event program - Hydro Tasmania centenary
Transcription
event program - Hydro Tasmania centenary
Front cover: The Polish Orchestra in Tarraleah, 1948. Right: Tarraleah Lodge today. Right: Camp Number 8. TSO concert at Below: School group at Tarraleah in the 1930s. Tarraleah Paying tribute to the people who built ‘the Hydro’ TSO concert at Tarraleah As Principal Partner of the Tasmanian Symphony Orchestra, Hydro Tasmania is commemorating its long partnership in its centenary year with this historic concert at Tarraleah. The TSO will perform a one-off concert paying tribute to the people who built ‘the Hydro’, particularly the many migrant workers who’ve come to Tasmania over the past 100 years to work on development of the hydropower system. Soak up the sounds and immerse yourself in the history of what was one of the first, largest and most sophisticated Hydro villages in Tasmania. In addition to the concert, you can enjoy a complimentary lunch in the Highlander Restaurant and Bar, experience the 100 Years of Hydro exhibition, see a special screening of the People of the Hydro centenary documentary, and take a guided tour of the village. TSO concert at Tarraleah SATURDAY 8 NOVEMBER 2.30PM The Great Hall, Tarraleah Event details 12:30pm – 2:00pm Complimentary lunch will be served for all ticket holders in the Highlander Restaurant and Bar. 2.30pm – 3.30pm TSO concert in the Great Hall. Enjoy at your leisure from 12 noon – 4pm • 100 Years of Hydro exhibition located near the Highland Store reception area. • People of the Hydro documentary screening on a continuous loop in the church. • Village tours departing every 30 minutes from the Highland Store reception. To find out more about Hydro Tasmania’s centenary celebrations, or to share your Hydro stories and photos, visit hydro100.com.au. Photo opposite page: In the early 1930s workers initially had to be accommodated in tents. Marko Letonja conductor Sue-Ellen Paulsen cello RESPIGHI Ancient Airs and Dances – Suite No 3 Italiana Passacaglia TCHAIKOVSKY Variations on a Rococo Theme Introduction (Moderato quasi andante) Theme (Moderato semplice) Variation I (Tempo della thema) Variation II (Tempo della thema) Variation III (Andante sostenuto) Variation IV (Andante grazioso) Variation V (Allegro moderato) Variation VI (Andante) Variation VII and Coda (Allegro vivo) GRENFELL Tarraleah* Paying tribute to the people who built ‘the Hydro’ HANDEL Water Music – Suite No 1 Allegro Passepied Adagio e staccato Minuet SCULTHORPE Pastorale MOZART Symphony No 40, K550, 1st movement Molto allegro ELGAR Salut d’amour *World première season This concert will end at approximately 3.30 pm. Please ensure that your mobile phone is switched off. marko letonja Sue-Ellen Paulsen program notes Although the Hydro village of Tarraleah was established in the mid-1930s, its social fabric was transformed in the second half of the 1940s with the arrival of migrants from war shattered Europe. Part of the rationale for the selection of music in today’s concert was to reflect the ethnic diversity of Tarraleah’s post-war years. To that end, you will hear works by Italian, Russian, German, Austrian and English composers. Today’s concert also includes music by Australian composers, including Maria Grenfell, whose specially commissioned work, Tarraleah, makes use of a Marko Letonja is Chief Conductor and Artistic Director of the Tasmanian Symphony Orchestra, and Music Director of the Orchestre Philharmonique de Strasbourg. Born in Slovenia, he studied at the Academy of Music in Ljubljana and the Vienna Academy of Music. He was Music Director of the Slovenian Philharmonic Orchestra from 1991 to 2003 and Music Director and Chief Conductor of both the Symphony Orchestra and the Opera in Basel from 2003 to 2006. He was Principal Guest Conductor of Orchestra Victoria in 2008 and made his debut with the TSO the following year. His many opera engagements have included Pique Dame at the Grand Théâtre de Genève, Nabucco at the Semperoper Dresden, Il dissoluto assolto/Sancta Susanna and The Makropulos Case at La Scala Milan, La traviata for Opera Australia, Rigoletto for the West Australian Opera, Madama Butterfly at the Staatsoper Berlin, Die Walküre at the Opéra du Rhin, and Die Walküre, Siegfried and Götterdämmerung at the Teatro São Carlos in Lisbon. He returned to La Scala in 2012 for a season of Les contes d’Hoffmann. Recent engagements include Romeo ét Juliette at the Arena di Verona and Pique Dame at the Vienna State Opera. He will return to the Vienna State Opera in coming seasons for Pique Dame, Boris Godunov and Les contes d’Hoffmann. Sue-Ellen Paulsen studied at the Queensland Conservatorium of Music where she had lessons with Richard Dedecius. As an undergraduate she appeared as soloist with the Queensland Symphony Orchestra, Queensland Conservatorium Orchestra and Queensland Youth Orchestra. In 