BEETHOVEN ASHKENAZY CONDUCTS. Thu 9 May 1.30pm. Fri 10 May 8pm. Sat 11 May 2pm. Mon 13 May 7pm THURSDAY AFTERNOON SYMPHONY EMIRATES METRO SERIES

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1 ASHKENAZY CONDUCTS BEETHOVEN THURSDAY AFTERNOON SYMPHONY Thu 9 May 1.30pm EMIRATES METRO SERIES Fri 10 May 8pm GREAT CLASSICS Sat 11 May 2pm 7 Mon 13 May 7pm

2 Welco me to the Emirates Metro Series Emirates is proud to continue its decade-long principal partnership with the Sydney Symphony into 2013, with each of us providing world-class music and travel experiences for Sydneysiders and all Australians. The Sydney Symphony brings together the fi nest classical music talents, so it is only fi tting that Emirates, which combines best-in-class products for a memorable fl ying experience, is principal partner to the Orchestra. Like the Sydney Symphony, Emirates specialises in world-class entertainment. With up to 1400 channels to choose from on 21 fl ights per week from Sydney to Dubai, including a daily A380 service, Emirates infl ight entertainment offering has been voted best in class by Skytrax for the eighth year running. We strive to grow and evolve so that our customers enjoy a superior fl ying experience. The same can be said of our expanding international route network, which now boasts more than 30 European destinations, all via one convenient stop in Dubai. Similarly, the Sydney Symphony has grown into a truly outstanding ensemble, performing around 200 concerts a year to a combined annual audience of more than 350,000. Our partnership with the Sydney Symphony is about connecting with you our customers. We share and support your interests and are dedicated to the growth of arts and culture in Australia. This partnership allows us to showcase the Emirates brand to music lovers around the country and the world, signifying our long-term commitment to Australia. We are delighted to continue our support of the Sydney Symphony and encourage you to enjoy all the performances you can in Barry Brown Emirates Vice President Australasia

3 2013 season thursday afternoon symphony Thursday 9 May 1.30pm emirates metro series Friday 10 May 8pm great classics Saturday 11 May 2pm 7 Monday 12 May 7pm Sydney Opera House Concert Hall Ashkenazy conducts Beethoven Vladimir Ashkenazy CONDUCTOR Kirsty Hilton VIOLIN Catherine Hewgill CELLO Clemens Leske PIANO Ludwig van Beethoven ( ) Grosse Fuge (Great Fugue), Op.133 original fi nale of the String Quartet in B fl at, Op.130 arranged for string orchestra by Felix Weingartner ( ) Triple Concerto in C, Op.56 Allegro Largo Rondo alla Polacca INTERVAL Symphony No.6 in F, Op.68, Pastoral Awakening of joyful feelings on arrival in the country (Allegro ma non troppo) Scene by the brook (Andante molto moto) Merry gathering of country folk (Allegro) Thunderstorm (Allegro) Shepherd s Song. Happy and thankful feelings after the storm (Allegretto) Thursday s performance will be recorded by ABC Classic FM for broadcast across Australia on Thursday 27 June at 1.05pm. Pre-concert talk by David Garrett in the Northern Foyer, 45 minutes before each performance. Visit bit.ly/ssospeakerbios for speaker biographies. Estimated durations: 16 minutes, 35 minutes, 20-minute interval, 40 minutes The concert will conclude at approximately 3.35pm (Thursday), 10.05pm (Friday), 4.05pm (Saturday) and 9.05pm (Monday).

4 HISTORISCHES MUSEUM DER STADT WIEN / THE BRIDGEMAN ART LIBRARY Portrait of Ludwig van Beethoven, painted in by Willibrord Joseph Mähler ( ) As the artist himself describes it: Beethoven is represented, at nearly full length, sitting: the left hand rests upon a lyre, the right is extended, as if, in a moment of musical enthusiasm, he was beating time; in the background is a temple of Apollo. The Classical lyre and temple are combined with a suggestion of the new Romanticism: the mysterious landscape with its dramatic blasted tree and the dark cloud above. Add to this the idealised likeness, and this first mature portrait of the composer becomes, says Lewis Lockwood, an exercise in myth creation. 6 sydney symphony

5 INTRODUCTION Ashkenazy conducts Beethoven Beethoven is a big name in classical music he occupies a monumental place in music history, as a personality he seems larger than life. But this all-beethoven concert begins small, with just 33 musicians on the stage. The Grosse Fuge is chamber music the discarded finale of one of Beethoven s late string quartets. It has since entered the repertoire in a version for string orchestra. As this is chamber music, says Vladimir Ashkenazy, the intensity of each individual part is very important. And so while there have been great conductors who ve performed it with the overwhelming sonority of full symphonic strings, Ashkenazy strives for a transparent effect. The Grosse Fuge represents a Beethoven who was always pushing at the boundaries of what was possible for musicians and for listeners. By contrast, the Triple Concerto is almost old-fashioned. It comes from the baroque tradition of concertos for multiple instruments and if the story is true was conceived by Beethoven for a particular set of performers: a renowned cellist, a leading violinist and a piano-playing patron of some talent. The undisputed highlight of the program is the Pastoral Symphony marvellous music, says Ashkenazy, that is beyond description. Beethoven himself thought it was beyond description, or rather, he wanted listeners to remember that this was a symphony concerned with the expression of feelings rather than musical picture-painting. Beethoven had to make that point because this symphony gives every sign of being descriptive music program music, if you like. Each of the five movements has a title, the bird calls are labelled (nightingale, quail and cuckoo), and a drama is enacted when a thunderstorm violently interrupts the pastoral idyll. That thunderstorm is one of Ashkenazy s favourite moments in the symphony. He marvels at what Beethoven can achieve with relatively modest forces. Cellos and double basses make distant rumbles and then the storm is upon us. You ll see how Beethoven has been saving the timpani, the piccolo and the trombones for precisely this moment. By keeping them silent for the first three movements, these simple effects are enough to make us feel, says Ashkenazy, as if the thunderstorm is right here over your head. Turn to page 27 to read Bravo! musician profi les, articles and news from the orchestra. There are nine issues through the year, also available at sydneysymphony. com/bravo sydney symphony 7

6 ABOUT THE MUSIC Ludwig van Beethoven Grosse Fuge (Great Fugue) Op.133 original finale of the String Quartet in B flat, Op.130 arr. for string orchestra by Felix Weingartner ( ) At the first performance of Beethoven s String Quartet Op.130 on 21 March 1826, the second and fourth movements were encored, but the finale, the Grosse Fuge, met with total incomprehension. Beethoven s publisher Artaria persuaded him to write a new finale, adopting a much more accessible style. The fugue was published separately as Op.133. For a long time it was regarded as impossible, either to play or to listen to. Even so sympathetic a student of Beethoven s string quartets as Joseph de Marliave wrote in his book of 1917: This fugue is one of the two works by Beethoven the other being the fugue from the piano sonata, Op.106 [the Hammerklavier] which should be excluded from performance. Op.133 is one of the greatest works of genius in existence to read, but reading gives more pleasure than hearing. The problem was not entirely overcome when 20th-century quartets found the courage to play the work. Deryck Cooke summarises the problems they face: getting around the awkwardly-placed notes themselves; hammering them out with sufficient force; hitting out the jagged rhythms with precision; doing all this in perfect unanimity and making the result sound like music, not a barbaric scraping. Even while string quartets were terrified of the piece, in the late 19th century, the conductor Hans von Bülow began the Keynotes BEETHOVEN Born Bonn, 1770 Died Vienna, 1827 The Beethoven works in this concert span nearly the full range of his mature career from 1804, when he completed the Triple Concerto, to 1826, when the Grosse Fuge bamboozled its first listeners. Beethoven arrived in Vienna in 1792, intending to study with Haydn and to make his name as a musician (mostly the latter!). Among the early milestones: his first major publication (a set of piano trios) in 1794, and the next year his first public performance as a pianist, playing a concerto of his own. His symphonic career took off in 1800, just two years before he realised that his increasing deafness was incurable. By 1824, when he completed his Ninth Symphony, he was profoundly deaf. His final years were dominated by the composition of string quartets some of the most intense and challenging music he ever wrote. GROSSE FUGE The Grosse Fuge was originally written as the finale for Beethoven s String Quartet Op.130 (1826). But the original audience was so perplexed by its intricate textures and weaving ideas that Beethoven was persuaded to replace it with a more accessible movement. The Fugue was published separately and has taken on a life of its own, not only in the string quartet repertoire but in orchestral concerts too. Beethoven portrait from 1823 by Ferdinand Waldmüller 8 sydney symphony

