Brahms' Violin Concerto and more

Artists

Melbourne Symphony Orchestra

Elena Schwarz conductor

Clara-Jumi Kang violin

Program

NATALIE WILLIAMS Fourth Alarm

MARTINŮ Symphony No.1*

BRAHMS Violin Concerto

* This piece will be performed on 11 March only.

Running time: 10 March approximately 1 hour no interval 11 March approximately 2 hours including interval.

Our musical Acknowledgment of Country, Long Time Living Here by Deborah Cheetham Fraillon AO, will be performed at this concert.

Pre-concert events

Pre-concert talk: 10 March at 10:15am in Stalls Foyer, Level 2 at Hamer Hall.

Pre-concert talk: 11 March at 6:45pm in Stalls Foyer, Level 2 at Hamer Hall.

Learn more about these performances at a pre-concert presentation with Stéphanie Kabanyana Kanyandekwe in conversation with composer Natalie Williams.

Please note audience members are strongly recommended to wear face masks where 1.5m distancing is not possible. In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your phone.

Acknowledging Country

Australia, the MSO has developed a musical Acknowledgment of Country with music composed by Yorta Yorta composer Deborah Cheetham Fraillon AO, featuring Indigenous languages from across Victoria. Generously supported by Helen Macpherson Smith Trust and the Commonwealth Government through the Australian National Commission for UNESCO, the MSO is working in partnership with Short Black Opera and Indigenous language custodians who are generously sharing their cultural knowledge.

The Acknowledgement of Country allows us to pay our respects to the traditional owners of the land on which we perform in the language of that country and in the orchestral language of music.

from a land which has been nurtured by the traditional owners for more than 2000 generations. When we acknowledge country we pay respect to the land and to the people in equal measure.

As a composer I have specialised in coupling the beauty and diversity of our Indigenous languages with the power and intensity of classical music. In order to compose the music for this Acknowledgement of Country Project I have had the great privilege of working with no fewer than eleven ancient languages from the state of Victoria, including the language of my late Grandmother, Yorta Yorta woman Frances McGee. I pay my deepest respects to the elders and ancestors who are represented in these songs of acknowledgement and to the language custodians who have shared their knowledge and expertise in providing each text.

I am so proud of the MSO for initiating this landmark project and grateful that they afforded me the opportunity to make this contribution to the ongoing quest of understanding our belonging in this land.

— Deborah Cheetham Fraillon AO

Melbourne Symphony Orchestra

Established in 1906, the Melbourne Symphony Orchestra is Australia’s pre-eminent orchestra and a cornerstone of Victoria’s rich, cultural heritage.

Each year, the MSO engages with more than 5 million people, presenting in excess of 180 public events across live performances, TV, radio and online broadcasts, and via its online concert hall, MSO.LIVE, with audiences in 56 countries.

With a reputation for excellence, versatility and innovation, the MSO works with culturally diverse and First Nations leaders to build community and deliver music to people across Melbourne, the state of Victoria and around the world.

In 2023, the MSO’s Chief Conductor, Jaime Martín continues an exciting new phase in the Orchestra’s history. Maestro Martín joins an Artistic Family that includes Principal Guest Conductor Xian Zhang, Principal Conductor in Residence, Benjamin Northey, Conductor Laureate, Sir Andrew Davis CBE, Cybec Assistant Conductor Fellow, Carlo Antonioli, MSO Chorus Director, Warren Trevelyan-Jones, Soloist in Residence, Siobhan Stagg, Composer in Residence, Mary Finsterer, Ensemble in Residence, Gondwana Voices, Cybec Young Composer in Residence, Melissa Douglas and Young Artist in Association, Christian Li.

The Melbourne Symphony Orchestra respectfully acknowledges the people of the Eastern Kulin Nations, on whose un-ceded lands we honour the continuation of the oldest music practice in the world.

