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Vivaldi’s Four Seasons

Melbourne Recital Centre SeriesThursday 25 June at 8pm

Saturday 27 June at 6.30pmElisabeth Murdoch Hall

Melbourne Recital Centre

Monash SeriesFriday 26 June at 8pmRobert Blackwood Hall

Monash University, Clayton

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YUJA WANG PLAYS PROKOFIEVThursday 23 July Friday 24 July Saturday 25 JulyChinese piano superstar Yuja Wang brings her acclaimed virtuosity to Prokofiev’s tempestuous Second Piano Concerto, in a program that includes Tchaikovsky’s Marche Slave and Brahms’ luminous fourth and final symphony.

BABESaturday 11 July Sunday 12 JulyGeorge Miller’s Babe is an icon of Australian cinema. To coincide with its twentieth anniversary, the MSO and original soundtrack composer, Nigel Westlake, join forces to present the world premiere of Babe: The Twentieth Anniversary Concert, an exclusive all-ages screening with the Orchestra performing the film’s score.

AN EVENING WITH RENÉE FLEMINGThursday 3 September Saturday 5 SeptemberFamed for her magnetic performances and sheer beauty of tone, celebrated American soprano Renée Fleming joins the MSO and Sir Andrew Davis for two Melbourne-exclusive orchestral concerts.

Presented by MSO and Arts Centre Melbourne

MOZART’S PIANO CONCERTO No.17Friday 28 August Saturday 29 August Monday 31 AugustThe irrepressible overture to Rossini’s La gazza ladra is set alongside works by Mozart and Messiaen, and the lush melodies of Brahms’ Symphony No.3.

TCHAIKOVSKY’S PIANO CONCERTO No.1 Friday 7 August Saturday 8 August Monday 10 AugustThe very epitome of Romantic music, Tchaikovsky’s Piano Concerto No.1 is performed by Simon Trpčeski, appearing alongside Rimsky-Korsakov’s Capriccio espagnol and Scriabin’s Third Symphony.

RACHMANINOV 3Thursday 20 August Friday 21 August Saturday 22 AugustRussian-American pianist Kirill Gerstein displays his mastery of the formidable ‘Rach 3’, conducted by Sir Andrew Davis, alongside Rimsky-Korsakov’s Dubinushka and Strauss’ autobiographical tone poem, Ein Heldenleben.

3VIVALDI’S FOUR SEASONS

Welcome to this special concert that celebrates the glories of string music across the ages.

It is hard to imagine that a suite of 12 concertos with the title Il cimento dell’armonia e dell’inventione (The Test of Harmony and Invention) could contain some of the most beloved pieces of music in the classical canon. The first four concertos, however, have collectively achieved universal fame under a more familiar name: The Four Seasons.

Vivaldi’s Baroque weather report is the perfect work to mark the first play-conduct performance with the MSO by its Concertmaster, Dale Barltrop, who joined us last year. Brisbane-born Dale who made his debut with the Queensland Symphony Orchestra when he was 15, is one of Australia’s finest musicians and we are thrilled to have him with us.

This concert also features J.S. Bach’s Concerto for Two Violins, with Principal Second Violin Matthew Tomkins as co-soloist, and Benjamin Britten’s early work for strings, Variations on a Theme of Frank Bridge.

I hope you enjoy every last note.

André Gremillet Managing Director

With a reputation for excellence, versatility and innovation, the Melbourne Symphony Orchestra is Australia’s oldest orchestra, established in 1906. The Orchestra currently performs live to more than 200,000 people annually, in concerts ranging from subscription performances at its home, Hamer Hall at Arts Centre Melbourne, to its annual free concerts at Melbourne’s largest outdoor venue, the Sidney Myer Music Bowl.

Sir Andrew Davis gave his inaugural concerts as Chief Conductor of the MSO in April 2013, having made his debut with the Orchestra in 2009. Highlights of his tenure have included collaborations with artists including Bryn Terfel, Emanuel Ax and Truls Mørk, the release of recordings of music by Percy Grainger and Eugene Goossens, a 2014 European Festivals tour, and a multi-year cycle of Mahler’s Symphonies.

The MSO also works each season with Principal Guest Conductor Diego Matheuz, Associate Conductor Benjamin Northey and the Melbourne Symphony Orchestra Chorus. Recent guest conductors to the MSO have included Thomas Adès, John Adams, Tan Dun, Charles Dutoit, Jakub Hrůša,

Mark Wigglesworth, Markus Stenz and Simone Young. The Orchestra has also collaborated with non-classical musicians including Burt Bacharach, Ben Folds, Nick Cave, Sting and Tim Minchin.

