The Melbourne Symphony Orchestra, in association with the University of Melbourne, presents Sidney Myer Free Concerts

A Musical Summer Nights Bohemian Valentine in Budapest Rhapsodies 14 Feb at 7pm 18 Feb at 7pm 21 Feb at 7pm

CONCERT ONE: SUMMER NIGHTS IN BUDAPEST 1 1 concert for $59 2 concerts for $99 3 concerts Special for $135 offer at the Bowl A-Reserve Choose 1, 2 or 3 of these tickets MSO concerts * Offer ends from $45 23 February

1 2 3 4 5 Tchaikovsky Chinese New Bryn Terfel Sarah Chang Beethoven’s — Year Concert & Lisa McCune Plays Bruch Symphony No.7 Fri 27 February — — — — at 7.30pm Sat 28 February Sat 14 March Mon 13 April Fri 22 May Melbourne at 6.30pm at 7pm at 6.30pm at 8pm Town Hall Hamer Hall Hamer Hall Hamer Hall Hamer Hall — — — — — A celebration of A major cultural International Celebrated violinist Japanese-Canadian one of the most event bringing superstar Sarah Chang violinist Karen Gomyo powerful composers together works from bass-baritone Bryn returns to perform will perform Saint- of the Romantic the Eastern and Terfel joins Australia’s Bruch’s famous Saëns’ eloquent age. Featuring Western traditions own Lisa McCune for Violin Concerto in Third Violin Concerto Tchaikovsky’s conducted and this thrilling night of G minor. With Ives’ before Beethoven’s Francesca da Rimini, featuring works by Broadway classics. Three Places in New majestic Seventh The Letter Scene from Academy Award©- With songs from England and Nielsen’s Symphony, featuring Eugene Onegin and winning Chinese Carousel, Camelot, Symphony No.4 The the Allegretto Symphony No.5. composer Tan Dun. The King and I and Inextinguishable. memorably used in ©A.M.P.A.S. Fiddler on the Roof. the 2010 filmThe King’s Speech.

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*No exchanges and no further concessions apply. Not applicable with any other or at the Box Office promotion or offer. These special prices apply to purchases made during the Sidney Myer Free Concerts at the Sidney Myer Music Bowl, online or at the MSO inside Gate 1 Box Office until 6pm, 23 February 2015. The Melbourne Symphony Orchestra offers a diverse range of Education and Community Engagement programs designed to inspire active participation in music. From tiny tots to 1 concert grandparents, we’ve got events and concerts to inspire everybody! for $59 2 concerts for $99 3 concerts Special for $135 offer at the Bowl A-Reserve Choose 1, 2 or 3 of these tickets MSO concerts * Offer ends from $45 23 February WELCOME TO THE MSO’S 2015 1 2 3 4 5 EDUCATION AND COMMUNITY Tchaikovsky Chinese New Bryn Terfel Sarah Chang Beethoven’s — Year Concert & Lisa McCune Plays Bruch Symphony No.7 Fri 27 February — — — — ENGAGEMENT SEASON at 7.30pm Sat 28 February Sat 14 March Mon 13 April Fri 22 May Melbourne at 6.30pm at 7pm at 6.30pm at 8pm Town Hall Hamer Hall Hamer Hall Hamer Hall Hamer Hall — — — — — A celebration of A major cultural International Celebrated violinist Japanese-Canadian one of the most event bringing superstar Sarah Chang violinist Karen Gomyo powerful composers together works from bass-baritone Bryn returns to perform will perform Saint- of the Romantic the Eastern and Terfel joins Australia’s Bruch’s famous Saëns’ eloquent age. Featuring Western traditions own Lisa McCune for Violin Concerto in Third Violin Concerto Tchaikovsky’s conducted and this thrilling night of G minor. With Ives’ before Beethoven’s Francesca da Rimini, featuring works by Broadway classics. Three Places in New majestic Seventh The Letter Scene from Academy Award©- With songs from England and Nielsen’s Symphony, featuring Eugene Onegin and winning Chinese Carousel, Camelot, Symphony No.4 The the Allegretto Symphony No.5. composer Tan Dun. The King and I and Inextinguishable. memorably used in ©A.M.P.A.S. Fiddler on the Roof. the 2010 filmThe King’s Speech.

BOOK NOW mso.com.au/bowloffer Book your tickets to secure your place For further information on any of our programs *No exchanges and no further concessions apply. Not applicable with any other or at the Box Office promotion or offer. These special prices apply to purchases made during the for some Melbourne Symphony visit mso.com.au, phone (03) 9626 1198 Sidney Myer Free Concerts at the Sidney Myer Music Bowl, online or at the MSO Orchestra fun in 2015. or email [email protected] inside Gate 1 Box Office until 6pm, 23 February 2015. What’s On February — June

Esat Meets West: Bryn Terfel & Lisa McCune The Damnation of Faust Chinese New Year Concert SATURDAY 14 MARCH* FRIDAY 20 MARCH SATURDAY 28 FEBRUARY SUNDAY 15 MARCH SATURDAY 21 MARCH Join Maestro Tan Dun for the International superstar bass-baritone Don’t miss this definitive MSO’s annual Chinese New Year Bryn Terfel joins Lisa McCune, performance of Berlioz’s genre- celebration, featuring great works Australia’s sweetheart of the stage, defying ‘concert opera’ based on from Eastern and Western repertoire for this thrilling night of Broadway Goethe’s legendary dramatic poem including Nu Shu: The Secret Songs of classics. Faust about a man who sells his Women, a spellbinding masterpiece *Official opening night of MSO soul to the devil. Conducted by of music, film and epic storytelling, season. Book for post concert Sir Andrew Davis, and featuring and Ravel’s fiery Bolero. cocktail party. Bryn Terfel as Méphistophélès.

Sarah Chang Plays Bruch Tripod: This Gaming Life Education Week FRIDAY 10 APRIL FRIDAY 17 APRIL MONDAY 1 JUNE TO SATURDAY 11 APRIL SATURDAY 18 APRIL SATURDAY 6 JUNE MONDAY 13 APRIL This Gaming Life is Tripod’s all-new Join the MSO and internationally Following her enormously popular musical love letter to their one acclaimed music educator, Paul concerts in 2013, celebrated violinist shared passion. Their obsession with Rissmann, for the MSO’s fifth annual Sarah Chang returns to perform video games is so epic they need Education Week at the Melbourne Bruch’s famous Violin Concerto in back up from the equally epic Town Hall and Hamer Hall, with a G minor. Conducted by MSO Chief Melbourne Symphony Orchestra – series of events for schools and Conductor Sir Andrew Davis. in their very first joint collaboration. families which integrate learning and entertainment, and foster a lifelong love of music.

