Master Series

Marko Letonja’s Season 2012 SATURDAY 18 AUGUST 7.30PM AccessTix is a partnership Federation Concert Hall, Hobart Blitz between Hydro Tasmania and the Tasmanian Symphony Orchestra that gives the gift of Marko Letonja conductor music to the Tasmanian Tasmin Little violin community. TSO Chorus

The TSO works with STRAVINSKY community organisations Chorale-Variations on ‘Vom like Reclink Australia, Himmel hoch da komm’ ich her’ Colony 47, Lifeline and many more to ensure that Duration 18 mins all Tasmanians can enjoy their symphony orchestra BRUCH live in the concert hall. Violin Concerto No 1 Vorspiel [Prelude] (Allegro moderato) For more information call Adagio the TSO Box Office on Finale (Allegro energico) 1800 001 190 or email [email protected] Duration 24 mins

INTERVAL The gift of music Duration 20 mins Tasmin Little will be signing CDs and VAUGHAN WILLIAMS Andrew Ford will be signing copies of his latest book, Try Whistling This: Writings on The Lark Ascending Music, in the foyer after this concert.

Duration 13 mins

FORD Blitz*

Duration 28 mins ABC Classic FM will be recording this concert for broadcast. We would *World première. Commissioned by the appreciate your cooperation in keeping Tasmanian Symphony Orchestra with the coughing to a minimum. Please ensure support of the Sidney Myer Fund. that your mobile phone is switched off. This concert will end at approximately 9.30 pm. * Eligibility conditions apply. Subject to availability. 1

5378 TSO AcessTix Ad.indd 1 6/08/12 1:14 PM Artist profiles About the music

Marko Letonja Tasmin Little June Tyzack Igor Stravinsky Marko Letonja is Chief Conductor and Artistic In addition to performing as soloist with many June Tyzack is a graduate of the Tasmanian and (1882-1971) Director of the Tasmanian Symphony Orchestra of the world’s greatest orchestras, Tasmin Little Sydney conservatoriums and London’s Trinity Chorale-Variations on ‘Vom (TSO). Born in Slovenia, he studied at the Academy has play/directed orchestras such as the Royal College of Music. Her career with singers emanated Himmel hoch da komm’ ich her’ of Music in Ljubljana and the Vienna Academy of Philharmonic, Seattle Symphony, the English, from her work with the Tasmanian Company Music. He was Music Director of the Slovenian Norwegian and European Union chamber in the 1970s under Vanco Cavdarski. Subsequently Stravinsky’s love affair with baroque music dates Philharmonic Orchestra from 1991 to 2003 and orchestras, Britten Sinfonia, and the London in Sydney she worked with and from at least 1919, the year when impresario Serge Music Director and Chief Conductor of both the Mozart Players, with whom she recently gave the Opera Studio of the Sydney Conservatorium, Diaghilev handed him a collection of miscellaneous Symphony Orchestra and the Opera in Basel from the première of Roxanna Panufnik’s Four World Belvoir Street Theatre and the inaugural NIDA 18th-century Italian music with a view to having it 2003 to 2006. He was Principal Guest Conductor Seasons. She has made 17 appearances at the Music Theatre course, Sydney Philharmonia arranged for orchestra. Stravinsky was captivated, of Orchestra Victoria in 2008 and made his debut BBC Proms, and highlights include her 2003 Massed Choirs and Pacific Opera. In 2001 she and the result was the score for the ballet Pulcinella. with the TSO the following year. His many opera international tour with the Berlin Philharmonic was engaged as chorusmaster of the Tasmanian Nearly four decades and many neoclassical works later, Stravinsky turned to J S Bach’s engagements have included Pique Dame at the and Sir Simon Rattle and her ‘Delius Inspired’ Symphony Orchestra Chorus, and in addition to Chorale- Variations on the Christmas Song ‘Vom Himmel Grand Théâtre de Genève, Roméo et Juliette festival in 2006. Her ground-breaking media notable performances in Hobart and regional hoch da komm’ ich her’ BWV769 when looking for at the Teatro dell’Opera of Rome, Nabucco at project ‘The Naked Violin’, offering free digital Tasmania, under her direction, the TSO Chorus a companion piece for his recently completed work the Semperoper Dresden, Il dissoluto assolto/ downloads of recordings with accompanying has performed with Sydney Philharmonia Choirs, for choir, soloists and orchestra, Canticum Sacrum. Sancta Susanna and The Makropulos Case at audio guides, earned her a Gramophone Classic FM the Adelaide Festival Chorus and West Australian La Scala Milan, La cenerentola at the Opéra Award for Audience Innovation. Her most recent Symphony Orchestra Chorus. As chorusmaster of Before turning to Stravinsky’s Chorale-Variations, National de Montpellier, La traviata at Opera CD, a recording of the Elgar Concerto with the the Australian International Summer Orchestra it is instructive to consider the work on which Australia, Rigoletto at the West Australian Opera, Royal Scottish National Orchestra and Sir Andrew Institute (AISOI) she has prepared Mahler’s 2nd it is based. Written for organ in 1747 or 1748 Madama Butterfly at the Staatsoper Berlin, Die Davis, won the Critics’ Award at the 2011 Classic and 3rd Symphonies, and in 2009 she was the (i.e. towards the end of Bach’s life), the Chorale- Walküre at the Opéra du Rhin, and Die Walküre, BRIT Awards. She is a Fellow of the Guildhall chorusmaster and conductor for the Australian Variations on the Christmas Song ‘Vom Himmel hoch Siegfried and Götterdämmerung at the Teatro School of Music and the recipient of several Intervarsity Choral Festival. She walked the Camino da komm’ ich her’ takes as its starting point the São Carlos in Lisbon. He returned to La Scala this honorary degrees and a Gold Badge Award from de Santiago de Compostela in 2010 returning with chorale ‘Vom Himmel hoch da komm’ ich her’ (From heaven above I come), which may have been written January for a season of Les contes d’Hoffmann. the British Academy of Songwriters, Composers a program of Spanish choral music for the Festival by Martin Luther (the words are certainly Luther’s). Forthcoming engagements include concerts with and Authors. In June 2012 she was appointed an of Voices, and earlier this year undertook a period Bach, in other words, bases his set of variations on the Basel Symphony Orchestra and the Munich OBE in the Queen’s Birthday Honours list. She of professional development visiting iconic British a pre-existing chorale tune. Rundfunkorchester. In addition to his position plays a 1757 Guadagnini violin and has, on loan symphony choruses and the Tanglewood Festival at the TSO, he is Music Director of the Orchestre from the Royal Academy of Music, the ‘Regent’ Chorus in Boston, USA. Chorales were intended for congregational singing Philharmonique de Strasbourg. Stradivarius of 1708. so they tend to keep within a narrow range (usually no more than an octave), move mainly by step and unfold in a simple, steady rhythm. That is to say, they pose no particular challenges vocally. What Bach does in the Chorale-Variations on the Christmas Song ‘Vom Himmel hoch da komm’ ich her’ is use the Lutheran chorale as a cantus firmus (fixed voice) and weave around it newly written – and far more complex – countermelodies based upon motifs from the chorale. Bach’s skill in writing counterpoint (i.e. different melodies sounding together at the one time) was unparalleled, and he took the technique to extraordinary levels of complexity in his later years. 2 3 About the music