7 practice of playing the Grosse Fuge with full string orchestra, adding double basses to support the cellos in the weightier passages. The version to be heard in this concert is by the conductor Felix Weingartner (who also arranged the Hammerklavier sonata for full orchestra). The strain on performers and listeners is reduced, but some consider that along with the sense of strain something integral is taken from the music. The major stumbling block for listeners is the strenuous, harsh first fugue, whose texture can be disturbingly suggestive of barbed wire. This gives way, eventually, to music of greater serenity. The brief introduction marked Overtura gives a kind of preview of the mighty musical construction, and presents the main themes. In this Overtura, the fugue subject is stated in three different forms, each to be developed later in its own section. The first statement is in fierce octaves and long held notes, the second presents the theme twice in a jig rhythm, and the third offers it evenly, first slower and harmonised, then again with a flowing counter-subject. Then the first violin, alone, presents a kind of halting version of the subject, in the form in which it will reappear immediately as accompaniment to the jagged subject of the first fugue. In the working out, the second and third versions of the theme appear in reverse order, so that the slow treatment brings a contrast of blissful relaxation. This slow movement is followed by a kind of scherzo, reaching a climax dominated by almost frenzied trills. After this, the earlier material returns in different forms, and the work concludes with a spacious coda. Beethoven s full title was Grande Fugue, tantôt libre, tantôt recherchée (Great Fugue, partly free, partly strict). Nineteenth-century analyses set out to prove that Beethoven, however daringly, followed the rules laid down for fugue. More recent studies (for example that of Philip Radcliffe) tend to understand it not as a highly eccentric fugue, but as a kind of symphonic poem in several contrasted sections with related themes, containing a certain amount of fugal writing. This view of the work justifies an occasional performance in the orchestral version, which will convey the immense intellectual grasp and spiritual power with Beethoven works out his grand design. disturbingly suggestive of barbed wire. DAVID GARRETT 1999 Beethoven s Grosse Fuge, as arranged for string orchestra by Weingartner, was first performed by an ABC orchestra in 1964, when the Victorian String Orchestra (as it was called) was conducted by Maurice Clare. The first performance by the Sydney Little Symphony of this work was given in 1965 under Joseph Post. The Sydney Symphony s most recent performance was in 1999, conducted by Edo de Waart. sydney symphony 9

8 Beethoven Triple Concerto in C, Op.56 Allegro Largo Rondo alla Polacca Kirsty Hilton violin Catherine Hewgill cello Clemens Leske piano In August 1804, Beethoven wrote to the Leipzig publishers Breitkopf and Härtel offering them something of a novelty, this concerto for piano, violin, cello and orchestra. But just how novel would it have been in the 18th century, when unusual combinations were often brought together in the sinfonia concertante form? Stranger combinations were written by musicians known to Beethoven: Leopold Kozeluch once wrote a Sinfonia concertante for piano, mandolin, trumpet and bass, and Beethoven s teacher Albrechtsberger wrote two concertos for jew s harp and mandora! Beethoven s concerto was no more outrageous than a combination of orchestra with the conventional chamber grouping of piano trio. Concertos with multiple soloists were meant to be melodic and virtuosic indeed they often brought together groups of virtuosos with a dose of bravura, a minimum of symphonic argument, and even less soul searching. (Beethoven s work lacks the symphonic argument we normally associate with him and this may explain why he labelled the work Grand concerto concertant, avoiding any mention of the word symphony, with its implications of elaborate musical argument.) But the Triple Concerto defies convention by favouring seriousness over showiness, particularly in its second movement, which, though arguably little more than an intermezzo, penetrates to a touching depth. According to Beethoven s factotum Schindler, this concerto was written for the Archduke Rudolph, who had in his private orchestra an excellent violinist by the name of Seidler, and as principal cellist Anton Kraft, who had been Haydn s cellist at Esterhaza. The availability of so fine a group of players may have influenced Beethoven s decision to write a work incorporating a piano trio. Although Rudolph was no mean pianist (he eventually got the Emperor Concerto under his fingers), it is the cello which has the lion s share of the work in this concerto. Kraft s influence notwithstanding, Beethoven may have had a natural bias towards the cello. By the time of the concerto, he had already written two of the five very fine sonatas he would eventually compose for the instrument, and, from a Keynotes TRIPLE CONCERTO Beethoven s Triple Concerto was composed in the early years of the 19th century but it belongs to a genre that flourished in the 18th: the concerto for multiple soloists. During the baroque period these were called concerti grossi, later in the 18th century the concept metamorphosed into the sinfonia concertante (Mozart wrote a beautiful one for violin and viola). Beethoven s Triple Concerto is unusual in that it includes a piano. The result is a mix of intimate chamber music the three soloists interacting with each other as a piano trio and the extroverted virtuosity of a concerto with orchestra. Of the solo parts, the cello has the lion s share of the work, and it s thought that it may have been intended for Anton Kraft, the finest cellist of Beethoven s day. All through the first movement it s the cello that leads off the solo sections, holding its own against the violin, with its higher register, and the piano, with its percussive power. The slow second movement acts as an extended introduction to the finale. Beethoven keeps the piano in an accompanying role, while the cello and violin take charge of the noble and eloquent melodies. This leads into a Rondo in the Polish style, in which Beethoven dances the fine line between exuberance and elegance. 10 sydney symphony

9 20th-century vantage point, we may say that perhaps his greatest contribution to the history of orchestration was his liberation of the cello (and double bass) from the role of mere support artist. But it was really to compensate for the solo cello s disadvantages in being heard above the ensemble that the cello is assigned the principal melodic role in this concerto. It is often set in the treble register where its voice will be most penetrating. Beethoven s leaning towards the cello, however, may also have guaranteed that the solo group would be treated as a trio, not just three rival soloists. The first movement begins softly, gradually building in volume a crescendo effect popular with the Mannheim school of composers. At the end of this build-up, there is a new, sunny, theme in the violins (above viola and cello triplets), which derives a lilting figure from the opening theme s turn, and is then handed to winds. Once the orchestra has presented the musical ideas, the solo cello enters first against reiterated middle Cs in the violins and slightly discordant touches in the violas, a finely pitched effect. The orchestra foreshadows a new impassioned theme but the cello immediately takes it over and up into its higher, most eloquent register. Much of the development and the rest of the movement has a chamber music quality, as it is the soloists who develop the material. It has been suggested that it was the success of the concise 28-bar second movement of the newly completed Waldstein sonata which prompted Beethoven to do something similar in this concerto. At any rate, the five-minute Largo perfectly balances the 18 or so minutes of the first movement. Beethoven here introduces a wonderful, idyllic melody that paves the way for the spirited polonaise final movement. It s strange that, at a time when many composers were churning out piano trios, no one followed Beethoven s lead with this piece. They must have known how difficult a feat he achieved. Certainly there was no multi-soloist concerto to equal it until Brahms Double Concerto of 1887, and even then, it was not surpassed. ABRIDGED FROM A NOTE BY GORDON KALTON WILLIAMS SYMPHONY AUSTRALIA 1998 The Triple Concerto calls for an orchestra of flute and pairs of oboes, clarinets, bassoons, horns and trumpets; timpani and strings. The Sydney Symphony first performed the concerto in 1956 with Robert Masters (violin), Muriel Taylor (cello) and Ronald Kinloch Anderson (piano) conducted by Kurt Woess, and most recently in 2004 when Gianluigi Gelmetti conducted and the soloists were Susie Park (violin), Li-Wei Qin (cello) and Andrea Lam (piano). (These soloists also performed the concerto in 2002, with Alexander Lazarev conducting.) Beethoven in 1803, a portrait of the young composer by Christian Horneman. This is thought to be a more accurate likeness than the Mähler portrait on page 6. Beethoven probably began writing the Triple Concerto in late 1803 and completed it in the middle of The claim by Schindler (plausible but lacking in tangible evidence) that the concerto was composed for Seidler, Kraft and the Archduke Rudolph suggests the Triple Concerto may have received a private performance as early as The first public performances took place in 1808 in Leipzig (April) and Vienna (May). sydney symphony 11

