PLAYS LA MER 30 SEPTEMBER – 2 OCTOBER 2017
CONCERT PROGRAM
ON SALE NOW! SEASON 2018
G R E AT PA S S I O N S Featuring Anne-Sophie Mutter | Maxim Vengerov Thomas Hampson | Eva-Maria Westbroek All tickets on sale 11am Wednesday 4 October
mso.com.au Image Michelle Wood, cello Anne-Sophie Mutter supported by Mr Marc Besen AC and Mrs Eva Besen AO
Melbourne Symphony Orchestra Otto Tausk conductor Saleen Ashkar piano Stravinsky Scherzo fantastique Debussy La Mer INTERVAL
Brahms Piano Concerto No.1
Running time: 2 hours, including 20-minute interval Please note, Saturday’s pre-concert talk by composer, Andrew Aronowicz will be recorded for podcast by 3MBS Fine Music Melbourne.
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
OTTO TAUSK CONDUCTOR
Established in 1906, the Melbourne Symphony Orchestra (MSO) is an arts leader and 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, and as a truly global orchestra, the MSO collaborates with guest artists and arts organisations from across the world.
Music Director of the Symphony Orchestra and Opera Theatre St. Gallen (Switzerland), Otto Tausk works with all the major orchestras in his native Netherlands, and becomes Music Director of the Vancouver Symphony Orchestra in 2018.
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 guest conductors as John Adams, Tan Dun, Jakub Hrůša, Mark Wigglesworth, Markus Stenz and Simone Young. It has also collaborated with non-classical musicians including Nick Cave, Sting, Tim Minchin, DJ Jeff Mills and Flight Facilities. Image courtesy Daniel Aulsebrook
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In St. Gallen, Otto Tausk conducts the major concert series as well as operas. This year he conducted Wagner’s Lohengrin in the pit, Alfredo Catalani’s Mass in E minor, and the world premiere of David Philip Hefti’s Annas Maske. Recent guest appearances have included the BBC National Orchestra of Wales, Stuttgart Philharmonic and Orquestra Sinfónica do Porto Casa da Música, Portugal. In 2011, Otto Tausk was presented with the ‘de Olifant’ prize by the city of Haarlem for his contribution to the arts in The Netherlands. His recording of Pfitzner’s Orchesterlieder with the Northwest German Philharmonic won Classica France’s Choc du mois. Between 2004 and 2006 he was assistant to Valery Gergiev at the Rotterdam Philharmonic and later worked at the Mariinsky Theatre.
SALEEM ASHKAR PIANO Saleem Ashkar was invited by Zubin Mehta to perform Tchaikovsky’s First Piano Concerto with the Israel Philharmonic at the age of 17. He made his Carnegie Hall debut under Daniel Barenboim at the age of 22 and since then has played with orchestras such as the Vienna Philharmonic, London Symphony, City of Birmingham Symphony, North German Radio Symphony Hamburg, Orchestra of Saint Cecilia Rome, Mariinsky Orchestra and the Danish Radio Symphony, among others. He performs regularly with conductors such as Barenboim, Riccardo Muti, Riccardo Chailly, Lawrence Foster, Nikolaj Znaider, and Pietari Inkinen. Following a highly successful debut with Christoph Eschenbach and North German Radio Symphony Hamburg, Eschenbach invited Saleem to play the Schumann Concerto with the Dusseldorf Symphony Orchestra in the special Schumann birthday concert in June 2010. He toured extensively with Riccardo Chailly and the Leipzig Gewandhaus Orchestra performing Mendelssohn’s First Piano Concerto in appearances that included the BBC Proms and Lucerne Festival, in a tour celebrating the bicentennial anniversary of the composer's birth.
