SAINT-SAËNS’ GREAT ORGAN SYMPHONY

3 AUGUST 2018

CONCERT PROGRAM Melbourne Symphony Orchestra Benjamin Northey conductor Piers Lane piano Calvin Bowman organ

Kodály Dances of Galánta Liszt Piano Concerto No.1

INTERVAL

Saint-Saëns Symphony No.3 Organ

Running time: 1 hour and 45 minutes, including a 20-minute interval

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2 MELBOURNE SYMPHONY BENJAMIN NORTHEY ORCHESTRA CONDUCTOR

Established in 1906, the Melbourne Benjamin Northey is Chief Conductor Symphony Orchestra (MSO) is an of the Christchurch Symphony arts leader and Australia’s oldest Orchestra and Associate Conductor professional orchestra. Chief of the Melbourne Symphony Orchestra. Conductor Sir Andrew Davis has Benjamin appears regularly as guest been at the helm of MSO since 2013. conductor with all major Australian Engaging more than 4 million people symphony orchestras, Opera Australia each year, the MSO reaches diverse (Turandot, L’elisir d’amore, Don Giovanni, audiences through live performances, Così fan tutte, Carmen), New Zealand recordings, TV and radio broadcasts Opera (Sweeney Todd) and State Opera and live streaming. Its international South Australia (La sonnambula, Les audiences include China, where MSO contes d’Hoffmann). His international has performed in 2012, 2016 and appearances include concerts with most recently in May 2018, Europe London Philharmonic Orchestra, Tokyo (2014) and Indonesia, where in 2017 Philharmonic Orchestra and Mozarteum it performed at the UNESCO World Orchestra Salzburg. Heritage Site, Prambanan Temple. With a progressive and diverse The MSO performs a variety of approach to repertoire, he has concerts ranging from symphonic collaborated with a broad range of performances at its home, Hamer Hall artists including Maxim Vengerov and at Arts Centre Melbourne, to its annual Slava Grigoryan, as well as popular free concerts at Melbourne’s largest artists Tim Minchin, Barry Humphries outdoor venue, the Sidney Myer Music and James Morrison. Bowl. The MSO also delivers innovative An Honorary Fellow at the University and engaging programs and digital of Melbourne Conservatorium tools to audiences of all ages through of Music, his awards include the its Education and Outreach initiatives. prestigious 2010 Melbourne Prize Outstanding Musician’s Award as well as multiple awards for his numerous recordings with ABC Classics.

3 PIERS LANE AO CALVIN BOWMAN PIANO ORGAN

London-based Australian pianist Calvin Bowman is a graduate of the Piers Lane has worked with many University of Melbourne, and was of the world’s leading orchestras the first Australian to graduate with and conductors, and at numerous a Doctor of Musical Arts degree from international festivals. Recent Yale University, with the assistance of appearances have included recitals a Fulbright scholarship. at Norway’s Fjord Classics festival, He is much in demand as a soloist, a recording of Ferdinand Ries piano accompanist and chamber musician. concertos, and the world premiere with As keyboardist he has premiered Kathryn Stott of Carl Vine’s Concerto works by many prominent Australian for Two Pianos. composers and appeared as soloist Piers Lane became Artistic Director with many of the major Australian of the Sydney International Piano orchestras. Competition in 2016. He was formerly Dr Bowman is also a prolific composer, Artistic Director of the Australian specialising in the form of artsong. Festival of Chamber Music. His His major awards include an Australia CDs cover the music of composers Council Fellowship, and he has also ranging from Scriabin to Henselt to been commissioned by organisations Bach to Grainger. Brett Dean, Colin such as Ars Musica Australis and Matthews, and Malcolm Williamson Symphony Australia, as well as by have also composed for him. In the many individuals and ensembles. Queen’s Diamond Jubilee honours, he was made an Officer in the Order He is an exclusive Decca/UMA artist. of Australia. A recording of his artsong with Sara Macliver, Paul McMahon and Christopher Richardson entitled Real and Right and True was released in July.

