ABOUT THE MUSIC grieg concerto /In concert AUGUST–SEPTEMBER 2012

GRIEG CONCERTO 30 AUGUST–1 SEPTEMBER PLAYS TCHAIKOVSKY 14, 15 AND 17 SEPTEMBER TCHAIKOVSKY’S PATHÉTIQUE 20–22 SEPTEMBER ENIGMA VARIATIONS 28 SEPTEMBER

MEET YOUR MSO MUSICIANS: SYLVIA HOSKING AND MICHAEL PISANI

PIERS LANE VISITS GRIEG’S BIRTHPLACE STEPHEN HOUGH ON TCHAIKOVSKY’S PIANO CONCERTO NO.2 SIR HAILS THE NEW HAMER HALL

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Ashton Raggatt McDougall, has (I urge you to read his reflections been reported all over the world. on Grieg’s Concerto on page 16) and Stephen Hough, and The program of music by Grieg conductors and and his friend and champion

hy Christopher Seaman, the last of that I have the whom will be joined by two of the privilege to conduct from August finest brass soloists in the world,

otograp 29 to September 1 will be a h Radovan Vlatkovic (horn) and wonderful opportunity for you to p ta

s Øystein Baadsvik (), for our

o experience all the richness our c special Town Hall concert at the “new” hall has to offer. Ranging end of the month, presented in

ario a from the simplicity of an a capella collaboration with the Melbourne

© d setting of the folk song Brigg Fair International Festival of Brass. to the full-blown Romanticism It really is thrilling to be in the new of Grieg’s Piano Concerto and When I next see you in early 2013, I Hamer Hall. The acoustic clarity the extraordinary originality shall be the Melbourne Symphony and warmth (not to mention of Grainger’s Tribute to Foster for Orchestra’s Chief Conductor, and I the beauty!) of the renovations voices and orchestra, this homage could not be more delighted to be are tremendously gratifying. to ’s pioneering musical assuming that title! personality offers tremendous Having been a regular visitor to My best wishes for a rewarding variety of mood and colour. And, Melbourne for some years and month of concert experiences with parenthetically, the concert will be conducted in the ‘old’ Hall, I know this great orchestra. how much everyone here who performed very close to Princes loves the Orchestra was hoping Bridge, which was designed by for a renovation that represented Percy’s father, John Grainger. a real improvement. Well, we have There are many wonderful artists it! And I can assure you that the performing with our Orchestra success of the work by Marshall Sir Andrew Davis during September: the MSO Chief Conductor Designate Day Acoustics, and architects Chorus, pianists MELBOURNE SYMPHONY ORCHESTRA 2013 SEASON

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3 ABOUT THE MUSICartists THEenigma ORC variationsHESTRA on ws a s d a c u © L

THE MELBOURNE SYMPHONY ORCHESTRA

Harold Mitchell AC The MSO performs extensively an even larger audience across Chairman with its own , the Melbourne Australia through its regular Symphony Orchestra Chorus, concert broadcasts on ABC Classic Wayne Box directed by chorus master FM. The Orchestra’s considerable Acting Chief Executive Officer Jonathan Grieves-Smith. Recent ceremonial role in Victoria has Sir Andrew Davis performances together include included participation in the Chief Conductor Designate Britten’s War Requiem under opening ceremony of the 2006 Tadaaki Otaka, Ravel’s Daphnis Commonwealth Games, in the Principal Guest Conductor and Chloe under Sir Andrew Davis 2009 bushfire memorial service and Beethoven’s Ninth Symphony Together for Victoria, the Prime Benjamin Northey under Douglas Boyd, as part of the Minister’s Olympic Dinner and the Patricia Riordan Associate 2011 Beethoven Festival. 2010 and 2011 AFL Grand Final. Conductor Chair Key musical figures in the The MSO’s extensive education Orchestra’s history include and community outreach activities With a reputation for excellence, – who was Chief include the Meet the Orchestra, versatility and innovation, Conductor and then Conductor Meet the Music and Up Close the internationally acclaimed Laureate, between 1974 and his and Musical programs, designed Melbourne Symphony Orchestra death in 2006 – and , specifically for schools. In 2011 is Australia’s oldest orchestra, who was Chief Conductor and the MSO launched an educational established in 1906. Artistic Director from 1998 until iPhone and iPad app designed to 2004. was the MSO’s teach children about the inner This fine Orchestra is renowned Chief Conductor and Artistic workings of an orchestra. for its performances of the Director from 2005 to 2009. great symphonic masterworks The Melbourne Symphony Orchestra is with leading international and The MSO, the first Australian funded principally by the Australian Australian artists including Maxim symphony orchestra to tour Government through the Australia Vengerov, John Williams, Osmo abroad, has received widespread Council, its arts funding and advisory Vänskä, Charles Dutoit, Yan Pascal international recognition in tours body, and is generously supported by Tortelier, Donald Runnicles, Jean- to the USA, Canada, , Korea, the Victorian Government through Arts Yves Thibaudet, Yvonne Kenny, Europe, China and St Petersburg, Victoria, Department of Premier and Edo de Waart, , Nigel Russia. In addition, the Orchestra Cabinet. The MSO is also funded by Kennedy, Jeffrey Tate, Midori, tours annually throughout the City of Melbourne, its Principal Christine Brewer, Richard Tognetti, regional Victoria, including a Partner, Emirates, and individual and Emma Matthews and Teddy Tahu concert season in Geelong. corporate sponsors and donors. Rhodes. It has also enjoyed hugely Each year the Orchestra performs successful performances with to more than 200,000 people, at such artists as Sir Elton John, John events ranging from the Sidney Farnham, Harry Connick, Jr., Ben Myer Free Concerts in the Sidney Folds, KISS, Burt Bacharach, The Myer Music Bowl to the series of Whitlams, Human Nature, Sting Classic Kids concerts for young and Tim Minchin. children. The MSO reaches

4 conTents

The Sponsors 2 program Welcome – Sir Andrew Davis 3 INFORMATION

Concert guides Melbourne Symphony Orchestra programs can be read on-line or Grieg Concerto 6 downloaded up to a week before Stephen Hough Plays Tchaikovsky 19 each concert, from mso.com.au Tchaikovsky’s Pathétique 30 If you do not need this printed program after the concert, we Enigma Variations 36 encourage you to return it to a member of staff.

Piers Lane on Grieg’s Piano Concerto 16 Meet Sylvia Hosking 18 The Orchestra 24 The Donors 25 Stephen Hough’s Three Ways into Tchaikovsky’s Second Concerto 26 Meet Michael Pisani 29 Announcing the Joy Selby Smith Orchestral Leadership Chair 41 Elgar in his Time 45

Emirates – Hello Tomorrow

MSO musicians Christopher Cartlidge, Michelle Wood and Roger Young recently played a role in Emirates’ Harmony Campaign, part of Emirates’ Hello Tomorrow global brand launch. Designed to capture Emirates’ passion for connecting people’s hopes, dreams and aspirations, the Emirates’ Hello Tomorrow campaign encapsulates life’s potential to embrace the future and all the possibilities it holds. Emirates and the MSO share this vision, continuing to connect people and cultures to create relevant and meaningful experiences. The Hello Tomorrow campaign is designed to connect people and their communities, and encourage them to join together to make a positive impact on society. In the same way, the MSO continues to connect with our community in new and exciting ways. In 2013 Emirates will celebrate ten years as Principal Partner of the MSO. To find out more about Emirates and the MSO, visit the Principal Partner page at mso.com.au

5 Thursday 30 and Friday 31 August at 8pm Saturday 1 September at 8pm Arts Centre Melbourne, Hamer Hall

Melbourne Symphony Orchestra Sir Andrew Davis piano Piers Lane piano Melbourne Symphony Chorus Jonathan Grieves-Smith chorus master

Grainger Marching Song of Democracy Grieg Piano Concerto INTERVAL 20 MINUTES arr. Grainger Brigg Fair Delius Brigg Fair Grainger Danny Deever Grainger The Bride’s Tragedy AUSTRALIAN PREMIERE Grainger Tribute to Foster

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

BEYOND THE STAGE Learn more about the music in these free events taking place in the Hamer Hall Stalls Foyer.

CELEBRATING GRAINGER Thursday 30 and Friday 31 August at 7pm Saturday 1 September 1 at 7pm Stalls Foyer, Hamer Hall Designed and funded with the assistance of Percy In this 20-minute presentation, the ’s Grainger himself, the autobiographical Grainger manager Suzanne Bravery (Thursday and Friday) and Museum (built upon the grounds of the University of curator Brian Allison (Saturday) will discuss the life and Melbourne) houses thousands of the composer’s works of Australia’s most celebrated composer, as well original manuscripts, letters, instruments, artworks and as his friendship with Grieg – whose piano concerto is intimately personal items. included in this evening’s program. 6 ABOUT THE artists Grieg concerto d mon ch c R i c © E ri ©

Sir Andrew Davis conductor Piers lane piano Sir Andrew Davis is Chief Conductor Designate of the London-based Australian pianist Piers Lane has a Melbourne Symphony Orchestra. flourishing international career that has taken him to more than 40 countries. Five-times soloist at the BBC He has served as Music Director and Principal Proms, he boasts a wide-ranging concerto repertoire Conductor of Lyric Opera of Chicago since that exceeds 80 works and has led to engagements 2000. He is also Conductor Laureate of both the with the world’s great and conductors. Toronto Symphony and BBC Symphony orchestras, and was previously Music Director of Glyndebourne Performances this season have included the Busoni Festival Opera. Piano Concerto at Carnegie Hall, debuts with the Czech Philharmonic and the Giuseppe Verdi A former organ scholar at King’s College, Cambridge, Orchestra of , the London Philharmonic’s he has conducted all of the world’s major orchestras Prokofiev Festival, and the world premiere of Carl as well as at leading opera houses and festivals. His Vine’s Piano Concerto No.2 with the Sydney Symphony. tenure as chief conductor of the BBC Symphony, which he led at and on tour to Europe, In addition to his longstanding collaborations with the USA and Asia, was the longest since that of the violinist Tasmin Little and clarinettist Michael Collins, Orchestra’s founder Sir . His repertoire tours in recent years have included performances with is diverse, however he is a keen proponent of works by , Marc-André Hamelin, Cheryl Barker, Elgar, Tippett, Britten, Boulez, Messiaen and Janácˇek. Yvonne Kenny, Markus Schäfer, Peter Coleman- Wright, , and the Australian, In addition to performances in Toronto and Chicago, Doric, Goldner, Medici, New Zealand, Prazak and this season’s operatic engagements have included the RTÉ Vanbrugh String quartets. Metropolitan Opera (Don Giovanni), Santa Fe Opera (Arabella), and the Canadian Opera Company (Gianni Piers Lane has been the Artistic Director of the Schicchi, A Florentine Tragedy). Symphonic engagements Australian Festival of Chamber Music since 2007. He have included the , BBC is also Artistic Director of the annual Dame Myra Symphony, Royal Scottish National Orchestra, Hess Day at the National Gallery in London, which Rotterdam Philharmonic and the opening of the resulted in his collaboration with actress Patricia Edinburgh Festival. Routledge on the theatre piece Admission: One Shilling. The most recent additions to his award-winning He has written and presented over 100 programs discography include Holst’s The Planets, Beni Mora and for BBC Radio 3, including the 54-part series, The Japanese Suite; ’s Symphonies Nos 1 and Piano. His discography includes rare Romantic piano 2 (BBC Philharmonic); and Delius’ Appalachia, The concertos, piano transcriptions by Grainger, and Song of the High Hills and Violin and Cello Concertos recordings with the Goldner String Quartet of works with Tasmin Little and Paul Watkins (BBCSO). His by Elgar, Bridge, Bloch, Dvorˇák and Hamilton Harty. first recordings with the MSO will be issued on the Piers Lane holds an Honorary Doctorate from Chandos label in 2013. Griffith University and was appointed an Officer of He was made a Commander of the British Empire the Order of Australia in June 2012. in 1992, and a Knight Bachelor in 1999. He is also a recipient of the Royal Philharmonic Society/Charles Heidsieck Music Award. 7 ABOUT THE MUSIC grieg concerto

Given its historical connections Unfortunately for him, the first to continental Europe, it is easy half of the 20th century saw the Percy Aldridge for us to think that Western nigh complete rejection by the Grainger classical music is largely something classical music establishment of (1882–1961) that happens elsewhere – that the kinds of aesthetic qualities Marching Song of Democracy Australia is little more than an his music exalted, in favour of observer on a tradition that, for the hard-edged music of the Brigg Fair reasons of geography and history, prophets of high modernism. is predominantly the property Times, however, have changed, of others. Notwithstanding and certainly as far as Grainger’s Frederick Delius the quality and quantity of reputation is concerned, much (1862–1934) Australian composition today, for the better – his music is Brigg Fair – Australian music history too now regularly programmed by An English Rhapsody easily has assumed a thinly-veiled leading ensembles in Europe and Introduction (Slow. Pastoral) melancholic character, perhaps North America and scholars and I Theme & Variations 1–6 – reflecting a country still anxious critics, too, are coming to a new II Interlude about its place in the world. understanding of, and respect for, (Slow and very quietly) Grainger’s considerable creative With Percy Grainger, however, III Variations 7–12 achievements. IV Variations 13–17 – we can unambiguously claim for Coda (Very quietly) Australia a composer of truly How much, though, does his music world significance. Why then, is his reflect, and speak to, his Australian music not performed, or indeed roots? As far as Grainger himself Grainger celebrated, here with anything was concerned, very. If we Danny Deever like the frequency and verve as listen out for onomatopoeic The Bride’s Tragedy can be found in Britain and the references to Australian fauna, AUSTRALIAN PREMIERE United States? Almost from the or hope for engagement with outset, it seems, Australia has indigenous musical culture, we Tribute to Foster been diffident about Grainger’s will do so in vain. Grainger instead significance, doubting even if considered the ‘Australianness’ he could reasonably be called in his music to lie in something an Australian composer. He may much more subtle, and perhaps have been born in Brighton in more profound; its freshness of suburban Melbourne, built his spirit, its openness to new ideas, museum here, and have Adelaide its dismissal of faux claims to as his final resting place, but ‘artiness’ but also – and perhaps Grainger left Australia at the most awkwardly for his Australian age of 13 to attend the Hoch critics – a predilection for taking Conservatory in Frankfurt, and the expressions of sentimentality to subsequently settled in London be found in ordinary people’s lives (1901–1914) and then the United very seriously indeed; Grainger’s States (1914 to his death), where music is, if we like, in many ways he also took up citizenship. Yes, the compositional counterpoint he might have toured extensively to C.J. Dennis’ The Songs of a around Australia throughout Sentimental Bloke (1915). his life, but he was known here Such characteristics are to be Percy Grainger with his mother principally – Rose in 1903 found in abundance in the music notwithstanding – as a touring by Grainger we will hear tonight. pianist, not as a composer. Then Grainger’s own program note to there is what Peter Sculthorpe has his Marching Song of Democracy, called the ‘Grainger trap,’ whereby for instance, quotes a passage interest in his undeniably eccentric from Walt Whitman’s ‘A Backward lifestyle and political views has Glance O’er Travel’d Roads’ (from served further to deflect critical Leaves of Grass, 1855), in which the and academic attention away from American poet asks whether, of his music. the ‘great poems received from abroad and from the ages, and 8 today enveloping and penetrating America’, is there one consistent ABOUT THE MUSIC Grieg concerto

