FRENCH CLASSICS

23–26 NOVEMBER 2018 Arts Centre Melbourne, Hamer Hall

CONCERT PROGRAM Melbourne Symphony Orchestra Fabien Gabel conductor Beatrice Rana piano Fiona Campbell mezzo-soprano Melbourne Symphony Orchestra Chorus Warren Trevelyan-Jones chorus master

Debussy Prélude à l’après-midi d’un faune Prokofiev Piano Concerto No.3 INTERVAL Debussy/Dean Ariettes Oubliées Ravel Daphnis et Chloé, Suite No.2

Pre-concert talk (Friday & Saturday) Join Megan Stellar, founder and editor of Rehearsal Magazine, for a pre-concert conversation on-stage at Hamer Hall from 6.15pm. Post-concert conversation (Monday) Join composer and ABC Classic FM producer, Andrew Aronowicz, for a post-concert conversation inside the Stalls Foyer of Hamer Hall from 8.30pm.

Running time: One hour and 45 minutes, including a 20-minute interval

In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your phone. The MSO acknowledges the Traditional Owners of the land on which it is performing. MSO pays its respects to their Elders, past and present, and the Elders from other mso.com.au communities who may be in attendance. (03) 9929 9600

2 MELBOURNE SYMPHONY FABIEN GABEL ORCHESTRA CONDUCTOR

Established in 1906, the Melbourne Fabien Gabel is music director of the Symphony Orchestra (MSO) is an Quebec Symphony Orchestra, and was arts leader and Australia’s oldest appointed music director of the French professional orchestra. Chief Youth Orchestra in 2017. Conductor Sir Andrew Davis has His 2017–18 schedule saw guest been at the helm of MSO since 2013. appearances with the Cleveland Engaging more than 4 million people Orchestra at their Blossom Festival, each year, the MSO reaches diverse the Royal Flemish Philharmonic, Hessian audiences through live performances, Radio Symphony Orchestra, Detroit recordings, TV and radio broadcasts Symphony Orchestra, Staatskapelle and live streaming. Its international Weimar, Houston Symphony, National audiences include China, where MSO Symphony Orchestra (Washington has performed in 2012, 2016 and most DC), Helsinki Philharmonic, San Diego recently in May 2018, Europe (2014) and Symphony, and Orchestre de Paris. Indonesia, where in 2017 it performed at the UNESCO World Heritage Site, Fabien Gabel has worked with soloists Prambanan Temple. such as Emmanuel Ax and Jean-Yves Thibaudet, and singers such as Natalie The MSO performs a variety of Dessay. Recordings include Saint-Saëns’ concerts ranging from symphonic Piano Concertos Nos. 2 and 5 with Louis performances at its home, Hamer Hall Schwizgebel and the BBC Symphony at Arts Centre Melbourne, to its annual Orchestra. Fabien Gabel made his free concerts at Melbourne’s largest professional conducting debut in 2003 outdoor venue, the Sidney Myer Music with the Orchestre National de France. Bowl. The MSO also delivers innovative and engaging programs and digital tools to audiences of all ages through its Education and Outreach initiatives.

3 BEATRICE RANA FIONA CAMPBELL PIANO MEZZO-SOPRANO

Beatrice Rana came to public attention Proclaimed “outstanding” and “best in 2011 after winning First Prize and mezzo-soprano in Australia” by The all special jury prizes at the Montreal Australian, multi award-winning International Competition. In 2013 she performer Fiona Campbell is one of won the Silver Medal and Audience Australia’s most versatile and beloved Award at the 14th Van Cliburn singers. A mother, producer and ABC International Piano Competition. presenter, accomplished international performer, recitalist and recording Beatrice Rana has performed at the artist, Fiona has consistently entranced world’s most prestigious venues and audiences and received wide critical with conductors such as Riccardo acclaim for her powerful performances Chailly, Yuri Temirkanov and Zubin and exquisite musicianship. Mehta. Among orchestras she has appeared with the London Philharmonic, Much in demand as a principal artist Philadelphia Orchestra, NHK Symphony, with all the finest orchestras and and Orchestre National de France. ensembles in Australia, Fiona is a fierce advocate for the arts and gaining Recent appearances have included national prominence through her concerts with the Tonkünstler involvement in music education, artistic Orchestra at the Vienna Musikverein direction and her media presence. and Chopin with Amsterdam’s Royal Concertgebouw Orchestra. Recent recordings include Bernstein’s Age of Anxiety with and the Academy of Saint Cecilia and Bach’s Goldberg Variations.

