Corpus Medicorum July Concert Program

Sunday 5 July 2015, 5pm Elisabeth Murdoch Hall Melbourne Recital Centre

Concert Program Fine music by professionals

Presented by

In support of

THE ROYAL MELBOURNE HOSPITAL Lung Cancer Services

Our Partners The Royal Melbourne Hospital Foundation

Contact For more information please contact THE ROYAL MELBOURNE HOSPITAL FOUNDATION The Royal Melbourne Hospital Grattan Street, Parkville VIC 3050 03 9342 7014 info@corpusmedicorum.org.au corpusmedicorum.org.au Like us on Facebook

PRINCIPAL SUPPORTER & PATRON

Mrs Barbara Haynes OAM SYMPHONY PARTNER

Miss Betty Amsden AM CORPORATE PARTNERS

Maurice Blackburn Lawyers Reid Health Care Clear Music

Special Thanks The Royal Melbourne Hospital Volunteer Service

Artistic Directors Design: Hybrid Expression www.hybridexpression.com.au

A/Prof Keith Crellin OAM Mr Phillip Antippa MBBS FRACS

On behalf of The Royal Melbourne Hospital Foundation and Lung Cancer Services Welcome to the 2015 Corpus Medicorum Concert #2 ‘Titan’ Corpus Medicorum presents the second of its popular concert series at Melbourne Recital Centre. Under the baton of Keith Crellin OAM Corpus Medicorum (the orchestra of The Royal Melbourne Hospital) will perform Mahler‘s Symphony no 1 ‘Titan’ and Mozart’s Oboe Concerto with the phenomenally talented young oboist Andrew Kawai (2013 and 2014 finalist Symphony Australia Young Performer’s Award) as guest soloist.

Corpus Medicorum founder, cardiothoracic surgeon Phillip Antippa, who is Head of Lung Cancer services at The Royal Melbourne Hospital and a viola player, describes lung cancer as the ‘titan’ of cancers.

MOZART

Oboe Concerto in C Major (K.314) interval

MAHLER

Symphony no. 1 in D Major ‘Titan’ Conductor

Keith Crellin OAM Oboe

Andrew Kawai Concertmaster

Richard Keuneman

“Lung cancer remains the leading cause of cancer death in Australia. Although not the commonest cancer, we continue to be challenged by this deadly disease. We are seeing an increase in Lung Cancer despite a declining smoking rate.”

Mr Phillip Antippa MBBS FRACS Director, Corpus Medicorum Director, Lung Cancer Services The Royal Melbourne Hospital

All profits from the Corpus Medicorum’s concerts are donated to Lung Cancer Services and research in lung cancer at The Royal Melbourne Hospital. Over the past 15 years, Corpus Medicorum has raised

Ms Sharon McGowan Eexecutive Director The Royal Melbourne Hospital

over $500 000 to The Royal Melbourne Hospital Lung Cancer Services.

Wolfgang Amadeus Mozart (1756-1791)

Oboe Concerto in C Major (K.314/271k)

Two opus numbers? Isn’t that a bit greedy? It’s a yes, but no, but yes thing. The Oboe concerto 271k is mentioned in a letter in 1778, but hasn’t been sighted since. Or has it?

1. Allegro aperto 2. Adagio ma non troppo 3. Rondeau. Allegro.

Mozart was quite happy to recycle bits of works, indeed, entire works, with tweaking as necessary, and there were more than a few hints that the lost oboe concerto had been recycled as a flute concerto. In 1920 some parts from the missing oboe concerto were discovered in Salzburg, and the flute concerto was confirmed to have originally been the oboe concerto, just in a different key, for a different instrument. As you’d expect in the highly argumentative world of musicology, some argue passionately for the oboe/flute concerto conflation, some argue equally vigorously against it, saying that the Salzburg parts are “not free of suspicion’.

Musicians disagreeing? Whoda thunk it!

There’s also a quite a few other bits of Mozart’s music missing: if you have some elderly manuscript paper, with faded ink scratchings, we’d like to hear from you.

Then, of course, guest appearance on Antiques Roadshow, and it’s time to nameyour-price!

© 2015. Susan Bradley

Gustav Mahler (1860 – 1911)

Symphony no. 1 in D Major ‘Titan’

Have you ever dealt with teenagers?

Maybe you even have a brace of them at home? Or simply treated, or taught? Perhaps, even, you were one once yourself! If so, then you’ll understand Mahler.

