MSO Plays Ravel

PLAYS RAVEL 21–23 SEPTEMBER 2017

CONCERT PROGRAM

Melbourne Symphony Orchestra André de Ridder conductor Jean-Efflam Bavouzet piano Mozart Symphony No.34 Chin Mannequin INTERVAL

Ravel Piano Concerto Ravel La Valse Running time: 2 hours, including 20-minute interval Please note, Saturday’s pre-concert talk by MSO’s 2018 Young Composer in Residence, Ade Vincent will be recorded for podcast by 3MBS Fine Music Melbourne.

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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MELBOURNE SYMPHONY ORCHESTRA

ANDRÉ DE RIDDER CONDUCTOR

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

Engaging more than 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.

André de Ridder works across many musical forms. In Australia he has conducted the soundtrack of 2001: A Space Odyssey and conducted the MSO in the 2015 Metropolis Festival.

He was Artistic Director of Helsinki’s Musica Nova festival in early 2017. His own musicians’ collective, s t a r g a z e, made their BBC Proms debut in 2016 interpreting the music of David Bowie.

The MSO performs a variety of concerts ranging from core classical performances at its home, Hamer Hall at Arts Centre Melbourne, to its annual free concerts at Melbourne’s largest outdoor venue, the Sidney Myer Music Bowl. The MSO also delivers innovative and engaging programs to audiences of all ages through its Education and Outreach initiatives.

The MSO also works with Associate Conductor, Benjamin Northey, and the Melbourne Symphony Orchestra Chorus, as well as with such eminent guest conductors as John Adams, Tan Dun, Jakub Hrůša, Mark Wigglesworth, Markus Stenz and Simone Young. It has also collaborated with non-classical musicians including Nick Cave, Sting, Tim Minchin, DJ Jeff Mills and Flight Facilities.

Image courtesy Daniel Aulsebrook

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André de Ridder has appeared with include the BBC Philharmonic, Orchestre de Paris, Tokyo Metropolitan Orchestra and New York Philharmonic.

He has conducted operas by Mozart, Janáček and Henze, among others.

Spring 2016 saw him premiere Kaajia Saariaho’s Only the Sound Remains at Netherlands Opera. Recordings include Robert Saxton’s The Wandering Jew with the BBC Symphony and Vivaldi’s Four Seasons recomposed

by Max Richter. He has worked with Melbourne-born director Barrie Kosky at the Komische Oper for the three Monteverdi operas in new orchestrations by Elena Kats-Chernin.

André de Ridder studied conducting with Leopold Hager at the University of Music and Performing Arts, Vienna and Sir Colin Davis at the Royal Academy of Music, London.

Image courtesy Marco Borggreve

PROGRAM NOTES

WOLFGANG AMADEUS MOZART (1756–1791) Symphony No.34 in C, K338

JEAN-EFFLAM BAVOUZET PIANO A former student of Pierre Sancan at the Paris Conservatoire, Jean-Efflam Bavouzet was invited by Sir George Solti to give his debut with the Orchestre de Paris in the late 1990s. Conductors with whom he has worked include Pierre Boulez, Vladimir Jurowski, Valery Gergiev, Kirill Karabits, Neeme Järvi, Andris Nelsons, and Ingo Metzmacher.

Recent orchestral performances have included the New Japan Philharmonic and Junichi Hirokami, the BBC National Orchestra of Wales and Thomas Søndergård, the Orquesta Sinfónica de Navarra and Alexander Anissimov and the Toronto Symphony with Sir Andrew Davis.

As a recitalist, Jean-Efflam Bavouzet regularly performs at London’s Southbank Centre, Wigmore Hall, La Roque d’Anthéron and Cité de la Musique. He is Artistic Director of Norway’s Lofoten Piano Festival. Recent recital venues have included Hungary’s Kaposvár Chamber Music Festival, the Cheltenham Festival, Kumho Hall (Seoul), Vancouver Playhouse and California’s Bay Area.

He has won awards for his recordings of works by Debussy, Ravel, Haydn and Bartók and was nominated for Gramophone Artist of the Year 2017.

