Bach Christmas Oratorio by Australian Chamber Orchestra

ABOUT THE PROGRAM © Helen White

By Richard Tognetti There are many aspects of Christmas that I ﬁnd irritating: the commercial hysteria, the focus on material greed, the way the holly creeps into shops a little bit earlier every year…Yet even a humbug like me has to admit that some extraordinary music has been written to celebrate this overhyped festival. Strangely enough, the piece of Christmas music that moves me most is one I’ve never played – Bach’s Christmas Oratorio. The Australian Chamber Orchestra last performed this dauntingly massive oratorio on the early 1980s. Back then it was seen as a daring alternative to Handel’s Messiah, the seasonal oﬀering of choice in Anglo-Saxon speaking countries – and still is today.

Richard Tognetti Director and Violin

Perhaps it’s simply that Messiah is easier to digest: it’s in English and it’s got easier access points via all those heraldic tunes. People get hooked on the music and end up thinking, “Oh, it’s Christmas, we’ll just do the Messiah.” Yet in Germany the situation is reversed. A musician friend remarked to me recently that she would be playing it ten times around Germany this year. The Christmas Oratorio was written in 1734, ten years before Messiah. These oratorios were not concert pieces, but sacred congregational events which lasted many hours, interspersed with sermons and hymns. If you think sitting through a concert is arduous, these events pretty much went on all day. And the Christmas Oratorio was actually written to be performed over six days, with one part on each day. Almost like a nativity mini-series. One of the aspects that made such a long time in church more convivial (read: bearable) for the audience is that they did more than just sit and listen. Bach’s chorales were sing-along events. The audience would have recognised chorales in the Christmas Oratorio that are also used in the St Matthew Passion, many of which derive from folk tunes. So the Christmas Oratorio was not entirely new music; it contained melodies the audience of the day was familiar with, like our Silent Night. The Christmas Oratorio tells the familiar Nativity tale, but it’s much more ad hoc than St Matthew Passion, where you’ve got a linear story which a narrator is belting out at you. Nor is it very similar to Bach’s other large-scale masterpiece, the B Minor Mass, which can rend you apart emotionally. The Christmas Oratorio is more ephemeral, more exquisite, more comforting. Edited from an original article, courtesy of Limelight Magazine.

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TOUR TWELVE CHRISTMAS ORATORIO RICHARD TOGNETTI Director & Violin CHOIR OF LONDON NICHOLAS MULROY Evangelist J.S. BACH Christmas Oratorio Cantata BWV248/1: For the First Day of Christmas Jauchzet, frohlocket, auf, preiset die Tage Cantata BWV248/2: For the Second Day of Christmas Und es waren Hirten in derselben Gegend Cantata BWV248/3: For the Third Day of Christmas Herrscher des Himmels, erhöre das Lallen INTERVAL

Cantata BWV248/4: For the Feast of the Circumcision of Christ Fallt mit Danken, fallt mit Loben Cantata BWV248/5: For the First Sunday of the New Year Ehre sei dir, Gott, gesungen Cantata BWV248/6: For the Feast of Epiphany Herr, wenn die stolzen Feinde schnauben Approximate durations (minutes): 25 – 27 – 21 – INTERVAL – 22 – 22 – 24 The concert will last approximately three and a half hours including a one hour interval.

CANBERRA

SYDNEY

MELBOURNE

Llewellyn Hall Sun 15 Dec, 6.30pm

Opera House Mon 16 Dec, 6.30pm

Arts Centre Thu 19 Dec, 6.30pm

The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary.

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ACO ON THE RADIO ABC CLASSIC FM: Christmas Oratorio: Live to air Thu 19 December, 6.30pm

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MESSAGE FROM THE GENERAL MANAGER Our great friend and former colleague Michael Stevens, who is now Head of Programming for the Melbourne Festival, has assembled a stellar ensemble of British consort singers to form The Choir of London. Michael’s extensive experience as a chorister in such esteemed groups as the Monteverdi Choir has given him a profound knowledge of singers trained in the unique British choral tradition. One of the most impressive features of the Choir of London is its composition from which exquisite vocal soloists step forward for arias and recitatives before resuming their place in the body of the ensemble. 2013 has been an enormous year for the musicians of the ACO, encompassing 97 main-stage concerts in Australia and performances in Hong Kong and the USA. We have collaborated with artists as diverse as pianist Jeremy Denk, Barry Humphries, the Sydney Dance Company and cinematographer Jon Frank, and we launched ACO VIRTUAL, our immersive, interactive digital installation. We are hugely grateful to audiences around the country for attending our concerts throughout the year and, with the joyous, resounding ﬂourishes of Bach’s Christmas Oratorio, we wish you all a very happy Christmas and look forward to seeing you in a music-ﬁlled year in 2014. TIMOTHY CALNIN GENERAL MANAGER AUSTRALIAN CHAMBER ORCHESTRA

PRE-CONCERT TALKS Free talks about the concert take place 45 minutes before the start of every concert at the venue.

PRE-CONCERT SPEAKERS Canberra

Sydney

Melbourne

Sun 15 Dec

Mon 16 Dec

Thu 19 Dec

Michael Stevens

John Weretka

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J.S. BACH Christmas Oratorio, BWV248 (Composed 1733–1734)

BACKGROUND Bach’s cantatas were closely associated with the texts of the New Testament readings at the main morning service, thus providing a commentary and reﬂection on the Scripture concerned. Most importantly, the music provided a depth of emotional engagement that no other art could muster. Thus, in the tradition of Martin Luther’s own supreme regard for both music and preaching, the cantata was proﬁled as a focal point of the service, together with the sermon itself (indeed these followed one another in the liturgy).

Johann Sebastian Bach (b. Eisenach, 1685 — d. Leipzig, 1750)

J.S. Bach is one of the greatest, if not the single greatest, of all composers. A working musician his entire life, his composition ranges from the deeply spiritual to the ﬂamboyantly virtuosic, radiating an irresistible energy and joy which continues to touch listeners profoundly.

Cantata: a composite vocal genre of the Baroque era, consisting of a succession of solo arias, duets and other pieces for various combinations of solo voices. Oratorio: an extended musical drama featuring sung words based on religious subject matter.

The Christmas Oratorio, a cycle of six cantatas, is no exception to this pattern; each of the six cantatas was performed separately over six successive celebrations during the Christmas period in 1734–5. However, while much of the Biblical text in regular cantatas is presented in short quotations or paraphrased in modern poetry, the Christmas Oratorio contains the complete Gospel narrative of the Nativity (Luke 2:1–21 and Matthew 2:1–12), something that renders the work analogous to other familiar oratorios such as Part I of Handel’s Messiah. The Christmas Oratorio’s printed libretto for the Leipzig congregations (issued towards the end of 1734), shows that the cycle began with the performance of Part I in both Nikolai and Thomas churches, with Part II likewise performed twice on St. Stephen’s day; Part III was performed in the Nikolai church on 27 December (St John’s Day), Part IV on 1 January in both churches (to celebrate the feast of the Circumcision); Part V on the following day (the ﬁrst Sunday after New Year), in the Nikolai church; and Part VI on 6 January, in both churches (for the feast of the Epiphany). During the Advent season it was not customary to perform elaborate church music in Leipzig, so Bach had nearly a month to prepare the six cantatas. When he ﬁrst arrived in

Libretto: the words sung in an opera or oratorio.

Nikolaikirche

Thomaskirche

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that city some ten years before, in 1723, he composed at a frenetic rate, producing one cantata every week for at least three years. However, by the 1730s he seems to have become accustomed to a much more leisurely rate of composition (although it was still remarkable by modern standards). Moreover, he often reused earlier music – not necessarily to save time, but probably as part of a project of perfecting his music – reﬁning and recasting those pieces which he most obviously valued.

WORK IN DETAIL The Christmas Oratorio is largely adapted from four secular cantatas that Bach had composed in 1733–4. Laßt uns sorgen, laßt uns wachen (Let us take care, let us watch), BWV213, was performed on 5 September 1733 to celebrate the birthday of the Crown Prince, Friedrich Christian of Saxony. The music for all the choruses and arias except the final chorus was reused in the Christmas Oratorio: one piece in each of Parts I–III and three pieces in Part IV. Tönet, ihr Pauken! Erschallet, Trompeten! (Resound, ye drums! Ring out, ye trumpets!), BWV214, was written for the birthday of Maria Josepha, Electress of Saxony and now (owing to her husband’s election to the throne) Queen of Poland, on 7 December 1733. Like BWV213, this was performed by Leipzig’s Collegium Musicum, which Bach had directed in regular coffee-house concerts since 1729. Bach used four movements in the Christmas Oratorio, one movement in each of Parts II and III, and two movements in Part I. The first movement of Part I, with its opening timpani solo and trumpet fanfares, clearly fits the original text more precisely (‘Sound your drums, blow your trumpets’), although it is hardly inappropriate as a more general expression of Christian praise, one that makes a particularly effective opening for the Oratorio as a whole. Preise dein Glücke, gesegnetes Sachsen (Praise your good fortune, blessed Saxony), BWV215, celebrating the first anniversary of the accession of Augustus II as Elector of Saxony and (soon thereafter) King of Poland, was first performed on 5 October 1734 in the market place in Leipzig, in the presence of the royal family. Politically, this might well have marked the highpoint of Bach’s entire career, since he was soon to earn the prestigious royal title that he placed before all others on official documents. Cantata 215 provides a single movement for the Christmas Oratorio, in Part V (No.47). The fourth cantata adapted for the Christmas Oratorio is known only from the incomplete instrumental parts of a lost 6 AUSTRALIAN CHAMBER ORCHESTRA

cantata catalogued as BWV248a, and this provides much of the music for Part VI. It seems that Bach used virtually every movement of this piece, since the parts show very little alteration. Recitative: a style of song that imitates and emphasises the natural inﬂections, rhythms and syntax of speech. Chorale: a melody to which a congregational hymn is sung.

Obbligato: a prominent but largely oranmental accompanying part such as a countermelody.

Oboe d’amore and oboe da caccia: See page 23.

Turba: (literally translated to ‘crowd’ in Latin) refers to any text in the Passion of Jesus spoken by a group of people. In musical settings, ‘turba’ refers to any direct address in the Passion not spoken by Jesus.

Obviously the recitatives, which propel much of the Christmas narrative, and the twelve chorales that provide appropriate commentary from the standard Lutheran literature, did not belong to the secular models; most were presumably composed or (in the case of the chorales) arranged specifically for the Oratorio. Only five movements remain unaccounted for in earlier works, although it is possible that the majority of these are parodies of works that have since been lost. Certainly, the topical Pastoral Sinfonia to Part II seems to be freshly composed, as does much of the expressive alto aria with violin obbligato, No.31 from Part III (derived as it is from an abandoned sketch in Cantata 215). For Parts I, III and VI the orchestra includes trumpets and timpani, those instruments particularly associated with festive, royal occasions. These cantatas both begin and end with the most festive writing and together frame Part II. This presents an entirely different orchestral sound, characterised by an extraordinary band of four ‘non-standard’ oboes (oboes d’amore and oboes da caccia) which, together with flutes, evoke the pastoral scene at the manger. The theologian Robin Leaver notes that Bach links the Christmas celebration with Passion music and theology in the last three parts. First, in Part IV, the bass recitatives (movements which frame the central soprano aria) are meditations on the name of Jesus which are combined with the Passiontide chorale Jesu, du mein liebstes Leben (Jesus, Thou that for me livest). Thus they specifically associate the first shedding of the blood of Christ (i.e. circumcision) with the crucifixion. In Part V the Evangelist announces the arrival of the wise men followed by their question: ‘Where is He that is born King of the Jews?’ This chorus is strongly reminiscent of the turba choruses in Bach’s Passions, suggesting that Bach had Passion music in mind at this point (some suggest that this chorus might derive from the lost Mark Passion, BWV247). The finale chorale of Part VI is a sumptuous setting of the melody Herzlich tut mich verlangen (My heart is ever yearning), the ‘Passion Chorale’ itself. Furthermore, this ‘Passion Chorale’ melody has already been heard, as the first chorale of Part I. As both the first and the last chorale of the Christmas Oratorio as a whole, this emphasises the very purpose of Christmas as celebrating the Incarnation which would eventually lead to Crucifixion and Atonement. AUSTRALIAN CHAMBER ORCHESTRA 7

