ROMANTIC VISIONS

APT MASTER SERIES

Wednesday 13 May 2015 Friday 15 May 2015 Saturday 16 May 2015

concert diary

SSO Chamber Music Cocktail HourIntimate space, inspiring music and a delicious cocktail to enjoy – one hour of sheer bliss. Hear members of your SSO up close in this year’s new Chamber Music Cocktail Hour series featuring music by Brahms (Clarinet Quintet, String Quintet No.2, String Sextet No.2) and others.

Sat 16 May 6pmSat 6 June 6pmSat 18 July 6pmUtzon Room Sydney Opera House

Peter Serkin in RecitalWUORINEN after Josquin Ave Christe – recast for solo piano SWEELINCK Capriccio in A minor BULL Ut, re, mi, fa, sol, la; A Gigge DOWLAND set by Byrd Pavana Lachrymae BYRD La Volta NIELSEN Theme with Variations REGER 3 Pieces Aus meinem Tagebuch MOZART Rondo in A minor, K511 BEETHOVEN Sonata in E, Op.109

International Pianists in Recital Presented by Theme & Variations

Mon 18 May 7pmCity Recital Hall Angel Place

Pre-concert talk at 6.15pm by David Garrett

Fathers and Sons JS BACH Brandenburg Concerto No.3 CPE BACH Cello Concerto in A L MOZART Sinfonia in B flat WA MOZART Symphony No.30

Andrew Haveron violin-director Yelian He cello [PICTURED]

Mozart in the City

Thu 28 May 7pm City Recital Hall Angel Place

Pre-concert talk at 6.15pm by David Garrett

My Country, My Life Robertson Conducts Dvorák 7 SMETANA The High Castle from Má Vlast MACKEY Beautiful Passing – Violin Concerto SMETANA The Moldau from Má Vlast DVOŘÁK Symphony No.7

David Robertson conductor Anthony Marwood violin

APT Master Series

Wed 3 Jun 8pm Fri 5 Jun 8pm Sat 6 Jun 8pmPre-concert talk at 7.15pm by David Robertson

Summer Nights HAYDN Symphony No.31 (Horn Signal) BERLIOZ Les Nuits d’été (Summer Nights) SCHUBERT Symphony No.4 (Tragic)

David Robertson conductor Katarina Karnéus mezzo-soprano

Thursday Afternoon Symphony

Thu 11 Jun 1.30pmEmirates Metro Series

Fri 12 Jun 8pm Pre-concert talk by David Garrett 45 minutes before each performance

CLASSICAL

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 statedNO 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

WELCOME

Welcome to this APT Master Series concert, and welcome to an evening of Romantic visions.

Tonight you can picture musicians on the staircase of a

beautiful Swiss villa, serenading the mistress of the house with

a gift from the heart – the music is by Wagner, the moment is

one of the most touching in music history.

You can imagine a dying composer, writing one last work – a

piano concerto – as a farewell to the love of his life. The result

is one of the most beautiful and appealing of Bartók’s creations.

And you can visualise Schoenberg paying tribute to his musical

traditions by transforming the intimate sounds of a Brahms

chamber work into music for full orchestra.

It promises to be an evening that will be emotionally moving

and full of marvellous musical experiences drawn from the

European heart of the orchestral repertoire.

We recognise that Europe will always be a source of inspiration

for music lovers. Botanica’s personalised boutique discoveries

combine iconic, must-see destinations with the opportunity to

tour stately homes and castles as well as magnificent gardens

showcasing the romance of Europe.

We hope you come away from tonight’s concert with your

imagination fired by inspiring performances and great music.

Geoff McGeary oam APT Company Owner

and

Judy Vanrenen Founder and Co-Owner, Botanica

(Part of the APT family)

PRESENTED BY

Friday’s performance will be recorded by ABC Classic FM for broadcast on Sunday 31 May at 1pm.

Pre-concert talk by Scott Davie at 7.15pm in the Northern Foyer. Visit sydneysymphony.com/speaker-bios for more information.

Estimated durations: 18 minutes, 23 minutes, 20-minute interval, 43 minutes The concert will conclude at approximately 9.55pm.

APT MASTER SERIES

WEDNESDAY 13 MAY, 8PM

FRIDAY 15 MAY, 8PM

SATURDAY 16 MAY, 8PM

SYDNEY OPERA HOUSE CONCERT HALL

ROMANTIC VISIONSMatthias Pintscher conductor Peter Serkin piano

RICHARD WAGNER (1813–1883) Siegfried Idyll

BÉLA BARTÓK (1881–1945) Piano Concerto No.3

Allegretto Adagio religioso Allegro vivace

INTERVAL

JOHANNES BRAHMS (1833–1897) Piano Quartet in G minor, Op.25 orchestrated by Arnold Schoenberg (1874–1951)

Allegro Intermezzo (Allegro ma non troppo) Andante con moto Rondo alla Zingarese (Presto)

2015 concert season

6

ALE

SS

AN

DR

O G

ALL

O

Richard Wagner’s villa in Tribschen, Lucerne

7

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

The foyer fanfare for this concert is Please Take Your Seats, composed by Marcus Milton (16) of St Andrew’s Cathedral School. This is a youth creativity project by the Sydney Opera House and Artology.

