2

1341_WESF - Arts Sponsorship Campaign 2014 - Musica Viva_Ad 2015_240x150_V2_UPDATE 03.02.15.indd 1 3/02/15 9:51 AM

1341_WESF - Arts Sponsorship Campaign 2014 - Musica Viva_Ad 2015_240x150_V2_UPDATE 03.02.15.indd 1 3/02/15 9:51 AM

ADELAIDEADELAIDE TOWN HALL THURSDAY 9 NOVEMBER, 7.30PM Pre-concert talk, 6.45pm (Prince Alfred Room) CD signing after concert

BRISBANECONCERT HALL, QUEENSLAND PERFORMING ARTS CENTRE SUNDAY 19 NOVEMBER, 3PMPre-concert talk, 2.15pm (Concert Hall Balcony Foyer)Meet the Artists after concert

CANBERRALLEWELLYN HALL, ANU SCHOOL OF MUSIC THURSDAY 16 NOVEMBER, 7PMPre-concert talk, 6.15pm (Athenaeum [foyer])Meet the Artists after concert

MELBOURNEELISABETH MURDOCH HALL, MELBOURNE RECITAL CENTRE TUESDAY 14 NOVEMBER, 7PMPre-concert talk, 6.15pm (Boardroom, Level 2)Meet the Artists after concert

SATURDAY 18 NOVEMBER, 7PM Paul Morawetz Tribute ConcertPre-concert talk, 6.15pm (Boardroom, Level 2)CD signing after concert

PERTHPERTH CONCERT HALL TUESDAY 21 NOVEMBER, 7.30PMPre-concert talk, 6.45pm (Corner Stage Riverside, Terrace Level)Meet the Artists after concert

SYDNEYCITY RECITAL HALL SATURDAY 11 NOVEMBER, 2PMLive broadcast on ABC Classic FMPre-concert talk, 1.15pm (Function Room, Level 1)Meet the Artists after concert

MONDAY 13 NOVEMBER, 7PMPre-concert talk, 6.15pm (Function Room, Level 1)CD signing after concert

Musica Viva is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body. Musica Viva is assisted

by the NSW Government through Create NSW.

2

© K

eith

Sau

nder

s

ADDITIONAL ACTIVITYRachel Podger will present a public masterclass at Customs House, Sydney, on Monday 13 November at 11am.

The Musica Viva Masterclass program is supported by principal patrons Stephen Johns & Michele Bender, the Sydney Conservatorium Association (NSW), Lyn Hamill & Ian Dover (QLD), Wesfarmers Arts (WA), Anonymous Donor (SA) and Mary Turner oam (Newcastle).

FROM THE ARTISTIC DIRECTOR

CARL VINE aoARTISTIC DIRECTOR MUSICA VIVA AUSTRALIA

One of my ardent wishes when I first joined Musica Viva was to present the Orchestra of the Age of Enlightenment, one of the world’s most exciting period music ensembles, but at that time it was deemed too expensive. Seventeen years later, and due largely to the generous support of the patrons of Musica Viva’s Amadeus Society, it has miraculously become possible to fulfil that wish. Even more exciting now is the addition of famed period violinist Rachel Podger as soloist with and director of the orchestra, forming a tornado of historically informed performance perfection.

The Enlightenment started firmly within music’s Baroque period and ran right through to the end of the 18th century, bridging what we now call the Classical period, and the music of Haydn, Mozart and early Beethoven. We celebrate that final stage of the Enlightenment on this concert tour, and most specifically the magical violin concertos of Mozart.

Haydn’s Symphony no 26 ‘Lamentatione’ was in the Classical Sturm und Drang (Storm and Stress) style. This surprisingly dramatic work is balanced by one of the most successful symphonies of JS Bach’s son Johann Christian: op 6 no 6, arguably the darkest and most dramatic of his symphonies, and also in the Sturm und Drang idiom.

Although Haydn was an influence on Mozart, it was JC Bach who made a profound and lasting impact on the young composer. Mozart visited London in 1764 at the age of eight, where he heard JC Bach’s music, arranged it and played it at the keyboard with JC himself. A decade later, still a teenager, he composed all five of his violin concertos, the first and last of which constitute the rest of this concert program. These suave and charming works are a splendid monument to the brilliance and preternatural genius of the young Mozart.

3

FROM THE CHIEF EXECUTIVE OFFICERFROM THE CHIEF EXECUTIVE OFFICER

Musica Viva takes pride in the outstanding quality of the professional musicians who work with us, whether on concert platforms or in schools right around the country. Perhaps less obvious to the public eye are our professional staff who support them – uniquely amongst Australian arts companies, we have offices in each of our concert subscription cities, a legacy of our foundation by groups of like-minded citizens. And in the engine room of each state office are also to be found some wonderful volunteers, without whom we literally couldn’t achieve what we do.

Our individual volunteers and committees support Musica Viva in practical ways: everything from welcoming audiences to concerts, running fundraising events, and assisting in office support at busy times. They are also our frontline for feedback, so that we can keep improving and keep growing. That they are prepared to give their time and expertise, and be a part of the organisation, is hugely appreciated as a measure of the value they place on Musica Viva’s work in our communities. Contact the Musica Viva office in your city if you would like to volunteer in 2018.

In this final International Concert Season tour for 2017, it is also timely for me to express my thanks to our National Board

who, under the Chairmanship of Charlie Graham, work diligently alongside staff and volunteers to ensure that Musica Viva’s risk, reputation and revenue are responsibly managed. Our work is also enhanced by the newly formed Musica Viva Members Council under the presidency of Michael Katz. Together they share a deep commitment to enhancing the artistic vibrancy of Musica Viva as the key organisation in Australia for connecting audiences with chamber music.

Musica Viva’s volunteers are inspirational, and are ensuring an amazing future for chamber music in Australia.

MARY JO CAPPSCHIEF EXECUTIVE OFFICER MUSICA VIVA AUSTRALIA

4

MEET THE ARTISTS

RACHEL PODGER director and violin

BBC Music Magazine Award in the instrumental category for Guardian Angel (2014), and multiple Diapasons d’Or. The complete Vivaldi L’Estro armonico concertos (2015) with Brecon Baroque was Record of the Month for both BBC Music and Gramophone magazines, won the concerto category of the 2016 BBC Music Magazine Award, was awarded a Diapason d’Or and was shortlisted for a Gramophone Award (2015).

She is a dedicated educator and holds an honorary position at both the Royal Academy of Music, where she holds the Micaela Comberti Chair for Baroque Violin (founded in 2008), and the Royal Welsh College of Music and Drama, where she holds the Jane Hodge Foundation International Chair in Baroque Violin. She also has a developing relationship with The Juilliard School in New York.

Rachel Podger, ‘the queen of the Baroque violin’ (Sunday Times), has established herself as a leading interpreter of the Baroque and Classical music periods. She was the first woman to be awarded the prestigious Royal Academy of Music / Kohn Foundation Bach Prize, in October 2015. A creative programmer, she is the founder and Artistic Director of Brecon Baroque Festival and her ensemble Brecon Baroque, and was resident artist at Kings Place (London) for their 2016 season Baroque Unwrapped. Rachel celebrates her 50th birthday in 2018 with a much-anticipated recording of Bach cello suites on violin, a recording of Vivaldi’s Four Seasons, and an exciting and innovative collaboration with world-renowned a cappella group VOCES8, Guardian Angel.

