ACTEWAGL LLEWELLYN SERIES CELLO

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SHA3106__CSO_245x172_V3.indd 1 20/09/2016 2:53 PM ACTEWAGL LLEWELLYN SERIES CELLO

Wednesday 17 May & Thursday 18 May, 2017 Llewellyn Hall, ANU 7.30pm Conductor Stanley Dodds Cello Umberto Clerici -----

HAYDN: Overture to L’isola disabitata (The Desert Island), Hob 28/9 8’ SCHUMANN: Cello Concerto in A minor, op. 129 25’ 1. Nicht zu schnell 2. Langsam 3. Sehr lebhaft

INTERMISSION

SCULTHORPE: String Sonata No. 3 (Jabiru Dreaming) 8’ 1 Deciso 2 Liberamente – Estatico BRAHMS: Symphony No. 3 in F major, op. 90 33’ 1. Allegro con brio 2. Andante 3. Poco allegretto 4. Allegro

Please note: this program is correct at time of printing, however it is subject to change without notice.

Umberto Clerici’s performance is supported by the Embassy of Italy in Canberra, Istituto Italiano di Cultura in and Schiavello enterprise Cover photo by Sarah Walker Sarah Cover photo by 17022 SEASON 2017 ActewAGL Llewellyn Series: Cello, Horn, Violin “Music begins where ----- Recital Series: the possibilities of Daniel de Borah, Umberto Clerici, language end.” Hector SOLDMcDonald, OUT! Harry Bennetts Sibelius ----- Saturday Series: CSO Opera Gala, Canberra Weekly Matinee Magic: VEGAS! ----- Australian Series: Musical Portraits, Forgotten Curated by AM, performed at the National Portrait Gallery -----

On sale now Single tickets CSO Direct 6262 6772 or ticketek.com.au Subscriptions CSO Direct 6262 6772 or cso.org.au

Call CSO Direct 6262 6772 or visit cso.org.au for more information. cso.org.au Welcome

We are delighted to share Boer War through to the Vietnam war—and tonight’s extraordinary a world premiere piece written specifically music with you at this, the for this concert. The ensemble Greenway 3 second in the Canberra includes baritone voice, piano and clarinets. Symphony Orchestra’s Tickets are just $45 and include an after- 2017 ActewAGL Llewellyn hours viewing of the National Photographic Series. What a fascinating Portrait Prize exhibition. Find out more on evening this will be as we our website: www.cso.org.au explore Sculthorpe’s raw July has a rare treat in store as six world- beauty of the Australian class singers from Germany will feature outback counterpointed in their only Australian performance as by the refined part of the CSO Opera Gala. This exciting romanticism of Schumann and Brahms. We international cultural exchange has been thank ActewAGL for their generous support made possible through generous support which brings us together to share this from the Commonwealth Government memorable concert. through the Department of Communication The Australian and European blend is and the Arts, and the Government of also reflected in our guest artists this Germany. If you enjoy great opera, I urge evening. We extend a very warm welcome you to book now, as you won’t want to miss to Australian conductor Stanley Dodds this exceptional one-off gala event. returning to lead the orchestra, and we are We extend our sincere gratitude to the thrilled to feature Italian cellist Umberto ACT Government through artsACT, and Clerici on the CSO stage for the first the Commonwealth Government through time. We thank the Embassy of Italy and the Australia Council for the Arts, for their partners for supporting Umberto's their ongoing support, which is vital and performance. Those of you who were lucky never taken for granted. The demands on enough to join Umberto for his Sunday government for arts funding are huge, and Recital will be as eager as we are to hear the CSO recognises that it is both a privilege him tonight. and a responsibility to steward this support After this concert, we have innovative with integrity. CSO activity on a smaller scale with the And last but certainly not least, we thank Sunday lunchtime Strings in the Salon at our musicians, partners, donors, patrons the Monster Salon at Nishi, New Acton and our community, for their vision, on 21 May. These quarterly concerts bring support, and loyalty—and for sharing our gorgeous music and amazing food together belief in the importance of music in our for a perfect Sunday afternoon treat. You world. We chose to focus on the best of can book tickets through Hotel Hotel on human endeavour, to celebrate our innate 6287 6287. commonality through creative artistry; to Then on 1 June, the second concert in the sow the seeds of joy in our community. This CSO’s new Australian Series will take place is both the magic and the power of music. at the National Portrait Gallery. Curated and compered by eminent Australian composer Dr Matthew Hindson AM, this one hour Sarah Kimball concert features Australian music from the Chief Executive Officer [1]‘Daily Rituals’ with Alyssa McClelland. Shot in Creative room 105 by Lee Grant.

Recognize yourself in he and she who are not like you and me Carlos Fuentes

[2]Jim White and Giorgos Xylouris of ‘Xylouris White’ in the Mosaic room. Shot by Lee Grant. [3] ‘Dropping A Kumbhar Wala Matka’ by Trent Jansen. Shot by Neville Sukhia. For our ‘Porosity Kabari’ exhibition at the Nishi Gallery from 9 June.

