MSO Live: Serenades and Symphony with Strauss, Elgar, Boccherini and Gabrieli | 2 July 2020

CONCERT PROGRAM

Serenades and Symphony with Strauss, Elgar, Boccherini and Gabrieli Broadcast live from Iwaki Auditorium, ABC Southbank Centre on 2 July 2020

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Program GABRIELI Canzon in echo duodecimi toni a 10

[4']

ELGAR Serenade for Strings

[12']

R. STRAUSS Serenade for Winds

[11']

GABRIELI Canzon noni toni a 8

[4']

ELGAR Sospiri [6'] BOCCHERINI Symphony No.6

[22’]

A musical Acknowledgement of Country, Long Time Living Here by Deborah Cheetham AO (arranged by Luke Speedy-Hutton), will be performed before the start of this concert.

Vision & Audio: CVP Events, Film and Television

Artists

Benjamin Northey conductor BIO

Dan Golding presenter BIO

SERENADES AND SYMPHONY – 2

RYMAN PIONEERS A new way of living

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To pioneer a new way of living, for a new retirement generation. rymanhealthcare.com.au

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.

SERENADES AND SYMPHONY – 4

Program Notes GIOVANNI GABRIELI

(1556–1612)

Sacrae symphoniae Canzon in echo duodecimi toni a 10 Canzon noni toni a 8 The light and shadows inside the basilica of San Marco in Venice are golden, reflecting off more than 4,000 square metres of mosaics. It was for this splendour that Gabrieli wrote much of his music. Sacrae Symphoniae (1597) is a monumental collection of sacred music reflecting his first 12 years as organist at San Marco. It includes 16 pieces for instruments alone out of 63 total works. Gabrieli names these after the medieval church modes (e.g., ‘duodecimi toni’ means ‘on the twelfth tone’).

In today’s performance you’ll hear two of these Canzonas (‘songs’), both for brass ensembles. The first is for ten instruments in two groups which ‘echo’ each other. The second (following the Elgar and Strauss Serenades) is for eight instruments and based on the ninth tone (‘noni toni’), which 16 th century theorist Zarlino describes as having ‘a pleasing severity, mixed with a certain cheerfulness, and soft sweetness’.

Adapted from Natalie Shea, Symphony Australia © 2004.

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

SERENADES AND SYMPHONY – 5

Richard Strauss (1864–1949)

Serenade for 13 wind instruments in E flat, Op.7 Late in life Richard Strauss would occasionally conduct his Op.7 Serenade, muttering that it wasn’t ‘too bad for a music student’. He was only 17 at the time he composed this work, but he had been a music student of one sort or another for well over a decade. And of course he had grown up in the household of one of Germany’s most eminent musicians, his father Franz Strauss.

Franz was the leading horn player in the German-speaking world, and had married into a wealthy brewing family in Munich, where he was principal horn in the Court Orchestra. He was, therefore, well connected both socially and musically, a situation which was of undeniable help to his son’s career. Like Leopold Mozart, perhaps, Franz sought to influence Richard’s musical development, and in particular to keep him from being contaminated by the music of Wagner. As Richard later wrote, Franz’s ‘musical trinity was Mozart (above all), Haydn and Beethoven...’ In other words Franz was an unapologetic classicist and Wagner music was anathema to him. Except that Franz was a frequent member of the Bayreuth Festival Orchestra, playing in the premiere performances of such works as Parsifal and losing no opportunity to bag Wagner’s music in public. Wagner, for his part, was uncharacteristically tolerant, knowing that it was one way to have a great virtuoso playing music in which the horn is indispensable.

Franz’s aesthetic influence is clear in the early Serenade Op.7, though the work is by no means faux-Mozart. The scoring for winds is in accordance with the classical serenade.

Here Strauss uses two flutes, oboes and clarinets, four horns, two bassoons, with the bass provided by contrabassoon or bass tuba (there is an optional double bass part in the last two bars!). Unlike the classical serenade – always a multi-movement work – this is in a single movement, though it might be likened to the Andante movements of some of Mozart’s.

Like Mozart’s, Strauss’s sonata design doesn’t spend much time developing themes in the symphonic sense, but rather takes great pleasure in generating beautiful melodies.

The piece had great consequences for young Strauss. It was the first of his works which had its premiere outside of Munich, being launched by the Dresden Tonkünstlerverein under Franz Wüllner in 1882. Wüllner had conducted the world premieres of two Wagner operas, and would introduce several new works of Strauss’ over the next few years. More importantly, the piece found its way into the repertoire of the Meiningen Orchestra, conducted by the legendary Hans von Bülow. A publisher who had brought out two of Strauss’ early works had been fobbed off by Bülow who wrote that Strauss was ‘not a genius, at best a talent, 60% calculated to shock’. As a one-time intimate of Wagner’s, Bülow had himself come in for some tongue-lashings from Strauss’ father so may have been understandably prejudiced, but he did like the Serenade and performed it widely. The Meiningen Orchestra included some extremely fine players: horn-player Gustav Leinhos must have enjoyed playing a part written with the expertise that Franz had taught his son; the principal clarinettist was Richard Mühlfeld for whom Brahms wrote his late clarinet-based masterpieces. In addition, Bülow commissioned a new SERENADES AND SYMPHONY – 6

piece, the Suite Op.4 for the same combination, which he arranged for Strauss to conduct in the younger man’s podium debut. Bülow also brought Strauss to a deeper understanding of contemporary music, notably that of Brahms. The Serenade, then, was a pivotal work in many ways for the young Strauss. And as we’ve seen, it was a work that Strauss kept in his own repertoire.

