FRENCH IMPRESSIONS. THURSDAY AFTERNOON SYMPHONY Thursday 3 September 2015

FRENCH IMPRESSIONS THURSDAY AFTERNOON SYMPHONY Thursday 3 September 2015 EMIRATES METRO SERIES Friday 4 September 2015

concert diary CLASSICAL French Impressions RAVEL Rapsodie espagnole DEBUSSY Nocturnes BERLIOZ Te Deum Charles Dutoit conductor Joseph Kaiser tenor Sydney Philharmonia Choirs Sydney Children s Choir Tasmanian Symphony Orchestra Chorus Thursday Afternoon Symphony Thu 3 Sep 1.30pm Emirates Metro Series Fri 4 Sep 8pm Pre-concert talk by David Garrett 45 minutes before each performance SSO PRESENTS Roman Trilogy BERLIOZ Roman Carnival Overture SCHUMANN Cello Concerto RESPIGHI Roman Festivals Fountains of Rome Pines of Rome Charles Dutoit conductor Daniel Müller-Schott cello (PICTURED) Banned SSO Fellows Chamber Concert Music by Schulhoff, Pavel Haas, Martinů and Mendelssohn, with the Sextet from Richard Strauss s Capriccio. Roger Benedict Artistic Director Anne-Sophie Mutter playsdvořák DVOŘÁK Romance for violin DVOŘÁK Violin Concerto BEETHOVEN Symphony No.3 (Eroica) Jakub Hrůša conductor Anne-Sophie Mutter violin Sibelius 2 Robertson Conducts SCULTHORPE Sun Music II WALTON Violin Concerto SIBELIUS Symphony No.2 David Robertson conductor Andrew Haveron violin (PICTURED) Cirque de la Symphonie Cirque de la Symphonie returns to Australia with a show of favourites and surprises. Enjoy elite performers from around the world presenting dazzling displays of circus artistry and skill with your Sydney Symphony Orchestra. APT Master Series Wed 9 Sep 8pm Fri 11 Sep 8pm Sat 12 Sep 8pm Pre-concert talk by David Larkin at 7.15pm Sat 19 Sep 6pm Utzon Room, Sydney Opera House Special Event Premier Partner Credit Suisse Wed 23 Sep 8pm Fri 25 Sep 8pm Sat 26 Sep 8pm Pre-concert talk by Genevieve Huppert at 7.15pm Thursday Afternoon Symphony Thu 8 Oct 1.30pm Emirates Metro Series Fri 9 Oct 8pm Great Classics Sat 10 Oct 2pm Pre-concert talk by David Robertson 45 minutes before each performance Presenting Partner Wilson Parking Thu 17 Sep 7pm Fri 18 Sep 7pm Sat 19 Sep 2pm FOR COMPLETE DETAILS OF THE 2015 SEASON VISIT SYDNEYSYMPHONY.COM CALL 8215 4600 Mon Fri 9am 5pm NO FEES WHEN YOU BOOK CLASSICAL CONCERTS ONLINE WITH THE SSO Tickets also available at SYDNEYOPERAHOUSE.COM 9250 7777 Mon Sat 9am 8.30pm Sun 10am 6pm All concerts at Sydney Opera House

WELCOME 2015 marks the 13th anniversary of Emirates partnership with the Sydney Symphony Orchestra. We re proud to continue one of the longest-running partnerships for the SSO and to remain the naming sponsor of the SSO s Emirates Metro concert series. Emirates connects travellers around the globe, bringing people together to discover, enjoy, and share experiences. Our partnership with the SSO is about connecting with you our customers. The Emirates Metro Series showcases a wonderful array of highly regarded compositions, including many key European composers. We hope that tonight s performance prompts you to consider a future trip to Europe, where we fly to over 35 destinations with the recent additions of Oslo, Brussels and Budapest, or internationally to more than 140 destinations in over 80 countries. Like the SSO, Emirates specialises in first-class entertainment, taking out the award for best inflight entertainment for the tenth consecutive year at the international Skytrax Awards in 2014. With up to 2,000 channels to choose from, on 28 flights per week to New Zealand and 84 flights per week to Dubai, including a double daily A380 from Sydney, those flying on Emirates will even be able to watch SSO concerts on board. We are dedicated to the growth of arts and culture in Australia and we re delighted to continue our support of the SSO. We encourage you to enjoy as many performances as possible over the year. Rob Gurney Divisional Vice President Australasia Emirates

2015 concert season THURSDAY AFTERNOON SYMPHONY THURSDAY 3 SEPTEMBER, 1.30PM EMIRATES METRO SERIES FRIDAY 4 SEPTEMBER, 8PM SYDNEY OPERA HOUSE CONCERT HALL FRENCH IMPRESSIONS Charles Dutoit conductor Joseph Kaiser tenor Sydney Philharmonia Choirs Tasmanian Symphony Orchestra Chorus Sydney Children s Choir MAURICE RAVEL (1875 1937) Rapsodie espagnole (Spanish Rhapsody) Prélude à la nuit (Prelude to the Night) Malagueña Habanera Feria CLAUDE DEBUSSY (1862 1918) Nocturnes Nuages (Clouds) Fêtes (Festivals) Sirènes (Sirens) Women of the Sydney Philharmonia Choirs Friday s performance will be broadcast across Australia by ABC Classic FM. 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: 16 minutes, 25 minutes, 20-minute interval, 52 minutes The concert will conclude at approximately 3.30pm (Thu), 10pm (Fri). COVER IMAGE: The Rue Saint-Denis, Celebration of 30 June 1878 by Claude Monet INTERVAL HECTOR BERLIOZ (1803 1869) Te Deum, Op.22 Joseph Kaiser, tenor Sydney Philharmonia Choirs Tasmanian Symphony Orchestra Chorus Sydney Children s Choir

With his title Nocturnes Debussy was not thinking of the nocturnes of Chopin or John Field but rather the various impressions and special effects of light that the word suggests the world of Whistler s Nocturnes. The first movement Nuages (Clouds), for example, renders the immutable aspect of the sky and the slow, solemn motion of the clouds, fading away in grey tones lightly tinged with white. Nocturne: Blue and Silver Chelsea (c.1871) by James Abbott McNeill Whistler 6

INTRODUCTION French Impressions Ravel, Debussy and Berlioz Modern audiences are accustomed to orchestral concert programs that include a concerto usually in the middle, neatly framed by an overture and a symphony. But sometimes we claim the opportunity to showcase the orchestra itself and turn it into the virtuoso of the occasion. That is what we have in this week s concerts: three French masters of orchestral writing and three works that show off an orchestra at its very best. (Although we are not entirely without guests ) Ravel s Rapsodie espagnole, with its lavish orchestral colours and sensuous musical gestures paints a brilliant picture of Spain all the more impressive since its composer hadn t visited Spain for himself. Debussy s Nocturnes find inspiration in visual impressions. The kindred spirit of this music is the series of Nocturnes paintings by Whistler, such as the one opposite. As with Ravel, Debussy s colourful use of the orchestra is exceptional and it represents an approach that was new for the 20th century. In the final movement, a wordless female chorus is added to the palette providing the magical and seductive voices of the sirens of the sea. In addition to conductor Charles Dutoit (always a welcome visitor to Sydney), we are joined this week by Canadian tenor Joseph Kaiser, two of Sydney s finest choirs and, from Hobart, the Tasmanian Symphony Orchestra Chorus. The instruments of the orchestra and the grand organ are augmented by the marvellous sound of the human voice. Everything comes together for the epic conception of Berlioz s Te Deum in the second half. This is music for celebrations and important occasions: joyous, but also magnificent. By the end, we re all likely to be in agreement with the composer, who thought the finale unquestionably the most imposing thing he had ever produced. 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

