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MASTER 6

Friday Variation I (Tempo della thema) Pre-Concert Dinner Offers 28 June 7.30pm Variation II (Tempo della thema) Federation Concert Hall Variation III (Andante sostenuto) Exclusive to TSO Ticket Holders Hobart Variation IV (Andante grazioso) Variation V (Allegro moderato) Jaime Martín conductor Variation VI (Andante) Narek Hakhnazaryan Variation VII and Coda (Allegro vivo) Duration 18 mins RAVEL Le tombeau de Couperin INTERVAL Prélude Duration 20 mins Forlane BRAHMS Menuet No 1 Rigaudon Allegro molto Duration 17 mins (Allegro non troppo) TCHAIKOVSKY Adagio non troppo Nocturne for Cello and Small Menuetto I & II Duration 5 mins Scherzo (Allegro) TCHAIKOVSKY Rondo (Allegro) Variations on a Rococo Theme Duration 49 mins Introduction (Moderato quasi andante) This concert will end at approximately Theme (Moderato semplice) 9.30pm.

Tasmanian Orchestra concerts are broadcast and streamed throughout Australia and around the world by ABC Classic. We would appreciate your cooperation in keeping Two Course Set Menu $90pp coughing to a minimum. Please ensure that your mobile phone is switched off. landscaperestaurant.com.au 3 Maurice Ravel (1875–1937)

Le tombeau de Couperin by Couperin, for all the antique mood Prélude established by its modal and Forlane classically balanced phrases. Menuet It was the concept of the French Rigaudon Baroque suite – each dance with its In late 2019 Jaime Martín becomes Chief Since winning the Cello First Prize and Gold specified character and set tempo – In Le tombeau de Couperin, Ravel takes rather than its musical style that emerged Conductor of the RTÉ National Symphony Medal at the XIV International Tchaikovsky us back to the 18th century. The in Le tombeau. And the apparent Orchestra (Ireland) and Music Director Competition in 2011 at the age of 22, Narek isn’t a but an anachronistic contradiction of a suite of dances of the Los Angeles Chamber Orchestra. Hakhnazaryan has performed with most tribute that proclaims Ravel’s affinity dedicated to the memory of fallen with the French Baroque masters in his comrades is perfectly resolved, although He is Artistic Director and Principal major and in recital and chamber conception of music as diversion, his the muted gracefulness of the music Conductor of the Gävle Symphony, as music across the globe at many of the world’s taste for ‘artifice’, and his preference for suggests serenity, even resignation, well as Chief Conductor of the Orquestra most prestigious festivals. A former BBC New emotionally disengaged dance forms. rather than melancholy. Ravel’s title revives the 17th-century de Cadaqués and Director of Spain’s Generation Artist, Hakhnazaryan is currently Shortly after Marguerite Long gave French literary and musical tradition Santander International Festival. Prior to the first performance in 1919, Ravel one of the Vienna Konzerthaus’s Great Talents of the tombeau (literally ‘tomb’ or orchestrated four of the movements: , he was Principal Flute of the ‘tombstone’) – originally poetry written appearing regularly at the Konzerthaus in Prélude, Forlane, Menuet and Rigaudon. to commemorate a mentor or colleague. London Philharmonic and the Academy of recital, and with orchestra. The scoring is light – pairs of winds The earliest musical tombeaux were St Martin-in-the-Fields, among others. Since (including piccolo and ), His 2018-19 season has included return by lutenists, but the genre was quickly two horns, trumpet, harp and strings – turning to conducting, Jaime Martín has adopted by French harpsichordists. appearances with the Baltimore Symphony preserving the translucence, simplicity conducted orchestras such as the Orchestre Orchestra, Royal Stockholm Philharmonic Ravel’s tombeau was conceived towards and restrained mood of the original. Philharmonique de Radio France and Royal Orchestra, National Symphony Orchestra, the end of 1914, when the Ravel makes much of the contrast Liverpool Philharmonic. 