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Schumann & Grieg
Love & Life
Monday 15 March | 6.00pm & 8.30pm
Primrose Potter Salon
Melbourne Recital Centre
Love & Life
Schumann & Grieg
Monday 15 March
Australian Romantic & Classical Orchestra
Rachael Beesley Director
Jacqueline Porter Soprano
Musicians Edvard Grieg (1843–1907)
String Quartet No. 2 in F Major, EG 117 (1891)
RACHAEL BEESLEY
Sostenuto – Allegro vivace e grazioso – Andante – Allegro agitato
Violin
Allegro scherzando – Più vivo
NATALIA HARVEY *
Violin
Robert Schumann (1810–1856)
CAMERON JAMIESON Frauenliebe und Leben, Op.42 (1840) (arr. Shauna Beesley)
Violin
1. ‘Seit ich ihn gesehen’ (“Since I saw him”)
ANNA MCMICHAEL * 2. ‘Er, der Herrlichste von allen’ (“He, the noblest of all”)
Violin 2 3. ‘Ich kann’s nicht fassen, nicht glauben’ (“I cannot grasp or believe it”)
4. ‘Du Ring an meinem Finger’ (“You ring upon my finger”)
SIMON OSWELL 5. ‘Helft mir, ihr Schwestern’ (“Help me, sisters”)
Viola 6. ‘Süßer Freund, du blickest mich verwundert an’ (“Sweet friend, you gaze”)
7. ‘An meinem Herzen, an meiner Brust’ (“At my heart, at my breast”)
WILMA SMITH *
8. ‘Nun hast du mir den ersten Schmerz getan’ (“Now you have caused
Viola
me pain for the first time”)
JOSEPHINE VAINS
Violoncello
Edvard Grieg (1843–1907)
EMMA SULLIVAN Two Elegiac Melodies, Op.34, arr. Grieg from a work
Bass for string orchestra (1880)
Hjertesår / Heart’s Wounds (Allegretto espressivo)
* Grieg: Two Elegiac Melodies, Op.34 only Våren / Last Spring (Andante)
This concert will last approximately 70 minutes, with no interval.
AUSTRALIAN ROMANTIC & CLASSICAL ORCHESTRA | LOVE & LIFE
Top Notes
Perhaps the best description of Grieg’s quartet writing is his own words about his first
quartet: “It aims at breadth, vigor, flight of imagination and above all, fullness of tone
for the instruments for which it is written”.
Learn more about the music in tonight’s concert
Robert Schumann (1810–1856)
Frauenliebe und Leben, Op.42 (1840) (arr. Shauna Beesley)
Edvard Hagerup Grieg (1843–1907)
Robert Schumann was a prodigious composer, and although he wrote a number of
String Quartet No. 2 in F Major, EG 117 (1891) large-scale works (including four symphonies, one opera, and a cello, violin and piano
Two Elegiac Melodies, Op.34, arr. Grieg from a work for concerto) and a serious body of chamber music, he is best known for his works for solo
string orchestra (1880) piano and for his lieder, or songs. Interestingly Schumann wrote almost exclusively
solo piano works for the first decade of his career, before bursting out in all directions in
Edvard Hagerup Grieg is one of the great nationalist composers, bringing the folk 1840 – around the time of his marriage to Clara Wieck.
music of his beloved Norway to an international audience by using it often in his own
1840 was an incredible year for Schumann, both personally and professionally. Dubbed
compositions, and in doing so contributing greatly to his country’s national identity –
his Liederjahr, or ‘Year of Song’, he wrote not only Frauenliebe und Leben but also
in much the same way as Jean Sibelius did in Finland.
numerous lieder and three other complete song cycles: Liederkreis, Op. 24, Liederkreis,
This deep love for his country is represented in his Two Elegiac Melodies, Op.34 (1880). Op. 39 and Dichterliebe, Op. 48. The timing cannot be an accident, and surely speaks
Both songs are from a cycle of 12 works for solo voice and piano, his Twelve Melodies of the intensity of his relationship with Clara – not just his love for her, but also the stress
to poems by A.O. Vinje, Op.33, which Grieg orchestrated himself. Aasmund Olavsson and anguish of suing Clara’s father, Friedrich (Robert’s own piano teacher), who had
Vinje (1818-70) was a poet, journalist and lawyer whose poetry was preoccupied with waged a years-long, increasingly public and hostile crusade against the marriage.
rural Norwegian life – a perfect fit with Grieg’s own ideals. And indeed these two songs The eight songs in this cycle are based on poems by the French-born German poet
demonstrate this synergy through the exquisite marriage of text with music. Grieg wrote Adelbert von Chamisso and have been set to music by other composers, including
the music to fit Vintje’s text exactly, and the way the strings faithfully follow the vocal Carl Loewe just a few years before Schumann. The poems themselves are written from
melody is an exquisite piece of orchestration. The harmony, melody and instrumentation a woman’s perspective, and trace her changing perspectives on love and life, from
reflect the text almost line for line, subtly yet powerfully. This is especially so in Våren (Last love at first sight (’Seit ich ihn gesehen’, or ‘Since I saw him’) to the grief and pain of
Spring), where the narrator sings of the beauties of nature, and the sights and sounds of losing her love’s death (‘Nun hast du mir den ersten Schmerz getan’, or ‘Now you have
rebirth, life and ‘Spring’s many joys’. But the scene is tinged with sadness, as the narrator caused me my first pain’).
thinks that they are not long from this world, and this is the last spring they will ever see.
