WELCOME TO MEET THE MUSIC

Welcome to the second concert in the Meet the Music series for 2011. One of the most exciting aspects of this series is the opportunity it off ers to hear the creations of Australian composers, old music and new. This week we enjoy both: colourful music from the early 20th century by Percy Grainger, and the premiere of a brand new work by Gordon Kerry. His fi rst Symphony reveals his longstanding fondness for the Sydney Symphony by showcasing the orchestra’s virtuosity – as a group and through its individual players. This promises to make a fascinating pairing with Bartók’s popular classic, the Concerto for Orchestra, as both works will put the orchestra well and truly in the spotlight.

The Ausgrid network includes the poles, wires and substations that deliver electricity to more than 1.6 million homes and businesses in New South Wales. Ausgrid is transforming the traditional electricity network into a grid that is smarter, greener, more reliable and more interactive – something we are very proud of.

We’re also extremely proud of our partnership with the Sydney Symphony – sponsoring not only the fl agship Master Series, but the orchestra’s most exciting and vigorous concert series, Meet the Music.

Meet the Music has been nurturing musically curious audiences over many decades. We trust that you will fi nd tonight’s performance energising and illuminating, and we welcome you in 2011 to the ranks of music lovers whose enjoyment of music is continually enhanced by this series.

George MaltabarowManaging Director

This concert will be introduced by Andrew Ford, award-winning composer, writer and broadcaster, and presenter of The Music Show on ABC Radio National.

PRESENTING PARTNER

Thursday night’s performance will be recorded by ABC Classic FM for broadcast across Australia on Saturday 11 June at 1pm.

Pre-concert talk by composer Gordon Kerry at 5.45pm in the Northern Foyer.

Approximate durations: 20 minutes, 17 minutes, 20-minute interval, 36 minutes

The concert will conclude at approximately 8.25pm.

Conductor Benjamin Northey has had to withdraw from this week’s concerts for personal reasons. We are grateful to Nicholas Carter for stepping in at very short notice.

2011 SEASON

MEET THE MUSICPRESENTED BY AUSGRID

Wednesday 25 May | 6.30pmThursday 26 May | 6.30pm

Sydney Opera House Concert Hall

SYMPHONIC SPOTLIGHT Nicholas Carter conductor

GORDON KERRY (born 1961)Symphony

PREMIERE

The composition of this work was commissioned by the Ian Potter Cultural Trust.

PERCY GRAINGER (1882–1961)In a Nutshell

Arrival Platform HumletGay but WistfulPastoralGum-suckers’ March

INTERVAL

BÉLA BARTÓK (1881–1945)Concerto for Orchestra

Introduction (Andante non troppo – Allegro vivace)Game of Pairs (Allegro scherzando)Elegy (Andante non troppo)Interrupted Intermezzo (Allegretto)Finale (Pesante – Presto)

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ABOUT THE MUSIC

Symphony

This piece is in one movement but falls into four sections, of which the third and fourth are elaborations of the fi rst (which is fast) and the second (slow). Listen for the sound of high, divided strings (that is, where simultaneous notes are shared between the members of a string section instead of everyone playing a single part). This eff ect frequently signals the beginning of a new ‘movement’ and also brings the music to its conclusion.

The Symphony calls for an orchestra of three fl utes (one doubling piccolo), two oboes, cor anglais, three clarinets (one doubling bass clarinet) and three bassoons; four horns, three trumpets, three trombones and tuba; timpani and percussion; harp and strings.

The Sydney Symphony has been playing Gordon Kerry’s music since 1994. ‘So I feel I know the orchestra pretty well,’ he said in an interview last year, ‘and the symphony will be a way of celebrating the orchestra in its unity and diversity.’ This involves taking the orchestra apart and putting it back together again, showing the virtuosity and the variety of colours possible with a symphony orchestra. ‘That will be part of the overall dramatic structure of the piece, the argument of the piece.’