Chailly re-invited Saleem for concerts and to record the Mendelssohn concertos. Saleem Ashkar is a dedicated recitalist. His 2016-17 season included a complete Beethoven sonata cycle at the Konzerthaus Berlin whose culmination coincided with the double CD release by Decca of disc one in the complete cycle. Other recent appearances have included engagements with the Orchestra della Toscana in Florence, Bournemouth Symphony Orchestra in Poole, Orchestra Verdi in Milan, a recital at Cal Performances in Berkeley USA, a residency at Brown University, Rhode Island and his Wigmore Hall debut. Future performances include Mozart’s Piano Concerto No.20 with Alexander Shelley and the Tirolean Symphony Orchestra Innsbruck, further recitals in his Beethoven cycle in Duisburg, Germany and Prague, and Schumann’s A minor concerto with the Orchestre National de Lyon and Nikolaj Znaider. Saleem Ashkar is Ambassador to the Music Fund, a humanitarian project that supports musicians and music schools in conflict areas and developing countries. Image courtesy Peter Rigaud
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PROGRAM NOTES
IGOR STRAVINSKY (1882–1971) Scherzo fantastique
Early in 1909 the impresario Sergei Diaghilev attended a concert in St Petersburg at which he heard two new works by the young Stravinsky: the Scherzo fantastique and Fireworks. According to his manager, Diaghilev had enthusiastically commented on the young composer’s ‘new and original’ music, with a ‘tone quality that should the surprise the public’. By June that year Diaghilev had commissioned Stravinsky and several of his contemporaries to make orchestral arrangements and would soon commission the ballets that made Stravinsky’s name. The Scherzo fantastique is the Stravinsky’s contribution to the genre of Russian music inspired by fairy tale; although it doubles as his response to The Life of the Bee, in which Belgian symbolist writer Maurice Maeterlinck meditates on ‘the formation and departure of the swarm, the foundation of the new city, the birth, combat and nuptial flight of the young queens, the massacre of the males, and finally, the return of the sleep of winter’. Stravinsky later played down any apian significance, and disavowed the 1917 ballet version, Les abeilles. He admitted, however, that there was a hint of Rimsky-Korsakov’s Bumblebee in the piece. The iridescent scoring of the opening, though, is surely Rimskian, with its glitter of winds 6
and tuned percussion and the overall shape of the piece reflects Stravinsky’s interest in French music, such as that of Dukas and Debussy. But as Paul Griffiths notes, there is an oddly Wagnerian passage in the slow, second section. © Gordon Kerry 2017 This is the first performance of Scherzo fantastique by the MSO.
CLAUDE DEBUSSY (1862–1918) La Mer – Three Symphonic Sketches De l’aube à midi sur la mer (From Dawn to Noon on the Sea) Jeux de vagues (Play of Waves) Dialogue du vent et de la mer (Dialogue of the Wind and the Sea)
Never before had that marvellous music La Mer appeared so seductive and yet mysterious at the same time, so imbued with the enigmatic life of the Cosmos, than on that evening when her great creator, with a gentle hand, was ruling over her waves. So wrote a young Russian composer, Lazare Saminsky, on hearing Debussy conduct La Mer in St Petersburg in 1913. But the work’s greatness had by no means seemed self evident when it had first appeared in 1905. Debussy himself was weathering a personal scandal, having left his wife, and part of the lack of enthusiasm on the part of the Parisian public may stem from its disapproval. The first performance, too, was by all accounts
under-rehearsed and the conductor Camille Chevillard unsympathetic to Debussy’s style. The composer Edouard Lalo complained that he could neither hear, see nor feel the sea, and a reviewer in Boston wrote that ‘we clung like a drowning man to a few fragments of the tonal wreck, a bit of theme here, a comprehensible figure there, but finally this muted-horn sea overwhelmed us’. The point missed by the authors of such remarks, however, is that Debussy’s music is not intended as visual imagery, or the soundtrack to some imaginary film. The composer may have invited such misinterpretations: in subtitling the work ‘Three Symphonic Sketches’ he of course evokes the media of visual art; moreover, he often used terms like ‘colour’ and ‘shading’ when discussing his music. But in 1903, when he began work on La Mer, Debussy wrote to a friend from the Burgundian countryside: You may not know that I was destined for a sailor’s life, and that only chance led me in another direction…You will say that the ocean does not exactly bathe the hills of Burgundy, and my seascapes may be studio landscapes, but I have an endless store of memories, and in my mind they are worth more than reality, whose beauty often weighs heavily on the imagination. The work, then, is about the idea of the sea rather than being a representation
of it; significantly, much of its composition took place away from the coast. Debussy’s genius for orchestration and subtle rhythmic organisation certainly make for an evocative work where it is possible to imagine the crash of waves, the call of seagulls and the protean movement of light on water. The final climactic moments of the first movement, for instance, somehow create a sense of emerging from the deep into the light. Other masterly touches abound: the unusual timbre of cellos divided into four parts; the use of muted horns (which Debussy admitted to taking from the music of Weber) to evoke space; the soloistic use of wind instruments and harp. But La Mer is as much ‘symphonic’ as it is ‘sketch’. Its three movements are by no means simply rhapsodic, but rather show Debussy’s subtle and careful approach to form. In the first movement his careful development of short motifs is perfectly symphonic; the second movement is, among other things, a symphonic scherzo; and the third movement – which has one of the rare ‘big finishes’ of any work by this composer – is a symphonic finale. By a nice paradox, Debussy’s marvellous musical reflection on the constant flux of the sea is achieved by the most painstaking and careful calculation. Not for nothing did the published score carry the intricately
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PROGRAM NOTES
designed woodcut The Great Wave by the Japanese artist Hokusai. Abridged from a note by Gordon Kerry © 2005 The Melbourne Symphony Orchestra first performed La Mer on 16 May 1942, with Bernard Heinze conducting, and most recently on 15 March 2013 with Benjamin Northey.
