vivaldi's four seasons - brandenburg.com.au...composers telemann and vivaldi who are going to...

VIVALDI'S FOUR SEASONS 1

2019

SYDNEY

City Recital Hall Friday 1 November 7:00PM Saturday 2 November 2:00PM (Matinee) Saturday 2 November 7:00PM Wednesday 6 November 7:00PM Wednesday 13 November 7:00PM Friday 15 November 7:00PM

Parramatta (Riverside Theatres)Monday 4 November 7:00pm

MELBOURNE Melbourne Recital Centre Saturday 9 November 7:00PM Sunday 10 November 5:00PM

Paul Dyer AO Artistic Director Australian Brandenburg Orchestra

PROGRAM

Telemann Concerto for 4 Violins in G major, TWV 40:201 Directed by Matthew Bruce, Baroque violin

Telemann Ouverture-Suite in C major, Water Music, TWV 55:C3 Directed by Ben Dollman, Baroque violin i Ouverture ii Sarabande. Die schlafende Thetis (The sleeping Thetis) iii Bourée. Die erwachende Thetis (Thetis awakening) iv Loure. Der verliebte Neptunus (Neptune in love) v Gavotte. Die spielenden Najaden (Playing Naiads) vi Harlequinade. Der scherzenden Tritonen (The joking Triton) vii Der stürmende Aeolus (The stormy Aeolus) viii Menuet. Der angenehme Zephir (The pleasant Zephir) ix Gigue. Ebbe und Fluth (Ebb and Flow) x Canarie. Die lustigen Bots Leute (The merry Boat People)

Interval

Vivaldi Le Quattro Stagioni (The Four Seasons), Op. 8 No. 1-4 Solo Baroque violin, Shaun Lee-Chen Concerto No. 1 La primavera (Spring), RV 269 i Allegro ii Largo iii Allegro

Concerto No. 2 L’estate (Summer), RV 315 i Allegro non molto–Allegro ii Adagio–Presto–Adagio iii Presto

Concerto No. 3 L’autunno (Autumn), RV 293 i Allegro ii Adagio molto iii Allegro

Concerto No. 4 L’inverno (Winter), RV 297 i Allegro non molto ii Largo iii Allegro

CHAIRMAN’S 11

Proudly supporting our guest artists. Concert duration approximately 100 minutes, including one 20 min interval.Please note concert duration is approximate only and is subject to change. We kindly request that you switch off all electronic devices prior to the performance.

Vivaldi's Four Seasons

FEBRUARY — MARCH

Visit Vivaldi’s Venice with extraordinary French harpist Xavier de Maistre in a performance shimmering with light and colour.

PROGRAM HIGHLIGHTSVivaldi Concerto for harp (lute) in D major, RV 93 Marcello Concerto for harp (oboe) in D minor, S D935 Vivaldi L’inverno, Concerto for harp (violin) in F minor, RV 297

Vivaldi’s Venice

The rich musical tradition of Notre-Dame told in a theatrical concert experience entwining music for orchestra and choir with spoken word and song.

SEPTEMBER

Notre- Dame

PROGRAMFeaturing music by French composers Campra, Lully, Rameau, Rebel and more.

APRIL — MAY

Mozart’s bright and achingly beautiful basset clarinet concerto performed on the rare and richly voiced instrument of the period.

PROGRAM HIGHLIGHTSMozart Concerto for oboe in C major, K 314 W.F. Bach Adagio e Fuga, F 65 Mozart Concerto for basset clarinet in A major, K 622

Mozart’s Clarinet

The mesmerising Whirling Dervishes are steeped in mystique and will return from Turkey to dazzle in Paul Dyer’s musical meditation.

PROGRAMA pasticcio featuring Allegri, Boccherini, Lully, Marais, Telemann, and traditional music from Turkey.

OCTOBER — NOVEMBER

Ottoman Baroque

Season 2020 The brilliant colours of Baroque

JULY

Thrilling German Baroque violinist Jonas Zschenderlein joins Brandenburg string soloists to perform concertos, sonatas and a suite by Bach.

PROGRAM HIGHLIGHTSBach Concerto for violin in E major, BWV 1042 Bach Concerto for three violins in D major, BWV 1064R Bach Orchestral Suite No. 3 in D major, BWV 1068

Bach’s Violin

Gather your family and friends together this Christmas and spend a joyous evening sharing rare carols, medieval hymns and a cheeky musical surprise.

PROGRAMFilled with timeless carols including O Come All Ye Faithful, Stille Nacht and many musical surprises.

DECEMBER

Noël! Noël!

SHAUN LEE-CHEN CONCERTMASTER

Call 1300 782 856 or visit brandenburg.com.au/season2020

ADULT SUBSCRIPTION PACKAGES START FROM $181JOIN THE BRANDENBURG FAMILY TODAY

4 AUSTRALIAN BRANDENBURG ORCHESTRA VIVALDI'S FOUR SEASONS 5

On behalf of Macquarie Group, it is my great pleasure to welcome you to the Australian Brandenburg Orchestra’s fifth concert series of 2019 – Vivaldi’s Four Seasons.

Imagination & ConnectionFrom our Principal Partner: Macquarie Group

As one of Vivaldi’s most legendary works, The Four Seasons paints a series of vivid and dynamic impressions of nature to its audiences; celebrating the timeless power of music, which inspires and connects across generations. We are delighted to witness Brandenburg Concertmaster and Baroque violin soloist, Shaun Lee-Chen in his bold and imaginative vision of Vivaldi’s music.

This year is Macquarie Group’s twelfth year as the Brandenburg’s Principal Partner and what makes this relationship so rewarding is our shared vision of infinite possibilities and commitment to the highest standards, underpinned by specialist skills and experience.

We congratulate the talented and charismatic Artistic Director Paul Dyer on once again programming a dynamic and exciting series.

Sean West Head of Macquarie Wealth Management

Tonight we’ll summon the timeless power of the sea and seasons onto the Brandenburg stage.

