Classical Hits at the Bowl

Concert Program 6–7 DECEMBER 2021 Sidney Myer Music Bowl

Presented by MSO Principal Partner, Emirates.

Monday 6 December / 7.30pm Tuesday 7 December / 7.30pm Sidney Myer Music Bowl

Melbourne Symphony Orchestra Benjamin Northey conductor Christian Li violin

Program HOLST The Planets: Jupiter TCHAIKOVSKY Violin Concerto, movement 1 ELGAR Enigma Variations: Nimrod, E.D.U. TCHAIKOVSKY The Nutcracker Suite, selections BEETHOVEN Symphony No.6, movements 3, 4 & 5 RAVEL Boléro

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Running time: 1 hours 50 minutes, including a 20-minute interval

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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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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 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.

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Our Artistic Family

Your MSO Jaime Martín

Chief Conductor Designate

Xian Zhang

Principal Guest Conductor

Assistant Principal Danny Gorog and Lindy Susskind#

FIRST VIOLINS

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

Dale Barltrop

VIOLAS

Benjamin Northey Principal Conductor in Residence

Nicholas Bochner

Cybec Assistant Conductor

Sir Andrew Davis Conductor Laureate

Hiroyuki Iwaki †

Conductor Laureate (1974–2006)

Concertmaster David Li AM and Angela Li#

Sophie Rowell

Concertmaster The Ullmer Family Foundation#

Tair Khisambeev

Assistant Concertmaster Di Jameson#

Peter Edwards

Assistant Principal

Christopher Moore Principal Di Jameson#

Christopher Cartlidge Associate Principal

Lauren Brigden Katharine Brockman Anthony Chataway

Dr Elizabeth E Lewis AM#

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

Gabrielle Halloran Trevor Jones

SECOND VIOLINS

Miranda Brockman

Matthew Tomkins

Principal The Gross Foundation#

Robert Macindoe Associate Principal

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Monica Curro

Anne Neil#

Fiona Sargeant CELLOS David Berlin

Principal Hyon Ju Newman#

Rachael Tobin

Associate Principal

Nicholas Bochner Assistant Principal

Michelle Wood

Andrew and Judy Rogers#

DOUBLE BASSES Damien Eckersley Benjamin Hanlon Frank Mercurio and Di Jameson#

Suzanne Lee Stephen Newton Sophie Galaise and Clarence Fraser#

FLUTES Prudence Davis Principal Anonymous#

Wendy Clarke

Associate Principal

Sarah Beggs PICCOLO Andrew Macleod Principal

OBOES Thomas Hutchinson Associate Principal

Ann Blackburn

The Rosemary Norman Foundation#

COR ANGLAIS Michael Pisani Principal

CLARINETS David Thomas Principal

Philip Arkinstall

Associate Principal

Geelong Friends of the MSO#

Craig Hill

Rohan de Korte

BASS CLARINET

Andrew Dudgeon AM#

Sarah Morse Angela Sargeant

Learn more about our musicians on the MSO website.

Jon Craven Principal

Jack Schiller

Principal

Elise Millman

TIMPANI PERCUSSION John Arcaro

Associate Principal

Anonymous#

Natasha Thomas

Robert Cossom

Dr Martin Tymms and Patricia Nilsson#

CONTRABASSOON Brock Imison

Drs Rhyl Wade and Clem Gruen#

HARP Yinuo Mu

Principal

Principal

HORNS

GUEST MUSICIANS

Nicolas Fleury

First violin Zoe Black Phoebe Masel Lynette Rayner

Principal Margaret Jackson AC#

Saul Lewis

Principal Third The Hon Michael Watt QC and Cecilie Hall#

Abbey Edlin

Nereda Hanlon and Michael Hanlon AM#

Trinette McClimont Rachel Shaw Gary McPherson#

TRUMPETS Owen Morris Principal

Shane Hooton

Associate Principal

William Evans Rosie Turner

John and Diana Frew#

TROMBONES Richard Shirley

Anonymous#

Mike Szabo

Principal Bass Trombone

TUBA Timothy Buzbee

Second violin Jacqueline Edwards Madeleine Jevons Jenny Khafagi Michael Loftus-Hills Lynette Rayner Viola Ceridwen Davies Isabel Morse

Horn Tim Allen-Ankins Josiah Kop

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BASSOONS

Trumpet Tristan Rebien Trombone Cian Malikides Ken McClimont Tuba Alex Hurst Timpani Brent Miller Percussion Robert Allan Greg Sully Lara Wilson Celeste Laurence Matheson Saxophone Niels Bijl Justin Kenealy

Cello Kalina Krusteva Double bass Rohan Dasika Emma Sullivan Oboe Annabelle Farid Rachel Bullen Bassoon Melissa Woodroffe

Principal

# Position supported by

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Ben Northey

Christian Li

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.

