2 0 1 5 / 1 6 S E A S O N

SIBELIUS VIOLIN CONCERTO

Fri 2 Oct 2015, 8.30 p.m.Sat 3 Oct 2015, 8.30 p.m.Ciarán McAuley, conductorDavid Frühwirth, violin

PROGRAMME SIBELIUS En Saga, Op.9 17 mins

SIBELIUS Violin Concerto in D minor, Op.47 31 mins

Interval 20 mins

NIELSEN Symphony No.1 in G minor, Op.7 27 mins

Ciarán McAuley is the Resident Conductor of the Malaysian Philharmonic Orchestra. He is a former assistant conductor to Kiel Opera and BBC Scottish Symphony Orchestra and has held conducting fellowships at the Royal Conservatoire of Scotland and at Tanglewood Music Festival.

He studied at the Royal Northern College of Music with Clark Rundell, at the Zürcher Hochschule der Künste with Johannes Schlaefli and he continued his education thereafter through Deutsche Dirigentenforum.

He has served as assistant conductor to Michael Francis and Donald Runnicles and has participated in masterclasses with Bernard Haitink, Jukka-Pekka Saraste and David Zinman, conducting ensembles the likes of WDR Orchestra, Tonhalle Orchestra Zurich and the RSNO.He has premiered works by Detlef Glanert and Marco Stroppa, and has workshopped new commissions for BBC Scottish and Norrköping Symphony Orchestras. He is a former recipient of the Ricordi Conducting Prize and Bryden Thomson Trust Award and was a finalist and prize winner in the 2015 German Conductor Prize.

Recent concert engagements have led him to the RTÉ National Symphony Orchestra, Jenaer Philharmonic and Konzerthaus Orchestra Berlin. Highlights of the current season include performances celebrating the 150th anniversary of the birth of Sibelius and Nielsen and the 175th anniversary of Adam´s ballet Giselle.

CIARÁN MCAULEYConductor

BIOGRAPHIES

Austrian born David Frühwirth has been invited to play at major concert halls including the Musikverein and Konzerthaus (Vienna), Wigmore Hall (London), Mozarteum and Great Festival Hall (Salzburg), Historic Museum (Moscow), Pompidou Centre (Paris), Prinzregenten Theater Munich, Carnegie Hall, Lincoln Center (New York), Liederhalle (Stuttgart), Concertgebouw (Amsterdam), Herkulessaal (Munich) and Gewandhaus (Leipzig).

He is a regular guest at prestigious music festivals including Gstaad Music Festival, Schleswig Holstein Festival, Black Sea Festival, Cheltenham Festival UK, Richard-Strauss-Tage, Spring Festival Budapest, Cappenberg Music Festival, Davos Festival, Prussia Cove - Open Chamber Music Festival UK, Zeitkunst Berlin and Toledo Music Festival.

He has performed with Mariinsky Orchestra, Mozarteum and Chinese Symphony Orchestras, Yomiuri Symphony Orchestra Tokyo, RSO Berlin, China National Orchestra, Dortmund, Janacek and Nürnberger Philharmonics, Vienna and Liszt Chamber Orchestras, Nordwest-Deutsche Philharmonie, Slovak State Philharmonic Orchestra and New York Symphonic Ensemble, with conductors including Valery Gergiev, Kozuhiro Koizumi, Alexander Lazarev, Hubert Soudant, Arthur Fagen, Philippe Auguin, Toshiyuki Kamioka, Roger Epple, Florian Krumpoeck, Michael Hofstetter, Johannes Wildner, Andrew Constantine and Theodor Guschlbauer.

Since 2008, he has been the first violinist of the Klenze String Quartett in Munich. In 2004, he was recipient of the Millennium Award in London for Lecture Recitals at the Menuhin School of Music and Oxford University. A passionate teacher, he gives masterclasses in Austria, Germany, England and Asia.

