Schumann by Melbourne Symphony Orchestra

PLAYS SCHUMANN 3 18â&#x20AC;&#x201C;21 AUGUST 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

mso.com.au Image Michelle Wood, cello Anne-Sophie Mutter supported by Mr Marc Besen AC and Mrs Eva Besen AO

Melbourne Symphony Orchestra Johannes Fritzsch conductor Li-Wei Qin cello Dvořák Cello Concerto INTERVAL

Trojahn Cinque sogni per Eusebius Schumann Symphony No.3 Rhenish

Running time: 2 hours, including 20-minute interval Please note, Saturday’s pre-concert talk by MSO violinist, Monica Curro 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 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.

JOHANNES FRIZTSCH CONDUCTOR In 2015/2016, Johannes Fritzsch conducted the Queensland, Sydney, West Australian, Adelaide and Tasmanian Symphony Orchestras, led performances of La traviata and Madama Butterfly for Opera Queensland and Luisa Miller, Il barbiere di Siviglia and Der fliegende Holländer for Hamburg Oper. In 2017, he conducts Die Entführung aus dem Serail and Madama Butterfly for Hamburg Oper and makes major appearances with the Melbourne, Queensland and Tasmanian Symphony Orchestras. Mo. Fritzsch recently held the position of Chief Conductor of the Grazer Oper and Grazer Philharmonisches Orchester, Austria; from 2008-2014, he was Chief Conductor of the Queensland Symphony Orchestra and was recently appointed Conductor Laureate. 4

LI-WEI QIN CELLO An exclusive Universal Music China Artist, Li-Wei Qin has appeared all over the world as a soloist and chamber musician. After being awarded the Silver Medal at the 11th Tchaikovsky International Competition, Li-Wei won the First Prize in the prestigious 2001 Naumburg Competition in New York. ‘A superbly stylish, raptly intuitive performer’ (Gramophone Magazine, January 2015) was the description of the cellist’s Elgar and Walton concertos recording with the London Philharmonic Orchestra. During the 17/18 season, Li-Wei makes his debut with the London Symphony Orchestra and the Russian Philharmonic Orchestra and also appears with the Melbourne Symphony Orchestra and China National Symphony Orchestra (North American tour). Other engagements include a return to the Finnish Radio Orchestra, WASO and ASO, China Philharmonic and Auckland Philharmonia Orchestras. He has recordings on Universal Music/ Decca with Singapore Symphony, on Sony Classical with the Shanghai Symphony, and ABC Classics with the London Philharmonic. Li-Wei plays a 1780 Joseph Guadagnini cello, generously loaned by Dr and Mrs Wilson Goh. Image courtesy Dong Wang

PROGRAM NOTES

ANTONÍN DVOŘÁK (1841–1904) Cello Concerto in B minor, B.191 Op.104 Allegro Adagio ma non troppo Allegro moderato

Li-Wei Qin cello Brahms was impressed. ‘If only I’d known,’ he said, ‘that one could write a cello concerto like that, I’d have written one long ago!’ And he wasn’t just being polite. Brahms had recognised Dvořák’s talents early on, ensuring that the young composer received from the Imperial Government in Vienna the Austrian State Stipendium, an annual grant, for five years, and persuading his own publisher, Simrock of Berlin, to publish Dvořák’s music. But Brahms’ admiration aside, the composition of what Dvořák scholar John Clapham has called simply ‘the greatest of all cello concertos’ was no easy matter. In fact, it was his second attempt at the medium – the first, in A major, was composed in 1865, but appears only to have been written out in a cello and piano score. This work was rediscovered by the German composer Günther Raphael in 1929. He made an orchestral version at the time, as did Jarmil Burghauser in 1977, but the versions are significantly different. That Dvořák left the work unorchestrated suggests that he was dissatisfied with this first effort. Despite the urgings of his friend, the cellist Hanuš Wihan, Dvořák thought

no more about writing such a piece until many years later, though he did orchestrate the four-hand piano piece Klid (Silent Woods) and the Rondo B.171 Op.94 (originally for cello and piano) with solo parts for Wihan. In 1894 Dvořák was living in New York, having accepted the invitation of Jeannette Thurber to head the National Conservatory of Music that she had founded there in 1885. In March 1894, Dvořák attended a performance by Victor Herbert of his Second Cello Concerto. The Irish-born American composer and cellist is now best remembered for shows like Naughty Marietta and Babes in Toyland, but his concerto, modelled on Saint-Saëns’ first, made a huge impact on Dvořák, who reexamined the idea of such a work for Wihan. The work was sketched between 8 November 1894 and New Year’s Day, and Dvořák completed the full score early in February. Much to Dvořák’s annoyance, the first performance of the concerto was not given by its dedicatee, Wihan. The London Philharmonic Society, who premiered it at the Queen’s Hall in March 1896, mistakenly believed Wihan to be unavailable, and engaged Leo Stern. Despite Dvořák’s embarrassment, Stern must have delivered the goods, as Dvořák engaged him for the subsequent New York, Prague and Vienna premieres of the work. Wihan did, however, perform the work often, and insisted on making some ‘improvements’ to 5

