rachmaninoff’s rhapsody books... · little lion man, hallelujahand more. enjoy these ultimate...

29
DANCING WITH THE DEVIL Rachmaninoff’s Rhapsody APT MASTER SERIES Wednesday 12 August 2015 Friday 14 August 2015 Saturday 15 August 2015

Upload: others

Post on 16-Sep-2019

2 views

Category:

Documents


0 download

TRANSCRIPT

Page 1: Rachmaninoff’s Rhapsody Books... · Little Lion Man, Hallelujahand more. Enjoy these ultimate crossover artists in a concert of pure fun! Thu 27 Aug 6.30pm Kaleidoscope Fri 28 Aug

DANCING WITH THE DEVIL Rachmaninoff’s Rhapsody

APT MASTER SERIES

Wednesday 12 August 2015 Friday 14 August 2015 Saturday 15 August 2015

Page 2: Rachmaninoff’s Rhapsody Books... · Little Lion Man, Hallelujahand more. Enjoy these ultimate crossover artists in a concert of pure fun! Thu 27 Aug 6.30pm Kaleidoscope Fri 28 Aug

concert diary

Kirill Gerstein in Recital BARTÓK 2 Chromatic Inventions from Mikrokosmos BACH Three-Part Inventions (Sinfonias) LISZT Transcendental Etudes

International Pianists in Recital Presented by Theme & Variations

Mon 17 Aug 7pm City Recital Hall Angel Place

Pre-concert talk by David Garrett at 6.15pm

Romeo & Juliet with Bell Shakespeare PROKOFIEV Romeo and Juliet: Scenes from the ballet music with excerpts from Shakespeare’s play

Simone Young conductor John Bell director Actors from Bell Shakespeare

SPECIAL EVENT Premier Partner Credit Suisse

Thu 20 Aug 8pmTea & Symphony

Fri 21 Aug 11am complimentary morning tea from 10am

Great Classics

Sat 22 Aug 2pmMondays @ 7

Mon 24 Aug 7pmPre-concert talk by Yvonne Frindle 45 minutes before each performance (Thu, Sat, Mon)

Discover Ravel RAVEL Mother Goose – Suite

Richard Gill conductor SSO Sinfonia

Tenix Discovery

Tue 25 Aug 6.30pm City Recital Hall Angel Place

Time for Three America’s hottest string trio Three young Americans who defy classification, happily and infectiously. Including their own ingenious mash-ups of the Beatles, Mumford & Sons’ Little Lion Man, Hallelujah and more. Enjoy these ultimate crossover artists in a concert of pure fun!

Meet the Music

Thu 27 Aug 6.30pmKaleidoscope

Fri 28 Aug 8pm Sat 29 Aug 8pmPre-concert talk 45 minutes before each performance

French ImpressionsRAVEL Rapsodie espagnole DEBUSSY Nocturnes BERLIOZ Te Deum

Charles Dutoit conductor • Joseph Kaiser tenor Sydney Philharmonia Choirs • Sydney Children’s Choir Tasmanian Symphony Orchestra Chorus

Thursday Afternoon Symphony

Thu 3 Sep 1.30pmEmirates Metro Series

Fri 4 Sep 8pmPre-concert talk by David Garrett 45 minutes before each performance

Roman TrilogyBERLIOZ Roman Carnival – Overture SCHUMANN Cello Concerto RESPIGHI Roman Festivals Fountains of Rome Pines of Rome

Charles Dutoit conductor Daniel Müller-Schott cello (PICTURED)

APT Master Series

Wed 9 Sep 8pm Fri 11 Sep 8pm Sat 12 Sep 8pmPre-concert talk by David Larkin at 7.15pm

CLASSICAL

NO FEES WHEN YOU BOOK CLASSICAL CONCERTS ONLINE WITH THE SSO

FOR COMPLETE DETAILS OF THE 2015 SEASON VISIT

SYDNEYSYMPHONY.COM CALL 8215 4600 Mon–Fri 9am–5pm

Tickets also available atSYDNEYOPERAHOUSE.COM 9250 7777 Mon–Sat 9am–8.30pm Sun 10am–6pmCITYRECITALHALL.COM 8256 2222 Mon–Fri 9am–5pm

All concerts at Sydney Opera House unless otherwise stated

FIND YOUR ARTThe best in fine music performance every weeknight at 8.30PM AEST

Anne-Sophie Mutter and the Camerata Academica Salzburg perform Mozart’s Violin Concerto No.1

foxtelarts.com.au

Page 3: Rachmaninoff’s Rhapsody Books... · Little Lion Man, Hallelujahand more. Enjoy these ultimate crossover artists in a concert of pure fun! Thu 27 Aug 6.30pm Kaleidoscope Fri 28 Aug

Welcome to tonight’s concert in the APT Master Series for 2015. Tonight, performers and audience come together in a concert hall, but the music on offer is so dramatic we could easily be in a theatre.

This week a young American, James Gaffigan, is making his

third visit to the Sydney Symphony Orchestra. The program

he conducts begins in the world of opera, with music from

Verdi’s Macbeth. In the second half we’ll hear the thrilling and

energising sounds of Shostakovich’s Fifth Symphony.

Piano soloist Kirill Gerstein is also making a return visit to

Sydney; this time to perform Rachmaninoff’s Rhapsody on a

Theme of Paganini – music to inspire awe and make

you swoon.

Music has an amazing power to grip the emotions, to inspire,

to leave you breathless. But if you’ve ever had a chance to visit

the Kimberley region in Western Australian you’ll know that the

beauties of the natural world – especially in our own country –

are just as powerful. If you haven’t had a chance to admire the

Kimberley and Australian Outback, we invite you to join us on

one of our 4WD wilderness adventures or coastal cruises and

discover its majesty for yourself.

We hope you’ll be moved by the drama of tonight’s program

and we look forward to seeing you at future Master Series

concerts during the year.

WELCOME

Geoff McGeary oam APT Company Owner

Page 4: Rachmaninoff’s Rhapsody Books... · Little Lion Man, Hallelujahand more. Enjoy these ultimate crossover artists in a concert of pure fun! Thu 27 Aug 6.30pm Kaleidoscope Fri 28 Aug

PRESENTED BY

Friday Night’s performance will be recorded by ABC Classic FM for broadcast on Saturday 22 August at 8pm.

Pre-concert talk by Natalie Shea at 7.15pm in the Northern Foyer.

Estimated durations: 10 minutes, 23 minutes, 20-minute interval, 45 minutes The concert will conclude at approximately 10pm.

COVER IMAGE: Detail from Burning: February, a lithograph from the early 1930s by Harold Sandys Williamson (1892–1978).

DANCING WITH THE DEVILJames Gaffigan conductor Kirill Gerstein piano

GIUSEPPE VERDI (1813–1901) Macbeth: Ballet music from Act III

SERGEI RACHMANINOFF (1873–1943) Rhapsody on a Theme of Paganini, Op.43

Kirill Gerstein, piano

INTERVAL

DMITRI SHOSTAKOVICH (1906–1975) Symphony No.5

Moderato – Allegro non troppo Allegretto Largo Allegro non troppo

APT MASTER SERIES

WEDNESDAY 12 AUGUST, 8PM FRIDAY 14 AUGUST, 8PM SATURDAY 15 AUGUST, 8PM

SYDNEY OPERA HOUSE CONCERT HALL

2015 concert season

Page 5: Rachmaninoff’s Rhapsody Books... · Little Lion Man, Hallelujahand more. Enjoy these ultimate crossover artists in a concert of pure fun! Thu 27 Aug 6.30pm Kaleidoscope Fri 28 Aug

6

HA

GA

LIB

RA

RY

/ LE

BR

ECH

T M

US

IC &

AR

TS

Clockwise from top left: Portrait of Verdi in 1886 by Giovanni Boldini. Photograph of Shostakovich taken around the time of the premiere of the Fifth Symphony (colourised). After leaving Russia for the West, Rachmaninoff reinvented himself as a concert pianist (portrait by Boris Chaliapin, 1940). Paganini’s tall, lean physique and distinctive posture contributed to the legends of his ‘supernatural’ gifts (portrait by Eugene Delacroix, 1832).

