PROGRAM: AUSTRALIAN CHAMBER ORCHESTRA APRIL 10 / 7:30 PM BING CONCERT HALL

ARTISTS PROGRAM Australian Chamber Orchestra Franz Joseph Haydn: Symphony No. 83 in G Minor, The Hen (1785) Richard Tognetti, artistic director and Allegro spiritoso lead Andante Martin Fröst, clarinet Menuet (allegretto) and Trio Finale: Vivace

We gratefully acknowledge the generous support : Clarinet Concerto in A Major, K. 622 (1791) of Clinton and Mary Gilliland. Allegro Adagio Rondo

INTERMISSION

Jonny Greenwood: Water (2013) (U.S. premiere)

Wolfgang Amadeus Mozart: Symphony No. 40 in G Minor, K. 550 (1788) Molto allegro Andante Menuetto (allegretto) Allegro assai

PROGRAM SUBJECT TO CHANGE. Please be considerate of others and turn off all phones, pagers, and watch alarms, and unwrap all lozenges prior to the performance. Photography and recording of any kind are not permitted. Thank you.

24 STANFORD LIVE MAGAZINE APRIL 2015 PROGRAM: AUSTRALIAN CHAMBER ORCHESTRA

FRANZ JOSEPH HAYDN (1732–1809) natured that its Parisian audiences quickly SYMPHONY NO. 83 IN G MINOR, dubbed it La poule (The Hen). No one Musicians on Stage THE HEN (1785) is quite sure why. Perhaps they got the idea from a moment, not far into the first In the early 1780s, Franz Joseph Haydn’s movement, in which the first and second Richard Tognetti attention began to turn away from his Satu Vänskä violins, playing alone, launch into an amiable Aiko Goto everyday duties as director of music to the new major-key tune, arguably somewhat Ilya Isakovich Esterházy family to the work of satisfying reminiscent of farmyard scratchings Liisa Pallandi a burgeoning international demand for his and cluckings! Then again, the second Ike See music. For many years, symphonies written movement, Andante, with its repeated-note Alexandra Osborne originally for the Esterházy household theme may have been the source or the Janez Podlesek had been finding their way into concert slightly eccentric, halting Menuet. After Maja Savnik programs not only in nearby but Susanne von Gutzeit all, who can say exactly what, in Haydn’s in Paris and . Now these cities hands, a chicken is meant to sound like? VIOLAS were demanding new symphonies tailor- —© 2015, Australian Chamber Orchestra Christopher Moore made to their audiences and orchestras. Alexandru-Mihai Bota Accordingly, in 1782 Haydn produced his Nicole Divall first symphonies (Nos. 76–78) especially for WOLFGANG AMADEUS MOZART London conditions. Apparently this meant (1756–1791) CELLOS limiting the difficulty of the wind parts in CLARINET CONCERTO IN A MAJOR, Timo-Veikko Valve particular, for he wrote of the works, “They K. 622 (1790) Julian Thompson Paul Stender are all very easy, and without too much concertante for the English gentlemen!” The Clarinet Concerto in A Major dates DOUBLE BASS from the last months of Wolfgang Amadeus Maxime Bibeau Three years later, in 1785, when Haydn Mozart’s life and stands as the last purely took on a commission from Paris’ leading instrumental work the produced; FLUTES concert organization, the Concert de la Loge only the unfinished Requiem Mass in D Sally Walker Olympique, for a set of six new symphonies, Minor and Laut verkünde unsre Freude, K. Alistair Howlett he faced an entirely different set of 623, (known as the Little Masonic Cantata) received the composer’s attention between OBOES conditions. The large amount of solo writing Shefali Pryor for wind instruments in the Paris symphonies the completion of the concerto in October Huw Jones (Nos. 82–87) suggests that the French wind 1791 and his sudden death on December players were more adept than their English 5. Like almost all of his late music for BASSOONS counterparts. Instead, it was the Paris strings clarinet, Mozart’s concerto was inspired by Jane Gower that might conceivably have posed a problem and written for the virtuoso Anton Stadler, Jackie Hansen for Haydn. At home, when he tried out the a slightly seedy character and a close—if newly written symphonies with the court unreliable—friend of Mozart’s, who shared HORNS Jonathan Williams orchestra, its small string section of fewer the composer’s love of food, drink, and (to Alex Love than a dozen players must have guaranteed the dismay of Mozart’s family) gambling. the works a certain intimacy. In Paris, on the Stadler’s artistry, however, won universal KEYBOARD other hand, they would be performed by a approval and acclaim, sometimes rhapsodically Jacob Greenberg string force close to five times that number, so: “Never have I heard the like of what you which included more than forty violins and no contrive with your instrument,” wrote critic TANPURA fewer than twelve double basses! What sort Johann Friedrich Schink. “Never should I have Vinod Prasanna of sound such a huge, bass-heavy band would imagined that a clarinet might be capable of STAFF have produced in the opening tutti of this imitating the human voice as faithfully as it Timothy Calnin, general manager G-minor symphony can only be imagined. was imitated by you. Verily, your instrument Megan Russell, tour manager has so soft and so lovely a tone that none Simon Lear, sound engineer Despite such a stern beginning, Haydn’s can resist it who has a heart, and I have symphony proved so remarkably good- one, dear Virtuoso. Let me thank you!”

