2011 SEASON

WED 20 JUL 6:30 PMTHU 21 JUL 6:30 PM

MEET THE MUSIC PRESENTED BY AUSGRID

The Australian Youth Orchestra Young Guns

The Sydney Symphony presents

WELCOME TO MEET THE MUSIC

Welcome to the third concert in the Meet the Music series for 2011. This week, for the fi rst time since 2005, the acclaimed Australian Youth Orchestra returns to this series in a program that will showcase their talent and their energy.

As a series, Meet the Music has always been committed to stimulating the musical interests of the audience: the young and the young at heart. In this concert the Sydney Symphony is presenting Australia’s leading youth orchestra – more than 90 young musicians.

The program they play begins with the colourful eff ects of Debussy’s impressions of the sea and ends with a magnifi cent symphony by Danish composer Carl Nielsen. Conducting is another Dane, Thomas Dausgaard, on his second visit to Sydney. And Dene Olding, who normally sits in the concertmaster chair of the Sydney Symphony, will take the solo part in a brand new violin concerto by Australian Carl Vine.

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, 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

PRESENTING PARTNER

This concert will be recorded by ABC Classic FM for later broadcast across Australia.

Pre-concert talk by Genevieve Lang in conversation with composer Carl Vine at 5.45pm in the Northern Foyer.

Approximate durations: 23 minutes, 24 minutes, 20-minute interval, 34 minutes

The concert will conclude at approximately 8.30pm.

2011 SEASON MEET THE MUSICPRESENTED BY AUSGRIDWednesday 20 July | 6.30pmThursday 21 July | 6.30pm

Sydney Opera House Concert Hall

YOUNG GUNS Thomas Dausgaard conductor Dene Olding violinThe Australian Youth Orchestra

CLAUDE DEBUSSY (1862–1918)La Mer – Three Symphonic Sketches

De l’aube à midi sur la mer [From Dawn to Noon on the Sea]Jeux de vagues [Play of Waves]Dialogue du vent et de la mer [Dialogue of the Wind and the Sea]

CARL VINE (born 1954)Violin Concerto

PREMIERE

Commissioned for Dene Olding andThe Australian Youth Orchestra by theHonourable Jane Mathews AO

INTERVAL

CARL NIELSEN (1865–1931)Symphony No.5, Op.50

Tempo giustoAllegro – Andante un poco tranquillo – Allegro

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

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ABOUT THE MUSIC

La Mer – Three Symphonic Sketches

La Mer (The Sea) is in three movements or, to take Debussy’s visual art metaphor, ‘sketches’. The titles are evocative but not pictorial – not to be taken too literally. In fact, it’s possible to hear these sketches as pure symphonic music: a carefully developed opening movement full of imaginative orchestral eff ects (From Dawn to Noon on the Sea); a playful and inventive interlude (Play of Waves); and an almost Romantically structured ‘fi nale’ (Dialogue of the Wind and the Sea) with references back to the fi rst movement providing a sense of unity to the whole as well as one of the rare ‘big fi nishes’ in Debussy’s output.

La Mer calls for two fl utes, piccolo, two oboes, cor anglais, two clarinets, three bassoons and contrabassoon; four horns, three trumpets, two cornets, three trombones and tuba; timpani and percussion (glockenspiel, tam-tam, cymbals, triangle, bass drum); two harps and strings.

In attempting to establish a palpably ‘French’ musical style in the face of the Austro-Germanic tradition, Debussy brought about the birth of modern music. It’s often said that the fl ute solo that begins his groundbreaking Prelude to the Afternoon of a Faun ushered in the 20th century. Debussy fi rst heard the sound of Indonesian gamelan music at the Paris Exposition of 1889, and this prompted him to adopt non-traditional scales and free-fl oating eff ects. He explored new instrumental and harmonic colours, and his style has often been compared with that of the Impressionists in visual art, even though Debussy himself hated the term ‘Impressionism’.

‘Music has this over painting…it can bring together all manner of variations of colour and light.’Debussy to his stepson, 1906

Debussy’s infl uences included the crazy perspectives and double focuses of the English painter William Turner, as well as the clear delineation of form in the work of 19th-century Japanese artists Hiroshige and Hokusai. Debussy admired Hokusai’s

Navigating ‘the sea’

About the composer

The art of La Mer

CLAUDE DEBUSSYFrench composer (1862–1918)

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woodcut The Great Wave off Kanagawa so much that he chose it for the cover of the score of La Mer when it was published.