ABOUT THE MUSIC Maurice Ravel Rapsodie espagnole (Spanish Rhapsody) Prélude à la nuit (Prelude to the Night) Malagueña Habanera Feria Maurice Ravel was born in Basque country, on the French side of the Spanish border. But when he composed Rapsodie espagnole one of the most brilliant orchestral portraits of Spain ever written he had yet to visit the country. Ravel s Spain was a Spain of the imagination. On the other hand, when the great Spanish composer, Manuel de Falla, heard Claude Debussy and Ricardo Viñes play the piano duo version of the Rapsodie (in 1907, shortly before it was to be premiered in a concert of the Société nationale de musique) he was greatly surprised by its Spanish character. He puzzled over what he called the music s subtly genuine Spanishness until he met Ravel s mother, a Basque woman who d sung Spanish folksongs to Ravel when he was in his cradle. Aha! Among those folksongs was the habanera, which had been in vogue when Ravel s mother lived in Madrid, and the third movement of the Rapsodie, the Habanera, was the first to have been composed, in 1895, beginning life as a work for two pianos. The habanera was a popular dance form that had inspired other composers before Ravel; Emmanuel Chabrier composed a very famous example. Ravel s Habanera is more dissonant and shadowy a ghost of a habanera. And if it sounds strangely familiar, that might be because Debussy borrowed Ravel s score and transferred some of its effects to his piano piece Soirée dans Dancers, musicians, fireworks and lights this could be the world of Ravel s Feria. The Joyous Festival (c.1906) by Gaston La Touche. Keynotes RAVEL Born Ciboure, 1875 Died Paris, 1937 Ravel was born to Swiss and Basque parents in a French village just a stone s throw from Spain. Although short in stature, he was the best-dressed of all the French composers of his day, and he delighted in collecting mechanical toys and exotic ornaments for his home. ( This room, he would say to his guests, is all fake Japanese! ) His music shows a corresponding enthusiasm for jewel-like surface detail, delicacy of expression and exotic effect. And above all, he had an enduring fascination for Spain. SPANISH RHAPSODY Ravel completed the Rapsodie espagnole when he was 32. It was his first published work for full orchestra, but already it was clear that he had a wonderful ear for instrumental colour and brilliant effect. Ravel had yet to set foot in Spain, but he managed to capture the Spanish sound in music that conveyed a surprising authenticity of character. A combination of effervescent, sharply defined Spanish rhythms and some of the subtlest orchestration in the repertoire ( nervous and feline as smooth as silk wrote Roland-Manuel) contributes to the charm of this music. The Rapsodie is in four movements: a delicate Prelude to the Night, followed by two movements inspired by flamenco and traditional Spanish dances, and a dazzling Spanish festival (feria) to conclude. 8

Grenade (Evening in Granada) in 1903. No wonder Ravel pointedly added the original date 1895 to the top of his own Habanera when he reused it for the Rapsodie in 1907. He did not, however, repeat the quotation from Baudelaire that had graced the original: Au pays parfumé que le soleil caresse (In the perfumed land that the sun caresses ). The descending four-note motif that begins the haunting Prelude to the Night an effect like the mournful pealing of bells plays an important role in the Rapsodie as a whole. Ravel alludes to it towards the end of the Malagueña and again in the finale. The Prelude uses the full orchestra but with delicate gestures that never overwhelm with sound. The Malagueña and its plucking guitars emerges from the dying notes of the Prelude. In this tiny movement Ravel embeds such jewels as a fleeting solo for the cor anglais, and a deft, upward flourish brings it to a finish. The Habanera marked quite slow and in a weary rhythm [d un rythme las] provides a slow introduction to the finale, the Feria, at which point Ravel shows his wild streak. A feria is a fiesta, a festival, but it also suggests the fairground and this is tumultuous music with a tremendous kinetic energy, even when, halfway through, a flamenco singer shows up and the movement takes on an improvisatory feel. The Rapsodie espagnole is often cited as one of the works that Ravel composed specifically for orchestra (as opposed to orchestrating existing piano music, as he did with his Mother Goose ballet, for example, or the Alborada del gracioso). But the scenario is more complicated than that. Ravel did begin the Rapsodie with a piano duo in mind; early on, however, Viñes suggested that it might work better in orchestra form, given the awkwardness of some of the piano writing. (Roger Nichols suggests this assessment may have come about from Ravel and Viñes attempting to play it on one piano, with a tangle of hand-crossing as a result!) Ravel took the advice and the result was his first published orchestral work, and a brilliant debut in the symphonic medium. Ravel in 1907 his Spanish Year, which saw the creation of Rapsodie espagnole and the opera L Heure espagnole (The Spanish Hour). ADAPTED FROM A NOTE BY YVONNE FRINDLE 2014 Ravel s Rapsodie espagnole calls for two flutes, two piccolos, two oboes, cor anglais, two clarinets, bass clarinet, three bassoons and sarrusophone; four horns, three trumpets, three trombones and tuba; timpani and percussion (bass drum, cymbals, snare drum, triangle, tambourine, tam-tam, xylophone, castanets); two harps, celesta and strings. The SSO gave the first Australian performances of the Malagueña and Habanera in 1945, conducted by Ernest MacMillan. We first performed the complete Rapsodie espagnole in 1948 under Eugene Goossens, and most recently in 2008 conducted by Gianluigi Gelmetti. Katia and Marielle Labèque played the piano duo version in an SSO recital in 2014. 9

Claude Debussy Nocturnes Nuages (Clouds) Fêtes (Festivals) Sirènes (Sirens) Women of the Sydney Philharmonia Choirs Debussy completed the Nocturnes on 15 December 1899 at three in the morning. Nuages and Fêtes were first performed in December the following year. It wasn t until October 1901 that all three Nocturnes (including the movement with wordless female chorus Sirènes) were performed in public. In more than a symbolic sense, however, the Nocturnes can be considered the first major work of the 20th century. In this piece are many of the features which mark a break with the 19th century a subtler sense of form, non-directional harmony, less assertive melody, and the elevation of the importance of orchestral colour. As foreshadowed in Debussy s earlier works, there is an acceptance of sound as something to luxuriate in, rather than a Classical-Romantic notion of sound as something to be mobilised in the pursuit of a statement or climax. The Nocturnes were originally conceived and drafted as a triptych, Scènes au crépuscule (Scenes at twilight), inspired by poems by Henri de Régnier. A phrase from Régnier s poems which speaks of the brilliance of angry tambourines and sharp trumpet calls seems to be reverberating in the Fêtes movement of Nocturnes, written some years later. In 1894 Debussy wrote to the Belgian violinist Ysaÿe: I am working at three nocturnes for violin and orchestra that are intended for you; the first is scored for strings, the second for three flutes, four horns, three trumpets and two harps; the third combines both these groups. This is, in fact, an experiment in the various arrangements that can be made with a single colour what a study in grey would be in painting. The reference to painting is notable. In few other works is the epithet impressionist, borrowed from painting, more appropriate. One writer goes so far as to say that even without the titles a listener could form a pretty good idea of the suggested subjects the march on muted trumpets, accompanied by harp, lower strings and timpani in Fêtes, for example, undoubtedly represents the approach and passing of a procession. Debussy did not intend the title Nocturnes to be understood in the sense of a Chopin nocturne. The title probably has more to do with a series of Whistler paintings of the same name. [See page 6 for an example of one of these.] The composer himself said: The title Nocturnes is to be interpreted here in a general, and more particularly, in a decorative sense. Therefore, it is not meant to designate the usual form of the nocturne, but rather all the Keynotes DEBUSSY Born St Germain-en-Laye, 1862 Died Paris, 1918 In attempting to establish a palpably French musical style in the face of the Austro-Germanic tradition, Debussy brought about the birth of modern music. He first heard the sound of gamelan music at the Paris Exposition of 1889, and this prompted him to adopt non-traditional scales and freefloating effects. In both his orchestral and his piano music he explored new instrumental and harmonic colours, and his style has often been compared with that of the Impressionists in visual art, even though Debussy himself hated the term Impressionism. NOCTURNES A nocturne is music that evokes the night (literally nocturnal ). Its origins can be found in 18th-century serenades but the title is most strongly associated with the piano nocturnes of Chopin in the 19th century. It wasn t long before Whistler had adopted it, together with other musical terms such as symphony, for his paintings. This is the heritage of Debussy s Nocturnes from 1899: three evocative orchestral pieces in which he acknowledges a debt to the world of visual art. The central movement (Festivals) is vibrant and brilliantly coloured. (In this concert it s interesting to compare it with the Feria of Ravel s Rapsodie espagnole.) It s framed by shadowy and floating music in Clouds and the sensuous and pulsing effects of Sirens. In the final movement the orchestra is joined by a wordless female chorus. 11