As a director and soloist, Rachel has enjoyed countless collaborations with musicians all over the world. Highlights include Robert Levin, Jordi Savall, Masaaki Suzuki, European Union Baroque Orchestra, The English Concert, the Orchestra of the Age of Enlightenment, the Academy of Ancient Music, Holland Baroque Society, Tafelmusik (Toronto) and, within the USA, the Berwick Academy, the Handel and Haydn Society, Berkeley Early Music, Oregon Bach Festival and Philharmonia Baroque Orchestra.

Rachel records exclusively for Channel Classics, with over 25 discs including the complete Mozart Sonatas. JS Bach: The Art of Fugue with Brecon Baroque was released in September 2016 to rave reviews, and her latest recording with Brecon Baroque, Grandissima Gravita, was released this year.

Rachel has won numerous awards including two Baroque Instrumental Gramophone Awards, for La Stravaganza (2003) and Biber’s Rosary Sonatas (2016), the Diapason d’Or de l’année in the Baroque Ensemble category for Vivaldi’s La Cetra concertos (2012), a

5

ORCHESTRA OF THE AGE OF ENLIGHTENMENT

Three decades ago, a group of inquisitive London musicians took a long hard look at that curious institution we call the Orchestra, and decided to start again from scratch. They began by throwing out the rulebook. Put a single conductor in charge? No way. Specialise in repertoire of a particular era? Too restricting. Perfect a work and then move on? Too lazy. The Orchestra of the Age of Enlightenment was born.

And as this outfit with the funny name began to get a foothold, it made a promise to itself.

It vowed to keep questioning, adapting and inventing as long as it lived. Playing on period-specific instruments became just one element of its quest for authenticity. Baroque and Classical music became just one strand of its repertoire. Every time the musical establishment thought it had a handle on what the OAE was all about, the ensemble pulled out another shocker: a Symphonie Fantastique here, some conductor-less Bach there. All the while, the Orchestra’s players called the shots. [cont…]

Oboes Daniel Bates, Leo Duarte Bassoon Sally Jackson Horns Roger Montgomery, Martin Lawrence Violins Rodolfo Richter (leader), Iona Davies, Roy Mowatt, Claire Holden, Daniel Edgar, Alice Evans, Kinga Ujszászi, Stephen Rouse Violas Max Mandel, Nicholas Logie, Martin Kelly Cellos Sarah McMahon, Catherine Rimer Double bass Cecilia Bruggemeyer

6

MEET THE ARTISTS

This is the first National Tour for Musica Viva Australia by the Orchestra of the Age of Enlightenment and Rachel Podger.

In the early days, it seemed a minor miracle. Ideas and talent were plentiful; money wasn’t. Somehow, the OAE survived to a year. Then to two. Then to five. It developed own-terms relationships with record labels, broadcasters and conductors. It crept into the opera house. It became the toast of the European touring circuit. It bagged a residency at London’s most prominent arts centre. It began, before long, to thrive.

Only then came the real challenge. ‘Eccentric and naïve idealists’, the ensemble’s musicians were branded. And that they were determined to remain – despite growing relationships with the Glyndebourne festival, Virgin Records and the Southbank Centre. Mercifully, they remained just that. In the face of the industry’s big guns, the OAE kept its head. It got organised but remained experimentalist. It sustained its founding drive but welcomed new talent. It kept on exploring performance formats, rehearsal approaches and musical techniques. It examined instruments and repertoire with greater resolve. It kept true to its founding vow.

And in some small way, the OAE changed the classical music world for good. It challenged those distinguished partner organisations and brought the very best from them, too. Symphony and opera orchestras began to ask it for advice. Existing period instrument groups started to vary their conductors and repertoire. New ones popped up all over Europe and America.

And so the story continues, with ever more momentum and vision. The OAE’s series of nocturnal Night Shift performances has redefined concert parameters. The ensemble has formed the bedrock for some of Glyndebourne’s most ground-breaking recent productions. It travels as much abroad as to the UK regions: New York and Amsterdam court it, Birmingham and Bristol cherish it.

Remarkable people are behind it. Simon Rattle, the young conductor in whom the OAE placed so much of its initial trust, still cleaves to the ensemble. Iván Fischer, the visionary who punted some of his most individual musical ideas on the young orchestra, continues to challenge it. Mark Elder still mines for luminosity, shade and line. Vladimir Jurowski, the podium technician with an insatiable appetite for creative renewal, has drawn from it some of the most revelatory noises of recent years.

Of the instrumentalists, many remain from those brave first days; many have come since. All seem as eager and hungry as ever. They’re offered ever greater respect, but continue only to question themselves. Because still – and even as they moved into their beautiful new purpose-built home at Kings Place in 2009 – they pride themselves on sitting ever so slightly outside the box. They wouldn’t want it any other way.

© Andrew Mellor

www.oae.co.uk

7

Paul Morawetz was born in Austria in 1914, and died in Melbourne in April 2001. His love of music, and chamber music in particular led him to become involved with Musica Viva at the time of its founding in 1945.

Upon his arrival in Australia, the public performance of chamber music was in its infancy, but Paul’s European background laid the foundation for a major role in bringing chamber music to the wider Melbourne community.

Paul took a leading role in arranging chamber music concerts in Melbourne, eventually becoming Musica Viva’s Victorian Vice-President for several years.

He was central to the organisation’s fundraising efforts, and managed to successfully find sponsors at a time when Musica Viva was struggling to stay afloat.

Paul also took particular pleasure in supporting young musicians, often helping them to gain public recognition and furthering their talents.

Paul would never miss a Musica Viva concert when in Melbourne, and held a genuine love of music throughout his entire life. He is greatly missed by the Musica Viva community, and it is with great pleasure that we honour him with this concert.

PAUL MORAWETZ (1914–2001)

A Genuine Love for MusicThe concert in Melbourne on Saturday 18 November commemorates Paul Morawetz’s contribution to Musica Viva Australia

8

PROGRAMJoseph HAYDN (1732–1809)Symphony no 26 in D minor ‘Lamentatione’ (1768) 20 min

I Allegro assai con spirito (Very fast and spirited)

II Adagio (Slow)

III Menuet – Trio

Wolfgang Amadeus MOZART (1756–1791)Violin Concerto no 1 in B-flat major, K207 (1773) 21 min

I Allegro moderato (Moderately fast)

II Adagio (Slow)

III Presto (Quick)

I N T E R VA L

Johann Christian BACH (1735–1782)Symphony in G minor, op 6 no 6 15 min

I Allegro (Fast)

II Andante più tosto adagio (At a rather slow walking pace)

III Allegro molto (Very fast)

Wolfgang Amadeus MOZARTViolin Concerto no 5 in A major, K219 ‘Turkish’ (1775) 25 min

I Allegro aperto – Adagio – Allegro aperto (Fast and open –

Slow – Fast and open)

II Adagio (Slow)

III Rondeau: Tempo di minuetto (Rondo in minuet-time)

9

ABOUT THE MUSICThe treatment Haydn gives these themes has more to do with the realm of theatre than with the church. At this stage of his career, theatre engaged Haydn quite intensively. His patron Prince Nikolaus was enamoured of the variety of theatrical troupes and entertainments – plays, marionettes and opera – at Esterháza and in Vienna. Haydn shared the enthusiasm, writing incidental music for plays by Shakespeare and Goethe among others. A shame these scores don’t survive, except in the form that he may have taken this music into his symphonies, as is sometimes hypothesized.

