M4 Dazzling Prokofiev program

Dazzling Prokofiev
Fri 24 & Sat 25 Jun 2016
ADELAIDE TOWN HALL
Season
2
ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016
Dazzling Prokofiev Master Series 4
Adelaide Town Hall
Fri 24 & Sat 25 Jun 2016
Nicholas Carter Conductor
Konstantin Shamray Piano
Dukas
The Sorcerer’s Apprentice
Prokofiev
Piano Concerto No 3 in C major, Op 26
Andante – Allegro
Andantino (with variations)
Allegro non troppo
Konstantin Shamray Piano
Interval
Ross Edwards
White Ghost Dancing
Stravinsky
Petrushka (1947 version)
This concert runs for approximately 100 minutes including interval. Saturday’s performance will be
recorded by ABC Classic FM for broadcast on Monday 27 June at 8pm.
Classical Conversation
Free for ticket holders. One hour prior to the performances in the Adelaide Town Hall auditorium.
ASO musician Belinda Kendall-Smith and Marketing Coordinator Annika Stennert explore the
music of Dukas, Prokofiev, Edwards and Stravinsky.
ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016
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4
ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016
Nicholas Carter
Conductor
The Adelaide Symphony Orchestra’s
Principal Conductor Nicholas Carter is fast
establishing a career as a conductor of
exceptional versatility, equally at home in
the concert hall and the opera house, and
fluent in a diverse repertoire.
Furthermore, as Musical Assistant, he
was heavily involved in the preparation
of a vast repertoire, including in the
presentation of ten Wagner operas, from
Rienzi to Parsifal as well as a complete
Ring cycle.
He is currently Kapellmeister and
musical assistant to Donald Runnicles
at the Deutsche Oper Berlin where, in
the 2015/16 season his conducting
engagements include La bohème,
Die Entführung aus dem Serail, and
Prokofiev’s Romeo and Juliet with the
Staatsballet Berlin.
As guest conductor, Nicholas has
conducted the Dallas Symphony
Orchestra, the Staatsorchester
Braunschweig, the Louisiana Philharmonic,
the Dalasinfoniettan, Sweden and the
Hamburg Philharmonic Orchestra in a
Gala with Diana Damrau as soloist.
From 2011 to mid-2014 he was
Kapellmeister at the Hamburg State
Opera, as well as serving as musical
assistant to Music Director Simone Young.
This engagement followed a three-year
association with the Sydney Symphony,
first as Assistant Conductor, working
closely with Vladimir Ashkenazy and
a number of the orchestra’s guest
conductors, and subsequently as
Associate Conductor.
In Hamburg, Nicholas conducted
performances of Il barbiere di Siviglia,
Die Zauberflöte, Cosi fan tutte, Lucia
di Lammermoor, Hänsel und Gretel,
Cleopatra by Johan Mattheson and
Orontea by Antonio Cesti.
At the invitation of Donald Runnicles,
Nicholas served as Associate Conductor
of the Grand Teton Music Festival in
Wyoming from 2010-2013.
In Australia, Nicholas enjoys collaborating
regularly with many of the country’s finest
orchestras and ensembles, such as the
Sydney, West Australian, Melbourne,
Adelaide and Queensland Symphony
Orchestras, the State Opera of South
Australia, Victorian Opera, Orchestra
Victoria, Melbourne Chamber Orchestra,
the Orchestra of the Australian National
Academy of Music (ANAM) and the
Australian Youth Orchestra. In 2011,
Nicholas led a Gala concert with the
Sydney Symphony and Anne Sofie
von Otter.
ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016
5
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ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016
Konstantin Shamray
Konstantin Shamray was born into a
musical family in 1985 in Novosibirsk,
Russia, thus his passion for piano and
classical music began early. At six, he
embarked on formal studies at Kemerovo
Music School with Natalia Knobloch, and
aged eleven he relocated to Moscow
to study at the Gnessin Special Music
School, progressing to the Russian
Gnessin Academy of Music with Prof
Tatiana Zelikman, then postgraduate
studies with Vladimir Tropp, and postmasters-equivalent advanced courses
at Hochschule für Musik in Freiburg,
Germany with Professor Tibor Szasz.
