SERIES 01

Vivaldi’s VeniceDATES

Sydney City Recital Hall Wednesday 26 February 7:00 PM Friday 28 February 7:00 PM Saturday 29 February 2:00 PM (Matinee) Saturday 29 February 7:00 PM Wednesday 11 March 7:00 PM Friday 13 March 7:00 PM

Brisbane Queensland Performing Arts Centre Tuesday 3 March 7:30 PM

Melbourne Melbourne Recital Centre Thursday 5 March 7:00 PM Saturday 7 March 7:00 PM Sunday 8 March 5:00 PM

Concert duration approximately 100 minutes, including one 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.

This concert will be recorded for delayed broadcast on ABC Classic.

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SERIES 01

Vivaldi’s VeniceARTISTS

Xavier de Maistre (France) harp Paul Dyer AO Artistic Director Australian Brandenburg Orchestra

PROGRAM

Vivaldi Sinfonia in C major from L’Olimpiade, RV 725 i Allegro ii Adagio iii Allegro

Vivaldi Concerto in D major, RV 93 i Allegro giusto ii Largo iii Allegro

Marcello Concerto in D minor, S D935 i Andante e spiccato ii Adagio iii Presto

Parish Alvars La Mandoline, Op. 84

Albinoni Sonata II a 5 in C major, Op. 2 No. 3 i Largo ii Allegro iii Grave iv Allegro

Vivaldi Concerto in G major, RV 310, Op. 3 No. 3 i Allegro ii Largo iii Allegro

Interval

Gregori* Concerto Grosso in D major, Op. 2 No. 2 i Grave ii Allegro iii Largo iv Allegro

Albinoni/Giazotto Adagio in G minor

Pescetti Sonata in C minor i Allegro ma non presto ii Moderato iii Presto

Vivaldi Concerto for Strings & Continuo in F major, RV 141 i Allegro molto ii Andante molto iii Allegro molto

Vivaldi L’inverno, Concerto in F minor, RV 297, Op. 8 No. 4 i Allegro non molto ii Largo iii Allegro

* Denotes Australian première

2 3AUSTRALIAN BRANDENBURG ORCHESTRA VIVALDI’S VENICE

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Mozart 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

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Bach 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

16–31 JUL

Mozart’s Clarinet

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

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

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

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

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

Notre- Dame

22 OCT – 6 NOV

Ottoman Baroque

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

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

PROGRAM NOTES

Vivaldi’s VeniceFrom the twelfth to the sixteenth century Venice had been one of the great trading centres of Europe, but by the eighteenth century its main trade was culture. Tourists were drawn from all over Europe to see the city’s art treasures, majestic churches and grand palazzos, to hear the magnificent displays of sound and pageantry at public festivals, and to attend the church services which contained so much music they were more like concerts than religious ceremonies. About 30,000 foreigners visited Venice every year, rowed in a gondola four kilometres across the lagoon, to the one hundred and eighteen islands which make up the city. (The connecting bridge was only built in 1933). Many visitors hired guides to accompany them through the maze of alleys, canals and bridges, and to protect them from armed bands of thieves and assassins who roamed the city at night. Time was different in Venice: the new year began on the 1st of March, so travellers might leave France or Germany in January 1723 but find themselves back in 1722 when they arrived. For the Venetians (along with most of Italy) the first hour of the day was the hour after the sun set – so midnight could be 4 o’clock, or 8 o’clock, depending on whether it was summer or winter. Unsuspecting travellers from English-speaking countries would have been further bamboozled by the use of the twenty-four-hour clock, and all would have

been taken aback by the sight of many people wearing masks. Mask-wearing was a centuries-old tradition, regulated by law. In the early eighteenth century masks could be worn for six months of the year, and nobles had to wear masks at state ceremonies and public events, and at the theatre.

