DISCOVER JANÁČEK. Suite from the opera, The Cunning Little Vixen. DEANE-JOHNS The Full-Rigged Ship

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1 SEASON 2007 DISCOVERY PROGRAM PRESENTED BY TENIX DISCOVER JANÁČEK Tuesday 28 August 6.30pm City Recital Hall Angel Place Richard Gill conductor Sydney Sinfonia JANÁČEK Suite from the opera, The Cunning Little Vixen 1st movement Opera first performed in Brno, 1924 The suite, arranged by Václav Talich, was first performed in Prague, 1937, and revised in 1965 by Václav Smetáček This concert will be recorded for later broadcast in the summer on ABC Radio National. The ABC Classics DVD of the Discovery Program is now available. Buy online at sydneysymphony.com/shop DEANE-JOHNS The Full-Rigged Ship Composed 2006 Next in the Discovery Program: Discover Rachmaninov 25 September, 6.30pm Hear Britten s Young Person s Guide to the Orchestra Meet the Music 12 and 13 September, 6.30pm Tea and Symphony 14 September, 11am PRESENTING PARTNER

2 ABOUT THE CONDUCTOR RICHARD GILL conductor SANDRA & PAUL SALTERI CHAIR OF ARTISTIC DIRECTOR, EDUCATION Richard Gill is the Artistic Director of the Sydney Symphony s Education Program. He was recently appointed Music Director of the newly formed Victorian Opera Company. He has also been Artistic Director of OzOpera, Artistic Director and Chief Conductor of the Canberra Symphony Orchestra, and Advisor for the Musica Viva in Schools Program. He regularly conducts for Opera Australia and OzOpera, and in recent seasons he has conducted Meet the Music concerts with the Sydney Symphony, and Discovery concerts with the Sydney Sinfonia; concerts with the Canberra Symphony and The Queensland Orchestra; choral masterclasses and The World s Biggest Singing Lesson at the UWA Perth International Arts Festival; Sing Your Own Opera at the Melbourne International Festival of the Arts; The Marriage of Figaro for Opera Queensland; and Messiah for Sydney Philharmonia. His repertoire includes Orpheus in the Underworld, Faust, The Gondoliers, Moya Henderson s Lindy, The Eighth Wonder by Alan John and Dennis Watkins, Macbeth, Rigoletto, Lucia di Lammermoor, Il trovatore, Roméo et Juliette, La Périchole, The Merry Widow, Fidelio, Turandot, The Pearl Fishers, The Force of Destiny, Dido and Aeneas, Il Combattimento di Tancredi e Clorinda and The Love for Three Oranges. Recently he conducted Handel s Julius Caesar for Opera Australia s Melbourne season. For OzOpera he has conducted Carmen, The Magic Flute, La bohème and The Barber of Seville. His music theatre repertoire includes Jonathan Mills The Ghost Wife, of which he conducted the premiere in Melbourne, and performances in Adelaide, Sydney and London. Richard Gill has received numerous accolades, including an Order of Australia Medal, the Bernard Heinze Award, an Honorary Doctorate from the Edith Cowan University of Western Australia, the Australian Music Centre s award for Most Distinguished Contribution to the Presentation of Australian Composition by an individual, and the Australia Council s prestigious Don Banks Award in 2006.

