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SEASON 2007
BEETHOVEN FESTIVAL
TEA & SYMPHONY
BEETHOVEN MOONLIGHT SONATA AND
SYMPHONY NO.2
Friday 1 June | 11am
Sydney Opera House Concert Hall
Gianluigi Gelmetti conductor
Gerhard Oppitz piano
LUDWIG VAN BEETHOVEN (1770-1827)
Sonata ‘quasi una fantasia’ in C sharp minor, Op.27 No.2
(Moonlight Sonata)
Adagio sostenuto –
Allegro – Trio
Presto agitato
Symphony No.2 in D, Op.36
Adagio molto – Allegro con brio
Larghetto
Scherzo (Allegro) and Trio
Allegro molto
Today’s performance of the
Moonlight Sonata will be
broadcast across Australia on
ABC Classic FM 92.9 on
Wednesday 13 June at 2.30pm.
Symphony No.2 can be heard on
Thursday 14 June at 8.00pm.
Estimated timings:
16 minutes, 32 minutes.
The performance will conclude
at approximately 12.00pm.
Cover images:
see page 9 for captions
Artist biographies begin on
page 8
3 | Sydney Symphony
ABOUT THE MUSIC
BEETHOVEN Moonlight Sonata
In November 1792 the 21-year-old Beethoven departed
provincial Bonn for Vienna, to receive, in the words
of Count Waldstein, ‘Mozart’s spirit from the hands
of Haydn’. He arrived the inheritor of a musical
language and symphonic style that was rapidly changing.
An 18th-century musician could claim a common musical
language, but the gradual emergence in the 19th century
of independent composers as free professionals resulted
in a scuffle for novelty, for the establishment of a personal
idiom. The implications were profound and have been
sustained into our own century. First, in the absence of
a common idiom sheer facility was compromised – where
Mozart might have written three symphonies in as many
months, Beethoven could easily wrestle for years on just
one work. More important, it quickly became apparent
that novelty brings with it difficulties for the performer
and increases demands on the listener – a composer could
easily move too far ahead of public taste and
understanding.
Beethoven quickly found fame as a pianist, particularly
as an improviser, and enjoyed strong support from
Vienna’s aristocratic circles, willing to cultivate an
innovative composer who matched their romantic
aspirations. The first of his patrons was Prince Karl
Lichnowsky, whose palace was an important venue for
music-making. For much of the 1790s the palace could
boast Beethoven as a leading, resident attraction. It was
here, and for the Prince, that Beethoven completed his
Opus 1 piano trios (1793) – the first important pieces of
his musical maturity.
It was a further five years before Beethoven presented
his first symphony to the public. Meanwhile he won
hearts with chamber works and his own dynamic
personality as a performer. The intervening chamber
works and piano sonatas were often symphonic in
conception and the first two piano concertos show
Beethoven grappling with orchestral forces as well as
displaying his virtuosity. Beethoven was not writing
symphonies, but nor was he wasting his time.
Beethoven was in his element at the piano. A virtuoso
capable of holding his own in fashionable and highly
publicised piano duels, he was renowned for his
improvisations. Freedom of thought and structural
inventiveness were all possible in the improvised free
4 | Sydney Symphony
Ludwig van Beethoven, 1800 – a piano
virtuoso renowned for his
improvisations
fantasia. When Beethoven wished to adopt a particularly
original guise in one of his piano sonatas it made sense
to dub it a Sonata ‘quasi una fantasia’ (in the style of a
fantasia), as he did in his popular but unorthodox
‘Moonlight’ Sonata.
In 1801 it was still relatively unusual to provide
pedalling instructions in piano music, so Beethoven’s
instructions for the Moonlight Sonata are especially
striking, the Italian translates as ‘this whole piece must
be played very delicately and without dampers’. In other
words, we are told that the dampers are to be raised for
the entire movement (The equivalent of leaving one’s foot
on the ‘loud pedal’.) Beethoven’s intent is a blurred sound,
as the reverberations of undamped harmonies overlap.
The effect could be described as ‘impressionist’.
One of Vienna’s leading piano builders thrilled to this
exotic effect: ‘Now in pianissimo, through [the raising of
the dampers] he creates the most tender tone of the glass
harmonica. How pure, how like a flute, the treble notes
sound while the left hand plays consonant chords against
them! How full the sound of the bass which is played
with elastic lightness!’ With these words Andreas Streicher
could almost have been describing the first movement
of Beethoven’s Moonlight Sonata, completed in the same
year. While this first movement conforms to all the
thematic and harmonic requirements of sonata form,
the homogeneity of texture, unfolding from an
undulating triplet accompaniment figure, diverts our
attention from the tensions and drama of the sonata
principle and instead emphasises the floating tranquillity
of this nocturnal fantasia. This is Chopin circa 1801.
