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The second movement, Blues: Moderato, incorporates the technique of bitonality but takes its strongest inspiration from the Blues, as suggested by the title. The Blues style component adds a melancholy character. In particular, Ravel utilised the melodic figures prominent in 1920s Blues. The theme whines like a saxophonist in a slide or a crooner cooing. On the violin, a slow ascent to a note creates a certain nasal-ness, and the prolonged reach to the set note becomes quite exotic. The brilliant last movement, Perpetuum mobile: Allegro, tests the limits of the violinist's virtuosity. Musical ideas from the first movement, particularly the countermotive, shine through the propulsive, uninterrupted sixteenth notes, which drive the work relentlessly to a blazing, elated end. Ravel dedicated the Sonata to Hélène Jourdan-Morhange, a violinist of great merit. She had originally asked Ravel to write her a concerto but he composed this Sonata instead. Unfortunately, by the time the work was completed in 1927, Jourdan- Morhange's severe arthritis prevented her performing it. The premiere was undertaken in Paris in May 1927 by the great Romanian composer and violinist, Georges Enescu, with Ravel himself at the piano. Theme and Variations for clarinet and piano Jean Françaix (1912-1997) Jean Françaix composed his Tema con Variazioni (Theme and Variations) for clarinet and piano in 1974 on a commission from the Paris Conservatoire. Françaix dedicated the piece to his grandson, Olivier. The theme is soberly stated in a tempo marked Largo, and this is followed by a florid and impressive set of six variations. The piece is generally cheerful, jazzy in feeling and its appeal is immediate, rather unlike what you would expect from a contemporary composer in Françaix' time. His decision to hold out against current trends paid off in the long run, as this is one of only a few chamber works of the 1970s to enter the standard repertoire. The Tema con Variazioni has been recorded many times and may be found listed as a required work in many collegiate level clarinet courses. In 1978, Françaix recast the Tema con Variazioni for clarinet and string orchestra but this version has enjoyed nowhere near the popularity of the original clarinet and piano scoring. Sonata in D minor for cello and piano Claude Debussy (1862-1948) Prologue: Lent, sostenuto e molto risoluto Sérénade Finale: Animé The Cello Sonata was the first of a group of six anticipated sonatas for various instrumental combinations. However, Debussy was only able to compose three of the works before dying of cancer. After his death, the common belief was that Debussy's late works were the products of deteriorating inspiration and a reliance on thin attributes. The Cello Sonata evokes an eighteenth century that existed only in the poems of Verlaine and the paintings of Watteau. It is said that the Cello Sonata was originally to be titled "Pierrot fâchè avec la lune" (Pierrot angry with the moon). The Pierrot mentioned is a French Pantomime character; a sad, love-sick clown with a white face and white floppy clothes. This brief work is marked by the clarity and concision one has come to expect from French composers – from Rameau and Couperin to Debussy and Ravel. It is modelled on the Baroque sonata, rather than the complex, large-scale works of Romantics such as Beethoven and Schubert. The overall mood is sad, yet ironic. The Cello Sonata and two other sonatas were dedicated to the composer's daughter, Emma Claude-Debussy. Rapsodie Espagnole for piano (four hands) Maurice Ravel (1875-1937) Prélude à la nuit: Très modéré Malagueña: Assez vif Habanera Feria Ravel composed this music in 1907, but did not orchestrate it until just before the premiere on 15 March 1908, with Edouard Colonne conducting "his" orchestra at one of "his" Paris concerts. This symphonic suite in four related movements derives from his Basque mother's memories of Madrid, where she spent much of her childhood. In the Prélude à la nuit: Très modéré two octaves apart, muted violins and violas play a descending four-note motif that repeats over and over, never louder than mezzo-forte throughout. A six-measure theme interrupts, in effect a cadenza for clarinets and later bassoons, before the music evanesces on a chord in the high strings. Ravel's own description was "voluptuously drowsy and ecstatic". Concert C1 continued next page 16
