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06 & 07 November 2015ADELAIDE TOWN HALLEroica

2 ADELAIDE SYMPHONY ORCHESTRA - MASTERS SERIES

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Brett Dean Testament (version for orchestra)

Mozart Piano Concerto No 20 in D minor, K466

Allegro

Romance

Rondo (Allegro assai)

Benjamin Grosvenor Piano

Beethoven Symphony No 3 in E flat, Op 55 Eroica

Allegro con brio

Marcia funebre (Adagio assai)

Scherzo (Allegro vivace) – Trio – Scherzo

Finale (Allegro molto – Presto)

06 & 07 November, Adelaide Town Hall

Eroica Master Series 9

Interval

This concert runs for approximately 110 minutes including interval. Friday night’s concert will be recorded for Broadcast on ABC Classic FM.

Brett Dean Conductor/ViolaBenjamin Grosvenor Piano

Classical ConversationsComposer/musicologist Vincent Plush explores the spectrum of musical ideas in works by Brett Dean, Mozart and Beethoven.

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Brett Dean conductor/viola

Brett Dean studied in Brisbane before moving to Germany in 1984 where he was a permanent member of the Berliner Philharmoniker for fourteen years. He began composing in 1988, initially concentrating on experimental film and radio projects and as an improvising performer. Dean’s reputation as a composer continued to develop, and it was through works such as his clarinet concerto Ariel´s Music (1995), which won an award from the UNESCO International Rostrum of Composers, and Carlo (1997) for strings, sampler and tape, inspired by the music of Carlo Gesualdo, that he gained international recognition. In 2000 Dean returned to his native Australia to concentrate on his composition, and he now shares his time between homes in Melbourne and Berlin.

Now one of the most internationally performed composers of his generation, much of Dean’s work draws from literary, political, environmental or visual stimuli, including a number of compositions inspired by paintings by his wife Heather Betts. His music is championed by many of the leading conductors and orchestras worldwide, including Sir Simon Rattle, Andris Nelsons, Marin Alsop, David Robertson and Simone Young.

Dean enjoys a busy performing career as violist and conductor, and since 2005 has been performing his own Viola Concerto with many of the world’s leading orchestras. Dean is a committed and natural chamber musician, frequently collaborating with other ensembles and orchestral musicians to perform both his own chamber works and standard repertoire.

Dean’s career as conductor is also blossoming alongside his work as composer and performer, his imaginative programmes usually centred around his own works combined with other composers’. Recent conducting highlights include the Sydney Symphony, Los Angeles Philharmonic, Concertgebouw Orchestra, Melbourne Symphony, BBC Philharmonic, Gothenburg Symphony, Tonkünstler-Orchester, Royal Northern Sinfonia and as Artist in Residence with the Swedish Chamber Orchestra.


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Benjamin Grosvenor Piano

Benjamin Grosvenor first came to prominence as the winner of the keyboard final of the 2004 BBC Young Musician competition at age eleven. Since then, he has become an internationally regarded pianist performing with orchestras including the London Philharmonic Orchestra, RAI National Symphony Orchestra, New York Philharmonic, Philharmonia Orchestra, Leipzig Gewandhaus Orchestra and Tokyo Symphony Orchestra.

Recent and future highlights include engagements with The Cleveland Orchestra, San Francisco Symphony, Houston Symphony, Montreal Symphony Orchestra, Konzerthausorchester Berlin, Orchestre de chambre de Paris and Basque National Orchestra. He appeared at the 2015 BBC Last Night of the Proms performing Shostakovich’s Piano Concerto No. 2 with the BBC Symphony Orchestra and Marin Alsop. He continues to incorporate chamber music collaborations into his schedule, including the International Chamber Music Series in London with the Endellion String Quartet and further collaborations with the Escher and Elias String Quartets.