4 MELBOURNE SYMPHONY WARREN TREVELYAN-JONES ORCHESTRA CHORUS MSO CHORUS MASTER

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

5 PROGRAM NOTES The project fell through, but Debussy’s imagination had been whetted. The orchestral piece that finally appeared CLAUDE DEBUSSY made an immediate and positive impact (1862–1918) with the audience, if not the critics, Prélude à l’après-midi d’un faune and may be said to be Debussy’s (Prelude to the Afternoon of a Faun) breakthrough work. In 1912 it was choreographed and danced by Nijinsky, Published in 1876, Stéphane Mallarmé’s whose erotic performance caused one eclogue l’après-midi d’un faune is a of those typically Parisian fracas. monument of symbolist poetry, reflecting The first phrase of the solo flute in its sumptuous but fragmentary arabesque with which the piece language the erotic fantasies of a drowsy begins has rightly been described as faun – a mythical half-man, half-goat – a founding moment in modern music. on a hot, languid Sicilian afternoon. Its chromatic, rhythmically ambiguous Running like a thread through the line traces and retraces the equally imagery of fruit and flowers and naked ambiguous interval of the tritone: like nymphs are references to music, the material elsewhere in the work that specifically to the syrinx. This instrument, is derived from the whole-tone scale, the ‘pan-pipes’, was fashioned by the it is in no clearly discernible key, as god Pan from reeds into which a young is shown by the varied ways in which nymph, desperate to escape his amorous it is harmonised on its subsequent attentions, had been transformed. reappearances. The second half of the One such reference, to the syrinx’s melody provides more ‘conventional’ ‘sonorous, airy, monotonous line’, would motifs that are taken up from time to become the kernel of Debussy’s musical time by the rest of the orchestra. rendering of the poem. (Debussy hated Mallarmé’s poem rhymes, but otherwise hearing his music described as ‘what avoids traditional forms or a narrative imbeciles call impressionism’ and line; similarly, Debussy’s piece avoids preferred his work to be compared to the goal-directed development and tonal Symbolist poetry.) Inviting Mallarmé architecture that informs 19th-century to hear the work in 1894, he described symphonism. As Pierre Boulez puts ‘the arabesque which…I believe to have it, ‘What was overthrown was not so been dictated by the flute of your faun’. much the art of development as the very In fact the work’s genesis was in concept of form itself.’ Musical events, a proposal by Mallarmé to present like the vivid splashes of colour that a staged version of his poem at an first answer the flute, are there for the avant-garde theatre in 1891. By now he immediate pleasure they give; climaxes knew and admired some of Debussy’s are approached by simple repetition of vocal music, and went so far as to motifs; the most extended melody is announce in the newspaper that the a richly scored, Massenet-like tune at staged version would include music the work’s midpoint, accompanied by by the young composer ‘M de Bussy’. layered, rocking ostinatos.

6 The faun’s dream is overcome by sleep unwelcome casting as the ‘enfant and the ‘proud silence of noon’, and the terrible’ of Russian music, and evoked piece ends with flutes, muted horns and a corresponding critical reaction (‘cats the glitter of harp and antique cymbals, on a roof make better music,’ wrote one fading to nothingness. Russian critic of Concerto No.2). No.3, on the other hand, shows much more of © Gordon Kerry 2017 the tunefulness and accessibility which The Melbourne Symphony first performed this it is wrong to regard as having entered work on 12 September 1940 under conductor Sir Bernard Heinze, and most recently in October Prokofiev’s music only after he returned 2014 with Benjamin Northey. to Russia in the early 1930s. The lyrical opening of this piano concerto, completed in 1921, recalls that of the (1891–1953) First Violin Concerto of 1916–17. Even Piano Concerto No.3 earlier, the great Russian impresario Sergei Diaghilev had perceived Andante – Allegro Prokofiev’s true musical nature: ‘Few Andantino (with variations) composers today have Prokofiev’s gift Allegro non troppo of inventing personal melodies, and even fewer have a genuine flair for a Prokofiev was a virtuoso , who fresh use of simple tonal harmonies… made an authoritative recording of he doesn’t need to hide behind inane his own Third Concerto. One of his theories and absurd noises.’ most successful and popular concert The Third Piano Concerto reflects works, the concerto shows the most Prokofiev’s world-travelling existence typical aspects of his mature musical around the time of its creation. He had style in ideal balance: a mixture of been collecting its themes for over ten rather Romantic passages with incisive, years by the time he put them together humorous, sometimes even grotesque in 1921. Prokofiev rarely threw away episodes. This is obvious right at the anything that might come in handy later start: the opening Andante melody for on. He began the concerto in Russia clarinet is lyrical, almost wistful, and in 1917, completed it in France in 1921, Russian-sounding. But immediately the and gave the premiere later that year piano comes in, the music becomes in Chicago, where his opera The Love very busy, incisive, almost icy. The for Three Oranges was premiered. An lyricism of the opening will return in American critic wrote of the concerto, place of a ‘development’ section in ‘It is greatly a matter of slewed harmony, the middle of the first movement. neither adventurous enough to win Prokofiev conceived musical materials the affection nor modernist enough for his first three concertos in the to be annoying.’ You can’t win! A years before he left Russia at the New York critic was wrong, but more time of the 1917 Revolution. The perceptive, when he wrote, ‘It is hard first two concertos, in their driving to imagine any other pianist than Mr rhythms and crunching discords, Prokofiev playing it.’ Prokofiev’s own illustrate Prokofiev’s not altogether playing pioneered a new kind of piano

7 virtuosity. A rewarding piece for any The unabashedly Romantic ‘alternative virtuoso, this concerto is formally clear theme’ is worked up to an emotional and satisfying, full of memorable tunes pitch that shows Prokofiev as having harmonised and orchestrated with more in common with Rachmaninov a peculiarly personal piquancy, and than is usually suspected, and both as sufficiently of our time to be bracing owing much to Tchaikovsky. Then the and refreshing. opening returns in a brilliant coda.

The second movement is a set of David Garrett © 2003 five variations on a theme Prokofiev The Melbourne Symphony Orchestra first had composed in 1913, intending it performed this concerto in September 1941 with even then for variation treatment. conductor Sir Bernard Heinze and pianist Raymond Lambert, and most recently in November 2010 This theme has an old-world, rather with Tadaaki Otaka and Philippe Bianconi. gavotte-like character, which in the first variation is treated solo by the piano CLAUDE DEBUSSY in what Prokofiev describes as ‘quasi- (1862–1918) sentimental fashion’. Then the tempo Orch. by Brett Dean changes to a furious allegro, one of the (born 1961) abrupt contrasts in which the concerto abounds. After a quiet, meditative Ariettes oubliées (Forgotten Songs) fourth variation, and an energetic fifth for mezzo-soprano and orchestra one, the theme returns on flutes and clarinets in its original form and at its Brett Dean remembers the idea of old speed, while the piano continues orchestrating Debussy’s Ariettes at top speed but more quietly. This has oubliées coming up in a conversation been compared to a sprinter viewed with mezzo-soprano Magdalena Kožená from the window of a train. and Sir Simon Rattle. The program for the Australian World Orchestra Prokofiev’s own program note describes concerts in 2015 was to begin with the finale as beginning with a staccato Debussy’s Prelude to The Afternoon of a theme for bassoons and pizzicato Faun (as does the program for tonight’s strings, interrupted by the blustering concert by the Melbourne Symphony entry of the piano: Orchestra). They became excited at the The orchestra holds its own with the idea of making the first half all-Debussy, opening theme, however, and there and Kožená mentioned how she loved is a good deal of argument, with singing his Ariettes oubliées. The trouble frequent differences of opinion as was, no one knew of orchestrations of regards key. Eventually the piano these songs, let alone orchestrations takes up the first theme and develops by Debussy himself. All agreed, though, it to a climax. With a reduction of that the songs’ accompaniments tone and slackening of tempo, an seemed to invite orchestral realisation. alternative theme is introduced in Dean thought so, and it was to him all the woodwinds. The piano replies were turning to be the orchestrator. with a theme that is more in keeping Dean, for practical and artistic reasons, with the caustic humour of the work. took his lead for the makeup of his

