Program Notes
PAUL DEAN
(b. 1966)
Suite for Clarinet and Cello (2019)
I. March for the love of chocolate oranges (with great affection and admiration to Sergei Prokofiev)
II. Flight of the Winged Messenger (with homage to Gustav Holst)
III. Sunset Music (in memory of Peter Sculthorpe)
IV. Tex and his amazing ropes (a tribute to the Vaudeville years)
Born in Brisbane, Paul Dean is a composer and clarinetist who served as the Melbourne Symphony’s 2019 Composer in Residence. He has also been commissioned by the Australian World Orchestra, Adelaide Symphony, Queensland Symphony, and Aspen Festival in Colorado. As a performer, he served as Principal Clarinet of the Queensland Symphony from 1987–2000 and has soloed with many Australian Orchestras. He is currently Head of Winds at Queensland Conservatorium and Co-Artistic Director of Ensemble Q.
Dean’s Suite for Clarinet and Cello was written for the Melbourne Symphony’s Chamber Series during his time as Composer in Residence, and it was publicly premiered by Philip Arkinstall and Rachel Tobin at Iwaki Auditorium in 2019. The piece is dedicated to the composer’s friends Di Haskell and Ken Robinson.
The first movement, March for the love of chocolate oranges, is a tribute to Sergei Prokofiev (1891–1953), with the title alluding to his opera The Love for Three Oranges. Dean explains: “The quirky fast march rhythm that starts the movement reminded me somewhat of any number of [Prokofiev’s] quasi-
marches, and this one just grew and grew from various games and rhythmic variations I could drag from that opening bar.”
The second movement, Flight of the Winged Messenger, is a tribute to Gustav Holst (1874–1934), and particularly inspired by Mercury, The Winged Messenger, from The Planets. Dean’s quicksilver licks for the clarinet and cello evoke the Roman god.
The third movement, Sunset Music, is dedicated to the memory of Peter Sculthorpe (1929–2014), who was perhaps the most prominent Australian composer of the later 20 th century. Dean describes: “The music is peaceful, plaintive and suggests a few Sculthorpe motives in honour of the great man.”
The finale, Tex and his amazing ropes, pays homage to Tex Glanville (c. 1910? –1990), an Australian Vaudevillian best known for performing rope tricks with a lasso. (Many of his props are now in the collection of Performing Arts Collection at Arts Centre Melbourne). Dean says, “So, the suite finishes with a romp through the world of Vaudeville, and a time that in so many ways was more filled with humour and entertainment than our world today.”
PAUL DEAN
Septet
For clarinet, bassoon, horn, violin, viola, cello and double bass
I. Adagio-Allegro
II. “Middle of the night music” In memory of my cousin Ann – who died far too young and is greatly missed
III. Scherzo and Trio
IV. Dancing with Ghosts
Paul Dean’s Septet often finds the composer in a more intense and serious mode, filled with contrast and mystery.
MELBOURNE ENSEMBLE | 3 September 8
The piece was commissioned by Andrew Johnston to commemorate the 90 th birthday of his mother, Stephanie Johnston, and was premiered by Ensemble Q on September 11, 2022, at QPAC Concert hall. It receives its second performance with the Melbourne Ensemble at this concert.
The work shares its instrumentation with Beethoven’s youthful Septet in E-flat, Op.20: clarinet, horn, bassoon, violin, viola, cello, and double bass – a mixed ensemble weighted toward the lower registers. Dean writes:
Writing for “Beethoven’s ensemble” was always going to be fraught. I have adored playing the Beethoven since I was a teenager and trying to work out a sound world of my own took some serious consideration. However, a number of things about the Beethoven did strike me. The sense of joy and fun in the Beethoven is palpable and it was something that I have not only always enjoyed when playing it, but it was something I tried to hold onto whilst writing this piece. I had particular fun writing the last two movements, especially confronting Beethoven’s ghost head at the opening of the last movement.
