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Yuja Wang Plays Prokofiev

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MOZART’S SYMPHONY No.40Thursday 17 September Friday 18 September Saturday 19 September Monday 21 SeptemberMozart’s compact concerto in D – led by MSO Concertmaster Eoin Andersen – is balanced by Mozart’s Violin Concerto, a youthful work of matchless elegance.

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. Featuring the French pianist Jean-Efflam Bavouzet.

MUSSORGSKY & LISZTFriday 11 SeptemberFeaturing works inspired by art: Reger’s Four Tone Poems after Arnold Böcklin and Mussorgsky’s Pictures at an Exhibition. Liszt’s Piano Concerto No.1 makes for a breathtaking interlude.

RACHMANINOV’S THIRDThursday 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.

AN EVENING WITH RENÉE FLEMINGThursday 3 September Saturday 5 SeptemberFamed for her magnetic performances and sheer beauty of tone, celebrated American soprano Renée Fleming joins the MSO and Sir Andrew Davis for two Melbourne-exclusive orchestral concerts.

Presented by MSO and Arts Centre Melbourne

After the premiere of Sergei Prokofiev’s Piano Concerto No.2 in 1913, with the composer as soloist, one critic described the audience as being ’frozen with fright, hair standing on end’. 102 years later, the concerto still has an uncanny effect on those who hear it and certainly those who play it.

The Chinese piano virtuoso Yuja Wang regards the Prokofiev as ’powerful … very dark and emotionally despondent’. Already, at only 28, Yuja Wang has a justified reputation as a formidable virtuoso, and we welcome her as she makes her debut with the MSO. The Prokofiev has become something of a party piece for Ms Wang, which she performed to great acclaim at her debut with the Berlin Philharmonic Orchestra last month.

Also in this concert, under Principal Guest Conductor Diego Matheuz, is Tchaikovsky’s resounding Marche slave and Brahms’ noble Symphony No.4.

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 Yuja Wang Plays Prokofiev

MELBOURNE SYMPHONY ORCHESTRA

3YUJA WANG PLAYS PROKOFIEV

4 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

Diego Matheuz conductor

The thirty-year-old conductor and violinist Diego Matheuz is a graduate of the internationally known Venezuelan Sistema, and is already widely known as one of the most promising developing talents from the Americas. Principal Guest Conductor of Orchestra Mozart since 2009, Matheuz was appointed Principal Conductor of Teatro la Fenice in September 2011. In August 2013 he started a three-year appointment as Principal Guest Conductor of Melbourne Symphony Orchestra.

Recent highlights in addition to his regular engagements in Venice and Melbourne, have been his debut with the Philharmonia Zurich, Gurzenich-Orchester Kölner Philharmoniker, BBC Philharmonic, Vancouver Symphony, Orchestre National de Lyon and the Orchestre Chambre de Paris at the Festival de Saint-Denis. This year also marks his opera debut in Spain, with Donizetti’s Don Pasquale at the Gran Teatre del Liceu, Barcelona.

Yuja Wang piano

In the years since her 2005 debut with the National Arts Centre Orchestra, Yuja Wang has performed with many of the world’s most prestigious orchestras. Highlights in 2014-15 include a return to the Concertgebouw to perform Shostakovich’s Piano Concerto No.1, three performances with Tonhalle Orchestra Zurich as Artist in Residence, a tour of North America and Europe with Leonidas Kavakos, and a tour of the US with the London Symphony Orchestra.

Yuja Wang studied at the Central Conservatory of Music in Beijing and the Mount Royal University Conservatory in Calgary. She moved to the US to study with Gary Graffman at the Curtis Institute of Music in Philadelphia. In 2010 she was awarded the prestigious Avery Fisher Career Grant.

ABOUT THE ARTISTS

Melbourne Symphony Orchestra

Diego Matheuz conductor

Yuja Wang piano—TCHAIKOVSKYMarche slave

PROKOFIEVPiano Concerto No.2 —Interval 20 minutes—BRAHMSSymphony No.4—This concert has a duration of approximately 1 hour and 50 minutes including one 20 minute interval.

