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PRESENTING PARTNER

2010 SEASON

NIGEL KENNEDY AND THESYDNEY SYMPHONYThursday 25 February | 8pmFriday 26 February | 8pmSaturday 27 February | 8pmMONDAYS @ 7 – 1 March | 7pmSydney Opera House Concert Hall

Thursday 4 March | 8pmRoyal Theatre, Canberra

Saturday 6 March | 8pmQueensland Performing Arts Centre

Nigel Kennedy violinShefali Pryor oboe | Catherine Hewgill celloTomasz Grzegorski saxophoneOrphy Robinson marimba and vibraphone Doug Boyle guitar | Adam Kowalewski bassKrzysztof Dziedzic drums and percussion

Nigel Kennedy presents a unique evening of music inspired by the masterworks of JS Bach and Duke Ellington.

Friday night’s performance will be recorded for later broadcast across Australia on ABC Classic FM.

Pre-concert talk by Robert Murray in the Northern Foyer, 45 minutes before each Sydney performance. Visit sydneysymphony.com/talk-bios for speaker biographies.

The concert will conclude at approximately 10.15pm (9.15pm on 1 March)

JOHANN SEBASTIAN BACH (1685–1750)Violin Concerto in E, BWV10421. Allegro – Adagio – Allegro2. Adagio

EDWARD KENNEDY ‘DUKE’ ELLINGTON (1899–1974)In a JamIn a Mellow TonePrelude to a Kiss

BACHTwo-part inventions, transcribed for violin and cello

ELLINGTONHarlem AirshaftPerdido

INTERVAL

Chamber orchestra and band arrangements by Nigel Kennedy.

ELLINGTONDiminuendo and CrescendoDusk

BACHConcerto in D minor for violin and oboe, BWV10603. Allegro2. Adagio

ELLINGTONCotton TailCome Sunday

BACHViolin Concerto in A minor, BWV10413. Allegro assai

PHOTOGRAPHS: © EMI CLASSICS

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INTRODUCTION

BEYOND CATEGORY – THE MUSIC OF NIGEL KENNEDY‘The three greatest composers who ever lived are Bach, Delius and Duke Ellington. Unfortunately Bach is dead, Delius is very ill but we are happy to have with us today The Duke.’ So declared Australian composer Percy Grainger as he introduced Duke Ellington and his band before their performance at one of Grainger’s lectures at New York University in 1932. A great admirer of Ellington, Grainger was keen to expose his students to diverse styles of music and to open their minds to unfamiliar rhythmic and tonal possibilities, decades before the term ‘world music’ was coined. Needless to say, Duke’s appearance packed the hall out.

That Nigel Kennedy has chosen to feature music by Bach and Ellington in the same bill should come as no surprise. His appearance, mannerisms and choice of repertoire have challenged the establishment for more than two decades and still polarise opinion. A musician who loves to leave his individual stamp on the music he plays – he has described himself as ‘agent provocateur’ – Nigel Kennedy professes a fondness for taking risks in order to get to the real heart of the music. As a young man at Juilliard, he ignored his teacher Dorothy DeLay’s warning that playing jazz in public would put paid to any hope of a classical recording career.

Duke Ellington (at the piano) with Percy Grainger, 1932

9 | Sydney Symphony

Thirty years on, his repertoire encompasses Jimi Hendrix and The Doors and he retains artistic control over recording projects, his 2008 disc of Beethoven and Mozart concertos featuring a genre-bending cadenza on electric violin.

His love for jazz is well documented and, recalling his mentor Yehudi Menuhin’s regret-tinged comment that he would have given ‘one eye tooth’ to have been able to improvise freely alongside Stéphane Grappelli, one cannot fault Kennedy’s resolve to live and play in the moment. On his Beethoven/Mozart disc he paid tribute to Horace Silver, eschewing other musicians given to pyrotechnic feats of improvisation in favour of a jazzman who, he says, has a real melodic gift and a ‘swinging, simple approach’. And it is this desire to stir the soul that seems to drive Kennedy’s passion for performing, whether it’s playing Bach, Ellington, Elgar or jamming with The Who.

Duke Ellington himself had a favourite phrase to describe musicians whose work he admired – he would say that they were ‘beyond category’. You can be sure Nigel Kennedy would take that as a compliment.

LORRAINE NIELSONSYMPHONY AUSTRALIA ©2010

…this desire to stir the soul…

10 | Sydney Symphony

BACH IN CONCERTO MODE Johann Sebastian Bach’s two concertos for violin and strings were composed during his years at the court of Anhalt-Cöthen (1717–1723). We know that some of his violin concertos are lost, because practically all Bach’s harpsichord concertos show evidence of having been transcribed by him from concertos which were originally for violin. But only two solo concertos for violin, in A minor (BWV1041) and E major (BWV1042), have come down to us in their original form. Their solo parts are thought to have been intended for the leader of the Cöthen orchestra, Joseph Spiess.

The style of these concertos is modelled on the Italian form of which Antonio Vivaldi is the leading representative, but – although comparative evaluations are dangerously subjective – it is hard to resist the conclusion that the greatness of Bach’s concertos lies in their superiority to their models. Bach had become familiar with Vivaldi’s concertos during his time at Weimar, and the infl uence is clear, fi rst in the external form: three movements in the pattern fast–slow–fast. In the E major Concerto, Bach’s bold opening, upward-striding and fanfare-like, is Vivaldian in its outline. Soon, however, it is clear that the motives will not stay with their respective proponents – soloist and the full band – but will invade each other in many-voiced complexity undreamt of by Vivaldi. Only the continuation of the main theme in the fast repeated notes of the tutti violins remains exclusively the province of the tutti.

Soon Bach begins to spin his movement out of that favourite device of Baroque composers, the sequence (repetition of the same phrase at a diff erent pitch). Bach’s sequences are especially exciting and cumulative as they range through diff erent keys, preserving almost all the while the bounce of an underlying dance rhythm. The solo violin’s fi guration is often cast in an accompanying role. There is a series of short developments between the returns to the main theme, including a section in the relative minor key, until the momentum is broken by an extended Adagio cadence in G minor, before the reprise begins – a moment of refl ection.