LEB

REC

HT

MU

SIC

& A

RTS

Page 6: Rachmaninoff’s Rhapsody Books... · Little Lion Man, Hallelujahand more. Enjoy these ultimate crossover artists in a concert of pure fun! Thu 27 Aug 6.30pm Kaleidoscope Fri 28 Aug

7

The supernatural can make for good theatre. Shakespeare knew

that – think Hamlet’s ghost and Macbeth’s weird sisters. But in

those plays the ghost and the witches are more than Elizabethan

special effects. They play a motivating role in the drama, and

Verdi recognised that, to the extent of declaring that in his opera

Macbeth there were just three principal characters: Macbeth,

Lady Macbeth, and the ‘chorus of witches’. It was for the scene

in which Macbeth seeks out those witches that tonight’s ballet

music was composed.

The supernatural can also make for good publicity. In the

18th century, Giuseppe Tartini wrote a sonata that remains

famous for its difficulty. But it wouldn’t be quite so famous if it

didn’t also carry a nickname – the Devil’s Trill Sonata – and a

backstory in which the Devil appeared to Tartini in a dream. In

the 19th century, the violinist Niccolò Paganini caused an even

greater furore with an astonishing virtuosity that was attributed

to a pact with the devil. This rumour may have cost him a

Catholic burial, but it didn’t hurt the ticket sales to his concerts!

‘Supernatural’ virtuosity is found in the piano world as well.

Franz Liszt used his prodigious skill to represent the devil in

music – more than once. In the 20th century it was

Rachmaninoff whose virtuosity seemed to exemplify the

glamorous and seductive side of things diabolical. And the

themes came together when he chose the 24th Caprice of

Paganini as the basis for his Rhapsody for piano and orchestra.

Rachmaninoff’s Rhapsody was composed in 1934, after he

had moved to America and established himself as a concert

pianist. Just three years later, Shostakovich, at home in the

Soviet Union, wrote his Fifth Symphony. It followed the more

challenging Fourth, which had been shelved without a premiere.

There is nothing supernatural about the Fifth; its conventional

outlines and its cheerfulness, melancholy and optimism are very

real indeed. And Shostakovich never rebutted the subtitle given

to it: ‘an artist’s response to just criticism.’ But if you think, like

his friend Mstislav Rostropovich, that it’s ‘idiocy’ to hear triumph

in the finale and that this is music in which ‘the victim still tries

to smile in his pain’, then perhaps you can hear this as an

example of a composer in fear for his life and ‘dancing with

the devil’.

INTRODUCTION

Dancing with the DevilVerdi, Rachmaninoff, Shostakovich

PLEASE SHAREPrograms grow on trees – help us be environmentally responsible and keep ticket prices down by sharing your program with your companion.

READ IN ADVANCEYou can also read SSO program books on your computer or mobile device by visiting our online program library in the week leading up to the concert: sydneysymphony.com/program_library

LEB

REC

HT

MU

SIC

& A

RTS

Page 7: Rachmaninoff’s Rhapsody Books... · Little Lion Man, Hallelujahand more. Enjoy these ultimate crossover artists in a concert of pure fun! Thu 27 Aug 6.30pm Kaleidoscope Fri 28 Aug

Verdi Ballet music from Act III of Macbeth

The ‘gothic’ formed an popular sub-genre in 19th-century opera, exemplified by such perennial hits as Weber’s Freischütz, Meyerbeer’s Robert le Diable, Gounod’s Faust and Balfe’s Satanella. There was even an Australian gothic opera, The Gentleman in Black by Stephen Marsh, which was premiered in Melbourne in 1861 in the famous Lyster Opera Company’s inaugural season.

During a long artistic apprenticeship, Verdi had worked hard at providing mostly unadventurous Italian opera houses with the sort of stage works they thought they wanted. But he saw in Shakespeare’s Macbeth a rare opportunity to produce a musical drama that turned away from conventional romantic plots and embraced the hellish horror of the bard’s Scottish tragedy. As he put it to his librettist: ‘if we can’t do something great with it, at least let’s try to do something out of the ordinary.’

After seeing the finished opera through its Turin premiere in 1847, Verdi was twice approached to adapt it for the French stage. A first opportunity, for Paris in 1852, came to nothing, and by the time the second came, in 1864, Verdi realised nothing short of a major revamp of the almost 20-year-old work would be required. As he now understood, the next most important protagonists after Macbeth and Lady Macbeth were the witches. By prophecy, incantation, and divination, he explained, ‘the Witches rule the drama’.

Verdi’s decision to rework the witches’ cauldron scene to include a fully fledged ballet allowed him to flesh out the three conjured apparitions in a new three-section orchestral

ABOUT THE MUSIC

KeynotesVERDIBorn near Parma, 1813 Died Milan, 1901

Giuseppe Verdi is without doubt Italy’s greatest composer of the 19th century and the grand master of Romantic Italian opera. He composed nearly 30 operas, many of which remain staples of the repertoire: La Traviata, Rigoletto, Aida, Otello, Un ballo in maschera and La forza del destino, to name just some. ‘Va pensiero’, the moving Chorus of the Hebrew Slaves from Nabucco, resonated with Italian patriots in the mid-19th century and was so closely associated with Verdi that mourners sang it as his funeral cortège passed through the streets of Milan.

MACBETH

Verdi’s opera after Shakespeare’s Macbeth was premiered in 1847, in Italy. In 1864–65 he revised it for Paris, where ballet was considered an obligatory component of the evening. In  this case, the ballet served a real dramatic purpose as Verdi placed greater focus on the role of the three weird sisters, or witches.

The Three Witches, depicted by Henry Fuseli (1783). ‘The Witches rule the drama,’ wrote Verdi at the time he revised Macbeth for Paris. ‘They are truly a character, and a character of greatest importance.’

Page 8: Rachmaninoff’s Rhapsody Books... · Little Lion Man, Hallelujahand more. Enjoy these ultimate crossover artists in a concert of pure fun! Thu 27 Aug 6.30pm Kaleidoscope Fri 28 Aug

9

episode on a symphonic scale. The first apparition (Allegro vivacissimo, in the guise of a super-energised ballroom schottische) warns Macbeth to be wary of Macduff. According to the deceptively comforting second apparition (Andante), Macbeth will not come to harm at the hand of mortal man. But the benighted thane becomes even more unjustifiably confident when the third spectre vows (to the strains of a furious Allegro vivacissimo waltz) that he will not be conquered unless the impossible happens – as we know it shall – and Birnam Wood comes to Dunsinane!

GRAEME SKINNER © 2015

The orchestra for the Macbeth ballet music comprises flute, piccolo, and

pairs of oboes, clarinets and bassoons; four horns, two trumpets and four

trombones; timpani and percussion, and strings.

According to our records this is our first performance of the ballet

music from Verdi’s Macbeth.

GA

LLIC

A

Set design for Act III of Verdi’s Macbeth as it was presented by the Théâtre Lyrique in Paris, in 1865.

