July 2021 | Concert Program

CONCERT PROGRAM

J U LY 2 0 2 1 R AC H M A N I N OV ’ S SY M P H O N Y N O. 2 M A H L E R ’ S F O U R T H SY M P H O N Y

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J O H N A DA M S: H A R M O N I E L E H R E

C O P L A N D A N D DVO Ř Á K

Be Part of Our Story Across the decades, the MSO has been part of thousands of lifelong musical journeys.

Following the challenges of the last year, our return to the stage has imbued our 2021 Season with a heightened sense of emotion, excitement, and significance.

Thank you for sharing it with us tonight.

Your support today is as vital as it ever has been and will ensure we can continue to create musical magic for generations to come.

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CONTENTS

04

THE MELBOURNE SYMPHONY ORCHESTRA Acknowledging Country Your MSO Guest Musicians

10 14 20 24 30

RACHMANINOV’S SYMPHONY NO.2

MAHLER’S FOURTH SYMPHONY

JOHN ADAMS: HARMONIELEHRE

COPLAND AND DVOŘÁK

SUPPORTERS

These concerts may be recorded for future broadcast on MSO.LIVE. Please note, masks must be worn at all times in the Hamer Hall building.

In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your phone.

mso.com.au

(03) 9929 9600

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.

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— Deborah Cheetham AO

Our Artistic Family

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 AnneSophie 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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Your MSO Jaime Martín

Chief Conductor Designate

Xian Zhang

Principal Guest Conductor

Benjamin Northey Principal Conductor in Residence

Nicholas Bochner

Cybec Assistant Conductor

Sir Andrew Davis Conductor Laureate

Hiroyuki Iwaki †

Conductor Laureate (1974–2006)

FIRST VIOLINS Dale Barltrop

Concertmaster David Li AM and Angela Li#

Sophie Rowell

Concertmaster The Ullmer Family Foundation#

Tair Khisambeev

Assistant Concertmaster Di Jameson#

Peter Edwards

Assistant Principal

Kirsty Bremner Sarah Curro Peter Fellin Deborah Goodall Lorraine Hook Anne-Marie Johnson Kirstin Kenny Eleanor Mancini Mark Mogilevski Michelle Ruffolo Kathryn Taylor

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SECOND VIOLINS

CELLOS

Matthew Tomkins

David Berlin

Robert Macindoe

Rachael Tobin

Monica Curro

Nicholas Bochner

Principal The Gross Foundation#

Principal Hyon Ju Newman#

Associate Principal

Associate Principal

Assistant Principal Danny Gorog and Lindy Susskind#

Assistant Principal

Miranda Brockman

Geelong Friends of the MSO#

Mary Allison Isin Cakmakcioglu Tiffany Cheng Freya Franzen Cong Gu Andrew Hall Isy Wasserman Philippa West Patrick Wong Roger Young

Rohan de Korte

Andrew Dudgeon AM#

Sarah Morse Angela Sargeant Michelle Wood

Andrew and Judy Rogers#

DOUBLE BASSES Benjamin Hanlon

Frank Mercurio and Di Jameson#

Suzanne Lee Stephen Newton

VIOLAS

Sophie Galaise and Clarence Fraser#

Christopher Moore Principal Di Jameson#

Christopher Cartlidge Associate Principal

FLUTES Prudence Davis Principal Anonymous#

Lauren Brigden Katharine Brockman Anthony Chataway

Wendy Clarke

Dr Elizabeth E Lewis AM

#

Gabrielle Halloran Trevor Jones Anne Neil#

Fiona Sargeant Cindy Watkin

Learn more about our musicians on the MSO website.

Associate Principal

Sarah Beggs PICCOLO Andrew Macleod Principal

OBOES Thomas Hutchinson

Associate Principal

Ann Blackburn

The Rosemary Norman Foundation#

HORNS Nicolas Fleury

Principal Margaret Jackson AC#

Saul Lewis

COR ANGLAIS

Principal Third The Hon Michael Watt QC and Cecilie Hall#

Michael Pisani

Abbey Edlin

CLARINETS

Trinette McClimont Rachel Shaw

Principal

David Thomas

Principal

Philip Arkinstall

Associate Principal

Nereda Hanlon and Michael Hanlon AM#

BASS CLARINET

Associate Principal

Jack Schiller

TROMBONES

Elise Millman

Anonymous#

Natasha Thomas

Dr Martin Tymms and Patricia Nilsson#

CONTRABASSOON Brock Imison

Robert Cossom

Drs Rhyl Wade and Clem Gruen#

HARP Yinuo Mu Principal

William Evans Rosie Turner

John and Diana Frew#

Associate Principal

Anonymous#

Shane Hooton

BASSOONS Principal

John Arcaro

Owen Morris Principal

Principal

PERCUSSION

TRUMPETS

Craig Hill

Jon Craven

TIMPANI

Richard Shirley

Mike Szabo

Principal Bass Trombone

TUBA Timothy Buzbee

Principal

Principal

# Position supported by

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Guest musicians

Guest Musicians RACHMANINOV’S SYMPHONY NO.2 | 9–10 JULY First violin Zoe Freisberg Ioana Tache Nicholas Waters Second violin Jacqueline Edwards Michael Loftus-Hills Miranda Matheson Lynette Rayner Oksana Thompson Viola William Clark Ceridwen Davies Lisa Grosman Isabel Morse Katie Yap

