FROM THE PRESIDENT
Welcome to the second edition of our newsletter for 2012, which has been produced ahead of schedule due to a change of artist for our April concert.
Unfortunately, Miwako Abe sustained an injury to one of her hands and is unable to play for us; we wish her a speedy recovery. Instead, we can look forward to hearing another talented violinist, Briar Goessi performing with Elizabeth Anderson.
In this newsletter, I am including early notice and information on planned changes to our Constitution. I seek your support with these initiatives, which are important to our capacity to be sustainable in the years ahead.
How can LMS raise its fundraising capacity?
Currently no individual or philanthropic organisation can claim a tax deduction for any donation they make to the Society. This discourages potential donors and in the main makes us ineligible to apply for much needed funds from philanthropic organisations.
The process of applying for tax deductibility requires that the Society undertake the following:
1. Add a new section to the constitution to satisfy the requirements of the Australian Taxation Office (ATO).
2. Set up a public fund and separate bank account to receive gifts/donations.
3. Establish a sub-committee to administer the public fund.
4. Apply to the Registrar of Cultural Organisations to be entered onto the Register of Cultural Organisations (ROCO) and if successful, the application would automatically be sent to the ATO for ‘Deductible Gift Recipient’ endorsement.
To implement no. 1, the LMS Committee will submit a change to the Society’s Constitution at the next AGM in September.
For nos. 2 & 3, there is a requirement to establish the objects and purpose of the fund and a sub-committee to manage the fund. This sub-committee must include a majority of people (and at least three) who, because of their tenure of some public office or their position in
the community, have a degree of responsibility to the community as a whole. Possible examples include doctors, solicitors, clergy, school principals and other professional people. There is no requirement for these persons to be Society members, but the Committee believes we have many suitable candidates within the LMS membership. It is expected that this subcommittee may only need to meet twice or three times a year.
More details about this matter will be included in the AGM papers.
If Society members have any questions please contact the Secretary. I look forward to seeing you at our April concert.
Briar Goessi –Violin
“All Bach Program”
Sonata No.2 in A major for Violin and Klavier (BWV 1015) – i Dolce, ii Allegro, iii Andante un poco, iv Presto
Chromatic Fantasia and Fugue (BWV 903) from Solo violin Partita in d minor (BWV 1006) Sarabande, Allemande Sonata No.5 in f minor for Violin and Klavier (BWV 1018) – (Andante), Allegro, Adagio, Vivace
Bach reworked Sonata No.6 for Violin and Klavier twice, with one or more new movements composed for each successive version. In the first version, there are two movements (iii and v) which later appeared in Partita No.6 for Harpsichord. In the second and third versions of Sonata 6, these two movements are omitted. Today’s program gives an insight into Bach’s compositional process by exploring the complete and varied array of Sonata 6 movements in chronological order.
Toccata from Partita No.6 in e minor for Harpsichord (BWV 830)
Sonata No.6 in G major (first of 3 versions BWV 1019a) – i Vivace, ii Largo, iii Cembalo Solo – Courante from Partita No.6 in e minor (BWV 830), iv Adagio, v Violino solo e Basso l’accompagnato (appeared earlier as a keyboard solo in Partita No.6 (BWV 830): Tempo di Gavotta), vi Vivace (repeat of i Vivace)
Cantabile, ma un poco Adagio (BWV 1019a)
This movement replaced the two Partita No.6 movements (iii and v) in the second version of Sonata No.6 (all other movements remained as above)
Sonata No.6 in G major (last of 3 versions BWV 1019) – (i Vivace, ii Largo – These two movements are identical in all three versions and will not be repeated today), iii Cembalo Solo, iv Adagio, v Allegro
Briar Goessi was born in New Zealand and studied in Auckland, Brussels, Manchester and Australia. She has held permanent positions with various orchestras including the Melbourne Symphony Orchestra, Orchestra Victoria (Principal 1st violin) and Royal Covent Garden Orchestra, London. Currently she freelances in Melbourne with various ensembles. She has a particular interest in period instrument performance and has lead the St John’s Southgate Bach Ensemble for the past 5 years, performing Bach cantatas on period instruments. She performs regularly as leader of the Australian Chamber Choir Ensemble, with whom she has recorded for the ABC.
Elizabeth Anderson makes a return after performing last year with cellist Jamie Hey at the Society’s 90th anniversary celebration concert at the Melbourne Town Hall.
Vivien Hamilton-Soprano & Len Vorster-Piano Six Degrees of Separation: Music of ‘Les Six’
‘Six Degrees of Separation’ – the idea that everyone in the world is separated by a chain of “a friend of a friend” statements, which on average can connect any two people in six steps or fewer. ‘
On 16 January 1916 in an article in Comoedia titled “Les cinq Russes, les six Français et M. Satie” critic Henri Collet coined the term “Les Six” to describe a group of six composers who were working in Montparnasse in the second decade of the 20th century. Darius Milhaud said:
“Collet chose six names absolutely arbitrarily, those of Auric, Durey, Honegger, Poulenc and Taillefferre and me simply because we knew each other and were pals and appeared on the same musical programmes, no matter if our temperaments and personalities weren’t at all the same! Auric and Poulenc followed ideas of Cocteau, Honegger followed German Romanticism, and myself, Mediterranean lyricism!”
In this recital Vivien Hamilton and Len Vorster present – in six ‘degustation’ size courses – a program of French musical delicacies which were composed, in part, as reaction to the harshness encountered by a Europe battered by the atrocities of World War 1. This reaction included a return to the use of compositional forms of the Baroque and other earlier musical eras by “Les Six” and a rejection of the grandiose musical language of composers such as Wagner. Emulating the format style of a gourmet restaurant menu each “course” of music includes a combination of tasty musical morsels by ‘Les Six” alongside songs by composers who are in some way connected to them by ‘Six Degrees of Separation’ – as teacher, mentor, or student and admirer! ‘Six Degrees of Separation’ is a program which is influenced by a combination of Surréalism, Sensualitié and Sentimentalité and consists of songs which are suitable for the French concert hall, but influenced by ragtime, baroque music, jazz and the smokey cabaret of 1920’s Paris. It is designed to please and satisfy the senses – “
“If music be the food of love, play on, Give me excess of it; that surfeiting, the appetite may sicken, and so die.” [Duke Orsino]
[William Shakespeare, ‘Twelfth Night’, Act 1, sc. 1, 1-3]
First Course: Music by Erik Satie, D’Indy and Auric
Erik Satie: La Diva de L’Empire
Vincent D’Indy: Madrigal dans le style ancien,
Georges Auric: Lord Bolingbroke
Second Course: Music by Tailleferre and Mompou
Tailleferre: Trois chansons de Jean Tardieu
Mompou: Cantar del Alma
Third Course: Music by Durey and Poulenc Durey: No 1, Deux Poèmes d’Ho-Chi-Minh Poulenc: Le Bestiaire
Fourth Course: Music by Debussy, Honegger and Hahn
Debussy: La plus que lente
Honegger: Le Nègre
Hahn: À Chloris
Fifth Course: Music by Stravinsky, Milhaud and Satie Igor Stravinsky: Tilimbom
Darius Milhaud: Chansons de Théatre, No.2 (Supervielle) Erik Satie: Ludions
Sixth Course: Music by Weill, Piaf and Poulence Kurt Weill: La Compleinte de la Seine Edith Piaf: La Vie en rose
Poulenc: Les Chemins de l’amour