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Nobuyuki Tsujii
Wednesday 30 October
Elisabeth Murdoch Hall
Program About the Artists
Johann Sebastian Bach (1685-1750)
French Suite No.5 in G major, BWV 816
Franz Liszt (1811-1886)
Consolations, S.172
II. Un poco più mosso
Concert Paraphrase on Verdi’s Rigoletto, S.434
Mephisto Waltz No.1 ‘Der Tanz in der Dorfschenke’ S.514
Interval
Maurice Ravel (1875-1937)
Menuet sur le nom d’Haydn, M.58
Pavane pour une infante défunte (Pavane for a dead Princess), M.19
Jeux d’eau, M.30
Nikolai Kapustin (1937-2020)
Eight Concert Etudes, Op.40
Duration: approx. 1 hour and 50 minutes (incl. interval)
Nobuyuki Tsujii piano
Described by The Observer as the “definition of virtuosity” Japanese pianist Nobuyuki Tsujii (Nobu), who has been blind from birth, won the joint Gold Medal at the Van Cliburn International Piano Competition in 2009 and has gone on to earn an international reputation for the passion and excitement he brings to his live performances.
Nobu’s 2024/25 season opened with an extensive concert tour of Japan with Robin Ticciati and London Philharmonic Orchestra. This is closely followed by a solo appearance with Malaysian Philharmonic Orchestra and subsequent a tour of Australia that sees Nobu appear as a concerto soloist alongside the Sydney, Queensland and Tasmanian symphony orchestras, and in recital at Melbourne Recital Centre and UKARIA Adelaide. He returns to the United States for concerts at Carnegie Hall, Civic Music Association Des Moines, La Jolla Music Society, ANA Honolulu Music Week, and as a soloist with Seattle Symphony Orchestra. European dates include concerti with Bilbao Orkestra Sinfonikoa, George Enescu Philharmonic Bucharest, Orquesta Filarmonica de Gran Canaria and Israel Philharmonic Orchestra, and recitals at London’s Southbank Centre, National Concert Hall Dublin, Interlaken Classics, and the Royal Northern College of Music in Manchester.
An exclusive recording artist for Avex Classics International, Nobu’s growing album catalogue encompasses the breadth of the piano concerto repertoire. It currently includes Chopin’s Piano Concerto No.2 with Vladimir Ashkenazy and Deutsches Symphonie-Orchester Berlin, Grieg’s Piano Concerto and Rachmaninov’s Variations on a theme of Paganini under Vasily Petrenko with Royal Liverpool Philharmonic Orchestra, Rachmaninov's Piano Concerto No.2 with Deutsches Symphonie-Orchester Berlin, Tchaikovsky's Piano Concerto No.1 with Yutaka Sado and BBC Philharmonic, Beethoven’s Piano Concerto No.5 with Orpheus Chamber Orchestra. Nobu has also recorded several recital programmes of Chopin, Mozart, Debussy, and Liszt.
Nobu’s international tours are supported by All Nippon Airways (ANA) and he gratefully acknowledges their assistance.
POST-CONCERT TALK
Following this exquisite performance, Nobuyuki Tsujii joins Melbourne Recital Centre’s Director of Programming, Marshall McGuire, in the Elisabeth Murdoch Hall for a 20-minute discussion about his artistry, career, and more. Find a seat in the Stalls, and enjoy this perfect conclusion to your musical experience.
About the Music
Bach’s genius was unknown to most of his contemporaries. Unlike the cosmopolitan Handel, he did not journey widely; in fact, in his lifetime Bach’s travels would not have taken him beyond a radius of 200 miles. And until 1726, when Bach was 41, none of his music had been published – even though he had by then been composing for 20 years.
Indeed, the French Suites did not acquire their nickname until 12 years after he died. Why are they so called?
According to Bach’s first biographer Johann Forkel, writing in 1802: ‘They are generally called French Suites because they are written in the French taste. By design, the composer is here less learned than in his other suites, and has mostly used a pleasing, more predominant melody.’
Most music historians find this a bit of a stretch, for there is nothing exceptionally French about this music, except perhaps some of the movement titles. Yes, Bach’s models were the dance suites by his French and Italian contemporaries, including Couperin and Corelli. However, that is also true for Bach’s English Suites (another posthumously acquired nickname) and Partitas.
The six French Suites each have at their heart four dances: allemande, courante, sarabande and gigue, to which Bach added a range of other dances, so that none of the suites are identical. But ‘dance’ here is almost a metaphor, for this is music written as a distillation of each dance form. Like Chopin’s mazurkas, they are dances of the heart and mind, rather than the feet.
The Fifth suite has long been among the most beloved of the set, not simply for its cloudless G major atmosphere. Then again, who could resist the bottled sunshine of the opening allemande, the heart-stopping radiance of the central sarabande or the high spirits of the final gigue which sounds, in pianist Angela Hewitt’s words, like a cross between ‘Vivaldi and a country fiddling jamboree’.