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11 Beethoven Symphony No.6 in F, Op.68, Pastoral Awakening of happy feelings on arrival in the country (Allegro ma non troppo) Scene by the brook (Andante molto mosso) Merry gathering of country folk (Allegro) Thunderstorm (Allegro) Shepherd s song: Thanksgiving after the storm (Allegretto) In the summer of 1802 Beethoven, as usual, retired to the country for a vacation in his preferred holiday spot, the village of Heiligenstadt just outside Vienna. But this particular summer saw a major crisis in the composer s life. After his death, a document was found among his papers: now known as the Heiligenstadt Testament, it is a kind of will written in 1802 and addressed, but never sent, to Beethoven s brothers. The document describes Beethoven s anguish on realising that the deterioration of his hearing was incurable. It describes his humiliation at not hearing what others around him took for granted, such as the distant sound of a shepherd s flute. It describes how he considered suicide, but only his art held him back. As he famously expressed it in a letter to a friend, Beethoven s response to this crisis was a resolve to take Fate by the throat. In his new frame of mind Beethoven launched into the works of what scholars call his heroic period. The first of the Razumovsky Quartets and the Eroica Symphony each expanded the sheer scale of its genre beyond anything previously imaginable, and in works like the Fifth Symphony Beethoven dramatises a titanic struggle and victory. The anecdote that Beethoven likened the Fifth s distinctive rhythm to Fate knocking on the door is almost certainly apocryphal, but it is hard not to hear the intense drama of these works without a sense of cosmic conflict being overcome. Beethoven spent subsequent summers in Heiligenstadt the Eroica was largely composed there in the summer of 1803 but in the Pastoral Symphony of 1808 he returns in his music to the scene of his existential crisis. Beethoven once wrote in a notebook of his desire to remain in the country. My unfortunate hearing does not plague me there. It is as if every tree spoke to me in the country: holy! holy! Ecstasy in the woods! This might give the impression of the work being a kind of Romantic or pantheist hymn, but that is far from being the case. Keynotes PASTORAL SYMPHONY Beethoven is the master of the absolute or abstract symphony. Yet two of his symphonies bear descriptive or evocative titles, and others, such as the heroic Fifth, have attracted fanciful interpretations almost from the outset. The more reflective Pastoral Symphony was written concurrently with the Fifth, but speaks to the human spirit in a very different way. At its first performance the Pastoral was billed as Recollections of Country Life and each movement is given a descriptive heading. The headings don t outline a story so much as suggest the kinds of feelings that Beethoven wanted the music to express feelings that he believed listeners would be able to discover for themselves. Because of the emotional journey that it follows, the symphony is in five movements rather than the traditional four, and the third, fourth and fifth are played without pauses: from peasant gathering to a sudden thunderstorm that disrupts the festivities and on to the gentle song of thanksgiving that concludes the symphony. The symphony was premiered on 22 December 1808 in the famous all-beethoven concert that also included the Fifth Symphony and the Fourth Piano Concerto. sydney symphony 13

12 There is no lone Caspar David Friedrich figure dwarfed by forbidding nature. There is no lone Caspar David Friedrich figure dwarfed by forbidding nature. In fact, Beethoven s Sixth is the fulfilment of certain baroque and classical conventions; perhaps Haydn s Creation and Seasons are the immediate begetters of this work. The landscape which the symphony celebrates is peopled and worked. Beethoven was very precise in describing the symphony as about feeling rather than painting. The first movement expresses feelings of joy at arriving in the country through its seemingly simple, diatonic melody and moments where the harmony seems static but is enlivened by joyously repeated motifs. We may well picture Beethoven sitting alone by a brook in the second movement, enabled by the miracle of art to hear the bird calls. Like Haydn, though who admitted that his tone-painting of frogs in The Seasons was frenchified trash Beethoven was mistrustful of art imitating nature. The bird calls were an afterthought, and perhaps an ironic one at that. But the third movement is social as well as pastoral. It is collective humanity which celebrates to the strains of the town band and that prefigures the use of pop music elements in the all-embracing context of the finale of the Ninth Symphony. It is collective humanity which experiences the storm the last gasp of the figure of Fate 14 sydney symphony

13 who is wrestled to the ground in the works between 1802 and the time of the Pastoral Symphony and it is the universe at large which gives thanks in the finale. The simple arpeggios of the thanksgiving theme may well evoke a shepherd s artless tune which Beethoven could no longer hear in reality but they also reflect, in repose, the striving arpeggios of the Eroica s main theme. The Pastoral Symphony, then, lays to rest the ghosts that besieged Beethoven in Heiligenstadt in It allows him to hear birds calls and shepherd s flutes, and reduces the fearsome figure of Fate to nothing scarier than a thunderstorm. GORDON KERRY 2008 Beethoven s Pastoral Symphony calls for piccolo and pairs of flutes, oboes, clarinets, bassoons, horns, trumpets and trombones; timpani and strings. The Sydney Symphony s first performance on record of the Pastoral Symphony was in 1938 under George Szell. The most recent performances were in Gianluigi Gelmetti s 2007 Beethoven festival and in 2009 conducted by Hugh Wolff. Poet or Artist? Beethoven often referred to himself as a Tondichter (literally sound poet ) rather than a Tonkünstler (sound artist), which was the usual word for a musician. He was a musician of the Romantic age a poet concerned with feelings, expression and abstract ideals, rather than an artist given to literal representation. In the 18th century, music such as Vivaldi s Four Seasons concertos famously depicted nature and life in music. Haydn s oratorios The Seasons and The Creation continued the tradition. Battle symphonies had perennial appeal. United by their attempts to imitate and portray nature and events, these works were concerned with an 18th-century ideal: painting in tones. The 19th century saw the rise of what s known as program music. It shared some of the representational goals of earlier works, but emphasised mood and dramatic shaping of the musical structure over attempts at literal imitation. That Beethoven saw himself as a poet rather than a painter in sound is confi rmed by his comments about his Sixth Symphony (his Sinfonia pastorale): The whole work can be perceived without description it is more an expression of feelings rather than tone-painting. Elsewhere he says that the hearers should be able to discover the situation for themselves. The whole work can be perceived without description it is more an expression of feelings rather than tone-painting. BEETHOVEN YVONNE FRINDLE 2004 sydney symphony 15

