Mozart's Final Symphonies

CONCERT PROGRAM

Mozart’s Final Symphonies

23–24 November Arts Centre Melbourne, Hamer Hall

Artists Melbourne Symphony Orchestra Jaime Martín conductor

Program MOZART Symphony No.39 MOZART Symphony No.40 – Interval – MOZART Symphony No.41 Jupiter Our musical Acknowledgment of Country, Long Time Living Here by Deborah Cheetham Fraillon AO, will be performed at these concerts.

Concert Events Want to learn more about the music being performed?

23 November at 6.45pm in the Stalls Foyer on Level 2 at Hamer Hall.

24 November at 1.15pm in the Stalls Foyer on Level 2 at Hamer Hall.

Arrive early for an informative and entertaining pre-concert talk with MSO Orchestra Library Manager, Luke Speedy-Hutton.

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

Duration: 2 hours and 15 minutes including interval In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your phone.

Acknowledging Country

About Long Time Living Here

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 Fraillon 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

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.

— Deborah Cheetham Fraillon AO

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MOZART’S FINAL SYMPHONIES | 23–24 November

Melbourne Symphony Orchestra Established in 1906, the Melbourne Symphony Orchestra is Australia’s pre-eminent orchestra and a cornerstone of Victoria’s rich, cultural heritage.

Each year, the MSO engages with more than 5 million people, presenting in excess of 180 public events across live performances, TV, radio and online broadcasts, and via its online concert hall, MSO.LIVE, with audiences in 56 countries.

With a reputation for excellence, versatility and innovation, the MSO works with culturally diverse and First Nations leaders to build community and deliver music to people across Melbourne, the state of Victoria and around the world.

In 2023, the MSO’s Chief Conductor, Jaime Martín continues an exciting new phase in the Orchestra’s history. Maestro Martín joins an Artistic Family that includes Principal Guest Conductor, Xian Zhang, Principal Conductor in Residence, Benjamin Northey, Conductor Laureate, Sir Andrew Davis CBE, Cybec Assistant Conductor Fellow, Carlo Antonioli, MSO Chorus Director, Warren Trevelyan-Jones, Soloist in Residence, Siobhan Stagg, Composer in Residence, Mary Finsterer, Ensemble in Residence, Gondwana Voices, Cybec Young Composer in Residence, Melissa Douglas and Young Artist in Association, Christian Li. The Melbourne Symphony Orchestra respectfully acknowledges the people of the Eastern Kulin Nations, on whose un-ceded lands we honour the continuation of the oldest music practice in the world.

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MOZART’S FINAL SYMPHONIES | 23–24 November

Musicians Performing in this Concert FIRST VIOLINS

VIOLAS

OBOES

Steven Copes*

Alexandru-Mihai Bota*

Callum Hogan*

Tair Khisambeev

Paul McMillan*

Rachel Curkpatrick*

Peter Edwards

Katharine Brockman Anthony Chataway

CLARINETS

Guest Concertmaster Acting Associate Concertmaster Di Jameson and Frank Mercurio# Assistant Principal Margaret Billson and the late Ted Billson#

Peter Fellin Karla Hanna Lorraine Hook Anne-Marie Johnson David Horowicz#

Eleanor Mancini

Guest Principal

Guest Associate Principal

The late Dr Elizabeth E Lewis AM#

Jenny Khafagi Fiona Sargeant Isabel Morse*

Acting Principal Cor Anglais

Philip Arkinstall

Associate Principal

Craig Hill

Rosemary and the late Douglas Meagher#

CELLOS

BASSOONS

David Berlin

Jack Schiller

Principal

Anne Neil

Rachael Tobin

Mark Mogilevski Jacqueline Edwards*

Elina Faskhi

#

Guest Principal

Associate Principal Anonymous#

Principal Dr Harry Imber#

Natasha Thomas

Dr Martin Tymms and Patricia Nilsson#

SECOND VIOLINS

Assistant Principal Di Jameson and Frank Mercurio#

Matthew Tomkins

Sarah Morse Rebecca Proietto Angela Sargeant

Nicolas Fleury

DOUBLE BASSES

Associate Principal

Jonathan Coco

Nereda Hanlon and Michael Hanlon AM#

Principal The Gross Foundation#

Mary Allison Isin Cakmakçioglu Freya Franzen Cong Gu

Newton Family in memory of Rae Rothfield#

Andrew Hall Philippa West

Andrew Dudgeon AM#

Patrick Wong Jos Jonker*

Principal

Rohan Dasika Benjamin Hanlon

Di Jameson and Frank Mercurio#

Stephen Newton Sophie Galaise and Clarence Fraser#

FLUTE Prudence Davis Principal Anonymous#

HORNS Principal Margaret Jackson AC#

Andrew Young Abbey Edlin

Rachel Shaw

Gary McPherson#

TRUMPETS Owen Morris Principal

Rosie Turner

John and Diana Frew#

TIMPANI Matthew Thomas Principal

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Correct as of 13 November 2023 Learn more about our musicians on the MSO website.

