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The Rite of Spring Recorded 18 & 20 July 2019 at Arts Centre Melbourne, Hamer Hall.
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Melbourne Symphony Orchestra Sir Andrew Davis conductor STRAVINSKY The Rite of Spring [35']
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Melbourne Symphony Orchestra The Melbourne Symphony Orchestra is a leading cultural figure in the Australian arts landscape, bringing the best in orchestral music and passionate performance to a diverse audience across Victoria, the nation and around the world. Each year the MSO engages with more than 5 million people through live concerts, TV, radio and online broadcasts, international tours, recordings and education programs. The MSO is a vital presence, both onstage and in the community, in cultivating classical music in Australia. The nation’s first professional orchestra, the MSO has been the sound of the city of Melbourne since 1906. The MSO regularly attracts great artists from around the globe including Anne-Sophie Mutter, Lang Lang, Renée Fleming and Thomas Hampson, while bringing Melbourne’s finest musicians to the world through tours to China, Europe and the United States. The Melbourne Symphony Orchestra acknowledges the Traditional Owners of the Land on which we perform and would like to pay our respects to their Elders and Community both past and present.
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Sir Andrew Davis conductor Conductor Laureate of the Melbourne Symphony Orchestra, Sir Andrew Davis is also Music Director and Principal Conductor of the Lyric Opera of Chicago. He is Conductor Laureate of both the BBC Symphony Orchestra and the Toronto Symphony, where he has also been named interim Artistic Director until mid-2020. He also holds the honorary title of Conductor Emeritus from the Royal Liverpool Philharmonic Orchestra. One of today’s most recognized and acclaimed conductors, Sir Andrew has conducted virtually all of the world’s major orchestras, opera companies, and festivals. A vast and award-winning discography documents Sir Andrew’s artistry, with recent CDs including the works of Berlioz, Bliss, Elgar (winner of the 2018 Diapason d’Or de l’Année – Musique Symphonique), Grainger, Ives, Holst, and Handel (nominated for a 2018 GRAMMY® for Best Choral Performance). In 1992, Maestro Davis was made a Commander of the British Empire, and in 1999, he was designated a Knight Bachelor in the New Year Honours List.
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Program Notes
IGOR STRAVINSKY Le Sacre du printemps (The Rite of Spring) Part 1 L’Adoration de la terre (Adoration of the Earth) Introduction Danse des adolescentes (Dance of the Young Girls) Jeu du rapt (Ritual of Abduction) Rondes printanières (Spring Rounds) Jeux des cités rivales (Games of the Rival Tribes) Cortège du sage (Procession of the Sage) L’Adoration de la terre (Adoration of the Earth) Danse de la terre (Dance of the Earth) Part 2 Le Sacrifice (The Sacrifice) Introduction Cercles mystérieux des adolescentes (Mystic Circles of Young Girls) Glorification de l’élue (Glorification of the Chosen Virgin) Evocation des ancêtres (Evocation of the Ancestors) Action rituelle des ancêtres (Ritual of the Ancestors) Danse sacrale – L’élue (Sacrificial dance – The Chosen Virgin) The trouble started as soon as the solo bassoon began its plaintive version of a Lithuanian folksong. Heckling from the gallery of the new Théâtre des Champs-Élysées spread down into the stalls. The noise soon became so loud that when Stravinsky fled backstage he found the choreographer Nijinsky standing on a chair in the wings shouting directions at the dancers who could no longer hear the orchestra. The theatre’s THE RITE OF SPRING – 6