8 orchestra from Debussy’s Faun. Only Debussy’s soprano keys, bringing a few instruments have been added. an enhanced need to keep textures airy and transparent. This suits Debussy’s Debussy himself had not orchestrated take on Verlaine’s poems, but Dean these songs. The challenge for Dean was finds a partial exception in the final not necessarily to orchestrate as Debussy song, Spleen, where Debussy’s ideas would have but, in Dean’s words, ‘to seem to him, like the poem, heavier honour Debussy’s sound world’ and to in feeling, even a little Wagnerian – help the singer make the listener realise, Dean’s cue for some Tristan und Isolde- as Dean exclaims, ‘what remarkable like orchestration, with prominent songs these are!’. Although Dean has cor anglais. played a lot of Debussy, in orchestras and as a chamber musician, he came to these Dean feels that the aesthetic challenge songs fresh – by and large they were a was to avoid ‘reinventing the Debussyan discovery for him. He did look at how at wheel’. The songs of Ariettes oubliées least one other composer had gone about are full of word-painting. But their it: Colin Matthews in his orchestrations immensely sophisticated composer of Debussy’s piano (for a bigger was far from a simplistic impressionist. orchestra). So Debussy might well have done what Dean does, where at the very Dean’s orchestrations reveal some moment in Chevaux de bois where the of the orchestral style of his own poem mentions ‘the sound of oboes’, compositions. One thing he recognises the oboes stop playing. But the same as typical is how he sometimes song’s festivities (and reference to suggests the effect of Debussy’s the ‘triumphant cornet’) couldn’t be held piano chords, by allowing all but denied a trumpet, and once added to three solo violins to drop out. Many of the orchestra it seemed right in other Dean’s additions seek to achieve the places too. often shimmering surface of Debussy’s orchestral sound, and this requires David Garrett © 2015 additional figuration. There is reduction, This is the first performance of Brett Dean’s too: some of the writing for piano in the orchestration of Debussy’s Ariettes oubliées fast Chevaux de bois would be simply by the Melbourne Symphony Orchestra. impractical in the very short note values possible on the piano, so semiquaver triplets in the strings replace Debussy’s demisemiquavers. The lower keys and especially the more richly coloured sonorities of the orchestra seemed to ask at times for a broader, more sustained musical pace, so Dean more than once extends phrases with extra bars, in the orchestral codas. Kožená’s mezzo-soprano voice invited a downward transposition from

9 Debussy’s Ariettes oubliées An ‘ariette’ is a pleasant little song, found in the lighter forms of French lyric theatre, so the title refers to ‘Forgotten songs’, or more literally ‘Forgotten ariettas’. Why ‘forgotten’? The title is Debussy’s, as is this selection of poems by Verlaine. Three are from Romances sans paroles (where they are called Ariettes), one from Paysages belges, Green and Spleen are from Aquarelles. Debussy’s settings were published separately by Girod in 1888, then gathered and republished as Ariettes oubliées in 1903. The songs were not neglected, or forgotten by Debussy – the oblivion of the title is merely poetically suggestive (songs I’d forgotten). Debussy dedicated the revised and republished songs to Mary Garden, in 1902 the first Mélisande in his opera. Debussy had already set three Verlaine poems, including Clair de lune, and the popular Mandoline. But in the Ariettes, as that matchless guide to French song Pierre Bernac has written: ‘Debussy’s personality suddenly breaks out with all its rarest and most precious qualities – his first great masterpieces.’ Debussy not only captures each poem’s mood, but follows the meaning of each phrase, almost each word, ‘and magically expresses it musically’. Verlaine’s poetry has a musical quality, and titles like Songs (Romances) without words show his own musical awareness. Much of his visual imagery is impressionist, and the words suggest the painterly analogue of softly shaded water colour. Fauré and Debussy as young men were drawn to the poems inspired by Verlaine’s own youthful love. Some iron entered the poet’s soul when he became fascinated by the stronger personality of his fellow poet Rimbaud. Verlaine spent time in a Belgian jail for shooting Rimbaud when they quarrelled. This is the Verlaine of the boredom of Il pleure dans mon coeur, the weariness and anxiety of Spleen.