Paul DyerFrom the Co-Founder & Artistic Director

As I write this message, Hurricane Dorian, the strongest storm ever to hit the Bahamas, has killed at least five people, pulverized 13,000 houses and left countless residents homeless. Now it is on its course to hit Florida. Nature and its extremes.

Vivaldi’s musical poetry of The Four Seasons was revolutionary. His amazing gift to transform sounds to describe natural phenomena is both powerful to listen to and truly exciting to play. For the solo violinist it requires virtuosity, brilliance and daring. The Baroque violin soloist tonight is Shaun Lee-Chen - the perfect artist for this piece.

It is a privilege to bring Baroque music to millions of Australians with my team at the Brandenburg. Enjoy the concert!

Paul Dyer AO Co-Founder & Artistic Director Australian Brandenburg Orchestra

I’m not sure what it was that made me gravitate to Baroque music as a teenager. I know I always held a curiosity for ancient things, civilizations, languages and architecture. Maybe it is the music’s complexity, its intellectual stimulus alongside its warmth, richness, drama, vitality, movement, tension, emotional exuberance and so on.

Baroque music forms a major portion of the Classical music canon; it is widely studied, performed and listened to. Tonight, it is the composers Telemann and Vivaldi who are going to ooze from the Brandenburg stage.

Both men devoted much of their lives to writing sacred music, but their compositions in tonight's program engage in a wonderful vision of daily experiences. For Telemann, it was the ebb and flow of the tide in his Water Music and for Vivaldi, it was his visions of the yearly cycle of seasons.

When I was programming this series, I had in mind that I was on a skateboard steering at my own pace through the beautiful movements of the program. The music is dynamic, playful, light, mysterious, poetic and luminous. Both composers had a unique gift to create strong emotions, feelings and descriptions of the romantic sonorities of the Baroque. The Water Music of Telemann is perfectly designed with rhythmic momentum, imagination, humour and melodic flow whilst the Vivaldi is a miracle of sweeping tension, energy, deep emotions and descriptions of the environment and its seasons.


APA Group is proud to support the Australian Brandenburg Orchestra as 30th Anniversary Presenting Partner of Vivaldi’s Four Seasons. We are delighted to welcome you to this performance.

Connecting Australia to Baroque MusicFrom our 30th Anniversary Presenting Partner: APA Group

This year, APA celebrates the Brandenburg’s 30th Anniversary and our 18-year relationship asone of the Orchestra’s longest corporate sponsors.

Our partnership began in 2001, the year after we started as a business. Since then, both organisations have grown, through vision and commitment, from humble beginnings to national importance.

While we have worked tirelessly to connect energy sources across Australia, enabling regional and national growth, season after season the Brandenburg breathes fresh life into music, infusing it with dynamism and brilliance.

APA Group is one of Australia’s leading energy infrastructure businesses, and through sponsorship of the Brandenburg, we value the opportunity to bring Baroque music to audiences in the metropolitan and regional communities where we operate.

It is a significant privilege to be part of the Australian Brandenburg Orchestra’s journey. We wish you a joyful evening and hope you enjoy the concert.

Rob Wheals APA Group Managing Director and CEO

Shaun Lee-Chen is an internationally celebrated performer with a special interest in historical performance and 19th-century violin pedagogy.

Shaun Lee-ChenBiography

In addition to his role of Concertmaster at the Brandenburg, he holds the position of Artist in Residence at the UWA Conservatorium of Music.

Shaun was the most outstanding student to complete a Bachelor of Music at UWA and the recipient of numerous prizes upon graduation. He was a student of Paul Wright, who himself held the position of Concertmaster for the Australian Brandenburg Orchestra in its formative years.

In 2007 he was the winner of the prestigious ABC Young Performer of the Year Award. Shaun is at home on both modern and period instruments and has appeared as soloist with the West Australian Symphony Orchestra (WASO), Queensland Orchestra and Tasmanian Symphony Orchestra (TSO). Shaun is the featured soloist in the Brandenburg’s ARIA Nominated “Brandenburg Celebrates” album from 2015.

He has been guest Assistant and Associate Concertmaster with the Sydney Symphony Orchestra, the TSO and WASO, and in 2016 was appointed as Concertmaster of the Australian Brandenburg Orchestra.

Shaun is a founding member of the Irwin Street Collective, a period chamber ensemble based in Western Australia.


Paul Dyer is one of Australia’s leading specialists in period performance.

Paul DyerBiography

Australian Brandenburg Orchestra and Choir, including the 1998, 2001, 2005, 2009 and 2010 ARIA Awards for Best Classical Album.

Paul has performed with many international soloists including Andreas Scholl, Cyndia Sieden, Marc Destrubé, Christoph Prégardien, Hidemi Suzuki, Manfredo Kraemer, Andrew Manze, Yvonne Kenny, Emma Kirkby, Philippe Jaroussky and many others. In 1998 he made his debut in Tokyo with countertenor Derek Lee Ragin, leading an ensemble of Brandenburg soloists, and in August 2001 Paul toured the orchestra to Europe with guest soloist Andreas Scholl. In 2015, he was featured on the soundtrack of the James Bond 007 movie, Spectre.

A passionate cook, entertainer, foodie, teacher, swimmer and traveller, he is friends with people and artists from Istanbul to India and Japan to Italy, and creates a unique platform for overseas performing artists to work with him and the Brandenburg in Australia.

Among his list of achievements, Paul was awarded the Officer of the Order of Australia (AO) in 2013 for his ‘distinguished service to the performing arts in Australia’. Paul is Patron of St Gabriel’s School for Hearing Impaired Children. In 2003 Paul was awarded the Australian Centenary Medal for his services to Australian society and the advancement of music, and in 2010 Paul was awarded the Sydney University Alumni Medal for Professional Achievement.

Paul co-founded the Brandenburg in 1989 after completing postgraduate studies at the Royal Conservatorium in The Hague, and has been Artistic Director and conductor since that time. He is a performing artist comfortable in his unique music arena – whether working in ancient music, contemporary music, opera, with artists such as circus performers, contemporary dance, or visual art. His busy performing schedule in Europe, Asia, the USA and Canada over the years has synchronised perfectly alongside his bold stage work in Australia.

