BERNSTEIN CELEBRATION concert program

BERNSTEIN CLASSICS 15 AUGUST | 7.30pm BERNSTEIN ON BROADWAY 18 AUGUST | 7.30pm

1 Sir Andrew Davis Chief Conductor

featuring SIR ANDREW DAVIS • LANG LANG • BRIAN COX VERDI’S REQUIEM • HANSEL AND GRETEL • BOLÉRO • and more

SUBSCRIBE AT MSO.COM.AU THE MSO CELEBRATES Vincent Plush

In August 1974, the New York Side Story re-defined the American Philharmonic Orchestra gave three theatre. Rarely is the spirit of the concerts in the Melbourne Town Hall. theatre absent, even in works like the Their conductor was Leonard Bernstein. Chichester Psalms and the Jeremiah Symphony, which burn as eternal Conductor, composer, pianist, testimony to his Jewish faith. educator, philosopher, humanitarian, political activist and social irritant, the Few composers have created music so man known as Lenny was everywhere. memorable that it percolates in your From the Broadway stage to the head as you leave the concert hall. synagogue, from the loftiest concert Actually, it remains in our lives forever, halls of Europe to the war-ravaged exhilarating and enriching us, refreshing hills of , from the Camelot of universal truths and, like Candide JFK to the Watergate tapes, Lenny himself, offering prospects for “the best was the Everyman of American music, of all possible worlds”. universally known and (mostly) admired Thanks, Lenny, and Happy Birthday. for his capacity to distil the American experience into his music. For nearly 20 years, the Australian composer and These MSO’s concerts celebrate the writer Vincent Plush lived and worked in North range of his boundless talents. With America. An expert in and advocate for 20th century Australian and American music, he has its explosive Puerto Rican street recently completed a PhD in Adelaide and will rhythms and heart-wrenching love shortly take up a position at the University of songs inspired by his principal mentor- Melbourne. models, Copland and Mahler, West

MELBOURNE Bernstein Celebration SYMPHONY ORCHESTRA Artists 2 Established in 1906, the Bernstein Classics Melbourne Symphony Program notes 6 Orchestra (MSO) is an arts Texts 9 leader and Australia’s oldest professional orchestra. Chief Orchestra 14 Conductor Sir Andrew Davis Chorus 15 has been at the helm of MSO since 2013. Engaging more Bernstein on Broadway than 4 million people each Program notes 16 year, the MSO reaches diverse audiences through live performances, recordings, TV Orchestra 19 and radio broadcasts and live streaming. Its international Supporters 20 audiences include China, where MSO has performed in 2012, 2016 and most recently in May 2018, Europe (2014) and Indonesia, where in 2017 it performed at the UNESCO These concerts will be recorded for video broadcast World Heritage Site, Prambanan Temple. on Foxtel Arts. The MSO performs a variety of concerts ranging from symphonic performances at its home, Hamer Hall at In consideration of your fellow patrons, the MSO thanks Arts Centre Melbourne, to its annual free concerts at you for silencing and dimming the light on your phone. Melbourne’s largest outdoor venue, the Sidney Myer The MSO acknowledges the Traditional Owners of the Music Bowl. The MSO also delivers innovative and land on which it is performing. MSO pays its respects to engaging programs and digital tools to audiences of their Elders, past and present, and the Elders from other all ages through its Education and Outreach initiatives. communities who may be in attendance.

Cover: Leonard Bernstein by Paul de Hueck, Courtesy of the Leonard Bernstein Office mso.com.au | (03) 9929 9600

3 BRAMWELL TOVEY SARAH FOX CONDUCTOR SOPRANO Bramwell Tovey becomes Sarah Fox is equally at home the Vancouver Symphony in , folksong and musical Orchestra’s Music Director theatre. Her roles at Covent Emeritus in its centenary season Garden have included Micaëla (2018-19). With the VSO he (Carmen), Asteria (), has conducted major cycles of Zerlina () and Beethoven, Brahms and Mahler, Woglinde (Wagner’s Ring). instituted a contemporary music Her roles at Glyndebourne festival, and helped establish have included Mozart’s Zerlina the VSO School of Music. He and Susanna. Elsewhere she has also been Music Director has appeared at the Salzburg of the Winnipeg Symphony Orchestra and Orchestre and Aix-en-Provence Festivals, Royal Danish Opera, De Philharmonique du Luxembourg. Tovey is a GRAMMY¤ Vlaamse Opera and , among others. She has and Juno award-winning conductor and recently received worked with orchestras such as the Berlin Philharmonic, the Betty Webster Award from Orchestras Canada. Hong Kong Philharmonic, and Orchestra of the Age of Enlightenment, and performed with Rufus Wainwright Bramwell Tovey is a composer and pianist as well as and with John Wilson and his Orchestra. Recordings conductor. He was the last-minute substitute conductor range from Arminta (Mozart’s Il re pastore) to Cole Porter at the opening night of the London Symphony Orchestra’s in Hollywood. Recent concerts have included Bruckner’s Leonard Bernstein Festival in the presence of Bernstein Te Deum and Mendelssohn’s ‘Lobgesang’ at Britain’s himself, and was invited by Bernstein to Tanglewood in Three Choirs Festival. the summer of 1986.

NICHOLAS TOLPUTT LIANE KEEGAN COUNTER¥TENOR ALTO Nicholas graduated from the Liane received the Opera Melbourne Conservatorium of Foundation Australia Shell Music in 2014 and was a 2016 Royal Covent Garden Young Artist for Pacific Opera. Scholarship, which enabled An established artist with the her to study at the National Brisbane Baroque Festival, Opera Studio London. She Nicholas has performed in each attended the AIMS Summer festival to date with highlights School in Graz Austria on the including singing in Purcell’s Opera Australia Foundation King Arthur (2016) and covering Scholarship, and in 1997, won the role of Medoro in Handel’s a Bayreuth Bursary from the Orlando (2014). Wagner Society of Great Britain. In 2017 Nicholas performed the role of Ottone in Lyric Liane came to the attention of both critics and public alike Opera’s The Coronation of Poppea. Recent oratorio with roles including Azucena (Il Trovatore) for Opera of and cantata performances include the alto solos Bach’s South Australia, Ulrica (Un Ballo in Maschera) for Opera Christmas Oratorio and Vivaldi’s Stabat Mater. In 2018, Australia, and Offred’s Mother (The Handmaid’s Tale). Nicholas made his international debut as the alto soloist Concert appearances have included Mozart’s Requiem in The New Zealand Dance Company’s OrphEus: A with Sir Neville Mariner and the Czech Philharmonic Dance Opera. Upcoming engagements include the role Orchestra, Barbara in Korngold’s Violanta at the 1997 of David in (Sydney Philharmonia) and the alto solo BBC Proms conducted by Paul Daniel, and Waltraute in Handel’s Messiah (MSO). in Die Walküre with Antonio Pappano at the Edinburgh Festival.

4 BRENTON SPITERI BRETT POLEGATO TENOR In 2012, Brenton Spiteri won Brett Polegato has appeared first prize in the Herald Sun at venues such as the Aria, which allowed him Lincoln Center, La Scala, to pursue overseas study Amsterdam’s Concertgebouw, in singing and languages. the Opéra National de Paris, Subsequently, he was a Glyndebourne, Lyric Opera resident young artist at Opéra of Chicago, Kennedy Center Lyon for two seasons, where his and Carnegie Hall. He has roles included Maréchal Trac in collaborated with conductors Le Roi Carotte, and Mercurio in such as Yannick Nézet-Séguin, l’Incoronazione di Poppea. Daniele Gatti, Andris Nelsons, Bernard Haitink, Seiji Ozawa, Jeffrey Tate, Marc Australian performance highlights include Tamino, Minkowski, and Martyn Brabbins. The Magic Flute (State Opera South Australia); Schoolmaster/Mosquito, Cunning Little Vixen (Victorian Recent roles include the Celebrant in Bernstein’s Mass Opera); Nadir, The Pearlfishers (Melbourne Opera); with the Orchestre National de Lille and Balstrode in Clotarco, Armida (Pinchgut Opera). In 2018, he will Britten’s with the Vancouver Symphony perform Sam Sawnoff in The Magic Pudding for Victorian Orchestra. In the 2016-17 season he created the role Opera and Mathan in Athalia for Pinchgut Opera. For of Father Thomas Nangle in John Estacio’s new opera, Sydney Chamber Opera, he created the role of Ashley Ours. Recordings include Elgar’s Sea Symphony, a solo Crowther in the Helpmann Award Nominated Fly Away disc To A Poet with pianist Iain Burnside, Bach’s Coffee Peter, receiving critical acclaim for his “charismatic Cantata and Kálmán’s The Duchess of Chicago. warmth and vocal agility”.

