Australian Chamber Orchestra: International Associate Ensemble at Milton Court 22–24 Oct 2018

Australian Chamber Orchestra Richard Tognetti director & Maria Boyadgis

Part of Barbican Presents 2018–19

Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. Please remember that to use our induction loop you should switch your hearing aid to T setting on entering the hall. If your hearing aid is not correctly set to T it may cause high-pitched feedback which can spoil the enjoyment of your fellow audience members. We appreciate that it’s not always possible to prevent coughing during a performance. But, for the sake of other audience members and the artists, if you feel the need to cough or sneeze, please stifle it with a handkerchief. The City of If anything limits your enjoyment please let us know Corporation is the founder and during your visit. Additional feedback can be given principal funder of online, as well as via feedback forms or the pods the Barbican Centre located around the foyers. 2 Jennifer Peedom Damien Cooper Nigel Jamieson Timo-Veikko Valve Ike See Helena Rathbone Satu Vänskä Tamara-Anna Cislowska Richard Tognetti Australian ChamberOrchestra Mountain 8pm, BarbicanHall Tue 23Oct Richard Tognetti Australian ChamberOrchestra Mozart interval Mozart Mozart Last Mozart’s Three Symphonies 7.30pm, Milton CourtConcertHall Mon 22Oct Martyn MyerMartyn Paul Wiegard, David Gross, Stephen Boyle, Robert Mackenzie Humphreys, Barbican Head of Music. participate inapost-concert conversation, hosted by Huw Orchestra, andJennifer Peedom, director of Richard Tognetti, director of theAustralian Chamber Barbican Hall,15 minutes after performance Post-concert conversation Joseph Nizeti Jo-anne McGowan David White Christian Gazal,Scott Gray Willem Dafoe Robert Macfarlane Renan Ozturk Richard Tognetti Court Milton at Ensemble Associate International Australian Chamber Orchestra: 20minutes violin Symphony No 41 inCmajor, ‘Jupiter’ Symphony No 40inGminor Symphony No 39inEflat major sound designer sound designer violin &voice music editor &musicsupervisor ao narrator principal cinematography staging director lighting design artistic director &lead violin director &violin

musical director & executive producers writer, director &producer violin sound mixer cello narration scriptwriter producer piano

ase

editors Mountain

, will , will Richard Tognetti Australian ChamberOrchestra Bartók of Music& Drama Musicians from GuildhallSchool Verdi Verdi interval Beethoven of theBoar Run –Suite: Year of theOx;Year of OurLord; Year , arrMichael Atkinson C PE Bach Offering –Ricercar a6 J SBach, arrRichard Tognetti Bach, Beethoven andBartók 7.30pm, Milton CourtConcertHall Wed 24Oct Otello –Ave Maria La traviata –Prelude to Act 3 20minutes Divertimento Sinfonia inBminor soprano Scene andAria,‘Ah!perfido’ director &violin

The Musical The Musical

Run Run Rabbit

It’s areal joy for theGuildhall Schoolto work you don’t believe mecomeandseefor yourself! stared into thesoulof every composerheplays. If leaves you withtheuncanny sensethathehas directness andpassionto hismusic-making that Tognetti; atoncewarm andwelcoming, hehasa the charismaticandinspiringfigure of Richard is athrillingridelike noother. Leading itallis this very direct, heart-on-the-sleeve, soundworld encountered intheUKandfor students to inhabit fresh passionandphysicality to theACO rarely them. It’satrulyvisceral experience –there’s a and drive isnothing shortof gamechangingfor of anensemblepossessingsuchvibrant energy into thebandandto sitwithinthepulsingheartof Chamber Orchestra. To bewarmly welcomed side by sidewiththeplayers of theAustralian for studentsof theGuildhallSchoolworking It’s hard to imagine the sheerspine-tinglingthrill Jonathan Vaughan, Vice-Principalof theGuildhallSchool,writes: beauty andtheirrelationship withmankind. the subjectismountains: theirdanger, their music of many stylesanderas. Thistime, withasoundtrack thatdrew on that combinedimagery of north-western Reef residence, in2016–17, they presented The lasttimetheACO andRichard were in imagination anddaringof theseplayers. music comesupnew thanks to thesheer ensemble willknow, even themostfamiliar as anyone familiar withthework of this with Mozart’slastthree symphonies but, We may begininrelatively traditional territory its brilliantlyinnovative director Richard Tognetti. Court, theAustralian ChamberOrchestra, and International Associate EnsembleatMilton Welcome to thisresidency featuring our Welcome is aprimeexample of apartnershipworking at alongside theBarbican andtheACO’s residency , amesmerisingaudio-visualexperience The The the very highestlevel. It’saproject thatcombines Head of Music Huw Humphreys I hopeyou enjoy theresidency. featured initsvery first concertback in1975. a work closelyassociated withtheACO, having 2017. TheconcertendswithBartók’s highly successfulside-by-side collaboration in from theGuildhallSchool,inafollow-up to the Verdi. Theorchestra isalsojoinedby musicians Nicole Car, whosingsariasby Beethoven and joined by theacclaimed Australian soprano For thefinal concert,theACO andRichard are every bitascompelling written by Richard himself,promises to be by Renan Ozturkandmusicselected and by Jennifer Peedom, withcinematography The film us. Athrillingexperience! electrifying, andsomething we alltook away with us students.Theenergy we allfelt onstage was attention to detail setagreat example to allof an inspiringcollective of instrumentalists. Their one another anditisajoy to bepartof such while demandingthevery bestqualityfrom special; they maintain arelaxed atmosphere atmosphere inthischamberorchestra isvery ACO/Guildhall side-by-side project in2017. The It was anabsolute pleasure participating inthe their 2016–17 residency: previous collaboration withthe Schoolduring Guildhall School,participated intheACO’s Violinist Juliette Roos, currently aFellow atthe both institutions. artistic idealsandtheeducationalambitionsof Mountain , written anddirected The Reef . Divertimento , 3 Welcome 4 time of theirmarriage onwards, Mozart turned have beenaninspiration to him,becausefrom the Mozart loved each other andshe certainly must handling money asMozart himself.Butsheand as timewas to prove, shewas as hopelessat Leopold’s eyes –from adisreputable family, but Not onlywas Constanze pennilessand–in that would lastuntilLeopold’sdeathin1787. increasing estrangement between father andson was predictable –blindfuryandthere was an married Constanze Weber, Leopold’sreaction made Mozartseniorapoplectic.When whose very presence intheyounger Mozart’slife offered himplentyof amorous interest and with theWeber family whosevarious daughters that, from Leopold’sperspective, hemoved in unpleasant andunhelpful letters. Worse than wrote to hisfather askinghimto stop writing Soon after hisarrival inVienna1781, Mozart Tognetti Richard Orchestra Chamber Australian Trio: and Allegretto 3 Menuetto vivace 1 Allegro ‘Jupiter’ Symphony 41 Cmajor, No in K551, Trio: and Allegretto 3 Menuetto allegro 1 Molto Gminor,Symphony in 40 K550 No Trio: and Allegretto 3 Menuetto –Allegro 1 Adagio major,Symphony Eflat 39 K543 in No Milton Court Concert Hall 7.30pm October 22 Monday

director & violin &violin director . 2 Andante 2 . 2 Andante cantabile . 2 Andante con moto con 2 Andante . . . 4 Molto allegro assai 4Allegro Allegro 4Finale: exaggerated. Thelater Vienneseyears, from 1787 make for compelling reading, they are somewhat stories of near-starvation and lack of appreciation composing these great symphonies. While the which Mozartsupposedlyendured whilehewas Much hasbeenwritten aboutthesuffering satisfy commissions. he himselfwanted to write –rather thanhaving to when Mozartactually found thetimeto write what perhaps itwas simplyoneof those rare instances them orwhetherperformances were planned,but than sixweeks. No-oneknows for whomhewrote Nos 39, 40and41 –inthespace of littlemore three greatest works intheform –now known as attention back to thesymphony, composinghis reason, duringthesummerof 1788 heturnedhis the pianoconcerto. Andthen,for noapparent particular successinthefields of opera and out masterpiece after masterpiece, enjoying

(1756–91)