4

PROGRAM NOTES up in the town of Galánta on the border between Hungary and Austria, where the passing traffic, including gypsies ZOLTÁN KODÁLY and wandering musicians, may well (1882-1967) have left an aural impression. This is a mature work from Kodály (he was in his Dances of Galánta (Galántai táncok) early fifties), both highly accessible and Lento – Andante maestoso – gently conservative, possibly due in part Allegretto moderato – Andante to the influence of the commissioning maestoso – orchestra. Allegro con moto, grazioso – Andante Based on the verbunkos style (similar maestoso – to the csárdás or the ‘tavern’ tunes of Allegro – Hungary and its surrounding regions), Poco meno mosso – these dances have two moods: pensively slow and fiercely fast. Chiefly linking Allegro vivace – Andante maestoso – these two emotional opposites with Allegro molto vivace broad and impassioned string writing, Kodály also allows solo passages to play Zoltán Kodály is revered as Hungary’s a significant role. As in his suite from father of modern composition. His the opera Háry János (1927), there are breadth of creativity and commitment to meltingly lyrical sections of poignant teaching helped to maintain a vigorous beauty and virtuosity for the clarinet. musical culture through periods of artistic and political oppression. Throughout the first major section or Along with his close contemporary first ‘dance’ (Lento – Andante maestoso) and friend Béla Bartók (1881-1945), and indeed through the rest of the suite, he collected over 3,500 folk tunes the clarinet receives special attention from throughout Hungary, Romania from Kodály. It seems to act as a melodic and Slovakia. These songs influenced fulcrum, linking and leading harmonic both composers’ subsequent works, and rhythmic changes. as well as those of many other middle- Kodály maintains tension by clever European composers. Kodály said of his use of rubato and rhythmic variation, collaboration with Bartók: ‘The vision as with the syncopated rhythms of the of an educated Hungary, reborn from fiery csárdás heard in the late-night the people, rose before us. We decided revels of a tavern. The ‘gypsy scale’, to devote our lives to its realisation.’ found in so much of the folk music Thus the importance of folk tunes to diligently collected by Kodály, is a the national identity of countries such prominent melodic feature. There is as Hungary cannot be overstated. also a Jewish ‘feel’ in much that is here The Dances of Galánta were written – the clarinet in particular conjures the for the 80th anniversary of the Budapest sound of klezmer music in its sense of Philharmonic in 1933. Kodály took as his abandonment and melancholy. source a compendium of dances from A solo flute and piccolo in dotted rhythm the early 1800s, ‘the gypsy dances from accompanied by pizzicato strings Galánta’, and selected, orchestrated introduce the second dance (Allegretto and linked some of them. Kodály grew

6 moderato). There is a decidedly Eastern FRANZ LISZT flavour to this section, and the whirring (1811-1886) strings, when released from pizzicato, Piano Concerto No.1 in E flat are particularly striking as they return to the first, clarinet-inspired, introspective Allegro maestoso – dance themes. Quasi adagio – An oboe introduces the third dance Allegro vivace – Allegro animato – (Allegro con moto, grazioso). This melody Allegro marziale animato is so simple and insubstantial that it seems to need reinforcement from the Liszt was a larger-than-life character, other woodwinds, brass and strings. It both biographically and musically. A is eventually overwhelmed by the return gifted child prodigy, he was publicly of the melancholic first theme, which in kissed on the brow by Beethoven, and turn is interrupted just as suddenly by a later gained a formidable reputation fierce, syncopated dance (Allegro) with as a womaniser, toured extensively the whole orchestra in full cry. as the greatest pianist of his era, lived with a princess and even took a form of Two dances quickly follow, with Holy Orders. Yet behind this colourful melodies reminiscent of Háry János and romantic image lay an immensely – there are grace-noted bassoons, gifted musician, deeply committed to horns swinging across the bar line the future of music and the creative and a dotted rhythm returning in the endeavours of his contemporaries. clarinet (Poco meno mosso). This mildly comic excursion by Kodály sets up Liszt’s two piano concertos rank a frantic finale, beginning with the among his most important works and, muted insistence of the timpani. The while quite different in character, have theme is then launched by the winds, a similar history. Early sketches for and captured in virtuoso brilliance by both works date from 1838-1840, but the strings, with powerful syncopation Liszt’s constant touring prevented the throughout the orchestra (Allegro completion of the first until 1849, the vivace). Instead of a predictably year after his appointment as court triumphant close, the first brooding conductor in Weimar. But even then melody returns in an arresting G sharp there was a delay and the Concerto No.1 minor. Kodály is perhaps reminding the was not to be premiered in Weimar until listener that behind all this exuberance 17 February 1855, with Liszt himself as lies darkness. But such introspection soloist and Berlioz conducting. is thrust aside in the final bars (Allegro molto vivace) where the dance is at an Dedicated to Henri Litolff, the concerto end: exhilarating, exhausting! is a work of extraordinary unity in four movements played without a break. David Vivian Russell The main theme dominates both the first Symphony Australia © 2000 and the last movements and all other The Melbourne Symphony Orchestra first important themes recur several times performed the Dances of Galánta on 10-11 during the course of the work. Variations September 1951 under conductor Tibor Paul, and most recently on 22 February 2012 with of these themes occur through Diego Matheuz. metamorphosis and transformation rather than through formal development.