1980 she won the ABC Concerto Competition (now the Young Performers Award) and was awarded a scholarship enabling her to pursue postgraduate study in Vienna with André Navarra. Her professional career began in Armidale with the New England String Quartet. She assumed her current position with the Tasmanian Symphony Orchestra in 1986. Since then she has been guest principal with the Sydney Symphony, Adelaide Symphony and Australian Chamber Orchestra. An experienced soloist, she has performed concertos by Shostakovich, Walton, Mills and Ligeti among many others and is featured as soloist on several of the TSO’s Australian Composer Series CDs. A strong advocate for contemporary music, she has commissioned and premièred many new Australian works including one written especially for her by Andrew Ford. She has recently recorded the Schumann piano trios with the Kingfisher Trio (ABC Classics). She is lecturer in cello at the Tasmanian Conservatorium of Music. Polish hymn. Italian composer Ottorino Respighi (1879-1936) had a life-long interest in the music of the Baroque. In addition to composing original music, he arranged works by J S Bach, Frescobaldi, Monteverdi and others. His three suites of Ancient Airs and Dances are orchestrations of lute music of the 16th and 17th centuries. Ancient Airs and Dances, Suite No 3, completed in 1931, commences with Italiana, an arrangement of a song that was originally written sometime around 1600. With its gentle lilt and graceful melody, it projects an air of refinement and serenity. The suite ends with a Passacaglia. A Passacaglia is a piece of music that unfolds around a fixed pattern. The fixed pattern, or ‘ground’, is played at the outset and embellished in each successive variation. The original piece of music on which Respighi based this particular movement is by 17th-century guitarist and composer Ludovico Roncalli. Like the Ancient Airs and Dances, the Variations on a Rococo Theme by Pyotr Ilyich Tchaikovsky (1840-1893) are a homage to music of an earlier time — in this case the 18th century, and the music of Mozart in particular. The ‘Rococo Theme’, played by the solo cello near the start of the work, is a theme of Tchaikovsky’s own invention. Seven variations on the theme follow, varying from the dreamy and introspective to the vigorous and virtuosic. Although not called a cello concerto, this is essentially what the work is. It was composed for virtuoso cellist Wilhelm Fitzenhagen, a colleague of Tchaikovsky’s at the Moscow Conservatory. Tarraleah has been written specifically for this concert by Hobart-based composer Maria Grenfell (born 1969). Maria has described the work as follows: In 1948 a British transport ship docked at Elizabeth Street Pier in Hobart with 300 Polish ex-servicemen from post-war Europe. Initially expecting to work in New South Wales, they had been persuaded to travel to Tasmania (supposedly “mild and not as hot”) to work on the expanding hydro-electric scheme in Tarraleah, Waddamana and Butlers Gorge. The construction of the subsequent dams and power stations could not have happened without these and many other immigrants, who made new lives for themselves and worked hard, despite the cold, and, at times, difficult and dangerous conditions. I was fascinated by many of their stories, both hair-raising and humorous. There is an old Tarraleah Power Station. Polish prayer hymn, Bogurodzica, that originated somewhere between the 10th and 13th centuries, and calls on Christ to give people a blissful stay on earth and everlasting existence in heaven. It seemed appropriate to draw on this hymn for musical inspiration in tribute to the invaluable contribution of those who settled in this state. What would the Hydro be without water and what would a Hydro concert be without some water music? The Water Music by George Frideric Handel (1685-1759) was composed to accompany King George I as he travelled up and down the river Thames on the evening of 17 July 1717. The king and his entourage were on one barge and the musicians were on another. The work was thus a type of serenade. Handel composed a significant quantity of music for the occasion, which is conventionally divided into three suites. In this concert, selected passages from four movements from the Suite No 1 are being performed. Various instruments are brought to the foreground, notably the French horn and oboe. The late Peter Sculthorpe (1929-2014) was a leading figure in Australian music for more than half a century. The Launceston-born composer was included among the nation’s 100 Living National Treasures in a popular poll conducted in 1988 and named one of Australia’s 45 Icons in 1999. His Pastorale began life in 1949 as a movement of the String Quartet No 3. The orchestral version being performed here was created in 2013 for The Magic Island, a collaborative recording project