476 102-4 Melbourne Symphony Orchestra Markus Stenz
Gustav Mahler (1860-1911) Symphony No. 5 in C-sharp minor Part I I. Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt (Funeral March. With measured pace, inexorable, like a funeral procession) 13 34 II. Stürmisch bewegt. Mit größter Vehemenz (Stormy with utmost vehemence) 15 56 Part II III. Scherzo. Kräftig, nicht zu schnell (Energetic, not too fast) 17 42 Part III IV. Adagietto. Sehr langsam (Very slow) 9 52 V. Rondo-Finale. Allegro Allegro giocoso. Frisch (Lively) 14 37 Melbourne Symphony Orchestra Markus Stenz, conductor Total Playing Time 71 52 Mahler s first four symphonies were more or less programmatic in their intention, drawing their inspiration from folk poetry, incorporating themes from songs, and (in all but the first) using the human voice in one or more of the movements. The Fifth Symphony, on the other hand, revealed no obvious program and was scored for orchestra alone. It was written in 1901-2 around the time of Mahler s meeting with, and rather hasty betrothal to, Alma Schindler. While no period in Mahler s life could be described as unequivocally happy (he wasn t that kind of man) there is no doubt that the Fifth Symphony was conceived at a time of substantial personal and professional satisfaction. Yet in characteristic fashion, any sign of outward pleasure or optimism tends to be avoided, at least early on in the symphony pointedly, and notoriously, it begins with a funeral march. Mahler s friend Natalie Bauer-Lechner recalled Mahler speaking to her about the symphony he was writing in his hut in the woods during the summer of 1901. She recorded in her diary: Within the last few days Mahler has spoken to me for the first time about his work this summer, his Fifth Symphony, and in particular about the third movement: The movement is immensely difficult to work out because of the structure and the supreme artistic mastery which it demands in all its relationships and details The human voice would be utterly out of place here. There is no call for words, everything is said in purely musical terms. It will be a straightforward symphony in four movements too, with each movement independent and complete in itself and related to the others only by the common mood. Mahler worked on the first two movements and part of the third during the summer of 1901 (summer being the only opportunity he had to compose because of his conducting duties during the winter). The rest of the symphony was completed the following summer, by which point Alma Schindler was very much part of his life. In her memoirs, Alma recalled the couple going to Maiernigg in June 1902: Mahler had the sketches of the Fifth Symphony with him. Two movements were completed, the rest were being drafted. I tried to play the piano softly, but when I asked him, he [said that he] had heard me, although his working cabin was located far away in the woods. Thereafter I changed my activities 2 3
In the process I gradually became a real help to him. By the autumn of 1902 the Fifth Symphony was complete and Mahler played it for his new wife: It was the first time that he played a new work for me. Arm in arm we walked solemnly up to his studio in the woods. Soon afterwards the vacation was over, and we moved to Vienna. The Fifth was completed, and he worked all winter on the final copy. When the premiere took place in Cologne on 18 October 1904, the reception was mixed. The great conductor and early champion of Mahler s music, Bruno Walter, recalled many years later: I clearly remember the premiere of the Fifth in Cologne in 1904 for a particular reason: it was the first and, I think, the only time that a performance of a Mahler work under his own baton left me unsatisfied. The instrumentation did not succeed in bringing out clearly the complicated contrapuntal fabric of the parts, and Mahler complained to me afterwards that he never seemed able to master the handling of the orchestra: in fact he later subjected the orchestration to the most radical revision that he ever felt obliged to undertake. Richard Strauss, also an admirer of Mahler s music, had his own reservations. Following a further performance some months later, he wrote to Mahler: At the dress rehearsal, your Fifth Symphony again brought me great pleasure, which was dimmed for me only by the little Adagietto. It serves you right that precisely that movement was liked the most by the audience. The first two movements especially are quite splendid; the ingenious Scherzo seemed a bit too long. How much this is the fault of the inadequate performance is beyond