Young Mannheim Symphonists National Online Winter Academy 6 - 7 July 2020 Handbook - Directors Rachael Beesley & Nicole van Bruggen - Squarespace
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Young Mannheim Symphonists
Directors Rachael Beesley & Nicole van Bruggen
National Online Winter Academy
6 – 7 July 2020
Handbook
Welcome to the Young Mannheim Symphonists National Online Winter Academy and best wishes to you all for a wonderful time exploring a fresh new historically informed perspective. Contents Zoom Meeting Details .................................................................................... 2 National Online Winter Academy Schedule ................................................... 3 Historically-Informed Performance and the Young Mannheim Symphonists .. 4 Why Mannheim? ......................................................................................... 4 Who Are We? ............................................................................................. 4 What is HIP?............................................................................................... 4 Style ........................................................................................................... 5 Instruments ................................................................................................. 5 What can this teach us about playing in the 21st century?.......................... 6 Leading & Following ................................................................................... 6 Research .................................................................................................... 6 Guest Speakers ............................................................................................. 7 Dr Mario Dobernig ...................................................................................... 7 Anthea Cottee............................................................................................. 8 Professor Neal Peres Da Costa .................................................................. 9 YMS 2020 Faculty ....................................................................................... 10 Australian Romantic & Classical Orchestra LIVE on Friday 10 July ............. 10 Acknowledgements...................................................................................... 12 Zoom Meeting Details Monday 6 July & Tuesday 7 July 2020 9:30am-3.00pm Register in advance for this meeting: https://us02web.zoom.us/meeting/register/tZIkdemvrTwpHNL5KFmYldv3JEDiYO63 PZRr After registering, you will receive a confirmation email containing information about joining the meeting.
National Online Winter Academy Schedule
MONDAY 9:30 Welcome & Introduction with Rachael Beesley & Nicole van
Bruggen
10:00 Presentation ‘The Classical Symphony’ by Dr Mario Dobernig
11:00 MORNING TEA (recommendation: Apfelstrudel)
11:30 Q&A Session with Mario
12:00 Historical Instrument Demonstrations by Nicole van Bruggen
(clarinet), Jackie Newcomb (bassoon) & Anneke Scott (horn)
12:30 LUNCH (recommendation: Salonbeuschel mit dumplings)
13:15 Historical Instrument Demonstrations by Katie Yap (viola), Daniel
Yeadon (violoncello) & Rob Nairn (double bass)
13:45 Presentation ‘Skills for Positive Performance’ by Anthea Cottee
14:45 Q&A Session with Anthea
15:00 End
TUESDAY 9:30 Welcome & Introduction with Rachael Beesley & Nicole van
Bruggen
10:00 Presentation ‘19th Century Performance Practice’ by Dr Neal
Peres da Costa
11:00 MORNING TEA (recommendation: Sachertorte)
11:30 Q&A Session with Neal
12:00 Historical Instrument Demonstrations by Peter Clark (violin),
Stephen Robinson (oboe) &, Sally Walker (flute)
12:30 LUNCH (recommendation: Wiener schnitzel mit sauerkraut)
13:15 Historical Instrument Demonstrations by Susan Williams
(trumpet), Nigel Crocker (trombone) & Guy du Blet (timpani)
13:45 Presentation ‘Comparing & Discussing Interpretations’ by Dr
Mario Dobernig
14:45 Q&A Session with Mario
15:00 EndHistorically-Informed Performance and the Young Mannheim Symphonists Why Mannheim? In the south west of Germany on the Rhine River is the city of Mannheim. In the mid-1700s it was one of the main cultural centres of Europe – a wealthy and peaceful place where art, science, philosophy and music converged. It was the time when the Classical-era symphony became established due to the work of composers such as Franz Richter, Johann Stamitz and others. A young Mozart was often seen there, as were the poets and playwrights Johann Wolfgang Goethe and Voltaire. The musicians of the Mannheim Court orchestra were talented and precise, and could handle each new compositional technique that the composers threw at them. The Mannheim Rocket is an ascending arpeggio that travelled skyward from the basses to the upper strings, and listeners were stunned to hear the whole orchestra shift dynamics as a unit in the Mannheim Crescendo or Diminuendo. The Mannheim Roller is an exciting crescendo effect together with a rising melodic line over a repeated bass line, and the Mannheim Birds – well you get the idea... The Young Mannheim Symphonists is so named as a tribute to this rich period in music history – a time when musicians and composers were considered the cornerstones of culture, and performing music was an unquestioned part of everyday life, education and wellbeing. Who Are We? The Young Mannheim Symphonists is directed Rachael Beesley and Nicole van Bruggen – Co-Artistic Directors of the Australian Romantic & Classical Orchestra and together with our musicians from the orchestra, we are always adding to our capacity to provide a fascinating and enlightening educational resource. We believe that the best way to deepen the appreciation, understanding and experience of Classical and Romantic repertoire in Australia is to share our knowledge and passion in a way which is inspiring and empowering, as well as challenging and completely relevant to contemporary music-making. What is HIP? Australian Romantic & Classical Orchestra specialises in what is known as historically-informed performance, or HIP. This is a way of playing that grew from the Early Music movement in the middle of the 20th-century in Europe, where music of the past was interpreted and played on instruments and in a style
