Best of MSO Live Online: Volume 2

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Best of MSO Live Online VOLUME 2

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Program ELGAR Serenade for Strings

[13']

VIVALDI The Four Seasons: Winter

[10']

VAUGHAN WILLIAMS The Lark Ascending [18'] (arr. Gerigk) BOCCHERINI Symphony No.6

[16']

A musical Acknowledgement of Country, Long Time Living Here by Deborah Cheetham AO, will be performed before the start of this concert.

Vision & Audio: CVP Events, Film and Television

Artists

Benjamin Northey conductor BIO

Dale Barltrop

director / violin BIO

Anne-Marie Johnson director / violin BIO

Jacinta Parsons presenter BIO

BEST OF MSO LIVE ONLINE VOLUME 2 – 2

MELBOURNE IS A CREATIVE CITY The City of Melbourne proudly supports major and emerging arts organisations through our 2018–20 Triennial Arts Grants Program African Music and Cultural Festival Aphids Arts Access Victoria Australian Art Orchestra Australian Centre for Contemporary Art BLINDSIDE Chamber Made Circus Oz Craft Victoria Emerging Writers’ Festival Human Rights Arts & Film Festival ILBIJERRI Theatre Company

KINGS Artist-Run

Melbourne Queer Film Festival

Koorie Heritage Trust La Mama

Melbourne Symphony Orchestra

Liquid Architecture

Melbourne Writers Festival

Lucy Guerin Inc.

Multicultural Arts Victoria

Malthouse Theatre

Next Wave Festival

Melbourne Fringe

Polyglot Theatre

Melbourne International Arts Festival

Speak Percussion

Melbourne International Comedy Festival Melbourne International Film Festival Melbourne International Jazz Festival

melbourne.vic.gov.au/triennialarts

St Martins Youth Arts Centre Victorian Youth Symphony Orchestra West Space The Wheeler Centre Wild@Heart Community Arts

Melbourne Symphony Orchestra The Melbourne Symphony Orchestra is a leading cultural figure in the Australian arts landscape, bringing the best in orchestral music and passionate performance to a diverse audience across Victoria, the nation and around the world.

Each year the MSO engages with more than 5 million people through live concerts, TV, radio and online broadcasts, international tours, recordings and education programs.

The MSO is a vital presence, both onstage and in the community, in cultivating classical music in Australia. The nation’s first professional orchestra, the MSO has been the sound of the city of Melbourne since 1906.

The MSO regularly attracts great artists from around the globe including Anne-Sophie Mutter, Lang Lang, Renée Fleming and Thomas Hampson, while bringing Melbourne’s finest musicians to the world through tours to China, Europe and the United States.

The Melbourne Symphony Orchestra acknowledges the Traditional Owners of the Land on which we perform and would like to pay our respects to their Elders and Community both past and present.

BEST OF MSO LIVE ONLINE VOLUME 2 – 4

Program Notes EDWARD ELGAR

(1857–1934)

Serenade for Strings in E minor Allegro piacevole Larghetto Allegretto – Come prima Serenade is a loose term, and often means little more than music which is not symphonic in conception. The string orchestra medium, like the quartet, can be made to carry a considerable emotional charge; nevertheless, serenades often set out to be unpretentious. Consider Edward Elgar’s Serenade for Strings: it grew out of the violinplaying composer’s work as the trainer of amateur string bands. Probably premiered in 1892 by the Ladies’ Orchestral Class of Worcester, the Serenade may be a reworking of music first performed in 1888 by the Worcestershire Musical Union, Three Pieces for String Orchestra, of which Elgar said, ‘I like ‘em (the first thing I ever did).’ The original titles of the Three Pieces (Spring Song, Elegy and Finale) seem to match the character of the music of the Serenade. The lyricism of the music, and the simple but idiomatic writing for strings, are entirely characteristic of the mature Elgar. Originating from the time of his courtship, the Serenade was offered by Elgar as a gift to his wife on the third anniversary of their marriage. On the manuscript Elgar wrote, ‘Braut helped a great deal to make these little tunes’ (‘Braut’ means bride in German).

David Garrett © 2004

ANTONIO VIVALDI

(1678–1741)

Concerto in F minor, RV 297, L’inverno (Winter) Allegro non molto Largo Allegro Anne-Marie Johnson director/violin Sarah Curro Lorraine Hook Mary Allison Nicholas Waters

Fiona Sargeant Isabel Morse Rohan de Korte Mee Na Lojewski Rohan Dasika

Despite the old jibe that Vivaldi ‘wrote the same thing 300 times’ he is now acknowledged as a key figure in the development of the concerto. Although ordained a priest, Vivaldi spent his adult life as a composer and violinist. He pioneered the solo concerto, rather than the more common concerto grosso which had, at the very least, a pair of solo instruments. This was in part a vehicle for his own virtuosity; Vivaldi also experimented BEST OF MSO LIVE ONLINE VOLUME 2 – 5

with violin technique, developing methods like position shifts, the use of mutes and pizzicato to create new sounds and effects, often with specifically illustrative intent.

