brandenburg osercn cot · inspiring project. the company’s 30th anniversary season allows a rare...

Brandenburg Concertos

BRANDENBURG CONCERTOS 1

SELF MANAGEDSUPER FUNDAWARDS 2017

CASH AND TERM DEPOSITSSMSF ADVISER

WINNERSELF MANAGEDSUPER FUNDAWARDS 2017

CASH AND TERM DEPOSITSSMSF MEMBER

WINNER

macquarie.com/cma

Jane, with Macquarie since 2000

Macquarie’s CMA gives

me confidenceThe Cash Management Account preferred

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

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

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

CHAIRMAN’S 11Proudly supporting our guest artists.

Concert duration approximately 120 minutes, including one interval. Please note concert duration is approximate only and is subject to change.

We kindly request that you switch off all electronic devices during the performance.

Sydney & Melbourne February & March 2019

ARTISTS

Paul Dyer AO Artistic Director, ConductorAustralian Brandenburg Orchestra

PROGRAM

Bach Brandenburg Concerto No. 4 in G major, BWV 1049 i Allegro ii Andante iii Presto

Bach Brandenburg Concerto No. 6 in B flat major, BWV 1051 i no tempo marking ii Adagio ma non tanto iii Allegro

Bach Brandenburg Concerto No. 5 in D major, BWV 1050 i Allegro ii Affettuoso iii Allegro

Interval

Bach Brandenburg Concerto No. 1 in F major, BWV 1046 i no tempo marking ii Adagio iii Allegro iv Menuet

Bach Brandenburg Concerto No. 3 in G major, BWV 1048 i no tempo marking ii Adagio iii Allegro

SYDNEY

City Recital HallWednesday 27 February 7pm Friday 1 March 7pm Saturday 2 March 2pm (Matinee) Saturday 2 March 7pm Wednesday 6 March 7pm Friday 8 March 7pm

Parramatta (Riverside Theatres)Monday 4 March 7pm

MELBOURNE

Melbourne Recital CentreSaturday 9 March 7pm Sunday 10 March 5pm

2 AUSTRALIAN BRANDENBURG ORCHESTRA BRANDENBURG CONCERTOS 3

As Principal Partner, Macquarie is delighted to welcome you to the Australian Brandenburg Orchestra’s season 2019.

Celebrating Decades of Mastery TogetherFrom our Principal Partner: Macquarie Group

This joyous concert series is the first time in the Brandenburg’s thirty-year history where five Brandenburg Concertos will be performed in one concert – a momentous milestone in historically informed music performance in Australia. This program also showcases the individual virtuosity, skill and brilliance of the orchestra.

We look forward to a spectacular year of music with the Brandenburg in 2019. We wish all the best to Paul Dyer, Bruce Applebaum, the Orchestra and Choir in celebrating this special anniversary season!

Bill Marynissen Head of Macquarie Wealth Management

This year the Brandenburg celebrates a very special milestone, the anniversary of thirty years since the orchestra was founded in 1989. Macquarie is proud to be a long-standing supporter and Principal Partner of the Brandenburg. We are excited to celebrate this anniversary with the Brandenburg in 2019, a year made more special as Macquarie also marks a significant milestone, our 50th Anniversary.

We congratulate the Brandenburg on the significant contribution they have made to the cultural landscape of Australia; sharing the joy of Baroque with audiences across Australia for three decades. During this time the Brandenburg has also supported the development of musical talent in Australia, showcased countless renowned guest artists in Australia, received five ARIA Awards and established themselves as Australia’s national Baroque orchestra.

This concert series is particularly special, as it presents J.S. Bach’s most revered works, after which co-founder and Artistic Director Paul Dyer named his orchestra. Bach’s transcendent collection of concertos are widely regarded as the pinnacle of instrumental composition from the Baroque era.

Welcome to Australian Brandenburg Orchestra’s 2019 season. In the 30 years since its foundation the Brandenburg has made a significant contribution to the cultural and musical fabric of our country and I am often humbled by what we have achieved.

This special 30th anniversary season is marked by all the splendour and celebration you would expect of such an auspicious occasion. Paul Dyer has curated a season that showcases our nation’s terrifically talented musicians and explores the next generation of artists. The future is bright for the Brandenburg and we have some ambitious plans for the years ahead. Expect to hear more about the Centre for Baroque Excellence which will act as a new multi-purpose home for the company and serve the broader community with a state-of-the-art facility to learn, explore and interact with the rich art of Baroque music and of historically informed performance. Stay tuned for more details on this inspiring project.

The company’s 30th anniversary season allows a rare moment to reflect – and then drive passionately forward.

A Rare MomentFrom the Co-Founder & Managing Director

In addition to our loyal subscribers and audience members, the stewardship of our board of directors and the generous support provided by our private and corporate supporters have made all that we have achieved possible. This heartfelt support is vital to both our present and our future and has allowed us to build a company with a tremendous reputation as one of the world’s great period orchestras.

Government support through the Australia Council for the Arts has been integral to the success of the company and has provided us with a stable financial footing to make the long-term strategic planning and make necessary investments required to run a professional orchestra possible.

I look forward to celebrating with you throughout 2019.

Under Paul Dyer’s dynamic and passionate artistic leadership we have drawn together specialist period musicians from around Australia and all over the world to present the music of the 16th, 17th and 18th centuries with brio and verve. It is an ongoing inspiration to work beside the best musicians, creatives and artists in the industry and to watch a simple seed of an idea bloom into a successful production before an adoring audience.

Bruce Applebaum Co-Founder & Managing Director


APA is thrilled to welcome you to the Brandenburg Concertos, the Australian Brandenburg Orchestra’s first concert series for 2019.

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

to treasure in sharing the Brandenburg experience through live performances.

Members of the Brandenburg Orchestra have a near superhuman quality. Admiration flows for their skills and for their commitment to studying and practising musical techniques that transcend time to bring Baroque magic into the modern day. Nevertheless, to me, the orchestra always maintains a certain Australian-ness in its performances.

