EDO DE WAART CONDUCTS MOZART & ELGAR

THURSDAY AFTERNOON SYMPHONY

Thursday 3 December 2015EMIRATES METRO SERIES

Friday 4 December 2015GREAT CLASSICS

Saturday 5 December 2015

Peter Cetera Live with your SSO Successful solo artist and former lead singer of Chicago, hear all your favourite hits Glory of Love, Hard to Say I’m Sorry, If You Leave Me Now at the State Theatre.

Fri 11 Dec 8pm Sat 12 Dec 2pm Sat 12 Dec 8pm State Theatre, Sydney

Symphony in The Domain Spread your blanket under the stars and enjoy the sounds of the Orchestra with your family and friends in The Domain. Program to be announced.

FREE EVENT Presented by Sydney Festival

Sat 16 Jan 8pm The Domain, Sydney

Beethoven Alive BEETHOVEN Symphony No.1* BEETHOVEN Symphony No.8 BEETHOVEN Symphony No.7*

Vladimir Ashkenazy conductor

Thursday Afternoon Symphony

Thu 4 Feb 1.30pmTea and Symphony

Fri 5 Feb 11am* complimentary morning tea from 10amGreat Classics

Sat 6 Feb 2pmMondays @ 7

Mon 8 Feb 7pm

Beethoven Triumphant BEETHOVEN Piano Concerto No.5 (Emperor) BEETHOVEN Symphony No.4

Vladimir Ashkenazy conductor Garrick Ohlsson piano

APT Master Series

Wed 10 Feb 8pm Fri 12 Feb 8pm Sat 13 Feb 8pm

Garrick Ohlsson in Recital GRANADOS Goyescas MUSSORGSKY Pictures at an Exhibition

International Pianists in Recital Mon 15 Feb 7pm City Recital Hall Angel Place

Beethoven AscendantBEETHOVEN Violin Concerto BEETHOVEN Symphony No.5

Vladimir Ashkenazy conductor • James Ehnes violin

SPECIAL EVENT Premier Partner Credit Suisse

Wed 17 Feb 8pm Thu 18 Feb 8pm Fri 19 Feb 8pm

Serenade: Mozart & StraussR STRAUSS Serenade in E flat for 13 winds MOZART Violin Rondo in B flat, K269 R STRAUSS Metamorphosen MOZART Violin Rondo in C, K373

James Ehnes violin-director 2016 SSO Fellows & SSO Musicians

Tea and Symphony

Fri 19 Feb 11am complimentary morning tea from 10am

Wynton Marsalis and the SSO Swing SymphonyBERNSTEIN Fancy Free – Ballet BERNSTEIN Prelude, Fugue and Riffs MARSALIS Swing Symphony AUSTRALIAN PREMIERE

David Robertson conductor • Wynton Marsalis trumpet Francesco Celata clarinet Jazz at Lincoln Center Orchestra

SPECIAL EVENT

Wed 24 Feb 8pm

concert diary

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SSO PRESENTS

WELCOME TO THE EMIRATES METRO SERIES

This year continues to be a milestone year for Emirates and marks 15 years of flying into Sydney and our 13th anniversary with the Sydney Symphony Orchestra.

Our partnership with the SSO is an integral part of our long-term commitment to the arts in Sydney, and Australia. This is one of our longest partnerships and we are proud to continue being the Principal Partner of the SSO as well as supporting the Metro concert series in particular.

Year after year, the SSO continually offers a first-class performance to its audiences, bringing together the finest classical music talents, similar to Emirates, which strives to deliver a first-class service and unforgettable flying experience to all our guests.

Both the SSO and Emirates specialise in world-class entertainment and with our airline’s award winning inflight entertainment system, ice, with up to 2,000 channels to choose from, those flying on Emirates will even be able to watch selected SSO concerts onboard. Emirates customers can also look forward to some of the finest wines available, paired with menus created by leading chefs, while being served by Emirates’ multilingual Cabin Crew.

The Emirates global network now features services to 147 destinations in 79 countries, ensuring there is the perfect destination for every traveller. From November 2015, Emirates will have increased its European network to 38 destinations with the addition of its fourth Italian Gateway, Bologna.

At Emirates, we’re proud to connect travellers around the globe, bringing people together to discover, enjoy, and share experiences. Similarly, our partnership with the SSO is about connecting with you – our customers. We are pleased to continue our support of the SSO and encourage you to enjoy all the performances you can in 2015.

Barry BrownEmirates Divisional Vice President, Australasia

Pre-concert talk by David Garrett in the Northern Foyer, 45 minutes before each performance. Visit sydneysymphony.com/speaker-bios for more information.

Estimated durations: 8 minutes, 31 minutes, 20-minute interval, 50 minutes

The concert will conclude at approximately 3.30pm (Thu), 10pm (Fri), 4pm (Sat).

COVER IMAGE: Ghost Gum at Kangaroo Flat (1921) by Penleigh Boyd (1890–1923)

EDO DE WAART CONDUCTS MOZART & ELGAREdo de Waart conductor Ronald Brautigam piano

ROSS EDWARDS (born 1943) White Ghost Dancing (2007)

WOLFGANG AMADEUS MOZART (1756–1791) Piano Concerto No.24 in C minor, K491

Allegro Larghetto Allegretto

INTERVAL

EDWARD ELGAR (1857–1934) Symphony No.1 in A flat, Op.55

Andante (Nobilmente e semplice) – Allegro Allegro molto –  Adagio Lento – Allegro

THURSDAY AFTERNOON SYMPHONY THURSDAY 3 DECEMBER, 1.30PM

EMIRATES METRO SERIES FRIDAY 4 DECEMBER, 8PM

GREAT CLASSICS SATURDAY 5 DECEMBER, 2PM

SYDNEY OPERA HOUSE CONCERT HALL

2015 concert season

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Ross Edwards Edward Elgar c.1903 – a sepia bromide print by Charles F Grindod.

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Unfinished portrait of Mozart by his brother-in-law Joseph Lange – the outline of the missing portion suggests the finished version would have shown the composer seated at the piano.

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Edo de Waart conducts Mozart & ElgarWelcome to the final program in the 2015 SSO subscription series. It’s a program that goes to the heart of what a symphony orchestra does best: masterpieces in the romantic vein (Elgar), classic concertos (Mozart) and music from our own time and place (Edwards).

Conducting the concert is our former chief, Edo de Waart, and joining us is his fellow countryman, Dutch pianist Ronald Brautigam. The Mozart piano concerto they’ve chosen is a staple of the modern concert hall – much loved for its almost Beethovenian drama – but we can be assured of an especially stylish interpretation from a pianist who performs nearly as often with period instrument ensembles as with modern orchestras.

Elgar admired Mozart and saw him as an inspiration. As a 19 year old he’d begun a pastiche symphony based on Mozart’s No.40 in G minor after playing violin in a performance of it. Even at that age he likely regarded the symphony genre as ‘the highest achievement’ of musical art, although he was 50 before his first symphony took shape.

Perhaps what the two composers share is a cosmopolitan instinct. Mozart, of course, travelled all over Europe, and even to London, as a boy, and he experienced and drew from the best of the Italian and French styles as well as the virtuosity of orchestras in places such as Mannheim. In many ways Elgar’s influences and aspirations were similarly cosmopolitan, a thought that can seem surprising if you’ve been sold on the idea of Elgar as the ‘quintessential Englishman’, with a staid and ‘soldierly’ persona. In fact he sought out and heard much music, including the latest compositions, as he shaped his own musical education, and that included the Europeans. And his orchestral craft came principally from models across the Channel.

Ross Edwards is a composer who has largely followed his own path, developing a style that is both universal in its scope and deeply connected to its Australian roots. In White Ghost Dancing we hear Edwards’ distinctive maninya, or dance–chant, style. This is music that literally dances, bringing a kinetic energy to the concert hall.

INTRODUCTION

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ABOUT THE MUSIC

Ross Edwards (born 1943) White Ghost Dancing (2007)The composer writes…

There are recorded instances of Aboriginal people mistaking early Europeans in Australia for the ghosts of their ancestors, since ghosts were believed to be light-coloured. As I composed White Ghost Dancing, the concept of a white ghost came to symbolise non-indigenous Australia’s innate aboriginality – its capacity to transform and heal itself through spiritual connectedness with the earth.

