MELBOURNE RECITAL CENTRE & JOHN CRISTIAN PRODUCTIONS PRESENT

THURSDAY 15 & MONDAY 19 SEPTEMBER 2016

MELBOURNE RECITAL CENTRE & JOHN CRISTIAN PRODUCTIONS PRESENT

THURSDAY 15 SEPTEMBER 2016 MONDAY 19 SEPTEMBER 2016

Beyond all this… Remembrance

Antonín Dvoˇrák (1841—1904) Béla Bartók (1881—1945) (adapted for chamber orchestra Divertimento for Strings by Mordechai Rechtman) Allegro non troppo Cello Concerto in B minor, Op.104 Molto adagio Allegro Allegro assai Adagio ma non troppo Allegro moderato Joseph Haydn Cello Concerto in C, Hob.VIIb:1 Interval: 20 minutes Moderato Adagio Mark Kopytman (1929—2011) Allegro Molto Beyond all this… Interval: 20 minutes Joseph Haydn (1732—1809) Symphony No.85 in B-flat, ‘La Reine’ Mark Kopytman Adagio — Vivace Kaddish Romanze: Allegretto Largamente un poco rubato Menuetto: Allegretto Andantino, lontano Finale: Presto Lento, quasi recitativo

Duration: one hour & 40-mins Franz Schubert (1797—1828) incl one 20-min interval Symphony No.5 in B-flat, D485 Allegro Andante con moto Menuet: Allegro molto Allegro vivace

Duration: two hours incl one 20-min interval

MELBOURNE RECITAL CENTRE PRINCIPAL GOVERNMENT PARTNER

MELBOURNE PERFORMANCES SUPPORTED BY

Yvonne von Hartel am & Robert Peck am

AUSTRALIAN TOUR SPONSORS

Embassy of Israel CANBERRA

3 4 WELCOME TO THE AUSTRALIAN DEBUT PERFORMANCES OF THE ISRAEL CAMERATA JERUSALEM ORCHESTRA

I’m delighted to welcome you to this Melbourne Recital Centre Signature Event as we present the Australian debut of the Israel Camerata Jerusalem Orchestra and conductor Avner Biron with cellist Zvi Plesser. The Camerata is the leading chamber orchestra in Israel — no minor achievement in a country which boasts many acclaimed orchestras, ensembles and soloists. Like Australia’s, the musical life of Israel had been immeasurably enriched by the diverse people from around the world which have made it home, applying their talents and experiences to the creation of a vibrant culture.

The Israel Camerata Jerusalem Orchestra joins the roster of great international ensembles the Centre has presented since 2012 — the Mahler Chamber Orchestra, Hespèrion XXI, Les Arts Florissants and, most recently, Concerto Italiano. None of these would have been possible without the generous support of our donors and the enthusiastic response of you, our community. I pay tribute to the generosity of our supporters for the Israel Camerata Jerusalem Orchestra’s Melbourne performances: Yvonne von Hartel am and Robert Peck am. The Israel Camerata Jerusalem Orchestra’s Australian tour is supported by The Besen Family Foundation, The Pratt Foundation, Australia Israel Cultural Exchange, the Australia-Israel Chamber of Commerce (Vic) with special thanks to Ambassador (Ret.) Gershon Zohar.

I look forward to sharing these performances with you.

Warm regards

EUAN MURDOCH CEO, Melbourne Recital Centre

5 AVNER BIRON

Conductor Avner Biron is the founder, music director and permanent conductor of the Israel Camerata Jerusalem Orchestra. Creativity, inventiveness and originality are the watchwords for his versatile musical activities.

By intensive and inspiring work, he Avner Biron was the music director of has brought the orchestra to the several festivals, among them the highest standard in Israeli musical life, ‘Abu-Ghosh’ music festival and the and won worldwide recognition for it. ‘Music and Nature’ festival in the He creates original and interesting Galilee. He founded the Galilee Soloists concert programs, and restores rarely Ensemble, a virtuoso ensemble that performed repertoire to the Israeli gained international success within a concert halls, alongside renowned short time and was invited on concert masterpieces. Furthermore, he tours around the world. encourages original Israeli compositions by commissioning Avner Biron was the head of the works from Israeli composers, and Jerusalem Academy of Music and performing them in Israel, abroad Dance during 1994—2003. During his and on record. term, among other initiatives, he established the unique department of Avner Biron Under Avner Biron's musical direction Arabic Music, the department for and leadership, the Israel Camerata Multidisciplinary Music and the Jerusalem Orchestra relegates a Academy Chamber Orchestra. He has performed many recitals and considerable amount of its activities chamber music concerts. He has to educational programs and He was a member of the standing directed many master classes for works with students in Jerusalem committee of the organisation of flautists in Israel and abroad. As a and countrywide. Academic Institutions for Music in teacher and educator, Avner Biron has Europe (AEC). Avner Biron began his established a new generation of senior The orchestra, under his direction, has musical career as a flautist with the flautists and flute teachers. successfully performed many concert Israel Philharmonic Orchestra and as a tours in Israel, Europe, U.S. and the Far solo-flautist with the Israel Chamber In 2005 Avner Biron was awarded East at the most important venues in Orchestra. He studied biology at the the Minister of Education Prize for Amsterdam, Berlin, Leipzig, Bonn, Jerusalem Hebrew University and later excellence and artistic achievements Paris, New York, Washington, Los went to Vienna and the Salzburg over many years and for his Angeles, Chicago, Alaska, Beijing and Mozarteum for further studies in contribution to the musical life Shanghai among others. musical direction. His special approach in Israel. to music and interpretation is Biron’s many recordings with the influenced by extensive knowledge in Camerata have won wide professional music and science. and public acclaim in Israel and abroad. Avner Biron has conducted the Israel Philharmonic Orchestra, the Jerusalem Symphony Orchestra, the Sinfonieta Orchestra, and has been invited to conduct orchestras around the world.