Whether or not actual music was incorporated directly from theatrical contexts into the symphonies, the spirit of theatre is profoundly felt in Haydn’s music from the mid-1760s to the mid-1770s. In 1909, French scholar Théodore de Wyzewa applied the name Sturm und Drang (Storm and Stress) to express the new dynamism that is apparent in Haydn’s music, directly correlating it to a German literary movement of roughly the same time, though there is no direct connection between Haydn and Sturm und Drang writers. Nevertheless the term has proved highly adhesive as a label to describe this phase in Haydn’s career, which is fine so long as we are not swayed into thinking the new moodiness reflects an emotional turbulence in Haydn’s life which wasn’t really there.

Joseph HAYDN (1732–1809)Symphony no 26 in D minor ‘Lamentatione’ (1768)

I Allegro assai con spirito (Very fast and spirited) II Adagio (Slow) III Menuet – Trio

Nicknames for pieces of ‘abstract’ music can be misleading, spotlighting some irrelevant aspect of the piece – like the name ‘Elvira Madigan’ that still attaches itself to Mozart’s K467 Piano Concerto, though the 1967 movie about a 19th-century Danish tightrope walker means about as much to us now as it did to Mozart. But in the case of Haydn the nicknames are quite pertinent. His music is replete with ‘topics’ – evocations of various styles and types of music, symbols, images and quotations that help create the constant variety and invention of his music. When particular topics come to the fore, the nicknames identify them pretty well.

Lamentation doesn’t exactly describe the tone of Haydn’s ‘26th’ symphony (a numbering anomaly – chronologically it should be closer to the 40s), but it does identify its chief ‘topic’. The first and second movements draw their themes from two related chants from a Passion Play of medieval origins, too obscure for any of us to identify with now, but in Haydn’s time and place, likely to be widely recognised. Haydn’s patron, Nikolaus I, Prince Esterházy.

10

ABOUT THE MUSICAs his early biographer Carpani noted, Haydn actively ‘sought food for his imagination’. In this sense, the ‘Lamentation’ melody serves the same purpose as the folk or gypsy tunes and dances in many of Haydn’s compositions. Symphony no 26 takes a decisive step along the path of elevating the symphony from a role as pleasant diversion, even dinner music, and giving it meaning. By transforming the old chants, Haydn brings the emotions of the Passion into the Symphony as an expression of communion-like feeling to be shared by listeners when it was played during Easter or Holy Week.

The Sturm und Drang features are pretty strong: the piquant minor key tonality, the funky syncopation of the opening statement and the rapt, holy minimalism of the Adagio, ending with a benedictory half-cadence. The harmless Minuet and Trio which placatingly concludes the symphony leaves the work as a good piece with which to open rather than close a program. But those opening movements leave a powerful impact. Haydn scholar HC Robbins Landon pays tribute to the Symphony as an expression of the composer’s desire to reach back to ancient religiosity to inspire his music with a sense of timeless spiritual meaning.

Wolfgang Amadeus MOZART (1756–1791)Violin Concerto no 1 in B-flat major, K207 (1773)

I Allegro moderato (Moderately fast) II Adagio (Slow) III Presto (Quick)

Mozart composed his five violin concertos in the middle years of the 1770s, when he was not yet 20. He was, at the time, a court musician for the Prince-Archbishop of Salzburg, who treated him as a performing

servant and restricted his opportunities. Violin and harpsichord always vied for the young prodigy’s devotion, but in the brief Salzburg period the violin held sway, though the concertos weren’t necessarily written as performance vehicles for himself. By the time he extricated himself from Salzburg, Mozart was clearly favouring keyboard (the new fortepiano) as his chief instrument and never wrote another violin concerto as such.

The first of the five concertos was written in 1773, soon after commencing duties at the Salzburg court. It’s a work in the galant style – that is, with the emphasis on the melody, and the accompaniment kept light and not too intrusive. The concerto makes considerable display for the soloist, probably inspired by the playing of the fashionable Italian virtuosi Nardini and Pugnani, whom he’d heard just a few weeks previously in Italy.

The first movement takes its form from the ‘ritornello’ or ‘verse-and-refrain’ model established in the Baroque era by Vivaldi. The orchestra behaves like a ‘ripieno,’ mostly alternating with the soloist, with only some uncomplicated interaction between the two parties. The Adagio second movement is dominated by the violin’s ardent singing line (in the empfindsamer or ‘sensitive’ style), while the energetic final movement relishes virtuosity.

That this concerto should still have such a Baroque quality shows how little concertos

11

had been given the push-along by composers: perhaps the function of soloistic display did not give cause for any great need for evolution. Haydn showed little interest in concertos, though with the symphony and string quartet he focussed great energy and invention on expanding expressive capabilities. It was as if the concerto was just waiting for some brash, clever genius to come along and bring some invigorating new ideas…

Johann Christian BACH (1735–1782)Symphony in G minor, op 6 no 6 (c.1760s)

I Allegro (Fast)

II Andante più tosto adagio (At a

rather slow walking pace)

III Allegro molto (Very fast)

Johann Sebastian Bach’s youngest son took a long and deliberate journey to find his musical ‘self’. Johann Christian abandoned his father’s faith (converting from Lutheran to Catholic) and nationality (emigrating first to Italy and thence to England) and pursued as a composer the easy-going galant style, in preference to JS’s learned fugues. We don’t really know what JC’s family thought of all this (his dad did not live to see it), but there have been several authorities willing to scold. Resentfully, they picture JC as a fop, a dasher-off of musical pleasantries,

who traded on his father’s high standing to gain prestigious gigs in foreign lands (never mind that JS Bach was virtually unknown beyond the borders of Saxony at the time).

The musical self that Johann Christian found, letting go the judgmental attitude, was sophisticated, elegant, entertaining and highly skilled. He cultivated a cosmopolitan identity, up with the latest fashions, involved in everything that was going on around him, conversant among all classes. He was a cool guy. In Italy (where he signed his name Giovanni), he acquired ease with the Italian melodic style and had his first successes in that rapturous and quintessentially Italian musical form, opera.

In England (where he signed his name John), he helped make London’s musical life vivacious and exciting. His contributions there included service to the court of George III (and especially his German queen, Charlotte), composing bits and pieces as well as substantial works for the King’s Theatre, and writing songs for entertainments at the Vauxhall Gardens. The crowning glory was a 20-year run of success in the famous subscription concerts Bach mounted with fellow expat Carl Friedrich Abel, at the purpose-built Hanover Square Rooms, the hub of London concert life for generations.

George III by Allan Ramsay

12

ABOUT THE MUSICBach was the toast of Georgian society, commemorated in distinguished portraits by his friend Thomas Gainsborough. He was equally revered on the Continent, especially in Paris and at Mannheim, that exemplary musical Palatinate. He commanded respect and admiration among musicians, including the boyish Mozart, who got to know him well during a year spent in London, and whose music, to some degree at least, was built on the foundations of JC’s stylish influence. In his last years, Bach lost almost everything as the fashionable allure of his concert ventures waned, and after his death the custodians of culture took revenge on his reputation.

Johann Christian did some groundwork on the symphony as a form, taking it from the domain of Italian opera – symphonies are an evolution from the opera overture – to the English concert room, and exerting influence across Europe. Adopting the three-movement outline of Italian usage, JC invested the symphony with operatic sensibility. In his op 6 no 6, we hear orchestral music that aspires to instil in the listener all the passions that could be found in opera.

A striking feature is the prevalence of minor keys over all three movements, lending their darker shades of feeling to each. Talk about Sturm und Drang: the first movement tosses the listener into a tempest, the second into intense and soulful melancholy, and the finale exclaims with heroic vigour. The endings of the movements are as theatrical as their beginnings – the second sighing away with a languid gesture, the third abruptly halting.