3 ABOUT THE MUSIC LEOŠ JANÁČEK (born Hukvaldy, Moravia, 1854; died Moravská Ostrava, 1928) The last decade of Leoš Janáček s life was his most prolific. His Sinfonietta, Glagolitic Mass, the orchestral rhapsody Taras Bulba, and the operas Kátya Kabanová, The Cunning Little Vixen, The Makropulos Affair and From the House of the Dead all date from the 1920s. It is likely that the success of his most popular opera, Jen ufa, fuelled this creative spark. There can be no doubt, however, that this voluminous artistic productivity was also in part due to Janáček s passionate yet rather distant infatuation with a much younger woman, Kamila Stösslová. He was twice her age, and already married, as was she, but during the course of their unconsummated relationship they exchanged more than 700 letters. Each folk song should contain an entire man; his body, his soul, his surroundings, everything, everything. He who grows up among folk songs, grows into a complete man. LEOŠ JANÁČEK Expanding on the nationalistic tradition of fellow Czech composers Bedřich Smetana and Antonín Dvořák, Janáček drew strongly on the folk-music idiom in developing his own musical language. He was also fascinated by speech inflections and the dialects of his native Moravia, and would often try to capture spoken phrases as well as natural sounds, such as bird calls, in musical notation. All these inspirations for the melodies and rhythms of Janáček s music reveal a closeness with the natural world. I would like to sing the majesty of the mountains, the soft tepid rain, the chilling ice, the flowers in the meadows, the snow fields; the bright peaks touching the sky and the ghostly darkness of the forests at night; the love call of the song-birds and the shrieks of the bird of prey; the dreamy silence of noon and the humming tremolo of a thousand insects. LEOŠ JANÁČEK Taking its inspiration from an illustrated serial published in the local liberal newspaper Lidové noviny, The Cunning Little Vixen is one of the sunniest works from the composer s last years. The tale of the adventures of a young vixen combines human and animal characters in an exploration of the natural cycle of life, death and renewal. In giving expression to the actions and movements of the animals, Janáček incorporated a large proportion of orchestral interlude and ballet music into the score. This instrumental music also served to capture the otherworldly Pantheistic aspects of opera, such as the mood of the forest the creatures inhabit, in a way that text or sung words could not. For much of the 20th century Janáček s music was barely known outside Czechoslovakia. Fortunately, a young Australian, while studying with Václav Talich the conductor responsible for the initial realisation of The Cunning Little Vixen Suite developed an interest in the music of Slavonic composers. Sir Charles Mackerras was almost single-handedly responsible for the revival and restoration of many of Janáček s original scores. Leoš Janáček The vixen meets a handsome fox they fall in love. Illustration by Stanislav Lolek, originally published in Lidové noviny (1920) Sir Charles Mackerras Returns in October to conduct Janáček s Sinfonietta and music by Dvořák and Smetana October Sydney Opera House Call for performance times and tickets or visit sydneysymphony.com

4 BENEDICT DEANE-JOHNS (born Melbourne 1971) About the composer A relative newcomer to the orchestral genre, Benedict Deane- Johns has composed music for film, theatre and dance. He holds a Bachelor of Music from the Victorian College of the Arts, and a Graduate Diploma in Composition from Melbourne University. An experienced performer as singer, trumpet player, pianist and bandleader, Deane-Johns music draws on his family s Celtic heritage, as well as contemporary orchestral, jazz, dance and film music influences. Echoing Janáček s philosophy of the importance of folk music and its inherent ability to capture natural unadorned melody, the evolution of folk tune material in Deane-Johns music was initially subconscious. It was Australian pianist Michael Kieran Harvey who first drew his attention to the evocative nature of the harmonies in his solo piano work Ode to the God of Fire, and their suggestions of Celtic traditions. Describing himself as a spontaneous composer, Deane-Johns seeks to create music that is absolutely true to the initial perception of sound as heard by the composer, before orchestration. In composing his own original folk-based melodies, he seeks to convey that which is heard inside the composer s head in the purest and most direct way possible. Benedict Deane-Johns About the music In his score, the composer describes The Full-Rigged Ship as a threepart jig (traditional) from the Shetland Islands, with contemporary introduction. The music is intended to convey the rolling motion of a sea-going vessel. The Shetland Islands, remote and isolated, served as an important port-of-call between Scotland and Scandinavia, guaranteeing frequent sitings of these majestic craft. NOTES BY GENEVIEVE LANG AYO MUSIC PRESENTATION FELLOW A full-rigged ship is a sailing vessel with three or more masts, each with square rigging in which fourcornered sails are carried on horizontal spars or yards.

