Beethoven WITH RACT FAMILY ROADSIDE &

When you take out RACT Roadside for your family, Mozart we’ll be watching over them – which means you can rest easy, knowing we’ll be ready to swoop in and help when they need us most. MASTER 1 • LAUNCESTON 1 Friday Saturday 1 March 7.30pm 2 March 7.30pm Federation Concert Hall Albert Hall Hobart Launceston

Richard Tognetti conductor and violin INTERVAL - 20 mins To mark the opening of the 2019 concert BEETHOVEN season, complimentary sparkling wine will be Coriolan, Overture served in the foyer. Duration 8 mins MEALE Cantilena Pacifica MOZART Violin Concerto No 5, Turkish Duration 8 mins Allegro aperto – Adagio – Allegro aperto BEETHOVEN Adagio Symphony No 1 Rondeau. Tempo di Menuetto – Allegro Adagio molto – Allegro con brio – Tempo di Menuetto Andante cantabile con moto Duration 31 mins Menuetto (Allegro molto e vivace) Adagio – Allegro molto e vivace Duration 26 mins RACT3889 • BC This concert will end at approximately 9.30pm.

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3 Ludwig van Beethoven (1770-1827)

Coriolan, Overture, Op 62 immediately dissolve into a nervous Heinrich von Collin (1771-1811), a civil violin theme that manically yo-yos servant, minor playwright and friend of between loud and soft. A sighing motive Beethoven, had something of a hit with heard in the woodwinds is the basis for his tragic play, Coriolan (a free gloss the second theme, Volumnia’s plaint, gaining urgency as it rises tone by tone. Richard Tognetti is Artistic Director of the Richard was the co-composer of the score on Shakespeare’s Coriolanus) which The abridged sonata form Beethoven Australian Chamber Orchestra. He has for Peter Weir’s Master and Commander: premièred in 1802. The play was popular uses neatly puts these two themes into established an international reputation for The Far Side of the World, starring Russell in Vienna for a few years, but then opposition. Coriolanus’ music becomes his compelling performances and artistic Crowe; he co-composed the soundtrack to dropped into (reportedly well-deserved) more furious, falling into a ‘Scotch snap’ individualism. Tom Carroll’s surf film Storm Surfers; and obscurity. However, the tragedy of a (short-long) rhythm that seems to trip created The Red Tree, inspired by Shaun powerful general destroyed by his own Richard began his studies in his home town over its own feet. Beethoven used the Tan’s book. He also created the documentary weakness – rage – piqued Beethoven’s of Wollongong in with Coriolan Overture to experiment with filmMusica Surfica, as well as The Glide, The William Primrose, then with Alice Waten interest, and early in 1807 he composed harmony: there is a moment where a Reef, and The Crowd. Most recently, Richard at the Conservatorium, and Igor an overture for a private performance of sustained C pedal in the woodwinds is collaborated with director Jennifer Peedom Ozim at the Bern Conservatory, where he the play at the house of ‘Prince L’ (either strikingly at odds with the harmony of and Stranger Than Fiction Films to create the was awarded the Tschumi Prize as the top Lobkowitz or Lichnowsky). the melody, a sonority he used again filmMountain for the Australian Chamber graduate soloist in 1989. Later that year he in the second movement of the Fifth Orchestra. In the manner of overtures of the period, led several performances of the Australian Beethoven’s