the team of pianists WORLDSapart

Bruch – Concerto for two pianos Works for piano duet, two & three pianos

Max Cooke • Robert Chamberlain • Darryl Coote

New Monash Orchestra conducted by André de Quadros FRANCIS POULENC (1899-1963) indication that it should be played naïvely. the Tivoli Theatre. The Fantasia on Waltzing Sonata, for piano four hands MC Matilda served appropriately as an overture to a scene in which, as the curtain rose, As a member of the French group of MIRIAM HYDE (1913-2005) one saw ‘a jolly swagman camped by a twentieth-century composers ‘Les Six’, there Fantasia on Waltzing Matilda, arranged for billabong’. Subsequently, she rescored it for was a commitment to ‘shock’ the listeners two pianos full orchestra. She also arranged it for two and to be ‘humorous’. This would not have pianos, piano duet, flute quartet, trio for been difficult for Poulenc. His easy and Miriam Hyde was born in violin, cello and piano, piano solo, and wind intuitive talent could be likened to that of . After early studies at the Elder quintet (two flutes, oboe, clarinet, bassoon). Mozart, with his superficial Conservatorium, she travelled to London No other composition of hers has lent itself lightheartedness and brilliance hiding a to study at the to such a diversity of treatment!” RC deeply-felt emotional content. Being a and the Royal Academy of Music. Upon fine pianist himself, his piano works are her return to Australia she pursued a CLAUDE DEBUSSY (1862-1918) always effective. The formal structure career as a performer and composer. Petite Suite, for piano four hands of many of his compositions, this Sonata During World War Two she taught at the included, shows a composer whose music Elder Conservatorium and after the war Shortly after Debussy returned from is not designed to fit into an imposed moved to . Highlights of her career Rome in 1888, he composed the Petite Suite. structure, but rather one whose music included performances as soloist in Apparently, five movements were originally evolves naturally within an established both of her own piano concertos with the foreseen, but Debussy later chose to form. The result is that he creates fresh, London Philharmonic Orchestra and the withdraw one of them. He played the Suite imaginative and appealing works, which are London Symphony Orchestra as well as himself with Jacques Durand, son of the easy to comprehend because of the simple regular broadcasts for the ABC. She was famous French publisher, on March 1, 1889, compositional logic. This Sonata can be an examiner, lecturer, and teacher for many and it had been published by Durand one played either as a duet for four hands on years and was still undertaking concert month previously. Later it was arranged for one piano, or on two pianos. engagements into her 85th year. A prolific orchestra by Henri Busser. As with several It is a personal view, that Poulenc, composer, her works cover orchestral, other of Debussy’s works, the Petite Suite like many other musicians, may have been choral, song, chamber and instrumental did not meet significant public acclaim until influenced by the sounds and rhythms of genres and include piano works popular with after he had become known through his train travel. In the first and last movements, many generations of Australian pianists and opera, Pelléas et Mélisande. there seem to be the noises of the wheels students. With its clear harmonic progressions on the rails and of the crossing of points The composer described the and melodic lines, the style of composition in the lines. One can also imagine loud background to her Fantasia on Waltzing in the Suite owes much to the elegance and train whistles in the last movement, and Matilda as follows: “Miriam Hyde returned symmetry of the earlier French clavecinistes, at the end, perhaps the train disappearing from her London studies to her home town, François Couperin and Rameau. The Suite into a tunnel, with the sounds gradually Adelaide, in the year of South Australia’s itself is related to suites of earlier times, fading away. The second movement, on the Centenary, 1936, and was commissioned containing references to dance forms. The other hand, has the character of a simple to write much of the