Paul is an inspiring teacher and has been a staff member at various conservatories throughout the world. In 1995 he received a Churchill Fellowship and he has won numerous international and national awards for his CD recordings with the

Shaun Lee-Chen (Perth) Baroque violin Paul Dyer AO Artistic Director, ConductorAustralian Brandenburg Orchestra

Musicians

Australian Brandenburg Orchestra

BAROQUE VIOLIN

Matt Bruce* (Sydney) Associate Concertmaster Ben Dollman* (Adelaide) James Armstrong+ (Sydney) Aaron Brown (Brisbane) Rafael Font (Sydney) Matthew Greco (Sydney) Natalia Harvey (Melbourne) Shane Lestideau (Melbourne) Anna McMichael (Sydney) Bianca Porcheddu1 (Canberra) Catherine Shugg (Melbourne) Emma Williams (Amsterdam)

BAROQUE VIOLA

Monique O’Dea2 (Sydney) Marianne Yeomans (Sydney) Christian Read (Melbourne) Katherine Yap (Melbourne)

BAROQUE CELLO

Jamie Hey* (Melbourne) Anthea Cottee (Sydney) Rosemary Quinn (Sydney) Dan Curro (Brisbane)

BAROQUE BASS

Rob Nairn*3 (Adelaide)

BAROQUE OBOE

Shai Kribus (Switzerland) Kirsten Barry* (Melbourne)

BAROQUE BASSOON

Lisa Golberg (Belgium)

RECORDER

Melissa Farrow* (Sydney) Mikaela Oberg (Sydney)

THEORBO

Tommie Andersson* (Sydney) Nicholas Pollock (Melbourne)

HARPISCHORD

Paul Dyer^ (Sydney) Joanna Butler^ (Sydney)

Orchestra

* Denotes Brandenburg Core Musician+ Member of the Brandenburg Young Mentorship Program^ 2 November 7:00pm concert will be performed by Joanna Butler in place of Paul Dyer1 Bianca Porcheddu appears courtesy of Gold Creek Senior School, an International Baccalaureate World School, Canberra (Staff)2 Monique O’Dea appears courtesy of Presbyterian Ladies’ College, Sydney (staff)3 Rob Nairn appears courtesy of The Conservatorium of Melbourne (staff)

Melissa Farrow’s descant recorder courtesy of Consort 8Harpsichord preparation by Joanna Butler in Sydney & Melbourne.


Comprising leading specialists in informed performance practice from all over Australia, the Brandenburg performs using original edition scores and instruments of the period, breathing fresh life and vitality into Baroque and classical masterpieces – as though the music has just sprung from the composer’s pen.

The Orchestra’s name pays tribute to the Brandenburg Concertos of J.S. Bach, whose musical genius was central to the Baroque area. Celebrating their 30th Anniversary in 2019, the Brandenburg continues to deliver exhilarating performances.

The Brandenburg has collaborated with such acclaimed and dynamic virtuosi as Andreas Scholl, Philippe Jaroussky, Kristian Bezuidenhout, Emma Kirkby, Andreas Staier, Elizabeth Wallfisch, Genevieve Lacey, Andrew Manze and more.

Through its annual subscription series in Sydney and Melbourne, the Australian Brandenburg Orchestra performs before a live audience in excess of 58,000 people, and hundreds of thousands more through national broadcasts on ABC Classic FM. The Orchestra also has a regular commitment to performing in regional Australia. Since 2003 the Australian Brandenburg Orchestra has been a member of the Major Performing Arts Group, which comprises 28 flagship national arts organisations

supported by the Australia Council for the Arts. The Orchestra began regular touring to Queensland in 2015.

Since its beginning, the Brandenburg has been popular with both audiences and critics. In 1998 The Age proclaimed the Brandenburg “had reached the ranks of the world’s best period instrument orchestras”. In 2010 the UK’s Gramophone Magazine declared “the Australian Brandenburg Orchestra is Australia’s finest period-instrument ensemble. Under their inspiring musical director Paul Dyer, their vibrant concerts and recordings combine historical integrity with electrifying virtuosity and a passion for beauty”.

The Australian proclaimed that “a concert with the Australian Brandenburg Orchestra is like stepping back in time, as the sounds of period instruments resurrect Baroque and classical works with reverence and authority”.

The Brandenburg’s 20 recordings with ABC Classics include five ARIA Award winners for Best Classical Album (1998, 2001, 2005, 2009 and 2010). In 2015 the Australian Brandenburg Orchestra was the recipient of the Sidney Myer Performing Arts Group Award and in 2016 the Helpmann Award for Best Chamber Concert.

Discover more at brandenburg.com.au

Biography

The Australian Brandenburg Orchestra, led by charismatic Artistic Director Paul Dyer, celebrates the music of the sixteenth, seventeenth and eighteenth centuries with excellence, flair and joy.


“ ...what stands out at concert after concert is the impression that this bunch of musicians is having a really good time. They look at each other and smile and laugh... there’s a warmth and sense of fun not often associated with classical performance.” SYDNEY MORNING HERALD

Musicians


PAUL DYERHarpsichord

SHAUN LEE-CHENBaroque Violin

MATT BRUCEBaroque Violin

BEN DOLLMANBaroque Violin

AARON BROWNBaroque Violin

JAMES ARMSTRONGBaroque Violin

RAFAEL FONTBaroque Violin

CATHERINE SHUGGBaroque Violin

MARIANNE YEOMANSBaroque Viola

MATTHEW GRECOBaroque Violin

NATALIA HARVEYBaroque Violin

EMMA WILLIAMSBaroque Violin

SHANE LESTIDEAUBaroque Violin

ANNA McMICHAELBaroque Violin

BIANCA PORCHEDDUBaroque Violin

MONIQUE O’DEABaroque Viola


Musicians


ANTHEA COTTEEBaroque Cello

ROSEMARY QUINNBaroque Cello

DAN CURROBaroque Cello

ROB NAIRNBaroque Bass

LISA GOLBERGBaroque Bassoon

MELISSA FARROWRecorder

MIKAELA OBERGRecorder

TOMMIE ANDERSSONTheorbo

NICHOLAS POLLOCKTheorbo

JOANNA BUTLERHarpsichord

KRISTEN BARRYBaroque Oboe

JAMIE HEYBaroque Cello

CHRISTIAN READBaroque Viola

KATHERINE YAPBaroque Viola

Program Notes


Georg Philipp Telemann (1681–1767)

