SEASON 2008 TEA & SYMPHONY PRESENTED BY KAMBLY

EIGHT SEASONS Friday 23 May | 11am Sydney Opera House Concert Hall Michael Dauth violin-director ANTONIO VIVALDI (1678–1741) Le quattro stagioni (The Four Seasons) ASTOR PIAZZOLLA (1921–1992) arr. Leonid Desyatnikov Cuatro estaciones porteñas (The Four Seasons of Buenos Aires) In this concert of ‘eight seasons’ Vivaldi’s baroque concertos are interwoven with Piazzolla’s Argentinean tangos: VIVALDI La primavera (Spring) Violin Concerto in E major, Op.8 No.1 (RV269) Allegro. Largo. Allegro

This concert will be broadcast live across Australia on ABC Classic FM 92.9.

PIAZZOLLA Verano porteño (Summer in Buenos Aires) VIVALDI L’Estate (Summer) Violin Concerto in G minor, Op.8 No.2 (RV315) Allegro non molto. Adagio. Presto PIAZZOLA Otoño porteño (Autumn in Buenos Aires) VIVALDI L’Autunno (Autumn) Violin Concerto in F major, Op.8 No.3 (RV293) Allegro. Adagio molto. Allegro PIAZZOLLA Invierno porteño (Winter in Buenos Aires) VIVALDI L’Inverno (Winter) Violin Concerto in F minor, Op.8 No.4 (RV297) Allegro non molto. Largo. Allegro PIAZZOLLA Primavera porteña (Spring in Buenos Aires)

PRESENTING PARTNER

Biscuits at Sydney Symphony Tea & Symphony concerts kindly supplied by Kambly

The concert will conclude at approximately 12pm.

It is my great pleasure to welcome you to this concert in the 2008 Tea & Symphony series. Every culture and every country has its own sense of the four seasons. At the literal ends of the earth, there is no day in winter and summer has no night. In the middle, day and night turn like clockwork. Today we hear how two composers from different parts of the globe experienced the four seasons: Vivaldi in Venice and Piazzolla in Buenos Aires. Kambly has epitomised the Swiss tradition of the finest biscuits for three generations. Each masterpiece from the Emmental is a small thank you for life; a declaration of love for the very best; the peak of fine, elegant taste. Kambly is a way of life, dedicated to all those who appreciate the difference between the best and the merely good. In this way it is fitting that we partner with the internationally acclaimed Sydney Symphony, whose vision is to ignite and deepen people’s love of live symphonic music. We hope you enjoy this morning’s rich and inspiring program, and look forward to welcoming you at the next concert in the Tea & Symphony series.

Oscar A. Kambly Chairman Kambly of Switzerland

ABOUT THE MUSIC

Born in Mar del Planta, a fishing port south of Buenos Aires, Piazzolla moved with his family to New York when he was a boy. There, at the age of eight, he received his first bandoneón, which his father bought for $19 from a pawn shop. Moving back to Mar del Planta when he was a teenager, Piazzolla quickly established himself on the musical scene. His formal studies took him into classical territory: the great pianist Artur Rubinstein suggested he study composition with Ginastera, who sent him to Paris to study with Nadia Boulanger, who in turn guided him back to his own distinctive musical voice. Piazzolla eventually created the nuevo tango, a heady, artful combination of Argentine tango, jazz and the principles of classical chamber music.

ANTONIO VIVALDI Italian composer (1687–1741) Caricature by Pier Leone Ghezzi (1723) © E. COMESANA / LEBRECHT MUSIC AND ART

In his lifetime Vivaldi went by the nickname ‘the red priest’ – his hair was red and he was ordained, although a respiratory complaint apparently prevented him from saying mass. Instead he took a post as director of music for the famed Pietà orphanage in Venice and gained renown as a virtuoso violinist and as a composer of operas, sacred choral works such as his popular setting of the Gloria, and the instrumental concertos that have become his chief claim to fame. In fact, Vivaldi wrote more concertos than just about anybody (500 and counting), of which the best-known are today’s violin concertos. His music fell out of fashion after his death, but leapt from obscurity to popular renown in the 1950s. His Four Seasons is one of the most frequently recorded of all the works in the classical repertoire.

