Richard Tognetti AO Artistic Director Richard Evans Managing

Richard Tognetti AO Artistic Director
Richard Evans Managing Director
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PARTNER
PRINCIPAL PARTNER
MESSAGE FROM THE
MANAGING DIRECTOR
PROGRAM
Richard Tognetti Violin
Polina Leschenko Piano
ARVO PÄRT
FRATRES FOR VIOLIN AND PIANO
BEETHOVEN
VIOLIN SONATA NO.5 IN F MAJOR, OP.24 ‘SPRING’
I.Allegro
II. Adagio molto espressivo
III. Scherzo (Allegro molto)
IV. Rondo (Allegro ma non troppo)
INTERVAL
We are delighted to welcome back to Australia the brilliant, and vivacious
Russian pianist Polina Leschenko for two very special performances with our
Artistic Director, Richard Tognetti.
Later this year in November, Richard becomes the first Artist in Residence
at the Barbican Centre’s Milton Court Concert Hall in London. As part of his
residency he will perform this recital with Polina, as well as work with students
from the Guildhall School of Music to present an experimental electronic music
collaboration. The residency will conclude with performances from the full
ACO in March 2017.
Polina comes from an impeccable music background – both of her parents
were professional musicians – and made her debut with the Leningrad
Symphony Orchestra when she was just eight years old. A protégée of the
famed Argentinian pianist, Martha Argerich, Polina travels the world performing
in celebrated halls including Carnegie Hall, Wigmore Hall, Amsterdam’s
Concertgebouw, the Konzerthaus in Vienna.
Following their last collaboration in 2012 (where Polina performed Chopin,
Górecki and Mendelssohn with the ACO) the works these two exceptional
performers have chosen to perform reflect their interest in both the classical
canon and contemporary repertoire, including the late Peter Sculthorpe’s
evocative Irkanda I.
SCULTHORPE
IRKANDA I
BRAHMS
VIOLIN SONATA NO.3 IN D MINOR, OP.108
I.Allegro
II.Adagio
III. Un poco presto e con sentimento
IV. Presto agitato
Approximate durations (minutes)
11 – 24 – INTERVAL – 10 – 21
This concert will last approximately one and a half hours, including a 20-minute interval.
SYDNEY
City Recital Hall
Monday 12 September, 7pm
CANBERRA
Llewellyn Hall
Tuesday 13 September, 8pm
Tickets are selling fast for our 2017 National Subscription Season. If you haven’t
already received your brochure in the mail, please call and request one, or visit
our website.
I hope you enjoy tonight’s very special recital.
Richard Evans
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AUSTRALIAN CHAMBER ORCHESTRA
AUSTRALIAN CHAMBER ORCHESTRA
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ABOUT THE MUSIC
ARVO PÄRT
Born Paide 1935.
engineer for Estonian Radio, a role which saw him not only exposed to the
widest possible variety of musical genres, but which keenly attuned his ears
to the nuances of music as ‘sound’. His development of a musical style now
known as tintinnabuli, in which melodies move step by step over an arpeggio,
as if in imitation of ringing bells, typifies the way in which his music combines
expressiveness with a glistening surface, hypnotic and compelling, and used
not just in Fratres but also in his other ‘hit’ work Spiegel im Spiegel.
FRATRES FOR VIOLIN AND PIANO
Composed 1977/80.
There can be few composers whose musical origins and influences are as
diverse as those of the Estonian Arvo Pärt. As a student, Pärt’s teacher Heino
Eller was himself a former pupil of Glazunov and the great Russian 19thcentury masters. Pärt began his career as a drummer in the Soviet military,
before discovering the great Russian masters Shostakovich and Prokofiev, and
then later embarking on experiments in serialism. But none of that left a longlasting influence on his music.
Arvo Pärt
Not that you hear it so prominently in the violin and piano version of Fratres,
although it’s undoubtedly there. Rather, the work emerges as a series of
variations separated by contemplative interludes. But always there is a sense
of the silence that attends upon the dying of a note. As Pärt himself has said,
‘My music was always written after I had long been silent in the most literal
sense of the word. When I speak of silence, I mean the “nothingness” out of
which God created the world. That is why, ideally, musical silence is sacred.’
And perhaps it’s that connection with, and striving toward pure silence that has
made Pärt such a cult figure, and Fratres such a deeply communicative work,
in our ever so-noisy, frantic and obsessively-material modern world.