vital’, a work that was essentially vulgar yet seductive, ‘a sign of the emotional overlap between the intellectual and the ordinary man.’ That, of course, is precisely why Grainger would have been drawn to it! Grainger’s setting mirrors the poem’s structure as a dialogue between a young soldier (a member of the ‘Files-on-Parade’) and more experienced NCO (the ‘Colour-Sergeant’) as their Frederick (seated) and Jelka Delius with Percy Grainger in 1923 Delius in 1907 regiment is paraded to witness the hanging of Danny Deever, with the spirit of the United States, that the performances continue sentenced to death for murdering and in particular with the spirit of to reflect the ‘athletic out-of-door a colleague. Kipling’s attempt to be democracy? In response, Grainger spirit’ that lay behind the piece faithful to the kind of English that recalled that, as a ‘boy of 16 or 17 from start to finish. might have actually been spoken I was greatly struck by the truth of would have been particularly The use of nonsense syllables, this assertion, not merely as regards appealing to the composer, who a common Grainger trait, not America and literature, but as exhibited the same curatorial care only evokes the free expression applying no less to Australia and with his folk-song transcriptions. of a child’s vocal doodling, it the other younger Democracies, Grainger also revelled in the also allows the choir (and the and to all the arts; and I felt a repetitive nature of a narrative audience) to be immersed in the keen longing to play my part in ballad such as this, which gave general mood of the piece without the creation of music that should him the chance to invent different being limited by the specificity of reflect the easy-going, happy-go- accompaniments of great variety particular words. As a ‘democratic lucky, yet robust hopefulness and and subtlety for each verse. In this Australian’, he wished for his music the undisciplined individualistic instance the tune is his own, but it ‘to breathe tonal democracy’, so energy’ of this country. is composed in a style that mimics that each musical line could have a genuine ‘barrack-room’ ballad. The Marching Song of Democracy an equal chance to stand out. In was therefore composed with one final act of musical symbolism, Grainger admitted he had always the express intention to reflect a four horns individually state a G had a ‘soft spot’ for folk songs – form of ‘optimistic humanitarian flat triad in their own time to bring but his aim was not to preserve democracy’ in which a community the work to a conclusion. the sonic imprint of a dying rural of ‘comradely affectionate athletic tradition for the amusement of Given these interests in the spirit humanity… urges to be heroic urban sophisticates, but rather of democracy as well as in ‘vulgar’ but not martial, exultant but not to remind us of the value of a (in the literal sense of ‘common’) provocative, passionate but not profound sense of community. sentimentality, it should come dramatic, energetic but not fierce, His principle in arranging these as no surprise that Grainger’s athletic but not competitive’. tunes was to ‘strive to make the enthusiasm for Walt Whitman Typically for Grainger, this voice-leading of my tone-strands was matched by that for Rudyard expressive aim determines the touching and the effect of my Kipling, one of the few British very manner of performance. He harmonies agonise’, to ‘wrench authors of his day who wrote about originally intended the work to at the listener’s hearts with my the lives and experiences of the be for voices and whistlers only chords’. Such expressive harmony, common people. The poem Danny (no instruments), and have it or, as he once described it, ‘heart- Deever was penned early in 1890 performed outdoors by a chorus throb-some chord-music’, could, he as part of his set of ‘Barrack-Room of marching men, women and believed, ‘voice the painfulness of Ballads’, and some believe that children who would accompany human life’ no less. the execution it describes relates themselves with only the pulse to an actual incident Kipling had of their tramping feet. While observed in India some three Grainger eventually conceded to years earlier. No less a figure than the benefits of added instrumental George Orwell considered ‘Danny colour, and to the formality of the Deever’ as an example of Kipling concert hall, he nevertheless asked 9 ‘at his worst’, but ‘also his most ABOUT THE MUSIC grieg concerto

Grainger wrote in a letter to music, however, which asks us to a friend that the work was his revise our suspicion of nostalgia ‘personal protest against the sex- and sentimentality as states of negation that our capitalistic world mind somehow less deserving of (assisted by mother, by you, and serious artistic reflection. The by numberless other well-wishers) die-hard nostalgic need not, as offered to young talents like me. A this music suggests, be someone man cannot be a full artist unless who is merely afraid of the future, he is manly, & a man cannot be just as the lover of Grainger’s manly unless his sex-life is selfish, music need not necessarily be brutal, wilful, unbridled.’ Grainger a reactionary conservative who accepted the need to temper these wishes to ignore a century of overt impulses with the demands of musical modernism. Indeed, we do civilised society, but thought all the Grainger an injustice to presume same that ‘the situation called for that he was a naïve sentimentalist a protest. The Bride’s Tragedy was or reactionary. Rather, he asks us, my protest, & the angry chords and us Australians in particular, on the brass (at the first singing to take his music, and the of ‘they lie drowned & dead’) is premonitory modern ideas that lie my personal bitterness’. The work behind it, very seriously indeed. was premiered in 1922, just after Grainger during his 1934 Peter Tregear © 2012 Australian tour his mother’s death, and Grainger regarded it as a kind of requiem Marching Song of Democracy has Heart-wrenching chords is exactly for her, despite – or more correctly, been performed only once by the Melbourne what we hear in Brigg Fair, one Symphony Orchestra; in July 1993 under because – Rose Grainger had been of Grainger’s most justly famous conductor John Hopkins. responsible, among other things, folk song arrangements, which he for his delay in marrying. This is the first performance of Grainger’s exquisitely scores for solo tenor Brigg Fair by the MSO, however the and five-part chorus. Grainger Autobiographical impulses also Orchestra first performed Delius’ arrangement had recorded the original tune lie behind Tribute to Foster, one in 1946 with , and most of Grainger’s most original recently in August 2008 under Christopher onto wax cylinder in 1905 from Seaman. the singing of one Joseph Taylor in compositions – a veritable Lincolnshire, then 71 years old. In transcendental etude on a This is the first performance of Danny Deever by any of the former ABC orchestras. 1907, Delius heard the setting and most unlikely theme, Foster’s was so impressed by both the tune ‘Camptown Races’. It has an The first public performance in Australia of and Grainger’s arrangement that even more unlikely instrumental Tribute to Foster was by the Melbourne Symphony Orchestra, in March 1973 with he used the song as the basis of an accompaniment for its middle John Hopkins. The MSO’s most recent orchestral work, first performed in ‘lullaby’ section, a set of musical performance was at a Sidney Myer Free 1908. Legend has it that at this first glasses. Grainger recalled that one Concert in February 2011 under the direction performance Taylor stood up and of his earliest musical recollections of Benjamin Northey. had been of his mother ‘singing began to sing with the orchestra The Staff Bells used in these performances – if it is true, certainly Grainger me to sleep’ with this tune, and in of Marching Song of Democracy and could not have received a more 1913 he decided ‘to give musical Tribute to Foster are on loan to the MSO apposite compliment. expression to these Australian from the Grainger Museum collection at the memories and to my ever- University of Melbourne, and belonged to Composed largely in 1908–9, The increasing love and reverence for Grainger himself. His original Musieum label Bride’s Tragedy is one of Grainger’s for these bells reads: ‘Resonated Staff Bells this great American genius – one most intensely personal works. (Chime Bells, Swiss Hand Bells). Bought of the most tender, touching and A setting of Swinburne’s Border from Deagan (Chicago) in 1916 for about subtle melodists and poets of all $200–$300. Used in first performance of Ballad, the work tells the tale of time; a mystic dreamer no less The Warriors, Worcester festival (Mass.) of a girl who is about to be married than a whimsical humorist.’ 1917 (May?) just before entering USA Army to a man she does not love. At the and used later also.’ church door she is abducted by Grainger’s setting incorporates one her true lover, and together they of his compositional trademarks, ride away. The couple are pursued a phalanx of tuned percussion, by the bridegroom and her own which here includes a celeste family until they reach a river in and glockenspiel. The combined full flood, and they both drown in sonic effect can at first seem over- 10 their attempt to cross it. determined – as if the means is far in excess of the ends. This is ABOUT THE MUSIC Grieg concerto

After hearing a performance of Grieg didn’t let them frighten Grieg’s piano concerto, Arnold him, and the Piano Concerto Schoenberg is supposed to have went on to establish his reputation (1843–1907) remarked: ‘That’s the kind of throughout the musical world. Piano Concerto in A minor, music I’d really like to write’, and Audiences responded, as they Op.16 one can’t help but feel that there still do, to the charm of Grieg’s I Allegro molto moderato was a wistful sincerity buried in the melodies, the balance of, it must II Adagio – remark. Grieg’s concerto is, with be said, Lisztian virtuosity and III Allegro moderato molto e good reason, popular – a fate not Grieg’s own distinctive lyricism, and marcato enjoyed by Schoenberg’s music. what Tchaikovsky, who adored the work, described as its ‘fascinating Piers Lane piano Grieg composed the concerto melancholy which seems to at the age of 25, while relatively reflect in itself all the beauty of inexperienced in orchestral Norwegian scenery’. One of Grieg’s writing, and tinkered endlessly greatest admirers described the with the orchestration between the ‘concentrated greatness and all- time of the work’s (triumphant) lovingness of the little great man. premiere and his death in 1907. Out of the toughest Norwegianness, He had studied at the Leipzig out of the most narrow localness, he Conservatory from the age of 15 spreads out a welcoming and greedy with the initial intent of becoming mind for all the world’s wares.’ This a concert pianist. Dissatisfied was, of course, the Australian-born with his first teacher, Grieg began pianist/composer Percy Grainger lessons with E.F. Wenzel, a friend who became one of the Concerto’s and supporter of Schumann’s; most celebrated exponents and one under his tutelage Grieg began of the dearest friends of Grieg’s writing piano music for his last years. Not only that – Grainger own performances and wrote spent time with Grieg working on passionate articles in defence of the concerto before the composer’s Schumann’s music. death, at which time Grieg was The influence of Schumann’s Piano making the final adjustments to Grieg in 1867 Concerto, also in A minor, has been the orchestration; with such ‘inside remarked on frequently, but apart knowledge’ Grainger was able to from their similar three-movement publish his own edition of the work design and opening gesture, the in later years. Sadly, a proposed style of each is markedly different. tour with Grieg conducting and Grieg’s Concerto is replete with Grainger playing the Concerto exquisite tunes. Many of these echo never transpired. the Norwegian with Gordon Kerry © 2006 which Grieg had become familiar The first performance of Grieg’s Piano in 1864. The piano’s opening Concerto by the Melbourne Symphony gesture, for instance, recalls folk Orchestra took place on 14 May 1940 with music in its use of a ‘gapped’ scale, conductor Antal Dorati and soloist Eunice and the origins of the finale in folk Gardiner. The Orchestra’s most recent dance are clear. performance was in November 2006 with and soloist David Tong. Grieg was unable to attend the premiere of his concerto in Copenhagen in 1869, but it was an outstanding success and was recognised as a youthful masterpiece. Anton Rubinstein, for instance, described it as a ‘work of genius’. A year later, Grieg met Liszt for the second time. Liszt allegedly sight-read Grieg’s concerto and said: ‘You have the

real stuff in you. And don’t ever let 11 them frighten you!’ ABOUT THE MUSIC grieg concerto

Brigg Fair Trad. arr Grainger Featuring Ben Namdarian tenor It was on the fifth of August, er’ the weather fine and fair, Unto Brigg Fair I did repair, for love I was inclined. I rose up with the lark in the morning, with my heart so full of glee, Of thinking there to meet my dear, long time I’d wished to see. I took hold of her lily-white hand, O and merrily was her heart: ‘And now we’re met together, I hope we ne’er shall part.’ For it’s meeting is a pleasure, and parting is a grief, But an unconstant lover is worse than any thief. The green leaves they shall wither and the branches they shall die If ever I prove false to her, to the girl that loves me.

Danny Deever Text by Rudyard Kipling (1865–1936) from Barrack-Room Ballads Featuring José Carbó baritone ‘What are the bugles blowin’ for?’ said Files-on-Parade. ‘To turn you out, to turn you out,’ the Colour-Sergeant said. ‘What makes you look so white, so white?’ said Files-on-Parade. ‘I’m dreadin’ what I’ve got to watch,’ the Colour-Sergeant said. For they’re hangin’ Danny Deever, you can hear the Dead March play, The regiment’s in ’ollow square, they’re hangin’ him today; They’ve taken all his buttons off and cut his stripes away, An’ they’re hangin’ Danny Deever in the mornin’. ‘What makes the rear ranks breathe so ’ard?’ said Files-on-Parade. ‘It’s bitter cold, it’s bitter cold,’ the Colour-Sergeant said. ‘What makes that front-rank man fall down?’ said Files-on-Parade. ‘A touch o’ sun, a touch o’ sun,’ the Colour-Sergeant said. They are hangin’ Danny Deever, they are marchin’ of ’im round, They ’ave ’alted Danny Deever by ’is coffin on the ground; An’ ’e’ll swing in ’arf a minute for a sneakin’ shootin’ hound O they’re hangin’ Danny Deever in the mornin’! ‘’Is cot was right-’and cot to mine,’ said Files-on-Parade. ‘’E’s sleepin’ out an’ far tonight,’ the Colour-Sergeant said. ‘I’ve drunk ’is beer a score o’ times,’ said Files-on-Parade. ‘’E’s drinkin’ bitter beer alone,’ the Colour-Sergeant said. They are hangin’ Danny Deever, you must mark ’im to ’is place, For ’e shot a comrade sleepin’, you must look ’im in the face; Nine ’undred of ’is county an’ the regiment’s disgrace, While they’re hangin’ Danny Deever in the mornin’. ‘What’s that so black agin the sun?’ said Files-on-Parade. ‘It’s Danny fightin’ ’ard for life,’ the Colour-Sergeant said. ‘What’s that that whimpers over’ead?’ said Files-on-Parade. ‘It’s Danny’s soul that’s passin’ now,’ the Colour-Sergeant said. For they’re done with Danny Deever, you can ’ear the quickstep play, The regiment’s in column, an’ they’re marchin’ us away; Ho! the young recruits are shakin’, an’ they’ll want their beer today, After hangin’ Danny Deever in the mornin’!

