CONCERT PROGRAM
Beethoven 9, Circa and Cheetham Recorded 21–22 February 2020 at Arts Centre Melbourne, Hamer Hall
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Program CHEETHAM* Dutala – Star Filled Sky WORLD PREMIERE OF AN MSO COMMISSION
BEETHOVEN Symphony No.9
Artists Melbourne Symphony Orchestra
Maija Kovaļevska soprano
Benjamin Northey conductor
Jacqueline Dark mezzo-soprano
Circa Contemporary Circus
Paul O’Neill tenor
Yaron Lifschitz director
Warwick Fyfe bass
Shaun Comerford executive director
MSO Chorus
Todd Kilby tour director
Warren Trevelyan-Jones chorus master
Jessica Connell performer
Jacinta Parsons presenter
Graig Gadd performer Keaton Hentoff-Killian performer Gerramy Marsden performer Alice Muntz performer Kathryn O’Keeffe performer Dylan Rodrigez performer Lachlan Sukroo performer Luke Thomas performer Billie Wilson-Coffey performer
*2020 MSO Composer in Residence A musical Acknowledgement of Country, Long Time Living Here by Deborah Cheetham AO, will be performed before the start of this concert. BEETHOVEN 9, CIRCA AND CHEETHAM – 2
RYMAN PIONEERS A new way of living
Ryman is pioneering retirement living for one simple reason to better serve a generation of Australians. And right now, it’s more important than ever, because there’s a new generation that are not retiring from life, they’re looking for a new way to live. Pioneering is part of who we are. That’s why each Ryman village is named after an Australian trailblazer. Nellie Melba, Weary Dunlop - they lived with passion and purpose, they pushed further, they went beyond the ordinary. That’s exactly what we strive to do, every day, at Ryman. To pioneer a new way of living, for a new retirement generation. rymanhealthcare.com.au
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 Anne-Sophie Mutter, Lang Lang, Renée Fleming and Thomas Hampson, while bringing Melbourne’s finest musicians to the world through tours to China, Europe and the United States. The Melbourne Symphony Orchestra acknowledges the Traditional Owners of the Land on which we perform and would like to pay our respects to their Elders and Community both past and present.
BEETHOVEN 9, CIRCA AND CHEETHAM – 4
Program Notes DEBORAH CHEETHAM AO
(born 1964)
Dutala – Star Filled Sky Do you sense the creator world?
Biami gabra ngata nhurrag wuta wungi?
Seek the Creator above the starry canopy
Biami yamutj Dutala bukut
Above the stars the creator must dwell
Biami banga dhona Dutala bukut
The composer writes: For a long time, I considered the addition of a subtitle for this work – the spaces between. For this is where Indigenous cultures focus their attention when interpreting the sky. The spaces between the stars. This commission was first described to me as a companion piece for Beethoven’s Ninth Symphony, for the opening gala of the MSO 2020 season, in the 250th anniversary year of the great composer’s birth! No pressure!! Of course, this stand-alone masterpiece requires no companion, but the framework for Dutala is drawn from the same orchestral and choral forces that changed the way we would think of the Symphonic form forever. There are so many reasons why this work bears such significance. Perhaps the most obvious reason is the addition of language. Schiller’s text (with Beethoven’s additions) rings out with timeless clarity. Give me my language and I will show you my identity. You will recognize at least two humble references to Beethoven’s rhythms and orchestral signature but like every composer since 1824 his legacy is intrinsic and it is celebrated here. To quote from the final stanza of Schiller’s text, with an acknowledgement of the Yorta Yorta* language from Dutala: Do you sense the creator world? Seek the Creator above the starry canopy Above the stars must Biami* dwell Deborah Cheetham © 2019
BEETHOVEN 9, CIRCA AND CHEETHAM – 5
LUDWIG VAN BEETHOVEN
(1770–1827)
