Simone Young & Mahler Sat 23 Jul 2016 FESTIVAL THEATRE

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ADELAIDE SYMPHONY ORCHESTRA - GREAT CLASSICS 2016

Simone Young & Mahler Great Classics 3 Festival Theatre Sat 23 Jul 2016 Simone Young Conductor

Schubert

Symphony in B minor, Unfinished Allegro moderato Andante con moto

Interval

Mahler

Symphony No 6 in A minor Allegro energico, ma non troppo. Heftig, aber markig Scherzo: Wuchtig Andante moderato Finale. Allegro moderato – Allegro energico

This concert runs for approximately 124 minutes including interval. This performance will be recorded by ABC Classic FM for broadcast on Wednesday 27 July at 1pm. Classical Conversation Free for ticket holders. One hour prior to the performance in the Festival Theatre auditorium. ASO Principal Cello Simon Cobcroft explores the connections between the two composers, Schubert and Mahler, and the links between the two musical works featured in tonight’s program.

ADELAIDE SYMPHONY ORCHESTRA - GREAT CLASSICS 2016

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ADELAIDE SYMPHONY ORCHESTRA - GREAT CLASSICS 2016

Simone Young Simone Young AM, is internationally recognised as one of the leading conductors of her generation and was General Manager and Music Director of the Hamburgische Staatsoper and Music Director of the Philharmonic State Orchestra Hamburg from 2005-2015. An acknowledged interpreter of the operas of Wagner and Strauss, she has conducted several complete cycles of Der Ring des Nibelungen at the Vienna State Opera, the State Opera in Berlin and in Hamburg. Her Hamburg recordings include the Ring cycle, Mathis der Maler (Hindemith), and symphonies of Bruckner, Brahms and Mahler. Simone Young has been Music Director of Opera Australia, Chief Conductor of the Bergen Philharmonic Orchestra and Principal Guest Conductor of the Gulbenkian Orchestra, Lisbon. She has conducted at all the leading opera houses including the Vienna State Opera, Opéra National de Paris, Royal Opera House Covent Garden, Bayerische Staatsoper, Metropolitan Opera New York, Los Angeles Opera and Houston Grand Opera, and regularly leads some of the world’s great orchestras including the Berlin, Vienna, Munich, London and New York Philharmonic orchestras, the Staatskapelle Dresden, the Bruckner Orchestra, Linz, City of Birmingham Symphony, and the Wiener Symphoniker.

Conductor

She has been elected to the Akademie der Kuenste in Hamburg, awarded a Professorship at the Musikhochschule in Hamburg and Honorary Doctorates from Griffith University, Monash University and the University of New South Wales. Other awards include Green Room and Helpmann Awards, the 2014 International Opera Awards for best anniversary production for Verdi trilogy - La battaglia di Legnano, I due Foscari, I Lombardi with the Hamburg Staatsoper, Chevalier de l’Ordre des Arts et des Lettres from France, the Goethe Institute Medal and the Sir Bernard Heinze Award. Simone Young regularly returns to Australia, and in 2016 will also lead the Queensland, West Australian and Melbourne symphony orchestras, and the Australian National Academy of Music Orchestra, Melbourne.

ADELAIDE SYMPHONY ORCHESTRA - GREAT CLASSICS 2016

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Adelaide Symphony Orchestra Principal Conductor Nicholas Carter \ Principal Guest Conductor and Artistic Adviser Jeffrey Tate \ Artist-in-Association Pinchas Zukerman \ VIOLINS Natsuko Yoshimoto** (Concertmaster) Cameron Hill** (Associate Concertmaster) Shirin Lim* (Principal 1st Violin) Michael Milton** (Principal 2nd Violin) Lachlan Bramble~ (Associate Principal 2nd Violin) Janet Anderson Erna Berberyan Gillian Braithwaite Julia Brittain Hilary Bruer Nadia Buck Elizabeth Collins Jane Collins Judith Coombe Frances Davies Belinda Gehlert Alison Heike Wendy Heiligenberg Danielle Jaquillard Zsuzsa Leon Alexis Milton Jennifer Newman Julie Newman Emma Perkins Alexander Permezel Kemeri Spurr VIOLAS Juris Ezergailis** Imants Larsens~ Martin Butler Lesley Cockram