various impressions and the special effects of light that the word suggests. The intent of these works is illustrative, without the emotional involvement of the late Romantic tone-poets. Nuages renders the immutable aspect of the sky and the slow, solemn motion of the clouds, fading away in grey tones lightly tinged with white the composer s words find musical expression in the slowly changing background of rootless, floating chords which underlie the recurring tone of the cor anglais. Classical-Romantic distinctions between theme and texture are irrelevant in the smooth accompaniment; the cor anglais call never evolves into a melody. There is a whole new range of string colours here delicate combinations of bowed and pizzicato effects, harmonics, non-standard divisions of the string forces. A complete change of colour and a new pentatonic theme on flute and harp mark an obvious new section in the music, and the movement closes with merely a resumé of the opening material. There is no progression to a clearly marked cadence at the end, but rather a gradual disintegration of elements, as the cor anglais motif breaks down into smaller and smaller particles. In complete contrast with Nuages and its study in grey, Fêtes gives us an almost kaleidoscopic display of momentarily bright colours. Once more the composer supplies a description: Fêtes gives us the vibrating, dancing rhythm of the atmosphere with sudden flashes of light. There is also the episode of the procession (a dazzling, fantastic vision) which passes through the festive scene and becomes merged in it. But the background remains persistently the same: the festival with its blending of music and luminous dust participating in the cosmic rhythm. A brisk theme on clarinets and cor anglais against a rhythmic accompaniment is later taken up by other instruments. After a harp glissando, the activity dies down and the march approaches as if from afar. This builds up and takes us back into the racy opening material. At the end there is a gradual atomising of material and dulling of colour. A ghost of the march can be heard on the tambour against descending lower strings. Muted trumpets and muted horns play single chords, mere specks of colour, then there is a dry tap of the timpani, a touch of the cymbal and the piece disappears into silence with a low pizzicato note. Sirènes evolves almost as a continuum; it swells and ebbs, rather than marking out a path; the melody grows and decays by the addition or alteration of small details. It is understandable how turn-of-the-century listeners, accustomed to more definition in form, could have regarded this music as impressionistic. It is possible that the use of wordless female voices in this last Nocturne was suggested to Debussy not only by Régnier s L Homme et la sirène, but also by Swinburne s poem Nocturne, in which love The intent of these works is illustrative, without the emotional involvement of the late Romantic tone-poets. 12

Portrait sketch of Debussy (1913) by Ivan Thiele is symbolised by a mermaid rising from the sea. Debussy wrote that this last movement depicts the sea and its countless rhythms and presently, amongst the waves silvered by moonlight the mysterious song of the sirens as they laugh and pass on. Within the value system of the Classical-Romantic period, Debussy s music was at first seen by some as negative, even morbid. Fluent rather than dramatic, plastic rather than constructed, it is the very antithesis of the positive striving of, say, a Beethoven or a Bruckner. Yet Debussy s innovations laid the foundations for a new ethos in Western music and for new techniques of musical language, opening up for the 20th century many new vistas for exploration. GORDON KALTON WILLIAMS SYMPHONY AUSTRALIA 1998 Nocturnes calls for three flutes (one doubling piccolo), two oboes, cor anglais, two clarinets and three bassoons; four horns, three trumpets, three trombones and tuba; timpani and two percussionists; two harps; strings and female chorus. The SSO performed the first two movements of Debussy s Nocturnes in 1941, conducted by Edgar Leslie Bainton. The following year, Bernard Heinze conducted the complete work in a concert with the women of the Hurlstone Choral Society (now Sydney Philharmonia Choirs) and the ABC Wireless Chorus. Our most recent performance of Nocturnes was in 1999, conducted by Hiroyuki Iwaki, and in the 2008 Symphony in the Domain concert we performed Fêtes, conducted by Jonathan Stockhammer. 13

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Hector Berlioz Te Deum, Op.22 Te Deum (Hymn) Tibi omnes (Hymn) Dignare Domine (Prayer) Christe, rex gloriae (Hymn) Te ergo quaesumus (Prayer) Judex crederis (Hymn and Prayer) Joseph Kaiser tenor Sydney Philharmonia Choirs Tasmanian Symphony Orchestra Chorus Sydney Children s Choir Te Deum The Te Deum laudamus, beginning we praise Thee, O Lord, is an ancient Catholic liturgical text, a Latin hymn of praise and thanksgiving, to the Father and the Son, in rhythmical prose. Tradition (rejected by modern scholarship) ascribes its authorship to St Ambrose, Bishop of Milan, for the baptism of St Augustine in 386. As well as forming part of the liturgy for Matins, the Te Deum is often sung on celebratory and ceremonial occasions. One of the most notorious performances was in 1687, when Lully, conducting his Te Deum in the presence of Louis XIV, struck his foot with the staff he used to beat time gangrene set in, and Lully died. Berlioz s Te Deum and the Two Napoleons We do not know exactly why the agnostic Berlioz decided, in 1849, to compose a setting of the Te Deum. He had no commission, nor a definite hope of a performance. Berlioz was well aware of the place of the Te Deum in French ceremonial occasions. His teacher Le Sueur had contributed to the large-scale music for public manifestations of the French Revolution s religion of humanity, and Berlioz himself was repeatedly drawn to monumental music, as in his Grande messe des morts (Requiem) of 1837. The Requiem was a government commission commemorating both an assassinated French general and the memory of the victims of the 1830 Revolution, also celebrated by Berlioz in his 1840 Symphonie funèbre et triomphale. Berlioz s Te Deum has Napoleonic associations. The composer welcomed the accession to power of Louis-Napoleon, in the aftermath of the 1848 Revolution. But a series of Imperial ceremonies he hoped might become a pretext for the Te Deum brought disappointments: Louis Napoleon s marriage, his inauguration as President, and finally his coronation as Emperor. In any case, it was not the sometimes farcical nephew Berlioz associated with his music, but the great Napoleon Bonaparte. Keynotes BERLIOZ Born La Côte-Saint-André, 1803 Died Paris, 1869 Berlioz set off for Paris when he was 18, ostensibly to study medicine (his father s preference) but in reality following a musical path that would result in him becoming the arch-romantic composer of his age. Despite the fact that his main instrument was the guitar (he also played piano and flute, but badly), he became a master in the innovative use of the orchestra (he literally wrote the book) as well as a conductor. He s best known for his autobiographical Symphonie fantastique, but Berlioz s dramatic instincts also emerged in concert music such as Roméo et Juliette, operas, and music on an epic scale for civic occasions. TE DEUM The Te Deum is a hymn of praise, often sung for celebratory and ceremonial occasions. Musically it presents an opportunity for grand and joyous gestures and, in Berlioz s case, a pretext for the amassing of hundreds of instrumentalists and singers to impressive effect! Berlioz organises his Te Deum in a distinctive pattern of alternating hymns and prayers and he has reordered the Latin text to accommodate the design. The tenor sings before the finale in the prayer Te ergo quaesumus. The organ plays a significant role from the outset, and its preludes and interludes provide important contrasts of texture and colour. Turn to page 20 to follow the text and translation. 15

The composition of the Te Deum followed the accession to power in 1848 of Louis-Napoleon (far left, in an official portrait from 1855, after he was named Napoleon III). But in many ways Berlioz associated his music not with the nephew but with Napoleon Bonaparte (portrait by Jacques-Louis David, 1812). Some of the ideas to which Berlioz returned for his Te Deum setting came from early projects of Musical funerary rites in memory of France s men of renown, and a Napoleonic march. Berlioz had been upset by the convulsions following the July Revolution of 1848 they had revived in his mind ideas of military glory. Berlioz s English biographer David Cairns thinks Berlioz s setting of the Te Deum, in 1849, was associated with these ideas, together with his passion for musical solemnities on a massive scale, and the need to reassert ancient values in a time of unrest and philistinism. The First Performance The Te Deum waited six years for a performance. In 1846 Berlioz had conducted his Requiem in the Church of St Eustache in Paris, and it was there that the Te Deum was eventually premiered, on 30 April 1855, as a kind of unofficial launching of the Paris International Exhibition. There was an orchestra of 150, a double chorus of 200, and 600 children for the third choir. [Our performances feature more than 230 adult choristers and nearly 100 children.] The layout was part of Berlioz s conception: the orchestra and the organ were at opposite ends of the church, and the composer insisted that the two choirs, at the same end as the orchestra, should be isolated from the third choir, of children, with two or three choir masters to lead it and to communicate to it the conductor s beat. (The children s choir was added years after the original composition, apparently after Berlioz had heard a charity children s concert in St Paul s, London in 1851. It is optional, but adds greatly to the effect, as you will hear.) Berlioz has produced a truly monumental work, with an unsurpassed quality of ritual grandeur. Interior of St Eustache Church, Paris, where the first performance took place. 16