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Sign up for our monthly e-news at @MelbSymphony TheMSOrchestra mso.com.au and receive special offers from the MSO and our partners. Welcome to the Sidney Myer Free Concerts

The MSO’s Sidney Myer Free Sidney Myer was remembered last Every February, thousands of music Concerts are an icon of summer in year on 5 September 2014. This date - lovers gather to watch the finest Melbourne. A tradition that dates marked the 80th Anniversary of his Australian and international artists back to the 1920s, these concerts death. Our family chose to mark perform orchestral masterpieces - a gift of the Myer family - have that occasion with events designed against the backdrop of sunset at supported hundreds of thousands of to remember a father, grandfather, the Sidney Myer Music Bowl. people to discover, rediscover, and great grandfather, and now a The enduring success of the Sidney revel in the beauty of classical music. great great grandfather. We also Myer Concerts illustrates the deep This year, the talented players of remembered him as businessman, love Melburnians have for their our internationally-acclaimed a philanthropist, and a member of Orchestra. One of our finest local Melbourne Symphony Orchestra a community building generation in talents, MSO Associate Conductor bring to life the work of some of Melbourne. Benjamin Northey, will lead this the world’s greatest composers. The Sidney Myer Free Concerts were year’s opening concert, A Musical Combine their wonderful music- created to enable the people of Valentine, a magical night of making with one of Melbourne’s Melbourne to share his passion for ‘romantic’ repertoire by Tchaikovsky, best vistas, a picnic with friends and outdoor music. Since its opening in Gershwin, Ravel and Strauss. family, and there’s no better way to 1959, the Sidney Myer Music Bowl Our second and third concerts, spend a balmy summer night. has provided the most extraordinary Summer Nights in Budapest These concerts provide a fantastic venue for these concerts. In 2015, and Bohemian Rhapsodies, will entrée into what the MSO has in the philanthropy of Sidney Myer lives celebrate great composers of store for their 2015 season. I hope on through the work of the Sidney Eastern Europe with highlights they inspire you to discover more Myer Fund. including Tchaikovsky’s famous great music and performances in The Sidney Myer story is very much a Violin Concerto, performed by the year ahead. part of the story of Melbourne and the MSO’s Ji Won Kim and Liszt’s Congratulations to the Melbourne the State of Victoria. powerful Piano Concerto No.2, Symphony Orchestra for putting Arriving in Australia in 1899, his featuring Australian pianist Daniel together another stunning program successful small store in Bendigo led de Borah. These concerts are a - be prepared for something very to the purchase of his first Melbourne wonderful introduction to the MSO’s special. store in 1911. By the time of his death 2015 season which will include in 1934, this enterprise had grown performances with music superstars considerably and continues to thrive Bryn Terfel, Renée Fleming and today. Grammy-winning jazz vocalist Kurt Elling. To find out more, pick On behalf of the Trustees of the up our Season Brochure from our Martin Foley MP Estate of Sidney Myer, we are certain onsite box office at the Bowl or visit Minister for Creative Industries tonight’s concert will again be a mso.com.au memorable and uplifting experience. I look forward to enjoying these concerts with you.

Sid H. Myer AM Chairman of Trustees, André Gremillet The Sidney Myer Fund Managing Director, MSO

SIDNEY MYER FREE CONCERTS 5 CONTENTS

What’s On 4 Welcome messages 5 About the MSO 6 A Musical Valentine 7 Summer Nights in Budapest 11 Bohemian Rhapsodies 14 The Orchestra 16 MSO Supporters 18 MSO Partners 19

MELBOURNE SYMPHONY ORCHESTRA

With a reputation for excellence, The MSO reaches an even larger versatility and innovation, the audience through its regular concert Melbourne Symphony Orchestra broadcasts on ABC Classic FM, is Australia’s oldest orchestra, also streamed online, and through established in 1906. The Orchestra recordings on Chandos and ABC currently performs live to more Classics. The MSO’s Education than 200,000 people annually, in and Outreach initiatives deliver concerts ranging from subscription innovative and engaging programs performances at its home, Hamer to audiences of all ages, including Hall at Arts Centre Melbourne, to its MSO Learn, an educational iPhone annual free concerts at Melbourne’s and iPad app designed to teach largest outdoor venue, the Sidney children about the inner workings of Myer Music Bowl. an orchestra. Sir Andrew Davis gave his inaugural The Melbourne Symphony Orchestra concerts as Chief Conductor of the is funded principally by the Australian MSO in April 2013, having made his Government through the Australia debut with the Orchestra in 2009. Council, its arts funding and Highlights of his tenure have included advisory body, and is generously collaborations with artists including supported by the Victorian Bryn Terfel, Emanuel Ax and Truls Government through Creative Mørk, the release of recordings of Victoria, Department of Economic music by Percy Grainger and Eugene Development, Jobs, Transport and Goossens, and its recent European Resources. The MSO is also funded Festivals tour. by the City of Melbourne, its Principal The MSO also works each season with Partner, Emirates, corporate sponsors Principal Guest Conductor Diego and individual donors, trusts and Matheuz, Associate Conductor foundations. Benjamin Northey and the Melbourne Symphony Orchestra Chorus. Recent guest conductors to the MSO include Thomas Adès, John Adams, Tan Dun, Charles Dutoit, Jakub Hrůša, Mark Wigglesworth, Markus Stenz and Simone Young. The Orchestra has also collaborated with non-classical musicians including Burt Bacharach, Nick Cave, Sting and Tim Minchin.

