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Deepen your Richard Gill conductor INTERVAL engagement at special Lloyd Hudson flute & piccolo Duration 20 mins fundraising events. CORELLI GEMINIANI enrich your life as a Concerto Grosso Op 6 No 8, Concerto Grosso in E minor Christmas Concerto Preludio: Largo member of TSO Friends. Vivace – Grave Allemanda: Allegro Allegro Sarabanda: Largo Sign up TODay! Adagio – Allegro – Adagio Giga: Allegro Vivace Duration 11 mins Allegro Largo. Pastorale ad libitum. VIVALDI Duration 12 mins Piccolo Concerto in C RV443 Allegro VIVALDI Largo Flute Concerto in G RV435 Allegro molto Allegro Duration 11 mins Largo Allegro GRIEG Duration 10 mins Holberg Suite Praeludium WARLOCK Sarabande Capriol Suite Gavotte Basse-Danse Air Pavane Rigaudon Tordion Duration 20 mins Bransles Pieds-en-l’air The Latrobe and Stanley concerts will Mattachins end at approximately 9.30pm; the Burnie Duration 12 mins concert at approximately 4.30pm.

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5393 TSO Friends Ad for Program.indd 1 22/08/13 10:55 PM Arcangelo Corelli Antonio Vivaldi (1653-1713) (1678 – 1741)

Concerto Grosso in G minor, Op 6 No 8, Concerto for Flute, Strings and Continuo Christmas Concerto in G, RV435 Vivace – Grave Allegro Allegro Largo Richard Gill Lloyd Hudson Adagio – Allegro – Adagio Allegro Vivace Vivaldi enjoyed a colourful career as Richard Gill OAM, founding Music Director Lloyd Hudson took up the position of Allegro a priest, music master at a high-class and Conductor Emeritus of Victorian Opera, Second Flute/Principal Piccolo in the Largo. Pastorale ad libitum. orphanage for girls in Venice, the Ospedale has been Artistic Director of the Education Tasmanian Symphony Orchestra in 2002. della Pietà, and a violin virtuoso. He pioneered certain violin techniques that Program for the Sydney Symphony He studied at the Canberra School of Arcangelo Corelli has a double claim to a place in the history of music: firstly, as soon became standard and composed a Orchestra, Artistic Director of OzOpera, Music at the Australian National University a great violinist and the most influential huge number of works to display them. Artistic Director and Chief Conductor of the graduating with a Bachelor of Music in teacher of his time (who counted Having established the ground plan of the Canberra Symphony Orchestra, and Dean 1997. As a student, he was Principal Flute amongst his students Vivaldi, Geminiani Baroque solo concerto (three movements – of the West Australian Conservatorium in the Australian Youth Orchestra, including and Locatelli); and, secondly, for his fast-slow-fast), Vivaldi began composing for instruments other than the violin. Judging of Music. He is currently Artistic Advisor the AYO’s tour of China. Engagements compositions, which were known and to Musica Viva’s In Schools program. He revered throughout Europe. His music from these works, the young musicians of include Guest Principal Flute with the the Pietà must have been very fine players; has conducted all of the major Australian has been an inspiration for many other Australian Chamber Orchestra, Orchestra indeed, they gave concerts, discreetly symphony orchestras, youth orchestras composers: J S Bach, Tartini, Rachmaninov Victoria and the Auckland Symphony and Tippett are just some of those who hidden behind a grille, for the benefit of and opera companies, the New Zealand Orchestra, and guest Principal Piccolo with have borrowed material from his works. the tourists who even then visited Venice in symphony and youth orchestras, Sydney large numbers. Vivaldi wrote some of the the Queensland Symphony Orchestra, Published in 1712, although possibly Chamber Choir and Sydney Philharmonia first known concertos for cello, bassoon, Australian Chamber Orchestra and the composed as early as 1690, the Christmas Choir. In 2015 he will conduct Gondwana mandolin and flautino (a sopranino recorder, Canberra Symphony Orchestra. He has Concerto is one of a set of 12 concertos Choir’s National Choral School, Discovery though the piccolo tends to be used today). performed as soloist with the Tasmanian written for performance in the palace of and Anzac concerts with the SSO, Ears Roman cardinal Pietro Ottoboni, Corelli’s The opening movement of this flute Symphony Orchestra and Virtuosi Tasmania, Wide Open with the Melbourne Symphony, patron. It is a concerto grosso, contrasting concerto begins with a ritornello, that is, and