Christian Li has captivated audiences since he became the youngest-ever Junior 1st Prize-winner of the 2018 Yehudi Menuhin International Violin Competition at the age of 10. Performing with the Geneva Chamber Orchestra and the Royal Philharmonic Orchestra London, he also received the Audience Prize and the Composer Award. In 2020 he became the youngest artist ever to sign with Decca Classics.

conductor

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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violin

Born in Melbourne Australia in 2007, Christian made his solo debut at the age of 9 with the Australasian Orchestra and his professional concerto debut at 10, performing the Mendelssohn Violin Concerto with Orchestra Victoria. In 2019 he made acclaimed debuts with the Melbourne and Sydney Symphony Orchestras, The Australian Brandenburg Orchestra, and the China Philharmonic Orchestra and gave highly successful debut UK recitals at the Gower, Harrogate International and Cheltenham Music Festivals. Christian also performed at Festivals in Norway and Israel, including a televised performance at the Tel Aviv Opera House. In coming seasons, he will appear with orchestras and at festivals in Australia, the USA, Germany, Israel and Asia and will feature on Universal Music’s Disney Goes Classical release, performing with the London Symphony Orchestra.

The Planets, Op.32 Jupiter, the Bringer of Jollity The Planets must be one of the most influential musical works of the 20th century. Russell Crowe and his cohorts in Gladiator seemed that bit more craggily determined thanks to a score that reminded us of Mars. At the close of Neptune, Holst invents the fadeout. The iridescent opening of Jupiter foreshadows the work of John Adams, and for many years Anglicans have sung its big central tune as the patriotic hymn, I vow to thee my country, which was featured in the funeral service for the late Princess of Wales.

As a repository of orchestral special effects and memorable tunes, the piece has certainly earned its pop status, but its very popularity and the imitations it has spawned have disadvantaged it and its composer. We need to make an effort to hear the work with fresh ears and to remind ourselves that this was very radical music for its time. Moreover, we should note that it is atypical of its composer. An artist of great integrity, Holst refused to imitate the piece to ensure his own status, so that we sadly hear little of his other work, even though much of it is of the same quality as The Planets.

Holst, like his great friend Vaughan Williams, was of a generation educated at London’s Royal College of Music which rejuvenated British music through the study of Tudor music and the collection of folksong. The young Holst was at first a Wagnerian, and his early works show this influence in their opulence and richly chromatic harmony. After some years as a professional trombonist – playing on occasion under that master orchestrator

Planned in 1913 and composed between 1914 and 1917, the seven movements of The Planets are less about depicting large balls of gas and rock than about each planet’s astrological significance.

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GUSTAV HOLST (1874–1934)

Richard Strauss – Holst decided in 1903 to devote himself to composition. In practice, though, this meant beginning his career as an outstanding teacher at St Paul’s Girls School, Morley College, and later the RCM. In the first decade of the century he also became drawn to eastern mysticism, particularly that of Hinduism, which led, indirectly, to his development of a much leaner harmonic style.

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Program Notes

At the heart of the suite, Jupiter is an orchestral tour de force. The glittering fast music with which it opens is busy but crystal clear; its theme, like that of Mars, is based on a three-note motive, but here it is completely and solidly diatonic. The Planets was first planned during a holiday in Spain, so we shouldn’t be surprised to hear certain Iberian sounds and rhythms in the dance music which follows. This is interrupted by a fanfare of repeated chords, which ushers in the quiet statement of the celebrated maestoso theme. The quintessentially British tune may seem out of place in a celebration of the Bringer of Jollity – it is hardly thigh-slappingly funny. Curiously, too, it doesn’t reach a full close: what should be the second last chord sets off an echo of the shimmering sounds of the opening. The tune does, however, stride through tumultuous last pages of the movement.

Abridged from Gordon Kerry © 2003

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PETER ILYICH TCHAIKOVSKY (1840–1893) Violin Concerto in D, Op.35 Allegro moderato – Moderato assai Christian Li violin It was the winter of 1877, and Tchaikovsky was in love. He wrote to his brother Modest about the ‘unimaginable force’ of the passion that had developed; its object was a young violinist and student at the Moscow Conservatorium, Josef Kotek. Tchaikovsky had known ‘this wonderful youth’ for about six years. In 1876 Kotek had also acted as a go-between for Tchaikovsky and his new patron, Nadezhda von Meck, who eschewed any face to face contact with the composer. Kotek was a devoted and affectionate but platonic friend to Tchaikovsky, but predictably enough, soon became besotted with a fellow (female) student.

The composer’s ardour cooled quickly, and within three weeks of discovering Kotek’s new relationship, Tchaikovsky had made his fateful proposal to Antonina Milyukova, a former Conservatorium student who had fallen in love with him. They married two months later, and as the depth of their cultural and personal differences quickly became clear, Tchaikovsky left his wife two months after that. Milyukova, incidentally, was not the deranged harpy that histories (or myth) have made of her.

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Kotek and Tchaikovsky remained friends, however, and the Violin Concerto seems to have grown out of a promise that the composer made to write a piece for one of Kotek’s upcoming concerts. ‘We spoke,’ Tchaikovsky told his brother, ‘of the piece he ordered me to write...He repeated over and over that he would get angry if I didn’t write this piece.’

While Kotek was not, ultimately, the dedicatee or first performer of the work,

he was of enormous help to Tchaikovsky in playing through sections of the piece as the composer finished them.

After leaving his wife, Tchaikovsky, accompanied by one or other of his brothers (and at one point Kotek himself), travelled extensively in western Europe. Tchaikovsky worked on the Violin Concerto in Switzerland in early 1878, not long after completing the Fourth Symphony and the opera Eugene Onegin. Commentators are generally agreed that both of those works reflect Tchaikovsky’s emotional reactions to the traumatic events of his marriage, though the composer himself was careful, in a letter to Mme von Meck, to point out that one could only depict such states in retrospect. In any event, it seems likely that, apart from honouring a promise to Kotek, Tchaikovsky found the conventions of the violin concerto offered a way of writing a large-scale work without the personal investment of the opera and symphony.