Guest in orchestral thunderingthatmightgreet theStone juxtaposed oncemore withthekindof ominous promise of typicallyMozartian elation,onlyto be radiant shimmerof stringsfills thescenewith but then,like sunlightbreaking through clouds,a drama orplay. Grave chords announceportent, of aslow introduction –it’shard to tell ifthisis symphonies follow theHaydnesque convention very first bars –onlythethird timethatMozart’s enigmatic moodof thework asawhole.From the K543, isparticularlyintense, inpartbecauseof the first of thethree final symphonies, inE flat major, Speculation over theoriginsandmeaningof the achievement. even today, remain atthe pinnacle of artistic saw thecompositionof three symphonies which, resources andthe periodof Juneto August 1788 similar impoverishment withinMozart’screative followed inquicksuccession. But there was no make any money.’ Three more similarletters , thateven whenIwant to, Icannot in part,‘Fate issohostileto me,butonlyin Puchberg inJune1788. ‘Unfortunately,’ itread The first was sentto fellow mason Michael than thelast. all between 1788 and1791, each more desperate to hisfriendsbeggingfor money. There were 20in symphonies, Mozartwas sendingletter after letter is thatby thetimehecomposedhisfinal three problems are difficult to assess, whatwe doknow But whiletheexact causesof Mozart’sfinancial lots of high-qualityfurniture. to work, heowned hisown billiard table and had own horseandcarriage. Hehad plentyof room helpers. From timeto timeMozarteven owned his a permanentservant andvarious other household doing very well financially. HeandConstanze had before theappointmentto thecourt,Mozartwas Contrary to whathewrote to hisfriends,even modest butreliable income. Viennese imperialcourtinvolved littlework for a love, andhisappointmentasacomposeratthe contentedly marriedto awoman whoreturned his level thanhehad ever beenbefore, hewas Prague had made himhappieronaprofessional weight from hisshoulders,operatic successin of hisfather in1787 had, curiously, lifted agreat some ways personaltriumphfor him.Thedeath onwards, were infact aperiodof artisticandin the more intense, postfactum, by the knowledge There’s aforeboding here attheoutset,made all Don Giovanni. Tension iscreated atthe outsetthrough theuseof one.’ that onecouldnot possiblyfail to arrive atthis consistently andcontinuouslybeautiful…Ithink by any composeristhemostserenely, themost wrote, ‘ifonewere asked to considerwhichwork of thehighestcreative inspiration. AsEricBlom But rightfrom thestart, it’sclearthatthisisawork comfortably’. account inhispleading letters, ‘agreeably and process, despite hisliving,inanother contradictory thoughts’ whichwere intrudingonhiscreative this timehewas fighting abattleagainst ‘dismal we know from hiscorrespondence thataround indeed very soothing andconsoling’.Certainly … isnot onlynolongerterrifying to me,butis and truestfriendof man…[thethoughtof which] year, where hedescribed deathas‘thatbest with aletter Mozarthad written intheprevious prevailing moodof happiness-within-high-drama Autobiographically it’spossibleto alignthe codes more often linked with changes suggestingthekindsof secret Masonic key signature of E flat majorandrapid mood 6/4 chords, hornechoesinthemaintheme, an associationwithFreemasonry, itsstrange miraculous trilogy‘mean’?For some,there is So whatdoesthisfirst instalment inthenear- June 1788. days after themanuscriptwas signedoff on26 Theresia diedfrom intestinal cramps justthree that Mozart’sbeloved six-month-olddaughter emerging from the earthto sniff around the one almostimagines someanimated creature rising figure thenbeginstheslow movement – A hesitant butnevertheless determined little rousing the movement concludes, fanfare-style, witha to anelaborated version of thefirst theme,before more usual oboes.Abriefdevelopment thenleads which here inthissymphony take theplace of the making particularlyplaintive useof theclarinets The secondsubjectismore muted, withMozart and descendingscalepassages intheviolins. embellished throughout by trumpetsandtimpani, essentially acantilenaemerging from stillnessbut being thesource of thebeauty. Themainthemeis of beauty–indeedof thatvery transience itself shades, asifever-conscious of thetransience Mozartian moodnow tingedwithautumnal noble key of E flat major, itstypicallyboisterous as theAllegro proper enters, thisresolves into the timpani andacertain harmonicambiguity, but tutti flourish. flourish. The Magic Flute .

5 Mon 22 Oct 6 Wagner commented onits‘indestructiblebeauty’; interpretation of thistheme’smeaning. Richard Everyone, itseemed,had theirown private vital aspectof thework’s enduringappeal. between passionandarefined senseof style is a so elegant.Indeed,thisextraordinary balance themes inallmusic.It’snolesstragic for being in octaves state one of themostfamous opening Over apulsatingviolaaccompaniment, theviolins instrumental works. whose hauntingbeautydominated Mozart’slater performed withtheclarinets–instrument by Mozart.Inany case,nowadays ittends to be performed anunidentified ‘grand symphony’ the great clarinettistsJohannandAnton Stadler, when anorchestra underSalieri,andfeaturing clarinets may have beenadded inApril1791 and onewithout.Ithasbeensuggested thatthe versions of thesymphony, onewithclarinets ‘Romantic’ 39th).Mozartwrote two different other symphonies (even more thantheso-called it appealto theRomantics more thanany of his It isfilled withatempestuous passionwhichmade the finest of themall. Quartet, K478. Butthe40thSymphony isarguably think of theString Quintet, K516, orthePiano music of profound emotional turbulence–just G minor, akey thatalways brought from him minor keys, both of them(Nos25and40)in Among Mozart’ssymphonies, onlytwo are in creative spirit. to restrain andoppress Mozart’sindomitable circumstances of theeveryday thatfought invain first time,thegaietytranscending whatever that unbridledjoy isfinally released for the emotionally equivocal of Mozart’ssymphonies It isonlyintheAllegro finale of thismost in theTrio. glorious themeshared between thetwo clarinets rustic dance–isinstantly recognisable, asisthe The melodyof thefamous Minuet–essentiallya and clarinetparticularlyto thefore. with themuted instrumental coloursof bassoon tossed back andforth between stringsandwind, gets underway, itsthree key thematicgroups movement proper, predominantly inA flat major, it proceeds beyond itsimmediate locale.Thenthe surroundings, gradually growing inconfidence as from three-bar phrases andagain witha The Minuetisscarcely innocenteither. Created flutters punctuatingitsonward progress. a kindof throbbing effect, withlittletwitches and rhythm isdisrupted by displaced accents. Ithas Haydn’s mostchallenginglater symphonies, the around clashesof asemitone, and,asinsomeof continually introduces. Themovement isbuilt weren’t for theunsettlingeffects whichMozart In E flat major, itwould perhapsbeserene ifit It’s theviolasthatgetAndante underway too. work’s finale. Mozart –butinthatitwillbeoutdoneby the It’s oneof themostchromatic movements inall year away. Themodulations doasimilarthing. beginnings of theFrench Revolution were justa reminder thatatthetimeof itscompositionthe once again inapassionwhichprovides asalutary threatens to –andfrequently does–break out at itsmostelegant,thisopeningideacontinually rhythm dominates thisopeningmovement. Even major, thedistinctive two-quaver one-crotchet While there isanauthenticsecondsubjectinthe reported to have said. orchestra, andthenI’dbelieve it,’Mendelssohn is violas, played onthepianoasthey soundinthe minor Symphony, withthatdelicate figure onthe just like to hearthefirst eightbarsof Mozart’sG piano couldreproduce any orchestral sound.‘I’d rebuke to Liszt,whohad proclaimed thatthe grace’; while,for Mendelssohn,itoffered astern Robert Schumannwrote of its‘floating Grecian interval so muchbeautyout of somuchapparent pain. fluency. No other composercouldhave achieved remains thatcharacteristic Mozartiangrace and And yet, amidallthedisturbingemotion there must have soundedto Mozart’s contemporaries! it willhave touched all12 notes. How bizarre this and chromatic –before themainthemeisdone first movement becomeeven more pronounced speed andintensity. Here themodulationsof the Symphony), themovement lurches into life with Beethoven would employ intheScherzoof hisFifth as a‘Mannheimrocket’ (not unlike thatwhich From aneight-note ascendingfigure known of thesymphony returns inthefinal movement. The agitation whichhascharacterised somuch clouds. major whichislike aray of sunlightthrough dark pronounced dissonance,itenclosesaTrio inG 20minutes aria asthesecondof two subsidiary themes works inthiskey, buttheintrusion of thecomic mood whichisquite typicalof Mozart’sorchestral which openthesymphony establish animperial The abruptfanfare and grand Allegro vivace in 1791. remained before thecomposer’spremature death subsequent symphonies inthethree years that say intheform –hencetheappearance of no predecessors, Mozarthad saidallheneededto can almostimagine thatinitanditstwo illustrious invention, andsocomplete instructure, thatone symphonies of Mozart’smaturity. Itissorichin a fitting conclusionto themajesticsequenceof – butinterestingly withnoclarinets–andforms bassoons, horns,trumpets,timpaniandstrings The 41st Symphony isscored for flute, oboes, support itssuitability. the absenceof any internal orexternal evidence to Whatever itsorigin,thenicknamestuck,despite as Englandembraced Mozart’slater music. piano by MuzioClementiin1823, Mozart’s lifetime, onlygainingpopularityina unknown andquite possiblyunperformed during score ‘Sinfonia’. Thework remained virtually the ‘Jupiter’ atall–hesimplyheaded the But infact Mozartnever calledthissymphony appropriate.perfectly that thetheme’suseinsymphony issomehow of thefirst movement. It’sameasure of hisgenius the otherwise solemnandsplendidmaintheme used thisfrankly sillylittleinscriptionto round out Here inthemanuscriptof hisfinal symphony he aggrandise hisown musicalaccomplishments. No 41. Butthen Mozartwas never oneto celestially titled‘Jupiter’, Mozart’sSymphony normally anticipate whenencountering the the stately orgod-like sentimentwhichonemight A spoof onSignorPompeo’s ignorance ishardly a prominent place inhisfinal symphony. months later, Mozartre-appropriated itfor usein have beenforgotten by history had not, afew playing inViennaatthetime.Theariatoo might use insomeforgotten It was tossed off withoutmuchthoughtorcare for Pompeo! Golearnabitof theways of theworld.’ the words ‘You’ve butasluggishwit,DearSignor In early1788, Mozartcomposedacomicariato opera buffa by Albertarelli Whereas inMozart’searliersymphonies the tour deforce all, itprovides afascinating context from whichthe its apparent modestyisdeceptive. Perhaps mostof whole, anditschromaticism issofar-reaching, that integrated into thefabric of thesymphony asa string figures attheopening),itsTrio issoclosely subtlety (listen inparticularto thegentlyarching with superficial simplicity. Butitisscored withsuch Amid theheroism whichsurrounds it,thisemerges this great symphony’s leastunderstood movement. Haydn alsoadmired theMinuet,whichisperhaps he heard of Mozart’sdeath. No 98, whichhewas inthemidstof writingwhen He quoted thismovement inhisown Symphony Mozart’s slow movements. Haydn thoughtsotoo. chromaticism make thisoneof thegreatest of unsettling andthesyncopations andoccasional punctuated by stridentchords. Theeffect isoddly C minor inwhichexpressive figures for stringsare in mood–thismovement proceeds towards a outset onmuted –melodicanduntroubled Mozart’s mosteloquent slow movements. From the The Andante cantabile inFmajorisoneof permeated theearlypartof themovement. and areturn of thevaguely military feel which fanfare thenlead into therecapitulation proper of audacious modulationsbasedontheopening a ‘false recapitulation’ halfway through. Aseries development whichfollows –includingsettingup comic themeprovides thebasisfor muchof the provides thenecessarycontrast. Indeed,that Programme note ©MartinBuzacott achievement. enjoyment –perhapsafter allatrulyOlympian composing never getsintheway of the listener’s in whichtheastonishing technical facility of the movement distinctlyhisown. It’samasterpiece Michael Haydn, buthemakes thisconcluding probably found the modelinthework of hisfriend is insonata form withfugato episodes.Mozart finale’, althoughstrictlyspeakingthemovement knew thiswork as‘theSymphony withthefugal structural complexity that19th-century Germans of contrapuntal inventions. Infact there issuch finale andMozartputsthemthrough allmanner weight to theend.There are five themesinthe the first one,inthisfinal work heshiftsthedramatic weightiest movement –aswas traditional –was finale canemerge.