APA’s sponsorship has taken the Brandenburg to regional and provincial centres, and I’ve seen how it delights and entertains people from all spheres, be it someone from the highest levels of government and commerce in a packed concert hall in one of our capital cities, or a pig farmer from Pittsworth seated in Toowoomba’s gothic Empire Theatre.

It is truly an honour for APA to come of age as partners of Australia’s national Baroque orchestra, made possible through the dedicated leadership of its two co-founders, Artistic Director Paul Dyer and Managing Director Bruce Applebaum, and their talented team.

We wish you a joyful anniversary season and hope you enjoy the performance.

Mick McCormack Managing Director, APA

As Anniversary Presenting Partner, we’re delighted to celebrate the Brandenburg’s 30th Anniversary, and also our 18 years of support. Indeed, we’re proud to be one of the orchestra’s longest corporate sponsors.

Our partnership with the Brandenburg began in 2001, the year after APA started as a business. Since then, both organisations have grown from humble beginnings to national significance, through vision and commitment. Over that time, APA has worked tirelessly to connect energy sources across the nation, while the orchestra continues to amaze audiences, season after season.

With our support, the Brandenburg has extended its reach to many more Australian communities. Some of these are regions where APA operates. It is a significant privilege to bring the beauty of baroque music to people in parts of the country who may not have the opportunity otherwise to enjoy it. Over the past 18 years of supporting the Brandenburg, I have gained a lifetime of memories

Paul Dyer and Mick McCormack pictured ahead of a Brandenburg Tour in 2006

Thirty years ago I had the idea of bringing the art of historically informed performance of early music to Australian audiences. It’s fair to say that since those first two concerts at the Sydney Opera House in 1990 that the idea has caught on, and there is now both loyal audiences for this beautiful music as well as defined career paths for the wonderful musicians who perform it.

Meticulously investigating and conveying the performance traditions of music from the 16th, 17th and 18th centuries has been our core musical mission, but I have always wanted to share the pure joy and thrill of the ideas found within this most rich art form and spread my love of the music with diverse audiences.

That brings me to Johann Sebastian Bach. To call Bach a genius is an understatement. His music is virtuosic and fiercely technical, but also speaks directly to the soul of the musician and the listener like no other composer. His is music on another plane.

With Bach we have a composer who was supremely gifted in the deployment and development of ideas. Often taking a small fragment of a musical idea, perhaps just a phrase or two, Bach ingeniously weaves single ideas into expansive tapestries of sound that simultaneously touch mind, body and soul.

An idea is a powerful thing. The most powerful ideas can crash like a wave upon the imagination and shine with all the hope of a lighthouse to a ship at sea.

Birth of an IdeaFrom the Co-Founder & Artistic Director

I started this orchestra to play Bach’s music, and there is no music of his more closely tied to the Australian Brandenburg Orchestra than the glorious Brandenburg Concertos.

Each and every musician on stage has a chance to shine in this concert and we will get to hear several rarely heard instruments including the violino piccolo and the viola da gamba.

Thirty years since it all began, the Brandenburg is in a beautiful place thanks to the many gifted artists, board members, administrative staff, and the audiences who love and support us and the music we play. From this place our future is optimistic!

Enjoy.

Paul Dyer AO Co-Founder & Artistic Director

6 AUSTRALIAN BRANDENBURG ORCHESTRA

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

Paul DyerBiography

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 in 2015 featured on the soundtrack of the James Bond 007 movie, Spectre.

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

Among his list of achievements, Paul was awarded the Officer of the Order of Australia (AO) in 2013 for his ‘distinguished service to the performing arts in Australia’. Paul is Patron of St Gabriel’s School for Hearing Impaired Children. In 2003 Paul was awarded the Australian Centenary Medal for his services to Australian society and the advancement of music, and in 2010 Paul was awarded the Sydney University Alumni Medal for Professional Achievement.

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

Paul is an inspiring teacher and has been a staff member at various Conservatories throughout the world. In 1995 he received a Churchill Fellowship and he has won numerous international and

Join members of the Australian Brandenburg Orchestra for an evocative musical journey through the streets and homes of eighteenth-century England and the palace of the ‘Sun King’ Louis XIV of France.

Exquisite music from the English & French Baroque

ON SALE NOW

1300 782 856 brandenburg.com.au/2019regional

This imaginative program features compositions by Handel, Purcell, Lully, Playford and others.

MUSICIANS Members of the Australian Brandenburg Orchestra

14–22 MARCH Mudgee, Orange, Singleton, Blackheath, Goulburn, Berry

Formed by the principal string players of the Australian Brandenburg Orchestra, the Brandenburg Quartet is Australia’s most exciting period instrument ensemble.

Brandenburg

QuartetFEATURING Shaun Lee-Chen Period violin Ben Dollman Period violin Monique O’Dea Period viola Jamie Hey Period cello

6–13 APRIL Sydney, Melbourne, Perth, Brisbane, Adelaide

ON SALE NOW

1300 782 856 brandenburg.com.au


* Denotes Brandenburg Core Musician 1 Monique O’Dea appears courtesy of Presbyterian Ladies’ College, Sydney (staff) 2 Rob Nairn appears courtesy of The Conservatorium of Melbourne (staff)

Harpsicord preparation by Joanna Butler (Sydney) and Donald Nicolson (Melbourne).

Paul Dyer AO Artistic Director, ConductorAustralian Brandenburg Orchestra

BAROQUE VIOLIN

Shaun Lee-Chen* Concertmaster (Perth) Matt Bruce* Associate Concertmaster (Sydney) Ben Dollman* (Adelaide) Rafael Font (Sydney) Matthew Greco (Sydney) Natalia Harvey (Melbourne) Anna McMichael (Sydney) Catherine Shugg (Melbourne) Emma Williams (Amsterdam)

BAROQUE VIOLA

Monique O’Dea1 (Sydney) Deirdre Dowling (Paris) Marianne Yeomans (Sydney)

BAROQUE CELLO

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

BAROQUE BASS

Rob Nairn*2 (Adelaide)

VIOLA DA GAMBA

Laura Vaughan (Melbourne) Anton Baba (Sydney)

NATURAL HORN

Michael Dixon (Sydney) Dorée Dixon (Perth)

BAROQUE FLUTE/RECORDER

Melissa Farrow* (Sydney) Mikaela Oberg (Sydney)

BAROQUE OBOE

Christopher Palameta (Paris) Kirsten Barry* (Melbourne) Kailen Cresp (Melbourne)

BAROQUE BASSOON

Brock Imison (Melbourne)

HARPSICHORD

Paul Dyer* (Sydney)

Musicians

Australian Brandenburg Orchestra

Comprising leading specialists in informed performance practice from all over Australia, the Brandenburg performs using original edition scores and instruments of the period, breathing fresh life and vitality into baroque and classical masterpieces – as though the music has just sprung from the composer’s pen.

