A NIGHT OF ROMANTIC CLASSICS 2 NOVEMBER 2018 Melbourne Town Hall
CONCERT PROGRAM
Melbourne Symphony Orchestra Benjamin Northey conductor Harry Bennetts violin Dvořåk Carnival Overture Korngold Violin Concerto INTERVAL
Brahms Symphony No.1
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
BENJAMIN NORTHEY 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.
Benjamin Northey is Chief Conductor of the Christchurch Symphony Orchestra and Associate Conductor of the Melbourne Symphony Orchestra.
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.
Benjamin appears regularly as guest conductor with all major Australian symphony orchestras, Opera Australia (Turandot, L’elisir d’amore, Don Giovanni, Così fan tutte, Carmen), New Zealand Opera (Sweeney Todd) and State Opera South Australia (La sonnambula, Les contes d’Hoffmann). His international appearances include concerts with London Philharmonic Orchestra, Tokyo Philharmonic Orchestra and Mozarteum Orchestra Salzburg. An Honorary Fellow at the University of Melbourne Conservatorium of Music, his awards include the prestigious 2010 Melbourne Prize Outstanding Musician’s Award as well as multiple awards for his numerous recordings with ABC Classics. Benjamin Northey’s Associate Conductor position is generously supported by Anthony Pratt.
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HARRY BENNETTS VIOLIN
PROGRAM NOTES ANTONÍN DVOŘÁK
(1841–1904)
Carnival Overture, Op.92
Sydney-born Harry Bennetts studied at the Australian National Academy of Music under Robin Wilson, and in the Karajan Academy of the Berlin Philharmonic Orchestra mentored by concertmaster Noah Bendix-Balgley. Previous teachers include Mark Mogilevski and Philippa Paige. After success in national competitions, Harry performed as soloist with the Tasmanian and Canberra Symphony orchestras, and performed solo and chamber recitals at the Sydney Opera House, Melbourne Recital Centre and Berlin Philharmonie. He has performed chamber music at festivals in Townsville, Berlin and Melbourne with such artists as Kathryn Stott, Alexander Sitkovetsky and Siobhan Stagg. Whilst completing studies, Harry was accepted into the International Musicians Seminar at Prussia Cove in the class of Thomas Adès, and performed as an Emerging Artist with the Australian Chamber Orchestra. During his time in Germany he performed regularly with the Berlin Philharmonic Orchestra. He has participated in masterclasses with Pinchas Zuckerman, Christian Tetzlaff and members of the Doric string quartet.
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Romanticism, as commentator Gabriel Josipovici notes, ‘had begun as a movement against the arbitrary authorities of the 18th century’, and left a number of legacies to the intellectual and aesthetic life of the 19th. Music, rather than adhering to the more abstract formal ideals of Classicism as exemplified by the works of Haydn and Mozart, became increasingly subjective and ‘poetic’. Another result of the Romantic movement was a renewed interest in the arts practised outside major metropolitan centres. Composers throughout Europe revisited the folk cultures of their native countries, reflecting both a Romantic interest in ‘unspoiled’ ways of life and the related local nationalisms which had grown up particularly in the wake of the 1848 revolutions. Written in 1892, the Carnival Overture is one of three in a series originally known as Nature, Life and Love – the more customary titles In Nature’s Realm, Carnival and Othello came later. This triptych shows Dvořák’s essential Romanticism in his adherence to the cult of Nature and his delight in celebrating his ethnic musical roots. Where the first piece celebrates the emotions of the individual contemplating nature, the landscape of Carnival, the most frequently played of the three overtures, is quite definitely populated. The opening suggests a rural carnival in full swing and the piece as a whole is dominated by boisterous dance rhythms.
There are, however, reflective moments. Significantly, after the first statement of the dance music, Dvořák inserts one such passage where the clarinet recalls the theme associated with Nature from In Nature’s Realm. It is as if the quiet contemplation of nature makes possible the energy and joy of the carnival spirit. Adapted from notes © Gordon Kerry The Melbourne Symphony Orchestra first performed the Carnival Overture on 8 September 1941 with conductor Sir Bernard Heinze, and most recently in July 2016 under the direction of Benjamin Northey.