As in the A minor Concerto and the Concerto for two violins (BWV1043, Bach’s only other surviving violin concerto), the core of the E major Concerto is a slow movement (Adagio) of quite unusual expressivity. It has sent commentators groping for psychological analogies: a dialogue in which the ground bass ostinato of the lower

Johann Sebastian BachGerman composer (1685–1750)

Violin Concerto in E, BWV1042

1. Allegro – Adagio – Allegro2. Adagio

ABOUT THE MUSIC


strings remains ‘obsessed’ with its single, repeating fi gure, while the solo soars in an expressive development of the troubled mood of the bass – so free that its music has been compared to the gliding or hovering of a bird, or to ‘the suave authority of a trained dancer’.

The fi nal movement of the A minor concerto is shaped by a returning dance-like theme, a kind of jig. It is fi rst exposed by the whole band, in fugal imitation, with the instrumental voices entering one after the other. The soloist enters with a new theme, related, but diff ering in character through its wider intervals and freer scope for virtuosic elaboration.

* * * * * *

With its highly attractive themes and exquisitely expressive slow movement, the Concerto for violin and oboe (BWV1060) has become one of Bach’s best-loved. Yet it is a reconstruction – hypothetical, albeit very convincing.

Bach is known to have composed a concerto for violin and oboe, listed in Breitkopf ’s 1764 catalogue, but apparently lost. It was Waldemar Voigt in 1886 who fi rst put forward the theory that the Concerto in C minor for two harpsichords, dating from Bach’s years in Leipzig, was an adaptation of a concerto for oboe and violin. The compass of one of the parts exactly fi ts the oboe, and lacks the violin-like arpeggio passages; the other part is often in unison with the other violins.

In 1920 the musicologist Max Seiff ert published a reconstruction with oboe and violin as soloists, keeping the right hand of the harpsichord parts and discarding the left, and imitating the changes Bach made in those concertos where both his violin original and the harpsichord transcription have survived. Seiff ert’s version is in the same key, C minor, as the concerto for two harpsichords, but other reconstructions, like the one played in this concert, change the key to D minor, since when Bach adapted a violin original in D, he transposed the music down a tone – probably to fi t the range of the harpsichord.

In its putative form as a concerto for oboe and violin, this piece was almost certainly composed while Bach was in the service of Prince Leopold of Anhalt-Cöthen. The Prince was a good amateur musician who, as Bach said, ‘not only loved but knew music’. As a Calvinist, this Prince kept the music for his chapel simple, and Bach’s main task was to provide instrumental music for concerts. His violin concertos, the

Violin Concerto in A minor, BWV1041

3. Allegro assai

Concerto in D minor for violin and oboe, BWV1060

3. Allegro2. Adagio


Brandenburg Concertos and the works for unaccompanied violin and cello are all thought to date from these years. Two outstanding violinists, Joseph Spiess and Martin Friedrich Marcus, had been imported from Berlin to Cöthen. It was probably for them that Bach composed the Double Violin Concerto (BWV1043), and in the Concerto for violin and oboe, one of them may have been joined by Johann Ludwig Rose, another Berlin import.

Comparison with the concerto for harpsichords underlines the beauty and appropriateness of the adaptation. The slow movement (Adagio) has a singing theme which is developed imitatively by the soloists. In the harpsichord version, most of the accompaniment is for plucked strings, perhaps to match the harpsichord’s lack of sustaining ability. In the adaptation, this accompaniment could be played with light bows, though that would deprive us of the telling contrast of the entry of long bowed chords under the soloists at the climax and conclusion of the movement. The fi nale (Allegro) has the dance character of a bourrée, in which the episodes are elaborations of the recurring ritornello theme.

DAVID GARRETT © 2004, 2003

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DISCOVER MAHLER A MUSICAL LECTURE WITH RICHARD GILLDiscover Mahler’s more intimate side with the entertaining and illuminating Richard Gill.

CITY RECITAL HALL ANGEL PLACE

MON 22 MAR 6.30PMMAHLER Songs of a Wayfarer: ‘Wenn mein Schatz Hochzeit macht’ ‘Die zwei blauen Augen von meinem Schatz’ BRAHMS Symphony No.3: 3rd movement

RICHARD GILL conductorSAM DUNDAS baritoneSYDNEY SINFONIA

PRESENTING PARTNER EDUCATION PROGRAM:

PRESENTING PARTNER SYDNEY SINFONIA:

THE MAHLER ODYSSEY CONTINUES IN MAY:20-22 MAY - MAHLER 526-29 MAY - MAHLER’S SONG OF THE EARTH

*Select performances. Booking fees of $4-$8.50 may apply.

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SYDNEY SYMPHONY 8215 4600 MON-FRI 9AM-5PM

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SYDNEY OPERA HOUSE 9250 7777 MON-SAT 9AM-8.30PM | SUN 10AM-6PM

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CITY RECITAL HALL ANGEL PLACE8256 2222 (MON-FRI 9AM-5PM)

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BACH THE INVENTORIn 1720 Bach began to compile a keyboard tutor for his nine-year-old son Wilhelm Friedemann. In addition to fi nger exercises and preparatory pieces, this Clavierbüchlein (Little Keyboard Book) contained two sets of 15 short contrapuntal pieces in two and three parts. They proved an invaluable teaching resource, and so the composer revisited them several years later when he took up his position in Leipzig. According to the inscription on the title page, Bach intended the miniatures to aid students of the keyboard:

(1) to learn to play cleanly in two parts, and (2) to handle three obbligato parts correctly; and along with this not only to develop good inventions, but to develop them well; above all, to achieve a cantabile style in playing and acquire a strong foretaste of composition.