CONCERTO FOR 4 VIOLINS IN G MAJOR, TWV 40:201

Largo e staccato Allegro Adagio Vivace

Directed by Matt Bruce Associate Concertmaster, Baroque violin

In the first half of the eighteenth-century, Telemann was considered to be the leading German composer, ahead of his friends Handel and J.S. Bach. He was amazingly prolific, producing literally thousands of chamber works and works for the church and theatre, including around thirty operas, hundreds of church cantatas, as well as a new oratorio every Easter for over forty years.

Telemann was a child prodigy: he had some singing lessons and learnt the organ for two weeks, then taught himself to play the violin, recorder, and zither. He composed his first opera at the age of twelve, after teaching himself the rules of musical composition. His widowed mother was afraid that he would end up as a musician, so she discouraged his musical activities and took away his instruments, but Telemann continued to compose and practise in secret. When he was twenty he left his home town of Magdeburg in northern Germany and moved to Leipzig to study law. There his musical talents were soon recognised and just one year later he was already composing regularly for the main city churches, had set up a forty-member student orchestra which gave public concerts, and was musical director of the Leipzig opera house.

As a young man Telemann worked as music director at noble courts in Germany and Poland, and also as city director of music in Frankfurt. From 1721 until the end of his life, he was director of music with responsibility for the five main churches in Hamburg, one of the top jobs in the German-speaking musical world.

Telemann’s employers were mostly civic, not aristocratic, so he was largely free to compose as he liked, in whatever style he wished. Writing primarily for public concerts, he intentionally set out to compose works of simplicity and ‘lightness’ (his word) which would appeal to audiences with varying levels of musical sophistication and could be played by both amateur and professional musicians. Telemann continued to compose well into his eighties and developed a distinctive style which he described as combining French ‘liveliness, melody, and harmony, the Italian flattery, invention, and strange passages; and the British and Polish jesting in a mixture filled with sweetness’.

Telemann received a bad press from German music critics in the nineteenth century, an impression that lingered well into the twentieth. What had made him so successful in his own time – the apparent ease with which he produced so many compositions (he is the most prolific composer in history according to The Guinness Book of World Records), the relative simplicity of some of his best-known music, and his assimilation of other musical styles – made him seem facile, trivial, and unoriginal in an age in which artists were supposed to wrestle with their art. It was only towards the end of the twentieth century that Telemann began to be recognised as an original and enormously creative musical mind. According to music historian George Buelow, ‘Telemann was a pathfinder in music… one of music history’s outstanding and gifted composers’.


Vivaldi's Four SeasonsProgram Notes

WHAT TO LISTEN FOR

Telemann began composing concertos when he worked for Duke Johann Wilhelm of Saxe-Eisenach, who maintained a particularly fine orchestra, according to Telemann. Concertos were then a relatively new musical genre which Telemann did not particularly take to. ‘…since change is always pleasant, I also began writing concertos. Yet I must say that deep in my heart I really did not care for them, even though I have written so many’. In fact, he wrote around one hundred and twenty-five, including twenty for solo violin.

This concerto is very unusual because it is for four solo violins, without the bass accompaniment commonly found in Baroque compositions. Telemann distributes the musical material equally across all four parts, so that they work all the time as an ensemble. He preferred the four-movement, slow-fast-slow-fast structure for his concertos, not the newer three-movement form of Vivaldi, and the concerto starts with a subdued first movement built on slow repeated notes. The second movement is a fugue where the theme is tossed between all four parts and then elaborated. After a short Adagio the last movement has the violins evoking the call of the hunting horns.

OUVERTURE-SUITE IN C MAJOR, WATER MUSIC TWV 55:C3

i Ouverture ii Sarabande. Die schlafende Thetis (Thetis asleep) iii Bourrée. Die erwachende Thetis (Thetis awake) iv Loure. Der verliebte Neptunus (amorous Neptune) v Gavotte. Die spielenden Najaden (playing Naiads) vi Harlequinade. Der scherzenden Tritonen (joking Triton) vii Der stürmende Aeolus (stormy Aeolus) viii Menuet. Der angenehme Zephir (pleasant Zephyr) ix Gigue. Ebbe und Fluth (ebb and flow) x Canarie. Die lustigen Bots Leute (merry boat-people)

Directed by Ben Dollman Principal Baroque violin

Telemann composed this suite for the centenary celebrations of the Hamburg Admiralty in 1723. It is also referred to as the Wasser Ouverture (Water Overture) or Hamburger Ebb’ und Flut (Hamburg Ebb' and Flow). Hamburg was a free city and sea power in its own right, and its Admiralty was responsible for all matters relating to sea trade including defence of the harbour and the protection of Hamburg’s merchant ships against pirates. Unlike Handel’s much more famous Water Music suite composed about the same time, Telemann’s was not written for a king but for thirty-seven bourgeois municipal dignitaries who gathered for a sumptuous banquet after a day of celebrations.

Program Notes


Telemann was responsible for popularising the French-style orchestral suite in Germany and composed approximately one hundred and twenty-five of them in a similar style to this one. He was interested in French music all his life: indeed the only time he ever left Germany was when he visited Paris for eight months in 1737-38. Both the Water Music and Vivaldi’s Four Seasons concertos are representational, intended to depict particular images, most often from nature, although another of Telemann’s suites describes the crash of the Paris stock market!

WHAT TO LISTEN FOR

As its title suggests, this suite celebrates the centrality of the sea, the River Elbe and the port in the life of the inhabitants of Hamburg. This also differentiates Telemann’s Water Music from Handel’s: Handel composed his to be played on water, not to be reminiscent of it.

