ABOUT THE MUSIC SCHUBERT QUINTET /In concert OCTOBER–NOVEMBER 2012

ROMEO AND JULIET 1 AND 2 NOVEMBER Presented in association with

THE SOLDIER’S TALE 11 NOVEMBER DURUFLÉ REQUIEM 15–17 NOVEMBER

MEET YOUR MSO MUSICIANS: ELEANOR MANCINI AND ROBERT CLARKE

JOHN BELL ON SHAKESPEARE AND MUSIC BENJAMIN NORTHEY’S INCREDIBLE MONTH OF MUSIC-MAKING JONATHAN GRIEVES- SMITH ON PREPARING DURUFLÉ

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As I write this I’m in the middle trombonist Michael Bertoncello as of my busiest period with the soloist, as well as daytime concerts Orchestra so far, as we offer a for schools. snapshot of the diverse life of a The month began with music for modern symphony orchestra, with the whole family (even across a concerts for all ages and musical range of species!) as the MSO tastes, in venues from Melbourne brought Saint-Saëns’ magical Zoo to the Capital in Bendigo, and Carnival of the Animals to Melbourne featuring spoken word, film and Zoo, with Nick Enright’s wonderful the mighty MSO Chorus. verse narrated by Noni Hazlehurst. The unique collaboration with This is the kind of event that gives Bell Shakespeare promises to so many young people their first be a perfect marriage of classic taste of live orchestral music. It is This is truly a special time in orchestral music and drama as a transformative experience for the history of the MSO. The we perform music inspired by so many. Romeo and Juliet by Tchaikovsky, appointment of new Chief and It is an honour to be a part of this Delius and Prokofiev, interweaved Principal Guest conductors, the exciting chapter in the history of with key scenes from the play. This re-opening of the magnificent new the orchestra. As you see, there’s immortal tragedy is also played Hamer Hall and the welcoming more to love about the MSO than out in a multimedia context the of an outstanding new managing ever before. We look forward to week before as we perform the full director all usher in the start of welcoming and inspiring you. score to Leonard Bernstein’s West a new era for the Orchestra and Enjoy the music! Chorus. I am very proud to be Side Story, live to the classic 1961 a part of the MSO team during Hollywood film. this exciting time. Since being October also saw the Orchestra appointed to the MSO’s Patricia travel to audiences in Albury, Riordan Associate Conductor Bendigo and Shepparton on a Chair I have been able to work Powercor Regional Tour. MSO with the Orchestra across a diverse regional tours are always a joy Benjamin Northey range of concerts, from Master to be a part of and great fun. Patricia Riordan Series to Education, all of which This tour included Tchaikovsky’s Associate Conductor Chair are important to the future of the Symphony No 4, and featured organisation. MELBOURNE SYMPHONY ORCHESTRA 2013 SEASON

3-concert packages starting from $45

For more information, visit mso.com.au or call (03) 9929 9600 3 ABOUT THE MUSICartists THEDURUFLÉ ORCHESTR REQUIEMA on ws a s d a c u © L

THE MELBOURNE SYMPHONY ORCHESTRA

Harold Mitchell AC The MSO performs extensively an even larger audience across Chairman with its own choir, the Melbourne Australia through its regular Symphony Orchestra Chorus, concert broadcasts on ABC Classic André Gremillet directed by chorus master FM. The Orchestra’s considerable Managing Director Jonathan Grieves-Smith. Recent ceremonial role in Victoria has Sir Andrew Davis performances together include included participation in the Chief Conductor Designate Britten’s War Requiem under opening ceremony of the 2006 Tadaaki Otaka Tadaaki Otaka, Ravel’s Daphnis Commonwealth Games, in the Principal Guest Conductor and Chloe under Sir Andrew Davis 2009 bushfire memorial service and Beethoven’s Ninth Symphony Together for Victoria, the Prime Benjamin Northey under Douglas Boyd, as part of the Minister’s Olympic Dinner and the Patricia Riordan Associate 2011 Beethoven Festival. 2010 and 2011 AFL Grand Final. Conductor Chair Key musical figures in the The MSO’s extensive education Orchestra’s history include and community outreach activities With a reputation for excellence, Hiroyuki Iwaki – who was Chief include the Meet the Orchestra, versatility and innovation, Conductor and then Conductor Meet the Music and Up Close the internationally acclaimed Laureate, between 1974 and his and Musical programs, designed Melbourne Symphony Orchestra death in 2006 – and Markus Stenz, specifically for schools. In 2011 is Australia’s oldest orchestra, who was Chief Conductor and the MSO launched an educational established in 1906. Artistic Director from 1998 until iPhone and iPad app designed to 2004. Oleg Caetani was the MSO’s teach children about the inner This fine Orchestra is renowned Chief Conductor and Artistic workings of an orchestra. for its performances of the Director from 2005 to 2009. great symphonic masterworks The Melbourne Symphony Orchestra is with leading international and The MSO, the first Australian funded principally by the Australian Australian artists including Maxim symphony orchestra to tour Government through the Australia Vengerov, John Williams, Osmo abroad, has received widespread Council, its arts funding and advisory Vänskä, Charles Dutoit, Yan Pascal international recognition in tours body, and is generously supported by Tortelier, Donald Runnicles, Jean- to the USA, Canada, Japan, Korea, the Victorian Government through Arts Yves Thibaudet, Yvonne Kenny, Europe, China and St Petersburg, Victoria, Department of Premier and Edo de Waart, Lang Lang, Nigel Russia. In addition, the Orchestra Cabinet. The MSO is also funded by Kennedy, Jeffrey Tate, Midori, tours annually throughout the City of Melbourne, its Principal Christine Brewer, Richard Tognetti, regional Victoria, including a Partner, Emirates, and individual and Emma Matthews and Teddy Tahu concert season in Geelong. corporate sponsors and donors. Rhodes. It has also enjoyed hugely Each year the Orchestra performs successful performances with to more than 200,000 people, at such artists as Sir Elton John, John events ranging from the Sidney Farnham, Harry Connick, Jr., Ben Myer Free Concerts in the Sidney Folds, KISS, Burt Bacharach, The Myer Music Bowl to the series of Whitlams, Human Nature, Sting Classic Kids concerts for young and Tim Minchin. children. The MSO reaches

4 conTents

The Sponsors 2 program Welcome – Benjamin Northey 3 INFORMATION

Concert guides Melbourne Symphony Orchestra programs can be read on-line or Romeo and Juliet 6 downloaded up to a week before The Soldier’s Tale 18 each concert, from mso.com.au Duruflé Requiem 29 If you do not need this printed program after your concert, we encourage you to return it to a John Bell on Romeo and Juliet 10 member of staff. Meet Eleanor Mancini 16 The Orchestra 21 The Donors 22 Meet Robert Clarke 26 The Impact of the Pizzicato Effect 28 Jonathan Grieves-Smith: Preparing Duruflé 35

Cover image: Pictured at the launch of the MSO’s 2013 season, outside Hamer Hall: Orchestral musicians (from left) Nicholas Bochner, Wilma Smith, Eleanor Mancini, Geoffrey Payne, John Arcaro, Andrew Hall and Sylvia Hosking with (centre) the Orchestra’s Associate Conductor Benjamin Northey. (Image: Lucas Dawson)

Melbourne Symphony Orchestra Welcomes the Emirates A380

Following a plethora of Airbus A380 route additions to the Emirates Airline network in 2012, Melbourne will welcome the arrival of the daily Emirates A380 service from Dubai and onto Auckland, further demonstrating its commitment to the Australian market and allowing local travellers more opportunities to fly the state-of-the-art aircraft. From 2 October 2012, the new Emirates A380 service allows travellers to experience the aircraft for the first time on short haul flights across the Tasman to Auckland, as well as enjoy a seamless A380 experience from Auckland/Melbourne to Dubai, and onwards to 18 Emirates A380 destinations, including London Heathrow, Amsterdam, Manchester, Paris, and Rome, allowing everyone from Melbourne the opportunity to access the best international music on the largest European airline network. In 2013 Emirates will celebrate ten years as Principal Partner of the MSO. To find out more about Emirates, the A380 and the MSO, visit the Principal Partner page at mso.com.au. 5 Thursday 1 and Friday 2 November at 8pm Arts Centre Melbourne, Hamer Hall

A celebration in words and music of the world’s favourite love story Benjamin Northey conductor John Bell director Rachel Bourke lighting designer John Bell Prince/Capulet Nicholas Masters Romeo Andrea Demetriades Juliet Kane Felsinger Benvolio Kate Aubrey costume supervisor Jess Jellie stage manager

Excerpts from Shakespeare’s play will be interspersed with these works: Tchaikovsky Romeo and Juliet Prokofiev Romeo and Juliet, Op.64 excerpts: ROMEO AND The Duke’s Command Dance of the Knights Romeo and Juliet Death of Tybalt INTERVAL 20 MINUTES JULIET Delius Presented in A Village Romeo and Juliet: association with The Walk to the Paradise Garden Prokofiev Romeo and Juliet excerpts: Juliet’s bedroom This performance has a duration of approximately two hours Romeo and Juliet Before Parting and 15 minutes, including one interval of 20 minutes. Juliet’s Funeral Juliet’s Death Please turn off your mobile phone and all other electronic devices before the performance commences.

Still from Baz Luhrmann’s film Romeo + Juliet (1996) with Leonardo DiCaprio and Claire Danes. Interfoto/Lebrecht Music & Arts

BEYOND THE STAGE Learn more about the music in these free events taking place in the Hamer Hall Stalls Foyer.

A YOUNG RESPONSE TO ROMEO AND JULIET Thursday 1 November at 7pm Friday 2 November at 7pm Stalls Foyer, Hamer Hall Romeo and Juliet is a timeless tragedy, and teenagers today continue to connect to, experience and explore its themes of tragic love, revenge and familial conflict. Join Berlin-based Australian composer Catherine Milliken, musicians of the Melbourne Symphony Orchestra, and young artists from the Massive Hip Hop Choir (pictured), Huntingtower School and Footscray City College as they present an original composition which explores the ongoing influence in music, text and theatre of this iconic work of Western culture. 6 ABOUTABOUT THE THE a rMUSICtists ROMEO and JULIET

The Removalists. He also initiated an Australian Shakespeare style with Nimrod productions such as Much Ado About Nothing and Macbeth. In 1990 John founded The Bell Shakespeare Company where his productions have included Much Ado About Nothing, Hamlet, Romeo and Juliet, The Taming of The Shrew, Richard III, Pericles, Henry IV, Julius Caesar, Antony and Cleopatra, The Comedy of Errors, Measure For Measure, Macbeth and As You Like It, as well as Goldoni’s The Servant of Two Masters, Gogol’s The Government Inspector and Ben Jonson’s The Alchemist. His Shakespeare roles include Hamlet, Shylock, Henry V, Richard III, Macbeth, Malvolio, Berowne, Petruchio, Leontes, Coriolanus, Prospero, King Lear and Titus Andronicus. John recently directed a John Bell director, Prince/Capulet production of The Rake’s Progress for Victorian Opera John Bell is Co-Artistic Director of Bell Shakespeare and has also directed a production of Madame Butterfly and one of Australia’s most acclaimed theatre for an Oz Opera national tour and performed the personalities. In a career of acting and directing, role of the Professor in Sydney Theatre Company’s John has been instrumental in shaping the Australian production of Uncle Vanya, presented in association theatre industry as we know it. After graduating from with Bell Shakespeare. Sydney University in 1962 John worked for the Old John Bell is an Officer of the Order of Australia and Tote Theatre Company, all of Australia’s state theatre the Order of the British Empire. He has an Honorary companies and was an Associate Artist of the Royal Doctorate of Letters from the Universities of Sydney, Shakespeare Company in the United Kingdom. As co- New South Wales and Newcastle. In 1997 he was founder of Sydney’s Nimrod Theatre Company, John named by the National Trust of Australia as one of presented many productions of landmark Australian Australia’s Living Treasures. plays including David Williamson’s The Club and