The Chorale-Variations, for example, use canons With the main theme launched by the solo violin of different structural type, each variation more Max Bruch and a contrasting descending second subject a complex than the last. (1838-1920) conventional sonata form seems to be under way. But where the recapitulation would begin, Bruch Whereas Bach’s Chorale-Variations were written Violin Concerto No 1 in G minor, uses the opening chords and flourishes to prepare for organ, Stravinsky’s transcription returns ‘Vom a soft subsiding into the slow movement where Himmel hoch’ to its vocal origins but uses only Op 26 the songful character of the violin is to the fore. the first stanza of Luther’s 15-stanza poem: Vorspiel [Prelude] (Allegro moderato) – The songful character of the violin is to the fore Vom Himmel hoch da komm’ ich her, Adagio in the Adagio, where two beautiful themes are Ich bring euch gute neue Mär. Finale (Allegro energico) linked by a memorable transitional idea featuring Der guten Mär bring ich so viel a rising scale. davon ich sing’n und sagen will. Max Bruch’s First Violin Concerto is one of the The Hungarian or Gypsy dance flavour of the Ralph Vaughan Williams greatest success stories in the history of music. last movement’s first theme must be a tribute to (1872-1958) From heaven above I come The violinist Joseph Joachim, who gave the first and bring you good new tidings. the native land of Joachim, who had composed performance of the definitive version in 1868 a ‘Hungarian’ concerto. Bruch’s writing for the The Lark Ascending – Romance Of glad tidings I bring so many, and had a strong advisory role in its creation, whereof I want to sing and say. solo violin scales new heights of virtuosity. Of the for Violin and Orchestra compared it with the other famous 19th-century second subject, Tovey observes that Bruch’s work Luther’s poem is based upon a passage from the German violin concertos, those of Beethoven, ‘shows one of its noblest features just where some Vaughan Williams was a late developer as a Gospel of St Luke, which details the birth of Jesus Mendelssohn and Brahms. Bruch’s, said Joachim, of its most formidable rivals become vulgar.’ In this composer. A distinctive voice did not emerge in and the visit to the manger by the shepherds. The is ‘the richest, the most seductive’. Soon Bruch concerto for once Bruch was emotional enough his work until he was nudging 40. Gwen Raverat ‘I’ referred to above is the angel. So as to hammer was able to report that his concerto ‘is beginning to balance his admirable skill and tastefulness. recalls talk in her youth of ‘that foolish young the melody home, Stravinsky departs from Bach’s a fabulous career.’ In addition to Joachim, the The success of this concerto was to be a mixed man, Ralph Vaughan Williams,’ who insisted on original by prefacing the transcription with a six- most famous violinists of the day took it into their blessing for Bruch. Few composers so long-lived pursuing music, even though ‘he was so hopelessly part harmonisation of the choral tune played by a repertoire: Auer, Ferdinand David, Sarasate. With and prolific are so nearly forgotten except for a bad at it.’ Pursue it he did, however, becoming brass choir: three trumpets and three trombones, his first important large-scale orchestral work, the single work. (Kol nidrei for cello and orchestra is the most important English composer of his with the tune played by the first trumpet. Once the 30-year-old Bruch had a winner. Bruch’s only other frequently performed piece, generation. Along with Gustav Holst, he mined chorale is heard in full, the five variations follow. In 1911 Bruch was asked why he, a pianist, had its use of Jewish melodies having erroneously led English folksong for inspiration, and even when it Stravinsky, in fact, offers more than just a transcription taken such an interest in the violin. He replied, many to assume that Bruch himself was Jewish.) is not quoted directly, there is a distinct folkloric of Bach’s work. He embellishes the already complex ‘Because the violin can sing a melody better than Bruch followed up this violin concerto with flavour to much of his work. InThe Lark Ascending counterpoint. Thus, the work is both a homage the piano can, and melody is the soul of music.’ It two more, and another six pieces for violin and this folkloric flavour appears in the use of modes, to Bach and an extension of Bach’s phenomenal was Bruch’s association with Johann Naret-Koning, orchestra. But although he constantly encouraged and in the work’s middle section, which moves into contrapuntal technique. Scored for mixed chorus concertmaster of the Mainz orchestra, which first violinists to play his other concertos, he had to a duple, folksy metre. This ‘Romance for Violin and and smallish orchestra (violins, cellos, clarinets and set him to composing for the violin. He did not feel concede that none of them matched his first. Orchestra’ was inspired by a poem of the same horns are omitted), Stravinsky’s Chorale-Variations sure of himself and reported that between 1864 name by George Meredith, which opens with the received its première in California in May 1956 but and 1868 ‘I rewrote my [first] concerto at least Abridged from David Garrett © 2004 following quatrain: found its rightful home when it was performed in half a dozen times, and conferred with x violinists.’ He rises and begins to round, St Mark’s, Venice, in September that year at the first The most important of these was Joachim. Like He drops the silver chain of sound, performance of the Canticum Sacrum. Mendelssohn in his celebrated Violin Concerto, Of many links without a break, Bruch brings the solo violin in right from the In chirrup, whistle, slur and shake. Robert Gibson TSO © 2012 start, after a drum roll and a motto-like figure for The Tasmanian Symphony Orchestra first performed this work with conductor Joseph Post and soloist Despite the connection with Meredith’s the winds. The alternation of solo and orchestral Beryl Kimber in Hobart on 11 April 1951, and most poem, Vaughan Williams does not attempt a flourishes suggests to Michael Steinberg a dreamy This is the first performance of this work by the recently with Sebastian Lang-Lessing and Feng Ning programmatic transcription. The work commences Tasmanian Symphony Orchestra. variant of the opening of Beethoven’s Fifth Piano in Burnie and Hobart on 28 and 30 March 2009. with the violin seeming to extemporise around Concerto (Emperor). 4 5 About the music

