Jamie Hey – 5 string Baroque Cello
Elizabeth Anderson –Harpsichord
2.00pm Sunday, 21 August 2011
MELBOURNE TOWN HALL
100 Swanston Street, Melbourne
Meet the Artists
Jamie Hey is Australia’s pre-eminent period cellist and a passionate researcher of the history, development and repertoire of the cello in 17th century Italy.
He began his studies at the Queensland Conservatorium of Music in 1991, and soon after became Principal Cellist with the Queensland Youth Orchestra. While still in Queensland, he performed regularly with ensembles such as the Queensland Philharmonic Orchestra, Opera Queensland, Camerata of St John’sand theBadinerie Players. Jamie has also been a member of Chacona since its inception in 1997, with regular live-to-air broadcasts and recordings including Olympia on the ABC Classics label.
Jamie joined the Australian Brandenburg Orchestrain 1995, becoming principal cellist in 2002. The same year he received the Dean’s Medal for outstanding achievement as an Honors graduate at the Newcastle Conservatorium of Music. In 2002-03, he studied in Australia & Japan with baroque cellist Hidemi Suzuki.
Awarded a Young and Emerging Artists scholarship by the Federal Government, he undertook professional development study in the United States with cellist, Phoebe Carrai (Boston) during 2007-08.
Jamie has performed as principal cellist of Il Complesso Barocco under the direction of Alan Curtis in Italy, Austria & France; in the fortepiano trio Ensemble of the Classic Age with Geoffrey Lancaster; principal cellist of Sinfonia Australis; and regular performances with Sydney’s Pinchgut Baroque OperaCompany.
His broadcast solo performances include recitals for the Melbourne Autumn Music Festival, the Pearl Beach Chamber Music Festival, concerto performances with the Australian Brandenburg Orchestra (ABO) as well as appearing as a featured soloist on the ABOs Aria award winning recordings of Handel’s Opus 6 Concerti Grossi &Sanctuary.
He is a popular solo recitalist and in great demand as a continuo player.In the latter role,he has accompanied many leading exponents of early music including Philippe Jaroussky, Hiro Kurosaki, Andreas Scholl, Emma Kirkby, Alfredo Bernadini and Maria Christina Kiehr.
Jamie Hey currently performs on an anonymous mid-17th century Italian 4 string cello and a 5-string cello after Zanetto by Warren Nolan -Fordham of Melbourne.
From the Archives of the Society’s 30th anniversary year (1951)– reproduction of a Herald
Special Services article written and published in 1952 (exact date unknown)
History made by harpsichord
Herald Special Service
LONDON, Tues. – A hold-up of 13 days, while his harpsichord was kept in the hold of a ship in Sydney Harbour, gave John Ticehurst a disquieting introduction to Australia when he arrived on a year’s tour.
Now Back in England and writing about his concert-cum-sight-seeing trip in the English music magazine, “Music”, Mr Ticehurst describes his year when he drove 10,000 miles through Australia with his 18th Century harpsichord in the back of the Morris van.
In Melbourne, he had one of the few other anxious moments he encountered on his tour. He was to give a recital to the British Music Club of Victoria, “the leading chamber music club of Melbourne” [Thursday, 22 November 1951]. He had not a little anxiety about whether his instrument would get into the lift to be taken up seven floors to the society’s music room [the Auditorium Building in Collins Street].
It did … with an inch to spare!
Geelong Grammar School’s music rooms, says Mr Ticehurst, “must surely be the envy of every other school in Australia, or any other country.”
In his article, he describes a night in Brisbane when the corridors and rooms adjacent to the one where he was playing at the City Hall were packed with people. They stood for the entire performance and did not even catch sight of the harpsichord he played.
Mr Ticehurst called his trip “a most interesting bit of musical pioneering”. Australians, he said, commented frequently on “the extraordinary variety of tone produced from an instrument they had been led to believe was practically without expression”.
The district, which appealed to him most, was that between Sydney and Canberra … “some of the most lovely I saw in the whole of my 10,000 miles journeying”.
[According to the Society’s Thirty-First Annual Report (1952),the recital included “a group of English Works by Byrd, Bull, Peerson, and Gibbons; French Works by Louis and François Couperin; German Works by Telemann (with Barbara Carroll playing the recorder), also Handel and Bach; Italian Works by Loeillet and Domenico Scarlatti.”]
|2.00pm||MC Mr Danny Neumann, Public Officer welcomes the audience, acknowledges the traditional owners and introduces the President|
|2.01pm||Sarah Cuming, President speaks and introduces Jamie Hey and Elizabeth Anderson|
JS Bach: Sonata in G major for Viola da Gamba &Harpsichord, BWV 1027
Allegro ma non tanto
Couperin: Ordre 27ème de clavecinin B minor (Solo Harpsichord)
Les Pavots, Nonchallamment
JS Bach:Suite No.1 in G major for Unaccompanied Cello, BWV 1007
Menuett I and II
JS Bach: Sonata in D major for Viola da Gamba & Harpsichord, BWV 1028
|3.10pm||Recital concludes with presentation of flowers|
|3.15pm||MC invites members and guest to stay for afternoon tea and meet with the artists.|
Johann Sebastian Bach (1685-1750) was born and raised in Eisenach, Germany. As the youngest child in this musical family, he was taught to play the violin and harpsichord by his father. His uncles were all musicians one of them taught him the organ.