Great Orchestras of Europe

7 ABOUT THE MUSICArtists ROMEO and JULIET

Benjamin Northey conductor Kane Felsinger Benvolio Benjamin Northey holds the Melbourne A recent graduate of the Victorian College of the Arts Symphony Orchestra’s Patricia Riordan Associate where he received the 2011 Lionel Gell Scholarship, Conductor Chair. Kane Felsinger stepped out of the VCA and into Melbourne Theatre Company’s Lawler Studio as the Since returning to Australia from Europe in 2006, lead male in Melissa Bubnic’s Beached, directed by Benjamin Northey has rapidly emerged as one of the Petra Kalive. nation’s leading musical figures. This year Kane has engaged intensively with new A graduate of the University of Melbourne and the Australian works, with projects including the Sibelius Academy in Finland, he has appeared with premiere performance of Tracey Mathers’ Surfacing, the London Philharmonic Orchestra, Salzburg Michele Lee’s Talon Salon, Chris Pahlow’s Playing it Mozarteum Orchestra, Hong Kong Philharmonic, Safe, Annabelle Grant-Burdett’s Taking Leave and Reg Southbank Sinfonia, and the New Zealand and Cribb’s Unaustralia. Christchurch Symphony Orchestras. He has collaborated with artists such as Julian Rachlin, Alban His other acting credits include Paul in Caryl Gerhardt, Marc-André Hamelin, Arnaldo Cohen, and Churchill/David Lan’s A Mouthful of Birds, Lionel in the Silver-Garburg Piano Duo, among others. Michael Gurr’s Underwear, Perfume and Crash Helmet, Polixenes in The Winter’s Tale, Virgil in Tanya Gerstle’s In Australia he has appeared with all the state Yes, and Actor 1 in Vanessa Bates’ Checklist for an Armed symphony orchestras and with Opera Australia Robber. This is his first performance with the Bell (Don Giovanni, Così fan tutte) and State Opera Shakespeare Company. of South Australia (The Elixir of Love, The Tales of Hoffmann, La sonnambula). He made his debut with Prior to the VCA, Kane obtained a Bachelor of the Melbourne Symphony Orchestra in 2003 and Applied Science in Psychology/Marketing and a was appointed Associate Conductor in 2011. His Diploma of Education (Secondary). In addition to recordings include award-winning CD releases for acting, he teaches at the Victorian College of the Arts ABC Classics with the Melbourne, Sydney, Tasmanian, Summer and Winter Schools. Adelaide and West Australian Symphony orchestras. His teachers have included John Hopkins, Jorma Panula, Atso Almila and Leif Segerstam. In 2009, he was selected as one of three participants worldwide to the prestigious International Conductor’s Academy of the Allianz Cultural Foundation during which he conducted the Philharmonia and London Philharmonic Orchestras under the mentorship of conductors Vladimir Jurowsky and Christoph von Dohnányi. Benjamin Northey’s awards include the 2010 Melbourne Prize Outstanding Musicians Award, Brian Stacey Memorial Award, Nelly Apt Scholarship, Symphony Australia Young Conductor of the Year in 2001, and the 8 2007 Limelight Magazine Best Newcomer Award. ABOUTABOUT THE THE a rMUSICtists ROMEO and JULIET

Andrea Demetriades Juliet Nicholas Masters Romeo Originally from Western Australia, Andrea Nicholas Masters graduated from NIDA in 2011. Demetriades graduated from NIDA in 2006. Since Whilst a student there, he starred in many theatre then she has worked in theatres across Australia, productions including Rare Earth, a new play by most recently in as Eliza Doolittle in Pygmalion Patrick White Award-winning playwright Ian Wilding, for the Sydney Theatre Company. Other roles for directed by Chris Mead; Michael Frayn’s Noises Off, Bell Shakespeare Company have included Juliet in directed by Rodney Fisher; Mikhail Bulgakov’s Flight, Romeo and Juliet for the Brisbane Festival, Marina directed by Sergei Tcherkassky; Two By Two and As You in Pericles, and Viola in Twelfth Night (2010 Green Like It, directed by Ros Horin. Room Awards nomination Best Actress). She has also This is Nicholas’ first appearance with the Bell appeared in Helly’s Magic Cup for the State Theatre Shakespeare Company. Company of South Australia, and in Winter for the Griffin Theatre Company. Her television credits include ABC TV’s Crownies, Think Tank for the Seven Network, and All Saints. She recently performed a role in Sarah Spillane’s new film Around the Block, starring Christina Ricci.

9 ABOUT THE MUSIC ROMEO and JULIET

ROMEO AND JULIET, THE INSPIRERS

John Bell explores the music The music of the play is in its of standing and declaiming in the of Shakespeare’s language, sublime poetry, whose lyrical middle of a symphony orchestra and the music it has inspired. ecstasy is unsurpassed. It is in going hammer and tongs! the silver-tipped fruit-trees of the Bell Shakespeare maintains moonlit garden, the voice of the a strong presence in Victoria. lark at sunrise, the tolling of the Music and Shakespeare have always Presenting regularly here at the solemn funeral bell and in the been a good fit. He seems to have Arts Centre and throughout bawdy snatches sung by Mercutio. had a good ear for music and gave Victoria at many major regional short shrift to those who could not It is the poetry of Romeo and Juliet venues, the Company also takes appreciate its charms: as well as the timeless appeal of its its Learning programme and ‘The man that hath no music in himself, story of adolescent romance that education initiatives into schools Nor is not moved with concord of has inspired so many composers, and communities state-wide. sweet sounds, especially over the last two To have the opportunity to play Is fit for treasons, stratagems and spoils; centuries, to respond to it with all with the prestigious Melbourne The motions of his spirit are dull manner of musical voices: operas, Symphony Orchestra, especially as night, ballet scores, tone poems, musical in this fantastic and recently And his affections dark as Erebus’ theatre pieces and pop songs. refurbished venue, is a precious gift. The Merchant of Venice (V [i]) Among these are the outstanding Huw and I, along with Ben pieces you will hear in tonight’s Northey, discussed various concert; but when it comes to a options for a Shakespeare-based While Shakespeare’s theatre was dramatic re-telling of the play in performance: famous passages of essentially one of the spoken musical terms, one finds oneself Shakespeare butting up against word, he made great use of visual coming back again and again a range of classical compositions. spectacle, action and music. There to the wonderful ballet score But the more we thought about it, were fanfares, songs, dances and by Sergei Prokofiev, originally the more we liked the idea of one jigs, but music also had a deeper rejected by the Bolshoi Ballet as compelling narrative; and when purpose: it was associated with being ‘undanceable’. you look across the spectrum of magic and the supernatural and it music composed for any particular It seems to me that Prokofiev had the power to heal. When Lear play, it is remarkable how many understood, better than anyone, is rescued from the storm, music composers have taken Romeo and the dynamics of Shakespeare’s play; is summoned to help restore his Juliet to their hearts and longed to its veering from merriment to the wits. Henry IV calls for music on engage with it. The hardest part of ecstasy of first love, to violence, his deathbed and in comedies such our exercise, of course, was what to despair and tragic sadness. The as The Winter’s Tale, As You Like It leave out. music is undeniably and essentially and Pericles music accompanies Russian, but like the play it I do hope that our intertwining moments of transformation and transcends barriers of time and some key moments of the play spiritual renewal. place and reinforces its status as the with passages of wonderful music Romeo and Juliet seems to be most universal of love stories. will appeal to concert-goers as yet suffused with music, but in fact one more way to experience the I was delighted when the the only musical sequence occurs deathless phenomenon that is enterprising Huw Humphreys early on at Capulet’s feast where Romeo and Juliet. suggested to me that the MSO Romeo and Juliet meet during a and Bell Shakespeare should dance. Later in the play musicians collaborate on a project. I have are summoned to celebrate Juliet’s John Bell AO is Co-Artistic derived great joy in the past wedding to Count Paris, but when Director of Bell Shakespeare from performing in concert they arrive they are told the bride versions of Walton’s Henry V and is dead and they are summarily Mendelssohn’s A Midsummer Night’s dismissed. 10 Dream...Nothing can beat the thrill ABOUT THE MUSIC ROMEO and JULIET

WE ARE BELL SHAKESPEARE Guest musicians Francesca Hiew violin Jenny Khafagi violin Shakespeare’s work explores than 22 years, bringing classic Kate Sullivan violin Danielle Arcaro viola human experience at its limits. theatre to Australia, looking for Helen Ireland viola It was never just meant to be new ways to educate, collaborate Ann Blackburn oboe read. We believe the only way to and recreate. Shefali Pryor guest principal oboe# Jack Schiller guest associate principal bassoon truly appreciate his work is to Shakespeare and the other Ed Allen guest principal horn see it brought to life through live Jenna Breen horn classic plays we present challenge performance. Georgia Ioakimidis-MacDougall horn our beliefs and urge us to see Jonathan Fox* percussion Evan Pritchard percussion We believe Shakespeare and ourselves in a new light. Their Louisa Breen piano/celeste other great works are not stuck ability to discover the things Jason Xanthoudakis tenor saxophone in the past, but that they are the that make us human inspires us key to exploring our present to make work that challenges # Courtesy of Sydney Symphony * Courtesy of Singapore Symphony Orchestra and imagining our future. We preconceptions and encourages value the beauty of Shakespeare’s new interpretations and ideas, language and imagery. His contemporary parallels… work work becomes our lens, helping that speaks to every age. us find modern perspectives on timeless truths. These plays are not static. They’re constantly adapting, helping us make sense of who we are, where we’ve been, and where we’re going. And we’re not static either. We’ve been travelling the country for more bellshakespeare.com.au

Powercor – a major sponsor of the MSO’s Regional Touring Program

Powercor – a majorPowercor sponsor Australia of and the the Melbourne Symphony Orchestra – 2011 Australian The MSO MSO’s RegionalBusiness Touring Arts Program Foundation award winners in recognition of their shared dedication Powering Melbourne Symphonyto taking Orchestra the arts to presents regional Victoria an all-Mozart programfor more than 15 years. its way to 8pm Tuesday 5 April 7pm pre-concert talk Powering the Ballarat’s Her Majesty’s Theatre To find out more about what Powercor Ballarat MSO through Purchase tickets on 03 5333Australia 5888, isat doingHer Majesty’s in the Theatre, community visit or at the door one hour www.powercor.com.auprior to the concert. Regional Victoria To find out more about what Powercor Australia is doing in the community visit www.powercor.com.au

11 ABOUT THE MUSIC ROMEO and JULIET

In the second half of the 19th at the time) that this was ‘your century, Russian classical music first composition which draws Peter Ilyich was in its infancy. Composers itself to one in its total beauty’. Tchaikovsky debated whether to cultivate This conclusion is a little strange (1840–1893) a purely ‘national’ sound, or when we read what went before: Romeo and Juliet – fantasy actively seek to import the formal the opening theme, in Balakirev’s overture after Shakespeare innovations of contemporary view, ‘does not paint fittingly the western European music. character of Friar Laurence’... [It Sergei Prokofiev Nationalist feeling centred around requires an] ‘ancient Catholic (1891–1953) the group of composers now character, resembling Orthodoxy, Romeo and Juliet – known in English as ‘The Five’ or while your theme has...the Op.64 excerpts: ‘The Mighty Handful’, the leader character of a Haydn string The Duke’s Command of which was Mili Balakirev; in the quartet, the genius of burgher Dance of the Knights opposite corner was Tchaikovsky, music, awakening a strong thirst Romeo and Juliet who later complained of The Five’s for beer’. And when he hears the Death of Tybalt ‘horrible presumptuousness and big tune with which Tchaikovsky Frederick Delius purely amateur conviction of their depicts the lovers, Balakirev (1862–1934) superiority to all other musicians imagines that Tchaikovsky is ‘lying in the universe’. in the bath and that Artiha Padilla A Village Romeo and Juliet: herself is rubbing your tummy with The Walk to the Paradise Tchaikovsky had, however, been the hot fragrant suds...’ ‘Artiha Garden quite friendly with The Five in his Padilla’ refers to Désirée Artôt, a early years in Moscow. Not long Prokofiev Belgian mezzo-soprano with whom after he met Balakirev there in Tchaikovsky became infatuated in Romeo and Juliet excerpts: 1869 he agreed to write a new work 1868 and whom he even planned Juliet’s bedroom to a plan devised by Balakirev. This Romeo and Juliet Before Parting to marry. Fortunately for all was the fantasy overture Romeo and Juliet’s Funeral concerned she married a Spanish Juliet, for which Balakirev provided Juliet’s Death baritone, Mariano Padilla. not only a ‘program’ (a sequence of events from Shakespeare’s play The objects of Tchaikovsky’s which Tchaikovsky’s music would affections were generally other depict), but also a formal design of men, and while Russian attitudes to key relations, tempo changes and homosexuality (among the upper the like. Late in 1869 Tchaikovsky classes at least) were much more sent Balakirev his sketches for the liberal than in Victorian Britain, work, even though the first version the composer had some sense of of the score was nearly complete. what ‘forbidden love’ means. In fact his brother Modest wrote of In December Balakirev responded the composer’s ‘luminous and in a letter to Tchaikovsky (in Berlin

