FIELD OF FLOWERS

WINE PARTNER

Saturday 2 December 2.30pm Federation Concert Hall Hobart MATINEE 4

Marko Letonja conductor INTERVAL June Tyzack chorusmaster Duration 20 mins Stefanie Farrands TSO Chorus STANHOPE HAYDN Fantasia on a Theme of Vaughan Symphony No 102 Williams Largo—Vivace Duration 16 mins Adagio BRAHMS Menuet e Trio (Allegro) Variations on a Theme by Finale (Presto) Joseph Haydn Duration 23 mins Duration 19 mins

VAUGHAN WILLIAMS This concert will end at Flos campi approximately 4.30pm. Lento – Andante con moto – Lento – Moderato all marcia – Andante quasi lento – Moderato tranquillo Duration 18 mins

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80 0 00 Marko Letonja June Tyzack Stefanie Farrands TSO Chorus

Marko Letonja is Chief Conductor and June Tyzack is a graduate of the Tasmanian Stefanie Farrands was appointed Principal Celebrating 25 years with the Tasmanian Artistic Director of the Tasmanian Symphony and Sydney Conservatoriums and London’s Viola with the Tasmanian Symphony Symphony Orchestra, the TSO Chorus Orchestra and Music Director of the Trinity College of Music. Her career with Orchestra in 2015. She took up the TSO marks the anniversary in 2017 in the same Orchestre Philharmonique de Strasbourg. singers has included the Tasmanian Opera position following studies in with fashion as it began – as an opera chorus, Born in Slovenia, he studied at the Academy Company, Opera Australia, the Opera Studio renowned violist Tabea Zimmermann at the adding Bizet’s Carmen to a repertoire list of Music in Ljubljana and the Vienna of the Sydney Conservatorium, Belvoir Hochschule für Musik, Hanns Eisler Berlin. that now embraces masses, requiems and Academy of Music. He was Music Director Street Theatre, Sydney Philharmonia Massed Prior to this, she was the recipient of the symphonies for chorus and orchestra, as of the Slovenian Philharmonic Orchestra and Pacific Opera. She became Georgina Grosvenor Scholarship at ANAM, well as a diverse array of sacred and secular from 1991 to 2003 and Music Director and Chorusmaster of the TSO Chorus in 2001. studying with Roger Benedict and Alice a cappella works. In addition to concerts Chief Conductor of both the Symphony Under her direction, the TSO Chorus has Waten in Melbourne. She has performed with the TSO, TSO Chorus highlights Orchestra and the Opera in Basel from 2003 given performances in Hobart and regional with many renowned orchestras including across 25 years include performances with to 2006. He was Principal Guest Conductor Tasmania, and performed with Sydney the , Chamber Orchestra the Sydney Symphony, West Australian of Orchestra Victoria in 2008 and made Philharmonia Choirs, Adelaide Festival of Europe, Camerata and Spira Symphony Orchestra, Adelaide Symphony his debut with the TSO the following year. Chorus, West Australian Symphony Orchestra Mirabilius. In Australia she is a regular guest Orchestra, Orchestra Victoria, Australian He took up the post of Chief Conductor (WASO) Chorus and in Hong Kong with the with the Australian Chamber Orchestra, the International Symphony Orchestra and the and Artistic Director of the Tasmanian WASO Chorus and Hong Kong Philharmonic. Melbourne Symphony Orchestra and is a Hong Kong Philharmonic Orchestra. With Symphony Orchestra at the start of 2012. As chorusmaster of the Australian core member of the Melbourne Chamber a reputation for innovative performances He has worked with many orchestras in International Symphony Orchestra Institute Orchestra. She has appeared as soloist with under the direction of Chorusmaster June Europe including the Munich Philharmonic, she has prepared Mahler’s Second and Third the Melbourne Symphony Orchestra, with Tyzack, the TSO Chorus has featured in Vienna Symphony, Berlin Radio Orchestra, Symphonies and Stravinsky’s Symphony of whom she gave the Australian première of 10 Days on the Island with a performance Mozarteum Orchestra and the Orchestra Psalms, and in 2009 was chorusmaster and Olga Neuwirth’s , the ACO in the Spiegeltent, collaborated with the Filarmonica della Scala, Milan. He has also conductor for the Australian Intervarsity Collective, Melbourne Chamber Orchestra Festival of Voices, developed a distinctive worked in many renowned opera houses Choral Festival. In 2014 she was assistant to and AYO Young Symphonists. Passionate presence at Mona (Mofo and Synaesthesia) such as the Vienna State Opera, Berlin the conductor for the production of Handel’s about , she is a founding and in 2016 was the opening act of Dark State Opera, La Scala Milan, Semper Orlando for Hobart Baroque. In recent member of the critically acclaimed Hamer Mofo on Hobart’s waterfront. The sincerity Oper Dresden, and the Grand Théâtre de seasons she has devised cutting-edge TSO Quartet, which made its debut in 2007 of the 80-voiced chorus delivering a Genève. Additionally, he has conducted Chorus programs for a number of festivals, and won the Asia Pacific Chamber Music universal message of hope for all mankind at the Arena di Verona. Recent and future including a program in the Speigeltent for competition in 2009. Stefanie Farrands was in Beethoven’s Ode to Joy sets the tone engagements include the Mozarteum Ten Days on the Island, Mona Foma, Dark awarded the Freedman Classic Fellowship for milestone festivities throughout 2017. Orchestra Salzburg, Berlin Radio Orchestra, Mofo, Synaesthesia and Synaesthesia+. Last in 2016, which will see new works The TSO Chorus welcomes new members. Bavarian State Opera in Munich and year she was Director for Bach’s St Matthew commissioned for the viola, a recording of Interested choristers should contact the Wagner’s Der Ring des Nibelungen for the Passion and in May this year facilitated a the commissions and other chamber music Chorus Coordinator on 03 6232 4421 or Royal Swedish Opera with Nina Stemme as group of TSO choristers to perform in the works and performances in Australia and visit the website for more information, Brünnhilde. Mitsingkonzert in the Berlin Philharmonie. overseas. tsochorus.com.au.

