BRAHMS & SIBELIUS. Janine Jansen plays Brahms APT MASTER SERIES

Transcription

1 BRAHMS & SIBELIUS Janine Jansen plays Brahms APT MASTER SERIES Wednesday 18 March 2015 Friday 20 March 2015 Saturday 21 March 2015

2 concert diary CLASSICAL Janine Jansen plays Brahms BRAHMS Violin Concerto BUTTERLEY Never This Sun, This Watcher SIBELIUS Symphony No.5 Daniel Blendulf conductor Janine Jansen violin APT Master Series Wed 18 Mar 8pm Fri 20 Mar 8pm Sat 21 Mar 8pm Pre-concert talk at 7.15pm Inga Nielsen-Bigstock.com SSO Presents: The Planets by Gustav Holst A concert for the planet on the evening of Earth Hour. In association with the Global Orchestra project. David Robertson conductor Ladies of the Sydney Philharmonia Choirs Symphonic Variations MOZART Symphony No.31 (Paris) FRANCK Symphonic Variations for piano and orchestra MOZART Rondo in D for piano and orchestra, K382 FRANCK Symphony in D minor Yan-Pascal Tortelier conductor Louis Lortie piano Louis Lortie in Recital FAURÉ Préludes, Op.103 SCRIABIN 24 Preludes, Op.11 CHOPIN 24 Préludes, Op.28 Tea & Symphony Fri 27 Mar 11am Complimentary morning tea from 10am Earth Hour Special Event Sat 28 Mar 8.30pm Thursday Afternoon Symphony Thu 9 Apr 1.30pm Emirates Metro Series Fri 10 Apr 8pm Great Classics Sat 11 Apr 2pm Pre-concert talk 45 minutes before each performance International Pianists in Recital Presented by Theme & Variations Mon 13 Apr 7pm City Recital Hall Angel Place Pre-concert talk at 6.15pm Blanaru/Bigstock.com Major Wilfred Evans courtesy of Evans family/australian War Memorial Le Grand Tango with Sydney Dance Company PIAZZOLLA arr. Arturo Rodriguez Libertango Le Grand Tango SARASATE Navarra BIZET Carmen: Suite No.1 PIAZZOLLA The Four Seasons of Buenos Aires GINASTERA Concerto Variations Daniel Carter conductor Soloists from the SSO including: Andrew Haveron violin Catherine Hewgill cello Associate artists of Sydney Dance Company Anzac Day Salute Centenary Concert COPLAND Fanfare for the Common Man MF WILLIAMS Letters from the Front australian premiere LEDGER War Music premiere VAUGHAN WILLIAMS Fantasia on a Theme by Thomas Tallis Richard Gill conductor Gondwana Chorale Kaleidoscope Fri 17 Apr 8pm Sat 18 Apr 8pm Pre-concert talk at 7.15pm Meet the Music Wed 22 Apr 6.30pm Special Event Fri 24 Apr 8pm Pre-concert talk 45 minutes before each performance FOR COMPLETE DETAILS OF THE 2015 SEASON VISIT SYDNEYSYMPHONY.COM CALL Mon Fri 9am 5pm NO FEES WHEN YOU BOOK THESE CONCERTS ONLINE WITH THE SSO Tickets also available at SYDNEYOPERAHOUSE.COM Mon Sat 9am 8.30pm Sun 10am 6pm CITYRECITALHALL.COM Mon Fri 9am 5pm All concerts at Sydney Opera House unless otherwise stated

3 WELCOME Shakespeare said that music is the food of love, and this evening s APT Master Series concert may just steal your heart. It s a concert of inspiration and poetry. You ll hear Sibelius the most beloved of Finnish composers inspired by his homeland. You ll hear Brahms, inspired by his friendship with a great virtuoso. You ll hear Nigel Butterley, inspired by the poetry of Kathleen Raine and the vision of a sunrise. Meanwhile, Dutch violinist Janine Jansen and her Swedish husband Daniel Blendulf are the ultimate musical power couple and have literally crossed oceans to share their artistic partnership with us this evening. We recognise that Europe will always be a source of inspiration for music, art and unforgettable memories. From Amsterdam to Finland and numerous romantic destinations in between, we know you ll fall in love with APT s itineraries. We hope you come away from tonight s performance inspired, refreshed, and a little bit in love. Geoff McGeary oam APT Company Owner

4 2015 concert season APT MASTER SERIES WEDNESDAY 18 MARCH, 8PM FRIDAY 20 MARCH, 8PM SATURDAY 21 MARCH, 8PM SYDNEY OPERA HOUSE CONCERT HALL BRAHMS AND SIBELIUS Daniel Blendulf conductor Janine Jansen violin JOHANNES BRAHMS ( ) Violin Concerto in D, Op.77 Allegro non troppo Adagio Allegro giocoso INTERVAL NIGEL BUTTERLEY (born 1935) Never this sun, this watcher JEAN SIBELIUS ( ) Symphony No.5 in E flat, Op.82 Tempo molto moderato Allegro moderato Andante mosso, quasi allegretto Allegro molto Friday night s performance will be broadcast live across Australia by ABC Classic FM. Pre-concert talk by Scott Davie at 7.15pm in the Northern Foyer. Visit sydneysymphony.com/speaker-bios for more information. Estimated durations: 38 minutes, 20-minute interval, 12 minutes, 30 minutes The concert will conclude at approximately 9.55pm. PRESENTED BY

5 SARA WILSON / DECCA MARCO BORGGREVE 6

6 INTRODUCTION Music in the Moment: Brahms, Butterley and Sibelius At this point in history it s possible to experience any music you wish, in any performance that takes your interest and at any time and place, regardless of what else you might be doing. Technology allows the curation of a soundtrack to life. Everyone s a programmer. And yet, if you re reading this, chances are you together with many others still choose to go to concerts, to experience a particular performance of music chosen by others at a fixed time and place in a format that demands your full attention. That s the old technology of the concert hall. From time to time perhaps not often enough that s because the live performance is the only way to hear a piece of music. The Butterley piece we play tonight hasn t yet been commercially recorded this is your chance to experience it. Mostly, however, the music in a concert series like this one comes from the masterpieces of the orchestral repertoire. But even these familiar works take on a fresh aspect with each new performance because ultimately music exists in time, in performance, in the moment. This week we ve welcomed Dutch violinist Janine Jansen back to Sydney, and on this occasion she is accompanied by her husband, conductor Daniel Blendulf in what is a relatively rare chance for them to perform together. The pieces they ve chosen for the program unite themes of poetry, vision and powerful imagination. We begin with Brahms s seriously beautiful violin concerto, music which Sibelius heard as grand, almost too symphonic, in its conception. The concert ends with one of Sibelius s most accessible symphonies: optimistic and outgoing and full of heroic feeling. And in between there s music by Australian Nigel Butterley, celebrating his 80th birthday this year. He takes his inspiration directly from the poetry of Kathleen Raine: The sun that rose from the sea this morning will never return Never this sun never again this watcher. Life, and music, experienced in the moment. PLEASE SHARE Programs grow on trees help us be environmentally responsible and keep ticket prices down by sharing your program with your companion. READ IN ADVANCE You can also read SSO program books on your computer or mobile device by visiting our online program library in the week leading up to the concert: sydneysymphony.com/ program_library 7