Though accusations of sexism and misogyny have swirled around the piece in the
Grieg also suffered terribly from writer’s block, and regularly had long periods where he past 50 years – these are after all poems written by a man, set to music by a man,
was completely unable to compose. He often wrote in his letters of his turmoil, “both wherein a anonymous woman sings about her unswerving devotion to “the noblest
physically and spiritually”, which plagued him and prevented him from composing. of all men”, and her life is presented as starting at their first meeting, progressing
through engagement, marriage and motherhood, and is seen as being effectively over
This is probably why Grieg never completed his String Quartet No. 2 in F Major,
when he dies – the acclaimed British pianist Graham Johnson argues that, for their
despite the success of his String Quartet in G minor. This second quartet was clearly
time, these were radical works. “Against the fashions of the time, Chamisso gave the
weighing on Grieg for a long time – in a letter to his friend, the Russian violinist
role of the narrator to the woman, and she speaks for herself, in her own voice, from
Adolph Brodsky, written twelve years before his death, Grieg wrote of “that accursed
the beginning…In the sixth song she has already taken over the reins of household
string quartet which constantly lies there like an old Norwegian cheese”.
management, and announces her pregnancy to the astounded husband who hears
Grieg never did finish it, though the first two movements (a sonata and a scherzo) stand on the news very much on her terms. In the next song she pities men for not being able
their own – not at all fragments or unrealised. The second quartet shares many similarities to know the joys of motherhood...By the time she reaches the final song...she has
with the first, and both display Grieg’s comfort in the quartet form, odd considering his developed into a formidable personality, capable of dealing with her bereavement in
struggles writing this work. This is bravura composition, utilising a number of techniques to a way that convincingly includes anger as part of the range of emotions.”
draw a wide range of feelings out of the work: sudden transitions and dramatic contrasts Ultimately, Frauenliebe und Leben has remained a staple of the lieder repertoire
from phrase to phrase, the use of silence to hold suspense. Listen also to the texture and because it is beloved by so many, audiences and artists included.
colour: at times the four instruments play as one, creating almost an orchestral effect; at
others each instrument has a chance to feature its unique tone or technique. Program notes by Hugh Robertson
AUSTRALIAN ROMANTIC & CLASSICAL ORCHESTRA | LOVE & LIFE
3. ‘Ich kann’s nicht fassen, nicht glauben’ 3. “I cannot grasp it, believe it”
Robert Schumann (1810–1856) Ich kann’s nicht fassen, nicht glauben, I cannot grasp it, believe it,
Frauenliebe und Leben, Op.42 (1840) (arr. Shauna Beesley) Es hat ein Traum mich berückt; A dream has beguiled me;
Wie hätt er doch unter allen How, from all women, could he
Poetry by Adelbert von Chamisso (1781–1838) Mich Arme erhöht und beglückt? Have exalted and favoured poor me?
Translation © Richard Stokes, author of The Book of Lieder, published by Faber, Mir war’s, er habe gesprochen: He said, I thought,
provided courtesy of Oxford Lieder (www.oxfordlieder.co.uk) „Ich bin auf ewig dein“— ‘I am yours forever’,
Mir war’s—ich träume noch immer, I was, I thought, still dreaming,
Es kann ja nimmer so sein. After all, it can never be.
1. ‘Seit ich ihn gesehen’ 1. “Since I saw him” O lass im Traume mich sterben, O let me, dreaming, die,
Seit ich ihn gesehen, Since first seeing him, Gewieget an seiner Brust, Cradled on his breast;
Glaub ich blind zu sein; I think I am blind, Den seligen Tod mich schlürfen Let me savour blissful death
Wo ich hin nur blicke, Wherever I look, In Tränen unendlicher Lust. In tears of endless joy.
Seh ich ihn allein; Him only I see;
Wie im wachen Traume As in a waking dream 4. ‘Du Ring an meinem Finger’ 4. “You ring upon my finger”
Schwebt sein Bild mir vor, His image hovers before me, Du Ring an meinem Finger, You ring on my finger,
Taucht aus tiefstem Dunkel, Rising out of deepest darkness Mein goldenes Ringelein, My golden little ring,
Heller nur empor. Ever more brightly. Ich drücke dich fromm an die Lippen, I press you devoutly to my lips,
Sonst ist licht- und farblos All else is dark and pale Dich fromm an das Herze mein. To my heart.
