ABOUT THE MUSIC OHLSSON PLAYS BRAHMS /In concert NOVEMBER/DECEMBER 2012

OHLSSON PLAYS BRAHMS 23–26 NOVEMBER BRAHMS QUINTET 27 NOVEMBER EARS WIDE OPEN: INTRODUCING MOZART’S SYMPHONY NO.40 28 NOVEMBER IAN BOSTRIDGE SINGS MOZART AND SCHUBERT 6–8 December

MEET YOUR MSO MUSICIANS: CRAIG HILL AND ANDREW MOON

GARRICK OHLSSON ON BRAHMS A SCHUBERT TIMELINE ANNOUNCING THE BESEN FAMILY CHAIR

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Davis, a musician of tremendous There are of course many skill and panache. The opportunities for us to explore has recently moved back into its in the coming months and years; main performance home, the first and foremost, we need to newly refurbished Hamer Hall; it continue to find new ways to has a large, loyal base of subscriber engage new audiences of all ages support from the communities of while continuing to serve our Melbourne and Geelong, a new dedicated supporters. website, a new integrated database to Of course, our passion for the ensure improved customer service, music will not change, nor our an ever-growing Education and dedication to developing great Community Outreach program and © lucas dawson Australian talent, and our steadfast a fine Chorus. All of this in one of commitment to serving people of the world’s most liveable cities...how Until very recently, I was President all ages in Melbourne and Victoria. could I not be attracted to the MSO? and CEO of the New Jersey All of these remain constant, at Symphony Orchestra, an Orchestra Integral to the Orchestra’s recent every venue in which we perform. success is a ‘can do’ approach that of which I am very proud. My I look forward to seeing you at has led to the success of events family and I have come to forthcoming MSO events, and as diverse as the ‘pop up’ Secret Melbourne because, as Benjamin wish you all the best for the Symphony performances, the Northey said in his introduction festive season. to the previous issue of In Concert, Romeo and Juliet concerts with Bell ‘this is a truly a special time in the Shakespeare and the attendant With thanks for your support and history of the MSO.’ Romeo & Juliet project which patronage. involved young artists from all over You can imagine my first impression: Melbourne, and the massive screen here is a fine orchestra, with an and symphony events – Lord of the international reputation, which has Rings: The Fellowship of the Ring and just appointed a wonderful new André Gremillet West Side Story – which represent a Chief Conductor in Sir Andrew Managing Director new form of concert presentation.

THE MSO Welcomes the Emirates A380

Following a plethora of Airbus A380 route additions to the Emirates Airline network in 2012, Melbourne welcomes the arrival of the daily Emirates A380 service from Dubai and onto Auckland, further demonstrating its commitment to market and allowing local travellers more opportunities to fly the state-of-the-art aircraft. The new Emirates A380 service allows travellers to experience the aircraft for the first time on short haul flights across the Tasman to Auckland, as well as enjoy a seamless A380 experience from Auckland/ Melbourne to Dubai, and onwards to 18 Emirates A380 destinations, including Heathrow, , Manchester, Paris, and Rome, allowing everyone from Melbourne the opportunity to access the best international music on the largest European airline network. In 2013 Emirates will celebrate ten years as Principal Partner of the Melbourne Symphony Orchestra. To find out more about Emirates, the A380 and the MSO, visit the Principal Partner page at mso.com.au. 3 ABOUT THE artists THEIAN BOSTRIDGEORCHESTRA SINGS MOZART AND SCHUBERT on ws a s d a c u © L

THE MELBOURNE SYMPHONY ORCHESTRA

Harold Mitchell AC The MSO performs extensively Each year the Orchestra performs Chairman with its own choir, the Melbourne to more than 200,000 people, at Symphony Orchestra Chorus, events ranging from the Sidney André Gremillet directed by chorus master Myer Free Concerts in the Sidney Managing Director Jonathan Grieves-Smith. Recent Myer Music Bowl to the series of Sir performances together include Classic Kids concerts for young Chief Conductor Designate Walton’s Belshazzar’s Feast under children. The MSO reaches Tadaaki Otaka Bramwell Tovey, Mahler’s an even larger audience across Principal Guest Conductor Symphony No. 3 under Markus through its regular Stenz, music of Percy Grainger concert broadcasts on ABC Classic under Sir Andrew Davis and, FM. The Orchestra’s considerable Patricia Riordan Associate as part of the 2011 Beethoven ceremonial role in Victoria has Conductor Chair Festival, Beethoven’s Ninth included participation in the Symphony under Douglas Boyd. opening ceremony of the 2006 Commonwealth Games, in the Key musical figures in the With a reputation for excellence, 2009 bushfire memorial service Orchestra’s history include versatility and innovation, Together for Victoria, the Prime – who was Chief the internationally acclaimed Minister’s Olympic Dinner and the Conductor and then Conductor Melbourne Symphony Orchestra 2010 and 2011 AFL Grand Final. is Australia’s oldest orchestra, Laureate, between 1974 and his established in 1906. death in 2006 – and , The MSO’s extensive education who was Chief Conductor and and community outreach activities This fine Orchestra is renowned Artistic Director from 1998 until include the Meet the Orchestra, for its performances of the 2004. was the MSO’s Meet the Music and Up Close great symphonic masterworks Chief Conductor and Artistic and Musical programs, designed with leading international and Director from 2005 to 2009. In specifically for schools. In 2011 Australian artists including Maxim June 2012 the MSO announced the the MSO launched an educational Vengerov, John Williams, Osmo appointment of Sir Andrew Davis iPhone and iPad app designed to Vänskä, Charles Dutoit, Yan Pascal as Chief Conductor, from the teach children about the inner Tortelier, Donald Runnicles, Jean- 2013 season. workings of an orchestra. Yves Thibaudet, , Edo de Waart, Lang Lang, Nigel The MSO, the first Australian The Melbourne Symphony Orchestra is Kennedy, Jeffrey Tate, Midori, symphony orchestra to tour funded principally by the Australian Christine Brewer, , abroad, has received widespread Government through the Australia Emma Matthews and Teddy Tahu international recognition in tours Council, its arts funding and advisory Rhodes. It has also enjoyed hugely to the USA, Canada, , Korea, body, and is generously supported by successful performances with Europe, China and St Petersburg, the Victorian Government through Arts such artists as Sir Elton John, John Russia. In addition, the , Department of Premier and Farnham, Harry Connick, Jr., Ben tours annually throughout Cabinet. The MSO is also funded by Folds, KISS, Burt Bacharach, The regional Victoria, including a the City of Melbourne, its Principal Whitlams, Human Nature, Sting concert season in Geelong. Partner, Emirates, and individual and and Tim Minchin. corporate sponsors and donors.

4 conTents

The Sponsors 2 program Welcome – André Gremillet 3 INFORMATION

Concert guides Melbourne Symphony Orchestra programs can be read on-line or Ohlsson Plays Brahms 6 downloaded up to a week before Brahms Quintet 17 each concert, from mso.com.au Ears Wide Open: Mozart 40 26 If you do not need this printed program after your concert, we Ian Bostridge Sings Mozart and Schubert 34 encourage you to return it to a member of staff.

Garrick Ohlsson on Brahms 8 Meet Your MSO musician: Craig Hill 14 The Besen Family Chair 16 The Orchestra 22 The Donors 23 Meet Your MSO musician: Andrew Moon 32 A Schubert Timeline 38

Cover image: The Orchestra in the new Hamer Hall

melbourne symphony orchestra presents

brIng a pIcnIc! wednesday 13 saturday 16 wednesday 20 saturday 23 february all concerts start at 7pm gates open from 4pm mso.com.au conditions of entry & all other information available online

In assocIatIon wIth the

5 Friday 23 November at 8pm Costa Hall, Deakin University, Geelong Saturday 24 November at 2pm Monday 26 November at 6.30pm Arts Centre Melbourne, Hamer Hall

Tadaaki Otaka conductor Garrick Ohlsson

Brahms Piano Concerto No.2 INTERVAL 20 MINUTES Strauss Don Juan Strauss Death and Transfiguration Mr. Ohlsson will be signing CDs during the interval

This concert has a duration of approximately two hours, including one interval of 20 minutes. Saturday afternoon’s performance will be recorded for later broadcast around Australia on ABC Classic FM (on analogue and digital radio), and streamed on its website. Please turn off your mobile phone and all other electronic devices before the performance commences.

BEYOND THE STAGE Learn more about the music in these free events.

OHLSSON PLAYS BRAHMS TALK Friday 23 November at 7pm Costa Hall, Deakin University, Geelong Saturday 24 November at 1pm Monday 26 November after 8.30pm (post-concert event) Stalls Foyer, Hamer Hall Writer and arts administrator Robert Murray will present a talk on the concert’s artists, and the works by Brahms and featured in the program.

6 ABOUT THE artists OHLSSON PLAYS BRAHMS

Tadaaki Otaka conductor Garrick Ohlsson piano Tadaaki Otaka has been Principal Guest Conductor Since his triumph at the 1970 Chopin International of the Melbourne Symphony Orchestra since 2010, Piano Competition, Garrick Ohlsson has established when he also became Artistic Director of the New himself worldwide as a musician of magisterial National Theatre in Tokyo. interpretive and technical prowess. Although he has long been regarded as one of the world’s leading His wide-ranging activities include concert, , exponents of the music of Chopin, he commands an radio and television, and premieres of works by such enormous repertoire which ranges over the entire as Teizo Matsumura, Toru Takemitsu and piano literature and includes more than 80 concertos. Akira Miyoshi. In recent seasons his schedule has featured programs He made his debut in 1971 with the NHK Symphony celebrating the bicentenary celebrations of the births Orchestra and was Permanent Conductor of of Chopin and Liszt, including all-Chopin programs the Tokyo Philharmonic for 20 years, becoming at the Ravinia and Tanglewood Festivals. This its Conductor Laureate in 1991. He is Principal culminated in the release of the documentary The Art Conductor of the Sapporo Symphony, with which he of Chopin, in which he appeared. has been associated for many years, and also of the Kioi Sinfonietta, which he founded in 1995. In 1987 Engagements in 2012 have included Busoni’s rarely he was made Music Director of the BBC National performed Piano Concerto with the European Orchestra of Wales, and became their Conductor Union Youth Orchestra and Gianandrea Noseda at Laureate in 1996. His extensive guest has the Edinburgh Festival. Later in the season he will included many visits to Australia, Asia, Europe and perform concerts with the Cleveland Orchestra, North America, and he is a well-known figure in the Chicago Symphony, and the Boston Symphony at UK through his work with the BBC NOW, his many Carnegie Hall. Proms appearances, and his engagements with most His Grammy-winning discography includes the of the major British . complete Beethoven Sonatas and a 16-disc set of the In August 2012 he conducted Belshazzar’s Feast with complete works of Chopin. Recent releases include the BBC National Orchestra of Wales at the BBC Rachmaninov’s Piano Concerto No.3 with the Atlanta Proms. Forthcoming engagements include visits to the Symphony and Robert Spano, the complete Brahms Brussels Philharmonic, Tokyo Philharmonic, Sapporo Variations for Solo Piano, and Granados’ Goyescas. Symphony, Orchestre National d’Île-de-France and A disc of the piano music of Charles Griffes will be the NHK Symphony. released later this year. Tadaaki Otaka is a recipient of the Suntory Medal, A student of Claudio Arrau, Garrick Ohlsson studied the Elgar Medal, and an honorary Fellowship from at the Westchester Conservatory of Music and The the Royal Welsh College of Music and Drama. He Juilliard School. His Gold Medal win at the Chopin was awarded the CBE in 1997 in recognition of his Competition launched his international career, and contribution to music in the UK. he has since made almost a dozen tours of Poland. He was awarded the Avery Fisher Prize in 1994. His recording of Rachmaninov’s Symphony No.2 and Dvorˇák’s Symphony No.9 From the New World, with the MSO, are available through ABC Classics.

7 ABOUT THE MUSIC OHLSSON PLAYS BRAHMS

WHAT IS ‘DIFFICULT’?

the greatest examples of this fully realized collaboration between soloist and orchestra, and contain some of the most sublime inspirations of their creators. For me, the Beethoven 4th and the Brahms D minor are the most emotionally cathartic of all piano Garrick ohlsson and orchestra works, compelling because of the way they traverse taught pianist, a circumstance a path from darkness to light – that may account for some of tragedy to triumph. The Brahms the awkward and widely spaced concerti are notably difficult textures of his piano writing. His and virtuosic works, offering the ear, however, was infallible; the soloist an heroic task, one which pianist who might at first find almost guarantees audience certain textures and sonorities A sketch of Brahms at the piano acclaim. Nevertheless, there’s thick or intimidating must learn to a degree of unfairness in what trust Brahms’ ear over his own. As he surveys Brahms’ Brahms demands, because his Brahms was my first favourite piano works with the MSO most difficult passages invariably when I was 11 or 12. this month, Garrick Ohlsson don’t sound difficult. In more (I have quite a few favourites ponders the special blatantly virtuosic concerti by now, of course.) I was drawn every difficult passage sounds challenges of this music. to his warmth, melodic depth spectacular, so that listeners are and beauty, and his romantic I believe that if you ask virtually awed by sheer noise and thunder. turbulence. For me, there’s an any concert pianist “What are Brahms couldn’t have cared less unremitting emotional honesty in the most gratifying concerti you for effects like this. In the trio everything he writes, a quality that play?” the two by Brahms will be of the second movement of the makes his music deeply satisfying right up there in an exalted group Second Concerto, for example, the to play. with Beethoven 4 and a number of orchestra announces a triumphant Mozart concerti. theme in the major. The piano Guest musicians Why these particular pieces? answers with a 15-second variation Rebecca Adler Jacqueline Edwards violin Generally speaking, the concerto in the minor, full of pianissimo octaves and double notes, all to be Zoe Freisberg violin literature offers two approaches to Francesca Hiew violin writing for soloist and orchestra. played transparently and delicately. Jenny Khafagi violin The proper reward for a skilful Kate Sullivan violin One is the virtuoso concerto, which Merewyn Bramble allows the soloist to show off his execution of this passage should Sophie Kesoglidis viola Simon Oswell viola skills splendidly, while the other be a standing, screaming ovation, similar to the acclaim a great Rosia Pasteur viola is a more symphonic or chamber- Alister Barker music-like approach, which gets by hitting a high C fortissimo. Catherine Turnbull viola Nevertheless, the moment comes Molly Kadarauch cello emphasizes the interplay between Anna Pokorny cello soloist and orchestral forces. The and goes and even your colleagues Emma Sullivan double Esther Wright double bass second type does not preclude great in the orchestra don’t realize that those 15 seconds have absorbed Ann Blackburn virtuosity, but makes musical and Geoffrey Dodd cor anglais emotional content the principal almost as much of your practice Matthew Ockenden* guest principal bassoon time as the remaining 50 minutes Jenna Breen horn aim. Technical improvements in Ben Jacks# guest principal horn the development of and of the concerto. Alex Hurst tuba Yinuo Mui harp orchestras in the 19th century Brahms’ solo writing employs the enlarged the scope for colouristic full resources of the keyboard to * Courtesy of Australian Opera and dramatic interaction. The and Ballet Orchestra 8 suggest orchestral sonorities. He works I mention here are among was a splendid but partially self- # Courtesy of Symphony ABOUT THE MUSIC OHLSSON PLAYS BRAHMS

