Transcript
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TAFELMUSIK BAROQUE ORCHESTRABACH AND HIS WORLD

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ADELAIDEADELAIDE TOWN HALL TUESDAY 29 MAY, 7.30PM Pre-concert talk, 6.45pm (Prince Alfred Room)

Meet the Artists after concert

BRISBANECONCERT HALL, QUEENSLAND PERFORMING ARTS CENTRE THURSDAY 31 MAY, 7PMPre-concert talk, 6.30pm (Concert Hall Balcony Foyer)

CD Signing after concert

CANBERRALLEWELLYN HALL, ANU SCHOOL OF MUSIC THURSDAY 24 MAY, 7PMPre-concert talk, 6.15pm (Athenaeum [foyer])

Meet the Artists after concert

MELBOURNEELISABETH MURDOCH HALL, MELBOURNE RECITAL CENTRE TUESDAY 22 MAY, 7PM Pre-concert talk, 6.15pm (Boardroom, Level 2)

Meet the Artists after concert

SATURDAY 26 MAY, 7PMPre-concert talk, 6.15pm (Boardroom, Level 2)

CD signing after concert

PERTHPERTH CONCERT HALL SATURDAY 19 MAY, 7.30PMPre-concert talk, 6.45pm (Corner Stage Riverside, Terrace Level)

Meet the Artists after concert

SYDNEYCITY RECITAL HALL SATURDAY 2 JUNE, 2PMPre-concert talk, 1.15pm (Function Room, Level 1)

Meet the Artists after concert

MONDAY 4 JUNE, 7PMPre-concert talk, 6.15pm (Function Room, Level 1)

CD signing after concert

Musica Viva is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body. Musica Viva is assisted

by the NSW Government through Create NSW.

Elisa Citterio Music Director

Conceived, programmed and scripted by Alison Mackay

Marshall Pynkoski Stage Director Glenn Davidson Production Designer Raha Javanfar Projections Designer Jane MacRae Film Editor

Elisa Citterio Director Blair Williams Narrator

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ADDITIONAL ACTIVITYMembers of Tafelmusik will present the following events as part of this tour:

Inside the Music: Adelaide, Monday 28 May, 5.30–6.30pm, Madley Studio, Elder Conservatorium. Tickets at musicaviva.com.au/inside

Masterclasses:

Melbourne: Monday 21 May, Melbourne Conservatorium of Music, University of Melbourne. 10am–12pm violin, viola and cello masterclasses; 12–1pm In Conversation with Alison Mackay and Susan de Weger; 12–2pm woodwind masterclass (various campuses)

Sydney: Friday 1 June, 4pm, Sydney Conservatorium of Music

For further details, please visit musicaviva.com.au/masterclasses

The Musica Viva Masterclass program is supported by principal patrons Stephen Johns & Michele Bender, Wesfarmers Arts (WA) and Mary Turner oam (Newcastle).

FROM THE ARTISTIC DIRECTOR

CARL VINE aoARTISTIC DIRECTOR MUSICA VIVA AUSTRALIA

Welcome to our third multimedia spectacle starring the legendary Canadian Baroque orchestra Tafelmusik. In 2012 we presented their Galileo Project, a celebration of astronomy marking the 400th anniversary of Galileo’s development of the telescope, and in 2015 we witnessed House of Dreams, an intimate exploration of the subtle links between Baroque composition and the great painters and architects of the period.

Like both previous productions, Bach and His World was devised by the orchestra’s double bass player, Alison Mackay, and like them it uses spoken word and video projection to explore J.S. Bach’s music, and particularly the time he spent in Leipzig. We get a privileged glimpse into scientific developments that advanced the technology of instrument making, and how the artisans of Saxony – papermakers, violin carvers and string spinners – helped Bach through one of his most productive periods.

The music for the show is a procession of some of Bach’s finest inventions, extracted from a wide range of cantatas, orchestral suites, concertos, chorales and keyboard music. Like its predecessors, the

presentation is guided by a narrator, Blair Williams, who joins Tafelmusik’s new lead violin and Music Director, Elisa Citterio, on this fascinating journey of discovery of music, technology and society for the 27 years that Bach lived in Leipzig, one of Europe’s greatest trading hubs in the 18th century.

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FROM THE CHIEF EXECUTIVE OFFICEROur Canadian artists have often marvelled that Musica Viva exists only in Australia. There is no doubt that Canada, a country of a similar size and population spread, and committed to establishing its own voice amidst much larger neighbours, would have benefitted enormously from a similar organisation. But nothing similar exists in Canada.

The difference here was the incredible confluence of post-war migration and emerging national identity in Australia. The original volunteers who set up Musica Viva were driven by the time and place in which they found themselves. Critically, they also understood that donating their time, and whatever money they could, to make this organisation viable was the only path forward. As a result, we have been gifted this amazing organisation that is unique in all the world.

This personal connection continues today in the ongoing generosity of our donors, who have enabled the remarkable to occur: music education in the remote community of Croker Island, 250km north of Darwin; artist development through masterclasses, intensive holistic training and competitions; and creating a fighting fund through the Amadeus Society, to enable Musica Viva to secure those artists who otherwise would be beyond our means.

The Amadeus Society, championed in Sydney by its chair, Ruth Magid, and in Melbourne by its president, Julian Burnside ao qc, has made possible this special tour by Tafelmusik. And all our wonderful Virtuosi donors enable Musica Viva’s programs to be accessible across the country, ensuring that everyone can share with us the joy and inspiration of chamber music.

Thank you so much to all our kind donors, everywhere! You have made miracles happen.

MARY JO CAPPSCHIEF EXECUTIVE OFFICER MUSICA VIVA AUSTRALIA

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MEET THE ARTISTSTAFELMUSIK BAROQUE ORCHESTRAElisa Citterio music director

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Renowned for its dynamic, engaging and soulful performances, Tafelmusik is one of the world’s leading period-instrument ensembles, performing on instruments and in styles appropriate for the era of the music. This season we are excited to welcome new Music Director Elisa Citterio: only the second Music Director in Tafelmusik’s history, she takes over from Music Director Emerita Jeanne Lamon. We are Canada’s most toured orchestra, having performed in over 350 cities in 32 countries, and are proud to call Toronto our home. There we perform some 80 concerts each year for a loyal and enthusiastic audience in diverse venues across the city. The orchestra is joined in performances by the critically acclaimed Tafelmusik Chamber Choir and its director Ivars Taurins.