Debussy’s transformation of his musical ideas through re-orchestration (varying the colours) and re-combination (changing the design) is similar to the visual eff ect of changing light. In the fi rst movement, for example, when the horn call recurs midway, the surging accompaniment of strings and winds is a change of colour, akin to a blazing fl ash of light in a Turner painting of the misty Thames.

Debussy himself often used terms like ‘colour’ and ‘shading’ when discussing his music. But the point that is often missed is that his music is not intended as visual imagery, or the soundtrack to some imaginary fi lm. This is what Debussy’s colleague Erik Satie was parodying when he praised From Dawn to Noon on the Sea by saying he particularly liked the bit ‘around a quarter to eleven’.

In fact, La Mer is about the idea of the sea rather than being a representation of it. The subtitle ‘Symphonic sketches’ acknowledges an affi nity with visual art, while identifying with the most ambitious form of orchestral music. The three movements are by no means simply rhapsodic, but rather show Debussy’s subtle and careful approach to form.

Claude Debussy once told an enquirer that if he hadn’t been a musician he would have become a sailor. He wasn’t being fl ippant: he loved the sea, and on one occasion he even persuaded a ship’s captain to take him out to sea in a fi erce storm. And he shared with the Impressionist painters a fascination with water. That said, La Mer was composed far

Sketchbook or symphony?

Debussy the sailor

‘The Great Wave off Kanagawa’, from a series of woodblock prints 36 Views of Mount Fuji by Katsushika Hokusai (1760–1849)

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CARL VINEAustralian composer (born 1954)

Violin Concerto

This concerto is in two movements of roughly equal length. The fi rst movement is basically slow with a faster central section, that is reached by slowly increasing energy and speed over several minutes. At the peak of this energy the solo violin leads the orchestra in a seven-part canon that devolves to a rhythmic soundscape over which the soloist fl oats.

The second movement is basically fast with a calm centre followed by a short unaccompanied cadenza and a driving fi nale that briskly brings back the musical ideas from its opening.

The concerto calls for an orchestra comprising pairs of fl utes, oboes, clarinets and bassoons; four horns, two trumpets, two trombones and tuba; timpani, percussion, harp and strings.

My starting point was the curious quality often achieved by solo violin accompanied by an orchestra playing softly. Few instrumental combinations sound more ‘alone’ or give such generous scope for the soloist to sound heroic. The orchestra remains subdued throughout this concerto, while small numbers of players often band together to form chamber music ensembles with the violin.

This is ‘pure’ music that uses no external imagery, allusion, narrative or poetry.

Carl Vine was born in Perth and studied piano with Stephen Dornan and composition with John Exton at the University of Western Australia. Moving to Sydney in 1975, he worked as a freelance pianist and composer with a wide range of ensembles, theatre and dance companies over the following decades.

He fi rst came to prominence in Australia as a composer of music for dance, and he has 25 dance scores to his credit,

Navigating the concerto

The composer writes…

About the composer

from the coast, and in 1903, when he was beginning work on the music, he wrote to a friend:

You may not know that I was destined for a sailor’s life, and that only chance led me in another direction…You will say that the ocean does not exactly bathe the hills of Burgundy, and my seascapes may be studio landscapes, but I have an endless store of memories, and in my mind they are worth more than reality, whose beauty often weighs heavily on the imagination.

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CARL NIELSENDanish composer (1865–1931)

Inspiration

Symphony No.5

Carl Nielsen’s Fifth Symphony is unusual in that it is structured in two movements. Considered in dramatic terms, the fi rst movement (Tempo giusto, in ‘strict’ or ‘exact’ time) concerns the battle for supremacy between the constructive and destructive sides of human nature. The second movement is a vigorous and triumphant hymn of regeneration. Its tempos are organised symmetrically: it begins Allegro (fast) and moves into a gentler section marked Andante un poco tranquillo (at a walking pace and a little tranquilly) before returning to the opening tempo.

