April 2021 | Concert Program

CONCERT PROGRAM

APRIL 2021 B LO O D O N T H E F LO O R RULER OF THE HIVE

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G E N E V I E V E L AC E Y

F R O M T H E N E W WO R L D

Be Part of Our Story Across the decades, the MSO has been part of thousands of lifelong musical journeys.

After 10 months of cancelled performances, our return to the stage has imbued our 2021 Season with a heightened sense of emotion, excitement, and significance.

Thank you for sharing it with us tonight.

Your support today will ensure we can continue to perform musical magic for generations to come.

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CONTENTS

04

THE MELBOURNE SYMPHONY ORCHESTRA Acknowledging Country Your MSO Guest Musicians

10 16 23 24 30 36

BLOOD ON THE FLOOR: METROPOLIS

GENEVIEVE LACEY: BIRDS OF PARADISE

RULER OF THE HIVE: MSO MORNINGS

RULER OF THE HIVE: SHAKESPEARE AND THE SYMPHONY

FROM THE NEW WORLD

SUPPORTERS

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In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your phone.

These concerts may be recorded for future broadcast on MSO.LIVE.

mso.com.au

(03) 9929 9600

Our Artistic Family

Acknowledging Country In the first project of its kind in Australia, the MSO has developed a musical Acknowledgment of Country with music composed by Yorta Yorta composer Deborah Cheetham AO, featuring Indigenous languages from across Victoria. Generously supported

by Helen Macpherson Smith Trust and the Commonwealth Government through the Australian National Commission for UNESCO, the MSO is working in partnership with Short Black Opera and Indigenous language custodians who are generously sharing their cultural knowledge.

The Acknowledgement of Country allows us to pay our respects to the traditional owners of the land on which we perform in the language of that country and in the orchestral language of music.

Australian National Commission for UNESCO United Nations Educational, Scientific and Cultural Organization

About Long Time Living Here In all the world, only Australia can lay claim to the longest continuing cultures and we celebrate this more today than in any other time since our shared history began. We live each day drawing energy from a land which has been nurtured by the traditional owners for more than 2000 generations. When we acknowledge country we pay respect to the land and to the people in equal measure.

As a composer I have specialised in coupling the beauty and diversity of our Indigenous languages with the power and intensity of classical music.

In order to compose the music for this Acknowledgement of Country Project I have had the great privilege of working with no fewer than eleven ancient languages from the state of Victoria, including the language of my late Grandmother, Yorta Yorta woman Frances McGee. I pay my deepest respects to the elders and ancestors who are represented in these songs of acknowledgement and to the language custodians who have shared their knowledge and expertise in providing each text.

I am so proud of the MSO for initiating this landmark project and grateful that they afforded me the opportunity to make this contribution to the ongoing quest of understanding our belonging in this land.

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— Deborah Cheetham AO

Our Artistic Family

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 AnneSophie 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.

5

Your MSO 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

Principal The Gross Foundation#

Robert Macindoe Associate Principal

Monica Curro

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#

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

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Learn more about our musicians on the MSO website.

Principal

Rachael Tobin

Associate Principal

Nicholas Bochner Assistant Principal

Miranda Brockman

Geelong Friends of the MSO#

Rohan de Korte

Andrew Dudgeon#

Sarah Morse Angela Sargeant Michelle Wood

Andrew and Judy Rogers#

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#

OBOES Thomas Hutchinson

Associate Principal

Ann Blackburn

The Rosemary Norman Foundation#

HORNS Nicolas Fleury

Principal Margaret Jackson AC#

Saul Lewis

COR ANGLAIS

Principal Third The Hon Michael Watt QC and Cecilie Hall#

Michael Pisani

Abbey Edlin

Principal Beth Senn#

Nereda Hanlon and Michael Hanlon AM#

CLARINETS

Trinette McClimont Rachel Shaw

David Thomas

Principal

TRUMPETS

Philip Arkinstall

Owen Morris

Associate Principal

Craig Hill BASS CLARINET Jon Craven Principal

Elise Millman

Anonymous#

CONTRABASSOON Brock Imison

Robert Cossom

Drs Rhyl Wade and Clem Gruen#

HARP Yinuo Mu Principal

William Evans Rosie Turner

TROMBONES

Dr Martin Tymms and Patricia Nilsson#

Anonymous#

Associate Principal Glenn Sedgwick#

Jack Schiller

Natasha Thomas

John Arcaro

Shane Hooton

John and Diana Frew#

Associate Principal

PERCUSSION

Principal

BASSOONS Principal

TIMPANI

Richard Shirley

Mike Szabo

Principal Bass Trombone

TUBA Timothy Buzbee

Principal

Principal

# Position supported by

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Guest musicians

Guest Musicians BLOOD ON THE FLOOR | 9 APRIL Second violins Madeleine Jevons Double bass Emma Sullivan Vivian Qu Siyuan Flute Paula Rae Oboe Rachel Curkpatrick Clarinet Sungpil Lee

Bassoon Simone Walters Colin Forbes-Abrams

Harp Melina van Leeuwen

Trumpet Tristan Rebien

Piano/Celeste/Electric Piano Leigh Harrold

Trombone Jessica Buzbee Kieran Conrau

Saxophone Lachlan Davidson Stuart Byrne

Euphonium Matthew Van Emmerik

Electric Guitar Theo Carbo

GENEVIEVE LACEY: BIRDS OF PARADISE | 15–16 APRIL First violins Madeleine Jevons Nicholas Waters Cello Sharon Grigoryan Double bass Rohan Dasika

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Information correct as of 1 April 2021

Flute Taryn Clarke

Tuba Karina Filipi

Bassoon Colin Forbes-Abrams

Harpsichord Donald Nicolson

Trombone Robert Collins

First violins Madeleine Jevons

Oboe Alexandre Oguey

Viola Molly Collier-O’Boyle

Bassoon Colin Forbes-Abrams

Double bass Rohan Dasika

Horn Robert McMillan

Trombone Jessica Buzbee Kieran Conrau

Guest musicians

RULER OF THE HIVE: SHAKESPEARE AND THE SYMPHONY | 22–24 APRIL

Timpani Brent Miller

FROM THE NEW WORLD | 22–24 APRIL First violins Madeleine Jevons

Double bass Rohan Dasika

Trombone Jessica Buzbee

Viola Molly Collier-O’Boyle

Oboe Rachel Curkpatrick Alexandre Oguey

Timpani Brent Miller

Cello Rebecca Proietto

Horn Carla Blackwood

Percussion Lara Wilson

9

Blood on the Floor: Metropolis Friday 9 April / 7.30pm Arts Centre Melbourne, Hamer Hall Melbourne Symphony Orchestra Fabian Russell conductor Carl Mackey saxophone James Sherlock guitar Sam Anning bass Dave Beck drumkit MARK-ANTHONY TURNAGE Blood on the Floor

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

Running time: Approximately 1 hour and 10 minutes, no interval.

Carl Mackey

Fabian Russell is a multi-award-winning conductor, artistic director, pedagogue, orchestral musician and solo performer.

Fabian has conducted leading orchestras in Australia and overseas. He has also served as Associate Conductor of the Australian Youth Orchestra for twenty six seasons and is currently Principal Conductor and Artistic Director of The Orchestra Project that he founded in 2002.

Melbourne based saxophonist, Carl Mackey has been a stalwart on the Australian jazz landscape for more than three decades. He has shared the stage with a diverse array of Australian and international artists.

conductor

Fabian has a particular interest in commissioning new music and has conducted the Australian premieres of more than thirty works.

Born in Sydney, Fabian had a twentyyear career as an orchestral musician.

