DMITRY SINKOVSKY AUSTRALIAN BRANDENBURG ORCHESTRA
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DMITRY SINKOVSKY AUSTRALIAN BRANDENBURG ORCHESTRA Sydney and Melbourne July/August 2014 Dmitry Sinkovsky (Russia) guest director, baroque violin and countertenor Paul Dyer AO artistic director Australian Brandenburg Orchestra PROGRAM VIVALDI Concerto in C major RV 177 CORELLI Concerto grosso Op. 6 No. 11 in B flat major VIVALDI Concerto in d minor RV 246 INTERVAL VIVALDI Cantata RV 684 for alto, strings and continuo AVISON/SCARLATTI Concerto grosso No. 3 in d minor VIVALDI Concerto in d minor RV 242 Op. 8 No. 7 ‘Per Pisendel’ Sydney City Recital Hall Angel Place Wednesday 23 July, Friday 25 July, Saturday 26 July, Wednesday 30 July, Friday 1 August all at 7pm, Matinee Saturday 26 July at 2pm Melbourne Melbourne Recital Centre Saturday 2 August at 7pm Sunday 3 August at 5pm Chairman’s 11 Proudly supporting our guest artists The duration of this concert is approximately 2 hours including interval. We kindly request that you switch off all electronic devices during the performance.
25 Years of Artistic Director's
Achievement Message
Macquarie Group is again proud to be the principal partner of the One of the things I love most about my role
Australian Brandenburg Orchestra. as Artistic Director of the Brandenburg is the
opportunity to share with our audiences the
The Brandenburg’s exciting 25th year concert series features some of exciting new baroque musicians that I come
the baroque and early classical periods’ most renowned composers, across in my research for each season. One
as well as some more modern names. As the Brandenburg has done such jewel is the multi-talented Russian baroque
year after year, well-loved and lesser-known pieces are brought to life violinist Dmitry Sinkovsky, our Guest Director
through the precision and passion of the orchestra, the Brandenburg for this concert series in his debut Australian
Choir and some of the most talented names in international concert performances.
music.
Dmitry comes from an almost forgotten baroque
This is a year of celebrating achievement. From small beginnings, tradition: not only is he a dazzling and energetic
the Brandenburg has become one of Australia’s great treasures. violin virtuoso, but he is also a countertenor.
And although the orchestra has evolved over more than two decades, I am thrilled to share the stage with this unique
what has remained constant is its dedication, expertise and an unfailing musician who will perform some of Vivaldi’s lesser
pursuit of excellence. known but glittering concertos with the Orchestra.
The technical demands and virtuosity of these
Macquarie recognises that these qualities can deliver powerful concertos means that they are rarely heard, and
outcomes. It is a privilege to support the Brandenburg as it shares its we are thrilled to have this musician of exceptional
love of the music of centuries past with audiences today. Whether it is ability join us to perform them.
in the concert hall or in the classrooms visited as part of its education
program, the Brandenburg continues to make an enduring contribution This concert series is also a rare opportunity to
to the legacy of baroque music. experience the beautiful sound of Dmitry’s violin,
on loan to him by the Jumpstart Jnr Foundation
We congratulate Paul Dyer, Bruce Applebaum and the Orchestra and crafted by Francesco Ruggeri in 1675, the
on their 25th anniversary and for creating a wonderful year of concerts. first in a long line of exceptional luthiers. Ruggeri
We hope you enjoy the performance. instruments are highly prized for their superior
construction and tone, and it will be a thrill to hear
this wonderful violinist with this very special violin.
Dmitry is at the forefront of today’s baroque
specialists and it is a pleasure to welcome him
Greg Ward to the Brandenburg stage.
Deputy Managing Director, Macquarie Group Limited
Paul Dyer AO
Artistic Director and Conductor 3
Australian Australian
Brandenburg Brandenburg
Orchestra Orchestra
DMITRY SINKOVSKY “…What stands out at concert after concert is the
impression that this bunch of musicians is having a
Since its beginning, the Brandenburg has been
popular with both audiences and critics. In 1998
Dmitry Sinkovsky (Russia) guest director, baroque violin and countertenor really good time. They look at each other and smile, The Age proclaimed the Brandenburg “had reached
Paul Dyer AO artistic director they laugh…there’s a warmth and sense of fun the ranks of the world’s best period instrument
Australian Brandenburg Orchestra not often associated with classical performance.” orchestras”. In 2010 the UK’s Gramophone
Sydney Morning Herald Magazine declared “the Australian Brandenburg
The Musicians on Orchestra is Australia’s finest period-instrument
period instruments The Australian Brandenburg Orchestra, led by ensemble. Under their inspiring musical director
charismatic Artistic Director Paul Dyer, celebrates the Paul Dyer, their vibrant concerts and recordings
Baroque Violin 1 Baroque Cello music of the sixteenth, seventeenth and eighteenth combine historical integrity with electrifying
Matt Bruce, Sydney+* Jamie Hey, Melbourne+* centuries with excellence, flair and joy. Comprising virtuosity and a passion for beauty.”
(Resident Concertmaster) Anthea Cottee, Sydney leading specialists in informed performance practice
Catherine Shugg, Melbourne Rosemary Quinn, Sydney from all over Australia, the Brandenburg performs The Australian proclaimed that “a concert with the
Bianca Porcheddu, Canberra using original edition scores and instruments of the Australian Brandenburg Orchestra is like stepping
Skye McIntosh, Sydney Baroque Double Bass period, breathing fresh life and vitality into baroque back in time, as the sounds of period instruments
Kirsty McCahon, Sydney +* and classical masterpieces – as though the music resurrect baroque and classical works with reverence
Baroque Violin 2 has just sprung from the composer’s pen. and authority.”
