Viennese Romantics. Korngold and Mahler FRI 16 NOV, 8PM SAT 17 NOV, 8PM PRESENTED BY PREMIER PARTNER CREDIT SUISSE

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1 Viennese Romantics Korngold and Mahler 2018 PRESENTED BY PREMIER PARTNER CREDIT SUISSE FRI 16 NOV, 8PM SAT 17 NOV, 8PM

2 CONCERT DIARY FEBRUARY 2019 MARCH 2019 A Lunar New Year Celebration LI HUANZHI Spring Festival Overture CHEN QIGANG Iris Unveiled TCHAIKOVSKY Eugene Onegin: Polonaise BORODIN Prince Igor: Polovtsian Dances LIU TIESHAN & MAO YUAN Dance of the Yao Tribe HUANG Saibei Dance Elim Chan conductor Meng Meng Peking Opera singer Amelia Farrugia soprano Eva Kong soprano Jin Wu Koon Lion Dance Troupe 2019 Season Opening Gala Diana Doherty performs Westlake R STRAUSS Thus Spake Zarathustra WESTLAKE Spirit of the Wild Oboe Concerto GRAINGER The Warriors David Robertson conductor Diana Doherty oboe Bartók s Concerto for Orchestra David Robertson Conducts JANÁČEK Taras Bulba REICH Music for Ensemble and Orchestra AUSTRALIAN PREMIERE BARTÓK Concerto for Orchestra David Robertson conductor The Sydney Symphony and Jazz at Lincoln Center Orchestra VARÈSE Amériques (1929) MARSALIS The Jungle Symphony No.4 AUSTRALIAN PREMIERE David Robertson conductor Wynton Marsalis trumpet Jazz at Lincoln Center Orchestra Music of Count Basie and Duke Ellington Jazz at Lincoln Center Orchestra in Concert DUKE ELLINGTON Greatest Hits COUNT BASIE Greatest Hits Wynton Marsalis trumpet Jazz at Lincoln Center Orchestra Casino Royale in Concert James Bond on the big screen accompanied by the Sydney Symphony performing David Arnold s thrilling musical score live to the film! CASINO ROYALE LICENSED BY MGM. CASINO ROYALE 2006 DANJAQ, UNITED ARTISTS. AND RELATED JAMES BOND TRADEMARKS, TM DANJAQ. ALL RIGHTS RESERVED. Scottish Fantasy Bruch and Mendelssohn R STRAUSS Macbeth * BRUCH Scottish Fantasy for violin and orchestra * MENDELSSOHN Symphony No.3 (Scottish) Asher Fisch conductor Tianwa Yang violin Fri 1 Feb, 7pm Sat 2 Feb, 7pm Sydney Opera House Fri 8 Feb, 8pm Sat 9 Feb, 8pm Sydney Opera House Master Series Wed 13 Feb, 8pm Fri 15 Feb, 8pm Sat 16 Feb, 8pm Sydney Opera House Meet the Music Thu 21 Feb, 6.30pm Emirates Metro Series Fri 22 Feb, 8pm 7 Mon 25 Feb, 7pm Sydney Opera House Sat 23 Feb, 7pm Sydney Opera House Thu 28 Feb, 8pm Fri 1 Mar, 8pm Sydney Opera House Thursday Afternoon Symphony Thu 7 Mar, 1.30pm Tea & Symphony* Fri 8 Mar, 11am Great Classics Sat 9 Mar, 2pm Sydney Opera House

3 WELCOME Credit Suisse welcomes you to this special gala performance tonight, marking the end of another stellar year for the Sydney Symphony Orchestra. It is fitting that following tonight s program, Viennese Romantics, the orchestra s next performance will be at Vienna s beautiful Konzerthaus, signalling the start of its continental tour through the prestigious concert halls of Europe. As Premier Partner for the past eight years, we have supported the Sydney performances of some of the great names in classical music, including Anne-Sophie Mutter, Wynton Marsalis and Lang Lang. We are delighted that next year we welcome back Wynton Marsalis and Lang Lang for feature performances in the 2019 season. These are high-profile, international performers very much in the spotlight of the musical world and favourites with Australian audiences. We are also very proud to collaborate with the SSO to support projects that nurture musicians and music-lovers of the future and that make a broader contribution to our community. One of these initiatives is the Credit Suisse SSO Schools Music Education Program, a three-year pilot program that aims to provide public primary school students in Sydney and Melbourne with access to a world-class music education. This partnership with the SSO reaching more than a thousand students in its initial pilot will showcase the demonstrable link between music education and academic performance, offering immediate and long-term benefits for the students and their communities. Through our partnership with the Sydney Symphony Orchestra, we are equally proud to be supporting those at the start and at the pinnacle of their musical journeys. And we wish our orchestra of cultural ambassadors all the very best for their journey and performances in Europe. John Knox Chief Executive Officer Credit Suisse Australia

4 86TH SEASON 2018 SPECIAL EVENT PREMIER PARTNER CREDIT SUISSE FRIDAY 16 NOVEMBER, 8PM SATURDAY 17 NOVEMBER, 8PM SYDNEY OPERA HOUSE CONCERT HALL The Lowy Chair of Chief Conductor and Artistic Director Viennese Romantics David Robertson conductor Renaud Capuçon violin ANTONÍN DVOŘÁK ( ) Carnival Overture, Op.92 ERICH WOLFGANG KORNGOLD ( ) Violin Concerto in D, Op.35 Andante Allegro Più mosso L istesso tempo Adagio INTERVAL Saturday s concert will be broadcast live across Australia by ABC Classic FM Pre-concert talk by Zoltán Szabó in the Northern Foyer at 7.15pm. Estimated durations: 10 minutes, 24 minutes, 20-minute interval, 70 minutes The concert will conclude at approximately pm. GUSTAV MAHLER ( ) Symphony No.5 in C sharp minor Part I Trauermarsch (In gemessenem Schritt. Streng. Wie ein Kondukt) [Funeral march (With measured pace, stern, like a funeral procession)] Stürmisch bewegt. Mit grösster Vehemenz [Stormy, with utmost vehemence] Part II Scherzo (Kräftig, nicht zu schnell) [Strong, not too fast] Part III Adagietto (Sehr langsam) [Very slow] Rondo Finale (Allegro)

5 Creating meaningful change through music. Together we have created the Credit Suisse SSO Music Education Program to provide children with access to world-class music education. credit-suisse.com/au Credit Suisse AG ABN AFSL Copyright 2018 Credit Suisse Group AG and/or its affiliates. All rights reserved.

