Brava! WATERFRONT INDIAN RESTAURANT A POPULAR CHOICE FOR AUTHENTIC INDIAN CUISINE AMONGST TSO AUDIENCES Friday BACH arr WEBERN 9 November 2.30pm Federation Concert Ricercare, from A Musical Offering Hall Hobart Duration 8 mins MENDELSSOHN 4 MATINEE Karina Canellakis conductor Symphony No 4, Italian Tamara-Anna Cislowska piano Allegro vivace Andante con moto SCHUMANN Con moto moderato Julius Caesar Saltarello (Presto) Duration 8 mins Duration 27 mins Dinner: 7 days a week from 5PM onwards KATS-CHERNIN Piano Concerto No 3, Lebewohl This concert will end at approximately Lunch: Thursday to Saturday 12PM - 2PM Duration 25 mins 4.30 pm. 15 Hunter Street Hobart, Tasmania INTERVAL Duration 20 mins (Opposite Hotel Grand Chancellor and Federation Concert Hall) Phone: 03 6231 4150 Tasmanian Symphony Orchestra concerts are broadcast and streamed throughout Australia www.thesaffron.com.au 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. 38 39 Robert Schumann (1810-1856) Julius Caesar, Overture, Op 128 for this composer with a passion for literature, may have been a recently published new German translation of The concert overture inspired by Shakespeare’s works. Shakespeare’s play Julius Caesar was Like the earlier Manfred Overture, that composed in 1851, in the midst of a to Julius Caesar is essentially tragic in Karina Canellakis has recently been named Tamara-Anna Cislowska is one of Australia’s deteriorating relationship between feeling. Franz Liszt recognised their Chief Conductor of the Netherlands Radio most acclaimed pianists. Soloist and chamber Schumann and the orchestra and choirs lineage: ‘Like Beethoven,’ he wrote, in Düsseldorf. He had arrived in the Philhamonic Orchestra, succeeding Markus music specialist, she performs in Australia Schumann ‘wrote overtures to great town the previous year, as conductor tragedies, to Schiller’s Bride of Messina Stenz in September 2019. Winner of the and internationally to critical and public of the subscription concerts, under and Shakespeare’s Julius Caesar.’ Rather 2016 Sir Georg Solti Conducting Award, acclaim. She has won international prizes good auspices. But things soon started than a sequence of dramatic events, to go wrong, and after complaints Karina Canellakis first made headlines in in London, Italy and Greece, including the Schumann distills from Shakespeare’s from musicians and the committee of 2014 filling in at the last-minute for Jaap Rovere d’Oro, and in Australia, ABC Young play a poetic idea. Indeed he seems to management, Schumann had been have difficulty in getting beyond that van Zweden in Shostakovich’s Symphony Performer of the Year, Freedman Fellowship, virtually sidelined from conducting idea, returning again and again to the duties. The complaints about Schumann’s No 8 with the Dallas Symphony Orchestra. an Art Music Award for ‘Performance of noble opening subject, presented in the rehearsals and performances can be Recent concerts have included conducting the Year’ (ACT) and the 2015 ARIA for dark key of F minor, in march rhythm. attributed – apart from his undoubted There is no contrasting second subject, Nicola Benedetti in Szymanowski’s Violin ‘Best Classical Album’ with her landmark shortcomings as a conductor – to his so that when the grand peroration comes growing mental problems, which were Concerto No 2 (debuts for both of them with recording of the complete piano works at the end, in the major key, it doesn’t increasingly cutting him off from the the Orchestre de Paris), Haydn and Prokofiev of Peter Sculthorpe. A frequent guest of seem to resolve anything. Interpreters practical world, withdrawing into himself. with the Seattle Symphony, Debussy, orchestras and festivals worldwide, She who believe in Schumann have been After his sad decline, which soon able to show that his often-maligned Rachmaninov and Saariaho at has performed as soloist with the London followed, and the end of his life in orchestral writing enables him to reveal the Indianapolis Symphony, and Mozart Philharmonic, the New Zealand, Christchurch an asylum, even his best-disposed new facets of the same idea, and his and Beethoven and the US premiere of Dai and Auckland Philharmonia orchestras friends were inclined to find signs of his repetitions are opportunities for a study deterioration in the music of these last in depth. Variations of pace and tension Fujikura’s Secret Forest with the Los Angeles and all Australian symphony orchestras, years. The Julius Caesar Overture was are required – as Gal says, Schumann Chamber Orchestra. Karina Canellakis and toured Japan and the USA as cultural one of three concert overtures Schumann is no composer to be dealt with began her career as a violinist and was ambassador for Australia. Engagements composed in 1851, each inspired by metronomically. a literary work. The other two were on initially encouraged to pursue