The MSO reaches an even larger audience through its regular concert broadcasts on ABC Classic FM, also streamed online, and through recordings on Chandos and ABC Classics. The MSO’s Education and Community Engagement initiatives deliver innovative and engaging programs to audiences of all ages, including MSO Learn, an educational iPhone and iPad app designed to teach children about the inner workings of an orchestra.

The Melbourne Symphony Orchestra is funded principally by the Australian Government through the Australia Council, its arts funding and advisory body, and is generously supported by the Victorian Government through Creative Victoria, Department of Economic Development, Jobs, Transport and Resources. The MSO is also funded by the City of Melbourne, its Principal Partner, Emirates, corporate sponsors and individual donors, trusts and foundations.

Welcome to Vivaldi’s Four Seasons

MELBOURNE SYMPHONY ORCHESTRA

4 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

Dale Barltrop violin / director

Brisbane-born violinist Dale Barltrop began his violin studies in Brisbane, where he made his solo debut at age 15 with the Queensland Symphony Orchestra. He later moved to the United States to complete tertiary studies at the University of Maryland and the Cleveland Institute of Music.

Dale is currently Co-Concertmaster of the Melbourne Symphony Orchestra, and is also Concertmaster of the Vancouver Symphony Orchestra. Previously, he has held Principal and Guest Concertmaster positions with the Australian Chamber Orchestra, the Camerata of St John’s Chamber Orchestra and the Saint Paul Chamber Orchestra. Dale has performed at numerous music festivals across North America, including Mainly Mozart, Festival Mozaic, Music in the Vineyards, Yellow Barn, Kneisel Hall, Tanglewood and the New York String Seminar. He was a prize-winner at the Fischoff National Chamber Music Competition and winner of the violin division of the American String Teachers Association National Solo Competition.

Dale has served on the faculty of the University of British Columbia and the Vancouver Academy of Music, and has taught at the National Orchestral Institute in Maryland and the Australian National Academy of Music.

Matthew Tomkins violin

Matthew Tomkins has been a member of the Melbourne Symphony Orchestra since 2000, and in 2010 was appointed to the position of Principal Second Violin.

Matthew’s teachers included Marco van Pagee, Spiros Rantos and Mark Mogilevski, and he also holds a Bachelor of Engineering and a Bachelor of Science degree from the University of Melbourne.

With the MSO he has toured throughout Europe and China and performed with artists as diverse as Nigel Kennedy, Charles Dutoit, KISS, and Tim Minchin. Matthew is a regular performer in the MSO Chamber Players series, as well as performing regularly with the Flinders Quartet and Melbourne Chamber Orchestra. He tutors for the Australian Youth Orchestra, and teaches chamber music and violin at the University of Melbourne.

ABOUT THE ARTISTS

Melbourne Symphony Orchestra

Dale Barltrop violin / director

Matthew Tomkins violin—BRITTENVariations on a Theme of Frank Bridge, Op.10

J.S. BACHConcerto for Two Violins in D minor, BWV.1043—Interval 20 minutes—VIVALDIThe Four Seasons —This concert has a duration of approximately 2 hours including one 20 minute interval.

Saturday night’s performance will be recorded for delayed broadcast on ABC Classic FM.

Pre-Concert Talks

7pm Thursday 25 June Onstage, Elisabeth Murdoch Hall

7pm Friday 26 June Foyer, Robert Blackwood Hall

Megan Burslem will present a talk on the artists and works featured in this program.

Post-Concert Conversation

8.30pm Saturday 27 June Onstage, Elisabeth Murdoch Hall

Join MSO Assistant Principal Second Violin Monica Curro for a post-concert conversation with tonight’s soloist and MSO Concertmaster Dale Barltrop.

5VIVALDI’S FOUR SEASONS

Benjamin Britten (1913–1976)

Variations on a Theme of Frank Bridge, Op.10

Introduction and ThemeVariation 1: AdagioVariation 2: MarchVariation 3: RomanceVariation 4: Aria italianaVariation 5: Bourrée classiqueVariation 6: Wiener WaltzerVariation 7: Moto perpetuoVariation 8: Funeral MarchVariation 9: ChantVariation 10: Fugue and Finale

—

Britten’s Bridge Variations were among the first of his works to draw wide attention to a new voice in English music, a fresh gift not just of remarkable technical facility, but of a creative imagination unlike anything previously heard in 20th-century English music; independent both of the folk-song revival and of Elgarian Romanticism. It was written as an urgent commission when Boyd Neel and his orchestra were asked to play a new English work as a condition of giving a concert at the Salzburg Festival of 1937. Britten completed the Variations in sketch form in ten days, and the full score was ready in four weeks. The composer thus gave early notice of an ability which would endear him to artistic managements – he fulfilled his commissions on time. The assurance, indeed the technical brilliance, of the work cannot

be underestimated, but was not unexpected to those familiar with the young Britten’s previous achievement, both in writing for strings (Simple Symphony, 1934) and in variation form. Variation form came naturally to Britten, and he preferred it to sonata structures.