Alles um mich her, Around me, Ich hatt ihn ausgeträumet, I had finished dreaming
Nach der Schwestern Spiele My sisters’ games Der Kindheit friedlich schönen Traum, Childhood’s peaceful dream,
Nicht begehr ich mehr, I no more long to share, Ich fand allein mich, verloren I found myself alone, forlorn
Möchte lieber weinen, I would rather weep Im öden, unendlichen Raum. In boundless desolation.
Still im Kämmerlein; Quietly in my room; Du Ring an meinem Finger You ring on my finger,
Seit ich ihn gesehen, Since first seeing him, Da hast du mich erst belehrt, You first taught me,
Glaub ich blind zu sein. I think I am blind. Hast meinem Blick erschlossen Opened my eyes
Des Lebens unendlichen, tiefen Wert. To life’s deep eternal worth.
2. ‘Er, der Herrlichste von allen’ 2. “He, the most wonderful of all” Ich will ihm dienen, ihm leben, I shall serve him, live for him,
Er, der Herrlichste von allen, He, the most wonderful of all, Ihm angehören ganz, Belong to him wholly,
Wie so milde, wie so gut! How gentle and loving he is! Hin selber mich geben und finden Yield to him and find
Holde Lippen, klares Auge, Sweet lips, bright eyes, Verklärt mich in seinem Glanz. Myself transfigured in his light.
Heller Sinn und fester Mut. A clear mind and firm resolve. Du Ring an meinem Finger, You ring on my finger,
So wie dort in blauer Tiefe, Just as there in the deep-blue distance Mein goldenes Ringelein, My golden little ring,
Hell und herrlich, jener Stern, That star gleams bright and brilliant, Ich drücke dich fromm an die Lippen, I press you devoutly to my lips,
Also er an meinem Himmel, So does he shine in my sky, Dich fromm an das Herze mein. To my heart.
Hell und herrlich, hehr und fern. Bright and brilliant, distant and sublime.
Wandle, wandle deine Bahnen; Wander, wander on your way, 5. ‘Helft mir, ihr Schwestern’ 5. “Help me, my sisters”
Nur betrachten deinen Schein, Just to gaze on your radiance, Helft mir, ihr Schwestern, Help me, my sisters,
Nur in Demut ihn betrachten, Just to gaze on in humility, Freundlich mich schmücken, With my bridal attire,
Selig nur und traurig sein! To be but blissful and sad! Dient der Glücklichen heute mir, Serve me today in my joy,
Höre nicht mein stilles Beten, Do not heed my silent prayer, Windet geschäftig Busily braid
Deinem Glücke nur geweiht; Uttered for your happiness alone, Mir um die Stirne About my brow
Darfst mich niedre Magd nicht kennen, You shall never know me, lowly as I am, Noch der blühenden Myrte Zier. The wreath of blossoming myrtle.
Hoher Stern der Herrlichkeit! You noble star of splendour! Als ich befriedigt, When with contentment
Nur die Würdigste von allen Only the worthiest woman of all Freudigen Herzens, And joy in my heart
Darf beglücken deine Wahl, May your choice elate, Sonst dem Geliebten im Arme lag, I lay in my beloved’s arms,
Und ich will die Hohe segnen, And I shall bless that exalted one Immer noch rief er, He still called,
Viele tausendmal. Many thousands of times. Sehnsucht im Herzen, With longing heart,
Will mich freuen dann und weinen, Then shall I rejoice and weep, Ungeduldig den heutigen Tag. Impatiently for this day.
Selig, selig bin ich dann; Blissful, blissful shall I be, Helft mir, ihr Schwestern, Help me, my sisters,
Sollte mir das Herz auch brechen, Even if my heart should break, Helft mir verscheuchen Help me banish
Brich, o Herz, was liegt daran? Break, O heart, what does it matter?
AUSTRALIAN ROMANTIC & CLASSICAL ORCHESTRA | LOVE & LIFE
Eine törichte Bangigkeit, A foolish fearfulness; 7. ‘An meinem Herzen, an meiner Brust’ 7. “On my heart, at my breast”
Dass ich mit klarem So that I with bright eyes An meinem Herzen, an meiner Brust, On my heart, at my breast,
Aug ihn empfange, May receive him, Du meine Wonne, du meine Lust! You my delight, my joy!
Ihn, die Quelle der Freudigkeit. The source of all my joy. Das Glück ist die Liebe, die Lieb ist das Glück, Happiness is love, love is happiness,
Bist, mein Geliebter, Have you, my love, Ich hab’s gesagt und nehm’s nicht zurück. I’ve always said and say so still.
