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POWERCOR REGIONAL TOURING 2013

/In concert

THE MELBOURNE SYMPHONY ORCHESTRA IN CONCERT AROUND VICTORIA

TUESDAY 20 AUGUST AT 8PM

THE CAPITAL – BENDIGO'S PERfORMING ARTS CENTRE

WEDNESDAY 21 AUGUST AT 8PM

EASTBANk CENTRE, SHEPPARTON

THURSDAY 22 AUGUST AT 7.30PM

WANGARATTA PERfORMING ARTS CENTRE

ALL-TCHAIkOVSkY PROGRAM

TOM WOODS CONDUCTOR

ANTOINETTE HALLORAN SOPRANO

TCHAIkOVSkY The TempesT

TCHAIkOVSkY eugene Onegin: LETTER SCENE

TCHAIkOVSkY SyMPhONy NO.1 WinTer dreams

FREE PRE-CONCERT TALk ONE hOUR bEFORE EACh PERFORMANCE

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the sponsors

principal partner

associate partners

government partners

concertmaster partners

sUpporting partners

sUppliers

Kent Moving and Storage Quince’s Scenicruisers Melbourne Brass and Woodwind Sputnik Agency

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welcome

Powercor Australia is proud of its long association with the Melbourne Symphony Orchestra, one of the world’s leading symphony orchestras. We have been a major sponsor and partner of the Orchestra for more than 15 years, focusing our sponsorship on the Orchestra’s Regional Touring Program for the past decade.

As Victoria’s largest electricity distributor, supplying regional and rural centres in central and western Victoria (including greater Geelong), and Melbourne's outer western suburbs, our involvement in the MSO’s Regional Touring Program is a valuable opportunity to contribute to the communities we serve.

It is a privilege to be able to help bring the Orchestra and its music to communities whose location may limit their access to the fine music heard regularly in Melbourne.

As the audiences who have experienced these events will attest, the intimacy and the warmth of smaller concerts in regional venues is in some respects even more rewarding than the grandeur of Hamer Hall.

Please enjoy tonight’s concert, which features timeless classics by Tchaikovsky.

Tim Rourke Chief Executive Officer Powercor Australia Ltd

This concert has a duration of approximately two hours, including an interval of 20 minutes. Alastair McKean will give the pre-concert talk one hour before each performance. Concerts by the Melbourne Symphony Orchestra are broadcast around Australia throughout the year on ABC Classic FM (on analogue and digital radio), and streamed on the network’s website.Please turn off your mobile phone and all other electronic devices before the performance commences. If you do not need your printed program after the concert, we encourage you to return it to a member of staff. Please share one program between two people. This program has been printed on FSC accredited paper. Sign up for the Orchestra’s monthly e-news, at mso.com.au, to receive special offers from the MSO and partner organisations. Melbourne Symphony Orchestra programs can be read on-line or downloaded up to a week before each concert. For more information, visit mso.com.au.

PROGRAM INFORMATION

Download our free app from the MSO website.www.mso.com.au/msolearn

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/In concert

THE MELBOURNE SYMPHONY ORCHESTRA IN CONCERT AROUND VICTORIA

TUESDAY 20 AUGUST AT 8PMTHE CAPITAL – BENDIGO'S PERfORMING ARTS CENTREWEDNESDAY 21 AUGUST AT 8PMEASTBANk CENTRE, SHEPPARTONTHURSDAY 22 AUGUST AT 7.30PMWANGARATTA PERfORMING ARTS CENTREALL-TCHAIkOVSkY PROGRAMTOM WOODS CONDUCTORANTOINETTE HALLORAN SOPRANO

TCHAIkOVSkY The TempesTTCHAIkOVSkY eugene Onegin: LETTER SCENETCHAIkOVSkY SyMPhONy NO.1 WinTer dreams

FREE PRE-CONCERT TALk ONE hOUR bEFORE EACh PERFORMANCE

Download our free app

from the MSO website.

www.mso.com.au/msolearn

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POWERCOR REGIONAL TOURING 2013/In concert

THE MELBOURNE SYMPHONY

ORCHESTRA IN CONCERT

AROUND VICTORIA


THE CAPITAL – BENDIGO'S

PERfORMING ARTS CENTRE




WANGARATTA



TOM WOODS CONDUCTOR

ANTOINETTE HALLORAN

SOPRANO


TCHAIkOVSkY eugene Onegin:

LETTER SCENE

TCHAIkOVSkY SyMPhONy NO.1

WinTer dreams

FREE PRE-CONCERT TALk

ONE hOUR bEFORE

EACh PERFORMANCE

Download our free app

from the MSO website.

www.mso.com.au/msolearn

twitter.com/melbsymphony

facebook.com/melbournesymphony


/In concert

THE MELBOURNE SYMPHONY

ORCHESTRA IN CONCERT

AROUND VICTORIA


THE CAPITAL – BENDIGO'S





WANGARATTA



TOM WOODS CONDUCTOR

ANTOINETTE HALLORAN

SOPRANO


TCHAIkOVSkY eugene Onegin:

LETTER SCENE

TCHAIkOVSkY SyMPhONy NO.1

WinTer dreams

FREE PRE-CONCERT TALk

ONE hOUR bEFORE

EACh PERFORMANCE

4

TOM WOODS conductor Born in Tanzania to Australian parents, Tom Woods grew up in Perth, where he studied conducting with Richard Gill at the Western Australian Conservatorium of Music. He later pursued further studies in Moscow.

