AYO 2018 March Concert Series - Printed Programme

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March 2018 Concert Series

Howick - All Saints Church Saturday 3 March 7.30pm

Manukau - Vodafone Events Centre Sunday 4 March 2.30pm

Orewa - Arts & Events Centre Saturday 10 March 7.30pm

Remuera - Baradene College Sunday 11 March 2.30pm


Grieg Peer Gynt Suite No.1

Nielsen Flute Concerto Soloist Anna Cooper

Schubert Symphony No.8 (Unfinished)


THANKS TO OUR SUPPORTERS Golden Supporters Lodge of the Liberal Arts Philip Galloway The Wallace Foundation

Special Supporters Margaret Leman & Derek Neutze and 2 anonymous Special Supporters

General Supporters Ajay Anomi Alex Bartlett Rosemarie & Alex Biland Alison Buchanan & Eric Johnston Kerin Buttimore Fiona Cameron Mark Close Glenys & Michael Daniell Marcia Dwyer Riemke Ensing Bruce Fergusson David Foster Diana Gash

Janet Gibbs Julie Goodyer Judith Gust Bob Kinnear Acer Lin Margaret Malaghan Andrea McCracken Janis & Peter Metcalfe Gordon Skinner Cameron Stuart Tony Sullivan Jane Torrie & Gerard Robertson Elizabeth Wilson

and 21 anonymous General Supporters

Please be respectful to fellow audience members and our players by switching all electronic devices OFF and by remaining seated during the performance. Please avoid interrupting noises during the performance, which is being recorded. No photography or recording of any kind is permitted without our prior consent.


THANKS TO OUR SPONSORS We thank the organisations below for their generous support:

ABOUT AYO Founded in 1948, the Auckland Youth Orchestra (AYO) is the premier regional youth orchestra in New Zealand and was the first youth orchestra established in the Southern Hemisphere, designed to bridge the gap between school orchestras and adult professional groups. AYO inspires young people to excel through their love of musical performance and provides them with a wide range of cultural experiences, thus shaping our leaders of tomorrow. AYO makes an important contribution to the cultural life of Auckland and NZ. AYO performs up to 12 concerts a year throughout the upper North Island region and has attracted full houses at their concerts in many locations. This endeavour requires large operating costs and the AYO relies heavily on the generosity of our Sponsors, Subscribers, and Supporters. All grants and donations are helpful and greatly appreciated. 2018 is a very special year for AYO – our 70th anniversary and Antun’s 20th as Music Director. To mark these milestones, the orchestra is undertaking a 2-week tour to Europe in August, visiting Vienna, Dobrna, Prague, Dresden, Berlin, Tübingen and Frankfurt. Antun has been planning the tour carefully and we are confident this should be an extraordinary experience for the players – particularly the performance at Berlin’s famous Konzerthaus, at the invitation of the Young Euro Classic Festival organisers. The players are paying their own way – a significant cost for them. All donations will be gladly received to assist with the orchestra’s costs such as hiring timpani and other instruments in Europe.


MUSIC DIRECTOR Antun Poljanich Born in Croatia, Antun studied piano and theory at Dubrovnik School for Musical Education then studied conducting at the University of Ljubljana. Following postgraduate studies in Austria, he won a scholarship which took him to Leningrad for a three-year Master Course in Conducting at the Rimsky-Korsakov Conservatory. He has since worked with the Leningrad State Symphony Orchestra, the Veneto Philharmonia, the Slovene and Croatian National Orchestras and other prominent orchestras in Russia and Europe. Antun is the Orchestra’s fourth Musical Director.

SOLOIST Anna Cooper Originally from Gisborne, Anna started playing the flute at age 12, and at 16 gained an ATCL Diploma with Distinction. Anna completed a Bachelor of Music (First Class Honours) studying with Luca Manghi, and Bachelor of Arts (Politics and International Relations) at the University of Auckland. Anna has played casually with the Auckland Philharmonic Orchestra and Auckland Chamber Orchestra. In 2017, she completed a Fellowship with the New Zealand Symphony Orchestra and Internship with Auckland Philharmonic Orchestra. She is twice a past member of the National Youth Orchestra, and was principal flute of the Auckland Youth Orchestra in the 2016-17 seasons. Anna has been the winner of the University of Auckland Graduation Gala Concerto Competition, and was awarded the Woodwind Prize at the Gisborne International Music Competition in 2015. Anna has had a long association with Concert Bands, and in 2013 established the University of Auckland Concert Band. While on a university exchange in Italy, she attempted to join a concert band but due to language barrier found herself at a marching band competition a few weeks later!


