BLAZING BAROQUE - Australian Brandenburg …Vivaldi Concerto for violin in D major, RV 208, Grosso mogul Telemann Grand Concerto in D major, TWV deest Interval Vivaldi Concerto for

BLAZING BAROQUE

Sydney, Melbourne and BrisbaneJuly/August 2016

Paul Dyer AO Artistic DirectorShaun Lee-Chen Baroque ViolinAustralian Brandenburg Orchestra

PROGRAMSammartini Overture to the opera Memet, J-C 88Vivaldi Concerto for violin in D major, RV 208, Grosso mogulTelemann Grand Concerto in D major, TWV deest

Interval

Vivaldi Concerto for several instruments in F major, RV 569Telemann Concerto for flute & recorder in E minor, TWV 52:e1Fasch Concerto in D major, FWV L:D4a

Chairman’s 11Proudly supporting our guest artists.

The duration of this concert is approximately 2 hours including interval.We kindly request that you switch off all electronic devices during the performance.This concert will be broadcast on ABC Classic FM on Thursday 11 August, 1pm.

SydneyCity Recital HallWednesday 27 July, 7pmFriday 29 July, 7pmWednesday 3 August, 7pmFriday 5 August, 7pmSaturday 6 August, 7pmMatineeSaturday 6 August, 2pm

MelbourneMelbourne Recital CentreSaturday 30 July, 7pmSunday 31 July, 5pm

BrisbaneQueensland Performing Arts CentreMonday 8 August, 7:30pm

1PRINCIPAL PARTNER

SATO & THE ROMANTICS

PRINCIPAL PARTNER

1PRINCIPAL PARTNER


The duration of this concert is approximately 2 hours including interval. We kindly request that you switch off all electronic devices during the performance.

SydneyCity Recital HallWednesday 7 September, 7pmFriday 9 September, 7pmWednesday 14 September, 7pmFriday 16 September, 7pmSaturday 17 September, 7pmMatineeSaturday 17 September, 2pm

MelbourneMelbourne Recital CentreSaturday 10 September, 7pmSunday 11 September, 5pm

Sydney and MelbourneSeptember 2016

Shunske Sato Guest Director, Violin Paul Dyer AO Artistic Director, ConductorAustralian Brandenburg Orchestra

PROGRAMMendelssohn String Symphony No.3 in E minor, MWV N 3Grieg Holberg Suite, Op. 40

Interval

Paganini Violin Concerto No. 4 in D Minor, MS 60


The Macquarie Group Foundation is the philanthropic arm of Macquarie Group. It helps to strengthen the communities Macquarie staff live and work in by facilitating thousands of hours of staff volunteering and pro bono programs each year with community organisations around the world.

Macquarie employees and the Macquarie Group Foundation have also given generously, resulting in more than $A270 million donated to over 2,500 organisations globally since 1985.

For more information go to macquarie.com/community

Strengthening our communities

ARTISTIC DIRECTOR’S MESSAGE

Bill MarynissenHead of Wealth Management, Banking and Financial Services

Paul Dyer AOArtistic Director and ConductorPRINCIPAL PARTNER 32

For this series, I have decided to peer around the corner to music of the nineteenth century, often referred to as the Romantic period.

The contemporary word ‘romantic’ has a whole range of meanings these days… a romantic feeling, a romantic getaway, dimmed light, a pet name and romantic music itself all tend to evoke a soft, dreamy atmosphere, but not all Romantic music fits this description, and it certainly does not apply to the music for this concert. The music you will hear tonight has great sophistication and depth, but also is incredibly passionate and unpredictable.

I have always had a personal dream to program Grieg’s Holberg Suite and I am over the moon that finally the dream is coming true. With deep affection for Mendelssohn and the fact that he was only 12 when he composed the String Symphony, I feel honoured to be presenting music of a young dynamic man who was searching for his personal voice.

For the first time in the Brandenburg’s history, we will have this special opportunity to play one of the most difficult pieces ever written for violin, Paganini’s Violin Concerto No. 4, and I am extremely excited to bring to you one of the bravest musicians I know – Shunske Sato.

As the title of the concert suggests, Shunske is going to take us on a journey with three incredible composers: young Mendelssohn, serious Grieg and crazy Paganini. Shunske’s risky venture requires not only technical virtuosity and dexterity, but emotional depth and understanding to deliver unforgettable performance. We are proud to be part of his Australian debut and I hope that each of you will take this incredible experience with you to treasure forever.

On behalf of Macquarie Group, it is my great pleasure to welcome you to Sato and the Romantics.

We are proud to continue our partnership with one of Australia’s foremost cultural treasures, the Australian Brandenburg Orchestra, who inspire and engage in a rapidly changing entertainment environment with conviction, intimacy and purity.

Macquarie appreciates the powerful impact music can have with the right support. This year is the Macquarie Group’s ninth year as the Brandenburg’s principal partner and what makes this relationship so rewarding is our shared vision and commitment for the highest standards, underpinned by specialist skills and experience.

The Australian Brandenburg Orchestra would not be possible without the commitment and vision of Artistic Director Paul Dyer and Managing Director Bruce Applebaum who along with their team have worked tirelessly over the past 27 years to transform the company into the national baroque orchestra it is today.

Each year the talented and charismatic Paul Dyer delivers to us internationally renowned artists who share the stage with the orchestra, and 2016 is no exception. Shunske Sato is an extraordinary performer and his collaboration with the Brandenburg highlights a fearless pursuit for excellence and virtuosity.

We thank the performers and congratulate them on their energy, passion and very generous spirit.

