EDO DE WAART CONDUCTS MOZART & ELGAR

Transcription

1 EDO DE WAART CONDUCTS MOZART & ELGAR THURSDAY AFTERNOON SYMPHONY Thursday 3 December 2015 EMIRATES METRO SERIES Friday 4 December 2015 GREAT CLASSICS Saturday 5 December 2015

2 concert diary SSO PRESENTS COMING UP IN 2016 Peter Cetera Live with your SSO Successful solo artist and former lead singer of Chicago, hear all your favourite hits Glory of Love, Hard to Say I m Sorry, If You Leave Me Now at the State Theatre. Symphony in The Domain Spread your blanket under the stars and enjoy the sounds of the Orchestra with your family and friends in The Domain. Program to be announced. Beethoven Alive BEETHOVEN Symphony No.1* BEETHOVEN Symphony No.8 BEETHOVEN Symphony No.7* Vladimir Ashkenazy conductor Beethoven Triumphant BEETHOVEN Piano Concerto No.5 (Emperor) BEETHOVEN Symphony No.4 Vladimir Ashkenazy conductor Garrick Ohlsson piano Garrick Ohlsson in Recital GRANADOS Goyescas MUSSORGSKY Pictures at an Exhibition Beethoven Ascendant BEETHOVEN Violin Concerto BEETHOVEN Symphony No.5 Vladimir Ashkenazy conductor James Ehnes violin Serenade: Mozart & Strauss R STRAUSS Serenade in E flat for 13 winds MOZART Violin Rondo in B flat, K269 R STRAUSS Metamorphosen MOZART Violin Rondo in C, K373 James Ehnes violin-director 2016 SSO Fellows & SSO Musicians Fri 11 Dec 8pm Sat 12 Dec 2pm Sat 12 Dec 8pm State Theatre, Sydney FREE EVENT Presented by Sydney Festival Sat 16 Jan 8pm The Domain, Sydney Thursday Afternoon Symphony Thu 4 Feb 1.30pm Tea and Symphony Fri 5 Feb 11am* complimentary morning tea from 10am Great Classics Sat 6 Feb 2pm 7 Mon 8 Feb 7pm APT Master Series Wed 10 Feb 8pm Fri 12 Feb 8pm Sat 13 Feb 8pm International Pianists in Recital Mon 15 Feb 7pm City Recital Hall Angel Place SPECIAL EVENT Premier Partner Credit Suisse Wed 17 Feb 8pm Thu 18 Feb 8pm Fri 19 Feb 8pm Tea and Symphony Fri 19 Feb 11am complimentary morning tea from 10am Wynton Marsalis and the SSO Swing Symphony BERNSTEIN Fancy Free Ballet BERNSTEIN Prelude, Fugue and Riffs MARSALIS Swing Symphony AUSTRALIAN PREMIERE David Robertson conductor Wynton Marsalis trumpet Francesco Celata clarinet Jazz at Lincoln Center Orchestra SPECIAL EVENT Wed 24 Feb 8pm TICKETS FOR 2016 ON SALE MONDAY 7 DEC SYDNEYSYMPHONY.COM CALL Mon Fri 9am 5pm Tickets also available at SYDNEYOPERAHOUSE.COM Mon Sat 9am 8.30pm Sun 10am 6pm All concerts at Sydney Opera House unless otherwise stated

3 WELCOME TO THE EMIRATES METRO SERIES This year continues to be a milestone year for Emirates and marks 15 years of flying into Sydney and our 13th anniversary with the Sydney Symphony Orchestra. Our partnership with the SSO is an integral part of our long-term commitment to the arts in Sydney, and Australia. This is one of our longest partnerships and we are proud to continue being the Principal Partner of the SSO as well as supporting the Metro concert series in particular. Year after year, the SSO continually offers a first-class performance to its audiences, bringing together the finest classical music talents, similar to Emirates, which strives to deliver a first-class service and unforgettable flying experience to all our guests. Both the SSO and Emirates specialise in world-class entertainment and with our airline s award winning inflight entertainment system, ice, with up to 2,000 channels to choose from, those flying on Emirates will even be able to watch selected SSO concerts onboard. Emirates customers can also look forward to some of the finest wines available, paired with menus created by leading chefs, while being served by Emirates multilingual Cabin Crew. The Emirates global network now features services to 147 destinations in 79 countries, ensuring there is the perfect destination for every traveller. From November 2015, Emirates will have increased its European network to 38 destinations with the addition of its fourth Italian Gateway, Bologna. At Emirates, we re proud to connect travellers around the globe, bringing people together to discover, enjoy, and share experiences. Similarly, our partnership with the SSO is about connecting with you our customers. We are pleased to continue our support of the SSO and encourage you to enjoy all the performances you can in Barry Brown Emirates Divisional Vice President, Australasia

4 2015 concert season THURSDAY AFTERNOON SYMPHONY THURSDAY 3 DECEMBER, 1.30PM EMIRATES METRO SERIES FRIDAY 4 DECEMBER, 8PM GREAT CLASSICS SATURDAY 5 DECEMBER, 2PM SYDNEY OPERA HOUSE CONCERT HALL EDO DE WAART CONDUCTS MOZART & ELGAR Edo de Waart conductor Ronald Brautigam piano ROSS EDWARDS (born 1943) White Ghost Dancing (2007) WOLFGANG AMADEUS MOZART ( ) Piano Concerto No.24 in C minor, K491 Allegro Larghetto Allegretto INTERVAL EDWARD ELGAR ( ) Symphony No.1 in A flat, Op.55 Andante (Nobilmente e semplice) Allegro Allegro molto Adagio Lento Allegro Pre-concert talk by David Garrett in the Northern Foyer, 45 minutes before each performance. Visit sydneysymphony.com/speaker-bios for more information. Estimated durations: 8 minutes, 31 minutes, 20-minute interval, 50 minutes The concert will conclude at approximately 3.30pm (Thu), 10pm (Fri), 4pm (Sat). COVER IMAGE: Ghost Gum at Kangaroo Flat (1921) by Penleigh Boyd ( )

5 BRIDGET ELLIOT ARTHUR REYNOLDS COLLECTION /LEBRECHT MUSIC & ARTS Ross Edwards Edward Elgar c.1903 a sepia bromide print by Charles F Grindod. Unfinished portrait of Mozart by his brother-in-law Joseph Lange the outline of the missing portion suggests the finished version would have shown the composer seated at the piano. 6