In this introduction, Bach’s words get to the very heart of the pieces. Not only do they prepare students technically for the rigours of counterpoint, they provide a masterful insight into how to think and listen in two, and three, separate and equal parts. Bach often takes a simple idea and, through a variety of means whereby that idea is passed back and forth between ‘voices’, weaves an intricate web (or ‘invention’). This development, rather than distancing us from the original musical idea, pulls us ever inward, unravelling its very essence. That he is able to do this within a profoundly beautiful and seamless musical line is what makes these pieces such a joy to play and comprehend on many levels.

SYMPHONY AUSTRALIA ©2010

Two-Part Inventions

Arranged for violin and cello

Program notes continue on page 16


BOURRÉE – a Baroque dance, usually in duple metre (two beats to the bar) and characterised by quick running steps

CADENCE – has a similar meaning in music as it does in speech or poetry. During the 18th and 19th centuries composers used particular progressions of chords, cadences, to signal the end of a phrase, section, or work. Beethoven made an art of prolonging his cadences to monumental proportions.

CANTABILE – in a singing style

CONCERTO – a work for solo instrument and orchestra, most commonly in three movements (fast, slow, fast) and including extended virtuoso passages for the soloist to play alone. Normally there is just one soloist, but concertos for multiple soloists can be found throughout the history of concert music.

CONTRAPUNTAL – a style of music in which two or more diff erent musical lines or melodies are played at the same time (COUNTERPOINT). Imitative counterpoint is when the various parts begin playing similar or identical melodies one after the other – childhood rounds are the simplest form of imitative counterpoint.

GROUND BASS – a melodic bass line or chord pattern that is repeated many times as a support for continuous melodic variations. The technique emerged in the 16th century and was very popular through the Baroque period.

KEY – in Western music there are two main categories of scale or key: major and minor. Aurally, a major scale will sound ‘brighter’ or more cheerful (‘Happy Birthday’), while a minor scale will sound sombre or mournful (funeral marches).

OBBLIGATO – literally, ‘obligatory’: an instrument or part that must not be omitted. By extension, a prominent accompanying melody.

OSTINATO – a short musical pattern that is repeated many times in succession, while other elements in the music change. An ostinato can be a melody, a chord pattern, a rhythm, or a combination of these.

RITORNELLO – a recurring section of music (literally ‘a little return’) that alternates with passages for a soloist or solo group.

TUTTI – all together! (Also refers to a section of music in which all the musicians are playing.)

In much of the classical repertoire, movement titles are taken from the Italian words that indicate the tempo and mood. A selection of terms from this program is included here.

Adagio – slowAllegro – fast Allegro assai – very fast

This glossary is intended only as a quick and easy guide, not as a set of comprehensive and absolute defi nitions. Most of these terms have many subtle shades of meaning which cannot be included for reasons of space.

GLOSSARY


THE ELLINGTON EFFECT‘All musicians should get down on their knees one day to thank Duke Ellington.’

MILES DAVIS

Duke Ellington’s career began in the relatively modest dance band scene in Washington, DC and would eventually encompass the Harlem Renaissance, the rise and ebb of swing, the challenge of bebop, and the subsequent fragmentation of jazz styles. Through it all Ellington followed his own idiosyncratic course, and by the time of his death in 1974 jazz had established itself as arguably the foremost musical art form of the 20th century.

As a young man Duke moved to New York and honed his pianistic skills ‘cutting’ with the great masters of stride piano in Harlem. By the time of his residency at the Cotton Club Ellington had begun to assemble some of the musicians who would form his Famous Orchestra and whose names have since passed into legend: Sonny Greer, Bubber Miley, Joe ‘Tricky Sam’ Nanton, Barney Bigard, Harry Carney and Cootie Williams, to name a few.

Duke’s time at the Cotton Club played a crucial role in forming his unique compositional style. The club was owned

Duke Ellington

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Duke Ellington with the Cotton Club Orchestra


and run by the mob and had one aim – to make money. ‘Slumming’ in Harlem was the fashion, and the club played to the prejudicial notions of the affl uent white clientele by mounting exotic-themed shows. As the house band, Duke and his men were required to perform the music for these revues, back the speciality acts and chorus line, and provide dance music for the club’s patrons. Sonny Greer’s fl amboyant drums and the growl and gutbucket techniques of Miley and Nanton were perfect for the ‘jungle’ style the band developed. Duke crafted music with the particular capabilities of his musicians in mind and exploited the talents of soloists who had their own unique voice, primarily altoist Johnny Hodges, whose portamento graced many ballads such as Prelude to a Kiss. As he expanded the orchestra he experimented more freely with tone colour and texture, creating those lush dissonances which Billy Strayhorn termed ‘the Ellington eff ect’. The addition of bassist Jimmy Blanton and tenor saxophonist Ben Webster by the early 1940s and the Victor recordings of this period constitute for many the pinnacle of the band’s artistic achievements. The essence of the Ellington sound can be heard on numbers such as Take the ‘A’ Train, Perdido, In a Mellotone,

Billy Strayhorn and Duke Ellington

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Harlem Airshaft, Dusk and the up-tempo Cotton Tail, featuring Webster’s solo and a block harmonised sax section chorus.

The development of the long-playing record in the 1940s gave Ellington the opportunity to expand the three-minute form. From 1943 for a period of several years he performed annual concerts at Carnegie Hall, showcasing his series of extended format jazz suites. The fi rst of these was Black, Brown and Beige, a musical portrait of the story of the African American experience, from enslavement and religious redemption (the spiritual ‘Come Sunday’) to emancipation and migration to Harlem.

The immediate post-war period was tough for big bands, and Ellington’s fortunes fl agged. A triumphant appearance at the 1956 Newport Jazz Festival helped put the band back on track, thanks largely to a now-famous 27-chorus solo by tenor saxophonist Paul Gonsalves in the middle of Diminuendo and Crescendo in Blue.

Much has been made of Duke’s suave demeanour and aristocratic bearing, but it went far deeper than sartorial elegance; the desire to tell the story of his people and help shape their cultural landscape underpinned much of his work. Perhaps it was for this reason that he continually strove to craft ‘Negro music’ – as he called it – that portrayed every nuance of the African American experience in defi ance of narrow racial stereotypes. We can only imagine what magic he might have conjured had he been able to experiment further with larger orchestral forces. As he said, ‘I don’t know where jazz itself starts or where it stops, where Tin Pan Alley starts or where jazz ends, or even where more serious music and jazz divide. There is no specifi c boundary line. You know what it is about music? When it sounds good, it is good.’

