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1341_WESF - Arts Sponsorship Campaign 2014 - Musica Viva_Ad 2015_240x150_V2_UPDATE 03.02.15.indd 1 3/02/15 9:51 AM

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Musica Viva is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body. Musica Viva is assisted

by the NSW Government through Arts NSW.

ADELAIDEWEDNESDAY 9 NOVEMBER, 7.30PM ADELAIDE TOWN HALL

Recorded for broadcast on ABC Classic FM

Pre-concert talk, 6.45pm (Prince Alfred Room)

CD signing after concert

CANBERRATHURSDAY 17 NOVEMBER, 7PM LLEWELLYN HALL, ANU SCHOOL OF MUSIC

Pre-concert talk, 6.15pm

Meet the Artists after concert

MELBOURNETUESDAY 15 NOVEMBER, 7PM ELISABETH MURDOCH HALL, MELBOURNE RECITAL CENTRE

Pre-concert talk, 6.15pm (Boardroom, Level 2)

Meet the Artists after concert (Foyer)

SATURDAY 19 NOVEMBER, 7PM ELISABETH MURDOCH HALL, MELBOURNE RECITAL CENTRE

Pre-concert talk, 6.15pm (Boardroom, Level 2)

CD signing after concert

NEWCASTLEFRIDAY 11 NOVEMBER, 7.30PM HAROLD LOBB CONCERT HALL, NEWCASTLE CONSERVATORIUM OF MUSIC

Recorded for broadcast on 2NUR FM

Pre-concert talk, 6.45pm

PERTHMONDAY 7 NOVEMBER, 7.30PM PERTH CONCERT HALL

Pre-concert talk, 6.45pm (Corner Stage)

Meet the Artists after concert (Corner Stage)

SYDNEYSATURDAY 12 NOVEMBER, 2PM CITY RECITAL HALL

Recorded for broadcast on Fine Music 102.5

Pre-concert talk, 1.15pm (Function Room, Level 1)

Meet the Artists after concert (Function Room, Level 1)

MONDAY 14 NOVEMBER, 7PM CITY RECITAL HALL

Recorded for broadcast on ABC Classic FM

Pre-concert talk, 1.15pm (Function Room, Level 1)

CD signing after concert

Jack Liebeck violin Christian-Pierre La Marca cello Amandine Savary piano

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ADDITIONAL ACTIVITY

Trio Dali will present the following masterclass during this tour:

Melbourne (Christian-Pierre La Marca): Friday 18 November, 6–8pm, Australian National Academy of Music, Council Chamber

For further details, please go to www.musicaviva.com.au/masterclasses

The Musica Viva Masterclass program is supported by Lyn Hamill & Ian Dover (Queensland), Wesfarmers Arts (Western Australia) and Mary Turner oam (Newcastle).

FROM THE ARTISTIC DIRECTOR

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CARL VINE aoARTISTIC DIRECTOR MUSICA VIVA AUSTRALIA

Raw marble is an extraordinary rock, that only reveals its full inner beauty when cut to shape and polished to a high sheen. This is the material chosen by Trio Dali to best symbolise its music-making; the name derives from the marble mines in the Chinese town of Dali (大理), not from the Spanish surrealist with a similar surname. (The modern Chinese word for marble is literally ‘Dali stone’ – dàl̆ıshí).

For this, the group’s second national concert tour for Musica Viva, they bring two contrasting programs glistening with gems of the repertoire, both of which feature the only Piano Trio of British–Australian composer Roger Smalley, who sadly passed away last year. Originally commissioned as the compulsory contemporary work for the 1991 Melbourne International Chamber Music Competition, this work’s delicate sense of instrumental balance and immaculate structure mark it as a modern masterpiece.

The first program starts with Mendelssohn’s wonderful Second Piano Trio, and finishes with Schubert’s no less amazing First. Beethoven’s first foray into the medium, which is nonetheless a minor marvel, bookends the second program, along

with the Piano Trio by Ernest Chausson. The group considers this last work a masterpiece of French repertoire, sitting proudly at the pinnacle alongside Debussy, Ravel and Fauré. Surprisingly, this will be the first time that the Trio has ever played the Chausson, letting us witness at first hand the hewing, paring, shaving and polishing required to expose inner musical beauty to a concert audience.

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FROM THE CHIEF EXECUTIVE OFFICERAs the year draws to a close, Musica Viva’s largest audiences are busily immersing themselves in our programs: that is, the audiences who are children in schools across the country, from inner metropolitan classrooms to remote two-room school houses.

Musica Viva In Schools (MVIS) has been bringing premium-quality live music to Australian schools for 35 years. We specialise in presenting the best small ensembles Australia has to offer – dynamic, accessible and culturally diverse groups that perform in a wide variety of musical styles.

Our concerts are designed to challenge, delight and enrich the lives of students and teachers, and their feedback every year attests to its success.

The impact of these performances is embedded through award-winning digital learning resources and professional development in compliance with the Australian Professional Standards for Teachers.

The over-arching principle driving the program is that every child should have the opportunity to experience live music and its power to transform lives. This experience ignites the imagination and provides a unique perspective for interpreting the world.

Helping make these dreams a reality are the many wonderful people who contribute, both large and small amounts, to the Equal Music

MARY JO CAPPSCHIEF EXECUTIVE OFFICER MUSICA VIVA AUSTRALIA

program, which takes MVIS to schools that otherwise could not access the program due to disadvantages that may be economic, geographic, small size, or special needs.

We believe that music speaks to every child, and that every child has their own music to make. Thank you so much to the wonderful musicians, teachers, staff and donors who bring this belief to life.

If the schools in your neighbourhood, or those attended by your children or grandchildren, don’t yet have Musica Viva coming to them – ask them why not? We are happy to share this joy with every child in Australia.

or you’d like to read the concert guide at a later date, you can download a digital version at musicaviva.com.au/program

For the latest news, updates, and offers from Musica Viva, sign up to our monthly e-newsletter, Know the Score, at musicaviva.com.au/subscribe

We look forward to hearing from you! 1800 688 482 | contact@musicaviva.com.au | musicaviva.com.au

Connect with Musica Viva online for chamber music news, artist interviews, behind-the- scenes photos, backstage videos, competitions and much more! Share your Musica Viva photos and experiences using the #MusicaViva2016 hashtag.

The Concert Guides are available for free at all Musica Viva concerts; however, to make sure there are enough to go around, we do ask that you share where possible. If sharing isn’t your thing,

JOIN THE CONVERSATIONFacebook Twitter Instagram facebook.com/musicavivaaustralia @musicavivaau @musicavivaau

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MEET THE ARTISTS

TRIO DALI

the hallmark of Dali’s marble, reflects the Trio’s essential musical values.