The parallels with Bartók’s Concerto for Orchestra – which uses similar strategies – are not lost on Kerry. He’s delighted to be sharing the program with the Bartók, which he adores, and he points out this won’t be the fi rst time: when the Sydney Symphony and Francesco Celata premiered his clarinet concerto in 2002, the Bartók was also on the program. ‘I take it as a great compliment.’

The composer writes…Many of my orchestral works have been in some way ‘programmatic’, and the larger-scale ones have all been concertos, orchestral song cycles, or pieces with chorus. As I turned 50 this year, I thought it time to write a large-scale work of purely abstract design, and one which showed off this fi ne orchestra.

The Symphony opens with several distinctive sounds in quick succession: a soft tread of timpani and rippling woodwinds over

Navigating the Symphony

Parallels

No other story, purely music!

The Symphony begins

GORDON KERRYAustralian composer (born 1961)

5 | Sydney Symphony

a static horn chord are interrupted by a fast, loud fi gure for the full orchestra; high divided strings shimmer briefl y. Trombones and horns try a more assertive music but are also interrupted; high unison strings play a four-note motif over soft woodwinds.

The rest of this fi rst ‘movement’ is often emphatic, and characterised by sudden changes of metre. A march rhythm, beginning in the trumpets, eventually becomes more dominant and the music more emphatic even as it slows dramatically.

High divided violins announce the new ‘slow movement’. This texture is set off against more sombre unison melodies in the strings against woodwind chords. The movement features muted brass in distant fanfares, a short duet for oboe and cor anglais, and a more fully upholstered melody.

Increased activity leads into the ‘third movement’, where a high long note for violin hovers over fragments of various motifs that gradually coalesce. A repeated four-bar pattern (an ostinato) plays a key role in this section, heard fi rst in the bassoon, violas and cellos. Big chords lead into the fi nal section.

High divided violins announce the beginning of the ‘fourth movement’, followed by muted horns and a widely spaced melody for strings and clarinet. A clarinet and viola duet is followed by lyrical brass writing against a luscious string sound that contrasts with an icy texture of woodwinds and string harmonics. The music becomes ‘Romantically’ scored, before a short solo for cello leads into another passage of string counterpoint. An immobile woodwind chord supports a unison string melody, but the melody ‘splits’ into an echoing ostinato, and the chord gradually breaks up into whirling eddies of woodwind fi guration. The divided violins bring the piece to its close.

Gordon Kerry studied at the University of Melbourne with Barry Conyngham and now lives in north-eastern Victoria. New works receiving their premieres in 2011 include In iubilo, a concert overture for the Bendigo Symphony Orchestra, a choral work for the Easter Vigil at St Francis’ Church, Melbourne, this Symphony, a song-cycle to poetry of John Kinsella for Merlyn Quaife and Andrea Katz, and Captain Flinders’ Musick, for fl autist Alison Mitchell and the Scottish Chamber Orchestra.

The orchestral works were written as part of the Ian Potter Established Composer Fellowship, which he was awarded in 2009. As part of the fellowship, he has also composed for the Sydney Chamber Choir and will complete a new work with Louis Nowra for Opera Victoria’s 2012 season. His book, New Classical Music: Composing Australia, published by UNSW Press in 2009, is an important resource for secondary and university students of Australian music.

In slower motion

Ostinato

‘Romantically’ scored

About the composer

gordonkerry.com

6 | Sydney Symphony

PERCY GRAINGERAustralian composer (1882–1961)

In a Nutshell

In a Nutshell is an orchestral concert suite in four movements. Listen for the distinctive use of the orchestra, in particular the large percussion section, in which Grainger calls for, among other things, melodic instruments such as the steel marimba, wooden marimba, Swiss staff bells and a nabimba. In addition to the percussion and a prominent piano part, the orchestra comprises two fl utes, piccolo, two oboes, cor anglais, two clarinets, bass clarinet, two bassoons and contrabassoon; four horns, three trumpets, three trombones and tuba; timpani, harp, celesta and strings.