14 MORE MUSIC GROSSE FUGE If this concert was your introduction to Beethoven s Grosse Fuge, then the next step is to experience it in the original string quartet version. We recommend the Goldner String Quartet (led by Sydney Symphony concertmaster Dene Olding) and their 8-CD recording of the complete Beethoven string quartets. A worthwhile investment! ABC CLASSICS Alternatively, for a single-disc option, the Fitzwilliam String Quartet performs String Quartet No.13 in B flat, Op.130 and No.15 in A minor, Op.132. The performers make a case for performing No.13 with the Grosse Fuge as its (original) finale. ELOQUENCE An orchestral version can be found filling out a 2-CD release of Beethoven s Ninth Symphony, with Ernest Ansermet conducting the Orchestre de la Suisse Romande. (Joan Sutherland is the soprano soloist in the symphony.) ELOQUENCE TRIPLE CONCERTO It s long been believed and may be true that Beethoven had a particular cellist in mind for his Triple Concerto: Anton Kraft, one of the great cellists of his generation. So if you re seeking a recording of this music, you can t go wrong with another great cellist, Mstislav Rostropovich, joined by violinist David Oistrakh and pianist Sviatoslav Richter a starry line-up! Herbert von Karajan conducts the Berlin Philharmonic. The companion works in the 2-CD set are by Brahms: the Double Concerto and the Violin Concerto, both with the Cleveland Orchestra and George Szell. EMI CLASSICS PASTORAL SYMPHONY If you ve enjoyed the interpretations in this concert, look for Vladimir Ashkenazy s recording of the Pastoral Symphony with the Philharmonia Orchestra, newly released on the Eloquence label with two Beethoven overtures: Egmont and Leonore No.3. The performance has been praised as warm and beguiling, with a captivating feeling of lyrical ease and repose. DECCA The program is too long to list in full, but it includes most of the famous piano concertos, a generous selection of solo music from Beethoven and Chopin to the great Russian composers, and chamber music highlights. Ashkenazy s work as a conductor is also represented. In a special treat, you can hear, side-byside, his performance of Mussorgsky s original piano version of Pictures from an Exhibition and Ashkenazy s own orchestration of the same music, very different from Ravel s interpretation. DECCA Broadcast Diary May June abc.net.au/classic Friday 17 May, 8pm ashkenazy s favourites Vladimir Ashkenazy conductor Hansjörg Schellenberger oboe Tchaikovsky, R Strauss, Walton Saturday 8 June, 8pm organ symphony Charles Dutoit conductor Musicians of the Sydney Symphony and guest organist David Drury Mozart, Martin, Saint-Saëns Tuesday 11 June, 1.05pm handel s water music Reinhard Goebel conductor Mirijam Contzen violin Bach, Telemann, Handel, Berton Fine Music sydney symphony 2013 Tuesday 14 May, 6pm Musicians, staff and guest artists discuss what s in store in our forthcoming concerts. Webcasts VLADIMIR ASHKENAZY Also recently released is a limited edition 50-CD boxed set celebrating Ashkenazy s recorded legacy in his 50 Years on Decca since It s an original jacket collection, with LP artwork, booklet notes, a complete discography of Ashkenazy s recordings on Decca, a composer index and a specially commissioned article by his long-time producer Andrew Cornall. Selected Sydney Symphony concerts are webcast live on BigPond and Telstra T-box and made available for later viewing On Demand. Our most recent webcast: cirque de la symphonie Visit: bigpondmusic.com/sydneysymphony Live webcasts can also be viewed on our free mobile app, now optimised for the ipad. 16 sydney symphony

15 ABOUT THE ARTISTS Vladimir Ashkenazy PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR Vladimir Ashkenazy first came to prominence on the world stage in the 1955 Chopin Competition in Warsaw and as winner of the 1956 Queen Elisabeth Competition in Brussels. Since then he has built an extraordinary career, not only as one of the most outstanding pianists of the 20th century, but as a revered and inspiring artist whose creative life encompasses a vast range of activities. Conducting has formed the largest part of his musicmaking for the past 20 years, and this is his fifth season as Principal Conductor and Artistic Advisor of the Sydney Symphony. He has also been Chief Conductor of the Czech Philharmonic ( ) and Music Director of the NHK Symphony Orchestra, Tokyo ( ), and he is Conductor Laureate of the Philharmonia Orchestra, with whom he has developed landmark projects such as Prokofiev and Shostakovich Under Stalin and Rachmaninoff Revisited. He also holds the positions of Music Director of the European Union Youth Orchestra and Conductor Laureate of the Iceland Symphony Orchestra. He maintains strong links with a number of other major orchestras, including the Cleveland Orchestra (where he was formerly Principal Guest Conductor) and Deutsches Symphonie-Orchester Berlin (Chief Conductor and Music Director, ), as well as making guest appearances with major orchestras around the world. Vladimir Ashkenazy continues to devote himself to the piano, building his comprehensive recording catalogue with releases such as the 1999 Grammy award-winning Shostakovich Preludes and Fugues, Rautavaara s Piano Concerto No.3 (which he commissioned), Rachmaninoff transcriptions, Bach s Wohltemperierte Klavier and Beethoven s Diabelli Variations. His most recent solo releases feature the music of Rachmaninoff. A regular visitor to Sydney since his Australian debut in 1969, he has conducted subscription concerts and composer festivals for the Sydney Symphony, with highlights including the acclaimed Sibelius festival of 2004 and his Rachmaninoff festival of In he conducted the Mahler Odyssey concerts and live recordings, and his artistic role with the orchestra includes annual international touring. Russian-born Vladimir Ashkenazy inherited his musical gift from both sides of his family: his father David Ashkenazy was a professional light music pianist and his mother Evstolia (née Plotnova) was daughter of a chorusmaster in the Russian Orthodox church. KEITH SAUNDERS sydney symphony 17

16 Kirsty Hilton VIOLIN Kirsty Hilton was born in Sydney in She began studying violin by the Suzuki method before beginning lessons with Alice Waten at the Sydney Conservatorium of Music at age seven. She attended the Sydney Conservatorium of Music High School and then completed her undergraduate studies with Alice Waten at the Australian Institute of Music. During this time she worked with the Australian Chamber Orchestra and was concertmaster of the Australian Youth Orchestra. In 1998 she was a postgraduate student of David Takeno at the Guildhall School of Music and Drama in London. From 1999 to 2001 she was a member of the Karajan Academy of the Berlin Philharmonic Orchestra, where she performed under such conductors as Claudio Abbado, Simon Rattle, Mariss Jansons, Seiji Ozawa, Bernard Haitink and Lorin Maazel. She then had a contract with the Berlin Philharmonic for a year before taking up the position of Assistant Principal Second Violin in the Bavarian Radio Symphony Orchestra in Munich, conducted by Mariss Jansons. She still performs regularly with these orchestras and in 2011 became a member of the Mahler Chamber Orchestra. Kirsty Hilton took up the position of Assistant Concertmaster with the Sydney Symphony Orchestra in 2007 and was appointed Principal Second Violin in Catherine Hewgill CELLO Catherine Hewgill studied cello in Perth before international studies took her to the Royal College of Music, University of Southern Calfornia, Santa Barbara Music Academy and the Aspen Summer Music Festival. In 1984 she won the Hammer- Rostropovich Scholarship and was invited by Rostropovich to perform in a recital at the Second American Cello Congress. A period of private study with Rostropovich followed. She then toured Europe with I Solisti Veneti, and studied with William Pleeth in London. Returning to Australia, she joined the Australian Chamber Orchestra. In 1989 she joined the Sydney Symphony, and was appointed Principal Cello the following year. She has performed as a soloist with most of the Australian symphony orchestras and her concerto appearances with the Sydney Symphony have included: Haydn s D major concerto conducted by Charles Dutoit, Elgar s Cello Concerto, Tchaikovsky s Rococo Variations, the Boccherini/ Grützmacher Concerto in B flat, Dutilleux s Tout un monde lointain, the Brahms Double Concerto with Michael Dauth, and as a soloist in concerts with Nigel Kennedy. Chamber music highlights include Messiaen s Quartet for the End of Time with Reinbert de Leeuw. In 2003 she toured Japan with the Orchestra Ensemble Kanazawa and Michael Dauth (Brahms Double), and in 2011 she played principal cello in the inaugural concerts of the Australian World Orchestra. 18 sydney symphony PRINCIPAL SECOND VIOLIN Read more in Bravo: bit.ly/bravo PRINCIPAL CELLO, THE HON. JUSTICE AJ & MRS FRANCES MEAGHER CHAIR Catherine Hewgill plays a 1729 Carlo Tononi cello. Read more in Bravo: bit.ly/bravo BEN SYMONS KEITH SAUNDERS

