MATINEE SERIES ADELAIDE SYMPHONY ORCHESTRA Miraculous SEASON 2021 IMozart

April Wednesday 14 Elder Hall Program

MATINEE SERIES 1 Miraculous Mozart

1714–1788 Carl Philipp Emanuel Bach

JACK BUCKSKIN & JAMIE GOLDSMITH Symphony in F, WQ.183/3 (arr./orch. FERGUSON) Allegro di molto – Pudnanthi Padninthi (‘The Coming and the Going’) Larghetto – Presto

CPE Bach was an influential composer CARL PHILIPP EMANUEL BACH (1714–1788) during the transition from the Baroque to Symphony in F, WQ.183/3 the Classical period of music. His work was described as sensitive and full of emotion by many later composers, including JOSEPH HAYDN (1732–1809) Brahms, Mozart and Beethoven. Born in Scena di Berenice, Hob.XXIVa:10 Weimar, he was trained in music by his father Johann Sebastian, and after working under the Crown Prince of Prussia in Berlin, Jessica Dean Soprano he succeeded his godfather Telemann as director of music in Hamburg. While in this position, Emanuel wrote ‘Four Symphonies in WOLFGANG AMADEUS MOZART (1756-1791) Twelve Obbligato Parts.’ The piece you hear Symphony No.29 in A, K.201 today is the third symphony of this set.

The piece opens with a bold phrase played in unison across the strings, bassoon and DURATION harpsichord. The energetic first movement, This concert will run for approx. 70 mins, no interval. Allegro di molto, is driven with rhythmic intensity. Suddenly the mood changes, instantly calming the atmosphere. This This concert is being recorded by ABC Classic for change links directly into the second delayed broadcast. movement, without pause. The Larghetto begins with a solo melody in the violas, accompanied by a bass countermelody in the cellos. This solemn 3/4 melody is then developed in the winds and higher strings. The movement ends with a pause, before a launching into the Presto. This finale has a light and joyful character, and the symphony ends on a triumphant major chord played by the entire orchestra.

The ASO acknowledges that the land we make music © Helena Maher 2021. on is the traditional country of the Kaurna people of the Adelaide Plains. We pay respect to Elders past and PERFORMANCE HISTORY present and recognise and respect their cultural heritage, This is the ASO’s first performance of beliefs and relationship with the land. We acknowledge CPE Bach’s Symphony in F. that this is of continuing importance to the Kaurna people living today. We extend this respect to all Aboriginal and Torres Strait Islander people who are with us for this performance today. 1732–1809 1756—1791 Joseph Haydn Wolfgang Amadeus Mozart

Scena di Berenice, Hob.XXIVa:10 Symphony No.29 in A, K.201 Allegro moderato Haydn composed this single operatic Andante scene for his fourth and final season in Menuetto and trio England as a showpiece for Brigida Banti, Allegro con spirito the temperamental prima tragedienne of London’s operatic stages. Banti performed it For much of the 18th-century the symphony in what was probably the greatest concert of was not the dominant genre that Haydn’s Haydn’s long career. Along with the premiere late symphonies, followed by Beethoven’s, of his last symphony, No.104, (later dubbed were to make it – many symphonies of the the London) Banti’s role in premiering his 1770s may not have been listened to very ‘new scena’ made the composer’s personal carefully, but they made a good festive noise. benefit concert on 4 May 1795 a triumph in Mozart’s Symphony in A of 1774 is the first of every sense. His diary notes with satisfaction his symphonies which is by common consent that he made 4,000 gulden on the evening: not only worth listening to closely, but a ‘Such a thing is possible only in England.’ masterpiece from start to finish. Right from the start something arresting is Haydn gave ‘la Banti’ a mad scene from happening: while the violins have a strongly Antigono, an old libretto by Pietro Metastasio, rhythmic theme proceeding in upward in which the crisis facing Berenice, princess sequences and marked at each step with a of Egypt, is the stuff of Greek tragedy. falling octave, the lower parts are proceeding However in this, as in most of his operas, gently, glidingly, in long notes – a rising bass. Metastasio will contrive a happy resolution, Instead of a loud attention-getter, Mozart not a tragic one. begins with what Jens-Peter Larsen calls a Berenice, promised in marriage to Antigonus, fusion of symphonic and chamber-musical king of Macedonia, is in love with the king’s styles, the fusion explored by Haydn in his son, Demetrius. Determined not to be his symphonies of the same period. father’s rival in love, Demetrius can see no Many of Haydn’s slow movements show the way out of an unbearable situation except same telling use of wind instruments against by his own death, so leaving Berenice free to muted strings as Mozart does in his stately marry Antigonus. Haydn reflects Berenice’s but intimate slow movement. Staying in the wild imaginings in a richly orchestrated work mind from the Minuet are the humour of the which moves through constantly shifting loud restarts on unexpected notes, and of harmonies responsive to her fluctuating the comic tailpiece for the winds. The Trio in fantasies, to end with a fiercely despairing E major, mostly in sustained notes, contrasts aria in F minor. with the angular rhythms of the Minuet. Edited from an annotation by Anthony Cane The finale is made up entirely of formulaic © 2012 ‘scraps’, but how brilliantly organised they are to combine noise, excitement, and musical interest! PERFORMANCE HISTORY Adapted from a note by David Garrett © 2003 Felicity Palmer was soloist in the ASO’s only previous performance of Haydn’s Scena di Berenice, in August 1978, conducted by PERFORMANCE HISTORY Elyakum Shapirra. The ASO first performed Mozart’s Symphony No.29 under in August 1955, and most recently in November 2017, conducted by Graham Abbott. Joseph Haydn Scena di Berenice, Hob.XXIVa:10

