Mahler with

Thursday 14 June and Friday 15 June at 8pm Town Hall Melbourne Symphony Orchestra conductor Emma Matthews soprano

Shostakovich No.1 INTERVAL Mahler Symphony No.4

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concerto that he began in 1947 under Dmitri wraps until 1955 when Stalin was Shostakovich safely embalmed. (1906–1975) The impetus for the work was almost certainly the series of concerts given Violin Concerto No.1 in A minor, by David Oistrakh in 1947 entitled Op.99 ‘The Development of the Violin’, and I Nocturne (Moderato) Shostakovich’s response to Oistrakh’s II Scherzo (Allegro) amazing artistry was to compose III Passacaglia (Andante this big, four-movement, essentially Cadenza – symphonic work and dedicate it to IV Burlesque (Allegro con brio – him. Oistrakh said: Presto) This composition sets before the violinist a Julian Rachlin violin fascinating and noble task…enabling him not only to display his virtuosity, but, in With the defeat of the Nazis in 1945, the first place, to give utterance to the most Stalin’s administration returned profound feelings, ideas and emotions. to the business of enforcing its The music weaves its spell gradually. values on the Soviet people, and The opening Nocturne – and how initiated a series of crackdowns on seemingly perverse to begin a artistic life. By February 1948 a Party bravura work with a nocturne – is Decree attacked the proponents of neither symphonic sonata-allegro nor ‘formalism’ in music. Shostakovich, virtuosic display. Rather the soloist despite publicly acknowledging is presented as a lyrical, meditative his ‘errors’, was relieved of his character, tentatively exploring a teaching duties. A first draft of the sombre landscape and rising by Decree included the resolution ‘to degrees to more impassioned, double- liquidate the one-sided, abnormal stopped gestures before retreating deviation in Soviet music towards slowly. The comparison with the textless instrumental works’. In the Scherzo could hardly be greater. event, ‘liquidate’ was replaced with Here the music is, in Oistrakh’s ‘censure’, but the intention is plain: words, ‘malignant, demonic, prickly’. textless works are susceptible to The solo part, often playing in many interpretations, and therefore counterpoint with solo woodwinds, less easy to censor. Perhaps for that requires all the virtuosity apparently Cover photo reason, Shostakovich kept the violin lacking in the first movement. Paul Gosney © ABC Classics Universal Music Australia

CONCERT INFORMATION This concert has a duration of approximately two hours Donald Runnicles, who was to have conducted and ten minutes, including an interval of 20 minutes. this program, recently cancelled his Australian engagements. Maestro Runnicles asked that the Friday evening’s performance will be broadcast live following message be conveyed to you: around Australia on ABC Classic FM (on analogue and digital radio), and will be streamed on its website. “With great regret, Donald Runnicles has asked the Melbourne Symphony and Sydney Symphony Please turn off your mobile phone and all other orchestras to release him from performances later this electronic devices before the performance commences. month, due to personal family reasons. He is grateful If you do not need your printed program after the to both institutions and to their audiences for their concert, we encourage you to return it to the program understanding and acceptance.” stands located in the foyer. MSO management and musicians express their thanks Melbourne Symphony Orchestra programs can be to Benjamin Northey for stepping in to conduct this read on-line or downloaded up to a week before each program at short notice. concert, from www.mso.com.au. about the music