6 ABOUT THE MUSIC Antonín Dvořák Carnival Overture, Op.92 Nature inspired many 19th-century composers to imagine music that ranged from serene to terrifying. Dvořák among the later Romantics was no exception. His Carnival Overture, composed in 1891 when the composer was 50, evokes both the pure realm of nature and the concerns of its human inhabitants. It abounds in the Czech folk colour for which Dvořák was already renowned. The piece is the second in a trio of overtures entitled Nature, Life, and Love. Although independent compositions, the overtures are linked by a Nature theme that recurs in all three. In Carnival it is introduced by the clarinet in the music s first tranquil aside. It is clear from his manuscript sketches that Dvořák was far from sure what to call each of the overtures. He considered three possibilities for the first one: In Nature s Realm, and A Summer Night, with the possible subtitle of Solitude. The second he called Life, adding Carnival as a subtitle, and the third had two names: Love, and suggesting that it was a troubled, tragic love he had in mind Othello. Coming in the middle of the series, the title of the Carnival (that is, Mardi Gras) overture conjures up images of the boisterous circus-like atmosphere as rural communities, each year in late winter, celebrated their farewell to meat-eating, as they entered the fasting season of Lent. It is this sort of atmosphere Dvořák seems to be arguing that draws solitary people (people like shepherds and farmhands, who work alone in the fields) out of themselves, and into the community. The overture begins with a frenzied theme, which then returns several times later. Rhythmic and melodic fragments of this theme are also scattered throughout the overture. Though played without a break, it falls into three quite distinct sections. The characteristically boisterous opening and closing sections frame a contrasting inner episode, a quiet return to nature and a pastoral mood, a reflective moment away from the surrounding party, and quite likely, too, anticipating the possibility of love. SYDNEY SYMPHONY ORCHESTRA 2012 The Carnival Overture calls for what the original score calls a large orchestra: piccolo, two flutes, two oboes, cor anglais, two clarinets and two bassoons; four horns, two trumpets, three trombones and tuba; timpani and percussion (cymbals, tambourine, triangle); harp and strings. The SSO first performed this overture in 1938, conducted by Percy Code, and most recently in 2014, conducted by Pinchas Steinberg. Keynotes DVOŘÁK Born Nelahozeves, Bohemia, 1841 Died Prague, 1904 Dvořák s career is an inspiring reminder that greatness can grow from unlikely beginnings. A country inn-keeper s son, Dvořák was destined to a butcher. But his passion for music was his passport to upward mobility. His Moravian Duets caught the attention of Brahms, who recommended Dvořák to his own publisher. His Slavonic Dances took Europe by storm, and his Seventh and Eighth Symphonies became immensely popular in England. Then, inspired by his time spent teaching in the United States, he composed his two ultimate masterpieces, the New World Symphony and, on his return to Prague, the Cello Concerto. CARNIVAL OVERTURE This is the centrepiece of a triptych of overtures. The scenario for Dvořák s set was a journey from Solitude, via experience of Life, to the finding of Love. The second overture, Life, became Carnival. It begins in exuberant party mode, with percussion (usually kept in reserve) throwing caution to the winds. Backward glances to the lonely mood of the first overture progress toward a growing sense of joy of life. Finally, serenity gives way to exaltation. 7

7 Erich Wolfgang Korngold Violin Concerto in D, Op.35 Moderato nobile Romance (Andante) Finale (Allegro assai vivace) Renaud Capuçon violin Between 1935 and 1938 Korngold and his family lived a transatlantic existence. While writing his opera Die Kathrin he adapted Mendelssohn s A Midsummer Night s Dream music for Max Reinhardt s film production of the play for Warner Bros, and on back-and-forth visits to Hollywood composed the music for several other pictures, including Anthony Adverse, which won him his first Academy Award. In January 1938, leaving most of his family behind, Korngold left Vienna for Hollywood to compose music for The Adventures of Robin Hood, expecting to return in a few months for the premiere of Die Kathrin. But Germany s annexation of Austria in March made a return home impossible, and his family escaped Austria on the last unrestricted train. Korngold s belongings and assets were confiscated by the Nazis. With his Vienna house already under German occupation, he could imagine his collection of music being consigned to the flames. With extraordinary courage, Korngold s publishers broke into his house in the dead of night and smuggled his scores into the USA inside shipments of newly published music. Films were now Korngold s only source of income. When his father berated him for not writing concert music, Korngold replied that if anyone in America wanted to perform his music they knew where to find him. His wife said later: It was almost as if he had made a vow not to write any more until Hitler was defeated. The Violin Concerto was to be Korngold s return to the concert hall. Ideas for this work seem first to have surfaced in A theme from the film Another Dawn, scored that year, is the principal melody of the concerto s first movement; a transformation of the opening title theme for The Prince and the Pauper forms the basis for the concerto s finale. But Korngold did no serious work on the piece until the war in Europe was over. The violinist Bronislaw Huberman revived a joke that dated back to Korngold s teenage years: Erich, where s my violin concerto? At dinner one night in 1945, Huberman asked the usual question, whereupon Korngold went to the piano and played the opening theme. When the concerto was ready for performance, Huberman was vague about when he might perform it. When Jascha Heifetz expressed interest, Korngold didn t hesitate: Huberman, I haven t been unfaithful yet, I m not engaged but I have flirted. Huberman s death a short time later brought this chapter in the concerto s life to an end. Keynotes KORNGOLD Born Brno, 1897 Died Hollywood, 1957 When Erich Wolfgang Korngold died in Hollywood he was all but forgotten despite having been one of the most important composers of film music ever. After travelling to the USA with legendary producer Max Reinhardt in 1934, Korngold returned there after the Nazi annexation of Austria. Korngold created large-scale scores linked by motifs representing particular characters, as Wagner did in his operas. Mahler heard some of the ten year-old Korngold s music and pronounced him a genius. Before he had turned 20 Korngold had composed orchestral works, including the still celebrated Sinfonietta, and his first two operas. VIOLIN CONCERTO Completed in the USA after World War II, and dedicated to Mahler s widow, Alma Mahler-Werfel, Korngold s concerto is steeped in the Romantic tradition of frank expressiveness that Korngold had learned from Mahler, Zemlinsky and Richard Strauss and turned into film music of the highest order. In the conventional three-movement design, it features moments of the sweetest lyricism and virtuosic display from the soloist and an orchestral palette of vast diversity. The strong sense of an unfolding emotional narrative, and the almost visual evocations stem from Korngold s recycling of material from some of his finest film scores. 8