JOHANNES BRAHMS (1833–1897) Piano Concerto No.1 in D minor, Op.15 Maestoso Adagio Rondo (Allegro non troppo)
Saleem Ashkar piano Robert Schumann had been the Romantic composer par excellence, cultivating the fragmentary, the poetic and the allusive while also contributing to those genres established by composers in the classical tradition. After his death in 1856 two roads diverged in German music: the ‘New German’ composers, led by Franz Liszt and in turn by Richard Wagner, composed the ‘music of the future’, avoiding or at least subverting the conventions of symphony and sonata with narrative or philosophical ‘programs’; in due course Brahms would come to occupy the position of antipope, breathing new life into the forms and genres of abstract music. When Brahms’ First Piano Concerto appeared in January 1859 it shocked traditionalists in its scale and ferocity, but also because it blurred the distinction between symphony and
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concerto. The premiere in Hannover was received with polite confusion, one critic finding it ‘dry and difficult to understand’, but the performance in Leipzig a day or two later engendered frank hostility, and it is fair to say that Brahms was still less than confident in handling orchestration. The work grew out of the Sonata for two pianos that Brahms worked on in the mid-1850s, which the Schumanns had encouraged him to orchestrate. Not surprisingly, Brahms, still in his early 20s, was influenced by the prevailing currents of Romanticism and his music from this time contains more than its share of Sturm und Drang (storm and stress), which was carried over into the Concerto. Thanks partly to Joachim, though, a story grew up that the first movement of the Concerto enacted and registered Brahms’ reaction to Robert Schumann’s attempt to commit suicide by flinging himself into the Rhine at Düsseldorf. Be that as it may, the concerto has one of the most excoriating openings of any work – by Brahms or anyone else – with its powerful pedal note D that only just supports a massive superstructure of unstable harmony and arresting rhetorical motifs. This provides an introduction of some minutes’ duration – as in Beethoven’s Third Piano Concerto, there is the danger that listeners will forget that they are to hear a piano concerto – before the appearance of the soloist who, as Karl Geiringer has noted, is
repeatedly given music ‘only remotely, if at all, connected to the material of the orchestral part’. Geiringer goes on to point out how this may derive from Brahms’ study of Baroque music, but the effect here is of titanic, and archRomantic, struggle between angst and brilliance. The original two-piano sonata followed the first movement with a minor-key scherzo that Brahms omitted from the Concerto, though he did, some years later, use it as the basis for the sombre dance-like second movement of his German Requiem, Denn alles Fleisch, es ist wie Gras (for all flesh is as grass). The remainder of the Concerto is all new material, and the manuscript of the Adagio originally bore the inscription Benedictus qui venit in nomine Domini (Blessed is he that comes in the name of the Lord); as Charles Rosen has noted, ‘the juncture of religion and music’ affects ‘even the piano concertos of Brahms’. The inscription was not included in the published score, but, writing to Clara Schumann about it in 1856, Brahms said, ‘I am also painting a lovely portrait of you; it is to be the adagio.’
though the movement is by no means a vehicle for bravura display. If there is an accidental similarity to Beethoven’s Third Concerto at the outset, there is a more conscious one in the third movement, where Brahms seems to have used the form and proportions, and even, according to Jan Swafford, certain phrase structures of Beethoven’s finale to shape his own. Brahms was wounded by the negative response to the piece, though aware of the role his orchestral inexperience played in its reception. It would be another 15 years before the next try. © Gordon Kerry 2015 The Melbourne Symphony Orchestra first performed this concerto on 20 July 1945 with conductor Bernard Heinze and soloist Noel Mewton-Wood. The Orchestra performed it most recently on 15-17 November 2012 with Tadaaki Otaka and Garrick Ohlsson.