Gordon Kerry © 2007

EDWARD ELGAR Sospiri Elgar is wearing his heart on his sleeve in Sospiri, composed in 1914 and dedicated to his close friend and musical associate W.H. Reed, whom he called ‘Billy’. Reed was at that time the leader of the London Symphony Orchestra, which helps explain the choice of the medium, string orchestra, in this case with harp and organ. Here performance by single strings is unimaginable. The ‘sighs’ of the Italian title seem to point to a private sadness which in Elgar is never far away, and may possibly already express his melancholy and distress over the Great War which had just begun.

David Garrett © 2004

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 SERENADES AND SYMPHONY – 7

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’.

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

SERENADES AND SYMPHONY – 8

Melbourne Symphony Orchestra Xian Zhang

Principal Guest Conductor

Benjamin Northey Principal Conductor in Residence

Nicholas Bochner

Cybec Assistant Conductor

Sir Andrew Davis Conductor Laureate

Hiroyuki Iwaki

Conductor Laureate (1974–2006)

FIRST VIOLINS Dale Barltrop

Concertmaster

Sophie Rowell Concertmaster The Ullmer Family Foundation# Tair Khisambeev

Assistant Concertmaster

Peter Edwards

Assistant Principal

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

SECOND VIOLINS

CELLOS

Matthew Tomkins

David Berlin

Robert Macindoe

Rachael Tobin

Monica Curro

Nicholas Bochner

Principal The Gross Foundation# Associate Principal

Assistant Principal Danny Gorog and Lindy Susskind#

Mary Allison Isin Cakmakcioglu Tiffany Cheng Freya Franzen

Danny Gorog and Lindy Susskind#

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

Principal MS Newman Family# Associate Principal Assistant Principal Anonymous#

Miranda Brockman

Geelong Friends of the MSO#

Rohan de Korte

Andrew Dudgeon#

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#

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

Learn more about our musicians on the MSO website.

SERENADES AND SYMPHONY – 10

FLUTES

CONTRABASSOON

HARP

Prudence Davis

Brock Imison

Yinuo Mu

HORNS

GUEST MUSICIANS

Nicolas Fleury

Viola Ceridwen Davis Molly Collier-O’Boyle

Principal Anonymous#

Wendy Clarke

Associate Principal

Sarah Beggs

Sophia Yong-Tang#

PICCOLO

Principal

Principal Margaret Jackson AC#

Saul Lewis

Principal

Principal Third The Hon Michael Watt QC and Cecilie Hall#

Cello Anna Pokomy

Abbey Edlin

Flute Paula Rae

Trinette McClimont Rachel Shaw

Bassoon Christopher Haycroft

Associate Principal

TRUMPETS

Ann Blackburn

Owen Morris

Horn Josiah Kop

Andrew Macleod

Principal John McKay and Lois McKay#

OBOES Jeffrey Crellin

Principal

Thomas Hutchinson The Rosemary Norman Foundation#

COR ANGLAIS Michael Pisani

Principal Beth Senn#

CLARINETS

Nereda Hanlon and Michael Hanlon AM#

Principal

Shane Hooton

Associate Principal Glenn Sedgwick and Dr Anita Willaton#

William Evans Rosie Turner

TROMBONES

Philip Arkinstall

Richard Shirley Mike Szabo

Associate Principal

Craig Hill BASS CLARINET Jon Craven Principal

BASSOONS

Principal Bass Trombone

TUBA Timothy Buzbee Principal

TIMPANI**

Jack Schiller

PERCUSSION

Elise Millman

John Arcaro Robert Cossom

Principal

Associate Principal

Natasha Thomas

Dr Martin Tymms and Patricia Nilsson#

Harp Julie Raines

John and Diana Frew#

David Thomas

Principal

Trombone Jessica Buzbee Elijah Cornish

Drs Rhyll Wade and Clem Gruen#

# Position supported by ** Timpani Chair position supported

by Lady Potter AC CMRI

SERENADES AND SYMPHONY – 11

MSO Staff EXECUTIVE

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SERENADES AND SYMPHONY – 12

PHILANTHROPY & EXTERNAL AFFAIRS Suzanne Dembo Director of Philanthropy & External Affairs Katy Tyrell Acting Trusts and Foundations Manager Nickie Warton Philanthropy Coordinator Keith Clancy Donor Liaison Caroline Buckley Senior Manager, External Relations

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SERENADES AND SYMPHONY – 13

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

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MSO BOARD

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The Observership Program

Trusts and Foundations

Gall Family Foundation, The Archie & Hilda Graham Foundation, The Gross Foundation, Ern Hartley Foundation, The A.L. Lane Foundation, Scobie & Clare McKinnon Foundation, Sidney Myer MSO Trust Fund, MS Newman Family Foundation, 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.