2018 saw debut wrote to Lucien Garban (of Durand between woodwinds and strings, often Taiwan, and Helsinki Philharmonic, recital performances with the London Symphony publishers): ‘I’m beginning two series of passing the between the appearances with Benjamin Beilman and piano pieces: first, a French suite – no, it’s two sections, but the winds are given Orchestra, Royal Stockholm Philharmonic Louis Schwizgebel at venues such as not what you think – the “Marseillaise” prominence from the very beginning, and Colorado Symphony. In January 2019 doesn’t come into it at all, but there’ll be with a breathless succession of rapidly London’s Wigmore Hall, Geneva’s Salle he completed a nine-concert tour of Europe a forlane and a jig; not a tango though…’ articulated notes for the . The Centrale Madeleine and Schloss Elmau in The sketches for the ‘French suite’, takes advantage, too, of the with the London Philharmonic. More recently Bavaria, with pianist Oxana Shevchenko largely completed, were set aside on enhanced capabilities of Erard’s double- he has guest-conducted the Orchestre the outbreak of World War I, and it was action harp, and the feeling of perpetual in Rome, and with pianist Daniil Trifonov National de Montpellier, Staatskapelle Halle, not until 1917 that they emerged as Le motion in the Prélude is brought to a and violinist Sergei Dogadin at the Vienna toured with the Cadaqués orchestra to tombeau de Couperin – Ravel’s last work close with ravishing trills swept up in a Musikverein, and debuts with the Vienna for solo piano, each of its six movements harp glissando. The trumpet (reserved for Baden-Baden, Mannheim and Innsbruck, and dedicated to the memory of a friend who subtle effect in Ravel’s orchestration) adds conducted the Asturias Symphony Orchestra. Symphony Orchestra, Lithuanian National had died in the war. brilliance to the exuberant opening of Symphony Orchestra, and in Australia. the final movement (a vigorous Provençal His operatic appearances include The Barber Ravel prepared for the composition of Le Rigaudon), balancing the prominence of Recordings include Brahms and Dvorˇák trios tombeau by transcribing a forlane from of Seville and Marriage of Figaro at English woodwind and strings in the preceding the Concerts royaux of François Couperin National . Among his recordings is as a member of the ZEN Trio (in association movements. with Zhang Zuo, piano, and Esther Yoo, (1668-1733). The buoyant and a new release of the Brahms-Schoenberg refrain structure of his own Forlane reveal Abridged from a note by Yvonne Frindle Piano Quintet in and Parry’s Elegy violin). In 2017 he was awarded the title of their origins in the vigorous 16th-century ©1999/2012 for Brahms as well as a 2014 release of ‘Honored Artist of Armenia’ by Armenian Italian dance as heard through 18th- century French ears. But the The Tasmanian Symphony Orchestra first Schubert’s Symphony No 9 and CDs of president, Serzh Sargsyan. Hakhnazaryan and acid harmonies are all Ravel’s. performed this work with conductor Kenneth the music of Spanish such as plays the 1707 Joseph Guarneri cello and FX Murison Bourn in Hobart on 22 August 1961 and, Similarly, the flowing Menuet is more like most recently, with Marko Letonja in Launceston Montsalvage, Toldrá and Garreta. Tourte and Benoit Rolland bows. Ravel’s own Menuet antique than any and Hobart on 26 and 28 February 2015.

