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Saturday 28 July 7.30pm Federation Concert Hall Hobart MASTER 8 Marko Letonja conductor TCHAIKOVSKY Simon Trpcˇeski piano Symphony No 6, Pathétique Adagio – Allegro non troppo BERLIOZ Allegro con grazia Roméo et Juliette, Love Scene Allegro molto vivace Duration 18 mins Finale (Adagio lamentoso – Andante) LISZT Duration 46 mins Piano Concerto No 2 Adagio sostenuto assai – Allegro agitato This concert will end at approximately assai – Allegro moderato – Allegro 9.30 pm. deciso – Marziale, un poco meno Allegro – Un poco meno mosso – Allegro animato Duration 21 mins

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26 27 Hector Berlioz (1803-1869)

Roméo et Juliette: symphonie ‘If you ask me which of my works I prefer, dramatique, Op 17 the answer is that of most artists: the love Second Part: Love Scene scene in Roméo et Juliette.’ No wonder Berlioz was proud of this section, where we hear the young Capulet revellers ‘…I settled on the idea of a symphony leave the ball and the orchestra take Marko Letonja is Chief Conductor and Macedonian pianist Simon Trpcˇeski has with chorus, soloists and choral recitative centre stage for one of the composer’s Artistic Director of the Tasmanian Symphony performed with many of the world’s leading on the sublime and perennial theme of finest movements, the Adagio. It Orchestra, Music Director of the Orchestre orchestras, including the London Symphony, Shakespeare’s Romeo and Juliet…Oh, the is significant that here, as at other Royal Concertgebouw Orchestra, West ardent existence I lived during that time! I dramatically crucial points in the piece, Philharmonique de Strasbourg and Music struck out boldly across that great ocean it is the orchestra – not the chorus German Radio Symphony Orchestra Director of the Bremen Philharmonic of poetry, caressed by the wild, sweet – which most eloquently expresses Cologne, Russian National Orchestra, breeze of fancy, under that fiery sun of Shakespeare’s meaning. The scoring Orchestra from the start of the 2018-19 Orchestre National de France, New York love that Shakespeare kindled.’ is transparent, colourful and sensuous, season. Born in Slovenia, he studied at the Philharmonic and New Japan Philharmonic. Shakespeare enjoyed a massive vogue the ten-bar melody built on a subtle Academy of Music in Ljubljana and the As a solo recitalist he has performed in in Paris which began with the fateful (for and ambiguous use of dissonance and a tissue of gently pulsing 6/8 rhythm to Vienna Academy of Music. He was Music many of the world’s major centres, and Berlioz at least) visit by William Abbott’s English theatre company in 1827 and create the sense of unrequited Eros – Director of the Slovenian Philharmonic has performed chamber music at festivals which, as Berlioz himself noted, was fed this is, after all, not the night of conjugal love which Shakespeare allows the Orchestra from 1991 to 2003 and Music such as Verbier, Bergen International and by enthusiasm for the Bard shared by the BBC Proms. Conductors with whom such writers as Hugo and Dumas. It was lovers, but Berlioz’s representation of Director and Chief Conductor of both the the balcony scene. There is accordingly he has collaborated include Marin Alsop, this company which included in its ranks Symphony Orchestra and the Opera in Basel Harriet Smithson – initially the inspiration no resolving climax – the section’s coda Gustavo Dudamel, Jakob Hru˚ša, Vladimir breaks its thematic material down into its from 2003 to 2006. He was Principal Guest for the Symphonie fantastique and later Jurowski, Susanna Mälkki, Gianandrea Berlioz’s wife. Berlioz describes being component motivic parts as Beethoven Conductor of Orchestra Victoria in 2008 and Noseda, Sakari Oramo, Antonio Pappano, ‘shaken to the depths’ by Hamlet one did with the funeral march of the Eroica Symphony. made his debut with the TSO the following Vasily Petrenko and Jukka-Pekka Saraste. night. He saw Romeo and Juliet the following evening and was transported From here, Simon Trpcˇeski travels to the year. He took up the post of Chief Conductor (despite not having a word of English) by and Artistic Director of the TSO at the start of US to perform Rachmaninov’s Rhapsody its Adapted from a note by Gordon Kerry on a Theme of Paganini at the Cleveland © 1999 2012. He has worked with many orchestras in immense love, swift as thought, Orchestra’s Blossom Festival and at the Europe including the Munich Philharmonic, burning as lava, radiantly pure as an This is the first performance of this work by the Aspen Festival; Grieg’s Piano Concerto at angel’s glance, imperious, irresistible, Tasmanian Symphony Orchestra. Vienna Symphony, Berlin Radio Orchestra, the Chicago Symphony Orchestra’s Ravinia the raging hatreds, the wild ecstatic kisses, the desperate strife of love Mozarteum Orchestra and the Orchestra Festival, and the world première of Pande and death contending for mastery – Filarmonica della Scala, Milan. He has also Shahov’s Piano Concerto at the Cabrillo it was too much. worked in many renowned opera houses Festival in Santa Cruz. At the end of August As this response shows, the Shakespeare such as the Vienna State Opera, Berlin he presents his self-made folk-based project, that enthralled Berlioz at this time was State Opera, La Scala Milan, Semper Oper Makedonissimo, at the Concertgebouw. a creature of the Romantic movement: This project, ‘celebrating the music, culture Dresden and the Grand Théâtre de Genève. both in Germany and France the and people of his native Macedonia’, was interest in Shakespeare was fuelled by Recent engagements include Der Ring des given its UK première in 2017. Among Simon what we might call some of his more Nibelungen for the Royal Swedish Opera, ‘Gothic’ elements: the dark worlds of Trpcˇeski’s recordings is his most recent, madness in Hamlet or King Lear, the Boris Godunov for the Bavarian State Opera of Prokofiev’s Piano Concertos Nos 1 and enchanted landscapes of The Tempest and Le nozze di Figaro for the Grand Théâtre 3, which won him the September 2017 or A Midsummer Night’s Dream, the de Genève. Diapason d’Or. unrequited passion and ‘Liebestod’ of Romeo and Juliet.