17 Clemens Leske PIANO Clemens Leske has performed with all the major Australian symphony orchestras, working with such conductors as Muhai Tang, Rumon Gamba, Vernon Handley, Nicholas Braithwaite, Vladimir Spivakov and the late Tommy Tycho. He has appeared in Spain, the United Kingdom, Singapore, Thailand, New Zealand and China, as well as performing regularly with the Australian String Quartet, Australian Chamber Orchestra and Moscow Virtuosi and at festivals such as the Barossa International, Huntington, Musica Viva, Spring and Adelaide. In 2005 he gave his London debut in the Royal Festival Hall, performing Rachmaninoff s First Piano Concerto with the London Philharmonic Orchestra and was subsequently invited to perform Tchaikovsky s First Concerto with the LPO at the Eastbourne Festival. Recent appearances have included Mozart s Concerto in C, K467 at the Sydney Myer Music Bowl with the Melbourne Symphony Orchestra, the Steinway Spectacular tour and a national tour in partnership with flautist Sir James Galway. In June he will perform Rachmaninoff s Third Piano Concerto with the MSO. Other future engagements include concerto appearances in Beijing and Guangzhou, China. He has released six recordings of solo piano and chamber music and has recorded for ABC Classic FM, Fine Music and 5UV. Clemens Leske s most recent appearance with the Sydney Symphony was in 2010, when he performed Strauss s Burleske. GREG BARRETT YOU CAN MAKE A BIG DIFFERENCE Help us bring world-class artists to Sydney and the joy of music to thousands of kids. Consider a gift to the Sydney Symphony s Orchestra Fund or Allegro Education Fund before 30 June Your precious and invaluable support makes it happen. Thank you! FIONA ZIEGLER, ASSISTANT CONCERTMASTER & PATRON AMBASSADOR Any amount over $2 is tax deductible. Gifts over $500 are acknowledged in programs. Call (02) Select Option 2

18 MUSICIANS Vladimir Ashkenazy Principal Conductor and Artistic Advisor supported by Emirates Dene Olding Concertmaster Andrew Haveron Concertmaster Jessica Cottis Assistant Conductor supported by Premier Partner Credit Suisse FIRST VIOLINS Andrew Haveron Concertmaster Sun Yi Associate Concertmaster Shaun Lee-Chen* Assistant Concertmaster Julie Batty Jennifer Booth Marianne Broadfoot Brielle Clapson Sophie Cole Amber Davis Georges Lentz Nicola Lewis Alexandra Mitchell Alexander Norton Léone Ziegler Claire Herrick Dene Olding Concertmaster Kirsten Williams Associate Concertmaster Fiona Ziegler Assistant Concertmaster Jennifer Hoy SECOND VIOLINS Marina Marsden Emma Jezek Assistant Principal Emily Long Maja Verunica Philippa Paige Stan W Kornel Benjamin Li Maria Durek Shuti Huang Nicole Masters Belinda Jezek* Emily Qin Kirsty Hilton Alexander Read Susan Dobbie Principal Emeritus Emma Hayes Biyana Rozenblit VIOLAS Tobias Breider Roger Benedict Justin Williams Assistant Principal Robyn Brookfield Sandro Costantino Jane Hazelwood Graham Hennings Stuart Johnson Amanda Verner Leonid Volovelsky Anne-Louise Comerford Justine Marsden Felicity Tsai CELLOS Leah Lynn Assistant Principal Kristy Conrau Fenella Gill Timothy Nankervis Elizabeth Neville Christopher Pidcock Adrian Wallis David Wickham DOUBLE BASSES Kees Boersma Alex Henery Neil Brawley Principal Emeritus David Campbell Steven Larson David Murray Richard Lynn Benjamin Ward FLUTES Janet Webb Carolyn Harris Rosamund Plummer Principal Piccolo Emma Sholl OBOES Diana Doherty David Papp Shefali Pryor Alexandre Oguey Principal Cor Anglais CLARINETS Lawrence Dobell Christopher Tingay Francesco Celata Craig Wernicke Principal Bass Clarinet BASSOONS Matthew Wilkie Fiona McNamara Roger Brooke Noriko Shimada Principal Contrabassoon HORNS Ben Jacks Marnie Sebire Robert Johnson Geoffrey O Reilly Principal 3rd Euan Harvey TRUMPETS David Elton Anthony Heinrichs Paul Goodchild TROMBONES Scott Kinmont Nick Byrne Ronald Prussing Christopher Harris Principal Bass Trombone TUBA Steve Rossé TIMPANI Richard Miller PERCUSSION Rebecca Lagos Colin Piper HARP Louise Johnson Bold = Principal Italics = Associate Principal = Contract Musician * = Guest Musician = Sydney Symphony Fellow Grey = Permanent member of the Sydney Symphony 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 are proudly outfitted by Van Heusen. 20 sydney symphony

19 SYDNEY SYMPHONY Vladimir Ashkenazy, Principal Conductor and Artistic Advisor PATRON Her Excellency Professor Marie Bashir AC CVO JOHN MARMARAS Founded in 1932 by the Australian Broadcasting Commission, the Sydney Symphony 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 Sydney Symphony also performs in venues throughout Sydney and regional New South Wales. International tours to Europe, Asia and the USA have earned the orchestra worldwide recognition for artistic excellence, most recently in the 2012 tour to China. The Sydney Symphony 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. David Robertson will take up the post of Chief Conductor in The orchestra s history also boasts collaborations with legendary figures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky. The Sydney Symphony 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, Liza Lim, Lee Bracegirdle, Gordon Kerry and Georges Lentz, and the orchestra s recording of works by Brett Dean was released on both the BIS and Sydney Symphony Live labels. Other releases on the Sydney Symphony Live label, established in 2006, include performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras and Vladimir Ashkenazy. 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 the ABC Classics label. This is the fifth year of Ashkenazy s tenure as Principal Conductor and Artistic Advisor. sydney symphony 21