Tafelmusik seeks to transport audiences to the Baroque and Classical periods through adventurous cross-cultural collaborations, on stage with Toronto’s Opera Atelier, and underground at our Haus Musik series. Our musicians share their knowledge and experience through artist-training initiatives such as the Tafelmusik Baroque Summer and Winter Institutes. Tafelmusik’s recordings on the Sony, CBC Records, Analekta and Tafelmusik Media labels have garnered nine JUNOs (the Canadian ARIAs) and numerous international recording prizes.

tafelmusik.org

@tafelmusik @tafelmusik

@tafelmusicbocc /tafelmusik1979

Violins Elisa Citterio, Patricia Ahern, Thomas Georgi, Michelle Odorico, Christopher Verrette, Julia Wedman, Cristina Zacharias Violas Patrick G. Jordan, Brandon Chui Cellos Christina Mahler, Allen Whear Double Bass Alison Mackay Oboes John Abberger, Marco Cera Bassoon Dominic Teresi Harpsichord Olivier Fortin

Technical Director Glenn Davidson Lighting Associate Kaitlin Hickey Video Operator Patrick Lavender Tour & Stage Manager Beth Anderson

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This is Tafelmusik’s third national tour for Musica Viva, following The Galileo Project in 2012 and House of Dreams in 2015.

Bach and His World received its premiere under its original title J.S. Bach: The Circle of Creation as part of Tafelmusik’s 2014/15 season.

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ELISA CITTERIO music director

The brilliant violinist Elisa Citterio joins Tafelmusik as Music Director this season. She moved to Toronto from her native Italy, where she divided her artistic life between orchestral work and an intense schedule as a chamber musician. She has recorded and toured, often as leader, with such ensembles as Dolce & Tempesta, Europa Galante, Accademia Bizantina, Accordone, Zefiro, La Venexiana, La Risonanza, Ensemble 415, Concerto Italiano, Orquestra del Montsalvat, Il Giardino Armonico and Orchestra Academia 1750. From 2004 she was a member of the Orchestra del Teatro della Scala in Milan. Elisa studied violin and viola at the L. Marenzio Conservatory in her home town of Brescia. Postgraduate work included Baroque violin studies with Enrico Onofri, Luigi Mangiocavallo and Chiara Banchini. Her discography includes more than 35 recordings of Vivaldi, Bach, Handel, Corelli, Monteverdi and Haydn.

ALISON MACKAY concept, program, script and double bass

Alison Mackay, who has played the violone and double bass with Tafelmusik since 1979, is active in the creation of cross-cultural and multi-disciplinary programs for the orchestra. A number of her projects, which include The Four Seasons: A Cycle of the Sun; The Galileo Project; House of Dreams; and Tales of Two Cities: The Leipzig Damascus Coffee House, have been made into feature documentary films and have toured extensively around the world. Her musical tale of adventure The Quest for Arundo Donax was awarded the 2006 JUNO Award for Children’s Recording of the Year, and she is the recipient of the 2013 Betty Webster Award for her contribution to orchestral life in Canada.

BLAIR WILLIAMS narrator

Based in Toronto, Blair Williams works as a director and actor in theatres across Canada and the US, notably at the renowned Shaw Festival. He has collaborated with Tafelmusik on numerous projects since 1999, both in Toronto and on tour in North America and Australia, including the narrative concerts House of Dreams, Chariots of Fire, King Arthur, The Grand Tour and The Quest for Arundo Donax. He was born in North Bay Ontario, and is a graduate of the National Theatre School of Canada.

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PROGRAM

All works by Johann Sebastian BACH (1685–1750) unless otherwise indicated

Cantata BWV249a: I. Sinfonia

Sonata for three violins in C major, after BWV1005: I. Adagio

Orchestral Suite no 1 in C major, BWV1066: I. Ouverture

Chorale tune ‘Gloria laus et honor’ (Glory, praise and honour)

Orchestral Suite no 1 in C major, BWV1066: VI. Bourrée & IV. Forlane

Sinfonia for solo harpsichord in G minor, BWV797

Prelude for solo harpsichord in C major, BWV933

Suite for solo cello no 3 in C major, BWV1009: IV. Sarabande

Brandenburg Concerto no 3 in G major, BWV1048: I. Allegro

Adagio, after Cantata BWV202: I. ‘Weichet nur, betrubte Schatten’ (Depart, melancholy shadows)

Brandenburg Concerto no 3 in G major, BWV1048: II. Adagio – Allegro

I N T E R V A L

Tafelmusik’s Australian Tour 2018 is generously supported by:

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Movements from Cantatas BWV249a, 202, 208, 42 & 11 and Goldberg Variations nos 18 & 22 transcribed & arranged by Alison Mackay.

Sonata BWV1005 arranged by Christopher Verrette.

Program approximately 2 hours long, including interval.

Andante, after Cantata BWV208: IX. ‘Schafe können sicher weiden’ (Sheep may safely graze)

Partita for solo violin in D minor, BWV1004: I. Allemande

Tish Nign (18th-century Klezmer tune)

Cantata BWV140: Chorale ‘Wachet auf, ruft uns die Stimme’ (The voice calls to us: Awake)

Orchestral Suite no 3 in D major, BWV1068: III. Gavotte

Sonata for two violins and continuo in G major, BWV1039: I. Adagio & II. Allegro ma non presto

Canons on the first eight notes of Goldberg Variations, BWV1087: I. Simplex – V. Duplex a 4 – XI. Duplex a 5

Excerpts from Goldberg Variations, BWV988: Air – Variation no 18: Canone alla sexta – Variation no 22: Alla breve

Canons on the first eight notes of Goldberg Variations, BWV1087: XIII. Triplex a 6

Adagio, after Cantata BWV42: III. ‘Wo zwei und drei versammelt sind’ (Where two and three are gathered together)

Sinfonia, after Cantata BWV11: I. ‘Lobet Gott in seinen Reichen’ (Praise the Lord in his realms)

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ABOUT THE MUSIC

musical instrument strung with seven strings of sheep gut. Just such an instrument, a tortoiseshell lyre from the fifth century BCE found in an excavation in Athens, is pictured to illustrate the tale, which originates from the same period. The lyre was sold to the British Museum by Thomas Bruce, seventh Earl of Elgin, famous for having removed the Elgin Marbles from the Parthenon.

Since ancient times, instruments have continued to use materials from the natural world – bird feathers for the quills that pluck harpsichord strings, maple and spruce for the bodies of stringed instruments, boxwood for oboes. Two millennia after the creation of the ancient lyre, sheep intestines were still used to create strings for Bach’s violins, and brass strings were made by hand for his harpsichords. Eighteenth-century techniques are still used for the manufacture of historical strings for period instruments today. Because the guild members of early modern Europe were obliged to guard their trade secrets,

Alison Mackay writes:

Three themes lie behind the design of Bach and His World. The concert is a celebration of the genius of Bach, with a special emphasis on the instrumental music which he created for his family, his students and his colleagues. In words and images, the performance also honours the work of the artisans and tradespeople whose labour and expertise made the performances of Bach’s music possible. Finally, in examining the origins and anatomy of Bach’s orchestra, we hope to shed light on the inner workings of our own ensemble.

