Tchaikovsky 5 Program

TCHAIKOVSKY 5 13, 14 & 16 APRIL 2018

CONCERT PROGRAM

Melbourne Symphony Orchestra Muhai Tang conductor James Ehnes violin Brahms Tragic Overture Kernis Violin Concerto* *MSO co-commission and Australian premiere INTERVAL Tchaikovsky Symphony No.5

MELBOURNE SYMPHONY ORCHESTRA

MUHAI TANG CONDUCTOR

Established in 1906, the Melbourne Symphony Orchestra (MSO) is an arts leader and Australia’s longest-running professional orchestra. Chief Conductor Sir Andrew Davis has been at the helm of MSO since 2013. Engaging more than 3 million people each year, the MSO reaches a variety of audiences through live performances, recordings, TV and radio broadcasts and live streaming.

Muhai Tang is currently Chief Conductor and Artistic Director of the Tianjin Opera and Orchestra, and Artistic Director of the Shanghai Philharmonic and Zhenjiang Symphony Orchestras in China.

He has held Principal Conductor positions with orchestras such as the Royal Philharmonic Orchestra of Flanders and China National Symphony Orchestra.

The MSO also works with Associate Conductor Benjamin Northey and Assistant Conductor Tianyi Lu, as well as with such eminent recent guest conductors as Tan Dun, John Adams, Jakub Hrůša and Jukka-Pekka Saraste. It has also collaborated with non-classical musicians including Elton John, Nick Cave and Flight Facilities.

He was Chief Conductor of the Finnish National Opera. While Principal Conductor of the Gulbenkian Orchestra he won a Grammy for his recording with them and Sharon Isbin of the guitar concertos of Tan Dun and Christopher Rouse.

Muahi was Principal Conductor of the Queensland Symphony Orchestra, 1991 to 2001. Other orchestras he has conducted since include the Berlin Philharmonic, Leipzig Gewandhaus Orchestra, Orchestre de Paris, and San Francisco Symphony Orchestra.

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 acknowledges 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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MEET THE ARTIST

PROGRAM NOTES JOHANNES BRAHMS

(1833-1897)

Tragic Overture, Op.81

JAMES EHNES VIOLIN James Ehnes has appeared with orchestras such as the Boston Symphony, London Symphony, Deutsches SymphonieOrchester Berlin and NHK Symphony Orchestra, Tokyo, and with conductors such as Vladimir Ashkenazy, Marin Alsop, Sir Andrew Davis, and David Robertson.

James maintains a busy recital schedule.

In 2016, he undertook a cross-Canada recital tour for his 40th birthday. He is currently Artistic Director of the Seattle Chamber Music Society. His recordings reflect a repertoire ranging from Adams to Bach. Recent live performances have included the World and American Premieres of Aaron Jay Kernis’s Violin Concerto. He is the Concerto’s exclusive soloist until 2021.

James made his orchestral solo debut with the Orchestre symphonique de Montréal at 13. He plays the ‘Marsick’ Stradivarius of 1715.

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In 1880, Brahms spent the summer in the resort town of Ischl, where Vienna’s rich and famous usually repaired in the warmer months to enjoy the rural scenery, the local spa, and the opportunity to rub shoulders with holidaying royalty. But Brahms had work to do, needing to write an orchestral piece, the light-hearted Academic Festival Overture based on student songs, as thanks for an Honorary Doctorate soon to be conferred on him by Breslau University.

But during the same summer he also composed a very different companion piece, some of it based on sketches dating back to the 1860s, and which he had trouble naming. ‘You may include a dramatic or tragic or Tragedy Overture in your program for January 6,’ he wrote to the Breslau concert organisers. ‘I cannot find a proper title for it.’

Eventually he settled on Tragic Overture, but no one could say exactly what, if any, the ‘tragic’ programmatic elements were.

Some thought it might bear hallmarks of incidental music originally intended for an abandoned stage production of Goethe’s Faust. Others pointed toward Brahms’ fascination with Shakespeare, still others suggested that the juxtaposition of comedy and tragedy in the Greek theatre tradition had inspired a ‘Tragic Overture’ to accompany a ‘Festival’ one. For his part, all Brahms would say was that ‘I could not refuse my melancholy nature the pleasure of writing a Tragic Overture as well [as the Academic Festival Overture]. One laughs, the other weeps.’

