Robert Oetomo tells us about his concerto for timpani, which he will premiere with the orchestra on May 29 & 30 2021:
‘Concerto for Timpani’ was commissioned by the Mosman Symphony Orchestra in 2019, in celebration of receiving their brand new set-of-4 timpani.
The concerto is in a standard three-movement form (fast-slow-fast), opening with ‘Overture’. The second movement, ‘Lullaby’ explores purely the melodic and lyrical side of the instrument.
The final movement, ‘Dance’, is a dialogue between the solo timpani and the string orchestra, more percussive in nature, with the use of harder mallets.
‘Concerto for Timpani’ was originally written for solo timpani and full orchestra. Due to constant changes in covid restrictions, this version is reduced for solo timpani and string orchestra. This timpani concerto is the first Australian timpani concerto written in the history of Australian music. – Robert Oetomo.
MSO flute player, Jacqueline Kent, writes about Gounod and his Petite Symphonie for winds. The MSO winds will be performing this charming work on May 29 & 30 at Mosman Art Gallery.
Petite Symphonie by Charles Gounod (1818-1893)
Charles Gounod was born to a family of musicians and artists in Paris, and from his earliest years was determined to be a composer. His father, a painter, died when Charles was five, and his mother taught piano to support the family. At the age of twenty Charles was awarded a Prix de Rome, France’s most prestigious prize for composition; other winners include Berlioz, Massenet and Debussy. Charles studied in Rome for three years, well as elsewhere in northern Europe. In Prussia he met Felix Mendelssohn, whose music had a lasting effect on him; Mendelssohn’s advocacy of Bach’s music was also an important influence.
Having become a fervent Catholic in Rome, Gounod briefly considered becoming a priest when he returned to France; from then onwards he began composing a great deal of church music (including his now-popular ‘Ave Maria’, an elaboration of a Bach prelude) and composed a large quantity of church and vocal music, including operas and songs.
He enjoyed great popular success as a composer until 1870. In that year he, his wife Anna Zimmerman and their children moved to England as refugees from the Prussian advance on Paris. After peace was restored the following year, his family returned to Paris. Charles remained in London for three years, living in the house of amateur singer Georgina Weldon. One biography describes Weldon as ‘the controlling figure in his life’, which leaves plenty of room for speculation. However, he left her after three years and returned to his family in France.
Unfortunately, his absence and the appearance of younger composers, including Debussy, meant that Charles Gounod had forfeited his place at the forefront of French musical life. Though he continued to be respected, he was increasingly considered old-fashioned during his later years, and his earlier success eluded him. He died at his house near Paris aged seventy-five.
The Little Symphonie for Winds was first performed at the Salle Pleyel in Paris in 1885. The highly influential flutist Paul Taffanel – whose work is still well known to today’s flute players – founded the Chamber Music Society for Wind Instruments in 1879 to commission and promote music for the wind instruments newly redesigned and perfected by Theobald Boehm. Gounod responded with the four-movement that the wind section of the Mosman Symphony Orchestra is playing in this concert. It was originally scored for the standard Mozart serenade instrumentation of two oboes, two clarinets, two bassoons and two horns, and Gounod also included a single flute part for Taffanel. The music displays Gounod’s hallmark clarity of form and phrase structure with Romantic harmony and expressivity.
Though Gounod is probably best known for his operas Faust (1859) and Romeo et Juliette (1867) as well as his short orchestral piece ‘Funeral March of a Marionette’ which was the theme tune for the popular 1960s TV show Alfred Hitchcock Presents, his Petite Symphonie for winds remains an enduringly popular addition to the international repertoire. J.K.
Edward Walton in rehearsal with the orchestra at Mosman Art Gallery
Rising young star of the violin, Edward Walton will perform at Mosman Art Gallery with the Mosman Symphony Orchestra on June 1st and 2nd. The players are really enjoying rehearsals with this inspiring young man, although some have been heard to wonder what they have been doing with all the time they have spent on this planet!
Aged only 13, Edward has already appeared as a soloist with numerous orchestras in Australia and overseas, including the Czech Republic, Italy and the USA. and he has won many highly prestigious international prizes, competing against older musicians, with a win in London resulting in an invitation to perform at the Royal Albert Hall.