Like the great concertos of Beethoven and Brahms, Tchaikovsky’s is in D major and in three substantial movements.

The first develops two characteristic themes within a tracery of brilliant virtuoso writing for the violin, and like Mendelssohn in his concerto, Tchaikovsky places the solo cadenza before the recapitulation of the opening material.

Abridged from Gordon Kerry © 2003

IX (Nimrod) – August Johannes Jaeger, reader for the publisher Novello & Co XIV (E.D.U.) Finale – Elgar himself (‘Edu’ being his nickname) The Enigma Variations was a ‘timely’ success. Elgar had sought recognition in London in the late 1880s but there were few performances of his works, and he and his wife, Caroline Alice, had returned to Worcestershire. Elgar felt defeated. Self-conscious of his social status and provincial origins, he bitterly toyed with taking up a trade. But things began to look up with performances of his cantatas in the 1890s.

One night in October 1898, Elgar started doodling at the piano and chanced upon a brief theme. It was in G minor, the key of the Mozart symphony (No.40) which Elgar had once reworked bar-forbar into an original composition. In its almost arbitrary contour and halting mix of crotchets and quavers, the melody had great potential for wide-ranging development. Elgar started imagining how certain friends might have varied it. This work, when completed, would single-handedly turn around the composer’s career. It was premiered at St. James’s Hall, London on 19 June 1899 under the influential conductor Hans Richter.

In the variations, Elgar’s friends are identified only by their initials. Elgar said that their identity should not matter to the audience member who ‘nose nuffin’ (a typical piece of Elgarian humorous spelling), but it is enjoyable for modern-day audiences to think how Elgar has portrayed them. Elgar biographer Michael Kennedy says Elgar chose friends whose idiosyncrasies suggested music to him. Dora Penny, for example, had a stammer. Pianist

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Variations on an Original Theme, Op.36 Enigma

H.D. Steuart-Powell would warm up with a diatonic scale pattern over the keyboard. Variation VII depicts Arthur Troyte Griffith’s drumming fortes. Viola player Isabel Fitton, ‘Ysobel’, had trouble performing music where the strings had to be crossed. The Hereford Cathedral organist Dr G.R. Sinclair was actually represented by his dog, Dan, falling down the steep bank into the river Wye, paddling upstream to a landing-place and barking joyously on landing. The cello features prominently in Variation 12 – a tribute to Basil Nevinson who would later inspire Elgar’s Cello Concerto.

Mendelssohn’s Calm Sea and Prosperous Voyage is quoted in Variation 13, said to depict Lady Mary Lygon’s departure for Australia where her brother, Earl Beauchamp, had been appointed Governor of NSW. The most famous variation, ‘Nimrod’, has perhaps the most interesting musical association. It is a musical portrait of Elgar’s publisher, A.E. Jaeger, and is called ‘Nimrod’ (‘the mighty hunter before the Lord’) because Jaeger means ‘hunter’ in German.

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EDWARD ELGAR (1857–1934)

During one of Elgar’s regular slumps in morale, Jaeger had taken ‘Edu’ (from ‘Edoo’, Alice Elgar’s name for him) for a walk and reminded him that whenever Beethoven was troubled he poured his frustrations into still more beautiful compositions. He and Elgar agreed that Beethoven’s slow movements were incomparable and in the opening bars of Nimrod, Elgar quotes the slow movement from Beethoven’s Pathétique Sonata.

The final variation is Elgar himself. As for the ‘enigma’, the word written in later over the theme, Elgar said ‘Its “dark saying” must be left unguessed…’ In his book on the Variations, Julian Rushton says that it’s undoubtedly Elgar himself.

He used the theme as signature in letters to Dora Penny. Elgar also hinted that you could play another more familiar tune over the top. Many have tried to guess this implied theme’s identity, but

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knowing or not knowing doesn’t affect enjoyment of the work.

The Enigma Variations, Elgar’s tribute to his friends, was the first work in which Elgar was wholly himself – he had written nothing of sustained originality when he first went to London – and it spawned success. Great works such as the Sea Pictures and the oratorio The Dream of Gerontius quickly followed.

Gordon Kalton Williams © 2013

PETER ILYICH TCHAIKOVSKY (1840–1893) The Nutcracker – Suite, Op. 71a Ouverture miniature Danse de la Fée Dragée (Dance of the Sugar Plum Fairy) Trépac, danse russe (Russian Dance) Valse des fleurs (Waltz of the Flowers) The magical and wondrous fantasy of a child’s Christmas portrayed in Tchaikovsky’s Nutcracker ballet makes an unlikely companion to his doomladen Sixth Symphony (Pathétique).

Yet these were the last two big works Tchaikovsky was to compose – The Nutcracker completed in April 1892 and the symphony written over seven months during the following year, shortly before his death.

Tchaikovsky was not, in fact, enthusiastic about The Nutcracker.

The choreographer, Marius Petipa, provided the composer with a scenario so explicit that Tchaikovsky, perhaps feeling not only restricted by such demands but dispirited by the flimsy and unstructured story of the ballet, considered abandoning the project.

Despite his misgivings, he persevered and came eventually to pour into this last great ballet some of his most enchanting and delicate music.

