WELCOME TO TEA & SYMPHONY

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2 WELCOME TO TEA & SYMPHONY It is my great pleasure to welcome you to this concert in the 2011 Tea & Symphony series. This morning s program brings together two great composers of the late 18th-century: Haydn and Mozart. Haydn was the older composer and the father of the Classical style (you can still hear him sometimes referred to as Papa Haydn ). He composed his Passione Symphony and his C major cello concerto long before he met the much younger Mozart. That meeting was to occur in Vienna, the city where Mozart composed his serenade for wind octet, which begins the concert. Mozart inherited a style and took it to perfection. But even in his genius he recognised the debt he owed to Haydn, dedicating a set of string quartets to him. Haydn in turn gave high praise, saying to Mozart s father: Before God and as an honest man I tell you that your son is the greatest composer known to me either in person or by name: He has taste, and, furthermore, the most profound knowledge of composition. Kambly has epitomised the Swiss tradition of the fi nest biscuits for three generations. Each masterpiece from the Emmental Valley is a small thank you for life; a declaration of love for the very best; the peak of fi ne, 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 fi tting that we partner with the internationally acclaimed Sydney Symphony, whose vision is to ignite and deepen people s love of live symphonic music. Kambly is proud to be in its fourth year as sponsor of the Tea & Symphony series. We hope you enjoy this morning s program and look forward to welcoming you to future concerts in the series throughout Oscar A. Kambly Chairman Kambly of Switzerland

3 2011 SEASON TEA & SYMPHONY PRESENTED BY KAMBLY Friday 15 April 11am Sydney Opera House Concert Hall MOZART AND HAYDN Pieter Wispelwey cello-director WOLFGANG AMADEUS MOZART ( ) Serenade in E flat for wind octet, K375 Allegro maestoso Menuetto Adagio Menuetto II Allegro JOSEPH HAYDN ( ) Symphony No.49 in F minor (La Passione) Adagio Allegro di molto Menuet e Trio Finale (Presto) Music from this program has been recorded for later broadcast on ABC Classic FM. Estimated durations: 26 minutes, 24 minutes, 23 minutes The concert will conclude at approximately 12.25pm. HAYDN Cello Concerto No.1 in C, Hob.VIIb:1 Moderato Adagio Allegro molto PRESENTING PARTNER Biscuits at Tea & Symphony concerts kindly provided by Kambly

4 ABOUT THE MUSIC MOZART Serenade in E flat for wind octet, K375 The inclusion in the film Amadeus of a section of Mozart s quite extraordinary Gran Partita for 13 wind instruments (K361) gave a fillip to awareness and to the popularity of his composition for wind ensembles. Mozart s mastery of writing for winds alone could be suspected from many passages in his operas, piano concertos, and such things as the Trio of the minuet of Symphony No.39, where the clarinets take the lead, tellingly supported by bassoons and horns. In particular, Mozart was the first great composer to exploit fully the possibilities of the comparatively recently developed clarinet. He seems to have been stimulated by the excellence of the wind players in Vienna, many of them of Bohemian extraction. He wrote the Gran Partita quite soon after his move to Vienna, at the time of his marriage to Constanze. Vienna was at the beginning of a craze among aristocratic music lovers to have their own wind ensembles there was much work for good players, and many of them composed to meet the demand for wind ensemble music. In a letter from Vienna to his father dated 3 November 1781, Mozart describes spending his name day at the Baroness Waldstädten s: At eleven o clock I was treated to a Nacht Musick performed by two clarinets, two horns and two bassoons and that too of my own composition. The players were in the courtyard, and the door to the house was left open, so that Mozart was surprised, just as he was about to undress, to hear the first chord of his own piece. He explains that the players were paid to perform it in three different places that night! WOLFGANG AMADEUS MOZART Austrian composer ( ) 4 Sydney Symphony