Du mir erschienen, Really entered my life, Hab überschwenglich mich geschätzt, I thought myself rapturous,
Giebst du mir, Sonne, deinen Schein? Do you, O sun, give me your glow? Bin überglücklich aber jetzt. But now am delirious with joy.
Lass mich in Andacht, Let me in reverence, Nur die da säugt, nur die da liebt Only she who suckles, only she who loves
Lass mich in Demut, Let me in humility Das Kind, dem sie die Nahrung giebt; The child that she nourishes;
Lass mich verneigen dem Herren mein. Bow before my lord. Nur eine Mutter weiss allein, Only a mother knows
Streuet ihm, Schwestern, Scatter flowers, O sisters, Was lieben heisst und glücklich sein. What it means to love and be happy.
Streuet ihm Blumen, Scatter flowers before him, O, wie bedaur’ ich doch den Mann, Ah, how I pity the man
Bringet ihm knospende Rosen dar, Bring him budding roses. Der Mutterglück nicht fühlen kann! Who cannot feel a mother’s bliss!
Aber euch, Schwestern, But you, sisters, Du lieber, lieber Engel, Du You dear, dear angel, you,
Grüss ich mit Wehmut, I greet with sadness, Du schauest mich an und lächelst dazu! You look at me and you smile!
Freudig scheidend aus eurer Schar. As I joyfully take leave of you. An meinem Herzen, an meiner Brust, On my heart, at my breast,
Du meine Wonne, du meine Lust! You my delight, my joy!
6. ‘Süßer Freund, du blickest 6. “Sweet friend, you look”
mich verwundert an’ 8. ‘Nun hast du mir den ersten 8. “Now you have caused me my
Süsser Freund, du blickest Sweet friend, you look Schmerz getan’ first pain”
Mich verwundert an, At me in wonder, Nun hast du mir den ersten Schmerz getan, Now you have caused me my first pain,
Kannst es nicht begreifen, You cannot understand Der aber traf. But it struck hard,
Wie ich weinen kann; How I can weep; Du schläfst, du harter, unbarmherz’ger Mann, You sleep, you harsh and pitiless man,
Lass der feuchten Perlen Let the unfamiliar beauty Den Todesschlaf. The sleep of death.
Ungewohnte Zier Of these moist pearls Es blicket die Verlassne vor sich hin, The deserted one stares ahead,
Freudig hell erzittern Tremble joyfully bright Die Welt ist leer. The world is void.
In dem Auge mir! In my eyes! Geliebet hab ich und gelebt, ich bin I have loved and I have lived,
Wie so bang mein Busen, How anxious my heart is, Nicht lebend mehr. And now my life is done.
Wie so wonnevoll! How full of bliss! Ich zieh mich in mein Innres still zurück, Silently I withdraw into myself,
Wüsst ich nur mit Worten, If only I knew Der Schleier fällt, The veil falls,
Wie ich’s sagen soll; How to say it in words; Da hab ich dich und mein verlornes Glück, There I have you and my lost happiness,
Komm und birg dein Antlitz Come and hide your face Du meine Welt! You, my world!
Hier an meiner Brust, Here against my breast,
Will in’s Ohr dir flüstern For me to whisper you
Alle meine Lust. All my joy.
Weisst du nun die Tränen, Do you now understand the tears
Die ich weinen kann, That I can weep,
Sollst du nicht sie sehen, Should you not see them,
Du geliebter Mann? Beloved husband?
Bleib an meinem Herzen, Stay by my heart,
Fühle dessen Schlag, Feel how it beats,
Dass ich fest und fester That I may press you
Nur dich drücken mag. Closer and closer.
Hier an meinem Bette Here by my bed
Hat die Wiege Raum, There is room for the cradle,
Wo sie still verberge Silently hiding
Meinen holden Traum; My blissful dream;
Kommen wird der Morgen, The morning shall come
Wo der Traum erwacht, When the dream awakens,
Und daraus dein Bildnis And your likeness
Mir entgegen lacht. Laughs up at me. Left to right: Portrait of Robert Schumann (1839) by Josef Kriehuber. Source Wikimedia Commons.
Portrait of Adelbert von Chamisso (c.1831). Artist unknown. Source Wikimedia Commons.
AUSTRALIAN ROMANTIC & CLASSICAL ORCHESTRA | LOVE & LIFE
Edvard Hagerup Grieg (1843–1907) symjande lauga.
Alt det som Vaaren imøte meg bar, og Blomen
a spirit from Heaven.
Two Elegiac Melodies, Op.34, arr. Grieg from a work eg plukkad’, Therefore I hear all around from the ground
for string orchestra (1880) Federnes Aander eg trudde det var, som mysterious singing,
dansad’ og sukkad’. music from reeds that of old I made sound,
Poetry by Aasmund Olavsson Vinje (1818–1870) Derfor eg fann millom Bjørkar og Bar i Vaaren like sighs faintly ringing.
ei Gaata;
derfor det Ljod i den Fløyta eg skar, meg
tyktest at graata.