The concert is presided over by the immortal brothers Apollo and Mercury, patron gods of the city of Leipzig, the home of Bach from 1723 until his death in 1750. One of the earliest monuments of Western culture, the Homeric Hymn to Mercury, explains how Apollo became the god of music, and Mercury the god of trade. The excerpt from the story which begins the concert explains how the newborn Mercury killed a tortoise and fashioned from it a glorious

Bach and His World

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modern makers have had to be detectives, using forensic evidence such as scraps of old strings and sources such as Denis Diderot’s 18th-century Encyclopédie of the ‘Sciences, Arts and Crafts’ to determine the materials and techniques used in making Bach’s instruments.

Our concert features images and film footage of pioneers in this field at work. These include the English harpsichord builder and restorer Malcolm Rose, who supplies the brass and iron wire for the strings of Tafelmusik’s harpsichord; the Italian firm of Aquila, which produces gut strings for the violin family in the northern Italian city of Vicenza; the Toronto bow maker Stephen Marvin, who has made many bows for the members of the orchestra; Atlanta oboe maker Harry Vas Dias, who has a long association with Tafelmusik oboist John Abberger; and the workshop of Guntram and Peter Wolf, who have built bassoons for Dominic Teresi.

The Toronto luthier Quentin Playfair, who restores and repairs the Tafelmusik string instruments, created a new cello for the project. Inspired by the instrument known as the ‘Saveuse’ cello of 1726, one of the smallest cellos to have emerged from the workshop of Antonio Stradivari, Quentin began work and allowed photographs to be taken each day as he bent the ribs, carved the body and scroll, and inserted the decorative lines of inlay, called ‘purfling’, which embellish the edges of a finely made cello. During the playing of the Sarabande from Bach's third suite for solo cello we see the progress of the instrument from the moment of choosing the wood to the first time the strings are set into vibration by the bow.

The luthiers of Leipzig were commissioned to make stringed instruments for the principal churches of the city and for Zimmerman’s Coffeehouse in the centre of the town. In 1695 the merchants’ guild of Leipzig had petitioned the town council for ‘street lanterns that would, as in Vienna and Berlin, burn all night to prevent incessant nocturnal crime’. On Christmas Eve

of 1701, 700 oil-fuelled streetlights, 478 made by the local tinsmiths’ guild after a model in Amsterdam, and 222 from Dresden, were installed in the city, making it safe for the first time for middle-class citizens to walk freely at night. Coffeehouses became middle-class venues for recreation, listening to the newspaper being read aloud, and enjoying performances of secular ensemble music, until now available only to the wealthy.

Bach directed an ensemble that performed on Friday nights at the café, for which the owner, Gottfried Zimmerman, acquired two violins, one viola, two bassoons and two violones. The Orchestral Suites BWV1066 and 1068, the Third Brandenburg Concerto, the Trio Sonata BWV1039, the Goldberg Variations and the shorter solos for harpsichord, violin and cello featured on our program are typical of music which Bach would have performed with members of his family, university students and amateur players of the ensemble known as the Collegium Musicum. Professional players from the Leipzig town band also participated in these performances. The municipal musicians were given salaries, clothing, music, instruments and housing for themselves and their families in the Stadtpfeiffer Gäßgen (‘City Pipers’ Lane’), which was also the traditional street for the city’s midwives.

The municipality and its music were supported by a thriving economy based largely on the success of the famous trade fairs which took place in the city three times a year. Although forbidden permanent residence in the city, Jewish merchants were encouraged to attend the fairs because of their international connections and business acumen. They were charged a hefty head tax as they entered the city gates, and a higher than normal excise tax upon leaving, thus making a huge contribution to the city coffers. (A devastating fire in the warehouses of the eastern city of Brody in the mid-18th century kept the Jewish merchants from attending the fair, and the city of Leipzig suffered a huge financial loss.)

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ABOUT THE MUSIC

In 1929, Max Freudenthal, the rabbi of Nuremberg, compiled the detailed archival tax records of all Jewish visitors to the fairs from 1675 until 1764. He has given us a fascinating portrait of commercial travel from Constantinople, Venice and Siberia, as merchants and their families, cooks and musicians swelled the population of the city three times a year. The 1740 tax records list two Jewish women from Dresden – Khava and Sofia Meyer – who came to play fiddle at the fair. The concert includes a homage to the Jewish contributions to the culture of Bach’s Leipzig, portraying the women fiddlers against the background of the ‘Brühl’, the street where Jews were forced to reside. They play a tune based on music from an 18th-century manuscript found in the attic of the former Rabbinical Seminary in Budapest by the distinguished scholar of the history of klezmer music, Yale Strom.

The sinfonia which begins the concert comes from a secular cantata composed in 1725 for the 43rd birthday party of the Duke of Saxe-Weissenfels. It must have been a favourite of Bach, as he used it again for the opening of Cantata BWV249, now known as the Easter Oratorio. We have taken his process

of recycling one step further in several adaptations of cantata movements into instrumental works suited to the orchestration of Tafelmusik. These works all had their origins in secular cantatas: the serene opening movement of the Wedding Cantata, BWV202; the first aria of Cantata, BWV42, which is thought to have been a reworking of a lost birthday serenata composed for the Duke of Anhalt-Cöthen; the opening chorus of the Ascension Cantata, BWV11, which was originally a celebratory cantata for the completion of renovations of the St Thomas Choir School, which included the Bach family apartments in Leipzig; and the beloved aria known as Sheep may safely graze from BWV208, Bach’s earliest surviving secular cantata.

In 1746 the Dresden official court painter Elias Gottlob Haussmann painted a portrait of the 61-year-old Bach holding, as was customary, an emblem of his art. Rather than being pictured with a keyboard, the famous virtuoso chose instead to hold a small piece of paper with three short lines of music – the first eight notes of the bass line of the Goldberg Variations, with a six-part canon written in code.

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It was a powerful symbol of Bach’s roles as composer, performer and teacher. Like the instrument makers who made his violins and harpsichords, Bach regarded himself as a craftsman who had inherited much from the guild musicians who were his forebears.

The concert ends with a reflection on human hands and the thousands of hours it takes to master the use of a violin bow or a chisel. In the long hours of labour, musicians and artisans are sustained by the beauty of

materials, the artistry of their tools, the guidance of inspiring mentors or the exhilaration of exploring the art of a great genius. We share with our audiences around the world an abiding love for the music of J.S. Bach, and it is a privilege to be able to perform it in celebration of his art, and in recognition of the artisans, scholars, tradespeople and music lovers who made and continue to make the lives of performing artists possible.

© Alison Mackay

The following harpsichords are being played on this national tour:

Adelaide, Canberra, Sydney and Melbourne: Double-manual harpsichord by Bill Bright, 1985, supplied by Musica Viva AustraliaBrisbane: Double-manual harpsichord after J D Dulcken by Robert Goble, 1989, supplied by Queensland ConservatoriumPerth: Double-manual harpsichord based on Goermans/Taskin by Michael Johnson, 1987, supplied by Perth Concert Hall

Special thanks to:

Jean-Marc St-Pierre of Productions MAJ in Montreal for permission to use his footage of the Aquila Strings factory.Timothy Barrett, Director of the Iowa Centre of the Book, and filmmaker Avi Michael, creator of the film Chancery Papermaking, for the footage of paper being made as in the time of Bach.Dr Daniel Geiger of the Museum of Natural History, Santa Barbara, California for his magnified images of materials from Bach’s world.The Bach Museum, Leipzig, for permission to use images from the museum.Production designer Glenn Davidson for creating the photo sequences of hands and Saxon sheep.

