ACCOMMODATION BAR RESTAURANT EVENTS VENUE BEETHOVEN’S PASTORAL The Old Woolstore Apartment Hotel Friday 2 June 7.30pm Federation Concert Hall PROUD PARTNER OF THE Hobart MASTER 5

Johannes Debus conductor BEETHOVEN Daniel Müller-Schott cello Symphony No 6, Pastoral DEAN Awakening of pleasant feelings upon Pastoral Symphony arriving in the country (Allegro ma non troppo) Duration 17 mins Scene at the brook (Andante molto mosso) SCHUMANN Cello Concerto Peasants’ merrymaking (Allegro) – Nicht zu schnell (Not too fast) – The storm (Allegro) – Langsam (Slowly) – Shepherds’ hymn of joy and thanksgiving after the storm (Allegretto) Sehr lebhaft (Very lively) Duration 39 mins Duration 26 mins This concert will end at approximately INTERVAL 9.30pm. Duration 20 mins

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3 Brett Dean (born 1961)

Pastoral Symphony The composer writes: Australian composer and violist Brett Dean When I moved back to Australia after over studied in Brisbane before moving to 15 years in Germany, I was acutely aware of Germany in 1984 where was a permanent the incredible source of joy and beauty, not member of the Berlin Philharmonic to mention the resources for a composer, Johannes Debus Daniel Müller-Schott Orchestra for 14 years. He returned to that were to be found just by opening Australia in 2000. the windows and listening. Definitely no surprises on my part to read of Messiaen’s He began composing in 1988 and is now Music Director of the Canadian Opera Daniel Müller-Schott has been a guest utter fascination with the Antipodes and to one of the most internationally performed find kookaburras and magpies popping up Company (COC), Johannes Debus artist with orchestras such as the Boston composers of his generation. His music plentifully in his scores. graduated from the Hamburg Conservatoire Symphony, Berlin Philharmonic, London has been championed by conductors before being engaged as répétiteur and, Philharmonic, Gewandhaus Orchestra such as Sir Simon Rattle, Marin Alsop, But in wishing to celebrate this wonderful abundance of treasures in the present subsequently, kapellmeister by Frankfurt Leipzig, NHK Orchestra Tokyo and the Daniel Harding, Andris Nelsons, David Cleveland and Philadelphia orchestras; Robertson and Simone Young. His clarinet day, I for one find it increasingly difficult Opera. In the 2015-2016 season, Johannes to separate my love of the sounds of the and under conductors such as Lorin Maazel, concerto, Ariel’s Music (1995), won an Debus made his debuts with the San natural world from an immense and growing Alan Gilbert, Kurt Masur, Charles Dutoit award from the UNESCO International Diego Symphony and the Komische Oper, Rostrum of Composers; Winter Songs sense of loss. Consider our relentless and and Bernard Haitink. Chamber music respectless rampaging through the world’s Berlin (The Marriage of Figaro), returned won the Paul Lowin Song Cycle Prize in partners include Nicolas Angelich, Renaud forests and wilderness areas, all in the name to Frankfurt Opera for The Cunning Little 2001; and the violin concerto, The Lost Capuçon, Lauma and Baiba Skride, Simon of more shopping, freeways, carparks and Art of Letter Writing, won the Grawemeyer Vixen and to the Cleveland Orchestra’s ˇ convenience. These issues are sadly a part Trpceski and the Ebène Quartet. He has Award in 2009. Dean’s first opera, Bliss, Blossom Festival. He has recently conducted of daily life in Australia. Sure, we all “love” appeared at