Våren Springtide
Singable translation by
Frederick Corder (1852 - 1932)
Enno ein Gong fekk eg Vetren at sjaa for Yes, once again winter’s face would I see
Vaaren at røma; to Spring’s glory waning,
Heggen med Tre som der Blomar var paa eg whitethorn outspreading its clusters so free
atter saag bløma. in beauty enchaining.
Enno ein Gong fekk eg Isen at sjaa fraa Landet
at fljota, Once more behold from the earth day by day
Snjoen at braana, og Fossen i Aa at fyssa og the ice disappearing,
brjota. snow melting fast and in thunder and spray
Graset det grøne eg enno ein Gong fekk skoda the river, careering.
med blomar eg seier hei
enno eg høyrde at Vaarfuglen song mot Sol og Emerald meadows, your flow’rets I’ll spy
mot Sumar. and hail each new comer;
Enno ein Gong den Velsignad eg fekk, at listen again to the lark in the sky
Gauken eg høyrde, who warbles of summer.
enno ein Gong ut paa Aakren eg gjekk, der
Plogen dei kjøyrde. Glittering sunbeams how fain would I watch
Enno ein Gong fekk eg skoda meg varm paa on bright hillocks glancing,
Lufti og Engi; butterflies seeking from blossoms to snatch
Jordi at sjaa som med lengtande Barm at sukka their treasures while dancing.
i Sængi.
Vaarsky at leika der til og ifraa, og Skybankar Spring’s many joys once again would I taste
krulla, ere fade they forever.
so ut av Banken tok Tora til slaa og kralla og But, heavy-hearted, I feel that I haste
rulla. from this world to sever.
Saagiddren endaa meg unntest at sjaa paa
Vaarbakken dansa. So be it then! yet in Nature so fair
Fivreld at floksa og fjuka ifraa, der Blomar seg much bliss I could find me;
kransa. over and past is my plentiful share,
Alt dette Vaarliv eg atter fekk sjaa, som sidan I leave all behind me.
eg miste.
Men eg er tungsam og spyrja meg maa: tru det Once more I’m drawn to the Spring-gladdened
er det siste? vale
Lat det so vera: Eg myket av Vænt i Livet fekk that stilleth my longing;
njota. there I find sunlight and rest without fail,
Meire eg fekk en eg havde fortent, og Alting and raptures come thronging.
maa trjota.
Eingong eg sjølv i den vaarlege Eim, som All unto which here the Spring giveth birth,
mettar mit Auga, each flow’r I have riven, Left to right: Photo of Edvard Grieg (1888) by Elliot and Fry. Source Wikimedia Commons.
eingong eg der vil meg finna ein Heim og seems to me now I am parting from the earth Photo of Aasmund Olavsson Vinje (date unknown). Source National Library of Norway.
AUSTRALIAN ROMANTIC & CLASSICAL ORCHESTRA | LOVE & LIFE
Australian Romantic &
Classical Orchestra
Inspire − Educate − Enlighten What is HIP?
The Australian Romantic & Classical Orchestra specialises in historically informed Historically Informed Performance (HIP) on period instruments is a movement which
performance of late 18th- to early 20th-century orchestral and chamber music began in Europe in the 1960s. It is a performance style – previously referred to as
repertoire and is at the forefront of the historically informed performance scene, Early Music – that evolved from performing music of the Baroque era and before
staying abreast with the latest research and developments around the world by on instruments and with interpretations corresponding to the time of composition.
collaborating with key guest musicians and musicologists. Under the co-artistic HIP is based on research into the aesthetics of the period in which the music was
direction of Rachael Beesley and Nicole van Bruggen, the orchestra has been highly conceived and performed, including locating expressive markings and annotations in
praised as “rich, impassioned, and faultlessly realised ... a thrilling example of HIP original scores and treatises, comparing these to some of the earliest recordings of
with all the right strings attached” (The Age, 2018). Classical and Romantic repertoire, and identifying supporting evidence in the parallel
disciplines of literature, theatre and the arts.
