ACTEWAGL LLEWELLYN SERIES HORN

The CSO is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body

New Combination “Bean” Lorry No.341 commissioned 31st December 1925.

Photograph courtesy of The University of Melbourne Archives 2008.0045.0601

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BORODIN: Polovtsian Dances from Prince Igor 13’

R.STRAUSS: Horn Concerto No. 1 in E flat major, op. 11 15’

1. Allegro2. Andante3. Rondo: Allegro

INTERMISSION

PROKOFIEV: Symphony No. 5 in B flat major, op. 100 46’1. Andante 2. Allegro marcato 3. Adagio 4. Allegro giocoso

Please note: this program is correct at time of printing, however it is subject to change without notice.

Wednesday 16 August & Thursday 17 August, 2017 Llewellyn Hall, ANU 7.30pm

Nicholas Milton AM Conductor Artistic patronage courtesy of ActewAGL Horn Hector McDonald

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ACTEWAGL LLEWELLYN SERIES HORN

CSO 2018 SEASON NOW ON SALE!

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At the CSO we believe life is better with music. In our new season we offer a rich and varied experience from big orchestral concerts of the masterworks to ensembles with Australian music, to intimate solo recitals. There is something for everyone in 2018!

Welcome While it is cold outdoors, we will warm our hearts tonight with inspiring music and artistry in this third ActewAGL Llewellyn Series concert for 2017.

Please join everyone from the Canberra Symphony Orchestra in welcoming back our esteemed Chief Conductor and Artistic

Director, Nicholas Milton AM, who leads us this evening on an inspiring musical journey. Since its inception 18 months ago, Nicholas has been looking forward to this program featuring the Prokofiev Symphony No. 5 which the CSO hasn’t performed since 1991.

There are more historic links this evening as the guest soloist this evening is the legendary Australian horn player, Hector McDonald, who led the world-class brass department at the Canberra School of Music in the 1980’s. Since leaving Canberra, Hector has been with the Vienna Philharmonic and this is his first return to Canberra in 25 years. It is an honour to work with such a renowned artist, and many of his former students have travelled from across the country to pay tribute to the master.

Your experience this evening reflects the exciting 2018 season of music which the CSO launched last week. Music in one form or another is intrinsic in our lives, and the CSO’s 2018 program offers our most diverse menu of music experiences ever. If you love concerts such as this one tonight, we’ve expanded the ActewAGL Llewellyn Series to include five double evenings of big orchestral masterpieces. Our unique Australian Series featuring ensembles in the National Portrait Gallery continues to shine as a world-class showcase for existing

and newly created Australian music. If you are keen to get closer to the artists and hear from them first-hand about their music, the Recital Series is your perfect Sunday afternoon opportunity. In 2018 the Recitals are moving to Wesley Music Centre to allow for more people to connect with music in a relaxed and intimate setting.

If you haven’t already checked out our 2018 program, I encourage you to visit our website (cso.org.au) to explore the rich and varied experiences on offer. If you see any two or more performances that interest you, contact CSO Direct on 02 6262 6772 (Monday – Friday 10am – 3pm) and you’ll save over 25% on your purchase. We are holding seats until 21 October for renewing subscribers who purchased all ActewAGL Llewellyn Series concerts in 2017, but all other seats are available now on a first come, first served basis, so it’s a good idea to get your order in now!

2018 will see a whole new CSO Education program being rolled out and also new forays into the region where communities often don’t have access to fine music. These initiatives are made possible by the ACT Government, CSO donors and CSO partners, all of whom share our commitment to diverse music opportunities. We thank them and the Australia Council for their vision and generosity.

And we thank you, fellow music lovers, for including the CSO in your lives. We are honoured to bring you these opportunities to experience an evening of joy and beauty.

Sarah Kimball Chief Executive Officer

[1]‘Daily Rituals’ with Alyssa McClelland. Shot in Creative room 105 by Lee Grant.