Peer Gynt Suite No 1 opus 46

Edvard Grieg (1843-1907)

1. Morning mood. 2. The Death of Aase. 3. Anitra’s Dance. 4. In the Hall of the Mountain King. Norway was in a union with Denmark until 1814, a total of 434 years, and Danish remained the literary language throughout the 19th century. Peer Gynt, the verse play by Henrik Ibsen, was therefore written in Danish. After 1814, and the defeat of Napoleon, Norway was then forced into a union with Sweden. The country remained economically depressed after the Napoleonic wars until the 1830s, when growth and greater prosperity started to return, and with it the stirrings of a romantic nationalism. Norway finally gained its independence under its current liberal constitution in 1905. The towering figure of Ibsen was a major force in the emergence of Norway’s cultural development and identity, his plays causing shock and heated debate throughout Europe and America. Grieg, identifying with this resurgent nationalism, consciously set out to be a distinctly Norwegian composer, studying the folk music of his native country and absorbing its idioms and characteristics into his own work. When Ibsen’s play Peer Gynt was first published in 1867 it was met with general miscomprehension and even hostility. Hans Andersen hated it. Ibsen was repellent to him, a feeling shared by many other commentators. It is not surprising that it was found confusing as it was written with no thought of performance, containing forty scenes moving between time and space and with no concern for the practicalities of staging. It also moved between reality and fantasy as if there were no distinction between the two. It can be understood as an exploration of the unconscious, and the truth found in dreams and nightmares. Freud was fascinated by the work and it is not surprising that it was at first misunderstood, as it is both uncomfortable and disturbing and not at all the fairy tale that it seems to be, if taken literally. Though temperamentally very different, Ibsen and Grieg knew and respected each other and in 1874 Ibsen wrote to Grieg asking him if he would consider writing the music for a drastically revised staged production, proposing to share equally the fee he would ask from the theatre. Grieg accepted the invitation with some reluctance, writing to one friend that it was a dreadfully intractable subject, and to another that “The whole thing sits on me like a nightmare”. It was not until 18 months later that he completed the music. The performing version of the play with Grieg’s music was finally produced in 1876. It was a tremendous success. The play was performed 37 times during the following months and Ibsen was delighted, writing to the director “that the outcome of this bold enterprise by your theatre has exceeded all my expectations.” From the music, Grieg later compiled two orchestral suites of which Number 1 is the most popular. Though there is no doubt that the music greatly softened the effect of the play, something Ibsen came to realise later, it established Grieg as Norway’s greatest and most loved composer. After his death it was estimated that more than 30 thousand people lined the streets to witness his funeral procession.


Concerto for Flute and Orchestra

Carl Nielsen (1865-1931)

1. Allegro moderato 2. Allegretto un poco-Adagio ma non troppo-Allegretto-Poco adagio-Tempo di Marcia Carl Nielsen was born into a family of modest means, the seventh of twelve children. Both his parents were musical. Amongst his earliest memories as a child was his mother singing to him, and his father, a house painter, playing the fiddle at local gatherings. At 14 he became a bandsman in the Royal Danish Army playing the trumpet, while continuing his violin studies privately, and when he was 19 he was accepted into the Royal Danish Academy of music, studying the violin as his principal subject. After leaving the Academy he succeeded in obtaining a position in the Royal Danish Orchestra as a second violinist. He stayed with the orchestra for 16 years while his reputation as a composer became established, and in 1901 he was awarded a modest pension by the state which enabled him to spend more time on composition. Eventually he obtained a teaching post at the Royal Academy which he retained until his death. Nielsen’s Flute Concerto was written in 1926 for Helger Gilbert-Jesperen, the flautist of the Copenhagen wind quintet. He had previously composed a quintet for this ensemble, the last movement of which depicted the personalities of the five players, much as Elgar portrayed his friends in his Enigma variations. He planned to develop this idea further by writing a concerto for each player, in which the individual character of the different instruments of the orchestra would interact with the personality of the performer, but he only succeeded in completing the flute and clarinet concertos before his death. He himself appears in the flute concerto in the guise of the bass trombone, the antithesis of the Arcadian flute. He is now recognised as Denmark’s most important composer. When he died he was given a state funeral, and the high regard in which he is held in his native land is confirmed by his depiction on the hundred kroner banknote.

