sign in sign up
<<
Home , Joanna MacGregor, John Curro, Joonas Kokkonen, Michael Kieran Harvey, Nigel Kennedy, Olli Mustonen

concert program

PRESENTED BY

1 – 12 april 2014 | melbourne recital centre MSO Partners

principal partner

government partners

MAESTRO PARTNER

ASSOCIATE PARTNERS

SUPPORTING ­PARTNERS

2 CONTENTS

Concert guides program Joanna MacGregor - Musical Toys (1 April) 5 INFORMATION Plexus - Pantheon (2 April) 12 Forest Collective - The Garden of Ice (4 April) 13 MSO Programs can be read online or downloaded up to a Six Degrees Ensemble - Garden of Earthly Desire (5 April) 14 week before each concert, from mso.com.au Stefan Cassomenos and Judith Dodsworth - Sappho's Butterflies (9 April) 15 If you do not need this printed program after the concert, (5 April) 16 The MSO and Olli Mustonen - Tapiola we encourage you to return it to The MSO and Olli Mustonen - Frescoes of Dionysius (9 April) 28 a member of staff. Please share one program between two people ( ) Syzygy - Logic 10 April 33 where possible. The MSO and Olli Mustonen - Concert Champêtre (12 April) 34 This program has been printed Aura Go - Dichotomie (12 April) 39 on FSC accredited paper. For news and updates on the Melbourne Symphony MSO Partners 2 (MSO) follow us on Facebook MSO Supporters 25 or Twitter. Commissioning the Future 27 Sign up for MSO's monthly e-news, at mso.com.au, to receive Meet Your Musician 40 special offers from the MSO and partner organisations. The Orchestra 41 Sign up for Melbourne Recital Melbourne Recital Centre Supporters 42 Centre's eNews for special offers, priority booking and giveaways at melbournerecital.com.au

Cover image: Soundscape: Sibelius Tapiola

Find your work-life groove From laid back to more upbeat, you’ll find a range of inspirations in our Business Class. Get in tune with the business of living. Principal Partner of the Melbourne Symphony Orchestra.

3

EMI0258_Musician_176x121_V3.indd 1 1/13/14 5:30 PM The Melbourne Symphony Orchestra and Melbourne Recital Centre recapture a time when the world was full of mystery, and the ancients ruled the land.

This is music as a force of nature.

The mysteries and majesty of the cosmos and its creation have captivated many , especially the great Finnish , whose Tapiola is a meditation on the ancient, mysterious Northern forests and a work that’s had a profound influence on many of the composers and artists featured in this year’s Festival. Composer, and conductor, Olli Mustonen is one of the most stimulating and thought-provoking musicians of our time. The Finnish master returns to Melbourne to lead Australia’s most important festival of contemporary music. Olli Mustonen leads three orchestral programs and guest pianist Joanna MacGregor (UK) gives a scintillating recital. Australia’s best contemporary musicians present an eclectic selection of performances grounded in nature and mystery. Dig deeper into the beginnings of our world and explore the stories and music we have weaved since the start of time.

4 Joanna JOANNA MACGREGOR as in Salzburg’s Dialog Festival. MacGregor Joanna MacGregor made her Joanna MacGregor is one of the debut in 2002 and has Musical Toys world’s most innovative musicians, solo-directed concerts with the Royal Presented by Melbourne Recital Centre appearing as a concert pianist, curator Philharmonic Orchestra, Liverpool and collaborator. Currently Head of Philharmonic, Manchester Camerata Piano at the , and the Hallé, and has enjoyed a TueSDAY 1 April AT 7.30pm Joanna MacGregor was Artistic close artistic partnership with Britten Elisabeth Murdoch Director of the Bath International Sinfonia for more than fifteen years. Music Festival 2006-2012, and curated Amongst the many and varied artists Hall, Melbourne Recital the multi-arts Deloitte Ignite Festival Centre with whom she has collaborated are at the Royal House in 2010, artist Moses Molelekwa, pop artist as well as Aventures, an orchestral and tabla player Talvin Singh, Brian series for Luxembourg Philharmonie, Eno, folk artist , jazz The Well-Tempered Keyboard Book I – 2012-13. As a solo artist Joanna has saxophonist and Arabic Selections performed in over seventy countries singer and oud virtuoso Dhafer Youssef. and appeared with many of the world’s leading , with such Multimedia is of great interest to 24 Preludes & Fugues, Op.87 – Selections eminent conductors as , Joanna MacGregor, and in 2003 she Sir , , Sir toured China with Crossborder; created Sofia Gubaidulina with Jin Xing’s Contemporary Dance Musical Toys and , and has premiered many Theatre of Shanghai, it combined Also featuring works by RAVEL, landmark compositions ranging Chinese traditional music with DAQUIN, COUPERIN, MESSIAEN, from Sir and computer technology and film. For Bath International Music Festival 2007 BIRTWISTLE and PIAZZOLLA. Django Bates to and James MacMillan. She made three she curated the installation On The appearances at the 2012 BBC Proms, Edge of Life, a multimedia collaboration Joanna MacGregor piano two of them televised (including Hugh between paediatricians, artists and Wood’s and Messiaen’s musicians, examining premature birth. This concert has a duration of approximately Turangalîla), and made her debut at This became an annual event, and in two hours and 10 minutes including one the Mostly Mozart Festival in Lincoln 2008 the series examined the impact of interval of 20 minutes. Center, New York in August 2012. homelessness and in 2009 child human rights through the prism of fairytales Please turn off your mobile phone and Known for her interpretations of with cultural historian Marina Warner. all other electronic devices before the Bach, in April 2013 she was invited De loitte Ignite 2010 at the Royal performance commences. by Sir John Eliot Gardner to perform Opera House included many new art the Goldberg Variations at the Royal Pre-concert talk by Leigh Harrold from commissions, including a year-long Albert Hall, broadcast live. She made 6.45pm-7.15pm in the Salon, Melbourne installation by the remarkable artist her debut at Leipzig Gewandhaus Alice Anderson. Recital Centre. in June, and returns this December As a recording artist Joanna This concert is being broadcast by ABC to perform Britten’s Piano Concerto MacGregor is a veteran of over 30 Classic FM. for his centenary celebrations, as well solo recordings, ranging from Bach,

5 Joanna Macgregor ABOUTABOUT THETHE MUSICMUSIC mozart’smusical toys requiem

Scarlatti, Ravel and Debussy, to jazz Joanna MacGregor is Professor of Empire (OBE) in the Queen’s Jubilee and . Her own record Performance at Liverpool Hope Honours 2012 and in 2013 became a label SoundCircus was founded in University; she has received Honorary Professor of the . 1998 and has released many highly Fellowships from the Royal Academy This is Joanna MacGregor's Melbourne successful recordings, including the of Music, Trinity College of Music and Recital Centre debut. -nominated Play and Murray Edwards College, Cambridge, Neural Circuits, with . as well as Honorary Doctorates from Other releases include Sidewalk Bath University, Dances – music by the New York street and the . From 1997- musician – and Deep River, 2000 she was Professor of Music at music inspired by the Deep South, Gresham College, London where she with saxophonist Andy Sheppard. gave a series of public lectures. She was Live in , Bach’s Goldberg the subject of a South Bank show in Variations (recorded at the Mozarteum 2002; and her ongoing series of music in Salzburg) and a four-CD Messiaen books, PianoWorld has been hailed as ‘a set were released in 2010 by Warner new series for the Millenium’. Classical and Jazz, now in partnership Joanna MacGregor was made an with SoundCircus label. Seven further 6 Officer of the Order of the British double CDs were released in June 2011. ABOUT THE MUSIC musical toys

Johann Sebastian Bach Shostakovich Sofia Gubaidulina (1685 - 1750) Prelude and Fugue No.8 in F (born 1931) sharp minor The Well-Tempered Keyboard Musical Toys Book 1 - Selections J.S.Bach Mechanical Accordion Prelude and Fugue No.24 in B Dmitri Shostakovich Magic Roundabout minor BWV 869 (1906 - 1975) in the Forest 24 Preludes and Fugues, INTERVAL Magic Smith Op.87 – Selections April Day Song of the Fisherman J.S.Bach (1875 - 1937) Prelude and Fugue No.1 in C Little Tit BWV 846 Oiseaux tristes from Miroirs A Bear playing the Double and the Black Woman Dmitri Shostakovich Louis-Claude Daquin Prelude and Fugue in C (1694 - 1772) Woodpecker Elk Clearing J.S.Bach Le coucou from Premier livre de Prelude and Fugue No.2 in C pièces de clavecin Sleigh with Little Bells Echo minor BWV 847 Drummer Shostakovich (1908 - 1992) Forest Musicians Prelude and Fugue in E flat Le rouge gorge from Petits J.S.Bach esquisses d’oiseaux Astor Piazzolla (1921 - 1992) Prelude and Fugue No.8 in E flat François Couperin minor BWV 853 (1668 - 1733) Four Tangos, arr. Joanna MacGregor Shostakovich Le rossignol en amour from Prelude and Fugue No.15 in D flat Troisième livre de pièces de Tanguedia J.S.Bach clavecin, 14eme Ordre Buenos Aires Hora Cero Prelude and Fugue No.15 in G Harrison Birtwistle Milonga del Angel BWV 860 (born 1934) Libertango Shostakovich Oockooing Bird Prelude and Fugue No.5 in D

Tonight’s program presents an array tuned to accommodate tonalities using of styles and periods, illustrating few sharps and flats, the unfortunate how music simultaneously can be an result being that more complex keys intellectual pursuit, a representation were painfully out of tune. By the of pictorial scenes, and a force of such beginning of the eighteenth century, power that it underpins our impulse an improved system of ‘well’ tempered to dance. Compositions by Johann tuning, achieved through uniform Sebastian Bach could be included in compromises, allowed all tonalities any of these categories, yet it is to the to sound pleasant, albeit with realm of the intellect that connections characteristic differences in each. Our with The Well-Tempered Keyboard are modern ‘equal’ temperament smoothed typically made. While the title is often out the tuning further, with all keys given to the two volumes that comprise now sounding the same, and it is the famous ’48', the composer applied possible that subtleties intended by the it only to the initial set of twenty-four composer are missed. Johann sebastian bach preludes and fugues, his first cycle In the first half of the program, the through all major and minor keys similar approach by JS Bach and Dmitri published in 1722. With a rudimentary as the accompaniment to Charles Shostakovich in writing contrapuntal separation of the octave into seven Gounod’s famous Ave Maria. The music is explored, Joanna MacGregor white notes and five black notes, the preludes of JS Bach appear in a diverse admires “their tremendous range, keyboard’s subdivision initially proved range of musical styles and, as the encompassing tenderness, playfulness, problematic. As singers and those title indicates, are antecedents to the tragedy and drama.” playing fretless string instruments fugues with which they are paired. were aware, being ‘in tune’ required The Prelude in C major is one of A fugue is perhaps music’s most precise adjustments of pitch, exceeding JS Bach’s most recognisable works, metaphysical representation of form, the available notes on the keyboard. played by students of the piano over difficult to either follow or fathom for As a result, early instruments were countless decades yet also known the uninitiated. Their composition 7 ABOUT THE MUSIC musical toys

requires foresight akin to that of a chess MacGregor has written of her wish grand-master, yet the rules are simple: to show “the similarities of each using a select number of voices or parts composer’s approach”, and, concerning (typically three or four, but any number JS Bach, she also notes a “spikey, greater than one is permissible), the jazzy” quality in his C minor Prelude ‘subject’ must be taken up by each, the and Fugue. The Prelude is based on others then playing a secondary role yet a repeated figuration, which by the maintaining the harmonious fabric all close resembles more a free fantasia, the while. In the case of the Fugue in while the brilliant Fugue for many is C major, listen carefully to the opening haunted by an annoying mnemonic subject: four rising notes, a quick (“Joh Sebastian Bach sat upon a downward turn, a rising leap and pause, tack,” etc.). Shostakovich’s Prelude then a few downward steps – it can be in E flat major shares the same key heard in full no fewer than 23 times in signature as C minor – three flats – the fugue’s 27 bars. yet is a stark contrast, the dissonance and angst of Shostakovich’s century Dmitri Shostakovich’s Twenty-four gradually undermining its chorale- Preludes and Fugues, op. 87, have like theme. Tension is furthered in direct connections with those of JS the Fugue, where anxiety is a product Maurice Ravel, 1905 Bach, with which they are interlaced of its tentative and chromatic subject. through this program. As a jury Despite the shift to the darker minor member of the inaugural International tonality, peace is restored in JS Bach’s broken by inclusion here of a successive Johann Sebastian Bach Competition Prelude in E flat minor, its long melody work by Shostakovich. Over a rocking in Leipzig, Shostakovich heard the accompanied by broken chords, as if accompaniment, the theme of his F young pianist Tatiana Nikolayeva who, gently strummed on a lute. The Fugue sharp minor Prelude is playful yet beyond competition requirements, is in three-voices and is, as MacGregor somehow ominous, and even darker had prepared the complete ‘48’. After points out, an “architectural wonder.” undercurrents surface in the Fugue. returning to Moscow, Shostakovich It rewards close listening through Its subject (again featuring repeated quickly composed his own set of discovery of almost simultaneous notes) is marked by the inclusion of an twenty-four, Nikolayeva giving the statements of the subject, mirror-image uncomfortably dissonant note, each premiere in Leningrad in 1952. The inversions, and entries played at half restatement seeming to enhance the environments in which JS Bach speed. bleakness of mood. Resolution occurs and Shostakovich composed were only on the final chord, in the relative entirely different, however, the The mood shifts dramatically for warmth of F sharp major. MacGregor’s Soviet government exercising almost Shostakovich’s Prelude in D flat major, cycle closes with the last work from complete control over music since an example of the composer’s absurdist JS Bach’s first book, the key of B 1936, when Shostakovich had first humour where carousel-like jollity minor again pivoting harmonically been censured. Essentially, music is rent-through through by blazing with the preceding work. The Prelude that contained dissonance or featured dissonance. The Fugue is complex, with is a pleasant trio, its duet of upper blatantly intellectual subtexts was frequent changes of time-signature, voices supported by a wandering bass labelled ‘formalist’, and the punishment yet the cacophonous effect ultimately line, while the composer’s mastery is for not observing the antithetical abates when reunited with the mad displayed in the magnificent Fugue, its doctrine of Socialist Realism could waltz theme from the prelude. This chromatic subject featuring all twelve be brutal. Unsurprisingly, composers heightened vigour is partnered by semitones of the octave, placing it at often avoided the spectacle of large- JS Bach’s Prelude in G major, its the edge of tonality. Its distinctive scale works, and some of their most cascading arpeggios also providing opening triad is easy to recognise, yet insightful music was written for small an opportunity for virtuosity. The there are many false statements which ensembles, or for solos such as these. compound time-signature of the Fugue lead to beguiling episodes. The constant similarly suggests a nimble pace, and Shostakovich acknowledges JS Bach in ratcheting-up of harmony demanded by the composer displays his intellectual his first Prelude, also in C major, where the subject, however, ultimately creates dexterity through numerous inversions he begins with the same five notes. points of extraordinary tension which, of the subject. The cantilena style of The music seems consciously tonal, for the time, must have seemed as JS Bach’s earlier E flat minor prelude though the twentieth century is at dissonant as the music of Shostakovich is balanced by Shostakovich’s Prelude times apprehended through unexpected does in places now. MacGregor says in D major, its inclusion also adding dissonances. Its Fugue plays further that “the scope and true meaning of context through the relationship of the on the notion of consonance as, this fugue is open to interpretation, key within the cycle of fifths. Despite despite traversing various related keys, but I feel it is Bach’s deep (and not its conservative approach to tonality, Shostakovich studiously avoids the necessarily comforting) examination of a sense of edginess is created through use of black notes, thereby creating a his faith in a dark and turbulent world.” repeated notes in the Fugue. modal effect. Regarding the selection After interval, the world of birds is 8 of pieces in this program, Joanna The alternating pattern of composers is explored in five pieces of contrasting ABOUT THE MUSIC musical toys

