CONCERT PROGRAM
Discover Vivaldi’s Four Seasons THURSDAY 6 MAY 2021 / 6pm Hamer Hall Proudly presented by
Program ANTONIO VIVALDI The Four Seasons (excerpts)
Presenter Nicholas has always had a strong commitment to music education and community engagement. In 2010 he was awarded the Dame Roma Mitchell Churchill Fellowship to study the LSO’s iconic Discovery program and the use of improvisation in training classical musicians at the Guildhall School of Music.
NICHOLAS BOCHNER After training in Adelaide and London, Nicholas spent 3 years as Artist-in-Residence at the University of Queensland as part of the ensemble Perihelion, forging a strong reputation as an exponent of contemporary music. He joined the MSO as Assistant Principal Cello in 1998. Since then he has appeared as a soloist, chamber musician and recitalist. He has also taught cello and improvisation at the Australian National Academy of Music (ANAM).
In 2016, Nicholas’ considerable experience as an orchestral musician and his passion for communication led him to undertake a fellowship at ANAM where he developed, conducted and presented educational concerts for primary school children. During the fellowship he was mentored by Paul Rissmann, Graham Abbott and the legendary Richard Gill AO. Since then he has presented educational concerts for children and adults for MSO, ANAM and the Melbourne Chamber Orchestra. In 2020 he was named the MSO’s Cybec Assistant Conductor for Learning and Engagement. He is also the conductor of the Melbourne University Biomedical Students’ Orchestra. In support of his work as an education presenter, Nicholas has been studying conducting with Benjamin Northey and won a coveted place at the TSO’s 2019 Australian Conducting Academy.
Proudly presented by TarraWarra Estate
Proudly supported by City of Melbourne, and Crown Resorts Foundation and Packer Family Foundation. Nicholas Bochner's position as Cybec Assistant Conductor for Learning and Engagement is generously supported by the Cybec Foundation.
Glossary Baroque Derived from the Portuguese word barroco, meaning “oddly shaped pearl,” the term “baroque” has been widely used since the nineteenth century to describe the period in Western European art music from about 1600 to 1750.
Continuo An accompanying part used in Baroque music, which provides a bassline and harmonies. At least one instrument capable of playing chords must be included, such as a harpsichord or guitar, and a low register instrument, such as a cello or bassoon.
Concerto A musical composition for instruments in which one or more soloists is accompanied by an orchestra or ensemble.
Sul ponticello A directive in music for a stringed instrument to apply the bow over or near the bridge, so as to bring out the upper harmonics.
Quick Facts ANTONIO VIVALDI (1678–1741) Antonio Vivaldi died in Vienna some time in July 1741 and was buried in an unmarked grave. His music was rarely if ever played between then and the 1930s, when musicians in Italy began rediscovering Vivaldi’s huge and varied output of works. With the interest of music scholars like Alfred Einstein, composer Alfredo Casella and poet Ezra Pound, the revival of Vivaldi began; by the end of the 20th century Vivaldi was once again one of the most popular and frequently performed composers. Despite his death in obscure poverty, Vivaldi had enjoyed great popularity and success during his lifetime. Born in Venice in 1678, Vivaldi began learning violin with his father, a professional musician. He began studying for the priesthood in his early teens, though this in no way would have been seen as conflicting with the expectation of a career in music. It should be noted, too, that in Vivaldi’s time one was not obliged to enter a seminary; he was effectively ‘apprenticed’ to an older priest and was eventually ordained. Abridged from Gordon Kerry © 2005
The lost music of Vivaldi Vivaldi faced financial difficulties in his later years. His compositions were no longer held in such high esteem as they once had been in Venice. In response, Vivaldi chose to sell off sizeable numbers of his manuscripts at paltry prices to finance his migration to Vienna in search of a new position in the service of the Emperor Charles VI. Unfortunately, Charles VI died soon after Vivaldi arrived, which left Vivaldi impoverished and he died himself soon after. He received a pauper’s burial and the church and graveyard no longer exist. In 1926, in a monastery in Piedmont, researchers discovered fourteen bound volumes of Vivaldi's work that were previously thought to have been lost during the Napoleonic Wars. Some missing tomes in the numbered set were discovered in the collections of the descendants of the Grand Duke Durazzo, who had acquired the monastery complex in the 18th century. The volumes contained 300 concertos, 19 operas and over 100 vocal-instrumental works.
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