WELCOME TO TEA & SYMPHONY It is my great pleasure to welcome you to this concert in the 2011 Tea & Symphony series. This morning we revisit Mozart with two unusual pieces: a concerto that he left unfi nished and a symphony that brings us highlights from one of his orchestral serenades. The story of the concerto is fascinating, as is the detective work by composer Philip Wilby, which enables us to hear the music this morning, as it might have been. The symphony is a case of clever recycling perhaps by Mozart, perhaps by one of his contemporaries. It presents three movements from what would have been an expansive serenade, designed as background music for a graduation, and turns them into a striking symphony that s just right for concert-hall listening. And between these two works we hear Benjamin Britten s Opus 1 the fi rst offi cial work of a young composer on the cusp of a major career and already showing how bold and original he would be. 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 2011. Oscar A. Kambly Chairman Kambly of Switzerland
2011 SEASON TEA & SYMPHONY PRESENTED BY KAMBLY Friday 4 February 11am Sydney Opera House Concert Hall MOZART REVISITED Dene Olding violin-director Andrea Lam piano WOLFGANG AMADEUS MOZART (1756 1791) Concerto in D for piano and violin, K315f reconstructed by Philip Wilby (born 1949) Allegro Andantino cantabile Allegretto BENJAMIN BRITTEN (1913 1976) Sinfonietta, Op.1 Poco presto ed agitato Variations (Andante lento) Tarantella (Presto vivace) Music from this program has been recorded for later broadcast on ABC Classic FM. Estimated durations: 28 minutes, 15 minutes, 17 minutes The concert will conclude at approximately 12.10pm. MOZART Symphony in D (from the Posthorn Serenade, K320) Adagio maestoso Allegro con spirito Andantino Finale (Presto) PRESENTING PARTNER Biscuits at Tea & Symphony concerts kindly provided by Kambly
ABOUT THE MUSIC Mozart Revisited We re used to hearing Mozart as the youngest composer on a program. In this concert another composer takes the honours. But if you didn t know, you probably wouldn t guess that the composer of Britten s accomplished Opus 1 was just 18 years old. The Mozart pieces, both of them, may be considered bonus Mozart. One is an extra Mozart symphony the result of a serenade revisited. Its derivation from a larger work may have been done by Mozart himself, but we can t prove it. The second bonus might be called recovered Mozart: a completion of something he himself did not finish. MOZART Concerto for violin and piano, K315f Mozart was 22 when he began a concerto for violin, piano and orchestra. Like Britten in his Sinfonietta, Mozart was passing through a crucial stage on the way to maturity. Leaving Salzburg in 1777 with his mother, he visited Munich, Augsburg and Mannheim, where he got to know musicians from that city s outstanding orchestra, and fell in love with Aloysia Weber; then on to Paris, where Mozart s mother died. In November 1778, back in Mannheim, Mozart WOLFGANG AMADEUS MOZART Austrian composer (1756 1791) Posthumous portrait of Mozart by Barbara Krafft (1819) 4 Sydney Symphony
wrote to his father in Salzburg: An Académie des Amateurs, like the one in Paris, is about to be started here. Herr Franzl is to lead the violins. So at the moment I am composing a concerto for clavier and violin. Mozart never finished the concerto, and what has survived is 120 bars of a first movement about five minutes partly fully scored for orchestra, partly in draft, from the entry of the soloists on. All Mozart s concertos with multiple solo instruments come from around this time. He finished the Concerto for flute and harp (to be heard later in this series), the Sinfonia concertante for violin and viola, K364 (performed last year) and the Concerto for two pianos, K365 these two last composed after returning to Salzburg. He also composed a sinfonia concertante for winds for the Mannheim soloists to perform in Paris, which may survive as K297b, and he began a sinfonia concertante for violin, viola, and cello in Salzburg. The concerto for violin and piano may have been abandoned because the opportunity for its performance suddenly disappeared. Only a short time after Mozart told his father he was composing the concerto, Mannheim s ruler moved to Munich, and took most of the Mannheim orchestra with him. There were to be no concerts of