Benjamin Grosvenor began playing the piano at age six, and at age nineteen performed

with the BBC Symphony Orchestra at the First Night of the Proms. He studied at the Royal Academy of Music with Christopher Elton and Daniel-Ben Pienaar, where he graduated with the Queen’s Commendation for Excellence. He has received Gramophone’s Young Artist of the Year and Instrumental Awards, a Classic Brit Critics Award, UK Critics’ Circle Award for Exceptional Young Talent and a Diapason d’Or Jeune Talent Award.

His most recent recording – winner of the BBC Music Magazine Instrumental Award 2015 – is Dances, a recital album that presents a historically and stylistically varied offering of works influenced by dance.

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Adelaide Symphony OrchestraPrincipal Guest Conductor and Artistic Advisor Arvo Volmer

Artist in Association Nicholas McGegan

Principal Conductor Designate Nicholas Carter

VIOLINS

Natsuko Yoshimoto** (Concertmaster)

Supported by ASO Chair of the Board Colin Dunsford AM & Lib Dunsford

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)

Supported in the memory of Deborah Pontifex

Ann AxelbyErna BerberyanMinas Berberyan

Supported by Merry Wickes

Hilary Bruer Supported by Marion Wells

Nadia BuckElizabeth CollinsJane CollinsBelinda GehlertJennifer NewmanJulie NewmanJudith PolainMarie-Louise SlaytorKemeri Spurr

VIOLAS Imants Larsens** (Acting Principal)

Supported by Simon & Sue Hatcher

Martin ButlerLesley CockramLinda GarrettAnna HansenRosi McGowran

CELLOS Simon Cobcroft**

Supported by Andrew & Gayle Robertson

Ewen Bramble~ Supported by Barbara Mellor

Sarah Denbigh

Sherrilyn Handley Supported by Johanna and Terry McGuirk

Gemma Phillips Supported by R & P Cheesman

Cameron Waters

DOUBLE BASSES David Schilling**

Supported by Mrs Maureen Akkermans

Belinda Kendall-Smith~ (Acting Associate)Jacky Chang David Phillips

Supported for ‘a great bass player with lots of spirit - love Betsy’

FLUTES Geoffrey Collins**

Supported by Pauline Menz

Lisa Gill

PICCOLO Julia Grenfell*

Supported by Chris & Julie Michelmore

OBOES

Celia Craig** Supported in the memory of Geoffrey Hackett-Jones

Peter Duggan Supported by Dr Ben Robinsons

CLARINETS

Dean Newcomb** Supported by the Royal Over-Seas League SA Inc

Mitchell Berick Supported by Nigel Stevenson & Glenn Ball

BASSOONS Mark Gaydon**

Supported by Pamela Yule

Leah Stephenson* Supported by Liz Ampt

HORNS Adrian Uren**Sarah Barrett~

Supported by Margaret Lehman

Philip Paine*Emma GreganAlex Miller

TRUMPETS Martin Phillipson** (Acting Principal)

Supported by Richard Hugh Allert AO

Timothy Keenihan

TIMPANI Robert Hutcheson*

Supported by Drs Kristine Gebbie & Lester Wright

PERCUSSIONSteven Peterka**


** denotes Section Leader* denotes Principal Player~ denotes Associate Principal

denotes Musical Chair Support


ASO BOARD

Colin Dunsford AM (Chair)Vincent CiccarelloGeoffrey CollinsCol EardleyByron GregoryDavid LeonChris MichelmoreMichael MorleyAndrew RobertsonNigel Stevenson

ASO MANAGEMENT

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Alison Campbell - PresidentLiz Bowen - Immediate Past PresidentAlyson Morrison and John Pike - Vice PresidentsJudy Birze - Treasurer/SecretaryJohn Gell - Assistant Secretary/ Membership

Correct at time of print.

