hungarian dances - Adelaide Symphony Orchestra

Adelaide Symphony Orchestra
COMPOSERS
IN FOCUS
HUNGARIAN DANCES
see. hear.
feel.
12 November, 6.30pm
Adelaide Town Hall
Sound advice.
Perfect harmony.
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A D E L A I D E S Y M P H O NY O R C H E S T R A 2 0 1 4 S E
N
HUNGARIAN DANCES
Adelaide Town Hall 12 November 6.30pm
Gérard Korsten Conductor
Ike See Violin
Ewen Bramble Cello
Celia Craig Oboe
Mark Gaydon Bassoon
Presented by Dr Richard Chew
Kodály
Dances of Galánta
Lento – Andante maestoso –
Allegretto moderato – Andante maestoso –
Allegro con moto, grazioso – Andante maestoso –
Allegro –
Poco meno mosso –
Allegro vivace – Andante maestoso – Allegro molto vivace
Haydn
Sinfonia concertante
Allegro
Andante
Allegro con spirito
Interval
Kodály
Concerto for orchestra
Allegro risoluto – Largo – Tempo primo – Largo – Tempo I
Brahms
Hungarian Dances
No 1 in G major Allegro molto
No 3 in F major Allegretto
No 5 in G minor Allegro vivace (arr. Parlow)
No 6 in D major Vivace (arr. Parlow)
No 10 in F major Presto
This concert runs for approximately 95 minutes including interval.
MORGANS COMPOSERS IN FOCUS SERIES
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Adelaide’s No.1
gérard korsten conductor
Gérard Korsten is Principal Conductor of the
Symphonieorchester Vorarlberg Bregenz. He
was previously Principal Conductor of the State
Theatre in Pretoria, Principal Conductor of the
Uppsala Chamber Orchestra and Music Director
of the Orchestra del Teatro Lirico di Cagliari.
In 2009 he was appointed Music Director
of the London Mozart Players, a position he
relinquished at the end of last season.
In addition to appearances with the world’s most
notable opera companies, Gérard Korsten has
appeared in concert with the Budapest Festival
Orchestra, Leipzig Gewandhaus Orchestra,
Orchestre National de Lyon, Mozarteum
Salzburg, RAI National Symphony Orchestra,
Chamber Orchestra of Europe, Scottish Chamber
Orchestra, Irish Chamber Orchestra, Camerata
Salzburg, Deutsche Kammerphilharmonie
Bremen, Swedish Radio Symphony Orchestra,
German Radio Philharmonic Orchestra and
Yomiuri Nippon Symphony Orchestra.
Born in South Africa, Gérard Korsten began
his career as a violinist after studying with Ivan
Galamian at the Curtis Institute and Sándor Végh
in Salzburg. Following his studies in the US and
Europe he became Concertmaster and Assistant
Music Director of the Camerata Salzburg and
later Concertmaster of the Chamber Orchestra of
Europe.
His 2011 DVD recording of The Marriage of
Figaro at La Scala was awarded a Diapason d’Or
and was ‘Critic’s Choice’ in Opera News.
Recent highlights have included debuts with
the Deutsche Oper Berlin (La traviata) and the
Hungarian State Opera (Don Pasquale). In the
2014/15 season he brings Symphonieorchester
Vorarlberg to the Vienna Musikverein and returns
to the Adelaide Symphony Orchestra, Yomiuri
Nippon Symphony Orchestra and Opéra de Lyon
for a new production of Idomeneo.
MORGANS COMPOSERS IN FOCUS SERIES
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MORGANS COMPOSERS IN FOCUS SERIES
ike see violin
Singapore-born violinist Ike See has performed
extensively in Asia, Australia, Europe, and
North America, and has played as soloist
with the Singapore Symphony and National
Youth Orchestras. In his performance with the
Orchestra of the Music Makers, Ike was praised
for his “warmth and purity of tone, with unfailing
musicality ... natural and unforced virtuosity”
(The Straits Times)
Winning his first national competition at the
age of ten, Ike won two more first prizes in
2001 and 2003, in the intermediate and senior
categories of the biennial Singapore National
Violin Competition. A recipient of diplomas from
the Royal Schools of Music and Trinity College
London, Ike began lessons at the age of four
with Sylvia Khoo, and later studied with Qian
Zhou, Head of Strings at the Yong Siew Toh
Conservatory of Music. In 2010, he was awarded
the National Arts Council (Singapore) Overseas
Arts Scholarship. Ike entered the Curtis Institute
of Music in 2006, studying with renowned
violinists Joseph Silverstein and Pamela Frank.