He joined Opera Australia in 1993, becoming one of the youngest conductors in the company’s history with his acclaimed debut in A Midsummer Night’s Dream at the age of 23. Between 1993 and 1997, he was Assistant Conductor for over 60 operas.

His ongoing relationship with Opera Australia resulted in a 2011 Green Room Award for Outstanding Conductor in Opera for Of Mice and Men, and his other engagements with the company have included the world premiere of Madeline Lee, the Australian premiere of A Streetcar Named Desire, La bohème, Madama Butterfly, Turandot, La traviata, A Masked Ball, Carmen, The Barber of Seville, The Gondoliers and Patience. He has also conducted for State Opera of South Australia, West Australian Opera and Opera Queensland, as well as The Australian Ballet, Queensland Ballet and the Royal New Zealand Ballet.

He has conducted all the major Australian symphony orchestras and from 1999 to 2005 was Artistic Director of Sydney Youth Orchestra. In recent years, he has conducted the Pforzheim Chamber Orchestra, Krasnoyarsk Symphony Orchestra, Sendai Philharmonic and the Osaka Symphony Orchestra. He has conducted in Hong Kong and Bangkok and took the London Festival Orchestra on tour to Brunei, Kuala Lumpur and Jakarta.

Since 2007 he has been a frequent visitor to New Zealand, where is currently Chief Conductor of the Christchurch Symphony Orchestra.

ANTOINETTE HALLORAN soprano Antoinette Halloran is one of Australia’s most accomplished sopranos. She performs regularly with all the major Australasian opera companies and symphony orchestras and appears frequently on national television and radio.

A graduate of the Victorian College of the Arts and a recipient of an honours degree in Music from the University of Melbourne, she has appeared in productions ranging from opera to musical theatre and cabaret.

Leading appearances for Opera Australia have included the title roles in Madama Butterfly and Rusalka, Mimì (La bohème), Stella (A Streetcar Named Desire – Green Room Award), Donna Elvira (Don Giovanni), Johanna (Sweeney Todd), Gianetta (The Gondoliers), Ellen (Lakmé) and Josephine (H.M.S. Pinafore). She has also sung with New Zealand Opera, Victorian Opera and Melbourne Opera.

She has appeared in concert with the Hong Kong Philharmonic, Melbourne Chorale (now MSO Chorus), Sydney Philharmonia and Royal Melbourne Philharmonic, and is in demand as a guest artist in China, Japan and Indonesia. She has also sung in concert with Elvis Costello and the Brodsky Quartet for the Sydney Festival.

She recorded the ABC Classics CD Puccini Romance with Rosario La Spina and the Queensland Symphony Orchestra, and her television appearances have included ABC TV’s Spicks and Specks, Operatunity Oz and Art Nation.

Engagements in recent seasons have included the title role in The Merry Widow for Opera Queensland; Mimì, Cio-Cio San and Rosalinde (Die Fledermaus) for Opera Australia; Micaëla (Carmen) for State Opera of South Australia; and the world premiere of the Gordon Kerry/Louis Nowra work Midnight Son for Victorian Opera.

aBoUt the artists2013 POWERCOR REGIONAL TOUR

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aBoUt the mUsic 2013 POWERCOR REGIONAL TOUR

Tchaikovsky’s The Tempest is a symphonic response to Shakespeare’s late romance. In that play, Prospero, the rightful Duke of Milan, has been deposed by his brother and exiled to a desert island with his young daughter Miranda. Prospero uses sorcery to create a tempest that

wrecks a ship carrying his brother, as well as the King of Naples and his son Ferdinand. Prospero’s plan is to regain what is rightfully his; only perhaps incidentally, this will allow Miranda to fall in love with Ferdinand. Prospero is aided in this by spirits under his command: Ariel, a spirit of air, and Caliban, an earthy monster. When his plan comes to fruition, Prospero, in a gesture long (though probably fancifully) held to be Shakespeare’s own farewell to the stage, renounces his ‘rough magic’.

Tchaikovsky’s The Tempest, the second in his series of large-scale symphonic poems (even where designated ‘fantasy overture’), was composed in 1873, which is to say between the Second and Third Symphonies. The internationalist Tchaikovsky was happy to compose abstract works in the symphonic tradition, but was also drawn to the Lisztian symphonic poem, which could take the events and shape of a play or novel to give composers a formal map (or program) and guide for dramatic and colourful effects.

