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Concert with Canberra Boys' Choir
1 December 1984
High Court

SCUNA history » Concerts » 1984 - December (1)

Programme

Front cover

Front cover. Transcription follows.

Carols
and
Concertos

Inside cover


Inside cover. Transcription follows.

Transcription

MUSICA DA CAMERA, directed from the keyboard by Adrian Keenan

in association with
ANU CHORAL SOCIETY (SCUNA), directed by Judith Clingan
and the CANBERRA BOYS' CHOIR, directed by Rosemary Saunders

———— • ————

present at the High Court, Saturday 1st December, 1984


PROGRAMME

MUSIQUE de TABLE (PART 1) TELEMANN
Suite for String Orchestra and two Recorders

Ouverture - Rejouissance - Rondeau - Louré - Passepied - Air - Gigué

CHRISTMAS MUSIC from SCUNA

Processional: This Day a Child Full Fair - J. Clingan
Angelus ad virginem - Anonymous (14th Century)
Lute Book Lullaby - William Ballett (16-17th Century)
Nowell - Out of Your Sleep - Anonymous, medieval

CONCERTO IN A MINOR VIVALDI
for Violoncello and String Orchestra

Cello Soloist - Jill Greenwell
Allegro - Largo Cantabile - Allegro

CHRISTMAS CAROLS from CANBERRA BOYS' CHOIR
conducted by Rosemary Saunders

Away in a Manger - Carol of the Bells
Ding Dong Merrily on High - Rejoice and be Merry

CONCERTO in D MAJOR VIVALDI
for Guitar and String Orchestra (transcribed by Emilio Pujol)

Guitar Soloist - John Tucker
Allegro - Largo - Allegro

BEATUS VIR (RV 598) VIVALDI
for Soprano Solo, Soprano Duet, Mixed Choir and Orchestra

Soprano Solo - Lynne Thomson
Canberra Boys' Choir and SCUNA conducted by Judith Clingan

Page 1


Page 1. Transcription follows.

Transcription

ABOUT THE MUSIQUE

MUSIQUE de TABLE (Part 1) by Georg Philipp TELEMANN (1681-1767)

The title of this work and the nature of its contents demonstrate Telemann in his French mode. The long established German Tafelmusik is utility music, functional yet elegant music for banquets. Telemann's French version was certainly composed for use in the French courts but copies of the 1733 edition were sold all over Europe. Mr Handel, Docteur en Musique, Loudress [Londres?], was one of the subscribers to this edition (the overture appears later in a major key in the Overture of Alexander's Feast).

The advertisement in a Hamburg newspaper advertised the work as pieces for Liebhaber der Musik (music lovers i.e. amateurs), so today's performance is authentic in this regard as is we hope our stylistic interpretation of French music written by a German.

Throughout the work the Concerto Grosso principle is used contrasting the two recorders with the violins. Instead of entrusting the solo to the first desk of the violins as was probably intended, we have in today's performance democratically shared the solos amongst all members of the orchestra.

The Ouverture is cast in typical French style with opening dotted rhythm Lentement contrasted with the polyphonic and fast central section. The Rejouissance, a spirited dance in 3/4 reflects the festal mood of the entire work. Handel uses the same title for a movement in "Music for the Royal Fireworks" of 1749. The movement like all the dances to follow is in da capo form. The Rondeau is perhaps the most elegant of the movements while the Loure is more rustic in flavour being a slow-time gigue, once danced to bagpipe accompaniment. The Passepied is an allegro dance in triple time (3/8) with arresting hemiola bars in 3/4. The Air has a long central section in which Telemann experiments with the different combinations of tone colour of the concertino group, the two recorders and the two violins, with and without the continuo. In the final Gigue we return to the more solid sound of the overture but still the solo concertino group can be discerned in the texture. Telemann's Musique de Table is in effect a Concerto Grosso cast in the form of a suite.

CONCERTO in A MINOR for VIOLONCELLO and STRING ORCHESTRA
by Antonio VIVALDI (1678-1741)

Amongst the hundreds of concertos for all possible instruments and combinations of instruments there exist 15 cello concertos and several double cello concertos. The A minor concerto, rediscovered and copied in 1925, is typical of Vivaldi's concerto style with its idiomatic solo writing, rhythmic verve and skilful treatment of the string orchestra.