The symphony calls for three fl utes (one doubling piccolo), two oboes, two clarinets, two bassoons and contrabassoon; four horns, three trumpets, trombones and tuba; timpani and percussion, celesta and strings.

Nielsen’s Fifth Symphony (together with his Fourth) constitutes his response to the carnage of World War I. In both symphonies, the music describes the psychological state of millions of people. The Fifth, in particular, taps into the currents of history in a way that is prophetic of Shostakovich, though Nielsen never shared Shostakovich’s bitter pessimism.

Navigating the symphony

www.carlvine.com

including the recent Australian Ballet production The Silver Rose. His catalogue includes seven symphonies and eight concertos; music for fi lm, television and theatre; electronic music and numerous chamber works. Although primarily a composer of modern ‘classical’ music, he has undertaken tasks as diverse as arranging the Australian National Anthem and writing music for the Closing Ceremony of the 1996 Atlanta Olympics (the ‘Sydney 2000’ presentation). Since 2000 he has also been the Artistic Director of Musica Viva Australia.

Other recent compositions include Symphony No.7 (scenes from daily life) for the West Australian Symphony Orchestra (2008), and from 2009 another work featuring solo violin: XX, composed for Richard Tognetti and the Australian Chamber Orchestra.

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Listening in detail

In recreating this vast human drama in the form of a symphony, Nielsen found an extremely individual and elegant solution to the perennial challenge of the symphony: the creation of a powerful emotional and philosophical document that is also tightly structured and coherent over a long time scale. The successful combination of form and dramatic content, in other words.

An early infl uence was Brahms’s symphonies, which are models of both musical organisation and emotional intensity. But where the emotions in Brahms are ‘abstract’, or lacking explicit reference to anything outside the listener’s private musical imagination, Nielsen was intensely interested in psychology and the depiction of characters and mental states.

For Nielsen the musical structure of the symphony is not merely a mould into which the dramatic content is poured. He casts away all pre-existing musical forms, instead creating ones that intimately mirror the dramatic progress of each movement.

The key to the fi rst movement is the side-drum. It plays both a dramatic role and a structural one. If you pay attention to only one instrument, this would be it.

The symphony begins with an undulating viola line that the composer Robert Simpson,has compared to the needle of a seismograph, responding to events deep within the unquiet earth. The music gradually awakens and stirs, and a long melodic line forms and grows in intensity, then subsides into an expectant silence. This is when we hear, distantly and ominously, the sound of side-drum.

Suddenly, the destructive elements come into play, and the ear is assaulted by a relentlessly marching fi gure on timpani, double basses and side drum, abetted by the other percussion. The violins play a long, wailing melodic line, while weird shrieks and cries come from clarinets and fl utes. These protests cease, and the music sinks down in exhaustion. Icy darkness follows, broken only by a feeble pulsing from violins and celesta.

Now more positive forces begin to assert themselves. A noble and generous theme slowly grows in richness and power. But as it approaches a climax, it is assaulted by the side drum. While everything hangs in the balance, the side drum goes berserk, and apparently begins to improvise, but is swept away by the noble theme. Victory has been achieved, but at great cost. As the side-drum recedes, a lone clarinet is left mourning among the ruins.

The second movement begins with a tremendous burst of energy. The music surges forward confi dently for many minutes, but eventually an element of uncertainty creeps in. An eager, stealthy fugue begins, but this interweaving of musical lines becomes frenetic, the various sections of the orchestra fanatically chanting the fi rst two notes of the fugue subject. Zeal turns into violence. Plainly, a gentler approach is required. Another fugue starts, this time slow, quiet and radiant.

Form and drama

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It is rewarded by the energetic music with which the movement began. Now there is no vacillation, and the symphony sweeps toward its triumphant conclusion. The fi nale suggests not only the culmination of a musical journey, but also the rise of civilisation, phoenix-like, from the ashes.

There’s a famous exchange between the two great symphonists Mahler and Sibelius. It was 1907 and they were discussing the essence of the symphony as a genre. Sibelius was aspiring to severity of style and a refi ned inner logic achieved through the connection between musical motives. Mahler sought universality, saying that the symphony must be like the world, ‘it must embrace everything’.

