CONCERT PROGRAM
Best of MSO Live Online VOLUME 1
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Program SCULTHORPE New Norcia [6'] BROADSTOCK And No Birds Sing
[12']
ILLEAN Januaries [11'] COPLAND Appalachian Spring: Suite
[23']
A musical Acknowledgement of Country, Long Time Living Here by Deborah Cheetham AO, will be performed before the start of this concert. Vision & Audio: CVP Events, Film and Television
Artists
Benjamin Northey conductor BIO
Jacinta Parsons presenter BIO
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Live the French way Sofitel Melbourne On Collins, 25 Collins Street, Melbourne, Victoria. Book your stay at sofitel-melbourne.com.au
PARIS – MELBOURNE – SYDNEY – LONDON – NEW YORK – BEIJING – BALI
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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Program Notes PETER SCULTHORPE (1929–2014)
New Norcia for brass and percussion ‘My Country Childhood’ is the title of the first chapter of Peter Sculthorpe’s autobiographical book, Sun Music: Journeys and Reflections from a Composer’s Life, published in 1999 to coincide with his 70th birthday. Perhaps not surprisingly, recollections of his mostly happy Tasmanian childhood also flavour some of the musical works he composed around that time. In the same year as the book, there was even a new piece for string orchestra actually called My Country Childhood. He struck a somewhat darker note in a piece called Quamby (2000) for small orchestra. It was based on another story from the book, one that his father had told him way back in the 1930s, the legend of Quamby Bluff, in the Western Tiers of Northern Tasmania. There, in the previous century, Indigenous inhabitants of the place were said to have been hunted down and herded over a precipice by colonial troopers. According to his father, their death cries, ‘Quamby’, or ‘Save me’, gave the place its name. Sculthorpe’s father’s family were practical, ‘can-do’ people, little given to metaphysical speculation. His mother’s Moorhouse kin were another matter. Though not conventionally religious, from them he inherited a sense of the numinous, a questing after ‘spirits’, and a belief in the power of uncanny coincidence. At Launceston Anglican Grammar School in the early 1940s, he sang in the chapel choir, and recalled singing psalms, sometimes in Latin, to simple Gregorian plainsong. So when he was commissioned to compose a work for his old school’s sesquicentenary in 1996, he produced a setting for children’s voices of Psalm 150 Laudate Dominum (Praise the Lord) based loosely on the Gregorian eighth psalm-tone. New Norcia for brass and percussion, completed in 2000, is an arrangement of that 1996 choral setting, and was in turn inspired by one of those uncanny coincidences that so often attract Sculthorpe’s attention. When Sculthorpe was a university student at the Melbourne Conservatorium in the late 1940s, he bought the score of a Mass by Dom Stephen Moreno (1889–1953), the musicdirector of the Spanish Benedictine abbey at New Norcia, northeast of Perth, Western Australia. Recently, he had found out more about Moreno’s life, and was struck by the fact that at the same time as he himself had been singing in his Anglican school choir in Launceston, Moreno had trained local Indigenous boys at New Norcia both to sing for the Catholic Mass and play in a brass band there. Long before Moreno, the abbey’s founder, Dom Rosendo Salvado, had directed the music, and a letter (in Spanish) dating from 1878 mentions that ‘our boys and girls sang in two parts the Laudate Dominum, as they do every time they come to Mass’. All these facts came together to persuade Sculthorpe to reset his vocal Laudate for brass, as New Norcia. The work consists of five soloistic chant-like sections, each of which is followed by a refrain for the full ensemble in which the percussion joins in regular drumming patterns to represent the traditional tribal music of New Norcia’s Indigenous children. Graeme Skinner © 2012
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BRENTON BROADSTOCK
(born 1952)