26 STANFORD LIVE MAGAZINE APRIL 2015 To complement his prodigious talents and advance the development of his instrument, Stadler developed a clarinet with an extended lower register, completing its deepest octave by adding length and extra keys. Though he didn’t have a special name for it (presumably hoping that it would simply become the standard clarinet), it is now referred to as a “basset clarinet.” It was for this extended instrument that Mozart wrote his concerto. Unfortunately, the original manuscript was lost soon after its completion, and so the version known to audiences ever since is a slightly Cantor Arts Center - Stanford Live: Jan/Feb & March 2015 Programs adjusted transcription for standard clarinet made by publishers in the years following Due: 12/5/14 Mozart’s death. In the last 50 years or so, scholars and performers have attempted to f reconstruct the original version, but none o esy t

of these has gained much traction. Barring ou r C . t n i r

a new manuscript discovery, the version for p i standard clarinet will continue its primacy. ash t igment P

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strings but a wind section of just two flutes f i L s t Kl e ’ and two horns, sparing the solo clarinet y od a Robe r T

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similar timbre. Or perhaps timbres would Pigment 2008. (detail), Azit a from t ,

t be more accurate, as the clarinet’s greatest 5 ti s # r a d he strength is its wide range, each register t Untitl e of which has a distinct and striking voice. Today’s Life and War and Life Today’s ashti , Mozart took full advantage of this timbral abundance, including extended sections to Gohar D showcase each of them—from the crystalline from the series upper register to the husky resonance Untitled #5 of the deepest—as well as passages that emphasize the contrast by requiring the soloist to quickly jump between registers. Gohar Dashti, © Gohar Dashti Boston. and Robert Klein Gallery, Azita Bina, Courtesy of the artist, print. The concerto is also a tribute to the clarinet’s and Mozart’s lyric abilities. Judging from Schink’s praise of Stadler’s voice-like playing, this work was perfectly SHE WHO TELLS A STORY designed for its intended soloist; at times, its WOMEN PHOTOGRAPHERS FROM IRAN AND THE ARAB WORLD ravishing music sounds like it was written for January 28 – May 4 orchestra and voice—if that voice somehow had the combined range of a baritone, CANTOR ARTS CENTER AT STANFORD UNIVERSITY 328 LOMITA DRIVE • STANFORD, CA • 94305 tenor, mezzo-soprano, and soprano. 650-723-4177 • MUSEUM.STANFORD.EDU

—© 2013, Jay Goodwin The exhibition was organized by the Museum of Fine Arts, Boston. We gratefully acknowledge support for the exhibition’s presentation at Stanford from the Clumeck Fund and the Mark and Betsy Gates Fund for Photography.

