ABOUT THE MUSIC OHLSSON PLAYS BRAHMS /In concert march 2013

MOZART's 7-9 MARCH VIVE LA FRANCE 15 MARCH MENDELSSOHN AND BRAHMS 17 MARCH

MEET YOUR MSO MUSICIANS: PHILIP ARKINSTALL AND ANDREW HALL

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2 welcome

of Sidney Myer Free Concerts. helping us present artists of the It really is a great pleasure and highest quality and broaden our honour to be here in this role. range of programs. You already know what a cultural I must also point you to our jewel your is. This year third annual Education Week, marks the start of a new era for us, in Melbourne Town Hall from as we celebrate our first full season 28 May, which gives you the with the new Hamer Hall as our opportunity to experience just main performance home. In a few how much of a difference the weeks we welcome back Sir Andrew Orchestra’s work can make in Davis, for his first concerts as Chief the lives of young people. © lucas dawson Conductor, and later this year I look forward to seeing you Diego Matheuz returns, following at MSO events in coming his sensational appearances at A warm welcome to this months, and wish you all the the Bowl in 2012, as our Principal Melbourne Symphony Orchestra best for your musical enjoyment Guest Conductor. Sir Andrew’s concert and to our 2013 season. throughout 2013. Having taken up my position in Welcome Gala concerts on 26 November last year I am quickly and 27 April, featuring one of the coming to admire this wonderful greatest singers of our time, Bryn city and region, and the central Terfel, are not to be missed. place the MSO holds in the hearts This is also the year in which we and minds of our community. celebrate the tenth anniversary André Gremillet I have now met with many key of our Principal Partner Managing Director stakeholders and have had the relationship with Emirates. This privilege to experience a great enduring relationship has been of deal of what makes Melbourne so tremendous benefit to the MSO, special, including my first season

EMIRATEs celebrates 10 years as principal partner of the MSO

The ten-year partnership showcases Emirates’ support for music lovers in Melbourne, across , and around the globe, highlighting the airline’s shared commitment with the MSO to deliver first-class experiences. Whilst fostering the growth of the arts in one of the world’s most diverse and liveable cities, Emirates has steadily grown its services between Melbourne and Dubai, and onwards to more than 130 destinations globally. Emirates is equally proud to have brought its state- of-the-art Emirates Airbus A380 to Melbourne, now offering the ultimate in travelling comfort to Emirates is proud to enter its tenth year as Principal passengers travelling daily to Dubai and Auckland. Partner of the Melbourne Symphony Orchestra. Emirates is proud to support organisations like the Emirates’ long-standing partnership with the MSO MSO, which make Melbourne such a wonderful is a shining example of how commercial and artistic place to live, playing host to talented musicians and partners can work together to achieve rewarding bringing the best in classical music to people in all results that benefit both the partners and their parts of . communities. 3 ABOUT THE MUSICartists ITHEMendelssohnAN BOOSRCHETRIDSTRAGE andSING BrahS MOZmARs T AND SCHUBERT © Lucas dawson

THE MELBOURNE SYMPHONY ORCHESTRA

Harold Mitchell AC The MSO performs extensively events ranging from the Sidney Chairman with its own choir, the Melbourne Myer Free Concerts in the Sidney André Gremillet Symphony Orchestra Chorus, Myer Music Bowl to the series of Managing Director directed by chorus master Classic Kids concerts for young Jonathan Grieves-Smith. Recent children. The MSO reaches an Sir performances together include even larger audience through its Chief Conductor Walton’s Belshazzar’s Feast under regular concert broadcasts on Diego Matheuz Bramwell Tovey, Mahler’s ABC Classic FM, and CD Principal Guest Conductor Symphony No.3 under Markus recordings on Chandos and Stenz, music of Percy Grainger ABC Classics. The Orchestra’s under Sir Andrew Davis and, considerable ceremonial role in Patricia Riordan Associate as part of the 2011 Beethoven Victoria has included participation Conductor Chair Festival, Beethoven’s Ninth in the opening ceremony of the Symphony under . 2006 Commonwealth Games, in the 2009 Bushfire memorial Key musical figures in the With a reputation for excellence, service Together for Victoria, the Orchestra’s history include versatility and innovation, Prime Minister’s Olympic Dinner – who was Chief the internationally acclaimed and the 2010 and 2011 AFL Conductor and then Conductor Melbourne Symphony Orchestra Grand Final. is Australia’s oldest orchestra, Laureate, between 1974 and his established in 1906. death in 2006 – and , The MSO’s extensive education who was Chief Conductor and and community outreach activities This fine Orchestra is renowned Artistic Director from 1998 until include the Meet the Orchestra, for its performances of the 2004. Oleg Caetani was the MSO’s Meet the Music and Up Close great symphonic masterworks Chief Conductor and Artistic and Musical programs, designed with leading international and Director from 2005 to 2009. specifically for schools. In 2011 Australian artists including In June 2012 the MSO announced the MSO launched an educational Maxim Vengerov, John Williams, the appointment of Sir Andrew iPhone and iPad App designed Osmo Vänskä, Charles Dutoit, Davis as Chief Conductor, for the to teach children about the inner Yan Pascal Tortelier, Donald 2013 season. workings of an orchestra. Runnicles, Jean-Yves Thibaudet, , Edo de Waart, The MSO, the first Australian The Melbourne Symphony Orchestra is Lang Lang, Nigel Kennedy, Jeffrey symphony orchestra to tour funded principally by the Australian Government through the Australia Tate, Midori, Christine Brewer, abroad, has received widespread international recognition in tours Council, its arts funding and advisory , Emma Matthews body, and is generously supported by to the USA, , , Korea, and Teddy Tahu Rhodes. It has the Victorian Government through Arts also enjoyed hugely successful Europe, China and St Petersburg, Victoria, Department of Premier and performances with such artists Russia. In addition, the Orchestra Cabinet. The MSO is also funded by the as Sir Elton John, John Farnham, tours annually throughout regional City of Melbourne, its Principal Partner, Harry Connick, Jr., Ben Folds, Victoria including a concert season Emirates, and individual and corporate KISS, Burt Bacharach, The in Geelong. sponsors and donors. Whitlams, Human Nature, Sting Each year the Orchestra performs and Tim Minchin. to more than 200,000 people, at

4 conTents

The Sponsors 2 program Welcome – André Gremillet 3 INFORMATION

Concert guides Melbourne Symphony Orchestra programs can be read on-line or Mozart’s Requiem 6 downloaded up to a week before Vive La France 22 each concert, from mso.com.au Mendelssohn and Brahms 30 If you do not need this printed program after your concert, we encourage you to return it to a Meet Your MSO musician: Philip Arkinstall 18 member of staff. The Orchestra 20 The Donors 21 Meet Your MSO musician: Andrew Hall 28 The Patron Program 29

Cover image: SIR ANDREW DAVIS THE MELBOURNE SYMPHONY Orchestra and chorus in the new Hamer Hall

28 MAY TO 1 JUNE MELBOURNE TOWN HALL

Discover the power of percussion, the subtlety of strings, the wonders of woodwind and the brilliance of brass in this first-hand experience of a live orchestra! Audiences of all ages are welcome. To receive a 2013 Education and Community Outreach brochure which includes full details about Education Week - please email: [email protected] or visit mso.com.au 5 Thursday 7 March and Friday 8 March at 8pm Saturday 9 March at 2pm , Hamer Hall

Wagner The Mastersingers of Nuremberg: Prelude Bartok Music for Strings, Percussion and Celeste INTERVAL 20 MINUTES Mozart Requiem (compl. Süssmayr)

Melbourne Symphony Orchestra Edward Gardner conductor Elena Xanthoudakis soprano Sally-Anne Russell mezzo-soprano Andrew Staples Matthew Rose Melbourne Symphony Orchestra Chorus Jonathan Grieves-Smith chorus master

This concert has a duration of approximately two hours, including one interval of 20 minutes. Friday evening’s performance will be broadcast and streamed live around Australia on ABC Classic FM. Mozart’s Please turn off your mobile phone and all other electronic devices before the performance commences. Requiem

BEYOND THE STAGE Learn more about the music in these free events.

MOZART’S REQUIEM

PANEL DISCUSSION Thursday 7 and Friday 8 March at 7pm Saturday 9 March at 1pm Stalls Foyer, Hamer Hall

A panel discussion featuring musicians of the MSO on the music being performed in this program and in the 2013 season ahead.

6 ABOUT THE artists mozart’s requiem

Edward Gardner conductor Elena Xanthoudakis soprano Edward Gardner began his tenure as Music Elena Xanthoudakis kicked off the 2012-13 season Director of English National in May 2007 with as Pamina (The Magic ) at English National a critically acclaimed new production of Britten’s Opera and travelled to New York to cover the role of Death in Venice. Productions this season include Countess Adele (Le Comte Ory) for the Metropolitan Don Giovanni, Wozzeck and Martin’s Julietta. Opera, where she later returns to cover the role of He received the Royal Philharmonic Society Award Gilda (Rigoletto). She will appear in the role of First in 2008 for Best Conductor and the Olivier Award Niece (Peter Grimes) at the Accademia Nazionale di in 2009 for Outstanding Achievement in Opera. Santa Cecilia with Antonio Pappano. In June 2012 he was awarded an Order of the Recent successes include her debut at Glyndebourne British Empire for Services to Music in the Festival Opera as Clorinda (La Cenerentola); Jemmy Queen’s Birthday Honours. (William Tell) at the BBC Proms; appearances as Outside ENO, he received immediate re-invitations both Lisa and Amina (La Sonnambula) in addition for 2012/13 at the Metropolitan Opera and La to several seasons as Frasquita (Carmen) at the Royal Scala after his début appearances in Carmen and Opera House; her Canadian debut at Opéra de Death in Venice. He conducts the City of Birmingham Québec in the title role of Lucia di Lammermoor; her Symphony Orchestra as Principal Guest Conductor. appearance as both Euridice and Genio (L’anima del Other highlights in the current season include a focus Filosofo) for Pinchgut Opera; Miss Schlesen (Glass’ on Britten with Spring Symphony in Birmingham and Satyagraha) at ; Marzelline in St Paul’s Cathedral for the City of (Fidelio) at Brighton Festival with the Orchestra of the London Festival. His other ongoing relationships in Age of Enlightenment; and New Year’s concerts with the UK include the BBC Symphony, Philharmonia, Scottish Chamber Orchestra and Nicholas McGegan. London Philharmonic Orchestra and the Orchestra She also completed a concert tour in her native of the Age of Enlightenment. In 2002 he founded the Australia to promote the CD release of The Shepherd Hallé Youth Orchestra. and the Mermaid by her ensemble TrioKROMA. Internationally, Edward Gardner conducts the Royal Elena Xanthoudakis frequently performs in concert Orchestra, Deutsches Symphonie- as a soloist, with repertoire including Beethoven’s Orchester , Orchestre Philharmonique de Symphony No.9 and Mass in C; Rossini’s Petite Messe Radio France, and the Accademia Nazionale di Solennelle and Stabat Mater; Bach’s Mass in B Minor, St. Santa Cecilia. He also appears with the Bergen and Matthew Passion, Christmas Oratorio and St. John Passion; Czech Philharmonic , and the Swedish Mozart’s Requiem and Exsultate, Jubilate; Handel’s Radio, Danish National, and Gothenburg Symphony Messiah and Jeptha; Poulenc’s Gloria; and Strauss’ Four Orchestras. An exclusive recording artist for Chandos, Last Songs. She is a Borletti-Buitoni Trust artist. he has most recently released discs of Lutosawski, Britten and Berio vocal and orchestral works in addition to a number of recordings for EMI Records.

