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‘A bold artist with an instinctive feeling for the wild side in music.’

THE NEW YORK TIMES

CHRISTIAN TETZLAFF VIOLIN

Experience Christian Tetzlaff and nine other international artists as they reveal the inner world of their music-making and explore the art of the Great Performer only at Melbourne Recital Centre.

Sunday 15 February 20155pmTickets from $55

JEAN-EFFLAM BAVOUZETP I A N O

Purchase a season ticket package and save up to 30%.

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G R E AT P E R F O R M E R SM E L B O U R N E R E C I TA L C E N T R E P R E S E N T S

TUESDAY 25 NOVEMBER 2014

_ 7.30PM, ELISABETH MURDOCH HALL

_ Pre-concert talk by Caroline Almonte 6.45pm-7.15pm, Elisabeth Murdoch Hall

_ This concert is being recorded for broadcast on ABC Classic FM on Saturday 6 December

_ Duration: Two hours including one 20-minute interval

JEAN-EFFLAM BAVOUZET P I A N O

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PROGRAM

LUDWIG VAN BEETHOVEN (b. Bonn, Germany, 1770 – d. Vienna, Austria, 1850)

Piano Sonata No.26 in E-flat, Op.81a ‘Les Adieux’ I. Das Lebewohl (Farewell). Adagio – Allegro II. Abwesenheit (Absence). Andante espressivo III. Das Wiedersehen (The Reunion). Vivacissimamente

Piano Sonata No.22 in F, Op.54 I. In tempo d’un Menuetto II. Allegretto

Piano Sonata No.23 in F minor, Op.57 ‘Appassionata’ I. Allegro assai II. Andante con moto III. Allegro ma non troppo

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INTERVAL: 20 MINUTES

BRUNO MANTOVANI (born 1974)

Le Livre de JEB (The Book of JEB)

MAURICE RAVEL (b. Ciboure, France, 1875 – d. Paris, France, 1937)

Miroirs (Mirrors)

I. Noctuelles (Night Moths) II. Oiseaux tristes (Sad Birds) III. Une Barque sur l’océan (A Boat on the Ocean) IV. Alborada del gracioso (Morning Serenade for the Jester) V. La Vallée des cloches (The Valley of the Bells)

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ABOUT THE MUSIC: BEETHOVEN

Three Beethoven Sonatas

In this recital, Beethoven the heroic personality and mighty pianist is revealed to have an intimate, personal side. The Sonata No.22 in F major, Op.54 is an almost freakish anomaly, nestled in Beethoven’s oeuvre between the monumental Waldstein and Appassionata sonatas. Completed in 1804, it doesn’t demonstrate the ‘heroic’ vein of 1803–08 in the way its neighbours do. The Appassionata, considered by Beethoven as one of his greatest sonatas, is a mighty creation, and again there is a marked contrast between it and the sonatas that followed. Op.81a (Les Adieux or Das Lebewohl) comes from the period 1809–10, when Beethoven returned to the piano sonata after a gap of four years. It represents a new phase – at times more introspective, even lonely – in which Beethoven was reaching for a new style.

The Sonata in E-flat major, Op.81a, Das Lebewohl, is the only one of Beethoven’s sonatas to bear a definite program or narrative. (It was his publisher who translated the title into French, ‘Les Adieux’, against his wishes.) Its three movements mark the Farewell, the Absence and the Return of Beethoven’s patron Archduke Rudolf, himself a fine pianist and Beethoven’s only composition student.

The Farewell (and the reason for preferring the nickname in its German form) is marked by a simple Adagio introduction, with the syllables ‘Le – be – wohl’ written over the first three notes, a striking ‘horn call’ motto that takes on a life of its own, turning up in fresh harmonic and expressive transformations. The horn call, as Charles Rosen points out, was in 1810 a well-established poetic symbol of distance, isolation and memory.

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The slow movement, marked Andante espressivo, begins with a questioning idea and a feeling of disquieting pathos. The music seems to drift, as if in resigned acceptance of loss, before the finale breaks in, revealing the movement to have been one, long upbeat. The finale (Vivacissimamente, the ultimate in liveliness!) conveys the unalloyed delight at the return of a dear friend. The thematic ideas are joyous and they are a brilliant, irrepressible treatment.

The Op.54 Sonata in F major from 1804 seems out-of-character for the ‘heroic’ Beethoven of popular imagination. It is, unusually, in two movements rather than three or four, a feature shared only with a handful of Beethoven’s sonatas. But it lacks the straightforward and light tone of Beethoven’s earlier two-movement sonatas. Instead it is almost experimental in character, extraordinarily compact and with what Charles Rosen describes as a ‘radical simplicity’.