At Mosman Art Gallery Edward will perform the Tchaikovsky Violin Concerto, a passionate, virtuosic work that is known and loved by audiences all over the world.
We had a chat with Ted about the concerto.
‘For as long as I can remember the Tchaikovsky violin concerto has been one of my favourite pieces. It is such a great masterpiece and has such beautiful melodies, which then contrast with the last movement which has such energy and is thrilling to play!’ said Edward.
Despite the difficulties of the piece, Edward sees it as fun.
‘I just love the piece so much and was so eager to play it that I never really thought about it as being challenging. I do enjoy playing the fast runs – even though they are pretty challenging and keeping the fun and energy in the stroke in the last movement.’
For this concert, Edward has the loan of a very special violin:
I am so excited about the violin I will be playing on for the concert. It is a Gagliano, kindly on short term loan from Beares London for a competition I am in which takes place in July. It has such a lovely sound – I just wish it was mine forever!’
Edward is grateful for the opportunity to play with the Mosman Symphony Orchestra:
‘It is such an amazing opportunity for me to play this piece with orchestra as the orchestra makes it sound so much more exciting. It is how Tchaikovsky envisaged it would be played and it is great how in the 3rd movement for example the orchestra and soloist can bounce off each other’s energy when they pass the melody back and forth. It is also wonderful to play with other people who love and appreciate music as much as I do. So, I am so grateful to Mosman Symphony for this opportunity!’
The future’s looking bright for Edward, with engagements next year to play with orchestras in Italy and the US.
‘I really hope that I can continue to learn and improve my playing and gain more solo experiences with Orchestra.’ He says. ‘In the future I can only dream that one day I can become a professional violinist, own a great instrument and share my music with the world, but I also really hope that I will be in a position to give back something to those who have helped me along the way, like the wonderful orchestras who have given me an opportunity to perform in such a supportive environment.’
Mosman Symphony Orchestra musical director, Andrew Del Riccio says that it is an absolute delight to work with Edward, who approaches the iconic concerto with consummate musicianship and rigour.
‘My first experience of Ted’s playing was hearing his Bruch violin concerto. I was amazed at not only his technical ability and ease of playing, but also his musicality and wonderful sound. While we have spoken about the Tchaikovsky concerto at length only via Skype, it is clear he is a musician of great passion, maturity and with a natural flair for dramatic performance. I am almost jumping up and down in anticipation of our concerts in June 1 and 2. It will be an event not to miss!’
Andrew said that while tickets will be available at the door, recent performances by the orchestra have sold out early, and he advises people to book online through the orchestra’s website.
By Jove, what a wonderful weekend of music we have had! The players really appreciated so many people coming to support he orchestra despite the wild weather. Soloists Bridget Bolliger and Rachel Tolmie inspired us all with their consummate musicianship, and players and audience alike thrilled to Mozart’s Jupiter Symphony with its astonishing, climactic finale.
It was great to have a big crowd to give musical director Andrew Del Riccio his well deserved applause as he celebrated 21 years as the conductor of Mosman Symphony Orchestra. Orchestra President Bridget Wilcken presented Andrew with a crystal trophy and a fine bottle of wine. (For those of you who are wondering what was in the mysterious blue package on Sunday, it was Andrew’s beloved Tim Tams – a little extra present from the orchestra.)
Our move from Friday to Saturday evenings was well supported with a bigger than usual evening audience. Some people commented that they’d taken the chance to dine in nearby restaurants before the concert. Sunday was sold out.
There were 2 comments in our Guest Book – one from a loyal audience member who has watched the orchestra grow; the other a first timer, for whom we hope the concert will be the first of many:
I have enjoyed the orchestra for 20 years. It continues to be wonderful each performance. Many originals are so passionate about the music, each enjoying their chosen instrument, Mark with viola, all the cellos, oboes, flutes…. Congratulations and well done. Marlene R.
Our first time listening to Mosman Symphony Orchestra – enjoyed it so much. Beautiful music and atmosphere! We’ll be back to listen to more. Thank you. William B.