Carl Nielsen provides a sort of ‘missing link’ between these two approaches, and it’s a pity that, outside Scandinavia, the symphonies of Carl Nielsen are not as well-known as those by either Mahler or Sibelius.

Nielsen studied with the Danish composer and violinist Niels Gade. (It’s often noted that Gade’s name, quite coincidentally, contains the same letters as the names of the strings on a violin: G, D, A, E.) He played second violin in the court orchestra and later conducted opera and concerts in Copenhagen. Although he wrote operas, concertos and other music, his extraordinary symphonies were central to his work.

ADAPTED FROM PROGRAM NOTES BY GORDON KALTON WILLIAMS AND GORDON KERRY (DEBUSSY), CARL VINE, AND PETER IRELAND (NIELSEN)

SYDNEY SYMPHONY ©2011

About the composer

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ABOUT THE ARTISTS

Thomas Dausgaard conductor

Danish conductor Thomas Dausgaard is known for the rich intensity of his performances, his prolifi c discography and the remarkable results he has achieved as Chief Conductor of the Danish National Symphony Orchestra/DR (since 2004) and of the Swedish Chamber Orchestra (since 1997).

The Danish National Symphony Orchestra/DR has developed impressively under his leadership; its achievements include a disc of Nielsen works, nominated for a 2007 Gramophone award, and the sensational British premiere ofLanggaard’s Music of the Spheres at the BBC Proms in 2010. The Swedish Chamber Orchestra has also fl ourished under Dausgaard’s direction, growing from a regional orchestra to one attracting international attention.

As a guest conductor he has appeared with many of the world’s leading orchestras, with recent highlights including the Netherlands Radio Philharmonic Orchestra, Berlin Konzerthaus Orchestra, Orchestre National de Lyon, Salzburg Mozarteum and the Sao Paul Symphony Orchestra, as well as engagements with the radio orchestras in Stuttgart, Leipzig, Barcelona and Sweden. He collaborates regularly with the Vienna Symphony Orchestra, and maintains strong links with many of the major UK orchestras.

In North America he has worked orchestras such as the Philadelphia Orchestra, Cleveland Orchestra, Boston Symphony Orchestra, Los Angeles Philharmonic, Pittsburgh Symphony, Baltimore Symphony, Seattle Symphony and Minnesota Orchestra. He conducts the Toronto Symphony each year, recently directing an acclaimed Sibelius cycle, and makes regular appearances at the New York Mostly Mozart Festival.

The role music can play in the lives of children and young people is important to Thomas Dausgaard, and he collaborates with several youth orchestras, including the Baccarelli Institute in Brazil and the Toronto Youth Symphony. In addition to the Australian Youth Orchestra, his current projects include the orchestras at the Copenhagen and Stockholm music academies.

His extensive discography includes recordings of Danish composers Carl Nielsen and Rued Langgaard and a DVD of Langgaard’s 1920s opera Antikrist. He has been awarded the Cross of Chivalry in Denmark, and elected to the Royal Academy of Music in Sweden.

Thomas Dausgaard’s most recent appearance in a Sydney Symphony subscription concert was in 2008. Next week he will conduct the Sydney Symphony Orchestra in a program of Tchaikovsky, Rachmaninoff and Brahms.

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Dene Olding violin

Dene Olding is one of Australia’s most outstanding instrumentalists and has achieved a distinguished career in many aspects of musical life. He is familiar to Sydney audiences through his role as Concertmaster of the Sydney Symphony, and as fi rst violinist in the Australia Ensemble at the University of New South Wales and the Goldner String Quartet.

As a soloist, he appears regularly with the Australian symphony orchestras and has given the Australian premieres of Witold Lutoslawski’s Chain 2, Elliott Carter’s Violin Concerto, and the Philip Glass Violin Concerto, as well as concertos by Ross Edwards and Bozidar Kos, and Richard Mills’ Double Concerto, written for Dene 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.

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, with the Sydney Symphony and David Porcelijn, the complete Beethoven string quartets and a Rachmaninoff disc with Vladimir Ashkenazy.

Dene Olding plays a 1720 Joseph Guarnerius violin.

