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Melbourne Symphony Orchestra Benjamin Northey Conductor Kristian Chong Piano

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Melbourne Symphony Orchestra Benjamin Northey Conductor Kristian Chong Piano BENJAMIN NORTHEY CONDUCTS ENIGMA 27–28 JULY 2017 CONCERT PROGRAM The City of Melbourne is proud to support major and emerging What is arts organisations through their 2015–17 Triennial Arts Grants the role of Program. Aphids Arts Access Victoria Australian Centre for the artist Contemporary Art Blindside Artist Run Space Chamber Made Opera in a creative Circus Oz Craft Emerging Writers’ Festival Ilbijerri Theatre city? Koorie Heritage Trust La Mama Little Big Shots Lucy Guerin Inc. Melbourne Festival Melbourne Fringe Melbourne International “Artists play a vital Comedy Festival Melbourne International Film Festival role in colouring the Melbourne International Jazz Festival creative city we live in. Melbourne Queer Film Festival Melbourne Symphony They enrich our lives Orchestra Melbourne WebFest by reflecting on the Melbourne Writers Festival Multicultural Arts Victoria world around us and the Next Wave Festival Polyglot Theatre thoughts within us.” Poppy Seed Songlines Aboriginal Music Dale Barltrop Concertmaster Speak Percussion Melbourne Symphony Orchestra The Wheeler Centre West Space Wild@heART Community Arts melbourne.vic.gov.au/triennialarts Melbourne Symphony Orchestra Benjamin Northey conductor Kristian Chong piano Bizet Carmen: Suite No.1 Saint-Saëns Piano Concerto No.2 INTERVAL Elgar Sospiri Elgar Variations on an Original Theme Enigma Running time: 2 hours, In consideration of your fellow including 20-minute interval patrons, the MSO thanks you PRE-CONCERT ORGAN REICTAL for dimming the lighting on your mobile phone. As with all of the MSO’s Melbourne Town Hall Series, renowned composer The MSO acknowledge the Traditional and organist Calvin Bowman will Owners of the land on which we are perform a pre-concert organ recital in performing. We pay our respects to the historic setting of the Melbourne their Elders, past and present, and the Town Hall. This free performance will Elders from other communities who begin at 6.30pm. may be in attendance. mso.com.au (03) 9929 9600 3 MELBOURNE SYMPHONY ORCHESTRA Established in 1906, the Melbourne Symphony Orchestra (MSO) is an arts leader and Australia’s oldest professional orchestra. Chief Conductor Sir Andrew Davis has been at the helm of MSO since 2013. Engaging more than 2.5 million KRISTIAN CHONG people each year, and as a truly global PIANO orchestra, the MSO collaborates with guest artists and arts organisations Leading Australian pianist Kristian from across the world. Chong has performed throughout Australia, China and the UK, and in France, New Zealand, Singapore, USA, and Zimbabwe. As soloist he has appeared with the Adelaide, Melbourne, Queensland, Sydney and Tasmanian Symphony Orchestras, and orchestras in the UK, New Zealand and China. Highlights include Rachmaninoff’s Third Piano Concerto (Sydney Symphony) and Paganini Rhapsody (Beijing and Canberra) and Ravel's Left-Hand BENJAMIN NORTHEY Concerto (Dunedin Symphony). CONDUCTOR A highly sought-after chamber Australian conductor Benjamin Northey is musician, Kristian’s collaborations the Chief Conductor of the Christchurch include the Tinalley and Australian Symphony Orchestra and the Associate String Quartets, violinists Sophie Rowell Conductor of the Melbourne Symphony and Dale Barltrop, cellist Li-Wei Qin and Orchestra. baritone Teddy Tahu Rhodes. Festival appearances include the Australian Northey also appears regularly as a Festival of Chamber Music, Adelaide, guest conductor with all major Australian Huntington Estate, Mimir and Bangalow symphony orchestras, Opera Australia Festivals with other highlights including (Turandot, L’elisir d’amore, Don Giovanni, the Xing Hai Festival (Guangzhou) and Così fan tutte, Carmen), New Zealand Australian Music Week on Gulangyu Opera (Sweeney Todd) and State Opera Island (Xiamen). South Australia (La sonnambula, L’elisir d’amore, Les contes d’Hoffmann). His Kristian studied at the Royal Academy international appearances include of Music with Piers Lane and concerts with the London Philharmonic, Christopher Elton, and with Stephen Tokyo Philharmonic and Hong Kong McIntyre at the University of Melbourne Philharmonic Orchestras and the where Kristian teaches piano and Mozarteum Orchestra Salzburg. chamber music. 