Wolfgang Amadeus MOZARTViolin Concerto no 5 in A major, K219 ‘Turkish’ (1775)

I Allegro aperto – Adagio – Allegro aperto (Fast and open – Slow – Fast and open) II Adagio (Slow) III Rondeau: Tempo di minuetto (Rondo in minuet-time)

The three violin concertos Mozart composed in late 1775 (nos 3, 4 and 5) take quite a step forward in stylistic evolution, introducing what Richard Taruskin calls the ‘symphonicized’ concerto. By this he means that the pieces have elements of more elaborate development in them.

At 19, Mozart had barely embarked on the transformation of symphonic form which would culminate in the ‘Jupiter’ Symphony, but in the Fifth Violin Concerto we can see its beginning. The first movement is a wedding of ‘ritornello’ form with the new Classical style, emulating the vivacious spirit of opera, particularly the more fun kind – opera buffa. If that sounds eclectic, well, that really was the heart of Classical style. After opening with a flourish encompassing various orchestral devices drawn from the Mannheim composers, the soloist brings in the thematic dimension, and the soloist and orchestra (no longer so subservient as in the Baroque manner) exchange ideas

13

in alla turca style. Interpretations of lively Turkish rhythmic music are quite a feature of Mozart’s style, as in the piano Rondo alla Turca and the singspiel The Abduction from the Seraglio (1782). The influence goes back to the days of the Imperial conflict between Ottoman and Habsburg forces (climaxing in the 1683 Battle of Vienna), but by Mozart’s time the musical style was highly gentrified and very popular with audiences, remaining so until Beethoven’s day. It’s from this brief episode – in the key of A minor that Mozart associated with Turkish atmosphere – that the concerto takes its nickname. The return of the minuet restores gracefulness to bring the concerto to its conclusion.

James Koehne © 2017

Mozart (centre) attended a performance of The Abduction from the Seraglio while visiting Berlin in 1789.

interactively. The static pattern of the Baroque form gains new energy through more varied thematic and harmonic engagement between soloist and orchestra.

The Adagio features an emotive communion between soloist and orchestra, like an innocent receiving sympathetic consolation in some imaginary operatic scene. The third movement begins as a graceful minuet, before things turn more lively for an episode

Manuscript of the opening movement of Mozart’s Violin Concerto no 5.

14

FURTHER EXPLORATIONSince Haydn and Mozart are so much better known than J C Bach, he stands out as the figure deserving further exploration. Two recordings can be regarded as classics of the J C Bach discography – both are a bit old now, but no doubt available somewhere: Philippe Jaroussky’s recording of Bach’s opera arias, La Dolce Fiamma, made for Virgin Classics in 2009, and the instrumental Sextet and Quintets recorded by The English Concert on the Archiv label

(423 3852) in 1988. Surround this with reading on the Georgian era, and you have a rich territory of cultural history to explore: Lucy Inglis’ Georgian London: Into the Streets, James Hamilton’s Gainsborough, and Simon McVeigh’s Concert Life in London from Mozart to Haydn are some good starters.

James Koehne © 2017

CALL 1800 688 482 OR VISIT MUSICAVIVA.COM.AU/2018

Single tickets for the complete 2018 International Concert Season are now on sale!

Secure your seat for the one concert that excites you or subscribe to three or more and save!

SINGLE TICKETS ON SALE!

16

INTERVIEW WITH RACHEL PODGERThe British violinist Rachel Podger has a tendency to walk off with music industry awards. Recently her CD of the Biber Rosary Sonatas won a Gramophone Award; her Vivaldi L’Estro Armonico scooped both a BBC Music Magazine Award and a Diapaison d’Or; and the Royal Academy of Music in London, where she teaches, gave her its prestigious Bach Prize.

All that (and more) risks leaving any musician pleased with themselves, yet Podger is wholly unaffected. She wears her deep knowledge of historically informed performance lightly, pairing it with a delicious sense of fun. She lives with her violist husband and two daughters in the Welsh countryside, where she runs the Brecon Baroque ensemble and its annual Brecon Baroque Festival. And her 2017 tour for Musica Viva finds her joining forces with the Orchestra of the Age of Enlightenment, one of the UK’s best-known period-instrument ensembles, which she is directing from the violin.

I first heard Podger 20 years ago at the Huntington Estate Music Festival, Mudgee. Back then she was the violinist of the Baroque group Florilegium and one very hot day they treated us to a three-hour morning concert devoted entirely to Telemann. ‘Gosh, did we?’ Podger laughs. ‘We used to do very long concerts in those days… I remember everyone was walking around with wine glasses, but my conscience didn’t allow me to have a sip!’

She has worked frequently with the OAE over the past decade on plenty of exciting and unusual projects. ‘They’re fantastic individual musicians and they all have many strengths,’ she says, ‘but when you put them together there is a sense of adventure and openness which is lovely, and at the same time they have a unified sense of identity as well. So it is rather special.’

Their program matches the youthful Mozart’s Violin Concertos nos 1 and 5 with JC Bach’s Symphony in G minor, op 6 no 6, and Haydn’s Symphony no 26 in D minor. ‘The Mozart concertos are so incredibly well-crafted that once you get inside their language there’s so much wit and conversation that they almost play themselves,’ Podger enthuses. ‘The JC Bach is interesting because it’s kind of style galant with a slight sense of Sturm und Drang. Then this Haydn symphony is great because it gives different people different roles. I think it goes well with the Mozart concertos. It’s interesting that it makes the Mozart seem more mature – whereas a later Haydn symphony can sometimes make the Mozart sound a little naïve.’

Mozart and Haydn were close friends, but Mozart’s childhood friendship with the older JC Bach is perhaps less widely recognised. ‘Johann Christian Bach left Germany and settled in London, where apparently he was known as John Bach,’ Podger recounts. ‘When Mozart came to London, aged seven or eight, he met JC and they struck up a friendship, although JC was in his twenties. There’s a wonderful account of an incident when the little Wolfgang is sitting on JC Bach’s knee at the keyboard and they’re competing at improvising – and Mozart wins, to the delight of everyone around.’

JC Bach followed in his father JS Bach’s footsteps, but moved far from his style. ‘His music was naturally a reaction against his father’s in-depth counterpoint,’ says Podger. ‘It’s much more light-hearted, in general. If you put them side by side, you’d think JC was a soufflé and JS, a hearty, rich fruitcake!’

17

If Podger speaks of these composers with the tenderness and liveliness that more usually applies to close friends, it’s no wonder: she has devoted her whole career to ‘early music’ and its stylistic performance. Where the latter is concerned, she says, the choice of bow is as important as the instrument, perhaps more so. For the Australian tour, she is bringing her Pesarinius violin of 1739, but when we spoke she was still deciding on the right bow. ‘I have a very light 1760s model – not an original – which is great for early galant,’ she says. ‘I did the Haydn concertos on that and it was fantastic: light in the right bits, but with a nice depth to the quality of sound. A bow really can change the sound so much.’

The challenges of travelling with early instruments and gut strings are quite extreme because of these objects’ sensitivity to extreme climatic conditions. ‘You have to have plenty of strings and plenty of patience because things tend to get stuck,’ Podger acknowledges. ‘The

different parts of the instruments swell up at different rates because they’re different kinds of wood, and that can cause problems.’

Nevertheless, she holds out against compromise. ‘It’s always quite a liability, playing on gut strings; it’s much more reliable to use metal strings,’ she says. ‘But then you don’t get the benefits of the beautiful mellow colours, or the brightness, or the variety of sound you can get from playing really into the string. However bad the weather conditions might be, I’d never decide to put a metal string on instead – even though you can be tempted when there are terrible squeaks and it’s very humid and there are mozzies around and you’re going crazy and thinking, “How am I going to get a sound out of this?”’ Fortunately, she adds, ‘this violin seems to like Wales.’ Hopefully, New South Wales too.