Tchaikovsky on more than one occasion worked to programs provided by someone else: the composer Mili Balakirev gave him the one for Romeo and Juliet, including key changes and descriptions of how the music should sound. For The Tempest the program was provided by the critic Vladimir

PYOTR ILYICH TCHAIkOVSkY (1840-1893)

The Tempest, Op.18

FERDINAND LURED by ARIEL, by JOhN EvERETT MILLAIS (1850)

MSO ClaSSiC KidS

World-renowned clownductor Melvin Tix returns to Australia to present his much-loved Clowning Around

program. Melvin’s concerts provide a highly entertaining and informative environment for young children discovering an orchestra for the very first time.

So roll-up for a fun-filled time with Melvin Tix and the Melbourne Symphony Orchestra!

Melvin Tix Conductor and Presenter

Wednesday 6 November at 12pm and 1:30pmCosta Hall, Deakin University, Geelong

School bookings through GPAC Education on (03) 5225 1207$8 child, accompanying teachers free

General public bookings through GPAC Box Office on (03) 5225 1200 $11 adult/child

Clowning Around with Melvin Tix

These concerts are supported by the Geelong Friends of MSO.

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aBoUt the mUsic2013 POWERCOR REGIONAL TOUR

Stasov. Tchaikovsky toyed with leaving out the tempest itself and calling the work Miranda, but ultimately worked to Stasov’s design.

The piece begins with an evocation of the sea. A magisterial chorale represents Prospero. Ariel, spirit of the air, obeying Prospero, raises a storm of whirling strings, winds and

emphatic brass. The ship is wrecked, bringing Ferdinand to the enchanted isle. The first timid feelings of love of Miranda and Ferdinand are expressed in a characteristic theme. Ariel reappears, and Caliban has contrasting music. The lovers succumb to their passion with the love theme reaching ecstatic heights. Prospero deprives himself of his magic power and leaves the island, and we hear the calm sea as at the start.

Gordon Kerry © 2010/13

The first, and only other, performance of this work by the Melbourne Symphony Orchestra was in April 2013 as part of the Metropolis festival, conducted by Thomas Adès.

ThE ENChANTED ISLAND – bEFORE ThE CELL OF PROSPERO : ENGRAvING AFTER hENRy FUSELI (1797)

JOhN WILLLIAM WATERhOUSE - MIRANDA, ThE TEMPEST (1916)

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Eugene Onegin was first suggested to Tchaikovsky as the basis for an opera by the singer Yelizaveta Lavrovskaya in June 1877. Initially, Tchaikovsky baulked at the suggestion. Like many Russians, he loved Alexander Pushkin’s verse novel for its superb use of language; the tale itself was slender. After a sleepless night, however, Tchaikovsky came up with a scenario. He had rightly perceived that the sort of music he wrote was uniquely equipped to replicate Pushkin’s narrative voice. After he and Konstantin Shilovsky had prepared a libretto which retained a great deal of Pushkin’s original verse, Tchaikovsky began composing the Act I scene where Tatiana ill-advisedly pours out her heart to the cad, Onegin. This is Tatiana’s Letter Scene.

It has been said that Tchaikovsky often needed a special stimulus to compose; he had no desire simply to fill his quota in any particular genre, and in this case the innocent Tatiana stirred his sympathy. Ironically, during the initial burst of creativity

which saw the beginning of composition of Onegin, Tchaikovsky himself received a similar confessional letter from a former pupil, Antonina Milyukova, and married her. The marriage was a disaster, and in the aftermath Tchaikovsky went to Western Europe to recuperate. He divided his creative energies between Onegin and the emotionally charged Symphony No.4, which he completed on 7 January 1878. He finished the opera on 1 February.

Richard Taruskin, writing in the New Grove Dictionary of Opera, praises the way Tchaikovsky’s affected artlessness supports ‘the essence of an opera that celebrated the triumph of innocence over guile’, and the way Tchaikovsky couches his music in idioms redolent not of Tchaikovsky’s own period but of the domestic, theatrical and ballroom style of the period in which Pushkin located his story. In this, as in many other ways, Tchaikovsky transformed the orchestra into an effective narrative voice.

TCHAIkOVSkY Eugene Onegin: Letter Scene

Antoinette Halloran soprano

PORTRAIT OF ALExANDER PUShkIN by OREST kIPRENSky (1827)


SatURDaY 5 OCtOBER at 7PM SUnDaY 6 OCtOBER at 2PM

Arts Centre Melbourne, HAMer HAll

Experience the groundbreaking marriage of music and animation. Hear the MSO perform selections from Fantasia and Fantasia 2000 live to

Disney’s stunning imagery on the Hamer Hall big screen.

PRESEntatIOn LICEnSED BY DISnEY COnCERt LIBRaRY ©DISnEY

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Tatiana is a young girl when she meets Onegin. She falls in love with him at their first meeting and writes him a long letter in which she confesses her love. Onegin responds to her letter with praise for her candour and a warning that inexperience can lead to misfortune. He sings that bliss is a stranger to his soul and that he can only give her the love of a brother.