electrician frantically flicked the house lights on and off to try and settle the audience; there was a brawl and the police had to be called. The orchestra – which had had 16 rehearsals under conductor Pierre Monteux – soldiered on and gave what those who could hear it describe as a fine performance. The riot that attended its first performance in 1913 made The Rite of Spring into the stuff of legend – scholar Richard Taruskin says that Stravinsky ‘spent the rest of his long life telling lies about it’! But while the event has been variously described as modern music’s ‘heroic moment’ it was not a simple matter of the score’s being so wonderfully radical that it caused a fracas among Philistines. Debussy’s Jeux – also premiered by Sergei Diaghilev’s Ballets Russes – had been booed a couple of weeks before, and Nijinsky, still suspect for his erotic dancing of Debussy’s Prelude to the Afternoon of a Faun, was the choreographer despite the task being clearly beyond him. The writer Jean Cocteau, for instance, described the choreography as ‘automaton-like monotony’ and it was this that seems to have caused the most offence. A year later Monteux conducted a concert performance of the music in Paris, and Stravinsky experienced the success ‘such as composers rarely enjoy’ as he was carried through the streets like a sporting hero on the shoulders of his audience. There had, though, never been anything like it. In his two previous ballets for Diaghilev’s company Stravinsky had mined Russian folklore and fairytale: The Firebird was a story of enchanted princesses, ogres and a magic phoenix; Petrushka’s protagonists are fairground puppets. Certainly since the political upheavals of 1905, and arguably well before, folklore had been a powerful force in Russian art. But in 1910, Stravinsky had a vision of ‘wise elders, seated in a circle watching a young girl dancing herself to death…to propitiate the god of spring’. In due course he drafted a scenario (based on this simple idea) with the designer Nicholas Roerich. (They later fought over whose idea it was.) The work is, as scholar Stephen Walsh puts it, ‘hardly a “story” ballet with characters [but] a strict “liturgical” sequence, a sequence which, we understand, will always happen this way, with different participants but the same meaning’. Incidentally, Stravinsky’s Russian title for the work is better translated as Holy Spring rather than The Rite of Spring and its subtitle is ‘Scenes from Pagan Russia’. The great Marxist philosopher Theodor Adorno was appalled. That the Rite presents pagan Russia as a utopia was reprehensible; that a young girl dances herself to death before the elders was unforgivable. Musicologist Paul Griffiths argues that ‘The Rite is, simply in its musical operation, a dance of self-extinction.’ He quotes Stravinsky’s long-time assistant Robert Craft’s assertion that the composer ‘repeatedly said that he wrote The Rite of Spring in order “to send everyone” in his Russian past, Tsar, family, instructors, “to hell”’. This suggests that the Rite attempts to be a ‘clean slate’ untouched by the corruptions of musical ‘civilisation’. The composer later said that he was ‘the vessel through which the Rite passed’, and the sketches do show that many of his ideas sprang fully formed onto the page. At the same time Stravinsky’s sumptuous orchestration and harmony (here and in the earlier ballets) could not have existed without the music of Glinka and Rimsky-Korsakov; Debussy was right to call the score ‘primitive music with all modern THE RITE OF SPRING – 7
conveniences’. Moreover, Stravinsky long maintained that the opening bassoon melody, whose timbre suggests traditional dudki or reed pipes, was the only folk tune in the score but the publication of the composer’s sketchbooks in 1969 showed that he had copied out a number of tunes which found their way, if often disguised, into the score. Taruskin has shown that the tunes are usually relevant in subject matter to the events of the ballet, and as Walsh puts it, Stravinsky reduces them to ‘simple essences which could then be used as motives of rhythmic and ostinato treatment’. And it is there that we see the novelty and genius of this work. As Walsh goes on to say, ‘What nobody seems to have done before The Rite of Spring was to take dissonant, irregularly formed musical “objects” of very brief extent and release their latent energy by firing them off at one another like so many particles in an atomic accelerator.’ The ‘cells’ that Stravinsky creates out of the simple rhythmic essences of folk tunes are repeated, distorted by the addition of extra beats, interrupted by contrasting cells. The Rite, then, is the ultimate abstraction of Stravinsky’s early ‘Russian’ style, and the foundation for much of his subsequent music. Gordon Kerry © 2005
