CONCERT PROGRAM
French Delights
29 OCTOBER Iwaki Auditorium, Southbank
Artists Wendy Clarke curator and flute Tair Khisambeev first violin Matthew Tomkins second violin Fiona Sargeant viola Elina Faskhi cello Ben Hanlon double bass David Thomas clarinet Melina van Leeuwen harp
Program RAMEAU Pièces de clavecin en concerts: Concerto No.5 DEBUSSY (arr. Steele Johnson) Prélude à l’après-midi d’un faune FRANÇAIX Quintet for flute, harp and string trio – Interval – DEBUSSY String Quartet RAVEL Introduction and Allegro
Duration: 1 hour and 45 minutes including interval. This concert may be recorded for future broadcast on MSO.LIVE.
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Acknowledging Country
About Long Time Living Here
In the first project of its kind in Australia, the MSO has developed a musical Acknowledgment of Country with music composed by Yorta Yorta composer Deborah Cheetham Fraillon AO, featuring Indigenous languages from across Victoria. Generously supported by Helen Macpherson Smith Trust and the Commonwealth Government through the Australian National Commission for UNESCO, the MSO is working in partnership with Short Black Opera and Indigenous language custodians who are generously sharing their cultural knowledge. The Acknowledgement of Country allows us to pay our respects to the traditional owners of the land on which we perform in the language of that country and in the orchestral language of music.
Australian National Commission for UNESCO United Nations Educational, Scientific and Cultural Organization
In all the world, only Australia can lay claim to the longest continuing cultures and we celebrate this more today than in any other time since our shared history began. We live each day drawing energy from a land which has been nurtured by the traditional owners for more than 2000 generations. When we acknowledge country we pay respect to the land and to the people in equal measure. As a composer I have specialised in coupling the beauty and diversity of our Indigenous languages with the power and intensity of classical music. In order to compose the music for this Acknowledgement of Country Project I have had the great privilege of working with no fewer than eleven ancient languages from the state of Victoria, including the language of my late Grandmother, Yorta Yorta woman Frances McGee. I pay my deepest respects to the elders and ancestors who are represented in these songs of acknowledgement and to the language custodians who have shared their knowledge and expertise in providing each text. I am so proud of the MSO for initiating this landmark project and grateful that they afforded me the opportunity to make this contribution to the ongoing quest of understanding our belonging in this land. – Deborah Cheetham Fraillon AO
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FRENCH DELIGHTS | 29 October
Melbourne Symphony Orchestra Established in 1906, the Melbourne Symphony Orchestra is Australia’s pre-eminent orchestra and a cornerstone of Victoria’s rich, cultural heritage. Each year, the MSO engages with more than 5 million people, presenting in excess of 180 public events across live performances, TV, radio and online broadcasts, and via its online concert hall, MSO.LIVE, with audiences in 56 countries. With a reputation for excellence, versatility and innovation, the MSO works with culturally diverse and First Nations leaders to build community and deliver music to people across Melbourne, the state of Victoria and around the world. In 2023, the MSO’s Chief Conductor, Jaime Martín continues an exciting new phase in the Orchestra’s history. Maestro Martín joins an Artistic Family that includes Principal Guest Conductor, Xian Zhang, Principal Conductor in Residence, Benjamin Northey, Conductor Laureate, Sir Andrew Davis CBE, Cybec Assistant Conductor Fellow, Carlo Antonioli, MSO Chorus Director, Warren Trevelyan-Jones, Soloist in Residence, Siobhan Stagg, Composer in Residence, Mary Finsterer, Ensemble in Residence, Gondwana Voices, Cybec Young Composer in Residence, Melissa Douglas and Young Artist in Association, Christian Li. The Melbourne Symphony Orchestra respectfully acknowledges the people of the Eastern Kulin Nations, on whose un-ceded lands we honour the continuation of the oldest music practice in the world.