I believe that music, which has enormous therapeutic properties and, for me, a close relationship with ritual – and especially dance – is destined to make an important contribution to this transformation and healing; hence the title.

Typical of my maninya (dance–chant) pieces, White Ghost Dancing is a compact mosaic of unconsciously processed shapes and patterns from the natural world: fragments of birdsong, insect and frog rhythms, as well as fleeting references to other works of mine, and fusions of Aboriginal and Gregorian chant.

ROSS EDWARDS © 1999

White Ghost Dancing was completed in 1999, a commission for the Tasmanian Symphony Orchestra and conductor David Porcelijn, to whom it is dedicated. The TSO gave the premiere in 2000 and brought it to Sydney the following year. The SSO presented it in the Meet the Music Series in 2002, performed on that occasion by the Australian Youth Orchestra. More recently the music became a movement in Edwards’ score for Nicolo Fonte’s ballet The Possibility Space, premiered by the Australian Ballet in 2008. At that point the piece was expanded through repetition, says Edwards, ‘to make it more emphatic and suitable for dance’. The result, which also adds a piano to the orchestration, is ‘bolder and bouncier’ and has replaced the original version for concert hall performance as well.

About the composer…

One of Australia’s best-known and most performed composers, Ross Edwards has created a distinctive sound world which seeks to reconnect music with elemental forces and restore its traditional association with ritual and dance. His music, universal in that it is concerned with age-old mysteries surrounding humanity, is at the same time deeply connected to its roots in Australia, whose cultural diversity it celebrates, and from whose natural environment it draws inspiration, especially birdsong and the mysterious patterns and drones of insects.

Maninya styleAs Gordon K Williams describes it, Ross Edwards’ music can lead us ‘from a state of meditation to an effervescence or buoyancy of mind…as when the dancing impulses of his famous maninya style kick in’. This style emerged in Edward’s hour-long Maninya cycle of five pieces for different combinations of instruments and voice. The title was drawn from the text of the first piece Maninya I for voice and cello (1981), which used randomly chosen syllables. Meaningless at first, the word ‘maninya’ has since come to refer to Edwards’ music of this type: dance–chant, characterised by subtly-varied repetitions and static harmony tempered by lively tempos.

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*See T&C at sydneysymphony.com ©Emma Chichester Clark, Illustration Reproduced by permission of Walker Books Ltd, London

All three concerts for just $87* | 6–12 year olds | Sydney Opera Housesydneysymphony.com/subscriptions

From James Morrison’s jazzy hits to The Composer is Dead with Frank Woodley, or the magic of The Pied Piper of Hamelin, these magical introductions to orchestral music will plant the seed for a lifetime love of orchestral music.

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FamilyconcertsNew in 2016

The Pied Piper of HamelinSun 9 Oct | 2pmColin Matthews The Pied Piper of Hamelin Australian premiere

Toby Thatcher conductor Sydney Children’s Choir

The Composer is DeadSun 22 May | 2pmStookey & Snicket The Composer is Dead

Toby Thatcher conductor Frank Woodley narrator and The Inspector

James Morrison PresentsSun 20 Mar | 2pmFamily fun and jazzy hits from Dixieland to Duke Ellington, and beyond.

Benjamin Northey conductor James Morrison jazz trumpet and presenter

As a composer living and working on the Pacific Rim, he is conscious of the exciting potential of this vast region.

Ross Edwards’ compositions include five symphonies, concertos, choral, chamber and vocal music, children’s music, film scores, a chamber opera and music for dance. His Dawn Mantras greeted the dawning of the new millennium from the sails of the Sydney Opera House in a worldwide telecast. His compositions often require special lighting, movement and costume, for example Bird Spirit Dreaming, composed for oboist Diana Doherty and the SSO, and more recently Full Moon Dances, a saxophone concerto for Amy Dickson, the SSO and the Australian symphony orchestras. Frog and Star Cycle, a double concerto commissioned for Amy Dickson, percussionist Colin Currie and the SSO, will be premiered in July 2016.

www.rossedwards.com

White Ghost Dancing is scored for two flutes (one doubling piccolo), two oboes, two clarinets (one doubling bass clarinet) and two bassoons (one doubling contrabassoon); four horns, two trumpets and three trombones; timpani and two percussion; harp, piano and strings.

This is the first performance by the SSO of White Ghost Dancing and we believe the first concert performance in Australia of the revised version.

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Wolfgang Amadeus Mozart Piano Concerto No.24 in C minor, K491Allegro Larghetto Allegretto

Ronald Brautigam pianoCadenzas by the soloist

Mozart was so busy between October 1785 and April 1786 that he didn’t even have time to write letters home. Even by his own standards he got through a huge number of major works: a violin sonata, several pieces for the Masonic Lodge of which he was an active member, various ‘insert’ pieces for other operas, some works for wind ensembles, a ‘musical comedy’ Der Schauspieldirektor (The Impresario), three piano concertos and his epochal opera, The Marriage of Figaro. And he found the time to appear as conductor or soloist in at least seven concerts during those six months.

It is true, however, that this period marked the end, for a time at least, of Mozart’s prominence as a soloist. He gave his annual ‘academy’ – a concert in which he would present his newest works – on 7 April in Vienna’s Burgtheater, probably featuring the

Wolfgang Amadeus Mozart, 1789

KeynotesMOZARTBorn Salzburg, 1756 Died Vienna, 1791

In 1781 Mozart moved from Salzburg, where he felt stifled, to Vienna. There he found a fresh audience that was eager to hear him as a composer and as a performer, and in his piano concertos the two opportunities were combined – by 1785 Mozart was approaching the height of his popularity and success in Vienna. Central to his reputation were self-promoted subscription concerts or ‘academies’, which showed him as both composer and performer before the widest possible audience, and his C minor concerto K491 was likely premiered at what was to be the last of these in 1786.

PIANO CONCERTO K491

Mozart composed only two piano concertos in a minor key. This one begins with an emphatic, angular melody played in unison by all the strings and the bassoons – setting the simmering, dramatic tone. But then notice how, at the end of the otherwise stormy first movement, piano and orchestra together bring the music to a surprisingly quiet conclusion. In the second movement listen for the deceptive simplicity of the theme (which reappears as a refrain throughout) and the exquisite writing for the woodwinds. The finale, which so impressed Beethoven, is in variation form, taking a menacing yet dance-like theme as its impetus.

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Concerto envyDuring a rehearsal of the last movement of K491 Beethoven exclaimed to a fellow-pianist and composer: ‘Cramer! Cramer! You and I will never be able to do anything like that!’

C minor concerto, but, unusually for him, he did not plan a series of subscription concerts for the season of Lent as he had in previous years. Mozart’s withdrawal from concerto performance inevitably spawned a number of more or less fanciful theories in the decades which followed, especially given the nature of the C minor concerto: one is the old myth about his falling from favour with the Viennese public – the concerto’s uncompromising nature was supposedly not to Viennese taste. Another, more curious, is the notion that Mozart’s hands were damaged: it was said, by Karl Beethoven for one, that Mozart’s fingers were so bent from constant playing that he was unable to use a knife at table. It is true that bouts of rheumatic fever, from which Mozart suffered on several occasions, can cause arthritis, but as Mozart biographer Maynard Solomon points out, the ‘fine calligraphy’ of Mozart’s scores, not to mention his excellence at billiards, make this hard to believe.

Politically, things were a little strained in Vienna at the time. The Emperor Joseph II was determined to modernise his realm, curtailing the power of the church and nobility (for which reason he supported Mozart’s proposal to make Figaro into an opera), reforming the legal system, abolishing torture, offering a greater degree of liberty than his predecessor. Sadly he was inconsistent in his practice, and about the middle of the decade passed the Freemasonry Act in order to monitor the activities of its members. More disturbingly, in early 1786, the emperor intervened in a murder case with the result that the defendant was publicly and gruesomely executed over a four hour period. As German scholar Volkmar Braunbehrens points out, this all took place a few hundred yards from Mozart’s home, and the composer, about to spend two weeks writing this concerto, can hardly have been unaware of the 30,000-strong crowd in the streets below.

