Friday 15 November 2024 7:30pm
Federation Concert Hall, Nipaluna / Hobart
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Conducted by Eivind Aadland,
featuring Clara-Jumi Kang on
violin.
The Tasmanian Symphony Orchestra acknowledges the traditional owners and continuing custodians of Lutruwita / Tasmania. We pay respect to the Aboriginal community today, and to its Elders past and present. We recognise a history of truth, which acknowledges the impacts of colonisation upon Aboriginal and Torres Strait Islander people and stand for a future that profoundly respects their stories, culture, language and history.
About the concert
Works
Scott Cabinet of Curiosities (9 mins)
3 movements
- The Alchemical Handbell - Summoner of Spirits
- The Enchantress from the Deep
- The Machine of Perpetual Motion
Commissioned for the TSO in honour of Tim Bugg AM
Pyotr Ilyich Tchaikovsky Violin Concerto in D, Op 35 (33 mins)
3 movements
- Allegro moderato
- Canzonetta: Andante
- Finale: Allegro vivacissimo
20 minute interval
Antonín Dvořák Symphony No 7 in D minor (35 mins)
4 movements
- Allegro maestoso
- Poco adagio
- Scherzo: Vivace - Poco meno mosso
- Finale: Allegro
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A 'movement' is a longer piece of music broken up into bite-size pieces. It makes it easier to perform and provides contrast within the work. Find out more here.
Georgia Scott.
Uncover the stories behind the works.
A curious debut
Cabinet of Curiosities
- The Alchemical Handbell - Summoner of Spirits
- The Enchantress from the Deep
- The Machine of Perpetual Motion
Composed by Georgia Scott
9 minutes
Up-and-coming Australian composer, Georgia Scott, makes her TSO debut with her piece, Cabinet of Curiosities. Georgia uses music to explore complex themes beyond language, often focusing on identity and lived experience. She studied at the Royal College of Music and the Sydney Conservatorium. Her works have been performed in renowned venues and with prestigious ensembles, including the Sydney Symphony Orchestra and Australian World Orchestra. Georgia was a part of the TSO’s Australian Composers’ School program in 2022-2023.
Cabinet of Curiosities is inspired by the Wunderkammer that first appeared around Europe in the 16th Century. The first movement explores a musical representation of the Alchemical Handbell housed in a collection owned by King Rudolf II. Constructed from seven metal alloys and inscribed with a mysterious cypher, it was said to have been able to summon spirits if rung in a certain way. The second movement draws from sirens and mermaids rumoured to have been kept as anatomical specimens by the medical men of the era. The final movement takes inspiration from the machines of perpetual motion which were displayed in Athanasius Kircher’s Museo Kircheriano in Rome.
World premiere. Commissioned for the TSO in honour of Tim Bugg AM
Playing the unplayable
Violin Concerto in D, Op 35
- Allegro moderato
- Canzonetta: Andante
- Finale: Allegro vivacissimo
Composed by Pyotr Ilyich Tchaikovsky (1840 – 1893)
33 minutes
Fast finger work, balancing precision with expressiveness and physical endurance...just some of the reasons why Tchaikovsky’s Violin Concerto is a famous challenge for violin soloists. The concerto is so incredibly taxing the violinist who was supposed to give the world premiere backed out claiming that it was impossible. German violinist Clara-Jumi Kang joins the TSO to take it on.
One of the most celebrated works in the violin repertoire, the concerto is admired for its fiery virtuosity and emotional richness. Composed in 1878 during a turbulent period in Tchaikovsky’s life (makes sense perhaps?), the concerto reflects his ability to channel personal struggles into powerful music. First reviews of the piece had critics calling it “long and pretentious” and even “music that stinks to the ear.” but over time, its expressive power and technical brilliance have elevated it to a revered status.
The first movement welcomes us in with a lively orchestral introduction, leading to the entrance of the solo violin, which introduces a warm, flowing main theme. Our violinist Clara-Jumi is required to jump right in; there are thrilling climaxes and dazzling, intricate passages.
We slow things down in the second movement with the Canzonetta, or “little song” in Italian. This part is deeply moving, as though the violin is sharing an intimate, heartfelt secret with the listener. It’s a moment of calm in the concerto, a chance to sit with the music and reflect.