PROGRAM NOTES

Dvořák’s score so that the cello part would be more virtuosic. Wihan also insisted on interpolating a cadenza in the third movement, which the composer vehemently opposed. For some reason Simrock was on the point of publishing the work with Wihan’s amendments, and only a stiff letter from Dvořák persuaded the publisher to leave out the cadenza. Brahms, incidentally, had by this time taken on the job of correcting the proofs of Dvořák’s music before publication, to save the time of sending them to and from the United States. Despite being an ‘American’ work, the concerto is much more a reflection of Dvořák’s nostalgia for his native Bohemia, and perhaps for the composer’s father who died in 1894. As scholar Robert Battey has noted, ‘two characteristic Bohemian traits can be found throughout the work, namely pentatonic [‘black note’] scales and an aab phrase pattern, where a melody begins with a repeated phrase followed by a two bar ‘answer’.’ The work is full of some of Dvořák’s most inspired moments, such as the heroic first theme in the first movement, and the complementary melody for horn which adds immeasurably to its Romantic ambience. The Bohemian connection became even stronger and more personal when Dvořák, working on the piece in December 1894, heard that his sisterin-law Josefina (with whom he had been in love during their youth) was seriously, perhaps mortally ill. Dvořák 6

was sketching the slow movement at the time. The outer sections of this movement are calm and serene, but Dvořák expresses his distress in an impassioned gesture that ushers in an emotionally unstable central section in G minor, based on his song Kéž duch můj sám (Leave me alone) which was one of Josefina’s favourites. Josefina died in the spring of 1895, and Dvořák, by this time back in Bohemia, made significant alterations to the concluding coda of the third movement, adding some 60 bars of music. The movement begins almost ominously with contrasting lyrical writing for the soloist. Dvořák’s additions to the movement, and his determination not to diffuse its emotional power with a cadenza, allowed him, as Battey notes, to revisit ‘not only the first movement’s main theme, but also a hidden reference to Josefina’s song in the slow movement. Thus, the concerto becomes something of a shrine, or memorial.’ Gordon Kerry, Symphony Australia © 2004 The first performance of this concerto by the Melbourne Symphony Orchestra took place on 3 June 1950 with conductor Alceo Galliera and soloist Edmund Kurtz. The Orchestra’s most recent performance was in November 2016 with Andrew Litton and Alban Gerhardt.

MANFRED TROJAHN (born 1949) Cinque sogni per Eusebius (Five Dreams for Eusebius) Andante Vivace Molto adagio Moderato, leggiero Allegro assai

Harking back to the Romantic-era genre of the character piece (a short work designed to evoke a specific mood), German composer Manfred Trojahn’s Cinque sogni per Eusebius is a homage to Robert Schumann, or rather, to his literary and musical alter ego, the reflective and dreamy Eusebius who, together with his counterpart Florestan (who represented Schumann’s more spirited side), inhabited the composer’s critical writings and piano cycles. “Dream is a romantic theme”, says Manfred Trojahn, “which doesn’t mean that I could identify myself with the rapturous-idealistic posture of the early Schumann. With Schumann I cannot find the irony that I feel in the late romanticism of a Richard Strauss or Thomas Mann, which is closer to my rather disturbed and distanced view of the world. However, I have sympathy for Schumann’s outlook and his E.T.A. Hoffmann-esque searching.” Therefore it’s a memorial to the composer who last worked in Düsseldorf, but without explicit musical references. And yet, in the five short orchestral pieces which Trojahn has composed with Cinque

sogni per Eusebius, a principle lives on which Schumann invented: that of the sharply-contoured musical short form which he featured in his conception of a “characteristic music” in precise form. The first of the pieces, Andante, comes to life in the combination of the smallest, heterogenous elements and short tempo developments at measured walking pace, whilst the second, Vivace, is characterised by a major break: out of a violent development of the tempo, the action suddenly changes completely into a Moderato cantabile. The third piece is an expansively structured Adagio with great intensification, whilst the fourth remains delicate throughout, with a melodic development: movement which at the end leads to a steadily moving. In the last movement, in a swirling three-eight time, larger opposites are again juxtaposed. The orchestra is scored for double woodwind, therefore corresponding with the early 19th century orchestra, but with instrumental doublings (not common then) such as contrabass trombone and alto flute. With these, Trojahn produces a characteristic idiom, such as when, in the opening part of the Vivace “the moving motifs are overhung by a dark shading of lowpitched alternating instruments, which produce a quite soft carpet of sound in the second part, which is rhythmically very divided.” Rapid signal-like calls from the four horns create a mood full of quotations which has many pre-echoes, a “brief vocabulary” which evokes a natural landscape rich in allusions. Adapted from a note © Marie Luise Maintz This is the first performance of the work by the MSO.