Brahms wrote the bulk of his more toward reflection, nostalgia Second Piano Concerto while on and lyricism. But the two concertos Johannes Brahms holiday in Italy in 1878 and 1881. are united by their ‘symphonic’ (1833–1897) While there is nothing essentially conception and the undeniable Piano Concerto No.2 in B flat, ‘Italian’ about this concerto, there mastery of their piano writing and Op.83 is no doubt that when Brahms orchestration, not to mention the I Allegro non troppo returned to with the sheer force of their musical impact. completed score, he was still very II Allegro appassionato Given the failure of the First III Andante much in holiday humour. To Piano Concerto at its premiere IV Allegretto grazioso – Elisabeth von Herzogenberg he 20 years earlier, Brahms might Un poco più presto talked of ‘a little piano concerto have felt some trepidation in Garrick Ohlsson piano with a teeny-weeny wisp of a writing a second. But by the time scherzo’. To the public at large he he turned his attention to it he presented the work as it truly was: had finally conquered the two an immense, quasi-symphonic, major instrumental forms which four-movement concerto filled had always given him the most with massive chords and wide trouble: the string quartet and stretches in the piano part and an the symphony. With the Violin orchestration filled with richness Concerto and German also and variety. behind him, it was time to revisit The contrasts between this work the piano concerto genre. Indeed and the First Piano Concerto could the Second Piano Concerto seems not be stronger. The earlier work to employ the style of these other began with a lengthy orchestral forms at times. While the four- ritornello, whereas here the soloist movement form without cadenzas Elisabeth von Herzogenberg. Brahms was great friends with begins in the second bar; the is clearly symphonic, the scherzo her and her husband, the D minor was impassioned and is actually based on a movement composer Heinrich. youthful, while the B flat tends intended originally for the Violin

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9 ABOUT THE MUSIC OHLSSON PLAYS BRAHMS

he retained his characteristic self- the slow movement, where a solo doubt. Shortly before publication, cello introduces one of Brahms’ he wrote to his publisher, Simrock, most sublime melodies. The soloist suggesting that the scherzo be enters in an improvisatory style, dropped. It wasn’t. In fact, that leading into a passionate middle scherzo in D minor is the only section, where tremolo figures on movement not in the tonic key the strings accompany virtuoso – Brahms called the key of B trills and fanfares on the piano. flat ‘this udder which has always Towards the recapitulation, the yielded good milk before’, in key of F sharp is established as the reference to its employment in his melody takes wide leaps, before Op.18 Sextet and Op.67 Quartet. the original key returns and the cello and piano lead the movement The expansive first movement into a final duet. Throughout this begins romantically with a horn Andante, the textures are intimate, call reminiscent of that in Weber’s almost like , Oberon Overture. The piano enters and the soloist and orchestra immediately, embroidering the participate as equal partners. melody and soon indulging in the Brahms, aged 40 closest thing to a cadenza to be The mood lightens in the final found in the concerto. From here rondo, where the spirit of Mozart is an orchestral tutti introduces the invoked. The tripping Hungarian- main thematic material. Rather style tune sets the prevailing mood, than restating the main themes, then in quick succession new the piano enters into a free, ideas emerge: a more restrained organically-developing dialogue melody on woodwinds and then with the orchestra, often becoming strings, a stately theme for piano impassioned and occasionally followed by , and a cheeky visiting distant keys like B minor. one for piano with pizzicato There is a particularly elaborate strings. There are no Conductor Hans von Bülow preparation for the recapitulation and drums in this movement, and with one of the main themes being the soloist is left to shine through Concerto. And the instrumental played by the orchestra while the some extraordinarily difficult and textures sometimes have a piano weaves arpeggio figures surprisingly elaborate passages, chamber music feel to them, with around it: one of the more majestic even, at the transition to the coda. ideas tossed back and forth in an moments in a memorable opening But nothing can hold back the intimate manner between soloist movement. sway of the gypsy dance rhythms and orchestra. and the music drives on to its As self-deprecating as ever, emphatic conclusion. The Second Piano Concerto was Brahms described the first written at the time when Brahms movement as ‘innocuous’, Abridged from an annotation by was forming an association with which is why, he said, he took Martin Buzacott Hans von Bülow, who conducted the bold step of inserting the Symphony Australia © 2001 the Meiningen Court Orchestra. fieryAllegro appassionato as The Melbourne Symphony Orchestra first Doubting his orchestra’s ability to the second movement. Here do the work justice, Bülow asked performed Brahms’ Second Piano Concerto the drama is increased still in September 1945 with Malcolm Sargent Brahms to come to Meiningen to further in a D minor movement and soloist Hephzibah Menuhin, and rehearse it. The public premiere, originally intended for the Violin most recently in November 2009 with Leif with Brahms himself as soloist, Concerto, but also bearing some Segerstam and . occurred in Budapest in November resemblance to the equivalent 1881, with further performances movement in the Op.11 Serenade. soon afterwards in Stuttgart and The ‘trio’ of the movement is in D INTERVAL 20 minutes Meiningen. major, featuring sotto voce octaves Mr Ohlsson will be signing CDs The concerto was dedicated to in the piano, and in typical during the interval. Eduard Marxsen, Brahms’ ‘dear Brahmsian fashion it serves more friend and teacher’ – as if to as a development section than a indicate that only now did Brahms simple contrasting episode. feel confident enough to honour The tonic key of B flat is re- 10 his revered mentor. But even then established at the beginning of ABOUT THE MUSIC OHLSSON PLAYS BRAHMS

In 1888 Strauss began to sketch Fleeting doubts and wisps of dark some ideas for what was to themes begin to creep in, held at Richard Strauss become, in the following year, his bay by a recapitulation of the main (1864–1949) first major international success. themes and the perennial sense of Don Juan – Taking the Lisztian notion of the action bursting forth. Strauss was Symphonic Poem, Op.20 symphonic poem as his guide, a master of the ‘glory finish’. In while still adhering reasonably Death and Transfiguration, the dying closely to traditional sonata form, protagonist is conveyed through a In Nikolaus Lenau’s incomplete Strauss set out to ‘dramatise’ series of violent orchestral spasms drama Don Juan (1884), the through music the various stages followed by several strokes on eponymous anti-hero sets out to of Don Juan’s career. the gong. In Don Juan, the duel experience the love of women builds through a big orchestral The Don starts out with an in the most comprehensive way crescendo; the sword through extroverted main theme played possible. A variety of seduced and the gizzard is conveyed in a long- by the , striding out to seductive women then proceed held pianissimo chord, pierced dominate all that crosses its path. across Lenau’s stage, but as the suddenly by a shriek, and The second theme, announced posse of spurned lovers, enraged a few dying whimpers. fathers and illegitimate children by the four horns in unison, begins to prove bothersome, also makes it clear that it won’t The 25-year-old Strauss conducted even downright dangerous, the take ‘no’ for an answer. Three the premiere, on 11 November Don begins to tire of the chase. much more submissive episodes 1889. It was a huge success, Challenged to a duel, he is on the emerge, with demure flutters on despite the initial reticence of verge of subduing his adversary, the glockenspiel, an ecstatic yet an orchestra who had never but becomes fatigued by the somehow innocent violin solo, encountered such technical prospect of yet another victory. So and some coy little interjections difficulties in their parts before. he throws away his sword and his on the representing the Several of the wind players pleaded opponent runs him through. token protestations of the various for mercy during rehearsals, mistresses. The central episode but they soon recognised that The young Richard Strauss, like features the oboe melody for which Strauss’ orchestration actually Mozart, found the subject matter of Don Juan has become famous, and demonstrated a phenomenal the insatiable Don irresistible. But the Spanish tinge to the tune is understanding of the instruments whereas Mozart’s Don is a rogue perhaps the only occasion in the – as one would expect from the son aristocrat hell-bent on the quest entire symphonic poem Strauss of a leading horn player. for pleasure until the Stone Guest makes an unequivocal allusion to Adapted from an annotation by arrives to take him away, Lenau’s the protagonist’s nationality. Don is a philosopher in search of Martin Buzacott an ideal of feminine beauty, and in Symphony Australia © 2001 this quest he is doomed to failure The MSO first performed Strauss’ Don and disappointment. Juan on 2 April 1941, with conductor Georg Schnéevoigt, and most recently in April 2006 with Markus Stenz.

Errol Flynn in 1948 John Barrymore in 1926 11 Two cinematic Don Juans ABOUT THE MUSIC OHLSSON PLAYS BRAHMS

when his fortunes as a conductor towards a defiant, disjointed took a turn for the better – he was fortissimo theme which stands Richard Strauss appointed to Weimar by Liszt’s as a first subject. A restless (1864–1949) successor, Edward Lassen. Here downward rolling theme acts as Tod und Verklärung he was given the entire syllabus second subject. (Death and Transfiguration) – of German opera to conduct. The timpani recall the opening’s Symphonic Poem, Op.24 More importantly, the Weimar syncopations before the music management was willing to beats itself out in exhaustion. premiere the 24-year-old’s first major pieces. In a last desperate gesture, we hear the work’s most important It has been said that Death and theme, representing the artist’s Transfiguration, which represents ‘ideals’, with its resolute upbeat and ‘the dying hours of a man who vaulting octave leap built up from had striven towards the highest the traditional hunting call of the idealistic aims, maybe indeed horn. A series of tableaux represents those of an artist…’, follows the different phases of his life, from Lisztian precepts of program innocent childhood to dashing music more than any other of youth to heated lover. The themes Strauss’ tone poems. The dying are derived from those already man’s sporadic pulse is suggested established, suggesting that the man by a rhythm which seems derived is embryonic in the child. The ‘love’ from the Prelude to Act II of theme soars higher and higher until Wagner’s Götterdämmerung. the and timpani hammer Sighs are graphically portrayed out the opening’s syncopations, as by the strings. Soon there is a if the memory of passion causes modulation. Several themes are terrible heart palpitations. now presented, one on the flute Strauss’ first tone poems date from answered by oboe and , Now the dying man passes beyond the years when he was struggling and, in particular, an oboe melody memories of his earlier years to the to gain a foothold as a conductor. accompanied by harp arpeggios, origin of his ideals. Strauss’ scheme Don Juan occupied his attention which is soon taken up by solo was to repeat the ‘ideals’ theme until late in the summer of 1888, violin. Suddenly the music (and three times, each time getting by which time he put it in a drawer presumably the disease) take a richer and more complex, as if to to keep company with Macbeth, more violent turn – an allegro suggest the development of the which had been his first effort in of more symphonic character dying man’s vision. Another violent the genre. He then began a third reveals the preceding music to outburst suggests his last spasms, piece, Death and Transfiguration, have been the equivalent of a slow and then several strokes on the gong and the work was all but complete introduction. The music builds – extremely effective orchestration – mark the countdown to doom.

HUMAN NATURE THIS IS CHRISTMAS An evening of Christmas, Motown & more, as Human Nature and the MSO return to Hamer Hall for a special yuletide treat 22 December at 7pm and 23 December at 2pm at Proudly suPPorted by Arts Centre Melbourne, Hamer Hall BOOK NOW 1300 182 183 or visit artscentremelbourne.com.au or mso.com.au 12 ABOUT THE MUSIC OHLSSON PLAYS BRAHMS

Quietly, from the depths of the Strauss was in his mid-20s when Adapted from a note by orchestra a statement of the he wrote this work and had not Gordon Williams ‘ideals’ theme begins and builds experienced even serious illness. Symphony Australia © 2001 to a tremendous climax, but On his death bed the octogenarian The Melbourne Symphony Orchestra first the music drains away to strains composer said it was just as he had performed Strauss’ Death and Transfiguration familiar from the opening. The imagined it in Tod und Verklärung. on 23 August 1941 under conductor Edgar final ‘transfiguration’ dwells with Of course, he was only referring to Bainton, and most recently at a 2008 Sidney great beauty on the ‘ideals’ theme. the first part of the experience. Myer Free Concert with Alexander Shelley.