And No Birds Sing Wendy Clarke flute Robin Henry clarinet Robert Cossom percussion Leigh Harrold piano Jenny Khafagi violin The composer writes: And No Birds Sing is one of a series of works written in the late 1980s inspired by Broadstock’s concern for environmental pollution. The title comes from a Keats’ poem La Belle Dame Sans Merci (1819) that first came to Broadstock’s notice through two lines, The sedge has withered from the lake, and no birds sing, quoted in Rachel Carson’s book Silent Spring, encountered during his student days at Monash University. And No Birds Sing is written for Flute/Alto Flute/Piccolo, Clarinet/Bass Clarinet, Violin, Piano, Percussion and was commissioned by The Seymour Group in 1986 with the generous assistance of the Australia Council and is dedicated to Tony Fogg. Brenton Broadstock © 2014
La Belle Dame Sans Merci John Keats (1795–1821) And I awoke and found me here, On the cold hill’s side. And this is why I sojourn here Alone and palely loitering, Though the sedge is withered from the lake, And no birds sing. (Abbreviated version)
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LISA ILLEAN (born 1983) Januaries The composer writes: Natural elements, acts of remembering and subtle experiences of perceptual phenomena shape the way I put sounds together. While completing Januaries my mind kept returning to memories of summers spent as a child with my grandparents in Queensland. Like the sketches of music on my desk, these memories settled in pieces and with some distortions, assembled in a logic closer to that of dreams than waking life. Yet, underpinning these was the precise sensation of elements that seem to share two states at once: of air swollen with water and steaming rain one sweats in. It is this sensation that I worked towards in the final version of the piece. In a world that seems to prioritise the visual, I’m very interested in the relationship between sounds and sensations (and how much of one’s interior life can be communicated through sound). In considering sensations that elude the eye, I am reminded of a description by Simon Leys (sent to me recently by a friend): Australian scenery is of inexpressible beauty, it is true, but it is also utterly inconspicuous and non-spectacular—and impossible to capture with a camera: this worn-down immensity, with its half-erased profiles constitutes a magic space entirely devoid of focal point; like ghosts, mirages, and supernatural visions, it escapes the photographer, it does not leave any impression on film. Januaries is dedicated to my grandmother in her 100th year. Lisa Illean © 2020
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AARON COPLAND Appalachian Spring: Suite (version for chamber orchestra) Very slowly Fast Moderate Fast Still faster Very slowly (as at first) Calm and flowing Moderate Aaron Copland met the choreographer Martha Graham in 1931. She wanted to do a ballet on his Piano Variations. Copland threw back his head and laughed – until he saw Dithyramb. A collaboration was born. In 1942 Elizabeth Sprague Coolidge commissioned Graham to stage three ballets – Copland was one of three composers asked for a score. Appalachian Spring was the result. It premiered in Washington in October 1944. The score eventually won a Pulitzer Prize and a Music Critics’ Circle Award. Springtime was not in the creators’ heads at the time of writing. A poem by Hart Crane actually contains the words: I took the portage climb, then chose A further valley-shed; I could not stop. Feet nozzled wat’ry webs of upper flows; One white veil gusted from the very top. O Appalachian Spring!… The reference is actually to a spring of water on a trail through the Appalachian Mountains. Appalachian Spring is one of those works which defines the American spirit in music. Graham’s original scenario included Bible quotations, a central character who resembled Pocahontas, and several references to the Civil War. Eventually the story revolved around a pioneer farmhouse in the Pennsylvania hill country in the early 1800s – a stark symbol of American values. Graham’s unique choreographic style was spare and restrained. The values of simplicity and directness led to the use of the Shaker hymn The Gift to be Simple, a song ‘previously… unknown to the general public,’ recalled Copland. With the benefit of hindsight, we can tell that much of Graham’s aesthetic was in accord with Copland’s own compositional inclinations. ‘Plain, plain, plain!…,’ said Leonard Bernstein in admiration, ‘one of those Puritan values like being fair – you’re thrifty.’ In the spring of 1945, Copland arranged the ballet as an orchestral suite and trimmed 15 minutes of primarily choreographic material. Even in the suite it is possible to discern the broader features of the ballet. Slow music: the characters are introduced one by