ASTOR PIAZZOLLA Argentine composer (1921–1992) Playing the bandoneón (1969), photograph by Eduardo Comesana

EIGHT SEASONS IN ONE CONCERT Vivaldi and Piazzolla The phrase ‘four seasons in one day’ is well-known, even if you don’t live in Melbourne, but basking, shivering, sweltering and escaping the rain is nothing compared with the multiplicity of atmospheres in today’s concert. Rita Williams explores music from eight seasons and two different hemispheres. Antonio Vivaldi wrote 221 concertos for solo violin and orchestra; he is best known for just four of them, The Four Seasons. Published in Amsterdam in 1725, they were the first in the set of a dozen concertos constituting his Opus 8. We know their popularity now, but these were

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concertos were also popular across Europe in Vivaldi’s lifetime. Vivaldi had a firm reputation as ‘the most popular composer for the violin, as well as player on that instrument’. He protected much of his best work by keeping the scores out of the public eye, but when he published his first collection of concertos in 1711 (the set known as L’estro armonico or ‘Harmonic Inspiration’), travelling virtuosos carried the music throughout Europe. Everyone, it seemed, was eager to find out what Vivaldi was doing on his fiddle and with this newfangled form, the solo concerto. With his Opus 8 collection, Vivaldi tested the power of music to describe the natural world, a challenge he announced on the cover of the compendium by naming it Il cimento dell’armonica e dell’invenzione (The contest between harmony and invention). Using a set of sonnets about the four seasons, which he may have written himself, Vivaldi attempted to convey in sound what was written on the page about birds, zephyr winds and storms that break with thunder and lightning. So engrossed in the challenge was Vivaldi that he included supplementary ‘captions’ throughout the music, directing the musician’s attention to the barking dogs, chattering teeth and other striking effects. Most believe he succeeded spectacularly in his attempt, and it is a fun and enriching experience to read the poems while listening to the music. A true test, however, might involve some scientific method, with a control group of people who knew nothing of his intent to guess at what the music depicted, if anything. (Something a sceptic might pursue!) The debate about music’s capacity to communicate as directly as an oil painting or a poem continued to rage for centuries afterwards, even as Vivaldi’s Four Seasons gathered dust and disappeared from the musical firmament. In fact, it disappeared for the entire Enlightenment. As reason and science took over, the musings of an Italian composer and virtuoso with fanciful ideas about the use of music as an expressive tool went underground. Between his impoverished death in July 1742 and the Great Depression of the early 1930s, The Four Seasons was seldom (if ever) in the public ear. Igor Stravinsky accused Vivaldi of writing not 500 concertos but the one concerto 500 times. You might say Vivaldi was on to a good thing and he stuck to it.

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…Vivaldi tested the power of music to describe the natural world…