Finally, the third movement bursts forth with energy and excitement. The music becomes lively and playful, with inspiration from Russian folk music, as though the violin can’t help but leap and spin with joy. This movement presents formidable technical challenges, as it requires the violinist to maintain both speed and articulation. It’s a thrilling finale - don’t be surprised if you end up on the edge of your seat, swept up in Tchaikovsky's passion and creativity.
Pathos & exhilaration
Symphony No 7 in D minor
- Allegro maestoso
- Poco adagio
- Scherzo: Vivace - Poco meno mosso
- Finale: Allegro
Composed by Antonín Dvořák (1841-1904)
35 minutes
Dvořák’s Symphony No 7 is unique because it blends his national pride and love of Czech folk music with a more universal, serious symphonic style. It’s as if he’s speaking both as a Czech patriot and as a composer with a message for the world. Dvořák wrote this symphony during a time when he was becoming well-known beyond his native Bohemia (now part of the Czech Republic). He felt a strong sense of responsibility to represent his country and its culture on the world stage, but he was also grappling with personal struggles and the difficult political situation in his homeland. Dvořák’s work reflects those challenges, combining feelings of hope, struggle, and resilience. The symphony is admired for its emotional depth, and while it doesn’t have the bright, catchy tunes of some of his famous other works, it will draw you in with its sincerity and power.
The first movement opens with an ominous theme in D minor, immediately establishing a tense, brooding atmosphere. This movement exemplifies Dvořák’s mastery of thematic development, as he works and reworks the primary theme, allowing it to transform and intensify. Listen out for the clarinet in the opening, with it’s mournful resonance.
The second movement provides a lyrical, almost hymn-like respite from the intensity of the first. Dvořák’s orchestration here is particularly subtle, using the winds and strings to create layers of color and texture. There are some key moments for solo violin, adding a folk-like sound.
Folk elements are back in the third movement. The scherzo injects energy and rhythm, showcasing Dvořák’s love for Czech folk dances, particularly the furiant with its characteristic cross-rhythms. While lively, the scherzo is not without its shadows, carrying a subtle undercurrent of tension that ties it to the symphony’s darker themes.The timpani provides a grounded, rhythmic energy throughout.
Our finale is here! The symphony comes full circle, full of momentum, with strong, bold themes that feel almost heroic (looking at you trumpets). While the ending is intense and triumphant, it also feels a bit unresolved, leaving the listener with a lingering sense of mystery.
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Musicians
Eivind Aadland
Chief Conductor
Supported by Anonymous
Eivind Aadland is one of Norway’s most respected conductors. Since 2020 he has been Chief Conductor and Artistic Director of the Tasmanian Symphony Orchestra. He was Chief Conductor and Artistic Leader of the Trondheim Symphony Orchestra for seven seasons from 2004, during which time he conducted the complete Beethoven and Mahler symphony cycles. His extensive work with Scandinavian orchestras includes regular guest engagements with the Oslo and Bergen Philharmonics, the Stavanger Symphony, the Gothenburg Symphony and the Swedish Chamber Orchestra. In addition, he has conducted acclaimed productions of Don Giovanni, Le nozze di Figaro, Die Zauberflöte and Die Fledermaus for Den Norske Opera, Oslo.
He has also worked extensively in the Far East and Australia. He is a frequent visitor to the WDR Symphony Orchestra Cologne, the National Orchestra of Belgium and Iceland Symphony Orchestra. He has also worked with Orchestre national du Capitole de Toulouse, Gürzenich-Orchester Cologne, Strasbourg Philharmonic, Lausanne and Scottish Chamber Orchestras and the symphony orchestras of Melbourne, Finnish Radio, Bamberg, Staatskapelle Weimar, SWR Stuttgart and Tokyo Metropolitan Symphony Orchestra. In addition to his career as a conductor, Eivind Aadland is a devoted collector of, and authority on, contemporary art. His private collection encompasses works in the diverse media of painting, photography, video and installation.
Clara-Jumi Kang
Violinist
Violinist Clara-Jumi Kang is celebrated worldwide for her exceptional musicality and technical mastery. She has earned numerous prestigious awards, including first prizes at the Indianapolis International Violin Competition (2010), the Sendai Violin Competition, and the Seoul Violin Competition. Her 2021 Beethoven Violin Sonatas album with pianist Sunwook Kim received widespread acclaim.
