BRUCKNER 6Stephen Hough plays Dvorák

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Vivaldi’s Four SeasonsVIVALDI The Four Seasons MOZART Music from Don Giovanni arranged for windband MOZART Horn Duos from K487

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Thu 16 Oct 7pmSpecial Event Premier Partner Credit Suisse

Fri 17 Oct 7pm City Recital Hall, Angel Place

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Tue 4 Nov 6.30pm City Recital Hall, Angel Place

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WELCOME

On behalf of the Vienna Tourist Board, which this year is once again proud to be a partner of the Sydney Symphony Orchestra, I should like to welcome you to this Bruckner 6 concert!

Ahead of you lies an evening which – in the spirit of late 19th-century Vienna – will assure you of an unforgettable musical experience. Nowhere except in Vienna can you get closer to Anton Bruckner and many other world-famous composers, from Wolfgang Amadeus Mozart and Ludwig van Beethoven to Franz Schubert, Joseph Haydn, Arnold Schoenberg, Gustav Mahler and Johann Strauss. In no other city have so many famous musicians lived and worked as in the world’s capital of music. Countless orchestras and the Vienna Boys’ Choir set the tone at the very top, while the Vienna State Opera and the golden hall of the Musikverein are among the world’s finest performance venues.

In Vienna you will find a living tradition, because some ten thousand music lovers listen to live classical music every day here – more than in any other city in the world. I cordially invite you to experience Vienna’s musical appeal for yourself when you visit our city, and wish you an enjoyable concert evening!

Norbert Kettner Director, Vienna Tourist Board

APT MASTER SERIES PRESENTED BY VIENNA TOURIST BOARD

WEDNESDAY 17 SEPTEMBER, 8PM

FRIDAY 19 SEPTEMBER, 8PM

SATURDAY 20 SEPTEMBER, 8PM

SYDNEY OPERA HOUSE CONCERT HALL

BRUCKNER 6: STEPHEN HOUGH PLAYS DVORÁKHans Graf conductor Stephen Hough piano

ANTONÍN DVOŘÁK (1841–1904) Piano Concerto in G minor, B.63 (Op.33) ORIGINAL VERSION

Allegro agitato Andante sostenuto Allegro con fuoco

INTERVAL

ANTON BRUCKNER (1824–1896) Symphony No.6 in A

Maestoso Adagio. Sehr feierlich [with much solemnity] Scherzo. Nicht schnell [Not fast] – Trio. Langsam [Slowly] Finale. Bewegt, doch nicht zu schnell [Agitated, but not too fast]

Friday night’s performance will be broadcast live across Australia by ABC Classic FM.

Pre-concert talk by Scott Davie at 7.15pm in the Northern Foyer

Estimated durations: 35 minutes, 20-minute interval, 55 minutes The concert will conclude at approximately 10pm.

COVER IMAGE: Fir Forest I (1901) by Gustav Klimt

2014 concert season

PRESENTED BY

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Antonín Dvořák

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Anton Bruckner

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INTRODUCTION

Turn to page 27 to read Bravo! – musician profiles, articles and news from the orchestra. There are nine issues through the year, also available at sydneysymphony.com/bravo

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Dvořák and Bruckner

The two pieces on tonight’s program were completed within five years of each other: Dvořák’s Piano Concerto in 1876, written in the space of a few weeks, and Bruckner’s Sixth Symphony in 1881 after two years’ work. In some ways they represent divergent musical paths, since Dvořák was a protégé of Brahms and the rivalry between the Brahms and Bruckner camps was a notorious one. (Although, as is often the case, the rivalry was fiercest between their followers, rather than between the composers themselves.) But we think you’ll find the concerto and symphony make happy companions.

Dvořák’s piano concerto is something of a Cinderella work, fated to be overshadowed by the extraordinarily popular cello concerto and even the violin concerto. Our most recent performance of it was in 2006 and before that in 1978! With its glorious tunes and thrilling moments it deserves better and early champions thought they might help it along by ‘improving’ on Dvořák’s piano writing. Dvořák was not a pianist himself and this is the thing that makes the concerto ‘ferociously difficult to play’, said Stephen Hough in an interview last year. ‘It is a concerto for ten thumbs. But it has a uniquely lyrical soul, a quality of tender mysticism and an innocent sort of passion which is deeply human and touching.’ Hough disagrees with those who think Dvořák’s piano writing was ineffective and he is among the increasing number of pianists who play the original version.

Bruckner’s symphonies are sometimes regarded as music for the cognoscenti, an acquired taste perhaps. If that’s true, then it’s a taste best acquired first hand in the concert hall. The communal focus of the concert experience is the way to tune your ears to Bruckner’s spacious, long-range harmonies. A concert hall acoustic highlights the visceral effects of his insistent repeated rhythms and dramatic musical motifs. And the live performance is the way to experience the moments of grandeur, the profound simplicity, the wealth of invention and the glorious blocks of colour in Bruckner’s writing.

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Keynotes

DVOŘÁK

Born Nelahozeves, 1841 Died Prague, 1904

Dvořák’s career is an inspiring reminder that greatness can grow from unlikely beginnings. A country inn-keeper’s son, Dvořák was destined to be a butcher. But his passion for music was his passport to upward mobility. His Moravian Duets caught the attention of Brahms, who recommended Dvořák to his own publisher. Then his Slavonic Dances took Europe by storm, and his Seventh and Eighth Symphonies were immensely popular in England. Inspired by a time spent teaching in the USA, he composed his two ultimate masterpieces, the New World Symphony and, on his return to Prague, the Cello Concerto.

PIANO CONCERTO

The composer counts among the great Romantics but the music is a ‘Cinderella’ concerto, rarely heard in concerts. Yet Dvořák’s Piano Concerto reveals beauties that are equal to those of the more popular cello and violin concertos and which more than make up for an apparent lack of pyrotechnical display.

The first movement is the most demanding on listeners (and not just because at 15 minutes it’s the longest). Listen for the main theme, introduced at the beginning by the horns, the low strings and the low woodwind. The horns contribute to the Romantic mood in the second movement. The brief, high-energy finale reveals Dvořák in ‘Bohemian’ mode.

ABOUT THE MUSIC

Antonín Dvořák Piano Concerto in G minor, B.63 (Op.33)ORIGINAL VERSION

Allegro agitato Andante sostenuto Allegro con fuoco

Stephen Hough piano

By 1876, when he composed the first of his three mature concertos, Dvořák was still a youthful, passionate spirit, having enjoyed just three years of married bliss, albeit scarred by the loss of a two-day-old daughter and the ever-present fear that the tragedy of infant mortality could strike again – as, indeed, it would.

Yet he was approaching middle age and, apart from an enthusiastic local reception for his patriotic cantata Heirs of the White Mountain in 1873, his career as a composer remained steadfastly earthbound, notwithstanding persistent hard work and a steady stream of compositions, all achieved while struggling to support a family in Prague on the miserable earnings of a church organist and music teacher.

The opportunity to write a concerto for an eminent virtuoso, however, promised proper recognition. Dvořák’s pianist friend Karel Slavkovský was one of the foremost supporters of new Czech music, and the Concerto in G minor was composed for him in a matter of weeks in August and September 1876. Slavkovský premiered it in Prague on 24 March 1878. Londoners, too, would hear the concerto, played by Oscar Beringer at the Crystal Palace in 1883.

But it was less ambitious music composed earlier in 1875 and 1876 that would launch Dvořák internationally – a group of Moravian Duets with piano accompaniment which Brahms recommended to his publisher, Simrock, in Berlin. Their popularity led Simrock to commission Slavonic dances from Dvořák on the model of Brahms’s Hungarian dances, and the rest is history – the history of how an unknown Czech composer conquered not only Europe but eventually, also, the New World.

Dvořák’s concerto, however, made little headway against persistent academic criticism that the piano part was awkwardly written and insufficiently rewarding for the technical demands it made on the soloist. It was not the display piece critics expected. Sometimes the piano was said to be crushed beneath the weight of the orchestra (notwithstanding that Dvořák uses only a basic classical

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ensemble – the same as in Haydn’s Clock and Drumroll symphonies and, more pertinently, larger by only a second flute than Beethoven’s in his Fourth Piano Concerto, a potent classical model for the young Czech composer).

