PROGRAM
Mazzoli, Dvořák & Sibelius Mazzoli, Dvořák
& Sibelius 4–5 MARCH
Melbourne Town Hall and Geelong Arts Centre
Artists Melbourne Symphony Orchestra Benjamin Northey conductor Grace Clifford violin
Program MISSY MAZZOLI These Worlds in Us DVOŘÁK Violin Concerto SIBELIUS Symphony No.7
A musical Acknowledgement of Country, Long Time Living Here by Deborah Cheetham AO, will be performed before the start of this concert. Running time: Approximately 1 hour, no interval. In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your phone. Please note, this concert will be recorded for future broadcast.
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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Benjamin Northey
Grace Clifford
Since returning to Australia from Europe, Benjamin Northey has rapidly emerged as one of the nation’s leading musical figures. He is currently the Principal Resident Conductor of the Melbourne Symphony Orchestra and was appointed Chief Conductor of the Christchurch Symphony Orchestra in 2015.
Grace Clifford is widely recognised as one of Australia’s finest young violinists. Grace was appointed as the Adelaide Symphony Orchestra’s first ever Emerging Artist in Association from 2018–2020. She has enjoyed performing concertos with Australia’s leading orchestras and recently made her debut with the Malaysian Philharmonic.
conductor
violin
His international appearances include concerts with the London Philharmonic Orchestra, the Tokyo Philharmonic Orchestra, the Mozarteum Orchestra Salzburg, the Hong Kong Philharmonic, the National Symphony Orchestra of Colombia, the Malaysian Philharmonic and the New Zealand Symphony and Auckland Philharmonia. He has conducted L’elisir d’amore, The Tales of Hoffmann and La sonnambula for SOSA and Turandot, Don Giovanni, Carmen and Cosi fan tutte for Opera Australia. Limelight Magazine named him Australian Artist of the Year in 2018. In 2021, he conducts the Hong Kong Philharmonic, the Christchurch Symphony and all six Australian state symphony orchestras.
Grace tours yearly in Australia as a guest with Selby and Friends with other highlights including a recent debut with Recitals Australia and this season returns to the Australian Festival of Chamber Music. Grace will make her debut with Musica Viva this season. Grace has also toured with Musicians from Ravinia’s Steans Music Institute performing in Boston, Chicago and New York. Last season Grace gave a recital with pianist Joseph Liccardo for the Union College Concert Series in Schenectady NY. Grace is currently a graduate student at the New England Conservatory of Music in Boston on a Presidential Scholarship. Grace holds a Bachelor of Music degree from the Curtis Institute of Music. She graduated with the Joan Hutton Landis Award for Academic Excellence.
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Acknowledging Country In the first project of its kind in Australia, the MSO has developed a musical Acknowledgment of Country with music composed by Yorta Yorta composer Deborah Cheetham 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.
Australian National Commission for UNESCO United Nations Educational, Scientific and Cultural Organization
About Long Time Living Here In all the world, only Australia can lay claim to the longest continuing cultures and we celebrate this more today than in any other time since our shared history began. We live each day drawing energy 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 AO
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About the Music MISSY MAZZOLI
(born 1980)
These Worlds in Us The composer writes: The title These Worlds In Us comes from James Tate’s poem The Lost Pilot, a meditation on his father’s death in World War II: (excerpt) My head cocked towards the sky, I cannot get off the ground, and you, passing over again, fast, perfect and unwilling to tell me that you are doing well, or that it was a mistake that placed you in that world, and me in this; or that misfortune placed these worlds in us. This piece is dedicated to my father, who was a soldier during the Vietnam War. In talking to him it occurred to me that, as we grow older, we accumulate worlds of intense memory within us, and that grief is often not far from joy. I like the idea that music can reflect painful and blissful sentiments in a single note or gesture, and sought to create a sound palette that I hope is at once completely new and strangely familiar to the listener. The theme of this work, a mournful line first played by the violins, collapses into glissandos almost immediately after it appears, giving the impression that the piece has been submerged under water or played on a turntable that is grinding to a halt. The melodicas (mouth organs) played by the percussionists in the opening and final gestures mimic the
wheeze of a broken accordion, lending a particular vulnerability to the bookends of the work. The rhythmic structures and cyclical nature of the piece are inspired by the unique tension and logic of Balinese music, and the march-like figures in the percussion bring to mind the militaristic inspiration for the work as well as the relentless energy of electronica drum beats. This is the MSO’s first performance of this work.