28 29 Franz Liszt (1811-1886)

Piano Concerto No 2 in A, S125 the religiously contemplative and the Adagio sostenuto assai – Allegro wildly passionate. Liszt’s son Daniel agitato assai – Allegro moderato – (who was to die of consumption before Allegro deciso – Marziale, un poco the age of 20), in a letter to his mother, meno Allegro – Un poco meno mosso Countess Marie d’Agoult, claimed that – Allegro animato it was an exact portrait of his father in all his contrasting aspects. HARP Plus! The opening orchestral bars contain VIOLIN- VIOLA DUOS Liszt wrote several works for piano and nearly everything you need to listen for in Impressionists orchestra, but gave the title concerto to this concerto. The melodic and harmonic only two of them. At the time of their details form the basis of a theme which composition, his principal career was undergoes astonishing transformations, that of a travelling virtuoso performer. changing key, time signature, speed and This was a career virtually invented character, throughout the concerto. Liszt by him (with some inspiration from was justly proud of this compositional the Italian violinist Nicolò Paganini). technique of thematic transformation. Bringing fine chamber music From the age of 26, Liszt remained The theme reappears in every possible unchallenged in the role of lion of guise: some of the more surprising to regional Tasmania the keyboard, until 1848 after which include the one for solo cello with piano he spent 40 years in retirement from accompaniment in the slow section, the the concert stage, pursuing, with military alla marcia fortissimo version, and equal intensity, subsequent careers as the declamatory piano solo in the second composer and teacher. Let us also not half of the work. Clarinet Quintets forget the romantic liaisons with famous beauties, and the last years as a devout The concerto is not considered as churchman. A life lived to the full! ‘popular’ as the first one in E flat, but perhaps this is because it is marginally Opinions on his work as a composer less showy. It is certainly just as virtuosic were varied – and still are – but there and even more poetic. It is written, as are was international unanimity about his all Liszt’s works for piano and orchestra, prowess as a pianist. He amazed his in a continuous unfolding cyclic structure, listeners with his technical dexterity, his which often sounds like several different musical understanding and his ability movements. From a classical viewpoint, to play anything at sight. He was noted this type of structure might seem a particularly for his uncanny ability to disaster, but at no stage in the work are combine power and delicacy. He had we in any doubt as to what is happening, a wide palette of tone colours and was and how it relates to what has gone virtuositas.org.au famous for making the piano sound like before. Throughout, the melodic CLARENDON TRIO an orchestra, an effect of which he was development in the solo piano part is very proud. constantly interesting and beautiful, while violin and The Piano Concerto No 2 is a splendid the coda is one of shining ingenuity. Matt Ives Trio example of what must have been his Abridged from a note by Stephen piano playing style. He worked on several McIntyre © 2004 versions of the piece, before publishing it in 1863, dedicated to his student The Tasmanian Symphony Orchestra first Hans von Bronsart, who had premièred performed this work with conductor Clive Douglas it in Weimar in 1857 with the composer and soloist Gordon Watson in Hobart on 24 July 1958 and, most recently, with Johannes Fritzsch conducting. It features extreme contrasts and Cyprien Katsaris in Hobart and Launceston on CONTRASTS: between the pathetic and the bombastic, 8 and 10 November 2008. BARTOK, POULENC, KORNGOLD 30 31 Pyotr Ilyich Tchaikovsky (1840–1893)