4 5 Pyotr Ilyich Tchaikovsky (1840-1893) Pyotr Ilyich Tchaikovsky

Nocturne for Cello and Small Orchestra Quartets and in . Variations on a Rococo Theme, Op 33 but about which Tchaikovsky complained (after Op 19 No 4) (Fitzenhagen, whose name pops up again Introduction (Moderato quasi andante) somewhat bitterly. Like many composers, Tchaikovsky in relation to the Variations on a Rococo Theme (Moderato semplice) But by the time Jurgenson came struggled to balance his need for solitude Theme, was a renowned teacher of cello to publish the Rococo Variations in at the Imperial Conservatory in Moscow. Variation I (Tempo della thema) in order to work with the demands of Variation II (Tempo della thema) orchestral form, the Fitzenhagen ‘edition’ being a public figure. In 1888 he wrote Anatoly Brandukov, who gave the Paris had entered the repertoire. When Variation III (Andante sostenuto) to a friend that he had expended a lot performances of this work, the Nocturne, Fitzenhagen’s pupil, Anatoly Brandukov, of money and energy on a recent tour: was one of his pupils.) Variation IV (Andante grazioso) asked Tchaikovsky what he was going ‘In return I have gained some celebrity The Nocturne (marked Andante Variation V (Allegro moderato) to do about Jurgenson’s publication of but every hour I ask myself “why?” sentimentale in the original) is Variation VI (Andante) the Fitzenhagen version, the composer Is it worthwhile? And I came to the perfect material for transcription. The Variation VII and Coda (Allegro vivo) replied, ‘The devil take it! Let it stand as conclusion that it is better to live quietly orchestral version is transposed from it is!’ without fame.’ A nostalgia for the world of the 18th the piano’s remote C-sharp minor to The theme, which determines , allowing the soloist to take century, thought of as refined, elegant The tour that provoked this occurred in and gently civilised, is never far from the character of the variations, is February of that year. According to his full advantage of the cello’s resonance, Tchaikovsky’s own. It has an orchestral and, naturally, the singing opening the surface in the highly Romantic art brother Modest, the day Tchaikovsky of Tchaikovsky, and it was Mozart who postlude, with a final question from the arrived in Paris (after concerts in Berlin melody is transposed down into the cello. This, increasingly varied, rounds cello’s most expressive register and symbolised for him the best of the former and Prague) he began rehearsing for a century. Whatever the term ‘rococo’ may off most of the variations. The first two soirée at the home of émigré socialite the accompaniment adjusted for of these are fairly closely based on the transparency. Following the model of the mean, to Tchaikovsky it meant Mozart. Marie de Bernadaky, who had hired the This set of variations is his finest tribute theme. These are followed by a leisurely orchestra of Édouard Colonne for the nocturne as laid down by and to his idol’s art. Charming, elegant and slow waltz, the expressive heart of the entertainment of her 300 guests. The Chopin, there is a more animated central deftly written, the Rococo Variations are variations. In Variation IV Tchaikovsky program included the Serenade for section before the opening theme, now gratifying to cellists and to audiences. gives the theme a different and Strings and the Nocturne for Cello and set among ornate countermelodies, The light and airy accompaniment, which incorporates some bravura flourishes. Orchestra, where the soloist was Anatoly returns. enables the cello to stand out beautifully, In the fifth variation the flute has the Brandukov. From Paris Tchaikovsky travelled to is for 18th-century forces: double winds, theme, but the cello solo has its most Tchaikovsky’s reception in the salons London and Tbilisi before enjoying the two horns and strings. Tchaikovsky substantial at the end of this of Paris was warm and enthusiastic, as solitude of home. composed the work in 1876 for a cellist variation which leads into the soulful was the public’s response to the first of Gordon Kerry © 2016 and fellow-professor at the Moscow slow variation, number six. It was this his concerts at the Châtelet where the Conservatorium, . variation that, without fail, drew stormy program was, substantially, repeated. It This is the first performance of this work by the applause on Fitzenhagen’s recital tours. Fitzenhagen had requested a - was only after his second concert that, Tasmanian Symphony Orchestra. The final variation begins with the solo like piece for his recital tours, so according to Modest Tchaikovsky, the part establishing its own particular Tchaikovsky first completed the Variations press turned: suddenly Tchaikovsky rhythmic interpretation of the theme, in a scoring for cello and piano. Before wasn’t ‘Russian’ enough, and his pieces a delightful way of upping the activity, orchestrating it he gave the music to were too long. It was in that climate which continues into the coda. Fitzenhagen, who made changes in that Tchaikovsky wrote the letter quoted Abridged from a note by David Garrett the solo part, in places pasting his above. © 2007 own versions over Tchaikovsky’s. The The Nocturne may have been hastily first performance was of the orchestral The Tasmanian Symphony Orchestra first produced for the Bernadaky soirée, but version, in November 1877. Tchaikovsky performed this work with conductor Thomas it is an arrangement of the fourth of couldn’t attend since he had left Mayer and soloist Christian Wojtowicz in Hobart Tchaikovsky’s Six Pieces for piano, Op 19, to recover from his disastrous marriage. on 25 March 1972 and, most recently, with Marko which he had composed in 1874. And in Letonja and Sue-Ellen Paulsen in Launceston and Fitzenhagen retained the score, and it Hobart on 26 and 28 February 2015. fact it appears that Tchaikovsky based his was he who passed it on to the publisher, new version on an arrangement for cello Jurgenson. The cello and piano version and piano by Wilhelm Fitzenhagen, the was the first to appear in print, in autumn German-born cellist who played in the 1878, with substantial alterations which first performances of Tchaikovsky’s String Fitzenhagen claimed were authorised

6 7 (1833–1897)