INTRODUCTION

One of the many reasons why a live concert can be more

satisfying than listening to a recording is that most of us listen –

at least a little – with our eyes. There is so much to see on the

stage, both subtleties and big gestures, that in turn guides the

ear. At the same time we tend to listen with our imagination, with

the inner eye, even when the music is ‘abstract’ – concertos and

symphonies without an official scenario or narrative.

In tonight’s concert we offer a program of ‘Romantic visions’.

Wagner’s Siegfried Idyll comes with a touching backstory: it was

composed to wake his new wife (and the mother of his three

children) on her birthday. The picture is a charming one, with

musician friends arranged on the staircase outside her bedroom

having rehearsed in secret. This is Wagner in a gentle, domestic

mood, quite different from the composer of long and ambitious

music dramas, although the music does include quotations from

the Ring cycle.

The story behind Bartók’s third piano concerto is equally

touching, but tinged with sadness. The music was a farewell

gift to his pianist wife, Ditta, composed as he was dying in exile,

and the concerto is relatively gentle compared to the powerful

and percussive piano concertos that preceded it. It was a labour

of love, which Bartók was determined to finish even as the

leukaemia took its toll – as it turns out he completed all but the

final 17 bars, which were left in shorthand, with the word ‘vége’

(the end) underneath.

Schoenberg’s orchestration of Brahms’s Piano Quartet in

G minor was another labour of love. His very first reason for

attempting it was simply: ‘I like this piece.’ And he brought to

the task all his experience of performing and analysing the

music of this composer whom he admired so much. Although

his intention was to ‘remain strictly in the style of Brahms’,

there are certain colours in the orchestra that are a little more

modern. Listen in the final movement to the cheeky sounds of

glockenspiel and xylophone, and picture if you like an especially

wild gypsy dance.

Romantic Visions

8

Richard Wagner Siegfried IdyllThe Siegfried Idyll reveals a touchingly gentle and domestic side of a composer who often displayed the opposite. Wagner’s full title for the piece was Tribschen Idyll, with Fidi’s Birdsong and Orange Sunrise, as a Symphonic Birthday Greeting from Richard to Cosima.

Tribschen is the villa near the Swiss town of Lucerne where Wagner was living with his wife Cosima, whom he had recently married when her divorce from Hans von Bülow was finalised. She already had two daughters by Wagner, and in 1869 a son was born, Siegfried, known in the family circle as Fidi. On Christmas Day 1870, which was also Cosima’s birthday, she awoke to the strains of music. As the music died away, Richard came into the room and offered Cosima the score of the ‘symphonic birthday poem’. The 13 musicians stood on various levels of the staircase of Tribschen. They were rehearsed secretly by the young Hans Richter, who played horn, and also the brief trumpet part. Richter, later to become famous as a conductor, was at that stage living in the Wagner household. He had almost given the game away to Cosima, who wondered why he was disappearing every evening, and what on earth he was doing practising the trumpet!

The Siegfried Idyll is a kind of pendant to the music drama Siegfried, on which Wagner had been working, and many of its themes are to be found in the opera. The peaceful melody with which it begins is associated in the opera’s last act with Brünnhilde’s

ABOUT THE MUSIC

KeynotesWAGNER

Born Leipzig, 1813 Died Venice, 1883

Wagner was the composer who completely transformed opera in the 19th century. He regarded opera as a unity of art forms: music and words inextricably linked and organically developed as ‘music drama’. His vision influenced singers, orchestras, theatre, and even the science of acoustics. Wagner’s personality, philosophies and music were controversial during his lifetime and after his death, attracting equally passionate fans and detractors within the musical world and beyond. His Ring cycle of four operas based on The Ring of the Nibelung was his most ambitious creation, composed over 26 years.

SIEGFRIED IDYLL

The Siegfried Idyll had intimate beginnings. Unlike Wagner’s grand theatrical projects, this was music for a small ensemble (originally 13 musicians) and private performance – intended to wake his wife, Cosima, on her birthday. It contains motifs Wagner was developing for the Ring opera, Siegfried, but it also includes a theme from a string quartet that Wagner had planned early in his relationship with Cosima. The Idyll was later published for performance with orchestral strings.

9

yielding, her giving up of memories of immortality for love of Siegfried. Another theme, appearing in counterpoint with it, is that of Brünnhilde’s sleep. There is a second theme, not from the opera, based on an old German lullaby, and later the wind instruments present the theme associated with the words ‘Siegfried, Treasure of the World’, from the opera’s love duet. We hear the horn melody associated with the young Siegfried as hero, and the theme of the woodbird who leads Siegfried to Brünnhilde’s fire-surrounded rock.

Although it began as private chamber music (Wagner later sanctioned its publication and performance with orchestral strings), the Siegfried Idyll is really an early example of the symphonic poem. Liszt invented this genre and Richard Strauss developed it: Wagner here depends less on an extraneous program than either of these composers. The Siegfried Idyll (which Wagner originally planned to call ‘Symphony’) can be heard as a single movement in a kind of expanded sonata form. The first theme, in fact, comes from a planned string quartet Richard had promised to Cosima in the days of their first love. Only later was it incorporated into the opera Siegfried.