In 1993 he was appointed to the MSO where he remained until the end of its 2006 season, as well as performing as a soloist across Australia. He was awarded the Elton John Melbourne Symphony Orchestra Scholarship in 1999.

In 2012 Fabian was the recipient of a Sir Winston Churchill Fellowship. In 2014 he received a Helpmann Award nomination and a Green Room Award for Outstanding Conductor. Later this year Fabian will conduct Franz Schubert’s Singspiel Friends of Salamanca also for Victorian Opera, as well as engagements with the SSO, ASO, AYO and The Orchestra Project.

saxophone

BLOOD ON THE FLOOR: METROPOLIS | 9 April

Fabian Russell

Co-leader of award-winning group Speedball, he is a member of the Sam Anning Sextet, lead alto in the Vanessa Perica Orchestra, and can be heard in groups as diverse as Andrea Keller’s Composer’s Circle through to latin powerhouse, La Influencia.

A two time James Morrison Scholarship finalist, and a Freedman Fellowship finalist in 2006, Mackey has toured extensively with appearances in the United States, UK, Italy, India, and is a regular fixture on the national jazz festival scene with regular performances at the Melbourne, Perth, Wangaratta, Brisbane and Sydney International Jazz Festivals.

Highly regarded as an educator, previously lecturing at the West Australian Academy of Performing Arts for 11 years, he has been on faculty at the James Morrison Academy in Mount Gambier for the last 6 years.

Carl is a D’Addario Woodwinds endorsed artist.

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BLOOD ON THE FLOOR: METROPOLIS | 9 April

James Sherlock

Sam Anning

James began playing classical guitar at age 7. He attended the QLD Conservatorium of Music, studying classical guitar and graduated in 1992.

He has been awarded the prestigious Ike Isaacs International Jazz Guitar Award.

Sam Anning is a major player in Australian jazz, regularly performing with Australian jazz greats including Allan Browne, Barney McAll, Andrea Keller, Vince Jones, Paul Grabowsky, Kristin Berardi, and Jamie Oehlers. More recently he has been performing and recording with Archie Roach.

guitar

James works with a variety of Australia’s finest musicians as well as many visiting artists including New York jazz vocalists Sheila Jordan and Cyrille Aimee, master drummers Jeff ‘Tain’ Watts and Jon Riley, and New Orleans trumpeter Leroy Jones.

James has ongoing duo projects with vocalist Kristin Berardi and MSO bassist Ben Hanlon. The duo with Kristin has toured extensively throughout Australia as well as abroad, including a European tour culminating in a performance on the Stravinsky stage at the Montreux festival opening for George Benson and Al Jarreau. Their second CD If You Were There won the Bell award for best jazz vocal release in 2010. James and Ben are about to release their second album featuring arrangements of Stravinsky’s orchestral works.

James performs regularly at Australia’s leading venues, along with making international club appearances, and has performed at many major jazz festivals.

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bass

After relocating to New York City in 2010 to undertake the Masters of Music program at the prestigious Manhattan School of Music, Anning quickly became an in-demand bassist in one of the world’s most competitive cities. Anning has toured extensively throughout North America and the European continent, with performances at the Montreal, Vancouver, Detroit, Jazz a Vienne, Copenhagen, Port au Prince, and Panama International Jazz Festivals.

He has performed with international jazz greats Joe Lovano, Kenny Werner, Ari Hoenig, George Garzone, Gilad Hekselman, Greg Osby, and Charlie Haden, among many others.

Returning to Melbourne in 2015, Anning has made a significant contribution to the jazz scene and won multiple awards for his own recent release ‘across a field as vast as one’ including making the shortlist for the 14 th Australian Music Prize for Album of the Year.

drumkit

Dave Beck is one of the most versatile drummers in Australia. He carries a wealth of experience across many musical styles and is in constant demand as a freelance musician and teacher.

Dave studied music in Australia and abroad in the U.S.A (in New York at the Drummers Collective and Los Angeles at P.I.T).

BLOOD ON THE FLOOR: METROPOLIS | 9 April

Dave Beck

As a drummer he has backed many national and international performers.

Dave is an award winning jazz drummer and has performed with jazz legends such as Joe Lovano, Steve Swallow, Carla Bley, Hans Ulrich, and James Morrison to name a few.

He has performed at many of the great jazz festivals around the world including Montreux, Rome, Pori, Sweden, Copenhagen, Finland and Korea. He has recorded on many albums, recently including Archie Roach’s Tell Me Why, the 2020 Aria Best Male Artist and Best Adult Contemporary Album, and Paul Grabowsky’s Moons of Jupiter.

He has been principle drummer for many of the major musical productions in Melbourne and played on a variety of TV shows, productions and film soundtracks.

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BLOOD ON THE FLOOR: METROPOLIS | 9 April 14

Program Notes MARK-ANTHONY TURNAGE

(born 1960)

Blood on the Floor Carl Mackey saxophone James Sherlock guitar Sam Anning bass Dave Beck drumkit Against a background of improbable colour — no colour that was ever seen in nature — a vivid splash of blood on a concrete floor. Mark-Anthony Turnage insists that Francis Bacon’s painting is no more than a starting point for his piece. It is not the first time that he has turned to the century’s most viscerally Rembrandtian portraitist, but Three Screaming Popes was a more literal realisation of another art form than Blood on the Floor could possibly be.

Yet it may be worthwhile to think of this work’s long gestation (Turnage has worked on it since 1993) in ways that cement the connection.

Blood on the Floor is the first of his pieces to include an element of improvisation, though he has long been passionately interested in jazz, in its structural properties as well as its Bacon-like aim at the abdomen. In 1993, Turnage worked with keyboard player and composer Django Bates on a setting (without text) of the black American poet Langston Hughes’ Junior Addict, a piece written in Hughes’ usual jazz-blues cadence. With a bleak synchronicity, the piece foreshadowed Turnage’s discovery that his brother Andrew was chemically dependent, a process of addiction that eventually led to his death. At the centre of Blood on the Floor, the sixth of its now nine movements, is a tender Elegy, a moment that stands both programmatically and musically opposed to the spikier progress of Shout, Needles, Crackdown and Cut Up.

It is based on a melody Turnage played at his brother’s funeral and contains a personal motif, a small quote from Puccini’s Madame Butterfly.

Just as he asks that the Bacon painting be seen only as a starting point, Turnage does not want a family tragedy to be seen as the single, over-determining focus of the piece. It is, though, unmistakably its fulcrum and the emotional heart of a complex work that takes him into areas of tonality not explored before. Elegy for Andy is written for electric guitar and ensemble; in transcribing solos by jazz guitarist John Scofield, Turnage grew convinced that his voicings and signature spacing of chords were compatible with his own music. Writing for an improviser is no longer considered the solecism it once was; it merely implies a moment in the compositional process where the musicians are required to do more.

The danger is that a piece so conceived lapses into what has until recently been derided as Thirdstream vacillation between two quite inimical musical approaches, a bland opposition of battuta and ad lib, control and licence.

Writing for improvisers, though, implies a kind of artistic self-permission, an ability to allow certain things to happen or, as the quote from Puccini suggests, a certain fatalism. In addition to Scofield, the piece is written for percussionist Peter Erskine, the most orchestrally minded of jazz drummers, and for saxophonist Martin Robertson, who plays the lyric line in Junior Addict, the second movement.