Throughout its history it has prompted puzzled reactions. Adolf Bernhard Marx (a friend of Mendelssohn) called it ‘a strange production’; the 19th-century Beethoven biographer Wilhelm von Lenz found it ‘bizarre’:

First there is a minuet which is not a minuet, and of which the motif, if it is a motif, makes a noise for a moment in the lowest basses before losing itself in a forest of octaves…The Allegretto must have fallen from the pen of the master when he was in God knows what kind of a mood; when he wasn’t even thinking…

The first movement – which, as Lenz correctly observes, is ‘in the tempo of a minuet’ rather than a strict minuet – combines the style and structure of the dance with something approaching sonata principle.

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The murmuring second movement (Allegretto) is an exercise in perpetual motion, but one that is marked dolce (sweetly), suggesting that even fleeting fingers can be poetic too.

When Beethoven published his first sonatas, he was at the height of his fame in Vienna as a pianist and what impressed his listeners most was his powers of improvisation. The Appassionata Sonata came some ten years later, and although Beethoven was beginning to withdraw from public performance, the links between composition and keyboard improvisation are still apparent. As Peter McCallum points out, Ferdinand Ries’s description of the genesis of the last movement gives apt insight that fusion:

During a similar walk in which we went so far astray that [sic] we did not get back to Döbling, where Beethoven lived, until nearly 8 o’clock. He had been all the time humming and sometimes howling, always up and down, without singing any definite notes. In answer to my question what it was he said: ‘A theme for the last movement of the sonata has occurred to me’ (in F minor Op.57). When we entered the room he ran to the pianoforte without taking off his hat, I took a seat in the corner and he soon forgot all about me. He stormed on for at least an hour with the new finale which is so beautiful.

Finally he got up, was surprised still to see me still there and said: ‘I cannot give you a lesson today. I still have work to do.’

The Appassionata, mighty in its passion and spontaneous intensity, also feels as if Beethoven is addressing himself to a broader public, and to other pianists – a sonata for posterity. Late in life Beethoven told his pupil Carl Czerny that he regarded this sonata as his greatest, apart from the last five (Op.101, 106, 109–111). Perhaps this was because of its powerful sense of thematic unity, with the outer movements in particular sharing many musical gestures as well as dramatic atmosphere. Typically, Beethoven defies expectation, and an early reviewer recognised this when he praised the powerful effect of the tempestuous outer movements but admitted, almost apologetically, to preferring the theme and variations of the calmer second movement.

The sonata was composed during 1804–06, a period when Beethoven was infatuated with the recently widowed Josephine Deym, and it was dedicated to her brother, Count Brunsvik. The ‘Appassionata’ nickname is not Beethoven’s – it is the legacy of an 1838 publication of the sonata as a duet, for which ‘passion’ might well have been a useful selling point.

Program notes continue on page 12.

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Born Metz, in eastern France

Studied with Pierre Sancan at the Paris Conservatoire

Early success in 1985 won the International Beethoven Competition in Cologne and the Young Concert Artists Auditions in New York

Big break was invited by Georg Solti to make his debut with the Orchestre de Paris in 1995, and is widely considered the maestro’s last discovery

In Australia made his Australian and SSO debut in 2011, performing Liszt’s Piano Concerto No.2 with Vladimir Ashkenazy and a recital program of Beethoven, Debussy and Liszt; performed Ravel’s Piano Concerto in G with the MSO in 2012 (and returns in 2015 to play Mozart); makes his Melbourne recital debut tonight

Recent career highlights several performances of the five Beethoven piano concertos over two consecutive evenings; recording the five Prokofiev concertos with the BBC Philharmonic Orchestra

Solo recordings include the complete piano works of Debussy and Ravel, and the complete Haydn sonatas; is currently recording the complete Beethoven sonatas for Chandos, with the third and final volume still to be released.

Read more: www.bavouzet.com

IN THE GREEN ROOM WITH JEAN-EFFLAM BAVOUZET

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Jean-Efflam Bavouzet in conversation

Jean-Efflam Bavouzet attributes his first visit to Australia, in 2011, to the influence of Vladimir Ashkenazy, then Princial Conductor and Artistc Director of the SSO, with whom he is ‘honoured to have a strong and inspirational ongoing musical collaboration’. Bavouzet was ‘impressed by the highly receptive audience and the energy of Sydney and its musical life.’ Bavouzet made his Melbourne debut in 2012 with the MSO and Tadaaki Otaka in a barnstorming performance of Ravel’s glittering, jazzy G-major piano concerto.