10 Now ‘Suite 2’ begins, one of the most (1875–1937) graphic portrayals of sunrise in the Daphnis et Chloé: Suite 2 orchestral literature. Imitation birdsong and the piping of shepherds unite Daybreak Daphnis with Chloé. In tribute to Pan, Pantomime Daphnis and Chloé mime Pan’s courtship General Dance (Bacchanale) of Syrinx, accompanied by a florid solo flute (Pantomime). The General Dance The Russian impresario Sergei Diaghilev represents the joyful celebration of the commissioned many of the orchestral lovers and shepherds. Composed in scores that have become modern 5/4 (a time signature with five beats to classics. In 1909, he brought his Ballets the bar), this metre initially posed some Russes to Paris, and commissioned difficulty for Diaghilev’s dancers – until Ravel to write a ballet to a scenario they found a way of using their boss’s by Michel Fokine based on the tale of name as a mnemonic (DIA-ghi-lev, SER- Daphnis and Chloe, a pastoral romance gei DIA-ghi-lev…). attributed to the Greek writer Longus, who lived in the 2nd/3rd century CE. Gordon Kalton Williams Symphony Australia © 1997/2008 Ravel lingered over this, arguably his The Melbourne Symphony Orchestra first greatest score. In it, he sought to depict performed Suite 2 from Daphnis et Chloé the Greece of his dreams which, he on 4 May 1940 under conductor Antal Dorati, and most recently in April 2017 with Long Yu. said, ‘is very similar to that imagined and painted by French artists at the end of the 18th century’. He constructed the work symphonically according to a strict plan of key sequences and out of a small number of themes, subtitling it ‘a choreographic symphony in three parts’. First presented as a ballet at the Théâtre du Châtelet on 8 June 1912, Daphnis has since become a staple of the concert hall, where it is usually heard in the form of two suites, or ‘fragments symphoniques’. Tonight you will hear Suite 2, comprising the last 20 minutes or so of the original ballet. The ballet begins with the idyll in which Daphnis and Chloé fall in love. Chloé is abducted by pirates, and three nymphs invoke the god Pan to come to Daphnis’ aid. As Fokine’s scenario goes: ‘All flee in bewilderment. The scenery seems to melt away…’

11 TEXT

CLAUDE DEBUSSY Ariettes oubliées Fiona Campbell mezzo-soprano Melbourne Symphony Orchestra Chorus

C’est l’extase langoureuse It is ecstasy C’est l’extase langoureuse, This is languorous ecstasy, C’est la fatigue amoureuse, this is the lassitude of love, C’est tous les frissons des bois this is all the shiverings of the woods Parmi l’étreinte des brises, amidst the embrace of the breezes, C’est, vers les ramures grises, this, near the grey boughs, Le choeur des petites voix. is the choir of tiny voices.

Ô le frêle et frais murmure! Oh, the frail and fresh murmuring! Cela gazouille et susurre, It twitters and whispers. Cela ressemble au cri doux It sounds like the gentle cry Que l’herbe agitée expire… breathed out by the ruffled grass… Tu dirais, sous l’eau qui vire, You would say, beneath the swirling water, Le roulis sourd des cailloux. the muffled rolling of the pebbles.

Cette âme qui se lamente This soul lamenting En cette plainte dormante in this slumbering complaint, C’est la nôtre, n’est-ce pas? it is ours, is it not? La mienne, dis, et la tienne, Mine, say, and yours, Dont s’exhale l’humble antienne breathing out the humble anthem Par ce tiède soir, tout bas? in this warm evening, so quietly?

Il pleure dans mon coeur Tears fall in my heart Il pleure dans mon cœur Tears fall in my heart Comme il pleut sur la ville; as it rains on the town. Quelle est cette langueur What is this languor Qui pénètre mon cœur? that penetrates my heart?

Ô bruit doux de la pluie, Oh, soft sound of the rain Par terre et sur les toits! on the ground and on the roofs! Pour un cœur qui s’ennuie, For a listless heart, Ô le bruit de la pluie! oh, the sound of the rain!

Il pleure sans raison Tears fall for no reason Dans ce cœur qui s’écœure. in this sickened heart. Quoi! nulle trahison?… What! No treason? Ce deuil est sans raison. For this mourning there is no reason.

12 C’est bien la pire peine, It is indeed the worst torment De ne savoir pourquoi not to know why, Sans amour et sans haine without love and without hate, Mon cœur a tant de peine! my heart has so much pain!

L’ombre des arbres The shadow of the trees L’ombre des arbres dans la rivière The shadow of the trees, in the misty embrumée river, Meurt comme de la fumée, dies like smoke, Tandis qu’en l'air, parmi les ramures whereas up there, amidst the real réelles, branches, Se plaignent les tourterelles. the doves sing their plaint.

Combien, ô voyageur, ce paysage How much, o traveller, this wan blême landscape Te mira blême toi-même, reflected you, wan yourself, Et que tristes pleuraient dans les hautes And how sadly, in the high feuillées foliage, Tes espérances noyées! your drowned hopes wept!

Chevaux de bois Merry-go-round Tournez, tournez, bons chevaux de bois, Turn, turn, good wooden horses, Tournez cent tours, tournez mille tours, turn one hundred, one thousand turns; Tournez souvent et tournez toujours, turn often and go on turning, Tournez, tournez au son des hautbois. turn, turn to the sound of the oboes.

L’enfant tout rouge et la mère blanche, The child all red and the mother white, Le gars en noir et la fille en rose, the lad in black and the girl in pink, L’une à la chose et l’autre one down-to-earth and the other à la pose, showing off, Chacun se paie un sou de each treating himself to a Sunday dimanche. penny’s worth.

Tournez, tournez, chevaux de leur cœur, Turn, turn, horses of their heart Tandis qu’autour de tous vos tournois whilst around all your whirlings, Clignote l’œil du filou sournois, squints the eye of the crafty pickpocket, Tournez au son du piston vainqueur. turn to the sound of the triumphant cornet.

Please turn your page quietly

13 C’est étonnant comme ça vous soûle It is amazing how intoxicating it is D’aller ainsi dans ce cirque bête, going round like this in this stupid circle, Rien dans le ventre et mal dans nothing in the tummy and aching in the la tête, head, Du mal en masse et du bien en foule. heaps of pain and loads of fun.