Saturday night’s concert will be broadcast and streamed live around Australia on ABC Classic FM.

Pre-Concert Talks

7pm Thursday 23 July Stalls Foyer, Hamer Hall

7pm Friday 24 July Stalls Foyer, Hamer Hall

7pm Saturday 25 July Stalls Foyer, Hamer Hall

Dr Elizabeth Kertesz will present a talk on the artists and works featured in this program.

5YUJA WANG PLAYS PROKOFIEV

ABOUT THE MUSIC

Peter Ilyich Tchaikovsky (1840 –1893)

Marche slave, Op.31—In June 1876, Pan-Slavic soldiers went to war against Turkey, with the support of Tsar Alexander II. A few months later, Nikolai Rubinstein conducted the premiere of Tchaikovsky’s Marche slave (sometimes known as the Serbo-Russian or Russo-Serbian March) in Moscow, at a benefit concert for wounded troops.

The principal tunes are drawn from Serbian folk themes, and there is also an appearance of God Save the Tsar. The march begins with a funeral and ends with a victory, causing the premiere audience to cheer wildly. César Cui, one of the ‘Mighty Handful’ of Russian nationalist composers, called it ‘perhaps the most wonderful of all interpretations, in any artistic field, of the state of mind engendered by the events we have been witnessing’.

Marche slave is also significant for being one of the first works Tchaikovsky conducted in public.

He wrote to his sister, ‘I have lately found the courage to appear as a conductor. I was very clumsy and nervous, but I managed (with considerable success) to conduct my Serbo-Russian March in the Opera House. From now on I will take every opportunity to conduct, for if my plan of a concert tour abroad comes off, I shall have to be my own conductor.’

By 1891 Tchaikovsky had improved to the point of presenting a successful concert of his own works in Paris – a concert which included the Marche slave. The personal (as well as musical and political) triumph must have been particularly satisfying for the composer.

Symphony Australia © 2000

The Melbourne Symphony Orchestra first performed this work on 27 August 1940 under the direction of Georg Schnéevoigt, and most recently on 31 March 1989 with conductor Brian Buggy.

Sergei Prokofiev (1891–1953)

Piano Concerto No.2 in G minor, Op.16

Andantino

Scherzo: Vivace

Intermezzo: Allegro moderato

Allegro tempestoso

Yuja Wang piano—In 1918, Prokofiev was in the United States. Performances of his Piano Concerto No.1 and Scythian Suite took places like Chicago by storm, and led to the commission for The Love for Three Oranges. Meanwhile, back home in Petrograd, the tenant in his flat somehow managed to burn the score of his Piano Concerto No.2. Some versions of the story describe it as ‘a fire’; on the other hand, friends of Prokofiev’s informed him at the time that the score was used as fuel ‘to cook an omelette’. Be that as it may, it required the composer to reconstruct the piece from memory. Again, there are differing accounts – both emanating from Prokofiev – of the extent to which this required new composition: he wrote to a friend that the recomposition effectively made the piece a new concerto – his ‘fourth’; in his memoirs, however, he claimed merely to have ‘improved’ the overall form, orchestration and counterpoint.

In its original version, the concerto had enjoyed the sort of reception about which early 20th-century composers tended to dream. Premiered, with the composer at the keyboard, in 1913 in Pavlovsk, the piece famously had the audience

6 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

walking out with ‘their hair standing on end’, remarking loudly (a story that Prokofiev proudly retailed in his autobiography) about how the music would ‘send them crazy’ and that ‘the cats on the roof make better music!’. Most of those that stayed obligingly booed and hissed, though one critic predicted that ‘ten years from now [the audience] will atone for last night’s catcalls by unanimously applauding a new composer with a European reputation.’ In fact the response to the reconstructed version, which Prokofiev, as luck would have it, made ten years later, was rather more measured when he premiered it in Paris in 1924; it may be that Prokofiev had ‘toned it down’, but equally, Stravinsky and the group known as Les Six had naturalised the sort of modernism that Prokofiev cultivates in this work and it no longer shocked.