Clearly, Dvořák never intended a mere display of pyrotechnics so much as a symphonic structure – one which featured the piano in a central role – in line with the five symphonies already under his belt. Despite revisions by others to make the solo part more pianistic, most notably, after the composer’s death, by the Prague professor Vilém Kurz, the work’s Cinderella reputation among Dvořák concertos has deterred all but a few concert pianists from investigating its beauties. Among them, however, a pupil of Kurz who became its most ardent advocate, Rudolf Firkušný, long performed his own version of the Kurz revision before opting in later life for the original Dvořák, arguing that ‘for all the so-called clumsiness of the piano-writing, the original is far purer than any subsequent revision and more truly characteristic of the young Dvořák’. The differences are so slight, however, as to elude the average listener without access to a score.

The theme that will dominate the first movement enters with calm and simple dignity at the beginning of the concerto. But an unexpected dying fall at the end of its very first phrase, pre-empting the possibility of even a single complete expository statement of the theme, betrays underlying melancholy. Shivers of disquiet foment agitation which climaxes in a peremptory rhythmic figure, soon subsiding to a cautiously staccato variant of the theme. It is on this wary note that the piano makes its entrance, ignoring the oboes’ gentle prompting of the still forlorn opening theme: the task ahead must be to restore the confidence the theme still evidently lacks. Indeed, piano and orchestra explore the main theme and its variants at length, as the piano leads the way to an authentic solo statement of the broad main theme in all its strength and nobility, before there is any hint of the eventual second subject group – first a nimbly tripping theme redolent of Czech folk music, then a hushed chorale-like theme which quickly becomes swept up in a whirl of playful interjections from the piano.

The composer’s seriousness of purpose is evident in an unusually extended development section in which the main theme is extolled grandioso, only to be lifted by the piano in an expressive cadenza to an even higher plane of exaltation as the erstwhile dying fall now wings heavenwards.

Horns in full romantic mode share a dominant role with the piano in a slow movement of nocturnal tranquillity. The

Pianist Karel Slavkovský was one of the foremost supporters of new Czech music

…Dvořák never intended a mere display of pyrotechnics so much as a symphonic structure…

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piano in reflective mood toys with ideas which provide food for thought in an animated central section before the horns’ original flowing theme returns, pushed to a climax in which the piano emphatically underlines the full orchestra’s chord progression, before it finally fades into the light of common day.

With a chirpy rat-a-tat! wake-up call and a gaily skipping secondary theme, Dvořák launches a high-spirited capriccio finale, effectively a sonata-rondo combination with contrast provided by a languidly soulful third subject. The two lively themes are developed with much rhythmic inventiveness before the piano, bidding fond farewell to the soulful theme, seizes the moment and gallops to glory on trill after jubilant trill as the full orchestra brassily joins the celebration.

ANTHONY CANE © 2006

The orchestra for Dvořák’s Piano Concerto comprises pairs of flutes,

oboes, clarinets, bassoons, horns and trumpets; timpani and strings.

The SSO first performed the concerto in 1959, with Bernard Heinze

conducting and soloist Rudolf Firkušný, and most recently in 2006 with

pianist Orli Shaham and conductor David Robertson.

A drawing of Dvořák at the piano by Hugo Boettinger

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KeynotesBRUCKNER

Born near Linz, 1824 Died Vienna, 1896

In 1868 Anton Bruckner moved to Vienna from the Austrian city of Linz in order to advance his career as organist, teacher and, above all, composer. He was famously provincial in his manners and dress, diffident and eccentric, but enjoyed success as an organist (and improviser), held academic posts, and was internationally feted. Bruckner’s symphonies have an ‘alpine splendour’ – long in duration, noble in character, splendid in effect and full of profoundly felt melodies.

SYMPHONY NO.6

Bruckner described the Sixth as his ‘cheekiest’ symphony or, to use his word, ‘Keckste’ (boldest). Listen for the way the majestic first movement begins: the violins quietly hover over the music with an important repeated rhythm while the cellos and basses play an ambiguous, heaving idea that will turn out to be a motto theme, echoed by the horn and other instruments before it builds to something fiery and energetic. The slow movement is singing and solemn  – imagine Bruckner the devout organist. The scherzo movement is marked ‘not fast’ but creates a racing impression through the energy of the writing for violins and violas. The massive finale is a kind of march organised as a series of episodes. But listen for the way the trombones play the opening theme from the first movement to tie it all together.

Anton Bruckner Symphony No.6 in A (Edited by Leopold Nowak)

Maestoso

Adagio. Sehr feierlich [with much solemnity]

Scherzo. Nicht schnell [Not fast] – Trio. Langsam [Slowly]

Finale. Bewegt, doch nicht zu schnell [Agitated, but not too fast]

Bruckner’s Symphony No.6 is undoubtedly one of his most impressive achievements. Much critical commentary focuses on its technical achievements – the way Bruckner explored oblique harmonic relationships. But what does this mean in emotional terms for a composer whose every symphony was an expression of faith in God? That here Bruckner, in complete confidence, dared to explore the further corners of God’s universe, trusting in the gravitational pull of a fundamental tonality to reconcile chromatic digressions? In this work Bruckner began to succeed at a symphonic style appropriate to the breadth of his faith.

Bruckner began composing this symphony in September 1879 in Vienna, where he had moved in 1868. He was still largely unappreciated at this time. The Seventh Symphony had not yet won him popularity; the first performance of Symphony No.3 in 1877 had been a catastrophe; he was yet to hear the Fourth and Fifth Symphonies. But he set to work on the Sixth with undimmed optimism (work was interrupted in 1880 while he revised the Symphony No.4) and he finished it at St Florian in September 1881.

Only the second and third movements were performed in Bruckner’s lifetime, during a run-through by the Vienna Philharmonic under Wilhelm Jahn in early 1883. Lamberg, one of Bruckner’s pupils, reported that while Brahms joined in the ovation, ‘Hanslick [the anti-Wagner critic] sat there, frigid and immobile, like a sphinx.’ The whole symphony was heard for the first time in public in February 1899 in a performance conducted by Gustav Mahler, who for some reason made cuts to the third subject groups of the movements and revised some of the orchestration (Bruckner, for once, had not made his customary changes to the completed work). The public finally heard the work in an uncut version for the first time in Stuttgart, on 14 March 1901. The conductor was Karl Pohlig.

This symphony in A major opens, says the late Robert Simpson in his book on the symphonies, ‘as so often with Bruckner, in mystery, but with a new device, a distinctive rhythmic figure high above a theme that heaves darkly in the depths.’ Simpson points out that this rhythm is not insistent. It does not occur all

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the way through but reappears at certain cardinal points ‘like a recurring motif decorating cornerstones’.

The music passes through the exposition with its three main themes, and a lone flute leads into the development section. Now, the opening theme builds up in a number of rises through a placid sequence of key changes. The dotted figure gradually introduces some rhythmic complexity and then drives into a powerful crescendo which proves to be a dominant of E flat (as far removed from A major as you can get!). This is now one of those cardinal points mentioned earlier. Simpson’s ‘distinct rhythmic figure’ combines with the opening theme in a blaze of rhythmic complexity which swiftly moves from alien territory to the home key. As Simpson says, ‘we shall find that one of [this symphony’s] chief characteristics is this startling ability to establish (without a shadow of doubt as to its solidity) the tonic [key centre] with hair-breadth abruptness.’ We do not necessarily appreciate this skill of craftsmanship merely by listening, because Bruckner’s habit of speaking in massive unisons blinds us to his tonal range.

In the coda ‘the main theme rises and falls like some great ship’, passing through the entire spectrum of tonality; there is no key that Bruckner does not suggest within its 60 bars. The great skill here lies in the strength with which he is able to end so decisively.

…a composer whose every symphony was an expression of faith in God…

Bruckner at the organ. A silhouette by Otto Böhler

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‘Listen to the music with reverence, for the composer meant what he said, and he was speaking of sacred things.’

