ART IS HOW WE DECORATE SPACE. Requiem MUSIC IS HOW WE DECORATE for a King MASTER 6 TIME. SATURDAY 13 JUNE 7.30PM FEDERATION CONCERT HALL

Johannes Fritzsch conductor INTERVAL TSO Chorus Duration 20 mins BERLIOZ Le roi Lear CHERUBINI Requiem in C minor Duration 14 mins Introit and Kyrie Graduale BEETHOVEN Sequentia (Dies irae) Symphony No 1 Offertorium Adagio molto – Allegro con brio Sanctus Andante cantabile con moto Pie Jesu Menuetto (Allegro molto e vivace) – Trio – Agnus Dei Menuetto Finale (Adagio – Allegro molto e vivace) Duration 47 mins Duration 24 mins This concert will end at approximately 9.30pm. utas.edu.au/125

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UTMC14622_125 year TSO partnership_A5_V4_CC.indd 1 22/01/15 1:03 PM HECTOR BERLIOZ (1803-1869)

Le roi Lear – Overture, Op 4 disinherited by her father when she spurns insincerity, yet truly loving Lear and nursing In his memoirs, Berlioz tells amusingly how, him back to sanity. in Nice in 1831, he became suspect to the Berlioz’s King Lear is not program music. local chief of police. Under interrogation, But it is full of emotions rendered in music. he insisted he was no dangerous political Berlioz was one of the first Romantic JOHANNES FRITZSCH TSO CHORUS subversive, nor a painter, but a composer. composers to go one step beyond the “But you are drawing plans?” “Yes; plans overtures of Beethoven and Weber, creating for an overture for King Lear. The designs stand alone pieces not for the theatre but Johannes Fritzsch was born in Meissen, The TSO Chorus is an auditioned group of and instrumentation are ready, and I for concert performance, with the title of Germany. In 1982 he was appointed think the beginning will be something approximately 70 voices. June Tyzack has a literary work in the background. Berlioz’s Second Kapellmeister at the Volkstheater tremendous.” “Whom do you mean by King works of this type include Les francs-juges Rostock and in 1987 took up the position been Chorusmaster since 2001 and she Lear?” – “Alas, sir. He is an old fellow who and Waverley and, from the same year as of Kapellmeister with the Staatsoper is supported by Assistant Chorusmaster was King of England…eighteen hundred King Lear, Rob Roy. Dresden, Semperoper, where he Andrew Bainbridge. Founded in 1992 to years ago, according to Shakespeare.” Does the pizzicato chord at the chief conducted more than 350 opera and present concert performances of opera, the On his way back to France from his first final climax represent, as Richard Strauss ballet performances within five years. stay in Italy as winner of the Prix de Rome, TSO Chorus in its first five years performed thought, something snapping in the Following German reunification he was Berlioz for the first time read this play by deranged king’s brain? Berlioz never said appointed Chief Conductor and Artistic La traviata, La bohème, Madama Butterfly, his hero, Shakespeare. Yet Donald Tovey so – he only revealed that the repeated Director at the Städtische Bühnen and the Carmen and La cenerentola. Since then warns against trying to connect the music kettledrum figure heralds not only the Philharmonisches Orchester in Freiburg. with Shakespeare’s Lear. Berlioz, he implies, the repertoire has broadened to include angry-sounding beginning of the fast The German Music Publishers Association composed a magnificent piece of orchestral the requiems of Mozart, Fauré, Brahms