Frühwirth studied at the Salzburg Mozarteum University with Paul Roczek, Jürgen Geise and Ruggiero Ricci. He continued his studies in Germany with Zakhar Bron. For postgraduate diplomas, he studied with Pinchas Zukerman and Patinca Kopec. He received chamber music coaching from Jaime Laredo, Isidore Cohen and Walter Levin.

Frühwirth is an exclusive partner of Thomastik Infeld Strings Vienna and plays on the ‘ex-Brüstlein’ Stradivari from 1707 on loan from the Austrian National Bank.

David Frühwirth’s performances are made possible in part thanks to the support from

the Austrian Embassy Kuala Lumpur

Violin

BIOGRAPHIES

DAVIDFRÜHWIRTH

The two composers on tonight’s programme are well paired. Both come from Nordic countries. Each remains the most famous composer to come from his respective land – Sibelius from Finland, Nielsen from Denmark – and each was a noted symphonist: Sibelius wrote seven, Nielsen six. Every one of those thirteen symphonies is in the repertory of major orchestras today. As it happens, Nielsen and Sibelius were born just six months apart in 1865. Sibelius lived much longer than Nielsen, but he virtually stopped composing just about the time Nielsen died.

Jean SIBelIUS (1865-1957)en Saga, Op.9 (1892)

the BackgroundEn Saga began life in 1890 as an octet for flute, clarinet and strings. Two years later, having just returned to Finland from studies in Germany, Sibelius used these sketches as the basis of a work for orchestra. Following its premiere in Helsinki on 16 February, 1893, conducted by the composer, En Saga quickly made its way around Europe. Along with Valse triste and Finlandia, it was one of the works that most helped to spread Sibelius’ name abroad.

Although En Saga is usually referred to as a symphonic poem, it has no program. Sibelius described it merely as “the expression of a state of mind.” Other writers have expanded on this theme. Charles O’Connell writes that the story Sibelius tells here “is an abstraction of all the mighty tales with which the people of the North once passed the long sub-Arctic night”. For Richard Freed, this music “gives us a sense of some primordial adventure involving elemental forces rather than individuals, [… something] both tragic and exhilarating in its fierce urgency”.

PROGRAMME NOTES

tarisio.com

The two composers on tonight’s programme are well paired. Both come from Nordic countries. Each remains the most famous composer to come from his respective land – Sibelius from Finland, Nielsen from Denmark – and each was a noted symphonist: Sibelius wrote seven, Nielsen six. Every one of those thirteen symphonies is in the repertory of major orchestras today. As it happens, Nielsen and Sibelius were born just six months apart in 1865. Sibelius lived much longer than Nielsen, but he virtually stopped composing just about the time Nielsen died.

Jean SIBelIUS (1865-1957)en Saga, Op.9 (1892)

the BackgroundEn Saga began life in 1890 as an octet for flute, clarinet and strings. Two years later, having just returned to Finland from studies in Germany, Sibelius used these sketches as the basis of a work for orchestra. Following its premiere in Helsinki on 16 February, 1893, conducted by the composer, En Saga quickly made its way around Europe. Along with Valse triste and Finlandia, it was one of the works that most helped to spread Sibelius’ name abroad.

Although En Saga is usually referred to as a symphonic poem, it has no program. Sibelius described it merely as “the expression of a state of mind.” Other writers have expanded on this theme. Charles O’Connell writes that the story Sibelius tells here “is an abstraction of all the mighty tales with which the people of the North once passed the long sub-Arctic night.” For Richard Freed, this music “gives us a sense of some primordial adventure involving elemental forces rather than individuals, [… something] both tragic and exhilarating in its fierce urgency.”