As one might expect in a work that has evolved over time, Blood on the Floor is both fragmented (concerned as it unavoidably is with emotional syncopes, elisions, departures) and also highly unified. Much of the material is established or implied in the opening section, a sour aggressive overture with a crowded, claustrophobic quality

BLOOD ON THE FLOOR: METROPOLIS | 9 April

that may be the first colouring of Bacon’s vision. The dominant interval is a wry semitone, and there is a dour, fibrillating rhythmic motif based on two strong beats followed by three light. This material is to appear again, mostly by implication, but more directly and openly in the closing movement, which completes the journey towards abstraction (in the best philosophical sense) with another painterly evocation.

In Dispelling the Fears, Turnage has attempted to catch something of the mysteriously redemptive quality of Australian abstractionist Heather Betts, and her canvas of that name, in which a non-figurative white area appears to redeem the surrounding darkness, harmonises its almost poisonous tones in a way that Bacon’s dissonance of concrete, Dulux and blood sternly denies. The trumpet’s cadence of B and F is raised to F#, a more open sound, and whole not an unambiguous affirmation, evokes a less bleak prospect than might conceivably have been foretold.

For most composers, the prospect of a break in a piece as developed and complete as this would represent an unwelcome distraction. For public performance, Turnage has scored an interval between Sweet and Decay and Needles. It is there not for any bland logistical reason — like a piano move or re-tune — but because the music requires a moment to breathe and to absorb its own implications. As such, it isn’t so much a hiatus as a gentle quietus at the heart of this rough, tender work.

Brian Morton ©

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Genevieve Lacey: Birds of Paradise Thursday 15 April | 6pm & 8.30pm Melbourne Recital Centre

Friday 16 April | 7.30pm Robert Blackwood Hall, Monash University Melbourne Symphony Orchestra Paul Kildea conductor Genevieve Lacey recorder MOONDOG (LOUIS THOMAS HARDIN) Bird of Paradise HOLLIS TAYLOR and JON ROSE Absolute Bird: Concerto for Recorder and Orchestra REBEL Les élémens VIVALDI Concerto in C major for Recorder and Orchestra

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

Running time: Approximately 1 hour, no interval.

Genevieve Lacey

Paul Kildea, Artistic Director of Musica Viva, has previously held artistic posts with the Aldeburgh and Perth Festivals, and has been Artistic Director of Wigmore Hall and Four Winds Festival, NSW.

Genevieve Lacey connects people and ideas through sound. She creates multiartform works with found, devised and commissioned materials, combining her skills as performer, composer and curator. Her work encompasses public art, dance, film, theatre and concert halls and collaborators include writer Alexis Wright, choreographer-directors Stephanie Lake and Gideon Obarzanek, filmmakers Sophie Raymond and Amos Gebhardt, arts and social change activist Scott Rankin.

conductor

Paul’s conducting engagements include appearances with Opera Australia, the Slovak Philharmonic Orchestra, Ensemble 2e2m Paris, Nash Ensemble London, the West Australian, Sydney, Queensland and Adelaide Symphony Orchestras, Hamburg Philharmonic Orchestra, and Aldeburgh Festival.

His most recent conducting engagements include A Midsummer Night’s Dream (Adelaide Festival); The Turn of the Screw (Cheltenham Festival and Victorian Opera, Green Room Award for Best Conductor of an Opera); La bohème and Candide (Opera Queensland);The Cunning Little Vixen, The Magic Flute, Candide (Opera Australia); A Midsummer Night’s Dream and Dialogues des Carmélites (Hamburgische Staatsoper).

Paul Kildea holds a doctorate from Oxford University and is Honorary Principal Fellow at University of Melbourne. He is the author of four acclaimed books: Selling Britten; Britten on Music; Benjamin Britten: A Life in the Twentieth Century; and Chopin’s Piano: A Journey Through Romanticism, which is currently being developed as a feature film.

recorder

GENEVIEVE LACEY: BIRDS OF PARADISE | 15–16 April

Paul Kildea

As a recorder virtuoso, Genevieve has performed at the Lindau International Convention of Nobel Laureates, for Queen Elizabeth II in Westminster Abbey, on a basketball court on Thursday Island with The Black Arm Band, as concerto soloist in the Royal Albert Hall for BBC Proms and at the London Jazz Festival. Her sound installation Pleasure Garden has been experienced by 30,000+ people in Australia and Europe and remains in repertoire.

Genevieve has won Australian Recording Industry Award (ARIA), Helpmann and Green Room awards, Melbourne Prize for Music and the Sidney Myer Performing Arts Award.

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GENEVIEVE LACEY: BIRDS OF PARADISE | 15–16 April

Program Notes MOONDOG (LOUIS THOMAS HARDIN)

(1916–1999)

Bird of Paradise Moondog, otherwise known as Louis Thomas Hardin, was an American musician, composer, poet and inventor of musical instruments. Blind from the age of 16, Moondog composed his works using Braille musical notation.

From the late 1940s, he was known for his work as a street musician and poet in New York City. To honour his Nordic ancestors, Moondog wore a Viking outfit and was widely recognised as “the Viking of 6 th Avenue” by locals.

Moondog released a number of recordings with the CBS, Prestige, Epic, Angel and Mars labels and toured both in the U.S. and Europe. One of his songs, All Is Loneliness, became a hit when recorded by Janis Joplin.

Later in his life, he took up residence in Germany. Hardin produced at least five albums in Europe and regularly performed his compositions with chamber and symphony orchestras. He continued to write, compose and record until his death.

HOLLIS TAYLOR

(born 1951)

JON ROSE

(born 1951)

Absolute Bird: Concerto for Recorder and Orchestra Genevieve Lacey recorder

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Hollis Taylor writes: The Gulf Developmental Road guarantees just a single lane of bitumen. Drivers in this part of far north Queensland must keep constant watch for oncoming traffic and wandering

stock and be prepared to urgently pull off onto gravel-and-red-dust shoulders.

Acres of termite ‘tombstones’ line much of the road’s 442 kilometres. I head west for hours, until a long bridge crosses the dry Etheridge River. Here, a cut-out of a huge Brahman steer with floppy ears welcomes (and farewells) visitors to Georgetown, population 243. Grazing has replaced fluctuating mining fortunes, but since the area is in drought, these days grazing is capricious as well. You could say it’s an unlikely place for us to stage our encounter — but Australia is full of surprises.

1. Greens Park, Georgetown. 12 October 2015: I pull up at 4:00am and set out my microphones. In the riverbed just down from the welcoming cow sign stands a large tree where fruit bats squabble and flap their opera cloaks. At 4:25am, another resident of this arboreal high rise slowly begins their nocturnal song. It’s the pied butcherbird. Their solo songs all differ one from another, partially or entirely, and may span up to seven hours. In this movement, recorder virtuoso Genevieve Lacey both matches and riffs off the bird’s song, while the orchestra performs as a large-scale (pre-)dawn chorus.

2. Georgetown Antiphons. Pied butcherbirds also sing in groups. These ensemble songs are their classics, indicating musical custodianship of many an agreed-upon local tradition.

To begin the movement, a concentrated sampler of Georgetown group songs gives way to a friarbird, a cane toad, and then several kookaburras. The orchestra enters with the task of restating the avian ensemble phrases, although at a more leisurely pace. Genevieve nearly becomes part of the orchestra.

3. Absolute George. Audio of a cricket (we think!) accompanies Genevieve and is layered against the rich sound palette of the orchestra. They celebrate six pied butcherbird nocturnal songs

Hollis Taylor © 2021

JEAN-FERY REBEL

(1666–1747)

Les Eléments, simphonie nouvelle I. Le Cahos – Les Eléments II. Loure I: La Terre et l’Eau III. Chaconne: Le Feu IV. Ramage: L’Air V. Rossignols VI. Loure II VII. Tambourin I-Tambourin II VIII. Sicilienne IX. Air pour l’amour (rondeau) X. Caprice French music has a long tradition of celebrating the natural world in sound.

