auSTRaLiaN BRaNDENBuRG ORChESTRa

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take-control-of-your-financial-future-180x222.indd 1 23/01/15 9:32 AM

PRINCIPAL PARTNER

Sydney, Melbourne and Brisbane MAY 2015

Paul Dyer AO Artistic Director and ConductorBrendan Joyce baroque violinBen Dollman baroque violinChristina Leonard soprano saxophoneAustralian Brandenburg Orchestra

PrOgrAM

BACH Brandenburg Concerto no.3, BWV 1048 VIVALDI Concerto for Two Violins op.3, no.8 RV 522 from L’estro armonico C.P.E. BACH Concerto for Flute in A minor, Wq 166 (arr. soprano saxophone) (arr. C. Leonard)

INTErVAL

rICHTEr Recomposed – Vivaldi: The Four Seasons

Sydney City Recital Hall Angel Place Wednesday 6 May, Friday 8 May, Saturday 9 May, Wednesday 13 May, Friday 15 May all at 7pm Matinee Saturday 9 May at 2pm

Melbourne Melbourne Recital Centre Sunday 17 May at 5pm Monday 18 May at 7pm

Brisbane Queensland Performing Arts Centre Monday 11 May at 7:30pm Tuesday 19 May at 7:30pm

The duration of this concert is approximately 2 hours including interval.

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

VIVALDI UNWIRED

Brisbane Series Sponsors

ARtIstIc DIREctoR'sMEssAgEA few weeks ago I had the great pleasure of visiting MONA in Hobart – what a magnificent place! My eyes lit up everywhere in that extraordinary space as I flowed through the world of Old and New. Tonight we explore this same blend of worlds and periods with the genius of Sebastian Bach, his son Carl Philip Emmanuel, the irrepressible Antonio Vivaldi and the Grammy Award winning contemporary British composer Max Richter.

Max has recomposed, reimagined and retouched Vivaldi’s four brilliant Concertos – The Four Seasons and has opened up contemporary sounds with this special composition. This remarkable work, while utterly modern, shows complete respect for Vivaldi’s celebrated masterpiece.

Tonight is the WORLD PREMIERE of Max Richter’s Recomposed on period instruments. Inspired by Bach, rock, ambient electronica and film music sounds, Max has created an electrifying fusion of Old and New. This piece recently topped the iTunes Classical charts in the UK, Germany and USA and we are excited to bring it to Australian audiences tonight.

My keyboards for this series include our beautiful Flemish harpsichord, Moog Synthesiser and AppleMac.

Shining their musical brilliance tonight together with the wonderful Brandenburg artists are Baroque Violinist Brendan Joyce and Saxophonist, Christina Leonard.

Also tonight we are thrilled to be celebrating the recent honour of receiving the prestigious Sidney Myer Performing Arts Group Award for 2014.

Paul Dyer AO Artistic Director and Conductor

Macquarie is again proud to be the principal partner of the Australian Brandenburg Orchestra.

The 2015 program offers a series of musical collaborations to delight audiences. Ranging from well-known composers such as Mozart and Vivaldi to intimate works seldom performed in Australia, the season promises musical virtuosity throughout.

Presenting both classics of the baroque repertoire as well as unfamiliar compositions enables the depth of the baroque period to be shared with modern listeners. It is this ability of the ensemble to perform baroque pieces in as fresh and exciting a way as when they were first performed that is one of the most enticing aspects of a Brandenburg concert.

It is a privilege to continue our support for the Brandenburg and congratulations once again to Artistic Director Paul Dyer for creating a wonderful year of concerts. Our partnership with the Orchestra in bringing these works to life means the immense talents of its musicians and visiting artists can be widely enjoyed and appreciated. We commend this year’s program to you.

shAREDVIsIoNs

Shemara Wikramanayake Chair, Macquarie group Foundation 3

AUstRALIAN BRANDENBURgoRchEstRA“…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, they laugh…there’s a warmth and sense of fun not often associated with classical performance.” Sydney Morning Herald

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

The Orchestra’s name pays tribute to the Brandenburg Concertos of J.S. Bach, whose musical genius was central to the baroque era. After celebrating their 25th anniversary in 2014, the Brandenburg continues to deliver exhilarating performances. The Brandenburg has collaborated with such acclaimed and dynamic virtuosi as Andreas Scholl, Fiona Campbell, 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 40,000 people, and hundreds of thousands more through national broadcasts on ABC Classic FM. The Brandenburg 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 Brandenburg is pleased to be performing two concert series in Brisbane 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 seventeen recordings with ABC Classics include five ARIA Award winners for Best Classical Album (1998, 2001, 2005, 2009 and 2010).

Discover more at brandenburg.com.au

Paul Dyer AO Artistic Director and ConductorBrendan Joyce baroque violinBen Dollman baroque violinChristina Leonard soprano saxophoneAustralian Brandenburg Orchestra

THE MuSICIANS ON PErIOD INSTruMENTS

Baroque Violin 1Brendan Joyce, Brisbane (Guest Concertmaster)*Matt Bruce, Sydney*Catherine Shugg, MelbourneSkye McIntosh, SydneyMatt Greco, SydneyTim Willis, Berlin

Baroque Violin 2Ben Dollman, Adelaide+*Sarah Dunn, SydneySimone Slattery, AdelaideStephanie Eldridge, BendigoShaun Warden, Sydney

Baroque ViolaMonique O'Dea, Sydney+1

Marianne Yeomans, SydneyChristian Read, MelbourneSimón Gangotena, Melbourne

Baroque CelloJamie Hey, Melbourne+*

Anthea Cottee, SydneyRosemary Quinn, SydneyDan Curro, Brisbane

Baroque Double Bass Kirsty McCahon, Sydney+*

Libby Browning, Perth

Soprano SaxophoneChristina Leonard, Sydney+

Modern HarpMelina van Leeuwen, Melbourne+

Theorbo/guitarTommie Andersson, Sydney+*

Harpsichord/Synthesiser Paul Dyer, Sydney+*

HarpsichordJoanna Tondys, Sydney

AUstRALIAN BRANDENBURgoRchEstRA VIVALDI UNWIRED

* Denotes Brandenburg Core Musician+ Section Leader1 Monique O’Dea appears courtesy of Presbyterian Ladies’ College, Sydney (staff) Harp courtesy of Genevieve Lang (SYD) and John Connolly (BNE). Harpsichord preparation by Geoffrey Pollard in Sydney and Alistair McAllister in Melbourne Harpsichord preparation in Brisbane is by Michael Ryan4 5

Born in Coonamble, Christina Leonard is one of Australia’s leading classical Saxophonists. For the past five years Christina has featured in the Australian Brandenburg Orchestra’s Noël! Noël! concert series, and was one of the soloists in the Elena Kats-Chernin commission to celebrate the ABO’s 25th Anniversary.