The second group of themes ends with the lullaby, played by the oboe and accompanied by string figures which, Wagner explained, represent sheep. The surprise performance of this piece was the most ambitious of a number of pantomimes mounted in the Wagner household. Although containing many private meanings for the family, the Siegfried Idyll is an application to instrumental music of a method Wagner developed in his music dramas – the building of broad melodies out of constantly repeated single phrases.

As Donald Tovey has written, the Siegfried Idyll is ‘a gigantic though intensely quiet piece of purely instrumental music, connected with the opera only by a private undercurrent of poetic allusion’. Cosima herself recalled Richard telling her that ‘all that he had set out to do was to work the theme which had come to him in Starnberg (where we were living together), and which he had promised me as a quartet, into a morning serenade, and then he had unconsciously woven our whole life into it – Fidi’s birth, my recuperation, Fidi’s bird, etc. As Schopenhauer said, this is the way a musician works – he expresses life in a language which reason does not understand.’

DAVID GARRETT © 1991

The Siegfried Idyll is scored for flute, oboe, two clarinets, bassoon, two

horns, trumpet and strings.

The SSO first performed the Siegfried Idyll in 1942, conducted by

Percy Code. Our most recent performances were in 2007, conducted by

Gianluigi Gelmetti. It was also a featured work in the 2012 Discovery series,

conducted by Richard Gill.

The first performance of the Siegfried Idyll must have been one of the most touching and personal premieres in the history of music.

Cosima von Bulow before her marriage to Wagner in 1870

10

KeynotesBARTÓK

Born Nagyszentmiklós (Hungary) now Sînnicolau Mare (Romania), 1881 Died New York, 1945

Bartók is one of Hungary’s most famous composers and an important figure in 20th-century music. He was also an avid collector and student of folk music (an early ethnomusicologist) and this influenced many of his works, especially in his use of melody, ornamentation and compelling, non-standard rhythms. He was also influenced by Debussy, Stravinsky and even Schoenberg. Finally, Bartók’s own style as a concert pianist belonged to the 19th-century Romantic tradition, bringing flexibility and colour to his often driving and percussive music. He is best known in the concert hall for his brilliant and evocative Concerto for Orchestra, while piano students will probably recall his Mikrokosmos.

PIANO CONCERTO NO.3

Bartók was a piano virtuoso and his first two piano concertos are demanding, challenging works. (For a long time Bartók was the only pianist who played his first concerto.) The third concerto was composed at the very end of his life as a farewell gift to his wife, also a pianist, and is less percussive than the concertos intended for his own repertoire. By 1945 Bartók was in exile in the USA, in poverty and sick with leukaemia, and yet this music is full of poise and charm, carrying something of the spirit of the Concerto for Orchestra.

Béla Bartók Piano Concerto No.3Allegretto Adagio religioso Allegro vivace

Peter Serkin piano

In 1945 the Musical Times ran an obituary of Béla Bartók, saying that his death

in New York at the end of September deprives 20th-century music of one of its greatest masters. In depth and range his influence can be compared only with that of Schoenberg and Stravinsky, but it was more secret than theirs and far less apparent. Bartók’s music has never become widely or thoroughly known; it has never been a battle-cry; which has at least saved it from the grosser forms of misunderstanding.

Bartók and his wife Ditta had taken refuge from Nazism in the United States in 1940. The composer was well aware of, and distressed by, political developments in Europe, not only on his own account, but on that of the ethnic groups of eastern Europe whose music he had done so much to document and preserve and which had been such a great influence on his own work. His New York agent had promised him great opportunities as a performer, composer and ethnomusicologist, but most of these, sadly, failed to materialise, and Bartók, for whatever reason, turned down a number of teaching positions. The Bartóks’ financial situation was precarious, and matters became much worse when Béla’s health suddenly worsened in 1942. He made what was to be his last public concert appearance in January 1943, performing the Concerto for two pianos and percussion (which he had transcribed from the more familiar Sonata for two pianos and percussion) with Ditta as the other piano soloist.

To its credit, the American Society of Composers, Authors and Publishers paid for Bartók’s medical expenses, and he was able to spend three summers recuperating in upstate New York and at a sanatorium in North Carolina where he wrote a number of his late masterpieces.

Much of Bartók’s music, particularly later works, shows a fondness for symmetrical or ‘arch’ forms, and viewing his output as a whole it is tempting to see it the same way. For the late works often evoke the same worlds as his early period music in their seemingly simple and highly lyrical manners, contrasting with the more acerbic and rhythmically complex middle period pieces. The late Concerto for Orchestra goes so far as to quote Bartók’s early opera, Bluebeard’s Castle.

11

The Third Piano Concerto is the last piece that Bartók completed, but despite being written in the full knowledge of his having leukaemia it sounds nothing like the last work of a dying man. Written for Ditta to perform, its relative simplicity reflects, in part, the fact that she was not the virtuoso that her husband had been. Seen, however, in the context of other works from this period – the Concerto for Orchestra and the unfinished Viola Concerto, for instance – the work is a document of the resilience of a human spirit, and in that respect might be compared with late Beethoven.

