LAUNCESTON 1 1 & MATINEE ART IS HOW WE THURSDAY SATURDAY DECORATE SPACE. 26 February 7.30pm 28 February 2.30pm Princess Theatre Federation Concert Hall MUSIC IS HOW WE DECORATE Marko Letonja conductor INTERVAL Sue-Ellen Paulsen cello TIME. Duration 20 mins RAVEL Le tombeau de Couperin KAY Prélude Moonlight Ridge Forlane Duration 9 mins Menuet Rigaudon GRIEG Duration 18 mins Symphonic Dances Allegro moderato e marcato TCHAIKOVSKY Allegretto grazioso Variations on a Rococo Theme Allegro giocoso Introduction (Moderato quasi andante) Andante – Allegro risoluto Theme (Moderato semplice) Duration 30 mins Variation I (Tempo della thema) Variation II (Tempo della thema) The Launceston concert will end at Variation III (Andante sostenuto) approximately 9.30pm; the Hobart Variation IV (Andante grazioso) concert at approximately 4.30pm. Variation V (Allegro moderato) Variation VI (Andante) Variation VII and Coda (Allegro vivo) Duration 20 mins

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UTMC14622_125 year TSO partnership_A5_V4_CC.indd 1 22/01/15 1:03 PM Maurice Ravel (1875-1937)

Le tombeau de Couperin the muted gracefulness of the music Prélude suggests serenity, even resignation, rather than melancholy. Forlane Menuet Pianist Marguerite Long gave the first performance in 1919 and, shortly after, Rigaudon Marko Letonja Sue-Ellen Paulsen Ravel orchestrated four of the movements In Le tombeau de Couperin Ravel takes us – Prélude, Forlane, Menuet and Rigaudon back to the 18th century. The music isn’t a – omitting the Fugue and the pianistic Marko Letonja is Chief Conductor Sue-Ellen Paulsen studied at the pastiche but, rather, an anachronistic tribute Toccata that had concluded the original that proclaims Ravel’s affinity with the suite. The scoring is light – pairs of winds and Artistic Director of the Tasmanian Queensland Conservatorium of Music French baroque masters in his conception (including piccolo and cor anglais), Symphony Orchestra, and Music Director where she had lessons with Richard of music as diversion, his taste for “artifice”, two horns, trumpet, harp and strings – of the Orchestre Philharmonique de Dedecius. As an undergraduate she and his preference for emotionally preserving the translucence, simplicity and Strasbourg. Born in Slovenia, he studied at appeared as soloist with the Queensland disengaged dance forms. restrained mood of the original. the Academy of Music in Ljubljana and the Symphony Orchestra, Queensland Ravel began work on Le tombeau de Ravel makes much of the contrast between woodwinds and strings, often passing Vienna Academy of Music. He was Music Conservatorium Orchestra and Queensland Couperin – which was originally written for the melodies between the two sections, Director of the Slovenian Philharmonic piano – towards the end of 1914 but set it Youth Orchestra. In 1980 she won the but the winds are given prominence from Orchestra from 1991 to 2003 and Music aside as World War I intensified. It was not ABC Concerto Competition (now the until 1917 that he brought it to completion. the very beginning, with a breathless Director and Chief Conductor of both the Young Performers Award) and was Ravel’s last work for solo piano, each succession of rapidly articulated notes for the oboe. The orchestration takes Symphony Orchestra and the Opera in awarded a scholarship enabling her to movements is dedicated to the memory of Basel from 2003 to 2006. He was Principal a friend who had died in the war. The work’s advantage, too, of the enhanced pursue postgraduate