my judgement. Revision after revision ensued, beginning with the overwritten percussion parts and following through into the entire orchestration. So thorough was Mahler s reworking that, while the symphony s popularity grew, each performance was nevertheless different from the previous one. The Fifth is an accursed work, Mahler wrote. No one understands it! The symphony follows Mahler s principle of progressive tonality, working its way from the beginning in C-sharp minor to a conclusion in a triumphant D major. On its travels it passes through a vast range of moods and emotions passionate, wild, pathetic, sweeping, solemn, gentle, full of all the emotions of the human heart in Bruno Walter s memorable description. A massive work, it is in three parts and five movements (rather than the four movements Mahler had planned in 1901). The opening movement begins with a distinctive trumpet call which recurs as the movement proceeds, and which Mahler noted in the score should be played somewhat hurriedly, in the manner of military fanfares. Like Berlioz and Tchaikovsky before him, Mahler opens with a funeral march and the first movement itself is filled with pain and grief. As if to belie the claim that the symphony is absolute rather than programmatic music, the main theme is actually based on a song by Mahler called Der Tamboursg sell a song about a drummer boy facing execution. There are two trios in the movement: the first in B-flat minor with a brief violin theme, the second a quieter section in A minor following the return of the march theme. After an impassioned climax toward the end, the movement dies away amid echoes of the opening trumpet call. Mahler leaves no doubt as to the intended mood of the second movement marked Stormy, with utmost vehemence. Much of the material in this allegro movement derives from that in the first and there is a distinct reminiscence of the march rhythms. A brass chorale in part anticipates the conclusion of the symphony as a whole; after some distinctly sinister turns, the main themes of the allegro return as the movement ends quietly and ominously. The Scherzo, which forms the third movement, is another matter altogether. Its energetic main thematic material is in the form of a joyous Ländler. Ideas tumble over themselves in an inventive contrapuntal display while a slower waltz theme is juxtaposed with the main material. Contrasting trios add a more sombre note and in one of these there occurs a striking obbligato passage for the principal horn. The F major Adagietto which follows arguably the most famous single movement in all the Mahler symphonies is essentially a song without words. Scored for harps and strings alone, it is closely related to Mahler s song Ich bin der Welt abhanden gekommen (I am lost to the world). According to Mahler s colleague, Dutch conductor Willem Mengelberg, the Adagietto was intended as a declaration of love for Alma and was composed shortly after the couple met. More like a fascinated bystander than a conductor, Mengelberg wrote in his score: 4 5
Instead of a letter, he sent her this manuscript without further explanation. She understood and wrote back that he should come! Both have told me this If music is a language, then this is proof. He tells her everything in tones and sounds in music. And also in Mengelberg s score at the beginning of the Adagietto was the following brief poem, presumably written by Mahler himself: Wie ich Dich liebe Du meine Sonne Ich kann mit Worten Dir s nicht sagen Nur meine Sehnsucht kann ich Dir klagen Und meine Liebe Meine Wonne! How I love you My sun I cannot tell you in words I can only pour out my longing And my love My delight! The Adagietto gained a wider audience when used in the soundtrack for Visconti s film Death in Venice. The Rondo-Finale is a remarkable movement, sharing material with each of the previous four movements, particularly with the Funeral March and the Adagietto. Merging elements of fugue and sonata form into a unified whole, the movement is a joyous (giocoso) celebration which begins with a series of folk-like figures on solo wind instruments. The opening of the movement quotes the witty Lob des hohen Verstandes (In praise of higher understanding) from Des Knaben Wunderhorn (The Youth s Magic Horn). The main rondo theme is stated first on the horns and the other ideas are woven contrapuntally around this as countersubjects. When the main melody from the Adagietto returns it is so transformed with energy that it is practically unrecognisable. The development is elaborate, and the movement as a whole works its way towards