7 Mon 22 Oct 8 Fiction FilmsProduction, inassociationwithCamp4Collective &Sherpas Cinema Presented by Screen Australia andtheAustralian ChamberOrchestra; aStranger Than Paul Wiegard, David Gross, Stephen Boyle, Myer Martyn Joseph Nizeti Jo-anne McGowan Robert Mackenzie David White Christian Gazal,Scott Gray Willem Dafoe Robert Macfarlane Renan Ozturk Richard Tognetti Jennifer Peedom Creative Team Cooper Damien Jamieson Nigel Timo-Veikko Valve Ike See Helena Rathbone Vänskä Satu Cislowska Tamara-Anna Tognetti Richard Orchestra Chamber Australian odyssey musical and acinematic Mountain: Barbican Hall Tuesday 8pm October 23 violin sound designer sound designer

violin & violin voice music editor &musicsupervisor narrator principal cinematography musical director &composer staging director staging lighting design writer, director &producer artistic sound mixer violin narration scriptwriter producer cello director & lead violin &lead director piano ase

editors

ao

executive producers

Maria Boyadgis Robert Macfarlane The mountains we climb,are mountains of themind. dreams, anddesire. The mountains we climb,are not made onlyof rock andice,butalso of their dominion…often atthecostof ourlives? How thenhave mountains now cometo holdusspellbound,drawing usinto sought out. Mountains were places of peril,not beauty. Anupperworld to beshunned,not attraction. The ideascarcely existed thatwildlandscapesmightholdany sortof considered anact of lunacy. Only three centuriesago, setting outto climbamountain would have been summit? What isthisstrange force thatdraws usupwards –thissiren-song of the To thosewhoare not, theirallure isakindof madness. To thosewhoare enthralled by mountains, theirwonder isbeyond alldispute.

9 Tue 23 Oct 10 Maria Boyadgis performance of the text. This was completed by WillemDafoe’s brilliant part inbringingthewholenarrative together. Robert Macfarlane’s words were thenanessential a scene,andhewould write something bespoke. would talk aboutwhatwe were tryingto express in those masterpieces. Inother cases,Richard and I recordings intheedit,andcraft images around I would listen andrespond to existing ACO responding musicallyto thoseideas.Meanwhile, Ozturk’s amazingcinematography andstarted Richard had avery visceral reaction to Renan Our process was very organic from thestart. proved. most important aspectof theproject. Andsoithas knew that,inthiscase,thecollaboration was the Film-making isalways aboutcollaboration butI for live performance butalsoasastandalone film. that marriedmusic,images andwords, not only The creative challengewas to make something which Ihad beenafan for many years. the chanceto work withthisincredible orchestra of an opportunitythatimmediately excited me,asdid nature of humanrelationships withmountains was The notion of expressing musicallyandvisuallythe approached mewiththeideaof thiscollaboration. It was over three years ago whenRichard Tognetti Jennifer Peedom, director of About theproject Jennifer Peedom Mountain , writes: at speed(inwingsuitsorskiswhatever your Whether itbethegoons’rodeo of goingdownhill mountains. majesty andhorror thatistheallure andportent of an experience thatbeckons theviewer to the opening aportal through whichwe concoct abstraction of musicunderscores andcaptivates, and for themost part shot by Renan Ozturk,the the stunningimages curated by JenPeedom, ‘Mountain’ draws you into thisworld. Through mountain canbringyou closerto humanity. thoughts brighter, andbeingaloneatop a Being inapitch-dark room canmake your writes: Richard Tognetti, musical director of great joys of thiscollaboration.’ elements into hiswonderful score was oneof the was ableto somehow incorporate both these relationships to mountains. Thefact thatRichard a more interesting, complex exploration of our believe thatthishasultimately made thefilm beauty, Richard would seehorror andterror. I very different ways. Where I’d seemajestyand sequence of images, yet respond to themin was thatRichard andIwould watch thesame One of theinteresting revelations inthisprocess which sanepeoplewould not otherwise dwell. ‘Mountain’ attempts to bringyou into thesespaces of any kind. soloing istheartof climbingwithnoropes oraids are sittingdown whenyou’re reading this:free name is(seriously)Taylor Freesolo Rees. Itrustyou Capitan, free soloing.Incidentally Renan’s wife’s Alex Honnold–whoonlylastyear summited El the rock face, asafellow climberwiththelikes of just amanwithcamera; helives inactuality on Renan, thecinematographer for ‘Mountain’, isn’t hand, transcends itall. geographical drama. TheBeethoven, ontheother original musicattempts to inhabitthisphysical and only ageneration ago seemedunassailable,the poison) orascendingrock-faces inslow-mo that Mountain , from Shutterstock.com licence under used is Violin Beethoven alongside presented footage Snowfall ** Winter * abridged mosso poco un –Adagio 73, ‘Emperor’ Op major, Eflat 5 in No Concerto Piano Beethoven van Ludwig A Final Bridge Tognetti Richard 61 Op Dmajor, in Concerto Violin Beethoven van Ludwig Fratres Arvo Pärt Grief Nizeti Joseph High On Tognetti Richard Bites Madness Nizeti Tognetti/Joseph Richard Flying Tognetti Richard Für Alina Arvo Pärt RV315: Presto –‘Summer’, Seasons Four The RV580 Bminor, in – Larghetto cello and violins four for Concerto RV297: molto –‘Winter’, non Seasons Allegro Four The RV580 Bminor, in –Allegro cello and violins four for Concerto Vivaldi &strings) piano (arr Djilile Sculthorpe Peter –Prelude 40 Op Suite, Holberg Grieg Edvard 2 No 27 Op major, Dflat in Nocturne Fryderyk Chopin (for strings) Djilile Sculthorpe Peter Monsters and Gods Sublime; Majesty; Prelude; Tognetti Richard The music