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JONNY GREENWOOD (B. 1971) fretless lutes, which are played in these progressively detune; and the faster phrases in WATER (2013) performances by one musician on one the keyboard, winds, and upper strings make tanpura, with the sound of the second use, where possible, of note bending. This, Jonny Greenwood joined the band instrument produced electronically), and like earlier passages in free rhythm, creates an Radiohead while still at school in the U.K. and strings. The score has as a superscription effect of deliquescence, illustrating both Larkin’s left his university after one term to pursue the final couplet from British poet Philip image of light and water and Greenwood’s a recording career with Radiohead for the Larkin’s short lyric “Water” from The Whitsun cultivation of the ephemeral nature and the EMI label. A one-time violist, Greenwood’s Weddings. The poem begins as follows: “infinite variability” of live performance. early musical interests included contemporary —© 2014, Gordon Kerry like Olivier Messiaen and György If I were called in Ligeti; the influence of the former is evident To construct a religion in the use that Greenwood made of the I should make use of water. WOLFGANG AMADEUS MOZART ondes Martenot (an electronic instrument (1756–1791) beloved of Messiaen) on Radiohead’s It ends with an image of a glass of clear water: SYMPHONY NO. 40 IN G MINOR, K. 550 immaculately engineered album Kid A (1788) (2000) and the slewing, ondes-like string Where any angled light writing that creates a dissolving sheen of Would congregate endlessly. Nine, four, 104: numbers readily associated sound toward the end of tracks like “How to with symphonic output from some masters Disappear Completely.” His first published Greenwood’s work begins with five overlapping of the form. Forty-one, too, if we don’t composition, smear, features two ondes ostinatos, or repeated patterns, in 6/4 time delve too deeply into the various numbering Martenots and ensemble and has been in the violins and keyboard. Each figure is systems of Mozart’s own work in this area. In recorded by the London Sinfonietta. restricted to a few notes from the C-major fact, Mozart’s “numbered” symphonies go up Lydian scale (that is, with an F-sharp in the to 50, and there are plenty more if you add Greenwood has subsequently been mix), so the texture, while active, is essentially the doubtful or spurious ones, the incomplete composer-in-residence with the BBC Concert consonant, like ripples in water. This music ones, and the lost ones. But within this jungle Orchestra and more recently the London adds long notes from lower strings and the of Köchel-Verzeichnis numbers is the simple Contemporary Orchestra. He has composed tanpuras, which outline C-major tonality in free fact that numbers 39, 40, and 41 were the in a variety of classical genres and in 2007 was rhythm throughout the piece. Flutes and violas last that he composed, in a six-week blaze of nominated for Breakout Composer of the add chromatic coloring, and ornate figures creative endeavor in the summer of 1788. Year by the International Film Music Critics from the solo first violin lead to the work’s Association. His film scores include Bodysong, first major climax. The section continues with Mozart had written symphonies from the age There Will Be Blood, Norwegian Wood, We tutti strings contrasting with leaner ensemble of nine, when he made the acquaintance of Need to Talk About Kevin, and The Master. episodes, increasingly elaborate solo writing, the galant (a musical style stemming from the and an exploration of the icy timbre of string rococo movement in the 1700s) symphonist Water is the result of collaboration with harmonics. This last sound is used for a Johann Christian Bach in London. From Chamber Orchestra when passage in which the players are given rhythmic these modest, three-movement beginnings, Greenwood was in residence with the freedom to create glinting pileups of sonority. Mozart developed the form substantially over orchestra in 2013. Writing in , the next 15 years, integrating bolder thematic Greenwood describes composing “for A section marked “moderato” follows, writing and textures into a grander, four- concerts instead of recordings, which is a beginning with a simple two-part, but dissonant, movement plan. By the time he left Salzburg, new way of thinking about music for me…I idea in 3/8 that gathers in intensity and volume Austria, at the age of 24, he had completed love the impermanence of the music live: it’s as it spreads through the orchestra. This issues more than 40 symphonies, the last being—in played in the room—which is itself infinitely in a section of extended techniques for the the official numbering system—Symphony variable from one concert to another— strings, such as bowing behind the bridge and No. 34 in C Major, K. 338. His final years, and then it’s gone, soaked into the walls. striking muffled strings with a guitar plectrum. based in Vienna, yielded only six more Unlike recordings, it isn’t identical to the These provide new rhythmic ostinatos, which surviving symphonies. But each of them has previous performance or the next one.” lead to a texture of simple rhythm but closely a stature and character that indicates a new chromatic harmony. The final section is in a maturity in his approach to the form—and Water is scored for piano and keyboard, slow 3/8, where cluster chords swell and recede which is matched in the more numerous two flutes, two tanpuras (long-necked in the orchestra’s middle register; the tanpuras Viennese piano concertos (17 in all).