and section of the overture, but also the entry honoured his 1998-99 season with the rhetoric in tragic style “and hastily named it of Lear into his council chamber for the Sculthorpe; masses by Haydn, Puccini and after the most powerful tragedy he had read”. distinction of ‘Best Concert Program’. scene of the division of the kingdom. If Schubert; and symphonies by Beethoven, He has performed with many orchestras, Berlioz called his time in Nice “the three Berlioz’s personal and powerful mastery both within Germany and internationally. Mendelssohn and Vaughan Williams. Many happiest weeks of my life”. It was the of the orchestra evokes other images, These include the Hamburg Symphony performances are broadcast on ABC Classic upside of an emotional rollercoaster ride. Shakespearean or not, such as the storm Orchestra; Düsseldorf Symphony Orchestra; He had rushed back from Rome when he FM. In addition to performing with the TSO on the heath, well and good. As a Romantic Philharmonie Essen; National Theatre heard from Paris that his betrothed, Marie he would not object! Orchestra, Mannheim; Staatskapelle and touring regional Tasmania, the TSO Moke, had married Camille Pleyel. He © David Garrett 2015 Schwerin; Berliner Sinfonie-Orchester; Chorus is frequently invited to augment got as far as Nice, where he abandoned his jealous and murderous plans for Staatskapelle Dresden; Norddeutsche interstate symphonic choirs. Since 2006 the The Tasmanian Symphony Orchestra’s only prior revenge: “Life and joy came running, Philharmonie Rostock; Staatsorchester TSO Chorus has performed at the Sydney performances of this work were with conductor Halle; many major orchestras throughout music embraced me.” Jukka-Pekka Saraste in Hobart and Launceston Opera House, the Adelaide Festival and on 17 and 18 September 1986. Scandinavia and Asia; and all the major Shakespeare’s King Lear is the tragedy of Australian symphony orchestras. He has Perth Concert Hall. In 2012 members of the the ageing king who divides his kingdom worked with the Saxon State Opera, TSO Chorus made their international debut between his daughters, in proportion to Cologne Opera, Deutsche Oper Berlin, augmenting WASO Chorus in performances the eloquence of their declaration of love, Komische Oper Berlin, Opéra Bastille, Graz and whose reason cracks in the face of of Brahms’ Ein deutsches Requiem in Hong Opera, the Royal Swedish Opera, Malmö the vicious ingratitude of the insincere Opera and Opera Australia, in productions Kong with Jaap van Zweden and the Hong daughters. Could the noble and indignant including Wozzeck, Don Giovanni, Kong Philharmonic Orchestra. Concerts sentences of the basses at the overture’s beginning represent the stubborn, once Carmen, Tosca, Rigoletto, Salome and Der with the TSO in 2015 include the Mozart masterful old king? (Clearly Berlioz is Rosenkavalier. He recently held the position Requiem and Cherubini’s Requiem in C remembering the cello and bass recitatives of Chief Conductor of the Graz Opera and minor and, at the Sydney Opera House, the in Beethoven’s Ninth Symphony.) The Graz Philharmonic Orchestra. From 2008-13 Berlioz Te Deum with the Sydney Symphony melody for the oboe may have something he was Chief Conductor of the Queensland to do with the character of Cordelia, Symphony Orchestra and is now Conductor and Sydney Philharmonia Choirs. Laureate of that orchestra.