Musicians Performing in this Concert

FIRST VIOLINS

Tair Khisambeev

Assistant Concertmaster

Di Jameson and Frank Mercurio#

Peter Edwards

Assistant Principal

Kirsty Bremner

Amanda Chen*

Peter Fellin

Deborah Goodall

Lorraine Hook

Anne-Marie Johnson

Eleanor Mancini

Mark Mogilevski

SECOND VIOLINS

Matthew Tomkins Principal

The Gross Foundation#

Robert Macindoe

Associate Principal

Mary Allison

Isin Cakmakcioglu

Clare Carrick*

Jacqueline Edwards*

Freya Franzen

Cong Gu

Newton Family in memory of Rae Rothfield#

Andrew Hall

Isy Wasserman

Patrick Wong

Hyon Ju Newman#

VIOLAS

Lauren Brigden

Katharine Brockman

Lucy Carrigy-Ryan*

Anthony Chataway

Dr Elizabeth E Lewis AM#

William Clark*

Karen Columbine*

Gabrielle Halloran

Fiona Sargeant

Heidi von Bernewitz*

CELLOS

David Berlin Principal

Rachael Tobin

Associate Principal

Elina Faskhi

Assistant Principal

Jonathan Chim*

Rohan de Korte

Andrew Dudgeon AM#

Sarah Morse

Rebecca Proietto*

Angela Sargeant

DOUBLE BASSES

Axel Ruge*

Acting Principal

Luca Arcaro*

Caitlin Bass*

Rohan Dasika

Benjamin Hanlon

Frank Mercurio and Di Jameson#

Stephen Newton

Sophie Galaise and Clarence Fraser#

Emma Sullivan*

FLUTES

Prudence Davis Principal

Anonymous#

Wendy Clarke

Associate Principal

Sarah Beggs

PICCOLO

Andrew Macleod Principal

Correct as of 2 March

Learn more about our musicians on the MSO website

OBOES

Johannes Grosso* Acting Principal

Ann Blackburn

The Rosemary Norman Foundation#

COR ANGLAIS

Rachel Curkpatrick

Guest Principal

CLARINETS

David Thomas Principal

Oliver Crofts^

BASS CLARINET

Jonathan Craven Principal

BASSOONS

Elise Millman

Associate Principal

Natasha Thomas

Dr Martin Tymms and Patricia Nilsson#

CONTRABASSOON

Brock Imison Principal

HORNS

Nicolas Fleury Principal

Margaret Jackson AC#

Andrew Young*

Acting Associate Principal

Saul Lewis

Principal Third

The late Hon Michael Watt KC and Cecilie Hall#

Abbey Edlin

Nereda Hanlon and Michael Hanlon AM#

TRUMPETS

Shane Hooton

Associate Principal

Glenn Sedgwick#

William Evans

Rosie Turner

John and Diana Frew#

TROMBONE

Richard Shirley

BASS TROMBONE

Mike Szabo Principal

TUBA

Timothy Buzbee Principal

TIMPANI

Antoine Siguré* Acting Principal

PERCUSSION

John Arcaro

Tim and Lyn Edward#

Robert Allan*

Robert Cossom

Drs Rhyl Wade and Clem Gruen#

Greg Sully*

HARP

Yinuo Mu Principal

KEYBOARD

Louisa Breen*

My first experience with the MSO was when I was very young....We were taken to a school concert, in the Melbourne Town Hall, conducted by Sir Bernard Heinze.… and I can honestly say that the MSO has never been out of my life since.”

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Elena Schwarz conductor

Elena Schwarz is rapidly gaining a reputation for her musical vision, versatility and insightful interpretations and is regularly re-invited to conduct orchestras such as the WDR Sinfonieorchester, BBC Philharmonic, Royal Liverpool Philharmonic, National Symphony Orchestra of Ireland, South Netherlands Philharmonic, West Australia Symphony and Tasmanian Symphony Orchestras.

Her guest conducting engagements have also included the Deutsches SymphonieOrchester Berlin, Helsinki Philharmonic, Los Angeles Philharmonic, Norwegian Radio and the Lucerne Symphony Orchestra whilst highlights this season include her conducting debuts with the Philharmonia Orchestra, City of Birmingham Symphony, Bremen Philharmoniker, Melbourne Symphony and the Duisburger Philharmoniker at the Ruhr Triennale. She is widely admired for her advocacy of new music and works regularly with specialist contemporary ensembles such as Ensemble Modern, Ensemble InterContemporain, MusikFabrik and Klangforum Wien.