On another note altogether, was the sudden passing of my cousin Anne whilst writing the slow [second] movement. It was impossible to write a note of music at this time without thinking of her and the tragedy that her family was facing. The movement is a series of emotional outpourings that one might go through whilst going through the grieving process.
On Commissioning the Paul Dean
I got to know Paul Dean and his music quite well when he was the Artistic Director of the Australian National Academy of Music (ANAM) based here in Melbourne. Several of his works come to mind in being particularly inspiring towards my growing interest in collaborating with Paul.
Towards the end of his tenure at ANAM, he was working on a stunning violin concerto, commissioned by the Melbourne Symphony Orchestra for Jack Liebeck which was wonderfully successful. Upon hearing his Suite for Clarinet and Cello that you will hear today, I was extremely impressed with its inventiveness, variety of colours and rhythmic play. But it was after I heard his Symphony No.1 Black Summer, recorded and premiered by the Australian World Orchestra in 2021, where I was blown away. The architecture and pacing of emotional moods, the transition passages of the “scenes” into each other... I was excited at the prospect of a contribution to the Melbourne Ensemble configuration by Paul.
Thus the Melbourne Ensemble and I approached Paul and, after some trepidation upon mentioning “companion piece to Beethoven’s Septet”, a commission was formed. We’d like to express our gratitude to Andrew Johnston who engaged Paul to write this important work to mark the occasion of his mother’s 90 th birthday. The Melbourne Ensemble is very proud to have helped bring this new, exciting and important work to the oeuvre and we hope you enjoy its Melbourne premiere!
© Saul Lewis 2023
MELBOURNE ENSEMBLE | 3 September 9
WOLFGANG AMADEUS MOZART
(1756–91)
(arr. JEAN FRANÇAIX)
(1912–97)
Nonet for Winds and Strings
I. Largo–Allegro
II. Larghetto
III. Rondo
A little over 200 years after Mozart wrote his Quintet for Winds and Piano, K. 452, Jean Françaix arranged the piece as a Nonet for Winds and Strings. He left the wind parts the same (oboe, clarinet, horn, and bassoon) while replacing Mozart’s piano part with a string quintet (two violins, viola, cello, and bass) – almost as if it had been a sketch for such in the first place. So really this is a piece by Mozart, but certainly one filled with qualities Françaix favored in his own works: prominent wind writing and a surfacelevel decorativeness that belies a deeply-felt inner world.
Mozart wrote his quintet in 1784 for a concert series he was giving at the Burgtheater in Vienna. The scoring reflected a growing interest at the time in chamber wind ensembles, a genre sometimes called Harmoniemusik. Following its March 30 premiere that year, Mozart wrote to his father, “[it] called forth the very greatest applause: I myself consider it to be the best work I have ever composed.… And how beautifully it was performed!” Today it would be an underdog for any top-10 list of Mozart works (there are so many to choose from), but it’s beautiful and unusual enough to be a believable onetime favorite.
Françaix clearly loved the piece, and thought it could bear some added heft with strings. When he made the arrangement in 1995, the 83-year-old composer was one of the last living people with a direct connection to the
great 20 th century French tradition –a follower of Maurice Ravel and Les Six (especially Francis Poulenc and Darius Milhaud). When Françaix was a child, Ravel recognized his talent and told his father: “Among the child’s gifts I observe above all the most fruitful an artist can possess, that of curiosity.” He went on to study with the famed pedagogue Nadia Boulanger. Both Ravel and Boulanger had a neoclassical bent and a deep appreciation for older music – values echoed in this arrangement.
The piece is set in three movements, structurally resembling a concerto more than a piece of chamber music. Especially with strings replacing piano, the ensemble takes on the character of a miniature orchestra.
The first movement begins with a Largo introduction, restrained and economical in its expression, but yearning to expand outward. It moves ahead, bridging into a whimsical Allegro moderato. The development section shifts slightly with an exchange of rising and falling ideas, and the winds briefly fragment from each other into solo voices, before everything coalesces again.