Instead, as he entered his maturity as a composer, Pärt began to find
inspiration in more obscure, more distant musical traditions – in Gregorian
chant, medieval and Renaissance composers, the ancient Dutch school and
Josquin, and perhaps most dangerously for a composer brought up in a
Soviet state, in music deriving from religious exaltation. A whole new genre,
sometimes labelled ‘holy minimalism’, began to emerge around him and other
composers like John Tavener and Henryk Górecki, while Pärt himself, with
works like Spiegel im Spiegel and Cantus in Memoriam Benjamin Britten
began to put Estonia on the map as an important modern musical nation –
a status it still maintains today despite Pärt himself leaving his home country
for Vienna in 1980.
LUDWIG VAN BEETHOVEN
Born Bonn 1770. Died Vienna 1827.
VIOLIN SONATA NO.5 IN F MAJOR, OP.24 ‘SPRING’
Composed 1800–01
I.Allegro
II. Adagio molto espressivo
III. Scherzo (Allegro molto)
IV. Rondo (Allegro ma non troppo)
Pärt’s Fratres is not so much a composition as a musical franchise, a catch-all
title that has been applied to a work originally composed in 1977 for string
quintet, wind quintet and percussion but which has subsequently been
re-composed for various ensembles ranging from string quartet to solo violin,
strings and percussion, cello and piano, 12 cellos, an early-music ensemble,
and this celebrated version for violin and piano (1980).
Essentially, the main thematic material of Fratres is a hymn played over a drone,
growing ever richer in texture and developing into a state of profound peace
and beauty. At once both simple and intricate, it has both the character of an
internal meditation yet at the same time, almost miraculously, it possesses
an innate popular appeal. An explanation for the apparent contradiction may
lie in Pärt’s early career, where for a decade or more he worked as a sound
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AUSTRALIAN CHAMBER ORCHESTRA
Ludwig van Beethoven
The fifth of Beethoven’s sonatas for piano and violin was published in 1801,
the same year as its predecessor, Op.23 in A minor. Whereas that work was
troubled, agitated and difficult, the F major sonata is sunny, equable, and
fresh, so that the nickname someone has given it seems less objectionable
than some other such arbitrary titles. Among near-contemporary works of
the composer, one somewhat similar in mood is the Op.28 piano sonata, the
Pastoral, while the key of F major was later to seem suitable to Beethoven
for the development of similar sentiments on a far greater scale than in the
Sixth Symphony.
AUSTRALIAN CHAMBER ORCHESTRA
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PETER SCULTHORPE
Born Launceston 1929. Died Sydney 2014.
This is not to say that the Spring Sonata is a small-scale work. Not only is it the
first of its genre in Beethoven to have four movements, but each except the
scherzo is developed with considerable breadth. Breadth and flowing lyricism
immediately strike the attention in the memorable first subject. In fact, as with
other memorable themes of his, it took Beethoven some effort to fashion its
final form, which combines spontaneity and inevitability. The character of the
movement is thus set from the outset – though there is some agitation and
drama later, particularly when the recapitulation turns towards the second
subject group. The basic contrast is between the essentially melodic first idea
and a more broken up, dramatically exchanged second subject. The main
theme returns in the coda where its first measure is developed, setting its seal
even more firmly on the movement.
The slow movement, in B-flat, is again distinguished by breadth of phrase
and warm feeling, while the mood is more serious. Exposition is exceptionally
closely shared by the instruments, each doing what it can best; the violin
detaching itself to present the first theme cantabile, the piano heightening the
intensity by varying it with repeated notes. In concluding the dialogue with trills
on both instruments Beethoven provides an early example of his ability to raise
a decorative device to an expressive function.
Breathtaking concision marks the scherzo which abruptly contrasts a
syncopated exchange (the violin follows the piano a beat behind) with a trio
in rapidly running notes. This prepares the listener by way of contrast for
a return in the last movement to the lyricism and flow of the first. Formally
this is a rondo, and because of the subtlety with which the refrain is altered
and variously shaped, the effect is of almost uninterrupted development and
variation. The contrast comes when, in the second couplet of the rondo, the
music shifts into D minor. When the refrain returns some remote keys are
explored before the coda uses a little virtuosity to provide an effective
concert conclusion.
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AUSTRALIAN CHAMBER ORCHESTRA
IRKANDA I
Composed 1955
Peter Sculthorpe was Australia’s foremost classical composer, and one of the
country’s most original and distinctive creative voices in any medium.
Born and schooled in Launceston, he undertook university studies at Melbourne
University, under Bernard Heinze, and at Oxford, where in 1958 his tutor,
composer Edmund Rubbra, prophetically dubbed him ‘Australia’s Bartók’. Another
English mentor, musicologist Wilfred Mellers, saw that it was paradoxically
at Oxford that the homesick young Antipodean ‘discovered his true identity,
becoming the first composer to make a music distinctively Australian’.