Following studies with the Artemis Quartet, Augustin Dumay and Menahem Pressler (Queen Elisabeth Music Chapel, Brussels) and at the Berlin University of the Arts, Trio Dali has appeared in concerts across Europe, the USA, Australia and Asia, and played at international festivals including Verbier, Monaco, Aix-en-Provence, Montpellier, La Folle Journée (Nantes) and La Roque d’Anthéron.

Trio Dali enjoys working with other artists and ensembles or in different pairings within the trio. Collaborations have included concerts with Maria João Pires, Augustin Dumay, Leif Ove Andsnes, Daniel Hope, Lawrence Power, Michel Portal, Jian Wang, José van Dam, Thierry Escaich, Gábor Takács-Nagy and György Kurtág. The Trio actively seeks cross-art collaborations and mixes science, art and comedy into its

Characterised by its brave, imaginative programming, amply matched by dynamic and engaging performances, Trio Dali was born out of friendship and a strong passion for chamber music.

Formed in 2006, Trio Dali fast attracted attention by winning successive major international competition prizes in Osaka (First Prize and Gold Medal), Frankfurt (First Prize), New York (Second Prize) and Vienna (Audience Prize, Special Prize and Third Prize), as well as the Philharmonia Orchestra’s prestigious Chamber Music Award. Press comment has compared Trio Dali to legendary groups such as the Beaux Arts Trio and the Istomin/Stern/Rose Trio.

The Trio’s name is a reference to the precious Asiatic marble from the Chinese city of Dali, a material that is fastidiously carved to produce works of jewellery and art. This thoughtful and creative shaping,

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This is Trio Dali’s second national recital tour for Musica Viva. Following the tour, they will travel to Mudgee to perform at the 27th Huntington Estate Music Festival.

programs; guest artists have included Professor Brian Cox and Rainer Hersch. The Trio has also appeared with the Philharmonia Orchestra, Luxembourg Philharmonic Orchestra, Latvian National Symphony Orchestra, Besançon Orchestra and Sinfonia Varsovia.

Trio Dali’s recordings have all received multiple awards, from Editor’s Choice in Gramophone, to disc of the month in BBC Music Magazine and a Diapason d’Or: discs of Ravel (2009) and Schubert (2011), released on the Fuga Libera label, and an

album of Mendelssohn and Bach in 2015, on Zig-Zag Territoires.

Trio Dali is Artist in Residence at the Singer-Polignac Foundation in Paris. From 2008 to 2010, the Trio held a Leverhulme Trust Fellowship at the Royal Academy of Music.

Jack Liebeck plays the Ex-Wilhelmj violin by Guadagnini (1785), and Christian-Pierre La Marca performs on an 1856 cello by Jean-Baptiste Vuillaume.

www.trio-dali.com

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DR GRAEME DOUGLAS WATSON (1936–2004)

A brilliant scholar and gifted linguist, with Italian as well as French and German, Graeme Watson served for some years on the editorial board of the Australian Journal of French Studies. His own publications, though not many, conveyed acute insights. Graeme also had a wry sense of humour and a sharp wit; but the opportunities for others to relish these were rare, for throughout his life he was always extremely shy and self-effacing, and in his latter years became almost a recluse.

Graeme Watson’s attachment to France and its culture embraced the works of French composers. His love of music had begun early, with piano study that made him an able pianist, and regular attendance at Musica Viva concerts in Adelaide. His quiet support of Musica Viva continued during his years in Melbourne and, at his death on 8 November 2004, his will bestowed upon Musica Viva a munificent bequest for its lasting benefit.

Dr Anthea Hyslop and Prof Colin Nettelbeck

Graeme Douglas Watson was born in England on 25 January 1936, the only child of Australian parents, Douglas and Jean Watson. He grew up in Adelaide, where he attended Scotch College and demonstrated outstanding ability, becoming dux of his school in humanities subjects, and topping the state in French at both Leaving and Leaving Honours levels.

From 1953 to 1956 Graeme was a student at the University of Adelaide, graduating with first-class honours in French and German, and winning a PhD scholarship to the University of Paris. At the Sorbonne from 1957 to 1960, supervised by Pierre Moreau, he worked on the novels of Romain Rolland, and his defence of his thesis earned him a mention très honorable.

Upon graduation, Graeme Watson joined the French Department of Britain’s University of Birmingham and was soon promoted to lecturer. Then in 1964 he returned to Australia, to take up a lectureship in the Department of French at the University of Melbourne. There he became a senior lecturer in 1967, and there spent the rest of his academic career, until ill health curtailed it in 1989, ending it some years later.

A benefactor of Musica Viva

The performance in Melbourne on 15 November is dedicated to the memory of Dr Graeme Douglas Watson.

For a confidential discussion about making a bequest to Musica Viva or to learn more about our Custodians program, please contact Amelia Morgan-Hunn, Director of Development, on 02 8394 6616 or amorgan-hunn@musicaviva.com.au

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PROGRAMS

Felix MENDELSSOHN (1809–1847)

Piano Trio no 2 in C minor, op 66 (1845) 27 min

I Allegro energico e con fuoco (Fast, energetic and with fire) II Andante espressivo (At a walking pace, expressive) III Scherzo: Molto Allegro quasi Presto (Extremely fast) IV Finale: Allegro appassionato (Fast and passionate)

Roger SMALLEY (1943–2015)

Piano Trio (1991) 17 min

Part 1 I Prelude II Scherzo Part 2 III Passacaglia IV Variations

I N T E R VA L

Franz SCHUBERT (1797–1828)

Piano Trio no 1 in B-flat major, op 99, D898 (1827) 38 min

I Allegro moderato (Moderately fast) II Andante un poco mosso (At a walking pace, moving along a little) III Scherzo: Allegro (Fast) IV Rondo: Allegro vivace (Fast and lively)

Ludwig van BEETHOVEN (1770–1827)

Piano Trio in E-flat major, op 1 no 1 (1795) 31 min

I Allegro (Fast) II Adagio cantabile (Slow and lyrical) III Scherzo: Allegro assai (Very fast) IV Finale: Presto (Quick)

Roger SMALLEY (1943–2015)

Piano Trio (1991) 17 min

Part 1 I Prelude II Scherzo Part 2 III Passacaglia IV Variations

I N T E R VA L

Ernest CHAUSSON (1855–1899)

Piano Trio in G minor, op 3 (1881) 32 min

I Pas trop lent – Animé (Not too slow – Animated) II Vite (Fast) III Assez lent (Rather slow) IV Animé (Animated)

PROGRAM 1 (Melbourne 19 November, Newcastle, Perth, Sydney 14 November)

PROGRAM 2 (Adelaide, Canberra, Melbourne 15 November, Sydney 12 November)

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ABOUT THE MUSIC

Felix MENDELSSOHN (1809–1847)Piano Trio no 2 in C minor, op 66 (1845) I Allegro energico e con fuoco (Fast, energetic and with fire) II Andante espressivo (At a walking pace, expressive) III Scherzo: Molto Allegro quasi Presto (Extremely fast) IV Finale: Allegro appassionato (Fast and passionate)

Today we mostly remember Felix Mendelssohn as one of the great early-Romantic composers. But in addition to his precocious compositional gifts, Mendelssohn was also one of the leading conductors of his time, a virtuoso pianist who toured widely, and arguably the greatest organist of the 19th century. As if that weren’t enough, he was also largely responsible for the revival of the music of Bach. The mind-blowing part of this is that Mendelssohn achieved all these things before the age of 25.