periods and styles. Maurice Ravel viewed as a gentle rebuke of the could be associated with her later composed Miroirs in 1906, each of intellectual music which opens interest in percussive timbres, while its five movements written for fellow the concert. Yet the composer’s in Trumpet in the Forest we view members of the group known as Les connection with Shostakovich, who nature. The clangorous brass notes apaches (or The Hooligans). The birds had encouraged early explorations of seem to linger inexplicably, but in encountered in the second piece of his musical style during her student years, fact they resonate through the piano’s set, Oiseaux tristes (Sad Birds), seem also offers a broader context. Following open strings, a result of the silent initially despondent, yet a central the decade under Nikita Khrushchev, holding-down of left hand chords. offers a flurry of movement. when restrictions on creativity had been The supernatural appears again in It is dedicated to the Spanish pianist relaxed in Soviet Russia, Gubaidulina Magic Smith, where a motoric drive is who premiered many of the composer’s became embroiled in controversy in reminiscent of Prokofiev. Atonal and keyboard works, Ricardo Viñes. Two 1979 when named as a member of tonal melodies are juxtaposed in April centuries earlier, Louis-Claude Daquin ‘Khrennikov’s Seven’, a situation not Day and Song of the Fisherman, the achieved success as a virtuoso at both dissimilar to that which ensnared last conjuring folk scenes, while Little the and organ, the latter by Shostakovich in 1948. While the Tit and Bear Playing And appointment to Louis XIV. Primarily Party sought to shame her into writing The Black Woman bring contrasts of remembered for his four keyboard more moderately, the singling-out led, delicacy and wit. In Woodpecker, a suites published in 1735, the first piece ironically, to greater awareness of her succession of unrelated triads creates of the third suite (Le coucou) is a gentle music in the West, where she emigrated a backdrop for the bird’s insistent rondo, the falling interval of a minor in 1992. drumming, which focuses on a single, third heard at the outset representing repeated note. The Elk Clearing seems As the collection is a youthful work the eponymous bird. intentionally blank, unavoidably adding dating from 1969, the mystical and glitter to the subsequent piece, Sleigh The horror of the Second World War transcendental themes of Gubaidulina’s With Little Bells. Again, silently-held led many to question mankind’s virtue, later music are perhaps glimpsed only chords create sustained resonance in and connections have been made with aphoristically. Even so, MacGregor Echo, while pretty martial melodic the growth of birdsong in the music of has remarked that these early works patterns navigate through remote tonal Olivier Messiaen after 1950. A pious are often underestimated. Mechanised centres in Drummer. The collection man, he believed that birds were closer objects such as the Mechanical is unified in the final work, Forest to God than angels, even finding in Accordion and Magic Roundabout Musicians, where the reserved outer their song the “voice of God in nature”. Composed in 1985 and dedicated to his second wife, pianist Yvonne Loriod, Petites esquisses d’oiseaux (Small Sketches of Birds) is the composer’s last work for solo piano. Throughout the group of six pieces based on the calls of the blackbird, song thrush and skylark are threaded the sounds of the rouge gorge, the robin redbreast. François Couperin wrote over 230 small works for harpsichord, arranging them not into suites, as was typical for the French baroque, but into series titled Ordres. Le rossignol en amour (The Nightingale in Love) is the first piece of his fourteenth ordre, published in 1722, its highly ornamented melody suggesting a style of tone-painting centuries ahead of its time. In Oockooing Bird, the Channel is crossed for a work by English composer Harrison Birtwistle, written in 1950 when he was in his teens. Here, the bird inhabits a delicate, calm world, as patterns of paired notes shift quietly through the lower register of the piano while the right hand picks out single notes with bird-like clarity.

The inclusion of Sophia Gubaidulina’s Gubaidulina (Photo courtesy of Victor Bazhenov & Lebrecht Music & Arts) 9 collection of Musical Toys could be ABOUT THE MUSIC musical toys

sections are interrupted by march-like steeped in Hispanic, Italian and Jewish for which Piazzolla contributed to the atonal clusters. Drawn together as a ideas. soundtrack, and was also included group, the little musicians disappear the following year on Tristeza de un Joanna MacGregor writes: “I learnt through an upward passage of fifths at doble. MacGregor writes that it was a a great deal about the Piazzolla style: the close, as if magically enticed into favoured ‘opener’ of Quinteto Piazzolla, how certain little licks have to sound the ether. Joanna Macgregor remarks and usually involved stamping and mugre, a favourite word for ‘dirty’, that “one is constantly reminded of shouting. Buenos Aires Hora Cero (Zero with a knife-edge intensity (a little Angela Carter’s re-told fairy tales, Hour in Buenos Aires) is an early like the Spanish duende). I’ve mostly or the painter Paula Rego. Each tiny composition conjuring impressions experimented with percussive piano vignette is like a perfect line drawing, of the city at night. First recorded effects alongside the passionate messages hidden deep in a dark forest.” for Tango para un ciudad (1963), the lyricism of Piazzolla’s music, and I’ve composer returned to it again in the From the esoteric and intellectual music never written these arrangements studio in 1969 and 1972. Like tango, of JS Bach and Shostakovich, through down – that way I can change them in a milonga is a dance, and Milonga del various winged- and pictorially-inspired performance.” Angel forms part of the composer’s compositions, the program reaches Tanguedia (tango + tragedia) first Angel trilogy (along with La muerte a culmination in music that might featured in El exilio de Gardel (1986), a del Angel and La resurreción del Angel). seem incongruous: the tango. Yet film evoking the singer Carlos Gardel From its first release on Concierto en el central to Astor Piazzolla’s life was his in a story of Argentinian exiles in Paris Philharmonic Hall de New York (1965) fiercely-fought quest for recognition of the tango as artistically comparable to other forms, an evolving music deserving of both validation and respect. Encouraged in his study of composition by Alberto Ginastera in Argentina and Nadia Boulanger in Paris, Piazzolla’s attempts to modernise the tango met with controversy in his homeland, purists viewing as sacrilege his synthesis of jazz with a modern instrumental lineup. He spent many years in Europe avoiding the turmoil of Argentinian politics, and also the critics who believed he was destroying an icon of culture. Ultimately, his new style – Tango Nuevo – was accepted, and it is now cherished by many who recognise the salvation he brought to the form. Ten years ago, Joanna MacGregor gained insights into the tango while touring with electric guitarist Horacio Malvicino and bassist Hector Console, musicians who had worked with the composer over many decades, performing as Quinteto Piazzolla. Her arrangements are inspired by the composer’s late manuscript scores, in which he again favoured the smaller quintet, a mature period following experimentation with larger ensembles and orchestra. Piazzolla’s compositions are a passionate mixture of detailed part-writing and forceful rhythms and, while existing as ‘written’ music, they co-exist as a recorded format. Given differences in the versions created for his various ensembles over decades, and allowing for the element of improvisation that is present in his music, these works lend themselves to 10 modern-day arrangements. Inspired by Piazzolla image courtesy of E Comesana & Lebrecht Music & Arts JS Bach, Piazzolla’s dark music is also ABOUT THE MUSIC musical toys

to its reappearance on Hora Cero single from her album Nightclubbing (1986), it remained a popular work. (1981). Combining the words libertad Without doubt, however, Piazzolla’s (freedom) and tango, the work stands as most famous composition is Libertango, testament to Piazzolla’s liberation of the written in Italy while working with form from its conservative Argentinian influential producer, Aldo Pagani. It roots. As Joanna MacGregor also notes, was initially recorded as an orchestral it follows a similar harmonic pattern setting on Libertango (1974), quickly to the opening of JS Bach’s C major followed by a vocal arrangement with prelude, which opens the concert. Guy Marchand (‘Moi je suis tango’). © Scott Davie 2014 Yet, many may also recognise the melody from Grace Jones’ ‘I’ve seen Additional notes © Joanna MacGregor that face before’, a hugely successful 2014

Joanna MacGregor Photo courtesy of Pal Hansen

M E L B O U R N E R E C I T A L C E N T R E PRESENTS GREATPERFORMERS MAXIM RYSANOV “This amazing young artist looks like giving the viola’s profile a definite boost.” THE TELEGRAPH (UK) 7.30PM TUESDAY 17 JUNE TICKETS FROM $50 The viola’s exquisite character shines in powerful music played by a master. Featuring works by Schubert, Schumann, Prokofiev and Shostakovich. Transaction fees may apply 2014 CONCERT SERIES 11 ABOUT THE ARTIST of disciplines. One of the finest plexus of his generation, Christopher PANTHEON Australian chamber ensemble Plexus Saunders has performed leading roles brings together the talents of three of for Glyndebourne Festival Opera, Presented by Melbourne Recital Centre Melbourne's most vibrant and versatile Opera North, English National Opera, musicians. Plexus was formed with The Classical Opera Company and the express goal of paying homage to the Covent Garden Festival, and has the acclaimed ensemble of the same Wednesday 2 April at 6pm performed as a soloist at the Barbican instrumental combination, the Verdehr and at . Since returning Salon, Melbourne Trio, who commissioned numerous Recital Centre to Australia he has performed with important composers of the late 20th Victorian Opera, Opera Queensland, century. Continuing in their footsteps, Pinchgut Opera, Philharmonia, Djuwalparra Plexus premieres 21 new works in Royal Melbourne Philharmonic Choir World Premiere 2014. The name Plexus reflects this and Tasmanian Symphony Orchestra. ensemble's devotion to supporting and Iain Grandage The Keep engaging an ever-growing network World Premiere of exceptional artists across a variety Michael Kieran Harvey Dues est Fabula World Premiere

Gordon Kerry ABOUT THE MUSC from Sebastian Barry’s novel A Long, The End of Many Worlds World Premiere Long Way, describes the poignant Pantheon features five world premieres death scene of Willie Dunne, a teenage of works commissioned by Plexus. Ganymede and Leda World Premiere soldier in the trenches of Flanders. He Richard Mills’ diptych, Ganymede and too asks why God will not intervene to Leda, expresses two kinds of exposure comfort them. Plexus to the Divine, firstly personified by Zeus as Father, engendering a Iain Grandage’s piece The Keep is Philip Arkinstall pantheistic mystical union; and secondly inspired by Tim Winton’s novel Monica Curro Zeus as creator/destroyer, in the form The Riders, the basis of Grandage’s Stefan Cassomenos piano of a swan violating Leda and begetting upcoming opera. The legendary Riders Christopher Saunders the troubled house of Atreus. Michael are central to many myths in ancient Kieran Harvey’s piece Deus est Fabula is Europe. They first appear to the novel’s derived musically from the word Deus central character Scully as he wanders below a ruined castle’s Keep. This concert has a duration of approximately (D + Es) structured on the first seven 60 minutes with no interval. prime numbers, and is influenced by Djuwulparra is the ancestral figure . The work is dedicated to associated with Nyilipidgi, the country Please turn off your mobile phone and the late , whose piano concerto of Wagiluk-speaking Australians from all other electronic devices before the Michael premiered in 2003. South East Arnhem land. He roams performance commences. ’s cantata The End of the land, hunting, making and naming Many Worlds is a setting of two texts. things, and is sung up in manikay, The first, from Euripides’ Trojan traditional song cycles. Permission has Women, is a moving address by the been granted by the Wilfred clan to chorus to Ganymede, asking why he use his name, and Paul Grabowsky’s could not intercede with the Gods on piece tracks the contours of manikay, by behalf of Troy, to prevent the women’s turns intense and static. capture and brutalisation. The second,

12 PLEXUS ABOUT THE ARTIST traditional art forms. They start 2014 FOREST with the support of volunteers, donors COLLECTIVE Forest Collective is a not-for-profit and sponsors who assist us in presenting multi-disciplinary arts organisation local and international music, art, THE GARDEN formed in 2009 made up of creative, dance and theatre that provokes and young professionals who strive to compliments Melbourne creative OF ICE enrich audiences through innovative, community. collaborative, experimental and Presented by Melbourne Recital Centre

Friday 4 April at 6pm ABOUT THE MUSC composer Evan Lawson (b.1989–) for Salon, Melbourne solo is enhanced by the larger Dawn breaks, and the first movement Recital Centre ensemble prior. Sikinnis is inspired by of Jean Sibelius' (1865-1957) delicate the history and energy of the dance of Ten Pieces, Op.58 (1909) leads us into a the same name performed by ancient Jean Sibelius Movement from Ten journey exploring European myth and Greek satyrs, juxtaposing static long Pieces, Op.58 (arr. Evan Lawson) mysticism. As the sun rises audiences tones with vivacious dance. And as are drawn to Shakespeare's mystical Lisa Illean And a Black Sea, Breaks the day must end, Lisa Illean's And a island of The Tempest where Finnish Black Sea, Breaks unfolds inspired by Lars Ekstrom Garden of Ice composer (b.1952–) from Joseph Brodsky's poem Fin De for flute, clarinet, percussion, piano, violin, enchants us with two songs for Siecle."Only the seas remain unruffled, viola and . and chamber ensemble from blue, telling the dawn "go on" which The Tempest Songbook (2004). Swedish sounds from afar like "gone" Evan Lawson Sikinnis No.1 composer Lars Ekstrom (b.1956–) is for solo flute thoughtful with a slow yet relentless This world premiere leads us into motion throughout Garden of Ice (1996), 's (1862-1889) Kaija Saariaho Ariel’s Hall and reflects upon the characteristics of sumptuous soliloquy La Balcon (1889), for soprano, flute and harp chamber based art. As swift as dusk here arranged for chamber ensemble Kaija Saariaho Miranda’s Lament becomes eve, the desolate opening of with soprano. for soprano, flute, harp, violin and cello Sikinnis No.1 (2010) by Melbourne Claude Debussy Le Balcon for soprano and chamber ensemble (arr. Evan Lawson)

Forest Collective Evan Lawson (Artistic Director) Megan Clune Isabel Hede Lucy Waldron Jess Fotinos Audrey Alcala

This concert has a duration of 60 minutes with no interval. Please turn off your mobile phone and all other electronic devices before the performance commences.

13 ABOUT THE ARTISTs performed in Australia. The ensemble’s six degrees dedication to Australian composition ensemble Six Degrees Ensemble lives between is complemented by select international the old and the avant-garde, presenting programming. In 2013 Six Degrees GARDEN works from post-war 20th century Ensemble was a part of the inaugural to post-towers 21st. Individually, its Bendigo International Festival of OF EARTHLY members draw from ensembles as Exploratory Music performing the diverse as ELISION, Sapphire, Atticus, Australian premiere of Klaus Lang’s DESIRE Gilmour Ensemble, Emotionworks Cut einfalt.stille which was broadcast live Opera, Melbourne Guitar Quartet, Presented by Melbourne Recital Centre on ABC Classic FM and has been Sunwrae, Arcko Symphonic Project, subsequently aired numerous times. Dead Horse Band, Speak Percussion and Jouissance. With this formidable Saturday 5 April at 6pm line-up, Six Degrees Ensemble exposes Salon, Melbourne audiences to works rarely, if ever Recital Centre

Somei Satoh The Heavenly Spheres ABOUT THE MUSC Luminous and incandescent: The are Illuminated by Lights (1979) Heavenly Spheres are Illuminated by From characters of the Tarot to the Helen Gifford Music for Lights by Japanese composer Somei fantastical 15th-century triptych the Adonia (1993) Satoh is a trio for soprano, piano and Garden of Earthly Delights by Bosch, percussion and an example of Satoh’s Liza Lim Garden of Earthly Desire (1989) Melbourne-born Liza Lim’s rarely ability to blend the worlds of the performed Garden of Earthly Desire physical and spiritual. seeks to narrate multiple musical Six Degrees Ensemble stories simultaneously. Lim notes; ‘the Adonis is the god of beauty and desire Justine Anderson voice work offers no `neat´ final solution but and his ‘religion’ is said to belong to Melissa Doecke rather, seeks to present a complex flux women. Adonia, or Feast of Adonis Tonié Field guitar of expression in time – a celebration of was an ancient festival mourning the Zachary Johnston mandolin/violin the richness of the life in and around death of Adonis that was celebrated by women exclusively. Commissioned Phoebe Green viola us. Hence the appeal of the tarot – by ELISION with assistance from the Peter Neville percussion the characters of these archetypal figures find musical analogies in Australia Council, Gifford’s Music for the work. There is the Juggler - the the Adonia incorporates the female voice Guest Artists alchemical, mercurial figure engaging using an imaginary ancient language, Ben Opie in a dialectic of extremes; the High and the piece aims to evoke the music Aviva Endean clarinet Priestess – totem of initiation and the for one of the festivals of Adonis that Marshall McGuire harp gathering of energizing forces; the took place all around the ancient Elizabeth Welsh violin Empress - fecund, pagan, teeming world. The work is in three continuous Charlotte Jacke cello with life.’ Surrealist in its moods and sections; Death of Adonis; Dirge; Before Miranda Hill double bass finely detailed in its execution, the the Image of Adonis. Stuart Fisher 10-string guitar work follows these characters and Jacob Abela piano their stories as they are thrown in Elliott Gyger conductor unexpected ways.