Piano
National de Lyon, Prague Philharmonia,
Belgrade Philharmonic Orchestra and
the Sydney Symphony, and performed
with distinguished conductors including
Vladimir Spivakov, Dmitry Liss, Tugan
Sokhiev, Nicholas Milton and Alexandr
Vedernikov. He has collaborated with
with Johannes Moser, Kristof Barati, Boris
Brovtsyn, Alban Gerhardt, Feng Ning.
He has received critical acclaim at the
Klavier-Festival Ruhr, the Bochum Festival
in Germany, the White Nights Festival
with the Maryinsky Theatre Orchestra in
St Petersburg and the Adelaide Festival.
In 2008, he won the Sydney International
Piano Competition – and he is is the
first and only musician in the 30-plus
year history of the competition to win
both First and People’s Choice Prize, in
addition to six other prizes. He has toured
Australia, partnered with the Australian
String Quartet, and recorded CDs for
the labels Naxos, ABC Classics and
Fonoforum. International performances
include solo recitals and collaborations
with orchestras and distinguished
conductors in Russia, Europe, Australia,
New Zealand, Singapore and China. He
has performed with the Russian National
Philharmonic, the Mariinsky Theatre
Orchestra, Moscow Virtuosi, Orchestre
ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016
7
Adelaide Symphony Orchestra
Principal Conductor
Nicholas Carter \
Principal Guest
Conductor and Artistic
Adviser
Jeffrey Tate \
Artist-in-Association
Pinchas Zukerman \
VIOLINS
Natsuko Yoshimoto**
(Concertmaster)
Cameron Hill**
(Associate
Concertmaster)
Shirin Lim*
(Principal 1st Violin)
Michael Milton**
(Principal 2nd Violin)
Lachlan Bramble~
(Associate Principal
2nd Violin)
Janet Anderson
Ann Axelby
Minas Berberyan
Gillian Braithwaite
Julia Brittain
Hilary Bruer
Elizabeth Collins
Jane Collins
Judith Coombe
Alison Heike
Alexis Milton
Jennifer Newman
Julie Newman
Emma Perkins
Alexander Permezel
Marie-Louise Slaytor
Kemeri Spurr
VIOLAS
Juris Ezergailis**
Imants Larsens~
Martin Butler
Lesley Cockram
Linda Garrett
Anna Hansen
Rosemary McGowran
Michael Robertson
10
CELLOS
Simon Cobcroft**
Ewen Bramble~
Sarah Denbigh
Christopher Handley
Sherrilyn Handley
David Sharp
Cameron Waters
DOUBLE BASSES
David Schilling**
Robert Nairn~
(Guest Associate
Principal)
Jacky Chang
Harley Gray
Belinda Kendall-Smith
David Phillips
FLUTES
Geoffrey Collins**
Lisa Gill
Julia Grenfell
CONTRA BASSOON
Jackie Hansen*
HORNS
Adrian Uren**
Sarah Barrett~
Alex Miller
Philip Paine*
Emma Gregan
TRUMPETS
Owen Morris**
Martin Phillipson~
Gregory Frick
Timothy Keenihan
TROMBONE
Cameron Malouf **
Ian Denbigh
BASS TROMBONE
Howard Parkinson*
PICCOLO
Julia Grenfell*
TUBA
Peter Whish-Wilson*
OBOES
TIMPANI
Robert Hutcheson**
Andrew Penrose
Celia Craig**
Renae Stavely
COR ANGLAIS
Peter Duggan*
CLARINETS
Dean Newcomb**
Darren Skelton
Mitchell Berick
E FLAT CLARINET
Darren Skelton*