In Mendelssohn’s own music, he demonstrated a fondness for chamber music involving pianos from an early age. His first published works, at the age of 13, were for the combination of piano and strings. By his early twenties, he’d expressed the intent to compose, in his own words, ‘a couple of good [piano] trios’. But it wasn’t until late in his life that his two piano trios were completed.

It took him about nine years to complete the First Trio in 1839; when that work finally

materialised, Robert Schumann proclaimed Mendelssohn ‘the Mozart of the 19th century’, and hailed the work as the ‘trio masterpiece of the present day’. Despite its success and all best intentions, however, it would be another busy six years before Mendelssohn was able to commence his Second Trio. During this period, four of his five children were born. He toured extensively in his role as the Artistic Director/Conductor of the Leipzig Gewandhaus Orchestra. And somehow, between international touring engagements, he managed to establish the Leipzig Conservatoire. Finally, after a rare period of time with his family where he was able to enjoy the relative simplicities of domestic life, he commenced the Second Trio. Rested, and perhaps fortified by his experience in composing the First, the Second progressed with great efficiency, taking only six weeks.

The Second Trio embodies all of the First’s fine qualities and structures. The opening movement even shares a serious, agitated atmosphere, with a swirling theme, restlessly churning and chopping, but always remaining refined. The Andante second movement is reminiscent of Mendelssohn’s piano pieces, the lyrical Songs Without Words. Beginning with piano alone, the movement is characteristically sentimental, with the strings offering their voices as an interweaving duo.

For pianists in particular, Mendelssohn’s trios have long held the reputation of being diabolically difficult. Mendelssohn himself described the Scherzo third movement as ‘a trifle nasty to play’, which, coming from one of the virtuoso pianists of the 19th century, delivers little comfort to present-day musicians! Evoking the nimble, scurrying ‘fairy’ world of earlier works like A Midsummer Night’s Dream, this fleeting movement eventually evaporates in typical Mendelssohnian fashion with a progression of quiet, detached chords.

In the weightier Finale, the scurrying is replaced with a playful but determined outlook. Starting with an impetuous, leaping

PROGRAM 1 (Melbourne 19 November, Newcastle, Perth, Sydney 14 November)

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theme that bounces back down after it has been launched, Mendelssohn quickly proceeds to transform its appearance. In different guises, sometimes forceful, at other times teasingly playful, Mendelssohn uses this theme to set up what has been described as ‘one of the most enchanting moments in all of chamber music’.

In the middle of the movement, a chorale-like setting is suddenly introduced. In part reflecting his Protestant upbringing and his respect for Bach’s craftsmanship, Mendelssohn often integrated hymn-like motifs into his compositions. Here, he evokes a sense of dignified celebration. Later, the chorale is integrated with the Trio’s earlier themes; their concurrent transformations create a grand, quasi-orchestral sound world that pushes each of the instruments to its limits, all the way through to its majestic, major-key conclusion.

When Mendelssohn sent word of his new trio to one of his publishers, the response was largely enthusiastic, but there were also reservations about the rumoured difficulty of the piano writing. After shrewdly attempting to reassure his publisher that the part was ‘not at all so difficult’, Mendelssohn received the jesting reply: ‘I am extremely glad to hear that the Trio is not such an Ungeheuer [monster] that it would frighten the ladies.’

Once publication was secured, Mendelssohn dedicated the Trio to violinist and composer Louis Spohr. Mendelssohn wrote to him: ‘I would like to have saved the honour for a somewhat longer piece, but then I should have had to put it off, as I have so often of late.’ Mendelssohn’s heavy schedule was apparently beginning to take its toll. His health failing, this C minor Trio was the last chamber work he saw published before his death, tragically early at the age of 38.

Angela Turner © 2010

Roger SMALLEY (1943–2015)Piano Trio (1991) Part 1 I Prelude II Scherzo Part 2 III Passacaglia IV Variations

Composer and pianist Roger Smalley AM was born near Manchester, England, in 1943 and emigrated to Australia in the mid-1970s. His music, commissioned by prestigious organisations and groups – from the BBC and the London Sinfonietta to the ABC and the Australian Chamber Orchestra – have been performed and broadcast world-wide. His music and performances have been released on numerous CDs, and he won awards both as composer and pianist: his own performance of his Piano Concerto was the ‘Recommended Work’ in the UNESCO Composers’ Rostrum in 1987.

Roger Smalley’s career as an academic was closely tied to his activities as a composer and performer: his move from the UK to Australia was the result of a short composer residency at the University of Western Australia. After a significant academic career at that institution, Roger Smalley moved to Sydney in 2007. He passed away in Sydney on 18 August 2015.

Composer’s note:

My Piano Trio was commissioned as an obligatory work for all trios entering the 1991 Melbourne International Chamber Music Competition. For practical reasons it could not be too long, but within its relatively limited duration I tried to create a wide variety of moods and textures.

The Trio is in two parts, each of which consists of two linked movements – a short slow movement which acts as an introduction to a longer fast movement. This Piano Trio followed my Variations on a Theme of Chopin for solo piano (1988–89) in a continuing series of works based on material extracted from various Chopin Mazurkas (in this case, an

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ABOUT THE MUSIC

increased in independence, with the cello in particular moving from a role of support to feature more equitably in the ensemble. Beethoven’s widely acclaimed last trios (including the grand ‘Archduke’ Trio of 1811) helped transform the genre. Schubert’s two trios, appearing some 16 years after the ‘Archduke’, confirmed Beethoven’s model with its large-scale, robust offerings, and assisted the trio to emerge from the shadow of the string quartet.

Although the precise composition date of Schubert’s First Trio is subject to conjecture, it is believed that Schubert worked on the score between October and November 1827. In what were to be his final 12 months, suffering badly from the chronic illnesses that would eventually claim him at the age of 31, he pushed himself to produce what he termed ‘more substantial’ works. The result was a rather imposing set of masterpieces. In addition to his two trios, this was the time of his ‘Great’ C major Symphony, the F minor Fantasie for piano duet, the Cello Quintet, the three last Piano Sonatas, and perhaps most stunningly, the song-cycle Winterreise.