orchestral incidental tone colours and the use of pedal effects children’s song, to which he has given the music for the pageant Heritage, produced at produce textures which are undeniably Romantic, but the balanced death of her father. She studied piano and with lyrical material, before arriving at ternary forms of each movement emanate composition on scholarships in Melbourne a più mosso (faster) section, which ends from an earlier period. and in 1923 she went to London, Vienna and in a headlong rush of energy, leading to The gentle rocking of a boat Paris, where she studied orchestration and a dramatic final agreement between the is portrayed in En Bateau through the composition, returning to Melbourne in 1925. pianos. persistent use of the lilting compound- She was also a fine pianist, but from 1925 to Both pieces were published in 1958 duple rhythm. In Cortège, the sedate onward 1935 she was concerned mainly with raising in Melbourne by Kurrajong Press (now march of the music wonderfully depicts the her young children and was occupied greatly available from Sounds Australian), and retinue of an important personage. Maurice with teaching. After 1935 she became together with Movement for 2 pianos, which Hinson, well-known author and pianist, increasingly active again as a composer and was composed in 1958 but never published, aptly describes Menuet as giving “the performer. She was an ardent supporter of they were orchestrated by Robert Hughes in impression of delicate figurines marching Australian composers and their music and 1964 as Three Temperaments for Orchestra. to the accompaniment of a music box”, was a driving force behind the battle to RC with the coda conveying “the diminishing establish what is now the Victorian Arts sounds of a music box.” Ballet is the most Centre. PERCY GRAINGER (1882-1961) extrovert movement, containing surprising Composed in 1957, Pavan and Molly on the Shore, arranged for two pianos juxtapositions of three-eight Waltz rhythm Canonical Piece are written in a lithe and with the otherwise prevailing two-four transparent style characteristic of much Charles Villiers Stanford had sent metre. DC of her music, which contrasts with the Grainger some folk tunes, two of which form dramatic and rhapsodic complexity of her the basis of Grainger’s arrangement of Molly MARGARET SUTHERLAND (1897-1984) early Sonata for Violin and Piano (1925) on the Shore. Grainger had a flair for taking Pavan, and Canonical Piece, for two pianos or the new directions pursued in her late simple folk tunes and, through innovation piano pieces from 1967-68. The pavan as a and variation, being able to create an Margaret Sutherland was one of dance-type seems to have been a favourite impressive showpiece. the earliest Australian composers whose of Sutherland: her work list shows four The use of variation technique music broke away from dependence on late pavans, of which two are completely lost features prominently in many of Grainger’s nineteenth-century models. Her awareness and one other exists only in manuscript form. works, and here it is used in conjunction of developments in European music after This Pavan is marked “with the elegance with elements of Rondo structure. In Debussy and her highly sensitive musical of a slow dance” and begins misterioso. listening to Molly on the Shore, one can imagination led her to develop a voice It utilises the opening material as an follow the separate tunes, and yet they which is unique and personal, but at times ostinato phrase, contrasting with sections are skilfully woven together to create distinctly Australian. Born in Adelaide in driven by canonical techniques. Particularly an exciting unity. It seems that the first 1897 into an artistic and musical family, characteristic are the constant slow two performances of this work were in a version her family moved to Melbourne when she dance steps per bar and the smooth contours for string quartet, performed in December was very young. Her family background, of the melodic material. In Canonical Piece, 1909 at the home of the von Glehns in surrounded by musicians, writers and marked “urgently”, the two pianos chase Cheyne Walk, and in another version for painters, was rich in artistic ambience