This concert has a duration of 60 minutes with no interval. Please turn off your mobile phone and all other electronic devices before the performance commences.

14 ABOUT THE ARTISTs has commissioned over 20 Australian STEFAN composers for 2014. Stefan is supported CASSOMENOS Melbourne pianist, composer and by Kawai Australia, the Youth Music conductor Stefan Cassomenos is one of Foundation of Australia, and the Helen Australia’s most vibrant and versatile MacPherson Smith Trust. & JUDITH musicians. As recipient of the Second DODSWORTH Grand Prize in the 2013 International Versatile soprano Judith Dodsworth is Telekom Beethoven Competition an accomplished performer of opera, Sappho's Bonn, he is in demand as a recitalist oratorio, and art song. A throughout Europe, Asia and Australia. graduate of Canberra School of Music Butterflies He has performed concertos with the and the University of Melbourne, she Melbourne, Queensland and Adelaide furthered her studies in London and Presented by Melbourne Recital Centre Symphony Orchestras, Beethoven Vienna, working extensively with such Orchestra Bonn, and Orchestra groups as the Arnold Schönberg Chor Victoria. Stefan’s compositions are and Concentus Vocalis Wien. Wednesday 9 April at 6pm regularly commissioned and performed In demand as an exponent of new Salon, Melbourne throughout Australia. He is active as music, Judith has performed, recorded Recital Centre an artistic director of various festivals, and premiered numerous contemporary projects and collaborations. His vocal, operatic and chamber works contemporary ensemble PLEXUS throughout Australia. Kevin March Catalogue des Papillons Mythweaver I. Stars around the full moon ABOUT THE MUSC II. The moon has set Mythweaver III. Sweet oil Catalogue des papillions Kevin March reflects on composing IV. Beautiful things Mythweaver: “The poetry of Sappho Catalogue des papillons is a catalogue of has survived primarily through papyrus V. Lady dawn character and personality. The intent is fragments. In most instances, words, VI. Yes! Radiant lyre! to avoid the musical cliché of butterflies lines or even entire stanzas are missing flitting about and instead, capture where the papyrus has degraded. I something of the spirit they and their wanted to find a way of depicting these Stefan Cassomenos piano names they evoke. For this cycle, each missing words. I wanted to portray this Judith Dodsworth soprano movement was composed first, then poetic voice whose words have been assigned a butterfly (many of which lost. Wanting neither to ignore the gaps This concert has a duration of 60 minutes are Australian species) that seemed in the text nor to force upon the singer with no interval. to fit the character of the movement. and listener text that wasn’t Sappho’s, For example, in the case of Diaethria I sought a third option. I wrote new Please turn off your mobile phone and clymena (a.k.a. the 88 Butterfly) the text to replace the lost text and set this all other electronic devices before the music seemed to possess an eccentric text to music along with the rest of the performance commences. charm, and so Diaethria clymena — poem. Once finished, I removed the small, quirky, and almost comical text from the music, leaving the singer with its idiosyncratic markings, was to wordlessly voice the missing lines. In chosen as the movement’s namesake. 2009, I was privileged to have won the Composed in 2005/05, this large piano Dorian Le Galliene Prize. The award cycle was the first work Kevin March included the commissioning of a new composed after making Australia his piece of chamber music. Mythweaver is new home in July 2004. the product of that commission.”

15 Judith Dodsworth Stefan Cassomenos musicians is his collaboration with The , who dedicated his Melbourne Piano Concerto No.5 to Mustonen and invited him to perform at his 70th, Symphony 75th and 80th birthday concerts. In August 2013, Mustonen performed Orchestra Shchedrin’s Piano Concerto No.4 at and Olli ’s Baltic Sea Festival with the Mariinsky Theatre Orchestra under Mustonen Valery Gergiev. TAPIOLA His special artistic collaboration with Gergiev is part of another long- Saturday 5 April at 8pm standing musical relationship. In 2011, Elisabeth Murdoch Hall, Mustonen had the honour of closing Melbourne Recital Centre the Moscow Easter Festival at the personal invitation of Gergiev, in a performance which was televised all Sibelius Tapiola, Op.112 over Russia. Rautavaara OLLI MUSTONEN In 2012, Mustonen conducted the Philharmonic in INTERVAL 20 MINUTES composer and conductor a performance of his own First Strange Alchemy Aronowicz Born in Helsinki in 1967, Olli Symphony, Tuuri. His Second World Premiere* Mustonen began his studies in piano, Symphony Johannes Angelos was commissioned by the Helsinki Mustonen Symphony No.1 Tuuri harpsichord and composition at the Philharmonic and will shortly receive Australian Premiere age of five. Initially learning with Ralf Gothóni, he subsequently studied piano its world premiere conducted by with Eero Heinonen and composition the composer. Such is Mustonen’s *Strange Alchemy has been created as with . relationship with the Helsinki part of the MSO’s Cybec 21st Century Philharmonic that last year he was Australian Composers Program, which As a concerto soloist, Mustonen has invited to be Artist in Residence, worked with most of the world’s nurtures the work of original and innovative featuring him in all three roles of leading orchestras, including the young Australian composers. This program is conductor, composer and soloist across Berlin Philharmonic, Chicago supported by the Cybec Foundation. a diverse range of concerts. Symphony, Cleveland Orchestra, and The Royal As well as all the major Finnish Olli Mustonen conductor , partnering conductors orchestras, Mustonen has conducted Kristian Winther violin such as Ashkenazy, Barenboim, the Deutsche Kammerphilharmonie, Weimar Staatskapelle, WDR Cologne, Kotilainen Blomstedt, Boulez, Chung, Dutoit, Camerata Salzburg, Northern Sinfonia, Melbourne Symphony Orchestra Eschenbach, Harnoncourt, Masur, Nagano, Salonen and Saraste. Recent Scottish Chamber Orchestra, Estonian National Symphony, Orchestra della This concert has a duration of one hour highlights have included a major project and 50 minutes, including one interval with the BBC Scottish Symphony Toscana, Tchaikovsky Symphony of 20 minutes. Orchestra and Martyn Brabbins, with Orchestra Moscow and the NHK Symphony Orchestra, among others. This performance will be introduced onstage whom Mustonen performed all three by ABC Classic FM's Phillip Sametz and Bartók piano concertos and gave the At the heart of both his piano playing broadcast live around Australia and online on UK premiere of Hindemith’s Piano and conducting is his life as a composer. ABC Classic FM. Concerto for the Left Hand. Mustonen has a deeply held conviction As a recitalist, Mustonen plays in all that each performance must have the the world’s musical capitals, appearing freshness of a first performance, so that in recent seasons at the Edinburgh audience and performer alike encounter Please turn off your mobile phone and International Festival, Sydney Opera the composer as a living contemporary. all other electronic devices before the House and Mariinsky Theatre, St In this respect he recalls Mahler’s performance commences. Petersburg. Last year, he partnered famous dictum, that tradition can be with in a recital tour laziness, yet he is equally suspicious that included the premiere of his own of the performance that seeks only Violin Sonata, jointly commissioned by to be different. This tenacious spirit the Wigmore Hall and Perth Concert of discovery leads him to explore Hall. many areas of repertoire beyond the established canon. 16 Among Mustonen’s close connections with some of today’s most illustrious THE ORCHESTRA

Sir Andrew Davis and the Melbourne Symphony Orchestra in Hamer Hall © Lucas Dawson

THE MELBOURNE SYMPHONY ORCHESTRA

Harold Mitchell AC The MSO performs extensively Each year the Orchestra performs to Chairman with its own choir, the Melbourne more than 200,000 people, at events Symphony Orchestra Chorus, directed ranging from the Sidney Myer Free André Gremillet by chorus master Jonathan Grieves- Concerts in the Sidney Myer Music Managing Director Smith. Recent performances together Bowl to the series of Classic Kids Sir Andrew Davis include Tribute to the Songwriters concerts for young children. The MSO Chief Conductor under Bramwell Tovey, Mahler’s reaches an even larger audience through Symphony No.3 under Markus Stenz, its regular concert broadcasts on ABC Diego Matheuz the Australian premiere of Brett Classic FM, and CD recordings on Principal Guest Conductor Dean’s The Last Days of Socrates under Chandos and ABC Classics. The Benjamin Northey and, under Sir Andrew Orchestra’s considerable ceremonial role Patricia Riordan Associate Davis, music of Percy Grainger and in Victoria has included participation Conductor Chair Beethoven’s Symphony No.9. in the opening ceremony of the 2006 Commonwealth Games, the 2009 Key musical figures in the Orchestra’s With a reputation for excellence, Bushfire memorial service Together for history include Hiroyuki Iwaki – versatility and innovation, the Victoria, the Prime Minister’s Olympic who was Chief Conductor and then internationally acclaimed Melbourne Dinner and the 2010 and 2011 AFL Conductor Laureate, between 1974 and Symphony Orchestra is Australia’s Grand Final. his death in 2006 – and Markus Stenz, oldest orchestra, established in 1906. who was Chief Conductor The MSO’s extensive education and This fine Orchestra is renowned and Artistic Director from 1998 community outreach activities include for its performances of the great until 2004. Oleg Caetani was the the Meet the Orchestra, Up Close symphonic masterworks with leading MSO’s Chief Conductor and and Musical and Education Week, international and Australian artists Artistic Director from 2005 to 2009. designed specifically for schools. In including Maxim Vengerov, In June 2012 the MSO announced 2011 the MSO launched an educational John Williams, Osmo Vänskä, Charles the appointment of Sir Andrew Davis iPhone and iPad app designed to teach Dutoit, Yan Pascal Tortelier, Olli as Chief Conductor, from the 2013 children about the inner workings of an Mustonen, Douglas Boyd, Jean-Yves season. He gave his first concerts in this orchestra. capacity in April, 2013. Thibaudet, , Edo de The Melbourne Symphony Orchestra Waart, Lang Lang, Nigel Kennedy, The MSO, the first Australian is funded principally by the Australian Jeffrey Tate, Midori, Christine Brewer, symphony orchestra to tour abroad, Government through the Australia Council, , Emma Matthews has received widespread international its arts funding and advisory body, and is generously supported by the Victorian and Teddy Tahu Rhodes. It has also recognition in tours to the USA, Canada, Japan, Korea, Europe, China Government through Arts Victoria, enjoyed hugely successful performances Department of Premier and Cabinet. with such artists as Sir Elton John, and St Petersburg, Russia. In addition, the Orchestra tours The MSO is also funded by the City of John Farnham, Harry Connick, Jr., Melbourne, its Principal Partner, Emirates, annually throughout regional Victoria Ben Folds, KISS, Burt Bacharach, The individual and corporate sponsors, including a concert season in Geelong. Whitlams, Human Nature, Sting and donors, trusts and foundations. Tim Minchin. 17 ABOUT THE ARTISTS TAPIOLA

KRISTIAN WINTHER violin JUHA KOTILAINEN baritone

Born in Canberra, Kristian Winther studied violin with Juha Kotilainen made his debut as Dandini in La Cenerentola Josette Esquedin-Morgan and conducting with John Curro. in 1986 with the Finnish National Opera (FNO), and has Kristian made his professional debut with the Melbourne since appeared with the company as Count Almaviva (The Symphony Orchestra in 2003, stepping in at a day’s notice to Marriage of Figaro); Jussi (); Marcello (La perform Mendelssohn's Violin Concerto, and later that year bohème); Figaro (The Barber of Seville); the Mill Foreman also replaced another soloist performing the Sibelius Violin (Jenůfa); and the title role in Tamerlano. He will appear later Concerto. this year with the FNO as Escamillo (Carmen). Previous concert highlights include Beethoven’s Symphony No.9. with He has since performed with the Melbourne, Sydney and the Helsinki Philharmonic Orchestra, Schoenberg’s Tasmanian Symphony Orchestras, Auckland Philharmonia Gurre-Lieder at the Helsinki Festival, and a semi-staged Orchestra and Melbourne Chamber Orchestra. Kristian production of St John Passion with FNO. has also appeared as Guest Concertmaster of the Mahler Chamber Orchestra in Europe and the Melbourne In recent years Juha Kotilainen has premiered a number Symphony Orchestra, and as Leader/Director of ACO2. of Finnish , among them Timo-Juhani Kyllönen’s The Book of Kings (Cadiz 2009); Olli Kortekangas’ Daddy’s Kristian has performed the Australian and New Zealand Girl (Savonlinna Opera Festival 2007); Ilkka Kuusisto’s premieres of ’s Violin Concerto The Lost Art of Taipaleenjoki (Ilmajoki Music Festival 2010); Kimmo Letter Writing, and the Australian premieres of works by John Hakola’s La Fenice (Savonlinna Opera Festival 2012); and Adams, , Wolfgang Rihm and Andrew Kyllönen’s The Seal (Savonlinna Opera Festival 2013). In Ford, among others. As a conductor, Kristian has performed February 2012 he performed in the world premiere of Olli Gubaidulina, Pärt, and Andriessen at the Melbourne Mustonen’s Symphony No.1 with the Tampere Philharmonic Festival and the Canberra International Music Festival. Orchestra. Since joining the Australian in 2012, Kristian Juha Kotilainen studied singing with Olavi Hautsalo and has performed nationally and internationally with artists such Matti Tuloisela at the . He received his as Angela Hewitt, Anne Sofie von Otter, Brett Dean, Paul voice diploma in 1985 and has studied further in the United Dean, Piers Lane and Daniel de Borah. Earlier this year, the Kingdom with Thomas Hampson and in Austria with Peter quartet performed the Australian premiere of John Adams’ Berne. Absolute Jest for string quartet and orchestra with the Sydney Symphony Orchestra. Kristian plays a 1784 Guadagnini violin on loan to the Australian String Quartet through the generosity of Ulrike Klein, Maria Myers and Ngeringa Arts.

18 ABOUT THE MUSIC TAPIOLA

Sibelius, took only a few months to within a matter of bars, are salient Jean Sibelius complete. But he would not conduct the features. Of equal significance is premiere, nor would it be given in his his ability to maintain two different (1865-1957) presence. rhythmic pulses in play, as in the Tapiola, O p.112 long, hypnotic passage of woodwind ‘Tapi’ is the forest god – Tapiola incantation over sustained string translates as ‘where Tapi dwells’, or, as figures, which marks the portal beyond Sibelius notes at the head of the score: which the heart of the work lies. (There ‘Wide-spread they stand, are very few tempo changes in Tapiola: the Northland’s dusky forests, it is a matter of note values rather than Ancient, mysterious, tempo that gives each idea its rhythmic brooding savage dreams; identity.) With them dwell the Tapiola’s uncanny identification with Forest’s mighty god, the natural world reaches a dramatic intensity rare even for Sibelius; in the And wood-sprites in the gloom basic rhythmic pulse on the strings weave magic secrets.’ which is transformed into the climactic, Damrosch’s own remarks about the ferociously elemental ‘storm’ we have piece prefaced the first performance: one of the most terrifying passages in all programmatic music. The score’s ‘We see and feel the infinite, dark green sense of weight, scale and timelessness sibelius at fifty. forests; we hear the howling winds, comes from pedal points that underpin whose icy sounds seem to come from whole musical paragraphs and bind the North Pole itself. Through all this Sibelius’ musical vision cost him together many of the ideas, which we glimpse the ghostly shadows of gods enormous effort, yet the sheer evolve in varying velocities as the work and the strange beings that belong to exhilaration of creating something progresses. Nordic mythology, whispering their he felt to be good could produce the secrets and making their mystical Tapiola’s shining final bars cannot be opposite reaction. Writing to his dances among the branches and trees.’ foreseen from the shadow and storm wife Aino while he was working on that has gone before them; they are an Tapiola, he says: ‘Everything is full of After initial drum taps, all the melodic ‘Amen’, perhaps, an affirmation of the atmosphere. And everything in life is material there is comes in the opening eternal beauty in the ancient darkness. going well.’ Tapiola, however, would bars: the rest of the work flows from be his last major musical statement. it. The orchestra is not large: there is Adapted from a note © Phillip Sametz Between 1926 and his death in 1957, no harp, no tuba and no percussion 2004 Sibelius produced no significant new other than timpani. Yet the colours The first performance of Tapiola by the music. and textures are remarkable. Sibelius’ Melbourne Symphony Orchestra took place frequent and subtle use of divided It was commissioned by the New York on 6 March 1992, conducted by Okko strings and the way in which he can Symphony Society and its conductor Kamu. The most recent was in June 2001 ‘pull focus’ between orchestral sections, Walter Damrosch and, unusually for with conductor Osmo Vänskä.