Many of these late works are filled with a sorrow and a pervading sense of melancholy: even his closest friends were shocked by the sustained gloom in Winterreise. But his First Piano Trio, though composed concurrently with the song-cycle, imparts little of the weariness or sense of the inevitable, nor of the torment that he was facing in his own life. Indeed, when Robert Schumann heard the Trio, he declared, ‘One glance at it and the troubles of our human existence disappear and the whole world is fresh and bright again.’

extremely chromatic eight-bar progression which occurs towards the end of the Mazurka in A-flat major, op 59 no 2).

The opening Prelude presents the whole of this progression stretched out over the entire length of the movement and embellished with sighing chromatic figures. This leads, via a prolonged dominant seventh chord, directly into the Scherzo, whose form could be represented as A B A C D A – in other words, it has three ‘trios’ (B, C and D) but the second and third are joined, without the expected interpolation of the refrain A. The final return of A is truncated and the first part ends abruptly. This movement is only tangentially related to the Chopin.

Part 2 opens with a slow Passacaglia during which the Chopin progression is unfolded (from the bass up) as four superimposed contrapuntal lines, rather than as a series of harmonies, as it is in the Prelude. The 13 Variations which follow are generally based on one of these lines, or feature a common interval extracted from all four lines. The first six variations are fast and vigorous, leading to a climax in variation 7 – loud repeated chords in the bass of the piano, out of which emerge ethereal harmonics on the two string instruments. The final six variations are slow and in the form of a chaconne. The music draws ever closer to the Chopin original, but the work ends ambivalently.

Franz SCHUBERT (1797–1828)Piano Trio no 1 in B-flat major, op 99, D898 (1827) I Allegro moderato (Moderately fast) II Andante un poco mosso (At a walking pace, moving along a little) III Scherzo: Allegro (Fast) IV Rondo: Allegro vivace (Fast and lively)

Over the course of Schubert’s lifetime, the piano trio genre went through something of an extreme makeover. Evolving from what was essentially an accompanied keyboard sonata, each of the trio’s instruments

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The Trio opens in the cheerful key of B-flat major – the same key and using the same initial five notes as Beethoven’s ‘Archduke’. Giving the movement a distinctive swagger of self-confidence, there is much rhythmic interplay between the string instruments – unified in rising melody – and the striding, dotted figures in the left-hand piano part.

From this exuberance and optimism, Schubert presents the Andante movement as he does in many of his songs: the piano’s accompaniment gently sets itself in the background, and the cello sings the expressive theme, relishing its time in the upper register. In this movement, it is these beautiful melodies that take precedence. The theme is passed from instrument to instrument, as if all three players are engaged in eloquent conversation. The composer chooses not to develop the tunes in any major way, instead subtly changing their presentation by way of fine nuances of expression, harmony and colour. It appears Schubert originally intended a different second movement, posthumously published as the Notturno, D897, but later changed his mind and composed the present movement in its place.

Whereas the second movement is all flowing lines, the light-hearted third movement teases with merriment. Its brief Trio section presents a graceful Viennese waltz led by the violin, before a restatement of the playful scherzo, with its colourful key changes, closes the movement.

Schubert scholar Alfred Einstein (not to be confused with the scientist Albert Einstein) suggests that the theme of the Trio’s final movement bears a likeness to the composer’s 1815 song Skolie. Not only does the theme correspond, its lyrics seem to aptly express the spirit of Schubert’s optimism in this final movement: ‘Let us in the bright May morning take delight in the brief life of the flower, before its fragrance disappears.’

Like many of Schubert’s works, the First Trio was not publicly performed or published during his short lifetime. Instead, it appears to have received its first performance at an informal gathering of friends in either

Ludwig van BEETHOVEN (1770–1827)Piano Trio in E-flat major, op 1 no 1 (1795) I Allegro (Fast) II Adagio cantabile (Slow and lyrical) III Scherzo: Allegro assai (Very fast) IV Finale: Presto (Quick)

In 1792, the 21-year-old Beethoven left his hometown of Bonn. Seeking the inspiration of one of Europe’s major musical cities, and composition lessons with Joseph Haydn, he headed for Vienna. The journey would not be straightforward, owing to the tumultuous events of the French Revolution, now in its

PROGRAM 2(Adelaide, Canberra, Melbourne 15 November, Sydney 12 November)

December 1827 or January 1828. The Trio would have been beyond most amateur musicians of the time, but Schubert enjoyed the company of distinguished professional instrumentalists Ignaz Schuppanzigh (violin), Josef Linke (cello) and Carl Maria von Bocklet (piano), who gave the informal premiere. Incidentally, they were the very same string players who had given the premiere of Beethoven’s ‘Archduke’ some 13 years earlier.

Eight years after its composer’s death, its publication finally secured, the Trio’s arrival was announced by Robert Schumann with his usual insight: ‘Let the work, which he bequeathed to us, be a cherished inheritance. Time, though producing much that is beautiful, will not soon produce another Schubert!’

Angela Turner © 2010

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ABOUT THE MUSICthird year of hostilities. Count Ferdinand von Waldstein, Beethoven’s first patron in Bonn, helped to support the trip, and wrote a prophetic farewell: ‘You are now going to Vienna in fulfilment of a wish that has for so long been thwarted. […] Through your assiduous labour, you shall receive Mozart’s spirit from Haydn’s hands.’

Beethoven quickly established himself in Viennese society, aided in no small part by a letter of introduction from Waldstein to Prince Karl Lichnowsky. Lichnowsky was a major supporter of the arts in Vienna, and was in time to become one of Beethoven’s most important patrons. It was through Lichnowsky’s concert series that Beethoven first became known as a leading pianist and improviser.

To announce himself as composer, Beethoven chose to offer three piano trios as his landmark opus 1. Having previously completed some 20 chamber works in Bonn, the presentation of piano trios made sense on numerous fronts. There would be an eager market for the popular medium, and he would have had an opportunity to showcase himself as performer.

It is unclear when exactly Beethoven commenced the opus 1 trios, but Beethoven’s pupil Ferdinand Ries gives an account of the composer performing all three trios at the end of 1793, at the residence of Lichnowsky with the distinguished string musicians Ignaz Schuppanzigh (violin) and Nikolaus Kraft (cello). Taking his time to revise them extensively before their publication in July 1795, Beethoven was clearly determined to make a statement. There are few published musical debuts as striking or as audacious. His assured assimilation of Classical structures and sheer boldness of approach defy their opus 1 label; indeed, they already provide indications of the musical revolution he would lead in the decades to come.