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IMAGE CREDITS

1. Apollo with lyre. Photo credit: Depositphotos (phil bird).

2. Mercury with metal wheel. Photo credit: Dreamstime images, ©Slayerspb.

3. Apollo and Mercury plaques. Image credit: Raha Javanfar.

4. Elias Gottlieb Haussmann, Portrait of Johann Sebastian Bach, Stadtgeschichtliches Museum, Leipzig. Photo credit: Erich Lessing/Art Resource NY.

5. Overview of Hyades Star Cluster. Photo credit: NASA, ESA, ST Scl.

6. Cyprus Grove at Dawn / Cyprus Ridge in Arcadia. Photo credit: Elizabeth Ganiatsos.

7. Tortoise Shell Lyre. © The Trustees of the British Museum.

Richard Earlom, after Claude Lorrain, by kind permission of Harvard Art Museums:

8. A Landscape, with Buildings, and Mercury Stealing Admetus’s Cattle from Apollo.

9. A Landscape, with Cattle.

10. A Landscape, with Cattle, and with Mercury and Battus.

11. Abraham Ortelius, Map of Europe, c.1570. Photo credit: Depositphoto (cascoly).

12. Paul de Wit, Map of Leipzig, by kind permission of Olaf Simons.

Photos of Leipzig. Photo credit: Gert Mothes:

13. Statues of Apollo and Mercury on the Stock Exchange.

14. Towers of St Nicholas and St Thomas Church.

15. City Hall.

16. Film footage of Leipzig’s Baroque Stock Exchange, St Nicholas Church, St Thomas Church, City Hall and White Elster River. Filmed by Alex Foster.

17. Photos of rastrum and ingredients of Bach’s ink taken with kind permission of the Bach Museum, Leipzig. Photo credit: Gert Mothes.

18. Image of Leipzig Stadtpfeiffer Gäßgen, by kind permission of Martin Geisler.

19. Joachim Ernst Scheffler, Leipzig Stock Market, 1749; images of watermarks used by Bach; page of continuo part from J.S. Bach’s Cantata BWV14. By kind permission of the Bach Museum, Leipzig.

20. Microscopic views of feather, woods, bow hair, gut strings and rosin by Daniel Geiger, Santa Barbara Museum of Natural History. Wood shavings provided by Olivia Pelling (Finestrings, Ottawa). Feather material provided by Dr Krista Fahy, Curator of Ornithology at the Santa Barbara Museum of Natural History.

Bach and His World21. Photos of indoor Apollo and Mercury statues, town

councillors and 18th-century trade fair catalogue taken with kind permission of the Leipzig City Museum. Photo credit: Gert Mothes.

22. Images of millwheel stampers, rag sorters, papermakers and candlemakers from Denis Diderot, Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers, 1750–1765, by kind permission of the Thomas Fisher Rare Book Library, University of Toronto.

23. Bernard Picart, Outdoor concert, 1709. Rijksmuseum, Amsterdam.

24. Vincent Laurensz van der Vinne, Gold Shop, 1714. Rijksmuseum, Amsterdam.

25. Photo of Doubrava used by kind permission of Petr Keckeš.

26. Photo of Grün paper mill, by kind permission of the AS/Doubrava Museum. Many thanks to Jitka Klimova, Consulate General of the Czech Republic in Toronto.

27. Film footage from Chancery Papermaking, created by Avi Michael, used by kind permission of Timothy Barrett, Director of the University of Iowa Centre of the Book.

28. Film footage of wire drawing and harpsichord making at the workshop of Malcolm Rose, Lewes, UK. Filmed by Mike Grippo for Tafelmusik.

29. Workshop of luthier Quentin Playfair, Toronto. Photo credits: Sue Dickin & Quentin Playfair.

30. Oboe and bassoon making at the Guntram Wolf family workshop, Kronach, Germany. Photo credit: Anna Marsh.

31. Workshop of Harry Vas Dias, Atlanta, GA. © Hastings Huggins.

32. Saxon merino sheep. Photo credit: Glenn Davidson.

33. Film footage of the Aquila Strings factory created for How It's Made by Productions MAJ, Montreal.

34. Workshop of Stephen Marvin. Photos kindly provided by Stephen Marvin.

35. Anonymous gouache, Collegium musicum concert in a tavern, c 1740, by kind permission of Germanisches Nationalmuseum, Nürnberg.

36. Three versions of the first eight notes of the bass line of Bach’s Goldberg Variations, drawn by Ivars Taurins.

37. Leonardo da Vinci, Drawing of the anatomy of the hand. Photo credit: Depositphotos (lollok).

38. Hand montage photo credits: Glenn Davidson, Mike Grippo, Avi Michael, Sue Dickin and Sian Richards.

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FURTHER EXPLORATIONIn 2018/19, Tafelmusik are presenting their 40th season. This is a remarkable achievement for the organisation which helped to re-invigorate historically informed practices in concert. Interest in the instruments and musical sensibilities of bygone eras need not be a dull or joyless exercise; as Tafelmusik have proved again and again, the unearthed sounds of the Baroque are infused with such otherworldly energy that the very vibrations in the air seem to glow.

The Tafelmusik Baroque Orchestra and Tafelmusik Baroque Choir are the owners of an impressive discography, and their effusive live performances will bring listeners just as much enjoyment on disc as in the concert hall. Their Best of German Baroque: J.S. Bach album, on their in-house Tafelmusik Media label, is packed with J.S.B. highlights, including a number of selections featured in the ‘Bach and His World’ production. For more Baroque magic, the Orchestra and Choir joined forces in 2012 for an acclaimed recording of Handel’s Messiah, performed on period instruments and deemed a ‘desert-island Messiah’ by Fanfare Magazine. Their recording of the Bach Brandenburg Concertos was also lauded as a definitive set and is well worth seeking out.

Tafelmusik have toured Australia twice before – they brought their Galileo Project here in 2012 and, most recently, the sumptuous House of Dreams production in 2015. Both productions are available in beautifully presented CD/DVD sets and are perfect for either discovering Tafelmusik for the first time or reliving the Orchestra’s trademark live-theatre-meets-music experience in your own home.

Visit Tafelmusik’s excellent website at www.tafelmusik.org for all the above and much more.

For more J.S. Bach, Angela Hewitt’s crystalline recordings of The Art of Fugue and the Goldberg Variations (both on Hyperion) come highly recommended; performed on piano, the superb craftsmanship of Bach’s counterpoint is thrown into remarkable relief.