FAMILY CLASSIC KIDS 1 I Can Play Anything with Jay Laga’aia Introduce children aged 3-7 to the wonders of orchestral music. Benjamin Northey conductor Jay Laga’aia presenter

Saturday 17 May at 10am, 11.15am and 1pm Iwaki Auditorium, ABC Southbank Centre

Tickets from $12 3-Concert Package from $30

BOOK mso.com.au/family NOW (03) 9929 9600 19 ABOUTABOUT TTHEHE AMUSICMUSrtiICsts Vimozart’sTAvPeIOLA la france requiem

Einojuhani Rautavaara (born 1928) Violin Concerto Tranquillo Energico

Kristian Winther violin

Rautavaara gained international acclaim for his 1972 ‘concerto for birds and orchestra’, Cantus Arcticus, and the orchestral works known as the Angel Einojuhani Rautavaara Trilogy: Angels and Visitations, Angel of Dusk and the Symphony No.7. fast excursions, seemingly forming an workroom window at the skyscrapers Studies in , the US, endless line like the horizon (in fact of downtown Manhattan, with their Switzerland and Germany resulted in the instruction to the player is ‘create thousands of lights switching on and several tightly organised serial works, a horizon’). Eventually the movement off in the windows around the clock, though Rautavaara’s natural instinct comes to a close in a quiet reminiscence and listened to the endlessly changing for lush orchestral sonorities never left of the opening motif, a retrospective murmur of traffic on Fifth Avenue, him, and like many composers of his glance at what has gone before. I realised that the violin part should generation, he found himself revisiting live its final moments passionately and If one thinks of the concerto’s first the world of diatonic harmony in the restlessly, untiringly penetrating the movement as the opening and slow later 1960s and early 1970s. Between orchestral texture right up to the very movements in the classical sense then and now Rautavaara has shown a last bars of the piece.’ refreshingly undoctrinaire attitude to collapsed into a single movement, the musical systems. second movement for its own part can © Einojuhani Rautavaara 1977 be regarded as a synthesis of scherzo (translated by © Andrew Bentley) The composer writes: and finale. It gets off to a romping start ‘Milan Kundera compared symphonic with some energetic, rhythmically ever- This is the first performance of music to a journey through a world that changing music in which punctuations Rautavaara’s Violin Concerto by the has no boundaries. And so it is with the from the orchestra seem to whip Melbourne Symphony Orchestra. solo violin in this work, which seems more and more speed into the solo INTERVAL 20 minutes to be on a journey where it continually line. This action gives way to a quiet encounters new vistas and situations. passage in which the oboe leads us into At the very opening, the violin’s long a moonlit landscape. The solo violin cantilena arc occupies an ever-widening joins in, bringing its own increasingly gamut of intervals, as if winging independent character to the melodic through higher spheres. It transforms line, developing it eventually into a into an energetic antiphony with the solo cadenza. Here I have left the end horn and then culminates in a heavy of the cadenza for the soloist to invent fluctuating passage in the orchestra. in traditional classical fashion. When A new, more virtuosic section starts the orchestra re-enters, the solo violin in which the violin’s double-stopping strives for the great heights we associate motion, accompanied by figurations in with Romanticism, but then condenses the flute, heads continually upwards its motion into a final stretto in which only to descend in cascades of falling the player’s command of the bow is arpeggios. The orchestra’s weighty put to the test in continuous forte cantilena that follows ends with a repetitions, played détaché at breakneck jerky cadenza from the solo violin, to speed. Precisely these last pages of which various instruments add their the concerto, containing the furious comments in conversational fashion. stretto finale, were written in New The last section of the movement again York’s Manhattan. Returning after two starts with a slow melody, into which decades of absence to the city in which I studied as a young man was a moving 20 the orchestra joins with variations of its own. The solo sets off on a series of experience for me. As I looked from my ABOUABOUTABOUT TTH THETEH artiE MUSICMUSstICs mozart’svive la requiem TAfrancePIOLA

Andrew Aronowicz's music seeks to Youth Orchestra Music Presentation ANDREW establish immersive worlds of sound Fellowship with Symphony Services that create unique moments in time International and the Sydney ARONOWICZ and evoke distinct characters and Symphony Orchestra in 2014. (born 1989) spaces. His compositions often explore The composer writes about the ways in which music intersects Strange Alchemy Strange Alchemy with broader understandings of art WORLD PREMIERE and storytelling, frequently drawing ‘In more ancient times, alchemists on elements of architectural design sought to manipulate and alter practice as well as philosophical and the properties of matter. Like the literary themes to enrich his scores. mysterious practice of changing base Andrew has composed music for metal to gold, this piece in essence orchestral, chamber and solo contexts, concerns orchestral transformations. working with a variety of prominent Textures shift and change from one Australian soloists and groups such as state to another: clarity to obscurity, Australian Brass Quintet, Silo String density to spaciousness, movement Quartet and new Melbourne ensemble, to stillness. Melodies float in and out Petrichor. like threads of ink in water, collecting together to form startling masses of In addition to composing, Andrew is solid colour, and then dissipating into also a passionate educator, teaching the ethereal smoke-like world generated theory and composition to students by a pair of cymbals.’ at the University of Melbourne. He is Andrew Aronowicz also interested in writing about music, © Andrew Aronowicz 2014 and will undertake an Australian

the country was ruled in increasingly Olli Mustonen repressive fashion by the Russians, who, by 1899, were actively discriminating (born 1967) against Finns and suppressing their Symphony No.1, Tuuri language. This was a response to the growing movement for national AUSTRALIAN PREMIERE self-determination, and artists like Juha Kotilainen baritone Leino and Sibelius found themselves important symbols of that cultural resistance. Leino was only 21 in 1899 Olli Mustonen but had published volumes of poetry PHOTO: Heikki Tuuli/Fimic As Olli Mustonen has written: and began a career as a columnist and ‘My Symphony No.1 is written for editor, and is remembered as the first sleigh bells outside (it is winter) and a baritone soloist and symphony major poet to write in Finnish. Like an uninvited guest appears – Tuuri orchestra. The text is a well-known Sibelius, Leino drew inspiration from recognises him as Death. Tuuri tries poem by our national poet Eino Leino the traditional cycle of epic poetry, the to plead for his life, succeeds at first, – he was a contemporary and a good Kalevala, even producing an ill-fated but eventually has to accept his fate friend of Sibelius, and also, in fact, a stage version of it in 1912, and its forms and embarks on a journey in Death’s very distant relative of mine.’ and stories were immensely important sleigh. The sleigh bells can be heard for to his work. He died aged 47 in 1926 a long time over the frozen lake. In the Leino was born Armas Einar Leopold (the year that Sibelius composed music one can hear some kind of gates Lönnbohm in 1878, and despite the Tapiola). Since then his reputation has opening, revealing new, mysterious Swedish name, was, as the composer ebbed and flowed in literary circles, but worlds.’ notes, descended from the Mustonen he remains much loved and quoted in © Gordon Kerry 2014 family of the eastern province of Finnish society. Karelia. He came of age in the same Mustonen’s Symphony No.1 was Mustonen explains the poem that he political climate that produced Sibelius’ commissioned by the Tampere sets in the present work: first overtly Finnish works: Finland had Philharmonic Orchestra who performed been under Swedish rule since the 13th ‘The poem tells a very powerful and it in February 2012 with the baritone century, and by the 17th had a Swedish captivating story about a man called Juha Kotilainen, under Olli Mustonen’s gentry and administrative class, (into Tuuri, who has built a beautiful new direction. which Sibelius was born). In 1809 house and has invited the gods to This is the first performance of the work Finland was ceded to Tsarist Russia celebrate with him. In the middle of by any of the Australian state symphony and became an autonomous Grand the party Tuuri hears the sound of 21 Duchy. By the end of the 19th century orchestras. ABOUTABOUT TTHEHE AMUSICMUSrtiICsts Vimozart’sTAvPeIOLA la france requiem

Finnish English Pyydän yhden päivän armon, yhden viikon, yhden vuoden. Eino Leino: Tuuri (Translated by Keith Bosley 1978) Nyykähtivät päät pyhäiset.

Noin ne lauloivat jumalat, So they sang, the gods, Kuolo kummasti hymyili: juorottivat jouhiparrat so the greybeards droned ‘Ei miestä väkisin viedä, rannalla Aluen järven, on the shore of Lake Alue, saati veikkoa jumalten. Tuurin uudessa tuvassa: in Tuuri’s new house: On aika odotellani.’ ‘Autuas elämän arpa, ‘Blessed is the lot in life Astui jo tuvasta Tuoni, kun on onni ottamassa, when gladness is in taking painoi kiinni pirtin uksen; taito kättä käyttämässä and skill in using the hands. hengähti isäntä itse, Ei elot eläen puutu, Grain is not lacking for life, hengähtivät vierahatkin. taarit tarjoten vähene.’ nor is beer in short supply.’ Tuo oli Tuuri onnellinen, Tuo oli Tuuri onnellinen, ’Twas Tuuri the glad, talonpoika taidollinen, talonpoika taidollinen, the clever farmer, tunsi päihtyvän verensä, kaatoi kannuhun olutta, poured some ale into a jug, sydämensä suurentuvan lausui tuolla lausehella: spoke up with this speech: riemusta remahtavasta; ‘On eloa, on iloa, ‘There is life and there is joy, kaatoi kannuhun olutta, oisi kyllin kystä meillä, we have food enough, lausui tuolla lausehella: yksi on suru sydämen: but the heart has one sorrow: ‘On eloa, on iloa, Tuoni ankara tulevi, stern Tuoni will come, pöydät pantuna parasta, Kuolo kaikki korjannevi.’ Death will gather all things in.’ yks on riemu miehen riemu: Senp’ on sai sanoneheksi, When he had said that, tulla Tuonelta takaisin, kuului tiuvut talvitieltä, he heard bells upon the winter road, nähdä Kalman karkkoavan.’ kulkuset kujan periltä; sleigh-bells round behind the lane; Jatkui juhla, täyttyi tuopit, kuunteli isäntä itse, the master himself listened täyttyi, tyhjeni samassa. vaikenivat valta-luojat. and those in power fell silent. Juopui Tuuri taidollinen. Tungeikse tupahan vieras A stranger pushed in Heräsi tyhjässä tuvassa, hyyssä turkki, jäässä parta, with frosty furs, icy beard kuuli pakkasen kurikan, kulmakarvat kuuralliset; and hoarfrost on his eyebrows; ulos katsoi akkunasta: pimeni tuvassa tuohus, the torch in the house grew dim, oli orhi uksen eessä, Tuurin kasvot kalpenivat. Tuuri’s face turned pale. hepo vartoi valjastettu, Sanoi Kuolo kutsumaton: Death said unbidden: mies rehevä reen perässä, ‘Kun ei kuulu tervehdystä, ‘When no greeting can be heard, korkealla turkinkaulus. itse tervehdin tuloni.’ I greet my coming myself.’ Kalpenivat aamutähdet, Tuo oli Tuuri onnellinen, ’Twas Tuuri the glad, päivä talvinen sarasti. talonpoika taidollinen the clever farmer, Muisti eilistä iloa, tunsi jäätyvän verensä, felt his blood freezing sanan lausui leikillänsä: sydämensä seisahtavan and his heart stopping ‘Talo työlle, vieras tielle. tuskasta sanattomasta; with unspoken pain; Hoi, on jo herätä aika!’ toki lausui laatuisasti: yet he spoke up in this way: ‘Istunet ilon tekohon, ‘Please be seated, be merry, Ei ääntä väheäkänä. tuoppi oltta tarjotahan.’ here is a flagon of ale.’ Tuluksilla tulta iski, Virkahti viluinen vieras: The chilly stranger uttered: Katsoi pirtin, katsoi sintsin, ‘Tullut en ilon tekohon, ‘I’ve not come to make merry, jo nousi ylistupahan, otan itse olvituopin.’ I’ll take the flagon myself.’ missä nukkui nuorikkonsa; Astui luokse arvollisten, He stepped up to the worthies, lausui päästä portahien: kannun vaahtisen kumosi, overturned the foaming jug, On aika herätä, armas, lausui tuolla lausehella: spoke up with this speech: kalpenevat aamutähdet.’ ‘Ei kysytä kuulumia, ‘News is not asked for, kysyn itse kuulumani: I myself ask for my news: Vastausta ei vähintä tie on tehty miehen mennä, the road’s ready for the man to go, Tuo oli Tuuri onnellinen, reki sankarin samota.’ for the hero’s sledge to roam.’ talonpoika taidollinen, Lysmyi polvet ponnettoman, He went feeble at the knees, tunsi oudoksi olonsa, syöksyi jalkoihin jumalten, fell at the feet of the gods, verensä väriseväksi; huuti suulla surkealla: cried in a pitiful voice: päätyi pirttihin takaisin, ‘En jaksa erota vielä ‘I cannot part yet luokse lieden luontelihe; kodistani, konnustani, with my farm and home, kivi on kylmä kiukahassa. luota vaimoni valion. cannot leave my precious wife.