Years later, after Tatiana has married Prince Gremin, Onegin again meets and falls in love with her. Although Tatiana still loves Onegin, she refuses to leave her husband and the opera ends with Onegin lamenting his miserable state.

© Symphony Australia

The Melbourne Symphony Orchestra first performed Tatiana’s Letter Scene in September 1951 with conductor Juan José Castro and Dame Joan Hammond, and most recently in February 2012 with Simon Hewett and Antoinette Halloran.

ANTONINA NEzhDANOvA AS TATIANA FROM A PRODUCTION OF EUGENE ONEGIN AT ThE bOLShOI ThEATRE MOSCOW (1906)

© L

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Pooskai pogibnoo ya, no pryezhdye Ya v olsyepityelnoi nadyezhdye Blazhenstvo tyomnoye zovoo, Ya nyegoo zhizni ooznayu! Ya pyu volshebni yad zhelanyi, Myenya pryeslyedooyut myechti: Vyezdye, vyezdye pyeryedo mnoi Moi iskoosityel rokovoi, Vyezdye, vyezdye on pruedo mnoyu! Nyet vsyo nye to! Nachnoo snachala! Akh chto so mnoi! Ya vsya goryu! Nye znayu kak nachats…

Ya k vam pishoo – chyevo zhe bolye? Chto ya mogoo yeshchyo skazats? Tyepyer, ya znayu, v vashyei volye Myenya pryezryenyem nakazats. No vi k moyei nyeschastnoi dolye Khots kaplyu zhalosti khranya, Vi nye ostavitye myenya!

Snachala ya molchats khotyela. Povvertye: moyevo stida Vi nye ooznali b nikogda, Nikogda! O da, klyalas ya sokhranits v dooshe Priznanye v strasti pilkoi i byezoomnoi Oovi! Nye v silakh ya vladyets svoyei dooshoi! Poosts boodyet to, chto bits dolzhno so mnoi, – Yemoo prisnayus ya! Smyelyei! On vsyo ooznayet!

Zachyem, zachyem vi posyetili nas? V glooshi zabitovo syelyenya Ya b nikogda nye znala vas, Nye znala b gorkovo moochyenya. Dooshi nyeopitnoi volnyenya Smiriv so vryemyenyem (kak znats), Po syerdtsoo ya nashla bi drooga, Bila bi vyernaya sooprooga, I dobrodyetyelnaya mats…

Droogoi!…Nyet, nikomoo na svyetye Nye otdala bi syerdtsa ya! To v vishnyem soozhdyeno sovyetye, To volya nyeba: ya tvoya! Vsya zhizn moya bila zalogom, Svidanya vyernovo s toboi:

Ya znayu, ti mnye poslan bogom, Do groba ti khranityel moi! Ti v svovidyenyakh mnye yavlyalsya, Nyezrimi ti mnye bil oozh mil! Tvoi choodni vzglyad myenya tomil, V dooshe tvoi golos razdavalysa

Davno…Nyet eto bil nye son! Ti choots voshol, ya vmig ooznala. Vsya obomlyela, zapilala, I v mislyakh molvila: vot on! Vot on!

Nye Pravda ya tyebya slikhala: Ti govoril so mnoi v tishi,

May I perish! But first, blinded by dazzling hope, I long to taste the unknown bliss life has always refused to me! Haunted by dreams I drink the magic poison of desire. Everywhere, ah, everywhere I see him before me, the tempter, who is master of my fate! I see him everywhere! – – No, that’s not right; I’ll start again! Ah, what is the matter? A fire burns within me… I do not know how to begin.

I write to you – what else is there to say? I know now that you have the power to punish me with your contempt. But if you feel a grain of pity for my misery you will not scorn me.

At first I wanted it to be my secret, believe me, I intended that you would never know my shame. O yes, I swore to hide it in my soul forever, the mad and ardent love that seized my spirit! But, ah, no longer can I subdue this fire! Come what may! It must be done!

Why did you come to us, oh, why? If you had stayed away from our house I would have never known this bitter torment. Untroubled by this burning passion who knows, I would have met in time another, a man whom I could love and cherish. I would have been a faithful wife, a loving mother –

Another! No! I could have never loved another! It is the will of Heaven: I am yours! Through all these years I have lived only for this moment when I would meet you.

I know, that God has sent you to me, You will guide and protect me till I die. I often saw your image in my dreams and you were dear to me before I knew you.

Your dark eyes have enchanted me and in my heart I hear your voice.

Long ago…No, it was not a dream! I recognised you in the moment when you entered. My senses reeled and I was all aglow. My heart rejoiced: ‘It is he! It is he!’