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The ballet begins with a Christmas Eve party at the home of Mayor Silberhaus,

whose children, Clara and Fritz, are busy at the Christmas tree, eagerly awaiting the distribution of presents.

Adult guests in their finery arrive and gifts are exchanged.

A late arrival is the venerable and mysterious Godfather Drosselmeyer whose sinister appearance unnerves the children until it is seen that he, too, has come bearing gifts. Among his presents are a toy soldier for Fritz and a strange gift for his goddaughter, Clara: a wooden figure of a man who cracks nuts between his bushy moustache and lower jaw. As bedtime approaches, the tired but still excited children quarrel, and Fritz breaks the nutcracker. It lies forlorn, although Clara gives it a wistful glance, and the children go upstairs. The party ends; the guests depart.

Now, in the stillness, the magic of Christmas begins. Clara returns in her nightgown, looking for the nutcracker.

Suddenly, as the clock strikes midnight, familiar objects begin to take on a new existence. An owl on top of the chiming clock resembles old Drosselmeyer; the Christmas tree looms larger and Clara seems to feel herself shrinking. On all sides, mice appear, as large as she is.

The toy soldiers and dolls come to life, including Clara’s broken nutcracker, who takes on the appearance of a military general. A pitched battle develops between the dolls and the mice, led by their fearsome seven-headed Mouse King. Although the mice appear to be winning, the Nutcracker General leads the toy soldiers in a last-ditch stand.

In desperation Clara flings her slipper at the Mouse King, thereby rescuing the hard-pressed Nutcracker from his enemies. Immediately, he is transformed into a handsome prince.

The Silberhaus drawing-room magically melts away, and we find ourselves deep in a forest, with snow falling, as Clara and her Prince Charming are

Adapted from notes © Anthony Cane and © Symphony Australia

LUDWIG VAN BEETHOVEN (1770–1827) Symphony No.6 in F, Op.68 (Pastoral) Peasants’ merrymaking (Allegro ) – Thunderstorm (Allegro) – Shepherd’s song: Thanksgiving after the storm (Allegretto) When, during the summer of 1802, Beethoven escaped the noise of Vienna to find peace in the wooded environs of Heiligenstadt, an hour and a half away by coach to the north-west of the city, his friend and pupil Ferdinand Ries inadvertently drew his attention to the sound of a shepherd’s flute in the fields. Beethoven could not hear it. Such a manifestation of his deafness was crushing. Months later he recalled the incident in the agony of his Heiligenstadt Testament. As author Romain Rolland has suggested, Beethoven could face the prospect of losing the society of human beings, but the thought that he should lose the voice of his best friend, Nature, made him give way to despair.

In choosing to glorify Nature in his Sixth Symphony (composed in 1808),

Classical Hits | 6–7 December 2021

In the second act, Clara and her Prince arrive in the Kingdom of Sweets, where everything seems to be edible: marzipan, gingerbread, or some other tempting delicacy. The good and generous Sugar Plum Fairy extends a festive welcome.

Since Clara has saved the Prince’s life by her bravery, the Fairy presents an elaborate entertainment by way of celebration. This is a series of vivid character dances, culminating in the Waltz of the Flowers. The ballet, though not the suite, ends with brilliant dances for the Prince and the Sugar Plum Fairy, and a waltz in which everyone takes part.

Beethoven does no more nor less than give praise to God for all His works.

There is no descent from the titanic Fifth Symphony to mere pictorial music in the Sixth: Beethoven made it clear that his descriptive program for the work was ‘more an expression of feeling than tone-painting.’ If the C minor Symphony was an assertion of his confidence in human will, then the F major Symphony proclaims his confidence in a divine Creator. It is the spiritual reverse of the same coin.

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transported to a land where all good dreams come true.

Composition of the Fifth and Sixth symphonies proceeded more or less concurrently (the works were premiered together in the same concert in Vienna on 22 December 1808), and it might be supposed that Beethoven turned his attention from one to the other when in need, as it were, of respite. But their lines of development were possibly deliberately parallel and complementary to each other, the Sixth in no sense being considered light relief, except inasmuch as its basic mood is one of tranquillity rather than tension; its construction expansive rather than concise.

The first two movements of the Sixth, inspired by the calm of Heiligenstadt (now virtually engulfed by the sprawl of suburban Vienna), establish tranquillity as a state of being; the idyllic existence; Nature pure and unspoilt. In the third movement, mankind intervenes with the merrymaking of peasants, raucous and bucolic; the forces of Nature react in one of the most graphic storms penned in music, and when the dark clouds lift, leaving the land cleansed and purified, humanity raises its voice in heartfelt praise.

So in the Sixth, as in the Fifth, there is a sense of purification in reaching the finale. Though the Storm is identified as an independent movement, its function is exactly parallel to the transition linking the last two movements of the Fifth – a bridge passage in the musical

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sense, linking scherzo and finale, yet psychologically a hazard or trial through which the human species must pass. It is the mood in these parallel passages in the two symphonies that is so contrasting: through the menacing dark to exultation in the Fifth; through the thrill of awestruck fear to bliss in the Sixth. In the Pastoral Symphony, leading us from a state of calm through the intervention first of human forces, then the fury of nature, to a plateau of peace, Beethoven sings praise to God in the serenity, the joyousness, and the elemental turbulence of His manifold creations, but perhaps most of all in the pure beauty in all of them.