ERICH WOLFGANG KORNGOLD
(1897–1957)
Violin Concerto in D, Op.35 Allegro nobile Romance: Andante Finale: Allegro assai vivace Between 1935 and 1938 Korngold and his family lived a transatlantic existence. While writing his opera Die Kathrin, and preparing for the first performance of his song cycle Unvergänglichkeit (The Eternal) in Vienna, he adapted Mendelssohn’s A Midsummer Night’s Dream music for Max Reinhardt’s film production of the play for Warner Bros. On back-andforth visits to Hollywood, he composed the music for several other Warner pictures, including Anthony Adverse, the score which won Korngold his first Academy Award. Korngold’s decision to make the United States his home coincided with his loss of interest in writing concert music or works for the lyric stage. Leaving most of his family behind, he left Vienna for Hollywood in January 1938 to compose
the music for The Adventures of Robin Hood, expecting to return in a few months to supervise the premiere of Die Kathrin. But Germany’s annexation of Austria in March 1938 made a return to his homeland impossible, and his family, including his younger son, escaped Austria on the last unrestricted train. Korngold’s belongings, home, property and life savings were confiscated by the Nazis. With his Vienna house already under German occupation, he could imagine his collection of music being consigned to the flames. With extraordinary courage, Korngold’s publishers broke into his house in the dead of night and smuggled his scores into the USA inside shipments of newly published music. Films were now Korngold’s only source of income. When his father berated him for not writing absolute music, Korngold replied that if anyone in America wanted to perform his music they knew where to find him. As his wife said later: ‘It was almost as if he had made a vow not to write any more until Hitler was defeated.’ The Violin Concerto was to be the work that announced Korngold’s return to the concert hall. His ideas for this work seem first to have surfaced in 1937. A theme used throughout the film Another Dawn, which he scored that year, is also the principal melody of the concerto’s first movement; and a jaunty transformation of the opening title theme for that year’s movie The Prince and the Pauper forms the basis for the concerto’s finale. But Korngold did no serious work on the piece until the war in Europe was over. At this time his old friend, the violinist 5
Bronislaw Huberman, revived a running joke that dated back to Korngold’s teenage years. Every time Huberman met Korngold, he would say: ‘Erich, where’s my violin concerto?’ At dinner one night in 1945, Huberman asked the usual question, whereupon Korngold went to the piano and played the opening theme. Huberman cried: ‘That’s it! That will be my concerto – promise me that you’ll write it.’ When the concerto was ready for performance, Huberman was somewhat vague about when he might get around to performing it, yet was equally anxious that no-one else would play it before him. When Jascha Heifetz expressed interest in it, Korngold did not hesitate. ‘Huberman,’ he told his friend, ‘I haven’t been unfaithful yet, I’m not engaged… but I have flirted.’ Huberman’s death a short time later brought this chapter in the concerto’s life to an end. For Korngold, the concerto symbolised his re-emergence into a musical mainstream in which he no longer felt completely secure. He remains true to his instincts in the work, and was particularly nervous about the critics’ response to his frankly emotional musical language. In the weeks before the premiere, he wrote of the work: ‘I want a confirmation, an answer to a question of decisive importance for me: is there still a place and a chance for music with expression and feeling, with long melodic themes, formed and developed on the principles of the classic masters – music conceived in the heart and not constructed on paper?’ The premiere, in 1947 in St Louis with Heifetz, was a triumphant success with critics and public alike. But Korngold 6
was rightly concerned at how it would be received when Heifetz took it to New York a few weeks later. Irving Kolodin’s review of the concerto in the New York Sun contained the famously cheap jibe, ‘More corn than gold’, which hurt the composer deeply. The other New York critics were not much kinder. Posterity’s answer to Korngold’s question has been mixed: the work languished on the fringes of the repertoire until the 1980s, by which time the influence of contemporary music’s style police had begun to wane. The concerto is now the most performed of all Korngold’s concert works. By 1945, Korngold’s enjoyment of the film-scoring process had abated, and he was concerned that some of his best musical ideas were disappearing as each film was taken out of circulation. He had no hesitation in re-casting themes from his films in his concert music. The first movement is primarily lyrical, and casts the soloist as a storyteller. The violin joins the orchestra from the opening bars, with the theme adapted from the one Korngold first wrote for Another Dawn. The gentle, romantic second subject was first used in the 1939 film Juarez. The vibrant coda offers one of the few opportunities for overtly virtuosic display in this movement. The Romance is almost a love scene played between the soloist and the orchestra. The solo violin plays almost continuously, for the most part spinning high, songful phrases over a carpet of gentle string accompaniment. Korngold’s fondness for orchestral keyboards is particularly evident in this movement: the orchestral forces here include vibraphone and celeste. For the
Romance’s lavish outpouring of melodic ideas, Korngold drew on his Anthony Adverse score, but created anew the brief, haunting misterioso episode at the movement’s core. This highly chromatic idea returns to conclude the movement. In a similar manner to the last movement of Samuel Barber’s violin concerto, Korngold establishes a decisive change of mood in the finale. In effect it is a set of variations on a theme he first created for The Prince and the Pauper. We hear the melody variously as a jig, in 6/8, as a lyrical second subject, as a stamping folk dance, as a piece of sequential dialogue between violin and orchestra, then in radiant transfiguration before it suddenly bursts into virtuosic action for the dazzling coda. Phillip Sametz © 2000 The Melbourne Symphony Orchestra’s only previous performance of this concerto took place on 25–27 May 2006 with conductor John Storgårds and soloist Nikolaj Znaider.