The slow first section of a French ouverture is usually stately and majestic: here the undulating melody, extended notes in violins and oboes, and slow changes in harmony suggest ships slowly rocking on a calm sea. The sense of serenity changes in the fugal second section, where choppy waves and swells are depicted through fast repeated notes and rushing semi-quaver scales.

The following seven short movements are based on French theatrical dances typical of the period, named after Graeco-Roman deities who were connected in some way with water. The music reflects the character of each one and the emotions associated with them, both of which would have been familiar to an early eighteenth-century audience.

The first two of these movements are named after Thetis, a sea goddess and the mother of the Greek hero Achilles. She is firstly depicted sleeping by a sarabande, a solemn court dance, and is then awoken with a fast bourrée featuring recorders. A slow and ceremonious loure announces Neptune, king of the sea.

Naiads, spirits of water, springs, lakes, and rivers are recalled with a gavotte, which was a very popular dance at the court of the French king Louis XIV. The next movement is a harlequinade. A harlequin was a comic trickster, a stock character from Italian commedia dell’arte, who also featured in French theatre and ballet in this period. Triton, the son of Neptune and a mortal (and therefore half-man, half-fish), is given those traits here with boisterous, playful rhythms. Triton was able to command the waves by blowing on a conch shell, and its sound is represented with a low-voiced cello solo.

Aeolus was the Greek god of winds and storms, and the seventh movement is a tempest. Telemann depicts the gathering storm with a composed orchestral crescendo as the instruments enter one after another and the rhythms become faster and faster. Zephyr, the pleasant and mild west wind, follows in a calm, elegant menuet.

The final two dances see a return to the reality of daily life in Hamburg. A gigue represents the ebb and flow of the tides. Its composition is ingenious: in the first section a rise in pitch suggests the rising tide; this is reversed in the second half of the movement to suggest the tide receding. The suite ends with a canarie, a rustic sailors’ dance featuring drones and foot stomping jumps. The canarie was so called because it was an indigenous dance from the Canary Islands.


Program Notes Program Notes

Antonio Vivaldi (1678–1741)

LE QUATTRO STAGIONI (THE FOUR SEASONS), OP. 8

CONCERTO NO. 1 LA PRIMAVERA (SPRING), RV 269

CONCERTO NO. 2 L’ESTATE (SUMMER), RV 315

CONCERTO NO. 3 L’AUTUNNO (AUTUMN), RV 293

CONCERTO NO. 4 L’INVERNO (WINTER), RV 297

Directed by Shaun Lee-Chen Concertmaster and Baroque violin soloist in this piece

Pray do not be surprised if, among these few and feeble concertos, Your Most Illustrious Lordship finds the Four Seasons which have so long enjoyed the indulgence of Your Most Illustrious Lordship’s kind generosity, but believe that I have considered it fitting to print them because, while they may be the same, I have added to them, besides the sonnets, a very clear statement of all the things that unfold in them, so that I am sure that they will appear new to you. … Therefore, nothing remains for me but to beseech Your Most Illustrious Lordship to continue your most generous patronage and never deprive me of the honour of owning myself to be.

YOUR MOST ILLUSTRIOUS LORDSHIP’S MOST HUMBLE, MOST DEVOTED, MOST OBLIGED SERVANT ANTONIO VIVALDI

Dedication of the first publication of The Four Seasons

The Four Seasons concertos were published in 1725, but as is apparent from the dedication, Vivaldi had composed them some time earlier, probably around 1718–20. The publication is dedicated to Count von Morzin, a nobleman from Bohemia (now the Czech Republic) who bought many concertos from Vivaldi. It is not known if the concerts were originally composed for Count Morzin, who maintained his own excellent orchestra at his residence in Prague, or for someone else. The concertos were instantly popular, particularly in France: the first concerto, La Primavera (Spring), was played for Louis XV at Versailles, and it was the favourite showcase piece for the greatest French and Italian violinists of the time.

Vivaldi's Four Seasons Vivaldi's Four Seasons

Astonishing as it may seem today, interest in Vivaldi’s works died with him in 1741 and The Four Seasons concertos were forgotten until the Vivaldi revival in the early decades of the twentieth century. They are now among the most popular pieces of classical music in the world and well over four hundred recordings have been made of the concertos. Their popularity peaked towards the end of the 1980s when new recordings averaged nineteen a year.

Throughout the original manuscripts Vivaldi inserted occasional captions and directions to the players. These suggest what the concertos were intended to depict, but in the published version he went further by adding a sonnet at the beginning of each concerto. Vivaldi was known for driving a hard bargain and this was astute marketing: a dedication of a piece of music was given in return for the patron having paid for publication, and Morzin may have been reluctant to pay again for something which he already had.

WHAT TO LISTEN FOR

The sonnets were probably written by Vivaldi himself, and narrate the changing aspects of the seasons. Each one consists of three main ideas that are reflected by the three movements of each concerto. Vivaldi marked the scores to indicate which musical passages represent which verse, or in some places which line, of the sonnet. In the first movement of Summer, for example, the calls of the cuckoo, the turtledove and the finch are all captioned, as is the famous barking dog represented by the viola in the same movement. The events and sounds indicated in the captions are not always to be found in the sonnets, which has caused some commentators to speculate that Vivaldi did not write the music to illustrate the sonnets, but rather the other way around.

The concertos are a tour de force in the composition of representational music, that is, music which depicts scenes or sounds, most often those found in nature (known also as ‘programme music’). While composers both before and since have attempted to describe the changes of the seasons in music, Vivaldi achieves this in astonishingly vivid and original detail, from a barking dog on a sleepy spring afternoon to the chattering of teeth on a freezing winter’s day.

Vivaldi was not just writing music that was purely descriptive: he was also aiming to move the emotions of the listener. This was the Baroque aesthetic outlined by eighteenth-century violinist and music theorist Francesco Geminiani, who wrote that music should ‘not only please the ear, but … strike the Imagination, affect the Mind, and command the Passions’.

Plaque mentioning Antonio Vivaldi by the Chiesa della Pietà a Venezia.