Percy Grainger was born and grew up in Melbourne. After studying in Germany, he moved to England in 1901, where he became one of the leading contributors to what is known as the English folk song revival. He was among the fi rst to make fi eld recordings of the traditional music of rural England, and later wrote the songs down in musical notation. Many of the folksongs he collected were arranged for orchestra or band in beautiful, imaginative scorings.

Grainger’s interest in ‘unwritten’ music extended beyond his own musical tradition: to the music of Rarotongan islanders, or the songs of Arrernte tribes-people from Central Australia, which he transcribed from wax cylinder recordings made by Melbourne University professor, Baldwin Spencer. His insatiable curiosity fed an innovative mind.

In September 1914, Grainger and his mother Rose arrived in New York from London. Launching what was to be a 47-year American career, he signed contracts with the publisher Schirmer and the Duo-Art piano roll company and scored successes as a piano recitalist and concerto soloist. In support of the Allied war eff ort, he gave recitals with Nellie Melba and embarked on a 40-concert American tour.

In June 1916, he was invited to compose a piece for the Norfolk Festival of Music in Connecticut. He collected and orchestrated four unrelated pieces whose origins stretched back to 1905. The premiere was a huge success, despite some demurrings over the ‘vulgarity’ of the fi nal movement. ‘If it wasn’t vulgar,’ Rose retorted, ‘it wouldn’t be Percy!’

Navigating the suite

Grainger at a glance

Grainger in America

7 | Sydney Symphony

Arrival Platform Humlet

Gay but Wistful

Pastoral

Gum-suckers’ March

Unique amongst Grainger’s pieces, this short snapshot is devoid of harmony. A single melodic line bustles along, recalling the Japanese miyaboshi scale. Grainger described it as: ‘the sort of thing one hums to oneself as an accompaniment to one’s tramping feet as one happily, excitedly, paces up and down arrival platforms, great fun!’

Like nearly all his music from this time, this movement – which also exists as a standalone piece in numerous alternative arrangements – is dedicated to Rose; the English translation of the Maori dedication reads: ‘For the darling of my heart, for the object of my aff ections.’

The second movement conveys echoes of London dance halls at the end of the 19th century, perhaps also evoking the American South that resonates through the music of Grainger’s closest composer friend, Frederick Delius.

The bland title of the third movement provides no indication that its nine minutes entail one of Grainger’s longest and most progressive orchestral movements. Marked ‘Restful and Dreamy, but wayward in time’, it is launched by a lilting oboe solo and builds to a climax that some have suggested points to Messiaen’s Turangalîla-symphonie three decades later. A more likely comparison might be made with the music of Charles Ives, who lived barely an hour away from Grainger in the United States (though they never met).

The fourth movement is ‘a huge romp of gaiety’ whose chief melody is the same as that in his Colonial Song and Australian Up-Country Song. In all these nostalgia-drenched pieces, Grainger refl ects on the ‘sentimental wistfulness’ of his native Australia. Here, though, Grainger may be recalling his Melbourne childhood: ‘Gum-suckers’ was the name given by other Australians to Victorians!

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8 | Sydney Symphony

BÉLA BARTÓKHungarian composer (1881–1945)

Bartók in America

Concerto for Orchestra

When the German novelist Herman Hesse heard Bartók’s Concerto for Orchestra a few years after its premiere, he confi ded to his diary: ‘Chaos before Cosmos…scattered clouds of sound sensation before clarity and defi nition…yet beautiful and irresistible by virtue of its being precisely the music of our time…music that knows dissonance and pain, but yearns for a paradise of logic and harmony.’

The Concerto for Orchestra is in fi ve movements organised in a symmetrical structure. The literal and emotional heart of the work is the third movement, the Elegy. This is fl anked by shorter movements that are more whimsical or quirky – the Game of Pairs and the Interrupted Intermezzo – which suggest the world of the serenade. And the whole work is framed by the powerful Introduction and Finale.

‘The general mood of the work,’ wrote Bartók in his own program note, ‘represents, apart from the jesting second movement, a gradual transition from the sternness of the fi rst movement and the lugubrious death-song of the third, to the life assertion of the last one.’