12 ABOUT THE MUSIC ROMEO and JULIET

TCHAIKOVSKY PROKOFIEV DELIUS sublime’ love for his school-friend where ‘civil blood makes civil hands of marriage. Escaping from the Sergei Kirev, noting that without unclean’. The contrasting second village where they are now a it ‘the music of Romeo and Juliet, of subject is the lovers’ melody, which laughing-stock they walk to the The Tempest, of Francesca da Rimini Tchaikovsky is careful not to fully Paradise Garden (actually an inn is not entirely comprehensible’. elaborate on its first appearance that is a haven for vagabonds) Moreover at precisely the time – a musical image for the initial and, realising their hopeless state, Tchaikovsky was writing Romeo and frustration of the lovers’ passion. from there set off in a barge that Juliet he was involved with a music These two themes are developed they deliberately sink so as to die student named Eduard Sack, who conventionally and recapitulated together. The ‘Walk’ music, with committed suicide in 1873. Much before the work’s final pages, which its nostalgic sensuality, offers a rare later Tchaikovsky wrote ‘It seems may depict the funeral of the lovers moment of peace for the young that I have never loved anyone so and ‘glooming peace’ that descends lovers, and there is more than a strongly as him...and his memory is on the two houses. hint of Isolde’s Liebestod towards sacred to me.’ the end of the piece. The work went through two major But Romeo and Juliet is only ‘about’ revisions at Balakirev’s suggestion, Tchaikovsky’s own experiences as paradoxically becoming more Between 1932 and 1936 Prokofiev far as they match up with one of Tchaikovskian each time. spent increasingly long periods the oldest stories, that of true love back in the USSR, which he had blocked by external circumstance. left to further his career abroad Romeo and Juliet was irresistible He begins, as noted, with music in 1918. By 1936 he and his family to composers such as Charles to evoke the character of Friar had settled again in Moscow. Gounod and, mutatis mutandis, Laurence, whose disastrous Opinions vary as to why the Leonard Bernstein in West Side intervention on behalf of the composer chose to return at the Story. In 1897 Frederick Delius young lovers is an attempt ‘to turn height of Stalin’s Great Terror. began working on an opera your households’ rancour to pure To some he was simply a political derived from the novella Romeo love’. The feared Viennese critic naïve who had no conception of und Juliet auf dem Dorfe by Gottfried Eduard Hanslick noted that Romeo the reality of daily life in Stalin’s Keller, which had, in turn, been and Juliet is ‘on such a grand scale Russia; to others it was evidence inspired by events detailed in a that it is practically expanded into that Prokofiev knew that his Swiss newspaper report half a the format of the “symphonic only serious rival within Russia, century earlier. Delius composed poem” as used by Liszt, but in fact Shostakovich, was under a cloud, the work in France and it was the form of the work is a classical while in Europe and the USA, premiered at Berlin’s Komische ‘sonata-allegro’ which begins after Rachmaninov and Stravinsky had Oper in 1907. The story is the introductory slow section. the Russian émigré composer archetypal: Sali and Vreli are son There are two major subjects or market sewn up. We do know and daughter of farming families themes, the first of which evokes that Prokofiev had been given to whose feud over land leads them the ‘ancient grudge’ between the understand that, should he not all into abject poverty. The title houses of Montague and Capulet, make his home permanently in 13 characters fall in love and dream ABOUT THE MUSIC ROMEO and JULIET

Russia, he would be less welcome Radlov’s version, Friar Laurence considerable amount of ‘vandalism’ as a visitor in the future; he had intervenes to prevent the grief- by the Kirov people – unbeknown also been offered a large number stricken Romeo committing suicide to the composer until the actual of very attractive commissions, one over what he takes to be the dead Leningrad performance. The of which was to make a ballet of body of Juliet. There is general, choreographer, Leonid Lavrovsky, Romeo and Juliet. though restrained, rejoicing. As made some unauthorised wholesale recent research by scholar Simon changes to the scenario and score, Aware that the Soviet system had Morrison in his The People’s Artist and then bullied Prokofiev into created a vast new, but largely has shown, the happy ending was making further cuts and additions. inexperienced, audience for also attractive to Prokofiev for Then there were the dancers, classical music, he said in an religious reasons. With his wife, he who were, as Galina Ulanova, interview with Isvestia in 1934 that had begun practicing Christian who danced Juliet, later observed, what the USSR needed was Science in the 1920s, and accepted ‘a little afraid’ of the music; its ‘light serious’ – or ‘serious light’ – that Good ‘will necessarily triumph strangeness meant that they music; it is by no means easy to find the over the finite and temporary ‘couldn’t hear that love in his music term which suits it. Above all, it must phenomenon of evil’; the new then’. The composer was actually be tuneful, simply and comprehensively version of Romeo and Juliet would very accommodating, changing tuneful, and must not be repetitious or demonstrate that as a kind of the orchestration so as to be heard stamped with triviality. parable. There remained people to more clearly by the dancers on Sadly, many of his first attempts to convince, however. stage, for instance. He reported to a friend that ‘after 15 curtain calls’ write for the new Soviet audience Moscow’s Bolshoi Theatre took at the Leningrad premiere, some were derided as ‘simplistic’ or, at over the commission for the work, of the dancers felt the work ‘might the same time, ‘formalist’ (Soviet- planning to premiere it in the be acceptable after all’. Fortunately, speak for ‘nasty and modern’). 1935-6 season; while the haggling the regime felt that the work was Indeed, within two years he wrote over the ending went on the acceptable after all, too, and it in a speech (which he fortunately premiere was rescheduled for the ushered in the period of favour and never delivered or published) that following year. Play-throughs of popularity, producing works like ‘Soviet art, despite its enormous the score in Moscow had failed the Flute (or Violin) Sonata in D breadth, is declining in quality to enthuse bureaucrats, dancers and the Fifth Symphony. [because] the official directive or audiences, but according to concerning the struggle against Prokofiev, it was one comment The dancers’ initial bafflement formalism has been carried out too – ‘your music doesn’t express seems odd now. Musicologist zealously.’ Certain works, however, any real joy at the end’ – that Stephen Walsh calls the ballet a achieved the ideal of ‘light-serious’ led him to reconsider the tragic ‘brilliant fusion of post-Imperial music. Peter and the Wolf and the ending and find a way to romanticism and scuttling, score for Sergei Eisenstein’s film express it in music that could be unpredictable Prokofievism’. of Alexander Nevsky ensured a choreographed. In the meantime, The score is notable for its clarity precarious period of grace for the the artistic directorate of the of orchestration – not that this composer at the end of the 1930s, Bolshoi fell foul of Stalin’s purges, precludes moments of great and these have remained in the and both the artistic director and opulence, such as the pile-up of repertoire in- and outside of Russia the proposed conductor for Romeo sonority which opens Act III and ever since. and Juliet were arrested and shot. presages the tragic events about to The greatest among these is Romeo The ballet was quietly shelved. At unfold, or the multi divisi strings and Juliet, yet it had a difficult and the same time, works Prokofiev which give the young lovers a halo protracted birth. Leningrad’s composed for the celebrations of of rich sound. But quite simply, the Kirov Theatre rejected the initial Pushkin’s centenary and the 20th score offers clear contrasts between proposal because of the story’s anniversary of the Revolution the implacable march of tragic tragic ending but Prokofiev’s friend, failed to find favour. fate in those passages built on repeated ostinato figures, and the theatre director Sergei Radlov, The premiere of Romeo and more rhapsodic soaring passages suggested a happy conclusion in Juliet, eventually but successfully, associated with love, and the worlds which the lovers avoid death. This, was given in Brno, in the then of public life and private intimacy. he argued, would make it ‘a play Czechoslovakia in 1938, at about the struggle for the right to which time the Kirov Theatre Prokofiev’s chararacterisation is love by young, strong progressive in Leningrad offered, after a masterful where, for instance, people battling against feudal memo from Stalin, to give the he depicts the arrogance of the traditions and feudal outlooks on Russian premiere in January 1940. Capulets at their ball or the marriage’ and thus a perfect piece 14 There was what Morrison calls a tenderness of Juliet herself, and of optimistic Socialist Realism. In ABOUT THE MUSIC ROMEO and JULIET

his theme for each character is immediately recognisable when it appears in a new context. There are numerous set-pieces that provide a sometimes bustling, sometimes menacing backdrop to the unfolding love story. The parting of the young lovers is given a full and opulent treatment that features themes associated with each. In contrast to music of such heartbreaking intensity, there is uncompromisingly brutal music that accompanies Romeo’s furious killing of Tybalt in revenge for the death of his friend Mercutio. Gordon Kerry © 2012 Tchaikovsky’s Romeo and Juliet was first performed by the Melbourne Symphony Orchestra on 6 November 1941 under conductor Montague Brearley, and most recently at a 2011 Myer Free Concert under Tadaaki Otaka. The MSO first performed Delius’ The Walk to the Paradise Garden in November 1941 with Montague Brearley; the orchestra’s most recent performance of the work took place in August 2011 under Richard Mills. The Orchestra performed Suite No.1 from Prokofiev’s Romeo and Juliet on 17 October 1940 with conductor Georg Schnéevoigt. It was the first performance of any selections from the ballet by an ABC orchestra. The Orchestra most recently Shot from the 1940 Kirov premiere of Prokofiev’s Romeo and Juliet ballet, performed Suite No.2 at a 2012 Sidney Myer with Konstantin Sergeyev and Galina Ulanova, who created the roles. Free Concert, conducted by Diego Matheuz. © Lebrecht Music & Arts

Classic kids! Brett Kelly conductor Noni Hazlehurst narrator Children will be introduced to the symphony orchestra through the adventures of Maximus the Mouse. The journey will feature MSO musicians, beautiful illustrations and storytelling by one of Australia’s favourite children’s presenters. Wednesday 7 November at 1pm Thursday 8 November at 10am, 11.15am and 1pm Friday 9 November at 10am, 11.15am and 1pm Saturday 10 November at 10am, 11.30am, 1.30pm and 3pm Iwaki Auditorium, ABC Southbank $18 Adults, $12 Children, $50 Family (2 Adults and 2 Children) BOOK NOW at mso.com.au or 1300 723 038 15 MEET YOUR MSO MUSICIAN

Eleanor Mancini joined the MSO in January 1980 and is a member of the First Violin section. Eleanor studied at the famous Stolyarsky School of Music in Odessa, Ukraine for 12 years, finishing with top honours, and completed her Bachelor degree in Moscow with the Russian Academy of Music under Professor Peotr Bondarenko, David Oistrakh’s assistant. She also studied Quartet class with the renowned First Violinist of the Borodin String Quartet, Rostislav Dubinsky. Since moving to Melbourne in 1979, Eleanor has performed with various chamber groups including Australia Pro Arte, Melbourne Musicians and the Philharmonia of Melbourne, for which she lead the second violin section for 12 years. In 1989 Eleanor performed as a soloist with the MSO in the “Hoffnung” Festival Concert at Hamer Hall and says that she will never forget this exhilarating experience of performing solo in front of the packed concert hall with then Chief Conductor Hiroyuki Iwaki in the audience. Eleanor says that returning to Russia with the MSO in 2003 and taking part in the documentary about the journey with the program Foreign Correspondent was a very emotional experience for her. Both concerts on that tour to St Petersburg – in the Mariinsky Theatre and Smolny Cathedral – were major highlights of her musical career. In October 2004, as part of the Melbourne International Art Festival, Eleanor performed three quartets by Australian composers Elena Katz-Chernin, Larry Sitsky and Linda Phillips and in 2010 her newly established quartet Alla Corda participated in a tribute concert to the musicians of Terezin. In 2011 her quartet group took part in the MSO Chamber Series, performing a piece by her favourite Australian composer, Elena Kats-Chernin.

eleanor mancini

16 MEET YOUR MSO MUSICIAN

My earliest musical memory is... How did you choose your instrument? I have three very vivid memories from when I I wanted to play piano but the Director and Head of was young. Strings at the Stolyarski School called my mother and recommended I take violin as a first instrument; he 1. I am about three years old with my mother in a told her I was made for it, and he was right. recording studio, singing popular songs which I learnt from my family, and recording them on disc. Where in Victoria do you most like to perform? I like going on tours of regional Victoria, regardless 2. I am five years old in Russia with my family in of the venue we play in. Country audiences always the room where all of us used to live and where embrace the music we bring to them; to see the joy I had the first of many jamming sessions; my and appreciation on people’s faces is an uplifting and mother and uncle on accordions, father singing, fulfilling experience for all musicians. my grandfather on spoons and me singing and dancing and later playing violin. Which musical figures would you invite to your house for dinner? And what would you serve? 3. Piano classes with a very old, aristocratic lady I would invite Vladimir Ashkenazy, and would dressed in long black tunic, learning Bach’s serve him a good Russian meal accompanied by Inventions. reminiscences of our life in Russia and common The composer’s music I most enjoy playing in the friends. We`ll be discussing all the great music MSO is... we played together over the years, starting with My favourites are the big symphonic poems by Vladimir`s first visit to Melbourne when he played my Richard Strauss, early symphonies by Mahler as absolute favorite, Beethoven Piano Concerto No.1 – in well as 20th Century composers like Shostakovich, the best performance I’ve ever heard. particularly symphonies 5, 7 and 8, Prokofiev’s Third and Fifth and the Sinfonietta by Janácˇek. I LOVE Ravel’s Daphnis and Chloe Suite No.2 – it always gives me a buzz! I also enjoy playing American classics like Gershwin, Porter and Berlin.