*

*

*

** * – Larghetto * ; Allegro

11 Tue 23 Oct 12 narratives of existential challengeandfierce intersect – we find transcendent Romantic particularly where theseartforms alchemically constraints. Across art,music andliterature –and ideas of both human spiritualfreedom andbodily The experience of theSublime was appliedto creatively amplified. experience to besoughtout,documented and enlightenment –acomplicated realm of spiritual hazardous, terrifying cruciblefor wonder and presented thewildenvironment asanecessarily a parallel bodyof artwork exploring theSublime meditative aspectof countrylife. Bysharpcontrast, a forensic eye for light,weather andthe calm, out reflection and divine beautyinnature, with tradition split intwo. ThePastoral tradition sought visual arts,the19th-century Romantic landscape The Romantics Also sprach Zarathustra Friedrich Nietzsche, human hubbub!’ Freed atlastismy nosefrom thesmellof all nostrils doIagain breathe mountain-freedom. ‘One shouldlive onmountains. Withblessed Lord Byron, All objects,ifcompared withthese?…’ With apure passion?shouldInot condemn Is not thelove of thesedeepinmy heart Of meandof my soul,asIof them? ‘Are not themountains, waves, andskies,apart The Sublime humanity’s relationship withhighplaces. and enhanceJenPeedom’s penetrating lookat draws ontherichhistory of both forms to illustrate Pärt) , Grieg) and20th/21st-century (Sculthorpe,Arvo (Vivaldi), Classical(Beethoven), Romantic (Chopin, score withmusicalworks drawn from Baroque conflict withnature. Bringingtogether anoriginal military conflict andsocialdiscord cominginto and character of humancities,urbanroutines, highlights aworld outof balance:therhythms the Americannon-narrative film essay, music of theindividualwithinthem.Intradition of mountains included,andhighlights thestruggle and terror of sublimenatural environments, Romantic tradition, musicpaintsthebeauty in thetraditions of both formats. IntheEuropean a work of cinema, Conceived asboth alive performance pieceand Childe Harold’s Pilgrimage adored Mountain Mountain

their mountains. In the theirmountains. Inthe (1883–5) ’s musicalprogramme hasitsmusicalroots (1812–18) music drama magical fire andNorsedestiny, andinhisfinal imprisonment andrelease of Brünnhildeamid his peaks. Wagner’s fire-brimmed mountains in suicide withelemental spiritsamongthemisty forgetfulness from distress, anddebating sees ourlonehero guilt-stricken, seeking private life fell undercripplingpublicscrutiny) written duringhisretreat to theSwissAlpsashis on Lord Byron’s metaphysical ‘closet’drama, Schumann’s 1852 melodrama Sublime, given theirvast proportions. Robert visually thedepthof investment inthemountains anxiety andawe. Itiseasy to comprehend explorations of self-actualisation, destiny, past for indulgingsubjective andintense board thantheshadowy hellsof centuries environments proved astronger sounding- philosophies of Romanticism, mountain Classicism to thestormy, biographical from thegaietyandreason of Enlightened As theheartsandmindsof composersswung century artists. became iconicenvironmental inspirations for 19th- trials in Hades in cleansing –asinClaudioMonteverdi’s dive to opera take usviatheUnderworld for moral the mosticonicworks of Baroque andClassical composers were entirely alongfor theride.While artists fell inlove withthenoblestingof terror, of gods,monsters andtheabyss. AsEuropean independence against thestrange magical might with cinematographer Renan Ozturk’sstunning 2013, to pairsuch Richard Tognetti andI tried,asearlyon described. The Sublimeterror andawe theRomantic poets is perhapstheultimate musicalexpression of moment whenZarathustra speaks to thesunrise humanity. Strauss’s epiphanicsettingof this meditation to share hiseccentricwisdomwith Zarathustra emerging from years of mountain Zarathustra iconoclastic philosophicalnovel representation. FriedrichNietzsche’s both philosophicalabstraction andpictorial of mountain worship reaching extremes of of Richard Strauss, we seerepresentations Moving through to the late-Romantic works temple. mysticism plays outinaninaccessible mountain Ring The Magic Flute cycle (first performed 1876) stage the L’Orfeo begins withthehermitprophet Parsifal (1607) andMozart’sMasonic bona fide supernatural Christian (1791) –high places ‘Mountain music’ ‘Mountain music’ Manfred Also sprach (based (based cinematic narrative andpacing of in nothing butfabric wingsuits.To supportthe we had not made sportof leapingoff of them to power andwarm them.More importantly, and lodges,norharnessedtheelectricityessential not riddledtheworld’s mountainsides withski-lifts tanks andaeroplanes necessaryto doso.We had their highestpeaks, letaloneinvented theoxygen constrained by reality. We had not yet conquered European musicalrepresentation remained their magical pull(both holyandprofane) –their mountains –theiroverwhelming physical size, For allof thesepictorially thrillingaspectsof whom JenPeedom had encountered richtroves. countless other ‘extreme’ sportspractitioners of shot athleticismof theski,snowboard, BMXand did far too littleinengaging withtheremarkably work amongthemountains. Strauss’s musicalso and women whoputtheirlives atriskto live and to illuminate theextreme fascination of themen film aboutpeople,howling percussion didlittle spoken for by Renan’s footage. Rather, for a the marvels of whichwere already well andtruly the acoustic paintingof environmental effects, snowstorms, where theexcitement isfound in appropriately ambiguousorathleticinStrauss’s is conceptuallyapposite, there isnothing This isrichlyillustrative music,and,whileit programmatic terms andacoustic impressions. ascending amountain inthe mostliteral tone poem(1915) takes theexperience of suspicious atbest.Strauss’s imagery, buttheresults were contrived or Disney’s audio-visual cinematic experiments suchasWalt and poeticagenda which was absentinearlier juxtaposition of musicandimage –witha political narration, they communicate primarilyviatheir crisis, atwar andthrough time.Bydispensing with cinematic essays, they investigate theworld in environments withthevaster natural world. As routinely contrast therhythm anddesignof built rooted inMinimalismandambientmusic, These cultfilms feature scores stylistically Samsara Fricke andMichael Stearns ( and and PhilipGlass( composer collaborations of Godfrey Reggio heritage intheAmericanexperimental director/ For acinemaaudience, Experimental Cinema musical netwas castmuchwider. Fantasia ). ). ) andthecollaborations of Ron . Mountain Eine Alpensinfonie Chronos , has a clear hasaclear Mountain , Baraka

, the , the and and

rich world of film musicitself are minedfor their Minimalism, electronica, popmusicandthetrope- of performance traditions, gestures andideas. original score stylisticallydraws onawiderange with asimilarlybroad scope.Richard Tognetti’s and likewise features musicalpointsof reference sweep –having beenshot onevery continent– film includesvisualswithabroad international on another ACO film project: of musicaltools, quite different from thoseused The telling of White hasit: possible forms. Or, assounddesignerDavid the film industryattest –themostpotent of such the scale,longevity andcultural pre-eminence of works. Filmisasynaesthetic form, perhaps–as unlocking thelayered greatness of new orfamiliar emotional orconceptualframeworks for and by introducing entirely new philosophical, the usualcontext of classicalmusicconsumption, potential to challengeandenrichby upsetting hallowed temple of aconcerthallhastheunique Having musicmeetwithcousinartforms in the and BarryHumphries’shape-shiftingvisage. Bill Henson’sluminousandaching photography ’stranscendent words andimages, Frank’s oceanandurbancinematography, through, amongmany others, thelensof Jon has invited audiencesto ‘seemore inthemusic’ Across more thanadozenprogrammes, he Chamber Orchestra for almost20years now. Tognetti’s artisticdirection of theAustralian of senses,hasbeen acore conceptinRichard Synaesthesia, theperceptual cross-triggering crystalline toward the rubato pianoentriesof Arvo Pärt’s piano melodyisfocused andserious.Itpoints preservation instinctsintact. Thelonemid-range music ishere for thoseviewers withtheirself- does not experience fear like therest of us.The that hisinnerwiringishighlyatypical –he Alex: scans of hisbrain have demonstrated have ever conceived. Themusichere isnot for Nietzsche more vividlycorrect thanhecould ground withoutropes oraharness,proving in thePrelude, hundreds of feet above the climber Alex Honnoldsmilesmadly to himself all tragic plays andtragic realities’. Free solo climbeth onthehighestmountains, laughethat Nietzsche wrote in Original Score associations. much asthey are for theircontemporary cultural sounds, rhythms andharmonicmanoeuvres as Für Alina Mountain Mountain Zarathustra , whichchimefor effortless is a poem. isapoem. demanded its own set demandeditsown set The Reef that ‘He who that‘Hewho . The . The

