Featuring the Brandenburg Choir performing Zadok the Priest · 2019-07-09 · Handel Coronation Anthem No. 1 Zadok the Priest, HWV 258 Handel Coronation Anthem No. 4 My Heart is Inditing,

Featuring the Brandenburg Choir performing Zadok the Priest

HANDEL'S ANTHEMS & FIREWORKS 1

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2019 SYDNEY City Recital Hall Wednesday 24 July 7pm

Friday 26 July 7pm

Saturday 27 July 2pm (Matinee)

Saturday 27 July 7pm

Wednesday 31 July 7pm

Friday 2 August 7pm BRISBANE QPAC Tuesday 30 July 7:30pm

MELBOURNEMelbourne Recital CentreSaturday 3 August 7pm Sunday 4 August 5pm

Paul Dyer AO Artistic Director, Conductor Australian Brandenburg Orchestra Brandenburg Choir Emma Black (Vienna) Baroque oboe

PROGRAM

Handel Coronation Anthem No. 1 Zadok the Priest, HWV 258

Handel Coronation Anthem No. 4 My Heart is Inditing, HWV 261

Handel Coronation Anthem No. 2 Let Thy Hand be Strengthened, HWV 259

Handel Coronation Anthem No. 3 The King Shall Rejoice, HWV 260

Interval

Handel Concerto for Oboe No. 3 in G minor, HWV 287 i Grave ii Allegro iii Largo iv Allegro

Handel Music for the Royal Fireworks, HWV 351 i Ouverture ii Bourée iii La Paix iv La Réjouissance v Menuet 1 & 2

CHAIRMAN’S 11Proudly supporting our guest artists.

Concert duration is approximately 110 minutes, including one interval.Please note concert duration is approximate only and is subject to change. We kindly request that you switch off all electronic devices prior to the performance.

This concert will be broadcast on ABC Classic on 11 August at 12noon.

QPAC performance is proudly supported by Brisbane Schools Choir. The Australian Brandenburg Orchestra would like to give special thanks to Brisbane Girls Grammar School, Brisbane Grammar School, Brisbane State High School, and John Paul College.

2 AUSTRALIAN BRANDENBURG ORCHESTRA HANDEL'S ANTHEMS & FIREWORKS 3

On behalf of Macquarie Group, it is my great pleasure to welcome you to the Australian Brandenburg Orchestra’s third concert series of 2019 – the iconic Handel’s Anthems & Fireworks.

Shared VisionFrom our Principal Partner: Macquarie Group

At Macquarie we appreciate the powerful impact music can have, which is why we are thrilled to continue our longstanding partnership with the Australian Brandenburg Orchestra. This year is Macquarie Group’s twelfth year as the Brandenburg’s Principal Partner and what makes this relationship so rewarding is our shared vision of infinite possibilities and commitment to the highest standards, underpinned by specialist skills and experience.

This is the first time that the Brandenburg will stage the complete set of Handel’s Coronation Anthems alongside his spectacular Music for the Royal Fireworks. Artistic Director Paul Dyer leads the brilliant musicians of the Orchestra and Choir. In this performance, he will also be joined on stage by internationally acclaimed Baroque oboist Emma Black, who has returned from Vienna for this performance as a soloist. This promises to be a unique and uplifting production with a stellar showcase of exceptionally talented artists from both Australia and overseas.

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

Sean West Head of Macquarie Wealth Management

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

Paul DyerBiography

Australian Brandenburg Orchestra and Choir, including the 1998, 2001, 2005, 2009 and 2010 ARIA Awards for Best Classical Album.

Paul has performed with many international soloists including Andreas Scholl, Cyndia Sieden, Marc Destrubé, Christoph Prégardien, Hidemi Suzuki, Manfredo Kraemer, Andrew Manze, Yvonne Kenny, Emma Kirkby, Philippe Jaroussky and many others. In 1998 he made his debut in Tokyo with countertenor Derek Lee Ragin, leading an ensemble of Brandenburg soloists, and in August 2001 Paul toured the orchestra to Europe with guest soloist Andreas Scholl, and in 2015 featured on the soundtrack of the James Bond 007 movie, Spectre.

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

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

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

Paul is an inspiring teacher and has been a staff member at various Conservatories throughout the world. In 1995 he received a Churchill Fellowship and he has won numerous international and national awards for his CD recordings with the


APA Group is proud to support the Australian Brandenburg Orchestra as Series Partner of Handel's Anthems & Fireworks. We are delighted to welcome you to this performance.

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

This year, APA celebrates the Brandenburg’s 30th Anniversary and our 18-year relationship as one of the Orchestra’s longest corporate sponsors.

Our partnership began in 2001, the year after we started as a business. Since then, both organisations have grown, through vision and commitment, from humble beginnings to national importance.

While we have worked tirelessly to connect energy sources across Australia, enabling regional and national growth, season after season the Brandenburg breathes fresh life into music, infusing it with history and heritage.

APA Group is one of Australia’s leading energy infrastructure businesses, and through sponsorship of the Orchestra, we value the opportunity to bring Baroque music to audiences in the metropolitan and regional communities where we operate.

It is a significant privilege to be part of the Australian Brandenburg Orchestra’s journey. We wish you a joyful evening and hope you enjoy the concert.

Rob Wheals APA Group Managing Director and CEO

Handel moved into his London house at number 25 Brook Street in stylish Mayfair in 1723 shortly after his court appointment to the Chapel Royal.

Let's celebrate with anthems & fireworks!From the Co-Founder & Artistic Director

Brook Street is in a well-to-do area of London, a short stroll from the music and artistic communities of Soho and Covent Garden, but near to St. James’s Palace, where Handel performed his official duties, and the King’s Theatre in Haymarket, the focus of his Italian opera career. Handel was a supreme dramatist and he must have been a man of enormous character.