Sydney Symphony Board

CHAIRMANJohn C Conde AO

Terrey Arcus AM

Ewen CrouchRoss GrantJennifer Hoy

Rory JeffesAndrew KaldorIrene Lee

David LivingstoneGoetz RichterDavid Smithers AM

12 | Sydney Symphony

MUSICIANS

FIRST VIOLINS

Liisa Pallandi Concertmaster

Glenn ChristensenAmy BrookmanKana OhasiCatherine BucknellCourtenay ClearyLee ThompsonNatasha ConrauBrett YangAlexander VickeryBen SpiersEdward AntonovYuhki MayneJhana AllanHayley BullockBridget O’Donnell

SECOND VIOLINS

Rebecca GillVictoria BihunYena ChoiAnnabelle SwainstonAnna O’BrienLiam OborneKathleen YardleyCecilia PalmerFlora WongHannah BuckleyBeatrix StewartSonia WilsonIona AllanJesre Hazelman- Stenson

VIOLAS

Matthew LaingKatie YapRhianwen BrambleVivian WheatleySusie KwonGregory DanielHannah DonohoeFinn Gilfedder-CooneyCameron CampbellNicole GreentreeCharlotte FethersonAnthony Chataway

CELLOS

Adam SzaboDaniel PiniRobert ManleyNils HobigerAnna PokornyOliver ScottJames LarsenAaron YeohJonathan ChimFraser Wallace

DOUBLE BASSES

Bonita WilliamsDaniel DeanRohan DasikaKinga JaniszewskiRhys McClearyHenry SouthRonald GaynorMichael McCullough

FLUTES

Kiran PhatakRachel HowieGavin Zev Piccolo

OBOES

Emmanuel CassimatisGeorgina RobertsDafydd Camp Cor Anglais

CLARINETS

Nicholas EvansSom Howie

BASSOONS

Jack SchillerLaura BrownHannah GladstonesMatthew Kneale Contrabassoon

HORNS

Sebastian DunnJoel HoareJessica ArmstrongStephanie DavisClaire Linquist

TRUMPETS

Callum G’FroererTimothy FrahnMatthew WinnelDaniel HendersonChris Moran

TROMBONES

Mitchell Staines Oscar McDonaldMitchell Nissen Bass Trombone

TUBA

Karina Filipi

TIMPANI

Veronica Walshaw

PERCUSSION

Anna ZeltzerRobert AllanAndrew Penrose

HARPS

Kit SpencerAngela Kusmanto

ASSOCIATE CONDUCTOR

Fabian Russell

Bold = Principal

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THE AUSTRALIAN YOUTH ORCHESTRA

The Australian Youth Orchestra presents 12 tailored training and performance programs across metropolitan and regional Australia each year for aspiring musicians, composers, arts administrators and music journalists aged 12 to 30. Our training pathway has been created to nurture the musical development of Australia’s fi nest young talents, from the gifted school-aged student to those on the verge of a professional career.

The Australian Youth Orchestra gave its fi rst performance in 1957 and since then has performed in some of the world’s most prestigious concert halls and festivals, fulfi lling the role of cultural ambassador for Australia on more than 20 international tours. Aged up to 25 years, orchestra members are selected through a highly competitive annual audition process and represent the best young musical talent in the nation.

The orchestra regularly attracts superlatives from the international music press, confi rming its high reputation throughout the world. In 1984 the orchestra became the fi rst Australian orchestra to perform in Paris, and in 2007 the orchestra celebrated its 50th anniversary with its seventh European tour. In 2010 the AYO performed in China and Europe under the direction of Sir Mark Elder and is now respected as this country’s most toured symphony orchestra. The orchestra will return to Europe in August 2013.

Through taking part in the AYO pathway, countless AYO alumni are today members of some of the fi nest professional orchestras worldwide.

The Australian Youth Orchestra’s most recent appearance in a Sydney Symphony concert series was in 2005, when Alexander Anissimov conducted a program including Shostakovich’s Tenth Symphony.

PRINCIPAL SPONSOR THE AUSTRALIAN YOUTH ORCHESTRA IS SUPPORTED BY

14 | Sydney Symphony

SALUTE

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

The Sydney Symphony is assisted by the Commonwealth Government through the

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15 | Sydney Symphony

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