PLAYS DAS LIED VON DER ERDE 29 JUNE – 1 JULY 2017
CONCERT PROGRAM
The perfect Saturday MSO PLAYS SHOSTAKOVICH 5 Saturday 12 August | 2pm SIR ANDREW DAVIS UNCOVERS BRUCKNER 7 Saturday 2 September | 2pm MSO PLAYS RAVEL Saturday 23 September | 2pm MSO PLAYS RACHMANINOV 2 Saturday 25 November | 2pm Arts Centre Melbourne, Hamer Hall
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Melbourne Symphony Orchestra Sir Andrew Davis conductor Catherine Wyn-Rogers mezzo-soprano Stuart Skelton tenor
Schubert Symphony No.8 Unfinished INTERVAL
Mahler Das Lied von der Erde
Running time: 2 hours, including 20-minute interval In consideration of your fellow patrons, the MSO thanks you for dimming the lighting on your mobile phone. The MSO acknowledge the Traditional Owners of the land on which we are performing. We pay our respects to their Elders, past and present, and the Elders from other communities who may be in attendance.
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MELBOURNE SYMPHONY ORCHESTRA Established in 1906, the Melbourne Symphony Orchestra (MSO) is Australia’s oldest professional orchestra. Chief Conductor Sir Andrew Davis has been at the helm of MSO since 2013. Engaging more than 2.5 million people each year, the MSO reaches a variety of audiences through live performances, recordings, TV and radio broadcasts and live streaming. As a truly global orchestra, the MSO collaborates with guest artists and arts organisations from across the world. Its international audiences include China, where the MSO performed in 2016 and Europe where the MSO toured in 2014. The MSO performs a variety of concerts ranging from core classical performances at its home, Hamer Hall at Arts Centre Melbourne, to its annual free concerts at Melbourne’s largest outdoor venue, the Sidney Myer Music Bowl. The MSO also delivers innovative and engaging programs to audiences of all ages through its Education and Outreach initiatives. The MSO also works with Associate Conductor, Benjamin Northey, and the Melbourne Symphony Orchestra Chorus, as well as with such eminent recent guest conductors as Thomas Ades, John Adams, Tan Dun, Charles Dutoit, Jakub Hrůša, Markus Stenz and Simone Young. It has also collaborated with non-classical musicians including Nick Cave, Sting, Tim Minchin, Ben Folds, DJ Jeff Mills and Flight Facilities.
SIR ANDREW DAVIS CONDUCTOR Sir Andrew Davis is Music Director and Principal Conductor of the Lyric Opera of Chicago and Chief Conductor of the Melbourne Symphony Orchestra. In a career spanning over 40 years, he has been the musical and artistic leader at several of the world's most distinguished opera and symphonic institutions, including the BBC Symphony Orchestra (1991-2004), Glyndebourne Festival Opera (1988-2000), and the Toronto Symphony Orchestra (1975-1988). He recently received the honorary title of Conductor Emeritus from the Royal Liverpool Philharmonic Orchestra. One of today's most recognised and acclaimed conductors, Sir Andrew has conducted virtually all the world's major orchestras, opera companies, and festivals. Born in 1944 in Hertfordshire, England, Sir Andrew studied at King’s College, Cambridge, where he was an organ scholar before taking up conducting. His wide-ranging repertoire encompasses the Baroque to contemporary, and his vast conducting credits span the symphonic, operatic and choral worlds. In 1992 Maestro Davis was made a Commander of the British Empire, and in 1999 he was made a Knight Bachelor in the New Year Honours List.
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Image courtesy Dario Acosta Photography
CATHERINE WYN-ROGERS MEZZO-SOPRANO
STUART SKELTON TENOR
Catherine Wyn-Rogers has performed in concert with conductors such as Bernard Haitink, Gennady Rozhdestvensky, Sir Charles Mackerras, Zubin Mehta, Sir Roger Norrington and Sir Andrew Davis, and appeared at festivals such as the BBC Proms, Aldeburgh, and the Three Choirs. Recordings include The Dream of Gerontius with Vernon Handley, Mozart’s Vespers with Trevor Pinnock, Peter Grimes with the London Symphony and Sir Colin Davis, and Graham Johnson’s Complete Schubert Edition for Hyperion.