The voice I heard was yours! Was it not? You spoke to me in the silence

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Kogda ya byednim pomogala Ili molitvoi ooslazhdada Toskoo dooshi? I v eto samoye mngnovyenye Nye ti li, miloye vidyenye V prozrachnoi tyemnotye myelknool, Priniknool tikho k izgolovyu, Nye ti I, s otradoi i lyubovyu Slova nadyezhdi mnye shepnool?

Kto ti, moi angyel li khranityel Ili kovarni iskoosityel, – Moi somnyenya razryeshi. Bits mozhet eto vsyo poostoye, Obman nyeopitnoi dooshi, I soozhdyeno sovsyem inoye?

No tak i bits! Soodboo moyu Otninye ya tyebye vroochayu Pyeryed toboyu slyozi lyu, Tvoyei zashchiti oomolyayu, Oomolyayu! Voobrazi: Ya zdyes odna, Nikto myenya nye ponimayet, Rasoodok moi iznyemogayet, I molcha gibnoots ya dolzhna!

Ya zhdoo tyebya, Ya zhdoo tyebya! Yedinim vzorom Nadyezhdi syerdtsa ozhivi Il son tyazholi pyeryervi, Oovi, zasloozhenim ookorom!

Konchayu…strashno pyeryechyests… Stidom i strakhom zamirayu… No mnye porookoi vasha chyests, I smyelo yei syebya vvyerayu!

when I went to help the poor! With your prayer you soothed the anguish of my soul. And was it not your beloved image that flashed just now through the transparent darkness bending gently over my pillow? Was it not you, who whispered words of hope to me full of joy and love?

Who are you? My guardian angel or a vile seducer? Dispel my doubts! Or is it but an idle dream? An empty vision of my innocent soul? Perhaps my destiny has willed it differently?

Then be it so! Henceforth I’ll place my life into your hands! I plead for your protection! I implore you! Just think of me and of my loneliness, and no one here who understands me! I sink, and silent darkness clouds my mind.

I wait for you! I wait for you! Come and restore my fondest hopes with one word or break the spell of this oppressive dream with your deserved scorn!

‘Tis done! I dread to read what I have written! I am ashamed and frightened But I find courage in your dignity, and in your honour I place mine.

Translation © Hedwig Roediger

INTERVAL 20 mInutes

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Tchaikovsky’s First Symphony is the product of a nervous young man in his mid-20s just appointed to a responsible teaching position in a strange city, and trying to juggle his wish to compose with his new-found professional responsibilities. It is a remarkably assured work to have been composed under such circumstances, and to many listeners unfamiliar with it, may display more of the composer’s mature stylistic fingerprints than they might expect.

Tchaikovsky had just joined the staff of the Moscow Conservatoire early in 1866 when its Director, Nicholas Rubinstein, urged him to write a symphony. Tchaikovsky, who had completed his first orchestral score only two years before, began sketches immediately, and was soon working so hard on it – writing well into the night and teaching during the day – that his health began to suffer, and he made fitful progress.

By the following summer he had worked his sketches up into full orchestral score. He chose this moment to show this to his former teachers Anton Rubinstein (Nicholas’ brother) and Nicholas Zaremba, who were quick to find fault. Tchaikovsky’s consternation at this criticism was allayed by Nicholas’ continuing enthusiasm, and it was this Rubinstein who conducted the first complete performance in February 1868.

It was a big success for Tchaikovsky, and became one of the first Russian symphonies to find public favour; but the composer continued to tinker with it. Following revisions and cuts in 1874, he revised it further in 1883. Despite these changes, Tchaikovsky told a friend: ‘I have a soft spot for it, for it is a sin of my sweet youth.’

With young composers it is often fun to play pick the influences. Tchaikovsky scholar John Warrack has discussed the symphony’s particular debt to Mendelssohn. Following Mendelssohn’s Scottish and Italian symphonies, Tchaikovsky seems to have wanted to create his own Romantic musical landscape, but one arising out of the emotions stirred in him by his own country. The idea must have lost its appeal, for the final two movements lack the sub-titles of the symphony’s first half. The attempt at a lightness of texture in many key passages and the surprising independence of the woodwind writing throughout the work suggests Mendelssohn’s immediate influence on the work’s musical language. Yet many of the ideas seem to pre-figure passages we know well from Tchaikovsky’s later music.

