CONCERT PROGRAMCONCERT PROGRAM

PLAYS LA MER

30 SEPTEMBER – 2 OCTOBER 2017

G R E A T P A S S I O N S

S E A S O N 2 0 1 8

ON SALENOW!

FeaturingAnne-Sophie Mutter | Maxim Vengerov

Thomas Hampson | Eva-Maria Westbroek

All tickets on sale 11am Wednesday 4 October

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

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mso.com.au (03) 9929 9600

Running time: 2 hours, including 20-minute interval

Please note, Saturday’s pre-concert talk by composer, Andrew Aronowicz 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.

Melbourne Symphony Orchestra

Otto Tausk conductor

Saleen Ashkar piano

Stravinsky Scherzo fantastique

Debussy La MerINTERVAL

Brahms Piano Concerto No.1

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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.

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, Mark Wigglesworth, Markus Stenz and Simone Young. It has also collaborated with non-classical musicians including Nick Cave, Sting, Tim Minchin, DJ Jeff Mills and Flight Facilities.Image courtesy Daniel Aulsebrook

OTTO TAUSK CONDUCTOR

Music Director of the Symphony Orchestra and Opera Theatre St. Gallen (Switzerland), Otto Tausk works with all the major orchestras in his native Netherlands, and becomes Music Director of the Vancouver Symphony Orchestra in 2018.

In St. Gallen, Otto Tausk conducts the major concert series as well as operas. This year he conducted Wagner’s Lohengrin in the pit, Alfredo Catalani’s Mass in E minor, and the world premiere of David Philip Hefti’s Annas Maske. Recent guest appearances have included the BBC National Orchestra of Wales, Stuttgart Philharmonic and Orquestra Sinfónica do Porto Casa da Música, Portugal.

In 2011, Otto Tausk was presented with the ‘de Olifant’ prize by the city of Haarlem for his contribution to the arts in The Netherlands. His recording of Pfitzner’s Orchesterlieder with the Northwest German Philharmonic won Classica France’s Choc du mois. Between 2004 and 2006 he was assistant to Valery Gergiev at the Rotterdam Philharmonic and later worked at the Mariinsky Theatre.

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SALEEM ASHKAR PIANO

Saleem Ashkar was invited by Zubin Mehta to perform Tchaikovsky’s First Piano Concerto with the Israel Philharmonic at the age of 17. He made his Carnegie Hall debut under Daniel Barenboim at the age of 22 and since then has played with orchestras such as the Vienna Philharmonic, London Symphony, City of Birmingham Symphony, North German Radio Symphony Hamburg, Orchestra of Saint Cecilia Rome, Mariinsky Orchestra and the Danish Radio Symphony, among others. He performs regularly with conductors such as Barenboim, Riccardo Muti, Riccardo Chailly, Lawrence Foster, Nikolaj Znaider, and Pietari Inkinen.

Following a highly successful debut with Christoph Eschenbach and North German Radio Symphony Hamburg, Eschenbach invited Saleem to play the Schumann Concerto with the Dusseldorf Symphony Orchestra in the special Schumann birthday concert in June 2010. He toured extensively with Riccardo Chailly and the Leipzig Gewandhaus Orchestra performing Mendelssohn’s First Piano Concerto in appearances that included the BBC Proms and Lucerne Festival, in a tour celebrating the bicentennial anniversary of the composer's birth.

Chailly re-invited Saleem for concerts and to record the Mendelssohn concertos.

Saleem Ashkar is a dedicated recitalist. His 2016-17 season included a complete Beethoven sonata cycle at the Konzerthaus Berlin whose culmination coincided with the double CD release by Decca of disc one in the complete cycle. Other recent appearances have included engagements with the Orchestra della Toscana in Florence, Bournemouth Symphony Orchestra in Poole, Orchestra Verdi in Milan, a recital at Cal Performances in Berkeley USA, a residency at Brown University, Rhode Island and his Wigmore Hall debut. Future performances include Mozart’s Piano Concerto No.20 with Alexander Shelley and the Tirolean Symphony Orchestra Innsbruck, further recitals in his Beethoven cycle in Duisburg, Germany and Prague, and Schumann’s A minor concerto with the Orchestre National de Lyon and Nikolaj Znaider.

Saleem Ashkar is Ambassador to the Music Fund, a humanitarian project that supports musicians and music schools in conflict areas and developing countries.

Image courtesy Peter Rigaud

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and tuned percussion and the overall shape of the piece reflects Stravinsky’s interest in French music, such as that of Dukas and Debussy. But as Paul Griffiths notes, there is an oddly Wagnerian passage in the slow, second section.© Gordon Kerry 2017

This is the first performance of Scherzo fantastique by the MSO.