Tournez, dadas, sans qu’il soit besoin Turn, geegees, without ever needing D’user jamais de nuls éperons pointless spurs Pour commander à vos galops ronds, to drive you on your circular gallops, Tournez, tournez, sans espoir de foin. turn, turn, without hope of hay.

Et dépêchez, chevaux de leur âme And hurry, horses of their soul, Déjà voici que sonne à la soupe here already is nightfall, La nuit qui tombe et chasse ringing for supper and chasing away the la troupe throng De gais buveurs que leur soif affame. of happy drinkers famished by their thirst.

Tournez, tournez! Le ciel en velours Turn, turn! The sky in velvet D’astres en or se vêt lentement. adorns itself slowly with stars of gold. L’église tinte un glas tristement. The church sadly tolls a knell. Tournez au son joyeux des tambours! Turn to the merry beating of the drums.

Green Green Voici des fruits, des fleurs, des feuilles Here are fruits, flowers, leaves and et des branches branches, Et puis voici mon cœur qui ne bat que and here too is my heart, which beats pour vous. for you alone. Ne le déchirez pas avec vos deux mains Do not tear it with your two white blanches hands, Et qu’à vos yeux si beaux l’humble and may the humble gift seem sweet to présent soit doux. your so lovely eyes.

J’arrive tout couvert encore de rosée I arrive still covered in dew Que le vent du matin vient glacer à mon which the morning wind comes to freeze front. to my brow. Souffrez que ma fatigue à vos pieds Suffer my weariness, rested at your reposée feet, Rêve des chers instants qui la to dream of the dear moments which will délasseront. bring repose.

14 Sur votre jeune sein laissez rouler ma tête On your young breast let me rest my head Toute sonore encore de vos derniers still ringing with your last baisers; kisses; Laissez-la s’apaiser de la bonne tempête, let it grow calm again after the good storm, Et que je dorme un peu puisque vous and let me sleep a little, since you are reposez. resting.

Spleen Spleen Les roses étaient toutes rouges The roses were all red, Et les lierres étaient tout noirs. and the ivy was black.

Chère, pour peu que tu te bouges, Dearest, if you so much as move, Renaissent tous mes désespoirs. all my despair returns.

Le ciel était trop bleu, trop tendre, The sky was too blue, too tender, La mer trop verte et l’air trop doux. the sea too green and the air too soft.

Je crains toujours, – ce qu’est I always fear – what it is d’attendre! – to wait! – Quelque fuite atroce de vous. some dreadful abandonment by you.

Du houx à la feuille vernie I am weary of the holly with its varnished Et du luisant buis je suis las, leaf, and of the gleaming box tree,

Et de la campagne infinie and of the boundless countryside, Et de tout, fors de vous, hélas ! and of everything but you, alas!

Paul Verlaine (1844–1896) English translations © David Garrett

15 MELBOURNE SYMPHONY ORCHESTRA

Sir Andrew Davis Monica Curro Nicholas Bochner Chief Conductor Assistant Principal Assistant Principal Danny Gorog and Lindy Benjamin Northey # Miranda Brockman Associate Conductor Susskind Geelong Friends of the MSO# # Anthony Pratt Mary Allison Rohan de Korte Tianyi Lu Isin Cakmakcioglu Andrew Dudgeon# Cybec Assistant Conductor Tiffany Cheng Keith Johnson Hiroyuki Iwaki Freya Franzen Sarah Morse Conductor Laureate (1974–2006) Cong Gu Angela Sargeant # Andrew Hall Maria Solà FIRST VIOLINS Isy Wasserman Michelle Wood Andrew and Theresa Dyer# Dale Barltrop Philippa West Concertmaster Patrick Wong DOUBLE BASSES Sophie Rowell Concertmaster Roger Young Steve Reeves The Ullmer Family Foundation# Michael Loftus-Hill* Principal Peter Edwards Andrew Moon Assistant Principal VIOLAS Associate Principal John McKay and Lois McKay# Christopher Moore Sylvia Hosking Kirsty Bremner Principal Assistant Principal Sarah Curro Di Jameson# Damien Eckersley Michael Aquilina# Lauren Brigden Benjamin Hanlon Peter Fellin Mr Tam Vu and Dr Cherilyn # Suzanne Lee Deborah Goodall Tillman Katharine Brockman Stephen Newton Lorraine Hook Sophie Galaise and Clarence Anne-Marie Johnson Christopher Cartlidge Fraser# Michael Aquilina# Kirstin Kenny Axel Ruge* Anthony Chataway Ji Won Kim Dr Elizabeth E Lewis AM# Esther Toh* Eleanor Mancini Gabrielle Halloran Chisholm & Gamon# FLUTES Maria Solà# Mark Mogilevski Prudence Davis Trevor Jones Michelle Ruffolo Principal Fiona Sargeant Anonymous# Kathryn Taylor Michael Aquilina# Cindy Watkin Wendy Clarke Associate Principal Jacqueline Edwards* Elizabeth Woolnough Sarah Beggs Susannah Ng* William Clark* Nicholas Waters* Helen Ireland* PICCOLO Isabel Morse* SECOND VIOLINS Andrew Macleod CELLOS Principal Matthew Tomkins Principal David Berlin OBOES The Gross Foundation# Principal Jeffrey Crellin MS Newman Family# Robert Macindoe Principal Associate Principal Rachael Tobin Thomas Hutchinson Associate Principal Associate Principal