It was in Brook Street that Handel composed the three pieces on tonight’s program. It’s a 14-minute walk from Handel’s house to Green Park and I always chuckle as I imagine the mess that was stirred up at the rehearsal and final production of the Music for the Royal Fireworks in April 1749. A massive Italian style wooden pavilion was constructed in Green Park to house the fireworks display, and Londoners rushed and crushed to get close to the action.

The stampede caused a traffic jam that blocked London Bridge for three hours, and the chaos continued with rain soaking both the waiting crowds and the fireworks – many crackers misfired and fizzled! Despite all the rain, one functioning firework strayed causing the stage to catch fire, burning the wooden pavilion to the ground. No contemporaneous account exists of what the crowd thought of Handel’s music; however, although the fireworks display went completely pear-shaped, Handel’s music is unquestionably glorious.

In sharp contrast to the rowdy public occasion of the royal fireworks exhibition, the coronation ceremony of a British monarch is a statement of structure, formality and order. Humans around the world and throughout history have developed rites and rituals that transport us momentarily from the routine of daily life and catapult our imagination and spirit into another dimension. Handel’s Coronation Anthems is the soundtrack for one of those moments and reaches another plane entirely. Our concert tonight is one of these important human rituals we share.

Let the Choir, the Orchestra, Emma Black and Handel catapult your imagination somewhere beautiful!

Paul Dyer AO Co-Founder & Artistic Director Australian Brandenburg Orchestra

THE HOUSES OF JIMI HENDRIX AND GEORGE FRIDERIC HANDEL AT NUMBER 23 AND 25 (NOW THE HANDEL HOUSE MUSEUM) SHOWN BY THE BLUE PLAQUES.


Paul Dyer AO Artistic Director, ConductorAustralian Brandenburg OrchestraBrandenburg Choir

* Denotes Brandenburg Core Musician+ Member of the Brandenburg Young Mentorship Program 1 Bianca Porcheddu appears courtesy of Gold Creek Senior School, an International Baccalaureate World School, Canberra (staff) 2 Lorraine Moxey appears courtesy of Kinross Wolaroi School, Orange (staff)3 Monique O’Dea appears courtesy of Presbyterian Ladies’ College, Sydney (staff)

4 Lisa Wynne-Allen appears courtesy of the Opera Australia Orchestra5 Heidi Jones appears courtesy of SCEGGS, Sydney (staff)6 Timothy Chung appears courtesy of Santa Sabina College, Sydney (staff) Harpsicord preparation by Joanna Butler in Sydney, Melbourne & Brisbane.

Musicians

Australian Brandenburg Orchestra

BAROQUE VIOLINShaun Lee-Chen* (Perth) Concertmaster Matt Bruce* (Sydney) Associate Concertmaster Ben Dollman* (Adelaide) James Armstrong+ (Sydney) Rafael Font (Sydney) Matthew Greco (Sydney) Natalia Harvey (Melbourne) Anna McMichael (Sydney) Shane Lestideau (Melbourne) Bianca Porcheddu1 (Canberra) Lorraine Moxey2 (Orange) Catherine Shugg (Melbourne)

BAROQUE VIOLAMonique O’Dea3 (Sydney) Marianne Yeomans (Sydney) James Eccles (Sydney) Christian Read (Melbourne)

BAROQUE CELLOJamie Hey* (Melbourne) Anthea Cottee (Sydney) Rosemary Quinn (Sydney) Dan Curro (Brisbane)

BAROQUE BASSJames Munro (Amsterdam) Libby Browning (Perth)

BAROQUE BASSOONJane Gower (Copenhagen) Simone Walters (Hobart)

BAROQUE OBOEEmma Black (Vienna) Kirsten Barry* (Melbourne) Kaori Katayama (The Hague)

BAROQUE TRUMPETLeanne Sullivan (Sydney)Richard Fomisom (Brisbane) Alex Bieri (Sydney) Matthew Manchester (Sydney)

BAROQUE HORNMichael Dixon (Sydney) Dorée Dixon (Perth) Lisa Wynne-Allen4 (Sydney)

TIMPANIBrian Nixon

PERCUSSIONAdam Cooper-Stanbury

CHAMBER ORGANHeidi Jones5 (Sydney)

HARPISCHORDPaul Dyer* (Sydney)

Orchestra

SOPRANOSamantha Ellis Wei Jiang Belinda Montgomery Amy Moore Jennifer Rollins Josie Ryan Anna Sandström Lauren Stephenson Adria Watkin Hester Wright

ALTORobert Adam Philip Butterworth Timothy Chung6 Austin Haynes Mark Nowicki Andrew O’Connor Paul Tenorio

TENORJonathan Borg Spencer Darby Daine Ellicott Miguel Iglesias Brendan McMullan Erin Peterson Richard Sanchez

BASSHayden Barrington Craig Everingham Nick Gilbert Sébastien Maury Philip Murray Hugh Ronzani Rodney Smith