In this orchestral showcase, Bartók calls for three fl utes (one doubling piccolo), three oboes (one doubling cor anglais), three clarinets (one doubling bass clarinet), and three bassoons (one doubling contrabassoon); four horns, three trumpets, three trombones and tuba; timpani and percussion; two harps and strings.

Died: Béla Bartók, 64, prolifi c Hungarian composer of piquant, sometimes cacophonous orchestral and chamber music; long time student of Magyar and Slav folk music; after long illness, in Manhattan, his home since 1940 …

So, in October 1945, Time magazine announced the death of one of the greatest European composers of the early 20th century.

Bartók had taken the hard decision to leave his native Hungary and war-torn Europe upon returning from a concert tour of the United States in 1939. He had only modest hopes of a better life across the Atlantic, however, aware that his poor health would make settling in a new country diffi cult. New York was swamped with eminent musical émigrés at the time,

Navigating a ‘cosmic’ concerto

9 | Sydney Symphony

An unexpected gift

A symphony-like concerto

Introduction (Introduzione)

and Bartók became depressed that American orchestras were slow to show an interest in performing his music. Meanwhile, Columbia University hired him to catalogue its valuable collection of eastern-European folk music and epic poetry, subjects on which he was the world authority. But Columbia’s funds ran out late in 1942 and his health became critical. He collapsed in the middle of a lecture he was giving at Harvard. Terminal leukæmia was diagnosed.

In 1943, the conductor Serge Koussevitsky visited Bartók in hospital with a cheque for $500, half of what was then a substantial fee for a new orchestral composition for one of America’s greatest orchestras, the Boston Symphony Orchestra. At fi rst Bartók was reluctant to accept, worried that illness would prevent him from working. He would have been even more unwilling had he known that two Hungarian friends, violinist Joseph Szigeti and conductor Fritz Reiner, had asked Koussevitsky to off er him the commission. Luckily he never found out, and in May Bartók’s wife wrote to Szigeti saying ‘plans, ambitions, compositions are stirring in Béla’s mind…new hope.’

In July the Bartóks left for upstate New York to escape the city summer heat. The new work was begun on 15 August while Bartók was recuperating at a sanatorium at Saranac Lake, and progress on both counts was remarkable. During September he was feeling much fi tter (he called work the ‘wonder drug’), and the whole composition was complete by 8 October. Koussevitsky conducted the fi rst performance with the Boston Symphony on 1 December 1944. Bartók was delighted: ‘No composer could have hoped for a greater performance.’ With further performances scheduled, Koussevitsky asked for one change, a slightly extended ‘alternative ending’ which Bartók was apparently happy to supply early in 1945.

Bartók gave this exceptional work the unusual, though not completely original, title ‘Concerto for Orchestra’. (Another Hungarian composer, his friend Zoltan Kodály, had also written a Concerto for Orchestra.) Bartók explained in his original program note that in this ‘symphony-like orchestral work’ all the orchestral instruments appear as joint soloists. All, in short, receive ‘virtuoso treatment’.

The Concerto for Orchestra highlights the intermingling of Bartók’s interests in folk music with elements of Classical and contemporary concert music. The fi rst movement is traditional in form, if not in sound, cast in Classical sonata form. A slow introduction evokes a feeling of mystery and establishes the interval of a fourth as a germinal feature of the piece. There are three main themes – a striving melody with uneven metre (introduced by the violins), an ungainly trombone theme, and a mesmerising melody on the oboe.

10 | Sydney Symphony

Game of Pairs(Giuoco delle coppie)

Elegy (Elegia)

Interrupted intermezzo(Intermezzo interrotto)

Perpetuum mobile

This movement is known as ‘Game of pairs’; however, conductor Georg Solti discovered that Bartók’s manuscript in the Library of Congress had it down as Presentando le coppie (Presentation of the pairs). Either way, the ‘concerto for orchestra’ aspect of this work – instruments and sections of the orchestra itself as concerto soloists – is possibly most obvious here. The movement showcases fi ve pairs of wind and brass instruments, each pair playing in parallel a diff erent interval apart: the two bassoons are separated by a minor sixth, the oboes by a minor third, the clarinets a tense minor seventh, the fl utes play in pure fi fths, and the muted trumpets are separated by edgy major seconds. A striking side-drum pattern begins and ends the movement; the strings and a brass chorale section provide the punctuation.