BASS CLARINET
Mitchell Berick*
BASSOONS
Mark Gaydon**
Leah Stephenson
Kristina Phillipson
PERCUSSION
Steven Peterka**
Gregory Rush
Amanada Grigg
Andrew Penrose
HARP
Suzanne Handel*
PIANO
Michael Ierace*
(Guest Principal)
CELESTE
Katrina Reynolds*
(Guest Principal)
ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016
** denotes Section
Leader
~
denotes Associate
Principal
* denotes Principal Player
denotes Musical Chair
Support (see pp 12-14
for list)
\ denotes Conductors’
Circle Support (see pg 12
for list)
Correct at time of print
ASO BOARD MEMBERS
Colin Dunsford AM (Chair)
Vincent Ciccarello
Geoffrey Collins
Col Eardley
Byron Gregory
David Leon
Chris Michelmore
Andrew Robertson
FINANCE AND HR
Louise Williams - Manager, People & Culture
Katherine Zhang - Accountant
Karin Juhl - Accounts Coordinator
Sarah McBride - Payroll Coordinator
Emma Wight - Administrative Assistant
ASO MANAGEMENT
EXECUTIVE
Vincent Ciccarello - Managing Director
Guy Ross - Chief Operating Officer
Ashlyn Cooper - Executive Administrator
ARTISTIC
Simon Lord - Director, Artistic Planning
Stevan Pavlovic - Artistic Administrator
Emily Gann - Learning & Community Engagement
Coordinator
MARKETING AND DEVELOPMENT
Paola Niscioli - Director, Marketing & Development
Fiona Whittenbury - Corporate Partnerships Manager
Alexandra Bassett - Donor Relations Manager
Dani Lupoi - Development Assistant
Tom Bastians - Customer Service Manager
Kate Lees - Publicist
Kane Moroney - Audience Development Coordinator
Michelle Robins - Publications & Communications
Coordinator
Annika Stennert - Marketing Coordinator
OPERATIONS
Karen Frost - Orchestra Manager
David Khafagi - Orchestra Coordinator
Naomi Gordon - Production & Venue Coordinator
Bruce Stewart - Orchestral Librarian
Ryan Maloney - Production & Venue Assistant
FRIENDS OF THE ASO
EXECUTIVE COMMITTEE
Alison Campbell - President
Liz Bowen - Immediate Past President
Alyson Morrison and John Pike - Vice Presidents
Judy Birze - Treasurer/Secretary
John Gell - Assistant Secretary/Membership
Correct at time of print
Flowers supplied by
ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016
11
Conductors’ Circle and donors
Principal Conductor
Nicholas Carter
Principal Guest Conductor
and Artistic Adviser
Jeffrey Tate
Artist-in-Association
Pinchas Zukerman
Established in 2015 to directly support the
ASO’s new Artistic Leadership Team, the
Conductors’ Circle is a small group of
extraordinary benefactors. Special thanks go to
our founding Conductors’ Circle donors:
• The Friends of the ASO
• The Richard Wagner Society of South Australia
• Two anonymous donors
• Joan Lyons & Diana McLaurin
• Robert Pontifex AM, in the memory of
Deborah Pontifex, as a tribute “to our
enduring friendship with Jeffrey Tate”
and supported by Creative Partnerships
Australia through Plus1.