Choir

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

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

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

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

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

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

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

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

Discover more at brandenburg.com.au

Biography

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


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


Musicians


PAUL DYERHarpsichord

SHAUN LEE-CHENBaroque Violin

MATT BRUCEBaroque Violin

BEN DOLLMANBaroque Violin

JAMES ARMSTRONGBaroque Violin

RAFAEL FONTBaroque Violin

MATTHEW GRECOBaroque Violin

NATALIA HARVEYBaroque Violin

ANNA MCMICHAELBaroque Violin

SHANE LESTIDEAUBaroque Violin

BIANCA PORCHEDDUBaroque Violin

CATHERINE SHUGGBaroque Violin

MARIANNE YEOMANSBaroque Viola

LORRAINE MOXEYBaroque Violin

MONIQUE O’DEABaroque Viola

JAMES ECCLESBaroque Viola

CHRISTIAN READBaroque Viola

JAMIE HEYBaroque Cello

ANTHEA COTTEEBaroque Cello

ROSEMARY QUINNBaroque Cello

Musicians


EMMA BLACKBaroque Oboe

KIRSTEN BARRYBaroque Oboe

KAORI KATAYAMABaroque Oboe

LEANNE SULLIVANBaroque Trumpet

RICHARD FOMISOMBaroque Trumpet

ALEX BIERIBaroque Trumpet

MATTHEW MANCHESTERBaroque Trumpet

MICHAEL DIXONBaroque Horn

DORÉE DIXONBaroque Horn

LISA WYNNE-ALLENBaroque Horn

BRIAN NIXONTimpani

HEIDI JONESChamber Organ

ADAM COOPER- STANBURYPercussion

SIMONE WALTERSBaroque Bassoon

DAN CURROBaroque Cello

JAMES MUNROBaroque Bass

LIBBY BROWNINGBaroque Bass

JANE GOWERBaroque Bassoon


LAUREN STEPHENSON, ANNA SANDSTRÖM, HESTER WRIGHT, JOSIE RYAN, CHRIS HOPKINS, ADRIA WATKIN, MARK NOWICKI, SPENCER DARBY

Biography

Brandenburg Choir

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

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

Originally 13 voices, the Choir joined our Orchestra and wowed audiences with truly beautiful renditions of both familiar Christmas favourites and rarely-heard sacred works, performing music from the eleventh century to the Baroque. It was an instant success, combining musical, literary and scholarly performances that thrilled audiences and critics alike.

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

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

The Brandenburg Choir is renowned for its astonishing vocal blend and technical virtuosity.

“ There was vigour and passion in this performance just as there was great subtlety and finely shaded nuances of feeling and colour.” SYDNEY MORNING HERALD

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

12 AUSTRALIAN BRANDENBURG ORCHESTRA

Musicians

Brandenburg Choir

SAMANTHA ELLISSoprano

WEI JIANGSoprano

BELINDA MONTGOMERYSoprano

AMY MOORESoprano

JENNIFER ROLLINSSoprano

ADRIA WATKINSoprano

TIMOTHY CHUNGAlto

JOSIE RYANSoprano

HESTER WRIGHTSoprano

AUSTIN HAYNESAlto

ANNA SANDSTRÖMSoprano

ROBERT ADAMAlto

MARK NOWICKIAlto

LAUREN STEPHENSONSoprano

PHILIP BUTTERWORTHAlto

ANDREW O’CONNORAlto

PAUL TENORIOAlto

BRENDAN MCMULLANTenor

ERIC PETERSONTenor

RICHARD SANCHEZTenor

CRAIG EVERINGHAMBass

HAYDEN BARRINGTONBass

SÉBASTIEN MAURYBass

HUGH RONZANIBass

RODNEY SMITHBass

PHILIP MURRAYBass

JONATHAN BORGTenor

SPENCER DARBYTenor

DAINE ELLICOTTTenor

MIGUEL IGLESIASTenor

NICK GILBERTBass

Musicians

Brandenburg Choir

HANDEL'S ANTHEMS & FIREWORKS 13


Internationally acclaimed oboist returns to perform with the Brandenburg

Emma BlackBiography

Australian born Emma Black is the Principal Oboist with the Balthasar Neumann Ensemble (Germany) and Principal and soloist with the Wiener Akademie (Vienna) and Le Concert de la Loge (Paris). With these aforementioned orchestras she has performed in all major European festivals and can be heard in numerous CD and radio recordings.

Emma Black also plays and records regularly with Musica Aeterna (Teodor Currentzis), the Bach Vereinigung (Netherlands), the Orchestra of the Antipodes, Pinchgut Opera, the Australian Brandenburg Orchestra, Le Cercle de l'Harmonie, the Wiener Kammerorchester, Radio Symphony Orchestra of Vienna, Budapest Festival Orchestra, Ensemble Prisma, Bach Consort Wien, Les Talens Lyriques, The Australian Romantic and Classical Orchestra. As a soloist, she performs regularly with

the Wiener Akademie, most recently performing Mozart and Haydn oboe concertos in the Vienna Musikverein.

Over the past 15 years Emma Black has pursued a strong interest in early music and study of the period oboe. This interest had its genesis following her move to Zurich in 1993 where she began playing with the Orchester der Opernhaus Zurich with conductors such as Nicholas Harnoncourt, Nello Santi and Franz Weiser-Möst. It was here she had her first experiences with period instruments in the opera house orchestra La Scintilla. This led to a decision to study period oboe and performance practice at the Scuola Cantorum, Basel. She subsequently became an active member of the Zurich Bläser Quintett recording several CDs with this group and making regular radio recordings and performances in leading European festivals.

Between the years 2005-2009, Emma was the Principal Oboist of the Kammerakademie Potsdam, at the time under the artistic direction of Sergio Azzolini and then Andrea Marcon.

Emma Black’s musical studies commenced at the Victorian College of the Arts in Melbourne before relocating to Europe where she studied with Heinz Holliger the Musik Hochschule Freiburg and Maurice Bourgue at the Conservatoire de Genève.

Between the years 2014-2019 she held the position of Professor for Oboe at the Kunstuniversität Graz and from 2019 she will be teaching Baroque oboe at the Hochschule für Musik in Vienna.