Winner of the 2014 International Opera Awards for Best Male Singer and 2 Helpmann Awards, Stuart Skelton’s repertoire encompasses roles from Wagner's Lohengrin, Parsifal, Rienzi, Siegmund and Erik to Strauss’s Kaiser and Bacchus, Janacek’s Laca, Saint-Saens’ Samson, Beethoven's Florestan and Britten’s Peter Grimes.
She began an ongoing relationship with the Royal Opera House, Covent Garden in 1989 as Schwertleite in Die Walküre. Catherine Wyn-Rogers has also been a regular guest at Bavarian State Opera and worked at Scottish Opera, La Scala, the Semper Opera Dresden and Houston Grand Opera, among others. Recent highlights have included a new production of Frank Martin’s Le vin herbé with Welsh National Opera, Barber’s Vanessa with the Deutsches Symphonie-Orchester, and Schoenberg’s Moses und Aron in Madrid. Future performances include Messiah with the London Handel Festival Orchestra and Peter Grimes at the Edinburgh Festival.
He appears regularly on the leading concert and operatic stages of the world, including Berlin, London, Los Angeles, Munich, Paris, Tokyo and Vienna with orchestras including the Berlin Philharmonic, Boston Symphony, L.A Philharmonic, London Symphony, Vienna Philharmonic and at the BBC Proms. He has sung with such acclaimed conductors as Vladimir Ashkenazy, Daniel Barenboim, Jiři Bèlohlavek, James Conlon, Sir Andrew Davis, Christoph von Dohnanyi, Mariss Jansons, Philippe Jordan, James Levine, Lorin Maazel, Sir Charles Mackerras, Sir Simon Rattle and Simone Young. Recent performances have included Tristan (Tristan und Isolde) for the Metropolitan Opera, English National Opera, and at the Baden-Baden Festival with the Berlin Philharmonic, Lohengrin for Opéra National de Paris, Laca (Jenůfa) for the Bavarian State Opera.
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PROGRAM NOTES
FRANZ SCHUBERT (1797–1828) Symphony No.8 in B minor, D759 Unfinished Allegro moderato Andante con moto
Schubert made something of a habit of not finishing symphonies; the B minor work is one of four of which sections or whole movements were begun and then abandoned at various times, beginning in 1811, over Schubert's life. In the case of the B minor Symphony though, the two movements we have were completed in full, and there exists a 20-bar sketch for the scherzo. These were composed in October 1822, at a time when the 25-year-old Schubert was enjoying the first intimations of success. His vocal works – solo and part-songs – were enjoying public performances, and he was actually earning decent fees from the publication of various songs beginning with Erlkönig and Gretchen am Spinnrade. Other large-scale works from this time include the opera Alfonso und Estrella and the Mass in A flat. There are several possible explanations for Schubert leaving the work aside. He may have seen little opportunity for performance of symphonic music, though he did go on to complete the ‘Great’ C major Symphony. He wanted to pursue opera composition, though such dreams would go unfulfilled. The aesthetic and social milieu of poets and singers in which Schubert mixed may 6
have encouraged him to concentrate on songs. It is possible, though we can’t know, that he had begun to suffer from the disease that would kill him. While there have been attempts to complete the scherzo and then tack on a bit of the incidental music to Rosamunde by way of finale, the piece arguably works best as a twomovement ‘torso’. In many respects it is unusual for its time. B minor, for instance, was not a common key for orchestral music (certain keys suiting certain instruments, especially brass, better than others) and an opening movement in 3/4 was relatively unusual (Beethoven’s Third and Eighth Symphonies are exceptions). Then there is the mood created by deft, and ‘unclassical’, touches of orchestration: the brooding bass-register melody at the start, answered by the shimmer of higher strings; the risky (then as now) doubling of oboe and clarinet to create the distinctive timbre of the first theme; and the sudden retraction of lavish to simple textures – a single note or throbbing syncopation, as in the transition to the cello’s second theme. Schubert is quite capable of the sort of contrapuntal elaboration that we might find in a work of Mozart, Haydn or his teacher Salieri, but in his often terse and highly gestural rhetoric we can hear his assimilation of the lessons of Beethoven. Marked Andante con moto, the second movement is hardly slow, and in its range from weightless lyricism to the hammering of short motifs, from lucid
textures to passages of intricate counterpoint, it provides a kind of mirror to the opening movement. Its final achievement of peace in a quietly glowing texture seems a hard act to follow, even if Schubert did start on a scherzo. Perhaps, as conductor Nikolaus Harnoncourt is convinced, the piece remained unfinished because ‘the form is perfect; there is nothing more to say’. © Gordon Kerry 2016 The Melbourne Symphony Orchestra first performed this symphony on 15 April 1939 under conductor Bernard Heinze, and most recently on 22 April 2016 with Benjamin Northey.