7 The forceful principal theme is stated The strength – and the paradox – of immediately in the strings over wind this concerto lie in its tight structure chords. It is said that Liszt sang the words that nevertheless appears to be almost ‘Das versteht ihr alle nicht’ (‘None of you ‘improvisatory’. As the legendary pianist understands this’) to this melody. After Alfred Cortot remarked, ‘The listener… four bars the piano enters and we hear must not be given the impression that a cadenza and some elaboration of the he is subjected to a kind of nonsensical opening theme. The movement ends with chitchat. The steadiness of the work’s intricate arpeggios and runs in the piano foundations must be felt.’ while the orchestra restates the main theme. A subject on muted cellos and Martin Buzacott © Symphony Australia double basses amplified by the solo piano The Melbourne Symphony Orchestra first heralds the beginning of the Adagio. The performed this concerto on 9 April 1940 with conductor Georg Schnéevoigt and pianist Eric dreamlike melody for the piano gives way Landerer, and most recently on 10-12 May 2018 to a magical moment where the flute and with Sir Andrew Davis and Moye Chen. then clarinet enter while the pianist’s trills die away to nothing. In the scherzo there is an unusually prominent part for that most humble of orchestral instruments – the triangle! It is employed at the beginning as a sparkling companion to the descending cascades of the piano. Eduard Hanslick bitterly attacked the prominence given to the triangle in this movement, but Liszt retorted that it offered ‘the effect of contrast’. Such extraordinary aesthetic debates hindered the general acceptance of the concerto early in its life (it was not performed again until 1869), although they could not distract popular attention from it forever. A third important theme is introduced in this scherzo and the end of the movement is signalled by a cadenza in which the opening theme of the movement is again suggested. A development section then leads to the final movement in which we find all the themes of the concerto transformed and unified: first the delicate Adagio melody is treated in a march-like fashion, then the theme of the scherzo ushers in a brilliant stretto (overlapping entries in close succession), and finally the main theme returns in triumph.

8 CAMILLE SAINT-SAËNS The use of the organ was inspired by (1835-1921) Liszt’s employment of it in his symphonic poem Hunnenschlacht (Battle of the Symphony No.3 in C minor, Op.78 Organ Huns) and the published version of the Adagio – Allegro moderato – Poco adagio Organ Symphony is dedicated ‘to the Allegro moderato – Presto – Maestoso – memory of Franz Liszt’, who had died Allegro shortly after the premiere. That premiere occurred on 19 May Saint-Saëns was something of 1886 in St James’s Hall, London, with an Anglophile. So it was a happy the composer conducting, as well as coincidence that when he was making appearing as soloist in his own Fourth plans for another symphony, the Royal Piano Concerto. On the whole, the Philharmonic Society invited him to reception was excellent, despite the perform as both conductor and pianist best efforts of a few Wagnerians at one of its London concerts. As the in the audience. Afterwards, the non-profit Society could not afford the great admirer of British royalty was requested fee of £40, they suggested introduced to the Prince of Wales £30, plus a formal commission to write (the future King Edward VII). A Paris the Third Symphony under the Society’s premiere, the following year, was a auspices. great success and prompted Charles Saint-Saëns agreed and immediately Gounod to proclaim, ‘There goes the began work on the symphony, saying to French Beethoven.’ the Society: ‘It will be terrifying, I warn Saint-Saëns summarised the symphony you.’ And he wasn’t wrong. Considering by saying, ‘I have given all that I had to the Society’s financial state at the time, give…What I have done I shall never do the prospect of an outsize orchestra again.’ And he was as good as his word. complete with organ and multiple The Organ Symphony was to remain pianists must have struck fear into his supreme achievement in music the heart of at least the Treasurer. and it is still one of his most frequently And as the blood pressure of Society performed works. In recent years it members rose, so too did the key of the has actually achieved a certain popular symphony. ‘This imp of a symphony has success, following its quotation in the gone up a half-tone; it didn’t want to soundtracks for the movies Babe and stay in B minor and is now in C minor,’ Babe: Pig in the City. Saint-Saëns advised the long-suffering Saint-Saëns was a virtuoso by nature. Society members as he worked on the Indeed, the ongoing criticism of his ever-expanding piece. music has been that his prodigious In the end, Saint-Saëns came up with technical facility and ability to dazzle a symphony in two parts, but still sometimes distract from the greater more or less using the traditional four impact of the music itself. Certainly movements. The first part consists of in the Organ Symphony Saint-Saëns an Allegro and Adagio, corresponding gives literal meaning to the cliché to conventional first and second ‘pulling out all stops’. While much movements, and the second part is of the organ writing is subtle, even a scherzo and finale merged into one. understated, climaxes are marked by