The representation of birdsong at the end of the slow movement (nightingale portrayed by flute, quail by oboe, and cuckoo by clarinet) forms an idyllic coda to one of the most deeply felt sonata-form structures Beethoven ever created. But this, like the Storm, is no naïve pictorialism. Beethoven insisted that he only ever depicted sounds which were themselves musical and, as William Mann, points out, the ‘long liquid trill’ of the nightingale is just the way Beethoven himself sometimes expressed happiness.

Beethoven’s use of pictorial elements in the Pastoral Symphony, therefore, and the superficially radical structure of two closed movements followed by three linked movements played without a break, are clearly mere extensions and embellishments of the traditional form.

‘We have then,’ as Donald Tovey says, ‘to deal with a perfect Classical symphony.’

And one, moreover, in which Beethoven communes more closely with God than in any other of his symphonies; except, perhaps, the Ninth.

Anthony Cane © 1998/2001

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MAURICE RAVEL (1775–1927) Boléro Poor Ravel. He was joking when he described Boléro as a ‘masterpiece without any music in it’, so was very annoyed when the piece became one of his most popular works. In fact it came about when he was asked by the Russian dancer Ida Rubinstein to orchestrate parts of Albéniz’s Iberia for a ballet with a ‘Spanish’ character in 1928. Rubinstein had founded her own company in Paris that year.

It is a common and inaccurate cliché that the ‘best Spanish music was written by non-Spaniards’, but it does contain a grain of truth. Musicians from all over Europe were drawn to Spain – or to an idea of Spain – because of its relative exoticism and its musical traditions that include an estimated 1000 different dance forms. French composers in particular, such as Bizet, Chabrier and Debussy, all wrote ‘Spanish’ works. Unlike them, though, Ravel was actually of Spanish – or, to be more specific, Basque – heritage: his mother was Basque and his father Swiss, and though born in the Basque regions of south-western France, Ravel spent his entire life in Paris. But Hispanic music was of great importance to him, and Ravel explores Spanish sounds and manners especially in works like the opera L’heure espagnole (‘The Spanish Hour’, which, with its tickingclock music might also have satisfied his Swiss side!), several pieces ‘en forme de habanera’, the Rapsodie espagnole and the late ‘Don Quixote’ songs.

In the case of the ballet envisaged by Ida Rubinstein, though, it turned out that the rights to Albéniz’s music were not available, so Ravel composed his Boléro, based on an 18 th -century Spanish dance-form that is characterised by a moderate tempo and three beats to a bar. It has ‘no music’ in that, having

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established a two-bar rhythmic ostinato, with its characteristic upbeat triplet and sextuplet figures tapped out by the snared drum, Ravel introduces his simple theme, which he described as of the ‘usual Spanish-Arabian kind’.

Where the rhythmic ostinato, however, is relatively terse, the C major melody is in fact very expansive, unfurling over 16 bars and often pausing on a sustained ‘G’ between its ornate arabesque motifs. It is reiterated over and over again, embodied in different orchestral colours each time, including a marvellous moment where it appears simultaneously in three keys moving in sinuous parallel. The work’s shifting palette of colour and inexorable rhythmic tread builds massive tension, which is released explosively in its final bars as the music suddenly reaches the new key of E major.

The music’s erotic charge of constraint and release mirrors the scenario for Ida Rubinstein’s ballet, choreographed by Bronislava Nijinska (Nijinsky’s sister).

Ravel had, by no means idly, suggested Boléro could accompany a story where passion is contrasted by the mechanised environment of a factory. Nijinska, however, had the dancer in an empty café, dancing alone on a table as the room gradually fills with men overcome, as Michael J. Puri notes, ‘by their lust for her’ which they express through ever more frenetic dance.

Gordon Kerry © 2007/12

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Supporters

Supporters MSO PATRON The Honourable Linda Dessau AC, Governor of Victoria

CHAIRMAN’S CIRCLE Dr Marc Besen AC and the late Dr Eva Besen AO Gandel Philanthropy The Gross Foundation Di Jameson Harold Mitchell Foundation Hyon Ju Newman Lady Potter AC CMRI The Cybec Foundation The Pratt Foundation Elizabeth Proust AO and Brian Lawrence The Ullmer Family Foundation

ARTIST CHAIR BENEFACTORS Chief Conductor Jaime Martín Dr Marc Besen AC and the late Dr Eva Besen AO Cybec Assistant Conductor Chair Nicholas Bochner The Cybec Foundation Concertmaster Chair Sophie Rowell The Ullmer Family Foundation Concertmaster Chair Dale Barltrop David Li AM and Angela Li Assistant Concertmaster Tair Khisambeev Di Jameson Young Composer in Residence Matthew Laing The Cybec Foundation

PROGRAM BENEFACTORS Cybec 21st Century Australian Composers Program The Cybec Foundation Digital Transformation Perpetual Foundation – Alan (AGL) Shaw Endowment, Telematics Trust, The Ian Potter Foundation, The Margaret Lawrence Bequest – Managed by Perpetual 16