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NewActon Nishi +612 6287 6287 — T 25 Edinburgh Ave [email protected] Canberra hotel-hotel.com.au Stanley Dodds Conductor

Stanley Chia-Ming Dodds from around the world, including members was born in Canada, grew of the Berlin Philharmonic and Vienna up in Australia and as a Philharmonic, the Chicago Symphony dual German-Australian Orchestra and London Symphony Orchestra, citizen is now based in amongst many others. Previous conductors Berlin. He began playin have been , Alexander Briger, violin and piano in Adelaide Zubin Mehta and Sir Simon Rattle. Current at age four, attended the guest invitations include the Hamburg Bruckner Conservatorium Symphoniker, Sendai Philharmonic, and Musik High School Canberra Symphony, Gothenburg Opera, in Linz before studying the Australian National Academy of Music violin and conducting at Orchestra, and for the past four years staged Lucerne Conservatorium. productions at the Easter Festival in Baden- He continued violin studies Baden. at the Karajan Academy of the Berlin Past guest conductor appearances include Philharmonic before receiving tenure as the Orchestre Philharmonique Luxembourg, a violinist in the orchestra in 1994. Melbourne Symphony Orchestra, Jena He studied conducting in Australia, Philharmonic, Tasmanian Symphony Switzerland and Germany, his most Orchestra, Canberra Symphony Orchestra, important mentor being the acclaimed Orchestra I Pomeriggi Musicale Milano, Finnish professor Jorma Panula. Other Orchestra Academy Scholars of the Berlin important influences on his conducting Philharmonic and the Scharoun Ensemble career have been the chief conductors of Berlin. He appears at major Festivals the Berlin Philharmonic, Claudio Abbado in Salzburg and Baden-Baden, at the and Sir Simon Rattle. MaerzMusik in Berlin and the Summer Festival in Mecklenburg Western Pomerania. Stanley Dodds performs regularly at the principal concert venues in Berlin. He His repertoire embraces the core symphonic frequently conducts ensembles of the Berlin works of the 19th and early 20th century Philharmonic and has assisted Sir Simon and he is a keen proponent of contemporary Rattle on numerous occasions. Soloists in his music with numerous works premiered concerts include many noted principals of under his direction. the Berlin Philharmonic and singers such as He is dedicated to working with youth and Christine Schäfer, Anna Prohaska, Siobhan amateur orchestras, directing for many Stagg, Katarina Karnéus, Michael Nagy and years the Berliner Sibelius Orchestra and Shenyang. Schöneberg Symphony Orchestra. He is Stanley Dodds was appointed Principal artistic director of the State Youth Orchestra Conductor of the Berlin Symphony of Mecklenburg Western Pomerania, the Orchestra commencing 2014/2015 with seven Youth Orchestra Festival in Neubrandenburg sold-out concerts each season in the Berlin and is in charge of the Schools Orchestra Philharmonie including the annual New Concert and Youth Composition Workshop Year's Gala concert with Beethoven's Ninth. of the Berlin Philharmonic. One of the highlights of his 2016 season is As a member of the Berlin Philharmonic the invitation to conduct a concert with the executive board his management portfolio Australian World Orchestra. Inaugurated in includes media rights and the development 2011 the orchestra annually brings together of digital streaming and communications Australia's successful classical musicians platforms. awakenCanberra Weekly is proudyour to support love Canberra Symphonyof music Orchestra

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Born in Turin in 1981, Umberto has performed at some of the Umberto Clerici began most prestigious concert halls, including the study of cello in his Carnegie Hall in New York, Musik Verein town at the age of five at in Vienna, the great Shostakovich Hall of the Suzuki School with St. Petersburg and Auditorium Parco della Antonio Mosca, with Musica in Rome. In 2003 he debuted at the which he graduated at Salzburg Festival and in 2012 he performed the Conservatory “G. Tchaikovsky’s Rococo variations with the Verdi” of Turin. Having Orchestra of the Teatro Regio in Turin attended courses of some conducted by Valery Gergiev. of the most important Umberto has received the prestigious 2003 contemporary cellists, Pentagramma d’oro of the Galileo 2000 including Mario Brunello, Award (together with the famous violinist David Geringas and Steven Uto Ughi and Nobel Peace Laureate Shimon Isserlis, in 2007 he earned the Soloist Peres) in Florence, the Mozarteum Prize in Diploma from the Hochschule für Musik Salzburg, the Pressenda Award 2005 for best Nürnberg-Augsburg, studying with Julius young soloist of the year, and the Scanno Berger. Prize 2007. Umberto debuted at the age of 17, playing Umberto has always pursued a keen interest Haydn’s D Major Cello Concerto in Japan, in chamber music: as part of the Trio of and from 2002 began a fully-fledged solo Turin from 2001 to 2013, and also playing career, winning the National Association with artists such as Julius Berger, Mario ICO competition in Rome, which led him to Brunello, Itamar Golan, Sergej Krilov, Luis perform in the concert seasons of 12 major Lortie e Enrico Pace. He has a particular Italian orchestras. Later he played with an fondness for unusual chamber music array of renowned orchestras, including projects, to which he devotes himself in duo St. Petersburg Philharmonic, Brighton with pianist Andrea Rebaudengo (especially Philharmonic, Russian State Orchestra for the music of the twentieth century), of Moscow, Orchestra da Camera di in duo with pianist Claudio Martinez Mantova, Philharmonia Wien, “I Pomeriggi Mehner, and in trio (cello-piano-clarinet) Musicali” (Milan), Zagreb Philharmonic, with the latter and the clarinetist Tommaso ORT-Orchestra della Toscana (Florence), Lonquich. Orchestra di Padova e del Veneto, Haydn Orchester di Trento e Bolzano, State For 4 years he was Principal Cello at the Orchestras of Istanbul and Ankara. His Teatro Regio in Turin. In the same years he orchestral performances have been was invited as Guest Principal Cello at the alongside conductors such as Aldo Ceccato, Orchestra Filarmonica del Teatro alla Scala Alexander Dmitriev, Lü Jia, Christoph of Milan. Poppen, Dmitry Sitkovetsky, Ola Rudner, He is Cello Lecturer at the Sydney Barry Wordsworth and Peter-Lukas Graf. Conservatorium of Music (Sydney Umberto’s accolades include awards in University) and in the summer at the a number of significant international Salzburg Mozarteum University. competitions, including the Janigro in In 2014, Umberto was appointed as Zagreb and the Rostropovich in Paris. Principal Cello of the Sydney Symphony Umberto is the only Italian cellist (other Orchestra, which is based in the famous than Mario Brunello), to have won a prize . at the renowned Tchaikovsky Competition in Moscow. Umberto plays a cello by Carlo Antonio Testore, made in Milan in 1758. “This being the first concert I wasn’t sure what to expect, but it was most enjoyable and there was a special atmosphere due, in part, to our close proximity to the players. What are people saying about the CSO’s Australian Series?