12 ABOUT THE MUSIC Grieg concerto

The Bride’s Tragedy Text by Algernon Charles Swinburne (1837–1909) ‘The wind wears roun’, the day wears doun, ‘And winna ye bide, sae saft ye ride, The moon is grisly grey; And winna ye speak wi’ me? There’s nae man rides by the mirk muirsides, For mony’s the word and the kindly word Nor down the dark Tyne’s way.’ I have spoken aft wi’ thee.’ In, in, out and in, In, in, out and in, Blaws the wind and whirls the whin. Blaws the wind and whirls the whin. ‘And winna ye watch the night wi’ me, ‘My lamp was lit yestreen, Willie, And winna ye wake the morn? My window-gate was wide: Foul shame it were that your ae mither But ye camena nigh me till day came by me Should brook her ae son’s scorn.’ And made me not your bride.’ In, in, out and in, In, in, out and in, Blaws the wind and whirls the whin. Blaws the wind and whirls the whin. ‘O mither, I may not sleep nor stay, He’s set his hand to her bridle-rein, My weird is ill to dree; He’s turned her horse away: For a fause faint lord of the south seaboard And the cry was sair, and the wrath was mair, Wad win my bride of me.’ And fast and fain rode they. In, in, out and in, In, in, out and in, Blaws the wind and whirls the whin. Blaws the wind and whirls the whin. ‘The winds are strang, and the nights are lang, But when they came by Chollerford, And the ways are sair to ride: I wot the ways were fell; And I maun gang to wreak my wrang, For broad and brown the spate swang down, And ye maun bide and bide.’ And the lift was mirk as hell. In, in, out and in, In, in, out and in, Blaws the wind and whirls the whin. Blaws the wind and whirls the whin. ‘Gin I maun bide and bide, Willie, ‘And will ye ride yon fell water, I wot my weird is sair: Or will ye bide for fear? Weel may ye get ye a light love yet, Nae scathe ye’ll win o’ your father’s kin, But never a mither mair.’ Though they should slay me here.’ In, in, out and in, In, in, out and in, Blaws the wind and whirls the whin. Blaws the wind and whirls the whin. ‘O gin the morrow be great wi’ sorrow, ‘I had liefer ride yon fell water, The wyte be yours of a’: Though strange it be to ride, But though ye slay me that haud and stay me, Than I wad stand on the fair green strand The weird ye will maun fa’.’ And thou be slain beside.’ In, in, out and in, In, in, out and in, Blaws the wind and whirls the whin. Blaws the wind and whirls the whin. When cocks were crawing and day was dawing, ‘I had liefer swim yon wild water, He’s boun’ him forth to ride: Though sair it be to bide, And the ae first may he’s met that day Than I wad stand at a strange man’s hand, Was fause Earl Robert’s bride. To be a strange man’s bride.’ In, in, out and in, In, in, out and in, Blaws the wind and whirls the whin. Blaws the wind and whirls the whin. O blithe and braw were the bride-folk a’, ‘I had liefer drink yon dark water, But sad and saft rade she; Wi’ the stanes to make my bed, And sad as doom was her fause bridegroom, And the faem to hide me, and thou beside me, But fair and fain was he. Than I wad see thee dead.’ In, in, out and in, In, in, out and in, Blaws the wind and whirls the whin. Blaws the wind and whirls the whin.

13 ABOUT THE MUSIC grieg concerto

He’s kissed her twice, he’s kissed her thrice, Gwine to ride all night! On cheek and lip and chin: Gwine to ride all day! He’s wound her rein to his hand again, I’ll bet my money on de bob-tail nag, And lightly they leapt in. Somebody bet on de bay. In, in, out and in, Old Muley cow came on to de track, Doodah! Blaws the wind and whirls the whin. Doodah! Their hearts were high to live or die, De bob-tail fling her ober him back, Oh! Doodah Their steeds were stark of limb: day! But the stream was starker, the spate was darker, Den fly along like a railroad car, Doodah! Doodah! Than man might live and swim. Runnin’ a race wid a shootin’ star, Oh! Doodah day! In, in, out and in, Gwine to ride all night! Blaws the wind and whirls the whin. Gwine to ride all day! The first ae step they strode therein, I’ll bet my money on de bob-tail nag, It smote them foot and knee: Somebody bet on de bay. But ere they wan to the mid water In Pittsburgh town a man did dwell, Doodah! The spate was as the sea. Doodah! In, in, out and in, His name was Foster as I’ve heard tell, Oh! Doodah Blaws the wind and whirls the whin. day! But when they wan to the mid water, Foster’s dead and gone away, Doodah! Doodah! It smote them hand and head: His songs dey lib fo’ eber an aye, Oh! Doodah day! And nae man knows but the wave that flows Gwine to still be sung Where they lie drowned and dead. ‘s long as de worl’s heart’s young. In, in, out and in, Blaws the wind and whirls the whin. Foster’s songs warn’t ‘darkie’ quite, Doodah! Doodah! Yet neider war dey jes’ plain ‘white’, Oh! Doodah Tribute to Foster day! But Foster’s songs dey make you cry, Doodah! Text by Stephen Foster (1826–1864) and Percy Grainger Doodah! Bring de tear-drop to yo’ eye, Oh! Doodah day! Featuring Gwine to still be sung Jessica Aszodi soprano ‘s long as de worl’s heart’s young. Victoria Lambourn mezzo-soprano Ben Namdarian tenor Dese songs dey trabbel de worl’ around, Doodah! Timothy Reynolds tenor Doodah! Nicholas Dinopoulos bass-baritone At las’ dey come to Adelaide town, Oh! Doodah day! When I was a tot on ma mammy’s knee, Doodah! De Camptown ladies sing dis song, Doodah! Doodah! Doodah! She sung dat race-track song to me, Oh! Doodah De Camptown race track five miles long, Oh! day! Doodah day! I came down dah wid my hat caved in, Doodah! Gwine to still be sung Doodah! ‘s long as de worl’s heart’s young. I go back home wid a pocket full ob tin, Oh! Sung it to me sweet as a lullaby, Doodah! Doodah! Doodah day! Hear dat song till de day I die, Oh! Doodah day! Gwine to ride all night! Gwine to sing all night! Gwine to ride all day! Gwine to sing all day! I’ll bet my money on de bob-tail nag, I’ll bet my money on de Pittsburgh man, Somebody bet on de bay. Pittsburgh, Pa., USA. De long-tail filly and de big black hoss, Doodah! Doodah! Dey fly de track and dey both cut across, Oh! The text by Stephen Foster and Percy Grainger from Tribute to Foster is reproduced by permission of Hal Leonard Australia, Doodah day! exclusive agent for Oxford University Press of Oxford. De blind hoss stickin’ in a big bog hole, Doodah! Doodah! Can’t touch de bottom wid a ten-foot pole, Oh! 14 Doodah day! ABOUT THE artists Grieg concerto

melbourne symphony jonathan grieves-smith chorus master orchestra chorus English conductor and chorus master, Jonathan Under the artistic leadership of Jonathan Grieves- Grieves-Smith has established an international Smith, the Melbourne Symphony Orchestra Chorus reputation for his compelling performances and is establishing an international reputation for its breadth of artistic vision. He has been Chorus Master outstanding performances and recordings. Known as of the Melbourne Symphony Orchestra Chorus the Melbourne Chorale until 2008, it has since then (formerly Melbourne Chorale) since 1998, and prior been integrated with the MSO. to that was Chorus Master of the Huddersfield Choral Society, the Hallé Choir, and Music Director of The Chorus sings with the finest conductors, Brighton Festival Chorus. including Sir Andrew Davis, Mark Wigglesworth, Bernard Labadie and Manfred Honeck. Jonathan is a passionate advocate for new music, commissioning and conducting premieres by Recent commissions include Paul Stanhope’s Exile composers Brett Dean, Paul Stanhope, Gabriel Lamentations (commissioned with Sydney Chamber Jackson, Giya Kancheli, Gavin Bryars, Richard Choir and London’s Elysian Singers), and Gabriel Mills, Alfred Schnittke, Ross Edwards, Krzysztof Jackson’s To the Field of Stars (commissioned with Penderecki, Arvo Pärt and Peteris Vasks. the Netherlands Chamber Choir and Stockholm’s St Jacob’s Chamber Choir). The Chorus has also Jonathan has trained for performances and premiered works by MacMillan, Pärt, Henze, Schnittke, recordings with the world’s leading conductors Bryars and Vasks. including Sir , Valery Gergiev, Sir Mark Elder, Sir Andrew Davis and Sir Roger Norrington. The Chorus has performed with the Malaysian Philharmonic Orchestra, with The Australian Ballet, As guest conductor he has worked with the Academy at the Melbourne International Arts Festival, at the of St Martin in the Fields Chorus, Sydney Chamber 2011 AFL Grand Final and at the Sydney Olympic Choir, the BBC Singers, Cantillation, Sydney Arts Festival. The Chorus continues its relationship Philharmonia Choirs, Dartington International with ABC Classics with the recent CD release of Summer School, the Flemish Federation of Young Westlake’s Missa Solis – Requiem for Eli with the MSO. Choirs, and Europa Cantat.

15 ABOUT THE MUSIC grieg concerto

Grieg’s Concerto – a d a personal perspective – Piers Lane © Clive bar

I was comparing notes with the and the public. Troldhaugen – just 20 minutes’ great Australian pianist Ronald drive from the centre of Bergen in My first performance of ‘the Grieg’ Farren-Price on his birthday a his native . I was there to took place at short notice. I was few weeks ago and wasn’t unduly perform in the Bergen Festival. asked to replace an indisposed surprised when it emerged that it pianist at the Royal Festival Hall It was an intriguing assignment. was Grieg’s Piano Concerto that in London in the early 80s. When I was to give three performances fired his ambitions to become a you are young and ambitious, with Martha Clarke’s Dance concert pianist. It was much the and perhaps a tad foolish, you Company from New York. She had same for me! When I was nine, agree to every opportunity that choreographed five short stories I started to dig for treasure in presents itself. I had just over a by Chekhov to piano music by my parents’ music cupboards, week to really learn the score. Scriabin. I was dressed in 19th- unearthed my mother’s well- I had a long weekend’s holiday century tails, playing a grand on worn copy and proceeded to booked with friends at a delightful the left of the stage. I was also read it through at the piano. I’m place in Devon – the Nobody Inn part of the action – at one point, sure it sounded nothing like the in Doddiscombsleigh, a quaint a prostitute had to sidle onto my real thing, but nonetheless, it old hotel that specialised in roast piano stool and slyly remove money worked its magic and made me duck and good whiskey – and from my pockets; at the end of the feel like a prince, attempting its the odd medieval low doorway show, I slowly strolled offstage as thrilling octave plunges and its that brought one up short, if one snow fell from a bleak sky. I had yearning melodies garlanded with were tall and distracted! I didn’t never previously played for dancers passionate arpeggios. The cadenza want to let down my friends, and was worried I’d have to play was a fairytale in itself, roaming but needed desperately to work strictly in time at prescribed tempi, over the entire keyboard and the on the concerto – so contacted but no, it was actually like chamber whole dynamic range. the tiny local village school and music, with a wonderful awareness ‘The Grieg’ has everything a the headmistress kindly agreed and interaction between dancers piano concerto should have: that I could practise as much as and pianist. The whole thing was it’s big and bold and beautiful, I wished on their little upright a great joy, spice added by the packed with juicy tunes and catchy piano. The isolation was perfect attendance of Norway’s Queen rhythms, it’s showy but tasteful, for concentration. A much older, Sonja at the final performance. the structure immediately clear more experienced Aussie pianist She attended the post-concert to the listener and the balance friend, Bernice Lehmann, gave me party and proved disarmingly between piano and orchestra some sound advice a couple of days amenable and charming. We ideally proportioned. Last week, I before the performance: to set chatted about Percy Grainger premiered ’s new Piano myself up right, at the beginning and she also asked if I had met Concerto in Sydney and next of the piece, by pausing to listen to the curator of Grieg’s house and week shall do it again in Hobart. the first chord singing out into the museum. When she realised I He confessed to me a few months hall. I duly did my first Grieg and hadn’t, she excused herself and ago that ‘the Grieg’ was one of adored it! went off to locate him for an its prime inspirations. It seems introduction. I couldn’t believe her Since then, I’ve played it on and eminently wise for a composer to generosity. off throughout my career and my set out to write a piece emulating initial love of it has been enriched the qualities of a concerto which by a variety of experiences. One has more-or-less eclipsed all others of the most important was the in popularity with both pianists 16 chance to visit Grieg’s home – ABOUT THE MUSIC Grieg concerto

That led to my being invited to conducting her firstTurangalîla- Guest musicians attend a piano recital in Grieg’s symphonie by Messiaen. Since for this program living room, on his own 1892 then, I’ve returned on several Rebecca Adler violin Steinway, which is maintained in occasions, performing in the Jo Beaumont violin extraordinary condition. The walls Festival and recording Norwegian Glenn Christensen violin of the room are lined with Grieg’s romantic piano concertos with the Stephanie Dean violin Ingrid Homburg violin own collection of paintings and Philharmonic and Andrew Litton. Jenny Khafagi violin photographs, particularly of his Susannah Ng violin Spending time in Grieg’s own opera singer wife, Nina. The home William Clark viola country, and in his own home, Ceridwen Davies viola and grounds are gracious and inevitably fuels one’s love of the Sophie Kesoglidis viola beautiful, all in cream and green Catherine Turnbull viola concerto. You feel you know a and high up on a promontory. Josephine Vains cello little more of his world. And Zoe Walace cello Grieg’s studio in the back garden the fact that Percy Grainger was Esther Wright double bass overlooks Lake Nordaas and is Ann Blackburn Grieg’s favourite exponent of the kept in authentic order, with his Chloe Turner piece, that he entrusted Percy Jenna Breen horn composing upright on one wall, with an edition for publication, Julia Brooke horn his writing desk by the window undoubtedly encourages ‘down- Matthew Van Emmerik tenor tuba with its breathtaking views, and Neil Curry percussion under’ pianists to explore their his writing implements and Laura Holian percussion affinities with polar opposites Rebecca Lloyd-Jones percussion chairs dotted about. His presence in Scandinavian parts. There’s Evan Pritchard percussion is almost palpable. Bergen is a Matthias Schack-Arnott percussion a surprising synergy – a similar bustling port. It’s a treat to wander Greg Sully percussion feeling of freshness and Louisa Breen piano down to the harbour at lunchtime expansiveness and room to breathe Leigh Harrold celste and sample freshly caught fish and Calvin Bowman organ – a sense of mystery and potential breathe the salt air. I remember Stuart Byrne tenor saxophone in the air… Lachlan Davidson alto saxophone too, on that first visit, sitting in on Tom Martin soprano saxophone a Bergen Philharmonic rehearsal Jason Xanthoudakis baritone saxophone with Australia’s

MELBOURNE SYMPHONY ORCHESTRA CHORUS Sopranos Helena Ring Libby Timcke Basses Philippa Allen Jo Robin Norma Tovey Maurice Amor Sheila Baker Sue Robinson Jenny Vallins Richard Barber Andrea Christie Ruth Shand Emma Warburton David Brown Katherine Tomkins Thea Christie Tenors Barry Clarke Veryan Croggon Justine Underwood Richard Corboy James Allen Samantha Davies Phil Elphinstone Altos Steve Burnett Catherine Folley Gerard Evans Cecilia Björkegren John Cleghorn Rashika Gomez Matthew Gulino Kate Bramley Geoffrey Collins Camilla Gorman Andrew Ham Jane Brodie James Dipnall Alexandra Hadji Andrew Hibbard Alexandra Chubaty Marcel Favilla Madelaine Howard John Lester Elin-Maria Evangelista Peter Finnigan Penny Huggett Edward Ounapu Jill Giese Trevor Finlayson Jasmine Hulme Douglas Proctor Ros Harbison Lyndon Horsburgh Teresa Ingrilli Jonathan Sanders Sue Hawley Dominic Mckenna Gwen Kennelly Matthew Toulmin Kristine Hensel Colin MacDonald Melika Mehdizadeh Tehrani Ian Vitcheff Andrea Higgins James Macnae Lynne Muir Foon Wong Katherine Kibbey Michael Mobach Caitlin Noble Allan Yap Helen MacLean Andrew Pogson Elizabeth O’Shea Christina McCowan Adam Purton Alexandra Patrikios Repetiteur Siobhan Ormandy Malcolm Sinclair Jodie Paxton Tom Griffiths Leah Phillips Marcus Travaglia Anne Payne Alison Ralph James Walcott Marita Petherbridge Lauren Simpkins Susannah Polya Helen Staindl Tanja Redl Jenny Stengards 17 MEET YOUR MSO MUSICIAN

Sylvia Hosking has been a member of the Melbourne Symphony Orchestra since 1999 and currently holds the position of Assistant Principal Double Bass. Growing up in Melbourne, Sylvia studied at the Victorian College of the Arts under Steve Reeves, later moving to the Royal Conservatory of the Hague under Quirijn van Regteren-Altena, and finally gained her Bachelor’s and Master’s degrees at the in New York. Since her return to Melbourne she has been involved in much chamber music-making around the city. She has performed on a number of occasions as Guest Principal Double Bass with the Australian Chamber Orchestra, Australian Chamber Soloists and Australia Pro Arte. She regularly appears in the MSO Chamber Series and has given solo recitals around Melbourne. She now teaches privately, at the VCA, and at Melbourne and Monash universities.