open intervals, in a passage that immediately to Howl. He was composer-in-residence with the Blitz also contains two important musical Transcription of the spoken accounts heard in Blitz: evokes ascent. The entire work is cadenza-like, Australian Chamber Orchestra 1992-94 and, more quotations. The first consists of the opening bars Looking back, it was a totally bizarre time . . . It was and captures the ecstasy of the lark’s song, but recently, with the Australian National Academy of Bruch’s Violin Concerto in G minor, various so strange . . . It’s what you accept, isn’t it? That was the modal flavours also suffuse it in nostalgia, of Music. He has received commissions from the transformations of that falling three-note melodic your life. At four, you wouldn’t know any different, a yearning quality. Sydney Symphony, Sydney International Piano figure permeating the piece – in fact the theme would you? . . . Too young to be afraid, I think. Didn’t Vaughan Williams composed The Lark Ascending Competition and Victorian Opera. Additionally, is already being transformed before it is heard in understand . . . That was it. That was life . . . When in 1914, just before the outbreak of World War I. his music has been performed by the New its original form. And why the Bruch? Well the the war started I was one month short of being 12. It was dedicated to violinist Marie Hall, who gave Juilliard Ensemble, Brodsky Quartet and London slow-motion falling figure struck me as a useful So, I wouldn’t remember very much . . . I can’t even the first performance with Geoffrey Mendham in Sinfonietta. In 2010 and 2011 he was a tutor at musical symbol for dropping bombs, but also, remember what happened yesterday. the TSO’s Composers’ School. His books include more prosaically, from 1880 to 1883, the German December 1920 in an arrangement for violin and I was only four when it started but I do remember, Illegal Harmonies, In Defence of Classical Music, composer was chief conductor of the piano. (The first orchestral performance took not being bombed out, but being what they called The Sound of Pictures and Try Whistling This. Every Philharmonic Society. place in June 1921.) ‘blasted’ and all the windows were blasted in. And I week he reaches a wide audience through The An unsympathetic observer once described the The second quote is the great Lutheran chorale was rolled in a blanket and passed out the window Music Show, his Saturday morning program on music of Vaughan Williams as being like ‘a cow ‘Vom Himmel hoch’, which Bach used so . . . We all knew the Germans’ planes because they ABC Radio National. looking over a gate,’ but it is in this quality of memorably as the basis for his set of canonic went ‘Drrum, drrum, drrum, drrum, drrum.’ . . . They rumination and reflection that lies its greatness. The composer writes: variations. At the point in Blitz at which the were the baddies . . . That was the sound of the planes As Neville Cardus says: ‘Reflection is not readily The voices you will hear in Blitz are those of elderly English voices give way to German voices, going over . . . They were the baddies. And we were separable from feeling in Vaughan Williams; there men and women who were children in Liverpool, I needed something momentous to happen. the goodies, of course . . . If there was an air raid we are no personal approaches, no egoisms.’ In this Berlin and Hamburg during World War II. After I was attempting to find a musical equivalent either got under the kitchen table or, more often, work, reflection is sheer bliss. London, the port of Liverpool was the most heavily of the firebombing of Hamburg, though of course under the stairs. There wasn’t a lot of room under the bombed British city, more than 4,000 people supposing it were even possible, such music would stairs . . . My brother and I would sleep underneath Anna Goldsworthy © 2001 dying there during the course of the war, mostly be too awful to listen to. But what, I wondered, the dining-room table, which was immediately under in December 1940 and May 1941. In Hamburg, if I were to produce a great peal of C major at the window . . . Our father, he would stand by the The Tasmanian Symphony Orchestra first performed during three nights of Allied bombing in July 1943, this point, lighting up the musical sky, not with back kitchen door. And he said, ‘This is going to be this work with conductor Walter Stiasny and approximately 45,000 people died. There was horror, but with something awful in the true a close one’. I couldn’t hear a thing and I’ve always soloist Constantine Lavroff in December 1966, and similar loss of life in Berlin. sense – music that is full of awe. So you will assumed it was because of his experience in France in most recently at RACT Symphony under the Stars hear three statements of the hymn tune, played Although the impulse to compose this piece of the 14–18 War, in the trenches, that this sixth sense, with Marc Taddei and Ji Won Kim in Hobart and simultaneously at different speeds in a kind of Launceston on 18 and 25 February 2012. music came, initially, from a desire to share the if you like, knew this was coming . . . ecstatic cacophony. childhood stories of my parents and their friends It was December 1940 . . . And it turned out it was a in Liverpool during the war, and to juxtapose these Blitz is dedicated to the people whose voices landmine . . . The window frame came in on top of Andrew Ford with accounts from Germany, the music itself took you hear during its course. They are, in order of the table . . . People living in the houses at the back: (b 1957) over quite quickly. This is a piece of music, not a appearance, Ken and Pat Wilson, Alec and Marjorie they died . . . Took the whole wall at the back of our documentary. And yet in several senses this music Ford (my parents), Hansjuergen Enz, Ursula house, took the whole wall out. Which didn’t alarm Blitz, for Orchestra, Chorus and relates rather strongly to the stories being told. Ezimora and Edith Bauermeister. my grandfather one iota because he slept in the pre-recorded Voices* There is, for example, the music of the voices Andrew Ford © 2012 back bedroom and suddenly the wall of his bedroom themselves. Although the recorded interviews were had disappeared. But he said he wasn’t going to get Born in Liverpool, composer, writer and edited for content, in the context of the orchestra up for Hitler. broadcaster Andrew Ford has been based in I treated them as solo instruments. In some cases, Most people where we lived had Anderson shelters Australia since 1983. His works include the music I composed conversations between a voice and an . . . We didn’t have one of those, although we could theatre piece Night and Dreams: the Death of instrument, such as the duo between my mother have had one, but we didn’t because my father was *World première. Commissioned by the Tasmanian Sigmund Freud, the opera Rembrandt’s Wife (which and a trombone that begins about five and a half asthmatic and he couldn’t possibly have gone out Symphony Orchestra with the support of the Sidney won the 2009 Green Room Award for ‘Best New minutes into the piece (‘Most people where we into the night air and spent the night in an Anderson Myer Fund. Australian Opera’) and the song cycle Learning lived had Anderson shelters’). shelter. And if he couldn’t go out, none of us wanted to 6 7 About the music