The Orchestra’s name pays tribute to the Brandenburg Concertos of J.S. Bach, whose musical genius was central to the baroque area. Celebrating their 30th anniversary in 2019, the Brandenburg continues to deliver exhilarating performances.

The Brandenburg has collaborated with such acclaimed and dynamic virtuosi as Andreas Scholl, Philippe Jaroussky, Kristian Bezuidenhout, Emma Kirkby, Andreas Staier, Elizabeth Wallfisch, Genevieve Lacey, Andrew Manze and more.

Through its annual subscription series in Sydney and Melbourne, the Australian Brandenburg Orchestra performs before a live audience in excess of 52,000 people, and hundreds of thousands more through national broadcasts on ABC Classic FM. The Orchestra also has a regular commitment to performing in regional Australia. Since 2003 the Australian Brandenburg Orchestra has been a member of the Major Performing Arts Group, which comprises 28 flagship national arts organisations

supported by the Australia Council for the Arts. The Orchestra began regular touring to Queensland in 2015.

Since its beginning, the Brandenburg has been popular with both audiences and critics. In 1998 The Age proclaimed the Brandenburg “had reached the ranks of the world’s best period instrument orchestras”. In 2010 the UK’s Gramophone Magazine declared “the Australian Brandenburg Orchestra is Australia’s finest period-instrument ensemble. Under their inspiring musical director Paul Dyer, their vibrant concerts and recordings combine historical integrity with electrifying virtuosity and a passion for beauty”.

The Australian proclaimed that “a concert with the Australian Brandenburg Orchestra is like stepping back in time, as the sounds of period instruments resurrect baroque and classical works with reverence and authority”.

The Brandenburg’s 20 recordings with ABC Classics include five ARIA Award winners for Best Classical Album (1998, 2001, 2005, 2009 and 2010). In 2015 the Australian Brandenburg Orchestra was the recipient of the Sidney Myer Performing Arts Group Award and in 2016 the Helpmann Award for Best Chamber Concert.

Discover more at brandenburg.com.au

Biography

The Australian Brandenburg Orchestra, led by charismatic Artistic Director Paul Dyer, celebrates the music of the sixteenth, seventeenth and eighteenth centuries with excellence, flair and joy.


“ ...what stands out at concert after concert is the impression that this bunch of musicians is having a really good time. They look at each other and smile and laugh... there’s a warmth and sense of fun not often associated with classical performance.” SYDNEY MORNING HERALD


Musicians


PAUL DYERConductor/Harpsichord

SHAUN LEE-CHENBaroque Violin

MATT BRUCEBaroque Violin

BEN DOLLMANBaroque Violin

MATTHEW GRECOBaroque Violin

RAFAEL FONTBaroque Violin

NATALIA HARVEYBaroque Violin

ANNA MCMICHAELBaroque Violin

EMMA WILLIAMSBaroque Violin

CATHERINE SHUGGBaroque Violin

MONIQUE O’DEABaroque Viola

DEIRDRE DOWLINGBaroque Viola

JAMIE HEYBaroque Cello

ANTHEA COTTEEBaroque Cello

ROSEMARY QUINNBaroque Cello

MARIANNE YEOMANSBaroque Viola

Australian Brandenburg OrchestraMusicians

LAURA VAUGHANViola da Gamba

MELISSA FARROWBaroque Flute/Recorder

ROB NAIRNBaroque Bass

DORÉE DIXONNatural Horn

ANTON BABAViola da Gamba

MIKAELA OBERGBaroque Flute/Recorder

CHRISTOPHER PALAMETABaroque Oboe

KIRSTEN BARRYBaroque Oboe

KAILEN CRESPBaroque Oboe

BROCK IMISONBaroque Bassoon

MICHAEL DIXONNatural Horn


Brandenburg ConcertosProgram Notes

Johann Sebastian Bach (1685–1750)

In March 1721 Bach sent ‘Six Concertos for Several Instruments’ to the Margrave of Brandenburg-Schwedt, uncle of King Fredrick-William I of Prussia. As was the usual custom, Bach wrote a lengthy, obsequious dedication, and in it he reminded the Margrave that he had performed for him in Berlin two years earlier and that on that occasion the Margrave had asked for some of his compositions. This is the only definitive information we have about the history of the musical works now known as the ‘Brandenburg Concertos’.

History does not record what the Margrave thought of Bach’s gift, or indeed if he even heard the concertos played, as it is not known if they were performed anywhere in Bach’s lifetime. The autograph score remained in the possession of the Prussian royal family, but the concertos were largely neglected and unknown until 1849 when a German musicologist stumbled upon them in a library in Berlin. It was not until one hundred years later, with the early music revival of the 1950s, that they began to be widely heard.

It seems certain that Bach did not compose the concertos specifically to send to the Margrave. Instead he selected these particular concertos from among those he had written in the previous eight years, from around 1713 to 1721, when he worked at the courts of Weimar and later Cöthen. Musicologists believe that a large number of instrumental works by Bach have been lost, and that he would have written many more concertos than the few that survive.