GUSTAV MAHLER
(1860–1911)
Das Lied von der Erde (The Song of the Earth) Symphony for contralto (or baritone), tenor and orchestra after Hans Bethge’s Die Chinesische Flöte (The Chinese Flute) Das Trinklied vom Jammer der Erde (The Drinking Song of the Earth’s Sorrow) Der Einsame im Herbst (The Lonely Man in Autumn) Von der Jugend (Of Youth) Von der Schönheit (Of Beauty) Der Trunkene im Frühling (The Drunken Man in Spring) Der Abschie (The Farewell) Catherine Wyn-Rogers mezzo-soprano Stuart Skelton tenor
Bruno Walter, who had conducted the world premiere of Das Lied von der Erde after the composer’s death in 1911, gave what was by all accounts a great performance of it at the 1947 Edinburgh Festival. The work ends with one of the great cathartic moments in music: the quiet repetition of the word ‘ewig’ (for ever) as the music passes into silence in a haze of bells and plucked sounds. The contralto soloist on that occasion, the incomparable Kathleen Ferrier, was so overcome by emotion that she was unable to sing the final words without weeping. In response to Ferrier’s apologies for her ‘unprofessional’ behaviour, Walter is supposed to have said, ‘My dear Miss Ferrier, if we were all as professional as you we would all be in tears.’ This 7
PROGRAM NOTES
was not mere gallantry: Walter knew the power of this music. A respected colleague of Mahler’s, it was he that the composer had asked of the work, ‘Is it at all bearable? Will it drive people to do away with themselves?’ This, in turn, was not mere Romantic hyperbole. At the beginning of 1907 Mahler had been diagnosed with a heart condition which had worsened significantly over the intervening months. In addition to this, and the stress of the machinations which caused him to resign as Director of the Vienna Opera, his four-year-old daughter died of scarlet fever and diphtheria; as the coffin was being lifted into the cortege Alma Mahler’s mother suffered a heart attack, and Alma herself soon suffered emotional prostration under the strain. Mahler continued to work and to plan for the future, but it is hard to imagine that the experiences didn’t concentrate his mind somewhat. In 1907, Mahler received a copy of Die Chinesische Flöte (The Chinese Flute) by Hans Bethge (1876-1946). Bethge’s renditions of 83 Chinese poems were somewhat removed from their source, being German versions of French translations. Furthermore, Mahler made significant alterations and interpolations of his own to the seven poems he chose to set. Neither poetry nor music claims to be authentically Chinese; philosopher Theodor Adorno argued that the work ‘does not take itself literally but grows eloquent through inauthenticity’. Broadly speaking, the piece expresses 8
an intense love of the physical world through images of wine, love, the moon and everyday life, and an acute sense of our limited time in that world. Scholar Michael Kennedy calls it Mahler’s ‘supreme masterpiece…filled with indefinable sadness and longing yet ultimately it is not depressing’. The Song of the Earth was originally conceived as a song cycle but as Adorno has said, ‘symphonic expansion bursts the limits of the song’, hence its final designation as a symphony. Alma Mahler wrote in her often unreliable memoirs that ‘at first [Mahler] wrote The Song of the Earth as the ninth, but crossed the number out’, and, thinking of Beethoven and Bruckner in particular, ‘it was a superstition of Mahler’s that no great writer of symphonies got beyond his ninth.’ Michael Kennedy accepts this theory ‘with some reluctance and scepticism because Mahler…is likely to have realised that although The Song of the Earth is symphonic, it stands apart from the rest of the series’. Formally, though, the work recalls Mahler’s Third Symphony in its use of six movements of which the last is a long Adagio preceded by shorter intermezzos. The first song, The Drinking Song of the Earth’s Sorrow, wastes no time in signalling the power and subtlety of Mahler’s art. Within the first few bars we hear distinctive touches in the scoring – a muscular fanfare from the horns, flutter-tonguing in the flutes, and the audacious use of the tenor’s high register at full volume. The text, based on a poem by the
8th-century Li-Tai-Po, laments that in the face of the eternity of the earth and sky we have less than a hundred years each to enjoy it, so should do so with wine and music; impending death is unforgettably represented by the image of an ape howling in a graveyard. The Lonely Man in Autumn, after a poem by Chang-Tsi, a contemporary of Li-Tai-Po, begins with a three-note motif from the oboe which pervades the whole work. The loneliness of the poet, and his yearning for spring or death, is memorably reflected in the music which, as Adorno puts it, has the colour of ‘old gold’. Of Youth is the first of the three short intermezzos which bridge the extended slow movements. With its imagery of mirror images, Adorno described it as a song ‘which ends like a transparent mirage’. Of Beauty presents a tableau of young women picking flowers and young men riding horses. The ‘drunken man’ of the fifth song is perhaps the same one that Li-Tai-Po introduced in the first, though having decided that life is but a dream, he is now a happier drunk. In a central episode he hears a bird singing (represented by solo violin and piccolo) that spring has come in the night, but no matter: he’ll just drink some more and then sleep. The Farewell sets two poems. MongKao-Yen’s describes the beauties of evening, the moon ‘floating on the blue
sky-lake’. A second section reduces the orchestral sound to almost nothing as night falls and the poet waits for his friend to whom he must bid a last farewell. To represent the poet’s ‘lute’ Mahler introduces a rare visitor to the orchestra, the mandolin, used in a way which manages to be self-consciously exotic without being kitsch. This leads to an ecstatic section as the poet anticipates his friend’s arrival. The orchestra then plays a long passage without the singer, which is solemn and funereal – perhaps depicting the friend’s imminent and final journey. The text of the final section is after a poem by Wang Wei. The friend arrives and takes a ritual farewell drink. He explains that fortune has not been kind, and that he must ride in search of his homeland. A whole-tone chord, reminiscent of Debussy, seems to dissolve in the air, introducing the overwhelming beauty of the work’s final moments, where ‘the dear earth everywhere blooms in spring’ with the promise of blue skies. These elements, such a insult to the mortality of the poet in the first song, take on a comforting and redemptive quality. Adorno said that the music ‘weeps without reason like one overcome by remembrance; no weeping had more reason’. No wonder Kathleen Ferrier wept too. Abridged from a note by Gordon Kerry © 2002 The Melbourne Symphony Orchestra first performed Das Lied von der Erde on 26 November 1960 with conductor Henry Krips and soloists Lauris Elms and Ken Neate. The Orchestra most recently performed it in April 1990 under Jorge Mester, with Elizabeth Campbell and Thomas Edmonds.
