Saint Saëns Great Organ Symphony Concert Program

SAINT-SAËNS’ GREAT ORGAN SYMPHONY 3 AUGUST 2018

CONCERT PROGRAM

Melbourne Symphony Orchestra Benjamin Northey conductor Piers Lane piano Calvin Bowman organ Kodály Dances of Galánta Liszt Piano Concerto No.1 INTERVAL Saint-Saëns Symphony No.3 Organ

Running time: 1 hour and 45 minutes, 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

BENJAMIN NORTHEY 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.

Benjamin Northey is Chief Conductor of the Christchurch Symphony Orchestra and Associate Conductor of the Melbourne Symphony Orchestra.

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.

Benjamin appears regularly as guest conductor with all major Australian symphony orchestras, Opera Australia (Turandot, L’elisir d’amore, Don Giovanni, Così fan tutte, Carmen), New Zealand Opera (Sweeney Todd) and State Opera South Australia (La sonnambula, Les contes d’Hoffmann). His international appearances include concerts with London Philharmonic Orchestra, Tokyo Philharmonic Orchestra and Mozarteum Orchestra Salzburg.

With a progressive and diverse approach to repertoire, he has collaborated with a broad range of artists including Maxim Vengerov and Slava Grigoryan, as well as popular artists Tim Minchin, Barry Humphries and James Morrison.

An Honorary Fellow at the University of Melbourne Conservatorium of Music, his awards include the prestigious 2010 Melbourne Prize Outstanding Musician’s Award as well as multiple awards for his numerous recordings with ABC Classics.

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PIERS LANE AO PIANO

CALVIN BOWMAN ORGAN

London-based Australian pianist Piers Lane has worked with many of the world’s leading orchestras and conductors, and at numerous international festivals. Recent appearances have included recitals at Norway’s Fjord Classics festival, a recording of Ferdinand Ries piano concertos, and the world premiere with Kathryn Stott of Carl Vine’s Concerto for Two Pianos.

Calvin Bowman is a graduate of the University of Melbourne, and was the first Australian to graduate with a Doctor of Musical Arts degree from Yale University, with the assistance of a Fulbright scholarship.

Piers Lane became Artistic Director of the Sydney International Piano Competition in 2016. He was formerly Artistic Director of the Australian Festival of Chamber Music. His CDs cover the music of composers ranging from Scriabin to Henselt to Bach to Grainger. Brett Dean, Colin Matthews, and Malcolm Williamson have also composed for him. In the Queen’s Diamond Jubilee honours, he was made an Officer in the Order of Australia.

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He is much in demand as a soloist, accompanist and chamber musician.

As keyboardist he has premiered works by many prominent Australian composers and appeared as soloist with many of the major Australian orchestras.

Dr Bowman is also a prolific composer, specialising in the form of artsong.

His major awards include an Australia Council Fellowship, and he has also been commissioned by organisations such as Ars Musica Australis and Symphony Australia, as well as by many individuals and ensembles.

He is an exclusive Decca/UMA artist.

A recording of his artsong with Sara Macliver, Paul McMahon and Christopher Richardson entitled Real and Right and True was released in July.

PROGRAM NOTES ZOLTÁN KODÁLY

(1882-1967)

Dances of Galánta (Galántai táncok) Lento – Andante maestoso – Allegretto moderato – Andante maestoso – Allegro con moto, grazioso – Andante maestoso – Allegro – Poco meno mosso – Allegro vivace – Andante maestoso – Allegro molto vivace Zoltán Kodály is revered as Hungary’s father of modern composition. His breadth of creativity and commitment to teaching helped to maintain a vigorous musical culture through periods of artistic and political oppression.

Along with his close contemporary and friend Béla Bartók (1881-1945), he collected over 3,500 folk tunes from throughout Hungary, Romania and Slovakia. These songs influenced both composers’ subsequent works, as well as those of many other middleEuropean composers. Kodály said of his collaboration with Bartók: ‘The vision of an educated Hungary, reborn from the people, rose before us. We decided to devote our lives to its realisation.’

Thus the importance of folk tunes to the national identity of countries such as Hungary cannot be overstated.

The Dances of Galánta were written for the 80th anniversary of the Budapest Philharmonic in 1933. Kodály took as his source a compendium of dances from the early 1800s, ‘the gypsy dances from Galánta’, and selected, orchestrated and linked some of them. Kodály grew 6

up in the town of Galánta on the border between Hungary and Austria, where the passing traffic, including gypsies and wandering musicians, may well have left an aural impression. This is a mature work from Kodály (he was in his early fifties), both highly accessible and gently conservative, possibly due in part to the influence of the commissioning orchestra.

Based on the verbunkos style (similar to the csárdás or the ‘tavern’ tunes of Hungary and its surrounding regions), these dances have two moods: pensively slow and fiercely fast. Chiefly linking these two emotional opposites with broad and impassioned string writing, Kodály also allows solo passages to play a significant role. As in his suite from the opera Háry János (1927), there are meltingly lyrical sections of poignant beauty and virtuosity for the clarinet.