The Choir of Trinity College Cambridge toured nationally with Musica Viva in 2016, and their latest offering is Bach’s magnum opus the B Minor Mass (Hyperion), accompanied by 2017 Musica Viva alumni the Orchestra of the Age of Enlightenment. With a stellar line-up of soloists and recorded in the beautiful acoustic of the Trinity College Chapel, it’s a more than worthy addition to the catalogue. Further afield, Masaaki Suzuki and Bach Collegium Japan have established themselves as a leading authority on Bach since the ensemble’s inception in 1990. Their entire discography is worth exploring, but one particularly brilliant highlight is their 2005 recording of Bach’s superlative Motets on the BIS label.

There are plenty of wonderful Australian groups specialising in historically informed performance (‘HIP’) and period instruments, for listeners wishing to experience the joys of Baroque and Classical music performed by local musicians. For upcoming performances, check them out online:

ARCO (The Australian Romantic and Chamber Orchestra): www.arco.org.au

Australian Brandenburg Orchestra: www.brandenburg.com.au

Bach Akademie Australia: www.bachakademie.com.au

Ironwood: www.ironwoodchamberensemble.com

Australian Haydn Ensemble: www.australianhaydn.com.au

Latitude 37 (Performing as part of Musica Viva’s 2018 Coffee Concert season in Melbourne): www.latitude37baroque.com.au

New Holland Consort: www.facebook.com/newhollandconsort

Brisbane Baroque Players: www.brisbanebaroqueplayers.com

Adelaide Baroque: www.adelaidebaroque.com.au

Van Diemen’s Band: www.vandiemensband.com.au

© Luke Iredale

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TICKETSmusicaviva.com.au/yang1800 688 482 No booking fees through Musica Viva

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quote the promotional code “BENEFIT2018” at your time of purchase to receive your discount. For more information on Eden Road Wines, head to our website at: www.edenroadwines.com.au

Get a 20% discount on any six or more bottles purchased from our Cellar Door, to celebrate our partnership

with Musica Viva in the ACT.

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Please note that this discount is not applicable to online purchases, or to any fees associated with shipping your purchase from our Cellar Door.

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INTERVIEW WITH ALISON MACKAY

Tafelmusik returns to Australia with an Italianate spring in its step, thanks to the appointment last year of a new Music Director, Elisa Citterio. The celebrated Baroque orchestra is presenting the latest in their series of multi-media concerts, devised by double bass player Alison Mackay to illuminate the life and times of the great composers whose music they play.

This outing, titled Bach and His World, is dedicated to the musician's musician who, in the days before the elevation of artists to ‘creative genius’ status, was a master guildsman in constant demand who stood out in the family craft.

‘So it's about the people who made his paper, how he made his own ink, how he went about

writing down his music,’ Mackay explains. ‘It has to do with the instrument builders in Leipzig that he had relationships with, with the social and economic structures that made municipal music-making in Leipzig possible, and what the lives of his instrumentalists were like.

‘There's an examination of the guilds: how you learned to become a violin-maker or a maker of gut strings. And Bach himself came from a musical family. Just as his father had done, he took in apprentices who lived in his own home, who became journeymen musicians. And he had a very workmanlike attitude, especially in the years when he first went to Leipzig. He was composing the cantatas, and later in his career he was very

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busy writing music for Friday night concerts at Zimmerman's coffee house. That's the kind of milieu we'll be duplicating in our concerts.’

Concertgoers who have attended Tafelmusik's previous concerts will know the drill: fascinating video and contemporary photographs, plus visual images from the 18th century, the story narrated by actor Blair Williams. Musica Viva has brought two of Mackay's previous projects here: The Galileo Project in 2012, about science and the arts in the 17th and 18th centuries with music by Monteverdi, Vivaldi, Bach and Handel, and House of Dreams in 2015, in which music by Bach, Handel, Vivaldi and Marais were played against a backdrop of the life and times of great paintings by Vermeer, Canaletto and Watteau.

Mackay's great talent for placing great music – music we almost think has just always existed – into its historical background never obscures, but rather brings to life the works themselves. Playing remains Tafelmusik's main game and among its virtuosic skills is a habit of playing from memory: a feat usually only performed by soloists. That Tafelmusik has remained almost the same tight-knit band of brothers and sisters since its inception in 1979 has helped, as has its 33 years under the direction of Jeanne Lamon.

‘There are 17 people in the orchestra and some people find it easier to memorise than others,’ Mackay explains. ‘I think it's kind of a left brain / right brain thing, that often the people who are marvellous sight readers don't find it as easy to memorise. But we get together in little groups of two or three people to practise. When we're practising in previous months for other programs we have what we call 'play dates' where we find little spaces and gather. And because we don't have any (sheet) music, people hear the playing and just come running.’

It's not all fun, though. Playing from memory is challenging, particularly with contrapuntal music in which many of the parts don't have the same direction as the primary melody line. ‘It’s a really wonderful way of getting to know the construction of the music. And you bond with your colleagues in a different way. It makes us feel like real musicians,’ she says with a laugh.

Some of the musicians memorise by writing out chunks of the score, others have little books they study when on the bus or waiting around at appointments. ‘Usually when you practise a piece, you spend much more time on the technically difficult bits and you take for granted a little bit the things that come naturally. But when you're memorising, you have to practise every single note. It really bumps up the level of your playing.’

Tafelmusik's name sometimes causes confusion: people often think it is a German group, but it is based in Ontario, Canada. That so many of the Baroque, Classical and early Romantic greats they play are German compounds the assumption. Elisa Citterio's arrival brings another element to the orchestra's mix. She has already had an effect on the orchestra's playing.

‘Because the membership has stayed the same, people often say that they can immediately identify Tafelmusik's very characteristic sound if they hear it on the radio. But being Italian, Elisa is bringing a very lively articulation to our style, playing with a lot of contrasts and variety.

‘It's a wonderful combination of continuity and a new vibrancy.’

Miriam Cosic © 2018

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BE AN INSTRUMENT OF CHANGE!

DONATE TODAYPlease consider making a tax-deductible donation before 30 June.

musicaviva.com.au/donate or call 1300 786 186

At Musica Viva, we believe every child deserves a quality music education.

In 2017, we reached nearly 270,000 students across every state and territory in Australia, providing digital teaching resources, live performances, special residencies and teacher professional development opportunities.

Help us transform the lives of more young

Australians through music, regardless of

distance or disadvantage.

Did you know that 60% of school children are not offered music

in the classroom?

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MELBOURNE INTERNATIONALCHAMBER MUSIC COMPETITION

Competition Producer Principal Partner Grand Prize PartnerStrategic Partners

1–8 JULYMelbourne Recital CentreAustralian National Academy of Music

Subscriptions, single tickets and day passes on sale nowmusicaviva.com.au/competition ǀ 1800 688 482

Page 21: TAFELMUSIK BAROQUE ORCHESTRA BACH AND HIS … · 10am–12pm violin, viola and cello masterclasses; ... of some of Bach’s finest inventions, ... Goldberg Variations nos 18 & 22

BE AN INSTRUMENT OF CHANGE!