The choice of theme and the dedication ‘To F.B. A tribute with affection and admiration’ acknowledged Britten’s debt of gratitude to the composer Frank Bridge (1879-1941), who had first noticed Britten’s talent when he was a boy at Gresham’s School, Norfolk, and continued to encourage and help him during his studies at the Royal College of Music. The theme of the Variations comes from Bridge’s Idyll No.2 for string quartet. It is first heard played by a solo violin after an introduction where fanfare-like figures act both as a call to attention and an intimation of the harmonic world of the Variations as a whole. The theme is immediately developed by the full strings. Thereafter, the relationship of the variation to the theme is rarely obvious, though the characteristic pattern of two falling fifths is often prominent.

Not only is Britten’s variation technique daringly free, but his parody technique surveys widely contrasting musical outlooks and is a guide to the elements, many of them European in origin, which were contributing to his new style of English music. The first variation,

a violin recitative, shows the influence of Mahler. In the March of the second variation there is a suggestion of goose-stepping: Britten and many of his artistic contemporaries were preoccupied with the shadow of fascism falling across Europe in the late 1930s. The pizzicato bass which accompanies the neoclassical melody of the Romance is closely related to Bridge’s theme. Britten’s parody of the coloratura runs and trills of Rossinian opera in Variation 4 is an affectionate one. Perhaps the simple Vivaldian sequences of Variation 5 jibe at the neo-Baroque compositions of the inter-war years; certainly Variation 6 guys the Viennese Waltz. After a virtuosic Moto perpetuo, comes a Funeral March whose evocative sonorities, of muffled drums for example, show what surprising sounds can be extracted from the string band. The influence of Mahler is felt here, and in the Chant, while the Fugue most strongly reveals the influence of Frank Bridge’s craftsmanship. Finally Bridge’s theme is heard in a fully harmonised setting, imposing a note of serious and meditative intensity which counterbalances the wit and brilliance of much that has gone before.

© David Garrett

Melbourne Symphony Orchestra has performed this work on only two previous occasions: in 1949 with Bernard Heinze, and in 1963 with Maurice Clare.

ABOUT THE MUSIC

6 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

Johann Sebastian Bach (1685–1750)

Concerto for Two Violins in D minor, BWV.1043

Vivace

Largo ma non tanto

Allegro

Dale Barltrop violinMatthew Tomkins violin—The musical theologian Albert Schweitzer, in his study of Bach, wrote of the violin concertos: ‘We must put them in the category of which Forkel [Bach’s first biographer] briefly and eloquently observes: “One can never say enough of their beauty.”’

There are some useful things, nevertheless, that can be said. Now that Vivaldi’s concertos are better known we realise why Bach admired them so much – his own concertos for violin were composed at Cöthen between 1717 and 1723, shortly after he got to know Vivaldi’s music. The opening theme of this D minor concerto may be borrowed from Vivaldi’s Op.1 No.11.

Yet how different is Bach’s opening from most of Vivaldi’s! In place of Vivaldi’s fiery and assertive unisons Bach presents his ideas in muscular

counterpoint, with a superbly active bass line, interweaving parts and rhythmic drive helped by uneven phrase lengths. Bach’s adaptation of his model presents a contrast between Vivaldi’s Latin sensuality and Bach’s Northern sensibility and argumentativeness. What remains like Vivaldi is the way the texture clears for the entries of the soloists, with their wide leaps and interchanging roles.

The heart-easing singing of the soloists in the slow movement distracts anyone but a scholar from how it is put together, out of typically Baroque formulas: descending scales, rising and falling sequences, and repeated arpeggios as ostinatos. To refresh the ear after so much sustained playing Bach writes a transition in detached notes, leading towards a climax of intensity.

The motor-like energy of the concluding movement is almost all derived from a three-note figure, heard at the beginning. Eventually two other figures come to join it: powerful, rich chords, and a rising and falling six-note theme of wider intervals. All this material is constantly exchanged between the soloists and the full ensemble.