Weimar The court of Weimar was ruled by two dukes and Bach obtained his first job there in 1703, as a chamber musician according to him, but as a lackey (general servant) according to court documents. He only stayed seven months, as he was offered a much better position as organist in the nearby town of Armstadt. He returned to Weimar in 1708, when he was appointed court organist and chamber musician, and then concertmaster, or orchestra leader. His period at Weimar was very productive, and it was here that he began to develop as a composer. His development as an orchestral composer, particularly of concertos, was given a major impetus when, in the spring of 1713, Duke Ernst August’s half-brother, Prince Johann Ernst, returned from his grand tour to the Low Countries, loaded down with copies of recent music he had acquired in Amsterdam – indeed, the number of new scores was so great that additional music shelves had to be installed in the palace library to hold them. Delving into this bounty allowed Bach to come to grips with the new Italian style of Torelli, Alessandro and Benedetto Marcello, and above all, of Vivaldi.

By this time Bach’s reputation as a keyboard virtuoso and authority on organs was well established, and he was now also becoming known as a composer. The German musician and music theorist Johann Mattheson wrote, in the first printed reference to Bach:

I have seen things by the famous organist of Weimar, Mr. Joh. Sebastian Bach, both for the church and for the fist [that is, vocal and keyboard pieces], that are certainly such as must make one esteem the man highly.” Although Bach’s talent was acknowledged by the Weimar court - his salary exceeded that of the higher-ranked Kapellmeister (music director) - internal politics meant that he was overlooked for the position of Kapellmeister when it became available, and in 1717 he began to look for a post elsewhere. Throughout his career he continually sought out better paid positions which gave him maximum artistic control, but like the vast majority of German musicians at that time Bach’s options for earning a living were limited. He could be employed as a court or chamber musician by a member of the nobility, or as a church or civic musician by a municipal authority (this was the basis on which he was employed at Leipzig, his last and most significant job). It would have been impossible for a composer of his stature to make his living as a freelance musician, as Mozart was to do seventy years later.

Towards the end of 1717 Bach was offered the role of Kapellmeister by Prince Leopold of Anhalt–Cöthen (the Duke of Weimar’s brother-in-law). Taking up the position was not as straightforward as simply resigning from his current job at Weimar, however, because as the employee of a nobleman he was regarded as a servant, and he required his noble employer’s permission to leave his current post. He was imprisoned for almost a month for being impertinent enough to ask for his own dismissal.

On November 6, the erstwhile concertmaster and organist Bach was confined to the County Judge’s place of detention for too stubbornly forcing the issue of his dismissal and finally on December 2 was freed from arrest with notice of his unfavourable discharge.”

“

“



CöthenAlthough Cöthen itself was a small, nondescript mid-German town, Prince Leopold was a good musician and a music connoisseur who appreciated Bach’s value and acknowledged this in his salary, which was twice that of the previous Kapellmeister. Bach would have been pleasantly surprised by the high quality of the Cöthen ensemble. This was due primarily to the presence of a number of virtuoso musicians who had found themselves out of a job when King Friedrich-Wilhelm I of Prussia, no music lover, dissolved the Berlin court orchestra in 1713. They were snapped up by the Cöthen court, and with the arrival of Bach the ensemble numbered eighteen. Prince Leopold also employed a number of singers, and so Cöthen compared favourably with the musical establishments of much larger courts.

Bach composed some of his most famous instrumental music while at Cöthen, including the French Suites, The Well Tempered Clavier, and Sonatas and Partitas for solo violin, and his five years there, from 1717 to 1722, were among the most productive and artistically satisfying of his career.

The two years from 1719 to 1721 were very difficult ones for Bach personally, however, which may explain why it took him so long to fulfil his obligation to provide new compositions to the Margrave of Brandenburg. During this time his brother and his fifth child died, a son named after Prince Leopold. High rates of infant mortality were a part of everyday life in the eighteenth century, and only ten of Bach’s twenty children survived past childhood. Worse however occurred in 1720 when his wife Maria Barbara died while Bach was away for a month, accompanying the Prince on a visit to the spa town of Carlsbad. The event is described in his father’s obituary by Bach and Maria Barbara’s son, Carl Phillip Emmanuel Bach, only six years old at the time of his mother’s death:

‘After thirteen years of blissful married life with his first wife, the misfortune overtook him, in the year 1720, upon his return to Cöthen from a journey with his Prince to Carlsbad, of finding her dead and buried, although he had left her hale and hearty on his departure. The news that she had been ill and died reached him only when he entered his own house.’

Bach was to marry again the following year, however circumstances at Cöthen were to change in other ways. Prince Leopold’s marriage at the end of 1721 to a woman described by Bach in a letter to a friend as ‘an A-musia’, that is, a person with no interest in the arts, meant that music would no longer be held in such esteem at court. Furthermore, a possible debt crisis looming for the overstretched court may also have contributed to the impetus to leave.

Towards the end of 1720 he had considered, but decided against, the position of organist at a major church in Hamburg. At the same time he would have been preparing the Brandenburg Concertos to send to the Margrave, hoping that their enormous variety of form and instrumentation would impress the music-loving Margrave with Bach’s range as a composer and hence as a potential future employee. He hinted as much in his dedication:

I beg Your Royal Highness very humbly to have the goodness to continue Your Highness’s gracious favour toward me, and to be assured that nothing is so close to my heart as the wish that I may be employed on occasions more worthy of Your Royal Highness and of Your Highness’s service.”However, there was no response from the Margrave, and it would be another two years before he could move to his next job, cantor at the church of St Thomas, Leipzig, with responsibility for music at the four main city churches.

“



Bach as composerThroughout his career Bach remained very aware of the work of other composers, however the composer who had the biggest influence on his style, especially in writing concertos, was Antonio Vivaldi. Indeed, Bach’s first biographer, Johann Forkel, commented that Vivaldi ‘taught him to think musically’. The Italian concertos that Bach studied while at Weimar included Vivaldi’s groundbreaking set entitled L’estro armonico. They had just been published, in 1711, and were to influence composers throughout Europe. Apart from Concerto No. 1, all the Brandenburg concertos are in the new form popularised by Vivaldi, with three movements – two fast movements separated by one slower one. Bach mostly based his fast movements on Vivaldi’s innovative ritornello form, in which ritornellos (recurring refrains) are played by the full orchestra, punctuated by episodes of new material played by solo instruments or groups of instruments. However, Bach’s approach to ritornello form, his layering of orchestral texture, and his virtuosic writing show far greater originality and complexity than those of Vivaldi.