13 Tue 23 Oct 14 The landlookswhite andsmooth like whey, That includesonlythefarthest mountain crags. In asun-filled, openexpanse Then Iseeafilmy mistrising I feel airfrom another planet … Schoenberg’s String Quartet No 2: I putto Richard from Stefan George’s text to indeed ‘Airof Another Planet’,asuggestion in itch to explore total existential terror anddread retreat to BanffinwhichTognetti developed an Sublime bird’s-eye view for up andover themountain range preparing our in awash of bowed percussion, the camera lifts takes over thisthemeandthepiecedissipates bold, tenacious melody. After thefull ensemble violin swells andtests thechromatic edgesof a enormous mountainside, Richard Tognetti’s solo rise alongsidethemonochromatic profile of an calls andwarping stringaccompaniment. Aswe bubble into focus, beckoned onward by horn the openingcue,violinandpianoarpeggios fore asaprimarystoryteller. Crossfading outof inspired narration asacharacter inthefilm, theBartók- Just asthePrelude introduces WillemDafoe’s mental andphysical achievement. opportunity itpresents Alex for transcendent allure of thisabsurd challenge,andtheunique while theglowing woodwind chords argue the tremolo keep usleaningforward into thepicture, of sweat anddustinthebuzzingstringensemble above America’sgorgeous canyons. Theflecks (though thankfully, tethered) slack-line walkers frenetic emotion boilsover we find repose with result isbold,searing and strange. After the explore andenjoy them defensible? Thefinal places alluring,andare therisks we take to the heartof thefilm: why dohumansfind high this emotional cocktail we find thequestionsat fantastic yearning withtraumatic anxiety. In a traditional Outer Hebridesfolk song, blending Danny Spoonerintoning the‘Callof theSeals’, more alluring ledto theinterpolation of thelate recommendation to make thescoringhere Symbolist poetacenturybefore theirtime.Jen’s visuals; astral projections predicted by a These are Renan Ozturk’sgorgeous aerial In aseaof crystal radiance … I feel asifIamswimmingabove thelast cloud I climbover enormous canyons. Mountain was originallyconceived duringa2013 Majesty . Theworking titlefor thiscuewas bringsthesoloviolinto the Sublime . aggressively pulledoutfrom beneathourfeet. synthetic effects beginto creep inandtherugis are leftadrift after thesong’sclimax, discordant viewer into thefilm’s mesmerisingdetail. Whenwe shifts around vocalist SatuVänskä, inviting the town over acliffface astheensembleswells and an extended shot of awingsuiter flying towards a for thefilm, isvulnerable andvast. Atitsheartis Flying segue seamlesslyinto ’s and bassoon,whichistaken upby stringsto of Nepalare accompanied by aduetfor clarinet spiritual culture of dailylife amongthemountains leave themistygodsbehindus,images of the reciprocal giftsfrom composerto director. Aswe Peedom’s love of thatinstrument–three little their filmic contexts asthey were by director Jen too in appear in unconscious. Thesoaringcellosoloswhich which oncedwelt onhighwithinourcollective soloists whotussleastheancientcreatures chordal basisfor thissection,supportingthe Concerto for four violinsandcelloforms the featured inthemiddlemovement of Vivaldi’s searching Bminorharmonicprogression triple solofor cello,bassandpiano.Theexotic, Gods andMonsters original score simmersdown into leanertextures. After themassive weight of thesecues,the and earnthestrikingarrival of thetitle. our two distant figures embracing onthesummit, stoically from thefull stringensemble,andthen with animpassioned minor-key melody, first Everest. Thelooping,layered drumsare met with anovercrowded andincreasingly polluted the tireless efforts of theNepaleseSherpaguides Peedom’s 2015 documentary from footage acquired duringtheshoot for Jen rich The score thenswitches to thesteadier, percussion- themselves, andhalfinlove with oblivion.’ who travel to mountain tops are halfinlove with persuasive adrenaline of thesequence:‘Those on thenarration to deconstructandchallengethe vocalist fullycommitto itsbombast,sowe lean Expressionism. To function,themusiciansand generation alongsidedissonant20th-century extreme-ski-crash-reel montages of theYouTube surges of strings–invoking thedime-a-dozen drums, detunedsynths andguitar-thickened Madness Bites On High , thefirst of two contrasting songswritten Flying Gods andMonsters and . This sequence, visually assembled . Thissequence,visuallyassembled spews arrogance withitscrashing Grief opens with an unusual openswithanunusual ) were asinspired by Sherpa (andlater on , contrasts , contrasts Djilile . Gods andMonsters fitting asasequelto theancient strangeness of the sublimeNepalesepeaks. Pictorially, itis gorgeousness to theritualsof dailylife among here, rolling andbreathing withrestrained music forms theperfect bridgefor theimagery rapturously received proposal. Sculthorpe’s the inclusionof three-year process of meldingmusicandimage, 1950s. DuringRichard Tognetti andJen Peedom’s by ethnomusicologistsinArnhemLandthe Australian melody, inthiscaseonerecorded ‘whistling-duck onabillabong’)anIndigenous Sculthorpe basedhis piano andstrings. in anewly approved abridgedarrangement for Peter for Richard andtheACO in2001) andthen Firstly, in anextract for strings only(created by this performance, Fratres or think of thedifferent instrumental realisations of reversioning works for different ensembles–just and 1970s. Both composersalsoshare ahabitof forms of stylisticexpression through the 1960s created theirown highlypersonalandspiritual century European tradition, inspite of whichthey Australia. Both were trained inthecerebral mid- national musicalpridesof theirnative Estonia and Arvo Pärtandthelate Peter Sculthorpeare the Musical Selections world’s disinterest inus.’ indifference, hasfelt abrief,blazingsenseof the who hasbeenaround mountains knows their warning given lastinthenarration: ‘Anyone as arevelation, andasconsolationfor thecold chord of Beethoven’s FifthPianoConcerto comes ambience of the film’s structure. Asthegongsandstring was achieved to maintain thesmooth flow of were satisfied thatsufficient space andcontrast modulate between them,thecreative team the compositionof indulgent, orworse, luxurious.However, after period Beethoven slow movements would be concern thatconcludingthefilm withtwo middle- During theinitialeditingof thefilm, there was finally metwithdevastating loss. avalanche, aftermath of thedeadly 2014 MountEverest ice Accompanying unsettlingvisualsof theemotional as amore anxiousduetfor soloviolinandcello. personally resonant. personally resonant. Asian aesthetics whichthecomposerfound so thehalf-dozenrealisations of Grief Bridge Djilile seesthisanxietyunravel asriskis Djilile A FinalBridge andasaninvocation of the dieout,thefirst glowing was the most quickly and was the mostquicklyand Djilile appears at two points. appearsattwo points. (whichtranslates as to link and to linkand Djilile . For . For come from thedomesticsalonsof the19th century, Stylistically, Chopin’sNocturne,Op 27No 2 may of thefilm are nostalgic, stirringandsincere. cropped film footage of the‘archival’ section The pairof works whichcomplementthegrainy, it cools,cracks andhardens into fresh terrain. us through time-lapsephotography of thelava as and bassdrumto ringoutceremonially, speeding steam. Occasionally, thepiecepausesfor claves drone of stringswhichembodiesthemiasmic deep orange lava from theground above arich into theocean.Thesoloviolinurges theflecks of locks onto theimages of Hawaiian lava spewing harmonic conflict andresolution. left andrighthandsof thepianodriftinandoutof visual synchronisation withthehorizonjustas between two rock towers, slippinginandoutof Lone figures walk across animmenseslack line space, muchof extreme advantage of compositionalnegative framework of familiar harmonicfunctions. Taking hear consonancesanddissonanceswithinthe tension andrelease, andinviting theearto the listener to engage withclearpatterns of structurally sharpandtexturally sparse,inviting ‘white pianokey’ notes. Pärt’scompositionsare out inpointillisticstacks of ambiguouslymodal techniques are not mathematicallyriggedto spin school of Minimalism,however, theserelated Alina ( are juxtaposed withrecurring cycles of chords tintinnabuli Für Alina Grieg isallwide-eyed diatonicism andblissful yearns withdreamy, searching chromaticism, the dynamic sequence calledfor. While the Chopin harder to place intime,whichisexactly whatthe anachronistic style.To modernearsit’seven the quest to summitEverest inparticular. Griegwrote to showcase theambitionof themid-century mountaineering, whileramping upin intensity this impression of nostalgia for thepioneersof Grieg’s mountaineering beyond whimsicalday walks. and hintsattheemotional riskandreward of to thispiece.Itturnsboldemotional corners fewer than60alternatives butkept comingback editor ChristianGazalandIsifted through no for apiecewhichwas both naive andsumptuous, have assured theircontinuedpopularity. Inlooking have anintensity andgenuinenessof feeling that but hiscontributionsto thislightmusicalgenre Fratres Holberg Suite ). Unlike thelate 20th-centuryAmerican ), orthecontents of asinglechord ( Holberg Suite and style, in which minimal musical motifs style,inwhichminimalmusicalmotifs Fratres Fur Alina in an intentionally quaint and inanintentionally quaintand are representative of Pärt’s proved idealto sustain is silence – held breath. issilence–heldbreath. Fratres likewise Für Für