Elena Schwarz has conducted opera productions at Norwegian Opera, Opéra de Lyon and Festival d’Aix-en-Provence. She returns to Opéra de Lyon in May to conduct a new production of Janacek’s Kat’a Kabanova.

A former Dudamel Fellow, she was also prize-winner at the Princess Astrid (1st Prize) and Jorma Panula Competitions (2nd Prize).

Clara-Jumi Kang violin

Violinist Clara-Jumi Kang is an artist of supreme musicality, impeccable refinement and poise as borne out by the many awards and accolades she has received, since she first burst on the scene as winner of the Indianapolis International Violin Competition in 2010, hot on the heels of her successes at the Seoul Violin Competition (2009) and the Sendai Violin Competition (2010).

She made her concerto debut in Hamburg at the age of five and has since performed with orchestras including the Leipzig Gewandhaus orchester, Rotterdam Philharmonic, Orchestre de la Suisse Romande, Orquesta Sinfónica de RTVE, BBC Philharmonic, Warsaw Philharmonic, and the Belgian National Orchestra with conductors such as Chung, Xavier-Roth, Petrenko, Paavo Järvi, and Yamada.

Recent and current highlights include her debut at the BBC Proms with the BBC National Orchestra of Wales under Ryan Bancroft performing the Mendelssohn Violin Concerto, tours with the Munich Philharmonic and BBC Philharmonic under Myung-whun Chung and Juanjo Mena respectively, and performances with the Royal Stockholm Philharmonic Orchestra, the City of Birmingham Symphony Orchestra, and the Deutschekammer Philharmonie Bremen. In 2023 she will also tour Australasia for performances with the Melbourne Symphony, Auckland Philharmonic and KBS Symphony Orchestra.

Program Notes

NATALIE WILLIAMS (born 1977)

Fourth Alarm

The composer writes: Fourth Alarm is a concert overture for large orchestra. The music in this piece synthesizes two elements; a short military tune and my response and depiction of the musical idea of a Fourth Alarm. Parts of the melodic material in Fourth Alarm were drawn from military music and specifically, from a set of Alarm Signals for trumpet (or bugle) which signal a response to alarm or a call to arms.

From a small source book entitled; Trumpet & Bugle Calls for the Australian Army (1916) by Captain WG Bently ARCM, I took a short six bar Alarm field call for mounted troops & infantry. The same short tune serves also as a fire alarm and a routine call for cavalry. Consisting of a repeated dotted rhythmic figure in major and minor thirds, this motive can be frequently heard in the brass, particularly trumpets, throughout Fourth Alarm. Although most modern emergency services do not utilise this repertoire of alarm signals, I have used the theme as a reference to the origins of the Fourth Alarm as an incident response procedure.

© Natalie Williams 2002

BOHUSLAV MARTINŮ (1890–1959)

Symphony No.1

I. Moderato

II. Allegro

III. Largo

IV. Allegro non troppo

Bohuslav Martinů began his first symphony at age 51, and then wrote about one a year until he completed six. Later-in-life symphonists aren’t unheard of: Johannes Brahms was 43 when he completed his first, after struggling for more than two decades with the imposing genre. Martinů, however, didn’t appear to have any particular interest in writing a symphony until the Second World War, when he was forced to move to the United States and restart his career in a county where he was hardly known. A large commission from the Boston Symphony Orchestra was a good beginning.

Martinů was born in 1890 and grew up in the belltower of a church in Polička, Bohemia. At age 10, he composed his first string quartet, and at 16 he entered the Prague Conservatory, which expelled him for “incorrigible negligence.” He eventually found work as a violinist with the Czech Philharmonic, and fell in love with Paris while on tour there in 1923. He relocated and established himself as a composer within the French musical scene, writing in a distinctive neoclassical style.

After Nazi Germany invaded Czechoslovakia in 1938, Martinů was named a cultural attaché for the government-in-exile, and helped innumerable Czechoslovakian refugees obtain papers to settle in France. His music was banned by the Nazis, and he fled Paris just days before the city was occupied, eventually making his way to New York.