To what extent might all this bear on the music? It is unique in Mozart’s output in several ways: it uses a large orchestra for a vast range of effects; it avoids virtuosic display for its own sake; its first movement is in triple time (itself unusual); the opening theme, characterised by downward steps followed by wide upward leaps, is broken into progressively smaller units by short, gasping silences. The turbulence this creates prefigures Beethoven (who declared he could never surpass this piece), and has led commentators ever since to describe the piece as ‘tragic’ or ‘demonic’. Solomon has noted that in the slow movement of this, as in other works of this time, Mozart summons up ‘every gradation of emotion – from terror to vague feelings of unease, from unbearable intense pleasures bordering on ecstasy to a floating placidity and contentment’. And again,

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*See T&C at sydneysymphony.com

All three concerts for just $99* | City Recital Hall, Angel Placesydneysymphony.com/subscriptions

Playlist is your perfect introduction to classical music – a one-hour informal concert where a member of the SSO curates a unique program – their Playlist – of music that has inspired them and shaped their life. Join us at the bar and meet the musicians after every concert!

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Alexandre’s PlaylistTue 1 Nov | 6.30pmMusic by Bach, Haydn, Martin, Schoenberg and Schubert, and including RAVEL Mother Goose: The Enchanted Garden

Toby Thatcher conductor

Rick’s PlaylistTue 24 May | 6.30pmMusic by JS Bach, Beethoven, Mozart, Elgar and Stravinsky, and including WAGNER Good Friday Music from Parsifal

Brett Weymark conductor

Lerida’s Playlist Tue 15 Mar | 6.30pm Music by Mendelssohn, Fauré, Copland, Mahler and Bach, and including Vaughan Williams The Lark Ascending

Andrew Haveron violin-director Lerida Delbridge violin

New to classical music and want to know more?

LERIDA DELBRIDGE Assistant Concertmaster RICHARD MILLER Principal Timpani ALEXANDRE OGUEY Principal Cor Anglais

in the finale Mozart uses a form beloved of Beethoven and puts his theme through a set of eight variations, exploring a wide range of emotional worlds in the process.

The other factor in the equation is Figaro, of whose importance (both musically and politically) Mozart was well aware. Whether the turmoil and glimpses of beatific peace in this work are the result of Mozart’s response to his circumstances and the times will remain an open question. We can however point out that this work issues from the composer who was in the process of revolutionising the way in which human emotions and relationships could be depicted in music.

GORDON KERRY © 2002

The orchestra for Mozart’s Piano Concerto K491 comprises flute and pairs

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

Mozart entered this concerto in his thematic catalogue on 24 March

1786, and probably gave its first performance in Vienna on 7 April that

year. No cadenzas by Mozart survive for this concerto. The SSO gave a

performance of the last two movements of the concerto with Eugene

Goossens and soloist Michael Mann in 1948, and performed the complete

concerto in 1956 with Bernard Heinze and Paul Badura-Skoda. Our most

recent performance was in 2005 with soloist Stephen Kovacevich and

conductor Yannick Nézet-Séguin (replacing Lorin Maazel at short notice).

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KeynotesELGARBorn Broadheath, 1857 Died Worcester, 1934

Edward Elgar was arguably the first major British composer after Henry Purcell in the 17th century. He came to prominence at the age of 42 with the Enigma Variations; this was followed by The Dream of Gerontius, the finest oratorio by an English- born composer, the violin and cello concertos, and two symphonies – powerful and inventive works that combined the inspiration of his homeland with the technique and musical vision of his European peers.

SYMPHONY NO.1

Elgar was 50 before he completed his first symphony – he’d been delayed by self-doubt and the burden of being, by that time, Britain’s most famous composer. He needn’t have worried: the symphony was a huge success, acclaimed by musicians and audiences.

It is in four movements. The first begins with a slow introduction marked with Elgar’s favourite direction, ‘nobly’ (nobilmente), before moving into the main fast section. The second movement, a march, makes a transition directly into the third, a blissful slow movement that brings us ‘near to Heaven’. The finale progresses from a sinister opening to exultation. Elgar’s First Symphony was completed and premiered in 1908.

Edward Elgar Symphony No.1 in A flat, Op.55Andante (Nobilmente e semplice) – Allegro Allegro molto – Adagio Lento – Allegro

In the closing years of the 20th century, Australians went to a referendum about the nation’s constitutional future – whether to retain a system of constitutional monarchy or, instead, become a republic. And in this concert we listen to a work that celebrates the period in which our current constitution was first put into practice, a musical time machine that – so some critical opinion has it – returns us to a period of opulence, paternalism, the Empire on which the sun never set; of Australia as a colony; of Britain as ‘home’.

At this distance, Elgar’s symphonies are again established as works of real mastery, but fashionable critics of the 1930s through to the 1950s were quick to condemn them. W.J. Turner called them ‘Salvation Army symphonies’. Cecil Gray referred to their ‘lack of spiritual breadth and understanding...the frequent triviality and tawdriness of [their] material’. And Sir Thomas Beecham, never an Elgar enthusiast, called the First Symphony ‘neo-Gothic, the equivalent of the towers of St Pancras Station’.

Nevertheless, the notion that Elgar’s symphonies represent the official musical branch of British imperialism, that they are simply extended versions of a Pomp and Circumstance march, does not stand up to attentive listening. This symphony’s first audiences enjoyed the work precisely because its language conveyed a musical understanding of cultures and landscapes beyond those of the ‘green and pleasant land’ and its Empire. The 19-year-old Neville Cardus, later to become chief critic of the Manchester Guardian (and, for a time, the Sydney Morning Herald), was in the audience for the premiere, and, many years later, described the importance of the event:

Those of us who were students were excited at last to hear an English composer addressing us in a spacious way, speaking a language which was European and not provincial. No English symphony existed then, at least not big enough to make a show of comparison with a symphony by Beethoven or Brahms and go in the program of a concert side by side with the acknowledged masterpieces, and not be dwarfed into insignificance.

Elgar was 50 before he produced a symphony, and it was a long time coming. It may be that the composer of the Enigma Variations and The Dream of Gerontius – already Britain’s most

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famous musical figure – was fearful for his reputation and for his fragile faith in himself should so major a declaration as a First Symphony be a failure. After nearly a decade of prevarication, an Italian holiday in the Northern winter of 1907 got Elgar going on his first symphony, and once it had taken hold of him he completed it in just a few months.

Whatever doubts lay in Elgar’s mind about this ambitious work were banished on the night of its premiere in Manchester on 3 December 1908, when conductor Hans Richter called the composer to the stage not only at the conclusion of the symphony but after the Adagio, to a storm of cheers and applause. The next day Richter began preparing the work with the London Symphony Orchestra for the first performance in the capital. ‘Let us now rehearse the greatest symphony of modern times,’ he told the players, ‘and not only in this country.’ The London performance was another triumph, and within 18 months the symphony had been played a hundred times, in Britain, the United States, in Vienna, Berlin, Leipzig, St Petersburg, Toronto, Budapest and Rome as well as Sydney – an incredible sweep of success before the age of radio.

Listening Guide

The opening of the symphony is a solemn slow march (Andante, marked ‘nobly and simply’). Elgar introduces it quietly, its unpredictable rhythms and harmonies set to a stalking bass line; and then more triumphantly, fortissimo. This theme has a decisive influence on the rest of the symphony. It is not so much a motto theme as a recurring presence, and its arrival at any point acts as a sign that the musical events surrounding it are about to change

‘Let us now rehearse the greatest symphony of modern times, and not only in this country.’HANS RICHTER

Hans Richter conducted the premiere of the First Symphony in Manchester and the equally triumphant London premiere with the London Symphony Orchestra soon after.

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After the introduction, Elgar shifts into a remote key for the main Allegro; music of strife and turbulence, in great contrast to the splendours left behind. A tender second subject for violins and clarinets is introduced briefly, only to be tossed aside for another passage of great ferocity. Then the opening march theme tries to reassert itself before being swept away by more music based on the main Allegro material. As Cardus said of his first hearing of these wild juxtapositions: ‘fountains of string tone, brass instruments in ricochet; no such virtuoso orchestration had been heard before in the music of an Englishman.’ There is a particularly lovely episode for solo violin, harps, solo cello and woodwind, which Elgar asks to be played ‘in a veiled and remote manner’. But these moments of tenderness and repose are banished by the urge for conflict, and the mood becomes hazy and doubtful at the close.