Tadaaki Otaka – a tribute by Huw Humphreys, The MSO’s Director of Artistic Planning

These concerts of music by Brahms and Richard Strauss mark the final performances of Tadaaki Otaka’s tenure as Principal Guest Conductor of the Melbourne Symphony Orchestra. Maestro Otaka, or “Chu” as he is known to his colleagues at the MSO, has been a guiding and reassuring figure on the podium for the past three seasons while we have searched for our new Chief Conductor, and he has directed some of the most memorable concerts during this time. For example, no-one present will forget his interpretation of Benjamin Britten’s War Requiem, about which Michael Shmith in The Age reported: ‘The performance was dedicated to the memory of . He would have been proud of every moment.’ Similarly, the performances of Rachmaninov’s Symphony No.2 that Maestro Otaka directed, with which the MSO began its two-year residency at Melbourne Town Hall, were so superlative we decided to release a recording on the MSO Live series, through ABC Classics; a London reviewer noted of the disc that Tadaaki Otaka has ‘all the sense of Rachmaninov’s drama and sweep...the final coda is a total winner; awe-inspiringly powerful, and a totally rousing finish; the clapping is deserved. The Melbourne Symphony is clearly a very fine orchestra.’ We are delighted that Maestro Otaka, and his charming wife Yukiko, will be returning to Melbourne in June next year for performances of Rachmaninov’s Piano Concerto No.4 and Elgar’s Symphony No.2. Arigatou Gozaimasu Chu-san.

Tadaaki Otaka with the Melbourne Symphony Orchestra 476 4598

on ABC Classics 476 4842

Dvořák: ‘New World’ Symphony Rachmaninoff: Symphony No. 2 Available at ABC Shops, Dvořák’s ‘New World’ Symphony speaks of the Tadaaki Otaka’s ‘vibrant and penetrating ABC Centres and ‘big sky’ of America, but even more of the Czech account’ of this lush, Romantic symphony good music stores. composer’s longing for his native land. Tadaaki reaches to the work’s emotional heart in a For more information visit Otaka’s richly detailed interpretation brings out performance full of deep Russian melancholy www.abcclassics.com the music’s lyrical beauty. and poignant lyricism. 13 MEET YOUR MSO MUSICIAN

Craig Hill has been a member of the Melbourne Symphony Orchestra’s Clarinet section since 1991. Craig grew up in Wagga Wagga and completed his formative studies with Phillip Miechel at the Victorian College of the Arts, where he was a recipient of a German Academic Exchange scholarship that saw him complete further studies with Dieter Kloecker at the Freiburg Musikhochschule in 1991. As a specialist on period clarinets, Craig has appeared at festivals throughout Australia, the United States and Denmark in repertoire spanning from Vivaldi to Brahms. He has performed regularly as guest principal clarinet with the Australian Chamber Orchestra, the Orchestra of the Antipodes and the Australian Brandenburg Orchestra, with whom he has frequently appeared as soloist. In April 2009 he directed a mini-festival of period instrument chamber music, Concertino Copenhagen, which brought together musicians from Australia and Europe for concerts at the newly opened Melbourne Recital Centre.

Craig Hill

14 MEET YOUR MSO MUSICIAN

My earliest musical memory is... The composer’s music I most enjoy playing in the Listening to The Seekers on my parents’ record player. MSO is... Beethoven, Strauss, Ravel and Mahler: What is your greatest performance experience so far? Beethoven for the power and respect the MSO brings Playing Mozart’s at the Royal to the music, Strauss because it shows the virtuosity Theatre in Copenhagen in 2004 and 2007. This of our players, Ravel for the delicacy of the woodwind opera has wonderful obbligato solos for the basset section and Mahler… because of everything! clarinet and basset horn. Together with the period Where in Victoria do you most like to perform? orchestra Concerto Copenhagen I took part in more Melbourne Recital Centre, Northcote Town Hall and than 20 performances under the direction of Lars Trinity Chapel. Ulrik Mortensen. In the magnificent acoustic of this historical theatre, with excellent singers and inspired direction, the effect of Mozart’s music was sublime. At the end of the opera I was invited to accept the applause of the whole company and audience. Close 2nd: Schubert Octet at the Melbourne Recital Centre with Concerto Copenhagen. A group of players on the same wavelength made this often difficult work an effortless experience.

THE ROMEO & JULIET PROJECT: A Tale of Words and Music

The Romeo & Juliet Project was a creative compositional and educational initiative of the Melbourne Symphony Orchestra, devised to generate meaningful new relationships with young Melbourne-based artists aged 15 to 25 years, and their schools and communities. The project involved an exploration of the ongoing influence in music, text and theatre of one of the iconic works of Western culture. It ran for four weeks throughout the month of October and resulted in two dynamic performances on 1 and 2 November in the foyer space at Hamer Hall. Thirty-five high school students from Footscray City College and Huntingtower School, and ten members of one of Melbourne’s most exciting young urban ensembles, the Massive Hip Hop Choir, participated in the project, which was led by Berlin-based Australian composer Catherine Milliken, German vocalist Michael Schiefel and a team of MSO musicians. A key aim of the project was to create a link You can read more about The Romeo & Juliet Project to our core season programming, and offer these young by visiting mso.com.au/education/the-romeo-and- artists access to an all-star team of guest musicians and juliet-project/, where you’ll find posts, photos and the Orchestra as a whole. All participants were given videos which document the creative journey. access to an MSO concert and the MSO’s general rehearsal of the main-stage Romeo and Juliet production with Bell Shakespeare. For more information on the MSO’s Education programs, please phone 03 9626 1198 or email [email protected] 15 Marc and Eva Besen International Guest Chair

Marc and Eva Besen International Guest Chair

The MSO is proud to announce the Marc and Eva Besen International Guest Chair in recognition of a generous pledge by Marc Besen AO and Eva Besen AO, which will support appearances by internationally eminent conductors and performers to work with the MSO and Melbourne audiences in the seasons 2013, 2014 and 2015. The new Chair was announced at a special reception with the Orchestra’s key supporters, who also observed Maestro Otaka’s rehearsal of Durufle’s Requiem with the MSO and MSO Chorus on Wednesday 14 November. “Bringing great artists to Melbourne is a hallmark of the Melbourne Symphony Orchestra, from the era of Sir Thomas Beecham and Artur Schnabel up to the present day. Mr and Mrs Besen’s decision to get involved in this exciting aspect of our work will help us continue to present the finest artists of our time to MSO audiences,” said Managing Director André Gremillet. “The Orchestra is competing in an international marketplace for leading soloists and guest conductors, and the involvement of Mr and Mrs Besen will be of tremendous assistance to us.” The 2013 Marc and Eva Besen International Guest Chair will be held by German violinist Christian Tetzlaff. Tetzlaff, whose international career MARC AND EVA BESEN now takes in more than 100 performances a year, is a welcome and regular visitor to Melbourne, always exciting audiences with the intensity and virtuosity of his playing. He appears in December 2013 to perform Mendelssohn’s Violin Concerto with Czech conductor Jakub Hru˚ ša. In responding to the announcement, Mr Besen commented: “We feel a deep commitment to the tradition of the MSO and we were delighted

zz i © G iorgia B erta with its proposal that we be associated with bringing artists of Christian Tetzlaff’s stature here.” With its return to performance in Hamer Hall, arguably the finest concert hall in Australasia, the MSO is uniquely placed to draw artists and audiences together in a passionate new experience of orchestral music, exploring symphonic works with outstanding guest artists. Private donor support is critical, and the MSO Artist Chair, together with the Patron program, offers a unique way for exceptional supporters to forge a deeper connection with the MSO. Current Chair Leadership, in recognition of outstanding support, includes the Harold Mitchell AC Concertmaster Chair and the Elisabeth Murdoch Principal Clarinet Chair, the Joy Selby Smith Orchestral Leadership Chair, Patricia Riordan CHRISTIAN TETZLAFF Associate Conductor Chair, and the MSO Friends Chair. Inquiries: Cameron Mowat, MSO Director of Development T (03) 9626 1246

16 Tuesday 27 November at 7.30pm Elisabeth Murdoch Hall, Melbourne Recital Centre

Garrick Ohlsson piano Wilma Smith, Matthew Tomkins violin Christopher Cartlidge viola David Berlin cello

Brahms Two Rhapsodies Brahms Variations and Fugue on a Theme of Handel INTERVAL 20 MINUTES Brahms Piano Quintet

This performance has a duration of approximately two hours, including one interval of 20 minutes. Tonight’s performance will be recorded for later broadcast around Australia on ABC Classic FM (on analogue and digital radio), and streamed on its website. Please turn off your mobile phone and all other electronic devices before the performance commences.

Classic kids! conductor and presenter Young imaginations will be inspired as they sing along with members of Victorian Opera and the MSO. Take a journey through song led by much-loved conductor Richard Gill. CONCERT DATES: November: Wednesday 28 at 1pm Thursday 29 at 10am, 11.15am and 1pm with Singers From Victorian For Friday 30 at 10am, 11.15am and 1pm Opera and Music Director ages 3–7 Richard Gill. December: Saturday 1 at 10am, 11.30am, 1.30pm and 3pm Iwaki Auditorium, ABC Southbank $18 Adults, $12 Children, $50 Family (2 Adults and 2 Children) BOOK NOW at mso.com.au or 1300 723 038 17 ABOUT THE ArtMUSiICsts BRAHMS QUINTET

Garrick Ohlsson piano Wilma Smith violin Since his triumph at the 1970 Chopin International Wilma Smith holds the Harold Mitchell AC Piano Competition, Garrick Ohlsson has established Concertmaster Chair of the Melbourne Symphony himself worldwide as a musician of magisterial Orchestra and has been the Orchestra’s interpretive and technical prowess. Although he has Concertmaster since 2003. For nine years before long been regarded as one of the world’s leading that, she held the same position in the New exponents of the music of Chopin, he commands an Zealand Symphony Orchestra. Born in Fiji, she enormous repertoire which ranges over the entire grew up in New Zealand and studied in Boston with piano literature and includes more than 80 concertos. Dorothy DeLay. She was first violinist of the Lydian String Quartet, prizewinners at Evian, Banff and In recent seasons his schedule has featured programs Portsmouth International Competitions and winners celebrating the bicentenary celebrations of the births of the Naumburg Award for Chamber Music. of Chopin and Liszt, including all-Chopin programs Wilma played regularly with the Boston Symphony at the Ravinia and Tanglewood Festivals. This Orchestra and was also Concertmaster of the Handel culminated in the release of the documentary The Art and Haydn Society, the Harvard Chamber Orchestra of Chopin, in which he appeared. and period instrument orchestra, Banchetto Engagements in 2012 have included Busoni’s rarely Musicale. On invitation, she returned to NZ to found performed Piano Concerto with the European the NZ String Quartet, working with them for five Union Youth Orchestra and Gianandrea Noseda at years which included concert tours of New Zealand, the Edinburgh Festival. Later in the season he will Australia and America. perform concerts with the Cleveland Orchestra, Since moving to Melbourne, Wilma has continued Chicago Symphony, and the Boston Symphony at a busy chamber music life in Australia and New Carnegie Hall. Zealand. Highlights have included performing with His Grammy-winning discography includes the the Munro/Smith/Berlin Trio, Steven Isserlis and complete Beethoven Sonatas and a 16-disc set of the Melvyn Tan, Ensemble Liaison, the Hopkins Quartet complete works of Chopin. Recent releases include and duos with pianists and Michael Rachmaninov’s Piano Concerto No.3 with the Atlanta Houstoun. In 2012 she started her own chamber Symphony and Robert Spano, the complete Brahms music series, Wilma and Friends, at the Melbourne Variations for Solo Piano, and Granados’ Goyescas. Recital Centre Salon. Her appearances as soloist A disc of the piano music of Charles Griffes will be with the MSO include Vaughan Williams’ The Lark released later this year. Ascending, conducted by Sir Andrew Davis, in 2011. A student of Claudio Arrau, Garrick Ohlsson studied at the Westchester Conservatory of Music and The Juilliard School. His Gold Medal win at the Chopin Competition launched his international career, and he has since made almost a dozen tours of Poland. He was awarded the Avery Fisher Prize in 1994.

18 ABABOOUTU TTHE THE Art MUiSstsIC BRAHMSBRAHMS QUINTET QUINTET

Matthew Tomkins violin Chris Cartlidge viola David Berlin cello Matthew Tomkins joined the Chris Cartlidge is the MSO’s David Berlin studied the cello Melbourne Symphony Orchestra Principal Viola, having joined with Lois Simpson at the Sydney in 2000 and in 2010 was appointed the Orchestra in 2011. Chris Conservatorium and with to the position of Principal began playing the violin at the Channing Robbins at the Juilliard Second Violin. age of seven, having played the School of Music in New York. piano for a year. Going on to He is well known to Australian For over 20 years David has study at the Conservatorium of audiences as a member of been at the forefront of music Music High School, he changed the Flinders Quartet, one of performance in Australia, as for Viola at age 14 to study with Australia’s premier chamber Principal Cello of both the Roger Benedict. Originally music ensembles. The quartet has Symphony Orchestra from Sydney, in 2008 Chris was performed at festivals including (1985 to 1988) and the Melbourne awarded a scholarship to study the Melbourne International Arts Symphony Orchestra (since at the Conservatorium of Music Festival, Bangalow, Port Fairy, 1989). He has made numerous in with Josephine St Castlemaine, Tyalgum, Ballarat appearances as soloist with these Leon where he was placed on Goldfields, Camden Haven, and other Australian orchestras the Dean’s Roll of Excellence Macedon and Woodend festivals, and has been invited to play and was awarded the University and has made many live recordings guest Principal Cello with the of Tasmania Directors Prize. In and broadcasts for ABC Classic Sydney and Tasmanian Symphony 2010 Chris was the violist in the FM and 3MBS-FM. They have also orchestras, Australian Chamber Australian Chamber Orchestra performed in Canada, Switzerland, Orchestra, Orchestra Ensemble Emerging Artists program, a Sweden and the UK. Matthew Kanazawa and the World full scholarship holder at the is also a core player with the Philharmonic Orchestra. Australian National Academy of Melbourne Chamber Orchestra. Music and joined the Australian David has collaborated with He has tutored regularly for the Youth Orchestra as Principal many of Australia’s leading Australian Youth Orchestra, and Viola for its European Tour. Chris musicians, including Michael teaches chamber music and violin is also a core member of the Kieran Harvey, Slava Grigoryan, at the University of Melbourne. Melbourne Chamber Orchestra Ian Munro, Len Vorster, Brett and enjoys a busy musical life Dean and both the Goldner and in Melbourne. Australian String Quartets. He has appeared in numerous festivals, and in chamber music projects has toured to Japan, Taiwan and New Zealand. David plays on a cello made by Ivan Zgradic in Sherman Oaks, California in 1982.