Cello Campbell Banks Elina Faskhitdinova Kalina Krusteva Mee Na Lojewski Rebecca Proietto Double bass Caitlin Bass Kylie Davies Ken Poggioli* Vivian Qu Siyuan Giovanni Vinci

Clarinet Robin Henry French horn Natalia Edwards William Tanner Trombone Kieran Conrau Timpani Brent Miller Principal Timpani

Percussion Greg Sully

Oboe Rachel Curkpatrick

MAHLER’S FOURTH SYMPHONY | 15–17 JULY First violin Jenny Khafagi Ioana Tache Nicholas Waters

Cello Elina Faskhitdinova Kalina Krusteva Mee Na Lojewski

Trumpet Tristan Rebien

Second violin Zoe Freisberg Michael Loftus-Hills Lynette Rayner

Double bass Rohan Dasika

Principal Timpani

Viola William Clark Ceridwen Davies Isabel Morse

Assistant Principal

Kylie Davies Vivian Qu Siyuan Emma Sullivan Giovanni Vinci Oboe Dafydd Camp^

* Appears courtesy of Queensland Symphony Orchestra ^ Appears courtesy of Orchestra Victoria 8

Information correct as of 7 July 2021

Timpani Brent Miller Percussion Robert Allan Lara Wilson Harp Delyth Stafford

First violin Jenny Khafagi Ioana Tache Nicholas Waters Second violin Zoe Freisberg Michael Loftus-Hills Lynette Rayner Viola William Clark Ceridwen Davies Isabel Morse Cello Elina Faskhitdinova Kalina Krusteva Mee Na Lojewski

Double bass Rohan Dasika Assistant Principal

Kylie Davies Vivian Qu Siyuan Emma Sullivan Giovanni Vinci Oboe Rachel Curkpatrick Clarinet Thomas D’Arth Robin Henry French horn Peter Luff Trumpet Tristan Rebien Callum G’Froerer

Trombone Kieran Conrau

Guest musicians

JOHN ADAMS: HARMONIELEHRE | 15–17 JULY

Tuba Alex Hurst Timpani Brent Miller Principal Timpani

Percussion Robert Allan Lara Wilson Harp Delyth Stafford Melina van Leeuwen Piano Leigh Harrold Celeste Aidan Boase

COPLAND AND DVOŘÁK | 22–23 JULY First violin Michael Loftus-Hills Phoebe Masel

Cello Kalina Krusteva Eliza Sdraulig

Second violin Zoe Freisberg

Double bass Rohan Dasika

Viola William Clark Ceridwen Davies Isabel Morse Paul McMillan^ Kate Worley

Assistant Principal

Esther Toh Caitlin Bass French horn Josiah Kop William Tanner

Trombone Kieran Conrau Timpani Brent Miller Principal Timpani

Percussion James Knight Harp Delyth Stafford Piano Laurence Matheson

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Rachmaninov’s Symphony No.2 Friday 9 July | 7.30pm Saturday 10 July | 2pm Arts Centre Melbourne, Hamer Hall Melbourne Symphony Orchestra Lawrence Renes conductor RACHMANINOV Symphony No.2

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.

RACHMANINOV’S SYMPHONY NO.2 | 9–10 July

Lawrence Renes conductor Dutch-Maltese conductor Lawrence Renes is highly regarded in both the operatic and symphonic spheres, praised for delivering performances of passion, nuance and style.

Highlights for the 2020/21 season include Renes’ debut with Les Théâtres de la Ville de Luxembourg where he will conduct Strauss’ Ariadne auf Naxos along with a return to Malta Philharmonic, Melbourne Symphony Orchestra and Radio Filharmonisch Orkest.

The 2019/20 season opened with a return for Renes to San Francisco Opera for Billy Budd, in Michael Grandage’s acclaimed production. He then conducted a programme of Strauss and Prokofiev for his third visit to the London Philharmonic Orchestra, with the rest of the season featuring his debut with Orchestre National de Lyon and returns to the Mahler Chamber Orchestra and Tampere Philharmonic.

Other engagements in recent seasons include opera productions in Brussels, Seattle, Lisbon and Santa Fe; and symphonic appearances with Orchestre Philharmonique de Radio France, Oslo Philharmonic, OSESP in Sao Paulo, Helsinki Philharmonic, Sydney Symphony Orchestra, New Zealand Symphony Orchestra, NHK Symphony Orchestra, Seoul Philharmonic, Tokyo Metropolitan Symphony Orchestra, Royal Scottish National Symphony Orchestra, BBC Symphony Orchestra and Milwaukee Symphony.