8 For Korngold, the concerto symbolised his re-emergence into a musical mainstream in which he no longer felt completely secure. He was particularly nervous about the critics response to his frankly emotional musical language. In the weeks before the premiere, he wrote: I want a confirmation, an answer to a question of decisive importance for me: is there still a place and a chance for music with expression and feeling, with long melodic themes, formed and developed on the principles of the classic masters music conceived in the heart and not constructed on paper? The premiere, in St Louis with Heifetz, was a success. But in New York, Irving Kolodin s cheap jibe More corn than gold, hurt the composer deeply. Posterity s answer to Korngold s question has been mixed: the work languished on the fringes of the repertoire until the 1980s. It is now the most performed of all Korngold s concert works. LISTENING GUIDE By 1945 Korngold was concerned that some of his best musical ideas were disappearing as each film was taken out of circulation. He had no hesitation in re-casting film themes in his concert music. The first movement (Moderato nobile) is primarily lyrical. The violin joins the orchestra from the opening bars, with the theme adapted from the one Korngold first wrote for Another Dawn. The gentle second subject was first used in Juarez (1938). The vibrant coda offers one of the few opportunities for overtly virtuosic display in this movement. The Romance is almost a love scene between soloist and orchestra. For the Romance s lavish outpouring of melodic ideas, Korngold drew on his Anthony Adverse score, but created anew the haunting misterioso episode at the movement s core, which recurs at the end. In a similar manner to the last movement of Samuel Barber s violin concerto, Korngold establishes a decisive change of mood in the Finale, a set of variations on the Prince and the Pauper theme. is there still a place and a chance for music with expression and feeling, with long melodic themes, formed and developed on the principles of the classic masters music conceived in the heart and not constructed on paper? KORNGOLD ABRIDGED FROM A NOTE BY PHILLIP SAMETZ 2000 The orchestra for Korngold s Violin Concerto comprises two flutes (one doubling piccolo), two oboes (one doubling cor anglais), two clarinets, bass clarinet and two bassoons (one doubling contrabassoon); four horns, two trumpets and trombone; timpani and percussion (glockenspiel, xylophone, vibraphone, cymbals, bass drum); harp, celesta and strings. The SSO first performed the Violin Concerto in 2005 with conductor Marin Alsop and Michael Dauth as soloist, and most recently in 2008 with conductor Tomáš Netopil and soloist Arabella Steinbacher. 9

9 LEBRECHT MUSIC ARTS / BRIDGEMAN IMAGES The first page of the Adagietto from Mahler s Fifth Symphony. Willem Mengelberg s score shows his extensive markings in red and blue, together with a brief poem, which he has written into the left-hand margin (see page 14 for a translation). Mengelberg s annotations also include, in the top right corner: N.B. This Adagietto was Gustav Mahler s declaration of love to Alma! Instead of a letter he sent her this in manuscript; no accompanying words. She understood and wrote to him: he should come!!! Both told me this! W.M. And at the bottom of the page: If music is a language, then it is one here he tells her everything in tones and sounds in: music. 10

10 Gustav Mahler Symphony No.5 in C sharp minor Part I Trauermarsch (In gemessenem Schritt. Streng. Wie ein Kondukt) [Funeral march (With measured pace, stern, like a funeral procession)] Stürmisch bewegt. Mit grösster Vehemenz [Stormy, with utmost vehemence] Part II Scherzo (Kräftig, nicht zu schnell) [Strong, not too fast] Part III Adagietto (Sehr langsam) [Very slow] Rondo Finale (Allegro) Mahler s first four symphonies were more or less programmatic in their intention, drawing their inspiration from folk poetry, incorporating themes from songs, and (in all but the first) using the human voice in one or more of the movements. The Fifth Symphony, on the other hand, revealed no obvious program and was scored for orchestra alone. It was written in around the time of Mahler s meeting with, and rather hasty betrothal to, Alma Schindler. While no period in Mahler s life could be described as unequivocally happy, there is no doubt that the Fifth Symphony was conceived at a time of substantial personal and professional satisfaction. Yet any sign of outward pleasure or optimism tends to be avoided, at least early on in the symphony pointedly, and notoriously, it begins with a funeral march. Mahler s friend Natalie Bauer-Lechner recalled Mahler speaking to her about the symphony he was writing in his hut in the woods during the summer of 1901: Within the last few days Mahler has spoken to me for the first time about his work this summer, his Fifth Symphony, and in particular about the third movement: The movement is immensely difficult to work out because of the structure and the supreme artistic mastery which it demands in all its relationships and details The human voice would be utterly out of place here. There is no call for words, everything is said in purely musical terms. It will be a straightforward symphony in four movements too, with each movement independent and complete in itself and related to the others only by the common mood. Mahler worked on the first two movements and part of the third movement during the summer of The rest of the symphony was completed the following summer, by which point Alma Schindler (whom he had met in November 1901) was very much part of his life. In her memoirs, Alma recalled the couple going to Maiernigg in June 1902: Keynotes MAHLER Born Kalischt, 1860 Died Vienna, 1911 Mahler is now regarded as one of the greatest symphonists of the turn of the 20th century. But during his life his major career was as a conductor he was effectively a summer composer. Mahler believed that a symphony must embrace the world. His are large-scale, requiring huge orchestras and often lasting more than an hour. They cover a tremendous emotional range, and they have sometimes been described as Janus-like in the way they blend romantic and modern values, selfobsession and universal expression, idealism and irony. FIFTH SYMPHONY Mahler described his Fifth Symphony originally as a straightforward symphony in four separate movements, though somehow, as the introductory opening grew into a separate slow movement, a Dead March, some of the promised straightforwardness was jettisoned. Mahler was composing the work in , around the time of his betrothal to Alma Schindler, and according to Mahler s colleague, Willem Mengelberg, the famous Adagietto for harp and strings is a declaration of love. Finally, Mahler caves in to the temptation to unify the work s separate parts. His finale duly melds ideas from all four previous movements, particularly the Dead March and the Adagietto, into a joyous (giocoso) celebration. It brings the whole symphony to the ecstatic brass hymn of the conclusion, as close as Mahler ever came to an Ode to Joy. 11

11 Mahler had the sketches of the Fifth Symphony with him. Two movements were completed, the rest were being drafted. I tried to play the piano softly, but when I asked him, he [said that he] had heard me, although his working cabin was located far away in the woods. Thereafter I changed my activities In the process I gradually became a real help to him. By the autumn of 1902 the Fifth Symphony was complete and Mahler played it for his new wife: It was the first time that he played a new work for me. Arm in arm we walked solemnly up to his studio in the woods. Soon afterwards the vacation was over, and we moved to Vienna. The Fifth was completed, and he worked all winter on the final copy. When the premiere took place in Cologne on 18 October 1904, the reception was mixed. The great conductor and early champion of Mahler s music, Bruno Walter, clearly remembered the occasion for a particular reason : it was the first and, I think, the only time that a performance of a Mahler work under his own baton left me unsatisfied. The instrumentation did not succeed in bringing out clearly the complicated contrapuntal fabric of the parts, and Mahler complained to me afterwards that he never seemed able to master the handling of the orchestra: in fact, he later subjected the orchestration to the most radical revision that he ever felt obliged to undertake. Walter was not alone; Richard Strauss, also an admirer of Mahler s music, had reservations after witnessing a further performance of the symphony some months later. Revision after revision ensued, beginning with the overwritten percussion parts and following through into the entire orchestration. So thorough was Mahler s reworking that, even as the symphony s popularity grew, each performance was different from the previous. The Fifth is an accursed work, Mahler wrote. No one understands it! The symphony follows Mahler s principle of progressive tonality, working its way from the beginning in C sharp minor to a conclusion in a triumphant D major. On its travels it passes through a vast range of moods and emotions passionate, wild, pathetic, sweeping, solemn, gentle, full of all the emotions of the human heart in Bruno Walter s memorable description. A massive work, it is in three parts and five movements (rather than the four movements Mahler had planned in 1901). Gustav Mahler (portrait by Emil Orlik, 1902) and Alma Mahler At the dress rehearsal, your Fifth Symphony again brought me great pleasure, which was dimmed for me only by the little Adagietto. It serves you right that precisely that movement was liked the most by the audience. The first two movements especially are quite splendid; the ingenious Scherzo seemed a bit too long. How much this is the fault of the inadequate performance is beyond my judgement. RICHARD STRAUSS 12