MELBOURNE WARREN SYMPHONY TREVELYANJONES ORCHESTRA CHORUS CHORUS MASTER For more than 50 years Warren Trevelyan-Jones the Melbourne Symphony is the Head of Music at St Orchestra Chorus has been James’, King Street in Sydney the unstinting voice of the and is regarded as one of the Orchestra’s choral repertoire. leading choral conductors The MSO Chorus sings with and choir trainers in Australia. the finest conductors including Warren has had an extensive Sir Andrew Davis, Edward singing career as a soloist and Gardner, Mark Wigglesworth, ensemble singer in Europe, Bernard Labadie, Vladimir including nine years in the Ashkenazy and Manfred Honeck, and is committed Choir of Westminster Abbey, and regular work with to developing and performing new Australian and the Gabrieli Consort, Collegium Vocale (Ghent), the international choral repertoire. Taverner Consort, The Kings Consort, Dunedin Consort, The Sixteen and the Tallis Scholars. Commissions include Brett Dean’s Katz und Spatz, Ross Edwards’ Mountain Chant, and Paul Stanhope’s Exile Warren is also Director of the Parsons Affayre, Founder Lamentations. Recordings by the MSO Chorus have and Co-Director of The Consort of Melbourne and, in received critical acclaim. It has performed across Brazil 2001 with Dr Michael Noone, founded the Gramophone and at the Cultura Inglese Festival in Sao Paolo, with award-winning group Ensemble Plus Ultra. Warren is also The Australian Ballet, Sydney Symphony Orchestra, at a qualified music therapist. the AFL Grand Final and at Anzac Day commemorative ceremonies.

5 BERNSTEIN CLASSICS WEDNESDAY 15 AUGUST 2018

Copland of Appalachian Spring or Rodeo, or the ‘grand style’ Copland of the Third Symphony, but rather the Melbourne Symphony Orchestra uncompromising modernist whose late Music for a Great Bramwell Tovey conductor City left the likes of Jacqueline Kennedy at a loss for words. Nicholas Tolputt counter-tenor Disappointed that the piano work had not achieved greater Liane Keegan alto currency, Copland returned to it in 1957 and made this orchestral version of it for the Louisville Orchestra. It was, Melbourne Symphony Orchestra Chorus as he observed, ‘a unique challenge to think of this material in terms of orchestral colour’: the Piano Variations have a Copland Orchestral Variations lapidary character thanks to Copland’s exploitation of the instrument’s percussive nature. While, in rethinking the Mahler Rückert-Lieder piece for orchestra, Copland maintained that character INTERVAL at the outset – the austere and angular theme is stated by various instruments doubled by timpani – he did, Bernstein Symphony No. 1 Jeremiah overall, treat the original as ‘a piano sketch with orchestral Bernstein Chichester Psalms possibilities’, thus freeing himself to make more opulent sounds, while keeping the piece rigorously organised. After the terse statement of the theme, a somewhat more Pre-concert conversation Join us for a pre-concert sustained version appears, followed in turn by a more conversation with Vincent Plush inside Hamer Hall elaborately harmonised and scored variation, where the third from 6.15pm. introduces whimsical dotted figures. The short variations Running time: 2 hours, including a 20-minute interval thus go on to exploit striving passages in octaves and heraldic fragments of brass writing. There are unexpected passages of quiet lyricism, such as the delicate woodwinds of Variation XI, a turning-point in the otherwise steady march of the music toward more and more powerful rhetoric. We hear hints of rhythmic intricacy and occasionally diaphanous PROGRAM NOTES moments in the ballet scores, and fleeting glimpses of the ‘grand style’, especially in the substantial, third-part AARON COPLAND coda that concludes the piece. Sadly, the piece was not an unmixed success. As one newspaper noted: ‘New-Old ¯1900¥1990° Copland Work Cheered, Also Jeered’. Orchestral Variations © Gordon Kerry 2018 Theme: Grave – Variations I – XX – Coda This is the first performance of this work by the Melbourne Symphony Orchestra.

The 1920s were tumultuous and formative for the young Aaron Copland. He spent the earliest years of the decade GUSTAV MAHLER in Paris, absorbing the lessons of French literature and ¯1860¥1911° painting, and studying with the greatest teacher of the Rückertlieder (five songs to poems of Friedrich Rückert) age, Nadia Boulanger. The decade (which ended, of course, Blicke mir nicht in die Lieder with the Wall Street Crash) saw several important early works for piano: the Sonata of 1921, the Concerto of 1926, Ich atmet’ einen linden Duft several Piano Blues and the Piano Variations of 1930. The Um Mitternacht Concerto and Variations, both presented after his return to Liebst du um Schönheit the USA, were not well received: audiences didn’t care for Ich bin der Welt abhanden gekommen the kind of jazz-infusion of the concerto, and the Variations were too confronting. When he sent the score to Walter Liane Keegan alto Gieseking, the German pianist replied that ‘this composition is very interesting and most original, but…a work of such Friedrich Rückert (1788-1866) experienced the upheavals of severity of style is not possible among the normal type of Europe during the Napoleonic wars and held the position of concert-goers.’ Nevertheless, it remained a favourite of the professor of oriental languages at various German universities composer’s; he felt it had a ‘rightness’. After working on it before retiring to the country to concentrate on poetry. for some time, ‘one fine day when the time was right, the order of the variations fell into place.’ It consists of a theme, Mahler started setting poetry by Rückert in 1901, at the 20 variations and a coda – the theme being a four-note cell same time as he began work on his Fifth Symphony, and which Copland subjects to rigorous manipulation derived ultimately produced two sets of songs to Rückert’s verse. from the practice of Schoenberg. It is not the ‘big sky’ The Kindertotenlieder (Songs on the death of children) has

6 BERNSTEIN CLASSICS PROGRAM NOTES

been described as Mahler’s greatest song-cycle, though at this song is used in heavily modified form in the famous the time he was accused of ‘self-tormenting exhibitionism’. Adagietto of the Fifth Symphony, and its plangent opening The poetry grew out of Rückert’s own grief at the loss of his pages look forward to the ecstatic dissolution of Das Lied two children; Mahler responds in music that memorialises von der Erde (1911). his own brother who died in childhood. ‘It hurt me to write While the Rückertlieder make no claims to being a cycle, the them,’ Mahler said of the songs, ‘and I grieve for the world five songs each examine some aspect of those three things which will one day have to hear them.’ that are brought together in Ich bin der Welt abhanden Mahler also worked on setting a further group of five gekommen: heaven, love and song.

Rückert poems. He published them as separate works Gordon Kerry © 2007 (for voice and piano initially), but after his death a publisher The Melbourne Symphony Orchestra first performed Mahler’s Rückertlieder on 9 grouped them together with two songs from Des Knaben February 1974 with conductor and baritone Jonathan Summers. The Wunderhorn (the collection of folk-poetry which so MSO’s most recent performance took place on 11 September 1979 with Georg Tintner and mezzo-soprano Yvonne Minton. inspired the composer) and, with the benefit of hindsight, named them Sieben Lieder aus letzter Zeit – effectively, ‘Seven last songs’. The five Rückertlieder do not constitute LEONARD BERNSTEIN a song-cycle, in that there is no overarching narrative ¯1918¥1990° as in Schubert’s Winterreise, or central theme as in the Symphony No.1, Jeremiah Kindertotenlieder. The songs can therefore be sung in whatever order the soloist decides. Prophecy Profanation There are some recurrent poetic ideas, however, one of which is the subject of the first of the songs to be composed. Lamentation Blicke mir nicht in die Lieder (Do not look into my songs) dramatises the conviction of many artists that a poem or Liane Keegan alto song should not be seen until it is finished, and that the work itself should happen in secrecy, as bees make honey in the ‘It is impossible for me to make an exclusive choice among privacy of their hive. Mahler, of course, can’t resist the gentle the various activities of , symphonic composition, evocation of bees in the song’s accompaniment. writing for the theatre or playing the piano. What seems right for me at any given moment is what I must do…’ So Leonard Always sensitive to the beauties of the natural environment, Bernstein wrote in the 1940s, and so it was when he created Mahler then set Ich atmet’ einen linden Duft (I breathed the this, his first large-scale orchestral work. scent of linden); the poet describes entering a room where a sprig from a linden (or lime-tree), picked by the beloved, There were many ‘banner’ years in Bernstein’s crowded is filling the house with the fragrance of love. The delicacy musical life, but 1944 was one of the most remarkable. He of the orchestration and the seemingly rhapsodic form of had made his conducting debut at the the song beautifully represent the subtlety of the scent and in November 1943; by the end of the following year he had the fragility of the emotion. conducted the symphony orchestras of Pittsburgh, Boston and Montreal, and had made his Hollywood Bowl debut, and Um Mitternacht (At midnight) dramatises the soul’s experience this symphony, the ballet Fancy Free, and the musical On the of existential despair in imagery of an empty universe and Town – for which Bernstein composed the score – had all eternally suffering humanity. Mahler eschews any orchestral premiered. All three works would become major successes warmth by omitting the string sections from this song. The and announce that a new, multi-faceted musical voice had climax of the song (and its power is such that it is frequently arrived on the American scene. placed last in performance) arrives as the poet commends all things into the hand of God. Jeremiah was Bernstein’s response to a competition sponsored by the New England Conservatory of Music in Liebst du um Schönheit (If you love for beauty) offers sets of 1942; he had a mad scramble to meet the deadline, so much short stanzas, matched by Mahler’s strophic musical form, in so that his sister Shirley and several of Bernstein’s friends which the poet admits he can’t offer beauty or treasure to the were roped in to help get the score and parts ready on time. beloved but will love for love’s sake, faithfully and forever. This is the first of many Bernstein works concerned with Arguably Mahler’s greatest single song, Ich bin der Welt a crisis of faith (including his two subsequent symphonies abhanden gekommen (I am lost to the world) is, like and his Mass). According to Jewish tradition, the biblical Blicke mir nicht in die Lieder, about the artist’s necessary Jeremiah lived around the year 600 BC, and was the withdrawal from the world in order to make art. Mahler, principal author of the books of Jeremiah, Kings and of course, was one of the busiest and most visible musicians Lamentations. He prophesied Jerusalem’s destruction by of his time, making time to compose only during his precious invaders from the north, as Israel had been unfaithful to the summer vacations. But this song makes clear how single- laws of the covenant and had forsaken God. According to minded an artist must be; the reward for creation is to live Bernstein, the symphony’s opening Prophecy – intense and alone ‘in my heaven…my love…my song’. The melody of often anguished – aims to ‘parallel in feeling the intensity

