the full programme booklet [PDF 15MB]

 2 Global Corelli: Fame and Music in the Early Modern World
School of Music, Australian National University
4–5 November 2013
Convenor: Dr David R. M. Irving, ANU School of Music
Arcangelo Corelli (1653–1713) is celebrated as
the first European composer to have secured
an international reputation based solely on
instrumental music, through the circulation of
his publications and the work of his disciples
and devotees. Corelli’s fame spread far beyond
Western Europe: by 1800, his music had been
played in India, China, the Middle East, North
America, the jungles of South America, and the
Islamic Sultanate of Aceh, Sumatra. This
workshop brings together leading specialists in
Baroque music and cultural history from
Australia and abroad to present fresh
perspectives on the global cultural legacy of
Corelli, and to critique the cultural meanings of
musical fame and its construction in the early
modern world.
This event is supported by a Workshop Grant from the ANU College of Arts & Social
Sciences and financial support from ArtsACT.
A special thank you to Biginelli’s Café and Pasticceria Francesco for the catering, the ANU
School of Music technical staff Niven Stines and Craig Greening, and to the ANU Venues
team for their assistance with this event.
3 PROGRAM Monday 4 November
Larry Sitsky Recital Room
10.50 Acknowledgement of Country
Introduction: Prof Peter Tregear (Australian National University)
Session 1
Chair: Aaron Corn (Australian National University)
11.00 Paper 1: Graeme Skinner (University of Sydney)
Sydney Cecilians and Dilettanti: Implanting the Science and Practice of Music in
Early Colonial Australia, 1838–1842
11.30 Paper 2: Samantha Owens (University of Queensland)
‘Mr Viner’s Divisions on Corelli’s Solos’: The Dissemination of Italian Music in Early
Eighteenth-Century Dublin
12.00 Paper 3: Peter Walls (Victoria University Wellington)
Global or Just British? Ornamented Versions of Corelli’s Opus 5
12.30 Lunch (Level 4 Foyer)
Session 2
Chair: Kate Bowan (Australian National University)
14.30 Paper 4: Alan Maddox (University of Sydney)
Fame, Reputation, and Identity in the Formation of Eighteenth-Century Singers
15.00 Paper 5: Janice Stockigt (University of Melbourne)
Fame and the Dresden Hofkapelle: Johann Gottlob Kittel and the Virtuosi of the
Celebrated Orchestra of the King of Poland & Elector of Saxony
15.30 Paper 6: David R. M. Irving (Australian National University)
Flight of the Archangel: Corelli and the Construction of Global Fame
16.00 Afternoon Tea (Recital Room 1)
Session 3
Chair: Paul McMahon (Australian National University)
16.30 Paper 7: Neal Peres da Costa (University of Sydney)
Preserving the Spirit of Italian Full-voiced Continuo Realisation: Nineteenth-century
Piano Accompaniments to Corelli’s Music
4 PROGRAM 17.00 Paper 8: Rosalind Halton (University of Newcastle)
Variations on the Divine Harmony of Arcangelo Bolognese: A View Through Some
Scores of Alessandro Scarlatti
17.30 Paper 9: Bryan White (University of Leeds)
‘Very Good Hands Upon the Violin’: Performing Corelli in Eighteenth-Century Aleppo
18.00 Reception and Chamber Music Performance by Pre-Tertiary Students
(Level 4 Foyer)
19.00 Dinner
Tuesday 5 November
Band Room, Peter Karmel Building
10.30 Coffee
Session 4
Chair: Peter Tregear (Australian National University)
11.00 Lecture-Recital: Joyce Lindorff (Temple University) and Nancy Wilson (Mannes
College The New School for Music)
Music and Letters of Teodorico Pedrini (1671–1746): Missionary and Musician in the
Early Qing Court
Live from Temple University (19.00 Philadelphia)
12.30 Lecture-Recital: David R. M. Irving (ANU), with Paul McMahon (ANU), Skye
McIntosh, Tommie Andersson, and Neal Peres da Costa
Thomas Forrest (c.1729–c.1802) and Corelli’s Music in Aceh, Sumatra
Live from ANU (20.30 Philadelphia)
13.00 Corelli Cup Lunch: School of Music Courtyard / Big Band Room
Join us for champagne celebrations of the Melbourne Cup. Dress: race hat or
fascinator strongly encouraged
15.00 Open Rehearsal, Australian National University Chamber Orchestra
18.00 Break
19.00 Public Concert, Llewellyn Hall
Global Corelli: Orchestral Works by Corelli, Muffat, Geminiani, and Handel
5 ABSTRACTS Monday 4 November 2013
Academic papers
Larry Sitsky Recital Room
11.00 Graeme Skinner (University of Sydney)
Sydney Cecilians and Dilettanti: Implanting the Science and Practice of Music in
Early Colonial Australia 1838–1842
Between the pioneering Sydney Amateur Concerts in 1826 (including the earliest
documented Australian Corelli performance) and the foundation of the first ongoing
Sydney Philharmonic Society in 1854 (‘for the cultivation and performance of the most
approved Vocal and Instrumental Music’), a succession of short-lived amateur societies
attempted to embed the collective practice of classical music in the civic life of the
settler colony. Though most of these organisations left even fewer traces than even the
fleeting Dilettanti, just enough evidence remains of one of the slightly more enduring, the
Cecilian Society, to be able to reconstruct a chronology of its brief rise and fall; to
hazard a preliminary analysis of its antecedents, objectives, activities, and membership;
to trace its connections with and impact upon the professional musical economy; to
situate it in relationship to other amateur ventures; and to begin to speculate on the
historical significance of such organisations to the development of both musical and
socio-political self-determination in an antipodal British dependency.
