1956 Olympic Arts Festival Program

Combined

VICTORIAN AND SYDNEY

SYMPHONY ORCHESTRAS

lympic

Games

MELBOURNE, 1956

Direction:

Australian Broadcasting Commission

University of Melbourne, 2nd December, 1956.

Orchestral music in Melbourne dates back to 1888, when Sir Frederick

Cowen gave a series of concerts in the Exhibition Building as a result of an invitation and financial support from the Victorian Government.

This beginning was followed up bv Professor Marshall Hall, the first occupant of the Ormond Chair of Music in the University of Melbourne.

His work between 1891 and 1913 did much to create a love of music in the community, and the University Conservatorium of Music became a training school for orchestral players.

After a lapse of time in which orchestral music languished, Bernard

Heinze was appointed to the Ormond Chair in 1926 and immediately took up work with an amateur orchestra within the Conservatorium out ol which,

with the help of the Alberto Zelman Orchestra, grew the professional

A.B.C. Orchestra in 1934.

In the same year, Sidnev Myer, a great lover of music, died.

One

of his finest memorials was the trust he created to provide Free Orchestral Concerts, the first of which was given in November, 1935.

We remember with gratitude the pioneering work of these famous

men: Sir Frederick Cowen, Marshall Hall, Sidney Myer and Sir Bernard I leinze.

G. W. PATON, Vice-Chancellor,

Ipmpic

eAir/j

cJeSlii'al

COMBINED VICTORIAN AND SYDNEY SYMPHONY ORCHESTRAS presented by THE AUSTRALIAN BROADCASTING COMMISSION

with the co-operation of the

OLYMPIC CIVIC COMMITTEE

and THE ARGUS AND THE AUSTRALIAN WOMEN’S WEEKLY

Conductor:

SIR BERNARD HEINZE Soloist:

GLENDA RAYMOND (Soprano)

NEW OLYMPIC SWIMMING POOL, SUNDAY, 2nd DECEMBER, 1956, at 8.15 p.m.

o u v e ii i r

r o d r a in m e

SIDNEY MYER (1880-1934)

01 the many benefactions made bv the late Mr. Sidney Myer, perhaps none is more important than the fund which he established for the provision of orchestral concerts. Under the terms of the trust deed, the concerts must be given free. Mr. Myer’s first intention was that the concerts should be out-of-doors, but, largely because of the lack of a proper orchestral shell, the University Council, at Mr. Myer’s personal request, decided to hold the concerts indoors, and the first concert in the Town I fall was given in November, 1935.

1 he purpose of the donor was to provide free concerts ol the highest possible standard, and, accordingly, the University has constantly sought to apply the Sidney Myer Free Concerts Trust Fund to the presentation ol concerts similar to the Subscription Concerts which have become so important a part of Melbourne’s cultural life.

It is believed that in presenting a concert such as this, we are ful­ filling the wishes of Mr. Myer when he created his munificent foundation in the University of Melbourne.

The Victorian Symphony Orchestra and the Sydney Symphony Or­ chestra have both made their separate contributions to various national celebrations. It is fitting that this evening thev should unite for the first time in a combined performance to honour an outstanding international occasion.

Both orchestras are full-time professional bodies with a performing strength for public concerts of 82 players each. Thev are controlled by the Australian Broadcasting Commission and generously subsidised by the Vic­ torian and New South Wales State Governments and the Council of the City of Sydney. Both orchestras are the focal points of musical activities in their respective States and are well-known to radio listeners throughout ■Australia from their broadcasts over the national network.

Although the present full-time symphony orchestras in Sydney and Melbourne were not established until 1946 and 1949 respectively, these two capital cities have each had uninterrupted annual series of orchestral sub­ scription concerts since 1936. Prior to the establishment of the permanent symphony orchestras, these concerts were performed by orchestras consisting of the A.B.C.’s studio broadcasting orchestras — 45 players in Sydney and 35 in Melbourne — supplemented by local musicians. The annual scries of concerts have been directed by many famous overseas conductors, and many celebrity artists who have visited this country under engagement to the A.B.C. have been associated with the performances. Among the conductors who have directed the orchestras are Sir Hamilton Harty, Sir Malcolm Sargent. Georg Schneevoigt, Georg Szell, Sir Thomas Beecham, Eugene Ormandy. Rafael Kubelik, Paul Klecki, Otto Klemperer, Sir John Barbirolli. Fernando Previtali, Hans Sclimidt-Isserstedt, Enrique Jorda, Josef Krips and Jean Martinon. Among the resident conductors to whom this country s orchestral progress is chicllv due must be mentioned the director ol this evenings concert, Sir Bernard Heinze, who pioneered celebrity subscription concerts in Melbourne and who lias contributed to even phase of our orchestral development; Sir Eugene Goossens, the first resident conductor ol the Sydney Symphony Orchestra; and the resident conductors of the Victorian Symphony Orchestra — Alceo Galliera, Juan Jose Castro, Walter Susskind and Kurt Woess.