go out without him, so we stayed in the house . . . The get hold of it. And he put the sand over the bomb and They were high up in the sky, we could see the… I worst raid I remember was the night an ammunition then had to poke it through to the bedroom below to don’t know the English word… Kondensstreifen in . . . vapour trails train was on the railway line just one street away from extinguish it properly. At the same time that this was the air, and the humming sound ‘hmmrrr’. There where we lived and it was hit with incendiaries and the happening there was somebody hammering on the was no end to it, there were thousands of them ammunition was going up with very loud explosions front door – one of the air raid wardens – shouting, in the air . . . Ein Brausen. A roar. and it continued to go on exploding all through the ‘Put that light out! Put that light out!’, not realising Meine Heimat war Hamburg-Barmbek, My home was Hamburg-Barmbek,Weidestrasse night and, in fact, into the next day. And every time that it wasn’t a light at all, it was an incendiary bomb Weidestrasse – eine wunderschöne Strasse – – a very beautiful street, and as I said before, I there was a particularly loud explosion the kitchen that was blazing upstairs. und wie gesagt ich muss immer wieder auf den must always talk about the summer, which was door flew open, and my sister who was looking out During the war my father was in the fire service Sommer zurückkommen, der uns, also, wirklich exceptional. It was warm, the sky was blue, it was in that direction saw a landmine coming down. They rather than in the armed forces. I think it was his eine tolle Sommerzeit bescherte Es war warm, absolutely beautiful and the willows were right were mines that came down on parachutes. And she choice, rather than being directed into the army, but es war blau, es war wunderschön und die in front of our house and we lived on the third saw this landmine floating down towards us and she it was certainly no easy thing. One of his comments Weiden standen direkt vor unserem Haus dort floor and my canaries were sitting in a cage by let out such a scream! I remember my father, who was was, ‘Nobody can go anywhere in Liverpool, but the und wir wohnten in dritten Stock und meine the kitchen window . . . So, we actually had a very patriotic, saying, ‘Oh, be British!’ firemen can. All the barriers go up to let them in’ – Kanarienvögel in einem Käfig am Küchenfenster. very pleasant day, pleasant in quotation marks The morning after the ammunition train had gone up, even though it was dangerous . . . He told us some, So wir hatten also eigentlich ein sehr netten that is, just because there was always the sense everywhere was covered with a grit. Also, the trees but some he kept very much to himself and they Tag gehabt, nett mit Anführungszeichen denn of something bad in the back of your mind. were festooned with gun cotton. It was hanging like came out after the war. Sort of horrific tales . . . of a im Hinterkopf, hat man immer an irgend Then came dusk and once again the sirens went Christmas decorations on the trees and looked very school, in particular, I remember, in Denning Road. etwas Schlechtes denken müssen. Kam nun die off and once again we had to move into the pretty actually . . . We were taken down to view the That the children were, um . . . underneath, and they Abendzeit und wieder kam diese Sirene und basement. The laundry was boiling, the birds centre of Liverpool and the only thing that was there couldn’t get them out. I think I saw him cry that night wieder mussten wir in den Keller. Die Wäsche were singing, and yes, after it all was over we was the Victoria monument. A hideous statue of . . . Yes, I knew of children who left Liverpool to go and kochte, die Vögel sangen da und, ja, nachdem had made it through this raid on our Queen Victoria: she survived; complete wipe out all stay with relatives in the States. In fact, the people I’m diese ganze Sache überstanden war, dieser neighbourhood and we had lost our house. My round. Lord Street had gone. Church Street had gone. thinking of were shopkeepers and they would pay for Angriff auf unsere Gegend und wir unser Haus question as an eight year old was: ‘What about Oh yes, I can remember that little picture . . . Normally, their children to go. But they never made it . . . Their verloren hatten, war meine Frage als Achtjährige: my birds? Where are they? What are they doing?’ people would be looking for pieces of shrapnel . . . vessels . . . were sunk. ‘Was ist mit meinen Vögeln? Wo sind sie? Was There was no answer . . . Shrapnel was exchangeable. Well, not every morning Nineteen fifty-one, I think it was, we went to the machen sie?’ Es war keine Antwort darauf . . . but when they’d been and visited us overnight there Black Forest for a holiday. I was, I suppose, naïve Wenn die Flugzeuge über uns geflogen sind, When the planes flew above us, you’d hear the would still be smoke about. There would be steam enough to think – probably because my father was man hörte die Flugzeuge und dann hörte man planes, you’d hear ‘Zzzzzzzzz’. Also, when they about from where the fire brigade had been dousing patriotic – that we only did good things. That it was ‘Zzzzzzzzz’. Auch wie sie die Bomben losliessen released the bombs and when they then came the fires, I’m sure I never really . . . You could pick the enemy that did bad things. Until we went to visit und wie sie denn runterkämen ‘Fschttt!’ Da down ‘Fschtt!’ There was a whistle, a fizzling up huge fragments of jagged metal, either from the Freiburg, a little Black Forest town, a cuckoo clock war ein Sausen, ein Zischen und dann die and then the big explosion. And the crash where bombs or the shells which, as lads, this was very town – noted for its cuckoo clocks, in fact. And it had grosse Explosion. Und den Krach wo die Bombe the bomb had hit, the crash when everything exciting . . . you could put them in your pockets and been very badly bombed during the war. It wasn’t a eingeschlagen ist, den Krach wenn alles in was in ruins . . . After this bombing campaign then it would rip the inside of your pocket to pieces strategic target, didn’t have any heavy industry or Trümmern lag . . . Nach dieser Bombardierung, the next day for us was blue skies, I think… But it and you’d get told off by your mother when you got anything very important, but we, the British, had der nächste Tag war für uns blauer Himmel denke was black, black, black and in the sky you could home . . . The only real trophy that we found was the bombed it. And I was shocked at that. I think I viewed ich aber es war schwarz, schwarz, schwarz, und see something which must have been the sun. night the incendiary bomb came through our roof . . . war differently after that holiday . . . In 1948–49, I was am Himmel war etwas zu sehen was die Sonne We assumed it was the moon, because . . . it was I remember my mother and father rushing up the a national serviceman. I got off the boat in Hamburg sein musste wir nahmen an das wäre der Mond, really unimaginable. I had never seen anything stairs and he took the loft cover off and, of course, and looked out over the city. And it was just like denn es war nicht zu . . . nicht vorstellbar, so like this before. And it was like this – there was there were flames in the loft. He went up the ladder looking at a pancake with an odd building sticking was habe ich noch nie gesehen und es ist so talk about winds developing in Hamburg during into the loft and I remember my mother picking up a up in the distance . . . you know, two miles away, four das man . . . man sprach von Winden die sich da the summertime . . . it is quite windy here and tin bath of sand that we kept on the landing for such miles away. I suppose if you’d counted them you bei Hamburg in der Sommerzeit also entwickelt the wind was sweeping through the streets, an event and she was passing this up to my father in probably couldn’t have counted more than . . . twenty haben. Das ist hier doch sehr windig und der and everywhere was dust and all that stuff was the loft and she was shaking so much he could hardly buildings . . . over the whole area. 8 9 About the music