12 The opening movement begins with a distinctive trumpet call which recurs as the movement proceeds, and which Mahler noted in the score should be played somewhat hurriedly, in the manner of military fanfares. Like Berlioz and Tchaikovsky before him, Mahler opens with a funeral march and the first movement itself is filled with pain and grief. As if to belie the claim that the symphony is absolute rather than programmatic music, the main theme is actually based on a song by Mahler called Der Tamboursg sell a song about a drummer boy facing execution. There are two trios in the movement: the first in B flat minor with a brief violin theme, the second a quieter section in A minor following the return of the march theme. After an impassioned climax toward the end, the movement dies away amid echoes of the opening trumpet call. Mahler leaves no doubt as to the intended mood of the second movement marked Stormy, with utmost vehemence. Much of the material in this allegro movement derives from that in the first and there is a distinct reminiscence of the march rhythms. A brass chorale in part anticipates the conclusion of the symphony as a whole; after some distinctly sinister turns, the main themes of the allegro return as the movement ends quietly and ominously. The Scherzo, which forms the third movement, is another matter altogether. Its energetic main thematic material is in the form of a joyous ländler. Ideas tumble over themselves in an inventive contrapuntal display while a slower waltz theme is juxtaposed with the main material. Contrasting trios add a more sombre note and in one of these there occurs a striking obbligato passage for the principal horn. The Adagietto arguably the most famous single movement in all the Mahler symphonies is essentially a song without words. Scored for harps and strings alone, it is closely related to Mahler s song Ich bin der Welt abhanden gekommen (I am lost to the world). According to Mahler s colleague, Dutch conductor Willem Mengelberg, the Adagietto was intended as a declaration of love for Alma and was composed shortly after the couple met. More like a fascinated bystander than a conductor, Mengelberg wrote in his score: Instead of a letter, he sent her this in manuscript, no accompanying words. She understood and wrote to him: he should come!!! Both have told me this! If music is a language, then it is one here. He tells her everything in tones and sounds, in: music. Instead of a letter, he sent her this manuscript without further explanation If music is a language, then this is proof. passionate, wild, pathetic, sweeping, solemn, gentle, full of all the emotions of the human heart. 13

13 And also in Mengelberg s score at the beginning of the Adagietto was the following brief poem, presumably written by Mahler himself: Wie ich Dich liebe Du meine Sonne Ich kann mit Worten Dir s nicht sagen Nur meine Sehnsucht kann ich Dir klagen Und meine Liebe Meine Wonne! How I love you, my sun, I cannot tell you in words, I can only pour out to you my longing and my love, my delight! The Adagietto gained a wider audience when used in the soundtrack for Visconti s film Death in Venice. The Rondo Finale shares material with each of the previous four movements, particularly the Funeral March and the Adagietto. The movement is a joyous (giocoso) celebration which begins with a series of folk-like figures on solo wind instruments. (The opening of the movement quotes the witty Lob des hohen Verstandes (In Praise of Higher Understanding) from Des Knaben Wunderhorn.) The main rondo theme is first stated on the horns and the other ideas are woven contrapuntally around this as counter-subjects. When the main melody from the Adagietto returns it is so transformed with energy that it is practically unrecognisable. The development is elaborate, and the movement as a whole works its way towards the ecstatic brass chorale of the conclusion as close as the melancholy Mahler ever came to writing an Ode to Joy. MARTIN BUZACOTT, SYMPHONY AUSTRALIA 1997 Mahler s Fifth Symphony is scored for four flutes (two doubling piccolo), three oboes (one doubling English horn), three clarinets (one doubling E flat clarinet and bass clarinet), three bassoons and contrabassoon; seven horns, four trumpets, three trombones and tuba; timpani and four percussion; harp and strings. The Sydney Symphony Orchestra was the first ABC orchestra to perform this symphony, with conductor Georg Schnéevoigt on 5 August The most recent performance was in 2013 with Vladimir Ashkenazy conducting. Before World War II, Mahler s symphonies were not universally greeted as masterworks. When Georg Schnéevoigt conducted the SSO s first performance of the Fifth in the Sydney Town Hall on 5 August 1937, The Sydney Morning Herald reviewer found it: a long work, and an uncommonly patchy one... the composer seemed to be going through the motions of grief, joy, or frenzy, but conveying nothing but a disturbing noise. Mahler s wellknown fondness for brass instruments expressed itself in frequent and by no means uncertain terms. This, more than anything else, made the symphony fatiguing. Still, a score which includes such superb ideas as the Dead March in the first movement and the tender sincerity of the Adagietto is not lightly to be thrust aside. 14

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15 Help spark a lifetime love of music There s nothing better than looking up and seeing the joy on a child s face who has just experienced live orchestral music for the first time! Kristy Conrau, Sydney Symphony Cellist since 2006 Over the last 12 months more than 23,000 students have participated in our music education programs and more than 50,000 people have viewed one of our concerts online. By donating today you can help build future audiences and make concerts more accessible for young people across New South Wales. Your gift, of any amount, will make an important difference. $125 $250 supports professional learning and digital resources for a teacher to bring their students to Meet the Music supports free and subsidised tickets for ten deserving young people to attend a Family Concert 16

16 Make your gift today! The Sydney Symphony is a family affair and you re an important member of our family! Your tax-deductible gift before the end of the year will help us share the joy of music as widely as possible in To make your donation please visit: sydneysymphony.com/appeal Or call (02) today $500 $1,000 supports an interactive visit from our musicians to a school in regional NSW supports equipment for a live broadcast into libraries and conservatoriums across NSW 17

17 Create Your Own 2019 season package! With Create Your Own packages, you can mix and match concerts for your family and friends, include your favourite music, or challenge yourself to do something new! THE SHOW-STOPPERS OF 2019 INCLUDE: THE MUSIC OF COUNT BASSIE AND DUKE ELLINGTON Trumpet legend Wynton Marsalis and his famous Jazz at the Lincoln Center Orchestra in concert. 23 February 2019 Presented with the support of Premier Partner Credit Suisse CASINO ROYALE IN CONCERT James Bond on the big screen with the power of the orchestra. 28 February 1 March 2019 HARRY POTTER AND THE ORDER OF THE PHOENIX IN CONCERT Experience the magic of the film with a live orchestra April 2019 LANG LANG GALA PERFORMANCE The Chinese superstar pianist returns to perform Mozart. 27 & 29 June 2019 Presented with the support of Premier Partner Credit Suisse BEETHOVEN SYMPHONY NO.5 and violinist Vadim Gluzman performs Prokofiev. 3 8 July 2019 A RUSSIAN GALA Experience Tchaikovsky s First Piano Concerto performed by the sensational young pianist Behzod Abduraimov. 8 & 9 November 2019 Buy any four or more of these concerts as a CYO season package / Save up to 10% on regular prices Ticket exchanges / Secure the best seats / Book at sydneysymphony.com/2019 It s Choose your music. HARRY POTTER characters, names and related indicia are & Warner Bros. Entertainment Inc. J.K. ROWLING S WIZARDING WORLD J.K. Rowling and Warner Bros. Entertainment Inc. Publishing Rights JKR. (s18) CASINO ROYALE LICENSED BY MGM. CASINO ROYALE 2006 DANJAQ, UNITED ARTISTS. AND RELATED JAMES BOND TRADEMARKS, TM DANJAQ. ALL RIGHTS RESERVED.