The first movement opens with a flowing woodwind melody that has the light, questioning quality and gentle interjections that suggest Mendelssohn’s response to landscape. This cannot be said of the chromatic semiquaver theme that sounds, on first hearing, like the opening theme’s accompaniment, but turns out to be its partner. These ‘twin’ themes spend much of their time in interplay in this movement, and are offset by a true second subject that appears unexpectedly on clarinet. The passionate development of this idea, and healthy doses of bombast that follow, suggest the Tchaikovsky to come, as does a balletic passage for horns and woodwinds. The brass fanfares that dominate much of the development section pre-figure the tense opening of the Fourth Symphony. Winter Dreams’ first movement concludes with a return to

TCHAIkOVSkY Symphony No.1 in G minor, Op.13 Winter Dreams

I Dreams of a winter journey (Allegro tranquillo) II Land of desolation, land of mists (Adagio cantabile ma non tanto) III Scherzo (Allegro scherzando giocoso) IV Andante lugubre – Allegro maestoso

the quietly expectant mood of the opening. The slow movement resembles one of the great ballet adagios in both atmosphere and texture. Muted divisi violins play the beautiful first subject, which is followed by a long, songful melody on oboe of the kind that Tchaikovsky used to complain came to him in so finished a state that he had difficulty developing them in a symphonic context. His phenomenal gifts as an orchestrator, even in this early work, are an exquisite disguise for such structural concerns. He soon gives his expansive oboe melody to the violas for a passionate re-statement. The horns dominate the climax, until the movement is framed by a return to the gentle beauty of the opening subject.

The Scherzo, with its evocations of the world of A Midsummer Night’s Dream, is perhaps the most evocative of Mendelssohn. The Trio begins as a ballet waltz in all but name, then develops considerable tension. The

Scherzo’s reprise is followed by an unusual passage in which the timpani taps out the rhythm of the main Scherzo tune under the strings’ reminiscence of the Trio’s waltz theme.

Although some of the symphony’s ideas sound like Russian folksong (the imitative structure of the first movement’s second subject, the four-square flavour the horns give to their statement of the Adagio’s main theme), the Finale’s opening Andante lugubre, taken from a folksong called The Gardens Bloomed, is the first folk-music to be employed in the work. The pace soon quickens and the mood becomes more festive for the main body of the movement, which opens with a jagged syncopated theme the whole orchestra gets to play. When we hear the dance-like second subject, announced by the strings, we realise that it bears a strong resemblance to the folk tune with which the movement opened so portentously. The sudden return to

this darker mood in the middle of the festivities, very much like the return to the motto theme at the equivalent moments in the Fourth and Fifth Symphony’s finales, seems to cast a pall on the proceedings, until a spirit of brightness and grandeur gradually emerges. The symphony ends in a mood of brash jubilation.

Phillip Sametz © 1999

The Melbourne Symphony Orchestra first performed Tchaikovsky’s Symphony No.1 in May 1968 under conductor Ladislav Slovak, and most recently in December 2007 with Oleg Caetani.


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melBoUrne sYmphonY orchestra

management

First violins

Katherine Lukey Principal

Kirsty Bremner Sarah Curro Peter Fellin Lorraine Hook Ji Won Kim Anne Martonyi Mark Mogilevski Michelle Ruffolo Kathryn Taylor

seconD violins

Monica Curro Assistant Principal

Mary Allison Isin Cakmakçioglu Rachel Homburg Christine Johnson Isy Wasserman Philippa West Patrick Wong Alyssa Conrau* Clare Miller*

violas

Katharine Brockman Simon Collins Gabrielle Halloran Cindy Watkin Caleb Wright

cellos

Rachael Tobin Associate Principal

Miranda Brockman Sarah Morse Michelle Wood Molly Kadarauch*

DoUBle Basses

Steve Reeves Principal

Damien Eckersley Ben Hanlon Emma Sullivan*

FlUtes

Prudence Davis Principal

Sarah Beggs

Andrew Macleod Prinipal Piccolo

oBoes

Michael Pisani Principal Cor Anglais

Ann Blackburn*

clarinets

Philip Arkinstall Associate Principal

Jonathan Craven Principal Bass Clarinet

Bassoons

Elise Millman Associate Principal

Colin Forbes-Abrams*

horns

Lin Jiang Guest Principal

Saul Lewis Principal Third

Trinette McClimont Julia Brooke*

trUmpets

Shane Hooton Associate Principal

William Evans

tromBones

Eric Klay Principal Bass Trombone

Ashley Carter* Dale Truscott*+

tUBa

Timothy Buzbee Principal

timpani

Christine Turpin Principal

percUssion

Robert Clarke Principal

Greg Sully

harp

Yinuo Mu*

*Guest Musician

+ Courtesy of Queensland Symphony OrchestraThis page is correct at time of printing

sir andrew Davis Chief Conductor Diego matheuz Principal Guest ConductorBenjamin northey Patricia Riordan Associate Conductor Chair

