AYRE, CAPRICCIO, FANTASIA
UQ ART MUSEUM, FRIDAY 15 DECEMBER 2017
Fantasia no. 7 in G minor for solo viola da gamba Georg Philipp Telemann (1681 – 1767)
Rosary Sonata no. 1, “The Annunciation” Heinrich Ignaz Franz Biber (1644 – 1704)
Margaret Caley, violin
Ricercar no. 6 in G major for solo cello Domenico Gabrielli (1650s – 1690)
Fantasia and Ayre in C minor William Lawes (1602 – 1645)
Fantasia on “L’e tanto tempo hormai” Giovanni Battista Buonamente (c. 1595 – 1642)
Fantasia que contrahaze la harpa en la manera de Ludovico (Fantasia in the style of the harp of Ludovico) for solo vihuela Alonso Mudarra (c. 1510 – 1580)
Capriccio, che due violini sonana quattro parti (Capriccio in which two violins play four parts)
Biagio Marini (1587 – 1663)
Violin Sonata op.4 no.4 "La Biancuccia" Giovanni Antonio Pandolfi Mealli (mid C17)
Margaret Connolly, violin
Passacalio Marini
The Badinerie Players
Margaret Connolly, Margaret Caley Baroque violin
Dan Curro Baroque cello
Michael O’Loghlin Viola da gamba
Philip Griffin Theorbo, vihuela and baroque guitar
WAR OF THE BUFFOONS
July 12, 2017
In 1752, a performance of Pergolesi’s comic intermezzo La serva padrona at the prestigious Royal Academy of Music in Paris, an institution founded by Louis XIV and considered the purest sanctuary of French art, caused a heated debate about the merits of French and Italian music. This was known as the Querelle des Bouffons, or quarrel of the buffoons (or comic actors). The two styles were very different: the Italian being flashy and extrovert, the French restrained, relying on elegance and taste rather than overt virtuosity. If François Couperin had still been alive, he would certainly have been a peacemaker: decades earlier, he had preached for an understanding and even a reunification of the styles.
This programme contrasts French and Italian music of the period leading up to this dispute, illuminated by a commentary composed of quotations from the polemic pamphlets of the time. The programme features music by Marin Marais, Arcangelo Corelli and others, culminating in a rare performance of Couperin’s homage L’apothéose de Corelli with the composer’s commentary.
PROGRAMME
Prelude in A minor, Le Soligni Marin Marais (1656–1728)
Trio Sonata in G, op. 1 no. 9 Arcangelo Corelli (1653–1713)
Allegro – Allegro – Allegro – Adagio – Allegro – Adagio – Allegro – Adagio
Suite from Arianne et Baccus Marais
Ouverture – Air pour la Suitte de la Nimphe – Bourée pour les mesmes – Gigue – Rondeau pour les Plaisirs – Chaconne.
Aria 4 Sopra la Ciacona Marco Uccellini (d. 1680)
Ciacona Tarquinio Merula (1595 – 1665)
The unusual marriage of the hen and the cuckoo Uccellini
L’apothéose de Corelli François Couperin (1668–1733)
I. Corelli at the foot of Mount Parnassus asks the Muses to welcome him amongst them.
II. Corelli, enchanted by his favourable reception at Mount Parnassus, expresses his joy. He proceeds with his followers.
III. Corelli drinks at the well of Hypocrene. His followers proceed.
IV. Corelli's exaltation, caused by the waters of Hypocrene. [Segue to . . . ]
V. After his exaltation, Corelli falls asleep; his followers attend with some very quiet music.
VI. The Muses wake Corelli and place him next to Apollo.
VII. Corelli gives thanks.
The Badinerie Players:
Baroque violin: Wayne Brennan, Chen Yang
Baroque viola: Margaret Caley
Baroque cello: Dan Curro
Viola da gamba, narration: Michael O’Loghlin
Harpsichord: Juanita Simmonds
ANZAMEMS
16 July 2015
Each item on this programme relates to a paper at the conference.