designed to more closely resemble the sound of when it was written. HIP is a broadening of this approach, and includes interpreting and performing music written right up to the beginning of the 20th century and is based on research into the aesthetics of the period in which the music was conceived and performed, including locating expressive markings and annotations in original scores and treatises, comparing these to some of the earliest recordings of Classical and Romantic repertoire, and identifying supporting evidence in the parallel disciplines of literature, theatre and the arts. Style Understanding changes in performance styles encourages us to investigate how things might have sounded in the 18th- and 19th-centuries. Secondary sources, including reviews, articles, textbooks, or letters written by the composers, are a great resource if approached with an understanding of language and context of the time, while early recordings provide greater evidence of the use of expressive techniques. Examining scores, particularly surviving sketches and revisions, also gives the modern player clues about what was notated, as opposed to what the musician was expected to already know. In general terms, historically-informed performance will involve greater degrees of rhythmic freedom and variation of tempo within a section or movement – this does not mean playing out of time, but allowing things to ebb and flow in a more rhetorical way. Musicians may ornament and embellish phrases more than in the modern orchestra, and in some situations a soloist may improvise more than would be usual in mainstream classical music. Instruments Many instruments from the Classical and Romantic period have survived, and are either in museums or still being played. Instrument makers around the world are producing accurate replicas by taking avail of advanced measuring tools combined with authentic manufacturing techniques and materials. Learning how to play these earlier versions of the instruments we know well today, gives the player direct insight as to how things may have sounded at the time. With gut strings, different bows, fewer keys, no valves, and smaller bore sizes – the timbre of all instrumental voices is more slender, and there are more idiosyncrasies to the sounds. The modern instrument is designed to be homogenous and even across all registers, whereas the earlier models had built-in quirks and areas creating more prosody in the sound.
What can this teach us about playing in the 21st century? During YMS programs, you are not required to have an instrument dating from the time or a replica – known collectively as period instruments. With a bit of practise and know-how, a modern instrument can also be played in a historically-informed way. This might involve articulating differently, changing phrasing and sustain, and – most importantly – opening your ears to new blends of sounds across the orchestra as a whole. Playing in a historically-informed way is not a rejection of modern orchestral playing, but rather a way of increasing your skills and choices as a musician. For example, an accomplished actor understands the importance of studying the language, phrases and stories of Shakespeare, knowing that these contain universal themes still relevant today. Today’s music across all genres has sprouted and grown in some way from music of the past. The more we can connect the dots between different periods, the more flexible and nuanced our modern interpretations will be, regardless of which style we specialise in. Many professional musicians around the world do specialise in historically-informed performance, yet this does not mean they are closed to other styles or ideas. Some will also play on modern instruments in the large orchestras, record film scores, work with electronics, or be members of contemporary art music ensembles. Leading & Following One of the most immediate and obvious differences in being part of a HIP orchestra, is that if there is a conductor at all, they may also be playing as well as leading. This means that each member of the group takes on a greater responsibility for ensuring the direction and ensemble is united. In a section of similar instruments, each person leads, and each follows. A cooperative and collaborative approach to music making ensures that everyone’s musical opinion is important and is heard. Music is a language and we can learn to communicate and understand the rhetorical gestures present in this style of music. Research We will present seminars about the history of the symphony, performance styles and performance psychology, and will be showing instrument demonstrations from principal musicians from ARCO. Listen, take notes, and ask questions – this is the opportunity to give your music making some context and background. Research into historical playing techniques inevitably involves more than checking Wikipedia or Google – you will be encouraged to think about what new connections can be established between music, visual art, literature, science, language and other happenings of the day.
