Mendelssohn`s Dream - Adelaide Symphony Orchestra

Transcription

Mendelssohn’s Dream
16 & 17 October 2015
ADELAIDE TOWN HALL
Proudly supported by
ALGO/MOR3934
Morgans is pleased to support the ASO’s 2015 Morgans Mendelssohn Festival.
For a sound partnership,
contact us today or visit
us at our Adelaide branch:
Adelaide Office
Level 1, 70 Hindmarsh Square
Adelaide SA 5000
t 08 8464 5000
[email protected]
www.morgans.com.au/adelaide
AFSL 235410. ABN 49 010 669 726.
A participant of ASX Group.
Sound advice.
Perfect harmony.
Felix Mendelssohn
Born 1809, Hamburg | Died 1847, Leipzig
The greatest child prodigy the history of
Western music has ever known.
In 1823 the teenaged Mendelssohn received
a present from his maternal grandmother,
Bella Salomon: a score, copied out at her
request by Mendelssohn’s violin teacher, of
J.S. Bach’s St Matthew Passion. It changed
Mendelssohn’s life, and, in doing so,
indirectly changed the way that ‘art’ music
would be presented from then until the
present day.
Mendelssohn has been described by Charles
Rosen as ‘the greatest child prodigy the
history of Western music has ever known’
– big claim, to be sure, but borne out by
the evidence of Mendelssohn’s early and
wide-ranging technical mastery. He also
had the great good fortune to be born into
a milieu of enormous cultural and material
privilege. He was a grandson of celebrated
philosopher Moses Mendelssohn, and
the friends of his family in Mendelssohn’s
childhood and early adult life reads like
a who’s who of German philosophy and
literature, including Goethe, Heine and
Hegel; he would later enjoy friendships
with everyone from Queen Victoria through
Berlioz to the brothers Grimm.
The village that raised Mendelssohn was
the Prussian capital, Berlin, but he was born
in Hamburg, where his father Abraham
had established a branch of the family
bank. When Mendelssohn was two years
old the family left Hamburg, and the threat
of Napoleon, for Berlin where Abraham
quickly became indispensible in financing
the Prussian war effort. Soon after, Prussia
issued an emancipation act aimed at giving
Jewish citizens greater rights. (In fact, the
family of Mendelssohn’s mother, Lea, had,
owing to his great-grandfather’s distinction
in banking, been given ‘all the rights of
Christian citizens’ as early as 1791, and
Moses Mendelssohn’s family had been given
the protection of the Prussian king after the
philosopher’s death.) Despite the family’s
assimilation and social status, however, the
four Mendelssohn children were all secretly
baptised in the Lutheran church in 1816,
and in 1822 Abraham and Lea converted.
It was at this time that they adopted the less
Jewish-sounding ‘Bartholdy’ as a surname.
The two eldest children, Felix and Fanny,
showed early talent for music and their
parents put considerable resources at their
disposal. Both had the finest available
teachers of piano and violin, and studied
theory and composition with Carl Friedrich
Zelter (a pioneer of the German Lied and,
not coincidentally, a great friend of the
poet Goethe). Zelter inherited the Berlin
Singakademie (of which the children’s greataunt Sarah Levy was a stalwart and patron)
on the death of its founder, but continued
its mission of reviving obscure works of
ADELAIDE SYMPHONY ORCHESTRA MENDELSSOHN FEST
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the 18th century, especially those of Bach;
Zelter’s teaching method was drawn from the
repertoire of the ‘brotherhood of composers’
stretching from Bach to Haydn and gave Felix
and Fanny a solid grounding in Baroque and
Classical harmony, counterpoint and form.
Abraham Mendelssohn initiated a series of
Sunday concerts at the family home where
Felix and Fanny would perform with paid
members of the Royal Court Orchestra.
Numerous illustrious guests attended these
concerts at various times, including superstar
pianists such as Frédéric Kalkbrenner and
Ignaz Moscheles. Among the works that Felix
wrote for these concerts between 1822 and
1824 were his celebrated 13 string sinfonias.
He also at this time made five early essays in
the concerto genre, and five Singspiele (that
is opera in German with spoken dialogue as
in The Magic Flute) that were fully staged and
costumed in the hall of the family home.
Hearing the 12-year-old Mendelssohn play,
Goethe famously remarked, ‘What this little
man is capable of in terms of improvisation
and sight-reading is simply prodigious. I
would have not thought it possible at such an
age.’
On Mendelssohn’s 15th birthday in February
1824, his teacher Zelter announced that the
young musician was no longer an apprentice,
but a member of the ‘brotherhood of
composers’. Zelter’s tutelage, as mentioned,
had stressed the refinement of techniques
found in the music of Bach, Mozart and
Haydn, but pointedly not that of Beethoven
and Weber. Nevertheless it is at this time
that Mendelssohn was exposed to those
composers’ music and began to assimilate
some of their sounds and techniques in works
like his First Symphony, written in 1824.
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The brother- (and sister-)hood of
composers
In 1821 the Schauspielhaus (now the
Konzerthaus), part of the neoclassical
Berlin designed by Karl Friedrich Schinkel,
opened with a new opera, Der Freischütz
by Carl Maria von Weber. Despite Zelter’s
disapproval of Weber, it was a revelation
to Mendelssohn. The supernatural element,
a staple of the new Romantic aesthetic,
was also to be found in German writers’
discovery of Shakespeare, especially plays
like A Midsummer Night’s Dream, translated
expertly by the team of Schlegel and Tieck,
a decade after the brothers Grimm had
reignited interest in fairy tales. This version
of the ‘Dream’ inspired Mendelssohn in
part of his Octet of 1825 and of course his
celebrated Overture in 1826.