My earliest musical memory is My mother singing harmonies to The Beatles, and really wanting to be able to do that. What is your favourite place in the world to “just be”? Bushranger’s Bay What is your favourite Melbourne Symphony Orchestra memory? Beethoven Symphony No.9 with Douglas Boyd and community choirs, during the 2011 Beethoven Festival. What’s your “top pick” for city dining, or for a post concert drink or dessert? Cabinet in Rainbow Alley The music that changed my life is.... Michael Jackson’s album Thriller

SYLVIA HOSKING

18 Friday 14 September at 8pm Saturday 15 September at 2pm Monday 17 September at 6.30pm Arts Centre Melbourne, Hamer Hall

Andrew Litton conductor Stephen Hough piano

Glinka Russlan and Ludmilla: Overture Tchaikovsky Piano Concerto No.2 INTERVAL Prokofiev Symphony No.7

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

BEYOND THE STAGE Learn more about the music in these free events taking place in the Hamer Hall Stalls Foyer.

RENAISSANCE MAN MEET THE MAESTRO Saturday 15 September at 1pm Friday 14 September at 7pm Stalls Foyer, Hamer Hall Monday 17 September, after 8.30pm (post-concert event) Stephen Hough is not only one of the world’s most Stalls Foyer, Hamer Hall accomplished concert pianists – he is soloist in Andrew Litton combines a wealth of international this afternoon’s performance – but is also a prolific experience with an infectious enthusiasm, on and composer, writer and tweeter with extensive interests off the podium. In this 20-minute talk you’ll hear this encompassing theology, art, food, and hats! This dynamic American conductor explore the works of 20-minute conversation with Huw Humphreys will reveal Glinka, Tchaikovsky and Prokofiev that make up this more about this engaging musician, along with his evening’s program. thoughts on Tchaikovsky’s Piano Concerto No.2.

19 ABOUT THE MUSICArtists STEPHEN HOUGH PLAYS TCHAIKOVSKY larke y-c urner y T anett im c © Dann © s

Andrew Litton conductor Stephen Hough piano Andrew Litton is Music Director of the Bergen Widely regarded as one of the most important pianists Philharmonic Orchestra, Artistic Director of the of his generation, Stephen Hough has appeared ’s Sommerfest, Conductor with most of the leading European and American Laureate of the Bournemouth Symphony, and Music orchestras and plays recitals regularly in the major Director Emeritus of the Dallas Symphony Orchestra. concert series and halls around the world. He has This month he assumes the position of Artistic made over 20 concerto appearances at the BBC Advisor of the Colorado Symphony Orchestra. Proms, and recent highlights include a worldwide televised performance under Simon Rattle and He maintains a busy guest conducting schedule, the , and a season as Artist-in- regularly directing and recording with the world’s Residence at . greatest orchestras. He has also conducted at the Metropolitan Opera, Covent Garden, English Hough’s own cello concerto was premiered by Steven National Opera and Deutsche Oper Berlin, among Isserlis and the Royal Liverpool Philharmonic, and others, and in 2010 he made his Opera Australia he gave the premiere of his Sonata for Piano (broken debut with Der Rosenkavalier. branches) at Wigmore Hall in 2011. The symphonic version of his Missa Mirabilis, previously performed Highlights in recent seasons include appearances at , was premiered by the with the Royal Philharmonic at the 2010 and 2011 Indianapolis Symphony in April 2012. BBC Proms, and a Kennedy Center Gala Concert with Lang Lang and the National Symphony Orchestra. His discography, comprising over 50 CDs, has earned numerous awards including the Gramophone Gold His catalogue of more than 100 recordings Disc Award in 2008, which named his complete Saint- includes a Grammy-winning Belshazzar’s Feast with Saëns Piano Concertos as the best recording of the the Bournemouth Symphony and , a past 30 years. Recent releases include the complete Grammy-nominated Sweeney Todd with the New York Waltzes of Chopin and the Liszt and Grieg Concertos. Philharmonic and Patti LuPone, and many Gershwin recordings as conductor and pianist. His complete Named by The Economist in 2009 as one of 20 living Rachmaninov concerto cycle, recorded live with polymaths, Stephen Hough is also an avid writer who Stephen Hough and the Dallas Symphony, received has contributed to The Guardian, The Times and The widespread critical acclaim. Daily Telegraph, where he has a popular cultural blog. Andrew Litton began piano lessons aged five and He is a visiting professor at London’s Royal Academy resolved to become a conductor a few years later of Music and holds the International Chair of Piano after attending a New York Studies at his alma mater, the Royal Northern College Philharmonic Young People’s Concert. He received of Music in Manchester. He is a recipient of the Royal his Bachelor’s and Master’s degrees in piano and Philharmonic Society Instrumentalist Award and was conducting from Juilliard. The youngest-ever winner awarded a MacArthur Fellowship in 2001. of the BBC International Conductors Competition, he served as Assistant Conductor at La Scala, Milan and the National Symphony Orchestra (Washington DC) under . His many honours include Norway’s Order of Merit 20 and the Elgar Medal. ABOUT THE MUSIC STEPHEN HOUGH PLAYS TCHAIKOVSKY

and attending opera. The visit beings. Ruslan, having won of an Italian company in 1828 Chernomor’s own sword from the Mikhail Glinka confirmed his love of Rossini, and sorcerer’s giant brother, cuts off (1804–1857) he travelled to Italy two years later Chernomor’s beard (rendering Ruslan and Ludmila: Overture where he got to know Donizetti him powerless) only to discover and Bellini and their works. Before that Ludmila, who has been cast returning to Russia in 1834, he into a magic sleep, has been spent time in Berlin, studying the abducted again, this time by Farlaf, principles of counterpoint. Having who takes her to the hall of her absorbed Italian lyricism and father in Kiev. The good sorcerer German rigour, Glinka returned to Finn gives Ruslan a ring which will his homeland and set about writing awaken Ludmila. He returns to music based on Russian themes. Svetozar’s palace, removes the spell and marries Ludmila, to the joy of Ruslan and Ludmila is his second the people of Kiev. completed opera, and is based on a fairy tale given literary currency Like many an opera composer, by Alexander Pushkin. (Glinka Glinka left writing the overture to and Pushkin had discussed a Ruslan and Ludmila until last, but collaboration on the work, but the drew on themes from the body poet was fatally wounded in a duel of the work. The overture begins Glinka’s music was, to borrow before work began.) with music derived from the a phrase from Tchaikovsky, the general rejoicing at the end of the Ludmila is the daughter of ‘acorn from which the oak of opera, which is contrasted with a Svetozar, the Grand Prince of Kiev. Russian music grew’. Born into melody associated with Ruslan’s She is betrothed to Ruslan, but a minor noble family, Glinka love for Ludmila. abducted from her father’s palace was able to cultivate his musical by the evil sorcerer Chernomor. Gordon Kerry interests from a young age, at Ignoring the betrothal, Svetozar Symphony Australia © 2004 school in St Petersburg and offers his daughter and half conducting a ‘serf orchestra’ The Melbourne Symphony Orchestra first his kingdom to whoever brings on an estate neighbouring his performed the Overture from Ruslan and Ludmila back. Ruslan and his Ludmila in August 1945 under the baton parents’. By 1820 he was back in two rivals, Farlaf and Ratmir, set of Bernard Heinze, and most recently at the St Petersburg, ostensibly working off on the quest, encountering launch of the 2012 season, at Flinders Street in the civil service but in fact wizards, giants and other magical Station, with Benjamin Northey. devoting himself to composition,

Part of the city’s culture

ArtPlay is a civic studio where families and children can be creative and express themselves in an open and supportive environment. At ArtPlay, children up to the age of 13 and their families are encouraged to learn the language of art together. From here, they can move on to galleries, performances and Melbourne’s other art offerings with confidence and curiosity. Through workshops with professional artists, ArtPlay aims to improve educational and arts opportunities for children. The MSO Education and Community Outreach program has been associated with ArtPlay since its inception in 2003. The MSO ArtPlay Ensemble involves creating music as well as performing, with each project leading to the composition and performance of new music, inspired by repertoire from the MSO’s current concert season. ArtPlay is an initiative of the City of Melbourne, located at Birrarung Marr behind Federation Square. For more information on MSO Artplay Ensemble please contact MSO Education on 9626 1198 or visit mso.com.au

21 ABOUT THE MUSIC STEPHEN HOUGH PLAYS TCHAIKOVSKY

After spending the summer However, this first movement travelling between Moscow, St accounts for some of the early Peter Ilyich Petersburg and the rural estates of criticisms of the piece. Tchaikovsky Tchaikovsky friends and relatives, Tchaikovsky was not amused when Taneyev, (1840–1893) arrived back at his sister’s place after performing the work, said Piano Concerto No.2 in G, at Kamenka in the Ukraine on the first and second movements Op.44 11 October 1879. Here he had few were too long. ‘Those people to obligatory musical occupations, whom critical examination was I Allegro brillante II Andante non troppo and to relieve the boredom he entrusted,’ said Tchaikovsky, III Allegro con fuoco began work on the Second Piano rather tartly, ‘did not point to this Concerto. deficiency at the time.’ Stephen Hough piano Tchaikovsky decided to dedicate In the end it was the length of the new work to Nikolai Rubinstein, the work which prompted varying despite the latter’s initial criticism versions, though in this concert of the First Piano Concerto in 1874. you hear the original. The most For insurance however, Tchaikovsky extensive revisions were those later sent the new score to Rubinstein proposed by Tchaikovsky’s pupil, for his comment, suggesting that Siloti, to whom Tchaikovsky wrote he could change anything in the in January 1889: piano part, but to please not touch I’m extremely grateful to you for the essence of the piece. Sergei your concern and interest…but Taneyev, studying with Rubinstein, emphatically I can’t agree with your reported back: ‘Absolutely nothing cuts and especially with your re- to be changed.’ ordering of the first movement. The Rubinstein did not give the first version of the Second Concerto I want performance, which took place in is the one I made Sapelnikov play New York on 12 November 1881. [under Tchaikovsky’s own direction, The English pianist Madeline November 1888]…My hair stood on Schiller appeared under the end at your idea of transferring the baton of Theodore Thomas. cadenza to the end. Taneyev gave the first Russian Siloti also made substantial performance in 1882. By then changes to the second movement, Rubinstein had died. and these went even deeper to the The work begins with a robust, heart of this music. His truncated though four-square, theme. version downplays the importance Biographer David Brown regards of the violin and cello soloists the melodic material as second- which is the distinguishing, indeed rate, a symptom of the work arising original, feature of the movement. from forced activity rather than Siloti’s reassignment of violin any deeper impulse; but he also and cello solos at the beginning sees the movement’s real strengths of the movement altered the in the very stark delineation of complexion of the music. There sections, the forthright harmony, is melodic inspiration of a high Top: Sergei Taneyev, soloist in the and the segregation of the solo order in Tchaikovsky’s original, work’s first Russian performance instrument from the main body underlined when the cello soloist Bottom: Nikolai Rubinstein, to whom of sound. ‘Drama,’ he says, joins solo violin in repeating the this concerto is dedicated ‘springs less from direct and opening melody. As Brown says, sometimes complex interaction ‘Tchaikovsky’s employment here of of soloist and orchestra…than violin and cello soli…was patently from a grandly spaced alternation determined by their ability to of robust orchestral ritornello, handle such a long-spun thread of grandiloquent cadenza, and even lyrical melody superlatively well.’ some contrasting passages of Arguably the middle section of almost chamber-like intimacy.’ the movement, with its mounting Indeed this stark juxtaposition symphonic-sounding sequences, of ideas accounts for much of the is formulaic, possessing a false 22 movement’s structural novelty. excitement, but the eventual ABOUT THE MUSIC STEPHEN HOUGH PLAYS TCHAIKOVSKY

return of the main melody in duet passing to the recapitulation,’ The Melbourne Symphony was the first of the between violin and cello against says Brown. The recapitulation former ABC orchestras to perform this work, the piano’s faster accompaniment follows the thematic course of the on 18 January 1941, with conductor Joseph Post and soloist Henri Penn. The Orchestra restores the authentic Tchaikovsky, exposition, but now with a series most recently performed it on 29 June 1991, the master of balletic suggestion. of changing keys, reserving the with conductor Hiroyuki Iwaki and pianist greatest tonal flux until the end of The final movement sounds . the movement. relatively uncomplicated. Certainly this movement underwent none The finale is by no means as of the revision undergone by the mechanical as it may appear at INTERVAL 20 minutes other two movements, proof of the first hearing. It is typical of the expertise with which Tchaikovsky beauties hidden in this, one of could structure a movement made Tchaikovsky’s less-frequently played of discrete sections. pieces. The work may have its flaws, but Tchaikovsky, often derided as a At first the movement appears to popular melodist, was attempting be shaping up as a rondo. There new structural feats. is the first theme in the tonic and then the second in the relative Tchaikovsky believed in the minor. But then, as the tonic is integrity of this piece, and his regained, there is a new, third faith in it can be seen in the fact theme, and the emphasis on the that, even three months before his tonic at this early point reverses death, he was still resisting Siloti’s our expectation of tonal progress. pressure to cut. It also tends to rule out thematic Gordon Kalton Williams development. But Tchaikovsky Symphony Australia © 1998 makes a short quasi-developmental extension of his third theme, ‘enhancing a little the expressive world of the movement, before

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23 melbourne symphony orchestra and management

MELBOURNE SYMPHONY ORCHESTRA

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

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

MANAGEMENT

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

24 the donors

The MSO’s work can be attributed to the generosity of many collaborators, individuals, trusts and foundations. We are grateful for your support, which helps us enrich people’s lives through inspiring music now and for the future. To support us with a tax-deductible private gift, or bequest, please contact Jessica Frean on 03 9626 1107 or [email protected]. ARTIST CHAIR BENEFACTORS Harold Mitchell AC Concertmaster Chair Elisabeth Murdoch Principal Clarinet Chair MSO Friends Chair Patricia Riordan Associate Conductor Chair Joy Selby Smith Orchestral Leadership Chair

Impresario Patrons (pledging $20,000+ annually) John McKay and Lois McKay, Bevelly and Harold Mitchell AC, Dame Elisabeth Murdoch AC DBE, Inés Scotland