9 thunderous passages for the organ, and deliberately grandiose scoring. The ‘first movement’ develops through a kind of Lisztian transformation of themes, whereby the thematic material appears in a series of varying guises rather than being developed in a strictly Classical sense. After the ‘first movement’ has led without pause into the ‘second’, the organ enters, surprisingly discreetly, as an accompaniment to the mystical main theme, marked Poco adagio. The scherzo (‘third movement’) begins the second half of the piece, and much of its thematic material derives – albeit vastly transformed – from the preceding Adagio. From here Saint- Saëns introduces all the fireworks he can. The tempo increases to Presto, the orchestration becomes more vibrant and new themes are superimposed over the existing ones, before the organ almost lunges into the finale. This concluding section is a good example of the differing value- judgements which Saint-Saëns’ music invites. The climax builds through fanfares, four-hand piano figures, loud organ chords and extensive fugal writing, carrying the work through to its triumphant conclusion. Depending on one’s viewpoint, Saint-Saëns either demonstrates his unrivalled compositional virtuosity, or simply goes over the top. However, no one can doubt that the Organ Symphony has demonstrated its enduring appeal.

Martin Buzacott Symphony Australia © 1998 The Melbourne Symphony Orchestra first performed Saint-Saëns’ Organ Symphony on 11 August 1965 under conductor Willem van Otterloo, and most recently on 30 October 2015 with Nicholas Milton.

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Sir Andrew Davis SECOND VIOLINS CELLOS Chief Conductor Matthew Tomkins David Berlin Benjamin Northey Principal Principal Associate Conductor The Gross Foundation# MS Newman Family# Anthony Pratt# Robert Macindoe Rachael Tobin Tianyi Lu Associate Principal Associate Principal Cybec Assistant Conductor Monica Curro Nicholas Bochner Hiroyuki Iwaki Assistant Principal Assistant Principal Conductor Laureate Danny Gorog and Lindy (1974–2006) # Miranda Brockman Susskind Geelong Friends of the MSO# FIRST VIOLINS Mary Allison Rohan de Korte # Dale Barltrop Isin Cakmakcioglu Andrew Dudgeon Concertmaster Tiffany Cheng Keith Johnson Sophie Rowell Freya Franzen Sarah Morse Concertmaster # Cong Gu Angela Sargeant The Ullmer Family Foundation # Andrew Hall Maria Solà Peter Edwards Assistant Principal Isy Wasserman Michelle Wood Andrew and Theresa Dyer# John McKay and Lois McKay# Philippa West Molly Kadarauch* Kirsty Bremner Patrick Wong Sarah Curro Roger Young DOUBLE BASSES Michael Aquilina# Michael Loftus-Hills* Peter Fellin Steve Reeves Principal Deborah Goodall VIOLAS Andrew Moon Lorraine Hook Christopher Moore Associate Principal Anne-Marie Johnson Principal Sylvia Hosking # Kirstin Kenny Di Jameson Assistant Principal Ji Won Kim Fiona Sargeant Damien Eckersley Associate Principal Eleanor Mancini Benjamin Hanlon Lauren Brigden Mark Mogilevski Mr Tam Vu and Dr Cherilyn Suzanne Lee Michelle Ruffolo Tillman# Stephen Newton Kathryn Taylor Katharine Brockman Sophie Galaise and Clarence Michael Aquilina# Fraser# Christopher Cartlidge Harry Bennetts* Michael Aquilina# Shannon Birchall* Amy Brookman* Anthony Chataway Tim Dunin* Jose Luis Tochon Dr Elizabeth E Lewis AM# Esther Toh* Quintero* Gabrielle Halloran FLUTES Maria Solà# Trevor Jones Prudence Davis Principal Cindy Watkin Anonymous# Elizabeth Woolnough Wendy Clarke Caleb Wright Associate Principal Sergio Insuasti* Helen Hardy* Guest Associate Principal Sarah Beggs 12 PICCOLO Abbey Edlin MSO BOARD Nereda Hanlon and Michael Andrew Macleod Hanlon AM# Chairman Principal Trinette McClimont Michael Ullmer OBOES Alexander Morton* Managing Director Jeffrey Crellin TRUMPETS Sophie Galaise Principal Thomas Hutchinson Shane Hooton Board Members Associate Principal Associate Principal Andrew Dyer Tristan Rebien* Ann Blackburn Danny Gorog The Rosemary Norman Guest Associate Foundation# William Evans Margaret Jackson AC Rachel Curkpatrick* Rosie Turner Di Jameson David Krasnostein COR ANGLAIS TROMBONES David Li Michael Pisani Brett Kelly Hyon-Ju Newman Principal Principal Glenn Sedgwick Richard Shirley CLARINETS Helen Silver AO Jarrod Callaghan* David Thomas Principal Mike Szabo Company Secretary Principal Bass Trombone Philip Arkinstall Oliver Carton Associate Principal TUBA Craig Hill Timothy Buzbee BASS CLARINET Principal David J. Saltzman* Jon Craven Principal TIMPANI** BASSOONS Brent Miller* Jack Schiller PERCUSSION Principal Elise Millman Robert Clarke Principal Associate Principal John Arcaro Natasha Thomas Tim and Lyn Edward# Christopher Haycroft* Robert Cossom CONTRABASSOON HARP Brock Imison Principal Yinuo Mu Principal HORNS # Position supported by PIANO * Guest Musician Grzegorz Curyla*† Guest Principal Louisa Breen* † Courtesy of Malaysian Philharmonic Orchestra Saul Lewis Leigh Harrold* ** Timpani Chair position supported Acting Associate Principal by Lady Potter AC CMRI