study in Vienna capabilities of Erard’s double-action harp, Guest Conductor of Orchestra in musical tribute is cast more broadly: “…not with André Navarra. Her professional so much,” said Ravel, “to Couperin himself and the feeling of perpetual motion in the 2008 and made his debut with the TSO career began in Armidale with the New [i.e. François Couperin (1668–1733)] as to Prélude is brought to a close with ravishing the following year. He took up the post trills swept up in a harp glissando. The England String Quartet. She assumed 18th-century French music in general.” of Chief Conductor and Artistic Director trumpet (reserved for subtle effect in her current position with the Tasmanian Ravel prepared for the composition of of the Tasmanian Symphony Orchestra Ravel’s orchestration) adds brilliance to the Symphony Orchestra in 1986. Since then Le tombeau by transcribing a forlane from exuberant opening of the final movement at the start of 2012. Marko Letonja has Couperin’s Concerts royaux. The buoyant she has been guest principal with the (a vigorous Provençal Rigaudon), balancing worked with many orchestras in Europe rhythms and refrain structure of Ravel’s the prominence of woodwind and strings Sydney Symphony, Adelaide Symphony including the Munich Philharmonic, Vienna Forlane, the second movement, reveal in the preceding movements. Thus and Australian Chamber Orchestra. An their origins in the vigorous 16th-century Symphony and the Orchestra Filarmonica transformed, Le tombeau de Couperin experienced soloist, she has performed Italian dance as heard through 18th-century has been claimed by many to surpass the della Scala, Milan; and in many renowned French ears. But the melody and acid concertos by Shostakovich, Walton, Mills original in its ingenuity and variety – a opera houses, such as the Vienna State harmonies are all Ravel’s. Similarly, the tribute also to its composer’s infallible ear and Ligeti among many others and is Opera, State Opera, La Scala, Milan, following movement, Menuet, is more like for instrumental colour. featured as soloist on several of the TSO’s Ravel’s own Menuet antique (1895) than and the Semper Oper, Dresden. He has Abridged from a note by Yvonne Frindle Australian Composer Series CDs. A strong any by Couperin, for all the antique mood also conducted at the Arena di Verona. His established by its modal harmonies and ©1999/2012 engagements in Australia have included advocate for contemporary music, she has classically balanced phrases. the West Australian Symphony Orchestra commissioned and premièred many new The Tasmanian Symphony Orchestra first It was the concept of the French Baroque performed this work with conductor Kenneth and productions for Australian works including one written suite – each dance with its specified Murison Bourn in Hobart on 22 August 1961 and, especially for her by Andrew Ford. She has character and set tempo – rather than its most recently, with Sebastian Lang-Lessing in and the West Australian Opera. Future Hobart and Sydney on 11 and 14 October 2010. engagements include the Grand Théâtre de recently recorded the Schumann piano musical style that emerged in Le tombeau. And the apparent contradiction of a suite of Genève, Mozarteum Orchestra, Salzburg, trios with the Kingfisher Trio (ABC Classics). dances dedicated to the memory of fallen Berlin Radio Orchestra and a return She is lecturer in cello at the Tasmanian comrades is perfectly resolved, although appearance at the Vienna State Opera. Conservatorium of Music.