44 45 LUDWIG VAN BEETHOVEN (1770-1827) LUIGI CHERUBINI (1760–1842)

Symphony No 1 in C, Op 21 In characteristically egalitarian fashion, Requiem in C minor himself from his now-failed career in Adagio molto – Allegro con brio Beethoven passes over the first violins, Introit and Kyrie opera, but the Requiem is nonetheless a and lets the seconds start the Andante highly dramatic piece of writing. Cherubini Andante cantabile con moto Graduale second movement. He also smuggles in establishes a solemn and sombre mood Menuetto (Allegro molto e vivace) – Trio – trumpets and kettledrums (hitherto usually Sequentia (Dies irae) right from the start with the Introit and Menuetto silent in slow movements), though their Offertorium Kyrie (which he combines into a single Finale (Adagio – Allegro molto e vivace) rumblings do little to disturb the prevailing Sanctus movement): there are no violins, trumpets, serenity. The surging minuet is perhaps trombones, oboes or clarinets in this Beethoven himself organised the concert more reminiscent of the dancing horses of Pie Jesu movement, just the darker tone colours of at the Imperial Court Theatre, Vienna, on Vienna’s Spanish Riding School than the Agnus Dei the horns, bassoons, muffled timpani and 2 April 1800, at which he introduced his first Redoutensaal for which Beethoven also lower strings. Bassoons and cellos begin “Grand Symphony”. He also played one of composed ballroom dances. The “military Posterity can be distinctly ungrateful. with a single, searching line of unison his (so far) two piano concertos, improvised band” shifts the scene decisively to the Luigi Cherubini dominated the French melody, full of hesitations and silences, but reportedly “in a masterly style”, and paid parade ground in the Trio. music scene for half a century; Beethoven divided viola and cello parts add a warmth tribute to his two great precursors by himself hailed Cherubini as the greatest Berlioz called the finale, with its curious to the sound when the choir begins to sing. programing a symphony by the late Mozart, master of the age. Yet today, his music is Adagio upbeat from the violins, “a genuine and excerpts from Haydn’s new oratorio, barely heard. instance of musical childishness”. But “CHERUBINI PAINTS THE HORRORS OF The Creation. Gottfried van Swieten, who Beethoven’s Viennese audience would Part of the reason is that his fame rested JUDGMENT DAY IN FULL COLOUR: THE wrote the words for Haydn’s oratorio, was have been charmed: bright, energetic on a surprisingly small body of work. Only LAST TRUMPET RINGING OUT (AMPLIFIED also one of Beethoven’s most enlightened music from the same mould as Mozart’s two of his operas were popular successes; BY THE TROMBONES AND HORNS); supporters. Swieten had encouraged first and Haydn’s popular finales, proof that the the one generally acknowledged as his THE AWED HUSH AS DEATH ITSELF IS Mozart, and more recently Beethoven, to brash newcomer (Haydn dubbed him “the masterpiece, Médée, had only a lukewarm ASTOUNDED BY THE SIGHT OF CREATION explore the music of Bach and Handel, RISING TO MEET ITS JUDGE.” Grand Mogul”) was cut out for success. reception at the box office, though it broke whose fugues Beethoven went on to use as new ground in its intense exploration of Graeme Skinner © 2014 models during his intensive counterpoint the dark side of the characters’ emotions. There is also warmth, even tenderness, studies with Haydn and Salieri. Beethoven The operas which were successful were in the Graduale; with its lilting rhythms, duly dedicated the first printed edition of The Tasmanian Symphony Orchestra first performed this work with conductor John spectacularly so – Lodoïska enjoyed a run it has an almost lullaby-like feel. But that this symphony to Swieten, and its second Farnsworth Hall in Hobart, Burnie and of 200 performances – but with his own mood is abruptly shattered when the movement begins in quasi-fugal form. Devonport on 3-9 October 1950 and, opera company disbanded in the wake of “Dies irae” erupts in a blaze of brass and most recently, with Sebastian Lang-Lessing the 1789 Revolution, and a general swing The sole critic to review the première in Hobart on 26 November 2011. a single, massive stroke on the tam- thought the only flaw was “that the wind in public taste towards Italian opera, by the tam – the instrument’s only note in the instruments were used too much”, so that early 1800s it was clear to Cherubini that whole Requiem. Cherubini paints the the symphony sounded “more like it was his composing career was over. Hit hard by horrors of Judgment Day in full colour: being played by a military band than an depression, he wrote nothing for two years. the Last Trumpet ringing out (amplified orchestra”. Actually Beethoven’s “band” Then in 1809, he was prevailed upon to by the trombones and horns); the awed of 13 (woodwinds, brass, and drums) was write a piece for the local church. The hush as Death itself is astounded by the no larger numerically than that for Haydn’s experience opened up a new musical sight of creation rising to meet its judge. last symphony. But whereas Haydn usually horizon for him, and soon he was writing The movement ends with a slow, almost let the strings predominate, Beethoven again, but now almost exclusively sacred funereal procession for the “Lacrimae”, continually pushes the winds forward. music. In 1815 the monarchy was restored; its heavy tread finally fading away into the distance. The sustained wind chords that open the the new king, Louis XVIII, commissioned short Adagio are the first occasion for Cherubini to write a Requiem in memory The Offertorium text provides more the strings to be reduced to a supportive of his brother, Louis XVI, who had gone to opportunities for vivid word painting, pizzicato. As the genial Allegro gets under the guillotine in 1793. and Cherubini takes full advantage of way, other novelties include recurring The Requiem is scored for a full choir and them: after a regal opening in honour of episodes in which Beethoven gives the full orchestra, but – unusually for the time the “king of glory”, jagged, almost whip- impetus to the orchestral basses, and, – it has no solo parts: this was perhaps an like dotted rhythms in the strings recall the at the very end, his unusually insistent attempt on Cherubini’s part to distance “pains of hell”; the vocal lines descend reiteration of the closing C. to the depths of the “deep abyss”; the

