Wendy Plays MATINEE 4 MATINEE

SATURDAY 19 SEPTEMBER 2.30PM FEDERATION CONCERT HALL

Gérard Korsten conductor DUKAS Wendy Page horn Villanelle Duration 6 mins HAYDN Symphony No 83, The Hen Allegro spiritoso INTERVAL Andante Duration 20 mins Menuet: Allegretto Finale: Vivace SCHUMANN Duration 23 mins Symphony No 3, Rhenish Lebhaft MOZART Scherzo: Sehr massig Horn Concerto No 2 Nicht schnell Allegro maestoso Feierlich Andante Lebhaft Rondo Duration 32 mins Duration 16 mins We are proud to support the This concert will end at approximately Tasmanian Symphony Orchestra 4.30pm.

Tasmanian Symphony Orchestra concerts are broadcast and streamed throughout and around the world by ABC Classic FM. We would appreciate your cooperation in keeping coughing to a minimum. Please ensure that your mobile phone is switched off. 27

5580 TSO Milton Ad for Program 2015_July.indd 1 17/07/2015 9:43 am JOSEPH HAYDN (1732-1809)

Symphony No 83 in G minor, The Hen Allegro spiritoso Andante Menuet: Allegretto Finale: Vivace GÉRARD KORSTEN WENDY PAGE Haydn’s Symphony No 83, nicknamed “The Hen”, was one of six symphonies Gérard Korsten is Principal Conductor Wendy Page was born in Darwin and grew (Nos 82-87, written in 1785-86) of the Vorarlberg Symphony Orchestra, commissioned by Count Claude-Claude- up in Derby in the Kimberley region of François-Marie-Rigoley d’Ogny for the Bregenz. Born in South Africa, he began Western Australia, and Narrogin, south-east aristocratic Concert de la Loge Olympique his career as a violinist after studying in Paris where Haydn, in his mid-50s, was of Perth. There she began her formal music with Ivan Galamian at the Curtis Institute writing for easily the biggest orchestra and and Sándor Végh in Salzburg. Following education, commencing with the piano probably the most glittering audience so far in his career. The “Paris” works were his studies in the US and Europe, he and, as part of the local government school tried out “at home” at his patron’s estate, music program, took up the euphonium, JOSEPH HAYDN became Concertmaster and Assistant Ezsterháza in Hungary, but the effect of the Music Director of the Camerata Salzburg followed by the horn at age 16. She works in the French capital (where Haydn, and later Concertmaster of the Chamber completed her Bachelor of Music at the it must be remembered, never actually but in this work he writes a new theme – Orchestra of Europe. He held the position heard them) must have been shattering. the one that gives the piece its nickname. School of Music, University of Western The music director of the Orchestre de la (Needless to say, the nickname came a long of Principal Conductor of the State Theatre Australia, studying modern horn with Loge Olympique was the flamboyant Afro- time after Haydn, and had nothing to do in Pretoria and the Uppsala Chamber Heidi Kepper and Classical and Baroque French composer (and fencing champion) with him). It’s easy to spot: the oboe starts an Orchestra before he was appointed Music Saint-Georges, who had assembled a band obsessive repetition on one note, while the Director of the Orchestra del Teatro Lirico horn with Darryl Poulson. In her final year which was vast by the standards of the first violins play the tune whose grace notes di Cagliari. In Cagliari he conducted of study she was appointed Associate Ezsterháza ensemble, with 40 violins, 10 gave someone the idea that it sounded like double basses and a correspondingly large a hen. In fact though, the work’s greatest the first Italian performances of Richard Principal Horn of the West Australian wind section. The orchestra’s uniform – sky interest arguably lies in the dramatic Strauss’ Die ägyptische Helena, Weber’s Symphony Orchestra and, in 2002, blue with swords – must have been quite outbursts of the slow movement, the rustic , Delius’ A Village Romeo and Principal Horn of the Tasmanian Symphony something too. charm of the menuet and the energy of the finale. Juliet and Schubert’s Alfonso und Estrella, Orchestra. Her solo engagements with the The Symphony No 83 is a little unusual in addition to the core operatic repertoire. for the set for a couple of reasons. It is Abridged from a note by Gordon Kerry TSO have included Schumann’s Adagio and In 2009 he was appointed Music Director (nominally at least) in a minor key, which © 2006 Allegro, Concertstück for Four Horns (which of the London Mozart Players, a position harks back to the emotionally volatile works of Haydn’s so-called Sturm und Drang he relinquished in 2014. Recent highlights she performed with the other members of The Tasmanian Symphony Orchestra first performed symphonies of the mid-1770s. It should the TSO horn section), Britten’s Serenade this work with conductor Patrick Thomas in Hobart have included debuts with the Deutsche be said, though, that Haydn gets any on 23 August 1979 and, most recently, with Howard Oper Berlin, Hungarian State , BBC for , Horn and Strings, Haydn’s Horn minor angst out of his system in the first Shelley in Hobart on 27 May 2006. Scottish Symphony Orchestra and Hong Concerto No 2, Mozart’s Horn Concerto movement; by the time we reach the finale Kong Philharmonic Orchestra. In the all is pretty unambiguously major. The other No 4 and Richard Strauss’s Horn Concerto major difference between this work and its 2015/16 season Gérard Korsten returns No 1. She has a special interest in the stablemates is the use of a new theme as to Orchestra di Padova e del Veneto, Classical hand horn. In addition to her second subject in the first movement. Put Gävle Symphony Orchestra and Adelaide simply, almost every first movement of a orchestral career, she is active as a chamber Symphony Orchestra, and makes his debut classical symphony will establish its key with a first subject or theme, and then modulate with the Tasmanian Symphony Orchestra, musician and educator, mother of two to a new key for a second subject. Haydn young children and keeper of several hens Orchestre de chambre de Paris and was unusual for his time in preferring to Festspielhaus Baden-Baden. and a garden. re-use the first subject in the new key,