In a loose sonata form, with three main subjects, the Overture justifies its ‘Tragic’ title from the outset with its arresting opening chords, strident main theme, and continued use throughout of hammer blows to underscore the drama. Some have likened it to a mini-symphony, particularly in a middle passage where the horns play a distinctively Brahmsian call of longing over shimmering string chords, and in its characteristically turbulent returns of the main themes and emphatic coda.

One of Brahms’ very few purely orchestral works outside his four symphonies, it was premiered by the Vienna Philharmonic under Hans Richter in December 1880.

In several performances early in the following year – some conducted by Brahms himself – it appears to have baffled its audiences and didn’t gain immediate acceptance. But Brahms enjoyed it enough to make various piano transcriptions of it that he played with Clara Schumann and other friends, another indication that this avowedly ‘tragic’ work had been composed, as he himself Martin Buzacott © 2012 The Melbourne Symphony Orchestra first performed Brahms’ Tragic Overture on 10 and 12 November 1945 conducted by Joseph Post, and most recently on 5-7 June 2014 with Olari Elts.

AARON JAY KERNIS

(born 1960)

Violin Concerto Chaconne Ballad Toccatini MSO co-commission and Australian premiere

James Ehnes violin

In 2007 I unexpectedly heard from the BBC in London asking me to write a recital piece for a violinist whose playing I wasn't familiar with. Once supplied with some recordings it was clear he was a great (young) master at the instrument, and I unhesitatingly agreed. Out of that came my first collaboration with James Ehnes, Two Movements (with Bells), a piece that he has now played many times and recorded, and from him followed the enthusiastic request to write a concerto. Making (playing, writing, and listening to) music is indeed a journey, often coming when you least expect it, and this one leads directly to now and this big new Violin Concerto.

The back story - I played the violin (not so well) from the time I was 10-15 but gave it up to focus on the piano and composing.

But I’ve retained a great love of writing for strings and their singing quality, and many of my major pieces over the years are for strings.

Since 2009 I’ve had the good fortune to write a whole batch of concertos for various wonderful players and combinations – cello, viola, flute, trumpet, chamber orchestra, piano, with one for horn upcoming. I’ve tried to make them all different, and keep their forms, content and expression fresh for me and for listeners.

This newest work for James Ehnes is formed out of the essential three movement form that many bedrock concertos of the past are built: 1) the largest, most searching arguments first, followed by the 2) shorter, slower lyrical utterance, and ending with the even shorter 3) fast, zippy, often hairraisingly difficult closer.

But here there is much that differs from the past.

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The first movement is Chaconne, and comes distantly from the Baroque form of a set of variations over a repeated series of chords. This is the most dramatically charged and changeable movement, with the opening downward melody/chord progression in the violin being the basis of all that follows. This theme is constantly varied in character and colour over the entire movement, and returns in its original, most dramatic statement at its end.

Ballad is the songful, jazz/French-tinged lyrical middle movement, with an angular, wrenching center. The language of Two Movements (with Bells) returns here with hints of the blues and the influence of the harmony of composer Olivier Messiaen, an idol of mine.

Finally, the energy of Toccatini closes the piece. A Toccata is a virtuoso, fast “touch-piece” from the Baroque. I thought this would be a tiny or teeny toccata, and the idea of creating a new martini – the Toccatini (I’ll suggest it to the management for this premiere week) helped get me through the post-U.S. election torpor. This is a not-atypical Kernis-ian mashup – bits of jazz, hints of Stravinsky/Messaien, machine-music, wild virtuoso strings of notes all over the violin give James ever more chances to show his mettle – its showcases his great ability to shape many thousands of notes with flair and joy.

The Concerto is dedicated to James Ehnes, with great admiration and friendship, and was generously commissioned by four splendid Orchestras and Music Directors for James Ehnes: the Toronto Symphony and Peter Oundjian; Seattle Symphony and Ludovic Morlot with the generous support of the Norma and Don Stone Fund for New Music; the Dallas Symphony and Jaap Van

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Zweden; and the Melbourne Symphony and Sir Andrew Davis. © Aaron Jay Kernis 2017

PETER ILYICH TCHAIKOVSKY

(1840-1893)

Symphony No.5 in E minor, Op.64 Andante – Allegro con anima Andante cantabile, con alcuna licenza Valse (Allegro moderato) Andante maestoso – Allegro vivace After completing his Fourth Symphony (1877), Tchaikovsky wrote to his former pupil Sergey Taneyev: ‘I should be sorry if symphonies that mean nothing should flow from my pen.’ He insisted that the Fourth definitely followed a ‘program’, even though, like Beethoven’s Fifth Symphony on which he had partly modelled the work, it could not be expressed in words.