After making his professional debut (and simultaneously wowing his Conservatorium examiners) with his First Piano Concerto, Prokofiev had been accused of writing ‘superficial showiness and … keyboard acrobatics’. The 22-year-old had therefore resolved to ‘strive for greater depth in the Second’. Whether he achieved that is another question; certainly the work has far greater length than the first. The outer movements, for instance, each play for over ten minutes, and the work as a whole is almost twice the length of the earlier work.

The Andantino first movement is expansive, as signalled by the brief pizzicato theme answered by a section for piano (marked ‘narratively’) that suggests Prokofiev’s older contemporary, Rachmaninov. The focal point of the movement is a breathtaking cadenza which ushers in a fortissimo statement of the opening pizzicato theme. Here the Rachmaninovian manner is even more pronounced, as the soloist sails through increasingly opulent orchestral textures.

The scherzo which follows is vintage Prokofiev, with its unrelenting stream of piano semiquavers glittering coldly throughout. So too is the Intermezzo, which has nothing autumnal or late-Brahmsian about it. Rather than using the term to denote an instrumental entr’acte, it is almost as if Prokofiev were conjuring the 18th-century sense of the word to describe a miniature comic opera. This was, after all, written around the time of his Love for Three Oranges, with its cast of commedia dell’arte characters, giants and witches, and the Concerto’s intermezzo is a grotesque and theatrical piece. The finale draws together a number of thematic threads from the previous three movements, and binds them into a fearsomely energetic structure: there are moments of dark introspection related to the opening movement and brief passages of nostalgic Russian melody. There is also much carnivalesque humour here and, after a ‘false’ ending, another brilliant solo passage which leads to the work’s somewhat ironic conclusion.

It is an extremely demanding work to play, and even Prokofiev neglected it in favour of the Third Concerto during his years as a virtuoso. Apart from a brief vogue in the Soviet Union at the time of Prokofiev’s return in the 1930s, it remained a rarity until rescued from obscurity by pianists such as Vladimir Ashkenazy only in the 1960s.

Gordon Kerry © 2009

The Melbourne Symphony Orchestra’s first performances of Prokofiev’s Second Piano Concerto were given by Vladimir Ashkenazy in May 1969 under the direction of Peter Erős. The Orchestra most recently performed the work in July 1995 with Mariss Jansons conducting and Mikhail Rudy as soloist.

ABOUT THE MUSIC

7YUJA WANG PLAYS PROKOFIEV

Johannes Brahms (1833-1897)

Symphony No.4 in E minor, Op.98

Allegro non troppo

Andante moderato

Allegro giocoso

Allegro energico e passionato

—The remarkable fact about the Symphony in E minor is that although this work has come to be admired as one of the finest Romantic symphonies, Brahms initially had major reservations about it. He even considered withdrawing it, fearing audiences would find it incomprehensible and unpalatable. From the tiny alpine village of Mürzzuschlag, south-west of Vienna, where he completed the score in the summer of 1885, he wrote to conductor Hans von Bülow: ‘I’m really afraid that it tastes like the climate here. The cherries don’t ripen in these parts; you wouldn’t eat them!’

Indeed, to Brahms’ great hurt, none of his most trusted friends took a liking to the new symphony. On hearing a two-piano arrangement played by Brahms and Ignaz Brüll in early October, an assembled gathering including conductor Hans Richter, Theodor Billroth and critics Eduard Hanslick and Max Kalbeck were dismayed and left in stony silence. Just as perplexed were Brahms’ closest confidantes, Clara Schumann and Elisabet von Herzogenberg. The latter, after being pressed for comment, replied that she felt the symphony was ‘designed too much with a view to microscopic inspection, just as if its beauties were not there for every simple music-lover to see’.