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17 Sunday 11 November at 11am Iwaki Auditorium, ABC Southbank Centre

Wilma Smith violin THE SOLDIER’S Caleb Wright viola Rohan de Korte cello Philip Arkinstall clarinet Donald Nicolson piano TALE

Hosted by Mairi Nicolson

Stravinsky The Soldier’s Tale: Suite (arranged for clarinet, violin and piano) Hindemith Piano Quartet INTERVAL Brahms Piano Quartet No. 3

This concert has a duration of approximately two hours, including one interval of 20 minutes. This performance will be recorded for later broadcast around Australia on ABC Classic FM (on analogue and digital radio), and for streaming on its website. Please turn off your mobile phone and all other electronic devices before the performance commences. ts r sic & A u cht M ebre L

Stravinsky (right) with the librettist for The Soldier’s Tale, C.F. Ramuz. ABOUTABOUT THE THE a rMUSICtists The SOLDIER’S TALE

Wilma Smith violin Caleb Wright viola Wilma Smith holds the Harold Mitchell AC Caleb Wright began playing the violin when he was Concertmaster Chair of the Melbourne Symphony three and later switched to viola at the age of twelve. Orchestra and has been the Orchestra’s He studied with Keith Crellin, completing an Honours Concertmaster since 2003. For nine years before Degree in Performance at the Elder Conservatorium that, she held the same position in the New of Music in Adelaide. He then went on to study with Zealand Symphony Orchestra. Born in Fiji, she Jeremy Williams, violist in the Australian String grew up in New Zealand and studied in Boston with Quartet at the time, and then moved to Melbourne, Dorothy DeLay. She was first violinist of the Lydian continuing study at the Australian National Academy String Quartet, prizewinners at Evian, Banff and of Music with Alice Waten. Soon after, he successfully Portsmouth International Competitions and winners auditioned for the Melbourne Symphony Orchestra as of the Naumburg Award for Chamber Music. a tutti violist and remained there until the beginning Wilma played regularly with the Boston Symphony of 2009. He then left the MSO and went to Berlin to Orchestra and was also Concertmaster of the Handel study privately with Wilfried Strehle, Assistant Principal and Haydn Society, the Harvard Chamber Orchestra Violist in the Berlin Philharmonic Orchestra, and while and period instrument orchestra, Banchetto there, worked regularly with the Radio Symphony Musicale. On invitation, she returned to NZ to found Orchestra in Berlin. He returned to Melbourne in the NZ String Quartet, working with them for five April 2011 and was fortunate to re-win a position with years which included concert tours of New Zealand, the MSO. He is now happily living in St Kilda with his Australia and America. wife Esther. Since moving to Melbourne, Wilma has continued a busy chamber music life in Australia and New Zealand. Highlights have included performing with the Munro/ Smith/Berlin Trio, Steven Isserlis and Melvyn Tan, Ensemble Liaison, the Hopkins Quartet and duos with pianists, Ian Munro and Michael Houstoun. In 2012 she started her own chamber music series, Wilma and Friends, at the Melbourne Recital Centre Salon. Her appearances as soloist with the MSO include Vaughan Williams’ The Lark Ascending, conducted by Sir Andrew Davis, in 2011.

19 ABOUT THE MUSICartists The SOLDIER’S TALE

Rohan de Korte cello Philip Arkinstall clarinet Donald Nicolson piano Rohan de Korte has been a Philip Arkinstall has been the Harpsichordist, organist and member of the MSO Cello section MSO’s Associate Principal Clarinet pianist Donald Nicolson is since 2009. Rohan chose to play since 2009 and was principal quickly establishing himself as an the cello at the age of five because with the Malaysian Philharmonic important part of the early music it was bigger than a violin, and for 11 years before that. He was movement in Australia. studied with Henry Wenig and the winner of the Australian He undertook postgraduate Nelson Cooke before choosing Woodwind Competition in studies with Ton Koopman musical studies in Europe over a Brisbane at the age of just 18 and Tini Mathot at the Royal career in basketball – the Chicago and also won the 2MBS Radio Conservatory of The Hague, Bulls hadn’t called. Performer of the Year in 1996 where he focused on 16th-century and the ABC Young Performers Rohan studied in Croatia English virginal music and the Award in 1997. Queen’s Trust and with Valter Despalj and at the keyboard music of 17th-century Big Brother awards enabled him Cologne Hochschule for Music France. During this time he to further his studies in Europe. with Claus Kanngiesser, and performed widely with many He has appeared both as a soloist received chamber music lessons ensembles throughout Holland, and as a guest principal with the with the Alban Berg Quartett. Belgium, France, Germany and Sydney Symphony, West Australian Returning to Australia in 2000 Poland. Symphony Orchestra, Queensland Rohan freelanced with the Sydney Symphony Orchestra, Tasmanian Now based in Melbourne, he Symphony before becoming Symphony Orchestra and has been performs as keyboardist for the Associate Principal Cello of a regular soloist with the MPO Melbourne Symphony Orchestra, Orchestra Victoria. He plays a lot in repertoire including Mozart, Sydney Symphony and Australian of chamber music with friends Henze, Copland, Strauss and Chamber Orchestra, and is and has even tried composing; Bruch amongst others. He’s an associate principal keyboard of the his debut piece, The Haunted active chamber musician and has New Zealand Symphony Orchestra. House, is extremely popular with been fortunate enough to tour He has also appeared as guest younger audiences. Rohan’s cello Australia for Musica Viva with harpsichordist with the Vector is a beautiful German instrument the Auer Quartet, also working Wellington Orchestra. from 1720 and his favourite with groups like the Goldner composer is Beethoven, although Donald is co-founder of Quartet, the Eggner trio, as well Mahler’s Ninth Symphony wins Melbourne-based Baroque as the Australia Ensemble, the as his favourite piece. He has a trio Latitude 37. The ensemble Australian Chamber Orchestra, lovely wife, Caroline, and three performs frequently at the the Melbourne Chamber very rowdy sons who think that Melbourne Recital Centre and Orchestra and many contemporary playing the cello is very funny yet has twice toured New Zealand. ensembles, including Arcko and interesting, and, after suffering Their self-titled CD was released by Australysis. a broken neck, Rohan has vowed ABC Classics in 2011 and received never to try surfing again. an ARIA nomination for Best Classical Album.

20 melbourne symphony orchestra and management

MELBOURNE SYMPHONY ORCHESTRA Sir Andrew Davis Chief Conductor Designate Tadaaki Otaka Principal Guest Conductor Benjamin Northey Patricia Riordan Associate Conductor Chair

FIRST VIOLINS SECOND VIOLINS CELLOS FLUTES BASS CLARINET TROMBONES Wilma Smith Matthew Tomkins David Berlin Prudence Davis Jon Craven Brett Kelly Harold Mitchell AC Principal Principal Principal Principal Principal Concertmaster Chair Robert Macindoe Nicholas Bochner Wendy Clarke Kenneth McClimont Roy Theaker Associate Principal Assistant Principal Associate Principal BASSOONS Associate Principal Associate Concertmaster Monica Curro Miranda Brockman Sarah Beggs Elise Millman Michael Bertoncello Peter Edwards Assistant Principal Rohan de Korte Acting Principal Assistant Principal Mary Allison Sharon Draper PICCOLO Brock Imison BASS TROMBONE Kirsty Bremner Isin Cakmakcioglu Keith Johnson Acting Associate Andrew Macleod Eric Klay MSO Friends Chair Cong Gu Sarah Morse Principal Principal Principal Andrew Hall Angela Sargeant Sarah Curro Natasha Thomas Rachel Homburg Michelle Wood Lerida Delbridge Christine Johnson OBOES TUBA Peter Fellin David Shafir HORNS Deborah Goodall DOUBLE BASSES Jeffrey Crellin Tim Buzbee Isy Wasserman Lorraine Hook Steve Reeves Principal Geoff Lierse Principal Philippa West Kirstin Kenny Principal Associate Principal Patrick Wong Vicki Philipson Ji Won Kim Roger Young Andrew Moon Associate Principal Saul Lewis TIMPANI Eleanor Mancini Associate Principal Principal 3rd Christine Turpin Anne Martonyi Principal Mark Mogilevski VIOLAS Sylvia Hosking COR ANGLAIS Trinette McClimont Rachel Silver Michelle Ruffolo Christopher Cartlidge Assistant Principal Michael Pisani Kathryn Taylor Principal PERCUSSION Principal Damien Eckersley TRUMPETS Robert Clarke Fiona Sargeant Benjamin Hanlon Principal Associate Principal Suzanne Lee CLARINETS Geoffrey Payne Stephen Newton Principal John Arcaro Trevor Jones David Thomas Shane Hooton Robert Cossom Assistant Principal Elisabeth Murdoch Principal Clarinet Associate Principal Lauren Brigden Chair William Evans HARP Katharine Brockman Julie Payne Simon Collins Philip Arkinstall Julie Raines Gabrielle Halloran Associate Principal Principal Cindy Watkin Craig Hill Justin Williams Caleb Wright

MANAGEMENT

Board Business Artistic Operations Marketing Box Office Harold Mitchell AC Wayne Box Huw Humphreys Lou Oppenheim Merri Hagan Claire Hayes Chairman Chief Financial Officer Director, Director of Operations Director of Marketing Box Office Manager Artistic Planning Dr Bronte Adams Raelene King Angela Chilcott Joanna Krezel Paul Clutterbuck Peter Biggs Personnel Manager Andrew Pogson Assistant Orchestra Marketing Manager Senior Subscriptions Hon. Alan Assistant Artistic Manager Officer Kaanji Skandakumar Phillip Sametz Goldberg AO QC Administrator Accountant Kerstin Schulenburg Communications Scott Campbell Ann Peacock Anna Melville Artist Liaison Manager Subscriptions Officer Jennifer Kanis Nathalia Andries Artistic Coordinator Alastair McKean Finance Officer Alastair McKean Alison Macqueen Michael Ullmer Bronwyn Lobb Orchestra Librarian Publicist Development Dale Bradbury Kee Wong Education Manager Project Manager – Kathryn O’Brien Simon Wilson Cameron Mowat Tessitura Jonathan Assistant Librarian Interactive Marketing Director of Development Company Grieves-Smith Manager Michael Stevens Jessica Frean Secretary Chorus Master Operations Assistant Nina Dubecki Philanthropy Manager Oliver Carton Helena Balazs Front of House Arturs Ezergailis Chorus Coordinator Supervisor Development Officer Executive Lucy Bardoel Jennifer Poller Rosemary Shaw André Gremillet Education Assistant Marketing Coordinator Development Managing Director Lara Polley Coordinator Julia Bryndzia Assistant Marketing Executive Assistant Coordinator Eileen Nesbitt CRM Coordinator Stella Barber Consultant Historian 21 the donors

The Company proudly acknowledges the support of our ARTIST CHAIR BENEFACTORS Harold Mitchell AC Concertmaster Chair benefactors, patrons and bequestors, trusts, foundations and Patricia Riordan Associate Conductor Chair sponsors in helping to realise our vision to be recognised as Elisabeth Murdoch Principal Clarinet Chair Joy Selby Smith Orchestral Development Chair Australia’s leading symphony orchestra. Thank you! MSO Friends Chair

MSO EDUCATION AND OUTREACH PATRON Mrs Elizabeth Chernov

IMPRESARIO PATRONS MAESTRO PATRONS TRUSTS AND FOUNDATIONS John McKay and Lois McKay M P Chipman Pratt Foundation Bevelly and Harold Mitchell AC Andrew and Theresa Dyer Cybec Foundation Dame Elisabeth Murdoch AC, DBE Tim and Lyn Edward Erica Foundation Inés Scotland Rachel and Hon. Alan Goldberg AO QC The Alan (AGL) Shaw Endowment, Tom Jacob managed by Perpetual Ilma Kelson Music Foundation Scanlon Foundation Mimie MacLaren The Schapper Family Foundation Onbass Foundation Ivor Ronald Evans Foundation, as Elizabeth Proust AO administered by Mr Russell Brown and The Ullmer Family Endowment Equity Trustees Lyn Williams AM The Phyllis Connor Memorial Trust, as Anonymous (3) administered by Equity Trustees Limited