Not unlike the direction that an ambitious but selfdoubting Astor Piazzolla received when he left his native Argentina to study in Paris with Nadia Boulanger in the 1950s. By then 32, Piazzolla was already famous as leading performer on the bandoneón, a smaller version of the accordion that takes the strong melodic lead in many a swirling tango. Like Vivaldi, he was a virtuoso performer who also composed and arranged music for bands and small orchestras. Whereas Vivaldi created music for orphans and the illegitimate daughters of rich and powerful Viennese to perform at the Ospedale della Pietà, Piazzolla created the nuevo tango, a more complex version of the traditional tango that took inspiration from the Argentinean underclass and brothel scene. And when Piazzolla sought Boulanger’s advice after composing a symphonic work, she told him the way forward lay in his experience with tango. He would go on to compose about 750 tangos, introducing elements of classical music (chromaticism, dissonance, rhythmic complexity) and jazz into the dance form, much to the distaste of the old guard. The Four Seasons of Buenos Aires was not originally composed for violin and orchestra, after the Vivaldi model. It was not composed as a set, after that model, or even with all the references you will hear to that model in today’s performance. Piazzolla penned the first of his Estaciones porteñas – Verano (Summer) in 1965 for his Quinteto Nuevo Tango, comprising violin, electric guitar, piano, bass and bandoneón. Autumn followed in 1969, then Winter and Spring in 1970. But the pieces were seldom (if ever) performed together until 1991, when Piazzolla was in a coma that would endure for a year before his death. The timing is interesting. In 1989, Nigel Kennedy recorded Vivaldi’s Four Seasons and established a runaway success. It still holds the record for the most classical albums ever sold – more than two million. In 1991, while Piazzolla was in a coma, his friends and admirers banded together to create a tribute album that they called ‘Four Seasons of Buenos Aires’. They took the title from a Jaques Morelenbaum arrangement of the four tangos Piazzolla composed for the porteños, or port people of Buenos Aires. These tangos did not describe the weather or the natural landscape, but the barometer of the people in the city,

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Piazzolla’s tangos took inspiration from the Argentinean underclass and brothel scene.

their attitude, sensuality, vulnerability and passion. They combined popular dance rhythms with brooding harmonies, art music devices and special effects (one of which sounds remarkably like a croaky frog). Each season is a single-movement rhapsody, but like Vivaldi’s seasons, they are divided into clear sections and display an endless inventiveness that entertains and rewards the ear and the mind. Morelenbaum pulled the four tangos together to make a suite, and orchestrated them for woodwind quintet, three cellos and a double bass. Many other arrangements of the suite were made subsequently, including today’s ingenious arrangement for solo violin and orchestra by the Russian composer Leonid Desyatnikov. It was Gidon Kremer, the Latvian violinist and leader of Kremerata Baltica, who asked his long-time collaborator Desyatnikov to arrange Piazzolla’s Seasons after the Vivaldi model. Kremer’s conception – captured on his recording of the two works, Eight Seasons – splices them in the same order that you will hear them performed today. And there is plenty of fun to be had spotting the similarities. Piazzolla’s spring is filled with lots of funny croaking sounds, like Vivaldi’s birds, then moves into the chordal stasis of Vivaldi’s autumn movement. Kremer says this combination of spring and autumn acknowledges that while it’s spring in Argentina it is autumn in Italy. In Piazzolla’s autumn tango, there are references to Vivaldi’s spring concerto. The winter tango quotes from the summer concerto (as well as Boccherini and Bach), and there are obvious allusions to Vivaldi’s winter at the start and finish of Piazzolla’s summer. The timeless beauty of both works makes it hard to imagine a day when this music will ever be out of season. RITA WILLIAMS SYDNEY SYMPHONY ©2008

MORE MUSIC Last year Michael Dauth and the Orchestra Ensemble Kanazawa recorded this program of Eight Seasons (WPCS-12034). It can be ordered online from cdJapan.co.jp, the following shortcut links directly to the CD page: http://tinyurl.com/54qade Gidon Kremer’s original recording with the Kremerata Baltica, made in 1998, is available on the Nonesuch label (79568-2).

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…there is plenty of fun to be had spotting the similarities.

Vivaldi’s Four Seasons concertos are accompanied by sonnets that mirror the descriptive character of the music. The author is unknown, but it is generally assumed that Vivaldi wrote the sonnets himself. SPRING

AUTUMN

Allegro Here comes the Spring, and festively She is saluted by the birds with a merry song; The fountains and whispering Zephyrs Flow all the while, with sweet murmuring harmonies.

Allegro The peasants celebrate with dance and song The happiness of a good harvest And the wine of Bacchus having fired them, It comes to an end in sleep.