conducting in 2018 include soloist performances with The orchestral writing is more complex Goethe’s Hermann and Dorothea and than usual in Schumann, with blurring by Sir Simon Rattle while she was playing in the Queensland, Tasmanian and Canberra Schiller’s The Bride of Messina. All have effects that come from combining suffered neglect until recently, when the the Berlin Philharmonic for two years as a symphony orchestras; Brisbane Festival syncopated notes and ‘straight’ notes music of Schumann’s later years has been member of their Orchester-Akademie. with CIRCA; Dark Mofo; the Australia World on top of each other. For the only time re-evaluated, often positively. In addition to appearing frequently as Orchestra Chamber Ensemble, regional in his orchestral music, Schumann in this Schumann’s Third Symphony had overture adds a bass tuba to the three a soloist with various North American touring for Musica Viva and a London tour recently been premièred, and he was trombones. Was this to emphasise the orchestras, she subsequently played regularly with the Australian Chamber Orchestra. Her working on the re-scoring of the much sombre mood, or was the Düsseldorf in the Chicago Symphony for over three most recent release for ABC Classics is Into earlier symphony which became his tuba player underemployed? A music Fourth. Hans Gal has suggested that in director makes use of his resources years, and appeared on several occasions Silence, a solo and orchestral album of the the state of Schumann’s creative mind as long as he has them. This overture as guest concertmaster of the Bergen music of Gorecki, Pärt, Pelecis and Vasks and energies at this time, an overture couldn’t be played by a chamber Filharmoniske Orkester in Norway. Karina is a with the Tasmanian Symphony Orchestra. was easier to throw off in a single effort orchestra of 38! than a symphony. Although Schumann’s graduate of the Curtis Institute of Music and A regular presenter on ABC Classic FM radio David Garrett © 2005 knowledge of the works of Shakespeare the Juilliard School. She was born and raised with her program Duet, Tamara also edits was extensive, the Julius Caesar Overture The Tasmanian Symphony Orchestra performed in New York City. for Boosey & Hawkes (Berlin). is his only substantial treatment of a this work for the first time with conductor Shakespeare subject. The stimulus, Sebastian Lang-Lessing in Hobart and Sydney on 22 and 30 April 2005. 40 41 Elena Kats-Chernin (born 1957) I know not, facing great sorrow, As the final climax is reached with the to where I can turn. piano part in a vertical ascent of double my fully dismayed heart shutters so octaves, Kats-Chernin reintroduces Piano Concerto No 3, Lebewohl The five movements of the concerto that my tongue is lodged between my expanded material from movements one roughly follow the stages of bereavement gums. and two. Johann likely experienced: shock - unknown, based on a hymn Tamara-Anna Cislowska © 2018 In this work, Elena Kats-Chernin and denial, pain and guilt, anger and by Johann Rist contemplates the uncelebrated wife bargaining, reflection and loneliness, Clashes and manoeuvring between This is the first performance of this work by the of one of her primary inspirations, JS acceptance and reconstruction. Each Tasmanian Symphony Orchestra. Bach. The Piano Concerto No 3 is called movement is prefaced by a quote from orchestra and soloist, something of a Lebewohl, which means ‘farewell’ in one of Bach’s cantatas from the period. battle of wills and temperament. The German. It’s an old fashioned term of piano writing becomes spiky: seventh endearment, literally ‘live well until we I The deep and bitter flood and ninth intervals alternating with meet again’. Lebewohl explores the though in midst of life we be, fragmented passage work and arpeggios core and soul of JS Bach at the worst snares of death surround us broken apart. The emphasis is always time of his life, the death of his first wife save us, Lord, from sinking slightly off centre. Maria. What are the ramifications of this In the deep and bitter flood. IV So aflame in love tragedy? What does it do to Bach? Kats- - Martin Luther Chernin honours the mysterious Maria though alas, there remains in my love Marked Agitato, this first movement with this work: the ‘forgotten’ wife of the vast imperfection centres around D, the same as Bach’s Baroque master about whom only cursory my entire life hangs on to you. Chaconne for solo violin, often details are known. Let me be so aflame in love recognised as an elegy for Maria Barbara. that I can love you eternally Maria Barbara Bach lived for 36 years. In The piano is relentless throughout, with whole heart, July 1720 her husband Johann returned punctuated with sharp chords featuring with whole soul, with all strength from a six-week trip to find her dead and brass and percussion.