When the music of the Christmas Oratorio is compared with that of the earlier narrative oratorios (principally the great Passion settings) it often seems to present a considerably lighter style. Obviously, much of this relates to the difference of subject matter, but it also evidences a new stylistic direction that Bach embarked upon in the early 1730s. He seems to have made a conscious effort to integrate elements from the more modern galant idioms, characterised by graceful, strongly-phrased melodies (e.g. No.19 from Part II, No.29 from Part III), and lighter folk-inspired idioms (particularly in Part II). The trumpet writing is of uncommon virtuosity and was undoubtedly inspired by the renowned skills of the Leipzig city trumpeter, Gottfried Reiche. In the context of the homage music for the Saxon royal family, Reiche would have been an important musical ambassador for the city of Leipzig. Unfortunately his efforts in performing for the royal celebrations on 5 October 1734 (when BWV215 was performed) and the effects of torch smoke had an adverse effect, and he died the following day. Thus the return of the trumpet movements from the secular cantatas in the guise of the Christmas Oratorio only a few months later must have struck a particularly melancholy note in Leipzig. Lest it be thought that Bach was either lazy or sacrilegious in converting music originally conceived for earthly royalty to sacred purposes, it should be remembered that royalty was still often accorded a God-given authority in Bach’s age; it was seen as being a major part of the hierarchical system of authority for which God functioned as the apex. In other words, Bach’s belief in the divine right of monarchs was probably a piece of his belief and trust in God. Indeed, when many sought to challenge the absolute authority of the monarch in Bach’s environment, Bach very clearly sided with the royalist party, his faithfulness to the royal office even overriding the fact that the Elector of Saxony was a Catholic. The three surviving secular models for the Christmas Oratorio celebrate royal birthdays or newlyacquired royal authority, so Bach doubtless saw a direct analogy with the celebration of the birth of Christ. Much of the text and music of the resulting oratorio points to the figure of Christ as supremely ‘royal’.

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J.S. BACH Christmas Oratorio, BWV248 Part I: For the First Day of Christmas 1. Coro

Chorus

Jauchzet, frohlocket! auf, preiset die Tage, Rühmet, was heute der Höchste getan! Lasset das Zagen, verbannet die Klage, Stimmet voll Jauchzen und Fröhlichkeit an! Dienet dem Höchsten mit herrlichen Chören, Laßt uns den Namen des Herrschers verehren!

Triumph, rejoicing, rise, praising these days now, Tell ye what this day the Highest hath done! Fear now abandon and banish complaining, Join, ﬁlled with triumph and gladness, our song! Serve ye the Highest in glorious chorus, Let us the name of our ruler now honour!

2. Recitativo

Recitative

Evangelist

Es begab sich aber zu der Zeit, daß ein Gebot von dem Kaiser Augusto ausging, daß alle Welt geschätzet würde. Und jedermann ging, daß ersich schätzen ließe, ein jeglicher in seine Stadt. Da machte sich auch auf Joseph aus Galiläa, aus der Stadt Nazareth, in das jüdische Land zur Stadt David, die da heißet Bethlehem; darum, daß er von dem Hause und Geschlechte David war: auf daß er sich schätzen ließe mit Maria, seinem vertrauten Weibe, die war schwanger. Und als sie daselbst waren, kam die Zeit, daß sie gebären sollte.

It occurred, however, at the time that a decree from the Emperor Augustus went out that all the world should be enrolled. And everyone then went forth to be enrolled, each person unto his own city. And then as well went up Joseph from Galilee from the city of Nazareth into the land of Judea to David’s city which is called Bethlehem, because he was of the house and of the lineage of David, to be enrolled there with Mary, who was betrothed to be his wife, and she was pregnant. And while they were in that place, there came the time for her to be delivered.

3. Recitativo

Recitative

Nun wird mein liebster Bräutigam, Nun wird der Held aus Davids Stamm Zum Trost, zum Heil der Erden Einmal geboren werden. Nun wird der Stern aus Jakob scheinen, Sein Strahl bricht schon hervor. Auf, Zion, und verlasse nun das Weinen, Dein Wohl steigt hoch empor!

Now is my dearest bridegroom rare, Now is the prince of David’s stem As earth’s redeeming comfort Here born in time amongst us. Now will shine bright the star of Jacob, Its beam e’en now breaks forth. Rise, Zion, and abandon now thy weeping, Thy fortune soars aloft.

4. Aria

Aria

Bereite dich, Zion, mit zärtlichen Trieben, Den Schönsten, den Liebsten bald bei dir zu sehn! Deine Wangen Müssen heut viel schöner prangen, Eile, den Bräutigam sehnlichst zu lieben!

Prepare thyself, Zion, with tender aﬀection, The fairest, the dearest soon midst thee to see! Thy cheeks’ beauty Must today shine much more brightly, Hasten, the bridegroom to love with deep passion. AUSTRALIAN CHAMBER ORCHESTRA 9

5. Choral

Chorale

Wie soll ich dich empfangen Und wie begegn‘ ich dir? O aller Welt Verlangen, O meiner Seelen Zier! O Jesu, Jesu, setze Mir selbst die Fackel bei, Damit, was dich ergötze, Mir kund und wissend sei!

How shall I then receive thee And how thy presence ﬁnd? Desire of ev’ry nation, O glory of my soul! O Jesus, Jesus, Set out for me thy torch, That all that brings thee pleasure By me be clearly known.

6. Recitativo

Recitative

Evangelist

Und sie gebar ihren ersten Sohn und wickelte ihn in Windeln und legte ihn in eine Krippen, denn sie hatten sonst keinen Raum in der Herberge.

And she brought forth her ﬁrst-born son and wrapped him in swaddling cloths and laid him within a manger, for they had no other room in the inn for them.

7. Choral e recitativo

Chorale and recitative

Sopranos

Er ist auf Erden kommen arm,

He is to earth now come so poor,

Bass

Wer will die Liebe recht erhöhn, Die unser Heiland vor uns hegt?

Who will the love then rightly praise Which this our Savior for us keeps?

Sopranos

Daß er unser sich erbarm,

That he us his mercy show

Bass

Ja, wer vermag es einzusehen, Wie ihn der Menschen Leid bewegt?

Yea, is there one who understandeth How he by mankind’s woe is moved?

Sopranos

Und in dem Himmel mache reich,

And in heaven make us rich

Bass

Des Höchsten Sohn kömmt in die Welt, Weil ihm ihr Heil so wohl gefällt,

The Most High’s Son comes in the world Whose health to him so dear is held,

Sopranos

Und seinen lieben Engeln gleich.

And to his own dear angels like.

Bass

So will er selbst als Mensch geboren werden.

So will he as a man himself be born now.

Sopranos

Kyrieleis!

8. Aria

Aria

Großer Herr, o starker König, Liebster Heiland, o wie wenig Achtest du der Erden Pracht!

Mighty Lord, O strongest sovereign, Dearest Savior, O how little Heedest thou all earthly pomp!

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Der die ganze Welt erhält, Ihre Pracht und Zier erschaﬀen, Muß in harten Krippen schlafen.

He who all the world doth keep, All its pomp and grace hath fashioned, Must within the hard crib slumber.

9. Choral

Chorale

Ach mein herzliebes Jesulein, Mach dir ein rein sanft Bettelein, Zu ruhn in meines Herzens Schrein, Daß ich nimmer vergesse dein!

Ah my belove’d Jesus-child, Make here thy bed, clean, soft and mild For rest within my heart’s own shrine, That I no more fail to be thine!

Part II: For the Second Day of Christmas 10. Sinfonia pastorale

10. Sinfonia pastorale

11. Recitativo

Recitative

Evangelist

Und es waren Hirten in derselben Gegend auf dem Felde bei den Hürden, die hüteten des Nachts ihre Herde. Und siehe, des Herren Engel trat zu ihnen, und die Klarheit des Herren leuchtet um sie, und sie furchten sich sehr.

And there were shepherds in that very region in the ﬁeld nearby their sheepfolds, who kept their watch by night over their ﬂocks. And see now, the angel of the Lord came before them, and the glory of the Lord shone round about them, and they were sore afraid.

12. Choral

Chorale

Brich an, o schönes Morgenlicht, Und laß den Himmel tagen! Du Hirtenvolk, erschrecke nicht, Weil dir die Engel sagen, Daß dieses schwache Knäbelein Soll unser Trost und Freude sein, Dazu den Satan zwingen Und letztlich Friede bringen!

Break forth, O beauteous morning light, And bring day to the heavens! Thou shepherd folk, be not afraid, For thee the angel telleth That this the helpless little boy Shall be our comfort and our joy, Here for to conquer Satan And peace at last to bring us!

13. Recitativo

Recitative

Evangelist

Und der Engel sprach zu ihnen:

And the angel spake unto them:

Engel

Angel

Fürchtet euch nicht, siehe, ich verkündige euch große Freude, die allem Volke widerfahren wird. Denn euch ist heute der Heiland geboren, welcher ist Christus, der Herr, in der Stadt David.

Be not afraid, see now, I proclaim to you news of great gladness, which all the nations of the world will learn. For to you today is the Savior born, who is Christ, the Lord, in the city of David.

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14. Recitativo

Recitative

Was Gott dem Abraham verheißen, Das läßt er nun dem Hirtenchor Erfüllt erweisen. Ein Hirt hat alles das zuvor Von Gott erfahren müssen. Und nun muß auch ein Hirt die Tat, Was er damals versprochen hat, Zuerst erfüllet wissen.

What God to Abraham did promise, This hath he to the shepherd choir Revealed and proven. A shepherd all this once before Of God to learn was destined; And now as well a shepherd must The deed of yore he promised us Be ﬁrst to see completed.

15. Aria

Aria

Frohe Hirten, eilt, ach eilet, Eh ihr euch zu lang verweilet, Eilt, das holde Kind zu sehn! Geht, die Freude heißt zu schön, Sucht die Anmut zu gewinnen, Geht und labet Herz und Sinnen!

Joyful shepherds, haste, ah hasten, Ere ye here too long should tarry, Haste, the gracious child to visit! Go, your gladness is too fair, Seek his grace’s inspiration, Go and comfort heart and spirit.

16. Recitativo

Recitative

Evangelist

Und das habt zum Zeichen: Ihr werdet ﬁnden das Kind in Windeln gewickelt und in einer Krippe liegen.

And let this be your sign: ye will discover the babe in swaddling clothes there wrapped and in a manger lying.

17. Choral

Chorale

Schaut hin, dort liegt im ﬁnstern Stall, Des Herrschaft gehet überall! Da Speise vormals sucht ein Rind, Da ruhet itzt der Jungfrau‘n Kind.

Look there, he lies in manger drear Whose power reacheth ev’rywhere! Where fodder once the ox did seek, There resteth now the Virgin’s child.

18. Recitativo

Recitative

So geht denn hin, ihr Hirten, geht, Daß ihr das Wunder seht: Und ﬁndet ihr des Höchsten Sohn In einer harten Krippe liegen, So singet ihm bei seiner Wiegen Aus einem süßen Ton Und mit gesamtem Chor Dies Lied zur Ruhe vor!

So go then there, ye shepherds, go, That ye this wonder see: And when ye ﬁnd the Highest’s Son Within an austere manger lying, Then sing to him beside his cradle In tones that sweetly ring And with assembled choir This song of slumber bring!

19. Aria

Aria

Schlafe, mein Liebster, genieße der Ruh, Wache nach diesem vor aller Gedeihen! Labe die Brust, Empﬁnde die Lust, Wo wir unser Herz erfreuen!

Sleep now, my dearest, enjoy now thy rest, Wake on the morrow to ﬂourish in splendour! Lighten thy breast, With joy be thou blest, Where we hold our heart’s great pleasure!

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20. Recitativo

Recitative

Evangelist

Und alsobald war da bei dem Engel die Menge der himmlischen Heerscharen, die lobten Gott und sprachen:

And suddenly there was with the angel the multitude of the host of heaven, there praising God and saying:

21. Coro

Chorus

Die Engel Ehre sei Gott in der Höhe und Friede auf Erden und den Menschen ein Wohlgefallen.