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Melbourne Symphony Orchestra: 18-20 July 2019
FIRST VIOLINS Dale Barltrop
Concertmaster
Sophie Rowell
Concertmaster The Ullmer Family Foundation#
Peter Edwards
Assistant Principal
Kirsty Bremner Sarah Curro
Michael Aquilina#
Peter Fellin Deborah Goodall Lorraine Hook Anne-Marie Johnson Kirstin Kenny Eleanor Mancini Mark Mogilevski Michelle Ruffolo Kathryn Taylor Michael Aquilina#
SECOND VIOLINS
VIOLAS
DOUBLE BASSES
Christopher Moore
Steve Reeves
Principal Di Jameson#
Lauren Brigden Katharine Brockman Christopher Cartlidge Michael Aquilina#
Anthony Chataway
Dr Elizabeth E Lewis AM#
Gabrielle Halloran Maria Solà#
Trevor Jones Fiona Sargeant Maria Solà#
Associate Principal
Sylvia Hosking
Assistant Principal
Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton Sophie Galaise and Clarence Fraser#
FLUTES Prudence Davis
CELLOS
Wendy Clarke
Principal Anonymous#
Associate Principal
David Berlin
Principal MS Newman Family#
Rachael Tobin
Associate Principal
Robert Macindoe
Assistant Principal Anonymous*
Monica Curro
Geelong Friends of the MSO#
Associate Principal
Andrew Moon
Cindy Watkin Elizabeth Woolnough
Matthew Tomkins
Principal The Gross Foundation#
Principal
Nicholas Bochner Miranda Brockman
Assistant Principal Danny Gorog and Lindy Susskind#
Rohan de Korte
Mary Allison Isin Cakmakcioglu Tiffany Cheng Freya Franzen Cong Gu Andrew Hall Isy Wasserman Philippa West Patrick Wong Roger Young
Barbara Bell, in memory of Elsa Bell#
Andrew Dudgeon
#
Keith Johnson Sarah Morse Maria Solà
#
Angela Sargeant Maria Solà#
Michelle Wood
Michael Aquilina#
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Sarah Beggs
Sophia Yong-Tang#
PICCOLO Andrew Macleod
Principal John McKay and Lois McKay#
OBOES Jeffrey Crellin Principal
Thomas Hutchinson Associate Principal
Ann Blackburn
The Rosemary Norman Foundation#
COR ANGLAIS Michael Pisani Principal
CLARINETS David Thomas
TROMBONES
bass clarinet Lloyd Van’t Hoff
Richard Shirley
Principal
Tim and Lyn Edward#
Philip Arkinstall
Mike Szabo
contrabassoon Colin Forbes-Abrams
Craig Hill
TUBA
bassoon Chloe Turner ^
Associate Principal
BASS CLARINET Jon Craven Principal
BASSOONS Jack Schiller
Principal
Elise Millman
Associate Principal
Natasha Thomas
Dr Martin Tymms and Patricia Nilsson#
CONTRABASSOON Brock Imison
Principal
HORNS Nicolas Fleury
Principal
Saul Lewis
Principal Third The Hon Michael Watt QC and Cecilie Hall#
Abbey Edlin
Nereda Hanlon and Michael Hanlon AM#
Trinette McClimont Rachel Shaw TRUMPETS Owen Morris Principal
Shane Hooton
Associate Principal
William Evans Rosie Turner
John and Diana Frew#
Principal Bass Trombone
Timothy Buzbee
horns Ian Wildsmith
Principal
assistant principal horn
TIMPANI**
Carla Blackwood Josiah Kop Anton Schroeder
Christopher Lane
Principal
PERCUSSION
trumpet Tristan Rebien
Robert Clarke
Principal
John Arcaro
Tim and Lyn Edward
#
Robert Cossom
trombone Tim Dowling
principal trombone
Drs Rhyll Wade and Clem Gruen#
bass trumpet Robert Collins
HARP
tuba Alex Jeantou
Yinuo Mu
Principal
GUEST ARISTS violin Tair Khisambeev
assistant concertmaster
Aaron Barnden Madeleine Jevons Nicholas Waters
percussion Lara Wilson harp Melina van Leeuwen piano Leigh Harrold
viola William Clark Paul McMillan+ double bass Rohan Dasika Vivian Qu Siyuan
+ Appears courtesy of Orchestra Victoria
flute Taryn Clarke
^ Appears courtesy of West Australian Symphony Orchestra
cor anglais David Reichelt
** Timpani Chair position supported by Lady Potter AC CMRI
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# Position supported by
Supporters MSO PATRON The Honourable Linda Dessau AC, Governor of Victoria
CHAIRMAN’S CIRCLE Marc Besen AC and Eva Besen AO Gandel Philanthropy The Gross Foundation Di Jameson Harold Mitchell Foundation David Li AM and Angela Li Harold Mitchell AC MS Newman Family Foundation Lady Potter AC CMRI The Cybec Foundation The Pratt Foundation The Ullmer Family Foundation Anonymous (1)