JOHANNES BRAHMS
(1833–1897)
Symphony No.1 in C minor, Op.68 Un poco sostenuto – Allegro Andante sostenuto Un poco allegretto e grazioso Adagio – Più andante – Allegro non troppo, ma con brio The first symphony was a long time coming, largely as a result of Brahms’ paralysing stage fright when contemplating genres in which the ‘giants’ – especially Beethoven – had produced their masterpieces. That is not to say that Brahms had not wanted to compose symphonies, and in the
early 1850s was persuaded by Robert and Clara Schumann to turn a D minor sonata for two pianos into such a work; the results have not survived. It was at this time, though, that he began making sketches for what would, eventually, become the first movement of the First Symphony. In 1862, Clara Schumann was surprised to receive a package from Brahms containing ‘the first movement of a symphony’. She wrote to Joseph Joachim that it was ‘rather strong…but full of wonderful beauties’ and noted that ‘the themes are treated with a mastery that is becoming more and more characteristic of him’. Despite the enthusiasm of such colleagues, however, the movement (at this stage it was only the Allegro section) remained an unfinished torso for well over a decade. The Symphony was only completed and first performed in 1876 – the same year as the first production of the completed Ring cycle. Its impact was such that conductor Hans von Bülow only half-jokingly referred to it as ‘Beethoven’s Tenth’. It is certainly Beethovenian in scale, and follows the blueprint of such works as Beethoven’s Third, Fifth and Ninth Symphonies in tracing an epic journey from a state of turbulent conflict to one of triumphant resolution. Clara Schumann may have found the ideas in the 1862 sketch ‘strong’, but they were immeasurably strengthened when Brahms added the overwhelming slow introduction where, over the implacable pounding of the timpani, the full orchestra sounds a harmony that threatens to come apart under the force of its internal tension. That tension is not resolved by a contrasting chirpy 7
Allegro: the remainder of the movement continues to depict a compelling, but abstract, drama of musical processes in Brahms’ now fully formed orchestral sound. The Andante shows an equally Brahmsian, if completely different, sound world. After the confused alarms of the previous movement, the rhetoric is much more subdued, and the scoring lighter, allowing for brief, sylvan wind solos and passages of lush string writing. But the retreat from the Romantic Sturm und Drang of the previous movement is by no means complete, and the music is occasionally taken over in an impassioned outburst. The closing section of the movement, though, is quietly gleaming, with a violin solo and the soft wind chords with which Brahms often concludes a piece. Brahms scholar Karl Geiringer writes that the Allegretto (not a conventional scherzo) ‘seems to smile through its tears’, though it too has moments of frank emotionalism. Conductor Hermann Levi felt that the inner movements were serenade-like, but as such they provide respite between the two, titanic outer movements. Following the Beethovenian model meant that Brahms had to create a finale that balanced if not outweighed the opening movement. Brahms’ solution was essentially that of Beethoven in the finale of the Ninth Symphony – though not, of course, using voices: both begin with seemingly unrelated passages that return to a state of uncertainty and move through various musical fields before discovering the thematic centre of the piece. Brahms begins with a sombre 8
Adagio introduction that, like the first movement’s, features harmony that moves almost painfully from chord to nearby chord. This gives rise to fragmentary, more troubled music, which in turn is interrupted by a long horn melody; this tune had personal significance for Brahms, in that he wrote it out, with some homemade verse, on a card sent to Clara Schumann when they were estranged. It is joined by the trombones (making their first appearance in the work), that suggests a sudden view of a spacious landscape. Only now does Brahms bring in his theme, a piece of pure and simple diatonicism. Brahms, who never suffered fools, would snap at people who noted the similarity of the theme to Beethoven’s ‘Freude’ tune: ‘Any jackass can see that!’ And of course it may be a Beethovenian tune but its scoring, and the development to which it is subjected, are purely and masterfully Brahmsian. © Gordon Kerry 2015 The Melbourne Symphony Orchestra first performed Brahms’ Symphony No.1 on 21 May 1938 with George Szell, and most recently in May 2014 with Richard Tognetti.
Christmas with the MSO Singalongs, Santa and a Symphony Orchestra Benjamin Northey conductor Greta Bradman soprano SATURDAY 8 DECEMBER Arts Centre Melbourne, Hamer Hall
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MELBOURNE SYMPHONY ORCHESTRA
Sir Andrew Davis Chief Conductor
Benjamin Northey Associate Conductor Anthony Pratt#
Tianyi Lu
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CALENDAR
OF EVENTS French Classics 23–26 November
Arts Centre Melbourne, Hamer Hall
Feel the warm embrace of a late-spring evening as you're transported to France for an evening of passion and wonder.
Season Finale – Maxim Vengerov 30 November Robert Blackwood Hall, Monash University
1 December Arts Centre Melbourne, Hamer Hall
Christmas with the MSO 8 December Arts Centre Melbourne, Hamer Hall
Your favourite festive tunes, featuring the majestic orchestra, soprano Greta Bradman and a visit from Santa.
Star Wars: The Empire Strikes Back In Concert 14–16 December Plenary, MCEC
The Force will be with the MSO as they perform John Williams’ legendary score live.
Messiah 15–16 December Arts Centre Melbourne, Hamer Hall
An annual tradition for many, celebrate the season with Handel’s most performed work.
Tickets for these shows and more at mso.com.au 18
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