ANTONÍN DVOŘÁK
(1841–1904)
Violin Concerto in A minor, Op.53 Allegro ma non troppo – Adagio ma non troppo Allegro giocoso, ma non troppo Grace Clifford violin It was probably on the recommendation of Brahms that the great Joseph Joachim became dedicatee of Dvořák’s only violin concerto. Dvořák visited Joachim in Berlin in July 1879 to discuss the idea of a concerto. He sent him a completed draft in November, followed by a full revision, incorporating Joachim’s suggestions, in May 1880. In its new version, he believed, ‘the whole concerto has been transformed.’ Even so, it was not altogether to the virtuoso’s liking. After a further two years, Joachim revised the solo part and suggested that Dvořák lighten the orchestration. Although the composer would agree to only minor changes, Joachim committed himself to launching the work in London in 1884. But Dvořák found he was not free; Joachim
MAZZOLI, DVOŘÁK & SIBELIUS – 6
lost interest; and František Ondříček became soloist in the first performance in Prague on 14 October 1883. Joachim’s reservations about the concerto doubtless reflect his traditionalist view of Classical structure and balance in music. He possibly disliked the improvisatory nature of the concerto, finding Dvořák’s artistic integrity compromised by failure to carry through a ‘proper’ sonata structure in the opening movement. Likewise, he doubtless agreed with the publisher Simrock that the opening movements should be separated; and as the outstanding virtuoso violinist of the day must have wondered at the lack of opportunity for a cadenza. The concerto nevertheless embodies much of Joachim, particularly in the style of solo writing, and Dvořák never withdrew the dedication. Eschewing a conventional tutti opening Dvořák launches immediately into his two-part main theme – the first part boldly rhythmic with full orchestra, and the second a passionate answering phrase from the solo violin. This theme, in one or other of its parts, forms the essence of the entire movement. Dvořák introduces subsidiary themes. However, they serve mainly as brief moments of repose while the composer gathers his forces for the main business of developing the opening subject. The development completed, Dvořák wastes no time on a conventional recapitulation: he merely transforms the soloist’s ‘passionate answering phrase’ into a serenely reflective bridge which leads without break into the slow movement. Gervase Hughes finds in the Adagio’s sweet lyricism the composer’s ‘first successful attempt to prove himself a truly individual romanticist by international rather than local standards’. A slight increase in tempo briefly brings
a sense of agitation, but the clouds lift on a sunny melody with which the trilling violin soars, as Otakar Šourek puts it, ‘like a lark above the flowery fragrance of Bohemian meadows’. The agitated motif again tries to make its presence felt. But the movement ends with the main theme, in tranquillity. If the thematic material of the slow movement, as Šourek suggests, is deeply rooted in the soil of Czech folk music, then the finale is even more nationalistic. This is a spirited homage to Czech national dance, fundamentally a vigorous, syncopated furiant interspersed with a cheerful oboe motif taken up by the flute; a swelling dolce theme on solo violin; and last a highly bucolic, faintly melancholy section in characteristic dumka rhythm. Abridged from Anthony Cane © 1999
JEAN SIBELIUS
(1865–1957)
Symphony No.7 in C, Op.105 With his Seventh Symphony (1924), Sibelius made his last statement in the form. Rumours of an Eighth persisted until his death, but whatever existed of it – and evidence suggests that he may have completed at least the first movement – was destroyed, probably in the 1940s. In any case the Seventh is so grand a culmination of his symphonic achievements that it is hard to imagine how he might have followed it. Perhaps Sibelius came to feel this also. Detailed analyses of Sibelius’ later music are always difficult because of the subtlety with which the composer lays his plans, but in the case of the Seventh Symphony the task is almost impossible. In this work descriptions of the natural world have been dissolved into a symphony that is