6 INTRODUCTION Edo de Waart conducts Mozart & Elgar Welcome to the final program in the 2015 SSO subscription series. It s a program that goes to the heart of what a symphony orchestra does best: masterpieces in the romantic vein (Elgar), classic concertos (Mozart) and music from our own time and place (Edwards). Conducting the concert is our former chief, Edo de Waart, and joining us is his fellow countryman, Dutch pianist Ronald Brautigam. The Mozart piano concerto they ve chosen is a staple of the modern concert hall much loved for its almost Beethovenian drama but we can be assured of an especially stylish interpretation from a pianist who performs nearly as often with period instrument ensembles as with modern orchestras. Elgar admired Mozart and saw him as an inspiration. As a 19 year old he d begun a pastiche symphony based on Mozart s No.40 in G minor after playing violin in a performance of it. Even at that age he likely regarded the symphony genre as the highest achievement of musical art, although he was 50 before his first symphony took shape. Perhaps what the two composers share is a cosmopolitan instinct. Mozart, of course, travelled all over Europe, and even to London, as a boy, and he experienced and drew from the best of the Italian and French styles as well as the virtuosity of orchestras in places such as Mannheim. In many ways Elgar s influences and aspirations were similarly cosmopolitan, a thought that can seem surprising if you ve been sold on the idea of Elgar as the quintessential Englishman, with a staid and soldierly persona. In fact he sought out and heard much music, including the latest compositions, as he shaped his own musical education, and that included the Europeans. And his orchestral craft came principally from models across the Channel. Ross Edwards is a composer who has largely followed his own path, developing a style that is both universal in its scope and deeply connected to its Australian roots. In White Ghost Dancing we hear Edwards distinctive maninya, or dance chant, style. This is music that literally dances, bringing a kinetic energy to the concert hall. 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 Ross Edwards (born 1943) White Ghost Dancing (2007) The composer writes There are recorded instances of Aboriginal people mistaking early Europeans in Australia for the ghosts of their ancestors, since ghosts were believed to be light-coloured. As I composed White Ghost Dancing, the concept of a white ghost came to symbolise non-indigenous Australia s innate aboriginality its capacity to transform and heal itself through spiritual connectedness with the earth. I believe that music, which has enormous therapeutic properties and, for me, a close relationship with ritual and especially dance is destined to make an important contribution to this transformation and healing; hence the title. Typical of my maninya (dance chant) pieces, White Ghost Dancing is a compact mosaic of unconsciously processed shapes and patterns from the natural world: fragments of birdsong, insect and frog rhythms, as well as fleeting references to other works of mine, and fusions of Aboriginal and Gregorian chant. ROSS EDWARDS 1999 White Ghost Dancing was completed in 1999, a commission for the Tasmanian Symphony Orchestra and conductor David Porcelijn, to whom it is dedicated. The TSO gave the premiere in 2000 and brought it to Sydney the following year. The SSO presented it in the Meet the Music Series in 2002, performed on that occasion by the Australian Youth Orchestra. More recently the music became a movement in Edwards score for Nicolo Fonte s ballet The Possibility Space, premiered by the Australian Ballet in At that point the piece was expanded through repetition, says Edwards, to make it more emphatic and suitable for dance. The result, which also adds a piano to the orchestration, is bolder and bouncier and has replaced the original version for concert hall performance as well. About the composer One of Australia s best-known and most performed composers, Ross Edwards has created a distinctive sound world which seeks to reconnect music with elemental forces and restore its traditional association with ritual and dance. His music, universal in that it is concerned with age-old mysteries surrounding humanity, is at the same time deeply connected to its roots in Australia, whose cultural diversity it celebrates, and from whose natural environment it draws inspiration, especially birdsong and the mysterious patterns and drones of insects. Maninya style As Gordon K Williams describes it, Ross Edwards music can lead us from a state of meditation to an effervescence or buoyancy of mind as when the dancing impulses of his famous maninya style kick in. This style emerged in Edward s hour-long Maninya cycle of five pieces for different combinations of instruments and voice. The title was drawn from the text of the first piece Maninya I for voice and cello (1981), which used randomly chosen syllables. Meaningless at first, the word maninya has since come to refer to Edwards music of this type: dance chant, characterised by subtly-varied repetitions and static harmony tempered by lively tempos. BRIDGET ELLIOT 8

8 As a composer living and working on the Pacific Rim, he is conscious of the exciting potential of this vast region. Ross Edwards compositions include five symphonies, concertos, choral, chamber and vocal music, children s music, film scores, a chamber opera and music for dance. His Dawn Mantras greeted the dawning of the new millennium from the sails of the Sydney Opera House in a worldwide telecast. His compositions often require special lighting, movement and costume, for example Bird Spirit Dreaming, composed for oboist Diana Doherty and the SSO, and more recently Full Moon Dances, a saxophone concerto for Amy Dickson, the SSO and the Australian symphony orchestras. Frog and Star Cycle, a double concerto commissioned for Amy Dickson, percussionist Colin Currie and the SSO, will be premiered in July White Ghost Dancing is scored for two flutes (one doubling piccolo), two oboes, two clarinets (one doubling bass clarinet) and two bassoons (one doubling contrabassoon); four horns, two trumpets and three trombones; timpani and two percussion; harp, piano and strings. This is the first performance by the SSO of White Ghost Dancing and we believe the first concert performance in Australia of the revised version. New in 2016 Familyconcerts From James Morrison s jazzy hits to The Composer is Dead with Frank Woodley, or the magic of The Pied Piper of Hamelin, these magical introductions to orchestral music will plant the seed for a lifetime love of orchestral music. James Morrison Presents Sun 20 Mar 2pm Family fun and jazzy hits from Dixieland to Duke Ellington, and beyond. Benjamin Northey conductor James Morrison jazz trumpet and presenter The Composer is Dead Sun 22 May 2pm Stookey & Snicket The Composer is Dead Toby Thatcher conductor Frank Woodley narrator and The Inspector The Pied Piper of Hamelin Sun 9 Oct 2pm Colin Matthews The Pied Piper of Hamelin Australian premiere Toby Thatcher conductor Sydney Children s Choir CONVENIENCE SAVINGS FLEXIBILITY PRIORITY All three concerts for just $87* 6 12 year olds Sydney Opera House sydneysymphony.com/subscriptions *See T&C at sydneysymphony.com Emma Chichester Clark, Illustration Reproduced by permission of Walker Books Ltd, London 9

9 Wolfgang Amadeus Mozart Piano Concerto No.24 in C minor, K491 Allegro Larghetto Allegretto Ronald Brautigam piano Cadenzas by the soloist Mozart was so busy between October 1785 and April 1786 that he didn t even have time to write letters home. Even by his own standards he got through a huge number of major works: a violin sonata, several pieces for the Masonic Lodge of which he was an active member, various insert pieces for other operas, some works for wind ensembles, a musical comedy Der Schauspieldirektor (The Impresario), three piano concertos and his epochal opera, The Marriage of Figaro. And he found the time to appear as conductor or soloist in at least seven concerts during those six months. It is true, however, that this period marked the end, for a time at least, of Mozart s prominence as a soloist. He gave his annual academy a concert in which he would present his newest works on 7 April in Vienna s Burgtheater, probably featuring the Keynotes MOZART Born Salzburg, 1756 Died Vienna, 1791 In 1781 Mozart moved from Salzburg, where he felt stifled, to Vienna. There he found a fresh audience that was eager to hear him as a composer and as a performer, and in his piano concertos the two opportunities were combined by 1785 Mozart was approaching the height of his popularity and success in Vienna. Central to his reputation were self-promoted subscription concerts or academies, which showed him as both composer and performer before the widest possible audience, and his C minor concerto K491 was likely premiered at what was to be the last of these in PIANO CONCERTO K491 Mozart composed only two piano concertos in a minor key. This one begins with an emphatic, angular melody played in unison by all the strings and the bassoons setting the simmering, dramatic tone. But then notice how, at the end of the otherwise stormy first movement, piano and orchestra together bring the music to a surprisingly quiet conclusion. In the second movement listen for the deceptive simplicity of the theme (which reappears as a refrain throughout) and the exquisite writing for the woodwinds. The finale, which so impressed Beethoven, is in variation form, taking a menacing yet dance-like theme as its impetus. Wolfgang Amadeus Mozart,