He is the perpetual teenager, sulking and saying little one minute, slamming doors the next, followed by a spontaneous hug and kiss. Completely unpredictable, yet ultimately very human. Full of contradictions, both musical and personal.

The composer Ethel Smyth described him as a man who “in spite of his ugliness, had demoniacal charm”. Ugliness seems a little harsh these days, and your programme notewriter is in fact typing with a small, rather cute, plaster bust of Mahler quizzically staring down at her, but the demoniacal charm cannot be denied.

Some say that Mahler uses a paragraph where a sentence would do. There’s no doubt he takes an idea and stretches to the limit, and occasionally beyond. However, there’s no risk of falling asleep in a Mahlerian symphony: there are no long bits of passagework, of violins hacking drearily away, where you can get a nice snooze in. Mahler will change his mind after fifteen seconds and explode into a new way of looking at the idea, or even a completely new idea.

Mahler was first and foremost a conductor.

He conducted just about everything, opera, ballet, symphonic repertoire, and you will hear this in his music. Nothing is pinched from other composers, but almost every style of music will make an appearance, hundreds and thousands of attractive tunes all strung together, a kind of pastiche of his performing life.

1.

2.

3.

4.

Langsam, schleppend Kräftig bewegt, doch nicht zu schnell Feierlich und gemessen, ohne zu schleppen Sturmisch bewegt - energisch

The First Symphony was written between 1884 and 1888, and first performed in Budapest the following year, with a subtitle ‘The Titan’ taken from a rather obscure novel that had inspired Mahler; the symphony was originally published with a kind of storyline, of birds in the forest (the cuckoo will be obvious!), unity with nature, a funeral in the forest with little animals carrying a hunter’s coffin (really!), and a hero with a broken heart rising triumphantly to overcome.

This rather overblown and self-indulgent programme was later dropped, and now the music stands alone without corny words needed to describe it.

Watch out for the fake ending in the fourth movement! Even if you haven’t heard this piece before, it will sound like it’s heading for the end. If you have heard the piece before, it’s far worse: your memory will kick in, and think “only a few more minutes and I can have a glass of wine”. The fake ending is a favourite trick of composers at this time and subsequently: Sibelius in his second symphony, Richard Strauss in almost every section of Also Sprach Zarathustra.

It isn’t really a fake ending, it’s a triumphant and ecstatic feeling waylaid suddenly by a wrong turn: in Strauss’ case, often just one ‘wrong’ note, which spreads throughout the orchestra like a crack in the glass. And not just composers of the era: Emile Zola created a whole 20 novel magnum opus, Les Rougon-Macquart, based on the idea of the fatal flaw. In other words, it’s an idea whose time had come, and Mahler exploits it to the full. He makes the whole orchestra (and audience!) gasp with the ‘wrong turn’, but over the course of a few minutes, works the problem out, and allows a joyous resolution that is all the more intense for having suffered the wrong direction for a few moments. © 2015. Susan Bradley

Special Guests

ASSOCIATE PROFESSOR KEITH CRELLIN OAM Conductor ANDREW KAWAI Oboe Soloist 2013 Concerto Finalist and winner of the People’s Choice and Best Recital Prizes.

Currently a Year 9 student and the recipient of an academic-music scholarship at Scotch College, Andrew Kawai has won over 50 prizes in music competitions, including 1st prize in the Junior Section of the 2010 Australasian Double Reed Competition, and 2nd prize in the Senior Section of the 2011 Australasian Double Reed Competition. He has performed with the Melbourne Youth Orchestra, Australian National Academy of Music Chamber Orchestra, and in 2012 was invited to perform the Vaughan Williams Oboe Concerto with the Fraternita Di Solisti Orchestra. He has appeared as soloist at concerts in France, Belgium and England.

Andrew began studying the oboe at the age of ten with Seng Tong. Since his first lesson with Jeffrey Crellin in 2010, he has gone on to complete his Associate Diploma in Oboe with Distinction and his Licentiate Diploma in Oboe at the age of 13. He also obtained his Associate Diploma in Cello, studying with Svetlana Bogosavljevic, and is currently preparing for the Associate Diploma in Piano and Licentiate Diploma in Cello exams. He has taken masterclasses and lessons with prominent musicians including Diana Doherty, Alexei Ogrintchouk, Seung Eun Lee, Douglas Boyd, Gordon Hunt and Alban Gerhardt.