The movement reaches a grim climax with the bone-rattling timbre of the xylophone. (1860–1911) While there is some gallows humour I Bedächtig – Recht in the Scherzo, and references to the gemächlich [Deliberately – DSCH motive (D-E-C-B natural) Really unhurried] which Shostakovich uses as his II In gemächlicher Bewegung, musical signature, the Passacaglia ohne Hast [In a leisurely is unapologetically baleful. Its tempo, without haste] theme, hinted at in the Scherzo but III Ruhevoll [Peacefully] fully stated here by low strings and IV Sehr behaglich [Very homely timpani, has an ominous tread to and comfortable] which the violin replies with long, heart-rending melodies. Like the Emma Matthews soprano Nocturne, the Passacaglia emphasises the melodic, rather than the bravura, ‘It is too beautiful: one shouldn’t aspects of the solo instrument, but allow oneself such a thing!’ exclaimed as the movement dissolves into the Mahler one day in 1900. He was concerto’s cadenza, there can be no standing on the balcony of his doubt that this is music conceived for David Oistrakh newly-built summer residence at a prodigiously talented performer. Maiernigg, surrounded by forest The cadenza leads without a break on the shores of the Wörthersee. into the Burlesque. Mahler’s career as a conductor usually left him only the summer It is only here, where the orchestra months for composition; when he plays the introductory bars without became Director of the Vienna Court the soloist, that we realise how in 1897 and conductor of the constant a presence the violin has in 1898 the been until now, and what stamina intensity of the workload meant that is required to play a work of such he composed nothing during those dimensions. But it’s not long before years. The house at Maiernigg was a the violin is drawn back into the perfect retreat, and the perfect place maelstrom. There is black humour, to complete his Fourth Symphony, and acid energy, and ever more which he had begun in the summer impossible-seeming gestures for the of 1899. soloist before a brief reminiscence of the Passacaglia is peremptorily shostakovich composing in his hut The symphony is at once the dismissed by a sudden cadence. culmination of certain aspects of the previous two and their complete Oistrakh gave the first performance antithesis. The Second Symphony in Leningrad in 1955 and a few is Mahler’s musical dramatisation months later introduced it to the West of nothing less than death and in a concert at . The resurrection, while in the Third, as he US press went wild; Stalin would have put it, ‘all nature finds a voice’. turned in his mausoleum. The Fourth, by contrast, is on an Abridged from a note by Gordon altogether more modest scale: Kerry © 2002 it consists of the ‘standard’ four The Melbourne Symphony Orchestra first movements (the first time Mahler performed this concerto on 9 May 1970 with adhered to that pattern), plays for a conductor Moshe Atzmon and soloist Nelli comparatively short 55 minutes or Shkolnikova, and most recently on the orchestra’s 2007 European tour, with Oleg Caetani and so, and is scored for a much smaller . orchestra. What it shares with its two predecessors is a preoccupation with ideas of life and death, and a relationship to the collection of folk INTERVAL poetry, Des Knaben Wunderhorn (The Youth’s Magic Horn), which Mahler mined for various song settings. The about the music final movement – which Mahler first One ‘bogeyman’ is ‘Freund Hain’, set in 1892 and which was originally a devilish fiddler such as we also planned for inclusion in the Third meet in Saint-Saëns’ Danse macabre. Symphony – is taken from the In an early sketch for his scherzo Wunderhorn collection, and describes Mahler wrote ‘Freund Hain spielt a child’s vision of heaven. auf’ (Our friend Hain strikes up). In the final version of this movement Commentator Paul Bekker has with its ländler (a peasant dance in suggested that the whole symphony triple time) Trio section, there is a was germinated by the song, and prominent solo for a violin which Michael Kennedy has noted that all is tuned higher than normal to the movements are ‘thematically make it sound like ‘ein Fiedel’ (a interconnected’. Dramatically, too, fiddle). Kennedy argues that Hain is the work is unified by a pervasive ‘picturesque rather than macabre’, sense of innocence: Mahler’s music but quotes Mahler who compared is never naïve, and its simplicity composing this work with ‘wandering is deceptive given the formal through the flower-scented garden of sophistication of its structure and Elysium and it suddenly changes to elaboration of its counterpoint, a nightmare of finding oneself in a but the work is careful to avoid Hades full of horrors’. the obtuse, the rhetorical and the Mahler in 1907 monumental. The philosopher There is no horror in the opening Theodor Adorno points out that of the work’s central adagio, by far After hymning St Cecilia, the the whole work’s ‘image-world the longest movement in the work. work ends quietly. For Cooke it is a is of childhood. The means are A set of variations, it is unified by ‘peaceful close’, for Adorno this ‘fairy- reduced, without heavy brass; horns the device of the pizzicato double tale symphony is as sad as the late and trumpets are more modest bass which plays a repeated figure or works… Joy remains unattainable, in number. No father figures are ostinato. There is a violent passage and no transcendence is left but admitted to its precincts.’ towards the end of the movement, yearning’. Like Maiernigg, this work is where the timpani take over the The first movement quickly perhaps ‘too beautiful’ to be true. basses’ figure, playing, as Adorno says, establishes the mood of childish ‘as drums once seemed before the age Gordon Kerry © 2003 innocence with the sound of of seven’. four flutes and sleigh bells, and simple melodies (one derived In the final movement the orchestra from Schubert) with pizzicato is joined by a soprano soloist for the accompaniment from low strings. Wunderhorn song, and it is here that Various solo instruments appear like the work’s ambiguities come into characters in a child’s story; the four clear focus. Ostensibly a cute account flutes at one point play low in unison of how a child might see heaven, it to give the effect of what Adorno calls is actually a cleverly disguised set of a ‘dream ocarina’. But as the great variations which allows Mahler to Mahler scholar Deryck Cooke once seem simple while constantly spinning put it, the serene surface of the work new and fascinating sounds. It conceals figures who he described as characterises various saints carrying ‘moving behind a veil which obscures on their earthly tasks to produce the their naked horror and makes them gastronomic delights of the afterlife: like the bogeymen who appear St Martha cooks, of course; St Peter in illustrations to books of fairy fishes, Herod (somehow admitted tales’. Neville Cardus, a wonderfully through the pearly gates) is the communicative writer about music, butcher. As Adorno notes: compared these musical goblins These are not only the modest joys of the to the shadows cast by candlelight useful south German vegetable plot… on a nursery wall. There is perhaps Immortalised in them are blood and latent danger in the brief eruption violence; oxen are slaughtered, deer and of the Fifth Symphony’s tempestuous hare run to the feast in full view on the fanfare in the first movement of this roads. The poem culminates in an absurd work, but the movement ends with a Christianity. moment of seraphic peace before its good-humoured conclusion. about the music