Orphaned at the age of 10, Johan Sebastian moved in with his oldest brother Johann Christoph Bach. During this time Johan Sebastian was instructed on the clavichord by his brother, copied, studied and performed music and was exposed to the works of other composers such as Pachelbel, Froberger, Lully, Marchand, Marais and Frescobaldi.
Unlike most other major composers of the time, he never moved very far from his birthplace and not out of Germany. As one of themost prolific composersof the Baroque periodBach’s legacy lives on today in the often performed sacred and secular works for choir, orchestra, and solo instruments.
The exact date of Bach’s three Sonatas for Viola da Gamba and Harpsichord, BWV 1027-29is unknown. They have been variously accorded to Bach’s period as Kapellmeister in the city of Köthen (early 1720s) as well as to a later period when he was at the Collegium Musicum in Leipzig (early 1730s to early 1740s). These intensely expressive and often technically demanding, yet intimate works have the usual texture of Bach’s instrumental sonatas, with two upper parts supported by a bass part.
Sonata in G major, BWV 1027 is an arrangement for viola da gamba and harpsichord of the Sonata for Two Flutes and Continuo, BWV 1039. To compensate for the missing third instrument, the right hand of the harpsichord takes on this role and the flute part not taken over by the keyboard is moved down to a register suited to the viola da gamba.
In the Sonata in D major, BWV 1028, the bass viol introduces a thematic fragment that is imitated by the harpsichord. TheAllegro has the two upper parts entering together, with more obvious imitation in the second half of the movement, in which the harpsichord is allowed to fill out some of the textures.
François Couperin (1668–1733) was a French Baroque composer, organist and harpsichordist. He was known as Couperin le Grand to distinguish him from other members of his musically talented family. François learnt the organ from his father who died when he was 10.
In 1717, at the age of 49, Couperin became court organist and composer to Louis XIV and with his colleagues;he gave a weekly concert, mostly on a Sunday. These were often in the form of suites.
The first project of Louise Hanson-Dyer’s Editions de L’Oiseau-Lyre musicpublishing house was the publication of the much acclaimed, complete works of François Couperin in 1933. This definitive 12-volume edition has been lauded for its completeness, veracity and artistry.
Couperin’s own and most famous book, The art of touching the harpsichord (“The Art of Harpsichord Playing”, published in 1716), contains suggestions for fingerings, touch, ornamentation and other features of keyboard technique. JS Bach’s work was influenced by Couperin as he also adopted the fingering system, including the use of the thumb.
Ordre 27ème de clavecin in B minor: Couperin wrote four volumes of harpsichord music. Published in Paris in 1713, 1717, 1722, and 1730, these four volumes contain over 230 individual pieces, which can be played on solo harpsichord or performed as small chamber works.This particular work is from Couperin’s Fourth book (1730) – Orders 20 to 27 for harpsichord.
Suite No.1 in G major for Unaccompanied Cello (BWV 1007): Bach wrote six cello suites, all with six movements. BWV 1007 is the first of those suites. The Prelude from this work is probably the most recognisable from the entire set of six suites as it has been widely used in films for television and movies – The Pianist (2002), Master and Commander: The Far Side of the World (2003) and ER: Dream Runner (2009), to name a few.
The suites contain a great variety of technical manoeuvres, a wide emotional range, and are described as displaying some of Bach’s most compelling voice interactions and conversations. Many contend that it is the intimacy of these works that has made the suites so popular.
It is likely that it was also their popularity that gave rise to the suites being transcribed for numerous other instruments including violin, viola, double bass, viola da gamba, mandolin, piano, marimba, classical guitar, recorder, electric bass, horn, saxophone, bass clarinet, bassoon, trumpet, trombone, euphonium, tuba, ukulele, and charango (form of lute).
Elizabeth Anderson is recognised both locally and internationally as one of Australia’s leading harpsichordists. Her playing continually draws critical acclaim. In July 2010 German critic, Albrecht Schmidt described Elizabeth
Anderson’s opening concert of the “Organ Summer” series in Paulus Church, Darmstadt as: “an exceptional programme and an exceptional artist” …… “The multifaceted Elizabeth Anderson maintains a richly decorative flow … ascending to ever higher levels of excitement and with unbridled virtuosity arrives suddenly in a state of musical weightlessness” (Darmstädter Echo, July 2, 2010).
Other performances during her 2010 European summer tour included the opening concert in the newly-restored Ribbeck Castle, near Berlin; a performance of Bach’s Goldberg Variations in the Sorø International Music Festival (Denmark) and for the Universität der Künste (Berlin University of the Arts). “All of us who witnessed her performance left with refreshed spirits, and the sense that far up above the arches of the church, God the Father himself had received the glory he deserved” (Hans Krarup, DagbladetSorø).
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.
She can be heard as a soloist on 11 CDs on the Move and Naxos labels. Her recording of the DeFalla Harpsichord Concerto (Naxos 8.554366) won an “Editor’s Choice” listing in Gramophone Magazine and her Goldberg Variations (Move MD3160) won a Listener’s Choice award from
Soundscapes magazine and appeared in the Age newspaper’s top 10 new CDs. Her Bizarre or baRock CD appears on Fanfare Magazine’s “Want List” for 2011.
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 Juergen Ammer of Schauenburg, Germany, after an anonymous Thuringiann model held in the Bachhaus, Eisenach.