5 THE SYDNEY SINFONIA PHOTO: KEITH SAUNDERS GOVERNMENT SUPPORT The Sydney Symphony is assisted by the Australian Government through the Australia Council and by the NSW Ministry for the Arts. The Sydney Sinfonia is a specialist ensemble combining the experience of Sydney Symphony musicians and Australia s most accomplished tertiary music students. The Sydney Sinfonia performs through New South Wales and provides music students with the chance to be mentored by Sydney Symphony musicians. The Sydney Sinfonia is part of the Sydney Symphony s Education Program and is supported by Leighton Holdings and the NSW Ministry for the Arts. FIRST VIOLINS Kirsten Williams* Martin Silverton Thomas Dethlefs Melanie Koeller Reafen Liu Jennifer Seo SECOND VIOLINS Susan Dobbie* Maria Durek* Victoria Jacono Christina Morris Alexander Norton Sonja Schebeck VIOLAS Anne-Louise Comerford* Joanna Tobin Charlotte Burbrook de Vere Caroline Fairgrieve Yi Lin Zhu CELLOS Leah Lynn* Mathisha Panagoda Christopher Pidcock Patrick Suthers Kim Worley DOUBLE BASSES David Campbell* Hayley Clare Elizabeth Hawryluk FLUTES Carolyn Harris* Kiri Birtles Michael Hallit Kate Lawson OBOES Diana Doherty* David Papp Jonathan Ryan CLARINETS Lawrence Dobell* Alexandra Carson Guy Spielman BASSOONS Noriko Shimada* Matthew Payne Chloe Turner HORNS Robert Johnson* Katy Hermann Alexis Routley Megan Wright TRUMPETS Daniel Mendelow* Alexandra Bieri James Polack TROMBONES Ronald Prussing* Neill Ryan BASS TROMBONE Sam Torrens TUBA Antonio Neilley Menendez de Llano TIMPANI & PERCUSSION Colin Piper* Andrew Chan Chiron Meller HARP Owen Torr CELESTE Josephine Allan* * Sydney Symphony Musician Sydney Symphony Fellow Guest Musician During the 2007 season Sydney Symphony program covers will feature photos that celebrate the Orchestra s history over the past 75 years. The photographs on the covers will change approximately once a month, and if you subscribe to one of our concert series you will be able to collect a set over the course of the year. COVER PHOTOGRAPHS (clockwise from top left): The SSO in Cremorne s Orpheum Theatre (1962); Igor Stravinsky in front of an SSO touring case (1961); the Double Bass section of the 1940s, with Mr Lang in the foreground; Principal Double Bass Kees Boersma; artist John Peart with the SSO: painting and performing music of Nigel Butterley in the Cell Block Theatre (1967); former Chief Conductor Stuart Challender; Challender and the SSO (1988); First Violin Amber Davis (photo by Anson Smart); Second Violin Stan Kornel and members of the Sydney Symphony in a hospital performance for the MBF Music4Health program (2006).