Luckily, Martinů knew Serge Koussevitzky, who was the music director of the Boston Symphony, and a prolific champion of new works. He extended Martinů a commission—it didn’t have to be a symphony, but it was supposed to be dedicated to the memory of Koussevitzky’s late wife, Natalie. Martinů wrote the first movement in Queens, New York, in June 1942; he wrote the middle movements in rural Middlebury, Vermont, in July; and wrote the finale in Lenox, Massachusetts, where he was on the summer faculty of the Berkshire Music Center at Tanglewood. He completed revisions by the Massachusetts seaside. Martinů liked to compose while going for walks, and the story goes that he was arrested on the beach late one night under suspicion of being a German spy. He had to explain to the local police that he was actually a Czech composer with insomnia.

Koussevitzky premiered the Symphony with the BSO on November 12, 1942, at Harvard University, repeated it at Boston’s Symphony Hall the following day, and then at Carnegie Hall in New York soon after. Martinů wrote something of an editorial as his program note, criticizing other composers of the time for “the tendency to mask a lack of real music and to replace it with noise.” He contrasted that with his own work:

As for my symphony, it follows the classical division into four parts—Allegro [sic], Scherzo, Largo, Allegro. In preserving this plan, I have also followed an aesthetic plan which my conviction dictates, and this conviction is that a work of art must not transcend the limits of its possibility in expression… I have tried to find new sound combinations and to elicit from the orchestra a unified sonority in spite of the polyphonic working which the

score contains. It is not the sonority of impressionism, nor is there the search for color, which rather is integral in the writing and the formal structure. The character of the work is calm and lyric.

Listeners might disagree slightly, finding some charming noise in parts of Martinů’s First Symphony. The unique opening connects a series of chords with dense, dissonant crescendos (the nearest point of comparison could be the chaotic orchestral climax in the Beatle’s “A Day in the Life,” 25 years later). The rest of the movement is carried by tuneful, syncopated material that catches in the ear.

The second movement is a real scherzo with a more pastoral trio: neoclassical in form, but jazzy in style.

The somber Largo might be the memorial for Mrs. Koussevitzky, but it might also be a reaction to news of the Lidice massacre, a Nazi atrocity in June 1942 intended to avenge the assassination of Reinhard Heydrich by the Czechoslovakian Resistance.

The Finale is a urgent rondo with hints of Czech folksong. Reviewing the premiere, the usually cranky composer and critic Virgil Thomson declared: “The Martinů Symphony is a beaut. It is wholly lovely and doesn’t sound like anything else.”

Benjamin Pesetsky © 2023

JOHANNES BRAHMS (1833–1897)

Violin Concerto in D, Op.77

I. Allegro non troppo

II. Adagio

III. Allegro giocoso

Clara-Jumi Kang violin

Brahms spent the summers of 1877–9 in the lakeside village of Pörtschach in Carinthia, producing the first of his Op.74 motets, the Ballades and Romances for two voices and piano (Op.75), the Symphony No.2 and the Violin Sonata in G (Op.78) – works which share an atmosphere of pastoral beauty shot through with nostalgia. But as Brahms scholar Karl Geiringer notes, the ‘crowning masterpiece’ of this time is the Violin Concerto.

The Concerto, like the G major Sonata, was composed for the virtuoso Joseph Joachim, whom an ecstatic 15-year old Brahms had heard play the Beethoven concerto. In 1853 their friendship began in earnest, with Joachim writing to Brahms’ parents of how ‘Johannes had stimulated my work as an artist to an extent beyond my hopes…’ Brahms similarly admired Joachim – significantly as a composer rather than performer, saying that ‘there is more in Joachim than in all the other young composers put together.’