Musical chair players and donors
Concertmaster
Natsuko Yoshimoto
Supported by
ASO Chair of the Board
Colin Dunsford AM &
Lib Dunsford
Associate Concertmaster
Cameron Hill
Supported by
The Baska Family
Principal 1st Violin
Shirin Lim
Supported in the memory of
Dr Nandor Ballai and
Dr Georgette Straznicky
Principal 2nd Violin
Michael Milton
Supported by
The Friends of the ASO
in the memory of Ann
Belmont OAM
Associate Principal 2nd Violin
Lachlan Bramble
Supported in the memory of
Deborah Pontifex
Violin
Minas Berberyan
Supported by
Merry Wickes
Violin
Gillian Braithwaite
Supported by
Mary Dawes BEM
Violin
Hilary Bruer
Supported by
Marion Wells
Violin
Julie Newman
Cello
Gemma Phillips
Supported by
Graeme & Susan Bethune
Supported by
R & P Cheesman
Violin
Emma Perkins
Cello
David Sharp
Supported by
Peter & Pamela McKee
Supported by
Dr Aileen F Connon AM
Violin
Kemeri Spurr
Cello
Cameron Waters
Supported by
Professor Junia V. Melo
Supported by
Peter & Pamela McKee
Principal Viola
Juris Ezergailis
Supported
in the memory of
Mrs JJ Holden
Principal Bass
David Shilling
Supported by
Mrs Maureen Akkermans
Associate Principal Viola
Imants Larsens
Bass
Harley Gray
Supported by
Simon & Sue Hatcher
Supported by
Bob Croser
Principal Cello
Simon Cobcroft
Bass
David Phillips
Supported by
Andrew & Gayle Robertson
Supported for
‘a great bass player with lots
of spirit - love Betsy’
Associate Principal Cello
Ewen Bramble
Principal Flute
Geoffrey Collins
Supported by
Barbara Mellor
Supported by
Pauline Menz
Cello
Sherrilyn Handley
Principal Piccolo
Julia Grenfell
Supported by
Johanna and Terry McGuirk
Supported by
Chris & Julie Michelmore
Cello
Chris Handley
Principal Oboe
Celia Craig
Supported by
Johanna and Terry McGuirk
Supported in the memory of
Geoffrey Hackett-Jones
Oboe
Renae Stavely
Associate Principal Horn
Sarah Barrett
Supported by Roderick Shire
& Judy Hargrave
Supported by
Margaret Lehmann
Principal Cor Anglais
Peter Duggan
Principal Third Horn
Philip Paine
Supported by
Dr Ben Robinson
Supported by
An anonymous donor
Principal Clarinet
Dean Newcomb
Supported by
Royal Over-Seas League
SA Inc
Clarinet
Darren Skelton
Supported in the memory
of Keith Langley
Principal Bass Clarinet
Mitchell Berick
Supported by
Nigel Stevenson &
Glenn Ball
Associate Principal Trumpet
Martin Phillipson
Supported by
Richard Hugh Allert AO
Principal Trombone
Cameron Malouf
Supported by Virginia
Weckert & Charles Melton of
Charles Melton Wines
Principal Tuba
Peter Whish-Wilson
Supported by
Ollie Clark AM & Joan Clark
Principal Bassoon
Mark Gaydon
Principal Timpani
Robert Hutcheson
Supported by
Pamela Yule
Drs Kristine Gebbie and
Lester Wight
Bassoon
Leah Stephenson
Principal Percussion
Steven Peterka
Supported by
Liz Ampt
Principal Contra Bassoon
Jackie Hansen
Supported by
Norman Etherington AM &
Peggy Brock
Supported by
The Friends of the ASO
Principal Harp
Suzanne Handel
Supported by
Shane Le Plastrier
For more information please contact Alexandra Bassett, Donor Relations Manager
on (08) 8233 6221 or bassetta@aso.com.au
Nicholas Carter Conductor
James Ehnes Violin
Michelle de Young Sieglinde/Mezzo Soprano
Simon O’Neill Siegmund/Tenor
Shane Lowrencev Hunding/Bass
“For a virtuoso
display of what
conducting is all
about, you need
look no further”
San Francisco Chroni-
Simone Young &
Mahler
Sat 23 Jul FESTIVAL THEATRE
Schubert Unfinished Symphony | Mahler Symphony No 6
Season
BOOK AT BASS
Paul Dukas
The Sorcerer’s Apprentice
A critic and teacher as well as a
composer, Dukas saved his harshest
criticism for his own work, destroying
up to 80 per cent of his music. On his
death only seven major works of a
once large output remained: a threemovement symphony; the opera Ariane
and Bluebeard; a piano sonata of epic
intentions and proportions (it plays
for some 50 minutes); the Variations,
Interlude and Finale on a theme of
Rameau, also for piano; the ‘poème
dansé’ La Péri; the overture to Corneille’s
tragedy Polyeucte; and the one piece
which established his name outside
France, the scherzo The Sorcerer’s
Apprentice. It is ironic that a composer of
such high seriousness should be known
for his one overtly comic work.