Recitative Recitative Berenice, che fai? Berenice, what are you doing? Muore il tuo bene, stupida, e tu non corri! Your beloved is dying, fool!, and you don’t run. Oh Dio, vacilla l’incerto passo; Oh, God! My hesitant step is feeble, un gelido mi scuote insolito tremor tutte le vene, an icy chill runs strangely through my veins, e a gran pena il suo peso il piè sostiene. and a deadly weight o’erwhelms my limbs.

Dove son? Dove son? Qual confusa folla d’idee Where am I? What mad, confusing fantasies tutte funeste adombra la mia ragion? and gloomy thoughts assail my senses? Vegge Demetrio; il veggo che in atto di ferir. I see Demetrius: I see him about to strike. Fermati! Fermati! Vivi! Stop! Stop! Live on! D’Antigono io sarò. I’ll give myself to Antigonus. Del core ad onta volo a giuragli fè: Against my heart, I’ll pledge my troth: dirò, che l’amo; dirò.... I’ll say I love him, I shall say.... Misera me, s’oscura il giorno, balena il ciel! But woe! The day grows dark, the sky flashes! L’hanno irritato i miei meditati spergiuri. They’re angered by my thoughts of perjury. Ahimè! Lasciate ch’io soccorra il mio ben, Alas! Let me come to my beloved’s aid, barbari Dei! cruel Gods! Voi m’impedite e intanto While yet you block my way, forse un colpo improvviso.... perhaps an unexpected blow.... Ah, sarete contenti; eccolo ucciso. Ah! Now you will be pleased: see, he is killed.

Aspetta, anima bella! Wait, noble spirit! Ombre compagne a Lete andrem. Let our shades face Lethe’s stream together. Se non potei salvati potrò fedel.... If I cannot save you, my constancy may yet... Ma tu mi guardi, e parti? Non partir! What! You look at me and turn away? Don’t go!

Arioso Arioso Non partir, bell’idol mio; Do not leave me, my beloved! per quell’onda, all’altra sponda Across those waters, to the far shore, voglio anch’io passar con te. I want to go with you.

Recitative Recitative Me infelice! Che fingo? Che ragiono? Unhappy me! What am I saying? Or thinking? Dove rapita sono dal torrente crudel de miei martiri? Where is this cruel flood of torment driving me? Misere Berenice, ah, tu deliri! Oh, wretched Berenice, you’re raving!

Aria Aria Perché, se tanti siete, Why, so many of you che delirar mi fate, that you drive me mad, perché non m’uccidete, why don’t you simply kill me, affanni del mio cor? ye torments of my heart?