Composers elsewhere have done so too, of course, but less wholeheartedly: Haydn referred to such things in his own works like The Creation as ‘Frenchified trash’. It is a tradition that reaches to composers of the present and recent past, like Messiaen, and stretches back through the work of Debussy and Berlioz, to name but two, all the way to Clément Janequin.

Jean-Fery Rebel was at various times a player and batteur de mesure in the 24 Violons du Roi, and chamber

composer to the French court, but was most successful as a composer for dance. Le Cahos (Chaos) and Les Eléments — it was originally conceived and performed as two independent ballets — was composed late in his life and seeks to depict the creation of the world itself. In his own note, Rebel wrote that Chaos is: that confusion which reigned among the elements before the moment, when subjected to invariable laws, they took their ordained places in the order of nature… I dared to undertake to link the idea of the confusion of the elements with that of confusion in harmony. I hazarded to make heard first all sound together or rather all of the notes of the octave united as a single sound.

GENEVIEVE LACEY: BIRDS OF PARADISE | 15–16 April

from Georgetown: the Golf Course 2010 (5:15am, 7 October); Goldfields Caravan Park 2010 (4:24 am, 6 October) and 2013 (3:51am, 25 October); Georgetown Van Park 2010 (5:00am, 7 October) and 2013 (5:05am, 25 October); and Greens Park 2013 (4:37am, 25 October). The final bird-musician is likely the same individual as in movement one. These feathered choristers remind us that although we could think of songbirds as distant, earthly, and substandard ancestors, we could instead consider them as world-forming colleagues and contemporaries, and I do.

In doing so Rebel creates a sound unlike any that would be heard until the early 20 th century when composers began experimenting with ‘cluster harmony’.

Les Eléments was first performed (without the Chaos introduction) by a stellar cast of dancers in September 1737 at the Académie Royale de Musique in Paris, where, according to the Mercure de France, it was received with great applause.

The ‘Chaos’ introduction, in fact, does more than set a scene, however: it introduces musical motifs associated with the four classical elements of earth, water, air and fire, and these are alluded to in the following suite of dances that constitute this ‘new symphony’.

The first Loure, for instance, begins low in the band’s compass to depict the earth and largely remains there, but with liquid higher passages to suggest water. The Chaconne that follows uses its recurrent theme as the basis for flickering figures that gain and lose energy like fire. The Ramage and Rossignols (nightingales) celebrate the air, and specifically birdsong, while

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GENEVIEVE LACEY: BIRDS OF PARADISE | 15–16 April

the second Loure seems to return us to earth. The Tambourin, of which Rebel gives us two, is derived from Provençal folk music, while the provenance of the Sicilienne is obvious. A Rondeau ‘Aria for Love’ leads to a final general dance, the Caprice. Perhaps like Dante, Rebel sees love as the force that moves the world; he certainly celebrates Nature in a way comparable to French painters of the later 18 th century.

There is no single source for this music — editor Stefan Fuchs has shown that Rebel drafted three versions: for the Grand Choeur, the very large orchestra, of the Académie Royal; a chamber version for flutes, violins and thoroughbass; and a version for harpsichord.

Gordon Kerry © 2017

Antonio Vivaldi (1678–1741)

Concerto in C major for recorder, strings and continuo R. 443 I. Allegro II. Largo III. Allegro molto Genevieve Lacey recorder

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Vivaldi is without doubt the most celebrated composer to have been born in La Serenissima (the most serene republic of Venice), and in many ways the extrovert, festive nature of his music, tinged with an element of melancholy, appears quintessentially Venetian.

He was born into a musical family; his father was a violinist in the orchestra at the Basilica of San Marco noted for his red hair. Antonio inherited this trait and when he was later ordained to the priesthood, was known popularly as ‘il preto rosso’ (the red priest). His training for the priesthood enabled him to receive a better education than would have been possible otherwise, but his health

was always precarious. He seems to have suffered from a type of bronchial asthma, and shortly after his ordination he was granted a dispensation from the obligation to celebrate Mass on the grounds of ill health.

Vivaldi’s first important musical appointment was as maestro di violino at the Ospedale della Pietà, a Venetian charitable institution dedicated to the education and care of female foundlings and orphans. Many of Vivaldi’s concertos were composed for the musically gifted members of this institution, and were premiered in the chapel during services. Such services inevitably took on the character of concerts and became a significant part of the musical life of the city.

The exposure given to Vivaldi’s music enabled him to establish an outstanding reputation as a composer, above all for his five hundred or so concertos.

However, he composed in all the major genres of the time: orchestral and chamber music, sacred vocal works and opera. His death occurred at Vienna in 1741, during one of his numerous trips abroad, where, like Mozart years later, he was given a pauper’s burial. A contemporary Venetian report on his death contained the comment that while he was an ‘incomparable virtuoso of the violin’ and was ‘much esteemed for his compositions and concertos’ his considerable earnings had been dissipated through ‘his disorderly prodigality.’

The Concerto in C for recorder, strings and continuo, RV 443, is one of three surviving concertos by Vivaldi composed for the highest member of the recorder family, the flautino. The virtuosity required of the delicate solo instrument gives this concerto its special character. All of the fast movements in Vivaldi’s concertos are in a ritornello structure. This form alternates varied repetitions of a musical refrain or

GENEVIEVE LACEY: BIRDS OF PARADISE | 15–16 April

ritornello (scored for the orchestra), with episodes for the soloist (which are more lightly scored), and based on new, freely-composed motivic material. It is the unfolding dialogue between soloist and orchestra, and between ritornello and episode, which generates the tension and excitement, with frequent modulations between related major and minor keys as the dialogue develops.

The opening allegro is based on a combination of repeated note figures and sequential melodic passages — in fact the most striking characteristic of the movement is its exuberant rhythmic vitality. The slow movement, Largo, is in the related minor key and is a wonderful example of the way in which Vivaldi could create atmosphere. An expressive and wistful decorative melody, played by the soloist, is supported by a series of slow-moving harmonies, played by sustained strings and continuo. These musical devices powerfully evoke the emotions associated with the more reflective moods typical of night. The spirited finale, marked allegro molto, is another display of dazzling virtuosity.

The opening ritornello is composed of five distinct melodic ideas, which Vivaldi freely manipulates, abbreviates, and realigns, as he alternates these motivic recurrences with the freely-composed, modulating episodes for the soloist.

Robert Forgacs © 2008

21

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Ruler of the Hive: MSO Mornings Saturday 24 April | 11.30am Arts Centre Melbourne, Hamer Hall Melbourne Symphony Orchestra Johannes Fritzsch conductor Pamela Rabe narrator BERLIOZ Béatrice et Bénédict: Overture MELODY EÖTVÖS Ruler of the Hive VERDI Macbeth, Act III: Ballet Music

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

Running time: Approximately 1 hour, no interval.

Artist biographies and program notes for this performance can be found beginning on page 25.

The MSO Mornings series is proudly presented by MSO Premier Partner, Ryman Healthcare.

Ruler of the Hive:

Shakespeare and the Symphony Thursday 22 April | 6pm Arts Centre Melbourne, Hamer Hall

Friday 23 April | 7.30pm Costa Hall, Geelong

Melbourne Symphony Orchestra Johannes Fritzsch conductor Pamela Rabe narrator BERLIOZ Béatrice et Bénédict: Overture MELODY EÖTVÖS Ruler of the Hive VERDI Macbeth, Act III: Ballet Music

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

Running time: Approximately 1 hour, no interval.