Verdi conducting in Paris (1881)

GA

LLIC

A

Page 9: Rachmaninoff’s Rhapsody Books... · Little Lion Man, Hallelujahand more. Enjoy these ultimate crossover artists in a concert of pure fun! Thu 27 Aug 6.30pm Kaleidoscope Fri 28 Aug
Page 10: Rachmaninoff’s Rhapsody Books... · Little Lion Man, Hallelujahand more. Enjoy these ultimate crossover artists in a concert of pure fun! Thu 27 Aug 6.30pm Kaleidoscope Fri 28 Aug

11

KeynotesRACHMANINOFFBorn Oneg (Novgorod region), 1873 Died Beverly Hills CA, 1943

Before leaving Russia for good in 1917, Rachmaninoff had composed two symphonies, three piano concertos, and three substantial orchestral works: The Rock, the Capriccio on Gypsy Themes and The Isle of the Dead, as well as the much-loved Vocalise. After settling in the West, Rachmaninoff shifted his attention to building a career as a concert pianist, and composed much less. The Rhapsody on a Theme of Paganini dates from this period.

THE ‘RACH PAG’

The Rhapsody on a Theme of Paganini is one of Rachmaninoff’s most popular works for piano and orchestra. The Rhapsody is a set of 24 variations on a theme by the 19th-century violin virtuoso, Paganini. (The theme is heard after the first variation.) These variations are played continuously without pause, but they also fall naturally into groups: some commentators hear three groups, corresponding to the first, slow and finale movements of a traditional concerto; others hear four groups, as outlined by Phillip Sametz in his program note.

The Rhapsody was completed in 1934 – effectively making it Rachmaninoff’s final ‘concerto’. It found an instant place in the repertoire – admired by audiences and musicians for its charm, wit and satisfying showmanship.

Rachmaninoff Rhapsody on a Theme of Paganini, Op.43

Kirill Gerstein piano

On leaving Russia for good in 1917, Rachmaninoff descended into a composerly silence. While he busied himself with his self-appointed task of acquiring a concert pianist’s repertoire, so that he could earn a steady income, he ceased composing altogether.

After deciding to settle in the USA, he gave 40 concerts in four months during his first concert season there. But he eventually reduced his concert commitments and, in 1925/26, took nine months off to compose. During this sabbatical he composed his first post-Russian pieces: Three Russian Songs for orchestra and chorus, which were well received, and the Fourth Piano Concerto, which, to his dismay, was greeted with widespread indifference.

Rachmaninoff was always sensitive about his own music, and his eagerness to bring a new concerto into his repertoire had been seriously rebuffed by the Fourth Concerto’s failure after its 1927 debut. He did not produce another original work for four years.

When the Variations on a Theme of Corelli for solo piano appeared in 1931, they not only signalled a more astringent approach to harmonic language and musical texture – what Francis Crociata called ‘a kind of personal neo-classicism’ – but indicated that a large-scale variation structure might serve Rachmaninoff’s musical needs better than the more traditional concerto structure in which success had so recently eluded him.

So the Corelli Variations, still not particularly popular, might be thought of as the moodier, introspective dress rehearsal for the work that was to follow in 1934, the Rhapsody on a Theme of Paganini. The Corelli ‘theme’ Rachmaninoff had chosen was actually not by Corelli at all, but was the Baroque popular tune La Folia, which forms the basis of a movement in Corelli’s violin sonata Op.5 No.12. It was to another celebrated work for violin that Rachmaninoff turned for the Rhapsody: the 24th Caprice of Paganini that had already been mined with distinguished results by Schumann, Liszt and Brahms, not to mention Paganini himself. How confident Rachmaninoff must have felt about himself – a man so often pessimistic about his musical achievements – to be exploring the theme yet further, in a big work for piano and orchestra.

Page 11: Rachmaninoff’s Rhapsody Books... · Little Lion Man, Hallelujahand more. Enjoy these ultimate crossover artists in a concert of pure fun! Thu 27 Aug 6.30pm Kaleidoscope Fri 28 Aug

12

The Rhapsody is one of those works which attained an instant popularity that has never waned. Rachmaninoff finally had a new ‘concerto’ to play, and was asked to do so frequently. The work has wit, charm, shapeliness, a clear sense of colour, strong rhythmic impetus and a dashing, suitably fiendish solo part that translates Paganini’s legendary virtuosity into a completely different musical context.

In the Rhapsody, Rachmaninoff’s quicksilver musical imagination seems to grasp the big picture and distil a sense of unity, from variation to variation, that he does not achieve in the more extended forms of the Fourth Concerto. Yet the Rhapsody’s theme and 24 variations behave like a four-movement work. Variations 1 to 11 form a quick first movement with cadenza; Variations 12 to 15 supply the equivalent of a scherzo/minuet; Variations 16 to 18, the slow movement; and the final six variations, the dashing finale.

We actually hear the first variation – a skeletal march that evokes Paganini’s bony frame – before the theme itself. The ensuing variations are increasingly animated and decorative until Variation 7 gives us a first stately glimpse, on the piano, of the ‘Dies irae’ plainchant, with the strings muttering the Paganini theme against it. This old funeral chant features prominently in Rachmaninoff’s output. Sometimes, as in his final work, the Symphonic Dances, he uses it without irony, but its appearances in the Rhapsody are essentially sardonic.

Variation 8 is a kind of demented ‘can-can’ which rushes headlong into the even more helter-skelter Variation 9, in which the strings begin by playing with the wood of their bows. Grimly glittering arpeggios are tossed between piano and orchestra in Variation 10, in which the ‘Dies irae’ is heard in brazen octaves on the piano, with syncopated brass commentary.

The work has wit, charm, shapeliness, a clear sense of colour, strong rhythmic impetus and a dashing, suitably fiendish solo part that translates Paganini’s legendary virtuosity into a completely different musical context.

In 1937 Rachmaninoff approached the choreographer Michel Fokine with a ballet scenario based on the Rhapsody: ‘Why not recreate the legend of Paganini selling his soul to the Evil Spirit for perfection in art and also for a woman?’ Fokine’s response was premiered at Covent Garden in 1939.

Fokine had created the ballet while on tour in Australia in 1938–39, and it received its Sydney premiere in December 1939. Eric Landerer, who later played the work with the SSO, was the piano soloist.

Page 12: Rachmaninoff’s Rhapsody Books... · Little Lion Man, Hallelujahand more. Enjoy these ultimate crossover artists in a concert of pure fun! Thu 27 Aug 6.30pm Kaleidoscope Fri 28 Aug

13

With the cadenza-like Variation 11 forming a point of transition, we move to the exquisite, gently regal minuet of Variation 12. The drive, directness and power of Variation 14 are created with much bolder writing for wind and brass than Rachmaninoff employed in his earlier orchestral scores. The piano is given a very subsidiary role here, then comes instantly to the fore in the dazzling, soloistic Variation 15.

After a pause, Variation 16 has an intimacy and exoticism that evokes the Arabian Dance from Tchaikovsky’s Nutcracker, with short but telling solo phrases for oboe, horn, violin, clarinet and cor anglais. Variation 17 is more palpably mysterious, even sinister, and the only one where the theme seems to have vanished altogether, as Rachmaninoff buries it in the harmony. But we land on very deep shag-pile indeed with the celebrated 18th Variation, in which Rachmaninoff uses his sleight of hand to turn Paganini’s theme upside down and create a luxuriant, much admired (and much imitated) melody of his own. Rachmaninoff is reported to have said of it: ‘This one is for my agent.’