ARTIST CHAIR BENEFACTORS Cybec Assistant Conductor Chair Nicholas Bochner The Cybec Foundation Concertmaster Chair Sophie Rowell The Ullmer Family Foundation 2020 Soloist in Residence Nicola Benedetti CBE is supported by Marc Besen AC and Eva Besen AO Young Composer in Residence Jordan Moore The Cybec Foundation
PROGRAM BENEFACTORS Cybec 21st Century Australian Composers Program The Cybec Foundation East meets West Supported by the Li Family Trust Meet the Orchestra Made possible by The Ullmer Family Foundation MSO Audience Access Crown Resorts Foundation, Packer Family Foundation
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PLATINUM PATRONS $100,000+ Marc Besen AC and Eva Besen AO John Gandel AC and Pauline Gandel AC The Gross Foundation Di Jameson David Li AM and Angela Li MS Newman Family Foundation The Pratt Foundation Lady Potter AC CMRI Ullmer Family Foundation Anonymous (1)
VIRTUOSO PATRONS $50,000+ Harold Mitchell AC
Supporters – 11
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MAESTRO PATRONS $10,000+ Margaret Billson and the late Ted Billson Mitchell Chipman Tim and Lyn Edward Danny Gorog and Lindy Susskind Robert & Jan Green Hilary Hall, in memory of Wilma Collie Nereda Hanlon and Michael Hanlon AM The Hogan Family Foundation Peter Hunt AM and Tania de Jong AM Suzanne Kirkham David Krasnostein AM and Pat Stragalinos Ian and Jeannie Paterson Elizabeth Proust AO Xijian Ren and Qian Li Glenn Sedgwick Gai and David Taylor Harry and Michelle Wong Anonymous (1)
PRINCIPAL PATRONS $5,000+ Christine and Mark Armour Barbara Bell, in memory of Elsa Bell Stephen and Caroline Brain Prof Ian Brighthope May and James Chen John and Lyn Coppock The Cuming Bequest Wendy Dimmick Andrew Dudgeon AM Jaan Enden Mr Bill Fleming John and Diana Frew Susan Fry and Don Fry AO Sophie Galaise and Clarence Fraser Geelong Friends of the MSO R Goldberg and Family
Leon Goldman Colin Golvan AM QC and Dr Deborah Golvan Jennifer Gorog HMA Foundation Louis Hamon OAM Hans and Petra Henkell Hartmut and Ruth Hofmann Doug Hooley Jenny and Peter Hordern Dr Alastair Jackson AM Rosemary and James Jacoby Dr Elizabeth A Lewis AM Norman Lewis, in memory of Dr Phyllis Lewis Peter Lovell Mr Douglas and Mrs Rosemary Meagher Marie Morton FRSA Anne Neil Dr Paul Nisselle AM The Rosemary Norman Foundation Ken Ong, in memory of Lin Ong Jim and Fran Pfeiffer Dr Rosemary Ayton and Dr Sam Ricketson Jeffrey Sher QC and Diana Sher OAM Helen Silver AO and Harrison Young Brian Snape AM and the late Diana Snape Tasco Petroleum The Hon. Michael Watt QC and Cecilie Hall Drs Rhyl Wade and Clem Gruen Lyn Williams AM Jason Yeap OAM – Mering Management Corporation Sophia Yong-Tang Anonymous (5)
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Supporters – 13
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MSO PATRON COMMISSIONS Snare Drum Award test piece 2019 Commissioned by Tim and Lyn Edward
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Supporters – 14
Ken Bullen Peter A Caldwell Luci and Ron Chambers Beryl Dean Sandra Dent Lyn Edward Alan Egan JP Gunta Eglite Mr Derek Grantham Marguerite Garnon-Williams Drs Clem Gruen and Rhyl Wade Louis Hamon OAM Carol Hay Graham Hogarth Rod Home Tony Howe Laurence O’Keefe and Christopher James Audrey M Jenkins John Jones George and Grace Kass Mrs Sylvia Lavelle Pauline and David Lawton Cameron Mowat David Orr Matthew O’Sullivan Rosia Pasteur Elizabeth Proust AO Penny Rawlins Joan P Robinson Neil Roussac Anne Roussac-Hoyne Suzette Sherazee Michael Ryan and Wendy Mead Anne Kieni-Serpell and Andrew Serpell Jennifer Shepherd Profs. Gabriela and George Stephenson Pamela Swansson Lillian Tarry Dr Cherilyn Tillman Mr and Mrs R P Trebilcock Michael Ullmer AO The Hon. Rosemary Varty Mr Tam Vu Marian and Terry Wills Cooke OAM Mark Young Anonymous (29)
The MSO gratefully acknowledges the support of the following Estates: Norma Ruth Atwell Angela Beagley Neilma Gantner The Hon Dr Alan Goldberg AO QC Gwen Hunt Audrey Jenkins Joan Jones Pauline Marie Johnston C P Kemp Peter Forbes MacLaren Joan Winsome Maslen Lorraine Maxine Meldrum Prof Andrew McCredie Miss Sheila Scotter AM MBE Marion A I H M Spence Molly Stephens Jennifer May Teague Albert Henry Ullin Jean Tweedie Herta and Fred B Vogel Dorothy Wood
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