Many of you will remember that last year Mosman Symphony Orchestra gave the world premiere performance of Danza Arabica by Kim d’Espiney, who also plays oboe in the orchestra. That piece was characterised by sorrowful Moorish style melodies contrasting with vibrant energetic dance rhythms and was received with great enthusiasm by both orchestra and audience.
On Sunday June 4 the Bourbaki Ensemble, conducted by David Angel will premiere a new piece by Kim. Con Fuoco, composed for strings, brass and percussion, will be the finale of a concert that also features Rachel Tolmie as cor anglais soloist in Richard Percival’s Sicilienne and Alan Ridout’s Concertino as well as works by Sibelius, Bartok and Vaughan Williams.
The concert will be at 2.45 at St Stephen’s, Newtown. I’m sure Kim would appreciate some friendly faces in the audience. Could there be a better way of spending a sparkling Sunday afternoon than in the company of exciting new music, with the coffee shops of Newtown beckoning for afters?
With just one more sleep till our first concert of the year, audiences at the Mosman Art Gallery should prepare to be blown away by Baroque trumpet virtuoso, John Foster who will be our soloist, performing the Neruda Trumpet Concerto.
John is one of the world’s foremost exponents of the natural trumpet. He has toured all over the world performing as soloist with leading orchestras in Europe and America. He has made several solo recordings, published 2 books, and is also much sought after as a teacher. He is the director of the Australasian Trumpet Academy, which draws artists from across the world to Australia.
John’s passion for his instrument has led him to amass a collection of over 100 trumpets from many different periods of history. There is a dedicated room in his house where he displays most of the collection in glass cases, but John says the collection has a tendency to spread all through the house.
‘We regularly have visitors from all over the world who come to see the trumpets’, says John, ‘much to my wife’s chagrin.’
The collection is not just for show. ‘It’s a working collection’, says John. ‘I play them all. It’s good to know that whatever the repertoire, whether it’s classical, jazz, swing, I can pick up an instrument totally appropriate to the period.’
John even has a trumpet that is named after him. He worked in collaboration with Barlow & Martin Natural Trumpets in Norwich, England, to develop the Foster Model Natural Trumpet.
When asked if he has a favourite instrument, John says ‘that’s too hard. It’s like asking if you have a favourite child.’ He goes on to say that there is a couple of Baroque trumpets of which he is particularly fond. John’s collection has been featured on the ABC television series, The Collectors and also on Channel 7’s The Morning Show.
In his Mosman concert John will be playing a modern trumpet, as Mosman Symphony Orchestra plays on modern instruments.
‘The concerto is a stunning example of late Baroque virtuosity’, says the orchestra’s musical director Andrew Del Riccio, ‘with some very innovative features for the time. What makes it even more amazing is the fact that it was written for the hunting horn. It’s a very difficult work for the modern trumpet, and only virtuosi are game to try it on.’
The concert also features music by Wagner and Beethoven’s much loved 7th Symphony.
Del Riccio advises booking online through the orchestra’s website to avoid disappointment. ‘Many of our recent concerts have sold out and this one promises to be very popular.’
Beethoven’s glorious 7th Symphony has been described in many ways, but it is interesting to note how often the descriptions touch on dance & celebration.
Robert Schumann likened it to a peasant wedding. His bête-noire, the critic Ludwig Bischoff, agreed with him saying somewhat more verbosely that it
‘conjures up pictures of the autumnal merry-makings of the gleaners and wine-dressers, the tender melancholy of love-lorn youth, the pious canticle of joy and gratitude for nature’s gifts and the final outburst when joy beckons again and the dance melodies float out upon the air and none stands idle.’
Richard Wagner enthused that it was
‘all tumult, all yearning and storming of the heart, become here the blissful insolence of joy, which carries us away with bacchanalian power through the roomy space of nature, through all the streams and seas of life, shouting in glad self-consciousness as we sound throughout the universe the daring strains of this human sphere-dance. The Symphony is the Apotheosis of the Dance itself: it is Dance in its highest aspect.’
Sir Thomas Beecham, on the other hand was not as high faluting, nor as complimentary: ‘What can you do with it? It’s like a lot of yaks jumping about.’