[3] ‘Dropping A Kumbhar Wala Matka’ by Trent Jansen. Shot by Neville Sukhia. For our ‘Porosity Kabari’ exhibition at the Nishi Gallery from 9 June.

Recognize yourself in he and she who are not like you and me

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Hotel

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[2]Jim White and Giorgos Xylouris of ‘Xylouris White’ in the Mosaic room. Shot by Lee Grant.

Nicholas Milton AM ConductorDr Nicholas Milton AM is the Chief Conductor and Artistic Director of the Canberra Symphony Orchestra, and has been the musical force behind an extraordinary period of growth and success in the CSO’s history. Since 2007, Milton’s direction has seen the orchestra break all previous box office records and establish itself as one of the most successful

and dynamic orchestras in the nation. In addition to his work with the CSO, Nicholas is also currently General Music Director and Chief Conductor of the State Opera House in Saarbrücken, Germany, where he conducts fifty performances each season and is the Chief Conductor of the Willoughby Symphony Orchestra in Sydney.

In 2016, he was appointed a Member of the Order of Australia for his significant service to the arts, particularly to classical orchestral music performance, as a musician, conductor and artistic director.

“I feel deeply honoured to have been recognised in this way, but stress that this award belongs to the musicians, management and board of the exceptional Canberra Symphony Orchestra, who have so stunningly transformed this organisation. The CSO has established itself as the backbone of professional orchestral performance in the nation’s capital. I am so proud of the work we do, and I never would have been considered for this award were it not for the positive influence that the CSO and its musicians make on so many levels in our society.” Nicholas Milton AM.

Just two months before being awarded the AM, Nicholas was nominated for a Grammy

Award for his work on Joseph Moog’s album Grieg & Moszkowski: Piano Concertos. Despite the international accolades, when asked what he loves the most, he says: “The CSO’s education and community outreach programs are particularly close to my heart and watching the impact of our musicians performing for young children, people with Parkinson’s or for students at special schools has changed my ideas and thoughts about what an orchestra means to its community and the profound force for good that an orchestra like the CSO represents.”

In 2001 Nicholas Milton was awarded the Australian Centenary Medal for Service to Australian Society and the Advancement of Music. At the invitation of the Australian Prime Minister, he has served in 2015 as the cultural consultant to the Australia-Germany Advisory Group.

Prior to joining the Canberra Symphony Orchestra, Nicholas was appointed as the youngest ever concertmaster of one of Australia’s major orchestras, where he enjoyed an exceptional career as a violinist and chamber musician before dedicating himself exclusively to conducting. Renowned for his dynamic conducting style, energy and compelling musical integrity, the immediacy of Milton’s rapport with musicians continues to thrill orchestras and audiences alike.

Nicholas studied at the Sydney Conservatorium of Music, Michigan State University, Mannes College of Music and the Juilliard School. He holds four Master’s degrees (Violin, Conducting, Music Theory and Philosophy) and a Doctoral degree in Music from the City University of New York; he was mentored at the Sibelius Academy in Helsinki by Jorma Panula.

Nicholas Milton’s artistic patronage is gratefully received from ActewAGL.

When in Canberra, Nicholas Milton AM chooses to stay at Hotel Hotel

Artistic Patronage of Nicholas Milton AM courtesy of ActewAGL

Hector McDonald HornThe Australian horn soloist Hector McDonald can look back on over 50 years of involvement with brass instruments. His earliest encounter was with the Tenor Horn at the age of 9. Later came the Euphonium and Trombone. At the age of 18 he took up the French Horn. Since then he has had appointments with the Sydney Opera Orchestra (AOBO), the

Berliner Philharmoniker, the Berlin Radio Orchestra and for the past 27 years has played Principal Horn with both the Vienna Symphony Orchestra and period instrument group Concentus Musicus, Wien.

Hector McDonald began performing as Soloist at an early age. In the meantime he has performed regularly with leading orchestras in Europe, Britain, the USA, Japan, South-East Asia and Australia.