CLAUDE DEBUSSY (1862–1918)

La Mer – Three Symphonic Sketches

De l’aube à midi sur la mer (From Dawn to Noon on the Sea)

Jeux de vagues (Play of Waves)

Dialogue du vent et de la mer (Dialogue of the Wind and the Sea)

Never before had that marvellous music La Mer appeared so seductive and yet mysterious at the same time, so imbued with the enigmatic life of the Cosmos, than on that evening when her great creator, with a gentle hand, was ruling over her waves.

So wrote a young Russian composer, Lazare Saminsky, on hearing Debussy conduct La Mer in St Petersburg in 1913. But the work’s greatness had by no means seemed self evident when it had first appeared in 1905. Debussy himself was weathering a personal scandal, having left his wife, and part of the lack of enthusiasm on the part of the Parisian public may stem from its disapproval. The first performance, too, was by all accounts

PROGRAM NOTES

IGOR STRAVINSKY (1882–1971)

Scherzo fantastique

Early in 1909 the impresario Sergei Diaghilev attended a concert in St Petersburg at which he heard two new works by the young Stravinsky: the Scherzo fantastique and Fireworks. According to his manager, Diaghilev had enthusiastically commented on the young composer’s ‘new and original’ music, with a ‘tone quality that should the surprise the public’. By June that year Diaghilev had commissioned Stravinsky and several of his contemporaries to make orchestral arrangements and would soon commission the ballets that made Stravinsky’s name.

The Scherzo fantastique is the Stravinsky’s contribution to the genre of Russian music inspired by fairy tale; although it doubles as his response to The Life of the Bee, in which Belgian symbolist writer Maurice Maeterlinck meditates on ‘the formation and departure of the swarm, the foundation of the new city, the birth, combat and nuptial flight of the young queens, the massacre of the males, and finally, the return of the sleep of winter’.

Stravinsky later played down any apian significance, and disavowed the 1917 ballet version, Les abeilles. He admitted, however, that there was a hint of Rimsky-Korsakov’s Bumblebee in the piece. The iridescent scoring of the opening, though, is surely Rimskian, with its glitter of winds

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under-rehearsed and the conductor Camille Chevillard unsympathetic to Debussy’s style. The composer Edouard Lalo complained that he could neither hear, see nor feel the sea, and a reviewer in Boston wrote that ‘we clung like a drowning man to a few fragments of the tonal wreck, a bit of theme here, a comprehensible figure there, but finally this muted-horn sea overwhelmed us’.

The point missed by the authors of such remarks, however, is that Debussy’s music is not intended as visual imagery, or the soundtrack to some imaginary film. The composer may have invited such misinterpretations: in subtitling the work ‘Three Symphonic Sketches’ he of course evokes the media of visual art; moreover, he often used terms like ‘colour’ and ‘shading’ when discussing his music. But in 1903, when he began work on La Mer, Debussy wrote to a friend from the Burgundian countryside:

You may not know that I was destined for a sailor’s life, and that only chance led me in another direction…You will say that the ocean does not exactly bathe the hills of Burgundy, and my seascapes may be studio landscapes, but I have an endless store of memories, and in my mind they are worth more than reality, whose beauty often weighs heavily on the imagination.

The work, then, is about the idea of the sea rather than being a representation

of it; significantly, much of its composition took place away from the coast.

Debussy’s genius for orchestration and subtle rhythmic organisation certainly make for an evocative work where it is possible to imagine the crash of waves, the call of seagulls and the protean movement of light on water. The final climactic moments of the first movement, for instance, somehow create a sense of emerging from the deep into the light.

Other masterly touches abound: the unusual timbre of cellos divided into four parts; the use of muted horns (which Debussy admitted to taking from the music of Weber) to evoke space; the soloistic use of wind instruments and harp.

But La Mer is as much ‘symphonic’ as it is ‘sketch’. Its three movements are by no means simply rhapsodic, but rather show Debussy’s subtle and careful approach to form. In the first movement his careful development of short motifs is perfectly symphonic; the second movement is, among other things, a symphonic scherzo; and the third movement – which has one of the rare ‘big finishes’ of any work by this composer – is a symphonic finale.

By a nice paradox, Debussy’s marvellous musical reflection on the constant flux of the sea is achieved by the most painstaking and careful calculation. Not for nothing did the published score carry the intricately

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PROGRAM NOTES

designed woodcut The Great Wave by the Japanese artist Hokusai.Abridged from a note by Gordon Kerry © 2005

The Melbourne Symphony Orchestra first performed La Mer on 16 May 1942, with Bernard Heinze conducting, and most recently on 15 March 2013 with Benjamin Northey.