11.30 Samantha Owens (University of Queensland)
‘Mr Viner’s Divisions on Corelli’s Solos’: The Dissemination of Italian Music in Early
Eighteenth-Century Dublin
Taking as its starting point a benefit concert given for the Dublin-based violinist William
Viner (d. 1716) at London’s York Buildings in 1707 – during which Viner himself
performed ‘Corelli’s Sixth Double Note Solo’ – this paper will examine the mechanisms
through which Italian music reached the Irish capital in the early decades of the
eighteenth century. For although the earliest newspaper advertisements offering a
significant range of music for sale in Dublin appear only in the early to mid-1720s, a
selection of primary sources reveal that well-connected individuals were able to obtain
the latest Italian repertoire in both printed and manuscript form from a variety of
sources. The investigation centres on a trio of musicians connected with Dublin Castle –
Viner, John Sigismond Cousser (1660–1727) and Philip Percival (1686–1748) – and
draws upon contemporary letters, poetry, music inventories and Viner’s own published
set of sonatas for violin and continuo.
12.00 Peter Walls (Victoria University Wellington)
Global or Just British? Ornamented Versions of Corelli’s Opus 5
There are more written-out examples of ornamentation for the Adagios of the Corelli
Opus 5 sonatas than for any other single set of baroque compositions. Yet, with the
exception of the celebrated 1710 Roger edition published in Amsterdam, all exemplars
6 ABSTRACTS originate in the British Isles or Sweden. Moreover, a significant cluster of these sources
come from musicians who have some connection with Geminiani. Internal musical
evidence also reveals significant intertexuality. The sense of there being a myriad of
autonomous embellishments may be illusory. The absence of sources for
embellishment from mainland Europe is most easily explained by the reluctance of
musicians to spell out aspects of performance that, it was felt, should form part of the
expressive vocabulary of any well-trained violinist. We cannot rule out the possibility,
however, that, in mainland Europe as in the British Isles, there were players who felt that
Corelli Adagios required no embellishment.
12.30 Lunch
14.30 Alan Maddox (University of Sydney)
Fame, Reputation, and Identity in the Formation of Eighteenth-century Singers
The fame of the most successful eighteenth-century singers of Italian opera is often
compared with that of pop stars today, but while there are obvious parallels, early
modern singers’ fame was of a different kind, for a different audience in a different
social context, mediated by different modes of transmission and distribution. One way
of understanding the special status of these singers is through considering the ways in
which they uniquely embodied the constructions of identity and social, economic and
political power which were played out for aristocratic audiences in the production and
reception of opera seria – constructions which they simultaneously reinforced and
subverted. Singers’ ambiguous public and private status, and the potent ritual
enactment which dramma per musica represented, meant that they occupied a liminal
space which required them to perform multiple and overlapping identities on and off
stage. A reading of the ways in which they constructed their own identities in relation to
the social parameters which they embodied can also provide insight into the meanings
which they and other participants in this special form of musicking understood it to
instantiate.
15.00 David R. M. Irving (Australian National University)
Flight of the Archangel: Corelli and the Construction of Global Fame
In the century following the death of Arcangelo Corelli (1653–1713), his works circulated
in manuscript and printed form across vast geographical distances, spreading aspects
of Italian style, dance forms, and emerging notions of tonality among many different
societies. What is particularly interesting about this kind of dissemination is that unlike
earlier composers whose vocal works were sung around the world—for example, the
sixteenth-century Spanish polyphonists Francisco Guerrero, Tomás Luis de Victoria,
and Cristóbal Morales—the purely instrumental works of Corelli cut across confessional
boundaries, rather than being tied to Catholic liturgical and devotional contexts. Thus,
even as Corelli’s works made an impact on the sacred and domestic spheres of
Spanish and Portuguese overseas empires, they also formed a significant part of
antiquarian musical interests amongst English (Protestant) colonial societies in India,
North America, and (in the early nineteenth century) Australia, as well as being played
regularly by amateur musicians on ships and on shore. In some contexts they crossed
cultural boundaries too, being played by indigenous musicians in the Americas and
7 ABSTRACTS heard by rulers in Asian courts. Does this make Corelli a composer with a ‘global’
reputation? The idea of an individual musician’s global fame is, of course, a nebulous
concept at best, and it really only began to be clearly articulated in the late nineteenth
century, with regular channels of transport, communication, and print culture that
allowed for the development of popularity cults within widespread networks. Another
factor to take into account is the sharp difference between the reach and the depth of
‘global’ musical influence, some contemporary contexts of which have been explored in
rich theoretical detail by the ethnomusicologist Thomas Turino (‘Are We Global Yet?