Ben Dollman, Adelaide+* Theorbo/Guitar
Sarah Dunn, Sydney Tommie Andersson, Sydney +* The Orchestra’s name pays tribute to the The Brandenburg's sixteen recordings with ABC
Matt Greco, Brandenburg Concertos of J.S. Bach, whose musical Classics include five ARIA Award winners for Best
The Hague, The Netherlands Harpsichord genius was central to the baroque era. Celebrating Classical Album (1998, 2001, 2005, 2009 and 2010).
Tim Willis, Melbourne Paul Dyer, Sydney +* their 25th anniversary in 2014, the Brandenburg
continues to deliver exhilarating perforances. The Discover more at brandenburg.com.au
Shaun Warden, Sydney
Organ Brandenburg has collaborated with such acclaimed
Baroque Viola Joanna Tondys, Sydney + and dynamic virtuosi as Andreas Scholl, Fiona
Monique O'Dea, Sydney+1 Campbell, Philippe Jaroussky, Kristian Bezuidenhout,
Marianne Yeomans, Sydney Emma Kirkby, Andreas Staier, Elizabeth Wallfisch,
Heather Lloyd, Sydney Genevieve Lacey, Andrew Manze and more.
James Eccles, Sydney
Through its annual subscription series in Sydney and
Melbourne, the Australian Brandenburg Orchestra
performs before a live audience in excess of
40,000 people, and hundreds of thousands more
through national broadcasts on ABC Classic FM.
* Denotes Brandenburg Core Musician The Brandenburg also has a regular commitment
+ Section Leader to performing in regional Australia. Since 2003 the
1 Monique O’Dea appears courtesy of Presbyterian Ladies' College, Sydney (staff)
Australian Brandenburg Orchestra has been a
Harpsichord preparation by Geoffrey Pollard in Sydney and Alastair McAllister in Melbourne
Continuo organ by Henk Klop, Garderen, The Netherlands 2004 supplied by Carey Beebe Harpsichords in Sydney member of the Major Performing Arts Group, which
Organ preparation by Joanna Tondys in Sydney and Ken Falconer in Melbourne comprises 28 flagship national arts organisations
4 4 supported by the Australia Council for the Arts. 5
PAUL Dmitry
DYER sinkovsky
In January 2013 Paul Dyer was awarded the Officer “The violinist Dmitry Sinkovsky gyrated like a rock
of the Order of Australia (AO) for his ‘distinguished guitarist during his gorgeous rendition of Vivaldi’s
service to the performing arts, particularly orchestral Concerto, his virtuosity seeming as effortless as
music as a director, conductor and musician, through Ms. DiDonato’s, and his soulful, aching rendition
the promotion of educational programs and support of the Adagio holding the audience spellbound”
for emerging artists’ in recognition of his achievements (after a concert in Carnegie-hall , New York Times,
as Co-founder and Artistic Director of the Australian 20 Nov 2012).
Brandenburg Orchestra and Brandenburg Choir.
Virtuoso violinist Dmitry Sinkovsky was being
Paul Dyer is one of Australia’s leading specialists in groomed for an international career by the Moscow
period performance styles. He founded the ABO in Conservatory, where he graduated in 2005, when
1990 and has been the orchestra’s Artistic Director he decided to change direction and concentrate on
since that time. Paul has devoted his performing life historical performance practice. He studied baroque
to the harpsichord, fortepiano and chamber organ violin with Marie Leonhardt in Amsterdam and singing
as well as conducting the Brandenburg Orchestra with Michael Chance in Den Haag, Jana Ivanilova in
and Choir. Moscow and Marie Daveluy in Montreal. He has
since been awarded numerous prizes in major
Paul completed postgraduate studies in solo competitions including the Premio Bonporti in Italy
performance with Bob van Asperen at the Royal (2005), the Bach Competition in Leipzig (2006), the
Conservatorium in The Hague, performed with Musica Antiqua Competition in Bruges (first prize,
many major European orchestras and undertook audience prize and critics' prize - 2008), the Romanus “Clorie, Tirsi, Fileno”, “Amarilli Vezzosa” “Ollinto
ensemble direction and orchestral studies with Weichlein prize at the Biber competition in Austria in Pastore” of Handel, “La nozze di Iole ed Ercole”
Sigiswald Kuijken and Frans Brüggen. 2009 for his “extraordinary interpretation of the Biber's of Leonardo Leo, and many others.
Rosary sonatas” and first prize at the Telemann
Paul appears as a soloist, continuo player and Competition in Magdeburg (2011). Critics and public In 2015 he will conduct Handel's oratory “Il Trionfo del
conductor with many major ensembles including alike praise his ability to “play from the heart” whilst Tempo” in Moscow, and for the first time in history he will
the Sydney Symphony Orchestra, West Australian performing music of dazzling difficulty. be also one of the title singers at the same production.
Symphony Orchestra, Queensland Orchestra, In the 2012 to 2015 seasons he will be guest conductor
Australia Ensemble, Australian Chamber Orchestra, recitalist, he has toured Germany, France, Belgium, Dmitry Sinkovsky is now much in demand as a soloist of Il Complesso Barocco accompanying distinguished
Opera Australia, Australian Youth Orchestra, Victorian the Netherlands and the United States. and conductor, performing extensively in Europe, mezzo-soprano Joyce DiDonato in her Drama Queens
State Opera, Malaysian Philharmonic Orchestra, Canada, Australia, Russia and the USA. He heads the concert tour. The extensive tours will cover major
the Pacific Baroque Orchestra, Vancouver, and the Paul is an inspiring teacher and has been a staff ensemble La Voce Strumentale, which he founded in concert halls throughout Europe, the USA and Asia.