18 INTERMEZZO RISTORANTE Sydney s Best, Classic Italian Cuisine Just few steps away from the City Recital Hall Intermezzo is the perfect place for your Pre or Post Concert Dining. Why not try our Late Night Dessert Special from 9pm Dessert with Coffee or Tea for just $19.90 THE CBD S FAVOURITE ITALIAN RESTAURANT Open 5:30pm for 7:00pm Concerts at CRH Bookings: or Ground Floor, 1 Martin Place, Sydney 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. While every effort has been made to ensure accuracy of statements in this publication, we cannot accept responsibility for any errors or omissions. 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 Trust Nicholas Moore Chair Anne Dunn Michael Ebeid am Matthew Fuller Kathryn Greiner ao Executive Management Louise Herron am Kate Dundas Jade McKellar Ian Cashen Brendan Wall Jon Blackburn Kya Blondin Hugh Lamberton Chris Knoblanche am Deborah Mailman am Kylie Rampa Jillian Segal am Phillip Wolanski am Chief Executive Officer Executive Director, Performing Arts Director, Visitor Experience Executive Director, Building, Safety & Security Director, Engagement & Development Executive Director, Corporate Services & CFO Director, People & Government Director, Office of the CEO SYDNEY OPERA HOUSE Administration (02) Bennelong Point Box Office (02) GPO Box 4274 Facsimile (02) Sydney NSW 2001 Website sydneyoperahouse.com 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: SYMPHONY SERVICES INTERNATIONAL Clocktower Square, Shops Harrington Street, The Rocks 2000 Telephone (02) Facsimile (02) Chairman & Advertising Director Brian Nebenzahl OAM RFD Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Operating in Australia, New Zealand, Singapore, Hong Kong, Taiwan, Korea, South Africa, UK and in USA as Platypus Productions LLC 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. 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 / S106-S107 PAPER PARTNER 19

19 THE ARTISTS JAY FRAM David Robertson conductor THE LOWY CHAIR OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR David Robertson conductor, artist, thinker and American musical visionary is a highly soughtafter figure in the worlds of opera, orchestral music and new music. A consummate and deeply collaborative musician, he is hailed for his intensely committed music-making and celebrated worldwide as a champion of contemporary composers, an ingenious and adventurous programmer, and a masterful communicator and advocate for his art form. He made his Australian debut with the SSO in 2003 and soon became a regular visitor to Sydney, with highlights including the Australian premiere of John Adams Doctor Atomic Symphony and concert performances of The Flying Dutchman. In 2014, his inaugural season as Chief Conductor and Artistic Director, he led the SSO on a tour of China. More recent highlights have included presentations of Elektra, Tristan und Isolde, Beethoven s Missa Solemnis, and Porgy and Bess; the Australian premiere of Adams Scheherazade.2 violin concerto, Messiaen s From the Canyons to the Stars and Stravinsky ballet scores (also recorded for CD release), as well as the SSO at Carriageworks series ( ). Currently in his farewell season as Music Director of the St Louis Symphony, David Robertson has served as artistic leader to many musical institutions, including the BBC Symphony Orchestra, Orchestre National de Lyon, and as a protégé of Pierre Boulez Ensemble Intercontemporain. With frequent projects at the world s leading opera houses, including the Metropolitan Opera, La Scala, Bavarian State Opera, Théâtre du Châtelet and San Francisco Opera, he is also a frequent guest with major orchestras worldwide, conducting the New York Philharmonic, Los Angeles Philharmonic, Boston and Chicago symphony orchestras, Philadelphia and Cleveland orchestras, Berlin Philharmonic, Staatskapelle Dresden, BBC Symphony Orchestra and Hong Kong Philharmonic Orchestra. David Robertson is devoted to supporting young musicians and has worked with students at the Aspen, Tanglewood and Lucerne festivals; as well as the Paris Conservatoire, Juilliard School, Music Academy of the West, National Orchestral Institute (University of Maryland) and the National Youth Orchestra of Carnegie Hall. His awards and accolades include Musical America Conductor of the Year (2000), Columbia University s 2006 Ditson Conductor s Award, and the ASCAP Morton Gould Award for Innovative Programming. In 2010, he was elected a Fellow of the American Academy of Arts and Sciences, and in 2011 a Chevalier de l Ordre des Arts et des Lettres. David Robertson was born in Santa Monica, California, and educated at the Royal Academy of Music in London, where he studied French horn and composition before turning to conducting. He is married to pianist Orli Shaham. The position of Chief Conductor and Artistic Director is also supported by Principal Partner Emirates. 20

20 MAT HENNEK Renaud Capuçon violin Born in Chambéry, eastern France, Renaud Capuçon began his studies at the Conservatoire National Supérieur de Musique de Paris at the age of 14. Following this, he moved to Berlin to study with Thomas Brandis and Isaac Stern and was awarded the Prize of the Berlin Academy of Arts. In 1997 he was invited by Claudio Abbado to become concertmaster of the Gustav Mahler Jugendorchester, which he led for three summers. Since then, he has performed as soloist with leading orchestras such as the Berlin Philharmonic, Vienna Philharmonic, London Symphony Orchestra, Orchestre National de France, Filarmonica della Scala, and Boston Symphony. He has worked with conductors including Valery Gergiev, Daniel Barenboim, Semyon Bychkov, Paavo Järvi, Yannick Nézet- Séguin and Jaap van Zweden. Highlights of Renaud Capuçon s season so far have included an Asian tour with the Camerata Salzburg and the premiere in Brussels of a new concerto, Les Horizons perdus, written especially for him by Guillaume Connesson. Renaud Capuçon s chamber music collaborations have included performances with Martha Argerich, Yuri Bashmet, Yefim Bronfman, and Yuja Wang, as well as with his brother, cellist Gautier Capuçon, and have taken him to festivals such as Lucerne, Verbier, Aix-en-Provence, La Roque d Anthéron, Salzburg, Edinburgh and Tanglewood. He is also the Artistic Director of two festivals, the Sommets Musicaux de Gstaad (since 2016), and the Easter Festival in Aix-en-Provence, which he founded in Renaud Capucon s recordings include Bartók s two violin concertos with the London Symphony Orchestra conducted by François-Xavier Roth, Brahms and Berg concertos with the Vienna Philharmonic conducted by Daniel Harding, and chamber music of Debussy. His latest recording, Cinema was released in October. In 2017 he founded the Lausanne Soloists, comprising current and former students of the Haute École de Musique de Lausanne, where he has held a professorship since He plays the Guarneri del Gesù Panette (1737), which belonged to Isaac Stern. In June 2011 he was appointed Chevalier dans l Ordre National du Mérite and in March 2016 Chevalier de la Légion d honneur by the French Government. Renaud Capuçon played Beethoven s Violin Concerto with the Sydney Symphony Orchestra and conductor Kristjan Järvi in