The influence of Beethoven becomes
more pronounced around the time of the
older composer’s death in 1827, when
Mendelssohn produced his String Quartet,
Op.13 while on vacation from the University
where he was studying, at his mother’s
insistence, so as to get the education ‘so
rare in musicians’. (In fact Mendelssohn had
shown great brilliance mastering Latin and
French, and becoming an accomplished
visual artist as a child.)
As his international career as a soloist,
conductor and composer grew, Mendelssohn
came in contact with most of Europe’s
leading musicians. He seems to have
had cordial relations with all and indeed
helped many in their own careers, which
is not to say that he didn’t hold negative
views about Liszt’s overly flashy technique,
Berlioz’s blowsy vulgarity or Schumann’s
lack of technical facility. But he expressed
these privately, mainly to the figure whom
he regarded as his Minerva, or goddess of
wisdom, his sister Fanny. Fanny, despite
promise as a composer and performer
comparable to Felix’s, had been discouraged
by Abraham from considering music as a
career – which he regarded as unsuitable
for a woman, especially of their class. Her
husband, painter Wilhelm Hensel, was
rather more supportive of her great gifts.
Fanny remained a sounding-board for Felix
until her death, a few months before Felix’s
own in 1847. The String Quartet, Op.80,
written then, is a powerful statement of
grief, and presages a whole new direction in
Mendelssohn’s work.
Power and the Passion
The beginning of 1829 saw Mendelssohn’s
performance of his version of the St Matthew
Passion, at that time a work still occasionally
done in Bach’s last home-town, Leipzig, but
elsewhere unknown. Then it was off on one
of his many European tours, this time taking
in Scotland, which would inspire the Hebrides
Overture and Scottish Symphony. He
would later visit Paris and Rome, where he
experienced Holy Week liturgies in the Sistine
Chapel. Nevertheless, major works from this
time include the Reformation Symphony.
As the 1830s dawned, Mendelssohn
considered a permanent appointment,
and he spent 1833-35 as music director in
Düsseldorf, which meant directing music
for the Catholic liturgy (mainly classics like
Mozart, but a certain amount of Renaissance
music) as well as concerts and oratorios and
the organisation of the Lower Rhine Festival.
More congenial was the appointment to
the Gewandhaus Orchestra in Leipzig
from 1835, where, with occasional official
forays back to Berlin, he would be based
until his death. In 1837 he married Cécile
Jeanrenaud, and it is all too easy to find
evidence of great joy in the works of this time
like the String Quartets, Op.44.
In Leipzig he helped found the Conservatory,
bringing in from all over Europe great
musicians like Schumann and Ferdinand
David, for whom he wrote the Violin
Concerto. He was committed to new music,
but paradoxically his enthusiasm for reviving
novelties of Baroque and Classical music
led indirectly to the ‘masterpiece culture’
that drives out the new. (A letter written to
his friend Ferdinand Hiller in 1838 shows
he was aware of that risk.) Mendelssohn’s
enthusiasm for the Baroque naturally feeds
into the language of his own sacred music
throughout his career, just as his love of
Mozart and Beethoven suffuses his own
mature symphonies. The experience of the St
Matthew Passion, and of hearing still-popular
works like Messiah in England, sparked his
determination to revive the oratorio as a
contemporary genre.
Rosen accuses Mendelssohn of ‘substituting
for religion itself the shell of religion’ in his
two oratorios, and it is to an extent true that
their tone reflects the undemanding piety of
the 19th century. But it is surely too hard on
Mendelssohn, who no doubt understood the
experience of conversion that is at the heart
of St Paul, and who in the bleak time before
his own premature death, gained some
comfort from setting some of Christianity’s
central texts, the Nunc dimittis, Jubilate and
Magnificat.
And he understood the power of music,
famously noting that words ‘seem to
me so ambiguous, so vague, so easily
misunderstood in comparison to genuine
music that fills the soul with a thousand
things better than words’.
© Gordon Kerry 2015
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kwp!SAS10255
Adelaide’s No.1
Mendelssohn’s Dream Master Series 7
16 & 17 October, Adelaide Town Hall
Nicholas McGegan Conductor
Bach
Brandenburg Concerto No 1 In F Major BWV 1046
I. Allegro
II. Adagio
III. Allegro
IV. Menuet – Trio – Menuet – Polonaise – Menuet – Trio –
Menuet
Mendelssohn
Three Motets, Op 39
Veni, Domine
Laudate pueri Dominum
Surrexit pastor bonus
Women of the Elder Conservatorium Chorale
Megan Fishers Soprano
Amelia Holds Soprano
Olivia Sanders-Robinson Mezzo soprano
Charlotte Kelso Mezzo soprano
Interval
Mendelssohn
A Midsummer Night’s Dream
Overture, Scherzo, Fairies’ March, You Spotted Snakes,
The Speels, Intermezzo, Nocturne, Melodrama, Wedding
March, Fanfare, Funeral March, Dance of the Clowns,
Allegro Vivace, Finale
State Theatre Company of South Australia
Terence Crawford Theseus | Oberon
Dale March Puck
John Maurice Bottom |Quince | Pyramus | Thisby
Anna Steen Tatania | Hermia | Fairy
Geordie Brookman Director
Women of the Elder Conservatorium Chorale
Emma Wu Soprano
This concert runs for approximately 110 minutes including interval and will be recorded for
broadcast on ABC Classic FM.