Discover the Tales of Baroque Podcast

Tales of Baroque will be released in our Keynotes e-Newsletter every six weeks. Sign up at brandenburg.com.au/keynotes

Dr Alan Maddox appears courtesy of The University of Sydney, Sydney Conservatorium of Music.

Listen to Dr Alan Maddox in conversation with the Brandenburg’s Hugh Ronzani in an in-depth discussion of Handel’s Anthems & Fireworks. In the fascinating new podcast Tales of Baroque, Alan and Hugh explore Handel’s life and times and the music he composed.

HUGH RONZANIALAN MADDOX

HANDEL'S ANTHEMS & FIREWORKS 1716 AUSTRALIAN BRANDENBURG ORCHESTRA

The Quire stalls at Westminster Abbey. The original medieval quire stalls were replaced in the 18th century and again by the present ones in 1848. The black and white marble floor dates from 1677.

CREDIT © DEAN AND CHAPTER OF WESTMINSTER


Handel's Anthems & FireworksProgram Notes

George Frideric Handel (1685–1759)

Handel was one of the most acclaimed composers of the Baroque period. Although he came from Germany, most of his career was spent in London, where he became very successful as a composer mostly of operas and later oratorios. Unlike most other composers in the eighteenth century, Handel made his living as a freelance musician and was never employed long-term by a court or church. Nevertheless he developed a close relationship with the British royal family, and was commissioned by them to write ceremonial works which would become his most famous: the anthems for the coronation of King George II in 1727, including the instantly recognisable Zadok the priest, and Music for the Royal Fireworks.

ANTHEMS FOR THE CORONATION OF KING GEORGE II

Zadok the priest, HWV 258 Let thy hand be strengthened, HWV 259 The King shall rejoice, HWV 260 My heart is inditing, HWV 261

George II asked Handel to compose the anthems for his coronation and that of his wife, Queen Caroline, which was to take place on 11 October 1727 at Westminster Abbey. This was a task that only a British subject could perform, so it was lucky that shortly before he died King George I had signed into law ‘An Act for naturalizing… George Frideric Handel, and others’.

The English coronation ceremony has remained essentially unchanged since it was first devised more than a thousand years ago. Heavy with religious symbolism, it consists of a series of rituals designed to impress those present with the wealth and power of the monarch and to emphasise that the monarch derives his or her power from God.

An anthem is a sacred choral work sung during an Anglican church service, and anthems have been part of the coronation liturgy for centuries. They are sung at significant points in the ritual, with the same texts frequently used, taken from the Bible or the Anglican Book of Common Prayer.

According to the eighteenth-century English music historian Charles Burney, Handel had words sent to him, by the bishops, for the anthems; at which he murmured, and took offence, as he thought it implied his ignorance of the Holy Scriptures: “I have read my Bible very well, and shall chuse for myself.”

Some of the texts Handel chose had in fact been used at previous coronations, and are all from the Old Testament: Zadok is based on I Kings, Let Thy Hand Be Strengthened is from Psalm 89, The King shall rejoice comes from Psalm 21, and My heart is inditing is based on passages from Psalm 45 and Isaiah.

Handel’s was not the only music in the service. Unusually for an age when most music had a very short ‘shelf life’, much of the music for the Coronation Service was to be old, tradition dictating the choice of works dating back as far as the late Renaissance, including music by Thomas Tallis and Orlando Gibbons, and from the seventeenth century, by Henry Purcell and John Blow.

Mr Hendel has composed the Musick for the Abbey at the Coronation, and the Italian Voices [Italian singers from Handel’s opera company], with above a Hundred of the best Musicians will perform; and the Whole is allowed by those Judges in Musick who have already heard it, to exceed any Thing heretofore of the same Kind: It will be rehearsed this Week, but the Time will be kept private, lest the Crowd of People should be an obstruction to the Performers.

PARKER’S PENNY POST, 4TH OCTOBER 1727

The rehearsal went well, according to the Norwich Gazette, which reported that there were: 40 Voices, and about 160 Violins, Trumpets, Hautboys [oboes], Kettle-Drums, and Bass's proportionable; besides an Organ, which was erected behind the Altar: And both the Musick and the Performers were the Admiration of all the Audience.

London was full of people for such a major event, and the Earl Marshall issued notice of traffic arrangements on the day and detailed instructions listing all the people who would take part, what they had to wear, and the order in which they would process. ‘The Herb-woman, with her Maidservants, strewing sweet Herbs &c.’ came first, and the king came last. Then as now, there were to be no interlopers entering Westminster Abbey but only those with official tickets ‘signed and marked with my Name and Seal’, and peers and peeresses were sternly told not to bring their servants.

About the coronation service itself, however, we have only two pieces of information. One of these was the order of service. One hundred copies were printed, but only the Archbishop of Canterbury’s copy still survives, with his hand-written notes in the margins. The other record of the ceremony was the Chapel Royal’s list of the music as it was actually performed.

From these, it appears that the coronation did not go according to plan, at least as far as the music was concerned. The first anthem (not one of Handel’s) was omitted altogether ‘by the Negligence of the Choir of Westminster’ as the Archbishop of Canterbury noted tersely. Then, where the printed order listed Handel’s second anthem The King shall rejoice, the fourth, Let thy hand be strengthened, was performed instead. The Archbishop scribbled crossly, ‘The Anthem all in confusion: All irregular in the Music’.

Program Notes

Memorial to George Frideric Handel at Westminster Abbey


Handel's Anthems & Fireworks



WHAT TO LISTEN FOR

The Coronation Anthems were composed for Britain’s most significant ceremonial occasion and for the reverberant space of Westminster Abbey, so Handel composed powerful, extrovert, ‘big picture’ music which exploited the extraordinarily large number of players and singers recruited for the occasion.