Bavouzet’s recitals have distinctive richness, finding, for example, connections between Beethoven and Liszt, Wagner and Debussy. ‘I love building programs around one composer,’ he says, ‘or with a kind of “pedagogic” demonstration of whatever musical statement I want to make. But I also love to be guided only by my hedonistic pleasure.’

There’s a sense of indulgent pleasure in the first half of tonight’s program – with three Beethoven sonatas! But perhaps an element of

pedagogic demonstration as well, since three are from the same brief period of Beethoven’s life (1809–10).

Over the past two years, Bavouzet has been recording the complete Beethoven sonatas and, unlike some pianists, he has chosen to record them in more or less chronological order. ‘It is a fascinating journey through Beethoven’s evolution,’ he says, ‘that of his mind and that of the sonata form as such. Not many composers evolved so drastically in their lifetime. Liszt, Bartók…’ Later he observes that Beethoven is a composer with whom he had an instant and deep affinity, but also that the interpretation of his music ‘goes through more important changes throughout one’s life than that of most others’.’

Bavouzet will be recording the sonatas we hear in this recital for the third volume in his Beethoven cycle; like many artists, he performs works in concert before recording them ‘so as to bring closer together the two different worlds’ of the stage and studio. Recording, he says, has changed stage performance for the better and for worse. ‘Artists as well as audiences face now

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completely different expectations in the concert situation.’ Recordings are supposed to be technically perfect (flawless playing, perfect acoustic conditions) but this is more difficult to achieve in live performance – ‘thus artists tend to be more careful, disadvantaging the risk-taking so essential for great interpretation’.

After interval, the program jumps forward a century (and then another!) to give us Ravel’s Miroirs and a fairly new piece, Le Livre de JEB (The Book of JEB) by Bruno Mantovani. The shared connection here is the dedication of music to friends. Miroirs was dedicated to five of Ravel’s friends in the ‘Club’ des Apaches – artistic ‘street ruffians’, determined to turn Paris on its head. The Book of JEB was written for Bavouzet, the ‘JEB’ of the title.

Bavouzet met Mantovani’s music before he met the man himself: ‘I completely fell in love with his quintet, The Blue Girl with Red Wagon.’ They then met in Rome and later were invited to the same festival. ‘We have never been far away from each other, musically

speaking, ever since. I cherish this ten-year friendship with Bruno tremendously!’

Bavouzet tells me that when Mantovani gave him the score of The Book of JEB he said, ‘This is for you and it is you!’ If you want, he says, you can hear it as a musical portrait. It even begins with a chord (from the Blue Girl… quintet) that had fascinated Bavouzet’s wife and which ‘became totally associated with her, so it had to be in this portrait piece.’ He goes on, ‘My slightly overexuberant character comes through truthfully (she says). To play it is like looking in a mirror, with pleasure and slight disbelief: is it really how I am? Or is it more how others see me? Probably both.’

Mirrors, and musical portraits. And there’s a hidden link: Miroirs is one of Mantovani’s favourite pieces. This might be one of those programs guided as much by the performer’s hedonistic pleasure as by musical statements, in which case we’re in for an inspirational evening.

Adapted from a profile by Yvonne Frindle, Sydney Symphony Orchestra © 2014 See page 15 for the artist’s biography.

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Music for Friends

Pianist Jean-Efflam Bavouzet describes his friend Bruno Mantovani’s music as being like the music of Haydn or Stravinsky: it makes him feel cleverer when listening to it! (Many theatre-goers have the same reaction to Tom Stoppard’s plays.) But, Bavouzet emphasises, ‘it reaches also my heart. I was moved to tears at the premiere of his Concerto for two violas.’ Bavouzet first encountered Mantovani’s music through the piano quintet The Blue Girl with Red Wagon and it remains his most cherished work of the composer’s:

‘In the quintet his use of jazz idioms is one of the most brilliant and inspired I can recall.’