Elgar did not call his second movement a scherzo because it is not playful or humorous, yet it serves this function. The unsettled theme that opens this Allegro molto soon gives way to a malicious quick march, which becomes gleefully evil. Elgar then quickly eases us away into a short, delicate ‘trio’ episode for strings and woodwind, which he once asked to be played ‘like something you hear down by the river’. But, equally swiftly, this collides with a vehement return of the quick march, now scored virtuosically for the brass, until, in the closing minutes, we are given fleeting glimpses of all the ideas encountered in this movement. As the texture clears, the heartbeat of the music seems to slow down almost to a complete stop – the slow movement has begun.

‘My dear friend,’ the dying Jaeger wrote to Elgar after reading through the score of this symphony, ‘that is not only one of the very greatest slow movements since Beethoven, but I consider it worthy of that master.’ Richter agreed. It is a rare expression of contentment in Elgar’s music, and at times seems to be describing a state of bliss. The main theme is, astonishingly, a note-for-note transformation of the Allegro molto’s first tune into music of nobility and consolation. The second subject is more passionate, even operatic, and Elgar brings it to an ecstatic climax. The arrival of a new, unexpected, gentle, wide-ranging theme towards the movement’s end is a moment of tremendous emotional power, bringing us, in Jaeger’s words, ‘near to Heaven’.

The finale opens with a soft, sinister tread that recalls the volatility of the symphony’s first half, which has clearly not been banished by the slow movement. We can make out a new, heavily accented tune on trombones, but are then plunged into a tempestuous Allegro, which opens with a jagged theme for the strings. The new, accented tune rises in fury, before being interrupted by the return of the slow march that dominated the symphony’s beginning, but in a new key, so that, like an old friend

‘…no such virtuoso orchestration had been heard before in the music of an Englishman.’NEVILLE CARDUS

‘near to Heaven’A.J. JAEGER (‘NIMROD’ OF THE ENIGMA VARIATIONS)

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Sydney Opera House TrustTrustees: Nicholas Moore [Chair], Catherine Brenner, The Hon Helen Coonan, Brenna Hobson, Chris Knoblanche am, Deborah Mailman, Peter Mason am, Jillian Segal am, Robert Wannan, Phillip Wolanski am

Chief Executive Officer: Louise Herron am

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changed by circumstance and experience, it is difficult at first to recognise. Finally this ‘recurring presence’ stages a blazing return, but must battle its way through an astonishing orchestral barrage of shocks and explosions before struggling through to affirmation and exultation.

Elgar himself spoke of this symphony embodying ‘a massive hope for the future’, but hope is not certainty, and to conclude this work so ambiguously speaks of Elgar’s own feelings about the discrepancy between the actual – even the possible – and the ideal. It is this, ultimately, that makes him a modern spirit, whatever may have been said about the outward manner and appearance of his music.

ABRIDGED FROM A NOTE BY PHILLIP SAMETZ © 1998

The First Symphony calls for three flutes (one doubling piccolo), two

oboes, cor anglais, two clarinets, bass clarinet, two bassoons and

contrabassoon; four horns, three trumpets, three trombones and tuba;

timpani and percussion (snare drum, cymbal, bass drum); two harps

and strings.

Elgar’s First Symphony was premiered in Manchester on 3 December

1908, under the baton of Hans Richter. The SSO first performed it in 1939

with Malcolm Sargent conducting and most recently in 2008 in Vladimir

Ashkenazy’s Elgar festival.

A massive hope for the future…

Elgar said the First Symphony had no program ‘beyond a wide experience of human life with a great charity (love) and a massive hope for the future’. But we must take this remark carefully. On another occasion Elgar said that he had put all of his life into his music, ‘and also much more that has never happened’. From no late Romantic symphony, on so grand a scale, by a person of such passionate temperament, who so precisely indicates to players and conductor the phrasing and dynamics he wants at all times, can private meanings be absent.

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MORE MUSIC

Broadcast Diary

December

abc.net.au/classic

SSO concerts are regularly broadcast on ABC Classic FM. Visit the website for weekly schedules.

SSO RadioSelected SSO performances, as recorded by the ABC, are available on demand:

sydneysymphony.com/SSO_radio

SYDNEY SYMPHONY ORCHESTRA HOURTuesday 8 December, 6pm

Musicians and staff of the SSO talk about the life of the orchestra and forthcoming concerts. Hosted by Andrew Bukenya.

finemusicfm.com

ROSS EDWARDSABC Classics recently re-released a classic SSO recording of signature music by Ross Edwards. The album features Dene Olding as soloist in the Maninyas violin concerto, conducted by Stuart Challender, and Ian Cleworth in Yarrageh for solo percussion and orchestra. Yarrageh and Symphony da pacem domine are conducted by David Porcelijn. If you don’t own any Edwards recordings, seek out this one for a musical experience that’s both enlivening and profoundly meditative.ABC CLASSICS 438 6102

One of the most memorable of Edwards’ compositions for SSO musicians was the concerto Bird Spirit Dreaming for oboist Diana Doherty, which included dancing for the soloist! You can hear her play it in a recording with the Melbourne Symphony Orchestra conducted by Arvo Volmer. On the same album: The Heart of Night with shakuhachi soloist Riley Lee, and the Clarinet Concerto with David Thomas.ABC CLASSICS 476 3768

In 2012 the SSO performed Full Moon Dreaming, a concerto composed for saxophonist Amy Dickson. That performance, conducted by Miguel Harth-Bedoya, is available on Island Songs, an album of music for saxophone and orchestra. Benjamin Northey conducts the SSO in The Siduri Dances by Brett Dean, and the title work, one of Peter Sculthorpe’s last compositions.ABC CLASSICS 481 1703

More recordings can be found listed under the Discography link on rossedwards.com

RONALD BRAUTIGAM Ronald Brautigam has an extensive discography, almost exclusively on the BIS label. This year he has released two volumes of Mozart piano concertos (K450 and 451 with the Rondo in D, and K449 and 467) recorded on fortepiano with the Kölner Akademie, a period instrument band conducted by Michael Alexander Willens. These are the latest in a series of Mozart concerto albums with these performers. You can find the concerto from this program (K491) paired with K503 in a release from 2011.BIS 1894

Brautigam has also recorded the complete Beethoven sonatas, again on fortepiano, and these are now available in a 9-disc set.BIS 2000

For something less expected (but no less wonderful) look for Brautigam’s recording of the solo piano music of Joseph Martin Kraus – often referred to as the Swedish Mozart (he lived 1756–1792).BIS 1319

Ronald Brautigam’s regular duo partner is violinist Isabelle van Keulen and you can hear them in an album that pairs Grieg’s first violin sonata with the Elgar Violin Sonata in E minor. Elgar’s Sospiri (Sighs) and humoresques by Sibelius fill out the disc.CHALLENGE 72171

ORCHESTRAL ELGAREdo de Waart has recorded Elgar’s First Symphony, together with The Dream of Gerontius, with the Royal Flemish Philharmonic. Michelle Breedt, Peter Auty and John Hancock are the vocal soloists in Gerontius, joined by Ghent Collegium Vocale.PENTATONE 518 6472

To hear the SSO in Elgar’s First Symphony, conducted by Vladimir Ashkenazy, look for our recording on the Exton label (part of a series that includes the two Elgar symphonies, the Pomp and Circumstance marches and the Enigma Variations).EXTON 27

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SSO Live RecordingsThe Sydney Symphony Orchestra Live label was founded in 2006 and we’ve since released more than two dozen recordings featuring the orchestra in live concert performances with our titled conductors and leading guest artists. To buy, visit sydneysymphony.com/shop

Strauss & SchubertGianluigi Gelmetti conducts Schubert’s Unfinished and R Strauss’s Four Last Songs with Ricarda Merbeth. SSO 200803

Sir Charles MackerrasA 2CD set featuring Sir Charles’s final performances with the orchestra, in October 2007. SSO 200705

Brett DeanTwo discs featuring the music of Brett Dean, including his award-winning violin concerto, The Lost Art of Letter Writing. SSO 200702, SSO 201302

RavelGelmetti conducts music by one of his favourite composers: Maurice Ravel. Includes Bolero. SSO 200801

Rare RachmaninoffRachmaninoff chamber music with Dene Olding, the Goldner Quartet, soprano Joan Rodgers and Vladimir Ashkenazy at the piano. SSO 200901

Prokofiev’s Romeo and JulietVladimir Ashkenazy conducts the complete Romeo and Juliet ballet music of Prokofiev – a fiery and impassioned performance. SSO 201205

Tchaikovsky Violin ConcertoIn 2013 this recording with James Ehnes and Ashkenazy was awarded a Juno (the Canadian Grammy). Lyrical miniatures fill out the disc. SSO 201206

Tchaikovsky Second Piano ConcertoGarrick Ohlsson is the soloist in one of the few recordings of the original version of Tchaikovsky’s Piano Concerto No.2. Ashkenazy conducts. SSO 201301

Stravinsky’s FirebirdDavid Robertson conducts Stravinsky’s brilliant and colourful Firebird ballet, recorded with the SSO in concert in 2008. SSO 201402

LOOK OUT FOR…

Our recording of Holst’s Planets with David Robertson. Available now!