Pamela Rabe

Johannes Fritzsch was appointed Principal Conductor and Artistic Adviser of the Queensland Symphony Orchestra in February, 2021 having previously served as their Chief Conductor. Since 2018, Johannes has held the position of Principal Guest Conductor of the Tasmanian Symphony Orchestra.

Johannes has conducted many leading orchestras, both within Germany and internationally. He regularly conducts the major Australasian orchestras as well as leading Opera productions.

Pamela Rabe is one of Australia’s most highly regarded and awarded actors.

She has performed and directed for major theatre companies, around the nation and internationally, in over one hundred plays and musicals. She has been awarded three Helpmann Awards for Best Actress for The Children, The Glass Menagerie and Grey Gardens, eight Melbourne Green Room Awards, a Sydney Critics’ Circle Award and a “Mo” Award. Notable credits include The Dance of Death, Ghosts, The Cherry Orchard, A Little Night Music, A Room of One’s Own, The Wizard of Oz, Les Liaisons Dangereuses, Mother Courage and Her Children, Benedict Andrews’ The War of the Roses, The Season at Sarsaparilla, Barry Kosky’s The Lost Echo, and most recently Force Majeure’s The Last Season for Sydney Festival.

In January 2015, Johannes was appointed Adjunct Professor, The Conservatorium of Music, at the University of Tasmania; in June 2019, he joined the Queensland Conservatorium, Griffith University as Professor of Opera and Orchestral Studies. In 2017, the Tasmanian Symphony Orchestra invited him to lead the newly founded Australian Conducting Academy.

Pamela’s work on screen includes The Secret Life of Us, Mercury, The Bite and Stingers, and most recently Wentworth, for which she won a Silver Logie award in 2018 and the AACTA award for Best Lead Actress in a Television Drama in 2015. Feature films include The Well, Cosi, Vacant Possession, Sirens and Paradise Road.

conductor

From 2006–2013 he was Chief Conductor and Artistic Director of the Oper Graz, Grazer Philharmonisches Orchester (Austria). Prior to his appointment in Graz, Johannes held the position of Chief Conductor and Artistic Director of the Staatsoper Nürnberg.

In 2021, he conducts the Auckland Philharmonia and the Sydney, Melbourne, Queensland, Tasmanian and West Australian Symphony Orchestras.

narrator

RULER OF THE HIVE: SHAKESPEARE AND THE SYMPHONY | 22–24 April

Johannes Fritzsch

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RULER OF THE HIVE: SHAKESPEARE AND THE SYMPHONY | 22–24 April 26

Program Notes HECTOR BERLIOZ

(1803–1869)

Béatrice et Bénédict: Overture Berlioz ended his composing career in 1860–2 with a comedy, Béatrice et Bénédict — an Indian summer, following his epic opera The Trojans. The Overture fits Berlioz’s description of the opera: ‘a caprice written with the point of a needle, and demanding excessive delicacy of execution’. Berlioz commented wryly on the critics’ response: ‘They have discovered that I have melody, that I can be gay and even comic.’

irony of his choice of subject — his own marriages, with Harriet Smithson and Marie Récio, brought him much unhappiness.

The opera, premiered in 1862, was a success, but the overture remains its best-known music. Composed last, it is a brilliant précis, a weaving-together, or patchwork, of melodies from the opera (at least seven of them); a quicksilver scherzo, with episodes of soft emotion.

‘Racing, headlong, yet ironically poised, brilliant but touched with warmth of heart and a delicate spirit of fantasy’ is Berlioz biographer David Cairns’ summary of the overture, and he comments with wonder that it was the creation of a man in pain and longing for death.

Berlioz was obsessed with Shakespeare.

Well-known is his infatuation with the actress Harriet Smithson, who came to Paris in a touring Shakespeare company, and whom he married. Berlioz’s Shakespeare-inspired music includes Roméo et Juliette and the King Lear Overture. He had been contemplating a Romeo and Juliet opera, or an Antony and Cleopatra when the commission for a new opera came from Edouard Bénazet, to inaugurate the new theatre he was building at the fashionable spa in Baden-Baden.

Though Berlioz lived seven more years, Béatrice et Bénédict was his last major composition. The overture quotes at the beginning the duet Béatrice and Bénédict sing about the love that has broken down their defences: ‘a flame, a will o’ the wisp, coming from no one knows where, gleaming and vanishing to distract our souls’.

Berlioz chose to base the opera on his adaptation of a Shakespeare comedy ­­— light relief after his struggles getting The Trojans finished and performed. He had been toying with the idea of setting Shakespeare’s Much Ado about Nothing since as early as 1833, when he made a few preliminary sketches. His life since then had made Shakespeare’s play even more meaningful. A tragi-comedy, originally called Benedick and Beatrix, the play celebrates a marriage between two high-spirited young people. Beatrice and Benedict achieve a true partnership in spite of themselves, love triumphing in the end over independent-mindedness, cynicism, and raillery. Berlioz saw the

Ruler of the Hive

David Garrett © 2011

MELODY EÖTVÖS

(born 1984)

Pamela Rabe narrator The composer writes: When first speaking with the TS0 about the possibility of writing a major work incorporating text of Shakespeare, I was immediately drawn to the idea of exclusively using soliloquies by strong female characters.

In early March this year I flew over to Melbourne from the US, and I met the wonderful Pamela Rabe for the very first time. Very quickly I realized how much more research I needed to do in order to truly understand Shakespeare

While still re-evaluating my perspective on feminism, I needed to continue working on this piece, right from when I returned home to the US. So, I added two more monologues (Helena and lsabella), and decided to let my growing perceptions catch on the fabric of this music like cleavers.

Deciding on the title for this piece was very difficult for me — my original title related to three of the women (“The Three Morrìgna”), but once I increased the figures in the room and my understanding of the situation these women are in, I needed to acknowledge their stature in a different way. As I often do when composing music, I look to philosophy and biology for inspiration, and one night I decided to google “matriarchal societies in the animal kingdom”. The usual suspects appeared in the results: Bees, Orcas, Ants, Meerkats, Lions, etc. However, the modern term hivemind (a collective consciousness, in which a group of people become aware of their commonality, and share thoughts, knowledge, and resources) was too tempting and appropriate a word to reference, especially when connecting it to the long outstanding issue of gender imbalance. So, in a way, I am implying in my title that these women are the clandestine rulers and heroines of these plays, and because, even today, these works continue to inform us who we are, these voices invariably strike a chord

along the lines of imbalance in political leadership, the gender pay-gap, and many other such issues.

A little word about the style and character of the music: l’ve always enjoyed working with modes and symmetrical pitch formations, not to mention drawing inspiration from folk tunes and old, dare I say Ancient, fragments of music history. This piece is no exception and I fully embrace my love of Renaissance music in it. As always it is my goal to let these connections first become absorbed and controlled by my own voice. After this then, perhaps, a familiar ‘neo-something’ might escape for a moment or two and hold your ear like an old acquaintance.

Melody Eötvös © 2021

GIUSEPPE VERDI

(1813–1901)

Macbeth: Act III, Ballet Music Shakespeare appealed particularly to artists of the Romantic period who were fascinated by the ‘gothic’ world of King Lear, Macbeth and Hamlet, the passion of Romeo and Juliet and the magical realms of A Midsummer Night’s Dream and The Tempest.