As if being woken suddenly from a dream, the orchestra calls the soloist and the audience to attention for six final variations that evoke Paganini’s legendary left-hand pizzicato playing (Variation 19) and the demonic aspects of the Paganini legend, with more references to the ‘Dies irae’ and an increasing emphasis on pianistic and orchestral virtuosity in the last two variations. Just as a final violent outburst of the ‘Dies irae’ seems to be leading us to a furious crash- bang coda, we are left instead with a nudge and a wink, as Rachmaninoff’s final masterpiece for piano and orchestra bids us a sly farewell.

ADAPTED FROM A NOTE BY PHILLIP SAMETZ © 2000

The orchestra for the Rhapsody calls for two flutes, piccolo, two oboes,

cor anglais, two clarinets and two bassoons; four horns, two trumpets,

three trombones and tuba; timpani and percussion (glockenspiel,

suspended cymbal, snare drum, triangle, cymbal, bass drum); harp

and strings.

The Rhapsody received its world premiere in Baltimore on 7 November

1934. Rachmaninoff was the soloist and Leopold Stokowski conducted

the Philadelphia Orchestra. The SSO gave the first Australian performance

in 1940 with conductor Georg Schnéevoigt and soloist Eric Landerer.

Our most recent performance was in 2011 with pianist Freddy Kempf and

conductor Thomas Dausgaard.

What tune is that?The 18th variation from the Rhapsody has become one of Rachmaninoff’s most famous melodies, and it has turned up in movies such as the 1995 remake of Sabrina, Groundhog Day where Bill Murray learns to play it (1993), Dead Again (1991), Somewhere in Time (1980) and Rhapsody (1954).

Pianist and Rachmaninoff scholar Scott Davie has examined the composer’s sketch books in Moscow and points out that the inversion of the Paganini theme in this famous 18th Variation is one of the first ideas that Rachmaninoff had for the Rhapsody.

Portrait of Paganini by Ingres, 1819

Page 13: Rachmaninoff’s Rhapsody Books... · Little Lion Man, Hallelujahand more. Enjoy these ultimate crossover artists in a concert of pure fun! Thu 27 Aug 6.30pm Kaleidoscope Fri 28 Aug

14

Shostakovich Symphony No.5 in D minor, Op.47Moderato – Allegro non troppo Allegretto Largo Allegro non troppo

Shostakovich’s Fifth Symphony is one of the iconic works of the 20th century. In purely musical terms it is a masterpiece, coherently expressed and brilliantly orchestrated in a large-scale architecture whose pacing is always expertly judged. But the work’s status derives at least in part from extra-musical considerations: the circumstances in which the work was conceived were extraordinary, and the piece has become a powerful symbol in the battle for the composer’s ideological soul.

The well-known facts of the symphony’s genesis bear repeating. By 1936 Shostakovich’s opera Lady Macbeth of Mtsensk had enjoyed a very successful two year run, but then Stalin, whose tastes tended no further than Lehár’s Merry Widow, saw the show. An anonymous review appeared in the official newspaper Pravda accusing the composer of producing ‘muddle [or chaos] instead of music’ and warning that this ‘could end very badly’ for him. Shostakovich took to sleeping in the hallway of his apartment so as not to disturb his family when the NVKD (the predecessor of the KGB) arrived to arrest him – though it never came to that. Lady Macbeth was pulled from the stage and revised as the toned-down Katerina Ismailova, and he withdrew, or allowed to be withdrawn, his Symphony No.4. He had good reason for alarm. The Great Terror, Stalin’s infamous ‘purges’, was at its height, resulting in the incarceration, and often murder, of a colossal number of leading intellects in all walks of life as well as potential political rivals. Whether out of caprice, paranoia or sheer sadism, Stalin came close to fatally weakening his country.

Shostakovich’s Fourth Symphony – which had to wait decades for a performance – is an epic, blisteringly ironic work where triumphal fanfares turn sour in the space of a single bar and glacial spaces unfold menacingly. Composed in 1937, the Fifth, by contrast, is essentially a neoclassical piece, the angular contour and dotted rhythms of its opening gesture immediately recalling the baroque overture. The work has four movements in conventional forms (sonata-allegro, scherzo and so on); its musical language affirms traditional

KeynotesSHOSTAKOVICHBorn St Petersburg, 1906 Died Moscow, 1975

One of the great symphonic composers of the 20th century, Shostakovich was also a controversial and enigmatic personality who lived through the Bolshevik Revolution, the Stalinist purges and World War II. His music is often searched for cryptic messages: criticism of the Stalinist regime disguised in music that, it was hoped, would be found acceptable by authorities. But Shostakovich’s compromises only went so far and his music was nonetheless subject to censure, usually on stylistic or ‘moral’ grounds. Most famously, in 1936, his opera Lady Macbeth of Mtsensk was dismissed in Pravda as ‘Muddle instead of Music’.

FIFTH SYMPHONY

This symphony was composed in 1937, following the Pravda criticism and the withdrawal of his audacious Fourth Symphony, and it has long been associated with the tagline (not from Shostakovich): ‘A Soviet artist’s reply to just criticism.’ In that light, the conservative aspects of the symphony make sense. The first movement seems positively orderly in character, despite its boldly jagged opening. The second movement is a traditional scherzo with playful central section, and the slow third movement is powerful and expressive in a way that made the first audience weep. The finale is contentious – it might be optimistic on the surface but the rejoicing seems forced.

Page 14: Rachmaninoff’s Rhapsody Books... · Little Lion Man, Hallelujahand more. Enjoy these ultimate crossover artists in a concert of pure fun! Thu 27 Aug 6.30pm Kaleidoscope Fri 28 Aug

15

diatonic harmony in a Beethovenian journey from a striving D minor opening to the blazing major-key optimism of the finale. Following the common practice of Russian composers like Borodin, Tchaikovsky and Rachmaninov, Shostakovich places the dance-like scherzo second, before an emotionally powerful Largo which alludes briefly to his own setting of Pushkin’s poem Rebirth. At the time, Shostakovich claimed that: ‘man with all his experiences [is] in the centre of the composition, which is lyrical in form from beginning to end. In the finale, the tragically tense impulses of the earlier movements are resolved in optimism and joy of living.’ Composers’ program notes are often unreliable, but years later Shostakovich’s conductor son Maxim claimed that his father had described it as an ‘heroic symphony’ – not unlike Beethoven’s Third in intent.

The Fifth Symphony was a huge success at its premiere, with audience members weeping during the slow movement and on their feet, cheering, as the finale drew to a close. (And they stayed on their feet for 40 minutes after the piece finished!) As a work which reflected the ideals of Socialist Realism, and which was clearly such a hit with the masses, the Fifth was Shostakovich’s passport to a return – for now at least – to official favour. When a journalist described it as ‘an artist’s response to just criticism’ Shostakovich didn’t demur, and that phrase has come to be seen as the work’s subtitle, though there is no evidence that it was indeed Shostakovich’s expressed view.

During the early stages of the Cold War, Shostakovich was derided in the West as a composer of what Virgil Thomson called ‘national advertising’ and a work like the Fifth seen as a piece of mandatory optimism and Soviet propaganda. In the late 20th century, however, that attitude changed radically as the view emerged that Shostakovich was a secret dissident, encoding anti-Soviet ‘messages’ in his music, including the Fifth Symphony.

This view gathered strength with the publication in 1979 (four years after Shostakovich’s death) of a volume entitled Testimony: Memoirs of Dmitri Shostakovich as related to and edited by Solomon Volkov. In it Volkov quotes Shostakovich contradicting what he told his son, by saying:

I think it is clear to everyone what happens in the Fifth. The rejoicing is forced, created under threat, as in Boris Godunov. It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off,

Soon after his opera Lady Macbeth of Mtsensk was denounced in 1936, Shostakovich composed Rebirth (Vozrozhdenie), a setting of verse of Pushkin, portraying the immortality of beauty, the victory of the artist over his persecutors and the triumph of genius over mediocrity. In the Fifth Symphony he first alludes to the main theme of Rebirth in the Largo movement. Then, in the finale, he hides the theme amongst the triumphant brass and rejoicing strings, as  if to say that the ‘secret’ of the symphony is the triumph of culture over barbarism.