Abridged from an annotation by David Garrett © 1997

The Melbourne Symphony Orchestra first performed this concerto in April 1940 with conductor Bernard Heinze and soloists Edouard Lambert and Ernest Llewellyn. MSO’s most recent performance was in April 1986 with conductor Hiroyuki Iwaki and soloists Thomas Zehetmair and Adele Anthony.

ABOUT THE MUSIC

7VIVALDI’S FOUR SEASONS

Antonio Vivaldi (1678–1741)

Le quattro stagioni (The Four Seasons)

Concerto in E, RV 269, La primavera (Spring)Allegro

Largo

Allegro

Concerto in G minor, RV 315, L’estate (Summer)Allegro non molto

Adagio – Presto

Presto

Concerto in F, RV 293, L’autunno (Autumn)Allegro – Allegro assai

Adagio molto

Allegro

Concerto in F minor, RV 297, L’inverno (Winter)Allegro non molto

Largo

Allegro

Dale Barltrop violin—Antonio Vivaldi died in Vienna in July 1741 and was buried in an unmarked grave. His music was rarely if ever played between then and the 1930s, when musicians in Italy began rediscovering Vivaldi’s huge and varied output of works. With the interest of music scholars like Alfred Einstein, composer Alfredo Casella and poet Ezra Pound, the revival of Vivaldi began; by the end of the 20th century Vivaldi was once again one of the most popular and frequently performed composers.

Despite his death in obscure poverty, Vivaldi had enjoyed great popularity and success during his lifetime. Born in Venice in 1678, Vivaldi began learning violin with his father, a professional musician. He began studying for the priesthood in his early teens, though this in no way would have been seen as conflicting with the expectation of a career in music. It should be noted, too, that in Vivaldi’s time one was not obliged to enter a seminary; he was effectively ‘apprenticed’ to an older priest and was eventually ordained.

Although ordained a priest, Vivaldi spent his adult life as a composer and violinist. His works included some 500 concertos as well as many operas, instrumental sonatas and a large body of sacred music. He pioneered the solo concerto, rather than the more common concerto grosso which had, at the very least, a pair of solo instruments. This was in part a vehicle for his own virtuosity; his playing was clearly prodigious – one contemporary describes how Vivaldi ‘put his fingers but a hair’s breadth from the bow, so that there was scarcely room for the bow’. He also experimented with violin technique, developing methods like position shifts, the use of mutes and pizzicato to create new sounds and effects, often with specifically illustrative intent.

Venice in Vivaldi’s time was, as H.C. Robbins Landon puts it, ‘a city past its prime’, yet it maintained a rich and elaborate cultural life. A particular feature of the city was the establishment of a number of orphanages for girls that doubled as music academies. In 1703, the year he was ordained, Vivaldi began teaching at one such orphanage, the Ospedale della Pietà. In his capacity as director of music at the Pietà, Vivaldi composed the first known concertos for cello, bassoon, mandolin and flautino (sopranino recorder). On the available evidence, the students were very fine players indeed.

The Four Seasons forms part of Il cimento dell’armonia e dell’inventione (‘The Contest of Harmony and Invention’), Opus 8, which was published in 1725 in Amsterdam. The Four Seasons is a frankly programmatic work. French composers had a tradition of music imitating nature, but Vivaldi was one of the first Italian composers to experiment in this vein. Vivaldi’s rhetoric exquisitely depicts the seasons’ progress, described also in sonnets (possibly written by him) which he affixed to the score.

The bright opening of the first concerto reflects joy at the arrival of spring, and the soloist’s entry sets off a chain reaction of trilling birdcalls over a static bass. Rippling passages suggest running water, and the

menace of distant thunder can be heard before the birds sing again. In the slow movement, a goat-herd falls asleep among murmuring plants, not even disturbed by the repeated barking of his dog. In the finale Botticellian nymphs and shepherds perform a rustic dance with bagpipe drone.

Summer’s first movement embodies a sense of heat-struck lassitude with only the intrepid cuckoo and turtle-dove calling, as the shepherd fears the encroaching storm. This apprehension is carried over into the unquiet slow movement, before the storm arrives in all its fury in the finale.

Autumn begins with peasants celebrating the harvest with dance and song, and, as the movement progresses, Vivaldi creates a striking musical image of drunkenness. In the slow movement, the peasants sleep off their binge, before going hunting in the finale. This contrasts cantering ‘hunting’ music with the panic of the quarry, which is caught and killed.

