TRULY MADLY BAROQUE - Chamber Music New Zealand
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Principle Tour Partner TRULY MADLY BAROQUE
“For sheer technical wizardry, charismatic showmanship and expressive devilment, Red Priest is in an exhilarating class of its own.” – BBC Music Magazine
Kia ora tātou
I am delighted to welcome you to the first concert of the CMNZ 2019
Concert Season. Here at CMNZ it is always exciting to see the intensive
planning which goes into curating a season come into life as a concert
experience. We look forward to sharing that experience with you.
We were thrilled when Red Priest accepted our invitation to open
the 2019 Season. These extraordinary musicians showcase the
extravagance of the Baroque era performing with their wonderful
charisma and irreverent humour.
As they travel the country, Red Priest will also be giving a family
concert in Napier and education performances in Wellington
and Dunedin.
With a renewed interest in recorder playing across schools in Aotearoa,
this is a very special opportunity for young people and families to see
and hear the virtuosity of recorder player Piers Adams alongside his
superb fellow musicians on violin, cello and harpsichord. Through this
encounter, our musicians and audiences of tomorrow can find out just
how much fun making music in a chamber group can be!
Right across 2019 we will be presenting engaging and diverse music
that both respects the long heritage of the genre and, like Red Priest
this evening, expands the meaning of chamber music.
I hope you enjoy this concert and I look forward to seeing you
at the next.
Ngā mihi nui,
Catherine Gibson
Chief Executive
Chamber Music New Zealand
Please respect the music, the musicians, and your fellow audience members, by switching off all cellphones,
pagers and watches. Taking photographs, or sound or video recordings during the concert is strictly
prohibited unless with the prior approval of Chamber Music New Zealand.“Red Priest is like no other early music instrumental ensemble you have ever heard… transforming Baroque clichés into vivid drama, often at terrific speed and with practised coordination” – Daily Telegraph
Truly Madly Baroque
Auckland, Napier, Palmerston North, Christchurch & Dunedin
ANTONIO VIVALDI (1678-1741)
Concerto in A minor (orig. B minor) RV580
Allegro – Largo – Larghetto – Allegro
JOHANN PACHELBEL (1653-1706)
Canon and Gigue in D major
PIETRO LOCATELLI (1693-1764)
Labyrinth
TOMASO ALBINONI (1671-1751)
Concerto in D minor op 9 No 2
Allegro e non presto – Adagio – Allegro
JACOB VAN EYCK (1590-1657)
The English Nightingale
JOHANN SEBASTIAN BACH (1685-1750)
Adagio from Sonata in G minor BWV 1029
GEORG FREDERICK HANDEL (1685-1759)
Passacaglia in G minor
~Interval~
JOHANN SEBASTIAN BACH (1685-1750)
Brandenburg Concerto No. 5 in D major (BWV 1050)
Allegro – Affettuoso – Allegro
JOSEPH-NICOLAS-PANCRACE ROYER (1705 –1755)
L’Amiable
HENRY ECCLES (1670-1742)
Adagio and Presto in G minor
GASPAR SANZ (1640-1710)
Canarios
GIUSEPPE TARTINI (1692-1770)
“The Devil’s Trill” Sonata
Largo – Allegro – Andante/Allegro/Adagio
DURATION: (First half 39 mins, second half 38 mins)
*The Artists reserve the right to make changes to the programme.
The Auckland concert will be recorded for live broadcast by RNZ ConcertRed Priest
Red Priest is the only early music group in the The group has been the subject of hour-long TV
world to have been compared to the Rolling profiles for NHK (Japan) and ITV (UK) - the latter
Stones, Jackson Pollock, the Marx Brothers, Spike for the prestigious South Bank Show in 2005.