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MELBOURNE SYMPHONY ORCHESTRA Sir Andrew Davis Chief Conductor
SECOND VIOLINS
CELLOS
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Principal The Gross Foundation#
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Associate Principal
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Monica Curro
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Dale Barltrop Concertmaster
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Anonymous#
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John Marcus
Cong Gu Andrew Hall
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Principal
Peter Edwards
Rachel Homburg Isy Wasserman Philippa West Patrick Wong Roger Young Aaron Barnden* Amy Brookman*
Assistant Principal
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Michael Aquilina#
Peter Fellin Deborah Goodall Lorraine Hook Kirstin Kenny Ji Won Kim Eleanor Mancini
VIOLAS
Christopher Moore #
David and Helen Moses
Mark Mogilevski Michelle Ruffolo Kathryn Taylor #
Michael Aquilina
Jacqueline Edwards* Oksana Thompson*
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Assistant Principal Danny Gorog and Lindy Susskind#
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Associate Principal
Lauren Brigden Katharine Brockman Christopher Cartlidge Anthony Chataway Gabrielle Halloran Trevor Jones Cindy Watkin Elizabeth Woolnough Caleb Wright Gaëlle Bayet† Gregory Daniel*
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Jack Schiller Principal
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Natasha Thomas CONTRABASSOON
Brock Imison Principal HORNS
Grzegorz Curyla*§
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Saul Lewis
Principal Third
Jenna Breen Abbey Edlin
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Christine Turpin* PERCUSSION
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Melina van Leeuwen* CELESTE
Louisa Breen* MANDOLIN
Doug de Vries*
# Position supported by * Guest Musician † On exchange from West German Radio Symphony § Courtesy of Malaysian Philharmonic Orchestra 11
SUPPORTERS MSO PATRON The Honourable Linda Dessau AC Governor of Victoria
ARTIST CHAIR BENEFACTORS Anonymous Principal Flute Chair Di Jameson Principal Viola Chair Joy Selby Smith Orchestral Leadership Chair The Gross Foundation Principal Second Violin Chair The Newman Family Foundation Principal Cello Chair The Ullmer Family Foundation Associate Concertmaster Chair The Cybec Foundation Cybec Assistant Conductor Chair
PROGRAM BENEFACTORS The Cybec Young Composer in Residence Made possible by the Cybec Foundation Meet The Orchestra Made possible by The Ullmer Family Foundation East Meets West Supported by the Li Family Trust The Pizzicato Effect (Anonymous) Collier Charitable Fund The Marian and E.H. Flack Trust Schapper Family Foundation Supported by the Hume City Council’s Community Grants Program MSO Education Supported by Mrs Margaret Ross AM and Dr Ian Ross 12
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SUPPORTERS THE MAHLER SYNDICATE David and Kaye Birks Mary and Frederick Davidson AM Tim and Lyn Edward John and Diana Frew Francis and Robyn Hofmann The Hon Dr Barry Jones AC Dr Paul Nisselle AM Maria Solà The Hon Michael Watt QC and Cecilie Hall
TRUSTS AND FOUNDATIONS Alan (AGL) Shaw Endwoment, managed by Perpetual Collier Charitable Fund Crown Resorts Foundation and the Packer Family Foundation The Cybec Foundation The Marian and E.H. Flack Trust Gandel Philanthropy The Scobie and Claire Mackinnon Trust The Harold Mitchell Foundation Ken & Asle Chilton Trust, managed by Perpetual Linnell/Hughes Trust, managed by Perpetual The Pratt Foundation Telematics Trust
CONDUCTOR’S CIRCLE Current Conductor’s Circle Members Jenny Anderson David Angelovich G C Bawden and L de Kievit Lesley Bawden Joyce Bown
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Mrs Jenny Brukner and the late Mr John Brukner Ken Bullen Luci and Ron Chambers Beryl Dean Sandra Dent Lyn Edward Alan Egan JP Gunta Eglite Marguerite GarnonWilliams Louis Hamon OAM Carol Hay Tony Howe Laurence O'Keefe and Christopher James Audrey M Jenkins John and Joan Jones George and Grace Kass Mrs Sylvia Lavelle Pauline and David Lawton Cameron Mowat Rosia Pasteur Elizabeth Proust AO Penny Rawlins Joan P Robinson Neil Roussac Anne Roussac-Hoyne Ann and Andrew Serpell Jennifer Shepherd Profs. Gabriela and George Stephenson Pamela Swansson Lillian Tarry Dr Cherilyn Tillman Mr and Mrs R P Trebilcock Michael Ullmer Ila Vanrenen The Hon. Rosemary Varty Mr Tam Vu Marian and Terry Wills Cooke Mark Young Anonymous (23)
The MSO gratefully acknowledges the support received from the Estates of: Angela Beagley Gwen Hunt Pauline Marie Johnston C P Kemp Peter Forbes MacLaren Lorraine Maxine Meldrum Prof Andrew McCredie Miss Sheila Scotter AM MBE Marion A I H M Spence Molly Stephens Jean Tweedie Herta and Fred B Vogel Dorothy Wood
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