DONATE TODAYPlease consider making a tax-deductible donation before 30 June.

musicaviva.com.au/donate or call 1300 786 186

At Musica Viva, we believe every child deserves a quality music education.

In 2017, we reached nearly 270,000 students across every state and territory in Australia, providing digital teaching resources, live performances, special residencies and teacher professional development opportunities.

Help us transform the lives of more young

Australians through music, regardless of

distance or disadvantage.

Did you know that 60% of school children are not offered music

in the classroom?

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o: G

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MELBOURNE INTERNATIONALCHAMBER MUSIC COMPETITION

Competition Producer Principal Partner Grand Prize PartnerStrategic Partners

1–8 JULYMelbourne Recital CentreAustralian National Academy of Music

Subscriptions, single tickets and day passes on sale nowmusicaviva.com.au/competition ǀ 1800 688 482

The Amadeus Society is a group of passionate music lovers and advocates in Sydney and Melbourne who have joined together to support the extraordinary artistic initiatives of Musica Viva. Since 2007, their generosity has enabled such artists as Sabine Meyer, Rachel Podger, Maxim Vengerov, Eighth Blackbird and other outstanding international musicians to tour Australia

with great success. In 2018, the Society is again proud to support the third national tour of Tafelmusik.If you are interested in becoming a member of this unique group of supporters in Melbourne or Sydney, please contact Judy Duffy, Acting Director of Development on (02) 8394 6616.

For more info visit musicaviva.com.au/amadeus

THE AMADEUS SOCIETY

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MUSICA VIVA PATRONSWe thank the generous individuals and families who make an important contribution to our activities each year. Every gift is important, ensuring that Musica Viva remains at the forefront of artistic excellence and that our award-winning education program continues to reach children who would otherwise have no access to the inspirational experience of live music. To make a gift to Musica Viva, please contact Callum Close on (02) 8394 6636 or [email protected]

ACTGeoffrey & Margaret BrennanThe late Ernest Spinner

NSWThe late Sibilla BaerThe late Charles BergThe late Dr Anthony J BookallilCatherine Brown-Watt psm & Derek WattLloyd & Mary Jo CappsAndrew & Felicity CorkillThe late Moya Jean CraneLiz GeeSuzanne GleesonThe late Janette HamiltonDavid & Christine HartgillThe late Margaret HedvigThe late Dr Ralph Hockin, in memory of Mabel HockinThe late Irwin ImhofElaine Lindsay

The late Joyce MarchantThe late Suzanne MellerThe late Dr Bela MezoTrevor NoffkeThe late Michael RobinsonThe late John RobsonDr David SchwartzThe late Alison TerryThe late Kenneth W Tribe ac

Mary Vallentine ao

Deirdre Nagle WhitfordKim Williams am

Ray Wilson oam

The late Elisabeth WynhausenAnonymous (3)

QLDThe late Miss A HartshornThe late Steven Kinston

SAThe late Ms K Lillemor AndersenThe late Patricia Baker

The late Edith DubskyMrs G Lesley LynnAnonymous (1)

TASKim Paterson qc

VICJulian Burnside ao qc

Ms Helen DickIn memory of Anita MorawetzThe family of the late Paul MorawetzThe late Elizabeth OakesThe late Mrs Catherine SabeyThe late Mrs Barbara ShearerThe late Dr G D WatsonAnonymous (3)

WAThe late Dr Andrew StewartAnonymous (2)

People who have notified us of their intention to leave a gift to Musica Viva in their will are part of a very special group of Musica Viva Custodians. A bequest to Musica Viva will enable us to continue presenting performances of the highest quality to the widest range of audiences across Australia, well into the future. To discuss, in confidence, a bequest gift, please contact Callum Close on (02) 8394 6636 or [email protected]

MUSICA VIVA CUSTODIANS

Julian Burnside ao qc (President, Melbourne) & Kate DurhamRuth Magid (Chair, Sydney) & Bob MagidTony Berg am & Carol BergMarc Besen ac & Eva Besen ao

Ms Jan Bowen am

Tom Breen & Rachael KohnDi Bresciani oam

David Constable am & Dr Ida LichterDr Cyril CurtainDaryl & Kate DixonDr Helen FergusonMs Annabella FletcherEleanore GoodridgeKatherine & Reg GrinbergJennifer Hershon & Russell Black

Penelope HughesJacqueline HuieAndrew JohnstonMichael & Frederique KatzThe Hon. Jane Mathews ao

Isobel Morgan oam

Prof. John RickardPru RobertsBarbara & Stephen RowleyRay Wilson oam

The Amadeus Society exists to help bring the excitement and inspiration of the world’s most extraordinary musicians to Australian audiences. In 2017, the Society supported the national tours of Eighth Blackbird and the Orchestra of the Age of Enlightenment & Rachel Podger. This year, the Society is proud to support the national tour of Tafelmusik. To learn more about the Amadeus Society and how you can help bring some of the world’s leading international artists to Australia, please contact Judy Duffy on (02) 8394 6616 or [email protected]

AMADEUS SOCIETY

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MUSICA VIVA PATRONSMAJOR GIFTSACT$10,000 – $19,999Anonymous (1)

NSW$100,000 +The Berg Family Foundation Katherine Grinberg in honour of Adrienne Nagy & Yolanda (Nagy) Daniel$20,000 – $99,999Tom Breen & Rachael KohnEleanore GoodridgeTom & Elisabeth Karplus Michael & Frederique KatzRuth & Bob MagidThe Hon. Jane Mathews ao

The late Michael RobinsonKim Williams am

Ray Wilson oam in memory of James Agapitos oam

$10,000 – $19,999Anne & Terrey Arcus am

David Constable am & Dr Ida Lichter

John B Fairfax ao

Hilmer Family Endowment Vicki Olsson Edward & Anne SimpsonDavid & Carole Singer Geoff Stearn Anthony Strachan Jo Strutt SW TradingGeoffrey White oam & Sally White oam

Anonymous (2)$5,000 – $9,999Michael & Margaret Ahrens Christine Davis Gardos FamilyCharles & Wallis Graham Jennifer Hershon & Russell BlackElizabeth IslesWarren Kinston & Verity Goitein Lesley & Andrew Rosenberg Anonymous (1)

QLD$10,000 +Ian & Caroline Frazer Andrea & Malcolm Hall-Brown The MacNicol Family The Hon. Justice A Philippides Anonymous (1)$5,000 – $9,999Noosa Federation of the Arts Inc.