Vivaldi knew not to publish certain works in order to have exclusive use of them; he also, however, in his capacity as director of music at Venice’s Ospedale della Pietà – a high-class orphanage for girls – composed the first known concertos for cello, bassoon, mandolin and flautino (sopranino recorder). On the available evidence, the students were very fine players indeed.

The Four Seasons forms part of Il cimento dell’armonia e dell’inventione (‘The Contest of Harmony and Invention’), Opus 8, which was published in 1725 in Amsterdam. The Four Seasons is a frankly programmatic work. French composers had a tradition of music imitating nature, but Vivaldi was one of the first Italian composers to experiment in this vein. Vivaldi’s rhetoric exquisitely depicts the seasons’ progress, described also in sonnets (possibly written by him) which he affixed to the score.

Snow, ice, chattering teeth and a cruel wind inform the first movement of Winter, but for the slow movement we go indoors and enjoy a crackling fire as the rain beats on the windows. The finale begins with ice-skating, weaving different voices in slow-moving elegant arcs. The ice cracks, the skater shivers, and the four winds are unleashed.

Abridged from Gordon Kerry © 2010

RALPH VAUGHAN WILLIAMS

(1872–1958)

The Lark Ascending (arr. Gerigk) He rises and begins to round, He drops the silver chain of sound, Of many links without a break, In chirrup, whistle, slur and shake.

For singing till his heaven fills, ‘Tis love of earth that he instils, And ever winging up and up, Our valley is his golden cup, And he the wine which overflows To lift us with him when he goes.

Till lost on his aerial rings In light, and then the fancy sings.

The Lark Ascending by George Meredith (1828–1909)

BEST OF MSO LIVE ONLINE VOLUME 2 – 6

Dale Barltrop director/violin Tair Khisambeev Michelle Ruffolo Kirsty Bremner Deborah Goodall Mark Mogilevski Tiffany Cheng Isy Wasserman Madeleine Jevons

Michael Loftus-Hills Lauren Brigden Katharine Brockman Trevor Jones Cindy Watkin David Berlin Angela Sargeant Mee Na Lojewski Benjamin Hanlon

The Lark Ascending has undoubtedly become Vaughan Williams’ most popular work.

It was fully drafted in 1914 as a work for violin and piano, but the composition had to be set aside due to the outbreak of the First World War. Vaughan Williams’ professional musical life ceased completely for the next four years, as he served as an ambulance driver during the war, shuttling wounded and dying soldiers from the battlefront to temporary field hospitals in France and Greece. It was only after the war ended that he was able to return home to England and to his compositional work.

One of his first tasks was to revise The Lark Ascending. It was eventually premiered in its violin and piano form in December 1920 by the English violinist Marie Hall, to whom the work is dedicated. The orchestration of the score was completed in early 1921, and Hall gave the first performance of this version shortly afterwards in London’s Queen’s Hall with the British Symphony Orchestra under Adrian Boult.

Despite the work’s lengthy gestation period and the harrowing, life-changing experiences endured by the composer at the time, none of the terror or anguish of war is evident in the music. It is, in fact, an ideal example of Vaughan Williams’ contemplative and nostalgic musical style. The solo violin spins unbroken arches of melody and swirling arabesques almost continually throughout, and there is no contrasting material or abrupt formal changes to disturb the organic unfolding and rapturous atmosphere.

The Lark Ascending could be described as a musical reflection upon the poem of the same name written by the English novelist George Meredith in 1881. Only selected lines from the poem are printed in the musical score and the poetic content is used as a point of stimulus for the composer’s lyrical reverie. The solo violin clearly embodies the spirit of a bird singing and taking flight, whilst the sustained chords, played by the strings, could be understood as the aural depiction of a flat pastoral landscape.

The form of the work is rhapsodic, with lengthy ornamental solo cadenzas beginning and concluding the piece. These are notated without bar lines and in no strict tempo, thus giving the interpreter considerable freedom and liberty in interpretation. The floating quality of the harmony is partly due to Vaughan Williams’ characteristic use of a pentatonic (five-tone) mode, which weakens the strong directional pull of conventional tonality. This modality continues in the central dance-like section. Throughout his life, Vaughan Williams collected and studied English folk-music, and although no specific folk tune is directly quoted here, its strong influence is apparent.