Image courtesy Paul Mitchell

Allegro vivace Andante di molto Finale (Allegro vivace)

This symphony was composed in Salzburg and bears the date 29 August 1780. As Mozart played at court on 2, 3 and 4 September, it may have been first heard there. Most likely, as Neal Zaslaw observes, Mozart wanted to have a new symphony in his baggage when he went to Munich to supervise the rehearsals of his opera Idomeneo, in case a concert opportunity presented itself as well. Idomeneo is the great masterpiece of Mozart’s early manhood, and the surrounding compositions share his excitement at writing for the orchestra which first played it, the famous Mannheim orchestra, whose princely employer had just removed it to Munich. The opening movement of Symphony No.34 contains Mozart’s version of one of this orchestra’s trademarks, the ‘Mannheim’ crescendo.

The first movement is very grand and symphonic, with the contrasting drama of tonality and themes which is the essence of the Viennese Classical style. Contrast also motivates the dark, minor-key character of the development section – the kind of Mozart the Romantics hailed as anticipating their own music. Zaslaw, surveying Mozart’s symphonies as a whole, comments that this movement reveals Mozart’s developing interest 5

PROGRAM NOTES

in longer ‘paragraphs’, replacing the ‘shorter-breathed, patchwork-quilt designs of his earlier symphonies’.

Mozart began a minuet for this symphony, on the back of the final page of the opening movement, which suggests it was to come second. If he completed the minuet at all, it is lost except for the first 14 bars.

In the second movement the winds and brass are silent, with the exception of the bassoon, which doubles the cellos and double basses. The string writing, however, is outstandingly subtle and multicoloured. At the beginning of the movement Mozart writes ‘sotto voce’ (literally: under the voice) and this establishes the mood: the impression is of a conversation conducted in hushed tones, between two violin parts and two (!) viola parts.

The finale is in the unceasing dance rhythm of the jig, virtually a tarantella (a dance to exhaustion). Like the first movement, it is in sonata form, a sign of the breadth of conception of this symphony.

David Garrett © 2003 The Melbourne Symphony Orchestra first performed this symphony in July 1940 with Sir Thomas Beecham, and most recently on 18-20 September 2014 with Michael Collins.

UNSUK CHIN (born 1961) Mannequin AUSTRALIAN PREMIERE, CO-COMMISSIONED

BY THE MELBOURNE SYMPHONY ORCHESTRA

Music Box – Fever Dream Sandman and Child 6

Dance of the Clockwork Girl The Stolen Eyes

Following Unsuk Chin's excursions into street theatre (Gougalon), pantomime (cosmigimmicks), and street art (Graffiti), the orchestral work Mannequin – Tableaux vivants for orchestra is the composer's first referring to dance.

It could be likened to an 'imaginary choreography', reflecting as it does a fascination for the movement potential of the human body and its expressive capabilities, with a special stress on high-energy physicality. It is highly gestural music intended to be danced, but 'without feet', as it were; a particular inspiration came from the great choreographers' and dancers' pursuit of making the impossible appear possible, of defying natural physical laws; in short: their ability to challenge perceptions of time and space. The work has no relation whatsoever to the codified structures of classical ballet; instead, it explores extreme contrasts of colour, speed and gesture with a constant tension between forces.

Mannequin tells a story, though neither in the form of a linear narrative nor in the manner of illustrative programme music: the line between dreams and reality is being crossed in a surreal manner, with the main themes of the scenario being problems of perception and of personal identity.

It is freely based on the fantastical novella The Sandman, written by German writer, composer, music critic, lawyer, cabaret artist and draughtsman E. T. A. Hoffmann (1776-

1822). As a writer, he was rejected by his contemporaries: Johann Wolfgang von Goethe and Sir Walter Scott, among many others, called Hoffmann's fiction 'sick', insinuating that he should undergo medical treatment.

Posthumously, however, Hoffmann has been recognized as the master of the uncanny and the ambiguous, influencing figures as diverse as Robert Schumann, Richard Wagner, Edgar Allan Poe, Nikolai Gogol, Franz Kafka, Sigmund Freud, Alfred Hitchcock, Ingmar Bergman, Andrei Tarkovsky and David Lynch. The Sandman might well be Hoffmann's most forwardlooking and daring creation: in this almost magical realist story, the author constantly leaves the reader unsure of what is actually happening and why, and it is possible to be read in a number of (mutually exclusive) ways.