Ike has been a member of the Verbier and Pacific
Music Festival Orchestras, and has performed
at the Amelia Island Chamber Music Festival,
Kirishima International Music Festival, Singapore
Arts Festival, Singapore Chamber Music Festival
and Heifetz International Music Institute. In 2011,
Ike was invited on Curtis on Tour, performing
chamber music across Europe with colleagues as
well as Curtis faculty members Roberto Díaz and
Pamela Frank.
Possessing a passion for orchestral and
chamber music, Ike has led the Orchestra of the
Music Makers, Singapore Armed Forces String
Ensemble, Singapore National Youth Orchestra
and Singapore Youth Festival Orchestra, and
has served as Principal 2nd Violin of the
Curtis Symphony Orchestra and Associate
Concertmaster of Symphony in C. He studied
chamber music with members of the Guarneri,
Orion and Vermeer Quartets, and has shared the
stage with musicians such as James Dunham,
Clive Greensmith, Gary Hoffman, Anthony
McGill and members of the Berlin Philharmonic.
Ike moved to Australia in 2012 to take up the
position of Associate Concertmaster with the
Adelaide Symphony Orchestra, and has recently
joined the Australian Chamber Orchestra.
MORGANS COMPOSERS IN FOCUS SERIES
7
ewen bramble cello
Ewen grew up in Melbourne, beginning his
cello studies at age six. During his school years
he studied with Cordula Neil, before going on
to the University of Melbourne to complete a
Bachelor of Music Performance (Honours) under
Nelson Cooke, Christian Wojtowicz and Janis
Laurs, during which time he won the University’s
Concerto and Chamber Music competitions.
Ewen has made recital appearances at the
Port Fairy Chamber Music Festival, Adelaide
Symphony Orchestra Schumann Festival,
Adelaide International Cello Festival, University
of Melbourne and the Urrbrae House Recital
Series. He has performed alongside artists such
as David Geringas, Simon Trpceski and the
Australian String Quartet. In 2011 Ewen made
his concerto debut with the Adelaide Symphony
Orchestra and has appeared on several occasions
as soloist with both the Unley and Burnside
Symphony Orchestras.
As an orchestral musician Ewen has been
fortunate to tour nationally and internationally.
He has appeared regularly with the Melbourne
Symphony Orchestra and the Melbourne
Chamber Orchestra as Guest Principal, before
joining the Adelaide Symphony Orchestra in
2009. Also a keen teacher, Ewen has lectured
in Cello and Chamber Music at the Elder
Conservatorium of Music, University of Adelaide.
Ewen’s instrument is the 2011 Adelaide
International Cello Festival Cello.
Ewen is well known to music lovers nationwide
as Cellist of the Benaud Trio, who won the Piano
Trio Prize at the 2005 Asia-Pacific Chamber
Music Competition. In 2006 the trio travelled to
Canada to perform at the Banff International Arts
Festival whilst studying with the St Lawrence
String Quartet and Mark Steinberg. More recently
the Benaud Trio have released two records with
a third on the way, and can be heard regularly on
ABC Classic FM.
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MORGANS COMPOSERS IN FOCUS SERIES
celia craig oboe
Celia Craig studied with Nicholas Daniel as
Scholar at the Purcell School, winning the
National Festival of Music of Youth Oboe
Competition in 1988, later as Exhibitioner at the
Royal Adademy of Music, where she won the
Harold Craxton Prize for Chamber Music. Celia
was awarded an Honorary Associateship by the
Royal Academy of Music in 1997 for her musical
achievements.
Celia has featured as soloists at The Proms, the
Barbican Centre, the Three Choirs Festival and in
2010 gave the Southern Hemisphere Premiere of
Messian’s Concert a Quatre in New Zealand with
the Christchurch Symphony Orchestra.
Currently Principal Oboe of the Adelaide
Symphony Orchestra, she has been a regular
guest principal with London Symphony
Orchestra, London Philharmonic, London
Chamber Players, Sydney Symphony, Melbourne
Symphony, New Zealand Symphony, Royal
Scottish National, and City of Birmingham
Symphony Orchestras in addition to four full time
orchestral positions.