Maestro Patrons (pledging $10,000+ annually) M P Chipman, Andrew and Theresa Dyer, Tim and Lyn Edward, Rachel and Hon. Alan Goldberg AO QC, Tom Jacob, Ilma Kelson Music Foundation, Mimie MacLaren, Onbass Foundation, Elizabeth Proust AO, The Ullmer Family Endowment, Lyn Williams AM, Anonymous (2)

Principal Patrons (pledging $5000+ annually) Christine and Mark Armour, Kaye and David Birks, Jennifer Brukner, The Cuming Bequest, Mr Dominic Dirupo and Mrs Natalie Dirupo, Susan Fry and Don Fry AO, Jill and Robert Grogan, Louis Hamon OAM, Nereda Hanlon and Michael Hanlon AM, Hartmut and Ruth Hofmann, Peter and Jenny Hordern, Mr Greig Gailey and Dr Geraldine Lazarus, Norman and Betty Lees, Mr and Mrs D R Meagher, Wayne and Penny Morgan, Ian and Jeannie Paterson, Mrs Margaret S. Ross AM and Dr Ian C. Ross, Joy Selby Smith, Maria Sola and Malcolm Douglas, Kee Wong and Wai Tang, Anonymous (1)

Associate Patrons (pledging $2500+ annually) Dr Bronte Adams, Will and Dorothy Bailey Bequest, Peter and Mary Biggs, Mrs S Bignell, David and Emma Capponi, Paul Carter, John and Lyn Coppock, Peter and Leila Doyle, Lisa Dwyer and Dr Ian Dickson, Dr Helen M Ferguson, Robert and Jan Green, John and Agita Haddad, Susan and Gary Hearst, Gillian and Michael Hund, Peter Lovell, Jan Minchin, Marie Morton, Dr Paul Nisselle AM, Ann Peacock with Andrew and Woody Kroger, Rae Rothfield, Craig and Jennifer Semple, Gai and David Taylor, Mr Tam Vu and Dr Cherilyn Tillman, Bert and Ila Vanrenen, Hon. Michael Watt QC and Cecilie Hall, Barbara and Donald Weir KSJ, Joanne Wolff, Brian and Helena Worsfold, Anonymous (2)

Player Patrons (pledging $1000+ annually) Marlyn and Peter Bancroft OAM Merwyn and Greta Goldblatt Trevor and Moyra McAllister Geoff and Judy Steinicke Dr Julianne Bayliss Colin Golvan SC Allan and Evelyn McLaren Mrs Suzy and Dr Mark Suss Mr Marc Besen AO and Mrs Eva Besen AO George H Golvan QC Dr Gabriele Medley AM Margaret Tritsch Stephen and Caroline Brain Dr Marged Goode John and Isobel Morgan Mrs Barbara Tucker M Ward Breheny Jean Hadges The Novy Family P and E Turner Mr John Brockman OAM and Stuart and Sue Hamilton Laurence O’Keefe and Mary Vallentine AO Mrs Pat Brockman Tilda and Brian Haughney Christopher James Hon. Rosemary Varty Jill and Christopher Buckley Julian and Gisela Heinze Lady Potter AC Wah Yeo AM Bill and Sandra Burdett Hans and Petra Henkell Peter Priest Sue Walker AM Jan and Peter Clark Dr Alastair Jackson Dr Sam Ricketson Pat and John Webb Judith M Connelly Stuart Jennings Hugh T Rogers AM Erna Werner and Neil Werner OAM Ann Darby in memory of Leslie J. Darby Vivien and Graham Knowles Tom and Elizabeth Romanowski Nic and Ann Willcock Panch Das and Laurel Young-Das Dr Elizabeth A Lewis AM Delina Schembri-Hardy Marian and Terry Wills Cooke Mary and Frederick Davidson Norman Lewis in memory of Max and Jill Schultz Ruth Wisniak and Prof John Miller AO Pat and Bruce Davis Dr Phyllis Lewis David Shavin QC Peter and Susan Yates Sandra Dent Dr Anne Lierse Chris and Jacci Simpson Mark Young John and Anne Duncan Violet and Jeff Loewenstein Gary Singer and Geoffrey A Smith Anonymous (8) William J Forrest AM Christopher and Anna Long Dr Robert Sloane and Denise Sloane Joanna Foulkes Vivienne Hadj and Rosemary Madden Mr Sam Smorgon AO and David I Gibbs and Susie O’Neill Sandra and Leigh Masel Mrs Minnie Smorgon

MSO Conductor’s Circle We are privileged to be included in the bequest planning of our Conductor’s Circle members. Jenny Anderson Tony Howe Mr and Mrs R P Trebilcock The MSO gratefully acknowledges the Joyce Bown John and Joan Jones Michael Ullmer support received from the Estates of: Kenneth Bullen Elizabeth Proust AO Mr Tam Vu Gwen Hunt Luci and Ron Chambers Penny Rawlins Marian and Terry Wills Cooke C P Kemp Sandra Dent Joan P Robinson Mark Young Peter Forbes MacLaren Lyn Edward Molly Stephens Anonymous (15) Prof Andrew McCredie Alan Egan JP Pamela Swansson Jean Tweedie Louis Hamon OAM Dr Cherilyn Tillman Herta and Fred B Vogel MSO Projects Many projects need specific support. We sincerely thank the following for their vital support for the MSO’s Education and Emerging Artist Programs. Pratt Foundation Scanlon Foundation Ivor Ronald Evans Foundation, as administered by Cybec Foundation The Phyllis Connor Memorial Trust, Mr Russell Brown and Equity Trustees Schapper Family Foundation as administered by Equity Trustees The Alan (AGL) Shaw Endowment, managed by Rob Cossom: Snare Drum Award Perpetual To find out more about these and other special projects, such as the MSO Instrument Fund, please visit www.mso.com.au. 25 ABOUT THE MUSIC STEPHEN HOUGH PLAYS TCHAIKOVSKY

THREE WAYS INTO TCHAIKOVSKY’S

SECOND Tchaikovsky (right) with Alexander Siloti in 1888

On his CD set of the movement to bits, changing piano. Then follows the dramatic Tchaikovsky concertos a serious, deeply expressive ‘B’ section which Siloti cut – full of with Osmo Vänskä and movement into a mere lightweight turbulence, with brilliant cadenzas the Minnesota Orchestra intermezzo. Tchaikovsky was for solo violin and cello. Finally, (Hyperion CDA67711/2), horrified when he saw what when things have calmed down, Stephen Hough recorded Siloti had done, and absolutely the three solo instruments play the Tchaikovsky’s original version refused to accept his changes. opening thematic material, united of the Piano Concerto There are at least three letters in as an equal trio for the first time in which he makes this clear in the No.2. (It is this version he the piece. strongest terms, yet this version will play this evening.) in So far, so good. But then was not only published after the supplementary tracks, he Tchaikovsky suggests a cut – at the composer’s death, but became the point when the piano stops and the offers two alternative versions only version heard for 50 years solo violin and cello continue and of the second movement – or more. Although I would never develop up to a passionate climax. the cut version by Alexander dream of playing it in the context It is one of the most glorious Siloti, and Hough’s own of a performance of the piece, I moments in the whole work (even arrangement. Here he thought it would be interesting Siloti kept this passage), but there explains his reasons: to include it on a recording as a is a problem with it, as Tchaikovsky historical document. obviously realised if he suggested At early performances of this When I first played this piece in removing it. The problem is not concerto, criticisms were raised concert – in the original version its length, but that it begins as about two issues: its length, and – I was struck by a problem in an exact repeat of the opening the lack of prominence of the solo the second movement: the music section, a jarring reprise coming piano part in the second movement. is so glorious, and I couldn’t after the three instruments have It seems from Tchaikovsky’s letters understand why it just didn’t seem already been playing together with that he acknowledged these to ‘work’ as a structure. I didn’t equal prominence. It’s as if the problems in the piece, and he think that it needed cutting like pianist is suddenly asked to leave suggested some cuts himself as well early critics suggested, but I did the room whilst the party goes as handing over the score to his feel that the solo instruments were on for everyone else. I realised friend and pupil Alexander Siloti out of balance. It was wonderful that if the music here is played for further amendments. to hear the solo violin and cello by the piano instead, leading declaim the theme at the start of naturally into the original piano Tchaikovsky appears to have the movement, especially after the cadenza, it would give a symmetry implemented three cuts when first movement’s extraordinary, to the whole movement, lending conducting later performances: super-virtuosic, turbo-charged a psychological cohesion, and one in the first movement and pianism; it was a perfectly judged eliminating any need to remove two in the second movement. change of character – first solo any music. Siloti incorporated the first and violin, then solo cello with violin © Stephen Hough 26 third of these cuts in his version, accompaniment, and finally the but further slashed the second ABOUT THE MUSIC STEPHEN HOUGH PLAYS TCHAIKOVSKY

Sergei Prokofiev’s Seventh In the case of the Seventh Symphony was one of his last Symphony, some of the simplicity works. A number of compositions for which he has been criticised (1891–1953) from his final years have had an may stem from its origins as a Symphony No.7 in C sharp uneasy history. Some scholars have work intended for the Children’s minor, Op.131 asserted that these late works are Radio Division. While some I Moderato weak, that they portray a composer have suggested that writing for II Allegretto – by then frail from illness and a youthful audience may have III Andante espressivo increasingly impoverished – who been an attempt at skirting III Vivace possessed little of his former official censorship, the exact skills. Dorothea Redepenning circumstances of its composition writes in New Grove: ‘The late are not known. instrumental works are curiously The initial mood of the symphony colourless, and conspicuous for reveals a stark, and mature, reality, an almost excessive tendency to with the plaintive writing at times simplicity; there is nothing here pared back to just two lines. The of the lively nonconformity of the wintry tone is soon broken by a young Prokofiev.’ About his final theme of extraordinary warmth. symphony, the composer similarly A curiously tinkling motif indicated reservations when, follows in and glockenspiel, during a rehearsal, he asked his recalling the magical sound- companions ‘but isn’t the music scapes so common to Russian rather too simple?’ music since the time of Glinka. Yet those with a negative opinion The instrumentation also draws of the Seventh Symphony often to mind a ticking clock, an effect miss many of its nuances, and that Shostakovich was to use in his almost certainly assess the work final symphony. Perhaps advisedly, separately from the circumstances Prokofiev proceeds with a typically Guest musicians of its composition. Chief among ‘classical’ development of the for this program the factors that contributed to the material, marking one of the few Jo Beaumont violin composer’s difficult final years instances where he adheres to the Francesca Hiew violin was a famous resolution on Soviet archaic ‘sonata form’. The themes Jenny Khafagi violin Katherine Lukey violin music in 1948 which attacked are again presented, before the Susannah Ng violin Russia’s most gifted composers, movement ends quietly with an Oksana Thompson violin of whom Prokofiev was a leading unexpected return to the colder William Clark viola Caroline Henbest viola member. Accused of ‘formalism’ tonality of the opening. Helen Ireland viola – an ill-defined notion that, in its The bright and capricious Allegretto Simon Oswell viola most simplistic reading, related to Josephine Vains cello movement immediately brings the use of dissonance, but which Zoe Wallace cello to mind the composer’s earlier Rohan Dasika double bass could be also levelled as an attack forays into ironical waltzes. As the Ann Blackburn oboe on socialist ideology – his powerful Chloe Turner contrabassoon movement progresses, however, Sixth Symphony was denounced, Jenna Breen horn focus is drawn increasingly Rebecca Lloyd-Jones percussion and his entire output effectively to the recurrence of fateful Louisa Breen piano banned from performance. pounding rhythms and seemingly Furthermore, the arrest and portentous moments of subdued incarceration of his foreign-born orchestration, such as in the theme wife, the deaths of fellow composer of the repeated trio section, scored and friend, Nikolay Myaskovsky, for muted strings. and film director, Sergei Eisenstein, the subsequent loss of The slow movement revisits income from performances and a melody that Prokofiev had prizes, and the rapid erosion of his composed for an intended – but health, combined to bring about never produced – theatrical his own death within five years. adaptation of Pushkin’s Yevgeny Onegin in 1936.

27 ABOUT THE MUSIC STEPHEN HOUGH PLAYS TCHAIKOVSKY

The final movement seems At the same time, it is difficult to most easily identifiable with the ignore the composer’s dire financial audience originally designated for situation, and the knowledge that the work, as it noisily bursts forth such a change would gain his in a sprightly gallop. A yearning eligibility for a Stalin Prize First subsidiary theme leads to a playful Class, worth some 100,000 rubles. march, recalling the humour of Ultimately, the composer decided Peter and the Wolf. The momentum not to step entirely away from his is ultimately broken by a series earlier plan, and the published of heaving chords, leading to the score states that performance of unexpected re-emergence of the either ending is valid. broad-winged theme from the Given the many unanswered first movement. The tinkling bell questions that still surround motif follows, but the alternation Prokofiev – such as how much he between major and minor truly understood of the events tonalities creates an impression of of 1917 when he decided to leave bittersweet resignation. Russia, and why he chose to return On this irresolute point, the in the 1930s, when so many liberties symphony was originally intended were being curtailed – it is perhaps to close (and that is the ending fitting that the close of his final you will hear tonight). However, symphony is similarly enigmatic. Prokofiev was persuaded to change Abridged from an annotation by Prokofiev in his final years it by writing a few further bars, Scott Davie © 2009 returning with great optimism to the gallop. For some, a sadly The Melbourne Symphony Orchestra first forlorn conclusion might potentially performed Prokofiev’s Seventh Symphony in May 1957, conducted by Enrique Jordá; trouble an audience, as the Markus Stenz conducted the most recent symphony’s first conductor, Samuil performance by the Orchestra, in June 2002. Samosud, may have pointed out.

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28 MEET YOUR MSO MUSICIAN

Michael Pisani has been a member of the Melbourne Symphony Orchestra since 2004, and is now Principal Cor Anglais. Michael grew up in Melbourne, first learning the piano before starting the oboe at age 12. After studying at the Victorian College of the Arts he was appointed to the position of Associate Principal Oboe in the Australian Opera and Ballet Orchestra and then to the same position in Orchestra Victoria the following year. On occasion, Michael also plays Principal Oboe with the Australian Chamber Orchestra and has been guest principal with the Tasmanian Symphony Orchestra, Queensland Symphony Orchestra, Auckland Philharmonia and Hong Kong Philharmonic. He has appeared as soloist with various orchestras in Melbourne, performing the Strauss and Mozart oboe concertos, and has featured on the ABC’s Sunday Live and Young Australia programs. Michael also teaches oboe at the University of Melbourne.

