Enigma Concert Program

BENJAMIN NORTHEY CONDUCTS ENIGMA 27–28 JULY 2017

CONCERT PROGRAM

What is the role of the artist in a creative city?

The City of Melbourne is proud to support major and emerging arts organisations through their 2015–17 Triennial Arts Grants Program.

Aphids Arts Access Victoria Australian Centre for Contemporary Art Blindside Artist Run Space Chamber Made Opera Circus Oz Craft Emerging Writers’ Festival Ilbijerri Theatre Koorie Heritage Trust La Mama Little Big Shots Lucy Guerin Inc. Melbourne Festival

“Artists play a vital role in colouring the creative city we live in.

They enrich our lives by reflecting on the world around us and the thoughts within us.”

Melbourne Fringe Melbourne International Comedy Festival Melbourne International Film Festival Melbourne International Jazz Festival Melbourne Queer Film Festival Melbourne Symphony Orchestra Melbourne WebFest Melbourne Writers Festival Multicultural Arts Victoria Next Wave Festival Polyglot Theatre Poppy Seed Songlines Aboriginal Music

Dale Barltrop Concertmaster Melbourne Symphony Orchestra

Speak Percussion The Wheeler Centre West Space Wild@heART Community Arts

melbourne.vic.gov.au/triennialarts

Melbourne Symphony Orchestra Benjamin Northey conductor Kristian Chong piano Bizet Carmen: Suite No.1 Saint-SaĂŤns Piano Concerto No.2 INTERVAL

Elgar Sospiri Elgar Variations on an Original Theme Enigma Running time: 2 hours, including 20-minute interval PRE-CONCERT ORGAN REICTAL As with all of the MSO’s Melbourne Town Hall Series, renowned composer and organist Calvin Bowman will perform a pre-concert organ recital in the historic setting of the Melbourne Town Hall. This free performance will begin at 6.30pm.

In consideration of your fellow patrons, the MSO thanks you for dimming the lighting on your mobile phone.

The MSO acknowledge the Traditional Owners of the land on which we are performing. We pay our respects to their Elders, past and present, and the Elders from other communities who may be in attendance.

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(03) 9929 9600 3

MELBOURNE SYMPHONY ORCHESTRA Established in 1906, the Melbourne Symphony Orchestra (MSO) is an arts leader and Australia’s oldest professional orchestra. Chief Conductor Sir Andrew Davis has been at the helm of MSO since 2013.

Engaging more than 2.5 million people each year, and as a truly global orchestra, the MSO collaborates with guest artists and arts organisations from across the world.

BENJAMIN NORTHEY CONDUCTOR

KRISTIAN CHONG PIANO Leading Australian pianist Kristian Chong has performed throughout Australia, China and the UK, and in France, New Zealand, Singapore, USA, and Zimbabwe. As soloist he has appeared with the Adelaide, Melbourne, Queensland, Sydney and Tasmanian Symphony Orchestras, and orchestras in the UK, New Zealand and China.

Highlights include Rachmaninoff’s Third Piano Concerto (Sydney Symphony) and Paganini Rhapsody (Beijing and Canberra) and Ravel's Left-Hand Concerto (Dunedin Symphony).

A highly sought-after chamber musician, Kristian’s collaborations include the Tinalley and Australian String Quartets, violinists Sophie Rowell and Dale Barltrop, cellist Li-Wei Qin and baritone Teddy Tahu Rhodes. Festival appearances include the Australian Northey also appears regularly as a Festival of Chamber Music, Adelaide, guest conductor with all major Australian Huntington Estate, Mimir and Bangalow symphony orchestras, Opera Australia Festivals with other highlights including (Turandot, L’elisir d’amore, Don Giovanni, the Xing Hai Festival (Guangzhou) and Così fan tutte, Carmen), New Zealand Australian Music Week on Gulangyu Opera (Sweeney Todd) and State Opera Island (Xiamen).

South Australia (La sonnambula, L’elisir d’amore, Les contes d’Hoffmann). His Kristian studied at the Royal Academy international appearances include of Music with Piers Lane and concerts with the London Philharmonic, Christopher Elton, and with Stephen Tokyo Philharmonic and Hong Kong McIntyre at the University of Melbourne Philharmonic Orchestras and the where Kristian teaches piano and Mozarteum Orchestra Salzburg. chamber music.