the ecstatic brass chorale of the conclusion as close as the melancholy Mahler ever came to writing an Ode to Joy. Martin Buzacott Melbourne Symphony Orchestra While able to trace its origins back to the 1880s, the Melbourne Symphony Orchestra was formally established by the Australian Broadcasting Corporation in 1940. With a reputation for excellence, versatility and innovation developed over more than six decades the Melbourne Symphony Orchestra attracts total annual audiences of over 250,000. This fine Orchestra is renowned for its performances of the great symphonic masterworks with leading international soloists and conductors including Igor Stravinsky, Mariss Jansons, Yehudi Menuhin, Jessye Norman, Jennifer Larmore, Bryn Terfel, Maxim Vengerov, John Williams, Artur Rubenstein, Osmo Vänskä, Paavo Järvi, Yan Pascal Tortelier, Donald Runnicles, Simone Young, Markus Stenz and Marcello Viotti, and for its appearances with The Three Tenors, Frank Sinatra, Kiri Te Kanawa, Elton John, John Farnham and the rock band KISS. The Orchestra has continued to increase its international, national and regional Victoria touring schedules at the same time attracting younger audiences through an extensive education program. The Melbourne Symphony Orchestra has received international recognition with overseas tours to the United States, Canada, Japan, Korea and in 2000, the Orchestra triumphantly toured Europe for the first time visiting Switzerland, Austria and Germany including concerts in Zurich, Munich, Cologne and Salzburg. Joining some of the world s greatest orchestras, including the Vienna Philharmonic and New York Philharmonic, the Melbourne Symphony Orchestra represented Australasia at the prestigious Festival de Música de Canarias in the Canary Islands, January 2000. In November 2002, the Melbourne Symphony toured China performing in Shanghai at their International Arts Festival and additional concerts in Tianjing, Nanjing, and Beijing. Most recently the Orchestra led by chief conductor and artistic director, Markus Stenz performed at the prestigious 11th International Festival The Stars of the White Nights in St Petersburg, Russia. Maestro Valery Gergiev, Festival Director and Chief Conductor of the Kirov Opera and Ballet, invited the Melbourne Symphony to perform at the Festival. The orchestra was joined by a distinguished array of artists and musicians and performed in the famous Mariinsky Theatre. With Chief Conductor and Artistic 6 7
Director, Markus Stenz currently in his sixth year with the Orchestra the Melbourne Symphony has taken an even more prominent position on the world s stage. In the 2003/04 season, in addition, he takes up the position of Chief Conductor of the Gürzenich Orchestra in Cologne. In a relationship that remains unique in Australian orchestral history, the Melbourne Symphony Orchestra celebrates a 30-year association with Conductor Laureate Hiroyuki Iwaki. In recognition of his achievements, Monash University has awarded him an Honorary Doctorate of Law and the first Fellow of the Faculty of Arts and, most recently, he received the Order of Australia. In December 2002, the Melbourne Symphony Orchestra announced the appointment of internationally renowned conductor Oleg Caetani to the position of Chief Conductor and Artistic Director. The fouryear appointment will commence in 2005. All of the Orchestra s Master Series concerts and other selected concerts are broadcast regularly on ABC Classic FM and many other performances, such as the Wagner Gala Concert conducted by Simone Young, and the Young Performer of the Year Award, are presented through ABC TV. Melbourne Symphony Orchestra recordings include CDs produced for the local Australian label ABC Classics. In addition, members of the Orchestra have featured on numerous movie soundtracks including those for feature-films such as Babe, IQ, Hotel Sorrento, Six Degrees of Separation, Babe II Pig in the City and The Dish. Moving into the 21st century, the Melbourne Symphony Orchestra is extremely proud to be part of a multi-million dollar computer games initiative based on the Jurassic Park movies. This is a first for the Orchestra to be involved in an interactive information technology project. The Melbourne Symphony Orchestra Pty Ltd is a wholly-owned subsidiary company of the Australian Broadcasting Corporation and a member of the Symphony Australia network. The Orchestra is funded principally by the Australia Council, the Commonwealth Government s arts funding and advisory body and is generously supported by the Victorian Government through Arts Victoria, Department