If you weren’t a musician what would you be? I’d like to be a professional yachtsman. What is your first performance memory? Playing the recorder at my school assembly Vanilla or chocolate? Definitely chocolate. What is your favourite sporting team? Essendon Bombers, but only half heartedly, like when they are doing well, so it’s been a while, but looking a little better lately. What’s your favourite place in the world to “just be”? Anywhere with my family

michael pisani

29 Friday 21 September at 8pm Costa Hall, Deakin University, Geelong Thursday 20 and Saturday 22 September at 8pm Arts Centre Melbourne, Hamer Hall

Louis Langrée conductor cello

D v o rˇ á k Overture: Carnival D v o rˇ á k Cello Concerto INTERVAL Tchaikovsky Symphony No.6 Pathétique

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

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

PRE-CONCERT TALK Thursday 20 and 22 September at 7pm Stalls Foyer, Hamer Hall Friday 21 September at 7pm Costa Hall, Deakin University, Geelong The MSO’s Anna Melville will present a pre-concert talk on the concert’s artists, and the works by Tchaikovsky and Dvorˇák featured in the program. 30 ABOUT THE MUSIC TCHAIKOVSKY’s Pathétique alovega en E © B

Louis Langrée conductor Jian Wang cello French conductor Louis Langrée is Music Director Jian Wang began playing the cello at the age of four. of New York’s Mostly Mozart Festival – a role he While a student at the Conservatory of has held since 2002 – and Chief Conductor of the Music, he featured in the documentary filmFrom Camerata Salzburg. From the 2013/14 season he will Mao to Mozart: in China. With Stern’s also assume the position of Music Director of the support he moved to the United States and in 1985 Cincinnati Symphony Orchestra. entered the Yale School of Music, where he studied under Aldo Parisot. He has conducted such orchestras as the Vienna and London Philharmonic orchestras, Orchestra of His first professional engagement was in 1986 at the Saint Cecilia Academy Rome, Suisse Romande Carnegie Hall, and since then he has embarked on Orchestra, and period ensembles including the a successful career during which he has performed Freiburg Baroque Orchestra and Orchestra of the with many of the world’s leading orchestras and Age of Enlightenment. conductors. He made his BBC Proms debut in 2008 performing three of Bach’s solo Cello Suites, and has His festival appearances have included the BBC also appeared at Aldeburgh, Tanglewood, Verbier and Proms, Wiener Festwochen, Salzburg Mozart Week Mostly Mozart. He has performed for the President and Glyndebourne Festival Opera. of the People’s Republic of China, and at the opening On the opera stage he has conducted at La Scala, seasons of the China Philharmonic, Shanghai Covent Garden, Bastille Opera, Dresden Staatsoper, Symphony and the Macau Symphony Orchestra. Netherlands Opera and Lyric Opera of Chicago, and During the 2012/13 season he will appear as concerto was previously Music Director of Lyon National Opera soloist with, among others, the BBC Symphony (1998–2000) and Glyndebourne Touring Opera Orchestra under Thomas Dausgaard, Radio France (1998–2003). Philharmonic Orchestra with Myung-Whun Chung, Highlights of the 2012/13 season include debuts with MDR Symphony Orchestra Leipzig with Kristjan Järvi, the Berlin Philharmonic, Leipzig Gewandhaus and and the Sydney Symphony with . NHK Symphony in , as well as return visits to Jian Wang’s recordings include the Brahms Double the Orchestre de Paris, Budapest Festival Orchestra Concerto with , and and Netherlands Philharmonic Orchestra. He will the Berlin Philharmonic; Haydn Concertos with also continue his long-term relationships with the the under ; Metropolitan Opera (Dialogues of the Carmelites) Messiaen’s Quartet for the End of Time with Gil Shaham, and the Vienna State Opera (Don Giovanni and and Myung-Whun Chung; Bach’s Cello The Marriage of Figaro). Suites; the CD Reverie with guitarist Göran Söllscher; The most recent addition to his award-winning a Baroque album with the Camerata Salzburg and, discography is a DVD of La traviata recorded with most recently, the Elgar Concerto with the Sydney the London Symphony Orchestra at the 2011 Aix-en- Symphony and Ashkenazy. Provence Festival, which received a Diapason d’Or. In 2006 he was appointed Chevalier des Arts et des Lettres by the French Ministry of Culture.

31 ABOUT THE MUSIC TCHAIKOVSKY’s Pathétique

Writing now for an international Written in 1892, the Carnival ˇ audience, Dvorˇák had major Overture is one of three in a series Antonín Dvorák successes which have kept their originally known as Nature, Life and (1841–1904) place in the repertoire ever Love – the more customary titles In Overture: Carnival, Op.92 since. His Seventh and Eighth Nature’s Realm, Carnival and Othello Symphonies and Symphonic came later. This triptych shows Variations were especially Dvorˇák’s essential Romanticism in associated with England, where his adherence to the cult of Nature he achieved immense popularity, and his delight in celebrating his even with his Stabat Mater and ethnic musical roots. Where the Requiem, works of a devout first piece celebrates the emotions Catholic which conquered of the individual contemplating Protestant-dominated England. nature, the landscape of the Invited to teach in the USA, he Carnival overture is quite definitely composed there his New World populated. The opening suggests ˇ DvoRák with his pigeons Symphony, full of a glowing a rural carnival in full swing and nostalgia for his homeland, and the piece as a whole is dominated Dvorˇák’s career is an inspiring on his return the Cello Concerto by boisterous dance rhythms. reminder that greatness can grow which is, by common consent, the There are, however, reflective from unlikely beginnings. An inn- greatest of all. Dvorˇák confirmed moments. Significantly, after the keeper’s son from the provinces his standing, along with Smetana, first statement of the dance music, of Bohemia, Dvorˇák first followed as the major Czech composer of Dvorˇák inserts one such passage his father’s wish that he should the 19th century. in which the clarinet recalls the train for the butcher’s trade. But theme associated with nature from music won out, and he went to Dvorˇák’s love of the music of In Nature’s Realm. It is as if the quiet Prague, to become an orchestral his great predecessors Mozart, contemplation of nature makes string player and composer. His Beethoven, Schubert and Brahms possible the energy and joy of the first great international success led him to recreate classical forms carnival spirit. introduced the national flavour with a fresh content. Vigorous he would contribute to the world’s liveliness, fresh colours, and folk Adapted from a note by music. The Moravian Duets for inspiration never let us forget that Gordon Kerry he called himself a ‘humble Czech voices attracted the attention Symphony Australia © 2001 of Brahms, who recommended musician’. Dvorˇák to his own publisher. This The Melbourne Symphony Orchestra first David Garrett © 2002 performed the Carnival Overture on was good business: the Slavonic 8 September 1941 with conductor Bernard Dances, in their versions first for Heinze, and most recently on 1 February piano duet, then for orchestra, 2006 under Pietari Inkinen at a Sidney Myer took Europe by storm. Free Concert.

32 ABOUT THE MUSIC TCHAIKOVSKY’s Pathétique

idea of such a work for Wihan. The heard that his sister-in-law Josefina ˇ concerto was sketched between (with whom he had been in love Dvorák 8 November 1894 and New Year’s during their youth) was seriously, Cello Concerto in B minor, Day, and Dvorˇák completed the perhaps mortally ill. Dvorˇák was B.191 Op.104 full score early in February. sketching the slow movement at the time. The outer sections of this I Allegro Much to Dvorˇák’s annoyance, the II Adagio ma non troppo movement are calm and serene, first performance of the concerto III Allegro moderato but Dvorˇák expresses his distress in was not given by its dedicatee, an impassioned gesture that ushers Jian Wang cello Wihan. The London Philharmonic in an emotionally unstable central Society, who premiered it at the section in G minor, based on his Queen’s Hall in March 1896, song Kéž duch muºj sám (Leave me Brahms was impressed. ‘If only I’d mistakenly believed Wihan to alone), which was one of Josefina’s known,’ he said, ‘that one could be unavailable, and engaged favourites. write a cello concerto like that, I’d Leo Stern. Despite Dvorˇák’s have written one long ago!’ And embarrassment, Stern must have Josefina died in the spring of he wasn’t just being polite. Brahms delivered the goods, as Dvorˇák 1895, and Dvorˇák, by this time had recognised Dvorˇák’s talents engaged him for the subsequent back in Bohemia, made significant early on, ensuring that the young New York, Prague and Vienna alterations to the concluding composer received the Austrian premieres of the work. Wihan coda of the third movement, State Stipendium for five years, did, however, perform the work adding some 60 bars of music. and persuading his own publisher, often, and insisted on making The movement begins almost Simrock of Berlin, to publish some ‘improvements’ to Dvorˇák’s ominously, with contrasting lyrical Dvorˇák’s music. score so that the cello part would writing for the soloist. Dvorˇák’s But Brahms’ admiration aside, be more virtuosic. Wihan also additions to the movement, the composition of what Dvorˇák insisted on interpolating a cadenza and his determination not to scholar John Clapham has called in the third movement, which the diffuse its emotional power with simply ‘the greatest of all cello composer vehemently opposed. a cadenza, allowed him, as Battey concertos’ was no easy matter. Simrock was on the point of notes, to revisit ‘not only the first In fact, it was his second attempt publishing the work with Wihan’s movement’s main theme, but also a at the medium – the first, in A amendments, and only a stiff hidden reference to Josefina’s song major, was composed in 1865 (and letter from Dvorˇák persuaded the in the slow movement. Thus, the rediscovered in 1929), but appears publisher to leave out the cadenza. concerto becomes something of a shrine, or memorial.’ only to have been written out in a Despite being an ‘American’ cello and piano score. That Dvorˇák work, the concerto is much more Gordon Kerry left the work unorchestrated a reflection of Dvorˇák’s nostalgia Symphony Australia © 2004 suggests that he was dissatisfied for his native Bohemia, and The first performance of this work by the with this first effort. Despite the perhaps for the composer’s father, Melbourne Symphony Orchestra took place urgings of his friend, the cellist who died in 1894. As scholar on 3 June 1950. Edmund Kurtz was the Hanuš Wihan, Dvorˇák thought no Robert Battey has noted, ‘two soloist with , conducting. The more about writing such a piece characteristic Bohemian traits can Orchestra’s most recent performance was on until many years later. be found throughout the work, a Powercor Regional Tour in October 2011, with soloist Nicholas Bochner and Paul In 1894 Dvorˇák was living in namely pentatonic [‘black note’] Fitzsimon conducting. New York, having accepted the scales and an aaB phrase pattern, invitation of Jeannette Meyer where a melody begins with a Thurber to head the National repeated phrase followed by a two INTERVAL 20 minutes Conservatory of Music that she bar “answer”.’ The work is full of had founded there in 1885. In some of Dvorˇák’s most inspired March 1894, Dvorˇák attended a moments, such as the heroic first performance by Victor Herbert of theme in the first movement, and his Second Cello Concerto. The the complementary melody for Irish-born American composer horn which adds immeasurably to and cellist is now best remembered its Romantic ambience. for the operettas Naughty Marietta, The Bohemian connection Babes in Toyland and Sweethearts, but became even stronger and more his concerto, modelled on Saint- personal when Dvorˇák, working Saëns’ First, made a huge impact on the piece in December 1894, on Dvorˇák, who re-examined the 33 ABOUT THE MUSIC TCHAIKOVSKY’s Pathétique

The original audience for the Sixth and to the otherworldly, dying Symphony was uncomprehending character of the adagio finale. Peter Ilyich and ambivalent. Tchaikovsky Even if the symphony is Tchaikovsky had expected this, writing to his not a suicide note, there is (1840–1893) nephew and the dedicatee, ‘Bob’ a programmatic and semi- Davidov, that he wouldn’t be Symphony No.6 in B minor, autobiographical underpinning surprised if the symphony were Op.74, Pathétique to the symphony that is the source ‘torn to pieces’, even though he I Adagio – Allegro non of its unusual form and turbulent considered it his best and most troppo emotions. Tchaikovsky admitted sincere work. The critic Hermann II Allegro con grazia the existence of a program but was III Allegro molto vivace Laroche suggested that audiences cagey about the details, perhaps IV Finale (Adagio lamentoso – who ‘did not get to the core’ of because it reflected his romantic Andante) the symphony would ‘in the end, feelings for Davidov. The closest we come to love it’. As it turned out, have is a sketched scenario, devised it took them only 12 days. In the originally for an abandoned intervening period its composer symphony in E flat but appearing had died, and for the second to correspond with much of the performance, in a memorial Sixth Symphony: concert, it was promoted with the composer’s subtitle: Pathétique Following is essence of plan for (or Pateticheskaia Simfoniia – a symphony Life! First movement ‘impassioned symphony’ – as – all impulse, confidence, thirst he had conceived it in Russian). for activity. Must be short (Finale The symphony was declared a death – result of collapse). masterpiece. Second movement love; third disappointment; fourth ends with The myth of the-Pathétique-as- a dying away (also short). suicide-note (not to mention Tchaikovsky’s ‘suicide’ itself) has There are aspects of this program been more or less debunked in and the Sixth Symphony that the past two decades. There are suggest suffering, but for no grounds for doubting that Tchaikovsky the composition of Tchaikovsky died from post- the symphony was a cathartic choleric complications; the theory experience rather than an that his old classmates decided expression of current sufferings. in a ‘court of honour’ that he He himself wrote: ‘Anyone who should commit suicide to avoid believes that the creative person is Guest musicians disgrace has been undermined; capable of expressing what he feels for this program and his social, financial and artistic out of a momentary effect aided Rebecca Adler violin situation all speak against any by the means of art is mistaken. Jo Beaumont violin Jacqueline Edwards violin other motivation for suicide, even Melancholy as well as joyous Francesca Hiew violin if he continued to be troubled by feelings can always be expressive Ingrid Homburg violin his homosexuality. only out of the Retrospective.’ Robert John violin Jenny Khafagi violin The Sixth Symphony, specifically, In its art this is Tchaikovsky’s Katherine Lukey violin most innovative symphony. He Matthew Rigby violin seems to have been a source of Kate Sullivan violin immense pride, satisfaction and dares to conclude with a brooding Oksana Thompson violin joy to him. And shortly after its slow movement and uses boldly Danielle Arcaro viola dramatic gestures to give the Simon Oswell viola premiere he’s reported to have said Rachel Atkinson cello ‘I feel I shall live a long time.’ music its emotional impulse. The Oliver Scott cello ‘limping’ elegance of the second- He was wrong. His audience, Rohan Dasika double bass movement waltz would have been Ann Blackburn oboe now in mourning and seeking less surprising, to Russians at least Jack Schiller ‘portents’, immediately heard the guest associate principal – its five-beat metre was a part of Sixth Symphony in a new way. Chloe Turner contrabassoon a tradition that was embraced by Jenna Breen horn New significance was given to the Borodin, Rimsky-Korsakov and Leah Scholes percussion appearance in the first movement Mussorgsky (in his Pictures at an of an Orthodox burial chant, Exhibition), and later Rachmaninov ‘Repose the Soul’ – a hymn sung (in The Isle of the Dead). 34 only when someone has died – ABOUT THE MUSIC TCHAIKOVSKY’s Pathétique

In the Sixth Symphony, Tchaikovsky comes to terms with his professed inadequacies in structural matters. His solution in the first movement was to extend the exposition section, so well suited to his melodic gifts, and to compress the development section in which he felt his skills inadequate. The music begins in the depths with the dark colour of the bassoon and yet somehow Tchaikovsky sustains a downward trajectory, or the impression of one, for the whole work. In the third movement the idea of ‘disappointment’ is replaced by something more malevolent. In purely musical terms it conflates two musical figures – feverish tarantella triplets and a spiky march – but the juxtapositions and incursions into each other’s thematic territory create a disturbing sense of antagonism. Tchaikovsky (left) with his nephew ‘Bob’ Davidov The movement’s applause- provoking conclusion could be triumphant, or it could be the crash of self-delusion. The finale may not fit the formula established by Tchaikovsky’s classical predecessors, but within Yvonne Frindle ©2008 the emotional journey of the symphony its stark sense of tragedy The Melbourne Symphony Orchestra was the provides an inevitable conclusion – first of the former ABC orchestras to perform this symphony, on 19 September 1939. all the more powerful for the grace Bernard Heinze was the conductor. Paul and jauntiness of the preceding Daniel conducted the Orchestra’s most recent movements. performance in October 2009.