BEST OF MSO LIVE ONLINE VOLUME 1 – 8
one. After a fast section introduced by unison strings, the bride and her intended dance to a moderate tempo, a scene of tenderness. Next a folksy feeling – suggestions of square dancers and country fiddlers suggesting the Revivalist and his flock. The music speeds up as the Bride experiences presentiments of motherhood, joy, fear and wonder. A slow transition leads to scenes of activity for the Bride and her farmer-husband, and the appearance of The Gift to be Simple. In a coda the bride takes her place among her neighbours; the couple left ‘quiet and strong in their new house’. ‘Appalachian Spring had a great deal to do with bringing my name before a larger public,’ recalled Copland in later years, and Copland’s orchestration of Simple Gifts has become a secondary American anthem. The storyline of the original ballet implies good Yankee values – sobriety, industriousness, community spirit – but even in the suite Copland’s wide-open folksy breeziness, stoically heroic melodies and simple colours have come to represent these qualities. Gordon Kalton Williams Symphony Australia ©2006
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RYMAN PIONEERS A new way of living
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Melbourne Symphony Orchestra Xian Zhang
Principal Guest Conductor
Benjamin Northey Nicholas Bochner Sir Andrew Davis Hiroyuki Iwaki
Conductor Laureate (1974–2006)
Dale Barltrop
Concertmaster
Sophie Rowell Concertmaster The Ullmer Family Foundation#
Kirsty Bremner Sarah Curro Peter Fellin Deborah Goodall Lorraine Hook Anne-Marie Johnson Barbara Bell in memory of Elsa Bell#
Kirstin Kenny Eleanor Mancini Mark Mogilevski Michelle Ruffolo Kathryn Taylor
Robert Macindoe
Rachael Tobin
Monica Curro
Nicholas Bochner
Mary Allison Isin Cakmakcioglu Tiffany Cheng Freya Franzen
FIRST VIOLINS
Assistant Principal
David Berlin
Assistant Principal Danny Gorog and Lindy Susskind#
Conductor Laureate
Peter Edwards
Matthew Tomkins
Associate Principal
Cybec Assistant Conductor
Assistant Concertmaster
CELLOS
Principal The Gross Foundation#
Principal Conductor in Residence
Tair Khisambeev
SECOND VIOLINS
Danny Gorog and Lindy Susskind#
Cong Gu Andrew Hall Isy Wasserman Philippa West Patrick Wong Roger Young VIOLAS Christopher Moore Principal Di Jameson#
Christopher Cartlidge Associate Principal
Lauren Brigden Katharine Brockman Anthony Chataway
Dr Elizabeth E Lewis AM#
Gabrielle Halloran Trevor Jones Anne Neil#
Fiona Sargeant Cindy Watkin
Principal MS Newman Family# Associate Principal Assistant Principal Anonymous#
Miranda Brockman
Geelong Friends of the MSO#
Rohan de Korte
Andrew Dudgeon#
Sarah Morse Angela Sargeant Michelle Wood DOUBLE BASSES Damien Eckersley Benjamin Hanlon Frank Mercurio and Di Jameson#
Suzanne Lee Stephen Newton Sophie Galaise and Clarence Fraser#
FLUTES Prudence Davis Principal Anonymous#
Wendy Clarke
Associate Principal
Sarah Beggs
Sophia Yong-Tang#
PICCOLO Andrew Macleod
Principal John McKay and Lois McKay#
Learn more about our musicians on the MSO website. BEST OF MSO LIVE ONLINE VOLUME 1 – 11
OBOES
HORNS
GUEST MUSICIANS
Jeffrey Crellin
Nicolas Fleury
Trombone Kieran Conrau*
Principal
Thomas Hutchinson Associate Principal
Ann Blackburn
The Rosemary Norman Foundation#
COR ANGLAIS Michael Pisani
Principal Beth Senn#
Principal Margaret Jackson AC#
Saul Lewis
Principal Third The Hon Michael Watt QC and Cecilie Hall#
Abbey Edlin
Percussion Conrad Nilsson
Trinette McClimont Rachel Shaw
Keyboard Louisa Breen
TRUMPETS
David Thomas
Owen Morris
Philip Arkinstall
Associate Principal
Craig Hill BASS CLARINET Jon Craven Principal
Principal
Shane Hooton
Associate Principal Glenn Sedgwick and Dr Anita Willaton#
William Evans Rosie Turner
John and Diana Frew#
BASSOONS
TROMBONES
Jack Schiller
Richard Shirley Mike Szabo
Principal
Elise Millman
Associate Principal
Natasha Thomas
Principal Bass Trombone
TUBA