Flowers supplied by

Concertmaster Natsuko Yoshimoto

Supported by ASO Chair of the Board Colin Dunsford AM & Lib Dunsford

Associate Principal CelloEwen Bramble

Supported byBarbara Mellor

Principal ViolaJuris Ezergailis

Supported in the memory of Mrs JJ Holden

Principal 2nd Violin Michael Milton


Associate Principal 2nd Violin Lachlan Bramble

Supported in the memory of Deborah Pontifex

Associate ConcertmasterCameron Hill

Supported by The Baska Family

Principal 1st ViolinShirin Lim

Supported in the memory of Dr Nandor Ballai

For more information please contact Paola Niscioli, Director, Marketing & Development on (08) 8233 6263 or [email protected]

Violin Hilary Bruer

Supported by Marion Wells

Violin Emma Perkins

Supported byPeter & Pamela McKee

ViolinMinas Berberyan

Supported by

Merry Wickes

ViolinAlexis Milton

Supported byPatricia Cohen

Associate Principal Viola Imants Larsens

Supported bySimon & Sue Hatcher

Principal CelloSimon Cobcroft

Supported byAndrew & Gayle Robertson

Cello Chris Handley

Supported byJohanna and Terry McGuirk

CelloDavid Sharp

Supported byDr Aileen F Connon AM

CelloSherrilyn Handley

Supported byJohanna and Terry McGuirk

Principal BassDavid Shilling

Supported by Mrs Maureen Akkermans

BassHarley Gray

Supported byBob Croser

Musical chair players and donors

CelloGemma PhillipsSupported by R & P Cheesman

BassDavid Phillips

Supported for‘a great bass player with lots of spirit - love Betsy’

Oboe Renae Stavely

Supported by Roderick Shire & Judy Hargrave

Principal Bass ClarinetMitchell Berick

Supported by Nigel Stevenson & Glenn Ball

Principal BassoonMark Gaydon

Supported byPamela Yule

Principal TubaPeter Whish-Wilson

Supported by Ollie Clark AM & Joan Clark

Principal TimpaniRobert Hutcheson

Drs Kristine Gebbie and Lester Wight

Principal ClarinetDean Newcomb

Supported byRoyal Over-Seas League SA Inc

Principal Flute Geoffrey Collins

Supported by Pauline Menz

Principal Cor Anglais Peter Duggan

Supported by Dr Ben Robinson

BassoonLeah Stephenson

Supported byLiz Ampt

Principal PiccoloJulia Grenfell

Supported by Chris & Julie Michelmore

Principal Contra BassoonJackie Hansen

Supported by Norman Etherington AM & Peggy Brock

ClarinetDarren Skelton

Supported in the memory of Keith Langley

Associate Principal TrumpetMartin Phillipson

Supported byRichard Hugh Allert AO

Principal PercussionSteven Peterka


Principal HarpSuzanne Handel

Supported byShane Le Plastrier

Principal TromboneCameron Malouf

Supported by Virginia Weckert & Charles Melton of Charles Melton Wines

Associate Principal HornSarah Barrett

Supported byMargaret Lehmann

Principal OboeCelia Craig

Supported in memory of Geoffrey Hackett-Jones


Testament (version for orchestra)

One of the most frequently performed composers of his generation, Brett Dean studied in Brisbane before joining the Berlin Philharmonic Orchestra as a violist for 14 years. He returned to Australia in 2000 to concentrate on composing, subsequently winning the prestigious Grawemeyer Award in 2009 for his violin concerto The Lost Art of Letter Writing.

A response to a call for a piece that in some way related to Beethoven’s life and music, Testament was originally composed as a work for 12 violas for Dean’s former colleagues in the Berlin Philharmonic’s viola section, a group with whom he had ‘played so much of Beethoven’s music’. He created the version for orchestra in 2008.

The composer writes:

As I started work on this score, I re-read Beethoven’s famous Heiligenstadt Testament, his last will and testament, written comparatively early in life on learning of the irreversibility of his worsening hearing ailments. One particularly haunting sonic idea that struck me at that point was the quietly feverish sound of Ludwig’s imagined quill writing manically on leaves of parchment paper.