Mahler 1 & Songs of a Wayfarer SSO 201001

Mahler 2 SSO 201203

Mahler 3 SSO 201101

Mahler 4 SSO 201102

Mahler 5 SSO 201003 Mahler 6 SSO 201103

Mahler 7 SSO 201104

Mahler 8 (Symphony of a Thousand) SSO 201002

Mahler 9 SSO 201201

Mahler 10 (Barshai completion) SSO 201202

Song of the Earth SSO 201004

From the archives: Rückert-Lieder, Kindertotenlieder, Das Lied von der Erde SSO 201204

MAHLER ODYSSEY

The complete Mahler symphonies (including the Barshai completion of No.10) together with some of the song cycles. Recorded in concert with Vladimir Ashkenazy during the 2010 and 2011 seasons. As a bonus: recordings from our archives of Rückert-Lieder, Kindertotenlieder and Das Lied von der Erde. Available in a handsome boxed set of 12 discs or individually.

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SSO Online

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His extensive discography includes recent recordings of Mahler’s First Symphony and Elgar’s Dream of Gerontius, both with the Royal Flemish Philharmonic, as well as Henk de Vlieger’s arrangement of the Night Song and Liebestod from Tristan und Isolde with the Netherlands Radio Philharmonic Orchestra. He has long been an exponent of the music of John Adams, and conducted the first recording of Nixon in China in 1987 with the original cast.

Edo de Waart was made a Knight in the Order of the Dutch Lion in 2004, and his honours and accolades also include appointment as an Honorary Fellow of the Hong Kong Academy for Performing Arts. In 2005 he was appointed an Honorary Officer in the General Division of the Order of Australia, in recognition of his contribution to Australian cultural life during his decade in Sydney. He returns regularly to the SSO, appearing most recently in two programs in 2011.

Edo de Waart conductor

Edo de Waart is Chief Conductor of the Royal Flemish Philharmonic, Music Director of the Milwaukee Symphony Orchestra and Conductor Laureate of the Netherlands Radio Philharmonic Orchestra. In March 2016 he takes up the post of Music Director of the New Zealand Symphony Orchestra.

He also continues to work with many of the world’s leading orchestras, with guest conducting appearances including the Chicago Symphony Orchestra, Los Angeles Philharmonic, NHK Symphony and Royal Stockholm Philharmonic Orchestra. He has previously held posts with the Rotterdam Philharmonic, San Francisco Symphony, Minnesota Orchestra and Hong Kong Philharmonic Orchestra, and from 1992 till  2003 he was Chief Conductor and Artistic Director of the Sydney Symphony Orchestra.

As an opera conductor, Edo de Waart has enjoyed success in a large and varied repertoire in many of the world’s greatest opera houses. He was Chief Conductor of the Netherlands Opera and he has conducted at Bayreuth, Royal Opera House Covent Garden, Grand Théâtre de Genève, Opéra Bastille, Santa Fe Opera and the Metropolitan Opera. In addition to semi-staged and concert opera performances with his orchestras in the United States, he regularly conducts opera with the Netherlands Radio Philharmonic Orchestra at the Concertgebouw Amsterdam matinee series.

ABOUT THE ARTISTS

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as well as a tour of Israel with the Kölner Akademie. He will give the premiere of a new piece for piano and string orchestra written for him by Sally Beamish, and his recital engagements will take him to LSO St Luke’s, De Doelen in Rotterdam and the Amsterdam Concertgebouw.

Ronald Brautigam’s discography of more than 50 recordings includes the complete works of Mozart and Haydn on fortepiano, and Mendelssohn piano concertos with the Nieuw Sinfonietta Amsterdam. In 2004 he released the first of his 17-CD Beethoven cycle on fortepiano, the 14th volume of which was released in April 2014. He also has recorded piano concertos by Shostakovich, Hindemith and Frank Martin with the Royal Concertgebouw Orchestra and Riccardo Chailly, and has made several recordings with his duo partner, violinist Isabelle van Keulen.

His recordings have earned a number of awards, including two Edison Awards, a Diapason d’Or de l’année, and two MIDEM Classical Awards (for best solo piano recording in 2004 and best concerto recording in 2010). Other honours and accolades include the DutchMusic Prize. Ronald Brautigam was appointed a Professor at the Musik-Akademie in Basel in 2011.

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Ronald Brautigam piano

Ronald Brautigam is one of Holland’s most respected musicians, remarkable not only for his virtuosity and musicality but also for the eclectic nature of his musical interests and his stylistic versatility.

He performs regularly with leading orchestras throughout Europe, including the Royal Concertgebouw, London Philharmonic and Leipzig Gewandhaus orchestras, and with the Hong Kong Philharmonic Orchestra, and he has collaborated with distinguished conductors such as Riccardo Chailly, Charles Dutoit, Bernard Haitink and Marek Janowski, as well as Frans Brüggen, Christopher Hogwood and Roger Norrington, to name just some.

In addition to his performances on modern piano, Ronald Brautigam has established himself as a leading exponent of the fortepiano, working with orchestras such as the Orchestra of the Age of Enlightenment, Orchestra of the 18th Century, Tafelmusik, Freiburg Baroque Orchestra, Hanover Band, Concerto Copenhagen and the Orchestre des Champs-Elysées.

During the 2014–15 season, in celebration of his 60th birthday, Ronald Brautigam performed all the Beethoven concertos at the Amsterdam Concertgebouw. Highlights of the 2015–16 season include concerto performances with the BBC Scottish Symphony Orchestra and Markus Stenz, BBC Philharmonic and Yutaka Sado, Basel Sinfonieorchester and Ivar Bolton, and the Gulbenkian Orchestra and Paul McCreesh,

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

DAVID ROBERTSON THE LOWY CHAIR OF

CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

PATRON Professor The Hon. Dame Marie Bashir ad cvo

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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_musiciansIf you don’t have access to the internet, ask one of our customer service representatives for a copy of our Musicians flyer.

THE ORCHESTRA

David RobertsonTHE LOWY CHAIR OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

Dene OldingCONCERTMASTER

Andrew HaveronCONCERTMASTER

Toby ThatcherASSISTANT CONDUCTOR SUPPORTED BY CREDIT SUISSE, RACHEL & GEOFFREY O’CONOR AND SYMPHONY SERVICES INTERNATIONAL

FIRST VIOLINS Andrew Haveron CONCERTMASTER

Sun Yi ASSOCIATE CONCERTMASTER

Kirsten Williams ASSOCIATE CONCERTMASTER

Lerida Delbridge ASSISTANT CONCERTMASTER

Jenny BoothBrielle ClapsonSophie ColeAmber DavisClaire HerrickGeorges LentzNicola LewisEmily LongAlexandra MitchellAlexander NortonEmily Qin°Lucy Warren*Dene Olding CONCERTMASTER

Fiona Ziegler ASSISTANT CONCERTMASTER

Léone Ziegler

SECOND VIOLINS Marina Marsden Marianne BroadfootEmma Jezek ASSISTANT PRINCIPAL

Freya FranzenEmma HayesMonique Irik°Stan W KornelBenjamin LiNicole MastersMaja VerunicaRebecca Gill*Emma Jardine*Elizabeth Jones°Cristina Vaszilcsin°Kirsty Hilton Shuti HuangPhilippa PaigeBiyana Rozenblit

VIOLASRoger Benedict Justin WilliamsASSISTANT PRINCIPAL

Sandro CostantinoRosemary CurtinJane HazelwoodGraham HenningsStuart JohnsonJustine MarsdenFelicity TsaiLeonid VolovelskyAndrew Jezek*David Wicks*Tobias Breider Anne-Louise Comerford Amanda Verner

CELLOSCatherine Hewgill Leah Lynn ASSISTANT PRINCIPAL

Fenella GillElizabeth NevilleKristy ConrauAdrian WallisTimothy NankervisChristopher PidcockDavid WickhamPaul Stender*Umberto Clerici