Much of the best instrumental and choral music could be heard at the four ospedali, charitable institutions which cared for orphans and destitute children, and which each maintained all-female orchestras and choirs whose standard was equal to anything one could hear anywhere in Europe. Venetian composers were at the cutting edge of the new Italian style, at once impassioned and lyrical. Chief among them was Antonio Vivaldi, who revolutionised the concerto and changed the direction of instrumental music for generations to come.

PROGRAM NOTES

Vivaldi’s VeniceAntonio Vivaldi (1678–1741)

SINFONIA IN C MAJOR FROM L’OLIMPIADE, RV 725

Allegro Adagio Allegro

Vivaldi was one of the most successful opera composers in Italy in the first decades of the eighteenth century. His opera-composing career covered almost thirty years, and he spent long periods travelling throughout Italy staging his own operas. Like Handel, Vivaldi was very entrepreneurial.

L’Olimpiade dates from 1734, composed for the carnival season at the Teatro Sant’ Angelo in Venice, when Vivaldi was impresario of the theatre. This sinfonia, or short symphony, functioned as the overture. In this period the music of the overture did not directly relate to that of the opera to follow but set the mood more generally. Vivaldi builds excitement from the beginning with a typically vigorous first movement with its rushing semiquavers and signature rapid octave leaps, which struck his contemporaries as thrillingly innovative. A lyrical second movement leads to the typical dance-like third movement, which reminded the audience that the opera would, as usual, have a happy ending.

CONCERTO IN D MAJOR, RV 93

Allegro giusto Largo Allegro

Vivaldi was taught violin by his father, who played in the orchestra at the Basilica of San Marco and was also a barber and wig-maker. Vivaldi was ordained as a priest in 1703, and known thereafter as the Red Priest, probably because of the colour of his hair. He was not particularly pious: the priesthood was an accepted career path in Italy especially for someone who was keen to improve their social standing. After a year he gave up saying mass, claiming a debilitating chest complaint: ‘I almost always remain at home and go out only in a gondola or carriage, since my chest ailment prevents me from walking.’ It did not prevent him from maintaining a unique level of virtuosity on the violin, or from travelling throughout Italy, mounting his many operas to great acclaim. It also did not prevent him from working for the Pietà, most famous of the Venetian ospedali, where he was a violin teacher and then music director on and off for much of his working life, and for whom he wrote most of his over five hundred concertos. In 1723 the governors contracted him to compose two concertos a month, even when he was away from Venice, ‘in order to keep the … ensemble in as high repute as it has reached up to the present’.

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PROGRAM NOTES

Vivaldi’s VeniceVivaldi probably wrote this particular concerto in 1730. He and his father had left Venice at the end of 1729 to travel to Vienna, where his new opera Argippo was being performed, and then on to Prague. While they were in Prague it is likely that Count Johann Joseph von Wrtby, the royal governor of Bohemia, commissioned this concerto and two trios for lute. As is the case for almost all of Vivaldi’s works, the intended performer is not known, although it could have been Count Wrtby himself as the lute was still a popular recreational instrument in that part of Europe.

WHAT TO LISTEN FOR

The Pietà girls and young women played a wide range of instruments, which Vivaldi used in all manner of unusual combinations and which helped develop his strong sense of tonal colour and texture. In this concerto he ensured that the soft-grained sound of the lute (here the harp) was not swamped by the more vibrant bowed strings. The fast outer movements are built around passages alternating between full orchestra and soloist, in a structure known as ritornello form which Vivaldi was the first composer to use extensively. In the soloist’s passages the orchestra drops right away, leaving the harp supported only by the continuo (bass instruments and harpsichord). The distinctive strumming rhythms of the first movement are followed by one of Vivaldi’s most exquisitely serene slow

movements, and the concerto ends with a lively dance-like Allegro.