58 59 Joseph Haydn (1732–1809) (1872-1958)

Symphony No 102 in B flat (bravely!) takes up the Vivace theme. From Flos campi Middle Eastern music as tension builds Largo—Vivace a development section of unprecedented Lento – to the climactic entrance of the chorus. Adagio concentration, a thrilling timpani crescendo Andante con moto – In the second movement a “murmuring precipitates a recapitulation which is less an accompaniment” supports the viola in a Menuet e Trio (Allegro) orthodox restatement of the original material Lento – steady melody that celebrates the end of Finale (Presto) than a grand coda to end the movement. Moderato all marcia – winter and burgeoning spring (Sg 2:11-12), concluding with delicate percussion. The It was with an imposing, newly composed The slow movement examines rhapsodically Andante quasi lento – third is an increasingly impassioned recitative- symphony in B flat that Haydn launched what a single heartfelt theme which Haydn Moderato tranquillo like dialogue between the Shulamite, seeking would be his last season as a symphonic also used in a trio for a dear friend An atheist in his university days, Vaughan but not finding her lover (Sg 3:1, 5:8, 6:1), composer. It was February 1795. Worsening and pupil, the widow Rebecca Schroeter. Williams later “drifted into a cheerful represented by the viola, and the daughters hostilities with France had forced a merger Unusually for Haydn, romantic crescendos agnosticism”, as his wife and biographer, of Jerusalem, sung by the female chorus, of concert activities in London. For the and diminuendos underline an emotional Ursula Vaughan Williams, put it. Several who offer to help look for him. This leads to fourth, and final, season of his glorious Indian ambivalence already apparent in the major works, however, especially of the the appearance, in the march-tempo fourth Summer in England, the so-called “Father of instrumentation – a dark-hued solo , interwar period, are, broadly speaking, movement, of King Solomon (Sg 3:7-8), the Symphony” found himself with a bigger muffled drums, and muted religious; but, though biblically inspired, borne on a palanquin and surrounded by orchestra (more than 60 players) and a new seeming to snarl as the movement dies away, the six-movement suite Flos campi is a 60 armed men – “the valiant in Israel” – concert room, capacity 800, in the King’s pianissimo. special case. The Song of Songs (or Song Theatre, Haymarket. represented by the male voices. In the slow The fast “symphonic” minuet is ebullient, of Solomon, to whom it was attributed) is a dance that follows the climax, the Shulamite It was there, during an encore of the new scherzo-like, with a heavy peasant tread. cycle spoken by two lovers – the Shulamite, is called upon to return, and her sandalled symphony’s finale, that a chandelier crashed A solo and in tandem sound a dark-skinned “prince’s daughter” (also feet praised (Sg 7:13, 8:1). The viola part is into space vacated by listeners pressing strangely solemn in the central trio section. referred to as the “flower of the field” heavily ornamented, and the music develops forward to better see Haydn directing from In the finale, however, Haydn plays ducks of Vaughan Williams’ title, or the “rose several themes from earlier. The finale – “Set the keyboard. Cries of “Miracle!” confirmed and drakes with a perky “rat-a-tat” motif of Sharon”) and a young man variously me as