13 SUPPORTERS

MSO PATRON PROGRAM BENEFACTORS PLATINUM PATRONS $100,000+ The Honourable Linda Cybec 21st Century Dessau AC, Governor Australian Composers Marc Besen AC and Eva of Victoria Program The Cybec Besen AO Foundation CHAIRMAN’S CIRCLE John Gandel AC and Pauline East Meets West Supported Gandel Marc Besen AC and by the Li Family Trust The Gross Foundation Eva Besen AO Meet The Orchestra Made David and Angela Li Gandel Philanthropy possible by The Ullmer MS Newman Family Family Foundation The Gross Foundation Foundation MSO Audience Access Harold Mitchell Foundation Anthony Pratt Crown Resorts Foundation, David and Angela Li Packer Family Foundation The Pratt Foundation Harold Mitchell AC MSO Building Capacity Lady Potter AC CMRI MS Newman Family Gandel Philanthropy Joy Selby Smith Foundation (Director of Philanthropy) Ullmer Family Foundation Lady Potter AC CMRI MSO Education Supported Anonymous (1) Joy Selby Smith by Mrs Margaret Ross AM The Cybec Foundation and Dr Ian Ross VIRTUOSO PATRONS $50,000+ The Pratt Foundation MSO International Touring The Ullmer Family Supported by Harold Mitchell Di Jameson AC Foundation David Krasnostein and Pat Anonymous (1) MSO Regional Touring Stragalinos Creative Victoria, Harold Mitchell AC ARTIST CHAIR Freemasons Foundation BENEFACTORS Victoria, The Robert Salzer Kim Williams AM Foundation, Anonymous Associate Conductor Chair IMPRESARIO PATRONS Benjamin Northey The Pizzicato Effect $20,000+ Anthony Pratt (Anonymous), Collier Charitable Fund, The Marian Michael Aquilina Orchestral Leadership and E.H. Flack Trust, Scobie The John and Jennifer Joy Selby Smith and Claire Mackinnon Trust, Brukner Foundation Cybec Assistant Conductor Supported by the Hume City Mary and Frederick Chair Tianyi Lu Council’s Community Grants Davidson AM The Cybec Foundation Program Margaret Jackson AC Associate Concertmaster Sidney Myer Free Andrew Johnston Chair Sophie Rowell Concerts Supported by the The Ullmer Family Myer Foundation and the Mimie MacLaren Foundation University of Melbourne John and Lois McKay 2018 Soloist in Residence Maria Solà Chair Anne-Sophie Mutter Marc Besen AC and Eva Besen AO Young Composer in Residence Ade Vincent The Cybec Foundation

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