7 BERNSTEIN CLASSICS PROGRAM NOTES

of the prophet’s pleas with his people’. The Profanation is a William Walton, Marc Chagall, W.H. Auden, Graham feverish, rhythmically vibrant scherzo which, the composer Sutherland, and Henry Moore. The seed planted by John wrote, ‘gives a general sense of the destruction and chaos Birch, the Cathedral’s Organist and Choirmaster, was brought on by the pagan corruption of the priesthood and bold: to ask a world-renowned conductor, a ‘Broadway the people’. The final Lamentation introduces the mezzo- composer’ of Jewish background, to compose for a very soprano soloist, representing Jeremiah mourning his Anglican affair. ‘The sort of thing that we had in mind was beloved Jerusalem. The city is, in the composer’s words, perhaps, say, a setting of the Psalm 2, or some part of it, ‘ruined, pillaged and dishonoured after his desperate either unaccompanied or accompanied by orchestra or attempts to save it’. Yet there is also consolation, even organ, or both,’ wrote Hussey to Bernstein. ‘Many of us hope, in the symphony’s final moments. would be very delighted if there was a hint of West Side Story about the music.’ Jeremiah is an exceptionally single-minded piece, and as Bernstein biographer Humphrey Burton wrote: ‘It remains A wave of ecumenism swept through the Anglican church unequalled among mid-20th century symphonies for the in the early 1960s, and the Psalms, common texts for Jews fervour with which it reaches out to audiences.’ It debuted and Christians, was fruitful territory for Bernstein, whose at an almost unbearably poignant moment, just as the concern, that he could only ‘think of these Psalms in the wider world was coming to an understanding of the Nazis’ original Hebrew’, was swiftly allayed by Hussey. ‘final solution’. ‘How can I be blind to the problems of my The orchestration calls for three trumpets, three trombones, own people? I’d give everything I have to be able to strike two harps, timpani, percussion, and strings. The original a death blow at Fascism,’ Bernstein told a journalist when conception, for a chorus of men and boys, was given its the work was performed for the first time, in Pittsburgh. premiere in Chichester Cathedral in July 1965, while two The symphony’s success was swift and assured: it was voted weeks earlier Bernstein had conducted the world premiere outstanding new classical work of the season by the New in New York with the New York Philharmonic and the York Music Critics circle, and broadcast to a coast-to-coast Camerata Singers. radio audience by the NBC Symphony Orchestra while, by The work opens with music Bernstein’s mentor Aaron 1947, Bernstein had conducted it across the USA, in Prague Copland might have written – open-air, extrovert music, and in Jerusalem. The part of his life devoted to composing the choir blazing words from Psalm 108: ‘Awake, psaltery orchestral music had got off to an incredible start. and harp!’. This confident opening breaks into an ebullient, © Phillip Sametz 2018 jazzy 7/4 setting of Psalm 100, with percussion writing The only previous performance of this symphony by the Melbourne Symphony much to the fore in ‘Make a joyful noise’. Orchestra took place on 5 August 1978 under the direction of Elyakum Shapirra. The soloist was Lauris Elms. The second movement begins with a musical image of the psalmist David, the boy treble (or counter-tenor) LEONARD BERNSTEIN accompanied by harp, keening the opening lines of Psalm 23. Sopranos and altos take up this melody, but its message of ¯1918¥1990° peace is insidiously undermined by the tenors’ and basses’ Chichester Psalms cabalistic chanting of verses from Psalm 2, ‘Why do the I. Psalm 108 vs. 2, Psalm 100 nations rage, and the people imagine a vain thing?’, creating a distinct tension throughout the rest of this movement. II. Psalm 23, Psalm 2 vs. 1-4 The final movement opens with passionate string writing III. Psalm 131, Psalm 133 vs. 1 that dissolves all tension by way of a long, generous melody Nicholas Tolputt counter-tenor in 10/4 time setting words from Psalm 131. Out of this Melbourne Symphony Orchestra Chorus gorgeous warm sonority, the chorus, now unaccompanied, complete the work with a verse from Psalm 133, ‘How good After six seasons as the New York Philharmonic’s Music and how pleasant it is for brethren to dwell together’, a vision Director, years of hectic travel and guest conducting, of peace before the final ‘Amen’. and always torn between the imperatives of composing Months after the premiere Bernstein wrote a delightful and conducting, in 1964/65 Leonard Bernstein took a verse: year’s sabbatical. The year began poorly when plans for a Broadway show based on Thornton Wilder’s play The Skin These Psalms are a simple and modest affair. of Our Teeth collapsed. Tonal and tuneful and somewhat square, However a commission arrived from an unexpected source – Certain to sicken a stout John Cager, Walter Hussey, the Dean of England’s Chichester Cathedral With its tonics and triads in B-flat major. whose choir joined forces every year with those of the Jonathan Grieves-Smith © 2018 cathedrals of Winchester and Salisbury to present the The only previous performance of the Chichester Psalms by the Melbourne Symphony Southern Cathedrals Festival. Hussey was a visionary arts Orchestra took place on 9-11 November 2000 with conductor Yaron Traub, treble soloist Mark Casey and the Melbourne Chorale Ensemble. patron responsible for commissions from ,

8 BERNSTEIN CLASSICS TEXTS

GUSTAV MAHLER Rückertlieder (five songs to poems of Friedrich Rückert) Liane Keegan alto

1. Blicke mir nicht in die Lieder 1. Do not look at my songs Blicke mir nicht in die Lieder! Do not look at my songs! Meine Augen schlag’ ich nieder, My eyes are lowered as if Wie ertappt auf böser Tat. caught in a malicious act. Selber darf ich nicht getrauen, Even I do not dare Ihrem Wachsen zuzuschauen. to watch them as they grow: Deine Neugier ist Verrat! your inquisitiveness is treason! Bienen, wenn sie Zellen bauen, Bees too, when building their cells Lassen auch nicht zu sich schauen, let no-one behold them, Schauen selbst auch nicht zu. neither do they perceive themselves. Wenn die reichen Honigwaben When the rich honeycomb Sie zu Tag gefördert haben, is hauled into the light of day Dann vor allen nasche du! then you shall be the first to taste the sweetness.

2. Ich atmet’ einen linden Duft 2. I breathed a gentle fragrance Ich atmet’ einen linden Duft. I breathed a gentle fragrance. Im Zimmer stand In the room stood Ein Zweig der Linde, a branch of a lime tree, Ein Angebinde a gift Von lieber Hand. from a dear hand. Wie lieblich war der Lindenduft! How lovely was the lime fragrance! Wie lieblich ist der Lindenduft! How lovely is the lime fragrance! Das Lindenreis The sprig Brachst du gelinde; from the lime tree Ich atme leis you plucked so gently; Im Duft der Linde softly I breathed Der Liebe linden Duft. Love’s delicate fragrance.

3. Um Mitternacht 3. At midnight Um Mitternacht At midnight Hab’ ich gewacht I awoke Und aufgeblickt zum Himmel; and looked up to the Heavens; Kein Stern vom Sterngewimmel no star in the busy firmament Hat mir gelacht smiled on me Um Mitternacht. at midnight. Um Mitternacht At midnight Hab’ ich gedacht my thoughts Hinaus in dunkel Schranken. stretched out beyond the darkness Es hat kein Lichtgedanken and no friendly light Mir Trost gebracht brought consolation to me Um Mitternacht. at midnight. Um Mitternacht At midnight Nahm ich in acht I heeded Die Schläge meines Herzens; the beating of my heart; Ein einz’ger Puls des Schmerzens a single pulse of pain War angefacht was roused Um Mitternacht. at midnight. Please turn your page quietly

9 BERNSTEIN CLASSICS TEXTS

Rückertlieder continued

Um Mitternacht At midnight Kämpft’ ich die Schlacht, I fought the battle, O Menschheit, deiner Leiden; O humanity, of your suffering, Nicht konnt’ ich sie entscheiden but could not resolve it Mit meiner Macht with my strength Um Mitternacht. at midnight. Um Mitternacht At midnight Hab’ ich die Macht I gave up all my strength In Deiner Hand gegeben into your hand; Herr über Tod und Leben, Lord over death and life, Du hältst die Wacht You keep watch Um Mitternacht! at midnight!