22 ABOUABOUTABOUT TTH THETEH artiE MUSICMUSstICs mozart’svive la requiem TAfrancePIOLA

Pyydän yhden päivän armon, I ask one day’s grace, Pilkisti pihalle tuosta: He peered out into the yard: yhden viikon, yhden vuoden. one week’s, one year’s grace.’ hepo seisoi niinkuin seinä, a horse stood there like a wall, mies körötti niinkuin köngäs. a man loomed like a cascade. Nyykähtivät päät pyhäiset. And the holy heads nodded. Muisti eilistä muretta, He recalled yesterday’s woe, Kuolo kummasti hymyili: And Death weirdly smiled: hyrähti hymyhyn huuli: his lips broke into a smile: ‘Ei miestä väkisin viedä, ‘No man is taken by force, ‘Hyv’ on olla onnen myyrä, ‘Good to be a lucky dog, saati veikkoa jumalten. still less brother of the gods. kuoma julkisten jumalten.’ and a friend of the true gods.’ On aika odotellani.’ I have time to wait.’ Haukotteli haikeasti, Grievously he gasped, Astui jo tuvasta Tuoni, Tuoni stepped out of the house, tuosta lautsalle laseikse, slumped on the wall-bench, painoi kiinni pirtin uksen; and shut the house door; päätti päivän nukkuvansa; decided to sleep that day; hengähti isäntä itse, the master himself took breath, käänti päätä, siirti kättä, he turned his head, moved his hand, hengähtivät vierahatkin. the guests too took breath. koetti kumpaakin sivua, he felt both his sides Tuo oli Tuuri onnellinen, ’Twas Tuuri the glad, ei unonen tullutkana. no, sleep would not come. talonpoika taidollinen, the clever farmer, Kimposi koholle Tuuri, Tuuri started up, tunsi päihtyvän verensä, felt his blood reeling sanan kirkkahan kirosi: uttered a loud curse: sydämensä suurentuvan and his heart swelling ‘Ei tästä pidot parane, ‘The feast will not be better riemusta remahtavasta; with bursting delight; ellei vierahat vähene.’ unless there are fewer guests.’ kaatoi kannuhun olutta, poured some ale into a jug, lausui tuolla lausehella: spoke up with this speech: Sanoi kylmä kyytimiesi: The cold driver said: ‘On eloa, on iloa, ‘There is life and there is joy, ‘Niinpä tielle työntelemme.’ ‘So we will press on our way.’ pöydät pantuna parasta, tables are spread with the best, Tunsi Tuuri vierahansa, Tuuri recognised his guest, yks on riemu miehen riemu: man has one delight: sydän rinnassa sävähti. his heart in his breast flushed hot. tulla Tuonelta takaisin, to come back from Tuonela, ‘Sain ma vuoden armon aian.’ ‘I was given a year of grace.’ nähdä Kalman karkkoavan.’ to see Kalma flee.’ Hyyrrepartainen hymähti: The frost-bearded smiled: Jatkui juhla, täyttyi tuopit, The feast went on, flagons filled, ‘Liet saanut satakin vuotta, ‘You have had a hundred years: täyttyi, tyhjeni samassa. filled, emptied in one moment. etkö jo erota jaksa!’ can you not part now?’ Juopui Tuuri taidollinen. Clever Tuuri drank. Ei muista elänehensä Of his life Tuuri recalls Heräsi tyhjässä tuvassa, He woke in an empty house, Tuuri eilistä enemmän. nothing more than yesterday. kuuli pakkasen kurikan, heard the frost pounding, ‘Oli mulla poika pieni.’ ‘I had a small son.’ ulos katsoi akkunasta: he looked out of the window: oli orhi uksen eessä, a stallion was at the door, Haastoi Tuoni hallavainen: Hoary-headed Tuoni said: hepo vartoi valjastettu, a horse stood guard in harness, ‘On jo kuollut, kuopattukin,’ ‘He is dead, and buried too, mies rehevä reen perässä, a splendid man in the sledge, miespolven Manalla maannut, lain in Mana an age since.’ korkealla turkinkaulus. his fur collar up. Tuo oli Tuuri onnellinen, ’Twas Tuuri the glad, Kalpenivat aamutähdet, And the morning stars grew pale, talonpoika taidollinen, the clever farmer, päivä talvinen sarasti. the winter day dawned. jo tunsi jumalten lahjat, now knew the gifts of the gods, lausui, synkästi saneli: spoke up, desolately said: Muisti eilistä iloa, He recalled yesterday’s joy, ‘Alköhöt sinä ikänä, ‘Let not evermore, sanan lausui leikillänsä: spoke a word in jest: älköhöt juhliko jumalat let the gods not celebrate ‘Talo työlle, vieras tielle. ‘Household to work, guest away. kera kansan kuolevaisen! with mortal people! Hoi, on jo herätä aika!’ Hey, it is time to wake up!’ Jumalill’ on juhlat pitkät, The gods have long festivals, ikä kerkeä inehmon, man’s life is fleeting, Ei ääntä väheäkänä. Not the slightest sound. nopsa niinkuin pyörän kehrä. swift as a wheel’s turn. Tuluksilla tulta iski, And with tinder he struck fire, Päivät kultaiset kuluvi, The golden days pass, Katsoi pirtin, katsoi sintsin, looked in the room, in the porch, aika armas lankeavi, precious time slips by, jo nousi ylistupahan, went up to the room above köyrtyvi urohon selkä a man’s back grows bent missä nukkui nuorikkonsa; where his young bride slept, noissa pitkissä pidoissa, during that long feast, lausui päästä portahien: spoke from the top of the steps: jumalaisten juomingeissa.’ the divine revels.’ On aika herätä, armas, ‘It’s time to wake up, darling, Istui Kuolon korjasehen, He sat in Death’s sleigh, kalpenevat aamutähdet.’ for the morning stars grow pale.’ kuului kulkusten helinä a jingle of bells was heard Vastausta ei vähintä Not the least answer. hämärässä talvi-aamun; in the winter morning’s gloom: kuului vielä viittatieltä, still heard on the winter road, Tuo oli Tuuri onnellinen, T’was Tuuri the glad, jäälle järvien hävisi. was lost on the frozen lakes. talonpoika taidollinen, the clever farmer, tunsi oudoksi olonsa, had a strange feeling, verensä väriseväksi; felt his blood quiver; päätyi pirttihin takaisin, came back to the house luokse lieden luontelihe; and went to the hearth: kivi on kylmä kiukahassa. the fire-stone was cold.

23 MSO supporters

ARTIST CHAIR BENEFACTORS HONORARY APPOINTMENTS PROGRAM BENEFACTORS Harold Mitchell AC Concertmaster Chair Mrs Elizabeth Chernov Meet the Orchestra made possible by the Patricia Riordan Associate Conductor Chair Education and Outreach Patron Ullmer Family Endowment The Gross Foundation Principal Second Sir Elton John CBE Life Member Pizzicato Effect Program Benefactor Violin Chair The Honourable Alan Goldberg AO QC (anonymous) MS Newman Family Principal Cello Chair Life Member MSO UPBEAT supported by Betty Amsden Joy Selby Smith Orchestral Leadership Chair Geoffrey Rush AC Ambassador OAM Marc Besen AO and Eva Besen AO International Guest Chair MSO CONNECT supported by Jason Yeap MSO Friends Chair OAM

TRUSTS AND FOUNDATIONS Creative Partnerships Australia The Schapper Family Foundation Ken and Asle Chilton Trust, Ivor Ronald Evans Foundation, The Perpetual Foundation managed by Perpetual as administered by Mr Russell Brown - The Alan (AGL) Shaw Endowment Cybec Foundation and Equity Trustees Zinnell/Hughes Trust, The Robert Salzer Foundation The Ian Potter Foundation managed by Perpetual Pratt Foundation

IMPRESARIO PATRONS Dominic and Natalie Dirupo Connie and Craig Kimberley Tim and Lyn Edward Sylvia Lavelle Perri Cutten and Jo Daniell Future Kids Pty Ltd Dr Elizabeth Lewis AM David and Angela Li Susan Fry and Don Fry AO Ann and George Littlewood John McKay and Lois McKay Mr Greig Gailey and Dr Geraldine Lazarus Christopher and Anna Long Harold Mitchell AC Jill and Robert Grogan Allan and Evelyn McLaren Mrs Margaret S Ross AM and Louis Hamon OAM Don and Anne Meadows Dr Ian C Ross Nereda Hanlon and Michael Hanlon AM Marie Morton Inés Scotland Hartmut and Ruth Hofmann Dr Paul Nisselle AM Trevor and Judith St Baker Peter and Jenny Hordern Ann Peacock with Andrew Vivien and Graham Knowles and Woody Kroger MAESTRO PATRONS Peter Lovell Ruth and Ralph Renard Michael Aquilina Annette Maluish Diana and Brian Snape AM Jennifer Brukner Mr and Mrs D R Meagher Mr Tam Vu and Dr Cherilyn Tillman M P Chipman Wayne and Penny Morgan William and Jenny Ullmer Andrew and Theresa Dyer Ian and Jeannie Paterson Bert and Ila Vanrenen Rachel and Hon. Alan Goldberg AO QC Rae Rothfield The Hon. Michael Watt QC Robert and Jan Green Stephen Shanasy and Cecilie Hall Konfir Kabo and Monica Lim In memory of John William Symons Brian and Helena Worsfold Ilma Kelson Music Foundation Gai and David Taylor George Worthington and Cameron Mowat Norman and Betty Lees Barbara and Donald Weir KSJ Anonymous (10) Mimie MacLaren YMF Foundation Onbass Foundation Anonymous (2) PLAYER PATRONS Elizabeth Proust AO David and Beverlie Asprey, Marlyn and Peter and Natalie Schiavello ASSOCIATE PATRONS Glenn Sedgwick Peter Bancroft OAM, Barbara Bell in Maria Solá, in memory of Malcolm Douglas Will and Dorothy Bailey Bequest memory of Elsa Bell, M Ward Breheny, The Gabriela and George Stephenson gift Mrs S Bignell Mr John Brockman OAM and Mrs Pat in tribute to the great Romanian pianist Stephen and Caroline Brain Brockman, Jill and Christopher Buckley, Dinu Lipati Bill and Sandra Burdett Dr Lynda Campbell, Ms D Cooney and Lyn Williams AM Oliver Carton Mr C Halek, Andrew and Pamela Crockett, Kee Wong and Wai Tang Jan and Peter Clark Panch Das and Laurel Young-Das, Pat and Anonymous (2) John and Lyn Coppock Bruce Davis, Cameron Delost, Sandra Dent, Ann Darby in memory of Leslie J. Darby John and Anne Duncan, Jane Edmandson Mary and Frederick Davidson AM OAM, Grant Fisher and Helen Bird, William PRINCIPAL PATRONS Peter and Leila Doyle J Forrest AM, Barry Fradkin OAM and Dr Bronte Adams Lisa Dwyer and Dr Ian Dickson Dr Pam Fradkin, David I Gibbs and Susie Christine and Mark Armour Dr Helen M Ferguson O’Neill, Merwyn and Greta Goldblatt, Peter Biggs CNZM and Mary Biggs Mr Bill Fleming George H Golvan QC, Dr Marged Goode, Kaye and David Birks Dina and Ron Goldschlager Louise Gourlay, Jean Hadges, Stuart and David and Emma Capponi Colin Golvan SC and Dr Deborah Golvan Sue Hamilton, Tilda and Brian Haughney, 24 Paul Carter and Jennifer Bingham Susan and Gary Hearst Julian and Gisela Heinze, Hans and The Cuming Bequest Gillian and Michael Hund Petra Henkell, Dr Alastair Jackson, Stuart The MSO proudly THANKs ITS SUPPORTERS Donations are vital to the Orchestra's Jennings, John and Joan Jones, George Werner and Neil Werner OAM, Nic and work, supporting access, artists, and Grace Kass, Irene Kearsey, Dr Anne Ann Willcock, Marian and Terry Wills education, outreach programs and more. Kennedy, Norman Lewis in memory of Cooke, Pamela F. Wilson, Ruth Wisniak Dr Phyllis Lewis, Dr Anne Lierse, Violet OAM and Dr John Miller AO, Joanne We are delighted to involve donors in the and Jeff Loewenstein, Elizabeth H Loftus, Wolff, Peter and Susan Yates, Mark Young, MSO's world at close quarters, through Vivienne Hadj and Rosemary Madden, In Anonymous (15) events and our supporter newsletter, Memory of Leigh Masel, Trevor and Moyra The Full Score. McAllister, John and Ann McArthur, David and Beverley Menzies, Jan Minchin, John The conductors circle MSO Patrons contribute at the following levels or more: and Isobel Morgan, Ian Morrey, The Novy Jenny Anderson, Joyce Bown, Ken Bullen, $100 (Friend), $1,000 (Player), Family, Laurence O’Keefe and Christopher Luci and Ron Chambers, Sandra Dent, $2,500 (Associate), $5,000 (Principal), James, Mrs W. Peart, Susan and Barry Lyn Edward, Alan Egan JP, Louis Hamon $10,000 (Maestro), Peake, Graham and Christine Peirson, John OAM, Tony Howe, John and Joan Jones, $20,000 (Impresario). and Betty Pizzey, Lady Potter AC, Peter Mrs Sylvia Lavelle, Elizabeth Proust AO, Priest, Jiaxing Qin, In Honour of Norma Penny Rawlins, Joan P Robinson, Jennifer The and Lloyd Rees, Dr Sam Ricketson, Tom and Shepherd, Pamela Swansson, Dr Cherilyn MSO Conductor’s Circle Elizabeth Romanowski, Delina Schembri- members have notified of a planned gift Tillman, Mr and Mrs R P Trebilcock, in their Will. Hardy, Max and Jill Schultz, David Shavin Michael Ullmer, Mr Tam Vu, Marian QC, Chris and Jacci Simpson, Gary Singer and Terry Wills Cooke, Mark Young, All donors are recognised on our website. and Geoffrey A Smith, Dr Sam Smorgon Anonymous (16) AO and Mrs Minnie Smorgon, Dr Michael Enquiries: +61 (3) 9626 1107 Soon, Geoff and Judy Steinicke, Mrs Suzy We gratefully acknowledge support received [email protected] and Dr Mark Suss, Pamela Swansson, from the Estates of Gwen Hunt, Pauline Prof Seong-Seng Tan and Jisun Lim, Frank Marie Johnston, C. P. Kemp, Peter Forbes This honour roll is correct at time and Miriam Tisher, Margaret Tritsch, MacLaren, Prof Andrew McCredie, Miss of printing. Mrs Barbara Tucker, P and E Turner, Mary Sheila Scotter AM MBE, Molly Stephens, Vallentine AO, The Hon. Rosemary Varty, Jean Tweedie, Herta and Fred B Vogel. Sue Walker AM, Elaine Walters OAM, Erna

25 Melbourne Recital Centre Presents ‘One of 7.30pm early music’s 22 & 23 great souls’ April 2014 The Boston Globe

Jerusalem Jordi Savall, Hespèrion XXI & La Capella Reial de Catalunya

A grand panorama of life and music in the holy city

Jerusalem is an epic panorama of more than Jordi Savall is a true citizen How to Book 3000 years of history. The holy city has been of the world, voyaging in home to a polyglot community of Jewish, Muslim Box Office: 9699 3333 time and space from the and Christian people for centuries. Savall traces melbournerecital.com.au the history of the city and its inhabitants from Tickets from $75* splendours of Baroque the fall of the Walls of Jericho to the present. Melbourne Recital Centre Europe to the glories Invasions, pilgrimages, crusades, war and the Cnr Southbank Blvd & Sturt St, Southbank centuries of harmonious coexistence have left of Ancient Greece. His their testament in the music of Jerusalem.

concerts are illuminating, Joined by a diverse community of over 30 moving and joyous musicians from the Middle East and Europe, experiences of rapt intimacy Savall and his ensembles weave a gorgeous tapestry of life in Jerusalem, culminating in an and exquisite musicality. eloquent plea for peace. Principal 26 Government Partner

*Transaction fees may apply. Supported by The Hugh Williamson Creative Production Fund Melbourne Recital Centre Presents ABOUABOUTABOUT TTH THETEH artiE MUSICMUSMSOstICs mozart’sviveSU laPP requiem TAfranceORTERSPIOLA ‘One of 7.30pm early music’s 22 & 23 great souls’ April 2014 The Boston Globe COMMISSIONING THE FUTURE

their career and provided them with the opportunity to hone their craft within a professional context. Knowing that is very satisfying, and it’s exciting to think that my gift has contributed to the development of the orchestral artform. Replica now has a life of its own – who knows where it will be performed next!’ For Natalie, the experience was priceless. ‘As an establishing composer, these professional chances are so very valuable and I look forward to seeing Replica develop further in the future. Many thanks again for supporting new music and for providing such an incredible opportunity to work with the MSO.’ Cybec program participants Andrew Aronowicz, Kym Dillon, Elliott Hughes and Lisa Cheney Each year, the MSO’s programs benefit greatly from the commissioning of new music which vary from in As a leading 21st century orchestra, the participants from our Cybec program specially composed children’s pieces MSO’s commitment to commissioning have had their works performed in Education Week, major new works and performing new music forms overseas as a result of their involvement for mainstage subscription concerts, an important part of our artistic in the Cybec composers program, contributions to the VCE music agenda and raison d'être. For emerging some have pursued international study curriculum, a capella pieces for the composers, especially, a commission opportunities with contacts developed MSO Chorus, featured work in our from a major symphony orchestra can through the program, while others have Metropolis New Music Festival and be a career defining moment. received further commissions – both more. new compositions and orchestration For over a decade, the Cybec engagements – from the MSO. ‘ Specially commissioned works are an Foundation, headed by MSO Artist important contributor to our annual Jerusalem Chair Benefactor Roger Riordan, has The Cybec program is one example of offering of inspiring, challenging and supported the Cybec 21st Century MSO’s ongoing support for the next exhilarating live music experiences. Australian Composers Program. generation of Australian emerging Jordi Savall, Hespèrion XXI & La Capella Reial de Catalunya Dozens of young composers from artists, which is made possible thanks Commissioning new music is an across the country have worked closely to the generosity of the Orchestra’s investment in the future. To find out A grand panorama of life and music in the holy city with the MSO, and with some of the philanthropic community. more information about how you can country’s most accomplished music donate to the MSO’s commissioning MSO Artist Chair Benefactor Joy creators. Each year, two works from program, please contact the MSO Selby Smith has recently commissioned the program are premiered in our Philanthropy on (03) 9626 1107 or three new works for the MSO, all by Metropolis New Music Festival. email [email protected] Jerusalem is an epic panorama of more than Jordi Savall is a true citizen How to Book emerging composers. The most recent, 3000 years of history. The holy city has been of the world, voyaging in Box Office: 9699 3333 ‘Every step of the commissioning Replica, was premiered to enthusiastic home to a polyglot community of Jewish, Muslim process – from receiving the artistic audiences on the Orchestra’s regional time and space from the and Christian people for centuries. Savall traces melbournerecital.com.au the history of the city and its inhabitants from Tickets from $75* brief, working with our Librarian on tour to Hamilton, Warrnambool and splendours of Baroque the fall of the Walls of Jericho to the present. Melbourne Recital Centre the practical aspects of score notation, Ararat in November 2013. Replica Europe to the glories Invasions, pilgrimages, crusades, war and the Cnr Southbank Blvd & Sturt St, Southbank observing and contributing to the was written by Natalie Williams, an of Ancient Greece. His centuries of harmonious coexistence have left rehearsal process, receiving feedback American-based Australian – and a their testament in the music of Jerusalem. from our musicians and working graduate of the Cybec program. concerts are illuminating, with the conductor – is invaluable Joined by a diverse community of over 30 ‘To me, what the resulting piece moving and joyous musicians from the Middle East and Europe, professional development’ explains the of music sounds like isn’t the main experiences of rapt intimacy Savall and his ensembles weave a gorgeous MSO’s Director of Artistic Planning, tapestry of life in Jerusalem, culminating in an objective’ says Joy. ‘It’s the fact that Huw Humphreys. ‘The benefits for and exquisite musicality. eloquent plea for peace. Principal I’ve made a major difference to an Government Partner a young composer can often spread 27 emerging artist in the early stages of *Transaction fees may apply. Supported by The Hugh Williamson Creative Production Fund beyond the commission itself. Some The Melbourne Symphony Orchestra and olli Mustonen FRESCOES OF DIONYSIUS Presented by the Melbourne OLLI MUSTONEN KRISTIAN WINTHER violin Symphony Orchestra composer and conductor For more information on Kristian Winther, go to page 18. Wednesday 9 April at 8pm For more information on Olli Elisabeth Murdoch Hall, Mustonen, go to page 16. Melbourne Recital Centre