Choir of Angels

22. Recitativo

Recitative

So recht, ihr Engel, jauchzt und singet, Daß es uns heut so schön gelinget! Auf denn! wir stimmen mit euch ein, Uns kann es so wie euch erfreun.

’Tis meet, ye angels, sing and triumph, That we today have gained such fortune! Up then! We’ll join our voice to yours, We can as well as ye rejoice.

23. Choral

Chorale

Wir singen dir in deinem Heer Aus aller Kraft, Lob, Preis und Ehr, Daß du, o lang gewünschter Gast, Dich nunmehr eingestellet hast.

We sing to thee amidst thy host With all our strength, laud, fame and praise, That thou, O long desired guest, Art come into this world at last.

Glory to God in the highest and peace on the earth now and to mankind a sign of favour.

Part III: For the Third Day of Christmas 24. Coro

Chorus

Herrscher des Himmels, erhöre das Lallen, Laß dir die matten Gesänge gefallen, Wenn dich dein Zion mit Psalmen erhöht! Höre der Herzen frohlockendes Preisen, Wenn wir dir itzo die Ehrfurcht erweisen, Weil unsre Wohlfahrt befestiget steht!

Ruler of heaven, give ear to our stammer, Let these our weary refrains bring thee pleasure, As thee thy Zion with psalms doth exalt! Hear thou our hearts, though, exultant with praises, As we to thee here our homage now render, For our salvation stands strong and secure!

25. Recitativo

Recitative

Evangelist

Und da die Engel von ihnen gen Himmel fuhren, sprachen die Hirten untereinander:

And when the angel went away from them up to heaven, said the shepherds one to another:

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26. Coro

Chorus

Die Hirten

The Shepherds

Lasset uns nun gehen gen Bethlehem und die Geschichte sehen, die da geschehen ist, die uns der Herr kundgetan hat.

Let us now go quickly to Bethlehem and this event now witness which hath here taken place, that which the Lord made known to us.

27. Recitativo

Recitative

Er hat sein Volk getröst‘, Er hat sein Israel erlöst, Die Hülf aus Zion hergesendet Und unser Leid geendet. Seht, Hirten, dies hat er getan; Geht, dieses treﬀt ihr an!

He brought his people hope, He hath his Israel redeemed, His help from Zion he hath sent us And all our suﬀ ’ring ended. See, shepherds, this thing hath he done; Go, this thing go and see!

28. Choral

Chorale

Dies hat er alles uns getan, Sein groß Lieb zu zeigen an; Des freu sich alle Christenheit Und dank ihm des in Ewigkeit. Kyrieleis!

This hath he all for us brought forth, His great love to manifest; Rejoice thus all Christianity And thank him in eternity. Kyrieleis!

29. Aria – Duetto

Aria – Duet

Herr, dein Mitleid, dein Erbarmen Tröstet uns und macht uns frei. Deine holde Gunst und Liebe, Deine wundersamen Triebe Machen deine Vatertreu Wieder neu.

Lord, thy mercy, thy forgiveness, Comforts us and sets us free. Thy most gracious love and favour, Thy most wonderful aﬀection Here make thy paternal faith New again.

30. Recitativo

Recitative

Evangelist

Und sie kamen eilend und funden beide, Mariam und Joseph, dazu das Kind in der Krippe liegen. Da sie es aber gesehen hatten, breiteten sie das Wort aus, welches zu ihnen von diesem Kind gesaget war. Und alle, für die es kam, wunderten sich der Rede, die ihnen die Hirten gesaget hatten. Maria aber behielt alle diese Worte und bewegte sie in ihrem Herzen.

And they went forth quickly and found there both Mary and Joseph, and the child lying in the manger. When they, however, had ceased their looking, they spread forth the saying which had been told unto them concerning this child. And all to whom it came wondered at the story which had been reported to them by the shepherds. But Mary kept to herself then all these sayings, and she pondered them within her heart.

31. Aria

Aria

Schließe, mein Herze, dies selige Wunder

Keep thou, my heart now, this most blessed wonder

14 AUSTRALIAN CHAMBER ORCHESTRA

Fest in deinem Glauben ein! Lasse dies Wunder, die göttlichen Werke, Immer zur Stärke Deines schwachen Glaubens sein!

Fast within thy faith alway! And let this wonder, these godly achievements, Ever as comfort Of thy feeble faith abide!

32. Recitativo

Recitative

Ja, ja, mein Herz soll es bewahren, Was es an dieser holden Zeit Zu seiner Seligkeit Für sicheren Beweis erfahren.

Oh yes, my heart shall ever cherish All it at this most gracious time To its eternal bliss With certain signs of proof hath witnessed.

33. Choral

Chorale

Ich will dich mit Fleiß bewahren, Ich will dir Leben hier, Dir will ich abfahren, Mit dir will ich endlich schweben Voller Freud Ohne Zeit Dort im andern Leben.

I will thee steadfastly cherish, For thy sake My life make, In thee I will perish, With thee will I one day hover Full of joy For alway There when life is over.

34. Recitativo

Recitative

Evangelist

Und die Hirten kehrten wieder um, preiseten und lobten Gott um alles, das sie gesehen und gehöret hatten, wie denn zu ihnen gesaget war.

And the shepherds then turned back again, glorifying and praising God for all the things which they had seen and had heard, just as it had been told to them.

35. Choral

Chorale

Seid froh dieweil, Daß euer Heil Ist hie ein Gott und auch ein Mensch geboren, Der, welcher ist Der Herr und Christ In Davids Stadt, von vielen auserkoren.

Be glad this while, For now your health Is here as God and as a man born to you, The one who is The Lord and Christ In David’s city, out of many chosen.

[Coro]

[Chorus]

Ruler of Heaven, give ear to our stammer, Let these our weary refrains bring thee pleasure, As thee thy Zion with psalms doth exalt! Hear thou our hearts, though, exultant with praises, As we to thee here our homage now render, For our salvation stands strong and secure!

AUSTRALIAN CHAMBER ORCHESTRA 15

Part IV: For the Feast of the Circumcision of Christ 36. Coro

Chorus

Fallt mit Danken, fallt mit Loben Vor des Höchsten Gnadenthron! Gottes Sohn Will der Erden Heiland und Erlöser werden, Gottes Sohn Dämpft der Feinde Wut und Toben.

Fall and thank him, fall and praise him At the Highest’s throne of grace! God’s own Son Will of earth the Saviour and Redeemer be now, God’s own Son Stems our foe’s great wrath and fury.

37. Recitativo

Recitative

Evangelist

Und da acht Tage um waren, daß das Kind beschnitten würde, da ward sein Name genennet Jesus, welcher genennet war von dem Engel, ehe denn er im Mutterleibe empfangen ward.

And when eight days were accomplished that the child be circumcised, was his name then called Jesus, which was so named by the angel, before he was conceived within his mother’s womb.

38. Recitativo e Duetto

Recitative and Duet

Immanuel, o süßes Wort! Mein Jesus heißt mein Hort, Mein Jesus heißt mein Leben. Mein Jesus hat sich mir ergeben, Mein Jesus soll mir immerfort Vor meinen Augen schweben. Mein Jesus heißet meine Lust, Mein Jesus labet Herz und Brust.

Immanuel, O sweetest word! My Jesus is my shield, My Jesus is my being. My Jesus is to me devoted, My Jesus shall I ever hold Before my eyes suspended. My Jesus is my joyful rest, My Jesus soothes my heart and breast.

Soprano

Jesu, du mein liebstes Leben,

Jesus, thou, my life belove’d,

Bass

Komm! Ich will dich mit Lust umfassen,

Come! I would now with joy embrace thee,

Soprano

Meiner Seelen Bräutigam,

Of my soul the bridegroom true,

Bass

Mein Herze soll dich nimmer lassen,

My heart shall nevermore release thee,

Soprano

Der du dich vor mich gegeben

Thou who didst for me surrender

Bass

Ach! So nimm mich zu dir!

Ah! Take me to thyself!

Soprano

An des bittern Kreuzes Stamm! Auch in dem Sterben sollst du mir Das Allerliebste sein; In Not, Gefahr und Ungemach

To the bitter cross’s tree! E’en in my dying shalt thou my Most cherished treasure be; In need, in dread and sore distress

16 AUSTRALIAN CHAMBER ORCHESTRA

Seh ich dir sehnlichst nach. Was jagte mir zuletzt der Tod für Grauen ein? Mein Jesus! Wenn ich sterbe, So weiß ich, daß ich nicht verderbe. Dein Name steht in mir geschrieben, Der hat des Todes Furcht vertrieben.

I’ll look and yearn for thee. What cruelty at last can death then hound me with? My Jesus! When I die here, I know that I shall never perish. Thy name is written deep within me, It hath the fear of death now banished.

39. Aria

Aria

Flößt, mein Heiland, ﬂößt dein Namen Auch den allerkleinsten Samen Jenes strengen Schreckens ein? Nein, du sagst ja selber nein. (Nein!) Sollt ich nun das Sterben scheuen? Nein, dein süßes Wort ist da! Oder sollt ich mich erfreuen? Ja, du Heiland sprichst selbst ja. (Ja!)

Doth, my Saviour, doth thy name have E’en the very smallest kernel Of that awful terror now? No, thyself thou sayest “No.” (No!) Ought I now of death be wary? No, the gentle word is here! Rather, ought I greet it gladly? Yes, O Saviour, thou say’st “Yes.” (Yes!)

40. Recitativo e choral

Recitative and chorale

Bass

Wohlan, dein Name soll allein

O joy, thy name shall now alone

Sopranos

Jesu, meine Freud und Wonne, Meine Hoﬀnung, Schatz und Teil,

Jesus, my true joy and pleasure, My true treasure, share and hope,

Bass

In meinem Herzen sein!

Within my bosom dwell!

Sopranos

Mein Erlösung, Schutz und Heil, Hirt und König, Licht und Sonne,

My salvation, crown and health, King and shepherd, sun and radiance,

Bass

So will ich dich entzücket nennen, Wenn Brust und Herz zu dir vor Liebe brennen. Doch, Liebster, sage mir:

Thus will I call thy name with rapture When breast and heart for thee with love are burning. But, dearest, tell me now:

Sopranos

Ach! wie soll ich würdiglich, Mein Herr Jesu, preisen dich?

Ah, how shall I worthily, My Lord Jesus, give thee praise?

Bass

Wie rühm ich dich, wie dank ich dir?

How thee to praise, how thee to thank?

41. Aria

Aria

Ich will nur dir zu Ehren leben, Mein Heiland, gib mir Kraft und Mut, Daß es mein Herz recht eifrig tut! Stärke mich,

I would but for thine honor live now; My Savior, give me strength of will, That this my heart with zeal may do. Strengthen me

AUSTRALIAN CHAMBER ORCHESTRA 17

Deine Gnade würdiglich Und mit Danken zu erheben!

Thy mercy worthily And with gratitude to honor!

42. Choral

Chorale

Jesus richte mein Beginnen, Jesus bleibe stets bei mir, Jesus zäume mir die Sinnen, Jesus sei nur mein Begier, Jesus sei mir in Gedanken, Jesu, lasse mich nicht wanken!

Jesus order my beginning, Jesus bide alway with me, Jesus bridle my intention, Jesus be my sole desire, Jesus be in all my thinking, Jesus, let me never waver.

Part V: For the First Sunday of the New Year 43. Coro

Chorus

Ehre sei dir, Gott, gesungen, Dir sei Lob und Dank bereit. Dich erhebet alle Welt, Weil dir unser Wohl gefällt, Weil anheut Unser aller Wunsch gelungen, Weil uns dein Segen so herrlich erfreut.

Glory to thee, God, be sung now, Thee be praise and thanks prepared, Thee exalteth all the world, For our good is thy desire, For today Is our ev’ry wish accomplished, For us thy favor brings such splendid joy.

44. Recitativo

Recitative

Evangelist

Da Jesus geboren war zu Bethlehem im jüdischen Lande zur Zeit des Königes Herodis, siehe, da kamen die Weisen vom Morgenlande gen Jerusalem und sprachen:

Now when Jesus was born in Bethlehem in the land of Judea in the days when Herod was the king, behold, there came the wise from the East to Jerusalem, who said:

45. Coro e Recitativo

Chorus and Recitative

Die Weisen

The Wise Men

Wo ist der neugeborne König der Jüden?