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FRENCH DELIGHTS | 29 October
Wendy Clarke curator and flute Wendy Clarke has held the position of Associate Principal Flute at the Melbourne Symphony Orchestra since 1991. Born in Perth, Wendy studied with the late Owen Fisenden at the University of Western Australia, gaining a Bachelor of Music with Honours. Upon completion of her degree, Wendy was appointed Principal Piccolo with the Western Australian Symphony Orchestra. In 1982 and 1984 she studied briefly in England with Peter Lloyd, Principal Flute with the London Symphony Orchestra. Wendy spent several years at the West Australian Academy of Performing Arts as a Lecturer in Flute before moving to Melbourne to take up her position with the MSO. She has performed and recorded as soloist with the WASO, MSO and Academy of Melbourne, enjoys being an active chamber musician and 1996 she was invited to play with the World Symphony Orchestra in Bangkok.
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a delightful morning chamber music concert that invites you to start your day with the wonderful sounds of French classical music. In this morning’s program, we explore the rich tapestry of French compositions spanning the Baroque era to the early 20th century. Join us as we enjoy the elegance and beautiful melodies of some of my favourite French composers. 1. Rameau: Pieces de clavecin en concerts No.5 (arranged by Melina van Leeuwen) Jean-Philippe Rameau, a prominent composer of the French Baroque period, composed the Pieces de clavecin en concerts – a series of harpsichord pieces that wonderfully demonstrate the elegance and refinement of the era. In this morning’s performance, Melina van Leeuwen’s arrangement breathes new life into Rameau’s compositions, transforming them into a captivating chamber ensemble. 2. Debussy: Prelude to the Afternoon of a Faun (chamber arrangement) Claude Debussy’s Prelude to the Afternoon of a Faun is an impressionistic masterpiece transporting us to a mythical and ethereal world. This iconic piece would have to rate as one of my favourite pieces in the flute’s orchestral repertoire, and I am delighted to have found this recently arranged chamber version which we will perform for you today.
4. Debussy: String Quartet Claude Debussy’s String Quartet, composed in the late 19th century, represents a departure from the traditional forms of chamber music. This quartet showcases his innovative harmonic language and impressionistic style, creating a mesmerizing and evocative atmosphere. The performance will immerse you in Debussy’s world of color and texture, where every note tells a story.
FRENCH DELIGHTS | 29 October
Good morning and welcome to French Delights,
5. Ravel: Introduction and Allegro Maurice Ravel’s Introduction and Allegro provides a grand finale to our French Delights”morning concert. Ravel, a master orchestrator, combines the distinctive timbres of the harp, flute, clarinet, and string quartet in a virtuosic display of color and texture. This piece is a true celebration of French musical artistry and is sure to brighten your morning with its unique abilities of the instruments involved. Thank you for joining us on this musical voyage today, and we hope that you find these French Delights as captivating, colorful, and magical as we do. © Wendy Clarke
3. Françaix: Quintet for Flute, Harp, and String Trio With the flute, harp, and strings, we will perform Françaix’s Quintet for Flute, Harp, and String Trio. Françaix’s works are renowned for their wit, charm, and elegance, and this piece is no exception. The performance promises both elegance and beautiful melodies.
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FRENCH DELIGHTS | 29 October
Program Notes This concert brings together five French works centered around the music of Claude Debussy and Maurice Ravel, who are often associated with Impressionism at the turn-of-thelast century. From Debussy, we hear a chamber arrangement of Prélude à l’après-midi d’un faune as well as his String Quartet. These pieces were written just one year apart (1893–94) and were entirely unlike anything written before. From Ravel, we hear his Introduction et allegro – a harp showcase commissioned to demonstrate everything the instrument could do. All this is offset by a much older and a slightly younger work – the Baroque composer Jean-Philippe Rameau’s Concert No.5 and Jean Françaix’s 1934 Quintet – which share a sense of playfulness across very different eras and styles.