PRINCIPAL PATRONS Barbara and Donald Weir KSJ Susie O’Neill, Merwyn and Greta Goldblatt, Christine and Mark Armour Joanne Wolff Colin Golvan SC, George H Golvan QC, Dr Kaye and David Birks Brian and Helena Worsfold Marged Goode, Jean Hadges, Stuart and Sue Jennifer Brukner Anonymous (2) Hamilton, Tilda and Brian Haughney, Julian The Cuming Bequest and Gisela Heinze, Hans and Petra Henkell, Dominic and Natalie Dirupo THE CONDUCTOR’S CIRCLE Dr Alastair Jackson, Stuart Jennings, John and Joan Jones, Vivien and Graham Susan Fry and Don Fry AO Jenny Anderson Knowles, Dr Elizabeth A Lewis AM, Norman Mr Greig Gailey and Dr Geraldine Lazarus Joyce Bown Lewis in memory of Dr Phyllis Lewis, Dr Jill and Robert Grogan Ken Bullen Anne Lierse, Violet and Jeff Loewenstein, Louis Hamon OAM Luci and Ron Chambers Christopher and Anna Long, Vivienne Hadj Nereda Hanlon and Michael Hanlon AM Sandra Dent and Rosemary Madden, Sandra and Leigh Hartmut and Ruth Hofmann Lyn Edward Masel, Trevor and Moyra McAllister, Allan Peter and Jenny Hordern Alan Egan JP and Evelyn McLaren, Dr Gabriele Medley Norman and Betty Lees Louis Hamon OAM AM, John and Isobel Morgan, Ian Morrey, Mr and Mrs D R Meagher Tony Howe The Novy Family, Laurence O’Keefe and Wayne and Penny Morgan John and Joan Jones Christopher James, John and Betty Pizzey, Ian and Jeannie Paterson C P Kemp Lady Potter AC, Peter Priest, Jiaxing Qin, Mrs Margaret S Ross AM and Dr Ian C Ross Elizabeth Proust AO Dr Sam Ricketson, Hugh T Rogers AM, Maria Sola and Malcolm Douglas Penny Rawlins Tom and Elizabeth Romanowski, Delina Kee Wong and Wai Tang Joan P Robinson Schembri-Hardy, Max and Jill Schultz, David Anonymous (1) Molly Stephens Shavin QC, Chris and Jacci Simpson, Gary Pamela Swansson ASSOCIATE PATRONS Singer and Geoffrey A Smith, Dr Robert Dr Cherliyn Tillman Sloane and Denise Sloane, Dr Sam Smorgon Dr Bronte Adams Mr and Mrs R P Trebilcock AO and Mrs Minnie Smorgon, Geoff and Will and Dorothy Bailey Bequest Michael Ullmer Judy Steinicke, Mrs Suzy and Dr Mark Peter and Mary Biggs Mr Tam Vu Suss, Prof Seong-Seng Tan and Jisun Lim, Mrs S Bignell Marian and Terry Wills Cooke Margaret Tritsch, Mrs Barbara Tucker, P and David and Emma Capponi Mark Young E Turner, Mary Vallentine AO, The Hon. Paul Carter Anonymous (15) Rosemary Varty, Wah Yeo AM, Sue Walker John and Lyn Coppock AM, Pat and John Webb, Erna Werner and Peter and Leila Doyle We gratefully acknowledge support received Neil Werner OAM, Nic and Ann Willcock, Lisa Dwyer and Dr Ian Dickson from the Estates of Gwen Hunt, Peter Forbes Marian and Terry Wills Cooke, Ruth Wisniak Dr Helen M Ferguson MacLaren, Prof Andrew McCredie, Jean OAM and Dr John Miller AO, Peter and Robert and Jan Green Tweedie, Herta and Fred B Vogel Susan Yates, Mark Young, Anonymous (9) John and Agita Haddad Susan and Gary Hearst PLAYER PATRONS Gillian and Michael Hund Marlyn and Peter Bancroft OAM, Dr Peter Lovell Julianne Bayliss, Mr Marc Besen AO and Jan Minchin Mrs Eva Besen AO, Stephen and Caroline Marie Morton Brain, M Ward Breheny, Mr John Brockman Dr Paul Nisselle AM OAM and Mrs Pat Brockman, Jill and Ann Peacock with Andrew and Christopher Buckley, Bill and Sandra Patrons make annual contributions of Woody Kroger Burdett, Dr Lynda Campbell, Jan and Peter $1,000 (Player), $2,500 (Associate), $5,000 Rae Rothfield Clark, Judith M Connelly, Ann Darby in (Principal), $10,000 (Maestro), $20,000 Craig and Jennifer Semple memory of Leslie J. Darby, Panch Das and Impresario or more. The MSO Conductor’s Gai and David Taylor Laurel Young-Das, Mary and Frederick Circle recognises notified Bequestors. All Mr Tam Vu and Dr Cherilyn Tillman Davidson, Pat and Bruce Davis, Sandra Dent, donors are recognised on our website. Bert and Ila Vanrenen John and Anne Duncan, William J Forrest Inquiries: T 03 9626 1107 The Hon. Michael Watt QC and Cecilie Hall AM, Joanna Foulkes, David I Gibbs and [email protected] 22 ABOUT THE MUSIC The SOLDIER’S TALE

In 1918, Stravinsky was living in The Faustian-themed libretto, exile in Switzerland. The First drawn from a collection of tales Igor Stravinsky World War had cut him off from by Alexander Afanasiev, concerns (1882–1971) his estate in Russia and from a soldier who sells his soul The Soldier’s Tale royalties from his publisher, (represented by his violin) to the (L’Histoire du soldat) – Suite for Edition Russe de Musique, whose Devil in return for a book which clarinet, violin and piano headquarters were in Berlin. predicts the future and brings The Soldier’s March Together with conductor Ernest great wealth and power. The Soldier’s Violin Ansermet and C.F. Ramuz, who The Soldier’s March sees the soldier The Little Concert had made the French translations returning home on leave. He Three Dances: Tango, Waltz, of The Wedding (Les Noces) and The Ragtime gets out his violin and starts to Fox (Renard), Stravinsky devised The Devil’s Dance play (The Soldier’s Violin), when L’Histoire du soldat, a small theatre he is approached by the Devil piece whose modest scale would (appearing throughout in various make it suitable to tour around disguises), who offers him the Switzerland. The production magic book in return for his called for a narrator, two actors violin. The book brings the and a dancer, and was scored soldier the wealth promised by for a seven-piece instrumental the Devil but not happiness, and ensemble. In order to extract he tries to free himself from his the maximum effect from his unholy pact by losing all of his necessarily limited orchestral ill-gotten wealth to the Devil in a forces, Stravinsky chose the most card game, whereupon he takes representative high and low types back his violin and plays The Little from each of the string, wind and Concert. His performance revives brass families: violin and double a stricken princess, whose hand in bass, clarinet and bassoon, cornet marriage he wins, and for whom and trombone. A large array of he plays Three Dances (the tango percussion completed the line-up. craze was sweeping Europe, and Although the first performance in although Stravinsky was at that Lausanne on 28 September 1918 time still unfamiliar with jazz and was a great success, the influenza ragtime, he studied sheet music epidemic of that year put paid to which Ansermet had brought further performances planned back from an American tour). for Geneva and other Swiss towns, The soldier drives the Devil to and the tour was called off. It was exhaustion with The Devil’s Dance, not until 1924, with performances but the victory is short-lived: he is in Paris, Frankfurt and Berlin, destined to fall under the Devil’s that the work was taken up with spell once more, damning his soul any degree of enthusiasm (Sergei for eternity. Diaghilev, irked at having been © Symphony Australia excluded from the project, was somewhat hostile to it). However the two suites that Stravinsky derived from L’ Hi s t o i re took off sooner: the eight-movement septet arrangement was first performed at Wigmore Hall in July 1920, and the trio arrangement you will hear today (dedicated to the project’s financier Werner Reinhart, an amateur clarinettist) received its first performance on 8 November 1919 in Lausanne.

23 ABOUT THE MUSIC The SOLDIER’S TALE

Hindemith’s Quartet for clarinet The Quartet is certainly a work and piano trio received its first that fulfills the conditions of the Paul Hindemith performance in New York in 1939. Neue Sachlichkeit. Hindemith, both (1895–1963) It thus predates Messiaen’s much as a rigorous music theorist and Quartet for clarinet, violin, cello better known work for the same pre-eminent violist, had made a and piano forces, the Quartet for the End of study of early music, and his work I Mässig bewegt Time, by two years. The two works is suffused with the polyphony II Sehr langsam could not be more different. that characterises much of the III Mässig bewegt Hindemith’s is in three, not eight best German music from Bach movements and plays for about through Mozart to Brahms and half the duration of Messiaen’s, beyond. Each movement falls into and where Messiaen’s explicitly three sections: the first begins with explores aspects of Christian contrapuntal material sometimes mysticism, Hindemith’s is a work supported by repeated chords and of absolute music. Messiaen was punctuated by piano figurations, imprisoned and Hindemith was in and has an elegant polyphonic exile, but both pieces are responses middle section. The ‘very slow’ to the same circumstances. second movement is dominated by a long, soulful clarinet melody As a young composer Hindemith where the ominous tolling of deep had, like many colleagues, bells in the piano’s bass suggest cultivated an Expressionist certain moments in Shostakovich, aesthetic but as the 1920s before the music, a little faster, progressed became one of becomes more obsessively insistent the foremost exponents of yet harmonically ambiguous. the Neue Sachlichkeit, or ‘new The final movement, like the objectivity’. This was, in short, first, is marked ‘with moderate a neo-classical movement that movement’, and begins with a stressed the values of clarity of perky melody. It has a ‘lively’ sound, tonally based harmony and central section whose tarantella- restrained expression, and insisted like compound metre becomes that music should be crafted to turbulent, then emphatic, before serve appropriate social functions. yielding to a deceptively quiet Hindemith fell out with more section featuring, at first, the piano ideologically pure artists of but which is swept away in an the Weimar Republic such as energetic coda. Bertolt Brecht and Kurt Weill, From exile in the USA, Thomas and collaborated with the poet Mann insisted that his art Gottfried Benn who had briefly embodied the real Germany. embraced Nazism. Nevertheless, Poised, beautifully crafted music once the Nazis gained power they was, similarly, Hindemith’s branded Hindemith a ‘cultural assertion of real German culture; Bolshevik’ and ‘atonal noise- as British musicologist Arnold maker’, and as the public persisted Whittall has said, Hindemith’s in acclaiming his works, banned music post-1933 seems to want performances of them from 1935. ‘to provide, whether intentionally Like many he went into ‘internal or not, a spiritual antidote to the exile’, writing several works of poison of fascism’. tragic alienation, and emigrated in 1938 to Switzerland and then Gordon Kerry © 2012 in 1940 to the USA, which he had visited twice in the previous two years. He taught at Yale until the INTERVAL 20 minutes mid-1950s, when he returned to Switzerland.