Although Brahms shared some of his friends’ particular concerns about the structural elaborateness of the finale, he believed the symphony needed trialling with full orchestra to properly assess it. So it was that the most celebrated symphonist in Europe (his Second and Third Symphonies by now enormously popular), incredibly, found himself submitting a new symphony for private orchestral trial to decide its fate.

As things happened, the trial with Bülow directing the Meiningen Orchestra went magnificently well. Bülow thought the work ‘stupendous, quite original, quite new, individual and rock-like. Incomparable strength from start to finish.’ His assistant, the 21-year-old Richard Strauss, was enrapt, remarking of the Andante that it was like ‘a funeral procession moving in silence across moonlit heights’. Brahms felt sufficiently steeled to press ahead with a premiere, which took place on 25 October 1885, followed by touring performances with the same orchestra across Germany and Holland, and to London. In every city other than Vienna, it was a resounding success.

What do we make of the Fourth today? It shares little of the external optimism of Brahms’ Second and Third Symphonies and rather sees a return to the introspective minor-key drama of the First. But where his final symphony breaks new ground is in fusing a new personal, questing lyricism with an even more powerful, compressive formal strength.

Unusually for Brahms, the opening Allegro dispenses with all preliminaries and opens straight-up with a main theme of quiet, almost song-like intimacy. (He toyed with having four introductory chordal bars but later abandoned this idea.) The theme is pensive and short-breathed, as if inspired by the composer’s daily treks in the chilly steeps around Mürzzuschlag. Entwining trails of melodic thirds, elaborated from the first subject, take prominence and add a caressing warmth, but they also create a growing searching quality and mystery amid the development’s dramatic ferment. The movement culminates in a powerful chordal affirmation of the tonic minor.

Like a distant alphorn call, the Andante’s main theme is announced in the woodwinds, in the remote-sounding Phrygian mode. Mirroring the first movement, the idea of melodic thirds is ever-present, both in the outline of the theme itself and in the progressively warm harmonies supplied to it. A second, lyrical theme of strained expression in the strings shows Brahms at his most

harmonically advanced, remarkably close in fact to his supposed rivals Wagner and Bruckner. (The latter’s Eighth was completed during the same summer.)

So boisterously does the third movement romp along, and so exhilarating is its bristling strength, that this scherzo might be mistaken for a finale. It was to quickly become one of Brahms’ most popular symphonic movements, even if Kalbeck did think its main theme ‘abrupt’ and its subsidiary themes ‘trite’. The mood is one of unaffected cheerfulness, with theatrically fun play-offs between the various sections of the orchestra and novel (for Brahms) use of the triangle.

The finale is the most extraordinary of all Brahms’ orchestral creations. Conceived in sonata form as a series of 30 variations on the chaconne subject in Bach’s Cantata No.150, Nach dir, Herr, verlanget mich, it is his non plus ultra exposition on how archaic principles can be married to modern practice. It begins with an austere statement of the chaconne theme in the winds and brass and unfolds with wave upon wave of melodic and harmonic invention founded on the theme’s slow, stepwise ascent. The movement wears the face of opposites, of terse conciseness and expansive lyricism, of inexorable forward momentum and roaming, ‘free floating’ harmony.

As Walter Frisch has remarked, the Fourth ‘is not a work that unlocks its secrets easily’. One might say though, that born of Mürzzuschlag’s alpine realm and representing the pinnacle of Brahms’ work as an orchestral composer, it is an Alpensinfonie even before Richard Strauss thought of the idea.

Graham Strahle © 2003

The Melbourne Symphony Orchestra first performed Brahms’ Fourth Symphony on 27 June 1942 under Percy Code, and most recently on 25–26 November 2010 with conductor Tadaaki Otaka.