7 ABOUT THE artists mozart’s requiem

Photo: Richard Ecclestone

SALLY-ANNE RUSSELL ANDREW STAPLES tenor Matthew Rose bass mezzo-soprano Andrew Staples was the first Matthew Rose made his acclaimed In demand internationally on recipient of the RCM Peter Pears debut at the Glyndebourne Festival the operatic stage and concert Scholarship at the Royal College as Bottom (A Midsummer Night’s platform, Sally-Anne is a principal of Music and subsequently joined Dream) for which he received the guest with all the Australian opera the International John Christie Award, and has companies, symphony orchestras, Opera School. He studies with since sung the role at Teatro alla major festivals and choral societies. Ryland Davies. Scala, Covent Garden, Opéra National de Lyon and Houston An ARIA Award winner, she He has performed with the Grand Opera. He has sung Colline has recorded on ABC Classics, Berlin and Philharmonic (La bohème) for the Metropolitan Chandos and DECCA labels. She orchestras, London Symphony Opera; Sparafucile (Rigoletto) and has performed in 15 countries and Orchestra, Swedish and Bavarian Masetto (Don Giovanni) at Covent has over 50 operatic roles and an Radio Symphony orchestras, Garden; Nick Shadow (The Rake’s array of awards to her credit. Mahler Chamber Orchestra, Progress) at the Glyndebourne Orchestra of the Age of Recent appearances include Festival and Gothenburg Opera; Enlightenment, and the Scottish Carmen (Opera Queensland), Leporello (Don Giovanni) at the and Swedish Chamber orchestras. Falstaff (West Australian Opera), Glyndebourne Festival and Santa La Sonnambula, Orpheus in the Andrew Staples made his Royal Fe Opera; Claggart (Billy Budd) Underworld (State Opera of South Opera House debut as Jaquino in for English National Opera; Australia), Das Kaiser von Atlantis Fidelio, and has since returned for and Mozart’s Figaro for Welsh (Adelaide) and Das Rheingold The Magic Flute (First Armed Man), National Opera, the Lille Opera (Auckland Philharmonia), Mozart’s Arne’s Artaxerxes (Artabanes) and the Bavarian State Opera. His Requiem (Adelaide Symphony), St. and Salome (Narraboth). He has engagements this season include John Passion (Adelaide, Melbourne sung Ferrando (Così fan tutte) Talbot (Maria Stuarda) for the and ), Bach Magnificat and Eisenstein (Die Fledermaus) Metropolitan Opera and Sarastro (Adelaide Symphony), Bach B for the Benjamin Britten (The Magic Flute) at Covent Garden, Minor Mass (Melbourne and International Opera School, and and future engagements include Sydney), , has also performed for English his debut at the Deutsche Oper Brisbane Festival, Melbourne Touring Opera, Opera Holland Berlin and Lyric Opera of Chicago. Recital Centre, a ninth season Park, Garsington Opera and the His recordings include Messiah at the Carmel Bach Festival in Classical Opera Company. California and recitals for ABC with the Choir of King’s College, Classic FM, in Sydney with Tony In 2011 he semi-staged and Cambridge. His recording of Legge and in Singapore and the sang Tamino (The Magic Flute) Ratcliffe (Billy Budd) with Daniel United States. for the Lucerne Festival, a role Harding was the winner of a he will reprise with the Royal Grammy Award for Best Opera Opera House. Recording.

8 ABOUT THE artists mozart’s requiem

Melbourne Symphony Orchestra Jonathan Grieves-Smith Chorus The Melbourne Symphony Orchestra Chorus is English conductor and chorus master, Jonathan renowned for its excellence in repertoire from the Grieves-Smith has established an international baroque to the present day. Known as the Melbourne reputation for his compelling performances and Chorale until 2008, it has since then been integrated artistic leadership. He is Chorus Master of the with the Melbourne Symphony Orchestra. It sings Melbourne Symphony Orchestra Chorus and Artistic with the finest conductors, including Sir Andrew Director of Hallelujah Junction, Australia’s national Davis, Mark Wigglesworth, Bernard Labadie, Stephen professional chamber choir. Layton, , Masaaki Suzuki and Jonathan has trained choirs for the world’s leading Manfred Honeck. Recent highlights include Britten’s conductors including Sir Simon Rattle, Seiji Ozawa, War Requiem, Kancheli's Styx, Haydn’s , Valery Gergiev, , James Levine and Elgar’s , Westlake’s Missa Solis Sir , and has premiered music by and Wagner’s The Flying Dutchman. including , Paul Stanhope, The Chorus is committed to developing and Gabriel Jackson, Giya Kancheli, , Alfred performing new repertoire. Recent commissions Schnittke, , , Arvo include Brett Dean’s Katz und Spatz (commissioned Pärt and Peteris Vasks. with the Swedish Radio Choir), Ross Edwards’ Jonathan was Chorus Master of the Huddersfield Mountain Chant, Paul Stanhope’s Exile Lamentations Choral Society, the Hallé Choir, and Music Director (with Sydney Chamber Choir and London’s of Brighton Festival Chorus and as guest conductor Elysian Singers), and Gabriel Jackson’s To the Field has worked with the Academy of St Martin in the of Stars (with the Netherlands Chamber Choir and Fields Chorus, Sydney Chamber Choir, the BBC Stockholm’s St Jacob’s Chamber Choir). The Chorus Singers, Cantillation, Sydney Philharmonia Choirs, has also premiered works by MacMillan, Pärt, Henze, Dartington International Summer School, the Schnittke, Bryars, Silvestrov, Maskats, Machuel and Flemish Federation of Young Choirs, and Vasks, and more. Europa Cantat. The Chorus has performed in Brazil, and in Kuala Conducting highlights include tours of Brazil with Lumpur with the Malaysian Philharmonic Orchestra, the Chorus of Rome’s Academy of Santa Cecilia, with , Sydney Symphony with pianist Nelson Freire and the London Mozart Orchestra, West Australian Symphony Orchestra, with Players, and with the Melbourne Chorale (now MSO Barbra Streisand, at the 2011 AFL Grand Final and at Chorus). With the Hallé Orchestra and soloists Bryn the Sydney Olympic Arts Festival. The Chorus records Terfel and Tasmin Little he conducted Walton’s for ABC Classics and MSO Live, and continues its Belshazzar’s Feast and the Elgar Concerto; and relationship with Chandos with the imminent release with the Royal Philharmonic Orchestra, he conducted of Grainger’s choral works with the Melbourne Mendelssohn’s Symphony No.2 Lobgesang at the Symphony Orchestra and Sir Andrew Davis. Brighton Festival.

9 ABOUT THE MUSIC mozart’s requiem

Midway through Act II of Siegfried, Guild’s obsession with rules. The Wagner left off composing young knight wins the contest, and The Ring of the Nibelung, his great Eva becomes his bride. (1813–1883) cycle of music dramas (eventually The Mastersingers Prelude bursts to comprise four works – The The Mastersingers of forth in a sunny and unequivocal Nuremberg, Act I: Prelude Rhinegold, The Valkyrie, Siegfried C major. The four-square opening and Twilight of the Gods – totalling then contrasts with a lush, 15-16 hours of music). He supple answer – rich chromatic turned his attention to two other harmonies cushioning a pliant, , Tristan and Isolde and The almost beatless melody. This Mastersingers of Nuremberg. passage leads to the Mastersingers The Mastersingers is Wagner’s only march, a symbol perhaps of the comic opera and it is regarded Mastersingers Guild’s dogmatism, by many as his masterpiece. The and this has its own consequent opera was finished in 1867, and phrase. One could almost unpeel first performed in Munich under the music here to appreciate fully the direction of Hans von Bülow the intensely beautiful counter- on 21 June 1868. melodies. A middle section, a speeded-up version of the The story is set in the 16th century, Mastersingers march, represents and concerns a song festival the apprentices, and then the final held by the Mastersingers Guild. scene of the opera is foreshadowed Walther, a young knight, is in in the climax where Walther’s love with Eva, whose father has prize song is combined, most promised her hand to the winner artfully and movingly, with the of the song contest. According to other themes. the Mastersingers’ rules, Walther is eliminated on his first attempt at a Gordon Kalton Williams song. Fortunately, Hans Sachs, the Symphony Australia © 2001 philosophical cobbler who comes The Melbourne Symphony Orchestra to realise that his own suit with first performed the Prelude to The Eva is hopeless, assists Walther in Mastersingers of Nuremberg on 9 May composing a prize song. This song 1939 under conductor Georg Szell, and most is so inspired it sweeps away the recently in February 2009 with Oleg Caetani.

10 ABOUT THE MUSIC mozart’s requiem

orchestra is unusual. The strings might hear at night). In the final are symmetrically arranged, movement, the theme appears Béla Bartók allowing for antiphonal (or in a striking passage, its intervals (1881–1945) ‘stereo’) effects, with the other adjusted to produce a sense of Music for Strings, Percussion instruments taking literal centre spacious, stable consonance. and Celeste stage. Symmetry also informs And therein lies one key to this I Andante tranquillo the musical content of the piece. extraordinary piece: it traces a II Allegro The first movement, for instance, simple journey, via sound worlds of III Adagio is a fugato: the sinuous opening amazing variety, from instability to IV Allegro molto theme is stated unaccompanied, radiant concord. Symmetry is only and successive parts restate it in half the story. progressively more distant keys as Indeed this music thrives also on the music develops into a richly asymmetry, not just in its overall complex texture. Originally muted, trajectory but in certain details. the string tone gradually increases Bartók was a pioneer in recording in strength until the movement’s and notating the fast disappearing climax (where other instruments folk musics of eastern Europe. are finally introduced). The At the time of Music for Strings, opening theme of the movement Percussion and Celeste, Bartók was pivots on the note A; the climax at work on music collected in is achieved by a string unison E Turkey; a few years earlier he had flat. In terms of tonal grammar, intensively researched Bulgarian this is as far from A as one can get, music. The influence on his and from this point Bartók creates own work can’t be overstated, the illusion of the music’s going particularly in his use of irregular backwards, to coalesce once more or compound rhythms, and the on A. constant variation of material. The The apparently symmetrical inexorable fugato theme in the first shape of the opening movement movement is actually of remarkable is, of course, illusory. Music can’t elasticity; the asymmetrical go backwards, as it unfolds in rhythmic motifs which power the Bartók AGED 60 time. But the proportions of the faster movements of the work are music give that impression. It likewise derived from folk music. The second half of the 1930s saw used to be thought that Bartók The abstract nature of the title and Bartók’s most productive years used a mathematical sequence the work’s structural complexity as a : orchestral works known as the Fibonacci series to aside, Music for Strings, Percussion alone from this time include map out the distance between and Celeste is a deeply humanist the Second Violin Concerto, significant musical events and thus document. Divertimento and, arguably his create the satisfying proportions © 2003 masterpiece, the Music for Strings, of such movements. A similar Percussion and Celeste. The Music for mathematical ratio underpins the conducted the Melbourne Strings, Percussion and Celeste was rhythm of the famous xylophone Symphony Orchestra’s first performance of this work, on 13 November 1950. The Orchestra’s commissioned by Paul Sacher for solo at the beginning of the third the tenth anniversary of his Basle most recent performance took place in October movement. Though there is little 2009 with conductor Paul Daniel. Chamber Orchestra, which gave evidence that Bartók consciously the work’s premiere in January used these calculations, his instinct 1937. It rapidly established itself was sure. INTERVAL 20 minutes as a modern classic, receiving numerous performances within Versions of the first movement’s the next two years, even in opening theme also appear in the Germany, where Bartók was succeeding three movements. In officially out of favour. the second movement it appears disguised in the second theme we The title of the work doesn’t give hear; it acts as a bridge between much away: between them, strings episodes in the third movement’s and percussion include and mysterious and characteristically harp as well as a varied number of Bartókian ‘night music’ (the percussion instruments including eerie and scattered sounds one 11 the celeste. The disposition of the ABOUT THE MUSIC mozart’s requiem