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

SHARED VISIONS

4

* Denotes Brandenburg Core Musician+Section Leader

1 Bianca Porcheddu appears courtesy of St. Francis Xavier College, Florey ACT (staff)2 Monique O’Dea appears courtesy of Presbyterian Ladies’ College, Sydney (staff)3 Rob Nairn appears courtesy of Penn State University Historical Performance Faculty, The Juilliard School

Period Violin 1Shaun Lee Chen, Perth+

ConcertmasterMatt Bruce, Sydney* Associate ConcertmasterCatherine Shugg, MelbourneBianca Porcheddu, Canberra1

Simone Slattery, AdelaideNatalia Harvey, Melbourne

Period Violin 2Ben Dollman, Adelaide+*Rafael Font, SydneyStephanie Eldridge, MelbourneEmma Williams, MelbourneShane Lestideau, Melbourne

Period ViolaMonique O’Dea, Sydney+2

Marianne Yeomans, SydneyChristian Read, MelbourneJames Eccles, Sydney

Period CelloJamie Hey, Melbourne+*Anthea Cottee, SydneyRosemary Quinn, SydneyDan Curro, Brisbane

Double BassRob Nairn, Adelaide+3

Libby Browning, Perth

Period Flute /PiccoloMelissa Farrow, Sydney+*Mikaela Oberg, Sydney

Period OboeEmma Black, Vienna+

Kirsten Barry, Melbourne*

Period ClarinetCraig Hill, MelbourneAshley Sutherland, Melbourne

Period BassoonPeter Moore, Perth+

Joanne Littlely, Perth

Period HornDarryl Poulsen, Perth+

Dorée Dixon, Perth

TrumpetLeanne Sullivan, Sydney*Simon Wolnizer, Sydney

Period TromboneNigel Crocker, SydneyRoslyn Jorgensen, SydneyBrett Page, Sydney

TimpaniBrian Nixon, Sydney

PercussionMurray Parker, Sydney

THE MUSICIANS ON PERIOD INSTRUMENTS

Australian Brandenburg OrchestraShunske Sato Guest Director, ViolinPaul Dyer AO Artistic Director and Conductor


PAUL DYERIn 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 Orchestra in 1990 and has been Artistic Director since that time. Paul has devoted his performing life to the harpsichord, fortepiano and the chamber organ as well as conducting the Australian 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 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 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. 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. 5

7

Shunske Sato is a violinist known for his distinctive and engaging performances on both modern and historical instruments. Equally in demand as concertmaster, chamber musician, soloist and teacher, the diversity of his activities reflects his versatile and resourceful nature.

Resident in The Netherlands, Shunske serves as concertmaster of Concerto Köln and the Netherlands Bach Society, and is often invited as a guest concertmaster for ensembles such as the Freiburger Barockorchester and the Scottish Chamber Orchestra. In 2013 he was invited to join the faculty of the Amsterdam Conservatory, where he teaches violin in the context of historical performance practice.

He has performed as soloist with American and European orchestras such as the Deutsche Oper Berlin, Bavarian Radio Philharmonic, Orchestre Philharmonique de Radio France and National Symphony Orchestra, as well as with orchestras in Japan such as the NHK Philharmonic and Osaka Century Orchestra. Shunske has recorded violin concertos by Haydn and Mozart with Orchestra Libera Classica under the baton of Hidemi Suzuki, and in 2011 gave the first performance of Paganini’s second violin concerto on historical instruments with the Academy of Ancient Music.

His discography is extensive and most notably includes works for solo violin by Telemann, Paganini and Eugène Ysaÿe.

In the roles of both soloist and concertmaster Shunske has worked with numerous conductors, including Ivor Bolton, Richard Egarr, Christopher Hogwood, and Kent Nagano.

In 2010 Shunske was awarded Second prize and the Audience prize at the 17th International Johann Sebastian Bach Competition in Leipzig. He also won the Young Concert Artists award at the age of 12, the youngest ever to date.

Born in Tokyo, Shunske immigrated to the US at the age of four. He studied at the Juilliard School in New York, Conservatoire National de Région in Paris and Hochschule für Musik und Theather in Munich. His teachers include Chin Kim, Dorothy DeLay, Masao Kawasaki, Gérard Poulet, Eiichi Chijiiwa and Mary Utiger.

SHUNSKE SATO

AUSTRALIAN BRANDENBURG ORCHESTRA

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

Sydney morning Herald

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

The Orchestra’s name pays tribute to the Brandenburg Concertos of J.S. Bach, whose musical genius was central to the baroque area. Celebrating their 27th anniversary in 2016, 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 it’s annual subscription series in Sydney and Melbourne, the Australian Brandenburg Orchestra performs before a live audience in excess of 51,000 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 19 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

6

9

SATO & THE ROMANTICSThis series of concerts represents a departure from its traditional repertoire for the Australian Brandenburg Orchestra, as it features music composed not in the seventeenth or eighteenth centuries, but in the nineteenth. This was a time of huge political, economic and social upheaval, and these changes were reflected in Romanticism, the artistic movement which arose in the late eighteenth century. In music, the Romantic period is considered to start around 1820, when it took over from the Classical style exemplified by Mozart and Haydn.

Music of the Classical period embodied the ‘classical’ characteristics of ancient Greek and Roman art and architecture – formal clarity, balance, an absence of excessive ornamentation, and the expression of universal emotions. Romanticism on the other hand was concerned with individualism, self-expression, and nature, and in music this change expressed itself in the rise in the importance of instrumental music, which was considered to be the ideal vehicle for depicting intense thoughts and feelings. Classical forms and genres were retained, but musical works were longer and more complex, and composers and audiences valued beautiful melody and striking harmony above all.