CREDIT © WKNIGHT94

Engraved portrait of Antonio Vivaldi – Effigies Antonii Vivaldi per l’edizione Le Cène dell’op. 8 del 1725

CREDIT © FRANÇOIS MORELLON LA CAVE


Program Notes Program Notes

Vivaldi's Four Seasons Vivaldi's Four Seasons

CONCERTO NO. 1 IN E MAJOR, PRIMAVERA (SPRING), RV 269

I Allegro

Giunt’ è la Primavera e festosetti [Il canto de gl’ucelli] La salutan gl’augei con lieto canto, [Scorrono i fonti] E i fonti allo spirar de’ zeffiretti Con dolce mormorio scorrono intanto: [Tuoni] Vengon’ coprendo l’aer di nero amanto E lampi, e tuoni ad annuntiarla eletti [Canto d’ucelli] Indi tacendo questi, gl’augelletti Tornan’ di nuovo al lor canoro incanto.

CONCERTO NO. 2 IN G MINOR, L’ESTATE (SUMMER), RV 315

I Allegro non molto

[Languidezza per il caldo] Sotto dura staggion dal sole accesa Langue l’huom, langue ’l gregge, ed arde il pino; [Il cucco] Scioglie il cucco la voce, [La tortorella] e tosto intesa canta la Tortorella e ’l gardelino. [Il gardellino] [Zeffiretti dolci] Zeffiro dolce spira, [Vento Borea, venti impettuosi, venti diversi] mà contesa muove Borea improviso al suo vicino;

[Il pianto del villanello] E piange il pastorel, perche sospesa Teme fiera borasca, e ’l suo destino.

Spring has arrived and festively [Bird song] the birds salute her with happy song; [Flowing fountains] and the fountains, at the breath of the breezes, flow with a sweet murmur; [Thunder] The sky is cloaked in black, and lightning and thunder are chosen to announce her, [Bird song] then when they are silent, the little birds return again to their charming singing.

[Lethargy due to the heat] Beneath the harsh season of the intense sun men and flocks are listless, and pines are scorched; [The cuckoo] The cuckoo releases its voice, [The turtle dove] and immediately the turtle dove and the finch start to sing in agreement. [The finch] [Soft breezes] The soft breeze sighs, [North wind – solo violin, impetuous winds – violas, various winds – basso continuo] but the competing north wind suddenly moves it aside;

[The tears of the shepherd boy] and the shepherd weeps, because unsettled, he fears the fierce storm and his fate.

[Rustle of branches & plants – direction to the violins] [The dog that barks – direction to the viola: ‘this must be played very loudly and raspingly throughout’] [The goat-herd sleeps – direction to the solo violin]

And so in the pleasant flowery meadow, to the welcome murmurs of branches and leaves, the goat-herd sleeps with his faithful dog beside him.

[Pastoral dance] To the festive sound of rustic bagpipes, nymphs and shepherds dance beneath the lovely canopy of brilliant spring.

[Stormy summer weather] Ah, unfortunately his worst fears are realised, the heavens thunder and flash, and hailstones break off the heads from the tall stalks of the wheat.

II Largo

[Mormorio di fronde e piante] [Il cane che grida] [Il capraro che dorme]

E quindi sul fiorito ameno prato Al caro mormorio di fronde e piante Dorme ’l caprar col fido can’ à lato.

III Allegro

[Danza pastorale] Di pastoral Zampogna al suon festante Danzan Ninfe e Pastor nel tetto amato Di primavera all’ apparir brillante.

III Presto

[Tempo impettuoso d’estate] Ah che purtroppo i suoi timor son veri, Tuona e fulmina il ciel e grandinoso Tronca il capo alle spiche e a’ grani alteri.

[Flies and blowflies – violins] Depriving his weary limbs of rest are the fear of lightning and fierce thunder, and the furious swarm of flies and blowflies! [Thunder]

II Adagio

[Mosche e mossoni] Toglie alle membra lasse il suo riposo Il timore de’ lampi, e tuoni fieri E de mosche, e mossoni il stuol furioso! [tuoni]


PROGRAM NOTES & TIMELINE © LYNNE MURRAY 2019

Program Notes

Vivaldi's Four SeasonsProgram Notes


CONCERTO NO. 3 L’AUTUNNO (AUTUMN), RV 293

I Allegro – Allegro assai

[Ballo e canto de’ vilanelli] Celebra il vilanel con balli e canti Del felice raccolto il bel piacere [L’ubriaco / ubriachi] E del liquor de Bacco accesi tanti [L’ubriaco che dorme] Finiscono col sonno il lor godere.

CONCERTO NO. 4 L’INVERNO (WINTER), RV 297

I Allegro non molto

Agghiacciato tremar tra nevi algenti [Orrido vento] Al severo spirar d’orrido vento, [Correre, e battere li piedi per il freddo] Correr battendo i piedi ogni momento; [Venti] E pel soverchio gel battere i denti;

[Villagers dance and sing] The peasant celebrates with dances and songs the pleasures of a good harvest, [The drunkard / drunkards – solo violin and continuo] and many, fired by Bacchus’ liquor, [The sleeping drunkard] end their enjoyment with sleep.

Frozen, to shiver amid icy snows [Dreadful wind] at the cutting breath of the dreadful wind, [To run and stamp the feet in the cold] to run stamping one’s feet at every moment; [Winds] and the excessive cold cause the teeth to chatter;

[Sleeping drunkards] The mild, pleasant air makes everyone abandon songs and dances, and the season invites everyone to the delight of sweetest sleep.

[Rain – pizzicato violins] To pass quiet and contented days by the fire while the rain outside pours down;

[The hunt] The hunters set out on the chase at first light with horns, guns and dogs; [The wild animal flees] the beast flees, and they follow its track; [Guns and dogs] already shocked and tired from the great noise of guns and dogs, wounded, threatened, [The animal, fleeing, dies] weak from the flight, exhausted, dies.