The Organ and Spatial Effects The treatment of the organ derives from Berlioz s conviction that it is ineffective unless used in dialogue with the orchestra, not simultaneously. Pope and Emperor, wrote Berlioz, speaking in dialogue from opposite ends of the nave. This is what happens at the very beginning. Thereafter, the organ s preludes and interludes provide a necessary contrast with the massiveness of the writing for the other forces. To keep the conductor in immediate communication with the organist, Berlioz suggested the use of an electric metronome, or failing that, someone in the organ loft to beat time, imitating the movements of the conductor. In the event, a friend of Berlioz from Brussels, Adolphe Samuel, was placed in the organ loft to do this, and the ensemble between the widely spaced groups was excellent. The spatial idea written into the conception of the music inevitably requires some compromise in most concert halls, where the organ is at the same end as the choirs and orchestra. Any performance should try to convey the sense of a ceremonial event this is music, one French critic has written, which you have to be there to experience fully not to be read or heard from a recording. The organ of St Eustache Church its placement meant that it was at the opposite end of the church from the performers Berlioz s Te Deum and his Requiem Even without the prescribed spatial effects, the impact of the boldly juxtaposed textures, volumes and densities is impressive, and Berlioz has produced a truly monumental work. Cairns describes it as the concept of music as the soul of a great church, filling and animating the body, an idea which, Berlioz says, first came to him as he stood for the first time in the nave of St Peter s in Rome. The composer described the Tibi omnes and the Judex crederis movements as Babylonian, Ninivitish pieces, and the Judex, in particular, as surpassing all the enormities I have been guilty of up to now it s a scene from Revelation. Berlioz wrote to Liszt after the Te Deum s premiere: The Requiem has a brother. Both works make much of the contrast between the majesty of God and the littleness of man, and embody the use of space as an element of the conception (the chapel of the Invalides was the setting for the Requiem). But as Cairns points out, whereas in the Requiem the classical objectivity which was always an element of Berlioz s art, in the midst of his Romanticism, was imposed on an emotional response to the liturgy, in the Te Deum it is the whole essence of the composition, giving the work an unsurpassed quality of ritual grandeur. Berlioz wrote with great certainty, he told Liszt: no mistakes, no indecision. 17

Order of the Text In Berlioz s Te Deum the liturgical text is drastically reordered, so that contrasting movements can alternate, headed by Berlioz hymn and prayer respectively. The entreating Dignare separates the brilliant Christe, rex gloriae from the splendid Tibi omnes, and Te ergo quaesumus, with its tenor solo, places a quiet prayer after the Christe and before the Judex crederis. This last is held back so that the work can conclude with a picture of the judgment, in all its awe and terror. Berlioz thought it without doubt the most imposing thing I have ever produced. Guide to Listening After the grand opening, the organ declaims a descending theme, which dominates the first movement, and contains, in its fifth bar, a phrase giving a motto for the whole work. The suggestion of bell sonorities here may have been what Berlioz retained from a Te Deum setting he was shown in Dresden, by the 18th-century composer Hasse. A review of the first performance, possibly using material supplied by Berlioz himself, stated that the composer, using ideas from a projected work on the first Napoleon s return from the Italian campaign, imagined General Bonaparte making his entry beneath the cathedral vaults the sacred canticle would resound on all sides, Berlioz conducting a chorus. Caricature by Gustave Dore, 1850. 18

the banners wave, the side-drums roll, the cannons boom and the bells ring out in great peals. In the modal phrases of Tibi omnes, featuring the sound of women s voices, Berlioz may have been remembering the sound of young girls singing the Eucharistic hymn at his first communion: a heaven of love and pure delight, a thousand times more beautiful than the one I had been so often told about. Berlioz s orchestral imagination is no less striking, throughout the Te Deum, than in any of his other works an example is the accompaniment of the pleading women s voices in Te ergo quaesumus, for cornets and trombones. Then, in the crowning Judex crederis, it is the majestic baleful tones of the tenor trombone as Berlioz described them in his Treaty of Instrumentation, that come to the fore. Here the rhythm to which the initial words are set dominates the movement. The main theme, treated imitatively, is successively re-harmonised and built to massive climaxes. Salvum fac populum provides a contrast in a more peaceful mood. Finally, after one more pounding return of Judex crederis, Berlioz returns to the traditional order of the liturgical text, ending with the words which are inspired by the terror of judgment: let me never be confounded. Berlioz saves the effect of the military percussion the side drums, bass drum and cymbals, for the climaxes of the final movement, where they contribute to the idea of the judgement as a battle. He also wrote for them in two other movements for orchestra alone: a Prelude following the Tibi omnes, and a March to conclude the whole work for the presentation of the colours, which also asks for saxhorns and 12 harps! Berlioz indicated that the Prelude was to be omitted If the Te Deum is performed neither for a Thanksgiving after a victory, not for any other Service of a military character. The same presumably applies to the March, and these movements are not performed in a concert like this one. Portrait of Hector Berlioz in 1850 by Gustave Courbet DAVID GARRETT 2006/2010 In addition to the double chorus, children s choir and tenor soloists, Berlioz s Te Deum calls for a large orchestra of four flutes (one doubling piccolo), four oboes (one doubling cor anglais), four clarinets (one doubling bass clarinet) and four bassoons; four horns, two trumpets, two cornets, as many as six trombones, and two tubas; timpani and a large percussion section; two harps, organ and strings. The SSO gave the first Australian performance of Berlioz s Te Deum in a 1967 Town Hall Proms concert conducted by John Hopkins, with the Hurlstone Choir and Combined Sydney Choirs, and tenor soloist Raymond McDonald. Most recently an excerpt was performed in the 2000 Sydney Olympics Opening Ceremony, conducted by Edo de Waart. 19

Te Deum laudamus (Hymn) Te Deum laudamus; te Dominum confitemur. Te aeternum Patrem, omnis terra veneratur. Tibi omnes (Hymn) Tibi omnes angeli, tibi caeli et potestates, Tibi cherubim et seraphim incessabili voce proclamant: Sanctus, Sanctus, Sanctus: Deus Sabaoth. Pleni sunt coeli et terra majestatis gloriae tuae. Te gloriosus chorus apostolorum, Te prophetarum laudabilis numerus. Te martyrum candidatus laudat exercitus. Te per orbem terrarum sancta confitetur Ecclesia, Patrem immensae majestatis; Venerandum tuum verum et unicum Filium, Sanctum quoque Paraclitum Spiritum. Dignare (Prayer) Dignare, Domine, die isto sine peccato nos custodire. Aeterna fac cum sanctis tuis in gloria numerari. Miserere nostri, Domine, miserere nostri! Christe Rex gloriae (Hymn) Tu, Christe, Rex gloriae, Patris sempiternus Filius. Tu, devicto mortis aculeo, aperuisti credentibus regna caelorum. We praise Thee, O God: we acknowledge Thee to be the Lord. All the earth doth worship Thee: the Father everlasting. To Thee all Angels cry aloud, the heavens and the powers, To Thee cherubim and seraphim continually do cry: Holy, Holy, Holy, Lord God of Sabaoth. Heaven and earth are full of the majesty of Thy glory. The glorious company of the apostles praise Thee, The goodly fellowship of the prophets praise Thee, The noble army of martyrs praise Thee. The holy Church throughout all the world doth acknowledge Thee, The Father of an infinite Majesty, Thine honourable, true and only Son, Also the Holy Ghost, the Comforter. Vouchsafe, O Lord, to keep us this day without sin. Make us to be numbered with Thy saints in glory everlasting. O Lord, have mercy upon us, have mercy upon us. Thou art the King of glory, O Christ, Thou the everlasting Son of the Father. When Thou hadst overcome the sharpness of death Thou didst open the kingdom of Heaven to all believers Enjoy the concert? Listen to some of your favourite concerts whenever and wherever you want with SSO Radio. Our on-demand audio player brings you selected SSO performances recorded by ABC Classic FM live at the Sydney Opera House. Head to our website for more information: sydneysymphony.com/watch-listen/audio-video/sso-radio 20