Alessandro Marcello (1673–1747)

CONCERTO IN D MINOR, S D935

Andante e spiccato Adagio Presto

Alessandro Marcello came from a Venetian noble family, who counted a Doge painted by Titian among their ancestors and who had a palazzo on the Grand Canal. Venice in the eighteenth century was a highly stratified society, with all political, judicial and administrative power exercised directly by the small hereditary aristocracy. As an aristocrat Marcello was a member of the governing council, a diplomat, and a magistrate, but he could not be a professional musician as that was a career path open only to artisans, the lowest strata of Venetian society. Like many aristocrats Marcello was exceptionally well educated. He was a mathematics scholar, a skilled globe maker, and poet. He played the violin and collected musical instruments, and spoke seven languages. He was also expert in drawing and painted pictures for the family palaces in Venice and at their country villa, and for the ceiling of the Marcello parish church.

Marcello composed a number of concertos, violin sonatas, and cantatas for the finest singers of the day, including the castrato Farinelli and the celebrated soprano Faustina Bordoni who was Benedetto Marcello’s pupil.

PROGRAM NOTES

Vivaldi’s VeniceWHAT TO LISTEN FOR

This oboe concerto is the best known of Marcello’s compositions, but its provenance is unclear. For some time it was attributed to Vivaldi, or to Benedetto Marcello. It was published in Amsterdam in 1717, but it must have circulated earlier in manuscript, as JS Bach transcribed it in 1713 or 1714 for solo keyboard (BWV 974), along with a number of other Venetian concertos. It is especially famous for its melancholy slow movement. Although its melody could stand on its own, unornamented, it was part of eighteenth-century performance practice for the solo performer to elaborate the melody in such a way as to enhance the mood or affect.

Elias Parish Alvars (1808-1849)

LA MANDOLINE, OP. 84

This man is a magician. In his hands the harp becomes a siren, with lovely neck inclined and wild hair flowing, stirred by his passionate embrace to utter the music of another world.HECTOR BERLIOZ, AFTER HEARING PARISH ALVARS PLAY IN FRANKFURT

Parish Alvars was an English virtuoso harpist and composer for the harp. He was baptised Eli Parish in Devon where his father was a local organist, but at some time and for reasons

unknown he changed his name to Elias Parish Alvars, and all of his compositions were published under that name. At the age of twelve he began studying in London with the virtuoso harpist Nicolas-Charles Bochsa, whose colourful life ended in Sydney in 1855 (his elaborate tomb is in Camperdown Cemetery). From the early 1830s Parish Alvars based himself in Vienna, and embarked on the first of the many concert tours that he was to make throughout Europe. He travelled as far afield as St Petersburg, Moscow and Constantinople, where he played for the Sultan Mahmud II.

Parish Alvars was innovative in exploiting the many effects and harmonic capabilities of the new double-action pedal harp, developed in 1810 by French harp builder Sébastien Erard. The pedals meant that the instrument could be played in any key, a necessity for modern orchestral music. In 1842 Parish Alvars acquired the latest in double-action harps, the ‘Gothic’ model, larger, more strongly constructed, and with more strings than its predecessors. This inspired him to develop even more innovative techniques which used the instrument in an entirely new way, and for which he was greatly admired by his contemporaries including Mendelssohn and Liszt. A newspaper article from 1842 described him in the romantic terms popular in the period, focusing as much on his looks as his playing:

22 23AUSTRALIAN BRANDENBURG ORCHESTRA VIVALDI’S VENICE

PROGRAM NOTES

Vivaldi’s Venice‘From beneath his prominent forehead speak his dreamy eyes, expressive of the glowing imagination which lives in his compositions.’ Berlioz was fascinated by him after hearing him play in Dresden in 1843, and in his music treatise on instruments and orchestration he described Parish Alvars as ‘the most extraordinary player’ ever heard.

