Australian Brandenburg Showcases Musicians – Blazing Baroque

Australian Brandenburg Orchestra on stage in Sydney, playing Vivaldi Unwired
Australian Brandenburg Orchestra on stage in Sydney, playing Vivaldi Unwired

Baroque BrandenburgThe Australian Brandenburg Orchestra (ABO) under the guidance of Artistic Director Paul Dyer and Manager Bruce Applebaum has a reputation for raising and maintaining high standards of excellence in the performance of early music.

They bring many outstanding musicians from all around the world to play in Australia, often for the very first time and each soloist is a wonderful addition to their performances.


Superb selection of Baroque instruments

A big part of the reason International guests clamour to come is that they understand just how many outstanding musicians make up this stunning period instrument Baroque performance world-class orchestra.

Suggestive impressive melodic and harmonic passages, with a play of light of shadow like a great painting by a master like Caravaggio, the ABO always presents Baroque music at its best, full of the warm, golden and rich colours taken from an artist’s palette.

Australian Brandenburg Orchestra on stage in Sydney, playing Vivaldi Unwired

Australian Brandenburg Orchestra on stage in Sydney, playing Vivaldi Unwired

For their concerts at Sydney, Melbourne and Brisbane during July and August this year, Paul Dyer will be turning the spotlight on the ABO musicians he so respects and admires.

He has chosen compositions for this concert that will provide soloist spotlights for each of the players. Dyer said, “This is the perfect program for our loyal and cherished fans. Sometimes ABO audiences just want the Brandenburg. They are devoted to the players and they love pure baroque music with a passion.”

And they do, their record of excellence stands tall.

Musical ManAn overture to an opera by Italian composer and master of the oboe Giovanni Battista Sammartini (c1700 – 1775), who held the post of maestro di capella at the Church of Sant’Ambrogio in the city of Milan during the late Baroque and early classical era, will open the concert.

A prolific composer of both sacred and secular works, Sammartini was active in all spheres of Milan’s musical life and his works were published in Paris and London where they were immensely popular.

Considered the most important Italian symphonist of his time who made essential contributions to the development of this compositional genre, Sammartini was highly regarded by younger composers including Johann Sebastian Bach (1685-1750).

He was the first musician known to have displayed a ‘distinctly symphonic attitude’ with his compositions.

They are generally divided by musical scholars into three stylistic periods, 1724-1739, 1740-1758 and 1759-1774. It is the middle period that is seen as his most significant, during which his compositions foreshadowed the classical era ahead.

He composed some 20 three movement symphonic style works before 1740, written mostly for string instruments and his overture to the opera Memet is a truly delightful and inventive forerunner of a symphony produced for concert performance.

It had its first documented appearance in 1732, and was presented in his highly personal style, drawing influence from his ‘sonata and concerto forms’.

His compositions could be said to be at the apotheosis of grace and elegance in line with the inspired ‘fete galante style’ of his day.

Sammartini paved the way for the further development of the symphony and its later style by such luminaries as Franz Joseph Haydn (1732-1809) and Wolfgang Amadeus Mozart (1756-1791).

VivaldiTaking on the Concerto for violin in D major, Grosso mogul, RV 20 and the Concerto for several instruments RV 569 in F major by the Red priest Italian composer Antonio Vivaldi (1678-1741) offers yet another opportunity for individual ABO musicians to shine.

The ‘Grosso Mogul’ thought to have been composed c1710, is a concerto for flute and the Concerto in F major highlights the violin, oboes and horns.


The attributes of music…

Then there are the works by another genius, German composer Georg Philipp Telemann (1681-1767).

He composed and played such diverse instruments as the violin, recorder, oboe, viola da cambia, chalumeau and clavier and is renowned for the ease and fluency of his compositions, which sometimes reflected the influence of Polish and English music.