DONALD TOVEY, ABOUT THE SECOND MOVEMENT

The chromatic inflexions of the first movement make it natural that the second movement should be in F, with a strong hint of B flat minor (first heard in the oboe’s answering phrase). ‘Listen to the music with reverence,’ wrote Sir Donald Tovey of this slower movement, ‘for the composer meant what he said, and he was speaking of sacred things.’ Richard Osborne, in notes for Karajan’s 1979 recording, spoke of the wisdom and compassion of this music, which he described as ‘Sachs-like’, in reference to the wise town elder of Wagner’s The Mastersingers of Nuremberg.

The nobility of Bruckner’s style is nowhere more remarkable than in the recapitulation. The great opening theme returns on the horns with characteristic movement in the violins above, but the shape is simply one long crescendo and diminuendo.

In the third movement, ‘we are out in the night with owls and blown leaves, and the sharp tiny glint of unthinkably alien stars,’ says Simpson. ‘We sense a soft drumming in the earth. A door flies wide with a flare of light and din; there is the smith and the anvil. At all events, there is no nightmare in this music [as there might be in a Mahler scherzo] – only wonder.’

From a technical point of view, the music is remarkable in its avoidance of the A major chord in root position until the very end of the exposition. This is a composer who has become completely comfortable with his ability to orient the music in the tonal spectrum.

The Trio section is a minor masterpiece with its woodland horns and, as Osborne says, a ‘haunting sense of an Urwald [primeval, original forest] far distant in time from our own’.

The Finale expresses the nature from which the rest of the symphony has come. Certainly, it is in an identifiable sonata form – second subject group, development, recapitulation, coda – but this textbook description gives no sense of the unique way in which the tensions and resolutions are distributed. They lie, as Simpson points out, ‘in the extraordinary conflict between A on the one hand and F and B flat on the other, and in exploring the depths of [these chromatic] relationships.’ Sonata form does not guarantee a satisfactory conclusion for the adventurous Bruckner, and the ending gives some idea of the size of struggle he has so far undertaken. An attempt to get back to A is stymied by the pull of alien tonalities. A couple of times we are left staring at a precipice. The familiar Brucknerian pauses here make gravitational sense. Finally, the fanfare theme gets us back on track. It momentarily falters, but then Bruckner asserts A major, with the theme from the first movement confirming our arrival home.

Bruckner’s Sixth Symphony possesses a structural integrity which is most noticeable to the listener in the smoothness with

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which its sections flow and the uncanny sense of inter-relatedness across the four movements. First-time listeners may gain some idea of the integrity of the whole piece by listening to the dotted-rhythm figure which appears soon after the opening as a consequence of the initial theme (in the lower strings within the first 30 seconds). This is clearly related to the oboe’s elegiac adjunct to the opening theme of the slow movement, and can be recognised again later as the motif which appears out of the second subject section of the last movement.

Here, in this symphony, Bruckner conceived a vast large-scale structure which realised the implications of the smallest harmonic inflections suggested in the opening moments. It may be difficult for a first-time listener to detect the way the opening theme’s chromatic leanings (F and B flat) set up large-scale consequences – whole sections a semitone either side of what we would normally expect. Together with the way in which Bruckner skilfully, firmly and economically reconciles these tensions later on, the symphony shows dexterity in the manipulation of key relationships equal to, if not surpassing Beethoven.

The assuredness of Bruckner’s touch in this symphony is reflected in the fact that on this rare occasion we are not faced with the editorial problems which bedevil so many of his other, frequently-revised, symphonies. Here Bruckner spoke with rare self-confidence, creating his most daring, or as he described it, ‘cheekiest’ work.

GORDON KALTON WILLIAMS

SYMPHONY AUSTRALIA © 1998

Bruckner’s Sixth Symphony calls for relatively modest orchestral forces:

pairs of flutes, oboes, clarinets and bassoons; four horns, three trumpets,

three trombones and tuba; timpani and strings.

The SSO was the first ABC orchestra to perform Bruckner’s Sixth Symphony,

in 1940 conducted by Georg Schnéevoigt. Our most recent performance

was in 1999 conducted by Hans Graf.

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MORE MUSIC

DVOŘÁK’S PIANO CONCERTORudolf Firkušný was the greatest champion of Dvořák’s piano concerto. He recorded it six times, initially using the more ‘pianistic’ revision prepared by his teacher Vilém Kurz (as in his 1963 Westminster recording with Laszlo Somogyi and the Vienna State Opera Orchestra) then showing a change of heart and returning to Dvořák’s original text for his last two recordings of the concerto, including his 1990 recording with Václav Neumann and the Czech Philharmonic.DEUTSCHE GRAMMOPHON 471 2662 (1963)

NEWTON CLASSICS 880 2212 (1990)

Sviatoslav Richter plays the original version in his recording with Carlos Kleiber and the Bavarian State Orchestra, giving a performance that brings out the subtle melodic treasures of the solo part. The 2CD set also includes the Schumann and Grieg concertos, accompanied by Lovro von Matacic and the Monte Carlo Opera Orchestra.EMI CLASSICS 55989

BRUCKNER SYMPHONIESIf this concert leaves you wanting to hear more of Bruckner’s symphonies, look for the complete numbered symphonies recorded by Eugen Jochum and the Dresden Staatskapelle between 1975 and 1980. It has turned up on various labels over the years, re-released most recently, in January, by Warner Classics.WARNER CLASSICS 845 8325

Or try Daniel Barenboim’s set with the Chicago Symphony Orchestra, which also includes Bruckner’s Te Deum.DEUTSCHE GRAMMOPHON 477 9803

HANS GRAFAmong Hans Graf’s most recent recordings is a live concert performance of Carl Orff’s Carmina Burana, with the London Philharmonic Orchestra and Choir. Released earlier this year on the LPO’s own label.LPO 76

If you heard the recent Sydney performance of Zemlinsky’s Mermaid then you might enjoy his Lyric Symphony, which Hans Graf recorded with the Houston Symphony. The disc also includes Berg’s three Lyric Suite Pieces for string orchestra.NAXOS 857 2048

STEPHEN HOUGHStephen Hough recently released a recital disc, In the Night, featuring the premiere recording of his second piano sonata (Notturno luminoso). The nocturnal theme is supported by two Chopin nocturnes, Beethoven’s ‘Moonlight’ Sonata, and Schumann’s Carnaval suite and In der Nacht from his eight Fantasy Pieces.HYPERION 67996

Or you can hear Stephen Hough’s latest concerto recording, in which he brings his powerhouse technique to the two Brahms piano concertos, accompanied by Mark Wigglesworth and the Salzburg Mozarteum Orchestra. HYPERION 67961

Broken Branches (taking its name from his first piano sonata) is a showcase for Stephen Hough, composer. In addition to the sonata, it includes The Loneliest Wilderness for cello and orchestra (with Steven Isserlis), Bridgewater for bassoon and piano, a set of songs Herbstlieder, and Was mit den Tränen geschieht (What happens to the tears), a trio of extremes for piccolo, contrabassoon and piano.BIS 1952

Broadcast DiaryOctober

Saturday 4 October, 1pm HEAVENLY SCHUBERTOleg Caetani conductorCherubini, Schubert

Wednesday 8 October, 8pm PRESENTING THE AYO (2011)Thomas Dausgaard conductor Dene Olding violinDebussy, Vine, Nielsen

Friday 10 October, 8pm TCHAIKOVSKY 5Thomas Søndergård conductor James Ehnes violinStenhammar, Prokofiev, Tchaikovsky

Saturday 18 October, 1pm VIVALDI’S FOUR SEASONSJames Ehnes violin-directorVivaldi, Mozart

Thursday 23 October, 8pm DRAMATIC TRUMPETBrett Dean conductor Håkan Hardenberger trumpetDean, Sibelius

SYDNEY SYMPHONY ORCHESTRA 2014Tuesday 14 October, 6pmMusicians, staff and guest artists discuss what’s in store in our forthcoming concerts.