the Mannheim Académie des Amateurs. What Mozart did write of this concerto is tantalising. Mozart authority Alfred Einstein, after describing the imposing and richly orchestrated opening, exclaims A Sinfonia concertante for Franzl, whom Mozart admired so highly as a violinist, and himself what a gift to the world this would have been! Enter Philip Wilby. This English musician has been a professional violinist, a composer (notably of music for brass) and a university teacher. Wilby has made several reconstructions of unfinished pieces by Mozart (including the 134-bar fragment of the Sinfonia concertante for violin, viola and cello). In this instance, he has expanded Mozart s fragment for piano and violin into a concerto in three movements. Wilby believes that when he dropped the concerto, Mozart re-used his ideas for it as a piano and violin sonata, in the same key: K306 in D major. Wilby finds signs in the second and third movements of the sonata of possible transcription from an orchestrally conceived work. The sonata, he concludes is in reality [Mozart s] double concerto. Wilby has completed Mozart s first movement, taking some music from the sonata as the basis, and he has scored the second and third movements of the sonata as a concerto. CONCERTO COMPLETED Mozart began his concerto for piano and violin with the Mannheim violinist Ignatz Franzl in mind. He greatly admired Franzl s playing, writing to his father in 1777: You know I am no lover of difficulties. He plays difficult things, but his hearers are not aware that they are difficult. Mozart praised Franzl s beautiful round tone, his staccato (played in a single bowing, up or down), and his double trill. That trademark staccato turns up in the second movement of a violin sonata Mozart composed in 1778 (K306) and this, together with the surviving fragment of Mozart s concerto, formed the basis for Philip Wilby s reconstruction and completion of the concerto, first performed in 1985. Wilby completed Mozart s first movement, using some music from the sonata as the basis, and orchestrated the second and third movements of the sonata as a concerto. 5 Sydney Symphony
CHESTER NOVELLO Composer and musical detective Philip Wilby Wilby s arguments for the sonata being the concerto include the presence in the last movement, of an immensely long cadenza, most unexpected in a chamber sonata. The piano and violin sonata K.306 is notably concertante in conception a great concert sonata, Einstein calls it, and he relates the finale to Mozart s violin concertos. Franzl s trademark staccato in one bow stroke not found in the fragment of the concerto first movement is found several times in the slow movement of the sonata. In this movement, too, Mozart gives each instrument in turn a chance to shine expressively, in the concertante manner. In the last movement a toy soldier march and a romp in galloping 6/8 time keep interrupting each other, in a double variation form. This is Wilby s description, and he admits that the hint of a private joke in the big cadenza is less strong when this is heard as part of a concerto rather than a sonata. BRITTEN Sinfonietta Britten s precociously early maturity as a composer was often treated with suspicion. One of the examiners admitting him to the Royal College of Music is said to have 6 Sydney Symphony
asked, What is an English public schoolboy doing writing music of this kind? In 1932, his final year as a student, the teenager produced his Sinfonietta (originally for ten instruments but later expanded), which was a challenge for its first performers and for at least some critics. After a rehearsal at the RCM, Britten wrote that he had never heard such an appalling row. The critics were pretty evenly divided: the Daily Telegraph patronised Britten, saying, he can be as provocative as any of the foreign exponents of the catch-as-catch-can style of composition, while the Times, far from thundering, praised the composer s power of invention [and] the efficiency with which he handles his material. He has already enough to say for himself to excuse his independence of tradition. It was that independence of British tradition, which was the issue, though. Another reviewer sniped, This young spark is good company for as long as his persiflage remains fresh, which is not very long, accusing him of saying See how knowing I am, how much wiser than my years. A BBC employee, however, expressed the view which ultimately LEBRECHT MUSIC & ARTS BENJAMIN BRITTEN English composer (1913 1976) 7 Sydney Symphony