28 STANFORD LIVE MAGAZINE APRIL 2015 Mozart’s time in Vienna seems to us now version—played here—also leaves out as an extraordinary period of lofty, almost clarinets from the woodwind complement. haphazard brilliance combined with prosaic, The elegance and inventiveness of the domestic woes. A stream of sublime works— first movement’s material has justly made Figaro; Don Giovanni; six piano concertos it one of the most recognizable, beloved in 1784 alone; a symphony composed “at movements of the classical repertoire. The breakneck speed” in Linz, Austria, “because opening violin tune is, in itself, a gem of I have not a single symphony with me”— lilting simplicity and balance. But it is how vied for Mozart’s attention with constant Mozart treats it that lifts it into the realm of financial problems, illness, the pressures the sublime. First, he doubles the melody of an enlarging family, and successive at the octave in the second violins. Then moves into more modest apartments. His the violas’ chugging accompaniment is letters to the merchant, musician, and divided too, above a firm, punctuated bass fellow Freemason Michael Puchberg, in line. And when the tune is repeated after the same months that he wrote these last the first tutti, sustained wind chords give it symphonies, are all about requests for extra transforming color. Treatment of the funds, landlord debts, and dealings with contrasting, chromatic second subject is pawnbrokers. And just three days after the equally adept, with strings and wind playing 39th symphony was completed on June 26, fragments alternately, but in its immediate 1788, his young daughter, Theresia, died. repeat those alternations are reversed.