5 Mozart tells his father he composed it very carefully, because he wanted to impress Herr von Strack, the valet of the Emperor Joseph II. Mozart knew that the Emperor was planning to form his own Harmonie or wind ensemble. It seems certain that the music of Mozart s which was played on that night was the Serenade we know as K375, which is for an octet, with a pair of oboes added to those of clarinets, horns and bassoons. When in early 1782 the Emperor formally constituted his Harmonie, it was for such an octet. In the summer Mozart composed the Serenade in C minor, K388, for this enlarged ensemble, and added oboe parts to the Nacht Musick in E flat. In the event, the Imperial Harmonie never included any original music by Mozart in its library, preferring transcriptions of opera and ballet music, including some of Mozart s. The term Mozart uses for this piece, Nacht Musick, is interchangeable with the Italian Notturno and with Serenade, all meaning music to be played at night. It was sophisticated entertainment music, to be played in the open air, where wind instruments carried best, or at least alluding to that manner of performance. This serenade is typical of the genre in having two minuets, and its opening movement also alludes to the march to which the musicians could be imagined entering. In adapting his sextet as an octet, Mozart added the oboe parts and modified the other parts accordingly; he also took the opportunity to revise the end of the slow movement, adding a final two chords, and added seven bars in the middle of the last movement. The majestic manner of the opening of this serenade, and the rich sonority, recall other Mozart works in the key of E flat, such as the Sinfonia concertante for violin and viola, K364, the Concertante for wind instruments and orchestra K297b, and Symphony No.39. The grand, march-like opening is like an introduction to the Allegro proper, which is notable, as it goes on, for the very broad lead-back to the recapitulation, and for the almost blithe new theme for the first horn this contains. There is an extensive coda. The two minuets and their contrasting trios show amazing resourcefulness in varying the character and textures of the music. The slow movement accompanies songful themes for each instrument in turn, and sometimes in dialogue, with evershifting patterns, combinations and rhythms; the clarinettist Eric Hoeprich imagines it played in a room lit by candles. If grandeur and rich variety of sound texture are the keynotes thus far, the finale is notable for brilliance and energy. the clarinettist Eric Hoeprich imagines the slow movement played in a room lit by candles. DAVID GARRETT Sydney Symphony

6 HAYDN Symphony No.49 in F minor (La Passione) The designation La Passione and the wide circulation achieved by this symphony in the courts and monasteries of late 18th-century Europe suggest, as does the extraordinary music itself, some special purpose, presumably related to Holy Week. The title, however, is unauthentic, and there is no evidence of any such intent either within the music (for example, the use of recognisable church melodies, as in the Lamentatione Symphony, No.26, composed within about 12 months after La Passione) or in any extramusical documentation. Even if the title was current during the composer s lifetime, as is possible, there is no knowing whether he approved it. What can be said with certainty is that this was the last, and undoubtedly the greatest, of seven symphonies Haydn composed in the archaic church sonata form, with a slow opening movement. While the church sonata symphonies have no overtly religious intent, they are essentially solemn works or, as in the present case, bleak, tense and often anguished. Written in 1768, the third summer of the fabulous Eszterháza castle raised by Haydn s princely employer on former swamplands in Hungary, La Passione is an early but archetypal product of the composer s so-called Sturm und Drang (Storm and Stress) period. Although the term Sturm und Drang, applied by French scholar Théodore de Wyzewa at the time of Haydn s death centenary in 1909, misleadingly implies a link with the somewhat later Sturm und Drang movement in literature and art (which sprang up around the writings of Goethe and Schiller from about 1773), it nevertheless aptly characterises the passionate and emotional intensity of some of the music that flowed from Haydn s pen between about 1766 and Sturm und Drang in Haydn s symphonies shares with the church sonata form a widespread use of minor or remote keys, frequent polyphonic and contrapuntal textures, dynamic contrasts, and spare, unadorned instrumentation. The Sturm und Drang symphonies are often tragic, sombre, even violent. And, as James Webster asserts, Haydn s everpresent tendency towards eccentricity occasionally verges on outright irrationality, Among a series of unlikely key signatures (including B major for Symphony No.46 and F sharp minor for No.45, the Farewell), the choice of F minor for La Passione reflects a rare and special occasion. This was a key Haydn reserved for just a few works the String Quartet Op.20 No.5, the great Andante and Variations for keyboard (Hob.XVII:6), JOSEPH HAYDN Austrian composer ( ) 6 Sydney Symphony

7 and the suicidal aria of Nanni in the opera L infedeltà delusa (Infidelity Outwitted). With unique singleness of purpose, he casts every movement of the present work in the home key of F minor, providing a smidgin of relief only in the central trio section of the minuet, where a contrasting tonality in the major is virtually unavoidable. Spiritually and emotionally, therefore, the mood is dark throughout, shifting from deepest gloom to the almost hysterical energy of desperation. Haydn achieves variety within the basically mono-tonal framework through wide melodic leaps (as in the second movement) and contrasts of dynamics. The all too brief burst of sunshine in the trio of the minuet is illumined by gleaming horns in their upper register. The composer s subtle pursuit of thematic unity is to be seen in the very opening phrase of the first movement, where the leaden progression of notes moving ever so slightly up and down from C provides the core material from which, as HC Robbins Landon observes, Haydn will develop the themes of all four movements: C D flat B flat C. The opening Adagio is much the biggest movement, and arguably the spiritual core of the symphony. Yet, unlike some of Haydn s earlier church sonata symphonies, La Passione maintains its emotional and spiritual force, without tailing off, through four equally inspired movements. The wildly leaping melody of the second movement is swept forward on an irresistible tide in the bass, impotent anguish continuing to lash out spasmodically after the first fierce passion is exhausted. The minuet though one would scarcely think of dancing to it is dogged, subdued, beginning not with Haydn s customary springy upbeat but on a mechanical, hang-dog downbeat. The finale is a flight from relentless nightmare, not destined for glory in imposing cadences at the end but simply thankful to get there. La Passione lacks none of the sureness of touch occasionally missing from Haydn s other Sturm und Drang music. The composer is, as Landon puts it, passing through the eye of the storm (a storm effectively created by himself ). That experience was to prove crucial in the long-term development of his own music and the music of his successors. Spiritually and emotionally, the mood is dark throughout, shifting from deepest gloom to the almost hysterical energy of desperation. ANTHONY CANE 1989/ Sydney Symphony