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Nicholas McGegan
Nicholas McGegan is recognised for his
probing and revelatory explorations of music
of all periods. In 2015 he begins his 30th
year as music director of the Philharmonia
Baroque Orchestra and continues as
Principal Guest Conductor of the Pasadena
Symphony and Artist in Association with the
Adelaide Symphony Orchestra. Previously
he was Artistic Director and conductor at
the Göttingen International Handel Festival
(1991-2011) and Principal Guest Conductor
at Scottish Opera in the 1990s.
conductor
Nos 88, 101 and 104.
Nicholas McGegan was educated at
Cambridge and Oxford. He was made an
Officer of the Most Excellent Order of the
British Empire (OBE) for services to music
overseas. Other awards include the Halle
Handel Music Prize, Order of Merit of the
State of Lower Saxony, Medal of Honour of
the City of Göttingen and a declaration of
Nicholas McGegan Day by the Mayor of
San Francisco in recognition of his work with
Philharmonia Baroque.
Best known as a Baroque and Classical
specialist, he has appeared with many of
the world’s major orchestras. His 2015/16
season features appearances with the
Los Angeles Philharmonic (where he has
appeared annually for nearly 20 years); the
St. Louis, BBC Scottish, RTÉ National and
New Zealand Symphony Orchestras; The
Cleveland Orchestra/Blossom Music Festival;
and the Orchestra of St. Luke’s at Caramoor.
Highlights this season with the Philharmonia
Baroque Orchestra include Scarlatti’s La
gloria di primavera at Carnegie Hall and
throughout California’s Orange County.
His extensive discography features eight
releases on Philharmonia Baroque’s label,
including the 2011 Grammy Awardnominated recording of Haydn Symphonies
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Women of the
Elder Conservatorium Chorale
Carl Crossin OAM
Carl Crossin OAM Chorus Master
Elder Conservatorium Chorale
Carl Crossin OAM - conductor, educator
and composer - is widely respected as one
of Australia’s leading choral conductors.
Following five and a half years’ service as
Director of the Elder Conservatorium of Music,
Carl recently took up the role of Head of
Vocal, Choral and Conducting Studies at the
Conservatorium.
Formed by Carl Crossin in 2002, the
Elder Conservatorium Chorale draws its
membership from the Elder Conservatorium,
Adelaide University at large, and from the
wider community. Chorale has performed a
wide variety of major choral works including
Britten’s Rejoice in the Lamb, Barber’s
Agnus Dei, Bernstein’s Chichester Psalms,
Mozart’s Requiem, Vaughan Williams’ A Sea
Symphony, Tippet’s A Child of Our Time,
Handel’s Israel in Egypt, Bach’s Johannes
Passion, and the Australian première of
John Tavener’s Innocence. Chorale will be
performing Bach’s St. Matthew Passion in
October this year.
Carl is Founder, Artistic Director and
Conductor of the multi-award winning
Adelaide Chamber Singers, the Elder
Conservatorium Chorale, and is Chorus
Director of the Adelaide Symphony Chorus
and Adelaide Festival Chorus. His guest
conducting appearances in recent years have
included, Sydney Philharmonia, Melbourne
Chorale, Gondwana Chorale, Sydney
Chamber Choir, Brisbane Chamber Choir,
Perth’s Giovanni Consort and the National
Youth Chamber Choir of Australia.
Carl has also been a clinician, guest
conductor, conducting teacher and adjudicator
at summer schools, festivals, conferences
and competitions throughout Australia and
internationally, including England, Singapore,
Indonesia, Malaysia, New Zealand, Canada
and the USA.
In collaboration with the ASO, Chorale has
- as the core of the Adelaide Symphony and
Festival Choruses – performed Beethoven’s
Symphony No. 9 Brahms’ German Requiem
and Schicksalslied, Mahler’s Symphonies
Nos. 2, 3 and 8, Orff’s Carmina Burana,
Verdi’s Requiem, Britten’s War Requiem, The
Lord of the Rings (Part 1), Bernstein’s Mass,
film music by Ennio Morricone, several Last
Night of the Proms concerts and, at the 2015
Adelaide Festival, Danny Elfman’s Music for
the Films of Tim Burton.
An asterisk * denotes soloist in the
Mendelssohn motets
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Carl Crossin OAM Conductor
Karl Geiger Repetiteur
Kathryn Adams
Georgia Balchin
Madeleine Binney
Jenny Brunton
Riana Chakravarti
Lily Coats
Megan Fishers *
Anna Freer
Ashleigh Geiger
Ethenia Gilsenan-Reed
Caitlin Gilsenan-Reed
Georgina Gold
Cara Gooding
Alexandra Grave
Amelia Holds *
Erin Holmes
Cassie Humble
Jennifer Jarman
Grace Joyce
Charlotte Kelso *
Imala Konyn
Nicky Marshall
Cathryn McDonald
Katrina McKenzie
Stephanie Neale
Hannah Nottbrock
Pheobe Paine *
Olivia Sanders-Robinson *
Courtney Sandford
Melanie Sandford-Morgan
Lisa Schulz
Georgia Simmons
Madeleine Stewart
Wendy Wakefield
Sarah Winn
State Theatre Company of
South Australia
Geordie Brookman
Geordie is the Artistic Director of State Theatre Company.
Since graduating from Flinders University Drama Centre,
Geordie has directed work around Australia, the UK and
Asia.