The progress achieved in the last twenty years has been remarkable for a young country. In addition to the main orchestral subscription concerts, each State now has a Youth subscription scries catering exclu­ sively for young people between the ages of 16 and 25 years, free concerts for the general public and for school children, and an extensive schedule of concerts in country centres.

The number of orchestral subscribers has increased in New South Wales from 1,089 in 1936 to over 19,000 in 1956; and in Victoria from 631 to over 13,000.

Tonight’s programme includes the first performance of Clive Douglas' Overture which was the prize winning entry in a composers’ competition sponsored jointly bv the Australasian Performino Riohts Association and the A.B.C.

I he name of Sir Bernard Heinze stands as a synonym for m pioneering in Australia, where he has been responsible for placing a i part in the development of orchestral music to its present high level Festival music, particularly, he has made an important contribution ii and other States of the Commonwealth.

cal ;or In his

Sir Bernard was knighted in 1949 for his senices to Australian n> ac.

In addition to his activities associated with the development of musi in this country, he has had an important influence on the training of hundieds of young musicians — in 1926 Sir Bernard was appointed to the Chair ol Music at Melbourne University and has held the post of Ormond Prolessor since that date. As a guest conductor for the A.B.C. he has brought line music, not onlv to adults, hut to thousands of children through the many orchestral concerts for schools. It was Sir Bernard, too, who played a major part in establishing the A.B.C. Youth Orchestral Concerts which have become such a noted feature of Australia’s musical life.

Early in 1957 he is to relinquish his post as Ormond Professor ol

Music at the University of Melbourne to assume charge of the New South Wales State Conservatoriurn of Music, of which he is Director Designate.

ynwn

d

Glenda Raymond s singing career has won her an unassailable position in the forefront of Australian sopranos over the comparatively few years

that she has been appearing before the public in her native land, while each of the two visits she has paid overseas has gone far towards endorsing

her high standing on the other side of the world.

In 1954. Glenda Raymond made forty-two appearances for the A.B.t ■ in recitals and orchestral concerts.

Some of these appearances took

place with the Victorian Symphony Orchestra while on tour during the

exchange of interstate visits by the Sydney and Victorian orchestras.

Again last season, she sang with the Victorian Symphony Orchestra in association with the Royal Melbourne Philharmonic Society under

conductors Joseph Post, Josef Krips and Sir Bernard Heinze in turn. With Post conducting, she sang the soprano role of Bach's St. Matthew Passion; with guest conductor, Krips, she took part in a memorable performance of I lavdn's The Seasons last October; and for the second year in succession she was associated with the traditional Christmas performance of Handels

Messiah, which was conducted bv Sir Bernard.

po^amme

God Save the Queen

1.

2.

SUITE FROM THE WATER MUSIC IN F MAJOR

Handel/Harty

Bee, ovc»

SYMPHONY No. 5 IN C MINOR, Op. 67

I NTE R V A L

3.

OLYMPIC OVERTURE

Clive Douglas

(Winning Entry in Orchestral Section of 1956 "Olympic" Composers' Coin|X’lition)

First Performance

4. (a) UNA VOCE POCO FA (There's a Voice), from "THE BARBER OF SEVILLE"

Hossiui

(b) Al I FORS’ E LUI, from "LA TRAVIATA"

Verdi

Soloist: GLENDA RAYMOND

| 5. POLOVTSIAN DANCES, from “PRINCE IGOR"

Borodin

(yticaJ! ^]otes God Save the Queen

1.

SUITE FROM THE WATER MUSIC IN F MAJOR Handel/Hart) (1685-1759) (1879-1941) Allegro; Air; Bourree; Hornpipe; Andante espressivo — allegro deciso.

There are two versions of the origin of Handel’s “Water Music.”

One is that

it was composed in 1715 for performance on a boat that followed the Royal Barge

up the river, Handel’s idea being that by this means he might restore himself to the King’s favour, after having overstayed the leave granted him to visit England when the King was Elector of Hanover and Handel his Musical Director. The other version is that the Water Music was composed in 1717 for a concert which the King suggested

should 2.

be given on the river.

SYMPHONY No. 5 IN C MINOR, Op. 67

Beethoven

(1770-1827) Allegro con brio; Andante con nioto; Allegro (Scherzo and Trio), leading into Allegro (Finale).

This is perhaps the most widely known of all Beethoven’s works, and is cer­

tainly the most characteristic expression of his genius. Some years after its composi­ tion, Schindler questioned Beethoven as to the meaning of the prophetic notes with which it opens, and received the reply: "Thus Fate knocks at the door.” On the other hand, it has been said that this figure — three short notes followed by a long one — was suggested by the call of a bird heard by the composer in the Prater.