Written in 1897, Dukas’ scherzo is based
on Goethe’s ballad of the same name (in
German, Der Zauberlehrling), which in
turn is derived from a work of the ancient
Greek satirist Lucian, The Lie Fancier, in
which the character Eucrates relates some
of his experiences as an apprentice to
the magician Pancrates, who has lived in
a cave for 23 years, all the while taking
instructions in magic from the goddess
Isis.
16
(1865-1935)
A précis of Goethe’s version of the tale
prefaces some editions of the score:
The Sorcerer’s Apprentice tells of a
magician who can transform a broomstick
into an animate being and have it
perform all his menial tasks for him.
The magician’s apprentice one day
overhears the magic formula with which
the broomstick becomes alive and tries to
apply it himself in his master’s absence.
The broom is ordered to bring water
from the well. It performs this routine
mechanically and efficiently. When the
apprentice tires of this game, he wants
to transform the water carrier back into
a broomstick, but finds that he does
not know the necessary formula. The
enchanted stick continues to bring in
bucket upon bucket of water until the
room overflows. The apprentice passes
from annoyance to despair. Fortunately,
the sorcerer comes home, pronounces
the magic words, the broom becomes
inanimate, and all is quiet again.
In all his music Dukas is a composer
who cares deeply about the integrity of
structure, and in The Sorcerer’s Apprentice
he manages to write a formal scherzo
and still, with exactness, follow the story
of Goethe’s narrative. With the first
theme we hear – announced softly by the
violins – we seem to be present as the
apprentice utters his incantations, while
ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016
with the second (given to the clarinet, then
oboe, then flute) we meet the dormant
broom, before it begins its spooky activity.
These two themes dominate the work,
and in various ingenious guises chart
our progress through the story. The true
musical climax appears at the point where
the desperate apprentice believes he has
transformed the broom back to its inactive
state once again, after which the ‘broom’
theme scampers about in an even more
feverish manner than it has previously,
until the sorcerer returns and summons an
imperious calm.
The Sorcerer’s Apprentice was already
quite well known in the concert hall before
Leopold Stokowski conducted it in Walt
Disney’s animated film Fantasia (1940),
and after this it attained a popularity that
could not (it seems) be divorced from the
image of Mickey Mouse as the apprentice
the Disney team had created. The work
responded so well to such treatment
because of its lucidity and thematic
memorability. For all their many beauties,
none of Dukas’ other pieces seek the
immediacy of appeal The Sorcerer’s
Apprentice attains, and in none does
Dukas seek to be illustrative in so openhearted a fashion.
© Phillip Sametz
The Adelaide Symphony Orchestra first
performed this work on 16-18 May 1957
under conductor Enrique Jordá, and most
recently on 3 October 2014 under Michael
Stern.
Duration: 12 minutes
ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016
17
Sergei Prokofiev
Piano Concerto No 3
in C major, Op 26
Andante – Allegro
Andantino (with variations)
Allegro non troppo
Konstantin Shamray Piano
Prokofiev was a virtuoso pianist, who
made an authoritative recording of his
own Third Concerto. One of his most
successful and popular concert works, the
concerto shows the most typical aspects of
his mature musical style in ideal balance:
a mixture of rather Romantic passages
with incisive, humorous, sometimes even
grotesque episodes. This is obvious right
at the start: the opening Andante melody
for clarinet is lyrical, almost wistful, and
Russian-sounding. But immediately the
piano comes in, the music becomes very
busy, incisive, almost icy. The lyricism
of the opening will return in place of a
‘development’ section in the middle of the
first movement.