The Malagueña: Assez vif begins in 3/4 with an open key, but later changes to 2/4 and B major. Originally a Spanish courting dance, this quick-moving evocation of Málaga is a long crescendo that begins very quietly with an ostinato motif in the bass, until a muted solo trumpet plays the main theme with tambourine accompaniment. The tempo slows for a new melody of Moorish cast, sung plaintively by the English horn, following which the opening motif from the first movement returns. Ravel subtitled the Habanera "Au pays parfumé que le soleil caresse" (In the fragrant land that the sun caresses) in his twopiano original of 1895 with minor-second dissonances in the accompaniment and triplet-spiced themes. The Feria, a high-spirited holiday scene, came several years after Debussy's Fêtes movement in Trois Nocturnes, but predated a similar fiesta finale in Debussy's Ibéria, the second Image pour orchestre. Ravel interrupts his celebration with a languorous interval, soft as suede, played by the English horn and solo clarinet, followed by the four-note motif from movement one, before the merriment resumes in even more frenzied brilliance. Celebrate the Festival’s 20th Anniversary with a TAX DEDUCTIBLE donation to the Australia Business Arts (AbaF) Australia Foundation Cultural Fund The Australia Cultural Fund was established by Australia Business Arts Foundation (AbaF) to encourage people to donate to the arts and to enable not-for-profit groups like the Tyalgum Festival to benefit from this generosity. In the past ten years more than $8.2 million has been donated to AbaF, which has been granted in full to more than 4,000 artists and cultural organisations It’s a testament to the hard work of the Committee and the passion of our audiences that we celebrate the Festival’s 20th Anniversary this year! A tax deductible donation to AbaF is an excellent way to honour the Festival with a commemorative gift. AbaF will consider your preferences when allocating grants and your tax deductible gift to the Tyalgum Festival will help ensure that we can continue to present wonderful concerts beyond the next 20 years. Please visit the Friends or Supporters pages on the Festival website for more information and to download a donation form. Post the form directly to AbaF, who will then provide a receipt and take your preference – for the Tyalgum Festival – into consideration when allocating grants. The Festival Committee, volunteers, performers and sponsors, thank you for your support and generosity. FORMER TYALGUM FESTIVAL COMMITTEE MEMBERS Connie Amoore Debbie Angus Jean Brewer Peter Brown Michael Dafnis Robert Franzos Jennifer Garcia William Gill Neville Hibbard Vivienne Hibbard Pauline Hibbard Carmel Kaine Hilary Langford Glen Latham David Lowe Graeme Mills Sue Mohun Jeff Mohun Ian Oliver Margarita Rickard Greg Rooney John Schrameyer John Tyman John Willison David Wilkinson Dierdre Wybrew Edward Wybrew 2011 FESTIVAL COMMITTEE President VIce President/Music Director Festival Co-ordinator Committee Virginia Mason Jenni Hibbard Alexsandra Wilkinson Catherine Brown Randy Edwards Finola Horlin Jennifer Slattery Ian Wilkinson LEFT: Heidi Chan, winner of the 2010 Tyalgum Festival Prize, Young Conservatorium with Festival president Virginia Mason RIGHT: Former Festival Committee members Hilary Langford (left) and Dierdre Wybrew with Patron Margot Anthony (centre) in 2002 17
Page 2 and 3: It's a vintage year for music on th
Page 4 and 5: Music, Art & Nature in Australia’
Page 6 and 7: Hall in perfect harmony with artist
Page 8 and 9: 2011 FESTIVAL PROGRAM Friday 2 Sept
Page 10 and 11: ABOUT THE PERFORMERS Sylvia Arroyo
Page 12 and 13: ABOUT THE PERFORMERS Thomas Green h
Page 14 and 15: ABOUT THE PERFORMERS Patrick Murphy
Page 16 and 17: ABOUT THE PERFORMERS Shannon Tobin,
Page 20 and 21: CONCERT C2 THE YOUNG VIRTUOSI Satur
Page 22 and 23: CONCERT C3 WINDS OF CHANGE Saturday
Page 24 and 25: CONCERT C4 CELLO ORCHESTRA Saturday
Page 26 and 27: CONCERT C5 STEINWAY CONCERT Saturda
Page 28 and 29: Natasha Vlassenko and Oleg Stepanov
Page 30 and 31: CONCERT C7 CAMERATA OF ST. JOHN'S S
Page 32 and 33: The Adagio heard today is an early
Page 34 and 35: Laser Skirmish Indigo Collins-Cook
Page 36 and 37: ACKNOWLEDGMENTS WIN WITH THE RAFFLE
Page 38 and 39: We appreciate the generous support
Page 40: First Program Cover 1991 Tyalgum Fe

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