21 SYDNEY SYMPHONY ORCHESTRA PHOTO: KEITH SAUNDERS DAVID ROBERTSON THE LOWY CHAIR OF 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, the SSO also performs in venues throughout Sydney and regional New South Wales, and international tours to Europe, Asia and the USA have earned the orchestra worldwide recognition for artistic excellence. Well on its way to becoming the premier orchestra of the Asia Pacific region, the SSO has toured China on five occasions, and in 2014 won the arts category in the Australian Government s inaugural Australia-China Achievement Awards, recognising ground-breaking work in nurturing the cultural and artistic relationship between the two nations. 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, Zdeněk 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 Learning and Engagement 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 commissions. Recent premieres have included major works by Ross Edwards, Lee Bracegirdle, Gordon Kerry, Mary Finsterer, Nigel Westlake, Paul Stanhope and Georges Lentz, and 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 conducted by Alexander Lazarev, Sir Charles Mackerras and David Robertson, as well as the complete Mahler symphonies conducted by Vladimir Ashkenazy is David Robertson s fifth season as Chief Conductor and Artistic Director. 22

22 THE ORCHESTRA David Robertson THE LOWY CHAIR OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR Brett Dean ARTIST IN RESIDENCE SUPPORTED BY GEOFF AINSWORTH am & JOHANNA FEATHERSTONE Andrew Haveron CONCERTMASTER SUPPORTED BY VICKI OLSSON FIRST VIOLINS Andrew Haveron CONCERTMASTER Sun Yi ASSOCIATE CONCERTMASTER Kirsten Williams ASSOCIATE CONCERTMASTER Lerida Delbridge ASSISTANT CONCERTMASTER Fiona Ziegler ASSISTANT CONCERTMASTER Jenny Booth Sophie Cole Claire Herrick Georges Lentz Nicola Lewis Emily Long Alexandra Mitchell Alexander Norton Anna Skálová Léone Ziegler Brielle Clapson SECOND VIOLINS Kirsty Hilton Marina Marsden Marianne Edwards ASSOCIATE Emma Jezek ASSISTANT Alice Bartsch Victoria Bihun Rebecca Gill Emma Hayes Shuti Huang Monique Irik Wendy Kong Stan W Kornel Benjamin Li Nicole Masters Maja Verunica VIOLAS Roger Benedict Tobias Breider Anne-Louise Comerford ASSOCIATE Justin Williams ASSISTANT Sandro Costantino Rosemary Curtin Jane Hazelwood Graham Hennings Stuart Johnson Justine Marsden Felicity Tsai Amanda Verner Stephen Wright* Leonid Volovelsky CELLOS Umberto Clerici Catherine Hewgill Leah Lynn ASSISTANT Fenella Gill Timothy Nankervis Christopher Pidcock Adrian Wallis David Wickham Kristy Conrau Elizabeth Neville DOUBLE BASSES Kees Boersma Alex Henery David Campbell Steven Larson Richard Lynn Jaan Pallandi Benjamin Ward Alanna Jones FLUTES Joshua Batty* Lisa Osmialowski ASSOCIATE Carolyn Harris Rosamund Plummer PICCOLO Emma Sholl A/ OBOES Diana Doherty Shefali Pryor ASSOCIATE David Papp Alexandre Oguey COR ANGLAIS CLARINETS Francesco Celata ACTING Christopher Tingay Alexander Morris BASS CLARINET BASSOONS Todd Gibson-Cornish Matthew Wilkie EMERITUS Noriko Shimada CONTRABASSOON Melissa Woodroffe Fiona McNamara HORNS Ben Jacks Tim Jones* Geoffrey O Reilly 3RD Euan Harvey Marnie Sebire Aidan Gabriels Alexander Love* Rachel Silver TRUMPETS David Elton Paul Goodchild ASSOCIATE Anthony Heinrichs Daniel Henderson TROMBONES Ronald Prussing Scott Kinmont ASSOCIATE Nick Byrne Brett Page* BASS TROMBONE Christopher Harris BASS TROMBONE TUBA Steve Rossé TIMPANI Mark Robinson A/ PERCUSSION Rebecca Lagos Timothy Constable Tim Brigden* Ian Cleworth* Alison Pratt* HARP Louise Johnson CELESTA Kate Golla* = CONTRACT MUSICIAN * = GUEST MUSICIAN = SSO FELLOW Grey = PERMANENT MEMBER OF THE SYDNEY SYMPHONY ORCHESTRA NOT APPEARING IN THIS CONCERT The men s tails are hand tailored by Sydney s leading bespoke tailors, G.A. Zink & Sons. 23

