Simone Young and Kolja Blacher concert program

SIMONE YOUNG AND KOLJA BLACHER 5 & 7 JULY 2018 Arts Centre Melbourne, Hamer Hall 6 JULY 2018 Costa Hall, Geelong

CONCERT PROGRAM

Melbourne Symphony Orchestra Simone Young conductor Kolja Blacher violin Britten Violin Concerto INTERVAL

Bruckner Symphony No.6

Pre-Concert conversation Join us for a pre-concert talk from MSO's Education Manager, Lucy Rash from stage.

Thursday 6.15pm, Friday 6.30pm, Saturday 12.45pm.

Running time: Two hours, including a 20-minute interval In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your phone.

The MSO acknowledges the Traditional Owners of the land on which it is performing. MSO pays its 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

SIMONE YOUNG AM CONDUCTOR

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 4 million people each year, the MSO reaches diverse audiences through live performances, recordings, TV and radio broadcasts and live streaming. Its international audiences include China, where MSO has performed in 2012, 2016 and most recently in May 2018, Europe (2014) and Indonesia, where in 2017 it performed at the UNESCO World Heritage Site, Prambanan Temple.

Simone Young was General Manager and Music Director of the Hamburg State Opera and Music Director of the Philharmonic State Orchestra Hamburg (2005-2015). Currently Principal Guest Conductor of the Lausanne Chamber Orchestra, Simone Young has been Music Director of Opera Australia, Chief Conductor of the Bergen Philharmonic, and Principal Guest Conductor of Lisbon’s Gulbenkian Orchestra. She has led the Vienna, Munich, Berlin, New York and London Philharmonic Orchestras, Staatskapelle Dresden, BBC and City of Birmingham Symphony Orchestras, and Wiener Symphoniker, and conducts at the Vienna, Berlin and Bavarian State Operas, Semper Oper Dresden, Zurich, Opéra National de Paris, Royal Opera House Covent Garden, Metropolitan Opera, and Los Angeles Opera.

The MSO performs a variety of concerts ranging from symphonic 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 and digital tools to audiences of all ages through its Education and Outreach initiatives.

She holds a Professorship at the Musikhochschule, Hamburg, Honorary Doctorates from Griffith and Monash Universities and UNSW, and the Chevalier de l’Ordre des Arts et des Lettres, France.

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KOLJA BLACHER VIOLIN

Kolja Blacher has performed with orchestras such as the Berlin Philharmonic, Munich Philharmonic, Leipzig Gewandhaus Orchestra, North German Radio Symphony Orchestra, Orchestra di Santa Cecilia and Baltimore Symphony. He has worked with conductors such as Kirill Petrenko, Mariss Jansons, Vladimir Jurowski, Simone Young, and Asher Fish, and with Claudio Abbado (a close association dating from their time at the Berlin Philharmonic and Lucerne Festival).

Kolya Blacher’s repertoire ranges from Bach to Berio, covering the classical-romantic core repertoire and contemporary works. He gave the German premiere of Brett Dean’s Electric Preludes for the six-string e-violin. Recent recordings include the Nielsen Violin Concerto with Giordano Bellincampi and the Duisburg Philhamonic and the Schoenberg Violin Concerto with Markus Stenz and the Gürzenich Orchestra of Cologne.

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PROGRAM NOTES BENJAMIN BRITTEN

(1913-1976)

Violin Concerto in D minor, Op.15 I

Moderato con moto – Agitato – Tempo primo –

II Vivace – Animando – Largamente – Cadenza – III Passacaglia Kolja Blacher violin In September 1939 Britten wrote to a friend, ‘I have just finished the score of my Violin Concerto. It is times like these that work is so important – that humans can think of other things than blowing each other up!…I try not to listen to the Radio more than I can help.’

Britten was writing from the USA. He and the singer Peter Pears, his lifelong partner, muse and interpreter, had left England for a long-planned recital tour of Canada in May of that year. With the outbreak of hostilities in Europe in September, Britten and Pears decided, as committed pacifists, to remain in North America. A number of prominent British literati, such as Christopher Isherwood and W.H. Auden, had already travelled to the USA where they would settle for good, so the two musicians crossed the border and settled for a time in the orbit of New York City. But while the concerto was written in the immediate build-up to the outbreak of World War II, its emotional core is Britten’s response to the Spanish Civil War. Britten had been particularly appalled by events in Spain, especially the atrocities in which soldiers as

young as 14 were routinely facing firing squads. The work which appears immediately before the concerto in Britten’s list of opus numbers is Ballad of Heroes, Op.14, a work for tenor solo, massed choirs and orchestra which pays tribute to those Britons who fought and died for the republican cause.