No matter what the genre or the instrument, all of Bach’s music requires a very advanced level of technical ability. As well as being an organ and keyboard virtuoso Bach was an expert player of both the violin and viola, and in his youth he had been a singer. Many would-be performers of his music would agree with Johann Adolph Scheibe, an eighteenth-century music theorist who knew Bach: ‘Since he judges according to his own fingers, his pieces are extremely difficult to play; for he demands that singers and instrumentalists should be able to do with their throats and instruments whatever he can play on the keyboard. But this is impossible’. In addition, almost everything that Bach wrote was for himself, his students, or ensembles under his direct control, and so the issue of whether his music would be accessible to musicians of lesser expertise, or amateurs, never arose.

Bach described the Brandenburg Concertos as ‘concertos for many instruments’, and indeed he used the widest range of solo instruments imaginable – fourteen in total – in what were then completely innovative and unprecedented combinations. The Prince’s orchestra at Cöthen would have included most of these instruments as well as musicians capable of playing this very demanding music, but almost certainly the Margrave’s ensemble did not.

Brandenburg Concerto No. 1 in F major, BWV 1046No tempo marking Adagio Allegro Menuet - Trio - Polonaise - Trio

Concerto No. 1 is unique among Bach’s concertos in having four movements rather than the usual Vivaldian three. Bach may have thought that Concerto No. 1’s stylistic similarity to a showy French orchestral suite would appeal to the French tastes of the Berlin court.

It is probably the oldest of the four concertos. It began life as a Sinfonia (BWV 1046a) which functioned as an overture to the ‘Hunting’ Cantata (BWV 208), which Bach composed in 1713 for the birthday of the Duke of Weissenfels. The Sinfonia consisted of the first, second and fourth movements, which Bach turned into a concerto by adding the Allegro third movement, and by extending the fourth movement with a Polonaise. In the self-borrowing typical of baroque composers, he later re-used the added Allegro and the first movement in three cantatas.

This concerto is a grand, festive work rich in tonal colour with a wide range of instruments – hunting horns, which are not used in any of the other concertos, oboes, bassoon, and a solo piccolo violin as well as the usual strings and continuo. The use of royal hunting horns gives the fast first and third movements a weightiness suitable to courtly ceremony or celebration. The piccolo violin was, as its name suggests a small violin, used in the Baroque period. It was tuned higher than a standard size violin and the small body of the instrument gave it a particular sound quality. In the Adagio second movement, in which the horns do not play, an elaborately ornamented melody is shared between the solo oboe and piccolo violin who play first separately and then in close imitation.

Piccolo violin, oboe and horn share the solos in the third movement which is in ritornello form. The final movement consists of a Polonaise, or Polish dance, and two Trios sandwiched between frequent repetitions of a Minuet. Bach’s inclusion of a Polonaise was unusual, and it may have been intended to honour the Elector Augustus of Saxony, who was also the King of Poland, and who Bach would later petition for the title of royal court composer. The first Trio has a marked French flavour with the use of two oboes and bassoons as solo instruments, while the second Trio features solo horns. This is balanced by the Polonaise for strings alone. The contrasting Minuet and trios conjure up the splendour of the eighteenth century hunt and French courtly dance.



Brandenburg Concerto No. 3 in G major, BWV 1048No tempo marking Adagio Allegro

Concerto No. 3 contains dazzling virtuosic writing for strings alone, with three parts for each of violins, violas and cellos, accompanied by double bass and harpsichord continuo. The dance-like first movement is brimming with exhilaration and zest and shows the strong influence of Vivaldi on Bach’s concerto style, with its use of ritornello and episode structure. Each instrument or instrumental group takes a solo role in turn, but in a far more complex and original way than in Vivaldi’s concertos. Bach re-used this movement for Cantata No. 174 in 1729.

The second movement consists of just two chords with no direction on the score as to their interpretation, and has puzzled performers and musicologists as to what Bach’s intention could have been at this point. Did Bach deliberately omit a movement from the copy he wrote out for the Margrave, or did he envisage a solo improvisation at this point? And on what instrument? Musicians of the day would have been similarly perplexed, having never encountered such an issue in any of the concertos published to that time, with not even an ‘ad lib’ in the score to guide them. In this series of concerts, players from the Australian Brandenburg Orchestra will perform a short improvisation based on the chords Bach provided.

The rushing third movement is in the style of a gigue.

Brandenburg Concerto No. 4 in G major, BWV 1049Allegro Andante Presto

In this concerto the soloists are violin and two recorders, which mostly work together as a pair. There is much imitation between all solo parts with the violin dominating with dazzling display in the first and third movements, but the solemn middle movement favours the recorders. Unlike the final movements of all the other concertos, this is not in a dance form but instead is a brilliant fugue. Beginning with the violas, the instruments enter in turn taking up the theme.

Brandenburg Concerto No. 5 in D major, BWV 1050Allegro Affettuoso Allegro

Concerto No. 5 is the most forward-looking of the concertos. It features three solo instruments – violin, the newly fashionable transverse flute, and very unusually the harpsichord as third solo instrument, and for which Bach included an astonishing solo cadenza. An earlier version of this concerto exists, in which the cadenza is eighteen bars long, but for the final version which he sent to the Margrave, Bach extended the cadenza to sixty-four bars. The slow movement is marked Affettuoso, with feeling, and the movement is intimate and small with the use of the flute lending an amorous, languid mood. The harpsichord at first accompanies the solo violin and flute, which imitate each other, before the harpsichord also takes up the melody. The lively third movement is a gigue, combining the elegance of French dance music with the drive of the Italian concerto style.

