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CONCERT PROGRAMME 2016/17 SEASON Sun 12 Feb 2017 at 3.00 pm Malaysian Philharmonic Youth Orchestra Naohisa Furusawa, conductor PROGRAMME DUKAS Fanfare to La Péri 4 mins DVOŘÁK Serenade in D minor, Op.44 24 mins INTERVAL 20 mins TOURNIER Prelude for Harp Duet Nos. 1 and 2, Op.16 4 mins TCHAIKOVSKY Serenade for Strings in C major, Op.48 28 mins All details are correct at time of printing. Dewan Filharmonik PETRONAS reserves the right to vary without notice the artists and/or repertoire as necessary. Copyright © 2016 by Dewan Filharmonik PETRONAS (Co. No. 462692-X). All rights reserved. No part of this programme may be reproduced in any form without the written permission of the copyright owners. Naohisa Furusawa conductor Naohisa Furusawa has been a member of the Malaysian Philharmonic Orchestra (MPO) double bass section since 2003. Born in Tokyo in 1973, he started to play the violin when he was four years old and later joined his junior high school orchestra as a double bass player at age 12; his first conducting experiences were with this orchestra. Later, he studied double bass with Prof. Nobuo Shiga, and piano and conducting with Prof. Kazue Kamiya at Tokyo’s Toho Gakuen School of Music. Furusawa has performed as a double bass player with the NHK Symphony, Yomiuri Nihon Symphony, Tokyo Metropolitan Symphony and several other orchestras, under the direction of many conductors including Seiji Ozawa, Kazuyoshi Akiyama, Wolfgang Sawallisch, Horst Stein, Lorin Maazel, Herbert Blomstedt, Pierre Boulez and Valery Gergiev. In 1998, Furusawa was awarded a scholarship from the Cultural Affairs Agency of Japan to study double bass at the Mozarteum University in Salzburg. He has conducted Beethoven’s 9th Symphony five times with Tokyo’s MAX Philharmonic Orchestra. He also conducted Mahler’s Second Symphony with the MAX Philharmonic to commemorate the 70th anniversary of the end of the Second World War. He has conducted many young musician ensembles including MPO’s Encounter Training Ensemble and the Miri Tutti Project in East Malaysia as part of the MPO’s Education and Outreach Programme. PROGRAMME NOTES Two serenades form the heart of this MPYO programme, one featuring wind instruments, the other strings. Each is a masterly creation written by a great melodist. Although both compositions exude a sunny disposition, their authors could not have been more different in their personal lives: Dvořák was among the happiest and least complicated of the late romantic composers, while Tchaikovsky positively wallowed in neuroses, melancholy and wild mood swings. Introducing the concert is a bright little fanfare by Dukas. PAUL DUKAS (1865-1935) Fanfare to La Péri (1912) The Background French composer Paul Dukas showed an early predilection for dramatic subjects. His first important composition was an overture to a stage work, Corneille’s Polyeucte (1891). Over the next thirty years, he turned out a number of finelycrafted, poetically-inspired works. He also made his mark as a conductor, essayist, professor of composition and orchestration, and arts administrator. But despite all these public activities, he remained a very private person, and would not even permit photographs of himself to be published. The Music La Péri (1912) was Dukas’ last important work. He called it a “Poème dansé”, by which he meant not just an ordinary ballet score, but rather a symphonic poem with a choreographic interpretation, an approach Ravel was pursuing in Daphnis et Chloé at almost precisely the same time. Concertgoers who admire the sumptuous orchestral effects and the atmosphere of magic and fantasy of The Sorcerer’s Apprentice, Dukas' most famous work, will find even more to enjoy in La Péri, which is twice as long (the Malaysian Philharmonic Orchestra performed music from La Péri this past November). The story revolves around a Persian king, Iskender, who seeks the Flower of Immortality from a beautiful, fairy-like creature (a peri). Today’s concert offers only a teaser for the musical riches to be found in this score through the brief but splendid brass fanfare that precedes the rise of the curtain, and is often performed