1. Two anonymous 12th-century three-voice conductus:
Novus miles sequitur (transcribed Woodward) (in memoriam Thomas Becket)
Congaudeant catholici
Paper: Rebekah Woodward, “Three Voices to Mourn Thomas Becket”
2. Josquin des Prez (c. 1450/55–1521), En l’ombre d’ung buissonnet
Paper: Dr Denis Collins, “Josquin’s Lament and Emotional Communities of Elite Musicians in the Late Fifteenth Century”
3. Cipriano de Rore (1515/16–1565), Grave pene in amor
Paper: Professor Jessie Ann Owens, “Cipriano de Rore and the Musical Representation of Emotion”
4. Carl Heinrich Graun (1703/4–1759), Trio in C, GraunWV B:XV:53
Adagio – Allegro – Largo – Allegro
Graun was the Kapellmeister and composition teacher of Frederick the Great, himself a keen, skilled musician.
Paper: Dr Bodie Ashton, “Homosexuality, Statecraft and Kingly Masculinity: Frederick the Great, Identity, and the Prussian Crown on the Cusp of Modernity”
The Badinerie Players:
Wayne Brennan and Chen Yang, Baroque violins
Michael O’Loghlin, treble and bass viol
BAROCCO ITALIANO
Brisbane Baroque Festival
Brisbane City Hall
Wednesday, 15 April 2015 at 5pm
Programme
Introdutione seconda Tomaso Albinoni (1671–c. 1750)
Fantasia no. 9 à 5 John Jenkins (1592–1678)
Aria Sopra la Ciacona Marco Uccellini (c. 1603–1680)
Aria Sopra la Ciaccona Tarquinio Merula (c. 1594–1665)
Aria “The unusual marriage of the hen and the cuckoo makes a fine concerto” Uccellini
Toccata 5, Tutta de Salti Johann Caspar Kerll (1627–1693)
Quartet in F, “Echo” 1st movt Antonio Lotti (1666–1740)
Fantasie en Echo Marin Marais (1656–1728)
Canone in tempo giusto Carlo Tessarini (c. 1690–c. 1766)
Sonata à 5 in G minor, op. 2 no. 5 Albinoni
The Badinerie Players:
Wayne Brennan, Margaret Connolly baroque violin
Nicholas Tomkin baroque viola
Dan Curro baroque cello
Michael O’Loghlin viola da gamba
Christopher Wrench organ
AYRE, CAPRICCIO, FANTASIA
UQ ART MUSEUM, FRIDAY 15 DECEMBER 2017
Fantasia no. 7 in G minor for solo viola da gamba Georg Philipp Telemann (1681 – 1767)
Rosary Sonata no. 1, “The Annunciation” Heinrich Ignaz Franz Biber (1644 – 1704)
Margaret Caley, violin
Ricercar no. 6 in G major for solo cello Domenico Gabrielli (1650s – 1690)
Fantasia and Ayre in C minor William Lawes (1602 – 1645)
Fantasia on “L’e tanto tempo hormai” Giovanni Battista Buonamente (c. 1595 – 1642)
Fantasia que contrahaze la harpa en la manera de Ludovico (Fantasia in the style of the harp of Ludovico) for solo vihuela Alonso Mudarra (c. 1510 – 1580)
Capriccio, che due violini sonana quattro parti (Capriccio in which two violins play four parts)
Biagio Marini (1587 – 1663)
Violin Sonata op.4 no.4 "La Biancuccia" Giovanni Antonio Pandolfi Mealli (mid C17)
Margaret Connolly, violin
Passacalio Marini
The Badinerie Players
Margaret Connolly, Margaret Caley Baroque violin
Dan Curro Baroque cello
Michael O’Loghlin Viola da gamba
Philip Griffin Theorbo, vihuela and baroque guitar
WAR OF THE BUFFOONS
In 1752, a performance of Pergolesi’s comic intermezzo La serva padrona at the prestigious Royal Academy of Music in Paris, an institution founded by Louis XIV and considered the purest sanctuary of French art, caused a heated debate about the merits of French and Italian music. This was known as the Querelle des Bouffons, or quarrel of the buffoons (or comic actors). The two styles were very different: the Italian being flashy and extrovert, the French restrained, relying on elegance and taste rather than overt virtuosity. If François Couperin had still been alive, he would certainly have been a peacemaker: decades earlier, he had preached for an understanding and even a reunification of the styles.