To walk on the ice [To walk softly and fearfully] and with careful slow steps for fear of falling or tripping on it; To twist strongly, slip, fall to the ground; [Falling on the ground, running fast] to go onto the ice again and run fast lest the ice cracks and breaks; [The sirocco wind] To hear as they whistle through closed doors [The north wind and all the winds] Sirocco, Boreas, and all the winds at war; this is winter, but it causes joy.

II Adagio molto

[Ubriachi dormienti] Fà ch’ ogn’uno tralasci e balli e canti L’aria che temperata dà piacere, E la staggion ch’invita tanti e tanti D’un dolcissimo sonno al bel godere.

II Largo

[La pioggia] Passar al foco i dì quieti e contenti Mentre la pioggia fuor bagna ben cento

III Allegro

[La caccia] I cacciator alla nov’alba a caccia Con corni, schioppi, e canni escono fuore; [La fiera che fugge] Fugge la belva, e seguono la traccia; [Schioppi, e cani] Già sbigottita, e lassa al gran rumore De’ schioppi e canni, ferita minaccia [La fiera fuggendo muore] Languida di fuggir, mà oppressa muore.

III Allegro

Camminar sopra il ghiaccio, [Caminar piano e con timore] e à passo lento per timor di cader girsene intenti; Gir forte, sdrucciolar, cader a terra, [Cader a terra, correr forte] Di nuove ir sopra il ghiaccio e correr forte Sin ch’il ghiaccio si rompe, e si disserra; [Il vento sirocco] Sentir uscir dalle serrate porte [Il vento borea e tutti li venti] Sirocco, Borea, e tutti i Venti in guerra Quest’ è ’l verno, ma tal, che gioia apporte.


Vivaldi's Four SeasonsTimeline

Telemann Vivaldi

1678 Born in Venice 1678Elena Lucrezia Cornaro Piscopia becomes the first woman to be awarded a university degree, a doctorate in philosophy from the University of Padua

1681 Born in Magdeburg 1681 London woman flogged for 'involving herself in politics'

1693 Composes first opera 1693The 'Sicily earthquake', the most powerful in Italian recorded history, destroys at least 70 towns and cities causing c.60,000 deaths

1701 Studies law at Leipzig University 1701 The War of the Spanish Succession begins

1703Ordained as a priest; appointed violin teacher at the Pietà in Venice

1703 Fire brigade founded in Edinburgh

1705 Music director at Sorau in Poland 1705 Handel's first opera performed in Hamburg

1709 Music director at Eisenach; marries 1709 Production of Eau de Cologne begins

1711 Wife dies after birth of daughterAcclaimed as virtuoso violinist & composer after publication of L’Estro Armonico concertos

1711 Handel's first London opera Rinaldo performed; plague in Hamburg

1712 Takes position of city music director in Frankfurt 1712 Capital of Russia moved from Moscow to St Petersburg

1713 First opera Ottone in villa performed in Vicenza 1713 France cedes North American colonies to Britain

1714Remarries; is godfather to J.S. Bach’s second son C.P.E. Bach

Becomes impresario of Teatro San Angelo in Venice 1714 Elector of Hanover becomes George I King of Great Britain

1717 Music director at Eisenach in absentia until 1730Leaves the Pietà to mount productions of own operas throughout Italy

1717 Voltaire imprisoned for satirical writing

1721 Appointed music director of Hamburg city churches 1721 Innoculation against smallpox introduced to England

1723 Composes Water Music suite Employed again by the Pietà 1723 Achitect Christopher Wren dies

1725 Publication of The Four Seasons violin concertos 1725 Bach's St John Passion receives its second performance in Leipzig; Giacomo Casanova born in Venice

1737 Visits Paris 1737 William Hogarth paints The Good Samaritan

1741 Takes up gardening, requests plants from Handel. Dies poor and alone in Vienna 1741 Handel composes oratorio Messiah

1759 Begins to go blind 1759 Handel dies in London

1767 Dies in Hamburg 1767 First European visits Tahiti

Contemporary Events


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GOVERNMENT

AUSTRALIAN BRANDENBURG ORCHESTRA IS ASSISTED BY THE AUSTRALIAN GOVERNMENT THROUGH THE AUSTRALIA

COUNCIL, ITS ARTS FUNDING AND ADVISORY BODY

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“ Thanks to the tremendous generosity of you and your fellow Brandenburg supporters, we have established nothing short of cultural excellence as Australia’s national Baroque orchestra for the last 30 years. Our dream is to continue doing exactly this – achieving excellence, inspiring audiences and sharing our music with you for many more years to come.”

PAUL DYER AO Artistic Director BRUCE APPLEBAUM Managing Director

Anthony Adair and Karen McLeod AdairAntoinette Albert+

Aidan AllenStephen and Sophie AllenGlenn BarnesGraham Bradley AM and Charlene BradleyJillian Broadbent AC

Dr Catherine Brown-Watt and Mr Derek Watt+

Louise Christie

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Lady Potter AC CMRI Rodwell FoundationRowan Ross AM and Annie RossJeanne-Claude Strong in memory of James StrongVictoria Taylor+

Peter Weiss AO+

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CHRISTINA $10,000 OR ABOVE

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Kay BuckeridgeWayne Burns and Kean Onn See Toula and Nicholas Cowell#

The Faithfull FamilyJohn Forsyth and Ann VerschuerAnn Gordon*Susan HilliardJenny and Peter Hordern

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Our Donors

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Peter Fletcher AM and Kate FletcherBarbara and Malcolm FranceBrian and Philippa FranceEleanor FreemanCarrillo and Ziyin GantnerJustin and Anne GardenerChristine GeorgeSir James GobboBill and Julie GooldRichard and Anna GreenKen Groves and Yun-sik JangMichael HallidayBruce and Jo HambrettSandra HaslamJane HemstritchSusan HilliardDr Ailsa Hocking and Dr Bernard WilliamsCarr and Ann HordernJ L HossackJill and David HuntBelinda Hutchinson AM*Dr Alastair Jackson AM