Where doth the newborn babe, the king of the Jews, lie?

Alto

Sucht ihn in meiner Brust, Hier wohnt er, mir und ihm zur Lust!

Seek him within my breast, He dwells here, mine and his the joy!

Die Weisen

The Wise Men

Wir haben seinen Stern gesehen im Morgenlande und sind kommen, ihn anzubeten.

We have indeed his star now witnessed where morning riseth and are come now to give him worship.

Alto

Wohl euch, die ihr dies Licht gesehen, Es ist zu eurem Heil geschehen!

Blest ye, who have this light now witnessed, It is for your salvation risen!

18 AUSTRALIAN CHAMBER ORCHESTRA

Mein Heiland, du, du bist das Licht, Das auch den Heiden scheinen sollen, Und sie, sie kennen dich noch nicht, Als sie dich schon verehren wollen. Wie hell, wie klar muß nicht dein Schein, Geliebter Jesu, sein!

My Savior, thou, thou art that light, Which to the nations shall shine also, And they, they do not know thee yet, As they e’en now would pay thee honor. How bright, how clear must then thy rays, Belove’d Jesus, be!

46. Choral

Chorale

Dein Glanz all Finsternis verzehrt, Die trübe Nacht in Licht verkehrt. Leit uns auf deinen Wegen, Daß dein Gesicht Und herrlichs Licht Wir ewig schauen mögen!

Thy light all darkness doth consume, The gloomy night to day transform. Lead us upon thy pathways, That we thy face And glorious light For evermore may witness!

47. Aria

Aria

Erleucht auch meine ﬁnstre Sinnen, Erleuchte mein Herze Durch der Strahlen klaren Schein! Dein Wort soll mir die hellste Kerze In allen meinen Werken sein; Dies lässet die Seele nichts Böses beginnen.

Illumine, too, my gloomy spirit, Illumine my bosom With the beams of thy clear light! Thy word shall be my brightest candle In all the works which I shall do; My soul shall this keep from all wicked endeavor.

48. Recitativo

Recitative

Evangelist

Da das der König Herodes hörte, erschrak er und mit ihm das ganze Jerusalem.

And thus when Herod the king had heard this, he trembled, and with him the whole of Jerusalem.

49. Recitativo

Recitative

Warum wollt ihr erschrecken? Kann meines Jesu Gegenwart euch solche Furcht erwecken? O! solltet ihr euch nicht Vielmehr darüber freuen, Weil er dadurch verspricht, Der Menschen Wohlfahrt zu verneuen.

Wherefore would ye be frightened? Can my dear Jesus’s presence then in you such fear awaken? Oh! Should ye not by this Instead be moved with gladness, That he thereby hath pledged To make anew mankind’s well-being!

50. Recitativo

Recitative

Evangelist

Und ließ versammlen alle Hohepriester und Schriftgelehrten unter dem Volk und erforschete von ihnen, wo Christus sollte geboren werden. Und sie sagten ihm: Zu Bethlehem im jüdischen Lande; denn also stehet geschrieben durch den Propheten: Und du Bethlehem im jüdischen Lande bist mitnichten die

And assembling all the high priests and scribes from amongst the people, did he then inquire of them, where the birth of Christ was supposed to happen. And they said to him: “In Bethlehem in the land of Judea; for even thus is it written by the prophet: ‘And thou, Bethlehem, in the land of Judea art by no means AUSTRALIAN CHAMBER ORCHESTRA 19

kleinest unter den Fürsten Juda; denn aus dir soll mir kommen der Herzog, der über mein Volk Israel ein Herr sei.

the least among the princes of Judah; for from thee shall to me come the ruler, who shall over my people Israel be master.’ ”

51. Aria – Trio

Aria – Trio

Ach, wenn wird die Zeit erscheinen? Ach, wenn kömmt der Trost der Seinen? Schweigt, er ist schon würklich hier! Jesu, ach so komm zu mir!

Ah, when will that time appear then? Ah, when will his people’s hope come? Hush, he is already here! Jesus, ah, then come to me!

52. Recitativo

Recitative

Mein Liebster herrschet schon. Ein Herz, das seine Herrschaft liebet Und sich ihm ganz zu eigen gibet, Ist meines Jesu Thron.

My dearest ruleth now. The heart which his dominion loveth And gives itself to him entirely Shall be my Jesus’s throne.

53. Choral

Chorale

Zwar ist solche Herzensstube Wohl kein schöner Fürstensaal, Sondern eine ﬁnstre Grube; Doch, sobald dein Gnadenstrahl In denselben nur wird blinken, Wird es voller Sonnen dünken.

Though in truth my heart’s poor lodging Is no lovely royal hall, Rather but a dreary chamber, Yet, when once thy mercy’s beams Bring to it the merest glimmer, It seems as though with sun to shimmer.

Part VI: For the Feast of Epiphany 54. Coro

Chorale

Herr, wenn die stolzen Feinde schnauben, So gib, daß wir im festen Glauben Nach deiner Macht und Hülfe sehn! Wir wollen dir allein vertrauen, So können wir den scharfen Klauen Des Feindes unversehrt entgehn.

Lord, when our boastful foes blow fury, Help us to keep our faith unshaken And to thy might and help to look! We would make thee our sole reliance And thus unharmed the cutting talons And clutches of the foe escape.

55. Recitativo

Recitative

Evangelist

Da berief Herodes die Weisen heimlich und erlernet mit Fleiß von ihnen, wenn der Stern erschienen wäre? und weiset sie gen Bethlehem und sprach:

Then did Herod summon the wise men in secret, and with diligence he learned from them when the star was to appear. And he sent them forth to Bethlehem and said:

Herodes

Herod

Ziehet hin und forschet ﬂeißig nach dem Kindlein, und wenn ihr‘s ﬁndet, sagt mir‘s wieder, daß ich auch komme und es anbete.

Go ye forth and search with diligence for the baby, and when ye ﬁnd him, bring me word, that I as well may come and worship him.

20 AUSTRALIAN CHAMBER ORCHESTRA

56. Recitativo

Recitative

Du Falscher, suche nur den Herrn zu fällen, Nimm alle falsche List, Dem Heiland nachzustellen; Der, dessen Kraft kein Mensch ermißt, Bleibt doch in sichrer Hand. Dein Herz, dein falsches Herz ist schon, Nebst aller seiner List, des Höchsten Sohn, Den du zu stürzen suchst, sehr wohl bekannt.

Thou liar, seek nought but the Lord’s destruction, Lay ev’ry cunning snare And pitfall for our Saviour; He, whose great pow’r no man can gauge, Abides in hands secure. Thy heart, thy lying heart e’en now, Along with all its guile, to God’s own Son Whom thou dost strive to fell is fully known.

57. Aria

Aria

Nur ein Wink von seinen Händen Stürzt ohnmächtger Menschen Macht. Hier wird alle Kraft verlacht! Spricht der Höchste nur ein Wort, Seiner Feinde Stolz zu enden, O, so müssen sich sofort Sterblicher Gedanken wenden.

But a wave of his own hand will Bring down feeble human might. Here is all dominion mocked! Speak the Highest but one word, His opponents’ pride to ﬁnish, Oh, then surely must at once Change its course all mortal purpose.

58. Recitativo

Recitative

Evangelist

Als sie nun den König gehöret hatten, zogen sie hin. Und siehe, der Stern, den sie im Morgenlande gesehen hatten, ging für ihnen hin, bis daß er kam und stund oben über, da das Kindlein war. Da sie den Stern sahen, wurden sie hoch erfreuet und gingen in das Haus und funden das Kindlein mit MARIA, seiner Mutter, und ﬁelen nieder und beteten es an und täten ihre Schätze auf und schenkten ihm Gold, Weihrauch und Myrrhen.

And as soon as they had heard the king, they went their way. And lo, the star, which in the East they had seen already, went before their way, until it came and stood above that place where the baby was. And when they saw the star, they rejoiced with great gladness and went into the house and found there the baby with Mary, his mother, and fell before him and worshipped him and opened up their treasures then and gave to him gold, incense, and myrrh.

59. Choral

Chorale

Ich steh an deiner Krippen hier, O Jesulein, mein Leben; Ich komme, bring und schenke dir, Was du mir hast gegeben. Nimm hin! es ist mein Geist und Sinn, Herz, Seel und Mut, nimm alles hin, Und laß dirs wohlgefallen!

I stand before thy cradle here, O Jesus-child, my being, I come now, bring and oﬀer thee What thou to me hast given. Take all! It is my spirit, will, Heart, soul and mind, take all to thee, And let it serve thy pleasure!

60. Recitativo

Recitative

Evangelist

Und Gott befahl ihnen im Traum, daß sie sich nicht sollten wieder zu

And God then warned them in a dream that they should not go again AUSTRALIAN CHAMBER ORCHESTRA 21

Herodes lenken, und zogen durch einen andern Weg wieder in ihr Land.

unto Herod, and they went by another way back to their country.

61. Recitativo

Recitative

So geht! Genug, mein Schatz geht nicht von hier, Er bleibet da bei mir, Ich will ihn auch nicht von mir lassen. Sein Arm wird mich aus Lieb Mit sanftmutsvollem Trieb Und größter Zärtlichkeit umfassen; Er soll mein Bräutigam verbleiben, Ich will ihm Brust und Herz verschreiben. Ich weiß gewiß, er liebet mich, Mein Herz liebt ihn auch inniglich Und wird ihn ewig ehren. Was könnte mich nun für ein Feind Bei solchem Glück versehren! Du, Jesu, bist und bleibst mein Freund; Und werd ich ängstlich zu dir ﬂehn: Herr, hilf!, so laß mich Hülfe sehn!

Then go! ‘Tis well, my treasure leaveth not, He bideth here with me, I will not ever let him leave me. His arm will in his love With soft aﬀection’s warmth And deepest tenderness embrace me; He shall remain my faithful bridegroom, I will my breast and heart assign him. I know full well he loveth me, My heart, too, loves him fervently And shall alway adore him. What harm to me could any foe Amidst such fortune do now? Thou, Jesus, art fore’er my friend; And when in fear I cry to thee: “Lord, help!,” let me thy help behold!

62. Aria

Aria

Nun mögt ihr stolzen Feinde schrecken; Was könnt ihr mir für Furcht erwecken? Mein Schatz, mein Hort ist hier bei mir. Ihr mögt euch noch so grimmig stellen, Droht nur, mich ganz und gar zu fällen, Doch seht! mein Heiland wohnet hier.

Now may ye boastful foes be frightened; Ye can in me what fear awaken? My store, my hoard is here by me. Be ye unbounded in your fury And threaten me with utter ruin, Beware, my Savior dwelleth here!

63. Recitativo

Recitative

Was will der Höllen Schrecken nun, Was will uns Welt und Sünde tun, Da wir in Jesu Händen ruhn?

What hope hath Hell’s own terrors now, What harm will world and sin us do, While we in Jesus’s hands rest sure?

64. Choral

Chorale

Nun seid ihr wohl gerochen An eurer Feinde Schar, Denn Christus hat zerbrochen, Was euch zuwider war. Tod, Teufel, Sünd, und Hölle Sind ganz und gar geschwächt; Bei Gott hat seine Stelle Das menschliche Geschlecht.

Now are ye well avenged Upon your hostile host, For Christ hath fully broken All that which you opposed. Death, devil, hell, and error To nothing are reduced; With God hath now its shelter The mortal race of man.

TRANSLATION © Z. PHILIP AMBROSE www.uvm.edu/~classics/faculty/bach

22 AUSTRALIAN CHAMBER ORCHESTRA

INSTRUMENTS FROM BACH’S TIME FLUTE Georgia Browne I will be playing on a replica of a one-keyed ﬂute by IH Rottenburgh, Brussels, c.1740 made by Rudolf Tutz in Innsbruck, 2005. It is made from European boxwood which is very light in weight and colour and traditionally would have been stained with reddish brown dyes. The original belongs to my former teacher Barthold Kuijken and has been copied many times, making it one of the most popular ﬂute models used to play mid-18th century repertoire.