16 Ann Blackburn TRUMPETS MSO BOARD The Rosemary Norman Foundation# Shane Hooton Chairman Associate Principal Emmanuel Cassimatis* Michael Ullmer Tristan Rebien* COR ANGLAIS Guest Associate Principal Managing Director Michael Pisani William Evans Sophie Galaise Principal Rosie Turner John and Diana Frew# Board Directors CLARINETS Danny Gorog TROMBONES David Thomas Margaret Jackson AC Principal Brett Kelly Di Jameson Philip Arkinstall Principal David Krasnostein Associate Principal Richard Shirley # David Li Craig Hill Tim and Lyn Edward Hyon-Ju Newman Robin Henry* Mike Szabo Principal Bass Trombone Glenn Sedgwick BASS CLARINET TUBA Helen Silver AO Jon Craven Principal Timothy Buzbee Company Secretary Principal Oliver Carton BASSOONS TIMPANI** Jack Schiller Principal Christopher Lane Principal Elise Millman Associate Principal PERCUSSION Natasha Thomas Robert Clarke Colin Forbes-Abrams* Principal CONTRABASSOON John Arcaro Tim and Lyn Edward# Brock Imison Robert Cossom Principal Timothy Hook* Matthew Ventura* Evan Pritchard* HORNS Leah Scholes* Stefan Bernhardsson* Lara Wilson* Guest Principal HARP Saul Lewis Acting Associate Principal Yinuo Mu Abbey Edlin Principal Nereda Hanlon and Michael Bronwyn Wallis* Hanlon AM# Trinette McClimont CELESTE # Position supported by Alexander Morton* Louisa Breen* * Guest Musician ** Timpani Chair position supported by Lady Potter AC CMRI

17 MELBOURNE SYMPHONY ORCHESTRA CHORUS

CHORUS MASTER Natalia Salazar TENOR Warren Trevelyan-Jones Jillian Samuels Alexandra Amerides Lydia Sherren Matthew Castle REPETITEUR Freja Soininen John Cleghorn Tom Griffiths Elizabeth Tindall Keaton Cloherty SOPRANO Fabienne Vandenburie Geoffrey Collins Tara Zamin Aviva Barazani Simon Gaites Anne-Marie Brownhill ALTO David Henley Eva Butcher Satu Aho Lyndon Horsburgh Isabela Calderon Ruth Anderson Wayne Kinrade Alice Cole Cecilia Björkegren Michael Mobach Ella Dann-Limon Jane Brodie Nathan Guan Kiat Teo Laura Fahey Elize Brozgul BASS Catherine Folley Serena Carmel Maurice Amor Carolyn Francis Young-Hee Chan Alexandras Bartaska Camilla Gorman Nicola Eveleigh Richard Bolitho Juliana Hassett Lisa Faulks Roger Dargaville Penny Huggett Jill Giese Ted Davies Gwen Kennelly Natasha Godfrey Andrew Ham Anna Kidman Jillian Graham Joseph Hie Natasha Lambie Ros Harbison Jordan Janssen Maggie Liang Sue Hawley Evan Lawson Clancye Milne Kristine Hensel Gary Levy Catriona Nguyen- Judy Longbottom Robertson Douglas McQueen- Joy Lukman Thomson Tian Nie Helen MacLean Vern O’Hara Caitlin Noble Rosemary McKelvie Liam Straughan Karin Otto Stephanie Mitchell Tom Turnbull Tiffany Pang Alison Ralph Foon Wong Natalie Reid Maya Rodingen Ned Wright-Smith Beth Richardson Lisa Savige Maciek Zielinski Janelle Richardson Julienne Seal Mhairi Riddet Libby Timcke Elizabeth Rusli

18 Handel’s Messiah

Jan Willem de Vriend conductor Jeanine De Bique soprano | Nicholas Tolputt countertenor Andrew Goodwin tenor | Stephan Loges bass | MSO Chorus

SATURDAY 15 DECEMBER | 7pm SUNDAY 16 DECEMBER | 5pm Arts Centre Melbourne, Hamer Hall