Wind fegte durch die Gassen und es hat alles swirling through the air and because of that we trauriges Kapitel aber es ist so man muss im the future. 1943 is over and the history that was mit Staub zu tun und dieser ganze Kram wurde perceived the day as night. It was really . . . I’ve Leben vorwärts denken und auch wir Deutschen written by our Hitler, that was dictated to us . . . in die Luft gewirbelt und dadurch haben wir also only ever seen something like this once in my life müssen also vorwärts denken ‘43 ist vorbei is over. We had to pay the price for what he did. überhaupt den Tag als Nacht hinnehmen können. and that was in 1943. Hmm. und die Geschichte die geschrieben wurde von Es war wirklich . . . ich hab’ so was nur einmal unserem Hitler diktiert wurde die ist einfach gesehen in meinem Leben und das war 1943. Hmm. vorbei. Wir haben unseren Preis zahlen müssen When we came out in the daytime and looked für das was er getan hat. at it and . . . as children, you look, you know, you In dieser gegen wo ich jetzt wohne, das ist an In the neighbourhood I live in now, it’s a main don’t get it straight away what’s going on, what der Hauptstrasse zum Flughafen, da habe ich road leading to the airport, I couldn’t really find happened. You know, it’s scary. And I said to my eigentlich keine alten Wurzeln mehr gefunden any old connections, but we feel good here. But mother, ‘What is that? And what, what, what, aber wir fühlen uns hier wohl. Aber wenn ich when I go for a walk towards the municipal park what, what?’ And then you see, you know, bodies z.B. mal spazieren gehe Richtung Stadtpark oder or in the shopping district Hamburger Street, and you see the plants and then you see the trees in die Einkaufsmeile Hamburger Strasse dann then I pass my old house, where I used to live cut down. And while we had a big park around us komme ich an meinem ehemaligen Haus vorbei as a child . . .But I can’t go close to it. I find it and the playgrounds – it was all nice and green wo ich als Kind gewohnt habe . . . Aber ich kann really depressing. It has changed so much. It is and trees – you know, and they all went into fire. da nicht rangehen das bedrückt mich zu sehr, das very cold and strange. I don’t like it. I don’t do it. All exploded . . . Unbelievable . . . hat sich so verändert. Es ist so kalt, so fremd. Ich Uh uh. No. A disaster . . . Because where rows of houses mag das nicht. Ich tue das nicht. Uh-uh. Nein. used to be, there was nothing but rubble. Piles Transcriptions and translations by Robert of rubble, of stone. Gibson and Leila Shunnar. Es war . . . alles war, zerstört. Alles war kaputt. It was . . . everything was destroyed. Everything Also das man schon Angst kriegte manchmal auf was broken. Also, it was scary to go out on the die Strasse zu gehen weil man vielleicht noch street sometimes, because you could have come Körper gefunden hätte. Find noch still bodies, across bodies. June Tyzack Chorusmaster you know, then with the phosphor when it hit, Andrew Bainbridge Assistant Chorusmaster a lot of people got burned. Und dann war die . . . And then there was the army and the Karen Smithies Répétiteur TSO Chorus Armee da oder die Volunteers die denn die Körper volunteers who would collect the bodies. zusammen gesammelt haben, who collected the Soprano Alto Tenor Bass bodies and put them on trucks and . . . wherever Alice Bowman-Shaw Claire Blichfeldt Peter Ball John Ballard they took them . . . Horses. Dead horses. People Christine Boyce Sally Brown Bill Field David Brewer went out with knives and cut open the horses Karen Cockrill Beth Coombe Michael Kregor Chris Carolan and got the meat out to take it home. That’s Ruth Croser Sue Harradence Bill MacDonald Rowan Clymo-Rowlands what I visually can still see: people there cutting Felicity Gifford Kirsten Jones Tony Marshall Greg Foot open horses, to get food. Debra Jensen Caroline Miller Dianne O’Toole James Gath Loretta Johnston Jennifer Phillips David Pitt Garry Harradence Wie so Poker, ja, der hat uns da einfach Just like a game of poker, you know. He [Hitler] Sheila Knowlton Eryl Raymond James Powell-Davies Peter Hepburn reingeschmissen und wir mussten das jetzt just threw us in there and we had to pay for it. Bernadette Large Jennifer Thain Emerson Shuey Sam Hindell ausbaden. Das ist die Rechnung für einen Krieg. There’s the bill for a war! We paid it . . . And also, Heather McCallum Sally Vance Peter Tattam Duncan How Die haben wir bezahlt . . . Und auch so wir haben we don’t have any contacts left. I’ve never again Stephanie McDonald Gillian von