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

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PROGRAM NOTES

GEORGES BIZET

CAMILLE SAINT-SAËNS

(1838–1875)

(1835–1921)

Carmen: Suite No.1

Piano Concerto No.2 in G minor, Op.22

Prélude – Aragonaise Intermezzo Séguedille Les Dragons d’Alcala Les Toréadors

Andante sostenuto Allegro scherzando Presto

Kristian Chong piano

Camille Saint-Saëns’ contribution to French music over an exceptionally long life was a helpful and versatile one. A child prodigy who, making his debut as a ten-year-old with Mozart and Beethoven piano concertos, offered his delighted audience any one of the 32 Beethoven piano sonatas as an encore. He lived to a somewhat embittered old age, and walked out of the 1913 premiere of Stravinsky’s Rite of Spring muttering that it wasn’t music. Saint-Saëns for most of his life had been receptive to the new, and tried to steer French music away from its fixation on opera into channels where it could benefit from the example of the best of German instrumental music. He was a friend of Liszt, and his Third Symphony, with organ, is in many ways a tribute to that composer. (It has made a comeback in the age of hi-fi and of talking pigs – After the death of the composer Guiraud Australian composer Nigel Westlake borrowed from it in his soundtrack compiled two suites from the music music for Babe.) of Carmen. The first suite comprises of the instrumental entre’acte from Ironically, a piece which he dashed off the opera, ending with the famous in 17 days in 1868 has proved one of Overture. The only vocal excerpt his most durably popular: his Second in this suite is the Séguedille, which Piano Concerto. The haste was due to appears in an orchestral arrangement. the concert hall becoming available at © Symphony Australia short notice for a concert conducted When Carmen was first produced in Paris in 1875, three months before Bizet’s death at the age of 36, audiences were shocked by the unashamed realism of the story: Carmen’s blatant sexuality scandalised many, as did the rowdy women’s chorus (Carmen’s coworkers in the cigarette factory) who both fight and smoke on stage. And Carmen’s murder by the spurned Don José, in full view of the audience, was too strong for many tastes. The show did run for 48 performances, though, largely on the strength of its shock value, and although the Parisian opera companies were too timid to program it again until 1883 (when it met with enthusiastic acclaim), by that time it had enjoyed success around the the world, mostly in a ‘revised’ version by Bizet’s friend Ernest Guiraud. Guiraud set the original spoken dialogue to recitative.

The MSO first performed music from Carmen on 17 July 1943 under conductor Bernard Heinze, and most recently performed Suite No.1 on 5 February 2013 with Benjamin Northey.

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PROGRAM NOTES

by the Russian Anton Rubinstein, in which Saint-Saëns was to play a concerto. The music shows little sign of hasty workmanship. Saint-Saëns was the classicist among the French Romantics, and his sure grasp of form sometimes makes up for ideas which seem too easily acquired. Liszt described this piano concerto fairly when he said that Saint-Saëns ‘takes into account the effects of the pianist without sacrificing anything of the ideas of the composer’.

Nevertheless, this concerto has been indelibly marked by the witty observation of the Polish pianist Sigismond Stojowski, in that it ‘begins with Bach and ends with Offenbach’. It is true that the pianist’s unaccompanied introduction is an obvious tribute-by-imitation to Bach, especially the Bach of the Chromatic Fantasia and other toccatas for organ or harpsichord. Saint-Saëns conceives this imitation in a Romantic sense: it is a declamation rather than a meditation, and projected, by the sustaining pedal on the steel-framed pianoforte, to the back row of the concert hall.

The themes of the first movement, prefaced by this introduction, are expressive and lyrical: the main melody was borrowed (with permission) from Saint-Saëns’ younger friend and former pupil Gabriel Fauré (who had used it for a Tantum ergo with choir and organ). The level of activity soon rises, and dramatic exchanges between the soloist and the orchestra climax in a full-throated return of the main theme.

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There is a cadenza returning to the fantasia style of the introduction, and the movement ends, as it were, by swallowing its own tail.

The puckish scherzo is the only movement that was a success at the under-rehearsed first performance. It has a catchy refrain, and is laid out for the instruments with masterly delicacy.