Wir geniessen die himmlischen We taste the joys of Heaven Freuden leaving behind all that is earthly. d’rum thun wir das Irdische meiden. No worldly strife Kein weltlich’ Getümmel is heard in Heaven. hört man nicht im Himmel! We live here in sweetest peace! Lebt Alles in sanftester Ruh’! We live an angelic life, Wir führen ein englisches Leben! yet we are merry as can be. Sind dennoch ganz lustig daneben! We dance and spring Wir tanzen und springen and skip and sing wir hüpfen und singen! while St Peter in heaven looks on. Sanct Peter in Himmel sieht zu! Johannes das Lämmlein auslasset, St John lets the lamb go running, der Metzger Herodes drauf passet! the butcher Herod is waiting for it. Wir führen ein geduldig’s, We lead the patient, unschuldig’s, geduldig’s, meek, guiltless ein liebliches Lämmlein zu Tod! dear little Lambkin to death! Sanct Lucas den Ochsen thät St Luke is slaughtering the oxen schlachten without care or consideration, ohn’ einig’s Bedenken und Achten, The wine is free der Wein kost kein Heller in the heavenly tavern, im himmlischen Keller, and the angels, they bake the bread. die Englein, die backen das Brot. Gut’ Kräuter von allerhand Arten, Fine vegetables of every kind die wachsen im himmlischen Garten! grow in the gardens of Heaven, Gut’ Spargel, Fisolen, good asparagus and beans, und was wir nur wollen! whatever we fancy, Ganze Schüsseln voll sind uns bereit! big bowls are prepared for us! Gut’ Äpfel, gut’ Birn’ und gut’ Good apples and pears and grapes! Trauben! The gardeners let us take all! Die Gärtner, die Alles erlauben! Do you want a roebuck or hare? Willst Rehbock, willst Hasen, Here in the open streets Auf offener Strassen they run about! sie laufen herbei! Sollt ein Fasttag etwa kommen And when there is a fast day alle Fische gleich mit Freuden the fish come swarming in merrily! angeschwommen! St Peter, he runs Dort läuft schon Sanct Peter with net and with bait mit Netz und mit Köder to fish in the heavenly pond. zum himmlischen Weiher hinein. St Martha is the cook, who else? Sanct Martha die Köchin muss sein! Kein Musik ist ja nicht auf Erden, No music on earth die uns’rer verglichen kann werden. can compare with ours. Elftausend Jungfrauen Eleven thousand virgins zu tanzen sich trauen! come forward to dance! Sanct Ursula selbst dazu lacht! Even St Ursula laughs to see that! Above: Pages from the collection Kein Musik ist ja nicht auf Erden, No music on earth Das Knaben Wunderhorn die uns’rer verglichen kann werden. can compare with ours. (The Youth’s Magic Horn) Cäcilia mit ihren Verwandten Cecilia and her relations sind treffliche Hofmusikanten! are excellent court musicians! Translation: Hedwig Roediger Die englischen Stimmen The angelic voices ABC/Symphony Services ermuntern die Sinnen! lift our spirits International © 1986 dass Alles für Freuden erwacht. and all things awaken to joy! The Melbourne Symphony Orchestra first performed Mahler’s Fourth Symphony on 17 September 1949 under conductor Otto Klemperer; the soloist was Elisabeth Schwarzkopf. The orchestra most recently performed the work in May 2007 with Mark Wigglesworth and soprano Celeste Lazarenko. about the music