Pushing forward from Haydn and Mozart, Beethoven expanded the trio model from what had been a three-movement structure, to four, borrowing from the venerable forms of the string quartet and symphony. There was little doubt that he had moved beyond the idea of

an ‘accompanied piano sonata’, bringing a sense of large-scale grandeur previously unheard of in this type of chamber music. Writer Richard Wigmore suggests that at the time of composition, Beethoven’s opus 1 ‘must have seemed like a headlong assault on the traditional notion of the piano trio’, likening them to ‘symphonies for three instruments’.

This sentiment can be divined in the expansive first movement of the E-flat major Trio, the first of the set. Beethoven’s craft of grand thematic development is already on display. He opens the work with a compositional technique known as ‘Mannheim Rockets’: rapid, rising arpeggios (heard here in the piano), used for their brilliance and dramatic effect. Quickly, the writing for the violin and cello demonstrates new levels of independence, which, alongside virtuoso scalic keyboard flourishes, boldly declare Beethoven’s intentions. In a distinct change of character, the second theme is chorale-like and hushed, anticipating the dramatic contrasts of expression that would become emblematic in the Romantic era.

The Adagio cantabile opens with a lyrical piano theme in A-flat major, before being developed by the strings in warm discussion. Somewhat unusually for a slow movement, Beethoven writes in rondo form, which sees the opening piano solo return numerous times alongside alternating episodes. The gentle speed allows for delicate elaborations, almost improvisatory in nature, often recalling the spirit of Mozart’s lyrical piano writing.

The third movement Scherzo is a first for the trio medium, and broke the ground for future composers. Beethoven appears to be playing with his listeners’ expectations, not only with the Scherzo’s inclusion, but also in its harmonic ambiguity and rhythmic unsettledness. Balanced numbers of bars are replaced with phrases of seemingly uncommon and uneven lengths, in what arguably might be a witty tribute to his mentor, Haydn.

There are influences of Haydn’s sparkle and spirit in the finale, but it is clearly Beethoven’s sense of humour that pervades the Presto.

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The first movement’s ‘rockets’, now going backwards, are tossed around with utter cheekiness. Following a stormy development section, unlikely key changes slide playfully under the gate, and the trio finishes with the brilliance and bravado that could only come from the young Beethoven.

The opus 1 trios were dedicated to Prince Lichnowsky. With their publication, Beethoven fulfilled his long-held aim of making his presence felt in Vienna. He never returned to Bonn.

Angela Turner © 2016

Roger SMALLEY (1943–2015)Piano Trio (1991) Part 1 I Prelude II Scherzo Part 2 III Passacaglia IV Variations

See note on p9.

Ernest CHAUSSON (1855–1899)

Piano Trio in G minor, op 3 (1881) I Pas trop lent – Animé (Not too slow – Animated) II Vite (Fast) III Assez lent (Rather slow) IV Animé (Animated)

Frenchman Ernest Chausson was just starting to make a name for himself as a composer when he was tragically killed in an accident, crashing his bicycle riding downhill whilst at a country retreat. Just 44 years old, he left a small number of works – 39 opuses – including the Poème and Concert (by which violinists remember him), an opera, a handful of symphonic works, collections of songs, and a few pieces of chamber music.

Coming from a wealthy Parisian family, Chausson had initially studied law to please

his father, and was even appointed as a barrister for the Court of Appeals. He had entertained the idea of a career in literature or art, but the lure of music saw him enrol in composition at the Paris Conservatoire in 1879, at the age of 24.

As a latecomer to music studies, Chausson found himself some years older – and in a financially more stable position – than the other Conservatoire students. He took on an ‘older brother’ role to his fellow classmates, most notably striking a close friendship with Claude Debussy, to whom he generously offered regular financial support.

Like Debussy, Chausson was studying composition with Jules Massenet. Massenet regarded Chausson as ‘an exceptional person and true artist’, but Chausson was dissatisfied with his classes. He decided to give up his official enrolment, but unofficially attended the classes of César Franck (affectionately referred to by his students as ‘Father Franck’), forming a friendship that would last until Franck’s passing in 1890.

Chausson’s Trio, composed when he was 26, is regarded as his first chamber work. It demonstrates the strong influence of Franck, particularly through the use of a cyclic construction form of which his teacher was a leading exponent. The senior composer often utilised the same thematic material across multiple movements, developing the themes from a common germinal cell in an attempt to achieve greater structural unity. Ever the methodical composer, the crux of Chausson’s entire four-movement trio is found within the slow, 20-bar opening introduction.

To begin the piece, Chausson assigns the piano to provide a melancholy background, while the cello is featured in a chromatic descending line, in mournful exchange with the violin. Both string themes reappear in the main body of the movement, but also as critical elements of the slow third movement and finale.

The second movement scherzo provides charming contrast, with its sprightly character and 3/8 time signature. At times,

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Trio Dali Selected DiscographyMendelssohn Piano Trios with Bach transcriptions Zig-Zag Territoires ZZT364 (2015)

Schubert Fantaisie D934 Trios D898 & D929 Sonata D821 ‘Arpeggione’ Fuga Libera FUG584 (2011)

Ravel Piano Trio Sonata for Violin and Cello Violin Sonata Fuga Libera FUG547 (2009)

Roger SmalleyThe composer’s website is a valuable resource, complete with a discography, a detailed list of compositions, program notes, and links to articles by and about Roger Smalley. Find it at www.rogersmalley.com.

The Australian String Quartet’s 2008 disc on Melba Recordings, Through a Glass Darkly, is a critically acclaimed recording also featuring Darryl Poulsen (horn) and Paul Wright (violin). With sublime readings of Roger Smalley’s

Piano Quintet, Horn Trio and Second String Quartet, it’s an ideal introduction to his music.

Felix Mendelssohn As well as being a delight to listen to, Mendelssohn is a composer well worth reading about. R Larry Todd is a scholarly but readable contributor: we recommend his Mendelssohn: A Life in Music (Oxford University Press, paperback edition 2005), and chapters in the Cambridge Companion to Mendelssohn (ed. Peter Mercer Taylor, Cambridge University Press, 2004).

Ernest ChaussonChausson died at just 44 years old, the result of injuries sustained in a bicycle accident. Though not prolific, his compositional voice was distinctive and imaginative, setting the stage for the watercolour musical frisson of Debussy and the ‘impressionists’. Read more about Chausson in The Man and his Music (Athlone Press / Bucknell University Press, 1980) by biographer Ralph Scott Grover. Yehudi Menuhin’s 1933 recording of the bucolic Poème, with the Paris Symphony Orchestra, is also well worth seeking out.