35 Friday 28 September at 7.30pm Melbourne Town Hall

Christopher Seaman conductor Øystein Baadsvik tuba Radovan Vlatkovic´ horn

Kodály Peacock Variations Vaughan Williams Tuba Concerto INTERVAL 20 MINUTES Mozart Horn Concerto No.2 Elgar Enigma Variations PRESENTED IN COLLABORATION WITH THE MELBOURNE INTERNATIONAL FESTIVAL OF BRASS

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

The pre-performance recital by Calvin Bowman on the Melbourne Town Hall organ commences at 6.30pm and concludes at 7pm.

36 ABOUTABOUT THE THE ar MUSICtists enigma variations y © Walter Colle

Christopher Seaman conductor Øystein Baadsvik tuba In 2011 Christopher Seaman relinquished his 13- Tuba virtuoso Øystein Baadsvik has established an year tenure as Music Director of the Rochester international career as a soloist performing with Philharmonic Orchestra, the longest in that such orchestras as the Oslo Philharmonic, Suisse orchestra’s history. He has assumed the post of Romande Orchestra, Bergen Philharmonic, National Conductor Laureate. He previously also held Symphony Orchestra of Taiwan and Orchestra the positions of Music Director of the Naples Victoria, among others. Philharmonic Orchestra (Florida), Conductor-in- He studied under Michael Lind, Harvey Phillips and Residence with the Baltimore Symphony, and Artistic Arnold Jacobs (former long-standing Principal Tuba, Advisor of the San Antonio Symphony. Chicago Symphony Orchestra) and his international In addition to his many guest appearances in North career began in 1991 when he was awarded two prizes America and Europe, he has worked regularly with at the Geneva International Music Competition. He the leading UK orchestras and served as Principal made his Carnegie Hall recital debut in 2006 and Conductor of both the BBC Scottish Symphony performs in some of the world’s most prestigious Orchestra and the Northern Sinfonia. venues. This season’s engagements include the Melbourne International Festival of Brass, to which he He frequently conducts the major orchestras in has returned on a regular basis. Australia and Asia, and as long-standing Course Director of the Symphony Australia Conductor His teaching skills are highly sought after by Development program, he devotes several weeks each universities worldwide, and he has been a guest year to teaching and directing training programs for lecturer at more than 40 educational establishments young conductors. in the United States including The Juilliard School, Indiana University and the Cleveland Institute of Committed to encouraging young talent, he has also Music. He is also in demand as a conductor and has enjoyed a long association with the National Youth conducted several major Scandinavian orchestras. Orchestra of Great Britain and the Guildhall School of Music and Drama. He has recorded ten solo albums and works constantly to expand the musical aspects of the His diverse musical interests are reflected in his range tuba, collaborating with jazz and rock musicians of repertoire and he is particularly noted for his in addition to performing solo repertoire for tuba interpretations of early 20th-century English music, and orchestra. His development of new tuba-playing Bruckner, Brahms and Sibelius. He has recorded techniques, which have been used in several recent with the Royal Philharmonic and the Philharmonia works for the instrument, earned him a two-year Orchestra, and his 2012 release with the Rochester scholarship awarded by the Norwegian state. Philharmonic, Vaughan Williams’ A London Symphony His discography includes concertos by Vaughan and Serenade to Music, received critical acclaim. Williams, John Williams and Kalevi Aho (Gramophone Christopher Seaman’s awards include an Honorary Critics’ Choice 2007). Doctorate from the University of Rochester and an ASCAP (American Association of Composers, Authors and Publishers) programming award in recognition of his artistic contribution to the Rochester Philharmonic. 37 ABOUT THE MUSICartists enigma variations

Rotterdam Philharmonic, Academy of St Martin in the Fields, Salzburg Mozarteum Orchestra, and the , Vienna, English and Scottish Chamber orchestras. He made his Australian debut in 1999 with the Melbourne and Adelaide Symphony orchestras. He has given first performances of works by Elliott Carter, Sofia Gubaidulina and , among others, and in 2008 he performed the premiere of Penderecki’s Horn Concerto Winter Journey with the Bremen Philharmonic under the direction of the composer. He has held teaching posts at the Stuttgart Musikhochschule, Salzburg Mozarteum, Queen Sofia School of Music in Madrid and the Zurich Hochschule der Kuenste. He also gives regular Radovan Vlatkovic´ horn masterclasses at the , Juilliard Croatian-born Radovan Vlatkovic´ studied at the and the Tokyo University of the Arts. Zagreb Academy of Music and at the Hochschule From 2000 to 2003 he was Artistic Director of the für Musik Detmold, Germany. He won the Premio September Chamber Music Festival in Maribor, Ancona in 1979 and the ARD Competition in Munich Slovenia, and since 2007 he has been Artist-in- in 1983. Residence with the Giuseppe Verdi Orchestra, Milan. From 1982 to 1990 he served as Principal Horn with Radovan Vlatkovic´ has received the German Music the Deutsches Symphonie-Orchester Berlin, and since Critics’ Prize for several of his discs, the most recent establishing a career as a soloist he has appeared of which is the Penderecki Concerto recorded with with many distinguished orchestras, including the Sinfonietta Cracovia and the composer conducting. Bavarian and Stuttgart Radio Symphony orchestras, BBC Symphony, City of Birmingham Symphony,

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38 Available at ABC Shops, ABC Centres and good music stores. For more information visit www.abcclassics.com ABOUT THE MUSIC enigma variations

Kodály, along with his friend The song ‘Felszállott a páva’ (‘Fly, and colleague Béla Bartók, was a peacock, fly’) was traditionally Zoltán Kodály pioneer in collecting, recording sung to a tune that Kodály (1882–1967) and notating the folk music of believed to be of great antiquity Variations on a Hungarian eastern Europe and beyond. In fact but whose text was bound to be Folksong The Peacock the two first met on a collecting contentious in Europe on the Moderato expedition as they both sought brink of war. Kodály made a choral Var.1: Con brio new sources of melodic inspiration; arrangement of the song, in which Var.2 in the course of collecting they the sight of a peacock in flight Var.3: Più mosso became more acutely aware of the gives heart to a group of prisoners, Var.4: Poco calmato imminent demise of folk music and then used the tune as the Var.5: Appassionato and resolved to preserve as much basis for this work, composed to Var.6: Tempo (calmato) Var.7: Vivo as they could. In 1906 Kodály was celebrate the 50th anniversary Var.8: Più vivo awarded a PhD for his research of the Royal Concertgebouw in Var.9 in that area. Kodály also brought Amsterdam in 1939. The ‘Peacock Var.10 : Molto vivo his considerable intellect to bear Variations’ were, predictably, Va r.11: Andante espressivo on the theory of music education, banned in Hungary for the Var.12: Adagio believing that it was the duty of all duration of World War II. Var.13: Tempo de Marcia schools to expose young children funèbre The 25-minute work, consisting to the ‘life-giving stream of good Var.14: Andante, poco rubato of an introduction and finale that Var.15: Allegro giocoso music’ and devising a method bookend 16 short variations, is Var.16: Maestoso of teaching in use world-wide. a tour de force of orchestration, Finale: Vivace Kodály was no less committed as a an almost cinematic celebration composer, using the resources of of the Hungarian people and folk music and Gregorian chant landscapes; Kodály had studied to produce work that is beautiful, the music of Debussy and well-crafted and integrated. , among others, Though he was inevitably eclipsed and had developed a brilliant by Bartók, there was no rancour on orchestral technique. The largely either side, and the two remained pentatonic tune leads to musical close friends and colleagues. treatments that at times recall In 1927, Kodály had established the music of Vaughan Williams the publication Hungarian Musical in Britain, and the orchestral Essays to document research palette encompasses stirring dance in folk music, and a decade rhythms, fanfares, elaborate bird- later produced his monograph song for woodwind soloists and BARTÓK AND KODÁLY Hungarian Folk Music. The same passages of pensive introspection, period saw his emergence as a especially in the funeral march Guest musicians major composer, beginning with of variation 13. Despite the for this program the ‘Singspiel’ Háry János in 1926 simplicity of the musical material, Rebecca Adler violin and continuing through a series Kodály’s harmony is sometimes Zoe Friesberg violin Edwina George violin of substantial orchestral works uncompromisingly astringent, a Francesca Hiew violin inspired by the Hungarian music reminder that those observing Jenny Khafagi violin he so loved. But, like Bartók, the peacock’s flight were not Katherine Lukey violin Kodály was appalled by the rise of themselves free. Lachlan O’Donnell violin fascism in Europe generally and Oksana Thompson violin Gordon Kerry © 2012 Oliver Scott cello Hungary in particular, and in 1938 Ann Blackburn oboe joined his friend in protesting The Melbourne Symphony Orchestra first Jodie Upton clarinet against the state’s growing performed this work on 5 May 1959 under Jack Schiller conductor Kurt Woess, and most recently at guest associate principal bassoon obsession with racial ‘purity’. a Sidney Myer Free Concert on 17 February Chloe Turner contrabassoon Unlike Bartók, however, Kodály Jenna Breen horn 1996, with conductor Michael Halász. Calvin Bowman organ remained in Hungary during the war and after.

39 ABOUT THE MUSIC enigma variations

Like Verdi before him, the more instruments. Vaughan Williams Vaughan Williams aged, the more likened the Concerto more to Ralph Vaughan ‘experimental’ he became in his those of his revered Bach than Williams music. The works which the great to Mozart’s or Beethoven’s (1872–1958) English composer completed in conceptions of the concerto Tuba Concerto in F minor his 70s and 80s began to explore form, and noted: ‘The music is new horizons of sound, both in fairly simple and can probably be I Allegro moderato terms of their aesthetics – witness listened to without much previous II Romanza: Andante sostenuto the bleak final movement of the explanation.’ Sixth Symphony for instance, and III Finale: Rondo alla tedesca Certainly it is a brief concerto the strange and eerie sound-world Øystein Baadsvik tuba in Baroque style, beginning and of the Sinfonia Antarctica – and in ending with cadenzas for the terms of their orchestration. soloist and never overstaying its Perhaps with a similar intention, welcome. The opening movement this Tuba Concerto, like the is a spirited Allegro moderato in Romance for Harmonica, Strings which the soloist displays the and Piano which preceded it, was deceptive agility of the bass tuba. written for an instrument which The Romanza is an example of rarely enjoys the opportunity Vaughan Williams at his lyrical to shine within an orchestral best. If the heading is reminiscent setting. It was composed in 1954 of the slow movement of the Fifth and first performed in that Symphony, the main theme itself year by Philip Catelinet and the is typical of those sublime, lilting London Symphony Orchestra melodies which had been part of as part of that Orchestra’s so many of the composer’s works 50th birthday celebrations. In for five decades before. The final it, the octogenarian Vaughan movement then begins with an Williams was able to explore the ‘alarm-call’, as if to wake the music surprisingly diverse expressive from its peaceful slumbers. range of the solo instrument. © Martin Buzacott While the outer movements The Melbourne Symphony Orchestra has of the concerto provide ample performed this concerto in its entirety on only opportunity to display comic one previous occasion: on 16 December 1962, elements, the characteristically with conductor Clive Douglas and soloist labelled Romanza central Ian King. movement demonstrates the extraordinary lyrical capability of this most underrated of brass INTERVAL 20 minutes

see the film and hear Howard shore’s award-winning 4 October at 7pm, 5 October at 7pm score performed live on stage by the Melbourne 6 October at 7pm [NEW CONCERT] symphony orchestra and Chorus. Arts Centre Melbourne, Hamer Hall

Proudly BOOK NOW suPPorted by 3rd concert announced 1300 182 183 or visit artscentremelbourne.com.au due to popular demand or mso.com.au 40 JOY SELBY SMITH ORCHESTRAL LEADERSHIP CHAIR

Announcing the Joy Selby Smith Orchestral Leadership Chair

At the heart of all performing With a range of in-depth workshops, activities and individual coaching, companies is a strong group this program is designed to enhance the leadership skills of Section of individual artists, and Principals – skills which are vital to successfully lead a talented, dynamic the Melbourne Symphony and diverse group of individuals. Through the Leadership Program, the Orchestra is no exception. MSO aims to be the best possible orchestra for its audiences. As professionals at the top “I have had a long connection with music and it has become a central of their game, its musicians part of my life. For me, symphonic music in particular, is life-enhancing. create a flawless team, It delights, it challenges, it consoles. It temporarily removes us from harnessing the power of our day to day concerns and arouses our emotions. It gives order to our every individual’s potential to human experience,” said Joy. take their passion for music “I am passionate about live performance and identify strongly with my further, with every rehearsal, home orchestra – the MSO. I am interested in how they go about their every performance. business. I know from listening to orchestras around the world that the Now, through the foresight MSO is good and I come home from many concerts feeling uplifted. I and generous support of want the MSO to achieve even greater heights, and by supporting the Joy Selby Smith, the MSO MSO Leadership Program I am confident that I can make a sound social has introduced a unique investment in my passion.” Orchestral Leadership The Joy Selby Smith Orchestral Leadership Chair recognises Joy’s Program focussed on what it inspirational pledge of support for this landmark artist development takes to make this team. program, which is being implemented progressively from 2012. This first stage has seen percussion, string, woodwind and brass Section Principals taking part in a structured training program facilitated by Dr Tim Baker, Director of Winners At Work. “An orchestra’s Section Principals are crucial on-stage leaders – they not only need to deliver an amazing performance themselves; they inspire and provide artistic direction, motivating every member of their section to deliver their best. We are delighted that Joy’s gift, and her commitment, is enhancing the MSO’s abilities in this specialised direction”, said Cameron Mowat, the MSO’s Director of Development.