independently of the ballet score. ANTONÍN DVOŘÁK (1841-1904) Serenade in D minor, Op.44 (1878) I. Moderato, quasi marcia II. Tempo di menuetto – Trio: Presto – Tempo di menuetto III. Andante con moto IV. Finale: Allegro molto The Background Dvořák was no revolutionary. He wrote in an essentially conservative style, respecting the forms inherited from Beethoven and Brahms. But he was one of the first of the great musical nationalists, incorporating the rhythms, colours and melodic idioms of his native Bohemia into much of his music. In addition, he was one of the great melodists of music history, a close rival to Schubert, and many of his works fairly bubble over with melodic invention. This includes the Serenade we hear this afternoon. Most concertgoers would agree that the Serenade in D minor is one of his most agreeable and sunniest creations. Why then is it heard so seldom in the concert hall? A glance at the instrumentation reveals the answer: it is too large for any of the traditional chamber ensembles to handle, and too small for a symphony orchestra – even one of modest size – to bother with. But happily the MPYO has thrown convention to the winds and offers listeners a composition for the unique ensemble of two oboes, two clarinets, two bassoons, contrabassoon (optional), three horns, cello and double bass. Although an Op.44 would imply that the composer was well along in his career by this time (he was 36), Dvořák was still relatively unknown as a composer. It is Brahms we have to thank for changing this. Brahms persuaded his publisher Simrock to accept some works by Dvořák for publication, including this Serenade and the first set of Slavonic Dances, Op.46. The Dances were a huge success, and Dvořák quickly found himself famous. The first performance was given in Prague on 17 November 1878. The Music The Serenade opens with a sturdy march, a throwback to eighteenth century serenades in which the ensemble would enter the performing area to a march, play the serenade (or divertimento or cassation – the terms were nearly synonymous) and exit to the same march. The contrasting central episode is in F major. The second movement is marked “Menuetto” but its true spirit is the Czech folk dance known as a sousedská (neighbours’ dance). Its trio resembles the Czech furiant, another indigenous dance which Dvořák used in several of his symphonies and Slavonic Dances. The romantic slow movement exploits the warmest colours of the ensemble, and the last movement consists of an exuberant romp through some highly technical writing, a return to the opening march, and a final flourish of fanfares from all the instruments. PIOTR ILYICH TCHAIKOVSKY (1840-1893) Serenade for Strings in C major, Op.48 (1880) I. Piece in the Form of a Sonatina: Andante non troppo ̶ Allegro moderato II. Waltz: Moderato, tempo di valse III. Elegy: Larghetto elegiaco IV. Finale: (Russian theme) Andante – Allegro con spirito The Background In 1880, Tchaikovsky was busy writing the tremendously noisy, brash, extroverted Overture, 1812. Concurrently he composed one of his most genial and intimate scores, the Serenade for Strings. The composer had little enthusiasm for the former work, written more or less as a social obligation (“It has no great artistic value”, he told his benefactress Nadezhda von Meck), but he regarded the Serenade as one of the finest things he had done up to that time. “I wrote it from an inward impulse”, he wrote to von Meck. “I felt it deeply and venture to hope that this work is not without artistic qualities”. To his publisher Jurgenson he wrote, shortly after it was finished, “I am violently in love with this work, and can’t wait for it to be played”. Originally, Tchaikovsky planned to make a symphony out of the musical material he had sketched, then changed it to a string quartet, thought about a suite, and finally settled on the title Serenade as an homage to the eighteenth century in general and to Mozart (his favourite composer) in particular (seven years later he was to write his orchestral suite Mozartiana). “Serenade” is just the right description for this thoroughly delightful work of four contrasting movements of concise structure. On the