Christina is a Saxophonist with both the Sydney Symphony Orchestra and the Australian Opera Ballet Orchestra. She has held these key positions for many years and has performed orchestrally in Sydney, Melbourne, Brisbane, Adelaide and in Hobart as a soloist with the Tasmania Symphony Orchestra. Christina has also performed with the ACO, the Song Company, Match Percussion, Synergy, and the Sonic Art Ensemble.

Christina is co-artistic director of the Australian World Orchestra’s Chamber Music Festival in the Southern Highlands. She has made many recordings and live broadcasts for ABC Classic FM and Fine Music FM. Christina has premiered newly commissioned music with Marshall McGuire at the Utzon Room Chamber music series at the Opera House and will record a CD of this and other new music later in the year. Christina has recently recorded a CD of Saxophone and Piano repertoire with Tamara-Anna Cislowska.

Christina was awarded a Queens Trust Scholarship to complete a postgraduate degree at the Guildhall School of Music and Drama, London. Christina completed her Masters of Music (Performance) at the Sydney Conservatorium of Music and has been lecturing Saxophone, examining and facilitating workshops and classes there since 1997. Christina’s transcriptions of Baroque music for Saxophone and keyboard, are included on the current AMEB and ABRSM, (London) Syllabi.

Christina continues to champion opportunities for classical Saxophone commissions and performances and is the first Australian to be endorsed as an International Artist with Japanese instrument maker Yanagisawa.

Brendan Joyce is a long-standing member of the Australian Brandenburg Orchestra and one of its guest Concertmasters.

Brendan hails from Brisbane where he is Leader of Camerata of St John's – a Queensland based chamber orchestra. His leadership of Camerata was recently described by The Australian as "dynamic" and he frequently appears as soloist with the group. Brendan's leadership has resulted in milestones such as the ensembles first recordings, tours, broadcasts, collaborations, and in acclaimed performances at the festivals of Tyalgum, Darwin, Queensland Music and the Australian Festival of Chamber Music. Brendan coordinates Camerata's revered programming, and is an alumnus of the original version of Camerata that played to high critical acclaim 1987–1997. He appears as a Concertmaster for the Orchestra of the Antipodes, and has played with the ACO and the Smithsonian Chamber Orchestra. During his youth orchestra days Brendan led the Queensland Youth Symphony and Australian Youth Orchestras. Between 2011–2013 he performed the complete cycle of Bartok's String Quartets as a member of the Kurilpa String Quartet. During 2015 he has performed the Beethoven Violin Concerto with Brisbane Symphony Orchestra, and Marjan Mozetich’s “Affairs of the Heart” Violin Concerto with Camerata of St John’s.

Brendan attained a Doctor of Musical Arts in Violin Performance from The University of Maryland, USA, receiving awards there for his leadership of the Maryland Handel Festival Opera Orchestra, as well as for presentations and premieres of the music of twenty Australian composers. His early teachers included Joyce Crooks, Lyn Darveniza and Stephen Frewen-Lord in Ayr, Queensland. He undertook extensive studies and mentoring with Elizabeth Morgan in Brisbane. Brendan also studied in the United States with Gerald Fischbach, and in chamber music with David Salness and the Guarneri String Quartet.

In January 2013 Paul Dyer AO was awarded the Officer of the Order of Australia (AO) for his ‘distinguished service to the performing arts, particularly orchestral music as a director, conductor and musician, through the promotion of educational programs and support for emerging artists’ in recognition of his achievements as Co-founder and Artistic Director of the Australian Brandenburg Orchestra and Brandenburg Choir.

Paul Dyer is one of Australia’s leading specialists in period performance styles. He founded the ABO in 1990 and has been the orchestra’s Artistic Director since that time. Paul has devoted his performing life to the harpsichord, fortepiano and chamber organ as well as conducting the Brandenburg Orchestra and Choir.

Paul completed postgraduate studies in solo performance with Bob van Asperen at the Royal Conservatorium in The Hague, performed with many major European orchestras and undertook ensemble direction and orchestral studies with Sigiswald Kuijken and Frans Brüggen.

Paul appears as a soloist, continuo player and conductor with many major ensembles including the Sydney Symphony Orchestra, West Australian Symphony Orchestra, Queensland Orchestra, Australia Ensemble, Australian Chamber Orchestra, Opera Australia, Australian Youth Orchestra, Victorian State Opera, Malaysian Philharmonic Orchestra, the Pacific Baroque Orchestra, Vancouver, and the Orchestra of the Age of Enlightenment, London.

Paul has performed with many prominent international soloists including Andreas Scholl, Cyndia Sieden, Elizabeth Wallfisch, Andreas Staier, 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. As a recitalist, he has toured Germany, France, Belgium, the Netherlands and the United States.

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 is Patron of St Gabriel’s School for Hearing Impaired Children. In 2003 Paul was awarded the Australian Centenary Medal for his services to Australian society and the advancement of music. In 2010 Paul was awarded the Sydney University Alumni Medal for Professional Achievement.

chRIstINA LEoNARD sopRANo sAxophoNE

BRENDAN JoycE BARoqUE VIoLIN

pAUL DyER

76 7

Ben Dollman is one of Australia’s leading performers on baroque violin, having held the position of Principal 2nd violin in the ABO for over ten years.

Studies in modern violin at Adelaide University were followed by time at Indiana University in the US where he developed a love of early music through work with the Australian violinist Stanley Ritchie. Upon returning to Australia, Ben was further mentored by then ABO concertmaster Lucinda Moon, and was invited to become a regular member of the ABO in 1999. He has since also performed as soloist and concertmaster on a number of occasions.