JOHANNES BRAHMS (1833–1897)

Piano Concerto No.1 in D minor, Op.15

MaestosoAdagioRondo (Allegro non troppo)

Saleem Ashkar piano

Robert Schumann had been the Romantic composer par excellence, cultivating the fragmentary, the poetic and the allusive while also contributing to those genres established by composers in the classical tradition. After his death in 1856 two roads diverged in German music: the ‘New German’ composers, led by Franz Liszt and in turn by Richard Wagner, composed the ‘music of the future’, avoiding or at least subverting the conventions of symphony and sonata with narrative or philosophical ‘programs’; in due course Brahms would come to occupy the position of antipope, breathing new life into the forms and genres of abstract music.

When Brahms’ First Piano Concerto appeared in January 1859 it shocked traditionalists in its scale and ferocity, but also because it blurred the distinction between symphony and

concerto. The premiere in Hannover was received with polite confusion, one critic finding it ‘dry and difficult to understand’, but the performance in Leipzig a day or two later engendered frank hostility, and it is fair to say that Brahms was still less than confident in handling orchestration.

The work grew out of the Sonata for two pianos that Brahms worked on in the mid-1850s, which the Schumanns had encouraged him to orchestrate. Not surprisingly, Brahms, still in his early 20s, was influenced by the prevailing currents of Romanticism and his music from this time contains more than its share of Sturm und Drang (storm and stress), which was carried over into the Concerto. Thanks partly to Joachim, though, a story grew up that the first movement of the Concerto enacted and registered Brahms’ reaction to Robert Schumann’s attempt to commit suicide by flinging himself into the Rhine at Düsseldorf.

Be that as it may, the concerto has one of the most excoriating openings of any work – by Brahms or anyone else – with its powerful pedal note D that only just supports a massive superstructure of unstable harmony and arresting rhetorical motifs. This provides an introduction of some minutes’ duration – as in Beethoven’s Third Piano Concerto, there is the danger that listeners will forget that they are to hear a piano concerto – before the appearance of the soloist who, as Karl Geiringer has noted, is

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repeatedly given music ‘only remotely, if at all, connected to the material of the orchestral part’. Geiringer goes on to point out how this may derive from Brahms’ study of Baroque music, but the effect here is of titanic, and arch-Romantic, struggle between angst and brilliance.

The original two-piano sonata followed the first movement with a minor-key scherzo that Brahms omitted from the Concerto, though he did, some years later, use it as the basis for the sombre dance-like second movement of his German Requiem, Denn alles Fleisch, es ist wie Gras (for all flesh is as grass). The remainder of the Concerto is all new material, and the manuscript of the Adagio originally bore the inscription Benedictus qui venit in nomine Domini (Blessed is he that comes in the name of the Lord); as Charles Rosen has noted, ‘the juncture of religion and music’ affects ‘even the piano concertos of Brahms’. The inscription was not included in the published score, but, writing to Clara Schumann about it in 1856, Brahms said, ‘I am also painting a lovely portrait of you; it is to be the adagio.’

This suggests that the ‘blessed person’ is Clara, and the ‘Lord’ is Robert (whom Brahms occasionally referred to jokingly as ‘Mynheer Domine’) and his legacy. This is no less ‘Romantic’ than the opening movement, though of a quite different tenor and mood. The piano, perhaps representing Clara, has a more conventionally prominent role,

though the movement is by no means a vehicle for bravura display.

If there is an accidental similarity to Beethoven’s Third Concerto at the outset, there is a more conscious one in the third movement, where Brahms seems to have used the form and proportions, and even, according to Jan Swafford, certain phrase structures of Beethoven’s finale to shape his own.

Brahms was wounded by the negative response to the piece, though aware of the role his orchestral inexperience played in its reception. It would be another 15 years before the next try.© Gordon Kerry 2015

The Melbourne Symphony Orchestra first performed this concerto on 20 July 1945 with conductor Bernard Heinze and soloist Noel Mewton-Wood. The Orchestra performed it most recently on 15-17 November 2012 with Tadaaki Otaka and Garrick Ohlsson.