Bertouch Andrew Tulloch Stefan Karpiniec dort überhaupt keine Kontakte, gar nichts. met any of the people that we lived with during Christine Ovens Beth Warren Phillip Kimber Ich habe nie wieder irgend einen Menschen that time. I’m thinking of Mrs Fiebiger. No, and so Julianne Panckridge Michelle Warren Steve Raymond getroffen mit dem wir mal so zusammengelebt for me this chapter is . . . Yes, it’s a sad chapter, Yasmin Shoobridge Susan Williams Dick Shoobridge haben. Ich denke an Frau Fiebiger. Nein, und so but that’s the way it is in life: you have to think Maria Stephens Anthony Sprent ist eigentlich für mich ist das Kapitel . . . Ja, ein to the future. And we Germans have to think to Joy Tattam 10 Sally Ward 11 Supporters ‘Rhodes’s singing is virile Chair Patrons Rank and File Bassoon Nicholas Heyward and Alan and Hilary Wallace Allanah Dopson and strong, imparting drama and Patrons Principal Horn Mrs Lola Hutchinson OAm In 2003 the TSO launched a new Mr Kenneth von Bibra Am Colin Jackson OAm fundraising initiative, the TSO and nobility to each song.’ and Mrs Berta von Bibra OAm and Mrs Dianne Jackson Patrons program. From a handful Darrell Jones and James Mainwaring The Australian Principal Trumpet of donors in 2003 the Patrons Veronica Keach program has grown to become Joy Selby Smith the TSO’s most important source Principal Timpani Andrew and Elizabeth Kemp of untied funds. Since 2003 John and Marilyn Canterford Doone Kennedy Ao TSO Patrons and Chair Patrons Principal Harp Colin Kent and Deanne Cooper have donated $900,000 to the Dr and Mrs Michael Treplin* Linda and Martin Luther Teddy Sings orchestra. In this, the 10th year of Principal Percussion Macquarie Accounting the program, these supporters will Helen Rule Katherine Marsden have donated over $1m. If you Choirmaster David McEwan Am and would like to join this illustrious Mrs Jennifer McEwan Brahms & Mahler list of supporters, please contact Anonymous Lisa Harris on 6232 4414 or email Michael Mellor and Elaine Soutar [email protected]. TSO Patrons Senator Christine Milne $500 or more annual donation Leon and Susan Morrell 8 December TSO Chair Patrons Yvonne and Keith Adkins John and Jenny Morris Jill Mure Saturday 7.30pm $5,000 or more annual donation Peter and Ruth Althaus Concertmaster Tony and Joanna Austin Kim Paterson Federation Concert Hall, Hobart Mike and Carole Ralston Kenneth and Annabel Baxter John and Marilyn Pugsley Associate Concertmaster Jane and Rex Bean Eryl and Steve Raymond Marko Letonja conductor R H O’Connor Hans Bosman and Sue Madden Jan and Alan Rees* Nicole Car soprano Principal Second Violin Aileen Buchan Dr H Rees and Dr C Drew bass-baritone Dr Joanna de Burgh Dr Howard and Mrs Dianne Bye Patricia H Reid TSO Chorus Principal First Violin Heather Cartledge* Dr John Roberts and Lisa Roberts George and Jan Casimaty Mrs Barbara Roberts Mr and Mrs S Roberts MAHLER Rückert-Lieder Rank and File Violin Anne and Don Challen BRAHMS A German Requiem Bruce Neill and Penny Clive Joan and Barry Chapman Kay Rodda Brian Shearer Rank and File Violin Dr Alastair Christie Teddy Tahu Rhodes needs no introduction. Famous for his Dr Tony Sprent Am Warwick Rule Peter Cochrane musicianship and magnetism, he sings Mahler’s profoundly Stephanie Cooper Mr Tony Stacey Am and moving Rückert-Lieder and appears with outstanding young Principal Viola Mrs Jeanette Stacey John and Jo Strutt The Cretan Family soprano Nicole Car and the TSO Chorus in Brahms’ Dr Louise Crossley Dr Jane Tolman Principal Cello Alan and Jean Trethewey Am eloquent and heartfelt German Requiem. Marko Letonja Richard and Gill Ireland John Dickens and Dr Ian Payne conducts this powerful and uplifting concert. Tom and Pauline Dorey Philip and Frances Tyrell Principal Double Bass His Excellency the Governor the Patricia Leary* Professor David Elliott Hansjuergen Enz Honourable Peter Underwood AC Principal Flute and Mrs Frances Underwood Mrs Sieglind Fyfe Ian Hicks John Upcher Emeritus Prof A R and Dr O F Glenn Principal Oboe Julius and Gabriella Vertessy Dr Duncan Grant Professor David Rich Catherine Walker psm and Patricia Haley and Mrs Glenys Rich John Cauchi sC Andrew and Amanda Halley Principal Clarinet Michelle Warren Dr Peter Stanton Barbara Harling Michael Wilkinson Rank and File Clarinet Brian and Jacky Hartnett Geoff and Vicki Willis Tim and Louise Mooney Robyn and John Hawkins J Zimmerman Principal Bassoon Dr Don Hempton and Anonymous x 10 Julia Farrell Mrs Jasmine Hempton Peter and Jeanne Hepburn *TSO Patron/Chair Patron since 2003. 13 The Orchestra TSO Partners