Circumstantial evidence suggests that Tchaikovsky’s own Fifth Symphony, composed in summer 1888, likewise could not ‘mean nothing’, and even if a precise meaning will probably never emerge, Tchaikovsky did leave clues as to the direction of his thoughts.

Fate and providence were certainly on his mind, having in mid-1887 spent two distressing months at the bedside of a dying friend. Later in his sketchbook he verbally outlined a first movement whose slow introduction began with ‘total submission to fate’, followed by an allegro that introduced ‘murmurs, doubts, laments, reproaches’ before considering succumbing to ‘the embrace of faith’. He described this as ‘a wonderful program, if only it can be fulfilled’. Although no irrefutable evidence links this plan directly with the

1888 symphony, the Fifth’s main theme does lend itself to a musical personification of grim fate (in its minor form) and of beneficent providence (in its major form), and a journey from the first to the second is a plausible program, if not for the opening movement (which ends in the minor), then for the whole work.

The main theme (played at the outset by solo clarinet) also pays homage to the man Tchaikovsky called ‘the father of Russian music’, Mikhail Glinka. He borrowed the germinal first eight-note phrase from Glinka’s opera A Life for the Czar, where it opens the second half of a melody sung in succession by all three principal characters in the first act trio.

But Tchaikovsky develops Glinka’s melodic fragment (first sung to the words ‘Do not turn to sorrow’) into an entirely new motto theme whose subliminal transformations and literal reprises bind the symphony’s four movements together. The first transformation is into the dance-like theme of the Allegro con anima announced by clarinet and bassoon.

The horn melody in the second movement is one of the most beautiful in all of Tchaikovsky’s music. He actually scribbled on a sketch of this melody (in French): ‘I love you, my love!’ But it is more than just a love theme; it, too, is subtly related to the motto (of the motto’s first eight notes, it is a varied reworking of the last five).

This connection is made explicit when the undisguised motto returns, portentously with trumpets and kettledrums, just before the reprise of the love theme.

Tchaikovsky called the third movement a ‘waltz’, a modestly understated example compared with his great ballet waltzes, but one whose easy mood makes it a perfect structural foil to the slow movement’s

passionate intensity. It may well be significant that he crafted the tune out of snippets of a Tuscan folksong, called La Pimpinella, that he heard in Florence in 1877, sung by (as he noted) a ‘positively beautiful’ young (male) street-singer.

Certainly significant, the waltz tune also audibly echoes the rhythm of the preceding movement’s soulful horn theme, of which it is essentially a faster, lighter reworking.

The same rhythm also reappears in the sinuously exotic subsidiary tune introduced by the bassoon. But only once does the motto itself intrude on this pleasant reverie, from clarinets and bassoons, right at the movement’s close.

The motto returns fully, in major mode, as a solemn march, introducing the fourth movement, sumptuously scored with all the violins playing down low in unison with the cellos, passing next to the woodwinds, before trumpets and kettledrum signal the imminent Allegro vivace. Tchaikovsky energises the motto’s second, falling-scale element to create a new minor-key theme that launches further transformations and combinations of germinal fragments, underpinned by the quick tick-tock of bassoons, kettledrums and basses, plateauing out on a brilliantly shrill majorkey woodwind chorus. Winding down and then up again through more furious returns of the minor-key theme, a massive climax builds, breaking back into the now almost unbearably splendid march, the motto’s apotheosis capped at the last possible moment by a trumpet reprise of the first movement’s allegro theme. © Graeme Skinner 2014 The Melbourne Symphony Orchestra first performed this symphony on 9 May 1942 under the baton of Sir Bernard Heinze, and most recently at the Sidney Myer Free Concert on 20 February 2016 with Joshua Weilerstein.

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MELBOURNE SYMPHONY ORCHESTRA Sir Andrew Davis Chief Conductor

Benjamin Northey

Associate Conductor Anthony Pratt #

Tianyi Lu

Cybec Assistant Conductor

Hiroyuki Iwaki

Conductor Laureate (1974-2006) FIRST VIOLINS

Dale Barltrop Concertmaster

Sophie Rowell

Concertmaster The Ullmer Family Foundation#

Natsuko Yoshimoto*^ Guest Concertmaster

Peter Edwards

Assistant Principal John McKay and Lois McKay#

Kirsty Bremner Sarah Curro

Michael Aquilina#

Peter Fellin Deborah Goodall Lorraine Hook Anne-Marie Johnson Kirstin Kenny Ji Won Kim Eleanor Mancini Mark Mogilevski Michelle Ruffolo Kathryn Taylor Michael Aquilina#