Globalist Discourse, Cultural Formations and the Study of Zimbabwean Popular Music’,
British Journal of Ethnomusicology 12.2 (2003)). This paper makes a critical survey of
some of the ways in which the works of Arcangelo Corelli spread throughout the world
in the long eighteenth century, and suggests how we might approach and interpret the
construction of an individual musician’s ‘global’ fame in the early modern world.
15.30 Janice Stockigt (University of Melbourne)
Fame and the Dresden Hofkapelle: Johann Gottlob Kittel and the virtuosi of the
celebrated orchestra of the King of Poland & Elector of Saxony
The rediscovery of the publication of Johann Gottlob Kittel’s poem of homage (1740) to
the virtuosi of the Dresden court orchestra provides a contemporary appreciation of
twenty-three of the most outstanding singers and instrumentalists of a musical
institution that then was achieving fame throughout Europe. This acclaim was largely
due to the musical taste and judgment of August III, King of Poland and Elector of
Saxony, whose powerful patronage Kittel acknowledged. Johann Adolph Hasse, Jan
Dismas Zelenka, and the little-known Tobias Butz are the composers praised by Kittel.
Singers include Faustina Bordoni-Hasse and the renowned castrati of the Dresden
court, while instrumentalists represent a Who’s-Who of players of stringed, keyboard,
and fretted instruments, of woodwinds and horns – musicians whose names are
synonymous with musical fame during the first half of the eighteenth century. Kittel’s
panegyric throws new light on the celebrity status achieved by a host of Dresden
musicians, many of whom were active not only at the court of Dresden, but in Italy,
France, and England as well.
16.00 Afternoon Tea
16.30 Neal Peres da Costa (University of Sydney)
Preserving the Spirit of Italian Full-voiced Continuo Realisation: Nineteenth-century
Piano Accompaniments to Corelli’s Music
In his ground breaking article ‘“Unerringly tasteful”?: Harpsichord Continuo in Corelli’s
Op.5 Sonatas’ (Early Music 24.4 (1996)), Lars Ulrik Mortensen strongly and justifiably
urges the reader to reconsider the style of keyboard accompaniment most appropriate
for Corelli’s music. He cites an array of historical evidence including a manuscript of
Corelli’s Op. 5 Sonatas by Antonio Tonelli (1686–1765)—an almost contemporary of
Corelli—which provides telling keyboard realisations of Corelli’s figured bass parts, as
well as verbal advice in contemporary treatises such as Francesco Gasparini’s (1668–
1727) L’armonico pratico al cimbalo (1708). Based on such compelling evidence,
Mortensen advocates for a full and richly textured accompaniment that by its nature
8 ABSTRACTS becomes a dominant feature of the sound scape, and argues that the style of keyboard
(harpsichord) realisation generally lauded in late-twentieth-century live and recorded
performances of music by Corelli was far too apologetic, light, and so to speak in the
background.
In this context, it is interesting to examine the manner in which nineteenthcentury musicians treated Corelli’s works. By the mid-nineteenth century famous
editors such as Ferdinand David (1810–1873) published select works by Corelli
providing richly textured and full-voiced piano accompaniments that seem shockingly
distasteful and historically inaccurate by modern standards. Such versions are often
denounced as overtly Romantic with too many notes and too much virtuosity. But it
may be that these accompaniments represent a style that is closer than we think to that
which Corelli had in mind. This paper examines aspects of these accompaniments in
light of Mortensen’s conclusions.
17.00 Rosalind Halton (University of Newcastle)
Variations on the Divine Harmony of Arcangelo Bolognese: A View Through Some
Scores of Alessandro Scarlatti
The phenomenon of Corelli as orchestral director is a constant theme in documentation
of musical life in late seventeenth-century Rome. As the only instrumental musician to
be regularly identified in reports of large-scale music events, he was often named in
some oblique form, such as ‘the incomparable violin of Arcangelo Bolognese’, or in the
report of a 1695 oratorio performance ‘…led by the first violin in the world and in earthly
paradise, while being an archangel’.1 In this environment, nourished by the favour of
Cardinal Ottoboni, the ‘sinfonia celebre’ that was Corelli’s creation was also of central
significance to the vocal genres—oratorio, serenata, opera—to which he himself did not
contribute as composer.
For Alessandro Scarlatti, as the pre-eminent composer in the vocal field, the
Corellian orchestra was the instrument through which his musical invention and poetry
spoke to the patrons and public of Rome. The scores of Scarlatti reflect this in some
obvious ways, such as the use and naming of ‘Concertino’ and ‘Concerto grosso’ on
his oratorio Sinfonie from the early 1700s. It may be argued, too, that Scarlatti adapted
the prevailing instrumental style to his own distinctive purposes, creating his own
structures and poetry from Corellian sounds and textures. Examples from two Scarlatti
cantatas depicting night scenes illustrate this discussion, which ends with a brief
consideration of Scarlatti’s 12 Sinfonie di Concerto grosso of 1715 – a post-Corellian
venture into the form that the matchless Arcangelo of the violin had made his own.
1
Luca Della Libera and José María Domínguez, ‘Nuove fonti per la vita musicale romana di fine
seicento: il giornale e il diario di roma del Fondo Bolognetti all’Archivio Segreto Vaticano’, in La
Musique à Rome au XVIIe Siècle: Études et Perspectives de Recherche, ed. Caroline Giron-Panel
and Anne-Madeleine Goulet (Rome: École Française de Rome, 2012), 121–85.