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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 Concertmaster

Eoin Andersen Concertmaster

Sophie Rowell Associate ConcertmasterThe Ullmer Family Foundation#

John Marcus Principal

Peter Edwards Assistant Principal

Kirsty BremnerSarah Curro Michael Aquilina#

Peter FellinDeborah GoodallLorraine HookKirstin KennyJi Won KimEleanor ManciniDavid and Helen Moses#

Mark Mogilevski Michelle RuffoloKathryn TaylorMichael Aquilina#

Jo Beaumont*Oksana Thompson*Sonia Wilson*

SECOND VIOLINS

Matthew Tomkins Principal The Gross Foundation#

Robert Macindoe Associate Principal

Monica Curro Assistant PrincipalDanny Gorog and Lindy Susskind#

Mary AllisonIsin CakmakciogluFreya Franzen Anonymous#

Cong GuAndrew HallAndrew and Judy Rogers#

Rachel Homburg Isy WassermanPhilippa WestPatrick WongRoger YoungJacqueline Edwards*Michael Loftus-Hills*

VIOLAS

Christopher Moore PrincipalDi Jameson#

Fiona Sargeant Associate Principal

Lauren BrigdenTam Vu, Peter and Lyndsey Hawkins#

Katharine BrockmanChristopher CartlidgeMichael Aquilina#

Anthony ChatawayGabrielle HalloranTrevor Jones Cindy WatkinElizabeth WoolnoughCaleb WrightLisa Grosman*Justin Julian*Isabel Morse*

CELLOS

David Berlin Principal MS Newman Family#

Rachael Tobin Associate Principal

Nicholas Bochner Assistant Principal

Miranda Brockman Geelong Friends of the MSO#

Rohan de Korte Andrew Dudgeon#

Keith JohnsonSarah MorseAngela SargeantMichelle WoodAndrew and Theresa Dyer#

Rachel Atkinson*Svetlana Bogosavljevic*Kalina Krusteva-Theaker*

DOUBLE BASSES

Steve Reeves Principal

Andrew Moon Associate Principal

Sylvia Hosking Assistant Principal

Damien EckersleyBenjamin HanlonSuzanne LeeStephen Newton Sophie Galaise and Clarence Fraser#

Rob Nairn*

FLUTES

Prudence Davis Principal Anonymous#

Wendy Clarke Associate Principal

Sarah BeggsHelen Hardy*

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PICCOLO

Andrew Macleod Principal

OBOES

Jeffrey Crellin Principal

Thomas Hutchinson Associate Principal

Ann BlackburnThe Rosemary Norman Foundation#

COR ANGLAIS

Michael Pisani Principal

CLARINETS

David Thomas Principal

Philip Arkinstall Associate Principal

Craig Hill

BASS CLARINET

Jon Craven Principal

BASSOONS

Jack Schiller Principal

Elise Millman Associate Principal

Natasha Thomas

CONTRABASSOON

Brock Imison Principal

HORNS

Eirik Haaland* Guest Principal

Saul Lewis Principal Third

Abbey Edlin Nereda Hanlon & Michael Hanlon AM#

Trinette McClimont

TRUMPETS

Geoffrey Payne Principal

Shane Hooton Associate Principal

William EvansRosie TurnerTristan Rebien*Bruno Siketa*

TROMBONES

Brett Kelly Principal

Richard Shirley

BASS TROMBONE

Mike Szabo Principal

TUBA

Timothy Buzbee Principal

Nelson Woods*

PERCUSSION

Robert Clarke Principal

John ArcaroTim and Lyn Edward#

Robert Cossom

HARP

Yinuo Mu Principal

Yi Yun Loei*Megan Reeve*

CELESTE

Peter de Jager*

# Position supported by

* Guest Musician

MSO BOARD

Chairman

Michael Ullmer

Managing Director

Sophie Galaise

Board Members

Andrew DyerDanny GorogMargaret Jackson ACBrett KellyDavid KrasnosteinDavid LiHyon-Ju NewmanHelen Silver AO

Company Secretary

Oliver Carton

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SUPPORTERS

MSO PATRONThe Honourable Linda Dessau AC, Governor of Victoria

ARTIST CHAIR BENEFACTORSAnthony Pratt Associate Conductor Chair

Joy Selby Smith Orchestral Leadership Chair

The Cybec Foundation Cybec Assistant Conductor Chair

The Ullmer Family Foundation Associate Concertmaster Chair

Anonymous Principal Flute Chair

The Gross Foundation Principal Second Violin Chair

Di Jameson Principal Viola Chair

MS Newman Family Foundation Principal Cello Chair

Marc Besen AC and Eva Besen AO 2018 Soloist in Residence Chair

PROGRAM BENEFACTORS

Cybec 21st Century Australian Composers Program The Cybec Foundation

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

MSO Audience Access Crown Resorts Foundation Packer Family Foundation

MSO Education supported by Mrs Margaret Ross AM and Dr Ian Ross

MSO International Touring supported by Harold Mitchell AC

MSO Regional Touring Creative Victoria The Robert Salzer Foundation

The Pizzicato Effect Collier Charitable Fund The Marian and E.H. Flack Trust Schapper Family Foundation Scobie and Claire Mackinnon Trust Supported by the Hume City Council’s Community Grants Program (Anonymous)

