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Ian BostridgeSoloist in the Spotlight

Monday 15 June at 7.30pmElisabeth Murdoch Hall

Melbourne Recital Centre

What’s On June — August

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MOZART’S PIANO CONCERTO No.17Friday 28 August Saturday 29 August Monday 31 AugustThe irrepressible overture to Rossini’s La gazza ladra is set alongside works by Mozart and Messiaen, and the lush melodies of Brahms’ Symphony No.3.

MAHLER 4Friday 19 June Saturday 20 June Monday 22 JuneA milestone in MSO’s musical evolution, Sir Andrew Davis’ Mahler Cycle returns for its fourth chapter, with Mahler’s Fourth Symphony alongside Prokofiev’s Sinfonia Concertante.

YUJA WANG PLAYS PROKOFIEVThursday 23 July Friday 24 July Saturday 25 JulyChinese piano superstar Yuja Wang brings her acclaimed virtuosity to Prokofiev’s tempestuous Second Piano Concerto, in a program that includes Tchaikovsky’s Marche Slave and Brahms’ luminous fourth and final symphony.

BABESaturday 11 July Sunday 12 JulyGeorge Miller’s Babe is an icon of Australian cinema. To coincide with its twentieth anniversary, the MSO and original soundtrack composer, Nigel Westlake, join forces to present the world premiere of Babe: The Twentieth Anniversary Concert, an exclusive all-ages screening with the Orchestra performing the film’s score.

RACHMANINOV 3Thursday 20 August Friday 21 August Saturday 22 AugustRussian-American pianist Kirill Gerstein displays his mastery of the formidable ‘Rach 3’, conducted by Sir Andrew Davis, alongside Rimsky-Korsakov’s Dubinushka and Strauss’ autobiographical tone poem, Ein Heldenleben.

TCHAIKOVSKY’S PIANO CONCERTO No.1 Friday 7 August Saturday 8 August Monday 10 AugustThe very epitome of Romantic music, Tchaikovsky’s Piano Concerto No.1 is performed by Simon Trpčeski, appearing alongside Rimsky-Korsakov’s Capriccio espagnol and Scriabin’s Third Symphony.

3IAN BOSTRIDGE

I am delighted to welcome you to this special recital, featuring the English tenor Ian Bostridge, who was a star soloist in last week’s performances of Britten’s War Requiem.

Tonight, Bostridge sings On Wenlock Edge, by another great English composer, Ralph Vaughan Williams, preceded by a selection of songs by Franz Schubert. In between, a selection of piano miniatures, from Schubert’s Moments musicaux, will be performed by tonight’s accompanist Amir Farid.

It is Schubert who is particularly close to Ian Bostridge’s heart. His engrossing personal odyssey into Schubert’s great song cycle, Winterreise, has recently been published. In this book, Bostridge tells of his first encounter with Schubert songs: a school performance of The Shepherd on the Rock, given in what he recalled as ‘my fragile treble’.

It is a privilege to have this master of the art song in Melbourne, along with Amir Farid and members of the MSO.

André Gremillet Managing Director

With a reputation for excellence, versatility and innovation, the Melbourne Symphony Orchestra is Australia’s oldest orchestra, established in 1906. The Orchestra currently performs live to more than 200,000 people annually, in concerts ranging from subscription performances at its home, Hamer Hall at Arts Centre Melbourne, to its annual free concerts at Melbourne’s largest outdoor venue, the Sidney Myer Music Bowl.

Sir Andrew Davis gave his inaugural concerts as Chief Conductor of the MSO in April 2013, having made his debut with the Orchestra in 2009. Highlights of his tenure have included collaborations with artists including Bryn Terfel, Emanuel Ax and Truls Mørk, the release of recordings of music by Percy Grainger and Eugene Goossens, a 2014 European Festivals tour, and a multi-year cycle of Mahler’s Symphonies.

The MSO also works each season with Principal Guest Conductor Diego Matheuz, Associate Conductor Benjamin Northey and the Melbourne Symphony Orchestra Chorus. Recent guest conductors to the MSO have included Thomas Adès, John Adams, Tan Dun, Charles Dutoit, Jakub Hrůša,

Mark Wigglesworth, Markus Stenz and Simone Young. The Orchestra has also collaborated with non-classical musicians including Burt Bacharach, Ben Folds, Nick Cave, Sting and Tim Minchin.