17.30 Bryan White (University of Leeds)
‘Very good hands upon the violin’: performing Corelli in Eighteenth-Century Aleppo
In the late seventeenth and early eighteenth centuries, Aleppo, in modern-day Syria,
was an important trading post for Western Europe. The English Levant Company
maintained a factory of forty or so persons there during this period, and several of the
merchants who travelled to Aleppo for work brought music and instruments with them.
9 ABSTRACTS One of these merchants, Rowland Sherman, pursued his musical interests with a
particular passion, taking his harpsichord on his journey to Aleppo in 1688, and
amassing a library of over 100 volumes of music over the more than half century he
spent at the factory there. Several of Corelli's works appear in the inventory of
Sherman’s library made at his death in 1749, and his letter books reveal that in 1700 he
was introduced to op. 4 by two newly arrived merchants from Germany and the
Netherlands who brought these sonatas with them. Sherman took a special interest in
bass continuo and his library shows a predilection for Italianate chamber works in which
he could perform as continuo player. His letter-books and library offer a glimpse into the
circumstances of the performance Corelli’s music and of other similar composers
amongst European merchants in Aleppo. They furthermore suggest that Aleppo’s
position as a trading post for many different European countries facilitated the
transmission of the most current musical titles, and provided Sherman the opportunity
of playing with other amateur musicians with experience of a variety of national
performance styles.
10 LECTURE-­‐RECITALS Tuesday 5 November 2013
Lecture-Recitals
Big Band Room, Peter Karmel Building
11.00–12.30: Lecture–Recital 1
Music and Letters of Teodorico Pedrini (1671–1746): Missionary and Musician in the
Early Qing Court
Joyce Lindorff (Temple University), harpsichord and reader
Nancy Wilson (Mannes College The New School for Music), baroque violin
Live from Temple University, Philadelphia, to ANU
The movements of Sonatas IV in C minor, XI in G major and XII in F major from Pedrini’s Opus
3 will be performed in the following order, illuminating Pedrini’s story as told through his letters.
XII-1. Corrente, Vivace
XII-2. Grave
XII-3. Allemanda, Allegro
XI-1. Preludio, Adagio
IV-2. Cantabile
XI-2. Allemanda, Allegro
XI-3. Adagio
XI-4. Giga, Allegro
IV-3. Allegro
IV-1. Grave
IV-4. Grave, e Arcate lunghe
IV-5. Allegro
XII-4. Pastorale, Adagio
11 LECTURE-­‐RECITALS Notes on the Program:
Through his own words and music, an extraordinary 18th-century Italian Vincentian missionary
and musician offers a colorful and multi-faceted introduction to his life and work in China. Sent
by the Pope, Teodorico Pedrini arrived in China in 1711 after a tumultuous nine-year journey.
He served as music master in the Chinese court until his death in 1746. His work as teacher,
writer, composer, performer, instrument builder and tuner was prized by the emperor Kangxi,
and respected by his sons, despite the religious and political turmoil raging throughout that
time.
Pedrini’s Opus 3, twelve sonatas for violin and bass, comprise his only extant compositions
and is the only surviving manuscript of western style music left in China during the eighteenth
century. It is archived in the Beijing National Library. The sonatas are closely influenced by
Corelli, whose work was likely known to Pedrini from his time in Rome, and also from volumes
in the Beitang Library, an extensive missionary collection in China.
Pedrini was at the heart of a cultural intersection which took place because of two coinciding
factors: the European missionary presence in China, and a powerful interest in the cultivation of
international knowledge on the part of the emperor Kangxi. This unique environment lasted
throughout the seventeenth and much of the eighteenth centuries, when it abruptly ended,
again due to political and religious factors: the rites controversy within the Catholic Church, and
the Chinese imperial resistance to Christianity. Pedrini was a charismatic figure who inspired
tremendous controversy because of his opposition to the Jesuit accomodation of the Chinese
rites.
Archival research by Joyce Lindorff and Peter Allsop unearthed over 1000 pages of letters and
diaries, either by or directly concerning Pedrini, covering a period of more than forty years, from
1702 to 1746. The letters shed detailed and dramatic light on this entire period of Chinese
missionary history and contain copious references to music, establishing its role in the politically
charged milieu of the Chinese court. Sources of the letters quoted in this program are the
Collegio Leoniano and Propaganda Fide (Rome) and Missions Étrangères (Paris).
12 LECTURE-­‐RECITALS Performer Biographies
Nancy Wilson is one of the leading historically informed violinists in the US. A founding
member of several pioneering period instrument ensembles, she has performed extensively
with Aston Magna and the Smithsonian Chamber Players. She has served as
concertmaster and soloist with Jaap Schroeder, Christopher Hogwood, and Nicholas
McGegan, among others; regularly leads performances in the New York area; and has
numerous recordings to her credit. Her solo playing has been called ‘clear and sweet in
tone, refined in articulation’ by Gramophone, and ‘exceptionally stylish’ by The Edinburgh
Scotsman. A graduate of Oberlin and Juilliard, she teaches at Mannes College The New
School for Music, at Princeton University, and has served as Artist-in-Residence at the
Boyer College. She performs on a 1659 Jacob Stainer violin.