Participants in the MSO’s Orchestral Leadership Program taking a break with Joy Selby Smith during rehearsal: L–R Steve Reeves, Principal Double Bass; Joy Selby Smith; Brett Kelly, Principal 41 Trombone; Matthew Tomkins, Principal Second Violin ABOUT THE MUSIC enigma variations

The early months of 1783 were The composer constantly abused particularly happy ones for Mozart. his friend: one day when Leutgeb Wolfgang He had established his credentials called in to see how a piece was Amadeus Mozart as an opera composer with going, Mozart scattered sheets (1756–1791) Die Entführing aus dem Serail (The of the manuscript all over the Horn Concerto No.2 in E flat Abduction from the Seraglio), he floor and insisted that the poor major, K.417 had a number of piano students horn player put them in order and he very astutely carved a again. Often Leutgeb would find I Allegro maestoso II Andante niche for himself as a composer ‘messages’ scrawled on his music III Rondo and performer of brilliant piano by the composer: ‘Go it, Signor concertos. These were the mainstay Asino’ [little ass] – ‘Take a little Radovan Vlatkovic´ horn of his career and income from late breath’ – ‘Wretched pig’ – ‘Thank 1782 to 1786. He had been married God, here’s the end.’ And Mozart’s the previous year, and as he wrote: dedication of the Horn Concerto, K.417, notes that he ‘has taken pity My whole company consists of my on Leutgeb, ox, ass and fool, at little wife who is pregnant, and hers Vienna, 27 March l783...’ consists of her little husband, who is not pregnant, but fat and flourishing. The work as we know it is generally performed from a published The Mozarts’ first child, Raimund edition made by Johann André in Leopold, was born in June. 1802 (perhaps owing to Mozart’s Composers’ states of mind habit of throwing manuscripts don’t necessarily have a direct around, parts of the autograph connection with the music score are lost). It seems in fact that they produce. With the Horn André himself had an incomplete Concerto, K.417, however, it is score to work with; the published tempting to see Mozart’s general edition, for instance, leaves no contentment reflected in his work. opportunity for the soloist to As Maynard Solomon notes, this improvise a cadenza. Recently, work, among others, displays scholars such as John Humphries ‘beauties that are celebrations of have attempted to reconstruct sheer joy, expressions of mirth more faithfully the original score. that revel in the pleasures of The concerto is in the standard creation, that deliberately eschew three movements: a spacious first conflict, that are embodiments movement, an aria-like Andante of grace, decorum and other and a hunt-inspired Rondo finale. ‘classical’ v irtues’. Gordon Kerry © 2005 With friends like Mozart, This is the first performance of Mozart’s Horn maybe you can’t blame Joseph Concerto No.2 by the Melbourne Symphony Leutgeb for giving up a full- Orchestra. time career as a horn player and opening a cheese shop. Leutgeb and Mozart knew each other from Salzburg days, when Leutgeb played in the Archbishop’s orchestra, and he moved to Vienna around the time that Mozart established himself there.

42 ABOUT THE MUSIC enigma variations

In middle-age, Variation 1, which simply found himself in his native elaborates the main violin Edward Elgar Malvern region, eking out a theme with prominent wind (1857–1934) living as a humble rural music playing, depicts Elgar’s wife, Variations on an Original teacher. He took in students, made Caroline Alice. The second Theme, Op.36 Enigma instrumental arrangements, gave variation brings the first hint of I (C.A.E.) – Caroline Alice an occasional performance and actual imitation. Pianist H.D. Elgar, the composer’s wife continually threatened to give away Steuart-Powell was one of Elgar’s II (H.D.S.-P) – Hew David music altogether. chamber music collaborators, Steuart-Powell, pianist in who characteristically played a But one evening in October 1898 Elgar’s trio diatonic run over the keyboard as III (R.B.T.) – Richard Baxter Elgar began to doodle away at a warm-up. Variation 3 depicts the Townshend, author the piano. Chancing upon a brief ham actor R.B. Townshend, whose IV ( W.M.B.) – William Meath theme that pleased him, he started drastic variation in vocal pitch is Baker, nicknamed ‘the imagining his friends confronting Squire’ mocked here. the same theme, commenting to V (C.A.E.) – Caroline Alice Elgar, the composer’s wife his wife, ‘This is how so-and-so The Cotswold squire W. Meath VI (Ysobel) – Isabel Fitton, would have done it.’ Or he would Baker is the subject of Variation 4 viola player try to catch another friend’s while the mixture of seriousness VII (Troyte) – Arthur Troyte character in a variation. This and wit displayed by the poet Griffith, architect harmless bit of fun grew into one Matthew Arnold’s son Richard is VIII (W.N.) – Winifred Norbury of England’s greatest orchestral captured in the fifth variation. IX (Nimrod) – August Johannes Jaeger, reader for the masterpieces, Elgar’s Variations on The next two variations parody the publisher Novello & Co an Original Theme. technical inadequacies of Elgar’s X (Dorabella) Intermezzo chamber music acquaintances. Where the word ‘Theme’ should – Dora Penny, later Mrs Violist Isabel Fitton (Variation 6) have appeared in the score, Richard Powell had trouble performing music XI (G.R.S.) – Dr G.R. Sinclair, however, Elgar wrote ‘Enigma’. where the strings had to be crossed organist of Hereford He stated that the theme was a while Arthur Troyte Griffith Cathedral variation on a well-known tune, (Variation 7) was a pianist whose XII (B.G.N.) – Basil G. Nevinson, which he refused to identify. It’s a cellist in Elgar’s trio vigorous style sounded more conundrum which has occupied XIII (***) Romanza – Lady Mary like drumming! Poor Winifred concertgoers and scholars Lygon, later Trefusis Norbury is actually represented in XIV (E.D.U.) Finale – Elgar alike ever since. Elgar himself Variation 8 by a musical depiction himself (‘Edu’ being his rejected suggestions of God Save of her country house, ‘Sherridge.’ nickname) the King and Auld Lang Syne. Other suggestions have included The most famous variation of Rule, Britannia!, an extract from course is Nimrod (No.9). Nimrod Wagner’s Parsifal, and even Ta-ra- (the ‘mighty hunter before the ra-boom-de-ay. Another suggestion Lord’ of Genesis chapter 10) is that it’s a simple scale, while was Elgar’s publisher A.J. Jaeger Michael Kennedy has proposed (German for ‘hunter’). Apparently that the unheard theme could be the idea for this particular Elgar himself, with the famous variation came when Elgar was two-quaver two-crotchet motif on going through one of his regular which the entire work is based slumps. Jaeger took Elgar on a capturing the natural speech long walk during which he said rhythm of the name ‘Edward that whenever Beethoven was Elgar’. Elgar went to his grave troubled by the turbulent life of a without revealing the truth and creative artist, he simply poured no one has come up with the his frustrations into still more definitive answer. beautiful compositions. In memory of that conversation, Elgar made The second enigma was the those opening bars of Nimrod identity of the characters depicted quote the slow movement from within each variation, who were Beethoven’s Pathétique Sonata. identified at first only by their initials in the score. This enigma has proved much easier to solve. 43 ABOUT THE MUSIC enigma variations

Variation 10 depicts a young

woman called Dora Penny, whose Arts &

soubriquet ‘Dorabella’ comes c from Mozart’s Così fan tutte. And t Musit

then Variation 11 goes beyond h c

the human species, depicting the re eb organist G.R Sinclair’s bulldog L ion/

Dan, falling down the steep t bank of the River Wye, paddling c upstream, coming to land and then barking. ynolds Colle ynolds

The cello features prominently in e Variation 12 – a tribute to cellist R Basil Nevinson. Mendelssohn’s

Calm Sea and Prosperous Voyage Arthur © is quoted in Variation 13, said to depict Lady Mary Lygon’s departure by ship to Australia. Finally we hear ‘E.D.U.’ where the composer depicts himself (his wife’s nickname for him was Elgar outside Lincoln Cathedral The faces of Variations 8 to 13 in 1910. Edoo) cocking a snook at all those who said he’d never make it as a The MSO was the first of the former ABC composer. orchestras to perform Elgar’s Enigma Abridged from an annotation by Variations, on 29 September 1938, under conductor Malcolm Sargent. The Orchestra Martin Buzacott © 2000 most recently performed the work in November 2007, as part of the final concert given in Australia by Sir .

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ELGARIAN/EDWARDIAN

Phillip Sametz examines It is a fact that Elgar was most really so serene, so self-assured for the age in which Elgar active as a composer in the years those who lived through it? we now call Edwardian. He had composed his masterpieces. ‘A phenomenon of such extended his first outstanding public success malignance as The Great War does with the Enigma Variations in not come out of a Golden Age,’ He gazes serenely across the 1899, and produced an almost wrote historian Barbara Tuchman photograph, nattily attired, his continuous flow of music until, of the years between 1890 and 1914. white moustache beautifully with Falstaff (1913), he seemed to It is an age near to us in time yet so groomed, eyes warm and kindly. slow down for good. There are distant in customs and morality as He might be a landed country some wartime pieces, and that to seem impossibly remote. gentleman or a retired colonel. late, small group of masterworks, If we let our minds wander for a which includes his chamber music Great Britain was a land of great moment, we might hear in our and the palpably valedictory social inequality. In 1895, out heads the trio tune from the first Cello Concerto (1919), and of a population of more than Pomp and Circumstance march, the then, in large part, silence. Most 44 million, 115 people in Great tune that became famous around of his best-known works – the Britain owned more than 50,000 the world as Land of Hope and Glory, two symphonies, the Violin acres each; many of the tenant or the ‘Nimrod’ episode from the Concerto, , farmers who worked for wealthy Enigma Variations. the Introduction and Allegro for landowners could end their days in strings, Cockaigne and In the South the workhouse if their employers We might think also that in were created either shortly before chose not to provide for them. demeanour and musical stature the death of Queen Victoria or in At London’s Savoy Hotel (and we have, in Elgar, the perfect the reign of her son, Edward VII. later at the Carlton), the rich picture of the Edwardian age – and privileged ate Escoffier’s resplendent, patrician, untroubled, It is not so surprising, then, that grand culinary creations. At the too proudly triumphant, self- the Elgar of popular imagination same time, the huge population satisfied in a way that makes is a celebrator of imperial ways growth in the cities was creating us, early in the next century, and manners, a writer of great a new class of urban poor. In the uncomfortable and a little symphonic marches or hymns to confusion and disappointment embarrassed. the glory of England. Yet is this which followed the Boer War, the really the sum of his achievement? government was shocked by the Indeed, was the Edwardian era Army’s announcement that 60 per

45 ABOUT THE MUSICartists enigma variations

cent of Englishmen were physically this, for the first time, Labour sat politician and author C.F.G. unfit for service. Slum conditions as an independent party in the Masterman wrote: were not much better than they House of Commons. The large hopes and dreams of the Early had been a generation before; The increasing economic and Victorian time have vanished: never, infant mortality rates among the military strength of Germany led at least in the immediate future, to poor were worse in 1900 than they to fears of an invasion. A war with return. The science which was to allay had been in 1850. Germany on British soil was the all diseases, the commerce which was to The British race was held by leading subject of pamphlets, novels and abolish war, and weave all nations into politicians and clergymen to be in a plays throughout the period. The one human family, the research which state of decline. This was not simply Scouting movement was formed was to establish ethics and religion a question of living conditions and partly out of the fear engendered on a secure and positive foundation, physical health. In the first years of by the prospect of a strong, the invention which was to enable all the last century other inequalities disciplined German attack on a humanity, with a few hours of not created many of the social tensions weak, decadent race of Britons. disagreeable work every day, to live which began to unseat the British The tabloid press fanned the for the remainder of their time in ease establishment from the position fears further. Popular newspapers and sunshine – all these have become of supreme moral comfort it had were, in any case, changing the recognised as remote and fairy visions. enjoyed in the last quarter of the political process irrevocably with Masterman’s position is doubly 19th century. their shrillness. The population unsettling – he was not writing was more literate and could be The cry of ‘votes for women’ was from a purely theoretical position, mobilised more swiftly than in heard, with increasing militancy but, virtually, as an elected earlier generations. The ha’penny as the decade progressed; the pessimist: he was a government Daily Mail sold in numbers ten women’s suffrage movement MP. In fact the election of times greater than The Times. seemed to catch in its path the Liberals in 1906 seemed a whole range of issues that Only a few years after the opulent confirmation that a new era had threatened to change the confidence of Victoria’s Golden begun. Confused by the speed and fabric of society: divorce law Jubilee in 1897, the mood of the diversity of societal change, they reform, contraception and even country turned to one of doubt found it just as difficult to grapple socialism. ‘Socialism’ had been and insecurity. Kipling had with the complexities of the day as a term whispered with dread sounded one kind of warning bell the Tories did before them. by the aristocracy in the 1890s, in his fierce poemThe Islanders If Elgar is no serene patrician and now the utopian socialists, (1902), and a slower one tolled in his music, neither does he H.G. Wells among them, were as the triumphant Darwinism purposefully mirror the troubled arguing that the family was a which had governed establishment tenor of this times. Politically, he form of capitalistic ownership. Of thinking came to seem inadequate was conservative and a believer in more immediate effect was the for the problems of the new age. In the philosophy of the Empire. He socialists’ arrival in parliament, in his book The Condition of England was on cordial terms with the King, force, in the 1906 elections. After (1909) the prominent Liberal

46 ABOUT THE MUSIC enigma variations

who greatly admired his music. little, I ask for nothing.’ Elgar was The startling quality of Elgar’s But Elgar was not, as yet, a grand not a simple man. music to his contemporaries, public figure, would never hold and the one that made it seem so For all his self-obsession, Elgar’s a major academic post and never original in Continental Europe, personal dilemmas do somehow took pupils. He was largely self- was its frank emotionalism. In spread their wings over the period taught as a composer, and always 1957, on the centenary of the in which he wrote his music, and regarded the academic musical composer’s birth, musicologist J.A. capture for us now some of the establishment with distrust. Westrup wrote that Elgar offered contradictions of his age in a way English listeners ‘an opportunity As an artist he was essentially a that the more complacent music to escape from our inherited Romantic outsider, an insecure, of his respected contemporary inhibitions’. But then, the era in inward-looking man who relied on Stanford cannot. which Elgar was most productive the comfort of others – specifically For example, it is hard to imagine was one of unusual public drama. his beloved wife Alice and a small any of his fellow British composers The combined effects of Elgar’s circle of friends – to reassure him writing so original, compact, own inner tensions with those of his worth. He constantly worried grand-gestured, shapely and of the age he lived through have over the usefulness of his music, emotionally panoramic a work as given us music that can still carry and, despite his political leanings, the Introduction and Allegro for enormous emotional power. resented the time he spent on strings. The Symphony No.2, which many of his patriotic commissions. It does so, however, with an obvious opens in a mood of almost feverish Of his music for the masque The love of opulent orchestration and joy, constantly sets off depth Crown of India (1911–12) he wrote memorable tunes, so that a first charges of the most destabilising to a friend: ‘When I write a big hearing can confirm the suspicion kind. Is there a passage in any serious work, e.g. Gerontius, we that his ideas are presented in too Western art music of the time at have had to starve and go without glamorous a fashion for our taste. once so beautiful and sinister as fires for 12 months as a reward: But if anything, Elgar is a doubter the one which arrives stealthily, this small effort allows me to buy in a new century and, therefore, high on the cellos, in the middle of scientific works I have longed for.’ one of our number. the first movement, a section Elgar Yet he also carried a sense of duty described as depicting ‘a sort of © Phillip Sametz for the generations who were yet to malign influence wandering thro’ hear his music. ‘Even the highest the summer night in the garden.’ ecstasy of “making” is mixed with When The Dream of Gerontius was the consciousness of the sombre new (1900), it shocked many dignity of the eternity of the artist’s people by its essential intimacy, responsibility,’ he wrote. One of his by its vivid depiction of pain and favourite quotations concerning spiritual doubt. Yet its linear the artist’s role in society was from narrative, its sense of urgency and Tasso: ‘I long for much, I hope for human sympathy, have made it one of Elgar’s most enduring works.

Celebrate the 50th anniversary of the iconic winner of 10 Oscars® as the MSO plays Bernstein’s score live with the re-mastered film (featuring Jerome Robbins’ choreography, Arthur Laurents’ book and Stephen Sondheim’s lyrics) shown in hi-def with original vocals and dialog intact. 20 October at 7pm, 21 October at 2pm Arts Centre Melbourne, Hamer Hall Proudly Presented by BOOK NOW Benjamin Northey 1300 182 183 or visit artscentremelbourne.com.au Conductor or mso.com.au

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