with two flutes and basso continuo, both made in imitation of the most beautiful instrument of all – the human voice.

5. François Couperin (1668-1733)

AIR DE BACCANTES FROM HUITIÈME CONCERT DANS LE GOÛT THÉÂTRAL, LES GOÛTS-RÉUNIS


SOMMEIL AND ENTRÉE DES ZEPHYRS FROM ATYS, LWV 53

François Couperin’s ‘Air de Baccantes’ is a sprightly return to the music of the court, after which comes the lulling calming sleep of Lully’s ‘Sommeil’ only for us to be awoken by the rowdy ‘Entrée des Zéphyrs’ also from Atys. This work was Lully’s masterpiece and was much beloved by King Louis XIV who would listen to it endlessly. It became known as ‘the King’s opera’.


CHACONNE DES SCARAMOUCHES, TRIVELINS ET ARLEQUIN FROM LE BOURGEOIS GENTILHOMME, LWV 43

We complete our tour of French music of the period with the majestic chaconne from Lully’s comédie-ballet for the theatre, Le Bourgeous Gentilhomme. This musical form – combining theatre, comedy, incidental music and ballet – emerged through a collaboration with playwright Molière in 1670. Ironically, this large-scale work satirises the social climbing of the middle classes and the vanity of the aristocracy.


PROGRAM NOTES

A glimpse into London.

Music flourished under the rule of the English King Charles II. Charles, known as the ‘Little Sun King’, was an absolute Francophile who wanted to bring everything that was in vogue in Paris and Versailles to England. Lully represented the pinnacle of French music of the day and he was being emulated and copied in Charles’ court. Having seen Lully’s works in Paris, the English playwright Thomas Shadwell wanted to recreate similar entertainment for the English public and enlisted the help of an eighteen-year-old rising star of the London stage, Henry Purcell.

8. Henry Purcell (1659-1695)

CURTAIN TUNE ON A GROUND FROM TIMON OF ATHENS (1695), Z 632

The second half of our journey begins with a ‘Curtain Tune’ from the fourth act ofShadwell’s semi-opera theatrical adaptation of Shakespeare’s Timon of Athens.The English semi-opera became a lavish form roughly equivalent to the Frenchtradégie en musique or comédie-ballet, adapted to the taste of English audiences.

9. John Playford (1623-1686/7)

STRAWBERRIES AND CREAM FROM THE ENGLISH DANCING MASTER (1657)

We are swept from this scene into a gently lilting English Country Dance, with thedelightful name Strawberries and Cream. This was included in the very much-admired collection of popular tunes of the time, called The English Dancing Master.First published by John Playford in 1651, it consisted of 105 tunes and rules for howto perform the country dances.

10. Richarde Sumarte (15??-c.1630)

LACHRYMAE FROM THE MANCHESTER GAMBA BOOK

The evocative Lachrymae for solo viola da gamba comes from the ManchesterGamba Book, a remarkable seventeenth-century manuscript for a few reasons:this document is the largest single source for solo viol music from the period,containing some 246 unique pieces in twenty-two different tunings; it also containsone of only two comprehensive lyra-viol ornament charts from the period. Verylittle is known about its composer, Richarde Sumarte. His Lachrymae is emotionallycharged displaying some rich harmony and dissonance. Written in three sections, itcan be performed with or without a bow.

Ayres & GracesPROGRAM NOTES

Ayres & Graces11. Medley of tunes from The Division Flute,The Division Violin, and The English Dancing Master (1657):

John Walsh (1665/6-1736)

‘PAUL’S STEEPLE’

Thomas Baltzar (1630-1663)

‘JOHN COME KISS ME NOW’

John Playford (1623-1686/7)

‘AN ITALIAN RANT’

After years of civil war and unrest, the weary English citizens needed a musical diversion and Playford’s book became a bestseller, with eighteen editions published by 1728. During this period many other musicians began compiling and publishing similar collections, including John Walsh (The Division Flute) and Thomas Baltzar (The Division Violin). These three tunes, ‘Paul’s Steeple’, ‘John come kiss me now’ and ‘An Italian Rant’ are all variations over a ground.