“As relative “novices” to CSO activities, we weren’t really sure what to expect. In short, it was magnificent!”

Next concert: Thursday 1 June, 2017 Gordon Darling Hall, National Portrait Gallery, 6.30pm Greenway 3 Baritone Michael Halliwell, Clarinets Sue Newsome, Piano David Miller Paired NPG exhibition The 2017 National Photographic Portrait Prize Tickets $45 CSO Direct 6262 6772 or cso.org.au, includes entry to the exhibition

You don’t need to have expectations to have them blown away. Join us for the Australian Series at the National Portrait Gallery, and let us expand your arts experience. cso.org.au /canberrasymphonyorchestra /canberrasymphonyorchestra The CSO is assisted by the Commonwealth Government @cbr_symphony through the Australia Council, its arts funding and advisory body MUSIC NOTES

Joseph Haydn (1732–1809) Overture to L’isola disabitata, Hob 28/9

The formidable Habsburg Empress Maria- was cut off from the world; there was no Theresa once quipped that ‘when I want to one to confuse or torment me, and I was see good opera, I must go to Eszterháza’. forced to become original.’ But his Farewell The Esterházy family was one of the more Symphony was, nevertheless, written as a powerful aristocratic houses in the Austro- hint to the Prince that the musicians were Hungarian Empire at the time, and its keen to get back to their families and the official ‘seat’ was in the city of Eisenstadt. relative comforts of Eisenstadt. In 1762, however, Nikolaus Esterházy had Nikolaus used entertainment as a means acceded to the title of Prince, and set about of asserting his magnificence among his converting the family’s hunting lodge (a peers, although some performances were 22-room hunting lodge, it must be said) that repeated with the peasantry welcome to sat on a reclaimed swamp in rural Hungary. attend—on condition that they wore their By 1766 the main palace of Eszterháza was best clothes. In the early 1770s there was complete; two years later saw the building much more spoken-word theatre than of an opera theatre, and then, in 1773 a opera, with annual visits from a travelling separate marionette theatre. company that performed a range of things Joseph Haydn had been appointed Vice- including Shakespeare. Conducting and Kapellmeister to the Esterházy court by occasionally composing opera increasingly Nikolaus’s brother and predecessor in took up much of Haydn’s time and energy, 1761. As Vice-Kapellmeister, Haydn was and purely instrumental concerts at in charge of Camer-Musique, which meant Ezsterháza became increasingly rare. By the writing instrumental and vocal music mid-1780s the court theatre presented over for entertainments, as well as teaching, one hundred evenings of opera in any given performing, and overseeing the upkeep season at the palace, hence the Empress’s of the Prince’s instrument collection and remark. In the earlier part of this period, library. He became Kapellmeister in 1766 the emphasis was on ‘heroic’ or ‘serious on the death of the incumbent; his duty opera’ (opera seria), moral tales of, often, was to compose and direct music for the mythic heroes and gods, or wise rulers of court’s chapel and larger-scale secular classical antiquity; later, comic opera (opera entertainments. He was designated a ‘house buffa) gained the ascendancy. At Ezsterháza, officer’, which gave him privileges such Italian opera was given in the opera as eating at the same table as the Prince’s theatre, and German-language works in the military officers. marionette theatre. Nikolaus was soon nicknamed ‘the The doyen of librettists of Italian opera seria Magnificent’ (the great German poet Goethe was Pietro Metastasio (1698-1782) a leading referred to the whole Esterházy entourage light of the Arcadian movement that sought as the ‘fairy empire’) because of his wish to promote virtue through drama. His 27 that Eszterháza should emulate Versailles librettos, which tended to follow highly in its architecture and in the carefully stylised formal models, were set numerous You don’t need to have expectations to have them blown away. Join us for the controlled pageant of courtly life. Despite times by various composers—over twenty Australian Series at the National Portrait Gallery, and let us expand your arts experience. the palace being, originally, a summer set his L’isola disabitata, which dates from residence, the Esterházy household was 1753. Haydn set it in 1779. It was performed obliged to spend ever-longer periods—up to for Nikolaus’s name day in December, but ten months of the year there. This was not had to be given in the marionette theatre, as without advantages, as Haydn later said—‘I fire had recently destroyed the opera house. CSO OPERA GALA