6 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT ALENTINE Concert One

A Musical Valentine A MUSICAL V

ABOUT THE ARTISTS SATURDAY 14 FEBRUARY Benjamin Northey Emma Matthews AT 7PM conductor soprano

Melbourne Symphony Benjamin Northey holds the Emma Matthews is Australia’s Orchestra Patricia Riordan Associate most highly acclaimed and Conductor Chair of the Melbourne awarded soprano. Benjamin Northey Symphony Orchestra. conductor Her many opera roles include Internationally, he has conducted the title roles in Lulu, Lakmé, Lucia Emma Matthews the London Philharmonic Orchestra, di Lammermoor, The Cunning Little soprano Mozarteum Orchestra Salzburg, Vixen (Royal Opera House, Covent — Hong Kong Philharmonic, National Garden) and Partenope, Fiorilla (Il TCHAIKOVSKY Symphony Orchestra of Colombia, turco in Italia), Violetta (La Traviata), Romeo and Juliet New Zealand and Christchurch Cleopatra (Giulio Cesare), Juliette Symphony Orchestras, and the (Roméo et Juliette), Marie (La fille RAVEL Southbank Sinfonia of London. du régiment), Gilda (Rigoletto), Daphnis and Chloé: In Australia, Northey has made many Konstanze (Die Entführung aus dem Suite No.2 critically-acclaimed appearances Serail), Amina (La Sonnambula), — as a guest conductor with the Giulietta (I Capuleti e i Montecchi), Interval 20 minutes six state symphony orchestras as the four heroines (The Tales — well as leading seasons of L’elisir of Hoffmann), Cunegonde STRAUSS d’amore, The Tales of Hoffmann, (Candide) and Queen of the Night Orchestral Lieder La sonnambula, Don Giovanni and (The Magic Flute). Così fan tutte. In 2015, he returns to Further career highlights include GERSHWIN (ARR. BENNETT) all the major Australian orchestras, Mahler’s Symphony No.4 with Porgy and Bess: the HKPO, the NZSO and conducts Orchestre Philharmonique de A Symphonic Picture Turandot for Opera Australia. In Monte Carlo, Ismene (Mitridate) This concert has a duration of 2015 he also holds the position of for the Sydney Festival and her approximately one hour and 50 Chief Conductor of the Christchurch two solo recordings: Emma minutes, including one interval of 20 Symphony Orchestra. Matthews in Monte Carlo (Deutsche minutes, and will be hosted by Grammophon/ABC Classics) and 774 ABC Melbourne’s Lindy Burns. Mozart arias (ABC Classics).

CONCERT ONE: A MUSICAL VALENTINE 7 ABOUT THE MUSIC

PETER ILYICH TCHAIKOVSKY MAURICE RAVEL RICHARD STRAUSS (1840 – 1893) (1875 – 1937) (1864 – 1949)

Romeo and Juliet: Daphnis et Chloé: Suite No.2 Orchestral Lieder Fantasy Overture Lever de jour Das Rosenband Op.36 No.1 — Pantomime Morgen! Op.27 No.4 The youthful passion of Romeo Danse générale Zueignung Op.10 No.1 Montague and Juliet Capulet, — Emma Matthews soprano doomed by their families’ feuding, In 1909, Russian impresario Sergei — has inspired many composers Diaghilev commissioned Ravel to Strauss had a lifelong love for the including Berlioz, Prokofiev, Gounod write a ballet to a scenario by soprano voice, particularly that of and the composer of this evening’s Mikhail Fokine based on the tale his wife, Pauline de Ahna, a singer of concert opener, Tchaikovsky. This of Daphnis et Chloe, a pastoral renown for whom he wrote some of fantasy-overture is Tchaikovsky’s romance attributed to the Greek his most memorable work. supreme early orchestral writer Longus, who lived in the third achievement. century AD. Ravel had particular Das Rosenband shows the normally pious 18th-century poet Friedrich Nikolai Rubinstein conducted the ideas about what ancient Greece Gottlieb Klopstock describing a lover first performance, in Moscow on meant to him, and set out to who playfully binds his beloved with 16 March 1870. Tchaikovsky revised ‘compose a vast musical fresco in roses while she sleeps. She awakes, the work, and completed the which I was less concerned with they gaze on each other, and final version in 1880. The hymn-like archaism than with reproducing the world becomes the mythical introduction suggests Friar Laurence’s faithfully the Greece of my dreams, paradise of Elysium. Unusually, Strauss cell, then the Capulets and which is very similar to that imagined chose a poem well known in another Montagues feud in a fiery passage, and painted by French artists at the setting – in this case Schubert’s voice giving way to the love scene. The end of the 18th century’. and piano; Strauss composed his development amplifies the lovers’ First presented as a ballet at the 1897 setting for voice and orchestra. music, struggling with the brawls and Théâtre du Châtelet on 8 June 1912, The lush eroticism of long lines and Friar Laurence’s music. Daphnis has since become a staple unexpected harmonic shifts leads to A furious climax may be the death of the concert hall, where it is usually the flourish or melisma that sets the of Tybalt at the hand of Romeo, heard in the form of two suites, or word ‘Elysium’. but the love music dominates the ‘fragments symphoniques’. Tonight Perhaps Strauss’ single most famous ending, gradually turning to lament you will hear the Second Suite, song, Morgen! (Tomorrow) sets a text and tragic despair. comprising music from the last 20 minutes or so of the original ballet, by John Henry Mackay (1864-1933), Symphony Australia © 2000 (edited) which opens with the idyll in which a Scot who lived in Germany from Daphnis and Chloe fall in love. Chloe early childhood and devoted himself is abducted by pirates, and three to anarchist politics, experimental nymphs invoke the god Pan to come verse and up-front homosexuality to Daphnis’ aid. Now ‘Suite No.2’ at a time when none was exactly begins, one of the most graphic tolerated. Morgen! is a fairly portrayals of sunrise in the orchestral conventional lyric dealing with the literature. Imitation birdsong and promise of lovers being reunited. the piping of shepherds unite Strauss wrote the Op.27 set in 1894 Daphnis with Chloe. In tribute to as a wedding present for Pauline, Pan, Daphnis and Chloe mime Pan’s orchestrating Morgen! in 1897. This courtship of Syrinx, accompanied early masterpiece begins with the by a florid solo flute (Pantomime). orchestra (or piano) before the The General Dance represents the singer enters in mid-sentence. The joyful celebration of the lovers and violin solo represents the bliss of the shepherds. united lovers, but as this is still in the future, Strauss ends the song on a Gordon Kalton Williams (edited) note of erotic expectation. Symphony Australia © 1997/2008 Strauss’ first published songs, Op.10, appeared in 1885 with settings of poems by Hermann von Gilm zu Rosenegg (1812-1864) including Strauss’ early hit Zueignung (Dedication). A simple strophic song with a strong rhythm and bright major tonality, it is a hymn of thanks to the beloved for banishing the evils of solitude. Strauss orchestrated it as late as 1940. Gordon Kerry © 2014