In April 1936, Britten had flown to Barcelona with the violinist Antonio Brosa for an International Society for Contemporary Music festival and it was here that Britten had an experience which was to leave an indelible imprint on his work: he heard for the first time the Violin Concerto of Alban Berg, which he described as ‘just shattering – very simple, & touching’. With Brosa in mind he began work on his own concerto, completing the composition sketch in Canada in 1939.

By the time the work was ready for performance, however, Britten found that his stocks at home in the UK were very low; the premiere was accordingly given at Carnegie Hall by the New York Philharmonic under Sir John Barbirolli with Brosa as soloist in 1940.

When the work was premiered in the UK its reception was mixed, notably because of Britten’s decision to leave his country in her hour of need. In New York, however, the work found favour with its audience and even with the New York Times’ critic Olin Downes, who observed drily, ‘There is modern employment of percussion instruments.’

He referred, no doubt, to the opening motif for timpani and percussion which acts as a structural pivot for the first movement and imparts a vague sense of impending doom. Between appearances of this motto, however, 5

Britten canvasses a variety of different moods. The central movement, which follows without a break, has that kind of fevered energy found in other works of Britten’s from this time, notably Our Hunting Fathers and the Dies irae from the Sinfonia da requiem. It is also notable for very Brittenesque textures, such as a passage scored for two piccolos and tuba. The cadenza concludes this movement, leading into the finale which is in one of Britten’s favourite forms: the passacaglia. He introduces the theme on the trombones that have been silent, à la Brahms, up until now. A passacaglia in a concerto presents any composer with a challenge – the repetition of a phrase which forms the basis of the form may work against the expectation of a concerto to become more expansive and virtuosic in its final movement. Britten, of course, carries it off with great flair over the considerable 15-minute span of the movement. This is not about merely scoring points, however. The music in the finale takes on the kind of Mahlerian/Bergian intensity which Britten’s compassion called forth in him in the face of ‘humans…blowing each other up’.

Gordon Kerry © 2005 The only previous performance of the Britten Violin Concerto by the Melbourne Symphony Orchestra took place on 6-8 July 2006 with conductor Mark Wigglesworth and Midori as soloist.

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ANTON BRUCKNER

(1824-1896)

Symphony No.6 in A, WAB 106 Maestoso Adagio: Sehr feierlich Scherzo: Nicht schnell – Trio: Langsam Finale: Bewegt, doch nicht zu schnell Bruckner, who must have grown used to rejection, only ever heard the middle two movements of his Sixth Symphony when they were played in Vienna in 1883. (Gustav Mahler gave the whole work after the composer’s death, but only did so after making significant cuts.) It is a shame, as the Viennese public might have formed a slightly more sophisticated view of Bruckner’s music had this work become more familiar, and they might have been encouraged to reconsider some of the simplistic myths that cluster around it. These include: that Bruckner was an untutored, provincial peasant whose music is the product of ‘rough carpentry’ (assuming a lack of formal technique); that the music is ‘organists’ music’, unsuccessfully translating the techniques of contrasting mass and colour from the organ console to the orchestra; or that, by contrast, he was simply replicating the orchestral sound of his idol Wagner; and that he wrote one symphony nine times.

Bruckner’s world-view was naturally informed by the conservative, Catholic, village society of which he was a product, but despite his quaintly rustic manners and seeming naiveté, he was, like his father (and, indeed, like Schubert), a trained schoolmaster; his musical schooling, too, was considerable – not merely in what was

required for a village organist – and he had the wisdom and humility to take lessons well into adulthood. The 30-something Bruckner even imposed seven years’ silence on himself while he submitted to Simon Sechter’s strict regime in harmony and counterpoint.

(Afterward, one of the examiners was heard to say, ‘He should have examined us.’) Bruckner took his diploma from the Vienna Conservatory in 1861, after which conductor Otto Kitzler introduced him to the techniques of orchestration and formal design found in contemporary music. So the ‘cathedrals in sound’, to dispose of another hoary cliché, are the product of a well-informed, as well as original, musical intelligence.