Advancing over the heavens is a black mantle With lightning and thunder chosen to announce her; Then, when all is silent, the little birds Return anew to their tuneful songs.

Adagio molto Gradually each ceases singing and dancing; The mild and pleasant air Of this Season beckons one and all To the sweetness of sleep.

Largo And later in the lovely flowering fields, To the delightful murmuring of fronds and leaves, The goat-herd sleeps, his faithful dog watchful beside him. Allegro To the rustic bagpipes’ sound Nymphs and shepherds dance beneath the canopy; Spring appears, clothed in brilliance.

Allegro The hunter at the new dawn joins the chase With horn, guns and dogs; The hunted beast flees, and the scent is followed; Already confused and distracted by the great noise Of guns and dogs, wounded by shot Weakly it flees, but exhausted, dies.

WINTER SUMMER Allegro non molto – Allegro Beneath this hard and burning sun Men and beasts languish and the pine trees burn; Stuttering, the Cuckoo gives voice, and in answer Sing the Turtledove and the Goldfinch. The sweet Zephyr blows, but is challenged by Boreas the North Wind; The shepherd weeps, because he fears The fierce coming storm, and for his fate. Adagio His tired limbs are deprived of their rest By his fear of lightning and fierce thunder; The flies swarming furiously! Presto Ah, his fears are all too true – Thunder and flashes in the Heavens! Hailstones dash the heads from stalks of ripe grain!

Allegro non molto We freeze and shiver amidst the silvery snow At the severe breath of the horrid wind; We stamp cold feet relentlessly While the harsh frost makes our teeth chatter. Largo To pass the day by the fire, quiet and content, While outside there is drenching rain. Allegro To walk out on the ice, and with slow steps, For fear of falling, tread cautiously. To go boldly, skid, fall to the ground, And go on the ice anew; to run strongly Until the ice breaks and splits apart. To hear them emerge from their iron gates: Sirocco the South, Boreas the North and all the Winds at war – This is Winter, but it too brings joy.

TRANSLATED FROM THE ITALIAN BY DAVID V. RUSSELL SYMPHONY AUSTRALIA ©1998 GOVERNMENT SUPPORT

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The Sydney Symphony is assisted by the Australian Government through the Australia Council and by the NSW Ministry for the Arts.

ABOUT THE ARTISTS Michael Dauth violin-director

Of English-German origin, Michael Dauth began violin studies under the direction of his father, later studying with Franz Josef Maier and the Amadeus Quartet in Cologne, and with Yfrah Neaman at the Guildhall School in London. Soon after, he became Concertmaster of Hanover’s North German Radio Orchestra and successfully auditioned for the Berlin Philharmonic under Herbert von Karajan. He was invited to lead the Berlin Philharmonic Octet, Berlin Piano Trio and Chamber Virtuosi. In 1988 he moved to Australia, became Concertmaster of the Melbourne Symphony, and was a founding member, Special Concertmaster and Artistic Director of the Orchestra Ensemble Kanazawa, Japan, a position he still holds today. Michael Dauth has appeared as a soloist with major orchestras in Japan, Australia, New Zealand and Europe. His chamber music partners include Wenzel Fuchs, Pavel Gillilov, Phillip Moll, Karl Leister, Gerhard Oppitz, Leif Ove Andsnes, Cyprien Katsaris, Hiroku Nakamura, Vadim Sakarov, Geoffrey Tozer and Piers Lane, and he has appeared at all the major festivals including Salzburg, Lucerne, Berlin and Tokyo. He has recorded the Beethoven, Tchaikovsky and Mendelssohn violin concertos, the Beethoven Romances, works by Saint-Saëns, Massenet, Kreisler and Drdla, Schnittke’s Concerto Grosso (which received the Deutsche Grammophon prize in Japan), and the world premiere recording of Takemitsu’s Nostalghia, as well as the Mozart and Brahms Clarinet Quintets with his Japan-based Sunrise String Quartet and Wenzel Fuchs. His recordings with Orchestra Ensemble Kanazawa include an all-Johann Strauss release and most recently a recording of today’s Eight Seasons program. Michael Dauth is frequently a guest professor and a juror at international violin competitions. In 2003 he received the Centenary medal awarded by the GovernorGeneral for service to Australian society and the advancement of music. As Concertmaster, Michael Dauth is sponsored by the Board and Council of the Sydney Symphony as part of the Orchestra’s Directors’ Chairs program.