The third movement returns to the eeriness of the opening. It is one of Bartók’s trademark ‘night music’ movements, impressionistic music inspired by ephemeral sounds, such as are supposed to inhabit the night.

The fourth movement has two themes – the fi rst a Slovak folk melody heard on oboe, the second, a Romantic-sounding melody, initiated by violas, based on Zsigmond Vincze’s folk-like song ‘Hungary, How Beautiful You Are’. A clarinet melody then introduces a tune similar to the march theme from Shostakovich’s Leningrad Symphony. There is some resemblance here also to a melody from Lehár’s Merry Widow, but Shostakovich was the butt of the joke: Bartók was still smarting over the wartime prominence given to Shostakovich’s piece, which he had heard over the radio often during his illness and found ludicrous.

The horns introduce the ‘perpetual motion’ character of the Finale, an optimistic and assertive movement, in which, as the composer remarked, the strings are called upon for virtuosity.

PROGRAM NOTES ADAPTED FROM NOTES BY GORDON KERRY (SYMPHONY), GORDON KALTON WILLIAMS (GRAINGER AT A GLANCE), VINCENT PLUSH (GRAINGER), AND GRAEME SKINNER, GK WILLIAMS AND DAMIEN BARBELER (BARTÓK).

SYDNEY SYMPHONY ©2011

11 | Sydney Symphony

ABOUT THE CONDUCTOR

Nicholas Carter conductorAssociate Conductor, supported by Symphony Services International and Premier Partner Credit Suisse

Earlier this year, Nicholas Carter was appointed Associate Conductor of the Sydney Symphony, following two years as Assistant Conductor, during which time he conducted performances with the Sydney Symphony and the Sydney Sinfonia, and assisted Vladimir Ashkenazy, Donald Runnicles, Yannick Nézet-Séguin and Simone Young, among others.

He is a graduate of the University of Melbourne (voice and piano) and was a member of the inaugural Victorian Opera Artist Development Program, in which he conducted productions including Così fan tutte and Don Giovanni. For OzOpera, he conducted productions of Brundibar and The Beggar’s Opera.

He has also conducted performances with Orchestra Victoria and the West Australian, Adelaide and Melbourne symphony orchestras, and ChamberMade Opera’s production of The Children’s Bach. He was co-chorusmaster for the Melbourne Symphony Orchestra performances of The Flying Dutchman and Shostakovich’s Symphony No.13, and was assistant conductor for the world premiere of Brett Dean’s Bliss (Opera Australia).

This year Nicholas Carter also conducts the Melbourne, Adelaide and Queensland symphony orchestras, and the Melbourne Chamber Orchestra. In July he will be the Associate Conductor of the Grand Tetons Music Festival (Wyoming) and in September he takes up the position of Assistant Conductor at the Hamburg Opera. This year for the Sydney Symphony he has conducted the orchestra in concerts and educational programs on the Riverina tour and will conduct Viennese-themed concerts in Wollongong and at the Sydney Town Hall in June.

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To see photographs of the full roster of permanent musicians and fi nd 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 fl yer.

Performing in this concert…

FIRST VIOLINS Sun Yi Associate Concertmaster

Kirsten Williams Associate Concertmaster

Julie Batty Jennifer Booth Marianne BroadfootBrielle ClapsonSophie Cole Amber Davis Georges LentzNicola Lewis Nicole Masters Alexandra MitchellLéone Ziegler Freya Franzen†

Claire Herrick*Alexander Norton*

SECOND VIOLINS Marina Marsden Jennifer Hoy A/Assistant Principal

Susan Dobbie Principal Emeritus

Maria Durek Shuti Huang Stan W Kornel Benjamin Li Emily Long Philippa Paige Biyana Rozenblit Maja Verunica Alexandra D’Elia#