Beethoven’s 1802 Testament certainly displays the same aspects of his impetuous temperament, so readily recognisable from other examples of his (often barely legible) manuscripts and other letters. Added to this is a heightened sense of pathos, despair and self-pity which makes this such a particularly moving document: ‘Ah,’ he writes at one point, ‘how could I possibly admit an infirmity in the one sense which should have been more perfect in me than in others, a sense which I once possessed in highest perfection…’

Testament begins with sounds of hasty, breathless, but almost silent desperation as the orchestral strings play their instruments with bows not treated with rosin and the wind players blow only air through their instruments. Without the usual traction that rosin provides, a rosinless bow glides with an eerie surface noise over the strings, only occasionally and sporadically able to bring out a full tone in the usual manner. Through this way, the main material for the piece is presented almost as if behind a gauze, or as if itself hampered by a hearing ailment. One sees much action, but it is an indeterminate aural experience.

The restless, scherzo-like character of these scribblings eventually gives way to slower music, led by a high, floating cantilena in the flute, the shape of which is informed by a setting of some words from Beethoven’s

Brett Dean (born 1961)


Brett Dean (born 1961)

text, a kind of song with words, but without voices. Quotations from the slow movement of the first of his ‘Razumovsky’ Quartets (Op.59) begin to increasingly inhabit the space but are broken off without being able to find cohesion. A sense of loss and alienation remains hanging in the air when, with fully rosined bows in the entire strings, the implied anguish behind the music suddenly and ultimately comes to the fore in the full orchestra. The ensuing fast music is a fuller development of the opening bars of hushed disquiet – at times outwardly aggressive, at other times again inward and unresolved in its intent, or even unexpectedly light and pliable, including fragmentary references to Beethoven’s flamboyant Op 59 No 1 finale.

This air of ambivalence remains until the end of Testament, suspended somewhere between languor and resolve. The time Beethoven spent in the quiet village of Heiligenstadt outside Vienna, culminating as it did in the realisation that his complete deafness was imminent and irreparable, ironically also marked the beginning of one of the most creative phases in his compositional life, leading quickly to the Eroica Symphony, the ‘Razumovsky’ Quartets and other thoroughly revolutionary scores. His time in Heiligenstadt then was a leave-taking, an acceptance and a fresh start.

© Brett Dean 2008

Testament for 12 violas was commissioned by the Berlin Philharmonic Orchestra for their chamber music series and premiered in June 2003. The first performance of the orchestral version was given by the Tasmanian Symphony Orchestra on 7 March 2008 under the direction of Sebastian Lang-Lessing. This is the first performance of the work by the Adelaide Symphony Orchestra.

Duration 14 minutes.


Piano Concerto No 20 in D minor, K466

Allegro

Romance

Rondo (Allegro assai)

Benjamin Grosvenor piano

The first of the two piano concertos for which Mozart chose the minor mode is one of his most often heard works, and one of his most admired. Even in the 19th century, when much of his music was in eclipse, this concerto was played and regarded as representing the ‘daemonic’ Mozart. Beethoven played it and wrote cadenzas for it which we will hear tonight. In 1839 Schumann singled out this concerto: ‘Our younger master will certainly not forget how the older ones would suddenly emerge with something magnificent – Mozart’s Concerto in D minor, Beethoven’s in G.’

Such fame is a problem: Charles Rosen remarks of this concerto, in his book The Classical Style, that we have to ask ourselves whether we are hearing the work of art or its reputation. There may be people who are hearing the concerto for the first time tonight, with fresh ears. The stormy drama of the work can hardly fail to make an

impression of great, but controlled emotion and power.

This concerto is not incontestably better than the nine others Mozart wrote in 1784 and 1785, but it is distinguished from them by the intensity of its subjective approach. It has often been hailed as being like Beethoven, a form of praise which tends to obscure its special qualities and their sources. As familiarity has grown with the music of Mozart, Haydn and their predecessors, we have come to see that the late 18th century had its own deep vein of Storm and Stress, of passionate expression. There is, for example, a remarkable D minor keyboard concerto by Carl Philipp Emanuel Bach which has some of the same feeling as this one by Mozart. One respect in which its music could be admitted to be Beethovenian is that the strife and passion persist until the change of mood in the last bars of the Rondo.