After returning from the Prague premiere The 6/8 siciliana-style Adagio is masterful for of Don Giovanni in November 1787, Mozart its interplay of orchestral colors—winds really was offered the post of kammermusicus at do have parity with the strings here—and American Conservatory Theater • Berkeley the Viennese court. Although the salary of motivic integration of its principal rhythmic Repertory Theatre • Broadway San Jose • California Shakespeare Theater• San Francisco 800 gulden was 1,200 less than Christoph characters, the straight quavers and the Ballet • San Francisco Opera • SFJAZZ • Stanford Willibald Gluck, recently dead, had been paired quick notes. There is an antique, Live• TheatreWorks • Weill Hall at Sonoma State receiving, it was welcome income and a Baroque feel to the Menuetto, perhaps a SFLGReach 111213 SLA034a 1_6v.pdf valued increase of Mozart’s standing in result of Mozart’s growing acquaintance Viennese musical circles. Much of his music, of the works of Handel and Bach at Baron SophiSticated therefore, in early 1788 was what was required von Swieten’s musical gatherings in Vienna of him in this courtly post—insignificant dance (for which Mozart was later to arrange audience University • 5th Avenue Theatre • ACT Theatre • music for aristocratic balls. Perhaps it was Messiah and Acis and Galatea). The Book-It Repertory Theatre • Broadway Center for this leisurely start to the year that enabled G-major trio breaks up the texture into the Performing Arts • Pacific Northwest Ballet • Paramount & Moore Theatres • Seattle Children’s Mozart to invest so much creative energy in strings and wind groups, and the sound of Theatre • Seattle Men’s Chorus • Seattle Opera the symphonies midyear. After the late June Handel is again recalled when horns join • Seattle Repertory Theatre •Seattle Shakespeare completion of the E-flat-major work K. 543, the strings in paired thirds and fourths. Company • Seattle Symphony • Seattle Women’s Chorus • Tacoma City Ballet • Tacoma the G-minor symphony was signed off on Philharmonic • Taproot Theatre • UW World July 25 and the Jupiter on August 10. The final movement picks up on the Series at Meany Hall • Village Theatre Issaquah & Everett • American Conservatory Theater• Menuetto’s verve and is initially dominated Berkeley Repertory Theatre• Broadway San Jose• G minor was the key of Mozart’s only other by an exchange of piano and forte, strings California Shakespeare Theater• San Francisco minor-key symphony, K. 183, written in and tutti phrases. At the double bar, Mozart Ballet • San Francisco Opera • SFJAZZ • Stanford 1773. But in K. 550 it is actually the E-flat- launches into an audacious development put your business here major Adagio that has the darkest, most of this material—a succession of disjointed Live • TheatreWorks • Weill Hall at Sonoma State University • 5th Avenue Theatre • ACT Theatre somber hue; G minor, in the opening diminished intervals leading into a broad • Book-It Repertory Theatre • Broadway Center Allegro, the Menuetto, and final Allegro, sweep of imitative exchanges that pass appears in a cheerful, gracious guise. This through a number of keys before reaching is helped by the scoring, which omits the the recapitulation’s home of G minor. potentially martial effect of trumpets —© 2015, Australian Chamberad proofs.indd Orchestra 1 11/12/13 4:23 PM and timpani and which in Mozart’s first www.encoremediagroup.com

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EAP House Ad Reach 1_6V 3.19.13.indd 1 3/20/13 3:00 PM PROGRAM: AUSTRALIAN CHAMBER ORCHESTRA

AUSTRALIAN CHAMBER ORCHESTRA contract with leading classical music label BIS. “The Australian Renowned for inspired programming and The ACO presents performances to more unrivalled virtuosity, energy, and individuality, than 9,000 subscribers across . Chamber Orchestra’s the Australian Chamber Orchestra’s When touring overseas, the orchestra rock-band verve is performances span popular masterworks, consistently receives hyperbolic reviews bringing a new kind of adventurous cross-art-form projects, and and return invitations to perform on the freedom to the concert pieces specially commissioned for the world’s great music stages, such as Vienna’s ensemble. Musikverein, ’s , hall.” —The Guardian London’s Southbank Centre, and New York Founded in 1975, the ensemble comprises City’s Carnegie Hall. Mr. Tognetti began his studies in his home leading Australian and international string town with , then with Alice musicians. The orchestra performs symphonic, In 2005, the ACO inaugurated a national Waten at the Conservatorium, chamber, and electroacoustic repertoire, education program that includes a mentoring and at the Bern Conservatory, collaborating with an extraordinary range of program for Australia’s best young string where he was awarded the Tschumi Prize artists from numerous artistic disciplines that players and education workshops for as the top graduate soloist in 1989. Later include renowned soloists Steven Isserlis, audiences throughout Australia. that year, he led several performances of Dawn Upshaw, Katie Noonan, and Teddy Tahu the Australian Chamber Orchestra and Rhodes and such diverse artists as entertainer that November was appointed as the , photographer Bill Henson, orchestra’s lead violin and, subsequently, and cartoonist . artistic director. He is also artistic director of the Festival Maribor in . Australian violinist Richard Tognetti, who has been at the helm of the Australian Chamber Mr. Tognetti performs on period, Orchestra (ACO) since 1989, has expanded modern, and electric instruments, and his the orchestra’s national program, spearheaded numerous , compositions, vast and regular international tours, injected and transcriptions have expanded the unprecedented creativity and unique artistic chamber orchestra repertoire and been style into the programming, and transformed performed throughout the world. As the group into the energetic ensemble for RICHARD TOGNETTI director or soloist, Mr. Tognetti has which it is now internationally recognized. The year 2015 marks the 25th year of Richard appeared with many of the world’s leading Tognetti’s artistic directorship of the Australian orchestras, which include most recently the The ACO has made many award-winning Chamber Orchestra. Born and raised in Orchestra of the Age of Enlightenment recordings and has a current recording in New South Wales, Australia, and the .