Mr McDonald has a keen interest in all the members of the horn family and performs regularly as soloist with the Baroque Horn, the Classical or Natural Horn, the Vienna

Horn and the modern Double Horn. Conductors with whom he has collaborated in this capacity include: Nikolaus Harnoncourt, Georges Prêtre, Raphael Frühbeck de Burgos, Václav Neumann, Vladimir Fedoseyev, Zdenec Macal, Jukka Pekka Saraste, Sir Charles Mackerras, Marc Minkowski, Leopold Hager, Pinchas Steinberg, David Zinmann, Philippe Herreweghe, Marc Soustrot Leopold Hager and Fabio Luisi.

Hector McDonald is presently Professor for Horn at the University for Music and the Performing Arts in Graz, Austria. He appears regularly at Brass Workshops and Seminars throughout the world. His students are engaged in leading orchestras in Europe, the United States and Australia.

Mr McDonald has recorded numerous solo and chamber music works for CD, including Carl Maria von Weber’s Concertino in E for Horn and Orchestra op. 45 and WA Mozart’s Sinfonie Concertante KV 297b on Natural Horn as well as concertos by Haydn, Telemann, Förster and Teyber. Chamber music includes the horn trios by Brahms, Berkeley and Banks.

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MUSIC NOTES

Alexander Borodin (1833-1887)

Polovtsian Dances from Prince Igor Alexander Borodin was not only a great Russian composer, but also a doctor of medicine and lecturer in chemistry at the St Petersburg Academy of Medicine. Though music played an important part in his life, it came second to his scientific work, and it was not until he met Balakirev, a leading figure in Russian music, that he decided to devote as much of his leisure time as possible to the study of composition. He soon became one of the most brilliant of the group of Russian nationalist composers known as ‘the Five’ or ‘Mighty Handful’, the other members of which were Balakirev, César Cui, Mussorgsky and Rimsky-Korsakov. All Borodin’s composing was done amidst the distractions of a busy professional life – generally, he said, in the little leisure given him by a bad cold in the head.

Borodin’s opera Prince Igor is based on a medieval Russian epic poem concerning the struggle between the Russians and the Polovtsi, a Tartar tribe occupying the plains of the river Don. In 1185 Igor led an expedition against the Polovtsi. He was taken prisoner with his son, Vladimir, but Khan Konchak, ruler of the Polovtsi, was magnanimous and hospitable. Instead of treating the two princes as captives, he entertained them as royal guests.

Prince Igor, begun in 1869, occupied Borodin on and off over many years, and work was often interrupted. It was incomplete when he died 18 years later, leaving his colleagues Glazunov and Rimsky-Korsakov to finish the third act and realise almost all the orchestration. The ballet at the end of Act II forms part of a festival arranged by the Khan for his noble prisoners. The tunes of the barbarically splendid Polovtsian Dances constantly remind us that a Russian genius was uniquely placed to suggest an oriental atmosphere in music (in this case the world of the Turkish, nomadic Polovtsi).

© David GarrettReprinted by permission of Symphony Services International

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MUSIC NOTES

Richard Strauss (1864-1949)

Horn Concerto No.1 in E flat, op.11AllegroAndanteRondo: Allegro

Richard Strauss is associated with marvellous writing for the French horn. Think of the great horn themes in the tone poems Don Juan and Ein Heldenleben, or the opening of the 1913 opera Der Rosenkavalier. Horn concertos virtually bookend his career – this first, written when Strauss was not yet out of his teens; a second written nearly 60 years later, in Strauss’ sunset period of creativity.

Strauss’ father, Franz, was a professional horn player – he had played under Wagner in some of the first performances of the latter’s works – and the 14-year-old Richard had written a song Ein Alphorn hör’ich schallen with horn obbligato, and an Introduction, Theme and Variations for horn and piano, both works dedicated to ‘his beloved Papa’.