19 ABOUT THE MUSIC BRAHMS QUINTET

Brahms composed the Two Rhapsodies Op.79 while Johannes Brahms summering at Pörtschach in 1879, (1833–1897) at the height of his career. They Two Rhapsodies, Op.79 (1879) are dedicated to Elisabeth von Herzogenberg, a friend and former Rhapsody No.1 in B minor Rhapsody No.2 in G minor student he admired greatly, who advised him on naming the works: Annotations by ‘The title Rhapsodies is probably Anna Goldsworthy the most suitable after all, even though the concise form of the Brahms once confessed that the pieces appears almost to contradict piano was the instrument for the meaning of the word rhapsodic.’ The young Brahms which he felt most comfortable Indeed, the formal perfection the opening. The middle section composing. Despite such of these works sets them aside in B major offers more sustained a preference, and his own from the baggy, quasi-fantasia respite, operating with an intense credentials as virtuoso pianist, his rhapsodies that preceded them. nostalgia, or perhaps as a dream output for the instrument is not At the same time, they dispense sequence. After such escapism, the huge. After three early sonatas, he with a key element of classical original theme returns with an even turned to variation form, creating style – exposition – beginning greater violence. several masterworks for the instead with tonal ambiguity, ‘in genre, including the monumental a spirit of development rather The second Rhapsody is Variations on a Theme by Handel. than exposition’, according to better known and, despite its Late the following decade, he musicologist Donald Tovey. The considerable challenges, has been produced the Klavierstücke Op.76 result in each case is a feeling of embraced by many an amateur and the Two Rhapsodies Op.79. harmonic turbulence right from pianist. It develops in sonata form, It was another 13 years before he the opening: a sense that the but its precedents are Baroque composed the four late sets of listener is eavesdropping upon a as much as Classical, both in the piano pieces, in which the heroic pre-existing emotional state. density of its polyphonism, and impulse contracts to something in its reinterpretation of moto The first Rhapsody unfolds in more intimate: a type of chamber perpetuo, which here takes the rondo sonata form in the key of B music, perhaps, for solo piano. The form of quaver triplets, less as minor. A heroic opening section three works heard today date from reassurance than as an expression gives way to a D minor section midway along that continuum, of restlessness. and marry Romantic brilliance to of great yearning, but Brahms © 2012 Classical rigour. indulges this sentiment only briefly, before returning to the drama of

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BOOK NOW (03) 9929 9600 or visit mso.com.au 20 ABOUT THE MUSIC BRAHMS QUINTET

Brahms composed this work In his approach to variation at the age of 28, in September form, Brahms maintains a deep Johannes Brahms 1861, dedicating it to his ‘beloved fidelity to the character of his (1833–1897) friend’, Clara Schumann. Clara’s theme, even as he transforms it. Variations and Fugue on a husband, the composer Robert, He is less interested in melodic Theme by Handel, Op.24 (1861) had died five years previously, embellishment than in the and Brahms had become an structures of the bass-line and indispensable part of her life. harmony: ‘It is almost only Clara admired these variations the bass that has any meaning enormously, and threw herself for me,’ he wrote. Different into their preparation before their commentators have advanced premiere in Hamburg in 1861. contradictory theories as to the Although they were well received, natural groupings of the 25 she was dismayed by Brahms’ variations, some claiming they response to her performance, fall into two clusters, others four, writing in her diary: but it is up to the pianist to imbue the performance with their own I was in agonies of nervousness, but sense of architecture. Certainly I played them well all the same, and the Largamente Variation 13 stands they were much applauded. Johannes, as a sturdy centrepiece for the set; however, hurt me very much by his around it, the variations ebb and indifference. He declared that he could flow as waves. The mighty fugue no longer bear to hear the variations, that concludes the work reveals it was altogether too dreadful for him Clara Schumann, after her how thoroughly Brahms had husband’s death, in 1857 to listen to anything of his own and to absorbed the lessons of both Bach have to sit by and do nothing. Although and Beethoven, transforming them The American music critic James I can well understand this feeling, I with the dark burnish of his own Huneker described Brahms as cannot help finding it hard when one Romantic style. ‘the greatest contrapuntist after has devoted all one’s powers to a work, Bach, the greatest architectonist and the composer himself has not a © 2012 after Beethoven’. Such aptitudes kind word for it. Annotations continued on page 24 served the variationist well, and Brahms later admitted to a certain in his works for the genre Brahms fondness for this work, which played takes his place alongside these a significant part in establishing his INTERVAL 20 minutes two earlier masters. By Brahms’ reputation as a composer. time, the variation form had been degraded by travelling virtuosos, Brahms was fascinated by the who used it exclusively for the music of the Baroque and purposes of technical display. ‘I Renaissance, and was a collector sometimes ponder on variation of earlier editions, including form, and it seems to me that the 1733 first edition of the it ought to be more restrained, Handel Harpsichord Suite from purer,’ Brahms confessed, and which he took this theme. As a in his Variations on a Theme of preparatory exercise, Brahms Handel his artistic aspirations are immersed himself in Baroque clear: the great summits of Bach’s form, making a number of small, Goldberg Variations, or Beethoven’s private excursions into Baroque Diabelli Variations. dance movements, Preludes and Fugues, and canons. And indeed Baroque forms permeate the work, alongside a dense contrapuntalism that culminates in the final, glorious fugue.

21 melbourne symphony orchestra and management

MELBOURNE SYMPHONY ORCHESTRA Sir Andrew Davis Chief Conductor Designate Tadaaki Otaka Principal Guest Conductor Benjamin Northey Patricia Riordan Associate Conductor Chair

FIRST VIOLINS SECOND VIOLINS BASS CLARINET TROMBONES Wilma Smith Matthew Tomkins David Berlin Prudence Davis Jon Craven Brett Kelly Harold Mitchell AC Principal Principal Principal Principal Principal Concertmaster Chair Robert Macindoe Nicholas Bochner Wendy Clarke Kenneth McClimont Roy Theaker Associate Principal Assistant Principal Associate Principal BASSOONS Associate Principal Associate Concertmaster Monica Curro Miranda Brockman Sarah Beggs Elise Millman Michael Bertoncello Katherine Lukey Assistant Principal Rohan de Korte Associate Principal Principal Mary Allison Sharon Draper PICCOLO Natasha Thomas BASS Peter Edwards Isin Cakmakcioglu Keith Johnson Andrew Macleod Eric Klay Assistant Principal Cong Gu Sarah Morse Principal contraBASSOON Principal Andrew Hall Angela Sargeant Kirsty Bremner Rachel Homburg Michelle Wood Brock Imison MSO Friends Chair Christine Johnson Principal TUBA Sarah Curro David Shafir DOUBLE BASSES Jeffrey Crellin Tim Buzbee Lerida Delbridge Isy Wasserman Steve Reeves Principal HORNS Principal Peter Fellin Philippa West Principal Geoff Lierse Goodall Patrick Wong Vicki Philipson Associate Principal Lorraine Hook Roger Young Andrew Moon Associate Principal TIMPANI Kirstin Kenny Associate Principal Saul Lewis Christine Turpin Ji Won Kim Principal 3rd Principal COR ANGLAIS Eleanor Mancini Sylvia Hosking Trinette McClimont Anne Martonyi Christopher Cartlidge Assistant Principal Michael Pisani Principal Rachel Silver PERCUSSION Mark Mogilevski Principal Damien Eckersley Robert Clarke Michelle Ruffolo Fiona Sargeant Benjamin Hanlon Principal Kathryn Taylor Associate Principal Suzanne Lee CLARINETS TRUMPETS Stephen Newton Geoffrey Payne John Arcaro Trevor Jones David Thomas Principal Robert Cossom Assistant Principal Elisabeth Murdoch Principal Clarinet Shane Hooton Lauren Brigden Chair Associate Principal HARP Katharine Brockman Simon Collins Philip Arkinstall William Evans Julie Raines Gabrielle Halloran Associate Principal Julie Payne Principal Cindy Watkin Craig Hill Justin Williams Caleb Wright

MANAGEMENT

Board Business Artistic Operations Marketing Box Office Harold Mitchell AC Wayne Box Huw Humphreys Lou Oppenheim Merri Hagan Claire Hayes Chairman Chief Financial Officer Director, Director of Operations Director of Marketing Box Office Manager Artistic Planning Dr Bronte Adams Raelene King Angela Chilcott Megan Sloley Paul Clutterbuck Peter Biggs Personnel Manager Andrew Pogson Assistant Orchestra Marketing Manager Senior Subscriptions Hon. Alan Assistant Artistic Manager Officer Kaanji Skandakumar Phillip Sametz Goldberg AO QC Administrator Accountant James Poole Communications Scott Campbell Ann Peacock Anna Melville Production Coordinator Manager Subscriptions Officer Jennifer Kanis Nathalia Andries Artistic Coordinator Alastair McKean Finance Officer Kerstin Schulenburg Alison Macqueen Michael Ullmer Bronwyn Lobb Artist Liaison Publicist Development Dale Bradbury Kee Wong Education Manager Project Manager – Alastair McKean Simon Wilson Cameron Mowat Tessitura Jonathan Orchestra Librarian Interactive Marketing Director of Development Company Grieves-Smith Manager Kathryn O’Brien Jessica Frean Secretary Chorus Master Assistant Librarian Nina Dubecki Philanthropy Manager Oliver Carton Helena Balazs Front of House Michael Stevens Arturs Ezergailis Chorus Coordinator Supervisor Operations Assistant Development Officer Executive Lucy Bardoel Jennifer Poller Rosemary Shaw André Gremillet Education Assistant Marketing Coordinator Development Managing Director Lara Polley Coordinator Julia Bryndzia Assistant Marketing Executive Assistant Coordinator Eileen Nesbitt CRM Coordinator Stella Barber 22 Consultant Historian the donors

The Company proudly acknowledges the support of our ARTIST CHAIR BENEFACTORS Harold Mitchell AC Concertmaster Chair benefactors, patrons and bequestors, trusts, foundations and Patricia Riordan Associate Conductor Chair sponsors in helping to realise our vision to be recognised as Elisabeth Murdoch Principal Clarinet Chair Joy Selby Smith Orchestral Leadership Chair Australia’s leading symphony orchestra. Thank you! MSO Friends Chair

MSO EDUCATION AND OUTREACH PATRON Mrs Elizabeth Chernov

IMPRESARIO PATRONS MAESTRO PATRONS TRUSTS AND FOUNDATIONS M P Chipman Andrew and Theresa Dyer Pratt Foundation John McKay and Lois McKay Tim and Lyn Edward The Ian Potter Foundation Bevelly and Harold Mitchell AC Rachel and Hon. Alan Goldberg AO QC Cybec Foundation Dame Elisabeth Murdoch AC, DBE Tom Jacob Erica Foundation Inés Scotland Ilma Kelson Music Foundation The Alan (AGL) Shaw Endowment, Mimie MacLaren managed by Perpetual Onbass Foundation Scanlon Foundation Elizabeth Proust AO The Schapper Family Foundation The Ullmer Family Endowment Ivor Ronald Evans Foundation, as Lyn Williams AM administered by Mr Russell Brown and Anonymous (3) Equity Trustees The Phyllis Connor Memorial Trust, as administered by Equity Trustees Limited