prevailed: Britten is the most interesting new arrival since Walton, and I feel we should watch his work very carefully. It is difficult to imagine why this work should have seemed so modernist to the British press, especially in the light of what Britten went on to do. As late as 1952, musicologist Erwin Stein believed that this was the only work of Britten s in which Schoenberg s influence is directly apparent. Despite Britten s colourful use of what Stein called the sonority of the second the clash of adjacent notes that influence is the Schoenberg of the 1906 Chamber Symphony No.1 (which Britten had heard in his early teens), not the inventor of the feared twelve-note technique. Schoenberg s was, nonetheless, an epochal work, producing what Norman Lebrecht calls a symphonic statement with insistent intimacy. Britten s Opus 1 has some of the same qualities. Its three movements are linked by common thematic material treated with a prodigal musical imagination; in the final pages of the first movement Britten presents the two contrasting themes simultaneously, and the principle of continuous variation (which Schoenberg learned from Brahms) is pivotal in the second movement s variations. The final Tarantella has been rightly compared with the song Rats Away! in Britten s Our hunting fathers his and Auden s response to the rise of Fascism and indeed, Christopher Palmer argues that there is a political dimension to this work: [Britten s] orchestration is as naked, exposed and vulnerable as any of his child-heroes or sacrificial victims. In writing for the orchestra Britten was a democrat, a champion of the individual as opposed to the mass collective, an emancipator. Britten himself looked back on the piece with affection, saying, it is absolutely genuine at any rate. BRITTEN SINFONIETTA Britten composed his threemovement Sinfonietta in just under three weeks. The amazing achievement of a brilliant boy, it was first performed on 31 January 1933 at one of the concerts organised by Britten s friends Anne Macnaghten and Iris Lemare. Britten himself conducted it with students at the Royal College of Music six weeks later. A BBC broadcast and publication by Boosey and Hawkes in 1934 as Britten s Opus 1 helped put a new talent on the national map. MOZART Symphony from the Posthorn Serenade In 1757 the musicologist Marpurg wrote that a serenade was only performed once. Serenades were ephemeral pieces, written for specific occasions weddings, graduations or the raiding of a family to the nobility and their long, multi-movement forms were conceived as the accompaniment to festivities rather than for concert listening. But Marpurg was writing of the typical, whereas Mozart s utilitarian music often transcended its original 8 Sydney Symphony
social setting. In his hands the orchestral serenade style, as Maynard Solomon notes, surprisingly emerged as a universal style. For modern listeners a whole hour of Mozart isn t too much of a good thing. But the heavenly lengths of the Haffner or the Posthorn serenades are difficult to program in a concert. This was obvious to Mozart by removing some of the solo movements and extra minuets he was able to turn the Haffner Serenade into a symphony (K250), and from the two solo movements of the Posthorn Serenade he made a kind of sinfonia concertante, which was performed in Vienna in 1783. The music we hear this morning is a symphony made along the same lines as the Haffner, except that there is no evidence that Mozart himself made the selection the only copy is not in his hand. The original Posthorn Serenade was almost certainly what Mozart called a Finalmusik, associated with the end of year graduation ceremonies of Salzburg s Benedictine University on 3 August 1779. It took its nickname from one of the omitted minuets, which contains a post horn solo a symbol of departure through its association with the stage (mail) coach, and probably a salute to the graduating students. The three movements in this concert certainly merit the title symphony. After 1775, Mozart was making up for the lack of opportunity for symphonic composition in Salzburg by writing in a grand symphonic manner in his orchestral serenades. The first movement of