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Born in 1949 near Linz in Austria, Hans Graf studied violin and piano as a child. After graduating from the Music Academy in Graz, he continued his conducting studies with Franco Ferrara, Sergiu Celibidache and Arvid Jansons. His international career was launched in 1979 when he won the Karl Böhm Competition.

Hans Graf was the longest-serving Music Director of the Houston Symphony (2001–2013) and has also held posts at the Calgary Philharmonic, Orchestre National Bordeaux Aquitaine and Salzburg Mozarteum Orchestra. He is a frequent guest with the major North American orchestras, including engagements with the Cleveland and Philadelphia orchestras, New York Philharmonic, Los Angeles Philharmonic, San Francisco Symphony, Boston Symphony Orchestra, St Louis Symphony, National Symphony Orchestra and St Paul Chamber Orchestra, as well as appearing in the Tanglewood, Blossom, Aspen and Grant Park festivals, among others. He conducted the Houston Symphony in Carnegie Hall on multiple occasions and in 2012 toured with the orchestra to Moscow, giving the first performance in Russia by an American orchestra of Shostakovich’s Symphony No.11.

He also conducts leading orchestras in Europe and Asia, and appears regularly for the Salzburg Festival – including conducting new works, opera and multimedia productions. An experienced opera conductor, he first conducted the Vienna State Opera in 1981 and has since conducted productions in Berlin, Munich, Paris, Zurich and Rome, including several world premieres.

His discography includes the complete symphonies of Mozart and Schubert, the premiere recording of Zemlinsky’s opera Es war einmal and the complete works of Dutilleux, recorded under the supervision of the composer, and, most recently, Hindemith’s works for viola and orchestra with Tabea Zimmermann and a live recording of Carmina Burana with the London Philharmonic Orchestra. His recordings with the Houston Symphony include a DVD of The Planets – An HD Odyssey.

Hans Graf has been made a Chevalier de l’ordre de la Légion d’Honneur by the French government for championing French music around the world, and was awarded the Grand Decoration of Honour in Gold for Services to the Republic of Austria. He is currently a Professor of Orchestral Conducting at the University Mozarteum Salzburg. His most recent appearance with the SSO was in 2011.

Hans Grafconductor

THE ARTISTS

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Stephen Hough combines a distinguished career as a concert pianist with those of a composer and a writer. Named by The Economist as one of 20 Living Polymaths, he was the first classical performer to be awarded a MacArthur Fellowship, joining prominent scientists, writers, and others who have made unique contributions to contemporary life. He was named a CBE in the 2014 New Year’s Honours.

Stephen Hough was born in northwest England and his career was launched when he won the 1983 Naumburg Competition in New York. He has since appeared with most of the major European and American orchestras and plays recitals in the major halls and concert series around the world. He is a regular guest at festivals such as Salzburg, Mostly Mozart, Tanglewood, Edinburgh and the BBC Proms.

In the 2013–14 season he undertook a residency with the BBC Philharmonic, performing concertos by Brahms, Liszt and Schumann, and toured and gave subscription concerts with the Tonhalle-Orchester Zürich. He was the BBC Symphony Orchestra’s Artist-in-Focus in 2012–13 and soloist in the televised First Night of the 2013 BBC Proms.

His extensive discography has garnered a Diapason d’Or de l’Année, several Grammy nominations and eight Gramophone Awards. Recent recordings include the Brahms concertos, music by Janáček and Scriabin, and In The Night, featuring his Piano Sonata No.2 (Notturno luminoso). His acclaimed iPad app The Liszt Sonata was released in 2013.

As a composer, he has been commissioned by Wigmore Hall, Musée du Louvre, Musica Viva Australia, members of the Berliner Philharmoniker, Indianapolis Symphony Orchestra, London’s National Gallery, Westminster Abbey and Westminster Cathedral. His music is featured on the 2011 recording Broken Branches.

Stephen Hough has been published by The Guardian, The Times and The Telegraph, where he writes a popular cultural blog. In 2012 the Broadbent Gallery in London hosted the first exhibition of his paintings and he was appointed a Governor of the Royal Ballet Companies. He is a Visiting Professor at the Royal Academy of Music and holds the International Chair of Piano Studies at the Royal Northern College of Music.

His most recent concerto appearance with the SSO was in 2011 when he performed Mozart’s Piano Concerto No.21 in C, K467.

Stephen Houghpiano

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SYDNEY SYMPHONY ORCHESTRA

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 first year of David Robertson’s tenure as Chief Conductor and Artistic Director.

DAVID ROBERTSON Chief Conductor and Artistic Director

PATRONHer Excellency, Prof. The Hon. Dame Marie Bashir ad cvo

21

FIRST VIOLINS Andrew Haveron CONCERTMASTER

Sun Yi ASSOCIATE CONCERTMASTER

Lerida Delbridge ASSISTANT CONCERTMASTER

Fiona Ziegler ASSISTANT CONCERTMASTER

Jenny BoothBrielle ClapsonSophie ColeClaire HerrickGeorges LentzNicola LewisEmily LongAlexandra MitchellAlexander NortonLéone ZieglerLiisa Pallandi†

Dene Olding CONCERTMASTER

Kirsten Williams ASSOCIATE CONCERTMASTER

Amber Davis

SECOND VIOLINS Kirsty Hilton Marina Marsden Emma Jezek ASSISTANT PRINCIPAL

Emma HayesShuti HuangStan W KornelBenjamin LiNicole MastersPhilippa PaigeBiyana RozenblitMaja VerunicaJulia Broom*Rebecca Gill*Marianne BroadfootMaria Durek

VIOLASRoger Benedict Justin Williams ASSISTANT PRINCIPAL

Sandro CostantinoRosemary CurtinGraham HenningsStuart JohnsonJustine MarsdenAmanda VernerLeonid VolovelskyJacqueline Cronin*Andrew Jezek*Carl Lee†

Tobias Breider Anne-Louise Comerford Jane HazelwoodFelicity Tsai

CELLOSUmberto ClericiCatherine Hewgill Henry David Varema Leah Lynn ASSISTANT PRINCIPAL

Kristy ConrauFenella GillTimothy NankervisElizabeth NevilleAdrian WallisDavid WickhamChristopher Pidcock

DOUBLE BASSESKees Boersma Alex Henery Neil Brawley PRINCIPAL EMERITUS

David CampbellSteven LarsonRichard LynnBenjamin WardJosef Bisits*David Murray

FLUTES Janet Webb Carolyn HarrisEmma Sholl Rosamund Plummer PRINCIPAL PICCOLO

OBOESDiana Doherty David PappShefali Pryor Alexandre Oguey PRINCIPAL COR ANGLAIS

CLARINETSFrancesco Celata Christopher TingayLawrence Dobell Craig Wernicke PRINCIPAL BASS CLARINET

BASSOONSMatthew Wilkie Noriko Shimada PRINCIPAL CONTRABASSON

Fiona McNamara

HORNSRobert Johnson Geoffrey O’Reilly PRINCIPAL 3RD

Marnie SebireRachel SilverMichael Dixon*Ben Jacks Euan Harvey

TRUMPETSDavid Elton Anthony HeinrichsPeter Miller*Paul Goodchild

TROMBONESRonald Prussing Nick ByrneChristopher Harris PRINCIPAL BASS TROMBONE

Scott Kinmont

TUBASteve Rossé

TIMPANIRichard Miller Mark Robinson ASSISTANT PRINCIPAL

PERCUSSIONRebecca Lagos

HARP Louise Johnson

BOLD = PRINCIPAL

ITALICS = ASSOCIATE PRINCIPAL

* = GUEST MUSICIAN† = SSO FELLOW

GREY = PERMANENT MEMBER OF THE SYDNEY SYMPHONY ORCHESTRA NOT APPEARING IN THIS CONCERT

PETER MILLER (TRUMPET) APPEARS COURTESY OF THE WEST AUSTRALIAN SYMPHONY ORCHESTRA.

The men of the Sydney Symphony Orchestra are proudly outfitted by Van Heusen.

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.