Tu ad liberandum suscepturus hominem, non horruisti Virginis uterum. Tu ad dexteram Dei sedes, in gloria Patris. Te ergo quaesumus (Prayer) Te ergo quaesumus, famulis tuis subveni, quos pretioso sanguine redemisti. Fiat super nos misericordia tua, Domine, quemadmodum speravimus in te. Judex crederis (Hymn and Prayer) Judex crederis esse venturus. In te, Domine, speravi: non confundar in aeternum. Salvum fac populum tuum, et benedic hereditati tuae, Domine, Per singulos dies benedicimus, laudamus te et laudamus nomen tuum. When Thou tookest upon Thee to deliver man, Thou didst not abhor the Virgin s womb. Thou sittest on the right hand of God, in the glory of the Father. We therefore pray Thee, help Thy servants, whom Thou hast redeemed by Thy precious blood. O Lord, let Thy mercy lighten upon us, as our trust is in Thee. We believe that Thou shalt come to be our judge. In Thee, O Lord, have I trusted: let me never be confounded. O Lord, save Thy people and bless Thine heritage. Day by day we magnify thee, and we worship Thy name forever. Clocktower Square, Argyle Street, The Rocks NSW 2000 GPO Box 4972, Sydney NSW 2001 Telephone (02) 8215 4644 Box Office (02) 8215 4600 Facsimile (02) 8215 4646 www.sydneysymphony.com 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: Email program.editor@sydneysymphony.com SYDNEY OPERA HOUSE TRUST 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 Executive Management Chief Executive Officer...Louise Herron am Director, Programming....Jonathan Bielski Director, Theatre & Events [Acting]...Heather Clarke Chief Financial Officer...Natasha Collier General Counsel...Michelle Dixon Director, Building...Greg McTaggart Director, Marketing [Acting]...Stephen O Connor Director, External Relations...Brook Turner SYDNEY OPERA HOUSE Administration (02) 9250 7111 Bennelong Point Box Office (02) 9250 7777 GPO Box 4274 Facsimile (02) 9250 7666 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) 8622 9400 Facsimile (02) 8622 9422 www.symphonyinternational.net This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064 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: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: admin@playbill.com.au Website: www.playbill.com.au 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 17644 1/020915 30 S75/76 21

THE ARTISTS PRISKA KETTERER Charles Dutoit conductor Charles Dutoit is one of today s most soughtafter conductors, having performed with all the major orchestras of the five continents. He has been a regular visitor to Sydney since 1977, and his most recent appearance with the SSO was in 2013. He is Artistic Director and Principal Conductor of the Royal Philharmonic Orchestra, and recently celebrated his 30-year artistic collaboration with the Philadelphia Orchestra, receiving the title of Conductor Laureate. Each season he conducts the orchestras of Chicago, Boston, San Francisco, New York and Los Angeles, and he is also a regular guest on the stages in London, Berlin, Paris, Munich, Moscow, Beijing, Hong Kong and Shanghai, among others. His discography of more than 200 recordings has garnered him many awards, including two Grammys. For 25 years, he was Artistic Director of the Montreal Symphony Orchestra. Other titled posts have included Music Director of the Orchestre National de France (1991 2001) and Principal Conductor then Music Director (1996 2003) of the NHK Symphony Orchestra in Tokyo, where he is now Music Director Emeritus. Supporting the development of a younger generation of musicians, Charles Dutoit has been Music Director of the Sapporo Pacific Music Festival and Miyazaki International Music Festival in Japan as well as the Canton International Summer Music Academy in Guangzhou. In 2009 he became Music Director of the Verbier Festival Orchestra. When still in his early 20s, he was invited by Herbert von Karajan to conduct the Vienna State Opera. He has since conducted at Covent Garden, the Metropolitan Opera, Deutsche Oper in Berlin, Rome Opera and Teatro Colón in Buenos Aires. His honours and accolades include Grand Officier de l Order national du Québec, Commandeur de l Order des Arts et des Lettres (France), Honorary Officer of the Order of Canada, Honorary Citizen of the City of Philadelphia, and honorary doctorates from the universities of McGill, Montreal and Laval and the Curtis School of Music. In 2007 he received the Gold Medal of the city of Lausanne, his birthplace, and in 2014 he was given the Lifetime Achievement Award in the International Classical Music Awards. Charles Dutoit s musical training included violin, viola, piano, percussion, history of music and composition at the conservatoires and music academies of Geneva, Siena, Venice and Boston. A globetrotter motivated by his passion for history and archaeology, political science, art and architecture, he has travelled in all 196 nations of the world. 22

DARIO ACOSTA Joseph Kaiser tenor Canadian tenor Joseph Kaiser was born in Montreal, later returning there to study music at McGill University. In 2005 he made the transition from baritone to tenor and in 2007 made his Metropolitan Opera debut singing Romeo in Gounod s Roméo et Juliette, returning the following month to sing Tamino in Mozart s Magic Flute. He also starred as Tamino in the Kenneth Branagh film adaptation of The Magic Flute, released in 2007. Enjoying success in opera and concert performances throughout North America and Europe, he is recognised by audiences for his beauty of tone, intelligent programming and innate sense of style and elegance. His 2014 15 season included a debut at Opernhaus Zürich as Michel in Martinů s Juliette. He returned to the Bavarian State Opera as Matteo in Strauss s Arabella and Opéra de Montréal as Nikolaus Sprink in Silent Night. On the concert stage he performed Mendelssohn s Die erste Walpurgisnacht (Orchestra of St Luke s) at Carnegie Hall and Mozart s Requiem (Dallas Symphony Orchestra), and he appeared in recital with soprano Julia Bullock and pianist Steven Blier. Operatic highlights of past seasons have included A Midsummer Night s Dream, Flamand in Capriccio, Narraboth in Salome and Grimoaldo in Rodelinda (all for Metropolitan Opera); The Passenger (Houston Grand Opera), Narraboth (Bavarian State Opera and Royal Opera House), Tamino (Washington National Opera, Los Angeles Opera and Royal Opera House), Pylades in Iphigénie en Tauride (Canadian Opera Company) and the North American premiere of Saariaho s Adriana Mater (Santa Fe Opera). For Opéra National de Paris he has sung Lensky (Eugene Onegin), Flamand and Matteo; he has also sung Admète in Gluck s Alceste (Vienna State Opera and Festival d Aix-en-Provence), Steva Burja in Jenůfa (Bavarian State Opera and Deutsche Oper Berlin) and Don Ottavio in Don Giovanni (Munich Festival), as well as appearing in new productions of Handel s Theodora and Eugene Onegin (Salzburg Festival). In concert he has sung Mozart s Requiem and Davide Penitente, Berlioz s Te Deum (with Charles Dutoit and the NHK Symphony Orchestra), Schubert s Fierrabras, Britten s War Requiem and Cantata Misericordium, and Beethoven s Fidelio singing the role of Florestan for the first time on a European tour. Other concert highlights include performances of Beethoven s Ninth under conductors such as Bernard Haitink, Simon Rattle and David Robertson; Britten s Serenade for tenor, horn and strings; Bruckner s Te Deum; Berlioz Requiem; Stravinsky s Pulcinella and Mendelssohn s Elijah. 23

THE CHOIRS Sydney Philharmonia Choirs KEITH SAUNDERS KEITH SAUNDERS Sydney Philharmonia Choirs exists to share the joy of choral music with choristers and audiences alike. Founded in 1920, it has become Australia s finest choral organisation and now regularly performs at the Sydney Opera House and other leading concert halls around the country. Brett Weymark has been the Music Director since 2003. The choristers, numbering 1500 people, volunteer their time and talents to rehearsing and singing in extraordinary performances, not only in the organisation s own concerts but in collaborations with major international artists and other organisations, including the Melbourne Symphony Orchestra and the Australian Ballet. In 2002, Sydney Philharmonia was the first Australian choir to sing at the BBC Proms (Mahler s Eighth Symphony under Simon Rattle), returning again in 2010. The choirs appear regularly in the SSO s subscription series, most recently in Tristan und Isolde, conducted by David Robertson. This season they have also performed with the SSO in Holst s Planets and Danny Elfman s music from the films of Tim Burton, and in October will perform Beethoven s Missa Solemnis under David Robertson. SPC also presents its own series of programs each year. In 2015 these include JS Bach s St John Passion, The Armed Man: A Mass for Peace by Karl Jenkins, Fauré s Requiem and Handel s Messiah. Later in September, Sydney Philharmonia Choirs will present a complete performance of Gershwin s musical Of Thee I Sing with a choir of 400 and the original 1931 orchestrations. BRETT WEYMARK Music Director Brett Weymark studied singing at the University of Sydney and conducting at the Sydney Conservatorium alongside studies in Europe and America. He has held positions with the Song Company, Opera Australia, Pacific Opera, Sounds Baroque, Cantillation and the University of Western Sydney, as well as working many of the major musical organisations in Australia, and in 2002 he was awarded a Centenary Award for his services to music. In 2003 he was appointed Music Director of Sydney Philharmonia Choirs. He has conducted the SPC in premieres of works by composers such as Elena Kats-Chernin, Andrew Schultz and Peter Sculthorpe and has also prepared the choirs for conductors such as Simon Rattle, Charles Mackerras, Vladimir Ashkenazy, Paul McCreesh and Edo de Waart as well as Charles Dutoit. In 2005 he initiated the ChorusOz project, which now attracts a thousand singers each year. Recent highlights have included conducting the premiere of Jandamarra by Paul Stanhope and Steve Hawke (SSO), Haydn s Creation (Hong King Philharmonic Orchestra), Bach s St John Passion (SPC) and Handel s Hercules (Canberra Choral Society). 24