WHAT TO LISTEN FOR

Most nineteenth-century solo harp music was intended for talented amateurs, but Parish Alvars composed for virtuosos like himself and many of his eighty works for solo harp are fiendishly difficult. His Grand Study in Imitation of the Mandoline, published in 1846, required the player to master many of his new techniques. One, in which the melody is played with the thumbs while fingers of both hands play an arpeggiated accompaniment, was known as the ‘three-handed technique’. This term was also used to describe a technique required to play piano compositions in this period and for the same reason - it gave the impression that three hands were playing. Another technique which Parish Alvars invented and which can be heard in the Mandoline was ‘bisbigliando’ (‘whispering’ in Italian), a special effect only possible on a double action pedal harp. This involves playing the same note very fast and softly alternately on adjacent strings, giving a shimmering or whispering effect.

Tomaso Albinoni (1671-1751)

SONATA II A 5 IN C MAJOR, OP. 2 NO. 3

Largo Allegro Grave Allegro

Albinoni is now recognised as a significant composer in the development of instrumental music, but he tended to be overshadowed in his own time and in posterity by his fellow Venetian Antonio Vivaldi, a more colourful character and assiduous self-promoter. Albinoni’s family owned several stationery shops and manufactured playing cards, and were sufficiently well-off that Albinoni never had to seek work as a professional musician. He had success early as an opera composer, his first opera being performed in 1694 when he was only twenty three, and by 1710 he was doing well enough financially from composing to renounce his share in the family business. He went on to compose at least eighty operas, nearly fifty cantatas, and close to two hundred instrumental works, which were extremely popular throughout Europe in his own time.

WHAT TO LISTEN FOR

This sonata was first published as part of Albinoni’s Opus Number 2 in 1700. He was inherently conservative as a composer and his music focuses on orchestral texture, the balance

PROGRAM NOTES

Vivaldi’s Venicebetween high and low instruments, and on the overall musical structure. Albinoni had little time for the work of other musicians and some of his compositions, such as the first two movements of this sonata, are astonishingly inventive, with fugal writing and imitation between the parts.

Antonio Vivaldi (1678–1741)

CONCERTO IN G MAJOR, RV 310, OP. 3 NO. 3

Allegro Largo Allegro

Vivaldi’s fame was cemented by the publication in 1711 of his Opus 3, a collection of twelve concertos entitled L’estro armonico (meaning ‘harmonic inspiration’). Their originality in terms of musical form and the sheer energy and vigour of Vivaldi’s style expressed in forceful rhythms and endless variety made them a model for concerto composition that was followed by other composers for years afterwards. The Vivaldi scholar Michael Talbot describes them as ‘perhaps the most influential collection of instrumental works to appear during the whole of the eighteenth century’. Bach transcribed six of the twelve concertos for other instruments, including this one (BWV 978) for two harpsichords.

WHAT TO LISTEN FOR

The first movement features a cheerful theme characterised by series of rising

scales played by the solo violin (here the harp). The second slow movement in a serious minor key is an extended solo, structured around strong chords played by full orchestra. Typically for Vivaldi, the third movement is a lively dance in triple time.

Giovanni Lorenzo Gregori (1663-1745)

CONCERTO GROSSO IN D MAJOR, OP. 2 NO. 2

Grave Allegro Largo Allegro

A composer, music theorist and violinist, Gregori came from Lucca, a walled city in Tuscany which was also the birthplace of Boccherini and Puccini. Gregori played violin in the orchestra of the ducal palace there for over fifty years.

WHAT TO LISTEN FOR

The concerto grosso was developed in the early eighteenth century. Gregori’s Opus 2 collection of concerti was published in 1698 and were early examples of the form, which used a small group of soloists, typically two violins and a cello, contrasted against the full orchestra. This concerto opens with an extended slow harpsichord introductory movement leading to a lively elegant rhythmic Allegro. A delicate Largo provides a link to a short brisk final movement.