10 C minor concerto, but, unusually for him, he did not plan a series of subscription concerts for the season of Lent as he had in previous years. Mozart s withdrawal from concerto performance inevitably spawned a number of more or less fanciful theories in the decades which followed, especially given the nature of the C minor concerto: one is the old myth about his falling from favour with the Viennese public the concerto s uncompromising nature was supposedly not to Viennese taste. Another, more curious, is the notion that Mozart s hands were damaged: it was said, by Karl Beethoven for one, that Mozart s fingers were so bent from constant playing that he was unable to use a knife at table. It is true that bouts of rheumatic fever, from which Mozart suffered on several occasions, can cause arthritis, but as Mozart biographer Maynard Solomon points out, the fine calligraphy of Mozart s scores, not to mention his excellence at billiards, make this hard to believe. Politically, things were a little strained in Vienna at the time. The Emperor Joseph II was determined to modernise his realm, curtailing the power of the church and nobility (for which reason he supported Mozart s proposal to make Figaro into an opera), reforming the legal system, abolishing torture, offering a greater degree of liberty than his predecessor. Sadly he was inconsistent in his practice, and about the middle of the decade passed the Freemasonry Act in order to monitor the activities of its members. More disturbingly, in early 1786, the emperor intervened in a murder case with the result that the defendant was publicly and gruesomely executed over a four hour period. As German scholar Volkmar Braunbehrens points out, this all took place a few hundred yards from Mozart s home, and the composer, about to spend two weeks writing this concerto, can hardly have been unaware of the 30,000-strong crowd in the streets below. To what extent might all this bear on the music? It is unique in Mozart s output in several ways: it uses a large orchestra for a vast range of effects; it avoids virtuosic display for its own sake; its first movement is in triple time (itself unusual); the opening theme, characterised by downward steps followed by wide upward leaps, is broken into progressively smaller units by short, gasping silences. The turbulence this creates prefigures Beethoven (who declared he could never surpass this piece), and has led commentators ever since to describe the piece as tragic or demonic. Solomon has noted that in the slow movement of this, as in other works of this time, Mozart summons up every gradation of emotion from terror to vague feelings of unease, from unbearable intense pleasures bordering on ecstasy to a floating placidity and contentment. And again, Concerto envy During a rehearsal of the last movement of K491 Beethoven exclaimed to a fellow-pianist and composer: Cramer! Cramer! You and I will never be able to do anything like that! 11

11 in the finale Mozart uses a form beloved of Beethoven and puts his theme through a set of eight variations, exploring a wide range of emotional worlds in the process. The other factor in the equation is Figaro, of whose importance (both musically and politically) Mozart was well aware. Whether the turmoil and glimpses of beatific peace in this work are the result of Mozart s response to his circumstances and the times will remain an open question. We can however point out that this work issues from the composer who was in the process of revolutionising the way in which human emotions and relationships could be depicted in music. GORDON KERRY 2002 The orchestra for Mozart s Piano Concerto K491 comprises flute and pairs of oboes, clarinets, bassoons, horns and trumpets; timpani and strings. Mozart entered this concerto in his thematic catalogue on 24 March 1786, and probably gave its first performance in Vienna on 7 April that year. No cadenzas by Mozart survive for this concerto. The SSO gave a performance of the last two movements of the concerto with Eugene Goossens and soloist Michael Mann in 1948, and performed the complete concerto in 1956 with Bernard Heinze and Paul Badura-Skoda. Our most recent performance was in 2005 with soloist Stephen Kovacevich and conductor Yannick Nézet-Séguin (replacing Lorin Maazel at short notice). New in 2016 Playlist New to classical music and want to know more? Playlist is your perfect introduction to classical music a one-hour informal concert where a member of the SSO curates a unique program their Playlist of music that has inspired them and shaped their life. Join us at the bar and meet the musicians after every concert! LERIDA DELBRIDGE Assistant Concertmaster RICHARD MILLER Principal Timpani ALEXANDRE OGUEY Principal Cor Anglais Lerida s Playlist Tue 15 Mar 6.30pm Music by Mendelssohn, Fauré, Copland, Mahler and Bach, and including Vaughan Williams The Lark Ascending Andrew Haveron violin-director Lerida Delbridge violin Rick s Playlist Tue 24 May 6.30pm Music by JS Bach, Beethoven, Mozart, Elgar and Stravinsky, and including WAGNER Good Friday Music from Parsifal Brett Weymark conductor Alexandre s Playlist Tue 1 Nov 6.30pm Music by Bach, Haydn, Martin, Schoenberg and Schubert, and including RAVEL Mother Goose: The Enchanted Garden Toby Thatcher conductor CONVENIENCE SAVINGS FLEXIBILITY PRIORITY All three concerts for just $99* City Recital Hall, Angel Place sydneysymphony.com/subscriptions *See T&C at sydneysymphony.com 12

12 Edward Elgar Symphony No.1 in A flat, Op.55 Andante (Nobilmente e semplice) Allegro Allegro molto Adagio Lento Allegro In the closing years of the 20th century, Australians went to a referendum about the nation s constitutional future whether to retain a system of constitutional monarchy or, instead, become a republic. And in this concert we listen to a work that celebrates the period in which our current constitution was first put into practice, a musical time machine that so some critical opinion has it returns us to a period of opulence, paternalism, the Empire on which the sun never set; of Australia as a colony; of Britain as home. At this distance, Elgar s symphonies are again established as works of real mastery, but fashionable critics of the 1930s through to the 1950s were quick to condemn them. W.J. Turner called them Salvation Army symphonies. Cecil Gray referred to their lack of spiritual breadth and understanding...the frequent triviality and tawdriness of [their] material. And Sir Thomas Beecham, never an Elgar enthusiast, called the First Symphony neo-gothic, the equivalent of the towers of St Pancras Station. Nevertheless, the notion that Elgar s symphonies represent the official musical branch of British imperialism, that they are simply extended versions of a Pomp and Circumstance march, does not stand up to attentive listening. This symphony s first audiences enjoyed the work precisely because its language conveyed a musical understanding of cultures and landscapes beyond those of the green and pleasant land and its Empire. The 19-year-old Neville Cardus, later to become chief critic of the Manchester Guardian (and, for a time, the Sydney Morning Herald), was in the audience for the premiere, and, many years later, described the importance of the event: Those of us who were students were excited at last to hear an English composer addressing us in a spacious way, speaking a language which was European and not provincial. No English symphony existed then, at least not big enough to make a show of comparison with a symphony by Beethoven or Brahms and go in the program of a concert side by side with the acknowledged masterpieces, and not be dwarfed into insignificance. Elgar was 50 before he produced a symphony, and it was a long time coming. It may be that the composer of the Enigma Variations and The Dream of Gerontius already Britain s most Keynotes ELGAR Born Broadheath, 1857 Died Worcester, 1934 Edward Elgar was arguably the first major British composer after Henry Purcell in the 17th century. He came to prominence at the age of 42 with the Enigma Variations; this was followed by The Dream of Gerontius, the finest oratorio by an Englishborn composer, the violin and cello concertos, and two symphonies powerful and inventive works that combined the inspiration of his homeland with the technique and musical vision of his European peers. SYMPHONY NO.1 Elgar was 50 before he completed his first symphony he d been delayed by self-doubt and the burden of being, by that time, Britain s most famous composer. He needn t have worried: the symphony was a huge success, acclaimed by musicians and audiences. It is in four movements. The first begins with a slow introduction marked with Elgar s favourite direction, nobly (nobilmente), before moving into the main fast section. The second movement, a march, makes a transition directly into the third, a blissful slow movement that brings us near to Heaven. The finale progresses from a sinister opening to exultation. Elgar s First Symphony was completed and premiered in

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14 Let us now rehearse the greatest symphony of modern times, and not only in this country. HANS RICHTER famous musical figure was fearful for his reputation and for his fragile faith in himself should so major a declaration as a First Symphony be a failure. After nearly a decade of prevarication, an Italian holiday in the Northern winter of 1907 got Elgar going on his first symphony, and once it had taken hold of him he completed it in just a few months. Whatever doubts lay in Elgar s mind about this ambitious work were banished on the night of its premiere in Manchester on 3 December 1908, when conductor Hans Richter called the composer to the stage not only at the conclusion of the symphony but after the Adagio, to a storm of cheers and applause. The next day Richter began preparing the work with the London Symphony Orchestra for the first performance in the capital. Let us now rehearse the greatest symphony of modern times, he told the players, and not only in this country. The London performance was another triumph, and within 18 months the symphony had been played a hundred times, in Britain, the United States, in Vienna, Berlin, Leipzig, St Petersburg, Toronto, Budapest and Rome as well as Sydney an incredible sweep of success before the age of radio. Hans Richter conducted the premiere of the First Symphony in Manchester and the equally triumphant London premiere with the London Symphony Orchestra soon after. Listening Guide The opening of the symphony is a solemn slow march (Andante, marked nobly and simply ). Elgar introduces it quietly, its unpredictable rhythms and harmonies set to a stalking bass line; and then more triumphantly, fortissimo. This theme has a decisive influence on the rest of the symphony. It is not so much a motto theme as a recurring presence, and its arrival at any point acts as a sign that the musical events surrounding it are about to change 15

