PLAYS RACHMANINOV 2 23 & 25 NOVEMBER 2017
CONCERT PROGRAM
Bach
Marathon
Sunday 18 February 2018 Melbourne Recital Centre Book Your Tickets Now
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Melbourne Symphony Orchestra Stanislav Kochanovsky conductor Lisa Larsson soprano Schumann Manfred Overture Martinsson Ich denke Dein‌ AUSTRALIAN PREMIERE (Associate commission)
INTERVAL
Rachmaninov Symphony No.2
Running time: 2 hours, including 20-minute interval Please note Saturday’s pre-concert talk by composer, Warren Lenthall 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
STANISLAV KOCHANOVSKY 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.
Stanislav Kochanovsky was born in St. Petersburg. He graduated with honors from the Rimsky-Korsakov Conservatoire. From 2010 to 2015 he was Principal Conductor of The State Safonov Philharmonic Orchestra. In 2013 he conducted a Stars of the White Nights festival concert with the Mariinsky Orchestra. Kochanovsky has also appeared with the Moscow and St Petersburg Philharmonic Orchestras, State Symphony Orchestra ‘Novaya Rossiya’, State Academic Cappella and Hermitage Orchestra.
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 and Simone Young. Image courtesy Daniel Aulsebrook
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In April 2014 he conducted the Accademia Nazionale di Santa Cecilia in Rome. Other international appearances have included the Hamburg Symphony, Haydn Orchestra of Bolzano and Trento, NHK Symphony Orchestra (Tokyo), China National Symphony Orchestra, Malaysian Philharmonic, and Israel Symphony Orchestra. He has recently appeared with the Netherlands Radio Philharmonic at the Concertgebouw Amsterdam, conducted Barrie Kosky’s production of Eugene Onegin at the Opera House Zurich, and, earlier this year, conducted Dmitri Tcherniakov’s version of Borodin’s Prince Igor at Netherlands Opera.
PROGRAM NOTES
ROBERT SCHUMANN (1810–1856)
Manfred: Overture, Op.115
LISA LARSSON SOPRANO Swedish soprano Lisa Larsson‘s first engagement was at the Zurich Opera House, where she performed under conductors such as Nikolaus Harnoncourt and Franz WelserMöst. Following her debut at Milan’s La Scala under Riccardo Muti, she developed an international opera career, particularly in Mozart. She has appeared at Europe’s most prestigious opera houses and festivals and with orchestras such as the Berlin Philharmonic, and Royal Stockholm Philharmonic. Conductors with whom she has worked include baroque specialists such as Sir John Eliot Gardiner, Frans Brüggen, and Nathalie Stutzmann. Lisa Larsson’s repertoire extends to chamber music and contemporary repertoire, including premieres. CDs include Berlioz with Antonello Manacorda and a Haydn CD with Jan Willem de Vriend. She recently sang in Mahler’s Fourth Symphony with Auckland Philharmonia and goes from here to perform Telemann with the Orchestra of the 18th Century at the Concertgebouw, Amsterdam and Martinsson’s Garden of Devotion with the Vienna Chamber Orchestra. Image courtesy Merlijn Doomernik
Schumann composed his Manfred Overture in 1848, following it later the same year with incidental music for Byron’s dramatic poem. Manfred is a Swiss nobleman who has secluded himself within the walls of his ancestral castle in the Alps. ‘The hero,’ wrote Byron, ‘is some kind of a magician, who is dominated by a species of remorse, the cause of which is left half-explained.’ Manfred’s sin from the past concerns his relationship with his sister Astarte, and Byron may have been portraying himself and his sexual liaison with his half-sister Augusta Leigh. What appealed to Schumann in Byron’s sombre, self-torturing hero was Manfred’s characteristic guilt and remorse, pushing him to the edge of madness. Schumann himself was tormented by fears of mental illness – all too justifiably, as it turned out. The Overture conveys the sense of yearning, of a restless search for escape, and of the Romantic alienation with which Schumann identified. In the coda there is a gradual subsiding, with fragments of the main themes, back into the darkly brooding music of the opening. In Byron, Manfred dies fearless and unrepentant. It was daring of Schumann to end an overture quietly, in keeping with its message of Romantic pessimism. Adapted from a note by David Garrett © 2005 The MSO first performed this work on 9 October 1956 under conductor Kurt Woess, and most recently on 23 October 2017 as part of Ears Wide Open with Gordon Hamilton.