Joyce Lindorff is Professor of Keyboard Studies at Temple University’s Boyer College of
Music. She lived in China and Hong Kong for many years, where she performed with the
Shanghai Symphony, taught at the Shanghai and Xi’an Conservatories, and began her
research on Pedrini 20 years ago. Recipient of two Fulbright Professorships, she studied at
Sarah Lawrence College (BA), University of Southern California (MM) and Juilliard (DMA),
and taught for several years at Cornell. She received
Pro Musicis Foundation and National Endowment for
the Arts (US) solo recitalist awards for her
harpsichord performance, which was called ‘brilliant’
by The New York Times. She authored the first Grove
entry on Pedrini and his predecessor, the
Portuguese Tomás Pereira, and numerous articles
on European music in late Ming and early Qing
China.
As a duo, Lindorff and Wilson recently completed
their recording of the complete sonatas of Pedrini. In
recital they have performed them in New York,
Philadelphia, Washington DC, Princeton, Chicago,
and Beijing, most recently in the Xitang, the church
Pedrini founded there.
13 LECTURE-­‐RECITALS 12.30–13.00: Lecture–Recital 2
Thomas Forrest (c.1729–c.1802) and Corelli’s Music in Aceh, Sumatra
David R. M. Irving, speaker and violin
Paul McMahon, tenor
Skye McIntosh, violin
Tommie Andersson, theorbo and guitar
Neal Peres da Costa, harpsichord
Live from ANU to Temple University, Philadelphia
The British navigator and musician Thomas Forrest (c.1729–c.1802) was an eccentric and
unusual character in the complex history of intercultural exchange in early modern Southeast
Asia. During his travels around the Malay Archipelago between 1764 and 1784, he composed
Malay songs, played the flute at Muslim wedding ceremonies, explained European staff
notation, gave violins as gifts, transcribed and played back local music, and even sang a duet
with the wife of a local ruler. He spoke fluent Malay, sailed with Malay crews, and engaged in
unmediated dialogue with many people on many different islands. He seems to have been
regarded affectionately by diverse groups of local people, some of whom dubbed him ‘Kapitan
Gila’ (‘the mad captain’). This lecture-recital will discuss some key dimensions of the role of
music in early modern intercultural exchange and diplomacy, and will showcase the modern
world-premiere of ‘A Malay Song’ by Thomas Forrest. This work is one of Forrest’s Malay
poems, which he set to his own arrangement of a melody by Arcangelo Corelli (1653–1713)
and sang before Sultan Ala’uddin Muhammad Shah of Aceh, Sumatra, in 1784.
The piece has been studied and edited by
David R. M. Irving, and is performed here by
Paul McMahon, one of Australia’s leading
tenors, accompanied by an ensemble of two
violins (David Irving and Skye McIntosh), guitar
(Tommie Andersson), and harpsichord (Neal
Peres da Costa).
Thomas Forrest’s audience before the Sultan of
Aceh, Sumatra, in 1764.
From Thomas Forrest, A Voyage from Calcutta to the
Mergui Archipelago, Lying on the East Side of the Bay
of Bengal (London, 1792), second plate after p.60.
14 LECTURE-­‐RECITALS Text of A Malay Song (c.1784), ‘Angin be dingin, Oogin be jattoo’,
by Thomas Forrest (c.1729-c.1802) after Arcangelo Corelli (1653–1713)
(in modernised orthography with a modern translation*)
Angin berdingin, hujan berjatuh,
Saya bernanti, mengapa tidak datang.
Apa salah sama saya,
saya, saya, saya, saya,
Hati rindu, cinta saya,
Jangan pecah hati rindu,
Saya bernanti, lama bernanti,
Angin berdingin, hujan berjatuh,
Saya bernanti, nanti lama,
tetapi kamu tidak datang.
The wind is cold, the rain falls,
I wait; why do you not come?
What wrong have I done?
I, I, I, I,
My heart is longing, my love;
Don’t break a longing heart.
I wait, long I wait.
The wind is cold, the rain falls;
I wait a long time,
But you do not come.
* With thanks to Raja Iskandar bin Raja Halid, Jenny McCallum, and W. George Miller
for their advice and help in modernising the orthography and providing a modern
translation.
Original orthography (c.1784):
Original translation:
Anghin be dingin[,] Oogin be jattoo,
Scio be nantee, manapo tida datang.
Apo salla summo Scio,
Scio, Scio, Scio, Scio,
Ate rindo, chinto Scio,
Jangan pitcha, Ate rindo,
Scio be nantee, lamo be nantee,
Anghin be dingin, Oogin be jattoo,
Scio be nantee, nantee lamo,
tappee, camo, tida datang.
The wind is cold[,] the rain falls,
I still wait, why don[’]t you come.
What harm have I done,
I, I, I, I,
my heart is broke, you are my love
don[’]t tear a heart that’s broke,
I wait, long I wait,
The wind is cold, the rain falls,
I wait, long I wait,
but, you, do not come.