Orchestra of the Age of Enlightenment, London. member at various Conservatories throughout the 2011 and works with some of the finest Baroque
world. In 1995 he received a Churchill Fellowship orchestras today including Il Giardino Armonico (Italy), He has recorded with Naïve and Caro Mitis. His recent
Paul has performed with many prominent international and he has won numerous international and national Concerto Köln (Germany), Il Complesso Barocco Vivaldi CD “Per Pisendel” with Il Pomo d`Oro orchestra
soloists including Andreas Scholl, Cyndia Sieden, awards for his CD recordings with the Australian (Italy), Arion Baroque Orchestra (Canada), Australian received a Diapason D`Or. In 2014, Dmitry's new Cds
Elizabeth Wallfisch, Andreas Staier, Marc Destrubé, Brandenburg Orchestra and Choir, including the Brandenburg Orchestra (Australia), Armonia Atenea "Rosary Sonatas of H.I.F von Biber" and his first
Christoph Prégardien, Hidemi Suzuki, Manfredo 1998, 2001, 2005, 2009 and 2010 ARIA Awards (Greece), the Helsinki Baroque Orchestra (Finland), vocal/instrumental solo album of A. Vivaldi with
Kraemer, Andrew Manze, Yvonne Kenny, Emma for Best Classical album. Paul is Patron of St Gabriel’s and the Seville Baroque Orchestra (Spain). La Voce Strumentale will be released.
Kirkby, Philippe Jaroussky and many others. In 1998 School for Hearing Impaired Children. In 2003 Paul
he made his debut in Tokyo with countertenor Derek was awarded the Australian Centenary Medal for his He has a very fine voice and often performs as a Dmitry Sinkovsky continues to teach violin and viola at
Lee Ragin, leading an ensemble of Brandenburg services to Australian society and the advancement countertenor. During the last 3 years with La Voce the Moscow Conservatory. As a laureate of the
soloists, and in August 2001 Paul toured the orchestra of music. In 2010 Paul was awarded the Sydney Strumentale, Dmitry has sung in many productions Jumpstart Jr. Competition in the Netherlands he has
6 to Europe with guest soloist Andreas Scholl. As a University Alumni Medal for Professional Achievement. including: “Gloria e Himeneo” of Vivaldi, “Messiah”, been loaned a superb violin by Francesco Ruggeri (1675). 7
Dmitry
sinkovsky
After supper I received a visit from Vivaldi, the famous composer and violinist … He let me listen to He was particularly associated with the Pio Ospedale della Pietà, one of four Venetian ospedali which cared
his very difficult and quite inimitable fantasias on the violin, so that, being close at hand, I could not but for orphans and children of the destitute and which maintained an all-female orchestra and choir as a means
marvel even more at his skill. of providing the girls with a source of income. A number of the girls grew into renowned virtuosi, and many
lived their whole lives at the ospedali, performing and teaching.
Johann von Uffenbach, Venice, 1715
At the beginning of the eighteenth century the concerto was the pinnacle of instrumental music. Originally the Vivaldi was hired as a violin teacher in 1703 by the Pietà, and under his guidance their orchestra became one of
term “concerto” simply meant any piece performed by a group of voices and/or instruments playing together. the finest and most versatile ensembles in all of Italy and attracted travellers from throughout Europe. Charles de
By the late seventeenth century the term had gained its more modern meaning of an instrumental piece Brosses, a French politician who visited Venice in 1739, wrote:
featuring one or more soloists, whose parts were set in relief against the background of the accompanying
strings. This kind of solo concerto was developed by musicians in northern Italy in the late seventeenth and The most exquisite music here is that of the Ospedali. The one of the four Ospedali I visit most often
early eighteenth centuries, and took Europe by storm in the hands of Antonio Vivaldi, whose vivid concertos and like best, is La Pieta; it is also the foremost because of the perfection of the orchestra. What
for a variety of instruments but above all for solo violin were widely disseminated across Europe beginning in precision of performance! Only here does one hear those superb ways of bowing which are admired
the 1710s. … at the Paris Opéra.”
The solo concerto was particularly popular in Venice, Vivaldi’s home town, but in Rome, where Archangelo What to Listen for
Corelli was the dominant figure in musical life, the concerto grosso form which he perfected was favoured
Vivaldi composed some five hundred concertos, of which two hundred and thirty were for solo violin. We
instead. It featured a small group of soloists, called the concertino, typically made up of two violins and cello,
know very little about the origins of most of the concertos, not even when they were written, or for whom,
contrasted against the rest of the orchestra, known as the ripieno (full) or concerto grosso (large ensemble).
although many of them would have been for the Pietà, for whom he worked on and off most of his life.
Surviving records show that even when he was away from Venice he was still contracted by the Pietà to
Antonio Vivaldi (1678–1741)
compose new concertos for them.
Concerto in C Major RV 177
The style of this concerto has led to it being dated to around 1734. Like many other eighteenth century
Allegro ma poco
composers, Vivaldi frequently recycled his own work, and the main theme of the first movement comes from
Largo
the sinfonia (overture) to his opera L’Olimpiade, which premiered at the Teatro Sant’Angelo in Venice on
Allegro
17 February 1734.
If rapid and acute tones are evils, Vivaldi has much of the sin to answer for. “It is very usual,” says Mr.
Wright in his Travels through Italy, from 1720 to 1722, “to see priests play in the orchestra. The famous
Vivaldi, whom they called the Prete Rosso, very well known amongst us for his concertos, was a
topping man among them at Venice.”