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PROGRAM NOTES
ROLF MARTINSSON (born 1956) Ich denke Dein…, Op.100 AUSTRALIAN PREMIERE (Associate commission)
Nähe des Geliebten (Nearness of the Beloved) – Johann Wolfgang von Goethe Liebes-Lied (Love song) – Rainer Maria Rilke) Blaue Hortensie (Blue Hydrangea) – Rainer Maria Rilke Die Liebende schreibt (The Lover Writes) – Johann Wolfgang von Goethe Mondnacht (Moon Night) – Joseph von Eichendorff Lisa Larsson soprano
Swedish composer Rolf Martinsson holds a number of distinguished posts including the professorship of composition at the Malmö Academy of Music, and is a Fellow of the Royal Swedish Academy of Music. His work has been regularly performed in Europe and the USA by such ensembles as the Cleveland, Boston and City of Birmingham symphony orchestras, the Vienna Radio Symphony Orchestra, Tonkünstler Orchestra and Academy of St Martin in the Fields. He has collaborated with conductors such as Andris Nelsons, Neeme Järvi and Vassily Sinaisky and written major works for soloists like Anne Sofie von Otter, Martin Fröst and Håkan Hardenberger. Martinsson has worked extensively with Swedish soprano Lisa Larsson, 6
composing Into Eternity, Garden of Devotion, To the Shadow of Reality and the high-voice version of Orchestral Songs on Poems by Emily Dickinson for her. He composed Ich denke Dein… for Larsson in 2014, taking as his texts a series of poems in German on the theme of love and longing. Of the three poets, two are familiar to classical music audiences. Johann Wolfgang von Goethe (1749-1832) is, of course, a giant of German literature, whose long life saw the rise and fall of various movements such as Romanticism. His poetry inspired works ranging from Beethoven’s Egmont to numerous songs by Schubert, Schumann, Brahms, Wolf and others, and his Faust provided Mahler with the bulk of the text of his Eighth Symphony. Goethe’s younger contemporary, Joseph von Eichendorff (1788-1857), was one of the last great Romantic writers in German (in music such aesthetic movements tend to appear a little later). His poetry was also much set by Schumann, Fanny Mendelssohn, Wolf and others, and his Im Abendrot is of course the text of the much-loved fourth of Richard Strauss’ Four Last Songs. The more recent third poet, Rainer Maria Rilke (1875-1926), is much esteemed by German-speakers and by readers of poetry in English translation, yet, oddly, few composers have set his work: there are some by his contemporaries Schoenberg, Berg and Webern, and some by Americans like John Harbison and Peter Lieberson.
Martinsson’s song cycle matches the intense yearning of the poetry with a lush orchestral palette and rich, late-Romantic harmony. Very often, Martinsson responds to specific poetic images with graphic musical ones, but far from being a set of ephemeral moments, the work overall is unified by thematic ideas that recur from song to song. The ‘Nearness of the Beloved’ in Goethe’s poem (whose first line provides the cycle’s title) is metaphorical; physically separated as in Die Liebende schreibt, the poet nevertheless sees and hears the beloved in the sounds and sights of nature, to which Martinsson gives evocative form: the sea is restless, the moon glints on a stream, night is deep and dark. Solo violin and cello appear as the sun sinks and stars begin to shine, and the singer’s emotive ‘if only you were here!’ unleashes a powerful and passionate peroration from the orchestra. Rilke’s Liebes-Lied (Love Song) begins with a surging introduction, which recalls Richard Strauss or early Alban Berg, that thins out as the text takes us into the darkness, ‘a strange, quiet place’. As part of the metaphor of music that threads through the poem, this place doesn’t vibrate ‘when your depths resonate’, to which Martinsson adds some appropriately glinting orchestral colour. Developing the metaphor, the poet likens the pair of lovers to strings on a violin, to which instrument Martinsson gives a limpid solo. As the poet asks ‘what player
has us in his hand?’, the music swells in a celebration of its own beauty. In sharp contrast, Rilke’s Blaue Hortensie (Blue Hydrangea) is seemingly ‘dried up, colourless and rough’, and Martinsson responds with music that is barely music – spoken words, deep, inchoate orchestral rumbles – that only gradually assembles itself to illustrate the image of tear-stained reflections. Just as the poet dismisses the withered plant, he sees blue beginning to return, and Martinsson announces this with a portentous gesture that blooms in an ecstatic vocal line. The lovers in Goethe’s Der Liebende schreibt are apart, their yearning imaged in striving music. Passion dissolves in tears, with slower, sadder music that issues in a yearning violin solo before the last tercet of the poem, whose final line calls forth a cataclysmic gesture from the orchestra. Eichendorff’s Mondnacht (Moonlit Night) provides some emotional respite. Martinsson reflects its imagery of a still, shimmering landscape with a twinkling texture of winds and percussion. As the earth dreams, the orchestra plays an interlude on material heard in the previous song. A solo cello embodies the wind through a field of grain, and the vocal part becomes more unearthly, and perhaps Schoenbergian, in describing the faint rustling of the forest. The sense of time suspended lasts until the outpouring of joy as the soul wings its way home. © Gordon Kerry 2017 This is the MSO’s first performance of Ich denke Dein…