Symphony Number 8 in B minor the “Unfinished” 1. Allegro moderato

Franz Schubert (1797-1828)

2. Andante con moto

After the defeat of Napoleon, as the former ruling dynasties of Europe regained their authority and power, the forces of reaction swept through the continent. In 1815 Vienna was a police state governed by a ruling elite determined to stamp out any form of democratic debate. Legislation restricting freedom of assembly and free speech was enacted and enforced ruthlessly, and no opposition was tolerated. Musical parties, concerts, and dances were the exceptions, such occasions being considered too frivolous to pose a threat. A curious example of repressive legislation was the marriage act of 1815 which forbade marriage to any man who could not demonstrate he had the income to support a wife and family. The inevitable consequence of this law was to create even greater division between ‘respectable’ middle class society and the poor, amongst whom promiscuity and prostitution became entrenched. It also had the unforeseen result in alienating from conventional society a whole class of creative artists, writers, and thinkers, whose precarious financial existence meant that any hope of marriage, or even a relationship, with a girl from a respectable family


was out of the question. At around this time, Schubert fell in love with a young soprano, Therese Grob, the daughter of a local silk manufacturer. He wished to marry her, but was prevented from doing so by this harsh law. In 1816, when he was 19, Schubert was persuaded by his friend Franz von Schober to give up his position as an elementary teacher in his father’s school, and come and live with him. Schubert could then devote himself entirely to composition while Schober, who came from a good family, supported him. In that year alone Schubert wrote over 146 songs. By 1820 he was part of a close knit circle of artists and students which attracted the attention of the authorities, who suspected them of harbouring liberal ideas. Schubert and four of his friends were arrested by the police, and one friend, the poet Johann Senn, was imprisoned for a year and exiled from Vienna. For the rest of his short life Schubert was dependent on help from his friends for his survival, as the income he received from publishers, or from the little teaching he undertook, was generally insufficient to provide him with enough money to live on. The publishers of his songs and piano pieces paid him pitiful sums for music which is now world famous but which sometimes he could not even remember having written. In 1822, when he was 25, the first signs of syphilis became apparent. This was the year in which he composed the first two movements of the Unfinished Symphony. It is without doubt that the diagnosis of this illness had a profound effect on his psyche. In 1824, after he had recovered from an attack which had hospitalised him, he wrote to the painter Leopold Kupelweiser, describing himself as “the most unfortunate and miserable being in the world.” The symphony was written from an inner impulse, not as the result of any commission, but when he was awarded an honorary diploma by the Graz Music Society, he sent the two movements he had completed, and the beginning of a third, to his friend Anselm Huttenbrenner, a member of the society. Perhaps Schubert hoped that the society would offer to have the symphony performed and he would then complete the work, or perhaps Huttenbrenner expected Schubert to forward on to him the completed movements, and so put the work aside until then. But Huttenbrenner never even informed the society of its existence, and it was not until 1865, long after Schubert’s death, when interest in his major works had grown - largely as the result of the efforts of Mendelssohn and Schumann - that Huttenbrenner came forward with the manuscript and the symphony was given its first performance. It is alarming to think how easily this wonderful work could have been lost to the world. It is often described as the first “romantic symphony” suffused throughout with the most intense lyricism and the deepest feeling, and it is quite unlike Schubert’s previous symphonies which are modelled on those of Mozart. It is also quite different from those of Beethoven. Whatever the reason for the symphony being unfinished, it seems perfect as it is, and perhaps Schubert felt instinctively that that was the case. The symphony, like many of his later compositions, seems to contain a strange fatalistic melancholy, which has been interpreted as his unconscious reaction to his illness. He composed incessantly, turning out one work after another as if aware of his impending doom, and how little time he had left to complete all he needed to say. His hundreds of unpublished manuscripts were carefully preserved by his brother Ferdinand, who loved and admired him. Without that care they could all have been lost. The value of that legacy to the world of music is incalculable, but on his death in 1828 at the age of 31, in his brother’s apartment, Schubert’s total estate amounted to 68 florins. Programme notes by Alexander Cowdell © 2018