It is cast in the ubiquitous 3 movement form with opening and closing Allegro movements in ritornello form (the orchestral episode[s] present the same melodic material while the interspersed solo episodes provide [...]

Page 2


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Transcription

[...] rhythmic and melodic contrast and variety with each appearance. The slow middle movement scored for solo cello and continuo is in arioso style with its lyrical melody being almost vocal in feel.

CONCERTO in D MAJOR for GUITAR and STRING ORCHESTRA by Antonio VIVALDI

Despite an enormous output of works employing the concerto form, Vivaldi wrote only one self-titled lute concerto, in D major and scored for lute, two violins and basso continuo. The work is admirably suited to the guitar and is an example of the standard three movement concerto form established by Vivaldi and his generation. The concerto features solo-tutti alternation in the first movement, a lyrical second movement in dotted rhythm and a brisk final movement with concise pointed themes.

BEATUS VIR (RV 598) by Antonio VIVALDI

Psalm 111

Unlike the grander and longer setting of the same text, the Beatus Vir RV 593 is cast in a single movement and cast in a complex ritornello form with more modulations and ritornello statements than found in any of the concertos. The string tutti represent the ritornello while the soprano solos provide the contrasting episodes. The chorus however, assume both a ritornello and episodic function. The energetic and cadential motif first heard in bars 3 and 4 is used almost obsessively in the work by Vivaldi, eventually to become the movement's final utterance.

In today's performance the Soprano Duet is sung by the Canberra Boys' Choir. The text is based on Psalm 111.

ABOUT THE COMPOSERS

While it is not certain that they ever met, Georg Philipp Telemann (1681-1767), and Antonio Vivaldi (1678-1741) were certainly admirers of each others music. Both composers produced a vast amount of music in many different forms - operas, oratorios, church cantatas, masses, chamber music and inumerable concertos.

Telemann, unlike Vivaldi, lived in many different cities and courts in Europe - in Germany, Poland and France. His varied styles of composition, like J.S. Bach, reflect an absorption and synthesis of the main musical styles of the eighteenth century. Vivaldi, by comparison, remained in Italy (Venice) for most of his life, perhaps explaining why Vivaldi's music is almost always recognizable as such.

Both composers were famous in their time but were almost unknown in the 19th century. It is only since the middle of this century that the wealth of music from these two equally prolific and talented composers has again become known.

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Transcription

ABOUT THE CONDUCTOR

Adrian Keenan has a many faceted involvement with music, as a performer (especially as a harpsichordist and organist), as a choral singer and conductor, as a composer of electronic and multi-media works and finally as a music educator.

He moved to Canberra in 1978 after completing his studies at the Sydney Conservatorium of Music to take up the position he now holds as organist/choirmaster and teacher at Canberra Grammar School. In 1979 he joined with John Tucker and Rodney Hall (past conductor of Musica da Camera) to form Thomas Anonymous and Friends, an early music group which plays regularly in the Canberra district.

ABOUT THE CONDUCTING

As an experiment in authenticity it was decided to direct the performances from the keyboard, as was the custom until the end of the 18th century. Three degrees of control are used. Firstly, aural control from the harpsichord and the key players - the leader and the continuo cello. At this level, players listen to each other to keep in time. At the beginnings and ends of pieces or if the first level fails, we resort to visual control - hand waving or head nodding, and if that fails then the third authentic device is employed - foot stamping, stick banging or hand clapping. Hopefully this method will not have to be used today!

ABOUT THE SOLOISTS

JOHN TUCKER studied guitar with Sadie Bishop at the Canberra School of Music, graduating from that institution in 1974. He has also studied in Master Classes with the Venezualan maestro, Alirio Diaz. John is currently teaching the guitar in the A.C.T.

JILL GREENWELL has been playing with Musica da Camera for 5 years. During that time, Jill has developed an interest in baroque technique and style. Her cello was made in 1740 by a Belgian instrument maker and was recently restored by Ian Watchorn of Canberra.

ABOUT THE CHOIRS

SCUNA, the ANU Choral Society, was formed 21 years ago. The choir performs a variety of music from medieval songs and magrigals by Dowland and Byrd to works by Vaughan WiIliams, Kodaly and Britten. Three major concerts are presented by the choir each year including a Christmas concert at University House on the last Friday before Christmas. Though a university based choir, not all SCUNA members are students. SCUNA's current conductor, Judith Clingan, is well known in Canberra through her work with young people's choirs. She is also a founding member of SCUNA.