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Linda Garrett Anna Hansen Rosi McGowran Michael Robertson Cecily Satchell Aiden Sullivan CELLOS Simon Cobcroft** Ewen Bramble~ Sarah Denbigh Christopher Handley Sherrilyn Handley Gemma Phillips David Sharp Cameron Waters DOUBLE BASSES David Schilling** Belinda Kendall-Smith~ (Acting Associate Principal) Jacky Chang Harley Gray David Phillips Sean Renaud FLUTES Geoffrey Collins** Lisa Gill Rebecca Johnson Samantha Hennessy PICCOLO Julia Grenfell* OBOES Celia Craig** Renae Stavely Joshua de Graaf Nicola Popplewell COR ANGLAIS

E FLAT CLARINET Darren Skelton* BASS CLARINET Mitchell Berick* BASSOONS Mark Gaydon** Leah Stephenson Kristina Phillipson Timothy Rosen CONTRA BASSOON Jackie Newcomb* HORNS Adrian Uren** Sarah Barrett~ Alex Miller Philip Paine* Emma Gregan Dorée Dixon Alison Harris Thalia Huston Nicole John TRUMPETS Owen Morris** Martin Phillipson~ Gregory Frick Timothy Keenihan Robin Finlay Nicholas Bauer TROMBONE Cameron Malouf ** Ian Denbigh Edward Koltun BASS TROMBONE Howard Parkinson*

Peter Duggan*

TUBA Peter Whish-Wilson*

CLARINETS Dean Newcomb** Matthew Larsen Samantha Webber Darren Skelton

TIMPANI Robert Hutcheson** Andrew Penrose

ADELAIDE SYMPHONY ORCHESTRA - GREAT CLASSICS 2016

PERCUSSION Steven Peterka** Gregory Rush Jamie Adam Andrew Penrose Jonathan Sickerdick Fleur Green HARP Suzanne Handel* Carolyn Burgess CELESTE Katrina Reynolds* (Guest Principal)

** denotes Section Leader ~ denotes Associate Principal

* denotes Principal Player denotes Musical Chair Support (see pp 10-12 for list) \ denotes Conductors’ Circle Support (see pg 10 for list) Correct at time of print

ASO BOARD MEMBERS Colin Dunsford AM (Chair) Vincent Ciccarello Geoffrey Collins Col Eardley Byron Gregory David Leon Chris Michelmore Andrew Robertson ASO MANAGEMENT EXECUTIVE Vincent Ciccarello - Managing Director Guy Ross - Chief Operating Officer Ashlyn Cooper - Executive Administrator ARTISTIC Simon Lord - Director, Artistic Planning Stevan Pavlovic - Artistic Administrator Emily Gann - Learning & Community Engagement Coordinator MARKETING AND DEVELOPMENT Paola Niscioli - Director, Marketing & Development Fiona Whittenbury - Corporate Partnerships Manager Alexandra Bassett - Donor Relations Manager Dani Lupoi - Development Assistant Tom Bastians - Customer Service Manager Kate Lees - Publicist Kane Moroney - Audience Development Coordinator Michelle Robins - Publications & Communications Coordinator Annika Stennert - Marketing Coordinator

FINANCE AND HR Louise Williams - Manager, People & Culture Katherine Zhang - Accountant Karin Juhl - Accounts Coordinator Sarah McBride - Payroll Coordinator Emma Wight - Administrative Assistant OPERATIONS Karen Frost - Orchestra Manager David Khafagi - Orchestra Coordinator Naomi Gordon - Production & Venue Coordinator Bruce Stewart - Orchestral Librarian Ryan Mahony - Production & Venue Assistant

FRIENDS OF THE ASO EXECUTIVE COMMITTEE Alison Campbell - President Liz Bowen - Immediate Past President Alyson Morrison and John Pike - Vice Presidents Judy Birze - Treasurer/Secretary John Gell - Assistant Secretary/Membership Correct at time of print