The MSO reaches an even larger audience through its regular concert broadcasts on ABC Classic FM, also streamed online, and through recordings on Chandos and ABC Classics. The MSO’s Education and Community Engagement initiatives deliver innovative and engaging programs to audiences of all ages, including MSO Learn, an educational iPhone and iPad app designed to teach children about the inner workings of an orchestra.

The Melbourne Symphony Orchestra is funded principally by the Australian Government through the Australia Council, its arts funding and advisory body, and is generously supported by the Victorian Government through Creative Victoria, Department of Economic Development, Jobs, Transport and Resources. The MSO is also funded by the City of Melbourne, its Principal Partner, Emirates, corporate sponsors and individual donors, trusts and foundations.

Welcome to Ian Bostridge In Concert

MELBOURNE SYMPHONY ORCHESTRA

4 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

Ian Bostridge tenor

Ian Bostridge’s international recital career has taken him to the Salzburg, Edinburgh, Vienna and Aldeburgh Festivals and to the main stages of Carnegie Hall and La Scala, Milan. He has worked with the Berlin Philharmonic, Vienna Philharmonic, Chicago Symphony Orchestra, Boston Symphony Orchestra, London Symphony Orchestra, BBC Symphony Orchestra, Rotterdam Philharmonic Orchestra, New York Philharmonic and Los Angeles Philharmonic. Performances during the 2013 Britten anniversary celebrations included War Requiem with the London Philharmonic Orchestra; Les Illuminations with the Royal Concertgebouw Orchestra; and Madwoman (Curlew River) for the Barbican.

His operatic appearances have included Lysander (A Midsummer Night’s Dream) for Opera Australia at the Edinburgh Festival, and Tamino (The Magic Flute) and Jupiter (Semele) for English National Opera.

Ian Bostridge was made a CBE in the 2004 New Year Honours. This season he is Humanitas Professor of Classical Music at the University of Oxford.

Amir Farid piano

Winner of the 2006 Australian National Piano Award, pianist Amir Farid has been described as ‘a highly creative musician – a pianist of great intelligence and integrity. He brings strong musical substance to all that he does, imbuing it with his own particular experience and understanding’.

A sought after soloist, he maintains a busy performance schedule in Australia and internationally, and has performed concerti with Australia’s major orchestras. Amir is pianist of the acclaimed Benaud Trio, winning the Piano Trio prize at the 2005 Australian Chamber Music Competition. As an accompanist, he was winner of the prize for Best Pianist at the 2006 and 2012 Mietta Song Competitions, and the 2007 Geoffrey Parsons Award. In 2013 he was awarded the inaugural Dame Nellie Melba Opera Trust Repetiteur scholarship.

ABOUT THE ARTISTS

Ian Bostridgetenor

Amir Faridpiano

Eoin Andersenviolin

Matthew Tomkinsviolin

Christopher Mooreviola

David Berlincello—SCHUBERTEinsamkeitSchwestergrussIm HaineAn die LeierAm See—Interval—SCHUBERTMoments musicaux, No.1–3

VAUGHAN WILLIAMSOn Wenlock Edge—This concert has a duration of approximately one hour and 40 minutes, including one interval of 20 minutes.

This concert will be broadcast and streamed live around Australia on ABC Classic FM.

Ian Bostridge Amir Farid Eoin Andersen Matthew Tomkins

Eoin Andersen violin

A native of Wisconsin, USA, Eoin began violin lessons at the age of 5. HIs teachers have included Sr. Noraleen Retinger, Gerald Fischbach, David Taylor, Efim Boico, and his foremost musical influence, Nadja Salerno-Sonnenberg.

Eoin commenced the position of Co-Concertmaster of the Melbourne Symphony Orchestra in 2015, and was previously Principal Second Violin of the Orchester der Oper Zürich. He has performed as Guest Concertmaster of the Konzerthausorchester Berlin and the Swedish Radio Symphony Orchestra, and as Guest Principal with the Mahler and Australian Chamber Orchestras, Zurich Chamber Orchestra, London Philharmonic, Bavarian Radio Symphony, and frequently with the Rundfunk-Sinfonieorchester Berlin.

Eoin was a long-time member of the Mahler Chamber Orchestra and the Lucerne Festival Orchestra. As a founding member and director of the Mahler Chamber Soloists, he performed in South America and throughout Europe, and collaborated with the pianist Fazıl Say, the choreographer Sasha Waltz, and soprano Anna Prohaska.