Shunske Sato Guest Director, Violin8

1110

Felix Mendelssohn Bartholdy (1809–1847)

String Symphony No. 3 in E minor, MWV N3

Allegro di molto Andante Allegro

“As far as mere technical execution goes, musical prodigies are probably not so rare any more: but what this young fellow can improvise and play at sight borders on the miraculous, and I did not consider it possible in one so young. …”

German poet Johann Wolfgang von Goethe

Mendelssohn was a child prodigy, whose musical genius was on a par with that of Mozart. Indeed Goethe, who heard both of them as children, considered that Mendelssohn was far the superior of the two. Mendelssohn was born into an eminent German family – the philosopher Moses Mendelssohn was his grandfather – and he grew up at the centre of Berlin’s intellectual and cultural life. His family was Jewish but his father, a wealthy banker, had Felix and his sister baptised, and he converted to Christianity himself when Felix was thirteen. At that time the family changed their surname to Mendelssohn Bartholdy (Bartholdy was Felix’s mother’s maiden name). Felix’s prodigious musical talent was fostered by his parents, who supplied the best available teachers for his musical and general education. He started composing seriously at the age of eleven and his compositional style was fully developed by the time he was a teenager.

Mendelssohn was strongly influenced by his study of the works of Handel, J.S. Bach, Haydn, and Mozart. He was largely responsible for the revival of Bach’s music in the nineteenth century; in 1829 at the age of twenty he prepared and conducted Bach’s St Matthew Passion in its first performance since Bach’s death in 1750. He edited the first critical editions of Handel oratorios and J. S. Bach’s organ music, and conducted a performance of Handel’s Israel in Egypt in Düsseldorf, which led to a revival of interest in Handel’s music in Germany.

At the age of just twenty-four Mendelssohn was appointed music director of the city of Düsseldorf, and two years later he became music director at Leipzig. With the premiere of his oratorio St Paul at the age of twenty-seven, he was renowned internationally as a composer and conductor. His life was marked by frequent travel, often to conduct his own commissioned compositions, but he found the travel very stressful and it took its toll on his health. He visited Britain ten times, becoming part of English musical life as a composer, conductor, pianist and scholar. Queen Victoria and Prince Albert were admirers of his music, and his oratorio Elijah premiered to huge acclaim in Birmingham in 1846.

When he died the following year from a stroke at the age of thirty-eight, his death was mourned as an international tragedy. Unfortunately, however, his memory was popularly idealised and his life story turned into a syrupy romantic novel, and by the end of the century his compositions, his scholarship, and his musical legacy had been so downgraded in the public mind that George Bernard Shaw was able to condemn his ‘kid-glove gentility, his conventional sentimentality and his despicable oratorio mongering’.

In German musical circles in the same period Mendelssohn’s reputation suffered due to anti-Semitism (shamelessly promoted by Wagner), and it was further trashed by the Nazis who banned his music and removed his statue from its place outside the Leipzig Conservatory. It was only at the end of the twentieth century that a complete edition of his compositions was prepared for publication, and many primary source materials relating to his life and work still remain unexamined.

What to listen for

With money no object, Mendelssohn’s parents found him the best teachers available. Twice a week from the age of eight to fifteen he had composition lessons with the eminent composer Carl Friedrich Zelter, who considered him a genius and who constantly remarked on his astounding progress. Under his instruction Mendelssohn undertook two years’ rigorous study of harmony, musical form and counterpoint at a level far exceeding that of the averagely talented nine-year-old. The next task which Zelter set him was to compose twelve string symphonies, of which this is the third. These were more extended pieces through which he was to explore more advanced compositional techniques. These little symphonies received their first performances at the lavish musicales which the Mendelssohn family held at their home every second Sunday morning. A collection of some of the best professional musicians in Berlin, hired by his father, would play, and Mendelssohn would conduct these and others of his compositions. His teacher Zelter would criticise his work in front of the players and audience, and at the following Sunday gathering the piece would be performed again, with corrections. Mendelssohn was still only twelve years old.

The string symphonies were modelled on the eighteenth century Italian sinfonia (they are often called by that title) and are structured in three short movements, rather than the four movements of the classical symphony. This one is dazzlingly accomplished for a twelve-year-old and reflects his interest in Bach, Handel and Mozart. The fugal writing in the dramatic first movement owes a debt to J S Bach, while the slow second movement has a Mozartian formal poise. The third movement, which follows on immediately after the second, is reminiscent of Handel but is also touched by the drama and passion of Beethoven and of Carl Maria von Weber, whose romantic opera Der Freischütz had made a huge impression on Mendelssohn when it premiered in Berlin in 1821.


1312

Edvard Grieg (1843–1907)

Holberg Suite, Op. 40

Prelude: Allegro vivace Sarabande: Andante Gavotte: Allegretto/Musette Air: Andante religioso Rigaudon: Allegro con brio

“If anyone should break in here, please leave the musical scores, since they have no value to anyone except Edvard Grieg”

When he went away on tour Grieg would leave this note on the desk in the simple wooden hut in which he composed, built especially below his house overlooking part of a fjord in central Norway. Close by, set into the side of the mountain, is his tomb, starkly outlined in black granite and with his name carved in runes. It is a fitting memorial for a composer whose music was inspired by the Norwegian landscape, and which was strongly rooted in Norwegian folk music tradition.

Grieg was of Scottish descent on his father’s side, and grew up in Bergen where his father was the British consul. Like Mendelssohn, his talent was recognised and fostered early, and on the advice of his relative Ole Bull, a Norwegian violin virtuoso, at the age of fifteen he was sent to the conservatorium in Leipzig in Germany to acquire a musical education. It was not a happy time: although he enjoyed the city’s flourishing musical life he disliked the discipline of the course, and he was to suffer ill health all his life from a collapsed lung due to pleurisy and tuberculosis that he contracted there. After completing his studies he spent some time in Copenhagen, and became convinced that the style of his music was to be one of romantic nationalism. Determined to make his career in his own country, he returned to Norway in 1866, and mainly through giving concerts of music by himself and other Norwegian composers, he became known as one of Norway’s foremost young musicians.

Grieg championed Norwegian folk music, and he was successful in establishing a Norwegian Academy of Music and a national musical movement. His strong nationalist outlook was tempered somewhat through the lengthy and very successful concert tours to other countries which he undertook until the very end of his life and in which he performed as conductor and pianist, playing only his own works. His music became increasingly popular in the last part of the nineteenth century, largely due to its accessibility. His Lyric Pieces for piano made him internationally famous among amateur pianists who found the pieces perfectly suited both their taste and their limitations, and the melodic charm of his incidental music for Ibsen’s play Peer Gynt ensured it a regular spot on concert programmes.