4. Liebst du um Schönheit 4. If you love for beauty Liebst du um Schönheit, o nicht mich liebe! If you love for beauty, do not love me! Liebe die Sonne, sie trägt ein gold’nes Haar! Love the sun, with its golden hair! Liebst du um Jugend, o nicht mich liebe! If you love for youth, do not love me! Liebe den Frühling, der jung ist jedes Jahr! Love the Spring, which is young every year! Liebst du um Schätze, o nicht mich liebe! If you love for treasure, then do not love me! Liebe die Meerfrau, sie hat viel Perlen klar! Love the mermaid, who has many bright pearls! Liebst du um Liebe, o ja – mich liebe! If you love for love, oh yes, then love me! Liebe mich immer, dich lieb ich immerdar! Love me always, as I will always love you!

5. Ich bin der Welt abhanden gekommen 5. I have lost touch with the world Ich bin der Welt abhanden gekommen I have lost touch with the world Mit der ich sonst viele Zeit verdorben; where once too much time I wasted. Sie hat so lange nicht von mir vernommen, For so long has nothing been heard of me Sie mag wohl glauben, ich sei gestorben! that those who think of me imagine me dead. Es ist mir auch gar nichts daran gelegen, It is nothing to me Ob sie mich für gestorben hält. that they think me dead. Ich kann auch gar nichts sagen dagegen, I cannot say that they are wrong, Denn wirklich bin ich gestorben der Welt. for truly I am dead to the world. Ich bin gestorben dem Weltgetümmel I am dead to the world’s tumult Und ruh’ in einem stillen Gebiet. and rest in calm domains. Ich leb’ allein in meinem Himmel, I live alone in my Heaven In meinem Lieben, in meinem Lied. in my devotion, in my song.

Translations by David Vivian Russell Symphony Australia © 2000

10 LEONARD BERNSTEIN Symphony No.1, Jeremiah III. Lamentation Liane Keegan alto

Ēcha From The Lamentations of Jeremiah

1: 1-3 1: 1-3 Ēcha yashva vadad ha-ir How doth the city sit solitary, Rabati am That was full of people! Hay’ta k’almana; How is she become as a widow! Rabati vagoyim She that was great among the nations, Sarati bam’dinot And princess among the provinces, Hay’ta lamas. How is she become tributary! Bacho tivkeh balaila, She weepeth sore in the night, V’dim’ata al lecheya; And her tears are on her cheeks; Ēn la m’nachēm She hath none to comfort her Mikol ohaveha; Among all her lovers; Kol reeha bag’du va; All her friends have dealt treacherously with her. Hayu la l’oy’vim. They are become her enemies. Galta Y’huda mēoni, Judah is gone into captivity because of affliction, Umērov avoda; And because of great servitude; Hi yashva vagoyim, She dwelleth among the heathen, Lo matsa mano-ach; She findeth no rest. Kol rod’feha hisiguha All her persecutors overtook her Ben hamitsarim. Between the straits.

1: 8 1: 8 Chēt chata Y’rushalyim… Jerusalem hath grievously sinned… (Ēcha yashva ha-ir (How doth the city sit solitary …k’almana.) …a widow.)

4: 14-15 4: 14-15 Na-u ivrim bachutsot They have wandered as blind men in the streets, N’go-alu badam, They have polluted themselves with blood, B’lo yuchlu So that men could not Yig’u bilvushēhem. Touch their garments. Suru tamē! kar’u lamo, Depart ye, it is unclean! they cried unto them, Suru, suru! al tiga-u… Depart, depart! touch not…

5: 20-21 5: 20-21 Lama lanetsach tishkachēnu… Wherefore dost Thou forget us forever, Lanetsach taazvēnu… And forsake us so long time?… Hashivēnu Adonai ēlecha… Turn Thou us unto Thee, O Lord…

Please turn your page quietly

11 BERNSTEIN CLASSICS TEXTS

LEONARD BERNSTEIN Chichester Psalms I. Psalm 108 vs. 2, Psalm 100 II. Psalm 23, Psalm 2 vs. 1-4 III. Psalm 131, Psalm 133 vs. 1 Nicholas Tolputt counter-tenor Melbourne Symphony Orchestra Chorus

I I Ps. 108, vs. 2: Ps. 108, vs. 2: Urah, hanevel, v’chinor! Awake, psaltery and harp: A-irah shahar! I will rouse the dawn! ¼ Ps. 100, entire Ps. 100, entire Hariu l’Adonai kol haarets. Make a joyful noise unto the Lord all ye lands. Iv’du et Adonai b’simha. Serve the Lord with gladness. ¼ Bo-u l’fanav bir’nanah. Come before His presence with singing. D’u ki Adonai Hu Elohim. Know ye that the Lord, He is God. Hu asanu, v’lo anahnu. It is He that hath made us, and not we ourselves. ¼ Amo v’tson mar’ito. We are His people and the sheep of His pasture. Bo-u sh’arav b’todah, Enter into His gates with thanksgiving, Hatseirotav bit’hilah, And into His courts with praise. ¼ Hodu lo, bar’chu sh’mo. Be thankful unto Him, and bless His name. Ki tov Adonai, l’olam has’do, For the Lord is good, His mercy is everlasting, ¼ V’ad dor vador emunato. And His truth endureth to all generations.

II II Ps. 23, entire Ps. 23, entire Adonai ro-i, lo ehsar. The Lord is my shepherd, I shall not want. ¼ Bin’ot deshe yarbitseini, He maketh me to lie down in green pastures, Al mei m’nuhot y’nahaleini He leadeth me beside the still waters, ¼ ¼ Naf’shi y’shovev, He restoreth my soul, Yan’heini b’ma’aglei tsedek, He leadeth me in the paths of righteousness, ¼ L’ma’an sh’mo. For His name’s sake. Gam ki eilech Yea, though I walk B’gei tsalmavet, Through the valley of the shadow of death, Lo ira ra, I will fear no evil, Ki Atah imadi. For thou art with me. Shiv’t’cha umishan’techa Thy rod and Thy staff Hemah y’nahamuni. They comfort me. ¼ Ta’aroch l’fanai shulchan Thou preparest a table before me Neged tsor’rai In the presence of mine enemies, Dishanta vashemen roshi Thou anointest my head with oil, Cosi r’vayah. My cup runneth over. Ach tov vahesed Surely goodness and mercy ¼ Yird’funi kol y’mei hayai, Shall follow me all the days of my life, ¼ V’shav’ti b’veit Adonai And I will dwell in the house of the Lord L’orech yamim. Forever.

12 Ps. 2, vs. 1-4: Ps. 2, vs. 1-4: Lamah rag’shu goyim Why do the nations rage, Ul’umim yeh’gu rik? And the people imagine a vain thing? Yit’yats’vu malchei erets, The kings of the earth set themselves, V’roznim nos’du yahad And the rulers take counsel together ¼ Al Adonai v’al m’shiho. Against the Lord and against His anointed. ¼ N’natkah et mos’roteimo, Saying, let us break their bands asunder, V’nashlichah mimenu avoteimo. And cast away their cords from us. Yoshev bashamayim He that sitteth in the heavens Yis’hak, Adonai Shall laugh, and the Lord ¼ Yil’ag lamo! Shall have them in derision!

III III Ps. 131, entire Ps. 131, entire Adonai, Adonai, Lord, Lord, Lo gavah libi, My heart is not haughty, V’lo ramu einai, Nor mine eyes lofty, V’lo hilachti Neither do I exercise myself Big’dolot uv’niflaot In great matters or in things Mimeni. Too wonderful for me. Im lo shiviti Surely I have calmed V’domam’ti, And quieted myself, Naf’shi k’gamul alei imo, As a child that is weaned of his mother, Kagamul alai naf’shi. My soul is even as a weaned child. Yahel Yis’rael el Adonai Let Israel hope in the Lord ¼ Me’atah v’ad olam. From henceforth and forever.

Ps. 133, vs. 1: Ps. 133, vs. 1: Hineh mah tov, Behold how good, Umah naim, And how pleasant it is, Shevet ahim For brethren to dwell Gam yahad.¼ Together in unity. Amen. Amen.

SEPHARDIC HEBREW PRONUNCIATION GUIDE TO THE TRANSLITERATION All vowels and diphthongs as in Italian An apostrophe (’) after a consonant (e.g. hay’ta) ch as in the german word ach is a short neutral vowel as in the first syllable ē as in weigh of variety or as in the last syllable of the French g as in go word table. h as in hope h slightly guttural H r– rolled as in Italian s as in son sh as in fish ts as in wits y as in yes z as in zeal