Bruno Mantovani was born in 1974 at Châtillon-sous-Bagneux and studied first at the Paris Conservatory, before completing a master’s degree in musicology at the University of Rouen and courses at Royaumont Abbey and Ircam. Since then, his compositions have been performed in the major concert halls of Europe and North America and he collaborates with leading performers and ensembles, his

projects including violin concertos for Renaud Capuçon and Frank-Peter Zimmermann and orchestral works for Ensemble Modern (Pierre Boulez) and the Leipzig Gewandhaus Orchestra (Riccardo Chailly). In addition to Le Livre de Jeb (commissioned by the Festival Piano aux Jacobins, Toulouse in 2009), he dedicated his Fantaisie for piano and orchestra to Jean-Efflam Bavouzet. Since 2010 he has also been headmaster of the Paris Conservatory.

The title of Le Livre de Jeb (The Book of JEB) is a play on words. It brings to mind Job of the Old Testament but in fact does not refer directly to this mythical figure from the Euphrates region. Rather, it is a portrait of its dedicatee, Jean-Efflam Bavouzet (JEB).

The composer writes…

This wonderful virtuoso and I have long been accomplices both in music and in friendship.…Many features of the music were suggested by characteristics of Jean-Efflam’s playing. His past as a percussionist, notably, turns up the central section, where alternating hands allow complex rhythmic figures to

ABOUT THE MUSIC: MANTOVANI & RAVEL

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emerge. By contrast, his marvellous pearly sound, heard especially in his Debussy playing, made me want to resort several times to high-pitched textures, vivacious and airy.

But Jean-Efflam’s influence on my score is also linked to our friendship and the path we have travelled together for several years now. On the occasion of a concert where he was playing my quintet with piano Blue Girl with Red Wagon, my comrade told me how much he and his wife Andrea loved a chord stated in the first bars of that work. Remembering this strong emotional reaction, I decided to use this chord again at the beginning of Livre de Jeb. This recurring chord has an important function in shaping the work. My musical materials here are by no means abstract – they serve to pay homage to one of the major pianists of our time, and to a faithful and generous friend.

Listening to The Book of JEB…

Jean-Efflam Bavouzet suggests that one way to listen to this fairly complex 14-minute piece is to follow that opening chord in all its different appearances (as a chord, arpeggiated and so on) and its reappearances through the piece.

Ravel’s five-movement suite Miroirs (Mirrors) of 1904–5 was dedicated to five different friends and colleagues

– his intention seems to have been in part to ‘mirror’ aspects of the

dedicatees themselves. The dedicatees were, like Ravel, members of the avant-garde group of artists known as the Apaches, which also included the poet Tristan Klingsor and composers Falla and Stravinsky. Miroirs would soon find a sad pendant in the suite Le Tombeau de Couperin, six movements dedicated to friends who had died in World War I.

‘Noctuelles’ are moths; their flitting back and forth is clear from the beginning although the slower music which soon intervenes does not seem to serve any programmatic purpose. Noctuelles is dedicated to Léon-Paul Fargue (1876–1947) and the title derives from a rather cryptic line of his poetry (‘Les noctuelles d’un hangar partent d’un vol cravater d’autres poutres’ – ‘The moths in a hangar fly off to collar other beams’).

In Oiseaux tristes a lonely birdsong, ringing out from start to finish, is joined by others along the way. Its tristesse springs not so much from the birdsongs themselves as from their musical context, in particular the hypnotically flowing accompaniment. The piece is dedicated to the Catalan pianist Ricardo Viñes, who premiered many important solo works from this period, including Ravel’s Jeux d’eau and Gaspard de la Nuit. Ravel reportedly found it amusing to dedicate to such a pianist ‘a piece that was not in the least “pianistic”’.

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Une barque sur l’océan again allows its composer to display his skill at imitative effects. Depicting a boat on the water by means of arpeggios in the bass under slower music in the treble has a long and distinguished tradition and Ravel does not disappoint, although the transformations to which he subjects his materials soon render programmatic interpretation not only difficult but superfluous. Tristan Klingsor wrote in an obituary of the dedicatee, painter Paul Sordes, that he could have been

‘une sorte de Ravel de la palette’, but also that as a pianist he was capable of sight-reading the most subtle of modern inflections and harmonies.

Alborada del gracioso is dedicated to the writer Michel Dimitri Calvocoressi, who had provided the folk texts for Ravel’s Cinq mélodies populaires grecques. It shows the Spanish influence which was fundamental to Ravel’s music throughout his career, and which was important to many other French composers of the time, although Ravel’s identification with the Basque region of his birth made it in his case a little closer to home. The ‘gracioso’ (clown or jester) of the title begins the work with a virtuosic guitar prelude; his

‘alborada’ (aubade or serenade) takes the form of several recitative-like passages in the tenor register of the keyboard. He does acrobatics as

well, not to mention castanet solos, rendered for the piano in virtuosic repeated notes. The light action of Ravel’s own Érard piano would certainly have facilitated the aspects of technique (not only repeated notes but frequent glissandos as well) which are given pride of place here.