Brett Weymark Music Director David Francis General Manager Elizabeth Scott Music Director, VOX Chris Cartner Assistant Chorus Master Rehearsal Pianists Luke Byrne, Michael Curtain, Antonio Fernandez, Estella Roche SOPRANOS Shelley Andrews Debra Baker Georgina Bitcon Anne Blake Olga Bodrova Nikki Bogard Simone Brereton-Toldi Deborah Brown Natalie Brown Anita Burkart Charlotte Campbell Meta Cohen Liliane Cooley Pam Cunningham Shamistha De Soysa Josephine Deng Soline Epain-Marzac Rachel Evans Lyudmyla Goncharova Natalie Gooneratne Judith Gorry Belinda Griffiths Kellie Hewitt-Taylor Rebecca Howard Carine Jenkins Clare Kenny Yi-Hsia Koh Karolina Kulczynska Grace Leonard Yvette Leonard Alexandra Little Maria Lopes Gillian Markham Bernadette Mitchell Georgia Moore Sarah Moore Esther Norie Anna O Bryan Jayne Oishi Liz Propsting Julia Schedlberger Kimberley Stuart Katrina Todd Narelle Vance Sara Watts Bryony Weiss Jacqui Wilkins Siri Williams ALTOS Leonie Armitage Gillian Behrens Jodie Boehme Gae Bristow Heather Burnett Ananya Chakravorty Kate Clowes Ruth Collerson Isabel Colman Anne Cooke Rebecca Dawkins Catriona Debelle Vanessa Downing Alison Dutton Jan Fawke Natalie Fisher Penny Gay Sue Harris Jenny Harry Kathryn Harwood Vesna Hatezic Clara Hawkshaw Cara Hitchins Margaret Hofman Sarah Howell Edwina Howes Melinda Jefferson Johanna Knoechel Adele Kozak Eleanor Kozak Emi Kubota Rachel Maiden Maythinee Maneepark Hannah Mason Janice McKeand Maggie McKelvey Madi Moore Kathleen Morris Penelope Morris Marj O Callaghan Dympna Paterson Madeline Picard Georgia Rivers Jan Shaw Meg Shaw Suzanne Sherrington Megan Solomon Natasja Stul Erica Svampa Katherine Thompson Lia Weitzel Priscilla Yuen TENORS Amanda Baird Katie Blake Patrick Blake Jan Borrie Paul Boswell Andrea Clifford Vitor Cortes-Borges Malcolm Day Giles Donovan Julie Dowsley Joshua Ebert Phoebe Ferguson Blade Fuller Jenny Gillman Adela Greenbaum Damien Hall* Steven Hankey Kaine Hayward* Jude Holdsworth Michael Kertesz Andrei Laptev* Greg Lawler Selwyn Lemos Vincent Lo Thomas MacDonald Frank Maio Donna McIntosh George Panaretos Camillo Sanchez Joel Scott* Martin Stebbings Paul Sutton* Joseph Toltz* Robyn Tupman Alex Walter BASSES Jock Baird Brian Banston Dominic Blake Simon Boileau William Bond Andrew Broten Peter Callaghan Edwin Carter Benjamin Caukwell* Andy Clare Julian Coghlan Daryl Colquhoun Philip Crenigan Robert Cunningham Ian Davies John Donohoe* Nick Gilbert* Ashley Giles* Robert Green Eric Hansen Derek Hodgkins David Jacobs Timothy Jenkins Ian Jurd Simon Masterton* Mark McGoldrick Robert Mitchell Sean Moloney Ian Pettener Peter Poole Michael Ryan Robert Sherrington Theo Small Nicholas Tong Dallas Watts* Arthur Winckler Ben Yi Stephen Young Ken Zhang * SP Voices Performing in Debussy and Berlioz Performing in Debussy only In 2020 Sydney Philharmonia Choirs celebrates its centenary. To find out about SPC concerts or joining one of the choirs, visit www.sydneyphilharmonia.com.au or facebook.com/sydneyphilharmonia 25

Sydney Children s Choir LYN WILLIAMS Gondwana Choirs comprises the most accomplished choral groups of young people in Australia. Founded by Artistic Director Lyn Williams oam as Sydney Children s Choir in 1989, the organisation has grown to include Gondwana National Choirs and Gondwana Indigenous Children s Choirs. Gondwana Choirs has commissioned over 150 works by leading Australian composers and performs a significant number of Australian compositions each year nationally and internationally. Last year singers from all three arms of the organisation performed with the SSO in the premiere of Jandamarra Sing for the Country by Paul Stanhope and Steve Hawke. Sydney Children s Choir is the choral hub of vocal excellence for children in years 1 through 12. It comprises 22 training and performance ensembles with the Senior Choir and newly formed Williams Choir as its leading ensembles. They regularly tour internationally and perform with the SSO and distinguished conductors such as Zubin Mehta, Charles Dutoit, Vladimir Ashkenazy and David Robertson. Gondwana Choirs received the APRA/AMCOS Award for Excellence by an Organisation for its 2014 Artistic Program and significant contribution to Australian music since 1989 LYN WILLIAMS oam Artistic Director & Founder Lyn Williams is Australia s leading director of choirs for young people. For more than 26 years, she has been the driving force behind three internationally acclaimed choral programs, working with hundreds of young Australian musicians each year. She has conducted Sydney Children s Choir, Gondwana Voices, Gondwana Chorale and Gondwana Indigenous Children s Choir in Australia and oversease. Lyn Williams is a recipient of the 2006 NSW State Award (Classical Music Awards), a Churchill Fellow and a composer. In 2004 she was awarded the Medal of the Order of Australia in recognition of her services to the arts. 26

Lyn Williams oam Artistic Director & Founder Bernie Heard General Manager Sally Whitwell Pianist Sam Allchurch Assistant Chorusmaster Emma Barnett Choir Manager Stephanie Dillon Assistant Choir Manager SYDNEY CHILDREN S CHOIR Cleo Arya Guian Balan Lucy Blomfield Holly Boswell Joel Brookes Amelia Brown Christina Burjan Mia Burjan Emelia Cawthron Aaron Chandra Honey Christensen Gracia Clifford Beatrice Colombis Rosemary Cook Emma Corcoran Stella Davy Alice Dawson-Damer Corey de Wit Jasmine Delaney Gabriel Dillon Cassandra Doyle Noa Doyle Oscar Drew Iris Farrer Lily Fowler Gemma Golding Liam Green Talia Greenfield Maddalena Grigoletti-Labi Dominic Grimshaw Benjamin Hamilton Sel Hardaker Lafaele Hardman Ezra Hersch Rebecca Hilliard Emma Guitera Abel Hofflin Kittu Hoyne Tovia Jakovsky-Coleman Benjamin Johnston Eleanor Jones Ellery Joyce Jonathon Kelley Emma Korrell Julia Krivoshev Eleanor Labi Iona Laird-Smith Chloe Langbein Isaac Lee Jiayi Liu Eloise Lowey Amity Lorenz Jackson Low Stephanie Macindoe Belle MacLeod Aedan MacNamara Cecilia Maddox Tanvi Maroo Anna Marsh Ruth McKay Caitlin McNamara Gabrielle Montalbo Eloise Morrison Stella Mountain Jade Ng Elise Nolte Christopher Paoloni Rafael Partos Samuel Pavely Theo Picard Isabella Piggott Florence Poon Alexandra Raleigh Josh Reimer Emma Renaud Ariana Ricci Lily Rodgers Elodie Roumanoff Etienne Roumanoff Julia Spiteri Elke Stampfl Claire Stephens Elsa Susnjara Asher Tarbox Eva Tarbox Leo Tarbox Jedda Thorley Piet Tombs Jessica Trevelyan Olivia Wei Sophie Whatling Lotti Wonhas Ysobel Yew To find out more about Gondwana Choirs performances and programs visit gondwana.org.au 2016 SEASON NOW ON SALE Pick the perfect SSO concert package. Have fun trying our new concert package selector to find packages you ll love. SydneySymphony.com/Package-Selector 27