Haydn said that Mozart’s fame would be secure if he had written Wolfgang nothing but the Requiem, but Amadeus Mozart it is a problematical work which (1756–1791) Mozart did not live to complete [Completed by Franz Süssmayr, and whose origins are surrounded ed. Nowak] by mystery. Mozart, mortally ill and Requiem Mass, K.626 agitated while composing it, chose the key of D minor: one associated Elena Xanthoudakis soprano with tragic drama in works such Sally-Anne Russell mezzo-soprano as Don Giovanni or the D minor Piano Concerto. The terrifying Andrew Staples tenor drive of the Dies irae; the powerful Matthew Rose bass rhythmic bite of the Rex tremendae, Melbourne Symphony Orchestra Chorus with its contrasting ‘Salva me’; the Confutatis – all these are painted with the dramatic intensity of a composer who believed he OIL PAINTING OF MOZART BY JOSEF LANGE (MOZART’S BROTHER -IN-LAW). was writing his own Requiem. The messenger in grey who had delivered a commission from an movements into balance with each anonymous patron had become other. In his earlier unfinished in Mozart’s mind an emissary of Mass in C minor K.427, each death. We now know that he was movement was developed on a a servant of Count Walsegg zu massive scale; Mozart may have felt Stuppach, who liked to pass off it lacked stylistic unity. music by professional composers In many respects the Requiem is as his own. backward looking, with Baroque Mozart’s Requiem contains also elements, revealing the impact music of great tenderness and of Bach and Handel. The use of consolation. In a letter of April Gregorian melodies, as at the 1787 Mozart almost seemed to words ‘Te decet hymnus’, was welcome death as a friend, but common in Austrian masses, and resignation with mild protests occurs in a strikingly similar way in a Requiem by Michael Haydn, Guest musicians is probably closer to Mozart’s real feelings. The best evidence brother of Josef, which Mozart Rebecca Adler violin Jacqueline Edwards violin is in the music, which seems to heard in Salzburg 20 years before. Kate Sullivan violin express acceptance of a world Michael Haydn’s is a remarkable Oksana Thompson violin and stern work, with resemblances Edwina George violin beyond life and death. Mozart’s Francesca Hiew violin instrumentation reflects the two to Mozart’s in content and scoring: Michael Loftus-Hills violin facets of the music: fierce, with like Mozart, the younger Haydn Clare Miller violin Amanda Verner principal and drums in the sterner banishes , and horns, Simon Oswell viola sections; coloured elsewhere by the and uses the three trombones Danielle Arcaro viola Merewyn Bramble viola mild, liquid tones of basset horns. characteristic of Salzburg church Isabel Morse viola music. So the musical experience Mozart’s Requiem is a kind of Eve Silver* associate principal of Mozart’s youth and maturity Rachel Atkinson cello summation of its models and fused, in the urgency of death’s Alister Barker cello counterparts in the music of Kalina Krusteva-Thearker cello imminence, into a testament of Kylie Davies double bass contemporaries and predecessors. church music ‘as transcendental,’ Esther Wright double bass Haydn’s admiration was surely a Dafydd Camp writes Karl Geiringer, ‘as it is tribute to the Requiem’s successful Ed Allen principal horn human, as out of terror and guilt Jenna Breen horn uniting of different styles and Ron Prussing** principal trombone it leads us gently towards peace forms. This Requiem is a cantata Robert Collins trombone and salvation’. Calvin Bowman celeste / organ mass in the sense that the Donald Nicolson piano Sequence (beginning Dies irae) is Mozart’s Requiem, then, is a * Courtesy of West Australian divided up into separate choral treasure of artistic heritage, Symphony Orchestra and solo ensemble movements, but but it is a flawed masterpiece, 12 ** Courtesy of Sydney Symphony Mozart brought choral and solo incomplete. The manuscript ABOUT THE MUSIC mozart’s requiem

shows that Mozart had completed heavy. The trombones are used the Introitus and Kyrie in full in inappropriate places and with score. Other sections are half- a lack of restraint, but the tenor finished, vocal parts written in trombone solo in the Tuba mirum full, instrumental parts sometimes is undoubtedly Mozart’s. The complete, sometimes only extent of Süssmayr’s contribution sketched. These are: the Sequence has always been a matter of as far as bar eight of the Lacrimosa; controversy, and scholars incline the Domine Jesu Christe and Hostias. to the view that it was less than There is no proof of any Mozart in used to be thought. Nevertheless, the ending of the Lacrimosa, the Mozart’s Requiem is with us in Sanctus, Benedictus and Agnus Dei. a form partly determined by Süssmayr, and in that form it has Mozart’s widow was naturally remained, ever since the early 19th anxious to collect the composition century, one of his most admired fee, and after other musicians had constanze mozart and loved works. declined the task of completion, © David Garrett gave it to Franz Xavier Süssmayr, the ‘Cum sanctis tuis’ was his idea Mozart’s pupil, who had assisted or Mozart’s. The Melbourne Symphony Orchestra first him with many late works. We do performed Mozart’s Requiem on 6 March 1956 with conductor Bernard Heinze and not know what sketches Süssmayr The chief criticisms of Süssmayr’s completion concern the soloists Glenda Raymond (soprano), Anne may have had to work from. It Levin (mezzo-soprano), Max Worthley (tenor), seems unlikely, on the basis of instrumentation and the filling Robert Payne (bass), and the Melbourne Süssmayr’s original compositions, out of inner parts. Some of the University Choral Society. Benjamin Northey that he could have composed part-writing and distribution is conducted the Orchestra’s most recent inept; above all, scoring the entire performance on 17 October 2008; the soloists such a movement as the Benedictus were Jacqueline Porter, Sally-Anne Russell, unaided. It is not known whether work for the same instrumental James Egglestone, Richard Alexander and the the repetition of the Kyrie fugue for palette is monotonous and often MSO Chorus.

chorus

soprano ALTO TENOR bass Philippa Allen Susie Novella Aleksandra Acker James Allen Maurice Amor Julie Arblaster Shaunagh O’Neill Ruth Anderson Tony Barnett Richard Barber Colleen Arnott Elizabeth O’Shea Nicole Beyer Steve Burnett David Brown Sheila Baker Alexandra Patrikios Catherine Bickell John Cleghorn Barry Clarke Aviva Barazani Jodie Paxton Cecilia Björkegren Geoffrey Collins Richard Corboy Eva Butcher Anne Payne Kate Bramley James Dipnall Roger Dargaville Sarah Bullen Catherine Pendelich Jane Brodie Marcel Favilla Ted Davies Eirlys Chessa Marita Petherbridge Elize Brozgul Trevor Finlayson Phil Elphinstone Thea Christie Leah Phillips Alexandra Chubaty Simon Goldman Gerard Evans Andrea Christie Susannah Polya Marie Connett Peter Finnigan Andrew Ham Veryan Croggon Tanja Redl Elin-Maria Evangelista Lyndon Horsburgh Andrew Hibbard Georgette Cutler Helena Ring Jill Giese Colin MacDonald Alan McNab Samantha Davies Jo Robin Debbie Griffiths James Macnae Andrew Murrell Laura Fahey Sue Robinson Ros Harbison Simon Milton Philip O’Byrne Rita Fitzgerald Ruth Shand Sue Hawley Michael Mobach Vern O’Hara Catherine Folley Elizabeth Stephens Kristine Hensel Andrew Pogson Edward Ounapuu Susan Fone Katherine Tomkins Andrea Higgins Adam Purton Joe Rabar Jillian Graham Eloise Verbeek Helen MacLean Malcolm Sinclair Matthew Toulmin Alexandra Hadji Christina McCowan Marcus Travaglia Ian Vitcheff Karling Hamill Rosemary McKelvie James Walcott Matthew Williams Juliana Hassett Siobhan Ormandy Hamish Williamson Foon Wong Penny Huggett Alison Ralph Jasmine Hulme Kerry Roulston Tania Jacobs Annie Runnalls Olivia Jones Lauren Simpkins repetiteur Gwen Kennelly Helen Staindl Tom Griffiths Brigid Maher Jenny Stengards Lynne Muir Libby Timcke Lucy Neville Jenny Vallins Zoe Nikakis Emma Warburton Caitlin Noble Kellie Watson 13 ABOUT THE MUSIC mozart’s requiem

Mozart’s Requiem Introit (Chorus and soprano solo) Introit (Chorus and soprano solo) Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, et lux perpetua luceat eis. and may light perpetual shine upon them. Te decet hymnus Deus in Sion, To you, O God, praise is given in Zion, et tibi reddetur votum in Jerusalem. and prayer shall go up to you in Jerusalem. Exaudi orationem meam, Give ear to my supplication, ad te omnis caro veniet. to you shall all flesh come. Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, et lux perpetua luceat eis. and may light perpetual shine upon them.

Kyrie (Chorus) Kyrie (Chorus) Kyrie eleison. Lord, have mercy upon us. Christe eleison. Christ, have mercy upon us. Kyrie eleison. Lord, have mercy upon us.

Sequence: Sequence: Dies irae (Chorus) Dies irae (Chorus) Dies irae, dies illa, The Day of Wrath, that day Solvet saeclum in favilla, shall dissolve the world in ashes, Teste David cum Sibylla, as David and the Sibyl testify.

Quantus tremor est futurus, What trembling shall there be Quando judex est venturus, when the Judge shall come Cuncta stricte discussurus! who shall thresh out all thoroughly!

Tuba mirum (Solo quartet) Tuba mirum (Solo quartet) Tuba mirum spargens sonum The , scattering a wondrous Per sepulcra regionum, sound through the tombs of all lands, Coget omnes ante thronum. shall drive all unto the throne.

Mors stupebit et natura Death and nature shall be astounded Cum resurget creatura when all creation shall rise again Judicanti responsura. to answer the judge.

Liber scriptus proferetur A written book shall be brought forth In quo totum continetur in which shall be contained all Unde mundus judicetur. for which the world shall be judged.

Judex ergo cum sedebit And therefore when the Judge shall sit, Quidquid latet apparebit: whatsoever is hidden shall be manifest: Nil inultum remanebit. and nothing shall remain unavenged.

Quid sum miser tunc dicturus, What shall I say in my misery? Quem patronum rogaturus, Whom shall I ask to be my advocate, Cum vix justus sit securus? When scarcely the righteous may be without fear?