Founded under the artistic direction of renowned musician and educator, the late
Richard Gill AO, the orchestra’s twin goals of performance and education are delivered To the listener, there is an immediately noticeable contrast between the HIP approach
through live concerts in Australia’s capital cities and in metropolitan and regional and that of the mainstream symphony or chamber orchestra. This is due to different
centres, collaborations with guest ensembles, radio broadcasts, innovative education timbral relationships between wind, brass, string and percussion sections – for
programs, pre-concert presentations and specialist online resources. Bringing together example, the HIP wind and brass instruments possess a slender sound quality that
leading Australian and international exponents, the Australian Romantic & Classical blends more readily with the delicate colours produced by gut strings. Articulations
Orchestra brings historical insights and new perspectives to masterpieces from the tend to be more pronounced, vibrato is employed as an ornament or expressive
Classical and Romantic periods. device, and players are more likely to introduce a slight glide – or portamento –
between notes in Romantic works. Along with playing original historical instruments
In tandem with the main concert season, the Voyage of Musical Discovery education
or replicas, the musicians interpret phrases – particularly in solos – with considerable
programs focus on recently composed Australian works. Together with guest
expressive and rhythmic freedom, and add ornamentation based on an advanced
ensembles, the Australian Romantic & Classical Orchestra presents audiences with
understanding of the harmonic progression, and these techniques will routinely vary
explanations and live examples of the many compositional similarities between
from performance to performance.
contemporary and historical works.
The orchestra’s Young Mannheim Symphonists youth music education program
offers secondary and tertiary instrumentalists the opportunity to explore techniques of Support the Orchestra
historically informed performance as members of this unique youth orchestra.
For more information on the Australian Romantic & Classical Orchestra’s educational
To deliver high-quality performances by internationally recognised specialist
activities, please visit arco.org.au/education
musicians, host unique education programs and attract new audience members,
the Australian Romantic & Classical Orchestra relies on various forms of support.
Along with philanthropic and government funding, this includes private donations.
If you would like to support the orchestra by making a tax-deductible donation,
please visit arco.org.au/donate
We invite you to continue with us on this exciting musical journey – share your
thoughts with us on the Australian Romantic & Classical Orchestra Facebook page
and follow us on Twitter or Instagram: @ausromclassorch.
AUSTRALIAN ROMANTIC & CLASSICAL ORCHESTRA | LOVE & LIFERachael Beesley
Director | Violin
Rachael Beesley is an internationally renowned Australian / British violinist,
director, concertmaster and educator specialising in the field of historically informed
performance. As guest concertmaster with Europe’s most distinguished HIP
ensembles and orchestras including Anima Eterna Brugge, La Petite Bande and the
New Dutch Academy, and as guest director of Les Muffatti in Brussels and NZBarok
in Auckland, Rachael has performed in festivals and concert halls worldwide.
In Australia, Rachael is co-artistic director, director and concertmaster of the Australian
Romantic & Classical Orchestra, and has performed as guest concertmaster with the
Australian Brandenburg Orchestra, Pinchgut Opera, Opera Australia and Victorian
Opera. Rachael is regularly invited to guest direct modern orchestras from the violin,
including the Tasmanian Symphony Orchestra, Melbourne Chamber Orchestra
and Adelaide Chamber Players. Rachael features on over 50 album recordings and
broadcasts for radio and television and is much in demand as a chamber musician
and soloist, regularly collaborating with contemporary Australian composers as well as
exploring repertoire from the 17th to the 21st centuries on period instruments.
As a highly regarded educator and mentor, Rachael teaches and lectures at the
Melbourne and Sydney Conservatoriums of Music, the Royal Conservatoire in The
Hague, The Netherlands, and at the Sir Zelman Cowen School of Music, Monash
University. Rachael has been awarded an Ian Potter Cultural Trust grant and is listed
in the Who’s Who of Australian Women.
AUSTRALIAN ROMANTIC & CLASSICAL ORCHESTRA | LOVE & LIFEJacqueline Porter
Soprano
With an honours degree in Music Performance and a Bachelor of Arts (Italian) from
the University of Melbourne, Jacqueline Porter is equally at home on the operatic
stage and the concert platform. Jacqueline appears regularly with Australia’s major
symphony orchestras and choral societies. She has worked with celebrated conductors
including Sir Neville Marriner, Vladimir Ashkenazy, Sir Andrew Davis, Richard Egarr and
Oleg Caetani, and her recitals and concerts are frequently broadcast on ABC Classic.
This year she will appear at the Bendigo Chamber Music Festival, the Australian
Chamber Music Festival Townsville, Hayllar Music Tour at Spicers Hidden Vale
Queensland and return to Sydney Symphony to perform Mahler Symphony No. 4 and
orchestrated Schubert songs with Sir Donald Runnicles.
Jacqueline has most recently been heard in Mozart’s Requiem, Solveig’s Song
(Grieg),Vocalise (Rachmaninoff), and Messiah, all with Melbourne Symphony
Orchestra; Marriage of Figaro highlights (Australian Romantic and Classical Orchestra);
St Matthew Passion (Melbourne Bach Choir); Haydn Nelson Mass and Mozart Requiem
for Canberra Choral Society; Canberra Symphony Orchestra’s Opera Gala; First Niece
in Peter Grimes with the Sydney Symphony and in recital for Music in the Round,
Melbourne Recital Centre’s Salon series, Tasmanian Chamber Music Festival and
Dunkeld Festival of Music.