Besides the Australian tour, the new year brings many more excitements: not least, her latest recording, Bach’s The Art of Fugue, is just out. ‘And I’m about to record Vivaldi’s The Four Seasons, finally!’ she smiles. ‘There’s lots to look forward to. And so much to do.’

Jessica Duchen © 2016

MUSICA VIVA'S AMADEUS SOCIETY

The Amadeus Society is a group of passionate music lovers and advocates in Sydney and Melbourne who have joined together to support the artistic initiatives of Musica Viva.

The Society exists to help bring the excitement and inspiration of the world’s most extraordinary musicians to Australian audiences. In 2017, the group is thrilled to support national tours by both Eighth Blackbird and Orchestra of the Age of Enlightenment & Rachel Podger.

To learn more about the Amadeus Society and how you can help bring some of the world’s leading artists to Australia, please contact:

Judy Duffy Acting Director of Development T: 02 8934 6616 E: jduffy@musicaviva.com.au

Photo taken at Amadeus meet the artists event with Eighth Blackbird, Sydney 2017.

SABINE MEYER & ALLIAGE QUINTETTFantasia is a journey through musical fairytales. It features a unique collaboration between legendary clarinettist Sabine Meyer and the brilliant piano and saxophones of the Alliage Quintett.

TOURING 23 FEB – 12 MAR 2018

“The Quintett creates the extraordinaryillusion of the sound of a big orchestra with four saxophones and a piano; joined by Sabine Meyer they create musical magic.”ClassicFM UK

Single Tickets on sale nowBook at musicaviva.com.au/meyer1800 688 482

Adelaide Concert presented in association with Adelaide Festival

20

MUSICA VIVA PATRONSWe thank the generous individuals and families who make an important contribution to our activities each year. Every gift is important, ensuring that Musica Viva remains at the forefront of artistic excellence and that our award-winning education program continues to reach children who would otherwise have no access to the inspirational experience of live music. To make a gift to Musica Viva, please contact Callum Close on (02) 8394 6636 or cclose@musicaviva.com.au

ACTGeoffrey & Margaret BrennanThe late Ernest Spinner

NSWThe late Sibilla BaerThe late Charles BergThe late Dr Anthony J BookallilCatherine Brown-Watt psm & Derek WattLloyd & Mary Jo CappsAndrew & Felicity CorkillThe late Moya Jean CraneLiz GeeSuzanne GleesonThe late Janette HamiltonDavid & Christine HartgillThe late Margaret HedvigThe late Dr Ralph Hockin, in memory of Mabel HockinThe late Irwin ImhofElaine Lindsay

The late Joyce MarchantThe late Suzanne MellerTrevor NoffkeThe late Michael RobinsonThe late John RobsonDr David SchwartzThe late Alison TerryThe late Kenneth W Tribe ac

Mary Vallentine ao

Deirdre Nagle WhitfordKim Williams am

Ray Wilson oam

The late Elisabeth WynhausenAnonymous (4)

QLDThe late Miss A HartshornThe late Steven Kinston

SAThe late Ms K Lillemor AndersenThe late Patricia Baker The late Edith Dubsky

Mrs G Lesley LynnAnonymous (1)

TASKim Paterson qc

VICJulian Burnside ao qc

Ms Helen DickIn memory of Anita MorawetzThe family of the late Paul MorawetzThe late Elizabeth OatesThe late Mrs Catherine SabeyThe late Mrs Barbara ShearerThe late Dr G D WatsonAnonymous (3)

WAThe late Dr Andrew StewartAnonymous (2)

People who have notified us of their intention to leave a gift to Musica Viva in their will are part of a very special group of Musica Viva Custodians. A bequest to Musica Viva will enable us to continue presenting performances of the highest quality to the widest range of audiences across Australia, well into the future. To discuss, in confidence, a bequest gift, please contact Callum Close on (02) 8394 6636 or cclose@musicaviva.com.au

MUSICA VIVA CUSTODIANS

Julian Burnside ao qc (President, Melbourne) & Kate DurhamRuth Magid (Chair, Sydney) & Bob MagidThe Hon. Dr Annabelle Bennett ao sc

Tony Berg am & Carol BergMarc Besen ac & Eva Besen ao

Di Bresciani oam

Ms Jan Bowen am

Tom Breen & Rachael KohnDavid Constable am & Dr Ida LichterDr Cyril CurtainJennifer Darin & Dennis CooperDaryl & Kate DixonDr Helen FergusonMs Annabella FletcherEleanore GoodridgeKatherine & Reg Grinberg

Jennifer Hershon & Russell BlackPenelope HughesJacqueline HuieAndrew JohnstonMichael & Frederique KatzThe Hon. Jane Mathews ao

Isobel Morgan oam

Prof. John RickardBarbara RowleyRay Wilson oam

The Amadeus Society exists to help bring the excitement and inspiration of the world’s most extraordinary musicians to Australian audiences. In 2016, the Society provided significant support for the world premiere and national tour of Voyage to the Moon. This year, the Society is proud to support the national tours of Eighth Blackbird and the Orchestra of the Age of Enlightenment & Rachel Podger. To learn more about the Amadeus Society and how you can help bring some of the world’s leading international artists to Australia, please contact Judy Duffy on (02) 8394 6616 or jduffy@musicaviva.com.au

AMADEUS SOCIETY

21

MUSICA VIVA PATRONS

NSW$100,000 +The Berg Family Foundation Katherine Grinberg, in honour of Adrienne Nagy & Yolanda (Nagy) Daniel

$20,000 – $99,999David Constable am & Dr Ida Lichter Tom & Elisabeth Karplus The Hon. Jane Mathews ao Jo Strutt Kim Williams am

Ray Wilson oam

$10,000 – $19,999Anne & Terrey Arcus am Ruth Armytage am Tom Breen & Rachael Kohn Jennifer Darin & Dennis Cooper Daryl & Kate Dixon John B Fairfax ao

Jennifer Hershon & Russell Black Hilmer Family Endowment Michael & Frederique Katz Ruth & Bob MagidVicki Olsson Edward & Anne SimpsonDavid & Carole Singer Anthony Strachan Geoffrey White oam & Sally White oam Anonymous (1)

$5,000 – $9,999Michael & Margaret Ahrens The Hon. Dr Annabelle Bennett ao sc

Ms Jan Bowen am Christine Davis Gardos FamilyEleanore Goodridge Charles & Wallis Graham Warren Kinston & Verity Goitein Prof. Iven Klineberg am rfd & Mrs Sylvia Klineberg Lesley & Andrew Rosenberg Geoff Stearn Anonymous (3)

QLD$10,000 – $19,999Ian & Caroline Frazer Andrea & Malcolm Hall-Brown The MacNicol family The Hon. Justice A Philippides Anonymous (1)

$5,000 – $9,999Noosa Federation of the Arts Inc.