Rex tremendae (Chorus) Rex tremendae (Chorus) Rex tremendae majestatis, King of awful majesty, Qui salvandos salvas gratis; you who freely save the redeemed; Salva me, fons pietatis. save me, O Fount of Pity.

Recordare (Solo quartet) Recordare (Solo quartet) Recordare, Jesu pie, Remember, merciful Jesus, Quod sum causa tuae viae that I am the reason for your journey, Ne me perdas illa die. let me not be lost on that day.

14 ABOUT THE MUSIC mozart’s requiem

Quaerens me sedisti lassus Seeking me, you sat weary. Redemisti crucem passus; You redeemed me, suffering the Cross: Tantus labor non sit cassus. let not such labour have been in vain.

Juste judex ultionis, O just Judge of Vengeance, Donum fac remissionis give the gift of redemption Ante diem rationis. before the day of reckoning.

Ingemisco tamquam reus: I groan as one guilty; Culpa rubet vultus meus. my face blushes at my sin. Supplicanti parce, Deus. Spare the supplicant, O God.

Qui Mariam absolvisti You who absolved Mary Et latronem exaudisti, and heard the prayer of the thief, Mihi quoque spem dedisti. you have also given hope to me.

Preces meae non sunt dignae, My prayers are not worthy, Sed tu, bonus, fac benigne, but you, O good one, show mercy, Ne perenni cremer igne. lest I burn in everlasting fire.

Inter oves locum praesta Give me a place among the sheep, Et ab haedis me sequestra, and separate me from the goats, Statuens in parte dextra. setting me on the right hand.

Confutatis (Chorus) Confutatis (Chorus) Confutatis maledictis, When the damned are confounded Flammis acribus addictis, and consigned to sharp flames, voca me cum benedictis. call me with the blessed.

Oro supplex et acclinis, I pray, kneeling in supplication, Cor contritum quasi cinis, a heart as contrite as ashes, Gere curam mei finis. take my ending into your care.

Lacrimosa (Chorus) Lacrimosa (Chorus) Lacrimosa dies illa That day is one of weeping Qua resurget ex favilla on which shall rise again from the ashes Judicandus homo reus. guilty humankind, to be judged. Huic ergo parce, Deus. Therefore spare this one, O God. Pie Jesu Domine: Merciful Lord Jesus: Dona eis requiem. Amen. Grant them rest. Amen.

Offertorium Offertorium Domine Jesu Christe (Chorus and solo quartet) Domine Jesu Christe (Chorus and solo quartet) Domine Jesu Christe, Rex gloriae, O Lord Jesus Christ, King of glory, libera animas omnium fidelium deliver the souls of all the departed faithful defunctorum de poenis inferni, from the torments of Hell, et de profundo lacu; and from the deep pit; libera eas de ore leonis, deliver them from the mouth of the lion; ne absorbeat eas Tartarus, that Hell may not swallow them up, ne cadant in obscurum. and that they may not fall into darkness. Sed signifer sanctus Michael But may the holy standard-bearer Michael repraesentet eas in lucem sanctam. bring them into the holy light; Quam olim Abrahae promisisti, which thou didst promise of old to Abraham et semini ejus. and his seed.

15 ABOUT THE MUSIC mozart’s requiem

Hostias (Chorus) Hostias (Chorus) Hostias et preces tibi, Domine, We offer unto you, O Lord, laudis offerimus. sacrifices and prayers of praise. Tu suscipe pro animabus illis, Receive them on behalf of those souls quarum hodie memoriam facimus. whom we commemorate today. Fac eas, Domine, Make them, O Lord, de morte transire ad vitam. to cross over from death to life, Quam olim Abrahae promisisti, as once you promised to Abraham et semini ejus. and his seed.

Sanctus (Chorus) Sanctus (Chorus) Sanctus, sanctus, sanctus, Holy, holy, holy, Dominus Deus Sabaoth. Lord God of Hosts. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of your glory. Hosanna in excelsis. Hosanna in the highest.

Benedictus (Solo quartet and chorus) Benedictus (Solo quartet and chorus) Benedictus qui venit in nomine Domini. Blessed is the one who comes in the name of the Lord. Hosanna in excelsis. Hosanna in the highest.

Agnus Dei (Chorus) Agnus Dei (Chorus) Agnus Dei Lamb of God, qui tollis peccata mundi; you who take away the sins of the world, dona eis requiem sempiternam. give them eternal rest.

Communio (Soprano solo and chorus) Communio (Soprano solo and chorus) Lux aeterna luceat eis Domine, Let everlasting light shine on them, cum sanctis tuis in aeternum O Lord, with your saints for ever: quia pius es. for you are good. Requiem aeternam dona eis Domine, Grant them eternal rest, O Lord, et lux perpetua luceat eis. and let light perpetual shine upon them, Cum sanctis tuis in aeternum: with your saints forever; quia pius es. for you are good.

16 ABOUT THE MUSIC mozart’s requiem

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17 MEET YOUR MSO MUSICIAN

Philip Arkinstall has been the Associate Principal of the Melbourne Symphony Orchestra since 2009 and was principal with the Malaysian Philharmonic for 11 years before that. He won the Australian Woodwind Competition in Brisbane at the age of 18 and was named 2MBS Radio Performer of the Year in 1996 and ABC Symphony Australia Young Performer of the Year in 1997. Queen’s Trust and Big Brother awards enabled him to further his studies in Europe, and he has appeared as a soloist and guest principal with the Melbourne, Sydney, West Australian, Queensland, and Tasmanian Symphony orchestras and has been a regular soloist with the MPO in repertoire ranging from Mozart, Henze, Copland, Strauss and Bruch amongst others. He’s an active chamber musician and has been fortunate enough to tour Australia for with the Auer Quartet, also working with groups like the Goldner Quartet, the Eggner trio, the Australia Ensemble, Australian Chamber Orchestra, Melbourne Chamber Orchestra, Camerata Bern in Switzerland and many contemporary ensembles including the Arcko Ensemble and Australysis. He teaches at the University of Melbourne.

What are your three favourite movies? The Godfather, Chariots of Fire and Amélie If I had not become a musician, I’d be... An English teacher The composer’s music I most enjoy playing in the MSO is... Shostakovich What are three of your favourite possessions? My Barcelona jersey, my PS3, and a picture of – ahem – Sting and me playing with the MSO. Which book do you think everyone must read? The Heart of the Matter by Graham Greene Philip Arkinstall, with Jonathan Craven, plays bassett horn in these performances of Mozart’s Requiem.

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19 melbourne symphony orchestra and management

MELBOURNE SYMPHONY ORCHESTRA

Sir Andrew Davis Chief Conductor Diego Matheuz Principal Guest Conductor Benjamin Northey Patricia Riordan Associate Conductor Chair

FIRST David Shafir DOUBLE BASSES OBOES HORNS TUBA Wilma Smith Isy Wasserman Steve Reeves Jeffrey Crellin Geoff Lierse Timothy Buzbee Concertmaster Philippa West Principal Principal Associate Principal Principal Patrick Wong Katherine Lukey Roger Young Andrew Moon Vicki Philipson Saul Lewis Principal Associate Principal Associate Principal Principal Third TIMPANI Peter Edwards Sylvia Hosking Trinette McClimont Christine Turpin Assistant Principal Assistant Principal COR ANGLAIS Rachel Silver Principal Fiona Sargeant Kirsty Bremner Associate Principal Damien Eckersley Michael Pisani Sarah Curro Benjamin Hanlon Principal Trevor Jones TRUMPETS Lerida Delbridge Suzanne Lee PERCUSSION Peter Fellin Assistant Principal Stephen Newton Geoffrey Payne Robert Clarke Deborah Goodall Lauren Brigden Principal Principal Lorraine Hook Katharine Brockman David Thomas Shane Hooton John Arcaro Kirstin Kenny Christopher FLUTES Principal Associate Principal Robert Cossom Ji Won Kim Cartlidge Prudence Davis Philip Arkinstall William Evans Eleanor Mancini Simon Collins Principal Associate Principal Julie Payne Anne Martonyi Gabrielle Halloran Wendy Clarke HARP Mark Mogilevski Cindy Watkin Craig Hill Associate Principal Michelle Ruffolo Justin Williams Julie Raines TROMBONES Kathryn Taylor Caleb Wright Sarah Beggs BASS CLARINET Principal Brett Kelly Jon Craven Principal This page is correct SECOND VIOLINS PICCOLO Principal Kenneth McClimont at time of printing. Matthew Tomkins David Berlin Andrew Macleod Associate Principal Principal Principal Principal Elise Millman Michael Bertoncello Robert Macindoe Nicholas Bochner Associate Principal Associate Principal Assistant Principal Natasha Thomas Monica Curro Miranda Brockman BASS TROMBONE Assistant Principal Rohan de Korte Eric Klay Mary Allison Keith Johnson CONTRABassoON Principal Isin Cakmakcioglu Sarah Morse Brock Imison Cong Gu Angela Sargeant Principal Andrew Hall Michelle Wood Rachel Homburg Christine Johnson

MANAGEMENT

Board Business Artistic Operations Marketing Box Office Harold Mitchell AC Francie Garretto Huw Humphreys Angela Bristow Merri Hagan Claire Hayes Chairman Interim Chief Director, Assistant Orchestra Director of Marketing Box Office Manager Financial Officer Artistic Planning Manager André Gremillet Jennifer Poller Paul Congdon Managing Director Raelene King Andrew Pogson Tom Warneke Marketing Manager Box Office Supervisor Personnel Manager Assistant Artistic Production Manager Dr Bronte Adams Megan Sloley Angela Lang Administrator Peter Biggs Kaanji Skandakumar James Poole Marketing Manager Box Office Attendant Hon. Alan Accountant Anna Melville Production Coordinator Phillip Sametz Goldberg AO QC Artistic Coordinator Nathalia Andries Carol Hellmers Communications Development Rohan Leppert Finance Officer Bronwyn Lobb Acting Artist Liaison Manager Alastair McKean Cameron Mowat Education Manager Ann Peacock Dale Bradbury Alastair McKean Alison Macqueen Director of Development Michael Ullmer Project Manager – Jonathan Orchestra Librarian Publicist Jessica Frean Kee Wong Tessitura Grieves-Smith Kathryn O’Brien Simon Wilson Philanthropy Manager Chorus Master Assistant Librarian Interactive Marketing Arturs Ezergailis Company Helena Balazs Manager Michael Stevens Development Officer Secretary Chorus Coordinator Operations Assistant Nina Dubecki Rosemary Shaw Oliver Carton Lucy Bardoel Front of House Development Education Assistant Supervisor Coordinator Executive Lara Polley André Gremillet Marketing Coordinator Managing Director Beata Lukasiak Julia Bryndzia Marketing Coordinator Executive Assistant Stella Barber 20 Consultant Historian the donors

ARTIST CHAIR BENEFACTORS Harold Mitchell AC Concertmaster Chair The Company proudly acknowledges the support of our Patricia Riordan Associate Conductor Chair benefactors, patrons and bequestors, trusts, foundations and Elisabeth Murdoch Principal Clarinet Chair Joy Selby Smith Orchestral Leadership Chair sponsors in helping to realise our vision to be recognised as Marc and Eva Besen International Guest Chair MSO Friends Chair Australia’s leading symphony orchestra. Thank you! MSO Teaching Artist Chair (Anonymous) MSO EDUCATION AND OUTREACH PATRON Mrs Elizabeth Chernov