◊ Denotes Adopt a Musician supporter

East meets West The Li Family Trust Melbourne Music Summit Erica Foundation Pty Ltd MSO Live Online Crown Resorts Foundation, Packer Family Foundation MSO Capacity Building Di Jameson (Senior Manager, Philanthropy and External Affairs), The Alison Puzey Charitable Fund as part of Equity Trustees Sector Capacity Building Fund supporting Musicians’ iPads MSO Education Margaret Ross AM and Dr Ian Ross MSO For Schools Crown Resorts Foundation, Packer Family Foundation, The Department of Education and Training, Victoria, through the Strategic Partnerships Program and the Victorian Challenge and Enrichment Series (VCES) MSO Regional Touring Creative Victoria, Freemasons Foundation Victoria, Robert Salzer Foundation, Sir Andrew & Lady Fairley Foundation, The Ray & Joyce Uebergang Foundation The Pizzicato Effect Flora & Frank Leith Charitable Trust, The Marian and E.H. Flack Trust, Scobie and Claire Mackinnon Trust, Jenny Anderson, Australian Decorative And Fine Arts Society, Barbara Bell in memory of Elsa Bell, Janet H Bell, Richard and Janet Chauvel, Caroline Davies, Alex and Liz Furman, Robert and Janet Green, Jean Hadges, Hilary Hall in memory of Wilma Collie, Rosemary Jacoby in memory of James Jacoby, Jenkins Family Foundation, Jeanette King, Christopher and Anna Long, H E McKenzie, Shirley McKenzie, Marjorie McPherson, Kerryn Pratchett, Opalgate Foundation, Joanne Soso, Margaret Ross AM and Dr Ian Ross, Jenny Tatchell, Anonymous Sidney Myer Free Concerts Supported by the Sidney Myer MSO Trust Fund and the University of Melbourne

PRINCIPAL PATRONS $5,000+

Dr Marc Besen AC and the late Dr Eva Besen AO The Gross Foundation◊ Di Jameson◊ David Li AM and Angela Li◊ The Pratt Foundation The Ullmer Family Foundation◊ Anonymous (1)◊

Adrienne Basser Barbara Bell, in memory of Elsa Bell Dr Shirley Chu John and Lyn Coppock Ann Darby, in memory of Leslie J. Darby Wendy Dimmick Andrew Dudgeon AM◊ Bill Fleming John and Diana Frew◊ Susan Fry and Don Fry AO Sophie Galaise and Clarence Fraser◊ Geelong Friends of the MSO◊ Colin Golvan AM QC and Dr Deborah Golvan Jennifer Gorog Dr Rhyl Wade and Dr Clem Gruen Hilary Hall, in memory of Wilma Collie Louis J Hamon OAM Hartmut and Ruth Hofmann Doug Hooley Jenny and Peter Hordern Dr Alastair Jackson AM Suzanne Kirkham Dr Jerry Koliha and Marlene Krelle Dr Elizabeth A Lewis AM◊ Dr Caroline Liow LRR Family Trust The Mercer Family Foundation Gary McPherson◊ Anne Neil◊ Dr Paul Nisselle AM Ken Ong Bruce Parncutt AO Dr Rosemary Ayton and Dr Sam Ricketson Andrew and Judy Rogers◊ The Rosemary Norman Foundation◊ Helen Silver AO and Harrison Young Anita Simon Dr Michael Soon The Hon Michael Watt QC and Cecilie Hall◊ Lyn Williams AM Anonymous (3)

VIRTUOSO PATRONS $50,000+ Margaret Jackson AC◊ Annette Maluish Hyon-Ju Newman◊ Elizabeth Proust AO and Brian Lawrence

IMPRESARIO PATRONS $20,000+ Harold Bentley The Hogan Family Foundation David Krasnostein AM and Pat Stragalinos The Marian & E.H. Flack Trust Lady Primrose Potter AC CMRI Anonymous (1)

MAESTRO PATRONS $10,000+ Christine and Mark Armour Margaret Billson and the late Ted Billson Krystyna Campbell-Pretty AM Danny Gorog and Lindy Susskind◊ Robert and Jan Green Nereda Hanlon and Michael Hanlon AM◊ Rosemary Jacoby, in memory of James Jacoby Peter Lovell Paul Noonan Opalgate Foundation Ian and Jeannie Paterson Glenn Sedgwick◊ Gai and David Taylor Athalie Williams and Tim Danielson Anonymous (1)◊

Supporters

PLATINUM PATRONS $100,000+

17

Supporters 18

ASSOCIATE PATRONS $2,500+ Mary Armour Sue and Barry Peake Anne Bowden Julia and Jim Breen Alan and Dr Jennifer Breschkin Patricia Brockman Dr John Brookes Stuart Brown Jill and Christopher Buckley Lynne Burgess Oliver Carton Richard and Janet Chauvel Breen Creighton and Elsbeth Hadenfeldt Leo de Lange Sandra Dent Douglas J Savige Barry Fradkin OAM and Dr Pam Fradkin Alex and Liz Furman Kim and Robert Gearon Goldschlager Family Charitable Foundation Merv Keehn and Sue Harlow Susan and Gary Hearst John Jones The Ilma Kelson Music Foundation Ann Lahore Lesley McMullin Foundation Andrew Lockwood The Cuming Bequest Margaret and John Mason OAM H E McKenzie Dr Isabel McLean Douglas and Rosemary Meagher Ian Merrylees Wayne and Penny Morgan Patricia Nilsson◊ Alan and Dorothy Pattison Barrie and Heather Pover Tom and Elizabeth Romanowski Lady Marigold Southey AC Steinicke Family Peter J Stirling ◊ Denotes Adopt a Musician supporter