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Conductors’ Circle and donors Principal Conductor Nicholas Carter

Established in 2015 to directly support the ASO’s new Artistic Leadership Team, the Conductors’ Circle is a small group of extraordinary benefactors. Special thanks go to our founding Conductors’ Circle donors:

• The Friends of the ASO • The Richard Wagner Society of South Australia Principal Guest Conductor • Two anonymous donors and Artistic Adviser • Joan Lyons & Diana McLaurin Jeffrey Tate • Robert Pontifex AM, in the memory of Deborah Pontifex, as a tribute “to our enduring friendship with Jeffrey Tate” Artist-in-Association Pinchas Zukerman

and supported by Creative Partnerships Australia through Plus1.

Musical chair players and donors Concertmaster Natsuko Yoshimoto

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

Associate Concertmaster Cameron Hill

Supported by The Baska Family Principal 1st Violin Shirin Lim

Supported in the memory of Dr Nandor Ballai and Dr Georgette Straznicky

Violin Ann Axelby

Supported by David & Linnett Turner

Violin Minas Berberyan

Supported by Merry Wickes

Violin Gillian Braithwaite

Supported by Mary Dawes BEM

Principal 2nd Violin Michael Milton

Supported by The Friends of the ASO in the memory of Ann Belmont OAM

Violin Hilary Bruer

Associate Principal 2nd Violin Lachlan Bramble

Violin Julie Newman

Supported in the memory of Deborah Pontifex

Supported by Graeme & Susan Bethune

Supported by Marion Wells

Violin Emma Perkins

Cello Gemma Phillips

Supported by Peter & Pamela McKee

Supported by R & P Cheesman

Violin Judith Coombe

Cello David Sharp

Supported in the memory of Don Creedy

Supported by Dr Aileen F Connon AM

Violin Kemeri Spurr

Cello Cameron Waters

Supported by Professor Junia V. Melo

Supported by Peter & Pamela McKee

Principal Viola Juris Ezergailis

Supported in the memory of Mrs JJ Holden

Principal Bass David Schilling

Supported by Mrs Maureen Akkermans

Associate Principal Viola Imants Larsens

Bass Harley Gray

Supported by Simon & Sue Hatcher

Supported by Bob Croser

Principal Cello Simon Cobcroft

Bass David Phillips

Supported by Andrew & Gayle Robertson

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

Associate Principal Cello Ewen Bramble

Principal Flute Geoffrey Collins

Supported by Barbara Mellor

Supported by Pauline Menz

Cello Sherrilyn Handley

Principal Piccolo Julia Grenfell

Supported by Johanna and Terry McGuirk

Supported by Chris & Julie Michelmore

Cello Chris Handley

Principal Oboe Celia Craig

Supported by Johanna and Terry McGuirk

Supported in the memory of Geoffrey Hackett-Jones

Oboe Renae Stavely

Associate Principal Horn Sarah Barrett

Supported by Roderick Shire & Judy Hargrave

Supported by Margaret Lehmann

Principal Cor Anglais Peter Duggan

Principal Third Horn Philip Paine

Supported by Dr Ben Robinson

Supported by An anonymous donor

Principal Clarinet Dean Newcomb

Supported by Royal Over-Seas League SA Inc

Clarinet Darren Skelton

Supported in the memory of Keith Langley Principal Bass Clarinet Mitchell Berick

Supported by Nigel Stevenson & Glenn Ball

Associate Principal Trumpet Martin Phillipson

Supported by Richard Hugh Allert AO Principal Trombone Cameron Malouf

Supported by Virginia Weckert & Charles Melton of Charles Melton Wines

Principal Tuba Peter Whish-Wilson

Supported by Ollie Clark AM & Joan Clark

Principal Bassoon Mark Gaydon

Principal Timpani Robert Hutcheson

Supported by Pamela Yule

Drs Kristine Gebbie and Lester Wight

Bassoon Leah Stephenson

Principal Percussion Steven Peterka

Supported by Liz Ampt Principal Contra Bassoon Jackie Newcomb

Supported by Norman Etherington AM & Peggy Brock

Supported by The Friends of the ASO

Principal Harp Suzanne Handel

Supported by Shane Le Plastrier

For more information please contact Alexandra Bassett, Donor Relations Manager on (08) 8233 6221 or [email protected]