8 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT ABOUT THE MUSIC

RICHARD STRAUSS GEORGE GERSHWIN Orchestral Lieder - text (1898 – 1937)

Das Rosenband The Band of Roses ARR. ROBERT RUSSELL BENNETT Im Frühlingsschatten fand ich sie, In the spring shadows I found her, (1894-1981) Da band ich sie mit Rosenbändern: and bound her with bands of roses: — Sie fühlt’ es nicht und schlummerte. she did not feel it, and slept. Porgy and Bess: Ich sah sie an; mein Leben hing I looked at her; my life hung A Symphonic Picture Mit diesem Blick an ihrem Leben: on her life with that gaze: — Ich fühlt’ es wohl und wusst’ es nicht. I did feel it, and knew it not. One night in 1926, George Gershwin Doch lispelt’ ich ihr sprachlos zu But I whispered to her wordlessly read Porgy, a novel by Southern writer, Und rauschte mit den Rosenbändern. and rustled the rose bands. Edwin DuBose Heyward, and next Da wachte sie vom Schlummer auf. Then she awoke from her slumber. morning wrote to him and his writer- dramatist wife Dorothy suggesting Sie sah mich an; ihr Leben hing She looked at me; her life hung they turn Porgy into a ‘folk-opera’. Mit diesem Blick an meinem Leben, on mine with that gaze, George drafted his wordsmith brother Und um uns ward Elysium. and around us was Elysium.

Ira to help the Heywards with the A MUSICAL VALENTINE Text: Friedrich Gottlieb Klopstock (1724-1803) libretto, but all the songs and most of the orchestrations were his own. Porgy and Bess opened in Boston on 30 September 1935 and moved Morgen! Tomorrow! to Broadway a few days later, where Und morgen wird die Sonne wieder scheinen, And tomorrow the sun will shine again, it ran for 124 performances. During und auf dem Wege, den ich gehen werde, and on the road I shall travel this initial run, Gershwin created an wird uns, die Glücklichen, sie wieder einen it will unite us happy ones again, orchestral suite comprising music from inmitten dieser sonnenatmenden Erde… in the midst of this sunbreathing earth… the opera. Although it was performed several times shortly afterwards, the Und zu dem Strand, dem weiten, And we shall go down to the wide, wave- suite – subsequently titled Catfish Row wogenblauen, blue shore, by Ira – disappeared from the repertoire werden wir still und langsam niedersteigen, quietly and slowly; of American orchestras after George stumm werden wir uns in die Augen in silence we shall look into each other’s died prematurely of a brain tumour schauen, eyes in 1937. Some years later, Fritz Reiner, und auf uns sinkt des Glückes stummes and the hushed silence of happiness conductor of the Pittsburgh Symphony Schweigen… will settle on us… Orchestra, commissioned Robert Russell Bennett to produce a suite, with banjo Text: John Henry Mackay (1864-1933) English translations by Natalie Shea and saxophones providing a dash of Symphony Australia © 2004 Southern ‘fixin’s’. Reiner premiered the work in 1943 with his ‘All-Girl’ Pittsburgh Symphony, then numbering over 40 women in its wartime ranks. Porgy and Bess: A Symphonic Picture opens with Zueignung Devotion the sparkling introduction to Act I, which Ja, du weisst es teure Seele, Yes, you know it, precious soul, is followed by some of the opera’s dass ich fern von dir mich quäle; that when I am far from you I am miserable; most memorable songs, including Liebe macht die Herzen krank, love makes the heart sick. ‘Summertime’, ‘I got plenty o’ nuttin’’, habe Dank. Accept my thanks. ‘Bess, you is my woman now’, ‘There’s a boat that’s leavin’ soon for New York’, ‘It Einst hielt ich, der Freiheit Zecher, Once I, a reveller in liberty, ain’t necessarily so’, and ‘Oh Lawd, I’m hoch den Amethysten Becher raised up the amethyst goblet, on my way’. und du segnetest den Trank, and you blessed the draught. habe Dank. Accept my thanks. Adapted from a note by Vincent Plush © 2003 (edited) Und beschworst darin die Bösen, And you charmed away its evils bis ich, was ich nie gewesen, until I was, as I had never been, Heilig, heilig an’s Herz dir sank, bless’d, blessedly I swooned upon your breast. habe Dank. Accept my thanks.

Text: Hermann von Glim zu Rosenegg English translation by David Vivian Russell. (1812-1864). Symphony Australia © 2000

READ THE FULL PROGRAM NOTES FOR THIS CONCERT AT MSO.COM.AU 9 ™ & © UNIVERSAL STUDIOS AND U-DRIVE JOINT VENTURE. Concert Two Summer Nights In Budapest

ABOUT THE ARTISTS WEDNESDAY 18 FEBRUARY Gergely Madaras Daniel de Borah AT 7PM conductor piano

Melbourne Gergely Madaras was appointed Australian pianist Daniel de Symphony Orchestra Music Director of the Orchestre Borah (formerly Hill) was a major Dijon Bourgogne in 2013. From prize winner at the 2004 Sydney Gergely Madaras September 2014 he also took up International Piano Competition conductor the post of Chief Conductor of the and has since appeared as soloist Daniel de Borah Savaria Symphony Orchestra in his with the English Chamber Orchestra, piano native Hungary. Highlights of the the London Mozart Players and with — 2014/15 season include debuts with the Royal Philharmonic Orchestra BRAHMS the Munich Chamber Orchestra, at the Barbican and Cadogan Hungarian Dances BBC Symphony Orchestra, Janácek Halls, London. He has given recitals Philharmonic Orchestra, Academy at major venues and festivals LISZT of Ancient Music and Houston throughout the United Kingdom Piano Concerto No.2 Symphony, as well as returns to the including return visits to Wigmore — Scottish Chamber Orchestra and Hall, London’s Southbank Centre, Interval 20 minutes Orchestra of the Teatro Regio in Turin. Bridgewater Hall (Manchester), St — He has previously worked with David’s Cardiff, and the Brighton and BARTÓK the Vienna Radio Symphony Newbury Festivals. Concerto for Orchestra Orchestra, Brussels Philharmonic, Daniel has also appeared widely