Based in Adelaide, he is an active chamber musician in other early music ensembles as well as in more contemporary music on the modern violin. Over many years he has also been a regular guest with the Adelaide Symphony Orchestra. He maintains a keen teaching practice in addition to which he has been involved with a number of educational programs including for Musica Viva and the Australian Youth Orchestra.

BEN DoLLMANBARoqUE VIoLIN

JOHANN SEBASTIAN BACH (1685–1750)

Brandenburg Concerto No. 3 in g major, BWV 1048

[Allegro] Adagio Allegro

In March 1721 Bach sent “Six Concertos for Several Instruments” to the Margrave of Brandenburg, who was the uncle of King Friedrich Wilhelm I of Prussia. Using the conventional obsequious style he reminded him 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”.

From what we do know it seems that Bach did not compose them especially for the Margrave nor did he compose them as a set but rather, that he selected these concertos because their enormous variety of form and instrumentation showed his range as a composer, and he was hoping that the Margrave might offer him a job.

Scholars now believe that Bach composed the concertos during the years 1713 to 1721, when he held positions at the courts of Weimar and Cöthen. He was appointed court organist and chamber musician at Weimar in 1708, later being promoted to the rank of concert master, or orchestra leader, and it was here that he developed significantly as a composer. In 1714 the court acquired a large number of scores recently printed in Amsterdam and this enabled Bach to study the new Italian style of Torelli, Alessandro and Benedetto Marcello and, above all, Vivaldi.

Although Bach’s talent was acknowledged by the Weimar court, internal politics meant that he was overlooked for the position of Kapellmeister (music director) when it became available, and he began to look for another post elsewhere. Like most German composers of his time, Bach’s options for earning a living were limited; he could work as a court or chamber musician for a member of the nobility, or as a church or civic musician for a municipal authority. Throughout his career he continually sought out better paid positions that gave him maximum artistic control, so when he was offered the role of Kapellmeister by Prince Leopold of Anhalt–Cöthen towards the end of 1717, he enthusiastically accepted. Taking up the position was not as straightforward as simply resigning from his current job at Weimar, however. As a servant of the Dukes of Weimar, Bach required their permission to leave his current post and he was imprisoned for almost a month for being impertinent enough to ask for his own dismissal.

Although Cöthen was a small, nondescript mid-German town, Prince Leopold was a music connoisseur who paid Bach double the salary of the previous Kapellmeister. Like most noblemen

VIVALDI UNWIRED

8 9

the Prince had his own orchestra but his was particularly fine, due to the presence of a number of virtuoso musicians who had found themselves out of a job when Friedrich Wilhelm I of Prussia, no music lover, dissolved the Berlin court capelle in 1713. Bach composed some of his most famous instrumental music for this group, and his five years at Cöthen, from 1717 to 1722, were among the most productive and artistically satisfying of his career.

The years 1719 to 1721 were very difficult ones for Bach personally, however. During this time his brother and his fifth child died. 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 was to come, however, with the death of his wife Maria Barbara. According to his 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.

After the death of his wife it appears that Cöthen lost its appeal for Bach. Prince Leopold’s marriage to an un-musical princess and overstretched finances foreshadowed a down-sizing of the court’s musical establishment, and provided further impetus for Bach to look for a new position.

History does not record what the Margrave thought of Bach’s gift but the next job offer came not from Berlin but from Leipzig, where Bach moved in 1723.

We know very little about the performance history of Bach’s instrumental works and there is no record that the Brandenburg Concertos were performed anywhere in Bach’s lifetime, although the Prince’s orchestra at Cöthen certainly included musicians capable of playing this very demanding music. The autograph score remained in the possession of the Prussian royal family but the concertos were largely neglected and unknown, and were not mentioned either in Bach’s obituary or his first biography published in 1802. They were published only in 1850 when a German musicologist stumbled upon them in a library in Berlin, but it was not until one hundred years later, with the early music revival of the 1950s, that they began to be widely heard.

WHAT TO LISTEN FOr

Brandenburg Concerto No. 3 may be the earliest of all the concertos. Some scholars have dated at least the first movement to 1714, the period when Bach was beginning to immerse himself in the new Italian concerto style for one or two soloists made popular by Antonio Vivaldi.

In this, as in most of his concertos, Bach broadly followed Vivaldi’s model of three movements, fast–slow–fast, the fast movements structured around a refrain (ritornello) that is stated with variations by the full orchestra, alternating with different thematic material (known as episodes) for the soloists. Bach took ritornello form to a new level of complexity, with his layering of orchestral texture and virtuosic writing for solo instruments.

Concerto No. 3 is just for strings, 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. 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. The second movement consists of just two bars with no direction on the score as to their interpretation. 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 performance the second movement will be an improvisation played by the first violinist. The rushing third movement is in the form of a gigue.

ANTONIO VIVALDI (1678–1741)

Concerto Op. 3 No. 8 for two violins rV 522 from L’estro armonico

Allegro Larghetto e spirituoso Allegro

Vivaldi died penniless and unknown in 1741, yet only thirty years earlier he had been the most famous instrumental composer in Europe after the publication in 1711 of his Opus 3, a collection of twelve concertos that he called L’estro armonico. Described by the Vivaldi scholar Michael Talbot as “perhaps the most influential collection of instrumental works to appear during the whole of the eighteenth century”, this seminal work provided a model for concerto composition that was followed and built on by other composers from France to Germany to Italy for years to come.

VIVALDI UNWIRED

10 11

Vivaldi’s nearly eight hundred works might have remained in obscurity had it not been for a revival of interest in JS Bach during the nineteenth century, when scholars found that Bach had developed his compositional style by studying and transcribing some of Vivaldi’s violin concertos. This piqued an interest in Vivaldi for his own sake and his published works began to be studied, but it was not until 1926 that the bulk of Vivaldi’s works were rediscovered. Bach transcribed six of the L’estro armonico concertos for other instruments; this concerto was the basis for his organ concerto BWV 593.