Keith Crellin is head of the String Department and conductor-in-residence at the Elder Conservatorium of Music at the University of Adelaide.

As the first violist to win the ABC Young Performers Award in 1972, Keith soon established himself as one of Australia’s leading soloists and chamber music players.

Having studied violin initially with Gretchen Schieblich and then Ladislav Jasek at the Queensland Conservatorium of Music, Keith completed his tertiary studies at the Tasmanian Conservatorium of Music under noted pedagogue Professor Jan Sedivka. Keith was appointed Lecturer in Viola and Chamber Music at the Tasmanian Conservatorium of Music, Director and Principal Conductor of the Conservatorium Orchestra and Artistic Director and Chief Conductor of the Tasmanian Youth Orchestra.

In 1985, Keith became a founding member of the Australian String Quartet based in Adelaide, a position he held for sixteen years.

Keith has conducted concerts and recordings with the Tasmanian and Adelaide Symphony Orchestras and has been conductor of A.Y.O. young symphonists and tutor in the A.Y.O. Young Australian Concert Artists program.

In 2003, Keith was awarded the University of Adelaide’s Stephen Cole prize for excellence in teaching and in 2006 was appointed Adjunot Professor in Strings and Chamber Music at the Tasmanian University. In 2008 Keith was awarded the Order of Australia medal for his contribution to music and education.

The Orchestra Violin 1

Viola

Double Bass

French Horn

Richard Keuneman*

Phillip Antippa*

Douglas Rutherford*

Brendan Jubb*

Sonia Baldock

Kate Cherry

Ben Bates

Robyn Smiles*

Jenny Brasch

Mary Frost

Alice Braden

James Barber

Adam Bystrzycki

Tim Harken

Michael Fortescue

Julien Robinson

Annie Chen

Rod Hunt

Robbie Gillies

Tiffany Street

Lucy Crawford

Alexander King

Malcolm Grennes

Rob McMillan

Simon Gannon

Kathryn Marshall

Chris Hughes

Simon Crouch

Laura Georgiou

Jean McMullin

Philip Healey

Miklos Pohl

Michael Hong

Sonya Polis

Ron Jontof-Hutter

Nicole Reyes

Timea Jurth Philippa Kirby

Trumpet

Irena Laska

Bruno Siketa*

David Yap

Charlotte Wyatt

Catherine Brennan

Sabrina Yeh

Piccolo

Yota Yoshimitsu

Julien Schulberg

Cello

David Tsang Lih Ming Wong

Violin 2 Rowan Thomas* Meredith Barrett Jeremy Chin Marissa Daniels Larissa Douglas George Drewitt Bronwyn Francis Melissa Franks Andrew Hall Victoria Huang Janine Manwaring Mary Muirhead Annie Roberts

Alexander Maher

Ajay Iyengar*

Damien Ling Katrina Shilton

Flute

Tony Prochazka*

Dom Chaseling*

Oboe

Tilly Anderson

Emmanuel Cassimatis*

Orlanda Bryars

Hannah Kovilpillai

Phillippa Clements

Stephanie Dixon

Katherine Fazzolari Heather Francis

Cor Anglais

Molly Gilfillan

David Reichelt*

Anna Glue

Clarinet

Ian Goding Sebastian King Julie Lokan Barbara Manovel Georg Ramm Kate Robson Stuart Watson

Jeffrey Rosenfeld* Kate Stockwin

Jason Heise Stella Fitzgerald Peter Crompton

Trombone Iain Faragher* Michael Woods Stuart Paige Ben Lovell-Greene

Tuba Susan Bradley*

Timpani Erica Rasmussen*

Andrew Kennedy

Percussion

Bass Clarinet

Alexander Vengerovsky*

Linda Mileshkin*

Bassoon Tamasin Meller*

Sam Newbery Natalie Grant Belinda Young-Healy

Matthew Maiden

Harp

Alex Simpson

Contra Bassoon

Erica Chan

Shu Su

Christopher Martin*

* Denotes Principal Player

Jason Sebastian

A special thanks from

Save the Date Concert #3 Sunday 29 November 2015, 5pm Melbourne Recital Centre

CASSOMENOS

Sinfonietta for Orchestra (World Premiere)

SHOSTAKOVICH Piano Concerto No.1

BEETHOVEN

Symphony No.5 in C Minor

Conductor

Michael Dahlenburg Soloist

Stefan Cassomenos - piano