Commercial Credits – some recorded at the
legendary Abbey Road Studios – include Dr
Who, Australia, Daybreakers, PS I love You,
Australian Idol, Rugrats, South Solitary, Legend
of the Guardians among others. She has
performed several times for the Royal Family
most notably the Queen’s 80th birthday concert
in The Royal Albert Hall including an audience
with Her Majesty. Celia served as president of
the Australiasian Double Reed Society for six
years, teaches at the Elder Conservatorium and
is an instrumental coach for the Australian Youth
Orchestra. She has been a member of Artistic
and Advisory Panels for Musica Viva, State Opera
of South Australia and the Australian Music
Examinations Board.
MORGANS COMPOSERS IN FOCUS SERIES
9
H A N D E L’ S
Messiah
M AT T H E W H A L L S C O N D U C T O R S I O B H A N S TA G G S O P R A N O R I C H A R D B U T L E R
TENOR CHRISTOPHER FIELD COUNTERTENOR CHRISTOPHER PURVES BASS
ADELAIDE CHAMBER SINGERS CARL CROSSIN DIRECTOR
27 & 28 NOVEMBER
•
ADELAIDE TOWN HALL
B O O K AT B A S S 1 3 1 2 4 6 o r b a s s . n e t . a u
A great
Christmas
tradition
mark gaydon bassoon
Mark has been Principal Bassoonist with the
Adelaide Symphony Orchestra since 2003.
During this time he has appeared as soloist
with the orchestra on numerous occasions
performing solo works by Mozart, Weber,
Zwilich, Williams, Franciax and Strauss. He
has also appeared as guest principal bassoon
with the Sydney Symphony, the New Zealand
Symphony, the Queensland Symphony and
the Tasmanian Symphony orchestra. As a
chamber musician he has performed with
Ellision Ensemble, The Southern Cross Soloists,
the New London Chamber Ensemble, the
Tancibudek Wind Quintet and his own group
Ensemble Le Monde. An avid teacher, Mark
has been Associate Instructor at the Indiana
University School of Music, a guest artist at the
Australian National Academy of Music, bassoon
tutor for the Australian Youth Orchestra, AYO
National Music Camp and Young Symphonists
programs, and Bassoon Instructor at the Elder
Conservatorium since 2005. Mark has a PhD in
music from the University of Adelaide and was
awarded a Dean of Graduate Studies Special
Commendation for Thesis Excellence. In 2005 he
won the ABC Young Performer of the Year wind,
brass and percussion section and in 1999 was
awarded grand prize in the Indianapolis Matinee
Musicale Competition in the USA competing
against players of all instruments. Mark is a
keen supporter of Australian composers and
has commissioned and premiered works for the
bassoon by Gerard Brophy, Andrew Schultz, Katy
Abbott, James Cuddeford, Luke Altmann and
Charles Bodman Rae. In December 2013 many of
the commissioned works were featured on ABC
Classic Fm's New Waves Podcast series forming
a bassoon odyssey into new Australian bassoon
works. In 2011 he was a featured artist on
3MBS's Musical Portraits series and performed
Berio's notorious Sequenza XII for solo in a live
radio broadcast. Mark's teachers include Kim
Walker and Stephane Levesque.
MORGANS COMPOSERS IN FOCUS SERIES
11
Adelaide Symphony Orchestra
Principal Guest Conductor
and Artistic Advisor
Arvo Volmer
Artist in Association
Nicholas McGegan
Associate Guest Conductor
Nicholas Carter
Concertmaster
Natsuko Yoshimoto
Musical Chair sponsored by
ASO Chair of the Board Colin
Dunsford AM & Lib Dunsford
VIOLINS
Natsuko Yoshimoto**
(Concertmaster)
Ike See** (Guest Associate
Concertmaster)
Shirin Lim**
(Principal 1st Violin)
Musical Chair in the
memory of Dr Nandor Ballai
Michael Milton**
(Principal 2nd Violin)
Musical Chair supported by
The Friends of the ASO
~
Lachlan Bramble
(Associate Principal
2nd Violin)
Musical Chair supported in the
memory of Deborah Pontifex
Janet Anderson
Ann Axelby
Minas Berberyan
Musical Chair supported
by Merry Wickes
Gillian Braithwaite
Julia Brittain
Hilary Bruer*
Musical Chair supported by
Marion Wells
Elizabeth Collins
Jane Collins
Alison Heike
12
Danielle Jaquillard
Alexis Milton
Musical Chair supported by
Patricia Cohen
Jennifer Newman
Julie Newman
Alexander Permezel
Judith Polain