IMPRESARIO PATRONS MAESTRO PATRONS TRUSTS AND FOUNDATIONS M P Chipman Andrew and Theresa Dyer Pratt Foundation John McKay and Lois McKay Tim and Lyn Edward The Ian Potter Foundation Bevelly and Harold Mitchell AC Rachel and Hon. Alan Goldberg AO QC Cybec Foundation Inés Scotland Ilma Kelson Music Foundation Erica Foundation Onbass Foundation The Alan (AGL) Shaw Endowment, Elizabeth Proust AO managed by Perpetual The Ullmer Family Endowment The Schapper Family Foundation Lyn Williams AM Ivor Ronald Evans Foundation, as Anonymous (4) administered by Mr Russell Brown and Equity Trustees The Phyllis Connor Memorial Trust, as administered by Equity Trustees Limited

PRINCIPAL PATRONS The Hon. Michael Watt QC and Cecilie Hall Merwyn and Greta Goldblatt, George H Christine and Mark Armour Barbara and Donald Weir KSJ Golvan QC, Dr Marged Goode, Jean Hadges, Kaye and David Birks Brian and Helena Worsfold Stuart and Sue Hamilton, Tilda and Brian Jennifer Brukner George Worthington and Cameron Mowat Haughney, Julian and Gisela Heinze, Hans Paul Carter and Jennifer Bingham Anonymous (2) and Petra Henkell, Dr Alastair Jackson, The Cuming Bequest Stuart Jennings, John and Joan Jones, George and Grace Kass, Irene Kearsey, Dominic and Natalie Dirupo THE CONDUCTOR’S CIRCLE Susan Fry and Don Fry AO Dr Anne Kennedy, Vivien and Graham Mr Greig Gailey and Dr Geraldine Lazarus Jenny Anderson Knowles, Dr Elizabeth A Lewis AM, Norman Robert and Jan Green Joyce Bown Lewis in memory of Dr Phyllis Lewis, Jill and Robert Grogan Ken Bullen Dr Anne Lierse, Violet and Jeff Loewenstein, Louis Hamon OAM Luci and Ron Chambers Peter Lovell, Vivienne Hadj and Rosemary Nereda Hanlon and Michael Hanlon AM Sandra Dent Madden, Sandra and Leigh Masel, Trevor Hartmut and Ruth Hofmann Lyn Edward and Moyra McAllister, John and Ann Peter and Jenny Hordern Alan Egan JP McArthur, Allan and Evelyn McLaren, Don Norman and Betty Lees Louis Hamon OAM and Anne Meadows, Jan Minchin, John and Mr and Mrs D R Meagher Tony Howe Isobel Morgan, Ian Morrey, The Novy Family, Wayne and Penny Morgan John and Joan Jones Laurence O’Keefe and Christopher James, Ian and Jeannie Paterson C P Kemp Mrs W. Peart, John and Betty Pizzey, Lady Mrs Margaret S Ross AM and Dr Ian C Ross Elizabeth Proust AO Potter AC, Peter Priest, Jiaxing Qin, Dr Sam Maria Sola and Malcolm Douglas Penny Rawlins Ricketson, Tom and Elizabeth Romanowski, Gai and David Taylor Joan P Robinson Delina Schembri-Hardy, Max and Jill Schultz, Kee Wong and Wai Tang Pamela Swansson David Shavin QC, Chris and Jacci Simpson, Anonymous (1) Dr Cherliyn Tillman Gary Singer and Geoffrey A Smith, Mr and Mrs R P Trebilcock Dr Robert Sloane and Denise Sloane, Michael Ullmer Dr Sam Smorgon AO and Mrs Minnie ASSOCIATE PATRONS Mr Tam Vu Smorgon, Geoff and Judy Steinicke, Mrs Marian and Terry Wills Cooke Suzy and Dr Mark Suss, Prof Seong-Seng Dr Bronte Adams Mark Young Tan and Jisun Lim, Margaret Tritsch, Mrs Will and Dorothy Bailey Bequest Anonymous (15) Barbara Tucker, P and E Turner, Mary Peter and Mary Biggs Vallentine AO, The Hon. Rosemary Varty, Mrs S Bignell We gratefully acknowledge support received Sue Walker AM, Elaine Walters OAM, Pat David and Emma Capponi from the Estates of Gwen Hunt, Peter Forbes and John Webb, Erna Werner and Neil Jan and Peter Clark MacLaren, Prof Andrew McCredie, Miss Werner OAM, Nic and Ann Willcock, Marian John and Lyn Coppock Sheila Scotter AM MBE, Jean Tweedie, Herta and Terry Wills Cooke, Pamela F. Wilson, Peter and Leila Doyle and Fred B Vogel. Ruth Wisniak OAM and Dr John Miller AO, Lisa Dwyer and Dr Ian Dickson Joanne Wolff, Peter and Susan Yates, Mark Dr Helen M Ferguson Young, Anonymous (10) Colin Golvan SC PLAYER PATRONS Susan and Gary Hearst Marlyn and Peter Bancroft OAM, This page is correct at time of printing. Gillian and Michael Hund Dr Julianne Bayliss, Stephen and Caroline Sylvia Lavelle Brain, M Ward Breheny, Mr John Brockman Christopher and Anna Long OAM and Mrs Pat Brockman, Jill and Patrons make annual contributions at the Marie Morton Christopher Buckley, Bill and Sandra following levels or more: $100 (Friend), Dr Paul Nisselle AM Burdett, Dr Lynda Campbell, Judith M $1,000 (Player), $2,500 (Associate), $5,000 Ann Peacock with Andrew and Connelly, Ann Darby in memory of Leslie (Principal), $10,000 (Maestro), $20,000 Woody Kroger J. Darby, Panch Das and Laurel Young-Das, Impresario. The MSO Conductor’s Circle Rae Rothfield Mary and Frederick Davidson AM, Pat and recognises notified Bequestors. Diana and Brian Snape AM Bruce Davis, Sandra Dent, John and Anne All donors are recognised on our website. Mr Tam Vu and Dr Cherilyn Tillman Duncan, William J Forrest AM, Joanna Inquiries: T 03 9626 1107 Bert and Ila Vanrenen Foulkes, David I Gibbs and Susie O’Neill, [email protected] 21 Friday 15 March at 7.30pm Melbourne Town Hall

Debussy Prélude à `L’après-midi d’un faune’ Lalo Symphonie espagnole INTERVAL 20 MINUTES Ravel Pavane pour une infant défunte Satie Two Gymnopédies, orch. Debussy Debussy La mer

Melbourne Symphony Orchestra Benjamin Northey conductor Ji Won Kim violin

This concert has a duration of approximately two hours, including one interval of 20 minutes. Tonight’s performance will be recorded for later broadcast around Australia and streaming on ABC Classic FM. Please turn off your mobile phone and all other electronic devices before the performance commences. The pre-performance recital by Calvin Bowman on the Melbourne Town Hall organ commences at 6.30pm and concludes at 7pm

22 ABOUTABOUT THE THE a rMUSICtists mozart’svive la requiem france

Benjamin Northey conductor Ji Won Kim violin Since returning to Australia from Europe in 2006, Winner of the ABC Symphony Australia Young Benjamin Northey has rapidly emerged as one of Performers Award in 2009, Ji Won Kim has the nation’s leading musical figures. His career established an extensive performing career as both encompasses a wide range of styles including a soloist and chamber musician. She won the 12th mainstream orchestral programs, new music, opera, annual International Competition ballet, groundbreaking cross-genre collaborations, in 2005, and was a second prize winner at the Lisbon and education and community outreach projects. International Violin Competition. She has also won the Stephanie Wohl Wettbewerb in Vienna and the He has appeared with the London Philharmonic Hephzibah Menuhin Memorial Scholarship in 2007. Orchestra, Salzburg Mozarteum Orchestra, Hong Kong Philharmonic, Southbank Sinfonia, and the She is regularly engaged as a soloist with the Sydney, and Christchurch Symphony orchestras. Melbourne, Adelaide, Queensland, Tasmanian, He has collaborated with artists such as Julian and Canberra Symphony orchestras, and has Rachlin, Alban Gerhardt, Marc-André Hamelin, appeared overseas as soloist with the S´wietokrzyska Arnaldo Cohen, the Silver-Garburg Piano Duo, k.d. Philharmonic in Poland; the Anton Bruckner lang, Kurt Elling, Tim Minchin, Slava Grigoryan and University Orchestra in Austria; the Janácˇek Emma Matthews. In Australia he has appeared with Philharmonic Orchestra in the Czech Republic; and all the state symphony orchestras and with Opera with the Seoul Prime Orchestra. Australia (Don Giovanni, Così fan tutte) and State In addition to her solo work, Ji Won Kim has toured Opera of South Australia (The Elixir of Love, The Tales in Australia and internationally as a member of the of Hoffmann, La sonnambula). He made his debut with highly successful Melbourne , and gives the Melbourne Symphony Orchestra in 2003 and regular recital performances with the Trio’s renowned was appointed Associate Conductor in 2011. He was Australian pianist Hoang Pham. She obtained a previously Resident Guest Conductor of the Australia Bachelor of Music from the Vienna Hochschule, and Pro Arte Chamber Orchestra (2002-6) and Principal in 2008 completed a Master of Music at the University Guest Conductor of the Melbourne Chamber of Melbourne. Her teachers have included Mark Orchestra (2007-10). His recordings include award- Mogilevski, Sook Yoon, Nelli Shkolnikova and Alice winning CD releases for ABC Classics. Waten. Ji Won Kim is a member of the MSO’s First A graduate of the University of Melbourne and the Violin section. Sibelius Academy in Finland, Northey’s teachers have included John Hopkins, Jorma Panula, Atso Almila and Leif Segerstam. In 2009, he was selected as one of three participants worldwide to the prestigious International Conductor’s Academy of the Allianz Cultural Foundation, during which he conducted the Philharmonia and London Philharmonic orchestras under the mentorship of conductors Vladimir Jurowski and Christoph von Dohnányi. Benjamin Northey’s awards include the 2010 Melbourne Prize Outstanding Musicians Award and the 2007 Limelight Magazine Best Newcomer Award. 23 ABOUT THE MUSIC vive la france

solo flute arabesque with which the piece begins has rightly been described as a founding moment (1862–1918) in modern music. Its chromatic Prélude à ‘L’après-midi line traces and retraces the d’un faune’ ambiguous interval of the tritone: it is in no clearly discernible key, as is shown by the varied ways Published in 1876, Stéphane in which it is harmonised on its Mallarmé’s eclogue L’après-midi subsequent reappearances. The d’un faune is a monument of second half of the melody provides symbolist poetry, reflecting in more ‘conventional’ motifs that are its sumptuous but fragmentary taken up from time to time by the language the erotic fantasies of rest of the orchestra. a drowsy faun – a mythical half- Mallarmé’s poem rhymes, but man, half-goat – on a hot, languid, otherwise avoids traditional forms Sicilian afternoon. Running like or a narrative line; similarly, a thread through the imagery Debussy’s piece avoids the goal- of fruit and flowers and naked directed development and tonal Drawing of Debussy by Ian Thiele, nymphs are references to music, architecture that informs 19th- Paris 1913 specifically to the syrinx, or flute century symphonism. Musical fashioned from reeds by the events, like the vivid splashes of noon’, and the piece ends with the god Pan. One such reference, colour that first answer the flute, flute fading to nothingness as an to the syrinx’s ‘sonorous, airy, are there for the immediate expression of restlessness. monotonous line’, would become pleasure they give; climaxes are Gordon Kerry © 2013 the kernel of Debussy’s musical approached by simple repetition rendering of the poem. Inviting The Melbourne Symphony Orchestra was the of motifs; the most extended first of the former ABC orchestras to perform Mallarmé to hear the work in melody is a richly scored, Massenet- this work, on 12 September 1940 under 1894, he described ‘the arabesque like tune at the work’s midpoint, conductor Bernard Heinze. The Orchestra which...I believe to have been accompanied by rocking ostinatos. most recently performed it in November 2009 dictated by the flute of your faun’. with conductor Alexander Shelley. The faun’s dream is overcome by The first, repeated phrase of the sleep and the ‘proud silence of