6 ISRAEL CAMERATA JERUSALEM ORCHESTRA

The story of the Israel Camerata Jerusalem Orchestra is unique. As an experiment in Israeli ‘melting pot’ endeavours, it has been hugely successful in bringing together veteran and newcomer musicians. As a cultural endeavour, it has achieved remarkable excellence in one of the most significant – and fiercely competitive – areas of the arts: classical music.

Avner Biron, one of Israel’s leading Orchestra performs a repertoire musicians and musicologists, founded ranging from the early Baroque to FIRST VIOLIN Matan Dagan the Orchestra in 1984. In the early 90s, contemporary music, including world Natasha Sher a dramatic opportunity arose for the premieres of works commissioned by Carmela Leiman Camerata, when a flow of outstanding the Camerata, with a special emphasis Denice Djerassi immigrant musicians from the former on works by Israeli composers. Roman Yusupov Soviet Union arrived in Israel. A good Sophia Kirsanova A large number of Orchestra members number of these were invited to join Arnold Kobiliansky the Orchestra, and, under the direction perform and record as soloists, as well SECOND VIOLIN of Biron, a revolutionised Camerata as in chamber ensembles in Israel and internationally. Hadas Fabrikant emerged. Today, the Camerata is Eduard Reznik considered a shining success story in The Camerata began its performances Omri Zach the absorption of immigrants from the abroad in 1989, and since then has Michael Kontsevich former Soviet Union. frequently been invited to concert Yuki Ishizaka The development of the Camerata destinations all over the world, VIOLA Michael Plaskov since the arrival of these splendid garnering enthusiastic reviews. Doron Alperin musicians was truly meteoric. The The Camerata has also participated in Boris Rimmer outstanding quality of the musical a large number of festivals, including the Schleswig-Holstein festival, the Andrei Shapelnikov program, the high standards of its Avshalom Sarid performances and the sheer beauty Reingau Festival, the Weilburg Festival, of the Orchestra’s sound, have made and the Rolands-Eck Festival in CELLO Zvi Orleansky the Camerata the top chamber Germany, the Lille Festival in France, Marina Katz orchestra in the country. and in Vittoria, Spain. Alex Sinelnikov The 36-strong orchestra has The Camerata's many recordings have Jefim Aizenshtadt developed into that rare musical won enthusiastic reviews both in BASS creature: a fully harmonious collective Israel and overseas. Dmitri Rozenzweig made up of strongly individual talents. Music Director: Avner Biron Alexander Osipenko The collective cohesiveness is due to Soloist: Zvi Plesser FLUTE the uncompromising commitment Esti Rofe Orchestra Manager: Ben Zion Shira of Avner Biron to stringent, almost CLARINET academic standards of musicological Orchestra Stage Manager: Valeri Axenov Eli Eban analysis and study of each work, followed by intensive dialogue Orchestra Liaison: Gershon Zohar OBOE Muki Zohar and massive team work with John Cristian Productions: Ori Meiraz the Orchestra. Cristian Pilditch BASSOON The Orchestra performs over 100 Maurizio Paez concerts each year in Israel and Kristijonas Grigas abroad. Its activities include HORN subscribers’ series, festivals, special Alon Reuven concerts and unique educational Ruth Varon projects for schools in Jerusalem and TIMPANI & PERCUSSION in Israel’s peripheral areas. The Karen Phenpimon Zehavi

7 ZVI PLESSER

Israeli cellist Zvi Plesser has a remarkably varied career, which has combined appearances as cello soloist, chamber musician, educator and music director.

Based in Israel, Plesser has performed worldwide and collaborated with some of our time’s leading instrumentalists and conductors. As soloist he has performed with the Israel Philharmonic Orchestra, the Jerusalem Symphony Orchestra, the Israel Symphony Orchestra, the National Symphony Orchestra in Washington D.C., the Academy of Saint Martin in the Fields, the Shanghai Symphony Orchestra, Hamburg Symphony Orchestra, and the Sofia Philharmonic under conductors Zubin Mehta, Sir Neville Marriner, Asher Fisch, David Stern, Steven Sloan and Sergiu Comissiona. In January 2015 Plesser appeared as a soloist with the Berlin Philharmonic Orchestra in a special concert conducted by Sir Simon Rattle in Berlin. Zvi Plesser