Throughout the first major section or first ‘dance’ (Lento – Andante maestoso) and indeed through the rest of the suite, the clarinet receives special attention from Kodály. It seems to act as a melodic fulcrum, linking and leading harmonic and rhythmic changes.

Kodály maintains tension by clever use of rubato and rhythmic variation, as with the syncopated rhythms of the fiery csárdás heard in the late-night revels of a tavern. The ‘gypsy scale’, found in so much of the folk music diligently collected by Kodály, is a prominent melodic feature. There is also a Jewish ‘feel’ in much that is here – the clarinet in particular conjures the sound of klezmer music in its sense of abandonment and melancholy.

A solo flute and piccolo in dotted rhythm accompanied by pizzicato strings introduce the second dance (Allegretto

moderato). There is a decidedly Eastern flavour to this section, and the whirring strings, when released from pizzicato, are particularly striking as they return to the first, clarinet-inspired, introspective dance themes.

An oboe introduces the third dance (Allegro con moto, grazioso). This melody is so simple and insubstantial that it seems to need reinforcement from the other woodwinds, brass and strings. It is eventually overwhelmed by the return of the melancholic first theme, which in turn is interrupted just as suddenly by a fierce, syncopated dance (Allegro) with the whole orchestra in full cry.

Two dances quickly follow, with melodies reminiscent of Háry János – there are grace-noted bassoons, horns swinging across the bar line and a dotted rhythm returning in the clarinet (Poco meno mosso). This mildly comic excursion by Kodály sets up a frantic finale, beginning with the muted insistence of the timpani. The theme is then launched by the winds, and captured in virtuoso brilliance by the strings, with powerful syncopation throughout the orchestra (Allegro vivace). Instead of a predictably triumphant close, the first brooding melody returns in an arresting G sharp minor. Kodály is perhaps reminding the listener that behind all this exuberance lies darkness. But such introspection is thrust aside in the final bars (Allegro molto vivace) where the dance is at an end: exhilarating, exhausting!

David Vivian Russell Symphony Australia © 2000 The Melbourne Symphony Orchestra first performed the Dances of Galánta on 10-11 September 1951 under conductor Tibor Paul, and most recently on 22 February 2012 with Diego Matheuz.

FRANZ LISZT

(1811-1886)

Piano Concerto No.1 in E flat Allegro maestoso – Quasi adagio – Allegro vivace – Allegro animato – Allegro marziale animato Liszt was a larger-than-life character, both biographically and musically. A gifted child prodigy, he was publicly kissed on the brow by Beethoven, and later gained a formidable reputation as a womaniser, toured extensively as the greatest pianist of his era, lived with a princess and even took a form of Holy Orders. Yet behind this colourful and romantic image lay an immensely gifted musician, deeply committed to the future of music and the creative endeavours of his contemporaries.

Liszt’s two piano concertos rank among his most important works and, while quite different in character, have a similar history. Early sketches for both works date from 1838-1840, but Liszt’s constant touring prevented the completion of the first until 1849, the year after his appointment as court conductor in Weimar. But even then there was a delay and the Concerto No.1 was not to be premiered in Weimar until 17 February 1855, with Liszt himself as soloist and Berlioz conducting.

Dedicated to Henri Litolff, the concerto is a work of extraordinary unity in four movements played without a break.

The main theme dominates both the first and the last movements and all other important themes recur several times during the course of the work. Variations of these themes occur through metamorphosis and transformation rather than through formal development.

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The forceful principal theme is stated immediately in the strings over wind chords. It is said that Liszt sang the words ‘Das versteht ihr alle nicht’ (‘None of you understands this’) to this melody. After four bars the piano enters and we hear a cadenza and some elaboration of the opening theme. The movement ends with intricate arpeggios and runs in the piano while the orchestra restates the main theme. A subject on muted cellos and double basses amplified by the solo piano heralds the beginning of the Adagio. The dreamlike melody for the piano gives way to a magical moment where the flute and then clarinet enter while the pianist’s trills die away to nothing.

In the scherzo there is an unusually prominent part for that most humble of orchestral instruments – the triangle!

It is employed at the beginning as a sparkling companion to the descending cascades of the piano. Eduard Hanslick bitterly attacked the prominence given to the triangle in this movement, but Liszt retorted that it offered ‘the effect of contrast’. Such extraordinary aesthetic debates hindered the general acceptance of the concerto early in its life (it was not performed again until 1869), although they could not distract popular attention from it forever. A third important theme is introduced in this scherzo and the end of the movement is signalled by a cadenza in which the opening theme of the movement is again suggested.

A development section then leads to the final movement in which we find all the themes of the concerto transformed and unified: first the delicate Adagio melody is treated in a march-like fashion, then the theme of the scherzo ushers in a brilliant stretto (overlapping entries in close succession), and finally the main theme returns in triumph.

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The strength – and the paradox – of this concerto lie in its tight structure that nevertheless appears to be almost ‘improvisatory’. As the legendary pianist Alfred Cortot remarked, ‘The listener… must not be given the impression that he is subjected to a kind of nonsensical chitchat. The steadiness of the work’s foundations must be felt.’