PRINCIPAL PATRONS Bert and Ila Vanrenen George H Golvan QC, Dr Marged Goode, Christine and Mark Armour The Hon. Michael Watt QC and Cecilie Hall Jean Hadges, Stuart and Sue Hamilton, Kaye and David Birks Barbara and Donald Weir KSJ Tilda and Brian Haughney, Julian and Jennifer Brukner Joanne Wolff Gisela Heinze, Hans and Petra Henkell, The Cuming Bequest Brian and Helena Worsfold Dr Alastair Jackson, Stuart Jennings, John Dominic and Natalie Dirupo Anonymous (2) and Joan Jones, George and Grace Kass, Susan Fry and Don Fry AO Irene Kearsey, Dr Anne Kennedy, Vivien Mr Greig Gailey and Dr Geraldine Lazarus THE CONDUCTOR’S CIRCLE and Graham Knowles, Dr Elizabeth A Lewis Jill and Robert Grogan Jenny Anderson AM, Norman Lewis in memory of Dr Phyllis Louis Hamon OAM Joyce Bown Lewis, Dr Anne Lierse, Violet and Jeff Nereda Hanlon and Michael Hanlon AM Ken Bullen Loewenstein, Peter Lovell, Christopher and Hartmut and Ruth Hofmann Luci and Ron Chambers Anna Long, Vivienne Hadj and Rosemary Peter and Jenny Hordern Sandra Dent Madden, Sandra and Leigh Masel, Trevor Norman and Betty Lees Lyn Edward and Moyra McAllister, John and Ann Mr and Mrs D R Meagher Alan Egan JP McArthur, Allan and Evelyn McLaren, Wayne and Penny Morgan Louis Hamon OAM Dr Gabriele Medley AM, John and Isobel Ian and Jeannie Paterson Tony Howe Morgan, Ian Morrey, The Novy Family, Mrs Margaret S Ross AM and Dr Ian C Ross John and Joan Jones Laurence O’Keefe and Christopher James, Maria Sola and Malcolm Douglas C P Kemp Mrs W. Peart, John and Betty Pizzey, Lady Kee Wong and Wai Tang Elizabeth Proust AO Potter AC, Peter Priest, Jiaxing Qin, Dr Sam Anonymous (1) Penny Rawlins Ricketson, Hugh T Rogers AM, Tom and Joan P Robinson Elizabeth Romanowski, Delina Schembri- ASSOCIATE PATRONS Pamela Swansson Hardy, Max and Jill Schultz, David Shavin QC, Chris and Jacci Simpson, Gary Singer Dr Bronte Adams Dr Cherliyn Tillman and Geoffrey A Smith, Dr Robert Sloane Will and Dorothy Bailey Bequest Mr and Mrs R P Trebilcock and Denise Sloane, Dr Sam Smorgon AO Peter and Mary Biggs Michael Ullmer and Mrs Minnie Smorgon, Geoff and Judy Mrs S Bignell Mr Tam Vu Steinicke, Mrs Suzy and Dr Mark Suss, Prof David and Emma Capponi Marian and Terry Wills Cooke Seong-Seng Tan and Jisun Lim, Margaret Paul Carter Mark Young Tritsch, Mrs Barbara Tucker, P and E Turner, Jan and Peter Clark Anonymous (15) Mary Vallentine AO, The Hon. Rosemary John and Lyn Coppock We gratefully acknowledge support received Varty, Wah Yeo AM, Sue Walker AM, Pat and Peter and Leila Doyle from the Estates of Gwen Hunt, Peter Forbes John Webb, Erna Werner and Neil Werner Lisa Dwyer and Dr Ian Dickson MacLaren, Prof Andrew McCredie, Miss OAM, Nic and Ann Willcock, Marian and Dr Helen M Ferguson Sheila Scotter AM MBE, Jean Tweedie, Herta Terry Wills Cooke, Pamela F. Wilson, Ruth Colin Golvan SC and Fred B Vogel Wisniak OAM and Dr John Miller AO, Peter Robert and Jan Green and Susan Yates, Mark Young, Anonymous (9) Jan and Peter Clark PLAYER PATRONS John and Agita Haddad At 14 November 2013 Susan and Gary Hearst Marlyn and Peter Bancroft OAM, Dr Gillian and Michael Hund Julianne Bayliss, Mr Marc Besen AO and Mrs Peter Lovell Eva Besen AO, Stephen and Caroline Brain, Jan Minchin M Ward Breheny, Mr John Brockman OAM Patrons make annual contributions of Marie Morton and Mrs Pat Brockman, Jill and Christopher $1,000 (Player), $2,500 (Associate), $5,000 Dr Paul Nisselle AM Buckley, Bill and Sandra Burdett, Dr Lynda (Principal), $10,000 (Maestro), $20,000 Ann Peacock with Andrew and Campbell, Judith M Connelly, Ann Darby Impresario or more. The MSO Conductor’s Woody Kroger in memory of Leslie J. Darby, Panch Das Circle recognises notified Bequestors. All Rae Rothfield and Laurel Young-Das, Mary and Frederick donors are recognised on our website. Craig and Jennifer Semple Davidson, Pat and Bruce Davis, Sandra Dent, Inquiries: T 03 9626 1107 Gai and David Taylor John and Anne Duncan, William J Forrest [email protected] Mr Tam Vu and Dr Cherilyn Tillman AM, Joanna Foulkes, David I Gibbs and Susie O’Neill, Merwyn and Greta Goldblatt, 23 ABOUT THE MUSIC BRAHMS QUINTET

String Quintet was an exception. key. The development is highly He sent it proudly to Clara chromatic, and evolves into the Johannes Brahms Schumann and to the violinist piano’s explosive re-entry. The (1833–1897) Joseph Joachim. Both declared it recapitulation arrives at a chorale Piano Quintet in F minor, Op.34 a masterpiece. Clara Schumann for strings alone – suggesting found herself ‘constantly playing there might actually be a happy I Allegro non troppo II Andante, un poco adagio it over and over again and never ending – before the cello invites III Scherzo: Allegro wanting to stop’, and indeed, there the piano back for a passionate IV Finale: Poco sostenuto – is something addictive about the and tragic close. Allegro non troppo Quintet’s high-octane darkness The second movement, by – an adrenaline rush. Joachim contrast, is a simple Andante in A was also enthusiastic, admiring flat major, and has a reassuring, the work’s ‘strength of character’, almost palliative effect after but expressing a reservation the onslaught of the previous about a string quintet’s ability to movement. Its motivic material do it justice. He suspected the consists of the opening’s climaxes might lie beyond the distinctive dotted rhythm, and power of string players, and that suggests Schubert’s influence. the work would require ‘vigorous The phrases are regular, and playing’. A private performance the movement unfolds in a by Joachim and a group of his simple A-B-A form, with a more friends confirmed these suspicions. emotionally direct middle section Brahms, in despair, decided that ‘it in E major. The theme returns in will be better if it goes to sleep’. gorgeous, embellished garb for ‘Going to sleep’ had a sinister the reprise. meaning in Brahms’ parlance, The third movement is a Scherzo, and the quintet was probably a form at which Brahms excelled destined for the furnace. But a from an early age. This is perhaps reprieve came in the form of a the least conventional movement rearrangement for two pianos. of the entire work. It is built Brahms’ Piano Quintet in F This version, still performed today up on three themes: a rising minor is a work of such scope as the Sonata for Two Pianos passage against cello pizzicato; and emotional breadth that it Op.34b, remained Brahms’ a fiercely rhythmic 2/4; and a almost explodes the genre of favourite. Clara Schumann, triumphant chordal theme in 6/8. chamber music. Indeed, Clara however, insisted on the need for The movement is full of abrupt Schumann declared it should be string tone, and Brahms finally changes and that characteristic orchestrated, although few people capitulated to the demands of both brusqueness which led Clara today dispute its scoring: there of his friends, scoring the work for Schumann to declare that Brahms seems to be such ‘rightness’ in the piano and string quartet. way the piano is played off against was afraid of appearing ‘too the string quartet. In the opening movement, a fierce affable’. The trio section consists of Allegro non troppo, the writing another march tune set against a It is curious then that the piece seems completely idiomatic for 6/8, and the movement concludes went through two incarnations this combination. The theme with a semitone cadence (D flat to – one without piano, the other is announced in octaves by first C), a direct quote from Schubert’s without strings – before arriving in violin, cello and piano, before C major Quintet. this definitive form. The Quintet the piano intrudes, percussively, The Finale is a rondo, but is far was composed originally as a string and drives the music into a distant from the light-hearted quintet: the standard quartet frenzy. The second subject is in gaiety of the conclusion of with extra cello, as in Schubert’s C sharp minor, and consists of Mozart’s Divertimento. It extraordinary C major Quintet. a detached dotted figure over a begins with an introduction of While Brahms’ Quintet’s sturm und triplet bass rumble in a classic extraordinary chromaticism: drang is emotional light years away Brahmsian cross-rhythm. The the only place, according to from such an angelic precedent, minor pairing of the two subjects Tovey, where we might miss a Schubert remains a conspicuous lends the piece its sombre, twilight second cello in the work. The influence here. colour scheme, and lends an cello then introduces the theme, extraordinary radiance to the Brahms was rarely satisfied with marked tranquillo, but nothing occasional glimpses of the major 24 his completed works, but this remains very tranquil for long. ABOUT THE MUSIC BRAHMS QUINTET

A second subject is marked espressivo for the strings, and reprises the chromaticism of the Powercor and introduction. The movement Landcare Make Light contains no formal development, but rather, presents an elaborate Work at Myrniong working out of the recapitulation, including a surprise journey to C sharp minor. A diminuendo and ritenuto suggest one thing; the piece concludes instead with a breathless Presto non troppo. Brahms’ friends advised against such an energetic ending. Happily, on this issue at least, he defied them. © 1999 Anna Goldsworthy is an Australian classical pianist and writer. Her bestselling memoir Piano Lessons was awarded Newcomer of the Year at the 2010 Australian Book Industry Awards. Anna is Artistic Director of the Port Fairy Spring Music Festival and a founding member of Seraphim Trio.

Powercor Australia is proud of its long associations with the MSO, one of the world’s leading symphony orchestras, and Landcare Australia, who work with the communities to encourage environmental responsibility. “Whether it’s the MSO or Landcare, Powercor is pleased that we are able to bring communities together and contribute to arts and cultural experiences in the regions in which we operate,” Powercor Corporate Affairs Manager, Hugo Armstrong, says. Powercor recently partnered with Landcare at the Pentland Hills Community Planting Day where around 300 volunteers descended upon two properties west of Melbourne to plant 10,500 native plants. The planting day is part of a larger project for the group, which seeks to connect the Lederderg State Park with Werribee Gorge State Park as part of the Myrniong and Korkuperrimul Biolink Project. The day was a fantastic success environmentally and socially: 10,500 trees, shrubs and grasses were planted at the Devlin and McLean properties in Myrniong. Powercor Environmental Affairs Coordinator Yvette Clifford said, “Our employees are proud to volunteer at tree planting days such as these, and enjoy working with local community leaders, school groups and corporate organisations to enhance the environment.” The Pentland Hills Landcare Group efforts were recognised recently when it won the 2012 Port Phillip and Western Port Landcare Award for Community Group Caring for Private Land.

25 Wednesday 28 November at 6.30pm This concert has a duration of Elisabeth Murdoch Hall, approximately 80 minutes, and will be Melbourne Recital Centre performed without interval. Tonight’s performance will be Presented and conducted by recorded for later broadcast around Richard Gill Australia on ABC Classic FM (on analogue and digital radio), and streamed on its website. You can hear Mozart’s Symphony Please turn off your mobile phone and No. 40 in full as part of the all other electronic devices before the forthcoming program Ian Bostridge performance commences. Sings Mozart and Schubert. See page 34 for more information.

Powercor – a major sponsor of the MSO’s Regional Touring Program

Powercor – a majorPowercor sponsor Australia of and the the Melbourne Symphony Orchestra – 2011 Australian The MSO MSO’s RegionalBusiness Touring Arts Program Foundation award winners in recognition of their shared dedication Powering Melbourne Symphonyto taking Orchestra the arts to presents regional Victoria an all-Mozart programfor more than 15 years. its way to 8pm Tuesday 5 April 7pm pre-concert talk Powering the Ballarat’s Her Majesty’s Theatre To find out more about what Powercor Ballarat MSO through Purchase tickets on 03 5333Australia 5888, isat doingHer Majesty’s in the Theatre, community visit or at the door one hour www.powercor.com.auprior to the concert. Regional Victoria To find out more about what Powercor Australia is doing in the community visit www.powercor.com.au

26 ABOUTABOUT THE THE a rMUSICtists ears wide open

Guest musicians Rebecca Adler violin Zoe Freisberg violin Edwina George violin Francesca Hiew violin Jenny Khafagi violin Kate Sullivan violin Simon Oswell viola Catherine Turnbull viola Rachel Atkinson cello Ann Blackburn oboe Annabelle Badcock cor anglais Matthew Ockenden* guest principal bassoon Chloe Turner contrasbassoon Jenna Breen horn Mark Paine guest principal horn

* Courtesy of Australian Opera and Ballet Orchestra

Richard gill conductor Artistic Director of the Sydney Turandot and newly commissioned Symphony’s Education Program Australian works such as Andrew Richard Gill has been Music since 1998, he regularly conducts Ford’s Rembrandt’s Wife and Director of Victorian Opera since Meet the Music and Family ’ The Love of the its inception in 2006. His 2012 concerts with the Orchestra Nightingale. performances for the company and Discovery concerts with the Richard Gill has received have included Cinderella, a Sydney Sinfonia. He has frequently numerous accolades including the pantomime (which he also wrote), conducted for Order of Australia Medal, Bernard The Play of Daniel, The Marriage of and OzOpera, as well as the Heinze Award, the Australian Figaro and Stravinsky’s The Rake’s Melbourne, , Queensland Music Centre’s Award for Most Progress. He has also been Artistic and Tasmanian Symphony Distinguished Contribution to Director of OzOpera, Artistic Orchestras, leading choral the Presentation of Australian Director and Chief Conductor societies and youth orchestras. of the Canberra Symphony Composition by an Individual, Orchestra, Adviser for the Musica His operatic repertoire spans Honorary Doctorates from Edith Viva in Schools Program and is all periods and styles, from Cowan UWA and the ACU and internationally recognised as a Dido and Aeneas to Fidelio, Lucia the Australia Council’s prestigious music educator. di Lammermoor, , The Award. Gondoliers, The Merry Widow,

27 ABOUT THE MUSIC ears wide open

THE COMPOSER Then in May 1788, he unveiled before Viennese audiences his Wolfgang BOY WONDER GROWS UP latest grand opera, Amadeus Mozart Wolfgang Mozart’s father, Leopold, (or the Libertine Punished), that (1756–1791) firmly believed that his son was had been premiered in Prague Symphony No.40 in G minor, ‘the miracle God permitted to the previous October. Mozart K.550 be born in Salzburg’, and was described this musical retelling naturally keen to parade his of the Don Juan legend as a miraculous offspring before the ‘drammagiocosa’ (playful drama), rest of Europe. Young Mozart blending elements of comedy and accordingly visited both France farce with tragedy and horror in and England before he was ten, a new and compelling way. Or cementing his lasting fame as a boy so posterity came to believe. The wonder. As late as 1780, by which Viennese themselves were less sure time Mozart was 24, one English at the time, forcing even Mozart’s commentator was still harking collaborator, the librettist Lorenzo back to his tenderest years: Da Ponte, to concede: ‘Dare I say it? Don Giovanni didn’t please At four years of age he played the people. Everyone except Mozart harpsichord and composed. At five he thought that something was wrong played before the Empress. At seven with it.’ he was carried to Paris, and came to England, where I often saw and heard THE MUSIC him play. His playing, his extemporary After the tepid reception of his flights, his modulation, were they not so opera, June 1788 saw Mozart, well attested, would be incredible. not surprisingly, showing his But it took the generous praise frustration with Vienna’s musical of a fellow composer to help pundits. This partly explains why Mozart belatedly shrug off his ‘boy he devoted much of the hot and wonder’ image and begin to be sultry Viennese summer that taken seriously as a mature creative year to composing the three new artist. After playing violin in some symphonies, Nos 39–41, that were new string quartets by Mozart in also to be his last. Strange as it February 1785, told may seem now, the Viennese had his young friend’s father: ‘In all till then taken almost no interest honesty, your son is the greatest in Mozart’s symphonies, and it was composer I know, or know of.’ only with his eye on publication and performances in England, MOZART IN 1788 France and Germany that he Mozart’s father, Leopold Since relocating from sleepy completed the project in record Salzburg to Vienna in 1781, Mozart time between June and August. had worked as a freelance pianist- composer, constantly producing new works to stay ahead of the volatile Viennese music market. Piano concertos, rather than symphonies, proved to be the perfect vehicle for self-promotion. On 28 February 1788, five months before he composed his Symphony No.40, he finished his Piano Concerto No.26 in D major (K.537), later nicknamed the ‘Coronation’.