7 ABOUT THE MUSIC Johannes Brahms Violin Concerto in D, Op.77 Allegro non troppo Adagio Allegro giocoso Janine Jansen violin Cadenza by Joachim Brahms spent the summers of in the lakeside village of Pörtschach in Carinthia, producing the Ballades for piano (Op.75), the Symphony No.2 and his Violin Sonata in G (Op.78) all works which share an atmosphere of pastoral beauty shot through with nostalgia. But as Brahms scholar Karl Geiringer notes, the crowning masterpiece of this time is the Violin Concerto. The Concerto, like the G major Sonata, was composed for the great virtuoso Joseph Joachim, whom an ecstatic 15-year old Brahms had heard play the Beethoven Concerto. In 1853 their friendship began in earnest, with Joachim writing to Brahms s parents of how Johannes had stimulated my work as an artist to an extent beyond my hopes my friendship is always at his disposal. Brahms similarly admired Joachim significantly as a composer rather than performer, saying that there is more in Joachim than in all the other young composers put together. While Joachim was intimately involved with the creation of Keynotes BRAHMS Born Hamburg, 1833 Died Vienna, 1897 Brahms is often thought reactionary: he valued classical forms, admired composers of the past, and his choral music is firmly rooted in the traditions of the baroque period. Yet his musical language and manner of using the orchestra clearly represents mid-19th-century romanticism in all its richness and emotive power. It took Brahms 15 years to compose his first symphony; he was keenly aware of the looming shadow of Beethoven. But the second symphony followed swiftly four months later in 1877, and the violin concerto soon after. VIOLIN CONCERTO Brahms wrote this concerto for his good friend and violin virtuoso Joseph Joachim. Since Brahms was not a violinist, he consulted Joachim as he worked, sending him drafts and urging him to mark those parts that are difficult, awkward, or impossible to play. A composer himself, Joachim enthusiastically offered suggestions and composed a cadenza, which he performed at the concerto s premiere. In the second movement, Adagio, the solo violin steps back from the spotlight and plays second fiddle, accompanying an exquisitely lyrical solo from the oboe. The virtuosic last movement, an exuberant rondo, has a distinct gypsy character a tribute by Brahms to his Hungarian violinist friend and collaborator. 8

8 The Focus Group In 1878 Brahms sent his friend, the legendary violinist Joseph Joachim, the solo part of his new violin concerto. Joachim told him that, while it was sometimes difficult to tell how a concerto would work from the violin part alone, it appeared at first glance to be a very pleasing and successful work. I wish I could go through it with a violinist less good than you, Brahms wrote back, for I am afraid you are not sufficiently blunt and severe. The composer then sent music to another friend, the conductor Hans von Bülow, who responded with the quip that Max Bruch had written a concerto for the violin, while Brahms had written one against the violin. The violinist Henry Wieniawski, himself the composer of some fiendishly difficult violin concertos, also received a copy and declared it to be simply unplayable. And when, after the premiere, the violinist Pablo de Sarasate was asked if he intended to play the new concerto, he responded (referring to the beginning of the Adagio): I don t deny that it is very good music, but do you think I could fall so low as to stand, violin in hand, and listen to the oboe play the only proper tune in the work? A place where so many melodies fly about that one must take care not to tread on them. BRAHMS DESCRIBES HIS SUMMER RETREAT IN PÖRTSCHACH early works of Brahms s chamber music, it was not, strangely enough, until those summers by the lake at Pörtschach in the 1870s that Brahms wrote solo music for his friend. Geiringer notes that, in the case of both concerto and sonata, Brahms conscientiously asked his friend s advice on all technical questions and then hardly ever followed it, but in fact at crucial points Joachim s advice on technical matters was invaluable. This consisted mainly of tinkering with certain figurations to make them more gratifying to play. But Joachim was also a profoundly serious artist like Brahms and out of their collaboration came works in which the element of virtuosity never overshadows the musical argument, despite the work s many technical challenges. Joachim also wrote a cadenza for the concerto which is still frequently heard today. The Violin Concerto has some of the expansive dimensions of Brahms s first piano concerto. This is especially true of the spacious first movement which, like that of Beethoven s Violin Concerto, takes up more than half the work s playing time, and which begins with a long, symphonic exposition of its main themes. Like its companion Second Symphony, the Concerto is in D major, a key which composers like Beethoven, Tchaikovsky and Sibelius used for violin concertos as it makes use of the instrument s natural resonance; like the Symphony 9

9 SYMPHONIC VARIATIONS Star French-Canadian pianist Louis Lortie returns to Sydney to perform two short, spirited opportunities for virtuoso display by Mozart and Franck. As well, enjoy Mozart s Paris Symphony and Franck s grand Symphony in D minor. MOZART Symphony No.31 (Paris) FRANCK Symphonic Variations for piano and orchestra MOZART Rondo in D for piano and orchestra, K382 FRANCK Symphony in D minor THU 9 APR 1.30PM FRI 10 APR 8PM SAT 11 APR 2PM BEST SEATS Yan-Pascal Tortelier conductor Louis Lortie piano (pictured) BOOK NOW TICKETS FROM $39 * NO FEES WHEN YOU BOOK THIS CONCERT ONLINE AT CALL MON FRI 9AM 5PM TICKETS ALSO AVAILABLE AT SYDNEYOPERAHOUSE.COM MON SAT 9AM 8.30PM SUN 10AM 6PM *Booking fees of $5.00 $8.95 may apply.

10 Brahms with Joachim it has something of a visionary Romantic tone. Brahms originally thought to write the piece in four movements, making the central pair a scherzo and contrasting slow movement. But he wrote to Joachim that the middle movements naturally the best ones have fallen through. So I have substituted a feeble adagio. Feeble is of course hardly the word for this piece: derived from the simplest of musical figures (the falling broken chord with which the oboe introduces the theme and the violin then begins) it evolves into one of Brahms s most soulful but restrained movements. As such it provides a wonderful contrast to the gypsy style finale, with its pyrotechnic solo line and exciting use of displaced accents. Joachim premiered the piece in Leipzig in 1879, but the response was tepid, and only through Joachim s persistence did it gradually gain its rightful place in the standard repertoire. Brahms and Joachim fell out over the violinist s divorce in 1884, the rift lasting until Brahms wrote the Double Concerto for violin and cello in But that s another story. GORDON KERRY 2006 The orchestra for Brahms s Violin Concerto calls for pairs of flutes, oboes, clarinets and bassoons; four horns, two trumpets, timpani and strings. The SSO first performed the concerto in 1939 with soloist Jeanne Gautier and conductor Malcolm Sargent, and most recently in 2012 with conductor Vladimir Ashkenazy and soloist Lisa Batiashvili. The First Performance Joseph Joachim once said that the greatest of the German violin concertos, the one that makes fewest concessions, was Beethoven s, and that Brahms s concerto came closest to Beethoven s in its seriousness. So it s no surprise that he proposed, for the premiere of the Brahms, a program with Beethoven s Violin Concerto at the beginning, and the new concerto at the end. The middle was to be filled with songs, two movements from one of Bach s partitas for solo violin and an overture by Joachim himself. Brahms had the kinds of doubts that occur to any thoughtful programmer: Beethoven shouldn t come before mine of course, only because both are in D major. Perhaps the other way around but it s a lot of D major and not much else on the program. Nonetheless, the program went ahead as Joachim had planned. If nothing else, it indicates his great stamina as a performer performing two such monumental, and for us similar, works on the one program. But Michael Steinberg offers the reminder that to Joachim and his listeners these were not two established masterpieces but one classic and a new and demanding work by a composer with a reputation for being difficult. 11

11 Nigel Butterley Never this sun, this watcher Nigel Butterley s output of the 1960s and early 1970s is concentrated in the area of orchestral music, with major statements such as the Meditations of Thomas Traherne (1968) and the piano concerto Explorations (1970) holding pride of place. His more recent music, however, is predominantly for smaller forces. From Sorrowing Earth, premiered by the Sydney Symphony Orchestra in 1991, is one of his finest achievements, but in the quarter century since then he has produced only one further orchestral work. Never this sun, this watcher is a relatively modest work, composed for the Ku-ring-gai Philharmonic Orchestra and premiered by them in As often happens in Butterley s output, the epigraph and title are from the English poet Kathleen Raine ( ): The sun that rose From the sea this morning Will never return, For the broadcast light That brightens the leaves And glances on water Will travel tonight On its long journey Out of the universe, Never this sun, This world, and never Again this watcher. The poem s central idea, the uniqueness and unrepeatability of every moment of experience, is reflected in two ways. First, the music is in constant evolution; ideas do reappear, but always in altered guise, and the tonal references are rich but unstable. This is already apparent in the opening bars, where an initial suggestion of C major is clouded as early as the third bar by a bi-tonal combination of E minor and E flat major, a type of harmony which appears frequently in the work. After rapid suggestions of several other key areas, the opening returns, but transposed up a semitone. The second aspect of response to the poem is almost the opposite of the first. About two-thirds of the way through, the restlessness of the music is halted for a startling revelation of orchestral luminescence, based on a resonant six-note chord pulsing at several different speeds. While its constituent elements are heard earlier, this passage stands out as a Keynotes BUTTERLEY Born Sydney, 1935 Since the instrumental octet Laudes (1963), Nigel Butterley has been recognised as one of the foremost Australian composers of his generation, which included Richard Meale and Peter Sculthorpe. His reputation was consolidated in 1966 when his radiophonic choral work In the Head the Fire was awarded the Italia Prize. During the 1960s he composed two works for the SSO: Interaction, an improvisation for painter (John Peart), piano and orchestra, and First Day Covers, devised by Barry Humphries for Dame Edna Everage. His output also includes chamber music, the orchestral works Meditations of Thomas Traherne (1968) and From Sorrowing Earth (1991), and an opera Lawrence Hargrave Flying Alone (1988) as well as solo and ensemble music for voices. From as early as Six Blake Songs (1956), poetry has been an important influence. His enthusiasm for Walt Whitman s poetry resulted in three works, and There Came a Wind Like a Bugle comprises settings of Emily Dickinson. The strongest influence since 1990 has been Kathleen Raine. The Woven Light (1994) for soprano and orchestra and Paradise Unseen (2001) written for The Song Company are both settings of her poetry. It is also the main source for the text of Spell of Creation, for soloists, choir and orchestra, which was awarded the Paul Lowin Orchestral Prize in