The slow movement, Larghetto, is like a little opera scene – the kind where a number of characters sing their woes, separately and then together. There’s a bit of orchestral framing, and a lurching falling sequence tugs it back to a resolution.
The finale is a rondo, where the opening theme returns between varied episodes. The main theme is first repeated between the winds and strings, and then digresses into a frivolous elaboration. The next departure darkens into the minor key, picking up a walking bass line. A written-out cadenza overlays all the instruments before the final return of the theme, and then an almost Rossini-style crescendo coda.
© Benjamin Pesetsky 2023
MELBOURNE ENSEMBLE | 3 September 10
On Programming the Mozart arr. Françaix
At the age of 10, Jean Françaix went to study at the Paris Conservatoire with the acclaimed teacher Nadia Boulanger. Impressed by his talents, she wrote “I don’t see why we should waste our time teaching him harmony. He already knows harmony. I don’t know how, but he knows it; He was born knowing it.” Not long after, Maurice Ravel, equally impressed by the boy’s manuscripts, wrote that among Françaix’ “gifts, I especially remark the most fruitful that an artist can possess, that of curiosity.”
As a bassist, I’m indebted to Françaix’ two marvellous contributions of solo double bass repertoire; Double Bass Concerto (1974) and Mozart new-look (1981), a little fantasy on “Ständchen” from Mozart’s “Don Giovanni” for solo Double Bass, pairs of winds and horns. (I will quickly note, his concerto is my absolute favourite in the small list for the double bass.)
I love his music and feel a need to express my gratitude for every note he wrote.
Alas, I was saddened to find that my hero, whose career remained prolific throughout his life, was summarised by the Grove in only a couple of superficial paragraphs. Even though in 1981, Françaix described himself as “constantly composing”, barely finishing one piece before beginning another, the Grove lists very few of his works. This situation left me with a conundrum; what am I going to write for these notes?
Of course I could write stacks about Mozart, but everybody reading this could do the same thing!
In the end, I have decided to leave you with some of my own thoughts. If you had to choose all the wittiest, most kind natured composers who wrote
music that delighted, gave pleasure for pleasure’s sake, that were fun, lighthearted and sparkling then Amadeus and Jean would certainly make the list.
Although this Nonetto is truly Mozart’s work, I feel you can’t help but hear the words of Mozart spoken through Françaix’ voice. Mozart’s Quintet in Eb major for Piano, Oboe, Clarinet, Horn and Bassoon, K. 452, which Mozart considered as the “best thing” he had written in “all his life”, becomes something new in the Nonetto. We hear the marriage of two wonderfully inventive minds.
I encourage you to take note of the optimism, refined beauty, ecstatic joy and wit. Thanks to Amadeus and Jean, the Nonetto displays a graceful nod to, but also a move away from the complexity of the baroque and the angst of the romantics. Ultimately, it is a reminder that joy and pleasure should be central to our lives. Françaix must have believed in music’s strength to enrich our world when he made this arrangement in 1995.
Composing right up to his passing 1997, he said “since my early childhood, I was seized by the composer’s bug.
Creating something from a blank page: what ecstasy !
Having the ability to escape from oneself: what privilege !
And the risk is nonexistent: if the message is without meaning, I will not be around to know about it... And God will comfort me, if He will have me...”
I hope this performance brings you as much joy and inspiration as it will to me.
© Stephen Newton 2023
11 MELBOURNE ENSEMBLE | 3 September
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Farrel Meltzer
Edgar Myer
Glenn Sedgwick
Mary Waldron
Company Secretary
Oliver Carton
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)
21 Supporters
Principal Partner
Premier Partners
Education Partner
Major Partners
Orchestral Training
Partner
Government Partners
Venue Partner
Supporting Partners
Thank you to our Partners
Quest Southbank
Bows for Strings
Ernst & Young
— Deborah Cheetham Fraillon AO
Freya Franzen violin
Rachael Tobin cello
Philip Arkinstall clarinet
Jenny Khafagi violin
Stephen Newton double bass
Jack Schiller bassoon
Chris Moore viola
Ann Blackburn oboe