Jenny Tatchell Clayton and Christina Thomas Jessica Thomson-Robbins Nic and Ann Willcock Lorraine Woolley Anonymous (3)◊

PLAYER PATRONS $1,000+ David and Cindy Abbey Dr Sally Adams Australian Decorative & Fine Arts Society Geoffrey and Vivienne Baker Marlyn Bancroft and Peter Bancroft OAM Janet H Bell Joyce Bown The Brett Young Family Patricia Brockman Robert and Jill Brook Nigel Broughton and Sheena Broughton Suzie Brown OAM and the late Harvey Brown Ronald and Kate Burnstein Dr Lynda Campbell Dr Sang and Candace Chung Kaye Cleary Michael Craig Andrew Crockett AM and Pamela Crockett Panch Das and Laurel Young-Das Caroline Davies Merrowyn Deacon Rick and Sue Deering John and Anne Duncan Elaine Walters OAM Grant Fisher and Helen Bird Alex Forrest Applebay Pty Ltd David Frenkiel and Esther Frenkiel OAM Simon Gaites Anthony Garvey and Estelle O’Callaghan David Gibbs and Susie O’Neill Sonia Gilderdale Janette Gill Dr Marged Goode

Adriana and Sienna Pesavento Alan Poynter in memory of Muriel Poynter Peter Priest Professor Charles Qin and Kate Ritchie Eli Raskin James Ring Dr Peter Rogers and Cathy Rogers OAM Dr Ronald and Elizabeth Rosanove Margaret Ross AM and Dr Ian Ross Marie Rowland Jan Ryan Dr Paul Schneider and Dr Margarita Silva-Schneider Elisabeth and Doug Scott Sparky Foundation Jeffrey Sher QC and Diana Sher OAM Martin and Susan Shirley P Shore Hon Jim Short and Jan Rothwell Short John E Smith Dr Norman and Dr Sue Sonenberg Barry Spanger Dr Vaughan Speck Stephen and Caroline Brain Dr Joel Symons and Liora Symons Russell Taylor and Tara Obeyesekere Christina Turner Ann and Larry Turner The Hon Rosemary Varty Leon and Sandra Velik P J Warr in memory of Peter Gates The Reverend Noel Whale Edward and Paddy White Deborah Whithear Marian Wills Cooke and Terry Wills Cooke OAM Richard Withers Anonymous (15)

Supporters

Catherine Gray Chris Grikscheit and Christine Mullen Margie and Marshall Grosby Jennifer Gross Dr Sandra Hacker AO and Mr Ian Kennedy AM Jean Hadges Tilda and the late Brian Haughney Peter and Lyndsey Hawkins David H Hennell Anthony and Karen Ho Katherine Horwood Penelope Hughes Basil and Rita Jenkins John Kaufman Irene Kearsey & Michael Ridley Drs Bruce and Natalie Kellett Dr Anne Kennedy John Keys Professor David Knowles and Dr Anne McLachlan Graham and Jo Kraehe Janet and Ross Lapworth Bryan Lawrence Peter Lawrence Dr Susan Linton Elizabeth H Loftus Chris and Anna Long Shane Mackinlay Wayne McDonald and Kay Schroer Margaret Mcgrath Nigel and Debbie McGuckian Shirley A McKenzie John and Rosemary McLeod Don and Anne Meadows Dr Eric Meadows Sylvia Miller Dr Anthony and Dr Anna Morton David O’Connell Timothy O’Connell Brendan O’Donnell Laurence O’Keefe and Christopher James Roger Parker Alan and Dorothy Pattison Ian Penboss

OVERTURE PATRONS $500+* Margaret Abbey PSM Mario M Anders Jenny Anderson Silvia Andrini Liz and Charles Baré

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Supporters

Miriam Bass Chris Baudinette Heather and David Baxter Sascha O. Becker Peter Berry and Amanda Quirk Dr William Birch AM Allen and Kathryn Bloom Graham and Mary Ann Bone Anita and Norman Bye Pamela M Carder Kate Cherry Charmaine Collins Geoffrey Constable Alex Coppe Marjorie Cornelius Dr Sheryl Coughlin and Paul Coughlin Gregory Crew Dr Daryl Daley and Nola Daley Carol des Cognets Nada Dickinson Bruce Dudon David and Dr Elizabeth Ebert Cynthia Edgell Alisa Fiddes Melissa and Aran Fitzgerald Brian Florence Sandra Gillett and Jeremy Wilkins David and Geraldine Glenny Hugo and Diane Goetze Pauline Goodison Louise Gourlay OAM Cindy Goy Christine Grenda Jason Grollo Dawn Hales Cathy Henry Clive and Joyce Hollands

Natasha Holmes Roderick Home Rob Jackson Shyama Jayaswal Richard Jefferies Sandy Jenkins Xiaoxiao Jia Sue Johnston Huw Jones Fiona Keenan Phillip Kidd Belinda and Malcolm King Conrad O’Donohue and Rosemary Kiss Tim Knaggs David Kneipp Jane Kunstler Elizabeth-Anne Lane Paschalina Leach Jane Leitinger Dr Jenny Lewis Janice Mayfield Dr Anne McDougall Dr Alan Meads and Sandra Boon Jennifer and Andreas Meister Marie Misiurak Ann Moore Kevin Morrish Joan Mullumby Adrian and Louise Nelson Tania Nesbit Michael Noble Rosemary O’Collins Phil Parker Sarah Patterson Pauline and David Lawton Wilma Plozza-Green Kerryn Pratchett