gave the Tasmanian première of Paul ‘Unwrap the Music’ with the Auckland a larger orchestra or ripieno, usually a passage for the whole orchestra which Stanhope’s Piccolo Concerto with the TSO “returns” to form structural “pillars” Philharmonia, Britten’s A Midsummer consisting of strings and harpsichord, in 2013. He is a founding member of the against a small band of soloists (concertino). between which more lightly scored Night’s Dream at the West Australian contemporary ensemble Opus House. In The soloists play along with the ripieno, passages allow the flute to show off. We Academy of Performing Arts and work remain in G major for the contrasting slow 2012 he received the Mr and Mrs Gerald so that solo passages emerge when the at the International schools in Taipei and orchestra falls silent, rather than making a movement. The ritornello is based upon Frank New Churchill Fellowship, awarded Singapore. His extensive operatic repertoire dramatic entrance. a simple pattern of sequences and the for the achievement of performance soloist is given plenty of opportunities includes Giulio Cesare, Così fan tutte, Don Corelli’s Op 6 concertos are written for a Giovanni, Macbeth, La forza del destino, excellence in classical music or voice. The to demonstrate a beautiful, even sound concertino group of two violins and a cello. through the sustained notes. As per usual Rigoletto, Lucia di Lammermoor, Il trovatore, Fellowship enabled him to undertake a The eighth of this set is subtitled “Per la custom, the concerto is rounded off with six-week tour of Asia, Europe and North The Rake’s Progress, The Threepenny Opera, notte di Natale” (For Christmas Night). The a spirited finale. But Vivaldi has a surprise Bluebeard’s Castle and The Eighth Wonder. America where he studied with some of Christmas connection is revealed in the last in store when, very close to the end, he Among his many accolades are the Bernard the world’s leading piccolo performers and movement, Pastorale, which uses a gentle takes us into some unstable tonal regions. lilting rhythm and a simple, drone-like bass Heinze Award, honorary doctorates from teachers. He lectures in flute performance But these are only momentary. Order is – standard Baroque gestures for pastoral at the Conservatorium of Music at restored! the Edith Cowan University of Western scenes – suggesting, in this instance, the Australia and the Australian Catholic the University of Tasmania and gives shepherds in the hills outside Bethlehem. © Gordon Kerry 2015 University, and the Australia Council’s Don masterclasses to students in Tasmania and Abridged from a note, Banks Award. interstate. © Symphony Australia 2004

24 25 Peter Warlock (1894-1930) Francesco Geminiani Antonio Vivaldi (1687-1762) Capriol Suite The Basse-Danse has a lively rhythm but Concerto for Piccolo in C, RV443 Basse-Danse its steps involved keeping the feet close Concerto Grosso in E minor Allegro to the floor (Arbeau recommended it for Pavane (after Corelli, Sonata Op 5 No 8) Largo ‘modest matrons’ even though the dance Tordion was out of fashion by the time he wrote Preludio: Largo Allegro molto Bransles his treatise). Warlock begins with typically Allemanda: Allegro In his role as music master at the Venetian Renaissance harmony but soon adds Pieds-en-l’air Sarabanda: Largo orphanage the Ospedale della Pietà, Vivaldi pungent dissonances. Mattachins Giga: Allegro composed concertos for his young charges, The Pavane is a stately dance in duple who played a variety of instruments. All The Capriol Suite is a tale of two metre (perhaps named for the gait of After Vivaldi, the most influential composer up, he composed over 500 concertos, pseudonyms. Peter Warlock was the the peacock, or pava) popular in the of the Italian Baroque was Rome-based the great majority for solo violin, but also nom de plume of Philip Heseltine, an Renaissance and often paired with a faster violinist and composer Arcangelo Corelli. concertos for cello, flute, oboe, bassoon English composer and critic whose soured triple-time galliard. Corelli was significant in codifying the and mandolin. Common to all concertos is formal models for the Baroque concerto friendship with D.H. Lawrence saw him Here, that contrast is hinted at it in the a soloist (or soloists, in the case of concerti and the sonata. He made a distinction thinly disguised in the novelist’s Women short, gossamer-textured Tordion, but grossi) set against the main body of the between