28 ABOUT THE MUSIC ears wide open

symphonies usually also had to make do without trumpets. The valveless trumpets then in use could easily play in the keys of D, E flat and C major, but not so readily in G minor. Likewise, since kettle-drums (timpani) almost always played along with trumpets, Mozart omitted them from the 40th too. Clarinets were then still relative newcomers to Austrian and German orchestras, and do not appear in most of Mozart’s symphonies. But Mozart was becoming more and more interested in the instrument. One of his closest friends was the clarinettist Anton Stadler. He and Mozart regularly played billiards Leopold Mozart and his children Wolfgang Amadeus and Nannerl together (Mozart’s favourite game), and just before his death Minor keys are natural phenomena Viennese audiences, as Beethoven in 1791 Mozart composed his great in the music of Beethoven. In later discovered. But at least they Clarinet Concerto (K.622) for his Mozart’s overwhelmingly sunny had more staying power than the friend. As first completed in 1788, output, however, they seem like average audience today. When the 40th has no clarinets. But he unseasonal intrusions, requiring played with all its repeats, as later made a second version that an explanation from outside of the Mozart intended (but which few includes two, stealing some solo composer’s usual circumstances. conductors bother with today), it is passages previously belonging to Yet if minor keys signify depression almost twice as long as the opening the oboes to give them something or fatalism, causes are easy movement. to play. enough to find leading up to The Minuet, in G minor again, THE 40TH COMES TO the symphony’s completion on is not a well-balanced, copybook 25 July. Not only did Don Giovanni AUSTRALIA example of the dance. This one flop, but tragically, at the end is energetic and eventful, with Mozart completed the G minor of June, Mozart’s six-month-old dissonant notes and syncopated symphony on 25 July 1788, and daughter Theresia died. Perhaps rhythms – as unusual, in its small probably started composing it in this explains why the 40th’s Molto way, as the opening movement. late June. Since he usually began allegro first movement is saturated with the beginning, the famous with Mozart’s most unusual and The Finale gives us an orchestral opening probably dates from the haunting theme. tour de force, designed by Mozart last few days of the month. Half to sweep his audience along in The other three movements are a world away, in the primitive a state of increasing nervous far less familiar, and can still fledgling colony at Sydney Cove, excitement. Its inexorable forward surprise. After Mozart’s death, Australians were suffering harsh motion is interrupted only by the Haydn quoted a phrase from the times. Indigenous people around weirdness of a couple of audibly luminous Andante in his oratorio, the harbour were going hungry disconcerting moments, when The Seasons, memorialising due to an unexplained drop off Mozart perversely avoids any clear his young friend. Fittingly the in the fish population, while the sense of key for rather longer than quotation follows the words British settlers were, according is comfortable. ‘Exhausted is thy summer’s to John Hunter, ‘under great strength’. Since the Andante is The instruments Tribulation about our Bulls and also the symphony’s only major- Cows, for they have been missing Mozart never used trombones key movement, it’s not surprising for some time … and as an in his symphonies, though these that the Viennese preferred it too. additional Calamity the Sheep rather solemn instruments make What the Romantics thought of as die very fast’. Clearly, it would be star appearances in his the high-minded angst of minor decades before Australians had Don Giovanni and The Magic keys, was all too often anathema to time to devote to Mozart! Flute. In Mozart’s day, minor-key 29 ABOUT THE MUSIC ears wide open

or – as Mozart decided to interpret the pattern. Try a Youtube search it – a tenor slide-trombone. on Bach’s Bourrée in E minor. ANOTHER GREAT G MINOR Contrasting with the moody 40th Symphony, Mozart’s famous A few years before Mozart Piano Sonata No.16 in C major composed his G minor symphony, (K.454), was also composed in his friend and mentor Joseph 1788. You can download the score Haydn composed his own of the opening movement free, Symphony in No.83 in G minor, courtesy of the State Library of completed in 1785. Mozart Victoria: http://handle.slv.vic. almost certainly knew Haydn’s gov.au/10381/151808. For serious earlier effort, and it probably students, scores of Mozart’s entire influenced his decision to output can be viewed for private- compose his symphony in the study purposes at the Salzburg same key. Comparing the two Mozarteum website http://www. works, especially by listening to mozarteum.at (click on ‘Digital their respective first movements, Mozart by Lange Mozart Edition’). we can observe stark differences of approach, and some subtle The Mozarteum itself is also an The first Australian performance similarities. international centre for advanced of Mozart’s 40th was given in study and research into Mozart’s Sydney on 13 October 1856, MOZART AT THE OPERA music. Our conductor, maestro by the orchestra of the Sydney The finale of Mozart’s dramatic Don Gill, is one of its many former Philharmonic Society, conducted Giovanni, that was so unpopular students. He studied there in the by Charles Stier, a German-born in Vienna in 1788, has one of the early 1970s, when he worked with military bandmaster. The first most chilling minor-key finales in another famous Salzburg resident Melbourne performance took all of opera. The Don realises that composer, (1895–1982). place in January 1880. But it the game is up, when a gruesome was not until the Symphony’s Graeme Skinner © 2012 statue comes to life and reminds (and Australia’s) centenary, that him that they have serious business it received a fully professional to discuss. The episode begins Australian performance, in the with the ghostly statue addressing Exhibition Building in September him: ‘Don Giovanni, A cenar teco 1888, during the great Centennial m’invitasti!’ (‘Don Giovanni, Exhibition. Even then the Argus I’m here to take up your dinner reviewer admitted that the invitation!’). The statue offers symphony was still ‘little known to Giovanni a last chance to repent the average Melbourne audience’. for his philandering, and when he But he hoped it would soon be refuses, a great abyss opens in the ‘shared amongst Victorians and ground and, amid hellfire and a other Australians’. The Melbourne chorus of demons (underscored Symphony Orchestra first played with rolling drums and braying the 40th on 24 August 1925. brass), the hapless Don is ushered FURTHER LISTENING down into the Underworld! MOZART’S TROMBONES Once heard, it’s hard to get the theme of the 40th’s first movement We’ve already mentioned that out of your head. No doubt that’s trombones don’t appear in precisely what Mozart intended. Mozart’s concert symphonies. But what is it that makes the theme But Mozart did set aside a so memorable? As a tune, the notes special moment in his last great (or pitches) themselves don’t seem masterpiece, the Requiem (K.626), overly promising. But once Mozart for a solo trombone. It’s in factors in rhythms and accents, the lovely aria for bass voice the result is distinctive. Mozart did Tuba mirum spargens sonum not invent these; he borrowed the (‘The trumpet will send out its rhythm from a dance called the wondrous sound’), the Latin word bourrée. Fifty years earlier, Johann 30 tuba meaning here a large trumpet, Sebastian Bach wrote one that sets TICKETS FOR 2013 NOW ON SALE

BOOK NOW TO SECURE BEST SEATS MSO.COM.AU OR (03) 9929 9600 TiCKETS fROM $42 ABOUT THE MUSICartists earsMEET wide YOU openR MSO MUSICIAN

American-born Andrew Moon has been a member of the MSO’s double bass section since 1993. Growing up in Kansas City, Missouri, his parents took the family to jazz concerts and he enjoyed hearing Duke Ellington, Count Basie, Dizzy Gillespie, Sarah Vaughan, and Stan Getz among others. But it was upon hearing John Clayton, a bassist accomplished in both the worlds of jazz and orchestral music, that Andrew was inspired to study classical double bass. Andrew graduated from the Cincinnati College-Conservatory of Music with Honours and continued studies there and elsewhere. He has studied with Bruce Bransby, Stuart Sankey, Larry Wolfe, Charlie Haden, and Jack Kirstein. Andrew has performed with the Kansas City Symphony, the Cincinnati Chamber Orchestra, the Cincinnati Ballet, the Indianapolis Ballet, the Charleston Symphony and the Philharmonic. He has appeared as a soloist with the Australian Pro Arte Orchestra and the MSO.

Andrew Moon

32 MEET YOUR MSO MUSICIAN

Which musical figures would you invite to your house What is your favourite place in the world to “just be”? for dinner? And what would you serve? Outdoors in the wilderness – anywhere not too cold. I would invite Leonard Bernstein, Red Mitchell (bass What are your favourite movies? player, lyricist, composer and poet), William Preucil The Shawshank Redemption and Rat Race. (Concertmaster of The Cleveland Orchestra) and my great-aunt (who I never met, but who was a concert Which book do you think everyone must read? pianist and taught at Julliard) and serve a selection of My next novel. I would be rich! smoked ribs, smoked salmon, salad and fine red wine. What is your greatest performance experience so far? The MSO did Shostakovich’s Symphony No.4 with Alexander Lazarev in 2003, a performance that will haunt me to my death—very powerful. Also Sting and Harry Connick Jr. How did you choose your instrument? The instrument chose me, not the other way round. I was minding my own business and went to a jazz concert. One of the bass players did this great solo where he slipped into a Bach cello suite on the double bass. It turns out he was also principal bassist in the Royal Amsterdam Philharmonic. I didn’t want to play double bass but had little choice after that concert. It became an obsession.

The Melbourne Symphony Orchestra performs at Phillip Island

Escape to the classics on theEvent spectacular gates open at 3.30pm lawns of Churchill Island Heritage Farm 2 February 2013, 5.30pm – 7.30pm.or Tickets available at or call 5951 2800 Phillip Island Nature Parks venues www.penguins.org.au

Tickets from $55 33

517PMK MSO pub - 176x128 HPA 1.indd 1 15/11/12 11:27 AM Thursday 6, Friday 7 and Saturday 8 December at 8pm Arts Centre Melbourne, Hamer Hall

Bernard Labadie conductor Ian Bostridge tenor

Mozart Symphony No. 31 Paris Mozart : Excerpts INTERVAL 20 MINUTES Schubert, arr. Webern Orchestral songs Mozart Symphony No.40

This concert has a duration of approximately two hours, including one interval of 20 minutes. Friday evening’s performance will be broadcast live around Australia on ABC Classic FM (on analogue and digital radio), and streamed on its website. Please turn off your mobile phone and all other electronic devices before the performance commences. © BEN EALOVEGA

BEYOND THE STAGE Learn more about the music in these free events.

CONDUCTOR IN CONVERSATION PRE-CONCERT TALK Thursday 6 December at 7pm Friday 7 and Saturday 8 December at 7pm Stalls Foyer, Hamer Hall Stalls Foyer, Hamer Hall Conductor Bernard Labadie will be interviewed by the Alastair McKean will present a pre-concert talk on the MSO’s Director of Artistic Planning, Huw Humphreys. concert’s artists, and the works by Mozart and Schubert featured in the program.

34 ABOUT THE artists IAN BOSTRIDGE SINGS MOZART AND SCHUBERT

BERNARD LABADIE conductor IAN BOSTRIDGE tenor Bernard Labadie has established a reputation as one Ian Bostridge’s international recital career has taken of the leading conductors of Baroque and Classical him to the Salzburg, Edinburgh, Munich, Vienna repertoire, largely thanks to his association with Les and Aldeburgh Festivals, and to the main stages of Violons du Roy and La Chapelle de Québec, which he Carnegie Hall and , Milan. He has held founded and continues to lead as music director. artistic residencies at the Vienna Konzerthaus and Schwarzenberg Schubertiade, a Carte-Blanche series at He is a sought-after guest conductor with many of the the , and Perspectives series at Carnegie major European and North American orchestras, and Hall, the Barbican, Luxembourg Philharmonie, last season’s engagements included return visits to the Wigmore Hall and Hamburg Laeiszhalle. Chicago Symphony, Philharmonic, New World Symphony, Utah Symphony and Vancouver His opera roles have included Lysander (A Midsummer Symphony, in addition to his debut at the Tanglewood Night’s Dream) for Opera Australia at the Edinburgh Festival. He regularly tours with Les Violons du Festival; Tamino () and Jupiter () Roy and La Chapelle de Québec, appearing at for ; and Quint (The Turn of Lincoln Center, the Kennedy Center, Barbican, the Screw), Don Ottavio (Don Giovanni) and Caliban Concertgebouw, the Salzburg Festival and, in March (Adès’ The Tempest) for the , 2012, Carnegie Hall. Covent Garden. He has been Artistic Director of Montreal Opera He has worked with many of the world’s finest and Quebec Opera, and has also performed with the orchestras, including the Berlin Philharmonic, Metropolitan Opera, Glimmerglass Opera, Santa Fe Royal Concertgebouw Orchestra, New York Opera and Cincinnati Opera, and conducted Les Philharmonic, London Philharmonic, and the BBC, Violons du Roy in Jonathan Miller’s production of Così London, Boston and Chicago Symphony orchestras, fan tutte at New York’s Mostly Mozart Festival. among others. Recent highlights include the world premiere of Henze’s Der Opfergang with the His discography includes Handel’s Apollo e Dafne Orchestra of the Accademia Nazionale di Santa and Mozart’s Requiem with Les Violons du Roy and Cecilia and Antonio Pappano. La Chapelle de Québec, both of which won JUNO awards. Recent releases include Bach Keyboard His recordings have won all the major international Concertos with Alexandre Tharaud, C.P.E. Bach’s record prizes, and include Idomeneo with Sir Charles Cello Concertos with Truls Mørk and Les Violons du Mackerras, and works by Schubert, Schumann, Roy, and Three Baroque with Ian Bostridge and Henze, Wolf and Britten. His most recent recording The English Concert. is Three Baroque Tenors with Bernard Labadie and The English Concert. Bernard Labadie was honoured as an Officer of the Order of Canada in 2005 and as Chevalier de l’Ordre Ian Bostridge studied History at Oxford University national du Québec in 2006. before embarking on a singing career. He is an Honorary Fellow of Corpus Christi College and St John’s College, Oxford and has received an Honorary Doctorate in Music from St Andrews University. He was made a CBE in 2004. His book A Singer’s Notebook was published in 2011.