24 25AUSTRALIAN BRANDENBURG ORCHESTRA VIVALDI’S VENICE

PROGRAM NOTES

Vivaldi’s VeniceTomaso Albinoni/ Remo Giazotto (1910-1998)

ADAGIO IN G MINOR

Giazotto was an Italian musicologist who claimed to have discovered a fragment of the manuscript of an unknown Albinoni sonata in the state library in Dresden. He never allowed anyone to see the fragment and it was not recorded in the library’s catalogue, so there is considerable doubt as to whether it ever existed. Giazotto published the Adagio in 1958, under his own name and copyright, but maintained that it was a reconstruction of the Albinoni sonata’s slow movement. He later changed his story and said that the piece was entirely his, perhaps because by then it had become hugely successful commercially. Its simple melodic line and minor key wistfulness have made it very appealing as film music, and it has been used in countless movies, commercials, and television programs.

Giovanni Battista Pescetti (1704-1766)

SONATA IN C MINOR

Allegro ma non presto Moderato Presto

The world’s first public opera house opened in Venice in 1637, and by the early 1700s opera had become such a tourist attraction that there were nineteen theatres in operation. In fact, it is estimated that Venice offered more performances and new productions of opera than the other major Italian cities put together. The eighteenth-century opera-going public only wanted to hear new music, which meant Venetian theatres had to be continually supplied with new operas and which in turn provided local composers like Pescetti with regular employment. Vivaldi is known to have composed about fifty operas (although he claimed in a letter in 1739 that he had written ninety-four), but even a lesser known composer like Pescetti composed twenty-five.

In 1736 Pescetti travelled to London where he landed the plum job of director of the Opera of the Nobility in London, the company set up by the Prince of Wales in opposition to Handel’s Italian opera company. Unfortunately for Pescetti the company collapsed in 1737, but Pescetti stayed in London, working as a composer and contributing arias to pasticcio operas until 1745, when he returned to Venice.

PROGRAM NOTES

Vivaldi’s VeniceAfter many years he obtained an appointment as second organist at the Basilica of San Marco, but died just two years later.

The eighteenth-century English music historian Charles Burney heard Pescetti’s music in London and thought that he was ‘a very elegant and judicious writer for the voice’, and that ‘his melodies are extremely simple and graceful.’ However, he added, ‘his style was then too meagre and simple for our ears, which had been long accustomed to the rich food with which they had been fed by Handel’, an unfair comparison, given that Pescetti was a generation younger than Handel and that musical style overall had moved to greater harmonic simplicity.

WHAT TO LISTEN FOR

While in London Pescetti wrote a set of sonatas for harpsichord, published in 1739. It was common practice in the period to substitute one solo instrument for another, and here the harp takes the place of another plucked instrument, the harpsichord.

A sonata is an instrumental piece of music intended to be played by a solo instrument or small ensemble. In this work Pescetti conformed to the sonata structure prevailing at the time, with an extended first movement, followed by a slower second movement. The sonata concludes in typical fashion with a short final movement in the style of a lively gigue.

The Ospedale della Pietà in Venice (before the construction, at the beginning of the 19th century, of the facade of the church)

26 27AUSTRALIAN BRANDENBURG ORCHESTRA VIVALDI’S VENICE

PROGRAM NOTES

Vivaldi’s VeniceAntonio Vivaldi (1678–1741)

CONCERTO FOR STRINGS & CONTINUO IN F MAJOR, RV 141

Allegro molto Andante molto Allegro molto

This short concerto is one of about sixty ‘ripieno’ concertos for strings which Vivaldi composed. ‘Ripieno’ means ‘full’ and refers to the fact that unlike most of the other Vivaldi concertos there was no separate part for a soloist, and all instruments of the orchestra play

together. As with most of the concertos it is not known for what context they were written or when.

WHAT TO LISTEN FOR

Not needing to build the movements around a soloist enabled Vivaldi to take a different compositional path. While the outer movements are still fast, they are both in two sections with each section repeated. Vivaldi’s second movements are usually his most lyrical and melodic, but here it is an elegant dance.