This music date from the 1720s, soon after Bach’s tenure as music director to Weimar’s ducal court came to a tempestuous end (he was jailed for a month when he tried to resign.) Liszt became Weimar’s official court kapellmeister in 1848, ending his barnstorming career as Europe’s most celebrated piano virtuoso (at the age of 35!), and beginning what would become his most intense period of composition. It was in Weimar that he completed the three works you hear this evening.
Liszt is an indispensable figure in the world of 19th century music, partly because his internal contradictions amplify the artistic conflicts of his age. So in the short, meditative Consolation you hear a composer rejecting the whole idea of virtuosic display. Yet in this performance this piece acts as an introduction to two works embracing that idea wholeheartedly. Liszt takes Bella figlia dell’amore, the
quartet from Verdi’s Rigoletto, in which Verdi illuminates a moment of high drama with one of his most luminous ideas, and re-imagines it in purely pianistic terms, weaving dazzling effects in and around the four distinct voices of the original version.
Of the many works in which Liszt explored the Faust legend and its literary manifestations, this first Mephisto Waltz is especially vivid. Based on the poet Lenau’s version of the tale, the music depicts Faust and Mephistopheles arriving at a village inn, where a dance is in progress. Faust immediately takes a fancy to the landlord’s daughter while Mephistopheles, unhappy with the music-making, starts playing the violin himself, in music which casts an amorous spell over the room. You hear the sound of the violin tuning up in the opening bars, before the devilish dance begins. Near the end the song of the nightingale signals the moment when Mephistopheles leads the revellers out into the woods.
What does the beginning of the 20th century sound like?
Ravel’s Jeux d’eau (Fountains), of 1901, is one doorway which leads from an old century into a new one. Inspired in part by Liszt’s ability to make the keyboard glisten in his ‘water’ pieces (particularly The Fountains of the Villa dÉste), Jeux d’eau is all newness, shimmer, cascade and light, where the Pavane for a Dead Princess is contained, elegant and evocative. Ravel would caution pianists who played it too slowly: ‘Remember that the princess is defunct, not the Pavane.’ The little Haydn tribute is Ravel’s idea of a minuet, not an emulation of one. Like the Pavane, it’s a memory of an imagined past, yet also a reminder of how greatly Ravel would go on to love jazz.
Speaking of which, if you were coming to Kapustin’s Etudes, from 1984, with no preconceptions you might imagine that they are improvised, by a pianist with a keen sense of the heritage of jazz piano. Doesn’t that Reminiscence (No.4) suggest George Shearing in reflective mood but with Chick Corea’s penchant for the long, filigree line? And No.7, the Intermezzo, begins sounding like a Billy Mayerl miniature before – like musical flypaper – it begins to attract the kind of rococo decorations you might expect from Oscar Peterson’s playing, before finishing suddenly with a lick that would have made Fats Waller proud.
In fact it’s all notated, by the extraordinary Russian composer and pianist Nikolai Kapustin. Where composers from Stravinsky to John Adams have incorporated jazz into their work, it is the essence of Kapustin’s language. These are fearsomely challenging studies in the tradition of Chopin and Liszt, but in a style all their own. Enjoy the ride.
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Goldner QuartetString
Carl Vine
String Quartet No.3
Ludwig van Beethoven (1770-1827)
String Quartet No.15 in A minor, Op.132 ‘Heiliger
Dankgesang’
III. Molto adagio
P teris Vasks
String Quartet No.6 (Victorian Premiere)
About the Artists
Goldner String Quartet
Dene Olding violin
Dimity Hall violin
Irina Morozova viola
Julian Smiles cello
Celebrating its 30th and FINAL Concert Season in 2024, the Goldner String Quartet has long-standing recognition as not only Australia’s pre-eminent string quartet, but as an ensemble of international significance, favourably compared with the best in the world.
The Quartet is named after Richard Goldner, founder of Musica Viva Australia. Launched in 1995 and still retaining all founding members, the musicians are well known to Australian and international audiences through their performances and recordings and for their concurrent membership of the Australia Ensemble at UNSW. All members have occupied principal positions in organisations such as the Sydney Symphony Orchestra and Australian Chamber Orchestra.
Unanimous audience and critical acclaim following their London debut at Wigmore Hall in 1997 ensured the Goldner Quartet’s invitations to prestigious UK and European festivals. Performances in the USA and throughout Asia have followed, in addition to several tours of New Zealand.
The Goldners’ most recent tour saw performances in the UK, including the Wigmore Hall (broadcast by the BBC) with long term collaborator, pianist Piers Lane. The Quartet also appeared in Ireland and in Italy for the opening of the Biennale Arte in Venice.