Charles Burney, A General History of Music, 1789
Vain, egotistical, boastful, grasping, with an extraordinary zest for life – these words, amongst many others,
have been used to describe Antonio Vivaldi, known as “the Red Priest” because of the colour of his hair. He
was ordained as a priest in 1703 but had to stop saying mass only three years later because of a debilitating
chest complaint (probably bronchial asthma). “I almost always stay at home and go out only in a gondola or
carriage, since my chest ailment … prevents me from walking.” It did not stop him from becoming one of
Italy’s most successful opera composers in the first decades of the eighteenth century, however. He claimed
to have written over ninety operas, although so far only forty nine have been identified. Unlike most other
musicians in the first half of the eighteenth century, Vivaldi was never employed on a long-term basis by either
a member of the nobility or the church, but in his home town of Venice he was hailed as a teacher and violin
8 virtuoso, and for most of his life his services as a composer were in constant demand. 9
Dmitry
sinkovsky
Arcangelo Corelli (1653–1713) Antonio Vivaldi (1678–1741)
Concerto Grosso Opus 6 No.11 in B flat major Concerto in d minor RV 246
Prelude Allegro
Allemande Largo
Adagio/Andante largo allegro
Sarabande
Gigue The impression created by Vivaldi’s brilliant playing was captured by German traveller Johann von Uffenbach in 1715:
Towards the end Vivaldi played a solo accompaniment – splendid – to which he appended a cadenza
Arcangelo Corelli was the first composer whose fame came exclusively from instrumental composition, the
which really frightened me, for such playing has never been nor can be: he brought his fingers up to only a
first to gain an international reputation primarily through music publishing, and the first to compose “classic”
straw’s distance from the bridge, leaving no room for the bow – and that on all four strings with fugues and
instrumental works which were admired long after his death. He was educated in Bologna but spent almost
incredible speed. With this he astounded everyone ...
all his adult life in Rome, and by 1676, at the age of only twenty three, he was already one of the city’s foremost
violinists. His playing was described as “learned, elegant and pathetic,” although one witness commented that
What to listen for
when he played he appeared “half mad” and that “it was usual for his countenance to be distorted, his eyes to
become as red as fire, and his eyeballs to roll as if in an agony.” Vivaldi structured the first and last movements of his concertos around repeating refrains. This is now referred to
as ritornello form, from the Italian “ritorno”, meaning return. The refrain is played first by the full orchestra, and this
Corelli was fortunate in attracting the patronage of powerful people, particularly of Cardinal Pietro Ottoboni, is followed by an episode for the solo instrument which contrasts with the ritornello and uses different melodic
nephew of the Pope and an extremely wealthy and influential patron of the arts who was described by Charles material. After each new episode the full orchestra returns with the ritornello but now varied in some way, and so on
De Brosses as “without morals, without reputation, debauched, ruined, a lover of the arts, a great musician”. throughout the movement. This sometimes very loosely followed structure provided the platform for Vivaldi’s musical
Under Ottoboni’s patronage Corelli devoted most of his time to composition, and finally retired from performing imagination to run riot. The endless variation of the ritornellos and episodes, as they cycle through a number of
altogether in 1708. different tonalities, is what gives the music much of its typical “Vivaldian” drive and energy.
Corelli’s fame came from the dissemination of his works, boosted by the boom in music publishing which INTERVAL
occurred throughout Europe around 1700. His six published volumes of trio sonatas and concertos were
enormously influential across Europe for many years after his death, and in England his works developed almost Antonio Vivaldi (1678–1741)
a cult following among professional and amateur musicians. His compositions and compositional style were Cessate, omai cessate, Cantata RV 684 for alto, strings and continuo
much imitated, often without acknowledgement; indeed nine trio sonatas published in 1730 as Corelli’s Opus 7
From 1713 onward Vivaldi spent long periods away from Venice pursuing his career as an opera composer and
were not by Corelli at all.
entrepreneur. From 1718 to 1720 he was in Mantua, where he wrote three operas and supervised their performance.
While he was there he was employed to compose music for the Mantuan court which included a large number of
What to listen for cantatas, including this one. Vivaldi was a shameless self-promoter, and still used his Mantuan title of maestro di
capella da camera long after he had left the city.
Corelli’s landmark Opus 6 set of twelve concertos was published posthumously in 1714. Corelli composed
slowly, polishing and revising his works until he considered them fit for publication, and the composer Georg What to listen for
Muffat reported hearing these or similar pieces played in Rome as early as 1682. Corelli’s concerti grossi were
written for festivals in Rome for which huge orchestras of sometimes more than one hundred players were A cantata was a small scale vocal work with a secular text, generally consisting of two or three arias linked with
assembled. Contemporary accounts indicate that Corelli was an exacting orchestra leader: he insisted not only recitative (sung speech), and scored for solo voice and continuo or small ensemble. (German sacred cantatas of
on accuracy of pitch but that the bows of all players should synchronise exactly with each other. the same period, like those of JS Bach, are a different genre). Although Vivaldi is not known for his cantatas, in fact
he wrote thirty seven of them, nearly all in the two years that he spent at Mantua. A cantata was usually for private
Like many concerti grossi, this concerto was based on a set of dance movements. After a slow prelude, the performance, but this one must have been composed for an important court occasion as the vocal part requires a
concertino (soloists) play an allemande underpinned by a busy solo cello bass part. A short adagio consisting certain level of virtuosity and the accompaniment is orchestrated. Little is known about the text, in which a spurned
of a simple series of chords leads to an andante largo reminiscent of the opening prelude. Two further dance lover rails against the heartless Dorilla, but Vivaldi probably took it from an opera which is now lost.