Please turn your page quietly

13 BERNSTEIN CLASSICS MELBOURNE SYMPHONY ORCHESTRA

Sir Andrew Davis VIOLAS FLUTES TRUMPETS Chief Conductor Christopher Moore Principal Prudence Davis Shane Hooton Benjamin Northey Di Jameson# Principal Associate Principal Associate Conductor Anonymous# Anthony Pratt# Fiona Sargeant Tristan Rebien* Associate Principal Wendy Clarke Guest Associate Principal Tianyi Lu Associate Principal Cybec Assistant Conductor Lauren Brigden William Evans Mr Tam Vu and Dr Cherilyn Sarah Beggs Rosie Turner Hiroyuki Iwaki Tillman# Conductor Laureate Lauren Gorman* John and Diana Frew# (1974–2006) Katharine Brockman PICCOLO Christopher Cartlidge TROMBONES FIRST VIOLINS # Michael Aquilina Andrew Macleod Brett Kelly Dale Barltrop Anthony Chataway Principal Principal Concertmaster Dr Elizabeth E Lewis AM# OBOES Tim Dowling* Sophie Rowell Concertmaster Gabrielle Halloran Guest Associate Principal # The Ullmer Family Foundation Maria Solà# Jeffrey Crellin Richard Shirley Kirsty Hilton*† Trevor Jones Principal Tim and Lyn Edward# Guest Associate Concertmaster Thomas Hutchinson Cindy Watkin Mike Szabo Peter Edwards Associate Principal Elizabeth Woolnough Principal Bass Trombone Assistant Principal Ann Blackburn John McKay and Lois McKay# Caleb Wright The Rosemary Norman TUBA Foundation# Kirsty Bremner William Clark* Timothy Buzbee Sarah Curro Ceridwen Davies* Rachel Curkpatrick* Principal Michael Aquilina# CELLOS COR ANGLAIS David J. Saltzman* Peter Fellin ** Deborah Goodall David Berlin Michael Pisani TIMPANI Principal Principal Lorraine Hook Brent Miller* MS Newman Family# Anne-Marie Johnson CLARINETS Rachael Tobin PERCUSSION Kirstin Kenny Associate Principal David Thomas Ji Won Kim Principal Robert Clarke Nicholas Bochner Principal Eleanor Mancini Assistant Principal Philip Arkinstall Associate Principal John Arcaro Mark Mogilevski Miranda Brockman Tim and Lyn Edward# Geelong Friends of the MSO# Craig Hill Michelle Ruffolo Robert Cossom Kathryn Taylor Rohan de Korte # BASS CLARINET Timothy Hook* Michael Aquilina# Andrew Dudgeon Nicholas Waters* Keith Johnson Jon Craven Evan Pritchard* Sarah Morse Principal Greg Sully* SECOND VIOLINS Angela Sargeant BASSOONS HARP Matthew Tomkins Maria Solà# Principal Jack Schiller Yinuo Mu Michelle Wood The Gross Foundation# Principal Principal Andrew and Theresa Dyer# Robert Macindoe Elise Millman Melina van Leeuwen* Mee Na Lojewski* Associate Principal Associate Principal Josephine Vains* PIANO/CELESTE Monica Curro Natasha Thomas Assistant Principal DOUBLE BASSES Donald Nicolson* Danny Gorog and Lindy Susskind# CONTRABASSOON Mary Allison Steve Reeves Brock Imison Principal Isin Cakmakcioglu Principal Andrew Moon Freya Franzen Associate Principal HORNS Cong Gu Sylvia Hosking Saul Lewis Andrew Hall Assistant Principal Acting Associate Principal Isy Wasserman Damien Eckersley Ian Wildsmith* Philippa West Benjamin Hanlon Guest Principal Third Patrick Wong Suzanne Lee Abbey Edlin Nereda Hanlon and Michael Roger Young Stephen Newton Hanlon AM# Sophie Galaise and Clarence Aaron Barnden* Fraser# Trinette McClimont Michael Loftus-Hills* Kylie Davies* Rebecca Luton* Vivian Siyuan Qu* Alexander Morton* Esther Toh* # Position supported by * Guest Musician † Courtesy of Sydney Symphony Orchestra ** Timpani Chair position supported by Lady Potter AC CMRI

14 BERNSTEIN CLASSICS MELBOURNE SYMPHONY ORCHESTRA CHORUS

Warren Trevelyan-Jones ALTO BASS Chorus Master Ruth Anderson Richard Bolitho Tom Griffiths Phillipa Safey Catherine Bickell Roger Dargaville Repetiteurs Kate Bramley Ted Davies Jane Brodie Andrew Ham SOPRANO Elize Brozgul Andrew Hibbard Philippa Allen Alexandra Cameron Joseph Hie Aviva Barazani Serena Carmel Jordan Janssen Anne-Marie Brownhill Alexandra Chubaty Evan Lawson Eva Butcher Katharine Daley Gary Levy Samantha Davies Nicola Eveleigh Vern O’Hara Laura Fahey Lisa Faulks Alexander Owens Rita Fitzgerald Jill Giese Stephen Pyk Catherine Folley Ros Harbison Liam Straughan Susan Fone Jennifer Henry Tom Turnbull Camilla Gorman Kristine Hensel Foon Wong Emma Hamley Sara Kogan-Lazarus Simon Wright Penny Huggett Joy Lukman Maciek Zielinski Tania Jacobs Helen MacLean Gwen Kennelly Christina McCowan Anna Kidman Rosemary McKelvie Clancye Milne Stephanie Mitchell Caitlin Noble Nicole Paterson Susie Novella Alison Ralph Karin Otto Helen Rommelaar Tiffany Pang Kerry Roulston Natalie Reid Lisa Savige Janelle Richardson Julienne Seal Mhairi Riddet Libby Timcke Jo Robin Jenny Vallins Elizabeth Rusli Natalia Salazar TENOR Jillian Samuels James Allen Jemima Sim Shu Xian Alexandra Amerides Freja Soininen Tony Barnett Chiara Stebbing Steve Burnett Emily Swanson Peter Campbell Elizabeth Tindall Geoffrey Collins Fabienne Vandenburie James Dipnall Ivy Weng David Floyd Simon Gaites Wayne Kinrade Michael Mobach Jean-Francois Ravat Nathan Guan Kiat Teo Tim Wright

mso.com.au (03) 9929 9600

15 BERNSTEIN ON BROADWAY SATURDAY 18 AUGUST 2018

PROGRAM NOTES Melbourne Symphony Orchestra If memory serves me correctly, Bernstein’s Young People’s Bramwell Tovey conductor Concerts used to be shown on Melbourne’s Channel 10, Sarah Fox soprano when Channel 10 was Channel 0 broadcasting from new Liane Keegan alto studios in Nunawading. Even then, Leonard Bernstein was known to straddle the worlds of classical and popular Brenton Spiteri tenor music. He wrote symphonies and conducted the New Brett Polegato baritone York Philharmonic. He conquered Broadway. Leonard Bernstein, though born in Massachusetts to a beauty products supplier and his wife, became musical New York’s Bernstein On The Town: Lonely Town chief representative. This concert celebrates Bernstein’s Bernstein Three Dance Episodes from On The Broadway, with works premiered or set there. Town: Times Square 1944 ON THE TOWN Bernstein On The Town: Come Up To My Place On the Town was arguably Bernstein’s first real Broadway Bernstein Ain’t Got No Tears Left success, composed in 1944 not long after he had written his first symphony (Jeremiah), and not very long after he had Gershwin A Foggy Day become a household name when standing in at short notice Gershwin The Goldwyn Follies: Love is Here for Bruno Walter conducting the New York Philharmonic on To Stay a national broadcast. It contains typically brash, infectious, tender music of the sort that became a Bernstein signature. Bernstein Wonderful Town: A Quiet Girl The plot concerns three young sailors on shore leave for 24 precious hours prior to embarkation and trying to squeeze Bernstein Three Dance Episodes from On The in as much fun as their last full day of ‘liberty’ will allow. The Town: Lonely Town pas de deux plot-line – kind of a chase – allows for rambunctious high Bernstein Wonderful Town: A Little Bit In Love spirits but also subtle allusions to sadder moments. It’s not all ‘chasing broads’. Gabey is looking for real love and his number Bernstein Wonderful Town: It’s Love ‘Lonely Town’ injects some real tenderness into the show. INTERVAL One of the most striking features of On the Town is the prevalence of dance numbers (a result of the influence Bernstein Candide: Overture of co-creator, choreographer Jerome Robbins). The Bernstein Peter Pan: Dream With Me concert work Three Dance Episodes capitalises on this choreographic strength. Episode III is based on the Act Bernstein Candide: I Am Easily Assimilated I finale when all the sailors come to Times Square for some fun. In Bernstein’s brash, shouting orchestration Bernstein Fancy Free: Danzon Variation and spiky rhythms we can hear the crowdedness, anxiety Sondheim A Little Night Music: Send In The and desperate fun of ‘every-moment-matters’ wartime Clowns New York. Bernstein always worried whether his music was deep, but in the context of the show, this is poignant. Bernstein West Side Story: I Feel Pretty Will these fun-loving boys return? In the meantime, some ‘broads’ chase the boys. Female cab driver Hildy Bernstein West Side Story: Suite No. 1 wants Chip to ‘come up to my place’, getting increasingly frustrated with his wish to see the sights. On the Town was written at frenetic pace. At one stage Bernstein and his lyricists Betty Comden and Adolph Pre-concert conversation Join us for a pre-concert Green worked in hospital while Bernstein and Green were conversation with Vincent Plush and Stephen McAllan recovering from minor operations. But On the Town was inside Hamer Hall from 6.15pm. subject to the cuts, rewrites and amplifications that are Running time: 2 hours, including a 20-minute interval customary in a Broadway musical composed at high speed, especially after director George Abbott was brought in. ‘Ain’t Got No Tears Left’ is one such cut. Kind of a nightclub number, it proves that Bernstein, who conducted Schumann, Strauss, Rózsa and Wagner on that career- launching Saturday afternoon broadcast, could make a creditable contribution to the Great American Songbook.