12 moment of epiphany, never to be repeated, evoking the sunrise described in the poem. After a condensed and occluded recapitulation of the first half, the score concludes with a coda based on two triads F sharp major and A major which alternate and overlap while gradually descending into the lowest register of the strings. ELLIOTT GYGER 2015 Elliott Gyger has recently completed a book The Music of Nigel Butterley (Wildbird Music). Never this sun, this watcher calls for two flutes (one doubling piccolo), two oboes, two clarinets, two bassoons; four horns, two trumpets and three trombones; timpani and percussion; and strings. Never this sun was commissioned by a consortium of Australian amateur and community orchestras with financial assistance from the Ian Potter Cultural Trust. The first performance was given in 2005 by the Ku-ring-gai Philharmonic Orchestra and conductor Wilfred Lehmann. This is the SSO s first performance of the work. BRIDGET ELLIOT Nigel Butterley In 2015 Nigel Butterley is celebrating his 80th birthday. In addition to these concerts in Sydney, his music is featured this month in a concert at the Australian National Academy of Music in Melbourne. Ten years ago, shortly before the premiere of Never this sun, this watcher, he spoke to Andrew Ford on The Music Show about how the music came about. He explained how he d become involved with the Amateur Chamber Music Society lots of brain surgeons and QCs and other people who are often very good performers. One of these musicians, a violinist in the Ku-ring-gai Philharmonic Orchestra, sparked the idea of writing a piece specifically for community orchestras. As it turned out, he found it very demanding to write a piece which was not too technically difficult, but it is musically difficult, but at the same time the imposed limitations stimulated creativity. I knew that I couldn t have all the nice sort of percussion like marimbas and vibraphones, and I couldn t take the French horns up terribly high and exposed, and I had to be aware of the fact that these are all, or many of them, are very good players, but the composite is a mixture of people, and I wanted to give them something that they would like playing, something that they wouldn t find too difficult. Because I found with the Amateur Chamber Music people that they like to have something different, but it s got to be reasonably fulfilling they don t want to waste their time with something which is going to be as difficult in six months as it is now. 13

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14 Jean Sibelius Symphony No.5 in E flat, Op.82 Tempo molto moderato Allegro moderato Andante mosso, quasi allegretto Allegro molto The pitiless despair of Sibelius s Fourth Symphony (1911) puzzled many of its first listeners. The work seemed an unlikely sequel to the gentle radiance of the Third (1907), yet its gaze into the abyss gave way, in the Fifth, to one of Sibelius s most shining, life-affirming creations. Early in 1914 he heard Schoenberg s Chamber Symphony for the first time. This is a legitimate and valid way of looking at things, I suppose, he wrote in his diary. But it is certainly painful to listen to. Yet we know that Schoenberg s abandonment of tonality continued to fascinate Sibelius, for it suggested a next step for his own work after the Fourth Symphony. (He expressed his admiration for Schoenberg publicly at this time.) But the Fifth Symphony tells us plainly that Sibelius could not adopt another s solutions to the musical issues he confronted. While the Fifth is light to the Fourth s darkness, a progression from doubt to belief (Sibelius s admiration for Bruckner should not be forgotten here), it represents no shift in Sibelius s compositional principles; he was not a man to change his ways so swiftly. An economy of orchestral resource, the building up of musical paragraphs by the development of tiny melodic fragments, the determination to create his own solutions to the problems of harmonic language and symphonic form these were abiding features of his music from the beginning of his composing life. In fact of all the major composers of the last century he was the most solitary, methodical and purposeful in his stylistic development, taking only fitful interest in the work of his contemporaries. In Neville Cardus memorable description, Sibelius sits alone in the house of music rather away from the hearth and the logs and the company; he says little, and sometimes by his taciturnity alone he makes an impression of deep thinking. He wrote the Fifth, one of the most popular of all his works, at a time of great personal difficulty. The Great War had broken out and, as a result, Sibelius had lost access to the revenue from his German publishers, Breitkopf and Härtel. To earn some regular income he wrote a great number of salon pieces for domestic performance, and had little time for other composing; the Fifth Symphony is his only major work of the war years. Keynotes SIBELIUS Born Hämeenlinna, 1865 Died Järvenpää, 1957 Sibelius was a force in the creation of a distinctive Finnish voice at the turn of the 20th century, and much of his music was based on themes from the Finnish folk epic, the Kalevala. His symphonies represented more abstract works; he completed seven before he stopped composing in the 1930s, and worked on an eighth. FIFTH SYMPHONY The Fifth Symphony was composed in the troubled times of World War I, but even so it is one of Sibelius s most shining, life-affirming creations. The music adopted a modest-sized orchestra and, eventually, a symmetrical structure of three movements a departure from the four-movement classical symphony of Beethoven. The first movement which opens with an important horn call links what was originally two movements: a slow introduction and a waltz-like scherzo. The calm second movement is a set of variations on a rhythmic motif, and the final movement reverses the tempo directions of the first by beginning fast and ending slowly. Sibelius conducted the premiere of the original version on 8 December 1915: his 50th birthday. 15

15 Detail from a portrait of Sibelius by Akseli Gallen-Kallela Sibelius himself conducted the symphony s first performance, at a concert given on 8 December 1915 to mark his 50th birthday. It was a jubilant event, treated almost as a national holiday, but Sibelius was unhappy with the work and revised it twice. In 1916 he joined the first two of the original four movements together, and he made further revisions before it was published in The first movement begins quietly with horns and timpani. The theme we hear at this point is soon elaborated into a woodwind cadenza. At its conclusion the strings enter, and we seem to be moving gradually and inexorably into the landscape of the music until we come to the vista presented by a great tolling of the brass and the announcement of a jagged syncopated theme on the strings. Now we have reached the threshold beyond which the heart of the symphony lies. A mysterious, cloudy passage for the strings over which the bassoon utters a sorrowful version of one of the main themes Spent the evening with the [Fifth] symphony. Arrangement of the themes. This important task, which fascinates me in a mysterious way. It s as if God the Father had thrown down the tiles of a mosaic from heaven s floor and asked me to determine what kind of picture it was. Maybe a good definition of composing. Maybe not. How would I know! ENTRY IN SIBELIUS S DIARY, 10 APRIL