Matthew Tomkins violin

Matthew Tomkins has been a member of the Melbourne Symphony Orchestra since 2000, and in 2010 was appointed to the position of Principal Second Violin.

Matthew’s teachers included Marco van Pagee, Spiros Rantos and Mark Mogilevski, and he also holds a Bachelor of Engineering and a Bachelor of Science degree from the University of Melbourne.

With the MSO he has toured throughout Europe and China and performed with artists as diverse as Nigel Kennedy, Charles Dutoit, KISS, and Tim Minchin. Matthew is a regular performer in the MSO Chamber Players series, as well as performing regularly with the Flinders Quartet and Melbourne Chamber Orchestra. He tutors for the Australian Youth Orchestra, and teaches chamber music and violin at the University of Melbourne.

Christopher Moore viola

Recently appointed as Principal Viola of the Melbourne Symphony Orchestra, Christopher Moore has spent the last nine years travelling the globe as Principal Viola of Australian Chamber Orchestra. As romantic as that sounds, he missed his old chums Mahler, Schoenberg and Adès, and so has returned to these and other old friends at the MSO.

Not surprisingly, Christopher’s wife and two daughters are pleased that Papa has hung up his rock star garb and come home to roost like their pet chickens. If you’re lucky, he may hand you a bona fide free-range egg; if you’re unlucky, you’ll be stuck hearing about how much he loves brewing beer and riding his bike into town from the suburbs, in an attempt to prevent his waistline expanding to the size of his chickens’ coop.

Christopher vows to keep his ‘fowl’ sense of humour in check long enough to perform this concert, on his 1937 Arthur E. Smith viola affectionately known as ‘Martha’.

David Berlin cello

David Berlin holds the position of MS Newman Family Principal Cello Chair at the Melbourne Symphony Orchestra and has held the position of Principal Cello since 1989.

Born in Jerusalem, David studied cello with Lois Simpson in Sydney and Channing Robbins at the Julliard School of Music in New York. For over twenty years he has been at the forefront of classical music making in Australia, making numerous appearances as soloist with the Melbourne and Adelaide Symphony Orchestras, and as Guest Principal Cello with the Australian Chamber Orchestra, and the Sydney and Tasmanian Symphony Orchestras.

David has collaborated with numerous artists, including Richard Tognetti, Brett Dean, the Goldner and Australian String Quartets, and Leslie Howard, with whom he performed the first complete collection of music for cello and piano by Liszt in London in 1992.

5IAN BOSTRIDGE

Christopher Moore David Berlin


Franz Schubert (1797–1828)

Einsamkeit, D.620Schwestergruss, D.762Im Haine, D.738An die Leier, D.737Am See, D.746

Ian Bostridge tenorAmir Farid piano—Before Schubert, the German art-song or Lied had flourished principally as a domestic entertainment in the northern part of the German-speaking world, especially in the works of composers like Zumsteeg and Zelter. Schubert transformed the Lied into a vehicle for the most profound expression of human feeling, using verse of widely varying quality by more than a hundred different poets.

Einsamkeit (not to be confused with the short lyric of the same name that forms the pivot of Schubert’s later Winterreise) is Schubert’s longest single song. It dates from 1818, when Schubert took a job with a branch of the Esterhazy family at their summer residence in Zseliz in present-day Slovakia. He took with him a number of poems by his friend Johann Baptist Mayrhofer (1787–1836), including Einsamkeit, a long meditation on the relative merits of action, passion and contemplation, and wrote home to say that he was ‘composing like a god’, and that Einsamkeit was the best thing he had written.

Schubert authority John Reed dismisses Mayrhofer’s poetry as mediocre, but regards the work

as ‘the first of the song cycles’. The poem is framed by images of the contemplative life, expressed at first in simple, hymnal music of stately chords. But the young man who is its protagonist is tormented by images of worldly life. Each of the six strophes of the song depicts some form of active life, but each reaches a turning-point where the young man is ultimately unsatisfied until he returns to the world of solitude at the song’s end. These images, separated by short recitatives, are given strongly different musical profiles: the ‘pleasure of company’ is a lively drinking-song; walking hand in hand with the beloved calls forth music of opulent tenderness; there is powerful music for the image of battle. Finally though, the young man finds himself in the familiar landscape of solitude – a forest of pines, a brook and birdsong, as he reaches a kind of Buddhist enlightenment on the nature of reality.