DOUBLE BASSESKees Boersma Alex Henery Neil Brawley PRINCIPAL EMERITUS

David CampbellSteven LarsonRichard LynnBenjamin WardJosef Bisits°

FLUTES Carolyn HarrisA/ ASSOCIATE PRINCIPAL

Rosamund Plummer PRINCIPAL PICCOLO

Nicola Crowe†

Janet Webb Emma Sholl

OBOESShefali Pryor Alexandre Oguey PRINCIPAL COR ANGLAIS

Ngaire De Korte*Diana Doherty David Papp

CLARINETSChristopher TingayRowena Watts*Alexei Dupressoir*PRINCIPAL BASS CLARINET

Francesco Celata A/ PRINCIPAL

Craig Wernicke PRINCIPAL BASS CLARINET

BASSOONSJack Schiller*Fiona McNamaraNoriko Shimada PRINCIPAL CONTRABASSOON

Matthew Wilkie

HORNSBen Jacks Geoffrey O’Reilly PRINCIPAL 3RD

Euan HarveyRachel SilverKara Hahn†

Robert Johnson Marnie Sebire

TRUMPETSDavid Elton Anthony HeinrichsRosie Turner°Paul Goodchild

TROMBONESRonald Prussing Nick ByrneChristopher Harris PRINCIPAL BASS TROMBONE

Scott Kinmont

TUBASteve Rossé

TIMPANIMark Robinson ASSISTANT PRINCIPAL

Richard Miller

PERCUSSIONRebecca Lagos Timothy ConstableIan Cleworth*

HARP Louise Johnson Julie Kim*

PIANOSusanne Powell*

Bold = PRINCIPAL

Italics = ASSOCIATE PRINCIPAL

° = CONTRACT MUSICIAN

* = GUEST MUSICIAN† = SSO FELLOW

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

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BEHIND THE SCENES

Sydney Symphony Orchestra StaffMANAGING DIRECTORRory Jeffes

EXECUTIVE TEAM ASSISTANTLisa Davies-Galli

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC PLANNINGBenjamin Schwartz

ARTISTIC ADMINISTRATION MANAGER Eleasha Mah

ARTIST LIAISON MANAGERIlmar Leetberg

TECHNICAL MEDIA PRODUCER Philip Powers

LibraryAnna CernikVictoria GrantMary-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 MANAGERRachel Whealy

ORCHESTRA COORDINATOR Rosie Marks-Smith

OPERATIONS MANAGER Kerry-Anne Cook

HEAD OF PRODUCTION Laura Daniel

STAGE MANAGERCourtney Wilson

PRODUCTION COORDINATORSElissa SeedOllie Townsend

PRODUCER, SPECIAL EVENTSMark Sutcliffe

SALES AND MARKETING

DIRECTOR OF SALES & MARKETINGMark J Elliott

MARKETING MANAGER, SUBSCRIPTION SALES Simon Crossley-Meates

SENIOR SALES & MARKETING MANAGERPenny Evans

A/ SENIOR SALES & MARKETING MANAGER Matthew Rive

MARKETING MANAGER, WEB & DIGITAL MEDIA Eve Le Gall

MARKETING MANAGER, CRM & DATABASEMatthew Hodge

A/ SALES & MARKETING MANAGER, SINGLE TICKET CAMPAIGNSJonathon Symonds

DATABASE ANALYSTDavid Patrick

SENIOR GRAPHIC DESIGNERChristie Brewster GRAPHIC DESIGNER

Tessa ConnSENIOR ONLINE MARKETING COORDINATOR

Jenny SargantMARKETING ASSISTANT

Laura Andrew

Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlinBOX OFFICE SYSTEMS SUPERVISOR

Jennifer LaingBOX OFFICE BUSINESS ADMINISTRATOR

John RobertsonCUSTOMER SERVICE REPRESENTATIVES

Karen Wagg – CS ManagerRosie BakerMichael Dowling

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

EXTERNAL RELATIONSDIRECTOR OF EXTERNAL RELATIONS

Yvonne Zammit

PhilanthropyHEAD OF PHILANTHROPY

Rosemary SwiftPHILANTHROPY MANAGER

Jennifer DrysdalePATRONS EXECUTIVE

Sarah MorrisbyPHILANTHROPY COORDINATOR

Claire Whittle

Corporate RelationsCORPORATE PARTNERSHIPS MANAGER

Belinda BessonCORPORATE PARTNERSHIPS EXECUTIVE

Paloma Gould

CommunicationsCOMMUNICATIONS & MEDIA MANAGER

Bridget CormackPUBLICIST

Caitlin BenetatosMULTIMEDIA CONTENT PRODUCER

Kai Raisbeck

BUSINESS SERVICES

DIRECTOR OF FINANCE

John HornFINANCE MANAGER

Ruth Tolentino ACCOUNTANT

Minerva Prescott ACCOUNTS ASSISTANT

Emma Ferrer PAYROLL OFFICER

Laura Soutter

PEOPLE AND CULTUREIN-HOUSE COUNSEL

Michel Maree Hryce

Terrey Arcus AM Chairman Andrew BaxterEwen Crouch AM

Ross GrantCatherine HewgillJennifer HoyRory JeffesDavid LivingstoneThe Hon. Justice AJ Meagher Goetz Richter

Sydney Symphony Orchestra CouncilGeoff Ainsworth AM

Doug BattersbyChristine BishopThe Hon John Della Bosca MLC

John C Conde ao

Michael J Crouch AO

Alan FangErin FlahertyDr Stephen Freiberg Simon JohnsonGary LinnaneHelen Lynch AM

David Maloney AM Justice Jane Mathews AO Danny MayJane MorschelDr Eileen OngAndy PlummerDeirdre Plummer Seamus Robert Quick Paul Salteri AM

Sandra SalteriJuliana SchaefferFred Stein OAM

John van OgtropBrian WhiteRosemary White

HONORARY COUNCIL MEMBERSIta 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 Board

25

SSO PATRONS

Maestro’s Circle

David Robertson

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

Supporting the artistic vision of David Robertson, Chief Conductor and Artistic Director

FOR INFORMATION ABOUT THE CHAIR PATRONS

PROGRAM, CALL (02) 8215 4625.

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Chair PatronsDavid RobertsonThe Lowy Chair of Chief Conductor and Artistic Director

Roger BenedictPrincipal ViolaKim Williams AM & Catherine Dovey Chair

Kees BoersmaPrincipal Double BassSSO Council Chair

Umberto ClericiPrincipal CelloGarry & Shiva Rich Chair

Timothy ConstablePercussionJustice Jane Mathews AO Chair

Lerida DelbridgeAssistant ConcertmasterSimon Johnson Chair

Diana DohertyPrincipal OboeJohn C Conde AO Chair

Richard Gill oam

Artistic Director, DownerTenix DiscoveryPaul Salteri AM & Sandra Salteri Chair

Jane HazelwoodViolaBob & Julie Clampett Chair in memory of Carolyn Clampett

Catherine HewgillPrincipal CelloThe Hon. Justice AJ & Mrs Fran Meagher Chair

Robert JohnsonPrincipal HornJames & Leonie Furber Chair

Scott KinmontAssociate Principal TromboneAudrey Blunden Chair

Leah LynnAssistant Principal CelloSSO Vanguard Chair With lead support from Taine Moufarrige, Seamus R Quick, and Chris Robertson & Katherine Shaw

Nicole MastersSecond ViolinNora Goodridge Chair

Elizabeth NevilleCelloRuth & Bob Magid Chair

Shefali PryorAssociate Principal OboeMrs Barbara Murphy Chair

Emma ShollAssociate Principal FluteRobert & Janet Constable Chair

Janet WebbPrincipal FluteHelen Lynch AM & Helen Bauer Chair

Kirsten WilliamsAssociate ConcertmasterI Kallinikos Chair

Janet and Robert Constable with Associate Principal Flute Emma Sholl. ‘When we first met her in the Green Room at the Opera House,’ recalls Robert, ‘it was a lovely hug from Emma that convinced us that this was not only an opportunity to support her chair but to get involved with the orchestra and its supporters. It has been a great experience.’