24 ABOUT THE MUSIC The SOLDIER’S TALE

What, then, has the image of in the expansionist tendencies violent suicide to do with the C of the first movement through Johannes Brahms minor Piano Quartet? In fact, extreme concentration – indeed, (1833–1897) the work had its genesis in the Brahms appears subsequently to Piano Quartet in C minor, mid-1850s, a time when much have added 33 bars to make the Op.60 of Brahms’ work was imbued piece less concise. with Romantic angst. In 1854 his I Allegro non troppo The Andante is in E major, a key mentor, Robert Schumann, had II Scherzo (Allegro) whose close relationship to C sharp III Andante succumbed to severe mental illness minor has led some commentators IV Finale (Allegro comodo) and was confined to an asylum; to suggest, wrongly, that it too Brahms spent ever more time in the dates from the 1850s. The company of, or corresponding with, contrast with C minor is, however, Clara Schumann. Brahms’ feelings breathtaking, and the movement for Clara at this time were intense, ushers us into a completely new and there is reason to suppose world. The solo cello joins with the that his unrequited love for her violin in a serene duet, and there caused him profound unease at the are numerous instances of refined thought of betraying Robert. and beautiful scoring, like the In 1856 Brahms and the violinist return of the cello theme in the Joachim played through a three- piano with an accompaniment of movement Piano Quartet in C string pizzicatos. sharp minor. Although Brahms The Finale, however, gradually then wrote a substitute slow re-admits the emotive instability movement – described by Clara of the opening: the violin solo as a ‘wonderful Adagio’ – he put is accompanied by a relentless the piece aside, though in 1868 passage of quavers which showed the first movement to a increasingly predominate, and the friend, saying, ‘Imagine a man who strings try out a kind of chorale is going to shoot himself, for there which the piano refuses to take is nothing else to do.’ Five years seriously. The development begins ‘On the cover you must have a later he took the piece up again, with alternating minor and major picture, namely a head with a and apparently at the suggestion thirds and takes up material for pistol to it. Now you can form of Joachim, heavily revised it in the the chorale, which the piano some conception of the music! I’ll new key of C minor. send you my photograph for the pounds out in C major in the purpose. You can use blue coat, Recasting the work in C minor work’s final pages. The chorale yellow breeches and top-boots, since immediately links it to the (and all it stands for) fails to you seem to like colour printing.’ tradition – exemplified by provide solace: one subsequent Beethoven – of composing works burst of energy is dissipated in Brahms was joking, of course. of an implicitly tragic character an oddly stark and quiet passage, In asking his publisher to use in that key. Moreover, it allows the which is brought to a close by an this illustration on the cover viola and cello the full resonance abrupt cadence just as it fades from of his C minor Piano Quartet, of their lowest strings, an element view. Maybe Brahms wasn’t joking Brahms was alluding to the hero that Brahms wastes no time in after all. of Goethe’s novel The Sorrows of exploiting. After a solemn call to Abridged from an annotation by Young Werther, who shoots himself attention in piano octaves, the Gordon Kerry in despair at his love for a woman strings play a theme characterised Symphony Australia © 2002 whose husband he reveres. But by short, two-note sighs followed, now it was 1875 and Brahms, in as Malcolm McDonald has pointed his early 40s, was established as out, by a version of Schumann’s a major composer and resigned musical emblem for ‘Clara’. The to being ‘free (that is, ‘single’) emotional turbulence is enhanced but happy’. As Karl Geiringer by Brahms’ use of variation form notes, at this time of his life with the sonata design: the second Brahms ‘grew calmer, more theme is no sooner stated than it balanced and content…even his is varied, and in the movement’s outward appearance revealed the recapitulation Brahms inserts yet tranquillity of the mature man’. more variations. The rhythmically 25 dynamic Scherzo, by contrast, reins MEET YOUR MSO MUSICIAN

Robert Clarke has held the position of Melbourne Symphony Orchestra Principal Percussion since 1981. Growing up in Melbourne, Robert started his musical journey playing the piano at aged five. Shortly after this he started playing the drums as the youngest member of a family band. He continued his studies through high school and later at the Victorian College of the Arts. As a member of the MSO, Robert has worked with some of this century’s most influential composers including Messiaen, Takemitsu and Penderecki. On the commercial scene, he has recorded and performed with Elton John, Frank Sinatra, kiss, Olivia Newton-John and the Three Tenors, and played on numerous recordings and more than 100 film scores. He has appeared as soloist with the MSO, Tasmanian Symphony Orchestra, Academy of Melbourne and other ensembles, performing the concertos of such composers as Richard Mills, Julian Yu, Paul Creston and Alan Hovhaness. In 1993 Robert was the first recipient of the Elton John Award for overseas study, which took him to the USA, where he studied with Chris Lamb of the New York Philharmonic and Perry Drieman.

robert clarke

26 MEET YOUR MSO MUSICIAN

My earliest musical memory is The sound of my mother singing; she loved to sing the popular songs of the 40s and 50s. The music that changed my life is... As a child, after seeing the Beatles on TV, I wanted to play the drums like Ringo Starr and stop learning the piano. In my teens it was the music of Miles Davis and Stravinsky’s The Rite of Spring that gave me the passion to explore a larger world of music-making. What is your favourite place in the world to “just be”? WE BELIEVE IN Riding my bike along the Yarra. THE POWER OF TOGETHER. What’s your favourite sporting teams? BY COMBINING Whatever basketball/netball/soccer, teams my OUR PASSION daughters are playing with at the time. AND SKILLS WITH THAT OF Where in Victoria do you most like to perform? OUR CLIENTS, In Melbourne we are spoilt for choice but it’s the new WE CAN ACHIEVE Hamer Hall for me. It now has excellent acoustics AMAZING THINGS. both on stage and in the hall, and it’s the home of the MSO. Out of Melbourne Costa Hall in Geelong KING & WOOD MALLESONS has a welcoming feel with its interior constructed with IS DELIGHTED TO BE AN ONGOING recycled timber and great sound. SUPPORTER OF THE MELBOURNE SYMPHONY ORCHESTRA.

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SEEING THE RESULTS, SEEING THE FUTURE: THE IMPACT OF THE PIZZICATO EFFECT

Music is a universal language, and has the ability to bring people from all different backgrounds and beliefs together to work towards a common goal. Many of the MSO’s Education and Community activities are designed to enable people to connect with music and engage with each other in new and inspired ways. The MSO’s Pizzicato Effect program is a key example of the Orchestra’s commitment to Education and our community. A partnership between the Melbourne Symphony Orchestra and Meadows Primary School, this program creates new learning pathways for children in Broadmeadows through the introduction of a vocal and instrumental music training program for over 150 students across Grades 1–6. Funded primarily by the MSO and private giving, this high-impact program provides all instruments, weekly instrumental and aural lessons lead by a team of MSO teaching artists, performance opportunities and the option for children, families and teachers to access MSO concerts. The Pizzicato Effect program is a great model of how Helen Hatzikalis, project coordinator at Meadows Primary School, says individuals, philanthropic the impact has been hugely positive. “The children no doubt develop foundations and bequest strong relationships with their MSO mentors and a love of music but support can work together to the benefits of the program are much broader. When they learn and make a big difference now and play music, you can see them concentrate and focus – developing skills for the future. which they didn’t have before, skills that can be transferred to their other classes.” The program is now a principal case study in a major 2012 Australian Research Council funded research study Creating Musical Futures in Australian Schools and Communities, which will evaluate the developmental assets, social-emotional wellbeing and educational impact acquired through participation in the program. Jan and Mark Schapper of the Schapper Family Foundation have been long-term supporters of the Pizzicato Effect. “We have watched the students’ musical skills and self-esteem develop and seen their parents’ pride. In other words, we know that the gift we are giving has been, and continues to be very effective,” they said. As a result of its demonstrated success, the program’s second stage is attracting new support from both individuals and philanthropic foundations. The Orchestra is especially proud to have received a grant from the Alan (AGL) Shaw Endowment, managed by Perpetual, to assist provide core Teaching Artists in 2013. Board member Dr Bronte Adams says Professor Shaw was an MSO subscriber for more than 40 years, and a generous donor to many MSO appeals including as a Patron. “He made an extraordinary difference to so many lives as an academic, teacher and philanthropist – we do feel privileged to carry this impetus on into the Pizzicato Effect through his bequest.” The MSO’s award-winning education program reaches more than 20,000 young people each year, with highlights including the annual MSO Education Week, regional schools concerts, our iPhone app, MSO Learn and our student subscription ticket package, Upbeat. Find out more and get involved, through a tax-deductible gift to the MSO Education Appeal. Online: www.mso.com.au By phone: Please call (03) 9626 1107 28 Thursday 15 and Saturday 17 November at 8pm Arts Centre Melbourne, DURUFLÉ Hamer Hall Friday 16 November at 8pm Robert Blackwood Hall, REQUIEM Monash University, Clayton

Tadaaki Otaka conductor Garrick Ohlsson piano Deborah Humble mezzo-soprano José Carbó baritone Melbourne Symphony Orchestra Chorus Jonathan Grieves-Smith chorus master

Brahms Piano Concerto No.1 INTERVAL 20 MINUTES Duruflé Requiem

This concert has a duration of approximately two hours, including one interval of 20 minutes. Saturday evening’s performance will be recorded for later broadcast around Australia on ABC Classic FM (on analogue and digital radio), and streamed on its website. Please turn off your mobile phone and all other electronic devices before the performance commences.

Master Series proudly presented by ebre cht /L eemage /L

Monash Series a proudly presented by Gregorian Chant manuscript from Siena Cathedral decorated le ct

with a Nativity scene E

BEYOND THE STAGE Learn more about the music in these free events taking place in the Hamer Hall Stalls Foyer.

DURUFLÉ AS IT IS SUNG Thursday 15 November at 7pm Saturday 17 November at 7pm Stalls Foyer, Hamer Hall This pre-concert event will feature four members of the Melbourne Symphony Orchestra Chorus in a panel discussion which will take you behind the scenes at the Chorus, providing insight into the preparation and performance of the Duruflé Requiem. 29 ABOUT THE MUSICartists DURUFLÉ REQUIEM

Tadaaki Otaka conductor Garrick Ohlsson piano Tadaaki Otaka has been Principal Guest Conductor Since his triumph at the 1970 Chopin International of the Melbourne Symphony Orchestra since 2010, Piano Competition, Garrick Ohlsson has established when he also became Artistic Director of the New himself worldwide as a musician of magisterial National Theatre in Tokyo. interpretive and technical prowess. Although he has long been regarded as one of the world’s leading His wide-ranging activities include concert, opera, exponents of the music of Chopin, he commands an radio and television, and also premieres of works by enormous repertoire which ranges over the entire such composers as Teizo Matsumura, Toru Takemitsu piano literature and includes more than 80 concertos. and Akira Miyoshi. In recent seasons his schedule has featured programs He made his debut in 1971 with the NHK Symphony celebrating the bicentenary celebrations of the births Orchestra and was Permanent Conductor of of Chopin and Liszt, including all-Chopin programs the Tokyo Philharmonic for 20 years, becoming at the Ravinia and Tanglewood Festivals. This its Conductor Laureate in 1991. He is Principal culminated in the release of the documentary, The Art Conductor of the Sapporo Symphony, with which he of Chopin, in which he appeared. has been associated for many years, and also of the Kioi Sinfonietta, which he founded in 1995. In 1987 Engagements in 2012 have included Busoni’s rarely he was made Music Director of the BBC National performed Piano Concerto with the European Orchestra of Wales, and became its Conductor Union Youth Orchestra and Gianandrea Noseda at Laureate in 1996. His extensive guest conducting has the Edinburgh Festival. Later in the season he will included many visits to Australia, Asia, Europe and perform concerts with the Cleveland Orchestra, North America, and he is a well-known figure in the Chicago Symphony, and the Boston Symphony at UK through his work with the BBC NOW, his many Carnegie Hall. Proms appearances, and his engagements with most His Grammy-winning discography includes the of the major British orchestras. complete Beethoven Sonatas and a 16-disc set of the In August 2012 he conducted Belshazzar’s Feast with complete works of Chopin. Recent releases include the BBC National Orchestra of Wales at the BBC Rachmaninov’s Piano Concerto No.3 with the Atlanta Proms. Forthcoming engagements include visits to the Symphony and Robert Spano, the complete Brahms Brussels Philharmonic, Tokyo Philharmonic, Sapporo Variations for Solo Piano, and Granados’ Goyescas. Symphony, Orchestre National d’Île-de-France and A disc of the piano music of Charles Griffes will be the NHK Symphony. released later this year. Tadaaki Otaka is a recipient of the Suntory Medal, A student of Claudio Arrau, Garrick Ohlsson studied the Elgar Medal, and an honorary Fellowship from at the Westchester Conservatory of Music and The the Royal Welsh College of Music and Drama. He Juilliard School. His Gold Medal win at the Chopin was awarded the CBE in 1997 in recognition of his Competition launched his international career, and contribution to music in the UK. he has since made almost a dozen tours of Poland. He was awarded the Avery Fisher Prize in 1994. His recording of Rachmaninov’s Symphony No.2 and Dvorˇák’s Symphony No.9, From the New World, with the MSO, are available through ABC Classics.