15 After the introduction, Elgar shifts into a remote key for the main Allegro; music of strife and turbulence, in great contrast to the splendours left behind. A tender second subject for violins and clarinets is introduced briefly, only to be tossed aside for another passage of great ferocity. Then the opening march theme tries to reassert itself before being swept away by more music based on the main Allegro material. As Cardus said of his first hearing of these wild juxtapositions: fountains of string tone, brass instruments in ricochet; no such virtuoso orchestration had been heard before in the music of an Englishman. There is a particularly lovely episode for solo violin, harps, solo cello and woodwind, which Elgar asks to be played in a veiled and remote manner. But these moments of tenderness and repose are banished by the urge for conflict, and the mood becomes hazy and doubtful at the close. Elgar did not call his second movement a scherzo because it is not playful or humorous, yet it serves this function. The unsettled theme that opens this Allegro molto soon gives way to a malicious quick march, which becomes gleefully evil. Elgar then quickly eases us away into a short, delicate trio episode for strings and woodwind, which he once asked to be played like something you hear down by the river. But, equally swiftly, this collides with a vehement return of the quick march, now scored virtuosically for the brass, until, in the closing minutes, we are given fleeting glimpses of all the ideas encountered in this movement. As the texture clears, the heartbeat of the music seems to slow down almost to a complete stop the slow movement has begun. My dear friend, the dying Jaeger wrote to Elgar after reading through the score of this symphony, that is not only one of the very greatest slow movements since Beethoven, but I consider it worthy of that master. Richter agreed. It is a rare expression of contentment in Elgar s music, and at times seems to be describing a state of bliss. The main theme is, astonishingly, a note-for-note transformation of the Allegro molto s first tune into music of nobility and consolation. The second subject is more passionate, even operatic, and Elgar brings it to an ecstatic climax. The arrival of a new, unexpected, gentle, wide-ranging theme towards the movement s end is a moment of tremendous emotional power, bringing us, in Jaeger s words, near to Heaven. The finale opens with a soft, sinister tread that recalls the volatility of the symphony s first half, which has clearly not been banished by the slow movement. We can make out a new, heavily accented tune on trombones, but are then plunged into a tempestuous Allegro, which opens with a jagged theme for the strings. The new, accented tune rises in fury, before being interrupted by the return of the slow march that dominated the symphony s beginning, but in a new key, so that, like an old friend no such virtuoso orchestration had been heard before in the music of an Englishman. NEVILLE CARDUS near to Heaven A.J. JAEGER ( NIMROD OF THE ENIGMA VARIATIONS) 16

16 changed by circumstance and experience, it is difficult at first to recognise. Finally this recurring presence stages a blazing return, but must battle its way through an astonishing orchestral barrage of shocks and explosions before struggling through to affirmation and exultation. Elgar himself spoke of this symphony embodying a massive hope for the future, but hope is not certainty, and to conclude this work so ambiguously speaks of Elgar s own feelings about the discrepancy between the actual even the possible and the ideal. It is this, ultimately, that makes him a modern spirit, whatever may have been said about the outward manner and appearance of his music. ABRIDGED FROM A NOTE BY PHILLIP SAMETZ 1998 The First Symphony calls for three flutes (one doubling piccolo), two oboes, cor anglais, two clarinets, bass clarinet, two bassoons and contrabassoon; four horns, three trumpets, three trombones and tuba; timpani and percussion (snare drum, cymbal, bass drum); two harps and strings. Elgar s First Symphony was premiered in Manchester on 3 December 1908, under the baton of Hans Richter. The SSO first performed it in 1939 with Malcolm Sargent conducting and most recently in 2008 in Vladimir Ashkenazy s Elgar festival. A massive hope for the future Elgar said the First Symphony had no program beyond a wide experience of human life with a great charity (love) and a massive hope for the future. But we must take this remark carefully. On another occasion Elgar said that he had put all of his life into his music, and also much more that has never happened. From no late Romantic symphony, on so grand a scale, by a person of such passionate temperament, who so precisely indicates to players and conductor the phrasing and dynamics he wants at all times, can private meanings be absent. 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 Trust Trustees: Nicholas Moore [Chair], Catherine Brenner, The Hon Helen Coonan, Brenna Hobson, Chris Knoblanche am, Deborah Mailman, Peter Mason am, Jillian Segal am, Robert Wannan, Phillip Wolanski am Chief Executive Officer: Louise Herron am SYDNEY OPERA HOUSE Administration (02) Bennelong Point Box Office (02) GPO Box 4274 Facsimile (02) Sydney NSW 2001 Website sydneyoperahouse.com 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 / TH/E/G S102/104 17

17 MORE MUSIC ROSS EDWARDS ABC Classics recently re-released a classic SSO recording of signature music by Ross Edwards. The album features Dene Olding as soloist in the Maninyas violin concerto, conducted by Stuart Challender, and Ian Cleworth in Yarrageh for solo percussion and orchestra. Yarrageh and Symphony da pacem domine are conducted by David Porcelijn. If you don t own any Edwards recordings, seek out this one for a musical experience that s both enlivening and profoundly meditative. ABC CLASSICS One of the most memorable of Edwards compositions for SSO musicians was the concerto Bird Spirit Dreaming for oboist Diana Doherty, which included dancing for the soloist! You can hear her play it in a recording with the Melbourne Symphony Orchestra conducted by Arvo Volmer. On the same album: The Heart of Night with shakuhachi soloist Riley Lee, and the Clarinet Concerto with David Thomas. ABC CLASSICS In 2012 the SSO performed Full Moon Dreaming, a concerto composed for saxophonist Amy Dickson. That performance, conducted by Miguel Harth-Bedoya, is available on Island Songs, an album of music for saxophone and orchestra. Benjamin Northey conducts the SSO in The Siduri Dances by Brett Dean, and the title work, one of Peter Sculthorpe s last compositions. ABC CLASSICS More recordings can be found listed under the Discography link on rossedwards.com RONALD BRAUTIGAM Ronald Brautigam has an extensive discography, almost exclusively on the BIS label. This year he has released two volumes of Mozart piano concertos (K450 and 451 with the Rondo in D, and K449 and 467) recorded on fortepiano with the Kölner Akademie, a period instrument band conducted by Michael Alexander Willens. These are the latest in a series of Mozart concerto albums with these performers. You can find the concerto from this program (K491) paired with K503 in a release from BIS 1894 Brautigam has also recorded the complete Beethoven sonatas, again on fortepiano, and these are now available in a 9-disc set. BIS 2000 For something less expected (but no less wonderful) look for Brautigam s recording of the solo piano music of Joseph Martin Kraus often referred to as the Swedish Mozart (he lived ). BIS 1319 Ronald Brautigam s regular duo partner is violinist Isabelle van Keulen and you can hear them in an album that pairs Grieg s first violin sonata with the Elgar Violin Sonata in E minor. Elgar s Sospiri (Sighs) and humoresques by Sibelius fill out the disc. CHALLENGE ORCHESTRAL ELGAR Edo de Waart has recorded Elgar s First Symphony, together with The Dream of Gerontius, with the Royal Flemish Philharmonic. Michelle Breedt, Peter Auty and John Hancock are the vocal soloists in Gerontius, joined by Ghent Collegium Vocale. PENTATONE To hear the SSO in Elgar s First Symphony, conducted by Vladimir Ashkenazy, look for our recording on the Exton label (part of a series that includes the two Elgar symphonies, the Pomp and Circumstance marches and the Enigma Variations). EXTON 27 Broadcast Diary December abc.net.au/classic SSO concerts are regularly broadcast on ABC Classic FM. Visit the website for weekly schedules. SSO Radio Selected SSO performances, as recorded by the ABC, are available on demand: sydneysymphony.com/sso_radio SYDNEY SYMPHONY ORCHESTRA HOUR Tuesday 8 December, 6pm Musicians and staff of the SSO talk about the life of the orchestra and forthcoming concerts. Hosted by Andrew Bukenya. finemusicfm.com 18