Grieg himself considered this a double-edged sword, and was not sure that he liked his compositions being played ‘in third-rate hotels and by school-girls … I suppose this popularity is all right, but it is dearly bought. My reputation as a composer is suffering because of it’. He was particularly annoyed by the concert reviews he received on his last tour to Germany. ‘The audiences have been on my side … but the critics in Munich and Berlin have let me know in no uncertain terms, that they think I am a dead man … I comfort myself with the thought that it is not the critics, who govern the world’.

What to listen for

Grieg composed the Holberg Suite in 1884 as part of a commission to mark the bicentenary of the birth of Ludwig Holberg. Holberg was an eighteenth century Norwegian playwright considered to be the founder of Scandinavian drama, hence the work’s title, which in full is ‘From Holberg’s Time: Suite in the Olden Style.’ Grieg composed it initially for piano but arranged it immediately afterwards for string orchestra. The work is a suite of dances in the baroque style, modelled on the keyboard suites written by Bach and Handel. Grieg wrote that this composition was an exercise ‘in concealing his own personality’, but it in fact is a mixture of baroque form and his own romantic sensibility as attested by the rich string sound (according to Grieg a string orchestra should be large, sixty instruments was ideal) contrasted against its difficult violin solos.

INTERVAL


1514

Paganini was born in Genoa in Italy, where he was initially taught by his father, a dock worker and amateur musician. By the age of fourteen he was already an accomplished composer and by the age of nineteen he had acquired a reputation as an outstanding virtuoso player. He had also acquired a reputation for licentious conduct bordering on criminality: he eloped with a young girl and was charged with abduction and imprisoned, although only for a few days. This episode would later become the basis of one of the many fantastical stories about him.

Paganini travelled around Italy for eighteen years, giving concerts and building up a large following. When he finally left Italy in 1828 it was to take Europe by storm in a series of phenomenally successful concert tours to all major capitals which made him enormously wealthy in a very short time. He was particularly successful in Paris, where he played to packed houses and his first performance was attended by Liszt, Rossini and Donizetti, and also in London where he decided to cash in on the frenzy around his concerts and charge far above the usual ticket price. Although he was forced to lower his prices in the face of a public backlash it did not make him any less popular, in fact the following he gathered resembled a cult. People travelled long distances to hear him, women were infatuated by him, and he only had to step out of his house to be mobbed.

His remarkable technique was undisputed – there are first hand reports not just from critics but from musicians like Schumann, Berlioz and Schubert – but he was also remarkable at marketing himself and his own image, in a way which was completely new. At his concerts he delayed his entry onto the stage until the last possible moment, when audiences were in a frenzy of expectation. (He often sold tickets in the box office beforehand – in disguise – so keen was he to exert complete control over every aspect of the concert, particularly the takings). Once he was well established he rarely played anything other than his own compositions. He would only rehearse with the orchestra on the day of the concert, if at all. He played from memory, and as soon as the performance was finished he personally took away the orchestral parts so that they could not be copied. As a result many of his compositions remained unpublished in his lifetime.

The aura of mystery which Paganini cultivated around the source of his virtuosic skill was aided by his striking appearance. He was tall, elegant, slim, with dark curly hair, and he took to appearing on stage dressed in black, long before it was customary for orchestral musicians to do so. As time went on, the extreme doses of mercury he took for syphilis made him gaunt and hunched and his face deathly pale, and when he played he would bend double and ‘a sort of shuddering and rage appears to seize him’. He held himself differently to other violinists –‘when he plays, he uses the whole body’ – although that would not now be considered a criticism.

Niccolò Paganini (1782–1840)

Violin Concerto No. 4 in D minor, MS 60

Allegro maestoso Adagio flebile con sentimento (tearful and with feeling) Rondo galante: andantino gaio

“What a man, what a violin, what an artist! Heavens! What suffering, what misery, what tortures in those four strings! … As for his expression, his manner of phrasing, they are his very soul!”

Franz Liszt, on hearing Paganini play in Paris in 1832

“His bow shimmers like a steel blade; his face is as pale as a crime; his smile is beautiful, like Dante’s Inferno; his violin cries like a woman.”

Anonymous reviewer in Paris, 1831

“A shining sphere hovered in the centre of this space, on which a man of great pride and stature stood, playing the violin. Was that sphere the sun?”

The German poet Heinrich Heine, on hearing Paganini play in1836

Heine continued:

“Paganini, ideally beautiful, celestially transfigured, smiling, and at peace. His body was in the bloom of vigorous manhood, and a light–blue garment clothed his noble limbs. The splendid locks of his black hair fell about his shoulders, and as he stood there, firm and confident, a sublime divinity, and played the violin, it seemed as if all creation were obeying his song. He was the human planet around whom the universe revolved …”

Paganini was the most famous violin virtuoso who ever lived. He had a phenomenal technique, but he was just as famous for his flamboyance and his ‘rock star’ showmanship: a hundred and fifty years before Jimi Hendrix smashed his guitar in concert Paganini would walk onto the stage with three of the strings on his violin ostentatiously dangling, unplayable – then on the sole remaining string launch into a bravura piece so difficult that many of the audience thought it had to be magic or the devil’s work. Women flocked to his performances, and off stage, he could have his pick – and did. He was also an astute marketer, an opportunistic entrepreneur, very stingy with money, and in league with the devil (so it was said). He liked visiting hospitals to watch people dying of cholera, and then, ‘I amuse myself by watching them bury the victims at the cemetery,’ as he wrote to a friend. In short, he was a very strange man indeed.