Plesser was a member of the Finland, Musique à l'Emperi - Salon- 1998, and has taught at North Carolina Huberman String Quartet and is a de-Provence in France and the School of the Arts and in Hochschule founding member of Concertante. A Rolandseck Festival in Germany. für Musik Würzburg in Germany. He is dedicated chamber musician he frequently invited to give master collaborates frequently with leading In 2011 he was appointed music classes and workshops in musical instrumentalists including several director for the ‘Voice of Music centres around the world. In 2013 he collaborations with Berlin Festival’, in the Upper Galilee — Israel’s was invited to serve as a jury member Philharmonic Orchestra principal oldest chamber music festival. Plesser in the Cassado Cello Competition players. Recently he has performed in has revitalised the festival by in Japan. such venues as: Paris Champs-Elysees, introducing innovative programs that Musee du Louvre and Salle Pleyel, have gained the attention of both the Plesser has been heard on various Vienna Konzerthaus, Berlin audiences and the press. In the last radio and television programs and has Philharmonie, London Wigmore Hall few years he has collaborated with his recorded for Helicon, Kleos, Meridian and Southbank Centre among others. colleague and friend Hillel Zori in and more. A graduate of the Jerusalem Plesser frequently collaborates with arranging and performing the Six Music Centre as part of the program the Jerusalem String Quartet with Bach Solo Suites for two cellos. for Outstanding Young Musicians whom he played on a 14 concert tour headed by Maestro Isaac Stern, Zvi of Australia. He has participated in Zvi Plesser is a graduate of the Juilliard Plesser won the prestigious Francoise music festivals around the world, School where he studied with Zara Shapira Competition, the 41st annual including the Marlboro Festival in the Nelsova. His principal teachers Washington International U.S., the Cervantino Festival in Mexico, include Zvi Harel in Israel and David Competition and was the recipient of the Jerusalem International Chamber Soyer in the United States. Plesser has the America-Israel Cultural Music Festival - Israel, Le Pont Festival been on the faculty of the Jerusalem Foundation Scholarships. in Japan, the Kuhmo Festival in Academy of Music and Dance since

8 ABOUT THE MUSIC

BEYOND ALL THIS… Thursday 15 September 2016 Dvoˇr ak, Kopytman & Haydn ABOUT THE MUSIC THE ABOUT Brahms was impressed. ‘If only I’d Much to Dvořák’s annoyance, the first known,’ he said, ‘that one could write a performance of the concerto was not cello concerto like that, I’d have written given by its dedicatee, Wihan. The one long ago!’ And he wasn’t just being London Philharmonic Society, who polite. Brahms had recognised premiered it at the Queen’s Hall in Antonín Dvořák Dvořák’s talents early on, ensuring March 1896, mistakenly believed that the young composer received the Wihan to be unavailable, and engaged The Bohemian connection became Austrian State Stipendium for five Leo Stern. Despite Dvořák’s even stronger and more personal years, and persuading his own embarrassment, Stern must have when Dvořák, working on the piece publisher, Simrock of Berlin, to publish delivered the goods, as Dvořák in December 1894, heard that his Dvořák’s music. engaged him for the subsequent New sister-in-law Josefina (with whom he York, Prague and Vienna premieres of had been in love during their youth) But Brahms’ admiration aside, the the work. Wihan did, however, was seriously, perhaps mortally ill. composition of what Dvořák scholar perform the work often, and insisted Dvořák was sketching the slow John Clapham has called simply ‘the on making some ‘improvements’ to movement at the time. The outer greatest of all cello concertos’ was no Dvořák’s score so that the cello part sections of this movement are calm easy matter. In fact, it was his second would be more virtuosic. Wihan also and serene, but Dvořák expresses attempt at the medium — the first, in A insisted on interpolating a cadenza in his distress in an impassioned gesture major, was composed in 1865 (and the third movement, which the that ushers in an emotionally unstable rediscovered in 1929), but appears composer vehemently opposed. central section in G minor, based only to have been written out in a Simrock was on the point of on his song ‘Kéž duch můj sám’ cello and piano score. That Dvořák left publishing the work with Wihan’s (‘Leave me alone’) which was one of the work orchestrated suggests that amendments, and only a stiff letter Josefina’s favourites. he was dissatisfied with this first effort. from Dvořák persuaded the publisher Josefina died in the spring of 1895, and Despite the urgings of his friend, the to leave out the cadenza. cellist Hanuš Wihan, Dvořák thought Dvořák, by this time back in Bohemia, no more about writing such a piece Despite being an ‘American’ work, the made significant alterations to the until many years later. concerto is much more a reflection of concluding coda of the third Dvořák’s nostalgia for his native movement, adding some 60 bars of In 1894 Dvořák was living in New York, Bohemia, and perhaps for the music. The movement begins almost having accepted the invitation of composer’s father who died in 1894. ominously with contrasting lyrical Jeannette Meyer Thurber to head the As scholar Robert Battey has noted, writing for the soloist. Dvořák’s National Conservatory of Music that ‘two characteristic Bohemian traits additions to the movement, and his she had founded there in 1885. In can be found throughout the work, determination not to diffuse its March 1894, Dvořák attended a namely pentatonic [‘black note’] scales emotional power with a cadenza, performance by Victor Herbert of his and an ‘A-A-B’ phrase pattern, where a allowed him, as Battey notes, to revisit Second Cello Concerto. The Irish-born melody begins with a repeated phrase ‘not only the first movement’s main American composer and cellist is now followed by a two bar “answer”.’ The theme, but also a hidden reference to best remembered for shows like work is full of some of Dvořák’s most Josefina’s song in the slow movement. Naughty Marietta and Babes in inspired moments, such as the heroic Thus, the concerto becomes Toyland, but his concerto, modelled first theme in the first movement, and something of a shrine, or memorial.’ on Saint-Saëns’ First, made a huge the complementary melody for horn impact on Dvořák, who re-examined Gordon Kerry Symphony Australia © 2004 which adds immeasurably to its Reprinted with permission of Symphony Services the idea of such a work for Wihan. The Romantic ambience. International concerto was sketched between 8 November 1894 and New Year’s Day, and Dvořák completed the full score early in February.