The last movement is a tarantella (in popular imagination, the dance of the victim of spider bite), and this brings a strong whiff of the music of Offenbach (he of the can-can). Are the high spirits of comic operetta out of place in the finale of a concerto? Mozart didn’t think so; nor did Saint-Saëns. © David Garrett The MSO first performed this concerto on 17 October 1940 with conductor Georg Schnéevoigt and soloist Sigrid Sundgren, and most recently performed it in July 2008 with Thomas Dausgaard and Simon Trpčeski.

EDWARD ELGAR

EDWARD ELGAR

(1857–1934)

(1857–1934)

Sospiri, Op.70

Variations on an Original Theme, Op.36 Enigma

Elgar is wearing his heart on his sleeve in Sospiri, composed in 1914 and dedicated to his close friend and musical associate W.H. ‘Billy’ Reed.

Reed, on whose technical expertise Elgar had drawn whilst composing his Violin Concerto, 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.

Elgar completed Sospiri in February 1914, only months before the outbreak of the First World War, news of which reached the Elgars during an idyllic summer holiday in Scotland. Sir Henry Wood conducted the premiere at that year’s first Promenade concert, on 15 August 1914, the work’s sense of melancholy and regret no doubt a poignant lull in the evening’s highly charged wartime mood.

Symphony Australia © 2004 This is the MSO's first performance of Sospiri.

I (C.A.E.) – Caroline Alice Elgar, the composer’s wife II (H.D.S.-P) – Hew David Steuart-Powell, pianist in Elgar’s trio III (R.B.T.) – Richard Baxter Townshend, author IV (W.M.B.) – William Meath Baker, nicknamed ‘the Squire’ V (R.P.A.) – Richard Penrose Arnold, son of Matthew Arnold VI (Ysobel) – Isabel Fitton, viola player VII (Troyte) – Arthur Troyte Griffith, architect VIII (W.N.) – Winifred Norbury IX (Nimrod) – August Johannes Jaeger, reader for the publisher Novello & Co X (Dorabella) Intermezzo – Dora Penny, later Mrs Richard Powell XI (G.R.S.) – Dr G.R. Sinclair, organist of Hereford Cathedral XII (B.G.N.) – Basil G. Nevinson, cellist in Elgar’s trio XIII (***) Romanza – Lady Mary Lygon, later Trefusis XIV (E.D.U.) Finale – Elgar himself (‘Edu’ being his nickname)

In middle age, Elgar loathed having to earn the bulk of his income as a humble rural music teacher.

Nevertheless, in spite of his obvious talent as a composer, his career during his 20s and 30s had been a series of disappointments. He had gravitated toward London, but Elgar and the big city never got on. And so, at a time when Schoenberg was emerging in Austria and Debussy was writing his Nocturnes in France, poor Elgar found himself back in his native Malvern region, eking out a living as best he 7

PROGRAM NOTES

could. He took in students, made instrumental arrangements, played in an occasional performance and continually threatened to give away music altogether.

But one evening in October 1898, Elgar began to doodle at the piano.

Chancing upon a brief theme that pleased him, he started imagining his friends confronting the same melody, or he would try to catch another’s character in a variation. This harmless bit of fun, initiated accidentally, would single-handedly turn around the composer’s career and by February 1899 the work had grown into what would become one of England’s greatest orchestral masterpieces, Elgar’s Variations on an Original Theme, Op.36.

Where the word ‘Theme’ should have appeared in the score, however, Elgar wrote ‘Enigma’. He stated that the theme itself was a variation on a well-known tune which he refused to identify. It’s a conundrum which has occupied concertgoers and scholars alike ever since. Over the years there have been many attempts to identify the mystery theme which, according to Elgar, goes in counterpoint with the one we actually hear. Elgar himself rejected suggestions of God Save the King and Auld Lang Syne. Other suggestions have included Rule, Britannia!, various nursery rhymes, a theme from Beethoven’s late quartets, an extract from Wagner’s Parsifal, and even Ta-ra-ra-boom-de-ay. Elgar biographer Michael Kennedy has 8

proposed that it could be Elgar himself, with the famous motif on which the entire work is based capturing the natural speech rhythm of the name ‘Edward Elgar’. But, mischief-maker that he was, Elgar went to his grave without revealing the truth and no one since has come up with the definitive answer.

The second enigma was the identity of the characters depicted within each variation, who were represented at first only by their initials in the score.

Fortunately this enigma has proved much easier to solve.