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RACHMANINOV’S SYMPHONY NO.2 | 9–10 July 12

Program Notes SERGEI RACHMANINOV

(1873–1943)

Symphony No.2 in E minor, Op.27 Largo – Allegro moderato Scherzo: Allegro molto Adagio Finale: Allegro vivace Rachmaninov’s symphonic debut was a disaster. In March 1897 the premiere of his First Symphony was so bad that critic Cesar Cui described it as sounding like ‘a program symphony on the seven plagues of Egypt’, and Rachmaninov asked himself how the conductor, composer Alexander Glazunov, ‘can conduct so badly. I am not speaking now of his conducting technique (one can’t ask that of him) but about his musicianship. He feels nothing when he conducts. It’s as if he understands nothing’. In fact it would seem that the fiasco was caused by Glazunov’s being drunk, but whatever the reason, the experience plunged Rachmaninov into a period of depression. As a result, he consulted well-known hypnotist Nikolai Dahl. He composed, or rather completed, nothing substantial for some three years.

The composer later recalled that ‘my relations had told Dr. Dahl that he must at all costs cure me of my apathetic condition and achieve such results that I would again begin to compose’. By the turn of the century Rachmaninov’s confidence had largely returned, and he was able to compose the Piano Concerto No.2 in 1901. The success of that work in turn inaugurated a string of major pieces: the Cello Sonata, Second Suite for Piano Duo, a number of choral works and two operas – The Miserly Knight and Francesca da Rimini, based on Dante, and one of many instances

where Rachmaninov’s music seems preoccupied with notions of death and judgement in the hereafter.

In 1906, Rachmaninov began work on his Second Symphony – though why he wanted to, given his experience with the First, is a mystery, and it cost him a great deal of effort. But its premiere in St Petersburg in 1908, with Rachmaninov conducting, was a triumph. Moreover, the work won him his second Glinka Prize.

Until comparatively recently it was common for this substantial work to be given in a form which dispensed with up to a third of the music, and while the composer was partly responsible, his attitude to such butchery is clear from the story of his encounter with Eugene Ormandy in Philadelphia. The conductor asked Rachmaninov to make some cuts to the work; after several hours the composer returned the score with two bars crossed out.

It is a truism that cutting great works only makes them seem longer as the proportions of a work are distorted by too much material being removed.

The Second Symphony is long but its structure is beautifully proportioned, and precisely as long as it needs to be.

The overall effect is spaciousness, in which long melodies unfurl at a relatively leisurely pace to give the impression of ultra-Romantic spontaneity. It is in four movements, beginning with a slow introduction that serves to build expectation and whet the appetite for the main material of the allegro to which it leads. It is almost always described as mysterious, with one writer suggesting that it ‘surely’ evokes the Russian steppe. The transition into the main allegro body of the movement is made by solo cor anglais, establishing a pattern in the work, where structural transitions are often announced by wind solos. The allegro is a study in contrasts,

Rachmaninov places the scherzo, or dance movement, second. This serves the important purpose of restoring an air of musical regularity and emotional predictability after the rollercoaster ride of the first movement. What could be more upbeat than the colourful wind scoring and bright horn calls of this scherzo, or its contrastingly long, songful melody? And in the central trio section, commentators are generally agreed that Rachmaninov is evoking the bustle of village life complete with the deep tolling of church bells and a hymnal procession. But at the end of the movement, which is also the turning-point of the symphony, there is an unsettling moment: the lively music of the scherzo comes apart through the interventions of a brass chorale based on the Dies irae. This Gregorian chant describes the ‘day of wrath’ when humanity will be judged by God at the end of history when the dead shall rise from the ashes. Here the effect is a little like those religious images where the Grim Reaper stands unseen near a crowd of happy people.

by an equally gorgeous tune for clarinet solo and yet one more for strings and oboe. The climax of the movement, which grows out of the elaboration of these three melodies, is arguably the most powerful in the whole work and it dispels any pessimism in favour of a Tchaikovskian finale.

In the last movement Rachmaninov achieves a kind of Beethovenian triumph. While the music revisits certain themes and moods from earlier in the work, it is clear that a watershed has been reached. The mood is buoyant, the tonality predominantly major and the down-up-down contour of the Dies irae is often turned literally upside down.

Whether the work is programmatic in any real sense is unclear, and we can assume that Rachmaninov, like Tchaikovsky, was suspicious of attempts to ‘translate’ his music. And Rachmaninov was by no means religious, but in view of the ‘Francesca’ link and the references to the Dies irae it seems to be a work in which anguish and the ominous presence of death are dispelled by the power of love.

RACHMANINOV’S SYMPHONY NO.2 | 9–10 July

ranging between passages of intensely turbulent and serene music.

© Gordon Kerry 2014

Much of what has gone before has been derived from this theme. From the very opening gesture, the melodic material is dominated by notes whose contours outline a stepwise fall, a stepwise rise and wider fall. Rachmaninov’s structural sense is matched by an economy of thematic material.