* Denotes Guest Musician # Position supported by

RYMAN HEALTHCARE SEASON OPENING GALA

JAIME CONDUCTS THE PLANETS

Join the MSO and conductor Jaime Martín for two of the most emotionally-stirring works of all time: Elgar’s Cello Concerto with soloist Alban Gerhardt, and Holst’s magnificent The Planets.

THURSDAY 21 MARCH / 7.30pm SATURDAY 23 MARCH / 7.30pm Arts Centre Melbourne, Hamer Hall B O O K N OW 7

M S O.C O M . AU

MOZART’S FINAL SYMPHONIES | 23–24 November

Jaime Martín conductor Chief Conductor of the Melbourne Symphony Orchestra since 2022, Jaime Martín is also Chief Conductor of the National Symphony Orchestra (Ireland) and Music Director of the Los Angeles Chamber Orchestra. He is the Principal Guest Conductor of the Orquesta y Coro Nacionales de España (Spanish National Orchestra) for the 22/23 season and was Artistic Director and Principal Conductor of Gävle Symphony Orchestra from 2013 to 2022.

Having spent many years as a highly regarded flautist, Jaime turned to conducting full-time in 2013, and has become very quickly sought after at the highest level. Recent and future engagements include appearances with the London Symphony Orchestra, Dresden Philharmonic, Netherlands Philharmonic, Royal Stockholm Philharmonic, Colorado Symphony, Dallas Symphony, Antwerp Symphony, Orquesta Sinfónica y Coro de RTVE (ORTVE) and Galicia Symphony orchestras, as well as a nine-city European tour with the London Philharmonic Orchestra.

Martín is the Artistic Advisor and previous Artistic Director of the Santander Festival.

He was also a founding member of the Orquestra de Cadaqués, where he was Chief Conductor from 2012 to 2019.

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MOZART’S FINAL SYMPHONIES | 23–24 November

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Program Notes Mozart’s late symphonies are among the first fully in the sense we know today. His 40 or so earlier efforts include some gems, but were written either for social occasions that likely included chitchat during the music, or as lead-ins for arias and concertos, which were the star genres up to that time. For most of the 18th century, symphonies were decorative and disposable. It’s no wonderMozart’s catalogue is speckled with lost, dubious, and misattributed ones.

Yet in about nine weeks over the summer of 1788, Mozart wrote three symphonies that embraced an idiosyncratic personal vision. These pieces – No.39 in E-flat major, No.40 in G minor, and No.41 in C major (Jupiter) – paved the way for late Haydn and early Beethoven, and by the turn of the 19th century, an encyclopedia could define a symphony as: “every perfection that can render instrumental music interesting and sublime: invention, science, knowledge of instruments, majesty, fire, grace, and pathos by turns, with new modulations, and new harmonies.”

Such a conception would have been completely alien to a musician just 30 years earlier.

Mozart’s success had crested in the mid-1780s, and by 1788 he found himself at a personal and professional low (a slide that contributes to the somewhat exaggerated idea that he eventually died unappreciated and in poverty). His father, Leopold – a domineering presence – had died the previous year, an infant daughter died that June, and he had gradually fallen out of touch with his once-beloved sister, Nannerl. Meanwhile war with the Ottoman Empire depressed the Austrian economy and put a damper on concert life and music publishing. Mozart’s

income dropped almost 75 percent from the previous year, and he moved to a cheaper apartment and took on debt.

Looking to revive his fortunes, Mozart probably wrote the three symphonies for a planned concert series in Vienna, which doesn’t seem to have taken place, or perhaps for a trip to London, which definitely didn’t happen. It was long thought they weren’t performed at all during his life, but circumstantial evidence now points to several performances in the years before his unexpected death from an uncertain illness in 1791. Just two years later, an anonymous German critic, reporting on musical fashions, wrote: Mozart appears to be enjoying much more prestige and approval among the public since his death than was allotted him during his lifetime. Now he is called incomparably great. … Mozart’s talent appears to me to be an original spirit, one which in any case is still searching for compositions which are bizarre, striking and paradoxical, melodically as well as harmonically, and avoids natural flow so as not to become common.