Kang's upcoming highlights feature a return to the BBC Proms to perform Mozart’s Sinfonia Concertante with Timothy Ridout, an appearance with the Los Angeles Philharmonic at the Hollywood Bowl, and her debut at the Salzburg Festival under Andrew Manze. She will also return to the Israel Philharmonic and the Seoul Philharmonic, perform debut concerts with orchestras such as the Atlanta Symphony, the Shanghai Symphony, and the Netherlands Philharmonic, and embark on recital tours across Korea, Berlin, and Hong Kong.
Recent seasons have seen her collaborate with leading orchestras including the New York Philharmonic, Munich Philharmonic, and the Budapest Festival Orchestra, and with renowned conductors such as Paavo Järvi and Lahav Shani. Her accolades include being named one of Korea’s 100 Most Promising People by Dong-A Times and receiving the Daewon Music Award in 2012.
A dedicated chamber musician, Kang frequently performs at major festivals alongside artists like Janine Jansen and Gidon Kremer. Born in Germany to a musical family, she studied with esteemed teachers, including Dorothy Delay at Juilliard. Currently, she performs on the 1702 "Thunis" Stradivarius, generously loaned by KIA.
Orchestra List
Eivind Aadland Conductor
Clara-Jumi Kang violin
Tasmanian Symphony Orchestra
Violin
Emma McGrath Concertmaster
Ji Won Kim Associate Concertmaster
Lucy Carrig-Jones Principal Second
Tobias Chisnall Principal First
Kirsty Bremner
Miranda Carson
Yue-Hong Cha
Doreen Cumming
Frances Davies
Matthew Hassall
Dabin Huh
Michael Johnston
Christine Lawson
Elinor Lea
Xinyu Mannix
Phoebe Mansel
Christopher Nicholas
Rohana O’Malley
Hayato Simpson
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Did you know our Concertmaster plays a violin hand-crafted by one of the finest and most important luthiers (a string-instrument maker) of the nineteenth century, Jean-Baptiste Vuillaume (1798–1875).
He crafted 3000+ instruments in his time and we’re very proud to have a violin made in 1845 on loan from two of our generous Tasmanian patrons.
Viola
Caleb Wright Principal
Sandra Ionescu
Anna Larsen Roach
Susanna Low
William Newbery
Catherine Turnbull
Cello
Jonathan Békés Principal
William Hewer
Ivan James
Joseph Kelly
Martin Penicka
Oliver Russell
Double Bass
Stuart Thomson Principal
Aurora Henrich
Matthew McGrath
Gustavo Quintino
Flute
Lily Bryant Guest Principal
Lloyd Hudson Principal Piccolo
Oboe
Eve Newsome Guest Principal
Dinah Woods Principal Cor Anglais
Clarinet
Andrew Seymour Principal
Eloise Fisher Principal Bass Clarinet
Bassoon
Tahnee van Herk Principal
Melissa Woodroffe Principal Contrabassoon
Horn
Claudia Leggett Guest Principal First
Julian Leslie Guest Principal Third
Jules Evans
Aaron Molnar
Trumpet
Fletcher Cox Principal
Mark Bain
Trombone
David Robins Principal
Jackson Bankovic
Bass Trombone
Michael Szabo Guest Principal
Tuba
Rachel Kelly Principal
Timpani
Matthew Goddard Principal
Percussion
Gary Wain Principal
Harp
Meriel Owens Guest Principal
*Correct at time of publishing
Federation Concert Hall
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In 2020, major acoustical enhancements were made to the hall, amplifying the venue's, and the TSO's, reputation as world-class.
Photo credit: Fin Matson
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Acoustics are the science of sound, or the way a venue can deliver the thunderous feeling of strings and brass, or the ring of the triangle over all the other instruments.
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Coming up
Bach's Christmas Oratorio
Conducted by Stephen Layton, featuring the TSO Chorus, soprano Amy Moore, mezzo-soprano Hannah Fraser, tenor Louis Hurley and bass Christopher Richardson.
JS Bach Christmas Oratorio, BWV248 (selections)
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