Tasmanian Symphony Orchestra Chorus The TSO Chorus was founded in 1992 to present concert performances of opera. In addition to performing with the TSO and touring regional Tasmania, the Chorus also appears regularly in festivals such as the Tasmanian International Arts Festival, Festival of Voices, MONA FOMA, Dark MOFO and Synæsthesia. The TSO Chorus is frequently invited to augment interstate symphonic choirs such as Sydney Philharmonia Choirs, Adelaide Festival Chorus and West Australian Symphony Orchestra Chorus, and in 2012 augmented the WASO Chorus in Brahms s Ein Deutsches Requiem with the Hong Kong Philharmonic Orchestra. Earlier this year, the Chorus gave the premiere of Richard Mills Remembrance with Victorian Opera. The TSO Chorus s most recent appearance with the SSO was in 2013, performing Verdi s Requiem with David Robertson. JUNE TYZACK Chorus Master June Tyzack studied piano and harpsichord at the Tasmanian Conservatorium of Music and Trinity College of Music, London, and later as a repetiteur at the Opera Studio of the Sydney Conservatorium, where she was subsequently appointed Chief Vocal Coach of the Opera Studio. In 2001 she was invited to be chorus master for a TSO Opera Gala and has continued in that role ever since. Under her direction the TSO Chorus has transformed from a seasonal chorus to a chorus working throughout the year, and has gained a national profile through collaborations with interstate choirs. She has also captivated audiences with extreme performances in unusual Hobart venues, including the technical gallery of the Federation Concert Hall, the Spiegeltent and MONA. June Tyzack Chorus Master Andrew Bainbridge Assistant Chorus Master Alexis Hargrave Artistic and Chorus Coordinator SOPRANOS Rosina Beaumont Karen Cockrill Carmelita Coen Christine Coombe Felicity Gifford Debra Jensen Felicity Kohut Bernadette Large Loretta Lohberger Stephanie McDonald Christine Ovens Julianne Panckridge Meg Scanlan Sharon Sherman Yasmin Shoobridge ALTOS Claire Blichfeldt Beth Coombe Sally Crosby Elizabeth Eden Ann Godber Helena Griggs Leigh Jabs Kirsten Jones Marie Keane Mary McArthur Caroline Miller Sally Mollison Louise Rigozzi Henni Veit Gillian von Bertouch Beth Warren Susan Williams TENORS Peter Ball Sally Brown To learn more about the TSO Chorus visit www.tsochorus.com.au Michael Kregor Bill MacDonald Tony Marshall David Pitt James Powell-Davies Andrew Tulloch BASSES John Ballard Allan Bull Peter Cretan Greg Foot Michael Fortescue Peter Hepburn Sam Hindell Michael Hutch Tony Parker Philip Sabine Dick Shoobridge Anthony Sprent Grant Taylor 28

MORE MUSIC SPANISH RAVEL You can hear Charles Dutoit conduct the Montreal Symphony Orchestra in Rapsodie espagnole and a whole lot more on the 4-CD album Ravel Orchestral Works. Pascal Rogé is the soloist in the two piano concertos and Catherine Dubosc sings Shéhérazade. If you have a favourite Ravel piece, chances are it s included, and it s the perfect collection for discovering the delights of his music. DECCA 475 6891 The Dutoit collection above includes the Alborada del gracioso and Pavane pour une infante défunte in their orchestral versions both revealing the pervasive Spanish influence in Ravel s music. In 1907 the same year as Rapsodie espagnole he also wrote the opera L Heure espagnole (The Spanish Hour). You can see this, paired with L Enfant et les sortilèges, in the Glyndebourne Festival productions from 2012, with the London Philharmonic Orchestra conducted by Kazushi Ono and a cast including Stéphanie d Oustrac. FRA MUSICA 8 (DVD) NOCTURNES For more Debussy conducted by Charles Dutoit, look for the collection La Mer. In addition to the title work and Nocturnes, it contains Prelude to the Afternoon of a Faun and the orchestral masterpiece Jeux, all performed by the Montreal Symphony Orchestra. DECCA 478 4251 Debussy s Nocturnes doesn t belong to the tradition of the Chopin piano nocturnes. Even so, his title brings them to mind. Perhaps the finest recording ever made of the Chopin nocturnes is the one by Ivan Moravec (who died just recently) in 1965. In 2012 it was remastered by Supraphon for a new release and is worth seeking out. SUPRAPHON 4097 BERLIOZ BONANZA Berlioz rarely did anything by halves, nor need you. If you re after a Berlioz immersion there are several collections to look for. From Charles Dutoit and the Montreal Symphony Orchestra and Chorus there is a 17-CD collectors edition, Berlioz Masterworks, that includes nearly all the orchestral and choral works, although not the Te Deum. Among the treats: Symphonie fantastique with its sequel Lélio, the Roméo et Juliette dramatic symphony, and the Roman Carnival overture (which Dutoit will conduct with the SSO next week). DECCA Other similarly generous collections to look for include The Berlioz Experience (10 CDs on Deutsche Grammophon) and Ultimate Berlioz (5 CDs on Decca). If you d prefer to add just the Te Deum to your library, look for John Nelson s recording with the Orchestre de Paris and its choir. Roberto Alagna is the tenor soloist and Marie-Claire Alain plays the Cavaillé-Coll organ of the Madeleine church. VIRGIN CLASSICS 545 4492 Broadcast Diary September October abc.net.au/classic Saturday 12 September, 8pm ROMAN TRILOGY Charles Dutoit conductor Daniel Müller-Schott cello Berlioz, Schumann, Respighi Saturday 26 September, 8pm ANNE-SOPHIE MUTTER PLAYS DVOŘÁK Jakub Hrůša conductor Anne-Sophie Mutter violin Dvořák, Beethoven Saturday 10 October, 2pm SIBELIUS 2 David Robertson conductor Andrew Haveron violin Sculthorpe, Walton, Sibelius Tuesday 20 October, 9.30pm BEETHOVEN S MISSA SOLEMNIS David Robertson conductor Susanna Phillips, Olesya Petrova, Stuart Skelton, Shenyang vocal soloists Sydney Philharmonia Choirs SSO Radio Selected SSO performances, as recorded by the ABC, are available on demand: sydneysymphony.com/sso_radio SYDNEY SYMPHONY ORCHESTRA HOUR Tuesday 8 September, 6pm Musicians and staff of the SSO talk about the life of the orchestra and forthcoming concerts. Hosted by Andrew Bukenya. finemusicfm.com 29

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 2013. 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 2010 11 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. 30

MUSICIANS 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 Dene Olding CONCERTMASTER Sun Yi ASSOCIATE CONCERTMASTER Kirsten Williams ASSOCIATE CONCERTMASTER Lerida Delbridge ASSISTANT CONCERTMASTER Fiona Ziegler ASSISTANT CONCERTMASTER Sophie Cole Claire Herrick Georges Lentz Nicola Lewis Emily Long Alexandra Mitchell Alexander Norton Léone Ziegler Victoria Bihun Amber Davis* Emily Qin Andrew Haveron CONCERTMASTER Jenny Booth Amber Davis SECOND VIOLINS Kirsty Hilton Marina Marsden Marianne Broadfoot Emma Jezek ASSISTANT PRINCIPAL Freya Franzen Emma Hayes Shuti Huang Stan W Kornel Benjamin Li Nicole Masters Philippa Paige Biyana Rozenblit Maja Verunica Elizabeth Jones Maria Durek VIOLAS Roger Benedict Tobias Breider Justin Williams ASSISTANT PRINCIPAL Sandro Costantino Rosemary Curtin Jane Hazelwood Graham Hennings Justine Marsden Felicity Tsai Amanda Verner Leonid Volovelsky Jacqueline Cronin* Anne-Louise Comerford Stuart Johnson CELLOS Umberto Clerici Catherine Hewgill Leah Lynn ASSISTANT PRINCIPAL Kristy Conrau Timothy Nankervis Elizabeth Neville Christopher Pidcock Adrian Wallis David Wickham Rebecca Proietto Fenella Gill DOUBLE BASSES Kees Boersma Alex Henery Neil Brawley PRINCIPAL EMERITUS David Campbell Steven Larson Richard Lynn Benjamin Ward Josef Bisits FLUTES Janet Webb Emma Sholl Rosamund Plummer PRINCIPAL PICCOLO Nicola Crowe Carolyn Harris OBOES Diana Doherty Shefali Pryor David Papp Alexandre Oguey PRINCIPAL COR ANGLAIS CLARINETS Francesco Celata Christopher Tingay Craig Wernicke PRINCIPAL BASS CLARINET Alex McCracken Lawrence Dobell BASSOONS Matthew Wilkie Fiona McNamara Justin Sun Melissa Woodroffe* Noriko Shimada PRINCIPAL CONTRABASSOON HORNS Ben Jacks Robert Johnson Geoffrey O Reilly PRINCIPAL 3RD Euan Harvey Marnie Sebire Rachel Silver TRUMPETS David Elton Anthony Heinrichs Rainer Saville* Rosie Turner Paul Goodchild TROMBONES Ronald Prussing Scott Kinmont Nick Byrne Christopher Harris PRINCIPAL BASS TROMBONE TUBA Steve Rosse Chloe Higgins* TIMPANI Richard Miller Mark Robinson ASSISTANT PRINCIPAL PERCUSSION Rebecca Lagos Timothy Constable Ian Cleworth* Kevin Man* Chiron Mellor* Brian Nixon* HARP Louise Johnson Genevieve Huppert* CELESTA Susanne Powell* ORGAN David Drury* = 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: www.sydneysymphony.com/sso_musicians 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. 31