Symphonie espagnole first because The first movement’s highly it conveyed my thought – that is developed structure follows the Édouard Lalo to say, a violin solo soaring above traditional symphonic sonata form, (1823–1892) the rigid form of an old symphony rather than concerto sonata form Symphonie espagnole for – and then because the title was with its separate expositions. Lalo’s violin and orchestra, Op.21 less banal than those proposed to own subtitle ‘pour violon principal’ I Allegro non troppo me. The cries and criticisms have implies that this is less a traditional II Scherzando (Allegro molto) died or will die down; the title will concerto and more a ‘symphonie remain…’ concertante’ with the principal III Intermezzo (Allegretto non part assigned to a solo violin. troppo) It is tempting to draw attention to IV Andante the composer’s Spanish ancestry, V Rondo (Allegro) but it is more likely that the Symphonie espagnole was inspired Ji Won Kim violin equally by Lalo’s friendship with the violinist Pablo Sarasate and the great enthusiasm for Spanish music Symphony? Concerto? Suite? that had begun to colour French What is it that we hear in Lalo’s music of the time. (Symphonie Symphonie espagnole? The title espagnole was premiered in the suggests something more than same year as Bizet’s Carmen and was a violin concerto; the structure soon to be followed by Chabrier’s something less than a symphony. España, Debussy’s Ibéria and Ravel’s 24 Lalo himself wrote: ‘I kept the title Rapsodie espagnole.) Édouard lalo ABOUT THE MUSIC vive la france

The second movement takes us to Spain. Flat inflexions imbue G major with the Moorish element pablo sarasate of Spanish folk music, while (1862–1918) a seguidilla rhythm opens the movement – string pizzicatos suggesting the dance’s traditional Sarasate was the authentic Spanish castanet refrain. ingredient in Lalo’s Symphonie espagnole, although the great The central movement presents violinist had trained and made his a darker mood. It is even more home in France. Departing from strongly Spanish than the the classical style established by Scherzando and its contrasting Joseph Joachim and the dashing central section is brilliant and light brilliance of Vieuxtemps and – Lalo demonstrating his mastery Wieniawski, Sarasate cultivated of delicate scoring. a tone of unmatched sweetness A sombre chant-like theme, and purity, with a broader vibrato pablo sarasate, 1884 dominated by the low brass, than his contemporaries. He introduces the melancholy solo quickly became famous for the of the Andante. Only the virtuoso flexibility and stunning accuracy embellishment of the middle of his technique, and an effortless, section relieves the wistful mood, even casual, manner of playing. before the movement’s D minor The brilliance and charm of this brightens into D major. After a new style (albeit at the expense brief cadenza the soloist reminds of rhetoric, passion and fire) us of the opening theme, this time proved attractive to composers and accompanied by pulsing timpani. Sarasate was the dedicatee of works by Bruch, Saint-Saëns, Wieniawski, The Rondo begins with the oboes, Dvor˘ák, and Joachim himself, as flutes and harp exchanging open, well as Lalo. drone-like fifths, introducing a bouncing rhythmic phrase that is ‘He never interprets anything: he obstinately repeated and tossed plays it beautifully, and that is all,’ between the orchestral groups wrote George Bernard Shaw. ‘He before settling down to accompany is always alert, swift, clear, refined, Guest musicians certain, scrupulously attentive, the soloist’s saltarello theme. In a Michael Dauth concertmaster formal rondo structure, this festive and quite unaffected. This last Rebecca Adler violin adjective will surprise people who Jenny Khafagi violin theme returns as a refrain between Clare Miller violin displays of effortless virtuosity and see him as a black-haired romantic Matthew Rigby violin knowing allusions to Mendelssohn’s young Spaniard, full of fascinating Robert Ashworth † principal viola tricks and mannerisms… There is Simon Oswell viola Violin Concerto. The mood of Merewyn Bramble viola infectious gaiety is broken only no trace of affectation about him: Beth Hemming viola the picturesqueness of the pluck Sophie Kesoglidis viola when the malagueña motif from Andrew Metaxas viola the introduction of the first of the string and stroke of the bow Eve Silver ‡ associate principal cello movement is developed into that never fails to bring down the Molly Kadaurach cello house is the natural effect of an Rachel Atkinson cello a languorous episode. Alister Barker cello action performed with perfect Zoe Knighton cello Abridged from a note by Yvonne accuracy in an extraordinarily Anna Pokorny cello Frindle © 1998 Kylie Davies double bass short time and strict measure.’ Georgina Roberts oboe The Symphonie espagnole was first Geoffrey Dodd cor anglais performed on 7 February 1875 at a Colonne Samuel Jacobs § principal horn Concert in the Châtelet, Paris. The soloist Claire Linquist horn INTERVAL 20 minutes Cameron Malouf £ principal trombone was Pablo Sarasate who also gave the first Kieran Conrau trombone performance of Lalo’s Violin Concerto, Op.20. Alannah Guthrie-Jones harp

The Melbourne Symphony Orchestra first † Courtesy of Auckland Philharmonia performed Symphonie espagnole at a ‡ Courtesy of West Australian Symphony War Funds Concert on 29 May 1943 with Orchestra conductor Bernard Heinze and soloist § Courtesy of New Zealand Symphony Jeanne Gautier. The Orchestra’s most recent Orchestra £ Courtesy of Adelaide Symphony Orchestra performance was in June 1990 under Jansug 25 Kakhidze with violinist Mark Peskanov. ABOUT THE MUSIC vive la france

was ‘too flagrantly’ indebted to is evoked in its stately rhythm, the style of Emmanuel Chabrier, with diatonic melody and a especially, perhaps, the latter’s simple accompaniment whose (1875–1937) celebrated Idylle, and in later occasional flourishes at the end Pavane pour une infante years complained of the work’s of phrases suggest the lute or défunte ‘poor form’. Dedicated to guitar. The piece’s ABACA form Princesse Edmond de Polignac, corresponds to that of any number it was composed in 1899 as a solo of Renaissance-era fantasias, but work for pianist Ricardo Viñes the harmony, with its chords of who premiered it at the Salle the seventh and ninth on strong Pleyel in 1902. beats, is pure Ravel. For all his ambivalence, Ravel contributed to One reason for the Pavane’s instant the piece’s popularity by playing success was that it is within the it himself on numerous occasions technical reach of non-professional and in 1910 scored it for orchestra, pianists; another was its romantic a version immediately heard in title. As Ravel had on occasion to Paris and London. Given the VIÑES (left) and ravel (right) point out, it is not a funerary dance delicate clarity with which the for a dead princess: a pavane is, piece remembers a lost time, it Like Bolero, the Pavane pour une of course, a stately dance much is no surprise that Marcel Proust infante défunte was a work about loved in the courts of Renaissance wanted it played at his funeral. which its composer was hugely Europe. Ravel’s piece imagines the ambivalent. Both works had elegant dance of a princess of that Abridged from a note by Gordon immediate and widespread success, time; it is the memory on an era Kerry © 2012 which was, of course, to Ravel’s that is now irretrievably passed. The Melbourne Symphony Orchestra first advantage; but neither work could performed this work on 23 August 1941 be said wholly to represent Ravel’s Archaic dance forms are central to Ravel’s output and under conductor Edgar Bainton, and most individual musical personality. recently on 23 October 2009 with Ravel certainly felt that the piece here, the Renaissance dance .

offered to perform them himself. He played them exquisitely, and Erik Satie Doret immediately suggested that (1866–1925) Debussy should orchestrate them orch. Claude Debussy (something Satie had apparently (1862-1918) intended to do, getting as far as Gymnopédies Nos 1 and 3 sketching out a score of the third piece). For some reason, Debussy chose to ignore the second of the three pieces, scoring only An eccentric, a wit, a Rosicrucian, erik satie an exhibitionist, a poor man and Gymnopédies Nos 1 and 3, and reversing Satie’s numbering. a singular musician, Erik Satie bass of shifting, delicately dissonant Debussy’s orchestral versions were profoundly affected 20th-century chords. The harmonic texture, modal first performed conducted by French musicians. Debussy, some in character...is light and transparent, Doret in a concert of the Société of whose harmonic innovations and the melody seems to have a Nationale on 20 February 1897. Satie anticipated, dedicated his strange aerial quality as if traced by Cinq poèmes de Baudelaire to ‘Erik Satie’s Gymnopédies can be seen floating gossamer threads suspended Satie, gentle medieval musician as a rejection of the idea of between earth and sky...Each of the who strayed into this century to development in music: pieces Gymnopédies represents a different give joy to his best friend, Claude continually turning back on facet, as it were, of the basic idea. Debussy’. Satie’s friendship with themselves, in timeless renewal. David Garrett © 2000 Debussy began in 1891, three This very simple music has its years after the composition of the own strangely poetic effect. Satie The Melbourne Symphony Orchestra first Gymnopédies. In 1896, at the house scholar Rollo Myers describes the performed Gymnopédie No.3 on 21 March 1992 under conductor Peter Taplin. The of Swiss conductor Gustave Doret, Gymnopédies thus: Satie sat down at the keyboard Orchestra has performed Gymnopédies A slender, undulating melodic line is Nos 1 and 3 on two occasions: in May 1993 to interpret the Gymnopédies. His under Graham Abbott, and in September 26 traced thinly over a rocking ‘pedal’ playing was so clumsy that Debussy 2001 under Brett Kelly. ABOUT THE MUSIC vive la france

