Matthew Hindson (b. 1968)
RPM is like getting in a Ferrari and slamming your foot on the accelerator. Go through all the red lights, break the sound barrier. Experience a high-octane, white-knuckled ride influenced by electronic dance music and heavy metal.
Sergei Prokofiev (1891-1953)
Lieutenant Kije Suite (1934)
From the incidental music to the film about a made-up military general and his creators' attempts to evade discovery by the Tsar.
I. The Birth of Kije
Two cheeky courtiers wake the slumbering tsar, who demands the culprit be found and punished. Meanwhile, a slip of the pen when compiling a military roster results in the creation of the fictitious Lieutenant Kije, who is promptly blamed for the disturbance.
A mournful song, initially presented in the double bass, laments Kije's banishment to Siberia for waking the tsar.
III. Kije's Wedding
On discovering the real culprit the Tsar pardons Kije and promotes him to colonel. Kije supposedly marries the princess Gagarina in a boisterous celebration, upon which the Tsar further promotes him to commander of the army!
A brisk journey on a traditional three-horse Russian sled (a troika) across the Siberian plains seeks to find General Kije, who has now been summoned by the Tsar. The music from the 'Song' reappears in a brighter, lighter guise.
V. Kije's Burial
Unable to reveal their long-sustained charade, Kije's creators apologise deeply to the Tsar that General Kije cannot be summoned as he has unfortunately been killed. His funeral recalls the episodes of his dramatic life - from the opening fanfare and march music of his 'Birth', the lamenting 'Song' and the lively 'Wedding' music. We say goodbye to the man that never was with a wistful, parting fanfare.
INTERVAL - Go grab a drink
Maurice Ravel (1875-1937)
Arna Morton, Violin
In 1920s Paris, a fascination with the exotic had captured the cultural imagination. Ravel - obsessed with musical colour - sought to harness this in his Tzigane (Gypsy)- dramatic tour-de-force for violin full of rebelliousness, rough-hewn energy and uber-romantic gestures. Both playful and dramatic, the work is both arresting and mesmerising. Originally written for the lutheal, a long-forgotten Frankensteinian instrument that combined elements of the piano and organ he soon wrote an orchestral version that allowed him to explore even more coloristic effects.
Kurt Weill (1900-1950) arr. Morton Gould (1913-1996)
Berlin Suite (1966) from The Two Worlds of Kurt Weill
I. Mack the Knife (Berlin Version) from The Threepenny Opera
II. Marie Galante (J'attends un navire)
III. Surabaya Johnny from Happy End
IV. Theme from Mahagonny
V. Polly's Song from The Threepenny Opera
VI. Bilbao Song from Happy End
Kurt Weill was a musical maverick. The musical theatre of the twenties was romantic and sentimental - and in Europe, operetta, with all its frills and ornamentation was the dominant form. With his librettist Bertholt Brecht weill stripped this form of its superficialities and escapism, creating a sparse, direct melody and lyric that reflected the seething unrest and cynicism of post-World War I Europe. Instead of fairytale characters, Weill's theatre was peopled by the impoverished, the downtrodden, the disillusioned.
Weill had two careers - one in Europe and one in America. Even before moving to the US he was fascinated with jazz and the American popular idiom. This suite seeks to portray Weill's songs through a European lens, in contrast to it's partner work, New York Suite.
Arna Morton, violin
Born and raised in Christchurch, New Zealand, Arna moved to Wellington in 2009 to complete her Bachelor of Music and Masters of Musical Arts in Violin at the New Zealand School of Music under the tutelage of the ever-inspiring Helene Pohl of the New Zealand String Quartet. In 2014, Arna moved to Melbourne, Australia, where she is currently a Performance PhD candidate, Academic Assistant, and recipient of the Australian Postgraduate Award at the University of Melbourne Conservatorium of Music, supervised by the highly esteemed American violinist Dr Curt Thompson.
Arna was the joint first prize winner of the 2013/14 New Zealand National Concerto Competition, performing Szymanowski's First Violin Concerto with the Christchurch Symphony Orchestra, and returned to perform Ravel's Tzigane with the Christchurch Symphony in 2015. She was also a 2016 Gisborne International Music Competition Prizewinner, and the winner of the 2015 Melbourne Conservatorium of Music Concerto Competition, going on to perform Britten's Violin Concerto with the MCM Symphony Orchestra in October 2016. Arna also has a passion for concertmastery, and is currently the concertmaster of the University of Melbourne Symphony Orchestra, following positions previously held in the NZSO National Youth Orchestra, the New Zealand School of Music Orchestra, and the Wellington and Christchurch Youth Orchestras. Arna was an emerging artist in the 2016 Mimir International Chamber Music Festival in Texas as a member of the Curve Quartet, and recently returned from a month-long tour of New Zealand in July 2017 with Chamber Music New Zealand as first violin of the Troubadour Quartet following a successful season as guest artists in the 2017 Adam Chamber Music Festival.
Ingrid Martin, conductor
Ingrid Martin is one of Australia’s brightest young conductors, with a reputation for performances that move players and audiences alike. A fervent advocate of Australian music, she has led national and international tours and given premieres of Australian works in Asia, the USA and Australia.
Passionate about introducing music to new audiences and melding different art forms Ingrid has collaborated with galleries, artists, dancers, actors and directors to create immersive artistic experiences. Her projects have seen a painter work live on stage in performance alongside the Monash Concert Band during their Sound of Art concerts, and Shakespearean actors recite soliloquies with the Victorian Youth Symphony Orchestra. In Masquerade the Crosswinds Ensemble performed music of Kurt Weill’s The Threepenny Opera amongst images and paintings of Melbourne’s cabaret scene in the 1930s at the Heide Museum of Modern Art.
As Artistic Director of VYSO she has led the orchestra in presenting innovative programs that have engaged new audiences, raised the orchestra's cultural profile and set new artistic standards. She has worked regularly with professional orchestras in Australia and New Zealand as a member of the Symphony Services International Conductor Program, and was selected to participate in the inaugural Stonnington Symphony Emerging Artist Program.
Ingrid completed her Master of Music in Conducting at the University of Minnesota under Craig Kirchhoff. She appears regularly as a workshop clinician, presenter, adjudicator and guest conductor across Australia.
Teresa Wilkie* (concertmaster)
*denotes section leader
^ denotes guest musician