Prokofiev conceived musical materials
for his first three concertos in the years
before he left Russia at the time of the
1917 Revolution. The first two concertos,
in their driving rhythms and crunching
18
(1891-1953)
discords, illustrate Prokofiev’s not
altogether unwelcome casting as the
enfant terrible of Russian music, and
evoked a corresponding critical reaction
(‘cats on a roof make better music,’ wrote
one Russian critic of Concerto No 2).
No 3, on the other hand, shows much
more of the tunefulness and accessibility
which it is wrong to regard as having
entered Prokofiev’s music only after he
returned to Russia in the early 1930s. The
lyrical opening of this piano concerto,
completed in 1921, recalls that of the
First Violin Concerto of 1916-17. Even
earlier, the great Russian impresario
Diaghilev had perceived Prokofiev’s true
musical nature: ‘Few composers today
have Prokofiev’s gift of inventing personal
melodies, and even fewer have a genuine
flair for a fresh use of simple tonal
harmonies … he doesn’t need to hide
behind inane theories and absurd noises.’
The Third Piano Concerto reflects
Prokofiev’s world-travelling existence
around the time of its creation. He had
been collecting its themes for over ten
years by the time he put them together
in 1921. Prokofiev rarely threw away
anything that might come in handy later
on. He began the concerto in Russia in
1917, completed it in France in 1921,
and gave the premiere later that year
in Chicago, where his opera The Love
ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016
of Three Oranges was premiered. An
American critic wrote of the concerto, ‘It
is greatly a matter of slewed harmony,
neither adventurous enough to win the
affection nor modernist enough to be
annoying.’ You can’t win! A New York
critic was wrong, but more perceptive,
when he wrote, ‘It is hard to imagine any
other pianist than Mr Prokofiev playing it.’
Prokofiev’s own playing pioneered a new
kind of piano virtuosity. A rewarding piece
for any virtuoso, this concerto is formally
clear and satisfying, full of memorable
tunes harmonised and orchestrated with
a peculiarly personal piquancy, and
sufficiently of our time to be bracing and
refreshing.
The second movement is a set of five
variations on a theme Prokofiev had
composed in 1913, intending it even then
for variation treatment. This theme has an
old-world, rather gavotte-like character,
which in the first variation is treated solo
by the piano in what Prokofiev describes
as ‘quasi-sentimental fashion’. Then
the tempo changes to a furious allegro,
one of the abrupt contrasts in which
the concerto abounds. After a quiet,
meditative fourth variation, and an
energetic fifth one, the theme returns on
flutes and clarinets in its original form and
at its old speed, while the piano continues
at top speed but more quietly. This has
been compared to a sprinter viewed from
the window of a train.
a good deal of argument, with frequent
differences of opinion as regards key.
Eventually the piano takes up the first
theme and develops it to a climax. With
a reduction of tone and slackening of
tempo, an alternative theme is introduced
in the woodwinds. The piano replies with
a theme that is more in keeping with the
caustic humour of the work.”
The unabashedly Romantic ‘alternative
theme’ is worked up to an emotional
pitch that shows Prokofiev as having
more in common with Rachmaninov than
is usually suspected, and both as owing
much to Tchaikovsky. Then the opening
returns in a brilliant coda.
David Garrett © 2003
The Adelaide Symphony Orchestra first
performed Prokofiev’s Piano Concerto No 3
on 17-19 September 1953 with conductor
Joseph Post and soloist William Kapell, and
most recently on 7-8 June 2013 with Arvo
Volmer and Denis Kozhukhin.
Duration: 27 minutes
Prokofiev’s own program note describes
the finale as beginning with a staccato
theme for bassoons and pizzicato strings,
interrupted by the blustering entry of the
piano:
“The orchestra holds its own with the
opening theme, however, and there is
ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016
19
Ross Edwards
White Ghost Dancing
One of Australia’s best-known and most
performed composers, Ross Edwards
has created a distinctive sound world
which reflects his interest in ecology and
his belief in the need to reconnect music
with elemental forces, as well as restore
its traditional association with ritual
and dance. His music, universal in that
it is concerned with age-old mysteries
surrounding humanity, is at the same
time connected to its roots in Australia,
whose cultural diversity it celebrates, and
from whose natural environment it draws
inspiration, especially birdsong and the
mysterious patterns and drones of insects.