but each other through various changes of mood an amateur ladies’ orchestra, performed in difficult financially, especially after the early and texture, contrasting spiky melodies Copenhagen in 1910. Obviously the tunes appealed to Grainger, for he arranged them a completely different attitude, that which in Australia. In 1988-89 he was the for a variety of media: string four-some or allows a sensitive musician who understands Melbourne Symphony Orchestra’s Inaugural string orchestra, full orchestra or theatre the concepts of an earlier composer, to Composer in Residence and he is currently orchestra, solo piano, military band, as well arrange a work for modern instruments and a Associate Professor and Deputy Dean at the as this scintillating version for two pianos, modern concert hall, without obliterating the Faculty of Music, University of Melbourne. begun originally in 1907, but not completed intentions of the initial composition. Broadstock has written a Piano until 1947. Grainger was known for his Terrence Hays became acquainted Concerto (1987) and a number of works for tendency to refer to the art of arrangement with Percy Grainger’s arrangement of solo piano, including In the Silence of Night as “dishing up”, and in fact his manuscript an Organ Toccata by Bach through a (1989), recorded on the TEAM OF PIANISTS’ of the two-piano version bears his statement performance by the TEAM OF PIANISTS. It CD Hamilton (Move, MCD 042), and Aureole that it was “dished up by the composer for inspired him to arrange this Fugue for three 4 (1984). Boolee (1984) for two pianos takes 2 pianos, 4-hands…August 9-10-11 1947, at pianos, and he wrote: “This work is an its title from an Australian Aboriginal word Bigaloro’s”. DC arrangement in the grand Romantic style of meaning “whirlwind” and was first the J. S. Bach great Organ Fugue. It is in the performed in Melbourne in July 1984. JOHANN SEBASTIAN BACH (1685-1750), style of Percy Grainger and was originally Boolee evokes the gradual approach arranged TERRENCE HAYS (b.1956) conceived to complement his arrangement of of a distant whirlwind. Trills which increase Organ Fugue in D major BWV 532, arranged the Toccata in F major for three pianos.” and decrease in intensity swap back and for three pianos Whilst modifying the overall sound, forth between the two pianos and suggest and perhaps also the possibilities for the constant energy of the whirlwind. They To perform or to hear the organ dynamics, Terrence Hays has given three underlie gestures which range from gentle works of Bach played on an organ of his pianists the chance to perform this work. chordal passages to violent clusters and time, one of the kind of instruments which The rhythmic drive, which displays Bach’s chord progressions. As the piece builds to a he himself played, is a delight which cannot wonderful sense of logic, and the strong climax, the musical material becomes louder, be surpassed. There is certainly great virtue sensations of power and dignity conveyed more angular and energetic. in the authentic presentation of original through both the rhythm and the harmonic Because the composer has ensured works, but it is also possible to retain much movement, can be retained, much as they a certain amount of rhythmic flexibility of the initial concept in an arrangement. would have been in a church setting. MC between the two pianos, no two In the nineteenth century there were many performances of this piece are exactly the composers who were so convinced BRENTON BROADSTOCK (b. 1952) same. Durations are often notated using of the pre-eminence of Romantic ideals, that Boolee, for two Pianos numbers of seconds elapsed and some they intentionally changed earlier music sections are repeated for a fixed period of to conform to their own styles, thus often Brenton Broadstock was born in time. In such sections the two pianos share removing some of the essential features Melbourne and studied composition with material which is similar but which moves of the music. Research into music of the Donald Freund in the USA and with Peter at a different tempo in each piano, thus baroque era undertaken in this century has Sculthorpe in Sydney. He has won numerous creating a fascinating phasing