The main theme is given to the violins, who state it immediately. Variation 1 depicts Elgar’s wife, Caroline Alice (‘Carice’). The second variation brings the first hint of actual imitation. Pianist H.D. Steuart-Powell was one of Elgar’s chamber music collaborators, who characteristically played a diatonic run over the keyboard as a warm-up.

Variation 3 depicts the ham actor R.B. Townshend whose drastic variation in vocal pitch is mocked here. The Cotswold squire W. Meath Baker is the subject of Variation 4, while the mixture of seriousness and wit displayed by the great poet Matthew Arnold’s son Richard is captured in the fifth variation. The next two variations parody the technical inadequacies of Elgar’s chamber music acquaintances.

Violist Isabel Fitton (Variation 6) had trouble performing music where the strings had to be crossed, while Arthur Troyte Griffith (Variation 7) was a pianist whose vigorous style sounded

more like drumming! Winifred Norbury is represented in Variation 8 by a musical depiction of her 18th-century country house, ‘Sherridge’.

The most famous variation, of course, is Nimrod (No.9). Nimrod (the ‘mighty hunter before the Lord’ of Genesis chapter 10) was Elgar’s publisher, A.J. Jaeger (German for ‘hunter’).

Apparently the idea for this particular variation came when Elgar was going through one of his regular slumps.

Jaeger took Elgar on a long walk during which he said that whenever Beethoven was troubled by the turbulent life of a creative artist, he simply poured his frustrations into still more beautiful compositions. In memory of that conversation, Elgar made those opening bars of Nimrod quote the slow movement from Beethoven’s Pathétique Sonata.

Australia. And then finally we hear ‘E.D.U.’ where the composer depicts himself (his wife’s nickname for him was Edoo) cocking a snook at all those who said he’d never make it as a composer. The Enigma Variations, premiered in London on 19 June 1899 under Hans Richter, were the conclusive evidence that he had.

Abridged from a note © Martin Buzacott The MSO first performed Elgar’s Enigma Variations on 29 September 1938 with Sir Malcolm Sargent, and most recently on 13-14 September 2013 under Sir Andrew Davis.

Variation 10 depicts a young woman called Dora Penny, whose soubriquet ‘Dorabella’ comes from Mozart’s Così fan tutte. And then Variation 11 goes beyond the human species, depicting the organist G.R. Sinclair’s bulldog Dan, falling down the steep bank of the river Wye, paddling upstream, coming to land and then barking.

The cello features prominently in Variation 12 – a tribute to the cellist Basil Nevinson who later served as the inspiration for Elgar’s Cello Concerto. Mendelssohn’s Calm Sea and Prosperous Voyage is quoted in Variation 13, thought to allude to Lady Mary Lygon’s departure by ship to 9

MELBOURNE SYMPHONY ORCHESTRA Sir Andrew Davis Chief Conductor

SECOND VIOLINS

CELLOS

Benjamin Northey Associate Conductor

Matthew Tomkins

Principal The Gross Foundation#

David Berlin

Tianyi Lu Cybec Assistant Conductor

Robert Macindoe

Rachael Tobin

Associate Principal

Associate Principal

Hiroyuki Iwaki Conductor Laureate (1974-2006)

Monica Curro

Nicholas Bochner

FIRST VIOLINS

Assistant Principal Danny Gorog and Lindy Susskind#

Mary Allison Isin Cakmakcioglu Freya Franzen

Dale Barltrop Concertmaster

Eoin Andersen

Anonymous#

Concertmaster

Sophie Rowell

Associate Concertmaster The Ullmer Family Foundation#

John Marcus Principal

Peter Edwards

Assistant Principal

Kirsty Bremner Sarah Curro

Michael Aquilina#

Peter Fellin Deborah Goodall Lorraine Hook Kirstin Kenny Ji Won Kim Eleanor Mancini

David and Helen Moses#

Mark Mogilevski Michelle Ruffolo Kathryn Taylor #

Michael Aquilina

Harry Bennetts* Amy Brookman* Robert John* Oksana Thompson*

Cong Gu Andrew Hall

Andrew and Judy Rogers#

Rachel Homburg Isy Wasserman Philippa West Patrick Wong Roger Young Jacqueline Edwards* Michael Loftus-Hills* Christine Wang* VIOLAS