This suggests that the ‘blessed person’ is Clara, and the ‘Lord’ is Robert (whom Brahms occasionally referred to jokingly as ‘Mynheer Domine’) and his legacy. This is no less ‘Romantic’ than the opening movement, though of a quite different tenor and mood. The piano, perhaps representing Clara, has a more conventionally prominent role,
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MELBOURNE SYMPHONY ORCHESTRA Sir Andrew Davis Chief Conductor Benjamin Northey Associate Conductor Tianyi Lu Cybec Assistant Conductor Hiroyuki Iwaki Conductor Laureate (1974-2006) FIRST VIOLINS
Dale Barltrop Concertmaster
Eoin Andersen Concertmaster
Sophie Rowell
Associate Concertmaster The Ullmer Family Foundation#
John Marcus Principal
Peter Edwards
Assistant Principal
Kirsty Bremner Sarah Curro
Michael Aquilina#
Peter Fellin Deborah Goodall Lorraine Hook Kirstin Kenny Ji Won Kim Eleanor Mancini
David and Helen Moses#
Mark Mogilevski Michelle Ruffolo Kathryn Taylor Michael Aquilina#
Jo Beaumont* Oksana Thompson* Sonia Wilson*
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SECOND VIOLINS
CELLOS
Matthew Tomkins
David Berlin
Robert Macindoe
Rachael Tobin
Associate Principal
Associate Principal
Monica Curro
Nicholas Bochner
Principal The Gross Foundation#
Assistant Principal Danny Gorog and Lindy Susskind#
Mary Allison Isin Cakmakcioglu Freya Franzen Anonymous#
Cong Gu Andrew Hall
Andrew and Judy Rogers#
Rachel Homburg Isy Wasserman Philippa West Patrick Wong Roger Young Jacqueline Edwards* Michael Loftus-Hills* VIOLAS
Christopher Moore Principal Di Jameson#
Fiona Sargeant
Associate Principal
Lauren Brigden
Tam Vu, Peter and Lyndsey Hawkins#
Katharine Brockman Christopher Cartlidge Michael Aquilina#
Anthony Chataway Gabrielle Halloran Trevor Jones Cindy Watkin Elizabeth Woolnough Caleb Wright Lisa Grosman* Justin Julian* Isabel Morse*
Principal MS Newman Family#
Assistant Principal
Miranda Brockman Geelong Friends of the MSO#
Rohan de Korte
Andrew Dudgeon#
Keith Johnson Sarah Morse Angela Sargeant Michelle Wood
Andrew and Theresa Dyer#
Rachel Atkinson* Svetlana Bogosavljevic* Kalina Krusteva-Theaker* DOUBLE BASSES
Steve Reeves Principal
Andrew Moon
Associate Principal
Sylvia Hosking
Assistant Principal
Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton Sophie Galaise and Clarence Fraser#
Rob Nairn* FLUTES
Prudence Davis Principal Anonymous#
Wendy Clarke
Associate Principal
Sarah Beggs Helen Hardy*
PICCOLO
TRUMPETS
MSO BOARD
Andrew Macleod
Geoffrey Payne
Chairman
Principal OBOES
Jeffrey Crellin Principal
Thomas Hutchinson Associate Principal
Ann Blackburn
Principal
Shane Hooton
Associate Principal
Managing Director
William Evans Rosie Turner Tristan Rebien* Bruno Siketa*
Sophie Galaise
The Rosemary Norman Foundation#
TROMBONES
COR ANGLAIS
Principal
Michael Pisani Principal
CLARINETS
David Thomas Principal
Philip Arkinstall
Associate Principal
Craig Hill BASS CLARINET
Jon Craven
Brett Kelly Richard Shirley BASS TROMBONE
Mike Szabo Principal TUBA
Principal
Tim and Lyn Edward#
Robert Cossom
Associate Principal
HARP
Natasha Thomas
Yinuo Mu
CONTRABASSOON
Yi Yun Loei* Megan Reeve*
Principal HORNS
Eirik Haaland*
Guest Principal
Saul Lewis
Principal Third
Oliver Carton
PERCUSSION
John Arcaro
Brock Imison
Company Secretary
Nelson Woods*
BASSOONS
Elise Millman
Andrew Dyer Danny Gorog Margaret Jackson AC Brett Kelly David Krasnostein David Li Hyon-Ju Newman Helen Silver AO
Principal
Robert Clarke
Principal
Board Members
Timothy Buzbee
Principal
Jack Schiller
Michael Ullmer
Principal
CELESTE
Peter de Jager* # Position supported by * Guest Musician
Abbey Edlin
Nereda Hanlon & Michael Hanlon AM#
Trinette McClimont 11
SUPPORTERS MSO PATRON The Honourable Linda Dessau AC, Governor of Victoria
ARTIST CHAIR BENEFACTORS
MSO Audience Access Crown Resorts Foundation Packer Family Foundation
Anthony Pratt Associate Conductor Chair
MSO Education supported by Mrs Margaret Ross AM and Dr Ian Ross