20 BEHIND THE SCENES Sydney Symphony Board John C Conde ao Chairman Terrey Arcus am Ewen Crouch am Ross Grant Jennifer Hoy Rory Jeffes Andrew Kaldor am Irene Lee David Livingstone Goetz Richter Sydney Symphony Council Geoff Ainsworth am Andrew Andersons ao Michael Baume ao Christine Bishop Ita Buttrose ao obe Peter Cudlipp John Curtis am Greg Daniel am John Della Bosca Alan Fang Erin Flaherty Dr Stephen Freiberg Donald Hazelwood ao obe Dr Michael Joel am Simon Johnson Yvonne Kenny am Gary Linnane Amanda Love Helen Lynch am David Maloney David Malouf ao Julie Manfredi-Hughes Deborah Marr The Hon. Justice Jane Mathews ao Danny May Wendy McCarthy ao Jane Morschel Greg Paramor Dr Timothy Pascoe am Prof. Ron Penny ao Jerome Rowley Paul Salteri Sandra Salteri Juliana Schaeffer Leo Schofield am Fred Stein oam Gabrielle Trainor Ivan Ungar John van Ogtrop Peter Weiss ao HonDLitt Mary Whelan Rosemary White Sydney Symphony Staff MANAGING DIRECTOR Rory Jeffes EXECUTIVE TEAM ASSISTANT Lisa Davies-Galli ARTISTIC OPERATIONS DIRECTOR OF ARTISTIC PLANNING Peter Czornyj Artistic Administration ARTISTIC ADMINISTRATION MANAGER Eleasha Mah ARTIST LIAISON MANAGER Ilmar Leetberg RECORDING ENTERPRISE MANAGER Philip Powers Education Programs HEAD OF EDUCATION Kim Waldock EMERGING ARTISTS PROGRAM MANAGER Mark Lawrenson EDUCATION COORDINATOR Rachel McLarin CUSTOMER SERVICE OFFICER Derek Reed Library Anna Cernik Victoria Grant Mary-Ann Mead ORCHESTRA MANAGEMENT DIRECTOR OF ORCHESTRA MANAGEMENT Aernout Kerbert ORCHESTRA MANAGER Chris Lewis ORCHESTRA COORDINATOR Georgia Stamatopoulos OPERATIONS MANAGER Kerry-Anne Cook PRODUCTION MANAGER Laura Daniel PRODUCTION COORDINATOR Tim Dayman PRODUCTION COORDINATOR Ian Spence STAGE MANAGER Elise Beggs SALES AND MARKETING DIRECTOR OF SALES & MARKETING Mark J Elliott SENIOR SALES & MARKETING MANAGER Penny Evans MARKETING MANAGER, SUBSCRIPTION SALES Simon Crossley-Meates MARKETING MANAGER, CLASSICAL SALES Matthew Rive MARKETING MANAGER, WEB & DIGITAL MEDIA Eve Le Gall MARKETING MANAGER, DATABASE & CRM Matthew Hodge DATA ANALYST Varsha Karnik GRAPHIC DESIGNER Lucy McCullough CREATIVE ARTWORKER Nathanael van der Reyden MARKETING COORDINATOR Jonathon Symonds ONLINE MARKETING COORDINATOR Jenny Sargant Box Office MANAGER OF BOX OFFICE SALES & OPERATIONS Lynn McLaughlin BOX OFFICE SYSTEMS SUPERVISOR Jacqueline Tooley BOX OFFICE BUSINESS ADMINISTRATOR John Robertson CUSTOMER SERVICE REPRESENTATIVES Steve Clarke Senior CSR Michael Dowling Sarah Morrisby Amy Walsh COMMUNICATIONS HEAD OF COMMUNICATIONS & SPONSOR RELATIONS Yvonne Zammit PUBLIC RELATIONS MANAGER Katherine Stevenson COMMUNICATIONS COORDINATOR Janine Harris DIGITAL CONTENT PRODUCER Kai Raisbeck FELLOWSHIP SOCIAL MEDIA OFFICER Caitlin Benetatos Publications PUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER Yvonne Frindle DEVELOPMENT DIRECTOR OF DEVELOPMENT Caroline Sharpen EXTERNAL RELATIONS MANAGER Stephen Attfield PHILANTHROPY, PATRONS PROGRAM Ivana Jirasek DEVELOPMENT MANAGER Amelia Morgan-Hunn BUSINESS SERVICES DIRECTOR OF FINANCE John Horn FINANCE MANAGER Ruth Tolentino ACCOUNTANT Minerva Prescott ACCOUNTS ASSISTANT Emma Ferrer PAYROLL OFFICER Laura Soutter HUMAN RESOURCES HEAD OF HUMAN RESOURCES Michel Maree Hryce 22 sydney symphony

21 SYDNEY SYMPHONY PATRONS Maestro s Circle Peter William Weiss ao Founding President & Doris Weiss John C Conde ao Chairman Geoff Ainsworth am & Vicki Ainsworth Tom Breen & Rachael Kohn In memory of Hetty & Egon Gordon Andrew Kaldor am & Renata Kaldor ao Roslyn Packer ao Penelope Seidler am Mr Fred Street am & Mrs Dorothy Street Westfield Group Brian & Rosemary White Ray Wilson oam in memory of the late James Agapitos oam Sydney Symphony Corporate Alliance Tony Grierson, Braithwaite Steiner Pretty Insurance Australia Grou p John Morschel, Chairman, ANZ Directors Chairs Roger Benedict Principal Viola Kim Williams am & Catherine Dovey Chair 02 Lawrence Dobell Principal Clarinet Anne Arcus & Terrey Arcus am Chair 03 Diana Doherty Principal Oboe Andrew Kaldor am & Renata Kaldor ao Chair 04 Richard Gill oam Artistic Director Education Sandra & Paul Salteri Chair 05 Catherine Hewgill Principal Cello The Hon. Justice AJ & Mrs Fran Meagher Chair 06 Robert Johnson Principal Horn James & Leonie Furber Chair For information about the Directors Chairs program, please call (02) Elizabeth Neville Cello Ruth & Bob Magid Chair 08 Colin Piper Percussion Justice Jane Mathews ao Chair 09 Emma Sholl Associate Principal Flute Robert & Janet Constable Chair Sydney Symphony Vanguard Vanguard Collective Justin Di Lollo Chair Kees Boersma Marina Go David McKean Amelia Morgan-Hunn Jonathan Pease Seamus R Quick Members Centric Wealth Matti Alakargas James Armstrong Stephen Attfield Damien Bailey Andrew Baxter Mar Beltran Kees Boersma Andrew Bragg Peter Braithwaite Andrea Brown Ian Burton Jennifer Burton Hahn Chau Alistair Clark Matthew Clark Benoît Cocheteux George Condous Michael Cook Paul Cousins Justin Di Lollo Rose Gallo Alistair Gibson Sam Giddings Marina Go Sebastian Goldspink Rose Herceg Paolo Hooke Peter Howard Jennifer Hoy Scott Jackson Damian Kassagbi Aernout Kerbert Antony Lighten Gary Linnane Paul Macdonald David McKean Hayden McLean Amelia Morgan-Hunn Phoebe Morgan-Hunn Tom O Donnell Taine Moufarrige Hugh Munro Fiona Osler Julia Owens Archie Paffas Jonathan Pease Jingmin Qian Seamus R Quick Leah Ranie Michael Reede Chris Robertson Emma Rodigari Jacqueline Rowlands Bernard Ryan Katherine Shaw Randal Tame Adam Wand Jon Wilkie Jonathan Watkinson Darren Woolley Misha Zelinsky sydney symphony 23

