Benjamin Northey Conducts Sibelius 2

BENJAMIN NORTHEY CONDUCTS

SIBELIUS 2 11–12 MAY 2017

CONCERT PROGRAM

ARTISTS

Melbourne Symphony Orchestra Conductor Benjamin Northey Piano Stefan Cassomenos REPERTOIRE

Beethoven Coriolan Overture Beethoven Piano Concerto No.5 ‘Emperor’ INTERVAL

Sibelius Symphony No.2

PRE-CONCERT ORGAN RECITAL 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.

Running time 1 hour 55 minutes including 20-minute interval

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, the MSO reaches a variety of audiences through live performances, recordings, TV and radio broadcasts and live streaming.

As a truly global orchestra, the MSO collaborates with guest artists and arts organisations from across the world. Its international audiences include China, where the MSO performed in 2016 and Europe where the MSO toured in 2014.

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 recent guest conductors as Thomas Ades, John Adams, Tan Dun, Charles Dutoit, Jakub Hrůša, Mark Wigglesworth, Markus Stenz and Simone Young.

It has also collaborated with nonclassical musicians including Burt Bacharach, Nick Cave, Sting, Tim Minchin, Ben Folds, DJ Jeff Mills and Flight Facilities.

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

He has previously held the post of Resident Guest Conductor of the Australia Pro Arte Chamber Orchestra (2002-2006) and Principal Conductor of the Melbourne Chamber Orchestra (2007-2010).

Northey also appears regularly as a guest conductor with all major Australian symphony orchestras, Opera Australia (Turandot, L’Elisir d’amore, Don Giovanni, Così fan tutte, Carmen) and New Zealand Opera (Sweeney Todd).

With a progressive and diverse approach to repertoire, he has collaborated with a broad range of artists including Maxim Vengerov and Slava Grigoryan, as well as popular artists Tim Minchin, Barry Humphries and James Morrison.

An Honorary Fellow at the University of Melbourne Conservatorium of Music, his awards include the prestigious 2010 Melbourne Prize Outstanding Musician’s Award as well as multiple awards and nominations for his numerous recordings with ABC Classics.

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PROGRAM NOTES

LUDWIG VAN BEETHOVEN (1770-1827) Coriolan Overture, Op.62

STEFAN CASSOMENOS PIANO Melbourne pianist and composer Stefan Cassomenos is one of Australia’s most vibrant and versatile musicians. Stefan has performed internationally since the age of ten, and performed the premiere of his own composition Piano Concerto No.1: Aegean Odyssey with the Adelaide Symphony Orchestra at the age of 16.

Stefan now gives regular solo recitals and concerto performances throughout Australia, Europe, and Asia, with recent engagements including recitals in Zurich (Tonhalle), Leipzig (Gewandhaus), Bonn, Weimar, Ludwigshafen, Kirchheimbolanden, Malta, London, and throughout the UK. In 2013, he was a grand finalist and recipient of the Second Grand Prize in the prestigious International Telekom Beethoven Piano Competition Bonn, in Germany. He was also the recipient of the Chamber Music Prize. In 2012, he was a grand finalist in the Rhodes International Piano Competition.

Stefan is a founding member of acclaimed ensemble PLEXUS with MSO violinist Monica Curro and clarinetist Philip Arkinstall. He is generously supported by Kawai Australia and the Youth Music Foundation of Australia.

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Beethoven composed the Coriolan Overture (1807) for a drama by Heinrich Collin, a contemporary poet doubtless familiar with Shakespeare’s Coriolanus. The title character is one Gaius Marcius, a Roman general who was bestowed the honorary name of Coriolanus following his conquest of the Volsci people of Corioli. When he is banished from Rome for tyrannical conduct, he leads the Volsci against Rome and is executed (in Collin’s version he commits suicide).

Powerful chords in the overture’s introduction reflect the hero’s determination to reconquer and restore peace to Rome, which he now holds under siege. Vacillating figures reveal his self-doubt at the thought of the famine-stricken Roman people and the pleadings of his family. This conflict is worked out in a powerful development which leads to gradual disintegration and a swift final collapse at the recognition that only the sacrifice of his own life will bring peace without loss of honour. © Anthony Cane The Melbourne Symphony Orchestra first performed this overture on 9 January 1941, with Harold Beck conducting, and most recently in October 2015 with Eoin Anderson.

LUDWIG VAN BEETHOVEN (1770-1827) Piano Concerto No.5 in E flat, Op.73, ‘Emperor’ Allegro Adagio un poco mosso – Rondo (Allegro) Stefan Cassomenos piano

In May 1809 Napoleon’s armies occupied Vienna for the second time and with considerable violence.

Beethoven took shelter with his brother Carl and his wife Johanna, and to protect his failing hearing spent the bombardment of 11 and 12 May in the cellar with pillows over his ears. Before, during and after the invasion and despite his misery, Beethoven managed to work. He composed the Op.70 piano trios and three piano sonatas including Op.81a, Les Adieux (The Farewell), which reflects Beethoven’s sorrow at seeing his patron Archduke Rudolf leaving Vienna, as did so many of the aristocracy during the invasion. He also composed the String Quartet Op.74, popularly known as the Harp Quartet, and completed the Fifth Piano Concerto (also dedicated to Rudolf).