The first movement begins with a long-breathed melody given out by the piano, reminiscent of the folk melodies that Bartók assiduously collected in the rural regions of Hungary and various former Yugoslav republics, and the orchestration has a finely etched lucidity.

Beethoven is evoked explicitly in the extended second movement – the marking ‘religioso’ and the formal scheme of the movement relate to the ‘Holy song of thanksgiving to the godhead from a convalescent’ from Beethoven’s String Quartet, Op.132. But at its centre is a distinctive Bartók signature: an echo of his ‘night music’ style with insect sounds and exotic bird calls (songs of American birds that he had notated) against restlessly murmuring violins and soft trills. The virtuoso finale dances to the uninhibited rhythms of folk music, insisting that life goes on.

Bartók’s music, like Mozart’s, experienced a surge in popularity shortly after his death. As the Musical Times concluded:

It is indeed a tragedy for music that Bartók should die in the midst of this new period, his creative powers going from strength to strength, and just as he was making some contact with audiences.

ADAPTED FROM A NOTE BY GORDON KERRY © 2003

The orchestra for Bartók’s Third Piano Concerto calls for two flutes (one

doubling piccolo), two oboes (one doubling cor anglais), two clarinets

(one doubling bass clarinet) and two bassoons; four horns, two trumpets,

three trombones and tuba; timpani and percussion; and strings.

The first complete performances of the concerto by ABC orchestras

were given by the Melbourne Symphony Orchestra in September 1950

and by the SSO the following month, with pianist György Sándor (who

also gave the premiere in 1946) and conductor Otto Klemperer. The SSO

performed it most recently in 2000 with soloist Michael Kieran Harvey

and conductor Edo de Waart.

Bartók’s Third Piano Concerto was his final work: ‘he was able to finish the score with the exception of the last 17 bars, which he noted in a kind of musical shorthand. These last bars were deciphered and scored by his friend and pupil Tibor Serly.’

From the preface to the published score

Worldwide botanically themed boutique cruises and small group discoveries for the discerning traveller

16 Day Floralies Flower Show, Art, Tulips & the Seine River Cruise – Departure: 21 April 2016

� Learn about the countries you visit from your local guides

� Visit the once every 5 year Floralies Flower Festival in Ghent

� Meet Anna Pavord, special Guest Lecturer and author of The Tulip

� Admire the Keukenhof Gardens and Aalsmeer Flower Market

� Enjoy Artist Walks in Antwerp and Auvers-sur-Oise

� See important WWII sites – D-Day Beaches in Normandy & Arnhem

� Explore Monet’s Garden and see Vermeer’s ‘Girl with a Pearl Earring’

� Visit Malmaison, former home of Napoleon

� Learn about the Impressionist painters from your Art Guide

BTFDS16

Highlights

Call 1300 305 202 or visit www.botanica.travel

Australian Pacific Touring Pty Ltd ABN 44 004 684 619. ATAS accreditation #A10825. APT2369

France

GivernyConflans

RouenCaudebec-en-Caux

Les Andelys

VernonSeine River

Honfleur

Paris

Arnhem

Nijmegen

Antwerp

Brussels

GhentBruges

Edam/Volendam

Keukenhof

Willemstad

UtrechtKinderdijk

Netherlands

Belgium

AmsterdamRhineRiver

MS AMASTELLA7

MS AMALEGRO7

NormandyBeaches

CoachCruiseNo. of nights stay

1

Only every

5 years

Guest Lecturer Anna Pavord

13

KeynotesBRAHMS

Born Hamburg, 1833 Died Vienna, 1897

Brahms is often thought of as a reactionary: he valued classical forms and admired composers of the past. Yet his musical language clearly represents mid-19th-century romanticism in all its richness and emotive power. He might not have considered himself primarily an orchestral composer, but his four symphonies occupy a firm place in the repertoire.

SCHOENBERG

Born Vienna, 1874 Died Los Angeles, 1951

Schoenberg also admired composers of the past, but he is best known for the role he played in developing the formal processes of 12-tone music (serialism). His most popular work is Transfigured Night, a chamber work (for string sextet) that he expanded for string orchestra.

BRAHMS’S ‘FIFTH SYMPHONY’

Brahms’s Piano Quartet in G minor was completed in 1861 and by Schoenberg’s time had acquired a firm place in the chamber music repertoire. Schoenberg himself had played it (as violist and cellist) and lamented the balance problems that existed in the combination of piano and string trio. This orchestration was his solution and allowed him to realise his vision of the music as ‘Brahms’s Fifth Symphony’. He takes no liberties with the actual ‘notes’ but attempts to realise it as Brahms might have done.

