When: September 15, 2018 | 7.30pm
Where: Drill Hall at the Multicultural Club, 26 Therry St, Melbourne VIC 3004
Experience the evolution of modern art through the sound of Melbourne’s rawest orchestra.
From bow to brush, hear Picasso, Gaugin, O’Keeffe and more…
A masterpiece you won’t want to miss.
BELLE EPOQUE: Jules Massenet – Le Cid Ballet Suite – paired with Gaugin, Toulouse and Lautrec.
CUBISM: Erik Satie – Parade – paired with Picasso.
AMERICAN MODERN: Aaron Copland – Rodeo: Saturday Night Waltz & Hoe Down – paired with Alexander Calder and Georgia O’Keeffe.
THE DIGITAL AGE: Katy Abbott - Carmen Vitae - Mason Bates – Mothership – paired with Apple Mac Computer/Emojis.
Are you a Melbournian? If so, you are eligible for free tickets to any of our concerts! When booking on Eventbrite, all you have to do is enter your postcode into the Promotional Code section. On the night, remember to bring your driver’s licence to show at the door.
Reading this in the concert? Be nice to the people around you - put your phone screen on ‘Invert Colours’ to get white text on black background.
(iOS: Settings ->General -> Accessibility ->Display Accommodations ->Invert Colours)
Le Cid - Ballet Suite (1885)
Jules Massenet (1842-1912)
The opera Le Cid is not part of the standard operatic canon, but includes the usual suspects - murder plots, intrigue, romance, kings, battles and drinking songs. It reflects the obsession with exoticism which gripped European art in the 19th century. The fascination with Spain (the setting of the opera) is clearly heard in the ballet scene in Act IV, in which the cast show off a series of flourishing local Spanish dances.
Erik Satie (1866-1925)
Prelude of the Red Curtain
The Little American Girl - Ragtime of the Passenger Steamer
Continuation of the Prelude of the Red Curtain
In 1915, amidst World War I, an artist, a composer and a director at down in Paris to write a ballet about lame circus performers. Their idea - a show in which various acts are proffering their wares to the public, desperate for them to enter through the red curtain to watch their show. The artist, Pablo Picasso, made stiff cardboard costumes that hindered the dancers moves. The composer, Erik Satie, wrote cubist music that abruptly shifted from one coloured pane to another without development or transition. The director, Jean Cocteau, insisted on including a revolver, sirens, a lottery wheel and a typewriter in an attempt to create a ‘succes de scandal’ like the premiere of ‘The Rite of Spring’ by the same company a few years earlier. Thus, the bizarre Parade was born.
Aaron Copland (1900-1990)
III. Saturday Night Waltz
IV. Hoe Down
Nearly 30 years after Parade, the same company, the Ballet Russes commissioned Aaron Copland to write music to a ballet that captured the down home notion of a country rodeo. Choreographer Agnes de Mille wrote:
”Throughout the American Southwest, the Saturday afternoon rodeo is a tradition. On the remote ranches, as well as in the trading centres and the towns, the ‘hands’ get together to show off their skill in roping, riding, branding and throwing. Often, on the more isolated ranches, the rodeo is done for an audience that consists only of a handful of fellow-workers, women-folk, and those nearest neighbours who can make the eighty or so mile run-over. The afternoon’s exhibition is usually followed by a Saturday night dance at the Ranch House. The theme of the ballet is basic. It deals with the problem that has confronted all American women, from earlier pioneer times, and which has never ceased to occupy them throughout the history of the building of our country: how to get a suitable man.”
Carmen Vitae/Song of Life (2000)
Katy Abbott* (b. 1971)
Song of Life is a celebration of youthful exuberance, rugged determination and grit. Commissioned by Presbyterian Ladies’ College to celebrate their 125th Anniversary , it is full of relentless drive and energy.
*Katy Abbott is our featured Melbourne-based composer for Master Pieces.
Mason Bates (b. 1977)
The mothership floats high above, an orchestra pulsing rapidly with a heart of techno. At several moments in the piece, various soloists dock with the mothership, dropping in with solos both virtuosic and lyrical. The work was commissioned by Michael Tilson Thomas and the YouTube Symphony, who premiered the work in March 2011 at the Sydney Opera House. The piece follows the form of a scherzo with double trio. But while symphonic scherzos historically play with dance rhythms such s the waltz, Mothership looks to 21st Century dance music (such as techno) to enliven its journey.
Kiya van der Linden Kian
Ella Tuncliffe-Glass (piccolo)
Anna Telfer (piccolo)
Liam Samat (Eb)
Kimberly Ho (Bass)
James Morrissey (Bass)
Candy Mitchell & City of Melbourne - for their generous funding of our orchestra & supporting live music in Melbourne
J. Walter Thompson - for our graphics and advertising
Monash Concert Band & Dan Richardson - Percussion Hire
Bob Moody - Percussion Transport, PA Hire & Sound Engineering
Tom d’Ath - Recording Engineer
Patrick Telfer & Mira Stephens - Front of House
VYSO Committee: Susan de Weger (Acting President), Elise Frederiksen (Vice President), Alex Rosenfeld (Treasurer), Stephanie Lai (Librarian), Teresa Wilkie, Matt James (General Committee), Mel O’Brien (Orchestra Manager - IgniteLAB) - for their tireless work to run our orchestra
MCM IgniteLAB - for funding our Orchestra Manager position
(Put it in your calendar guys!)
Listen to Your City
December 1, 7:30pm
Drill Hall, Multicultural Hub
Feat. sultry cabaret tunes from New York, An American in Paris, a brand new commission all about Melbourne by local composer Ed Fairlie and Percy Grainger homage to the Australian landscape.