Jean SIBelIUSv iolin Concerto in D minor, Op.47 (1903/1905)

I. Allegro moderato II. Adagio di molto III. Allegro ma non tanto

the BackgroundJean Sibelius wrote his only large-scale work for solo instrument and orchestra in the summer of 1903 and conducted the premiere himself in early 1904. After substantial revisions in 1905, the work was reintroduced in Berlin with soloist Karl Halir and no less a celebrity than Richard Strauss on the podium. Chronologically, the concerto comes between the Second and Third Symphonies. The solo part is one of the most difficult in the entire repertory. Virtuosic passages abound, but they are welded to disciplined musical thought; there is no empty display material here.

the MusicThe orchestral writing bears much evidence of Sibelius’ deep interest in this medium, and serves a far greater purpose than a mere backdrop for the soloist. Dark, sombre colours predominate, as is this composer's tendency, lending an air of passionate urgency to the music. Note particularly the third theme in B-flat minor in the first movement, played by the unison violins, or the second theme of the finale, again played by the violins, with its interplay of 6/8 and 3/4 meters.

Attention to the formalities of sonata form is largely avoided in favour of originality of thought. In the first movement, there is no development section as such; instead, each of the three main themes is fully elaborated and developed upon initial presentation. A cadenza occurs at the point where a full development would normally stand, followed by a recapitulation of the three themes, each of which is subjected to further expansion. In the Adagio movement, Sibelius contrasts the long, dreamy and reflective opening theme with a turbulent and darkly passionate section in the minor mode. The finale, in rondo form, calls to the fore the full technical prowess of the soloist. Energetic rhythms suggestive of the polonaise and gypsy dances offer further elements of excitement to this exuberant movement.

the MusicEn Saga breathes the very spirit of Finland, with the mystic stillness of its endless dark forests, its shimmering lakes, pale light and barbaric splendour of its heroes of old and their military campaigns. Although lasting less than twenty minutes, En Saga nevertheless portrays all the grandeur of an epic symphony. Four themes ranging in character from the epic to the folkloric are presented and developed within the context of a free sonata-form design, which includes an introduction containing the seeds from which these themes germinate, and a haunting epilogue.

PROGRAMME NOTES

PROGRAMME NOTES

the BackgroundNot so long ago, the music of Carl Nielsen appeared only rarely on symphony programmes. But times change. His music, especially the six symphonies and three concertos (clarinet, flute, violin), is now encountered frequently and appreciated for its fresh approach to old forms, for its deeply ingrained spirit of humanity, its vital energy,and ingratiating charm. There is a fresh, invigorating, outdoorsy quality to much of Nielsen’s writing, derived in part from his love of nature and the simple joys of country life.

His First Symphony is an astonishingly well-knit and assured work for a young man of 27. In it he traverses a wide range of tonal centres, mostly revolving around the contrast of G minor and C major. (The very first bar kicks off with a “shout” in C major followed immediately by an energetic theme in G minor). The symphony is entitled as being “in G minor”, but ends in C major, possibly the first instance of a work in the genre ending in an entirely different key than it began (excluding major/minor relations). The work was completed in 1892 and first performed on 14 March 1894 by the Royal Orchestra of Copenhagen with Johan Svendsen conducting. Nielsen played in the second violin section. Members of the Danish royal family were also present (Christian IX and Queen Louise) – how many other composers can claim that royalty attended the premiere of their First Symphony?

the MusicThe first movement is full of urgency, but it is to be played orgoglioso (proudly), so Nielsen instructs. The second, contrasting theme is more lyrical – a sinuous, gentle subject introduced by the oboe and continued in the violins. Following classical tradition, the exposition is repeated, a development section ensues, and there is a real sense of affirmation when the recapitulation begins fortississimo, the opening “shout” now in the home key of G minor.

The slow movement consists almost entirely of one long lyrical outpouring from the violins, at times fortified by winds; only occasionally do the winds assume prominence.The third movement is not the expected scherzo, but rather an Allegro comodo (comfortably lively) such as Brahms might have written. The time signature is 6/4, which lends the music a leisurely, spacious character. (It was a favourite of Brahms as well.)Of special note are the two hymn-like episodes for brass alone – sonorously sensuous.