The text of Zadok the Priest relates to the anointing of King Solomon and the words have been used at every English coronation since 973. It is sung at the most crucial point of the coronation, the Anointing, when the monarch is anointed on hands, head, chest, shoulders and elbows with holy oil to show he or she has been chosen by God. Handel’s setting was immediately popular and is the only piece of music to be performed at every subsequent coronation of a British monarch. It must have made an astonishing impact, with its long whisper-quiet instrumental introduction and sudden thundering power of the first choral entry with all voices and instruments sounding, including three trumpets and timpani. Handel’s dynamic marking in the score at that point is simply, ‘loud’. The music’s sense of inexorability is enhanced by its being in three continuous movements, ending in shouts of ‘God save the King!’ and a jubilant Alleluia.

Let thy hand be strengthened should have been sung when the king finally ascended the throne towards the end of the ceremony, but it was actually performed early in the coronation at the point known as the Recognition, where the king is presented to the people as their sovereign. This anthem, like the other three, is in three sections, but it is the only one scored without trumpets and timpani. It is more reflective and less overtly grand than the other anthems, its second section in a minor key, ‘Let justice and judgment’, being particularly subdued.

Its contrapuntal ‘Alleluia’ ending is more affirming than exultant.

The King shall rejoice should have been sung first in the coronation service, at the Recognition, when the people are asked to pay homage to the monarch. ‘The People signifie their Willingness and Joy, by loud and repeated Acclamations, all with one Voice crying out, ‘God Save King George the Second’. Then the Trumpets sound. And the choir sing this Anthem.’ Whether it was actually sung at that point, or later during the Crowning, remains unclear. This anthem is in four distinct, contrasted movements. The future composer of Messiah can be heard in the pastoral triplets of the second movement, and in the long seemingly endless vocal melismas which depict the word ‘blessings’ in the third (listen for a little of ‘Worthy is the lamb’ and ‘And he shall purify’). The final movement is a weighty and majestic ‘Alleluia’, again with all voices and instruments blazing, underlining the legitimacy of George II’s power.

The fourth anthem, My heart is inditing, was sung during the coronation of the Queen, which took place towards the end of the ceremony. All the texts come from the King James’ version of the Bible, and the meaning can be somewhat obscure. In modern usage the first two lines of this anthem would be, ‘My heart overflows with a noble theme as I address my verses to the King’. Similarly, the final line, ‘Kings shall be thy nursing fathers, and Queens thy nursing mothers’ might now be expressed as: ‘kings shall be your guardians and their queens your nurses’. This comes from the Old Testament Book of Isaiah, in which God promises the Jewish people that their enemies will be defeated and all other nations will serve them, and was probably intended as a metaphor for the power of the king of Great Britain relative to those of other nations.

Program Notes

Handel called on all his operatic experience in composing this anthem, first creating a gentle ambience to represent the Queen, before trumpets and drums enter to add a stately lustre to the conclusion of the first movement. The words ‘Kings’ daughters were among thy honourable women’ are then symbolically introduced by the upper voices of the choir, while ‘Upon thy right hand did stand the Queen in vesture of gold’ unfolds in appropriately luxuriant, rich harmonies. In the final section of the anthem the rushing fanfare-like figures of the violins and oboes are again reinforced by the trumpets and drums, creating a thrilling climax to the whole ceremony.

Zadok the Priest, and Nathan the Prophet anointed Solomon King. And all the people rejoiced, and said: God save the King! Long live the King! May the King live for ever, Amen, Alleluia.

My heart is inditing of a good matter: I speak of the things which I have made unto the King. Kings daughters were among thy honourable women Upon thy right hand did stand the Queen in vesture of gold and the King shall have pleasure in thy beauty. Kings shall be thy nursing fathers, and queens thy nursing mothers.

Let thy hand be strengthened and thy right hand be exalted. Let justice and judgment be the preparation of thy seat! Let mercy and truth go before thy face. Let justice, judgment, mercy and truth go before thy face. Allelujah.

The King shall rejoice in thy strength, O Lord Exceeding glad shall he be of thy salvation. Glory and great worship hast thou laid upon him. Thou hast prevented him with the blessings of goodness and hast set a crown of pure gold upon his head Allelujah.

The Coronation Chair in St George’s Chapel


Handel's Anthems & Fireworks



CONCERTO FOR OBOE NO. 3 IN G MINOR, HWV 287

Grave Allegro Sarabande: Largo Allegro

In 1703, when he was eighteen, Handel moved from his home town of Halle to take up a job with the Hamburg opera orchestra. He stayed there until late 1706, playing the violin and later the harpsichord. This concerto is believed to date from the same period although its origin is not clear, and for a time it was thought not to be by Handel at all. Handel was a renowned re-user of his own work, but while the concerto does not use material from any of his other early compositions, there are similarities with the operas he is known to have composed in the same period. He re-used the final Allegro in his Organ Concerto in G minor Op 4 No 3 (HWV 291).

This is both Handel’s earliest concerto and the oldest surviving concerto for solo oboe. The oboe had been an orchestral instrument from the mid-seventeenth century but the early eighteenth century saw a rush of composers keen to exploit its haunting and lyrical sound. Both Handel and Bach used the oboe as an obbligato (solo) instrument in vocal music, and concertos for solo oboe were composed by Vivaldi and Albinoni, among many others.

WHAT TO LISTEN FOR

This concerto is in four movements (the three-movement concerto had not yet been popularised by Vivaldi), and features the mixture of French and Italian styles then fashionable in Hamburg. The dotted rhythms in the first movement are reminiscent of a French overture, while the third movement is a very expressive Sarabande, a French dance form. The two Allegro movements feature fast passage-work and interplay between the oboe and first violin.