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itself elemental, and so is as magnificent and perplexing as a great work of nature, or perhaps as nature itself. Composer and critic Robert Simpson has described it as being ‘like a great planet in orbit’, while the writer Bayan Northcott calls it ‘a single, gigantic wave’. Throughout its one-movement span, themes float into view and then dissolve almost imperceptibly into others, while changes of tempo are so closely intertwined with the pattern of Sibelius’ harmonic and instrumental ideas that they cannot be isolated in words on a page, and convey a fraction of the experience of listening to the work in performance. The Seventh is the most concentrated of Sibelius’ symphonies and the one that best illustrates his individual understanding of the relationship between mass and time. In his analysis of it, Sir Donald Tovey wrote that, most successfully of all post-Wagnerian symphonies, it reconciles the heroism of Wagner’s time-scale with the need for cogent symphonic movement. Certainly the piece speaks of epic notions, but there is nothing sprawling about it, and its ideas are shaped with high regard for their context. It is not at all a work written in sections. Unlike Schumann’s Fourth, for example, Sibelius’ Seventh is not four movements segued into one. It is more like a great woven fabric on which incidental details serve as component parts of the whole. It could be argued that there are elements of adagio and scherzo contained within its span, and there are indeed moments of rhythmic lightness and of grave portentousness, but these are not so isolated from the general flow of ideas that they might be identified as discrete
movements of the work. It could be called a genuine stream-of-consciousness symphony were it not so tightly organised… The work is anchored in the tonality of C, and after an introduction that moves from simplicity to dark splendour the main theme is announced by the first trombone. This burnished statement is the pivot around which the symphony revolves. As conductor Osmo Vänskä has said of this theme: ‘Like Sarastro in The Magic Flute, it is always the same.’ It is heard again in the centre of the work and yet again at its conclusion. As its first announcement ends, the rising scale that opened the work is heard again, and we seem at this point to have passed the threshold that takes us resolutely into the world of this symphony. The Lisztian objective of a convincing musical structure based on the method of ‘transformation of themes’ is here realised, with each theme anticipating and recalling another, but occupying its own emotional sphere. At one moment the spirit of the dance is summoned; at the next, the atmosphere is more troubled and dissonant, before Sibelius weaves these and other ideas in and around the final sublime tolling of the trombones. The symphony’s concentration of expression had a profound impact on composers in the United States particularly, and two important American symphonies, the First of Samuel Barber and the Third of Roy Harris, are clearly influenced by its combination of power and compression. It remains one of the greatest achievements in the history of symphonic music. Abridged from Phillip Sametz © 2004
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Your MSO Xian Zhang
Principal Guest Conductor
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Mike and Nina Dow
Amanda Watson
Lisa Dwyer and Dr Ian Dickson
Angela Westacott
Jane Edmanson OAM
The Rev Noel Whale
Mary Gaidzkar
Prof Barbara Workman
Prue Gill
Lorna Wyatt