The ‘sister’ of whom the poet has a vision in Schwestergruss is Sybilla von Bruchmann, whose brother Franz (1798-1867) wrote several poems set by Schubert and performed here. This 1822 song is deceptively simple, with repeated common chords in 12/8 time from the piano and a straightforward vocal line. In fact, as it becomes apparent to the narrator that Sybilla is greeting him from beyond the grave, the music becomes progressively more ecstatic, with excursions into the unusual key of F sharp major to depict the light of heaven in which he now ‘sings the Word’.

Bruchmann also wrote the text for Im Haine, which Schubert probably wrote at the same time as Schwestergruss. In three unmodified strophes, the poet describes the healing power of nature (Schubert obligingly providing musical ornaments on words like ‘hearts’, ‘blossom’ and ‘glow’ to underline this), and wishes that sunlight and fir-trees might be summoned to cure ills of the heart.

At the start of An die Leier, Bruchmann strikes a Homeric pose, wishing to sing of the heroes of Troy and Thebes from ancient Greek myth. Schubert’s response is a forceful music reminiscent of the ‘heroic’ (or pathétique) style of Beethoven, full of heavily-voiced minor chords in emphatic dotted rhythms. But, Bruchmann goes on, his lyre will only produce the tones of love, and here Schubert resorts to simple lyricism above gently repeated triplet figures (not unlike the opening movement of another well-known Beethoven sonata). The song alternates between these two manners, never quite resolving the tension.

Bruchmann’s Am See describes the glitter of stars reflected in the ruffled waters of a lake; the poet sees this as an image of the world, where human souls are stars fallen from heaven’s gate. Schubert, naturally, provides a gently insistent rippling accompaniment in 6/8 to his melody, which itself has a wavelike contour, but which often flows into unexpected harmonic reaches.

Gordon Kerry © 2015

ABOUT THE MUSIC

7IAN BOSTRIDGE

‘Gib mir die Fülle der Einsamkeit.’Im Thal, von Blüten überschneit,Da ragt ein Dom, und nebenbeiIn hohem Stile die Abtei:Wie ihr Begründer, fromm und still,Der Müden Hafen und Asyl,Hier kühlt mit heiliger Betauung,Die nie versiegende Beschauung.Doch den frischen Jüngling quälenSelbst in gottgeweihten ZellenBilder, feuriger verjüngt;Und ein wilder Strom entspringtAus der Brust, die er umdämmt,Und in einem AugenblickIst der Ruhe zartes GlückVon dem Wellen weggeschwemmt.

‘Gib mir die Fülle der Thätigkeit.’Menschen wimmeln weit und breit,Wagen kreuzen sich und stäuben,Käufer sich um Läden treiben,Rothes Gold und heller SteinLockt die Zögernden hinein,Und Ersatz für LandesgrüneBieten Maskenball und Bühne.Doch in prangenden Palästen,Bei der Freude lauten Festen,Spriesst empor der Schwermuth Blume,Senkt ihr Haupt zum HeiligthumeSeiner Jugend Unschuldlust,Zu dem blauen HirtenlandUnd der lichten Quelle Rand.Ach, dass er hinweggemusst!

‘Gib mir das Glück der Geselligkeit!’Genossen, freundlich angereihtDer Tafel, stimmen Chorus anUnd ebenen die Felsenbahn!So geht’s zum schönen HügelkranzUnd abwärts zu des Stromes Tanz,Und immer mehr befestiget sich NeigungMit treuer, kräftiger Verzweigung.Doch, wenn die Genossen schieden,Ist’s gethan um seinen Frieden.Ihn bewegt der Sehnsucht Schmerz,Und er schauet himmelwärts:Das Gestirn der Liebe strahlt.Liebe, Liebe ruft die laue Luft,Liebe, Liebe athmet Blumenduft,Und sein Inn’res Liebe hallt.

‘Gib mir die Fülle der Seligkeit.’Nun wandelt er in TrunkenheitAn ihrer Hand in schweigenden Gesprächen,Nun wandelt er an ihrer HandIm Buchengang, an weissen Bächen,Und muss er auch durch Wüsteneien,Ihm leuchtet süsser Augen Schein;Und in der feindlichsten VerwirrungVertrauet er der holden Führung.Doch die Särge grosser Ahnen,Siegerkronen, SturmesfahnenLassen ihn nicht fürder ruh’n:Und er muss ein Gleiches thun,Und wie sie unsterblich sein.Sieh, er steigt aufs hohe Pferd,Schwingt und prüft das blanke Schwert,Reitet in die Schlacht hinein.