In 1847 the young Verdi produced his version of Macbeth, the story of a brave man whose ambitious fantasies (and those of his wife) and the promises of a group of witches lead him to murder the king and usurp the crown, and become a corrupt and brutal tyrant consumed by guilt. As opera scholar Gary Schmidgall has pointed out, Verdi’s insight was that there are essentially only three characters in the play: Macbeth, Lady Macbeth and the witches. As ‘a character’, the witches set the scene musically at the very beginning of the opera. When the work was to be performed in Paris in 1865 Verdi made a number of revisions to

RULER OF THE HIVE: SHAKESPEARE AND THE SYMPHONY | 22–24 April

and his relationship with the women in his plays. It wasn’t enough to just have a vague impression of a handful of women from the Renaissance, engaged in the social and political drama of their time. So, I left Melbourne with a list of books to read, and the determination to not only know more about the women who’s monologues I’d chosen to use in my piece, but also to confront myself in them and howl really feel about feminism and gender imbalance today.

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RULER OF THE HIVE: SHAKESPEARE AND THE SYMPHONY | 22–24 April 28

the score, and replaced some sections with new material he considered more dramatically appropriate.

He also composed the new ‘Ballabile’ section, partly to cater to the French mania for ballet within opera. (Wagner would come to grief in Paris for putting the ballet in Act I of Tannhäuser, causing various influential latecomers to miss it!)

But with his ballet Verdi also took the opportunity to enhance the witches’ role.

Act III begins in the witches’ cave and its climax is the Apparition Scene where Macbeth is tricked into believing himself invulnerable. The ‘Ballabile’ section precedes this and is in three movements: the opening, marked Allegro vivacissimo depicts witches and assorted ghouls dancing about the cauldron. This brings forth the queen of darkness, Hecate, in a slower Andante. She indicates that Macbeth will soon arrive to learn his fate, setting off another bout of wild dancing from the witches.

Gordon Kerry © 2006

From the New World Thursday 22 April | 8.30pm Saturday 24 April | 2pm Hamer Hall Melbourne Symphony Orchestra Johannes Fritzsch conductor Owen Morris trumpet JOAN TOWER For the Uncommon Woman HOLLY HARRISON Hellbent for Trumpet and Orchestra

(WORLD PREMIERE OF AN MSO COMMISSION)

DVOŘÁK Symphony No.9 From the New World

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

Running time: Approximately 1 hour, no interval.

Owen Morris

Johannes Fritzsch was appointed Principal Conductor and Artistic Adviser of the Queensland Symphony Orchestra in February, 2021 having previously served as their Chief Conductor. Since 2018, Johannes has held the position of Principal Guest Conductor of the Tasmanian Symphony Orchestra.

Owen is currently Principal Trumpet with the Melbourne Symphony Orchestra, a position which he has held since mid 2019. Prior to this he was Principal Trumpet with the Adelaide Symphony Orchestra.

conductor

From 2006–2013 he was Chief Conductor and Artistic Director of the Oper Graz, Grazer Philharmonisches Orchester (Austria). Prior to his appointment in Graz, Johannes held the position of Chief Conductor and Artistic Director of the Staatsoper Nürnberg.

Johannes has conducted many leading orchestras, both within Germany and internationally. He regularly conducts the major Australasian orchestras as well as leading Opera productions.

In January 2015, Johannes was appointed Adjunct Professor, The Conservatorium of Music, at the University of Tasmania; in June 2019, he joined the Queensland Conservatorium, Griffith University as Professor of Opera and Orchestral Studies. In 2017, the Tasmanian Symphony Orchestra invited him to lead the newly founded Australian Conducting Academy.

In 2021, he conducts the Auckland Philharmonia and the Sydney, Melbourne, Queensland, Tasmanian and West Australian Symphony Orchestras.

trumpet

FROM THE NEW WORLD | 22–24 April

Johannes Fritzsch

Owen has had extensive orchestral experience including performing as Principal Trumpet with the Australian World Orchestra, Sydney Symphony Orchestra, Sydney Philharmonia and Tasmanian Symphony Orchestra. Owen has also performed with the Australian Brandenburg Orchestra and with other chamber groups such as the Australian Brass Quintet, Omega Ensemble and Sydney Brass.

Owen also enjoys performing concertos regularly. Some of his experiences include performing concertos with the Adelaide Symphony Orchestra, Adelaide Youth Orchestra, Adelaide Wind Orchestra, Sydney Symphony Sinfonia and Seraphim Trio. Owen also performed the Haydn Trumpet Concerto with the Sydney Youth Orchestra on their 2017 International Tour to Europe.

Owen enjoys teaching at the Melbourne and Sydney Conservatorium of Music.

He is a certified Peak Performance Coach, incorporating his knowledge of teaching and performance with an in-depth insight into the mental aspects and training required to perform at an elite level.

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FROM THE NEW WORLD | 22–24 April

Program Notes

HOLLY HARRISON

(born 1988)

JOAN TOWER

Hellbent for Trumpet and Orchestra

(born 1938)

Owen Morris trumpet

For the Uncommon Woman

The composer writes: Hellbent is a celebration of the trumpet as a solo voice, written specifically for Owen Morris. The work embraces the versatility of the trumpet, exploring multiple personas ranging from wild and cheeky to sweet and dark to powerful and full-throttled. There’s also a smattering of bluesy-ness! The solo part is continually punctuated by bent notes, sculpted by a plunger mute, which trickles down into the orchestral textures (particularly the brass) as pitch and colour distortions.

Zooming out, on a structural level, each section is almost bent out of shape and stretched into the next, morphing material together, with the orchestra bending to the whim of the trumpet. Hear how the trumpet whips them into shape with its persuasive powers!

The composer writes: All four fanfares are dedicated to women who are adventurous and take risks. The first Fanfare for the Uncommon Woman was inspired

by Aaron Copland’s Fanfare for the Common Man and is scored for the same instrumentation of 3 trumpets, 4 horns, 3 trombones, tuba and percussion. This fanfare was premiered by the Houston Symphony as part of their Fanfare Project in 1987 with Hans Vonk conducting.

The fourth fanfare is scored for full orchestra and was commissioned by The Kansas City Symphony with funding from AT&T. Joan Tower © 2021 The MSO will be performing the fourth work from Fanfare for the Uncommon Woman.

Trumpet is my first instrument and my original avenue into music. Writing the work had hints of ‘retuning to my roots’, allowing me to explore aspects of the trumpet’s sound that initially attracted me to the instrument. At first glance, the title Hellbent may sound aggressive, yet literally refers to the soloist as a determined force against (and with) the orchestra. I vividly recall a moment towards the end of the first draft, telling myself that I was ‘hellbent’ on finishing the piece! I suppose I was determined too.

Holly Harrison © 2021

32

Symphony No.9 in E minor, Op.95 From the New World I. Adagio – Allegro molto II. Largo III. Scherzo (Molto vivace) IV. Allegro con fuoco In his last and most celebrated symphony, Antonín Dvořák mingles excitement at the sights and sounds of America with downright homesickness for his native Bohemia. Dvořák had arrived in New York in September 1892 to become director of the National Conservatory of Music, and the symphony was composed between January and May of the following year.

Apart from the diplomatic cantata, The American Flag, it was his first composition in the USA. A Czech-American pupil, Josef Jan Kovarík, who travelled with Dvořák to New York, has recounted that when he was to take the score to Anton Seidl, conductor of the New York Philharmonic, for its first performance, the composer paused at the last moment to write on the title page ‘Z Nového sveta’ (From the New World). Significantly, written in Czech rather than the German or English that Seidl or his American audience would have understood, the inscription implied no suggestion that the new work was an ‘American’ symphony (Kovarík was adamant about this) but meant merely ‘Impressions and greetings from the New World’.