30 ABOUTABOUT THE THE a rMUSICtists DURUFLÉ REQUIEM

Deborah Humble mezzo-soprano José Carbó baritone Deborah Humble began her musical education José Carbó was born in Argentina of Spanish and in Adelaide where she gained a Bachelor of Italian descent, and moved with his family to Australia Music Performance, and continued her studies at an early age. in Melbourne, completing a Master of Music and Winner of the Australian Singing Competition Diplomas of Arts and Education. In 1995, she was a Opera Award in 2005, he made his debut with Opera Young Artist with the Victoria State Opera. Australia in Ariadne auf Naxos in 2002, and his roles She became a principal artist with Opera Australia for the company since then have included Count and in 2004 received the Dame Joan Sutherland Almaviva in The Marriage of Figaro, Enrico in Lucia di Scholarship. She subsequently became a Principal Lammermoor, Marcello in La bohème, Silvio in Pagliacci, Mezzo-soprano with the State Opera of Hamburg, Lescaut in Manon, Don Alfonso in Così fan tutte, and where her roles in Wagner’s Ring cycle brought her the title role in The Barber of Seville, a role he has also international acclaim. Conducted by Simone Young, performed with State Opera of South Australia, she began with Erda in Das Rheingold and followed Opera Queensland, Teatro Real (Madrid), and for his with Schwertleite in Die Walküre, Erda in Siegfried and US debut in Seattle in 2011. First Norn and Waltraute in Götterdämmerung. She He made his European debut in Rome in 2005 in the recorded these roles and, in early 2011, repeated them title role of The Marriage of Figaro, and his La Scala in two complete cycles. She was a finalist in the 2008 debut in 2009 in Il viaggio a Reims. International Wagner Competition. José Carbó has worked extensively with the major In Australia she has performed with the Melbourne, orchestras in Australia and New Zealand and his Sydney, Queensland and Tasmanian Symphony concert repertoire includes Beethoven’s Symphony orchestras, and with Opera Queensland and the No.9 and Mass in C, Fauré’s Requiem, Brahms’ State Opera of South Australia. Elsewhere, she A German Requiem, and Vaughan Williams’ Mass in has appeared with the Hong Kong Philharmonic, G minor. Auckland Philharmonia, Seattle Symphony, Stuttgart Philharmonic, Hamburg Philharmonic, London Engagements this season have included Die tote Mozart Players, and Singapore Lyric Opera; and at Stadt and The Barber of Seville for Opera Australia the Edinburgh, Aix-en-Provence and Salzburg and Escamillo (Carmen) for Opera Queensland. Easter Festivals. He will perform in the Sydney Symphony’s concert performance of The Queen of Spades in December. Recent engagements have included Brigitta in In 2013 for OA he sings Anckarström in a new Korngold’s Die tote Stadt for Opera Australia.Se production of A Masked Ball in Melbourne and will perform the role of Pauline in the Sydney Sydney, and debuts as Germont in La traviata. Symphony’s concert performance of The Queen of Spades in December 2012. She also appears in further Ring cycles in Hamburg and as Saint Catherine in Honegger’s Jeanne d’Arc au bûcher in Lisbon.

31 ABOUT THE MUSICartists DURUFLÉ REQUIEM

melbourne symphony jonathan grieves-smith chorus master orchestra chorus English conductor and chorus master Jonathan Under the artistic leadership of Jonathan Grieves- Grieves-Smith has established an international Smith, the Melbourne Symphony Orchestra Chorus reputation for his compelling performances and is establishing an international reputation for its breadth of artistic vision. He has been Chorus Master outstanding performances and recordings. Known as of the Melbourne Symphony Orchestra Chorus the Melbourne Chorale until 2008, it has since then (formerly Melbourne Chorale) since 1998, and prior been integrated with the MSO. to that was Chorus Master of the Huddersfield Choral Society, the Hallé Choir, and Music Director of The Chorus sings with the finest conductors, Brighton Festival Chorus. including Sir Andrew Davis, Mark Wigglesworth, Bernard Labadie and Manfred Honeck. Jonathan is a passionate advocate for new music, commissioning and conducting premieres by Recent commissions include Paul Stanhope’s Exile composers Brett Dean, Paul Stanhope, Gabriel Lamentations (commissioned with Sydney Chamber Jackson, Giya Kancheli, Gavin Bryars, Richard Choir and London’s Elysian Singers), and Gabriel Mills, Alfred Schnittke, Ross Edwards, Krzysztof Jackson’s To the Field of Stars (commissioned with Penderecki, Arvo Pärt and Peteris Vasks. the Netherlands Chamber Choir and Stockholm’s St Jacob’s Chamber Choir). The Chorus has also Jonathan has trained choirs for performances and premiered works by MacMillan, Pärt, Henze, Schnittke, recordings with the world’s leading conductors Bryars and Vasks. including Sir Simon Rattle, Valery Gergiev, Sir Mark Elder, Sir Andrew Davis and Sir Roger Norrington. The Chorus has performed with the Malaysian Philharmonic Orchestra, with The Australian Ballet, As guest conductor he has worked with the Academy at the Melbourne International Arts Festival, at the of St Martin in the Fields Chorus, Sydney Chamber 2011 AFL Grand Final and at the Sydney Olympic Choir, the BBC Singers, Cantillation, Sydney Arts Festival. The Chorus continues its relationship Philharmonia Choirs, Dartington International with ABC Classics with the recent CD release of Summer School, the Flemish Federation of Young Westlake’s Missa Solis – Requiem for Eli with the MSO. Choirs, and Europa Cantat.

New from the Melbourne Symphony Orchestra on ABC Classics 476 4811 476 4842 Brahms: A German Requiem Rachmaninoff: Symphony No. 2 ‘A truly tremendous piece of art which moves the entire The latest addition to the MSO Live Available at ABC Shops, being in a way little else does.’ – Clara Schumann collection: Rachmaninoff’s glorious Second Symphony, conducted by Tadaaki Otaka. ABC Centres and Soloists Teddy Tahu Rhodes and Nicole Car join the Melbourne Symphony Orchestra and Chorus This rich, Romantic symphony is one of the good music stores. (Chorusmaster: Jonathan Grieves-Smith) in this new most popular of all Russian orchestral works. For more information visit studio recording of Brahms’s greatest choral work, www.abcclassics.com conducted by Johannes Fritzsch. 32 ABOUT THE MUSIC DURUFLÉ REQUIEM

In 1853, Brahms met his idol, orchestra on 30 March 1858, and Robert Schumann. That night, a first public performance in Johannes Brahms 30 September, Schumann noted Hanover on 22 January 1859. (1833–1897) in his diary: ‘Visit from Brahms, a Part of Brahms’ hesitation in genius.’ A month later he wrote an Piano Concerto No.1 in D writing a symphony can be traced minor, Op.15 article which did much to publicise to the influence of Beethoven. ‘You the budding composer: I Maestoso don’t know what it is like always to II Adagio Sitting at the piano….there were hear that giant marching along III Rondo (Allegro non troppo) sonatas, veiled symphonies rather: behind me,’ he once said. And Garrick Ohlsson piano songs, the poetry of which could be the opening of this concerto owes understood even without words… more to Beethoven than simply Should he direct his magic wand where the key of the Ninth Symphony. the massive powers of chorus and Brahms’ youthful impetuosity orchestra may lend him their forces, led him to strain the limits of his we can look forward to even more capacity for self-expression and wondrous glimpses of the secret world of the first movement is a grandiose the spirit… expansion of sonata form of Beethovenian proportions. However, it was to be more than 20 years before Brahms would The opening, with its roaring produce his Symphony No.1. This timpani, has been likened to concerto was initially an aborted an image of the young Brahms attempt at a symphony derived hurling his theme like a from a sonata for two pianos, thunderbolt. After culminating in and as so often, the inspiration a burst of heavy trills, the music came (at least in part) from the settles down to a series of lyrical Schumanns. episodes, introducing a gentler rocking music. The orchestra In 1854 Schumann attempted swells again with the opening Guest musicians suicide, part of the mental decline material and then finally, as it which was to see him spend the Francesca Hiew violin subsides, the piano enters, setting Jenny Khafagi violin remaining two years of his life up the other emotional extreme Kate Sullivan violin in a mental asylum. Brahms’ Sophie Kesoglidis viola within which this movement will be Ann Blackburn oboe distress at his new-found friend’s played out. David Popp guest associate principal oboe# condition led to the composition David Evans^ guest principal horn Jenna Breen horn of a sonata in D minor for two Brahms’ writing for piano is robust Calvin Bowman organ pianos. Brahms and Clara and athletic. More significant is the Leigh Harrold celeste Schumann played it through. ‘It consistent density of the texture, ^ Courtesy of West Australian Symphony struck me as quite powerful…’ she a vestige perhaps of the two equal Orchestra said. But Brahms was not satisfied, partners for which this music was # Courtesy of Sydney Symphony and within a few months, the originally conceived. first movement formed part of a With Schumann’s collapse, Brahms projected symphony in the same moved in with Clara, took charge key. He had technical problems of the family’s financial affairs, with the orchestration and Julius and helped with the children. Grimm suggested a solution to the We cannot now determine how conflict between Brahms’ pianistic close Brahms and Clara became, and orchestral concepts: a piano but there is no doubt that the concerto. second movement of this concerto Brahms later destroyed the is a declaration of his love. ‘I duo sonata and the incomplete am painting a lovely portrait symphony, but parts of the two of you,’ he wrote her during its works are in the piano concerto. composition. The top of the After many revisions of the first manuscript originally bore the two movements, and the addition Latin inscription Benedictus qui of a Rondo finale, Brahms’ Piano venit in nomine Domini (Blessed is Concerto No.1 was complete. It he who comes in the name of the received a private rehearsal under Lord). It is thought that this refers 33 Joseph Joachim and his Hanover to Clara, as Brahms sometimes ABOUT THE MUSIC DURUFLÉ REQUIEM

called Robert Schumann ‘Mynherr Domine’, and in the opening moments, Brahms, reputed to be the most absolute of musicians, refers to the song ‘Take them then, beloved, these songs I sang to you’ from Beethoven’s An die ferne Geliebte. The seriousness of Brahms’ artistic intentions can be gauged by the finale. Here is an almost typically 19th-century showy ending, but the musical material, though carried along at speed, is nearly of equal weight to that of the first movement. Brahms is often thought of as Clara Schumann, after her the most Classical of Romantic- G.K. Williams Symphony Australia © 1997 husband’s death, in 1857 (left) era composers. ‘Passions are not and with Robert ten years earlier natural to mankind, they are The Melbourne Symphony Orchestra first (right). always exceptions or excrescences,’ performed this concerto on 20 July 1945 he wrote to Clara in October with conductor Bernard Heinze and soloist Noel Mewton-Wood. The orchestra performed 1857, perhaps mindful that it most recently in March 2005 with Oleg their relationship would remain Caetani and Philippe Bianconi. platonic. But what Robert Schumann’s music taught Brahms was Romantic in its own way – INTERVAL 20 minutes an intimate relationship among themes, a profound unity of inner relations revealing an ideal Hoffmannesque ‘kingdom of tones’ beyond. And in this work, Brahms expresses his emotions as openly as he ever would again.

34 ABOUT THE MUSIC DURUFLÉ REQUIEM

FONDNESS AND FRUSTRATION

MSO Chorus Master However her face is lovely, and Jonathan Grieves-Smith this is music that is a pleasure to on the preparation of work on. Duruflé’s Requiem The music’s sonority demands a warm, even tone and an enduring sense of line. I should explain what Beautiful, well-crafted, and I mean by this word. What we try to yet strangely detached and do in the Chorus is pitch, articulate disconnected, this is a piece I both and colour words. These words, love and find frustrating. like notes, must connect in sense I wonder if Fauré’s setting is the and grammar to make coherent more popular because its melodies sentences, paragraphs, chapters are so direct. The yearning for and, finally, a complete work. How light, for release, for peace, is we achieve this differs according immediately palpable physically to the piece. Britten’s dramatic and emotionally. Despite its creaky War Requiem demands we colour form, it feels natural, everyman, and characterise individual words very strongly, but in Duruflé’s whole, healthy; it is a light and Duruflé at the organ lovely gift from a fine tune-smith. work we have a smooth, warm, While we might wish he had uninterrupted foreground and developed his wonderful melodies, a line that must connect from perhaps it is the simplicity of a first word to the last; the opening song book that attracts. petition by those on earth for the repose of their dead comrade and Duruflé’s setting of the requiem forgiveness for his (and our) earthly mass is rather different. The ‘sins’ must connect to the closing contours and colours of his vision of a dead comrade’s rest melody and harmony derive in paradise. This line must be as directly from Gregorian chant; present in silence as in sound and if this creates its ecclesiastical flavour we lose the line, we lose the sense. but also perhaps its emotional straightjacket. It is a beautiful To hear this Requiem for the first thing to sing and listen to, and it time is a lovely thing but to live has proportion and form...but the consciously and searchingly – and longer I am with it the more I feel isn’t this our ambition? – we surely it is music trapped by incense, by want to reach deeply into the the converted, by stiff collars and music and clasp a hand reaching dark drawing rooms! The music out for us, to feel a beating heart, doesn’t appear to sweat or move; to share together the call to beauty if you cut it, it doesn’t seem to and love? I am not convinced that, bleed. I sense not rapt adoration for all its surface beauty, this is that or meditation but an impotency piece, but maybe I will be proved in the face of eternity – the priests wrong. I hope so. mumbling to themselves a life away I know we will love singing it and from the parishioners far back in hope you will love hearing it. the dark of the cathedral. It is a passive religion in which people are an optional extra. It is like a frozen Madonna without a heart.