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KEITH SAUNDERS

CO-CONCERTMASTER OF THE SYDNEY SYMPHONY

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PLAYING YOUR PART The Sydney Symphony gratefully acknowledges the music lovers who donate to the Orchestra each year. Every gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs. Because we are now offering free programs and space is limited we are unable to list donors who give between $100 and $499 – please visit sydneysymphony.com for a list of all our patrons. Patron Annual Donations Levels Maestri $10,000 and above Virtuosi $5000 to $9999 Soli $2500 to $4999 Tutti $1000 to $2499 Supporters $500 to $999 To discuss giving opportunities, please call Alan Watt on (02) 8215 4619. Maestri Brian Abel & the late Ben Gannon AO ° Geoff & Vicki Ainsworth * Mr Robert O Albert AO *‡ Alan & Christine Bishop °§ Sandra & Neil Burns * Mr Ian & Mrs Jennifer Burton ° Libby Christie & Peter James °§ The Clitheroe Foundation * Mr John C Conde AO °§ Mr John Curtis § Penny Edwards °* Mr J O Fairfax AO * Fred P Archer Charitable Trust § Dr Bruno & Mrs Rhonda Giuffre* Mr Harcourt Gough § Mr David Greatorex AO & Mrs Deirdre Greatorex § The Hansen Family § Mr Andrew Kaldor & Mrs Renata Kaldor AO § H Kallinikos Pty Ltd § Mrs Joan MacKenzie § Mrs T Merewether OAM & the late Mr EJ Merewether Mr B G O’Conor °§ The Paramor Family * The Ian Potter Foundation ° Dr John Roarty in memory of Mrs June Roarty Mr Paul & Mrs Sandra Salteri ° Mrs Joyce Sproat & Mrs Janet Cooke § Andrew Turner & Vivian Chang Mr Brian & Mrs Rosemary White§ Anonymous (2) *

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Sydney Symphony Founded in 1932, the Sydney Symphony has evolved into one of the world’s finest orchestras as Sydney has become one of the world’s great cities. Resident at the Sydney Opera House, the Orchestra also performs throughout Sydney and regional New South Wales, and has toured internationally. Critical to the Orchestra’s success has been the leadership given by its former Chief Conductors, including Sir Eugene Goossens, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Stuart Challender and Edo de Waart, as well as collaborations with legendary figures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky. Maestro Gianluigi Gelmetti is now in his fifth and final year as Chief Conductor and Artistic Director, a position he holds in tandem with that of Music Director at Rome Opera. FIRST VIOLINS

CELLOS

Michael Dauth Concertmaster Kirsten Williams Assoc Concertmaster Jennifer Johnson Georges Lentz Nicola Lewis Léone Ziegler Emily Qin# Michele O’Young*

Catherine Hewgill Fenella Gill Elizabeth Neville Adrian Wallis

SECOND VIOLINS Marina Marsden Emma West A/Assoc Principal Shuti Huang Nicole Masters Biyana Rozenblit Alexander Norton#

DOUBLE BASSES Kees Boersma Richard Lynn

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Her Excellency Professor Marie Bashir AC CVO GOVERNOR OF NEW SOUTH WALES

Gianluigi Gelmetti CHIEF CONDUCTOR AND ARTISTIC DIRECTOR SPONSORED BY EMIRATES

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HARPSICHORD

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Bold = Principal Italic = Associate Principal * = Guest Musician # = Contract Musician

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