Brandenburg Concerto No. 6 in B flat major, BWV 1051 No tempo marking Adagio ma non tanto Allegro

Concerto No. 6 is remarkable in that Bach scored it for only low-voiced string instruments – violas, cello, viola da gamba and continuo – with no violins at all. This gives it a veiled, darker colour, and this concerto is more introspective than the other more showy concertos. Ostensibly for two solo groups – viola da gamba and violone in one and viola da bracci (the normal orchestral viola) and cello in the other – it is the latter instruments, both members of the more modern violin family, which take the solo role while the other old-fashioned instruments are mainly used to fill out the orchestral texture. This concerto could well have been composed for a small group of players such as may have accompanied Prince Leopold to Carlsbad, and the Prince himself was an able viola player. The first movement’s restless canonic entries between the two viola parts, the rhythmic tension, and the repeated quavers of the opening ritornello (refrain) suggest the influence of Vivaldi. In the slow second movement the instrumentation is reduced to three solo parts, played on two violas and cello, accompanied only by the continuo section of keyboard and bass. The third movement is a spirited dance.

PROGRAM NOTES & TIMELINE © LYNNE MURRAY 2019


Timeline

Brandenburg Concertos

J.S. Bach

1685 Born in Eisenach into a family of musicians

1695 Orphaned; goes to live with his older brother

1703 Lackey and court musician at Weimar, then organist at Armstadt

1705 Walks 400km to Lübeck to hear Buxtehude play the organ

1706 Organist at Mühlhausen. Marries Maria Barbara Bach, his second cousin

1708 Returns to the court of Weimar as organist

1714 Promoted to concertmaster at Weimar; composes 1st movement of Brandenburg Concerto No. 3

1717 Appointed music director for the Prince of Anhalt-Cöthen; gaoled for a month by Weimar court for asking to leave

1720 Maria Barbara dies

1721 Sends concertos to the Margrave of Brandenburg; marries Anna Magdalena

1723 Appointed cantor of St Thomas’s, Leipzig

1724 First performance of St John Passion

1727 First performance of St Matthew Passion

1736 Appointed Royal Polish & Electoral-Saxon court composer

1747 Travels to Potsdam to visit CPE Bach; meets Frederick the Great

1749 Increasing ill-health, probably diabetes, causes blindness

1750 Two unsuccessful eye operations. Dies on 28 July aged 65. Bach’s modest estate divided among his wife and nine children

1760 Anna Magdalena dies in abject poverty

Contemporary Events

1685 Handel born. Charles II of England dies, succeeded by his brother James II

1695 Purcell writes music for the funeral of Queen Mary II of England

1703 St Petersburg is founded by Peter the Great

1705 Edmund Halley publishes A Synopsis of the Astronomy of Comets, predicting a comet will return in 1758

1706 Thomas Twining opens tea room in London. Benjamin Franklin born

1708 Construction of St Paul’s Cathedral in London completed

1714 Elector of Hanover becomes George I, King of Great Britain. Bach’s son CPE Bach born

1717 Handel’s Water Musick performed on a boat on the Thames. Voltaire imprisoned in The Bastille for a satirical verse about the Regent of France

1720 Excavations continue at Pompeii

1721 Inoculation against smallpox introduced to England. Ether developed for use as a painkiller

1723 British parliament makes blacking one’s face to hunt deer an offence punishable by death

1724 Canaletto paints the Grand Canal, Venice

1727 Handel composes Coronation Anthems for George II

1736 French and Spanish scientists discover rubber in Ecuador

1747 Samuel Johnson working on A Dictionary of the English Language

1749 First performance of Handel’s Music for the Royal Fireworks finishes early due to fire

1750 First use of the umbrella in England. Beginning of the Industrial Revolution

1760 Bach’s son Johann Christian Bach is appointed organist of Milan cathedral


PRINCIPAL

MEDIA TRUSTS AND FOUNDATIONS

GOVERNMENT

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

COUNCIL, ITS ARTS FUNDING AND ADVISORY BODY

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

MAJOR

PRESENTING

SUPPORTING

30TH ANNIVERSARY PRESENTING PARTNER

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

Our PartnersA heartfelt thank you to our generous family of supporters.

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

PAUL DYER AO Artistic Director BRUCE APPLEBAUM Managing Director

Anthony Adair and Karen McLeod AdairAntoinette Albert+

Aidan AllenStephen and Sophie AllenJohn Almgren AM and Yvonne AlmgrenGraham Bradley AM and Charlene BradleyJillian Broadbent AC

Dr Catherine Brown-Watt PSM and Mr Derek Watt+

Roxane Clayton+

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

Tom Hayward and Fiona Martin-Weber#

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

Alison Park in loving memory of Richard Park

Lady Potter AC CMRI#

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

Peter Weiss AO+

Cameron WilliamsCarol Haynes and Skipp WilliamsonAnonymous

CHRISTINA $10,000 OR ABOVE

Andrew and Melanie BaigentGlenn BarnesBOYCE Family Office#

Mrs Ros Bracher AM

David and Leith Bruce-Steer+

Kay BuckeridgeWayne Burns and Kean Onn SeeJoan and Wallace CameronLouise ChristieRick and Sue Coles*

John Forsyth and Ann VerschuerIn memory of Darrel FraserAnn Gordon*Gandel PhilanthropyJenny and Peter HordernJ and R MacLeodDr Diana Marks and Dennis BluthRobyn Martin-WeberThe Hon Jane Mathews AO

Rohan Mead

Rointon Nugara and Brendan NugentIn memory of Jenny ParramoreDr David and Dr Gillian RitchieGreg Ward+

Sheryl WeilDr Jason WenderothSally and Geoffrey WhiteRay Wilson OAM in memory of James Agapitos OAM

Anonymous

RUSPOLI $5,000 - $9,999

Mary Holt and the late Dr John Holt

LIFE PATRONS

Janet Abernethy & Richard WillisPaula & Alex AdamovichPeter AlmondJ M AlroeBrett Andersen and Brad BowenJohn and Robyn ArmstrongPhilip Bacon AM

Ian Baker and Cheryl SaundersPeter BarclayAdmiral Christopher Barrie AC and

Mrs Maxine BarrieChloe & Kelvin Barry#

Frederic Baudry and Paul BaileyMarc Besen AC and Eva Besen AO

Warwick Bray#

Keith and Louise BrodieDiana BrookesHenry Burmester and Peter MasonElizabeth Butcher AM

Mr Peter Clark and Mrs Jan Clark

Rebecca and Craig ClarkeBernard Coles QC

Emeritus Professor Martin Comte OAM

Professor Geoffrey N CooperCooper FamilyPhillip Cornwell and Cecilia RiceDom Cottam and Kanako ImamuraJim Cousins AO and Libby Cousins#