35 ABOUT THE artists IAN BOSTRIDGE SINGS MOZART AND SCHUBERT

all begin together, just as they do in The last movement again shows other places. Mozart aware of the Parisian Wolfgang style – the cuts and alterations in The ‘first stroke of the bow’, of Amadeus Mozart the manuscript of this symphony which the French were so proud, is (1756–1791) show how much extra work this exploited by Mozart in a way which awareness imposed on him. Here Symphony No.31 in D, K.297 verges on parody. At the same he made a stunning effect, which Paris time, he was excited to be writing he describes: I Allegro assai for the orchestra of the Concert II Andante Spirituel, whose impresario Le Since I had heard that all the final III Allegro Gros had commissioned the allegros here begin just like the first one symphony. The wind section – with all the instruments at once and included clarinets, making their usually in unison – I began with only Mozart’s return to Paris in 1778, first appearance in a Mozart the first and second violins, playing several years after his first visit as a symphony. very softly for just eight bars and a loud child prodigy, was not a happy one. forte immediately afterwards. Just as The Parisian public expected His mother, who had travelled with I had expected, when they heard the strong contrasts of loud and soft, him, died in Paris, and he had the soft beginning, the audience went: ‘Sh- and Mozart provides plenty of difficult task of telling his father. hh…’ Then came the forte…For them, these in the first movement, as His hopes for a salaried position hearing the forte and clapping their well as orchestral crescendos did not materialise, and his music hands were practically the same thing. which show the influence of the was not greatly appreciated by the So after the symphony, out of pure then-famous composers based Parisian public. Mozart responded joy I went right to the Palais Royal, in Mannheim. The French taste by disparaging French taste in ate a large ice, said the rosary I had for elegance is catered for in letters to his father commenting promised, and went home. on the likely reception of the subsidiary passages, which also symphony he had written for Paris: feature dialogues between string David Garrett © 1988 and wind instruments, much I can answer for its pleasing the The Melbourne Symphony was the first enjoyed in Paris, as the craze there of the former ABC orchestras to perform few intelligent French people who for concertante symphonies with this symphony, on 22 June 1940 with Sir may be there – and as for the stupid wind instruments shows. Thomas Beecham. The Orchestra most ones, I shall not consider it a great recently performed it in November 2009 with misfortune if they are not pleased. I Concert promoter Le Gros thought Reinhard Goebel. still hope, however, that even asses will the slow movement too long and find something in it to admire – and contained too many modulations, moreover, I have been careful not to but this attitude is hard to neglect ‘the first stroke of the bow’ and understand, and the original that is quite sufficient. What a fuss the movement is almost always played oxen here make of this trick! The devil in preference to the substitute take me if I can see any difference! They composed at Le Gros’ request.

ALL-STAR Handel’s Messiah comes to life under the direction of early music maestro Bernard Labadie. Vocal soloists including Ian Bostridge and join the MSO and Chorus for this sacred masterwork.

Friday 14 December at 8pm Robert Blackwood Hall, Monash University, Clayton

Saturday 15 December at 7pm and Sunday 16 December at 5pm Proudly Arts Centre Melbourne, Hamer Hall supported by

BOOK NOW (03) 9929 9600 or visit mso.com.au 36 ABOUT THE artists IAN BOSTRIDGE SINGS MOZART AND SCHUBERT

moral courage in the struggle. aria ‘Fuor del mar’. His agitated Reassuringly, there was usually a state is mirrored in the turbulent Wolfgang happy ending. orchestral part, and it’s not too Amadeus Mozart fanciful to hear his desperation More prescriptive were the (1756–1791) in the showpiece vocal line. musical conventions. Characters’ But his agitation is restrained, Idomeneo, KV.366: appearances on stage were never entirely frenzied. However governed less by plot than by an ‘Fuor del mar’ distressed, Idomeneo cannot forget March inflexible pecking order among that he is a king. ‘Torna la pace al core’ the singers, and characters would normally exit after singing an Idamante eventually goes willingly aria, whether or not this was to be sacrificed, but Ilia attempts The Mozart of Peter Shaffer’s dramatically necessary. The arias to take his place. At this, Neptune Amadeus says some very rude themselves (including those we’ll intervenes, announces that ‘Love things about opera seria. ‘All these hear tonight) invariably consisted has conquered’, and releases anguished antiques … they’re of a first section, a contrasting Idomeneo from his obligations. all bores, bores, bores!’ he rants, middle section, and the first section Idomeneo sings another virtuoso before damning his own Idomeneo repeated, the singer now displaying aria, ‘Torna la pace’. This along with the other ‘boring their virtuosity by ornamenting the time, though, it’s the radiant legends’. Amadeus is great drama, written notes. Composers, then, exuberance of sheer relief, the but less solid documentary. The had quite a challenge in writing orchestra brightened by Mozart’s real Mozart was very fond of works which fitted theopera seria beloved clarinets. opera seria, of which Idomeneo is a straitjacket and yet were musically When Mozart wrote Idomeneo, textbook example. and dramatically satisfying. audiences were increasingly Opera seria literally means ‘serious Idomeneo describes the return of preferring more naturalistic drama opera’, and describes most non- Idomeneo, King of Crete, from the to the rigidities of opera seria. But comic opera of the 18th century. Trojan Wars. To escape a storm, even as it sank out of fashion, The term wasn’t used much at the he has vowed that he will sacrifice Mozart retained his affection for time, and is more a retrospective to Neptune the first person whom the genre, and in Idomeneo gave it a classification of these pieces. he meets – and as he staggers glorious late pinnacle. Always in Italian (whatever the up the beach, he sees his son, Alastair McKean © 2012 audience’s lingua franca), the Idamante. (The snappy ‘warlike operas always treated a heroic march’ is played as the rest of the The Melbourne Symphony Orchestra first or tragic subject. If they were set party disembarks.) Idomeneo’s performed ‘Fuor del mar’ and ‘Torna la pace al core’ in Geelong on 14 August 1978 with tenor in antiquity, so much the better. horror is intensified when he Characters – who were, without Ronald Dowd. This is the first performance of learns that Idamante is in love the arias by the Orchestra since then. exception, noble – would be placed with Ilia, a Trojan princess, and in a situation where their private This is the MSO’s first performance of the hence his vow will destroy three March from Idomeneo. desires clashed with their public people. This is when Idomeneo duty, and the drama centred sings the spectacular coloratura INTERVAL 20 minutes around their display of high

Idomeneo: Act II Fuor del mar ho un mar in seno, Saved from the sea, I have a sea Che del primo è più funesto, more terrible than before raging E Nettuno ancora in questo within and still Neptune’s threats Mai non cessa minacciar. are unceasing. Fiero Nume! dimmi almeno: Proud god! Tell me this at least: Se al naufragio è sì vicino Il mio cor, if my heart is so close to shipwreck, qual rio destino for what evil fate Or gli vieta il naufragar? is its ruin refused? Idomeneo: Act III Set design for the first production Torna la pace al core, Peace returns to my heart of Idomeneo Torna lo spento ardore; The spent flame burns again. Fiorisce in me l’eta. Youthfulness courses through me; Tal la stagion di Flora Thus does Flora’s season English translations by L’albero annoso infiora, Make the old tree blossom again Matthew Absalom 37 Nuovo vigor gli dà. Giving it new life. © Symphony Services International ABOUT THE MUSIC IAN BOSTRIDGE SINGS MOZART AND SCHUBERT

SCHUBERT IN HIS TIME

If Schubert means one thing to any of us, it will A TIME-LINE OF SCHUBERT’S ADULT LIFE probably be melody. The Trout, ‘the’ Rosamunde theme, perhaps; even, in a gloomy mood, the organ- 1815 grinder’s monotonous refrain from The Winter Erlkönig, the most famous of Schubert’s Goethe Journey. This is as it should be, for Schubert is the songs, is written, as well as the Second and Third greatest of all composers of songs, and his 600 or so Symphonies, two masses and four operas. Schubert spill over into all his music, often less obviously than meets Franz Schober, who will become a bosom in the Trout Quintet. friend and the librettist of Alfonso und Estrella. The ‘Schubert circle’ begins to form, and soon includes But who was ? An unassuming, Joseph von Spaun, Anselm Hüttenbrenner and painfully short-sighted man who lived in Vienna Leopold von Sonnleithner. under a shadow cast by Beethoven, syphilitic, and snuffed out, perhaps by typhoid fever, in his 31st 1816 year. Schubert sometimes represents the cosy This is the year of the Fourth and Fifth Symphonies. Vienna of the Biedermeier age, which took refuge Schubert gives up school teaching and moves to in domesticity from political repression. The songs, Schober’s rooms in the inner city. From now on, apart music for piano four-hands, and above all the dances from brief returns to teaching, he will lead the life of a for piano were heard in home and salon musicales. freelance composer. On the surface, this music was reassuring: the forms Late in the year, the visit of an Italian opera company to were those of a pupil of Salieri, taking Mozart and Vienna, performing Rossini’s Tancredi and L’inganno felice, Haydn for his models. begins the Rossini craze which makes the environment The musical evenings became known as uncongenial for Schubert’s operas in German. ‘Schubertiads’. Franz’s art meant much to his friends. 1817 They were proud when his more ‘public’ pieces (like The Shepherd on the Rock) reached a wider audience, Schubert meets the singer Johann Michael Vogl, with but even they were baffled by his more visionary whom he will perform his songs and who will use his creations. Later musicians began to realise what standing to promote Schubert’s opera projects. Schubert was about – Schumann, who spoke of 1818 ‘heavenly length’; Liszt, for whom Schubert was ‘the The first Schubert song to appear in print is his setting most poetic musician ever’. of his friend Mayrhofer’s Erlafsee. His first orchestral Schubert had been quietly founding a new music: work to be played in public is the Overture in the Italian long-range in harmonic strategy, and plumbing the Style, which partly reflects the Rossini craze. depths of the heart. He revealed this first in songs 1819 of precocious genius, especially the unparalleled Gretchen at the Spinning Wheel. Gradually he found ways Schubert’s opera projects continue. On Vogl’s to say it in other forms: his last two great symphonies, recommendation he composes The Twin Brothers for piano sonatas, quartets and quintets unfold a vast the Kärntnerthor Theatre (where the Vienna State new musical discourse. This Schubert was driven by Opera now stands). One of Schubert’s lastingly a creative demon: a composer looking up from his popular instrumental works, the Trout Quintet, music paper just long enough to ask, when a new containing variations on the song of that name, is name was mentioned in his presence, “Kanevas?” composed on a holiday journey with Vogl. (‘Kann er was? What’s he good at?’). This became 1820 Schubert’s nickname to his friends. We are still The Twin Brothers is performed, and runs for discovering what Kanevas was good at. six performances. Vogl plays both brothers. Die Zauberharfe (The Magic Harp), a play for which Schubert writes the music, runs for eight performances at the Theater an der Wien. 1821 Schubert applies for an appointment as composer 38 or conductor at the Kärtnerthor Theatre and Schubert’s signature ABOUT THE MUSIC IAN BOSTRIDGE SINGS MOZART AND SCHUBERT

is employed temporarily as a coach. A party at this project, arranging Schubert’s dances with an Schober’s house where Schubert’s songs are sung exact understanding of Schubert’s own orchestration. may have been the first ‘Schubertiad’. One of A recording survives of Webern conducting his Schubert’s several incomplete symphonic projects Schubert for a radio broadcast from reaches the stage of a sketch of the whole work, Frankfurt in 1932. Symphony No.7 in E, D.729. Schubert begins 1825 composing the opera Alfonso und Estrella. On a journey with Vogl in Upper Austria, Schubert 1822 stays for six weeks at Gmunden, where he works on Alfonso und Estrella is completed on 27 February, but the first draft of his ‘Great’ C major Symphony (No.9, turned down by the Court Opera later in the year, D.944). None of Schubert’s symphonies were heard in to Schubert’s bitter disappointment. Schubert never public concerts until years after his death. heard this opera performed. 1826 The Unfinished Symphony, No.8 (D.759) is composed, The C major symphony is completed and handed then disappears until 1865! Schubert composes the over to the Philharmonic Society. It may have Wanderer Fantasy for solo piano, based on one of his been rehearsed and dismissed as too difficult. Its songs, and the A flat Mass, probably in a bid to get a first performance will be given by Mendelssohn in court appointment as a composer of church music. Leipzig in 1839. A ‘big, big Schubertiad’ held at 1823 Spaun’s inspires the much later drawing by Schwind (who was there). First signs of Schubert’s serious illness, probably syphilis, oblige him to keep to his rooms. The side- 1827 effects of the then-standard treatment, with mercury, Schubert is torch-bearer at Beethoven’s funeral. If were debilitating and disfiguring. From this year, Beethoven and the diffident Schubert ever met face nevertheless, after a period in hospital, date the song to face (which is uncertain), it may have happened cycle The Fair Maid of the Mill (Die schöne Müllerin), once, in 1821 or 1822. Schubert’s friends see him as the incidental music for Helmine von Chézy’s Beethoven’s successor, but are puzzled by the pessimism unsuccessful play Rosamunde, and what is generally of the songs of The Winter’s Journey (Die Winterreise). reckoned the most worthy of revival of Schubert’s The Impromptus Op.90 and Op.142 (D.899 and 935) larger operas, Fierrabras. and the Moments musicaux for piano, the two piano trios 1824 Op.99 and 100 (D.898 and 929) belong to this year. Schubert concentrates on songs, some of them 1828 settings of gloomy poetry by Mayrhofer, and chamber The only all-Schubert public concert given in his music including the string quartets in A minor and D lifetime is a success. The program includes one of the minor (Death and the Maiden), and the Octet for string piano trios, and the partsong written for Josephine and wind instruments. In a letter to his friend the Fröhlich’s young lady pupils from the Conservatorium, painter Kupelwieser he declares that these chamber Ständchen (Serenade). Schubert vainly offers publishers works are part of an intention to pave his way towards new works, including the amazing and profound a grand symphony. String Quintet with two cellos, and the last three piano The A minor quartet is performed by Schuppanzigh’s sonatas. On 4 November Schubert, perhaps still hoping quartet, which premiered many of Beethoven’s for an appointment as a church composer, goes to his works. On 7 May Schubert attends the premiere of first counterpoint lesson with Simon Sechter, later the Beethoven’s Ninth Symphony. He travels to Zseliz, as teacher of Bruckner. But he fails to show up for the tutor to the Esterházy family, and falls platonically in second lesson. love with the young Countess Karoline. It may be at About 14 November, at Schubert’s request, a Zseliz that he composes, in October, the Six German performance is given for him of Beethoven’s C sharp Dances, D.820. minor String Quartet Op.131. On 17 November he These were only discovered in 1931, and published becomes delirious, and the next day falls into a coma. by Universal Edition in Vienna in their original form He dies at 3pm on 19 November, aged 31. for solo piano. Universal also commissioned Anton Adapted from an annotation by David Garrett © 2002 Webern to arrange them for orchestra. Webern, the most retiring of the circle around Schoenberg who formed the ‘second Viennese school’, wrote intensely concise music which has been very influential since his accidental death at the end of World War II. Chronically hard up, he was grateful for arranging work from publishers, and took great trouble over 39 ABOUT THE MUSIC IAN BOSTRIDGE SINGS MOZART AND SCHUBERT