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Learning & Engagement

SSO PATRONS

fellowship patronsRobert Albert AO & Elizabeth Albert Flute ChairChristine Bishop Percussion ChairSandra & Neil Burns Clarinet ChairIn Memory of Matthew Krel Violin ChairMrs T Merewether OAM Horn ChairPaul Salteri AM & Sandra Salteri Violin and Viola ChairsMrs W Stening Cello ChairKim Williams AM & Catherine Dovey Patrons of Roger Benedict,

Artistic Director, FellowshipJune & Alan Woods Family Bequest Bassoon ChairAnonymous Double Bass ChairAnonymous Trumpet Chair

fellowship supporting patronsMr Stephen J BellJoan MacKenzie ScholarshipDrs Eileen & Keith OngIn Memory of Geoff White

tuned-up!TunED-Up! is made possible with the generous support of Fred Street AM & Dorothy Street

Additional support provided by:Anne Arcus & Terrey Arcus AM

Ian & Jennifer Burton Ian Dickson & Reg HollowayMrs Barbara MurphyDrs Keith & Eileen OngTony Strachan

major education donorsBronze Patrons & above

John Augustus & Kim RyrieBob & Julie ClampettHoward & Maureen ConnorsThe Greatorex FoundationJ A McKernanBarbara MaidmentMr & Mrs Nigel PriceDrs Eileen & Keith OngMr Robert & Mrs Rosemary Walsh

Sydney Symphony Orchestra 2015 Fellows

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Commissioning CircleSupporting the creation of new works.

ANZAC Centenary Arts and Culture FundGeoff Ainsworth AM

Raji AmbikairajahChristine BishopDr John EdmondsAndrew Kaldor AM & Renata Kaldor AO

Jane Mathews AO

Mrs Barbara MurphyNexus ITVicki OlssonCaroline & Tim RogersGeoff StearnDr Richard T WhiteAnonymous

“Patrons allow us to dream of projects, and then share them with others. What could be more rewarding?” DAVID ROBERTSON SSO Chief Conductor and Artistic Director

BECOME A PATRON TODAY. Call: (02) 8215 4650 Email: philanthropy@sydneysymphony.com

Foundations

A U S T R A L I A - K O R E AF O U N D A T I O N

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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 BellMr David & Mrs Halina BrettR BurnsHoward ConnorsGreta DavisJennifer FultonBrian GalwayMichele Gannon-MillerMiss Pauline M Griffin AM

John Lam-Po-Tang

Peter Lazar AM

Daniel LemesleLouise MillerJames & Elsie MooreVincent Kevin Morris &

Desmond McNallyMrs Barbara MurphyDouglas PaisleyKate RobertsMary 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 AdamsonEstate of Carolyn ClampettEstate Of Jonathan Earl William ClarkEstate of Colin T EnderbyEstate of Mrs E HerrmanEstate of Irwin ImhofThe late Mrs Isabelle JosephThe Estate of Dr Lynn JosephThe Late Greta C RyanEstate of Rex Foster SmartJune & Alan Woods Family Bequest

IF YOU WOULD LIKE MORE INFORMATION

ON MAKING A BEQUEST TO THE SSO,

PLEASE CONTACT OUR PHILANTHROPY TEAM

ON 8215 4625.

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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.

Playing Your Part

DIAMOND PATRONS $50,000+Anne & Terrey Arcus am

In Memory of Matthew KrelMr 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 WeissMr Brian White ao &

Mrs Rosemary White

PLATINUM PATRONS$30,000–$49,999Doug and Alison BattersbyMr John C Conde ao

Robert & Janet ConstableMr Andrew Kaldor am &

Mrs Renata Kaldor ao

Mrs Barbara MurphyVicki OlssonDrs Keith & Eileen OngMrs W SteningMr Fred Street am &

Mrs Dorothy StreetKim Williams am & Catherine

Dovey

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

AlbertThe Berg Family FoundationTom Breen & Rachael KohnSandra & Neil BurnsEstate of Jonathan Earl

William ClarkJames & Leonie FurberI KallinikosHelen Lynch am & Helen

BauerJustice Jane Mathews ao

Mrs T Merewether oam

Rachel & Geoffrey O’ConorAndy & Deirdre PlummerGarry & Shiva RichDavid Robertson & Orli

ShahamMrs 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–$19,999Geoff Ainsworth &

Jo FeatherstoneChristine BishopAudrey BlundenMr Robert BrakspearMr Robert & Mrs L Alison CarrBob & Julie ClampettMichael Crouch ao & Shanny

CrouchIan Dickson & Reg HollowayPaul EspieEdward & Diane FedermanNora GoodridgeMr Ross GrantThe Estate of Mr Irwin ImhofSimon JohnsonRuth & Bob MagidSusan Maple-Brown The Hon Justice AJ Meagher &

Mrs Fran MeagherMr John MorschelMr and Mrs Nigel PriceKenneth R Reed am

Mrs Joyce Sproat & Mrs Janet Cooke

John Symond am

The Harry Triguboff Foundation

Caroline WilkinsonJune & Alan Woods Family

BequestAnonymous (2)

BRONZE $5,000–$9,999John Augustus & Kim RyrieDushko BajicStephen J BellDr Hannes & Mrs Barbara

BoshoffBoyarsky Family TrustPeter Braithwaite & Gary

LinnaneIan & Jennifer BurtonRebecca ChinMr Howard ConnorsDavid Z Burger FoundationDr Colin GoldschmidtThe Greatorex FoundationRory & Jane JeffesRobert JoannidesMr Ervin KatzIn memoriam

Dr Reg Lam-Po-TangBarbara MaidmentMora MaxwellTaine MoufarrigeRobert McDougallWilliam McIlrath Charitable

Foundation

28

Playing Your Part

SSO PATRONS

BRONZE PATRONS CONTINUED

J A McKernanNexus ITMs Jackie O’BrienJohn & Akky van OgtropSeamus Robert QuickChris Robertson & Katherine

ShawRodney Rosenblum am & Sylvia

RosenblumDr Evelyn RoyalManfred & Linda SalamonGeoff StearnTony StrachanJohn & Josephine StruttMr Robert & Mrs Rosemary WalshIn memory of Geoff WhiteAnonymous (2)

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

G & L BessonIan BradyMr David & Mrs Halina BrettMark Bryant oam

Lenore P BuckleMrs Stella ChenCheung FamilyDr Paul CollettEwen Crouch am & Catherine

CrouchProf. Neville Wills &

Ian FenwickeFirehold Pty LtdDr Kim FrumarWarren GreenAnthony GreggAnn HobanJames & Yvonne HocrothMr Roger Hundson &

Mrs Claudia Rossi-HudsonDr & Mrs Michael HunterMr John W Kaldor AMProfessor Andrew Korda am &

Ms Susan PearsonProfessor Winston LiauwDr Barry LandaMrs Juliet LockhartRenee MarkovicHelen & Phil MeddingsJames & Elsie MooreMs Jackie O’BrienPatricia H Reid Endowment

Pty LtdJuliana SchaefferHelen & Sam ShefferDr Agnes E SinclairEzekiel SolomonRosemary SwiftMr Ervin Vidor am &

Mrs Charlotte VidorLang Walker ao & Sue WalkerWestpac GroupMary Whelan & Robert

Baulderstone

Yim Family FoundationDr John YuAnonymous (2)

VIVACE $1,000–$2,499Mrs Lenore AdamsonAntoinette AlbertRae & David AllenAndrew Andersons ao

Mr Matthew AndrewsMr Garry and Mrs Tricia AshSibilla BaerThe Hon Justice Michael BallDavid BarnesDr Richard & Mrs Margaret BellIn memory of Lance BennettMs Gloria BlondeG D BoltonJan BowenIn memory of Jillian BowersIn Memory of Rosemary Boyle,

Music TeacherRoslynne BracherWilliam Brooks & Alasdair BeckMr Peter BrownIn memory of R W BurleyIta Buttrose ao obe

Mrs Rhonda CaddyHon J C Campbell qc &

Mrs CampbellDebby Cramer & Bill CaukillMr B & Mrs M ColesMs Suzanne CollinsJoan Connery oam & Maxwell

Connery oam

Mr Phillip CornwellMr John Cunningham scm &

Mrs Margaret CunninghamDiana DalyDarin Cooper FoundationGreta DavisLisa & Miro DavisDr Robert DickinsonE DonatiProfessor Jenny EdwardsDr Rupert C EdwardsMalcolm Ellis & Erin O’NeillMrs Margaret EppsMr & Mrs J B Fairfax am