Eighteenth-century London was a very attractive and lucrative city for foreign musicians. Several Italian composers and virtuosi also emigrated to England, among them the masterful violinists Nicola Matteis and Francesco Geminiani. Both are credited with wowing the English public, eventually changing the English taste for violin playing away from the popular French style to a newer, more expressive Italian model.

12. Francesco Geminiani (1687-1762)

AULD BOB MORRICE FROM A TREATISE OF GOOD TASTE IN THE ART OF MUSICK

Our next stop features an old Scottish melody arranged by Geminiani, titled‘Auld Bob Morrice’. Infused with Italian-style variations, the music alternates between rustic lyricism and rapid runs and passagework. It supports Geminiani’s extraordinary reputation as a fiery virtuoso – his Italian pupils reportedly called him

Il Furibondo (the Madman), because of his feverish rhythmic approach.


PROGRAM NOTES

13. George Frideric Handel (1685-1759)

RECORDER SONATA IN B-FLAT MAJOR, HWV 377

Adagio Allegro

The final two works in our journey are composed by Handel, the most well-known of foreign musicians to settle in London. Firstly, you will hear the Adagio and Allegro from Handel’s Recorder Sonata in B-flat major, probably written between 1724 and 1726, which comes to us from the Fitzwilliam Museum. The museum acquired the manuscript among other works following the death of a certain John Christopher Smith (born Johann Christoph Schmidt). A little-known figure, Smith was the son of Handel’s first copyist in London, known to the celebrated composer from Halle before he left Germany.

John Christopher Smith Sr brought his family to London around 1720 to continue his work with Handel. Eventually his son followed in his father’s footsteps and would remain Handel’s secretary and amanuensis until Handel’s death.

PROGRAM NOTES

14. George Frideric Handel (1685-1759)

EXCERPTS FROM BERENICE, REGINA D’EGITTO, HWV 38

Andante Larghetto Gigue

We complete our evening at the Covent Garden Theatre on 18 May 1737, where amongst the mainly aristocratic public we are here to watch the première of Berenice, regina d’Egitto, or Berenice, Queen of Egypt. There were only four performances exacerbating the already disastrous financial plight of the Covent Garden Company. Berenice was a resounding failure as Handel’s London public were already tiring of Italian opera by 1737. It was to be the last of Handel’s operas to have its première at the Covent Garden Theatre.

It seems that Handel did not direct the orchestra as was intended, but rather the duty was handed over to his assistant. Handel’s health had suffered its first major setback during the spring of 1737. He had been overworking in his attempts to build an audience in the face of the challenge presented by the Opera of the Nobility – rivals resident at his old opera house, the King’s Theatre in Haymarket. Despite this initial failure, today audiences can share the “inexpressible delight” experienced by the Earl of Shaftesbury when he attended a rehearsal of Berenice. The Andante, Larghetto and Gigue are delightful orchestral movements taken from the overture, with which our journey ends.

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Program notes © Melissa Farrow, Joanna Butler & Hugh Ronzani, 2020


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Credits

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 Paul Dyer AO

Susan Hilliard Glenice Maclellan John Pickhaver Sheryl Weil

HEAD OF MARKETING & CUSTOMER RELATIONSTom Morgan

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MARKETING EXECUTIVEKatelyn-Jane Dunn

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BUSINESS SYSTEMS ANALYSTThomas Chiu

ASSISTANT BOX OFFICE MANAGERNastassia Laptev

RECEPTIONIST/TICKETING ASSISTANTEwelina 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

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EXECUTIVE ASSISTANTSusan Duffy

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* Dr Alan Maddox appears courtesy of the Sydney Conservatorium Of Music, The University of Sydney (Staff)

PATRONHis Excellency General the Honourable David Hurley AC DSC (Retd), Governor-General of the Commonwealth of Australia

Her Excellency the Honourable Margaret Beazley AC QC, Governor of New South Wales

Brandenburg Ensemble Limited trading as Australian Brandenburg Orchestra is a non-profit organisation registered as a company limited by guarantee. ABN 41 003 908 183 Address Level 1, 247 Coward Street, Mascot NSW 2020 | Post GPO Box 4416, Sydney NSW 2001 Telephone 61 2 9328 7581 | Website brandenburg.com.au | Email [email protected]

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Since 1989 the Australian Brandenburg Orchestra has been bringing the finest Baroque and early music to audiences across the country.

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