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Franz Schubert Symphony in B minor, D759 Unfinished Allegro moderato Andante con moto

Schubert made something of a habit of not finishing symphonies; the B minor work is one of four of which sections or whole movements were begun and then abandoned at various times, beginning in 1811, over Schubert’s life. In the case of the B minor Symphony, though, the two movements we have were completed in full, and there exists a 20-bar sketch for the scherzo. These were composed in October 1822, at a time when the 25-year-old Schubert was enjoying the first intimations of success. His vocal works – solo and part-songs – were enjoying public performances, and he was actually earning decent fees from the publication of various songs beginning with Erlkönig and Gretchen am Spinnrade. Other largescale works from this time include the opera Alfonso und Estrella and the Mass in A flat. There are several possible explanations for Schubert’s leaving the work aside. He may have seen little opportunity for performance of symphonic music, though 14

(1797 - 1828)

he did go on to complete the ‘Great’ C major Symphony. He wanted to pursue opera composition, though such dreams would go unfulfilled. The aesthetic and social milieu of poets and singers in which Schubert mixed may have encouraged him to concentrate on songs. It is possible, though we can’t know, that he had begun to suffer from the disease that would kill him. While there have been attempts to complete the scherzo and then tack on a bit of the incidental music to Rosamunde by way of finale, the piece arguably works best as a two-movement ‘torso’. In many respects it is unusual for its time. B minor, for instance, was not a common key for orchestral music (certain keys suiting certain instruments, especially brass, better than others) and an opening movement in 3/4 was relatively unusual (Beethoven’s Third and Eighth Symphonies are exceptions). Then there is the mood created by deft, and ‘unclassical’, touches of orchestration: the brooding bass-register melody at the start, answered by the shimmer of higher strings; the risky (then as now) doubling of oboe and clarinet to create the distinctive timbre of the first theme, and the sudden retraction of lavish to simple textures – a single note or throbbing syncopation, as in the transition to the cello’s second

ADELAIDE SYMPHONY ORCHESTRA - GREAT CLASSICS 2016

theme. Schubert is quite capable of the sort of contrapuntal elaboration that we might find in a work of Mozart, Haydn or his teacher Salieri, but in his often terse and highly gestural rhetoric we can hear his assimilation of the lessons of Beethoven. Marked Andante con moto, the second movement is hardly slow, and in its range from weightless lyricism to the hammering of short motifs, from lucid textures to passages of intricate counterpoint, it provides a kind of mirror to the opening movement. Its final achievement of peace in a quietly glowing texture seems a hard act to follow, even if Schubert did start on a scherzo. Perhaps, as conductor Nikolaus Harnoncourt is convinced, the piece remained unfinished because ‘the form is perfect; there is nothing more to say’.

© Gordon Kerry 2016

The Adelaide Symphony Orchestra first performed Schubert’s Unfinished Symphony on 16 July 1938 under conductor Georg Szell, and most recently on 4 April 2012 with David Sharp.

Duration: 25 minutes

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Gustav Mahler Symphony No 6 in A minor Allegro energico, ma non troppo. Heftig, aber markig Scherzo: Wuchtig Andante moderato Finale. Allegro moderato – Allegro energico

Mahler’s Sixth Symphony had just received its first performance in Essen when his friend and colleague Richard Strauss made the offhand remark that the work was ‘overscored’. Strauss’ remark may have been facetious; it was after all at around this time that his Salome was premiered, and Salome’s orchestration sounded to Giacomo Puccini like a ‘badly mixed Russian salad’. But Mahler was worried. According to Klaus Pringsheim (who witnessed the exchange), Mahler kept coming back to Strauss’ comment. He ‘asked without envy, without bitterness, almost humbly, reverently, what might be the reason why everything came so easily to the other composer and so painfully to himself; and one felt the antithesis between the blond conqueror and the dark, fate-burdened man’. In his monograph on Mahler, the Marxist writer Theodor Adorno caricatured