Shchedrin Frescoes of Dionysius Australian Premiere Mustonen Sonata for Violin and Orchestra World Premiere INTERVAL 20 MINUTES Cheney The Pool and the Star World Premiere* Shchedrin Sotto voce concerto for Cello and Orchestra Australian Premiere

*The Pool and the Star has been created as part of the MSO’s Cybec 21st Century Australian Composers Program, which nurtures the work of original and innovative Marko Ylönen 2015; and Professor of Chamber Music young Australian composers. This program is cello at the Sibelius Academy since 2009. supported by the Cybec Foundation. Marko Ylönen’s discography includes Marko Ylönen performs regularly Sibelius’ Two Pieces Op.77 for cello Olli Mustonen conductor as soloist with the major Finnish and orchestra with the Lahti Symphony Kristian Winther violin orchestras in addition to solo and Orchestra and Osmo Vänskä; Pēteris Marko Ylönen cello chamber performances in Europe, Vasks’ Cello Concerto with the Melbourne Symphony Orchestra China, Japan, North America, New Tampere Philharmonic Orchestra and Zealand and Australia. He has John Storgårds; Joonas Kokkonen’s This concert has a duration of one hour performed with Camerata Salzburg, Cello Concerto with the Finnish and 45 minutes, including one interval English Chamber Orchestra, of 20 minutes. Radio Symphony Orchestra and Sakari Prague Chamber Orchestra and the Oramo; and sonatas by Chopin and This performance will be introduced onstage Netherlands Chamber Orchestra, Rachmaninov with Arto Satukanga. by ABC Classic FM's Phillip Sametz and and has given recitals at Carnegie broadcast live around Australia and online on Hall and the Concertgebouw. As a Marko Ylönen won first prize at the ABC Classic FM. chamber musician he has played in Concert Artist Guild Competition in ensembles with musicians such as New York in 1996. He has studied with Natalia Gutman, Samuel Sanders, Leif Csaba Szilvay, Erkki Rautio, Heikki Ove Andsnes and Hagai Shaham. His Rautasalo and Heinrich Schiff. He Please turn off your mobile phone and appointments include Artistic Director plays a Cappa cello from the early 18th all other electronic devices before the of Korsholm Music Festival in 2003, century. 28 performance commences. 2008 and 2010-12; Artistic Director of the LuostoClassic Festival in 2014- ABOUT THE MUSIC THE Frescoes of Dionysius

Shchedrin’s love of his Russian heritage cathedrals in Moscow has been lost. extends to folk-forms – there are works Rodion Shchedrin Shchedrin makes no attempt to based on round dances and circus music (born 1932) translate specific imagery into music, – and to Russia’s rich religious history. but rather to evoke the kind of Frescoes of Dionysius Freski Dionisiya or Frescoes of Dionysius, feelings such art draws forth. The dating from 1981, is a musical response AUSTRALIAN PREMIERE single movement work begins with to an important collection of icons a simple melody, derived perhaps painted by the late-medieval master, from traditional chant – essentially Dionysius the Wise (1440-1502). He stepwise within a small span. It is worked at first in Novgorod but was announced with minimal harmony summoned to the Moscow court of but occasional interruptions from Tsar John III in the later 15th century. percussion. Inevitably, with the use of Before moving to Moscow, Dionysius chant-melodies and the prominence of painted a series of frescoes depicting wind instruments, we find ourselves scenes in the life of the Blessed thinking of Stravinsky’s Symphonies of Virgin at the Ferapontov Monastery, Wind Instruments or his Mass, where Novgorod, whose Church is dedicated the timbre of the instruments has, to her. Dionysius’ work is characterised for the composer, a strong spiritual by delicacy in his use of line and colour, significance. and provides a bridge between earlier Like the Symphonies of Wind Byzantine iconography and that which Instruments, Shchedrin’s work proceeds Rodion Shchedrin emerged in Russia in the 15th century. as a series of gestures: after the chant- Sadly, much of the work he is known based opening, a pulsing rhythm to have produced for the Tsar and Shchedrin was born in 1932 and of static harmony yields to a more graduated from the Moscow conservatory in 1955. He established himself in Russian music in the mid-1950s. The first of his five piano concertos and two symphonies date from this time. The West became aware of him in the later 1960s with his First Concerto for Orchestra (confusingly nicknamed ‘Naughty Limericks’ in English), and his brilliant rethinking of Bizet’s music for Carmen as a . Some of his most important music has been in scores for opera and ballet based external view of the Ferapontov Monastery, Novgorod which houses on classics from Russian literature the Dionysius frescoes. www.dionisy.com produced at Moscow’s Bolshoi Theatre.

29 ABOUT THE MUSIC The Frescoes of Dionysius

A slow-moving, mildly dissonant texture, underpinning more nervous figures, offers a fuller statement of the chant theme but peters out in a motif on the cor anglais. The slow ostinato, gradually adding notes to form a chord, contrasts with more extravagant chimes. The repeated chords lead to Dionysius frescoes at Ferapontov Monastery, Novgorod dense texture with flute moving slightly faster above. A flurry of chimes, the ostinato again, and a trilling flute give astringent texture featuring horn and way to the final affirmation of the string tremolo. An ostinato of two major third. notes a tone apart once again leads to a gesture for bells, and then to a © Gordon Kerry 2014 more skittish passage for winds that This is the first performance of this work is gradually overlaid with the more by any of the Australian state symphony static chant-based material. After more orchestras. repeated-note ostinatos, the chant appears as a dragging march with reiterated pizzicato accompaniment. Ferapontov Monastery, This is interrupted by fast repeated-note Novgorod figures, building to a climax of horn calls and glitter from percussion.

consists of three movements. The all this results in a crescendo, but also Olli Mustonen first movement Grave( ) is serious brings in a more lamenting motive and monumental in character. The in the violin, accompanied by rapid (born 1967) solo violin starts playing soft, slowly processions of descending chords Sonata for Violin and undulating semiquavers, which form in the orchestra. The music tries to Orchestra patterns reminiscent of Bach, but return to its joyful origins, but in the Grave seem not to be connected to any clear end its character becomes more and Allegretto – Furioso – tonality. After a while the orchestra more desperate, culminating in a Finale enters, first with chords, which are a breathtaking coda (Furioso). combination of G sharp minor and The last movement starts attacca WORLD PREMIERE G major, and then starting to develop [moving straight on without a break] passacaglia-type chord sequences Kristian Winther violin with colossal chords in the orchestra interrupted by low clusters, gaining combining the tonalities of C sharp strength in every appearance. At first minor and C major. There is a defiant the solo violin seems to be unaware cadenza, consisting of material from Mustonen can fairly be described as a of this, but after a while it also starts the first movement, but in the end the neo-classicist of sorts. His distinctive to react to the developments in the violin seems to lose all hope and stops musical language is firmly rooted in orchestra. A culmination is reached, playing. The orchestra and the violin diatonic harmony, and while some of after which there is a diminuendo to start a dialogue consisting partly of his work makes explicit reference to the original dynamics of the movement. quotations from Beethoven’s String aspects of Finnish culture, his preferred The passacaglia motives return, but this Quartet, Op.135 (‘Muss es sein?’ forms are those that hark back to those time in an inverted form, combined ‘Must it be?’). The music becomes of western European music in the with high clusters. The movement ends more hopeful and finally finds peace, 18th and 19th centuries. His Petite with alternating high and low clusters the solo violin ascending to heaven, Suite of 1996, for instance, is a series in the orchestra, the solo violin rising accompanied by a ritualistic dialogue of of 18th-century dance forms, and his ever higher into the skies. Triple Concerto of two years later is a high and low clusters in the orchestra.’ The second movement (Allegretto) reimagining of a Baroque concerto. His © Olli Mustonen 2014 two Nonets for strings fall into a four- brings in some totally different kind movement design. As he explains, this of music: irregular rhythmic impulses This is the world premiere of this work, new piece, the Sonata for Violin and in the orchestra and fanfare-like, which was composed for the 2014 Orchestra, makes reference to music as vigorous and joyous motives in the Metropolis New Music Festival. divergent as Bach and Beethoven, but violin. Everything starts softly and reimagined in his own terms. mysteriously, but soon the orchestra 30 starts to imitate the solo violin and INTERVAL 20 minutes ‘My Sonata for Violin and Orchestra ABOUT THE MUSIC The Frescoes of Dionysius

The Pool and the Star is inspired by a LISA CHENEY poem of the same name by the late Australian poet, Judith Wright. (born 1987) The Pool and the Star Cheney says: ‘I have often found Wright’s work a stimulus for creative WORLD PREMIERE expression, and on this occasion it was the vivid imagery and evocative language in The Pool and the Star that Lisa Cheney is a contemporary classical invited my musical response.’ composer based in Queensland. After The work loosely captures the narrative graduating from an undergraduate of the poem in which the pool, in love, degree in each night awaits patiently for the LISA CHENEY in 2008, Lisa went on to study a rising of a star to bring to life the time Masters of Music at the Queensland and waters from which the pool gathers Conservatorium of Music, with 2009), first place and other prizes in itself together. Venturing through and a special research interest in the the Open section of the ASME Young between two worlds, the music depicts experiences of early career female Composers Competition (2008, 2009, earth and water on one hand, and on composers in Australia. Lisa has 2010), the Griffith University Owen the other, sky and space. Accordingly, written music for a variety of ensembles Fletcher Postgraduate Award (2008), the piece is through-composed including the Southern Cross Soloists, and Australia-Korea Foundation commencing with a portrayal of calm White Wolf Theatre Company, Scholarship (2011). She has also and tranquillity and progressing Belladiva, Bangalow Music Festival, attended the Atlantic Music Festival through a series of changes of varying Ensemble Fabrique, Syzygy, the and the Australian Youth Orchestra intensity, returning in the closing bars Australian Voices and the Australian National Music Camp. In 2014, Lisa to a mood akin to that of the opening. Ballet. Her awards include the Glen- will premiere new works in North © Lisa Cheney 2014 Carter Varney Award for Composition Carolina whilst in residence at the (2009), first prize in the Open Section Brevard Music Centre, and complete of the MTAQ Gold Coast Composer’s commissions for Diana Tolmie and Competition (2005, 2006, 2007, the Ady Ensemble.

Monday 26 May 4:45-5:30pm and 5:45-6:30pm Melbourne Town Hall This is a free event, but bookings are essential. To secure your place, please phone the MSO Box Office on (03) 9929 9600. Bookings open on Monday 28 April. 31 ABOUT THE MUSIC The Frescoes of Dionysius

especially for the stage, that frequently seems to give way to reflective, static Rodion Shchedrin celebrate Russian heritage. With the passages of great beauty, that then (born 1932) fall of the Soviet Union, Shchedrin, lead to impassioned or grief-stricken like Gubaidulina, was able to explore outbursts. Some of the latent energy Sotto voce concerto for certain spiritual concerns while here is released in the short Scherzo- Cello and Orchestra remaining focused on Russian culture: cadenza movement, which in its febrile Sostenuto – Frescoes of Dionysius, for instance, nervousness slightly recalls moments Allegretto moderato – reflects the religious feeling provoked in the Cello Symphony that Benjamin Scherzo-cadenza Presto – by late medieval orthodox iconography; Britten also wrote for Rostropovich. his opera Lolita, first performed in The finale, to some extent, balances Finale: Pesante con moto Sweden, is, of course, a version of the the weight of the second movement, AUSTRALIAN PREMIERE story told – in English – by famously being only slightly shorter, but it is here expatriate author Vladimir Nabokov. that Shchedrin’s nostalgia becomes Marko Ylönen cello less introspective and more dramatic. Lolita was first performed under the A baleful opening gesture soon yields baton of Mstislav Rostropovich – to quiet reflection, with the cello’s another celebrated exile from Soviet high-lying melody given added magic If Solomon Volkov is to be believed, Russia – in 1992, and two years later by the appearance of a tenor recorder. Shchedrin gained a nickname, early Shchedrin composed his Cello Concerto This idyllic musical image cannot and in his career: his colleagues called him for ‘Slava’ and the London Symphony does not last, as the full force of the ‘Cosmonaut’ because of his nimbleness. Orchestra. In a move impossible to orchestra crushes it in a mechanistic A member of the same generation as conceive of during the Soviet period, outburst and later a shocking hail Sofia Gubaidulina, Edison Denisov Shchedrin uses the piece as a vehicle of bells, as if some venerable church and Alfred Schnittke, Shchedrin was for frank nostalgia at the destruction were being destroyed before our eyes. never, as he is at pains to point out, of traditional village life – that of the It nevertheless proves surprisingly a member of the ruling Communist village of Aleksin – in the march to durable, like a treasured memory, Party but did take over from modernisation. surviving into a lengthy peroration Shostakovich, at the latter’s insistence, The piece’s title – sotto voce – might where the cello floats an ethereal chain as head of the Union of Composers of seem perverse in a work for a player of of natural harmonics, sighing motifs the Russian Federation. (Shostakovich’s such magisterial and forceful sound as and finally, guardedly hopeful scales in nemesis, Tikhon Khrennikov, headed Rostropovich, but the work’s generally a fading, pastoral light. the rival Soviet Composers’ Union.) restrained rhetoric gives it a sense The displeasure of the authorities at © Gordon Kerry 2014 of great latent power. It is in four Shchedrin’s apparent ‘disrespect’ for substantial movements, beginning with This is the first performance of this work Bizet’s Carmen was short-lived, and an understated Sostenuto that unfolds by any of the Australian state symphony Shchedrin went on to provide a series of quietly and lyrically. The Allegretto orchestras. stage works for the Bolshoi. Shchedrin moderato is the longest movement of was able to work relatively unimpeded the four, and covers a lot of musical and by the regime, producing works, emotional territory: its energy often

32 ABOUT THE ARTISTS Join them for a ride that may be strange SYZYGY and unfamiliar, but always exhilarating The musicians of Syzygy Ensemble and enriching. ENSEMBLE share a deep empathy with music of our own time as well as an unbridled desire Each work on this program uses a LOGIC to share this enthusiasm with audiences carefully chosen set of parameters to Presented by Melbourne Recital Centre in a way that may stretch your ears but systematically envelop the audience’s never slap you in the face. senses and delight in the power of new music. They’re excited to take you on the Thursday 10 April at 6pm journey as they find and prepare Salon, Melbourne contemporary music that speaks to all Recital Centre with relevance, authority and passion.