By this time Beethoven’s deafness made it impossible for him to perform with an orchestra, so the concerto’s first performance in Leipzig in 1811 was given by a young organist, Friedrich Schneider. At the Viennese premiere in 1812, Carl Czerny was soloist. Given the political circumstances, it is hardly

surprising that the concerto is, in Alfred Einstein’s words, the ‘apotheosis of the military concept’ in Beethoven’s music.

In the Fifth Concerto, Beethoven solved the problem of how to exploit the soloist’s virtuosity without downgrading the role of the orchestra, while constructing the kind of musical argument and drama which was so crucial to the Classical style. This is achieved partly through masterstrokes like the very opening gesture: a single chord is sounded by the orchestra, to which the piano responds in such flamboyant style, creating a sense of uncertainty about how and when the orchestra will rejoin the music, and what form the actual thematic material will take. The overwhelming impression left by the first movement is of ceremonial grandeur and pomp – hence the nickname (not authorised

by Beethoven) of Emperor. But the massive scale of this movement is made possible by the frequent contrast of the ‘military’ (characteristic march rhythms) and the reflective. Beethoven prepares the movement’s climactic moments with what scholar William Kinderman calls ‘the withdrawal of the music into a mysterious stillness’. To prepare the moment of recapitulation, where the opening material returns, Beethoven allows the music to become rarified and serene: a passage of ever-quieter scales and trills gives way to a pastoral dialogue between the winds and the bell-tones of the piano.

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PROGRAM NOTES

The short, central Adagio movement, rightly described as dreamlike by one writer, is in B major, which in terms of Classical tonal logic is a fair way away from the ‘home’ key of E flat. And its mood couldn’t be further from the military episodes, despite its material being dominated by the scales and trills that featured in the first movement.

A justly celebrated instance of ‘the withdrawal of the music into a mysterious stillness’ occurs at the transition from the slow movement into the finale. The transition is almost imperceptible – Beethoven changes a note here or there to subtly change the direction of the music as it seems to fade, and the piano begins ruminating on a common chord which will ultimately flower as the final movement’s bounding theme, which again is contrasted with moments of deep calm. Whatever the misery in which Beethoven wrote this work, or its immediate political context, it turns out to be another ode to joy.

Abridged from a note by Gordon Kerry © 2003 The Melbourne Symphony Orchestra first performed Beethoven’s Fifth Piano Concerto in 1943 with conductor E.J. Roberts and soloist Joyce Greer, and most recently in September 2016 with Douglas Boyd and Paul Lewis.

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JEAN SIBELIUS (1865-1957) Symphony No.2 in D, Op.43 Allegretto Tempo andante Vivacissimo – Allegro moderato

Sibelius, like Brahms, came relatively late to writing symphonies, producing his First at the age of 33 and premiering it in 1899. Like Brahms, though, Sibelius had accrued considerable experience in writing for orchestra. The 1890s saw the composition of works like Kullervo, En saga, movements which later became the Karelia Suite, and the original version of the Lemminkäinen Suite.

What all these works have in common is their preoccupation with the myths and legends of Finland, which remained until 1917 a satellite of Imperial Russia. As a member of the Swedish-speaking minority in Finland, Sibelius hadn’t given much thought to the traditional mythology of the Finns until his engagement in 1890 to Aino Järnefelt, whose family were very pro-Finnish. At the time he was studying in Vienna, where the music of Anton Bruckner made a deep impact on him. While Sibelius’ enthusiasm for Bruckner later cooled, the influence of the Austrian composer – particularly his ability to structure large-scale symphonic movements – remained crucial.

Sibelius’ nationalist music was related to a growing political consciousness: by 1899 the Russians were actively discriminating against Finns and suppressing their language. Sibelius’ enterprise in the 1890s, then, was to create a Finnish musical language out of the drama of its legends, the typical modal patterns of its folksong and the rhythmic imprint of its verse, and to blend these elements with the contemporary idioms of Bruckner, Liszt and Tchaikovsky.

Sibelius always denied that the Second Symphony (1902) had any extra-musical significance but commentators – particularly in Finland – have often argued for its having an implicit program of national liberation. The audiences at its premiere performances certainly thought so: the composer was acclaimed as a national hero.

Its first movement seems to evoke the pastoral landscapes of Finland, shot through with a sense of incipient grief.

During its course the symphony passes through often fragmentary stages of deep melancholy and conflict before emerging in the final movement with one of Sibelius’ most stirring and memorable tunes.

story of Don Juan. Out of the sketches for these works, Sibelius fashioned some of his most memorable gestures: the sinister opening of the second movement was originally to have evoked the figure of Death arriving at Don Juan’s castle.

The work may be a document of national liberation, but it is also about the process of unifying and reconciling diverse, often fragmentary, musical gestures, so that the expansive melody of the finale seems the inevitable outcome of all that went before.