Symphony No 6 in B minor, Op 74, as a homosexual, he was ashamed of Pathétique his desires and behaviours. But this Adagio – Allegro non troppo fabrication speaks more of the fears and Allegro con grazia prejudices of those who proposed it than Tchaikovsky’s own attitude. Tchaikovsky Allegro molto vivace was neither appalled nor ashamed of his Finale (Adagio lamentoso – Andante) sexuality. From what we know of his state of mind, there is nothing to indicate that he intended to bring his life to an end. Tchaikovsky’s career was riding high in the lead-up to his Symphony No 6, And yet, Tchaikovsky’s Sixth Symphony Pathétique. Between composing the does indeed present itself as a Fifth Symphony in 1888 and the Sixth valedictory work. Most obviously in in 1893, he wrote many of the works its long closing movement which, as for which he is most famous, including the tempo marking indicates – Adagio the ballets The Sleeping Beauty and lamentoso – is a slow outpouring of The Nutcracker, along with the opera grief. By concluding the symphony Pique Dame (The Queen of Spades). in this way, Tchaikovsky was well and Tchaikovsky was a celebrity. He travelled truly departing from the established to the United States in 1891 as guest- model which, at the very least, decreed of-honour at the opening of Carnegie that a symphony ought to finish on an Hall in New York, where he conducted optimistic note. Better still, in a blaze of his Festival Coronation March (renamed triumphant glory. Tchaikovsky delivers Marche solennelle for the occasion), and triumph in the penultimate movement journeyed to England in 1893 to receive of the Sixth, Allegro molto vivace, the an honorary doctorate from the University emphatic conclusion of which often of Cambridge. That was in June 1893. provokes spontaneous and sustained By early November, he was dead. On applause. But wait, there’s more! In the 28 October 1893 (Gregorian calendar) symphony’s final movement we enter Tchaikovsky conducted the première of an altogether different realm. Victory is the Symphony No 6 in St Petersburg. vanquished and, in its place, we hear far Less than a week later he became more equivocal sounds: melodic lines ill – evidently from drinking cholera- which descend but never come to rest; contaminated water – and, after three passionate outbursts which rise hopefully agonising days, died on 6 November. He but ultimately collapse unresolved; bass was aged only 53. lines which move ever lower and sink into Given the close proximity between the sepulchral gloom. These are the sounds first performance of the Pathétique of yearnings lost, hopes quashed and and Tchaikovsky’s unexpected death, aspirations unrealised. and the mood of melancholy, if not But not only does the Sixth conclude outright despair, which pervades the in ways different from every symphony symphony’s final movement, the Sixth composed up to this point, it opens in has come to be seen by many listeners equally enigmatic fashion, commencing as Tchaikovsky’s farewell to the world (it with barely audible sustained bass was uncharitably nicknamed the ‘suicide notes and a slow and halting bassoon symphony’ in some quarters). According theme. The halting bassoon theme to this theory, Tchaikovsky brought about is characterised by sighing effects – his own demise by deliberately drinking accented notes which fall by step to the contaminated water. Why? Because, main tone. These leaning-notes have a Pyotr Ilyich Tchaikovsky