18 SSO Live Recordings The Sydney Symphony Orchestra Live label was founded in 2006 and we ve since released more than two dozen recordings featuring the orchestra in live concert performances with our titled conductors and leading guest artists. To buy, visit sydneysymphony.com/shop Strauss & Schubert Gianluigi Gelmetti conducts Schubert s Unfinished and R Strauss s Four Last Songs with Ricarda Merbeth. SSO Sir Charles Mackerras A 2CD set featuring Sir Charles s final performances with the orchestra, in October SSO Brett Dean Two discs featuring the music of Brett Dean, including his award-winning violin concerto, The Lost Art of Letter Writing. SSO , SSO Ravel Gelmetti conducts music by one of his favourite composers: Maurice Ravel. Includes Bolero. SSO Rare Rachmaninoff Rachmaninoff chamber music with Dene Olding, the Goldner Quartet, soprano Joan Rodgers and Vladimir Ashkenazy at the piano. SSO Prokofiev s Romeo and Juliet Vladimir Ashkenazy conducts the complete Romeo and Juliet ballet music of Prokofiev a fiery and impassioned performance. SSO Tchaikovsky Violin Concerto In 2013 this recording with James Ehnes and Ashkenazy was awarded a Juno (the Canadian Grammy). Lyrical miniatures fill out the disc. SSO Tchaikovsky Second Piano Concerto Garrick Ohlsson is the soloist in one of the few recordings of the original version of Tchaikovsky s Piano Concerto No.2. Ashkenazy conducts. SSO Stravinsky s Firebird David Robertson conducts Stravinsky s brilliant and colourful Firebird ballet, recorded with the SSO in concert in SSO MAHLER ODYSSEY The complete Mahler symphonies (including the Barshai completion of No.10) together with some of the song cycles. Recorded in concert with Vladimir Ashkenazy during the 2010 and 2011 seasons. As a bonus: recordings from our archives of Rückert-Lieder, Kindertotenlieder and Das Lied von der Erde. Available in a handsome boxed set of 12 discs or individually. Mahler 1 & Songs of a Wayfarer SSO Mahler 2 SSO Mahler 3 SSO Mahler 4 SSO Mahler 5 SSO Mahler 6 SSO Mahler 7 SSO Mahler 8 (Symphony of a Thousand) SSO Mahler 9 SSO Mahler 10 (Barshai completion) SSO Song of the Earth SSO From the archives: Rückert-Lieder, Kindertotenlieder, Das Lied von der Erde SSO LOOK OUT FOR Our recording of Holst s Planets with David Robertson. Available now! SSO Online Join us on Facebook facebook.com/sydneysymphony Follow us on Twitter twitter.com/sydsymph Watch us on YouTube Visit sydneysymphony.com for concert information, podcasts, and to read the program book in the week of the concert. Stay tuned. Sign up to receive our fortnightly e-newsletter sydneysymphony.com/staytuned Download our free mobile app for iphone/ipad or Android sydneysymphony.com/mobile_app 19

19 ABOUT THE ARTISTS Edo de Waart conductor Edo de Waart is Chief Conductor of the Royal Flemish Philharmonic, Music Director of the Milwaukee Symphony Orchestra and Conductor Laureate of the Netherlands Radio Philharmonic Orchestra. In March 2016 he takes up the post of Music Director of the New Zealand Symphony Orchestra. He also continues to work with many of the world s leading orchestras, with guest conducting appearances including the Chicago Symphony Orchestra, Los Angeles Philharmonic, NHK Symphony and Royal Stockholm Philharmonic Orchestra. He has previously held posts with the Rotterdam Philharmonic, San Francisco Symphony, Minnesota Orchestra and Hong Kong Philharmonic Orchestra, and from 1992 till 2003 he was Chief Conductor and Artistic Director of the Sydney Symphony Orchestra. As an opera conductor, Edo de Waart has enjoyed success in a large and varied repertoire in many of the world s greatest opera houses. He was Chief Conductor of the Netherlands Opera and he has conducted at Bayreuth, Royal Opera House Covent Garden, Grand Théâtre de Genève, Opéra Bastille, Santa Fe Opera and the Metropolitan Opera. In addition to semi-staged and concert opera performances with his orchestras in the United States, he regularly conducts opera with the Netherlands Radio Philharmonic Orchestra at the Concertgebouw Amsterdam matinee series. His extensive discography includes recent recordings of Mahler s First Symphony and Elgar s Dream of Gerontius, both with the Royal Flemish Philharmonic, as well as Henk de Vlieger s arrangement of the Night Song and Liebestod from Tristan und Isolde with the Netherlands Radio Philharmonic Orchestra. He has long been an exponent of the music of John Adams, and conducted the first recording of Nixon in China in 1987 with the original cast. Edo de Waart was made a Knight in the Order of the Dutch Lion in 2004, and his honours and accolades also include appointment as an Honorary Fellow of the Hong Kong Academy for Performing Arts. In 2005 he was appointed an Honorary Officer in the General Division of the Order of Australia, in recognition of his contribution to Australian cultural life during his decade in Sydney. He returns regularly to the SSO, appearing most recently in two programs in

20 MARCO BORGGREVE Ronald Brautigam piano Ronald Brautigam is one of Holland s most respected musicians, remarkable not only for his virtuosity and musicality but also for the eclectic nature of his musical interests and his stylistic versatility. He performs regularly with leading orchestras throughout Europe, including the Royal Concertgebouw, London Philharmonic and Leipzig Gewandhaus orchestras, and with the Hong Kong Philharmonic Orchestra, and he has collaborated with distinguished conductors such as Riccardo Chailly, Charles Dutoit, Bernard Haitink and Marek Janowski, as well as Frans Brüggen, Christopher Hogwood and Roger Norrington, to name just some. In addition to his performances on modern piano, Ronald Brautigam has established himself as a leading exponent of the fortepiano, working with orchestras such as the Orchestra of the Age of Enlightenment, Orchestra of the 18th Century, Tafelmusik, Freiburg Baroque Orchestra, Hanover Band, Concerto Copenhagen and the Orchestre des Champs-Elysées. During the season, in celebration of his 60th birthday, Ronald Brautigam performed all the Beethoven concertos at the Amsterdam Concertgebouw. Highlights of the season include concerto performances with the BBC Scottish Symphony Orchestra and Markus Stenz, BBC Philharmonic and Yutaka Sado, Basel Sinfonieorchester and Ivar Bolton, and the Gulbenkian Orchestra and Paul McCreesh, as well as a tour of Israel with the Kölner Akademie. He will give the premiere of a new piece for piano and string orchestra written for him by Sally Beamish, and his recital engagements will take him to LSO St Luke s, De Doelen in Rotterdam and the Amsterdam Concertgebouw. Ronald Brautigam s discography of more than 50 recordings includes the complete works of Mozart and Haydn on fortepiano, and Mendelssohn piano concertos with the Nieuw Sinfonietta Amsterdam. In 2004 he released the first of his 17-CD Beethoven cycle on fortepiano, the 14th volume of which was released in April He also has recorded piano concertos by Shostakovich, Hindemith and Frank Martin with the Royal Concertgebouw Orchestra and Riccardo Chailly, and has made several recordings with his duo partner, violinist Isabelle van Keulen. His recordings have earned a number of awards, including two Edison Awards, a Diapason d Or de l année, and two MIDEM Classical Awards (for best solo piano recording in 2004 and best concerto recording in 2010). Other honours and accolades include the DutchMusic Prize. Ronald Brautigam was appointed a Professor at the Musik-Akademie in Basel in