David Irving and Paul McMahon would like to thank Nenen Ilahi (School of Culture, History &
Language, ANU College of Asia & the Pacific) for her kind advice and coaching on the
pronunciation of the Malay text.
15 ORCHESTRAL CONCERT 19.00: Tuesday 5 November 2013
Llewellyn Hall stage, School of Music, Australian National University
Australian National University Chamber Orchestra
with special guests:
Tommie Andersson (theorbo/guitar)
Valmai Coggins (viola)
Rosalind Halton (harpsichord)
Skye McIntosh (violin)
Paul McMahon (tenor)
Neal Peres da Costa (harpsichord)
Peter Walls (violin)
Programme
George Frideric Handel (1685–1759)
Concerto grosso Op.6 no.5 in D major
Arcangelo Corelli (1653–1713)
Concerto Op.6 no.8, Fatto per la notte di natale (‘Christmas Concerto’)
Arcangelo Corelli (1653–1713)
Trio Sonata Op.4 no.2
Thomas Forrest (c.1729–c.1802), after Arcangelo Corelli (1653–1713)
‘A Malay Song’ (Aceh, Sumatra, c.1784), ‘Angin be dingin, Oogin be jattoo’ (‘The wind is
cold, the rain falls’)
Arcangelo Corelli (1653–1713)
Violin Sonata in C major Op.5 no.3
Georg Muffat (1653–1703)
Sonata no.1 in D major from Armonico tributo, Op.1 (1682)
Francesco Geminiani (1687–1762)
Concerto grosso no.12 in D minor, after Arcangelo Corelli’s Sonata ‘La Follia’, Op.5 no.12
16 ORCHESTRAL CONCERT Australian National University Chamber Orchestra
Violin
Elisha Adams
Jane Cameron
Alexandra Dening
Alison Giles
Anna Harrison
David Irving
Skye McIntosh*
Estelita Rae
Marcella Tonini
Yan Kei Tse
Peter Walls*
Double Bass
Christopher Bainbridge
Kinga Janiszewski
Ben Staker
Theorbo/Guitar
Tommie Andersson*
Harpsichord
Rosalind Halton*
Neal Peres da Costa*
* Guest artist
Viola
Valmai Coggins*
Camilla Pondel
Cello
Matija Burrett
Joseph Eisinger
Julia Janiszewski
Anneliese McGee-Collett
Amelia Noble
Jessica Quarmby
Camilla Saunders
Imogen Thompson
17 BIOGRAPHIES OF GUEST ARTISTS Tommie Andersson, born in Sweden and based in Sydney since 1984 is regarded as
Australia’s leading specialist in lutes and early guitars. He completed his studies at the State
Conservatorium of Music in Göteborg (Gothenburg), Sweden, with a Masters Degree in
Performance, studying under Josef Holecek. He was then awarded a Swiss Government
Scholarship for further studies at the Schola Cantorum Basiliensis, where his teachers included
Eugen M. Dombois and Hopkinson Smith. He has toured extensively in Sweden and has given
performances and master classes in Scandinavia, Western Europe, Malaysia and Japan
including tours of South America and Asia. Tommie Andersson is highly sought after both as a
soloist and as a continuo player and performs with Opera Australia, Sydney Philharmonia, the
Song Company, Pinchgut Opera, the Orchestra of the Antipodes, Ensemble Battistin, Sydney
Chamber Choir, The Marais Project, Halcyon and the Australian Chamber Orchestra amongst
others. Tommie Andersson is a founding member and principal player of the Australian
Brandenburg Orchestra and Australian Brandenburg Soloists and co-directs (with Marshall
McGuire) the harp/theorbo consort Ludovico’s Band. As a recitalist he has performed in all the
major Australian capital cities and festivals and he gives regular concerts and live broadcasts for
the ABC. In 2007 ABC Classic FM initiated the Lute Project, which involved website
demonstrations of various types of lutes and commissions for four prolific Australian composers
to write lute suites for Tommie Andersson. He gave these works their premiere performance as
part of the Aurora Festival at the Joan Sutherland Performing Arts Centre in Penrith in April
2008. A highlight of 2011 was a national tour of Australia for Musica Viva accompanying
international artist Andreas Scholl. Tommie Andersson appears on more than 40 discs
including a solo CD of Baroque lute and guitar music released on the Swedish label Musica
Rediviva. He lectures in Lute at the Sydney Conservatorium of Music and is frequently
approached by Universities and Conservatoriums around the country to teach and perform.
Valmai Coggins studied at the Sydney Conservatorium, receiving both a Bachelor of Music
with merit and a Master of Music. She has performed with all the major Sydney orchestras and
was a permanent member of the Australian Opera and Ballet Orchestra from 1989 to 1994.
Valmai has performed in recitals as a soloist and with many chamber groups and since 2000
has also specialised in Baroque performance. She regularly performs and records with the
AOBO, Sinfonia Australis, Orchestra of the Antipodes, Pinchgut Opera and Sydney
Philharmonia, as well as taking part in many film recordings. Recent ensemble concerts include
Salut Baroque, the Sydney Consort, Charisma and in late 2012 she formed a new string trio,
Three Piece Suite.