16 BERNSTEIN ON BROADWAY PROGRAM NOTES

FOGGY DAY IN LONDON TOWN / LOVE IS HERE TO STAY Inquisition), but her earnest approach sat oddly with music that poured out of Bernstein faster almost than a storyline Prior to Bernstein there was another New York composer could frame it. In Broadway terms Candide was at first a who aimed to straddle what was then the classical/popular flop even though its Original Cast Album became popular. music divide, and that was George Gershwin. Bernstein’s It took six lyricists and three or so new scripts before the senior thesis at Boston’s Harvard University explored how work achieved a final version, much closer to opera. Its two of his favourite American composers, Gershwin and overture, however, was always the ‘best overture for a Copland (both born in Brooklyn), ‘had responded creatively Broadway show ever’ (in critic Mark Swed’s recent words). to jazz and Latin-American influences to create a national musical style’ (to quote Humphrey Burton’s Bernstein PETER PAN biography). Gershwin first came to fame with a number he wrote as a ‘song plugger’ on Tin Pan Alley – Swanee, Of all the music in Bernstein’s output, incidental music for recorded in 1920 by Al Jolson. But Gershwin always aspired plays is possibly the least appreciated. He wrote music for to write music for the concert hall and his biggest orchestral Aristophanes’ The Birds and for Jean Anouilh’s play about hit – Rhapsody in Blue – predates some of his best-known Joan of Arc, The Lark (in a translation by Hellman). He shows. Gershwin moved to Hollywood after the apparent also wrote a film score (On the Waterfront), but the music failure of Porgy and Bess (West Side Story’s only competitor for Peter Pan, J.M. Barrie’s 1904 play about the boy who for the title of Great American Opera?) and composed music never grows up, is some of Bernstein’s simplest and most for films. ‘A Foggy Day in London Town’ was introduced by accessible music. Fred Astaire in A Damsel in Distress. ‘Love is Here to Stay’ Bernstein wrote the music for a 1950 Broadway production was written for The Goldwyn Follies. It was George’s last starring Boris Karloff and Jean Arthur. He was only meant composition before his death, on 11 July 1937. to write a few dances and incidental cues, but found himself ‘losing his head’ composing much more than WONDERFUL TOWN that. Biographer Humphrey Burton says that Bernstein’s Though not as popular as On the Town, Wonderful Town ‘songs display the innocent directness of the child’s mind (1953) is another of Bernstein’s works set in New York, this and because of the limited singing skills of the Peter Pan time the East Village, an exciting, intimidating beacon to case they are simpler and more diatonic than anything in two young Midwestern girls, an aspiring writer and aspiring [Bernstein’s recent] I Hate Music cycle…’ actress. The lyricist duo of Comden and Green again wrote Bernstein sailed for Europe before the show opened, leaving the words, as they had for On the Town, and although composer friend Marc Blitzstein in charge, a responsibility Wonderful Town never quite achieved On the Town’s acclaim Blitzstein later regretted. Among the casualties of the and lacks the wartime background that gives On the Town Broadway process: the best song, ‘Dream With Me’, was cut. that extra bit of poignancy, it contains some great numbers. Bernstein considered that he was taking time off to compose ‘A Quiet Girl’ is sung after editor Bob Baker has hurt this show so what was he ‘taking time off’ from? He had aspiring writer Ruth Sherwood’s feelings by telling her conducted the world premiere of ’s she should write what she knows, not indulge in flights of Turangalîla-symphonie at Tanglewood the previous fancy. ‘A Little Bit in Love’ is sung when Eileen finds herself December. Then, a week later, taken part in the Boston infatuated with Frank Lippencott, a Walgreens supermarket Symphony’s first telecast. Overseas, while Peter Pan was manager. When Bob quits his job in defence of one of Ruth’s playing on Broadway, he conducted numerous performances stories, Eileen is chuffed by Bob’s defence of her sister and of his next symphony – No.2, The Age of Anxiety. assures him that ‘It’s Love’ that he feels for Ruth. BERNSTEIN’S LATIN DANCE STYLE CANDIDE It would be fair to say that Leonard Bernstein was almost Wonderful Town was really, in Burton’s words, a ‘sparkling volcanically creative – composer, conductor, TV presenter; entertainment’. Candide was a more serious proposition. symphonist, soloist, song-writer. Not only did he write the Candide premiered on Broadway (in 1956), but in a sense music for Candide but he was also one of the lyricists. dramatised Bernstein’s constant vacillation between ‘I am Easily Assimilated’ occurs after Candide has found Broadway and the so-called ‘serious’ stage. Candide was his true-love Cunegonde alive (after all) and fled with based on Voltaire’s 1759 satirical novel of Enlightenment her and the Old Lady to Buenos Aires, where the Old optimism about a young man who attempts to hold to Lady persuades Cunegonde to live in the palace with the his mentor’s philosophy that ‘all is for the best in this best governor, remarking that she is easily assimilated. It is a of all possible worlds’ even after all sorts of setbacks, brilliantly funny song – with a touch of autobiography about including earthquake, Spanish Inquisition, losing (temporarily) it. Rovny-Gubernya, supposed birthplace of the Old Lady, his beloved who is prostituted and raped… Lillian Hellman, is the hometown of Bernstein’s Polish forebears. who wrote the script, intended the musical as a critique of Eisenhower’s America and McCarthyism (hence the

17 BERNSTEIN ON BROADWAY PROGRAM NOTES

‘I Am Easily Assimilated’ is a prime example of Bernstein’s performing artist of the 20th century. The lyricist for West ability to compose in a Latin dance style as is his Danzón Side Story, perhaps Bernstein’s greatest show, was Stephen from Fancy Free, based on a Cuban style. Fancy Free, Sondheim, who would go on to write the lyrics for Gypsy a ballet, was the precursor of On the Town. The storyline (promoted for the job by West Side Story collaborators was similar if slimmer – the adventures of three sailors Jerome Robbins and Arthur Laurents) and then become on leave. But it had enough potential for George Abbott his own composer/lyricist starting with A Funny Thing to propose a full-blown musical from it. Actually, the work Happened on the Way to the Forum. Although Sondheim is a reminder that the energy of Bernstein’s music makes it was a protégé of Oscar Hammerstein II (of Rodgers ripe for dance. and Hammerstein fame), Sondheim’s later shows took a more quizzical, less optimistic view of human relations. COLLABORATION WITH SONDHEIM A Little Night Music (1973) is based on an Ingmar Bergman film, Smiles of a Summer Night, concerning the relations Bernstein was fortunate in his collaborators. Robbins between five couples. ‘Send in the Clowns’ was a late is cited above, as are Lillian Hellman, and Comden and inclusion, added when Sondheim realised the character Green. Aaron Copland and Laurence Olivier took part in Desiree needed a second-act song. It’s a song for someone the Boston Symphony telecast, already mentioned. It’s who has seen it all before – as critic Max Cryer describes it: as if you can pair Bernstein’s name with any other great ‘an anthem to regret for unwise decisions in the past’. Sondheim got to write the lyrics for West Side Story when he ran into Arthur Laurents at a party. Laurents knew that Bernstein’s regular lyricists Comden and Green were tied up in Hollywood. He liked what he had seen of Sondheim’s lyrics in a show called Saturday Night and he suggested that Sondheim audition for Bernstein. Sondheim later admitted that he thought he could have written lyrics that were less self-conscious. Maria is a 17-year-old street girl, yet she opines, ‘It’s alarming how charming I feel’. But second thoughts don’t alter the song’s classic status.

WEST SIDE STORY Having worked with Jerome Robbins on Fancy Free and On the Town, Bernstein was no doubt receptive when Robbins approached him and playwright Arthur Laurents in 1947 with the idea for a modern-day Romeo and Juliet, set on Manhattan’s Lower East Side. By the time the collaborators could find time in their diaries to begin work on the show, though, the location had shifted to Manhattan’s west side and the original conflict become one between white kids and Puerto Ricans. Robbins’ conception called for much of the work to be told through dance and this is why Bernstein’s own symphonic suite revolves around the Mambo and so on. This concert suite, however, concentrates on the music of Maria and Tony, the ill-fated lovers, including Tony’s meditation on the name ‘Maria’, their realisation that despite ethnic differences they have ‘One Hand, One Heart’ and perhaps ‘Somewhere’ a ‘place for us’. West Side Story was Bernstein’s fourth show after On The Town, Wonderful Town, and Candide. It opened its New York run in September 1957 and the 1961 film version garnered ten Academy Awards. What productive decades Bernstein had in the 1940s and 50s, and what a mark he left on Broadway in that period – soon he would be seen on television screens in Australia on Sunday afternoons.