46 47 archangel Michael hovers in the heavens The Requiem was an instant success, Introit and Kyrie Introit and Kyrie as the violins play in their upper registers and it has remained one of Cherubini’s and the basses disappear. A bold and most admired works. It was performed at Requiem aeternam dona eis Domine: Grant them eternal rest, O Lord, confident “Quam olim Abrahae”, set as Beethoven’s memorial service, but not at et lux perpetua luceat eis. and let everlasting light shine upon them. a fugue, as was traditional, frames a broad Cherubini’s own funeral: the Archbishop Te decet hymnus, Deus, in Sion, To thee, O God, praise is meet in Zion, and stately “Hostias”. of Paris had forbidden its use in church et tibi reddetur votum in Jerusalem: and prayer shall go up to thee in Jerusalem. services because it uses female singers. exaudi orationem meam, Give ear to my supplication, After a dignified Sanctus, Cherubini ad te omnis caro veniet. unto thee shall all flesh come. Cherubini got around the problem by provides a rather subdued, even bleak writing a second Requiem, for male Pie Jesu in which the individual vocal lines Kyrie eleison, Lord, have mercy upon us. voices only. seem to be caught up each in their own Christe eleison, Christ, have mercy upon us. meditations. The Requiem ends with a Natalie Shea © 2015 Kyrie eleison. Lord, have mercy upon us. combined Agnus Dei and Lux aeterna, and perhaps the most startling musical texture The Tasmanian Symphony Orchestra and TSO Graduale Graduale of all, as the voices abandon melody Chorus have performed this work once before, with conductor David Porcelijn in Hobart on Requiem aeternam dona eis Domine: Grant them eternal rest, O Lord, entirely and simply chant their final lines 17 July 1999. et lux perpetua luceat eis. and let everlasting light shine upon them. on a single pitch, and the music fades In memoria aeterna erit justus, The just shall always be remembered, into silence. This, according to Berlioz, ab auditione mala non timebit. and shall fear no evil report.t “surpasses everything that has ever been written of the kind”. Sequentia (Dies irae) Sequentia (Dies irae)

Dies irae, dies illa The day of wrath, that day solvet saeclum in favilla, shall dissolve the world in ashes, LOUIS XVI AND MARIE ANTOINETTE MEMORIAL, CATHEDRAL BASILICA OF ST DENIS teste David cum Sibylla. as witnesseth David and the Sibyl.

Quantus tremor est futurus, What trembling shall there be quando Judex est venturus, when the Judge shall come cuncta stricte discussurus! who shall thresh out all thoroughly!

Tuba mirum spargens sonum The trumpet, scattering a wondrous sound per sepulcra regionum, through the tombs of all lands, coget omnes ante thronum. shall drive all unto the Throne.

Mors stupebit et natura Death and nature shall be astounded cum resurget creatura, when creation shall rise again Judicanti responsura. to answer the Judge.

Liber scriptus proferetur, A written book shall be brought forth in quo totum continetur, in which shall be contained all unde mundus judicetur. for which the world shall be judged.

Judex ergo cum sedebit, And therefore when the Judge shall sit, quidquid latet apparebit, whatsoever is hidden shall be manifest: nil inultum remanebit. and nothing shall remain unavenged.

Quid sum miser tunc dicturus, What shall I say in my misery? quem patronum rogaturus, Whom shall I ask to be my advocate, cum vix justus sit securus? when scarcely the righteous may be without fear?