a seal upon thine heart” (Sg 8:6) – that no-one was injured. But posterity which keeps leading off the main theme, described as a king, prince or shepherd – swells with intricate vocal polyphony before mistakenly pinned the nickname “Miracle” then keeps getting picked off by itself as and a chorus of “Daughters of Jerusalem”. dissolving in percussion glints and returning to the earlier Symphony No 96. Thus one of a plaything and ultimately brushed off. The lovers are parted and reunited, and to the lone instrumental sounds of the Haydn’s towering masterpieces, the third last At the very last moment, various groups describe each other’s bodies and the natural opening. of his 104 numbered symphonies, lacks the in virtual slow motion repeatedly try to world in radiantly sensual terms. The Song Some found Flos campi baffling, expecting familiarity of a handy sobriquet. make something of it but fall back before of Songs makes no direct mention of God, “bluebells and daisies”, as Vaughan Williams an impatient orchestra. Just the timpani but was included in the canon of Jewish and Like all but one of the 12 “London” scoffed, or something “ecclesiastical”. recall the “rat-a-tat” rhythm at the end. Christian scripture because it was thought to symphonies (nos 93-104) which culminate Remembering Grace Hawkins, we might This is a movement of high comedy. It ends be an allegory of Divine Love. Many scholars Haydn’s symphonic career, No 102 begins say that Flos campi celebrates passion and one of Haydn’s most learned and serious now echo the sentiments of Grace Hawkins with a slow introduction. A vignette of feelings that lie beyond words. symphonies. Who else but he would dare? (played by Maggie Smith) in Niall Johnson’s grave beauty, it evoked for the late, great comedy Keeping Mum: “No. It’s about sex. © Gordon Kerry 2017 Haydn scholar HC Robbins Landon a sense Anthony Cane ©2010 You read it again, vicar.” of “cosmic loneliness” in its extraordinary The Tasmanian Symphony Orchestra first The Tasmanian Symphony Orchestra first While it is not Tristan und Isolde or the impression of space. performed this work with conductor Dobbs performed this work with conductor Roland Turangalîla Symphony, Flos campi charts in Franks, soloist Jean Munro and the Tasmanian Zollmann in Hobart and Launceston on 26 Yet from the very melody of the introduction, purely abstract music key moments in an University Musical Society in Hobart 11 November and 27 September 1984. its first five notes transformed and erotic narrative. The opening movement 1988 and, most recently, with Kynan Johns, accelerated, Haydn creates an electrifying reflects the image of the beloved as a Janet Rutherford and the TSO Chorus in Hobart on 6 November 1999. main theme for one of his tautest, most “lily among thorns” and the famous lines concentrated – indeed, one of his loudest – “Stay me with flagons, comfort me with movements. Ushered in by an elegant solo apples: for I am sick of love” (Song of Songs , the Vivace theme bursts forth irresistibly 2:2,5). Unfulfilled yearning is expressed on full orchestra. The score abounds with in the opening by viola and oboe playing abrupt sforzato markings and sustained loud in different keys. A new theme on flute passages but the impression is of contrast, and viola suggests modes common in not sheer force. Even the solo flute briefly

60 61 Paul Stanhope (born 1969) Johannes Brahms (1833-1897)