Toula and Nicholas Cowell#

Tim and Bryony Cox

DURAZZO $1,000 – $4,999

Our Donors


Peter AllanCatherine BroadyDr Roderick Brooks and Ms Carol ShawJenny and Henry BurgerIta Buttrose AO OBE

David and Louise ByrneJ and M CameronProfessor Dianne CampbellMarianne CochraneChris and Trudy CooteMichael CrawcourDeborah Debnam

Anne and Jennifer DineenMargaret DobbinRita ErlichSarah FindlayHelen FlemingPeter Fletcher AM and Kate FletcherPeta Forster and Mark AndersonDeborah Fox and Harald Jahrling#

Barbara and Malcolm FranceRosie FreemanChristine GeorgeArthur Georgopoulos#

Norman GillespieRichard and Heather GorrellPhilip and Anabel GosseCarole A. P. GracePeter and Deirdre GrahamGreg and Sophie Griffith#

Sandra HaslamGeoff HogbinMichael JonesLiana Kestelman#

L. KrienbuhlDr Micheline Lane

SUPPORTER I $500 - $999

DURAZZO $1,000 – $4,999

Dr John Dale AO and Mrs Joan DaleDavid Davies and Paul PresaMargaret and Chris de GuingandMs Emmanuelle DelannoyMichelle Dixon#

Emeritus Professor Dexter Dunphy AM

Jane Edmanson OAM

Elisabeth and Grahame ElderRalph and Maria EvansThe Faithfull FamilyRosemary FarrowRoslyn and Michael FeeneyWendy and Ron FeinerBrian and Philippa FranceDavid and Georgie Gall#

Carrillo and Ziyin GantnerJustin and Anne GardenerCharles and Cornelia GoodeBill and Julie GooldLesley Grant and John CupplesRichard and Anna GreenCarol Ann GriffinKen Groves and Yun-sik Jang#

Bruce and Jo HambrettKate Hayward#

Sam Hayward#

R and Y HazellJane HemstritchDr Ailsa Hocking and Dr Bernard WilliamsCarr and Ann HordernJ L HossackJill and David HuntBelinda Hutchinson AM*Dr Alastair Jackson AM

Jasper Family Foundation#

Gayl Jenkins & Chris PellegrinettiJim & Kim JobsonThe Hon Rod Kemp and Mrs Daniele Kemp#

Nicholas KornerA Koumoukelis FamilyMr John Lamble AO

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

Dr David Millons AM and Mrs Barbara MillonsJohn MitchellDr Paul Nisselle AM and Mrs Sue NisselleTrevor J ParkinRemembering Tom and Jenny ParramoreChristina PenderProfessor David Penington AC

Dr John PercyHelen PerlenJim and Chris PollittJoan PoultonKevin Powell and Alison Deans

Ted and Jean RadfordPatricia H Reid Endowment Pty LtdMr Paul ReinAlexander and Rosemary RocheLois RoffeySylvia RosenblumJustice Ronald Sackville AO and Mrs Pamela SackvilleMiss Adrienne SartoriJohn ScottDr Celina SeetoJeannette SharpeDr Gideon and Mrs Barbara ShawPaul Sheehan and Susan WyndhamMr Charlie Shuetrim AM and Mrs Sandra ShuetrimJohn and Cathy SimpsonDr Agnes SinclairRobyn SmilesAlan and Jennifer SmithChris and Bea SochanMrs Beverley SouthernBrendan SowryDavid Stanford#

Dr Murray and Mrs Joy StapletonLoreto ToorakMark and Debra Taylor#

Mr Mike ThompsonRichard and Lynne UmbersProfessor Roy and Doctor Kimberley MacLeodJudith WilliamsDr David Wood and Mr Gary FungK A WrattenAnonymous x 22

Our DonorsSUPPORTER I $500 - $999

Paul LindwallAnne Loveridge & Graeme FosterBetty LynchElizabeth Mackenzie and Michael BremnerWendy E McCarthy AO

Janet McCredieMargaret McKennaRoss McNair and Robin RichardsonAlistair and Fran Minson#

Peter MiszalskiRichard and Elaine Moore#

Niq Morcos & Morgaine WilliamsSusan and Frank Morgan

Mrs June Musgrove in memory of Dr Peter MusgroveJohn and Susan MyattAndrew NaylorBrendan O’ConnellPaul O’DonnellDr Kevin PedemontJohn Peisley and Ros RoyalJohn and Bridget PolaninJulian and Jane Rait#

Peter RushTony SchlosserMarysia SeganJann Skinner

Margot SmithSpeer Family#

Ross Steele AM

The Stirling FamilySue ThomsonDr Diane TibbitsMargot VaughanKenneth Watkins#

Alvie Webster#

Dr J and A WhaiteDr. Anthony WilliamsRichard & Lale WilliamsonJoyce YongAnonymous x 24

SUPPORTER II $250 - $499

Kay AndersonJaci ArmstrongCarole BaileyAnne BeaumontJean BirrellProfessor Fran Boyle AM

Prof. D. H. Bryant OAM

Axel and Alexandra BuchnerKerin CarrFrank and Jan ConroyMr Charles P. Curran AC

Elizabeth DouglasJanet DoustAndrew DunnBronwyn Evans and Peter GordonKay FellDebbie Fox and Harald Jahrling#

Janine FrancisJudith GibsonKeren Gould

Dr Stéphane Hemmerter in memory of Gérard HemmerterFrank HemmingsRoss HolmesIn Loving Memory of Dean HuddlestoneIrene Kearsey and Michael RidleyHilary KelmanPamela Kenny in memory of Peter*Joshua Kim and Richard HouseGeorge LawrenceVicki and Adam LibermanMrs Iris Luke in Memory of Dr Clifton LukeNeil Mackintosh and Stuart BrownRichard MasiulanisPeter McCallColin and Phillippa McLachlanBeatrice MoignardJulie Ann MorrisonMyles Neri

Rosemary and James O’CollinsMorag OrrNella PinkertonKen RamshawFiona ReynoldsMichael Roset and Christine PaullProfessor Steve and Dr Sharon Schach*Judith ShelleyNatalie & Tanya StoianoffGeorge SzonyiAnthony TarletonMr Frank Tisher OAM and Dr Miriam TisherAmanda Trenaman and Steven TurnerMrs C and Mr P Vaughan-ReidStephanie WainbergJoy WardleGregory W WonAnonymous x 50

* Donors to the Brandenburg International Baroque Study Program + Donors to the 30th Anniversary Book # Donors to the Brandenburg Instrument Fund

This donor list is current for a 12-month period to 4 Feb 2019. Supporter III donations are acknowledged at donations.brandenburg.com.au

Our Donors

TO FIND OUT MORE, OR TO MAKE A DONATION, PLEASE GET IN TOUCH WITH OUR DEVELOPMENT TEAM.