OBOE Benoît Laurent For this concert, I’m playing a copy made by M. and F. Ponseele, of an original instrument in boxwood built by Thomas Stanesby Jr. (b. London, 1692 – d. London, 1754), located in the Musical Instrument Museum, Edinburgh, and a copy made by A. Bernardini of an original instrument in boxwood built by Johann Heinrich Eichentopf (b. Stollberg, 1686 – d. Leipzig, 1769) located in the Musical Instrument Museum, Brussels. When you look at the importance of the oboe in J.S. Bach’s music, it is very plausible that he had very good oboe players at his disposal during his whole career. In most of his cantatas, there is an obbligato aria for oboe, not to mention the solo parts in his main oratorios. Much of the oboe music composed during his Leipzig period was probably composed for a musician by the name of Caspar Gleditsch (b. 1684 – d. 1747).

OBOE D’AMORE Lidewei De Sterck The instrument I will be playing is made by Marcel Ponseele. The oboe d’amore is after Johann Eichentopf, an oboe-maker from Leipzig at the time of J.S. Bach.

These performances of the Christmas Oratorio will be performed on gut strings, pitched at A415.

The reason why oboe-players usually play on copies and not on original instruments is that there are very few instruments left, and the ones that are left are often not in good condition. Unlike string instruments, wind instruments suﬀer from being used because of the humidity of the air that is blown into them. The original Baroque instruments which are still in good condition are therefore mostly kept in private collections and museums.

OBOE DA CACCIA Julia Fankhauser Because the body structure looks like a hunting horn the instrument is called the oboe da caccia. However, despite its name it was never used in hunting. The instrument is a tenor AUSTRALIAN CHAMBER ORCHESTRA 23

oboe pitched at F, and it was in use between 1720 and 1760. Notably, J.S. Bach included it in his oratorios and cantatas written in Leipzig. The oboe I will be performing on is a copy of an instrument made by Johann Eichentopf. The artisan Paul Hailperin has engraved at the bell following adage: PLUS FAIT DOUCEUR QUE VIOLENCE (gentleness does more than violence).

BASSOON Jane Gower In a sense the bassoon I am using is ‘doubly historical’. It is a copy of an instrument from the Nuremberg workshop of J.C. Denner from the early 1700s. Built by the London maker Mathew Dart in 1991, it was on its way to an Australian musical institution which ultimately could not pay for it. Desperate as I was for my first Baroque bassoon, I stepped in and purchased it. Considering what poor examples of historical bassoons were floating around in those times, I was extraordinarily fortunate to have landed this one. It has served me faithfully throughout my career, despite my attempts to replace it with ‘better’ makes. Denner’s bassoons are amongst the very earliest models known, and even coexisted with the dulcian, the bassoon’s predecessor. Thus they lack some of the volume, the bore refinements, the chromatic keys and the high register of later 18th-century builds. As a basso continuo instrument I have found it unrivalled, with its agility, its many-hued tone, flexibility of articulation and ability to blend with the string bass as well as voices. It is perhaps in playing the superlative continuo lines of a composer such as Bach that the differences between a Baroque and modern bassoon become most apparent. The modern instrument is built for homogeneity of attack, colour and control but is more laborious to play continuo basslines with the subtlety and flexibility that is needed to shade them.

HORN Anneke Scott The horn first entered the musical world more as a sound effect than as a musical instrument in its own right. The 17th-century enthusiasm for hunting had led to the rich and influential pouring money into hunting, and anyone who had aspirations to be rich and influential followed suit. Therefore when we first start to see the horn in a musical setting it is used as a sound effect, playing hunting calls and signals, often in opera or theatrical music. This is a quick way for the composer to signal to the audience that the scene in an opera or play has shifted, that the action is now taking place outside or on the hunting fields. The hunt servants who played the 24 AUSTRALIAN CHAMBER ORCHESTRA

hunting horn were invited into the concert hall or opera house and barely had time to wipe the mud off their boots. The French court was particular fond of hunting and the spectacle that was part of such events. The French style of hunting horn (known as the cor, or trompe, de chasse) was a very wide looped instrument, whilst in England they preferred the short bugle type of hunting horn. The longer the length of tubing, the more notes you have available. The short bugle could only manage two or three notes whilst the wide looped instrument could manage 16. Gradually composers started to see the musical benefit of the wide looped instrument and started to integrate it in the orchestra. When English audiences started to see this instrument they would have identified it as a ‘French’ horn rather than an ‘English’ horn, which is where the name ‘French horn’ comes from, a term which we still use today despite the fact that most of us horn players use a German system! Whilst the Baroque horn was becoming more and more popular, composers discovered that the Baroque horn has certain limitations that they had to work around. The Baroque horn is a simple wide looped coil of metal and only has about 16 notes at its disposal – the notes of the harmonic series. At the bottom of the range there are lots of gaps in the sequence so only a few notes are available but the higher you go, the closer you get to a scale with all its melodic potential. Therefore many Baroque horn parts are either based around triads (like the hunting calls heard at the beginning of Brandenburg No.1) or are written very high in the range so as to have enough notes to fashion melodies. As the instrument is played with the hand out of the flared bell it also has a distinctly different timbre to that of the modern horn. The harmonic series isn’t bang in tune with modern tuning systems and some of the notes can be a bit ‘fruity’ to modern ears, requiring great skill on the part of the player who needs to coax the notes into the right place. For example the 11th harmonic lies halfway between two notes, F and F sharp, yet Baroque composers call upon both notes and the horn players have to tweak them one way or another. Later in the 18th century horn players started to experiment with putting their hand in the bell, which led to a new technique and era of horn playing with a whole range of new colours and timbres available to musicians and composers.

BAROQUE TRUMPET Leanne Sullivan I perform on a Rainer Egger, an instrument maker in Basel, Switzerland. The bell is modelled after instruments by Johann Leonhard , Ehe II (1624-1724), in Nuremberg, Germany. AUSTRALIAN CHAMBER ORCHESTRA 25

CHOIR OF LONDON SOLOISTS SOPHIE BEVAN Soprano Sophie Bevan studied at the Royal College of Music International Opera School. Aside from an extensive concert repertoire, her roles at English National Opera have included Xenia – Mussorgsky/Boris Godunov, Despina – Mozart/Così fan tutte, Handel/Messiah (also Opéra de Lyon), Polissena – Handel/Radamisto, Yum-Yum – Sullivan/The Mikado, Telaire – Rameau/Castor and Pollux (directed by Barrie Kosky) and Sophie – Strauss/Der Rosenkavalier. For Welsh National Opera she sang the title role in Janáček/The Cunning Little Vixen, and for Garsington Opera she performed Susanna – Mozart/ Le nozze di Figaro and Donna Elvira – Mozart/Don Giovanni. Sophie made her debut at the Royal Opera House, Covent Garden as the Woodbird – Wagner/Siegfried and returned as Pamina – Mozart/The Magic Flute. These performances mark Sophie’s debut with the Choir of London.

ANNA DENNIS Soprano Anna Dennis’ concert performances include Britten/War Requiem (Berlin Philharmonie), Mozart/Mass in C minor (New York), Bach/Christmas Oratorio (Tokyo), Handel/L’Allegro, Il Penseroso ed Il Moderato (Paul McCreesh in Cracow), Mendelssohn/Elijah alongside Bryn Terfel, and the modern premiere of the 1754 Rameau/Anacréon (Orchestra of the Age of Enlightenment). Anna’s performances of Berio/Folksongs (Britten Sinfonia), George Crumb song cycles (Galliard Ensemble) and Schoenberg/Pierrot Lunaire (Psappha) were all broadcast on BBC Radio 3. In recital Anna has appeared extensively including at the Aldeburgh Festival and Wigmore Hall, and she gave the Russian premiere of Thomas Adès/ Life Story. Operatic appearances include productions at Birmingham Opera Company, English National Opera, the Young Vic, Bregenz Festival and La Scala, Milan. This is Anna’s Choir of London debut.

JULIA DOYLE Soprano Julia Doyle performs all over the world with many of Europe’s top ensembles and is fast establishing a specialist career in Baroque repertoire. Highlights include Haydn/Scena di Berenice (BBC Philharmonic/Gianandrea Noseda), Mozart/ Exultate Jubilate (Arsys Bourgogne/Cité de la Musique, Paris), Bach/St John Passion (English Baroque Soloists/Sir John Eliot Gardiner), Bach/St Matthew Passion (Collegium Vocale/ Philippe Herreweghe/Alice Tully Hall, New York), Handel/ 26 AUSTRALIAN CHAMBER ORCHESTRA

Messiah (Royal Philharmonic Orchestra/Royal Albert Hall and The King’s Consort/Palace of Versailles), Handel/Occasional Oratorio (English Concert/Halle Handelfestspiele), Handel/La Resurrezione (Wigmore Hall), and Bach/Christmas Oratorio (RTE Orchestra Dublin/Matthew Halls). Julia has recently recorded Handel/L’Allegro (Koelner Kammerchor/Peter Neumann), Handel/Israel in Egypt (Arsys Bourgogne/Pierre Cao), Handel/Messiah (Britten Sinfonia/Stephen Layton), and Lutosławski/Dwadziesci Koled (BBC Symphony/David Zinman). These performances mark Julia’s debut with the Choir of London.

FIONA CAMPBELL Alto Fiona Campbell performs regularly with the Australian Chamber Orchestra and all of the other major ensembles, orchestras and opera companies in Australia. Her international collaborators include the Brodsky Quartet, Tokyo Philharmonic, Soloists of Royal Opera House Orchestra, Manchester Camerata, Hong Kong Philharmonic, Glyndebourne Festival Opera and Opera North. Operatic roles have included Olga – Tchaikovsky/Eugene Onegin, Dorabella – Mozart/Così fan tutte, Venus – Wagner/Tannhäuser, Idamante – Mozart/Idomeneo and Cherubino – Mozart/Le nozze di Figaro (Helpmann Award nomination). 2013 highlights include Dido – Purcell/Dido and Aeneas (Sydney Philharmonia), Cinderella – Rossini/Cinderella (Opera Queensland/Wyn Davies & Simon Kenway), Berlioz/Les Nuits d’été (West Australian Symphony Orchestra/Paul McCreesh), Haydn/ Theresienmesse (Melbourne Symphony Orchestra/Bernard Labadie) and Mozart/Mass in C minor (Australian Brandenburg Orchestra/Paul Dyer). This is Fiona’s debut with the Choir of London.

ANNIE GILL Alto Annie Gill was a young artist at L’Opéra National du Rhin, where she began her international career with roles in Die Walküre and L’Incoronazione di Poppea. Since then she has been in constant demand, singing at Glyndebourne, Opera North, Opéra Comique, Scottish Opera, Wexford Opera Festival, and with the Orchestre Philharmonique de Radio France, the Orchestre Revolutionnaire et Romantique and the Orchestra of the Age of Enlightenment. Her repertoire ranges from Bach to world premieres by David Sawer and Edward Hughes, via Chabrier, Rossini, Duruﬂé, Britten and Bizet, and she has sung with conductors including Sir John Eliot Gardiner, Marko Letonja, Nicholas Cleobury and Rinaldo Alessandrini. Annie’s Choir of London debut was in 2006.

AUSTRALIAN CHAMBER ORCHESTRA 27

CATHERINE HOPPER Alto Catherine Hopper studied at the University of Leeds, the Weimar Franz Liszt Hochschule, the Royal Academy of Music and the National Opera Studio. Roles include Dinah – Bernstein/Trouble in Tahiti (Psappha /Queen Elizabeth Hall and Buxton Festival), Lucretia – Britten/The Rape of Lucretia (Key Productions/Arcola Theatre), Hänsel – Humperdinck/ Hänsel und Gretel (Opera Holland Park), Popova – Walton/ The Bear (Mahogany Opera), Second Lady – Mozart/The Magic Flute (Clonter Opera and Garsington), Dido – Purcell/Dido and Aeneas (Os músicos do Tejo/Lisbon), and Rossweisse – Wagner/ Die Walküre (Opera North). Concert work includes Vaughan Williams/Serenade to Music (Sir Andrew Davis/BBC Proms), Strauss/Salome (Valery Gergiev/Verbier Festival) and Bach/ St Matthew Passion (Orchestra of the Age of Enlightenment). Catherine’s Choir of London debut in 2009 was as Mary – Berlioz/L’Enfance du Christ (Sir Colin Davis).