Commentators have noted similarities between the adagio third movement and the love scene from Rachmaninov’s Francesca da Rimini, yet in this frank eroticism the Dies irae is never far below the music’s surface. The movement begins with one of Rachmaninov’s most inspired, soaring themes (which has been prefigured in the first movement) for the first violins, full of unexpected yearning dissonances. This is succeeded

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Mahler’s Fourth Symphony Thursday 15 July | 6pm Saturday 17 July | 6pm Arts Centre Melbourne, Hamer Hall

Friday 16 July | 7.30pm Costa Hall, Geelong Melbourne Symphony Orchestra Lawrence Renes conductor Jacqueline Porter soprano MAHLER Symphony No.4

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.

Jacqueline Porter

Dutch-Maltese conductor Lawrence Renes is praised for delivering performances of passion, nuance and style. Highlights for the 2020/21 season include Renes’ debut with Les Théâtres de la Ville de Luxembourg along with a return to Malta Philharmonic, Melbourne Symphony Orchestra and Radio Filharmonisch Orkest.

Jacqueline Porter appears regularly with Australia’s major symphony orchestras. This year she appears with the Australian Romantic & Classical Orchestra, Sydney Symphony, in recital at both the Bendigo Chamber Music Festival and the Australian Festival of Chamber Music Townsville and for Hayllar Music Tours at Spicers Hidden Vale, Queensland.

conductor

The 2019/20 season opened with a return for Renes to San Francisco Opera for Billy Budd. He then conducted a programme of Strauss and Prokofiev for his third visit to the London Philharmonic Orchestra, with the rest of the season featuring his debut with Orchestre National de Lyon and returns to the Mahler Chamber Orchestra and Tampere Philharmonic.

Other engagements in recent seasons include opera productions in Brussels, Seattle, Lisbon and Santa Fe; and symphonic appearances with Orchestre Philharmonique de Radio France, Oslo Philharmonic, OSESP in Sao Paulo, Helsinki Philharmonic, Sydney Symphony Orchestra, New Zealand Symphony Orchestra, NHK Symphony Orchestra, Seoul Philharmonic, Tokyo Metropolitan Symphony Orchestra, Royal Scottish National Symphony Orchestra, BBC Symphony Orchestra and Milwaukee Symphony.

soprano

MAHLER’S FOURTH SYMPHONY | 15–17 July

Lawrence Renes

Jacqueline’s recent performances include Mozart’s Requiem, Solveig’s Song (Grieg), Vocalise (Rachmaninov), and Messiah (Melbourne Symphony Orchestra); Marriage of Figaro highlights (Australian Romantic & Classical Orchestra); St. Matthew Passion (Melbourne Bach Choir); Peter Grimes and Peer Gynt (Sydney Symphony), and recitals at the Tasmanian Chamber Music Festival and Dunkeld Festival of Music.

Her opera roles include Susanna (The Marriage of Figaro), Despina (Così fan tutte), Drusilla (L’incoronazione di Poppea), L’Amour (Orpheé et Eurydice), Saskia and Hendrickje Stoffels (Rembrandt’s Wife), Clorinda (Il Combattimento di Tancredi e Clorinda) for Victorian Opera and Gretel (Hansel and Gretel) for State Opera South Australia.

Recordings include Love’s Torment, Love’s Delight recently released on ABC Classics.

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MAHLER’S FOURTH SYMPHONY | 15–17 July

Program Notes GUSTAV MAHLER

(1860–1911)

Symphony No.4 in G Bedächtig – Recht gemächlich [Deliberately – Really unhurried] In gemächlicher Bewegung, ohne Hast [In a leisurely tempo, without haste] Ruhevoll [Peacefully] Sehr behaglich [Very homely and comfortable] Jacqueline Porter soprano ‘It is too beautiful: one shouldn’t allow oneself such a thing!’ exclaimed Mahler one day in 1900. He was standing on the balcony of his newly-built summer residence at Maiernigg, surrounded by forest on the shores of the Wörthersee.

Mahler’s career as a conductor usually left him only the summer months for composition; when he became Director of the Vienna Court Opera in 1897 and conductor of the Vienna Philharmonic in 1898 the intensity of the workload meant that he composed nothing during those years. The house at Maiernigg was a perfect retreat, and the perfect place to complete his Fourth Symphony which he had begun in the summer of 1899.

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The symphony is at once the culmination of certain aspects of the previous two and their complete antithesis. The Second Symphony is Mahler’s musical dramatisation of nothing less than death and resurrection, while in the Third, as he put it, ‘all nature finds a voice.’ The Fourth, by contrast, is on an altogether more modest scale: it consists of the ‘standard’ four movements (the first time Mahler adhered to that pattern), plays for a comparatively short 55 minutes or so, and is scored for a much smaller orchestra. What it shares with its two predecessors is a preoccupation with ideas of life and death, and a

relationship to the collection of folk poetry, Des Knaben Wunderhorn (The Youth’s Magic Horn), which Mahler mined for various song settings. The final movement – which Mahler first set in 1892 and which was originally planned for inclusion in the Third Symphony – is taken from the Wunderhorn collection, and describes a child’s vision of heaven.