effect. The made today’s musicians much more aware prizes for his compositions and his work final section of the piece suggests the calm of the qualities and beauties of this music has been performed at many international after the whirlwind has passed, as haunting in its original version. There is, however, festivals as well as by the major orchestras chord progressions and expressive melodic fragments weave back and forth between the haggled successfully with other buyers at traditional sense. two pianos. RC the sale, who had bought the orchestral Beginning with the brass fanfare from parts, so that he could gain the complete the first movement, the finale has an MAX BRUCH (1838-1920) set. The work was then able to be restored imposing opening prelude (Andante), Concerto Op. 88a, for two pianos and to Bruch’s original (1915) form. It was nearly before launching into the energetic main orchestra “lost” again, when Twining and Berkofsky theme (Allegro), also based upon a version had a disagreement over the ownership of of the brass fanfare, this time in A flat But for a strange and fortuitous copyright. major. One senses again the ‘joie de vivre’ twist of fate, the Concerto for two pianos The brass fanfare in A flat minor of Mendelssohn, in the vital semiquaver and orchestra by Max Bruch might have which opens the first movement leaves passages in the pianos, not to mention in the been lost to posterity. Originally conceived no doubt that we are about to experience graceful refinement of the second theme in C in 1904 as a Suite for Orchestra and Organ, an impelling work of grandiose intent. major, which provides a Bruch made several changes over the The following chorale-like fugato, initially lyrical contrast. DC following years (mainly in orchestration), pianissimo in the two pianos, gradually resulting in the final version of 1915, which increases to a mighty tutti, with explosions is performed here. Bruch presented this of brass and cascades of arpeggios and revised version to two former students chords in the pianos, adding to the dramatic of his from America, the sisters Rose and atmosphere. Ottilie Sutro, who had studied earlier with Commencing with a luscious theme him at the Berlin Music School, and who in the strings, the second movement then had requested that he should supply a becomes a tumultuous gallop, with much work written especially for them. The Sutro riveting excitement resulting from the sisters gave the premiere in Philadelphia in interplay of the orchestra and the pianos. December 1916, with Stokowski conducting. The second theme, with some resemblance Almost immediately however, they began to the brass fanfare of the first movement, is to rewrite the work, adapting it to their presented initially by the clarinet and seems apparently modest technical skills, stating reminiscent of the elegance of Mendelssohn. falsely that their (“doctored”) version The third movement, a sublime was written especially for them by Bruch, Adagio, with spine-tingling tuttis, integrates and even lodging the copyright with the remarkably the pianos and the various National Library of Congress. In 1970 Ottilie sections of the orchestra, so that the Sutro died aged 98, and her effects were whole is symphonic, rather than the more sold at auction. By chance, the manuscript traditional concertante display between of the double concerto was found in a protagonist forces that one might expect. trunk together with other miscellaneous The work generally is symphonic in this items, and both trunk and belongings were sense, as the pianos tend to be used more purchased for $11 by Nathan Twining. He, as a `section´ within the orchestra, rather together with pianist Martin Berkofsky, than as dominating soloists in the strictly The TEAM OF PIANISTS, Powell, Joshua Shih, Kathryn Dean This is the third CD in which Bernstein Artists-in-Residence at Monash University, viola - Sarah Carter, Ben Dennerstein, concert grand pianos have been used by the have contributed to Australia’s music life Helen Jeske, Edward Mogilevsky, Thitiphun TEAM OF PIANISTS. This has been possible for fifteen years, with recitals, concerto Waeohongsa, Yi-Ling Yeh by courtesy of Bernies Music Land. Special performances and