JEREMY BUDD Tenor

Jeremy Budd’s many concert performances include Haydn/ Seasons and Britten/Serenade (both Harry Christophers), Mozart/Requiem and Mozart/Mass in C Minor (Sir John Eliot Gardiner) in San Francisco and New York, Bach/St John Passion (Gurzenich Orchestra, Cologne), Purcell/Ode on St.Cecilia’s Day (Gardiner in Paris and London, Gabrieli Consort/Paul McCreesh in Beaune and the Concertgebouw, Amsterdam), and Damon – Handel/Acis and Galatea, Mendelssohn/Elijah, Handel/Messiah, and Haydn/Creation (all McCreesh). Jeremy made his Proms debut in Bach/St John Passion (Gardiner), and his Canadian debut with Les Violons du Roy/Bernard Labadie. Operatic engagements include Bach/St John Passion (staged) in Paris and Monteverdi/Orfeo in Lille (both Emmanuelle Haïm), and Pilade – Handel/Oreste at the Linbury Studio Theatre, Royal Opera House. These performances mark Jeremy’s debut with the Choir of London.

THOMAS HOBBS Tenor Thomas Hobbs has performed and recorded with many leading ensembles including The Tallis Scholars, The Sixteen, The Cardinall’s Musick and the Dunedin Consort. His operatic roles include the title role in Britten/Albert Herring, Acis – Handel/ Acis and Galatea, Ferrando – Mozart/Così fan tutte, and a critically acclaimed Telemachus – Monteverdi/The Return of Ulysses (English National Opera/Jonathan Cohen). Recent concert performances include Bach/St Matthew Passion (Collegium Vocale), Bach/B Minor Mass (Akademie für Alte Musik Berlin, Bach Akademie Stuttgart, Freiburg Bachchor), the title role in Handel/Joshua (Akademie für Alte Musik/RIAS 28 AUSTRALIAN CHAMBER ORCHESTRA

Kammerchor), Beethoven/Mass in C (Stuttgart Kammerchor), and Apollo and Shepherd – Monteverdi/Orfeo (Richard Egarr) in semi-staged performances at London’s Barbican Centre. This is Thomas’ Choir of London debut.

NICHOLAS MULROY Tenor Nicholas Mulroy is the most sought-after Evangelist of his generation. Concert appearances include Bach/St John Passion (Le Musiciens du Louvre/Marc Minkowski, Gabrieli Consort/ Paul McCreesh, Polyphony/Stephen Layton), Bach/Christmas Oratorio (Monteverdi Choir/Sir John Eliot Gardiner), and Handel/Messiah (Royal Scottish National Orchestra/Nicholas McGegan, Orchestra of the Age of Enlightenment). Operatic engagements include Rameau/Hippolyte et Aricie at the Paris Opéra, Dardanus (title role) with Emmanuelle Haïm and Monteverdi/L’Incoronazione di Poppea (Glyndebourne on Tour, Opéra de Lille, Opéra de Dijon). Recordings include a Gramophone Award-winning Handel/Messiah, Bach/St Matthew Passion, and Handel/Acis and Galatea (Dunedin Consort/John Butt), and Bach/St John Passion (both Polyphony/ Layton and Dunedin Consort/Butt). Nicholas’s appearances with the Choir of London include Narrator – Berlioz/L’Enfance du Christ (Sir Colin Davis) in London and Mozart/Requiem (Richard Tognetti) in Slovenia.

ALEX ASHWORTH Bass Alex Ashworth’s operatic roles include the titles in Tchaikovsky/ Eugene Onegin (Scottish Opera), Verdi/Falstaﬀ (Opera Vildmark), and Berg/Wozzeck (Welsh National Opera) as well as Belcore – Donizetti/L’Elisir d’Amore, Alidoro – Rossini/La Cenerentola (both Iford Festival), Silvio – Leoncavallo/I Pagliacci (Icelandic Opera), Smirnov – Walton/The Bear (Mahogany Opera) and Curio – Handel/Giulio Cesare (Glyndebourne Festival Opera). Recent concert appearances include the Icelandic premiere of Handel/Israel in Egypt (as well as a European tour of the same work for Sir John Eliot Gardiner); Duruﬂé/Requiem (also Gardiner), and Tobit – Haydn/II Ritorno di Tobia (Orchestra of the Age of Enlightenment/Sir Roger Norrington). Alex’s Choir of London appearances include Joseph – Berlioz/L’Enfance du Christ (Sir Colin Davis) in London, Marcello – Puccini/La Bohème (Nicholas Collon) in Palestine and Mozart/Requiem (Richard Tognetti) in Slovenia.

AUSTRALIAN CHAMBER ORCHESTRA 29

SAMUEL EVANS Bass Samuel Evans was a choral scholar at King’s College, Cambridge, before completing his training at the Royal College of Music. His operatic roles include Le Grand Prêtre – Rameau/Castor et Pollux (Salle Pleyel/Sir John Eliot Gardiner), Kilian – Weber/Der Freischütz (Opéra Comique and BBC Proms/Gardiner), Garibaldo – Handel/Rodelinda (London Handel Festival), The Forester – Janáček/The Cunning Little Vixen (Ryedale Festival), Chelsias – Handel/Susanna (Iford Festival) and Britten/Church Parables (Mahogany Opera). Concert engagements include appearances with the English Baroque Soloists/Sir John Eliot Gardiner, and Royal Northern Sinfonia/Thomas Zehetmair. Samuel is Music Director of Riverside Opera for which he recently conducted Bizet/ Carmen. Samuel’s appearances for the Choir of London include Sarastro – Mozart/The Magic Flute (Nicholas Collon) in Palestine, and Fauré/Requiem and Rutter/Requiem (John Rutter) in London.

GEORGE HUMPHREYS Bass George Humphreys is a graduate of St John’s College, Cambridge, the Royal Academy of Music, and Opernhaus Zürich’s International Opera Studio. Roles include Curio – Handel/Julius Caesar (English National Opera/Christian Curnyn), Belcore – Donizetti/L’Elisir d’Amore (Landestheater, Bregenz), Starveling – Britten/A Midsummer Night’s Dream (Teatro dell’Opera, Rome/James Conlon) and Aeneas – Purcell/Dido and Aeneas (Opera Dijon/Jonathan Cohen). He has performed with the Orchestra of the Age of Enlightenment, the City of Birmingham Symphony Orchestra and The Hanover Band, and at the London Handel Festival, Göttingen Händel-Festspiele and the Royal Ballet, Covent Garden. George is a founding Choir of London member, appearing as Herod – Berlioz/L’Enfance du Christ (Sir Colin Davis) in London, and Papageno – Mozart/The Magic Flute and Colline – Puccini/La Bohème (both Nicholas Collon) in Palestine.

30 AUSTRALIAN CHAMBER ORCHESTRA

CHOIR OF LONDON Choir of London Dima Bawab Soprano Charmian Bedford Soprano Sophie Bevan* Soprano Anna Dennis* Soprano Julia Doyle* Soprano Lucy Page Soprano Elaine Tate Soprano Fiona Campbell* Alto Annie Gill* Alto Catherine Hopper* Alto Kate Symonds-Joy Alto Jeremy Budd* Tenor Thomas Hobbs* Tenor Nicholas Mulroy* Tenor Richard Rowntree Tenor Alex Ashworth* Bass Samuel Evans* Bass George Humphreys* Bass Richard Latham Bass Assistant Chorusmaster * Soloist

Management John Harte General Manager Alice Howick Tour Manager Michael Stevens General Manager Jeremy Summerly Chorusmaster

The Choir of London is not just a choir: it is a flexible community of musicians who create change. It can be a string quartet or a touring opera company; it hosts festivals that inspire communities; it empowers young musicians through learning; and it is a charitable trust, committed to helping Palestine’s musicians take a place on the world stage. The Choir of London exists to give outstanding professional musicians a chance to contribute their time and skills to charitable work, and to harness their energy to develop access to music in places that need it most. It has made five major tours to the Middle East engaging with over 1,500 local and visiting musicians; established a Bursary Scheme for the best young Palestinian musicians to experience musical life in the UK; and has generated, stimulated and enabled cultural transformation in the areas where it has worked, contributing to a revolution in musical life in Palestine. The Choir of London has developed a particularly close association with the composers Tarik O’Regan, John Rutter and the late Sir John Tavener, performed regularly with the Royal Philharmonic and Aurora Orchestras, and appeared at major London venues including the Royal Albert Hall, Cadogan Hall, Queen Elizabeth Hall and St Paul’s Cathedral (also enjoying a residency at Festival Maribor, Slovenia, in 2010) with conductors including Richard Tognetti, Jeremy Summerly, Nicholas Collon, Graham Ross, and the late Sir Colin Davis. Choir of London projects aim to increase musical opportunities for people whose access to music would otherwise be limited, through education projects, the firstclass live performances, and the encouragement of artistic collaborations. The Choir’s activities are underpinned by a strong intercultural ethos which has helped it forge connections with artists and musical traditions of widely varying backgrounds. Its first international project saw the Choir performing Bach’s Christmas Oratorio in Bethlehem, Jerusalem and Ramallah; its most recent, the Palestine Choral Festival in August 2013, brought together choirs from the UK, Australia, France and Germany with 25 ensembles from all over the West Bank. The Choir of London is delighted to commence its 10th anniversary season in Australia. choiroflondon.org

AUSTRALIAN CHAMBER ORCHESTRA 31

RICHARD TOGNETTI ao © Paul Henderson-Kelly

ARTISTIC DIRECTOR AUSTRALIAN CHAMBER ORCHESTRA Australian violinist, conductor and composer Richard Tognetti has established an international reputation for his compelling performances and artistic individualism. He studied at the Sydney Conservatorium with Alice Waten, in his home town of Wollongong with William Primrose, and at the Berne Conservatory (Switzerland) with Igor Ozim, where he was awarded the Tschumi Prize as the top graduate soloist in 1989. Later that year he was appointed Leader of the Australian Chamber Orchestra (ACO) and subsequently became Artistic Director. He is also Artistic Director of the Festival Maribor in Slovenia.

“Richard Tognetti is one of the most characterful, incisive and impassioned violinists to be heard today.” THE DAILY TELEGRAPH (UK)

Select Discography As soloist: BACH, BEETHOVEN & BRAHMS ABC Classics 481 0679 BACH Sonatas for Violin and Keyboard ABC Classics 476 5942 2008 ARIA Award Winner BACH Violin Concertos ABC Classics 476 5691 2007 ARIA Award Winner BACH Solo Violin Sonatas and Partitas ABC Classics 476 8051 2006 ARIA Award Winner (All three releases available as a 5CD Box set: ABC Classics 476 6168) Musica Surﬁca (DVD) Best Feature, New York Surf Film Festival As director: GRIEG Music for String Orchestra BIS SACD-1877 Pipe Dreams Sharon Bezaly, Flute BIS CD-1789 All available from aco.com.au/shop.

Tognetti performs on period, modern and electric instruments. His numerous arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and been performed throughout the world. As director or soloist, Tognetti has appeared with the Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra, YouTube Symphony Orchestra and the Australian symphony orchestras. He conducted Mozart’s Mitridate for the Sydney Festival and gave the Australian premiere of Ligeti’s Violin Concerto with the Sydney Symphony Orchestra. Tognetti has collaborated with colleagues from across various art forms and artistic styles, including Jonny Greenwood, Joseph Tawadros, Dawn Upshaw, James Crabb, Emmanuel Pahud, Katie Noonan, Neil Finn, Tim Freedman, Bill Henson, Michael Leunig and Jon Frank. In 2003, Tognetti was co-composer of the score for Peter Weir’s Master and Commander: The Far Side of the World; violin tutor for its star, Russell Crowe; and can also be heard performing on the award-winning soundtrack. In 2005, he co-composed the soundtrack to Tom Carroll’s surf film Horrorscopes and, in 2008, co-created The Red Tree, inspired by illustrator Shaun Tan’s book. He co-created and starred in the 2008 documentary film Musica Surfica, which has won best film awards at surf film festivals in the USA, Brazil, France and South Africa. As well as directing numerous recordings by the ACO, Tognetti has recorded Bach’s solo violin repertoire for ABC Classics, winning three consecutive ARIA awards, and the Dvořák and Mozart Violin Concertos for BIS. Richard Tognetti was appointed an Officer of the Order of Australia in 2010. He holds honorary doctorates from three Australian universities and was made a National Living Treasure in 1999. He performs on a 1743 Guarneri del Gesù violin, lent to him by an anonymous Australian private benefactor.