Crescete, oh Dio, crescete, Increase, oh God, increase them, finché mi porga aita until they bring relief con togliermi di vita by ending my life’s suffering l’eccesso del dolor. in an excess of grief. CONDUCTOR SOPRANO Luke Dollman Jessica Dean

Luke Dollman has conducted throughout Australian Soprano Jessica Dean is a Masters Europe and Australasia, working with graduate of the Royal Academy of Music, orchestras such as the London Philharmonic, London, where she studied with Lillian Radio Philharmonic, Royal Watson. She has now returned to Adelaide Scottish National Orchestra, BBC National with her young family. Orchestra of Wales, Helsinki Philharmonic, Jessica has spent the last ten years in Monte Carlo Philharmonic, Lausanne Sydney as a soprano with Opera Australia, Sinfonietta, Nordwestdeutsche Philharmonie appearing regularly with the OA chorus. For and all professional orchestras in Australia the company she performed Barbarina (The and New Zealand. Marriage of Figaro), Papagena (The Magic In the field of opera, he has been a regular Flute) and toured the country as Zerlina (Don guest at the Finnish National Opera, and has Giovanni) on Opera Australia’s regional tour. worked for Opera Australia, State Opera of For State Opera of South Australia, she has South Australia, and the Netherlands Opera. performed Marzelline in Fidelio, for which she In 2018 he released his first CD on the Decca received a Helpmann nomination; Beth in the label, with soprano Greta Bradman and the Australian premiere of Mark Adamo’s Little Adelaide Symphony Orchestra. Luke is a Women; Yum-Yum (The Mikado) and Dew- graduate of the Sibelius Academy in Helsinki Fairy (Hansel and Gretel). For SOSA’s studio and furthered his studies at the Aspen program, roles include Tiresias (Les mamelles Festival of Music and Accademia Chigiana. de Tirésias) and Laurette in Bizet’s Le A recognised authority in the field of Docteur Miracle. At the Royal Academy, her conductor training, Luke has taught in roles included Calisto (Cavalli’s La Calisto), prestigious European academies and for Barbarina (with Sir Colin Davis), Cupid/Venus the masterclasses of Symphony Services (Purcell’s King Arthur) and Le Feu (L’enfant et International. He is Senior Lecturer in les sortilèges). Jessica has performed as a and Deputy Director at the concert soloist throughout the UK, in Zagreb Elder Conservatorium of Music, University and with the ASO. of Adelaide. Her Australian and UK awards include the Luke most recently appeared with the ASO EMR Overseas Scholarship, The Dame Ruby conducting A Christmas Celebration in Litchfield Scholarship, The John Lewis Award December 2020. and The Jennifer Vyvyan Award.

GOVERNMENT PARTNERS

The ASO receives Commonwealth funding through the Australia Council; its arts funding and advisory body ADELAIDE SYMPHONY ORCHESTRA

Violins Cellos Bassoons

Cameron Hill** Simon Cobcroft** Mark Gaydon** (Acting Concertmaster) David Sharp~ Jackie Newcomb* Shirin Lim** (Acting Assoc. Principal) (Acting Associate Concertmaster) Sarah Denbigh Horns Julia Brittain* (Acting Principal 1st Violin) Sherrilyn Handley Sarah Barrett~ Belinda McFarlane** Gemma Phillips (Guest Principal 2nd Violin) Timothy Skelly Lachlan Bramble ~ Double Basses (Associate Principal 2nd Violin) Harpsichord Ann Axelby David Schilling** Minas Berberyan Harley Gray~ Andrew Georg* (Guest Principal) Gillian Braithwaite (Acting Associate Principal) Hilary Bruer Jacky Chang Jane Collins Belinda Kendall-Smith Judith Coombe Belinda Gehlert Flutes Danielle Jaquillard Geoffrey Collins** Alexis Milton Lisa Gill I Julie Newman Emma Perkins Oboes Alexander Permezel

Kemeri Spurr Joshua Oates** Renae Stavely~ Violas

Clarinets Andrew Jezek** (Guest Section Principal) Dean Newcomb** Justin Julian~ Mitchell Berick* Martin Butler Lesley Cockram Rosi McGowran Carolyn Mooz

** denotes Section Principal ~ denotes Associate Principal * denotes Principal Player