SA$20,000 +Anonymous (1)

$10,000 – $19,999Aldridge Family EndowmentDay Family FoundationLang Foundation

Marsden Szwarcbord FoundationP M Menz Anonymous (1)

VIC$20,000 +Julian Burnside ao qc Anonymous (1)

$10,000 – $19,999Di Bresciani oam & Lino Bresciani

$5,000 – $9,999Marc Besen ac & Eva Besen ao Dr Cyril Curtain Dr Helen Ferguson William J Forrest am Doug & Ross Hooley, in memory of Beryl Hooley Penelope Hughes Andrew JohnstonIsobel Morgan oam

Prof. John Rickard Barbara RowleyGreg Shalit & Miriam Faine Stephen Shanasy Wendy TaylorAnonymous (1)

WA$20,000 +Anonymous (1)

$10,000 – $19,999Deborah Lehmann & Michael Alpers

MAJOR GIFTS

MASTERCLASSESMusica Viva’s Masterclass program is supported by principal patrons Stephen Johns & Michele Bender, the Sydney Conservatorium Association (NSW), Lyn Hamill & Ian Dover (QLD), Wesfarmers Arts (WA), Anonymous Donor (SA) and Mary Turner oam (Newcastle).

THE HILDEGARD PROJECT in support of women in compositionThis project is made possible by a generous gift from Katherine Grinberg in honour of the late Adrienne Nagy and her sister Yolanda (Nagy) Daniel.

Friends of Peter Burch am bm

Julian Burnside ao qc

Carnegie Hall

The Huntington Estate Music Festival CollectiveSeattle Commissioning Club

The Silo CollectiveJohn & Jo StruttKim Williams am

KEN TRIBE FUND FOR AUSTRALIAN COMPOSITION

$20,000 +Beth Brown & Tom Bruce am

$10,000 – $19,999Roger Druce & Jane Bentley

$5,000 – $9,999Joanna BaevskiPeter Lovell Musica Viva Victorian State CommitteeMyer Family Foundation

$500 – $4,999Bibi & David WilkinsonProject 11Anonymous (1)

MELBOURNE INTERNATIONAL CHAMBER MUSIC COMPETITION

22

ACT

$2,500 – $4,999Kristin van Brunschot & John HollidayAnonymous (1)

$1,000 – $2,499Dr Marian Hill Margaret & Peter Janssens Garth Mansfield oam & Margaret Mansfield oam S G & K L Nogrady Margaret Oates Sue Packer Craig Reynolds Dr Andrew Singer Sue Terry & Len Whyte Margot Woods & Arn Sprogis Anonymous (5)

$500 – $999Geoffrey & Margaret Brennan Dudley & Helen CreaghJoanne Ferguson & Malcolm SnowLesley Fisk Margaret Goode Judith HealyKingsley Herbert Vivien & Roger Hillman Elspeth Humphries Claudia Hyles Robyn McKay Helen Rankin Clive & Lynlea Rodger Robert & Valerie Tupper Janice C Tynan Dr Paul & Dr Lel Whitbread Anonymous (2)

NSW

$2,500 – $4,999Penny BeranNeil BurnsBrian Cohen, in memory of Sue Cohen John & Irene Garran Kevin & Deidre McCann

Alexandra Martin Patricia ReidMary Turner oam Kay Vernon Dr Elizabeth Watson

$1,000 – $2,499Judith Allen David & Rae Allen Dr Warwick Anderson Andrew Andersons ao & Sara Bennett Baiba Berzins Catherine Brown-Watt psm & Derek WattMr & Mrs N K Brunsdon Robert Cahill & Anne Cahill oam Lloyd & Mary Jo Capps Yola & Steve Center Stefan CouaniIn memoriam Glendon Coulton Patricia Curotta Sarah & Tony Falzarano Cathy GrayMr Robert Green In loving memory of Jose Gutierrez Robert & Lindy Henderson Dorothy Hoddinott ao Elaine IrwinAngela IslesLeta Keens Mrs W G Keighley Robert McDougall Prof. Kenneth McKinnon & Sue Walker D M & K M Magarey Dr Dennis Mather & Mr John Studdert Michael & Mary Whelan Trust Musica Viva StaffMichael & Janet Neustein Paul O’Donnell Andrew PageChristina Pender John & Sue Rogers Dr Lynette Schaverien Caroline Sharpen & Andrew Parker

Andrea SimpsonAveen & Ashley StephensonSydney Conservatorium AssociationCharles WadeJohn & Flora Weickhardt Anonymous (3)

$500 – $999Dr Jennifer ArnoldMrs Kathrine Becker Gay Bookallil Stephen BoothDenise Braggett Maxine Brodie Diana Brookes Hilary & Hugh Cairns Lucia Cascone Michael & Colleen Chesterman Callum Close & James Tolhurst Douglas & Caroline CoulsonPamela Cudlipp Robin & Wendy Cumming Greta DavisGreg Dickson & Penny Le Couteur Catherine Ellis & Alexander Drake Dr Arno Enno & Dr Anna EnnoMrs Noelene FerrierMichael & Lianne Graf Anthony Gregg & Deanne Whittleston Deryn GriffithsHope HanksNeil & Pamela HardieRohan HaslamSandra Haslam Roland & Margaret Hicks John & Barbara HirstDr Alisa Hocking & Dr Bernie WilliamsHoffman & Koops LawyersHoward & Brigitte InsallDavid & Jennifer Jacobs Jacqueline Jago

Owen James Dr Esther JanssenErvin & Judy KatzCatherine & Robert Kench Graham & Sue Lane Ian & Pam McGawA & E Marshall Timothy Matthies & Chris Bonnily Donald Nairn Professors Robin & Tina OfflerDiane Parks Merry & Robert PearsonBeryl Raymer The late Milton RenhamRoslyn Renwick Penny Rogers Carl Segal Vivienne Sharpe & Tim McCormickKim Slater Lidia StojanovskiRichard & Beverley TaperellTim & Vincie Trahair Douglas & Pamela TribeMr Graham Tribe am & Mrs Judy TribeChristopher Whitehead & Peter Wilson Richard Wilkins Megan & Bill Williamson Anonymous (7)

QLD

$2,500 – $4,999Lyn Hamill & Ian Dover Andrew & Kate Lister

$1,000 – $2,499George Booker & Denise BondRobin Harvey In memory of Anna ClendinningLynn & John KellyJocelyn Luck B & D Moore

VIRTUOSI

MUSICA VIVA PATRONS

23

Debra & Patrick Mullins Dr Nita Vasilescu Anonymous (3)

$500 – $999Marion Alford William Edwards Dr Amanda Hume Marie Isackson M F Lejeune Joanne Rennick Dr Nancy UnderhillMichelle Wade & James Sinclair Dr Karen Watson Barbara Williams & Jankees van der Have Anonymous (1)

SA

$2,500 – $4,999Mark Lloyd & Elizabeth Raupach H & I Pollard Ms Judy Potter

$1,000 – $2,499David & Kate Bullen Ivan & Joan Blanchard The Hon. D J & Mrs E M Bleby John & Libby Clapp Peter CliftonAnna Cox oam

Geoffrey Day Dr Michael DrewLorraine DrogemullerBrian L Jones oam Bronwen L Jones Jenny & Christopher Legoe Skye McGregor Fiona MacLachlan oam

Ann & David Matison Trish & Richard Ryan ao Tony & Joan Seymour STARSRobert & Glenys Woolcock Anonymous (2)

$500 – $999Richard Blomfield Beverley A Brown Christopher & Margaret BurrellJosephine Cooper Jacqueline Cornell

Carolyn Grantskalns Raymond & Jenny Greet Dr E H & Mrs A Hirsch Elizabeth Ho oam, in honour of the late Tom Steel Alison Kinsman am Dr Peter & Mrs Jenny Last Robert & Delysia Lawson Andrew & Virginia Ligertwood Ruth Marshall & Tim Muecke Galina Mikhailovna PodgoretskyMarie ReichsteinMichael SteeleJune & Brian Ward Jeffrey Whitford Dr Richard Willis & Gretta Willis Jim & Ann Wilson Ann Woodroffe Anonymous (2)