This programme contrasts French and Italian music of the period leading up to this dispute, illuminated by a commentary composed of quotations from the polemic pamphlets of the time. The programme features music by Marin Marais, Arcangelo Corelli and others, culminating in a rare performance of Couperin’s homage L’apothéose de Corelli with the composer’s commentary.
PROGRAMME
Prelude in A minor, Le Soligni Marin Marais (1656–1728)
Trio Sonata in G, op. 1 no. 9 Arcangelo Corelli (1653–1713)
Allegro – Allegro – Allegro – Adagio – Allegro – Adagio – Allegro – Adagio
Suite from Arianne et Baccus Marais
Ouverture – Air pour la Suitte de la Nimphe – Bourée pour les mesmes – Gigue – Rondeau pour les Plaisirs – Chaconne.
Aria 4 Sopra la Ciacona Marco Uccellini (d. 1680)
Ciacona Tarquinio Merula (1595 – 1665)
The unusual marriage of the hen and the cuckoo Uccellini
L’apothéose de Corelli François Couperin (1668–1733)
I. Corelli at the foot of Mount Parnassus asks the Muses to welcome him amongst them.
II. Corelli, enchanted by his favourable reception at Mount Parnassus, expresses his joy. He proceeds with his followers.
III. Corelli drinks at the well of Hypocrene. His followers proceed.
IV. Corelli's exaltation, caused by the waters of Hypocrene. [Segue to . . . ]
V. After his exaltation, Corelli falls asleep; his followers attend with some very quiet music.
VI. The Muses wake Corelli and place him next to Apollo.
VII. Corelli gives thanks.
The Badinerie Players:
Baroque violin: Wayne Brennan, Chen Yang
Baroque viola: Margaret Caley
Baroque cello: Dan Curro
Viola da gamba, narration: Michael O’Loghlin
Harpsichord: Juanita Simmonds
ANZAMEMS
Each item on this programme relates to a paper at the conference.
1. Two anonymous 12th-century three-voice conductus:
Novus miles sequitur (transcribed Woodward) (in memoriam Thomas Becket)
Congaudeant catholici
Paper: Rebekah Woodward, “Three Voices to Mourn Thomas Becket”
2. Josquin des Prez (c. 1450/55–1521), En l’ombre d’ung buissonnet
Paper: Dr Denis Collins, “Josquin’s Lament and Emotional Communities of Elite Musicians in the Late Fifteenth Century”
3. Cipriano de Rore (1515/16–1565), Grave pene in amor
Paper: Professor Jessie Ann Owens, “Cipriano de Rore and the Musical Representation of Emotion”
4. Carl Heinrich Graun (1703/4–1759), Trio in C, GraunWV B:XV:53
Adagio – Allegro – Largo – Allegro
Graun was the Kapellmeister and composition teacher of Frederick the Great, himself a keen, skilled musician.