30 STANFORD LIVE MAGAZINE APRIL 2015 Mr. Tognetti is an acclaimed composer Highlights of the 2014–15 season include Mr. Fröst has an extensive discography. and has also worked on numerous film debuts with the Tonhalle-Orchester Zürich His two most recent releases on BIS are soundtracks, such as The Water Diviner (Herbert Blomstedt), Orchestre de la Suisse an all-Mozart CD (which features the (2015), Russell Crowe’s directorial debut. Romande (Neeme Järvi), and Houston Clarinet Concerto, in which he directs Mr. Tognetti was appointed an Officer Symphony (Andrés Orozco-Estrada). The Deutsche Kammerphilharmonie of the Order of Australia in 2010. He Mr. Fröst also returns to the Rotterdam Bremen, and the Kegelstatt Trio with Leif holds honorary doctorates from three Philharmonic Orchestra (Thomas Søndergård) Ove Andsnes and Antoine Tamestit) and Australian universities and was made an and the Cincinnati Symphony Orchestra Brahms’ Clarinet Quintet (for which he Australian National Living Treasure in (Louis Langrée), where he is artist-in-residence. reunites with Janine Jansen, Boris Brovtsyn, 1999. He performs on a 1743 Guarneri del Maxim Rysanov, and Torleif Thedéen). Gesù violin, lent to him by an anonymous This season, Mr. Fröst is artist-in-residence at High points of his 2013–14 season included Australian private benefactor. He has Amsterdam’s Concertgebouw, the Gothenburg debuts with the Royal Concertgebouw given more than 2,500 performances with Symphony, and London’s Wigmore Hall. Orchestra (Xian Zhang), Orchestre National the Australian Chamber Orchestra. In the future, he will be artist-in-residence de France (David Zinman), National for the Royal Stockholm Philharmonic and Symphony Orchestra (Osmo Vänskä), Netherlands Philharmonic Orchestras. and Orpheus Chamber Orchestra.

Upcoming tours include Gewandhausorchester The year 2015 marks the 10th season of Leipzig (Riccardo Chailly), Camerata Vinterfest in Mora, Sweden, of which Mr. Salzburg (Louis Langrée), and the Academy Fröst is artistic director. He is also artistic of St. Martin in the Fields. Mr. Fröst also director of the International Chamber undertakes tours to the United States Music Festival in Stavanger, Norway.• with the Australian Chamber Orchestra and to Spain with the Swedish Chamber Orchestra (Thomas Dausgaard).

MARTIN FRÖST Mr. Fröst additionally works as a conductor in In May 2014, Martin Fröst received the Léonie association with the Norrköping Symphony Sonning Music Prize, one of the world’s highest and with Saint Paul Chamber Orchestra, with musical honors. Mr. Fröst is the first clarinettist whom he features in a weekend residence to be given the award and joins a prestigious at Cal Performances in Berkeley, California. list of previous recipients that includes Igor Last season he had his U.S. debut Stravinsky, Daniel Barenboim, and Simon Rattle. with the Detroit Symphony Orchestra.

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