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PROGRAM NOTES
SERGEI RACHMANINOV (1873–1943) Symphony No.2 in E minor, Op.27 Largo – Allegro moderato Scherzo: Allegro molto Adagio Finale: Allegro vivace
Rachmaninov had always regarded himself as a composer first and a pianist second, but the disastrous premiere of his First Symphony in 1897 plunged him into a period of despair. He embarked on a new career as an opera conductor and composed nothing substantial for some three years. By the turn of the century, and after consultations with the well-known hypnotherapist Dr Nikolai Dahl, his confidence had largely returned and in 1901 he composed the Piano Concerto No.2, the success of which inspired a string of major pieces. In 1906 in Dresden, he began work on his Second Symphony, which he completed the following year when he returned home. Just what made Rachmaninov want to write another symphony given his experience with the First is a mystery. Even his closest friends were surprised that he had done so, and by his own admission it cost him a great deal of effort. But its premiere in St Petersburg in 1908, with Rachmaninov conducting, was a triumph. If it were simply his intention to prove his worth as a symphonist, Rachmaninov succeeded admirably; moreover, the work won him his second Glinka Prize. 8
Until comparatively recently it was common for this substantial work to be given in a form which dispensed with up to a third of the music, and while Rachmaninov was partly responsible, his attitude to such butchery is clear from the story of his encounter with Eugene Ormandy in Philadelphia. The conductor asked Rachmaninov to make some cuts to the work; after several hours the composer returned the score with two bars crossed out. It is a truism in the theatre that cutting great works only makes them seem longer as the proportions are distorted by too much material being removed. The Second Symphony is long but its structure is beautifully proportioned. The overall effect is spaciousness, in which long melodies unfurl at a relatively leisurely pace to give the impression of ultra-Romantic spontaneity. The piece is in four movements, beginning with a slow introduction that is almost always described as mysterious, with one writer suggesting that it ‘surely’ evokes the Russian steppe. The transition into the main body of the movement is made by solo cor anglais, establishing a pattern in the work, where structural transitions are often announced by wind solos. The Allegro is a study in contrasts, ranging between passages of intensely turbulent and serene music. Rachmaninov places the Scherzo second. This serves the important purpose of restoring an air of musical regularity and emotional predictability
after the rollercoaster ride of the first movement. What could be more upbeat than the colourful wind scoring and bright horn calls of this scherzo, or its contrastingly long, songful melody? And in the central trio section, Rachmaninov evokes the bustle of village life complete with the deep tolling of church bells and a hymnal procession. But at the end of the movement, which is also the turning-point of the symphony, there is an unsettling moment: the lively music of the scherzo comes apart through the interventions of a brass chorale based on the Dies irae (Day of Wrath) chant from the Mass for the Dead. Much of what has gone before has been derived from this stepwise theme. Commentators have noted similarities between the Adagio third movement and the love scene from Rachmaninov’s 1906 opera Francesca da Rimini, based on Dante’s tale of doomed love. Yet in this frank eroticism the Dies irae is never far below the music’s surface. The movement begins with one of Rachmaninov’s most inspired, soaring themes (which has been prefigured in the first movement) for the first violins, full of unexpected yearning dissonances. This is succeeded by an equally gorgeous tune for clarinet solo and yet one more for strings and oboe. The climax of the movement, which grows out of the elaboration of these three melodies, is arguably the most powerful in the whole work and it dispels any pessimism in favour of a Tchaikovskian finale.