‘Gib mir die Fülle der Düsterkeit.’Da liegen sie im Blute hingestreutDie Lippe starr, das Auge wild gebrochen,Die erst dem Schrecken Trotz gesprochen.

‘Give me my fill of solitude.’In the valley, snowed over with blossoms,there towers a cathedral, and nearbyin the high style, the abbey:like its founder, pious and still,a haven and asylum for the weary;here, cooled by sacred refreshment,contemplation never ends.But the fresh young man is tormented,even in his consecrated cell,by fiery, rejuvenating images;and a wild storm springs forthfrom his breast; he seeks to suppress itbut in the blink of an eyehis peace and fragile happinessare swept away by the torrent.

‘Give me my fill of action.’People teem far and wide,coaches cross each other and kick up dust,customers bustle about the shops,red gold and pleasing stonestempt the hesitant inside,and as a substitute for the green countrysidethere are offered masked balls and theatricals.But in the resplendent palaces,amid the joy of noisy celebrations,springs up the flower of melancholy,and lowers her head toward the sanctuaryof his innocent youth – to the blue land of shepherdsand the edge of the bright stream.Alas, that he ever departed!

‘Give me the pleasure of company!’Friendly companions, seated in a rowat the table, sing in a chorusand help smooth the rocky path of life!So it goes up to the crown of the beautiful hilland down to the river’s dancing,our affection grows ever strongerwith true, strong reaching out.But when his friends have partedhis peace is also gone.He is preoccupied by the pain of longing,and he gazes heavenwards:the star of love is shining.Love, love calls in the balmy air;Love, love breathes flower’s fragrances,and love reverberates in his inner being.

‘Give me my fill of bliss.’Now he walks, intoxicatedby her hand in his, a silent conversation;now he walks, hand in hand with her,among the beeches, beside the white foamy brook,and if he must walk through wastelands,the shine of her sweet eyes will light his path;and in the most hostile confusionhe will trust his gentle guide.But the tombs of his great ancestors,the crowns of conquerors, the battle standards,allow him no further peace:and he must do exactly as they,and be immortal like them.Look, he is climbing on to his tall horse,Brandishing and testing his shining sword;and he rides off into battle.

‘Give me my fill of gloom.’There they lie, stretched out in the blood,their lips stiff, their eyes wild and broken,they who first defied their fear.

Einsamkeit (Solitude)


ABOUT THE MUSIC

Kein Vater kehrt den Seinen mehr,Und heimwärts kehrt ein ander Heer,Und denen Krieg das Theuerste genommen,Begrüssen nun mit schmerzlichem Willkommen!So deucht ihm des Vaterlandes WächterEin ergrimmter Bruderschlächter,Der der Freiheit edel GutDüngt mit rotem Menschenblut.Und er flucht dem tollen RuhmUnd tauschet lärmendes GewühlMit dem Forste, grün und kühl,Mit dem Siedlerleben um.

‘Gib mir die Weihe der Einsamkeit.’Durch dichte TannendunkelheitDringt Sonnenblick nur halb und halb,Und färbet Nadelschichten falb.Der Kuckuck ruft aus Zweiggeflecht,An grauser Rinde pickt der Specht,Und donnernd über KlippenhemmungErgeht des Giessbachs kühne Strömung.Was er wünschte, was er liebte,Ihn erfreute, ihn betrübte,Schwebt mit sanfter SchwärmereiWie im Abendroth vorbei.Jünglings Sehnsucht, Einsamkeit,Wird dem Greisen nun zutheil,Und ein Leben rauh und steilFührte doch zur Seligkeit.

No father returns to his family,and there returns home a very different army.Those whom war has robbed of their dearest ones,greet them now with sad welcome!So now the guardians of his fatherlandseem like grim fratricides,who nurture the noble goodness of freedom with the red blood of mankind.And he curses frantic fameand exchanges the noisy, milling crowdfor the forest, green and cool – for a life in the wood.

‘Give me the consecration of solitude.’Through the dense darkness of pinesthe sun’s gaze penetrates only half and half,and paints the layers of needles pale yellow.The cuckoo calls from the thicket;on the grey bark the woodpecker pecks,and thundering over the rocky barrierthe streaming brook indulges its bold torrent.Whatever he desired, whatever he loved,whatever delighted him, whatever troubled him,sweeps past with gentle rapture,as if amid a sunset.The youth’s longing for solitudebecomes the old man’s portion,and a life rough and precarioushas yet led to happiness.