There is indeed a certain formal and stylistic consistency across Bruckner’s symphonic output: after the massive yearning of the first movements and the exploration of grief and acceptance in many of the Adagios, the energy of the scherzos becomes a music of poised ecstasy, and is gathered up, along with earlier themes, in the finales.

Bruckner’s deeply held Catholicism helps us to understand what the music attempts to do, and why it is unlike that of any other composer of the time. For the paradox is that at the time of the most intense flowering of Romantic self-expression, Bruckner composed music which, as philosopher Theodor Adorno remarked, ‘runs counter to the belief in composition as a subjective act of creation’. Wagner regarded music as the ‘art of transition’, where Bruckner aims to dramatise ultimate reality; Mahler’s subject, to borrow again from Adorno, is ‘brokenness’, while Bruckner’s is the essential unity

of all things. By another paradox, it is the atheist, urbane sophisticate Brahms whose music is so deeply rooted in the religious music of the past, namely Bach. Bruckner’s is much closer to the Romantic ideal of spontaneous generation.

Despite the many correspondences between his works, and indeed, instances of self-quotation, they are not merely formulaic. There are important differences, and each work has its own unique internal tension.

Bruckner establishes this tension at the very beginning of his Sixth Symphony: instead of a timeless shimmer, his typical practice, he starts with an insistent and repeated rhythmic motif in the violins, whose ambiguity (of its dotted rhythm on the first beat and triplets on the second) becomes of major structural importance. As expected, the first theme sounds against this background, but, unusually for Bruckner, it is not presented, as in the Seventh Symphony, as an evenly scored melody. Here the phrases are distributed among the low strings, the solo horn, and eventually solo winds before the first full tutti. Moreover, the spacious, stable calm that we expect is absent: below the niggling violin C sharps, the various phrases are highly chromatic, moving quickly away from the tonic and always ending with a questioning semitone. This gives the whole movement a sense of heightened expectation. The second thematic group is, as usual, more relaxed, the typical Brucknerian use of three beats in the space of two giving it a gentle dance-like sense. In the main, Bruckner avoids bombast, preferring contrasting sections of lighter texture, but these are 7

frequently highly intricate, consisting of layers of rhythmically distinct material – the duplet/triplet contrast now becomes simultaneous. And in a simple example of his economy, Bruckner signals the return of the opening material, now fully scored, with the addition of the timpani. His orchestra, we might note, is modest: much more like Brahms’ than Wagner’s.

The ‘ceremonious’ Adagio contains some of his most organ-like scoring, though here, as elsewhere in Bruckner’s work, it only sounds organlike because it is, as scholar Donald Tovey said, free of the organist’s usual mistakes. Rich string polyphony, interrupted by a Romantic oboe solo, is gradually reinforced with winds, introducing the movement’s main theme. This, like many associated with love in the music of Schumann, Mendelssohn and Wagner, starts with an interval of a falling seventh and has a rapid flutter on the second beat.

Here, too, Bruckner experiments with sudden changes of key, and passages in which throbbing, individual rhythms contend with each other.

The Scherzo is also atypical in that it is clearly marked not fast. It too is characterised by a mosaic of repeated motifs in different orchestral voices that can gather to a full tutti or be reduced to a single repeated bass note doubled by distant timpani, and which exploit unexpected harmonic shifts. There is a contrastingly woodsy-outdoorsy trio section that features horn calls.

The finale is, broadly, in Bruckner’s usual form and manner: assertive music followed by a lyrical string passage and a skipping theme that seems genial on 8

solo flute but urgent when played by all. The movement plays with dramatic contrasts of sonority and character, and sudden glimpses of the abyss. The work’s opening motif reappears, and the heroic theme of the first movement is triumphantly sounded by the trombones as the work ends. © Gordon Kerry 2018 The Melbourne Symphony Orchestra first performed Bruckner’s Sixth Symphony on 30 October 1947 under conductor Eugene Goossens, and most recently in August 1996 with Simone Young.

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MELBOURNE SYMPHONY ORCHESTRA Sir Andrew Davis Chief Conductor

Benjamin Northey Associate Conductor Anthony Pratt#

Tianyi Lu

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Hiroyuki Iwaki

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