28 29 (1756-1791) PAUL DUKAS (1865-1935) ARR DONALD MILLER (BORN 1933) Horn Concerto in E flat major, K 417 Allegro maestoso Villanelle Andante In June 1906 Gabriel Fauré, then director In concert, Villanelle is commonly Rondo of the Paris Conservatoire, commissioned performed with orchestra – against Dukas’ The early months of 1783 were particularly Paul Dukas to write a challenging horn dying wishes. The composer felt ambivalent happy ones for Mozart. He had established piece for students to perform in their July about the piece’s accompaniment. his credentials as an opera composer examinations. Though Dukas composed his Though he wrote it for horn and piano, with Die Entführing aus dem Serail (The Villanelle for horn and piano in a few weeks, he had initially planned to whip up an Abduction from the Seraglio), he had a it was far from a rushed job. “It ended up orchestral accompaniment when he had number of piano students and he very greatly amusing me to write”, he said in “more leisure”. But in 1919, the highly astutely carved a niche for himself as a a letter to his publisher, Jacques Durand, self-critical Dukas wrote a letter to his composer and performer of brilliant piano on 24 June, the day after finishing the friend, the music reviewer Robert Brussel concertos. These were the mainstay of his manuscript. The composer had completed condemning the piece from being heard in career and income from late 1782 to 1786. the work at 1.30am – only after receiving such an arrangement: “I do not want this He had been married the previous year, and a telegram from Fauré urging him to get a examination piece to become a concert WOLFGANG AMADEUS MOZART piece, and the best way to do this is never as he wrote: move on. Villanelle received its premiere at the Opéra-Comique hall on 28 July – to orchestrate it.” My whole company consists of my little that the poor horn player put them in order the students’ public examination in which Dukas did indeed orchestrate the Villanelle, wife who is pregnant, and hers consists again. Often Leutgeb would find “messages” Dukas was also an adjudicator. The work but destroyed the arrangement. In fact, of her little husband, who is not pregnant, scrawled on his music by the composer: has since been warmly accepted into the he burned many unpublished manuscripts but fat and flourishing. “Go it, Signor Asino” [little ass] – “Take a little breath” – “Wretched pig” – “Thank horn repertoire, and the joy Dukas gained shortly before he died and left us with just The Mozarts’ first child, Raimund Leopold, God, here’s the end.” And Mozart’s from writing it can be heard across various 12 major pieces, each in a different musical was born in June. dedication of the Horn Concerto, K 417, modern arrangements. form. The Villanelle is his only surviving chamber work, but over the years Dukas’ Composers’ states of mind don’t necessarily notes that he “has taken pity on Leutgeb, The short work takes its name from the initial orchestral instincts have been realised have a direct connection with the music ox, ass and fool, at Vienna, 27 March l783...” villanella, a 16th-century Italian song which by others, and popular orchestrations have they produce. With the Horn Concerto, is simple and dance-like in style. The The work as we know it is generally been created by Odette Metzegner (herself K 417, however, it is tempting to see Mozart’s horn projects a delightful melody – lightly performed from a published edition made a Conservatoire student), Paul Terracini and general contentment reflected in his work. by Johann André in 1802 (perhaps owing sentimental but increasingly complex. As Maynard Solomon notes, this work, Donald Miller, whose arrangement will be to Mozart’s habit of throwing manuscripts Dukas wrote the technically demanding performed in this concert. It remains an among others, displays beauties that are around, parts of the autograph score are piece for mixed horn (valve and natural), celebrations of sheer joy, expressions of important addition to the horn repertoire lost). It seems in fact that André himself reflecting teaching methods of the Parisian – though whether Dukas would have mirth that revel in the pleasures of creation, had an incomplete score to work with; the school early last century. that deliberately eschew conflict, that are approved of our enjoyment of his melody published edition, for instance, leaves no Appointed professor of orchestration in in the concert hall remains a mystery. embodiments of grace, decorum and other opportunity for the soloist to improvise a 1910 and composition in 1928, Dukas “classical” virtues. cadenza. Recently, scholars such as John Stephanie Eslake © 2015 first entered the Paris Conservatoire in Humphries have attempted to reconstruct With friends like Mozart, maybe you can’t 1881 as a student of piano, harmony and more faithfully the original score. It is in The Tasmanian Symphony Orchestra first blame Joseph Leutgeb for giving up a full- composition. He was classmates with performed this work with conductor Yu Long and the standard three movements: a spacious time career as a horn player and opening a Claude Debussy, an admirer who believed soloist Michael Thompson in Hobart on 30 July first movement, an aria-likeAndante and a 1991 and, most recently, with En Shao in Hobart cheese shop. Leutgeb and Mozart knew each “Monsieur Paul Dukas knows what music is hunt-inspired Rondo finale. and Launceston on 21 and 22 June 1996. other from Salzburg days, when Leutgeb made of…for him it is an endless treasure played in the Archbishop’s orchestra, and Gordon Kerry © 2005 trove of possible forms and souvenirs with he moved to Vienna around the time that which he can cut his ideas to the measure Mozart established himself there. The Tasmanian Symphony Orchestra’s first of his imagination.” It seems this was performances of this work were in Hobart and The composer constantly abused his friend: Launceston on 3 and 5 September 1988 with also the view of Walt Disney, who used one day when Leutgeb called in to see how a Barry Tuckwell as conductor and soloist. Dukas’ famous 1897 symphonic poem The piece was going, Mozart scattered sheets of Sorcerer’s Apprentice in the 1940 animated the manuscript all over the floor and insisted film, Fantasia.