MUSICIANS

David RobertsonCHIEF CONDUCTOR AND ARTISTIC DIRECTOR SUPPORTED BY EMIRATES

Dene OldingCONCERTMASTER

Jessica CottisASSISTANT CONDUCTOR SUPPORTED BY PREMIER PARTNER CREDIT SUISSE

Andrew HaveronCONCERTMASTER

22

BEHIND THE SCENES

MANAGING DIRECTOR

Rory Jeffes

EXECUTIVE TEAM ASSISTANT

Lisa Davies-Galli

ARTISTIC OPERATIONSDIRECTOR OF ARTISTIC PLANNING

Benjamin Schwartz

ARTISTIC ADMINISTRATION MANAGER

Eleasha Mah

ARTIST LIAISON MANAGER

Ilmar Leetberg

RECORDING ENTERPRISE MANAGER

Philip Powers

LibraryAnna CernikVictoria GrantMary-Ann Mead

LEARNING AND ENGAGEMENTDIRECTOR OF LEARNING AND ENGAGEMENT

Kim Waldock

EMERGING ARTISTS PROGRAM MANAGER

Mark Lawrenson

EDUCATION MANAGER

Rachel McLarin

EDUCATION OFFICER

Amy Walsh

ORCHESTRA MANAGEMENTDIRECTOR OF ORCHESTRA MANAGEMENT

Aernout Kerbert

ORCHESTRA MANAGER

Rachel Whealy

ORCHESTRA COORDINATOR

Georgia Fryer

OPERATIONS MANAGER

Kerry-Anne Cook

PRODUCTION MANAGER

Laura Daniel

STAGE MANAGER

Courtney Wilson

PRODUCTION COORDINATORS

Tim DaymanDave Stabback

SALES AND MARKETINGDIRECTOR OF SALES & MARKETING

Mark J Elliott

MARKETING MANAGER, SUBSCRIPTION SALES

Simon Crossley-Meates

A/ SENIOR SALES & MARKETING MANAGER

Matthew Rive

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

ONLINE MARKETING COORDINATOR

Jonathan Davidoff

MARKETING ASSISTANT

Theres Mayer

Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlin

BOX OFFICE SYSTEMS SUPERVISOR

Jennifer Laing

BOX OFFICE BUSINESS ADMINISTRATOR

John Robertson

CUSTOMER SERVICE REPRESENTATIVES

Karen Wagg – Senior CSR Michael DowlingKatarzyna OstafijczukTim Walsh

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

EXTERNAL RELATIONSDIRECTOR OF EXTERNAL RELATIONS

Yvonne Zammit

PhilanthropyHEAD OF PHILANTHROPY

Luke Andrew Gay

DEVELOPMENT MANAGER

Amelia Morgan-Hunn

PHILANTHROPY COORDINATOR

Sarah Morrisby

Corporate RelationsBUSINESS DEVELOPMENT MANAGER

Belinda Besson

CORPORATE RELATIONS MANAGER

Janine Harris

CommunicationsPUBLIC RELATIONS MANAGER

Katherine Stevenson

COMMUNICATIONS & MEDIA MANAGER

Bridget Cormack

DIGITAL CONTENT PRODUCER

Kai Raisbeck

SOCIAL MEDIA AND PUBLICITY OFFICER

Caitlin Benetatos

BUSINESS SERVICESDIRECTOR 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

SYDNEY SYMPHONY ORCHESTRA STAFF

John C Conde ao ChairmanTerrey Arcus am

Ewen Crouch am

Ross GrantCatherine HewgillJennifer HoyRory JeffesAndrew Kaldor am

David LivingstoneThe Hon. Justice AJ MeagherGoetz Richter

SYDNEY SYMPHONY ORCHESTRA BOARD

SYDNEY SYMPHONY ORCHESTRA COUNCIL

Geoff Ainsworth am

Andrew Andersons ao

Michael Baume ao

Christine BishopIta Buttrose ao obe

Peter CudlippJohn Curtis am

Greg Daniel am

John Della BoscaAlan FangErin FlahertyDr Stephen FreibergDonald Hazelwood ao obe

Dr Michael Joel am

Simon JohnsonYvonne Kenny am

Gary LinnaneAmanda LoveHelen Lynch am

David Maloney am

David Malouf ao

Deborah MarrThe Hon. Justice Jane Mathews ao

Danny MayWendy McCarthy ao

Jane MorschelDr Timothy Pascoe am

Prof. Ron Penny ao

Jerome RowleyPaul Salteri am

Sandra SalteriJuliana SchaefferLeo Schofield am

Fred Stein oam

Gabrielle TrainorJohn van OgtropPeter Weiss ao HonDLittMary WhelanRosemary White

23

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

MAKE A DIFFERENCE

SYDNEY SYMPHONY ORCHESTRA PATRONS

MAESTRO’S CIRCLESUPPORTING THE ARTISTIC VISION OF DAVID ROBERTSON, CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

Peter Weiss ao Founding President & Doris WeissJohn C Conde ao ChairmanBrian AbelGeoff Ainsworth am Tom Breen & Rachael KohnThe Berg Family FoundationAndrew Kaldor am & Renata Kaldor aoVicki Olsson

Roslyn Packer aoDavid RobertsonPenelope Seidler amMr Fred Street am & Mrs Dorothy StreetMr Frank Lowy ac & Mrs Shirley Lowy oam

Brian & Rosemary WhiteRay Wilson oam in memory of the late James Agapitos oam

CHAIR PATRONS

01 Roger Benedict Principal Viola Kim Williams am & Catherine Dovey Chair

02 Umberto Clerici Principal Cello Garry & Shiva Rich Chair

03 Lerida Delbridge Assistant Concertmaster Simon Johnson Chair

04 Lawrence Dobell Principal Clarinet Anne & Terrey Arcus am Chair

05 Diana Doherty Principal Oboe Andrew Kaldor am & Renata Kaldor ao Chair

06 Richard Gill oam Artistic Director, Education Paul Salteri am & Sandra Salteri Chair

07 Jane Hazelwood, Viola Bob & Julie Clampett Chair in memory of Carolyn Clampett

08 Catherine Hewgill Principal Cello The Hon. Justice AJ & Mrs Fran Meagher Chair

09 Kirsty Hilton Principal Second Violin Corrs Chambers Westgarth Chair

10 Robert Johnson Principal Horn James & Leonie Furber Chair

11 Elizabeth Neville Cello Ruth & Bob Magid Chair

12 Shefali Pryor Associate Principal Oboe Mrs Barbara Murphy Chair

13 Emma Sholl Associate Principal Flute Robert & Janet Constable Chair

14 Janet Webb Principal Flute Helen Lynch am & Helen Bauer Chair

15 Kirsten Williams, Associate Concertmaster I Kallinikos Chair

FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM,

CALL (02) 8215 4619.

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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. Donations of $50 and above are acknowledged on our website at www.sydneysymphony.com/patrons

DIAMOND PATRONS: $30,000+Geoff Ainsworth am

Anne & Terrey Arcus am

Doug & Alison BattersbyThe Berg Family FoundationTom Breen & Rachael KohnMr John C Conde ao

Robert & Janet ConstableThe Estate of Dr Lynn JosephMr Andrew Kaldor am &

Mrs Renata Kaldor ao

In Memory of Matthew KrelMrs Roslyn Packer ao

Ian Potter FoundationPaul Salteri am & Sandra SalteriScully FoundationMrs W SteningMr Fred Street am &

Mrs Dorothy StreetPeter Weiss ao & Doris WeissMr Brian & Mrs Rosemary WhiteKim Williams am & Catherine

Dovey

PLATINUM PATRONS: $20,000–$29,999Brian AbelRobert Albert ao & Elizabeth

AlbertSandra & Neil BurnsJames & Leonie Furber

I KallinikosHelen Lynch am & Helen BauerMrs T Merewether oam

Mrs Barbara MurphyMr B G O’ConorVicki OlssonAndy & Deirdre PlummerDavid RobertsonMrs Penelope Seidler am

G & C Solomon in memory of Joan MacKenzie

Geoff StearnRay Wilson oam in memory of

James Agapitos oam

Anonymous (1)