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Sir Andrew Davis Harold Mitchell AC Chief Conductor Chair Diego Matheuz Principal Guest Conductor Benjamin Northey Patricia Riordan Associate Conductor Chair

FIRST VIOLINSDale BarltropConcertmasterEoin AndersenConcertmasterSophie Rowell Associate ConcertmasterRebecca Chan*Guest Associate ConcertmasterPeter EdwardsAssistant PrincipalKirsty BremnerMSO Friends ChairSarah CurroPeter FellinDeborah GoodallLorraine HookKirstin KennyJi Won KimEleanor ManciniMark Mogilevski Michelle RuffoloKathryn TaylorRebecca Adler* Jacqueline Edwards* Robert John* Annabelle Swainston*

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COR ANGLAISMichael Pisani Principal

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Jenna BreenAbbey EdlinTrinette McClimont

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BASS TROMBONEMike Szabo Principal

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PERCUSSIONRobert Clarke PrincipalJohn ArcaroRobert Cossom

HARPYinuo Mu Principal

*Guest musician

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MANAGEMENT

YUJA WANG PLAYS PROKOFIEV

10 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

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The MSO relies on your ongoing philanthropic support to sustain access, artists, education, community engagement and more. We invite our supporters to get close to the MSO through a range of special events and supporter newsletter The Full Score.

The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are recognised as follows: $100 (Friend), $1,000 (Player), $2,500 (Associate), $5,000 (Principal), $10,000 (Maestro), $20,000 (Impresario), $50,000 (Benefactor)

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Charles and Cornelia Goode, Dr Marged Goode, Danny Gorog and Lindy Susskind, Louise Gourlay OAM, Ginette and André Gremillet, Dr Sandra Hacker AO and Mr Ian Kennedy AM, Jean Hadges, Paula Hansky OAM and Jack Hansky AM, Tilda and Brian Haughney, Henkell Family Fund, Penelope Hughes, Dr Alastair Jackson, Stuart Jennings, George and Grace Kass, Irene Kearsey, Ilma Kelson Music Foundation, Dr Anne Kennedy, Lew Foundation, Norman Lewis in memory of Dr Phyllis Lewis, Dr Anne Lierse, Violet and Jeff Loewenstein, The Hon Ian Macphee AO and Mrs Julie Mcphee, Elizabeth H Loftus, Vivienne Hadj and Rosemary Madden, In memory of Leigh Masel, John and Margaret Mason, In honour of Norma and Lloyd Rees, Trevor and Moyra McAllister, David Menzies, John and Isobel Morgan, Ian Morrey, The Novy Family, Laurence O’Keefe and Christopher James, Graham and Christine Peirson, Andrew Penn and Kallie Blauhorn, Kerryn Pratchett, Peter Priest, Jiaxing Qin, Eli Raskin, Peter and Carolyn Rendit, S M Richards AM and M R Richards, Dr Rosemary Ayton and Dr Sam Ricketson, Joan P Robinson, Tom and Elizabeth Romanowski, Jeffrey Sher, Dr Sam Smorgon AO and Mrs Minnie Smorgon, Dr Norman and Dr Sue Sonenberg, Dr Michael Soon, Pauline Speedy, State Music Camp, Geoff and Judy Steinicke, Mrs Suzy and Dr Mark Suss, Pamela Swansson, Dr Adrian Thomas, Frank Tisher OAM and Dr Miriam Tisher, Margaret Tritsch, Judy Turner and Neil Adam, P & E Turner, Mary Vallentine AO, The Hon. Rosemary Varty, Leon and Sandra Velik, Sue Walker AM, Elaine Walters OAM and Gregory Walters, Edward and Paddy White, Janet Whiting and Phil Lukies, Nic and Ann Willcock, Marian and Terry

Wills Cooke, Pamela F Wilson, Joanne Wolff, Peter and Susan Yates, Mark Young, Panch Das and Laurel Young-Das, YMF Australia, Anonymous (18)