SA$20,000 +Anonymous (1)$10,000 – $19,999Aldridge Family EndowmentDay Family FoundationLang FoundationMarsden Szwarcbord FoundationP M Menz Anonymous (1)$5,000 – $9,999Mark Lloyd & Elizabeth Raupach

VIC$20,000 +Anonymous (1)$10,000 – $19,999Julian Burnside ao qc

Konfir Kabo & Monica Lim $5,000 – $9,999Di Bresciani oam & Lino Bresciani Elizabeth & Anthony BrookesDoug & Ross Hooley in memory of Beryl Hooley Peter LovellJan MinchinMr Karl NelmsGreg Shalit & Miriam Faine Stephen Shanasy Ms Wilma Smith

WA$20,000 +Anonymous (1)$10,000 – $19,999Deborah Lehmann & Michael Alpers

MASTERCLASSESMusica Viva’s Masterclass program is supported by principal patrons Stephen Johns & Michele Bender, Wesfarmers Arts (WA) and Mary Turner oam (Newcastle).

THE HILDEGARD PROJECT in support of women in compositionThis project is made possible by a generous gift from Katherine Grinberg in honour of the late Adrienne Nagy and her sister Yolanda (Nagy) Daniel.

Friends of Peter Burch am bm

Julian Burnside ao qc

Carnegie Hall

The Huntington Estate Music Festival Collective

Seattle Commissioning Club The Silo Collective

John & Jo StruttKim Williams am

KEN TRIBE FUND FOR AUSTRALIAN COMPOSITION

$20,000 +Beth Brown & Tom Bruce am

Marjorie Nicholas, Patron of the Artistic Director$10,000 – $19,999Roger Druce & Jane Bentley

The Morawetz Family in memory of Paul Morawetz$5,000 – $9,999Joanna Baevski Peter LovellMusica Viva Victorian State CommitteeMyer Family Foundation

$500 – $4,999Mary & Arnold BramMrs Pat BurkeCaroline & Douglas CoulsonDiana LempriereJan McDonaldRowena & Richard McDonald

Shelley & Euan MurdochProject 11Douglas & Pamela TribeMr Graham Tribe am & Mrs Judy TribeDr Elizabeth WatsonJennifer WhiteheadBibi & David WilkinsonAnonymous (1)

MELBOURNE INTERNATIONAL CHAMBER MUSIC COMPETITION

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ACT$2,500 – $4,999Kristin van Brunschot & John HollidayAnonymous (1)

$1,000 – $2,499Dr Marian Hill Margaret & Peter Janssens Margaret Oates Sue Packer Craig Reynolds Dr Andrew Singer Margot Woods & Arn Sprogis Anonymous (5)

$500 – $999Geoffrey & Margaret Brennan Dudley & Helen CreaghJudith HealyKingsley Herbert Vivien & Roger Hillman Elspeth Humphries Claudia Hyles Margaret Lovell & Grant Webeck Robyn McKay Helen Rankin Clive & Lynlea Rodger Dr Paul & Dr Lel Whitbread Anonymous (2)

NSW$2,500 – $4,999Neil BurnsJohn & Irene Garran Prof. Iven Klineberg am rfd & Mrs Sylvia Klineberg Kevin & Deidre McCann Alexandra Martin Sydney Conservatorium AssociationMary Turner oam Kay Vernon Dr Elizabeth Watson

$1,000 – $2,499Judith Allen Andrew Andersons ao & Sara Bennett Penny BeranTony Berg am & Carol BergBaiba Berzins The Boyarsky FamilyCatherine Brown-Watt psm & Derek WattMr & Mrs N K Brunsdon Robert Cahill & Anne Cahill oam Lloyd & Mary Jo Capps Yola & Steve Center Stefan CouaniGreg Dickson & Penny Le CouteurSarah & Tony Falzarano Cathy GrayIn loving memory of Jose Gutierrez Hope HanksRobert & Lindy Henderson Dorothy Hoddinott ao Elaine IrwinErvin & Judy KatzLeta Keens Mrs W G Keighley Catherine & Robert Kench Robert McDougall D M & K M Magarey Mora MaxwellMichael & Mary Whelan Trust Musica Viva StaffPaul O’Donnell Andrew PageRoslyn Renwick John & Sue Rogers Dr Lynette Schaverien Andrea Simpson

Aveen & Ashley StephensonRichard WagnerJohn & Flora WeickhardtRichard Wilkins Anonymous (4)

$500 – $999Greta ArchboldDr Jennifer ArnoldMrs Kathrine Becker The Hon. Dr Annabelle Bennett ao sc

Gay Bookallil Stephen BoothJennifer Bott ao

Denise Braggett Maxine Brodie Hilary & Hugh Cairns Lucia Cascone Anna Cerneaz Michael & Colleen Chesterman Callum Close & James Tolhurst Robin & Wendy Cumming Jennifer Darin & Dennis CooperCharles DavidsonGreta DavisCatherine Ellis & Alexander Drake Dr Arno Enno & Dr Anna EnnoMrs Noelene FerrierKate Girdwood Mr Robert Green Anthony Gregg & Deanne Whittleston Deryn GriffithsNeil & Pamela HardieRohan HaslamSandra Haslam Roland & Margaret Hicks John & Barbara Hirst

Dr Ailsa Hocking & Dr Bernie WilliamsHoffman & Koops LawyersHoward & Brigitte InsallDavid & Jennifer Jacobs Owen James Dr Esther JanssenLeslie KennedyGraham & Sue Lane Ian & Pam McGawProf. Kenneth McKinnon & Sue Walker A & E Marshall Timothy Matthies & Chris Bonnily Donald Nairn Professors Robin & Tina OfflerDr Kim Ostinga & Mrs Margaret OstingaDiane Parks Merry & Robert PearsonChristina Pender The late Beryl Raymer The late Milton RenhamPaul & Marion RichmondPenny Rogers David & Mary-Anne RoseMs Vivienne SharpeShane Simpson am & Danielle SimpsonKim Slater Lidia StojanovskiRichard & Beverley TaperellTim & Vincie Trahair Mr Graham Tribe am & Mrs Judy TribeChristopher Whitehead & Peter Wilson

VIRTUOSI

MUSICA VIVA PATRONS

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Megan & Bill Williamson Brian & Fiona WilsonAnonymous (8)

QLD$2,500 – $4,999Lyn Hamill & Ian Dover Andrew & Kate Lister

$1,000 – $2,499George Booker & Denise BondIn memory of Anna ClendinningRobin Harvey Jocelyn LuckB & D Moore Debra & Patrick Mullins Dr Nita Vasilescu

$500 – $999Marie IsacksonLynn & John KellyM F Lejeune Joanne Rennick Dr Nancy UnderhillMichelle Wade & James Sinclair Barbara Williams & Jankees van der Have Anonymous (3)

SA$2,500 – $4,999H & I Pollard

$1,000 – $2,499Ivan & Joan Blanchard The Hon D J & Mrs E M Bleby Beverley A Brown Dr David Bullen John & Libby Clapp Peter CliftonAnna Cox oam

Dr Michael DrewBrian L Jones oam Bronwen L Jones Fiona MacLachlan oam

Ruth Marshall & Tim Muecke

Ann & David Matison Ms Judy Potter Trish & Richard Ryan ao Tony & Joan Seymour STARSRobert & Glenys Woolcock Anonymous (3)