Page 15: Rachmaninoff’s Rhapsody Books... · Little Lion Man, Hallelujahand more. Enjoy these ultimate crossover artists in a concert of pure fun! Thu 27 Aug 6.30pm Kaleidoscope Fri 28 Aug

16

muttering, ‘our business is rejoicing, our business is rejoicing.’ What kind of apotheosis is that? You have to be a complete oaf not to hear that.

Testimony created an ongoing furore, with musicologists and journalists confidently proclaiming the work either a complete fraud or a valuable document of the composer’s thought. In 2004 one of the sceptics, Laurel E Fay, subjected the text to detailed examination. Fay cast doubt on the authenticity of the book, having discovered that the eight pages which the composer signed as having read all contained material which was not only innocuous but all of which had been published before. There was no guarantee that he saw, let alone dictated, the rest.

The stylistic change that came about with the Fifth was almost certainly fuelled by Shostakovich’s brush with the regime, and it is no accident that he began his epic cycle of intensely personal string quartets at this time. But certain facts are inconvenient to a simplistic reading of the man and his work, such as his decision to join the Communist Party in 1960, long after the immediate danger of Stalinism had passed. Moreover the Fifth Symphony was at one stage seen

‘The applause went on for an entire hour. People were in uproar, and ran up and down through the streets of Leningrad till the small hours, embracing and congratulating each other on having been there. They had understood the message that forms the “lower bottom”, the outer hull, of the Fifth Symphony: the message of sorrow, suffering and isolation; stretched on the rack of the Inquisition, the victim still tries to smile in his pain. The shrill repetition of the A at the end of the symphony is to me like a spear-point jabbing in the wounds of a person on the rack. The hearers of the first performance could identify with that person. Anybody who thinks the finale is glorification is an idiot – yes, it is a triumph of idiots.’

MSTISLAV ROSTROPOVICH (PREMIERE)

Page 16: Rachmaninoff’s Rhapsody Books... · Little Lion Man, Hallelujahand more. Enjoy these ultimate crossover artists in a concert of pure fun! Thu 27 Aug 6.30pm Kaleidoscope Fri 28 Aug

17

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

PAPER PARTNER

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

By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover than that in which it was published, or distributed at any other event than specified on the title page of this publication 17627 — 1/120815 — 27 S63/65

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

Head Office: Suite A, Level 1, Building 16, Fox Studios Australia, Park Road North, Moore Park NSW 2021PO Box 410, Paddington NSW 2021Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: [email protected] Website: www.playbill.com.au

Chairman & Advertising Director Brian Nebenzahl OAM RFD

Managing Director Michael NebenzahlEditorial Director Jocelyn Nebenzahl Manager—Production—Classical Music Alan Ziegler

Operating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, Hobart & Darwin

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

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

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

SYDNEY OPERA HOUSE TRUSTNicholas Moore [Chair]Catherine Brenner, The Hon Helen Coonan, Brenna Hobson, Chris Knoblanche am, Deborah Mailman, Peter Mason am, Jillian Segal am, Robert Wannan, Phillip Wolanski am

Executive Management

Chief Executive Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Louise Herron am

Director, Programming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jonathan BielskiDirector, Theatre & Events [Acting] . . . . . . . . . . . . . . . . . . .Heather ClarkeChief Financial Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Natasha CollierGeneral Counsel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Michelle DixonDirector, Building . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Greg McTaggartDirector, Marketing [Acting] . . . . . . . . . . . . . . . . . . . . . . . . .Stephen O’ConnorDirector, External Relations . . . . . . . . . . . . . . . . . . . . . . . . . .Brook Turner

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

as pro-Soviet tub-thumping and then almost overnight regarded as a denunciation of the very same regime. Maybe it’s neither, but as critic Alex Ross puts it: ‘The notes, in any case, remain the same. The symphony still ends fortissimo, in D major, and it still brings audiences to their feet.’

GORDON KERRY © 2007

Shostakovich’s Fifth Symphony calls for two flutes, piccolo, two oboes,

two clarinets, E flat clarinet, two bassoons and contrabassoon; four horns,

three trumpets, three trombones and tuba; timpani and a large percussion

section; two harps, piano, celesta and strings.

Shostakovich’s Fifth Symphony was premiered on 21 November 1937

in a Leningrad Philharmonic concert conducted by the young Evgeny

Mravinsky. The SSO gave the first Australian performance of the

symphony on 16 June 1944, conducted by Eugene Ormandy. Its popularity

is reflected in its frequent programming in SSO concerts, often as close

as every two or three years. Memorable performances have included those

conducted by Mariss Jansons in 1995, Charles Dutoit in 2005, and most

recently Vladimir Ashkenazy in 2012.

‘The Great Hall erupted. Everybody left their seats and ran towards the platform, and their ecstatic clamouring joined into a single roar.’

DAVID OISTRAKH (MOSCOW PREMIERE)

Page 17: Rachmaninoff’s Rhapsody Books... · Little Lion Man, Hallelujahand more. Enjoy these ultimate crossover artists in a concert of pure fun! Thu 27 Aug 6.30pm Kaleidoscope Fri 28 Aug

18

from Liszt to Stravinsky. This generously programmed 2-CD album includes Mussorgsky’s Night on Bald Mountain, Saint-Saëns’ Danse macabre, the third movement from Shostakovich Symphony No.15, more variations on Paganini’s theme (by Boris Blacher and Witold Lutosławski), Liszt’s Totentanz and music by Mahler and Mendelssohn, and The Sorcerer’s Apprentice by Dukas, among others!BERLIN CLASSICS 300103

Broadcast DiaryAugust

abc.net.au/classic

Sunday 16 August, 1pmMOZART AND THE VIOLINIsabelle Faust violin-directorMozart, Dvořák

Monday 17 August, 7pmKIRILL GERSTEIN IN RECITALBartók, JS Bach, Liszt

Saturday 22 August, 8pmDANCING WITH THE DEVILSee this program for details.

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

sydneysymphony.com/SSO_radio

SYDNEY SYMPHONY ORCHESTRA HOUR

Tuesday 8 September, 6pm

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

finemusicfm.com

MORE MUSIC

MORE (DIABOLICAL) MUSIC

Well before we got Jane Austen with zombies, classical music had long been home to a shadowy population of devils, witches, and ghouls, and even the occasional golem. Larry Sitsky and Gwen Harwood’s gothic opera The Golem can be downloaded from iTunes in its 2003 Opera Australia recording, conducted by Christopher Lyndon-Gee.