the Posthorn Serenade is one of Mozart s most ambitious utterances and from the outset it belies its ephemeral origins. This grand and powerful music features a slow introduction, and exploits the dynamics available from a large orchestra with trumpets and drums by including dramatic orchestral build-ups of the kind called Mannheim crescendos. The Andantino in D minor, coloured by the dark tones of bassoons and horns, provides a sombre contrast surprising in music written for a celebration while the finale (as fast as possible!) combines entertainment with brilliant orchestral grandeur, and imitative writing sometimes looking forward to the Prague Symphony. Whether or not Mozart compiled the Posthorn Symphony himself, he might well have said it must certainly be very effective, just as he did about the Haffner Symphony. Mozart revisited. FINALMUSIK In August each year, the students of Salzburg s Benedictine university presented a solemn musical performance for their professors and also went out serenading. The serenade, or Finalmusik, was presented in two locations: first at the Mirabell Palace for the Archbishop, and second in front of the university building for the professors. The music lasted between forty minutes and an hour, and the students and musicians processed to each location, accompanied by a march. The players were a mixture of court musicians, students and amateur musicians, and the music was often commissioned from one of the court composers. Wolfgang Mozart s music was heard in at least five of these graduation ceremonies between 1769 and 1779, and the Posthorn Finalmusik was the last of these. ADAPTED FROM NOTES BY DAVID GARRETT 2011, 2005 (MOZART) AND GORDON KERRY 2003 (BRITTEN) 9 Sydney Symphony
ABOUT THE ARTISTS Dene Olding violin-director Dene Olding is one of Australia s most outstanding instrumentalists and has achieved a distinguished career in many aspects of musical life. As a soloist, he appears regularly with the Australian symphony orchestras and has given the Australian premieres of Lutoslawski s Chain 2, Carter s Violin Concerto, and the Glass Violin Concerto, as well as concertos by Ross Edwards and Bozidar Kos, and Richard Mills Double Concerto, written for him and his wife, violist Irina Morozova. A graduate of the Juilliard School, in 1985 he was awarded a Winston Churchill Memorial Trust Fellowship and was a Laureate of the Queen Elisabeth of Belgium International Violin Competition. He rejoined the Sydney Symphony as Co-Concertmaster in 2002, having held the position from 1987 to 1994. Other concertmaster positions have included the Australian Chamber Orchestra and Melbourne Symphony Orchestra. He is also first violinist for the Australia Ensemble and a founding member of the Goldner String Quartet. As a conductor he has made appearances with the Sydney Symphony and Auckland Philharmonia, and as conductor-soloist with chamber orchestras in Australia and America. His recordings include Brahms, Beethoven and Mozart sonatas, concertos by Martin, Milhaud, Hindemith and Barber, the premiere recording of Edwards violin concerto, Maninyas, the complete Beethoven string quartets and a Rachmaninoff disc with Vladimir Ashkenazy. His recent solo appearances with the Sydney Symphony have included Arvo Pärt s Fratres for violin, strings and percussion in the Mozart in the City series and Maninyas at the Edinburgh Festival in 2010. In July he will give the premiere of Carl Vine s new violin concerto in the Meet the Music series. Dene Olding plays a 1720 Joseph Guarnerius violin. ANNA KEENAN 10 Sydney Symphony
Andrea Lam piano In recent years, Australian pianist Andrea Lam has given more than sixty performances with orchestras in Australia, the United States, Japan and Hong Kong, attracting praise for her dynamic range and stage presence. She has worked with renowned conductors such as Alan Gilbert, Edo de Waart, Michael Christie, Markus Stenz and Christopher Hogwood. Recent highlights include a debut recording of Mozart concertos with the Tasmanian Symphony Orchestra, performances with the Queensland, Melbourne and Columbus symphony orchestras, and recitals in Australia and America. A native of Sydney, Andrea Lam has featured in two national television programs, including Andrea s Concerto, documenting her life as a young pianist and concluding with her performance of Tchaikovsky s Piano