Coriolan attempts to set the Symphony. Volumnia pleads with her son Chamber Orchestra, and that November was Richard was appointed an Officer of the mood of the play by evoking the main a third time, even more passionately and appointed as the orchestra’s lead violin and, Order of Australia in 2010. He holds honorary conflict of the plot. ETA Hoffmann, a in the minor mode. She has convinced subsequently, Artistic Director. doctorates from three Australian universities writer, composer, critic and conductor, her son, whose bravado evaporates – the and was made a National Living Treasure in scurrying quaver theme slows and loses Richard performs on period, modern and thought highly of this practice and 1999. He performs on a 1743 Guarneri del momentum – as he realises that his mercy electric instruments, and his numerous actually wrote in a review of Coriolan: Gesù violin, lent to him by an anonymous comes at the cost of his life. He must arrangements, compositions and Australian private benefactor. Since it is now a custom, which is kill himself to preserve the honour of his transcriptions have expanded the chamber certainly not to be rejected, that family. orchestra repertoire and been performed each theatrical performance opens throughout the world. As director or soloist, with music, each really significant The critic Johann Reichardt suggested Richard Tognetti has appeared with the play should have an overture which that this vivid picture of anger and Orchestra of the Age of Enlightenment, attunes the mind to the character of despair was in fact Beethoven’s self- the Academy of Ancient Music, Slovene the piece. portrait. Certainly Beethoven’s life had Philharmonic Orchestra, Handel & Haydn been touched by rage and sorrow and The piece is characterised by the conflict Society (Boston), Hong Kong Philharmonic, his work increasingly became a testament between Roman general Coriolanus, Camerata Salzburg, Tapiola Sinfonietta, to his strife. vengefully intent upon destroying the city Irish Chamber Orchestra, Orchestre of his birth, and his mother, Volumnia, R Wesley Murray, Symphony Australia Philharmonique du Luxembourg, Nordic © 2004 Chamber Orchestra and all the major who begs for her son’s mercy. The piece is set in C minor, the same key Australian symphony orchestras, most The Tasmanian Symphony Orchestra first recently as soloist and director with the as Beethoven’s Fifth Symphony (which performed this work with conductor Kenneth Melbourne and Tasmanian Symphony Hoffmann also famously reviewed) Murison Bourn in Hobart on 22 April 1954 and, composed later that year, and a key most recently, with Nicholas McGegan in Hobart Orchestras. Richard also performed the and Launceston on 26 and 27 September 2014. Australian premières of Ligeti’s Violin which Beethoven seems to have Concerto and Lutoslawski’s Partita. In associated with rebellion and passion. It November 2016, he became the Barbican is an almost anti-heroic key (indeed, ‘anti- Centre’s first Artist-in-Residence at Milton Eroica’: the Third Symphony is in E-flat Court Concert Hall in London. Richard major, and C minor is its relative minor). created the Huntington Festival in Mudgee, The overture is a musical distillation of New South Wales, and was Artistic Director the drama enacted on stage: Coriolanus of the Festival Maribor in Slovenia from 2008 strides on to brutal chordal blows which to 2015.

