BEETHOVEN 5 15 & 17 NOVEMBER 2018 Arts Centre Melbourne, Hamer Hall
16 NOVEMBER 2018 Costa Hall, Geelong
CONCERT PROGRAM
Melbourne Symphony Orchestra Karina Canellakis conductor Mayu Kishima violin Dvořåk The Noon Witch Shostakovich Violin Concerto No.1 INTERVAL
Beethoven Symphony No.5
Pre-concert talk Join us for a pre-concert talk with composer and ABC Classic FM producer, Andrew Aronowicz from the stage. Thursday 6.15pm, Friday 6.30pm, Saturday 12.45pm. Running time: One hour and 50 minutes, including a 20-minute interval In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your phone. The MSO acknowledges the Traditional Owners of the land on which it is performing. MSO pays its respects to their Elders, past and present, and the Elders from other communities who may be in attendance. 2
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MELBOURNE SYMPHONY ORCHESTRA
KARINA CANELLAKIS CONDUCTOR
Established in 1906, the Melbourne Symphony Orchestra (MSO) is an arts leader and Australia’s oldest professional orchestra. Chief Conductor Sir Andrew Davis has been at the helm of MSO since 2013. Engaging more than 4 million people each year, the MSO reaches diverse audiences through live performances, recordings, TV and radio broadcasts and live streaming. Its international audiences include China, where MSO has performed in 2012, 2016 and most recently in May 2018, Europe (2014) and Indonesia, where in 2017 it performed at the UNESCO World Heritage Site, Prambanan Temple.
Karina Canellakis has recently been named Chief Conductor of the Netherlands Radio Philhamonic Orchestra, beginning September 2019. Winner of the 2016 Sir Georg Solti Conducting Award, Karina Canellakis first made headlines in 2014 filling in at the last minute for Jaap van Zweden in Dallas. Recent concerts have included debuts with the London and Oslo Philharmonics.
The MSO performs a variety of concerts ranging from symphonic performances at its home, Hamer Hall at Arts Centre Melbourne, to its annual free concerts at Melbourne’s largest outdoor venue, the Sidney Myer Music Bowl. The MSO also delivers innovative and engaging programs and digital tools to audiences of all ages through its Education and Outreach initiatives.
Initially a violinist, Karina Canellakis was encouraged to pursue conducting by Sir Simon Rattle while she was playing in the Berlin Philharmonic’s Orchestra Academy. Besides solo work in North America, she played regularly in the Chicago Symphony for over three years, and appeared occasionally as guest concertmaster of Norway’s Bergen Filharmoniske Orkester. She is a graduate of the Curtis Institute of Music and Juilliard School.
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MAYU KISHIMA VIOLIN
PROGRAM NOTES ANTONÍN DVOŘÁK
(1841–1904)
The Noon Witch, Op.108 Allegretto – Andante sostenuto e molto tranquillo – Allegro – Andante – Lento – Maestoso First Prize winner in the first Shanghai Isaac Stern International Violin Competition in 2016, Mayu Kishima was also the youngest Japanese prize-winner ever in the Junior Division of the 8th Wieniawski International Competition (Lublin, 2000). She has performed with orchestras such as the Bavarian Radio Symphony Orchestra, London Symphony, National Symphony Orchestra (Washington DC), and Academy of Saint Cecilia. Recordings include Ravel’s Tzigane with Vladimir Ashkenazy and the NHK Symphony Orchestra on the album Ravel: Orchestral Works, an album of French music (Rise) with pianist Akira Eguchi, and performances at the 2015 Progetto Martha Argerich festival in Lugano included on the CD Argerich & Friends. Mayu Kishima plays the Antonio Stradivarius ex Petri 1700 violin, kindly loaned by Dr. Ryuji Ueno.
One result of the Romantic movement was a renewed interest in the arts practised outside major metropolitan centres. Wordsworth and Coleridge revivified English poetry with their Border Ballads; the brothers Grimm collected the folk tales of rural Germany. As the 19th century progressed, composers throughout Europe revisited the songs and folk tales of their native countries, reflecting both a Romantic interest in ‘unspoiled’ cultures and the related local nationalisms which had grown up particularly in the wake of the 1848 revolutions. Despite international fame, Antonín Dvořák always thought of himself as a ‘humble Czech musician’, and towards the end of his life wrote five major symphonic poems, four of which – The Golden Spinning Wheel, The Wild Dove, The Water Goblin and The Noon Witch – were based on a collection of Czech ballads by Karel Jaromír Erben (1811–1870). With its explicitly programmatic or descriptive intent, the symphonic poem flourished during the 19th century; Liszt is often credited with its invention. While Brahms, and Dvořák himself, continued to compose in the ‘abstract’
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and non-representational genre of the symphony, many composers felt drawn to the relative formal freedom of the symphonic poem, as well as its ability to reflect current literary ideas and images. In some respects Dvořák represents a bridge between two musical and philosophical extremes.
stops the orchestral quarrel with an abrupt chord from the lower brass, a sudden pianissimo from the strings with the sinister addition of the bass clarinet and a switch to the slower tempo marking Andante sostenuto e molto tranquillo. The Noon Witch has appeared.
