The Badinerie Players

Brisbane's Ensemble for Baroque Music on Original Instruments

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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


 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.


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


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


Brisbane Baroque Festival

Brisbane City Hall

Wednesday, 15 April 2015 at 5pm


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


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


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


“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

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)