Symphony No.9 in D minor, Op.125 Allegro ma non troppo, un poco maestoso Scherzo (Molto vivace – Presto) Adagio molto e cantabile – Andante moderato Presto – Allegro molto assai (Alla marcia) – Presto On 7 May 1824, Beethoven summoned Vienna’s leading musicians in the Kärnthnerthor Theatre to give the premiere of the Ninth Symphony. Profoundly deaf, Beethoven was long past being able to conduct, but stood beside the leaders, indicating the speeds. At the end, he was unaware of the applause, so that the contralto soloist had to turn him around, producing ‘a volcanic explosion of sympathy and admiration that seemed it would never end’. The applause was probably more for the composer than the performance. Two rehearsals were insufficient to prepare the most difficult orchestral piece the musicians had ever encountered. Nevertheless, one reviewer found the opening Allegro ‘bold and defiant, executed with truly athletic energy’. Punctuating its enormous 15-minute design, strategically placed returns of its colossal opening idea underpin the almost fissile energy generated by the sheer mass of scraping, blowing and drumming. Never before had sounds of such sustained violence been imagined, let alone produced by instruments. Wagner later pictured the second movement as a Bacchanalian spree of worldly pleasures. But while its motoric force is compulsive, Beethoven hardly thought of his big scherzo as mindless. Far from it; he keeps its overflowing energy meticulously controlled and channelled, not least when the predominant four-bar triple beat is dramatically jerked into three-bar phrases. Berlioz imagined the slow movement ‘might better be thought as two distinct pieces, the first melody in B flat, four-in-a-bar, followed by an absolutely different one, in triple-time in D’. Yet, in Beethoven’s interweaving of this unlikely pair, Berlioz heard ‘such melancholy tenderness, passionate sadness, and religious meditation’ as to be beyond words to describe. Everyone in the first Vienna audience in May 1824 must have known that something extraordinary was about to take place. Certainly, the London press intimated in advance of the British premiere a year later: ‘In the last movement is introduced a song! – Schiller’s famous Ode to Joy – which forms a most extraordinary contrast with the whole, and is calculated to excite surprise, certainly, and perhaps admiration.’ But why did Beethoven take the unprecedented step of fitting out an instrumental symphony with a vocal finale? He had toyed with two distinct plans for a symphony with added chorus. In 1818, he made very preliminary notes for a ‘symphony in ancient modes’ on ancient Greek religious themes, including a choral adagio. But by 1822, he was sketching a ‘German symphony’, with chorus singing Schiller’s To Joy, though to an entirely different tune.
BEETHOVEN 9, CIRCA AND CHEETHAM – 6
To Adolph Bernhard Marx – the early 19th century music historian whose writings helped enshrine Beethoven as ‘supreme master’ and Germany as centre of the ‘cult of music’ – Beethoven’s earlier symphonies had suggested that instrumental music could be even more eloquent than words. Yet finally, Marx believed, Beethoven showed that this was not so: ‘Having devoted his life to instrumental sounds, he once again summons his forces for his boldest, most gigantic effort. But behold! – unreal instrumental voices no longer satisfy him, and he is drawn irresistibly back to the human voice.’ As the orchestra introduces brief flashbacks to each of the first three movements, the cellos and basses attempt an unlikely recitative: ‘but when the string basses painfully attempt their ungainly imitation of human speech; and when they begin to hum timidly the simple human tune, and hand it over to the rest of the orchestra, we see that, after all, the needs of humanity reach beyond the enchanted world of instruments, so that, in the end, Beethoven only finds satisfaction in the chorus of humanity itself.’ Despairing of instruments’ feeble efforts, the solo baritone announces (the introductory lines are Beethoven’s own, not Schiller’s): O friends! No more these sounds! Instead let us sing out more pleasingly, with joy abundant! Graeme Skinner © 2014
BEETHOVEN 9, CIRCA AND CHEETHAM – 7
Text and Translation Ode An die Freude (To Joy) after Friedrich Schiller (1759–1805) O Freunde, nicht diese Töne!
Oh friends, no more these sounds!