Sinfonia - First page from a manuscript copy of Vivaldi’s opera, L’Olimpiade, RV 725, dated c.1734

PROGRAM NOTES

Vivaldi’s VeniceL’INVERNO (WINTER), CONCERTO IN F MINOR, RV 297, OP. 8 NO. 4

The Four Seasons concertos were published in 1725 and in his own lifetime, as in ours, they were Vivaldi’s most popular work in part because of their astonishingly vivid depiction of the changing seasons and the relationship between nature and humanity.

The three movements of each concerto reflect events related to that season, as described in a three verse sonnet attached to the score of each concerto and probably written by Vivaldi himself. He marked the scores to indicate which musical passages represent which verse or in some places which line of the sonnet, and in some places he added more details to give, as he wrote, ‘a very clear statement of all the things that unfold’.

Although they were not his only representational music, that is, music which depicts scenes or sounds found in nature, the concertos were unique in the extent to which the music ‘narrates’ the specific details from the sonnets. Vivaldi achieved this in the fast movements by using recurring ritornellos (refrains) played by the full orchestra to set the scene, with transient events or sounds portrayed in short musical episodes usually by the soloist.

WHAT TO LISTEN FOR

The first movement begins with the instruments entering part by part, their

single, steady repeated notes conjuring frozen travellers fighting their way through the snow. The first episode from the soloist represents the biting wind, and the full orchestra returns, still trudging in the cold but now stopping to stamp their feet. The soloist reappears in flurries of snow, which the orchestra interrupts with gusts of bitterly cold wind. Fast repeated notes from the violins and soloist represent the chattering of teeth, and the movement ends with the travellers stamping the snow from their feet once more before finding warmth before the fire in the second movement. The change to a comforting major key and plucked strings representing the rain falling outside on a cold winter afternoon make this one of Vivaldi’s most beautiful slow movements. Back to the harsh minor key for the third movement which begins with the soloist alone on the ice. The orchestra joins, and as they walk ‘slowly and fearfully’ (the bouncing of bows on strings suggests hearts beating faster) the music rises in pitch until everyone suddenly falls onto the ice in a series of descending passages. Vivaldi depicts every twist and turn as they try to regain their balance, the soloist being the last one to fall.

The final section of the movement predicts the arrival of spring with the warm Sirocco wind, but it is driven back by the warring winds of winter in a thrilling conclusion to the concerto.

28 29AUSTRALIAN BRANDENBURG ORCHESTRA VIVALDI’S VENICE

PROGRAM NOTES

Vivaldi’s VeniceI ALLEGRO NON MOLTO

Agghiacciato tremar tra nevi algenti Al severo spirar d’orrido vento, Correr battendo i piedi ogni momento; E pel soverchio gel battere i denti;

II LARGO

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

III ALLEGRO

Camminar sopra il ghiaccio, e à passo lento per timor di cader girsene intenti; Gir forte, sdrucciolar, cader a terra, Di nuove ir sopra il ghiaccio e correr forte

Sin ch’il ghiaccio si rompe, e si disserra; Sentir uscir dalle serrate porte Sirocco, Borea, e tutti i Venti in guerra Quest’ è ’l verno, ma tal, che gioia apporte.

Frozen, shivering in the icy snow at the cutting breath of the dreadful wind, run, stamping your feet all the time, the extreme cold making your teeth chatter;

Pass quiet and contented days by the fire while the rain pours down outside;

Walk on the ice with careful slow steps for fear of falling or tripping on it; turn suddenly, slipping and falling to the ground; walk onto the ice again and running heavily

until the ice cracks and breaks; hear Sirocco, Boreas, and all the warring winds as they whistle through closed doors: This is winter, but it brings joy.

Program notes, translations & timeline © Lynne Murray 2020

PROGRAM NOTES

Vivaldi’s Venice

Canaletto - The Grand Canal near the Ponte di Rialto, 1725

30 31AUSTRALIAN BRANDENBURG ORCHESTRA VIVALDI’S VENICE

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

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