Nor is the Golem the only Australian gothic opera. Richard Meale’s Mer de Glace takes us back to the inception of the genre to eavesdrop as Byron and the Shelleys conjured Frankenstein and his monster. Scenes from Mer de Glace, as recorded by David Porcelijn and the Adelaide Symphony Orchestra, appear on the ABC Classics compilation Preludes – Great Opera Overtures. And it’s not the only piece of devilry on this 2-CD set. You also get the overtures to Mozart’s hell-destined Don Giovanni, and Weber’s devil-dealing Der Freischütz. ABC CLASSICS 481 0616

Operatic witches have been summoning apparitions since the 1680s, when Henry Purcell and his librettist Nahum Tate produced Dido and Aeneas for performance by the students at a London girls school. Like Macbeth, it has a whole scene in a witches’ cave, whose chorus of resident hags gleefully boasts: ‘Harm’s our delight and mischief all our skill!’ It would be hard to conjure a more vivid portrayal than that of the Taverner Consort and Andrew Parrott in the now classic 1981 recording.CHANDOS CHAN 0521

‘Diabolical enthusiasm…enough to send people crazy’, ‘truly astonishing’, ‘technical wizardry’: so  read three typical contemporary accounts of violin virtuoso Niccolò Paganini in action. No wonder that even during his life he was considered not merely to be a cult figure, but an ‘occult’ figure as well. How else could a mere mortal play such music, unless, like the legendary Faust, he had sold his soul to the Devil? And, if so, might his performances be not merely shocking to hear, on account of their difficulty, but dangerous as well? Witnessing such virtuosity was like risking damnation! No riskier way to answer that question than by turning to the source for Rachmaninoff’s ‘Pag theme’, the dark master’s 24 Caprices for Solo Violin. Armenian violinist Nikolay Madoyan has uploaded on YouTube his own vivid 72-minute performance of the complete set! bit.ly/PaganiniCaprices-Madoyan

Finally, for something a little more bracingly symphonic, look for Danse Macabre: Dances at Dusk

Page 18: Rachmaninoff’s Rhapsody Books... · Little Lion Man, Hallelujahand more. Enjoy these ultimate crossover artists in a concert of pure fun! Thu 27 Aug 6.30pm Kaleidoscope Fri 28 Aug

19

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.

Join us on Facebook facebook.com/sydneysymphony

Follow us on Twitter twitter.com/sydsymph

Watch us on YouTube www.youtube.com/SydneySymphony

Visit sydneysymphony.com for concert information, podcasts, and to read the program book in the week of the concert.

Stay tuned. Sign up to receive our fortnightly e-newsletter sydneysymphony.com/staytuned

Download our free mobile app for iPhone/iPad or Android sydneysymphony.com/mobile_app

SSO Online

Page 19: Rachmaninoff’s Rhapsody Books... · Little Lion Man, Hallelujahand more. Enjoy these ultimate crossover artists in a concert of pure fun! Thu 27 Aug 6.30pm Kaleidoscope Fri 28 Aug

20

James Gaffigan is Chief Conductor of the Lucerne Symphony Orchestra and Principal Guest Conductor of the Netherlands Radio Philharmonic Orchestra; he recently concluded his tenure as Principal Guest Conductor of the Gürzenich Orchestra in Cologne.

In addition to these titled roles, he is in demand as a guest conductor with leading orchestras and opera houses worldwide. In North America he has conducted the Cleveland, Philadelphia and Minnesota orchestras, Los Angeles Philharmonic and the orchestras of Chicago, Pittsburgh, St Louis, Detroit, Cincinnati, Atlanta, Houston, Baltimore, Milwaukee, Vancouver and Toronto, as well as the National Symphony Orchestra and New World Symphony, among others. His festival appearances include Blossom, Aspen, Grand Teton and Grant Park festivals, as well the Hollywood Bowl and the Music Academy of the West.

Born in New York City in 1979, James Gaffigan graduated from the New England Conservatory of Music and the Shepherd School of Music at Rice University, Houston. He also participated in the American Academy of Conducting (Aspen Music Festival) and was a conducting fellow at the Tanglewood Music Center. In 2009 he completed a three-year tenure as Associate Conductor of the San Francisco Symphony; before that he was

Assistant Conductor of the Cleveland Orchestra.

His international career was launched when he won the 2004 Sir Georg Solti International Conducting Competition in Frankfurt. Since then, his European engagements have included the Munich, London, Dresden, Rotterdam, Oslo and Czech philharmonic orchestras, Dresden Staatskapelle, Gothenburg Symphony, Vienna Symphony Orchestra, BBC Symphony Orchestra, London Symphony Orchestra, City of Birmingham Symphony Orchestra, Bournemouth Symphony, the Orchestra of the Age of Enlightenment, Orchestre de Paris, Orchestre National de France, and the Berlin, Leipzig and Stuttgart radio orchestras.

Since making his opera conducting debut in Zurich in 2005, he has conducted productions for the Aspen Music Festival, Glyndebourne and Houston Grand Opera. He made his Vienna State Opera debut in 2011 with La Bohème followed by Don Giovanni in 2012. In the 2014–15 season he made his debut at the Hamburg Opera with Salome and in La Traviata with the Norwegian Opera.

James Gaffigan’s most recent appearance with the SSO was in 2013.

James Gaffiganconductor

THE ARTISTS

FR

AN

CA

PE

DR

AZZ

ETT

I

Page 20: Rachmaninoff’s Rhapsody Books... · Little Lion Man, Hallelujahand more. Enjoy these ultimate crossover artists in a concert of pure fun! Thu 27 Aug 6.30pm Kaleidoscope Fri 28 Aug

21

Kirill Gerstein is the sixth recipient of the Gilmore Artist Award, presented every four years to an exceptional pianist possessing broad and profound musicianship and charisma. Since receiving the award in 2010, he has shared his prize through the commissioning of boundary-crossing new works by Oliver Knussen, Chick Corea, Brad Mehldau, Timothy Andres and Alexander Goehr. That same year he also received an Avery Fisher Career Grant.

Highlights of his 2014–15 season include performances with the Boston Symphony Orchestra (Charles Dutoit) and Philadelphia Orchestra (Yannick Nézet-Séguin), and Thomas Adès’ In Seven Days with the San Francisco Symphony. He also gives a recital in Carnegie Hall’s Keyboard Virtuosos series. In Europe he appears with the Vienna Philharmonic, Leipzig Gewandhaus Orchestra, St Petersburg Philharmonic, BBC Symphony Orchestra and the Gürzenich Orchestra, and in 2014 he returned to the Verbier Festival and featured in the Edinburgh Festival opening concert.

Last year, he released his second solo recording, featuring Mussorgsky’s Pictures at an Exhibition and Schumann’s Carnaval. His recording of Tchaikovsky’s First Piano Concerto (the first recording using the new critical edition from the Tchaikovsky Museum in Moscow) and Prokofiev’s Second Concerto was released earlier this year.

MA

RC

O B

OR

GR

EV

E

Kirill Gersteinpiano

Born in Voronezh, Russia, Kirill Gerstein studied piano at a music school for gifted children and taught himself to play jazz by listening to his parents’ record collection. At the age of 14, he moved to Boston to study jazz piano at the Berklee College of Music. He then turned his focus back to classical music, attending the Manhattan School of Music, where he studied with Solomon Mikowsky and earned Bachelor and Master of Music degrees by the age of 20. He subsequently won the 2001 Arthur Rubinstein Piano Competition in Tel Aviv and received a Gilmore Young Artist Award (2002), and continued his studies in Madrid with Dmitri Bashkirov and in Budapest with Ferenc Rados.

An American citizen since 2003, Kirill Gerstein divides his time between the United States and Germany, where he has been a professor of piano at the Musikhochschule in Stuttgart since 2006. He is also Artist-in-Residence at the Berklee College of Music and a faculty member at Boston Conservatory.

Kirill Gerstein previously appeared for the SSO in a recital in 2008, when he made his Australian debut tour. On Monday 17 August he will give a recital of music by Bartók, Bach and Liszt at City Recital Hall Angel Place.