Johannes Brahms Piano Quartet in G minor, Op.25orchestrated by Arnold SchoenbergAllegro Intermezzo (Allegro ma non troppo) Andante con moto Rondo alla Zingarese (Presto)

Mention the name Arnold Schoenberg and ‘atonality’, ‘serialism’ and ‘12-note tone rows’ all spring to mind. And too often, alas, a moue of dislike flits across the face. Schoenberg knew this as well as anyone – an essay he wrote in 1948 lamented: ‘If people speak of me, they at once connect me with horror, with atonality and with composition with twelve tones.’ The fair but superficial association of Schoenberg with serialist technique leads to the assumption that he was somehow anti-tonality. Nothing could be further from the truth.

Schoenberg saw his 12-tone method of composing as a logical extension of harmonic development that had its roots in the tonal music of the 18th and 19th centuries. He was a student of Bach, of Brahms and of Mahler, analysing and performing their works. He never completely abandoned tonal composition and towards the end of his life he reassured us all by saying: ‘There is still so much good music to be written in C major.’

Schoenberg’s engagement with tonal music included private gems such as his arrangement of Luigi Denza’s ‘Funiculi, funiculà’ (clarinet, mandolin, guitar and string trio), which became a teaching exercise, and his arrangements of Strauss waltzes (piano, harmonium and string quartet) made for his friends in the Society for Private Musical Performances. (Between 1919 and 1921 this society presented more than a hundred concerts, open by invitation to genuine connoisseurs of new music and on the understanding that none would write about the concerts in the press. A sign at the door said ‘Critics are forbidden entry’.)

More significant, however, are Schoenberg’s arrangements for orchestra of Bach chorale preludes, made in the 1920s, and this piece, the first of Brahms’s piano quartets, which Schoenberg orchestrated in 1937, after he had moved to America.

The choice of Brahms should be no surprise. Schoenberg’s first composition teacher, Zemlinsky, had been a Brahms protégé; his own composition classes often focused on Brahms and Mozart; as a string player he performed Brahms’ chamber works; and the Brahms centenary in 1933 prompted his essay ‘Brahms, the Progressive’. The deep love of Brahms’s music revealed in the essay emerges even more vividly in his arrangement of the Piano Quartet in G minor.

14

The decision to make the orchestration may have been a surprise, though. Although there was a long tradition of making chamber versions of symphonies, there was no particular tradition for the reverse approach, especially not in the case of Romantic chamber music that was still in the repertory. But Schoenberg’s motivation was simple and pragmatic, and is best told in his own words, as conveyed to the music critic of the San Francisco Chronicle in 1938:

My reasons:1. I like this piece.2. It is seldom played.3. It is always very badly played, because the better the pianist, the louder he plays and you hear nothing from the strings. I wanted once to hear everything, and this I achieved.My intentions:1. To remain strictly in the style of Brahms and not to go farther than he himself would have gone if he had lived today.2. To watch carefully all these laws which Brahms obeyed and not to violate any of those which are only known to musicians educated in his environment. How I did it:I am for almost fifty years very thoroughly acquainted with Brahms’s style and his principles. I have analysed many of his works for myself and with my pupils. I have played as violist

‘magnificent…you can’t even hear the original quartet, so beautiful is the arrangement’

OTTO KLEMPERER, CONDUCTOR OF THE PREMIERE

Arnold Schoenberg

15

and cellist this work and many others numerous times: I therefore knew how it should sound. I had only to transpose this sound to the orchestra, and this is in fact what I did.

By the time Schoenberg made his orchestration, Brahms’s Piano Quartet in G minor was nearly 80 years old. After playing through the new work in 1861, Joseph Hellmesberger, leader of Vienna’s leading string quartet, had declared ‘This is Beethoven’s heir!’ Heady words indeed, although Robert Schumann had made much the same pronouncement in 1853. All this talk of Beethoven had been one of the factors that inhibited Brahms as a symphonist – the 14 years it took him to write his first symphony are legendary – and may have been behind his relatively small output in the genre: ‘only’ four symphonies.

This Piano Quartet is among those works that occupied Brahms as he contemplated (and avoided) writing symphonies. Despite its intimate forces its structure and expression are on a symphonic scale. The writer Donald Tovey described the first movement as one of the most original and impressive tragic movements since the first movement of Beethoven’s Ninth Symphony. Schoenberg himself dubbed the piece ‘Brahms’s Fifth Symphony’.

Schoenberg’s orchestra goes beyond the forces Brahms would have employed: he uses triple woodwinds rather than double and includes the tuba, for example, and goes to town with a percussion section that includes xylophone and glockenspiel. Even so, he

Johannes Brahms, 1865

Brahms was known to inscribe his visiting cards with the first few bars of the Blue Danube waltz and the words ‘leider nicht von Johannes Brahms’ (unfortunately not by Johannes Brahms). Schoenberg made a parallel tribute, writing the first theme of Brahms’s Op.25 with ‘Leider von Johannes Brahms…only orchestrated by Arnold Schoenberg’.

16

SSO CHAMBER MUSIC

COCKTAIL HOURThree inspiring evenings at the Utzon Room, Sydney Opera House

*Drink voucher may only be redeemed at Utzon Room Bar on 16 May, 6 June & 18 July events.

Lights shimmering on the harbour, a uniquely intimate space, inspiring music, and a delicious cocktail to enjoy – all the elements for one hour of sheer bliss.