15 Tue 23 Oct 16 aerial ballet. aerial ballet. sequence of downhill skiing,culminatinginan snowboarders crowding theslopesto astunning takes usbeyond thehordes of children andcasual the boldrhythms of violinsoloistandensemble,it Presto of ‘Summer’.Edited withmusicalintensity to comfort, condescension inthistrajectory towards easeand If there appearsto beawhiffof judgementor season. comfortable-yet-crowded modernritualof theski and modified mountainsides embraced for the and harshriskendured by climbers,to thetamed live amongmountains, through thephysical pain They take usfrom thedailyroutines of thosewho among thefirst to beadded to thesoundtrack. and ‘Summer’from the interspersed withamovement each from ‘Winter’ Concerto inBminorfor four violinsandcello These five continuousVivaldi movements (the and focus (not unlike thoseseenuponthescreen). fingerboard anddemandsfearless athleticism such astheACO itspillsfire andenergy from the perfection, butinthehandsof acrack ensemble sequence. Onpaper, Vivaldi’s musicisgeometric spoke strongly to theform andcontent of this the explosively dynamicstringworks of Vivaldi place for Bach’s clear-minded Lutheran offerings, commercial exploitation. Butwhilethere was no harsher aspectsfor meansof skitourism and well asourgradual technological taming of their conquest andchallengeamongmountains, as for thismiddleact was oneof humanathletic zu dir setting of Bach’s exquisite chorale prelude music. Amongtheroads not taken was astring as thesolerepresentative of Baroque chamber It wasn’t theoriginalintention to have Vivaldi chorale-like cadence to complete themovement. permission to easeup,blooming into agrand of Everest arrives atlastandthemusicisgiven images of Tenzing andHilaryreaching thesummit galloping confidence. Exultant successintheiconic –ultimately, though,JenPeedom’s vision Mountain obliterates itwiththebracing Four Seasons ) were were ) Ich ruf’ Ich ruf’ seconds: timeto befullypersuaded by themusic, the final moving shot of thefilm runsfor afull90 confidence andhope.Inaboldeditorial move, Concerto, concludingthefilm withdelicacy, sublime middlemovement of the‘Emperor’ Piano The torch passeslastlyto thepianistfor the proving itto beanequallypersuasive storyteller. masterful soloviolinassertsitselffor thefinal time, the declamatory presence of theBeethoven’s As WillemDafoe’s sonorous narration ceases, Beethoven fell shortinitsintimationof theeternal. Adagio cametheclosest,butsideby sidewiththe interconnectedness. TheBruchGminorConcerto’s concepts of deeptimeandnature’s vast physical transcendent beauty, letalonethesamenarrative similar optionsdidnot convey thesamefeeling of concerto slow movements, buteven superficially through anumberof alternative Romantic violin of theViolinConcerto movement, we went a momentof editorial crisisaround theduration and flora andfauna crowd onto thescreen. In the soloistpassestorch to resplendent horns, the waterfalls, rivers andvast lakes of theworld melt andbuildinvolume. Atlast,whenwe reach water from thegreat peaks whichfreeze, thaw, tectonic ‘waves of stone’, anddown thetricklesof guides usalongthosemountain ranges bornof birth to land,thesoloistinViolinConcerto convey thespewing lava andsteam whichgive As in for itsfinal act. middle of thefilm, After theathleticdisplays thatdominate the Programme note ©JosephNizeti unquenchable. for andfascination withmountains is,itseems, hopes to return to itsome day soon.Herfondness Dablam –isherfavourite of allandthatshe that thefeatured Himalayan mountain –Ama personal image, JenPeedom hasalsotold me these natural giants.Endingthefilm onafittingly and to reflect onthemajestyandwildnessof Fratres , where the solo violin arpeggiations , where thesoloviolinarpeggiations Mountain turnsto Beethoven Richard Tognetti Australian ChamberOrchestra Divertimento Bartók Béla –AveOtello Maria to Act 3 –Prelude La traviata Verdi Giuseppe ‘Ah! Aria, and perfido’ Scene ; Year Year Lord; of Our Boar of the Atkinson StevensSufjan Bminor, in Wq182/5Sinfonia Carl Philipp Emanuel Bach a6 BWV1079 Offering, –Ricercar Musical The arr. Tognetti Richard Bach Sebastian Johann Milton Court Concert Hall Wednesday 7.30pm 24 October Guildhall musicians Nicole Car soprano director &violin Run Rabbit Run – Suite: Year Run –Suite: Run Rabbit of the

(1881–1945) (born 1975), arr. Michael 1975),(born arr. Michael (1813–1901) (1813–1901)

(1770–1827) (1685–1750),

(1714–88) (1714–88)

17 Wed 24 Oct 18 churches. Known to hiscontemporaries Telemann, asKapellmeister of thecity’s succeeded hisgodfather, Georg Philipp 20 years of hislife inHamburg, where he Carl PhilippEmanuelBach spentthelast bold orchestrations of LeopoldStokowski. rhythmic vitality of Jacques Loussier andthe the colour andstylisticinfluences thatrange from and utilisesawidespectrumof stringorchestra a soloflute thatrepresents Frederick himself, Tognetti’s treatment of thefugueincorporates dissonance from whichBach’s fugueemerges. the players walk onstage, resulting inawash of note of theKing’sthemeisstated, oneby one,as father’s orders. Inthisstrikingintroduction, each Hans Hermannvon Katte, was beheaded onhis years, inwhichhisfriend(andrumoured lover), vivid depictionof ascenefrom Frederick’s early Richard Tognetti’s arrangement begins witha piano work of themillennium’. which CharlesRosen called‘themostsignificant Bach’s offering –itisarguably hisfinest fugue, ‘to search’. TheRicercar a6isthehighpointof letters spell‘Ricercar’, anItalian term meaning [canons] resolved withcanonicart).Thefirst demand, thesong[fugue]andremainder Et Reliqua CanonicaArte Resoluta’ (Attheking’s front page bearsthemotto ‘Regis IussuCantio he sentto thekingasa‘MusicalOffering’. The into anassortmentof canonsandfuguesthat but uponreturning homeheturnedthetheme fugue. Bach found thatthethemewouldn’t work, with athemeonwhichto improvise asix-part various keyboards. Thekingalsoprovided Bach ushered around thepalace to perform onthe At thismeetingof great minds,Bach was visit in1747. instruments, butdidnot getthechanceuntilBach’s father andaskwhathethoughtof these had often hopedto meetCarlPhilippEmanuel’s inventions of hisday, including15 fortepianos. He industry. Accordingly, hispalace housedthelatest century, modernisingitseconomics,politicsand responsible for bringingPrussiainto the18th flautist himself)andideas.Thekingwas also king withadeepinterest inmusic(beingafine of Frederick theGreat, amodelphilosopher Emanuel, whowas working inthePotsdam court In 1747 Bach visited hisson,CarlPhilipp For texts, pleaseseepage20 inégalité of theFrench Baroque, to thejazzy, note for thepremiere in2007, SufjanStevens Michael Atkinson’soriginalsuite. Inaprogramme expanded version for stringensembleisbasedon the Nico MuhlyandGabrielKahane, culminatingin arrangers including,amongothers, Rob Moose, many other projects andcollaborations withother movements becameapointof departure for the OssoString Quartet. Not longafter, these festival inCincinnati,where itwas premiered by originally acommissionfrom theMusicNow Stevens’ 2001 album The project of arranging tracks from Sufjan pushing every musicalboundaryof theera. fiendishly virtuosicanddecidedlyavant-garde, managing to beatoncegraceful andspirited, Frankenstein monsters of string-orchestra writing: regard to difficulty’. Thesesymphonies are like required to ‘give himselffree rein, without write sixstringsymphonies, inwhichhewas patron of Haydn, MozartandBeethoven –to Austrian diplomatGottfried van Swieten –a Hamburg, to becommissionedby theDutch- He would have beenpleasedthen,whilein ‘singular taste, verging onthebizarre’. Consequently, heearnedareputation for his favoured amore dynamic,dramatic approach. of hiscontemporaries, CarlPhilippEmanuel to theelegantandmannered to theClassicalstyles.But, instark contrast important timeof transition from theBaroque simply asEmanuel,hewas active duringan imitating thesoundof rain. the players are cuedfor afew barsof shushing, mechanical guffaws. Atonepoint,for example, the computer: sampledbeats,digital glitches and forced to mimicgestures previously generated by the staff, opento interpretation. Thestrings are sequences, oddshapesandangular arches on recordings. Hisarrangements paintabstract improvisation thatinspired many of theoriginal however, ignore theexperiments of soundand laden withconceit.Atkinson’sscores donot, condensation, aproject previously heavy variation thatbringto light,through careful are uncomplicated impressions of themeand with more conventional-sounding music.They techniques andtextural improvisations intandem the originalsuite, includingcolourfulextended ‘This arrangement draws uponthematerial of shared histhoughts: Run Rabbit Run Enjoy Your Rabbit for stringquartet. This galant style style was was interval less important to Beethoven thanthemusicalidea. and fast tempos, suggestingthat thewords are ones, thoughthismaterial isheard inboth slow agitated passages alternate withslower, pathetic remainder of the seems to suggesttheebbingaway of life. The end of thissection,over pizzicato strings, which up. Theideaof dyingof griefisdrawn out,atthe state themelodicmaterial before thevoice takes it As inmany of Beethoven’s songs, theinstruments prayer to thebeloved not to leave. preparing lyricallythefirst partof the aria–a turn onherself,andtheclarinetleads anadagio faithless beloved. Suddenly, thewoman’s thoughts tempo, excited thoughtsof lightningstrikingthe punishment thatgrows inintensity then,infast punishment, adramatic reflection ontheheavenly causing, thendefiance andthethreat of divine of emotions follows: self-pityfor thepainthisis rage atthebeloved’s departure. Akaleidoscope A quicklyshiftingseriesof recitatives portrays, first, theme inBeethoven’s songs. unfulfilled love, whichisaconstantly recurring theme of thetext, partlyby Metastasio, isthwarted, aria, would stand Beethoven ingoodstead. The piece onanItalian text, aself-contained concert to composeit,knowing thataformal concert have beentheoldermanwhoencouraged him Beethoven’s studywithSalieri,anditmay well Ah! perfido than human.’ breaks down, for thesesongsare more animal alive! It’salive! Ofcoursethisiswhere theanalogy side, atracksuit, runningshoes,abaseballcap.It’s grown man,withconsciousness,hairparted to the the layers of gauze.Whatisrevealed isafull- lesions, themoles,gimmicks, thestitching and vulgarities invinegar, pullingaway alltheuglyskin scientist. Atkinson’sarrangements distillthese monster, withthewitandwildnessof amad of my computer, Iwas constructingFrankenstein’s piecing themtogether years ago inthesolitude their originalrecordings. It’sasif,ininitially alive, more capable,more fullyrealised than These songshave become,to my ears,more 20minutes probably dates from theperiodof scena is an allegro assai in which isanallegro assaiinwhich (1936), theSonata for Two PianosandPercussion including commissioned someof Bartók’sgreatest pieces, Honegger, HindemithandStravinsky. Healso Basle ChamberOrchestra, includingworks by 20th-century stringorchestra piecesfor his for commissioninganumberof important The Swissconductor Paul Sacher was responsible peace inan‘Ave Maria’,andsleeps. be buried.Now shesingsherlastmomentsof and shehaslaidoutherbridaldress inwhichto sang sadly. Sheknows thatOtello willkillhersoon, She hasrecalled anabandonedwoman whotoo as shesingsearlierintheopera, ‘inthefoul mud’. been hurledto theground by herbeloved, ‘fallen’, show thy mercy’, singsDesdemona,for shehas innocent, andfor theweak andoppressed … in 1887. ‘Pray for thesinner, for theonewhois Otello the soprano assumestherole of Desdemonain aria thatfollows. Inthismostexquisite ‘HailMary’, performances asVioletta andasaprelude to the both asatribute to NicoleCar’sacclaimed 2018 Verdi’s Prelude to Act 3of philosophy. Andtheirresilience. lift theirvoices to share withustheirpainand of grief.’But,far from oppressed, thesewomen have theheartto betray me?’they sigh.‘Iwilldie calling out,bemoaningtheirdesolation.‘Doyou throughout history: abandonedandbetrayed, lamentations andreproaches of women The ariasonthisprogramme represent the before theoutbreak of theSecondWorld War. his foreshadow impendingterrors: Bartókcompleted which, withitstwistsandturns,seems to absent from the brooding middlemovement, frame darker territory. Thisoptimismisentirely bustle withasunny, folk-inspired optimism,they While the pre-war Europe. for somelighthearted respite from thegloomof divertire not immune.Theterm itselfcomesfrom theItalian trend to whicheven folk-music devotee Bartókwas made acomeback aspartof theNeo-classical examples. Intheearly20thcenturygenre with MozartandHaydn penningnotable Divertimentos were popularinthe18th century, (1937) andthis Divertimento , Verdi’s penultimate opera, first staged –‘to amuse’.Perhaps Bartók had hoped Music for Strings, Percussion andCelesta Divertimento Divertimento inamere 15 days, onlyamonth ’s outer movements may La traviata (1939). serves serves