Marie-Louise Slaytor
Kemeri Spurr
VIOLAS
Imants Larsens**
(Acting Section Leader)
Musical Chair supported by
Mr & Mrs Simon & Sue Hatcher
~
Linda Garrett
(Guest Associate)
Martin Butler
Lesley Cockram
Rosi McGowran
Carolyn Mooz
Michael Robertson
Cecily Satchell
CELLOS
Simon Cobcroft**
Principal Cello Chair supported
by Andrew & Gayle Robertson
~
Gemma Phillips
(Acting Associate)
Sarah Denbigh
Musical Chair supported by
an anonymous donor
Christopher Handley
Musical Chair supported by
Johanna and Terry McGuirk
Sherrilyn Handley
Musical Chair supported
Johanna and Terry McGuirk
David Sharp
Musical Chair supported
by Aileen Connon AM
DOUBLE BASSES
David Schilling**
Musical Chair supported by
Mrs Maureen Akkermans
~
Belinda Kendall-Smith
(Acting Associate)
Jacky Chang
Harley Gray
Musical Chair supported by
Bob Croser
David Phillips
Musical Chair supported
for a great Bass player,
with lots of spirit - love Betsy
Esther Toh
FLUTES
Geoffrey Collins**
Musical Chair supported by
Pauline Menz
Lisa Gill
PICCOLO
Julia Grenfell*
Musical Chair supported by
Chris & Julie Michelmore
OBOES
Celia Craig**
Musical Chair supported by
Penelope & Geoffrey
Hackett-Jones
E FLAT CLARINET
Darren Skelton*
BASSOONS
Mark Gaydon**
Musical Chair supported by
Pamela Yule
Leah Stephenson
Musical Chair supported by
Liz Ampt
CONTRA BASSOON
Jackie Hansen*
Musical Chair supported
by Norman Etherington &
Peggy Brock
HORNS
Adrian Uren**
(Guest Section Leader)
Alex Miller~
(Guest Associate)
Bryan Griffiths
Philip Paine
TRUMPETS
Matt Dempsey**
Musical Chair supported
by R & P Cheesman
~
Martin Phillipson
Musical Chair supported by
Rick Allert AO
Renae Stavely
Timothy Frahn
COR ANGLAIS
Peter Duggan*
TROMBONES
Cameron Malouf**
Musical Chair supported
by Dr JB Robinson
CLARINETS
Dean Newcomb**
Musical Chair supported by
the Royal Over-Seas League
SA Inc
Darren Skelton
Cameron Waters
MORGANS COMPOSERS IN FOCUS SERIES
Musical Chair supported by
Virginia Weckert & Charles
Melton of Charles Melton
Wines
Ian Denbigh
BASS TROMBONE
Howard Parkinson*
TUBA
Peter Whish-Wilson*
Supported by
Ollie Clark AM & Joan Clark
TIMPANI
Robert Hutcheson*
Musical Chair supported by
an anonymous donor
PERCUSSION
Gregory Rush** (Acting
Section Leader)
Jamie Adam
HARP
Suzanne Handel*
Musical Chair supported by
Shane Le Plastrier
** denotes Section Leader
* denotes Principal Player
~
denotes Associate Principal
(Orchestra list correct at time
of printing)
ASO BOARD
Colin Dunsford AM (Chair)
Jillian Attrill
Vincent Ciccarello
Geoffrey Collins
Col Eardley
Byron Gregory
David Leon
Chris Michelmore
Michael Morley
Andrew Robertson
Nigel Stevenson
Operations
Heikki Mohell - Director of Operations and
Commercial
Karen Frost - Orchestra Manager
Kingsley Schmidtke - Venue/Production
Supervisor
Bruce Stewart - Librarian
David Khafagi - Acting Orchestra Manager
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and Development
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Executive
Vincent Ciccarello - Managing Director
Margie Corston - Assistant to Managing
Director
FRIENDS OF THE ASO
EXECUTIVE COMMITTEE
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Simon Lord - Director, Artistic Planning
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Judy Birze - Treasurer
MORGANS COMPOSERS IN FOCUS SERIES
13
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zoltán kodály
(1882-1967)
Kodály is a name well known to music educators,
but much less familiar to concert-goers, despite a
composing career spanning seven decades. This is
largely because the bulk of his music was written
for the human voice and especially for choirs,
with instruments or alone, rather than for the pure
symphony orchestra. Singing was the cornerstone
of the method he developed for teaching music
in schools: singing especially of folk songs – for
their simplicity and beauty, their embodiment of
heritage and their perfect relationship of music and
language. The Kodály Method was inspired by his
vision of filling every child ‘at least once with the
life-giving stream of good music’.