22 PLAYING YOUR PART The Sydney Symphony 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. Donations of $50 and above are acknowledged on our website at Platinum Patrons $20,000+ Brian Abel Robert Albert ao & Elizabeth Albert Geoff Ainsworth Terrey Arcus am & Anne Arcus Tom Breen & Rachael Kohn Sandra & Neil Burns Mr John C Conde ao Robert & Janet Constable Michael Crouch ao & Shanny Crouch James & Leonie Furber Dr Bruno & Mrs Rhonda Giuffre In memory of Hetty & Egon Gordon Mr Andrew Kaldor am & Mrs Renata Kaldor ao D & I Kallinikos James N Kirby Foundation The late Joan MacKenzie Vicki Olsson Mrs Roslyn Packer ao Paul & Sandra Salteri Mrs Penelope Seidler am G & C Solomon in memory of Joan MacKenzie Mrs W Stening Mr Fred Street am & Mrs Dorothy Street Peter William Weiss ao & Doris Weiss Westfield Group Mr Brian & Mrs Rosemary White Kim Williams am & Catherine Dovey Ray Wilson oam in memory of James Agapitos oam Gold Patrons $10,000 $19,999 Stephen J Bell Alan & Christine Bishop Ian & Jennifer Burton Howard Connors Copyright Agency Cutlural Fund Edward Federman Nora Goodridge Mr Ross Grant The Estate of the late Ida Gugger Helen Lynch am & Helen Bauer Ruth & Bob Magid Justice Jane Mathews ao The Hon. Justice AJ Meagher & Mrs Fran Meagher Mrs T Merewether oam Mr B G O Conor Henry & Ruth Weinberg Caroline Wilkinson June & Alan Woods Family Bequest Silver Patrons $5000 $9,999 Doug & Alison Battersby Mr Robert Brakspear Mr David & Mrs Halina Brett Mr Robert & Mrs L Alison Carr Bob & Julie Clampett Ian Dickson & Reg Holloway Dr C Goldschmidt The Greatorex Foundation Mr Rory Jeffes Judges of the Supreme Court of NSW Mr Ervin Katz The Estate of the late Patricia Lance Timothy & Eva Pascoe William McIlrath Charitable Foundation Rodney Rosenblum am & Sylvia Rosenblum Manfred & Linda Salamon Mrs Joyce Sproat & Mrs Anna Cooke Michael & Mary Whelan Trust Anonymous (1) Bronze Patrons $2,500 $4,999 Ewen Crouch am & Catherine Crouch The Hon. Ashley Dawson-Damer Firehold Pty Ltd Stephen Freiberg & Donald Campbell Vic & Katie French Mrs Jennifer Hershon Michael & Anna Joel Gary Linnane Matthew McInnes J A McKernan R & S Maple-Brown Renee Markovic Mora Maxwell James & Elsie Moore Drs Keith & Eileen Ong In memory of Sandra Paul Pottinger Dr John Roarty oam in memory of Mrs June Roarty In memory of H St P Scarlett Julianna Schaeffer David & Isabel Smithers Marliese & Georges Teitler Mr & Mrs T & D Yim Anonymous (2) Bronze Patrons $1,000 $2,499 Mrs Antoinette Albert Andrew Andersons ao Mr Henri W Aram oam Dr Francis J Augustus Richard and Christine Banks David Barnes Nicole Berger Allan & Julie Bligh Dr & Mrs Hannes Boshoff Jan Bowen Lenore P Buckle M Bulmer In memory of RW Burley Ita Buttrose ao obe Joan Connery oam & Maxwell Connery oam Constable Estate Vineyards Debby Cramer & Bill Caukill Mr John Cunningham SCM & Mrs Margaret Cunningham Greta Davis Lisa & Miro Davis Matthew Delasey Mr & Mrs Grant Dixon Colin Draper & Mary Jane Brodribb Mrs Margaret Epps Mr Ian Fenwicke & Prof. Neville Wills Mr James Graham am & Mrs Helen Graham Warren Green Anthony Gregg & Deanne Whittleston Akiko Gregory Tony Grierson Edward & Deborah Griffin Richard Griffin am In memory of Dora & Oscar Grynberg Janette Hamilton Michelle Hilton The Hon. David Hunt ao qc & Mrs Margaret Hunt Dr & Mrs Michael Hunter In memory of Bernard M H Khaw Mr Justin Lam Mr Peter Lazar am Irene Lee Associate Professor Winston Liauw Dr David Luis Carolyn & Peter Lowry oam Deirdre & Kevin McCann Ian & Pam McGaw Macquarie Group Foundation 24 sydney symphony

23 Ms Jackie O Brien JF & A van Ogtrop Mr & Mrs Ortis smr Andrew C Patterson Piatti Holdings Pty Ltd Andy & Deirdre Plummer Robin Potter Ernest & Judith Rapee Kenneth R Reed Patricia H Reid Endowment Pty Ltd Caroline Sharpen Dr Agnes E Sinclair Catherine Stephen John & Alix Sullivan The Hon. Brian Sully qc Mildred Teitler John E Tuckey Mrs M Turkington In memory of Joan & Rupert Vallentine Dr Alla Waldman Mr Robert & Mrs Rosemary Walsh Ann & Brooks Wilson am Dr Richard Wing Mr R R Woodward In memory of Lorna Wright Dr John Yu Anonymous (9) Bronze Patrons $500 $999 Mrs Lenore Adamson Mr & Mrs Garry S Ash Barlow Cleaning Pty Ltd Beauty Point Retirement Resort Mrs Margaret Bell Minnie Biggs Mrs Jan Biber Dr Anthony Bookallil R D & L M Broadfoot Arnaldo Buch Ann & Miles Burgess Pat & Jenny Burnett The Hon. Justice JC & Mrs Campbell Dr Rebecca Chin Mrs Sarah Chissick Mrs Catherine J Clark R A & M J Clarke Mr & Mrs Coates Coffs Airport Security Car Park Mr B & Mrs M Coles Mrs Joan Connery oam Jen Cornish Mr David Cross Phil Diment am & Bill Zafiropoulos Elizabeth Donati The Dowe Family John Favaloro Malcolm Ellis & Erin O Neill In memory of Peter Everett Mr Tom Francis Mr John Gaden Vivienne Goldschmidt Clive & Jenny Goodwin Harry & Meg Herbert Sue Hewitt Dorothy Hoddinott ao Mr Joerg Hofmann Mrs Kimberley Holden Mr Gregory Hosking Niki Kallenberger Mrs Margaret Keogh Dr Henry Kilham Chris J Kitching Anna-Lisa Klettenberg Sonia Lal Mr Luigi Lamprati Dr & Mrs Leo Leader Margaret Lederman Erna & Gerry Levy am Sydney & Airdrie Lloyd Mrs A Lohan Mrs Panee Low Dr David Luis Philip & Catherine McClelland Melvyn Madigan Alan & Joy Martin Mrs Toshiko Meric Ms Irene Miller & Ms Kim Harding P J Miller David Mills Kenneth N Mitchell Ms Margaret Moore oam & Dr Paul Hutchins am Chris Morgan-Hunn Mrs Milja Morris A Nhan Mr Graham North Dr Mike O Connor am Mr R A Oppen Origin Foundation Dr A J Palmer Dr Kevin Pedemont Dr Natalie E Pelham Michael Quailey Renaissance Tours Anna Ro Lesley & Andrew Rosenberg Mrs Pamela Sayers Garry Scarf & Morgie Blaxill Peter & Virginia Shaw Mrs Diane Shteinman am Ms Stephanie Smee Ms Tatiana Sokolova Doug & Judy Sotheren Mrs Judith Southam Mrs Karen Spiegal-Keighley Margaret Suthers Norman & Lydia Taylor Dr Heng Tey & Mrs Cilla Tey Mrs Alma Toohey & Mr Edward Spicer Kevin Troy Gillian Turner & Rob Bishop Prof Gordon E Wall Mrs Margaret Wallis Ronald Walledge Ms Elizabeth Wilkinson Audrey & Michael Wilson A Willmers & R Pal Dr Peter Wong & Mrs Emmy K Wong Geoff Wood & Melissa Waites Glen & Everly Wyss Mrs Robin Yabsley Anonymous (22) List correct as of 1 May 2013 To find out more about becoming a Sydney Symphony Patron, please contact the Philanthropy Office on (02) or philanthropy@sydneysymphony.com DO YOU HAVE A STORY TO TELL? Learn how, with the people who know books and writing best. Faber Academy at ALLEN & UNWIN T (02) W allenandunwin.com/faberacademy sydney symphony 25