8 HAYDN Cello Concerto No.1 in C Haydn almost certainly wrote his C major Cello Concerto (Hob.VIIb:1) during the first half of the 1760s, in his first few years of service for the Esterházy princes. In these years the princely court was still established at Eisenstadt in the Austrian Burgenland, south of Vienna: Prince Nikolaus the Magnificent had not yet built his dream castle of Eszterháza in the remote marshlands of Hungary. Stylistically the concerto is an early work, and Robert Dearling considers that internal evidence probably places it more specifically around 1761 or If so, this tends to corroborate the belief that Haydn wrote it for Joseph Weigl, who went to Eisenstadt as solo cellist in 1761 and remained with the orchestra until In that time Weigl and the composer developed a friendship, Haydn becoming godfather to both of Weigl s sons (the elder of whom, Joseph junior, was himself to achieve fame as an operetta composer). Besides the concerto, Haydn wrote splendid solos for Weigl in several early symphonies, including the trilogy Le Matin, Le Midi and Le Soir (Nos 6 8). The young composer knew well in these early days that the way to his musicians hearts was to give them something to display their skill. There is any amount of florid display writing for both soloist and orchestra in the ceremoniously striding first movement, with horns injecting a judicious element of pomp into the tuttis. The emphasis here is not on traditional first-movement sonata form (a tradition which Haydn was himself to do much to create, but which at this time was still in its formative stages). Rather it is on a sequence of Baroque rondo-style appearances in which the main theme never returns twice in precisely the same guise. Oboes and horns sit silent throughout the slow movement, a rapt soliloquy for soloist against just the strings of the orchestra. This eloquent Adagio, in three-part aria form, is richly redolent of the opera stage. The tearaway finale generates such electric tension in its driving, impatient rhythm that it sweeps up the soloist in a developing drama which appears to take on a life of its own. No longer is the soloist the raison d être of the work: the music itself takes over. Here, in Dearling s view, the earnest young composer sounds his distinctive voice. Strangely, for a work of such self-assurance and command of style, this concerto lay lost for the best part The tearaway finale generates an electric tension 8 Sydney Symphony

9 Portrait of Haydn by Thomas Hardy (1792) of two centuries until a set of parts, apparently owned by Weigl himself, came to light in the Prague National Museum in Its rediscovery has obliged music scholars to reassess Haydn s stature as a concerto composer. The work was immediately accepted into the repertoire of leading world musicians Sir Charles Mackerras conducted the first modern performance, Rostropovich has recorded it twice, and Benjamin Britten composed cadenzas for the Rostropovich performances. This was not just a reflection of the limited number of fine concertos in the cello repertoire but recognition of the new work s intrinsic merit, particularly in relation to Haydn s somewhat less interesting, though much later and more famous, Cello Concerto in D (Hob.VIIb:2) of In respect of the D major concerto, scholars for years had argued that Haydn must have taken advice from his soloist, Anton Kraft, on how to write for the cello. The rediscovered C major concerto demonstrates that such advice was hardly necessary. ANTHONY CANE Sydney Symphony

10 CONDUCT A SYMPHONY AT YOUR PLACE You can enjoy ten selected live performances of the Sydney Symphony during its 2011 season in the comfort of your own home, only at BigPond Music online. Visit bigpondmusic.com/sydneysymphony THINGS YOU NEED TO KNOW: BigPond is a registered trade mark of Telstra Corporation Limited ABN BWMTEL11407