WHAT TO LISTEN FOr

L’estro armonico means frenzied or passionate harmony, an appropriate title given the sheer energy and vigour of Vivaldi’s style expressed in forceful rhythms and endless variety which, along with the concertos’ originality in terms of musical form, made them so fascinating. Vivaldi wrote about two hundred and thirty concertos for solo violin and twenty five for two solo violins like this concerto, most of them thought to have been written for the exceptionally fine female players at the Pietà, the orphanage for girls for whom Vivaldi worked on and off for most of his life.

The fast first and third movements are built on repeated refrains (ritornellos), slightly varied each time to maintain interest and give a sense of momentum. Rapidly descending scales are a feature of the first movement.

Vivaldi was himself a virtuoso violinist, and much of his writing for violin is extremely technically demanding. Johann Uffenbach, a traveller from Germany and a keen amateur musician, was astounded at his technical feats:

Vivaldi played a solo accompaniment – splendid – to which he appended a cadenza which really terrified me, for such playing has never been nor can ever be; he came with his fingers within a mere grass-stalk’s breadth of the bridge, so that the bow had no room – and this on all four strings with imitations and at incredible speed.

VIVALDI UNWIRED

Matt Bruce Baroque Violin, Marianne Yeomans Baroque Viola, Kirsty McCahonBaroque Double Bass.12

From the late 1740s Bach started to apply for other positions including that of music director in Leipzig after his father’s death, but he was unsuccessful. Finally, in 1768, he was appointed resident composer and music director for the city of Hamburg, succeeding Telemann. He took a leading part in the city’s musical life, performing, teaching, and overseeing two hundred performances a year until his death twenty years later.

In a composing career spanning over sixty years, from the late Baroque to the high Classical periods, Emanuel Bach produced over a thousand works in all genres from keyboard sonatas to symphonies, concertos, songs and sacred vocal works. He was one of the most original musical thinkers of his time, always trying something new, and always with the goal of engaging and moving the listener.

WHAT TO LISTEN FOr

Bach was highly respected in Berlin musical life outside the court, and he used the concertos he had composed for an indifferent Frederick for public concerts, with the solo parts re-composed to suit different solo instruments. This concerto, which he composed in 1750, was one of these. It exists in three authentic versions, for either flute, harpsichord or cello as solo instrument. For this performance the flute version has been further arranged for solo saxophone by Christina Leonard.

This concerto seems quite unpredictable compared to the structured ritornello model developed by Vivaldi. Emanuel Bach was an exponent of a mid-eighteenth century artistic movement known as Empfindsamkeit, or sensitive style, and believed that music should touch the heart and move the emotions. He wrote that he wanted his music to express many emotions, one after another, and this changeability characterises much of his music, giving it an intimate, conversational feel.

It is apparent in the strongly contrasting elements in the outer movements of this concerto. In the first movement the lyricism of the solo instrument is continually confronted by a raging, anxious full orchestra. After a calmer second movement the dialogue of soloist with orchestra picks up again in the final movement, the soloist giving half-finished answers to questions which are more playful and less anxious than the first movement’s.

INTERVAL

VIVALDI UNWIRED

Ben Dollman, Period Violin

CArL PHILIPP EMANuEL BACH (1714-1788)

Concerto for flute in A minor Wq 166, arr. for soprano saxophone by C. Leonard

Allegro assai Andante Allegro assai

He is the father, we are the children. Those of us who do anything right learned it from him. Whoever does not admit to this is a scoundrel.

attributed to Mozart by 18th century music historian Johann Rochlitz

In the eighteenth century Carl Philip Emanuel was the most famous of the musical Bach family, far more than his father and teacher Johann Sebastian. Emanuel was for many years a member of the brilliant musical establishment at the Berlin court of the Prussian king Frederick the Great. He was recognised by his contemporaries (but not by the King) as the leading keyboard player of his time, and his Essay on the True Art of Playing Keyboard Instruments was required reading for composers such as Haydn, Czerny and Beethoven. It remains one of the most comprehensive and precious resources in understanding both the practicalities and the aesthetics of music in the eighteenth century.

Emanuel Bach was hired by Frederick the Great in 1740 as one of two harpsichordists in an orchestra which with forty players was one of the largest in Germany. With virtually unlimited power and wealth and an almost obsessive interest in music, Frederick was able to employ the finest musicians in Germany as players, conductors and composers. They included the flute virtuoso Johann Quantz, who was also his teacher. Frederick was a great military tactician, and ran his court in a similar manner. Every night of the week except Monday and Friday (when he went to the opera) private concerts were held, beginning precisely at 7pm. At every concert the king played six of the three hundred or so concertos composed for him by Quantz in the conservative style he favoured, and it was the job of CPE Bach, virtuoso keyboardist and one of the most original composers of the period, to accompany him. Not surprisingly, after years spent accompanying “ten thousand flute solos” played by a capable but amateur soloist with an unreliable sense of rhythm, Bach became bitter and felt that his abilities were not properly recognised especially as he was not paid at the level of the other musicians in the court. As he confided to a friend, “If you are under the impression that the King loves music, you are mistaken. He only loves the flute, and more than that, the only flute he loves is his own”.

14 15

MAx rICHTEr (1966 -)

recomposed – Vivaldi: The Four Seasons

Max Richter was born in Germany but grew up in England, and studied piano and composition at the University of Edinburgh and the Royal Academy, and with post-modernist composer Luciano Berio in Florence. He is known for his interest in neoclassical composition and the bringing together of contemporary classical and alternative popular musical styles. Although he is classically trained, he is also influenced by punk and electronic music. As well as composing and recording his own music, for stage, opera, ballet and cinema, he is also known for collaborations with performance, installation and media artists.

WHAT TO LISTEN FOr

Richter’s version of Vivaldi’s The Four Seasons was premiered in London in October 2012. He described it then as a re-composition, not an arrangement, as he said that three-quarters of the notes in the score are his, and not Vivaldi’s. In an interview he gave to London’s Guardian newspaper before the premiere, Richter discussed how he came to re-write arguably the most famous piece of classical music ever written.