23 BEHIND THE SCENES Sydney Symphony Orchestra Board Terrey Arcus AM Chairman Andrew Baxter Kees Boersma Ewen Crouch AM Emma Dunch Catherine Hewgill David Livingstone The Hon. Justice AJ Meagher Karen Moses John Vallance Sydney Symphony Orchestra Council Geoff Ainsworth AM Doug Battersby Christine Bishop Dr Rebecca Chin John C Conde AO The Hon. John Della Bosca Alan Fang Ms Hannah Fink and Mr Andrew Shapiro Erin Flaherty Dr Stephen Freiberg Robert Joannides Simon Johnson Gary Linnane Helen Lynch AM David Maloney AM Justice Jane Mathews AO Danny May Jane Morschel Dr Eileen Ong Andy Plummer Deirdre Plummer Seamus Robert Quick Paul Salteri AM Sandra Salteri Juliana Schaeffer Fred Stein OAM Mary Whelan Brian White AO Rosemary White HONORARY COUNCIL MEMBERS Ita Buttrose AO OBE Donald Hazelwood AO OBE Yvonne Kenny AM Wendy McCarthy AO Dene Olding AM Leo Schofield AM Peter Weiss AO Concertmasters Emeritus Donald Hazelwood AO OBE Dene Olding AM 24 Sydney Symphony Orchestra Staff CHIEF EXECUTIVE OFFICER Emma Dunch CHIEF OF STAFF Philip Jameson ARTISTIC OPERATIONS DIRECTOR OF ARTISTIC PLANNING Raff Wilson ARTISTIC PLANNING MANAGER Sam Torrens ARTIST LIAISON MANAGER Ilmar Leetberg LIBRARY MANAGER Alastair McKean LIBRARIANS Victoria Grant Mary-Ann Mead SYDNEY SYMPHONY PRESENTS ASSOCIATE PRODUCER Peter Silver OPERATIONS & COMMERCIAL COORDINATOR Alexander Norden ORCHESTRA MANAGEMENT DIRECTOR OF ORCHESTRA MANAGEMENT Aernout Kerbert ORCHESTRA MANAGER Rachel Whealy ORCHESTRA COORDINATOR Rosie Marks-Smith OPERATIONS MANAGER Kerry-Anne Cook STAGE MANAGER Suzanne Large PRODUCTION COORDINATORS Elissa Seed Brendon Taylor LEARNING AND ENGAGEMENT DIRECTOR OF LEARNING & ENGAGEMENT Linda Lorenza EMERGING ARTISTS PROGRAM MANAGER Rachel McLarin EDUCATION MANAGER Amy Walsh Tim Walsh EDUCATION OFFICER Tim Diacos SALES AND MARKETING INTERIM DIRECTOR OF MARKETING Luke Nestorowicz MARKETING MANAGER, CLASSICAL SALES Douglas Emery MARKETING MANAGER, SYDNEY SYMPHONY PRESENTS Kate Jeffery MARKETING MANAGER, CRM Lynn McLaughlin LEAD DESIGNER Indah Shillingford GRAPHIC DESIGNER Amy Zhou MARKETING MANAGER, DIGITAL & ONLINE Meera Gooley ONLINE MARKETING COORDINATOR Andrea Reitano MARKETING COORDINATOR Tess Herrett Box Office HEAD OF TICKETING Emma Burgess SENIOR CUSTOMER SERVICE MANAGER Pim den Dekker CUSTOMER SERVICE MANAGER Amie Stoebner CUSTOMER SERVICE REPRESENTATIVE Michael Dowling PHILANTHROPY DIRECTOR OF PHILANTHROPY Lindsay Robinson PHILANTHROPY MANAGER Kate Parsons PHILANTHROPY MANAGER Jennifer Drysdale PHILANTHROPY COORDINATOR Georgia Lowe EXTERNAL AFFAIRS DIRECTOR OF EXTERNAL AFFAIRS Lizzi Nicoll HEAD OF CORPORATE RELATIONS Patricia Noeppel-Detmold BUSINESS DEVELOPMENT MANAGER Benjamin Moh EXTERNAL AFFAIRS OFFICER Mihka Chee EVENTS OFFICER Claire Whittle PUBLICITY MANAGER Alyssa Lim MULTIMEDIA CONTENT MANAGER Daniela Testa BUSINESS SERVICES DIRECTOR OF FINANCE Sarah Falzarano FINANCE MANAGER Ruth Tolentino ACCOUNTANT Minerva Prescott ACCOUNTS ASSISTANT Emma Ferrer PAYROLL OFFICER Laura Soutter PEOPLE AND CULTURE IN-HOUSE COUNSEL Michel Maree Hryce TRANSFORMATION PROJECTS DIRECTOR OF TRANSFORMATION PROJECTS Richard Hemsworth

24 SSO PATRONS Maestro s Circle Supporting the artistic vision of David Robertson, Chief Conductor and Artistic Director Roslyn Packer AC President Peter Weiss AO President Emeritus Terrey Arcus AM Chairman & Anne Arcus Brian Abel Tom Breen & Rachel Kohn The Berg Family Foundation John C Conde AO The late Michael Crouch AO & Shanny Crouch Vicki Olsson Drs Keith & Eileen Ong Ruth & Bob Magid Kenneth R Reed AM David Robertson & Orli Shaham Penelope Seidler AM Peter Weiss AO & Doris Weiss Ray Wilson OAM in memory of the late James Agapitos OAM Anonymous (1) PHOTO: JAY FRAM David Robertson Chair Patrons David Robertson The Lowy Chair of Chief Conductor and Artistic Director Andrew Haveron Concertmaster Vicki Olsson Chair Brett Dean Artist in Residence Geoff Ainsworth AM & Johanna Featherstone Chair Kees Boersma Principal Double Bass SSO Council Chair Tobias Breider Principal Viola Mrs Roslyn Packer AC and Ms Gretel Packer Chair Umberto Clerici Principal Cello Garry & Shiva Rich Chair Anne-Louise Comerford Associate Principal Viola White Family Chair Kristy Conrau Cello James Graham AM & Helen Graham Chair Timothy Constable Percussion Justice Jane Mathews AO Chair Lerida Delbridge Assistant Concertmaster Simon Johnson Chair Diana Doherty Principal Oboe John C Conde AO Chair Carolyn Harris Flute Dr Barry Landa Chair Jane Hazelwood Viola Bob & Julie Clampett Chair in memory of Carolyn Clampett Claire Herrick Violin Mary & Russell McMurray Chair Catherine Hewgill Principal Cello The Hon. Justice AJ & Mrs Fran Meagher Chair Kirsty Hilton Principal Second Violin Drs Keith & Eileen Ong Chair Scott Kinmont Associate Principal Trombone Audrey Blunden Chair Leah Lynn Assistant Principal Cello SSO Vanguard Chair with lead support from Taine Moufarrige and Seamus R Quick Nicole Masters Second Violin Nora Goodridge Chair Timothy Nankervis Cello Dr Rebecca Chin & Family Chair Elizabeth Neville Cello Ruth & Bob Magid Chair Alexandre Oguey Principal Cor Anglais GC Eldershaw Chair Shefali Pryor Associate Principal Oboe Emma & David Livingstone Chair Mark Robinson Acting Principal Timpani Sylvia Rosenblum Chair in memory of Rodney Rosenblum Emma Sholl Acting Principal Flute Robert & Janet Constable Chair Justin Williams Assistant Principal Viola Mr Robert & Mrs L Alison Carr Chair Kirsten Williams Associate Concertmaster I Kallinikos Chair Knowing that there are such generous people out there who love music as much as I do really makes a difference to me. I have been so lucky to have met Fran and Tony. They are the most lovely, giving couple who constantly inspire me and we have become great friends over the years. I m sure that this experience has enriched all of us. Catherine Hewgill, Principal Cello n n n n n n n n n n FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM CALL (02) PHOTO: KEITH SAUNDERS