* The MSO has introduced a new tier to its annual Patron Program in recognition of the donors who supported the Orchestra during 2020, many for the first time. Moving forward, donors who make an annual gift of $500–$999 to the MSO will now be publicly recognised as an Overture Patron. For more information, please contact Donor Liaison, Keith Clancy on (03) 8646 1109 or clancyk@mso.com.au
Supporters – 19
Harold Zwier
Jennifer Shepherd
Anonymous (16)
Prof Gabriela Stephenson and Prof George Stephenson
CONDUCTOR’S CIRCLE
Pamela Swansson
Jenny Anderson
Lillian Tarry Tam Vu and Dr Cherilyn Tillman
David Angelovich
Mr and Mrs R P Trebilcock
G C Bawden and L de Kievit
Michael Ullmer AO
Lesley Bawden
The Hon Rosemary Varty
Joyce Bown Jenny Brukner and the late Mr John Brukner Ken Bullen
Marian Wills Cooke and Terry Wills Cooke OAM Mark Young
Peter A Caldwell
Anonymous (29)
Luci and Ron Chambers
The MSO gratefully acknowledges the support of the following Estates:
Beryl Dean Sandra Dent
Norma Ruth Atwell
Alan Egan JP
Angela Beagley
Gunta Eglite
Christine Mary Bridgart
Mr Derek Grantham
The Cuming Bequest
Marguerite Garnon-Williams
Margaret Davies
Dr Rhyl Wade and Dr Clem Gruen
Neilma Gantner
Louis Hamon OAM
The Hon Dr Alan Goldberg AO QC
Carol Hay
Enid Florence Hookey
Graham Hogarth
Gwen Hunt
Rod Home
Audrey Jenkins
Tony Howe Laurence O’Keefe and Christopher James Audrey M Jenkins
Joan Jones Pauline Marie Johnston C P Kemp
John Jones
Peter Forbes MacLaren
George and Grace Kass
Joan Winsome Maslen
Bruce and Natalie Kellett
Lorraine Maxine Meldrum
Sylvia Lavelle
Prof Andrew McCredie
Pauline and David Lawton
Jean Moore
Cameron Mowat
Miss Sheila Scotter AM MBE
David Orr
Marion A I H M Spence
Matthew O’Sullivan
Molly Stephens
Rosia Pasteur
Halinka Tarczynska-Fiddian
Penny Rawlins
Jennifer May Teague
Joan P Robinson Neil Roussac and Anne Roussac-Hoyne Suzette Sherazee
Albert Henry Ullin Jean Tweedie Herta and Fred B Vogel
Michael Ryan and Wendy Mead Anne Kieni-Serpell and Andrew Serpell
Dorothy Wood
Supporters – 20
CHINESE NEW YEAR SUPPORTERS
MSO BOARD
Consulate General of the People’s Republic of China
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 Ministry of Culture and Tourism, China Li Family Trust Austin Land Seven Network Biostime Swisse Hengyi Asia Society Australia TarraWarra Estate Executive Wealth Circle David’s Hot Pot Chin Communications Xiaojian Ren & Qian Li
HONORARY APPOINTMENTS 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
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.
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
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)
Supporters – 21
RYMAN PIONEERS A new way of living
Ryman is pioneering retirement living for one simple reason to better serve a generation of Australians. And right now, it’s more important than ever, because there’s a new generation that are not retiring from life, they’re looking for a new way to live. Pioneering is part of who we are. That’s why each Ryman village is named after an Australian trailblazer. Nellie Melba, Weary Dunlop - they lived with passion and purpose, they pushed further, they went beyond the ordinary. That’s exactly what we strive to do, every day, at Ryman. To pioneer a new way of living, for a new retirement generation. rymanhealthcare.com.au
Thank you to our Partners Principal Partner
Premier Partners
Major Partners
Government Partners
Education Partners
Premier Production Partner
Venue Partner
Supporting Partners
Quest Southbank
The CEO Institute
Ernst & Young
Bows for Strings
Trusts and Foundations
Sir Andrew and Lady Fairley Foundation, Erica Foundation Pty Ltd, Flora & Frank Leith Trust, Scobie & Claire MacKinnon Trust, Sidney Myer MSO Trust Fund, The Alison Puzey Foundation part of Equity Trustees Sector Capacity Building Fund, Perpetual Foundation – Alan (AGL) Shaw Endowment, The Ray & Joyce Uebergang Foundation, The Ullmer Family Foundation
Media and Broadcast Partners
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.