Guest Speakers Dr Mario Dobernig On a global quest to make a musical difference, innovator Mario Dobernig is fast emerging as one of the most inspiring conductors of his generation. Whether it be on the classical concert platform or the unconventional wonderland of electronic dance music his energy and passion for music is infectious. Mario is Artistic Director and Conductor in Chief for the Art of Sound Orchestra and Victoria Chorale and has conducted among others the Qatar Philharmonic Orchestra, Kapfenberger Symphoniker, Orchestra Capella Calliope and at prestigious venues in Europe, the Middle East, China and Australia. His discography includes online releases for ABC Classics and he has been a featured guest on various radio programs around the globe. He was awarded his PhD in 2014 and also holds multiple Master and Bachelor Degrees. Mario has produced a number of highly successful festivals in many cities and countries (Australia, Austria, China, Germany, Italy, Finland) and also organises unique cultural exchange tours for music and cultural groups between Australia and his other native Austria. Mario is very much looking forward to these two days of musical discovery, enjoyment and fun with his young colleagues at the Australian Romantic & Classical Orchestra’s Young Mannheim Symphonists.
Anthea Cottee
Anthea began her musical life as a violinist and viola player, and then commenced
her studies with Janis Laurs at the University of Adelaide. She then studied in
London at the Guildhall School of Music and Drama with Stefan Popov on modern
cello, and Anthony Pleeth on baroque and classical cello.
Anthea regularly performs on a
variety of instruments from
modern, baroque and classical
cello to other instruments including
the viola da gamba and basse de
violon. She enjoys the challenges
of exploring these different
instruments, and the changes of
nuance and colour they bring to
the music. She has appeared as a
soloist on both baroque cello and
gamba for the Australian
Brandenburg Orchestra, where
she has been a regular member
since 1998, and has performed as
principal cellist for Sydney
Philharmonia, Opera Australia,
Australian Haydn Ensemble, and
Orchestra of the Antipodes for
Pinchgut Opera, and the Hobart and Brisbane Baroque Festivals. In addition to her
work in Baroque and Classical performance, Anthea toured with Circa for their
acclaimed program ‘Il Ritorno’, and also premiered ‘Gouttes d’un sang etranger’ for
Viola da Gamba and Saxophone by Felicity Wilcox as part of the Vivid Festival.
In addition to her playing career, Anthea completed a degree with honours in
Psychology at the University of Sydney, adapting and researching the Mindfulness
Acceptance Commitment Approach for young musicians. She is currently a
provisionally registered psychologist, training in a variety of settings including
Headspace and Northside Hospital, and is currently working with Veretis
Psychology (formally Insight Elite Performance Psychology).Professor Neal Peres Da Costa DipEarlyMus Guildhall MMus City Uni London PhD Leeds BMus (Hons) Associate Dean Research Professor of Historical Performance A graduate of the University of Sydney, the Guildhall School of Music and Drama (London), the City University (London) and the University of Leeds (UK), Neal Peres Da Costa is a world-renowned performing scholar and educator. He is Professor of Historical Performance within the Historical Performance Division (which he founded and of which he was Chair from 2006-2016) and Program Leader of Postgraduate Research at the Sydney Conservatorium of Music. His monograph Off the Record: Performing Practices in Romantic Piano Playing (New York: Oxford University Press, 2012) is hailed as a book that ‘no serious pianist should be without’ (Limelight, 2012) and honoured as ‘a notable book’ on Alex Ross’s 2012 Apex List. In 2012, it was the subject of a five-part series broadcast by ABC Classic FM during the Sydney International Piano Competition and an interview with Christopher Lawrence for the ABC Classic FM Music Makers programme. During 2015-16 Neal was a chief editor (with Clive Brown and Kate Bennett Wadsworth for the new Bärenreiter Urtext performing edition of the complete Brahms chamber works for one solo instrument and piano) which has received critical acclaim. Bärenreiter have commissioned Neal (with Clive Brown) to produce editions of the Beethoven and Eberl Sonatas for violin and piano. Neal has recently received prestigious Australian Research Council (ARC) funding for a three-year Discovery Project (2017-19) for performance research in 19th-century piano playing.