Commentator Paul Bekker has suggested that the whole symphony was germinated by the song, and Michael Kennedy has noted that all the movements are ‘thematically interconnected’. Dramatically, too, the work is unified by a pervasive sense of innocence: Mahler’s music is never naïve, and its simplicity is deceptive given the formal sophistication of its structure and elaboration of its counterpoint, but the work is careful to avoid the obtuse, the rhetorical and the monumental. The philosopher Theodor Adorno points out that the whole work’s ‘image-world is of childhood. The means are reduced, without heavy brass; horns and trumpets are more modest in number. No father figures are admitted to its precincts.’

The first movement quickly establishes the mood of childish innocence with the sound of four flutes and sleigh bells, simple melodies (one derived from Schubert) with pizzicato accompaniment from low strings.

Various solo instruments appear like characters in a child’s story; the four flutes at one point play low in unison to give the effect of what Adorno calls a ‘dream ocarina’. But as the great Mahler scholar Deryck Cooke once put it, the serene surface of the work conceals figures who he described as ‘moving behind a veil which obscures their naked horror and makes them like the bogeymen who appear in illustrations to books of fairy tales’. Neville Cardus compared these musical goblins to the shadows cast by candlelight on

One ‘bogeyman’ is ‘Freund Hain’, a devilish fiddler such as we also meet in Saint-Saëns’ Danse macabre. In an early sketch for his scherzo Mahler wrote ‘Freund Hain spielt auf’ (Our friend Hain strikes up). In the final version of this movement with its ländler (a peasant dance in triple time) Trio section, there is a prominent solo for a violin which is tuned higher than normal to make it sound like ‘ein Fiedel’ (a fiddle). Kennedy argues that Hain is ‘picturesque rather than macabre’, but quotes Mahler who compared composing this work with ‘wandering through the flower-scented garden of Elysium and it suddenly changes to a nightmare of finding oneself in a Hades full of horrors.’

afterlife: St Martha cooks, of course; St Peter fishes, Herod (somehow admitted through the pearly gates) is the butcher.

As Adorno notes: These are not only the modest joys of the useful south German vegetable plot…Immortalised in them are blood and violence; oxen are slaughtered, deer and hare run to the feast in full view on the roads. The poem culminates in an absurd Christianity.

After hymning St Cecilia, the work ends quietly. For Cooke it is a ‘peaceful close’, for Adorno this ‘fairy-tale symphony is as sad as the late works…Joy remains unattainable, and no transcendence is left but yearning.’ Like Maiernigg, this work is perhaps ‘too beautiful’ to be true.

MAHLER’S FOURTH SYMPHONY | 15–17 July

a nursery wall. There is perhaps latent danger in the brief eruption of the Fifth Symphony’s tempestuous fanfare in the first movement of this work, but the movement ends with a moment of seraphic peace before its goodhumoured conclusion.

Gordon Kerry © 2003

There is no horror in the opening of the work’s central adagio, by far the longest movement in the work. A set of variations, it is unified by the device of the pizzicato double bass which plays a repeated figure or ostinato. There is a violent passage towards the end of the movement, where the timpani take over the basses’ figure, playing, as Adorno says, ‘as drums once seemed before the age of seven.’

In the final movement the orchestra is joined by a soprano soloist for the Wunderhorn song, and it is here that the work’s ambiguities come into clear focus. Ostensibly a cute account of how a child might see heaven, it is actually a cleverly disguised set of variations which allows Mahler to seem simple while constantly spinning new and fascinating sounds. It characterises various saints carrying on their earthly tasks to produce the gastronomic delights of the

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MAHLER’S FOURTH SYMPHONY | 15–17 July 18

Text and Translation Wir geniessen die himmlischen Freuden

We taste the joys of Heaven

d’rum thun wir das Irdische meiden.

leaving behind all that is earthly.

Kein weltlich’ Getümmel

No worldly strife

hört man nicht im Himmel!

is heard in Heaven.

Lebt Alles in sanftester Ruh’!

We live here in sweetest peace!

Wir führen ein englisches Leben!

We live an angelic life,

Sind dennoch ganz lustig daneben!

yet we are merry as can be.

Wir tanzen und springen

We dance and spring

wir hüpfen und singen!

and skip and sing

Sanct Peter in Himmel sieht zu!

while St Peter in heaven looks on.

Johannes das Lämmlein auslasset,

St John lets the lamb go running,

der Metzger Herodes drauf passet!

the butcher Herod is waiting for it.

Wir führen ein geduldig’s,

We lead the patient,

unschuldig’s, geduldig’s,

meek, guiltless

ein liebliches Lämmlein zu Tod!

dear little Lambkin to death!

Sanct Lucas den Ochsen thät schlachten

St Luke is slaughtering the oxen

ohn’ einig’s Bedenken und Achten,

without care or consideration,

der Wein kost kein Heller

The wine is free

im himmlischen Keller,

in the heavenly tavern,

die Englein, die backen das Brot.

and the angels, they bake the bread.