Concerto No.1 with the QSO. She has participated in the Yellow Barn festival (Vermont), was a Keyboard winner in the Young Performer s Awards, winner of the ABC Quest Competition Viewers Choice Award, Audience Prize recipient at the 2007 Louisiana Piano Competition, and a winner of the Salon de Virtuosi Career Grant. In 2009 she was a semifinalist in the Van Cliburn Competition, where she was commended for her inventive programming, musicianship and personality. That same year she was also the silver medallist at the San Antonio Piano Competition, winning additional prizes for Best Classical and Best Russian performances. Andrea Lam holds degrees from the Yale School of Music, where she studied with Boris Berman, and the Manhattan School of Music, where she studied with Arkady Aronov. She currently lives in New York City. Her most recent appearance with the Sydney Symphony was in 2006 when she played Mozart s Piano Concerto No.15 (K450) with Edo de Waart. This year she also appears with the Melbourne Symphony Orchestra. 11 Sydney Symphony
MUSICIANS KEITH SAUNDERS Vladimir Ashkenazy Principal Conductor andartistic Advisor KEITH SAUNDERS Michael Dauth Concertmaster KEITH SAUNDERS Dene Olding Concertmaster PERFORMING IN THIS CONCERT FIRST VIOLINS Dene Olding Concertmaster Kirsten Williams Associate Concertmaster Marianne Broadfoot Georges Lentz Nicole Masters Léone Ziegler SECOND VIOLINS Kirsty Hilton Shuti Huang Maja Verunica Alexandra D Elia# Katherine Lukey# Belinda Jezek* VIOLAS Tobias Breider Stuart Johnson Leonid Volovelsky Rosemary Curtin* CELLOS Julian Smiles* Fenella Gill Adrian Wallis Rachael Tobin* DOUBLE BASSES Alex Henery David Campbell FLUTES Emma Sholl Carolyn Harris OBOES Diana Doherty David Papp CLARINET Francesco Celata BASSOONS Roger Brooke Noriko Shimada Principal Contrabassoon HORNS Robert Johnson Lee Bracegirdle TRUMPETS Daniel Mendelow John Foster TIMPANI Richard Miller Principal Bold = Principal Italic= Associate Principal * = Guest Musician # = Contract Musician In response to audience requests, we ve redesigned the orchestra list in our program books to make it clear which musicians are appearing on stage for the particular performance. (Please note that the lists for the string sections are not in seating order and changes of personnel can sometimes occur after we go to print.) To see photographs of the full roster of permanent musicians and find out more about the orchestra, visit our website: www.sydneysymphony.com/sso_musicians 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
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
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Justice J C & Mrs Campbell Mrs Catherine J Clark Joan Connery OAM & Maxwell Connery OAM Bruce Cutler Mr Charles Curran AC & Mrs Eva Curran Matthew Delasey Greg Earl & Debbie Cameron Peter English & Surry Partners In Memory of Mr Nick Enright Robert Gelling Dr & Mrs C Goldschmidt Mr Robert Green Mr Richard Griffin AM Damien Hackett Mr Hugh Hallard Martin Hanrahan Mr Ken Hawkings Dr Heng & Mrs Cilla Tey Roger Henning Rev Harry & Mrs Meg Herbert Michelle Hilton-Vernon Mr Joerg Hofmann Dominique Hogan-Doran Mr Brian Horsfield Greta James Iven & Sylvia Klineberg Ian Kortlang Dr & Mrs Leo Leader Margaret Lederman Martine Letts Erna & Gerry Levy AM Dr Winston Liauw Sydney & Airdrie Lloyd Alison Lockhart & Bruce Watson Locumsgroup Holdings LP Carolyn & Peter Lowry OAM Dr David Luis Mrs M MacRae OAM Mr K J Martin Mrs Silvana Mantellato Geoff & Jane McClellan Mrs Inara Merrick Kenneth N Mitchell Helen Morgan Mrs Margaret Newton Sandy Nightingale Mr Graham North Dr M C O Connor AM Mrs Rachel O Conor A Willmers & R Pal Mr George A Palmer Dr A J Palmer Mr Andrew C. Patterson Dr Kevin Pedemont Lois & Ken Rae Pamela Rogers Rowan & Annie Ross Richard Royle Dr Mark & Mrs Gillian Selikowitz Mrs Diane Shteinman AM Dr Agnes E Sinclair Robyn Smiles Rev Doug & Mrs Judith Sotheren John & Alix Sullivan Mr D M Swan Ms Wendy Thompson Prof Gordon E Wall Ronald Walledge The Hon. Edward G Whitlam David & Katrina Williams Audrey & Michael Wilson Mr Robert Woods Mr & Mrs Glenn Wyss Mrs R Yabsley Anonymous (15) To find out more about becoming a Sydney Symphony Patron please contact the Philanthropy Office on (02) 8215 4625 or email philanthropy@sydneysymphony.com 15 Sydney Symphony
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