Book now mso.com.au (03) 9929 960019 Supporters

MSO Education Supported by Mrs Margaret Ross MSO PATRON AM and Dr Ian Ross The Honourable Linda Dessau AC, MSO International Touring Supported by Harold Governor of Victoria Mitchell AC MSO Regional Touring Creative Victoria, CHAIRMAN’S CIRCLE Freemasons Foundation Victoria, The Robert Salzer Marc Besen AC and Eva Besen AO Foundation, Anonymous Gandel Philanthropy The Pizzicato Effect (Anonymous), Collier Charitable The Gross Foundation Fund, The Marian and E.H. Flack Trust, Scobie and Claire Mackinnon Trust, Supported by the Hume City Harold Mitchell Foundation Council’s Community Grants Program David and Angela Li Sidney Myer Free Concerts Supported by the Harold Mitchell AC Myer Foundation and the University of Melbourne MS Newman Family Foundation Lady Potter AC CMRI PLATINUM PATRONS The Cybec Foundation $100,000+ The Pratt Foundation Marc Besen AC and Eva Besen AO The Ullmer Family Foundation John Gandel AC and Pauline Gandel Anonymous (2) The Gross Foundation David and Angela Li ARTIST CHAIR MS Newman Family Foundation BENEFACTORS Anthony Pratt The Pratt Foundation Associate Conductor Chair Benjamin Northey Anthony Pratt Lady Potter AC CMRI Orchestral Leadership Ullmer Family Foundation Joy Selby Smith Anonymous (2) Cybec Assistant Conductor Chair Tianyi Lu The Cybec Foundation VIRTUOSO PATRONS $50,000+ Associate Concertmaster Chair Sophie Rowell Di Jameson The Ullmer Family Foundation David Krasnostein and Pat Stragalinos 2018 Soloist in Residence Chair Anne-Sophie Mutter Harold Mitchell AC Marc Besen AC and Eva Besen AO Kim Williams AM Young Composer in Residence Ade Vincent The Cybec Foundation IMPRESARIO PATRONS $20,000+ PROGRAM BENEFACTORS Michael Aquilina Cybec 21st Century Australian Composers The John and Jennifer Brukner Foundation Program The Cybec Foundation Mary and Frederick Davidson AM East Meets West Supported by the Li Family Trust Margaret Jackson AC Meet The Orchestra Made possible by The Ullmer Andrew Johnston Family Foundation Mimie MacLaren MSO Audience Access Crown Resorts Foundation, John and Lois McKay Packer Family Foundation Maria Solà MSO Building Capacity Gandel Philanthropy (Director of Philanthropy) Anonymous (1) MAESTRO PATRONS Leon Goldman $10,000+ Jennifer Gorog HMA Foundation Kaye and David Birks Louis Hamon OAM Mitchell Chipman Nereda Hanlon and Michael Hanlon AM Tim and Lyn Edward Hans and Petra Henkell Danny Gorog and Lindy Susskind Hartmut and Ruth Hofmann Robert & Jan Green Doug Hooley Hilary Hall, in memory of Wilma Collie Jenny and Peter Hordern The Hogan Family Foundation Dr Alastair Jackson AM Peter Hunt AM and Tania de Jong AM Rosemary and James Jacoby International Music and Arts Foundation Dr Elizabeth A Lewis AM Suzanne Kirkham Norman Lewis, in memory of Dr Phyllis Lewis The Cuming Bequest Peter Lovell Gordan Moffat AM Lesley McMullin Foundation Ian and Jeannie Paterson Mr Douglas and Mrs Rosemary Meagher Elizabeth Proust AO Marie Morton FRSA Xijian Ren and Qian Li Dr Paul Nisselle AM Glenn Sedgwick The Rosemary Norman Foundation Helen Silver AO and Harrison Young Ken Ong, in memory of Lin Ong Gai and David Taylor Bruce Parncutt AO Juliet Tootell Jim and Fran Pfeiffer Alice Vaughan Pzena Investment Charitable Fund Harry and Michelle Wong Andrew and Judy Rogers Jason Yeap OAM – Mering Management Rae Rothfield Corporation Max and Jill Schultz PRINCIPAL PATRONS $5,000+ Jeffrey Sher QC and Diana Sher OAM Diana and Brian Snape AM Christine and Mark Armour Profs. G & G Stephenson, in honour of the great John and Mary Barlow Romanian musicians George Enescu and Dinu Lipatti Barbara Bell, in memory of Elsa Bell Tasco Petroleum Stephen and Caroline Brain Mr Tam Vu and Dr Cherilyn Tillman Prof Ian Brighthope The Hon. Michael Watt QC and Cecilie Hall David Capponi and Fiona McNeil Lyn Williams AM May and James Chen Anonymous (5) Chisholm & Gamon John and Lyn Coppock ASSOCIATE PATRONS Wendy Dimmick $2,500+ Andrew Dudgeon AM Dandolo Partners Andrew and Theresa Dyer Will and Dorothy Bailey Bequest Mr Bill Fleming David Blackwell OAM John and Diana Frew Anne Bowden Susan Fry and Don Fry AO Bill Bowness Sophie Galaise and Clarence Fraser Julia and Jim Breen Geelong Friends of the MSO Lynne Burgess R Goldberg and Family Oliver Carton

21 Ann Darby, in memory of Leslie J. Darby Marlyn and Peter Bancroft OAM Natasha Davies, for the Trikojus Education Fund Adrienne Basser Merrowyn Deacon Janice Bate and the Late Prof Weston Bate Sandra Dent Janet H Bell Peter and Leila Doyle John and Sally Bourne Duxton Vineyards Michael F Boyt Lisa Dwyer and Dr Ian Dickson Patricia Brockman Jaan Enden Dr John Brookes Dr Helen M Ferguson Stuart Brown Elizabeth Foster Suzie Brown OAM and Harvey Brown Mr Peter Gallagher and Dr Karen Morley Roger and Col Buckle Dina and Ron Goldschlager Jill and Christopher Buckley Colin Golvan AM QC and Dr Deborah Golvan Shane Buggle Louise Gourlay OAM Dr Lynda Campbell Susan and Gary Hearst John Carroll Colin Heggen, in memory of Marjorie Andrew Crockett AM and Pamela Crockett Drysdale Heggen Panch Das and Laurel Young-Das Jenkins Family Foundation Beryl Dean John Jones Rick and Sue Deering George and Grace Kass Dominic and Natalie Dirupo Irene Kearsey and M J Ridley John and Anne Duncan The Ilma Kelson Music Foundation Jane Edmanson OAM Bryan Lawrence Valerie Falconer and the Rayner Family in memory John and Margaret Mason of Keith Falconer H E McKenzie Grant Fisher and Helen Bird Allan and Evelyn McLaren Barry Fradkin OAM and Dr Pam Fradkin Alan and Dorothy Pattison Applebay Pty Ltd Sue and Barry Peake David Frenkiel and Esther Frenkiel OAM Mrs W Peart David Gibbs and Susie O’Neill Graham and Christine Peirson Janette Gill Julie and Ian Reid Greta Goldblatt and the late Merwyn Goldblatt Ralph and Ruth Renard George Golvan QC and Naomi Golvan Peter and Carolyn Rendit Dr Marged Goode S M Richards AM and M R Richards Prof Denise Grocke AO Tom and Elizabeth Romanowski Max Gulbin Dr Michael Soon Dr Sandra Hacker AO and Mr Ian Kennedy AM Peter J Stirling Jean Hadges Jenny Tatchell Michael and Susie Hamson Frank Tisher OAM and Dr Miriam Tisher Paula Hansky OAM Anonymous (5) Merv Keehn and Sue Harlow Tilda and Brian Haughney PLAYER PATRONS $1,000+ Anna and John Holdsworth David and Cindy Abbey Penelope Hughes Christa Abdallah Basil and Rita Jenkins Dr Sally Adams Christian and Jinah Johnston Mary Armour Dorothy Karpin Australian Decorative and Fine Arts Society Brett Kelly and Cindy Watkin Dr Rosemary Ayton and Dr Sam Ricketson Dr Anne Kennedy