17© Program notes & timeline Lynne Murray 201616

Year Paganini and Grieg Mendelssohn Contemporary Events

1782 Paganini born Mozart’s opera Die Entführung aus dem Serail premieres in Vienna

1809 Orchestra director at Lucca Born in Hamburg Haydn dies

1821-23 Concert tours of Italy Writes 12 string symphonies Napoleon dies in exile

1824 Plays at La Scala. Already ill with venereal disease

Composes first symphony for full orchestra

First performance of Beethoven’s Symphony No 9

1826 Tours central and southern Italy

Composes A Midsummer Night’s Dream overture

Last execution by burning by Spanish Inquisition. Beethoven dies following year

1829 Begins European toursDirects first performance of St Matthew Passion since Bach’s death

Metropolitan Police Service established in London

1830 Paganini premieres Violin Concerto no 4

Composes Hebrides Overture Chopin composes Revolutionary Étude

1833 Appointed Düsseldorf music director

Brahms born. Donizetti’s opera The Daughter of the Regiment premieres in Paris

1834 Very ill. Leaves Paris for Parma in Italy Music director at Leipzig Slavery abolished in the British empire

1836 Composes oratorio St PaulCharles Darwin arrives in Sydney on HMS Beagle

1837 Loses money in casino enterprise Marries Victoria becomes Queen of Great Britain

1840 Paganini dies Tchaikovsky born

1843 Grieg born First parliamentary elections held in Australia – but only for males of a certain wealth

1846 Oratorio Elijah premieres in Birmingham, England

Railway bridge from the mainland to Venice opens

1847 Dies Wuthering Heights published

1868 Composes Piano Concerto in A minor Last convict ship arrives in Australia

1876 Premiere of Peer Gynt Telephone patented by Alexander Graham Bell

1884 Composes Holberg Suite Patent issued in Turin for an espresso machine

1907 Grieg dies First telephone call between Melbourne and Sydney

Niccolò Paganini (continued)

His eccentric appearance and manner only made him more fascinating and cemented the belief, in a more credulous time, that he had sold his soul to the devil – how else was he able to play in a way which seemed humanly impossible? Among many quite bizarre rumours it was said that he had murdered his lover and used part of her intestines as the G string on his violin, and that when he stamped his foot on stage (to keep the beat) it was because he had a cloven hoof – the sign of Satan. Even Heinrich Heine thought that Paganini resembled ‘a corpse risen from the grave’ and that ‘his bow arm [was] guided by the devil himself’.

Despite his enormous wealth he made some disastrous financial decisions, and advanced venereal disease (which caused him to lose the power of speech) caused him to retire from public life in 1838. He attempted to cure himself by drinking asses’ milk and eating steak, but he died in Nice in 1840. His story does not end with his death: he did not receive the last rites (he had sent the priest away), and so the Catholic bishop refused to allow him to be buried in consecrated land. His remains were buried and exhumed five times until put into their final resting place in Parma in 1896.

What to listen for

Paganini composed six concertos for violin, for himself to play. He would not allow anyone to even see the scores, and they were not published until after his death. His protectiveness was not necessary – he designed his compositions to show off his virtuosity and there was no contemporary player who could play them.

Unlike other concertos for solo instrument and orchestra, there is no dialogue between orchestra and soloist in Paganini’s concertos: the orchestra is there to accompany. Paganini offhandedly said, ‘I only use it to fill in the gaps between my solo passages so that I can get my breath’, and for the extended and extravagant solo passages the orchestra falls away often to simple guitar-like plucked chords.

He gave many of his slow movements flowery titles, usually containing the word ‘love’. He directed that this one, which suggests a funeral march, should be played ‘tearfully, with feeling’, and at one point he even has the violin appear to sob (Paganini was famous for making the violin speak or cry). While the whole concerto is extremely virtuosic, the most stunning technical pyrotechnics are saved for the last movement.


19

AUSTRALIAN BRANDENBURG ORCHESTRA

Rob NarinDouble Bass

Dan CurroPeriod Cello

Rosemary QuinnPeriod Cello

Anthea CotteePeriod Cello

Emma BlackPeriod Oboe

Mikaela ObergPeriod Flute

Melissa FarrowPeriod Flute/Piccolo

Libby BrowningDouble Bass

Peter MoorePeriod Bassoon

Ashley SutherlandPeriod Clarinet

Craig HillPeriod Clarinet

Kirsten BarryPeriod Oboe

Leanne SullivanTrumpet

Brett PagePeriod Trombone

Dorée DixonPeriod Horn

Roslyn JorgensenPeriod Trombone

Darryl PoulsenPeriod Horn

Nigel CrockerPeriod Trombone

Murray ParkerPercussion

Joanne LittlelyPeriod Bassoon

Simon WolnizerTrumpet

Brian NixonTimpani

Paul DyerArtistic Director and Conductor

Simone SlatteryPeriod Violin 1

Catherine ShuggPeriod Violin 1

Matt BruceAssociate Concertmaster

Shaun Lee-ChenConcertmaster

Bianca PorchedduPeriod Violin 1

Rafael FontPeriod Violin 2

Ben DollmanPeriod Violin 2

Natalia HarveyPeriod Violin 1

Monique O’DeaPeriod Viola

Shane LestideauPeriod Violin 2

Emma WilliamsPeriod Violin 2

Stephanie EldridgePeriod Violin 2

Jamie HeyPeriod Cello

James EcclesPeriod Viola

Christian ReadPeriod Viola

Marianne YeomansPeriod Viola

18

21

CHRISTINA $10,000 or above

Anthony Adair and Karen McLeod AdairAidan AllenStephen and Sophie AllenGraham Bradley AM and Charlene BradleyThe Clayton FamilyJane and David DuncanMary Holt and the late Dr John HoltMichael Ebeid and Roland HowlettMrs W G Keighley in memory of GeoffreySusan Maple-Brown AM and the

late Robert Maple-BrownNick and Caroline MinogueLady Potter AC CMRIThe Rodwell FoundationRowan Ross AM and Annie RossJeanne-Claude Strong in memory

of James StrongPeter Weiss AOCameron WilliamsAnonymous x 2

RUSPOLI $5,000 – $9,999

Antoinette AlbertJohn Almgren AM and Yvonne AlmgrenAndrew and Melanie BaigentGlenn BarnesMrs Ros Bracher AMCatherine and Phillip BrennerDavid and Leith Bruce-SteerLouise ChristieRick and Sue Coles*Mrs Janet CookeJohn and Jenny FastDon and Deirdre Faithfull in memory

of Harold and Edna JohnstonIn memory of Darrel FraserAnn Gordon*D and I KallinikosJ and R MacLeodThe Alexandra and Lloyd Martin Family FoundationE S MorganLouis MostertThe Suich FamilyDr Jason WenderothRay Wilson OAM and James Agapitos OAMAnonymous