SAT 16 MAY | SAT 6 JUNE | SAT 18 JULY

All 3 concerts with drink vouchers $117*Call 8215 4600 Mon–Fri 9am–5pm

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 17561 — 1/130515 — 19 S38/40

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

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

Chairman & 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 program.editor@sydneysymphony.com

Sydney Opera House TrustThe Hon. Helen Coonan [Acting Chair]Catherine Brenner, Brenna Hobson, Chris Knoblanche, Deborah Mailman, Peter Mason am, Jillian Segal am, Robert Wannan, Phillip Wolanski am

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

Director, Programming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jonathan BielskiDirector, Theatre & Events . . . . . . . . . . . . . . . . . . . . . . . . . . . .David ClaringboldChief Financial Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Natasha CollierGeneral Counsel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Michelle DixonDirector, Building Development & Maintenance . . . . . . . . .Greg McTaggartDirector, Marketing (Acting) . . . . . . . . . . . . . . . . . . . . . . . . . .Stephen O’ConnorDirector, External Relations . . . . . . . . . . . . . . . . . . . . . . . . . . .Brook Turner

SYDNEY OPERA HOUSE Bennelong Point GPO Box 4274 Sydney NSW 2001Administration (02) 9250 7111 Box Office (02) 9250 7777 Facsimile (02) 9250 7666 Website sydneyoperahouse.com

17

maintains on the whole a ‘true Brahms sound’ and demonstrates tremendous skill and ingenuity in adapting the highly idiomatic piano writing to orchestral instruments.

One of the qualities that Schoenberg admired in Brahms’s music was the power of his thematic development and especially his ability to build large forms from small musical elements. Schoenberg would have especially approved of the way Brahms takes a tiny main theme (initially only four bars long) and expands it to create a first movement of monumental proportions. To that end an authenticity of colour is less important to Schoenberg than the light that he can throw on Brahms’s linear development. As the scholar Walter Frisch observes, Schoenberg’s arrangement uses timbre and almost pointillistic colour effects to highlight details and musical building blocks that are not so easily heard in the less differentiated colours of piano and string trio.

An engaging Intermezzo takes the expected place of a slow movement while functioning as a hybrid of gentle nocturne and playful scherzo. It rocks in a charming triple time and in the middle – with music marked ‘sweetly and expressively’ – Schoenberg allows the charm to blossom into opulence suggestive of Mahler or Richard Strauss. The Andante third movement begins lyrically but takes a martial turn for a strongly contrasting central section.

In the Rondo Schoenberg finally allows himself to depart from a Brahms sound. This movement, which was possibly inspired by Haydn’s Gypsy Rondo (from his Piano Trio, Op.1), is famous for its rhythmic vigour and distinctive use of Hungarian dance themes. Schoenberg takes this already lively music and – bringing in his percussion section in full force – abandons it to the mercies of the xylophone and glockenspiel. He also introduces a gesture unthinkable to Brahms but already appearing in his own Pelleas und Melisande: ‘wicked’ glissandi for the trombones that take full advantage of their capacity to slide from note to note. But even in this movement Schoenberg creates an echo of Brahms’s original scoring by giving a brief moment to three solo strings (violin, viola and cello) before the frenetic coda.

YVONNE FRINDLE

SYDNEY SYMPHONY ORCHESTRA © 2008

Schoenberg’s orchestration of Brahms’s Piano Quartet in G minor calls for

three flutes (one doubling piccolo), three oboes (one doubling cor anglais),

two clarinets (one doubling bass clarinet), E flat clarinet, two bassoons

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

timpani and percussion (xylophone, triangle, glockenspiel, snare drum,

cymbals, bass drum, tambourine); and strings.

Schoenberg’s orchestration was premiered by Otto Klemperer in Los

Angeles on 7 May 1938. The SSO first performed it in 1983 under Charles

Mackerras and most recently in 2008 conducted by Paul Daniel.

18

with Rudolf Serkin at the piano and members of the Busch string quartet. The quartet is paired with Brahms’s Violin Sonata No.1, in which Rudolf is joined by his father-in-law Adolf Busch. (Mono sound)

ARCHIPEL 331

Broadcast DiaryMay–June

abc.net.au/classic

Friday 22 May, 8pm PETER SERKIN IN RECITALRenaissance keyboard pieces, Nielsen, Reger, Mozart, Beethoven

Sunday 31 May, 1pm ROMANTIC VISIONSSee this program for details.

Tuesday 9 June, 9.30pm FATHERS AND SONSAndrew Haveron violin-director Yelian He cello

JS Bach, CPE Bach, L Mozart, WA Mozart

SSO RadioSelected SSO performances, as recorded by the ABC, are available on demand: sydneysymphony.com/SSO_radio

SYDNEY SYMPHONY ORCHESTRA HOUR

Tuesday 9 June, 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

SIEGFRIED IDYLL

One of the most acclaimed recordings of Wagner’s Siegfried Idyll was made by Georg Solti and the Vienna Philharmonic, reduced in size to highlight the intimacy and tenderness of the music, with the conductor ‘at his most unbuttoned and affectionate’. You can find it on the album The Vienna Philharmonic Plays Wagner with the overtures to The Flying Dutchman and Rienzi and the Overture and Bacchanale from the Paris version of Tannhäuser.