THE MAHLER SYNDICATEDavid and Kaye Birks, Jennifer Brukner, Mary and Frederick Davidson AM, Tim and Lyn Edward, John and Diana Frew, Louis Hamon OAM, The Hon Dr Barry Jones AC, Dr Paul Nisselle AM, Maria Solà in memory of Malcolm Douglas, The Hon Michael Watt QC and Cecilie Hall, Anonymous (1)

MSO ROSESRoses: Mary Barlow, Jennifer Brukner, Annette Maluish, Pat Stragalinos, Jenny Ullmer. Rosebuds: Leith Brooke, Lynne Damman, Francie Doolan, Lyn Edward, Dr Elizabeth A Lewis AM, Dr Cherilyn Tillman

FOUNDATIONS AND TRUSTSThe Annie Danks TrustCollier Charitable FundCreative Partnerships AustraliaCrown Resorts Foundation and the Packer Family FoundationThe Cybec FoundationThe Harold Mitchell FoundationHelen Macpherson Smith TrustIvor Ronald Evans Foundation, managed by Equity Trustees Limited and Mr Russell BrownKen & Asle Chilton Trust, managed by PerpetualLinnell/Hughes Trust, managed by PerpetualThe Marian and EH Flack TrustThe Perpetual Foundation – Alan (AGL) Shaw Endowment, managed by PerpetualThe Pratt FoundationThe Robert Salzer Foundation

The Schapper Family FoundationThe Scobie and Claire Mackinnon Trust

CONDUCTOR’S CIRCLEJenny Anderson, Lesley BawdenJoyce Bown, Mrs Jenny Brukner and the late Mr John Brukner, Ken Bullen, Luci and Ron Chambers, Sandra Dent, Lyn Edward, Alan Egan JP, Louis Hamon OAM, Tony Howe, Audrey M Jenkins, John and Joan Jones, Mrs Sylvia Lavelle, Cameron Mowat, Laurence O’Keefe and Christopher James, Elizabeth Proust AO, Penny Rawlins, Joan P Robinson, Neil Roussac, Anne Roussac-Hoyne, Jennifer Shepherd, Drs Gabriela and George Stephenson, Pamela Swansson, Lillian Tarry, Dr Cherilyn Tillman, Mr and Mrs R P Trebilcock, Michael Ullmer, Ila Vanrenen, Mr Tam Vu, Marian and Terry Wills Cooke, Mark Young, Anonymous (19)

THE MSO GRATEFULLY ACKNOWLEDGES THE SUPPORT RECEIVED FROM THE ESTATES OF:Angela Beagley, Gwen Hunt, Pauline Marie Johnston, C P Kemp, Peter Forbes MacLaren, Prof Andrew McCredie, Miss Sheila Scotter AM MBE, Molly Stephens, Jean Tweedie, Herta and Fred B Vogel, Dorothy Wood

HONORARY APPOINTMENTSMrs Elizabeth Chernov Education and Community Engagement PatronSir Elton John CBE Life MemberThe Honourable Alan Goldberg AO QC Life MemberGeoffrey Rush AC Ambassador

MEDIA PARTNERGOVERNMENT PARTNERS

SUPPORTING PARTNERS

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3L Alliance Elenberg Fraser

Fed Square Flowers Vasette

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The very epitome of Romantic music, Tchaikovsky’s Piano Concerto No.1 is one of the most beloved concerto’s in the history of the modern keyboard. Appearing alongside the masterful orchestration and fiery drama of Rimsky-Korsakov’s Capriccio espagnol, Scriabin’s Third Symphony weaves a rich, textured canvas of romance and tragedy, as if from a film yet to be written.

7 August at 8pmRobert Blackwood Hall, Monash University Clayton8 August at 2pm and 10 August at 6.30pm Arts Centre Melbourne, Hamer Hall

BOOK NOW MSO.COM.AU | (03) 9929 9600

TCHAIKOVSKY’S PIANO CONCERTO No.1

Vasily Petrenko conductor Simon Trpčeski piano