4 PROGRAM NOTES GEORGES BIZET CAMILLE SAINT-SAËNS (1838–1875) (1835–1921) Carmen: Suite No.1 Piano Concerto No.2 in G minor, Op.22 Prélude – Aragonaise Andante sostenuto Intermezzo Allegro scherzando Séguedille Presto Les Dragons d’Alcala Les Toréadors Kristian Chong piano Camille Saint-Saëns’ contribution to When Carmen was first produced in French music over an exceptionally Paris in 1875, three months before long life was a helpful and versatile Bizet’s death at the age of 36, audiences one. A child prodigy who, making his were shocked by the unashamed debut as a ten-year-old with Mozart realism of the story: Carmen’s blatant and Beethoven piano concertos, sexuality scandalised many, as did the offered his delighted audience any rowdy women’s chorus (Carmen’s co- one of the 32 Beethoven piano sonatas workers in the cigarette factory) who as an encore. He lived to a somewhat both fight and smoke on stage. And embittered old age, and walked out Carmen’s murder by the spurned Don of the 1913 premiere of Stravinsky’s José, in full view of the audience, was Rite of Spring muttering that it wasn’t too strong for many tastes. The show music. Saint-Saëns for most of his did run for 48 performances, though, life had been receptive to the new, largely on the strength of its shock and tried to steer French music value, and although the Parisian opera away from its fixation on opera into companies were too timid to program channels where it could benefit from it again until 1883 (when it met with the example of the best of German enthusiastic acclaim), by that time it had instrumental music. He was a friend enjoyed success around the the world, of Liszt, and his Third Symphony, with mostly in a ‘revised’ version by Bizet’s organ, is in many ways a tribute to that friend Ernest Guiraud. Guiraud set the composer. (It has made a comeback original spoken dialogue to recitative. in the age of hi-fi and of talking pigs – After the death of the composer Guiraud Australian composer Nigel Westlake compiled two suites from the music borrowed from it in his soundtrack of Carmen. The first suite comprises music for Babe.) of the instrumental entre’acte from Ironically, a piece which he dashed off the opera, ending with the famous in 17 days in 1868 has proved one of Overture. The only vocal excerpt his most durably popular: his Second in this suite is the Séguedille, which Piano Concerto. The haste was due to appears in an orchestral arrangement. the concert hall becoming available at © Symphony Australia short notice for a concert conducted The MSO first performed music from Carmen on 17 July 1943 under conductor Bernard Heinze, and most recently performed 5 Suite No.1 on 5 February 2013 with Benjamin Northey. PROGRAM NOTES by the Russian Anton Rubinstein, There is a cadenza returning to the in which Saint-Saëns was to play a fantasia style of the introduction, and concerto. The music shows little sign the movement ends, as it were, by of hasty workmanship. Saint-Saëns swallowing its own tail. was the classicist among the French The puckish scherzo is the only Romantics, and his sure grasp of movement that was a success at the form sometimes makes up for ideas under-rehearsed first performance. It which seem too easily acquired. Liszt has a catchy refrain, and is laid out for described this piano concerto fairly the instruments with masterly delicacy. when he said that Saint-Saëns ‘takes The last movement is a tarantella (in into account the effects of the pianist popular imagination, the dance of the without sacrificing anything of the victim of spider bite), and this brings a ideas of the composer’. strong whiff of the music of Offenbach Nevertheless, this concerto has (he of the can-can). Are the high spirits been indelibly marked by the witty of comic operetta out of place in the observation of the Polish pianist finale of a concerto? Mozart didn’t Sigismond Stojowski, in that it think so; nor did Saint-Saëns. ‘begins with Bach and ends with © David Garrett Offenbach’. It is true that the pianist’s The MSO first performed this concerto on 17 October unaccompanied introduction is an 1940 with conductor Georg Schnéevoigt and soloist obvious tribute-by-imitation to Bach, Sigrid Sundgren, and most recently performed it in July 2008 with Thomas Dausgaard and Simon Trpčeski. especially the Bach of the Chromatic Fantasia and other toccatas for organ or harpsichord. Saint-Saëns conceives this imitation in a Romantic sense: it is a declamation rather than a meditation, and projected, by the sustaining pedal on the steel-framed pianoforte, to the back row of the concert hall. The themes of the first movement, prefaced by this introduction, are expressive and lyrical: the main melody was borrowed (with permission) from Saint-Saëns’ younger friend and former pupil Gabriel Fauré (who had used it for a Tantum ergo with choir and organ). The level of activity soon rises, and dramatic exchanges between the soloist and the orchestra climax in a full-throated return of the main theme. 6 EDWARD ELGAR EDWARD ELGAR (1857–1934) (1857–1934) Sospiri, Op.70 Variations on an Original Theme, Op.36 Enigma Elgar is wearing his heart on his I (C.A.E.) – Caroline Alice Elgar, the sleeve in Sospiri, composed in 1914 composer’s wife and dedicated to his close friend and II (H.D.S.-P) – Hew David Steuart-Powell, musical associate W.H. ‘Billy’ Reed. pianist in Elgar’s trio Reed, on whose technical expertise III (R.B.T.) – Richard Baxter Townshend, author Elgar had drawn whilst composing IV (W.M.B.) – William Meath Baker, his Violin Concerto, was at that time nicknamed ‘the Squire’ the leader of the London Symphony V (R.P.A.) – Richard Penrose Arnold, Orchestra, which helps explain the son of Matthew Arnold choice of the medium, string orchestra, VI (Ysobel) – Isabel Fitton, viola player in this case with harp and organ.
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