JEAN–PHILIPPE RAMEAU
(1683–1764)
Pièces de clavecin en concerts: Concert No.5 in D minor (1741) I. La Forqueray II. La Cupis III. La Marais
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Jean-Philippe Rameau was a late bloomer, spending his 20s and 30s as an organist in obscure French towns before suddenly emerging in Paris in 1722 as the author of a Traité de l’harmonie (Treatise on Harmony) that revolutionised music theory. Basic concepts of tonal music, like the idea that the lowest pitch of a chord establishes its fundamental sound and name, were first systematized by Rameau, who was influenced by the scientific thinking of René Descartes and Isaac Newton. Besides his theoretical
work, Rameau composed a large amount of keyboard music and almost 30 operas which were performed at the Paris Opéra and for Louis XV’s court at Versailles. The Pièces de clavecin en concerts are Rameau’s only works for keyboard with additional instruments. He published the set of five concerts in Paris in 1741 – scored for violin, viola da gamba (a bowed, fretted six-string instrument), and double-manual harpsichord. He also suggested the collection could be performed with flute or a second violin, or even in an embellished version for harpsichord alone. Today’s concert has been adapted for flute, viola and harp. The Concerto No.5 in D minor has three movements, each named in honor of another musician or performer from Rameau’s day. The first movement, La Forqueray, is a lively fugue in four voices (the harpsichordist’s two hands plus the other instruments), and is named for either Antoine or Jean-Baptiste Forqueray, a father-and-son pair of viol players. The second movement, La Cupis, is a slinky sarabande filled with roulements – the sudden, rapid scales characteristic of Rameau’s instrumental writing. The title refers either to the composer Ferdinand-Joseph Cupis or to his ballerina daughter, Marie-Anne, who danced in Rameau’s first opera. The bright D-major finale, La Marais, pays tribute to the memory of Marin Marais, the most famous viol-da-gamba player and composer of French viol music in the early-18th century.
Prélude à l’après-midi d’un faune (1894) From Rameau, we jump 150 years ahead to the piece that practically reinvented French music, Claude Debussy’s Prélude à l’après-midi d’un faune (Prelude to the Afternoon of a Faun). Debussy was inspired by a poem by Stéphane Mallarmé with a troubled history: it was drafted as a monologue in 1865, but repeatedly rejected by theater companies until the poet simply published it in 1876 with artwork by Edouard Manet. Loosely inspired by Ovid’s story of Pan and the nymph Syrinx, it’s beautiful to the ear, but something like word-soup without close reading. “These nymphs I would make last. / So rare / Their rose lightness arches in the air, / Torpid with tufted sleep. / I loved: a dream?” In 1890 Debussy was living a bohemian life in Paris and began attending Mallarmé’s Tuesday salons, a gathering place for symbolist poets and painters. Apparently Mallarmé still harbored theatrical ambitions and suggested that Debussy contribute music for his long-gestating faune project. Still nothing came of it until 1894, when the composer completed an orchestral Prélude inspired by the poem. But by then he and Mallarmé had parted ways, and it was no longer a collaboration. (In some accounts, Mallarmé was actually annoyed by the piece, saying his poetry was musical enough to begin with, though he later came around to embrace Debussy again.) The Prélude premiered at the Société Nationale de Musique in December 1894, and when it finally made it to the theatrical stage in 1912, it was in a choregraphed version by Vaslav Nijinsky for the Ballets Russes – no monologue included.
Prélude à l’après-midi d’un faune begins with a flute melody, repeated three times, varied in harmony and elaboration before finally moving on (“Dream, in long solo, how we might amuse / The beautiful environing to err, confuse”). Debussy takes us through the Faun’s afternoon, hazy recollections of frolicking with nymphs, playing pipes and lyres, drifting to sleep in the summer heat. Unlike many portrayals of Pan, nothing here is leering or grotesque – it is, after all, from the Faun’s own perspective – but it’s unmistakably sexual and indulgent.
FRENCH DELIGHTS | 29 October
CLAUDE DEBUSSY
(1862–1918) (arr. STEELE JOHNSON)
On this concert, we hear a recent arrangement by Graeme Steele Johnson for flute, clarinet, harp, string quartet, and bass. It retains many of the colors of Debussy’s original orchestration, but the dream seems sharpened and more boldly drawn with the smaller forces.