BoarD

Harold Mitchell ACChairman

André GremilletManaging Director

Dr Bronte AdamsPeter Biggs CNZMHon. Alan Goldberg AO QCRohan LeppertDavid LiAlastair McKean Ann PeacockMichael UllmerKee Wong

companY secretarY

Oliver Carton

execUtive

André GremilletManaging Director

Julia BryndziaExecutive Assistant

BUsiness

Natalya JurchesinChief Financial Officer

Raelene KingPersonnel Manager

Kaanji SkandakumarAccountant

Nathalia Andries Finance Officer

artistic

Huw Humphreys Director, Artistic Planning

Andrew Pogson Assistant Artistic Administrator

Anna MelvilleArtistic Coordinator

Bronwyn LobbEducation Manager

Jonathan Grieves-SmithChorus Master

Helena BalazsChorus Coordinator

Lucy BardoelEducation Assistant

operations

Gabrielle Waters Director of Operations

Angela BristowAssistant Orchestra Manager

Tom WarnekeProduction Manager

James PooleProduction Coordinator

Carol HellmersActing Artist Liaison

Alastair McKeanOrchestra Librarian

Kathryn O’BrienAssistant Librarian

Michael StevensOperations Assistant

marketing

Merri HaganDirector of Marketing

Jennifer PollerMarketing Manager

Megan Sloley Marketing Manager

Phillip Sametz Communications Manager

Alison Macqueen Publicist

Simon Wilson Interactive Marketing Manager

Nina DubeckiFront of House Supervisor

Lara PolleyMarketing Coordinator

Beata LukasiakMarketing Coordinator

Stella BarberConsultant Historian

Box oFFice

Claire HayesTicket and Database Manager

Paul CongdonBox Office Supervisor

Angela LangBox Office Attendant

Development

Cameron Mowat Director of Development

Jessica Frean Philanthropy Manager

Rosemary ShawTrusts and Foundations Manager

Ben Lee Philanthropy Executive

James RalstonEvents Coordinator

Arturs Ezergailis Development Officer

melBoUrne sYmphonY orchestra anD management

14

msoSUPPORTERSmsoSUPPORTERSARTIST CHAIR BENEFACTORSHarold Mitchell AC Concertmaster ChairPatricia Riordan Associate Conductor ChairElisabeth Murdoch Principal Clarinet Chair Joy Selby Smith Orchestral Leadership ChairMarc Besen AO and Eva Besen AO International Guest Chair, MSO Friends Chair

HONORARY APPOINTMENTSMrs Elizabeth Chernov Education and Outreach PatronSir Elton John CBE Life Member Professor John Hopkins AO OBE Life MemberGeoffrey Rush Ambassador

PROGRAM BENEFACTORSMeet the Orchestra Made possible by the Ullmer Family Endowment MSO UPBEAT supported by Betty Amsden OAM

TRUSTS AND FOUNDATIONSKen and Asle Chilton Trust, managed by PerpetualThe Phyllis Connor Memorial Trust, as administered by Equity Trustees Limited

Cybec FoundationErica FoundationIvor Ronald Evans Foundation, as administered by Mr Russell Brown and Equity TrusteesThe Ian Potter Foundation

Pratt FoundationThe Schapper Family FoundationThe Perpetual Foundation - The Alan (AGL) Shaw EndowmentZinnell/Hughes Trust, managed by Perpetual

IMPRESARIO PATRONSM P Chipman Perri Cutten and Jo Daniell John McKay and Lois McKay Bevelly and Harold Mitchell AC Mrs Margaret S Ross AM and Dr Ian C Ross Inés Scotland Trevor and Judith St Baker

MAESTRO PATRONSMichael Aquilina Jennifer Brukner Andrew and Theresa Dyer Tim and Lyn Edward Rachel and Hon. Alan Goldberg AO QC Robert and Jan Green Ilma Kelson Music Foundation Norman and Betty Lees David and Angela Li Mimie MacLaren Onbass Foundation Elizabeth Proust AO The Gabriela and George Stephenson gift in tribute to the great Romanian pianist Dinu Lipati The Ullmer Family Endowment Lyn Williams AM Anonymous (3)

PRINCIPAL PATRONSDr Bronte Adams Christine and Mark Armour Kaye and David Birks David and Emma Capponi Paul Carter and Jennifer Bingham The Cuming Bequest Dominic and Natalie Dirupo Susan Fry and Don Fry AO Mr Greig Gailey and Dr Geraldine Lazarus

Jill and Robert Grogan Louis Hamon OAM Nereda Hanlon and Michael Hanlon AM Hartmut and Ruth Hofmann Peter and Jenny Hordern Vivien and Graham Knowles Peter Lovell Annette Maluish Mr and Mrs D R Meagher Ian and Jeannie Paterson Maria Sola and Malcolm Douglas In memory of John William Symons Gai and David Taylor Barbara and Donald Weir KSJ Kee Wong and Wai Tang YMF Foundation Anonymous (1)

ASSOCIATE PATRONSWill and Dorothy Bailey Bequest Peter Biggs CNZM and Mary Biggs Mrs S Bignell Stephen and Caroline Brain Bill and Sandra Burdett Jan and Peter Clark John and Lyn Coppock Mary and Frederick Davidson AM Peter and Leila Doyle Lisa Dwyer and Dr Ian Dickson Dr Helen M Ferguson Colin Golvan SC and Dr Deborah Golvan Susan and Gary Hearst Gillian and Michael Hund Sylvia Lavelle Dr Elizabeth Lewis AM Christopher and Anna Long Allan and Evelyn McLaren Don and Anne Meadows Marie Morton Dr Paul Nisselle AM Ann Peacock with Andrew and Woody Kroger Rae Rothfield