Gut’ Kräuter von allerhand Arten,

Fine vegetables of every kind

die wachsen im himmlischen Garten!

grow in the gardens of Heaven,

Gut’ Spargel, Fisolen,

good asparagus and beans,

und was wir nur wollen!

whatever we fancy,

Ganze Schüsseln voll sind uns bereit!

big bowls are prepared for us!

Gut’ Äpfel, gut’ Birn’ und gut’ Trauben!

Good apples and pears and grapes!

Die Gärtner, die Alles erlauben!

The gardeners let us take all!

Willst Rehbock, willst Hasen,

Do you want a roebuck or hare?

Auf offener Strassen

Here in the open streets

sie laufen herbei!

they run about!

And when there is a fast day

alle Fische gleich mit Freuden angeschwommen!

the fish come swarming in merrily!

Dort läuft schon Sanct Peter

St Peter, he runs

mit Netz und mit Köder

with net and with bait

zum himmlischen Weiher hinein.

to fish in the heavenly pond.

Sanct Martha die Köchin muss sein!

St Martha is the cook, who else?

Kein Musik ist ja nicht auf Erden,

No music on earth

die uns’rer verglichen kann werden.

can compare with ours.

Elftausend Jungfrauen

Eleven thousand virgins

zu tanzen sich trauen!

come forward to dance!

Sanct Ursula selbst dazu lacht!

Even St Ursula laughs to see that!

Kein Musik ist ja nicht auf Erden,

No music on earth

die uns’rer verglichen kann werden.

can compare with ours.

Cäcilia mit ihren Verwandten

Cecilia and her relations

sind treffliche Hofmusikanten!

are excellent court musicians!

Die englischen Stimmen

The angelic voices

ermuntern die Sinnen!

lift our spirits

dass Alles für Freuden erwacht.

and all things awaken to joy!

MAHLER’S FOURTH SYMPHONY | 15–17 July

Sollt ein Fasttag etwa kommen

Translation: Hedwig Roediger ABC/Symphony Services International © 1986

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John Adams: Harmonielehre Thursday 15 July | 8.30pm Saturday 17 July | 8.30pm Arts Centre Melbourne, Hamer Hall

Melbourne Symphony Orchestra Lawrence Renes conductor JOHN ADAMS Harmonielehre

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.

JOHN ADAMS: HARMONIELEHRE | 15–17 July

Lawrence Renes conductor Dutch-Maltese conductor Lawrence Renes is highly regarded in both the operatic and symphonic spheres, praised for delivering performances of passion, nuance and style.

Highlights for the 2020/21 season include Renes’ debut with Les Théâtres de la Ville de Luxembourg where he will conduct Strauss’ Ariadne auf Naxos along with a return to Malta Philharmonic, Melbourne Symphony Orchestra and Radio Filharmonisch Orkest.

The 2019/20 season opened with a return for Renes to San Francisco Opera for Billy Budd, in Michael Grandage’s acclaimed production. He then conducted a programme of Strauss and Prokofiev for his third visit to the London Philharmonic Orchestra, with the rest of the season featuring his debut with Orchestre National de Lyon and returns to the Mahler Chamber Orchestra and Tampere Philharmonic.

Other engagements in recent seasons include opera productions in Brussels, Seattle, Lisbon and Santa Fe; and symphonic appearances with Orchestre Philharmonique de Radio France, Oslo Philharmonic, OSESP in Sao Paulo, Helsinki Philharmonic, Sydney Symphony Orchestra, New Zealand Symphony Orchestra, NHK Symphony Orchestra, Seoul Philharmonic, Tokyo Metropolitan Symphony Orchestra, Royal Scottish National Symphony Orchestra, BBC Symphony Orchestra and Milwaukee Symphony.

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JOHN ADAMS: HARMONIELEHRE | 15–17 July

Program Notes JOHN ADAMS

(born 1947)

Harmonielehre Part One The Anfortas Wound Meister Eckhardt and Quackie The composer writes: Harmonielehre is roughly translated as ‘the book of harmony’ or ‘treatise on harmony’. It is the title of a huge study of tonal harmony, part textbook, part philosophical rumination, that Arnold Schoenberg published in 1911 just as he was embarking on a voyage into unknown waters, one in which he would more or less permanently renounce the laws of tonality.

My own relationship to Schoenberg needs some explanation. Leon Kirchner, with whom I studied at Harvard, had himself been a student of Schoenberg in Los Angeles during the 1940s. Kirchner had no interest in the serial system that Schoenberg had invented, but he shared a sense of high seriousness and an intensely critical view of the legacy of the past. Through Kirchner I became highly sensitised to what Schoenberg and his art represented. He was a ‘master’ in the same sense that Bach, Beethoven and Brahms were masters.

That notion in itself appealed to me then and continues to do so.

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But Schoenberg also represented to me something twisted and contorted.