9 Beyond all this... was commissioned rhyme that closes a verse to form a by the Israel Camerata Jerusalem circle — the symbol of eternity. Orchestra, for a concert tour of the United States. Written in the summer Although the title Beyond all this... of 1997 on the occasion of the 50th refers to national memory, anniversary of the State of Israel, it is Kopytman’s works have been dedicated to its conductor, Avner enthusiastically received all over the Biron, and his orchestra. world both by Jewish and non-Jewish audiences. Perhaps because the tragic Beyond all this..., hints at the diversity experiences so impressively

ABOUT THE MUSIC THE ABOUT and unpredictability of Kopytman’s embodied in the composer’s music imaginative world. ‘My new piece for are common to all people.

chamber orchestra’ writes the Dr. Yulia Kreinin composer, ‘was written as a sequence of musical episodes which follow each The reputed approbation of Queen other freely, like layers of an imaginary Marie Antoinette appears to have space. In this musical flow some layers commended this symphony firmly to gradually vanish, while others become the elegant Parisian audiences who Queen Marie simply muted. I did not intentionally heard its first performances in the Antoinette connect these episodes to specific, concert series of the Loge Olympique real-life events, but such events in 1787. The royal enthusiasm was certainly form a strong, if invisible subsequently immortalised by the those days of scant concern background for my creative world. It is work’s first publisher, Imbault of Paris, for copyright. when he inscribed his edition, just a a mixture of reflections, feelings, The invitation to compose a set of six year before the French Revolution, thoughts and dreams about the symphonies (Nos 82—87) for the with the title La Reine de France. Extra people and country to which I belong.’ fashionable Concert de la Loge musical though the title is, Haydn Olympique, offering not only a ‘Each listener can, of course, fit these writes such a regally imposing munificent fee for the music but an pictures into his own personal world introduction to the first movement, additional amount for publishing of emotions, memories and dreams, masterly in its brevity of a mere 11 rights, came therefore as a most and conjure up different images: from bars, that the name might well seem welcome opportunity for Haydn to sorrow to joy, from prayer-like implicit in the music. The symphony’s establish himself personally and cantillation to dance-like passages and initial popularity has been sustained protect his legitimate interests in the finally, at the end of the composition, down the years, with the widespread French capital. His new symphonies to the hope that is beyond our view that it represents perhaps the were played in a splendid auditorium dreams, hope which is like the zenith of Haydn’s pre-London style — of opera house proportions by an daylight hidden in the dark of the a culmination in subtlety of form and orchestra some three times as large as night. This light of hope was in fact the conciseness of expression of all he the 24 or so players he was used to at main motto, the idée fixe that inspired had been working towards over nearly Eszterháza, all the musicians me when creating this composition.’ a quarter of a century at Eszterháza. resplendent in sky-blue dress coats The emotional atmosphere of the Haydn complained that because he with lace ruffles and swords at the piece, while easily perceived, is lived ‘in the country’ (the rich estate of side. Although Haydn doubtless nonetheless full of hidden meanings. Eszterháza was in a duck-shooters’ welcomed the greater string tone The introduction sounds like a series paradise in the marshy wilds of possible with such an ensemble, he of unanswered questions or a Hungary) his finest music, particularly retained his usual complement of heralding of unknown events. The his operas, had little chance of being wind and brass since the string next from a musical speech is a heard in the musical centres of instruments of the day would not lamentation. An ensemble of voices is Europe. Nevertheless French have produced the overwhelming heard, each narrating the same story publishers had been issuing his works effect of modern instruments in the in an individual version. Suddenly, the from as early as 1764 and, being unable same numbers. tragic events seem not be narrated, to satisfy public demand, were happily The key of B-flat in almost all of but almost real. A brutal, destructive putting out under his name the Haydn’s later works has a particularly force threatens to annihilate all in an compositions of numerous second- spiritual or devotional connotation, abrupt invasion analogous to the rate composers of the day. All this, one but the present symphony, perhaps ‘blow up’ technique in cinema. At the might add, without a sou in royalties because of uncertainty on the part of end the initial motto returns like a to the composer, as was the custom in

10 REMEMBRANCE Monday 19 September 2016 Bartók, Haydn, Kopytman & Schubert

The intensity which shines from ‘some kind of concerto grosso, Béla Bartók’s eyes in photographs is interchanging with a concertino’, and hardly ever absent from his music. he makes much of the contrast of The title ‘Divertimento’, however, sonorities between the soloists’ group harks back to the music for pleasure (string quartet plus double bass) and