19 Wed 24 Oct 20 Non sondegnadipietà? Dite voi, seintanto affanno Così barbara mercè? Perchè rendi achit’adora Tu nonhaipietàdime? Ah crudel!Tu vuoich’iomora! Io d’affanno morirò. Tu losai,bell’idolmio! Di te priva chefarò? Per pietà,nondirmiaddio, Per luivivea, voglio morirperlui! S’ei nonèpiùqualera, sonioqualfui; Risparmiate quelcor, ferite ilmio! Ah no!fermate, vindiciDei! I fulminitiveggo giàbalenard’intorno. Io giàlegodoimmaginando; Vedrò lemievendette; Ombra seguace, presente, ovunque vai, Congiureranno agara tuttiapunirti! Se v’ègiustiziainciel,sepietà, L’ira de’Numinonfuggirai. Va, scellerato! va, purfuggida me, Ove s’intese tirannia piùcrudel? E sonquestigl’ultimituoicongedi? Barbaro traditor, tuparti? Ah! perfido, spergiuro, Ah! perfido Ludwig van Beethoven Garrett (Beethoven) andKate Holden(Verdi) Bach, Bartók),Michael Atkinson(Stevens), David Programme notes ©Bernard Rofe (J SBach, C PE favourite of itsmusiciansandaudiencesalike. ACO’s inaugural concertin1975 andremains a The piecewas partof theprogramme for the Don’t you have pityonme? Ah, cruelman!You want meto die! I willdieof grief. You know it,my beloved idol! What shallIdowithoutyou? Have mercy, don’tbidmefarewell, For himIlived, for himIwant to die! If heisnot whathewas, Iamstillwhatwas; Spare thatheart,wound mine! Alas! Pause, avenging gods! lightning. I already seeyou surrounded by flashes of I already take my delightin itinmy imagination; I willlive to seemy revenge; I follow your trail. Iamwherever you go, All willjoinforces inacontest to punishyou! If there isjusticeinheaven, ifthere ispity, You won’t flee from thewrath of thegods. Go, despicableman!flee from me! Where didonehearof acruellertyranny? And isthisyour lastfarewell? barbaric traitor, you leave? Ah! You treacherous, faithless, Translation ©Raff Wilson,Symphony Australia 2005 I donot deserve pity? Tell me,ifinsuchagrief In suchabarbaricway? Why doyou reward theonewhoadores you

Ave! …Amen! Nell’ora dellamorte. Ave Maria… Prega pernoi,prega pernoi,prega. Sempre enell’ora dellamorte nostra, Per noi,pernoituprega, prega, La fronte esotto lamalvagia sorte; Prega perchisotto l’oltraggio piega Misero anch’esso,tuapietàdimostra. E peldeboleoppresso epelpossente, Prega pelpeccator, perl’innocente, Prega perchiadorando ate siprostra, Di tuematerne viscere, Gesu. Sia benedetto ilfrutto, obenedetta, Fra lesposeevergini seitu, Ave Mariapienadigrazia, eletta Otello – Ave Maria Giuseppe Verdi Translation ©Rebecca Burstein Hail! …Amen! in thehourof ourdeath. Hail Mary… pray for us,pray for us,pray. ever andinthehourof ourdeath, for us,pray thoufor us,pray, under injusticeandmisfortune; Pray for theonewhobows hishead also wretched, show thy mercy. mighty, and for theweak andoppressed, andfor the pray for thesinner, for theonewhoisinnocent, Pray for theonewhokneelsinprayer before you, of thy womb, Jesus. blessed bethefruit,oone, among wives andmaidensartthou, Hail Maryfullof grace, chosen

21 Wed 24 Oct 22 Daniel Boud About the performers the chamberorchestra repertoire andbeen compositions andtranscriptions have expanded instruments andhisnumerous , He performs onperiod,modernandelectric lead violinand,subsequently, ArtisticDirector. November was appointed astheOrchestra’s ChamberOrchestra, andthat Later thatyear heledseveral performances of Tschumi Prizeasthetop graduate soloistin1989. Conservatory, where hewas awarded the Conservatorium, andIgorOzimattheBern continued withAliceWaten attheSydney withWilliamPrimrose, then He beganhisstudiesinhometown of individualism. his compellingperformances andartistic established aninternational reputation for Australian ChamberOrchestra. Hehas Richard Tognetti isArtisticDirector of the Richard Tognetti Richard Tognetti director &violin

Jennifer Peedom andStranger ThanFictionFilms Most recently, hecollaborated withdirector as well as also created thedocumentary film The Red Tree Carroll’s surffilm World Master andCommander:TheFarSideof the He was co-composerof thescore for ’s Festival MariborinSlovenia from 2008to 2015. New SouthWales, andwas ArtisticDirector of the He created theHuntington Festival inMudgee, Artist-in-Residence atMilton CourtConcertHall. 2016 hebecametheBarbicanCentre’s first Concerto andLutosławski’s gave theAustralian premieres of Ligeti’sViolin and Tasmanian Symphony orchestras. Healso recently assoloist/director withtheMelbourne all of theAustralian symphony orchestras, most and theNordic ChamberOrchestra, aswell as Tapiola Sinfonietta, IrishChamberOrchestra Haydn Society(Boston), Camerata Salzburg, Slovenian Philharmonicorchestras, Handeland of AncientMusic,HongKong, Luxembourg and Orchestra of theAge of Enlightenment, Academy and/or soloist,hehasappeared withthe performed throughout theworld. Asdirector Australian benefactor. del Gesùviolin,lentto himby ananonymous He performs onthe1743 ‘Carrodus’ Guarneri was made a NationalLivingTreasure in1999. doctorates from three Australian universities and Order of Australia in2010. Heholdshonorary Richard Tognetti was appointed anOfficer of the to create thefilm ; heco-composedthesoundtrack to Tom The Glide , inspired by ShaunTan’s book.He Mountain Storm Surfers 3D , TheReef for theACO. Partita and ; andcreated . InNovember Musica Surfica The Crowd .