Dr Martin Tymms and Patricia Nilsson#
Timothy Buzbee
CONTRABASSOON
TIMPANI**
Brock Imison
Principal
Tuba Nelson Woods
Nereda Hanlon and Michael Hanlon AM#
CLARINETS Principal
Bass Trombone Elijah Cornish
Principal
PERCUSSION John Arcaro Robert Cossom
Drs Rhyll Wade and Clem Gruen#
HARP Yinuo Mu Principal
# Position supported by ** Timpani Chair position supported by Lady Potter AC CMRI * Appears courtesy of Orchestra Victoria
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MSO Staff EXECUTIVE Sophie Galaise Managing Director Judith Clark Executive Assistant to the Managing Director Guy Ross Chief Operating Officer ARTISTIC Matthew Hoy Interim Head of Artistic Planning Katharine BartholomeuszPlows Senior Manager, Artistic Planning Michael Williamson Artistic Administrator Bridget Davies Artistic Planning Coordinator Stephen McAllan Artist Liaison Mathilde Serraille Orchestra Librarian Luke Speedy-Hutton Assistant Orchestra Librarian Andrew Pogson Senior Manager, Special Projects Karl Knapp Special Projects Coordinator
LEARNING, ENGAGEMENT & INNOVATION John Nolan Director of Learning, Engagement & Innovation Jennifer Lang Senior Manager, Learning, Engagement & Innovation Helen Withycombe Acting Senior Manager, Learning, Enagagement & Innovation Sylvia Hosking Schools Program Manager Stephen Gould Learning, Engagement and Innovation Coordinator OPERATIONS Gabrielle Waters Director of Operations James Foster Senior Manager, Operations Helen Godfrey Orchestra Manager Nina Dubecki Assistant Orchestra Manager Steele Foster Production Manager Geetanjali Mishra Production Coordinator Matthew Castle Chorus Coordinator
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PHILANTHROPY & EXTERNAL AFFAIRS Suzanne Dembo Director of Philanthropy & External Affairs Rosemary Kellam Trusts and Foundations Manager Nickie Warton Philanthropy Coordinator Keith Clancy Donor Liaison Caroline Buckley Senior Manager, Philanthropy & External Relations
PARTNERSHIPS & EVENTS
CORPORATE SERVICES
Jayde Walker Head of Partnerships Christopher Cassidy Senior Manager, Corporate Partnerships Olivia Ouyang Corporate Partnerships Coordinator Brent Pitman Events Manager
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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 Young Composer in Residence Jordan Moore The Cybec Foundation
PROGRAM BENEFACTORS COVID-19 Capacity Building The Alison Puzey Foundation as part of Equity Trustees Sector Capacity Building Fund supporting Musicians’ iPADs Cybec 21st Century Australian Composers Program The Cybec Foundation Digital Transformation Perpetual Foundation – Alan (AGL) Shaw Endowment East meets West The Li Family Trust Meet the Orchestra The Ullmer Family Foundation MSO School Season, Ignite, MSO Live Online 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 The Ullmer Family Foundation Anonymous (1)
Supporters – 15
VIRTUOSO PATRONS $50,000+ Annette Maluish Harold Mitchell AC Elizabeth Proust AO and Brian Lawrence
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MAESTRO PATRONS $10,000+ Margaret Billson and the late Ted Billson Krystyna Campbell-Pretty AM Ann Darby, in memory of Leslie J. Darby Danny Gorog and Lindy Susskind Robert and Jan Green Nereda Hanlon and Michael Hanlon AM The Hogan Family Foundation Peter Hunt AM and Tania de Jong AM Paul Noonan Opalgate Foundation Ian and Jeannie Paterson Dr Trong Pham and Graeme Campbell Xijian Ren and Qian Li Glenn Sedgwick and Dr Anita Willaton Beth Senn Gai and David Taylor Harry and Michelle Wong Anonymous (3)
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ASSOCIATE PATRONS $2,500+ Marlyn Bancroft and Peter Bancroft OAM Dandolo Partners Will and Dorothy Bailey Bequest Anne Bowden Bill Bowness AO Julia and Jim Breen Patricia Brockman Dr John Brookes Roger and Coll Buckle Jill and Christopher Buckley Oliver Carton Richard and Janet Chauvel David Chu Natasha Davies, for the Trikojus Education Fund Merrowyn Deacon Sandra Dent Peter and Leila Doyle Lisa Dwyer and Dr Ian Dickson AM Dr Helen M Ferguson Elizabeth Foster Barry Fradkin OAM and Dr Pam Fradkin Alex and Liz Furman Dina and Ron Goldschlager Louise Gourlay OAM Susan and Gary Hearst Jenny and Peter Hordern Jenkins Family Foundation John Jones Andrew Johnston Irene Kearsey and Michael Ridley Merv Keehn and Sue Harlow The Ilma Kelson Music Foundation Bryan Lawrence John and Margaret Mason H E McKenzie Allan and Evelyn McLaren Patricia Nilsson