$500 – $999Richard Blomfield Christopher & Margaret BurrellJosephine Cooper Raymond & Jenny Greet Dr E H & Mrs A Hirsch Elizabeth Ho oam in honour of the late Tom Steel Alison Kinsman am Galina Mikhailovna PodgoretskyMichael SteeleJune & Brian Ward Jim & Ann Wilson Ann Woodroffe

VIC$2,500 – $4,999Alastair & Sue CampbellCarrillo Gantner ao Peter Griffin am & Terry SwannLyndsey & Peter HawkinsMegan O’ConnorRalph & Ruth Renard Maria Sola Helen Vorrath

$1,000 – $2,499Russ & Jacqui BateAlison & John Cameron Mrs Maggie Cash Caroline & Robert ClementeTom Cordiner Virginia Henry Helen Imber & Ian Proctor John V Kaufman qc

Irene Kearsey & Michael Ridley June K Marks Murray Sandland Sally SimpsonHywel Sims Ray Turner & Jennifer SeabrookDr Victor & Dr Karen Wayne Anonymous (7)

$500 – $999Dr William Abud Wendy & Michael BertramSuzie Brown oam & Harvey BrownDr Cyril CurtainDr Judy Davey Dhar Family Lord & Lady Ebury Geoffrey & Mary Gloster Brian Goddard Barbara HamerDr Anthea Hyslop Nola JenningsAngela Kayser Jane MorrisDennis & Fairlie NassauGreg J Reinhardt Jacques & Susan Rich Prof. John RickardEda Ritchie am Dr Charles Su & Dr Emily LoMrs Suzy & Dr Mark Suss Philip ThielAnna & Mark Yates Anonymous (1)

WA$2,500 – $4,999Alan & Anne Blanckensee David Cooke David Wallace & Jamelia Gubgub

$1,000 – $2,499Alan Dodge & Neil Archibald Ms Helen Hollingshead & Mr John HollingsheadFreda & Jim Irenic Anne Last & Steve Scudamore M E M Loton oam Mrs Frances Morrell Margaret & Rodger SearesElizabeth Syme Robyn Tamke Anonymous (3)

$500 – $999David & Minnette AmbroseFred & Angela Chaney S CherianRodney ConstantineNerida Dilworth am In memory of Raymond Dudley Dr Penny Herbert in memory of Dunstan Herbert Mr Graham Lovelock & Mr Steve Singer Megan Lowe Geoffrey MasseyJenny Mills in memory of Flora Bunning John Overton Betty Smith-GanderCisca SpencerEllie Steinhardt Christopher TylerAnonymous (2)

If you have any questions about this list, please contact Johanna Rosenthal on 1300 786 186 or [email protected]

This list is complete as at 14 March 2018.

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MUSICA VIVA CONCERT PARTNERS

MEDIA PARTNER GOVERNMENT PARTNERSMusica Viva is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body. Musica Viva is assisted by the NSW Government through Create NSW.

HOTEL PARTNERS ARTS & HEALTH PARTNER

SERIES AND TOUR PARTNERSPerth Concert Series Coffee Concert Series

BUSINESS PARTNERS

Law Firm PartnerChartered Accountants

Partner Piano Partner Allegro Partner

MELBOURNE INTERNATIONAL CHAMBER MUSIC COMPETITION PARTNERSPrincipal Partner Strategic Partners Hotel Partner Wine Partner

Untitled-1 1 8/02/2018 1:10 pm

Grand Prize Partner Prize Partners Car Partner

WINE PARTNERS

VIC Wine Partner WA Wine Partners Champagne Partner

ACT Wine Partner NSW & QLD Wine Partner SA Wine Partner

FUTUREMAKERS PARTNERS

Berg Family Foundation

Lead Partner Education Partner Residency Partner

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MUSICA VIVA EDUCATION PARTNERSMUSICA VIVA IN SCHOOLSNational Digital Innovation Partner

QLD TAS

Hamer Family Fund

In memory of Anita Morawetz

M S Newman Family Foundation

Ballandry (Peter Griffin Family) Fund

The Marian & E H Flack Trust

NSW VIC

Godfrey Turner Memorial Music Trust

ACT NT

Kingston Sedgfield (Australia) Charitable Trust

SA WA

Aldridge Family Endowment Carthew Foundation

Day Family Foundation FWH Foundation

Lang Foundation Marsden Szwarcbord Foundation

Coopers Brewery Foundation

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STORIES TO INSPIREThe Tim Fairfax Family Foundation makes music resonate in Queensland and the Northern TerritoryAt Musica Viva we are passionate about bringing music education to all children, regardless of distance or social and economic situation. Every year, more than 270,000 children and their teachers learn about music through our education programs, which include award-winning digital teaching resources for the classroom, live music performances, musician residencies and teacher professional development. Our musicians deliver high-quality and interactive performances and workshops to some of the most remote communities across Australia, thanks to the support of government

agencies, trusts and donations, corporate partners and individual donors.

One of our key education partners, the Tim Fairfax Family Foundation, supported Musica Viva In Schools between 2015 and 2017 to reach regional and remote areas in the Northern Territory and Queensland. With their support we provided live music, educational performances and workshops not only for students and teachers but for entire communities. Musica Viva In Schools ensembles performed at 250 schools for 26,000 students, gave

Charleville State School students during a Musica Viva workshop.

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19 community concerts, held 147 workshops and masterclasses and travelled more than 10,600 km over this period, offering students and their families exposure to a range of musical instruments and styles from brass to Indonesian gamelan.

‘We spoke about the program in the newsletter, and the parents have been running into me at the shops and telling me that they know, as a family, the songs that Makukuhan has sent us; it’s just wonderful.’

– Debbie Unwin, teacher at Bees Creek Primary School, Darwin region, NT.

Musica Viva could not have reached 90 per cent of these areas without the lead support of the Tim Fairfax Family Foundation and additional support from the Queensland Government through Arts Queensland and from the Northern Territory Government through the Department of Education. This long-term support has ensured that communities were able to enjoy repeated engagement with our programs and develop sustainable music skills.

‘Over a long time, we’ve grown and developed so significantly; we’ve gone from a small community with 35 string players as an example, to now I fight the kids away at 200. It’s very important to have groups in our community showing to our parents and our students what they can do with music in the future.’

– Yvonne Moore, instrumental music teacher, Mt Isa, QLD.

To watch our musicians in action and hear from the communities we toured to, visit: vimeo.com/musicaviva/timfairfax

We’re all proud of and inspired by what we’ve achieved so far – but there’s much more to do: more students, teachers and communities across Australia that would enjoy the enduring benefits from regular visits by Musica Viva In Schools. So we’re putting out the call to like-minded individuals, trusts, foundations and corporate partners to support our vital work nationally. To chat about how you can become involved, please contact Alex Bellemore at [email protected] or call 1300 786 186.

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