4 5 (1840-1893) DON KAY (born 1933)

Variations on a Rococo Theme, Op 33 But by the time Jurgenson came to publish Moonlight Ridge Introduction (Moderato quasi andante) the Rococo Variations in orchestral form, Born in the northwest Tasmanian town of Theme (Moderato semplice) the Fitzenhagen ‘edition’ had entered Smithton, Don Kay studied music at the the repertoire. When Fitzenhagen’s pupil, Variation I (Tempo della thema) University of and subsequently Anatoly Brandukov, asked Tchaikovsky what took private lessons in London with Variation II (Tempo della thema) he was going to do about Jurgenson’s expatriate Australian composer Malcolm Variation III (Andante sostenuto) publication of the Fitzenhagen version, the Williamson. He returned to Tasmania in Variation IV (Andante grazioso) composer replied, ‘The devil take it! Let it 1964 where he has remained ever since, stand as it is!’ lecturing at the Conservatorium of Music Variation V (Allegro moderato) at the University of Tasmania. The theme, which determines the character Variation VI (Andante) of the variations, is Tchaikovsky’s own. It Tasmania has been a potent force in Variation VII and Coda (Allegro vivo) has an orchestral postlude, with a final his music, as revealed in the titles of a question from the cello. This, increasingly number of his works, such as Hastings A nostalgia for the world of the 18th varied, rounds off most of the variations. Bay (1986), Tasmania Symphony – The DON KAY century, thought of as refined, elegant and The first two of these are fairly closely Legend of Moinee (1988) and The Edge gently civilised, is never far from the surface based on the theme. These are followed by of Remoteness (1996). Among his other in the highly Romantic art of Tchaikovsky, a leisurely slow waltz, the expressive heart works are six piano sonatas, a sonata for As a prizewinner at an international and it was Mozart who symbolised for of the variations. In Variation IV Tchaikovsky violin and piano, and a full-length opera, composers’ competition in Louisiana in him the best of the former century. gives the theme a different rhythm and The Bushranger’s Lover (libretto by 1997, it was performed by the Louisiana Whatever the term ‘rococo’ may mean, to incorporates some bravura flourishes. In John Honey), which was given a concert Sinfonietta in September of that year. As Tchaikovsky it meant Mozart. This set of the fifth variation the flute has the theme, performance in Hobart in November 2014. a token of thanks for that performance, I variations is his finest tribute to his idol’s but the cello solo has its most substantial Don Kay was appointed a Member of the composed another work for strings, Bush art. Charming, elegant and deftly written, cadenza at the end of this variation which Order of Australia in 1991 “for service Tapestry, to follow Moonlight Ridge and the Rococo Variations are gratifying to leads into the soulful slow variation, number to the arts particularly in the field of make up the work I now call Two Views from cellists and to audiences. The light and airy six. It was this variation that, without fail, music composition” and was awarded a Hastings. accompaniment, which enables the cello drew stormy applause on Fitzenhagen’s Centenary Medal in 2001 “for outstanding to stand out beautifully, is for 18th-century contribution to music, music education and recital tours. The final variation begins with This is the first performance of this work by the forces: double winds, two horns and strings. the solo part establishing its own particular composing in Tasmania”. In 2010 he was awarded the Clive Lord Memorial Medal by Tasmanian Symphony Orchestra. Tchaikovsky composed the work in 1876 for rhythmic interpretation of the theme, a the Royal Society of Tasmania. a cellist and fellow-professor at the Moscow delightful way of upping the activity, which Conservatorium, Wilhelm Fitzenhagen. continues into the coda. The composer writes: Fitzenhagen had requested a concerto-like Abridged from a note by David Garrett © 2007 Moonlight Ridge is located in the far south piece for his recital tours, so Tchaikovsky of Tasmania and can be seen, often snow- first completed the Variations in a scoring The Tasmanian Symphony Orchestra first capped, in the far distance from the hill side for cello and piano. Before orchestrating performed this work with conductor Thomas of Hastings Bay. The very name conjures up it he gave the music to Fitzenhagen, who Mayer and soloist Christian Wojtowicz in Hobart a sense of mystery and obscure romance. I made changes in the solo part, in places on 25 March 1972 and, most recently, with Marko imagined the moonlit image of the snow- Letonja and Sue-Ellen Paulsen in Burnie, Zeehan covered ridge gleaming in the distance pasting his own versions over Tchaikovsky’s. and Tarraleah on 6, 7 and 8 November 2014. The first performance was of the orchestral across the dark, still waters of Hastings Bay. version, in November 1877. Tchaikovsky I also tried to suggest the presence of the couldn’t attend since he had left Russia ancient spirits of times long gone in this to recover from his disastrous marriage. remote area. Fitzenhagen retained the score, and it Moonlight Ridge was commissioned by was he who passed it on to the publisher, Virtuosi Tasmania in 1994 and performed Jurgenson. The cello and piano version by them as a string quintet (string quartet was the first to appear in print, in autumn and bass) shortly after. It was also broadcast 1878, with substantial alterations which for a Sunday Live concert on the ABC Fitzenhagen claimed were authorised by the same ensemble at the Tasmanian but about which Tchaikovsky complained Conservatorium recital hall. somewhat bitterly.