, Georges New York, asMimì. also makes herdebutattheMetropolitan Opera, with theAustralian ChamberOrchestra; Nicole Marguerite ( traviata Engagements thisyear includeVioletta ( Award for thelatter). (winningherfirst Helpmann and thetitle-roles in Covent Garden, Tatyana for theParis Opéra and Opera Australia, Mimì( the DeutscheOperBerlin,Semperoper Dresden then shehassungFiordiligi ( ( Opera House,Covent Garden, singingTatyana years. In2015, shemade herdebutattheRoyal singers to have emerged from Australia in recent Nicole Carisoneof themostoutstanding Nicole Car Nicole Car Eugene Onegin ) inSydney, MimìinParis andDresden, soprano Faust ) andMicaëla( ) inBerlinandanationaltour Thaïs and Così fan tutte La bohème Luisa Miller Carmen La La ). Since ). Since ) for ) for for for Donna Elvira ( Marriage of Figaro Deutsche OperBerlin. European debutthefollowing year asTatyana for as theCountess for DallasOpera, and her Nicole Carmade herAmericandebutin2014 and Tasmanian SO, the MelbourneSO, Symphony. Richard Strauss andMozartwiththeMelbourne Philharmoniaandaprogramme of Philharmonia; Bach’s SO; Mozart’sRequiem withtheAuckland the LastNightof theProms withtheTasmanian Das klagende Lied and Tasmanian Symphony orchestras; Mahler’s Ein Concert engagements have includedBrahms’s Adalgisa ( Donna Annafor West Australian Opera and Flute Micaëla, Mimì,Marguerite, Pamina ( For Opera Australia, shehassungTatyana, Opera’s 2009, whenshesangDonnaAnnainVictorian in Germany. Hermajorrole debutoccurred in of theinternational NeueStimmen competition the ASC Opera Awards andthe2013 winner Herald-Sun Aria,andwas the2012 winnerof Victorian Collegeof theArts,shewon the2007 After completingherBachelor of Musicatthe She hasrecorded

deutsches Requiem Carmen ) Leïla( Don Giovanni Norma The Pearl Fishers onDVD. Don Giovanni The Kiss ) for Victorian Opera. Ein ) and both Donna Anna and ) andboth DonnaAnnaand with the Queensland SO; with theQueenslandSO; Rule Britannia!

St JohnPassion deutsches Requiem with the Queensland withtheQueensland . , adiscof operatic arias, ). She has also sung ). Shehasalsosung ), theCountess ( with the with the with the withthe The Magic with with The The

23 About the performers Lucas Beck audiences. Whetherperforming inManhattan, concerts thatinspire, emboldenandchallenge with whichthey share acommitmentto present Court inpartnershipwiththeBarbicanCentre, as International Associate EnsembleatMilton ACO beganathree-year Londonresidency Hall andFrankfurt’s Alte Oper. Thisyear the Carnegie Hall,New York, BirminghamSymphony Hall, Vienna’sMusikverein andKonzerthaus, , BarbicanCentre, Royal Festival greatest concerthalls,includingtheAmsterdam schedule thattakes itto many of theworld’s orchestra alsomaintains aninternational touring than 100 concertsacross Australia each year. The Richard Tognetti andtogether they give more Since 1990 ithasbeenledby ArtisticDirector collaborations. commissions, andadventurous cross-artform future, juxtaposing celebrated classicswithnew are steeped inhistory butalways lookingto the brave interpretations. TheACO’s programmes combination of explosive performances and music, makingwaves around theworld for its 17-piece stringorchestra lives andbreathes by cellistJohnPainter inNovember 1975. This The Australian ChamberOrchestra was founded Australian ChamberOrchestra through Create NSW. the Australia Council for the ArtsandtheNSW Government The ACO issupported by theAustralian Government through these performances. and membersof itsChairman’sCouncilfor theirsupportof The ACO gratefully acknowledges itsACOUK Board, Friends Patricia Thomas Alison Harbert Friends John Taberner Dr Caroline Lawrenson John &Kate Corcoran John Coles Patrons Brendan &BeeHopkins Stephen &JulieFitzgerald Ambassadors ACO UKFriends

Patricia Thomas Ken Smith Liddellof Coatdyke The RtHontheBaroness Kathy Lette Rebecca Hossack Janet HolmesàCourt Alison Harbert John Taberner ACO UKBoard of Directors Chair won awards atfilm festivals onfour continents. been shown ontelevision worldwide andhave Mountain to theacclaimed cinematiccollaboration classical vinyl for two decades, andthesoundtrack Water |NightMusic consecutive ARIAAwards. Recent releases include Its recordings of Bach’s violinworks won three programme across CD,vinyl anddigital formats. schedule, theACO hasanactive recording In addition to itsnationalandinternational touring ACO hasbecomerenowned. created unique,hybrid productions for whichthe Jon Frank andJennifer Peedom, whohave co- such asMichael Leunig,BillHenson,ShaunTan, Meow Meow; andto visualartistsandfilm makers Finn, Jonny Greenwood, BarryHumphriesand Olli Mustonen, Brett DeanandIvryGitlisto Neil , Steven Isserlis,Dawn Upshaw, and musicianswhoshare itsideology:from The orchestra regularly collaborates withartists transformative musicalexperiences. ACO isunwavering initscommitmentto creating New York, orWollongong, New SouthWales, the obe ac

. Documentaries featuring theACO have , thefirst Australian-produced

25 About the performers 26 by Di Jameson Di by sponsored Chair Ike See Tindale by Alenka sponsored Chair Maja Savnik Syndicate Medical The by sponsored Chair Liisa Pallandi Sachs Judyth & Julie by Steiner sponsored Chair Mark Ingwersen Campbell Christine Campbell by Terry sponsored Chair Glenn Christensen Bryan Kay by sponsored Chair Vänskä * Satu Dixon Daryl & Kate by sponsored Chair Rathbone * Helena Violin Roberts Andrea & Andrew Symphony Orchestra Orchestra Symphony Melbourne of Courtesy Elizabeth Woolnough Lansdown by Ian sponsored Chair Nicole Divall Viola Myer & Martyn Myer Myer Martyn & Louise Myer McMullin, Ruth & Peter Edwards, Wendy by sponsored Chair Richard Tognetti Lead Violin Director/Artistic Australian Chamber Orchestra ao & &

ao , , Felix Abrahams Sound Assistant Bob Scott Sound Engineer Ross Chapman Coordinator Production Touring & Anna Melville Administrator Artistic Lisa Mullineux Tour Manager Luke Shaw Operations Directorof Artistic Antonia Farrugia Development Director of Market Richard Evans Managing Director Touring Team Foundation Darin by Cooper sponsored Chair Bibeau * Maxime Double Bass Families Stewart & The by Grist sponsored Chair Julian Thompson Wenderoth J Mrs & by Dr sponsored Chair Melissa Barnard Weiss by Peter sponsored Chair ValveTimo-Veikko * Cello ao

Clarinet Orchestra Symphony Jerusalem of Courtesy Dmitry Malkin Orchestra Chamber Swedish of Courtesy Karin Egardt # Oboe University National Australian The of Courtesy Sally Walker # Flute Ian Rathbone architects by peckvonhartel sponsored Chair Peelman # Florian Viola Eva Thorarinsdottir Victoria Sayles Violin 22 Oct Other Musicians Philharmonic Orchestra Orchestra Philharmonic Turku of Courtesy Olli Leppäniemi# Symphony Orchestra Orchestra Symphony London of Courtesy Angela Barnes Orchestra Symphony London of Courtesy Edmundson# Alexander Horn Dominic Tyler Orchestra Symphony London of Courtesy Joost Bosdijk # Bassoon Alexei Dupressoir

& Mrs Libby Albert Libby Mrs & Albert Robert by Mr sponsored Chair Brian Nixon # Timpani Orchestra Symphony of City of Courtesy Richard Blake Orchestra Symphony London of Courtesy David Elton # Trumpet oa

Joseph Nizeti# Electronics/Guitar Evan Mannell# Percussion Cislowska # Tamara-Anna Keyboard Arianne Rooney Timothy Jones# Horn Llinos Owen Orchestra Radio Symphony Finnish of Courtesy Otto Virtanen # Bassoon Alexei Dupressoir Orchestra Philharmonic Turku of Courtesy Olli Leppäniemi# Clarinet University National Australian The of Courtesy Sally Walker # Flute Ian Rathbone Viola Eva Thorarinsdottir Victoria Sayles Violin 23 Oct

# guestprincipal * principal Arianne Rooney Tim Ball Horn Dominic Tyler Otto Virtanen # Bassoon Alexei Dupressoir Olli Leppäniemi# Clarinet Sally Walker # Flute Peelman # Florian Viola Eva Thorarinsdottir Victoria Sayles Violin 24 Oct Nicholas Hughes Oscar Holch Abby Bowen Viola Berfin Aksu Dan-Iulian Drutac Samuel Staples Sabine Sergejeva Juliette Roos Violin 2 Millie Ashton Ruth Heney Ragnhild Kyvik Bauge Greta Papa Harriet Haynes Violin 1 24 Oct Drama of Music& Guildhall School Musicians from going to press correct atthetimeof The listof players was Miguel PliegoGarcía Cole Morrison Double Bass Pedro Silva Julia Sompolinska Thomas Vidal Cello

27 About the performers 28 Bavarian Radio Symphony Radio Orchestra Bavarian with Songs Four Last Strauss’ssings Damrau Diana 26Sat Jan Mariss Jansons Mariss

and the and the

Diana Damrau © Jiyang Chen