10 movements, a sarabande and gigue, conclude the concerto. 11Dmitry
sinkovsky
Cessate, omai cessate Cease, now cease, perché spero da voi quella pietade because I hope to receive from you that pity
rimembranze crudeli cruel memories che Dorilla inumana non annida. that inhuman Dorilla cannot provide.
d’un affetto tiranno; of a despotic love; Vengo, spelonche amate, I come, dear caves,
già barbare e spietate so heartless and pitiless, vengo, spechi graditi, I come, welcoming places.
mi cangiaste i contenti you have turned my happiness alfine meco involto Finally, in torment,
in un immenso affanno. into immense sorrow. in mio tormento in voi resti sepolto. I will bury myself in you.
Cessate, omai cessate Cease, now cease
di lacerarmi il petto, to rip open my breast, ARIA
di trafiggermi l’alma, to pierce my soul, Nell’orrido albergo, In this horrible refuge,
di toglier al mio cor riposo e calma. to rob my heart of rest and calm. ricetto di pene, sheltered from pain,
Povero core afflitto e abbandonato, Poor heart, afflicted and abandoned, potrò il mio tormento I shall be able to give vent
se ti toglie la pace un affetto tiranno, a tyrannical passion robs you of peace, sfogare contento, to my grief,
perché un volto spietato, un’alma infida because a pitiless face, a unfaithful soul, potrò ad alta voce chiamare spietata I will be able to call loudly to Dorilla,
la sola crudeltà pasce ed annida. harbours and nurtures only cruelty. Dorilla l’ingrata, the heartless and ungrateful one,
morire potrò. I will be able to die.
ARIA
Ah, ch’infelice sempre Ah, unhappy forever Andrò d’Acheronte I will go to the gloomy banks of the Acheron*,
mi vuol Dorilla ingrata, ungrateful Dorilla wishes me to be; su la nera sponda, staining that stream
ah, sempre più spietata ah, ever more pitilessly tingendo quest’onda with my innocent blood,
m’astringe a lagrimar. she forces out my tears. di sangue innocente, crying vengeance,
gridando vendetta and, like the ghost of a Bacchante*,
Per me non v’è ristoro, For me there is no remedy, ed ombra baccante I will take my revenge.
per me non v’è più spene. for me no more hope. vendetta farò.
E il fier martoro e le mie pene, And my fierce torture and pain In this horrible refuge …
solo la morte pùo consolar. only death can comfort. Nell’orrido albergo ...
* From Greek mythology: Acheron is the
Ah, ch’infelice ... Ah, unhappy forever ... river that flows through Hades (hell); the
Bacchantes were followers of the Greek
A voi dunque ricorro, So it is to you I return, god Bacchus, capable of great ferocity.
orridi spechi, taciturni orrori, gloomy places, silent horrors,
solitari ritiri ed ombre amiche; lonely caves and friendly ghosts,
tra voi porto il mio duolo to you I bring my grief,
12 13Dmitry
sinkovsky
Charles Avison (1709–1770) What to listen for
Concerto No 3 in d minor from Twelve Concerto’s in Seven Parts …
Done from Two Books of Lessons for the Harpsichord Composed by Sig. Domenico Scarlatti Avison based a set of concertos, including the one we hear tonight, on enormously popular keyboard
pieces by Italian composer Domenico Scarlatti, son of the equally famous Alessandro Scarlatti. Avison
Largo andante
modelled these concertos on those of his teacher, the Italian violinist Geminiani, and of Corelli, structuring
Allegro spirito
each one in the typical concerto grosso movement form of slow–fast–slow–fast. Despite what he wrote
Vivace
about the music of other composers, his own concertos are full of baroque exuberance and energy.
Più allegro
They were certainly popular in their own day. When he announced the project to publish the concertos,
one hundred and fifty one subscribers signed up to buy the music sight unseen.
“Of the first and lowest Class are, VIVALDI … and LOCATELLI, whose Compositions being equally
defective in various Harmony and true Invention, are only a fit Amusement for Children; nor indeed for
these, if ever they are intended to be led to a just Taste in Music.” Antonio Vivaldi (1678–1741)
Charles Avison, An Essay on Musical Expression, 1752 Concerto in d minor RV 242 Op 8 No 7 ‘Per Pisendel’
Allegro
Charles Avison was an English organist, composer, teacher, and concert manager. He was also
Largo
one of the most important English writers in the field of musical aesthetics, publishing his controversial
Allegro
and influential Essay on Musical Expression in 1752. In this essay and in the extensive notes he wrote
to accompany his published compositions he promoted an aesthetic which favoured moderation
Vivaldi dedicated a number of his concertos to Johann Pisendel, one of the most famous violinists
and shunned the extravagance, found, according to Avison, in the music of Vivaldi and Handel. He
of his time. Pisendel spent thirty years as a violinist and later Konzertmeister (concert master) in the
disliked the display of virtuosity or excessive ornamentation, considering it was done “merely from a
Dresden court orchestra, which was then the finest orchestra in Europe. In 1716–17 he spent nine months
Desire of being distinguished”. For him, an effective solo performance was to be found “in the tender
in Venice as part of the entourage of his employer, the Prince-Elector of Saxony, and during that time he
and delicate Touches, which to such indeed are least perceptible, but to a fine Ear productive of the
studied with and became a close friend of Vivaldi. He acquired a large number of manuscripts by Vivaldi,
highest Delight”.
and copied out some of the scores of his concertos, like the two other Vivaldi concertos featured in this
concert. Under his leadership the Dresden orchestra became the major promoter of Vivaldi’s music outside
Avison lived all his life in Newcastle-upon-Tyne and probably because of this his compositions were Italy, and this was to have a far–reaching influence on German composers such as JS Bach.
limited to only two genres: accompanied keyboard sonatas and string concertos. They were intended
primarily for amateurs and the small orchestras which could be mustered in a provincial city. The four
This concerto was published in 1725 in a collection of twelve violin concertos with the title Il cimiento
movement concerto grosso or “grand concerto” was the main type of orchestral music composed in
dell’armonia e dell’inventione (“The Battle between Harmony and Invention”). The collection also included
England in the first half of the eighteenth century, long after it had been superseded in Europe by the
“The Four Seasons” concertos.