While Joachim was intimately involved with the creation of early works of Brahms’ chamber music, it was not until those summers at Pörtschach that Brahms wrote solo music for his friend. Geiringer notes that, in the case of both Concerto and Sonata, Brahms ‘conscientiously asked his friend’s advice on all technical questions – and then hardly ever followed it’. In fact at crucial points Joachim’s advice was invaluable. This consisted mainly of tinkering with certain figurations to make them more

gratifying to play. But Joachim was also a profoundly serious artist – like Brahms – and out of their collaboration came a work in which the element of virtuosity never overshadows the musical argument. Joachim also wrote a cadenza which is still frequently heard today.

The Concerto has some of the expansive dimensions of Brahms’ first Piano Concerto. This is especially true of the spacious first movement which, like that of Beethoven’s Violin Concerto, takes up more than half the work’s playing time, and which begins with a long, symphonic exposition of its main themes. Like its companion Second Symphony, the Concerto is in D, a key which makes use of the violin’s natural resonance; like the Symphony it has something of a visionary Romantic tone. Brahms originally thought to write the piece in four movements, making the central pair a scherzo and contrasting slow movement. But he wrote to Joachim that the ‘middle movements – naturally the best ones – have fallen through. So I have substituted a feeble adagio.’ Feeble is of course hardly the word for this: derived from the falling broken chord with which the violin begins it evolves into one of Brahms’ most soulful but restrained movements. As such it provides a wonderful contrast to the gypsy style finale, with its pyrotechnic solo line and exciting use of displaced accents.

Joachim premiered the piece in Leipzig in 1879, but the response was tepid, and only through Joachim’s persistence did it gain its rightful place in the standard repertoire. Brahms and Joachim fell out over the violinist’s divorce in 1884, the rift lasting until Brahms wrote the Concerto for Violin and Cello in 1887. But that’s another story.

Gordon Kerry © 2006

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Pamela Swansson

Lillian Tarry

Tam Vu and Dr Cherilyn Tillman

Mr and Mrs R P Trebilcock

Peter and Elisabeth Turner

Michael Ulmer AO

The Hon. Rosemary Varty

Terry Wills Cooke OAM and the late Marian Wills Cooke

Mark Young Anonymous (19)

The MSO gratefully acknowledges the support of the following Estates:

Norma Ruth Atwell

Angela Beagley

Christine Mary Bridgart

The Cuming Bequest

Margaret Davies

Neilma Gantner

The Hon Dr Alan Goldberg AO QC

Enid Florence Hookey

Gwen Hunt

Family and Friends of James Jacoby

Audrey Jenkins

Joan Jones

Pauline Marie Johnston

C P Kemp

Peter Forbes MacLaren

Joan Winsome Maslen

Lorraine Maxine Meldrum

Prof Andrew McCredie

Jean Moore

Maxwell Schultz

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

COMMISSIONING CIRCLE

Mary Armour

The late Hon Michael Watt KC and Cecilie Hall

Tim and Lyn Edward

Kim Williams AM

Weis Family

FIRST NATIONS CIRCLE

John and Lorraine Bates

Colin Golvan AM KC and Dr Deborah Golvan

Sascha O. Becker

Maestro Jaime Martín

Elizabeth Proust AO and Brian Lawrence

The Kate and Stephen Shelmerdine Family Foundation

Michael Ullmer AO and Jenny Ullmer

Jason Yeap OAM – Mering Management Corporation

ADOPT A MUSICIAN

Mr Marc Besen AC and the late Mrs Eva Besen AO

Chief Conductor Jaime Martín

Shane Buggle and Rosie Callanan

Roger Young

Andrew Dudgeon AM

Rohan de Korte, Philippa West

Tim and Lyn Edward

John Arcaro

Dr John and Diana Frew

Rosie Turner

Sophie Galaise and Clarence Fraser

Stephen Newton

Geelong Friends of the MSO

Miranda Brockman

The Gross Foundation

Matthew Tomkins

Dr Clem Gruen and Dr Rhyl Wade

Robert Cossom

Danny Gorog and Lindy Susskind

Monica Curro

Cecilie Hall and the late Hon Michael Watt KC

Saul Lewis

Nereda Hanlon and Michael Hanlon AM

Abbey Edlin

Margaret Jackson AC

Nicolas Fleury

Di Jameson and Frank Mercurio

Benjamin Hanlon, Tair Khisambee, Christopher Moore

Dr Elizabeth A Lewis AM

Anthony Chataway

David Li AM and Angela Li

Dale Barltrop

Gary McPherson

Rachel Shaw

Anne Neil

Trevor Jones

Hyon-Ju Newman

Patrick Wong

Newton Family in memory of Rae Rothfield

Cong Gu

The Rosemary Norman Foundation

Ann Blackburn

Andrew and Judy Rogers

Michelle Wood

Glenn Sedgwick

Tiffany Cheng, Shane Hooton

Dr Martin Tymms and Patricia Nilsson

Natasha Thomas

Anonymous

Prudence Davis

HONORARY APPOINTMENTS

Life Members

Mr Marc Besen AC

John Gandel AC and Pauline Gandel AC

Sir Elton John CBE

Harold Mitchell AC

Lady Potter AC CMRI

Jeanne Pratt AC

Michael Ullmer AO and Jenny Ullmer

Anonymous

MSO Ambassador

Geoffrey Rush AC

The MSO honours the memory of Life Members

Mrs Eva Besen AO

John Brockman OAM

The Honourable Alan Goldberg AO QC

Roger Riordan AM

Ila Vanrenen

MSO ARTISTIC FAMILY

Jaime Martín

Chief Conductor

Xian Zhang

Principal Guest Conductor

Benjamin Northey

Principal Conductor in Residence

Carlo Antonioli

Cybec Assistant Conductor Fellow

Sir Andrew Davis

Conductor Laureate

Hiroyuki Iwaki †

Conductor Laureate (1974–2006)

Warren Trevelyan-Jones

MSO Chorus Director

Siobhan Stagg

2023 Soloist in Residence

Gondwana Voices

2023 Ensemble in Residence

Christian Li

Young Artist in Association

Mary Finsterer

2023 Composer in Residence

Melissa Douglas

2023 Cybec Young Composer in Residence

Christopher Moore

Creative Producer, MSO Chamber

Deborah Cheetham Fraillon AO

MSO First Nations Creative Chair

Dr Anita Collins

Creative Chair for Learning and Engagement

Artistic Ambassadors

Tan Dun

Lu Siqing

MSO BOARD

Chairman

David Li AM

Co-Deputy Chairs

Di Jameson

Helen Silver AO

Managing Director

Sophie Galaise

Board Directors

Shane Buggle

Andrew Dudgeon AM

Lorraine Hook

Margaret Jackson AC

David Krasnostein AM

Gary McPherson

Farrel Meltzer

Hyon-Ju Newman

Glenn Sedgwick

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 supporters 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:

$500+ (Overture)

$1,000+ (Player)

$2,500+ (Associate)

$5,000+ (Principal)

$10,000+ (Maestro)

$20,000+ (Impresario)

$50,000+ (Virtuoso)

$100,000+ (Platinum)

Only 1 hour from Melbourne, TarraWarra Estate offers the perfect escape from the city. All our wines are grown and made on our picturesque 400 hectare property, with meticulous care and attention to detail producing exceptional wines.

Our hatted restaurant and underground cellar door combine magnificent food, wine and architecture set amidst the rolling hills of the Yarra Valley. Friendly and professional locals complete the experience.

Restaurant Open Wednesday – Sunday

Cellar Door Open Tuesday – Sunday 11am – 5pm

Principal Partner

Premier Partners

Education Partner

Major Partners

Orchestral Training

Partner

Government Partners

Venue Partner

Supporting Partners

Quest Southbank

Ernst & Young

Bows for Strings

Media and Broadcast Partners

Trusts and Foundations

Freemasons Foundation Victoria

The Sir Andrew and Lady Fairley Foundation, Flora & Frank Leith Trust, Perpetual Foundation – Alan (AGL) Shaw Endowment, Sidney Myer MSO Trust Fund

East meets West Program Supporters

Program Supporters

Consulate General of the People’s Republic of China in Melbourne

Supporting Partners

Ministry of Culture and Tourism China

Consortium Partners

Supporters

Xiaojian Ren & Qian Li Mr Wanghua Chu Dr Shirley Chu