BEHIND THE SCENES Sydney Symphony Orchestra Board Terrey Arcus AM Chairman 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 RECORDING ENTERPRISE MANAGER 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 PRODUCTION MANAGER 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 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 DIGITAL 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 32

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 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 KEITH SAUNDERS Umberto Clerici Principal Cello Garry & Shiva Rich Chair Timothy Constable Percussion Justice Jane Mathews AO Chair Lerida Delbridge Assistant Concertmaster Simon Johnson Chair Lawrence Dobell Principal Clarinet Anne Arcus & Terrey Arcus AM Chair Diana Doherty Principal Oboe John C Conde AO Chair Richard Gill oam Artistic Director, DownerTenix Discovery Paul Salteri AM & Sandra Salteri Chair Leah Lynn Assistant Principal Cello SSO Vanguard Chair With lead support from Taine Moufarrige, Seamus R Quick, and Chris Robertson & Katherine Shaw 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 Lerida Delbridge was appointed Assistant Concertmaster of the SSO in 2013. She is a founding member of the Tinalley String Quartet and was previously a member of the Melbourne Symphony Orchestra. SSO Council member and leading providore Simon Johnson has been following Lerida s career since her days in the Australian Youth Orchestra and is delighted to support her chair. n n n n n n n n n n FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM, CALL (02) 8215 4625. 33

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 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 MAKE A DIFFERENCE tuned-up! TunED-Up! is made possible with the generous support of Fred Street AM & Dorothy Street Additional support provided by: Anne Arcus & Terrey Arcus AM Ian & Jennifer Burton Ian Dickson & Reg Holloway Mrs Barbara Murphy Tony Strachan major education donors Bronze Patrons & above John Augustus & Kim Ryrie Bob & Julie Clampett Howard & Maureen Connors The Greatorex Foundation J A McKernan Mr & Mrs Nigel Price Through their inspired financial support, Patrons ensure the SSO s continued success, resilience and growth. Join the SSO Patrons Program today and make a difference. sydneysymphony.com/patrons (02) 8215 4674 philanthropy@sydneysymphony.com 34

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 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 1987 1991 bequest donors We gratefully acknowledge donors who have left a bequest to the SSO. The late Mrs Lenore Adamson Estate of Carolyn Clampert Estate Of Jonathan Earl William Clark Estate of Colin T Enderby Estate of Mrs E Herrman Estate of Irwin Imhof The late Mrs Isabelle Joseph The Estate of Dr Lynn Joseph The Late Greta C Ryan 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 LUKE GAY ON 8215 4625. 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 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 am 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 Drs Keith & Eileen Ong 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 Mr Henri W Aram oam John Augustus & Kim Ryrie 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 Barbara Maidment Mora Maxwell Taine Moufarrige Robert McDougall William McIlrath Charitable Foundation J A McKernan 35

SSO PATRONS Playing Your Part BRONZE PATRONS CONTINUED Nexus IT 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 Mr Robert & Mrs Rosemary Walsh In memory of Geoff White Anonymous PRESTO $2,500 $4,999 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 Mr John W Kaldor AM Professor Andrew Korda am & Ms Susan Pearson In memoriam Dr Reg Lam-Po-Tang Professor Winston Liauw 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 John & Josephine Strutt 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 (3) 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 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 Aron Kleinlehrer Mrs Gilles Kryger Mr Justin Lam Dr Barry Landa 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 Mr & Mrs Ortis Andrew Patterson & Steven Bardy In memory of Sandra Paul Pottinger Mr Stephen Perkins Almut Piatti 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 In memory of H St P Scarlett George and Mary Shad Victoria Smyth Dr Judy Soper Judith Southam Mr Dougall Squair 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 Mr & Mrs George Ball Barlow Cleaning Pty Ltd Barracouta Pty Ltd Simon Bathgate Dr Andrew Bell Mr Chris Bennett 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 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 Mr Geoffrey Greenwell Mr Richard Griffin am In memory of Beth Harpley V Hartstein 36

SSO Vanguard Benjamin Hasic & Belinda Davie Sandra Haslam Alan Hauserman & Janet Nash Robert Havard Mrs A Hayward Roger Henning Dr Mary Johnsson Mrs Margaret Keogh Aernout Kerbert & Elizabeth Neville Dr Henry Kilham Jennifer King Mrs Patricia Kleinhans Anna-Lisa Klettenberg Ms Sonia Lal L M B Lamprati David & Val Landa Elaine M Langshaw Margaret Lederman Roland Lee 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 Judith Olsen Dr Alice J Palmer Dr Natalie E Pelham Peter and Susan Pickles Erika Pidcock Dr John I Pitt 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 Jorie Ryan for Meredith Ryan 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 Together, we have an ambition to foster a love of orchestral music in school children of all ages, and to equip their teachers with the skills they need to develop this in our young people DAVID ROBERTSON SSO Chief Conductor and Artistic Director PLEASE CONSIDER MAKING A TAX-DEDUCTIBLE DONATION TODAY A membership program for a dynamic group of Gen X & Y SSO fans and future philanthropists VANGUARD COLLECTIVE Justin Di Lollo Chair Belinda Bentley Oscar McMahon Taine Moufarrige Founding Patron Shefali Pryor Seamus R Quick Founding Patron Chris Robertson & Katherine Shaw Founding Patrons MEMBERS Laird Abernethy Elizabeth Adamson Clare Ainsworth-Hershell Charles Arcus Phoebe Arcus Philip Atkin Luan Atkinson Joan Ballantine Andrew Batt-Rawden James Baudzus Andrew Baxter Adam Beaupeurt Anthony Beresford Dr Andrew Botros Peter Braithwaite Andrea Brown Nikki Brown Professor Attila Brungs Tony Chalmers Dharmendra Chandran Louis Chien Paul Colgan Claire Cooper Bridget Cormack Karynne Courts Robbie Cranfield Asha Cugati Juliet Curtin David Cutcliffe Este Darin-Cooper Rosalind De Sailly Paul Deschamps Catherine Donnelly Jennifer Drysdale John-Paul Drysdale Kerim El Gabaili Roslyn Farrar Naomi Flutter Alastair Furnival Alexandra Gibson Sam Giddings Jeremy Goff Hilary Goodson Tony Grierson Louise Haggerty Jason Hair Peter Howard Jennifer Hoy Katie Hryce Virginia Judge Paul Kalmar Jonathan Kennedy Patrick Kok John Lam-Po-Tang Tristan Landers Gary Linnane David Lo Saskia Lo Gabriel Lopata Robert McGrory Alexandra McGuigan David McKean Sarah Moufarrige Julia Newbould Nick Nichles Kate O Reilly Peter O Sullivan Cleo Posa June Pickup Roger Pickup Stephanie Price Michael Radovnikovic Katie Robertson Dr Benjamin Robinson Alvaro Rodas Fernandez Adam Sadler Professor Anthony Schembri Benjamin Schwartz Cecilia Storniolo Randal Tame Sandra Tang Ian Taylor Dr Zoe Taylor Michael Tidball Mark Trevarthen Michael Tuffy Sarah Vick Alan Watters Jon Wilkie Yvonne Zammit Amy Zhou n n n n n n n n n n 37