Vivaldian three movement solo concerto. However it was an ideal form to use when composing for
provincial orchestras, as the difficult solo sections could be played by professional musicians and the
What to listen for
easier tutti sections by the gentleman amateurs who made up the rest of the ensemble. There was
a great demand for pieces of this type in the middle of the century, and Avison was one of the most
As usual, the first and third movements are built around repeating ritornelli, with the solo violin making
prolific and accomplished composers of them, writing no less than ninety-two.
florid appearances between them. The brilliance of the writing for solo violin suggests just how greatly
Vivaldi respected Pisendel’s abilities. The beautiful Largo second movement belongs almost exclusively
to the soloist, who performs above a bare accompaniment from the orchestra.
14 Ben Dollman, Period Violin Program notes and translations © Lynne Murray 2014 15brandenburg foundation patrons DURAZZO $1,000 - $4,999
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J M Alroe Ken Groves and Yun-sik Jang Jack and Heather Percy
STRADIVARI $100,000 - $249,999 John and Robyn Armstrong Jane Hemstritch Jane Perry and Bob D’Arcy
Cary and Rob Gillespie Frederic Baudry and Paul Bailey J Holden Family Foundation Ilma Peters
Anonymous Marc Besen AO and Eva Besen AO Peter and Jenny Hordern W J and R Poate
Diana Brookes Mrs Joan L Hossack Jim and Chris Pollitt
GUARNERI $50,000 - $99,999 Dr Catherine Brown-Watt PSM and Mr Derek Watt Jill and David Hunt Ted and Jean Radford
Kay Buckeridge Dr Alastair Jackson Patricia H Reid Endowment Pty Ltd
The Martin family in memory of Lloyd Martin AM Henry Burmester and Peter Mason Margaret Johnston John Scott
Macquarie Group Foundation Wayne Burns and Kean Onn See Despina and Iphygenia Kallinikos Nigel Scott-Miller
Anonymous Elizabeth Butcher The Hon. Rod Kemp and Mrs Daniele Kemp Dr Celina Seeto
Beverley and Alan Castleman Ann and James Lahore Mrs El Sevior
MAESTRI $25,000 - $49,999 Dr Jeffrey Chan and Colin Hudson Mr John Lamble AO Daniela Shannon
Mr Peter Clark and Mrs Jan Clark Airdrie Lloyd Paul Sheehan
John and Robyn Armstrong Phillip Cornwell and Cecelia Rice Richard and Elizabeth Longes Mr Charlie Shuetrim AM and Mrs Sandra Shuetrim
Chris and Kathy Harrop Dom Cottam and Kanako Imamura Betty Lynch Alan and Jennifer Smith
Greg Hutchinson AM and Lynda Hutchinson Jim Cousins AO and Libby Cousins J and R MacLeod Max and Jennie Suich
Nick and Caroline Minogue David Davies and Paul Presa Aggie Maisano* Derek Taylor and Mark Wheeler
Margaret and Chris de Guingand Dr Diana Marks and Dennis Bluth Anne and Richard Travis
Rowan Ross AM and Annie Ross Lorraine Elliott AM and John Kiely Barrie Martin Stephen and Ruth Walsh
Christine Yip and Paul Brady Ralph and Maria Evans Robyn Martin-Weber Justice Anthony Whealy
Rosemary Farrow Joanna B Maxwell Judith Williams
ARCANGELI $15,000 - $24,999 Wendy and Ron Feiner
Diana and Richard Fisher
Mora Maxwell
Richard and Rowena McDonald
Gregory Wood
Anonymous x 20
Melinda Conrad and David Jones Brian and Philippa France Peter McGrath*
Norman Gillespie Carrillo and Ziyin Gantner J A McKernan
Glenn Moss and the late Dr Ken Moss AM
David and Rachel Zehner SUPPORTER I $500 - $999
CAMERATA $10,000 - $14,999 Gillian Appleton
Ian Baker and Cheryl Saunders
Karl Goiser
Philip and Anabel Gosse
Ron, Lynn and Marcus Ogden
Trevor J Parkin
Graham Bradley AM and Charlene Bradley Jeanette Beaumont Audrey Hawkins Dr Kevin Pedemont
Rohan Mead Cathe Boag Dr Ailsa Hocking and Dr Bernard Williams Christina Pender
The Clayton family Annette and Kevin Burges Geoff Hogbin John and Catherine Percy
David and Louise Byrne Cavan and Mira Hogue Beverly and Ian Pryer
Rebecca and Craig Clarke Judith Hoy The Ranken Family
Chairman's 11 Carol des Cognets
Dr Steven Cohn
Michael Jones
A and V Koumoukelis
Ms Gabrielle J Rowe
Jeannette Sharpe
Dedicated to the memory of James Strong AO. Tim and Bryony Cox Elizabeth Mackenzie and Michael Bremner Dr Agnes Sinclair
Chairman’s 11 supports international and locally based artists who will Susan Dixon and Stephen Rix Antoinette le Marchant Robyn Smiles