21 SYDNEY SYMPHONY ORCHESTRA 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, 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 THE ORCHESTRA David Robertson THE LOWY CHAIR OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR Andrew Haveron CONCERTMASTER Dene Olding CONCERTMASTER Toby Thatcher ASSISTANT CONDUCTOR SUPPORTED BY CREDIT SUISSE, RACHEL & GEOFFREY O CONOR AND SYMPHONY SERVICES INTERNATIONAL FIRST VIOLINS Andrew Haveron CONCERTMASTER Sun Yi ASSOCIATE CONCERTMASTER Kirsten Williams ASSOCIATE CONCERTMASTER Lerida Delbridge ASSISTANT CONCERTMASTER Jenny Booth Brielle Clapson Sophie Cole Amber Davis Claire Herrick Georges Lentz Nicola Lewis Emily Long Alexandra Mitchell Alexander Norton Emily Qin Lucy Warren* Dene Olding CONCERTMASTER Fiona Ziegler ASSISTANT CONCERTMASTER Léone Ziegler SECOND VIOLINS Marina Marsden Marianne Broadfoot Emma Jezek ASSISTANT PRINCIPAL Freya Franzen Emma Hayes Monique Irik Stan W Kornel Benjamin Li Nicole Masters Maja Verunica Rebecca Gill* Emma Jardine* Elizabeth Jones Cristina Vaszilcsin Kirsty Hilton Shuti Huang Philippa Paige Biyana Rozenblit VIOLAS Roger Benedict Justin Williams ASSISTANT PRINCIPAL Sandro Costantino Rosemary Curtin Jane Hazelwood Graham Hennings Stuart Johnson Justine Marsden Felicity Tsai Leonid Volovelsky Andrew Jezek* David Wicks* Tobias Breider Anne-Louise Comerford Amanda Verner CELLOS Catherine Hewgill Leah Lynn ASSISTANT PRINCIPAL Fenella Gill Elizabeth Neville Kristy Conrau Adrian Wallis Timothy Nankervis Christopher Pidcock David Wickham Paul Stender* Umberto Clerici DOUBLE BASSES Kees Boersma Alex Henery Neil Brawley PRINCIPAL EMERITUS David Campbell Steven Larson Richard Lynn Benjamin Ward Josef Bisits FLUTES Carolyn Harris A/ ASSOCIATE PRINCIPAL Rosamund Plummer PRINCIPAL PICCOLO Nicola Crowe Janet Webb Emma Sholl OBOES Shefali Pryor Alexandre Oguey PRINCIPAL COR ANGLAIS Ngaire De Korte* Diana Doherty David Papp CLARINETS Christopher Tingay Rowena Watts* Alexei Dupressoir* PRINCIPAL BASS CLARINET Francesco Celata A/ PRINCIPAL Craig Wernicke PRINCIPAL BASS CLARINET BASSOONS Jack Schiller* Fiona McNamara Noriko Shimada PRINCIPAL CONTRABASSOON Matthew Wilkie HORNS Ben Jacks Geoffrey O Reilly PRINCIPAL 3RD Euan Harvey Rachel Silver Kara Hahn Robert Johnson Marnie Sebire TRUMPETS David Elton Anthony Heinrichs Rosie Turner Paul Goodchild TROMBONES Ronald Prussing Nick Byrne Christopher Harris PRINCIPAL BASS TROMBONE Scott Kinmont TUBA Steve Rossé TIMPANI Mark Robinson ASSISTANT PRINCIPAL Richard Miller PERCUSSION Rebecca Lagos Timothy Constable Ian Cleworth* HARP Louise Johnson Julie Kim* PIANO Susanne Powell* 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 Terrey Arcus AM Chairman Andrew Baxter Ewen Crouch AM Ross Grant Catherine Hewgill Jennifer Hoy Rory Jeffes 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 John C Conde ao 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 Dr Eileen Ong 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 Anthony Whelan mbe 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 TECHNICAL MEDIA PRODUCER Philip Powers Library Anna Cernik Victoria Grant Mary-Ann Mead LEARNING AND ENGAGEMENT DIRECTOR OF LEARNING AND ENGAGEMENT Linda Lorenza EMERGING ARTISTS PROGRAM MANAGER Rachel McLarin EDUCATION MANAGER Amy Walsh EDUCATION OFFICER Tim Walsh ORCHESTRA MANAGEMENT DIRECTOR OF ORCHESTRA MANAGEMENT Aernout Kerbert ORCHESTRA MANAGER Rachel Whealy ORCHESTRA COORDINATOR Rosie Marks-Smith OPERATIONS MANAGER Kerry-Anne Cook HEAD OF PRODUCTION Laura Daniel STAGE MANAGER Courtney Wilson PRODUCTION COORDINATORS Elissa Seed Ollie Townsend PRODUCER, SPECIAL EVENTS Mark Sutcliffe SALES AND MARKETING DIRECTOR OF SALES & MARKETING Mark J Elliott MARKETING MANAGER, SUBSCRIPTION SALES Simon Crossley-Meates SENIOR SALES & MARKETING MANAGER Penny Evans 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 Laura Andrew 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 CS Manager Rosie Baker Michael Dowling Publications PUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER Yvonne Frindle EXTERNAL RELATIONS DIRECTOR OF EXTERNAL RELATIONS Yvonne Zammit Philanthropy HEAD OF PHILANTHROPY Rosemary Swift PHILANTHROPY MANAGER Jennifer Drysdale PATRONS EXECUTIVE Sarah Morrisby PHILANTHROPY COORDINATOR Claire Whittle Corporate Relations CORPORATE PARTNERSHIPS MANAGER Belinda Besson CORPORATE PARTNERSHIPS EXECUTIVE Paloma Gould Communications COMMUNICATIONS & MEDIA MANAGER Bridget Cormack PUBLICIST Caitlin Benetatos MULTIMEDIA CONTENT PRODUCER Kai Raisbeck 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 Terrey Arcus AM Chairman & Anne Arcus Brian Abel Tom Breen & Rachel Kohn The Berg Family Foundation John C Conde AO 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 Patrons David Robertson The Lowy Chair of Chief Conductor and Artistic Director 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 Diana Doherty Principal Oboe John C Conde 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 Scott Kinmont Associate Principal Trombone Audrey Blunden Chair Leah Lynn Assistant Principal Cello SSO Vanguard Chair With lead support from Taine Moufarrige, Seamus R Quick, and Chris Robertson & Katherine Shaw Nicole Masters Second Violin Nora Goodridge 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 Janet and Robert Constable with Associate Principal Flute Emma Sholl. When we first met her in the Green Room at the Opera House, recalls Robert, it was a lovely hug from Emma that convinced us that this was not only an opportunity to support her chair but to get involved with the orchestra and its supporters. It has been a great experience. n n n n n n n n n n FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM, CALL (02) KEITH SAUNDERS 25