Gordon Kalton Williams © 2018

18 BERNSTEIN ON BROADWAY MELBOURNE SYMPHONY ORCHESTRA

Sir Andrew Davis VIOLAS FLUTES TRUMPETS Chief Conductor Christopher Moore Principal Prudence Davis Shane Hooton Benjamin Northey Di Jameson# Principal Associate Principal Associate Conductor Anonymous# Anthony Pratt# Fiona Sargeant Tristan Rebien* Associate Principal Wendy Clarke Guest Associate Principal Tianyi Lu Associate Principal Cybec Assistant Conductor Lauren Brigden William Evans Mr Tam Vu and Dr Cherilyn Sarah Beggs Rosie Turner Hiroyuki Iwaki Tillman# Conductor Laureate Lauren Gorman* John and Diana Frew# (1974–2006) Katharine Brockman PICCOLO Christopher Cartlidge TROMBONES FIRST VIOLINS # Michael Aquilina Andrew Macleod Brett Kelly Dale Barltrop Anthony Chataway Principal Principal Concertmaster Dr Elizabeth E Lewis AM# OBOES Richard Shirley Sophie Rowell Concertmaster Gabrielle Halloran Tim and Lyn Edward # The Ullmer Family Foundation Maria Solà# Jeffrey Crellin Mike Szabo Peter Edwards Trevor Jones Principal Principal Bass Trombone Assistant Principal Thomas Hutchinson Cindy Watkin John McKay and Lois McKay# Associate Principal TUBA Elizabeth Woolnough Kirsty Bremner Ann Blackburn Timothy Buzbee Sarah Curro Caleb Wright The Rosemary Norman Principal Foundation# Michael Aquilina# William Clark* David J. Saltzman* Peter Fellin Ceridwen Davies* Rachel Curkpatrick* ** Deborah Goodall TIMPANI CELLOS COR ANGLAIS Lorraine Hook Brent Miller* Michael Pisani Anne-Marie Johnson David Berlin Principal Principal PERCUSSION Kirstin Kenny MS Newman Family# Ji Won Kim CLARINETS Robert Clarke Rachael Tobin Principal Eleanor Mancini Associate Principal David Thomas Principal John Arcaro Mark Mogilevski Nicholas Bochner Tim and Lyn Edward# Assistant Principal Philip Arkinstall Michelle Ruffolo Robert Cossom Kathryn Taylor Miranda Brockman Associate Principal # Evan Pritchard* Michael Aquilina# Geelong Friends of the MSO Craig Hill Tiffany Cheng* Rohan de Korte HARP Andrew Dudgeon# BASS CLARINET Nicholas Waters* Yinuo Mu Keith Johnson Jon Craven Principal SECOND VIOLINS Sarah Morse Principal Matthew Tomkins Angela Sargeant BASSOONS PIANO/CELESTE Principal Maria Solà# Donald Nicolson* The Gross Foundation# Jack Schiller Michelle Wood Principal Robert Macindoe Andrew and Theresa Dyer# SAXOPHONE Associate Principal Elise Millman Anna Pokorny* Associate Principal Tim Wilson* Monica Curro Assistant Principal DOUBLE BASSES Natasha Thomas GUITAR Danny Gorog and Lindy Susskind# Steve Reeves CONTRABASSOON Doug de Vries* Mary Allison Principal Isin Cakmakcioglu Brock Imison Andrew Moon Principal Freya Franzen Associate Principal Cong Gu Sylvia Hosking HORNS Andrew Hall Assistant Principal Saul Lewis Isy Wasserman Damien Eckersley Acting Associate Principal Philippa West Benjamin Hanlon Ian Wildsmith* Guest Principal Third Patrick Wong Suzanne Lee Abbey Edlin Roger Young Stephen Newton Sophie Galaise and Clarence Nereda Hanlon and Michael # Michael Loftus-Hills* Fraser# Hanlon AM Vivian Siyuan Qu* Trinette McClimont Esther Toh* Alexander Morton*

# Position supported by * Guest Musician ** Timpani Chair position supported by Lady Potter AC CMRI

19 SUPPORTERS

MSO PATRON Sidney Myer Free Concerts PRINCIPAL PATRONS Anne Bowden Supported by the Myer $5,000+ Julia and Jim Breen The Honourable Linda Dessau Foundation and the University of Lynne Burgess AC, Governor of Victoria Melbourne Christine and Mark Armour Oliver Carton CHAIRMAN’S CIRCLE John and Mary Barlow John and Lyn Coppock PLATINUM PATRONS Barbara Bell, in memory of Elsa Marc Besen AC and Eva Besen AO Ann Darby, in memory of Leslie $100,000+ Bell Gandel Philanthropy Stephen and Caroline Brain J. Darby The Gross Foundation Marc Besen AC and Eva Besen AO Prof Ian Brighthope Natasha Davies, for the Trikojus Education Fund Harold Mitchell Foundation John Gandel AC and Pauline David Capponi and Fiona David and Angela Li Gandel McNeil Merrowyn Deacon Harold Mitchell AC The Gross Foundation May and James Chen Sandra Dent MS Newman Family Foundation David and Angela Li Wendy Dimmick Peter and Leila Doyle Lady Potter AC CMRI MS Newman Family Foundation Andrew Dudgeon AM Duxton Vineyards Joy Selby Smith Anthony Pratt Andrew and Theresa Dyer Lisa Dwyer and Dr Ian Dickson The Cybec Foundation The Pratt Foundation Mr Bill Fleming Jaan Enden The Pratt Foundation Lady Potter AC CMRI John and Diana Frew Dr Helen M Ferguson The Ullmer Family Foundation Joy Selby Smith Susan Fry and Don Fry AO Mr Peter Gallagher and Dr Karen Morley Anonymous (1) Ullmer Family Foundation Sophie Galaise and Clarence Anonymous (1) Fraser Dina and Ron Goldschlager ARTIST CHAIR Geelong Friends of the MSO Leon Goldman BENEFACTORS VIRTUOSO PATRONS R Goldberg and Family Colin Golvan AM QC and $50,000+ Dr Deborah Golvan Associate Conductor Chair Leon Goldman Di Jameson Louise Gourlay OAM Benjamin Northey Jennifer Gorog Anthony Pratt David Krasnostein and Pat Susan and Gary Hearst HMA Foundation Orchestral Leadership Stragalinos Colin Heggen, in memory Louis Hamon OAM Joy Selby Smith Harold Mitchell AC of Marjorie Drysdale Heggen Nereda Hanlon and Michael Cybec Assistant Conductor Kim Williams AM Jenkins Family Foundation Hanlon AM Chair Tianyi Lu John Jones IMPRESARIO PATRONS Hans and Petra Henkell The Cybec Foundation George and Grace Kass $20,000+ Hartmut and Ruth Hofmann Associate Concertmaster Irene Kearsey and M J Ridley Chair Sophie Rowell Doug Hooley Michael Aquilina The Ilma Kelson Music The Ullmer Family Foundation Jenny and Peter Hordern The John and Jennifer Brukner Foundation 2018 Soloist in Residence Chair Dr Alastair Jackson AM Foundation Bryan Lawrence Anne-Sophie Mutter Rosemary and James Jacoby Mary and Frederick Davidson AM John and Margaret Mason Marc Besen AC and Eva Besen AO Dr Elizabeth A Lewis AM Margaret Jackson AC H E McKenzie Young Composer in Residence Norman Lewis, in memory of Andrew Johnston Allan and Evelyn McLaren Ade Vincent Dr Phyllis Lewis The Cybec Foundation Mimie MacLaren Alan and Dorothy Pattison Peter Lovell John and Lois McKay Sue and Barry Peake PROGRAM BENEFACTORS Lesley McMullin Foundation Maria Solà Mrs W Peart Mr Douglas and Mrs Rosemary Cybec 21st Century Australian MAESTRO PATRONS Meagher Graham and Christine Peirson The Composers Program $10,000+ Julie and Ian Reid Cybec Foundation Marie Morton FRSA Ralph and Ruth Renard East Meets West Supported by Kaye and David Birks Dr Paul Nisselle AM Peter and Carolyn Rendit the Li Family Trust Mitchell Chipman The Rosemary Norman S M Richards AM and M R Meet The Orchestra Made Tim and Lyn Edward Foundation Richards possible by The Ullmer Family Danny Gorog and Lindy Ken Ong, in memory of Lin Ong Tom and Elizabeth Romanowski Foundation Susskind Bruce Parncutt AO Diana and Brian Snape AM MSO Audience Access Crown Robert & Jan Green Jim and Fran Pfeiffer Peter J Stirling Resorts Foundation, Packer Hilary Hall, in memory of Wilma Pzena Investment Charitable Family Foundation Collie Fund Jenny Tatchell MSO Building Capacity The Hogan Family Foundation Rae Rothfield Frank Tisher OAM and Dr Gandel Philanthropy (Director of Miriam Tisher International Music and Arts Max and Jill Schultz Philanthropy) Foundation Jeffrey Sher QC and Diana Sher Anonymous (8) MSO Education Supported by Suzanne Kirkham OAM Mrs Margaret Ross AM and Dr PLAYER PATRONS $1,000+ The Cuming Bequest Profs. G & G Stephenson, in Ian Ross David and Cindy Abbey Gordan Moffat AM honour of the great Romanian MSO International Touring musicians George Enescu and Christa Abdallah Ian and Jeannie Paterson Supported by Harold Mitchell AC Dinu Lipatti Dr Sally Adams Elizabeth Proust AO MSO Regional Touring Tasco Petroleum Mary Armour Creative Victoria, Freemasons Xijian Ren and Qian Li Mr Tam Vu and Dr Cherilyn Dr Rosemary Ayton and Dr Sam Foundation Victoria, The Robert Glenn Sedgwick Tillman Ricketson Salzer Foundation, Anonymous Helen Silver AO and Harrison The Hon. Michael Watt QC and Marlyn and Peter Bancroft OAM The Pizzicato Effect Young Cecilie Hall Adrienne Basser (Anonymous), Collier Charitable Gai and David Taylor Lyn Williams AM Janice Bate and the Late Prof Fund, The Marian and E.H. Juliet Tootell Flack Trust, Scobie and Claire Anonymous (2) Weston Bate Alice Vaughan Janet H Bell Mackinnon Trust, Supported ASSOCIATE PATRONS by the Hume City Council’s Harry and Michelle Wong $2,500+ John and Sally Bourne Community Grants Program Jason Yeap OAM – Mering Michael F Boyt Management Corporation Dandolo Partners Patricia Brockman Will and Dorothy Bailey Bequest Dr John Brookes David Blackwell OAM