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(1860 - 1911)

Strauss as a ‘blond Siegfried, a balanced harmonious individual who is supposed, singing like a bird, to shower as much happiness on his listeners as is falsely ascribed to him’. By contrast, Adorno argued, Mahler’s music reflects the increasing impotence of the individual in late bourgeois society. Mahler’s theme is ‘broken-ness’; his use of folk music, high romantic Angst, bird calls, cowbells and military marches are all ultimately ironic reminders of the fragmentation of society and the self. For Adorno, Mahler’s best music dramatises the discontinuity of the world. Unlike Strauss, Mahler was suspicious of music which needed the explanatory prop of a ‘program’, but this is not say that Mahler’s music is not at some level about non-musical ideas. In many ways Mahler’s Sixth Symphony is comparable to Strauss’ Ein Heldenleben: Mahler himself conceded that the work has a ‘hero’ who faces an inexorable fate – but the crucial difference is that Mahler’s music acknowledges the fear of inevitable oblivion. Mahler’s Fifth Symphony trod a Beethovenian path from darkness to light, dramatising the overcoming of various obstacles before final victory. The Sixth offers no such comfort. The hero may love and fight and occasionally triumph but we are all in the end ‘snared in an evil time’.

ADELAIDE SYMPHONY ORCHESTRA - GREAT CLASSICS 2016

So the answer to Mahler’s own question about why everything came so much more easily to Strauss might be that in Mahler’s music there is much more at stake. According to the composer’s widow Alma ‘none of his works moved him so deeply at its first hearing as this’. In her memoirs, Alma Mahler tells of how, after the dress rehearsal of the Sixth, she went backstage to find ‘Mahler walking up and down in the artists’ room, sobbing, wringing his hands, unable to control himself…’. Alma Mahler’s accounts of her life have been described as unreliable and occasionally mendacious. Her description of the scene, for instance, continues with the appearance of – who else? – Strauss, who ‘came noisily in, noticing nothing. “Mahler, I say, you’ve got to conduct some dead march or other before the Sixth – their Mayor has died on them – so vulgar this sort of thing – But what’s the matter?” and out he went as noisily as he came, quite unmoved…’. (A marginal note Strauss wrote in his copy of her book amounts to a perplexed denial of the story.) Nevertheless Mahler’s emotions at having composed such a work as this must have been intense. As composer and writer Andrew Ford has noted, in the Sixth Symphony ‘it is as though Mahler has deliberately destroyed his own world, and if Alma Mahler’s story … is perhaps a little exaggerated, it’s not actually implausible’. Mahler’s first four symphonies mine his many song-settings of folk poetry from the collection Des Knaben Wunderhorn and three of them contain significant vocal elements. His three central symphonies are all works of ‘absolute’ as against programmatic music. Nevertheless, his Fifth, Sixth and Seventh Symphonies

derive some of their thematic material from two sets of songs to poetry by Friedrich Rückert (1788–1866), the song-cycle Kindertotenlieder (Songs on the death of children) and five songs (which do not constitute a cycle) which include the masterpieces ‘Ich bin der Welt abhanden gekommen’ (I have lost touch with the world) and ‘Um Mitternacht’ (At midnight). (Alma describes the Kindertotenlieder and Sixth Symphony as premonitions of the death of their daughter and the onset of Mahler’s heartcondition.) For all its epic scale the Sixth is the work, as Mahler put it, of ‘an old-fashioned composer’ in that it is cast in a traditional four-movement design. From the outset, though, its tone – which led to the occasional use, even in Mahler’s time, of the nickname Tragic – is unambiguous. A fully scored A major chord, underpinned by an obsessive rhythmic motif from the timpani, fades and, as it fades, changes to the minor mode. This is music which will end in darkness. The movement begins as a march, though as scholar Michael Kennedy points out, it is not the triumphant approach of spring as in the Third Symphony, or the doom-laden funeral march of the Fifth. It is ‘modern music [that] marches in with this sinister tramping start’. The movement’s starkly contrasting second subject is a lyrical tune which rises and falls largely by step. Alma describes how, when Mahler began work on the piece on their summer vacation in 1903, ‘after he had drafted the first movement, he came down from [his study] to tell me he had tried to express me in a theme’. Its contour and mood certainly relate to any number of Romantic love-themes. Mahler’s treatment