BRANDENBURG ANNUAL GIVING DONORS

LIFE PATRONS

Mary Holt and the late Dr John Holt

As a non-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 run fundraising campaigns to enable us to present outstanding performances of baroque music, while continuing to innovate as an organisation.

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 tough W: donations.brandenburg.com.au E: [email protected] T: 1300 782 856

OUR PARTNERS OUR DONORSBrandenburg applauds our wonderful partners who proudly support our 2016 season. A heartfelt thank you to our generous family of supporters.

To find out more about becoming a partner for the Australian Brandenburg Orchestra please contact our Development team on 1300 782 856 or [email protected]

PRINCIPAL

GOVERNMENT

MAJOR

PRESENTING

SUPPORTING

MEDIA TRUSTS AND FOUNDATIONS

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

Council, its arts funding and advisory body

The Australian Brandenburg Orchestra is assisted by the NSW Government

through Arts NSW

20

CHAIRMAN’S 11

Dedicated to the memory of James Strong AO. Chairman’s 11 supports international and local artists. Membership is by invitation only.

Jillian Broadbent AO Louise Christie Jan and Frank ConroyRichard Fisher AM and

Diana FisherChris and Gina Grubb Carol Haynes and

Skipp Williamson

In memory of a first class cricketer (UK), W G Keighley

Grant and Jennifer KingSusan Maple-Brown AMMs Gretel Packer Anonymous

ORCHESTRAL CHAIRS

Concertmaster Chair supported by Jacqui and John MullenShaun Lee-Chen

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

Tommie Andersson

CORPORATE DONORS

APA GroupBain & CompanyLink Market ServicesPacific Equity PartnersQANTAS Loyalty

PLANNED GIVING

BEQUEST

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

PLAY ON: A LASTING LEGACY

We are hugely appreciative to all those who have included the Brandenburg in their Will.

Janet DoustThe Faithfull Family Brian and Leonie FisherR J IrwinPeter McGrath

Penelope OerlemansJoan and Lloyd PoultonArt and Cynthia RaicheAnonymous x 6

BRANDENBURG FOUNDATION DONORS

AMATI $250, 000 – $500,000

The Eileen Marie Dyer AM FundAnonymous

STRADIVARI $100,000 – $249,999

Cary and Rob GillespieAnonymous

GUARNERI $50,000 – $99,999

Macquarie Group FoundationThe Martin Family in memory of Lloyd Martin AMChristine Yip and Paul BradyAnonymous

MAESTRI $25,000 – $49,999

John and Robyn ArmstrongChris and Kathy HarropGreg Hutchinson AM and Lynda HutchinsonNick and Caroline MinogueRowan Ross AM and Annie Ross

ARCANGELI $15,000 – $24,999

Melinda Conrad and David JonesGlenn Moss and the late Dr Ken Moss AMDavid and Rachel Zehner

CAMERATA $10,000 – $14,999

Mr David Baffsky AO and Mrs Helen BaffskyGraham Bradley AM and Charlene BradleyThe Clayton FamilyNorman GillespieRohan Mead

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

*Donors to the Brandenburg International Baroque Study Program This donor list is current for a 12-month period to 10 August 2016.

SUPPORTER II $250 – $499

Carole BaileyKeith and Claire BeecherCathie BoagKatalin BognarProfessor Fran Boyle AMCatherine BroadyJ and M CameronChristine CloughIn memory of Betty CurtainJanet DoustAndrew DunnKerri EagerRita ErlichMarguerite Foxon*

Norman GillespieRichard and Heather GorrellPeter HalesDr Stéphane Hemmerter in memory of Gérard HemmerterOwen JamesPamela Kenny in memory of Peter*George LawrenceA le MarchantMorris and Helen MargolisPeter McCallLois McCutchanRoss McNair and Robin RichardsonIvan and Priscilla Mellado

Dr Kerry MillsMarie MortonAndrew NaylorIn memory of Jenny ParramoreKen RamshawM L RattiganBarbara and Malcolm RichardsonGabrielle J RoweProfessor Steve and Dr Sharon SchachPatrick and Sally Smith*Charles SuchAmanda Trenaman and Steven TurnerAnonymous x 30

SUPPORTER I $500 – $999

Jaci ArmstrongBaiba BerzinsAnnette and Kevin BurgesJim Cousins AO and Libby CousinsDr John Dale AO and Mrs Joan DaleDeborah DebnamCarol des CognetsMargaret DobbinAnton Enus and Roger HenningJ Farren-Price JewellersPeter Fletcher AM and Kate FletcherMalcolm and Barbara FranceChristine GeorgePhilip and Anabel GossePeter and Deirdre GrahamGeoff HogbinIn memory of Dean Huddlestone

Michael JonesHarvey and Janette LewisPaul LindwallGreg LivingstoneBetty LynchElizabeth Mackenzie and Michael BremnerLola MartinRichard MasiulanisWendy E McCarthy AOJanet McDonald AO and Donald McDonald ACFrank and Susan MorganMrs June Musgrove in memory of Dr Peter MusgroveDr Paul Nisselle AM and Mrs Sue NisselleB P O’ConnellDr Kevin PedemontJohn Peisley and Ros RoyalChristina Pender