Rosalind Halton is a harpsichordist and researcher active in the field of 17th and 18th century
music. Her work in promoting the revival of the Italian composer Alessandro Scarlatti’s
cantatas through editions, research papers and performance is internationally known. She has
also released discs of solo French harpsichord music (The French Harpsichord, ABC Classics,
which won a Soundscapes Award in1997; Louis Couperin and Friends, 2005), and has studied
this repertoire with Colin Tilney. She traces her love of performing newly rediscovered music to
her studies at the University of Otago, New Zealand, with Professor Peter Platt, and later at
18 BIOGRAPHIES OF GUEST ARTISTS Oxford University, where she graduated D.Phil. in 1980. Here she collaborated with soprano
Kate Eckersley in performances of newly edited works by Scarlatti. She is currently Associate
Professor at the University of Newcastle. Since coming to Australia in 1986, she has been
active as a performer especially in period instrument ensembles, including guest appearances
in major Festival concerts and broadcasts, with ensembles such as Elysium, His Majesties
Sagbuts and Cornetts, the Australian Chamber Orchestra, the Sydney Symphony Orchestra,
Sydney Philharmonia, and Sirius Ensemble. In 1997 Rosalind founded the ensemble chacona
with baroque violinist Lucinda Moon and cellist Jamie Hey, with whom she performed many
times on ABC Sunday Live. With an augmented chacona and five leading Australian singers,
she recorded a major research project devoted to first recordings of vocal music by Alessandro
Scarlatti: the 3 CD-set Venere, Adone e Amore: Serenatas and Cantatas of Alessandro Scarlatti
(ABC Classics, 2007, 476 6170). Rosalind’s work as editor includes two volumes for A-R
Editions and many online editions of cantatas by Scarlatti and his contemporaries, including
editions for the Web Library of Seventeenth-Century Music. She collaborates with performers
and researchers worldwide to continue the dissemination and recording of Scarlatti’s music
internationally.
David R. M. Irving is Lecturer in Music at the Australian National University. He studied violin
and musicology at the Queensland Conservatorium and the University of Queensland, and
undertook his PhD at the University of Cambridge. Having held several posts at the University
of Cambridge, King’s College London, and the University of Nottingham, he moved to ANU in
July 2013. An ethnomusicologist, cultural historian, and performer, he researches the role of
music in intercultural exchange, colonialism, and globalisation from c.1500 to c.1900, with a
particular focus on Southeast Asia. His first book, Colonial Counterpoint: Music in Early Modern
Manila (Oxford University Press, 2010), examined musical practices in the Philippines under
Spanish colonial rule between 1565 and 1815 – the period of the trans-Pacific galleon trade –
and was named one of the ‘Books of the Year’ by BBC History Magazine in 2010. His current
work explores the impact of Portuguese, Dutch, and British colonialism on the musical
traditions of the Malay–Indonesian Archipelago, c.1500–c.1850. This forms part of the
collaborative project ‘Musical Transitions to European Colonialism in the Eastern Indian Ocean’
(on which he is a Visiting Fellow), funded by the European Research Council and based at
King’s College London. He is also writing a book on European music and globalisation in the
early modern world. As a baroque violinist he has performed, recorded, and toured extensively
with groups in Australia and Europe, including the Australian Brandenburg Orchestra, Chacona,
Concerto Caledonia, The Early Opera Company, the Gabrieli Consort & Players, the Hanover
Band, La Compañía Musical, La Serenissima, Le Concert Lorrain, the Saraband Consort, and
the St James’s Baroque Players.
Australian-born Skye McIntosh performs regularly with The Australian Brandenburg Orchestra,
Pinchgut Opera, Salut Baroque and The Little Baroque Company. She has a wide range of
experience with historical performance having worked with many distinguished
baroque/classical specialist performers such as Catherine Mackintosh, Stefano Montinari, Neal
19 BIOGRAPHIES OF GUEST ARTISTS Peres De Costa, Danny Yeadon, Elizabeth Wallfisch, Monica Huggett, Richard Egarr, Catherine
Mackintosh and Lawrence Cummings. Skye has been guest director and soloist with the
Sydney Youth Orchestra, appeared as principal second of Ruthless Jabiru chamber orchestra
in the 2011 City of London festival and as leader of Handel’s Messiah at the Sydney Town hall
with the Radio Community Chest Choir orchestra. She has frequently appeared as leader and
soloist of the Sydney Conservatorium Early Music Ensemble, also wining the Conservatorium’s
concerto prize.