Whether sacred or secular Telemann’s music for church, opera or concert became well known for both its quality and variety and whether it was meant to be serious, witty or comedic, it was always considered ‘bold in harmony, buoyant in rhythm, and beautifully orchestrated’

Telemann’s Concerto a 4 TWV 43:d2 in D minor for violins, viola and his Grand Concerto in D major help prove the ‘humour and virtually limitless imagination of the composer’.

ABO - Godbee 2

Australian Brandenburg Orchestra, photo by Steven Godbee

The finale of the night will be the Trumpet Concerto for orchestra in D major composed by German composer Johann Friedrich Fasch (1688-1758), much admired by his contemporary J.S. Bach, which will be sure to take us all out ‘in a blaze of festive baroque trumpets and drums’.

There is no doubt I will be in my musical element. Can’t wait!

For goodness sake, Book Your Tickets Now!

Carolyn McDowall, The Culture Concept Circle, 2016

Blazing Baroque,
Australian Brandenburg Orchestra

Watch the Trailer

Sydney – City Recital Hall
27, 29 July, 3, 5, 6 August (2 concerts)

Melbourne, Elisabeth Murdoch Hall
30 July
31 July

Brisbane, QPAC
8 August

Artistic Director and Conductor
Paul Dyer

2016 Concertmaster
Shaun Lee-Chen

Sammartini Overture to opera Memet, J-C 88
Vivaldi Concerto for violin in D major, Grosso mogul, RV 208
Telemann Grand Concerto in D major
Vivaldi Concerto for several instruments RV 569 in F major
Telemann Concerto a 4 TWV 43:d2 in D minor
Fasch Concerto for orchestra in D major

Associate Concertmaster
Matt Bruce, Sydney, Baroque Violin

Baroque Violin
Ben Dollman*, Adelaide
Aaron Brown, New York
Sarah Dunn, Sydney
Stephanie Eldridge, Bendigo
Rafael Font, Sydney
Matthew Greco, Sydney
Natalia Harvey, Melbourne
Miranda Hutton, Auckland
Brendan Joyce, Brisbane
Shane Lestideau, Melbourne
Skye McIntosh, Sydney
Lorraine Moxey (1), Orange
Bianca Porcheddu (2), Canberra
Catherine Shugg, Melbourne
Simone Slattery, Adelaide

Baroque Viola
Monique O’Dea* (3), Sydney
James Eccles, Sydney
Simón Gangotena, Melbourne
Christian Read, Melbourne
Shelley Sörensen, Sydney
Marianne Yeomans, Sydney

Baroque Cello
Jamie Hey*, Melbourne
Anthea Cottee, Sydney
Rosemary Quinn, Sydney
Dan Curro, Melbourne

Baroque Double Bass
Kirsty McCahon*, Sydney
Libby Browning, Perth
Jacqueline Dossor, London

Theorbo/ Baroque Guitar
Tommie Andersson*, Sydney

Baroque & Period Flute/Recorder
Melissa Farrow*, Sydney
Mikaela Oberg, Sydney

Baroque & Period Oboe
Kirsten Barry*, Melbourne
Owen Watkins, Bega

Period Clarinet
Craig Hill*, Melbourne
Ashley Sutherland, Melbourne

Baroque & Period Bassoon
Peter Moore*, Perth
Ben Hoadley, Auckland
Joanne Littlely, Perth

Baroque & Period Horn
Darryl Poulsen*, Perth
Dorée Dixon, Perth

Matthew Manchester, Sydney

Period Trombone
Nigel Crocker*, Sydney
Roslyn Jorgensen*, Sydney
Brett Page*, Sydney

Baroque & Period Trumpet
Leanne Sullivan*, Sydney
Alex Bieri, Sydney
Rainer Saville, Sydney
Matthew Manchester, Sydney

Brian Nixon*, Sydney
Jess Ciampa, Sydney

Harpsichord/ Chamber Organ/ Fortepiano
Paul Dyer, Sydney
Heidi Jones (4), Sydney
Joanna Tondys, Sydney


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