of the 18th century. Bartók composed the main body of strings, but MUSIC THE ABOUT this piece with his usual fanatical alternating more frequently between thoroughness, but in circumstances the two than did the 18th-century unusually happy for him. It was composers. The elegant style of that commissioned by Swiss conductor century is blended in the dance- Paul Sacher for the Basel Chamber inspired music of the Divertimento’s Orchestra (Bartók had already written first and third movements, with the for Sacher the Music for Strings, Verbunkos, or recruiting dance, a type Béla Bartók Percussion and Celesta and the Sonata of Hungarian folk music. All the for Two Pianos and Percussion). melodic material has the modal character of Hungarian tunes, and the composer about the tastes of his Late in 1938 Sacher asked Bartók for a Bartók’s lifelong concern with the Parisian audience, aims more at work for smaller string orchestra. overall unity of each of his grandeur and brilliance. Tight Sacher put at Bartok’s disposal for the compositions is seen in the close unification of his thematic material is summer of 1939 his chalet at Saanen, relationship of the themes of the first characteristic of both the first and last in the mountains of the Swiss canton and third movements. movements; the slow movement, a set of Bern. Saanen was a quiet and idyllic of variations on the French folk song village outside the ski season, and the The first movement has a relaxed La gentille et jeune Lisette, is an Sachers saw to it that the composer character, but the themes are treated uncharacteristically brisk Allegretto was undisturbed. Bartók wrote to his with typically ingenious combination (uncharacteristic, that is, by son that he felt like a musician of and development (mainly using comparison with the deeply felt olden times, the invited guest of a canons and other forms of imitation). adagios of other B flat symphonies, patron of the arts. Under these The slow movement, in complete such as Nos 66, 68, 98 and 102); the serene conditions he composed contrast, is sombre and almost tragic trio of the minuet incorporates some the Divertimento in 15 days. Within in feeling. It has been compared to a magical other-worldly writing for the months of its completion, the death vision of a funeral procession, with various wind instruments. of his mother and political events in sound effects Bartók uses elsewhere Hungary cruelly interfered with to suggest night, and cries and shrieks H.C. Robbins Landon, in his Bartók’s life. for violins and violas, expressing monumental Haydn — Chronicle and perhaps Bartók’s dread of war and Works (Vol. II), relates a forlorn The Divertimento was one of the fear for the future of Europe. footnote to this symphony from a last compositions Bartók finished contemporary account of the before emigrating to the United States. The third movement is a fast folk imprisoned Marie Antoinette awaiting Altogether one of his most accessible dance, in rondo form. The interludes her eventual call to the guillotine, with and enjoyable works, it shows that are free rhapsodies. After a passage of a dilapidated harpsichord to occupy the tone of simplicity, directness strict, learned imitation, the solo violin her time: ‘As we were looking through and warm humanity to be found in seems to thumb its nose at this music the small collection of music that day his American compositions had with a cadenza in gypsy style. The first upon the instrument we found a piece already entered his music before theme is eventually turned into a called La Reine de France. “Times have he left Europe. polka dance with violin slides over changed,” said Her Majesty, and we plucked strings, a kind of café music, The Divertimento benefited from could not restrain our tears.’ after which Bartók jerks the listener Bartók’s exploration of the possibilities back to attention with a racing ending. © Anthony Cane of string instruments in his third to Reprinted with permission of Symphony Services © David Garrett International sixth string quartets, and in the earlier Reprinted with permission of Symphony Services work for Sacher’s orchestra. He wrote International to his son that he was thinking of

11 In 1761, at the age of 29, Haydn was wizard on any instrument, but I knew appointed Vice-Kapellmeister at the the power and effect of them all,’ he court of Prince Esterházy in the small explained towards the end of his life. town of Eisenstadt. His musical duties there included the composition of His thorough knowledge of the cello’s instrumental music for the newly capabilities and range of expression is formed Esterházy orchestra. Haydn clearly evident throughout the C already knew many of the orchestral major Concerto. The famous finale players from his earlier days in Vienna, contains extended periods of brilliant and he promptly set out to write upper-register passagework that ABOUT THE MUSIC THE ABOUT works that would exploit their talents. emphasise the physical and virtuosic The first three symphonies that he nature of the cellist’s performance. wrote for his new employer — Nos 6, 7 Contrastingly, the central slow and 8 — gave prominent and extended movement has the character of an solos to various players of the Italian operatic aria, complete with a orchestra. His Cello Concerto in C sustained introductory note from the major was also composed at around soloist that traditionally displays vocal, this time, and it was written to or in this case, bow, control. Joseph Hayden showcase the virtuosity of Joseph Like several of Haydn’s other early Weigl, the orchestra’s principal cellist. Esterházy concertos, the first The composer and cellist were clearly movement is moderate in tempo. The a part of Dmitri Shostakovich’s close friends as well as colleagues, as opening tutti is broadly conceived, as compositions. This may be due to the Haydn was godfather to Weigl’s son. are the overall sonata-form outlines, composer's common source of The exact number of concertos that and the soloist is given space for a inspiration — the Jewish folk music of Haydn composed during his long cadenza towards the movement’s end. Eastern Europe. career serving the Esterházy family is The matching of the home key of C major with the cello’s lowest string This piece consists of three strongly not certain. Many are now lost, though connected movements: Largo — we know of their existence due to the maximises the instrument’s natural resonance and enhances the Allegro, Andantino and Lento - Vivace. composer noting them in his own They follow one another without catalogue of works. The Cello harmonic openness that characterises the entire concerto. interruption, in an interchange of Concerto in C major was also grieving cello monologues and intense presumed lost until the parts were James Cuddeford © 2013 Reprinted with permission of Symphony Services dialogues between the soloist and discovered in the Prague National International orchestra. The outer episodes shade Museum as recently as 1961. It was the inner, intimate atmosphere of the Kaddish for cello (or viola) and string given an acclaimed 20th-century composition. Starting with a short orchestra was written on the occasion premiere in 1962 by the cellist Miloš dialogue between cello and low of the opening of the Great Synagogue Sádlo, with the Czechoslovak Radio strings, the work develops through a in Jerusalem in 1982. It is an orchestral Symphony Orchestra conducted by chain of contrasting episodes — lyric, transcription of Kopytman’s String Sir Charles Mackerras. Since then it dramatic and joyful — and reaches a Quartet No.2, written in Russia in 1966 has become a cornerstone in the powerful, dance-like climax which and dedicated to the memory of the repertoire of most solo cellists. breaks off abruptly. A short mournful composer’s father. The work is quite monologue by the cello ends on a The concertos that Haydn composed touching: the narrative tone is very sustained high note and serves as a during his tenure at Eisenstadt were personal. It is Jewish in spirit, background for the reminiscences of not intended for large fee-paying although, at the time Kopytman was previous episodes. public audiences, but were rather hardly familiar with his Jewish conceived for smaller groups of heritage. In this regard, Kaddish stands The recitatives — monologues form listeners within the confines of the apart from the other compositions of the essence of the work, an image of court society. Unlike many 18th- this period. This distinction can be intense meditation. The repeated century composers, Haydn was not heard in the dance-like fragments contract between the two poles — renowned as a performer himself, so leading to the abrupt conclusion of reflection and attempted action — close contact with the intended soloist the piece, which clearly contains keeps the listener constantly during the composition of his elements of Jewish folklore. Some anticipating the next event. The entire concertos was paramount in achieving critics have noticed in Kaddish certain piece is an arch bolstered by identical idiomatic virtuosity. ‘I was not a similarities with the music language of episodes at its beginning and at its