The ‘impressions’ that crowded Dvořák’s mind as he wrote the symphony were, of course, the frenetic bustle of New York, the seething cauldron of humanity in the metropolis, and the folk caught up in its impersonal whirl — the AfricanAmericans and Native Americans. Above all, he developed a fascination for what he was able to hear of the music of

these two races — the plantation songs of Stephen Foster; spirituals sung to him on several occasions by Harry T. Burleigh, a Black student at the National Conservatory; transcriptions he was given of some Native American songs, and others he heard at Buffalo Bill’s Wild West Show. Dvořák claimed in a newspaper interview that the two musics were nearly identical and that their fondness for type of pentatonic scale made them remarkably similar to Scottish music. But it must be acknowledged that his acquaintance with the songs — those of the Native Americans in particular — ­ was distinctly superficial.

FROM THE NEW WORLD | 22–24 April

ANTONÍN DVOŘÁK

(1841–1904)

Dvořák’s fascination with these people stemmed from his reading, some thirty years earlier, Longfellow’s The Song of Hiawatha in a Czech translation.

Although he did not persevere with ideas he had for writing an opera on the subject of America, the Hiawatha concept nevertheless surfaced to some extent in this symphony.

The great Dvořák scholar, Otakar Sourek found the physical manifestations of America embodied mainly in the surging flow and swiftly changing moods of the first and last movements, soaring at times to heights of impressive grandeur. It is in the Largo and Scherzo that Dvorák is said to have admitted drawing on The Song of Hiawatha — Minnehaha’s bleak forest funeral in the slow movement, and the wedding feast and Indians dancing in the Scherzo. The music goes far beyond such flimsy poetic inspiration, however, for the Largo positively aches with the composer’s nostalgia and homesickness, while the Trio of the third movement is an unmistakable Czech dance.

Ultimately, the symphony as a whole is far more Czech than American.

The very familiarity of the music to most listeners, the facility with which wellremembered tunes appear and reappear, is apt to blur the subtleties of Dvořák’s

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FROM THE NEW WORLD | 22–24 April

writing and symphonic construction.

Most notable is the way themes for each movement recur in succeeding movements, often skilfully woven into climaxes or codas. Unlike Beethoven, however, in whose Ninth Symphony the ideas of the first three movements are reviewed, only to be rejected and transcended in a towering finale, Dvořák uses his earlier thoughts as a force of structural and spiritual unity, so that in combination they transcend themselves and each other.

In the miraculous Largo, the famous and elegiac melody first stated by the solo cor anglais — ­ the melody that later became ‘Goin’ home’ — culminates grandly on trumpets against festive recollections of the two main themes from the first movement. Both first movement themes recur again in the coda of the Scherzo, the first of them (somewhat disguised) actually appearing three times earlier in the movement as well — at the end of the Scherzo section and twice in the transition of the Trio.

The development section of the finale contains allusions to the main themes of both Largo and Scherzo, and in the masterly coda the main themes of all three preceding movements are reviewed, that of the fast movement finally engaging in dialogue with the finale’s main subject until cut off by an urgent rush of highly conventional chords. Unexpectedly these lead to a delicate pianissimo wind chord with which the symphony ultimately soars heavenward, freed from earthbound shackles.

Anthony Cane © 1994

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Jan Ryan

Ann Lahore

Elisabeth and Doug Scott

Kerry Landman

Dr Nora Scheinkestel

Bryan Lawrence

Martin and Susan Shirley

Diedrie Lazarus

Penny Shore

Jane Leitinger

Dr Sam Smorgon AO and Minnie Smorgon

Dr Anne Lierse

Sparky Foundation

Norman Lewis, in memory of Dr Phyllis Lewis

Dr Vaughan Speck

Dr Susan Linton

Dr Peter Strickland

Dr Emily Lo Andrew Lockwood Elizabeth H Loftus Chris and Anna Long Margaret Long June and Simon Lubansky Shane Mackinlay The Hon Ian Macphee AO and Julie Macphee Pete Masters Ruth Maxwell Ian M McDonald Wayne McDonald and Kay Schroer Margaret McGrath Don and Anne Meadows Dr Eric Meadows Dr Rosemary Nixon AM 40

David O’Connell

Geoff and Judy Steinicke Dr Norman and Dr Sue Sonenberg Pamela Swansson Stephanie Tanuwidjaja Tara, Tessa, Melinda and Terrence Teh Geoffrey Thomlinson Ann and Larry Turner Mary Valentine AO H Van Reesma Jacob and Mavis Varghese The Hon Rosemary Varty Leon and Sandra Velik Sue Walker AM Elaine Walters OAM and Gregory Walters The Rev Noel Whale Edward and Paddy White Barry and Julie Wilkins Marian Wills Cooke and Terry Wills Cooke OAM

Elise Callander

Jeffrey and Shirley Zajac

Neil Carabine

Susan Zheng

Damian Carr

Anonymous (25)

Judy Carrigan and Manting Wong

OVERTURE PATRONS $500+* Katy and Nigel Adams Ellen Allery and Joan Stephens Anita and Graham Anderson Dr Judith Armstrong and Robyn Dalziel Emanuel J Augustes John Avery Elvala Ayton & Maxine Wain Margaret Bainbridge Richard and Jan Baird Liz and Charles Baré Gisela Barrett Maria Bascombe Nina Bate Heather and David Baxter Professor David Beanland AO Judy Becher Koert Beekes Susi Bella Dr William Birch AM Neville Blythman Jennifer Bowen Bill Bowness AO Mrs Errol Broome John Brownbill Gordon Bunyan Bill and Sandra Burdett Rick Burrows Dr Judy Bush John Butcher Anita and Norman Bye

Supporters

Richard Withers

Professor Jan Carter AM Jennifer Carty Ian and Wilma Chapman Dreda Charters-Wood Barbara Cheevers Dr Deanne Chiu Peter Clavin Helen Connelly Geoffrey Constable Carol Coyle Michael Cramphorn Calvin Crisp Rosemary Cromby Bernard Daffey Elaine Davidoff Alan Day Roger Deayton Dr Tim Denton Carol des Cognets The Dougall and Morey families Mike and Nina Dow William Dubksy Michael Dunne David and Dr Elizabeth Ebert Cynthia Edgell Jane Edmanson OAM Virginia Ellis Rosanne Ennis Jennifer Errey Robert Evans Douglas L Farch Jillian Fearon

* The MSO has introduced a new tier to its annual Patron Program in recognition of the donors who supported the Orchestra during 2020, many for the first time.

Moving forward, donors who make an annual gift of $500–$999 to the MSO will now be publicly recognised as an Overture Patron. For more information, please contact Donor Liaison, Keith Clancy on (03) 8646 1109 or clancyk@mso.com.au 41