JEAN FRANÇAIX
(1912–97)
Quintet for Flute, Harp, and String Trio (1934) I. Andante tranquillo II. Scherzo III. Andante IV. Rondo Jean Françaix, still composing into the mid-1990s, was one of the last living people with a direct connection to the great French tradition of the early 20th century. He was mentored by Maurice Ravel who observed that “among the child’s gifts I observe above all the most fruitful an artist can possess, that of curiosity.” Later he was something like a younger sibling to the members of Les Six, following in the footsteps of Francis Poulenc and Darius Milhaud. Françaix’s Quintet is an early work, from 1934, written for the Quintette Instrumental de Paris. This unusual
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FRENCH DELIGHTS | 29 October
ensemble, led by the flutist René Le Roy, consisted of flute, harp, violin, viola, and cello, and commissioned new works from a number of composers. They premiered Françaix’s piece on May 24, 1935. The first movement is an almost continuous flute melody, simple and calm. The Scherzo, marked presto, spins around cheerfully, while the Andante is a gentle cradlesong that becomes more and more longing. The folksy Rondo riffs on a children’s miming song “Savez-vous planter les choux?” (Do you know how to plant cabbages?)
CLAUDE DEBUSSY String Quartet in G minor, Op.10 (1893) I. Animé et très décidé II. Assez vif et bien rythmé III. Andantino, doucement expressif IV. Très modéré Debussy released his String Quartet in 1894 with the number Op.10 and the words “1er Quatuor” (first quartet) on the cover. Both labels are misleading, since he hadn’t actually published nine previous compositions and never wrote a second quartet. At age 32, he probably wanted to appear more accomplished than he really was, and hint at big things for the future. The Ysaÿe Quartet (named for its leader, the violinist and composer Eugène Ysaÿe) premiered the piece on December 29, 1893, at the Salle Pleyel in Paris for the Société Nationale de Musique. The reaction was somewhat mixed, with the composer Ernest Chausson, its intended dedicatee, questioning its structural coherence. Ysaÿe, however, believed in it enough to take it on tour, and the company Durand offered Debussy a publishing contract.
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The first movement’s opening idea underpins the entire work: a sturdy,
two-measure motive spun out into a taught, 12-bar phrase. From there, a second theme introduces a particularly Debussian effect: a long, quiet melody floated over a busy texture. The movement is built as a procession of linked sections, all related to varying degrees to the opening material. The second movement is in pizzicato – often three players plucking against one with the bow. Though the color palette has changed, the first movement’s ideas are still present: the opening strummed chords are a transformation of the first movement opening, and the viola’s answering theme, with its triplet turn, is not far afield from what came before. For the slow movement, the players are muted; the second violin begins with a hesitant fragment, answered by cello pizzicato (a carryover from the second movement). The viola repeats the fragment, and then first violin completes it as a hushed and tender lullaby. The movement hinges on warmth and its withdrawal – harmonies disappear, then echo like a distant organ. A second melody, again with the triplet turn from the first and second movements, broadens and grows more expressive. But again, it pulls back and the lullaby returns. The finale seems to drift right out of the slow movement. The cello twines around, then the three other players join and wobble together in queasy chromatics. They gain momentum and familiar themes reemerge – another transformation of the first-movement opening, splashes of the second movement’s guitar, and an ending flourish.
Introduction et allegro (1905) Maurice Ravel’s Introduction et allegro is really a little harp concerto commissioned by the Érard instrument company in response to a competitor, Pleyel, commissioning Claude Debussy’s similar Danse sacrée et danse profane (1904). The two companies were engaged in harp war, each championing a different technology. Érard made traditional double-action harps, which have eight strings per octave, each pitch adjustable (flat, natural, or sharp) by pedals to make a scale in any key. Pleyel, on the other hand, made a fully chromatic harp, which had 12 strings per octave, similar to a piano keyboard. The playing techniques were quite different, so the manufactures had to win performers over to their side. Commissioning works from leading composers was a way to make their case.
a melody for the first time, proving it’s not just a decorative instrument. Ravel finds an incredible range of colors and textures with limited forces. Near the climax, the viola and cello join in the strumming, launching the harp into a spine-tingling cadenza. If you look at any orchestral harp today, you’ll see that Érard’s pedal system won out – mostly on its own merits for ease of playing, but no doubt with a little help from Ravel.
