2026 Concert Series: Power, Passion & Politics
“Music is a moral law. It gives a soul to the universe, wings to the mind, flight to the imagination, a charm to sadness, and life to everything.” Plato, The Republic, 375BC
Throughout history, music has absorbed, dazzled and entertained us. We swoon at its beauty, laugh at its humour and dance to its rhythms. It can also reflect darker emotions of grief and rage.
Such creativity is informed by cultural identity, dramatic events, stories and emotion. Captivated by music’s expressive possibilities, 17th and 18th century composers experimented with new musical styles and techniques. However, they quickly found their creative freedom curtailed by Royalty and Religion that often valued permission over passion.
Join us in 2026 as we explore this dichotomy and the ways in which power, passion and politics stimulated or silenced the profoundly beautiful music of the baroque period.
Concert 1: Concord of Sweet Sounds
The man that hath no music in himself, / Nor is not moved with concord of sweet sounds, / Is fit for treasons, stratagems, and spoils; / The motions of his spirit are dull as night, / And his affections dark as Erebus. / Let no such man be trusted.
William Shakespeare: The Merchant of Venice (c1596)
Shakespeare captures the magical and theatrical elements of melody, with music complementing prose in many of his plays. Our concert journeys through the Baroque period to discover the power, passion and pathos of music, building on the Bard’s inspiration that we should be “moved with concord of sweet sounds”.
Program:
Christopher Tye – In Nomine Crye
Georg Philipp Telemann – Ouverture-Suite in D minor TWV 55:d3
Giuseppe Valentini – Concerto in A minor, Op. 7 No. 11
Cristoforo Caresana – La Tarantella
Johann David Heinichen – Concerto à 8 in C major
Anonymous – Greensleeves
Georg Philipp Telemann – Concerto in D Major TWV40:202
Anonymous Chacona
Nicola Fiorenza – Concerto in F minor
Musicians:
Anna Stegmann, Sally Melhuish, Alana Blackburn and Alicia Crossley, Recorders; John Ma, Sarah Papadopoulos, Jared Adams, Baroque Violin; Brad Tham, Baroque Viola; Tim Blomfield, Baroque Cello; Jude Hill, Baroque Double Bass; George Wills, Theorbo, Baroque Guitar; Monika Kornel, Harpsichord
Canberra: Friday 30 January, 7.30pm Wesley Church, Forrest
Sydney: Sunday 1 February, 3.00pm Barnet Long Room, Customs House
Concert 2: Invitation to the Dance
“Music and dance are all you need.” Molière: Le bourgeois gentilhomme (1670)
Dance and diplomacy were inseparable at Louis XIV’s opulent palace in Versailles. Every aspect of the palace was designed to reinforce the King’s absolute authority, and Louis protected his political power through pageantry. In appointing the Italian-born musician, composer and dancer Jean-Baptiste Lully as Master of the King’s Music, Louis chose a political manipulator whose ruthlessness matched his own. Their control over music, dance and opera was enforced by complex social etiquette, with failure to conform being devastating to ambition – ensuring that the arts had the single purpose of glorifying the King and France.
Musicians:
Aimee Brown, Baroque Dance
Sally Melhuish, Recorder
Alana Blackburn, Recorder
Sally Walker, Baroque Flute
Jane Downer, Baroque Oboe
John Ma, Baroque Violin
Jared Adams, Baroque Violin
Brad Tham, Baroque Viola
Tim Blomfield, Bass Violin
George Wills, Theorbo / Baroque Guitar
Will Naayen, Percussion
Monika Kornel, Harpsichord
Program:
Jean-Fery Rebel Les caracteres de la danse
Christoph Graupner Le Desire
Christoph Graupner Uccellino; Polonaise
Philipp Heinrich Erlebach Trio Sonata No.2 in E minor
Georg Philipp Telemann Ouverture-Suite in B-Flat Major
Henry Purcell Dances from The Fairy Queen
James Oswald The Marvel of Peru
Jean-Baptiste Lully Dances
Johan Helmich Roman Golovinmusiken, BeRI 1
Anonymous Fa nye mama
Canberra : Friday, 24 April, 7.30pm Wesley Church, Forrest
Sydney: Sunday 26 April, 3.00pm Verbrugghen Hall, Conservatorium of Music
Concert 3: Bohemian Rhapsody
“If the Bohemians had the advantages enjoyed by the Italians they would surpass them. They are perhaps the most musical race in all Europe”. Charles Burney (1773)
The celebrations for the crowning of Charles VI as King of Bohemia in Prague in 1723 included an opera performance by 200 musicians and 100 voices. “History does not furnish a more glorious event for music”, Burney boldly asserted. Despite lacking the wealth of neighbouring countries, Bohemia benefited from generous patrons who capitalised on the region’s excellent education system in which music was a core subject, resulting in an exceptionally musically cultured society where creativity flourished.