Jones and Cirque du Soleil.This extraordinary
acoustic foursome has been described by music In 2008 Red Priest launched its own record label,
critics as “visionary and heretical,” “outrageous which is now the home for all of the recordings
yet compulsive,” “wholly irreverent and highly of the ensemble and its members, and has
enlightened,” “completely wild and deeply attracted much attention in the music press
imaginative,” with a “red-hot wicked sense of worldwide. Gramophone said of the group’s
humour” and a “break-all-rules, rock-chamber ‘Handel in the Wind’ CD “Quite brilliant… some
concert approach to early music.” of the most extraordinary instrumental playing
you’re likely to hear”, whilst their iconic recording
Founded in 1997, and named after the red- of Vivaldi’s ‘Four Seasons’ was hailed in the
headed priest, Antonio Vivaldi, Red Priest has same publication as one of the four all-time best
given over 1000 sell-out concerts in many of the recordings of the work. Other releases have
world’s most prestigious festivals, including the included a swashbuckling collection entitled
Hong Kong Arts Festival, Moscow December ‘Pirates of the Baroque’, the group’s all-Bach
Nights Festival, Schwetzingen Festival, Prague blockbuster, ‘Johann, I’m Only Dancing’ and
Spring Festival, Ravinia Festival, Bermuda Festival, ‘The Baroque Bohemians’, which surprised the
and in most European countries, Japan, Australia, major labels by reaching No.1 in the UK Specialist
and throughout North and Central America. Classical Chart in October 2017.UK Piers Adams Recorders Adam Summerhayes Violin Angela East Cello David Wright Harpsichord
The Musicians
Piers Adams has been Adam Summerhayes learnt
heralded in the Washington first from his grandfather
Post as “the reigning who studied the violin
recorder virtuoso in the with Joachim’s last pupil,
world today”. He has and with Adolf Brodsky, the
performed in premiere violinist who premiered the
concert halls throughout Tchaikovsky concerto.
the world, including London’s Royal Festival, Adam then learnt from the great Yfrah Neaman.
Wigmore and Queen Elizabeth Halls, and as
concerto soloist with orchestras such as the He was introduced to the Baroque violin by
Philharmonia, the Academy of Ancient Music, Roy Goodman in the 1980s, initiated into period
the Singapore Symphony, the Chamber instrument performance by Paul McCreesh
Orchestra of Hong Kong and the BBC and studied with Micaela Comberti. He has
Symphony and Concert orchestras. Piers has been highly acclaimed as a chamber musician,
made several solo CDs reflecting an eclectic particularly for his recordings of previously
taste, ranging from his award-winning Vivaldi unknown repertoire, including works by Aaron
début disc to David Bedford’s Recorder Copland. He has also given many concerto
Concerto – one of many major works written performances in Europe, Russia and the USA.
for and premiered by him. Adam has recorded over 20 CDs for Harmonia
Mundi, Chandos, ASV, Meridian and others. A
Current projects include ‘Wild Men of the disc of his gypsy fiddle playing was described
Baroque’ with Red Priest harpsichordist David as “heady stuff … thrilling virtuoso playing”
Wright; an eclectic mix of classical, world, jazz (Gramophone).
and folk music with pianist Howard Beach
entitled ‘Flight of the Eagle’, regular festival gigs This led to a cameo appearance in Guy Ritchie’s
with Adam Summerhayes’ Dodo Street Band, blockbuster movie ‘Sherlock Holmes: A Game
and an innovative baroque chill-out recording of Shadows’ in which a performance of one of
with synth artist Larry Lush, entitled ‘Baroque his own tracks is also featured.
Dream’. In addition to his work with Red Priest, Adam
runs his own orchestra, and is founder and
director of the Dodo Street Band, described as
the last word in Celtic Gypsy Klezmer.Angela East is widely David Wright was an
respected as one of the almost entirely self-taught
most brilliant and dynamic musician before gaining
performers in the period a scholarship to the Royal
instrument world, praised in College of Music, where he
The Times, London, for the won several prizes, including
“elemental power” of her the International Broadwood
cello playing. She has given numerous concerto Competition, and graduated with distinction.
performances in London’s Queen Elizabeth and Since then he has worked with some of the
Wigmore Halls, and has performed as soloist and world’s leading musicians including Emma
continuo cellist with many of Europe’s leading Kirkby, James Bowman and Steven Varcoe,
baroque orchestras, as well as with her own and as a soloist with many groups of
ensemble, the Revolutionary Drawing Room. international renown.
Among her impressive list of concert credits are He has directed numerous concerts from
La Scala, Milan, Sydney Opera House, Versailles the harpsichord, including the first modern
and Glyndebourne. Her disc of Bach’s Cello performance of Arne’s ‘The Blind Beggar of
Suites was released on Red Priest Recordings, Bethnal Green’, and is guest conductor to
together with a recital disc of popular baroque several European orchestras.
cello sonatas.
Much of David’s time in recent years has been
Angela is very active as an educator, running devoted to performing Bach’s Goldberg
workshops and training courses at home Variations, which he recorded in 2007 and has
and abroad for the Suzuki Institute, as well as since toured extensively, and performed on TV
running her own Alexander Technique practice and radio.
from her London home.