Nathanael, the young protagonist in The Sandman, seems torn between delusions and reality and is not conforming to society. But whether it is him who is 'mad', or the society around him, is left open as well as so much more. This ambiguity and relativism much horrified the author's contemporaries but it is precisely these aspects, combined with Hoffmann's experimental and highly elliptical style, that explain the story's modernity and its spell. Many contradictory interpretations have been written about this labyrinthine novella, but most of them miss the point by forcing it into a Procrustean bed of either-or by clearly distinguishing good and evil, real and unreal. Indeed, it would be senseless

to attempt to find a moral or a clearcut plot, for it is precisely his “wisdom of uncertainty” and his exploration of “the essential relativity of things human” (Milan Kundera) where Hoffmann's achievement lies: The Sandman hauntingly illuminates what a subjective affair reality is.

Mannequin consists of four movements.

The first two movements, respectively titled Music Box – Fever Dream and Sandman and Child, refer to Nathanael's childhood and how his nanny used to instil terror in him by a cautionary tale about the Sandman who steals misbehaving children's eyes and feeds them to his offspring who live in the crescent moon. Nathanael associates the Sandman's figure with a half-mythical and sinister person named Coppelius, who seems in some way connected with the decline of Nathanael's family and who continues to haunt the adult Nathanael's life in the guise of a number of grotesque 'doppelgangers'. The third movement, Dance of the Clockwork Girl, refers to Olimpia, a female life-size automaton, with whom Nathanael falls in love, without realizing its true nature until it is being destroyed during a fight between its inventor Spalanzani and Coppola, a dubious seller of optical aids (both apparently being doubles of Sandman/Coppelius). The title of the last movement, The Stolen Eyes, refers to the ubiquitous 'eye leitmotif': throughout Hoffmann's tale, Sandman and his 'doppelgangers' (Spalanzani, Coppelius and Coppola) are stealing, inventing or selling eyes – a motive 7

PROGRAM NOTES

that, similarly to the title of Chin's work (Mannequin), might of course also be understood allegorically.

Mannequin was jointly commissioned by the Southbank Centre, Boston Symphony Orchestra, Danish National Symphony Orchestra and the Melbourne Symphony Orchestra. The work was given first performances by the National Youth Orchestra of Great Britain under Ilan Volkov's direction at Sage Gateshead and at the Southbank Centre in London. © Gordon Kerry 2017 This is the first performance of Mannequin by the Melbourne Symphony Orchestra.

MAURICE RAVEL (1875–1937) Piano Concerto in G Allegramente Adagio assai Presto

Jean-Efflam Bavouzet piano It is scarcely surprising that Ravel wrote two of the greatest piano concertos of the 20th century. He was, after all, a concert pianist himself, as well as a composer of the highest calibre for solo piano, and arguably the greatest orchestrator of his generation. What was unexpected, however, was that he took so long to get around to the task, only writing the Piano Concerto for the Left Hand and the Piano Concerto in G simultaneously at the end of his career.

During the 1920s Ravel began frequenting Paris’ jazz clubs, and in 8

1928, while on a concert tour in America, he encountered Gershwin’s Rhapsody in Blue and met the composer. This influence is most clearly observable in the G major Piano Concerto. His admiration for Rhapsody is obvious in the first movement of his concerto, where the themes have a distinctly Gershwinesque feel. Ravel originally intended to perform the solo part of the concerto himself (which may explain why it is written with much more of a jazz feel than the Left Hand Concerto written for Paul Wittgenstein), but in the end his ailing health prevented him from doing so. Instead, the concerto was premiered

by Marguerite Long at the Salle Pleyel in 1932, with Ravel conducting.