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Transcription

CANBERRA BOYS' CHOIR was started in September, 1981, in order to encourage and train boys to sing, and to provide Canberra with a specialised treble choir. The choir currently numbers 33 boys aged between 8 and 13 from 21 schools in the Canberra area.

The choir rehearses twice a week, working on a wide range of music from folk songs and anthems to large scale works, in which the boys join with other groups. Major performances have included Bach's "St John Passion" with the Canberra Choral Society and Vaughan Williams "Hodie" with the Oriana Chorale in 1982, also Honnegger's "Joan of Arc at the Stake" and Bizet's "Carmen", with Canberra Opera in 1983 and Offenbach's "Orpheus in the Underworld" in 1984. In June this year the choir premiered a Rock Mass written for the choir by Donald Hollier. In February, 1985 the choir will perform in Handal's opera, "Belshazaar".

ROSEMARY SAUNDERS has directed the Canberra Boys' Choir but leaves at the end of this year to further her vocal studies in Sydney.

ABOUT THE ORCHESTRA

MUSICA DA CAMERA, a chamber orchestra formed in 1979, consists of amateur musicians who enjoy performing baroque music. In the past the orchestra has received training in technique and the style of baroque playing from leading exponents of the art such as Cynthia O'Brien of Capella Corelli. The orchestra plays under the direction of a professional musician and often performs with a guest artist or choral group.

Musica da Camera has established a firm reputation in Canberra and N.S.W. country areas having this year performed by invitation at Parkes, Cobar and Braidwood. The High Court concert has now become an annual end of year event to which the public and orchestra members look forward.

The orchestra is available to play at weddings and functions and any enquiries should be directed to the Secretary, Marion Dunlop, on [phone number] or write to [street number] Kingsbury Street, Gowrie A.C.T. 2904.

A cassette of past Musica da Camera performances recorded live and professionally produced in Dolby stereo is available at today's concert for just $6.50. This 60 minute cassette would make an excellent Christmas gift for a music lover.

Inside back cover


Inside back cover. Transcription follows.

Transcription

  MUSICA DA CAMERA  
  Musical Director: Adrian Keenan  
First Violins   Second Violins
Robert Dakin (Leader)
Susan Burkett
Mike Lasseter
Connie Lyne
  Marion Dunlop
Heather Shelley
Michael Thorpe
Roslyn Morris
Violas   Cellos
Geoffrey Waight
James Koehne
  Jill Greenwell
Mona Brown
Double Bass   Harpsichord
Louise Broad   Adrian Keenan
  Recorders  
  Sylvia Shanahan
Lynn Webb
 
 
  ANU CHORAL SOCIETY (SCUNA)  
Sopranos   Altos
Fiona Boorman
Joan Dun
Cathy Lawrence
Anne Mathew
Megan Morris
Bernadette Neujean
Shirley O'Reilly
Pippa Sime
Lynne Thomson
  Celeste Barker
Sue Chadwick
Martina Fechner
Jean Finnegan
Barbara Hurst
Denise Kraus
Jill Parliament
Denise Rennex
Leonie Rutherford
Erika van de Pol
Philippa Wicks
Tenors   Basses
Andrew Everard
James Graham
Jim McCormack
Dermot McGuire
Wayne Kinrade
Brian Yates
  Murray Basnett
Alistair Bestow
Nik Horn
Peter Minchin
Mike Strasser

Back cover


Back cover. Transcription follows.

Transcription

  CANBERRA BOYS CHOIR  
Tobias Ansted
Max Arthur
Matthew Boesen
Nicholas Bakker
David Birtles
David Brimmer
Duncan Buchanan
David Bugg
Andrew Cartledge
Thomas Cornes
Bugan Daley
Andrew Downer
Ainslie Greiner
Justin Harvey
Brendon Kirk
Julian Kissling
Jeremy Yapp
  Duncan McIntyre
Glen Michell
Gareth Miller
David Peedom
Damien Pentony
David Phillips
Ruairi Prentice
Caleb Rose
Geoffrey Schouten
Phillip Schumacher
Timothy Shannon
Damen Smith
Adam Somes
Peter Stead
Gordon Sutton
Christopher Woods

Source

Personal communication from Peter Campbell; scan of programme kindly provided by Annabel Wheeler.