festivals such as London’s was commissioned by Opera Australia and the COC in Götterdämmerung and, nature, but what we love more are all the Proms, Schleswig-Holstein and in the US given its world première in Sydney in 2010, trappings of modern living...certainly more on the concert platform, the Baltimore at Tanglewood, Ravinia and the Hollywood with further performances in Melbourne Symphony Orchestra. At home as well in than the desire to stop and bask in the Bowl. Daniel Müller-Schott has a special and at the Edinburgh International Festival. glory of a single butcherbird, perhaps the contemporary music, he has collaborated interest in extending the cello repertoire. The Hamburg State Opera also mounted most magical sound found on the whole with internationally-acclaimed ensembles He has premièred concertos of André a production of Bliss in 2010. His most Australian continent. This piece, then, is such as Ensemble Intercontemporain and Previn and Peter Ruzicka. Olli Mustonen’s recent opera, Hamlet, will be premièred at about glorious birdsong, the threat that it Ensemble Modern. As a guest conductor, Sonata for Cello and Piano was premièred Glyndebourne in June this year. faces, the loss, and the soulless noise that he has appeared at several international by the performer and the composer Brett Dean has been Artist in Residence we’re left with when they’re all gone. festivals such as Bregenz, Paris’ Festival in the Laeiszhalle in Hamburg. Recent with the Melbourne Symphony Orchestra Pastoral Symphony was commissioned by and Composer in Residence at the d’Automne, the Suntory Summer Festival, performance highlights have included a the City of Frankfurt am Main for Ensemble Grafenegg Festival in Austria. Dramatis and Spoleto. In 2010 Johannes Debus chamber concert at New York’s Alice Tully Modern, which gave the first performance Hall, the Shostakovich Concerto No 1 in Personae, his trumpet concerto, was with conductor Stefan Asbury at Radio was invited to replace James Levine in a written for Håkan Hardenberger and Tenerife, the Schumann concerto with the France in Paris on 9 February 2001. performance of Mozart’s The Abduction from commissioned by the Grafenegg Festival, Saarland State Orchestra, Saarbrücken and Brett Dean © 2000 the Seraglio at Tanglewood with the Boston Leipzig Gewandhaus Orchestra, and the Nicholas Milton and with the Orchestra Symphony Orchestra and was subsequently Danish National and City of Birmingham della Svizzera Italiana, and a solo recital This is the first performance of this work by the invited to replace Sir Colin Davis in works symphony orchestras. The Last Days of Tasmanian Symphony Orchestra. in Taipei. Daniel Müller-Schott has an Socrates, a large-scale choral-orchestral by Mozart and Haydn in four subscription extensive award-winning discography. work, was premièred by the Berlin concerts marking his Symphony Hall debut. His recent release Duo Sessions with Philharmonic and Berlin Rundfunkchor in He made his debut with the Cleveland Julia Fischer showcases literature rarely 2013. The Tasmanian Symphony Orchestra Orchestra at the Blossom Music Festival in represented – duos for violin and cello. has released a CD of Brett Dean’s music, 2012 and with the Toronto Symphony in Daniel Müller-Schott plays the “Ex Shapiro” Testament, as part of its Australian Music January 2013 as well as making his debut Matteo Goffriller cello, made in Venice Series on ABC Classics. with the Philharmonia in London. in 1727.