16 leads to a burnished assertion by the trumpets of the very first theme of the symphony, shortly after which, with a change of time signature from 12/8 to 3/4, the mood changes to one of dancing lightness, in which the sound of the two flutes leads us on. Soon the music gathers pace and the strings take up the dance strain with increasing excitement until the brass join in for the final, sudden, invigorating climax. The second movement is a set of variations not on a theme, but on a rhythmic pattern that Sibelius contrives to behave like a theme. The whole movement is a centre of calm, and even the passionate descending string tune that marks one of the most decisive transformations of the original idea is marked Poco tranquillo. Towards the end of the movement the brass toll out a reminiscence of their earlier, more excitable selves; this leads to a series of cloudy gestures which recall music from the earlier movement. But towards the end the mood changes to one of almost childlike serenity, which is carried through to the short, abbreviated, coda. The finale throws us into its hurly-burly almost immediately, with a whirlwind passage for the strings leading to one of the most famous of all themes in Sibelius s music, that in which, as Donald Tovey famously described it, Thor swings his hammer. It is a good example of how orchestrally conceived Sibelius s ideas are. Played on the piano the tune would mean very little, but given out on horns with a high, syncopated woodwind counterpoint, it attains a unique nobility. After some woodwind carolling and a return to the gusty sounds of the movement s opening, Sibelius prepares us for a return of the swinging horn theme. When this finally re-appears, it does so as a chorale that has to struggle through long pedal-points and changes of key before bursting into its sunset glory. These final minutes of the movement contain the richest orchestration of the whole work, but almost before we can register the fact, the symphony ends with six jubilant, adamant chords. An economy of orchestral resource, the building up of musical paragraphs by the development of tiny melodic fragments, the determination to create his own solutions to the problems of harmonic language and symphonic form these were abiding features of Sibelius s music from the beginning of his composing life. PHILLIP SAMETZ 1995/2004 Sibelius s Fifth Symphony calls for pairs of flutes, oboes, clarinets and bassoons; four horns, three trumpets and three trombones; timpani and strings. The SSO first performed the Fifth Symphony in 1939 with Edgar Bainton conducting. Vladimir Ashkenazy conducted the symphony in his Sibelius festival in 2004 and again in our most recent performance in

17 Recent Release IGOR STRAVINSKY THE FIREBIRD In August 2008, David Robertson conducted Stravinsky s ballet The Firebird in this spirited performance. Released in 2014, this CD celebrates the beginning of David Robertson s term as Chief Conductor and Artistic Director....here the colours of this fantastical dream remained to linger in the imagination. Sydney Morning Herald, 2008 (concert review) d RRP $20 AVAILABLE IN THE CONCERT HALL FOYER AND OTHER RETAILERS. SYDNEYSYMPHONY.COM CALL (02) MON FRI 9AM 5PM Clocktower Square, Argyle Street, The Rocks NSW 2000 GPO Box 4972, Sydney NSW 2001 Telephone (02) Box Office (02) Facsimile (02) All rights reserved, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage or retrieval system, without permission in writing. The opinions expressed in this publication do not necessarily reflect the beliefs of the editor, publisher or any distributor of the programs. While every effort has been made to ensure accuracy of statements in this publication, we cannot accept responsibility for any errors or omissions, or for matters arising from clerical or printers errors. Every effort has been made to secure permission for copyright material prior to printing. Please address all correspondence to the Publications Editor: program.editor@sydneysymphony.com SYDNEY OPERA HOUSE Bennelong Point GPO Box 4274 Sydney NSW 2001 Administration (02) Box Office (02) Facsimile (02) Website sydneyoperahouse.com Sydney Opera House Trust The Hon. Helen Coonan [Acting Chair] Ms Catherine Brenner, Ms Brenna Hobson, Mr Chris Knoblanche, Mr Peter Mason am, Ms Jillian Segal am, Mr Robert Wannan, Mr Phillip Wolanski am Executive Management Chief Executive Officer...Louise Herron am Chief Operating Officer...Claire Spencer Director, Programming...Jonathan Bielski Director, Theatre & Events...David Claringbold Director, Building Development & Maintenance...Greg McTaggart Director, Marketing...Anna Reid Director, External Relations...Brook Turner PAPER PARTNER SYMPHONY SERVICES INTERNATIONAL Suite 2, Level 5, 1 Oxford Street, Darlinghurst NSW 2010 PO Box 1145, Darlinghurst NSW 1300 Telephone (02) Facsimile (02) This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN ABN Head Office: Suite A, Level 1, Building 16, Fox Studios Australia, Park Road North, Moore Park NSW 2021 PO Box 410, Paddington NSW 2021 Telephone: Fax: admin@playbill.com.au Website: Chairman & Advertising Director Brian Nebenzahl OAM RFD Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager Production Classical Music Alan Ziegler Operating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, Hobart & Darwin All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright. Reproduction without permission in whole or in part of any material contained herein is prohibited. Title Playbill is the registered title of Playbill Proprietary Limited. Title Showbill is the registered title of Showbill Proprietary Limited. By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the publisher s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover than that in which it was published, or distributed at any other event than specified on the title page of this publication / S19/21 18

18 MORE MUSIC BRAHMS & THE VIOLIN CONCERTO Brahms s Violin Concerto was premiered by Joseph Joachim in Leipzig on New Year s Day As soloist, Joachim hailed Brahms s new work as last of the four great German violin concertos, after Bruch, and his own favourite Mendelssohn. Seeing in it a return to the very wellsprings of German tradition, Joachim believed that Brahms challenged even Beethoven s indomitable concerto in its uncompromising seriousness. In line with his keen interest in earlier music, Brahms himself might well have added one of Bach s violin concertos to the beginning of this list. Given Joachim s close association with the Brahms concerto, it s fascinating to hear what his own concertos sounded like, and American violinist Rachel Barton Pine has paired the Brahms with Joachim s Violin Concerto No.2 (in Hungarian style). The Chicago Symphony Orchestra is conducted by Carlos Kalmar. CEDILLE RECORDS 68 NIGEL BUTTERLEY Nigel Butterley became a composer of interest after his strikingly innovative In the Head the Fire won a prestigious international Prix Italia radiophonic award in 1966 (ahead of Luciano Berio). Based on texts from the Dead Sea Scrolls describing the battles between followers of Light and Darkness, it was created on tape for radio broadcast, using sung and spoken texts, and recorded input from the Sydney and Adelaide symphony orchestras, conducted by John Hopkins. You can hear the original winning mono tape, remastered for stereo and streamed by ABC Classic FM: bit.ly/butterleyfire Andrew Ford s 2012 ABC Music Show interview with Nigel includes excerpts from other key works: bit.ly/butterleytms2012. As a fine pianist, Nigel has performed many modern piano classics, especially by composers that have influenced him personally, including Messiaen, and on his 1993 disc Music by John Cage for Prepared Piano (Tall Poppies TP025). FIFTH SYMPHONIES The number 5 s special symphonic cachet is traceable back to Beethoven s Fifth at the outset of the 19th century. But it was only last century the 20th that pre-eminently distinguished Fifth Symphonies emerged. In addition to Sibelius s Fifth, there s Mahler s Fifth (composed ), Prokofiev s (1944), Vaughan Williams ( ), and Shostakovich s (1937) each symphony laying strong claim to being its composer s most popular and characteristic. Even for those who think other symphonies by these composers better, getting to know all these great 20th-century Fifths offers immense musical rewards, and important insights into the era that fostered them. This is especially so in the case of the last three, all composed against the same background of shattering war and evil dictatorships, yet ultimately attesting to the good and true in life as in art. If you d like to explore more of Sibelius s orchestral music, look for the boxed set with the symphonies, tone poems and violin concerto. Vladimir Ashkenazy conducts the Philharmonia Orchestra and Boris Belkin (one of Janine Jansen s former teachers) is the violin soloist. DECCA JANINE JANSEN Janine Jansen has yet to record the Brahms concerto, but you can hear her in concertos by one of Brahms s favourite composers: JS Bach. DECCA And in her most recent recording she plays chamber music by Brahms: the Clarinet Quintet with clarinettist Martin Fröst. BIS 2063 Broadcast Diary March April abc.net.au/classic Friday 20 March, 8pm BRAHMS & SIBELIUS See this program for details. Saturday 21 March, 1pm SONG & DANCE Ward Stare conductor Daniela Mack mezzo-soprano Ravel, Canteloube, Falla orch. Berio, Richard Strauss Friday 10 April, 8pm SYMPHONIC VARIATIONS Yan Pascal Tortelier conductor Louis Lortie piano Mozart, Franck SSO Radio Selected SSO performances, as recorded by the ABC, are available on demand: sydneysymphony.com/sso_radio SYDNEY SYMPHONY ORCHESTRA HOUR Tuesday 9 April, 6pm Musicians and staff of the SSO talk about the life of the orchestra and forthcoming concerts. Hosted by Andrew Bukenya. finemusicfm.com 19