James Cuddeford © 2017

BEST OF MSO LIVE ONLINE VOLUME 2 – 7

LUIGI BOCCHERINI

(1743–1805)

Symphony in D minor, G.506 Op.12 No.4 La casa del diavolo (The House of the Devil) Andante sostenuto – Allegro assai Andantino con moto Andante sostenuto – Allegro con moto Stanley Sadie, in his editor’s article on Boccherini in the New Grove Dictionary of Music and Musicians, makes a big claim for this composer: ‘the chief representative of Latin instrumental music during the Viennese Classical period’. Yet in spite of a recent flurry of performances and recordings, familiarity with Boccherini has not spread to the musical public at large.

In some ways we hear less of him than we used to: ‘the’ Boccherini Minuet seems to turn up less frequently these days, as does ‘the’ Boccherini Cello Concerto, once a staple of almost every cellist’s repertoire. The Minuet, usually heard played by a string quartet, is actually from one of the more than 100 string quintets with a second cello. Boccherini was the most prolific of all major composers of chamber music, and the quintets are his most substantial single body of works (though not by much: there are 90-odd string quartets by him as well).

In some ways the most interesting thing about Boccherini, from a biographical point of view, is that, like Domenico Scarlatti and Farinelli before him, he was an Italian musician who spent much of his career in Spain. The results in his music are obvious in the fandangos and other Iberian dances he introduced from time to time; in his use of the guitar in chamber music; and in travelogues using the nightwatch music of Madrid. This last became virtually a Boccherini theme tune – so much so that the 20th century Italian Luciano Berio has composed an orchestral piece with five of Boccherini’s versions of this ‘ritirata’ (a call to the soldiers to ‘retreat’ to their quarters) being heard simultaneously.

Too much emphasis on Spain would conceal what Stanley Sadie emphasises: that Boccherini composed in the lingua franca of the Viennese Classical period, including some of the emotional tumult associated with the ‘Storm and Stress’ movement. This was best captured by the contemporary who called him ‘the wife of Haydn’, referring no doubt to the sensuous, pliably Latinate quality of his melody and harmony. (Sadie refers to its pervading charm, gentleness or even effeminacy.) By contrast with Haydn or Mozart, Boccherini tended to be increasingly preoccupied with delicate effects of harmony, texture and rhythmic figuration, at the expense of structural direction and strength. The results are often delightful on their own terms.

The symphony heard in this concert, one of 18 by Boccherini, is his best known, thanks to its title and the music to which this refers. ‘The House of the Devil’ is of course Hell, where Don Juan was dragged in punishment for his sins. Boccherini’s subtitle to the last movement of the symphony explains the connection: ‘Chaconne representing Hell and composed in imitation of Mr. Gluck’s in his Le Festin de Pierre’.

BEST OF MSO LIVE ONLINE VOLUME 2 – 8

This ‘Stone Banquet’ was Gluck’s ballet (1761) on the Don Juan legend, and Boccherini did more than just imitate it. He lifted some of Gluck’s music wholesale. (Gluck himself was to do so as well, borrowing his own Don Juan music for the furies in the 1774 Paris revision of his opera Orpheus and Euridice.)

Boccherini meant to pay tribute to Gluck, who encouraged his first steps as a composer.

But Boccherini’s last movement is not a Chaconne – instead of repeating the basic material (as Gluck does), it is structured more like sonata form. This is only one of the remarkable features of this symphony. The same slow introduction is used for the first movement and the third, in an anticipation of cyclical form. Much of the music is vehement, but different in character from the minor key symphonies of Mozart and Haydn. © David Garrett

BEST OF MSO LIVE ONLINE VOLUME 2 – 9

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PARIS – MELBOURNE – SYDNEY – LONDON – NEW YORK – BEIJING – BALI

Melbourne Symphony Orchestra Xian Zhang

Principal Guest Conductor

Benjamin Northey Nicholas Bochner Sir Andrew Davis Hiroyuki Iwaki

Conductor Laureate (1974–2006)

Dale Barltrop

Concertmaster

Sophie Rowell Concertmaster The Ullmer Family Foundation#

Kirsty Bremner Sarah Curro Peter Fellin Deborah Goodall Lorraine Hook Anne-Marie Johnson Barbara Bell in memory of Elsa Bell#