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Supporters – 17
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CONDUCTOR’S CIRCLE Jenny Anderson David Angelovich G C Bawden and L de Kievit Lesley Bawden Joyce Bown Jenny Brukner and the late Mr John Brukner Ken Bullen Peter A Caldwell Luci and Ron Chambers Beryl Dean Sandra Dent Alan Egan JP Gunta Eglite Mr Derek Grantham Marguerite Garnon-Williams Dr Clem Gruen and Dr 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 Bruce and Natalie Kellett Sylvia Lavelle Pauline and David Lawton Cameron Mowat David Orr Matthew O’Sullivan Rosia Pasteur Penny Rawlins Joan P Robinson Neil Roussac and Anne Roussac-Hoyne Suzette Sherazee Michael Ryan and Wendy Mead Anne Kieni-Serpell and Andrew Serpell
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EAST MEETS WEST PROGRAM PARTNERS
Jennifer Shepherd Prof Gabriela Stephenson and Prof George Stephenson Pamela Swansson Lillian Tarry Tam Vu and Dr Cherilyn Tillman Mr and Mrs R P Trebilcock Michael Ullmer AO The Hon Rosemary Varty Marian Wills Cooke and Terry Wills Cooke OAM Mark Young Anonymous (29) The MSO gratefully acknowledges the support of the following Estates: Norma Ruth Atwell Angela Beagley The Cuming Bequest Margaret Davies Neilma Gantner The Hon Dr Alan Goldberg AO QC Enid Florence Hookey Gwen Hunt Audrey Jenkins Joan Jones Pauline Marie Johnston C P Kemp Peter Forbes MacLaren Joan Winsome Maslen Lorraine Maxine Meldrum Prof Andrew McCredie Jean Moore Miss Sheila Scotter AM MBE Marion A I H M Spence Molly Stephens Halinka Tarczynska-Fiddian Jennifer May Teague Albert Henry Ullin Jean Tweedie Herta and Fred B Vogel Dorothy Wood
Consulate General of the People’s Republic of China Li Family Trust Noah Holdings Australia Post Hengyi Asian Executive Fitzroys Laurel International Future Kids Executive Wealth Circle Chin Communications LRR Family Trust Wanghua Chu and Dr Shirley Chu David and Dominique Yu Lake Cooper Estate
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HONORARY APPOINTMENTS
MSO BOARD
Life Members Marc Besen AC and Eva Besen AO John Gandel AC and Pauline Gandel AC Sir Elton John CBE Harold Mitchell AC Lady Potter AC CMRI Jeanne Pratt AC Artistic Ambassadors Tan Dun Lu Siqing MSO Ambassador Geoffrey Rush AC The MSO honours the memory of Life Members John Brockman OAM The Honourable Alan Goldberg AO QC Roger Riordan AM Ila Vanrenen
Chairman Michael Ullmer AO Deputy Chairman David Li AM Managing Director Sophie Galaise Board Directors Andrew Dudgeon AM Danny Gorog Lorraine Hook Margaret Jackson AC Di Jameson David Krasnostein AM Hyon-Ju Newman Glenn Sedgwick Helen Silver AO Company Secretary Oliver Carton
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)
$20,000+ (Impresario)
$2,500+ (Associate)
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$10,000+ (Maestro) The MSO Conductor’s Circle is our bequest program for members who have notified of a planned gift in their Will. Enquiries P (03) 8646 1551 | E philanthropy@mso.com.au
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Thank you to our Partners Principal Partner
Government Partners
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Sir Andrew and Lady Fairley Foundation, Gall Family Foundation, The Archie & Hilda Graham Foundation, Ern Hartley Foundation, Gwen & Edna Jones Foundation, The A.L. Lane Foundation, Scobie & Claire MacKinnon Trust, Sidney Myer MSO Trust Fund, MS Newman Family Foundation, The Alison Puzey Foundation part of Equity Trustees Sector Capacity Building Fund, Perpetual Foundation – Alan (AGL) Shaw Endowment, The Thomas O’Toole Foundation, The Ray & Joyce Uebergang Foundation, The Ullmer Family Foundation
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BEST SEAT in the house
As Principal Partner of the Melbourne Symphony Orchestra, we know the importance of delighting an audience. That’s why when you’re in Emirates First, you’ll enjoy the ultimate flying experience with fine dining at any time in your own private suite.
*Emirates First Class Private Suite pictured. For more information visit emirates.com/au, call 1300 303 777, or contact your local travel agent.