La Vallée des cloches, dedicated to the composer Maurice Delage, offers even more opportunities than Un barque… for imitative music – but again the best of this music begins where the title stops, from the broad melody which emerges from the piano’s middle register through to the unresolved chords with which the work and the cycle end. It seems apt that a cycle whose penultimate movement ends so emphatically, and which calls upon so much imagery and virtuosity, should conclude in such an enigmatic mood

– it is after all what lies beneath the surface that gives Miroirs such a hold on the imagination.

Sydney Symphony Orchestra © 2014

Adapted in part from notes by David Garrett (Beethoven, Op.57); Bruno Mantovani, and Carl Rosman (Ravel)

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ABOUT THE ARTIST

One of the most engaging live performers of his generation, the multi award-winning pianist Jean-Efflam Bavouzet works with conductors such as Pierre Boulez, Andrew Davis, Vladimir Jurowski, and orchestras including London Philharmonic Orchestra, Boston Symphony Orchestra, Deutsches Symphonie-Orchester Berlin, Budapest Festival Orchestra and the Philharmonia Orchestra. An equally active recitalist, Jean-Efflam Bavouzet regularly performs at London's Southbank Centre, Wigmore Hall and the Cheltenham Festival, La Roque d’Anthéron and Cité de la Musique, Brussels' BOZAR and the Forbidden City Concert Hall in Beijing, where he recently received the annual Classical Elites Beijing Instrumental Recital of the Year award for his complete Beethoven sonatas cycle. A former student of Pierre Sancan at the Paris Conservatoire, Bavouzet was invited by Sir George Solti to give his debut with the Orchestre de Paris in 1995 and is widely considered as the Maestro’s last discovery. Renowned for his work on disc, Bavouzet has won Gramophone awards for his recording of concerto works by Debussy and Ravel with the BBC Symphony Orchestra and Yan Pascal Tortelier. Bavouzet was named ‘Artist of the Year’ at the 2012 International Classical Music Awards and is currently the Artistic Director of the Lofoten Piano Festival in Norway.

Jean-Efflam Bavouzet, piano

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INSPIRED GIVING

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Musicians Circle ($2500+) Eva Besen ao & Marc Besen ao Jim Cousins ao & Libby Cousins* Naomi Golvan & George Golvan qc* + Robert & Jan Green* Jenny & Peter Hordern Peter B Murdoch QC* + Sarah & Baillieu Myer ac James Ostroburski Christine Sather Dr Cherilyn Tillman & Mr Tam Vu* Drs Victor & Karen Wayne Global Leadership Foundation*

Prelude Circle ($1000+) Anonymous (5) Adrienne Basser

Graeme & Paulene Blackman Helen Brack Bill & Sandra Burdett Barbara Burge* John & Thelma Castles* Maxine Cooper & Michael Wright Mary Draper Lord Francis Ebury & Lady Suzanne Ebury Maggie Edmond The Late Lorraine Elliott am Penny & Grant Fowler* The Leo & Mina Fink Fund Susan Fallaw* William J Forrest am Dr Jane Gilmour oam* Angela Glover Nance Grant am mbe & Ian Harris Sue Hamilton & Stuart Hamilton ao Kristin & Martin Haskett Judith Hoy Penelope Hughes Prof Andrea Hull ao* Darvell M Hutchinson am Stuart Jennings Michael & Silvia Kantor* Dorothy Karpin Alan Kozica & Wendy Kozica Diana Lempriere* Robert MacFarlane Sally MacIndoe* David Marr & Sebastian Tesoriero Norene Leslie McCormac Maria Mercurio Dr Richard Mills am*

Elizabeth O’Keeffe* + Prof David Penington ac & Mrs Sonay Penington* Helen L Perlen Dr Robert Piaggio Kerryn Pratchett Peter Rose & Christopher Menz Rae Rothfield Samara, Countess of Beekman Meredith Schilling* + Kate & Stephen Shelmerdine Family Foundation Barbara & Duncan Sutherland Elisabeth & Peter Turner Jacqueline Williams & Peter Murnane Sally Webster Peter Weiss ao Igor Zambelli