Bergen Philharmonic Orchestra, BBC in Australia, Russia and Europe SUMMER NIGHTS IN BUDAPEST This concert has a duration of Philharmonic, Royal Scottish National including with the Sydney, Canberra approximately one hour and 50 minutes, Orchestra, Wroclaw Philharmonic, and Adelaide Symphony Orchestras, including one interval of 20 minutes, and Manchester Camerata, Sinfonia the Australian Chamber Orchestra, will be hosted by ABC Classic FM’s Mairi Viva, London Mozart Players, MAV Orchestra Victoria, the Tbilisi Nicolson. Symphony Orchestra, Concerto Symphony Orchestra and Jena Budapest and Hungarian Radio Philharmonic. Symphony Orchestras, among many others. ™ & © UNIVERSAL STUDIOS AND U-DRIVE JOINT VENTURE.

CONCERT TWO: SUMMER NIGHTS IN BUDAPEST 11 ABOUT THE MUSIC

JOHANNES BRAHMS FRANZ LISZT BÉLA BARTÓK (1833-1897) (1811-1886) (1881-1945)

Hungarian Dances: Piano Concerto No.2 in A, S125 Concerto for Orchestra, BB 123, Sz.116 No.1 in G minor Adagio sostenuto assai – Allegro agitato No.3 in F assai – Allegro moderato – Allegro deciso Introduzione: Andante non troppo – No.5 in G minor – Marziale, un poco meno allegro – Un Allegro vivace poco meno mosso – Allegro animato Giuoco delle coppie: Allegretto — scherzando In 1848, the Hungarian uprising Daniel de Borah piano Elegia: Andante non troppo was crushed, and a stream of — Intermezzo interrotto: Allegretto Finale: Pesante – Presto refugees flooded into Brahms’ native Franz Liszt was one of the most Hamburg en route to North America. sensational artists of the 19th century. — Thus the 15-year-old Brahms first After debuting as a pianist at the Bartók himself described his came into contact with ‘Hungarian age of nine, he began touring like no Concerto for Orchestra in a program music’ – or more precisely, with other keyboard prodigy since Mozart. note as ‘a gradual transition from gypsy styles, which the Germans of The Romantic poet Heinrich Heine the sternness of the first movement the time mistook for Hungarian folk described the hysteria around Liszt as … to the life-assertion of the last one’. music. (Béla Bartók and his fellow ‘Lisztomania’ (later the title of a Ken Composed during the autumn of Hungarian Zoltán Kodály would Russell biopic). Female admirers were 1943 by the idyllic Saranac Lake in later assiduously collect and classify so infatuated that they collected his upstate New York, it was premiered Hungary’s folk songs.) The violinist hair clippings and even dregs from by the Boston Symphony Orchestra Eduard Hoffmann (or Reményi, his coffee cups. in December 1944. In view of his in Hungarian) was among the circumstances at the time, it is hard to Hungarians who arrived in Hamburg. Like many Hungarians of his time, imagine how Bartók could speak in From Reményi, Brahms learnt how to Liszt grew up speaking German and terms of life-assertion, let alone produce play alla zingarese (gypsy-style) and not the Hungarian of his birthplace such a sustained piece of beautifully even after Brahms shifted his focus Doborján in Western Hungary, which crafted and radiant music. to symphonic music, he retained his was, then, part of the Austrian love of folk music. empire. Intensely patriotic, Liszt Bartók and his wife had arrived in the returned to his native land for the USA as refugees from fascism in 1940 The 21 Hungarian Dances, published first time since childhood in 1839. and made a precarious living from in two sets in 1869 and 1880 Everywhere he went, he was greeted performances and teaching. Early in respectively, have a lightness that by the cry ‘Eljan! Liszt Ferenc’ (Hail! 1943, Bartók’s health deteriorated – a we do not normally associate with Franz Liszt). The composer began mysterious illness that proved to be the the North German symphonist. sketching his two piano concertos early signs of leukaemia. The Concerto They originally appeared in versions in1840, during his years as a touring is formal and symmetrical, an example for piano four hands, with Brahms performer. He revised the second of what scholars call ‘arch-form’. The himself subsequently preparing concerto several times before finally outer movements, and the even- orchestrations for only three: Nos 1, publishing it in 1863, dedicating the numbered ones, mirror each other 3 and 10. Among the composers work to his student Hans von Bronsart, in their duration and tempo, and the hired to orchestrate the remaining who had premiered it in 1857. In this whole work pivots on the central Elegia. 18 was Antonín Dvořák, whose own piano concerto Liszt brings together With its folk melodies and birdcalls, Slavonic Dances, inspired by the two of his egos – the Romantic the Elegia reflects Bartók’s grief at success of Brahms’ first Hungarian virtuoso who had spectacularly leaving a homeland that would be set, had established his international increased the expressive possibilities forever changed, but this spills over into reputation only a few years before. of the piano, and the revolutionary sarcastic anger in the fourth movement. Dance No.5, heard this evening in an composer who pioneered A deceptively simple Balkan tune, orchestration by Martin Schmeling, is innovations in musical form and passed among the winds, alternates arguably the most famous of the set. structure. Eschewing conventional with a broad ‘Hungarian’ melody Gordon Kalton Williams (edited) three-movement concerto form, in the strings. The clarinet then Symphony Australia © 2002 the work unfolds in a continuous, introduces a parody of the ‘fascist’ evolving movement during which march theme from Shostakovich’s the theme heard in the opening bars ‘Leningrad’ Symphony, whose is transformed and reappears in popularity Bartók despised, which is several guises. in turn crushed by loud raspberries Gordon Kalton Williams (edited) from the trombone section. Symphony Australia © 2014 Gordon Kerry © 2014 (edited)