feature in each Series annually. Membership is by invitation only. Margaret Dobbin Carina Martin Anthony Tarleton
Professor Dexter Dunphy Richard Masiulanis Sue Thomson
Founding Members Anton Enus and Roger Henning Wendy McCarthy AO Miriam and Frank Tisher
In memory of a first class cricketer (U.K.), W G Keighley Professor and Mrs Peter Fletcher Janet and Donald McDonald John and Anne Whaite
Malcolm and Barbara France I Merrick Jan and David Young
Jillian Broadbent AO Christine George Dr Peter and Mrs June Musgrove Anonymous x 14
Louise Christie
Diana and Richard Fisher SUPPORTER II $250 - $499
Chris and Gina Grubb
Grant and Jennifer King Jaci Armstong Geoffrey and Laurel Jones Dr Alice J Palmer
Michael Barbour and Elizabeth Heurtier Hilary Kelman Nella Pinkerton
Susan Maple-Brown Keith and Claire Beecher Andrew and Prue Kennard Robyn Raffles
Ms Gretel Packer Lesley Beresford Dr Peter and Mrs Pamela Kenny Ken Ramshaw
Anonymous Professor Fran Boyle AM Jann Kohlman M L Rattigan
Catherine Broady Julie Laforest Barbara and Malcolm Richardson
Professor David Bryant George Lawrence Stephen and Sharon Schach
brandenburg donors Jenny and Henry Burger
Marianne Cochrane
Gill Lister
Ian K Lloyd
Dr Gideon and Mrs Barbara Shaw
Robbie Singleton
life patrons Chris and Trudy Coote Mrs Iris Luke Charles Such
Mrs Mary Holt and the late Dr John Holt Raymond Debus Helen McCathie Eric and Eileen Tang
Janet Doust Helen McConaghy Steven Turner and Amanda Trenaman
Ms Noelene Evans Lois McCutchan Jennifer and Julian Turecek
Michael and Lindsay Fitzgerald Dr Allan and Mrs Patricia McLay Ronald Walledge
Ms Sally L Glover Helen Molloy Chris and Julia Wokes
Richard and Heather Gorrell Robbie Neill Gregory W Won
CHRISTINA $10,000 or above RUSPOLI $5,000 - $9,999 Alison and David Gyger Tony Newman Susan Young
Margaret Hope Brendan O'Connell Anonymous x 22
Aidan Allen The Alexandra and Lloyd Martin Family Antoinette Albert Alison Iverach Janette Owen
John Almgren AM and Yvonne Almgren Foundation Glenn Barnes
Peter Barclay and Victoria Le Gallais Rohan Mead David and Leith Bruce-Steer CORPORATE DONORS
Graham Bradley AM and Charlene Bradley Nick and Caroline Minogue Louise Christie
Jillian Broadbent AO The Rodwell Foundation Rick and Sue Coles* APA Group Macquarie Securities
The Clayton Family Rowan Ross AM and Annie Ross J Farren-Price Jewellers Bain & Company Pacific Equity Partners
Link Market Services QANTAS Loyalty
Jane and David Duncan Jeanne-Claude Strong in memory In memory of Darrel Fraser Macquarie Capital
Don and Deirdre Faithfull in memory of of James Strong Roger Massy-Greene and Belinda Hutchinson
Harold and Edna Johnston Greg Ward David and Andree Milman
Chris and Gina Grubb Cameron Williams Glenn Moss
Mrs Mary Holt and the late Dr John Holt Anonymous Lady Potter AC
Mrs W G Keighley in memory of Geoffrey Anna, Frank and Patricia Quicler
Katie Lahey AM and Robert Marriott Mrs Joyce Sproat and Mrs Janet Cooke
Macquarie Group Foundation Victoria Taylor
Susan Maple-Brown AM and the Peter William Weiss AO
late Robert Maple-Brown Ray Wilson OAM and James Agapitos OAM * Donors to the Brandenburg International Baroque Study Program.
Anonymous
This donor list is current for a 12-month period to 30 June 2014.
18 A complete list of our supporters is on www.brandenburg.com.au 19The Australian
Brandenburg Orchestra gratefully
acknowledges the support
of our Partners
MELBOURNE
RECITAL CENTRE
Corner Southbank Boulevard and Sturt Street
Southbank VIC 3006
Administration: 03 9699 2228
Box Office: 03 9699 3333
Facsimile: 03 9207 2662
Website: melbournerecital.com.au
Founding Patron
Dame Elisabeth Murdoch AC DBE
Board of Directors
Kathryn Fagg, Chair
Peter Bartlett
Tommas Bonvino
Stephen Carpenter Executive Staff
Des Clark Mary Vallentine AO, Chief Executive
Joseph Corponi Nesreen Bottriell, Director Corporate Services The Australian Brandenburg Orchestra The Australian Brandenburg Orchestra is assisted
Margaret Farren-Price Robert Murray, Director Marketing & Customer Relations is assisted by the NSW Government by the Australian Government through the Australia
through Arts NSW Council, its arts funding and advisory body.