Five years later, Sibelius would have his much reported meeting with Mahler where he advocated a ‘severity of style and the profound logic that creates an inner connection between all the motifs’. Mahler’s response, ‘No, the symphony must be like the world and embrace everything’, missed the point.

In their different ways, they were saying the same thing.

Abridged from a note by Gordon Kerry © 2003 The Melbourne Symphony Orchestra first performed this symphony on 25 March 1939 under conductor Bernard Heinze, and most recently in February 2012 with Benjamin Northey.

In fact, Sibelius began writing music which ended up in the symphony while holidaying in Italy. From his correspondence we know he was contemplating at least two projects: a set of tone-poems called Festivals and a single-movement work on the 7

MELBOURNE SYMPHONY ORCHESTRA Sir Andrew Davis Chief Conductor Benjamin Northey Associate Conductor Hiroyuki Iwaki Conductor Laureate (1974-2006) FIRST VIOLINS

Dale Barltrop Concertmaster

Eoin Andersen Concertmaster

Sophie Rowell

Associate Concertmaster The Ullmer Family Foundation#

Erica Kennedy*‡ Guest 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#

Jacqueline Edwards* Robert John* Oksana Thompson* SECOND VIOLINS

Matthew Tomkins

Principal The Gross Foundation#

Robert Macindoe Associate Principal

Monica Curro

Assistant Principal Danny Gorog and Lindy Susskind# 8

Mary Allison Isin Cakmakcioglu Freya Franzen Anonymous#

Cong Gu Andrew Hall

Andrew and Judy Rogers#

Francesca Hiew Tam Vu, Peter and Lyndsey Hawkins#

Rachel Homburg Isy Wasserman Philippa West Patrick Wong Roger Young Aaron Barnden* Amy Brookman* VIOLAS

Christopher Moore Principal Di Jameson#

Fiona Sargeant

Associate Principal

Lauren Brigden Katharine Brockman Christopher Cartlidge Anthony Chataway Gabrielle Halloran Trevor Jones Cindy Watkin Elizabeth Woolnough Caleb Wright Gaëlle Bayet† William Clark* CELLOS

David Berlin

Principal MS Newman Family#

Rachael Tobin

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Nicholas Bochner Assistant Principal

Miranda Brockman Geelong Friends of the MSO#

Rohan de Korte Keith Johnson Sarah Morse Angela Sargeant Michelle Wood

Andrew and Theresa Dyer#

Rachel Atkinson* Zoe Knighton* DOUBLE BASSES

Steve Reeves Principal

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Sylvia Hosking

Assistant Principal

Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton Sophie Galaise and Clarence Fraser#

Hugh Kluger* FLUTES

Prudence Davis Principal Anonymous#

Wendy Clarke

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Sarah Beggs PICCOLO

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Thomas Hutchinson Associate Principal

Ann Blackburn

COR ANGLAIS

TROMBONES

MSO BOARD

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Principal

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TUBA

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Jack Schiller Principal

Elise Millman

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Timothy Buzbee Principal

PERCUSSION

Oliver Carton

Robert Clarke Principal

Natasha Thomas

John Arcaro Robert Cossom

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HARP

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Yinuo Mu

Principal

Board Members

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BASS TROMBONE

Philip Arkinstall

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Michael Ullmer

Principal

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Robert Johnson*§

Guest Principal

Saul Lewis

Principal Third

Jenna Breen Abbey Edlin

Nereda Hanlon and Michael Hanlon AM#

Trinette McClimont Josiah Kop* TRUMPETS

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Shane Hooton

Associate Principal

William Evans Joshua Rogan*

# Position supported by * Guest Musician † On exchange from West German Radio Symphony ‡ Courtesy of Orchestra Victoria § Courtesy of Sydney Symphony Orchestra ^ Courtesy of Queensland Symphony Orchestra 9

SUPPORTERS MSO PATRON The Honourable Linda Dessau AC Governor of Victoria

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SUPPORTERS THE MAHLER SYNDICATE David and Kaye Birks Mary and Frederick Davidson AM Tim and Lyn Edward John and Diana Frew Francis and Robyn Hofmann The Hon Dr Barry Jones AC Dr Paul Nisselle AM Maria Solà The Hon Michael Watt QC and Cecilie Hall

TRUSTS AND FOUNDATIONS Alan (AGL) Shaw Endwoment, managed

by Perpetual Collier Charitable Fund Crown Resorts Foundation and the Packer Family Foundation The Cybec Foundation The Marian and E.H. Flack Trust Gandel Philanthropy The Scobie and Claire Mackinnon Trust The Harold Mitchell Foundation Ken & Asle Chilton Trust, managed by Perpetual Linnell/Hughes Trust, managed by Perpetual The Pratt Foundation

CONDUCTOR’S CIRCLE Current Conductor’s Circle Members 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

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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 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 Ila Vanrenen The Hon. Rosemary Varty Mr Tam Vu Marian and Terry Wills Cooke Mark Young Anonymous (23)

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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.”

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