A view of the fire-workes and illuminations at His Grace the Duke of Richmond's at Whitehall and on the River Thames on Monday 15 May 1749. Performed by the direction of Charles Fredrick Esq.

Hand coloured etching showing the Royal Fire-workes and Illuminations in Whitehall and on the River Thames.


MUSIC FOR THE ROYAL FIREWORKS HWV 351

Ouverture: Adagio – Allegro – Lentement - Allegro Bourrée La Paix [The Peace] La Réjouissance [Rejoicing] Menuet 1 Menuet 2

Handel composed the suite known as Music for the Royal Fireworks to accompany an elaborate fireworks display which celebrated the conclusion of the War of the Austrian Succession, which had lasted from 1740 to 1748 and had involved most of Europe. The celebrations had initially been intended as rather low-key, but the peace treaty’s conditions were not that favourable to Britain, and the government decided that something was needed to play up the role of the King and downplay their own role.

All London watched for months as an elaborate Doric temple on which the fireworks would be displayed was slowly erected in Green Park. The temple was in Palladian style, 34 metres high and 124 metres long, with a lower wing at either side and a pavilion at each end. Made of wood and canvas whitewashed to look like stone, it was ornamented with a false balustrade, translucent windows lit from behind, statues, and the King’s arms. Hundreds of men worked feverishly to finish the building in time, scandalising the population by working on Sundays.

From the outset the event was plagued by poor planning and disagreements between all involved: the managers appointed by parliament, the Duke of Montagu and Charles Frederick, the French theatre designer charged with building the ‘Machine’ to display the fireworks, the Italian firework makers, and the German composer, Handel, who seems to have been asked to compose the accompanying music almost as an afterthought.

Not to mention King George II himself, who said that he did not want any music but if there had to be any, it must be ‘martial musick … and he hoped there would be no fidles [violins].’

Initially the event was advertised as having ‘a Band of a Hundred Musicians’ including forty trumpets and twenty French horns, ‘with 100 cannon to go off singly at intervals.’ As late as three weeks before the event Handel threatened to pull out if he could not have violins, although this may have been an ambit claim to reduce the unworkably high numbers of brass instruments wanted by Montagu and Frederick.

To partially defray the huge cost of the exercise Montagu decided that the rehearsal was to be a public concert at the pleasure gardens at Vauxhall. Handel would not agree, probably because he had planned his own fee-paying concert of the music which was to take place only a month later at the Foundling Hospital, but he was obliged to go ahead when the Duke of Montagu threatened in turn to use another composer’s music instead. The rehearsal was so well-attended (although more likely by 3,000 people than the reported 12,000) that carriages on London Bridge caused London’s first traffic jam, and probably Handel was among those delayed, as the rehearsal started two hours late.

After such a tremendous build-up, the event itself was bound to be an anticlimax, and so it proved, according to politician and man of letters Horace Walpole:

The next day were the fire-works, which by no means answered the expense, the length of preparation, and the expectation that had been raised; indeed, for a week before, the town was like a country fair, the streets filled from morning to night, scaffolds building wherever you could or could not see, and coaches arriving from


PROGRAM NOTES & TIMELINE © LYNNE MURRAY 2019

every corner of the kingdom. … The rockets and whatever was thrown up into the air succeeded mighty well, but the wheels and all that was to compose the principal part, were pitiful and ill-conducted, with no changes of coloured fires and shapes: the illumination was mean, and lighted so slowly that scarce anybody had patience to wait the finishing; and then what contributed to the awkwardness of the whole, was the right pavilion catching fire, and being burned down in the middle of the show.

The musicians, conducted by Handel, performed between 6 and 7 o’clock, just as well, as it was the pavilion in which they were seated which caught fire. Smoke obscured the grand sun on the top of the building with ‘Vivat Rex’ (long live the King) in the centre, and in the resulting confusion the remaining fireworks were let off in the wrong order and the effect was lost. Emotions ran high among the organisers and Servandoni, who designed the building, drew his sword on Charles Frederick.

There is no record of what anyone thought about the music.

WHAT TO LISTEN FOR

The exact instruments Handel ended up using on the day are not known, but his autograph score indicates that it was indeed a particularly warlike band which would have suited the King: twenty-four oboes in three parts, nine horns in three parts, nine trumpets in three parts, twelve bassoons in two parts, a contrabassoon, and three sets of timpani. The score shows that he doubled the woodwind with strings, with the number of players reduced, and it was this orchestration that he used for the performance at the Foundling Hospital in London. Modern performances now follow this model.

The work begins with a particularly grand first movement, the splendid Ouverture in the triumphant key of D major. All instruments play in this extended movement, distributed across fifteen separate musical parts, with trumpets and timpani dominating. By comparison with the very weighty texture of the first movement, the second movement is a light and elegant dance in four parts without any brass instruments, and even the woodwinds drop away on the repeats, leaving just strings. La Paix (the peace) is also a graceful dance, played by all instruments except timpani. The sense of royal occasion returns with La Réjouissance (rejoicing) and the commanding final Menuet. In both movements Handel keeps the interest across several repeated sections by varying the instrumentation.