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SATURDAY 8 JULY LLEWELLYN HALL, ANU, 7.30PM

Conductor Nicholas Milton AM Soloists: Guest artists from the State Opera House of Saarbrücken, Germany (Saarländisches Staatstheater) cso.org.au /canberrasymphonyorchestra

/canberrasymphonyorchestra The CSO is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body @cbr_symphony MUSIC NOTES

Rather than recounting a morally improving vivace assai (very lively) also in G minor, myth or historical event, L’isola disabitata whose character, with its emphatic motifs, examines the tension between nature and driving passagework and sudden harmonic civilisation in a way that we also see in swerves is emotively dramatic, not unlike Shakespeare’s The Tempest or Marivaux’s the so-called Sturm und Drang symphonies La Dispute. Two sisters, Costanza and that Haydn wrote in the 1770s. In sharp Silvia, were left on a desert island when contrast to this anguished, ‘natural’ music is Costanza’s husband, Gernando, was a gracious and civilised major-key minuet. abducted by pirates some years before. This, however, is swept away by a renewed In the opera he finally returns, with his outburst of the vivace music. By contrast friend Enrico, to find that Costanza had however, at the end of the opera, the believed herself abandoned and hates characters are all happily married. him, and has taught Silvia never to trust © Gordon Kerry 2017 men. Silvia, naturally, falls for Enrico. The sinfonia, or overture, consists of four sections: a slow introduction which begins with angular, unison minor-key figures, reminding us of Haydn’s debt to C P E Bach, and offers plaintive fragments from the oboe. This leads to a section marked Love the Canberra Symphony Orchestra on stage? ‘Like’ us online! Follow the CSO on Facebook, Twitter and Instagram for up to date news and information, special offers and competitions, and to instantly share your thoughts and experiences with the orchestra.

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Robert Schumann (1810-1856) Cello Concerto in A minor, op.129

Nicht zu schnell (Not too fast) – One could forgive Clara for being partisan, Langsam (Slowly) – but in this case, her summary is quite apt. Sehr lebhaft (Very lively) For once, Schumann’s habitually over- painted orchestration is under control. The The fluency and spontaneous grace of this cello is exploited for its eloquent tenor tone, work could be thought to reflect the single and the work has a wonderful lyricism. span of inspiration in which Schumann composed it. The work was composed by Schumann the musical poet is evident in the the 40-year-old, newly arrived in Düsseldorf way each movement is linked to the next to from Dresden, in the space of 15 days—from allow for a continuity of thought unlikely to 10 to 24 October 1850. be broken by applause, and in the eschewal of virtuosity for its own sake. ‘I cannot write Schumann at first considered calling this a concerto for the virtuosos,’ Schumann had masterpiece a Konzertstück, to reflect its less commented early in his career. The cadenza than concerto-length dimensions (it runs to is in fact shifted from the first movement to about 25 minutes). However, it is only the the last, so that an audience may first attend brevity of the slow movement which could to the warmth and scope of the musical in any way threaten its claim to the grander ideas. The triplets in the first movement are title. the only early concessions to virtuosity. In contrast with certain passages in the There is no orchestral introduction as was Violin Concerto of 1853, Schumann here customary in the Classical concerto—just composed solo music which is well-pitched four bars of material which introduces a for the instrument. Schumann, though sweeping opening melody in the cello. remembered as a pianist, in fact possessed The cello goes on for some time in its a reasonably deep first-hand knowledge of attractive tenor register, until a more the cello, having taken it up briefly after the vigorous orchestral passage takes over. Then injury in 1832 which put an end to his piano a secondary, slightly more chromatic and career. He once explained that he was able to more rhythmically pointed melody is heard, handle the bow despite the paralysis which before triplets are introduced in the codetta, affected one of the fingers of his right hand. taking the listener almost imperceptibly into Though Schumann didn’t study cello for the development section, a passage notable long, this concerto is evidence that his time for pert, light scoring for the orchestra and on the instrument paid off. As his wife, long, flowing responses in the solo cello. A Clara, confided in her diary (16 November recollection of the opening melody in more 1850): ‘Last month [Robert] composed a languorous mood, in the remote key of F concerto for violoncello … It appears to be sharp minor, marks the furthest point of the written in the true violoncello style.’ development, before a return to the material of the opening section, now slightly varied. As always, Clara was Schumann’s most perceptive critic and keenest admirer, and A gradual retarding of the coda leads to the she added in her diary, a year later: slow movement, where traditionally the soloist plays in duet with the leader of the I have played Robert’s Violoncello Concerto orchestral cellos. It is only 34 bars long, but again and thus procured for myself a truly rises to a glorious climax with the cello in musical and happy hour. The romantic its tenor register. An accelerating coloratura quality, the flight, the freshness and the leads to the last movement. Here the cello humour, and also the highly interesting takes on a more playful character, while interweaving of cello and orchestra are, remaining essentially melodic. indeed, wholly ravishing, and what euphony and what deep sentiment are in all the G.K. Williams © Symphony Australia /canberrasymphonyorchestra melodic passages. Reprinted by permission of Symphony Services International Stock Kitchen & Bar is Mantra on Northbourne’s new signature restaurant offering quality options for the entire family.