Rex tremendae majestatis, King of awful majesty, qui salvandos salvas gratis, who freely saves the redeemed: salva me, fons pietatis. save me, O Fount of Pity.

Recordare, Jesu pie, Remember, merciful Jesus, quod sum causa tuae viae that I am the reason for thy journey, ne me perdas illa die. do not destroy me on that day.

48 49 Quaerens me, sedisti lassus, Seeking me didst thou sit weary, Offertorium Offertorium redemisti crucem passus: thou didst redeem me, suffering the Cross: tantus labor non sit cassus. let not such labour have been in vain. Domine Jesu Christe, Rex gloriae, O Lord Jesus Christ, King of glory, libera animas omnium fidelium defunctorum deliver the souls of all the departed faithful Juste Judex ultionis, O just Judge of Vengeance, de poenis inferni, from the torments of Hell, donum fac remissionis give the gift of redemption et de profundo lacu: and from the deep pit; ante diem rationis. before the day of reckoning. libera eas de ore leonis, deliver them from the mouth of the lion; ne absorbeat eas tartarus, that Hell may not swallow them up, Ingemisco tamquam reus: I groan as one guilty; ne cadant in obscurum: and that they may not fall into darkness. culpa rubet vultus meus: my face blushes at my sin. sed signifer sanctus Michael But may the holy standard-bearer Michael supplicanti parce Deus. Spare the supplicant, O God. repraesentet eas in lucem sanctam. bring them into the holy light; Quam olim Abrahae promisisti which thou didst promise of old to Abraham Qui Mariam absolvisti, Thou who didst absolve Mary et semini ejus. and his seed. et latronem exaudisti, and hear the prayer of the thief, Hostias et preces tibi, Domine, We offer unto thee, O Lord, mihi quoque spem dedisti. hast given me hope too. laudis offerimus: sacrifices and prayers of praise; tu suscipe pro animabus illis, do thou receive them on behalf of those souls Preces meae non sunt dignae, My prayers are not worthy, quarum hodie memoriam facimus: whom we commemorate this day. sed tu bonus fac benigne, but thou, who art good, show mercy, fac eas, Domine, Make them, O Lord, ne perenni cremer igne. lest I burn in everlasting fire. de morte transire ad vitam. to cross over from death to life Quam olim Abrahae promisisti which thou didst promise of old to Abraham Inter oves locum praesta Give me a place among the sheep, et semini ejus. and his seed. et ab haedis me sequestra, and separate me from the goats, statuens in parte dextra. setting me on the right hand. Sanctus Sanctus When the damned are confounded Confutatis maledictis, Sanctus, sanctus, sanctus, Holy, holy, holy, and consigned to sharp flames, flammis acribus addictis, Dominus Deus Sabaoth! Lord God of Hosts. call me with the blessed. voca me cum benedictis. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of thy glory. Hosanna in excelsis. Hosanna in the highest. Oro supplex et acclinis, I pray, kneeling in supplication, Benedictus qui venit in nomine Domini. Blessed is he that cometh in the name of the Lord. cor contritum quasi cinis, heart as contrite as ashes, Hosanna in excelsis. Hosanna in the highest. gere curam mei finis. take thou my ending into thy care.

Lacrimosa dies illa, That day is one of weeping Pie Jesu Pie Jesu qua resurget ex favilla, on which shall rise again from the ashes Pie Jesu Domine, Merciful Lord Jesus, judicandus homo reus. the guilty man, to be judged. dona eis requiem sempiternam. Grant them eternal rest. Huic ergo parce Deus. Therefore spare this one, O God. Agnus Dei Agnus Dei Pie Jesu Domine, Merciful Lord Jesus: Grant them rest. Amen. dona eis requiem. Amen. Agnus Dei, Lamb of God, qui tollis peccata mundi, that takest away the sins of the world: dona eis requiem; grant them rest. Agnus Dei, Lamb of God, qui tollis peccata mundi, that takest away the sins of the world: dona eis requiem. grant them rest. Agnus Dei, Lamb of God, qui tollis peccata mundi, that takest away the sins of the world: dona eis requiem sempiternam. grant them eternal rest.

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