Einsamkeit (Solitude) continued

Schwestergruss (Sister’s Greetings)

Im MondenscheinWall ich auf und ab,Seh’ Totenbein’Und stilles Grab.

In GeisterhauchVorüber schwebt’s,Wie Flamm’ und Rauch,Vorüber bebt’s;

Aus NebeltrugSteigt eine Gestalt,Ohn’ Sünd und LugVorüberwallt,

Das Aug so blau,Der Blick so gross,Wie in Himmelsau,Wie in Gottes Schoss;

Ein weiss GewandBedeckt das Bild,In zarter HandEine Lilie quillt,

In GeisterhauchSie zu mir spricht:‘Ich wandre schonIm reinen Licht,

Seh’ Mond und Sonn’Zu meinem Fuss,Und leb’ in Wonn’,In Engelkuss,

In the moonlightI drift up and down,I see dead limbsAnd a still grave.

In the ghostly breezeSomething floats by,Like flame and smoke,It whispers past.

From the deceptive mistsClimbs a figure,Without sin or falsehood,And it drifts by.

Those eyes so blue,That gaze so great,As in heaven’s fields,As in God’s lap!

A white gownCovers the form;From its tender handsprings a lily.

In a ghostly whisperShe speaks to me:‘I wander alreadyin the pure light.

I see the moon and the sunat my feet,And I live in bliss,With the kisses of angels;

Und all die Lust,Die ich empfind,nicht deine BrustKennt, Menschenkind!

Wenn du nicht lässtDen Erdengott,Bevor dich fasstDer grause Tod. ‘

So tönt die Luft,So saust der Wind,Zu den Sternen ruftDas Himmelskind,

Und eh’ sie flieht,Die weiss’ Gestalt,In frischer Blüt’Sie sich entfalt’:

In reiner Flamm’Schwebt sie empor,Ohne Schmerz und Harm,Zu der Engel Chor.

Die Nacht verhülltDen heil’gen Ort,Von Gott erfülltSing ich das Wort.

And all the joythat I feel,your heart cannot know,child of Mankind!

… Unless you let goof this earthly godbefore you are seizedby terrible Death.’

So the air resounds,So the wind whistles,To the stars callsthe child of heaven.

And before she flees,Her white figurein fresh flowersshe enfolds.

In pure flamesshe floats up,Without pain or injury,To the angel’s choir.

Night coversthe holy place;Inspired by GodI sing the Word.

Text: Johann Baptist Mayrhofer (1787-1836)English translation © Emily Ezust

Text: Franz von Bruchmann (1798-1867)English translation © Emily Ezust

9IAN BOSTRIDGE

Im Haine (In the Wood)

An die Leier (To the Lyre)

Am See (By the Lake)

Ich will von Atreus’ Söhnen,Von Kadmus will ich singen!Doch meine Saiten tönenNur Liebe im Erklingen.

Ich tauschte um die Saiten,Die Leier möcht ich tauschen!Alcidens SiegesschreitenSollt ihrer Macht entrauschen!

Doch auch die Saiten tönenNur Liebe im Erklingen!

So lebt denn wohl, Heroen!Denn meine Saiten tönenStatt Heldensang zu drohen,Nur Liebe im Erklingen.

In des Sees WogenspieleFallen durch den SonnenscheinSterne, ach, gar viele, viele,Flammend leuchtend stets hinein.

Wenn der Mensch zum See geworden,In der Seele WogenspieleFallen aus des Himmels PfortenSterne, ach, gar viele, viele.

SonnestrahlenDurch die Tannen,Wie sie fallen,Ziehn von dannenAlle Schmerzen,Und im HerzenWohnet reiner Friede nur.

Stilles SausenLauer Lüfte,Und im BrausenZarte Düfte,Die sich neigenAus den Zweigen,Atmet aus die ganze Flur.

Wenn nur immerDunkle Bäume,Sonnenschimmer,Grüne SäumeUns umblühtenUnd umglühten,Tilgend aller Qualen Spur!

Of Atreus’ sons,And of Cadmus I wish to sing!But my strings sound outonly love in their tones.

I have changed the strings,And I would even switch lyres!Alcides’ victory marchShould roar forth in its might!

Yet even these new strings sound outOnly love in their tones!

So be well, then, heroes!For my strings will sound out,Instead of suspenseful, heroic song,Only love in their tones.