And folk songs were something that Kodály knew
better than almost anyone. In 1905 he made
the first of many journeys into the Hungarian
countryside, recording the village folk as they sang
their traditional songs. His first field trip yielded
some 150 songs; by the 1950s, as head of the
folk-music research group at Hungary’s Academy
of Sciences, he had guided the classification
and editing of more than 100,000 folk songs.
Folk-music research constituted the bulk not just
of Kodály’s extensive scholarly activity, but of his
whole work. It was through folk music that he
met Béla Bartók and the two became firm and
lasting friends, with Kodály commenting on their
collaboration: ‘The vision of an educated Hungary,
reborn from the people, rose before us. We
decided to devote our lives to its realisation.’
Dances of Galánta (Galántai táncok)
Lento – Andante maestoso –
Allegretto moderato – Andante maestoso –
Allegro con moto, grazioso – Andante maestoso –
Allegro –
Poco meno mosso –
Allegro vivace – Andante maestoso – Allegro
molto vivace
Kodály grew up in the town of Galánta on the
border between Hungary and Austria, where the
passing traffic, including gypsies and wandering
musicians, may well have left an aural impression.
For the Dances of Galánta (1933), Kodály took
as his source a compendium of dances from the
early 1800s, ‘the gypsy dances from Galánta’, and
selected, orchestrated and linked some of them.
Based on the verbunkos (similar to the csárdás or
the ‘tavern’ tunes of Hungary and its surrounding
regions), these dances have two moods: pensively
slow and fiercely fast. Chiefly linking these two
emotional opposites with broad and impassioned
string writing, Kodály also allows solo passages to
play a significant role.
Throughout the first major section or first ‘dance’
(Lento – Andante maestoso) and indeed the rest
of the suite, the clarinet receives special attention
from Kodály. It seems to act as a melodic fulcrum,
linking and leading harmonic and rhythmic
changes.
MORGANS COMPOSERS IN FOCUS SERIES
15
zoltán kodály
(1882-1967)
Kodály maintains tension by clever use of rubato
and rhythmic variation, as with the syncopated
rhythms of the fiery csárdás. The ‘gypsy scale’ is a
prominent melodic feature. There is also a Jewish
feel – the clarinet in particular conjures the sound
of klezmer music in its sense of abandonment and
melancholy.
A solo flute and piccolo accompanied by pizzicato
strings introduce the second dance (Allegretto
moderato). There is a decidedly Eastern flavour to
this section, and the whirring strings, when released
from pizzicato, are particularly striking as they return
to the first, clarinet-inspired, introspective dance
themes.
An oboe introduces the third dance (Allegro con
moto, grazioso). This melody is so simple and
insubstantial that it seems to need reinforcement
from the other woodwinds, brass and strings. It
is eventually overwhelmed by the return of the
melancholic first theme, which in turn is interrupted
just as suddenly by a fierce syncopated dance
(Allegro) with the whole orchestra in full cry.
Two dances quickly follow, with melodies
reminiscent of Kodály’s opera Háry János – there are
grace-noted bassoons, horns swinging across the
bar-line and a dotted rhythm returning in the clarinet
(Poco meno mosso). This mildly comic excursion
by Kodály sets up a frantic finale, beginning with the
muted insistence of the timpani. The theme is then
launched by the winds, and captured in virtuoso
16
...continued
brilliance by the strings, with powerful syncopation
throughout the orchestra (Allegro vivace).
Instead of a predictably triumphant close, the first
brooding melody returns in an arresting G sharp
minor. Kodály is perhaps reminding the listener
that behind all this exuberance lies darkness. But
such introspection is thrust aside in the final bars
(Allegro molto vivace) where the dance is at an end:
exhilarating, exhausting!
David Vivian Russell Symphony Australia © 2000
Kodály wrote the Dances of Galánta for the 80th
anniversary of the Budapest Philharmonic in
1933. The Adelaide Symphony was the first of the
Australian state symphony orchestras to perform
the work, on 20-22 June 1946, under Walter
Susskind.