12 end. This is typical of the composer’s The scoring also, of course, recalls that The main theme of the slow 6 approach to the music structure of his of numerous works from the late 18th movement, in 8, comes close to large compositions. In this way century, and, similarly, the symphony’s quoting that of the rondo movement Kopytman creates a system of inner musical manners show a grateful of Mozart’s Violin Sonata K377, but dramatic correlation and a balance of assimilation on Schubert’s part of the leaves Mozart behind in its musical form. It is worth noting that lessons of Mozart and Haydn. Perhaps distinctively Schubertian approach to the latent connection with Jewish under the influence of Antonio Salieri, supple harmonic movement, and its folklore motifs on the one hand, and his teacher at this time, Schubert had alternation of fully scored passages the architectonic principle of the arch less time for Beethoven whose music with those of great delicacy. form as a constructive element (so he felt contained an ‘eccentricity ABOUT THE MUSIC THE ABOUT evident in Kaddish) on the other, which confuses and confounds [the] The Menuetto is in G minor, inviting became a characteristic feature of tragic and comic, sacred and profane, further comparison with two of Kopytman’s style. pleasant and unpleasant, heroic Mozart’s symphonies, with a central, strains and mere noise’. bucolic trio episode in G major. Dr. Yulia Kreinin The finale is a sonata-allegro with At 19 years of age, Schubert had As if making a virtue of necessity, a symmetrical pair of seemingly composed six of his nine symphonies Schubert begins the symphony with simple themes. four introductory bars (Donald Tovey (not to mention several string quartets If the work is a perfect assimilation and masses, numerous short solo calls them ‘delicious’) from his depleted woodwind section, before of Classical form and manner, it is pieces and about 300 songs). At this also a turning-point in Schubert’s stage, very little of his music had been launching his disarmingly simple first subject, with its skipping sequence of development, paralleling a change performed publicly, and, indeed, in his life. It was at the time of its Schubert would not live to witness a rising arpeggios. By contrast, the second subject theme is a lyrical, premiere that he left his father’s public concert of any of his house to live a more metropolitan symphonies. We can take some slower-moving tune that moves more often by step. Like Mozart, another existence in inner-city Vienna, comfort, though, in knowing that the beginning his short adulthood. works were all performed by an supreme lyricist, Schubert avoids too lengthy a development of his material. Gordon Kerry © 2010 enthusiastic ‘pro-am’ orchestra that Reprinted with permission of Symphony Services had grown up around the regular International performances of chamber music in the Schubert household. The Fifth Symphony, which appears to have been written at characteristic speed during September 1816, was performed later that year in the home of Schubert’s friend Otto Hatwig, concertmaster of the Burgtheater orchestra. The symphony omits clarinets, trumpets and drums, and requires only one flute, so must reflect the available musical personnel, but Schubert’s deployment of his resources shows that it must have been a fine ensemble. The string section was relatively sizeable, and Schubert himself often played violin or viola.