His directing credits for State Theatre Company include
Summer of the Seventeenth Doll, Footfalls, Kryptonite
(Sydney Theatre Company & State Theatre Company),
The Importance of Being Earnest, Little Bird, The Seagull,
Maggie Stone, Hedda Gabler, The Kreutzer Sonata,
Speaking In Tongues, romeo&juliet, Ghosts, Attempts
on Her Life, The Dumb Waiter, Ruby Moon and Hot
Fudge, Toy Symphony (Queensland Theatre Company
& State Theatre Company), Knives In Hens (Malthouse
& State Theatre Company), Other directing credits
include Spring Awakening: The Musical (Sydney Theatre
Company), Baghdad Wedding (Belvoir), Metro Street (Arts
Asia Pacific, Power Arts, Daegu International Musicals
Festival & State Theatre Company), The City and Tender
(nowyesnow), Marathon, Morph, Disco Pigs and The
Return (Fresh Track), Tiny Dynamite (Griffin), Macbeth and
The Laramie Project (AC Arts).
His productions have won or been nominated for
Helpmann, Greenroom, Sydney Critics Circle, Adelaide
Critics Circle and Curtain Call awards.
He has also worked as a producer, dramaturg, teacher,
event director and curator for organisations including the
Adelaide Festival, The National Play Festival, University
of Wollongong, Australian Theatre for Young People,
Australian Fashion Week and Queensland Theatre
Company.
11
State Theatre Company of South Australia
Anna Steen
Dale March
Anna Steen is a theatre graduate of the
Western Australian Academy of Performing
Arts.
Dale March is a graduate of ACA and the
Actors’ Ensemble New York.
For State Theatre Company, her theatre
credits include The Importance of Being
Earnest, The Great Man. Other theatre credits
include The City (NowYesNow), A Moment
on the Lips (Griffin/Whoosh), Macbeth (Blue
Rose), AAW (Bell Shakespeare Company),
Under Mulga Wood (DTS), Silence (Shift).
TV and film credits include: Sun on the
Stubble, Just Like You, Rainshadow, The
J.L. Project and various short films and
commercials. Anna has worked as performer
and director on several children’s musicals
with Echelon Productions and in 2008 she
founded children’s theatre company: Gaia
Theatre – stories for young people, and has
worked as performer, producer and writer
on Broggen of the Glump, Search for Nanuk
(shortlisted for a Ruby Award 2011), The Tale
of Shaggles and Petrookio, and Call of the
Blobfish.
Anna works as a regular voice over artist and
has performed in a number of radio dramas
and narrated many novels for Radio National
and ABC Audio.
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In 2012 and 2013 Dale Played Captain
Nicholls in the National Theatre/Global
Creatures Australian Tour of War Horse.
For the Sydney Theatre Company he has
performed in The Removalists, The White
Guard and Cyrano De Bergerac. He played
The Dealer in NIDA’s In the Solitude of
Cotton Fields, Wisehammer in Our Country’s
Good for the Darlinghurst Theatre and
Chekhov in Chekhov & Knipper at the
Newtown Theatre.
Dale has performed extensively in New
York appearing in Cymberline, Measure
for Measure, Pericles, A Midsummer
Night’s Dream and Comedy of Errors for
Shakespeare Alive and for the Actors’
Ensemble in Eugene’s Ghosts, I Might be
Edgar Allen Poe, The Private Ear, Waiting
For Godot, Words Words Words and Kaspar
Hauser. On television he has had guest roles
on All Saints, Tough Nuts 2 , ABC’s Miss
Fisher’s Murder Mysteries and most recently
on Australia, The Story of Us for Essential
Media. Dale played lead roles in the feature
films Eugene’s Ghosts and Ad Nauseam
and the short film Marla which premiered at
Venice International Film Festival 2012.
John Maurice
Terence Crawford
John Maurice graduated from London’s
Guildhall School of Music & Drama in 1999.
Terence began his acting career in 1980 in
his home city of Newcastle. A NIDA graduate,
Terence spent four years in Adelaide in the
mid-80s, and returned twenty years later to
live here again.
John recently appeared in Betrayal for State
Theatre Company. Other recent roles as
Benedict in Van Badham’s critically acclaimed
Adelaide Fringe show Late Night Story.
He was a founder member of and is a
continuing contributor to London’s multiaward winning Filter Theatre. He has been
a regular of the Adelaide and Australian
theatre, film and TV scene since moving here
five years ago working with, among others,
the esteemed five.point.one, playing Hugh
in Polly Stenham’s That Face directed by
Corey McMahon and Paul Sheldon in Simon
Moore’s Misery directed by Michael Allen.
Recent film & TV credits include the
Babadook, Deadline Gallipoli and ANZAC
Girls.
Terence appeared in around 20 productions
for State Theatre Company in his ‘first phase’
Adelaide life. Since returning to Adelaide
in 2008, his credits include Hedda Gabler,
Attempts on her Life, King Lear, Romeo &
Juliet, Speaking in Tongues, and The Seagull
(State Theatre Company), Hypochondriac
(Brink Productions) and Blackbird (Flying
Penguin Productions). While at NIDA, in
1983, Terence played Peter Quince in a
production of A Midsummer Night’s Dream,
and had the pleasure of directing the play at
Theatre Nepean in 1998. He is delighted to
be returning to Shakespeasre’s weird Athens.
In 2005, Currency Press published Terence’s
first book on acting, Trade Secrets, and in
2011 published his second, Dimensions of
Acting (available at Imprints and online). He
earned a Masters degree with a dissertation
on Chekhov (2000), and a PhD with an
ethnographic study of actors in rehearsal
(2015). Terence is Head of Acting at Adelaide
College of the Arts, and an Adjunct Professor
of Adelaide University’s J.M. Coetzee Centre
for Creative Practice.