Alexander and Rosemary RocheJeannette SharpeDr Gideon and Mrs Barbara ShawDr Agnes SinclairMargot SmithProfessor Fiona StewartSue ThomsonFrank Tisher OAM and Dr Miriam TisherM TittertonRonald WalledgeSally and Geoffrey WhiteGregory W WonSally P YoungSusan YoungAnonymous x 19

DURAZZO $1,000 – $4,999

Janet AbernethyPaula AdamovichJanet AllenJ M AlroeBrett Andersen and Brad BowenJohn and Robyn ArmstrongCathy AstonSusan Astor-SmithIan Baker and Cheryl SaundersPeter Barclay and Victoria Le GallaisFrederic Baudry and Paul BaileyJeanette BeaumontMarc Besen AC and Eva Besen AOBOYCE Family OfficeDr Catherine Brown-Watt PSM and Mr Derek WattKay BuckeridgeJenny and Henry BurgerHenry Burmester and Peter MasonWayne Burns and Kean Onn SeeElizabeth Butcher AMDr Beverley and Mr Alan CastlemanMr Peter Clark and Mrs Jan ClarkRebecca and Craig ClarkeP Cornwell and C RiceDom Cottam and Kanako ImamuraToula and Nicholas CowellTim and Bryony CoxA L CrottyDavid Davies and Paul PresaMargaret and Chris de GuingandMs Emmanuelle DelannoySusan Dixon and Stephen RixEmeritus Professor Dexter Dunphy AMNita DurhamJane Edmanson OAMRalph and Maria Evans

Rosemary FarrowWendy and Ron FeinerBrian and Philippa FranceCarrillo and Ziyin GantnerJustin and Anne GardenerBill and Julie GooldMs Lesley GrantRichard and Anna GreenKen Groves and Yun-sik JangAudrey HawkinsJane HemstritchDr Ailsa Hocking and Dr Bernard WilliamsJ Holden Family FoundationJenny and Peter HordernJ L HossackJill and David HuntDr Alastair JacksonCynthia Jackson AMMary JonesNicholas KornerArthur and Vicky KoumoukelisAnn and James LahoreMr John Lamble AOAirdrie LloydRichard and Elizabeth LongesAggie Maisano*Dr Diana Marks and Dennis BluthBarrie MartinRobyn Martin-WeberJoanna B MaxwellMora MaxwellRichard and Rowena McDonaldPeter McGrath*J A McKernanJohn Milhinch OAMDr David Millons AM and Mrs Barbara Millons

David and Andree MilmanPaul O’DonnellAlison Park in loving memory of Richard ParkTrevor J ParkinProfessor David PeningtonDr John PercyW J and R PoateJim and Christine PollittTed and Jean RadfordPatricia H Reid Endowment Pty LtdDr David and Dr Gillian RitchieLois RoffeyJustice Ronald Sackville AO and Mrs Pamela SackvilleJohn ScottDr Celina SeetoPaul Sheehan and Susan WyndhamMr Charlie Shuetrim AM and Mrs Sandra ShuetrimRobyn SmilesAlan and Jennifer SmithChris and Bea SochanBrendan SowryDr Murray StapletonMrs Suzy and Dr Mark SussMark and Debra TaylorAnnalise FairfaxMr Mike ThompsonAnne and Richard TravisPD and CM Vaughan-ReidStephen and Ruth WalshJustice Anthony WhealyIn memory of Dr Ron WhiteYanina WhiteJudith WilliamsK A WrattenAnonymous x 15




Interval





24

CITY RECITAL HALL LTD

CEO Elaine Chia

Board of DirectorsRenata Kaldor AO, ChairTimothy Cox AO, Deputy ChairHelen BauerJo DyerThe Hon Justice Elizabeth FullertonKerri GlasscockMarcus McArdleClive PagetMaria Sykes

Founding PatronThe Late Dame Elizabeth Murdoch AC DBE

Board of DirectorsKathryn Fagg, ChairPeter BartlettStephen CarpenterJoseph CorponiMary DelahuntyPaul DonnellyEda Ritchie AMMargaret Farren-Price

Executive StaffEuan Murdoch,

Chief ExecutiveGreg Diamantis, Director of

Production & Presenter ServicesMarshall McGuire, Head of

Artistic PlanningRobert Murray, Director Marketing

& Customer RelationsSandra Robertson, Director

of DevelopmentSandra Stoklossa, Director

Corporate Services

2-12 Angel Place,Sydney, AustraliaGPO Box 3339,Sydney, NSW 2001

Telephone02 9231 9000Box Office02 8256 2222Facsimile02 9233 6652

Websitecityrecitalhall.com

MELBOURNE RECITAL CENTRE

Corner Southbank Boulevard and Sturt Street Southbank VIC 3006

Administration03 9699 2228Box Office03 9699 3333Facsimile03 9207 2662Websitemelbournerecital.com.au

25Melissa Farrow Period Flute/Piccolo

2726

RECORDINGSThe Australian Brandenburg Orchestra has released nineteen 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 VERY BRANDENBURG CHRISTMASAustralian Brandenburg Orchestra Brandenburg Choir Paul Dyer, Artistic Director ABC 481 2176

TAPASAustralian Brandenburg Orchestra Paul Dyer, Artistic Director2010 ARIA Award: Best Classical Album ABC 476 3828

ANDREAS SCHOLL – VIVALDIAustralian Brandenburg Orchestra Paul Dyer, Artistic DirectorAndreas Scholl, countertenorABC 466 964-2

A BRANDENBURG CHRISTMASBrandenburg Choir Australian Brandenburg Orchestra Paul Dyer, Artistic DirectorChristina Leonard, saxophone Louise Prickett, soprano ABC 476 4687

NOËL! NOËL!Brandenburg Choir Australian Brandenburg Orchestra Paul Dyer, Artistic Director Sara Macliver, soprano ABC 472 606-2