second attempt at suicide, as a ‘I work the motif,’ said the result of the composer’s affair painter Paul Cézanne, and the Claude Debussy with Emma Bardac. same could be true of Debussy’s (1862–1918) construction of De l’Aube à midi Although Debussy resented the sur la mer. Its recurring melodic La mer – Three Symphonic label ‘Impressionist’ tagged to Sketches shapes, sometimes no more than a several of his works, he shared recurring short-long rhythm, are I De l’Aube à midi sur la mer with the Impressionist painters a the equivalent in sound of pictorial (From dawn to midday fascination with water, and never on the sea) symbols. Debussy’s transformation entirely rejected the analogies of them through re-orchestration II Jeux de vagues drawn between his music and the and re-combination is similar to (Play of waves) visual arts. He wrote to his stepson the visual effect of changing light. III Dialogue du vent et de la mer in 1906, ‘Music has this over (Dialogue of the wind and painting...it can bring together all Jeux de vagues is a scherzo, light and the sea) manner of variations of colour and playful. Pierre Boulez wrote that in light.’ Edward Lockspeiser, the this movement, ‘Debussy is furthest great Debussy authority, believes from the conventions generally Claude Debussy once told an the composer was thinking of inherent in symphonic discourse.’ enquirer that if he hadn’t been a Monet’s attempts to depict the Dialogue du vent et de la mer has musician he would have become changing effects of light on the clearest form of the three a sailor. This was not a flippant objects in a series of pictures. In movements and the clearest answer. Debussy loved the sea. music, a continuous, fluid art, all Later that same year (sometime examples of conventional melodic these effects can be continually development. Debussy subtitled between April and June 1889) represented, ‘unfolding’ in time. Debussy persuaded a ship’s captain the movements of this work ‘Three to take him and his companions Lockspeiser heads his chapter Symphonic Sketches’. The title out to sea in the face of a fierce on La mer ‘Turner, Monet and acknowledges an affinity with storm off the coast of Brittany. Hokusai’. Debussy, founding visual art, while identifying the a new style, may have drawn work with the most ambitious La mer, the first work composed by encouragement from Turner’s form of orchestral music. Though Debussy after his opera Pelléas et crazy perspectives and double La mer’s themes are developed Mélisande, was begun in September focusses, but La mer also embodies organically, it is questionable 1903 in Bichain, Burgundy, far a clearer delineation of form, whether the first listeners from the sea. The land-locked attributable to the 19th-century would have recognised this as a composer was probably giving Japanese artists Hiroshige and symphony. Indeed, so novel and vent to his ‘endless memories’. Hokusai. Hiroshige’s depiction unexpected is Debussy’s creation The piano score was completed of rain (oblique parallel slashes) of a work on a large scale using in March 1905, orchestrated may have contributed to Debussy’s his new musical language that later that year, and the work was newly sharpened melodic line. It the visual analogies may have first performed in Paris on 15 was Hokusai’s woodcut The Hollow been necessary, not only for October. Its cool reception, even of the Wave off Kanagawa which an audience, but even for the by Debussy’s erstwhile supporters, Debussy chose as the cover for the composer himself, to interpret may have been influenced by score when it was printed. what had come from his creative publicity about Mme Debussy’s unconscious. To those few musicians who grasped what he had done, the titles could seem a distraction. That, apart from irony, may explain Debussy admirer Erik Satie’s remark about From dawn to midday on the sea: that he particularly liked the bit at a quarter to 11! G.K. Williams Symphony Australia © 1994 The Melbourne Symphony was the first of the former ABC orchestras to perform Debussy’s La mer, on 16 May 1942 with conductor Bernard Heinze. The Orchestra most recently performed it in March 2010 under Vladimir Hokusai’s woodcut ‘the hollow of the wave off kanagawa’ 27 Ashkenazy. ABOUT THE artists MendelssohnMEET YOUR MSO and MUS BrahICIANms

Andrew Hall played as a member of the Melbourne Symphony Orchestra as a casual musician before successfully auditioning for a role in the Second Violin section in 1996. Born in Melbourne Andrew began violin lessons at the age of seven, later taking up the piano and viola whilst still in primary school. After studying with Nathan Gutman, Andrew joined in 1990. In 1994 Andrew left Australia for 12 months to study in London with Rodney Friend before returning and working as a freelance musician for the Tasmanian Symphony Orchestra, Academy of Melbourne and Australia Pro Arte.

The music that changed my life is Mahler Symphony No.9. I don’t think you can ever be the same after listening to that. My greatest musical heroes and biggest influences are Sinatra. Nat King Cole. Billie Holiday. Ella Fitzgerald. Luciano Pavarotti. And Itzhak Perlman. Which musical figures would you invite to your house for dinner? And what would you serve? Stravinsky, Puccini and . I’d also invite George Antheil, the avant-garde composer who lived around the same time as George Gershwin, and I’d ask him about his Ballet Mécanique, which included numerous and sirens, etc. I’d serve homemade spaghetti bolognese. What is your favourite place in the world to “just be”? Cape Leveque on the Dampier Peninsula, far north-western Australia. Where in Victoria do you most like to perform? Hamer Hall.

28 Andrew hall The patron program

autumn with the MSO PATRONS

Chorusmaster Jonathan Grieves-Smith and members of the MSO Chorus at Summerlea and Song, a wonderfully enjoyable MSO fundraising event generously hosted by Perri Cutten and Jo Daniell in November 2012, which raised support for the Chorus commissioning program. Photo: Jo Daniell

“What attracted me to the Melbourne Symphony Orchestra was a great success and full of unique insight from was the commitment of its players and supporters to ensuring the MSO’s Chief Conductor – who relished the the orchestra is an integral part of its community” – Sir opportunity of hearing from our key supporters at Andrew Davis. first hand. We are proud of the many projects we have The coming season promises to be an equally exciting achieved through the efforts of our supporters. one with unique events to complement performances Our outstanding education programs, commissions by Orchestra and Chorus. and artist development programs, and most Please contact a member of the MSO’s Development fundamentally, the ongoing business of bringing team on 03 9626 1107 to inquire about giving your together great guest artists, and audiences, here in support and sharing this aspect of the MSO’s life. Victoria for live performance – all of these initiatives All gifts to the Patron program are tax deductible. are made possible through the generosity of our donor and corporate community. FORTHCOMING FUNDRAISING EVENTS As a gesture of appreciation, the MSO has arranged Sir Andrew and Bryn Terfel some special opportunities this year for our donors and friends to get behind the scenes, and we have Join Sir Andrew Davis for his celebration gala introduced the new MSO Friend Patrons to our concert on Saturday 27 April and a private cocktail Patrons program, to recognise supporters giving $100 reception following, with Sir Andrew and guest and more annually. Bryn Terfel. Cocktail Reception tickets: $99 Coming up Bookings through the MSO Box Office on Welcome Reception and launch of the Annual 03 9929 9600. Appeal with MSO Musicians Tuesday 19 March, 6pm to 8pm, Iwaki Auditorium, Stravinsky Festival Dinner – Thursday 8 August ABC Southbank Centre, Southbank Boulevard In association with the MSO’s Stravinsky Festival, The Rite Stuff, this August, the Guest of Honour at the Meet the Musicians: Pianist Simone Dinnerstein Orchestra’s major fundraising dinner will be Diego Thursday 16 May, 6pm to 7.30pm, West Tower Suite, Matheuz, Artistic Director of La Fenice Opera House, Sofitel Melbourne on Collins and the MSO’s Principal Guest Conductor.

Our Patrons enjoyed a wonderful Spring season at Save this date, and register for more information by the end of 2012. The Open Rehearsal with Tadaaki emailing [email protected] or calling 03 9626 1104. Otaka provided a relaxed opportunity for supporters All funds raised at these two special events will to meet with musicians and with Managing Director support MSO Education. André Gremillet. Our Welcome Reception for Sir 29 Andrew Davis, very kindly hosted by a private donor, Sunday 17 March at 11am Iwaki Auditorium, ABC Southbank Centre MENDELSSOHN

Mendelssohn Piano Trio No.1 AND BRAHMS Brahms Trio in A minor for viola, cello and piano

Kathryn Taylor violin Fiona Sargeant viola Miranda Brockman, Rohan de Korte cello Amir Farid, Leigh Harrold piano

Hosted by Mairi Nicolson

This concert has a duration of approximately 90 minutes, including an interval of 20 minutes. This performance will be recorded for later broadcast around Australia and streaming on ABC Classic FM. Please turn off your mobile phone and all other electronic devices before the performance commences.

Kathryn Taylor violin winning the Queensland Youth Orchestra’s Young Instrumentalist Born in Tasmania, Kathryn Competition, performed the Taylor studied for many years with first movement of Bruch’s Violin Alison Lazaroff. She continued Concerto in G minor with the her violin studies in Brisbane with Queensland Symphony Orchestra Spiros Rantos and Michele Walsh, and Muhai Tang. She has toured and in Dublin with Eyal Kless. extensively overseas with the She was a full-time scholarship Australian Youth Orchestra and holder at the Australian National Camerata Australia. Academy of Music, and has had lessons and performed in master Kathryn Taylor has worked classes with Maxim Vengerov, regularly with the Queensland Salvatore Accardo, Takács Quartet, Symphony Orchestra; Southern Australian , Oleh Cross Soloists; Melbourne Krysa, Thomas Brandis and Chamber Orchestra; and the Rudolf Koelman. Melbourne Symphony Orchestra, where she was appointed to a She was selected as a recitalist permanent position in 2005. in the National Youth Concerto 30 Competition, and after ABOUT THE artists Mendelssohn and Brahms

Fiona Sargeant viola Miranda Brockman cello RoHAN de Korte cello Fiona Sargeant has held the Miranda Brockman has been Rohan de Korte has been a position of Associate Principal a member of the Melbourne member of the MSO Cello section Viola in the Melbourne Symphony Symphony Orchestra’s Cello since 2009. Rohan chose to play Orchestra since 2000. section since 1999. Miranda was the cello at the age of five because born into a large musical family it was bigger than a violin, and Fiona studied Viola performance in Geelong and studied both studied with Henry Wenig and and Chamber Music in Stuttgart piano and cello as a child. Her Nelson Cooke before choosing with Hermann Voss, violist of the teachers include Marianne Hunt, musical studies in Europe over a Melos Quartet, and graduated Kate Finnis, Nelson Cooke and career in basketball – the Chicago with the highest result ever to be Christian Wojtowicz, and she has Bulls hadn’t called. given to a violist at the Staatliche played in masterclasses with Anna Hochschule für Musik und Rohan studied in Croatia Bylsma and Janos Starker. Darstellende Kunst Stuttgart. with Valter Despalj and at the Fiona has also studied with Upon finishing school Miranda Cologne Hochschule for Music Ulrich Koch, Wolfram Christ, trained as a nurse and has since with Claus Kanngiesser, and and Emile Cantor. specialised in palliative care, received chamber music lessons community nursing and aged with the Alban Berg Quartett. Prior joining the MSO she held care. While completing an Arts Returning to Australia in 2000 the position of Solo Violist in Degree in Medieval History at Rohan freelanced with the Sydney Det Jyske Chamber Ensemble Sydney University she became a Symphony before becoming in Denmark and Solo Viola casual cellist with the Elizabethan Associate Principal Cello of of Orchestre de Chambre de Trust Sydney Orchestra. She later Orchestra Victoria. He plays a lot Lausanne, Switzerland. With graduated with a Masters degree of chamber music with friends Violinist Elizabeth Sellars, in Music Performance at the and has even tried composing; forming Temenos String Trio, University of Melbourne. his debut piece, The Haunted Fiona competed in the 9th House, is extremely popular with Concorso Musicale Internazionale Miranda is a keen chamber younger audiences. Rohan’s cello winning 3rd Prize. Fiona was also musician and is a founding is a beautiful German instrument a finalist in the Maurice Vieux member of Trio Anima Mundi, from 1720 and his favourite International Viola Competition, which presents its own concert composer is Beethoven, although France. In Stuttgart Fiona worked series across three centres in Mahler’s Symphony No.9 wins in the Stuttgart Radio Symphony Victoria including Melbourne. as his favourite piece. He has a Orchestra and was Violist of the lovely wife, Caroline, and three Koechlin Ensemble. very rowdy sons who think that playing the cello is very funny yet interesting, and, after suffering a broken neck, Rohan has vowed never to try surfing again.

