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EDO DE WAART CONDUCTS MOZART & ELGAR
THURSDAY AFTERNOON SYMPHONY
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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.
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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
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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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The Pied Piper of HamelinSun 9 Oct | 2pmColin Matthews The Pied Piper of Hamelin Australian premiere
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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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Brett Weymark conductor
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Andrew Haveron violin-director Lerida Delbridge violin
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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
SYDNEY OPERA HOUSE Administration (02) 9250 7111 Bennelong Point Box Office (02) 9250 7777GPO Box 4274 Facsimile (02) 9250 7666 Sydney NSW 2001 Website sydneyoperahouse.com
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
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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: [email protected]
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
n n n n n n n n n n
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: [email protected]
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