Supporters ($500+) Anonymous (1) The Hon Mary Delahunty* Vivien and Jacob Fajgenbaum Margaret & Baden Hagger Dr Robert Hetzel* David & Rosemary Houseman George & Grace Kass The Hon Sen Rod Kemp mp & Ms Daniele Kemp* Peter & Barbara Kolliner Ann Lahore Travis Pemberton* Margarita & Paul Schneider Greg Shalit & Miriam Faine Barry & Barbara Shying Anne Stonehouse am John & Myriam Wylie

*Donations directed to the Elisabeth Murdoch Creative Development Fund + Legal Friends of Melbourne Recital Centre List of patrons accurate as of 18 July 2014

Music Circle Patrons Program

Leadership CircleArtist Development Colin Golvan qc & Dr Deborah Golvan The Vizard Foundation

Jenny Anderson Ken Bullen

Jim Cousins ao & Libby CousinsDr Garry Joslin

The Estate of Beverley Shelton & Martin SchönthalMary Vallentine ao

Great Performers Geoff & Jan Phillips Lady Primrose Potter ac Hans & Petra Henkell

Life-long Learning Betty Amsden oam Kathryn Fagg

New Music Naomi Milgrom ao Peter Jopling am qc

Local Heroes Lady Marigold Southey ac Brian & Esther Benjamin Warwick & Paulette Bisley Andrew & Theresa Dyer Dr Garry Joslin & Prof Dimity Reed am Majlis Pty Ltd Jean Hadges Skipp Williamson

Master Class Cathy Lowy & The Late John Price George & Laila Embelton

DesignBrandingDigital

The Late Dame Elisabeth Murdoch ac dbe

Kathryn Fagg, ChairPeter BartlettStephen Carpenter

Des ClarkJoseph CorponiMargaret Farren-Price

Julie KantorEda Ritchie AM

Dr Robert Piaggio Kerryn Pratchett Peter Rose & Christopher Menz Rae Rothfield Samara, Countess of Beekman Kate & Stephen Shelmerdine Family Foundation Barbara & Duncan Sutherland Elisabeth & Peter Turner Jacqueline Williams & Peter Murnane Sally Webster Peter Weiss ao Youth Music Australia Igor Zambelli

Supporters ($500+)Anonymous (2) David Bardas Ingrid Braun The Hon Mary Delahunty Vivien and Jacob Fajgenbaum Margaret & Baden Hagger David & Rosemary Houseman George & Grace Kass Peter & Barbara Kolliner Ann Lahore Kaye Salisbury & Bart Wissink Greg Shalit & Miriam Faine Barry & Barbara Shying John & Myriam Wylie

ENCORE BEQUEST PROGRAMThe Encore Bequest program provides sustained support for all aspects of our core concert program, artist development and accessibility initiatives, through our Public Fund.

Anonymous (2)Betty Amsden aoJenny AndersonBarbara BlackmanKen BullenJim Cousins ao & Libby CousinsDr Garry JoslinThe Estate of Beverley Shelton & Martin SchönthalMary Vallentine ao

ELISABETH MURDOCH CREATIVE DEVELOPMENT FUNDNamed after the Centre’s Founding Patron, this Fund supports projects that make a real difference to young artists

THE SIXTEEN:THE QUEEN OF HEAVEN

Five centuries of sacred choral music, including Allegri’s Miserere

‘Immaculately performed by the group’s 18 members, their dictioncrystal-clear, their intonation faultless.’ The Guardian (UK)

With 30-years of world-wide performance and recording, The Sixteen is recognised as one of the greatest vocal ensembles.

Its reputation for performing masterpieces from Renaissance to the 20th century is highlighted in this concert, The Queen of Heaven,

performing five centuries of sacred music, including Allegri’s Miserere.

THURSDAY 5 MARCH 7.30PMElisabeth Murdoch Hall (One hour & 50-mins incl. interval)Works by Palestrina, MacMillan and Allegri.

The SixteenHarry Christophers, conductor

Premium $105 A reserve $95 ($85 concession) B reserve $79 ($69 concession) C reserve $55

To book melbournerecital.com.au/sixteenP 9699 3333Transaction fees may apply

‘ This amazing young artist looks like giving the viola’s profile a definite boost.’

T H E T E L E G R A P H ( U K )

‘The sound of the Bavouzet fingers is distinctive. It is searching, penetrating, imaginatively fired, and endlessly curious in its exploration of any composer’s unique sound palette and language.’ T H E T I M E S ( U K )

T H E W O R L D ’ S B E S T

B A R O Q U E E N S E M B L E

VISIT: melbournerecital.com.au OR CALL: 03 9699 3333