13
Adelaide Symphony Orchestra
Principal Guest
Conductor
and Artistic Advisor
Arvo Volmer
VIOLAS
Juris Ezergailis**
Artist in Association
Nicholas McGegan
Imants Larsens~
Principal Conductor
Designate
Nicholas Carter
Martin Butler
Lesley Cockram
Linda Garrett
Rosi McGowran
Michael Robertson
Cecily Satchell
CLARINETS
CELLOS
Simon Cobcroft**
BASSOONS
Jackie Hansen*
VIOLINS
Elizabeth Layton**
(Guest Concertmaster)
Cameron Hill**
(Associate
Concertmaster)
Supported by The Baska
Family
Shirin Lim
(Principal 1st Violin)*
Supported in the memory
of Dr Nandor Ballai
Michael Milton**
(Principal 2nd Violin)
Supported by
The Friends of the ASO
~
Lachlan Bramble
(Associate Principal 2nd
Violin)
of Deborah Pontifex
Erna Berberyan
Minas Berberyan
Supported by
Merry Wickes
Gillian Braithwaite
Julia Brittain
Hilary Bruer
Supported by
Marion Wells
Elizabeth Collins
Fances Davies
Alison Heike
Danielle Jaquillard
Alexis Milton
Sponsored by
Patricia Cohen
Jennifer Newman
Emma Perkins
Supported by
Peter & Pamela McKee
Alexander Permezel
Judith Polain
Marie-Louise Slaytor
Kemeri Spurr
14
of Mrs JJ Holden
Supported by
Simon & Sue Hatcher
Supported by
Andrew & Gayle
Robertson
~
Ewen Bramble
Supported by
Barbara Mellor
Sarah Denbigh
Gemma Phillips
Supported by
R & P Cheesman
David Sharp
Supported by
Dr Aileen F Connon AM
Cameron Waters
DOUBLE BASSES
David Schilling**
Supported by Mrs
Maureen Akkermans
~
David Phillips
(Acting Associate)
Supported for ‘a great
bass player with lots of
spirit - love Betsy’
Jacky Chang
Harley Gray
Supported by Bob Croser
Belinda Kendall-Smith
FLUTES
Geoffrey Collins**
Supported by
Pauline Menz
Lisa Gill
OBOES
Celia Craig**
of Geoffrey Hackett-Jones
Renae Stavely
Supported by Roderick
Shire & Judy Hargrave
Peter Duggan
Supported by
Dr Ben Robinson
Dean Newcomb**
Supported by the Royal
Over-Seas League SA Inc
Mitchell Berick
Supported by Nigel
Stevenson & Glenn Ball
Supported by Norman
Etherington AM &
Peggy Brock
Leah Stephenson*
Supported by Liz Ampt
HORNS
Adrian Uren**
Sarah Barrett~
Supported by
Margaret Lehmann
Philip Paine*
TRUMPETS
Martin Phillipson**
(Acting Principal)
Supported by Richard
Hugh Allert AO
Robin Finlay
Timothy Keenihan
TROMBONES
Ian Denbigh**
(Acting Principal)
Edward Koltun
BASS TROMBONE
Howard Parkinson*
TUBA
Peter Whish-Wilson*
Supported by
Ollie Clark AM &
Joan Clark
TIMPANI
Robert Hutcheson*
Supported by Drs Kristine
Gebbie & Lester Wright
Percussion
Stephen Peterka**
Supported by
Gregory Rush
HARPSICHORD
Glenys March*
** denotes Section
Leader
* denotes Principal Player
~
denotes Associate
Principal
denotes Musical Chair
Support
ASO BOARD
FRIENDS OF THE ASO
EXECUTIVE COMMITTEE
Colin Dunsford AM (Chair)
Vincent Ciccarello
Geoffrey Collins
Col Eardley
Byron Gregory
David Leon
Chris Michelmore
Michael Morley
Andrew Robertson
Nigel Stevenson
Alison Campbell - President
Liz Bowen - Immediate Past President
Alyson Morrison and John Pike Vice Presidents
Judy Birze - Treasurer/Secretary
John Gell - Assistant Secretary/
Membership
Correct at time of print.
ASO MANAGEMENT
EXECUTIVE
Vincent Ciccarello - Managing
Director
ARTISTIC
Simon Lord - Director, Artistic
Planning
Katey Sutcliffe - Artistic Administrator
Emily Gann - Learning and
Community Engagement Coordinator
FINANCE AND HR
Louise Williams - Manager, People
and Culture
Karin Juhl - Accounts/Box Office
Coordinator
Sarah McBride - Payroll
Emma Wight - Administrative
Assistant
OPERATIONS
Heikki Mohell - Director of
Operations and Commercial
Karen Frost - Orchestra Manager
Bruce Stewart - Librarian
David Khafagi - Operations Assistant
MARKETING AND DEVELOPMENT
Paola Niscioli - General Manager,
Marketing and Development
Tom Bastians - Customer Service
Manager
Annika Stennert - Marketing
Coordinator
Kate Sewell - Publicist
Alexandra Bassett - Marketing and
Development Coordinator
Flowers supplied by
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Musical chair players and donors
For more information please contact Paola Niscioli, Director, Marketing & Development on (08) 8233 6263 or
[email protected]
Concertmaster
Natsuko Yoshimoto
Supported by
ASO Chair of the Board
Colin Dunsford AM &
Lib Dunsford
Principal Viola
Juris Ezergailis
Supported
in the memory of
Mrs JJ Holden
Associate Concertmaster
Cameron Hill
Associate Principal Viola
Imants Larsens
Supported by
The Baska Family
Supported by
Simon & Sue Hatcher
Principal 1st Violin
Shirin Lim
Principal Cello
Simon Cobcroft
Supported in the memory of
Dr Nandor Ballai
Supported by
Andrew & Gayle Robertson
Principal 2nd Violin
Michael Milton
Associate Principal Cello
Ewen Bramble
Supported by
Supported by
Barbara Mellor
Associate Principal 2nd Violin
Lachlan Bramble
Cello
Sherrilyn Handley
Supported in the memory of
Deborah Pontifex
Supported by
Johanna and Terry McGuirk
Violin
Minas Berberyan
Supported by
Merry Wickes
Violin
Hilary Bruer
Supported by
Marion Wells
Cello
Chris Handley
Supported by
Johanna and Terry McGuirk
Cello
Gemma Phillips
Supported by
R & P Cheesman
Violin
Alexis Milton
Cello
David Sharp
Supported by
Patricia Cohen
Supported by
Violin
Emma Perkins
Principal Bass
David Shilling
Supported by