I he first movement begins with the figure referred to above, which dominates the whole movement. A lovely effect is produced by the Adagio phrase for the oboe, which occurs just before the repetition of the first theme. Near the end of the move­ ment there is a wonderful crescendo passage based on the second subject.

The first melody of the beautiful slow movement is followed by a significant

phrase for the wind instruments, which is heard constantly throughout the movement.

Another subject is heard on the clarinets and bassoons and then repeated triumphantly by the whole orchestra.

The first subject of the Scherzo is a mysterious and sombre figure first heard on the 'cellos and basses and continued by the violas. The second subject recalls the "Fate" figure of the first movement. The Trio begins with a rapid passage for

cellos and basses, which is repeated several times. After this the mysterious theme of the Scherzo reappears, pizzicato, and then the strings have a sustained passage, pianissimo.

I he persistent rhythm of the tympani is heard, always increasing in power, until finally the whole orchestra, with the trombones now added, bursts without a break into the Finale.

1 he last movement begins with a splendid march-like theme. The second subject is heard on the second violins, clarinets and bassoons. The "Fate” figure occurs all through the development section.

The second subject of the Scherzo is alluded to anil then the march-like theme returns again. The movement increases in animation and finally ends with a thrilling Presto.

I NTE RV A L < OLYMPIC OVERHIRE Clive Douglas (Winning Entry in Orchestral Section of 1956 "Olympic” Composers’ Competition) First Performance The music is meant to convey the spirit of the Olympic season.

It consists of

three main phases: (a) The brilliant carnival mood of the opening with fanfare of

wind, chimes of bells and scurrying of strings; (b) Impressions of the Australian scene, of the vast terrain of plain, mountain and forest; (c) The jollity and spirit of goodwill with which we receive our visitors, culminating in a massive hymn of welcome.

4.

(a) UNA VOCE POCO FA ('There’s a Voice”), from "THE BARBER OF SEVILLE” (b) AH FORS’ E LUI, from “LA TRAVIATA”

Rossini Verdi

Soloist: GLENDz\ RAYMOND

5.

POLOVTSIAN DANCES, from "PRINCE IGOR"

Borodin (1834-1887)

Clive

Douglas,

CLIVE DOUGLAS who has held appointments

with

A.B.C. orchestras in Tasmania, Queensland and New South Wales, took up his appointment as Associate Con­ ductor to the Victorian Orchestra in the early part of

1953, and since that date he has been prominently before the concert-going public in this State.

At the commencement of his musical career. Mr. Douglas won many prizes, including three Ormond Ex­ hibitions at the Alelbourne University Conservatorium.

He joined the A.B.C. in 1936 after graduating with the degree of Mus. Bac. for composition.

Mr. Douglas has a standing in Australia and beyond as one of our outstanding composers.

He received fresh recognition when his symphony, an entry in the Com­ posers’ Competition in the year of Commonwealth Jubilee, was commended for a special prize.

ersonneU

the. Orchestra

VICTORIAN SYMPHONY ORCHESTRA (Season of 1956) Conductor: KURT WOESS /Xssociate Conductor: CLIVE DOUGLAS First Violins:

William Whittingham

Bertha Jorgensen (Leader) Harry Hutchins

(Assistant Leader) Frank Schieblich Norman Deerson William Glassford

Paul McDermott Herbert Pettifer Alex Burlakov Leon La Gruta Milton Holden Graham Wood Neville Taweel Elizabeth Taylor Nancy Braithwaite Second Violins:

Hyman Lenzer (Principal) Reginald Bradley Robert Pattison Bessie Gaunson Ivan Pietruschka Harvey Davis Reginald Larner

Ronald Layton John Eggington Ygraine Petrie

Marie Scott

Edgar Matthews Stanley Gabrie Marion Ogilvie Peggy Kimberley

Clarinets: 1 homas White Isobel Carter Bass Clarinet: Charles Crowley Bassoons: Thomas Wightman

Cellos: Don Howley (Principal)

Jill Harrison Contra Bassoon: Noel Hunt

Marston Bate Ezio Neri Kathleen Tuohy

Horns: Roy White Gordon Grieve Graham Bickford

Sonia Horwitz Tasma Tiernan Annette Rosefield Alex Sutherland

Alec Grieve John Raines

Peers Coetmore

Trumpets: Mervyn Simpson Standish Roberts George Dobson

Basses: Guill Frailion (Principal)