Performing regularly as a soloist with symphony orchestras, chamber music groups and choirs
throughout Australia, New Zealand and Asia, tenor Paul McMahon is one of Australia’s
leading exponents of repertoire from the eighteenth-century, particularly the Evangelist role in
the Passions of J. S. Bach. Career highlights include Bach’s Johannes-Passion under Richard
Tognetti, Bach’s Matthäus-Passion under Roy Goodman, Haydn’s Theresienmesse under
Bernard Labadie, Haydn’s Die Schöpfung under the late Richard Hickox, Mozart’s Great Mass
in C Minor under Masaaki Suzuki and Mozart’s Requiem under Manfred Honeck. Paul’s
discography of over thirty CD recordings includes the English, French, and Italian lute song disc
entitled A Painted Tale; a CD and DVD recording of Handel’s Messiah; Monteverdi’s L’Orfeo;
Purcell’s The Fairy Queen; Mozart’s Requiem and Idomeneo, Carl Orff’s Carmina Burana and
Fauré’s La naissance de Venus. He is featured on Swoon – A Visual and Musical Odyssey and
The Swoon Collection Gold Edition; the Christmas discs Perfect Day, Silent Night and Glorious
Night; Prayer for Peace; Eternity; Danny Boy, Ye Banks and Braes, Praise II and the soundtrack
to the Australian feature film The Bank. Paul’s professional engagements this season include
appearances with the Sydney, Melbourne, Adelaide, and Queensland Symphony Orchestras,
the Auckland Philharmonic Orchestra, the Canberra Choral Society and St George’s Cathedral,
Perth. Paul holds a PhD and a Graduate Diploma of Music awarded by Queensland
Conservatorium Griffith University, a Master of Music (Performance) conferred by the Sydney
Conservatorium of Music, and a Bachelor of Creative Arts awarded by the University of
Southern Queensland. He is currently a Lecturer in Music at the Australian National University,
Canberra.
A graduate of the University of Sydney, the Guildhall School of Music and Drama (London), the
City University (London) and the University of Leeds (UK), Neal Peres Da Costa is a worldrenowned performing scholar and educator. He is Associate Professor and Chair of Historical
Performance at the Sydney Conservatorium of Music. His monograph Off the Record:
Performing Practices in Romantic Piano Playing (Oxford University Press, New York: 2012) is
hailed as a book that ‘no serious pianist should be without’ (Limelight, 2012) and honoured as
‘a notable book’ on Alex Ross’s 2012 Apex List. In 2012, it was the subject of a five-part series
broadcast by ABC Classic FM during the Sydney International Piano Competition and an
interview with Christopher Lawrence for the ABC Classic FM Music Makers programme. Neal
regularly appears with Australia’s leading ensembles including the Australian Chamber
Orchestra, Sydney Symphony Orchestra, Pinchgut Opera, and Ironwood. Notable solo
performances include Bach’s monumental Goldberg Variations at the Festival Baroque in Perth
20 BIOGRAPHIES OF GUEST ARTISTS (2009), and the Peninsula Summer Festival (2010). In 2013, he will appear at the Music Viva
Festival and the Australian Festival of Chamber Music and during the ACO, Haydn Ensemble,
Pinchgut, and Ironwood Seasons. Winner of the 2008 Fine Arts ARIA for Best Classical
Recording for Bach’s Sonatas for violin and obbligato harpsichord (ABC Classics, 2007) with
Richard Tognetti and Daniel Yeadon, Neal’s discography includes: Bach’s Complete Sonatas
for Viola da Gamba and Harpsichord with Daniel Yeadon (ABC Classics, 2009), The Baroque
Trombone with Christian Lindberg and the ACO (BIS, 2009); The Galant Bassoon with Matthew
Wilke and Kees Boersma (Melba, 2009); Baroque Duets (Vexations 840, 2011) which he
directed with Fiona Campbell, David Walker and Ironwood; Music for a While with Ironwood
and Miriam Allan (2012); and most recently 3 with Genevieve Lacey and Daniel Yeadon (ABC
Classics, 2012), reviewed in the Weekend Australia (March 30, 2013) ‘as an album of
consistently excellent playing’ offering ‘refined performances enlivened with subtle rhythmic
energy and elegant shaping.’
Peter Walls has published numerous articles on historical performance practice, mostly in
Early Music. His Waynflete Lectures given at Magdalen College Oxford in 2000 appeared in
print as History, Imagination and the Performance of Music (2003) He is editing two volumes for
the Geminiani complete edition and wrote the section on “Instrumental Performance in the 18th
century” in The Cambridge History of Performance (2012). Baroque Music (a volume of critical
writing on historical performance practice) was published in 2011. Peter played Baroque violin
professionally in the Academy of Ancient Music back in the 1970s. He was Music Director of
the New Zealand group, The Baroque Players, for many years and of The Tudor Consort from
1993 until 1999. Their CD of motets by Peter Philips was listed by Neue Musik Zeitung as one
of the top early music CDs released in 2002 and received a CHOC award from Le Monde de la
Musique (the highest award from one of the leading French magazines for Classical music).
Classics Today wrote: “Conductor Peter Walls understands the overall period style and he
obviously cares a lot about ensemble balance and uniformity of tone and colour.” Peter has
been Music Director of Opus Orchestra since 2004 and has conducted “Close Encounters”
programmes with the New Zealand Symphony Orchestra. Peter has conducted many
premieres of New Zealand works, including Jack Body’s Alley for the 1998 New Zealand
International Festivals of the Arts. In 2008 he conducted the Australasian premiere of Brett
Dean’s Testament at the International Viola Society Congress in Adelaide. He has conducted
many operas, most recently Puccini’s Gianni Schicchi for Southern Opera in Christchurch.
21 YOUR NOTES 22 YOUR NOTES 23 Save a date with
L’Orfeo
Claudio Monteverdi
20–22 August 2014
ANU School of Art | ANU School of Music
Llewellyn Hall, ANU | www.music.anu.edu.au
24