It was certainly a favourite of Beethoven himself, who regarded it as one of his finest works. He must have felt an added affection for it as the enthusiastic reception of its first performance, with demands for repeat performances, rescued him from serious debt. The piece has continued to delight and inspire players and audiences ever since.
Yet for all the symphony’s joyous energy, it is the hauntingly beautiful 2nd movement Allegretto that has been the most loved. Encored at the premiere, it was often performed as a stand alone piece in concerts & sometimes substituted for the slow movement in performances of Beethoven’s earlier symphonies. This is no bacchanalian revel, but the sense of movement and dance is still present in its measured, pulsing rhythm.
The movement has been used in popular culture both to convey and to elicit strong emotion. In this heartbreaking scene from Mr Holland’s Opus the high school music teacher drops the needle onto the record player to play the 2nd movement as he tells his students about the circumstances of the composition of the 7th Symphony as Beethoven confronted his growing deafness.
Just try to imagine Beethoven, standing on that podium, holding his baton, his hands waving gracefully through the air, and the orchestra in his mind is playing perfectly; the orchestra in front of him trying desperately just to keep up.
A student asks ‘if Beethoven couldn’t hear, how would he even know what the notes were. If he never heard a C how would he know that’s what he wanted played?’
‘Well… Beethoven wasn’t born deaf’. Mr Holland answers.
Holland’s son was born deaf and will never share his father’s love of music.
In The King’s Speech, the same music provides a moving counterpoint to the climactic scene when King George VI, ‘conducted’ by his speech therapist, Lionel Logue, overcomes his debilitating stutter to make the fateful radio broadcast to the British Empire declaring war on Germany.
The relentless forward movement of the allegretto and its measured slow build, reflects not only his personal determination and growing confidence, but the strength & resolution that he is asking of his audience.
On a less elevated note, Beethoven’s 7th also features prominently in that classic movie, It’s the Easter Beagle, Charlie Brown. In the excerpt below, Sally’s disappointment with Linus at the apparent non appearance of the Easter Beagle (‘never trust a man with a blanket‘), and Charlie Brown’s usual lamentation over his lack of friends is accompanied by a melancholy piano rendition of the 2nd movement before the joyful 3rd movement ushers in the appearance of a dancing Snoopy as the Easter Beagle.
Funnily enough, the same movie features Snoopy dancing with some Easter bunnies in a scene strangely reminiscent of the Matisse painting, La Danse, which we have chosen to illustrate our concert, the Apotheosis of the Dance.
We do hope you will join us this coming weekend to share some wonderful music, and stay after the concert to chat with the players. I can’t promise Bacchanalian revels, but there will be complimentary champagne and nibblies.
Here’s what some people had to say after our Northern Lights concert last night:
‘What an absolute gem we have on our doorstep! Thank you for a stupendous evening.’ Bettina
‘Loved the concert as usual. Bach was an absolute treat. Can’t wait till next one.’ Jan
And from Sunday:
‘Fantastic – Tears flowed. Thank you.’ Ruth
‘I have enjoyed the 2016 Season, looking forward to next year. Great performances.’ Anne
And this was sent to us from Edward who attended the concert on Nov 11, Remembrance Day:
VISIONARY
In the dark of remembrance I rested, mesmorised by the complex “Concerto for Two Violins in D-minor” – a divine concertante: and blossoming from the Mosman Symphony, it delivered my mortality to the sweetest glimpse of infinite Grace.
Three cheers for all those sonorious gems that have ever poured from your vat of loveliness, Richard Wagner: your vintage continues to intoxicate classical culture-vultures everywhere. “Siegfried Idyll” was a very satisfying selection from the orchestra’s music cellar, and we quaffed on that rare beaujolaise enough to quench a sailor’s thirst. Pour me another damn it – and another! “Sorte’ Sobriete”! And why not? It caused the earth to move for me, and apparently did wonders for the enraptured juices of Cosimo, until Richard flogged-off this beloved gift to her, presented with some ritual and ceremony, to all and sundry; and that’s men for you!