Tiffany Cheng* Nicholas Waters*

SECOND VIOLINS

CELLOS

OBOES

Matthew Tomkins

David Berlin

Jeffrey Crellin

Principal MS Newman Family#

Principal The Gross Foundation#

Rachael Tobin

Robert Macindoe Associate Principal

Associate Principal

Monica Curro

Nicholas Bochner

Principal Third

PERCUSSION

Ann Blackburn

Abbey Edlin

Robert Clarke

The Rosemary Norman Foundation#

Mary Allison Isin Cakmakcioglu Freya Franzen

Rohan de Korte

Michael Pisani

Anonymous

Zoe Freisberg Cong Gu Andrew Hall

Andrew and Theresa Dyer# #

Andrew and Judy Rogers

Isy Wasserman Philippa West Patrick Wong Roger Young Madeleine Jevons*

Christopher Moore Principal Di Jameson#

Fiona Sargeant

Associate Principal

Lauren Brigden

Mr Tam Vu and Dr Cherilyn Tillman

Katharine Brockman Christopher Cartlidge Michael Aquilina#

Anthony Chataway Gabrielle Halloran Trevor Jones Cindy Watkin Elizabeth Woolnough Caleb Wright Isabel Morse*

CLARINETS

David Thomas Principal

Philip Arkinstall

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Jon Craven

Principal

Andrew Moon VIOLAS

Principal

Rachel Atkinson* Zoe Knighton*

Craig Hill

Principal

Associate Principal

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Sylvia Hosking

Jack Schiller

Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton

Elise Millman

Assistant Principal

Sophie Galaise and Clarence Fraser #

Shannon Birchall*

Principal

Associate Principal

Natasha Thomas CONTRABASSOON

Brock Imison Principal

Nereda Hanlon and Michael Hanlon AM#

Trinette McClimont Alexander Morton* Ian Wildsmith*

Lady Potter AC CMRI#

Principal

John Arcaro

Tim and Lyn Edward#

Robert Cossom HARP

TRUMPETS

Shane Hooton

Yinuo Mu Principal

Associate Principal

Tristan Rebien*

Guest Associate Principal

William Evans Rosie Turner TROMBONES

Brett Kelly Principal

Ashley Carter*

Guest Associate Principal

Richard Shirley Mike Szabo

Principal Bass Trombone TUBA

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Scott Watson* †

FLUTES

Prudence Davis

PIANO/CELESTE

Louisa Breen* MSO BOARD Chairman

Michael Ullmer Managing Director

Sophie Galaise Board Members

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Principal Anonymous#

Oliver Carton

Wendy Clarke

Associate Principal

Sarah Beggs PICCOLO

Andrew Macleod Principal 8

Saul Lewis

Associate Principal

COR ANGLAIS

#

Tony Bedewi*+

Thomas Hutchinson

Geelong Friends of the MSO#

Keith Johnson Sarah Morse Angela Sargeant Michelle Wood

Malcolm Stewart*⁰

Guest Principal

Assistant Principal

Andrew Dudgeon#

TIMPANI

Principal

Assistant Principal Danny Gorog and Lindy Susskind #

Miranda Brockman

HORNS

# Position supported by * Guest Musician ^ Courtesy of Adelaide Symphony Orchestra † Courtesy of University of Kansas + Courtesy of London Symphony Orchestra ⁰ Courtesy of Queensland Symphony Orchestra 9

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ONLINE at mso.com.au/give I am interested in leaving a legacy of wonderful music for years to come:

e Scobie e and Claire e Mackinnon Scobie and Trust, Claire Sidney Mackinnon Myer MSO Trust, Trust Sidney Fund Myer MSO Trust Fund Scobie and Claire e Mackinnon Trust, Sidney Myer MSO Trust Fund Scobie and Claire Mackinnon Trust, Sidney Myer MSO Trust Fund

I have made a gift to the MSO in my Will I would consider including the MSO in my Will and would like more information

MEDIA AND BROADCAST MEDIA PARTNERS AND BROADCAST PARTNERS MEDIA AND BROADCAST PARTNERS MEDIA AND BROADCAST PARTNERS

PLEASE RETURN TO MSO’s Month of Giving GPO Box 9994 Melbourne VIC 3001 All gifts over 18 $2 are fully tax-deductible

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