Sidney Myer Free Concerts Supported by the Myer Foundation and the University of Melbourne

CHAIRMAN’S CIRCLE $100,000+Marc Besen AC and Eva Besen AOJohn Gandel AC and Pauline Gandel The Gross Foundation ◊

David and Angela LiMS Newman Family Foundation ◊

Anthony Pratt ◊

The Pratt FoundationJoy Selby SmithUllmer Family Foundation ◊

Anonymous (1)

VIRTUOSO PATRONS $50,000+Di Jameson ◊

David Krasnostein and Pat StragalinosMr Ren Xiao Jian and Mrs Li QuianHarold Mitchell ACKim Williams AM

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Stephen ShanasyMr Tam Vu and Dr Cherilyn Tillman ◊

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PRINCIPAL PARTNER

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PREMIER PARTNERS VENUE PARTNER

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SUPPORTING PARTNERS

� e CEO InstituteQuest Southbank Bows for StringsErnst & Young

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MEDIA AND BROADCAST PARTNERS

The Scobie and Claire Mackinnon Trust

� e Gross Foundation, Li Family Trust, MS Newman Family Foundation, � e Ullmer Family Foundation

SUPPORTERS

The Hon. Rosemary VartyLeon and Sandra VelikSue Walker AMElaine Walters OAM and Gregory WaltersEdward and Paddy WhiteNic and Ann WillcockMarian and Terry Wills CookeLorraine WoolleyRichard YePanch Das and Laurel Young-DasAnonymous (21)

THE MAHLER SYNDICATEDavid and Kaye BirksMary and Frederick Davidson AMTim and Lyn EdwardJohn and Diana FrewFrancis and Robyn HofmannThe Hon. Dr Barry Jones ACDr Paul Nisselle AMMaria Solà The Hon. Michael Watt QC and Cecilie Hall

TRUSTS AND FOUNDATIONSKen and Asle Chilton Trust, managed by PerpetualCollier Charitable FundCrown Resorts Foundation and the Packer Family FoundationThe Cybec FoundationThe Marian and E.H. Flack TrustGandel PhilanthropyLinnell/Hughes Trust, managed by PerpetualThe Scobie and Claire Mackinnon TrustThe Harold Mitchell FoundationThe Myer FoundationThe Pratt FoundationThe Robert Salzer Foundation

Alan (AGL) Shaw Endowment, managed by PerpetualTelematics Trust

CONDUCTOR’S CIRCLEJenny AndersonDavid AngelovichG C Bawden and L de KievitLesley BawdenJoyce BownMrs Jenny Brukner and the late Mr John BruknerKen BullenLuci and Ron ChambersBeryl DeanSandra DentLyn EdwardAlan Egan JPGunta EgliteMr Derek GranthamMarguerite Garnon-WilliamsLouis Hamon OAMCarol HayTony HoweLaurence O'Keefe and Christopher JamesAudrey M JenkinsJohn and Joan JonesGeorge and Grace KassMrs Sylvia LavellePauline and David LawtonCameron MowatRosia PasteurElizabeth Proust AOPenny RawlinsJoan P RobinsonNeil RoussacAnne Roussac-Hoyne Suzette SherazeeMichael Ryan and Wendy MeadAnn and Andrew SerpellJennifer ShepherdProfs. Gabriela and George StephensonPamela SwanssonLillian TarryDr Cherilyn TillmanMr and Mrs R P TrebilcockMichael Ullmer

Ila VanrenenThe Hon. Rosemary VartyMr Tam VuMarian and Terry Wills CookeMark YoungAnonymous (23)

The MSO gratefully acknowledges the support received from the estates of

Angela BeagleyNeilma GantnerGwen HuntAudrey JenkinsPauline Marie JohnstonC P KempPeter Forbes MacLarenJoan Winsome MaslenLorraine Maxine MeldrumProf Andrew McCredieMiss Sheila Scotter AM MBEMarion A I H M SpenceMolly StephensJean TweedieHerta and Fred B VogelDorothy Wood

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The Hon. Alan Goldberg AO QCLife Member

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