31 ABOUT THE artists Mendelssohn and Brahms

Photo: lars schlereth

amir farid piano Leigh Harrold piano Winner of the 2006 Australian National Piano Born in Whyalla, South Australia, Leigh Harrold Award, Amir Farid has performed concertos with studied with Gil Sullivan at the University of Adelaide the Sydney Symphony, Melbourne Chamber before moving to Melbourne in 2003 to take up a Orchestra, Orchestra Victoria, Australian Youth scholarship at the Australian National Academy of Orchestra, Melbourne Youth and Australian National Music under the mentorship of Geoffrey Tozer. Academy of Music Orchestras and the Melbourne He has performed throughout Europe, North Symphony Orchestra. America, Africa and Australia as soloist and chamber As a chamber musician, he is pianist of the acclaimed musician, and has collaborated with such artists Benaud Trio, winner of the Piano Trio prize at the as violist Thomas Riebl, Michael Cox (Principal 2005 Australian Chamber Music Competition. As Flute, BBC Symphony Orchestra), and the Vienna an accompanist, he was winner of the Hugh D.T. Philharmonic’s former concertmaster Daniel Gaede. Williamson Prize (First Prize Pianist) at the 2012 He performs regularly as orchestral pianist with the Mietta Song Competition. He won the 2007 Geoffrey Melbourne Symphony Orchestra. Parsons Award, and in 2013 was awarded He is a founding member of the Kegelstatt Ensemble the inaugural Dame Nellie Melba Opera Trust and the Syzygy Ensemble and has an internationally Repetiteur scholarship. acclaimed piano duo with London-based pianist Amir Farid completed a Bachelor of Music (Honours) Coady Green, with whom he regularly tours Europe, and Master of Music degree at the Melbourne Australia and Africa. Conservatorium of Music, where he studied with He is currently on the Associate Faculty at ANAM, Ronald Farren-Price. He also attended the Australian and was recently awarded a PhD for his research on National Academy of Music where he studied the piano sonatas of Robert Muczynski. with Rita Reichman, Geoffrey Tozer and Timothy Young. In 2009, he graduated with distinction as a Scholar supported by the Gordon Calway Stone Memorial Award at the Royal College of Music in London, where he studied with Andrew Ball. He is the recipient of grants and scholarships from a variety of organizations, including the Australian Music Foundation, the Ian Potter Cultural Trust, the Royal Overseas League, the Tait Memorial Trust and the University of Melbourne’s Donovan Johnson Memorial Scholarship.

32 ABOUT THE MUSIC Mendelssohn and Brahms

Mendelssohn signalled this trio in green leather, ready for the next a letter to his old friend Ferdinand time we play it’. Hiller in August 1838: (1809–1847) When Mendelssohn showed A very important branch of piano him the first draft of the trio, Trio No.1 in D minor, Op.49 music, of which I am particularly fond Ferdinand Hiller recalled being for piano, violin, and cello – trios, quartets, and other things with ‘tremendously impressed by the I Molto Allegro agitato accompaniment – is quite forgotten fire and spirit’, though surprised II Andante con moto tranquillo now, and I feel intensely the need for that the piano writing was often so something new in that line. I should conventional, even old-fashioned: III Scherzo (Leggiero e vivace) like to do a little toward this… and I I had lived many years in Paris, seeing IV Finale (Allegro assai am thinking of writing a couple of trios. appassionato) Liszt frequently, and Chopin every day, Of interest here, he regards so that I was thoroughly accustomed to the genre as ‘a branch of piano the new pianoforte school. I made some music’, a judgment reflecting observations to Mendelssohn on this the piano’s commanding role in point, suggesting certain alterations. Beethoven’s and Schubert’s great Mendelssohn initially bridled at trios. Elsewhere, Mendelssohn the criticism, but did heed Hiller’s also described this first trio as a advice. Comparison of the first work for piano ‘with violin and draft and the printed edition cello accompaniments’. And if shows how extensively he reworked this emphasis really signifies (and, the piano’s surface detailing, in the generally, it does) it makes the opening movement in particular, opening of the first movement to make it look, feel, and sound all the more remarkable. more modern. Renouncing the option of a rhetorical tutti opening so familiar What was unequivocally modern from Beethoven’s and Schubert’s about his friend’s new trio, trios, Mendelssohn launches Hiller observed, was ‘the flow’ directly into a broad 3/4 melody, (‘der Fluß’). A clear advance on eccentrically scored not only as Schubert’s and Moscheles’ trio a cello solo, but down in its bass first movements, Mendelssohn’s Annotations by Graeme Skinner range. Added to this, its striding abandons completely the one-in-a-bar motion is borne conventional repeat of the long along on hushed syncopated exposition section. He further roulades from the piano, in clearly downplays marked contrast accompanimental mode. Where and sudden changes of texture, did this idea of asking the cello to and highlights continuity to an lead come from? Not, apparently, unprecedented degree. In this from Mendelssohn’s own first the piano, whether leading or cello sonata, Op.45, completed accompanying, is the binding only months earlier; apart from mechanism. Except for the final attesting to his heightened interest few bars, at no point does the in the cello at the time, the sonata pianist get more than a single reveals few marked affinities with crotchet’s rest. the trio. Rather, the gesture is One of Mendelssohn’s most perhaps a homage to an older characteristic pianistic inventions friend Ignaz Moscheles (1794- was the ‘song without words’, 1870), whose only piano trio – after according to his one-time friend, some Beethovenian introductory the music historian Adolf Bernard business – presents a similar cello Marx, ‘a species of music intended theme, likewise in triple time, to “speak” to us even without the bass-heavy and also in a minor key. assistance of language, and not Mendelssohn knew the work well, merely to sound in our ears’. He having heard it new in 1832 played adapts the song format directly to by Moscheles himself, and had form the trio’s B flat major second his own copy of the music bound, movement, the piano giving out as he told the composer, ‘in grass the major melody in regular 33 ABOUT THE MUSIC Mendelssohn and Brahms

eight-bar sentences to be repeated sanction an alternative version of At the end of one especially by the strings. A simple turn to these two middle movements with extrovert performance he told B flat minor delivers us to the flute replacing the violin, under Hiller: ‘I really enjoy that piece; intensifying middle section, after the title Andante and Rondo. it is honest music after all, and the which the return of the main song players will like it, because they Back in D minor, the finale sees tune is delicately reworked with can show off with it.’ And – as the piano leading again almost rippling piano figuration. Hiller observed – so it proved! like a concerto soloist, prancing The brisk third movement is a through the agile thematic scherzo cast in a single span. Again material, and shamed into an INTERVAL 20 minutes in the interests of continuity, there accompanying role only for the is no marked-off trio section, contrasting lyrical secondary but a contrapuntal development material. Though he preferred episode at its core. Surprisingly, not to show off while playing his Mendelssohn agreed to a request own music, Mendelssohn allowed from his English publisher to himself the occasional lapse.

Reporting Brahms’ death in the clarinettist Richard Mühlfeld April 1897, the Melbourne Argus (1856-1907). In December 1890, Johannes Brahms observed that the world had lost at the not so very advanced age of (1833–1897) not only a ‘great composer’, but 57 and with his critical faculties Trio in A minor, Op.114 for viola, ‘unquestionably the greatest sharper than ever, Brahms had cello, and piano musician of Europe’. This may resolved that it was time to retire. I Allegro well have been one of the last Yet, only months later, hearing II Adagio times in classical music history Mühlfeld perform a Weber when anyone known chiefly as a clarinet concerto and Mozart’s III Andante grazioso composer was awarded this more Clarinet Quintet persuaded him IV Allegro general accolade. Increasingly, to return temporarily to his desk. when the public thought of Accordingly, summer 1891 yet musicians, performers came to again saw his annual vacation at mind, and – counter to the usual the Austrian mountain resort of gender prejudice – more and Bad Ischl given over to composing, more of these popularly anointed producing this trio and a clarinet stars were women. Brahms’ quintet (Op.115) for his new muse. own friend and mentor, Clara In doing so, Brahms imagined Schumann, was a pioneer among certain feminine qualities pianists, while – in the 1880s attaching to the dapper young – even Australia made its first clarinettist and his instrument, international inroad by exporting referring to them coquettishly as home-grown colonial singers ‘meine Primadonna’, ‘Fräulein Amy Sherwin (‘The Tasmanian Klarinette’, and ‘the orchestral Nightingale’) and, of course, Nellie Nightingale’. Melba. Wilma Neruda succeeded Thereafter, in the six years her former mentor Joseph remaining to him, Brahms largely Joachim as preferred violinist in kept to his retirement resolve, performances of Brahms’ music though his occasional relapses in the 1890s; while, only shortly included two more clarinet sonatas before his death, one of Brahms’ for Mühlfeld in 1894. Still under last generous acts was to arrange Mühlfeld’s spell, Brahms even for a rich benefactor to buy a 1742 went so far as to remark that ‘the Guarnerius violin for a talented clarinet blends better with piano protégé, Marie Soldat. than strings do’. Yet he did not Nor was Brahms immune to the succumb entirely to infatuation cult of the star male performer, with the clarinet’s distinctive tone there being no better example colour, and perhaps to ensure the 34 than his last major series of wider dissemination and proper instrumental works, inspired by appreciation of both this trio and ABOUT THE MUSIC Mendelssohn and Brahms

the sonatas for their other musical intensifies this illusory quality. if the instruments were in love with qualities, Brahms also sanctioned A more expansive second theme each other.’ The third movement substituting the viola as leading in C major allows for some is a gentle intermezzo rather instrument. Joseph Joachim fulsome duetting for viola and than a scherzo, consisting of an may have had an active hand in cello, Brahms clearly delighted Andantino grazioso in A major, advocating a viola version of the that their apparently effortless a contrasting waltz-like central trio, for he played it through with interaction is in fact a strict canon section in D major, and a reprise Brahms as early as November in contrary motion (he introduces of the first section. The brief 1891, hot on the heels of the first the same technical trick at the finale returns to A minor, and, rehearsals with Mühlfeld of the corresponding point in the last resisting the lure of a sunny major clarinet version. movement). Yet despite warming conclusion, remains there at and broadening into the tonally the end. The constant rhythmic But whether performed with familiar, the music always returns alternation of duple and triple clarinet or viola, the trio calls for to the spare, barely harmonised divisions of the main beat lends it the ‘nightingale’ more often than modal theme, ultimately to a folkdance-like vehemence. the ‘prima donna’. Compared with dissolve in an eerie pianissimo the generous expanses of Brahms’ Annotations Graeme Skinner of contrary-motion scales and earlier chamber music, this late © 2013 broken-chords from the two work is unexpectedly constrained strings to close. in scope, its often mysterious, shadowy tone quality arguably The second movement is, by even better suited to the viola than contrast, an almost luxuriant the more mellifluous clarinet. Adagio in D major, in which the From the bare unaccompanied viola and cello genuinely lead. cello solo opening onward, the Brahms’s friend and amanuensis, plaintive modal feel of the A Eusebius Mandyczewski, wrote to minor first movement theme the composer whimsically, ‘It is as

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