12 READ THE FULL PROGRAM NOTES FOR THIS CONCERT AT MSO.COM.AU Until 15 March 2015 Free admission

The Ian Potter Museum of Art The University of Melbourne Swanston Street, Parkville VIC 3010 Tues – Fri 10am – 5pm, Sat & Sun 12 – 5pm www.art-museum.unimelb.edu.au Image Follow us on Facebook Bob Dylan, musician, Central Park, New York, February 20, 1965 Photograph by Richard Avedon A National Portrait Gallery of Australia exhibition © The Richard Avedon presented in partnership with the Richard Foundation Avedon Foundation, New York. Concert Three Bohemian Rhapsodies

ABOUT THE ARTISTS SATURDAY 21 FEBRUARY Gergely Madaras Ji Won Kim AT 7PM conductor violin

Melbourne Symphony A member of the Melbourne Orchestra Symphony Orchestra’s First Violins, Gergely Madaras Ji Won Kim is a graduate of the conductor University of Vienna and holds two Masters degrees, from the University Ji Won Kim of Melbourne and the Sydney violin Conservatorium of Music. She has — been the winner of ABC’s Young SMETANA Performer of the Year Award and The Bartered Bride: Overture the Johannes Brahms Competition in Austria, and has won second TCHAIKOVSKY For more information on prize at the Lisbon International Violin Concerto Gergely Madaras, please turn Violin Competition. Ji Won regularly — to page 11. performs as a concerto soloist with Interval 20 minutes the Sydney, Melbourne, Adelaide, — Queensland, Canberra and DVORÁK Tasmanian Symphony Orchestras, Symphony No.8 and has appeared overseas as soloist with the Swietokrzyska Pre-concert entertainment will Philharmonic in Warsaw, Janácek commence at 6pm with a special Philharmonic in the Czech Republic concert by the the Box Hill City Band and the Seoul Prime Orchestra in conducted by Dr Matthew van Emmerik, Korea. Ji Won is also a member of Trio and featuring soloist Don Immel Bresciani, with pianist Hoang Pham (trombone). and cellist Michael Dahlenburg. This concert has a duration of approximately one hour and 50 minutes, including one interval of 20 minutes, and will be hosted by ABC Classic FM’s Phillip Sametz.

CLASSIC MELBOURNE ABC Classic FM, Australia’s premier classical music network, proudly broadcasting Melbourne music-making. Listen on-air, online, on digital radio and via the ABC Radio App. ABOUT THE MUSIC

BEDRICH SMETANA PETER ILYICH TCHAIKOVSKY ANTONÍN DVOŘÁK (1824-1884) (1840-1893) (1841-1904)

The Bartered Bride: Violin Concerto in D, Op.35 Symphony No.8 in G, Overture Allegro moderato – Moderato assai B.163 (Op.88) — Canzonetta (Andante) Allegro con brio Finale (Allegro vivacissimo) Adagio In a breathless overture to the work — Allegretto grazioso that gave his long-suffering fellow- Finale (Allegro ma non troppo) countrymen their own operatic It was the winter of 1877, and — identity, Smetana encapsulates Tchaikovsky was in love. He wrote the vitality and bustle, as well as to his brother Modest about the In the summer of 1889 Dvořák the rustic charm, of a Czech village ‘unimaginable force’ of the passion sketched this symphony in the idyllic in festive mood. This was the first that had developed for Josef Kotek, surroundings of his country retreat time Czech village life had been a young violinist and student at the at Vysoká, an old sheep farm south portrayed believably in opera. Moscow Conservatorium. A devoted of Prague. The new work seems to Although premiered inauspiciously but platonic friend to Tchaikovsky, epitomise a purely Dvořákian delight in the shadow of a looming war with Kotek soon became besotted with in the sights and sounds of his native Bismarck’s Prussia, The Bartered Bride a fellow (female) student. After Bohemia, reflecting the countryside survived the fiasco of its truncated discovering Kotek’s new relationship, through which he loved to stroll and opening season in 1866 to win the Tchaikovsky made his fateful proposal the ancient towns and castles, icons undying affection of Czech people to Antonina Milyukova, a former of Czech history and culture. and, subsequently, audiences Conservatorium student who had Much in the manner of the strolling throughout the world. fallen in love with him. They married ‘Promenade’ introduction by which While the overture essentially sets two months later, and as the depth of Mussorgsky links his Pictures at an the scene of festivity on the village their cultural and personal differences Exhibition, Dvořák uses a solemn, green, the three main motifs quickly became clear, Tchaikovsky left broadly flowing melody to signpost (bustling, suspenseful string figures his wife two months later. the sections of the movement’s in the opening, a polka-like subject Kotek and Tchaikovsky remained sonata structure. This introduction which foreshadows the brilliant friends, however, and the Violin returns a further two times, its final national dances to come, and a Concerto seems to have grown out of appearance heralding the return winsome, contrasting oboe melody) a promise that the composer made of the opening material. will all be heard again at the climax to write a piece for one of Kotek’s A shadowy stillness hangs over the of the second act as the bridal- upcoming concerts. While Kotek opening of the slow movement. sale contract is signed before the was not, ultimately, the dedicatee Gleaming eruptions in the brass outraged village-folk as indignant or first performer of the work, he was thrust bright shafts of sunshine witnesses. of enormous help to Tchaikovsky through the twilight, offering glimpses Smetana lived to resent the fact in playing through sections of the of past or future heroism and glory. that the runaway success of this, piece as the composer finished After the heady romanticism of the the second of his eight completed them. Tchaikovsky worked on the Adagio, the third movement exhales operas, overshadowed later works Violin Concerto in Switzerland in early the freshness of a ramble in the he valued more highly. However 1878, not long after completing the fields. Dvořák cleverly transforms The Bartered Bride was the means Fourth Symphony and the opera the graceful, swaying motion of by which this expatriate composer, Eugene Onegin. Commentators are the central trio section to provide a home at last from a youthful odyssey generally agreed that both of those short, dancing coda which sets the in Sweden, resoundingly fulfilled his works reflect Tchaikovsky’s emotional symphony on its toes for the finale. determination to give his people a reactions to the traumatic events of This follows with a fanfare of trumpets, national music. his marriage. In 1881 Adolf Brodsky establishing the jaunty rhythm of a gave the premiere in Vienna, where folk-like main theme which becomes Anthony Cane © 2005 (edited) that city’s most feared critic, Eduard effectively the subject of a set of Hanslick, tore the piece to shreds, variations. saying ‘Tchaikovsky’s Violin Concerto Adapted from a note gives us for the first time the notion that © Anthony Cane (edited) there can be music that stinks to the ear.’ Hanslick, like many a music critic, made a bad call; Tchaikovsky had written one of the best-loved works of the concerto repertoire.

