Sunday 21st September 3:00pm
Program: Franz Schubert (1797-1828) Der Erlkönig – arr. Diane Chaplin Sergei Rachmaninov (1873–1943) Vocalise – arr. Roman Pidoux Piotr Moss (1949 – ) Ragtime Tomaso Albinoni (1671–1751) Adagio in G Minor – arr. John Benz Freddie Mercury/Queen Bohemian Rhapsody – arr. Johnstone Lennon/McCartney Yesterday – arr. Johnstone Monique Clare You Are – arr. Karen Cortez Hans Zimmer (1957 – ) The Battle, Now we are free from Gladiator Hans Zimmer (1957 – ) Pirates of the Caribbean Leichhardt Town HallAcknowledgment Of Country
The Metropolitan Orchestra acknowledges the traditional Aboriginal custodians of the land.
We acknowledge this is a country in which the members and elders of the local Aboriginal communities have been custodians for many centuries, and on which these people have performed age-old ceremonies.
The Metropolitan Orchestra acknowledges and pays our respects to the Gadigal, Wangal and Dharug peoples of the Eora Nation, the traditional custodians of this land on which we perform, and we pay our respects to all Elders both past and present.
Supported by Inner West Council
| Franz Schubert (1797–1828) | Der Erlkönig (The Elf King) – arr. Roland Pidoux |
Few works capture sheer, breathless terror as perfectly as Schubert’s Der Erlkönig . Composed when he was just 18, it is a masterpiece of the art song (Lied ), telling Goethe’s chilling poem of a father galloping through the night, his sick child clutched in his arms, pursued by the seductive and sinister Elf King.
Schubert wrote much of his music spontaneously. The Erlkönig is one such example: a friend of Schubert’s saw him feverishly scribbling dots onto paper, having rushed home with the whole piece in his head. The first performance was an instant hit, but the publisher initially turned it down, finding it too difficult. Schubert, famously penniless, received just a few Groschen for it. It is now one of the most famous songs ever written. In this arrangement for cello ensemble, the piano’s frantic gallop and the four distinct vocal characters—narrator, father, son, and Erlking—are all conjured by the rich and varied voices of the cellos.
| Sergei Rachmaninov (1873–1943) | Vocalise – arr. Roman Pidoux |
Rachmaninov’s Vocalise is the final song in his Fourteen Songs , Op. 34. As the title suggests, it contains no words, allowing the solo voice to become a pure, instrument-like expression of melancholic longing. Rachmaninov, a notorious perfectionist and a man with famously large hands, was initially very sceptical about the piece. He worried that a song without words was a pointless exercise. He was, of course, utterly wrong. Its timeless, aching melody has made it a favourite for transcription by almost every instrument imaginable, from theremin to tuba. The cello, with its human-like tenor range, is perhaps the most perfect vehicle for it after the human voice itself.
| Piotr Moss (b. 1949 – ) | Ragtime |
Piotr Moss, a Polish composer who has lived in France since 1981, is known for his expressive and often witty style that blends contemporary techniques with a keen sense of tradition. His Ragtime for cello ensemble is a brilliant homage to the American ragtime craze that swept the world in the early 20th century. Moss’s piece is a delightful work, demanding precision and swing in equal measure. It’s a joyful reminder that classical musicians love to cut loose and have fun!
| Tomaso Albinoni (1671–1751) | Adagio in G Minor – arr. John Benz |
This profoundly moving Adagio is attributed to Tomaso Albinoni but hides one of music’s most intriguing mysteries. It was almost entirely composed in the mid-20th century by Italian musicologist Remo Giazotto. He came across a fragment of manuscript paper, containing a figured bass line and 6 bars of melody, apparently written by Albinoni. The fragment had been salvaged from the ruins of the Dresden State Library after WWII.
In its solemn beauty, the Adagio has a direct emotional cousin in Samuel Barber’s Adagio for Strings. Both works have been used in many film scores. Giazotto’s Adagio was made famous by Peter Weir’s iconic 1981 film Gallipoli, where it underscored the film’s tragic and poignant finale. More recently, it was used in the film Manchester by the Sea (2016).
| Hans Zimmer (b. 1957 – ) | Now We Are Free from Gladiator |
Hans Zimmer is the modern master of the cinematic epic. His score for Gladiator is a character, driving the film’s immense scale and deep emotion. “Now We Are Free” is a hauntingly beautiful lament of ethereal vocals and profound peace. Lisa Gerrard, who provided the vocal performance for “Now We Are Free,” in the film recording, did not sing in a known language. She used a technique called “idioglossia,” singing in a language of her own invention, based purely on raw emotion and sound.
| Lennon/McCartney | Yesterday – arr. Johnstone |
The music of The Beatles is remarkable for its melody and harmonic invention, making it perfect for classical adaptation. Paul McCartney, in his later years, developed a deep appreciation for classical music. He once admitted that if he had his musical life again, he would train as a cellist, citing his love for the instrument’s “melancholy” and “soulful” sound. One can only imagine he would be thrilled to hear a cello choir pay such a tribute to his work.
| Monique Clare | You Are – arr. Karen Cortez |
Monique Clare is a multi award-winning songwriter whose deeply personal storytelling has elicited cathartic tears and laughter from audiences around the world. Her songwriting mirrors her classical training, immersion in the folk scene, and art-pop influences like Björk and Joanna Newsom. This song is from her album ‘Sight’, which won Contemporary Album of the Year at the 2023 Australian Folk Music Awards. Originally for cello and voice, this song is about telling someone how much you love them: “You’re so lovely, love of mine”. This intricate arrangement uses many extended cello techniques, including “guitar bowing”, chopping and percussion.
| Freddie Mercury/Queen | Bohemian Rhapsody – arr. Johnstone |
The rock opera to end all rock operas, “Bohemian Rhapsody” is a six-minute suite containing a ballad, a guitar solo, an operatic section, and a hard rock finale. Its complexity and ambition make it a natural, if daring, fit for a classical ensemble.
When the band first played the operatic section for their producers, they were met with bewildered silence. The recording process was legendary: it took over three weeks and involved layering 180 separate vocal overdubs for the “Galileo” section alone. Freddie Mercury would reportedly sing the same phrase for ten hours straight. To perform this on cellos is a feat of similar ambition and dedication!
| Hans Zimmer (b. 1957 – ) | Pirates of the Caribbean |
We end with a dose of pure adventure. Zimmer’s main theme for Pirates of the Caribbean is instantly recognizable, the music driven by relentless energy and a memorable, modal melody. Zimmer adapted the theme for “Pirates” from a synth demo he had composed for another project. The frantic, driving rhythm you hear is inspired by the song “Mexican Lottery” by the band Zebda. The arrangement for the Cellists of the Basel Symphony Orchestra is famous for its sheer power and fun, requiring the cellists to play with aggressive, percussive force, a thrilling finale to our concert this afternoon.
The Metropolitan Orchestra – Click Here To Read TMO’s Biography.
Today’s Musicians
John Benz
Julienne Guerbois
Ezmi Pepper
Karen Cortez
Mitchell Quinn
Emily Cavey
Catherine Upex
Alex Benz
The Metropolitan Orchestra is a not-for-profit arts organisation and a registered charity.
Consider making a tax-deductible donation to The Metropolitan Orchestra and join us in shaping the future of music in Australia. Every donation, no matter the size, makes a tangible difference. Your support ensures that TMO continues to bring world-class music to audiences of all ages, foster the next generation of musicians, and create a thriving arts landscape in Australia.
All donations over $2.00 are Tax-Deductible. We sincerely thank you for your support.