Elliott Hughes Arcs and Sevens* World Premiere ABOUT THE MUSC – nature has always told us that this is Nicholas Vines The Economy how the world works, but it’s only in of Wax Of the three subjects comprising the recent years that we’ve become attuned medieval ‘Trivium’, Logic was – by enough to listen. That every part of the Kate Soper Only the Words definition – the most unambiguous. It most gigantic tree has the same forked Themselves Mean What they Say was the act of clear, non-contradictory shape – from the branches coming out thinking – of seeing things ‘as they Toshio Hosokawa of the trunk, to the twigs sticking out are known’. All of the works on Stunden-Blumen of the branches, to the veins in the Syzygy’s program take this as their leaves themselves – is no coincidence. John Luther Adams starting point, using building blocks The relentless reiteration of the same The Light Within so elementary as to seem almost, well, basic shapes produces some of the trivial. Hughes could not have given strongest, beautiful and unpredictable Arcs and Sevens a more direct title – structures on Earth. This is why Vines’ Syzygy Ensemble: the piece falls roughly into two sections hexagonal fixation eventually turns into of equal duration, the first consisting Laila Engle flute a quirky metaphor for how humans live of gigantic swathes of jagged sounds Leigh Harrold piano their lives; why Adams’ intersecting and the second bubbling along at a very violin/viola harmonic waves end up surrounding Jenny Khafagi brisk (and potentially disorienting) Blair Harris cello and enveloping all our senses with a seven beats-per-bar; Vines emphasises totality that evokes his beloved Alaskan the unrelenting regularity of a bee- Guest Artists tundra; and why Kate Soper’s self- hive’s hexagonal chambers while setting described piece of ‘simple logic’ ends Ashley Smith clarinet un-emotive words from a biology text; up becoming a ‘treacherous labyrinth Judith Dodsworth soprano Adams’ The Light Within for the most as two players struggle with a single, part takes the visual sum of two light addled brain’. *The Melbourne Recital Centre/University waves and assigns it a harmonic field. Join Syzygy in celebrating the triumph of Melbourne Composition Commission The processes are clinical, almost supported by Majlis Pty Ltd. of the mind - in creating entire robotic. The end results are certainly universes from the bland and the This concert has a duration of 60 minutes not – wild, free and unhinged, these commonplace. with no interval. works pulse with chaos and vitality. Please turn off your mobile phone and It shouldn’t come as a surprise really all other electronic devices before the performance commences.

33 SYZYGY ENSEMBLE The Melbourne Symphony Orchestra and olli Mustonen CONCERT CHAMPÊTRE Presented by the Melbourne OLLI MUSTONEN Marko Ylönen Symphony Orchestra composer and conductor cello

For more information on Olli For more information on Marko Saturday 12 April at 8pm Mustonen, go to page 16. Ylönen, go to page 28. Elisabeth Murdoch Hall, Melbourne Recital Centre

Kaila Cello Concerto Australian Premiere Ilari Kaila Shchedrin Music for Strings, , (born 1978) Horns and Celeste Cello Concerto Australian Premiere AUSTRALIAN PREMIERE Kokkonen … durch einen Spiegel… Australian Premiere Marko Ylönen cello Concert champêtre Mustonen Ilari Kaila Australian Premiere Much-awarded composer and pianist Ilari Kaila studied in the Olli Mustonen conductor USA and at the Sibelius Academy Fellowship and Patricia Kerr Ross Marko Ylönen cello in his native Finland. Current and Award from SUNY, and the Cité Melbourne Symphony Orchestra recent performances include the Internationale des Arts residency in Avanti! Chamber Orchestra’s tour of Paris. He has participated in master This concert has a duration of one hour Japan; in Hong Kong as one of six classes with and and 50 minutes, including one interval young Composer Fellows featured Esa-Pekka Salonen, and studied of 20 minutes. in the ‘Intimacy of Creativity 2014’ Carnatic music on several trips to India This performance will be introduced onstage program; and at the MATA Festival between 2002 and 2011. As a pianist, by ABC Classic FM's Phillip Sametz and in . His music has Kaila has performed in premieres of broadcast live around Australia and online on been performed by the Escher String his own and other young composers’ ABC Classic FM. Quartet, Uusinta Chamber Ensemble, works, and in various improvisation Albany Symphony Orchestra, Kuopio projects. He teaches at Columbia Symphony Orchestra, the Helsinki University and works for the New York Philharmonic Orchestra’s chamber Philharmonic as a teaching artist in composition, both in the USA and Please turn off your mobile phone and ensembles, and the Stony Brook all other electronic devices before the Symphony Orchestra. Kaila has within an ongoing collaborative project performance commences. been awarded, most recently, in the with partners in Finland, including the Mellon Foundation/Albany Symphony Sibelius Academy, the Finnish Radio Orchestra ‘Composer to Center Stage’ Symphony Orchestra, the Helsinki competition and in the Composer Philharmonic, and the National Opera. Competition of the 9th International Kaila’s Cello Concerto dates from Piano Festival in Espoo, and has 2011 when it was premiered by Roi received the American-Scandinavian Ruottinen, with the Kuopio Symphony Foundation Fellowship, a commission Orchestra under Jurjen Hempel. It 34 grant from the National Council requires a small orchestra of paired for Music in Finland, the Thayer winds (with doubling instruments), ABOUT THE MUSIC CONCERT CHAMPÊTRE

horns, , a single percussionist with highly chromatic harmony in its by chains of falling and rising perfect (playing predominantly metal pervasive double-stopping. After this fourths. This alternates with versions of instruments) and modest band of ruminative music reaches a climax, the opening music, until an up-tempo strings that are often divided to allow a static string chord ushers in the passage featuring tom-toms leads to the for diaphanous textures through energico section where the wind choir cello’s cadenza. The 6/8 music returns, which the cello can easily sound. An sets up an ostinato in 5/8. The cello now maestoso, and reaches a climax in essentially lyrical work, its single span responds with long notes punctuated an openhearted statement of the ‘chain consists of spacious slow music, which by terse gestures and, after a long of fourths’ material. The cello emerges contrasts with rhythmically emphatic, glissando, reaches a point where it, for some final quiet meditation, faster sections. and the winds, enjoy a certain amount followed by the strings recalling the of controlled aleatoricism against the opening, and fading on an ambiguous Solo winds sequentially sound a motif strings’ ostinato. The music becomes augmented triad. that outlines a linked pair of rising more frenetic before a return to the perfect fourths supported by a shimmer Note © Gordon Kerry 2014 meditative music of the opening. As of string timbre in slow 6/8. This the flutes take over the theme, the This is the first performance of this work misterioso introduction swells and fades cello and solo violin respond with icy by any of the Australian state symphony before the cello enters, marked so as tremolos sul ponticello. New material, orchestras. to evoke the sound, perhaps, of the in common time, appears, dominated viol, with no vibrato or glissando but

Maya Plisetskaya. The then Soviet Rodion Shchedrin authorities didn’t see it that way, (born 1932) though, and banned the piece as being ‘disrespectful’ to Bizet’s masterpiece. Music for Strings, Oboes, Notwithstanding that, it received its Horns and Celeste first performances outside Russia in AUSTRALIAN PREMIERE 1974 at the House in New York. TheCarmen-Suite is somewhat atypical, Shchedrin, as we have noted, became as Shchedrin has been particularly widely known outside his native drawn to Russian stories, both folk- Russia for his idiosyncratic but loving tales and more recent literature, but treatment of music from Bizet’s opera Plisetskaya, whom he had married Carmen, which he composed in 1967 in 1953, has been a constant muse Rodion SHCHEDRIN and which featured the great ballerina in his , all of which were first

eNEWS

Stay connected to the MSO with concert updates, exclusive offers, competitions and artistic insights. Subscribe at mso.com.au/enews

TWITTEr.COM/MElBSyMphOny FACEBOOK.COM/MElBOurnESyMphOny 35 ABOUT THE MUSIC CONCERT CHAMPÊTRE

‘middle-aged women dressed as if they work, Balalaika, for Maxim Vengerov.) were still young girls, and there was a This develops in intensity before a brief large number of generals’. return to the opening before the oboes appear, playing a perky dance tune over The affair seems to end when Anna a drone from the strings. This dissolves leaves to return to her husband in a in a frenzy of string tremolo-glissandos town near St Petersburg, and Gurov before the oboes’ tune returns, only to returns to his life as a family man be swept away by a driving, angular 3/4 and banker in Moscow. But he finds passage for strings marked con passione. a pretext to visit Anna’s town, and This section becomes increasingly confronts her at what is described as an turbulent but spends itself to land on excruciating performance of The Geisha a unison F sharp in the strings over Girl at the local theatre. Anna agrees to RODION SHCHEDRIN'S WIFE which the celesta makes a magical MAYA PLISETSKAYA in the ballet, make regular secret visits to Moscow. appearance, to be joined by muted LADY WITH LAPDOG The lovers discuss leaving their spouses horns then oboes. The mood of a gentle for each other, but like much of interlude of oboes against a pedal note performed at the Bolshoi in Moscow, Chekhov’s work, the story ends without from the horn is shattered by a violent, to the consternation of some of his resolution: something has to change, new fast music from the strings. The con colleagues. but we never find out what happens. passione music is restated very forcefully, Shchedrin’s literary interests have led In 1986, Shchedrin used some of the and the work then recapitulates to scores based on works by Tolstoy, ballet’s score for this work. As its title material from the opening: the andante, Nabokov, Gogol, and on two occasions, suggests, it seeks to be absolute, rather the ‘balalaika’ section and finally the Anton Chekhov. than programmatic music, and yet the celesta, now doubled by solo In 1985 Shchedrin composed the strongly profiled rhythms and stylist and supported by the winds and lower score to a ballet based on Chekhov’s references are never far from the dance. strings. 1899 short story, Lady with Lapdog. The work opens with an andante, © Gordon Kerry 2014 The story tells, in drily ironic fashion, marked cantabile, that is sparsely This is the first performance of this work of a middle-aged philanderer, Gurov, contrapuntal and which gives way to a by any of the Australian state symphony and younger woman, Anna (who has faster section where a violin sings long orchestras. a white Pomeranian), both in loveless notes against pizzicato accompaniment marriages, who meet and have an affair that might suggest guitar or balalaika. INTERVAL 20 minutes in the Black Sea resort of Yalta where (Shchedrin has written just such a

Help us complete the picture WHAT’S by supporting the MSO Pizzicato MISSING? Effect 2014 Instrument Appeal

This year, over 40 Grade Three students will experience the joy of their first instrument and access to free weekly tuition as part of the MSO Pizzicato Effect.

Please act now and helP by donating Vist www.mso.com/appeal or phone (03) 9626 1248

36 ABOUT THE MUSIC CONCERT CHAMPÊTRE

in rural Finland who discovers real passages of striving that Joonas enlightenment on his deathbed. leads, via a series of semitonal ostinatos, The work toured several European to a kind of night-music, as low, Kokkonen countries, establishing Kokkonen’s expansive melodies are heard against (1921-1996) reputation abroad within months of its fluttering upper strings and harpsichord ‘…durch einen Spiegel…’ premiere in 1975. flourishes. The second ‘movement’ is faster and slightly more strenuous, Metamorphosis for twelve ‘…durch einen Spiegel…’ (‘through with passages of prominent march strings and harpsichord a mirror’) was composed in 1977, rhythms that bookend a more ethereal two years after the opera for Rudolf AUSTRALIAN PREMIERE polyphonic section. The third is also Baumgartner and his Festival Strings fast but features pizzicato figurations Lucerne. It refers to the image with with a joyous dance-like rhythm, often which St Paul (in the Jerusalem Bible in triple metre, that occasionally gives Kokkonen was one of the most translation) concludes his paean to the way to passages in 7/8. As in several important Finnish composers of the primacy of love in the First Letter to of Kokkonen’s works, the finale is later 20th century. He was a hugely the Corinthians: influential teacher at the Sibelius again slow, beginning with a quiet ‘When I was a child, I used to talk Academy, and left a body of work of wan texture that is soon displaced like a child, and think like a child, and exquisite craftsmanship. by shivering tremolos, searing high argue like a child, but now I am a man, passages in counterpoint and a baleful His first works, which appeared around all childish ways are put behind me. rhythmic gesture from the harpsichord 1950, were for chamber ensembles and Now we are seeing a dim reflection in a and lower strings. A strong, chromatic cultivated a neoclassical aesthetic. From mirror; but then we shall be seeing face melody in octaves is sounded, but is the later 1950s, in such works as the to face. The knowledge that I have now eclipsed by more tremolo and a quiet, First Symphony, Kokkonen explored is imperfect; but then I shall know as equivocal final signal: as Paul notes, the ways of assimilating 12-note serial fully as I am known'. beatific vision can only be glimpsed as techniques with his own style, not yet. This ‘Metamorphosis’ consists of four unlike similar experiments in the music ‘movements’ played without a break, of Britten or Tippett. His final period © Gordon Kerry 2014 and uses the full gamut of timbres reverts to mainly tonal organisation, but This is the first performance of this work possible on strings – playing sul tasto one in which the lessons of Stravinsky by any of the Australian state symphony and ponticello, pizzicato, with and and Bartók have been well learned; he orchestras. without vibrato. Initially the tempo is himself said, however, ‘I studied with slow, with the strings sounding like a Bach. Bach is the greatest teacher.’ distant organ, at first eschewing the Some of his work has mined the warmth of vibrato, and often playing Finnish traditional epic, Kalevala, but in octaves, punctuated by icy flourishes Kokkonen has more often been drawn from the harpsichord. The music to Christian spirituality, especially in builds in intensity, dropping away to his later works. He memorialised his reveal pulsing ostinatos and shards of second wife in his Requiem of 1981, harpsichord motifs. As the music gains and his opera, , momentum it balances strongly triadic tells the story of an obsessive evangelist gestures with ever more extended

Joonas Kokkonen 37 Stefan Cassomenos ABOUT THE MUSIC CONCERT CHAMPÊTRE

of children at play, both human and OLLI MUSTONEN animal. The Esko School in the (born 1967) grounds of Erkylä Manor, founded by General Munck, was one of the first Concert champêtre primary schools in Finland. Towards Ouverture the end of the movement there is a nod towards the Suvivirsi, the Summer Metsäpolku (Forest path) Hymn which always concludes the Scherzo school year in Finland and which I Kohtaus järvellä (Scene at remember from my own school days as the lake) The Pastoral Concert, c 1509, a powerful, happy symbol of the advent Finale attributed to Italian Renaissance of summer. The fourth movement, masters, Titian and Giorgione Kohtaus järvellä (Scene at the Lake), AUSTRALIAN PREMIERE is based on a story I once heard. The immediately came to mind. There is a narrator, walking deep in thought on lot of colourful history associated with the shore of a lake, had suddenly come people who have lived at and around across a huge predatory bird emerging A 1509 oil painting, variously ascribed the manor over the centuries: ties from the fog. After the initial shock, to Giorgione or Titian (who is ahead to the courts of Sweden and Russia, the narrator had had a strong sensation in the betting these days), hangs in academia, folk education, exploration, that the bird represented a final farewell the Louvre and depicts two men in development aid, economics, politics from a family member who had died the costume of local nobility – one and the origins of Finnish high culture. on the same day. At the end of this holding a lute – a distant shepherd and Concert champêtre seemed like an movement, the bird takes wing and two voluptuous nude women in an excellent title for such a piece, drawing slowly rises towards the sky. The Finale idealised Italian landscape. In 1926-7 inspiration from the wonders great and of the piece opens with the instruction , one eyebrow firmly small of the natural environment as Misterioso e fantastico. This is music raised, borrowed the painting’s title for well as of human existence. of the ancient spirits, shamans and his harpsichord concerto, an amusing primeval forests, very much in the spirit The music in the first movement, Baroque pastiche for Early Music of the Kalevala. There are echoes of the Ouverture, could perhaps be described pioneer Wanda Landowska. previous movements here too, and after as a kind of ‘Kalevala Baroque’, with a palpable turning point the primeval Olli Mustonen’s work of the same turns of phrase alluding to both ancient shamanist music takes over and carries name, 'Erkyläläinen konsertto' in Finnish ‘rune singing’ and the world the work to an exuberant and joyous Finnish, takes a slightly different tack, of the Brandenburg Concertos, the conclusion.’ as he explains: playing a key role. The second ‘When Ilkka Brotherus came to movement, Metsäpolku (Forest path), © Olli Mustonen 2010 brings mysterious and ominous tones me with the idea of a commission This is the first performance of this work to the music, with a dash of awe at the that would somehow reflect our by any of the Australian state symphony breathtaking beauty of nature. The life at Erkylä Manor, a few notions orchestras. Scherzo was motivated by thoughts

G

D E

N N

A

N

L

T E X

R T A TICKETS

E H FROM

~ $38 ~

E X

R

E

P L

V O

O R

C HEARTFELT & INTIMATE CONCERTS E

S

I R

D S BY AUSTRALIA’S BEST MUSICIANS. With 72 concerts presented by 27 ensembles, experience a year-long festival of music.