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of it, too, reminds one of Berlioz’s use of the Beloved’s idée fixe in the Symphonie fantastique: it is always slightly varied on each appearance. In any event, the yearning lyricism provides a perfect foil for the implacable march with which the movement begins – ‘change and conflict are the secret of effective music’, as Mahler said. Another unique aspect of this work is the celebrated evocation of alpine scenery first heard toward the end of the movement. This striking sound world was said by Mahler to represent the ‘last earthly sounds heard from the valley below by the departing spirit on the mountain top’. He noted that ‘the cowbells should be played with discretion – so as to produce a realistic impression of a grazing herd of cattle, coming from a distance…’. Mahler never quite resolved the issue of the order of the two central movements. Originally the Scherzo, which Alma insisted depicted the ‘tottering’ of their children at play before the intrusion of tragedy, followed the first movement, but Mahler tried it out with the Andante second and Scherzo third before swapping them back (as it is performed in this concert). The Andante represents a complete contrast with both the Scherzo and the Finale, and its thematic reference to the Songs on the Death of Children may give some credence to the theory that the scherzo dealt with Mahler’s family life. But the tone is hardly tragic. Rather, with its horn calls and reminiscence of the cowbells it is poignant and romantic.

in the dry clattering of the xylophone and what Kennedy calls the ‘delicate pastiche Haydn’. The finale is one of Mahler’s largest and most complex structures, and it bears the weight of the symphony as a whole, recalling material from earlier in the work. Its introductory section contains material that will be developed as the movement unfolds, particularly the impassioned melody heard first high in the violins. The movement depicts a nightmarish world, where the Allegro energico strains towards climactic release, only to be brutally interrupted on three occasions. Mahler originally included a sickening thud ‘like an axe-stroke’ at each of these points, but later omitted the third out of superstition. Adorno wrote that in Mahler ‘happiness flourishes on the brink of catastrophe’. Mahler himself said that the movement describes ‘the hero on whom falls three blows of fate, the last of which fells him as a tree is felled’. The piece ends in dissolution: drum rolls, fragmentary motifs, a baleful and comfortless A minor. No wonder Mahler was worried.

Gordon Kerry © 2006

The Adelaide Symphony Orchestra first performed Mahler’s Sixth Symphony on 17 March 1984 under the direction of Albert Rosen, and most recently in October 2011 under Arvo Volmer. Duration: 79 minutes

The Scherzo too has an insistent rhythm to begin with (which may have prompted Mahler to delay it). There is much Mahlerian irony in this movement, both

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ADELAIDE SYMPHONY ORCHESTRA - GREAT CLASSICS 2016

ADELAIDE SYMPHONY ORCHESTRA - GREAT CLASSICS 2016

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Our inspirational donors A sincere thank you to all our donors who contributed in the past 12 months. All gifts are very important to us and help to sustain and expand the ASO. Your donation makes a difference.

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In memory of Rob Collins, Former Violist, donated by the ASO Players Assocation In memory of Don Creedy, Former Violinist, donated by the ASO Players Assocation The ASO also thanks the 669 patrons who gave other amounts.

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Foundations

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Thyne Reid Foundation

Government Support

The ASO is assisted by the Australian Government 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 Join us DISCLAIMER: Every effort has been made to ensure that concert 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.

It may not look like it, but we have a lot in common with the ASO.

Santos and the ASO were both born and bred in Adelaide, but our reputations extend far beyond our state borders. We both started from humble beginnings to become leaders in our field. We’ve both been delivering energy to South Australia for decades. And, we’ve been partners for 17 years. Santos is proud to be supporting the Adelaide Symphony Orchestra as principal partner once again. Congratulations on 80 years of superb performances, from one high energy performer to another. santos.com