GOLD PATRONS: $10,000–$19,999Bailey Family FoundationAlan & Christine BishopAudrey BlundenMr Robert BrakspearIan & Jennifer BurtonMr Robert & Mrs L Alison CarrBob & Julie ClampettMichael Crouch ao & Shanny

CrouchThe Hon. Mrs Ashley

Dawson-Damer am

Paul EspieEdward & Diane FedermanNora Goodridge

Mr Ross GrantMr Ervin KatzJames N Kirby FoundationRuth & Bob MagidThe Hon. Justice AJ Meagher &

Mrs Fran MeagherMr John MorschelDrs Keith & Eileen OngGarry & Shiva RichCaroline WilkinsonAnonymous (2)

SILVER PATRONS: $5000–$9,999Dr Francis AugustusStephen J BellDr Hannes & Mrs Barbara

BoshoffMr Alexander & Mrs Vera

BoyarskyPeter Braithwaite & Gary

LinnaneMr David & Mrs Halina BrettEwen Crouch am & Catherine

CrouchIan Dickson & Reg HollowayIn memory of Dr Lee

MacCormick EdwardsDr Stephen Freiberg & Donald

CampbellDr Colin GoldschmidtThe Greatorex Foundation

Rory & Jane JeffesThe late Mrs Isabelle JosephFrank Lowy am & Shirley

Lowy oam

J A McKernanDavid Maloney am & Erin

FlahertyR & S Maple-BrownJustice Jane Mathews ao

Mora MaxwellWilliam McIlrath Charitable

FoundationJohn & Akky van OgtropSeamus Robert QuickRodney Rosenblum am &

Sylvia RosenblumDr Evelyn RoyalThe late Greta C RyanManfred & Linda SalamonMrs Joyce Sproat &

Mrs Janet CookeMr John Symond am

David Tudehope & Liz DibbsMr Robert & Mrs Rosemary

WalshWestpac GroupMichael & Mary Whelan TrustIn memory of Geoff WhiteJune & Alan Woods Family

BequestAnonymous (2)

BRONZE PATRONS: PRESTO $2,500–$4,999Mr Henri W Aram oam

Ian BradyMr Mark BryantDr Rebecca ChinDr Diana Choquette &

Mr Robert MillinerMr B & Mrs M ColesMr Howard ConnorsGreta DavisFirehold Pty LtdWarren GreenAnthony GreggAnn HobanIrwin Imhof in memory of

Herta ImhofMr John Lam-Po-TangJames & Elsie MooreMr Darrol NormanMs Jackie O’BrienDr Agnes E SinclairTony StrachanYim Family Foundation

BRONZE PATRONS: VIVACE $1,000–$2,499Mrs Lenore AdamsonMrs Antoinette AlbertRae & David AllenAndrew Andersons ao

Mr Matthew AndrewsThe Hon Justice Michael BallDavid BarnesMr Garry BessonAllan & Julie BlighJan BowenLenore P BuckleMargaret BulmerIn memory of RW BurleyMrs Rhonda CaddyMrs Stella ChenMs Suzanne CollinsJoan Connery oam &

Maxwell Connery oam

Debby Cramer & Bill CaukillMr John Cunningham scm &

Mrs Margaret CunninghamLisa & Miro DavisElizabeth DonatiColin Draper & Mary Jane

BrodribbProf. & Mrs John EdmondsMalcolm Ellis & Erin O’Neill

Mrs Margaret EppsProfessor Michael Field am

Mr Tom FrancisMr Matt GarrettVivienne Goldschmidt &

Owen JonesMrs Fay GrearIn Memory of Angelica GreenAkiko GregoryMr & Mrs Harold & Althea

HallidayJanette HamiltonAngus HoldenDr & Mrs Michael HunterMichael & Anna JoelMrs W G KeighleyDr Andrew KennedyAron KleinlehrerMr Andrew Korda & Ms Susan

PearsonMr Justin LamMr Peter Lazar am

Professor Winston LiauwAirdrie LloydPeter Lowry oam & Dr Carolyn

Lowry oam

Kevin & Deirdre McCannIan & Pam McGawMacquarie Group Foundation

Barbara MaidmentJohn MarRenee MarkovicHenry & Ursula MooserMilja & David MorrisMrs J MulveneyDr Mike O’Connor am

Mr & Mrs OrtisMr Andrew C PattersonDr Natalie E PelhamAlmut PiattiIn memory of Sandra Paul

PottingerDr Raffi QasabianMichael QuaileyMr Patrick Quinn-GrahamErnest & Judith RapeeKenneth R ReedPatricia H Reid Endowment

Pty LtdDr Marilyn RichardsonLesley & Andrew RosenbergIn memory of H St P ScarlettMr Samuel F ShefferDavid & Alison ShilligtonDavid Smithers am & Isabel

SmithersDr Judy SoperMrs Judith Southam

25

PLAYING YOUR PART

TO FIND OUT MORE ABOUT BECOMING A

SYDNEY SYMPHONY ORCHESTRA PATRON, PLEASE

CONTACT THE PHILANTHROPY OFFICE ON (02) 8215 4674

OR EMAIL PHILANTHROPY@SYDNEYSYMPHONY.COM

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Ms Barbara SpencerMrs Elizabeth SquairCatherine StephenThe Hon. Brian Sully qc

Mrs Margaret SwansonThe Taplin FamilyKevin TroyJohn E TuckeyJudge Robyn TupmanDr Alla WaldmanMiss Sherry WangWestpac Banking CorporationHenry & Ruth WeinbergThe Hon. Justice A G WhealyDr Richard T WhiteMrs Leonore WhyteA Willmers & R PalDr Edward J WillsProf. Neville Wills & Ian

FenwickeAnn & Brooks C Wilson am

Dr Richard WingDr Peter Wong & Mrs Emmy K

WongGeoff Wood & Melissa WaitesSir Robert WoodsMr & Mrs Lindsay WoolveridgeIn memory of Lorna WrightDr John YuAnonymous (15)

BRONZE PATRONS: ALLEGRO $500–$999Ms Jenny AllumMr Peter J ArmstrongGarry & Tricia AshMr & Mrs George BallDr Lilon BandlerBarlow Cleaning Pty LtdMichael Baume ao & Toni BaumeBeauty Point Retirement ResortMr Michael BeckDr Andrew BellRichard & Margaret BellMrs Jan BiberMinnie Biggs

G D BoltonMr Colin G BoothDr Margaret BoothIn memory of Jillian BowersMrs R D Bridges obe

R D & L M BroadfootDr Peter BroughtonDr David BryantArnaldo BuchDr Miles BurgessPat & Jenny BurnettEric & Rosemary CampbellMr JC Campbell qc &

Mrs CampbellBarrie CarterMr Jonathan ChissickMrs Sandra ClarkIn memory of Beth HarpleyMr Phillip CornwellDom Cottam & Kanako ImamuraDr Peter CraswellMr David CrossPhil Diment am & Bill ZafiropoulosDr David DixonSusan DoenauMrs Jane DrexlerDr Nita DurhamJohn FavaloroMrs Lesley FinnMs Julie Flynn & Mr Trevor CookMrs Paula FlynnMr John GadenClive & Jenny GoodwinRuth GrahameMr Robert GreenRichard Griffin am

Dr Jan GroseBenjamin Hasic & Belinda DavieMr Robert HavardMrs Joan HenleyRoger HenningSue HewittIn memory of Emil HiltonDorothy Hoddinott ao

Mr Kevin Holland & Mrs Roslyn Andrews

Bill & Pam HughesMs Cynthia KayeMrs Margaret KeoghDr Henry KilhamDr Joyce KirkChris J KitchingMrs Patricia KleinhansAnna-Lisa KlettenbergSonia LalL M B LampratiElaine M LangshawDr Leo & Mrs Shirley LeaderMargaret LedermanMrs Erna LevyMrs A LohanMr Gabriel LopataPanee LowDr David LuisMelvyn MadiganMs Jolanta MasojadaHelen & Phil MeddingsI MerrickLouise MillerPatricia MillerKenneth Newton MitchellHelen MorganChris Morgan-HunnMr Graham NorthE J NuffieldMr Sead NurkicDr A J PalmerDr Kevin PedemontDr John PittMrs Greeba PritchardThe Hon. Dr Rodney Purvis am