Page 21: Rachmaninoff’s Rhapsody Books... · Little Lion Man, Hallelujahand more. Enjoy these ultimate crossover artists in a concert of pure fun! Thu 27 Aug 6.30pm Kaleidoscope Fri 28 Aug

22

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

Page 22: Rachmaninoff’s Rhapsody Books... · Little Lion Man, Hallelujahand more. Enjoy these ultimate crossover artists in a concert of pure fun! Thu 27 Aug 6.30pm Kaleidoscope Fri 28 Aug

23

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

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

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

MUSICIANS

David 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

Kirsten Williams ASSOCIATE CONCERTMASTER

Sun Yi ASSOCIATE CONCERTMASTER

Lerida Delbridge ASSISTANT CONCERTMASTER

Fiona Ziegler ASSISTANT CONCERTMASTER

Jenny BoothSophie ColeAmber DavisClaire HerrickGeorges LentzNicola LewisEmily LongAlexandra MitchellAlexander NortonLéone ZieglerEmily Qin°Dene Olding CONCERTMASTER

SECOND VIOLINS Marina Marsden Emma Jezek ASSISTANT PRINCIPAL

Freya FranzenEmma HayesShuti HuangStan W KornelBenjamin LiNicole MastersPhilippa PaigeBiyana RozenblitMaja VerunicaKathryn Chilmaid*Monique Irik°Elizabeth Jones°Kirsty Hilton Marianne Broadfoot Maria Durek

VIOLASRoger Benedict Justin Williams ASSISTANT PRINCIPAL

Sandro CostantinoRosemary CurtinJane HazelwoodGraham HenningsStuart JohnsonJustine MarsdenAmanda VernerLeonid VolovelskyCharlotte Fetherston†

Andrew Jezek*Tobias Breider Anne-Louise Comerford Felicity Tsai

CELLOSCatherine Hewgill Leah Lynn ASSISTANT PRINCIPAL

Kristy ConrauFenella GillElizabeth NevilleChristopher PidcockAdrian WallisDavid WickhamRebecca Proietto†

Paul Stender*Umberto ClericiTimothy Nankervis

DOUBLE BASSESKees Boersma Alex Henery Neil Brawley PRINCIPAL EMERITUS

David CampbellSteven LarsonRichard LynnBenjamin WardJosef Bisits°

FLUTES Janet Webb Carolyn HarrisRosamund Plummer PRINCIPAL PICCOLO

Emma Sholl

OBOESDiana Doherty Alexandre Oguey PRINCIPAL COR ANGLAIS

Stephanie Cooper*Shefali Pryor David Papp

CLARINETSFrancesco Celata Christopher TingayAlex McCracken†Lawrence Dobell Craig Wernicke PRINCIPAL BASS CLARINET

BASSOONSMatthew Wilkie Fiona McNamaraNoriko Shimada PRINCIPAL CONTRABASSOON

HORNSBen Jacks Geoffrey O’Reilly PRINCIPAL 3RD

Euan HarveyMarnie SebireRachel SilverRobert Johnson

TRUMPETSDavid Elton Paul Goodchild Anthony HeinrichsRosie Turner°

TROMBONESRonald Prussing Christopher Harris PRINCIPAL BASS TROMBONE

Iain Faragher†

Jonothan Ramsay*Scott Kinmont Nick Byrne

TUBASteve Rossé

TIMPANIRichard Miller

PERCUSSIONRebecca Lagos Mark Robinson Brian Nixon*Alison Pratt*Timothy Constable

HARP Louise Johnson Julie Kim*

PIANO & CELESTASusanne Powell*

° = CONTRACT MUSICIAN

* = GUEST MUSICIAN† = SSO FELLOW

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

Page 23: Rachmaninoff’s Rhapsody Books... · Little Lion Man, Hallelujahand more. Enjoy these ultimate crossover artists in a concert of pure fun! Thu 27 Aug 6.30pm Kaleidoscope Fri 28 Aug

24

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

RECORDING ENTERPRISE MANAGER 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

PRODUCTION MANAGER 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 RELATIONS

DIRECTOR OF EXTERNAL RELATIONS

Yvonne Zammit

PhilanthropyHEAD OF PHILANTHROPY

Luke Andrew Gay PHILANTHROPY 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 BenetatosDIGITAL 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 Ewen 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

Page 24: Rachmaninoff’s Rhapsody Books... · Little Lion Man, Hallelujahand more. Enjoy these ultimate crossover artists in a concert of pure fun! Thu 27 Aug 6.30pm Kaleidoscope Fri 28 Aug

25

SSO PATRONS

Maestro’s Circle

David Robertson

Peter Weiss AO Founding President & Doris Weiss

Terrey Arcus AM Chairman & Anne Arcus

Brian Abel

Tom Breen & Rachel Kohn

The Berg Family Foundation

John C Conde AO

Andrew Kaldor AM & Renata Kaldor AO

Vicki Olsson

Roslyn Packer AO

David Robertson & Orli Shaham

Penelope Seidler AM

Mr Fred Street AM & Dorothy Street

Brian White AO & Rosemary White

Ray Wilson OAM in memory of the late James Agapitos OAM

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

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

Lawrence DobellPrincipal ClarinetAnne Arcus & Terrey Arcus AM 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

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

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

FOR INFORMATION ABOUT THE CHAIR PATRONS

PROGRAM, CALL (02) 8215 4625.

n n n n n n n n n n

Lerida Delbridge was appointed Assistant Concertmaster of the SSO in 2013. She is a founding member of the Tinalley String Quartet and was previously a member of the Melbourne Symphony Orchestra. SSO Council member and leading providore Simon Johnson has been following Lerida’s career since her days in the Australian Youth Orchestra and is delighted to support her chair.

KE

ITH

SA

UN

DE

RS

Page 25: Rachmaninoff’s Rhapsody Books... · Little Lion Man, Hallelujahand more. Enjoy these ultimate crossover artists in a concert of pure fun! Thu 27 Aug 6.30pm Kaleidoscope Fri 28 Aug

26

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 MurphyTony Strachan

major education donorsBronze Patrons & above

John Augustus & Kim RyrieBob & Julie ClampettHoward & Maureen ConnorsThe Greatorex FoundationJ A McKernanMr & Mrs Nigel Price

Sydney Symphony Orchestra 2015 Fellows

KE

ITH

SA

UN

DE

RS

Commissioning CircleSupporting the creation of new works.

ANZAC Centenary Arts and Culture FundGeoff Ainsworth AM

Christine BishopDr John EdmondsAndrew Kaldor AM & Renata Kaldor AO

Jane Mathews AO

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

MAKE A DIFFERENCE

Through their inspired financial support,

Patrons ensure the SSO’s continued

success, resilience and growth. Join the

SSO Patrons Program today and make a

difference.

sydneysymphony.com/patrons(02) 8215 [email protected]

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

Foundations

Page 26: Rachmaninoff’s Rhapsody Books... · Little Lion Man, Hallelujahand more. Enjoy these ultimate crossover artists in a concert of pure fun! Thu 27 Aug 6.30pm Kaleidoscope Fri 28 Aug

27

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 DavisBrian GalwayMichele Gannon-MillerMiss Pauline M Griffin AM

John Lam-Po-Tang

Peter Lazar AM

Daniel LemesleLouise MillerJames & Elsie MooreVincent Kevin Morris &

Desmond McNallyDouglas 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 ClampertEstate 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 LUKE GAY ON 8215 4625.

n n n n n n n n n n

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 OlssonMrs 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 am

Christine 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 MorschelDrs Keith & Eileen OngMr and Mrs Nigel PriceKenneth R Reed am

Mrs Joyce Sproat & Mrs Janet Cooke

John Symond am

The Harry Triguboff FoundationCaroline WilkinsonJune & Alan Woods Family

BequestAnonymous (2)