“The Four Seasons is something we all carry around with us. It’s just everywhere. In a way, we stop being able to hear it. So this project is about reclaiming this music for me personally, by getting inside it and rediscovering it for myself – and taking a new path through a well-known landscape. … There are times I depart completely from the original, yes, but there are moments when it pokes through. I was pleased to discover that Vivaldi's music is very modular. It’s pattern music, in a way, so there's a connection with the whole post-minimalist aesthetic I’m part of.”

So what is left of Vivaldi? The original overall structure remains – four concertos each with three movements – but Richter has added a shimmering introduction before the opening “Spring” concerto. The instrumentation also is essentially the same with the addition of a harp, but a major difference is the inclusion of different electronic effects composed by Richter for each movement and played on synthesiser. In each movement Richter has retained a fragment of Vivaldi – a melody, a rhythm – and re-used them through the repetition and regular continuous rhythmic patterns characteristic of minimalism. Through this he has arrived at his own interpretations of the seasons.

Richter would be very happy if his version encourages listeners to return to Vivaldi’s work with fresh ears. “The original Four Seasons is a phenomenally innovative and creative piece of work. It’s so dynamic, so full of amazing images. And it feels very contemporary. It’s almost a kind of jump-cut aesthetic – all those extreme leaps between different kinds of material. Hats off to him. That’s what I'm really pleased with: my aim was to fall in love with the original again – and I have.”Jamie Hey

Baroque Cello16 17

Program notes and timeline © Lynne Murray 2015

YEAR ViVAldi J S BAch cPE BAch contEmPoRARY EVEntS

1678 Born in Venice Roman catholics banned from English parliament

1685 Born in Eisenach Handel born

1703

Ordained as a priest. Appointed violin teacher at the Pietà girls’ orphanage in Venice

First job as lackey and musician at court of Weimar Fire brigade founded in Edinburgh

1708 Appointed organist & chamber musician at Weimar

Construction of St Paul’s cathedral in London completed

1711 L’estro armonico Opus 3 published Handel mounts first London opera

1713 First opera performed, in Vicenza The Guardian newspaper founded in England

1714Becomes impresario & composer at S. Angelo opera theatre, Venice

Composes 1st movement of Brandenburg Concerto No 3 Born Queen Anne dies; Elector of Hannover

becomes George I, King of Great Britain

1717Leaves the Pietà to mount productions of own operas throughout Italy

Accepts post at Cöthen; jailed for 1 month by Weimar court for attempting to leave

Handel composes Water Musick

1721 Sends concertos to the Margrave of Brandenburg

Smallpox vaccine first administered in England

1723Contracted by Pietà to produce two concertos a month

Appointed cantor of St Thomas’s, Leipzig

Attends Thomasschule where he is taught by his father

British parliament makes it an offence punishable by death to black one’s face to hunt deer

1724 First performance of St John Passion Canaletto paints the Grand Canal, Venice

1725 Four Seasons published Catherine I becomes Empress of Russia

1727 First performance of St Matthew Passion

Takes part in JS Bach's performances while studying law

Handel composes coronation anthems for George II

1736 Re-hired by Pietà as maestro di concerti

Appointed Royal Polish & Electoral-Saxon court composer

Teaching and composing at university in Frankfurt

Statue of Handel erected in Vauxhall Gardens, London

1740 Leaves for Vienna Appointed harpsichordist to Frederick II of Prussia

Rule, Brittania! first performed at home of Prince of Wales

1741 Dies in poverty in Vienna Handel composes Messiah and Samson

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

Completes Magnificat Proof that citrus fruit prevents scurvy

1750 Two eye operations. Dies on 28 July aged 65

Unsuccessfully applies for his father’s job in Leipzig. Composes flute concerto Wq 166

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

1753 Publication of treatise on keyboard playing

British parliament extends citizenship to Jewish people

1755 Threatens to leave & given salary raise by Frederick

First dictionary of the English language published by Samuel Johnson

1767 Appointed city music director in Hamburg Fragonard paints The Swing

1788 Dies First Fleet arrives in Botany BayMarianne YeomansBaroque Viola18

Brendan JoyceGust Concertmaster

Matt BruceBaroque Violin

Catherine ShuggBaroque Violin

Skye McIntoshBaroque Violin

Marianne YeomansBaroque Viola

Christian readBaroque Viola

Simón gangotenaBaroque Viola

Jamie HeyBaroque Cello

Anthea CotteeBaroque Cello

Matt grecoBaroque Violin

Tim WillisBaroque Violin

Ben DollmanBaroque Violin

Sarah DunnBaroque Violin

rosemary QuinnBaroque Cello

Dan CurroBaroque Cello

Kirsty McCahonBaroque Double Bass

Libby BrowningBaroque Double Bass

Simone SlatteryBaroque Violin

Stephanie EldridgeBaroque Violin

Shaun WardenBaroque Violin

Monique O'DeaBaroque Viola

Christina LeonardSoprano Saxophone

Melina van LeeuwenModern Harp

Tommie AnderssonTheorbo/Guitar

Joanna TondysHarpsichord

Paul Dyer AOHarpsichord/Synthesiser

AUstRALIAN BRANDENBURgoRchEstRA

20 21

QuEENSLAND PErFOrMINg ArTS CENTrE PO Box 3567, South Bank, QLD 4101 T: (07) 3840 7444 W: qpac.com.au

ChairChris Freeman AM

Deputy ChairRhonda White AO

TrusteesKylie BlucherSimon GallaherSophie MitchellMick Power AM

Chief Executive: John Kotzas

ACKNOWLEDGMENTThe Queensland Performing Arts Trust

is a statutory body of theState of Queensland and is partially

funded by the Queensland government

The Honourable Annastacia Palaszczuk MPPremier and Minister for the Arts

Mr David Stewart Director-General, Department of the Premier and Cabinet

City ReCital Hall angel PlaCe

A City of Sydney VenueClover MooreLord Mayor

Managed byPegaSUS VenUe ManageMent (aP) Pty ltD

Christopher RixFounder

Anne-Marie Heath general Manager

City Recital Hall angel Place2-12 Angel Place,Sydney, AustraliaGPo Box 3339,Sydney, nSW 2001

administration02 9231 9000Box Office02 8256 2222 Facsimile02 9233 6652 Websitewww.cityrecitalhall.com