Serenade No 1 in D, Op 11 orchestrated the first movement, and by violins has led to its being overshadowed into being, as influences fuse with a Allegro molto 1856 Brahms was turning this music into by the Serenade in D. personal voice. Scherzo (Allegro non troppo) his First , complaining all Evident in the Serenade No 1 is Brahms’ The music’s origin as a nonet is most the while about his lack of understanding Adagio non troppo immersion in, even deference to, his evident in the pair of minuets, the first of instrumentation. The two Menuetto I & II models in the music of Haydn, Mozart, for a pair of , bassoon and cello he composed at Detmold (the first Beethoven and Schubert, which is not joined by flute, then a single violin line in Scherzo (Allegro) in 1857-8, the second in 1858-9) can to say that the music sounds like anyone the second Minuet. Rondo (Allegro) be considered workshops, but their but Brahms. The first movement, for reputation has suffered through their The horn-led second Scherzo obviously Young Johannes Brahms found example, seems to have been suggested owes much to the equivalent movements inspiration for this Serenade as he being considered failed attempts at by the finale of Haydn’s ‘London’ symphonic composition. of Beethoven’s Second Symphony wandered through the Teutoburger Symphony, No 104 (in the same key, and Septet. The Rondo finale with its Forest near Detmold, 80 kilometres In March 1859 Joachim conducted the ), which gives the shape of the bouncing refrain is the music of this south-west of Hanover, where he was Serenade in Hamburg with, as far as main theme and the supporting ‘drone’ Serenade that most recalls Schumann, employed by the court of Leopold III, we can tell from the Brahms-Joachim bass in open fifths, though Brahms’ composed as Brahms tried to recover Prince of Lippe. It may even be that the correspondence, about 15 strings, choice of horn and to lead off from the emotional turmoil of his prominence in the First Serenade of the probably single woodwinds, one or two is characteristic. The second subject for venerated mentor’s illness and death, horn, a favourite instrument of Brahms horns, but without trumpets and drums. strings, with its triplets, will be greeted in 1856. which he used to play himself, was The extra parts were added by Brahms as echt Brahms. The atmosphere is Abridged from a note by David Garrett suggested by the woodland setting. before the 1860 Hanover performance, relaxed and often cheerful – music that recognises that its audience may be too ©1998 The 24-year-old Brahms had been bringing the scoring up to pairs of distracted to give sustained attention to engaged, probably at the suggestion of flutes, , clarinets and bassoons, The Tasmanian Symphony Orchestra first a musical argument. A brassy outburst , as a piano teacher to four horns, two trumpets, timpani and performed this work with conductor Dobbs Franks prefaces a coda of farewell led by the members of the royal family and other strings – the definitive published form. in Hobart on 22 May 1991 and, most recently, with Marco Zuccarini in Hobart on 8 September 1999. aristocratic pupils, conductor of the court Closer to our own time, at least two flute, where the main subject breaks into choral society and pianist for chamber reconstructions of the original nonet form wisps. music. The music-loving court employed have been performed and recorded – The first Scherzo contains an idea a permanent orchestra of 45 players, one by Alan Boustead in 1987, another which was to be developed many years and a good deal of chamber music was by Jorge Rotter. later into the scherzo of the Second played by the principals. In his three When the leader of the Detmold Piano Concerto, and the key, D minor, winters at Detmold, Brahms explored orchestra, Carl Bargheer, heard contributes to making it the only with them the classical repertoire of that Brahms was enlarging the movement in the Serenade which recalls trios, quartets, and larger ensembles instrumentation, he exclaimed that that Brahms had been working on the with keyboard. A letter to his friend it would then be a symphony; the stormy and powerful D-minor Piano , principal violinist at the composer commented ‘if one still dares Concerto. Hanover Court, asked for suggestions for to write after Beethoven, The Adagio is the longest and most larger works including wind instruments then they must look quite different’. developed movement, in as well as piano, and it was to add to We might add that they would not look and in the key of B flat ‘where woodwind this repertoire that Brahms composed like a serenade; indeed, by writing in thirds, and later a beautiful horn call his D-major Serenade in its original form, this relaxed, discursive form Brahms was and chains of clarinet sixths, wind as a nonet for flute, two clarinets, horn, postponing the inevitable comparison. their way through a luxuriant growth bassoon and single strings – violin, viola, ‘I will never compose a symphony’, he of string tremolandos and arpeggios’ cello and bass. was still lamenting to Joachim years (John Horton). This is the world of Brahms, at this time, still regarded later. But Brahms evidently gained wind-instrument dominated serenades, himself as an apprentice in orchestral enough from the creation and re-working with echoes of Beethoven’s ‘Scene by the composition, and had completed no of the First Serenade to think it worth Brook’ of the Sixth Symphony () work for orchestra. The ‘symphony’ composing another, the somewhat more and the slow movement of his Ninth he had begun as a two-piano work in original Serenade in A, Op 16, whose Symphony. The Brahms sound world can 1854 did not satisfy him, though he delicacy and unusual scoring without almost be experienced coming

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