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Peter Sculthorpe (1929–2014) String Sonata No.3 (Jabiru Dreaming)

1 Deciso episode (Ancora deciso) begins with what 2 Liberamente – Estatico Sculthorpe typically referred to as his ‘Earth’ motif—an oscillating semitone figure It was in the first half of 1989, only after “that has permeated almost all my music … completing his orchestral score Kakadu songs, both sorrowful and joyful … for the (1988), that Peter Sculthorpe made his first survival of this planet.” It is introduced on actual visit to Kakadu National Park (named the violins col legno (played with the wood after the area’s Gagudju people) in the far of the bow), and moves into an insect-like north of the Northern Territory. As he buzzing chorus, before the pattern-making recalled afterwards: surrounding the main melody resumes, “Looking out across the great floodplains there, but now sul ponticello (bowed close to the I could see abandoned sites of early white bridge). Finally, with a return to ordinary settlement, the Arafura Sea, Torres Strait, and, bowing, the main viola melody is combined in my imagination, the islands of Indonesia. contrapuntally with the violins' ‘earth’ motif The musics of these places, and of Kakadu itself, from the central episode, before the music fused in my mind.” fades in a mass of bird sounds. Into the 1990s, Sculthorpe continued The music of the second movement was to be inspired by some of Kakadu’s key Scuthorpe’s earliest creative response to his Indigenous cultural and environmental 1989 Kakadu visit. He originally composed sites—Nourlangie, Ubirr and Jabiru—in it to be a single-movement piece for the a series of compositions characterised Australian percussion quartet Synergy to by their buoyant tempos and ritual-like perform in Paris in July 1989, commissioned rhythmic structures. Among them, his String by the Australian Government as a musical Quartet No.11 (subtitled Jabiru Dreaming) was gift to France on the 200th anniversary of completed in Sydney in February 1990 for the French Revolution. Six months later, an Australian tour by the Kronos Quartet of Sculthorpe reworked it as the second San Francisco. Sculthorpe later rearranged movement of the Eleventh Quartet, and so Stock Kitchen & Bar is Mantra on Northbourne’s new signature restaurant offering quality options the quartet for conductor Martin Jarvis ultimately also of this Third Sonata. Befitting for the entire family. and the strings of the Darwin Symphony the 1989 Paris premiere, the main theme, Orchestra to perform at an outdoor concert introduced by the cellos (Liberamente), is Perfectly situated just a few minutes’ from the CBD, Stock Kitchen & Bar is the ideal place to catch in Kakadu National Park in July 1993, and, based on an Indigenous Australian chant up with friends and family or find time to relax with a cup of coffee. With convenient onsite parking back in Sydney in February 1994, he finally as transcribed by members of a French the only decision to make will be what to order from the delicious menu. reworked the Darwin score as this Third naval expedition to Australia in 1802. In the Sonata for Strings. sumptuously illustrated expedition Atlas, published in Paris in 1824, the chant appears With a menu incorporating hearty, healthy, home-style fare, the wide array of dishes means there The sonata is in two movements. The first there with two other transcriptions—a is definitely something to please every palate. (Deciso) draws on rhythmic patterns from rhythmic pattern headed Air de danse, and Indigenous music of the Kakadu area. a Cri de ralliement “Couhé”: none other The cellos imitate a traditional didjeridu than the bush call Cooee! After a brief call, which itself imitates the stilted interlude of insect-sounds, the main part Open 7 days for breakfast and dinner. gait of the local jabiru stork. Sculthorpe of the movement (Estatico) begins with described the main melodic idea, carried For bookings call 6243 2500 or email [email protected] a rhythmicised variation, the chant now by the violas, as “not unlike some Torres transferred to the second violins, and set Strait music”, first presented within a against an accompaniment figure common full texture with counterpointed strands in Sculthorpe’s music since the late 1960s, from the other strings. A sparser central derived from Balinese gamelan gong By bringing world class music to the region season after season, the Canberra Symphony Orchestra is central to the ACT’s vibrant arts community. Supporting such an inspiring organisation continues to be our privilege after 20 years.

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patterns. A central contrasting episode violins. The texture consolidates in the final then takes up the rhythms of the French variation (Meno mosso), for which the violins atlas’s Air de danse, the tribal women’s music swap melodies, leading into a brilliant represented by the melody of the first homophonic coda, and, again, a fading violins, the men’s in the percussive tapping chorus of bird sounds to close. of the middle-register strings pizzicato then Program notes © by Graeme Skinner 2017 col legno. The Estatico resumes with the chant again in the second violins, combined with the melody of the episode in the first