32 AUSTRALIAN CHAMBER ORCHESTRA

AUSTRALIAN CHAMBER ORCHESTRA RICHARD TOGNETTI, ARTISTIC DIRECTOR & LEAD VIOLIN

ACO Musicians Richard Tognetti Artistic Director and Lead Violin Helena Rathbone Principal Violin Satu Vänskä Principal Violin Rebecca Chan Violin Aiko Goto Violin Mark Ingwersen Violin Ilya Isakovich Violin Christopher Moore Principal Viola Alexandru-Mihai Bota Viola Nicole Divall Viola Timo-Veikko Valve Principal Cello Melissa Barnard Cello Julian Thompson Cello Maxime Bibeau Principal Double Bass Part-time Musicians Zoë Black Violin Veronique Serret Violin Caroline Henbest Viola Daniel Yeadon Cello

Renowned for inspired programming and unrivalled virtuosity, energy and individuality, the Australian Chamber Orchestra’s performances span popular masterworks, adventurous crossartform projects and pieces specially commissioned for the ensemble. Founded in 1975 by John Painter am, this string orchestra comprises leading Australian and international musicians. The Orchestra performs symphonic, chamber and electro-acoustic repertoire collaborating with an extraordinary range of artists from numerous artistic disciplines including renowned soloists Emmanuel Pahud, Steven Isserlis and Dawn Upshaw; singers Katie Noonan, Paul Capsis, and Teddy Tahu Rhodes; and such diverse artists as cinematographer Jon Frank, entertainer Barry Humphries, photographer Bill Henson, choreographer Rafael Bonachela and cartoonist Michael Leunig. Australian violinist Richard Tognetti, who has been at the helm of the ACO since 1989, has expanded the Orchestra’s national program, spearheaded vast and regular international tours, injected unprecedented creativity and unique artistic style into the programming and transformed the group into the energetic standing ensemble (except for the cellists) for which it is internationally recognised. Several of the ACO’s players perform on remarkable instruments. Richard Tognetti plays the legendary 1743 Carrodus Guarneri del Gesù violin, on loan from a private benefactor; Helena Rathbone plays a 1759 Guadagnini violin owned by the Commonwealth Bank; Satu Vänskä plays a 1728/9 Stradivarius violin owned by the ACO Instrument Fund; Timo-Veikko Valve plays a 1729 Giuseppe Guarneri filius Andreæ cello on loan from Peter Weiss ao and Maxime Bibeau plays a late-16th century Gasparo da Salò bass on loan from a private Australian benefactor. The ACO has made many award-winning recordings and has a current recording contract with leading classical music label BIS. Highlights include Tognetti’s three-time ARIA Award-winning Bach recordings, multi-award-winning documentary film Musica Surfica and the complete set of Mozart Violin Concertos.

The Australian Chamber Orchestra is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body.

The ACO presents outstanding performances to over 9,000 subscribers across Australia and when touring overseas, consistently receives hyperbolic reviews and return invitations to perform on the great music stages of the world including Vienna’s Musikverein, Amsterdam’s Concertgebouw, London’s Southbank Centre and New York’s Carnegie Hall. In 2005 the ACO inaugurated a national education program including a mentoring program for Australia’s best young string players and education workshops for audiences throughout Australia.

The Australian Chamber Orchestra is supported by the NSW Government through Arts NSW.

aco.com.au AUSTRALIAN CHAMBER ORCHESTRA 33

MUSICIANS ON STAGE

Photos: Paul Henderson-Kelly, Helen White

RICHARD TOGNETTI AO§

HELENA RATHBONE*

SATU VÄNSKÄ≈

REBECCA CHAN

Director & Violin Chair sponsored by Michael Ball AM & Daria Ball, Wendy Edwards, Prudence MacLeod

Principal Violin Chair sponsored by Kate & Daryl Dixon

Principal Violin Chair sponsored by Kay Bryan

Violin Chair sponsored by Ian Wallace & Kay Freedman

AIKO GOTO

MARK INGWERSEN

ILYA ISAKOVICH

CHRISTOPHER MOORE

Violin Chair sponsored by Anthony & Sharon Lee

Violin

Violin Chair sponsored by Australian Communities Foundation – Connie & Craig Kimberley Fund

Principal Viola Chair sponsored by peckvonhartel architects

ALEXANDRUMIHAI BOTA

TIMOVEIKKO VALVE ❖ Principal Cello Chair sponsored by Peter Weiss ao

Viola Chair sponsored by Philip Bacon AM

MAXIME BIBEAU ✩ Principal Bass Chair sponsored by John Taberner & Grant Lang

MELISSA BARNARD

JULIAN THOMPSON #

Cello Chair sponsored by Bruce & Joy Reid Foundation

Cello Chair sponsored by The Clayton Family

Violin

Oboe da caccia

Principal Timpani

ZOË BLACK VERONIQUE SERRET IKE SEE LACHLAN O’DONNELL

JULIA FANKHAUSER JULIA BAUER Bassoon

BRIAN NIXON Chair sponsored by Robert Albert ao & Mrs Libby Albert

JANE GOWER 3

Chamber Organ 5

Viola

Horn

NEAL PERES DA COSTA

CHRISTOPHER CARTLIDGE 1

ANNEKE SCOTT 3 JOSEPH WALTERS 3

Flute

Trumpet

GEORGIA BROWNE MEGAN LANG

NEIL BROUGH 3 DAVID ELTON 4 LEANNE SULLIVAN

Oboe d’amore

BENOIT LAURENT 2 LIDEWEI DE STERCK

1 Courtesy of Melbourne Symphony Orchestra 2 Courtesy of Royal Conservatory of Brussels 3 Courtesy of Orchestre Révolutionnaire et Romantique 4 Courtesy of Sydney Symphony Orchestra 5 Chamber organ provided and prepared by Carey Beebe

§ Richard Tognetti plays a 1743 Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor.

✽ Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group.

≈ Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund.

❖ Timo-Veikko Valve plays a 1729 Giuseppe Guarneri ﬁlius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesù, kindly on loan from Peter Weiss ao. # Julian Thompson plays a 1721 Giuseppe Guarneri ﬁlius Andreæ cello kindly on loan from the Australia Council. ✩ Maxime Bibeau plays a late-16th century Gasparo da Salò bass kindly on loan from private Australian benefactors.

34 AUSTRALIAN CHAMBER ORCHESTRA

Players dressed by AKIRA ISOGAWA

ACO BEHIND THE SCENES BOARD Guido Belgiorno-Nettis am Chairman Angus James Deputy Bill Best John Borghetti Liz Cacciottolo Chris Froggatt

Janet Holmes à Court ac John Grill Heather Ridout ao

Andrew Stevens John Taberner Peter Yates am

Richard Tognetti ao Artistic Director

ADMINISTRATION STAFF EXECUTIVE OFFICE

FINANCE

MARKETING

Timothy Calnin General Manager

Cathy Davey Chief Financial Oﬃcer

Rosie Rothery Marketing Manager

Jessica Block Deputy General Manager

Steve Davidson Corporate Services Manager

Amy Goodhew Marketing Coordinator

Joseph Nizeti Executive Assistant to Mr Calnin and Mr Tognetti AO

Rachel O’Brien Accountant

Clare Morgan National Publicist

Yvonne Morton Accountant

Jack Saltmiras Digital Content & Publicity Coordinator

ARTISTIC & OPERATIONS

Shyleja Paul Assistant Accountant

Luke Shaw Head of Operations & Artistic Planning

DEVELOPMENT

Alan J. Benson Artistic Administrator Megan Russell Tour Manager Lisa Mullineux Assistant Tour Manager Elissa Seed Travel Coordinator Jennifer Powell Librarian/Music Technology Assistant Bernard Rofe Assistant Librarian EDUCATION Phillippa Martin Acting Education & Emerging Artists Manager

Chris Griﬃth Box Oﬃce Manager Dean Watson Customer Relations Manager

Jill Colvin Acting Development Manager Rebecca Noonan Corporate Relations Manager

Deyel Dalziel-Charlier Box Oﬃce & CRM Database Assistant

Alexandra Cameron-Fraser Public Aﬀairs Manager

Christina Holland Oﬃce Administrator

Tom Tansey Events Manager

INFORMATION SYSTEMS

Tom Carrig Senior Development Executive

Ken McSwain Systems & Technology Manager

Alison Carter Investment Relations Manager

Emmanuel Espinas Network Infrastructure Engineer

Ali Brosnan Patrons & Foundations Executive

ARCHIVES John Harper Archivist

Sally Crawford Development Coordinator

Sarah Conolan Education Assistant

AUSTRALIAN CHAMBER ORCHESTRA

ABN 45 001 335 182

Australian Chamber Orchestra Pty Ltd is a not for proﬁt company registered in NSW.

In Person: Opera Quays, 2 East Circular Quay, Sydney NSW 2000 By Mail: PO Box R21, Royal Exchange NSW 1225 Telephone: (02) 8274 3800 Facsimile: (02) 8274 3801 Box Oﬃce: 1800 444 444 Email: aco@aco.com.au Website: aco.com.au

AUSTRALIAN CHAMBER ORCHESTRA 35

ACKNOWLEDGEMENTS GOVERNMENT SUPPORT

VENUE SUPPORT We are also indebted to the following organisations for their support:

Arts Centre Melbourne PO Box 7585 St Kilda Road Melbourne Vic 8004 Telephone: (03) 9281 8000 Facsimile: (03) 9281 8282 Website: artscentremelbourne.com.au VICTORIAN ARTS CENTRE TRUST Mr Tom Harley (President) Ms Deborah Beale Mr Sandy Clark Mr Julian Clarke Mr Jim Cousins ao Ms Dana Hlavacek Ms Catherine McClements Mr Graham Smorgon am Mr David Vigo EXECUTIVE GROUP Ms Jodie Bennett Acting Chief Executive OďŹ&#x192;cer Ms Louise Georgeson Executive Development & Strategy Ms Sarah Hunt Executive Marketing & Programming Mr Kyle Johnston Executive Sales & Customer Services Mr Tony Murphy Acting Executive Facilities DONOR ACKNOWLEDGEMENT

Arts Centre Melbourne extends heartfelt thanks to our Arts Angels, whose generosity, loyalty and commitment ensure as many Victorians as possible can experience the joy of the performing arts here in Melbourne. FOR YOUR INFORMATION

The management reserves the right to add, withdraw or substitute artists and to vary the program as necessary. The Trust reserves the right of refusing admission. Recording devices, cameras and mobile telephones must not be operated during the performance. In the interests of public health, Arts Centre Melbourne is a smoke-free area.

36 AUSTRALIAN CHAMBER ORCHESTRA

ACKNOWLEDGEMENTS

LLEWELLYN HALL School of Music Australian National University William Herbert Place (oﬀ Childers Street) Acton, Canberra VENUE HIRE INFORMATION Phone: +61 2 6125 2527 Fax: +61 2 6248 5288

Email: music.venues@anu.edu.au

SYDNEY OPERA HOUSE TRUST Mr John Symond am (Chair) Mr Wayne Blair, Ms Catherine Brenner, The Hon Helen Coonan, Ms Renata Kaldor ao, Mr Chris Knoblanche, Mr Robert Leece am rfd, Mr Peter Mason am, Mr Leo Schofield am, Mr Robert Wannan SYDNEY OPERA HOUSE EXECUTIVE Chief Executive Officer Louise Herron am Chief Operating Officer Claire Spencer Director, Programming Jonathan Bielski Director, Theatre & Events David Claringbold Director, Building Development & Maintenance Greg McTaggart Director, External Affairs Brook Turner Director, Commercial David Watson SYDNEY OPERA HOUSE Bennelong Point GPO Box 4274, Sydney NSW 2001 Administration: 02 9250 7111 Box Office: 02 9250 7777 Facsimile: 02 9250 7666 Website: sydneyoperahouse.com

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Chairman Brian Nebenzahl OAM RFD Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager – Production – Classical Music Alan Ziegler

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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: 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 Pty Ltd, 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. ACO–1312 — 17210 — 1/161213

AUSTRALIAN CHAMBER ORCHESTRA 37

ACO MEDICI PROGRAM In the time-honoured fashion of the great Medici family, the ACO’s Medici Patrons support individual players’ Chairs and assist the Orchestra to attract and retain musicians of the highest calibre.