Victoria Jacono-Gilmovich*Emily Qin#

VIOLASRoger BenedictAnne-Louise Comerford Robyn Brookfi eld Sandro CostantinoJane Hazelwood Graham Hennings Stuart Johnson Leonid Volovelsky Jacqueline Cronin#

Amy Diefes*Tara Houghton†

David Wicks#

CELLOSCatherine Hewgill Leah Lynn Assistant Principal

Kristy ConrauElizabeth NevilleAdrian Wallis David Wickham Rowena Crouch#

Patrick Suthers*Adam Szabo†

Rachael Tobin#

DOUBLE BASSESKees Boersma Neil BrawleyPrincipal Emeritus

David Campbell Steven Larson Richard Lynn David Murray Benjamin Ward Mark Lipski*

FLUTES Emma Sholl Rosamund Plummer Principal Piccolo

Katie Zagorski†

OBOESDiana Doherty David Papp Alexandre Oguey Principal Cor Anglais

CLARINETSFrancesco Celata Christopher Tingay Craig Wernicke Principal Bass Clarinet

BASSOONSRoger Brooke Fiona McNamara Noriko Shimada Principal Contrabassoon

HORNSBen Jacks Geoffrey O’Reilly Lee BracegirdleEuan HarveyKaty Grisdale†

TRUMPETSDaniel Mendelow John FosterAnthony Heinrichs

TROMBONESRonald Prussing Nick Byrne Christopher Harris Principal Bass Trombone

TUBASteve Rossé

TIMPANIMark Robinson Assistant Principal

PERCUSSIONRebecca Lagos Colin Piper Joshua Hill*Kevin Man*Chiron Meller*Brian Nixon*Alison Pratt*Philip South*

HARP Louise Johnson Natalie Wong*

KEYBOARDS Josephine Allan# Principal

Catherine Davis*

Bold = PrincipalItalic = Associate Principal* = Guest Musician # = Contract Musician† = Sydney Symphony Fellow

MUSICIANS

Vladimir AshkenazyPrincipal Conductorand Artistic Advisorsupported by Emirates ©

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Michael DauthConcertmaster ©

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Dene OldingConcertmaster ©

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Nicholas CarterAssociate Conductor supported bySymphony Services International & Premier Partner Credit Suisse

13 | Sydney Symphony

Founded in 1932 by the Australian Broadcasting Corporation, the Sydney Symphony has evolved into one of the world’s fi nest 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 fi rst 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 fi gures 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.

THE SYDNEY SYMPHONYVladimir Ashkenazy PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR

PATRON Her Excellency Professor Marie Bashir AC CVO

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Sydney Symphony Board

CHAIRMANJohn C Conde AO

Terrey Arcus AM

Ewen CrouchRoss GrantJennifer Hoy

Rory JeffesAndrew KaldorIrene Lee

David LivingstoneGoetz RichterDavid Smithers AM

14 | Sydney Symphony

SALUTE

PRINCIPAL PARTNER GOVERNMENT PARTNERS

The Sydney Symphony is assisted by the NSW Government through Arts NSW

The Sydney Symphony is assisted by the Commonwealth Government through the

Australia Council, its arts funding and advisory body

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PREMIER PARTNER

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15 | Sydney Symphony

PLAYING YOUR PART

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To fi nd out more about becoming a Sydney Symphony Patron please contact the Philanthropy Offi ce on (02) 8215 4625 or email philanthropy@sydneysymphony.com

SYDNEY OPERA HOUSE TRUSTMr Kim Williams AM (Chair)Ms Catherine BrennerRev Dr Arthur Bridge AM

Mr Wesley EnochMs Renata Kaldor AO

Mr Robert Leece AM RFD

Ms Sue Nattrass AO

Dr Thomas (Tom) Parry AM

Mr Leo Schofi eld AM

Mr Evan Williams AM

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Victoria DoidgeDIRECTOR, VENUE PARTNERS & SAFETY

Julia PucciEXECUTIVE PRODUCER SOH PRESENTS

Jonathan Bielski

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