Johannes Brahms (1833-1897) Symphony No.3 in F major, op.90

1. Allegro con brio But the theme which the motto introduces 2. Andante evokes Schumann, someone dear to both 3. Poco allegretto Brahms’ and Joachim’s hearts. 4. Allegro The motto-motif provides the assertive Brahms spent the summer of 1883 in the opening gesture, where it is ‘spelled’ F-A German spa town of Wiesbaden, where flat-F: in F major, the A flat is chromatic, he produced his Third Symphony in thus providing a dramatic dissonance at a mere four months. It is the shortest the work’s outset. This pattern—the first, of Brahms’ symphonies, but for this third and eighth degrees of the scale—can obsessively self-critical composer that be found throughout the whole work, as was almost miraculous. Hans Richter, melodic feature at first then immediately who conducted the first performance in as an accompanying figure in the bass, or Vienna, was perhaps a little over the top in seemingly inconsequential detail. But the calling it ‘Brahms’ Eroica’ (it was Richter, major-minor tension pervades the work, after all, who dubbed the First Symphony giving it its moments of ‘heroic’ drama. The ‘Beethoven’s Tenth’) and yet it is a work that work’s dramatic unity is also effected by essays many emotional states in a highly its overall tonal plan: the outer movements dramatic fashion, and leads to a conclusion are, naturally, centred on the home key of of great peace. F, while the inner movements focus on its polar opposite, C. This simple architecture Thirty years earlier, Brahms had is decorated at the more local level by contributed to the ‘F-A-E Sonata’, a work much more surprising key relations. The jointly composed with Albert Dietrich and F major/A flat opening is a case in point; Robert Schumann in honour of violinist the first subject, or thematic group, is a Joseph Joachim. The letters stand for surging music in F major that derives from Joachim’s personal motto ‘frei aber einsam’ the opening theme of Robert Schumann’s (free but lonely) and provide a musical motif Third Symphony, the ‘Rhenish’. Wiesbaden, that unites the work. Brahms responded where Brahms composed the piece, is that his own motto was ‘frei aber froh’ (free on the Rhine; Brahms may have been but happy). The musical version of this, unconscious of the resemblance, though F-A-F, dominates the Third Symphony, the model of the First Symphony’s finale, which was written partly as a ‘proffered which almost—and quite deliberately— hand’ or gesture of reconciliation by quotes Beethoven’s Ninth, comes to mind. Brahms, who had fallen out with Joachim But the second subject, a serene tune over the latter’s divorce some years earlier. sounded by clarinet and bassoon, is in the FLAWLESSLY Over $40,000 in prize money 2017 CONDUCTING YOUR IT 3rd Australian International Piano Competition SOLUTIONS 10 – 17 September 2017 The Australian National University School of Music Canberra Our Managed Service Solution means that we're constantly working away Tax deductible donations can be made to in the background so that your the Australian National University or IT is always in tune. the Friends of Chopin Australia

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distant key of A major. A short development through the score to the winds. After a leads to the expected recapitulation of the contrasting central section introduced by opening material; more important, though, is pulsing chords that alternate with rich string Brahms’ gradual lowering of the temperature scoring, the opening material is recapitulated to conclude the movement—as he does with but in completely different instrumentation, all four in this work—softly and calmly. featuring the horn and other winds. The Andante takes up the pastoral sounds The dramatic focus of the symphony, of clarinet and bassoon, alternating wind however, is the finale where, Beethoven- textures with quiet lower-string passages style, assertive, often terse, rhythmic at first, and such textures moderate any ideas contend with athletic, long-breathed impassioned outbursts during the course melodies, notably one that has the classic of its sonata-design unfolding. The delicate Brahmsian tension between duplet and textures at the end of the movement might triplet motifs. After boisterous heroics that support Jan Swafford’s view that Brahms feature a three-beat rhythm derived from the was not unaffected by the recent death of work’s opening motto, the music reaches Wagner, ‘his rival, his respected enemy, his a state of repose where, against rippling shadow’, whose sound-world they resemble. strings, the winds build in intensity to restate the opening F-A flat-F moment, now purged The third movement is effectively a minuet, of any angst. though in 3/8 not 3/4. Its main theme, characterised by gentle dissonance on the © Gordon Kerry 2014/15 downbeats and a wave-like ebb and flow, is Reprinted by permission of Symphony Services International sung first by the cellos against a diaphanous string texture and then moves upward

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1 B A L M A I N C R E S , A C T O N A C T 2 6 0 1 - 0 2 6 1 2 5 5 2 1 1 - U N I H O U S E . A N U . E D U . A U Dr Nicholas Milton AM Chief Conductor and Artistic Director Artistic Patronage ActewAGL Concertmaster Barbara Jane Gilby Concertmaster Emeritus Tor Frømyhr

The Orchestra ActewAGL Llewellyn Series, Cello

Violin Viola Flute Trombone Barbara Jane Gilby Tor FrØmyhr Vernon Hill Nigel Crocker Doreen Cumming Ben Carvalho Virginia Taylor Michael Bailey Pip Thompson Liz Chalker Oboe Bass Trombone Toby Aan Robert Harris Megan Pampling Colin Burrows Leanne Bear Justin Julian Julie Igglesden Catherine Bucknell Freyja Meany Timpani Tahni Chan Clarinet Andrew Heron Cello Jack Chenoweth Christopher Tingay Gwyn Roberts Lauren Davis Stephan Wylks Joseph Eisinger Tess Duflou Samuel Payne Bassoon Jenny Higgs Lindy Reksten Greg Taylor Michelle Higgs Alex Voorhoeve Kristen Sutcliffe Valerie Jackson Jordan London Liam Keneally Double Bass Douglas Macnicol Kyle Daniel French Horn Claire Phillips Daniel Dean Neil Favell Tim Wickham Dave Flynn Dianna Gaetjens Esther Wong Hamish Gullick Rafael Salgado Carly Brown Trumpet Rainer Saville Justin Lingard