& Mrs Marian PurvisMiss Julie RadosavljevicRenaissance Tours

Anna RoMr David RobinsonAgnes RossMrs Christine Rowell-Miller Mr Kenneth RyanGarry Scarf & Morgie BlaxillPeter & Virginia ShawV ShoreMrs Diane Shteinman am

Victoria SmythDoug & Judy SotherenColin SpencerJames & Alice SpigelmanAshley & Aveen StephensonMargaret & William SuthersDr & Mrs H K TeyDr Jenepher ThomasMr Michael ThompsonMs Rhonda TingAlma TooheyMrs M TurkingtonGillian Turner & Rob BishopMr Robert VeelRonald WalledgeIn memory of Denis WallisIn memoriam JBL WattMiss Roslyn WheelerThe Wilkinson FamilyAudrey & Michael WilsonYetty WindtDr Richard WingateMr Evan WongMrs Robin YabsleyAnonymous (45)

SYDNEY SYMPHONY ORCHESTRA VANGUARDA MEMBERSHIP PROGRAM FOR A DYNAMIC GROUP OF GEN X & Y SSO FANS AND FUTURE PHILANTHROPISTS

Vanguard CollectiveJustin Di Lollo ChairBelinda BentleyAmelia Morgan-HunnJonathan PeaseShefali PryorSeamus R QuickCamille Thioulouse

MembersJames ArmstrongJoan BallantineAndrew BaxterMar BeltranNicole BilletDavid BluffPeter BraithwaiteBlake Briggs

Andrea BrownMelanie BrownProf. Attila BrungsIan & Jennifer BurtonHelen CaldwellHilary CaldwellPaul ColganJuliet CurtinAlvaro R FernandezAlastair FurnivalAlexandra GibsonSam GiddingsMarina GoJeremy GoffTony GriersonLouise HaggertyRose HercegPhilip Heuzenroeder

Francis HicksPeter HowardJennifer HoyKatie HryceJustin JamesonJonathan KennedyAernout KerbertPatrick KokAlisa LaiTristan LandersGary LinnaneGabriel LopataKylie McCaigRebecca MacFarlingDavid McKeanTaine MoufarrigeNick NichlesKate O’Reilly

Sudeep RaoMichael ReedePaul ReidyChris RobertsonDr Benjamin RobinsonJacqueline RowlandsBenjamin SchwartzCaroline SharpenKatherine ShawRandal TameSandra TangMichael TidballMark TimminsKim WaldockJonathan WatkinsonJon WilkieYvonne Zammit

26

SALUTE

The Sydney Symphony Orchestra is assisted by the

Commonwealth Government through the Australia Council,

its arts funding and advisory body

GOVERNMENT PARTNERS

The Sydney Symphony Orchestra is

assisted by the NSW Government

through Arts NSW

PRINCIPAL PARTNER

EDUCATION PARTNERPLATINUM PARTNER

MAJOR PARTNERS

GOLD PARTNERS

REGIONAL TOUR PARTNER MARKETING PARTNERVANGUARD PARTNER

PREMIER PARTNER

SILVER PARTNERS

s i n f i n i m u s i c . c o m

UNIVERSAL MUSIC AUSTRALIA

Salute 2014_FOUR-2A_23Jul.indd 1 23/07/14 9:03 AM

❝The rehearsals are not always pretty.

❞each other. It’s fun to watch them both being so diplomatic! But I’m so impressed with the patience that they’ve shown the children.’

For Jane’s own pre-concert preparation, she likes to take deliberate time getting ready. ‘I’ll have dinner in the green room – grateful thanks to the canteen! – and then get dressed and go up on stage quite early.’ That gives her viola time to acclimatise to the temperature and humidity in the hall. ‘I notice if the temperature changes a lot. My viola is pretty stable, but it can affect the tuning. Galamian’s book Principles of Violin: Playing & Teaching says you should be able to play in tune even when your instrument is out of tune, but I like to give myself a helping hand by starting with an instrument that’s in tune!’

Chair Patrons Bob & Julie Clampett support Jane Hazelwood’s Viola Chair in memory of their daughter Carolyn Clampett. To find out more about the Chair Patrons program call (02) 8215 4619.

Any parent in search of an instrument for their young child would do well to consider the viola. Why? Well, as violist Jane Hazelwood says, if they were to one day end up in the viola section of an orchestra, they’d find a ‘very friendly, quite relaxed group of musicians who work together in a democratic and very supportive way’. Jane continues: ‘I really love to feel as if I’m part of a team. I love it when I can listen to the whole viola sound, and not just me. As a section, we’re on a journey trying to make a group sound – we’re a team.’

Music has long been a part of Jane’s life, from early days at National Music Camps when her parents – former SSO

concertmaster Don Hazelwood and clarinettist Anne Menzies – tutored many of today’s great orchestral players. ‘In our family,’ says Jane, ‘my brother and I were allowed to choose our own instrument, but the rule was we had to stick with it until we were 14 years old.’ Jane’s three children were also invited to pick an instrument to study.

With so many musicians in the family, it was only natural they start their own concert series. ‘The rehearsals,’ laughs Jane, ‘are not always pretty. My father and my husband [Carl Pini, former concertmaster of the MSO and the Philharmonia Orchestra] are bending over backwards to be respectful to

FAMILY AFFAIRA career in music was inevitable for violist Jane Hazelwood

ORCHESTRA NEWS | SEPTEMBER–OCTOBER 2014

SSO Bravo! #7 2014 Insert.indd 1 10/09/14 8:11 AM

Our Chief Conductor David Robertson surprised guests at our latest Vanguard event with a special appearance playing his Fender Stratocaster electric guitar. He joined 12 of our musicians at Carriageworks for an intimate performance of Terry Riley’s minimalist masterpiece In C. David told us afterwards: ‘At first I was very nervous, but then the way the musicians were playing was so enjoyable that I relaxed into it and that was really fun.’ For more information on Vanguard head to www.sydneysymphony.com/ vanguard

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Rob

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How does each member of the orchestra knows exactly when to start playing their instrument? After all, the music in front of them is just for their particular instrument, isn’t it?Sarah via email.

An individual orchestral part doesn’t just tell the musician what notes to play but also indicates when and for how long they must remain silent. There are symbols for precisely indicating periods of rest, whether at the beginning of the piece or at any point during

the music. Counting very long periods of rest requires tremendous focus, and if you look very closely, you might even spot a musician or two counting subtly on their fingers to help keep track in performance!

In addition, individual parts may sometimes include a cue, printed in smaller notation, that will indicate an important melody or rhythm that is being played by someone else immediately before the relevant entry. This helps those musicians who prefer to listen to what their colleagues are playing

and rely on their ears to signal when their next entry is approaching.

And finally, part of the conductor’s job is to cue or signal to the musicians when they are meant to enter. Not for every single entry, of course, but certainly for especially important or tricky entries.Have a question about music, instruments or the inner workings of an orchestra? ‘Ask a Musician’ at yoursay@sydneysymphony.com or by writing to Bravo! Reply Paid 4338, Sydney NSW 2001.

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Artistic HighlightSkelton –v– Tristan

Stuart Skelton

The heldentenor – ‘hero tenor’ in German – is a rare beast indeed. Capable of producing big, dramatic, ringing sounds, the heldentenor also has to have the ability to soar and sustain in the upper ranges. Stuart Skelton is just such a singer and has the ‘cords of steel’ to prove it.

In 2015, Stuart takes on the title role in Wagner’s Tristan und Isolde, David Robertson’s next opera in the concert hall project. David was particularly excited about working with Stuart: ‘You see these people coming available and you shout, “Hold them, don’t lose them!”’

This performance will be Stuart’s first-ever Tristan – truly an epic milestone in the career of any singer. Stuart says this role ‘has always been the one that I wanted, no, needed to conquer. I feel at once excited, intimidated, elated and…scared.’ The prospect of making this significant role debut in his hometown no doubt offers great reassurance for this hero tenor.