20 SUPPORTERS

Stuart Brown Kerryn Pratchett CONDUCTOR’S CIRCLE Joan Jones Suzie Brown OAM and Harvey Peter Priest C P Kemp Current Conductor’s Circle Brown Treena Quarin Members Peter Forbes MacLaren Roger and Col Buckle Eli Raskin Jenny Anderson Joan Winsome Maslen Jill and Christopher Buckley Raspin Family Trust David Angelovich Lorraine Maxine Meldrum Shane Buggle Joan P Robinson G C Bawden and L de Kievit Prof Andrew McCredie John Carroll Cathy and Peter Rogers Lesley Bawden Miss Sheila Scotter AM MBE Andrew Crockett AM and Andrew and Judy Rogers Joyce Bown Marion A I H M Spence Pamela Crockett Peter Rose and Christopher Menz Mrs Jenny Brukner and Molly Stephens Panch Das and Laurel Young-Das Martin and Susan Shirley the late Mr John Brukner Jennifer May Teague Beryl Dean Penny Shore Ken Bullen Jean Tweedie Rick and Sue Deering Dr Sam Smorgon AO and Mrs Peter A Caldwell Herta and Fred B Vogel Dominic and Natalie Dirupo Minnie Smorgon Luci and Ron Chambers Dorothy Wood John and Anne Duncan Dr Norman and Dr Sue Beryl Dean HONORARY APPOINTMENTS Jane Edmanson OAM Sonenberg Sandra Dent Valerie Falconer and the Rayner Dr Michael Soon Marc Besen AC and Lyn Edward Family in memory of Keith Lady Southey AC Eva Besen AO Alan Egan JP Falconer Geoff and Judy Steinicke Life Members Gunta Eglite Grant Fisher and Helen Bird Jennifer Steinicke Sir Elton John CBE Mr Derek Grantham Life Member Elizabeth Foster Dr Peter Strickland Marguerite Garnon-Williams Lady Potter AC CMRI Barry Fradkin OAM and Pamela Swansson Dr Pam Fradkin Drs Clem Gruen and Rhyl Wade Life Member Ann and Larry Turner Applebay Pty Ltd Louis Hamon OAM Mrs Jeanne Pratt AC David Valentine David Frenkiel and Esther Carol Hay Life Member Mary Valentine AO Frenkiel OAM Tony Howe Geoffrey Rush AC The Hon. Rosemary Varty David Gibbs and Susie O’Neill Laurence O’Keefe and Ambassador Leon and Sandra Velik Merwyn and Greta Goldblatt Christopher James The MSO honours David and Yazni Venner George Golvan QC and Naomi Audrey M Jenkins the memory of Sue Walker AM Golvan John Jones John Brockman OAM Dr Marged Goode Elaine Walters OAM and George and Grace Kass Life Member Gregory Walters Prof Denise Grocke AO Mrs Sylvia Lavelle The Honourable Edward and Paddy White Max Gulbin Pauline and David Lawton Alan Goldberg AO QC Nic and Ann Willcock Dr Sandra Hacker AO and Cameron Mowat Life Member Marian and Terry Wills Cooke Mr Ian Kennedy AM David Orr Ila Vanrenen Lorraine Woolley Jean Hadges Rosia Pasteur Life Member Richard Ye Michael and Susie Hamson Elizabeth Proust AO Anonymous (21) Paula Hansky OAM Penny Rawlins Merv Keehn & Sue Harlow THE MAHLER SYNDICATE Joan P Robinson The MSO relies on your Tilda and Brian Haughney Neil Roussac ongoing philanthropic David and Kaye Birks support to sustain our Anna and John Holdsworth Anne Roussac-Hoyne Mary and Frederick Davidson AM artists, and support access, Penelope Hughes Suzette Sherazee Tim and Lyn Edward education, community Basil and Rita Jenkins Michael Ryan and Wendy Mead John and Diana Frew engagement and more. We Dorothy Karpin Anne Kieni-Serpell and Andrew invite our suporters to get Francis and Robyn Hofmann Brett Kelly and Cindy Watkin Serpell close to the MSO through The Hon Dr Barry Jones AC Dr Anne Kennedy Jennifer Shepherd a range of special events. Dr Paul Nisselle AM Julie and Simon Kessel Profs. Gabriela and George Maria Solà The MSO welcomes your Kerry Landman Stephenson support at any level. The Hon Michael Watt QC and Pamela Swansson Donations of $2 and over Diedrie Lazarus Cecilie Hall William and Magdalena Lillian Tarry are tax deductible, and Leadston TRUSTS AND FOUNDATIONS Dr Cherilyn Tillman supporters are recognised Mr and Mrs R P Trebilcock as follows: Dr Anne Lierse Collier Charitable Fund Michael Ullmer $1,000+ (Player) Gaelle Lindrea Crown Resorts Foundation and Dr Susan Linton the Packer Family Foundation Ila Vanrenen $2,500+ (Associate) Andrew Lockwood The Cybec Foundation The Hon. Rosemary Varty $5,000+ (Principal) Elizabeth H Loftus The Marian and E.H. Flack Trust Mr Tam Vu $10,000+ (Maestro) Chris and Anna Long Freemasons Foundation Marian and Terry Wills Cooke The Hon Ian Macphee AO and Victoria Mark Young $20,000+ (Impresario) Mrs Julie Macphee Anonymous (26) Gandel Philanthropy $50,000+ (Virtuoso) Eleanor & Phillip Mancini The International Music and The MSO gratefully $100,000+ (Platinum) In memory of Leigh Masel Arts Foundation acknowledges the support Ruth Maxwell The Scobie and Claire of the following Estates: The MSO Conductor’s Don and Anne Meadows Mackinnon Trust Angela Beagley Circle is our bequest Ian Morrey and Geoffrey Minter The Harold Mitchell Foundation Neilma Gantner program for members who have notified of a planned new U Mildura The Sidney Myer MSO Trust The Hon Dr Alan Goldberg AO QC Fund gift in their Will. Wayne and Penny Morgan Gwen Hunt The Pratt Foundation Patricia Nilsson Audrey Jenkins Enquiries: The Robert Salzer Foundation Laurence O’Keefe and Joan Jones P (03) 8646 1551 Telematics Trust E [email protected] Christopher James Pauline Marie Johnston Anonymous

21 Honouring John Gandel AC and Pauline Gandel Tonight, as we pay tribute to the legendary Leonard Bernstein, we also celebrate two outstanding patrons – John Gandel AC and Pauline Gandel. We are delighted to welcome John and Pauline as MSO Honorary Life Members. In doing so, we are acknowledging their extraordinary commitment to the Melbourne Symphony Orchestra over many years. In 1978, John and Pauline established the Gandel Charitable Trust. Now known as Gandel Philanthropy, today it is one of the largest philanthropic family funds in Australia, giving to a variety of causes including Judaism, education, medical causes and the arts. The strength of the Gandels’ commitment to MSO is reflected in the variety of projects they give to – both on and off the stage. From helping MSO purchase a new grand piano, to supporting our education and community activities, John and Pauline Gandel’s generosity has enabled us to continue our mission to touch the lives of as many people as possible through high-quality music-making experiences. A generous grant from Gandel Philanthropy enabled MSO to tour to Europe and the UK in 2014. More recently, in 2017 Gandel Philanthropy awarded MSO a three-year capacity-building grant to co-fund the position of Director of Philanthropy – a role which is integral to ensuring a bright and prosperous future for the Melbourne Symphony Orchestra. From all of us at MSO, thank you John and Pauline for your outstanding generosity and belief in the Melbourne Symphony Orchestra.

MELBOURNE SYMPHONY ‘ We are the ORCHESTRA BOARD music makers, MSO BOARD Chairman and we are the Michael Ullmer Managing Director dreamers of Sophie Galaise

Board Members dreams.' Andrew Dyer – Arthur O’Shaughnessy Danny Gorog Margaret Jackson AC David Krasnostein David Li Come dream with us Hyon-Ju Newman by adopting your own Helen Silver AO MSO musician! Company Secretary Oliver Carton Support the music and the orchestra you love while getting to know your favourite player. Honour their talent, artistry and life-long commitment to music, and become part of the MSO family.

Adopt Principal Harp, Yinuo Mu, or any of our wonderful musicians today.

22 Principal Partner

Government Partners

Premier Partners Venue Partner

Major Partners Education Partners

Supporting Partners

Quest Southbank The CEO Institute Ernst & Young Bows for Strings The Observership Program

Trusts And Foundations

Sidney Myer MSO Trust Fund, The Gross Foundation, MS Newman Family Foundation, The Ullmer Family Foundation, Erica Foundation Pty Ltd

Media And Broadcast Partners

23