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Richard and Elizabeth LongesAnne Loveridge & Graeme FosterGlenice Maclellan^Aggie MaisanoMorris and Helen MargolisMora MaxwellRichard and Rowena McDonald^Peter McGrathJudith A McKernanFiona Mellor and Scott Tanner^Elizabeth MildwaterJohn Milhinch OAM

Dr David Millons AM and Mrs Barbara MillonsJohn MitchellNiq Morcos & Morgaine WilliamsMrs June Musgrove in memory of Dr Peter MusgroveJohn and Susan MyattAndrew NaylorRobert Niall and Jill SewellDr Paul Nisselle AM and Mrs Sue Nisselle^Rosemary and James O'CollinsMrs Roslyn Packer AC

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WJ and R PoateJim and Chris PollittJoan PoultonTed and Jean RadfordWayne Redman

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Our DonorsSUPPORTER I $500 - $999

Michael JonesPhilippa KearsleyPamela Kenny in memory of Peter*Nicholas KornerMarcel and Mimi Kreis^Mira LevyMrs Iris Luke in Memory of Dr Clifton LukeElizabeth Mackenzie and Michael BremnerDavid Castillo and Marian MageePeter McCallWendy E McCarthy AO

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SUPPORTER II $250 - $499

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Prof. D. H. Bryant OAM

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Anthony DarcyElizabeth DouglasJanet DoustKerri EagerBronwyn Evans and Peter GordonMrs Kay Fell

Marguerite Foxon*Janine FrancisDr Mark Garwood and Mrs Elizabeth GarwoodJudith GibsonTrish GoodmanLate H. E. GowerDr Stéphane Hemmerter in memory of Gérard HemmerterFrank HemmingsIn Loving Memory of Dean HuddlestoneNicola and Ian JackmanIrene Kearsey and Michael RidleyHilary KelmanJoshua Kim and Richard HouseDr Jerry Koliha and Ms Marlene KrelleL. KrienbuhlDr Micheline LaneAnne LatreilleVicki and Adam LibermanAlexandra & Carina MartinRichard MasiulanisMs Judith McDonald

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Our DonorsCHAIRMAN’S 11 BRANDENBURG OPERA CIRCLE

BRANDENBURG FOUNDATION DONORS

ORCHESTRAL CHAIRS

Concertmaster Chair supported by Jacqui and John Mullen

Baroque Cello Chair supported by Mrs W. G. Keighley

Theorbo/Baroque Guitar Chair supported by The Alexandra and Lloyd Martin Family Foundation and friends, in memory of Lloyd Martin AM

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Dedicated to the memory of James Strong AO.

Chairman’s 11 supports the Brandenburg’s international and local guest artists.

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PLANNED GIVING

BEQUESTThe Australian Brandenburg Orchestra warmly acknowledges the bequest it has received from the Estate of Valda Astrida Siksna.

PLAY ON: A LASTING LEGACYWe are hugely appreciative to all those who have pledged a bequest to the Brandenburg.

R. Cook Professor Geoffrey N Cooper Janet Doust The Faithfull Family Brian and Leonie Fisher R J Irwin Lilly K Peter McGrath Penelope Oerlemans Joan and Lloyd Poulton Art and Cynthia Raiche Anonymous x 15

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ARCANGELI $15,000 – $24,999Mr David Baffsky AO and Mrs Helen BaffskyMelinda Conrad and David JonesGlenn Moss and the late Dr Ken Moss AM

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The following donors have supported the establishment of the Brandenburg Opera Circle, enabling the Orchestra to expand its repertoire into the world of Baroque opera, as well as nurturing young opera singers and creative teams.

Toula and Nicholas Cowell Wendy and Ron Feiner Deborah Fox and Harald Jahrling Justin and Anne Gardener Irene and John Garran Ken Groves and Yun-sik Jang Mary Holt and the late Dr John Holt A le Marchant Peter McGrath Dr Agnes Sinclair Victoria Taylor Greg Ward Ray Wilson OAM in memory of James Agapitos OAM Christine Yip and Paul Brady Anonymous x 2

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PATRON His Excellency General the Honourable David Hurley AC DSC (Retd), Governor-General of the Commonwealth of Australia Her Excellency the Honourable Margaret Beazley AO QC, Governor of New South Wales

ARTISTIC DIRECTORPaul Dyer AO

MANAGING DIRECTORBruce Applebaum

THE BRANDENBURG COUNCILJillian Broadbent AC Greg Hutchinson AM Max Suich

THE BOARDDavid Zehner, Chairman Alison Harrop, Deputy Chair Aidan Allen Bruce Applebaum David Baffsky AO Paul Dyer AO

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* Dr Alan Maddox appears courtesy of the Sydney Conservatorium Of Music, The University of Sydney (Staff)

32 AUSTRALIAN BRANDENBURG ORCHESTRA 33

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Live the French way


Discover the Tales of Baroque Podcast

Tales of Baroque will be released in our Keynotes e-Newsletter every six weeks. Sign up at brandenburg.com.au/keynotes

Dr Alan Maddox appears courtesy of The University of Sydney, Sydney Conservatorium of Music.

Dr Alan Maddox returns for another engaging conversation with the Brandenburg’s Hugh Ronzani. In this episode of Tales of Baroque Alan and Hugh cover the development of program music in the Western musical tradition, including Telemann’s Water Music and Vivaldi’s picturesque Four Seasons.

HUGH RONZANIALAN MADDOX


Chairman’s 11Our Chairman’s 11 program is for members who share a passion for artistic excellence. This enables us to invite outstanding guest artists from Australia and overseas to perform with the Orchestra.

Orchestral ChairsOur Orchestral Chair program is vital to our future as Australia’s national Baroque orchestra. This important fund helps us attract and retain the very best period musicians from all over Australia.

In addition to our Annual Giving, the Brandenburg has other philanthropic programs that contribute towards specific areas of the Orchestra’s work.

If you are interested in supporting one of our philanthropic programs please contact our Development Team via email or phone.

Visit brandenburg.com.au/support-us/philanthropic-programs Email [email protected] Phone 1300 782 856

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vivaldi's four seasons - brandenburg.com.au...composers telemann and vivaldi who are going to...

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