AYO MEMBERS Governance Dame Catherine Tizard ONZ GCMG GCVO DBE QSO DStJ, Patron Michael McLellan, FTCL LRSM, President Alastair Clement, Vice-President Margaret Leman, Vice-President

Executive Committee Alexander Cowdell Anne-Marie Forsyth Mary Lin Helen Lewis

Chairman Secretary Manager Treasurer

Antun Poljanich Rachael Brand Gemma Nash Lachlan Grant Esther Hunter

Music Director Communications Player Representative Player Representative Player Representative

Administration Lynn Pettit Membership Secretary Alison Dunlop and Louise Roe Librarians

Honorary Members Alastair Clement Michael McLellan Anne Draffin

Cameron Stuart Margaret Leman

Barrie Ross Lois Westwood

Subscribing Members Clive Aucott Philippa Black Bleau Bustenera Gillian & Harold Coop Alexander Cowdell Ian Cunningham Warren Drake John Duder


Anne-Marie Forsyth Judith & Alistair Freeman Judith Gust Neil Ingram Helen Lewis Mary Lin Rod McLeay Mr T. McD. Morton

Grant Reay Mrs B Simmons Kevin & Jan Sutton Helen Taber Sarah Thompson And 5 anonymous Subscribers

AYO PLAYERS Violin I ‡ Jim Wu # Aleena Griffiths Walter Xu Bryan Lin Mana Waiariki Kauri May Angeline Xiao Ericia Chang Michael Luo Xutong Wang Amber Edwards

Violin II # Weihong Li + Jason Yeung Kenny Li Gemma Nash Genevieve Tang Joanna Sang Isabella Healy Emily Kamimura Santiago Romano Kevin Guan Kelly Siew

Viola # Jasper Anika Ong Lin + Wenting Gu Elise Ji Sena Ogawa-Bracey Elena Bloksberg Jennifer Chen

Cello #Daniel Ng + Marcus Ho Vincent Chen Harrison Chau Phoebe Pierard Rana Cawley Anthony Shin

Double Bass # John Moon Thomas Hall

Flute # Anna Zhang Esther Hunter

Oboe # Noah Rudd +Akari Ouchi

French Horn # Henry Close Jade Zhang Max Glazier Evan Metcalfe Sean Tang

Trumpet # Benjamin Webster Thomas Scott

Trombone # Paul Hyun In Cho David Paligora Mark Li

Tuba # Lachlan Grant

Timpani # Naomi Kelly Clarinet # Clara Lui Emily Liston

Bassoon # Charlotte Naden Monica Dunn Ricky Shi

Legend ‡ Concertmaster # Principal + Assistant Principal


PLAY YOUR PART Attend our concerts! Check our website regularly for concert information: www.ayo.org.nz Sign up to receive the Chairman’s e-newsletter on our website homepage Like us on Facebook: www.facebook.com/AYOrchestra Join us by emailing auditions@ayo.org.nz Subscribe, support or sponsor us: www.ayo.org.nz/support-us

ACKNOWLEDGEMENTS Special thanks to Franco Viganoni who generously gives his time and professional expertise in digitally recording our concerts using state-of-the-art electronics and a unique system of microphones. These recordings, which can be found on the AYO website, are a real reference, totally true, in phase and free from any electronic manipulations and effects. For further information, please visit www.viganoni.com and www.audiopronz.com.

NEXT CONCERTS - MAY Wagner – Rienzi Overture Grieg – Piano Concerto in A minor (soloist: Sara Lee) Elgar – Enigma Variations Sat. 19 May Sun. 20 May Sat. 26 May Sun. 27 May

venue tbc Orewa Arts & Events Centre Pukekohe War Memorial Town Hall Auckland Town Hall

Cover art and programme design by Mary Lin © 2018 Auckland Youth Orchestra | Here Plays the Future