between the Tasmanian Symphony Orchestra and the Hush Music Foundation. (Hush recordings are played in children’s wards and hospitals around the country to assist putting young patients and their families at ease.) As you would expect from a work titled Pastorale, this is a gentle and reflective work. The Symphony No 40 by Wolfgang Amadeus Mozart (1756-1791) is one of the best-loved of all symphonies. It was composed around the middle of 1788 (at the same time, in the fledgling colony of New South Wales, a raggletaggle community was taking shape on the shores of Port Jackson). Mozart overwhelmingly favoured major keys in his symphonies so it is unusual that this particular symphony is in a minor key, G minor. Only the first movement, Molto allegro, from the four-movement symphony is being played in this concert. It opens with one of the most recognisable of all of Mozart’s themes which, in true Mozartian fashion, is developed meticulously as the movement progresses. Also typical of Mozart is the richness of the woodwind writing — he was never one to skimp when he had a full woodwind section at his disposal! What a difference a name makes. The final work in today’s concert, by English composer Edward Elgar (1857-1934), was originally titled Liebesgrüss (Love’s Greeting). It was under this title that the work was released by the music publishing firm Schott, which had bought the work from Elgar for two guineas. Sales were slow at first but picked up considerably when Schott renamed the work Salut d’amour. In fact, had Elgar not sold the work outright, Salut d’amour would have netted him a tidy sum. As it was, all profits went to the publishing firm. Elgar composed the work in 1888 as a love offering to Alice Roberts. She married him the following year. Robert Gibson ©2014 A place from the past, a place for the future Tarraleah was one of the most long-lasting Hydro villages, surviving for almost six decades. It has one foot in the past and another in the future, starting life in the Depression and continuing now as a tourism village. Tarraleah was part of the most remarkable expansion of Tasmania’s hydropower system, which occurred during the 1930s Depression, when money was tight and materials scarce. The Hydro had to find ways to address a looming electricity supply crisis and in 1934, a newly-elected state government used an act of parliament to fast track work on the Tarraleah scheme. Tarraleah was a small town with a big purpose. It emerged slowly from forests and mud in the mid-1930s and flourished for years. It was built to house workers, engineers, and managers creating an ambitious hydro-electric power scheme. the isolation and conditions. They lived in tents and earth-floored shacks and carried water from the nearby creek for drinking and cooking. Later, more substantial dwellings were gradually built. Surrounded by wilderness and mountains, Tarraleah was cut off from the rest of the world. While some left at the first opportunity, many grew to love the town and the ties that bound them. Those who lived here turned a sea of mud into a strong sense of community. The Upper Derwent scheme, with Tarraleah as its centerpiece, generated electricity that fuelled Tasmanian progress. Workers came from around the world, many seeking a new life after the war in Europe. At least 30 nationalities were represented here at one time. Bonds formed in the village have lasted a lifetime. Fifteen hundred people were employed over the life of that scheme. After construction finished, it became the base for those operating the power scheme and continued as a Hydro village into the 1980s. Many houses were sold and dismantled in the mid-1990s. The population shrank to four residents. Today the Tarraleah Power Station remains an important part of the Derwent hydropower scheme, ensuring safe, reliable energy supply for the state. New owners took over Tarraleah village in 2005, reinvigorating it as a tourism venture. Original public buildings and residences have been converted into accommodation. Those who visit enjoy a range of activities, including fishing, bushwalking, guided tours, a cooking school and spa treatments. Wander around Tarraleah to experience past meeting present. Workers, wives and children needed resilience to survive in the early days. Some arrivals to the early camps, predating this village, cried when they saw Below: Tarraleah Power Station on 12 March 1938. Above: The workers from the Bakery and Cookhouse in 1935. Left: Living conditions at Ticklebelly Flat in early 1935. Tarraleah Penstocks today. Ta sma nian Symphon y O rch estra tasmanian symphony Orchestra Violin Elinor Lea# Concertmaster Monica Naselow# Associate Concertmaster Lucy Carrig Jones Principal Second Christopher Nicholas# Principal First Miranda Carson Yue-Hong Cha Edwina George Michael Johnston Alison Lazaroff-Somssich Susanna