30 31 ROBERT SCHUMANN (1810-1856) Have you ever Symphony No 3 in E flat, Op 97, Rhenish movement (Feierlich) which is the most Lebhaft clearly pictorial. Schumann originally wrote over the music: “In the character of the Scherzo: Sehr massig accompaniment to a solemn ceremony”, considered Nicht schnell clearly recalling the enthroning ceremony Feierlich he had seen. But he later struck it out. Lebhaft The unfinished Cologne Cathedral was a powerful symbol to 19th-century Romantics. making Robert Schumann took up a conducting They were entranced by its majesty, and appointment in the Rhineland city of one writer spoke of its “lofty, slender Düsseldorf in 1850. It is probable that the Gothic pillars grouped like trees in an Symphony No 3 was composed in the ancient forest.” Schumann achieves a sense first flush of enthusiasm for the new job. a Bequest of breadth and space in this movement Becoming acquainted with the Rhineland by introducing three trombones to the to the TSO? region, the Schumanns visited Cologne, orchestra. There is an evocation of the and Schumann was particularly struck medieval era in the use of polyphony, and by the mighty cathedral. He witnessed as if to emphasise his intention, Schumann the investiture of the new archbishop, a changes the basic beat thenceforward from ceremony which impressed him greatly. “When it comes time to do our wills, we of crotchets to minims. The audience can’t These experiences formed the pictorial course take care of our closest loved ones necessarily hear the difference, especially in inspiration behind the striking fourth and family. Once they are provided for why the lively fifth movement, but the conductor movement of the “Rhenish” symphony. not consider a bequest to the TSO?” is reminded to approach the subject matter “Morning life on the Rhine” was the NICHOLAS HEYWARD with the appropriate air of solemnity. original subtitle of the second movement (Scherzo: Sehr massig), though Schumann The final movement opens in the mood seems to have deleted it, perhaps believing of a lively folk festival, but the “cathedral” that there is a difference between non- music reappears near the end, bringing musical stimulus for a composer and useful to a close what one writer describes as “Few things can touch us the way music can information for a listener. a viable marriage between the character and live orchestral music offers an experience piece, which was Schumann’s specialty, like no other. The enjoyment of live music The symphony is cast in five movements, a and the surety of symphonic form for is one of life’s great collective experiences. departure from the usual four. It opens with which he strove. Supporting the TSO through making a bequest a confident, vital melody in E flat. There is a will ensure future generations will experience beautifully lyrical second subject, beginning Abridged from a note by G K Williams the thrill, joy and emotional richness of live in G minor, but what is also remarkable is Symphony Australia © 1998 orchestral music.” the way in which each modulation has an inherent tendency to return to the heroic The Tasmanian Symphony Orchestra first MARKO LETONJA key of E flat. performed this work with conductor in Hobart and Launceston on 25 and The middle three movements form a group 26 May 1971 and, most recently, with Sebastian Lang-Lessing in Hobart and Burnie on 28 and of character pieces much in the manner 30 March 2009. of Schumann’s piano music. The second movement is like a Ländler, the Austrian waltz style later taken up for symphonic When you make the decision to leave a bequest to the TSO Foundation Trust, you should movements by Bruckner and Mahler. seek assistance from your solicitor or estate planner to draft this intention in your will. The third movement is a lyrical interlude, After you advise us of your intended gift to the TSO Foundation, you become a member of which according to Jonathan Kramer is the Sculthorpe Society and receive an invitation to join the Conductor’s Circle. Giving our too songlike and direct to be a real slow most loyal supporters the opportunity to experience an up-close and personal relationship movement, and therefore establishing the with the TSO. Should you like to request further information, please email Jessica Armson, need for an additional movement (Nicht Philanthropy and Special Events Coordinator, [email protected] or telephone 6232 4405. schnell), a true adagio. It is the fourth

32 33