For all its hipness, there is no mistaking that this is a ‘classical’ concerto in the strict, Mozartian sense of the term. Ravel believed that ‘the music of a concerto should…be light-hearted and brilliant, and not aim at profundity or dramatic effects’. In any case, it became a true concerto in which fun, self-parody and exquisite beauty all play their part; but there is a ‘brittleness’ in the concerto’s high spirits, not to mention a pervasive and ‘in-spite-of-itself’ sadness to the slow movement.

It begins, appropriately enough, with a crack-of-the-whip and it barely stops racing during the entire first movement.

Scored with virtuosic dexterity and lightness, the jazzy rhythm drives on through spiky arpeggios in the piano, a piccolo solo, tremolos and pizzicati in the strings, and a trumpet solo. Even the harp takes the spotlight, while a

mixture of broad, lurching, Gershwinesque themes dominates the middle section. The sense of purpose never falters, and before breath can be drawn, the movement hurtles to its abrupt conclusion.

a homage to Johann Strauss II, at one stage entitled Wien (Vienna). This was never completed, and in 1911, following Schubert’s precedent (and Schubert’s use of a French title), he composed his Valses nobles et sentimentales.

The sublime Adagio was modelled on the equivalent movement in Mozart’s Clarinet Quintet. Writing painstakingly, Ravel agonised over this movement for months, confessing later that it ‘almost killed him’. Its prevailing mood is that of a nocturne, and the piano’s achingly beautiful main theme seems almost hesitant, yet somehow inexorable and assured.

After service in the First World War, Ravel wished to renew the successes he had previously enjoyed with Sergei Diaghilev’s Ballets Russes. He rewrote Wien under the title La Valse (subtitling it a ‘choreographic poem’) and completed it in the summer of 1920. Diaghilev turned it down, however, and the work was first performed as an orchestral piece at the Concerts Lamoureux in December 1920.

It was eventually staged as a ballet, and performed by Ida Rubinstein’s troupe at the Paris Opéra in 1928.

The finale is supposedly a rondo (although at this frenetic pace it’s not easy to tell), and is filled with jazz sounds and dazzling piano effects.

It presents percussive flourishes, trombone glissandi and brief snatches of big band imitations from brass and woodwind, before racing on to its sudden but emphatic end.

Abridged from a note by Martin Buzacott © Symphony Australia The first performance of Ravel’s Piano Concerto in G by the Melbourne Symphony Orchestra took place on 16 October 1954 with conductor Sir Eugene Goossens and soloist Natasha Litvin. The Orchestra most recently performed it in October 2015 with Nicholas Milton and David Fung.

MAURICE RAVEL (1875–1937) La Valse

If in his G major Piano Concerto Ravel expressed his admiration for American jazz, in La Valse he pays tribute to the Viennese waltz. Ravel had a great love for the waltz and in 1906 began

La Valse has been criticised by some as a pastiche, but Ravel’s own comments on the work suggest that he was trying to do something subtler than simply imitate the Strauss family: ‘I had intended this as a kind of apotheosis of the Viennese waltz, linked in my mind with the impression of a fantastic and fatal whirling.’

The score bears the following preface: Through rifts in eddying clouds waltzing couples can be glimpsed. The clouds disperse little by little; one makes out an immense hall filled with a whirling crowd.

The scene progressively lightens.

The light of the chandeliers bursts forth.

An Imperial Court about 1855. © Symphony Australia The MSO first performed La Valse on 4 September 1941 under the direction of Bernard Heinze, and most recently on 15 February 2017, as part of the Sidney Myer Free Concerts, with Kazuki Yamada.

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MELBOURNE SYMPHONY ORCHESTRA Monica Curro

Sir Andrew Davis Chief Conductor

Assistant Principal Danny Gorog and Lindy Susskind#

Benjamin Northey Associate Conductor Tianyi Lu Cybec Assistant Conductor Hiroyuki Iwaki Conductor Laureate (1974-2006) FIRST VIOLINS