25 SSO PATRONS Learning & Engagement Foundations KEITH SAUNDERS 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 Cello Chair Kim Williams AM & Catherine Dovey Patrons of Roger Benedict, Artistic Director, Fellowship June & Alan Woods Family Bequest Bassoon Chair Anonymous Double Bass Chair Anonymous Trumpet Chair Supporting the creation of new works. ANZAC Centenary Arts and Culture Fund Geoff Ainsworth AM Raji Ambikairajah 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 fellowship supporting patrons Mr Stephen J Bell Joan MacKenzie Scholarship Drs Eileen & Keith Ong In Memory of Geoff White 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 Mrs Barbara Murphy Drs Keith & Eileen Ong Tony Strachan major education donors Bronze Patrons & above John Augustus & Kim Ryrie Bob & Julie Clampett Howard & Maureen Connors The Greatorex Foundation J A McKernan Barbara Maidment Mr & Mrs Nigel Price Drs Eileen & Keith Ong Mr Robert & Mrs Rosemary Walsh 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 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 R Burns Howard Connors Greta Davis Jennifer Fulton Brian Galway Michele Gannon-Miller Miss Pauline M Griffin AM John Lam-Po-Tang Peter Lazar AM Daniel Lemesle Louise Miller James & Elsie Moore Vincent Kevin Morris & Desmond McNally Mrs Barbara Murphy 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 Clampett 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 Estate of Rex Foster Smart 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+ Anne & Terrey Arcus am In Memory of Matthew Krel Mr Frank Lowy ac & Mrs Shirley Lowy oam Roslyn Packer ao Paul Salteri am & Sandra Salteri Estate of the late Rex Foster Smart Peter Weiss ao & Doris Weiss Mr Brian White ao & Mrs Rosemary White PLATINUM PATRONS $30,000 $49,999 Doug and Alison Battersby Mr John C Conde ao Robert & Janet Constable Mr Andrew Kaldor am & Mrs Renata Kaldor ao Mrs Barbara Murphy Vicki Olsson Drs Keith & Eileen Ong Mrs W Stening Mr Fred Street am & Mrs Dorothy Street Kim Williams am & Catherine Dovey GOLD PATRONS $20,000 $29,999 Brian Abel Robert Albert ao & Elizabeth Albert The Berg Family Foundation Tom Breen & Rachael Kohn Sandra & Neil Burns Estate of Jonathan Earl William Clark James & Leonie Furber I Kallinikos Helen Lynch am & Helen Bauer Justice Jane Mathews ao Mrs T Merewether oam Rachel & Geoffrey O Conor Andy & Deirdre Plummer Garry & Shiva Rich David Robertson & Orli Shaham Mrs Penelope Seidler am G & C Solomon in memory of Joan MacKenzie Ray Wilson oam in memory of James Agapitos oam Anonymous (2) SILVER PATRONS $10,000 $19,999 Geoff Ainsworth & Jo Featherstone Christine Bishop Audrey Blunden Mr Robert Brakspear Mr Robert & Mrs L Alison Carr Bob & Julie Clampett Michael Crouch ao & Shanny Crouch Ian Dickson & Reg Holloway Paul Espie Edward & Diane Federman Nora Goodridge Mr Ross Grant The Estate of Mr Irwin Imhof Simon Johnson Ruth & Bob Magid Susan Maple-Brown The Hon Justice AJ Meagher & Mrs Fran Meagher Mr John Morschel Mr and Mrs Nigel Price Kenneth R Reed am Mrs Joyce Sproat & Mrs Janet Cooke John Symond am The Harry Triguboff Foundation Caroline Wilkinson June & Alan Woods Family Bequest Anonymous (2) BRONZE $5,000 $9,999 John Augustus & Kim Ryrie Dushko Bajic Stephen J Bell Dr Hannes & Mrs Barbara Boshoff Boyarsky Family Trust Peter Braithwaite & Gary Linnane Ian & Jennifer Burton Rebecca Chin Mr Howard Connors David Z Burger Foundation Dr Colin Goldschmidt The Greatorex Foundation Rory & Jane Jeffes Robert Joannides Mr Ervin Katz In memoriam Dr Reg Lam-Po-Tang Barbara Maidment Mora Maxwell Taine Moufarrige Robert McDougall William McIlrath Charitable Foundation 27

27 SSO PATRONS Playing Your Part BRONZE PATRONS CONTINUED J A McKernan Nexus IT Ms Jackie O Brien John & Akky van Ogtrop Seamus Robert Quick Chris Robertson & Katherine Shaw Rodney Rosenblum am & Sylvia Rosenblum Dr Evelyn Royal Manfred & Linda Salamon Geoff Stearn Tony Strachan John & Josephine Strutt Mr Robert & Mrs Rosemary Walsh In memory of Geoff White Anonymous (2) PRESTO $2,500 $4,999 Mr Henri W Aram oam G & L Besson Ian Brady Mr David & Mrs Halina Brett Mark Bryant oam Lenore P Buckle Mrs Stella Chen Cheung Family Dr Paul Collett Ewen Crouch am & Catherine Crouch Prof. Neville Wills & Ian Fenwicke Firehold Pty Ltd Dr Kim Frumar Warren Green Anthony Gregg Ann Hoban James & Yvonne Hocroth Mr Roger Hundson & Mrs Claudia Rossi-Hudson Dr & Mrs Michael Hunter Mr John W Kaldor AM Professor Andrew Korda am & Ms Susan Pearson Professor Winston Liauw Dr Barry Landa Mrs Juliet Lockhart Renee Markovic Helen & Phil Meddings James & Elsie Moore Ms Jackie O Brien Patricia H Reid Endowment Pty Ltd Juliana Schaeffer Helen & Sam Sheffer Dr Agnes E Sinclair Ezekiel Solomon Rosemary Swift Mr Ervin Vidor am & Mrs Charlotte Vidor Lang Walker ao & Sue Walker Westpac Group Mary Whelan & Robert Baulderstone Yim Family Foundation Dr John Yu Anonymous (2) VIVACE $1,000 $2,499 Mrs Lenore Adamson Antoinette Albert Rae & David Allen Andrew Andersons ao Mr Matthew Andrews Mr Garry and Mrs Tricia Ash Sibilla Baer The Hon Justice Michael Ball David Barnes Dr Richard & Mrs Margaret Bell In memory of Lance Bennett Ms Gloria Blonde G D Bolton Jan Bowen In memory of Jillian Bowers In Memory of Rosemary Boyle, Music Teacher Roslynne Bracher William Brooks & Alasdair Beck Mr Peter Brown In memory of R W Burley Ita Buttrose ao obe Mrs Rhonda Caddy Hon J C Campbell qc & Mrs Campbell Debby Cramer & Bill Caukill Mr B & Mrs M Coles Ms Suzanne Collins Joan Connery oam & Maxwell Connery oam Mr Phillip Cornwell Mr John Cunningham scm & Mrs Margaret Cunningham Diana Daly Darin Cooper Foundation Greta Davis Lisa & Miro Davis Dr Robert Dickinson E Donati Professor Jenny Edwards Dr Rupert C Edwards Malcolm Ellis & Erin O Neill Mrs Margaret Epps Mr & Mrs J B Fairfax am Julie Flynn Dr Stephen Freiberg & Donald Campbell Mr Matt Garrett Vivienne Goldschmidt & Owen Jones In Memory of Angelica Green Akiko Gregory Dr Jan Grose oam Mr & Mrs Harold & Althea Halliday Janette Hamilton Sandra Haslam Mrs Jennifer Hershon Sue Hewitt Dorothy Hoddinott ao Kimberley Holden Mr Kevin Holland & Mrs Roslyn Andrews The Hon. David Hunt ao qc & Mrs Margaret Hunt Mr Phillip Isaacs oam Dr Owen Jones Mrs Margaret Keogh Aron Kleinlehrer Mrs Gilles Kryger Mr Justin Lam Beatrice Lang Mr Peter Lazar am Airdrie Lloyd Gabriel Lopata Peter Lowry oam & Carolyn Lowry oam Macquarie Group Foundation Melvyn Madigan David Maloney am & Erin Flaherty John & Sophia Mar Mr Danny R May Mr Guido Mayer Kevin & Deidre McCann Ian & Pam McGaw Matthew McInnes I Merrick Henry & Ursula Mooser Milja & David Morris Judith Mulveney Darrol Norman & Sandra Horton Judith Olsen Mr & Mrs Ortis Andrew Patterson & Steven Bardy In memory of Sandra Paul Pottinger Mr Stephen Perkins Almut Piatti Dr John I Pitt The Hon. Dr Rodney Purvis am & Mrs Marian Purvis Dr Raffi Qasabian & Dr John Wynter Mr Patrick Quinn-Graham Ernest & Judith Rapee In Memory of Katherine Robertson Mr David Robinson Tim Rogers Dr Colin Rose Lesley & Andrew Rosenberg Janelle Rostron Mr Shah Rusiti Jorie Ryan for Meredith Ryan In memory of H St P Scarlett George and Mary Shad Victoria Smyth Dr Judy Soper Judith Southam Mr Dougall Squair Catherine Stephen The Honourable Brian Sully am qc Mrs Margaret Swanson The Taplin Family Mildred Teitler Dr & Mrs H K Tey Dr Jenepher Thomas Kevin Troy John E Tuckey Judge Robyn Tupman Dr Alla Waldman In memory of Denis Wallis Miss Sherry Wang Henry & Ruth Weinberg The Hon. Justice A G Whealy Jerry Whitcomb Mrs Leonore Whyte A Willmers & R Pal Ann & Brooks C Wilson am Dr Richard Wing Evan Wong Dr Peter Wong & Mrs Emmy K Wong Geoff Wood & Melissa Waites Sir Robert Woods Lindsay & Margaret Woolveridge In memory of Lorna Wright Mrs Robin Yabsley Anonymous (20) ALLEGRO $500 $999 Nikki Abrahams Katherine Andrews Dr Gregory Au Mr & Mrs George Ball Barlow Cleaning Pty Ltd Barracouta Pty Ltd Simon Bathgate Dr Andrew Bell Mr Chris Bennett Ms Baiba Berzins Jan Biber Minnie Biggs Jane Blackmore Mrs P M Bridges R D and L M Broadfoot Dr Peter Broughton Dr David Bryant Arnaldo Buch Dr Miles Burgess Pat & Jenny Burnett Hugh & Hilary Cairns Eric & Rosemary Campbell M D & J M Chapman Jonathan Chissick Michael & Natalie Coates Dom Cottam & Kanako Imamura Ann Coventry Dr Peter Craswell Mr David Cross Mark Dempsey sc Dr David Dixon Susan Doenau Dana Dupere John Favaloro Mrs Lesley Finn Mr Richard Flanagan Ms Lynne Frolich Michele Gannon-Miller Ms Lyn Gearing Mr Robert Green Dr Sally Greenaway 28