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A GREAT ORCHESTRA NEEDS GREAT INSTRUMENTS The Melbourne Symphony Orchestra Instrument Fund ensures the artists of “Music can transform the human the MSO have instruments equal to their superb talent. spirit. This is an art to which I have devoted my life, and I hope 2012 is a special year for the MSO as instrumentalists, choristers and you will help this special appeal audiences return to the refurbished Hamer Hall, and its enticing new world for our woodwind section, in of acoustic splendour. whatever way you can.” Your superb woodwind section has identified three extraordinary Prudence Davis, MSO Principal Flute instruments to assist them to in their quest for ever improving standards: OBOE D’AMORE – The oboe of love! This serene member of the double- reed family has been a cherished part of the orchestral sound-world from the 18th century. The current MSO instrument is beyond repair and desperately needs replacing. CONTRABASS CLARINET – Despite its increasing use in the orchestral repertoire since the mid-20th century there are very few of these instruments in Australia. The MSO does not currently own a contrabass clarinet and, given its increase in usage, it is essential that we purchase one at this time. WOODEN FLUTES – To recreate the authentic sounds of the flute in the music of such composers as Beethoven, Schumann and Brahms, the purchase of two wooden flutes will greatly enhance the sound of the MSO for these performances. CAN YOU HELP? We welcome all donations, but a donation of $100 or more will help us solve these problems in a timely manner. Donations over $2 are fully tax- deductible. Donate online at mso.com.au (click on Belong then Donate), or call 03 9626 1107, or post your donation to MSO Instrument Appeal, Melbourne Symphony Orchestra GPO Box 9994 Melbourne VIC 3001. © James Penlidis about the artists