occasion of the first performance, a private one with a student orchestra in late 1880, Tchaikovsky’s former teacher Anton Rubinstein pronounced it his finest writing to date. The first public performance was given on 30 October 1881 in St. Petersburg with Eduard Napravnik conducting. The appreciative audience demanded an encore of the Waltz movement, which has since become one of Tchaikovsky’s best-known pieces. The Music Tchaikovsky called the opening movement “my homage to Mozart; it is intended to be an imitation of his style, and I should be delighted if I thought I had in any way approached my model”. There is an extended slow introduction based on a chorale theme which returns twice in the Serenade, once at the end of this movement, and again near the end of the final movement. The main part of the movement is in sonatina form – an abridged sonata-form movement without development section. The second movement is the aforementioned famous waltz, a lilting creation that bears eloquent testimony to the composer’s love of things Viennese. A romantic interlude in the form of an elegy constitutes the third movement. The Finale begins with a transcription of a folk song, a hauling song of the Volga boatmen. The Allegro con spirito portion of the movement also uses a folk song, this one a lively street ditty from the Moscow region. Its melodic profile strongly resembles that of the Serenade’s slow introduction, which indeed does make a final appearance before the work ends with a flourish. MALAYSIAN PHILHARMONIC YOUTH ORCHESTRA VIOLIN Andrea Sim Yi Xian Joey Young Joshua Chew Caleb Lee Jin Yen Nicole Leong Ka Yeng Soon Wern-Shynn Elle Chang Su-Ting Low Zi Yang Timothy Song Hoi Khai-Weing Azhad Sulaiman Wong How Yuen Lee Yan Xing VIOLA Lee Yuan Hui Chanel Lee Lynn CELLO Joshua Sin Te Sheng Lee Pu-Yen Charissa Tan Tian Ai Nathalie Kwan Charlene Lee-Ann FLUTE Bonnie Kong Tien Li Chiu Peng Chong Japeth Law Sze Cheng Wooi Wei Kane OBOE Tunku Amanina Tho Jun Meng CLARINET Emily Tiow Yu Xian Ho Kok Yoon Lim Yong Jia Tang Kit Ying BASSOON Stephen Mak Wai Soon FRENCH HORN Chloe Chai Mei Qin Eric Tiow Xian Liang Mohd Adznan Mokhtar TRUMPET Liow Wen Xiang BASS Gillian Too Yong Yoon May TROMBONE Teh Yoong Wei Ahmad Rizqin Nazhif Zainol Abidin Note: Musicians are listed alphabetically and rotate within their sections. PIANO Tengku Mohd Hadif Choong See May HARP Madelaine Chong Zhia Chee Kathrina Chair Ping Jieh Dewan Filharmonik PETRONAS CHIEF EXECUTIVE OFFICER Nor Raina Yeong Abdullah CEO’S OFFICE Hanis Abdul Halim BUSINESS DEVELOPMENT At Ziafrizani Chek Pa Fadzleen Fathy Nurartikah Ilyas Kartini Ratna Sari Ahmat Adam Nik Sara Hanis Mohd Sani MARKETING Yazmin Lim Abdullah Hisham Abdul Jalil Munshi Ariff Farah Diyana Ismail Noor Sarul Intan Salim CUSTOMER RELATIONSHIP MANAGEMENT Asmahan Abdullah Jalwati Mohd Noor Music TALENT DEVELOPMENT & MANAGEMENT Soraya Mansor PLANNING, FINANCE & IT Mohd Hakimi Mohd Rosli Norhisham Abd Rahman Siti Nur Illyani Ahmad Fadzillah Nurfharah Farhana Hashimi PROCUREMENT & CONTRACT Logiswary Raman Norhaszilawati Zainudin HUMAN RESOURCE MANAGEMENT & ADMINISTRATION Sharhida Saad Muknoazlida Mukhadzim Zatil Ismah Azmi Nor Afidah Nordin Nik Nurul Nadia Nik Abdullah TECHNICAL OPERATIONS Firoz Khan Mohd Zamir Mohd Isa Yasheera Ishak Shahrul Rizal M Ali Dayan Erwan Maharal Zolkarnain Sarman Malaysian Philharmonic Orchestra CHIEF EXECUTIVE OFFICER Nor Raina Yeong Abdullah general manager Timothy Tsukamoto ORCHESTRA MANAGEMENT Amy Yu Mei Ling Tham Ying Hui ARTISTIC ADMINISTRATION Khor Chin Yang MUSIC LIBRARY Sharon Francis Lihan Ong Li-Huey EDUCATION & OUTREACH Shafrin Sabri Shireen Jasin Mokhtar MALAYSIAN PHILHARMONIC YOUTH ORCHESTRA Ahmad Muriz Che Rose Fadilah Kamal Francis Malaysian Philharmonic Orchestra Naohisa Furusawa, conductor Classical Kids Live!, presenter SAT 25 FEB 2017 3:00PM SUN 26 FEB 2017 2:30PM & 4:30PM RM130 RM100 RM80 RM50 Box Office: Ground Floor, Tower 2, PETRONAS Twin Towers Kuala Lumpur City Centre 50088 Kuala Lumpur Email: [email protected] Telephone: 603 - 2331 7007 Online Tickets & Info: mpo.com.my malaysianphilharmonicorchestra DEWAN FILHARMONIK PETRONAS – 462692-X MALAYSIAN PHILHARMONIC ORCHESTRA – 463127-H