As a composer living and working on the
Pacific Rim, he is conscious of the exciting
potential of this vast region.
Ross Edwards’ compositions include five
symphonies, concertos, choral, chamber
and vocal music, children’s music, film
scores, a chamber opera and music for
dance. His Dawn Mantras greeted the
dawning of the new millennium from
the sails of the Sydney Opera House in
a worldwide telecast. His compositions
often require special lighting, movement
and costume. A recipient of the Order
of Australia, he lives in Sydney and is
married with two adult children.
20
(born 1943)
Recent commissions include Sacred
Kingfisher Psalms for The Song Company,
Ars Nova Copenhagen and the Edinburgh
Festival; a Piano Sonata for Bernadette
Harvey commissioned by the Sydney
Conservatorium; Full Moon Dances, a
saxophone concerto for Amy Dickson,
the Sydney Symphony Orchestra and
the Australian symphony orchestras;
Five Senses, a song cycle to poems of
Judith Wright; The Laughing Moon for
the New Sydney Wind Quintet; Zodiac,
an orchestral ballet score commissioned
for Stanton Welch by the Houston Ballet;
String Quartet No. 3, Summer Dances,
commissioned by Kim Williams for Musica
Viva Australia; and Animisms, for the
Australia Ensemble. Frog and Star Cycle,
a double concerto commissioned for
saxophonist Amy Dickson, percussionist
Colin Currie and the Sydney Symphony
Orchestra, will have its premiere in the
Sydney Opera House in July 2016. Bright
Birds and Sorrows, a major work for
saxophone and string quartet, will be
premiered in May 2017 at the Musica
Viva Festival in Sydney. He is currently
working on a commission from the
Australian Chamber Orchestra.
ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016
The composer writes:
There are recorded instances of
Aboriginal people mistaking early
Europeans in Australia for the ghosts of
their ancestors, since ghosts were believed
to be light-coloured. As I composed White
Ghost Dancing (1999), the concept of
a white ghost came to symbolise nonIndigenous Australia’s innate aboriginality
– its capacity to transform and heal itself
through spiritual connectedness with the
earth.
I believe that music, which has enormous
therapeutic properties and, for me,
a close relationship with ritual – and
especially dance – is destined to make
an important contribution to this
transformation and healing; hence the
title.
Typical of my maninya (dance/chant)
pieces, White Ghost Dancing is a compact
mosaic of unconsciously processed shapes
and patterns from the natural world:
fragments of birdsong, insect and frog
rhythms, as well as fleeting references
to other works of mine, and fusions of
Aboriginal and Gregorian chant.
Ross Edwards © 1999
The Adelaide Symphony Orchestra
first performed White Ghost Dancing
on 26-28 July 2001 under conductor
Miguel Harth-Bedoya, and most recently
in April 2015 under conductor Iain
Grandage in the Adelaide Town Hall,
as part of the World Premiere of Towards
First Light: Gallipoli at 100.
Duration: 10 minutes
ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016
21
Igor Stravinsky
Petrushka: Burlesque in four
tableaux (1947 version)
The Shrovetide Fair – Legerdemain scene –
Russian Dance
Petrushka’s Room
The Blackamoor’s Room – Dance of the
Ballerina – Valse – Petrushka
The Shrovetide Fair – Dance of the Wetnurses – The Peasant and the Bear – The
Jovial Merchant with Two Gypsy Girls –
Dance of the Grooms – The Maskers – The
Fight, and Death of Petrushka
Petrushka, the second of Stravinsky’s
ballets for Sergei Diaghilev’s Ballets
Russes, began life as a ‘burlesque’ for
piano and orchestra called Petrushka’s
Cry. Stravinsky later wrote:
I had wanted to refresh myself by
composing an orchestral piece in which
the piano would play the most important
part … In composing the music, I had
in mind the distinct picture of a puppet,
suddenly endowed with life, exasperating
the patience of the orchestra with
diabolical cascades of arpeggios.