YMS 2020 Faculty
Rachael Beesley Strings / Director Sally Walker Flute
Nicole van Bruggen Woodwind / Stephen Robinson Oboe
Director Jackie Newcomb Bassoon
Peter Clark Violin Graham Nichols Horn
Jessica Oddie Violin Roman Ponomariov Horn
Deidre Dowling Viola Anneke Scott Horn
Simon Oswell Viola Richard Fomison Trumpet
Katie Yap Viola Leanne Sullivan Trumpet
James Bush Violoncello Louisa Trewartha Trumpet
Dan Curro Violoncello Susan Williams Trumpet
Dr Daniel Yeadon Violoncello Nigel Crocker Trombone
Rob Nairn Double Bass Guy du Blêt Timpani
Dr Emma Sullivan Double Bass Brian Nixon Timpani
Chloe Ann Williamson Double Bass Scott Weatherson Timpani
Australian Romantic & Classical Orchestra LIVE on Friday 10 July
Melbourne Digital Concert Hall
Friday 10 July 2020 | 8.30pm (AEST)
Live-streamed
Ticket price: $20.00
plus a $4.00 charge for Credit Card Fees, Streaming costs etc
Cavatina is a charming and impassioned program for strings from the Mannheim
Court and the Classical and early Romantic eras with works by Mozart, Richter,
Rossini and the young Mendelssohn. Beethoven’s lyrical Cavatina is at the heart of
the program performed on period instruments by principal musicians of the
Australian Romantic & Classical Orchestra.
"When I think of the Cavatina, it still brings a tear to my eye.” – Beethoven
BOOK NOWARTISTS PROGRAM
Australian Romantic & Wolfgang Amadeus Mozart (1756-
Classical Orchestra 1791)
Rachael Beesley | Violin Divertimento in F Major KV.138
Anna McMichael | Violin Franz Xaver Richter (1709-1789)
Simon Oswell | Viola Sinfonia à Quattro in B-flat Major
Katie Yap | Viola Ludwig van Beethoven (1770-1827)
Natasha Kraemer | Cello Cavatina from String Quartet No.13 in
Emma Sullivan | Double Bass E-flat Major op.130
Gioachino Rossini (1792-1868)
String Sonata No. 1 in G major
Felix Mendelssohn (1809-1847)
Sinfonia No. 10 in B minor
Once you have purchased your tickets from Melbourne Digital Concert Hall, you will
receive the following instructions on how to attend:
1. Go to watch.melbournedigitalconcerthall.com
2. Log In to your account in the top right corner
3. Click on the My Tickets icon next to Login/Logout
All your concert tickets will be there with a countdown. Click watch when it is
concert time.Acknowledgements Australian Romantic & Classical Australian Romantic & Classical Orchestra is supported through the Orchestra’s 2020 Concert Season is COVID-19 pandemic by the City of supported by the NSW Government Sydney’s Cultural Resilience Fund through Create NSW Principal Sponsors Paul Salteri AM & Sandra Salteri The Co-Artistic Directors’ Patrons Principal Cello Chair Patrons Robert Albert AO & Elizabeth Albert Kim Williams & Catherine Dovey Roxane Clayton Ian Dickson & Reg Holloway Principal Double Bass Chair Patron Martin & Susie Dickson Mary Vallentine AO Humanity Foundation & Talya Masel H G McGregor Principal Clarinet Chair Patron Skyblue Australia Professor Richard Kefford AM Anonymous We would also like to acknowledge our annual donors to the Australian Romantic & Classical Orchestra and the Richard Gill Memorial Fund, details of which can be found on our website.
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