This concerto of 1883 was written, however, not for ‘Papa’, but for Oscar Franz, a member of the Royal Saxon Orchestra in Dresden, and the first performance was given in March 1885 by Gustav Leinhos with the Meiningen Orchestra, under Hans von Bülow. Strauss wrote to his father that Leinhos had ‘a colossal sureness’ – a welcome quality in a horn player – and a tone very like Papa’s own.

The music shows the influence of growing up in Franz Strauss’ household. Franz was a musical conservative. He disliked Wagner’s music, and was aghast at the amount of percussion his son Richard later used in his first tone poems. It would be some years before Richard fell under Wagner’s spell, and so this concerto reflects the influence of household favourites, Schumann and Brahms, particularly in the character of the music and its orchestration.

The work is built around what Strauss biographer Norman del Mar calls Naturmotive, that is, themes which arise from the natural disposition of the valveless horn – around common arpeggios that arise from the overtone series. It is curious however that Strauss inserts notes into these themes that would make such themes unplayable on the natural horn (you need an instrument with valves), a characteristic of Strauss’ horn themes throughout his later career.

As Del Mar says, ‘The opening fanfare, delivered at the outset by the solo horn and before the orchestral ritornello, not only serves as a framework enclosing the two long and free cantilenas which comprise the first movement, but, transformed into 6/8 rhythm, constitutes the principal Rondo subject of the Finale.’ There is also a secondary horn-type motive which appears in the opening tutti and is repeatedly worked into the music. It forms the chief means of linking the Andante to the Finale. In the Andante it is the basis of the triplet accompaniment figure.

The work is in three short movements which follow one another without a break. The unity and concision of the writing, abandonment of sonata form for the first and third movements, flow of melody and the Rondo’s references to the opening movement, make this one of the most ambitious, original and successful of Strauss’ early works.

Symphony Australia © 1999 Reprinted with permission

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By bringing world class music to the region season after season, the Canberra Symphony Orchestra is central to the ACT’s vibrant arts community. Supporting such an inspiring organisation continues to be our privilege after 20 years.

Photo by Lindi Heap

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MUSIC NOTES

Sergei Prokofiev (1891-1953)

Symphony No.5 in B flat, op.100 AndanteAllegro marcatoAdagioAllegro giocoso

As Prokofiev raised his baton to conduct the premiere of his Fifth Symphony, Moscow shook with the sound of cannon-fire. It was January 1945, and the fusillade announced to the citizens that the Red Army had crossed the Vistula River in its rout of the invading Germans. Pianist Sviatoslav Richter, who was there, remembered the symbolism of the moment well: ‘A common borderline had come for everyone.’ If the cannon-fire was announcing the turn of the war’s tide, the symphony announced a new beginning. Its epic scale and optimistic trajectory perfectly reflected the mood of the time. Prokofiev later wrote that in this work ‘I wanted to sing of the free, happy man, his mighty power, his chivalry and his purity of spirit … I wrote the kind of music that grew ripe within me and finally filled up my soul.’

We need, of course, to understand the deliberate ambiguity of such remarks: Prokofiev, like anyone else, was well aware of the lack of freedom and happiness under Joseph Stalin; his description might sound like that of the new ‘Soviet man’, but can equally be read as a subtle denunciation of the regime. The composer, moreover, had first-hand experience of the precariousness of favour in the Soviet Union. Perhaps expecting to profit from Shostakovich’s recent fall from grace, Prokofiev had permanently returned to Russia in 1936 after living mainly in Paris since 1918. He soon found that when he tried to compose in the officially sanctioned way he would be accused of writing music that was ‘pale and lacking in individuality’; if he continued on the course he had begun in Western Europe he was derided as a ‘formalist’.