19 THE ARTISTS MARCO BORGGREVE Daniel Blendulf conductor Born in Stockholm in 1981, Daniel Blendulf began his career as a cellist, after studying with Torleif Thedéen and Heinrich Schiff. In addition to his successful solo career, he was a member of the Mahler Chamber Orchestra and the Lucerne Festival Orchestra. Changing track, in 2008 he won First Prize at the Swedish Conducting Competition, and went on to graduate from Stockholm s Royal College of Music in In 2014 he was awarded the Herbert Blomstedt Conducting Prize, presented to him by King Carl Gustaf of Sweden. As one of Scandinavia s most promising younger conductors, he is already working at the highest level in his native Sweden. He appears regularly with the Royal Stockholm Philharmonic Orchestra and the Swedish Radio Symphony Orchestra, and this season he also makes return appearances with the Gothenburg Symphony and Swedish Chamber Orchestra. During the season he makes a number of significant international debuts. In addition to his Australian debut in these concerts with the SSO, these include appearances with the New Zealand Symphony and Malaysian Philharmonic orchestras. He made his Norwegian debut with the Kristiansand Symphony Orchestra in November, and, already this year, made first appearances with the Norwegian Radio Orchestra, the Zurich Chamber Orchestra, and in the UK with the BBC National Orchestra of Wales. Recent highlights include a performance with the Danish National Symphony Orchestra as part of Denmark s Midsummer s Day celebrations, his 2014 Finnish debut with the Tampere Philharmonic Orchestra, and concerts with the Macao Orchestra and the Orquesta Sinfónica de Tenerife. With the Malmö Symphony Orchestra he conducted the premiere of Britta Byström s Invisible Cities. As an opera conductor, Daniel Blendulf has directed the Royal Swedish Opera in productions of Carmen (with Katarina Dalayman in the title role), Don Pasquale, and the 2012 world premiere of Anders Eliasson s chamber opera Karolina s Sleep. Other productions have included Gounod s Faust with Folkoperan and Berg s Wozzeck with Norrlands Opera in Umeå. 20

20 HARALD HOFFMANN Janine Jansen violin Born in the Netherlands in 1978, Janine Jansen began studying violin at the age of six with her father, and later with Coosje Wijzenbeek, Philipp Hirschhorn and Boris Belkin. She went on to win numerous prizes and recording awards, including four Edison Classical Awards, three ECHO Classical awards, the German Record Critics Prize, the NDR Music Prize for outstanding artistic achievement, and most recently the Concertgebouw Prize. She was awarded a Dutch Theatre and Concert Association (VSCD) Classical Music Prize for individual achievement, and a Royal Philharmonic Society Instrumentalist Award for performances in the UK. She has played regularly with the Royal Concertgebouw Orchestra, the Berlin Philharmonic and the New York Philharmonic. She was featured artist at the 2014 BBC Proms, culminating in her appearance at the famous Last Night of the Proms. Her most recent appearance with the SSO was in 2009 when she played the Dvořák concerto. This season she makes return appearances with the San Francisco Symphony under Michael Tilson Thomas, the Orchestre de Paris under Paavo Järvi, the Royal Stockholm Philharmonic Orchestra under Sakari Oramo and the Rotterdam Philharmonic under Valery Gergiev. In November 2014 she gave the premiere of Michel van der Aa s Violin Concerto with the RCO conducted by Vladimir Jurowski, followed by further performances of the work with Andrew Litton and the Bergen Philharmonic Orchestra. Already this year she has appeared with the Orchestra dell Accademia Nazionale di Santa Cecilia and Antonio Pappano, and with the London Symphony Orchestra in a six-concert European tour conducted by Daniel Harding. She also takes Vivaldi s Four Seasons on tour with the Amsterdam Sinfonietta and directs the Chamber Orchestra of Europe in concerts in Germany, France and the Netherlands. She is a dedicated chamber musician and her schedule includes recital tours with pianist Itamar Golan in the Netherlands and USA. She is also the founder and curator of the annual International Chamber Music Festival in Utrecht. Janine plays the 1727 Baron Deurbroucq Stradivarius kindly loaned to her by the Beares International Violin Society. 21

21 SYDNEY SYMPHONY ORCHESTRA DAVID ROBERTSON Chief Conductor and Artistic Director PATRON Professor The Hon. Dame Marie Bashir ad cvo Founded in 1932 by the Australian Broadcasting Commission, the Sydney Symphony Orchestra has evolved into one of the world s finest orchestras as Sydney has become one of the world s great cities. Resident at the iconic Sydney Opera House, where it gives more than 100 performances each year, the SSO also performs in venues throughout Sydney and regional New South Wales. International tours to Europe, Asia and the USA including three visits to China have earned the orchestra worldwide recognition for artistic excellence. The orchestra s first Chief Conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Zdenĕk Mácal, Stuart Challender, Edo de Waart and Gianluigi Gelmetti. Vladimir Ashkenazy was Principal Conductor from 2009 to The orchestra s history also boasts collaborations with legendary figures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky. The SSO s award-winning education program is central to its commitment to the future of live symphonic music, developing audiences and engaging the participation of young people. The orchestra promotes the work of Australian composers through performances, recordings and its commissioning program. Recent premieres have included major works by Ross Edwards, Lee Bracegirdle, Gordon Kerry, Mary Finsterer, Nigel Westlake and Georges Lentz, and the orchestra s recordings of music by Brett Dean have been released on both the BIS and SSO Live labels. Other releases on the SSO Live label, established in 2006, include performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras, Vladimir Ashkenazy and David Robertson. In the orchestra made concert recordings of the complete Mahler symphonies with Ashkenazy, and has also released recordings of Rachmaninoff and Elgar orchestral works on the Exton/Triton labels, as well as numerous recordings on ABC Classics. This is the second year of David Robertson s tenure as Chief Conductor and Artistic Director. 22

22 MUSICIANS David Robertson CHIEF CONDUCTOR AND ARTISTIC DIRECTOR SUPPORTED BY EMIRATES Andrew Haveron CONCERTMASTER Dene Olding CONCERTMASTER Jessica Cottis ASSISTANT CONDUCTOR SUPPORTED BY PREMIER PARTNER CREDIT SUISSE FIRST VIOLINS Dene Olding CONCERTMASTER Sun Yi ASSOCIATE CONCERTMASTER Lerida Delbridge ASSISTANT CONCERTMASTER Fiona Ziegler ASSISTANT CONCERTMASTER Jenny Booth Sophie Cole Amber Davis Claire Herrick Georges Lentz Nicola Lewis Emily Long Alexander Norton Léone Ziegler Vivien Jeffery* Thibaud Pavlovic-Hobba Emily Qin Andrew Haveron CONCERTMASTER Kirsten Williams ASSOCIATE CONCERTMASTER Alexandra Mitchell SECOND VIOLINS Kirsty Hilton Marina Marsden Marianne Broadfoot Emma Jezek ASSISTANT PRINCIPAL Shuti Huang Stan W Kornel Nicole Masters Philippa Paige Biyana Rozenblit Maja Verunica Monique Irik Emma Jardine Elizabeth Jones* Brett Yang Maria Durek Emma Hayes Benjamin Li VIOLAS Tobias Breider Justin Williams ASSISTANT PRINCIPAL Sandro Costantino Rosemary Curtin Jane Hazelwood Graham Hennings Justine Marsden Felicity Tsai Leonid Volovelsky Charlotte Fetherston Andrew Jezek* Elizabeth Woolnough Roger Benedict Anne-Louise Comerford Stuart Johnson Amanda Verner CELLOS Umberto Clerici Catherine Hewgill Leah Lynn ASSISTANT PRINCIPAL Fenella Gill Timothy Nankervis Elizabeth Neville Christopher Pidcock Adrian Wallis David Wickham Rebecca Proietto Kristy Conrau DOUBLE BASSES Kees Boersma Alex Henery Neil Brawley PRINCIPAL EMERITUS Steven Larson Richard Lynn Benjamin Ward Josef Bisits John Keene David Campbell David Murray FLUTES Emma Sholl Carolyn Harris Janet Webb Rosamund Plummer PRINCIPAL PICCOLO OBOES Diana Doherty David Papp Shefali Pryor Alexandre Oguey PRINCIPAL COR ANGLAIS CLARINETS Francesco Celata Craig Wernicke PRINCIPAL BASS CLARINET Lawrence Dobell Christopher Tingay BASSOONS Matthew Wilkie Fiona McNamara Noriko Shimada PRINCIPAL CONTRABASSOON HORNS Robert Johnson Geoffrey O Reilly PRINCIPAL 3RD Euan Harvey Rachel Silver Kara Hahn Ben Jacks Marnie Sebire TRUMPETS Paul Goodchild Anthony Heinrichs Josh Rogan David Elton TROMBONES Ronald Prussing Nick Byrne Christopher Harris PRINCIPAL BASS TROMBONE Scott Kinmont TUBA Steve Rossé TIMPANI Richard Miller PERCUSSION Timothy Constable Mark Robinson Rebecca Lagos HARP Louise Johnson BOLD = PRINCIPAL ITALICS = ASSOCIATE PRINCIPAL = CONTRACT MUSICIAN * = GUEST MUSICIAN = SSO FELLOW GREY = PERMANENT MEMBER OF THE SYDNEY SYMPHONY ORCHESTRA NOT APPEARING IN THIS CONCERT To see photographs of the full roster of permanent musicians and find out more about the orchestra, visit our website: If you don t have access to the internet, ask one of our customer service representatives for a copy of our Musicians flyer. The men of the Sydney Symphony Orchestra are proudly outfitted by Van Heusen. 23