sonatas and concertos that begin in Love. Thoinot Arbeau, who published a is delivered by the following Bransles orchestra. The word “concerto” is probably with a slow movement (so-called sonata/ treatise on dance in Paris in 1588, was in (pronounced ‘brawl’) in which Warlock derived from the Latin word “concertare”, concerto da chiesa) and those that are reality Jehan Tabourot (the pseudonym is an threads together five tunes from Arbeau’s which can mean “to dispute” and “to work collections of dances (sonata/concerto anagram), a priest who for various reasons treatise. The Bransle is one of many rustic together”. These contradictory definitions da camera). kept his identity a secret. His treatise takes dances that have made their way into are beautifully captured in the Baroque the form of a Socratic dialogue between courtly or other metropolitan contexts. Francesco Geminiani was born in Lucca and concerto, where soloist and orchestra are Arbeau and his friend, the lawyer Capriol, appears briefly to have studied violin and separate but together. Pieds-en-l’air (‘feet in the air’) refers as they discuss the finer points of dance. composition with Corelli in Rome in the first specifically to a step or figure in the Vivaldi’s concertos for the Pietà revel in the decade of the 18th century. According to Warlock was one of the generation galliard. Warlock’s starts with a fragment of traditional “Venetian” traits of virtuosity one account he couldn’t play in time, so of musicians who, like Ralph Vaughan a tune from Arbeau but is largely his own and inventiveness, and Vivaldi’s demands was demoted to playing viola! In the event, Williams, set out to write music with a work. Here the contour of the melodies on the soloists transcend any made of however, Geminiani travelled to London British accent or, at the very least, free and the lush, almost sentimental harmonies them previously. On the evidence of this in 1714 and established himself there and from the overbearing weight of Austro- evoke the music of Delius (of which Warlock concerto for flautino (probably a sopranino in Dublin, where he later died. His own German Romanticism. There was renewed had become an early fan and advocate) or, recorder), Vivaldi was writing for a player concerti grossi tend to follow the Corellian interest in the great efflorescence of music at his most Delian, Percy Grainger. of considerable powers. The soloist during the Tudor dynasty, with the works da chiesa model, and were published in enters with exuberant passagework after of William Byrd, Thomas Tallis and Orlando Mattachins is derived from the continental 1732. To learn the trade, as it were, he had a forthright ritornello opening. The slow Gibbons being edited and published at version of a Morris dance that depicts a made orchestral arrangements of Corelli’s movement, Largo, is dominated completely this time. Vaughan Williams’ celebrated mock-sword fight. Again, Warlock begins 12 Violin Sonatas, Op 5. by the solo instrument, which waxes lyrical with a fairly conventional statement of the Fantasia on a Theme of Thomas Tallis or The E minor work fuses aspects of da chiesa – and even philosophical – over a chordal material, with its energetic rhythm and Peter Warlock’s Capriol Suite, despite its and da camera conventions, beginning with accompaniment. The key is E minor, which pithy motifs, but allows the movement to French provenance, are classic results of a slow prelude full of Corellian suspensions is not altogether expected given that the develop into a much more contemporary the spark that this rediscovered heritage – dissonances on strong beats that give outer movements are in C major. The third clash of harmony and register. gave to art music. Warlock, like many the music its plangent air. There follow movement is more interactive, full of cheeky colleagues, cultivated smaller-scale forms, © Gordon Kerry 2015 three dance forms: the moderately paced imitations, and concludes boisterously. notably songs, that avoided any kind of allemanda, the serenely elegant sarabanda Based upon a note by Anna Goldsworthy Wagnerian grandiloquence. Like Respighi, (in triple time with a stress on the second © 2001 Warlock based his Capriol Suite on extant beat), and a more lively jig. ancient airs and dances; these he had come across in 1925 while assisting in © Gordon Kerry 2015 the preparation of an English edition of Arbeau’s Orchésographie, and form a suite of six short movements.