Diana and Brian Snape AM Mr Tam Vu and Dr Cherilyn Tillman William and Jenny Ullmer Bert and Ila Vanrenen The Hon. Michael Watt QC and Cecilie Hall Brian and Helena Worsfold George Worthington and Cameron Mowat Anonymous (5)

PLAYER PATRONSDavid and Beverlie Asprey, Marlyn and Peter Bancroft OAM, Dr Julianne Bayliss, Barbara Bell in memory of Elisa Bell, M Ward Breheny, Mr John Brockman OAM and Mrs Pat Brockman, Jill and Christopher Buckley, Dr Lynda Campbell, Ms D Cooney and Mr C Halek, Ann Darby in memory of Leslie J. Darby, Panch Das and Laurel Young-Das, Pat and Bruce Davis, Sandra Dent, John and Anne Duncan, Jane Edmandson OAM, William J Forrest AM, Joanna Foulkes, Barry Fradkin OAM and Dr Pam Fradkin, David I Gibbs and Susie O’Neill, Merwyn and Greta Goldblatt, Dina and Ron Goldschlager, George H Golvan QC, Dr Marged Goode, Jean Hadges, Stuart and Sue Hamilton, Tilda and Brian Haughney, Julian and Gisela Heinze, Hans and Petra Henkell, Dr Alastair Jackson, Stuart Jennings, John and Joan Jones, George and Grace Kass, Irene Kearsey, Dr Anne Kennedy, Norman Lewis in memory of Dr Phyllis Lewis, Dr Anne Lierse, Ann and George Littlewood, Violet and Jeff Loewenstein, Elizabeth H Loftus, Vivienne Hadj and Rosemary Madden, Sandra and Leigh Masel, Trevor and Moyra McAllister, John and Ann McArthur, David and Beverley Menzies, Jan Minchin, John and Isobel Morgan, Wayne and Penny Morgan, Ian Morrey, The Novy Family, Laurence O’Keefe and Christopher James, Mrs W. Peart, John and Betty Pizzey,

15

THE MSO PROUDLY THANKS ITS SUPPORTERS

Lady Potter AC, Peter Priest, Jiaxing Qin, In Honour of Norma and Lloyd Rees, Dr Sam Ricketson, Tom and Elizabeth Romanowski, Delina Schembri-Hardy, Max and Jill Schultz, David Shavin QC, Chris and Jacci Simpson, Gary Singer and Geoffrey A Smith, Dr Sam Smorgon AO and Mrs Minnie Smorgon, Dr Michael Soon, Geoff and Judy Steinicke, Mrs Suzy and Dr Mark Suss, Pamela Swansson, Prof Seong-Seng Tan and Jisun Lim, Frank and Miriam Tisher, Margaret Tritsch, Mrs Barbara Tucker, P and E Turner, Mary Vallentine AO, The Hon. Rosemary Varty, Sue Walker AM, Elaine Walters OAM, Erna Werner and Neil Werner OAM, Nic and Ann Willcock, Marian and Terry Wills Cooke, Pamela F. Wilson, Ruth Wisniak OAM and Dr John Miller AO, Joanne Wolff, Peter and Susan Yates, Mark Young, Anonymous (12)

THE CONDUCTOR’S CIRCLEJenny Anderson, Joyce Bown, Ken Bullen, Luci and Ron Chambers, Sandra Dent, Lyn Edward, Alan Egan JP, Louis, Hamon OAM, Tony Howe, John and Joan Jones, C P Kemp, Mrs Sylvia Lavelle, Elizabeth Proust AO, Penny Rawlins, Joan P Robinson, Pamela Swansson, Dr Cherilyn Tillman, Mr and Mrs R P Trebilcock, Michael Ullmer, Mr Tam Vu, Marian and Terry Wills Cooke, Mark Young, Anonymous (15)We gratefully acknowledge support received from the Estates of Gwen Hunt, Pauline Marie Johnston, Peter Forbes MacLaren, Prof Andrew McCredie, Miss Sheila Scotter AM MBE, Molly Stephens, Jean Tweedie, Herta and Fred B Vogel.

Donations are vital to the Orchestra's work, supporting access, artists, education, outreach programs and more.

We are delighted to involve donors in the MSO's world at close quarters, through events and our supporter newsletter, The Full Score.

MSO Patrons contribute at the following levels or more: $100 (Friend), $1,000 (Player), $2,500 (Associate), $5,000 (Principal), $10,000 (Maestro), $20,000 (Impresario).

The MSO Conductor’s Circle members have notified of a planned gift in their Will. All donors are recognised on our website.

Inquiries: 03 9626 1107 [email protected]

This page is correct at time of printing.

EMI0180_MSO_CIAO_FPC.indd 1 6/03/13 2:25 PM

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