From this uncharacteristically slow and delicate first
movement Beethoven moves headlong into a jewel-like
scherzo and then a restless and powerful finale, the ‘real’
sonata movement placed last.
If the Moonlight Sonata shows the 30-year-old
Beethoven at his most fantastic, throwing conservative
models to the wind, the Second Symphony, like the First,
gives an impression of caution. Its composition coincides
with Beethoven’s growing realisation that his deafness
was both worsening and irreversible, and the poignant
Heiligenstadt Testament, dated 2 October 1802, was
written not long after.
YVONNE FRINDLE ©2001
5 | Sydney Symphony
…the floating
tranquility of this
nocturnal fantasia.
BEETHOVEN Second Symphony
Beethoven spent the summer of 1802 at Heiligenstadt,
in those days a small village in the countryside but now
a suburb of Vienna. Like many composers, Beethoven
liked to withdraw to the country to concentrate on his
work in peaceful surroundings, but this year there was
an additional purpose: the deafness which had become
noticeable in the previous years was now becoming
serious, and the composer’s physician suggested a
prolonged period away from the potentially damaging
noise of the city.
As he was preparing to return to Vienna in October
1802, Beethoven wrote a curious document that was
found among his papers after his death. Now known
as the ‘Heiligenstadt Testament’, it was a kind of will,
addressed to the composer’s two brothers (though
Beethoven only refers to one by name and the other by
a blank space in the manuscript). In it, Beethoven
expresses his anguish about his condition:
what humiliation when someone stood beside me and heard
a flute in the distance and I heard nothing, or heard the
shepherd singing and again I heard nothing. Such incidents
brought me to the verge of despair, but little more and
I would have put an end to my life – only my art held me
back.
The saving art at this time included a number of violin
sonatas, piano sonatas and bagatelles and the Second
Symphony, which Beethoven completed during his stay
at Heiligenstadt. It is difficult to find evidence of a
composer in deep despair in this work, however,
reminding us of the complex relationship between the
life and work of any artist. But there is a nice symmetry
at work. The Second might be seen as a leave-taking of
the pastoral/classical tradition in favour of the more
‘heroic’ style of the middle period music, but it is
Heiligenstadt which Beethoven portrayed in a work which
marked his victory over fate some years later: the Pastoral
Symphony.
Beethoven’s First Symphony had been greeted as an
honourable, if not always elegant, contribution to the
tradition of Haydn and Mozart. To a modern listener,
the Second seems a more assured but still essentially
‘Classical’ work. Like Haydn, Beethoven generates tense
expectation in the first movement by using a slow
introduction (and the great scholar Tovey has shown that
6 | Sydney Symphony
Ludwig van Beethoven, 1802 – his
deafness was becoming serious
Beethoven borrows a specific sequence of chords from
Haydn’s Creation in this work). Some hints of the mature
Beethoven are in evidence, such as the breathtakingly
simple means by which he extends the scale of the first
movement with its lengthy concluding section or coda.
The Larghetto is one of Beethoven’s most serene, pastoral
slow movements, and for the first time in an orchestral
work he uses the term scherzo (Italian for ‘joke’ – and it
is genuinely funny) for the dance-like third movement.
The finale juggles wit and seriousness in a way that is
worthy of, but never sounds like, Haydn. For one thing,
the movement, balancing the first, is broad in scale and
has an extended coda. Beethoven’s orchestral music to
date includes the first three of his piano concertos, but,
as one commentator has suggested, in this work he fully
engages with the orchestra for the first time.
While we hear a piece of wonderfully crafted Classical
music, contemporary critics were not so sure. After the
first performance (which also included the premieres of
the Third Piano Concerto and the oratorio Christ on the
Mount of Olives) one praised the work’s ‘new and original
ideas’. Some years later, however, a colleague famously
described the finale as ‘a repulsive monster, a wounded
tail-lashing serpent, dealing wild and furious blows as it
stiffens into its death agony’, referring, perhaps, to the
extended coda (Italian for ‘tail’). He hadn’t, as they say,
heard nothing yet!
While we hear a piece
of wonderfully crafted
Classical music,
contemporary critics
were not so sure.
GORDON KERRY © 2004
Beethoven’s Second Symphony calls for pairs of flutes, oboes,
clarinets, bassoons, horns and trumpets; timpani and strings.
The Sydney Symphony first performed the Second Symphony in
1940 under Georg Schneevoigt, and most recently in the 2001
Beethoven Experience, conducted by Edo de Waart.