DECCA 475 8502

BARTÓK PIANO CONCERTOS

In the mid-1960s Peter Serkin recorded the first and third piano concertos of Bartók in some thrilling performances with Seiji Ozawa and the Chicago Symphony Orchestra. Still available on demand as an ArkivCD from arkivmusic.com.

RCA 7354

If you’re interested all three of Bartók’s piano concertos, look for Stephen Kovacevich’s recording with Colin Davis conducting the BBC Symphony Orchestra and, in No.3, the London Symphony Orchestra. (Also available from iTunes)

PHILIPS 475 8690

BRAHMS & SCHOENBERG

In 1996 the SSO recorded Schoenberg’s orchestration of Brahms’s G minor Piano Quartet with Edo de Waart, sadly now out of print. More recent releases include Simon Rattle with the Berlin Philharmonic in an album that includes Schoenberg’s Chamber Symphony No.1.

WARNER CLASSICS 57815

Some of Schoenberg’s arrangements take the music in the opposite direction, from orchestra to chamber ensemble, notably in the delightful versions that he and his colleagues made of Strauss waltzes. Look for the recording made by the Boston Symphony Chamber Players in 1977 and reissued in the DG The Originals series. It includes the Emperor Waltz and Roses of the South, as well as Alban Berg’s arrangement of Wine, Women and Song and Webern’s of Schatz-Walzer from The Gypsy Baron. The disc is filled out with small ensemble music by Stravinsky, including his Rag-time for 11 instruments.

DEUTSCHE GRAMMOPHON 463 6672

For the original chamber version of the Brahms with a connection to tonight’s soloist, look for the recording

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: Ruckert-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

20

Matthias Pintscher is in his second season as Music Director of the Ensemble Intercontemporain. He is also Artist-in-Association with the BBC Scottish Symphony Orchestra, and last year began a three-year appointment as Artist-in-Residence with the orchestras of the Danish Broadcasting Corporation. An equally accomplished conductor and composer, he has created significant works for some of the world’s leading orchestras, and regularly conducts throughout Europe and the United States as well as Australia.

In 2014–15 his conducting debuts include the Los Angeles Philharmonic, National Symphony Orchestra (Washington, DC), National Arts Centre Orchestra (Ottawa) and Bavarian Radio Symphony Orchestra. Other highlights include tours to Cologne, Strasbourg, Milan and London with the Ensemble Intercontemporain; performances with the Atlanta Symphony Orchestra, St Paul Chamber Orchestra, Deutsche Sinfonie-Orchester Berlin, Hamburg Philharmonic, Helsinki Philharmonic and Danish National Symphony Orchestra. In addition, the Philharmonie in Cologne has featured him as the 2014–15 focus artist with four portrait concerts, two of which he conducted. His summer festival plans will take him to Lucerne, Helsinki (Avanti Festival) and Grafenegg, Austria.

As a composer, he found success at an early age and he has received numerous prizes, including the prestigious 2012 Roche Commission. His music is championed by some of today’s finest performing artists and conductors, and frequently performed by orchestras such as the Cleveland and Philadelphia orchestras, New York Philharmonic, Chicago Symphony Orcchestra, Berlin Philharmonic, NDR Hamburg, BBC and London symphony orchestras, Philharmonia Orchestra and the Orchestre de Paris.

He works regularly with leading contemporary music ensembles and since 2011 has directed the music segment of Impuls Romantik Festival in Frankfurt. He also served as Artistic Director of the Heidelberg Atelier of the Heidelberg Spring Festival since 2007, now known as the Heidelberg Young Composers’ Academy. Last year he joined the composition faculty at the Juilliard School.

Matthias Pintscher made his SSO debut in 2012 conducting a Stravinsky-inspired program including his own piece towards Osiris. On this visit to Australia he will also conduct the Melbourne Symphony Orchestra.

Matthias Pintscherconductor

THE ARTISTS

AN

DR

EA

S M

ED

ICI

21

Recognised as an artist of passion and integrity, distinguished American pianist Peter Serkin has successfully conveyed the essence of five centuries of repertoire in inspired performances with symphony orchestras, recital appearances, chamber music collaborations and recordings.

His rich musical heritage extends back several generations: his grandfather was violinist and composer Adolf Busch and his father pianist Rudolf Serkin. He has performed with the world’s major symphony orchestras with such eminent conductors as Seiji Ozawa, Pierre Boulez, Alexander Schneider, Daniel Barenboim, George Szell, Claudio Abbado, Eugene Ormandy, Simon Rattle, James Levine, Herbert Blomstedt, Rafael Frühbeck de Burgos and George Cleve. Also a dedicated chamber musician, he has collaborated with Alexander Schneider, Pamela Frank, Yo-Yo Ma, the Budapest, Guarneri, Orion and Shanghai string quartets and TASHI, of which he was a founding member.