He joined Red Priest in 2011, taking over from
his predecessor in a Dr. Who style regeneration
event in Brighton Early Music Festival in 2010.
Since that moment his life has slowly but surely
started to unravel.Truly Madly Baroque
The word ‘baroque’ means many different Gigue which follows is less often heard, but
things: irregular, strange, bizarre, florid, over- equally appealing and well crafted.
the-top, extravagant... words that sum up
one of the most extraordinary periods in the Another baroque movement which has
history of music. This was a time when musical transcended its context and become a
rules were cast out of the window in favour popular concert piece in its own right is the
of constant change and invention, leading Capriccio from Pietro Locatelli’s ‘Labyrinth’
one well known theorist at the time to state Violin Concerto in D – an extraordinary feat of
“rules are what I like, and when I like it!” It is in violin pyrotechnics, and the natural precursor to
this spirit that we try to reach to the true, and Paganini’s Caprices.
occasionally mad, heart of the baroque… The composer wrote the following inscription
Antonio Vivaldi, the original Red Priest of beneath the Capriccio: “Laberinto armonico:
Venice, was certainly a man who liked to ‘Facilis aditus; difficilis exitus.” This can be
live – and perform – on the edge. He was translated to mean, “Harmonic Labyrinth: Easy to
often criticised for the dizzying speed of enter; difficult to escape!”
his violin playing, as well as his hot-headed If Vivaldi was the acknowledged king of the
dealings with his musical employers and baroque concerto his Venetian compatriot
promoters, ultimately resulting in his demise in Tomasso Albinoni would certainly have been
a paupers’ grave; but the quality of his music a close contender to that throne. His Oboe
has never been in doubt. The Concerto in B Concerto in D minor – one of many he wrote
minor—originally written for four solo violins for that instrument – is a small masterpiece, with
(and subsequently arranged by J.S. Bach for a gloriously mesmeric slow movement which
four harpsichords) – typifies the composer’s should be known as the real Albinoni Adagio
infectious energy and invention. (as opposed to the spurious work by Giazotto
When Johann Pachelbel composed his Canon which bears his name).
– possibly for the wedding of J.C. Bach in 1694, Chief amongst its many applications in the
although its exact origins remain unknown – he world of baroque tone painting – from love
can hardly have imagined what a monster he to death to the supernatural – is the recorder’s
had released on the world! For the past half natural affinity with the sound of birdsong.
century this exquisite composition has become Not only did composers frequently use the
so overused – as relaxation music, background instrument to this effect in operatic works, but
music, music for weddings and funerals, and as the recorder was even used to teach songbirds
the harmonic basis to many pop songs (and, to sing! The English Nightingale variations by the
of course, as a concert piece so popular that Dutch recorder player Jacob Van Eyck remains a
promoters refer to it as the ‘Pack’em-in’ Canon) classic in the instrument’s repertoire.
– that the genius of the original composition The music of Johann Sebastian Bach needs
has been all but forgotten. The jaunty little little introduction, although it is worth noting
that his reputation as the greatest of all baroquecomposers is a relatively recent one, and in his the most extraordinary music on it… upon
day he was never held in such high esteem. waking Tartini hurriedly scribbled down what
More than with any other composer of his he could remember, and out of that came
era, his music seems to transcend its cultural this sonata, which he acknowledged as his
heritage and work in virtually any context.
finest work – “but
one which falls
The tear-jerking Adagio from the Viola da so far short of the piece which
Gamba Sonata in G minor was made famous
through its inclusion in the 1990 movie ‘Truly, that stunned me that night that I
Madly, Deeply’ – hence its place in this would happily have smashed my
programme – whilst the fifth Brandenburg violin and given up music forever
Concerto remains an epic masterpiece and
possibly the all-time greatest showpiece for if I could but possess it!” Although
the harpsichord! Similarly no programme arguably devoid of actual demonic inspiration,
of baroque ‘greats’ would be complete we hope that our arrangement of this work
without music by Georg Frederick Handel, contains a little of the true, mad spirit of the
here represented with our transcription of baroque!
the famous Passacaglia, the conclusion to his
Harpsichord Suite in G minor. Adam Summerhayes, 2018
The short works by Pancrace Royer, Henry
Eccles and Gaspar Sanz give us a glimpse
into the sound worlds of baroque France,
England and Spain. Royer is best known for
his virtuosic compositions for the harpsichord,
although the gentle little work presented
here has the timeless eloquence of French
café music; Eccles’ music (like that of many
composers working in England at the time)
combines French and Italian influences, but
in a quintessentially English mix; and Sanz’s
Canarios is a guitarist’s favourite, possibly one
“Astonishing, all-
of the most hummable tunes of his day! out virtuosity”
And so to our final piece, Giuseppe Tartini’s
famous “Devil’s Trill Sonata”. The composer – The New York Times, March 2018
claimed that the work came to him in a
dream, in which he was visited by the devil,
who picked up his violin and began to playThank You!