The Noon Witch (1896) drew its programmatic content from The Garland, contained in Erben’s second set of ballads, Kytice, published in 1853. The Polednice (or Noon Witch) is a figure from ancient folklore who, much like the Erl-king in Goethe’s poem, desires the spirit of a young child – and in this case seeks for it at noon.
According to fellow composer Leoš Janáček, the musical description of the witch is ‘so truthful that one can almost clutch at the terrifying shadow [represented by] those weird harmonies’. Indeed through Dvořák’s orchestration we are left in no doubt as to the witch’s intent: her theme is uncompromisingly menacing. The fear felt by both mother and child is palpable as each pleads for mercy, in a counter-theme full of pathos. With a fearsome braying from the horns, the witch, as Janáček puts it, reaches out her withered hand for the child, while in a weeping figure for the strings the woman makes her final plea.
Dvořák begins with a setting of tranquil domesticity. The opening Allegretto melody is graceful and charming – we can almost picture the farmer’s cottage in all its rustic simplicity with a hard-working mother attending to the necessary household chores. Her work is interrupted by a piping child wanting attention, represented by an insistent four-note phrase on the oboe. In many of his symphonic poems Dvořák used particular phrases from the original ballads which suggested a rhythmic motif for each character, often adding the phrases under particular sections in the score. The child’s phrase (whose key, A flat, is at odds with the prevailing key of C) eventually draws an irritated response from the mother – a dotted rhythm on a downward scale. The child is silent for a moment, only to start up wailing soon after. The exasperated mother threatens to call the Noon Witch to take away the naughty child. No sooner do the words escape her lips than Dvořák
An unconcerned husband, portrayed by a calm Andante theme, returns home from his hunting in the woods only to find his wife collapsed on the floor of their cottage, their child clasped tightly in her arms. He awakens her – but they cannot revive their child. A whirring of strings and a spine-tingling Maestoso recapitulation of the Witch’s theme from the whole orchestra graphically portray their anxiety and final horror. The Noon Witch has claimed another victim. The first performance of The Noon Witch took place under Antonín Bennewitz at the Prague Conservatoire on 3 June 1896 in an open rehearsal (alongside The Water Goblin and The Golden Spinning Wheel). It received its first professional 5
performance five months later in London under the direction of Henry Wood, testimony to the popularity Dvořák and his symphonic poems enjoyed. David Vivian Russell © 2002 The Melbourne Symphony Orchestra first performed The Noon Witch in June 1969 under the direction of Otakar Trhlík, and most recently on 5–6 April 2002 with János Fürst.
DMITRI SHOSTAKOVICH
(1906–1975)
Violin Concerto No.1 in A minor, Op.99 Nocturne (Moderato) Scherzo (Allegro) Passacaglia (Andante) Cadenza – Burlesque (Allegro con brio – Presto) Paradoxically, the Second World War lulled some Soviet artists into a false sense of security. They, like the rest of the populace, endured the privations and dangers of battle and invasion, but the war provided some relief from the Great Terror of the 1930s during which Stalin had ‘purged’ – murdered or imprisoned – countless numbers of his own citizens, especially the leading intellects in various fields. That Shostakovich, for one, had let his guard down is evident in the events surrounding his Ninth Symphony, for which Stalin had ‘suggested’ the composer use Beethoven’s Ninth as a model. Shostakovich, unable to write the victory symphony expected, nonetheless felt safe enough to produce an ostensibly ‘light’ Ninth Symphony in 1945. With the defeat of the Nazis, Stalin’s administration returned to the business 6
of enforcing its values on the Soviet people, and his cultural commissar Andrei Zhdanov initiated a series of crackdowns on artistic life. By February 1948 a Party Decree had been promulgated which attacked the proponents of ‘formalism’ in music. Shostakovich, despite publicly acknowledging his ‘errors’, was relieved of his teaching duties. Richard Taruskin has pointed out that a first draft of the Party Decree included the resolution ‘to liquidate the one-sided, abnormal deviation in Soviet music towards textless instrumental works’. In the event, ‘liquidate’ was replaced with ‘censure’, but the intention is plain: textless works are susceptible to many interpretations, and therefore less easy to censor. Perhaps for that reason, Shostakovich kept the violin concerto that he began in 1947 under wraps for some years – it only saw the light of day in 1955 when Stalin was safely embalmed. The impetus for the work was almost certainly the series of concerts given by David Oistrakh in 1947 entitled ‘The Development of the Violin’, and Shostakovich’s response to Oistrakh’s amazing artistry was to compose this big, four-movement, essentially symphonic work and dedicate it to him. It was initially given the opus number 77 but when published appeared as Op.99. Oistrakh himself made many illuminating remarks about the work, saying: This composition sets before the violinist a fascinating and noble task… enabling him not only to display his virtuosity, but, in the first place, to give utterance to the most profound feelings, ideas and emotions.