32 33 long history in tonal music as signifiers gives way to a somewhat shadowy of sorrow. They are ubiquitous in the middle section, which is in a minor key Pathétique. The slow introduction gives and heralds the return of the kinds of way to a change of tempo, Allegro non sighing figures heard the first movement. troppo, and with it comes development A persistent pedal note in the timpani, of the bassoon theme together with discreet though it is, carries a somewhat fleeting wisps of new material. Another ominous tone. Indeed, we might read change of tempo, Andante, brings one this as a foreshadowing of the sustained of Tchaikovsky’s most luscious themes. pedal notes in the lugubrious final In the key of D major, it is introduced movement, which most definitely carry by muted violins and cellos and is ominous associations. accompanied by the performance There is nothing ill-fated about the direction ‘tenderly, in a very singing style, boisterous third movement, a dazzlingly with elasticity’. It should come as no orchestrated march in which the brass surprise to discover that sighing figures instruments bring tremendous heft are abundant in this most beautiful of and gloss. But, like a brilliant mirage, themes. But attractive though the theme the blazing optimism of the third is, it is also infused with melancholy, movement disappears in an instant with possibly because it cycles around and the mournful downward thrust of the around without ever coming to a full opening of the Adagio lamentoso. close. Ultimately, it fades into oblivion, It is remarkable to realise that dying away on the solo clarinet (marked Tchaikovsky drafted this rich and wide- ppppp, i.e. phenomenally soft) before ranging work in a matter of only weeks, being passed to the solo bassoon in February and March 1893. The task of (marked pppppp, i.e. impossibly soft; in orchestrating the symphony was carried fact, contrary to Tchaikovsky’s directions, out in July and August. In a letter to his this phrase is generally played on the brother, Anatoly, Tchaikovsky wrote: ‘I am bass clarinet as it is well-nigh impossible very proud of my symphony and think it on the bassoon in this register and at that is my very best work.’ The Pathétique is Sharing the TSO with dynamic). A long, frequently loud, and dedicated to Tchaikovsky’s 21-year-old passionate episode follows. nephew, Vladimir ‘Bob’ Davidov. Writing the next generation This is a movement of extreme contrasts. to Bob, Tchaikovsky declared: ‘I definitely Indeed, the Sixth is a symphony of consider it the best and, in particular, the extreme contrasts. In applying the word most sincere of all my works. I love it as I ‘pathétique’ to the work, Tchaikovsky have never loved any other of my musical offspring.’ was drawing attention to its passionate Support the TSO into the future and emotional qualities, attributes more readily suggested by the Russian Robert Gibson © 2018 Leaving a bequest to the TSO Foundation is If you are interested in learning more about word ‘patetichesky’ than either the a simple and rewarding way to support the leaving a bequest to the TSO, please contact French word ‘pathétique’ or the English The Tasmanian Symphony Orchestra first TSO for years to come. Your legacy helps Ed Benyon, Director Development, on ‘pathetic’. performed this work with conductor Thomas ensure that the TSO remains a part of the 03 6232 4430 or [email protected]. Mayer in Hobart on 26 June 1971 and, most The tuneful second movement, Allegro recently, with Sebastian Lang-Lessing in Hobart lives of future generations of Tasmanians. All enquiries are treated in confidence. con grazia, is a kind of off-kilter waltz. and Launceston on 28 February and 1 March 2008. Rather than opting for the standard waltz time of 3/4, Tchaikovsky elects the unusual time of 5/4, with the beats grouped in a 2+3 configuration. The genial mood established at the outset

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