FURTHER EXPLORATION

ABOUT THE MUSICthe piano writing almost gives the impression of galloping, and the relative clarity and lightness of textures provides relief from the work’s surrounding darker movements.

Based upon the original violin theme, but played at half the speed, the third movement returns to the overcast world of the opening. According to Boris de Larochelambert, pianist in the Chausson Trio, Chausson laboured over this movement, making no fewer than four successive plans for its structure. The relative peace of the major-key conclusion to this movement, and its harmonic language, have led numerous commentators to draw parallels between Chausson and Richard Wagner. Chausson had in fact made numerous trips to Germany around this time to hear Wagner, and there is no doubt that Wagner

was a strong influence upon his work (as he was also for other French composers of the time). Certainly, the characteristics of Wagner – and late Romanticism more generally, with its ambiguities of constantly shifting tonalities and chromaticism – are present.

The finale closes the circle on the work’s cyclic conception. A major-key rondo, the pervading gloom of the first movement seems, for now, a distant memory. In its final breaths, themes of the opening introduction are recalled, before a piano outburst brings the work to a crushing, dark conclusion.

The Trio was premiered in April 1882, and published posthumously in 1919, some 38 years after its completion.

Angela Turner © 2016

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INTERVIEW WITH TRIO DALI

There’s a distinct sense of entente cordiale about Trio Dali. The British violinist Jack Liebeck joined the French cellist Christian-Pierre La Marca and pianist Amandine Savary as the group’s new violinist in 2013, and plenty of good-natured jibing goes on while the players consider their meeting of minds. ‘We’re still a French group, in a way,’ La Marca insists, prompting a mock-outraged ‘What?’ from Liebeck.

Something much more important is behind this, though. ‘I’ve always found that cultural differences disappear when you play music,’ says Liebeck. ‘When I’ve played with other people and there has been a language barrier, the amazing thing is that music bridges those gaps.

‘Meeting “Crispy” and Amandine has brought new things to my playing life, and I think my joining the trio has brought

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new things to them,’ he adds. ‘It’s different voices, different ideas and ways of working. We’re all pedantic about different things. But I don’t think there is a cultural difference in terms of music.’

The original Trio Dali, formed in 2006, rapidly gained a string of prestigious prizes across three continents. Their collaborators read like a Who’s Who of chamber music – Augustin Dumay, Maria João Pires, Gábor Takács-Nagy, to name but a few – and their recordings have been showered with accolades.

Their name is only partially a reference to the Spanish surrealist artist Salvador Dali. ‘We met in Spain; we were looking for a name and we of course thought about the painter,’ says La Marca, ‘but at the same we won the Osaka Competition in Japan and we wanted to relate the painter’s name to something Asian. Finally we found a symbolic possibility: there are some amazing marbles in the city of Dali in China – three pagodas in this city are very famous. So it’s symbolic of taking the music from the notes and creating art.’

Liebeck adds: ‘You take the marble, you polish it and you make something beautiful.’

The Trio is bringing two programs to Musica Viva; both include the 1991 Piano Trio by the Australian composer Roger Smalley, a piece that Liebeck says he especially advocated. ‘I pushed for it because when I played another piece of his recently, I thought it was incredibly effective and very well written for the instruments.’

‘If you speak with composers, they all tell you that to write a piano trio is one of the most difficult exercises there is,’ says La Marca. ‘It’s much more difficult than writing a symphony or a string quartet, because there is always a balance to find. And that’s a real challenge for composers.

It seems that Smalley combines all the right qualities in his piece.’

Each concert is topped and tailed with masterpieces of the trio repertoire: one program opens with Beethoven’s first published work, the E-flat major Trio, op 1 no 1, and ends with the substantial Trio by Ernest Chausson; the other starts with Mendelssohn’s Trio no 2 in C minor and concludes with Schubert’s Trio no 1 in B-flat major.

‘It’s an incredible work,’ says Liebeck of the Mendelssohn. ‘Dramatic and troubled and dark, but at the same time very romantic. The perfect piano trio, really!’ Not that the Schubert is less perfect: ‘I always feel that Mozart and Beethoven are the greatest composers, but they’re earthy – whereas with Schubert, it’s as if he’s from space. The colours he creates are not earthbound for me; they’re up in the sky.’

‘I think the Chausson is a masterpiece of the French repertoire,’ says La Marca. ‘We are playing it for the first time, this season, and it’s a real challenge. We want to continue our tradition of playing French repertoire; one of the first pieces we worked on was the Fauré Trio and our first recording was an all-Ravel disc. I feel we started something very special with the sound. Amandine is absolutely extraordinary in this repertoire. So we already did the Debussy, Ravel and Fauré, but we’ve never actually played the Chausson.’

‘It’s really nice for me to be able to play a piece with them that’s wonderful and French and that they love, but that they haven’t done before,’ says Liebeck. ‘Here we can start from the beginning.’ La Marca agrees: ‘Everyone is at the same level. And we try to shape the music together.’

Jessica Duchen © 2015

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People who have notified us of their intention to leave a gift to Musica Viva in their will are part of a very special group of Musica Viva Custodians. A bequest to Musica Viva will enable us to continue presenting performances of the highest quality to the widest range of audiences across Australia, well into the future. To discuss, in confidence, a bequest gift, please contact Amelia Morgan-Hunn on (02) 8394 6616 or amorgan-hunn@musicaviva.com.au

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The Amadeus Society exists to help bring the excitement and inspiration of the world’s most extraordinary musicians to Australian audiences. In 2015, the Society provided significant support for the Tafelmusik and Maxim Vengerov national tours. This year, the Society has been proud to support the world premiere and national tour of Voyage to the Moon. To learn more about the Amadeus Society and how you can help bring some of the world’s leading international artists to Australia, please contact Amelia Morgan-Hunn on (02) 8394 6616 or amorgan-hunn@musicaviva.com.au

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$10,000 +Anonymous (1)

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The Huntington Estate Music Festival CollectiveThe Silo Collective

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KEN TRIBE FUND FOR AUSTRALIAN COMPOSITION

THE HILDEGARD PROJECT in support of women in compositionThis project is made possible by a generous gift from Katherine Grinberg in honour of the late Adrienne Nagy and her sister Yolanda (Nagy) Daniel.

MASTERCLASSESThe Musica Viva Masterclass program is supported by Lyn Hamill & Ian Dover (Queensland), Wesfarmers Arts (Western Australia) and Mary Turner oam (Newcastle).

MELBOURNE CHAMBER MUSIC COMPETITIONS$20,000 +Beth Brown & Tom Bruce am

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This list is complete as at 14 October 2016.

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Musica Viva is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body.

Musica Viva is assisted by the NSW Government through Arts NSW.