The Quartet has regularly toured nationally for Musica Viva as part of their International Concert Series and has appeared at many of Australia’s leading music festivals including Musica Viva’s Sydney Festival, Music in the Hunter, and at Huntington Estate amongst many others, in addition to being Quartet-in-Residence at the annual Australian Festival of Chamber Music, in Townsville, North Queensland.
Strongly committed to encouraging the next generation of string quartets, the Goldners have mentored young ensembles through programs of the Australian Youth Orchestra, Musica Viva Australia, the Australian National Academy of Music, the Sydney Conservatorium, and AFCM Townsville.
New works have been regularly commissioned for the Goldners from many of Australia’s leading composers.
About the Music
Tonight you’ll hear a Victorian premiere, a landmark Australian work and music by a composer whose music lies at the heart of the String Quartet in general and this quartet in particular; so this a program that speaks to the String Quartet in past, present and future tense, and one that –although such a thing is barely possible – encapsulates some of the achievements in the life of one of Australia’s greatest chamber ensembles. This is the Goldner Quartet’s final Melbourne performance, given as part of its 30th and final concert season.
The Goldners’ recording of the complete Beethoven quartets, in performances captured live in concert, appeared in 2009. Reviewing the album on its release, the late Anthony Clarke wrote in Limelight: ‘I have some very fine recordings of individual collections of these quartets. But none give this feeling of a journey through a composer’s life and intent, expressed through these compositions. We really do feel that we have been a privileged participant in a journey made over the course of these recitals, by both the quartet and its audience.’
Tonight’s souvenir of the Goldners’ decades-long exploration of Beethoven’s 16 quartets is one which can be read as mark of gratitude to audiences who have supported and admired the work of these musicians over the years, and as a final internal amen. In the words of the Quartet: ‘we have lived through the highs and lows that any family experiences and have shared both joys and profound challenges throughout our 30 years together.’
Beethoven began work on Op.132, late in 1824, but was interrupted by serious illness. Some months later, in response to his recovery, he gave the central movement the title Holy song of thanksgiving of a convalescent to the Deity, in the Lydian Mode. The serene, otherworldly sound of this music stems in part from the properties of the Lydian mode (imagine F major but with B natural instead of B flat) and in part from a feeling described by T.S. Eliot, writing to fellow poet Stephen Spender in 1931: ‘I have the A minor Quartet on the gramophone, and I find it quite inexhaustible to study. There is a sort of heavenly, or at least more than human gaiety, about some of his later things which one imagines might come to oneself as the fruit of reconciliation and relief after immense suffering.’
This music – profound and personal – is a moving inclusion in this program; so too is the work which reminds us of the deep engagement the Goldners have had with the composers of their homeland, including Peter Sculthorpe, Ross Edwards, Nigel Westlake, Paul Stanhope and Matthew Hindson. Carl Vine’s six string quartets span almost five decades, and collectively are signifiers of the various stages of his composerly odyssey. The Third Quartet, of 1994, offers a musical narrative which was then a kind of Vine signature; one, in his words, in which his music moved ‘from darkness to light; from uncertainty to affirmation.’ The work’s three sections – medium, slow, fast – are played as one continuous movement, in three sections. The whispering, almost conspiratorial opening section, Vine says, ‘uses the quartet as a single, large instrument. There are seldom more than two independent lines, but these are spread across the ensemble so that a single player rarely completes a single line. These passages are separated by heavy repeated rhythms supporting rhapsodic solos from the lead violin.’
The central section, an island of stillness, is all melody and long-held chordal accompaniment, before, as Vine says, ‘the work closes with a demonic moto perpetuo finale’.
You’ll read the words ‘Victorian premiere’ against the final work on the list adjacent to this listening guide and probably think of newness and discovery, words that speak to the Goldners’ consistent advocacy for music by their contemporaries. But the Sixth Quartet by Latvian composer P teris Vasks is also, fittingly for this occasion, a selfconfessed farewell, exploring the evanescent, the fragile, the play of memory and, in its final movement, offering the gift of gratitude. Vasks’ music has always been deeply textural, imbued with evocations of nature, etched with the play of light and shadow and – as the Goldners have said of it – ‘the chaos of the present and hope of the future.’
To these abiding concerns Vasks here add a further patina, as he explains in his introduction to the work:
I wrote the String Quartet No. 6 in 2019 commissioned by the Artemis Quartet, whose idea it was to honour Ludwig van Beethoven on his 250th anniversary. During the composition, I was aware that this would be my last quartet, while I was painfully aware of the unstoppable flow of time. Meanwhile, I remembered my experiences from which I draw strength, my dreams and ideals and the unstoppable leaving. In the last movement of the quartet, I finally dared to compete with the great L. van B. The third movement of Beethoven’s String Quartet No.15 shines through several times. Belief in the existence of infinity. A silent lament to the eternal light.
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