Her opera roles include Susanna (The Marriage of Figaro), Despina (Così fan tutte),
Drusilla, Virtù and Pallade (L’incoronazione di Poppea), L’Amour
(Orpheé et Eurydice), Saskia and Hendrickje Stoffels (Rembrandt’s Wife), Clorinda (Il
Combattimento di Tancredi e Clorinda) and Momus (Der Streit Zwischen Phoebus und
Pan) (Baroque Triple Bill) for Victorian Opera and Gretel (Hansel and Gretel) for State
Opera South Australia.
AUSTRALIAN ROMANTIC & CLASSICAL ORCHESTRA | LOVE & LIFEAcknowledgements Donations
Annual Donor Acknowledgements Australian Romantic & Classical Orchestra would not exist without the time, treasure
and talent donated by our extraordinary patrons, and is extremely grateful to the
generous individuals, families and foundations who make significant contributions to
Principal Sponsors Principal Cello $1,000 - $4,999 the orchestra’s performance and education activities.
Paul Salteri AM & Chair Patrons Jason Bowran &
Sandra Salteri Kim Williams & Faris Cosic Our ability to continue that journey rests on donors who share our vision and our
Catherine Dovey passion. Help us reimagine the rich music of the late 18th to early 20th century by
Michael Chesterman
Principal Young making a tax-deductible donation to Australian Romantic & Classical Orchestra.
Emma Dunch &
Mannheim Symphonists Principal Double Elizabeth Scott
Sponsor Bass Chair Patron
Simon & Katrina
Metal Manufactures Pty Ltd Mary Vallentine AO Holmes à Court Donation Options
The Co-Artistic Ann McFarlane
Principal Clarinet Large or small, all levels of financial and in-kind gifts contribute greatly to sustaining
Directors’ Patrons Ian & Pamela McGaw
Chair Patron the orchestra’s performance and education activities. To make a one-off donation
> $10,000 Nicholas Minogue
Professor Richard Kefford AM or for any donation enquiries, including information about how you can become a
Robert Albert AO & Paul O’Donnell
member of one of our Donor Circles or make a bequest, please visit the website
Elizabeth Albert Roger & Karen Stott
$5,000 - $9,999 arco.org.au or contact Nicole van Bruggen – General Manager: nicole@arco.org.au
Roxane Clayton
Ian & Susie McIntosh $500 - $999
Ian Dickson &
Reg Holloway Timothy Pascoe Jürgen & Ailsa Eckel
Martin & Susie Dickson Robert Salzer Foundation Richard Gill AO Memorial Fund
Deborah Hogben
Humanity Foundation & Gail Spira
David & Philippa Jeremy
Talya Masel Richard established the Richard Gill AO Memorial Fund to enable us to:
Michael & Dimity Riley
H G McGregor • provide opportunities to foster a love and enjoyment of historically informed
Skyblue Australia performance in Australia
Anonymous
• make music accessible to the broadest possible audience
• educate and inspire future generations of Australian musicians
Richard Gill Memorial Fund
Annual Donor Acknowledgements Together we can continue his legacy; please consider donating:
arco.org.au/richard-gill-memorial-fund
$10,000 - $19,999 $1,000 - $4,999 $500 - $999 cont.
Robert Albert AO & Penny Ferguson Ann McFarlane
Elizabeth Albert Felicite Ross Peter Millard
Roxane Clayton Michael & Dimity Riley
Martin & Susie Dickson $500 - $999 Kay Vernon
Meaghan Gill Margaret Wait Ferguson
Jennifer Hoy
AUSTRALIAN ROMANTIC & CLASSICAL ORCHESTRA | LOVE & LIFEManagement
The standard of interpretation on offer managed to
Board Artistic achieve what very few musical experiences do these days:
CLAIRE GILL RICHARD GILL AO
Chair Founding Artistic Director
making you re-hear and re-configure music that
JASON BOWRAN RACHAEL BEESLEY & you thought you had securely under your belt...
JENNIFER HOY NICOLE VAN BRUGGEN It’s hard to resist this group’s dedication to a particular
ELIZABETH SCOTT Co-Artistic Directors
PROFESSOR NEAL PERES DA COSTA style of playing which attracts for its integrity.