The concerto is not readily grasped by the violinist. I recall that a clear perception of it came to me slowly and not without difficulty. I became more and more interested in the work as the days went by, until finally I found myself wholly under the spell of the music. The music weaves that spell gradually on its audience. The opening Nocturne – and how seemingly perverse to begin a bravura work with a nocturne! – is neither symphonic sonata-allegro nor virtuosic display. Rather the soloist is presented as a lyrical, meditative character, tentatively exploring a sombre landscape and rising by degrees to more impassioned, double-stopped gestures before retreating slowly. Oistrakh described the movement’s ‘suppression of feelings’ and air of ‘tragedy in the best sense of purification’. The comparison with the following Scherzo – one of Shostakovich’s more mordant jokes – could hardly be greater. Here the music is, in Oistrakh’s words, ‘malignant, demonic, prickly’. The solo part, often playing in counterpoint with solo woodwinds, requires all the virtuosity apparently lacking in the first movement. The movement reaches a grim climax with the bone-rattling timbre of the xylophone. While there is some gallows humour in the Scherzo (and references to the DSCH motive [D–E flat-C–B natural] which Shostakovich uses as his musical signature), the Passacaglia is unapologetically baleful. Its theme, hinted at in the Scherzo but fully stated here by low strings and timpani, has an ominous tread to which the violin replies with long, heart-rending melodies – again called upon to play
double-stopped sections at moments of high drama. Like the Nocturne, the Passacaglia emphasises the melodic, rather than the bravura, aspects of the solo instrument, but as the movement dissolves into the concerto’s cadenza, there can be no doubt that this is music conceived for a prodigiously talented performer. The cadenza requires the full gamut of the soloist’s technical armoury, and leads without a break into the finale Burlesque. It is only here, where the orchestra (again rendered brittle by the xylophone) plays the introductory bars without the soloist, that we realise how constant a presence the violin has been until now, and what stamina is required to play a work of such dimensions. But there’s more, and it’s not long before the violin is drawn back into the maelstrom, responding with astounding agility to a movement of classic Shostakovich. There is black humour, and acid energy, and ever more impossible-seeming gestures for the soloist before a brief reminiscence of the Passacaglia is peremptorily dismissed by a sudden cadence. Oistrakh gave the first performance in Leningrad in 1955 and a few months later introduced it to the West in a concert at Carnegie Hall. The US press went wild; Stalin would have turned in his mausoleum. Gordon Kerry © 2002 The Melbourne Symphony Orchestra first performed this concerto on 9 and 11 May 1970 with conductor Moshe Atzmon and soloist Nelli Shkolnikova, and most recently on 21–22 March 2014 with Diego Matheuz and Ray Chen.