Duration 16 minutes
Kodály – Concerto for orchestra
Allegro risoluto – Largo – Tempo primo –
Largo – Tempo I
Bartók is the name that first comes to mind when
we hear the title ‘Concerto for orchestra’ – an
acknowledged masterpiece in which Bartók achieved
MORGANS COMPOSERS IN FOCUS SERIES
the synthesis of Eastern European folk music and
the great traditions and techniques of the West that
he had sought for decades. But Kodály wrote his
Concerto for orchestra before Bartók; it was in fact
Bartók who took Kodály’s piece to the United States
for its premiere in 1941.
Neither work conforms to the standard Classical
three-movement concerto form: Kodály’s is a
single-movement piece in alternating fast and
slow sections; Bartók’s is in five movements. Both
composers looked for their models to an earlier
form, the Baroque concerto grosso, in which a small
ensemble of solo instruments is contrasted with the
full orchestra. Kodály’s single-movement concerto
corresponds to the patchwork structure of some of
Corelli’s concerti grossi, itself derived from the 17thcentury canzona with its several contrasting short
sections. But there is another model: the Hungarian
verbunkos, with its alternating friss (fast) and lassú
(slow) sections.
The fast sections of Kodály’s Concerto for orchestra
recall the friss passages of a verbunkos in their
strong syncopation. The strings open the concerto
with a leaping melody – typical of verbunkos style –
played in unison; the theme is immediately repeated
a fifth higher (another folk technique), now with
the woodwinds joining in, and the horns and tuba
offering a countermelody which anticipates the
syncopated second theme.
The largo sections have an entirely timeless quality.
Notated in triple time but sounding as if there are
no bar-lines at all, the first largo begins with a solo
cello playing a smooth, floating line over a long held
bass note. Other solo strings join in, then a solo
clarinet; the orchestra is eventually all playing in
a fluid counterpoint which has been compared to
the texture of Renaissance consort music, though
the harmonies become decidedly Romantic as the
section progresses. The music builds to a fortissimo
climax, with the harp, it has been suggested, taking
a role analogous to that of the cimbalom, a zither-like
traditional Hungarian instrument.
The allegro returns, with the opening themes
developed with great contrapuntal ingenuity. The
following largo is crowned with arabesques from the
flute, piccolo and clarinet in bitonal opposition to the
shimmering harmonies of the strings. The concerto
ends with a brief return to the allegro material,
building unrelentingly to the final unison flourish.
Natalie Shea Symphony Australia © 2005
Kodály wrote his Concerto for orchestra to
commemorate the 50th anniversary of the Chicago
Symphony Orchestra, who gave the premiere
performance under Frederick Stock on 6 February
1941. This is the first performance of the work by
the Adelaide Symphony Orchestra.
Duration 22 minutes
MORGANS COMPOSERS IN FOCUS SERIES
17
joseph haydn
(1732-1809)
Sinfonia concertante in B flat, Hob.I:105
Allegro
Andante
Allegro con spirito
Haydn obliged with a work featuring important
solos for Salomon to play, and it was premiered
at Salomon’s fourth concert of the season. It was
so successful that it had to be repeated and the
Morning Herald wrote:
Ike See Violin
Ewen Bramble Cello
Celia Craig Oboe
Mark Gaydon Bassoon
One of the offshoots of the development of
professional orchestras playing for public
concerts rather than in the service of a court
was the desire to show off the individual virtuosi
who played with each ensemble. The 1770s and
1780s saw a veritable rash of concertantes or
sinfonie concertante – pieces featuring more than
one soloist from within the orchestra. Mozart
wrote one for wind instruments, another for
violin, viola and orchestra – these were inspired
by his contacts with the orchestras in Mannheim,
Munich and Paris.
The fashion had spread to England, and at the
time of Haydn’s first visit there, his pupil Ignaz
Pleyel was achieving great success with his
sinfonie concertante in the ‘Professional Concert’
series in London. The violinist and impresario
Johann Salomon, who had brought Haydn to
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London, obviously wished to counter his rivals’
success by presenting a sinfonia concertante by
the celebrated Haydn himself, in his own concert
series.
‘A new Concertante from HAYDN, combined with
all the excellencies of music; it was profound,
airy, affecting and original, and the performance
was in unison with the merit of the composition.
SALOMON particularly exerted himself on this
occasion, in doing justice to the music of his
friend HAYDN.’
It is only in the last 30 years that the piece has
recaptured the popularity it enjoyed in the 1790s
– as well it might, for it combines the maturity
of style and certainty of orchestral writing of
Haydn’s Paris and London symphonies with a
lighter tone of unashamed entertainment music.