VIC

$2,500 – $4,999Mary & Arnold BramAlastair & Sue Campbell Carrillo Gantner ao Peter Griffin am & Terry SwannJianguo Pty LtdMegan O’ConnorRalph & Ruth Renard Maria Sola Helen Vorrath

$1,000 – $2,499Russ & Jacqui BateAlison & John Cameron Caroline & Robert ClementeVirginia Henry Helen Imber & Ian Proctor John V Kaufman qc Irene Kearsey & Michael Ridley June K Marks Murray Sandland

Sally SimpsonHywel Sims Ray Turner & Jennifer SeabrookDr Victor & Dr Karen Wayne Anna & Mark Yates Anonymous (7)

$500 – $999Dr William Abud Helena Anderson Dr David Bernshaw Wendy & Michael BertramSuzie & Harvey Brown Pat BurkeMrs Maggie Cash John & Mandy Collins Dr Judy Davey Dhar Family Lord & Lady Ebury Vivien & Jack Fajgenbaum Geoffrey & Mary Gloster Brian Goddard Barbara HamerDr Anthea Hyslop Nola JenningsAngela Kayser Diana LempriereRowena & Richard McDonaldJane MorrisDennis & Fairlie NassauGreg J Reinhardt Eda Ritchie am Mrs Suzy & Dr Mark Suss Philip ThielSefton Warner Jennifer Whitehead

WA

$2,500 – $4,999Alan & Anne Blanckensee David Cooke David Wallace & Jamelia Gubgub

$1,000 – $2,499Alan Dodge & Neil Archibald Haylie EckerFreda & Jim Irenic

Anne Last & Steve Scudamore M E M Loton oam Mrs Frances Morrell Prichard Panizza FamilyMargaret & Rodger SearesElizabeth Syme Robyn Tamke Anonymous (3)

$500 – $999David & Minnette AmbroseHarry Anstey Fred & Angela Chaney S CherianNerida Dilworth am In memory of Raymond Dudley Dr Penny Herbert, in memory of Dunstan Herbert Ms Helen Hollingshead & Mr John HollingsheadMr Graham Lovelock & Mr Steve Singer Megan Lowe Geoffrey MasseyJenny Mills, in memory of Flora Bunning Colleen Mizen John Overton Mark & Ingrid PuzeyLindsay Silbert Betty Smith-GanderCisca SpencerEllie Steinhardt Christopher TylerMargaret Wallace Helen Westcott Anonymous (1)

If you have any questions about this list, please contact Vennisa Santoro on 1300 786 186 or vsantoro@musicaviva.com.au

This list is complete as at 21 September 2017.

24

Musica Viva is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body. Musica Viva is assisted by the NSW Government through Create NSW.

MUSICA VIVA CONCERT PARTNERS

HOTEL PARTNERS COSTUME PARTNER

GOVERNMENT PARTNER FUTUREMAKERS PARTNER

MEDIA PARTNER MICMC

National Media Partner Melbourne International Chamber Music Competition Grand Prize Partner

ARTS & HEALTH PARTNER CHAMPAGNE PARTNER ACT WINE PARTNER

NSW & QLD WINE PARTNER SA WINE PARTNER WA WINE PARTNERS

BUSINESS PARTNERS

Law Firm Partner Chartered Accountants Partner Piano Partner

SERIES AND TOUR PARTNERS

Perth Concert Series Coffee Concert Series

25

MUSICA VIVA EDUCATION PARTNERS

ARTS & HEALTH PARTNER

ACT NT

MUSICA VIVA IN SCHOOLS Digital Innovation National Partner

QLD TAS

NSW VIC

The Marian & E H Flack Trust

Hamer Family Fund

In memory of Anita Morawetz

M S Newman Family FoundationGodfrey Turner

Memorial Music Trust

SA WA

Aldridge Family Endowment Carthew Foundation

Day Family Foundation FWH Foundation

Lang Foundation Marsden Szwarcbord Foundation

Coopers Brewery Foundation

Musica Viva Subscribers head over to our Cellar Door, located at 3182 Barton Highway, Murrumbateman and taste through our selection of new vintages and Cellar Door exclusive wines, and simply

quote the promotional code “BENEFIT2018” at your time of purchase to receive your discount. For more information on Eden Road Wines, head to our website at: www.edenroadwines.com.au

Get a 20% discount on any six or more bottles purchased from our Cellar Door, to celebrate our partnership

with Musica Viva in the ACT.

Get a 20% discount on any six

Please note that this discount is not applicable to online purchases, or to any fees associated with shipping your purchase from our Cellar Door.

Bringing the connection to the artsBAI Communications is dedicated to supporting local communities around the globe. We have a strong history of partnering with some of Australia’s most celebrated arts companies.

We are proud to be the Digital Innovation Partner to Musica Viva Australia, and to support their journey to inspire, enrich and educate children and people through music.

BAI Communications would like to extend a warm welcome to our special guests for this performance of the Orchestra of the Age of Enlightenment and Rachel Podger.

baicommunications.com

New York | Boston | Toronto | London | Hong Kong | Sydney

Phot

o: K

eith

Sau

nder

s

Musica Viva Subscribers head over to our Cellar Door, located at 3182 Barton Highway, Murrumbateman and taste through our selection of new vintages and Cellar Door exclusive wines, and simply

quote the promotional code “BENEFIT2018” at your time of purchase to receive your discount. For more information on Eden Road Wines, head to our website at: www.edenroadwines.com.au

Get a 20% discount on any six or more bottles purchased from our Cellar Door, to celebrate our partnership

with Musica Viva in the ACT.

Get a 20% discount on any six

Please note that this discount is not applicable to online purchases, or to any fees associated with shipping your purchase from our Cellar Door.

This festive season, help Musica Viva bring joy, spark imagination and transform lives

through music.

Please support our music education programs by 31 December 2017.*All gifts of $2 and over are tax-deductible.

Thank you & Season’s Greetings!

musicaviva.com.au/donate or call 1300 786 186

28

STORIES TO INSPIRE

A Lasting Legacy for Musica Viva – The Janette Hamilton Studio

Janette Hamilton (1940–2016)

The move to Musica Viva’s new national office in Green Square, Sydney, has seen the addition of a purpose-built performance, rehearsal and recording studio which has been named to honour the memory of Janette Hamilton – a gifted musician, teacher and member of the Musica Viva Younger Set, whose generous bequest made it possible.

Born in Sydney in 1940, Janette was a prodigious pianist from a young age, often outshining much older pianists with her skill and musicality. Before the age of 19, she had won numerous awards at the local, state and national level and was awarded her Licentiate Diploma by the time she was 17.

Janette began her career at Cremorne Girls High School before being awarded a Rotary International Scholarship to study in London.

After returning, she performed extensively as a recitalist, chamber musician and soloist with the Sydney Symphony Orchestra, whilst teaching at various secondary schools, including roles as Head of Music at both Meadowbank and North Sydney Boys High schools. In all her teaching, she was renowned for the passion and dedication she showed towards her craft and students.

‘[She was] a poised and elegant lady of strong convictions, who held herself and those around her to very high standards. She always encouraged her students to strive for excellence, not only academically, but also in performance and in all aspects of presentations. She always managed to do this within a very supportive environment.’ – Dimity Hall, Goldner String Quartet.