Supported by
Mrs Maureen Akkermans
Bass
Harley Gray
Principal Bassoon
Mark Gaydon
Supported by
Bob Croser
Supported by
Pamela Yule
Bass
David Phillips
Supported for
‘a great bass player with lots
of spirit - love Betsy’
Principal Flute
Geoffrey Collins
Bassoon
Leah Stephenson
Supported by
Liz Ampt
Principal Contra Bassoon
Jackie Hansen
Supported by
Pauline Menz
Supported by
Norman Etherington AM &
Peggy Brock
Principal Piccolo
Julia Grenfell
Associate Principal Horn
Sarah Barrett
Supported by
Chris & Julie Michelmore
Supported by
Margaret Lehmann
Principal Oboe
Celia Craig
Associate Principal Trumpet
Martin Phillipson
Supported in memory of
Geoffrey Hackett-Jones
Supported by
Richard Hugh Allert AO
Oboe
Renae Stavely
Principal Trombone
Cameron Malouf
Supported by Roderick Shire
& Judy Hargrave
Supported by Virginia
Weckert & Charles Melton of
Charles Melton Wines
Principal Cor Anglais
Peter Duggan
Principal Tuba
Peter Whish-Wilson
Supported by
Dr Ben Robinson
Supported by
Ollie Clark AM & Joan Clark
Principal Clarinet
Dean Newcomb
Supported by
Royal Over-Seas League
SA Inc
Principal Timpani
Robert Hutcheson
Drs Kristine Gebbie and
Lester Wight
Clarinet
Darren Skelton
Principal Percussion
Steven Peterka
of Keith Langley
Supported by
Principal Bass Clarinet
Mitchell Berick
Supported by
Nigel Stevenson &
Glenn Ball
Principal Harp
Suzanne Handel
Supported by
Shane Le Plastrier
Johann Sebastian Bach
Brandenburg Concerto No 1
in F, BWV 1046
I. Allegro
II. Adagio
III. Allegro
IV. Menuet – Trio – Menuet – Polonaise –
Menuet – Trio – Menuet
Celia Craig Oboe
Renae Stavely Oboe
Peter Duggan Oboe
Adrian Uren Horn
Sarah Barret Horn
Elizabeth Layton Violin
These concertos were grouped together,
dedicated and sent to the Margrave of
Brandenburg by Bach in May 1721, as a
carefully copied presentation manuscript
headed ‘Six concertos with several
instruments’. The concertos were written
at different times when Bach was in the
service of the court of Anhalt-Cöthen (17171723), and were suited to particular players
available there. The great 19th-century Bach
scholar Spitta started referring to the six
concertos in shorthand by the name of their
dedicatee, and so they became known as
the ‘Brandenburg concertos’.
Despite the pairing of these concertos in
18
1685-1750
related keys (Nos 1 and 2 in F, 3 and 4
in G, 5 and 6 in D and B flat – both keys
with two accidentals), there is so much
formal variety and individuality that any
sort of monotony is avoided should all six
works be played in the same performance.
Now that the ‘Brandenburgs’ are wellknown, each evokes instant recognition.
This is partly a matter, of course, of the
variety of Bach’s instrumentation. There
is a different and unusual concertino
(solo group) in each concerto. More
importantly, such individuality also rises
from the range of styles the ‘Brandenburgs’
reveal: from the old type of concerto for
multiple choirs of instruments (No.3), to an
innovatory concerto for solo harpsichord,
with other obbligato instruments (No.5).
Bach’s adaptation of the Italian concerto
grosso pattern preserves the opposition
of concertino (soloists) and ripieno (full
orchestra) groups, but the interaction of the
instruments within his solo passages are
often as rich and detailed as are the tutti.
No 1 is the longest and formally the most
complex of the concertos. As well as the
standard manuscript form, it also exists
in an earlier, shorter version without the
solo violino piccolo, a small violin tuned
a third higher. It is a three-movement
concerto followed by an almost independent
sequence of dances around a minuet. The
two horns, appearing it seems for the first
time in a concerto, make their interventions
in the first movement playing in triple time
against the duple time of the rest of the
band – as though heard from outside. They
remind us of the hunt (indeed they play
various hunting calls), and the horn players
were not regular members of Bach’s
Cöthen ensemble … which leads to some
interesting speculation as to their usual
employment!
Adapted from a note © David Garrett
This is the first performance of Brandenburg
Concerto No 1 by the Adelaide Symphony
Orchestra.
Duration 20 minutes.
19
Felix Mendelssohn
1809-1847
Three Motets, Op 39
Veni, Domine
Megan Fishers Soprano
Amelia Holds Soprano
Pheobe Paine Soprano
Olivia Sanders-Robinson Mezzo soprano
In 1829, Mendelssohn, like many well-todo young men of the day, embarked on a
‘grand tour’ of Europe. The first leg took
him to England and Scotland (planting the
seeds for his Hebrides Overture and the
Scottish Symphony); over the next two years
he went on to visit the major cultural centres
on the Continent, including Leipzig, Vienna,
Florence, Venice, Naples, Paris, and six
months in Rome. Musically, the last city had
little to offer: the orchestras were ‘beneath
contempt’, all the best opera singers had
followed the money to Paris and London,
and the elderly papal singers were well and
truly past their prime. ‘I am becoming quite
tolerant and listen to bad music with much
devotion – but what is there to do?’ he wrote
to his family in December 1830.