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Virginia Taylor Samuel Payne Andrew Heron Lindi Reksten Rainer Saville Flute Cello Timpani Cello Trumpet

Betty Beaver AM RA David Cello Chair Campbell hotel-hotel.com.au The CSO is delighted to work with Kitchen Witchery as our official caterer for the Shell Prom Concert and our concert VIP Receptions.

it’s the little things that make the difference t 02 6162 1258 [email protected] www.qote.com.au CSO print partner CSO Board & Administration

CSO Board Chair Air Chief Marshal Sir Angus Houston AK, AFC (Retd) Deputy Chair Melanie Kontze Treasurer Alan Bunsell Secretary & Public Officer Bob Clark Members Chris Faulks Lucille Halloran Paul Lindwall John Kalokerinos Elizabeth McGrath John Painter AM

CSO Artistic Chief Conductor & Artistic Director Dr Nicholas Milton AM Artistic patronage ActewAGL

CSO Administration Chief Executive Officer Sarah Kimball Bookkeeper* Jeanette Simpson Brand & Design Rachel Thomas Education & Ensembles* Meriel Owen Finance* Marinda Burger Logistics & Events Nicole Hoffman Media & Audience Engagement* Jolene Laverty Orchestra & Operations Andrew Heron Contact us Partnerships* Frances Corkhill Level One Philanthropy* Tim Langford Ticketing & Administration* David Flynn 11 London Circuit (entrance off Farrell Place) CSO Volunteers Canberra City Dianna Laska GPO Box 1919 Gail Tregear Canberra ACT 2601 Vicki Murn CSO Direct (ticketing) Peyton Butler John & Anne Rundle 02 6262 6772 weekdays 10am–3pm Alison Gates Administration 02 6247 9191 cso.org.au *Indicates part-time position /canberrasymphonyorchestra @cbr_symphony “ActewAGL’s partnership with the Canberra Symphony Orchestra began in 2001, and we have continued to proudly support the talented musicians and creative team who provide exceptional musical experiences for the Canberra region. We are honoured to be the artistic patron of CSO Chief Conductor and Artistic Director, Nicholas Milton AM, and we are especially proud of our involvement with the CSO’s innovative education and community programs which connect people of all ages and backgrounds through music.” Michael Costello, Chief Executive Officer, ActewAGL

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Honorary Solicitors Murrumbidgee Partners Australian Series We would love to talk with you about how partnering with the CSO can assist your organisation through brand alignment, collaborative marketing campaigns and premium corporate hospitality benefits. Frances Corkhill—Partnerships [email protected] M: 0428 272 817

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One of the most challenging parts of my lives are enriched by the CSO’s activities. job is to talk to CSO subscribers who are We thank them for their generosity, and no longer able to attend CSO concerts we are honoured to be regarded so highly. on account of health or through a lack of Shortly, CSO subscribers and donors mobility. Their passion persists; the will is will be receiving correspondence about strong, but the challenge of getting to the our 2017 End of Financial Year Appeal. venue and to enjoy the music are too great. Please consider donating to the CSO At the end of the CSO’s subscription period when the time comes. Simultaneously, last year several long-term CSO supporters we’re introducing a new and unofficial were faced with that reality. They ceased fundraising campaign, Dob in a Donor. If their subscriptions but elected to support you know someone who loves what the us through donations. Rarely will they get CSO does and has the capacity to give, try another chance to see the orchestra in full convincing them to support us, or turn flight, but feel so strongly about the music them in to me. We need their help, too! and its impact on the community that they www.cso.org.au/private-giving continue to give. On one level, there’s not a lot in it for them any longer. Yet they dug Tim Langford deep, knowing many Canberrans

YOWIE MAN Poll position KLAUS MOJE A passion for colour HANNAH KENT Folklore and order OCTOBER 1,2016

JULY 30, 2016

JIMMY BARNES Confronting his demons ROBERT FOSTER panorama A brilliant legacy MALCOLM 30 years on KRISTEN TORTURED SOUL STEWART The genius of Nijinsky Behind the TIM THE YOWIE MAN headlines Trek back in time

SEPTEMBER 17, 2016 Shining bright Stars align to markShine the 20th anniversary of Keith Urban AUGUST 6, 2016 On tour with country music’s Mr Nice Guy CHARLES BEAN The man behind the legend GHOST STORIES Theatre to make you scream BAZ LUHRMANN

Art and alchemy Photo: Edward Mulvihill Edward Photo: Lord of the dance Canberra’s Luke Currie-Richardson comes from a family of athletes but, bound for Paris as a member of Bangarra, he has no regrets about choosing dance over basketball.

Shock and awe He is one of Australia’s most provocative and influential artists, but Mike Parr’s work remains divisive.

Panorama lift-out every Saturday Proudly supporting the Canberra Symphony Orchestra for over 15 years

RM2692960 CSO Private Giving We thank all supporters for their commitment and generosity.