Stravinsky, writing in later life, no doubt
used the term ‘diabolical’, with its
suggestion of ‘doubleness’, advisedly:
much of Petrushka’s harmony, notably in
22
(1882-1971)
the inner tableaux, makes use of parallel
black- and white-note figures to create a
spiky bitonality.
‘As a piece of musical architecture,
Petrushka’s Cry is,’ according to Stephen
Walsh, ‘unremarkable’, but Diaghilev
saw its balletic potential and asked artist
Alexandre Benois to draft a scenario
based on the Russian version of the
puppet known in English as Mr Punch.
There is no Judy, however, as the story
is in fact derived from the commedia
dell’arte tradition with its masked, stock
characters: Petrushka, a puppet with
human emotions, is in love with the
Ballerina, who is more attracted to the
Moor. What transpired was a work in four
tableaux (articulated by circus-ring drum
rolls) of which the second is the original
Petrushka’s Cry.
The first presents the Shrovetide Fair in
music that immediately announces how
much its composer has matured in the
short time since The Firebird. In a gesture
that looks forward to works as different as
The Rite of Spring and Dumbarton Oaks,
Stravinsky creates scintillating, active
textures that are nonetheless harmonically
static, and cuts seemingly randomly
between them to depict the bustle of the
fair. Some of the music is derived from
street cries and songs of St Petersburg:
two organ-grinders in the first tableau
ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016
‘duel’ with songs sent to Stravinsky by his
friend, Andrey Rimsky-Korsakov. After
establishing this busy scene, Stravinsky
focuses on the figure of the Charlatan,
or Showman, who brings his puppets
to life with the sound of the flute. Their
‘Russian Dance’ was taken from sketches
for the work that would become The Rite
of Spring.
The second tableau is set in Petrushka’s
darkly furnished cell, into which the
puppet falls as if kicked. After his
characteristic black and white motif
for clarinets, swarming figurations
featuring the piano indicate Petrushka’s
helplessness and fury at the Ballerina’s
preference for the dashing Moor. She
enters the room and is frightened by
his manic attempts to win her over and
leaves.
Things comes to a head in the third
tableau, where the Moor seduces the
Ballerina, who has come to his lavish
room, in an agile waltz featuring flute and
trumpet. Petrushka appears and attacks
the Moor but is overpowered and flees.
In moving to the USA, Stravinsky found
that copyright law gave no protection
to his European works, so in 1947 he
revised several scores to republish and
copyright them, and took the opportunity
in Petrushka to produce a work for slightly
smaller forces than the 1911 original.
Gordon Kerry © 2013
Choreographed by Mikhail Fokine, Petrushka
was first performed by the Ballets Russes at
the Théâtre du Châtelet, Paris on 13 June
1911 in a performance conducted by Pierre
Monteux. The title roles were taken by Vaslav
Nijinsky (Petrushka), Tamara Karsavina (the
Ballerina) and Alexander Orlov (the Moor).
The work was first heard in concert on 1
March 1914, again conducted by Monteux,
and with Alfredo Casella at the piano.
The first performance by the Adelaide
Symphony Orchestra was on 22-23 March
1972 conducted by John Hopkins, with the
most recent performance taking place on 2728 April 2012 under Arvo Volmer.
Duration: 34 minutes
The final tableau returns us to the
Shrovetide Fair, and another charming
mosaic of character dances, including
that of the Wet-Nurses, based on a
further St Petersburg street-song, and an
appearance by a peasant with a bear.
This is suddenly interrupted as Petrushka,
still fleeing the Moor, appears and runs
across the stage with the Moor chasing
him, and the Ballerina following. The
Moor kills Petrushka with his blade. In the
appalled silence the Charlatan shakes
the body to show the crowd that it is a
puppet, but Petrushka’s ghost appears
above the stage.
ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016
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Santos is proud to be supporting the Adelaide Symphony Orchestra as principal partner once
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