One day shortly before Christmas,
though, taking advantage of a brief burst
of sunshine amidst the winter’s gloom,
Mendelssohn took a stroll up the Spanish
Steps and found himself in the church of
Trinità de’ Monti, listening to the French
nuns there singing the evening office. ‘The
compositions are laughable, the organ
playing even more ridiculous; but it is
twilight now, and the whole, small, colourful
20
church is full of kneeling people, lit up by
the sinking sun as soon as the door opens.’
The cloistered nuns were kept hidden from
the congregation’s view, but they had ‘the
sweetest voices in the world, touching and
tender … it creates a sense of wonder.’
He resolved to write something for the
nuns, tickled by the idea that they would
be singing music by, and to, an invisible
German barbarian.
The Three Motets for Women’s Voices,
Op 39 are the fruit of that decision, though
it seems Mendelssohn quickly abandoned
his original plan of being there to hear the
nuns actually singing his music to him: only
one of the motets, ‘Veni, Domine’, was
completed during his time in Rome, and the
first liturgical opportunity to perform that text
would have been almost a year later, well
after the composer was planning to take his
leave of the city. The second motet, ‘Laudate
pueri Dominum’, and most of the third,
‘Surrexit pastor bonus’, were written many
miles and years away, in Koblenz in 1837.
There are however clear Italian influences
in the writing – many of the movements, for
example, have a gentle, barcarolle-like lilt
to them. The music is for the most part not
obviously liturgical in style, although the
opening melody of ‘Veni, Domine’ is very
similar to that of Palestrina’s setting of the
same text; it has also been suggested that
the melodic lines at the beginning of the
second motet, ‘Laudate pueri Dominum’,
recall the Kyrie of Palestrina’s Missa
Assumpta est Maria, though Mendelssohn’s
Classical harmonies and textures disguise it
well. There is, though, a clear nod to Handel
in the last two movements of the third motet,
where the text ‘Surrexit Christus spes mea’
is first uttered with great solemnity, then
proclaimed with bright joy – a contrast
similar to that found in the chorus ‘Since
by man came death’ in Handel’s Messiah.
Throughout the set, there is a sense of
simple devotion in the three motets, coupled
with an enjoyment of the sheer beauty of the
women’s voices, and the ‘sense of wonder’
which had inspired their creation.
© Natalie Shea 2015
This is the first performance of this work by
any of the Australian state orchestras.
Veni, Domine
Veni Domine et noli tardare!
Relaxa facinora plebi tuae,
et revoca dispersos in terram tuam.
Excita Domine potentiam tuam
et veni ut salvos nos facias.
Veni Domine et noli tardare!
Come Lord, and do not delay!
Forgive the sins of your people,
and call back the exiles to your land.
Stir up, Lord, your power
and come to save us.
Come Lord, and do not delay!
[Alleluia, 4th Sunday in Advent]
praise the name of the Lord.
Blessed be the name of the Lord
from this time forth and for evermore.
[Psalm 113:1-2]
Blessed is everyone that feareth the Lord,
that walketh in his ways.
[Psalm 128:1]
qui animam suam posuit pro ovibus suis.
Et pro grege suo mori dignatus est, alleluia.
Tulerunt Dominum meum
et nescio ubi posuerunt eum.
Si tu sustulisti eum,
dicito mihi, et ego tollam.
Surrexit Christus spes mea,
praecedet vos in Galilaeam. Alleluia.
The good shepherd
who laid down his life for his flock has risen.
And it was fitting that he should die for his
flock, alleluia.
[John 10:11-18]
They have taken away my Lord,
and I know not where they have laid him.
If you have taken him away,
tell me where you have laid him, and I will
take him away.
[John 20:13, 15]
Laudate pueri Dominum,
laudate nomen Domini.
Sit nomen Domini benedictum
ex hoc nunc et usque in saecula.
Christ, my hope, is risen;
he will go before you into Galilee. Alleluia.
[Victimae paschali laudes]
Beati omnes, qui timent Dominum,
qui ambulant in viis ejus.
Praise, O ye servants of the Lord,
21
Felix Mendelssohn
1809-1847
THAT NIGHT IN THE WOODS
Mendelssohn’s incidental music to A
Midsummer Night’s Dream evokes the fairy
world of the forest, and the world of the
‘rustics’ who come into the forest to rehearse
a play for the wedding of Theseus, Duke of
Athens. Shakespeare’s play also delves into
some of the emotional entanglements deep
in the Athenian forest of two pairs of human
lovers.
Shakespeare’s Midsummer Night’s Dream
is a play about the restoration of order
after a night of enchantments. In the fairy
realm, Oberon and Titania, king and queen
respectively, are at war over the custody
of a changeling boy. Oberon calls upon
his servant Puck to bewitch Titania. While
Titania is asleep Puck squeezes a juice into
her eyes so that ‘The next thing then she
waking looks upon,/Be it on lion, bear or
wolf, or bull,/…She shall pursue it with the
soul of love.’ Brimming with mischief, Puck
then sees some rustics rehearsing a play in
the forest, and decides to play a cruel trick
on Bottom by changing his head into that
of an ass. Bottom is of course the first thing
Titania sees when she wakes. But this is not
the only mix-up on this midsummer’s night.
juice into Demetrius’ eyes so that he’ll fall
in love all over again with Helena. But Puck
squeezes the juice into Lysander’s eyes so
that Lysander, who was in love with Hermia,
now falls in love with Helena – who still
wants Demetrius. Oberon is furious and tells
Puck to release all from the spells.