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STORIES TO INSPIRE

possible by the generous support of the Tim Fairfax Family Foundation. Tipperary Station School’s Principal, Greg Oborn, and teacher, Jaki Ryan, recognise the importance of building community in remote areas and understand that music is a powerful tool to unite, educate and empower people of all ages. With that in mind, they extended an invitation to Musica Viva to perform at their school and encouraged other schools in the region to join in.

During the full day the musicians spent at Tipperary Station, the students were able to experience a complete concert plus they had the opportunity to try their hand at some music making. One of the schools had even written a special song to

At the end of a dusty 30-kilometre-long driveway, after a three-and-a-half-hour drive almost directly south from Darwin, you’ll find Tipperary Station School. There are only six students, but when Musica Viva’s Gypsy Tober – Leah Cotterell, vocals; Barbara Fordham, vocals and Anje West, vocals and percussion – visited in August this year, they were greeted by a full house. Students from four ‘local’ schools had gathered for this very special concert. One group had driven more than two-and-a-half hours to take part!

The visit to Tipperary Station School was part of Gypsy Tober’s Musica Viva In Schools tour of the Northern Territory and regional northern Queensland, made

Taking Gypsy Tober to Tipperary

The long road to Tipperary

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If you are interested in learning more about how you can support our work, please contact

Alice Enari 1300 786 186 or aenari@musicaviva.com.au

MVIS ensemble Gypsy Tober with students

share with Gypsy Tober. At the end of the day, everyone – students, teachers and musicians – felt that they had a new and lasting sense of community.

‘These are such special and creative kids. It was so exciting watching them engage and play,’ said Anna Griffiths, Operations Manager for Musica Viva In Schools. ‘You would not believe how big the grins on those kids’ faces were!’

Musica Viva In Schools plans to visit again in 2017 to continue building a strong relationship with the school. As well, Musica Viva, again with the assistance of the Tim Fairfax Family Foundation and Arts Queensland, will shortly embark on a tour of regional Queensland to reach out to even more students in remote areas with the power and joy of music.

By making a bequest gift, you ensure that we can continue to bring music to life for future generations. As one of Australia’s most enduring music organisations, you can be sure that we’ll be around for years to come. Our well-respected team is known for the efficient management of resources as well as our innovative artistic abilities – two talents which mean that a bequest to us is a sure investment in the future of Australian music.

For a confidential conversation about how to ensure a musical legacy, contact Amelia Morgan-Hunn at amorgan-hunn@musicaviva.com.au or 02 8394 6616.

Help build our musical future

Hostworks is a leading digital managed services and solutions provider to clients across Australia, for over 15 years. We design, build and operate technological solutions specifically aligned to organisational needs. Whether it is

migrating to cloud, on-demand or live video /audio streaming, digital campaign management, app development, a skilled helping hand, management of high transactional websites or advanced data insights, we’re here to assist.

We all have a sense of identity. It defines who we are. 

As digital roadies, Hostworks are privileged to work with Musica Viva in building digital capabilities to support the Indigenous Language Revival Project. 

Conserving the loss of native languages and bringing communities together across  sustainable channels of engagement.  

Enabling our indigenous identity to take centre stage. 

TO BOOK CALL 1800 995 931 OR VISIT WWW.HUNTINGTONMUSIC.COM.AU“… one of the best chamber music festivals in the world … (and) it just keeps getting better.” EMMA AYRES / ABC CLASSIC FM

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THE 27TH HUNTINGTON ESTATE

MUSIC FESTIVAL

ARTISTIC DIRECTOR CARL VINE. PRESENTED IN ASSOCIATION WITH MUSICA VIVA AUSTRALIA

OPENING WEEKEND

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MUSICA VIVA STAFFNATIONAL OFFICE

Chief Executive Officer Mary Jo Capps

Artistic Director Carl Vine ao

Concerts Director of Artistic Planning, Concerts Katherine KempArtistic Coordinator Luke Iredale Artist DevelopmentDirector of Artist Development Tim MatthiesArtistic Director, FutureMakers Genevieve LaceyCountryWide Manager Melissa CannonArtist Development Coordinator Callum Close OperationsDirector of Operations Janelle McKenzieOperations Coordinator, Concerts Rebecca WhittingtonOperations Coordinator, Concerts Michelle Zarb DevelopmentDirectors of Development Anne Cahill oam Amelia Morgan-HunnDevelopment Manager Alice EnariGrants Manager Alex BellemoreResearch & Database Manager Claire Burrell-McDonaldDevelopment Coordinator Vennisa Santoro EducationArtistic Director Michael SollisDirector of Business Development Colette VellaEducation Content Manager Christine Munro

Operations Manager Anna GriffithsDigital Strategy Manager Adrian BarrProfessional Development Manager Jemma TabetProfessional Development Manager Elaine SlawskiNSW Education Manager Mary ScicchitanoDigital Content Producer Thijs Rozeboom

MarketingDirector of Sales & Marketing Paul StuartSenior Marketing Manager Kia StockdaleMarketing Manager, Concerts Cynthia CrespoDatabase Marketing Manager Rachel ForbesDigital Marketing Manager Kevin DriebergMedia & Communications Manager Cassie EtwellNational Audience Engagement Manager Sam Hayward-SweedmanMarketing Coordinator Nina JuhlMarketing Coordinator, Education Marita LacotaGraphic Designer Patrick LeongPatron Services Manager Sabrina GovicAssistant Patron Services Manager Jon GuileTicketing Assistant Lucia Cascone Administration & FinanceChief Financial Officer Sarah FalzaranoDirector of Human Resources Sarah VickersExecutive Manager Trish Ludgate

Accountant Michael DewisAccounts Administrator Teresa CahillAccounts Assistant Joanna JunAdministration Officer Maddie BartonIT Administrator Jonathan Zaw

STATE OFFICES ACTState Manager Isobel FerrierAdministration Assistant Matt Withers

Committee Daniel Sloss (President) Geoffrey Brennan Andrew Cichy Christina Cook Roger Hillman Jeanette Horne Antonia Lehn Craig Reynolds Richard Rowe Tamara Wilcock Newcastle NSWConcerts Manager Callum Close

Committee Judy Chen (President) Anne Morris (Secretary) John Ferguson (Treasurer) Stanley Chen Margaret Hicks Roland Hicks Rae Richards Jane Smith

South AustraliaState Manager Emily KellyAdministration Coordinator Samantha MackState Coordinator Kylie King

Committee Judy Potter (President) Leonie Schmidt (Vice-President) Veronica Aldridge

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Beverley Brown oam

Helen Pollard Libby Raupach Trish Ryan Alan Smith

QueenslandState Manager Lachlan SnowAdministration Assistant Flora WongEducation Producer and Sales Manager Robyn RyanCommittee Michelle Wade (President) Helen DeVane Melanie Edgar Amanda Hume James Jarvis Peter Lyons David Pitman