Miles was right – we don’t have to get down on our knees, but we should all thank the Duke for a body of timeless music that is, quite simply, beyond category.

LORRAINE NIELSONSYMPHONY AUSTRALIA ©2010

‘You know what it is about music? When it sounds good, it is good.’DUKE ELLINGTON


MORE MUSIC

Broadcast Diary

MARCH–APRIL

12 Mar, 8pmFANTASTIQUE!

Pinchas Steinberg conductorLouis Lortie piano

Franck, Ravel, Berlioz

17 Mar, 6.30pmTHE HALL OF HEROES

Alexander Briger conductorFrançois-Frédéric Guy piano

Ledger, Beethoven, Wagner

3 Apr, 9.15pm

TWO SYMPHONIES AND A FUNERAL (2009)

Michael Dauth violin-directorClemens Leske piano

JC Bach, Mozart, Haydn

5 April, 8pm

ORGAN SPLENDOUR (2009)

David Drury organ

Solo organ works: Bach, Jongen, Dupre, Widor

6 April, 1.05pm

RAVEL’S BOLERO (2008)

Gianluigi Gelmetti conductor

17 Apr, 8pm

PYROTECHNICA

Roy Goodman conductorJian Wang cello

Bach, Lalo, Tippett, Handel

2MBS-FM 102.5

SYDNEY SYMPHONY 2010

9 March, 6pm

What’s on in concerts, with interviews and music.

Webcast Diary

Selected Sydney Symphony concerts are recorded for webcast by BigPond. Visit: bigpondmusic.com/sydneysymphony

FebruaryMAHLER 8 – ‘SYMPHONY OF A THOUSAND’

Available on demand.

Selected Discography

NIGEL KENNEDY

A Very Nice Album

With the Nigel Kennedy QuintetEMI CLASSICS 2131712

Polish Spirit

Emil Mlynarski’s Violin Concerto No.2 and Mieczyslaw Karlowicz’s Violin Concerto in A, with arrangements of Chopin Nocturnes. Nigel Kennedy plays and directs the Polish Chamber Orchestra.EMI CLASSICS 79934

The Blue Note Sessions

Nigel Kennedy, playing electric violin, is joined by saxophonists Joe Lovano and JD Allen, bassist Ron Carter, drummer Jack DeJohnette, pianist Kenny Werner, percussionist Daniel Sadownick, guitarist and vocalist Raul Midon, and organist Lucky Peterson.EMI CLASSICS 705058

Elgar Violin Concerto

Nigel Kennedy’s acclaimed interpretation of the Elgar Violin Concerto has been recorded twice and is available in a number of releases including onewith Vernon Handley and the London Philharmonic Orchestra (1984).EMI GREAT RECORDINGS OF THE CENTURY 45793

Vivaldi’s Four Seasons

This disc became the best-selling classical recording of all time, recorded with the English Chamber Orchestra in 1989.EMI CLASSICS 56253

More recently a pair of releases with members of the Berlin Philharmonic and guest soloists placed The Four Seasons alongside other Vivaldi concertos:Vivaldi I (incl. The Four Seasons) – EMI CLASSICS 57666

Vivaldi II – EMI CLASSICS 57859

Sydney Symphony Online

Visit the Sydney Symphony at sydneysymphony.com for concert information, audio and video, and to read the program book in advance of the concert.

Become a fan on Facebook at http://tinyurl.com/facebook-SSO (or search for “Sydney Symphony” from inside your Facebook account).

Follow us on Twitter at twitter.com/sso_notes for program alerts and musical curiosities, straight from the editor’s desk.

Have Your SayTell us what you thought of the concert at sydneysymphony.com/yoursay or email: [email protected]


ABOUT THE ARTISTS

Nigel Kennedy’s virtuosic technique, unique talent and mass appeal have brought fresh perspectives to both the classical and contemporary repertoire, and he is the best-selling classical violinist worldwide.

As a child he studied at the Menuhin School before studying with the celebrated Dorothy DeLay at the Juilliard School of Music. He has performed with the world’s major orchestras and conductors, and major debuts have included the London Royal Festival Hall in 1977, the Berlin Philharmonic in 1980, his New York orchestral debut in 1987 and his 2004 French debut. He has given numerous Royal command performances, and his many awards include Outstanding Contribution to British Music and Male Artist of the Year at the UK Brit Awards, and the Swiss Gold Rose of Montreux.

He is an exclusive EMI artist, and his acclaimed recordings include Elgar’s Violin Concerto (1985 Gramophone Record of the Year), Brahms and Beethoven concertos, and his landmark recording of Vivaldi’s Four Seasons, the best-selling classical work of all time. He has also recorded concertos by Bach, Beethoven, Berg, Brahms, Bruch, Mendelssohn, Sibelius, Tchaikovsky and Walton, as well as chamber music and recital discs.

His passion for jazz resulted in the 2006 album Blue Note Sessions, produced by Jay Newland and featuring a band of jazz giants including Ron Carter and Jack DeJohnette. His latest album, A Very Nice Album, with the Nigel Kennedy Quintet marks another bold excursion into non-classical repertoire, in which he steps to the fore as composer and improviser. In 2010 the quintet will release SHHH.

In 2002 he was appointed Artistic Director of the Polish Chamber Orchestra, with whom he has recorded a concerto by late-Romantic Polish composer Mlynarski, coupled with Karlowicz’s Violin Concerto in A in the award-winning CD, Polish Spirit (2007).

He is currently founding a new chamber orchestra, comprising handpicked young musicians, and 2010 marks their fi rst international tour. This year will also see him as Artistic Director of a major Polish festival weekend at London’s South Bank Centre.