* 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 20

CONDUCTOR’S CIRCLE Jenny Anderson David Angelovich G C Bawden and L de Kievit Lesley Bawden Joyce Bown Mrs Jenny Bruckner and the late Mr John Bruckner Ken Bullen Peter A Caldwell Luci and Ron Chambers Beryl Dean Sandra Dent Alan Egan JP Gunta Eglite Marguerite Garnon-Williams Drs L C Gruen and R W Wade

Louis J Hamon AOM Carol Hay Graham Hogarth Rod Home Tony Howe Lindsay and Michael Jacombs Laurence O’Keefe and Christopher James John Jones Grace Kass and the late George Kass Sylvia Lavelle Pauline and David Lawton Cameron Mowat Ruth Muir David Orr Matthew O’Sullivan Rosia Pasteur Penny Rawlins Joan P Robinson Anne Roussac-Hoyne and Neil Roussac Michael Ryan and Wendy Mead Andrew Serpell Jennifer Shepherd Suzette Sherazee Dr Gabriela and Dr George Stephenson 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 Marian and Terry Wills Cooke OAM 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

Supporters

Akshay Rao Professor John Rickard Liliane Rusek and Alexander Ushakoff Viorica Samson Carolyn Sanders Dr Nora Scheinkestel Dr Peter Seligman David Sherwood Dr Frank and Valerie Silberberg Matt Sinclair Olga Skibina Brian Snape AM and the late Diana Snape Colin and Mary Squires Ruth Stringer Anthony Summers Allan and Margaret Tempest Reverend Angela Thomas Brett Thomas Amanda Watson Michael Webber and Ruth Fincher Angela Westacott Barry and Julie Wilkins Fiona Woodard Dr Kelly Wright and Dr Heathcote Wright Dr Susan Yell Anonymous (34)

21

Supporters

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 Chairman David Li AM Deputy Co-Chair Di Jameson Helen Silver AO Managing Director Sophie Galaise Board Directors Shane Buggle Andrew Dudgeon AM Danny Gorog Lorraine Hook Margaret Jackson AC David Krasnostein AM Gary McPherson Hyon-Ju Newman Glenn Sedgwick Company Secretary Oliver Carton

HONORARY APPOINTMENTS Life Members Dr Marc Besen AC John Gandel AC and Pauline Gandel AC Sir Elton John CBE Harold Mitchell AC Lady Potter AC CMRI Jeanne Pratt AC Artistic Ambassadors Tan Dun Lu Siqing MSO Ambassador Geoffrey Rush AC The MSO honours the memory of Life Members Dr Eva Besen AO John Brockman OAM The Honourable Alan Goldberg AO QC Roger Riordan AM Ila Vanrenen

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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)

FIRST VIOLINS

CELLOS

FRENCH HORN

Noah Coyne Nima Alizadeh Chloe Shieh Autumn Lee Miriam Baes Chloe-Paris Wade Najia Hanna

Douglas Joshi Rowan Parr Zachary Shieh Disa Smart Vicky Deng Will Hartley-Keane

Corey East-Bryans Tom Allen Julian Gillies-Lekakis Scott Plenderleith

SECOND VIOLINS

Ella Evans Timothy Farrell Daniel Anderson Ryan Zhang Frank Cawte

Classical.

On demand.

Euan Ka Emma Woo Lulu Wilms Jerome Tan Naamah Hanna Eric Dao Adel Kalnoki

DOUBLE BASSES

TRUMPETS

Thien Pham Jim Millman

TROMBONES

Joshua Dulfer Angus Pace

Experience the MSO — and more of the TUBAworld’s finest orchestras — at MSO.LIVE. Watch live andHansen on-demand Finnlay FLUTES HD performances,Minwu with quality, on mobile, SOPRANO SAXOPHONE Husuperior audio Joseph Hourigan tablet, and desktop devices.

Ryan Lynch

VIOLAS

Louise Turnbull Lillian Vowels Hiu Sin Hillary Cheng James Casala Millie Davidson

OBOES Michael Liu Anika Weibgen

PERCUSSION Joseph Fiddes Madeleine Ng

HARP Click here to startCLARINETS your membership at MSO.LIVE Patrick Vaughan Isabel Li BASSOONS Laura Radajewski Each Zhang

Glavier Aldina KEYBOARD Lily Begg

Give the Gift of Music

Developing our artform by commissioning new works for the orchestral canon provides Australian artists and musicians with real opportunities to innovate and create. In turn, their works speak to audiences, connecting individuals on a deep level through shared experiences of place.

We invite you to give the gift of music by making a donation today where your gift will directly support our commissioning program and the creation of new Australian works, tomorrow.

C L I C K TO D O N AT E

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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

East meets West Sponsor

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BEST SEAT in the house

As Principal Partner of the Melbourne Symphony Orchestra, we know the importance of delighting an audience. That’s why when you’re in Emirates First, you’ll enjoy the ultimate flying experience with fine dining at any time in your own private suite.

*Emirates First Class Private Suite pictured. For more information visit emirates.com/au, call 1300 303 777, or contact your local travel agent.