The Badinerie Players

Brisbane's Ensemble for Baroque Music on Original Instruments

Sunday Live ABC-FM


- 2013 -





23 and 26 November, U. Q. Art Museum

J. C. Pepusch's Venus & Adonis at the UQ Art Museum

In late November this year, the Australian Research Council's Centre of Excellence for the History of the Emotions will host two performances of Johann Christoph Pepusch's masque Venus & Adonis with baroque orchestra at the University of Queensland. First performed to critical acclaim at London's Theatre Royal at Drury Lane in March 1715, the work is a setting of an English-language libretto by Colley Cibber (after Ovid). Similar in tone and length to Handel's Acis & Galatea, this small-scale opera tells the captivating story of the love between Venus and Adonis, and the bitter jealousy of his rival, Mars.

The work will be performed with vocal soloists and the expanded Badinerie Players on original instruments, under the musical direction of harpsichordist Donald Nicholson (a member of the Melbourne-based baroque trio Latitude 47) with theatrical direction by Professor Jane Davidson (of UWA, who has recently worked on a number of baroque operas in collaboration with harpist Andrew Lawrence-King, including a Copenhagen production of Monteverdi's Orfeo). The score has been edited by UQ academic (and baroque oboist) Dr Samantha Owens from a manuscript set of parts now held in the library of London's Royal Academy of Music, that can be traced back to a 1718 revival at the Lincoln's Inn Fields theatre.

There will be two performances, on Saturday, 23 November at 2pm and Tuesday, 26 November at 6:30pm, both at the UQ Art Museum (St Lucia Campus).


ABC Sunday Live

2.45 pm, 11 August 2013

ABC Studio, 114 Grey St (Corner Russell St), South Bank, Brisbane

This concert will be broadcast live nationally on ABC Classic FM. Please be seated by 2.45, so that the concert can start punctually at 3pm.


Suite from Le bourgeois gentilhomme (1670)                                    Jean-Baptiste Lully (1632–1687)

Ouverture – Air – Marche pour la cérémonie des Turcs – Deuxième air – Troisième air – Entrée des Scaramouches, Trivelins et Arlequin – Chaconne des Scaramouches, Trivelins et Arlequin

Sonata 14 from Sonate concertate in stil moderno, Book 2 (1629)    Dario Castello (?–?)

Suite in A minor for recorder and strings, TWV 55:a2                      Georg Philipp Telemann (1681–1767)

Ouverture – Les Plaisirs – Air à l’Italien – Menuet 1& 2 – Réjouissance – Passepied 1 & 2 – Polonaise

The Badinerie Players:
Recorder                                             Sarah Meagher
Baroque violin                                    Margaret Connolly, Wayne Brennan
Baroque viola                                     Nicholas Tomkin
Baroque cello                                      Dan Curro
Viola da gamba, baroque bass            Michael O’Loghlin
Harpsichord                                        Catherine Stirling
Percussion                                           Nozomi Omote

To begin, our first performance of the music from Lully's Intermède, originally written to accompany the play by Molière. This contrasts with the early Italian Baroque style of Castello’s sonata. Then the full ensemble returns, welcoming recorder virtuoso Sarah Meagher as soloist in Telemann's brilliant A Minor Suite. 

- 2012 -

Badinerie Players to premiere a new work by Timothy Tate

John Nightingale & Leslie Martin thought long and hard about how to celebrate their marriage in a way that wasn’t just feasting and bad backing tracks to schmaltzy love songs. They came up with the idea of commissioning music that would reflect their commitment not only to each other, but to the music they both love and value. The result is this concert. The Badinerie Players don’t often play newly commissioned work, for obvious reasons. But they and Tim have taken to the idea with enthusiasm. Tim’s deep interest in the baroque was an essential factor that makes this idea work. John & Leslie both have long enjoyed both early and contemporary music. This venture joins the two creatively.

2.00pm, Sunday 4 November, Basil Jones Orchestral Studio, GU Conservatorium, South Bank

The Badinerie Players will perform a concert of Baroque works and premiere newly commissioned work by Timothy Tate, of ensemble fabrique. Tim has been a composer–participant in three National Music Camps, graduated in composition with first class honours from GU in 2011 and has won numerous prizes for his compositions. His work will reflect on some of the essential contributions that baroque music has made to our musical heritage.
The program includes

1. Sonnerie de Ste. Geneviève du Mont de Paris                      Marin Marais (1656–1728)

2. Consort Set à 5, with uniting interludes by Timothy Tate       William Lawes (1602–1645)

3. common light                                                                      Timothy Tate

4. Concerto in G, Propitia Sydera                                          Georg Muffat (1653–1704)


Nickson Room, UQ School of Music

Thursday 13 September 2012, 1 - 2 pm

Zelman Cowen Building (Building 51)
Staff House Road, University of Queensland, St Lucia

Sonnerie de Ste. Geneviève du Mont de Paris          Marin Marais (1656–1728)
Sonata in A minor for cello and bc, RV 43            Antonio Vivaldi (1678–1741)
Sonata in G for violin and bc, Op. 1 no. 1        Francesco Veracini (1690–1768)

(and if there's time, a little surprise by Telemann)


 presented by ABC Classic FM

3pm, 26 August 2012

ABC Studio, 53 Ferry Road, West End

The program is a repeat of "Crossings at Crossbows" (see below)

Please be seated by 2.50 pm, as the concert is broadcast live nationally on ABC Classic FM


The Badinerie Players, at the Qld Conservatorium’s “Crossbows” chamber music festival

12.30pm, 13 May 2012

Basil Jones Theatre, Qld Conservatorium, South Bank, Brisbane

Hannibal found it difficult, but in the Baroque period music and musicians had no trouble crossing the Alps. Many German musicians had to show that they had studied in Italy, and Italians took some of the most lucrative positions in northern Europe. In France, the extrovert Italian style was the elephant in the room: there was outrage at the incursions of the Italians on the pure French style. While Marais preserved that purity, Couperin set about achieving his aesthetic ideal, the happy unity of styles.

In this concert we present some of the finest chamber music from the time leading up to the “Querelle des Bouffons”, the fight between supporters of the French and Italian styles in the middle of the eighteenth century, interspersed with brief readings from the combatants.

Trio Sonata in D, op. 1 no. 9 Arcangelo Corelli (1653–1713)

Suite from Arianne et Baccus Marin Marais (1656–1728)

Concerto Grosso Op.1 No. 5 in D Major Pietro Antonio Locatelli (1695–1764)

L’apothéose de Corelli François Couperin (1668–1733)

The Badinerie Players, playing original instruments:

Baroque violin: Wayne Brennan, Margaret Connolly, Chen Yang
Baroque viola: Nicholas Tomkin
Baroque cello: Dan Curro
Viola da gamba & violone: Michael O’Loghlin
Harpsichord: Christopher Wrench

Good Friday, 6 April 2012, 7pm in St John’s Cathedral, Brisbane

Australian Orchestral Premiere of the Great Baroque Passion Oratorio

Performed by the Badinerie Players, the Brisbane Chamber Choir,
with soloists Shelli Hulcombe and Laura Coutts (soprano),
 Greg Massingham (tenor) and Jason Barry-Smith (baritone)

 Admission Free