Nigel Kennedy has long been a devotee of Aston Villa, attending as many games as his schedule allows. He has one son, is married to Polish lawyer, Agnieszka, and they divide their time between homes in London and Krakow.

Nigel Kennedy violin

Nigel Kennedy’s most recent appearances with the Sydney Symphony were in 2008, when he performed Mozart and Beethoven concertos, and in 2006, when he presented a Vivaldi program.

In this performance Nigel Kennedy plays both his acoustic violin and a 5-string Violectric in Aston Villa colours.

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Shefali Pryor oboe

Shefali Pryor is the Sydney Symphony’s Associate Principal Oboe. She joined the orchestra after graduating from the Sydney Conservatorium of Music, and in 2004–05 she took time off to study at the Salzburg Mozarteum. In 2006 she was a fi nalist in the Symphony Australia/ABC Young Performers Awards and performed Vivaldi with Nigel Kennedy.

Catherine Hewgill cello

Catherine Hewgill is Principal Cello of the Sydney Symphony. She began studying cello in Perth, before studying in London, completing a degree at the University of Southern California, and taking private lessons with Mstislav Rostropovich. She played with the Australian Chamber Orchestra before joining the Sydney Symphony in 1989. Since then she has made several solo appearances with the orchestra as well as with the other major Australian symphony orchestras.

Catherine Hewgill plays a Carlo Tononi cello (Venice, 1729).

Tomasz Grzegorski saxophone

A graduate of the Academy of Music in Katowice, Poland, Tomasz Grzegorski made his debut in 1997 with Quintessence Eric Kulma, and later performed with the Parnassus Jazz Quintet and George Malka’s quintet. He has performed at festivals throughout Europe, and plays in his own trio with Piotr Kulakowski and Tomasz Sowinskiego.

Tomasz Grzegorski is a member of the Nigel Kennedy Quintet.

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Orphy Robinson marimba and vibraphone

Orphy Robinson is an award-winning multi-instrumentalist and composer, combining jazz, contemporary classical, African, funk and improvisation. He was a founding member of Savanna, and has performed with Courtney Pine, Andy Sheppard and the big band Jazz Warriors, among others. His career took off with the formation of the Annavas band, and his distinctive sound features on his Blue Note debut album, When Tomorrow Comes.www.orphyrobinson.com

Doug Boyle guitar

Doug Boyle is an English guitarist, best-known for his work with Caravan (1996–2005). From 1987 to 1992 he played in the band of ex-Led Zeppelin singer, Robert Plant, touring and appearing on two albums. He also composes music for television and freelances as a session player. He has been performing with Nigel Kennedy since 1994, and last year released his solo album, the third rail.

Adam Kowalewski bass

Adam Kowalewski graduated from the Academy of Music in Katowice, and has been a lecturer in the jazz faculty there since 1999. He works with leading Polish jazz musicians and has played in all the major jazz festivals in Poland as well as appearing in festivals in Mexico, Israel and Australia.

Adam Kowalewski is a member of the Nigel Kennedy Quintet.

Krzysztof Dziedzic drums and percussion

Krzysztof Dziedzic is a graduate of the Academy of Music, Katowice. He made his debut at the 1994 Jazz Jamboree Festival, and was a prizewinner at the Jazz Festival in Odra in 1997. He has collaborated with the Piotr Wojtasik Quintet and Adam Pieronczyk Trio, as well as with Michal Urbaniak, Zbigniew Namyslowski and Jaroslaw Smietana.

Krzysztof Dziedzic is a member of the Nigel Kennedy Quintet.


MUSICIANS

Vladimir AshkenazyPrincipal Conductor andArtistic Advisor

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Michael DauthConcertmaster Chairsupported by the SydneySymphony Board and Council

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Dene OldingConcertmaster Chairsupported by the SydneySymphony Board and Council

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Performing in this concert…

FIRST VIOLINS

Dene Olding Concertmaster

Fiona Ziegler Assistant Concertmaster

Marianne Broadfoot

Brielle Clapson

Sophie Cole

SECOND VIOLINS

Marina Marsden

Shuti Huang

Stan W Kornel

Biyana Rozenblit

Maja Verunica

VIOLAS

Aurelie Entringer*

Sandro Costantino

Stuart Johnson

Felicity Tsai

CELLOS

Catherine Hewgill

Elizabeth Neville

Adrian Wallis

David Wickham

DOUBLE BASSES

Alex Henery

Benjamin Ward

OBOE

Shefali Pryor

HARPSICHORD

Neal Peres da Costa*

Bold = PrincipalItalic= Associate Principal* = Guest Musician

To see photographs of the full roster of permanent musicians and fi nd out more about the orchestra visit our website: www.sydneysymphony.com/SSO_musicians

For NIGEL KENNEDY

Management Terri Robson AssociatesPersonal Assistant Holly ToppsTour and Production Manager Steve CoxTour Agent Australia 2009 Andrew Croot

Sound Engineer Gary FalkenthalMonitor Engineer Piotr Zalewski


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THE SYDNEY SYMPHONYVladimir Ashkenazy PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR

PATRON Her Excellency Professor Marie Bashir AC CVO, Governor of New South Wales

Founded in 1932 by the Australian Broadcasting Corporation, the Sydney Symphony has evolved into one of the world’s fi nest orchestras as Sydney has become one of the world’s great cities.

Resident at the iconic Sydney Opera House, where it gives more than 100 performances each year, the Sydney Symphony also performs in venues throughout Sydney and regional New South Wales. International tours to Europe, Asia and the USA have earned the orchestra world-wide recognition for artistic excellence, and in 2009 it made its fi rst tour to mainland Asia.

The Sydney Symphony’s fi rst 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, Zdenek Mácal, Stuart Challender, Edo de Waart and, most recently, Gianluigi Gelmetti. The orchestra’s history also boasts collaborations with legendary fi gures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.

The Sydney Symphony’s award-winning education program is central to its commitment to the future of live symphonic music, developing audiences and engaging the participation of young people. The Sydney Symphony promotes the work of Australian composers through performances, recordings and its commissioning program. Recent premieres have included major works by Ross Edwards, Liza Lim, Lee Bracegirdle and Georges Lentz, and the orchestra’s recording of works by Brett Dean was released on both the BIS and Sydney Symphony Live labels.

