FIELD OF FLOWERS WINE PARTNER Saturday 2 December 2.30pm Federation Concert Hall Hobart MATINEE 4 MATINEE Marko Letonja conductor INTERVAL June Tyzack chorusmaster Duration 20 mins Stefanie Farrands viola 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 Tasmanian Symphony Orchestra concerts are broadcast and streamed throughout Australia and around the world by ABC Classic FM. We would appreciate your cooperation in keeping coughing to a minimum. Please ensure that your mobile phone is switched off. 56 57 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 Berlin 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 Choirs 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 Berlin Philharmonic, Chamber Orchestra the Sydney Symphony, West Australian of Orchestra Victoria in 2008 and made Philharmonia Choirs, Adelaide Festival of Europe, Camerata Salzburg 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 Viola Concerto, 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 chamber music, 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) Ralph Vaughan Williams (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 piano 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 cello, interwar period, are, broadly speaking, movement, of King Solomon (Sg 3:7-8), the Symphony” found himself with a bigger muffled drums, and muted trumpets 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 oboe and bassoon 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”.