25 SSO PATRONS PHOTO: KEITH SAUNDERS Learning & Engagement Sydney Symphony Orchestra 2018 Fellows The Fellowship program receives generous support from the Estate of the late Helen MacDonnell Morgan. fellowship patrons Robert Albert AO & Elizabeth Albert Flute Chair Christine Bishop Percussion Chair Sandra & Neil Burns Clarinet Chair Dr Gary Holmes & Dr Anne Reeckmann Horn Chair In Memory of Matthew Krel Violin Chair Warren & Marianne Lesnie Trumpet Chair Paul Salteri AM & Sandra Salteri Violin, Double Bass and Trombone Chairs In Memory of Joyce Sproat Viola Chair The late Mrs W Stening Cello Chair June & Alan Woods Family Bequest Bassoon Chair Anonymous Oboe Chair fellowship supporting patrons Bronze Patrons & above Mr Stephen J Bell Judy Crawford & the late Robin Crawford AM Mrs Carolyn Githens The Greatorex Foundation Dr Jan Grose OAM Dr Barry Landa Gabriel Lopata The Dr Lee MacCormick Edwards Charitable Foundation Drs Eileen & Keith Ong Dominic Pak & Cecilia Tsai Dr John Yu AC Anonymous (2) tuned-up! Bronze Patrons & above Antoinette Albert Ian & Jennifer Burton Ian Dickson & Reg Holloway Dr Gary Holmes & Dr Anne Reeckmann Drs Keith & Eileen Ong Tony Strachan major education donors Bronze Patrons & above Beverley & Phil Birnbaum The late Mrs PM Bridges OBE Bob & Julie Clampett Howard & Maureen Connors Kimberley Holden Mrs WG Keighley Roland Lee Mr & Mrs Nigel Price Mr Dougall Squair Mr Robert & Mrs Rosemary Walsh In memory of Dr Bill Webb & Mrs Helen Webb Anonymous (1) Commissioning Circle Supporting the creation of new works. Geoff Ainsworth AM & Johanna Featherstone Christine Bishop Dr John Edmonds Alvaro Rodas Fernandez Dr Stephen Freiberg & Donald Campbell Peter Howard Andrew Kaldor AM & Renata Kaldor AO Gary Linnane & Peter Braithwaite Gabriel Lopata Dr Peter Louw Justice Jane Mathews AO Dr Janet Merewether Vicki Olsson Caroline & Tim Rogers Geoff Stearn Rosemary Swift Ian Taylor Dr Richard T White Kim Williams AM & Catherine Dovey Anonymous SSO Commissions Each year both alone and in collaboration with other orchestras worldwide the SSO commissions new works for the mainstage concert season. These commissions represent Australian and international composers, established and new voices, and reflect our commitment to the nurturing of orchestral music. Premieres in 2018 JULIAN ANDERSON The Imaginary Museum Piano Concerto with soloist Steven Osborne 2, 3, 4 August (Australian premiere) BRETT DEAN Cello Concerto with soloist Alban Gerhardt 22, 24, 25 August (Premiere) Patrons allow us to dream of projects, and then share them with others. What could be more rewarding? DAVID ROBERTSON SSO Chief Conductor and Artistic Director BECOME A PATRON TODAY. Call: (02) philanthropy@sydneysymphony.com 26

26 SSO Bequest Society Honouring the legacy of Stuart Challender. Warwick K Anderson Mr Henri W Aram OAM & Mrs Robin Aram Timothy Ball Dr Rosemary Barnard Stephen J Bell Christine Bishop Mrs Judith Bloxham Mr David & Mrs Halina Brett R Burns David Churches & Helen Rose Howard Connors Greta Davis G C Eldershaw Glenys Fitzpatrick Dr Stephen Freiberg Vic and Katie French Jennifer Fulton Brian Galway Geoffrey Greenwell Miss Pauline M Griffin AM John Lam-Po-Tang Dr Barry Landa Peter Lazar AM Daniel Lemesle Ardelle Lohan Linda Lorenza Mary McCarter Louise Miller James & Elsie Moore Mrs Barbara Murphy Douglas Paisley Kate Roberts Dr Richard Spurway Rosemary Swift Mary Vallentine AO Ray Wilson OAM Dawn and Graham Worner Anonymous (41) Stuart Challender, SSO Chief Conductor and Artistic Director bequest donors We gratefully acknowledge donors who have left a bequest to the SSO The late Mr Ross Adamson Estate of Douglas Vincent Agnew Estate of Carolyn Clampett Estate of Jonathan Earl William Clark Estate of Paul Louis de Leuil 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 Estate of Matthew Krel Estate of Helen MacDonnell Morgan The late Greta C Ryan Estate of Rex Foster Smart Estate of Joyce Sproat 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 OUR PHILANTHROPY TEAM 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 and above Brian Abel Geoff Ainsworth am & Johanna Featherstone Anne Arcus & Terrey Arcus am The Berg Family Foundation Tom Breen & Rachael Kohn Mr John C Conde ao Dr Gary Holmes & Dr Anne Reeckmann Sir Frank Lowy ac & Lady Lowy oam Ruth and Bob Magid Vicki Olsson Roslyn Packer ac Paul Salteri am & Sandra Salteri Peter Weiss ao & Doris Weiss PLATINUM PATRONS $30,000 $49,999 Robert & Janet Constable The late Michael Crouch ao & Shanny Crouch Ms Ingrid Kaiser David Robertson & Orli Shaham The late Mrs W Stening GOLD PATRONS $20,000 $29,999 Antoinette Albert Robert Albert ao & Elizabeth Albert Christine Bishop Sandra & Neil Burns GC Eldershaw Edward & Diane Federman Mrs Carolyn Githens Mr Andrew Kaldor am & Mrs Renata Kaldor ao I Kallinikos Dr Barry Landa Russell & Mary McMurray Karen Moses Rachel & Geoffrey O Conor Drs Keith & Eileen Ong Kenneth R Reed am Mrs Penelope Seidler am In memory of Joyce Sproat Geoff Stearn Ray Wilson oam in memory of James Agapitos oam June & Alan Woods Family Bequest Anonymous (1) SILVER PATRONS $10,000 $19,999 Ainsworth Foundation Doug & Alison Battersby Rob Baulderstone & Mary Whelan Audrey Blunden Daniel & Drina Brezniak Mr Robert & Mrs L Alison Carr Dr Rebecca Chin Bob & Julie Clampett Richard Cobden sc Mrs Janet Cooke Ian Dickson & Reg Holloway Emma Dunch Dr Lee MacCormick Edwards Charitable Foundation Nora Goodridge Simon Johnson Warren & Marianne Lesnie Emma & David Livingstone Helen Lynch am & Helen Bauer Susan Maple-Brown am Justice Jane Mathews ao The Hon. Justice A J Meagher & Mrs Fran Meagher Dr Janet Merewether Mr John Morschel Dr Dominic Pak & Mrs Cecilia Tsai Mr & Mrs Nigel Price Seamus Robert Quick Garry & Shiva Rich Sylvia Rosenblum Rod Sims and Alison Pert Tony Strachan Isaac Wakil ao & the late Susan Wakil ao In memory of Dr Bill Webb & Mrs Helen Webb Judy & Sam Weiss In memory of Anthony Whelan mbe In memory of Geoff White Caroline Wilkinson Anonymous (4) BRONZE PATRONS $5,000 $9,999 Stephen J Bell Beverley & Phil Birnbaum Boyarsky Family Trust The late Mrs P M Bridges obe Ian & Jennifer Burton Hon. J C Campbell qc & Mrs Campbell Mr Lionel Chan Dr Diana Choquette Mr B & Mrs M Coles Howard Connors Ewen Crouch am & Catherine Crouch Donus Australia Foundation Ltd Paul & Roslyn Espie In memory of Lyn Fergusson Mr Richard Flanagan Dr Stephen Freiberg & Donald Campbell James & Leonie Furber Dr Colin Goldschmidt Mr Ross Grant Mr David Greatorex ao & Mrs Deirdre Greatorex 27