Joy Selby Smith Orchestral Leadership Chair
MSO International Touring supported by Harold Mitchell AC
The Cybec Foundation Cybec Assistant Conductor Chair
MSO Regional Touring Creative Victoria The Robert Salzer Foundation
The Ullmer Family Foundation Associate Concertmaster Chair Anonymous Principal Flute Chair The Gross Foundation Principal Second Violin Chair Di Jameson Principal Viola Chair MS Newman Family Foundation Principal Cello Chair
The Pizzicato Effect Collier Charitable Fund The Marian and E.H. Flack Trust Schapper Family Foundation Scobie and Claire Mackinnon Trust Supported by the Hume City Council’s Community Grants Program (Anonymous)
Marc Besen AC and Eva Besen AO 2018 Soloist in Residence Chair
Sidney Myer Free Concerts Supported by the Myer Foundation and the University of Melbourne
PROGRAM BENEFACTORS
CHAIRMAN’S CIRCLE $100,000+
Cybec 21st Century Australian Composers Program The Cybec Foundation
Marc Besen AC and Eva Besen AO John Gandel AC and Pauline Gandel The Gross Foundation ◊ David and Angela Li MS Newman Family Foundation ◊ Anthony Pratt ◊ The Pratt Foundation Joy Selby Smith Ullmer Family Foundation ◊ Anonymous (1)
Cybec Young Composer in Residence made possible by The Cybec Foundation East Meets West supported by the Li Family Trust Meet The Orchestra made possible by The Ullmer Family Foundation 12
VIRTUOSO PATRONS $50,000+
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Di Jameson ◊ David Krasnostein and Pat Stragalinos Mr Ren Xiao Jian and Mrs Li Quian Harold Mitchell AC Kim Williams AM
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IMPRESARIO PATRONS $20,000+ Michael Aquilina ◊ The John and Jennifer Brukner Foundation Perri Cutten and Jo Daniell Mary and Frederick Davidson AM Rachel and the late Hon. Alan Goldberg AO QC Hilary Hall, in memory of Wilma Collie Margaret Jackson AC Mimie MacLaren John and Lois McKay
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Stephen Shanasy Mr Tam Vu and Dr Cherilyn Tillman ◊ The Hon. Michael Watt QC and Cecilie Hall Lyn Williams AM Anonymous (1)
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H E McKenzie Allan and Evelyn McLaren Don and Anne Meadows Marie Morton FRSA Annabel and Rupert Myer AO Ann Peacock with Andrew and Woody Kroger Sue and Barry Peake Mrs W Peart Graham and Christine Peirson Ruth and Ralph Renard S M Richards AM and M R Richards Tom and Elizabeth Romanowski Jeffrey Sher QC and Diana Sher OAM Diana and Brian Snape AM Dr Norman and Dr Sue Sonenberg Geoff and Judy Steinicke William and Jenny Ullmer Elisabeth Wagner Brian and Helena Worsfold Peter and Susan Yates Anonymous (8)
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SUPPORTERS The Hon. Rosemary Varty Leon and Sandra Velik Sue Walker AM Elaine Walters OAM and Gregory Walters Edward and Paddy White Nic and Ann Willcock Marian and Terry Wills Cooke Lorraine Woolley Richard Ye Panch Das and Laurel Young-Das Anonymous (21)
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 Ken and Asle Chilton Trust, 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 Linnell/Hughes Trust, managed by Perpetual The Scobie and Claire Mackinnon Trust The Harold Mitchell Foundation The Myer Foundation The Pratt Foundation The Robert Salzer Foundation
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Alan (AGL) Shaw Endowment, managed by Perpetual Telematics Trust
CONDUCTOR’S CIRCLE Jenny Anderson David Angelovich G C Bawden and L de Kievit Lesley Bawden Joyce Bown 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 Mr Derek Grantham 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 Suzette Sherazee Michael Ryan and Wendy Mead 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 Neilma Gantner Gwen Hunt Audrey Jenkins Pauline Marie Johnston C P Kemp Peter Forbes MacLaren Joan Winsome Maslen 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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