Born in Vienna
Concert 2 Program
W. A. Mozart Symphony No.41 in C major K.551 Jupiter [31′]
I. Allegro vivace
II. Andante cantabile
III. Allegretto
IV. Molto allegro
Beethoven Leonore Overture No.3 Op. 72 b [14′]
Program Note
Mozart’s final symphony, the Symphony No.41 In C Major K 551 Jupiter is widely considered to be a pinnacle of the ‘classical’ period. Written in 1788 at astonishing speed and in desperate circumstances, the music rises above the everyday realities of grinding poverty, uncertain employment and the loss of an infant daughter to create a grand edifice which projects the power and confidence of a king of the gods. The nickname ‘Jupiter’ arrived, like most nicknames, some time after the work, but sits well with bravado of the first movement and the stately adagio. Its final movement is particularly admired for the way Mozart introduces five motifs, weaving each into intricate fugues before bringing them together as a thrilling whole.
Of course, Mozart wasn’t to know that this would be his final symphony. He was relatively young and thoroughly alive when he dreamt up symphonies 39, 40 and 41. But with no record of payment or firm promise of performance, it is not clear whether he even heard them, except in his imagination. In Mozart’s Vienna, it was opera that paid the bills, so it is no surprise that in 1789 he returned to writing for the stage with Cosi fan tutte. Next came popular success with Die Zauberflöte, followed by La Clemenza di Tito, which opened just before his death, after a short illness, in December 1791.
We can only imagine where Mozart might have taken the symphony if he had lived a little longer.
One opera, four overtures. Why did Ludwig van Beethoven compose multiple versions of the overture for his only opera? The answer is bound up in his artistic vision for the opera, and the turbulent times of its writing. Fidelio had its first performance in Vienna’s historic Theater an der Wien in 1805, a week after Napoleon’s troops arrived to occupy Vienna. The audience was probably mostly French officers, and the reception was muted. Beethoven immediately set about revising the work for a new production in 1806, including creating a lengthy, grand overture. Too lengthy, in fact, and too grand for the understated first scenes of the opera. He made more changes for a performance in Prague (which didn’t go ahead). Then, in 1814, he started again, from scratch, to write what would become the final Overture to Fidelio.
In spite of its failure as an operatic overture the 1806 version, known as Leonore Overture No.3, has gone on to have a life of its own. It is a work of symphonic proportions which all but tells the story of the opera (which Beethoven originally titled ‘Leonora’). The sombre opening portrays despairing Florestan, a political prisoner. The gloom lifts with the introduction of his wife, Leonora, who is on a mission to save him. After battling injustice and overcoming perils to reach Florestan, Leonora hears a fanfare (from an offstage trumpet) announcing the arrival of Don Ferrando, sent by the king to set the prisoners free. Justice and the love of a good wife save the day.
– Harriet Cunningham, 2025
Artists
Mark Wigglesworth | Conductor
Mark Wigglesworth has worked with the Berlin Philharmonic, Royal Concertgebouw, London Symphony, Boston Symphony, New York Philharmonic, Philadelphia Orchestra, Chicago Symphony, Los Angeles Philharmonic, Cleveland Orchestra, and Tokyo Symphony. Recordings include a critically acclaimed cycle of the Shostakovich Symphonies with the BBC National Orchestra of Wales and the Netherlands Radio Philharmonic, Mahler’s Sixth and Tenth Symphonies with the Melbourne Symphony, Britten’s Peter Grimes with Glyndebourne, and the Brahms Piano Concertos with Stephen Hough.
In opera, he has enjoyed long relationships with the Royal Opera House, Covent Garden, and English National Opera, and operatic engagements elsewhere include the Metropolitan Opera, New York, Bavarian State Opera, Opéra National de Paris, and Teatro Real, Madrid. In 2017 he received the Oliver Award for Outstanding Achievement in Opera.
He has written for The Guardian and The Independent, made a six-part TV series for the BBC entitled Everything to Play For, and his book The Silent Musician: Why Conducting Matters, published by Faber & Faber, has been translated into Spanish and Chinese. In September 2024 he became Chief Conductor of the Bournemouth Symphony Orchestra and in 2025 took up the role of Chief Conductor with the Adelaide Symphony Orchestra.
Elder Conservatorium Symphony Orchestra
The Elder Conservatorium Symphony Orchestra (ECSO) is central to the work of the Elder Conservatorium and the training of its young musicians. The orchestra consists mainly of full-time students from the Conservatorium’s music programs but also includes students from other faculties within the University. Our orchestral program aims to provide students with the ensemble expertise necessary for a successful performing career at the highest level and was recently awarded a Silver Medal at the World Orchestra Festival held in Vienna.
Luke Dollman | Director
Luke Dollman is the current Music Director of the orchestra, while guest conductors in recent years have included Nicholas Braithwaite, James Lowe and Graham Abbott. The orchestra performs a wide variety of traditional orchestral repertoire and regularly performs new works by Elder Conservatorium students and staff. The orchestra also provides a platform for our most promising students to perform concertos in our prestigious Elder Hall Lunchtime Series. Regular auditions are held in February as part of Orientation Week, however we welcome enquiries from musicians interested in playing throughout the year.
Violin 1
Adina Lopez
Sofia Tortorelli
Nick Micelli
Shannon Whitehead
Ben Rawlings
Oscar Lo
Han Fan
Victoria Yong
Riki Goble
Ubonwan Hewlett (Lilly)
Ludwig Tsoi
Violin 2
Javier Goh
Caitlin Mildren
Isabelle Watson
Nick Hoskyns
Victoria Phan
Emily Cox
Jiayi Wang
Gabrielle Yoong
Zhen Wen Chen
Noah Mewett
Riku Ikeda
Viola
Sterling Rieck
Oliver Brown
Tianyou Jiang
Tahlia Brennan
Clara Salzmann
Morgan Frost
Cello
AJ Singh
Chiara Kelle
David Jansen
Leo Stoll
Elise Smith
Maiko Fujihara
Evan Mewett
Double Bass
Ashlea Naglis
Holly Little (guest)
Scarlett Bauer
Leah Komad-Antic
Flute
Alex Byrne
Lucy Ryan (Beethoven only)
Oboe
Jade Elsdon
Patrick Moorhouse
Clarinet
Daniel Hurst (Beethoven only)
Annelie Budgen (Beethoven only)
Bassoon
Angus McBride
Chiara Panetta
Horn
Liam McBride
Will Hobbs (Beethoven only)
Lauren Owens
Abigail Sutherland (Beethoven only)
Trumpet
Henry Bradley
William Bailey
Trombone
Adam Draper (Beethoven only)
Jessica Du (Beethoven only)
Charlie Makaev (Beethoven only)
Timpani
Noah Miller