The finale has the responsibility of getting the music from initial G minor to concluding C major. These keys have been in juxtaposition and contrast throughout the symphony at various points; now it is time to make a bold stand and conclude the harmonic journey, a mission Nielsen accomplishes within the framework of another sonata-form movement with two themes in different keys. It all ends triumphantly inC major and a sense of joyful abandon.Concert notes: robert Markow

Carl nIelSen (1865-1931)Symphony no.1 in G minor, Op.7 (1892)

I. Allegro orgoglioso II. Andante

III. Allegro comodoIV. Finale: Allegro con fuoco

Note: Sectional string players are listed alphabetically and rotate within their sections. *Substitute / extra musician.

MALAYSIAN PHILHARMONIC ORCHESTRA

PRINCIPAL CONDUCTORFabio Mechetti

RESIDENT CONDUCTORCiarán McAuley

fIRST vIOLINCo-ConcertmasterPeter DanišPrincipalMing GohCo-PrincipalZhenzhen LiangSub-PrincipalVira Nyezhentseva

Runa BaagöeMaho DanišMiroslav DanišEvgeny KaplanErgys KoniMartijn NoomenSherwin ThiaMarcel AndriesiiAi JinTan Ka Ming*Petia Atanasova

SECOND vIOLINCo-PrincipalTimothy PetersAssistant PrincipalLuisa HyamsSub Principal*Barbora Kolarova

Catalina AlvarezChia-Nan HungAnastasia KiselevaStefan KocsisLing YunzhiIonut MazareanuTan Poh KimYanbo Zhao*Jennen Ngiau- Keng*Roxana Tudorache

vIOLACo-PrincipalGábor MokányAssistant PrincipalAyako Oya

Fumiko DobrinovOng Lin KernCarol PendleburySun YuanThian AiwenFan RanEliza FluderJulia ParkMahmoud Hussein

CELLOCo-PrincipalCsaba KőrösAssistant PrincipalSteven RetallickSub-PrincipalAttila Pasztor

Gerald DavisJulie DessureaultLaurentiu GhermanTan Poh JooElizabeth Tan SuyinSejla SimonMátyás Major

DOUBLE BASSSection PrincipalWolfgang SteikeCo-PrincipalJoseph Pruessner

Raffael BietenhaderJun-Hee ChaeNaohisa FurusawaJohn KennedyFoo Yin HongAndreas Dehner

fLUTESection PrincipalHristo DobrinovCo-PrincipalYukako YamamotoSub-PrincipalRachel Jenkyns

PICCOLOPrincipalSonia Croucher

OBOESection PrincipalSimon EmesSub-PrincipalNiels Dittmann

COR ANGLAISPrincipalDenis Simonnet

CLARINETSection Principal*Gonzalo EstabanSub-PrincipalMatthew Larsen

BASS CLARINETPrincipalChris Bosco

BASSOONSection PrincipalAlexandar LenkovSub-PrincipalOrsolya Juhasz

CONTRABASSOONPrincipalVladimir Stoyanov

HORNSection PrincipalsGrzegorz Curyla*Igor SzeligowskiCo-PrincipalJames SchumacherSub-PrincipalsLaurence DaviesTodor PopstoyanovAssistant PrincipalSim Chee Ghee

TRUMPETCo-PrincipalsWilliam Theis*Colin SiegSub-PrincipalWilliam DayAssistant PrincipalJohn Bourque

TROMBONESection Principal*Dimo PishtyalovCo-PrincipalMarques YoungSub-PrincipalAnthony Wise

BASS TROMBONEPrincipalZachary Bond

TUBASection PrincipalBrett Stemple

TIMPANIMatthew Thomas

PERCUSSIONSection PrincipalMatthew PrendergastSub-PrincipalsDarryl LittmanMatthew Kantorski

HARPPrincipalTan Keng Hong

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