Paper: Dr Bodie Ashton, “Homosexuality, Statecraft and Kingly Masculinity: Frederick the Great, Identity, and the Prussian Crown on the Cusp of Modernity”
The Badinerie Players:
Wayne Brennan and Chen Yang, Baroque violins
Michael O’Loghlin, treble and bass viol
BAROCCO ITALIANO
Introdutione seconda Tomaso Albinoni (1671–c. 1750)
Fantasia no. 9 à 5 John Jenkins (1592–1678)
Aria Sopra la Ciacona Marco Uccellini (c. 1603–1680)
Aria Sopra la Ciaccona Tarquinio Merula (c. 1594–1665)
Aria “The unusual marriage of the hen and the cuckoo makes a fine concerto” Uccellini
Toccata 5, Tutta de Salti Johann Caspar Kerll (1627–1693)
Quartet in F, “Echo” 1st movt Antonio Lotti (1666–1740)
Fantasie en Echo Marin Marais (1656–1728)
Canone in tempo giusto Carlo Tessarini (c. 1690–c. 1766)
Sonata à 5 in G minor, op. 2 no. 5 Albinoni
The Badinerie Players:
Wayne Brennan, Margaret Connolly baroque violin
Nicholas Tomkin baroque viola
Dan Curro baroque cello
Michael O’Loghlin viola da gamba
Christopher Wrench organ
MELANCHOLIA
A concert to accompany the exhibition, “Five Centuries of Melancholia”
University of Queensland Art Museum
2pm, 28 September 2014
Presented in partnership with the UQ Node, ARC Centre of Excellence for the History of Emotions
Three instrumental pieces Josquin des Prez (c. 1450–1521)
Cela sans plus
Mille Regretz
En L'ombre d'un buissonnet
The seven Lachrimæ Pavans John Dowland (1563–1626)
Lachrimæ Antiquæ (Old tears)
Lachrimæ Antiquæ Novæ (Old tears renewed)
Lachrimæ Gementes (Sighing tears)
Lachrimæ Tristes (Sad tears)
Lachrimæ Coactæ (Forced tears)
Lachrimæ Amantis (A Lover's tears)
Lachrimæ Veræ (True tears)
Tombeau pour Mr. de Ste. Colombe Marin Marais (1656–1728)
Lamento sopra la morte Ferdinandi III Johann Heinrich Schmelzer (c. 1620–1680)
The Badinerie Players, on original instruments of the Baroque period:
Wayne Brennan, Chen Yang, violins
Nicholas Tomkin, Raquel Bastos, violas
Michael O’Loghlin, viola da gamba
Joseph Meyers, lute and theorbo
ANTONIO VIVALDI, THE FOUR SEASONS
Soloist: Wayne Brennan,
with the expanded Badinerie Players, on original instruments
Narrator: Tama Matheson
2.30 pm, Sunday 25 May, at St John's Cathedral, 373 Ann St, Brisbane
C. P. E. BACH COMMEMORATION
“He is the father, we are the children.” (Mozart)
“One must play from the soul, and not like a trained singing bird” (C. P. E. Bach)
Carl Philipp Emanuel Bach (1714–1788): 300 years
This year we celebrate the 300th anniversary of Carl Philipp Emanuel Bach, the greatest of J. S. Bach’s sons and the finest composer of his generation. Revered in his own time, Bach was almost forgotten in the 19th century, but his innovative genius has once again been recognised.
Performance 1: First orchestral performance in Australia of Bach’s oratorio
The Resurrection and Ascension of Jesus
St John’s Cathedral, Brisbane
Sunday 4 May at 2pm.
Shelli Hulcombe, soprano
Gregory Massingham, tenor
Shaun Brown, bass
Brisbane Chamber Choir (Director Graeme Morton)
Pulse Chamber Orchestra (director Patrick Murphy)
Michael O'Loghlin, conductor
Performance 2: a concert of chamber music by J. S. Bach, CPE Bach and his circle.
Rosalind Halton, harpsichord
Meredith Beardmore, baroque flute
The Badinerie Players, on original instruments
Thursday 8 May at 8pm
Nickson Room, School of Music
Level 4, Zelman Cowen Building (51)
University of Queensland
Programme:
C. P. E. Bach, Sonata for flute and cembalo obbligato in D, Wq83, H505 (1747?)
J. G. Janitsch, Quartet in G minor, O Haupt voll Blut und Wunden
C. P. E. Bach, Sonata for cembalo obbligato, violin and cello in A minor, Wq90/1, H522 (1775)
C. P. E. Bach, Harpsichord concerto in G, Wq4, H406 (soloist: Rosalind Halton) (1738)
C. P. E. Bach, Morning Song at the Feast of Creation (Klopstocks Morgengesang am Schöpfungsfeste), Wq239, H779 (1783)