Gordon Kerry © 2003 (edited)

READ THE FULL PROGRAM NOTES FOR THIS CONCERT AT MSO.COM.AU 15 BOHEMIAN RHAPSODIES MELBOURNE SYMPHONY ORCHESTRA

Sir Andrew Davis Harold Mitchell AC Chief Conductor Chair Diego Matheuz Principal Guest Conductor Benjamin Northey Patricia Riordan Associate Conductor Chair

FIRST VIOLINS Andrew Hall DOUBLE BASSES CLARINETS TRUMPETS Dale Barltrop Francesca Hiew Steve Reeves David Thomas Geoffrey Payne Concertmaster Rachel Homburg Principal Principal Principal Eoin Andersen Christine Johnson Andrew Moon Philip Arkinstall Shane Hooton Concertmaster Isy Wasserman Associate Principal Associate Principal Associate Principal Peter Edwards Philippa West Sylvia Hosking Craig Hill William Evans Assistant Principal Patrick Wong Assistant Principal Julie Payne BASS CLARINET Kirsty Bremner Roger Young Damien Eckersley Jon Craven TROMBONES MSO Friends Chair Benjamin Hanlon VIOLAS Principal Brett Kelly Sarah Curro Suzanne Lee Fiona Sargeant Principal Peter Fellin Stephen Newton BASSOONS Associate Principal Deborah Goodall Jack Schiller BASS TROMBONE Lauren Brigden FLUTES Lorraine Hook Principal Mike Szabo Katharine Brockman Prudence Davis Kirstin Kenny Elise Millman Principal Christopher Cartlidge Principal Flute Chair Ji Won Kim Associate Principal Simon Collins (Anonymous) TUBA Eleanor Mancini Natasha Thomas Gabrielle Halloran Wendy Clarke Timothy Buzbee Anne Martonyi Trevor Jones Associate Principal CONTRABASSOON Principal Mark Mogilevski Cindy Watkin Sarah Beggs Brock Imison Michelle Ruffolo TIMPANI Caleb Wright Principal Kathryn Taylor PICCOLO Christine Turpin CELLOS Andrew Macleod HORNS Principal SECOND VIOLINS David Berlin Principal Zora Slokar Matthew Tomkins PERCUSSION MS Newman Family Principal The Gross Foundation OBOES Robert Clarke Principal Cello Chair Geoff Lierse Principal Second Jeffrey Crellin Principal Rachael Tobin Associate Principal Violin Chair Principal John Arcaro Associate Principal Saul Lewis Robert Macindoe Ann Blackburn Robert Cossom Nicholas Bochner Principal Third Associate Principal Assistant Principal COR ANGLAIS Jenna Breen HARP Monica Curro Miranda Brockman Michael Pisani Abbey Edlin Yinuo Mu Assistant Principal Rohan de Korte Principal Trinette McClimont Principal Mary Allison Keith Johnson Işin Cakmakçioğlu Sarah Morse Freya Franzen Angela Sargeant Cong Gu Michelle Wood

MANAGEMENT

BOARD Leonie Woolnough OPERATIONS Kieran Clarke Rosemary Kellam Harold Mitchell AC Financial Controller Gabrielle Waters Digital Manager Trusts and Foundations Chairman Phil Noone Director of Operations Nina Dubecki Manager André Gremillet Accountant Angela Bristow Front of House Supervisor Ben Lee Managing Director Nathalia Andries Orchestra Manager James Rewell Philanthropy Executive Michael Ullmer Finance Officer James Foster Graphic Designer Michelle Monaghan Deputy Chair Operations Manager Chloe Schnell Corporate Development Andrew Dyer ARTISTIC James Poole Marketing Coordinator Manager Danny Gorog Ronald Vermeulen Production Coordinator Beata Lukasiak James Ralston David Krasnostein Director of Artistic Alastair McKean Marketing Coordinator Corporate Development David Li Planning Orchestra Librarian Stella Barber and Events Coordinator Alastair McKean Andrew Pogson Kathryn O’Brien Consultant Historian Ann Peacock Special Projects Manager Assistant Librarian Claire Hayes Helen Silver Laura Holian Michael Stevens Ticket and Database Kee Wong Artistic Coordinator Assistant Orchestra Manager Jonathan Manager Paul Congdon COMPANY Grieves-Smith Stephen McAllan Box Office Supervisor SECRETARY Chorus Master Artist Liaison Jennifer Broadhurst Oliver Carton Helena Balazs Lucy Rash Ticketing Coordinator EXECUTIVE Chorus Coordinator Operations Coordinator Angela Lang Customer Service André Gremillet MARKETING EDUCATION AND Coordinator Managing Director Alice Wilkinson COMMUNITY Chelsie Jones Julia Bryndzia Director of Marketing ENGAGEMENT Customer Service Officer Executive Assistant Jennifer Poller Bronwyn Lobb Marketing Manager Director of Education DEVELOPMENT HUMAN RESOURCES Megan Sloley and Community Leith Brooke Vikki Kimberlee Marketing Manager Engagement Director of Development Human Resources Danielle Poulos Lucy Bardoel Arturs Ezergailis Manager Communications Education Assistant Philanthropy Coordinator Manager Lucy Rash Jessica Frean BUSINESS Ali Webb Pizzicato Effect MSO Foundation Natalya Jurcheshin PR Manager Coordinator Manager Chief Financial Officer Kate Eichler Raelene King Publicity and Online Personnel Manager Engagement Coordinator

16 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT GUEST MUSICIANS

CONCERT ONE BASSOON CONCERT TWO BASSOON DOUBLE BASSES VIOLINS Roger Brooke VIOLINS Roger Brooke Esther Toh Rebecca Chan* Guest Principal Rebecca Chan* Guest Principal Emma Sullivan Guest Concertmaster Guest Concertmaster TROMBONE TROMBONES OBOE Aaron Barnden Aaron Barnden Ben Lovell-Greene Robert Collins Emma Black Jacqueline Edwards Jacqueline Edwards Guest Associate Principal Robert John PERCUSSION Robert John Oksana Thompson Robert Allan Oksana Thompson CONCERT THREE TROMBONES Conrad Nilsson VIOLINS Robert Collins