The writer might well have been reacting specifically to the last symphonies.

But he also hedges, doubting if Mozart is truly “a great man for his own time and for posterity,” and arguing that if only he had lived longer, he would have embraced a new simplicity and “acquired all the aforesaid attributes of greatness.” Whether or not we agree, it’s worth being reminded that when we talk about “late” Mozart, we’re talking about someone in his early 30s.

Some contemporary scholars, including Rose Rosengard Subotnik and Neal Zaslaw, see a conscious act of rebellion in the “striking and paradoxical” tone of these symphonies, which they describe as “irrational” or “illogical.”

Perhaps Mozart was willfully rejecting

WOLFGANG AMADEUS MOZART Symphony No.39 in Eb Major, K. 543 I. Adagio – Allegro II. Andante con moto III. Menuetto IV. Allegro Set in E-flat major, a classic Mozart key, this symphony begins with a slow Adagio introduction, reaching back to the genre’s origins in overture. For the only time, Mozart replaces oboes entirely with clarinets, giving a slight chilliness to the orchestration. The sturdy opening chords dissolve into questioning scales, and the main Allegro contrasts an elegant 3/4 theme with an irritable forte reaction.

The Andante is much more demure, yet it periodically inflects toward minor, suggesting a conflicted heart.

The Menuetto, based on an Austrian Ländler dance, has a surprising severity, with rising arpeggios that recall the questioning scales of the first movement. The trio section

has a memorable clarinet duet with one playing high, and the second accompanying in the lowest register.

The Finale throws around a catchy tune, first in the strings, and then between strings and winds. The scampering tempo and playful scoring are at odds with a discreet darkness – it sounds like someone trying to be cheerful while hiding pain. The movement ends on a weak beat with the last measure empty, a sudden cutoff without any symphonic fanfare. Mozart completed the work and entered it in his catalogue on June 26.

WOLFGANG AMADEUS MOZART Symphony No.40 in G Minor, K.550

MOZART’S FINAL SYMPHONIES | 23–24 November

classical niceties, motivated by social and economic dissatisfaction, or perhaps he was liberated for the first time from his father’s conservative guidance. Others, notably conductor Nikolaus Harnoncourt, try to resolve the symphonies’ apparent disjointedness by finding a bigger unity: suggesting the three were intended as an interconnected cycle. The strong version of this argument (that it’s essentially all one big piece) is farfetched, requiring Mozart to be forward thinking on a whole second level above the one already evident. They aren’t really any more connected than you would expect from three pieces written by the same person within nine weeks, but they do have a striking flow and drama when played in order.

I. Molto allegro II. Andante III. Menuetto IV. Finale. Allegro assai The “Great” G-minor Symphony launches itself with a churning accompaniment in the violas – it sounds like the piece might already have begun in another room before we hear it. It’s an innovative effect in Mozart, putting atmosphere before theme. The whole movement is filled with gloomy urgency and quick flashes of blinding light.

The Andante layers the strings with a heartbeat in the horns. It’s the most hopeful movement we have heard yet, but seems to leave something unsaid, like a secret wish. The Menuetto is rather strict, while the trio section makes a pleasantly sleepy contrast.

The furtive finale turns the first movement’s theme on its head, copying the same stress and phrase structure while flipping the melodic contour.

The recurring pattern of call and response echoes emptily, hollow and jaded. Mozart completed the work and entered it in his catalogue on

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MOZART’S FINAL SYMPHONIES | 23–24 November

July 25. He later revised the scoring, adding clarinets to the wind section (further evidence he heard at least two performances during his lifetime).

WOLFGANG AMADEUS MOZART Symphony No.41 in C Major, K.551, Jupiter I.

Allegro vivace

II. Andante cantabile III. Menuetto.

IV. Molto allegro Nobody knows for sure how Mozart’s last symphony came to be known as Jupiter. The name was added posthumously and popularized in England, perhaps by the impresario Johann Peter Salomon. By 1823 it appeared formally in print on Muzio Clementi’s chamber arrangement of the symphony, decorated with an engraving of the Roman god. The name is in no way authentic to Mozart, but everyone seems to agree it is fitting.