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LUDWIG VAN BEETHOVEN
(1770–1827)
Symphony No.5 in C minor, Op.67 Allegro con brio Andante con moto Scherzo and Trio (Allegro) – Finale (Allegretto) ‘Blazing shafts of light shoot through the deep night of this realm, and we become aware of giant shadows which surge and heave, closing in on us and destroying everything in us except the pain of unending longing.’ Thus, in 1810, music critic E.T.A. Hoffmann described Beethoven’s music in his review of the Symphony No.5. A little more than a century later, a young German student writing from the front lines of World War I described the work more pragmatically as ‘truly the symphony of war. The introductory measures in fortissimo are the mobilisation orders. Then the measures in piano: anxiousness before the tremendous events ahead. Then the crescendo and again fortissimo: the overcoming of all terror and fear and the summoning of courage and unity, rising to a unified will to victory…’ Two radically different visions, but the message is the same: Symphony No.5 is founded on an essential dynamic of struggle. It is the work of a Beethoven preoccupied with the heroic ideal and the triumph of the inner will. The first sketches for the work were made in early 1804, only a few months after completing Symphony No.3, which Beethoven had dedicated to Napoleon in admiration of his republican ideals. (In disgust at the 8
news that Napoleon had declared himself emperor, Beethoven tore up the dedication and the work was renamed ‘Sinfonia Eroica: in celebration of the memory of a great man’.) The opera Leonore (later, in much revised form, to achieve enormous success as Fidelio), which was composed in 1804– 05, draws its strength from the heroism of Leonore herself, her astounding devotion and physical courage. Symphony No.5, however, presents a different kind of heroism, and has often been interpreted in the context of Beethoven’s struggle to live with his worsening deafness. Faced with the humiliation and misery of being unable to hear the sound of a flute playing in the woods, Beethoven sought to overcome his despair through personal disciplines of patience, resignation and determination, recommending virtue as the only source of happiness. Beethoven’s Fifth Symphony has no text or program, unlike the Sixth (Pastoral), written at the same time, in which each movement bears a description of the scene it ‘portrays’. The music itself, however, plays out its struggle on many levels. The opening bars – that famous motto, used as a signal of victory in World War II – refuse to establish clearly either key or metre: it is not until the seventh bar that we hear the bass C, on which the whole chord of C minor relies, or have a clear sense of the rhythmic framework of the music. The opening motif, thrown down like a gauntlet, is transformed in the ghostly third movement into an ominous march that returns as a sinister echo in the midst of the confident finale. Extremes of pianissimo particularly in the second
movement are shattered by militant fortissimo interjections, and the fourth movement itself bursts in on the third as it holds us in suspense (the celebrated passage of violins winding their way into increased dissonance against a persistent tapping timpani). The heroic victory wrought from this struggle is revealed perhaps dramatically in the choice of key. C minor and its relationship with C major had become something of an obsession for Beethoven around this time, with the four large-scale vocal works composed between 1802 and 1808 (Leonore, the Choral Fantasy, the oratorio Christus am Oelberge and the Mass in C, especially the Agnus Dei) all making a feature of the tension between these two parallel keys. In Symphony No.5, however, the triumphant fourth movement in C major ultimately sweeps away the turmoil of the opening movement in C minor in a blaze of sound which, as Beethoven wrote, makes ‘more noise than 6 timpani, and better noise at that’. Natalie Shea © 2001 The Melbourne Symphony Orchestra first performed Beethoven’s Fifth Symphony in May 1939 with George Szell, and most recently on 29 and 30 July 2016 with Benjamin Northey.
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MELBOURNE SYMPHONY ORCHESTRA
Sir Andrew Davis Chief Conductor
Benjamin Northey Associate Conductor Anthony Pratt#
Tianyi Lu
Cybec Assistant Conductor
Hiroyuki Iwaki
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#
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# Position supported by * Guest Musician
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† Courtesy of Malaysian Philharmonic Orchestra
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‡ Courtesy of Australian String Quartet ^ Courtesy of Adelaide Symphony Orchestra 11
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Mr and Mrs R P Trebilcock Michael Ullmer Ila Vanrenen
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Honorary Appointments Marc Besen AC and Eva Besen AO Life Members John Gandel AC and Pauline Gandel Life Members Sir Elton John CBE Life Member Lady Potter AC CMRI Life Member Mrs Jeanne Pratt AC Life Member
The MSO relies on your ongoing philanthropic support to sustain our artists, and support access, education, community engagement and more. We invite our suporters to get close to the MSO through a range of special events. The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are recognised as follows: $1,000+ (Player) $2,500+ (Associate) $5,000+ (Principal) $10,000+ (Maestro) $20,000+ (Impresario) $50,000+ (Virtuoso) $100,000+ (Platinum)
Geoffrey Rush AC Ambassador
The MSO Conductor’s Circle is our bequest program for members who have notified of a planned gift in their Will.
THE MSO HONOURS
Enquiries P (03) 8646 1551 E philanthropy@mso.com.au
THE MEMORY OF
John Brockman OAM Life Member The Honourable Alan Goldberg AO QC Life Member Ila Vanrenen Life Member
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‘ We are the music makers, and we are the dreamers of dreams.' – Arthur O’Shaughnessy
Come dream with us by adopting your own MSO musician! Support the music and the orchestra you love while getting to know your favourite player. Honour their talent, artistry and life-long commitment to music, and become part of the MSO family. Adopt Principal Harp, Yinuo Mu, or any of our wonderful musicians today.
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Principal Partner
Government Partners
Premier Partners
Major Partners
Venue Partner
Education Partners
Supporting Partners
Quest Southbank
The CEO Institute
Ernst & Young
Bows for Strings
The Observership Program
Trusts and Foundations
Sidney Myer MSO Trust Fund, The Gross Foundation, MS Newman Family Foundation, The Ullmer Family Foundation, Erica Foundation Pty Ltd
Media and Broadcast Partners