Other releases on the Sydney Symphony Live label, established in 2006, include performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras and Vladimir Ashkenazy. The Sydney Symphony has also released recordings with Ashkenazy of Rachmaninoff and Elgar orchestral works on the Exton label, and numerous recordings on the ABC Classics label.

This is the second year of Ashkenazy’s tenure as Principal Conductor and Artistic Advisor.


SALUTE

BRONZE PARTNER MARKETING PARTNERS

Vittoria Coffee Lindsay Yates & Partners 2MBS 102.5 Sydney’s Fine Music Station

REGIONAL TOUR PARTNERS

PRINCIPAL PARTNER GOVERNMENT PARTNERS

The Sydney Symphony is assisted by the NSW Government through Arts NSW

The Sydney Symphony is assisted by the Commonwealth Government through the

Australia Council, its arts funding and advisory body

SILVER PARTNERS

PLATINUM PARTNERS MAJOR PARTNERS

GOLD PARTNERS


PLAYING YOUR PART

The Sydney Symphony gratefully acknowledges the music lovers who donate to the Orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs. Please visit sydneysymphony.com/patrons for a list of all our donors, including those who give between $100 and $499.

$20,000+Geoff & Vicki AinsworthMr Robert O Albert AO

Roger Allen & Maggie GrayTom Breen & Rachael KohnSandra & Neil Burns Mr John C Conde AO Robert & Janet ConstableThe Hon Ashley Dawson-Damer Mr J O Fairfax AC

Fred P Archer Charitable TrustThe Berg Family Foundation in memory of Hetty GordonThe Hansen Family Mr Andrew Kaldor & Mrs Renata Kaldor AO D & I Kallinikos Mrs Roslyn Packer AO The Paramor Family Dr John Roarty in memory of Mrs June RoartyPaul & Sandra Salteri Mrs Penelope Seidler AM

Mrs Joyce Sproat & Mrs Janet Cooke Mrs W SteningMr Fred Street AM & Mrs Dorothy Street In memory of D M ThewMr Peter Weiss AM & Mrs Doris WeissWestfi eld GroupThe Estate of the late G S WronkerRay Wilson OAM in memory of James Agapitos OAM

Anonymous

$10,000–$19,999Brian Abel Alan & Christine Bishop Ian & Jennifer Burton Libby Christie & Peter James Penny Edwards Dr Bruno & Mrs Rhonda GiuffreStephen Johns & Michele BenderHelen Lynch AM & Helen BauerMrs Joan MacKenzie Justice Jane Mathews AO

Tony & Fran MeagherMrs T Merewether OAM Mr B G O’Conor Anonymous (2)

$5,000–$9,999Mrs Antoinette AlbertAndrew Andersons AO

Jan Bowen Mr Donald Campbell & Dr Stephen FreibergMr Robert & Mrs L Alison CarrEmily Chang Bob & Julie Clampett Michael & Manuela DarlingJames & Leonie FurberMr Robert Gay

Mr David Greatorex AO & Mrs Deirdre Greatorex Irwin Imhof in memory of Herta Imhof Judges of the Supreme Court of NSWGary Linnane Ruth & Bob MagidDavid Maloney & Erin FlahertyDavid & Andree MilmanJ F & A van OgtropEva & Timothy Pascoe Rodney Rosenblum AM & Sylvia Rosenblum David Smithers AM & Family Mrs Hedy SwitzerIn memory of Dr William & Mrs Helen Webb Michael & Mary Whelan Trust Jill WranAnonymous

$2,500–$4,999David Barnes Marco Belgiorno-Zegna AM

Lenore P Buckle Hilmer Family Trust Paul & Susan HotzMark JohnsonAnna-Lisa KlettenbergMr Justin LamMora Maxwell Judith McKernanJames & Elsie Moore Mr & Mrs OrtisBruce & Joy Reid FoundationGeorges & Marliese TeitlerAnonymous (2)

$1,000–$2,499Adcorp Australia LimitedCharles & Renee AbramsMr Henri W Aram OAM Terrey & Anne ArcusClaire Armstrong & John SharpeRichard Banks OptometristsCharles Barran Doug & Alison Battersby Jo-Anne BeirneStephen J Bell Phil & Elesa BennettNicole Berger Gabrielle Blackstock Mr Alexander & Mrs Vera Boyarsky David S Brett Jane Brodribb & Colin DraperMr Maximo Buch M BulmerPat & Jenny BurnettThe Clitheroe FoundationDebby Cramer & Bill Caukill Ewen & Catherine CrouchLisa & Miro Davis

Mr James Graham AM & Mrs Helen Graham Ian Dickson & Reg HollowayPaul EspieRussell & Sue FarrRosemary & Max Farr-JonesJohn FavaloroMr Ian Fenwicke & Prof Neville WillsFirehold Pty LtdAnnette FreemanRoss & Jill GavinWarren GreenAnthony Gregg & Deanne Whittleston Akiko Gregory In memory of Oscar GrynbergJanette Hamilton Ann Hoban The Hon David Hunt AO QC & Mrs Margaret HuntDr Michael Joel AM & Mrs Anna Joel Sam & Barbara LinzMallesons Stephen JaquesMr Robert & Mrs Renee MarkovicIan & Pam McGawMatthew McInnes Mrs Barbara McNulty OBE

Mr R A Oppen Mr Robert Orrell Jill Pain Mrs Almut PiattiAdrian & Dairneen PiltonRobin Potter Mr & Ms Stephen ProudErnest & Judith RapeePatricia H Reid Pamela Rogers Jerome & Pamela RowleyJuliana SchaefferVictoria SmythEzekiel SolomonCatherine Stephen Andrew & Isolde TornyaJohn E Tuckey Mrs Merle Turkington Andrew Turner & Vivian ChangMrs Kathleen TuttonA W Tyree FoundationEstate of B M WardenHenry & Ruth WeinbergAudrey & Michael Wilson Geoff Wood & Melissa WaitesAnonymous (11)