Supporters 42

David and Catriona Ferguson

Daniel Kirkham

Alisa Fiddes

Dr Anthony Klemm

Janette Fly

Michael Koswig

Elizabeth Fraser

Pramote Kothanakul

Penny Fraser

Peta Kowalski

Pamela Furnell

Viji and Margaret Krishnapillai

Mary Gaidzkar

Barbara Kuriata

Justin Gan

John and Wendy Langmore

Elizabeth Giddy

Peter Lawrence

Sonia Gilderdale

Paschalina Leach

Prue Gill

Anne Leversha and Roger Smith

Sandra Gillett and Jeremy Wilkins

Bronwyn Lewis

Craig W Gliddon

Amanda Lynn

Hugo and Diane Goetze

Dr Takako Machida

Tim and Liz Grazebrook

Jane Madden

Christine Grenda

Amer Makhoul

Rosemary Greness

John L Martiensen

Terry Griffin

Janice Mayfield

Jennifer Grinwald

Fred and Alta McAnda

Richard Gubbins

Julie E McConville

Jing Guo

and Neil McEwen

Dawn Hales

Gail McGregor and Margaret Badminton

Kay Hannaford

Shirley A McKenzie

R J Harden

Tracey and Lorraine McKerrow

Phillip and Janette M Head

John and Rosemary McLeod

Rev Kenneth Hewlett

Bernard McNamara

Paul Higham

Richard McQueen

Margaret R Hook

Noreen C Megay

Katherine Horwood

Jennifer and Andreas Meister

Noelle Howell and Judy Clezy

Irene Messer

Linsey and John Howie

Professor Geoffrey Metz

F Louise Jamson

Helen Midgley

Shyama Jayaswal

Helen Miles

Basil and Rita Jenkins

Dr Leigh and Margaret Mitchell

Robert Johanson AO

Anne Moon

Wendy Johnson

Ann Moore

Fiona Johnston

Peter Moran

Wesley Jones

Ian Morrey and Geoffrey Minter

Myra and Paul Kaufman

Peter Morris

Denise Kennedy and Damien Wohlfort

Joan Mullumby

Helen Kershaw

Dr Bruce and Judy Munro

John Keys

Jennifer Murchie

Phillip Kidd

Maureen Nakonesky

Dorothy Kiers

Francis P Newman

John E Smith

Michael Noble

Margaret Smith

Jenny O’Brien

Colin Squires

Conrad O’Donohue and Dr Rosemary Kiss

Geoff and Judy Steinicke

Uri and Nili Palti

Andrew Stephenson

Dr Judith Paphazy

Professors Gabriela and George Stephenson

Jillian Pappas Phil Parker Sarah Patterson Ronald Pitcher AM Dr James Polhemus Jill Poynton and Heather Maplesden Sandra Price and Judy Hillman Hendrik Prins Kerryn Pryde Professor Charles Qin and Kate Ritchie Christine Rainford Marilyn Richards Phillip M Richards Joy and David Ritchie Lawrence and Anne Robinson Marion Robertson and Linton Edwards Thea Roche Alister Rowe Margaret and Roger Rush Anne Russell Dr Emily and Kevin Russo Judy Ryan Michael Ryan and Wendy Mead Robyn and Bruce Ryan Justin-Paul Sammons Grant Samphier Dr John C Sampson Ken Sandars Bev Sanders Frances Scholtz Dr Peter Seligman

Supporters

Barbara Nichol and Ian McCormick

Heather Stock Rowan Streiff and Dr Murray Sandland Ruth Stringer Nancy Sturgess Anthony Summers Ricci Swart Helen M Symons Brett Thomas Luanne Thornton Tam Vu and Dr Cherilyn Tillman Michael Tomkins Alan and Glenda Trethewey Noel and Jenny Turnbull Dr Elsa Underhill and Professor Malcolm Rimmer Dr Chris van Rompaey Gabrielle Vertessy Jillian Waddell Dr Adrian and Catherine Wallis Wendy and Robert Warren Amanda Watson Margaret Watters Angela Westacott Ken Whitney Agnes Wong Joyce Woodroffe Professor Barbara Workman Lorna Wyatt Harold Zwier Anonymous (23)

Paul Selmo David Sherwood Sally Shuter Dr Frank and Valerie Silberberg Paul and Margarita Schneider Dr Max and Annette Simmons Libby Skilling

43

Supporters

CONDUCTOR’S CIRCLE Jenny Anderson David Angelovich G C Bawden and L de Kievit Lesley Bawden Joyce Bown Jenny Brukner and the late Mr John Brukner Ken Bullen Peter A Caldwell Luci and Ron Chambers Beryl Dean Sandra Dent Alan Egan JP Gunta Eglite Mr Derek Grantham Marguerite Garnon-Williams Dr Rhyl Wade and Dr Clem Gruen Louis Hamon OAM Carol Hay Graham Hogarth Rod Home Tony Howe Laurence O’Keefe and Christopher James Audrey M Jenkins John Jones George and Grace Kass Bruce and Natalie Kellett Sylvia Lavelle Pauline and David Lawton Cameron Mowat David Orr Matthew O’Sullivan Rosia Pasteur Penny Rawlins Joan P Robinson Neil Roussac and Anne Roussac-Hoyne Suzette Sherazee Michael Ryan and Wendy Mead Anne Kieni-Serpell and Andrew Serpell Jennifer Shepherd Prof Gabriela Stephenson and Prof George Stephenson

44

Pamela Swansson

Lillian Tarry Tam Vu and Dr Cherilyn Tillman Mr and Mrs R P Trebilcock Michael Ullmer AO The Hon Rosemary Varty Marian Wills Cooke and Terry Wills Cooke OAM Mark Young Anonymous (29) The MSO gratefully acknowledges the support of the following Estates: Norma Ruth Atwell Angela Beagley Christine Mary Bridgart The Cuming Bequest Margaret Davies Neilma Gantner The Hon Dr Alan Goldberg AO QC Enid Florence Hookey Gwen Hunt Family and Friends of James Jacoby Audrey Jenkins Joan Jones Pauline Marie Johnston C P Kemp Peter Forbes MacLaren Joan Winsome Maslen Lorraine Maxine Meldrum Prof Andrew McCredie Jean Moore Miss Sheila Scotter AM MBE Marion A I H M Spence Molly Stephens Halinka Tarczynska-Fiddian Jennifer May Teague Albert Henry Ullin Jean Tweedie Herta and Fred B Vogel Dorothy Wood

MSO BOARD

Li Family Trust

Chairman Michael Ullmer AO Deputy Chairman David Li AM Managing Director Sophie Galaise Board Directors Andrew Dudgeon AM Danny Gorog Lorraine Hook Margaret Jackson AC Di Jameson David Krasnostein AM Hyon-Ju Newman Glenn Sedgwick Helen Silver AO Company Secretary Oliver Carton

Biostime Swisse Xiaojian Ren & Qian Li Wanghua Chu and Dr Shirley Chu LRR Family Trust David and Dominique Yu

HONORARY APPOINTMENTS Life Members Marc Besen AC and Eva Besen AO John Gandel AC and Pauline Gandel AC Sir Elton John CBE Harold Mitchell AC Lady Potter AC CMRI Jeanne Pratt AC Artistic Ambassadors Tan Dun

Supporters

EAST MEETS WEST

Lu Siqing MSO Ambassador Geoffrey Rush AC The MSO honours the memory of Life Members John Brockman OAM The Honourable Alan Goldberg AO QC Roger Riordan AM Ila Vanrenen

The MSO relies on your ongoing philanthropic support to sustain our artists, and support access, education, community engagement and more. We invite our supporters to get close to the MSO through a range of special events.

The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are recognised as follows: $500+ (Overture) $1,000+ (Player) $2,500+ (Associate) $5,000+ (Principal) $10,000+ (Maestro) $20,000+ (Impresario) $50,000+ (Virtuoso) $100,000+ (Platinum)

45

Classical.

On demand.

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Click here to start your membership at MSO.LIVE

Thank you to our Partners Principal Partner

Premier Partners

Major Partners

Government Partners

Education Partners

Premier Production Partner

Venue Partner

Supporting Partners

Quest Southbank

The CEO Institute

Ernst & Young

Bows for Strings

Trusts and Foundations

Sir Andrew and Lady Fairley Foundation, Erica Foundation Pty Ltd, Flora & Frank Leith Trust, Scobie & Claire Mackinnon Trust, Sidney Myer MSO Trust Fund, The Alison Puzey Foundation part of Equity Trustees Sector Capacity Building Fund, Perpetual Foundation – Alan (AGL) Shaw Endowment, 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.