If you enjoyed The Flying Dutchman (2013) and Elektra (2014), then Tristan und Isolde is a must! 2015 Season subscribers enjoy priority access to tickets

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to those institutions that have been meaningful in his life. In remembering the SSO, Ray says he’s able ‘to deepen, in a very concrete way, my involvement with the orchestra. The Legacy Society initiative of arranging an annual lunch and other events for notified bequestors is establishing a body of likeminded people who can regularly get together, which in itself will be socially rewarding. And it’s a chance to get to know more people within the institution. Everyone goes away revitalized.’

Ray remembers former chief conductor Stuart Challender, for whom the Legacy Society has been named, as ‘a great physical presence on stage. I think his rapport with the musicians, because he was Australian, created a stronger bond. The orchestra certainly respected him, and he always brought the best out of them.’

If you’re considering supporting the SSO with a gift in your will, we encourage you to contact our Head of Philanthropy, Luke Andrew Gay. Your enquiry will be handled confidentially and with sensitivity. (02) 8215 4625 Luke.Gay@sydneysymphony.com sydneysymphony.com/plannedgiving

Ray Wilson was 23 years old when he first heard the Sydney Symphony Orchestra. ‘One of the perks of working at the ABC in the 70s was the staff discount tickets for concerts at Sydney Town Hall,’ recalls Ray. ‘James [Ray’s partner in business and in life] and I went to an electrifying performance of the Beethoven Emperor Concerto with Vladimir Ashkenazy at the piano. It was the first time in my life that I had experienced a whole audience giving a standing ovation. It was very, very moving.’ From that moment on, says Ray, ‘the SSO really became a part of my life.’

Ray is a founding member of the newly established Stuart Challender Legacy Society, a special group of people who’ve made notified bequests to the orchestra. Ray’s not shy when talking about drawing up his will. ‘I think we’re obligated to write a will from an early age. It’s the responsible thing to do. Coming from a poor background, I’ve been incredibly fortunate in life. I find [updating my will] a very stimulating exercise, in thinking through who I should support, who needs to be remembered, what my obligations to family are.’

As a part of Ray’s considerations, he’s also made sure to give something back

Philanthropy Focus

A FORTUNATE LIFE

Ray Wilson sees the new Stuart Challender Legacy Society as a way of deepening his involvement with the SSO.

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The ScoreConcerto for a Sewing Machine HeiressMost Sydney music-lovers agree that the Grand Organ of the Sydney Opera House doesn’t appear in concert programs nearly enough. But at the end of October our performances of Mahler Seven will be preceded by Poulenc’s Organ Concerto, featuring David Drury as soloist.

We’ll be hearing it played on the world’s largest mechanical tracker-action pipe organ in a hall that seats more than 2,500, but the concerto began life in more intimate – although still impressive – surroundings. Its first (private) performance in 1938 was given in the studio of the Princesse de Polignac with Maurice Duruflé playing her Cavaillé Coll organ.

And who was this princess who had a pipe organ in her Paris mansion and boasted Nadia Boulanger as her musical advisor? She’d grown up as Winnaretta Singer, heiress to the sewing machine fortune. The Princesse was an accomplished pianist and organist who had already commissioned a double piano concerto from Poulenc. Her generosity and vision as a patron gave the world music by composers such as Stravinsky, Falla, Milhaud, Weill and Satie.

Poulenc’s concerto will probably remind you of Bach but it also has the air of the French style – ‘pompous, gay and pungent’ – exploiting the thrilling sonorities of the modern organ.

Mahler 7: Night MusicAPT Master Series 29, 31 Oct, 1 Nov, 8pm

David Drury

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EDITOR Genevieve Huppert sydneysymphony.com/bravo

CONGRATULATIONSWe’re mighty proud of Richard Gill oam and Kim Waldock who were both recognised for their contributions towards music in Australia at the recent APRA Music Awards. Richard was recognised for Distinguished Services to Australian Music and Kim received the NSW State Award for Excellence in Music Education. Bravi!

NEW CHAIR PATRONSWe’d like to welcome and acknowledge our new Chair Patrons: Iphy Kallinikos (Associate Principal Violin Chair, Kirsten Williams), Bob and Julie Clampett, in memory of their daughter Carolyn (Viola Chair, Jane Hazelwood), Garry and Shiva Rich and family (Principal Cello Chair, Umberto Clerici), Barbara Murphy (Associate Principal Oboe Chair, Shefali Pryor), and Simon Johnson (Assistant Concertmaster Chair, Lerida Delbridge).

DRAGON FLUTEOur Night Lounge audience at the end of August witnessed the Sydney Opera House debut of the ry–uteki, the Japanese dragon flute, played by Rosamund Plummer. If you’d like to know more about this haunting instrument and Rosamund’s journey of musical discovery, check out her blog: bit.ly/RyutekiRose

GIDDY ELEKTRAWe shared Christine Goerke’s recent delight at winning the Helpmann Award for Best Female Performer in an Opera for her performances in the title role of Elektra earlier this year. On learning the news, she tweeted with excitement: ‘I WON?! Holy Cow!! Thank you so much!! #giddy #nicewaytostarttheday’

CITY2SURFA record number of SSO musicians and staff combined forces to run this year’s City2Surf. Fourteen spirited souls joined Team Sydney Symphony Sprint to raise nearly $1,000 for the Starlight Children’s

Foundation. And special congratulations to Principal Trumpet David Elton and our Head of Philanthropy Luke Gay for finishing with the first 1750 runners with times just shy of 60 minutes!

GOLDBERG TAPESTRYFollowing the enthusiastic reception we received from a packed house at our recent Strauss chamber music concert in the Utzon Room, we’ve planned another chamber music event in the larger Verbrugghen Hall at the Sydney Conservatorium. On Wednesday 15 October we’re presenting A Goldberg Tapestry, with selections from Bach’s Goldberg Variations woven together with music of our own time, including Luciano Berio’s Sequenza V for solo trombone, Nguurra by SSO violinist Georges Lentz, and a lively Basque-inspired ‘Dialogue’ for two piccolos and drum by Spanish flautist Roberto Casado.

CODA

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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 17398 — 1/190914 — 27 S68/70

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Chairman 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 & DarwinSydney Opera House TrustMr John Symond am [Chair]Ms Catherine Brenner, The Hon Helen Coonan, Ms Brenna Hobson, Mr Chris Knoblanche, Mr Peter Mason am, Ms Jillian Segal am, Mr Robert Wannan, Mr Phillip Wolanski am

Executive ManagementChief Executive Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Louise Herron am

Chief Operating Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Claire SpencerDirector, Programming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jonathan BielskiDirector, Theatre & Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .David ClaringboldDirector, Building Development & Maintenance . . . . . . . . . . .Greg McTaggartDirector, Marketing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Anna ReidDirector, 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

SSO Bravo! #7 2014 Insert.indd 4 10/09/14 8:13 AM

Symphony Services InternationalSuite 2, Level 5, 1 Oxford Street, Darlinghurst NSW 2010PO Box 1145, Darlinghurst NSW 1300Telephone (02) 8622 9400 Facsimile (02) 8622 9422www.symphonyinternational.net

Clocktower Square, Argyle Street, The Rocks NSW 2000GPO Box 4972, Sydney NSW 2001Telephone (02) 8215 4644Box Office (02) 8215 4600Facsimile (02) 8215 4646www.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

PAPER PARTNER

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 17398 — 1/170914 — 27 S68/70

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 2021PO Box 410, Paddington NSW 2021Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: admin@playbill.com.au Website: www.playbill.com.au

Chairman 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 & DarwinSydney Opera House TrustMr John Symond am [Chair]Ms Catherine Brenner, The Hon Helen Coonan, Ms Brenna Hobson, Mr Chris Knoblanche, Mr Peter Mason am, Ms Jillian Segal am, Mr Robert Wannan, Mr Phillip Wolanski am

Executive ManagementChief Executive Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Louise Herron am

Chief Operating Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Claire SpencerDirector, Programming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jonathan BielskiDirector, Theatre & Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .David ClaringboldDirector, Building Development & Maintenance . . . . . . . . . . .Greg McTaggartDirector, Marketing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Anna ReidDirector, 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