Handel’s first page of the ‘Ouverture’ from the Music for the Royal Fireworks, HWV 352


Handel's Anthems & FireworksTimeline

Handel’s life and career

1685 Born in Halle, Germany 1685 Henry Purcell's anthem My heart is inditing performed at the coronation of King James II

1703Moves to Hamburg, plays violin and harpsichord for the 'Oper am Gänsemarkt', the first public opera house in Germany

1703 City of St Petersburg founded by Peter the Great

1705 Composes first opera and Oboe Concerto No 3 1705 Infamous English highwayman Dick Turpin born

1706 Travels to Rome and Florence 1706 German composer Johann Pachelbel dies

1710 Appointed music director to the Elector of Hanover; makes first visit to London 1710 World's first copyright legislation passed in England

1711 Sees first London opera Rinaldo performed; returns to Germany 1711 Tuning fork invented in England

1712 Back in London permanently 1712 Dutch East India company ship wrecked off the coast of Western Australia

1713 Dismissed from the court of Hanover; granted annual pension by Queen Anne of Great Britain 1713 Violinist and composer Arcangelo Corelli dies

1714 Composes Te Deum to welcome new royal family 1714 Queen Anne dies; the Elector of Hanover is proclaimed George I, King of Great Britain and Ireland

1717 Composes Water Musick to accompany king's outing on the River Thames 1717 Thousands die in North Sea flood

1724 Premiere of opera Giulio Cesare (Julius Caesar) 1724 First performance of JS Bach’s St John Passion in Leipzig

1727 Composes anthems for the coronation of George II; becomes a British subject 1727 First performance of JS Bach’s St Matthew Passion in Leipzig

1735 Premiere of Alcina 1735 The British Witchcraft Act makes it a crime to accuse a person of witchcraft

1738 His statue is erected in Vauxhall Gardens, London 1738 Excavation of Herculaneum begins

1741 Gives last performance of Italian opera 1741 Irish famine kills an estimated 13-20% of the population. Vivaldi dies.

1742 Messiah premieres in Dublin 1742 Celsius devises centigrade thermometer

1743 Messiah premieres in London 1743 Thomas Jefferson born

1748 Composes oratorio Solomon 1748 War of the Austrian Succession ends

1749 Composes Musick for the Royal Fireworks 1749 A rhinoceros called Clara exhibited in Paris creates sensation & inspires wigs à la rhinocéros

1751 Begins to go blind, will be almost totally blind by 1753 1751 New Year’s Day occurs on 25 March for the last time in England and Wales

1752 First performance of oratorio Jephtha 1752 Benjamin Franklin proves that lightning is electricity

1759 Dies on 14 April, buried in Westminster Abbey 1759 British Museum opens to the public

1685 Born in Halle, Germany 1685 Henry Purcell's anthem My heart is inditing performed at the coronation of King James II

1703Moves to Hamburg, plays violin and harpsichord for the 'Oper am Gänsemarkt', the first public opera house in Germany

1703 City of St Petersburg founded by Peter the Great

1705 Composes first opera and Oboe Concerto No 3 1705 Infamous English highwayman Dick Turpin born

1706 Travels to Rome and Florence 1706 German composer Johann Pachelbel dies

1710 Appointed music director to the Elector of Hanover; makes first visit to London 1710 World's first copyright legislation passed in England

1711 Sees first London opera Rinaldo performed; returns to Germany 1711 Tuning fork invented in England

1712 Back in London permanently 1712 Dutch East India company ship wrecked off the coast of Western Australia

1713 Dismissed from the court of Hanover; granted annual pension by Queen Anne of Great Britain 1713 Violinist and composer Arcangelo Corelli dies

1714 Composes Te Deum to welcome new royal family 1714 Queen Anne dies; the Elector of Hanover is proclaimed George I, King of Great Britain and Ireland

1717 Composes Water Musick to accompany king's outing on the River Thames 1717 Thousands die in North Sea flood

1724 Premiere of opera Giulio Cesare (Julius Caesar) 1724 First performance of JS Bach’s St John Passion in Leipzig

1727 Composes anthems for the coronation of George II; becomes a British subject 1727 First performance of JS Bach’s St Matthew Passion in Leipzig

1735 Premiere of Alcina 1735 The British Witchcraft Act makes it a crime to accuse a person of witchcraft

1738 His statue is erected in Vauxhall Gardens, London 1738 Excavation of Herculaneum begins

1741 Gives last performance of Italian opera 1741 Irish famine kills an estimated 13-20% of the population. Vivaldi dies.

1742 Messiah premieres in Dublin 1742 Celsius devises centigrade thermometer

1743 Messiah premieres in London 1743 Thomas Jefferson born

1748 Composes oratorio Solomon 1748 War of the Austrian Succession ends

1749 Composes Musick for the Royal Fireworks 1749 A rhinoceros called Clara exhibited in Paris creates sensation & inspires wigs à la rhinocéros

1751 Begins to go blind, will be almost totally blind by 1753 1751 New Year’s Day occurs on 25 March for the last time in England and Wales

1752 First performance of oratorio Jephtha 1752 Benjamin Franklin proves that lightning is electricity

1759 Dies on 14 April, buried in Westminster Abbey 1759 British Museum opens to the public

Contemporary Events


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Noël! Noël!Series Six

This immensely popular series is not just carols but a mischievous affirmation of life that fuses the modern with the ancient. Filled with many special surprises and timeless musical treasures including O Come All Ye Faithful and Stille Nacht.