Dale Barltrop Eoin Andersen Concertmaster

Sophie Rowell

Associate Concertmaster The Ullmer Family Foundation#

John Marcus Principal

Peter Edwards

Assistant Principal

Kirsty Bremner Sarah Curro

Michael Aquilina#

Tiffany Cheng* Jennen Ngiau-Keng* Kana Ohashi* Lynette Rayner* Oksana Thompson*

Matthew Tomkins

Principal The Gross Foundation#

Robert Macindoe Associate Principal 10

Associate Principal

Nicholas Bochner Assistant Principal

Rohan de Korte

Geelong Friends of the MSO#

Andrew Dudgeon#

Keith Johnson Sarah Morse Angela Sargeant Michelle Wood

Andrew and Theresa Dyer#

Svetlana Bogosavljevic* Yelian He* Molly Kadarauch* Zoe Wallace* DOUBLE BASSES

Steve Reeves Principal

Fiona Sargeant

Andrew Moon

Lauren Brigden

Sylvia Hosking

Katharine Brockman Christopher Cartlidge

Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton

Associate Principal

Michael Aquilina#

Rachael Tobin

Rachel Homburg Isy Wasserman Philippa West Patrick Wong Roger Young Jacqueline Edwards* Karla Hanna* Madeline Jevons* Michael Loftus-Hills* Susannah Ng*

Principal Di Jameson#

Mark Mogilevski Michelle Ruffolo Kathryn Taylor

Principal MS Newman Family#

Miranda Brockman

Christopher Moore

#

David Berlin

Cong Gu Andrew Hall

VIOLAS

David and Helen Moses

SECOND VIOLINS

Anonymous#

Andrew and Judy Rogers#

Concertmaster

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

Mary Allison Isin Cakmakcioglu Freya Franzen

CELLOS

Tam Vu, Peter and Lyndsey Hawkins#

Michael Aquilina#

Anthony Chataway Gabrielle Halloran Trevor Jones Cindy Watkin Elizabeth Woolnough Caleb Wright William Clark* Gregory Daniel* Justin Julian* Matthew Laing* Isabel Morse*

Associate Principal Assistant Principal

Sophie Galaise and Clarence Fraser#

Emma Sullivan* FLUTES

Prudence Davis Principal Anonymous#

Wendy Clarke

Associate Principal

Sarah Beggs

PICCOLO

Andrew Macleod Principal

Katie Zagorski* OBOES

Jeffrey Crellin

Trinette McClimont Josiah Kop* Ian Wildsmith*

Chairman

TRUMPETS

Managing Director

Geoffrey Payne

Sophie Galaise

Principal

Principal

Shane Hooton

Thomas Hutchinson

Associate Principal

Associate Principal

Ann Blackburn

The Rosemary Norman Foundation#

William Evans Rosie Turner Tristan Rebien*

COR ANGLAIS

TROMBONES

Michael Pisani

Brett Kelly Principal

Principal

Richard Shirley

CLARINETS

BASS TROMBONE

David Thomas

Mike Szabo

Principal

Michael Ullmer

Board Members

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

Oliver Carton

Principal

Philip Arkinstall

Associate Principal

TUBA

Craig Hill Mitchell Jones*

Timothy Buzbee Principal

BASS CLARINET

Aaron Tindall*

Jon Craven

PERCUSSION

Principal

Robert Clarke

BASSOONS

Principal

Jack Schiller

John Arcaro

Principal

Tim and Lyn Edward#

Elise Millman

CONTRABASSOON

Robert Cossom Timothy Hook* Shanie Klas* Brent Miller*

Brock Imison

HARP

Associate Principal

Natasha Thomas

Principal

Yinuo Mu

Colin Forbes-Abrams*

Principal

HORNS

Melina van Leeuwen*

Eirik Haaland*

PIANO

Saul Lewis

Jacob Abela*

Guest Principal Principal Third

Abbey Edlin

MSO BOARD

#

Nereda Hanlon & Michael Hanlon AM

CELESTE

# Position supported by

Leigh Harrold*

* Guest Musician 11

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SUPPORTERS 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 Richard Ye 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 Mr Derek Grantham 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 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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Fine dining like nothing

ON EARTH

EMIRATES FIRST Indulge in fine dining on demand, paired with our handpicked wines and vintage Champagne, in your own private suite. Nothing comes close.

Hello Tomorrow

*For more information visit emirates.com/au, call 1300 303 777, or contact your local travel agent.