Founding Patron Dame Elisabeth Murdoch AC DBE

Board of Directors Kathryn Fagg, Chair Peter Bartlett Tommas Bonvino Stephen Carpenter Des Clark Joseph Corponi Margaret Farren-Price John Higgs Julie Kantor

Executive Staff Mary Vallentine AO, Chief Executive Nesreen Bottriell, Director Corporate Services Robert Murray, Director Marketing & Customer Relations Sandra Robertson, Director Development Kirsten Siddle, Director Programming & Presenter Services

MELBOurNE rECITAL CENTrE

Corner Southbank Boulevard and Sturt Street Southbank VIC 3006 Administration: 03 9699 2228 Box Office: 03 9699 3333 Facsimile: 03 9207 2662

Website: melbournerecital.com.au

THE AuSTrALIAN BrANDENBurg OrCHESTrA grATEFuLLY ACKNOWLEDgES THE SuPPOrT OF Our PArTNErS

Sponsor of hotel accommodation in Melbourne

Media supporter

Sponsor of creative branding & graphic design

Sponsor of business strategy development

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

Council, its arts funding and advisory body.

Carla Zampatti dresses the women of the Orchestra

M.J. Bale dresses the men of the Orchestra

The Australian Brandenburg Orchestra is assisted by the NSW Government

through Arts NSW

Education Partner

Official Wellbeing Partner

Digital Partner

Brisbane Series Sponsors

Wine partner

22 23

BrANDENBurg FOuNDATION PATrONS

The purpose of the Brandenburg Foundation is to ensure the longevity of the Orchestra. The Foundation’s capital funds can be used for special projects such as finding a permanent home for the Orchestra.

AMATI $250,000 – $499,999The Eileen Marie Dyer AM FundAnonymous

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

guArNErI $50,000 – $99,999Macquarie Group FoundationThe Martin Family in memory of Lloyd Martin AMChristine Yip and Paul BradyAnonymous

MAESTrI $25,000 – $49,999John and Robyn ArmstrongChris and Kathy HarropGreg Hutchinson AM and Lynda HutchinsonNick and Caroline MinogueRowan Ross AM and Annie Ross

ArCANgELI $15,000 – $24,999Melinda Conrad and David JonesGlenn Moss and the late Dr Ken Moss AMDavid and Rachel Zehner

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

BrANDENBurg ANNuAL gIVINg PrOgrAMS

As a not-for-profit organisation, the Brandenburg relies on the invaluable support of music lovers like you to maintain the breadth and quality of our work. Each year, we need to raise at least 11% of our income through support from individuals to keep our position as the country’s leading presenter of baroque music.

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.

“The Brandenburg has given me so many memorable experiences. By making an annual donation I know I am playing my part in developing the Orchestra’s work and helping more people to be uplifted and inspired through experiencing the thrill of live baroque music.” Brandenburg donor

To find out more, or to make a donation please get in touch www.donations.brandenburg.com.auEmail: development@brandenburg.com.auTelephone: 02 9363 2899

CHAIrMAN’S 11Dedicated to the memory of James Strong AO. Chairman’s 11 supports international and local artists who will feature in each Series annually. Membership is by invitation only.

FOuNDINg MEMBErSIn memory of a first class cricketer (UK), W G KeighleyJillian Broadbent AO Louise Christie Diana and Richard Fisher Chris and Gina Grubb Grant and Jennifer KingSusan Maple-Brown AMMs Gretel Packer Anonymous

DurAZZO $1,000 - $4,999

Janet AbernethyAnthony Adair and Karen McLeod AdairJanet AllenJ M AlroeBrett AndersenJohn and Robyn ArmstrongIan Baker and Cheryl SaundersFrederic Baudry and Paul BaileyMarc Besen AC and Eva Besen AOBOYCE Family OfficeCatherine and Phillip BrennerDiana BrookesDr Catherine Brown-Watt PSM and Mr Derek WattKay BuckeridgeHenry Burmester and Peter MasonWayne Burns and Kean Onn SeeElizabeth ButcherBeverley and Alan CastlemanDr Jeffrey Chan and Colin HudsonMr Peter Clark and Mrs Jan ClarkFrank and Jan ConroyP Cornwell and C RiceDom Cottam and Kanako ImamuraDavid Davies and Paul PresaSusan Dixon and Stephen RixEmeritus Professor Dexter Dunphy AMJuliana Engberg and Kay CampbellRalph and Maria EvansRosemary FarrowWendy and Ron Feiner

John Forsyth AM and Ann VerschuerBrian and Philippa FranceCarrillo and Ziyin GantnerJustin and Anne GardenerBill and Julie GooldAnn Gordon*Richard and Anna GreenKen Groves and Yun-sik JangJane HemstritchJ Holden Family FoundationPeter and Jenny HordernMrs Joan L HossackJill and David HuntDr Alastair JacksonThe Hon Rod Kemp and Mrs Daniele KempAnn and James LahoreMr John Lamble AOAirdrie LloydRichard and Elizabeth LongesElizabeth Mackenzie and Michael BremnerJohn and Rosemary MacLeodAggie Maisano*Dr Diana Marks and Dennis BluthRobyn Martin-WeberJoanna B MaxwellMora MaxwellRichard and Rowena McDonaldPeter McGrath*J A McKernanDr Jan Milburn OAM

Nola NettheimPaul O'DonnellTrevor J ParkinProfessor David PeningtonJohn and Catherine PercyJane Perry and Bob D'ArcyW J and R PoateJim and Chris PollittTed and Jean RadfordPatricia H Reid Endowment Pty LtdDr David and Dr Gillian RitchieJohn ScottDr Celina SeetoDaniela ShannonPaul Sheehan and Susan WyndhamMr Charlie Shuetrim AM and Mrs Sandra ShuetrimDr Agnes SinclairAlan and Jennifer SmithDr Murray StapletonMax and Jennie SuichVictoria TaylorMr Mike ThompsonAnne and Richard TravisStephen and Ruth WalshDr Jason WenderothJustice Anthony WhealyJudith WilliamsGregory WoodJan and David YoungAnonymous x 21