Musicians:
Sally Melhuish, Recorder
Alana Blackburn, Recorder
Rachael Beesley, Baroque Violin
Julia Russoniello, Baroque Violin
Marianne Yeomans, Baroque Viola
Brad Tham, Baroque Viola
Tim Blomfield, Baroque Cello
Jude Hill, Baroque Double Bass
George Wills, Theorbo/ Baroque Guitar
Monika Kornel, Harpsichord
Program:
Heinrich Ignaz Franz von Biber – Sonata I in B minor
Antonio Vivaldi – Largo from Concerto in D major RV 93
Antonio Vivaldi – Allegro from Concerto in D minor, RV535
Jan Dismas Zelenka – Hipocondrie à 7 concertanti, ZWV 187
Antonio Bertali – [Passacaglia] from Sonata a 4 in D minor
Johann Joseph Fux – Ouverture-Suite in G minor Op. 1 No. 4
Antonio Caldara – Sinfonia No.12 in A minor
Johann Heinrich Schmelzer – Sonata à 5 in D minor
Johann Caspar Ferdinand Fischer – Ouverture-Suite in G minor Op.1, No.7
František Jiránek – Grave from Concerto in D minor for Violin
Jan Josef Ignác Brentner – Capriccio; Trio from Concertus in F major Op. IV No. V
Canberra: Friday, 12 June, 7.30pm Wesley Church, Forrest
Sydney: Sunday 14 June, 3.00pm Verbrugghen Hall, Conservatorium of Music
Concert 4: Charms in Musick
“If there are Charms in Musick in general, all the reasonable World agrees, that the Vocal has the Pre-eminence, both from Nature and Art above the Instrumental.” JE Galliard (1743)
Ancient Greek theatre inspired a gathering of musicians, poets and intellectuals in Florence in the late 16th century to create the dramatic new musical form of Opera, incorporating music, poetry, theatre and visual arts. It was both a culmination of composition for voice over centuries and a starting point for what evolved during the baroque period and beyond of exceptional compositions showcasing the magnificence of the voice, affirming Aristotle’s (c350 BC) belief in the voice being an instrument with a soul.
Canberra: Friday, 13 November, 7.30pm Wesley Church, Forrest
Sydney: Sunday 15 November, 3.00pm Verbrugghen Hall, Conservatorium of Music
Performers:
Anna Fraser, Soprano
Sally Melhuish, Recorder
Alana Blackburn, Recorder
Jane Downer, Baroque Oboe
Stephen Freeman, Baroque Violin
Julia Russoniello, Baroque Violin
Brad Tham, Baroque Viola
Tim Blomfield, Baroque Cello
Jude Hill, Baroque Double Bass
Monika Kornel, Harpsichord
Program:
Georg Frideric Handel – Air Guardian Angels, Oh Protect me (1757)
Johann Friedrich Fasch – Orchestral Suite in G Minor FWV K:g 2 (c1740)
Barbara Strozzi – Aria Che si può fare Op. 8 No. 6 (1664)
John Dowland – Shall I strive with words to move from A Pilgrim’s Solace (1612)
John Dowland – Fine knacks for ladies from Second Booke of Songes (1600)
Christoph Graupner – Ouverture-Suite in E minor GWV 442 (c1735)
Giovanni Battista Pergolesi – Aria Lieto Così Talvolta (1734)
Georg Philipp Telemann – Concerto in A minor TWV 53:a1 (c1721)
Christoph Graupner – Aria Seufzt und weint, ihr matten Augen (1711)
Mateo Flecha – from El fuego (c1550?)