Unlike most of the sinfonie concertante of its
time, Haydn uses the soloists mainly as a group,
without neglecting the characteristic timbre of
each instrument.
The first movement is the most symphonic in
style, and is richly scored for horns, trumpets
and drums as well as winds. It features a
MORGANS COMPOSERS IN FOCUS SERIES
fully written-out cadenza by Haydn for the
four soloists together. (Mozart likewise wrote
out the cadenza for his K364 violin and viola
concertante.)
The Andante begins delightfully with the solo
instruments playing against pizzicato strings,
the first of many textural felicities. The last
movement gives Salomon an opportunity to
shine with a device Haydn had used in some of
his early symphonies. Recitative passages for
the solo violin provide it with the opportunity to
behave as though it were a dramatic soprano,
complete with written-out appoggiaturas
(‘leaning’ notes).
David Garrett © 1997
This is the first performance of this work by the
Adelaide Symphony Orchestra.
Duration 21 minutes
MORGANS COMPOSERS IN FOCUS SERIES
19
johannes brahms
(1833-1897)
his own music, he would often go to the gypsies
for his models.
Hungarian Dances
In 1848, the Hungarian uprising was crushed,
and a stream of refugees flooded into Brahms’
native Hamburg en route to North America. Thus
the 15-year-old Brahms first came into contact
with ‘Hungarian music’ – or more precisely, with
gypsy styles, which the Germans of the time
mistook for Hungarian folk music. The violinist
Eduard Hoffmann (or Reményi, in Hungarian)
was among the Hungarians who arrived in
Hamburg. In 1850, Brahms was captivated
when he heard Reményi play and accepted the
violinist’s invitation to accompany him on tour a
few years later.
From Reményi, Brahms learnt how to play alla
zingarese (gypsy-style) and even after Brahms
shifted his focus to symphonic music, he
retained his love of folk music. The Hungarian
Dances, published in two sets in 1869 and
1880 respectively, have a lightness that we do
not normally associate with the North German
symphonist.
The 21 Hungarian Dances originally appeared
in versions for piano four hands, with Brahms
himself subsequently preparing orchestrations
for only three: Nos 1, 3 and 10. Among the
composers hired to orchestrate the remaining
18 was Antonín Dvořák, whose own Slavonic
Dances, inspired by the success of Brahms’ first
Hungarian set, had established his international
reputation only a few years before. Dances 5 (the
most famous of the set) and 6, heard this evening
in orchestrations by Albert Parlow, are in a broad
ternary form with a contrasting middle section.
G.K. Williams Symphony Australia © 2002
The Adelaide Symphony was the first of the
Australian state symphony orchestras to perform
any of Brahms’ Hungarian Dances, on 13 and 15
October 1938, when it performed Nos 5 and 6
under conductor Malcolm Sargent.
Duration 15 minutes
In the accompanying letter Brahms sent to his
publisher in 1869, he expressly disclaimed
authorship of the melodies, which he described
as ‘genuine gypsy children’. But at least three of
the complete dances (Nos 11, 14 and 16) contain
original melodies, and it is worth remembering
that when Brahms wanted a touch of the exotic in
20
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Standing behind
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When
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valuable
Whennot
notunlocking
unlocking
Australia’s
valuable
energy
resources,
we’re
behind
the scenes
energy
resources,
we’re
behind
the scenes
supporting
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supporting
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and and
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activities.
community
activities.
Santos
been
Principal
Partner
of the
Santos
hashas
been
thethe
Principal
Partner
of the
Adelaide Symphony Orchestra for 15 years,
Adelaide Symphony Orchestra for 15 years,
helping deliver popular community events
helping
deliver
popular community
events
such as
the Symphony
Under the
Stars.
such as the Symphony Under the Stars.
Not meaning to beat our own drum,
Not
beat
our own
drum,
but
butmeaning
in 2013,towe
backed
South
Australian
andSouth
organisations
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2012 alone, events
we backed
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tune of $9events
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At Santos, we believe that contributing to
vibrant
and contributing
diverse communities
Atthe
Santos,
we culture
believe that
to
of South Australia is well worth the effort.
the vibrant culture and diverse communities
we’re not
justworth
an energy
company,
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South Australia
is well
the effort.
we’re a company with energy.
Because we’re not just an energy company,
we’re a company with energy.