He was the first composer to assume the role of high-priest, a creative mind whose entire life ran unfailingly against the grain of society, almost as if he had chosen the role of irritant. Despite my respect for and even intimidation by the persona of Schoenberg, I felt it only honest to acknowledge that I profoundly disliked the sound of twelve-tone

music. His aesthetic was to me an overripening of 19th century Individualism, one in which the composer was a god of sorts, to whom the listener would come as if to a sacramental altar. It was with Schoenberg that the ‘agony of modern music’ had been born, and it was no secret that the audience for classical music during the 20th century was rapidly shrinking, in no small part because of the aural ugliness of so much of the new work being written.

It is difficult to understand why the Schoenbergian model became so profoundly influential for classical composers. Composers like Pierre Boulez and György Ligeti have borne both the ethic and the aesthetic into our own time, and its immanence in present day university life and European musical festivals is still potent. Rejecting Schoenberg was like siding with the Philistines, and freeing myself from the model he represented was an act of enormous willpower. Not surprisingly, my rejection took the form of parody…not a single parody, but several extremely different ones.

In my Chamber Symphony the busy, hyperactive style of Schoenberg’s own early work is placed in a salad spinner with Hollywood cartoon music. In The Death of Klinghoffer the priggish, disdainful Austrian Woman describes how she spent the entire hijacking hiding under her bed by singing in a Sprechstimme to the accompaniment of a Pierrot [Lunaire]-like ensemble in the pit.

My own Harmonielehre is parody of a different sort in that it bears a ‘subsidiary relation’ to a model (in this case a number of signal works from the turn of the century like Gurrelieder and the Sibelius Fourth Symphony), but it does so without the intent to ridicule. It is a large, threemovement work for orchestra that marries the developmental techniques

The first part is a 17-minute inverted arch form: high energy at the beginning and end, with a long, roaming ‘Sehnsucht’ (‘yearning’) section in between. The pounding E minor chords at the beginning and end of the movement are the musical counterparts of a dream image I had shortly before starting the piece. In the dream I’d watched a gigantic supertanker take off from the surface of San Francisco Bay and thrust itself into the sky like a Saturn rocket.

At the time (1984–85) I was still deeply involved in the study of C.G. Jung’s writings, particularly his examination of Medieval mythology. I was deeply affected by Jung’s discussion of the character of Anfortas, the king whose wounds could never be healed. As a critical archetype, Anfortas symbolised a condition of sickness of the soul that curses it with a feeling of impotence and depression. In this slow, moody movement, entitled The Anfortas Wound, a long, elegiac trumpet solo floats over a delicately shifting screen of minor triads that pass like spectral shapes from one family of instruments to the other. Two enormous climaxes rise up out of the otherwise melancholy landscape, the second one being an obvious homage to Mahler’s last, unfinished symphony.

The final part, Meister Eckhardt and Quackie, begins with a simple berceuse (cradlesong) that is as airy, serene and blissful as The Anfortas Wound is earthbound, shadowy and bleak. The Zappaesque title refers to a dream I’d

had shortly after the birth of our daughter, Emily, who was briefly dubbed ‘Quackie’ during her infancy. In the dream, she rides perched on the shoulder of the Medieval mystic Meister Eckhardt as they hover among the heavenly bodies like figures painted on the high ceilings of old cathedrals. The tender berceuse gradually picks up speed and mass (not unlike the Negative Love movement of Harmonium) and culminates in a tidal wave of brass and percussion over a pedal point on E flat major.

John Adams © 1999

JOHN ADAMS: HARMONIELEHRE | 15–17 July

of Minimalism with the harmonic and expressive world of fin de siècle late Romanticism. It was a conceit that could only be attempted once. The shades of Mahler, Sibelius, Debussy and the young Schoenberg are everywhere in this strange piece. This is a work that looks at the past in what I suspect is ‘postmodernist’ spirit, but, unlike Grand Pianola Music or Nixon in China, it does so entirely without irony.

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Copland and Dvořák

Simple Gifts Thursday 22 July | 7.30pm Melbourne Town Hall

Friday 23 July | 7.30pm Robert Blackwood Hall, Monash Melbourne Symphony Orchestra Benjamin Northey conductor COPLAND Appalachian Spring MIRIAM HYDE Village Fair DVOŘÁK Slavonic Dances (selection)

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.

COPLAND AND DVOŘÁK: SIMPLE GIFTS | 22–23 July

Benjamin Northey conductor 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.

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.

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COPLAND AND DVOŘÁK: SIMPLE GIFTS | 22–23 July

Program Notes AARON COPLAND

(1900–1990)

Appalachian Spring: Suite 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 her interpretation, the ballet Dithyramb.

A collaboration was born.

In 1942 Elizabeth Sprague Coolidge commissioned Graham to stage three ballets and Copland was one of three composers asked for a score (the others being Paul Hindemith and Darius Milhaud). 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 to a spring of water on a trail through the Appalachian Mountains.