11 ABOUT THE ARTIST Pieter Wispelwey cello-director Pieter Wispelwey belongs to a generation of performers who are equally at ease on modern or period cello. His stylistic awareness, originality and technical mastery has won hearts in repertoire ranging from JS Bach to Alfred Schnittke, Elliott Carter and works composed for him. He was born in Haarlem in The Netherlands and his musical personality is rooted in the training he received: from early studies with Dicky Boeke and Anner Bylsma in Amsterdam to Paul Katz in the United States and William Pleeth in Great Britain. In 1992 he became the first cellist to receive the Netherlands Music Prize, which is awarded to the most promising young musician in The Netherlands. He has appeared as soloist with many of the world s leading orchestras, and highlights among his future concerto projects include a Scandinavian tour with the Munich Chamber Orchestra and a tour in Belgium with the Flanders Symphony Orchestra, as well as concerts with the Japan Philharmonic, Sao Paulo State Symphony, National Symphony of Ireland, Scottish Chamber Orchestra, Musikkollegium Orchestra Winterthur and Edmonton Symphony. Forthcoming recital appearances include duo concerts with fortepianist Kristian Bezuidenhout (Vienna Konzerthaus, London Wigmore Hall, Bruges Concertgebouw), pianist Cédric Tiberghien (Paris Théâtre des Champs-Elysées, Wigmore Hall), and solo recitals at the Louvre Series in Paris, as well as festivals in Amsterdam, Spain, France and Israel, and tours in Italy, Germany and North America. Pieter Wispelwey has been the artistic director of the Beauvais Cello Festival in France since 2009, drawing together some of the finest cellists for a week of recitals, concertos and chamber music, and featuring an exciting range of new music for the instrument. His discography includes more than 20 recordings, six of which have attracted major international awards, and his next release will be a recital disc of Mendelssohn cello sonatas and a selection of Chopin waltz arrangements. His first concerto engagement with the Sydney Symphony was in 2007 when he played Walton s Cello Concerto with conductor Jeffrey Tate; this performance was subsequently released on CD. Pieter Wispelwey plays on a 1760 Giovanni Battista Guad agnini cello and a 1710 Rombouts baroque cello. CAMILLE VAN ZUYLEN 11 Sydney Symphony

12 MUSICIANS KEITH SAUNDERS Vladimir Ashkenazy Principal Conductor and Artistic Advisor supported by Emirates KEITH SAUNDERS Michael Dauth Concertmaster KEITH SAUNDERS Dene Olding Concertmaster Nicholas Carter Associate Conductor supported by Symphony Services International & Premier Partner Credit Suisse PERFORMING IN THIS CONCERT FIRST VIOLINS Sun Yi Associate Concertmaster Fiona Ziegler Assistant Concertmaster Sophie Cole Georges Lentz Alexandra Mitchell Emily Qin# SECOND VIOLINS Marina Marsden Benjamin Li Emily Long Philippa Paige Maja Verunica Katherine Lukey# VIOLAS Caroline Henbest* Robyn Brookfield Graham Hennings Justine Marsden CELLOS Catherine Hewgill Kristy Conrau Elizabeth Neville Rowena Crouch# DOUBLE BASSES Kees Boersma Alex Henery OBOES Diana Doherty David Papp CLARINETS Lawrence Dobell Rowena Watts BASSOONS Roger Brooke Fiona McNamara HORNS Ben Jacks Euan Harvey HARPSICHORD Donald Nicholson* Bold = Principal Italic= Associate Principal * = Guest Musician # = Contract Musician = Sydney Symphony Fellow To see photographs of the full roster of permanent musicians and find out more about the orchestra, visit our website: If you don t have access to the internet, ask one of our customer service representatives for a copy of our Musicians flyer. 12 Sydney Symphony

13 THE SYDNEY SYMPHONY Vladimir Ashkenazy PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR PATRON Her Excellency Professor Marie Bashir AC CVO, Governor of New South Wales KEITH SAUNDERS Founded in 1932 by the Australian Broadcasting Corporation, 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 Sydney Symphony also performs in venues throughout Sydney and NSW. International tours have earned the orchestra worldwide recognition for artistic excellence, most recently in a European tour that included the BBC Proms and the Edinburgh Festival. The Sydney Symphony s first Chief Conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Zdenek Mácal, Stuart Challender, Edo de Waart and Gianluigi Gelmetti. The orchestra s history also boasts collaborations with legendary figures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky. The Sydney Symphony s award-winning education program is central to its commitment to the future of symphonic music, and the orchestra promotes the work of Australian composers through performances, recordings and commissions. The Sydney Symphony Live label has captured performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras and Vladimir Ashkenazy. The orchestra has also released recordings with Ashkenazy on the Exton/Triton labels, and numerous recordings for ABC Classics. Sydney Symphony Board CHAIRMAN John C Conde AO Terrey Arcus AM Jennifer Hoy Irene Lee David Smithers AM Ewen Crouch Rory Jeffes David Livingston Gabrielle Trainor Ross Grant Andrew Kaldor Goetz Richter 13 Sydney Symphony

14 SALUTE PRINCIPAL PARTNER GOVERNMENT PARTNERS The Sydney Symphony is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body The Sydney Symphony is assisted by the NSW Government through Arts NSW PREMIER PARTNER PLATINUM PARTNERS MAJOR PARTNERS GOLD PARTNERS SILVER PARTNERS REGIONAL TOUR PARTNERS BRONZE PARTNER MARKETING PARTNER Emanate 2MBS Sydney s Fine Music Station 14 Sydney Symphony

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