Sondern lasst uns angenehmere
Instead let us sing out more
anstimmen, und freudenvollere.
pleasingly, with joy abundant.
Freude, schöner Götterfunken,
Oh joy, pure spark of God,
Tochter aus Elysium,
daughter from Elysium,
wir betreten feuertrunken,
with hearts afire, divine one,
Himmlische, dein Heiligtum!
we come to your sanctuary.
Deine Zauber binden wieder
Your heavenly powers reunite
was die Mode streng geteilt:
what custom sternly keeps apart:
alle Menschen werden Brüder
all mankind become brothers
wo dein sanfter Flügel weilt.
beneath your sheltering wing.
Wem der grosse Wurf gelungen
Whoever has known the blessing
eines Freundes Freund zu sein,
of being friend to a friend,
wer ein holdes Weib errungen,
whoever has won a fine woman,
mische seinen Jubel ein!
whoever, indeed, calls even
Ja, wer auch nur eine Seele
one soul on this earth his own,
sein nennt auf dem Erdenrund!
let their joy be joined with ours.
Und wer’s nie gekonnt, der stehle
But let the one who knows none of this
weinend sich aus diesem Bund!
steal, weeping, from our midst.
Freude trinken alle Wesen
All beings drink in joy
an den Brüsten der Natur,
at Nature’s bosom,
alle Guten, alle Bösen,
the virtuous and the wicked alike
folgen ihrer Rosenspur.
follow her rosy path.
Küsse gab sie uns und Reben,
Kisses she gave to us, and wine,
einen Freund, geprüft im Tod;
and a friend loyal to the death;
Wollust ward dem Wurm gegeben,
bliss to the lowest worm she gave,
und der Cherub steht vor Gott.
and the cherub stands before God.
1
BEETHOVEN 9, CIRCA AND CHEETHAM – 8
Froh, wie seine Sonnen fliegen
Joyously, as His dazzling suns
durch des Himmels prächtgen Plan,
traverse the heavens,
laufet, Brüder, eure Bahn,
so, brothers, run your course,
freudig, wie ein Held zum Siegen!
exultant, as a hero claims victory.
Freude, schöner Götterfunken,
Oh joy, pure spark of God,
Tochter aus Elysium,
daughter from Elysium,
wir betreten feuertrunken,
with hearts afire, divine one,
Himmlische, dein Heiligtum!
we come to your sanctuary.
Deine Zauber binden wieder
Your heavenly powers reunite
was die Mode streng geteilt:
what custom sternly keeps apart:
alle Menschen werden Brüder
all mankind become brothers
wo dein sanfter Flügel weilt.
beneath your sheltering wing.
Seid umschlungen, Millionen,
Be enfolded, all ye millions,
diesen Kuss der ganzen Welt!
in this kiss of the whole world!
Brüder, über’m Sternenzelt
Brothers, above the canopy of stars
muss ein lieber Vater wohnen.
must dwell a loving Father.
Ihr stürzt nieder, Millionen?
Do you fall down, ye millions?
Ahnest du den Schöpfer, Welt?
In awe of your Creator, world?
Such’ ihn über’m Sternenzelt!
Go seek Him beyond the stars!
Über Sternen muss er wohnen.
For there assuredly He dwells.
Freude, schöner Götterfunken…
O joy, pure spark of God, etc
Text by Friedrich von Schiller English translation Anthony Cane © 2000 1. The initial three lines were added by Beethoven in 1823.