chamber music for cello - Michael Aronovich, Vanessa Bendle, warmth and resonance have been produced audiences in the country, in the cities and Zoe Cameron, Johnny Chen, Kate Cousins, by a major development in the soundboard on radio. Acclaimed for high standards and Eleanor Finger, Imogen Manins, Gregory technology, whereby three speaking layers creative approach, they also promote young Puterman, Christopher Raduly, Viatcheslav of soundboard are joined to project the pianists. The TEAM has produced seven Iourgaev sound in three different directions. This CDs covering a wide range of music, and double bass - Benjamin Bates, Evgeny greatly enhances the tone and dynamic two innovative videos on piano playing. Belenko, Julia Bonifacio, Bianca Devitt, response, especially important in works Professor Max Cooke is Director, with Angela Glover, Simon Stuart such as those of Bruch. Klaus Fenner, world- Robert Chamberlain and Darryl Coote as the renowned piano designer from Germany, Partners. Bruch Concerto recorded in the Music was responsible for these developments. Auditorium, Monash University, on August 21 Bernstein combines the excellence of The New Monash Orchestra: & 22, 1997. advanced German design with up-to-date manufacturing technology, allowing for concert master - Joanne Wallwork Other works recorded in the studio of Move the sensitive expression of the greatest flute - Mauro Baldi Records at Eaglemont, on December 12, 18, traditions of music. The TEAM gratefully piccolo/flute - Gregory Peterson 19 & 22, 1997. acknowledges financial support from the oboe - Robert Millar, Melinda Sawers COLIN AND CICELY RIGG ESTATE, which has cor anglais - Aaron Reichelt Concept: Darryl Coote. assisted in the production of this recording. clarinet - Tony Barnden, Claire Little Producers: Max Cooke, Robert Chamberlain bassoon - Nick Fitter, Susanna MacDonald and Darryl Coote. Other Team of Pianists’ recordings on the MOVE french horn - David Keeffe, David Rampant, Recording and editing at Move Records’ label: Justin Gall, Josephine Vivian-Taylor studio: Martin Wright and Vaughan McAlley. trumpet - Dmitry Serebrianik, Cameron Piano technician: David Baldrey. MCD 029 PIANISTS OF EXCELLENCE Woods Graphic design: Ben Rydz. MCD 046 MOZART AT MELBOURNE trombone - Bob Collins, John Rechter, David MD 3031 PETER SCULTHORPE : PIANO MacArthur MUSIC timpani - Christine Kinman MCD 042 THE TEAM OF PIANISTS : first violin - Jeremy de Korte, Yvette Jenner, HAMILTON Kate Savage, Brian Wallwork, Mark Walter, MD 3158 TEAMWORK Christie Brown, Fiona Cull, Irwin Law, MCD 064 HOMAGE TO BRAHMS Roudolf Dumbrovski second violin - Amelia Alder, Owen Bradfield, Gregory Cveigoren, Matthew Ibrahim, Wendy Leffler, Rachel Lyons, Anne the team of pianists WORLDSapart POULENC Sonata GRAINGER 11 Molly on the Shore 4’13” 1 Prélude 2’04” (Piano 1 – Robert Chamberlain, Piano 2 – Darryl Coote) 2 Rustique 1’46” 3 Final 2’04” J.S. BACH 12 Fugue in D major for three pianos (Piano four hands: Primo – Darryl Coote, arr. HAYS arr. from Organ Fugue BWV 532 5’58” Secondo – Max Cooke) (first world recording) (Piano 1 – Max Cooke, Piano 2 – Darryl Coote, HYDE 4 Fantasia on Waltzing Matilda 2’29” Piano 3 – Robert Chamberlain) (first CD release) (Piano 1 – Robert Chamberlain, Piano 2 – Darryl Coote) BROADSTOCK 13 Boolee 6’10” (first CD release) (Piano 1 – Robert Chamberlain, Piano 2 – Darryl Coote) DEBUSSY Petite Suite 5 En Bateau 3’00” BRUCH Concerto for Two Pianos and Orchestra, 6 Cortège 3’09” Op. 88a 7 Menuet 2’37” (first Australian recording) 8 Ballet 3’03” 14 Andante sostenuto 4’48” (Piano four hands: Primo – Darryl Coote, 15 Andante con moto – Secondo – Max Cooke) Allegro molto vivace 6’09” 16 Adagio ma non troppo 6’37” SUTHERLAND 9 Pavan 3’48” 17 Andante – Allegro 7’13” (Piano 1 – Darryl Coote, Piano 2 – Robert Chamberlain) (Piano 1 – Robert Chamberlain, Piano 2 – Darryl Coote, 10 Canonical Piece 3’00” The New Monash Orchestra, conducted by (Piano 1 – Darryl Coote, Piano 2 – Robert Chamberlain) André de Quadros)

The members of the Team of Pianists are © 1998 THE TEAM OF PIANISTS Artists-in-Residence for the www.teamofpianists.com.au National Trust of Australia (Victoria), at MOVE RECORDS “Glenfern” in East St. Kilda www.move.com.au