SuPPOrTEr I $500 - $999

Peter AllanGillian AppletonJeanette BeaumontCathie BoagJan BurnswoodsRebecca and Craig ClarkeJeanette Cooper and Guy Cooper PSMJim Cousins AO and Libby CousinsTim and Bryony CoxIn memory of Betty CurtainDeborah DebnamCarol des CognetsMargaret DobbinJane Edmanson OAMAnton Enus and Roger HenningPeter Fletcher AM and Kate FletcherMarguerite Foxon*

Christine GeorgeKarl GoiserPhilip and Anabel GosseBecco Restaurant and the Hartley FamilyDr Ailsa Hocking and Dr Bernard WilliamsJudith HoyMichael JonesA and V KoumoukelisAntoinette le MarchantPJ Lindwall and JM FrederiksonBetty LynchJanet McDonald AO and Donald McDonald ACWendy E McCarthy AOIan and Pam McGawJohn Milhinch OAMDr David Millons AM and Mrs Barbara MillonsFrank and Susan Morgan

Dr Paul Nisselle AM and Mrs Sue NisselleIn memory of Jenny ParramoreDr Kevin PedemontJohn Peisley and Ros RoyalChristina PenderBeverly and Ian PryerRobyn RafflesThe Ranken FamilyGabrielle J RoweJeannette SharpeRobyn SmilesSue ThomsonGregory W WonAnonymous x 12

SuPPOrTEr II $250 - $499

Jaci ArmstrongKeith and Claire BeecherBaiba BerzinsProfessor Fran Boyle AMCatherine BroadyProfessor David BryantKerin CarrChris and Trudy CooteRaymond DebusJanet DoustDr Mary T FreemanRichard and Heather GorrellGeoff HogbinAndrew and Fiona JohnstonHilary KelmanJann Kohlman

George LawrenceGill ListerDr Susan Locke and Dr Nicholas LockeMrs Iris LukePeter McCallLois McCutchanDr Allan and Mrs Patricia McLayDr Kerry MillsBrendan O'ConnellJanette OwenDr Alice J PalmerE K PalmerNella PinkertonBarry and Marie-Claire PriceKen RamshawM L Rattigan

Barbara and Malcolm RichardsonAlexander and Rosemary RocheStephen and Sharon SchachMrs E l SeviorDr Gideon and Mrs Barbara ShawJudith ShelleyCharles SuchDr Mark SussAnthony TarletonMiriam and Frank TisherJennifer and Julian TurecekRonald WalledgeJoy WardleDeborah WhitfordSusan YoungAnonymous x 16

COrPOrATE DONOrS

APA GroupBain & CompanyLink Market Services

Macquarie Group Limited Pacific Equity PartnersQANTAS Loyalty

BEQuEST

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

* Donors to the Brandenburg International Baroque Study Program This donor list is current for a 12-month period to 30 March 2015.

A HEArTFELT THANK YOu TO Our gENErOuS FAMILY OF SuPPOrTErS

CHrISTINA $10,000 or above Aidan Allen John Almgren AM and Yvonne AlmgrenPeter Barclay and Victoria Le GallaisGraham Bradley AM and Charlene BradleyThe Clayton FamilyCrown Resorts Foundation Jane and David DuncanDon and Deirdre Faithfull in memory of Harold and Edna JohnstonMrs Mary Holt and the late Dr John HoltMrs W G Keighley in memory of GeoffreyMacquarie Group FoundationSusan Maple-Brown AM and the late Robert Maple-BrownThe Alexandra and Lloyd Martin Family FoundationRohan MeadNick and Caroline MinoguePacker Family Foundation Lady Potter ACThe Rodwell FoundationRowan Ross AM and Annie RossJeanne-Claude Strong in memory of James StrongGreg WardCameron Williams

ruSPOLI $5,000 - $9,999Antoinette AlbertGlenn BarnesMrs Ros Bracher AMDavid and Leith Bruce-SteerLouise ChristieRick and Sue Coles*In memory of Darrel FraserDespina and Iphygenia KallinikosKatie Lahey AM and Robert MarriottGlenn MossMrs Joyce Sproat and Mrs Janet CookePeter William Weiss AORay Wilson OAM and James Agapitos OAMAnonymous x 2

BrANDENBurg DONOrS LIFE PATrONS

Mrs Mary Holt and the late Dr John Holt

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Patron His Excellency General the Honourable Sir Peter Cosgrove AK MC (Retd)

Artistic Director Paul Dyer AO

The Brandenburg Council Jillian Broadbent AO Greg Hutchinson AM Max Suich

The Board Greg Ward, Chairman Bruce Applebaum Cathy Aston David Baffsky AO Melinda Conrad Paul Dyer AO Katie Lahey AM Rohan Mead Simon Pillar David Zehner Bridget O'Brien, Company Secretary Managing Director Bruce Applebaum

Deputy General Manager Bridget O'Brien

Stephen Attfield Development Manager

Kyle Buchanan Development Coordinator

Bridget Cody Marketing Manager

Kateryna Collier Box Office Manager

Ian Creevey Accounts Assistant

Susan Duffy Executive Assistant

Rob Dyball Orchestra Manager

Anna Hay Receptionist/Ticketing Assistant

Lilla Ito Project and Concert Management Consultant

David Joyce Systems Consultant

Aishlinn McCarthy Marketing Executive

Shannon O'Hara Production Coordinator

John Scott Accountant

Tina Semple Marketing Manager, Digital

Joanna Tondys Assistant to Artistic Director

Rebecca Warren Philanthropy Manager

Beth Wilson Assistant Box Office Manager

Steven Godbee Publicity Publicist

KPMG Auditors

Charles Gwynn Andrew O'Connor Christopher Price Repertoire Advisors (honorary)

Brandenburg Ensemble Limited trading as Australian Brandenburg Orchestra is a non-profit organisation registered as a company limited by guarantee. ABN 41 003 908 183

Address 142 New South Head Road, Edgecliff NSW 2027 | Post GPO Box 4416, Sydney NSW 1008 Telephone 61 2 9328 7581 | Website www.brandenburg.com.au | Email mail@brandenburg.com.au

recordingsThe Australian Brandenburg Orchestra has released seventeen recordings, with soloists including Andreas Scholl, Genevieve Lacey, Yvonne Kenny, Elizabeth Wallfisch, Sara Macliver, Graham Pushee and Cyndia Sieden. Several of these recordings have received awards, including five ARIA Awards for Best Classical Album.