Mendelssohn’s music portrays the lifting
of enchantments beautifully. Puck restores
Titania to sanity and Bottom to his own
head. Duke Theseus’ wedding may now
take place (it will include also the true
couplings of Lysander with Hermia, and
Demetrius with Helena). The rustics get to
present their play – The Most Lamentable
Comedy, and Most Cruel Death of Pyramus
and Thisbe. But everyone is more in the
mood for a dance, before the fairy world,
which had started all these mix-ups and
engineered their corrections, enfolds the
stage in its own little, once again perfect
world.
Gordon Kalton Williams
© Symphony Australia
In the play there is a four-way tangle on the
human level. Hermia and Lysander have
escaped into the wood to escape Athenian
law that would force Hermia to obey her
father’s command to marry Demetrius, who
has jilted Hermia’s best friend, Helena.
Confused? There’s worse. Oberon, trying to
set things aright, tells Puck to squeeze flower
22
The Quarrel of Oberon and Tatania by Noel Paton
23
Mendelssohn −
A Midsummer Night’s Dream
Overture
Scherzo
Fairies’ March
You Spotted Snakes
The Speels
Intermezzo
Nocturne
Melodrama
Wedding March
Fanfare
Funeral March
Dance Of The Clowns
Allegro Vivace
Finale
It wasn’t all written during that afternoon
in the garden. Typically for Mendelssohn,
he made painstaking revisions, striving to
‘to imitate the content of the play in tones’
and bring its character to life. Where the
original draft (according to his friend Adolph
Bernhard Marx) was simply delightful and
charming, the final version is dreamlike, full
of elfin humor and musical enchantments.
OVERTURE, OP 21
Mendelssohn’s overture to A Midsummer
Night’s Dream begins with four woodwind
chords, poised and shimmering in the night
air, an evocation of Hippolyta’s first lines in
Shakespeare’s play:
Four days will quickly steep themselves in
night;
Four nights will quickly dream away the time;
And then the moon, like to a silver bow new
bent in heaven,
shall behold the night of our solemnities.
Then the fairies enter: feathery whisperings
from the violins. This is magical music
from a composer who lived and breathed
Shakespeare. Felix Mendelssohn’s family
entertained themselves with readings of
Shakespeare plays, not just in German
translations but in English too. And one day,
when he was 17, Felix decided he’d go into
the garden and ‘dream there’ music for his
24
‘favourite among old Will’s beloved plays’.
He knew this was ‘an enormous audacity’,
but the result – a 12-minute overture – is
an undisputed masterpiece, worthy of the
inspiration.
To those opening chords and fairy music
Mendelssohn added the lyrical wanderings
of the mortal lovers in the forest, the horns
of the hunting party and the boisterous
rustics. And although he was tempted to
leave it out, his friends persuaded him to
keep the comical braying of Bottom with
his ass’s head (listen for the downward
swooping ‘ee-yore’ in the violins). Within the
conventions of classical form, Mendelssohn
evokes the whimsy and confusion of the
plot, and the fairies have the last word
(as in the play) with the return of the four
woodwind chords from the opening.
INCIDENTAL MUSIC, OP 61
The overture was the miraculous work
of a teenager. It was followed by what
could be considered an even greater
miracle: Mendelssohn was exactly twice
17 when the King of Prussia invited him
to compose incidental music for a Berlin
production of Ein Sommernachtstraum. The
man responsible for the royal command,
the director of the new production, was
Ludwig Tieck, the poet and co-translator
of the Shakespeare text. Tieck was famous
among his contemporaries as one of the
most musical of German poets. Under the
stimulus of this association, Mendelssohn’s
youthful enthusiasm for Shakespeare surged
back.
Although Shakespeare’s play already
requires copious use of music, Mendelssohn
and Tieck in their collaboration went
much further. Where the overture had
been intended for concert performance
– a musical ‘imitation’ of the play – the
new music needed to function as the
equivalent of a soundtrack, underscoring
and supporting the staged drama. In its
complete form it includes many short pieces
(melodramas) intended to be played under
specific sections of spoken text, as well
as preludes and interludes to cover scene
changes and set the mood. With the most
felicitous ease, Mendelssohn wove the early
themes into new pieces, and new ideas
flowed with the Romantic freshness, and the
grace and imagination of old.
© Yvonne Frindle
The public premiere of Mendelssohn’s Midsummer
Night’s Dream Overture was given on 20
February 1827 at a concert in Stettin, conducted
by Carl Lowe. Sixteen years later Mendelssohn
composed his incidental music, first performed in
October 1843. The Overture was the first excerpt
from Mendelssohn’s Midsummer Night’s Dream
music to be performed by the Adelaide Symphony
Orchestra, on 15 July 1939 under the direction of
William Cade.
The first performance of the incidental music
was part of the new dramatic production at
the Neues Palais in Potsdam on 14 October
1843. Only the court and invited guests
were admitted. And only after the success of
the production was established beyond all
question was it offered to the public at large
in the Royal Theatre in Berlin, usually with
sold-out houses.
Concert performances of Mendelssohn’s
music for A Midsummer Night’s Dream
often comprise the Overture and four
substantial orchestral numbers (Intermezzo,
Nocturne, Scherzo and Wedding March).
In this performance, however, we hear
the complete incidental music in its
original sequence, with selections from
Shakespeare’s play.
25
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Mendelssohn`s Dream - Adelaide Symphony Orchestra

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