In 1981, whilst on her way to dinner with friends, Janette was involved in a tragic

Official Opening: L-R Michael Brealey (CEO, Create NSW), Tony Berg am (Patron, MVA), Mary Jo Capps (CEO, MVA), Charles Graham (Chair, MVA), Michael Katz (President, Members Council MVA).

© K

eith

Sau

nder

s

29

Janette (far right) with other members of the Younger Set.

Below: The Janette Hamilton Studio.

If you are interested in leaving a lasting legacy to Musica Viva or would like some

further information on becoming a Custodian, please contact Callum Close at

cclose@musicaviva.com.au or (02) 8394 6636.

accident that left her wheelchair-bound for the remainder of her life. Many months of rehabilitation followed, and unfortunately, she was unable to continue performing or teaching due to the extent of her injuries. She turned her energy to mentoring, and became an important figure in the development of many emerging musicians. Despite her injuries, she rarely missed live music performance in Sydney, particularly the Sydney Symphony Orchestra and Musica Viva.

When Janette passed away in July of 2016, she left a percentage of her estate to Musica Viva through a bequest in her will. It was through her generosity and this gift that Musica Viva was able to build the new Janette Hamilton Studio, which was officially opened by CEO of Create NSW, Michael Brealey, on Thursday 14 September 2017. The studio will offer a permanent

space for the organisation’s own Artist Development programs and provide a workshop and rehearsal space for visiting artists, as well as, importantly, being made available at minimal cost to those in the small-to-medium arts sector. The studio is evidence of Musica Viva’s collaborative approach to music-making and its role as an enabler of the greater arts ecology in Australia.

30

Musica Viva New Building Opening Party

Adam Hall and the Velvet Players performing in the new Janette Hamilton Studio

Performance by the Goldner String Quartet

Guests in attendanceFrom left: Michael Brealey (CEO, Create NSW), Mary Jo Capps (CEO), Tony Berg am (Patron) and Charles Graham (Chairman)

Dr Catherine Brown-Watt psm (Life member) and Derek Watt with the Velvet Players From left: Kate Tribe, Nyree Vartoukian and Paul Stuart

All

pic

ture

s ©

Kei

th S

aund

ers

From left: Dene Olding am, Catherine Dovey and Mary Vallentine ao (Life member) Mary Jo Capps with the Goldner String Quartet

From left: Kim Williams am, Tony Berg am, Charles Graham and Mike Katz (President, Members Council)

From left: The Hon. Justice Robert Macfarlan, Babette Smith oam, Peter Lyons (Life member) and Tom Breen (Board member)

Experience another side to music-making by attending one of Musica Viva’s Masterclasses in 2018. Observe talented musicians being mentored by the world’s finest chamber musicians, offering unique perspectives on music interpretation, technique and performance. Each Masterclass is conducted by artists touring as part of Musica Viva’s International Concert Season and provides students, music teachers and audiences of all ages with an entertaining and enriching learning experience.

2018 MASTERCLASSES INCLUDE

SABINE MEYER & ALLIAGE QUINTETT Brisbane – Wed 28 Feb Melbourne – Mon 5 Mar Sydney – Fri 9 Mar Perth – Mon 12 Mar

TAFELMUSIK BAROQUE ORCHESTRA Melbourne – Mon 21 May Adelaide – Mon 28 May Brisbane – Wed 30 May Sydney – Fri 1 Jun

RAY CHEN Brisbane – Wed 8 Aug Canberra – Fri 17 Aug Melbourne – Fri 24 Aug Sydney – Mon 27 Aug

SIR ANDRÁS SCHIFF Melbourne – Fri 19 Oct

BENEDETTI ELSCHENBROICH GRYNYUK TRIO Newcastle – Sat 17 Nov

For a full list of Masterclasses and to get your tickets visit musicaviva.com.au/masterclasses

MASTERCLASSES

TICKETS ON SALE Wednesday 8 November 2017

32

CONCERT INSIGHTS

eNews

Sign up for our monthly e-newsletter and special offers at musicaviva.com.au/enews

Concert Guide

Read a digital version of this concert guide at musicaviva.com.au/orchestra

Online Bookings

Avoid booking fees and buy your next Musica Viva concert tickets through musicaviva.com.au or 1800 688 482

Feedback

We’d love to hear from you! Send your feedback to contact@musicaviva.com.au

Concert Insights is Musica Viva’s program of events, resources and concert information that will enhance your concert experience. At every International Concert Season concert, we present Pre-Concert Talks (45 minutes prior to each concert), as well as a selection of CD signings, Meet the Artists, and a variety of other interactive events and experiences. Details are published in the weeks leading up to the start of each tour.

Visit musicaviva.com.au/insights

Connect with us online for chamber music news, views and more!

Social Media

Find us on Facebook, Twitter and Instagram and share your photos and experiences using the #MusicaViva2017 hashtag

Blog

Visit our blog for the latest concert news, artist interviews and behind-the-scenes videos at musicaviva.com.au/blog

OPERATING IN SYDNEY, MELBOURNE, CANBERRA, BRISBANE, ADELAIDE, PERTH, HOBART & DARWIN

OVERSEAS OPERATIONS:

New Zealand — Wellington: Playbill (NZ) Limited, Level 1, 100 Tory Street, Wellington, New Zealand 6011; (64 4) 385 8893, Fax (64 4) 385 8899. Auckland: PO Box 112187, Penrose, Auckland 1642; Mt Smart Stadium, Beasley Avenue, Penrose, Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148, Email: admin@playbill.co.nz. UK: Playbill UK Limited, C/- Everett Baldwin Barclay Consultancy Services, 35 Paul Street, London EC2A 4UQ; (44) 207 628 0857, Fax (44) 207 628 7253. Hong Kong: Playbill (HK Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK 168001 WCH 38; (852) 2891 6799, Fax (852) 2891 1618. Malaysia: Playbill Malaysia Sdn Bhn, C/- Peter I.M. Chieng & Co., No.2 – E (1st Floor) Jalan SS 22/25, Damansara Jaya, 47400 Petaling Jaya, Selangor Darul Ehsan; (60 3) 7728 5889, Fax (60 3) 7729 5998. Singapore: Playbill (HK) Limited, C/- HLB Loke Lum Consultants Pte Ltd, 110 Middle Road #05-00 Chiat Hong Building, Singapore 188968; (65) 6332 0088, Fax (65) 6333 9690. South Africa: Playbill (South Africa) (Proprietary) Limited, C/- HLB Barnett Chown Inc., Bradford House, 12 Bradford Road, Bedfordview, SA 2007; (27) 11856 5300, Fax (27) 11856 5333.

All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright. Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. Additional copies of this publication are available by post from the publisher; please write for details. 18205 — MVA 177 — 1/091117

This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064

This publication is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover other than that in which it was published.

Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: admin@playbill.com.au Website: www.playbill.com.au

Head Office: Suite A, Level 1, Building 16, Fox Studios Australia, Park Road North, Moore Park NSW 2021; PO Box 410 Paddington NSW 2021

Chairman Brian Nebenzahl OAM RFD

Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager — Production — Classical Music David Cooper

CRI

CO

S 0

02

33

E J

001

23

2

When performance is your passionQueensland Conservatorium continues to produce musical theatre professionals of the highest calibre.

From 2018, we are proud to also offer a Bachelor of Acting, with study across a range of genres, ensemble work, technique classes, acting for camera, industry-led workshops and public performances.

Find your place on the world stage.

griffith.edu.au/acting | griffith.edu.au/musicaltheatre

Every Sunday and Tuesday nights be transported with the best orchestral music from around the world.

Check your Foxtel guide for more details.

foxtelarts.com.au @FoxtelArts