Was it a mere rush of blood to the head on sighting the panorama of a new century, that sparked pleasant and optimistic harmonies in the first movement of Jean Sibelius’ second symphony? – I think not! They’re a mask for what was to come – and it wasn’t pretty! – MoSO you nailed it! This great work is no walk-in-the-park, and should not be misunderstood or underestimated: its calibre is on par with Beethoven, however, the similarity ends there. Beethoven was on the whole a reactionary for his time, Sibelius channelled the future with dark tones, warning of the disaster that was to unfold onto a humanity flawed with the deadly emotions of pride and greed – “Art” with a capital ‘A’! His carefully considered timings, intricately designed-rhythms and sumptuous harmonies? – Well, we can surmise their veiled or implied meanings, and argue the toss infinitum – but we’re bound to enjoy the ride, as we did! By the way, it was the best interpretation I’ve heard.
Reflect at this time.
Lest we forget
PS: Looking forward to more of your great performances.
The exotic, exciting Polovtsian Dances form the best known scene in Borodin’s opera, Prince Igor. In this scene, the Russian Prince Igor has been taken prisoner by the Polovtsian chief, Khan Konchak. When the Khan sees his noble prisoner is feeling miserable, he orders his slaves to cheer him up with a performance. There are 3 main themes to the dances, which appear in various combinations:
Gliding Dance of the Maidens
The Dance of the Boys
Wild Dance of the Men
The entertainment begins with the Gliding Dance of the Maidens & tender memories of their homeland:
Fly away on the wings of the wind. Fly away, our native song, to our homeland. To where we sang you in liberty, where you and we were so free.
There under the sultry sky the air is full of bliss. There to the murmuring of the sea the mountains half slumber in the clouds.
With the entry of the Men and their Wild Dance, things start to heat up and the timpani ushers in unstinting praise for the Khan:
Sing songs of glory to the Khan! Sing! Glorify the might, the honour of the Khan! Praise him! Glorious is Khan! Khan! Glorious is he, our Khan! In the gleaming of his glory Khan is like the sun. There are none equal in glory to Khan! None! Khan’s slave girls praise Khan!
Khan is clearly pleased with this and offers Prince Igor the choice of any of his slaves:
Do you see the captive girls from a distant sea? Do you see my beauties from beyond the Caspian O say it, friend, say just a word to me If you want, I’ll give you any one of them!
Then with whistles and whip cracking on come the leaping lads and more praise for the Khan:
Our Khan, Khan Konehak, is equal in glory to his forefathers! The grim Khan Konehak is equal in glory to his forefathers! Glory, glory to Khan Konchak! Khan Konehak! With your dancing entertain the Khan! Dance to entertain the Khan, slaves! Your Khan! With your dancing entertain the Khan! Entertain with dancing! Our Khan Konchak!
It’s hard to believe that even Prince Igor would not be thrilled by the rousing performance, but he decides that enough is enough and he takes advantage of loose Polovtsian security and escapes. He returns home in triumph ready to unite his people & defend his homeland.
It was 1979: how far back is that? – Of course, it depends on who one asks. When I’m conversing with the young I’m bound to see – and feel the numerous time posts that created my world back to then. I cop it with both barrels through youthful cynicism. But youth is wasted on the young? – Or so they say!
Where did the time go? But then again, “A lot of water has flowed under the bridge” – so they say!
Boeing 747s were the way to travel back then; and as a 25 year old they were to marval at. They’re still flying, and so are many more wonderful aircraft that take to the air.
The amazing thing about those time posts that mark important occasions in our lives is that they can be triggered by music.
The Mosman Symphony Orchestra did exactly that for me as it performed Tchaikovsky’s 5th Symphony last Friday night in the Mosman Art Gallery.
We can’t mistake the earthy strengths of Pyotr Ilyich Tchaikovsky’s 5th Symphony, blending with the fun of the instrumental dynamics and haunting clouds of sadness.
Congratulations Andrew! It certainly did it for me.
My five months in Russia in the 1970s was but a memory. You and your beautiful orchestra brought some of that magical time back again for me.
Picnics, cray fishing and Neptune-plays while cruising the Volga River, the mysterious lights of St Petersburgh, Volgagrad and the immovable characteristics of Moscow.
Mosman Symphony Orchestra 