TO BOOK: MELBOURNERECITAL.COM.AU | 9699 3333 Transaction fees may apply 38

ABOUT THE ARTIST Chamber Music Festival; and has AURA GO been a visiting artist at the Aarhus DICHOTOMIE Described as ‘a captivating performer… Royal Academy of Music, Denmark possessing great depth and exquisite and the University of Arkansas Presented by Melbourne Recital Centre sensitivity’ (The Scotsman), Aura Go Fulbright College of Arts and Sciences. performs regularly in her native Following studies at the Victorian Australia, Europe and the USA. College of the Arts and the Australian Saturday 12 April at 6pm She has been soloist with many of National Academy of Music, Aura Salon, Melbourne Australia’s professional orchestras, attained her Masters degree from Yale Recital Centre appeared in festivals such as the University. She is now undertaking Edinburgh Festival, the Melbourne doctoral studies at the Sibelius Festival and Bari International Academy in Helsinki. Salonen Dichotomie, i. Mécanisme Australian Premiere* Sitsky Chant of Gatha Ushtavaiti from ‘Dimensions of Night’ ABOUT THE MUSC of Pehr Henrik Nordgren’s ‘Kwaidan Ballads’, a series of pieces based on Nordgren Miminashi-Hoichi (Hoichi The two starkly contrasting movements Japanese ghost stories. Hoichi the Earless the Earless) from Kwaidan Ballads, Op.17 of Esa-Pekka Salonen’s major piano is the story of Hoichi, a blind biwa work Dichotomie (2000) mark the Cowell The Banshee player who is kidnapped by the spirits beginning and end points of this into their enchanted world. In an Crumb A Little Suite for Christmas, program’s arc from the realm of the attempt to protect him, Hoichi’s body is A.D. 1979 man-made to the natural. Salonen painted all over with Buddhist prayers writes: Rautavaara Icons and charms, but the monks forget to ‘I have long been fascinated by the real paint his ears, which are consequently Salonen Dichotomie, ii. Organisme and imagined differences between the cut off. two seemingly opposite ways in which American composer Henry Cowell’s musical forms can develop. . . . The The Banshee (1925) evokes the female first movement, Mecanisme, is indeed spirit of Irish mythology: a messenger This concert has a duration of 60 minutes like a machine, but not a perfect one. with no interval. from the underworld who wails when I imagined a machine that could feel someone is about to die. Please turn off your mobile phone and some sort of joie de vivre, and in that A profound sense of spirituality is all other electronic devices before the process, i.e. the process of becoming inseparable from the music of George performance commences. human, the machine would lose its cold precision. . . . Organisme, the second Crumb and Einojuhani Rautavaara. movement, behaves very differently. A Little Suite for Christmas, A.D. 1979 Again, the music is busy on the surface, (1980) is an aural tableau conceptually but breathes a lot slower and deeper.' related to Giotto’s Nativity frescoes of the Arena Chapel in Padua, Italy. ’s Chant of Gatha Ushtavaiti Rautavaara’s early work Icons (1955) (2010) enters completely different consists of six vivid musical portrayals territory. This evocation of ancient of Byzantine icons. middle-eastern chant is the first movement of a major 10-piece cycle for Unlike the tableaux of Crumb, each piano, Dimensions of Night, written for of Rautavaara’s pictures is described Michael Kieran Harvey. in great detail by the composer and virtually repainted in sound. Hoichi the Earless (1972) is the first

39 AURA GO MEET YOUR MUSICIAN Geoff LIERSE

Geoff Lierse has been a member of the Melbourne Symphony Orchestra since 1997 and holds the position of Associate Principal Horn. Growing up in Melbourne, Geoff is one of Australia’s leading horn players. He has toured the concert halls of Europe and Asia, performed concertos with the Melbourne and West Australian Symphony Orchestras, rocked out with legends Ray Charles and KISS and thrashed with Regurgitator. His dynamic recitals and live radio broadcasts have been received with great acclaim and he is at the cutting edge of chamber music with performances of Ligeti, Ellliot Carter, Peter Maxwell Davies and Penderecki to his credit. Geoff features on numerous movie soundtracks of composers such as Paul Grabowsky and David Bridie. He also plays bass guitar, violin and theremin. Geoff enjoys rock climbing, mountaineering, rave parties, black and white photography and visits to the Astor Cinema.

My greatest musical heroes and biggest influences are Wagner, The Cramps (1970-90s rock band) and Dimmu Borgir (Norwegian symphonic black metal band who recently played with the Norwegian Radio Symphony Orchestra). What is your favourite place in the world to ‘just be’? Paris. What is your favourite Melbourne Symphony Orchestra memory? When we performed in Munich in 2000 – particularly our performance of Ravel’s arrangement of Mussorgsky’s Pictures at an Exhibition. How did you choose your instrument? It chose me. When I was at my first concert (the MSO performing at the Melbourne Town Hall) I heard the for the first time and knew that that was what I wanted to play. So I gave up the violin. Where in Victoria do you most like to perform? At the Melbourne Town Hall.

Geoff Lierse 40 MElbourne symphony orchestra and management

MELBOURNE SYMPHONY ORCHESTRA Sir Andrew Davis Chief Conductor Diego Matheuz Principal Guest Conductor Benjamin Northey Patricia Riordan Associate Conductor Chair

FIRST VIOLINS Christine Johnson Sarah Morse TRUMPETS GUEST MUSICIANS David Shafir Angela Sargeant TapIola, Frescoes Wilma Smith cor anglais Geoffrey Payne Harold Mitchell AC Isy Wasserman Michelle Wood Principal of Dionysius and Philippa West Michael Pisani Concert Champêtre Concertmaster Chair Shane Hooton Patrick Wong DOUBLE BASSES Principal Peter Edwards Roger Young Associate Principal Cameron Hill Assistant Principal concertmaster Steve Reeves Principal William Evans Kirsty Bremner Julie Payne (Metropolis 3) Andrew Moon MSO Friends Chair Jenny Khafagi violin Associate Principal David Thomas Michael Loftus-Hills Sarah Curro Daniel Schmitt Sylvia Hosking Principal TROMBONEs violin Lerida Delbridge Principal Assistant Principal Philip Arkinstall Oksana Thompson Brett Kelly Principal Peter Fellin Fiona Sargeant Associate Principal violin Damien Eckersley Deborah Goodall Associate Principal Kenneth McClimont Ceridwen Davies viola Benjamin Hanlon Craig Hill Lorraine Hook Associate Principal Simon Oswell viola Gabrielle Halloran Suzanne Lee Kirstin Kenny Helen Ireland viola Ji Won Kim Acting Assistant Stephen Newton BASS CLARINET Principal TUBA Taryn Richards flute Eleanor Mancini Rachel Curkpatrick oboe Anne Martonyi Lauren Brigden FLUTES Jon Craven Principal Timothy Buzbee Jenna Breen horn Mark Mogilevski Katharine Brockman Principal Michael Dixon horn Christopher Cartlidge Prudence Davis Michelle Ruffolo BASSOONs Rachel Shaw horn Simon Collins Principal Kathryn Taylor Kieran Conrau Trevor Jones TIMPANI Wendy Clarke Jack Schiller Principal trombone Cindy Watkin Associate Principal Elise Millman Charles MacInnes SECOND VIOLINS Caleb Wright Christine Turpin Sarah Beggs Associate Principal Principal trombone Matthew Tomkins Natasha Thomas Shannon Pittaway The Gross Foundation CONTRABASSOON Piccolo trombone Principal Second Violin Louisa Breen celeste Brock Imison Principal PERCUSSION Chair David Berlin Andrew Macleod Leigh Harrold celeste Robert Macindoe MS Newman Family Principal Robert Clarke Donald Nicolson Associate Principal Principal Cello Chair HORNS Principal keyboard Rachael Tobin John Arcaro Genevieve Lacey Monica Curro OBOES Geoff Lierse Associate Principal Robert Cossom recorder Assistant Principal Associate Principal Jeffrey Crellin Doug de Vries guitar Mary Allison Nicholas Bochner Assistant Principal Principal Saul Lewis HARP Isin Cakmakcioglu Principal Third Cong Gu Miranda Brockman Vicki Philipson Yinuo Mu Principal Andrew Hall Rohan de Korte Associate Principal Trinette McClimont Rachel Homburg Keith Johnson Ann Blackburn

MANAGEMENT

Board Executive Artistic Operations Marketing Box Office

Harold Mitchell AC André Gremillet Huw Humphreys Gabrielle Waters Jennifer Poller Claire Hayes Chairman Managing Director Director, Artistic Director of Operations Marketing Manager Ticket and Database Planning Manager André Gremillet Julia Bryndzia Angela Bristow Megan Sloley Managing Director Executive Assistant Andrew Pogson Assistant Orchestra Marketing Manager Paul Congdon Assistant Artistic Manager Box Office Supervisor Peter Biggs CNZM Danielle Poulos Administrator Andrew Dyer Business Tom Warneke Communications Angela Lang Danny Gorog Natalya Jurchesin Laura Holian Production Manager Manager Box Office Attendant Rohan Leppert Artistic Coordinator Chief Financial Officer James Poole Alison van den Dungen David Li Bronwyn Lobb Production Coordinator Publicist Development Alastair McKean Raelene King Education Manager Ann Peacock Personnel Manager Alastair McKean Simon Wilson Leithe Brooke Director of Development Michael Ullmer Kaanji Skandakumar Jonathan Orchestra Librarian Digital Marketing Kee Wong Grieves-Smith Manager Accountant Kathryn O’Brien Jessica Frean Chorus Master Philanthropy Manager Nathalia Andries Assistant Librarian Nina Dubecki Company Lucy Rash Front of House Finance Officer Michael Stevens Rosemary Kellam Secretary Chorus Coordinator Supervisor Operations Assistant Trusts and Oliver Carton Lucy Bardoel Chloe Schnell Foundations Manager Stephen McAllan Education Assistant Marketing Coordinator Artist Liaison Ben Lee Beata Lukasiak Philanthropy Executive Marketing Coordinator James Ralston Stella Barber Corporate Partnerships Consultant Historian and Events Coordinator Arturs Ezergailis Development Officer 41 Inspired Giving

Artist Development Great Performers Life-long Learning Leadership Circle Leadership Circle Leadership Circle Colin Golvan sc & Dr Deborah Golvan Geoff & Jan Phillips Betty Amsden oam The Vizard Foundation

Master Class New Music Local Heroes Leadership Circle Leadership Circle Leadership Circle Cathy Lowy & John Price Naomi Milgrom ao Lady Marigold Southey ac Peter Jopling am qc Warwick & Paulette Bisley Andrew & Theresa Dyer Dr Garry Joslin & Prof Dimity Reed am Majlis Pty Ltd

Encore Bequest Anonymous (2) Dr Garry Joslin Program Betty Amsden oam The Estate of Beverley Shelton & Martin Jenny Anderson Schönthal Ken Bullen Mary Vallentine ao Jim Cousins ao & Libby Cousins

Music Circle Patrons The Vizard Foundation* Diana Lempriere* Program Youth Music Foundation Australia* Robert MacFarlane Sally MacIndoe* Musicians Circle ($2500+) David Marr & Sebastian Tesoriero Magnum Opus Circle ($20,000+) Anonymous (1) Maria Mercurio Betty Amsden oam* Brian & Esther Benjamin Dr Richard Mills am* Colin Golvan sc & Dr Deborah Golvan* Eva Besen ao & Marc Besen ao Stephen Newton ao Cathy Lowy & John Price* Jim Cousins ao & Libby Cousins* Prof David Penington ac & Naomi Milgrom ao* Jan & Robert Green* Mrs Sonay Penington* Lady Marigold Southey ac* Sarah & Baillieu Myer Helen L Perlen Annamila Pty Ltd* James Ostroburski Dr Robert Piaggio The Playking Foundation Christine Sather Lady Potter ac* Dr Cherilyn Tillman & Mr Tam Vu* Virtuoso Circle ($10,000+) Peter Rose & Christopher Menz Drs Victor & Karen Wayne Rae Rothfield Jean Hadges Global Leadership Foundation* Mrs Margaret S Ross am & Dr Ian C Ross* Samara, Countess of Beekman J.A. Westacott & T.M. Shannon Prelude Circle ($1000+) Meredith Schilling Melbourne Recital Centre Board of Directors Anonymous (5) Kate & Stephen Shelmerdine Kathryn Fagg* Adrienne Basser Maria Sola & The Late Malcolm Douglas Peter & Cally Bartlett* Helen Brack Barbara & Duncan Sutherland Stephen Carpenter & Leigh Ellwood Barbara Burge* Elisabeth & Peter Turner Des & Irene Clark John & Thelma Castles* Sally Webster Joseph Corponi Lord Francis Ebury & Lady Suzanne Ebury Peter Weiss ao Margaret & Ronald Farren-Price Maggie Edmond Igor Zambelli Mr John Higgs & Mrs Betty Higgs Penny & Grant Fowler* Supporters ($500+) Julie Kantor* The Leo & Mina Fink Fund Anonymous (1) Majlis Pty Ltd* Rosemary Forbes & Ian Hocking The Hon Mary Delahunty* Susan Fallaw* Composers Circle ($4000+) Margaret & Baden Hagger William J Forrest am Hans & Petra Henkell Anonymous (2) Dr Jane Gilmour oam* Warwick & Paulette Bisley Dr Robert Hetzel* Angela Glover George & Grace Kass Harold & Krystyna Campbell-Pretty* Nance Grant am mbe Andrew & Theresa Dyer The Hon Sen Rod Kemp & Ms Daniele Sue Hamilton & Stuart Hamilton ao Kemp* George & Laila Embelton Kristin & Martin Haskett Dr Helen Ferguson* Peter & Barbara Kolliner Jenny & Peter Hordern Ann Lahore Richard Gubbins* Judith Hoy Yvonne Von Hartel am & Robert Peck am* Alison Leslie Penelope Hughes Travis Pemberton* Dr Alastair Jackson* Prof Andrea Hull ao* Peter Jopling am qc* Kerryn Pratchett Michael & Gillian Hund Margarita & Paul Schneider Dr Garry Joslin & Prof Dimity Reed am* Darvell M Hutchinson am Craig Reeves Greg Shalit & Miriam Faine Helen Imber Barry & Barbara Shying Janet Whiting* Stuart Jennings Lyn Williams am* Anne Stonehouse am Ed & Margaret Johnson John & Myriam Wylie Melbourne Recital Centre Senior Michael & Silvia Kantor* Management Alan Kozica & Wendy Kozica Message Consultants Australia Pty Ltd *Donations directed to the Elisabeth Murdoch 42 Alison & David Lansley Creative Development Fund Melbourne Recital Centre Partners Melbourne Recital Centre acknowledges the generous support of its business and philanthropic partners

Founding Patron Dame Elisabeth Murdoch ac dbe

Board Members

Kathryn Fagg, Chair Stephen Carpenter Margaret Farren-Price Peter Bartlett Des Clark John Higgs Tommas Bonvino Joseph Corponi Julie Kantor

Founding Benefactors

The Kantor Family Lyn Williams am Robert Salzer Foundation The Calvert-Jones Family Helen Macpherson Smith Trust The Hugh Williamson Foundation

Business PartnerS Principal Government Partner International Airline Partner

Supporting Partners

Outware mobile

Program Partners

Foundations

HUGH WILLIAMSON FOUNDATION

All donations, big or small, directly impact the Centre’s To speak to the Director of Development, Sandra ability to provide transformative music experiences for Robertson, please call 03 9207 2641 or email everyone. [email protected] Join us in support of one of the world’s great halls. List of patrons accurate as of 12 Mar 2014.

Executive Staff melbourne recital centre CONTACT melbourne recital centre

Mary Vallentine ao Chief Executive Cnr Southbank Blvd and Sturt St, Southbank VIC 3006 Nesreen Bottriell Director Corporate Services Administration: 03 9699 2228 Robert Murray Director Marketing and Customer Relations Box Office: 03 9699 3333 Sandra Robertson Fax: 03 9207 2662 Director Development 43 Kirsten Siddle Director Programming and Presenter Services Website: melbournerecital.com.au tOGNEttI,

9 May at 8pM RobeRt blackwood Hall, MonasH UniveRsity, clayton lUtosławski Livre beetHoven Romances for Violin and Orchestra bRaHMs Symphony No.1 10 May at 2pM | 12 May at 6.30pM Richard tognetti director/violin aRts centRe MelboURne, HaMeR Hall

mso.com.au • (03) 9929 9600 BOOK NOW artscentremelbourne.com.au