BEETHOVEN 9, CIRCA AND CHEETHAM – 9
Melbourne Symphony Orchestra: 21 & 22 February 2020 Xian Zhang
Principal Guest Conductor
Benjamin Northey Nicholas Bochner
Cybec Assistant Conductor
Sir Andrew Davis Hiroyuki Iwaki
Conductor Laureate (1974–2006)
Dale Barltrop
Concertmaster
Sophie Rowell Concertmaster The Ullmer Family Foundation#
Assistant Principal
Kirsty Bremner Sarah Curro Peter Fellin Deborah Goodall Lorraine Hook Anne-Marie Johnson Barbara Bell in memory of Elsa Bell#
Kirstin Kenny Eleanor Mancini Mark Mogilevski Michelle Ruffolo Kathryn Taylor
David Berlin
Robert Macindoe
Rachael Tobin
Monica Curro
Nicholas Bochner
Associate Principal
Mary Allison Isin Cakmakcioglu Tiffany Cheng Freya Franzen
FIRST VIOLINS
Peter Edwards
Matthew Tomkins
Assistant Principal Danny Gorog and Lindy Susskind#
Conductor Laureate
Assistant Concertmaster
CELLOS
Principal The Gross Foundation#
Principal Conductor in Residence
Tair Khisambeev
SECOND VIOLINS
Danny Gorog and Lindy Susskind#
Cong Gu Andrew Hall Isy Wasserman Philippa West Patrick Wong Roger Young VIOLAS Christopher Moore Principal Di Jameson#
Christopher Cartlidge Associate Principal
Lauren Brigden Katharine Brockman Anthony Chataway
Dr Elizabeth E Lewis AM#
Gabrielle Halloran Trevor Jones Anne Neil#
Fiona Sargeant Cindy Watkin
Principal MS Newman Family# Associate Principal Assistant Principal Anonymous#
Miranda Brockman
Geelong Friends of the MSO#
Rohan de Korte
Andrew Dudgeon#
Sarah Morse Angela Sargeant Michelle Wood 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
Sophia Yong-Tang#
PICCOLO Andrew Macleod
Principal John McKay and Lois McKay#
Learn more about our musicians on the MSO website. BEETHOVEN 9, CIRCA AND CHEETHAM – 11
OBOES
HORNS
GUEST MUSICIANS
Jeffrey Crellin
Nicolas Fleury
First violins Zoe Black Jacqueline Edwards Madeleine Jevons
Principal Margaret Jackson AC#
Principal
Thomas Hutchinson
Saul Lewis
Associate Principal
Principal Third The Hon Michael Watt QC and Cecilie Hall#
Ann Blackburn
The Rosemary Norman Foundation#
Abbey Edlin
COR ANGLAIS
Nereda Hanlon and Michael Hanlon AM#
Michael Pisani
Trinette McClimont Rachel Shaw
Principal Beth Senn#
CLARINETS
TRUMPETS
David Thomas
Owen Morris
Principal
Principal
Philip Arkinstall
Associate Principal
BASS CLARINET
Violas Ceridwen Davies Isabel Morse Natascha Sprzagala
Shane Hooton
Cellos Kalina Krusteva-Theaker Eliza Sdraulig
William Evans Rosie Turner
Associate Principal Glenn Sedgwick and Dr Anita Willaton#
Craig Hill
Second violins Aaron Barnden Michael Loftus-Hills Oksana Thompson
BASSOONS
TROMBONES
Double basses Rohan Dasika Max McBride Emma Sullivan
Jack Schiller
Richard Shirley Mike Szabo
Flutes Paula Rae
TUBA
Oboes Emmanuel Cassimatis
Jon Craven
John and Diana Frew#
Principal
Principal
Elise Millman
Principal Bass Trombone
Associate Principal
Natasha Thomas
Dr Martin Tymms and Patricia Nilsson#
Timothy Buzbee
CONTRABASSOON
TIMPANI**
Principal
Brock Imison
PERCUSSION
Principal
John Arcaro Robert Cossom
Drs Rhyll Wade and Clem Gruen#
HARP
# Position supported by ** Timpani Chair position supported by Lady Potter AC CMRI
Horns William Tanner Trombones Liam O’Malley* Timpani Brent Miller Percussion Timothy Hook
Yinuo Mu Principal
* Appears courtesy of West Australian Symphony Orchestra
BEETHOVEN 9, CIRCA AND CHEETHAM – 12
MSO Chorus REPETITEUR
ALTO
TENOR
Jacob Abela