Franz Schubert

13 INSPIRED GIVING

LEADERSHIP CIRCLES Musicians Circle ($2500+) ($4000+) LEGAL FRIENDS OF Peter Jopling am qc & The Leadership Circles comprise Robert & Jan Green Lyndsey & Peter Hawkins* MELBOURNE RECITAL Dr Sam Mendeng individual donors whose lead gifts Diana Lempriere Dr Alastair Jackson CENTRE Allan Myers ac qc & support the Centre’s core concert James Ostroburski & Leo Sally MacIndoe Each year the group brings Maria Myers ac program and its mission to be a Ostroburski Dr Cherilyn Tillman & Tam Vu together music lovers from the Lady Marigold Southey ac singular place of inspiration, Robert & Jenni Stent Andrew & Jan Wheeler legal profession to help fund one or creativity, self-expression, learning Janet Whiting AM & Phil Lukies more concerts by an artist ($4000+) and enrichment through music. Prelude Circle ($1000+) Lyn Williams AM appearing as part of the Centre’s Deborah Dadon am Anonymous (6) Youth Music Australia Great Performers Series. The Hon Justice Michelle Gordon Artist Development Liz and Charles Baré & The Hon Kenneth Hayne Inaugural Artist Development & Adrienne Basser ($2500+) Legal Friends Inaugural Patrons Lady Primrose Potter ac Music Education Benefactor Helen Brack Jacinta Carboon* The Hon Justice Michelle Gordon & Craig Reeves Betty Amsden ao Bill & Sandra Burdett Naomi Milgrom AO The Hon Kenneth M Hayne ac qc In honour of Kath Vallentine John & Thelma Castles James Ostrobursk & Leo Louise & Martyn Myer Foundation Children’s & Family The Hon Alex Chernov ac qc & Ostroburskii° ($4000+) Betty Amsden ao Mrs Elizabeth Chernov Prof David Penington ac & Anonymous (1) ($2500+) Maxine Cooper & Michael Wright Dr Sonay Penington Rachel & The Late Hon Alan Peter & Ruth McMullin Life-long Learning Goldberg ao qc Rohan Mead Kathryn Fagg Kathy & George Deutsch Christine Sather* Mary Draper Naomi Golvan & George Golvan qc ($1000+) The Hon Justice Michelle Gordon & ($1000+) Master Class Lord Francis Ebury & Helen Brack Price/Lowy Family in memory Lady Suzanne Ebury Anonymous (4) The Hon Kenneth M Hayne ac ARM Architecture qc The Leo & Mina Fink Fund of John Price Maggie Edmond Jenny & Peter Hordern George & Laila Embelton Susan Fallaw Bailey-Lord Family* Peter B Murdoch qc & Adrienne Basser Helen Murdoch Prof John Langford am & Ensemble Giovane* The Leo & Mina Fink Fund The Late Christina McCallum Martin Ginnane & Ronnie Binding Mary Beth Bauer* Great Performers Jane Bloomfield ($2500+) Cathy Lowry Inaugural Great Performers Angela Glover Colin Golvan QC & Dr Deborah Dr Robert Piaggio Ann Gordon Helen Brack Benefactor Arnold & Mary Bram* Golvan Prof David Penington ac & The John & Jennifer Brukner Jan Grant Peter & Ruth McMullin Dr Sonay Penington Nance Grant AM MBE & Ian Harris Robert Buckingham & Dr John Foundation Betts Ralph & Ruth Renard Sandra Robertson Anonymous (2) Sue Hamilton & Stuart Hamilton ao Meredith Schilling Leonard Vary & Dr Matt Collins qc Darvell M Hutchinson am Bill & Sandra Burdett Brian & Esther Benjamin Barbara Burge Angela Wood Stuart Jennings ($1000+) The Ullmer Family Foundation Eva Besen ao & Marc Besen ac John & Thelma Castles Anonymous (3) Paulette & Warwick Bisley Ann Lahore Maria Mercurio The Hon Alex Chernov ac qc & Robert Abrahams & Julie Doyle ($500+) Hans & Petra Henkell Mrs Elizabeth Chernov Marcia and John K Arthur Richard and Susan Bunting Dr Caroline Liow Sarah & Baillieu Myer ac Stephen Newton ao Dr Shirley Chu & Wanghua William Peter Bartlett Barbara Burge Geoff & Jan Phillips Chu David Byrne The Hon Alex Chernov ac qc Maria Sola Greg Noonan Elizabeth O’Keeffe Christine & Michael Clough Leslie G Clements & Mrs Elizabeth Chernov Signature Events Helen L Perlen W K Clark & B Heilemann* Christine Clough Jim Cousins ao & Libby Cousins Inaugural Signature Events Dr Robert Piaggio Jim Cousins ao & Libby Cousins Bruce Curl Greg Noonan Benefactors Kerryn Pratchett Dr Jane Gilmour oam & Terry Brain* The Hon Julie Dodds-Streeton Helen L Perlen Yvonne von Hartel am & Peter Rose & Christopher Menz Kathryn Fagg* Dr Gavan Griffith qc ao Susan Renouf Robert Peck am Samara, Countess of Beekman Prof Andrea Hull ao* Robert Heathcote & Meredith King Lyn Williams am Lady Primrose Potter ac Barbara & Duncan Sutherland Dr Garry Joslin & Prof Dimity Reed Judge Sara Hinchey & Tom Pikusa Pamela Swansson am John Howie am & Dr Linsey Howie SHARE THE MUSIC Local Heroes Elisabeth & Peter Turner Kemp Street Partners* Anthony J & Philippa M Kelly PROGRAM The Klein Family Foundation Sally Webster Prof John Langford am & Maryanne B Loughnan qc This program enables Andrew & Theresa Dyer Peter Weiss ao The Late Christina McCallum Peter & Avril McGrath disadvantaged children and adults Dr Garry Joslin & Peter & Susan Mahler David O’Callaghan to attend concerts by providing Prof Dimity Reed am Supporters ($500+) Annette Maluish Elizabeth O’Keeffe tickets and transport free of charge. Craig Reeves Anonymous (1) Norene Leslie McCormac* Michael Shand qc Over 500 of these visits take place Majlis Pty Ltd Jenny Anderson Dr Richard Mills am each year through the generosity of Peter J Armstrong Rosemary O’Connor* ($500+) our donors. New Music Prof John Daley & Rebecca Coates Geoff & Jan Phillips Ingrid Braun Peter Jopling am qc Sylvia Geddes Rob & Philippa Springall Elizabeth Boros ($4000+) Naomi Milgrom ao Rosemary & David Houseman Laura Thomas* Katherine Brazenor Krystyna Campbell-Pretty Judith Hoy Gang Yun* Georgie Coleman Helen & Michael Gannon MUSIC CIRCLE PATRONS Penelope Hughes The Hon Chris Maxwell ac Wendy & David O‘Callaghan & PROGRAM Dr Anne Lierse ($500+) Sam Ricketson & Rosemary Ayton Alan Kozica Providing support essential to the Anonymous (2) Gerry & Susan Moriarty ($2500+) breadth, diversity and quality of Australian Standfirst° THE MARY VALLENTINE Rae Rothfield Anne Burgi & Kerin Carr the Centre’s artistic program. John & Mary Barlow LIMITLESS STAGE FUND Bill & Sandra Burdett Dorothy Karpin Magnum Opus Circle ($20,000+) ELISABETH MURDOCH The Fund supports projects of the Ann & Mark Bryce Melbourne Recital Centre Board of CREATIVE DEVELOPMENT Centre like digital broadcasts, ($1000+) George & Laila Embelton Directors FUND recordings, webcasts or other Keith & Debby Badger Joshua Evans° Kathryn Fagg Named after the Centre’s Founding forms of outreach, enabling the John & Mary Barlow Rachel Faggetter & Barry Jones Peter & Cally Bartlett Patron, this Fund supports projects Centre’s music-making to be Caroline & Robert Clemente Margaret Farren-Price & Stephen Carpenter & that make a difference to young available everywhere. Dennis & Fairlie Nassau Prof Ronald Farren-Price am Leigh Ellwood artists and accessibility to music. Greg Shalit & Miriam Faine Colin Golvan qc & Dr Deborah ($20,000+) Joseph Corponi Prof Richard Smallwood & ($20,000+) Golvan Naomi Milgrom ao The Hon Mary Delahunty Carol Smallwood Annamila Pty Ltd Naomi Golvan & George Golvan qc Kim Williams am Paul Donnelly & Brigitte Sirius Foundation Anne Kantor ao & Dr Milan Kantor Nance Grant am mbe & Ian Harris Melbourne Recital Centre Board of Treutenaere oam Robert & Jan Green Directors ($500+) Margaret Farren-Price & Jean Hadges Kathryn Fagg Vivien & Jacob Fajgenbaum Prof Ronald Farren-Price am ($10,000+) Dr Robert Hetzel Peter & Cally Bartlett Shulan Guo & Morris Waters Eda Ritchie am The John & Jennifer Brukner John Howie am & Linsey Howie The Hon Mary Delahunty Sue Hamilton & Stuart Hamilton ao Skipp Williamson & Carol Haynes Foundation Peter Jopling am qc & Dr Sam Stephen Carpenter & Dr Robert Hetzel Krystyna Campbell-Pretty Virtuoso Circle ($10,000+) Mendeng Leigh Ellwood George & Grace Kass Allan Myers AC QC & Maria Myers J.A Westacott & T.M Shannon Andy Lloyd-James & Joseph Corponi Maria Mercurio AC Trish Richardson Lloyd-James Paul Donnelly & Ann Miller Yvonne von Hartel AM & Composers Circle ($4000+) Margaret & Laurence Lou Brigitte Treutenaere Vivien Wertkin Robert Peck am Anonymous (3) Peter B Murdoch qc & Helen Margaret Farren-Price & Mrs Margaret S Ross AM & John & Lorraine Bates Murdoch Prof Ronald Farren-Price am *Ensemble Giovane: Donors Dr Ian C Ross Jenny & Peter Hordern Leon Ponte Eda Ritchie am in support of Masterclasses Angelina & Graeme Wise Alison & David Lansley Prof Richard Smallwood & The John & Jennifer Brukner °Amplify: Young Donors Louise & Martyn Myer Foundation Susan Thacore Mrs Carol Smallwood Foundation in support of Artist Development The Pratt Foundation Drs Victor & Karen Wayne Robert & Jenni Stent Lyn Williams am ($10,000+) List of patrons at 5 August 2016 Susan Thacore Betty Amsden ao Melbourne Recital Centre Drs Victor & Karen Wayne Senior Management Annamila Pty Ltd Message Consultants Australia John Calvert-Jones am & Pty Ltd Janet Calvert-Jones ao