Principal MS Newman Family#

Assistant Principal

Miranda Brockman Geelong Friends of the MSO#

Rohan de Korte

Andrew Dudgeon#

Keith Johnson Sarah Morse Angela Sargeant Michelle Wood

Andrew and Theresa Dyer#

Molly Kadarauch* DOUBLE BASSES

Steve Reeves Principal

Andrew Moon

Associate Principal

Sylvia Hosking

Assistant Principal

Fiona Sargeant

Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton

Lauren Brigden Katharine Brockman Christopher Cartlidge

Emma Sullivan* Esther Toh*

Christopher Moore Principal Di Jameson#

Associate Principal

Michael Aquilina#

Anthony Chataway Gabrielle Halloran Trevor Jones Cindy Watkin Elizabeth Woolnough Caleb Wright Merewyn Bramble* William Clark* Ceridwen Davies*

Sophie Galaise and Clarence Fraser#

FLUTES

Prudence Davis Principal Anonymous#

Wendy Clarke

Associate Principal

Sarah Beggs PICCOLO

Andrew Macleod Principal

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OBOES

TRUMPETS

MSO BOARD

Jeffrey Crellin

Geoffrey Payne

Chairman

Thomas Hutchinson

Shane Hooton

Associate Principal

Managing Director

Ann Blackburn

William Evans Daniel Henderson*

Sophie Galaise

Principal

Associate Principal

The Rosemary Norman Foundation# COR ANGLAIS

Michael Pisani Principal

Principal

TROMBONES

Brett Kelly Principal

Richard Shirley

CLARINETS

BASS TROMBONE

David Thomas

Mike Szabo

Principal

Principal

Philip Arkinstall

Associate Principal

Craig Hill BASS CLARINET

Jon Craven

Timothy Buzbee

Oliver Carton

Principal

TIMPANI

BASSOONS

PERCUSSION

Jack Schiller

Robert Clarke

Associate Principal

Natasha Thomas CONTRABASSOON

Brock Imison Principal HORNS

Heath Parkinson*ยง

Guest Principal

Andrew Dyer Danny Gorog Margaret Jackson AC Brett Kelly David Krasnostein David Li Hyon-Ju Newman Helen Silver AO Company Secretary

Alex Timcke*^

Elise Millman

Board Members

TUBA

Principal

Principal

Michael Ullmer

Principal

John Arcaro Robert Cossom Lara Wilson* HARP

Yinuo Mu Principal ORGAN

Calvin Bowman*

Saul Lewis

Principal Third

Jenna Breen Abbey Edlin

# Position supported by * Guest Musician

Nereda Hanlon and Michael Hanlon AM#

ยง Courtesy of Orchestra Victoria

Trinette McClimont

^ Courtesy of West Australian Symphony Orchestra 11

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SUPPORTERS Jenny Tatchell Frank Tisher OAM and Dr Miriam Tisher P and E Turner The Hon. Rosemary Varty Leon and Sandra Velik Sue Walker AM Elaine Walters OAM and Gregory Walters Edward and Paddy White Nic and Ann Willcock Marian and Terry Wills Cooke Lorraine Woolley Panch Das and Laurel Young-Das Anonymous (21)

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Alan (AGL) Shaw Endowment, managed

by Perpetual Telematics Trust

CONDUCTOR’S CIRCLE Jenny Anderson David Angelovich G C Bawden and L de Kievit Lesley Bawden Joyce Bown Mrs Jenny Brukner and the late Mr John Brukner Ken Bullen Luci and Ron Chambers Beryl Dean Sandra Dent Lyn Edward Alan Egan JP Gunta Eglite Marguerite GarnonWilliams Louis Hamon OAM Carol Hay Tony Howe Laurence O'Keefe and Christopher James Audrey M Jenkins John and Joan Jones George and Grace Kass Mrs Sylvia Lavelle Pauline and David Lawton Cameron Mowat Rosia Pasteur Elizabeth Proust AO Penny Rawlins Joan P Robinson Neil Roussac Anne Roussac-Hoyne Fred and Patricia Russell Suzette Sherazee Michael Ryan and Wendy Mead Ann and Andrew Serpell Jennifer Shepherd Profs. Gabriela and George Stephenson Pamela Swansson Lillian Tarry Dr Cherilyn Tillman Mr and Mrs R P Trebilcock Michael Ullmer

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