22 Julie and Simon Kessel Elaine Walters OAM and Gregory Walters Kerry Landman Edward and Paddy White Diedrie Lazarus Nic and Ann Willcock William and Magdalena Leadston Marian and Terry Wills Cooke Dr Anne Lierse Lorraine Woolley Gaelle Lindrea Richard Ye Dr Susan Linton Anonymous (16) Andrew Lockwood Elizabeth H Loftus THE MAHLER SYNDICATE Chris and Anna Long David and Kaye Birks The Hon Ian Macphee AO and Mrs Julie Macphee Mary and Frederick Davidson AM Eleanor & Phillip Mancini Tim and Lyn Edward Annette Maluish John and Diana Frew In memory of Leigh Masel Francis and Robyn Hofmann Wayne McDonald The Hon Dr Barry Jones AC Ruth Maxwell Dr Paul Nisselle AM Don and Anne Meadows Maria Solà Ian Morrey and Geoffrey Minter The Hon Michael Watt QC and Cecilie Hall new U Mildura Wayne and Penny Morgan MSO PATRON Anne Neil COMMISSIONS Patricia Nilsson All the World’s a Stage Laurence O’Keefe and Christopher James Iain Grandage Kerryn Pratchett Commissioned by Mary Davidson Peter Priest Clarinet Concerto Treena Quarin Paul Dean Commissioned by Andrew Johnston Eli Raskin Missed Tales III – The Lost Raspin Family Trust Mary Finsterer Joan P Robinson Commissioned by Kim Williams AM Cathy and Peter Rogers Snare Drum Award test piece 2018 Peter Rose and Christopher Menz Commissioned by Tim and Lyn Edward Liliane Rusek Martin and Susan Shirley Penny Shore Dr Sam Smorgon AO and Mrs Minnie Smorgon Dr Norman and Dr Sue Sonenberg Lady Southey AC Geoff and Judy Steinicke Jennifer Steinicke Dr Peter Strickland Pamela Swansson Ann and Larry Turner David Valentine Mary Valentine AO The Hon. Rosemary Varty Leon and Sandra Velik David and Yazni Venner Sue Walker AM

23 CONDUCTOR’S CIRCLE The Hon. Rosemary Varty Mr Tam Vu Current Conductor’s Circle Members Marian and Terry Wills Cooke Jenny Anderson Mark Young David Angelovich Anonymous (27) G C Bawden and L de Kievit The MSO gratefully acknowledges the support Lesley Bawden of the following Estates: Joyce Bown Angela Beagley Mrs Jenny Brukner and the late Mr John Brukner Neilma Gantner Ken Bullen The Hon Dr Alan Goldberg AO QC Peter A Caldwell Gwen Hunt Luci and Ron Chambers Audrey Jenkins Beryl Dean Joan Jones Sandra Dent Pauline Marie Johnston Lyn Edward Joan Jones Alan Egan JP C P Kemp Gunta Eglite Peter Forbes MacLaren Mr Derek Grantham Joan Winsome Maslen Marguerite Garnon-Williams Lorraine Maxine Meldrum Drs Clem Gruen and Rhyl Wade Prof Andrew McCredie Louis Hamon OAM Miss Sheila Scotter AM MBE Carol Hay Marion A I H M Spence Tony Howe Molly Stephens Laurence O’Keefe and Christopher James Jennifer May Teague Audrey M Jenkins Jean Tweedie John Jones Herta and Fred B Vogel George and Grace Kass Dorothy Wood Mrs Sylvia Lavelle Pauline and David Lawton TRUSTS AND Cameron Mowat FOUNDATIONS David Orr Collier Charitable Fund Rosia Pasteur Crown Resorts Foundation and the Elizabeth Proust AO Packer Family Foundation Penny Rawlins The Cybec Foundation Joan P Robinson The Marian and E.H. Flack Trust Neil Roussac Freemasons Foundation Victoria Anne Roussac-Hoyne Gandel Philanthropy Suzette Sherazee The International Music and Arts Foundation Michael Ryan and Wendy Mead The Scobie and Claire Mackinnon Trust Anne Kieni-Serpell and Andrew Serpell The Harold Mitchell Foundation Jennifer Shepherd The Sidney Myer MSO Trust Fund Profs. Gabriela and George Stephenson The Pratt Foundation Pamela Swansson The Robert Salzer Foundation Lillian Tarry Telematics Trust Dr Cherilyn Tillman Anonymous Mr and Mrs R P Trebilcock Michael Ullmer Ila Vanrenen

24 The MSO relies on your Honorary ongoing philanthropic support to sustain our Appointments artists, and support access, education, community engagement and more. We Marc Besen AC and invite our suporters to get Eva Besen AO close to the MSO through a Life Members range of special events.

John Gandel AC and The MSO welcomes your support Pauline Gandel at any level. Donations of $2 and over Life Members are tax deductible, and supporters are recognised as follows:

Sir Elton John CBE $1,000+ (Player) Life Member $2,500+ (Associate) Lady Potter AC CMRI $5,000+ (Principal) Life Member $10,000+ (Maestro) $20,000+ (Impresario) Mrs Jeanne Pratt AC $50,000+ (Virtuoso) Life Member $100,000+ (Platinum) The MSO Conductor’s Circle is our Geoffrey Rush AC bequest program for members who Ambassador have notified of a planned gift in their Will.

THE MSO HONOURS Enquiries THE MEMORY OF P (03) 8646 1551 E [email protected] John Brockman OAM Life Member The Honourable Alan Goldberg AO QC Life Member Ila Vanrenen Life Member

25 ‘We are the music makers, and we are the dreamers of dreams.'

– Arthur O’Shaughnessy

Come dream with us by adopting your own MSO musician!

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.

26 Principal Partner

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