MEDICI PATRON MRS AMINA BELGIORNO-NETTIS

PRINCIPAL CHAIRS Richard Tognetti ao

Helena Rathbone

Satu Vänskä

Lead Violin

Principal Violin

Michael Ball am & Daria Ball Wendy Edwards Prudence MacLeod

Kate & Daryl Dixon

Kay Bryan

Christopher Moore

Timo-Veikko Valve

Maxime Bibeau

Principal Viola

Principal Cello

Principal Double Bass

peckvonhartel architects

Peter Weiss ao

John Taberner & Grant Lang

Alexandru-Mihai Bota

Anthony & Sharon Lee

Violin Chair Terry Campbell ao & Christine Campbell

Mark Ingwersen

Rebecca Chan

Melissa Barnard

Violin

Cello

Ian Wallace & Kay Freedman

The Bruce & Joy Reid Foundation

Ilya Isakovich

Nicole Divall

Julian Thompson

Violin

Viola

Cello

Australian Communities Foundation – Connie & Craig Kimberley Fund

Ian Lansdown

The Clayton Family

CORE CHAIRS Aiko Goto Violin

Viola

Philip Bacon am

GUEST CHAIRS

FRIENDS OF MEDICI

Brian Nixon

Mr R. Bruce Corlett am & Mrs Ann Corlett

Principal Timpani

Mr Robert Albert ao & Mrs Libby Albert

38 AUSTRALIAN CHAMBER ORCHESTRA

ACO INSTRUMENT FUND The ACO has established its Instrument Fund to oﬀer patrons and investors the opportunity to participate in the ownership of a bank of historic stringed instruments. The Fund’s ﬁrst asset is Australia’s only Stradivarius violin, now on loan to Satu Vänskä, Principal Violin of the Orchestra. The ACO pays tribute to its Founding Patrons of the Fund.

BOARD MEMBERS Bill Best (Chairman) Jessica Block Janet Holmes à Court ac John Leece am John Taberner

FOUNDING PATRONS PETER WEISS ao, PATRON VISIONARY $1m+ Peter Weiss ao

LEADER $500,000–$999,999

ENSEMBLE $10,000$24,999 Leslie & Ginny Green

CONCERTO $200,000–$499,999 Amina Belgiorno-Nettis Naomi Milgrom ao

OCTET $100,000–$199,999 QUARTET $50,000–$99,999 John Leece am & Anne Leece

SONATA $25,000–$49,999

SOLO $5,000$9,999 Amanda Staﬀord

PATRONS $500$4,999 June & Jim Armitage Leith & Darrel Conybeare John Landers & Linda Sweeny Bronwyn & Andrew Lumsden Pamela McGaw Patricia McGregor Alison Reeve Angela Roberts Robyn Tamke Anonymous (2)

FOUNDING INVESTORS Guido & Michelle Belgiorno-Nettis Bill Best Benjamin Brady Steven Duchen Brendan Hopkins Angus & Sarah James John Taberner Ian Wallace & Kay Freedman

AUSTRALIAN CHAMBER ORCHESTRA 39

ACO SPECIAL COMMISSIONS The ACO pays tribute to our generous donors who have provided visionary support of the creative arts by collaborating with the ACO to commission new works in 2012 and 2013.

THE REEF LEAD PATRONS

PATRONS

Tony & Michelle Grist

Graham & Treﬃna Dowland Wendy Edwards Euroz Charitable Foundation Don & Marie Forrest Tony & Rose Packer Nick & Claire Poll Gavin & Kate Ryan Jon & Caro Stewart Simon & Jenny Yeo Anonymous (1)

Jane Albert Steven Alward & Mark Wakely Ian Andrews & Jane Hall Janie & Michael Austin T Cavanagh & J Gardner Anne Coombs & Susan Varga Amy Denmeade Toni Frecker John Gaden am Cathy Gray Susan Johnston & Pauline Garde

Brian Kelleher Andrew Leece Scott Marinchek & David Wynne Kate Mills & Sally Breen Nicola Penn Martin Portus Janne Ryan Barbara Schmidt & Peter Cudlipp Richard Steele Stephen Wells & Mischa Way Anonymous (1)

ELECTRIC PRELUDES by Brett Dean Commissioned by Jan Minchin for Richard Tognetti and the 2012 Maribor Festival, and the 2013 ACO National Concert Season.

NEVER TRULY LOST by Brenton Broadstock Commissioned by Robert & Nancy Pallin for Rob’s 70th birthday in 2013, in memory of Rob’s father, Paddy Pallin.

SPECIAL COMMISSIONS PATRONS Dr Jane Cook & Ms Sara Poguet Mirek Generowicz Peter & Valerie Gerrand V Graham Anthony & Conny Harris Andrew & Fiona Johnston Lionel & Judy King Dr Suzanne Trist Margot Woods & Arn Sprogis Team Schmoopy Anonymous (1)

40 AUSTRALIAN CHAMBER ORCHESTRA

ACO DONATIONS PROGRAM The ACO pays tribute to all of our generous foundations and donors who have contributed to our Emerging Artists and Education Programs, which focus on the development of young Australian musicians. These initiatives are pivotal in securing the future of the ACO and the future of music in Australia. We are extremely grateful for the support that we receive.

PATRONS  NATIONAL EDUCATION PROGRAM Janet Holmes à Court ac Marc Besen ao & Eva Besen ao

TRUSTS AND FOUNDATIONS HOLMES À COURT FAMILY FOUNDATION THE ROSS TRUST THE NEILSON FOUNDATION THE THOMAS FOUNDATION

EMERGING ARTISTS & EDUCATION PATRONS $10,000+ Mr Robert Albert ao & Mrs Libby Albert Australian Communities Foundation – Ballandry Fund Daria & Michael Ball Steven Bardy & Andrew Patterson The Belalberi Foundation Guido & Michelle BelgiornoNettis Liz Cacciottolo & Walter Lewin John & Janet Calvert-Jones Carapiet Foundation Mark Carnegie Stephen & Jenny Charles Darin Cooper Family Daryl & Kate Dixon Geoﬀ & Dawn Dixon Chris & Tony Froggatt Daniel & Helen Gauchat John Grill & Rosie Williams Catherine Holmes à CourtMather

Belinda Hutchinson am Angus & Sarah James PJ Jopling qc Miss Nancy Kimpton Bruce & Jenny Lane Prudence MacLeod Alf Moufarrige Louise & Martyn Myer Foundation Bruce Neill Jennie & Ivor Orchard Alex & Pam Reisner Mr Mark Robertson oam & Mrs Anne Robertson Margie Seale & David Hardy Tony Shepherd ao Mr John Singleton am Beverley Smith John Taberner & Grant Lang Alden Toevs & Judi Wolf The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao John & Myriam Wylie E Xipell Anonymous (2)

LIFE PATRONS IBM Mr Robert Albert ao & Mrs Libby Albert Mr Guido Belgiorno-Nettis am Mrs Barbara Blackman Mrs Roxane Clayton Mr David Constable am Mr Martin Dickson am & Mrs Susie Dickson Dr John Harvey ao Mrs Alexandra Martin Mrs Faye Parker Mr John Taberner & Mr Grant Lang Mr Peter Weiss ao

Patrons list is current as of 10 October 2013.

CONTRIBUTIONS If you would like to consider making a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Ali Brosnan on 02 8274 3830 or at Ali.Brosnan@aco.com.au. AUSTRALIAN CHAMBER ORCHESTRA 41

ACO PARTNERS 2013 CHAIRMAN’S COUNCIL MEMBERS The Chairman’s Council is a limited membership association of high level executives who support the ACO’s international touring program and enjoy private events in the company of Richard Tognetti and the Orchestra. Mr Guido BelgiornoNettis am Chairman Australian Chamber Orchestra & Executive Director Transﬁeld Holdings

Mr Greg Ellis Chief Executive Oﬃcer REA Group

Mr Didier Mahout CEO Australia & NZ BNP Paribas

Dr Bob Every Chairman Wesfarmers

Mr David Mathlin Senior Principal Sinclair Knight Merz

Aurizon Holdings Limited

Mr Angelos Frangopoulos Chief Executive Oﬃcer Australian News Channel

Ms Julianne Maxwell

Mr Philip Bacon am Director Philip Bacon Galleries Mr David Baffsky ao Mr Brad Banducci Director Woolworths Liquor Group Mr Jeff Bond Chief Executive Officer Peter Lehmann Wines Mr John Borghetti Chief Executive Officer Virgin Australia Mr Hall Cannon Regional Delegate, Australia, New Zealand & South Pacific Relais & Châteaux Mr Michael & Mrs Helen Carapiet Mr Stephen & Mrs Jenny Charles Mr Georg Chmiel Chief Executive Officer LJ Hooker Mr Julian Clarke Chief Executive Officer News Limited

Mr Richard Freudenstein Chief Executive Oﬃcer FOXTEL Ms Ann Gamble Myer Mr Daniel Gauchat Mr Colin Golvan SC & Dr Deborah Golvan Mr John Grill Chairman WorleyParsons Mr Andrew & Mrs Hiroko Gwinnett Mrs Janet Holmes à Court ac Mr & Mrs Simon & Katrina Holmes à Court Observant Pty Limited Ms Catherine Livingstone ao Chairman Telstra Mr Tim Longstaﬀ Managing Director, Corporate Finance, Deutsche Bank, Australia/New Zealand

Mr & Mrs Robin Crawford

Mr Andrew Low Chief Executive Oﬃcer RedBridge Grant Samuel

Rowena Danziger am & Kenneth G. Coles am

Mr Steven Lowy am Lowy Family Group

42 AUSTRALIAN CHAMBER ORCHESTRA

Mr Michael Maxwell Mr Geoﬀ McClellan Partner Herbert Smith Freehills Mr Donald McGauchie ao Chairman Nufarm Limited Ms Naomi Milgrom ao Ms Jan Minchin Director Tolarno Galleries Mr Jim Minto Managing Director TAL Mr Alf Moufarrige Chief Executive Oﬃcer Servcorp Mr Robert Peck am & Ms Yvonne von Hartel am peckvonhartel architects Mr Neil Perry am Rockpool Mr Mike Sangster Managing Director Total E&P Australia Ms Margie Seale & Mr David Hardy Mr Glen Sealey General Manager Maserati Australia & New Zealand

Mr Tony Shepherd ao President Business Council of Australia Mr Ray Shorrocks Head of Corporate Finance, Sydney Patersons Securities Mr Andrew Stevens Managing Director IBM Australia & New Zealand Mr Paul Sumner Director Mossgreen Pty Ltd Mr Mitsuyuki (Mike) Takada Managing Director & CEO Mitsubishi Australia Ltd Mr Michael Triguboﬀ Managing Director MIR Investment Management Ltd The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao Ms Vanessa Wallace Director Mr Malcolm Garrow Director Booz & Company Mr Peter Yates am Chairman, Royal Institution of Australia Director, AIA Ltd

ACO CORPORATE PARTNERS The ACO would like to thank its corporate partners for their generous support. PRINCIPAL PARTNER

FOUNDING PARTNER

FOUNDING PARTNER: ACO VIRTUAL

NATIONAL TOUR PARTNERS

OFFICIAL PARTNERS

PERTH SERIES PARTNER

ASSOCIATE PARTNER ACO VIRTUAL

REGIONAL TOURING PARTNER

CONCERT AND SERIES PARTNERS

Peter Weiss AO

Daryl Dixon

Warwick & Ann Johnson

EVENT PARTNERS

AUSTRALIAN CHAMBER ORCHESTRA 43