What’s on the cover
GOVERNMENT SUPPORT
During the 2007 season Sydney Symphony program covers will feature
photos that celebrate the Orchestra’s history over the past 75 years. The
photographs on the covers will change approximately once a month,
and if you subscribe to one of our concert series you will be able to
collect a set over the course of the year.
(clockwise from top left):
Couple looking at an SSO Youth Concerts brochure, 1960s; Gianluigi Gelmetti;
Edo de Waart’s farewell gala concert, November 2003; Proms audience
playing penny whistles in McCabe’s Mini Concerto for organ, orchestra and
485 penny whistles (17 February 1968); Cliff Goodchild, former Principal Tuba,
early 1960s; 75 Years of Inspiring Music; Dene Olding, Co-Concertmaster;
Diana Doherty, Principal Oboe
COVER PHOTOGRAPHS
7 | Sydney Symphony
The Sydney Symphony is assisted by
the Australian Government through the
Australia Council and by the NSW
Ministry for the Arts.
THE ARTISTS
Gianluigi Gelmetti
CHIEF CONDUCTOR AND ARTISTIC DIRECTOR
Gianluigi Gelmetti, Chief Conductor and Artistic
Director of the Sydney Symphony, studied with Sergiu
Celibidache, Franco Ferrara and Hans Swarowsky. For
ten years he conducted the Stuttgart Radio Symphony
Orchestra; he has conducted many of the leading
orchestras in the world and appears regularly at
international festivals. Since 2000 he has been Music
Director of the Teatro dell’Opera di Roma.
Highlights of past seasons include engagements in
France, Germany, Great Britain, America, Australia, Japan,
Switzerland and Italy, where he conducted Mascagni’s
Iris and Respighi’s La fiamma at the Teatro dell’Opera di
Roma and William Tell at the Rossini Opera Festival. In
1999 he was awarded the Rossini d’Oro Prize. Gianluigi
Gelmetti has also worked regularly at the Royal Opera
House, Covent Garden.
His interpretation of Mozart’s The Marriage of Figaro
earned him the title Best Conductor of the Year from
the German magazine Opernwelt, and in 1997 he won the
Tokyo critics’ prize for the best performance of the year
of Beethoven’s Symphony No.9. He has been honoured
as Chevalier de l’Ordre des Arts et des Lettres in France
and Grande Ufficiale della Repubblica Italiana in Italy.
Gianluigi Gelmetti’s recording catalogue includes
operas by Salieri, Rossini, Puccini and Mozart, the
complete orchestral music of Ravel, the late symphonies
of Mozart and works by many 20th-century composers,
including Stravinsky, Berg, Webern, Varèse and Rota.
Among his recent recordings are William Tell, Iris, La
fiamma, Bruckner’s Symphony No.6 and Rossini’s
Stabat Mater.
Gianluigi Gelmetti is also a composer; his recent
works include In Paradisum Deducant Te Angeli, written to
commemorate the tenth anniversary of Franco Ferrara’s
death, Algos, and Prasanta Atma, in memory of Sergiu
Celibidache.
Since summer 1997 he has been teaching at the
Accademia Chigiana in Siena.
8 | Sydney Symphony
Gerhard Oppitz piano
Gerhard Oppitz gives about 80 recitals and concerto
performances a year, appearing with the world’s leading
orchestras including the Berlin, Vienna, London, Israel
and Royal Philharmonic Orchestras, the Philadelphia
and Cleveland Orchestras, the Boston, Pittsburgh, and
London Symphony Orchestras, and the Bavarian Radio
Symphony Orchestra, with conductors such as Carlo
Maria Giulini, Wolfgang Sawallisch, Riccardo Muti,
Lorin Maazel, Dmitrij Kitajenko, Zubin Mehta, Herbert
Blomstedt, Kent Nagano, Kurt Masur and Sir Neville
Marriner.
He frequently programs performances of complete
piano cycles, including Schubert’s solo piano music,
Beethoven and Mozart sonatas, Bach’s Well-Tempered
Clavier, and Grieg’s solo works, as well as Brahms cycles
in most of the major cities of Europe and in Tokyo.
He has recorded the Beethoven piano concertos with
the Leipzig Gewandhaus Orchestra and Marek Janowski,
and his extensive discography also includes the
complete solo piano works of Brahms and the two
Brahms concertos with Sir Colin Davis. He has also
recorded the complete solo piano works of Grieg, the
concertante works of Carl Maria von Weber, and most
recently the 32 Beethoven sonatas.
Gerhard Oppitz was born in Frauenau (Bavaria) in
1953 and began playing the piano at the age of five. He
gave his first public concert at 11, performing Mozart’s
Concerto in D minor. In 1973 he met Wilhelm Kempff,
who soon became his guide and mentor. In 1977 he
became the first, and to date the only, German to win
the coveted First Prize of the Artur Rubinstein
Competition in Tel Aviv. This achievement and quasipolitical event led to concert tours across Europe, Asia
and the USA.