14 THANK YOU

Melbourne Recital Centre acknowledges the generous support of its business partners, philanthropic supporters and patrons.

Founding Patron The Late Dame Elisabeth Murdoch ac dbe

Board Members Kathryn Fagg, Chair Joseph Corponi Margaret Farren-Price Peter Bartlett The Hon Mary Delahunty Eda Ritchie am Stephen Carpenter Paul Donnelly

Founding Benefactors Principal Government Partner The Kantor Family Helen Macpherson Smith Trust The Calvert-Jones Family Robert Salzer Foundation Lyn Williams am The Hugh Williamson Foundation

Business Partners International Airline Partner Presenting Partner Learning Partner

Supporting Partners

  

Program Partners

Foundations

THE HUGH THE KLEIN THE MARIAN & THE MARGARET THE MERLYN WILLIAMSON FAMILY E.H. FLACK TRUST LAWRENCE BEQUEST MYER FUND FOUNDATION FOUNDATION

THE SENTINEL THE URSULA THE VIZARD FOUNDATION HOFF INSTITUTE FOUNDATION

ENCORE BEQUEST PROGRAM Providing sustained support for all aspects of the Centre’s artistic program through its Public Fund. Anonymous (2) Ken Bullen The Estate of Beverley Shelton & Martin Schönthal Betty Amsden ao Jim Cousins ao & Libby Cousins Mary Vallentine ao Jenny Anderson Dr Garry Joslin Barbara Blackman Elizabeth O'Keeffe

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