26 27 Edvard Grieg (1843-1907)

From Holberg’s Time – Suite, Op 40 Praeludium Become a TSO Patron Sarabande Gavotte We would like to bring to your attention Air a wonderful instance of patronage when last year David Nuttall performed The Rigaudon Persistence of Memory, a work that was In 2003 the University of Bergen in Norway commissioned by Peter Collins in memory instituted a prize to commemorate one of his friend Guy Henderson, who was of the city’s most famous sons, Ludvig Principal Oboe with the Sydney Symphony Holberg (1684-1754). The Holberg Prize Orchestra for 27 Years. A wonderful way to honours achievements in humanities, commemorate their friendship, the piece Edvard Grieg science, theology and law – all areas in will feature on the TSO’s Graeme Koehne which this extraordinary polymath excelled. recording to be released by ABC Classics Norway was, at the time of his birth, still a The Praeludium contrasts a lively galloping later this year. part of the Danish kingdom, and Holberg rhythm with a simple melody of sighing This commissioned work was the outcome unsurprisingly spent much of his adult life motif from the violins. The minor-key of the very special relationship between in the capital, where he held the Chairs of Sarabande conforms to the Baroque model musician and patron that spanned many Metaphysics and Logic, Latin Rhetoric and of a stately triple-time dance, though the years. Infused into every note was the History at the University of Copenhagen. passionately nostalgic harmonies, and depth of relationship that these two people There he wrote scholarly works that warmly divided lower strings, might remind shared, their love of orchestral music and remained in use for a century or more, us of other works of Grieg. The elegant their love of the oboe. and a number of successful plays. He also duple-time Gavotte is perhaps closer Prior to the 19th century, individual spent considerable periods abroad, notably to the “source” with its clear bass line patronage was rare; but in the early 1800s in Rome and Oxford, and is credited as and ornamental flourishes, and features individual patrons began to support the bringing the ideas of the Enlightenment lovely brief solos from the lower voices arts. These patrons were often not wealthy back to Scandinavia. Holberg never in the central section. The Air – the most but enjoyed sharing a love of music, married, but out of the considerable fortune substantial of the five movements – is developing a closer relationship and were he amassed he helped to transform the perhaps Grieg’s answer to the work known delighted by private performances with Sorø Academy from an aristocratic riding popularly as Bach’s “Air on a G string”; its their favourite musicians. school into a new university. opening melody is constructed out of long Beethoven earned income from For the bicentenary of Holberg’s birth, notes that often finish with an ornamental the publication of his works, public Grieg was commissioned to compose a figure while the orchestra provides a gently performances and the generosity of cantata to be sung at the unveiling of a pulsating accompaniment, occasionally patrons. These patrons had such a monument to the great man in Bergen. building to an impassioned climax. A positive impact on the financial stability The resulting Holberg Cantata for baritone central section of fragments passed from of Beethoven’s life that they gave him the and male chorus, setting a text by Nordahl one voice to another is punctuated by freedom to create his music. Rolfsen, was an onerous duty for Grieg passages of ecstatic unison, before the who claimed to be writing “poor music” opening melody is stated in the cellos and We invite you to become a patron of the but at least having some success fishing. finally by the full band. TSO. Whether you would like to have a But in a sudden jeu d’esprit, he composed The finale, as in any Baroque suite, is a piece of music composed in honour of a suite for piano of dances of the kind charming, lightweight fast dance, often someone special or contribute an annual that Holberg might have known, though a gigue. Grieg offers a Rigaudon, whose donation to your favourite musician, there they are far from neo-Baroque pastiche. outer sections offer a kind of cross between are many ways in which you can support These were performed at the time of the a hornpipe and Norwegian Hardanger the TSO and develop your relationship with Holberg festivities in Bergen, and shortly fiddle music; characteristically, there is a us. For more information, please contact thereafter Grieg made this version for string soulful, melodic central section. Jessica Armson on 6232 4405 or email orchestra, which was published in Leipzig [email protected]. © Gordon Kerry 2015 the following year.

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