In addition to his busy performing and recording
schedule, Gerhard Oppitz has a broad spectrum of
interests: he is a qualified professional air pilot and
frequently flies himself to concert engagements across
Europe; he is an informed gourmet and a connoisseur
of fine wines; and he speaks seven languages.
His most recent appearances for the Sydney Symphony
were in 2006, when he played Brahms’ Second Piano
Concerto and a recital of Beethoven and Schubert.
9 | Sydney Symphony
Gerhard Oppitz presents
a recital of Beethoven
sonatas including the
Appassionata on Monday
18 June at 8pm and will
perform in the Mozart in
the City series on
Thursday 14 June at 7pm.
Both concerts are at the
City Recital Hall Angel
Place. Call the Sydney
Symphony on 8215 4600
for tickets.
SALUTE
PRINCIPAL PARTNER
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10 | Sydney Symphony
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PLAYING YOUR PART
The Sydney Symphony gratefully acknowledges the music lovers who donate
to the Orchestra each year. Every gift plays an important part in ensuring our
continued artistic excellence and helping to sustain important education and
regional touring programs. Because we are now offering free programs and
space is limited we are unable to list donors who give between $100 and $499 –
please visit sydneysymphony.com for a list of all our patrons.
Patron Annual
Donations Levels
Maestri $10,000 and above
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Tutti $1000 to $2499
Supporters $500 to $999
To discuss giving
opportunities, please call
Caroline Mark on
(02) 8215 4619.
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11 | Sydney Symphony
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Sydney Symphony
Founded in 1932, the Sydney Symphony has evolved into one
of the world’s finest orchestras as Sydney has become one of
the world’s great cities. Resident at the Sydney Opera House,
the Orchestra also performs throughout Sydney and regional
New South Wales, and has toured internationally. Critical to
the Orchestra’s success has been the leadership given by its
former Chief Conductors, including Sir Eugene Goossens,
Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras,
Stuart Challender and Edo de Waart, as well as collaborations
with legendary figures such as George Szell, Sir Thomas
Beecham, Otto Klemperer and Igor Stravinsky. Maestro
Gianluigi Gelmetti is now in his fourth year as Chief
Conductor and Artistic Director, a position he holds in
tandem with that of Music Director at the prestigious Rome
Opera. This year the Orchestra celebrates its 75th anniversary.
FIRST VIOLINS
VIOLAS
Michael Dauth
Concertmaster
Kirsten Williams
Assoc. Concertmaster
Sun Yi
Assoc. Concertmaster
Fiona Ziegler
Asst Concertmaster
Dimity Hall
Guest Principal
Georges Lentz
Sophie Cole
Jennifer Hoy
Martin Silverton*
Alexandra Mitchell
Emily Qin#
Emily Long#
Léone Ziegler
Amber Davis
Roger Benedict
Yvette Goodchild
Asst Principal
Leon Volovelsky
Robyn Brookfield
Jennifer Curl#
Felicity Wyithe
Rosemary Curtin*
Joanna Tobin†
Sandro Costantino
Vera Marcu*
Jacqueline Cronin#
Graham Hennings
SECOND VIOLINS
Marina Marsden
Susan Dobbie
Emma West
Asst Principal
Shuti Huang
Maria Durek
Nicole Masters
Stan Kornel
Alexander Norton#
Maja Verunica
Alexandra D’Elia#
Biyana Rozenblit
Thomas Dethlefs†
Pieter Bersée
Thomas Dundas*
12 | Sydney Symphony
Lauren Brandon*
Kirsty McCahon*
David Cooper*
FLUTES
Emma Sholl
Carolyn Harris
OBOES
Shefali Pryor
Alexandre Oguey
CLARINETS
Frank Celata
Craig Wernicke
PATRON
Her Excellency
Professor
Marie Bashir AO
GOVERNOR OF
NEW SOUTH WALES
Gianluigi Gelmetti
CHIEF CONDUCTOR AND
ARTISTIC DIRECTOR
SPONSORED BY EMIRATES
John Conde AO
CHAIRMAN
Libby Christie
MANAGING DIRECTOR
SYDNEY OPERA HOUSE TRUST
Mr Kim Williams AM (Chair)
Mr John Ballard, Mr Wesley Enoch,
Ms Renata Kaldor AO, Ms Jacqueline Kott,
Mr Robert Leece AM RFD, Ms Sue Nattrass AO,
Mr Leo Schofield AM, Ms Barbara Ward,
Mr Evan Williams AM
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Elizabeth Neville
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