MARY VALLENTINE AO
Artistic Advisor
NICOLE VAN BRUGGEN
O’Connell the Music
Operations August 2019
NICOLE VAN BRUGGEN SIRMAI ARTS MARKETING
General Manager & Publicist
Development Manager JOSH MURRAY DESIGN
HUGH ROBERTSON Designer
Marketing Manager ROBERT CATTO
STEPHANIE LI NICK GILBERT
Orchestra Production Manager OSCAR SMITH
ANDREW COLLINS Photographers
Librarian
Government Partners
Media Partners
2021 Program Partners
AUSTRALIAN ROMANTIC & CLASSICAL ORCHESTRA | LOVE & LIFEYoung Mannheim Voyage of
Symphonists Musical Discovery
Launched in 2014, the Young Mannheim Symphonists youth orchestra program is a Established and designed by the Australian Romantic & Classical Orchestra’s founding
unique and exciting program designed to give students and emerging musicians the artistic director and world-renowned educator Richard Gill AO, the Voyage of Musical
opportunity to discover for themselves the magic of approaching music with historical Discovery is equal parts concert and demonstration.
performance style. As the students are led through great musical masterpieces of the
Classical and Romantic periods, and exposed to the knowledge and perception of Co-Artistic Directors Rachael Beesley and Nicole van Bruggen present each Voyage
experienced professional HIP (historically informed performance) musicians, they are with musicians of the Australian Romantic & Classical Orchestra in the first half, and
inspired by how the music comes to life, and empowered to begin making informed a contemporary guest artist or ensemble is featured in the second half. By placing
musical decisions on their own. contemporary Australian music alongside Classical and Romantic works, these
Voyages reveal the many compositional links and similarities in structure, tonality,
Young Mannheim Symphonists tutors are members of the Australian Romantic & rhythmic function, orchestration and modes of expression.
Classical Orchestra, and the youth orchestra is directed by Rachael Beesley and
Nicole van Bruggen. Their combined knowledge of musical styles, articulations
and embellishments comes from years of experience performing, reading treatises
and studying scores, and experimenting with instruments and interpretations. They
Voices & Instruments Texture & Timbre
are dedicated to understanding our musical heritage in the context in which it was
Tues 4 May, 6.30pm Thurs 5 August, 6.30pm
created, and are enthusiastic about sharing this with others.
City Recital Hall, Sydney City Recital Hall, Sydney
In 2021, hundreds of students from all over Australia will attend one of the three
state-based Young Mannheim Symphonists Intensives in New South Wales, Victoria
or Queensland as well as having the opportunity to participate in the National Winter
Academy, to be held this year in Sydney with Guest Conductor Mario Dobernig.
For more information about the Young Mannheim Symphonists,
please visit arco.org.au/yms
Australian Romantic & Australian Romantic &
Classical Orchestra Classical Orchestra
FRANZ BERWALD JOSEPH HAYDN
Grand Septet in B-flat major (1828) Symphony No.103
in E-flat major ‘Drum Roll’ (1795)
Sydney Chamber Choir
Taikoz
BRENDA GIFFORD
Mother Earth / Minga Bagan (2020) KERRYN JOYCE & RYUJI HAMADA
Flowing Water (2019)
ELLA MACENS
Stāvi Stīvi, Ozoliņ (2019) IAN CLEWORTH
... like a ripple… (2012)
CLARE MACLEAN
A West Irish Ballad (1988)
PAUL STANHOPE
Agnus Dei (Do not stand at my grave
and weep) (2016)
AUSTRALIAN ROMANTIC & CLASSICAL ORCHESTRA | LOVE & LIFE2021 Concert Season
Evoke Emerge
Beethoven & Haydn, Mozart &
Berwald Mannheim
Ludwig van Beethoven Trio Op.38 Wolfgang Amadeus Mozart
Franz Berwald Grand Septet Horn Concerto No.3, KV.447
Wolfgang Amadeus Mozart
Symphony No.35 ‘Haffner’, KV.385
Sunday 25 April | 7.30pm
Blackheath Chamber Music Festival Christian Cannabich
Sinfonia No.54
Monday 26 April | 6.30pm
The Hills Grammar School, Kenthurst Joseph Haydn
Symphony No.103 ‘Drum Roll’
Sunday 2 May | 11.00am & 1.00pm
Canberra International Music Festival
Thursday 6 May | 7.00pm Tuesday 3 August | 7.30pm
City Recital Hall, Sydney Melbourne Recital Centre
Friday 7 May | 7.00pm Friday 6 August | 6.30pm
Upper Hunter Conservatorium of Music The Hills Grammar School, Kenthurst
Muswellbrook
Saturday 7 August | 7.00pm
Saturday 8 May | 4.00pm Orange Regional Conservatorium
Adamstown Uniting Church, Newcastle
Thursday 12 August | 7.30pm
Sunday 9 May | 6.00pm Newcastle City Hall Concert Hall
Primrose Potter Salon
Melbourne Recital Centre Friday 13 August | 7.00pm
City Recital Hall, Sydney
Canberra International Music Festival
Saturday 1 May | 6.30pm & 8.30pm Monday 3 May | 8.30am & 10.15am
Greatest Mozart I Beethoven for Breakfast
Sunday 2 May | 11.00am & 1.00pm Monday 3 May | 6.30pm & 8.30pm
Seven & Three Greatest Mozart IIYou can also read