of Premier and Cabinet. The Melbourne Symphony Orchestra is also funded by the City of Melbourne, its Principal Partner, The Age, and individual and corporate sponsors and donors. The Melbourne Symphony s Multicultural Audience Development Project is assisted by the Australia Council. Markus Stenz Currently Chief Conductor and Artistic Director of the Melbourne Symphony Orchestra, Markus Stenz takes up the position of Gürzenichkapellmeister in Cologne in the 2003/04 season and General Music Director of the Cologne Opera in 2004/05. He has held the positions of Music Director of the Montepulciano Festival (1989 to 1995) and Principal Conductor of the London Sinfonietta (1994 to 1998). He appears in his native Germany with orchestras such as the Munich Philharmonic, Bavarian Radio Symphony Orchestra, Deutsches Symphonie-Orchester Berlin, Ensemble Modern, Junge Deutsche Philharmonie, NDR Symphony Orchestra and the Leipzig Gewandhaus Orchestra. Opera engagements have included collaborations with Stuttgart Opera, Bavarian State Opera Munich, Hamburg Opera, Frankfurt Opera and in 2004 at the Cologne Opera in a new production of Fidelio. He has an ongoing relationship with both the Rotterdam Philharmonic and Royal Concertgebouw Orchestra and recently conducted a concert performance of Henze s The Bassarids with the Netherlands Radio Philharmonic. 8 9
He appears regularly with the Orchestra della Toscana and has appeared with the RAI Symphony Orchestras in both Turin and Milan and the Orchestra del Maggio Musicale Fiorentino. He has also worked at La Fenice in Venice and La Scala Milan. Markus Stenz has enjoyed a regular relationship with the Ensemble Intercontemporain in Paris, has worked with the Orchestre de Paris and next season appears for the first time with the Orchestre National de Lyon. He has worked with the Orchestra of La Monnaie, Brussels as well as conducting two new opera productions there. Markus Stenz has appeared with Basel Opera and in 2004 will make his first appearance with the Tonhalle Orchestra in Zurich. Apart from his work with the London Sinfonietta his regular appearances in the UK have included the BBC Symphony, Philharmonic and Scottish Symphony Orchestras, the Hallé Orchestra and several appearances at the BBC Proms. He returns to the Hallé Orchestra in 2004. He has conducted a new production of Don Giovanni at English National Opera and in 2004 will conduct Jenůfa for Glyndebourne Festival Opera. In Scandinavia Markus Stenz has worked with the Royal Stockholm Philharmonic Orchestra, Helsinki Philharmonic Orchestra, Gothenburg Symphony Orchestra and the Danish National Radio Symphony Orchestra and in 2003 appears with the Swedish Radio Symphony Orchestra. He returns to the Royal Stockholm Philharmonic in 2004. He has been a regular guest with the Chicago Symphony, Los Angeles Philharmonic, Minnesota, Seattle, Houston, Cincinnati and Indianapolis Symphonies and in 2005 will make his debut with the Pittsburgh Symphony. He has worked with Los Angeles Opera (Marriage of Figaro) and San Francisco Opera (Das verratene Meer and The Rake s Progress). Markus Stenz s work with the Melbourne Symphony Orchestra has included major overseas tour to Switzerland, the Canary Islands, Austria, Germany and China. In June 2003 they visit St Petersburg for the first time to appear in the White Nights Festival as part of the tricentenary celebrations of the founding of the city. Markus Stenz s most recent recording of Kurt Weill s Der Silbersee for BMG was much acclaimed. Executive Producers Robert Patterson, Lyle Chan Editorial and Production Manager Hilary Shrubb Recording Producer Stephen Snelleman Associate Producer Colin Cornish Recording Engineer Jim Atkins Cover and Booklet Design Imagecorp Pty Ltd Photography Jeff Busby (orchestra), Fiona Campbell (Markus Stenz) For the Melbourne Symphony Orchestra Managing Director Trevor Green Artistic Administrator Colin Cornish Orchestra Manager Barbara Glaser Recorded at Robert Blackwood Hall, February 2002 Program notes by Martin Buzacott appear courtesy of Symphony Australia. Melbourne Symphony gratefully acknowledges the generous support of the Melbourne Symphony Friends. 2002 Australian Broadcasting Corporation. 2003 Australian Broadcasting Corporation. Distributed in Australasia by Universal Classics & Jazz, a division of Universal Music Group, under exclusive licence. Made in Australia. All rights of the owner of copyright reserved. Any copying, renting, lending, diffusion, public performance or broadcast of this record without the authority of the copyright owner is prohibited. 10