23 BEHIND THE SCENES Sydney Symphony Orchestra Board John C Conde AO Chairman Terrey Arcus AM Ewen Crouch AM Ross Grant Catherine Hewgill Jennifer Hoy Rory Jeffes Andrew Kaldor AM David Livingstone The Hon. Justice AJ Meagher Goetz Richter Sydney Symphony Orchestra Council Geoff Ainsworth AM Doug Battersby Christine Bishop The Hon John Della Bosca MLC Michael J Crouch AO Alan Fang Erin Flaherty Dr Stephen Freiberg Simon Johnson Gary Linnane Helen Lynch AM David Maloney AM Justice Jane Mathews AO Danny May Jane Morschel Andy Plummer Deirdre Plummer Seamus Robert Quick Paul Salteri AM Sandra Salteri Juliana Schaeffer Fred Stein OAM John van Ogtrop Brian White Rosemary White HONORARY COUNCIL MEMBERS Ita Buttrose AO OBE Donald Hazelwood AO OBE Yvonne Kenny AM David Malouf AO Wendy McCarthy AO Leo Schofield AM Peter Weiss AO Sydney Symphony Orchestra Staff MANAGING DIRECTOR Rory Jeffes EXECUTIVE TEAM ASSISTANT Lisa Davies-Galli ARTISTIC OPERATIONS DIRECTOR OF ARTISTIC PLANNING Benjamin Schwartz ARTISTIC ADMINISTRATION MANAGER Eleasha Mah ARTIST LIAISON MANAGER Ilmar Leetberg RECORDING ENTERPRISE MANAGER Philip Powers Library Anna Cernik Victoria Grant Mary-Ann Mead LEARNING AND ENGAGEMENT DIRECTOR OF LEARNING AND ENGAGEMENT Kim Waldock EMERGING ARTISTS PROGRAM MANAGER Mark Lawrenson EDUCATION MANAGER Rachel McLarin EDUCATION OFFICER Amy Walsh ORCHESTRA MANAGEMENT DIRECTOR OF ORCHESTRA MANAGEMENT Aernout Kerbert ORCHESTRA MANAGER Rachel Whealy ORCHESTRA COORDINATOR Georgia Fryer OPERATIONS MANAGER Kerry-Anne Cook PRODUCTION MANAGER Laura Daniel STAGE MANAGER Courtney Wilson PRODUCTION COORDINATORS Ollie Townsend SALES AND MARKETING DIRECTOR OF SALES & MARKETING Mark J Elliott MARKETING MANAGER, SUBSCRIPTION SALES Simon Crossley-Meates A/ SENIOR SALES & MARKETING MANAGER Matthew Rive MARKETING MANAGER, WEB & DIGITAL MEDIA Eve Le Gall MARKETING MANAGER, CRM & DATABASE Matthew Hodge A/ SALES & MARKETING MANAGER, SINGLE TICKET CAMPAIGNS Jonathon Symonds DATABASE ANALYST David Patrick SENIOR GRAPHIC DESIGNER Christie Brewster GRAPHIC DESIGNER Tessa Conn SENIOR ONLINE MARKETING COORDINATOR Jenny Sargant MARKETING ASSISTANT Theres Mayer Box Office MANAGER OF BOX OFFICE SALES & OPERATIONS Lynn McLaughlin BOX OFFICE SYSTEMS SUPERVISOR Jennifer Laing BOX OFFICE BUSINESS ADMINISTRATOR John Robertson CUSTOMER SERVICE REPRESENTATIVES Karen Wagg Senior CSR Michael Dowling Tim Walsh Publications PUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER Yvonne Frindle EXTERNAL RELATIONS DIRECTOR OF EXTERNAL RELATIONS Yvonne Zammit Philanthropy HEAD OF PHILANTHROPY Luke Andrew Gay PHILANTHROPY MANAGER Jennifer Drysdale A/ PATRONS EXECUTIVE Sarah Morrisby Corporate Relations CORPORATE PARTNERSHIPS MANAGER Belinda Besson Communications COMMUNICATIONS & MEDIA MANAGER Bridget Cormack PUBLIC RELATIONS MANAGER Katherine Stevenson DIGITAL CONTENT PRODUCER Kai Raisbeck PUBLICITY & EVENTS COORDINATOR Caitlin Benetatos BUSINESS SERVICES DIRECTOR OF FINANCE John Horn FINANCE MANAGER Ruth Tolentino ACCOUNTANT Minerva Prescott ACCOUNTS ASSISTANT Emma Ferrer PAYROLL OFFICER Laura Soutter PEOPLE AND CULTURE IN-HOUSE COUNSEL Michel Maree Hryce 24

24 SSO PATRONS Maestro s Circle Supporting the artistic vision of David Robertson, Chief Conductor and Artistic Director Peter Weiss AO Founding President & Doris Weiss John C Conde AO Chairman Brian Abel Tom Breen & Rachel Kohn The Berg Family Foundation Andrew Kaldor AM & Renata Kaldor AO Vicki Olsson Roslyn Packer AO David Robertson & Orli Shaham Penelope Seidler AM Mr Fred Street AM & Dorothy Street Brian White AO & Rosemary White Ray Wilson OAM in memory of the late James Agapitos OAM David Robertson Chair CHAIR PATRONS Patrons Roger Benedict Principal Viola Kim Williams AM & Catherine Dovey Chair Kees Boersma Principal Double Bass SSO Council Chair Umberto Clerici Principal Cello Garry & Shiva Rich Chair Timothy Constable Percussion Justice Jane Mathews AO Chair Lerida Delbridge Assistant Concertmaster Simon Johnson Chair Lawrence Dobell Principal Clarinet Anne Arcus & Terrey Arcus AM Chair Diana Doherty Principal Oboe Andrew Kaldor AM & Renata Kaldor AO Chair Richard Gill oam Artistic Director, DownerTenix Discovery Paul Salteri AM & Sandra Salteri Chair Jane Hazelwood Viola Bob & Julie Clampett Chair in memory of Carolyn Clampett Catherine Hewgill Principal Cello The Hon. Justice AJ & Mrs Fran Meagher Chair Robert Johnson Principal Horn James & Leonie Furber Chair Elizabeth Neville Cello Ruth & Bob Magid Chair Shefali Pryor Associate Principal Oboe Mrs Barbara Murphy Chair Emma Sholl Associate Principal Flute Robert & Janet Constable Chair Janet Webb Principal Flute Helen Lynch AM & Helen Bauer Chair Kirsten Williams Associate Concertmaster I Kallinikos Chair Mrs Barbara Murphy (right) first fell in love with Shefali Pryor s oboe playing during her performances with violinist Nigel Kennedy and the SSO in After getting to know each other, they bonded over a mutual love of travel and knitting. n n n n n n n n n n FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM, CALL (02)