4 5 Wolfgang Amadeus Mozart (1756-1791) Richard Meale (1932-2009)

Violin Concerto No 5 in A, K219, Cantilena Pacifica Turkish The Violin Concerto No 5 is perhaps the Richard Meale, together with his The composer writes: Allegro aperto – Adagio – Allegro most substantial of the group and is one slightly older contemporary Peter Although I had been an ardent aperto of the high points of the composer’s early Sculthorpe, was at the forefront of new supporter and promoter of new music Adagio maturity. The opening movement is marked music in Australia in the second half of in the 60s and 70s – the style of with the unusual tempo indication Allegro Rondeau. Tempo di Menuetto – Allegro the 20th century. Largely self-taught music that became known as ‘avant- aperto: to be played in a lively and open – Tempo di Menuetto as a composer, Sydney-born Meale garde’ – I began to experience some manner. After the customary orchestral embraced modernist trends in his earliest misgivings about it in the second During the mid-1770s Mozart composed a exposition, the violinist enters unexpectedly compositions, making a name for himself half of the 70s. First of all, I was number of works in quick succession that with a short and introspective Adagio. Upon with orchestral works such as Homage to developing certain doubts about the prominently feature the solo violin. Apart resumption of the quicker tempo, a striking García Lorca (1964) and Very High Kings rationality of its central theoretical from the five violin concertos, most of new theme is boldly launched by the soloist (1968). Other significant compositions basis, particularly in the concepts the serenades and ensemble divertimenti that traverses a wide register above the from this period include the glittering that lay behind serial music. Most he wrote at this time contain movements orchestra’s initial material. Formal surprises piano work Coruscations and the of all, however, I felt at loggerheads where the concertmaster assumes a such as these, as well as the exploration of chamber piece Incredible Floridas (both leading concertante role. These works were with its limited expressive powers. the dramatic interplay between soloist and 1971). Like Sculthorpe, Meale sometimes composed during Mozart’s employment at I found myself unable to express orchestra, would become salient features of drew inspiration from various non- the Salzburg court where one of his chief certain sentiments in that highly Mozart’s piano concertos. Western musical traditions, the music of duties was to lead the court orchestra from chromatic and rhythmically complex Japan above all. the violin. Although it is highly probable that The second-movement Adagio, although style. Feelings of the most simple, yet he performed the solo part himself in many cast in the bright key of E major, possesses a Working professionally as a programmer fundamental aspects of human nature of these works, there are reports (through the dark emotional undercurrent that surfaces in at the ABC in the 1960s, Meale – feelings of affection, of love and letters of Mozart’s father Leopold) of other the movement’s development section. The brought the music of Janácˇek, Bartók, tenderness – did not seem to me to Salzburg-based violinists performing the rondo finale commences with an amiable Schoenberg, Messiaen and Boulez be accessible in such a complicated concertos. theme in a minuet character. However, the to Australian audiences. Indeed, style of writing. music takes a startling turn to the minor key he conducted the first Australian The problem that I was encountering The Italian virtuoso Antonio Brunetti (who in a central episode when the sound of a performance of Schoenberg’s Pierrot was brought to a head in 1979 when succeeded Mozart as the court orchestra’s Turkish band is vividly imitated. Turkey was Lunaire in 1959. Between 1969 and I began my Second String Quartet. concertmaster) was one of these. He certainly considered an exotic culture for Europeans in 1988 he taught composition at the Elder Sadly, my best friend, Stephen performed the Violin Concerto No 5 soon the 18th century and Mozart used elements Conservatorium of Music at the University Wilson, died after a sudden onset of after it was completed on 20 December from Turkish music to add an oriental flavour of Adelaide. cancer. It now became a matter of 1775, for the following year Mozart provided in several works, including the Alla turca Towards the end of the 1970s, Meale personal necessity to write a piece an alternative slow movement – the Adagio, from his Piano Sonata K331 and his opera moved away from a modernist idiom and that would be a memoriam to him. K261 – after Brunetti remarked that the The Abduction from the Seraglio. The cellos embraced a simpler, less confrontational So it became clear that the work original was too ‘artificial’. and basses here reverse their bows to hit style. Works of this period include could not be based on any artifice. Its The violin writing in all the concertos is the strings percussively with the wood and Viridian (1979) and the Second String existence had to lie in its emotional highly idiomatic and displays Mozart’s deep the soloist plays an energetic figuration that Quartet (1980) – the final movement of truth. The last movement was entitled knowledge of the instrument’s capabilities. winds up and down in a folk style. The music the latter is the original version of the Cantilena Pacifica – a peaceful song. In the final two concertos, considerable soon returns to its original genial mood and, work performed here, Cantilena Pacifica. Although originating in a string use is made of the violin’s high register as in the two preceding violin concertos, A high point of Meale’s career was the quartet, it was later adapted for string (exploited to a much greater degree than in ends gracefully in quiet simplicity. première of the opera at the 1986 orchestra, the version performed earlier violin concertos of Bach and Haydn, James Cuddeford © 2019 Adelaide Festival. Adapted by David in this concert. The lower strings for example). This puts the soloist in clear Malouf from ’s acclaimed maintain an undulating harmonic textural relief against the orchestra and helps The Tasmanian Symphony Orchestra first novel, Voss was conducted by Stuart progress, whilst the first violin sings the projection of the violin tone. The virtuosic performed this work with conductor Murison Challender and subsequently staged in a long melody that falls into three passagework found in the solo part is not for Bourn and soloist Beryl Kimber in Hobart on 27 Sydney and Melbourne and released stanzas. ostentatious display but is rather an inspired June 1951 and, most recently, with Sebastian Lang-Lessing and Lisa Batiashvili in Hobart on 19 on CD. The Tasmanian Symphony and florid growth out of the music’s melodic Richard Meale © 2006 July 2003. Orchestra’s CD Cantilena Pacifica material. provides an overview of Meale’s music from the 1960s to the 1990s.