6 THE PARTNER SALUTE Leighton Holdings Limited is delighted to join the Sydney Symphony as Presenting Partner of the Sydney Sinfonia. Sydney Sinfonia s unique structure and format drive a dynamic culture of professional development and innovative performance, not only benefiting the young musicians involved, but also contributing to a greater understanding of classical music within the community regardless of age. As part of our ongoing commitment to the communities we work within, Leighton is proud to support the current and future generations of talented orchestral musicians as they entertain, educate and inspire us. David Mortimer AO Chairman, Leighton Holdings PLAYING YOUR PART Richard Gill, the Sydney Symphony s acclaimed educator and musician, has worked with Australia s leading musicians and music teachers to create our innovative and world-renowned Education Program. We bridge the gap between classroom and concert hall by producing high quality resources and offering development programs to assist teachers, giving inspiring concerts to school children and awarding fellowships to postgraduate musicians. To support our activities and help enrich our community with the wonder of music, please contribute by making a donation. Call Alan Watt (02) , alan.watt@sydneysymphony.com or write to Sydney Symphony, GPO Box 4972, Sydney NSW 2001 EDUCATION PROGRAM The Sydney Symphony Education Program Our range of programs encourages people to respond to music in a number of ways. They include: School Concerts for all ages, with supporting educational materials and teacher seminars; Playerlink and Regional Tours, bringing the orchestra to children in regional areas; Sydney Sinfonia, tonight s ensemble, providing a career pathway and mentoring for emerging professional musicians; Sydney Symphony Sinfonietta, an elite ensemble drawn from the Sinfonia to perform contemporary repertoire; Sydney Symphony Fellowship Program, providing opportunities for young professional musicians to work closely with the Orchestra; James Fairfax Young Artist Program, enhancing the experience of Fellowship holders through work on chamber music repertoire; and Discovery, a concert series for adults that examines how orchestral music works. Presenting Partner Sydney Symphony Education Program Presenting Partner Sydney Sinfonia Sandra & Paul Salteri Principal Patrons of Richard Gill OAM, Artistic Director Geoff & Vicki Ainsworth Patrons, Sydney Symphony Sinfonietta James Fairfax AO Principal Patron, James Fairfax Young Artist Program Elizabeth Albert and Robert O. Albert AO Supporting Patrons, James Fairfax Young Artist Program The Clitheroe Foundation Patron, Sydney Symphony Violin Fellowship 2007 Penny Edwards Patron, Sydney Symphony Violin Fellowship 2007 The Paramor Family Patron, Sydney Symphony Viola Fellowship 2007 Mrs Warwick Stening Patron, Sydney Sinfonia Viola & Cello Chair & Sydney Symphony Cello Fellowship 2007 Sandra and Neil Burns Patrons, Sydney Symphony Wind Fellowship 2007 Dr Bruno and Mrs Rhonda Giuffre Fellowship Extension Project 2007 Mr and Mrs E.J. Merewether Bruce and Joy Reid Foundation Supporting Patrons, Fellowship 2007 Mrs Patricia M. Dixson Patron, Regional Touring Dr John Roarty, in memory of June Roarty Patron, Sydney Sinfonia Violin Chair Rosemary Pryor Patron, Sydney Sinfonia Flute Chair Allegro Program Major Patrons Brian Abel and the late Ben Gannon AO Jan Bowen Ian Burton Ian Dickson and Reg Holloway Helen Lynch AM Tonight s wines are generously supplied by Bimbadgen Estate Wines.

7 PRESENTING PARTNER MESSAGE Tenix warmly welcomes you to the 2007 Discovery Program of concerts. We are confident you will find them musically exciting, and that they will open up for you a new understanding of the featured artists and works. For three years, now, Tenix has sponsored Sydney Symphony s Education Program. As a company with a major commitment to technology and innovation, we strongly support education and training across a range of fields, and we are proud to support not only the Discovery series, but also Sydney Symphony s extensive Schools program, which brings the world of classical music to primary schools across the State. Sydney Symphony s Discovery Program is a wonderfully innovative and exciting experience. We hope you enjoy it as much as we enjoy our Education partnership with the orchestra. Greg Hayes Tenix Group Managing Director and Chief Executive Officer General Manager Bronwyn Edinger Deputy General Manager Lisa Robertson Angel Place, Sydney, Australia GPO Box 3339, Sydney, NSW 2001 Administration: Box Office: Facsimile: CITY RECITAL HALL ANGEL PLACE A City of Sydney Venue Lord Mayor Clover Moore Managed by PEGASUS VENUE MANAGEMENT (AP) PTY LTD Christopher Rix Founder This is a / SHOWBILL publication. PUBLISHER Playbill Proprietary Limited / Showbill Proprietary Limited ACN ABN Pacific Highway, Pymble Telephone: (02) Fax: (02) admin@playbill.com.au Website: Executive Chairman and Advertisement Director Brian Nebenzahl OAM, RFD Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl / Director Production Chris Breeze / D S69