35 ABOUT THE MUSIC DURUFLÉ REQUIEM

Maurice Duruflé (1902–1986) Requiem, Op.9 (1947) Deborah Humble mezzo-soprano José Carbó baritone Melbourne Symphony Orchestra Chorus

Of all French composers since of Fauré, of Debussy, and especially Fauré, Maurice Duruflé may be of his own composition teacher Above: One of a series of 17 frescoes in the Abbey of Monte said to have the most ‘Fauréen’ Dukas, but he makes the chant Oliveto Maggiore illustrating the musical temperament, in which the basis of everything in his life of St Benedict. delicacy, refinement and subtle Requiem. Even the material which Right: SOLESMES ABBEY expression do not preclude does not quote chant directly underlying strength. It is not is inspired by it. The orchestra, surprising, then, that the one of Duruflé explained, comes in only Duruflé’s very small number of to support and comment. Since published works which has become Fauré’s Requiem, completed in best known is a Requiem setting, the 1880s, the chant itself had in which he followed Fauré closely undergone purification, through a in his selection of texts from the return to its original form, thanks Mass for the Dead. Duruflé also to the work of the Benedictine omits the sequence Dies Irae, and monks of Solesmes. Duruflé borrows the In Paradisum from the respected their work, trying to feel Burial Service, but unlike Fauré the style of the Gregorian themes, includes the Benedictus (somewhat and doing his best ‘to reconcile puzzlingly, Duruflé denied he was as far as possible the Gregorian influenced by Fauré’s Requiem). rhythmic patterns, as fixed by the Fauré was for many years a church Benedictines of Solesmes, with organist, but for Duruflé this was the demands of the modern bar- his central musical activity, at the structure’. Paris church of Saint-Étienne- When the commission arrived du-Mont. Duruflé was trained from his publishers Durand for in the French cathedral organist a Mass for the Dead, Duruflé tradition, as an organ pupil of was working on a suite of organ Tournemire and of Vierne, whose pieces based on its plainsong. assistant he became at Sainte- The meditative atmosphere of Clotilde and Notre Dame. the eventual choral/orchestral A sometimes overlooked aspect setting never forgets the liturgical of Fauré’s Requiem is its basis in purpose; indeed Duruflé indicates harmonised chant – the composer that the form of each piece is Reynaldo Hahn even called generally inspired by the relevant Fauré a ‘voluptuous gregorianist’. liturgical form, and in most cases Duruflé does not deny himself the the plainchant is heard from one 36 harmonic and textural inventions voice before it is adorned. This ABOUT THE MUSIC DURUFLÉ REQUIEM

gives the music a natural flow, ‘Sanctus’ and the ‘Hosanna’, for as well as rhythmic freedom. For the voices, are built to a climax in example, in the Introit, the men violent rhythms. The Benedictus announce the plainchant theme returns to monodic chant, to the note for note, and are answered same accompaniment – a single by the women supported by the statement. orchestral wind instruments. In Pie Jesu is a solo for high voice, as the Kyrie, which follows without in Fauré, but in this case a mezzo- break, brass announce the Maurice and Marie-Madeleine soprano, with solo cello – simple Duruflé cantus firmus, and the organ’s but moving, and richly harmonised part becomes clear: as Duruflé as the Gregorian melodies can versions, one with accompaniment explains, its role is not to support be without losing their timeless for organ alone, and later still an the choir, but to underline certain resonances. ‘intermediate’ version, with organ, accents, or to make the listener a quintet of strings, and optional In the Agnus Dei, with its rocking forget for a moment the too- parts for harp, trumpets, and string accompaniment and delicate human tones of the orchestra; timpani. ‘it represents the idea of harp notes, a countermelody is tranquillity, faith and hope’. woven around the plainsong. David Garrett © 2008 Beginning with an organ prelude, The bursting of Judgement Day The Melbourne Symphony Orchestra has into the Libera me provides, as performed Duruflé’s Requiem on only the Offertorium ‘Domine Jesu one previous occasion: 7 May 1997 with Christe’ has an affinity with Fauré’s in Fauré, the most dramatic conductor Graham Abbott, and soloists Tom setting. In the sudden drama moment of this Requiem, and Hamilton and Sally-Anne Russell and the of ‘Save them from the lion’s again the baritone takes the lead, Melbourne Chorale. jaws’, as the voices declaim, the personifying the fear and anguish. orchestra takes up the Gregorian With Fauré’s In Paradisum as an theme in shorter note values, as obvious model, Duruflé achieves an accompaniment. As the idea something similar but subtly of ‘holy light’ changes the mood, different, an ethereal mist, with we hear harmonies and textures angels and harp, leading to a calm which reminds us that Duruflé is and spiritual peace. a post-impressionist, but a more traditional one than his fellow The first version of Duruflé’s pupil of Dukas, Messiaen. Like Requiem, heard in this concert, Fauré, Duruflé gives theHostias to is with orchestra and organ. It the baritone soloist. was first heard on the radio, and then in concert, conducted by The Sanctus is a moto perpetuo Roger Désormière, in Paris, in the for the instruments in sextuplets, same year it was composed, 1947. into which the triple cries of Later Duruflé made two more

Classic kids! Richard Gill conductor and presenter Young imaginations will be inspired as they sing along with members of Victorian Opera and the Melbourne Symphony Orchestra. Take a journey through song led by much-loved conductor Richard Gill. Wednesday 28 November at 1pm Thursday 29 November at 10am, 11.15am and 1pm with Singers From Victorian Opera Friday 30 November at 10am, 11.15am and 1pm and Music Director Richard Gill. Saturday 1 December at 10am, 11.30am, 1.30pm and 3pm Iwaki Auditorium, ABC Southbank $18 Adults, $12 Children, $50 Family (2 Adults and 2 Children)

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Duruflé Requiem 1. Introit Requiem aeternam dona eis Domine Grant them eternal rest, Lord et lux perpetua luceat eis. And may perpetual light shine on them. Te decet hymnus, Deus, in Sion To you, God, hymns of praise are sung in Sion et tibi reddetur votum in Jerusalem. and unto you shall vows be performed in Jerusalem. Exaudi orationem meam Hear my prayer; ad te omnis caro veniet. To you shall come all flesh. 2. Kyrie Kyrie eleison. Lord have mercy. Christe eleison. Christ have mercy. Kyrie eleison. Lord have mercy. 3. Domine Jesu Christe (choir and baritone solo) Domine Jesu Christe, rex gloriae, O Lord Jesus Christ, king of glory, libera animas omnium fidelium defunctorum Free the departed souls de poenis inferni et de profundo lacu; from the pains of hell and from the deep pit; libera eas de ore leonis ne absorbeat eas tartarus; from the jaws of the lion; ne cadant in obscurum. let them not be swallowed up by the dark lake Sed signifer sanctus Michael nor vanish into darkness. repraesentet eas in lucem sanctam. But may the holy standard-bearer Michael Quam olim Abrahae promisisti, bring them into the holy light; et semini ejus. which you promised of old to Abraham and his seed. Hostias et preces tibi, Domine Our sacrifice and prayers, Lord, Laudis offerimus. we offer to you with praise. Tu suscipe pro animabus illis Receive them on behalf of the souls Quarum hodie memoriam facimus; who we remember today; fac eas Domine de morte transire ad vitam; make them, Lord, pass from death to life, quam olim Abrahae promisisti et semini ejus. as you promised Abraham and his seed. 4. Sanctus Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Holy, holy, holy Lord God of hosts. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of your glory. Hosanna in excelsis. Hosanna in the highest. Benedictus qui venit in nomine Domini. Blessed is he that comes in the name of the Lord. Hosanna in excelsis. Hosanna in the highest. 5. Pie Jesu (mezzo-soprano solo) Pie Jesu Domine Merciful Lord Jesus dona eis requiem, Grant them rest, Requiem sempiternam. eternal rest. 6. Agnus Dei Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world, dona eis requiem. grant them rest. Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world, dona eis requiem sempiternam. grant them eternal rest.

38 ABOUT THE MUSIC DURUFLÉ REQUIEM

7. Lux aeterna Lux aeterna luceat eis, Domine, May perpetual light shine on them, Lord cum sanctis tuis in aeternum, quia pius es. with your saints throughout eternity, by your grace. Requiem aeternam dona eis, Domine, Grant them eternal rest, Lord, et lux perpetua luceat eis, quia pius es. and may perpetual light shine on them, by your grace. 8. Libera me (choir and baritone solo) Libera me Domine de morte aeterna Deliver me, Lord, from eternal death in die illa tremenda, on that terrible day, quando coeli movendi sunt et terra, when earth and heaven are shaken; dum veneris judicare saeculum per ignem. when you come to judge all things by fire. Tremens factus sum ego et timeo, I am trembling and afraid, dum discussio venerit atque ventura ira: until the trial comes, and the wrath; quando coeli movendi sunt et terra. when earth and heaven are shaken. Dies illa, dies irae, calamitatis et miseriae, Day of torment, day of wrath, calamity and misery, dies magna et amara valde, greatest and most bitter day, dum veneris iudicare saeculum per ignem when you come to judge all things by fire. Requiem aeternam dona eis Domine, Grant them eternal rest, Lord, Et lux perpetua luceat eis. and may perpetual light shine on them. Libera me Domine etc. Deliver me, Lord, etc. 9. In Paradisum In paradisum deducant te angeli May angels lead you into Paradise; in tuo adventu suscipiant te martyres may you be received by the martyrs et perducant te in civitatem sanctam Jerusalem. and brought to the holy city of Jerusalem. Chorus angelorum te suscipiat, May choirs of angels receive you, et cum Lazaro quondam paupere, and with Lazarus, who was once a beggar, aeternam habeas requiem. may you find eternal rest.

Chorus

SOPRANO Lynne Muir ALTO TENOR BASS Philippa Allen Lucy Neville Catherine Bickell James Allen Richard Barber Julie Arblaster Caitlin Noble Aleksandra Acker Tony Barnett Maurice Amor Colleen Arnott Susie Novella Ruth Anderson Steve Burnett David Brown Sheila Baker Carolyn O’Brien Cecilia Björkegren Denny Chandra Barry Clarke Amy Barry Shaunagh O’Neill Kate Bramley John Cleghorn Richard Corboy Eva Butcher Lauren Ormston Jane Brodie Geoffrey Collins Roger Dargaville Eirlys Chessa Elizabeth O’Shea Alexandra Chubaty James Dipnall Ted Davies Andrea Christie Alexandra Patrikios Elin-Maria Evangelista Marcel Favilla Phil Elphinstone Veryan Croggon Jodie Paxton Jill Giese Trevor Finlayson Gerard Evans Georgette Cutler Anne Payne Debbie Griffiths Peter Finnigan Matthew Gulino Samantha Davies Marita Petherbridge Ros Harbison Lyndon Horsburgh Andrew Ham Laura Fahey Susannah Polya Sue Hawley Wayne Kinrade Andrew Hibbard Rita Fitzgerald Tanja Redl Kristine Hensel Colin MacDonald John Lester Catherine Folley Helena Ring Andrea Higgins James Macnae Stephen Makin Susan Fone Jo Robin Helen MacLean Peter McInnis Tim March Rashika Gomez Sue Robinson Christina McCowan Dominic Mckenna Alan McNab Camilla Gorman Ruth Shand Rosemary McKelvie Simon Milton Philip O’Byrne Jillian Graham Elizabeth Stephens Siobhan Ormandy Michael Mobach Vern O’Hara Alexandra Hadji Katherine Tomkins Leah Phillips Andrew Pogson Edward Ounapu Karling Hamill Kat Turner Alison Ralph Adam Purton Douglas Proctor Juliana Hassett Justine Underwood Kerry Roulston Malcolm Sinclair Jonathan Sanders Madelaine Howard Annie Runnalls Marcus Travaglia Matthew Toulmin Penny Huggett Lauren Simpkins Ian Vitcheff Jasmine Hulme Helen Staindl Matthew Williams Teresa Ingrilli Jenny Stengards Foon Wong Tania Jacobs Libby Timcke Allan Yap Olivia Jones Norma Tovey Gwen Kennelly Emma Warburton REPITITEUR Brigid Maher Tom Griffiths 39 emirates.com/au A partnership in harmony The Melbourne Symphony Orchestra and Emirates share a passion for excellence and world-class performance. Fly Emirates, enjoy the wonders of the past, and the possibilities of tomorrow.

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