Violin Bassoon Chief Conductor CORE PUBLIC SUPPORT Jun Yi Ma Concertmaster Matthew Ockenden# & Artistic Director Elinor Levy Associate Concertmaster Laura Brown Marko Letonja Susanna Low# Principal Second John Panckridge Contrabassoon Managing Director Daniel Kossov Principal First Horn Nicholas Heyward Victoria Bihun Heath Parkinson* The Tasmanian Symphony Orchestra is assisted by the Australian Government through the Australia Council, its arts Rachel Bremner Australian Music Greg Stephens* funding and advisory body, and through Arts Tasmania by the Minister for the Arts, and the Tasmanian Icon Program. Rohana Brown Program Director Jules Evans Miranda Carson Roger Jackson PREMIER PARTNERs Yue-Hong Cha TSO Chorusmaster Cherelle Gadge Trumpet June Tyzack Michael Johnston Daniel Mendelow# Christine Lawson Mark Bain TSO Board Alison Lazaroff-Somssich Glenn Schultz Geoff Willis Chairman Christopher Nicholas Patricia Leary Deputy Chair Trombone major PARTNERs Don Challen Viola Donald Bate* Maria Grenfell Janet Rutherford* Ben Lovell Greene Nicholas Heyward Douglas Coghill Bass Trombone Simon Forrester Paul Oxley Robert Clark* David Rich Rodney McDonald leadership PARTNERS William Newbery Tuba John Upcher Anna Roach Timothy Jones* Colin Norris Company Secretary Cello Timpani TSO Foundation Sue-Ellen Paulsen* Matthew Goddard* Colin Jackson OAm Chairman Ivan James Colin Kent Executive Director Percussion Martin Penicka Gary Wain* FOTSO President partners Brett Rutherford Steve Marskell Diane Truskett Double Bass Calvin McClay Tasmanian Stuart Thomson* Harp Symphony Orchestra Robin Brawley Bronwyn Wallis# Federation Concert Hall Michael Fortescue 1 Davey Street, Hobart Celeste Tasmania 7000 Australia Flute Karen Smithies# Douglas Mackie* GPO Box 1450, Hobart Lloyd Hudson Piccolo Tasmania 7001 Australia *principal player # Box Office 1800 001 190 Oboe guest principal [email protected] media supporters David Nuttall* Administration (03) 6232 4444 Geoffrey Dodd Jun Yi Ma plays a violin attributed www.tso.com.au Dinah Woods Cor Anglais to Guarneri on loan from Nathan Waks. Clarinet Andrew Seymour* Chris Waller Bass Clarinet we also wish to thank Foot & Playsted