Into the lake’s play of wavesFall through the sunshineStars, ah so many,Shining ever brightly down upon us.

If mankind became the lake,Into the soul’s play of wavesThere would fall from heaven’s gatesStars, ah so many.

Sunbeamsthrough the fir-treesfalling,Draw from thereall pain;and in our heartsdwells pure peace only.

The still murmuringof mild breezes,And the whisperingof delicate scents:they float downfrom the branches,breathing gently on the entire meadow.

If onlythe dark trees,the shimmering sunlight,and the green forest-edge,could blossomand glow around us all the time,erasing every trace of pain!



Text: Franz von Bruchmann (1798-1867)English translation © Symphony Australia


Franz Schubert (1797–1828)

Moments musicaux, D.780, Nos.1–3

ModeratoAndantinoAllegro moderato

Amir Farid piano—The Moments musicaux (or Momens musicals, to give them their first published title) appeared together in 1828, but all were probably written some years earlier. Two had already appeared in print in 1823 and 1824 respectively – No.2 as Air Russe and No.6 as Plaints d’un troubadour, titles that were mercifully dropped.

Each piece crystallises a particular pianistic mood in a simple musical structure: the first, in C major, is in effect a minuet; the second is more an extended rondo, whose main material is a lilting 9/8 song; while the third, in F minor, has a certain Hungarian flavour.


Ralph Vaughan Williams (1872–1958)

On Wenlock Edge

Song cycle for tenor, piano and string quartet

On Wenlock Edge

From far, from eve and morning

Is my team ploughing?

Oh, when I was in love with you

Bredon Hill

Clun

Ian Bostridge tenorEoin Andersen violinMatthew Tomkins violinChristopher Moore violaDavid Berlin celloAmir Farid piano—The poet A.E. Housman (1859–1936) wasn’t happy. ‘I am told,’ he wrote to his publisher, ‘that composers in some cases have mutilated my poems – that Vaughan Williams cut two verses out of “Is my team ploughing?” I wonder how he would like me to cut two bars out of his music…’ Despite his pique, though, Housman allowed his poetry to be set by some 30 composers including Finzi, Butterworth and Ivor Gurney.

In 1909 Vaughan Williams had returned from Paris where he had befriended and studied with Ravel. For some years before that he had immersed himself in collecting the folk music of Britain, and, in editing The English Hymnal, the work of the great Tudor composers. On his return, he immediately started work on his String Quartet and the song cycle On Wenlock Edge, a work that displays these varied influences.

It opens with a strong musical image, with tremolo strings ghosting a progression of piano chords, of the gale blowing through the trees. The poet muses on the fact that where he stands, once stood a long-dead Roman soldier experiencing too the gale of life. ‘The tree of man was never quiet:/ Then ‘twas the Roman, now ‘tis I’, and ultimately all will be dust and ashes. As the US critic Cleanth Brooks wrote, ‘Time is, with Housman, always the enemy.’

The theme of impermanence continues in ‘From far, from eve and morning’, which has been described as Vaughan Williams’ most beautiful song. It is music clearly influenced by Ravel and perhaps Debussy,

creating its effect of space by the simplest means: quiet, widely spaced chords from the piano, gentle motifs from the strings and a superbly judged use of monotone chanting, that belies the sense of urgency in the text.

‘Is my team ploughing?’ is the emotional heart of the work. When it was performed, before the official premiere of the cycle, the Times called it a ‘miniature tragedy of utmost force and originality’. It is cast as a dialogue between the ghost of a young man and his friend who now ploughs his fields. The ghost asks about various aspects of life (including football, though it was those two verses that Vaughan Williams chose to edit out). The living man is anguished when the ghost asks after his beloved; he replies ‘I cheer a dead man’s sweetheart – never ask me whose’.

The tiny ‘Oh, when I was in love with you’ is a kind of scherzo, though it too explores the impermanence of all things, including love.

This, more seriously expressed, is the theme of ‘Bredon Hill’, which wonderfully evokes a languid summer day, with the sound of church bells pealing across a spacious landscape. The poet and his love roam the ‘coloured counties’, but there is the inevitable transformation to winter and grief, as the beloved goes ‘to church alone’ for her funeral. The anguished poet begs the bells to stop as they remind him of his sadness. This, the longest of the set, ends in with a quiet fatalism that carries over into the final song. Here the poet himself seeks a place where he can ‘set down’ the burden of grief and loss. He evokes the pastoral landscapes of ‘Ony and Teme and Clun,/ The country for easy livers,/ The quietest under the sun’.