BRANDENBURG CELEBRATESAustralian Brandenburg Orchestra Brandenburg Choir Paul Dyer, Artistic Director ABC 481 1929

BAROQUE FAVOURITESAustralian Brandenburg Orchestra Paul Dyer, Artistic DirectorABC 476 4056

THE AUSTRALIAN BRANDENBURG ORCHESTRA COLLECTIONAustralian Brandenburg Orchestra Paul Dyer, Artistic DirectorABC 465 428-2

A CELTIC CHRISTMASBrandenburg Choir Australian Brandenburg Orchestra Paul Dyer, Artistic Director Maximillian Riebl, countertenor ABC 481 1317

HANDEL CONCERTI GROSSIAustralian Brandenburg Orchestra Paul Dyer, Artistic Director2009 ARIA Award: Best Classical Album ABC 476 3436

SANCTUARYAustralian Brandenburg Orchestra Paul Dyer, Artistic DirectorKirsten Barry, baroque oboe2005 ARIA Award: Best Classical Album ABC 476 284-0

GREAT VIVALDI CONCERTOSAustralian Brandenburg Orchestra Paul Dyer, Artistic Director. Featuring guest artists such as Genevieve Lacey, Elizabeth Wallfisch, Hidemi Suzuki, Lucinda Moon and many more. ABC 476 923-3

VIVALDI – IL FLAUTO DOLCEAustralian Brandenburg Orchestra Paul Dyer, Artistic DirectorGenevieve Lacey, recorder2001 ARIA Award: Best Classical Album ABC 461 828-2

MOZART CLARINET CONCERTO & ARIASAustralian Brandenburg Orchestra Paul Dyer, Artistic DirectorCraig Hill, basset clarinetCyndia Sieden, sopranoABC 476 1250

HANDEL ARIASAustralian Brandenburg Orchestra Paul Dyer, Artistic DirectorYvonne Kenny, soprano1998 ARIA Award: Best Classical AlbumABC 456 689-2

THE FOUR SEASONSAustralian Brandenburg Orchestra Paul Dyer, Artistic DirectorElizabeth Wallfisch, baroque violinABC 456 364-2

IF LOVE’S A SWEET PASSIONAustralian Brandenburg Orchestra Paul Dyer, Artistic Director Sara Macliver, soprano ABC 456 692-2

HANDEL ARIASAustralian Brandenburg Orchestra Paul Dyer, Artistic DirectorGraham Pushee, countertenorABC 446 272-2

BRANDENBURG FAVOURITESAustralian Brandenburg Orchestra Paul Dyer, Artistic DirectorABC 434 720-2

Executive AssistantSusan DuffyOrchestra ManagerRob DyballAssistant to Artistic DirectorJoanna TondysLibrarianAlex PalmerProduction CoordinatorShannon O’Hara

Head of DevelopmentKirsty DivehallPhilanthropy ManagerRebecca WarrenCorporate Partnerships ManagerMatthew HigginsMarketing Manager, DigitalTina SempleMarketing ExecutiveAishlinn McCarthy

Systems ConsultantDavid JoycePublicistSteven Godbee PublicityBox Office ManagerKateryna CollierAssistant Box Office ManagerThomas ChiuReceptionist/Ticketing AssistantChris Goebel

AccountantJohn ScottAccounts AssistantIan CreeveyAuditorsKPMGRepertoire Advisors (honorary)Charles GwynnAndrew O’ConnorChristopher Price

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

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

Artisitc DirectorPaul Dyer AO

Managing DirectorBruce Applebaum

The Brandenburg CouncilJillian Broadbent AOGreg Hutchinson AMMax Suich

The BoardGreg Ward, ChairmanAidan AllenBruce ApplebaumCathy AstonDavid Baffsky AORichard BoycePaul Dyer AOJohn C FastLesley GrantAlison HarropKatie Lahey AMRohan MeadDavid ZehnerBridget O’Brien, Company Secretary

Deputy General ManagerBridget O’Brien

BLAZING BAROQUE




Interval







2928 PRINCIPAL PARTNERBrian Nixon Timpani

BLAZING BAROQUE




Interval







SERIES PARTNER 3130 PRINCIPAL PARTNER

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’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 six 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

32

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’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 six 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

You can directly support a position within the Orchestra by joining the Brandenburg’s newly launched Orchestral Chair program.

Invest in the Brandenburg’s artistic future, connect with your instrument of passion and ensure that the Brandenburg continues to attract and develop Australia’s most talented early classical and baroque musicians.

Contact our Philanthropy Manager Rebecca Warren T: 02 9363 2899 or E: [email protected]

ORCHESTRAL CHAIRSThriving in harmony

Call us on 13 29 39 or visit australianunity.com.au

Music moves us, lifts our spirits and can take us to another time

and place. That’s why Australian Unity has proudly supported

the Australian Brandenburg Orchestra for over 10 years.

As wellbeing partner, we help Artistic Director Paul Dyer and

his celebrated musicians bring their charismatic performances

to audiences across Australia.

34

The heart races. The pulse quickens. The sting of 1,000 emotions rises up. He’s back, and more magnetic than ever.

BOOK NOW AND FALL IN LOVE ALL OVER AGAIN.

AVI AVITAL

Deu

tsch

e G

ram

mop

hon.

Pho

to: G

uy H

echt

.

PRINCIPAL PARTNER SERIES PARTNER

City Recital Hall 26 October – 4 NovemberMelbourne Recital Centre 5 – 6 November Queensland Performing Arts Centre 8 November

brandenburg.com.au / 1300 782 856 cityrecitalhall.com / 02 8256 2222 melbournerecital.com.au / 03 9699 3333 qpac.com.au / 136 246

Documents

BLAZING BAROQUE - Australian Brandenburg …Vivaldi Concerto for violin in D major, RV 208, Grosso mogul Telemann Grand Concerto in D major, TWV deest Interval Vivaldi Concerto for