Kirstin Kenny Eleanor Mancini Mark Mogilevski Michelle Ruffolo Kathryn Taylor

Robert Macindoe

Rachael Tobin

Monica Curro

Nicholas Bochner

Mary Allison Isin Cakmakcioglu Tiffany Cheng Freya Franzen

FIRST VIOLINS

Assistant Principal

David Berlin

Assistant Principal Danny Gorog and Lindy Susskind#

Conductor Laureate

Peter Edwards

Matthew Tomkins

Associate Principal

Cybec Assistant Conductor

Assistant Concertmaster

CELLOS

Principal The Gross Foundation#

Principal Conductor in Residence

Tair Khisambeev

SECOND VIOLINS

Danny Gorog and Lindy Susskind#

Cong Gu Andrew Hall Isy Wasserman Philippa West Patrick Wong Roger Young VIOLAS Christopher Moore Principal Di Jameson#

Christopher Cartlidge Associate Principal

Lauren Brigden Katharine Brockman Anthony Chataway

Dr Elizabeth E Lewis AM#

Gabrielle Halloran Trevor Jones Anne Neil#

Fiona Sargeant Cindy Watkin

Principal MS Newman Family# Associate Principal Assistant Principal Anonymous#

Miranda Brockman

Geelong Friends of the MSO#

Rohan de Korte

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Sarah Morse Angela Sargeant Michelle Wood DOUBLE BASSES Damien Eckersley Benjamin Hanlon Frank Mercurio and Di Jameson#

Suzanne Lee Stephen Newton Sophie Galaise and Clarence Fraser#

FLUTES Prudence Davis Principal Anonymous#

Wendy Clarke

Associate Principal

Sarah Beggs

Sophia Yong-Tang#

PICCOLO Andrew Macleod

Principal John McKay and Lois McKay#

Learn more about our musicians on the MSO website.

BEST OF MSO LIVE ONLINE VOLUME 2 – 11

OBOES

HORNS

TIMPANI**

Jeffrey Crellin

Nicolas Fleury

PERCUSSION

Principal

Thomas Hutchinson Associate Principal

Ann Blackburn

The Rosemary Norman Foundation#

COR ANGLAIS Michael Pisani

Principal Beth Senn#

Principal Margaret Jackson AC#

Saul Lewis

Principal Third The Hon Michael Watt QC and Cecilie Hall#

Abbey Edlin

Nereda Hanlon and Michael Hanlon AM#

Trinette McClimont Rachel Shaw

CLARINETS

TRUMPETS

David Thomas

Owen Morris

Principal

Philip Arkinstall

Associate Principal

Craig Hill BASS CLARINET Jon Craven Principal

Dr Martin Tymms and Patricia Nilsson#

Principal

William Evans Rosie Turner

John and Diana Frew#

Jack Schiller

Natasha Thomas

Yinuo Mu

Associate Principal Glenn Sedgwick and Dr Anita Willaton#

TROMBONES

Associate Principal

HARP

Shane Hooton

Richard Shirley Mike Szabo

Elise Millman

Drs Rhyll Wade and Clem Gruen#

Principal

BASSOONS Principal

John Arcaro Robert Cossom

Principal Bass Trombone

TUBA Timothy Buzbee Principal

CONTRABASSOON Brock Imison

Principal

# Position supported by ** Timpani Chair position supported

by Lady Potter AC CMRI

BEST OF MSO LIVE ONLINE VOLUME 2 – 12

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Supporters MSO PATRON The Honourable Linda Dessau AC, Governor of Victoria

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Supporters – 15

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MSO BOARD

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Premier Education and Research Partner

Program Development Partner

Supporting Partners

Quest Southbank

The CEO Institute

Ernst & Young

Bows for Strings

Trusts and Foundations

Sir Andrew and Lady Fairley Foundation, Gall Family Foundation, The Archie & Hilda Graham Foundation, Ern Hartley Foundation, Gwen & Edna Jones Foundation, The A.L. Lane Foundation, Scobie & Claire MacKinnon Trust, Sidney Myer MSO Trust Fund, MS Newman Family Foundation, The Alison Puzey Foundation part of Equity Trustees Sector Capacity Building Fund, Perpetual Foundation – Alan (AGL) Shaw Endowment, The Thomas O’Toole Foundation, The Ray & Joyce Uebergang Foundation, The Ullmer Family Foundation

Media and Broadcast Partners

BEST SEAT in the house

As Principal Partner of the Melbourne Symphony Orchestra, we know the importance of delighting an audience. That’s why when you’re in Emirates First, you’ll enjoy the ultimate flying experience with fine dining at any time in your own private suite.

*Emirates First Class Private Suite pictured. For more information visit emirates.com/au, call 1300 303 777, or contact your local travel agent.