The Kingsland Fellowship Maestro Membership James Grieve Program $4000–$9999 Beatrice Guppy Founding Donors Prof Brian Anderson AC & Allan Hall AM The late Sir Richard & Mrs Dianne Anderson Barbara Hall OAM Lady Kingsland & Family Betty Beaver AM Donald Harris AM & Glenys Marjorie Lindenmayer RA David Campbell M Harris Anonymous 1 Sue Daw OAM Anthony Hedley AM Ross & Sue Kingsland Colin & Enid Holmes Gifts and Bequests Marjorie Lindenmayer Stephanie & Mike Betty Beaver AM Noela McDonald Hutchinson Dr Pamela Rothwell David McDonald Paul & Jan Kriedemann Anonymous 2 Muriel Wilkinson Jim & Heather Leedman In Memoriam Anonymous 4 Paul Lindwall Don Beazley Raymond Macourt OAM Education Giving Circle Janice Beveridge Garth Mansfield OAM Virginia Berger Heather Eastwood Margaret Mansfield OAM Joan Boston Ann & Liam Kearns David & Sheila Middleton Mandy Westende & Margaret Oates Instrument Fund Lou Westende OAM Paris '99 Prof Brian Anderson AC In Memoriam Carolyn Philpot & Dianne Anderson Prof John Mulvaney Katharine Pierce Shane Baker & Anonymous 1 Margaret Reid AO Linda Pearson Principal Member Robyn Robertson Boronia Gift $1000-$3999 Penelope Layland Joan Boston Halina Barrett Muriel Wilkinson Prof Robert Crompton Joanne Blackburn Anonymous 9 & Helen Crompton Max & Lynne Booth The Flynn Family Associate Member Dr Chris Bourke Anthony Hedley AM $500–$999 Miles & Ann Burgess Geoffrey White OAM Miles & Ann Burgess Peter Carrigy-Ryan Sally White OAM Anne Burhop Christopher & Rieteke In Memoriam Mr Brian Cant Chenoweth Leonie Voorhoeve AK & JE Cooper Peter & Asha Clarke Dr Catherine Drummond Virtuosi Member Dianne Constable Christine Dwyer Above $10000 Dudley & Helen Creagh Phil & Julie Greenwood Mandy Westende & Prof Robert Crompton & John Fitzgerald Lou Westende OAM Helen Crompton Anthony Hayward Anonymous 1 Fay Cull Dr Marian Hill Helen Douglas Louise Hodgman Sue Dyer Mary Elspeth Humphries Elizabeth Morrison & John John & Ros Jackson Mulvaney Patricia Jones Raydon & Alison Gates John Kalokerinos Fair Go Australia Foundation N Landau J P Gordon Henry & Dianna Laska J. Norman Dr Miriam Fischer Paul & Betty Meyer John & Elizabeth Oliver T & W Fitzgerald Diana Mildern Margaret Payne Colleen Flynn Louise Muir Mary Porter AM MLA Margaret Frey Bruce Neindorf Ann & Liam Kearns Greg George Kate Nockels David Shelmerdine Kate Gilbert Ann Northcote Haddon Spurgeon Geoff & Lynette Gorrie Marie Oakes Michael & Emily Reed Goyne Family Pamela O'Keeffe Ursula Reid Mark Goyne John & Elizabeth Oliver Kerry Truelove Gillian & Ian Graham Helen Pampling Dr Margot Woods & Elizabeth Grant AM Susan Pidgeon Arn Sprogis Helen & John Grant Paul & Mary Pollard Anonymous 7 Rosemary Greaves Anna Prosser Marlene Hall Sandra Purser Supporting Member Isobel Hamilton Bill Rhemrev $100–$499 B Hammond Helen White & Bob Michael Allam Colin Harmer Richardson Beverley Allen Malcolm & Rhondda Hazell Wayne & Linda Roberts Judith Andrews Peter & Heather Henderson Jennifer Rowland Margaret Aston Louise Hodgman Valerie Russell Dr John Azoury Catherine Hook & Paul Beryl Stewart Pamela Weiss & Trevor Carmen John Sutton Bainbridge June Howard Andrea Szabo Allan Baxter Douglas Hurditch Pamela & Graham Thomas Tim Beckett Rod Hurley Dr Susan Thomson NC & JE Bedloe Ian Ingle Leonard Tuohy Daryl & Hermina Blaxland Margaret & Peter Janssens Stewart & Sheila Turner Robyn Boyd Dr Gerard Joseph Suzanne Vaisutis-White Mary Boyle Frank Kelly Gary Watson Mary Brennan David & Rosemary Mike & Ros Welch Bern Brent Kennemore Don Whitbread OAM C & R Brock Helga Klippan Rosslyn Wiley Dr Peter Brown AM Melanie Kontze Ernst & Mary Louise Pauline & Kevin Bryant Susanne Koerber Willheim Adrian Burton & Divya Bjarne Kragh Dr Anthony Willis Sharma Denise Kraus Capt W Graham Wright Louise Butler N Landau Anonymous 50 Helen Catchatoorian Judith Lindgren Elizabeth Anne Coupland The CSO would like to Richard & Penny Lloyd Jones Don Coutts & Julie Campbell acknowledge all donations from John & Jinnie Lovett Merrilyn Crawford Contributing Members of up Sue Ludwig Vicky Cullen to $99 Patricia Makeham Yole & Bill Daniels AM Slawomir Makula Margaret Duncan Dr Heloisa Mariath Vicki Dunne MLA Kathleen Marshall M N Falk WE’LL ALWAYS WORK IN HARMONY WITH OUR ORCHESTRA.

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