The first 15 bars of this concerto express the character of the whole of the first movement: throbbing, syncopated strings underlined by gruff bass triplets, rhythmic instability pushed as far as the Classical style would allow. Instead of turning to develop lighter material in the major key, this exposition retraces its steps to the mood of the opening, through orchestral tuttis of a violence unprecedented in Mozart’s work.

Wolfgang Amadeus Mozart (1756-1791)


The piano’s first entry, in free recitative, is very moving – like the voice of one against the many, and this principle of opposition is much exploited throughout. With piano added to orchestra, the sustained and graded acceleration begins which gives this concerto much of its excitement. Beethoven’s cadenza, though grandiose and headstrong, is a revealing commentary – one great creator and interpreter responding to another. Alfred Einstein has written suggestively of the pianissimo conclusion to the movement that it is ‘as if the furies had simply become tired out and had lain down to rest, still grumbling, and ready at any time to take up the fight again…’.

The slow movement begins in complete contrast, in an unexpected key (B flat major), fresh and poised. It proceeds as a spacious rondo, but as the second episode begins, is startlingly transformed. A raging presto in G minor begins in breathless triplets, which should be played, according to a letter of Mozart’s father Leopold, ‘as swiftly as the possibility of bringing out the tune clearly allows’. The return to the rondo theme is made in a transition of great breadth, like a horseman reining in his steed. This violent contrast within the movement would make no sense, as Rosen points out, if the slow movement was isolated from the others. The furies of the first movement have taken up the fight again.

The last movement is one of Mozart’s few minor-key rondos, but its turn to the major key towards the end, playing with more cheerful material, has provoked some disappointment from those who would judge this concerto by non-Mozartian aesthetic standards. The rocket-like theme with which the piano begins and the sustained violence of the first orchestral tutti are of a piece with

the first movement, and the conciliatory character of the ending, besides being memorably jaunty and good-humoured, is perhaps best considered as a restoring of 18th-century balance, a desire to leave the audience with a friendly impression.

© David Garrett

The first performance of this concerto by the Adelaide Symphony Orchestra took place on 1 September 1945, with conductor Bernard Heinze and soloist Noel Mewton-Wood. The ASO’s most recent performance of the work was in December 2014 with Nicholas Carter and Caroline Almonte.



Symphony No 3 in E flat, Op 55 Eroica

Allegro con brio

Marcia funebre (Adagio assai)

Scherzo (Allegro vivace) – Trio – Scherzo

Finale (Allegro molto – Presto)

As is the case with the First and Second, Beethoven’s composing score for the Third Symphony has disappeared. However, circumstantial evidence suggests he finished it during the Vienna winter of 1803-04, at around the same time he was working on his massive Waldstein Piano Sonata, Op 53, whose opening Allegro shares with the Third’s the added direction ‘con brio’ (with vigour). In size and scale, the Third epitomised the major advances Beethoven had made since even his recent Second Symphony, audibly obvious in the enhanced listening span he sets his audience, in his deployment of such attention-commanding themes, and in his pursuit of a more distinctive and sonorous orchestral mix. And in the summer of 1804, one of his patrons, Prince Joseph Lobkowitz, allowed him the almost unheard-of luxury of being able to trial the score while he was still revising it, in a series of private rehearsals, with an orchestra of some 27 or 28 players, in Lobkowitz’s Vienna palace. Later the Prince

also paid Beethoven a hefty gratuity for the honour of having the name Lobkowitz appear as dedicatee on the title-page of the printed edition. In this respect at least, Joseph Lobkowitz was ultimately the Third’s hero.