6 7 Ludwig van Beethoven

Symphony No 1 in C, Op 21 every right to a place alongside those of Adagio molto – Allegro con brio Mozart and Haydn.’ Andante cantabile con moto Beethoven had worked on the symphony Menuetto (Allegro molto e vivace) off and on since about 1795, but it seems Adagio – Allegro molto e vivace that it was mainly composed in 1799- On 2 April 1800 Beethoven acquired 1800. The first movement opens on a Vienna’s prestigious Imperial Court discord and proceeds to feel its way Theatre (Burgtheater) for a massive toward the opening Allegro in C major. evening of orchestral music. Staged at his But after the conventional first movement own risk and for his own financial reward, form is established, Beethoven deviates the concert featured a symphony by into a darker G minor with the oboe Mozart, a piano concerto by Beethoven playing a plaintive theme, ushering (probably No 1), excerpts from Haydn’s in the development. By the time the The Creation, Beethoven’s Septet, some recapitulation is concluded, Beethoven improvisations from the star of the is ready for more innovation, offering a show, and then finally, several hours later, coda whose brilliance and scale exceed ‘A new grand symphony for full orchestra most Classical precedents. by Beethoven’. The latter work was the The slow movement’s tripping little Symphony No 1, which we hear tonight. theme is treated fugally at first, but the Late in the evening, after all the sonata structure is soon established Classical works which had preceded clearly enough. Then comes the minuet, it, the symphony must have sounded whose frequent and unexpected modulations must have seemed so strange to its first listeners. For a start, strange to their first audiences, especially it didn’t begin in the home key, instead when the fatigued orchestra played them wandering around in tonal ambiguity so badly! during the Adagio introduction, touching on G major and F major before finally The opening of the finale is quite settling in its tonic C major. And the outrageous, bumbling its way through a Sharing the TSO with surprises continued, not least in the slow ‘false start’ before the entry of the minuet, which was too fast and too plainly frivolous Allegro theme. It leaps modern-sounding for a work bearing that about from C to C-sharp major and then the next generation classical title. (Later Beethoven would into A-flat major for the second subject. call this kind of movement a ‘scherzo’.) The development too has a false start The critics, who had loved the earlier part and then the recapitulation continues of the concert, were bewildered by the to leap about tonally. But the high new symphony. Not only was it a strange spirits aren’t done yet and Beethoven Support the TSO into the future – and strangely scored – work, but to introduces a coda so large in scale that it make matters worse, ‘the orchestra of the practically rivals the rest of the movement Leaving a bequest to the TSO Foundation is To learn more about the easy ways you can Italian Opera made a very poor showing,’ in size alone. a simple and rewarding way to support the leave a bequest to the TSO, please contact especially in the final two movements. Abridged from a note by Martin Buzacott TSO for years to come. Your legacy helps our Philanthropy team on 03 6232 4430. All enquiries treated in strictest confidence. But amidst the critical jibes and © 2001 ensure that the TSO remains a part of the confusion, the new symphony did have lives of future generations of Tasmanians. The Tasmanian Symphony Orchestra first its supporters. A critic in the Historisches performed this work with conductor John Taschenbuch of 1802 described it as ‘a Farnsworth Hall in Hobart, Burnie and Devonport masterpiece which does honour alike to in October 1950 and, most recently, with [Beethoven’s] powers of invention and to Johannes Fritzsch in Hobart on 13 June 2015. his musical erudition…this symphony has

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