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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 (the Powhatan woman who saved the life of Virginia explorer John Smith), 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 – spare and restrained – determined much of the expressive content of the ballet. Set designer Isamu Noguchi noted that Graham was ‘in a sense influenced by Shaker furniture, but it is also the culmination of Martha’s interest in American themes and in the Puritan American tradition’. The values of simplicity and directness led to the use of the Shaker hymn Simple Gifts, 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, and which we associate now with the typical American sound. ‘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.

He trimmed 15 minutes of primarily choreographic material, and expanded the original 13-member ensemble to full orchestra. Even in the suite it is possible to discern the broader features of the ballet. Slow music: the characters are introduced one by 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 – hints of square dancers and country fiddlers suggesting

‘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 – solidity, sobriety, industriousness, family and community spirit. Though few people these days know the ballet, there is something in Copland’s music – the wide-open folksy breeziness, the stoic heroism of melodies constructed starkly from fourths, the simple colours of the orchestration – which has also come to represent these qualities.

Gordon Kalton Williams Symphony Australia © 2006

MIRIAM HYDE

(1913–2005)

Village Fair: A ballet for orchestra This work was originally composed as a ballet, which was to be part of a show for the Red Cross in wartime Adelaide.

The commission fee did not, however, eventuate, and the ballet was never choreographed.

Miriam Hyde wrote to her husband Marcus Edwards on 24 January 1943 (he was then a POW in Germany): ‘I’ve done quite a bit of work on my ballet this week, and now have about 9 minutes’ worth of piano score, the characters of pie-man, flower-girl, and hurdy-gurdy man being interspersed

with variations on ‘O dear what can the matter be’. It will be nice to score, as the ideas have come to me in nonpianistic idiom, for a start. I’d like one or two more characters, and wish you could suggest some, darling. My friends suggest coconut shy-ing, [sic] world’s biggest man, etc., but such concepts would ruin my composition as a piece of independent music, which I hope it may be!’

Although a recording on CD was made by the Sydney Symphony Orchestra in 1979, it was not until 29 March 1995 that Miriam Hyde heard her first live performance of Village Fair, while attending a rehearsal of it by the Strathfield Symphony Orchestra conducted by Soloman Bard. For the programme notes of the subsequent concert, she wrote that ‘Memories of attending a Fair with a friend in Witney, Oxfordshire, came to my aid in conjuring-up this music.’

COPLAND AND DVOŘÁK: SIMPLE GIFTS | 22–23 July

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’.

The handwritten manuscript front matter includes the following: N.B. The original suggestion for this ballet came from Miss Joanne Priest of Adelaide, though the composer added many of the pictorial ideas as the work developed. At the time, however, a big enough orchestra was not available, and the music has since been used independently (1955) As is obvious – the music is based on the traditional song “Oh dear what can the matter be, Johnny’s so late from the fair…”

Christine Edwards © 2021

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COPLAND AND DVOŘÁK: SIMPLE GIFTS | 22–23 July

ANTONÍN DVOŘÁK

(1841–1904)

Slavonic Dances Op.46 No.1 in C major (Furiant) No.3 in A flat major (Polka) No.7 in C minor (Skočná) No.8 in G minor (Furiant) In 1878, every self-respecting piano duo was playing Brahms’ Hungarian Dances and it occurred to Simrock, the German publisher, that the composer’s Czech friend Dvorak might enjoy a similar success with a set of Slavonic dances for piano duet. Dvorak gladly accepted the commission and between March and May that year he composed the eight dances that now constitute his Opus 46.

Even before completing them, however, he realised that they were suited to orchestration, and by August he had produced orchestral versions of all eight. In both piano and orchestral forms they achieved huge international success, and Simrock reputedly made a fortune out of them. Indeed they were so successful that eight years later when Dvorak wrote another eight dances, Opus 72, the publisher had to pay him ten times the price of the first set!

With the exception of No.2, all the dances in the Opus 48 set are based on actual Bohemian dance rhythms. The third dance is basically a polka whose theme is derived from a Czech folk song.

In 2/4 time, marked Poco allegro, it has a middle section in the form of a jig.

The final dance of the series, number eight in G minor, is more vigorous, in the form of a furiant or peasant’s dance.

Featuring great joie-de-vivre, it provides a rousing, self-absorbed conclusion.

Adapted from a note © Eric Mason

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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 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

MSO BOARD

Li Family Trust

Chairman David Li AM

Biostime Swisse Xiaojian Ren & Qian Li Wanghua Chu and Dr Shirley Chu LRR Family Trust David and Dominique Yu

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

Deputy Co-Chair Di Jameson Helen Silver AO

Supporters

EAST MEETS WEST

Managing Director Sophie Galaise Board Directors Andrew Dudgeon AM Danny Gorog Lorraine Hook Margaret Jackson AC David Krasnostein AM Hyon-Ju Newman Glenn Sedgwick Company Secretary Oliver Carton

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

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)

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Thank you to our Partners Principal Partner

Premier Partners

Education Partner

Venue Partner

Major Partners

Government Partners

Supporting Partners

Quest Southbank

Ernst & Young

The CEO Institute

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.