A BrANDENBurg CHrISTMASBrandenburg ChoirAustralian Brandenburg Orchestra Paul Dyer, artistic director Christina Leonard, saxophoneLouise Prickett, sopranoABC 476 4687

TAPASAustralian Brandenburg Orchestra Paul Dyer, artistic director 2010 ArIA Award:Best Classical AlbumABC 476 3828

BArOQuE FAVOurITES Australian Brandenburg OrchestraPaul Dyer, artistic directorABC 476 4056

HANDELCONCErTI grOSSIAustralian Brandenburg OrchestraPaul Dyer, artistic director 2009 ArIA Award: Best Classical AlbumABC 476 3436

A CELTIC CHrISTMASBrandenburg ChoirAustralian Brandenburg OrchestraPaul Dyer, artistic directorMaximilian Riebl, countertenorABC 481 1317

grEAT VIVALDI CONCErTOSAustralian Brandenburg OrchestraPaul Dyer, artistic director. Featuring guest artists such as Genevieve Lacey, Elizabeth Wallfisch, Hidemi Suzuki, Lucinda Moon and many more. ABC 476 923-3

SANCTuArYAustralian Brandenburg Orchestra Paul Dyer, artistic directorKirsten Barry, baroque oboe 2005 ArIA Award: Best Classical AlbumABC 476 284-0

VIVALDI – IL FLAuTO DOLCEAustralian Brandenburg OrchestraPaul Dyer, artistic director Genevieve Lacey, recorder2001 ArIA Award: Best Classical Album ABC 461 828-2

MOZArT CLArINET CONCErTO & ArIAS Australian Brandenburg OrchestraPaul Dyer, artistic directorCraig Hill, basset clarinetCyndia Sieden, sopranoABC 476 1250

NOëL! NOëL! Brandenburg ChoirAustralian Brandenburg OrchestraPaul Dyer, artistic director Sara Macliver, soprano ABC 472 606-2

ANDrEAS SCHOLL – VIVALDIAustralian Brandenburg Orchestra Paul Dyer, artistic directorAndreas Scholl, countertenorABC 466 964-2

THE AuSTrALIAN BrANDENBurg OrCHESTrA COLLECTION Australian Brandenburg OrchestraPaul Dyer, artistic directorABC 465 428-2

HANDEL ArIASAustralian Brandenburg OrchestraPaul Dyer, artistic directorYvonne Kenny, soprano1998 ArIA Award: Best Classical AlbumABC 456 689-2

IF LOVE’S A SWEET PASSIONAustralian Brandenburg OrchestraPaul Dyer, artistic directorSara Macliver, sopranoABC 456 692-2

THE FOur SEASONSAustralian Brandenburg OrchestraPaul Dyer, artistic director Elizabeth Wallfisch, baroque violinABC 456 364-2

HANDEL ArIASAustralian Brandenburg Orchestra Paul Dyer, artistic director Graham Pushee, countertenorABC 446 272-2

BrANDENBurg FAVOurITESAustralian Brandenburg OrchestraPaul Dyer, artistic director ABC 434 720-2

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To find out more, or to make a donation please get in touch www.donations.brandenburg.com.au  Email: development@brandenburg.com.au Telephone: 02 9363 2899

$100A bouquet of beautiful

flowers to show our appreciation for a guest

artist on the opening night concert of

a series

$600Four nights’

accommodation for one musician on tour

with the Brandenburg, as part of our commitment

to bringing baroque music to regional

Australia

$1,200A day’s studio hire to

begin recording a new Brandenburg CD

with ABC Classics (perhaps even another ARIA Award winner!)

$2,000To source original

edition scores and prepare them for their journey

from manuscript to the Brandenburg stage,

so that each part is ready to be played by our

musicians

$300A Masterclass for a

tertiary music student led by a Brandenburg musician – to inspire the next generation

of baroque musicians

$850To care for and

prepare period instruments in the Brandenburg’s instrument collection

in the run up to a concert series

YOur SuPPOrT IS INTEgrAL TO Our SuCCESS There’s such a variety of activity behind the scenes at the Brandenburg – and you can be part of it! Each year we run fundraising campaigns to enable us to present outstanding performances of baroque music, while continuing to innovate as an organisation. We rely on you, our family of supporters, to respond through one-off donations or annual pledges.

Here, we’ve featured just a few of the items and services required by the Orchestra to make each concert series a success. Please consider making a donation to support us.

MUSIC ENERGISES THE SOUL

AND APA GROUP ENERGISES AUSTRALIA

APA Group

We’re Australia’s leading natural gas infrastructure business, delivering close to half of the nation’s natural

gas usage.

APA is an ASX Top 50 company, with over $12 billion of energy assets.

INTERESTED IN ENERGY?www.apa.com.auASX: APA

SydneyCity Recital Hall Angel PlaceWed 22 Jul, Fri 24 Jul, Wed 29 Jul, Fri 31 Jul, Sat 1 Aug all at 7pmMatinee Sat 1 Aug at 2pm MelbouRneMelbourne Recital CentreSat 25 July at 7pmSun 26 July at 5pm

NEXT CONCERT

FRENCh BaROquEWiTh

Paul dyer artistic director and directorClaire lefilliâtre (France) sopranoCircayaron lifschitz (Circa) artistic directorAustralian brandenburg orchestra MuSiC Rameau Overture to Naïsle Camus Laissez durer la nuitRameau Suite from Les Indes GalantesA pasticcio created by Paul dyer featuring Marais, lully, Tessier, boesset and more

Series Partner

A tantalising journey through heaven and earth lit by the romance and glamour of French baroque

booK noWbrandenburg.com.au | 02 9328 7581cityrecitalhall.com | 02 8256 2222melbournerecital.com.au | 03 9699 3333