PHONE 1300 782 856 EMAIL [email protected] VISIT DONATIONS.BRANDENBURG.COM.AU

If the Brandenburg has enriched your life or if you would like to deepen your involvement with us, we would be thrilled to welcome you into our valued family of supporters.


Our DonorsCHAIRMAN’S 11 BRANDENBURG OPERA CIRCLE

BRANDENBURG FOUNDATION DONORS

ORCHESTRAL CHAIRS

Concertmaster Chair supported by Jacqui and John Mullen

Baroque Cello Chair supported by Mrs W. G. Keighley

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

CORPORATE DONORS

AccentureAPA GroupBain & CompanyCentre for Corporate Public AffairsElwyn ConsultingLink GroupPacific Equity PartnersQANTAS LoyaltyTelstra Corporation LimitedThe Lancemore Group

Dedicated to the memory of James Strong AO.

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

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

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

PLANNED GIVING

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

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

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

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

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

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

Christine Yip and Paul BradyAnonymous

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

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

David and Rachel Zehner

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

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

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

Christine Yip and Paul BradyAnonymous x 2

Venues

BOARD OF DIRECTORSRenata Kaldor AO (Chair) Timothy Cox AO (Deputy Chair) David Albert Helen Bauer The Hon Justice Elizabeth Fullerton Kerri Glasscock Marcus McArdle Carol Mills Jennie Sager Maria Sykes Louise Walsh

CEOElaine Chia

ADMINISTRATION02 9231 9000

BOX OFFICE02 8256 2222

WEBSITEcityrecitalhall.com

2 Angel Place Sydney NSW 2000

CITY RECITAL HALL LIMITED

FOUNDING PATRONThe Late Dame Elisabeth Murdoch AC DBE

BOARD OF DIRECTORSKathryn Fagg (Chair) Peter Bartlett Stephen Carpenter Joseph Corponi The Hon Mary Delahunty Paul Donnelly Assoc Prof Jody Evans Margaret Farren-Price Eda Ritchie AM Margaret Taylor Audrey Zibelman

EXECUTIVE STAFFEuan Murdoch Chief Executive Officer

Jasja van Andel Head of Operations

Marshall McGuire Director of Programming

Robert Murray Director of Marketing & Customer Relations

Sandra Robertson Director of Development

Sandra Stoklossa Director of Corporate Services

MELBOURNE RECITAL CENTRE

ADMINISTRATION03 9699 2228

BOX OFFICE03 9699 3333

FACSIMILE03 9207 2662

WEBSITEmelbournerecital.com.au

Corner Southbank Boulevard and Sturt Street Southbank VIC 3006


ARTISTIC DIRECTORPaul Dyer AO

MANAGING DIRECTORBruce Applebaum

THE BRANDENBURG COUNCILJillian Broadbent AC Greg Hutchinson AM Max Suich

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

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

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

HEAD OF MARKETING & CUSTOMER RELATIONSTom Morgan

CONTENT MARKETING EXECUTIVEShiki Chan

DIGITAL MARKETING MANAGERLeo Gaica

PUBLICISTSteven Godbee Publicity

CUSTOMER RELATIONS MANAGERKateryna Collier

DATABASE SYSTEMS & ASSISTANT BOX OFFICE MANAGERThomas Chiu

MARKETING & TICKETING ASSISTANTNastassia Laptev

RECEPTIONIST/TICKETINGASSISTANTEwelina Ellsmore

HEAD OF ARTISTIC PLANNING & MANAGEMENTAshley Giles

ORCHESTRA MANAGERValérie Morgan-Pertus

PRODUCTION COORDINATORShannon O’Hara

ARTISTIC PLANNING COORDINATORJoanna Butler

MUSIC RESOURCESHugh Ronzani

HEAD OF DEVELOPMENTAislinn Giugni

PHILANTHROPY MANAGERAndrew Brook

DEVELOPMENT EVENTS MANAGERVlach Ashton

CORPORATE PARTNERSHIPS MANAGERMadeline O’Dwyer

HEAD OF BUSINESS OPERATIONSSusan Casali

EXECUTIVE ASSISTANTSusan Duffy

ACCOUNTANTJohn Scott

ASSISTANT ACCOUNTANTIan Creevey

REPERTOIRE ADVISORS (HONORARY)Charles Gwynn Andrew O’Connor Christopher Price

PRE-CONCERT TALKSDr Alan Maddox

Credits

BRANDENBURG ENSEMBLE LIMITED TRADING AS AUSTRALIAN BRANDENBURG ORCHESTRA IS A NON-PROFIT ORGANISATION REGISTERED AS A COMPANY LIMITED BY GUARANTEE. ABN 41 003 908 183 ADDRESS 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]

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

Get to know the future of connected energy.

energy.connected

the Australian success story that’s built on energy

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

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

We’re Australia’s leading energy infrastructure business.

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

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

www.apa.com.au


Fundraising

Brandenburg Fundraising Events

BRANDENBURG HIGH TEA Sunday 31 March 2019Mansion Hotel & Spa at Werribee Park, VIC

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

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

GALA DINNERWednesday 17 July 2019Metropolis, Southbank VIC

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

brandenburg osercn cot · inspiring project. the company’s 30th anniversary season allows a rare...

Documents