Trombones: Stanley Code John McGlade

John Mowson Frank Cerbasi Thomas Howley Samuel Shi (Iron

Bass Trombone: Harold Willis

Milinor Morton Imre Pallas

Tuba: Ian King

John Wood

I larp: Adrian Benda 11

Flutes: Richard Chugg Leslie Barklamb

Tympani: Gordon Craig

Piccolo: Audrey Walklate

Percussion: Ernest Lighten

Paul O’Brien (Principal) Colin Kerr Mischa Kogan

Oboes: Jiri Tancibudek

Music Writer and Arranger:

Winifred Roberts Marjorie Stahmer

Cor Anglais:

Joyce Homer Josette Vanderhaeoen Violas:

ORCHES'

Bert Crawford

Nancy Simons

Robert Hughes

Judith Easton

MANAGER

-

-

•

R<

Librarian: Geofrey Valentine IS CARTER '

Personne

'a

SYDNEY SYMPHONY ORCHESTRA (SEASON OF 1956)

IOSLPII POST, Associate Conductor liolins (1): Maurice Clare < Concertmaster) Robert Miller (Asst. Concertmaster) Harold Taberner Samuel Helfgott Andrew Hoffman Donald Hazelwood Donald Blair Peter .Abraham Fery Gyors Alwyn Elliott Eva Kelly Dulcie Blair Barbara Kearns Mascot Blake Della Woods Robert Ingram

(2): i Ryder ting Principal) Be 1*II. rd Donnelly R . t Acheson Cl ; ■ McGlynn Muriel Buchanan Yv<-..ne Gannoni N< • Williamson Ve: Wareham Cli Hanney CIm! ■ Thorpe Fred Kramer Ron Cragg

liolii Roi

I ioIas: Robert Pikler i Principal > Robert Wood

Reginald Napthine Cliff Gibbs Max Cooke Helen Bainton Nathan Beresniakoff David Jackson

’Cellos: Hans George < Principal) Ndson Cooke Niel Marsh John Painter Jessie Mankey Lois Simpson Rosamund Cornford Edward Engel Valda Vidler Hasses: Charles H. Gray i Principal) William J. Shepherd Horace Bissell George Kraus Gerald Tranter Raymond Price Ernest Howard Joseph Lang

Harp-.

Elizabeth Vidler

Flutes: Neville Amadio John Freeland

Piccolo: Colin Evans Oboes: Ian Wilson Erank Challen

ORCHESTRAL MANAGER

Cor Anglais: Pauline Roberts

Clarinets: Gabor Reeves Douglas Williamson

Bass Clarinet: Mason Brockie Bassoons: Walter Black Ray Maling

Contrabassoon: George Maher French Horns: Alan Mann Clarence Mellor Alfred H. Hooper Douglas Trengove Reg. Bishop

Trumpets: John Robertson David Price John Wood Trombones: Stan Brown Ron Smart

Bass Trombone: William Waterer Tuba: Cliff Goodchild Timpani: Alard Maling

Percussion: Arthur Charlesworth Lou Tutschka Librarian : Ernest Gibb

C. K. LAWSON

AUSTRALIAN BROADCASTING COMMISSION Sir Richard Boyer, k.b.e., m.a., Chairman.

E. R. Dawes, Vice-Chairman.

Sir John Medley, kt., d.c.l., ll.d., m.a.

The Hon. Dame Enid Lyons, c.b.e.

Mrs. E. F. Byth, o.b.e., b.a.

A. G. Lowndes, m.Sc. II. B. Halvorsen, F.C.A. (Aasi.)

Charles Moses, c.b.e..................................... General Manager Ewart Chapple........................................Manager for Victoria R. E. Ellis.............. . . Concert Manager for Victoria

Olympic Arts Festival

Two Special Concerts WEDNESDAY, 5th, and SATURDAY, 8th DECEMBER — 8 p.m.

Melbourne Town Hall

Victorian

Symphony Orchestra Conductor:

SIR BERNARD HEINZE

WEDNESDAY, 5th DECEMBER PROGRAMME: "ACADEMIC FESTIVAL" OVERTURE .. Brahms SINFONIETTA Le Gallienne PIANO CONCERTO IN A MINOR .... Schumann Soloist: NANCY WEIR SYMPHONY No. 2 IN D MAJOR Sibelius

SATURDAY, 8th DECEMBER PROGRAMME: "MESSIAH" Handel (Original 1 landel Orchestration according to the Dr. Arnold Edition) ROYAL MELBOURNE PHILHARMONIC SOCIETY Soloists: GLENDA RAYMOND, Soprano ANNE LEVIN, Contralto MAX WORTHLEY, Tenor ROBERT PAYNE, Baritone MERVYN SIMPSON, Trumpet

Box Plans now available for both concerts at Allan's and Myer’s.

Reserved tickets 17/6, 15/-, 12/6; Unreserved 6/- (plus booking fee).

Direction: Australian Broadcasting Commission

Tbf National Press Pty. Ltd.. 34 Lonsdale St., Melbourne C. 1