Briar Goessi, Elizabeth Anderson



Briar Goessi – Violin
Elizabeth Anderson –Harpsichord

2.00pm Sunday, 1 April 2012
29 College Crescent, Parkville

Meet the Artists

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 Andersonis recognised both locally and internationally as one of Australia’s leading harpsichordists. Her playing continually draws critical acclaim and she can be heard as a soloist on 11 CDs on the Move and Naxos labels.

Elizabeth gives concerts in Europe every two years, either as a harpsichord soloist or in four-hand concerts with husband, Douglas Lawrence. She also appears regularly in Australian festivals and concert series. She is a principal artist with the Queensland Orchestra, the Melbourne Symphony Orchestra and the Tasmanian Symphony Orchestra. She has performed as a soloist with the Adelaide Symphony Orchestra, the Sydney Opera and Ballet Orchestra, the Queensland Orchestra and Orchestra Victoria.

Elizabeth completed a Master of Music at the University of Melbourne with Roger Heagney and John O’Donnell and later studied with Colin Tilney and Alan Curtis.

The harpsichord played by Elizabeth was constructed by JuergenAmmer of Schauenburg, Germany, after an anonymous Thuringiann model held in the Bachhaus, Eisenach.

About Sonata No.6 for Violin and Klavier

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.


Johann Sebastian Bach

Sonata No. 2 in A major for Violin and Klavier (BWV 1015) I.  Dolce         II.Allegro         III.  Andante unpoco         IV.  Presto

Chromatic Fantasia and Fugue (BWV 903)

Movements from Solo violin Partita in D minor (BWV 1006)         Allemande    Sarabande

Sonata No. 5 in F minor for Violin and Klavier (BWV 1018)

  1. (Andante) II.Allegro III.Adagio          IV. Vivace Interval

Toccata from Partita No.6 in e minor for Harpsichord (BWV 830)

Sonata No. 6 in G major (first of 3 versions BWV 1019a)

  1. Vivace
  2. Largo
  • Cembalo Solo – Courante from Partita No. 6 in E minor (BWV 830)
  1. Adagio
  2. 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)

  • Cembalo Solo
  1. Adagio
  2. Allegro