To all of our generous donors who support CMNZ throughout the year
Founders' Circle Members Roger and Jenny Mountfort
Anonymous Barbara Peddie
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The Estate of Joan Kerr Bruce Wilson and Jill White
The Estate of Monica Taylor Ann Wylie
David Zwartz
Ensemble ($10,000+)
Anonymous Trio ($500+)
Robin & Sue Harvey Anonymous (6)
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Peter and Carolyn Diessl Harry and Anne Bonning
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Octet ($5,000+) Hanno Fairburn
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Elizabeth McLeayTouring NZ 28 March – 16 April Touring NZ 23 April – 1 May chambermusic.co.nz/julien-james chambermusic.co.nz/septura
Board
REGIONAL CONCERTS
Kerrin Vautier CMG (Chair), Hon Chris Finlayson, Quentin Hay,
Andreas Heuser, Matthew Savage, Vanessa Doig
Staff JULIEN VAN MELLAERTS & JAMES BAILLIEU
Chief Executive, Catherine Gibson
Motueka 28 March
Acting Artistic Manager, Jack Hobbs
Artistic Administrator, Lizzie Bisley Cromwell 2 April
Outreach Coordinator, Beckie Lockhart Wanaka 3 April
Operations Coordinator, Rachel Hardie
Christchurch 4 April
Marketing & Development Manager, Will Gaisford
Senior Designer, Darcy Woods Warkworth 7 April
Marketing Executive, Aja Lethaby Tauranga 8 April
Ticketing & Database Executive, Laurel Bruce
Hamilton 10 April
Content Producer & Comms Executive, Anna van der Leij
Marketing & Fundraising Coordinator, Rafaela Gaspar New Plymouth 12 April
Whanganui 13 April
Branches Waikanae 14 April
Auckland: Chair, Roger Reynolds; Concert Manager, Bleau Bustenera Napier 16 April
Hamilton: Chair, Murray Hunt; Concert Manager, Sharon Stephens
New Plymouth: Concert Manager, Cathy Martin NEW ZEALAND STRING QUARTET
Hawkes Bay: Chair, June Clifford; Concert Manager, Jamie Macphail
Warkworth 27 April
Manawatu: Chair, Graham Parsons; Concert Manager, Virginia Warbrick
Wellington: Concert Manager, Rachel Hardie Whangarei 28 April
Nelson: Chair, Annette Monti; Concert Manager, Clare Monti Motueka 30 April
Christchurch: Concert Manager, Jody Keehan
Christchurch 1 May
Dunedin: Chair, Terence Dennis; Concert Manager, Richard Dingwall
Southland: Chair, Rosie Beattie; Concert Manager, Jennifer Sinclair Wellington 5 May
DUO COL LEGNO
Regional Presenters
Gore 12 May
Marlborough Music Society Inc (Blenheim), Christopher's Classics
(Christchurch), Cromwell & Districts Community Arts Council, Wanaka 14 May
Geraldine Academy of Performance & Arts, Musica Viva Gisborne, Oamaru 15 May
Music Society Eastern Southland (Gore) Arts Far North (Kaitaia),
Whanganui 18 May
Aroha Music Society (Kerikeri), Chamber Music Hutt Valley,
Motueka Music Group, Oamaru Opera House, Gisborne 21 May
South Waikato Music Society (Putaruru), Kerikeri 23 May
Waimakariri Community Arts Council (Rangiora),
Warkworth 25 May
Rotorua Music Federation, Taihape Music Group,
Tauranga Musica Inc, Te Awamutu Music Federation, Tauranga 26 May
Upper Hutt Music Society, Waikanae Music Society, Rotorua 27 May
Wanaka Concert Society Inc, Chamber Music Wanganui,
Warkworth Music Society, Wellington Chamber Music Trust,
Whakatane Music Society, Whangarei Music Society.
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Key Funding Partners CMNZ recognizes the following funders who generously support our work.
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New Plymouth District CouncilLevel 4, 75 Ghuznee Street PO Box 6238, Wellington 0800 CONCERT (266 2378) info@chambermusic.co.nz www.chambermusic.co.nz
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