BRONZE $5,000–$9,999Mr Henri W Aram oam

John Augustus & Kim RyrieStephen 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 KatzBarbara MaidmentMora MaxwellTaine MoufarrigeRobert McDougallWilliam McIlrath Charitable

FoundationJ A McKernan

Page 27: Rachmaninoff’s Rhapsody Books... · Little Lion Man, Hallelujahand more. Enjoy these ultimate crossover artists in a concert of pure fun! Thu 27 Aug 6.30pm Kaleidoscope Fri 28 Aug

28

Playing Your Part

SSO PATRONS

BRONZE PATRONS CONTINUED

Nexus ITJohn & Akky van OgtropSeamus Robert QuickChris Robertson & Katherine

ShawRodney Rosenblum am & Sylvia

RosenblumDr Evelyn RoyalManfred & Linda SalamonGeoff StearnTony StrachanMr Robert & Mrs Rosemary WalshIn memory of Geoff WhiteAnonymous

PRESTO $2,500–$4,999G & 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-HudsonMr John W Kaldor AMProfessor Andrew Korda am &

Ms Susan PearsonIn memoriam

Dr Reg Lam-Po-TangProfessor Winston LiauwRenee MarkovicHelen & Phil MeddingsJames & Elsie MooreMs Jackie O’BrienPatricia H Reid Endowment

Pty LtdJuliana SchaefferHelen & Sam ShefferDr Agnes E SinclairEzekiel SolomonJohn & Josephine StruttMr Ervin Vidor am &

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

BaulderstoneYim 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 Halliday

Janette HamiltonMrs Jennifer HershonSue HewittDorothy Hoddinott ao

Kimberley HoldenMr Kevin Holland & Mrs Roslyn

Andrews

The Hon. David Hunt ao qc & Mrs Margaret Hunt

Mr Phillip Isaacs oam

Dr Owen JonesAron KleinlehrerMrs Gilles KrygerMr Justin LamDr Barry LandaBeatrice LangMr Peter Lazar am

Airdrie LloydMrs Juliet LockhartGabriel 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 HortonMr & Mrs OrtisMr Andrew C PattersonIn memory of Sandra Paul

PottingerMr Stephen PerkinsAlmut PiattiThe 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 RusitiIn memory of H St P ScarlettGeorge and Mary ShadVictoria SmythDr Judy SoperJudith SouthamMr Dougall SquairThe Honourable Brian Sully am qc

Mrs Margaret SwansonThe Taplin FamilyMildred TeitlerDr & Mrs H K TeyDr Jenepher ThomasKevin TroyJohn E Tuckey

Judge 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 AndrewsMr & Mrs George BallBarlow Cleaning Pty LtdBarracouta Pty LtdSimon BathgateDr Andrew BellMr Chris BennettJan 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 CoventryMr David CrossMark Dempsey sc

Dr David DixonSusan DoenauDana DupereJohn FavaloroMrs Lesley FinnMr Richard FlanaganMs Lynne FrolichMichele Gannon-MillerMs Lyn GearingMr Robert GreenMr Geoffrey GreenwellMr Richard Griffin am

In memory of Beth HarpleyV Hartstein

Page 28: Rachmaninoff’s Rhapsody Books... · Little Lion Man, Hallelujahand more. Enjoy these ultimate crossover artists in a concert of pure fun! Thu 27 Aug 6.30pm Kaleidoscope Fri 28 Aug

29

VANGUARD COLLECTIVEJustin Di Lollo ChairBelinda BentleyOscar McMahonTaine Moufarrige

Founding PatronShefali PryorSeamus R Quick

Founding PatronChris Robertson & Katherine

Shaw Founding Patrons

MEMBERSLaird Abernethy Elizabeth AdamsonClare Ainsworth-HershellCharles ArcusPhoebe ArcusPhilip AtkinLuan AtkinsonJoan BallantineAndrew Batt-RawdenJames BaudzusAndrew BaxterAdam Beaupeurt Anthony BeresfordDr Andrew BotrosPeter BraithwaiteAndrea BrownNikki BrownProfessor Attila BrungsTony ChalmersDharmendra ChandranLouis ChienPaul ColganClaire CooperBridget CormackKarynne CourtsRobbie CranfieldAsha CugatiJuliet CurtinDavid CutcliffeEste Darin-CooperRosalind De SaillyPaul DeschampsCatherine DonnellyJennifer DrysdaleJohn-Paul DrysdaleKerim El GabailiRoslyn FarrarNaomi FlutterAlastair FurnivalAlexandra Gibson

Sam GiddingsJeremy GoffHilary GoodsonTony GriersonLouise HaggertyJason HairPeter HowardJennifer HoyKatie HryceVirginia JudgePaul KalmarJonathan KennedyPatrick KokJohn Lam-Po-TangTristan LandersGary LinnaneDavid LoSaskia LoGabriel LopataRobert McGroryAlexandra McGuiganDavid McKeanSarah MoufarrigeJulia NewbouldNick NichlesKate O’ReillyPeter O’SullivanCleo PosaJune PickupRoger PickupStephanie PriceMichael RadovnikovicKatie RobertsonDr Benjamin RobinsonAlvaro Rodas FernandezAdam SadlerProfessor Anthony SchembriBenjamin SchwartzCecilia StornioloRandal TameSandra TangIan TaylorDr Zoe TaylorMichael TidballMark TrevarthenMichael TuffySarah VickAlan WattersJon WilkieYvonne ZammitAmy Zhou

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

“Together, we have an ambition to foster a love of orchestral music in school children of all ages, and to equip their teachers with the skills they need to develop this in our young people…”DAVID ROBERTSON SSO Chief Conductor and Artistic Director

PLEASE CONSIDER MAKING A TAX-DEDUCTIBLE DONATION TODAY

Benjamin Hasic & Belinda DavieSandra HaslamAlan Hauserman & Janet NashRobert HavardMrs A HaywardRoger HenningDr Mary JohnssonMrs Margaret KeoghAernout Kerbert & Elizabeth

NevilleDr Henry KilhamJennifer KingMrs Patricia KleinhansAnna-Lisa KlettenbergMs Sonia LalL M B LampratiDavid & Val LandaElaine M LangshawMargaret LedermanRoland LeeMrs Erna LevyMrs A LohanLinda LorenzaM J MashfordMs Jolanta MasojadaKenneth Newton MitchellMr David MuttonMr & Mrs NewmanMr Graham NorthDr Lesley NorthSead NurkicMr Michael O’BrienJudith OlsenDr Alice J PalmerDr Natalie E PelhamPeter and Susan PicklesErika PidcockDr John I PittAnne PittmanJohn Porter & Annie Wesley-

SmithMrs Greeba Pritchard

Michael QuaileyMr Thomas ReinerDr Marilyn RichardsonAnna RoMr Michael RollinsonMrs Christine Rowell-MillerJorie Ryan for Meredith RyanMr 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

Page 29: Rachmaninoff’s Rhapsody Books... · Little Lion Man, Hallelujahand more. Enjoy these ultimate crossover artists in a concert of pure fun! Thu 27 Aug 6.30pm Kaleidoscope Fri 28 Aug

30

SALUTE

The Sydney Symphony Orchestra is assisted by the Commonwealth

Government through the Australia Council, its arts funding and

advisory body

GOVERNMENT PARTNERS

The Sydney Symphony Orchestra is

assisted by the NSW Government

through Arts NSW

PRINCIPAL PARTNER

EDUCATION PARTNERPLATINUM PARTNER

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

MAJOR PARTNERS

GOLD PARTNERS

Salute 2015_July_#25+.indd 1 3/08/2015 9:21 am