25 SSO PATRONS Learning & Engagement Foundations KEITH SAUNDERS Australia-Korea Foundation Crown Foundation The Greatorex Foundation James N Kirby Foundation Packer Family Foundation Ian Potter Foundation A U S T R A L I A - K O R E A F O U N D A T I O N Commissioning Circle Sydney Symphony Orchestra 2015 Fellows fellowship patrons Robert Albert AO & Elizabeth Albert Flute Chair Christine Bishop Percussion Chair Sandra & Neil Burns Clarinet Chair In Memory of Matthew Krel Violin Chair Mrs T Merewether OAM Horn Chair Paul Salteri AM & Sandra Salteri Violin and Viola Chairs Mrs W Stening Principal Patron, Cello Chair Kim Williams AM & Catherine Dovey Patrons of Roger Benedict, Artistic Director, Fellowship Anonymous Double Bass Chair fellowship supporting patrons Mr Stephen J Bell Gary Linnane & Peter Braithwaite Joan MacKenzie Scholarship Drs Eileen & Keith Ong In Memory of Geoff White June & Alan Woods Family Bequest Supporting the creation of new works. ANZAC Centenary Arts and Culture Fund Geoff Ainsworth AM Christine Bishop Dr John Edmonds Andrew Kaldor AM & Renata Kaldor AO Jane Mathews AO Mrs Barbara Murphy Nexus IT Vicki Olsson Caroline & Tim Rogers Geoff Stearn Dr Richard T White Anonymous MAKE A DIFFERENCE tuned-up! TunED-Up! is made possible with the generous support of Fred Street AM & Dorothy Street Additional support provided by: Anne Arcus & Terrey Arcus AM Ian & Jennifer Burton Ian Dickson & Reg Holloway Tony Strachan major education donors Bronze Patrons & above John Augustus & Kim Ryrie Mr Alexander & Mrs Vera Boyarsky Bob & Julie Clampett Howard & Maureen Connors The Greatorex Foundation The Ian Potter Foundation James N Kirby Foundation Mrs & Mr Judith A. McKernan Mr & Mrs Nigel Price Through their inspired financial support, Patrons ensure the SSO s continued success, resilience and growth. Join the SSO Patrons Program today and make a difference. sydneysymphony.com/patrons (02) philanthropy@sydneysymphony.com 26

26 Stuart Challender Legacy Society Celebrating the vision of donors who are leaving a bequest to the SSO. Henri W Aram OAM & Robin Aram Stephen J Bell Mr David & Mrs Halina Brett Howard Connors Greta Davis Brian Galway Miss Pauline M Griffin AM John Lam-Po-Tang Peter Lazar AM Daniel Lemesle Louise Miller James & Elsie Moore Douglas Paisley Kate Roberts Mary Vallentine AO Ray Wilson OAM Anonymous (10) Stuart Challender, SSO Chief Conductor and Artistic Director bequest donors We gratefully acknowledge donors who have left a bequest to the SSO. The late Mrs Lenore Adamson Estate of Carolyn Clampert Estate Of Jonathan Earl William Clark Estate of Colin T Enderby Estate of Mrs E Herrman Estate of Irwin Imhof The late Mrs Isabelle Joseph The Estate of Dr Lynn Joseph The Late Greta C Ryan June & Alan Woods Family Bequest n n n n n n n n n n IF YOU WOULD LIKE MORE INFORMATION ON MAKING A BEQUEST TO THE SSO, PLEASE CONTACT LUKE GAY ON Playing Your Part The Sydney Symphony Orchestra gratefully acknowledges the music lovers who donate to the orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs. DIAMOND PATRONS $50,000+ The Estate of Dr Lynn Joseph Mr Andrew Kaldor AM & Mrs Renata Kaldor AO In Memory of Matthew Krel Roslyn Packer AO Ian Potter Foundation Paul Salteri AM & Sandra Salteri Mr Fred Street AM & Mrs Dorothy Street Mr Peter Weiss AO & Mrs Doris Weiss Mr Brian White AO & Mrs Rosemary White PLATINUM PATRONS $30,000 $49,999 Anne & Terrey Arcus AM Doug & Alison Battersby The Berg Family Foundation Tom Breen & Rachael Kohn Mr John C Conde AO Robert & Janet Constable Mrs Barbara Murphy Mrs W Stening Kim Williams AM & Catherine Dovey GOLD PATRONS $20,000 $29,999 Brian Abel Geoff Ainsworth AM Robert Albert AO & Elizabeth Albert Christine Bishop Sandra & Neil Burns James & Leonie Furber I Kallinikos Helen Lynch AM & Helen Bauer Mrs T Merewether OAM Mr B G O Conor Vicki Olsson Andy & Deirdre Plummer Garry & Shiva Rich David Robertson & Orli Shaham Mrs Penelope Seidler AM G & C Solomon in memory of Joan MacKenzie Geoff Stearn Ray Wilson OAM in memory of James Agapitos OAM Anonymous (2) SILVER PATRONS $10,000 $19,999 Bailey Family Foundation Audrey Blunden Mr Robert Brakspear Ian & Jennifer Burton Mr Robert & Mrs L Alison Carr Bob & Julie Clampett Michael Crouch AO & Shanny Crouch The Hon. Mrs Ashley Dawson-Damer AM Paul Espie Edward & Diane Federman Nora Goodridge Mr Ross Grant Ian Dickson & Reg Holloway Simon Johnson Mr Ervin Katz James N Kirby Foundation Ruth & Bob Magid Justice Jane Mathews AO The Hon. Justice AJ Meagher & Mrs Fran Meagher Mr John Morschel Drs Keith & Eileen Ong Mr John Symond AM The Harry Triguboff Foundation Caroline Wilkinson Anonymous (2) BRONZE PATRONS $5,000 $9,999 John Augustus & Kim Ryrie Stephen J Bell Dr & Mrs Hannes Boshoff Mr Alexander & Mrs Vera Boyarsky Peter Braithwaite & Gary Linnane Mr David & Mrs Halina Brett Mr Howard Connors Ewen Crouch AM & Catherine Crouch In memory of Dr Lee MacCormick Edwards Dr Stephen Freiberg & Donald Campbell Dr Colin Goldschmidt The Greatorex Foundation Rory & Jane Jeffes The late Mrs Isabelle Joseph Mr Frank Lowy AC & Mrs Shirley Lowy OAM 27