The first movement, Allegro vivace, immediately finds a confidence and grandeur entirely absent in the previous two works. Here the back-and-forth phrases are mutually supportive rather than questioning or belittling. A second theme is lifted from an amorous Mozart aria, Un bacio di mano (A kiss on her hand), bringing in an element of comic opera and offering an approachable contrast to the overall sense of loftiness.

The slow movement, Andante cantabile (slow and singing), extends the operatic sensibility – Mozart brings forward a whole number of characters, broadening his expressive stage compared to the mostly internal worlds of the previous two symphonies. The Menuetto is a light affair, a brief return to full classical elegance.

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Before this symphony was widely known as Jupiter, German speakers usually

called it “the one with the fugal ending.”

Less vivid, but accurate. Mozart piles ideas into surefooted counterpoint where multiple voices maintain their independence while working in consort. Perhaps we can hear it as Mozart rejoining the bustle of society, fortified enough to know that it would not subsume him. He completed the work and entered it in his catalogue on August 10. He did not know it would be his last symphony. © Benjamin Pesetsky 2023

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Tim and Lyn Edward

Mr Marc Besen AC

John Arcaro

John Gandel AC and Pauline Gandel AC

Dr John and Diana Frew

Sir Elton John CBE

Rosie Turner

Harold Mitchell AC

Sophie Galaise and Clarence Fraser

Lady Potter AC CMRI

Stephen Newton

Dr Mary-Jane Gething AO Monica Curro

The Gross Foundation Matthew Tomkins

Dr Clem Gruen and Dr Rhyl Wade Robert Cossom

Cecilie Hall and the late Hon Michael Watt KC Saul Lewis

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David Horowicz

Nereda Hanlon and Michael Hanlon AM Abbey Edlin

Jeanne Pratt AC Michael Ullmer AO and Jenny Ullmer Anonymous MSO Ambassador Geoffrey Rush AC

Mrs Eva Besen AO

MSO BOARD Chairman

John Brockman OAM

David Li AM

The Honourable Alan Goldberg AO QC

Co-Deputy Chairs

Roger Riordan AM

Di Jameson OAM

Ila Vanrenen

Helen Silver AO

MSO ARTISTIC FAMILY Jaime Martín

Chief Conductor

Xian Zhang

Principal Guest Conductor

Benjamin Northey

Managing Director Sophie Galaise Board Directors Shane Buggle Andrew Dudgeon AM Martin Foley

Principal Conductor in Residence

Lorraine Hook

Carlo Antonioli

Margaret Jackson AC

Cybec Assistant Conductor

Gary McPherson

Sir Andrew Davis CBE

Farrel Meltzer

Conductor Laureate

Hiroyuki Iwaki †

Conductor Laureate (1974–2006)

Warren Trevelyan-Jones MSO Chorus Director

Siobhan Stagg

Soloist in Residence

Supporters

The MSO honours the memory of Life Members

Edgar Myer Glenn Sedgwick Mary Waldron Company Secretary Oliver Carton

Gondwana Voices

Ensemble in Residence

Christian Li

Young Artist in Association

Mary Finsterer

Composer in Residence

Melissa Douglas

Cybec Young Composer in Residence

Christopher Moore

Creative Producer, MSO Chamber

Deborah Cheetham Fraillon AO MSO First Nations Creative Chair

Dr Anita Collins

Creative Chair for Learning and Engagement

Artistic Ambassadors Tan Dun Lu Siqing

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)

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Thank you to our Partners PRINCIPAL PARTNER

INTERNATIONAL LAW FIRM PARTNER

VENUE PARTNER

PREMIER PARTNERS

ORCHESTRAL TRAINING PARTNER

GOVERNMENT PARTNERS

EDUCATION PARTNERS

MAJOR PARTNERS

SUPPORTING PARTNERS

Quest Southbank

Ernst & Young

Bows for Strings

MEDIA AND BROADCAST PARTNERS

TRUSTS AND FOUNDATIONS

Freemasons Foundation Victoria

The Sir Andrew and Lady Fairley Foundation, The Angior Family Foundation, The William and Lindsay Brodie Foundation, Flora & Frank Leith Trust, The Gwen and Edna Jones Foundation, The Ray and Joyce Uebergang Foundation, Perpetual Foundation – Alan (AGL) Shaw Endowment, Sidney Myer MSO Trust Fund