28 SSO Vanguard Mr Geoffrey Greenwell Mr Richard Griffin am In memory of Beth Harpley V Hartstein Benjamin Hasic & Belinda Davie Alan Hauserman & Janet Nash Robert Havard Mrs A Hayward Roger Henning Prof. Ken Ho & Mrs Tess Ho Dr Mary Johnsson Aernout Kerbert & Elizabeth Neville Dr Henry Kilham Jennifer King Miss Joan Klein Mrs Patricia Kleinhans Anna-Lisa Klettenberg Ms Sonia Lal L M B Lamprati David & Val Landa In memory of Marjorie Lander Elaine M Langshaw Margaret Lederman Roland Lee Mr David Lemon Peter Leow & Sue Choong Mrs Erna Levy Mrs A Lohan Linda Lorenza M J Mashford Ms Jolanta Masojada Kenneth Newton Mitchell Mr David Mutton Mr & Mrs Newman Mr Graham North Dr Lesley North Sead Nurkic Mr Michael O Brien Dr Alice J Palmer Dr Natalie E Pelham Peter and Susan Pickles Erika Pidcock Anne Pittman John Porter & Annie Wesley-Smith Mrs Greeba Pritchard Michael Quailey Mr Thomas Reiner Dr Marilyn Richardson Anna Ro Mr Michael Rollinson Mrs Christine Rowell-Miller Mr Kenneth Ryan Garry E Scarf & Morgie Blaxill Mrs Solange Schulz Peter & Virginia Shaw David & Alison Shilligton Mrs Diane Shteinman am Margaret Sikora Colin Spencer Titia Sprague Robert Spry Ms Donna St Clair Fred & Mary Stein Ashley & Aveen Stephenson Margaret & William Suthers Pam & Ross Tegel Mrs Caroline Thompson Peter & Jane Thornton Rhonda Ting Alma Toohey Hugh Tregarthen Mrs M Turkington Gillian Turner & Rob Bishop Ross Tzannes Mr Robert Veel Ronald Walledge Miss Roslyn Wheeler In Memoriam JBL Watt Dr Edward J Wills Dr Wayne Wong Dr Roberta Woolcott Paul Wyckaert Anonymous (32) SSO Patrons pages correct as of 7 July 2015 Create a sustainable future for orchestral music by helping to build the audiences of tomorrow. SUPPORT THE SSO EDUCATION FUND. Call: (02) philanthropy@sydneysymphony.com A membership program for a dynamic group of Gen X & Y SSO fans and future philanthropists VANGUARD COLLECTIVE Justin Di Lollo Chair Belinda Bentley Alexandra McGuigan Oscar McMahon Taine Moufarrige Founding Patron Shefali Pryor Seamus R Quick Founding Patron Chris Robertson & Katherine Shaw Founding Patrons MEMBERS Laird Abernethy Elizabeth Adamson Clare Ainsworth-Herschell Charles Arcus Phoebe Arcus James Armstrong Luan Atkinson Dushko Bajic Supporting Patron Joan Ballantine Scott Barlow Andrew Batt-Rawden James Baudzus Andrew Baxter Adam Beaupeurt Anthony Beresford James Besson Andrew Botros Peter Braithwaite Andrea Brown Nikki Brown Attila Brungs Tony Chalmers Dharmendra Chandran Louis Chien Paul Colgan Claire Cooper Bridget Cormack Karynne Courts Robbie Cranfield Peter Creeden Asha Cugati Juliet Curtin David Cutcliffe Este Darin-Cooper Rosalind De Sailly Paul Deschamps Catherine Donnelly Jennifer Drysdale John-Paul Drysdale Kerim El Gabaili Karen Ewels Roslyn Farrar Talitha Fishburn Naomi Flutter Alexandra Gibson Sam Giddings Jeremy Goff Lisa Gooch Hilary Goodson Tony Grierson Jason Hair Kathryn Higgs Peter Howard Jennifer Hoy Katie Hryce James Hudson Jacqui Huntington Virginia Judge Paul Kalmar Tisha Kelemen Aernout Kerbert Patrick Kok Angela Kwan John Lam-Po-Tang Tristan Landers Jessye Lin Garry Linnane David Lo Saskia Lo Fern Moufarrige Marcus Moufarrige Sarah Moufarrige Alasdair Murrie-West Julia Newbould Anthony Ng Nick Nichles Kate O Reilly Peter O Sullivan June Pickup Roger Pickup Stephanie Price Michael Radovnikovic Benjamin Robinson Alvaro Rodas Fernandez Adam Sadler Anthony Schembri Benjamin Schwartz Ben Shipley Cecilia Storniolo Ben Sweeten Randal Tame Sandra Tang Ian Taylor Zoe Taylor Cathy Thorpe Michael Tidball Mark Trevarthen Michael Tuffy Russell van Howe Sarah Vick Michael Watson Alan Watters Jon Wilkie Yvonne Zammit n n n n n n n n n n 29