Fantasia on a Theme by Vaughan Williams 3. Percussive Variations on a Theme by Haydn, Op 56a St Antony Chorale itself perhaps an old Austrian pilgrims’ hymn. Australian composer Paul Stanhope’s music This is a furiously energetic dance fuelled by For Brahms, like Haydn and Beethoven is inspired by a diverse array of material. He drumming patterns on tom-toms, bongos before him, the variation form was central Brahms in his opening statement of the writes: “My music presents the listener with and timpani. Interrupted briefly by a devilish to his musical life. While he declared a theme consciously imitates the early Classical an optimistic, personal geography…whether marimba solo accompanied by pizzicato “particular affection” for the form, which he wind sonorities in the original divertimento. this is a reaction to the elemental aspects of strings, this section climaxes with a series of argued should be used more creatively and He reserves his upper strings for the actual the universe (both the celestial and terrestrial) trombone glissandos which send the music with greater freedom, his own exploration variations, which follow, as John Horton has or the throbbing energy of the inner-city.” His hurtling towards the next section. of variation form nevertheless remained suggested, in a loosely symphonic sequence Fantasia on a Theme by Vaughan Williams was 4. a) Photo Negative conservative, a challenge to his ingenuity in – energetic in the first three variations; awarded first place in the 2004 Toru Takemitsu b) Chorales with Walking Bass remaining faithful to the theme. His creativity Romantically melancholy in the fourth (Andante con moto); scherzo-like in 5, 6 and Composition Prize and performed, as a part of The first part of this section is so titled shone in spinning off entirely new ideas from 8, with Variation 7 (Grazioso) a contrasting these prizes, by the Tokyo Philharmonic at the because it is the complete opposite of the fragments of the original theme. centrepiece; and gloriously cumulative in a Tokyo Opera City in May 2004. previous section. Fragments are heard in the Brahms was at a crossroads when he came, passacaglia finale which builds in Bachian woodwinds at extreme parts of the range. aged 40, to consider a theme from an The composer writes: fashion from a ground bass constantly Eventually the fragments begin to reveal old manuscript apparently by Haydn. His reiterating the first five bars of the St Antony This piece pays homage to Ralph Vaughan larger sections of the hymn tune. As an experience of the art of orchestration was theme. Brahms’ unprecedented use of a Williams’ famous Fantasia on a Theme unexpected transformation, this stark section limited to a first piano concerto and a pair of passacaglia, or ground bass, finale to a set of by Thomas Tallis. Vaughan Williams uses suddenly heads into the big band era! serenades, all composed long before he had variations is both a homage to the towering a simple chorale theme by Thomas Tallis even arrived from his native Hamburg in 1862 5. Fanfares Reprise example of Bach and an advance hint of the (“Thou wast O God”) in his work; similarly, to make a permanent home in Vienna. I have used Vaughan Williams’ tune “Down The opening material returns, but this time great passacaglia, based on a theme of Bach Now, in his Variations on a Theme by Haydn, Ampney” (which sets the “Come Down, O the pent-up energy explodes into a joyful himself, with which, 12 years later, he would the composer turned two notable corners. close his fourth, and final, symphony. Love Divine”) in mine. Rather than limiting climax followed by a descent into chaos. Composing the work in two separate versions Anthony Cane © 2004 the scoring to strings, I have chosen to use 6. Hymn more or less concurrently, one for two the full resources of a symphony orchestra In the final section of the work, announced by (Op 56b) and one for orchestra (Op 56a), including a large percussion battery. The The Tasmanian Symphony Orchestra first the sounding of bells, the hymn tune is heard Brahms on one hand closed his career as a performed this work with conductor Joseph Post piece is divided into six sections to form a in a simple modal harmonisation, emerging composer of major piano works – henceforth in Hobart on 3 August 1955 and, most recently, single complete movement. out of the explosion that precedes it. In its there would be only miniatures; and on with Sebastian Lang-Lessing in Hobart on 17 July 2010. 1. Fanfares last statement, the music strives heavenwards the other hand he created, triumphantly, with high woodwinds, strings and metal Swirling figures in the woodwinds the world’s first free-standing variations for percussion. accompany flourishes in this orchestra. At the same time, in his confident and subtle mastery of a constantly varying heraldic exposition of the theme. Repetitive Paul Stanhope © 2004 instrumental palette through ten distinct figures in the percussion, woodwind and environments (theme, eight variations strings are juxtaposed against boisterous The Tasmanian Symphony Orchestra has performed this work once before, with conductor and finale), he announced his arrival as an brass chorales which shout out fragments Radoslaw Szulc in Hobart on 10 July 2010. orchestrator. of the theme. Towards the end of this section these outbursts become more The “theme by Haydn” had been discovered peaceful and resigned. and shown to Brahms three years previously by his Viennese friend Carl Ferdinand Pohl, 2. Lugubrious librarian of the Society of the Friends of The music takes a suddenly more mournful Music and Haydn’s first comprehensive turn. Sighing string lines accompany an biographer. Pohl had unearthed a set of augmented and decorated version of half a dozen wind band divertimenti, or the hymn tune in paired woodwinds. Feldparthien (literally, field partitas), in which Later, the theme is inverted and taken it appeared, as the second movement of the up by the in a soaring passage, last, under the heading Corale St Antonii. All interrupted with foreboding figures in six divertimenti are now considered spurious, the brass and percussion. possibly by Ignaz Pleyel, and the

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