Julie FlynnDr Stephen Freiberg & Donald

CampbellMr Matt GarrettVivienne Goldschmidt &

Owen JonesIn Memory of Angelica GreenAkiko GregoryDr Jan Grose oam

Mr & Mrs Harold & Althea HallidayJanette HamiltonSandra HaslamMrs Jennifer HershonSue HewittDorothy 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 JonesMrs Margaret KeoghAron KleinlehrerMrs Gilles KrygerMr Justin LamBeatrice LangMr Peter Lazar am

Airdrie LloydGabriel LopataPeter Lowry oam & Carolyn

Lowry oam

Macquarie Group FoundationMelvyn MadiganDavid Maloney am & Erin FlahertyJohn & Sophia MarMr Danny R MayMr Guido MayerKevin & Deidre McCannIan & Pam McGawMatthew McInnesI MerrickHenry & Ursula MooserMilja & David MorrisJudith MulveneyDarrol Norman & Sandra HortonJudith OlsenMr & Mrs OrtisAndrew Patterson & Steven BardyIn memory of Sandra Paul

PottingerMr Stephen PerkinsAlmut PiattiDr John I PittThe Hon. Dr Rodney Purvis am

& Mrs Marian PurvisDr Raffi Qasabian &

Dr John WynterMr Patrick Quinn-GrahamErnest & Judith RapeeIn Memory of

Katherine RobertsonMr David RobinsonTim RogersDr Colin RoseLesley & Andrew RosenbergJanelle RostronMr Shah RusitiJorie Ryan for Meredith RyanIn memory of H St P ScarlettGeorge and Mary ShadVictoria SmythDr Judy SoperJudith SouthamMr Dougall SquairCatherine StephenThe Honourable Brian Sully am qc

Mrs Margaret SwansonThe Taplin FamilyMildred TeitlerDr & Mrs H K TeyDr Jenepher Thomas

Kevin TroyJohn E TuckeyJudge Robyn TupmanDr Alla WaldmanIn memory of Denis WallisMiss Sherry WangHenry & Ruth WeinbergThe Hon. Justice A G WhealyJerry WhitcombMrs Leonore WhyteA Willmers & R PalAnn & Brooks C Wilson am

Dr Richard WingEvan WongDr Peter Wong &

Mrs Emmy K WongGeoff Wood & Melissa WaitesSir Robert WoodsLindsay & Margaret WoolveridgeIn memory of Lorna WrightMrs Robin YabsleyAnonymous (20)

ALLEGRO $500–$999Nikki AbrahamsKatherine AndrewsDr Gregory AuMr & Mrs George BallBarlow Cleaning Pty LtdBarracouta Pty LtdSimon BathgateDr Andrew BellMr Chris BennettMs Baiba BerzinsJan BiberMinnie BiggsJane BlackmoreMrs P M BridgesR D and L M BroadfootDr Peter BroughtonDr David BryantArnaldo BuchDr Miles BurgessPat & Jenny BurnettHugh & Hilary CairnsEric & Rosemary CampbellM D & J M ChapmanJonathan ChissickMichael & Natalie CoatesDom Cottam & Kanako ImamuraAnn CoventryDr Peter CraswellMr David CrossMark Dempsey sc

Dr David DixonSusan DoenauDana DupereJohn FavaloroMrs Lesley FinnMr Richard FlanaganMs Lynne FrolichMichele Gannon-MillerMs Lyn GearingMr Robert GreenDr Sally Greenaway

29

VANGUARD COLLECTIVEJustin Di Lollo ChairBelinda BentleyAlexandra McGuiganOscar McMahonTaine Moufarrige

Founding PatronShefali PryorSeamus R Quick

Founding PatronChris Robertson &

Katherine Shaw Founding Patrons

MEMBERSLaird AbernethyElizabeth AdamsonClare Ainsworth-HerschellCharles ArcusPhoebe ArcusJames ArmstrongLuan AtkinsonDushko Bajic

Supporting PatronJoan BallantineScott BarlowAndrew Batt-RawdenJames BaudzusAndrew BaxterAdam BeaupeurtAnthony BeresfordJames BessonAndrew BotrosPeter BraithwaiteAndrea BrownNikki BrownAttila BrungsTony ChalmersDharmendra ChandranLouis ChienPaul ColganClaire CooperBridget CormackKarynne CourtsRobbie CranfieldPeter CreedenAsha CugatiJuliet CurtinDavid CutcliffeEste Darin-CooperRosalind De SaillyPaul DeschampsCatherine DonnellyJennifer DrysdaleJohn-Paul DrysdaleKerim El GabailiKaren EwelsRoslyn FarrarTalitha FishburnNaomi Flutter

Alexandra GibsonSam GiddingsJeremy GoffLisa GoochHilary GoodsonTony GriersonJason HairKathryn HiggsPeter HowardJennifer HoyKatie HryceJames HudsonJacqui HuntingtonVirginia JudgePaul KalmarTisha KelemenAernout KerbertPatrick KokAngela KwanJohn Lam-Po-TangTristan LandersJessye LinGarry LinnaneDavid LoSaskia LoFern MoufarrigeMarcus MoufarrigeSarah MoufarrigeAlasdair Murrie-WestJulia NewbouldAnthony NgNick NichlesKate O’ReillyPeter O’SullivanJune PickupRoger PickupStephanie PriceMichael RadovnikovicBenjamin RobinsonAlvaro Rodas FernandezAdam SadlerAnthony SchembriBenjamin SchwartzBen ShipleyCecilia StornioloBen SweetenRandal TameSandra TangIan TaylorZoe TaylorCathy ThorpeMichael TidballMark TrevarthenMichael TuffyRussell van HoweSarah VickMichael WatsonAlan WattersJon WilkieYvonne Zammit

SSO Vanguard

A membership program for a dynamic group of Gen X & Y SSO fans and future philanthropists

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Mr Geoffrey GreenwellMr Richard Griffin am

In memory of Beth HarpleyV HartsteinBenjamin Hasic & Belinda DavieAlan Hauserman & Janet NashRobert HavardMrs A HaywardRoger HenningProf. Ken Ho & Mrs Tess HoDr Mary JohnssonAernout Kerbert & Elizabeth

NevilleDr Henry KilhamJennifer KingMiss Joan KleinMrs Patricia KleinhansAnna-Lisa KlettenbergMs Sonia LalL M B LampratiDavid & Val LandaIn memory of Marjorie LanderElaine M LangshawMargaret LedermanRoland LeeMr David LemonPeter Leow & Sue ChoongMrs Erna LevyMrs A LohanLinda LorenzaM J MashfordMs Jolanta MasojadaKenneth Newton MitchellMr David MuttonMr & Mrs NewmanMr Graham NorthDr Lesley NorthSead NurkicMr Michael O’BrienDr Alice J PalmerDr Natalie E PelhamPeter and Susan PicklesErika PidcockAnne Pittman

John Porter & Annie Wesley-Smith

Mrs Greeba PritchardMichael QuaileyMr Thomas ReinerDr Marilyn RichardsonAnna RoMr Michael RollinsonMrs Christine Rowell-MillerMr Kenneth RyanGarry E Scarf & Morgie BlaxillMrs Solange SchulzPeter & Virginia ShawDavid & Alison ShilligtonMrs Diane Shteinman am

Margaret SikoraColin SpencerTitia SpragueRobert SpryMs Donna St ClairFred & Mary SteinAshley & Aveen StephensonMargaret & William SuthersPam & Ross TegelMrs Caroline ThompsonPeter & Jane ThorntonRhonda TingAlma TooheyHugh TregarthenMrs M TurkingtonGillian Turner & Rob BishopRoss TzannesMr Robert VeelRonald WalledgeMiss Roslyn WheelerIn Memoriam JBL WattDr Edward J WillsDr Wayne WongDr Roberta WoolcottPaul WyckaertAnonymous (32)

SSO Patrons pages correct as of 7 July 2015

Create a sustainable future for orchestral music by helping to build the audiences of tomorrow.

SUPPORT THE SSO EDUCATION FUND. Call: (02) 8215 4650 Email: philanthropy@sydneysymphony.com

30

SALUTE

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

PLATINUM PARTNER MAJOR PARTNERS

GOLD PARTNERS

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

Salute 2015_Sep_#32+_rev.indd 1 18/09/2015 10:02 am