In early 1804, however, Beethoven was still intending to dedicate it to Napoleon Bonaparte, the great political reformer and egalitarian. But when, late that year, Napoleon renounced democracy and proclaimed himself emperor of France, Beethoven reportedly flew into a rage, and correctly predicted his former idol would ‘trample on human rights, and become a tyrant’. Even in disappointment, Beethoven still wanted to call it the ‘Bonaparte Symphony’, though by the time he corrected a new fair copy to send to his publisher in 1806 he had settled on Sinfonia Eroica (Heroic), with the regretful subtitle: ‘to the memory of a great man’. In November 1805, Napoleon’s army had marched into Vienna largely uncontested, but unwelcome enough to make locals stay away from the premiere season of the first version of Beethoven’s opera Fidelio, leaving mainly French officers to make up his small audience. During Napoleon’s second occupation of the city in 1809, the noise of bombardment so affected the hearing-impaired Beethoven that he retreated to a basement to protect his ears. Before the

Ludwig van Beethoven (1770-1827)


Battle of Waterloo brought the warlord’s reign of terror to an end in 1815, Beethoven celebrated the Napoleonic armies’ defeat in Spain in 1813 with his short ‘battle symphony’, Wellington’s Victory, and organised the patriotic concert at which it and his Seventh Symphony were premiered to raise funds for Austrian soldiers wounded expelling the French from Germany. But time again altered his perceptions; Beethoven later told Carl Czerny, ‘I used to detest Napoleon, now I think quite differently.’ And on hearing of Napoleon’s death in 1821, Beethoven remarked he had already composed the music for the ‘sad event’ in this symphony’s Funeral March.

According to his self-appointed secretary Anton Schindler, Beethoven intended the Symphony No.3 ‘to portray the workings of Napoleon’s extraordinary mind’. In the opening Allegro, the titanic main theme has been interpreted as representing ‘Napoleon’s determined, questing character’. In the Funeral March, though the shadow of Death temporarily encompasses him, in the midst of mourning, a new major-key theme signifies a rising star of hope, before the music returns to the graveside, muffled drumrolls, and a farewell volley faintly echoed. In stark contrast, the motoric scherzo overflows with an abundance of energy. The finale consists of a simple country dance tune with variations that build strategically in intensity and complexity toward a blazing orchestral rout that – forget Napoleon – no one but Beethoven could have imagined!

Graeme Skinner © 2014

The Adelaide Symphony Orchestra first performed Beethoven’s Symphony No 3 at a Beethoven Festival on 8 and 9 March 1945 under conductor Bernard Heinze, and most recently in March 2012 with Joseph Swensen.


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Major Partners

World Artist Partners

Corporate Partners

Media Partners

Corporate Club

Industry collaborators

Friends

Government Support

The ASO receives Commonwealth Government funding through the Australia Council, its arts funding and advisory body. The Orchestra is funded by the Government of South Australia through Arts SA.

Adelaide Symphony Orchestra 91 Hindley St, Adelaide SA 5000 | Telephone (08) 8233 6233 Fax (08) 8233 6222 | Email [email protected] | aso.com.au

Principal Partner

Major Partners

World Artist Partners

Corporate Partners

Media Partners

Corporate Club

Industry collaborators

Friends

Government Support

57 FilmsBoylen – Website Design & DevelopmentCoopers Brewery Ltd FotonautHaigh’s ChocolatesHickinbotham Group

M2 GroupNormetalsPeregrine TravelPoster ImpactSan Remo Macaroni Co. Pty LtdSize Music

Thank you

DISCLAIMER: Every effort has been made to ensure that performance dates, times, prices and other information contained herein are correct at time of publication. Due to reasons beyond the ASO’s control, details may change without notice. We will make every effort to communicate these with you should this eventuate.

Join us

Santos and the ASO – great South Australian performersFor sixteen seasons Santos and the Adelaide Symphony Orchestra have partnered together to deliver outstanding performances to audiences across South Australia. This proud tradition continues in 2015.

With our head office here in Adelaide, Santos has been part of South Australia for over 60 years.

We search Australia to find gas and oil to help provide energy to our nation. But we also put our energy into supporting the communities in which we live and work.

Each year Santos supports a wide range of community events and organisations across South Australia.

By 2017, this support will add up to $60m over a ten-year period.

At Santos, we believe that contributing to a vibrant culture is good for everyone. We don’t just look for energy - we help create it.

Proudly working in partnership

kwp!

SA

N10

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