Low Rohana O’Malley Viola Anna Roach# Katie Betts Rodney McDonald William Newbery Cello Brett Rutherford# Ivan James Martin Penicka Double Bass Stuart Thomson* flute Douglas Mackie* Lloyd Hudson Piccolo Oboe David Nuttall* Dinah Woods Cor Anglais Clarinet Andrew Seymour* Chris Waller Bass Clarinet Bassoon Tahnee van Herk* John Panckridge Contrabassoon horn Wendy Page* Heath Parkinson* *principal player # guest principal chief conductor & artistic Director Marko Letonja managing Director Nicholas Heyward Tso chorusmaster June Tyzack Tso Board Patricia Leary Chair David Rich Deputy Chair Don Challen am Peter Cretan Maria Grenfell Nicholas Heyward Christopher Lawrence Paul Oxley John Upcher John De Paoli Company Secretary Tso Foundation Susan Williams Chair TSO Friends Diane Truskett President For more than six decades the Tasmanian Symphony Orchestra has been at the forefront of concert life in Tasmania. Established in For and moredeclared than six adecades the Tasmanian 1948 Tasmanian Icon in 1998, Symphony Orchestra has been the the TSO gives nearly 70 concertsatannually forefront of concert life in Tasmania. including seasons in Hobart and Launceston, Established in 1948 and declared a Tasmanian andIcon appearances Tasmanian regional centres. in 1998, theinTSO gives nearly 80 concerts Theannually orchestra is ‘a source of in pride’ to 90% including seasons Hobart and of Launceston,a and appearances in Tasmanian Tasmanians, statistic which highlights the regional place centres. is a much culture important ofThe theorchestra TSO in Tasmanian loved cultural institution and ‘a source of and consciousness. pride’ to 90% of Tasmanians, according to a recent survey. In recent years the TSO has performed at City In addition to its Place core activity of giving Recital Hall Angel in Sydney, Melbourne subscription concerts, the TSO Recital Centre and the Adelaideendeavours Festival. to broaden its imprint by forging links with other International touring has taken the orchestra to arts organisations. Recent partnerships have North and South America,with Greece, Israel, South included collaborations the Museum of Korea, China, andTerrapin Japan. Puppet Old and NewIndonesia Art (MONA), Theatre, Kickstart Arts, the Australian National In Academy addition to the core activity giving of Music (ANAM) andofthe Australian Ballet, including a season of Prokofiev’s subscription concerts, the TSO endeavours to Romeoits and Juliet atbythe Burswood in broaden imprint forging linksTheatre with other Perth. arts organisations. Recent partnerships have In recent years the TSOwith has performed at City included collaborations the Museum of Old Recital Hall Angel Place in Sydney, Melbourne and New Art (MONA), Terrapin Puppet Theatre, Recital Centre and the Adelaide Festival. Kickstart Arts, the Australian National Academy of Music (ANAM) and the Australian Ballet, including a season of Prokofiev’s Romeo and International has Theatre taken theinorchestra Juliet at the touring Burswood Perth. to North and South America, Greece, Israel, With Korea, more than CDs in its catalogue South China,60Indonesia and Japan. including 20 titles in the Australian Composer With more than 60 CDs in its catalogue Series on20ABC Classics and 12 in the Romantic including titles in the Australian Piano Concerto Series on the British Composer Series on ABC Classics and 12label in Hyperion, thePiano TSO Concerto is knownSeries and heard the Romantic on the British label and Hyperion, the TSO is known nationally internationally. Amongand the heard nationally and internationally. Among TSO’s award-winning recordings are Mozart the TSO’s award-winning recordings are Arias with and Baroque Guitar Mozart AriasSara withMacliver Sara Macliver and Baroque Concertos with with SlavaSlava Grigoryan. TSOTSO concerts Guitar Concertos Grigoryan. concerts are recorded ABC Classic FMbroadcast are recorded by ABCbyClassic FM and and streamed throughout andbroadcast streamedand throughout the world. the world. Resident in Hobart’s purpose-built Federation Resident in Hobart’s purpose-built Federation Concert Hall, the TSO has a full complement of Concert Hall, the TSO has a full complement 4747musicians. is the the orchestra’s of musicians.Marko Marko Letonja Letonja is Chief Conductor and Artistic orchestra’s Chief Conductor andDirector. Artistic For Director. For works require choral works that requirethat choral forces, theforces, TSO is the TSO is joined by the TSO Chorus, an joined by the TSO Chorus, an auditioned group auditioned group of approximately 75 voices. of approximately 75 voices. For more information visit tso.com.au. For more information visit tso.com.au. Tasmanian Symphony Orchestra Federation Concert Hall 1 Davey Street, Hobart Tasmania 7000 GPO Box 1450 Hobart TAS 7001 Box Office 1800 001 190 [email protected] Administration 6232 4444 tso.com.au 13