6 7 Edvard Grieg (1843-1907)

Symphonic Dances, Op 64 serene mood with a bucolic oboe solo that Allegro moderato e marcato passes the folk-based melody to the upper strings. A much more lively central section Allegretto grazioso follows, linked thematically to the pastoral Allegro giocoso opening material, which then returns to Andante – Allegro risoluto close the movement. The Allegro giocoso third movement is Grieg began writing his Symphonic Dances a kind of scherzo. In triple metre, it is in 1896, scoring them at first for two pianos, based on a dance called the springar, but soon transforming them into this tour which, despite local variations, existed as de force of colour and clarity that was a popular couples’ dance across Norway. his goal when scoring for orchestra. The Grieg begins with a mock-heroic fanfare composer was by this time enjoying great before giving the tune to solo winds, with TSO Chorister international prestige – in 1898, the year interrupted occasionally by a pompous the orchestral score was published, Grieg blast from the orchestral tutti. Like the first conducted the Amsterdam Concertgebouw Q&A two movements, it has a contrasting central Orchestra as part of the Norwegian Music section, which might properly be called a Festival in Bergen, which was designed to trio in the Classical sense in that it provides raise musical standards in Grieg’s homeland lyrical respite from the energy of the David Pitt (at the time still part of the kingdom of principal thematic material. What was your first performance with the TSO Chorus? Denmark). The final dance in Grieg’s set is by far the Carmen at the Odeon in 1995. I was hooked! He had in his later years returned to most substantial of the four and has a folk music as a source of inspiration and What have been some highlights since then? genuinely symphonic breadth. Beginning nationalist affirmation. The Symphonic There are so many it’s hard to pick a couple but Verdi’s Requiem in Sydney and with a short Andante introduction, the piece Dances are based on folk tunes published Belshazzar’s Feast in Perth were certainly memorable. explodes into a sometimes violently stormy by collector Ludvig Mathias Lindeman. The Allegro based on a folk tune that uses many Which performance did you enjoy being part of the most? first and second movements are derived imaginative touches of orchestral colour. Mahler’s Symphony No 8 in Adelaide for the sheer magnitude of it. But we did Mahler’s from a halling, a duple-time dance thought A magisterial series of chords from the full Symphony No 2 in Hobart for the Australian International Symphony Orchestra Institute to be of Scottish origin (like the composer’s band introduces the work’s lyrical central and that was fabulous too. I became a Mahler fan. Oh, and three performances of great-grandfather) or, at any rate related section, characterised by delicate wind Brahms’s German Requiem in two countries, Australia and , in one week! musically to Scottish dances such as the scoring and string melodies, that Grieg reel. It takes its name from the Hallingdal Tell us about the social aspects of the TSO Chorus. based on a traditional wedding song. The region of Norway, and traditionally features It’s great to spend time with my friends in the chorus. We enjoy making music together piece resumes the main Allegro material acrobatic moves by a male dancer, usually and have fun doing things together when we’re on tour. The Facebook page means and reaches a powerful climax. accompanied by the local Hardanger fiddle. there is always something to talk about. © Gordon Kerry 2009/15 In the first movement, Grieg uses the halling What’s the best part of being in the TSO Chorus? material as the basis for a simple three-part The Tasmanian Symphony Orchestra has The process of building a musical work to performance standard thanks to our form: lively dance-rhythms, bright simple performed this work once before, with conductor wonderful Chorusmaster, June Tyzack, and Assistant Chorusmaster and Répétiteur, harmony and extrovert scoring give way to in Hobart on 1 August Andrew Bainbridge. The thrill of working with a world-class orchestra, soloists and a pensive central section before the return 1987. conductors. And the spine-tingling moments when it starts to soar. of the initial music. What advice would you give to people thinking of joining the TSO Chorus? While it is a set of symphonic dances, the Advice? Don’t think – just do it! piece is not a symphony by another name. Having said that, the second movement in The TSO Chorus welcomes newcomers. Auditions will be held in Hobart on 28 and 29 March. a sense stands in for a conventional slow For further information and to apply for an audition, visit tsochorus.com.au/sing-with-us movement (though marked “Allegretto”, so or contact Alexis Hargrave on 6232 4421, email [email protected]. not very slow). It is also in a ternary shape, beginning in a predominantly lyrical and

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