27 SSO PATRONS Playing Your Part BRONZE PATRONS CONTINUED Robert McDougall J A McKernan David Maloney AM & Erin Flaherty R & S Maple-Brown Mora Maxwell William McIlrath Charitable Foundation Taine Moufarrige Nexus IT John & Akky van Ogtrop Seamus Robert Quick Chris Robertson & Katharine Shaw Rodney Rosenblum AM & Sylvia Rosenblum Dr Evelyn Royal Manfred & Linda Salamon Mrs Joyce Sproat & Mrs Janet Cooke Tony Strachan David Tudehope & Liz Dibbs Mr Robert & Mrs Rosemary Walsh Westpac Group Michael & Mary Whelan Trust In memory of Geoff White June & Alan Woods Family Bequest Anonymous (2) PRESTO PATRONS $2,500 $4,999 Mr Henri W Aram OAM Ian Brady Mr Mark Bryant oam Ita Buttrose AO OBE Mrs Stella Chen Dr Rebecca Chin Dr Diana Choquette & Mr Robert Milliner Firehold Pty Ltd Dr Kim Frumar Warren Green Anthony Gregg James & Yvonne Hochroth Mr Roger Hudson & Mrs Claudia Rossi-Hudson Prof. Andrew Korda am & Ms Susan Pearson In memoriam Dr Reg Lam-Po-Tang James & Elsie Moore Ms Jackie O Brien Juliana Schaeffer Dr Agnes E Sinclair Ezekiel Solomon AM Mr Ervin Vidor AM & Mrs Charlotte Vidor Lang Walker AO & Sue Walker Yim Family Foundation Anonymous (1) VIVACE PATRONS $1,000 $2,499 Mrs Lenore Adamson Mrs Antoinette Albert Rae & David Allen Andrew Andersons AO Mr Matthew Andrews The Hon Justice Michael Ball David Barnes Mr Garry Besson Allan & Julie Bligh Jan Bowen Roslynne Bracher Mrs R D Bridges OBE Lenore P Buckle Margaret Bulmer In memory of RW Burley Mrs Rhonda Caddy Mr B & Mrs M Coles Ms Suzanne Collins Joan Connery OAM & Maxwell Connery OAM Debby Cramer & Bill Caukill Mr John Cunningham SCM & Mrs Margaret Cunningham Greta Davis Lisa & Miro Davis Elizabeth Donati Colin Draper & Mary Jane Brodribb Prof. & Mrs John Edmonds Malcolm Ellis & Erin O Neill Mrs Margaret Epps Mr Matt Garrett Vivienne Goldschmidt & Owen Jones Mrs Fay Grear In Memory of Angelica Green Akiko Gregory Mr & Mrs Harold & Althea Halliday Janette Hamilton Mrs Jennifer Hershon Angus Holden Mr Kevin Holland & Mrs Roslyn Andrews The Hon. David Hunt AO QC & Mrs Margaret Hunt Dr & Mrs Michael Hunter Mr Philip Isaacs OAM Michael & Anna Joel Mrs W G Keighley Dr Andrew Kennedy Jennifer King Aron Kleinlehrer Mr Andrew Korda & Ms Susan Pearson Mr Justin Lam Mr Peter Lazar AM Professor Winston Liauw Airdrie Lloyd Mrs Juliet Lockhart Peter Lowry OAM & Dr Carolyn Lowry OAM Kevin & Deirdre McCann Ian & Pam McGaw Matthew McInnes Macquarie Group Foundation Barbara Maidment John Mar Renee Markovic Mr Danny R May Helen & Phil Meddings I Merrick Henry & Ursula Mooser Milja & David Morris Mrs J Mulveney Mr Darrol Norman E J Nuffield Dr Mike O Connor AM Mr & Mrs Ortis Mr Andrew C Patterson Michael Paul Almut Piatti In memory of Sandra Paul Pottinger Dr Raffi Qasabian Mr Patrick Quinn-Graham Ernest & Judith Rapee Kenneth R Reed Patricia H Reid Endowment Pty Ltd Dr Marilyn Richardson In memory of Katherine Robertson Mr David Robinson Tim Rogers Lesley & Andrew Rosenberg In memory of H St P Scarlett Mr Samuel F Sheffer David & Alison Shilligton Dr Judy Soper Mrs Judith Southam Ms Barbara Spencer Mrs Elizabeth Squair Catherine Stephen The Hon. Brian Sully QC Mrs Margaret Swanson The Taplin Family Dr & Mrs H K Tey Kevin Troy John E Tuckey Judge Robyn Tupman Dr Alla Waldman Miss Sherry Wang Westpac Banking Corporation Henry & Ruth Weinberg The Hon. Justice A G Whealy Dr Richard T White Mrs Leonore Whyte A Willmers & R Pal Betty Wilkenfeld Dr Edward J Wills Prof. Neville Wills & Ian Fenwicke Ann & Brooks C Wilson AM Dr Richard Wing Dr Peter Wong & Mrs Emmy K Wong Geoff Wood & Melissa Waites Sir Robert Woods Mr & Mrs Lindsay Woolveridge In memory of Lorna Wright Dr John Yu Anonymous (13) ALLEGRO PATRONS $500 $999 Nikki Abrahams Ms Jenny Allum Katherine Andrews Mr Peter J Armstrong Garry & Tricia Ash Mr & Mrs George Ball Dr Lilon Bandler Barlow Cleaning Pty Ltd Barracouta Pty Ltd Beauty Point Retirement Resort Mr Michael Beck Dr Andrew Bell Richard & Margaret Bell Jan Biber Minnie Biggs G D Bolton In memory of Jillian Bowers R D & L M Broadfoot Dr Peter Broughton Dr David Bryant Arnaldo Buch Dr Miles Burgess Pat & Jenny Burnett Rosemary Campbell Mr JC Campbell QC & Mrs Campbell Judy Chiddy In memory of Beth Harpley Mr Phillip Cornwell Dr Peter Craswell Mr David Cross Phil Diment AM & Bill Zafiropoulos Dr David Dixon Susan Doenau Mrs Jane Drexler Dana Dupere Dr Nita Durham John Favaloro Mrs Lesley Finn Ms Julie Flynn & Mr Trevor Cook Mrs Paula Flynn Mr John Gaden Clive & Jenny Goodwin Richard Griffin AM Dr Jan Grose Benjamin Hasic & Belinda Davie Mr Robert Havard Mrs Joan Henley Roger Henning Sue Hewitt 28

28 SSO Vanguard Dr Joan-Mary Hinds Dorothy Hoddinott AO Bill & Pam Hughes Ms Cynthia Kaye Mrs Margaret Keogh Dr Henry Kilham Dr Joyce Kirk Mrs Patricia Kleinhans Anna-Lisa Klettenberg Sonia Lal L M B Lamprati Dr Barry Landa Elaine M Langshaw Dr Leo & Mrs Shirley Leader Margaret Lederman Mrs Erna Levy Mrs A Lohan Mr Gabriel Lopata Panee Low Melvyn Madigan Ms Jolanta Masojada Mr Guido Mayer Louise Miller Patricia Miller Kenneth Newton Mitchell Mrs Judith Morton Mr Graham North Mr Sead Nurkic Dr A J Palmer Dr Kevin Pedemont Dr Natalie E Pelham Dr John Pitt John Porter & Annie Wesley-Smith Mrs Greeba Pritchard The Hon. Dr Rodney Purvis AM & Mrs Marian Purvis Michael Quailey Miss Julie Radosavljevic Renaissance Tours Janelle Rostron Mrs Christine Rowell-Miller Mrs Louise Rowston Jorie Ryan for Meredith Ryan Mr Kenneth Ryan Garry Scarf & Morgie Blaxill Peter & Virginia Shaw Judge David S Shillington Mrs Diane Shteinman AM Victoria Smyth Doug & Judy Sotheren Colin Spencer James & Alice Spigelman Ashley & Aveen Stephenson Margaret & William Suthers Margaret Swanson Dr Jenepher Thomas Mrs Caroline Thompson Mrs June Thornton Peter & Jane Thornton Ms Rhonda Ting Alma Toohey Mrs M Turkington Gillian Turner & Rob Bishop Mr Robert Veel Ronald Walledge In memory of Denis Wallis In memoriam JBL Watt Miss Roslyn Wheeler The Wilkinson Family Edward & Yvonne Wills Yetty Windt Mr Evan Wong Mrs Robin Yabsley Anonymous (34) SSO Patrons pages correct as of 27 February 2015 Together, we have an ambition to foster a love of orchestral music in school children of all ages, and to equip their teachers with the skills they need to develop this in our young people DAVID ROBERTSON SSO Chief Conductor and Artistic Director PLEASE CONSIDER MAKING A TAX-DEDUCTIBLE DONATION TODAY A membership program for a dynamic group of Gen X & Y SSO fans and future philanthropists VANGUARD COLLECTIVE Justin Di Lollo Chair Belinda Bentley Oscar McMahon Taine Moufarrige Founding Patron Shefali Pryor Seamus R Quick Founding Patron Chris Robertson & Katherine Shaw Founding Patrons MEMBERS James Armstrong Philip Atkin Luan Atkinson Joan Ballantine James Baudzus Andrew Baxter Adam Beaupeurt Anthony Beresford Andrew Botros Peter Braithwaite Blake Briggs Andrea Brown Melanie Brown Attila Brungs Ian Burton Jennifer Burton Paul Colgan Claire Cooper Bridget Cormack Robbie Cranfield Asha Cugati Juliet Curtin Rosalind De Sailly Paul Deschamps Catherine Donnelly Alistair Furnival Alexandra Gibson Sam Giddings Marina Go Jeremy Goff Hilary Goodson Tony Grierson Louise Haggerty Rose Herceg Francis Hicks Peter Howard Jennifer Hoy Katie Hryce Virginia Judge Jonathan Kennedy Aernout Kerbert Patrick Kok Alisa Lai John Lam-Po-Tang Tristan Landers Jessye Lin Gary Linnane David Lo Saskia Lo Gabriel Lopata Rebecca MacFarling Robert McGrory David McKean Nick Nichles Kate O Reilly Peter O Sullivan Jonathan Pease Cleo Posa Laurisa Poulos Michael Radovnikovic Sudeep Rao Michael Reede Chris Robertson Benjamin Robinson Alvaro Rodas Fernandez Jacqueline Rowlands Anthony Michael Schembri Benjamin Schwartz Katherine Shaw Cecilia Storniolo Randal Tame Sandra Tang Ian Taylor Michael Tidball Mark Timmins Michael Tuffy Kim Waldock Jon Wilkie Yvonne Zammit Amy Zhou n n n n n n n n n n 29