14 For information on TSO Partner opportunities, please contact John Pugsley on 6232 4420 or email [email protected] Tell Me a TSO Story MAX

22 August 7 September 20 September wednesday 6pm friday 7.30pm Thursday 6pm Federation Concert Hall, Hobart Federation Concert Hall, Hobart Federation Concert Hall, Hobart Marko Letonja conductor Marko Letonja conductor Marc Taddei conductor Guy Noble compere Piers Lane piano Tim Jones tuba Members of the Australian Christopher Lawrence compere Program includes Youth Orchestra WILLIAMS Star Wars – Main Title Program includes WILLIAMS Indiana Jones DUKAS The Sorcerer’s Apprentice KLEINSINGER Tubby the Tuba BRITTEN Storm from Four Sea VINE Piano Concerto No 2 DEBUSSY Golliwogg’s Cake-Walk Interludes, from PROKOFIEV Symphony No 5 from Children’s Corner HOVHANESS And God Created RAVEL Mother Goose – Suite (excerpts) TSOMax is the largest orchestra Whales (excerpts) HUMPERDINCK Hansel and Gretel you’ll hear in Federation Concert (excerpts) Who is your hero? Someone from Hall all year! Marko Letonja conducts TCHAIKOVSKY Swan Lake (excerpts) history? Someone from the movies? the Tasmanian Symphony Orchestra Whether it be Luke Skywalker or augmented by players from the Settle down for an hour of music Indiana Jones or Douglas Mawson, Australian Youth Orchestra in and captivating storytelling at this you and your children will be Prokofiev’s epic Symphony No 5, Family Classics concert with compere mightily entertained at this Family Dukas’ magical Sorcerer’s Apprentice Christopher Lawrence. Entertain and Classics concert and, who knows, and Carl Vine’s brand spanking empower your children with Tubby the you might even find your own inner new Piano Concerto No 2 featuring Tuba, a charming story that celebrates hero! At only $60 for a family of outstanding soloist Piers Lane. If the contribution that each of us four (even less for subscribers) this you’re looking for an orchestral makes to the lives of those around us, concert promises a great night out experience that’s larger-than-life, and enjoy such family favourites as for everyone. Go on, be a hero! this is the concert for you! Swan Lake and Mother Goose. With a price that’s too good to resist – only Family Concert $60 for a family of four (even less for subscribers) – Tell Me a Story offers 1 Adult + 2 Children $35 great value for the whole family. Family Concert 1 Adult + 2 Children $35

Bookings – 1800 001190 or tso.com.au

New Download, read and print the next program Feature in advance of the concert at tso.com.au 0438