Peter Sculthorpe
Indeed, Sculthorpe established the connection between music and his native
country as one of his artistic goals. Many of his works were given Aboriginal
titles or were nourished by Aboriginal legends.
This is particularly true of many of his early works, including Irkanda I, dating
from 1955. The title means a distant and secluded place. It was the first part of
a larger cycle written over a period of six years that was dedicated to Wilfred
Lehmann, who first performed it at the Lisbon Mozart Festival in 1956.
Irkanda I reflects many of Sculthorpe’s characteristics: the formal conception
of the work is that of a free fantasy; an elegiac tone prevails; the melodic lines
are very expansive; and the numerous sliding notes recall birdsong, creating a
close connection with nature.
Peter Sculthorpe wrote of the work:
Irkanda I is in one movement, and in it, long, melodic lines and bird-sounds are
contrasted with brittle, rhythmic sections. The opening melody follows a three
hundred and sixty degree contour of the hills around Canberra, where most of
the work was written. It might be added that my use of bird-song stems from
suggestions in the writings of Henry Tate.
AUSTRALIAN CHAMBER ORCHESTRA
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JOHANNES BRAHMS
Born Hamburg 1833. Died Vienna 1897.
Peter Latham put it. The terrific principal theme is counterbalanced by a more
somber little motif of repeated notes. The use of syncopation adds tension.
VIOLIN SONATA NO.3 IN D MINOR, OP.108
Composed 1886-88.
The expansive nobility of the Adagio makes an immediate contrast. It offers
good opportunities for the kind of sweet expression for which Brahms’ friend
the violinist Joseph Joachim was notes. The Scherzo is remarkable for being
in duple rather than triple meter, and also for its rather anxious character.
The sentimentality called for in the movement heading allows the players to
indulge themselves in the harmonies. It was apparently Brahms’ friend and
correspondent Elisabeth von Herzogenberg who suggested the judicious use
of pizzicato.
I.Allegro
II.Adagio
III. Un poco presto e con sentimento
IV. Presto agitato
Johannes Brahms
In the summer of 1886 Brahms rented the top floor of a farmhouse near
Hofstetten, on picturesque Lake Thun in Switzerland. (Richard himself was
fortunate enough to experience the crystalline beauty of Lake Thun earlier this
year, as the Orchestra passed through Thun on their way to performances at
the Menuhin Festival in Gstaad.) It seems to have been a peaceful, productive
experience for Brahms, and he returned in the following two summers. Works
begun in his first visit include the second cello sonata, the Trio in C minor
Op.101 and two violin sonatas: Op.100 and the one on this program, Op.108.
His stay in 1887 brought forth the Ziegeunerlieder and the Double Concerto.
The next year unfortunately saw very little new music: Brahms was unsettled
and felt the area had become too touristy. The Violin Sonata No.3 begun in
1886 and completed in 1888 is a striking work, on a larger and more passionate
scale than its two more intimate companions in the genre. Unlike the other
violin sonatas (but rather like the symphonies) it is in four movements not
three. There is an interesting rumour that it is meant to be a character study
of its dedicatee, the conductor and pianist Hans von Bülow. If so, perhaps in
the music we really can glimpse those contemporary descriptions of him and
the ‘passionate intellectuality’ of his playing: ‘his restless, brilliant mind and
his reckless energy blow like a north wind, brisk and refreshing, through the
stagnant complacency of our everyday musical life’.
The final Presto agitato is a bit gypsyish in flavour, with syncoptations
emphasizing its rhythmic strength. Some question-and-answer moments
between the piano and violin contrast with chorale-like passages that bring
to mind Brahms’ final Preludes, and allow the violin space in which to bloom
before the tragic climax.
The Sonata’s official premiere was given in Budapest on 22 December 1888.
The pianist was Brahms, and his partner was Jenö Hubay, a former student of
Joachim who himself would teach Szigeti and d’Aranyi.
All notes © Australian Chamber Orchestra, except Beethoven Sonata
© David Garrett.
A more obvious link to Bülow is the virtuosity and outspoken nature of the
piano part. Of all Brahms’ sonatas, perhaps this is the one where the two
players form the most gracious partnership. There is however an overriding
sense of melancholy to the sonata – D minor is traditionally regarded as one of
the saddest keys. This work seems to seek to persuade rather than command.
The opening Allegro movement is a case in point. Rather than a dashing
display piece, ‘it starts with a great sigh and ends with an even greater one’, as
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AUSTRALIAN CHAMBER ORCHESTRA
AUSTRALIAN CHAMBER ORCHESTRA
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RICHARD TOGNETTI
VIOLIN
POLINA LESCHENKO
PIANO
Polina Leschenko was born in St Petersburg into a family of musicians and
began playing the piano under her father’s guidance at the age of six.