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Series Four

Introducing audiences to three electrifying young artists who have glimpsed the future with a program to include: Halvorsen Passacaglia for Violin and Viola after Handel Handel Tu del ciel ministro eletto from Julius Caesar Vivaldi Violin Concerto in G major Op. 9 No. 10, RV 300

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From a biting winter to a summer storm, join acclaimed Baroque violin soloist, Shaun Lee-Chen, in a bold re-imagining of this much-loved classic. Telemann Concerto for 4 Violins in G major, TWV40:201 Telemann Water Music, TWV 55:C3 Vivaldi The Four Seasons, Op. 8


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Our DonorsCHAIRMAN’S 11 BRANDENBURG OPERA CIRCLE

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ORCHESTRAL CHAIRS

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ARTISTIC DIRECTORPaul Dyer AO

MANAGING DIRECTORBruce Applebaum

THE BRANDENBURG COUNCILJillian Broadbent AC Greg Hutchinson AM Max Suich

THE BOARD

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

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

PATRONHer Excellency the Honourable Margaret Beazley AO QC, Governor of New South Wales

HEAD OF MARKETING & CUSTOMER RELATIONSTom Morgan

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RECEPTIONIST/TICKETINGASSISTANTEwelina Ellsmore

HEAD OF ARTISTIC PLANNING & MANAGEMENTAshley Giles

ORCHESTRA MANAGERValérie Morgan-Pertus

PRODUCTION COORDINATORShannon O’Hara

ARTISTIC PLANNING COORDINATORJoanna Butler

MUSIC RESOURCESHugh Ronzani

HEAD OF DEVELOPMENTAislinn Giugni

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AUDITORS

BDO East Coast Partnership

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Charles Gwynn Andrew O’Connor Christopher Price

PRE-CONCERT TALKSDr Alan Maddox*

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BRANDENBURG ENSEMBLE LIMITED TRADING AS AUSTRALIAN BRANDENBURG ORCHESTRA IS A NON-PROFIT ORGANISATION REGISTERED AS A COMPANY LIMITED BY GUARANTEE. ABN 41 003 908 183 ADDRESS LEVEL 1, 247 COWARD STREET MASCOT NSW 2020 | POST GPO BOX 4416, SYDNEY NSW 2001 TELEPHONE 61 2 9328 7581 | WEBSITE BRANDENBURG.COM.AU | EMAIL [email protected]

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

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cityrecitalhall.com

WEBSITE

qpac.com.au

2 Angel Place Sydney NSW 2000

Grey St and Melbourne St, South Brisbane QLD 4101

CITY RECITAL HALL LIMITED

QUEENSLAND PERFORMING ARTS CENTRE

CHAIR

Professor Peter Coaldrake AO

DEPUTY CHAIR

Leigh Tabrett PSM

TRUST MEMBERS

Dare PowerSusan Rix AM

Leanne de Souza

ADMINISTRATION

03 9699 2228

BOX OFFICE

03 9699 3333

FOUNDING PATRON

The Late Dame Elisabeth Murdoch AC DBE

BOARD OF DIRECTORS

Prof Andrea Hull AO, ChairPeter BartlettStephen CarpenterJoseph CorponiThe Hon Mary DelahuntyPaul DonnellyAssoc Prof Jody EvansMargaret Farren-PriceEda Ritchie AM

Audrey Zibelman

EXECUTIVE STAFF

Euan Murdoch Chief Executive OfficerJasja van Andel Head of OperationsMarshall McGuire Director of ProgrammingRobert Murray Director of Marketing & Customer RelationsSandra Robertson Director of DevelopmentSandra Stoklossa Director of Corporate Services

MELBOURNE RECITAL CENTRE

FACSIMILE

03 9207 2662

WEBSITE

melbournerecital.com.au

Corner Southbank Boulevard and Sturt Street Southbank VIC 3006

The Queensland Performing Arts Trust is a statutory body of the State of Queensland and is partially funded by the Queensland GovernmentThe Honourable Leeanne Enoch MP, Minister for Environment and the Great Barrier Reef, Minister for Science and Minister for the Arts Director-General, Department of Environment and Science: Jamie Merrick. QPAC respectfully acknowledges the Traditional Owners of the Lands across Queensland and pays respect to their ancestors who came before them and to Elders past, present and emerging.Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

Artists impression of The Grace in aerial photograph Australian Unity Retirement Living Services Limited, ACN 085 317 595, June 2019.

Where the apartments are as eye catching as the skyline

WORLD-CLASS

RETIREMENT LIVING

At The Grace you’ll be drawn to the spectacular

views. In one direction, Albert Park Lake, in

the other, the city skyline. The Grace lifestyle

is equally stunning. Live an active, inner-city

retirement and enjoy exclusive wellness and

club-style facilities. At The Grace, you won’t

just live the high life, you’ll live the ‘wow’ life.

Display open at 128 Albert Road,

South Melbourne. Call 0420 102 534

to book your appointment

thegracealbertparklake.com.au

AUST4277 TG BRN FP 180x222 SO1 FA.indd 1 14/6/19 3:30 pm


Chairman’s 11Our Chairman’s 11 program is for members who share a passion for artistic excellence. This enables us to invite outstanding guest artists from Australia and overseas to perform with the Orchestra.

Orchestral ChairsOur Orchestral Chair program is vital to our future as Australia’s national Baroque orchestra. This important fund helps us attract and retain the very best period musicians from all over Australia.

In addition to our Annual Giving, the Brandenburg has other philanthropic programs that contribute towards specific areas of the Orchestra’s work.

If you are interested in supporting one of our philanthropic programs please contact our Development Team via email or phone.

Visit brandenburg.com.au/support-us/philanthropic-programs Email [email protected] Phone 1300 782 856

SYDNEY 11–20 SEPTEMBERMELBOURNE 21 & 22 SEPTEMBER

What will Baroque performance hold 30 years from now? These tremendous next-generation talents have glimpsed that future.

BOOK NOW

brandenburg.com.au 1300 782 856

Next Generation Baroque

PROGRAM FEATURES WORKS BY BACH, HANDEL & VIVALDI

CHRISTIAN LI (MELBOURNE) VIOLINANNIE GARD (HAMBURG) BAROQUE VIOLINMADISON NONOA (LONDON) SOPRANO

Documents

Featuring the Brandenburg Choir performing Zadok the Priest · 2019-07-09 · Handel Coronation Anthem No. 1 Zadok the Priest, HWV 258 Handel Coronation Anthem No. 4 My Heart is Inditing,