VictoriaGeneral Manager Victoria Hywel SimsEducation Manager Kim O’ByrneMedia & Communications Manager Adele SchonhardtPartnerships Manager Jaci MaddernArtistic Director, MICMC Wilma SmithAdministration Coordinator Madeleine CowellCommittee Jane Fyfield (President) Alistair Campbell Olivier David Dorothea Josem Carmel Morfuni Adrian Nye Helen Vorrath

Western AustraliaState Manager Lindsay LoveringState Coordinator Helen DwyerAdministration Assistant Julia CarrCommittee Anne Last (President) Graham Lovelock (Vice-President)

Darsha Kumar Jeremy Feldhusen Ed Garrison Johanna Majzner Maxinne Sclanders Robyn Tamke Fran Tempest Helen Frances Wescott

NATIONAL BOARD OF DIRECTORS

Charles Graham (Chairman) Tom Breen (NSW) Kathie Grinberg (NSW) Andrew Page (NSW) Judy Potter (SA) Margaret Seares ao (WA) Darren Taylor (VIC) Michelle Wade (QLD)

LIFE MEMBERS

Russell & Jacqui Bate Gaston Bauer am Tony Berg am Michael Bertram Marc Besen Jenny Bott ao David Bradshaw Catherine Brown Watt psm Peter Burch am bm Julian Burnside ao qc Don Burrows ao mbe Kate Durham Judy Flower Christine Gargett Marjorie Gilby Suzanne Gleeson Helen Godlee Anne Kantor Michael Katz Trish Ludgate Peter Lyons Donald McDonald ac Donald Magarey Donald Munro am Donald Sams Jill Stowell oam Mary Vallentine ao Ernest Weiss Dr Kevin White Kim Williams am Michael Wishart Margaret Wright oam

VOLUNTEERS National OfficeCelia Berry Graham Blazey Peter Bridgwood Bryan Burke Tomas Drevikovsky Jenny Fielding Kevin Gardner Emily Holt Reg McCabe Annaliese McGee-Collett Vidhi Mathur Richard Muhs Diane Parks Adrienne Saunders Andy Serafin Hannah Smith ACTAlex Blencowe Christina Refshauge NewcastleLibby Dickeson Gerard Nichols Rebecca Tee Kathy Worrad South AustraliaVeronica Aldridge Thea Maxwell VictoriaAlastair Cooper-Gulec Jessica Crowe Pamela Foulkes Susanna Ling Jacqueline Rodrigues John Sutton Grace Westcott-Dawson Western AustraliaGreg Atkins Mary Walton

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FOR YOUR CONCERT ENJOYMENT

…FELLOW PATRONS WILL APPRECIATE YOUR THOUGHTFULNESS AND COURTESY

DO NOT TAKE PHOTOGRAPHS, VIDEO OR SOUND RECORDINGS OF THE PERFORMANCE. Most venues strictly prohibit this, and it may also breach copyright.

RESERVE APPLAUSE UNTIL THE CONCLUSION OF EACH WORK. A good rule of thumb is to show your appreciation at the conclusion of a work – then you can clap as long and loudly as you like!

WAIT UNTIL THE PERFORMERS HAVE TAKEN THEIR FINAL BOW BEFORE LEAVING THE HALL. It’s difficult to squeeze past other seated patrons, and you might just miss an unforgettable encore.

Smoking is not permitted in this venue.

Musica Viva Australia reserves the right to alter without notice programs, performers, dates, times, venues and/or prices as may become necessary.

ARRIVE IN PLENTY OF TIME. In most venues, staff will not admit latecomers until a suitable break in the performance. Musica Viva and venue management reserve the right of refusing admission.

SWITCH OFF YOUR MOBILE PHONE before the concert commences. Patrons expecting emergency calls should leave their seat numbers with the House Manager.

ACCESSIBILITY. Musica Viva concert venues are committed to providing the best possible services for patrons with disabilities. Please let the staff know of your special requirements at the time of booking or when you arrive.

For hearing-impaired patrons, most halls provide a hearing induction loop you may access. In order to do this, please switch your hearing aid to the “T” position.

NOTE THE LOCATION OF THE CLOSEST EXIT SIGN. In the unlikely event of an emergency, please listen carefully to the staff’s instructions. Venue staff are trained in emergency procedures and will assist and direct you should such an occasion arise.

GIVE THIS CONCERT YOUR BEST PERFORMANCE…WE OFFER THESE SUGGESTIONS IN THE KNOWLEDGE THAT YOU WANT TO ENJOY EVERY MUSICA VIVA AUSTRALIA CONCERT TO THE FULL. SO PLEASE…

OPERATING IN SYDNEY, MELBOURNE, CANBERRA, BRISBANE, ADELAIDE, PERTH, HOBART & DARWINOVERSEAS OPERATIONS:New Zealand — Wellington: Playbill (NZ) Limited, Level 1, 100 Tory Street, Wellington, New Zealand 6011; (64 4) 385 8893, Fax (64 4) 385 8899. Auckland: PO Box 112187, Penrose, Auckland 1642; Mt Smart Stadium, Beasley Avenue, Penrose, Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148, Email: admin@playbill.co.nz. UK: Playbill UK Limited, C/- Everett Baldwin Barclay Consultancy Services, 35 Paul Street, London EC2A 4UQ; (44) 207 628 0857, Fax (44) 207 628 7253. Hong Kong: Playbill (HK Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK 168001 WCH 38; (852) 2891 6799, Fax (852) 2891 1618. Malaysia: Playbill Malaysia Sdn Bhn, C/- Peter I.M. Chieng & Co., No.2 – E (1st Floor) Jalan SS 22/25, Damansara Jaya, 47400 Petaling Jaya, Selangor Darul Ehsan; (60 3) 7728 5889, Fax (60 3) 7729 5998. Singapore: Playbill (HK) Limited, C/- HLB Loke Lum Consultants Pte Ltd, 110 Middle Road #05-00 Chiat Hong Building, Singapore 188968; (65) 6332 0088, Fax (65) 6333 9690. South Africa: Playbill (South Africa) (Proprietary) Limited, C/- HLB Barnett Chown Inc., Bradford House, 12 Bradford Road, Bedfordview, SA 2007; (27) 11856 5300, Fax (27) 11856 5333.

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Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: admin@playbill.com.au Website: www.playbill.com.au

Head Office: Suite A, Level 1, Building 16, Fox Studios Australia, Park Road North, Moore Park NSW 2021; PO Box 410 Paddington NSW 2021

Chairman Brian Nebenzahl OAM RFD

Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager — Production — Classical Music Alan Ziegler