© JULIA WESELY benjamin northey Julian Rachlin conductor violin Benjamin Northey made his debut with the Melbourne During the course of his 23-year professional career, Symphony Orchestra in 2003 and currently holds the Julian Rachlin has established close relationships with MSO’s chair of Patricia Riordan Associate Conductor. many leading conductors and orchestras. He is also an accomplished violist and conductor, and this year marks He studied with at the the 12th anniversary of the Julian Rachlin and Friends , graduating in 1999 with first Festival held annually in . class honours in Performance, followed by a Master of Music in Conducting. He was a participant in the This season’s engagements have included his debut Symphony Australia Conductor Development Program with The Cleveland Orchestra, the opening of The and studied with at the Philadelphia Orchestra season, and concerts with in Helsinki and at the Royal College of Music, Stockholm the Detroit Symphony, Philharmonic, Leipzig with Jorma Panula. In 2007 he was selected as one Gewandhaus Orchestra, Philharmonic Orchestra of of three participants worldwide to the International La Scala, Rotterdam Philharmonic and the Sydney Conductor’s Academy of the Allianz Cultural Foundation, Symphony. Play/direct performances have included which entailed a year-long mentorship with the London collaborations with the Camerata Salzburg, the Moscow Philharmonic Orchestra and the Virtuosi, Heliopolis Symphony (Brazil), Taipei Symphony under conductors Christoph von Dohnányi and Vladimir and the RTÉ National Symphony Orchestra. Forthcoming Jurowski, and culminated in an acclaimed performance of is the premiere of ’s new Double Stravinsky’s Symphony in C at . Concerto with and the Bavarian Radio Symphony at the Vienna Musikverein. He returned permanently to Australia in 2006 and has since been a regular guest with all the Australian Born in in 1974, Julian Rachlin moved to state symphony orchestras and has led ballet and opera Vienna in 1978. He studied at the Vienna Conservatory productions including and Così fan tutte with Boris Kuschnir and privately with . for , and The Elixir of Love, The Tales In 1988 he won the Eurovision Young Musicians’ of Hoffmann and La sonnambula for State Opera of Competition, and afterwards became the youngest ever South Australia. soloist to play with the Vienna Philharmonic, making his debut under . Recent engagements include a major program with the London Philharmonic and his debut with the Southbank Among his acclaimed recordings is Dmitri Sitkovetsky’s Sinfonia, and concert appearances with the Melbourne, arrangement for string trio of Bach’s Goldberg Variations, Sydney, Queensland, Adelaide, West Australian and recorded with Nobuko Imai and . Tasmanian Symphony orchestras, , the Since September 1999, Julian Rachlin has been on the New Zealand and Christchurch Symphony orchestras and faculty of the Vienna Conservatory Private University. the Hong Kong Philharmonic. In addition to his educational outreach activities, he is a UNICEF Goodwill Ambassador. He plays the 1704 ‘Ex-Liebig’ Stradivari, on loan from the Dkfm. Angelika Prokopp Privatstiftung. about the artists

A Daimler Brand We are the sum of We are the sum of many perfect parts. many perfect parts. When we come together When we come together in perfect harmony, in perfect harmony, the results will move you the results will move you in a way you’ve never in a way you’ve never been moved before. been moved before. Our passion for excellence Our passion for excellence gives us the impetus gives us the impetus to innovate. to innovate. Our versatility allows Our versatility allows us to surprise. us to surprise. We proudly invite you We proudly invite you © Bridget Elliot to take a seat to take a seat and enjoy what we do best. and enjoy what we do best. Emma Matthews soprano Soprano Emma Matthews is a highly acclaimed and awarded , having received more than any other individual artist, as well as nine , the Mo Award and the Remy Martin Australian Opera Award. Equally at home on the opera stage and the concert platform, she has performed Like attracts like. Mercedes-Benz Australia/Pacific, official automotive with all the major Australian symphony orchestras, the partner to the Melbourne Symphony Orchestra. Australian Chamber Orchestra, Melbourne Chamber www.mercedes-benz.com.au Orchestra, Ensemble Liaison, Orchestre Philharmonique de Monte Carlo, at the Royal Opera House Covent Garden, and at the Sydney, Melbourne, Adelaide and Huntington Festivals, with such conductors as , Sir , Marko Letonja and Yakov Kreizberg. She has also appeared as special guest Organ Classics with José Carreras in Sydney. Known for her interpretations in the lyric coloratura at Town Hall repertoire, recent highlights include the title roles in Partenope, Lakmé, , The Cunning Little Vixen (Royal Opera House, Covent Garden), Léïla (The Pearlfishers), Amina (La Sonnambula), Gilda () and Philomele (The Love of the Nightingale by Richard Mills) as Flamboyant organist well as return engagements with the Sydney Symphony Cameron Carpenter will put and the Orchestre Philharmonique de Monte Carlo. the renowned Melbourne Town Hall organ through its Earlier this year, Emma made her role debut as Violetta paces in Poulenc’s popular (La traviata) for Handa Opera on Sydney Harbour. Organ Concerto. Further engagements in 2012 include Brahms’ German Requiem (WASO and Simone Young), concerts and recitals Friday 22 June at 7.30pm Monday 25 June at 6.30pm in Brisbane (with AYO and Simone Young) and Sydney, Melbourne Town Hall Opera in the Vineyard and the title role in Lucia di Lammermoor for both Opera Australia and West Australian Opera. Tickets FROM