Martin Buzacott © Symphony Australia The Melbourne Symphony Orchestra first performed this concerto on 9 April 1940 with conductor Georg Schnéevoigt and pianist Eric Landerer, and most recently on 10-12 May 2018 with Sir Andrew Davis and Moye Chen.

CAMILLE SAINT-SAËNS

(1835-1921)

Symphony No.3 in C minor, Op.78 Organ Adagio – Allegro moderato – Poco adagio Allegro moderato – Presto – Maestoso – Allegro Saint-Saëns was something of an Anglophile. So it was a happy coincidence that when he was making plans for another symphony, the Royal Philharmonic Society invited him to perform as both conductor and pianist at one of its London concerts. As the non-profit Society could not afford the requested fee of £40, they suggested £30, plus a formal commission to write the Third Symphony under the Society’s auspices.

Saint-Saëns agreed and immediately began work on the symphony, saying to the Society: ‘It will be terrifying, I warn you.’ And he wasn’t wrong. Considering the Society’s financial state at the time, the prospect of an outsize orchestra complete with organ and multiple pianists must have struck fear into the heart of at least the Treasurer.

And as the blood pressure of Society members rose, so too did the key of the symphony. ‘This imp of a symphony has gone up a half-tone; it didn’t want to stay in B minor and is now in C minor,’ Saint-Saëns advised the long-suffering Society members as he worked on the ever-expanding piece.

In the end, Saint-Saëns came up with a symphony in two parts, but still more or less using the traditional four movements. The first part consists of an Allegro and Adagio, corresponding to conventional first and second movements, and the second part is a scherzo and finale merged into one.

The use of the organ was inspired by Liszt’s employment of it in his symphonic poem Hunnenschlacht (Battle of the Huns) and the published version of the Organ Symphony is dedicated ‘to the memory of Franz Liszt’, who had died shortly after the premiere.

That premiere occurred on 19 May 1886 in St James’s Hall, London, with the composer conducting, as well as appearing as soloist in his own Fourth Piano Concerto. On the whole, the reception was excellent, despite the best efforts of a few Wagnerians in the audience. Afterwards, the great admirer of British royalty was introduced to the Prince of Wales (the future King Edward VII). A Paris premiere, the following year, was a great success and prompted Charles Gounod to proclaim, ‘There goes the French Beethoven.’

Saint-Saëns summarised the symphony by saying, ‘I have given all that I had to give…What I have done I shall never do again.’ And he was as good as his word.

The Organ Symphony was to remain his supreme achievement in music and it is still one of his most frequently performed works. In recent years it has actually achieved a certain popular success, following its quotation in the soundtracks for the movies Babe and Babe: Pig in the City.

Saint-Saëns was a virtuoso by nature.

Indeed, the ongoing criticism of his music has been that his prodigious technical facility and ability to dazzle sometimes distract from the greater impact of the music itself. Certainly in the Organ Symphony Saint-Saëns gives literal meaning to the cliché ‘pulling out all stops’. While much of the organ writing is subtle, even understated, climaxes are marked by 9

thunderous passages for the organ, and deliberately grandiose scoring.

The ‘first movement’ develops through a kind of Lisztian transformation of themes, whereby the thematic material appears in a series of varying guises rather than being developed in a strictly Classical sense. After the ‘first movement’ has led without pause into the ‘second’, the organ enters, surprisingly discreetly, as an accompaniment to the mystical main theme, marked Poco adagio. The scherzo (‘third movement’) begins the second half of the piece, and much of its thematic material derives – albeit vastly transformed – from the preceding Adagio. From here SaintSaëns introduces all the fireworks he can. The tempo increases to Presto, the orchestration becomes more vibrant and new themes are superimposed over the existing ones, before the organ almost lunges into the finale.

This concluding section is a good example of the differing valuejudgements which Saint-Saëns’ music invites. The climax builds through fanfares, four-hand piano figures, loud organ chords and extensive fugal writing, carrying the work through to its triumphant conclusion. Depending on one’s viewpoint, Saint-Saëns either demonstrates his unrivalled compositional virtuosity, or simply goes over the top. However, no one can doubt that the Organ Symphony has demonstrated its enduring appeal.

Martin Buzacott Symphony Australia © 1998 The Melbourne Symphony Orchestra first performed Saint-Saëns’ Organ Symphony on 11 August 1965 under conductor Willem van Otterloo, and most recently on 30 October 2015 with Nicholas Milton.

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Elise Millman

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# Position supported by * Guest Musician † Courtesy of Malaysian Philharmonic Orchestra ** Timpani Chair position supported

by Lady Potter AC CMRI 13

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TRUSTS AND FOUNDATIONS

Sidney Myer MSO Trust Fund, The Gross Foundation, Li Family Trust, MS Newman Family Foundation, The Ullmer Family Foundation, Erica Foundation Pty Ltd MEDIA AND BROADCAST PARTNERS