In the last movement Rachmaninov achieves a kind of Beethovenian triumph. While the music revisits certain themes and moods from earlier in the work, it is clear that a watershed has been reached. The mood is buoyant, the tonality predominantly major and the down-up-down contour of the Dies irae is often turned literally upside down. Whether the work is programmatic in any real sense is unclear, and we can assume that Rachmaninov, like Tchaikovsky, was suspicious of attempts to ‘translate’ his music. And Rachmaninov was by no means religious, but in view of the Francesca link and the references to the Dies irae it seems to be a work in which anguish and the ominous presence of death are dispelled by the power of love. Abridged from a note by Gordon Kerry ©2007/14 The Melbourne Symphony Orchestra’s first performance of Rachmaninov’s Symphony No.2 took place on 2 November 1950 under the direction of Bernard Heinze. The Orchestra last performed it in May 2014 with conductor Mark Wigglesworth.
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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
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
Concertmaster
Eoin Andersen Concertmaster
#
Anonymous
Sophie Rowell
Associate Concertmaster The Ullmer Family Foundation#
John Marcus Peter Edwards
Assistant Principal
Kirsty Bremner Sarah Curro Michael Aquilina
#
Peter Fellin Deborah Goodall Lorraine Hook Kirstin Kenny Ji Won Kim Eleanor Mancini
Michael Aquilina#
Robert John* Oksana Thompson* Sonia Wilson*
Andrew and Judy Rogers#
VIOLAS
Christopher Moore Principal Di Jameson#
Fiona Sargeant #
David and Helen Moses
Mark Mogilevski Michelle Ruffolo Kathryn Taylor
Cong Gu Andrew Hall
Isy Wasserman Philippa West Patrick Wong Roger Young Francesca Hiew* Jenny Khafagi*
Principal
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SECOND VIOLINS
Associate Principal
Lauren Brigden
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#
Kalina Krusteva-Theaker* DOUBLE BASSES
Steve Reeves Principal
Andrew Moon
Associate Principal
Sylvia Hosking
Assistant Principal
Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton
Tam Vu, Peter and Lyndsey Hawkins#
Sophie Galaise and Clarence Fraser#
Katharine Brockman Christopher Cartlidge
Hamish Gullick*
Anthony Chataway Gabrielle Halloran Trevor Jones Cindy Watkin Elizabeth Woolnough Caleb Wright Helen Ireland* Justin Julian*
Prudence Davis
Michael Aquilina#
FLUTES Principal Anonymous#
Wendy Clarke
Associate Principal
Sarah Beggs PICCOLO
Andrew Macleod Principal
TRUMPETS
MSO BOARD
Jeffrey Crellin
Geoffrey Payne
Chairman
Thomas Hutchinson
Shane Hooton
Associate Principal
Managing Director
Ann Blackburn
William Evans Rosie Turner
Sophie Galaise
TROMBONES
Andrew Dyer Danny Gorog Margaret Jackson AC David Krasnostein David Li Hyon-Ju Newman Helen Silver AO
OBOES Principal
Associate Principal
The Rosemary Norman Foundation# COR ANGLAIS
Michael Pisani Principal
CLARINETS
David Thomas Principal
Philip Arkinstall
Associate Principal
Craig Hill BASS CLARINET
Jon Craven
Principal
Brett Kelly Principal
Richard Shirley BASS TROMBONE
Mike Szabo Principal TUBA
Timothy Buzbee
BASSOONS
Brent Miller*
Jack Schiller
PERCUSSION
Associate Principal
Natasha Thomas
Principal
John Arcaro
Tim and Lyn Edward#
Robert Cossom
Brock Imison
HARP
Yinuo Mu
HORNS
Principal
Carla Blackwood*
PIANO
Guest Principal
Saul Lewis
Oliver Carton
Robert Clarke
CONTRABASSOON Principal
Company Secretary
Kevin Sanders* TIMPANI ##
Elise Millman
Board Members
Principal
Principal
Principal
Michael Ullmer
Leigh Harrold*
Principal Third
Abbey Edlin
Nereda Hanlon & Michael Hanlon AM#
Trinette McClimont Aidan Gabriels* Ian Wildsmith*
# Position supported by ## Timpani Chair position supported by Lady Potter AC * Guest Musician 11
SUPPORTERS MSO PATRON The Honourable Linda Dessau AC, Governor of Victoria
ARTIST CHAIR BENEFACTORS
MSO Audience Access Crown Resorts Foundation Packer Family Foundation
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MSO Regional Touring Creative Victoria The Robert Salzer Foundation
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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
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SUPPORTERS Dr Peter Strickland Pamela Swansson Jenny Tatchell Frank Tisher OAM and Dr Miriam Tisher P and E Turner 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 (22)
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 14
The Myer Foundation The Pratt Foundation The Robert Salzer Foundation 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 Peter A Caldwell 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 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
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