Her solo album of bel canto arias, Emma Matthews in Monte $60 Carlo, is available on Universal/ABC Classics. BOOK NOW at mso.com.au or call 1300 723 038 the orchestra Melbourne Symphony Orchestra Tadaaki Otaka Principal Guest Conductor Benjamin Northey Patricia Riordan Associate Conductor Chair First Second Violins Katharine Brockman Flutes Bassoons Trumpets Tuba Wilma Smith Matthew Tomkins Simon Collins Prudence Davis Matthew Geoffrey Payne Tim Buzbee Harold Mitchell AC Principal Gabrielle Halloran Principal Ockenden*^ Principal Principal Concertmaster Chair Cindy Watkin Guest Principal Robert Macindoe Wendy Clarke Shane Hooton Caleb Wright Timpani Roy Theaker Associate Principal Associate Principal Elise Millman Associate Principal Isabel Morse* Christine Turpin Associate Associate Principal Monica Curro Rosia Pasteur* Sarah Beggs William Evans Principal Concertmaster Assistant Principal Natasha Thomas Julie Payne Michael Kisin Cellos Piccolo Percussion Mary Allison Principal David Berlin Andrew Macleod ContraBassoon Trombones Robert Clarke Isin Cakmakcioglu Principal Principal Brock Imison Brett Kelly Principal Peter Edwards Cong Gu Principal Principal Assistant Principal Andrew Hall Sarah Morse Oboes John Arcaro Associate Principal Kenneth Robert Cossom Kirsty Bremner Rachel Homburg Jeffrey Crellin Horns McClimont Shaun Trubiano*^ MSO Friends Chair Christine Johnson Nicholas Bochner Principal Andrew Bain Associate Principal Philip Lajta Assistant Principal Principal Sarah Curro Vicki Philipson Harp David Shafir Michael Bertoncello Lerida Delbridge Isy Wasserman Miranda Brockman Associate Principal Geoff Lierse Julie Raines Peter Fellin Philippa West Rohan de Korte Ann Blackburn* Associate Principal Bass Trombone Principal Deborah Goodall Patrick Wong Sharon Draper Saul Lewis Eric Klay Delyth Stafford* Lorraine Hook Roger Young Joan Evans COR ANGLAIS Principal 3rd Principal Kirstin Kenny Lynette Rayner* Keith Johnson Michael Pisani CELESTE Trinette David Bobroff*†† Ji Won Kim Emily Long* Angela Sargeant Principal Louisa Breen Eleanor Mancini Michelle Wood McClimont Guest Principal Anne Martonyi Clarinets Rachel Silver Mark Mogilevski Fiona Sargeant Double Basses David Thomas Sarah Willis* Michelle Ruffolo Acting Principal Steve Reeves Elisabeth Murdoch Kathryn Taylor Principal Julia Joyce*^^ Principal Clarinet Alice Rickards*† Guest Principal Andrew Moon Chair Associate Principal Justin Williams Philip Arkinstall Acting Associate Sylvia Hosking Associate Principal Principal Assistant Principal Craig Hill Trevor Jones Damien Eckersley * Guest Musician Assistant Principal Benjamin Hanlon Bass Clarinet † Courtesy of BBC Scottish Symphony Orchestra Suzanne Lee Jon Craven †† Courtesy of Iceland Symphony Orchestra Katie Betts Stephen Newton Principal Christopher Cartlidge ^ Courtesy of Australian Opera and Ballet Orchestra Lauren Brigden ^^ Courtesy of New Zealand Symphony Orchestra

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