Anton Webern wrote these orchestrations of five of Schubert’s lieder in 1903, while he was studying at the University of Vienna. It’s not known whether the Franz Schubert (1797–1828) impetus was the exigencies of the curriculum, or orch. Anton Webern (1883–1945) Webern’s independent creativity. Quite possibly the Five Lieder: latter, for at around the same time he also orchestrated Tränenregen (from Die schöne Müllerin, D.795) some movements of Schubert piano sonatas and songs Der Wegweiser (from Winterreise, D.911) by Hugo Wolf. Ihr Bild (from Schwanengesang, D.957) Du bist die Ruh, D.776 Few of us would like to have our student exercises Romance from Rosamunde, D.797 ventilated in public, and Webern doesn’t seem to have been entirely happy with these orchestrations. He made no effort to have them published, and after his death they disappeared into an archive, whence they were unearthed decades later. Their first known performance was given by the Buffalo Philharmonic in 1966. Another suggestion that Webern wrote the orchestrations for their own sake is that the manuscript is full of small errors. It clearly never got that last spit and polish that a diligent student applies to an essay before submitting it, and the published score bristles with footnotes noting ambiguities where the editor was obliged to decide what Webern actually meant. The major ambiguity, though, is whether or not Webern considered the songs to be a cycle. It’s unlikely, as he didn’t specify an order in which they should be performed, and we’ll hear them tonight in We can directly compare Schubert and Webern in the the sequence of the 1966 performance, which has concluding Romance, because of course Schubert had since become the norm. It is, moreover, a fairly written an orchestral version of this song himself, in disparate group of songs. Two were lifted bodily the incidental music to the play Rosamunde. Webern from song cycles and hence appear entirely out of took some cues from Schubert; both versions, for context, and only Ihr Bild and the Romance share instance, give similar (and prominent) material to vaguely common subject matter. the clarinets. But where Schubert simply repeated the same orchestration for each verse, Webern wrote a Webern stuck close to Schubert’s originals, apart new one each time – always trying out new things. from one chord in Ihr Bild which he inexplicably changed from major to minor (another footnote). Alastair McKean © 2012 Even the modest size of the orchestra would have Tränenregen is part of the song cycle Die Schöne Müllerin, which been familiar to Schubert, and in some numbers was first presented by the Melbourne Symphony Orchestra on June 14, (particularly Tränenregen) one can imagine the 1958 with tenor Petre Munteanu. The most recent performance of Die straightforward, unfussy not being Schöne Müllerin presented by the MSO took place on March 26, far from what Schubert might have done. The 1996 with baritone Olaf Baer and pianist David Harper. more difficult songs to translate to orchestra are Der Wegweiser was first presented by the MSO on September 23, those where Schubert wrote more idiomatically 1967 as part of the song cycle Winterreise with baritone John Shirley- pianistic music. The nagging, insistently repeated Quirk. Winterreise was most recently performed on October 4, 1993 notes throughout Der Wegweiser, for instance, pose with baritone Olaf Baer and pianist Geoffrey Parsons. a textbook problem for transcription. It’s a texture The first performance of Ihr Bild presented by the MSO was on July which works well for piano but could easily get 22, 1961 with bass Kim Borg. It was performed most recently on bogged down in the hands of a clumsy orchestrator. August 14, 1978 in Geelong as part of a concert tour featuring tenor Ronald Dowd. Webern avoids monotony by continually, and sensitively, varying the combinations of instruments. The first MSO-presented performance of Du bist die Ruh took place Close to the end of the song he gives the repeated on June 10, 1958 with tenor Petre Munteanu. It was performed most recently in Geelong on October 7, 1985 with soprano Felicity Lott and figure to the horns, while the oboe, bassoon and pianist Geoffrey Parsons. double basses fill out the rest of the accompaniment. The stark instrumental colour matches the Schubert composed the incidental music from Rosamunde for a hopelessness of the words. play by Helmina von Chézy. It is rarely performed in its entirety, but rather as extracts. The Romance from Rosamunde has previously been presented twice by the Melbourne Symphony Orchestra, both times featuring soprano Elisabeth Schwarzkopf. The first performance took 40 place on July 15, 1967 and the second on May 22, 1971. ABOUT THE MUSIC IAN BOSTRIDGE SINGS MOZART AND SCHUBERT

Tränenregen Shower of Tears Wilhelm Müller (1794–1827) Wir saßen so traulich beisammen We sat together in such closeness Im kühlen Erlandach, Beneath the cool canopy of the alders. Wir schauten so traulich zusammen We looked down together in such intimacy Hinab in den rieselnden Bach. Into the rippling brook Der Mond war auch gekommen, And the moon came too, Die Sternlein hinterdrein, And after it the stars, Und schauten so traulich zusammen And gazed down so harmoniously In den silbernen Spiegel hinein. Into the silver mirror. Ich sah nach keinem Monde, I did not look at the moon Nach keinem Sternenschein, Or the stars. Ich schaute nach ihrem Bilde, I looked at her reflection Nach ihren Augen allein. At her eyes alone. Und sahe sie nicken und blicken And saw them nod and gaze up Herauf aus dem seligen Bach, From the happy brook; Die Blümlein am Ufer, die blauen, The flowers on the bank, the blue ones, Si nickten und blickten ihr nach. Nodded and gazed at her. Und in der Bach versunken And, submerged in the brook Der ganze Himmel schien, The whole sky seemed to appear Und wollte mich mit hinunter And wanted to draw me down In seine Tiefe ziehn. Into its depths. Und über den Wolken und Sternen And the brook rippled happily Da rieselte munter der Bach, Over the clouds and the stars Und rief mit Singen und Klingen: And called me with its singing and ringing: ‘Geselle, Geselle, mir nach!’ ‘Friend, friend follow, me!’ Da gingen die Augen mir über, Then my eyes filled with tears, Da ward es im Spiegel so kraus; And the mirror was blurred. Sie sprach: ‘Es kommt ein Regen, She said, ‘It’s about to rain Ade, ich geh’ nach Haus.’= Goodbye, I’m going home.’ ------Der Wegweiser The Signpost Wilhelm Müller Why do I shun the paths Was vermeid’ ich denn die Wege, that other travellers take, Wo die andern Wandrer gehn, and seek hidden paths Suche mir versteckte Stege through snowy, rocky heights? Durch verschneite Felsenhöhn? Truly I have done no wrong Habe ja doch nichts begangen that I should shun people – Daß ich Menschen sollte scheun--- what foolish desire Welch ein törichtes Verlangen drives me into the wilderness? Treibt mich in die Wüstenei’n? Signposts stand on the roads, Weiser stehen auf den Wegen, signposts pointing toward the towns, Weisen auf die Städte zu, and I wander on, relentlessly, Und ich wandre sonder Maßen, restless, yet seeking rest. Ohne Ruh’, und suche Ruh’. I see a signpost Einen Weiser seh’ ich stehen standing immovably before my eyes: Unverrückt vor meinem Blick; I must travel a road Eine Straße muß ich gehen, from which no one has returned. Die noch keiner ging zurück. ------

41 ABOUT THE MUSIC IAN BOSTRIDGE SINGS MOZART AND SCHUBERT

Ihr Bild Her Image Heinrich Heine (1797–1856) Ich stand in dunkeln Träumen I stood in dark dreams Und starrt’ ihr Bildnis an, and stared at her picture, Und das geliebte Antlitz and the beloved countenance Heimlich zu leben began. mysteriously began coming to life. Um ihre Lippen zog sich Around her lips there grew Ein Lächeln wunderbar, a wonderful smile, Und wie von Wehmutstränen and as if from melancholy tears, Erglänzte ihr Augenpaar. her eyes glistened. Auch meine Tränen flossen My tears also flowed Mir von den Wagen herab – down my cheeks – Und ach, ich kann es nicht glauben, and oh, I can’t believe Daß ich dich verloren hab’! that I have lost you! ------Du bist die Ruh You are repose Friedrich Rückert (1788–1866) Du bist die Ruh, You are repose Der Friede mild, and gentle peace. Die Sehnsucht du, You are longing Und was sie stillt. and what quiets it. Ich weihe dir Full of joy and sorrow, Voll Lust und Schmerz I consecrate to you Zur Wohnung hier my eyes and my heart Mein Aug’ und Herz. as dwelling place. Kehr’ ein bei mir, Come in to me, Und schliesse du and softly close Still hinter dir the gate Die Pforten zu. behind you. Treib andern Schmerz Drive all other sorrow Aus dieser Brust. from this breast. Voll sei dies Herz Let my heart Von deiner Lust. be full of your joy. Dies Augenzelt The temple of my eyes Von deinem Glanz is lit Allein erhellt, only by your radiance: O füll’ es ganz. Oh, fill it utterly! ------Romanze: ‘Der Vollmond strahlt’ Romance: ‘The full moon beams’ Wilhelmina Christiane von Chézy (1782–1856) Der Vollmond strahlt auf Bergeshöhn – The full moon beams on the mountain heights – Wie hab ich dich vermisst! how I have missed you! Du süsses Herz! es ist so schön Sweetheart, it is so beautiful Wenn treu die Treue küsst. when true love faithfully kisses. Was frommt des Maien holde Zier? What are May’s fair adornments to me? Du warst mein Frühlingsstrahl! You were my Springtime ray! Licht meiner Nacht, o lächle mir Light of my night, oh smile on me Im Tode noch einmal! once more in death. Sie trat hinein beim Vollmondschein, She entered in the light of the full moon Sie blickte himmelwärts: and gazed heavenwards. ‘Im Leben fern, im Tode dein!’ ‘In life far away, in death all yours!’ 42

Und sanft brach Herz an Herz. and gently heart broke upon heart. English translations © Susan Youens ABOUT THE MUSIC IAN BOSTRIDGE SINGS MOZART AND SCHUBERT

Mozart’s last three symphonies, Nos In the slow movement cross- 39, 40 and 41, were written in the rhythms deepen the mood, and Wolfgang short space of three months in the the ‘sighs’ which appear against Amadeus Mozart summer of 1788. They may have horn chords become a dominant (1756-1791) been intended for the subscription expressive feature of the whole Symphony No.40 in G minor, concerts Mozart scheduled for June movement. It has been suggested K.550 and July 1788, of which only the first that for Mozart the little pairs of I Molto allegro took place, owing to insufficient fluttering demisemiquavers are II Andante subscribers. Symphony No.40 may the flutter of supernatural wings. III Menuetto (Allegretto) have been played in Vienna on 16 The mood is only suspended, IV Allegro assai and 17 April 1791, when a large temporarily, in the G major pastoral orchestra under Salieri performed trio of a Menuetto (minuet) carried a ‘grand symphony’ by Mozart. by powerful rhythms beyond any Mozart’s friends, the clarinettists suggestion of dancing elegance. Johann and Anton Stadler, were The finale opens with the in the orchestra, and it could have upward sweeping figure known been for this concert that Mozart as a ‘Mannheim rocket’, after added clarinet parts to the G minor the famous orchestra of that city. symphony and modified the oboe The development begins with an parts accordingly. extraordinary unison extension of This is the most agitated the main theme, in which Mozart and melancholy of the three touches each of the 12 notes of symphonies. In the 18th century the scale. At the point where the it was almost obligatory to end a movement’s second subject might Mozart in 1789 minor key symphony by turning have been expected to turn to the cheerfully to the major at the end, major, Mozart follows the logic but in this symphony there is never of the whole symphony with an any suggestion that the finale will unrelievedly dark conclusion. not remain fixed in the original David Garrett © 1992 minor mood. As an ABC orchestra, the MSO first The first movement opens with performed Mozart’s Symphony No.40 in July an accompaniment for divided 1940 with Sir Thomas Beecham. The MSO violas, throbbing and passionate, played it most recently with conductor Paul then the first subject is softly Fitzsimon on a regional tour of Victoria in played. The second subject October 2011. speaks of melancholy, in a more Guest musicians serene way, and in the major key. The development seems to Francesca Hiew violin Jenny Khafagi violin pass through every key, and this Danielle Arcaro viola chromatic boldness runs through Ceridwen Davies viola Ann Blackburn oboe the symphony, as though to Matthew Ockenden* guest principal bassoon emphasise the communication of Jenna Breen horn inner emotion. Mark Paine guest principal horn * Courtesy of Australian Opera and Ballet Orchestra

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