$500–$999Mr C R AdamsonDr Francis J AugustusMichael & Toni Baume AO

G D Bolton Dr & Mrs Hannes Boshoff Hon. Justice J C & Mrs Campbell Joan Connery OAM Jen Cornish

Bruce CutlerProf Christine DeerPeter English & Surry PartnersIn Memory of Mr Nick EnrightDr & Mrs C Goldschmidt In memory of Angelica Green Damien HackettThe HallwayMartin HanrahanDr Heng & Mrs Cilla Tey Rev H & Mrs M Herbert Dr & Mrs Michael Hunter Jannette King Iven & Sylvia KlinebergIan KortlangMr & Mrs Gilles T Kryger Dr and Mrs Leo LeaderMargaret LedermanErna & Gerry Levy AM Sydney & Airdrie LloydAlison Lockhart & Bruce WatsonLocumsgroup Holdings LPDr Carolyn A Lowry OAM & Mr Peter Lowry OAM

Wendy McCarthy AO Macquarie Group FoundationMrs Silvana MantellatoKenneth N MitchellHelen MorganMr Graham NorthDr M C O’ConnorMrs Rachel O’ConorK B MeyboomA Willmers & R PalMrs S D O’TooleMr George A PalmerDr A J PalmerDr Kevin Pedemont L T & L M PriddleDr K D Reeve AM

Rowan & Annie RossRichard RoyleBrian Russell & Irina SinglemanMr M D SalamonIn memory of H St P ScarlettCaroline SharpenRobyn Smiles E StuartMr John SullivanMr Ken Tribe AC & Mrs Joan Tribe Prof Gordon E Wall Ronald WalledgeThe Hon. Justice Anthony WhealyThe Hon. Edward G WhitlamMrs R YabsleyAnonymous (19)

To fi nd out more about becoming a Sydney Symphony patron please contact the Philanthropy Offi ce on (02) 8215 4625 or email [email protected]


MAESTRO’S CIRCLE John C Conde AO – Chairman

Peter Weiss AM – Founding President & Doris Weiss

Geoff & Vicki Ainsworth

Tom Breen & Rachael Kohn

The Hon. Ashley Dawson-Damer

In memory of Hetty & Egon Gordon

Andrew Kaldor & Renata Kaldor AO

Roslyn Packer AO

Penelope Seidler AM

Mr Fred Street AM & Mrs Dorothy Street

Westfi eld Group

Ray Wilson OAM

in memory of the late James Agapitos OAM

01Richard Gill OAM

Artistic Director Education Sandra and Paul Salteri Chair

02Ronald PrussingPrincipal TromboneIndustry & Investment NSW Chair

03Michael Dauth and Dene OldingBoard and Council of the Sydney Symphony support the Concertmaster Chairs

04Nick ByrneTromboneRogenSi Chair with Gerald Tapper, Managing Director RogenSi

05Diana DohertyPrincipal Oboe Andrew Kaldor and Renata Kaldor AO Chair

06Paul Goodchild Associate Principal TrumpetThe Hansen Family Chair

07Catherine Hewgill Principal CelloTony and Fran Meagher Chair

08Emma Sholl Associate Principal FluteRobert and Janet ConstableChair

09Roger Benedict Principal ViolaRoger Allen and Maggie Gray Chair

01 02 03

04 05 06

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For information about the Directors’ Chairs program, please call (02) 8215 4619.

DIRECTORS’ CHAIRS

BEHIND THE SCENES

Sydney Symphony Board CHAIRMAN

John C Conde AO

Ewen Crouch Andrew KaldorJennifer Hoy Goetz RichterRory Jeffes David Smithers AM

Stephen Johns Gabrielle Trainor

Sydney Symphony Regional Touring Committee

The Hon. Ian Macdonald MLC Minister for State and Regional Development, Forest and Mineral Resources

Dr Richard Sheldrake Director-General, NSW Department of Industry and Investment

Mark Duffy Deputy Director-General, Energy and Minerals Division, NSW Department of Industry and Investment

Colin Bloomfi eld Illawarra Coal BHPBilliton

Stephen David Caroona Project, BHPBillitonRomy Meerkin Regional Express AirlinesPeter Freyberg XstrataTony McPaul Cadia Valley OperationsTerry Charlton Snowy HydroSivea Pascale St.George BankPaul Mitchell Telstra Grant Cochrane The Land

Sydney Symphony Council Geoff AinsworthAndrew Andersons AO

Michael Baume AO*Christine BishopDeeta ColvinJohn Curtis AM

Greg Daniel AM

John Della Bosca MLC

Alan FangErin FlahertyDr Stephen FreibergRichard Gill OAM

Donald Hazelwood AO OBE*

Dr Michael Joel AM

Simon Johnson Judy JoyeYvonne Kenny AM

Gary LinnaneAmanda LoveHelen Lynch AM

The Hon. Ian Macdonald MLC*Joan MacKenzieSir Charles Mackerras CH AC CBE

David Maloney

David Malouf AO

Julie Manfredi-HughesDeborah MarrThe Hon. Justice Jane Mathews AO*Danny MayWendy McCarthy AO

John MorschelGreg ParamorDr Timothy Pascoe AM

Stephen PearseJerome RowleyPaul Salteri

Sandra SalteriJacqueline SamuelsJuliana SchaefferLeo Schofi eld AM

Ivan UngarJohn van Ogtrop*Justus Veeneklaas*Peter Weiss AM

Anthony Whelan MBE

Rosemary WhiteKim Williams AM

* Regional Touring Committee member

Level 9, 35 Pitt Street, Sydney NSW 2000GPO Box 4972, Sydney NSW 2001Telephone (02) 8215 4644Box Offi ce (02) 8215 4600Facsimile (02) 8215 4646www.sydneysymphony.com

All rights reserved, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage or retrieval system, without permission in writing. The opinions expressed in this publication do not necessarily refl ect the beliefs of the editor, publisher or any distributor of the programs. While every effort has been made to ensure accuracy of statements in this publication, we cannot accept responsibility for any errors or omissions, or for matters arising from clerical or printers’ errors. Every effort has been made to secure permission for copyright material prior to printing.