With works like Peter and the Wolf and Romeo and Juliet, Prokofiev’s stocks revived, and during the early 1940s he received the Stalin Prize several times and was evacuated to safety when the Soviet Union entered World War II in 1942. He spent the summer of 1944 with composers Khachaturian, Shostakovich and Miaskovsky in the relative luxury of a government-run artists’ colony and in a mere two months (and with a little recycling) had composed and orchestrated his Fifth Symphony.

The Fourth Symphony, composed some 14 years earlier, was a not entirely successful cobbling together of off-cuts from the Prodigal Son ballet. In the Fifth, Prokofiev produced a much more ‘classical’ work, of four movements, but one in which his material is superbly integrated and tightly argued. Like Shostakovich in a number of works, Prokofiev composed a first movement whose tempo is broad and stately rather than traditionally fast. (Significantly, in his Piano Sonata No.8 – also in B flat – which dates from this time, he adopts the same strategy.) This enables an epic treatment of the material. Beginning with a simple theme on flute and bassoon, the movement unfolds gradually but inexorably, with passages of characteristic wit, high lyricism and overpowering full scoring until, in its final cadence, a radiant B flat chord emerges from tense dissonance.

The second movement provides the first really fast music, its balletic quality partly explained by the use of material discarded during the composition of Romeo and Juliet. This recalls the Prokofiev of The Love for Three Oranges – fast, incisive, colourful – and provides a foil to the extended and beautiful slow movement which follows. What musicologist Arnold Whittall calls the ‘obsessive ticking’ rhythms of the second movement give place to a gently

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MUSIC NOTES

pulsating accompaniment over an arching main theme, which contrasts with an emotive central section.

In the finale, Prokofiev initially defies expectations by quoting the melody from the first movement, this time scored for the rarified sound of divided cellos. Whether or not this represents what Prokofiev’s ‘official’ biographer Israel Nestyev calls the ‘theme of man’s grandeur and heroic strength’, it is dramatically effective of the composer not to plunge immediately into the expected triumphal finale. As Whittall remarks, the movement avoids the ‘naively life-enhancing’ cliches of Soviet music, but the subtle use of dissonance, and the uneasy sense right at the end, suggest that the energy of the music has outlived its meaning.

The timing of the symphony was, however, perfect, seeming to sing of Soviet victory. Sadly, it would not be long before Prokofiev would feel the weight of disfavour once more; moreover, concussion sustained in a fall shortly after the premiere meant that the Fifth Symphony would be the last work he would ever conduct.

Gordon Kerry © 2003 Reprinted by permission of Symphony Services International

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ViolinBarbara Jane GilbyDoreen CummingPip ThompsonLeanne BearTahni ChanJack ChenowethElyane de FontenayIrene de SilvaLauren DavisTess DuflouJenny HiggsMichelle HiggsValerie JacksonAndrew LorenzDouglas MacnicolErin PatrickClaire PhillipsDan RussellTim WickhamMatthew Witney

ViolaTor FromyhrAnthony de BattistaBen CarvalhoLiz ChalkerRobert HarrisIska SampsonCaroline Suthers

CelloPatrick SuthersJoseph EisingerSamuel PayneLindy RekstenMichael RyanAlex Voorhoeve

Double BassKyle DanielIsabella BrownDaniel DeanDave FlynnEthan Ireland

FluteVernon HillVirginia TaylorTeresa Rabe

OboeMegan PamplingJulie IgglesdenCaitlin McAnulty

ClarinetAlan VivianEloise FisherRachel Best AllenSteve Wylks

BassoonRichard McIntyreKristen SutcliffeJordan London

French HornNeil FavellRohan RichardsDianna GaetjensRobert Gladstones

TrumpetDaniel MendelowJustin LingardGreg Stenning

TrombonesNigel CrockerMichael Bailey

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The CSO is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body

Australian SeriesNext concert: Thursday 31 August, 2017 Gordon Darling Hall, National Portrait Gallery, 6.30pm

Alice Giles Harp,Virginia Taylor Flute

Paired NPG exhibition Portraits from the 1820s by John Dempsey

Tickets $45 CSO Direct 6262 6772 or cso.org.au includes entry to the exhibition. STUDENT RUSH $10 at the door (doesn't include entry to exhibition)

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Philanthropy This is tip of the hat to the scores donors who rarely get the recognition they deserve.