4 5 Robert Schumann (1810-1856) Ludwig van Beethoven (1770-1827)

Cello Concerto in A minor, Op 129 may first attend to the warmth and scope Symphony No 6 in F, Op 68 Pastoral symphony, he subtitled it “Recollections of Nicht zu schnell (Not too fast) – of the musical ideas. The triplets in the first Awakening of pleasant feelings upon country life”, and also devised descriptive titles for each movement, though he warned Langsam (Slowly) – movement are the only early concessions arriving in the country (Allegro ma non to virtuosity. troppo) that these were more indications of feeling Sehr lebhaft (Very lively) Scene at the brook (Andante molto mosso) than scene painting. There is no orchestral introduction as was The fluency and spontaneous grace of this customary in the Classical concerto – just Peasants’ merrymaking (Allegro) – The composer’s “Awakening of pleasant feelings upon arriving in the country” is work could be thought to reflect the single four bars of material which introduces a The storm (Allegro) – span of inspiration in which Schumann Shepherds’ hymn of joy and thanksgiving immediately audible in the refreshingly sweeping opening melody in the cello. simple opening tune with its rustic composed it. The work was composed by The cello goes on for some time in its after the storm (Allegretto) the 40-year-old, newly arrived in Düsseldorf bagpipe-like drone (on violas and cellos) as attractive tenor register, until a more In October 1808, Beethoven was offered accompaniment. But apart from being more from Dresden, in the space of 15 days – vigorous orchestral passage takes over. 3,400 florins a year to leave Vienna and move relaxed and expansive than the openings of from 10 to 24 October 1850. Then a secondary, slightly more chromatic to Kassel, in Germany, to become musical the Third or Fifth Symphonies, the movement Although trained as a pianist, Schumann and more rhythmically pointed melody director to Napoleon’s brother, Jerome, follows the traditional symphonic pattern, briefly studied the cello and this concerto is heard, before triplets are introduced newly created “King of Westphalia”. Though as well as fulfilling Beethoven’s pictorial he had no intention of going, he let it be is evidence that his time on the instrument in the codetta, taking the listener almost intentions. known that he was seriously considering imperceptibly into the development paid off. As his wife, Clara, confided in the offer. Then he set out to demonstrate Likewise, the “Scene at the brook” is a her diary (16 November 1850): “Last section, a passage notable for pert, how indispensable he was to Vienna and its formally conventional slow movement – at month [Robert] composed a concerto for light scoring for the orchestra and long, musical life by arranging a pre-Christmas least until the coda, with its unaccompanied violoncello…It appears to be written in flowing responses in the solo cello. concert, on 22 December, that included two bird calls (marked as such in the score): a flute the true violoncello style.” As always Clara A recollection of the opening melody in yet unperformed symphonies, the Fifth and as nightingale, oboe as quail, and clarinet as was Schumann’s most perceptive critic and more languorous mood, in the remote key the recently completely Sixth. As a bargaining cuckoo. For the rest of the work, Beethoven keenest admirer, and she added in her of F-sharp minor, marks the furthest point tool, the concert – his last at the financially does modify conventional symphonic layout, with three more movements (instead of two), diary, a year later: of the development, before a return to troubled Theater an der Wien – perhaps but run together without a break. the material of the opening section, now fell short of making the perfect impression. I have played Robert’s Violoncello slightly varied. It was very long, also including the Fourth “Peasants’ merrymaking” is the obvious Concerto again and thus procured for Piano Concerto, bits of the Mass in C, and, pretext for a scherzo. The dancing is brought myself a truly musical and happy hour. A gradual retarding of the coda leads to to give the chorus something else to do, the to a stop, literally, by “The storm” for which The romantic quality, the flight, the the slow movement, where traditionally the purpose-composed Choral Fantasy as a last- Beethoven introduces a piccolo and a pair freshness and the humour, and also soloist plays in duet with the leader of the minute addition. As usual, the orchestra was of trombones, instruments then still more under-rehearsed, and Beethoven’s own piano the highly interesting interweaving of orchestral cellos. It is only 34 bars long, but usually used for opera and other staged rises to a glorious climax with the cello in playing was, by this time, often erratic, due spectacles than in concert symphonies. cello and orchestra are, indeed, wholly to his failing hearing. Nevertheless, his ploy They add a suitably portentous colouring. ravishing, and what euphony and what its tenor register. An accelerating coloratura seems to have worked. Three of his most Finally, the storm passes as the shepherds deep sentiment are in all the melodic leads to the last movement. Here the cello long-suffering supporters, Archduke Rudolph sing their “Hymn of thanksgiving”. passages. takes on a more playful character, while and Princes Kinsky and Lobkowitz, clubbed remaining essentially melodic. together to pay him an annuity of 4,000 Beethoven himself also said: “Anyone who One could forgive Clara for being partisan, florins on condition he stay in Vienna. Abridged from a note by G K Williams, has an idea of life in the country can divine but in this case, her summary is quite apt. for himself the composer’s intentions without For once, Schumann’s habitually over- Symphony Australia © 1997 Perhaps, in a different way, the Sixth Symphony was another positive attempt on a lot of titles.” But it was precisely because painted orchestration is under control. of the genial titles – and the simple story The cello is exploited for its eloquent tenor The Tasmanian Symphony Orchestra first Beethoven’s part to come to terms with the dissatisfactions of his life in urban Vienna. they plot – that this accessible symphony tone, and the work has a wonderful lyricism. performed this work with conductor Tibor Paul and soloist Rohan de Saram in Hobart on 19 June 1968 What better panacea than an escape to the remained his most generally popular well into the recording era, and until as late as Schumann the musical poet is evident in the and, most recently, with Otto Tausk and Sue-Ellen country? The idea of a symphony depicting Paulsen in Hobart and Launceston on 11 and 12 country life had been forming in his mind the Second World War, when it was finally way each movement is linked to the next to October 2013. overtaken by the Fifth. allow for a continuity of thought unlikely to since as early as 1803, while working on the Third Symphony, when he sketched a be broken by applause, and in the eschewal Graeme Skinner © 2014 version of the quirky dance at the centre of of virtuosity for its own sake. “I cannot write the “Peasants’ merrymaking”, and a short a concerto for the virtuosos,” Schumann The Tasmanian Symphony Orchestra first passage ultimately for the second movement performed this work with conductor Joseph had commented early in his career. that he marked “the murmuring of the Post in Hobart and Launceston on 18 and The cadenza is in fact shifted from the first brook” (“the larger the stream the deeper 23 September 1952 and, most recently, with movement to the last, so that an audience the note”). His only full-scale “program” Marc Taddei in Hobart on 21 April 2012.

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