FRENCH DELIGHTS | 29 October
MAURICE RAVEL
(1875–1937)
© Benjamin Pesetsky 2023
Ravel rushed to finish Introduction et allegro because he was scheduled to leave on a two-month boat cruise with friends shortly after receiving the commission. “Eight days of solid work and three sleepless nights allowed me to finish it, for better or worse!” he reported. Perhaps the rather bland title hints at his hurry, as if he had to send it off before thinking of something more evocative. But once you turn the title page, the music is a wonderful discovery. Scored for a tiny orchestra of flute, clarinet, and string quartet, it opens with the winds shadowing each other in thirds, answered by the strings. The solo harp enters with a sweeping arpeggio (immediately showing off something Érard’s instrument did better than Pleyel’s). The cello pushes forward with a new theme, and finally we arrive at the Allegro, where the harp leads with
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Andrew and Judy Rogers Michelle Wood
Glenn Sedgwick
Tiffany Cheng, Shane Hooton
Dr Martin Tymms and Patricia Nilsson Natasha Thomas
Anonymous
Prudence Davis
HONORARY APPOINTMENTS Life Members Mr Marc Besen AC John Gandel AC and Pauline Gandel AC Sir Elton John CBE Harold Mitchell AC Lady Potter AC CMRI Jeanne Pratt AC Michael Ullmer AO and Jenny Ullmer Anonymous MSO Ambassador Geoffrey Rush AC
MSO BOARD Chairman David Li AM Co-Deputy Chairs Di Jameson OAM Helen Silver AO
Warren Trevelyan-Jones
Managing Director Sophie Galaise Board Directors Shane Buggle Andrew Dudgeon AM Martin Foley Lorraine Hook Margaret Jackson AC Gary McPherson Farrel Meltzer Edgar Myer Glenn Sedgwick Mary Waldron
Siobhan Stagg
Company Secretary Oliver Carton
MSO ARTISTIC FAMILY Jaime Martín
Chief Conductor
Xian Zhang
Principal Guest Conductor
Benjamin Northey
Principal Conductor in Residence
Carlo Antonioli
Cybec Assistant Conductor
Sir Andrew Davis CBE Conductor Laureate
Hiroyuki Iwaki †
Conductor Laureate (1974–2006) MSO Chorus Director Soloist in Residence
Supporters
The MSO honours the memory of Life Members Mrs Eva Besen AO John Brockman OAM The Honourable Alan Goldberg AO QC Roger Riordan AM Ila Vanrenen
Gondwana Voices
Ensemble in Residence
Christian Li
Young Artist in Association
Mary Finsterer
Composer in Residence
Melissa Douglas
Cybec Young Composer in Residence
Christopher Moore
Creative Producer, MSO Chamber
Deborah Cheetham Fraillon AO MSO First Nations Creative Chair
Dr Anita Collins
Creative Chair for Learning and Engagement
Artistic Ambassadors Tan Dun Lu Siqing
The MSO relies on your ongoing philanthropic support to sustain our artists, and support access, education, community engagement and more. We invite our supporters 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: $500+ (Overture) $1,000+ (Player) $2,500+ (Associate) $5,000+ (Principal) $10,000+ (Maestro) $20,000+ (Impresario) $50,000+ (Virtuoso) $100,000+ (Platinum)
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Thank you to our Partners PRINCIPAL PARTNER
PREMIER PARTNERS
GOVERNMENT PARTNERS
VENUE PARTNER
EDUCATION PARTNER
MAJOR PARTNERS
ORCHESTRAL TRAINING PARTNER
SUPPORTING PARTNERS
Quest Southbank
Ernst & Young
Bows for Strings
MEDIA AND BROADCAST PARTNERS
TRUSTS AND FOUNDATIONS
Freemasons Foundation Victoria
The Sir Andrew and Lady Fairley Foundation, The Angior Family Foundation, The William and Lindsay Brodie Foundation, Flora & Frank Leith Trust, The Gwen and Edna Jones Foundation, The Ray and Joyce Uebergang Foundation, Perpetual Foundation – Alan (AGL) Shaw Endowment, Sidney Myer MSO Trust Fund