Please address all correspondence to the Publications Editor: Email [email protected]

SYDNEY OPERA HOUSE TRUSTMr Kim Williams AM (Chair)Mr John Ballard, Ms Catherine Brenner, Rev Dr Arthur Bridge AM,Mr Wesley Enoch, Ms Renata Kaldor AO, Mr Robert Leece AM RFD,Ms Sue Nattrass AO, Mr Leo Schofi eld AM, Mr Evan Williams AM

EXECUTIVE MANAGEMENTCHIEF EXECUTIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Richard EvansDIRECTOR, BUILDING DEVELOPMENT & MAINTENANCE . . . . . .Greg McTaggartDIRECTOR, TOURISM & VISITOR OPERATIONS. . . . . . . . . . . . . . .Maria SykesDIRECTOR, FINANCE & INNOVATION . . . . . . . . . . . . . . . . . . . . . . . .David AntawDIRECTOR, MARKETING & DEVELOPMENT. . . . . . . . . . . . . . . . . . .Victoria DoidgeDIRECTOR, PERFORMING ARTS . . . . . . . . . . . . . . . . . . . . . . . . . . . .Rachel Healy

SYDNEY OPERA HOUSEBennelong Point GPO Box 4274, Sydney NSW 2001Administration (02) 9250 7111 Box Offi ce (02) 9250 7777Facsimile (02) 9250 7666 Website sydneyoperahouse.com

This is a PLAYBILL / SHOWBILL publication Publisher Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064

Head Offi ce: 1017 Pacifi c Highway, Pymble, NSW 2073 Telephone: (02) 9449 6433 Fax: (02) 9449 6053 E-mail: [email protected] Website: www.playbill.com.auOperating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, Hobart and Darwin

EXECUTIVE CHAIRMAN Brian Nebenzahl OAM, RFD MANAGING DIRECTOR Michael Nebenzahl EDITORIAL DIRECTOR Jocelyn Nebenzahl MANAGER – PRODUCTION & GRAPHIC DESIGN Debbie Clarke

All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright. Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited.

By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the publisher’s consent in writing.It is a further condition that this publication shall not be circulated in any form of binding or cover than that in which it was published, or distributed at any other event than specifi ed on the title page of this publication.

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SYMPHONY AUSTRALIA LIMITEDSuite 2, Level 5, 1 Oxford Street, Darlinghurst NSW 2010PO Box 1145, Darlinghurst NSW 1300Telephone (02) 8622 9400 Facsimile (02) 8622 9422www.symphony.net.au

SYMPHONYAUSTRALIA

HEAD OF PHILANTHROPY & PUBLIC AFFAIRS Caroline SharpenPHILANTHROPY & PUBLIC AFFAIRS EXECUTIVE Kylie AnaniaDEVELOPMENT COORDINATORGeorgia Wilton

SALES AND MARKETINGDIRECTOR OF SALES & MARKETINGMark J ElliottSENIOR MARKETING MANAGER,SINGLE SALES Penny EvansMARKETING MANAGER, CLASSICAL SALES Antonia FarrugiaMARKETING MANAGER, SUBSCRIPTION SALES Simon Crossley-MeatesONLINE MANAGER Kate TaylorGRAPHIC DESIGNER Christie HutchinsonDATA ANALYST Kent Prusas

Box Offi ceMANAGER OF TICKETING & CUSTOMER SERVICE Lynn McLaughlinBOX OFFICE COORDINATORNatasha PurkissCUSTOMER SERVICE REPRESENTATIVESMichael Dowling, Erich Gockel,Matt Lilley, Rachel McLarin

COMMUNICATIONSHEAD OF COMMUNICATIONSYvonne ZammitPUBLICIST Katherine Stevenson

MANAGING DIRECTOR Rory JeffesEXECUTIVE TEAM ASSISTANTLisa Davies-Galli

ARTISTIC OPERATIONSDIRECTOR OF ARTISTIC PLANNINGPeter Czornyj

Artistic AdministrationARTISTIC MANAGERRaff WilsonARTIST LIAISON MANAGERIlmar LeetbergRECORDING PRODUCTION MANAGERPhilip Powers

Education ProgramsEDUCATION MANAGER Kim WaldockARTIST DEVELOPMENT MANAGERBernie HeardEDUCATION ASSISTANTRebecca Whittington

LibraryLIBRARIAN Anna CernikLIBRARY ASSISTANT Victoria GrantLIBRARY ASSISTANT Mary-Ann Mead

DEVELOPMENTHEAD OF CORPORATE RELATIONSLeann MeiersCORPORATE RELATIONS EXECUTIVEJulia OwensCORPORATE RELATIONS EXECUTIVESeleena Semos

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGERYvonne Frindle

ORCHESTRA MANAGEMENTDIRECTOR OF ORCHESTRA MANAGEMENT Aernout KerbertDEPUTY ORCHESTRA MANAGERLisa MullineuxORCHESTRAL COORDINATORStephanie MirowOPERATIONS MANAGERKerry-Anne CookTECHNICAL MANAGER Derek CouttsPRODUCTION COORDINATORTim DaymanPRODUCTION COORDINATORIan SpenceSTAGE MANAGER Peter Gahan

BUSINESS SERVICESDIRECTOR OF FINANCE John HornFINANCE MANAGER Ruth TolentinoASSISTANT ACCOUNTANT Minerva PrescottACCOUNTS ASSISTANT Li LiPAYROLL OFFICER Usef Hoosney

HUMAN RESOURCESHUMAN RESOURCES MANAGERAnna Kearsley

COMMERCIAL ENTERPRISESCOMMERCIAL ENTERPRISES MANAGER Patrick Smith

Sydney Symphony Staff

je ne sais quoi · 2019-07-11 · bach two-part inventions, transcribed for violin and cello...

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