VIOLAS Evan Pritchard VIOLAS Rebecca Chan* Christopher Moore* Christopher Moore* Hugh Tidy Guest Concertmaster Guest Principal Guest Principal Jacqueline Edwards *Courtesy Australian Anthony Chataway CELESTE Douglas Coghill Robert John Chamber Orchestra Ceridwen Davies Donald Nicolson Ceridwen Davies Jennen Ngiau-Keng Isabel Morse Isabel Morse Oksana Thompson SAXOPHONE Simon Oswell CELLO Barry Cockcroft VIOLAS Rachel Atkinson Jason Xanthoudakis CELLOS Christopher Moore* Tim Wilson Molly Kadarauch Guest Principal DOUBLE BASSES Zoe Wallace Ceridwen Davies Young Hee Chan HARP Isabel Morse Emma Sullivan Mary Anderson DOUBLE BASSES Sophie Kesoglidis Esther Toh OBOE Emma Sullivan CELLOS Emma Black Paul Ghica Guest Associate Principal OBOE Zoe Wallace Emma Black Guest Associate Principal

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18 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT THANKS TO OUR WONDERFUL MSO SUPPORTERS

Mr Ian Kennedy AM, Jean Hadges, Paula Peter and Susan Yates, YMF Australia, Mark CONDUCTOR’S CIRCLE Hansky OAM and Jack Hansky AM, Tilda Young, Panch Das and Laurel Young-Das, Current Conductor’s Circle Members, Jenny and Brian Haughney, Julian and Gisela Anonymous (23) Anderson, Lesley Bawden, Mrs Jenny Brukner Heinze, Henkell Family Fund, Penelope and the late Mr John Brukner, Joyce Bown, Hughes, Dr Alastair Jackson, Stuart Jennings, THE MAHLER SYNDICATE David and Kaye Birks, Jennifer Brukner, Kenneth Bullen, Luci and Ron Chambers, George and Grace Kass, Irene Kearsey, Mary and Frederick Davidson AM, Tim and Sandra Dent, Lyn Edward, Alan Egan Dr Anne Kennedy, Lew Foundation, Norman Lyn Edward, John and Diana Frew, Louis JP, Louis Hamon OAM, Tony Howe, John Lewis in memory of Dr Phyllis Lewis, Dr Hamon OAM, The Hon Dr Barry Jones AC, and Joan Jones, Sylvia Lavelle, Cameron Anne Lierse, Violet and Jeff Loewenstein, Dr Paul Nisselle AM, Maria Solà in memory Mowat, Elizabeth Proust AO, Penny Rawlins, Joan P Robinson, Neil Roussac, Anne The Hon Ian Macphee AO and Mrs Julie of Malcolm Douglas, The Hon Michael Watt Mcphee, Elizabeth H Loftus, Vivienne Hadj Roussac-Hoyne, Jennifer Shepherd, Pamela QC and Cecilie Hall, Anonymous (1) and Rosemary Madden In memory of Leigh Swansson, Lillian Tarry, Dr Cherilyn Tillman, Masel, In honour of Norma and Lloyd Rees FOUNDATIONS AND TRUSTS Mr and Mrs R P Trebilcock, Michael Ullmer, Trevor and Moyra McAllister, H E McKenzie, Collier Charitable Fund Mr Tam Vu, Marian and Terry Wills Cooke, David Menzies, Jan Minchin, John and Creative Partnerships Australia Mark Young, Anonymous (22) Isobel Morgan, Ian Morrey, The Novy Family The Cybec Foundation THE MSO GRATEFULLY ACKNOWLEDGES Laurence O’Keefe and Christopher James, Gandel Philanthropy THE SUPPORT RECEIVED FROM THE Graham and Christine Peirson, Andrew Penn The Harold Mitchell Foundation ESTATES OF: and Kallie Blauhorn, John and Betty Pizzey Helen Macpherson Smith Trust Gwen Hunt, Pauline Marie Johnston, Lady Potter AC, Peter Priest, Jiaxing Qin, The Ian Potter Foundation C P Kemp, Peter Forbes MacLaren, Prof Eli Raskin, Peter and Carolyn Rendit, Andrew McCredie, Miss Sheila Scotter AM Ivor Ronald Evans Foundation, managed by Dr Rosemary Ayton and Dr Sam Ricketson, MBE, Molly Stephens, Jean Tweedie, Herta Equity Trustees Limited and Mr Russell Brown Joan P Robinson, Tom and Elizabeth and Fred B Vogel, Dorothy Wood, Estate of Ken & Asle Chilton Trust, managed by Romanowski, Delina Schembri-Hardy, Angela Beagley Jeffrey Sher, Dr Sam Smorgon AO and Mrs Perpetual Minnie Smorgon, Dr Norman and Dr Sue Linnell/Hughes Trust, managed by Perpetual HONORARY APPOINTMENTS Sonenberg, Dr Michael Soon, Geoff and Lord Mayor’s Charitable Foundation (Eldon Mrs Elizabeth Chernov Judy Steinicke, Mrs Suzy and Dr Mark Suss, & Anne Foote – Donor Advised Fund) Education and Community Engagement Patron Pamela Swansson, Prof Seong-Seng Tan The Marian and EH Flack and Jisun Lim, Dr Adrian Thomas, Frank and The Perpetual Foundation – Alan (AGL) Sir Elton John CBE Miriam Tisher, Margaret Tritsch, P & E Turner, Shaw Endowment, managed by Perpetual Life Member Mary Vallentine AO, The Hon. Rosemary The Pratt Foundation The Honourable Alan Goldberg AO QC Varty, Leon and Sandra Velik, Sue Walker Life Member The Robert Salzer Foundation AM, Elaine Walters OAM and Gregory Geoffrey Rush AC The Scanlon Foundation Walters, Janet Whiting and Phil Lukies, Nic Ambassador and Ann Willcock, Marian and Terry Wills The Schapper Family Foundation Cooke, Pamela F Wilson, Joanne Wolff, The Scobie and Claire Mackinnon Trust

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