Ultimately, though, the poet seeks an even quieter place, the oblivion and freedom from the heavy burden of grief and longing, which has suffused the work as a whole.


The only previous performance of Vaughan Williams’ On Wenlock Edge by the Melbourne Symphony Orchestra took place in June 1959 with conductor Constantin Silvestri and tenor William Herbert.

ABOUT THE MUSIC

11IAN BOSTRIDGE

On Wenlock EdgeText from A Shropshire Lad by A.E. Housman (1859–1936)

On Wenlock Edge

On Wenlock Edge the wood’s in trouble;His forest fleece the Wrekin heaves;The gale, it plies the saplings double,And thick on Severn snow the leaves.

‘Twould blow like this through holt and hangerWhen Uricon the city stood:‘Tis the old wind in the old anger,But then it threshed another wood.

Then, ‘twas before my time, the RomanAt yonder heaving hill would stare:The blood that warms an English yeoman,The thoughts that hurt him, they were there.

There, like the wind through woods in riot,Through him the gale of life blew high;The tree of man was never quiet:Then ‘twas the Roman, now ‘tis I.

The gale, it plies the saplings double,It blows so hard, ‘twill soon be gone:Today the Roman and his troubleAre ashes under Uricon.

From far, from eve and morning

From far, from eve and morningAnd yon twelve-winded sky,The stuff of life to knit meBlew hither: here am I.

Now – for a breath I tarryNor yet disperse apart – Take my hand quick and tell me,What have you in your heart.

Speak now, and I will answer;How shall I help you, say;Ere to the wind’s twelve quartersI take my endless way.

Is my team ploughing?

‘Is my team ploughing,That I was used to driveAnd hear the harness jingleWhen I was man alive?’

Ay, the horses trample,The harness jingles now;No change though you lie underThe land you used to plough.

‘Is my girl happy,That I thought hard to leave,And has she tired of weepingAs she lies down at eve?’

Ay, she lies down lightly,She lies not down to weep:Your girl is well contented.Be still, my lad, and sleep.

‘Is my friend hearty,Now I am thin and pine,And has he found to sleep inA better bed than mine?’ Yes, lad, I lie easy,I lie as lads would choose;I cheer a dead man’s sweetheart,Never ask me whose.

Oh, when I was in love with you

Oh, when I was in love with you,Then I was clean and brave,And miles around the wonder grewHow well did I behave.

And now the fancy passes by,And nothing will remain,And miles around they’ll say that IAm quite myself again.

Bredon Hill

In summertime on BredonThe bells they sound so clear;Round both the shires they ring themIn steeples far and near,A happy noise to hear.

Here of a Sunday morningMy love and I would lie,And see the coloured counties,And hear the larks so highAbout us in the sky.

The bells would ring to call her In valleys miles away:‘Come all to church, good people;Good people come and pray.’But here my love would stay.

And I would turn and answerAmong the springing thyme,‘Oh, peal upon our wedding,And we will hear the chime,And come to church in time.’

But when the snows at ChristmasOn Bredon top were strown,My love rose up so earlyAnd stole out unbeknownAnd went to church alone.

They tolled the one bell only,Groom there was none to see,The mourners followed after,And so to church went she,And would not wait for me.

The bells they sound on Bredon,And still the steeples hum,‘Come all to church, good people.’ – Oh noisy bells, be dumb;I hear you, I will come.

Clun

Clunton and Clunbury,Clungunford and Clun,Are the quietest placesUnder the sun.

In valleys of springs of rivers,By Ony and Teme and Clun,The country for easy livers,The quietest under the sun,

We still had sorrows to lighten,One could not be always glad,And lads knew trouble at Knighton,When I was a Knighton lad.

By bridges that Thames runs under,In London, the town built ill,‘Tis sure small matter for wonderIf sorrow is with one still.

And if as a lad grows olderThe troubles he bears are more,He carries his griefs on a shoulderThat handselled them long before.

Where shall one halt to deliverThis luggage I’d lief set down?Not Thames, not Teme is the river,Nor London nor Knighton the town:

‘Tis a long way further than Knighton,A quieter place than Clun,Where doomsday may thunder and lightenAnd little ‘twill matter to one.

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MANAGEMENT

IAN BOSTRIDGE


THANKS TO OUR WONDERFUL MSO SUPPORTERS

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