John Higgs Sandra Robertson, Director Development
Julie Kantor Kirsten Siddle, Director Programming & Presenter Services
Official Wellbeing Partner
City Recital Hall City Recital Hall
Angel Place Angel Place
2-12 Angel Place,
A City of Sydney Venue Sydney, Australia Sponsor of hotel Education Partner Digital Partner
accommodation in Melbourne
Clover Moore GPO Box 3339,
Lord Mayor Sydney, NSW 2001
Managed by Administration MAJOR SPONSOR
PEGASUS VENUE 02 9231 9000
MANAGEMENT (AP) PTY LTD Box Office
Christopher Rix 02 8256 2222 or 1300 797 118 Carla Zampatti dresses Sponsor of Sponsor of
Founder Facsimile the women of the Orchestra business strategy development creative branding & graphic design
02 9233 6652
Anne-Marie Heath Website
General Manager www.cityrecitalhall.com
Media supporter
20 MAJOR SPONSORPatron
His Excellency General the Honourable Sir Peter Cosgrove AK MC (Retd)
Artistic Director
Paul Dyer AO
The Brandenburg Council
Jillian Broadbent AO
Greg Hutchinson AM
Max Suich
The Board
Rowan Ross AM, Chairman
Cathy Aston
Melinda Conrad
Paul Dyer AO
Katie Lahey AM
Rohan Mead
Simon Pillar
Greg Ward
David Zehner
Bruce Applebaum, Company Secretary
General Manager
Bruce Applebaum
Deputy General Manager
Bridget O'Brien
Catherine Barker Susan Duffy Aishlinn McCarthy Steven Godbee Publicity
Orchestra Manager Executive Assistant Marketing Executive Publicist
Jill Berry Alison Dunn John Scott KPMG
Head of Development Marketing Manager Accountant Auditors
Kyle Buchanan Lilla Ito Jason Soto Charles Gwynn
Development Coordinator Project and Concert Box Office Manager Andrew O'Connor
Management Consultant Christopher Price
Kateryna Collier Joanna Tondys
Repertoire
Ticketing Services Ivana Jirasek Assistant to Advisors (honorary)
Coordinator Philanthropy Manager Artistic Director
Ian Creevey David Joyce Beth Wilson
Accounts Assistant Systems Consultant Receptionist
Brandenburg Ensemble Limited trading as Australian Brandenburg Orchestra
is a non-profit organisation registered as a company limited by guarantee. ABN 41 003 908 183
Address 142 New South Head Road, Edgecliff NSW 2027 | Post GPO Box 4416, Sydney NSW 1008
Ben Dollman
22 Telephone 61 2 9328 7581 | Website www.brandenburg.com.au | Email mail@brandenburg.com.au Principal Baroque Violin 23our recordings
The Australian Brandenburg Orchestra has released sixteen recordings,
with soloists including Andreas Scholl, Genevieve Lacey, YvonneKenny,
Elizabeth Wallfisch, Sara Macliver, Graham Pushee and Cyndia Sieden.
Several of these recordings have received awards, including five ARIA
Awards for Best Classical Album.
a brandenburg tapas BAROQUE FAVOURITES HANDEL
christmas Australian Brandenburg Orchestra Australian Brandenburg Orchestra CONCERTI GROSSI
Brandenburg Choir Paul Dyer, artistic director Paul Dyer, artistic director Australian Brandenburg Orchestra
Australian Brandenburg Orchestra 2010 ARIA Award: ABC 476 4056 Paul Dyer, artistic director
Paul Dyer, artistic director Best Classical Album 2009 ARIA Award:
Christina Leonard, saxophone ABC 476 3828 Best Classical Album
Louise Prickett, soprano ABC 476 3436
ABC 476 4687
Great Vivaldi Concertos Sanctuary VIVALDI – Il Flauto Dolce Mozart Clarinet
Australian Brandenburg Orchestra Australian Brandenburg Orchestra Australian Brandenburg Orchestra Concerto & Arias
Paul Dyer, artistic director. Featuring Paul Dyer, artistic director Paul Dyer, artistic director Australian Brandenburg Orchestra
guest artists such as Genevieve Lacey, Kirsten Barry, baroque oboe Genevieve Lacey, recorder Paul Dyer, artistic director
Elizabeth Wallfisch, Hidemi Suzuki, 2005 ARIA Award: 2001 ARIA Award: Craig Hill, basset clarinet
Lucinda Moon and many more. Best Classical Album Best Classical Album Cyndia Sieden, soprano
ABC 476 923-3 ABC 476 284-0 ABC 461 828-2 ABC 476 1250
Noël! Noël! Andreas Scholl – Vivaldi The Australian Handel Arias
Brandenburg Choir Australian Brandenburg Orchestra Brandenburg Australian Brandenburg Orchestra
Australian Brandenburg Orchestra Paul Dyer, artistic director Orchestra Collection Paul Dyer, artistic director
Paul Dyer, artistic director Andreas Scholl, countertenor Australian Brandenburg Orchestra Yvonne Kenny, soprano
Sara Macliver, soprano ABC 466 964-2 Paul Dyer, artistic director 1998 ARIA Award: Best Classical Album
ABC 472 606-2 ABC 465 428-2 ABC 456 689-2
If Love’s A Sweet Passion The Four Seasons Handel Arias Brandenburg Favourites
Australian Brandenburg Orchestra Australian Brandenburg Orchestra Australian Brandenburg Orchestra Australian Brandenburg Orchestra
Paul Dyer, artistic director Paul Dyer, artistic director Paul Dyer, artistic director Paul Dyer, artistic director
Sara Macliver, soprano Elizabeth Wallfisch, baroque violin Graham Pushee, countertenor ABC 434 720-2
24 ABC 456 692-2 ABC 456 364-2 ABC 446 272-2We’re helping more people hear the Australian Brandenburg Orchestra. Music that fills your head, lifts your spirits and brings joy. That’s why we’re proud to be the official wellbeing sponsor of the Australian Brandenburg Orchestra. To learn more about how Australian Unity brings www.carlazampatti.com.au wellbeing to retirement living, visit australianunity.com.au
“If music be the food of love, play on...” Twelfth Night, William Shakespeare You can make a real difference to the future of the Australian Brandenburg Orchestra by making a bequest in your will. For a private conversation, please contact our manager of philanthropy: T: 02 9363 2899 E: development@brandenburg.com.au M: GPO Box 4416 Sydney NSW 2001 Or refer to brandenburg.com.au/bequests/
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