Satu Aho Rachel Amos Ruth Anderson Emma Anvari Kate Bramley Jane Brodie Alexandra Chubaty Nicola Eveleigh Lisa Faulks Jill Giese Ros Harbison Juliana Hassett Kristine Hensel Helen Hill Leanne Hyndman Helen MacLean Christina McCowan Rosemary McKelvie Charlotte Midson Stephanie Mitchell Sandy Nagy Catriona Nguyen-Robertson Susie Novella Nicole Paterson Alison Ralph Kate Rice Mair Roberts Maya Tanja Rodingen Kerry Roulston Annie Runnalls Jodi Samartgis
James Allen Adam Birch Kent Borchard Steve Burnett Peter Campbell James Dipnall Simon Gaites Lyndon Horsburgh Wayne Kinrade Jess Maticevski Shumack Michael Mobach Colin Schultz Tim Wright
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BASS Maurice Amor Richard Bolitho Ted Davies Andrew Ham Andrew Hibbard Stuart Izon Jordan Janssen Robert Latham Gary Levy Douglas McQueen-Thomson Steven Murie Hywel Stoakes Matthew Toulmin Tom Turnbull Maciek Zielinski
BEETHOVEN 9, CIRCA AND CHEETHAM – 13
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BEETHOVEN 9, CIRCA AND CHEETHAM – 14
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BEETHOVEN 9, CIRCA AND CHEETHAM – 15
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MSO BOARD
Life Members Marc Besen AC and Eva Besen AO John Gandel AC and Pauline Gandel AC Sir Elton John CBE Harold Mitchell AC Lady Potter AC CMRI Jeanne Pratt AC Artistic Ambassadors Tan Dun Lu Siqing MSO Ambassador Geoffrey Rush AC The MSO honours the memory of Life Members John Brockman OAM The Honourable Alan Goldberg AO QC Roger Riordan AM Ila Vanrenen
Chairman Michael Ullmer AO Deputy Chairman David Li AM Managing Director Sophie Galaise Board Directors Andrew Dudgeon AM Danny Gorog Lorraine Hook Margaret Jackson AC Di Jameson David Krasnostein AM Hyon-Ju Newman Glenn Sedgwick Helen Silver AO Company Secretary Oliver Carton
The MSO relies on your ongoing philanthropic support to sustain our artists, and support access, education, community engagement and more. We invite our suporters 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: $1,000+ (Player)
$20,000+ (Impresario)
$2,500+ (Associate)
$50,000+ (Virtuoso)
$5,000+ (Principal)
$100,000+ (Platinum)
$10,000+ (Maestro) The MSO Conductor’s Circle is our bequest program for members who have notified of a planned gift in their Will. Enquiries P (03) 8646 1551 | E philanthropy@mso.com.au
Supporters – 22
Thank you to our Partners Principal Partner
Government Partners
Premier Partners
Premier Education and Research Partner
Major Partners
Venue Partner
Program Development Partner
Education Partners
Supporting Partners
Quest Southbank
The CEO Institute
Ernst & Young
Bows for Strings
The Observership Program
Trusts and Foundations
Gall Family Foundation, The Archie & Hilda Graham Foundation, The Gross Foundation, Ern Hartley Foundation, The A.L. Lane Foundation, Scobie & Clare McKinnon Foundation, Sidney Myer MSO Trust Fund, MS Newman Family Foundation, The Thomas O’Toole Foundation, The Ray & Joyce Uebergang Foundation, The Ullmer Family Foundation
Media and Broadcast Partners
BEST SEAT in the house
As Principal Partner of the Melbourne Symphony Orchestra, we know the importance of delighting an audience. That’s why when you’re in Emirates First, you’ll enjoy the ultimate flying experience with fine dining at any time in your own private suite.
*Emirates First Class Private Suite pictured. For more information visit emirates.com/au, call 1300 303 777, or contact your local travel agent.