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CSO Llewellyn One : Redemption

Event

CSO Llewellyn One : Redemption

  • Date: Wednesday, 13 April 2022, 7.30pm
  • Venue: Llewellyn Hall ANU School of Music — School of Music, The Australian National University, Canberra, ACT
  • Series: This event is part of the CSO Llewellyn Series 2022 series
  • Tickets: Adults: $54–101 | Children: $15–30 | Concession: $48–89 — Tickets can be purchased online or by phone on (02) 6262 6772

Event Details

We begin with one of the most blazingly original harmonic ideas in the history of Western classical music: the ‘Tristan’ chord, the standard-bearer for a season dedicated to musical vision. Brimming with tension and dissonance, it sounds the opening of Richard Wagner’s ‘music-drama’, Tristan und Isolde, before surrendering to what feels like an eternity of silence, leaving the listener with no idea what comes next.

There’s something spiritual and transcendent in the love Tristan and Isolde share, a kind of redemption born not of lust but of a strange, mystical journey approaching otherworldly transfiguration. This is music of tantalising expectation, epitomised in the Liebestod (Love-Death), their final moment of yearning ecstasy.

So full of ambiguity and expectation, Wagner’s Tristan chord influenced all the composers who followed him. We hear the echoes a century later in Bernard Herrman’s Vertigo, the soundtrack to Alfred Hitchcock’s masterful psycho-thriller. As in Tristan, the score is central to the drama: psychological, mysterious, lingering and suspenseful.

In Margaret Sutherland, we discover musical innovation akin to Wagner’s, albeit expressed in a very different cultural context. One of the most influential Australian voices of the twentieth century, her violin concerto is an ingenious blend of lyrical Romanticism and the modernist, post-Stravinsky sound world she inhabited.

The influential German composer Felix Mendelssohn blurs the lines between the sacred and the symphonic in his Fifth, referencing the solemn, six-note motif of the ‘Dresden Amen’, an allusion Wagner later imitated in his Parsifal opera, despite his distaste for Mendelssohn.

The ‘Reformation’ Symphony also draws on Martin Luther’s ‘Ein feste Burg is unser Gott’ (A mighty fortress is our God), penned as the Augsburg Confession was in session. A commemoration of that momentous chapter in the Lutheran tradition, Mendelssohn’s symphony resonates well beyond its historical context with a message of joy and universal humanness.

Program

Richard Wagner
Prelude and Liebestod from Tristan und Isolde

Margaret Sutherland AO, OBE
Concerto for Violin and Orchestra

Bernard Herrmann
Suite from Vertigo

Felix Mendelssohn
Symphony No. 5 in D major, op. 107 ‘Reformation’

Featured non-Australian music: Wagner, Bernard Herrmann, Felix Mendelssohn

Further information for this event is available online at the event's website or by phone on (02) 6247 9191 or by email to tickets@cso.org.au

Featured Australian Works

Concerto for violin and orchestra (violin with full orchestra) (1954) by Margaret Sutherland
— performed by Jessica Cottis, Canberra Symphony Orchestra and Courtenay Cleary

Featured artists

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