Two years later she performed with the Leningrad Symphony Orchestra in
St. Petersburg.
Australian violinist, conductor and composer Richard Tognetti was born
in Canberra and raised in Wollongong. He has established an international
reputation for his compelling performances and artistic individualism.
He began his studies in his home town with William Primrose, then with Alice
Waten at the Sydney Conservatorium, and Igor Ozim at the Bern Conservatory,
where he was awarded the Tschumi Prize as the top graduate soloist in
1989. Later that year he led several performances of the Australian Chamber
Orchestra, and that November was appointed as the Orchestra’s lead violin
and, subsequently, Artistic Director. He is also Artistic Director of the Festival
Maribor in Slovenia.
Photo by Mick Bruzzese
Richard performs on period, modern and electric instruments and his
numerous arrangements, compositions and transcriptions have expanded
the chamber orchestra repertoire and been performed throughout the world.
As director or soloist, Richard has appeared with the Orchestra of the Age
of Enlightenment, the Academy of Ancient Music, Slovene Philharmonic
Orchestra, Handel & Haydn Society (Boston), Hong Kong Philharmonic,
Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre
Philharmonique du Luxembourg, Nordic Chamber Orchestra and all of the
Australian symphony orchestras.
Richard was co-composer of the score for Peter Weir’s Master and Commander:
The Far Side of the World, starring Russell Crowe; he co-composed the
soundtrack to Tom Carroll’s surf film Horrorscopes; and created The Red
Tree, inspired by Shaun Tan’s book. He co-created and starred in the 2008
documentary film Musica Surfica.
Richard was appointed an Officer of the Order of Australia in 2010. He holds
honorary doctorates from three Australian universities and was made a
National Living Treasure in 1999. He performs on a 1743 Guarneri del Gesù
violin, lent to him by an anonymous Australian private benefactor.
He has given more than 2,500 performances with the Australian
Chamber Orchestra.
Chair sponsored by Michael Ball AM & Daria Ball, Wendy Edwards,
Prudence MacLeod, Andrew & Andrea Roberts.
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AUSTRALIAN CHAMBER ORCHESTRA
In 1991 Polina moved with her family to Europe to continue her studies. At the
age of 12 Polina made her UK debut at the Barbican Hall in London playing
Beethoven’s Piano Concerto No.5. She has gone on to perform in such venues
as Vienna’s Konzerthaus, the Salzburg Mozarteum, Concertgebouw, Carnegie
Hall, Lincoln Center, Philharmonie de Paris (formerly Cité de la Musique) and
the Sydney Opera House.
Polina Leschenko has worked with such orchestras as the Camerata Salzburg,
Hallé Orchestra, London Mozart Players, Scottish Chamber Orchestra,
Bournemouth Symphony Orchestra, Britten Sinfonia, Bern Symphony
Orchestra, Russian National Orchestra, I Pomeriggi Musicali, Orquesta de
Euskadi and the Australian Chamber Orchestra.
Photo by Marco Borgreve
An accomplished chamber musician, Polina Leschenko performs frequently at
many festivals, collaborating with such artists as Martha Argerich, Ivry Gitlis,
Patricia Kopatchinskaja, Ilya Gringolts, Julian Rachlin, Heinrich Schiff, Mischa
Maisky, Torleif Thedéen and the Auryn Quartet.
In 2003 Polina Leschenko recorded her debut CD for EMI Classics in the series
‘Martha Argerich presents...’ with works by Liszt, Chopin, Kreisler/Rachmaninoff,
Brahms and Bach/Feinberg. She also recorded a disc of Prokofiev’s chamber
music with Martha Argerich, Christian Poltéra and Roby Lakatos and her allLiszt CD, including the B minor Sonata, was released to great critical acclaim.
Polina’s most recent recordings include Forgotten Melodies, Mendelssohn’s
Double Concerto with the Australian Chamber Orchestra and Richard Tognetti,
and Dvorak’s Piano Quartet Op.87 as part of the Martha Argerich and Friends:
Live from the Lugano Festival 2012 series.
From 2009 to 2012, she held the position of International Chair in Piano at the
Royal Welsh College of Music and Drama in Cardiff. Polina is currently Professor
of Piano at the Royal Conservatoire of Antwerp.
AUSTRALIAN CHAMBER ORCHESTRA
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EXECUTIVE OFFICE
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Australian musicians. These initiatives are pivotal in securing the future of the ACO and the future of music in Australia.
We are extremely grateful for the support that we receive.
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Multimedia, Music Technology &
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ARTISTIC DIRECTOR
Richard Tognetti AO
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AUSTRALIAN CHAMBER ORCHESTRA
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AUSTRALIAN CHAMBER ORCHESTRA
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