24 SALUTE PRINCIPAL PARTNER GOVERNMENT PARTNERS The Sydney Symphony is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body The Sydney Symphony is assisted by the NSW Government through Arts NSW PREMIER PARTNER PLATINUM PARTNERS EDUCATION PARTNER MAJOR PARTNERS GOLD PARTNERS SILVER PARTNERS THE LEADING SCHOOL FOR TODAY S MUSIC INDUSTRY executive search REGIONAL TOUR PARTNERS MARKETING PARTNER Fine Music sydney symphony

25 ORCHESTRA NEWS MAY 2013 Photo: Paul Muir INTRODUCING ANDREW This month we welcome co-concertmaster Andrew Haveron to the Sydney Symphony. Here s your chance to get to know the guy sitting at the pointy end. I really didn t see that one coming. Andrew Haveron, our newly appointed co-concertmaster, is talking about the phone call some 14 years ago inviting him to join the Brodsky Quartet. They were an established quartet of 25 years, who suddenly rang up out of the blue. There followed eight fabulous years. I would have played 250 to 300 different quartets. I could bore the back legs off a donkey talking about rare and obscure quartets! But when he made the switch to the world of orchestral music, Andrew recognised there was a huge gap in his knowledge. I hadn t even played Beethoven 5! Living in London, Andrew found those gaps were filled pretty quickly. Given the speed with which that city operates, I ve got several Beethoven cycles under my belt now. His music is always rewarding to play. Brahms too, though he didn t bend to string players techniques much. Andrew sees little difference between making music on an intimate chamber scale and that of larger orchestral playing. On a recent tour with the Academy of taking responsibility, passing around the inspiration. St Martin in the Fields, performing Haydn symphonies without conductor, he enjoyed observing the responsibility taken by each of the musicians. In a symphonic situation, we all too easily give up responsibility and hand it all over to the conductor. I find that a little frustrating at times. If everyone takes responsibility, the results can be electrifying. When accompanying an orchestral oboe solo, for example, Andrew will try to have direct contact with the oboist, keeping the conductor only in his peripheral view. That s where the truth of the music is coming from. I think conductors enjoy seeing people take that responsibility for themselves, passing around the inspiration. Having made the transition from pure chamber music to leading orchestras, Andrew says it took a little while to appreciate the role of a concertmaster. I know that different orchestras require different things. One thing I m not is a dictator. I just don t see the point. My leadership style is to spread confidence and freedom for people to enjoy playing to their best. An enthusiastic orchestra always sounds better than an uninspired one.

26 Philanthropy Highlight Education Highlight Photo: Ken Butti Inspiring Teachers Trombonist Nick Byrne and actress Lia Reutens doing it Vanguard style Sydney Symphony Vanguard celebrated its first birthday in style, transporting members back to 1920s New Orleans with smoky jazz, foot-stomping brass, and even a New Orleans funeral processional! The event, held in The Tea Room at the QVB, was the first member event for 2013 and there are three more to follow. Vanguard a membership program for Gen X and Y movers and shakers takes our music out of the concert hall and into different spaces around the city. No two events are the same and there s always an element of surprise. Vanguard members enjoy a close relationship with the orchestra and our musicians, while helping support the activity of the SSO through membership fees. For more information contact Amelia Morgan- Hunn on (02) or amelia.morgan-hunn@ sydneysymphony.com If you could describe music in words, you wouldn t need music. So says conductor Benjamin Northey, who will conduct our Stage 3 Schools Concerts in August. Nevertheless, as a teacher, that s your challenge. You need to find a way to engage young people s minds so that they can find their own way to the music. Enter the Sydney Symphony s accredited professional learning workshops for teachers. We help them become familiar with the music their children will hear when they come to the schools concerts later in the year, says Kim Waldock, our Head of Education. We do a number of crazy activities and frolicking around, and learning ways of introducing children to orchestral music. The most daunting thing for non-music specialists is reading music. It can be like reading another language, says workshop presenter Vanessa South. We re giving them strategies: learning the rhythms, learning the rhymes. Harriet Muston of Neutral Bay Public School offers the teacher s perspective: It s nice to be able to be a student for a change and participate in the activities. Interested in finding out more about schools concerts and teacher training? Call Kim Waldock on (02) or watch the video: bit.ly/ssoschoolsconcerts CONDUCT A SYMPHONY AT YOUR PLACE You can enjoy six selected live performances of the Sydney Symphony during its 2013 season in the comfort of your own home, only at BigPond Music online or on T-Box. Visit bigpondmusic.com/sydneysymphony The spectrum device is a trade mark of Telstra Corporation Limited. Registered trade marks of Telstra Corporation Limited ABN Photo: Brendan Read

27 Photo: Keith Saunders Artistic Focus STUDY BREAKS Most enlightened workplaces offer opportunities for professional development, right? So too the Sydney Symphony Orchestra. Recently, two SSO musicians Marina Marsden (Principal Second Violin) and Marnie Sebire (Horn) packed their bags and headed off overseas for a study break. In crafting her schedule, Marina Marsden reflected on the needs of her section and identified some areas where she could benefit from mentoring. There s a certain amount of training we receive, but besides mentoring young people in our Sinfonia [the Sydney Symphony s training orchestra], as leaders we also need to motivate and support the people in our own section. Marina s jam-packed international trip included everything from instrumental lessons with violin guru David Takeno in London to study with flow technique specialist Andreas Burzik in Bremen. Flow is a way of playing where you become totally inside the music. I ll use the method to improve my performing, mentoring and teaching skills. Marina also met with several mediation and orchestral leadership experts. Marnie Sebire s trip was about refocusing and regaining her inspiration for the French horn, and included lessons with Marina Marsden Marnie Sebire living legend Hector McDonald in Vienna and Sarah Willis in Berlin. Sarah was the first female brass musician accepted into the Berlin Phil, says Marnie. We were fortunate to have her join the SSO horn section last year for performances of Bruckner 8 and she blew me away! Also on her schedule were lessons on Wagner tuba. Describing it as an unwieldy instrument, Marnie explains that Wagner designed it with the sound of a horn crossed with trombone in mind. Unfortunately it s a bit of a devil to play. I m hoping to gain some insights from those musicians in Berlin who play the thing relatively regularly. Both Marina and Marnie were supported in their study travel by the Symphony Friends and Michael & Mary Whelan Trust scholarships. Any musician who has been a member of the Sydney Symphony for more than two years is eligible to apply for assistance with airfares, tuition fees and living expenses for a period of study, usually overseas. It s so great to know that the opportunity exists in the orchestra to be supported and encouraged to go and gain inspiration, says Marina. The Score Playing Favourites Ask Vladimir Ashkenazy outright about his favourite composers or musical works and the response is usually tactfully non-commit tal: How could I possibly name one? they are all so great! Genuinely awed by the wonder of musical creation, he comes across like an unswervingly fair parent refusing to play favourites. But, of course, there are composers and pieces that are close to his heart, that make his eyes light up, that prompt him to en thusiastic discussion and wonderful anecdotes. And he has chosen three such works for the second of his programs in May. There s Russian romanticism in Tchaikovsky s Romeo and Juliet the heartfelt storytelling that Ashkenazy does so well. And there s elegant neoclassicism in the form of Richard Strauss s late oboe concerto, with soloist Hansjörg Schellenberger. But the real highlight is Walton s First Symphony. The choice of an English symphony might seem unexpected, until you remember Ashkenazy s Elgar festival in 2008, when Russian and English sensibilities met to powerful effect. I love Walton s First, says Ashkenazy, it s an absolute favourite. The appeal is in its tremendous energy and Walton s distinctive style nostalgic sometimes, but spirited and colourful. And the anecdote? Stay tuned for the story of the trumpet solo Ashkenazy s Favourites Master Series 15, 17, 18 May 8pm