There are tonnes of you who donate $40 or $50 a year, or less. Many of you scratch around at the end of the financial with as much as you can afford. Some of you round and up to the nearest neat figure while resubscribing to the coming season. And year after year, many give $25 for the HeartStrings appeal, so we can give tickets to people in real distress—financial or otherwise.

It is both easy and natural to focus on big donations, or to be consumed by the pressure of a grant application. While we try to thank all donors as often as we can (and mean it), this time I’d like to honour those donors who do what they can, when they can. Added together, you are legion!

Tim Langford, Philanthropy

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Anonymous 5

Associate Member $500-$999Brenda BernasconiMiles & Ann BurgessRA David CampbellBrian CantAK & JE CooperDr Catherine DrummondJohn FitzgeraldPhil & Julie GreenwoodIsobel GriffinMarlene HallTony HaywardMalcolm & Rhondda HazellDr Marian HillLouise HodgmanMary Elspeth HumphriesJohn & Ros JacksonPatricia JonesJohn KalokerinosIn Memoriam Ann & Liam Kearns

Melanie KontzeAnne & John MotenJohn & Libby OliverMargaret PayneUrsula ReidDavid ShelmerdineHaddon SpurgeonRobert StewartMichael & Emily ReedKerry TrueloveMuriel WilkinsonAnonymous 4

CSO Private GivingWe thank all supporters for their commitment and generosity.

Supporting Member $100–$499Judith AndrewsMargaret AstonDr John AzouryPamela Weiss & Trevor Bainbridge

Norman & Sarah BakkerAllan BaxterTim BeckettNC & JE BedloeDaryl & Hermina BlaxlandRobyn BoydStephen BrandMary BrennanC & R BrockDr Peter Brown AMPauline & Kevin BryantLouise ButlerDorothy CameronFaith ChegwynChristoper & Rieteke Chenoweth

Elizabeth Anne CouplandDon Coutts & Julie CampbellMerrilyn CrawfordYole & Bill Daniels AMMargaret DuncanVicki Dunne MLAM N FalkDr Miriam FischerT & W FitzgeraldMargaret FreyBill & Margo GeeringGeoff & Lynette GorrieGoyne FamilyMark GoyneGillian & Ian GrahamElizabeth Grant AMHelen & John GrantRosemary GreavesIsobel HamiltonB HammondDr David HarColin HarmerMalcolm & Rhondda HazellHelen White & Bob Richardson

Heather Henderson

Louise HodgmanCatherine Hook & Paul Carmen

June HowardWilliam & Rosemary Huff-Johnston

Douglas HurditchRod HurleyDr Gerard JosephFrank KellyDavid & Rosemary KennemoreHelga KlippanBjarne KraghDenise KrausPaul & Jan KriedemannN. LandauDr Frederick & Mrs Penelope Lilley

Judith LindgrenSue LudwigDavid MackenziePatricia MakehamSlawomir MakulaDr Heloisa MariathKathleen MarshallPaul & Betty MeyerDiana MildernDr Louise MoranPenelope MoyesLouise MuirBruce NeindorfKate NockelsAnn NorthcoteMarie OakesPamela O'KeeffeRex N. OramHelen PamplingSusan PidgeonPaul & Mary PollardSandra PurserBill RhemrevWayne & Linda RobertsJennifer RowlandValerie RussellAdrian Burton & Divya SharmaJohn SuttonPamela & Graham ThomasLeonard TuohySuzanne Vaisutis-White

Gary WatsonMike & Ros WelchDon Whitbread OAMErnst & Mary Louise WillheimDr Anthony WillisCapt W Graham WrightAnonymous 32

The CSO would like to acknowledge all donations from Contributing Members of up to $99

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