Snow, ice, chattering teeth and a cruel wind inform the first movement of Winter, but for the slow movement we go indoors and enjoy a crackling fire as the rain beats on the windows. The finale begins with ice-skating, weaving different voices in slow-moving elegant arcs. The ice cracks, the skater shivers, and the four winds are unleashed.

Gordon Kerry © 2005/2010

The Melbourne Symphony Orchestra first performed The Four Seasons in June 1954 with conductor Enrique Jorda and soloist Maurice Clare, and most recently in 2010 with James Ehnes as director/soloist.

ABOUT THE MUSIC

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Sir Andrew Davis Harold Mitchell AC Chief Conductor Chair Diego Matheuz Principal Guest Conductor Benjamin Northey Patricia Riordan Associate Conductor Chair

FIRST VIOLINSDale BarltropConcertmasterEoin AndersenConcertmasterSophie Rowell Associate ConcertmasterPeter Edwards Assistant PrincipalKirsty Bremner MSO Friends ChairSarah CurroPeter FellinDeborah GoodallLorraine HookKirstin KennyJi Won KimEleanor ManciniMark Mogilevski Michelle RuffoloKathryn TaylorJacqueline Edwards*Robert John*

SECOND VIOLINSMatthew Tomkins The Gross Foundation Principal Second Violin ChairRobert MacindoeAssociate PrincipalMonica Curro Assistant PrincipalMary AllisonIsin CakmakciogluFreya FranzenCong GuAndrew HallFrancesca Hiew

Rachel HomburgChristine JohnsonIsy WassermanPhilippa WestPatrick WongRoger Young

VIOLASChristopher MoorePrincipalChristopher CartlidgeActing Associate PrincipalLauren BrigdenKatharine BrockmanSimon CollinsGabrielle HalloranTrevor Jones Fiona Sargeant Cindy WatkinCaleb WrightCeridwen Davies*Isabel Morse*

CELLOSDavid Berlin MS Newman Family Principal Cello ChairRachael Tobin Associate PrincipalNicholas Bochner Assistant PrincipalMiranda BrockmanRohan de KorteKeith JohnsonSarah MorseAngela SargeantMichelle Wood

DOUBLE BASSESSteve Reeves PrincipalAndrew Moon Associate PrincipalSylvia Hosking Assistant PrincipalDamien EckersleyBenjamin HanlonSuzanne LeeStephen Newton

FLUTESPrudence Davis Principal Flute Chair – AnonymousWendy Clarke Associate PrincipalSarah Beggs

PICCOLOAndrew MacleodPrincipal

OBOESJeffrey Crellin PrincipalAnn Blackburn

COR ANGLAISMichael Pisani Principal

CLARINETSDavid Thomas PrincipalPhilip Arkinstall Associate PrincipalCraig Hill

BASS CLARINETJon Craven Principal

BASSOONSJack Schiller PrincipalElise Millman Associate Principal Natasha Thomas

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TRUMPETSGeoffrey Payne PrincipalShane Hooton Associate PrincipalWilliam EvansJulie Payne

TROMBONESBrett Kelly Principal

BASS TROMBONEMike Szabo Principal

TUBATimothy Buzbee Principal

TIMPANIChristine Turpin Principal

PERCUSSIONRobert Clarke PrincipalJohn ArcaroRobert Cossom

HARPYinuo Mu Principal

HARPSICHORDCalvin Bowman*

*Guest musician

MELBOURNE SYMPHONY ORCHESTRA

9VIVALDI’S FOUR SEASONS

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MANAGEMENT

10 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

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THE MSO GRATEFULLY ACKNOWLEDGES THE SUPPORT RECEIVED FROM THE ESTATES OF:Angela Beagley, Gwen Hunt, Pauline Marie Johnston, C P Kemp, Peter Forbes MacLaren, Prof Andrew McCredie, Miss Sheila Scotter AM MBE, Molly Stephens, Jean Tweedie, Herta and Fred B Vogel, Dorothy Wood

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Eoin Andersen violin/director

MOZART SYMPHONY No.40

BOOK NOW MSO.COM.AU | (03) 9929 9600

17 September at 8pm 19 September at 6.30pm Elisabeth Murdoch Hall Melbourne Recital Centre

18 September at 8pm Robert Blackwood Hall Monash University Clayton

Across the gulf of a century, Mozart and Stravinsky created distinctive music shaped and inspired by rich interrogations of classical forms. MSO Concertmaster Eoin Andersen leads Mozart’s final Violin Concerto and the unmistakable melancholic strains of his Symphony No.40, alongside two masterful works by Stravinsky.