PROGRAM NOTES

ROBERT SCHUMANN (1810–1856) Symphony No.3 in E flat, Op.97 Rhenish Lebhaft (Lively) Scherzo (Sehr mässig Very moderately) Nicht schnell (Not fast) Feierlich (Ceremonially) Lebhaft (Lively)

As a young composer, Robert Schumann wrote music chiefly on an intimate scale. His love for Clara Wieck, whom he married after a bitter legal battle with her father (teacher to them both), greatly nurtured his creative life. Robert came forth with an astonishing wealth of Lieder and song cycles; these, and his highly imaginative piano works, place him among the most revered Romantic composers. The depth of his lyricism, however, sought larger means of expression. Clara, a celebrated concert pianist and a composer in her own right, earnestly encouraged Robert in this direction, believing ‘his music is all orchestral in feeling.’ An early attempt at symphonic composition, premiered during Robert’s student days, led him to lament, ‘I consider this art so difficult that it will take long years’ study to give me certainty and self-control.’ Schumann also noted the undeniable originality of Berlioz’s Symphonie fantastique and rejoiced in Schubert’s Great C major Symphony, whose rediscovery and first performance he helped bring about. His first completed symphony, the Spring Symphony in B flat, was 8

premiered by Mendelssohn in Leipzig in 1841. Vienna’s especially cold reception to the symphony in November 1846, along with Leipzig’s tepid response to his Symphony No.2 that same month, bitterly disappointed both Robert and Clara. Still Robert persevered. The Schumanns had not been especially happy in Dresden and in 1850 embraced their move to the Rhineland, delighting in what they found. Late in September 1850, they took a Sunday boat excursion on the Rhine from Düsseldorf to Cologne, a city ‘which enchanted us instantly’, Clara wrote in her diary. The new symphony, begun earlier that month, was finished by December and received its premiere in Düsseldorf, with the composer conducting, the following February. The opening movement of Schumann’s Symphony No.3, marked Lebhaft (Lively), is immediately expansive in spirit. Despite the development’s introspective moments, an overriding exuberance prevails. An amiable, rounded melody in the low strings and bassoons sets the secondmovement Scherzo rowing through deep water in triple-metre motion, with a lighter contrasting second theme of scattered droplet-figures interwoven above it. An eloquent, sombre Trio of winds and brass ensues, encouraging the return of the initial theme in increasingly bolder guises. The third-movement intermezzo radiates soulful warmth and

contentment as the symphony’s centrepiece, which Schumann indicated as Nicht schnell (Not fast), allowing the woodwind (prominently, the clarinet) to bloom in gentle, graceful passages. As in the slow movement of Schumann’s later Piano Concerto, the contrasting theme (initially in the bassoons and divided low strings, joined by the horns) sings from the depths of the heart.

encouraged efforts to achieve greater transparency in the performance of early Romantic orchestral works. This has helped to develop a more enlightened understanding of Schumann’s orchestration; though to this day, conductors occasionally take judicious liberties with the scores, often to lighten textures so that instrumental voices (and Schumann’s ideas) may be heard more clearly.

Dark, sustained, contrapuntally ascending lines, first in the low brass, intone the austere, Feierlich (Solemn) fourth movement. Motivic repetition over slow-moving minor chords builds sonorities layer upon layer, summoning the awesome majesty of Cologne Cathedral, which greatly impressed the Schumanns on their visit.

The buoyant fifth movement instantly restores the earlier Lebhaft optimism of E flat, gaining energy and momentum, and accelerating to a triumphant conclusion. Schumann’s symphonies have drawn their detractors over the years. The German conductor Felix Weingartner (1863-1942) wrote rather disparagingly of the Rhenish, judging its themes as essentially pianistic (therefore inadequately short for symphonic development), criticising its orchestration as thick and awkward, and prescribing ‘corrections’ to the score. Attitudes of this nature lingered through much of the 20th century. More recent scholarship and the period-instrument movement have 9

MELBOURNE SYMPHONY ORCHESTRA Sir Andrew Davis Chief Conductor

SECOND VIOLINS

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