An avid exponent of many 20th-century and contemporary composers, Peter Serkin has been instrumental in bringing to life the music of Schoenberg, Webern, Berg, Stravinsky, Wolpe, Messiaen, Takemitsu, Henze, Berio, Wuorinen, Goehr, Knussen and Lieberson to audiences around the world, and he has premiered many important works that were written specifically for him.

In the 2014–15 season his concerto appearances include Mozart’s Piano Concerto No.19 with the San Francisco, Chicago and Dallas symphony orchestras and Beethoven Piano Concerto No.1 with the Florida Orchestra. In April 2015, he gives the premiere of a new piano concerto from Pulitzer Prize- and MacArthur Fellowship-winning composer Charles Wuorinen, with the Saint Paul Chamber Orchestra under the direction of Matthias Pintscher. In addition to Sydney, he gives solo recitals in Brisbane, New York and New Haven at Yale University; joins the Orion String Quartet in music by Brahms, Dvořák, Reger and Schoenberg (arranged by Webern) at the Ravinia and Toronto Summer Music Festivals and Philadelphia Chamber Music Society; and enjoys collaborations with cellist Fred Sherry and pianist Julia Hsu. Recent summer festival appearances have included the BBC Proms, Tanglewood, Aldeburgh, Chautauqua and Denmark’s Oremandsgaard Festival. Peter Serkin currently teaches at Bard College Conservatory of Music and the Longy School of Music. Peter Serkin in Recital Monday 18 May, 7pm City Recital Hall Angel Place Renaissance keyboard pieces with music by Nielsen, Reger, Mozart and Beethoven www.sydneysymphony.com

Peter Serkinpiano

THE ARTISTS

KAT

HY

CH

AP

MA

N

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 ROBERTSONThe Lowy Chair of Chief Conductor and Artistic Director

PATRON Professor The Hon. Dame Marie Bashir ad cvo

23

FIRST VIOLINS Andrew HaveronCONCERTMASTER

Sun YiASSOCIATE CONCERTMASTER

Lerida Delbridge ASSISTANT CONCERTMASTER

Jenny BoothSophie ColeAmber DavisClaire HerrickNicola LewisEmily LongAlexandra MitchellVictoria Bihun†

Vivien Jeffery*Thibaud Pavlovic-Hobba†

Emily Qin°Veronique Serret*Brett Yang†

Dene Olding CONCERTMASTER

Kirsten Williams ASSOCIATE CONCERTMASTER

Fiona Ziegler ASSISTANT CONCERTMASTER

Georges LentzAlexander NortonLéone Ziegler

SECOND VIOLINSMarina MarsdenEmma Jezek ASSISTANT PRINCIPAL

Marianne BroadfootFreya FranzenEmma HayesShuti HuangStan W KornelBenjamin LiNicole MastersBiyana RozenblitMaja VerunicaRebecca Gill*Monique Irik°Lucy Warren*Kirsty Hilton Philippa Paige

VIOLASRoger Benedict Tobias Breider Justin Williams ASSISTANT PRINCIPAL

Sandro CostantinoRosemary CurtinGraham HenningsFelicity TsaiAmanda VernerLeonid VolovelskyCharlotte Fetherston†

Andrew Jezek*Elizabeth Woolnough†

Anne-Louise Comerford Jane HazelwoodStuart JohnsonJustine Marsden

CELLOSCatherine Hewgill Leah Lynn ASSISTANT PRINCIPAL

Kristy ConrauFenella GillElizabeth NevilleChristopher PidcockAdrian WallisDavid WickhamRowena Macneish*Rebecca Proietto†

Umberto ClericiTimothy Nankervis

DOUBLE BASSESKees Boersma Alex HeneryNeil Brawley PRINCIPAL EMERITUS

David CampbellSteven LarsonRichard LynnBenjamin WardJohn Keene†

David Murray

FLUTES Janet Webb Carolyn HarrisRosamund Plummer PRINCIPAL PICCOLO

Emma Sholl

OBOESDiana Doherty David PappAlexandre Oguey PRINCIPAL COR ANGLAIS

Shefali Pryor

CLARINETSLawrence Dobell Francesco Celata Christopher TingayCraig Wernicke PRINCIPAL BASS CLARINET

BASSOONSMatthew Wilkie Fiona McNamaraNoriko Shimada PRINCIPAL CONTRABASSOON

HORNSBen Jacks Geoffrey O’Reilly PRINCIPAL 3RD

Euan HarveyMarnie SebireKara Hahn†

Robert Johnson Rachel Silver

TRUMPETSDavid Elton Anthony HeinrichsJosh Rogan°Paul Goodchild

TROMBONESRonald Prussing Scott Kinmont Christopher HarrisPRINCIPAL BASS TROMBONE

Nick Byrne

TUBASteve Rossé

TIMPANIRichard Miller Mark Robinson ASSISTANT PRINCIPAL

PERCUSSIONRebecca Lagos Timothy ConstableIan Cleworth*Philip South*

HARP Louise Johnson

BOLD = PRINCIPAL

ITALICS = ASSOCIATE PRINCIPAL

° = CONTRACT MUSICIAN

* = GUEST MUSICIAN† = SSO FELLOW

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

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 PREMIER PARTNER CREDIT SUISSE

24

Sydney Symphony Orchestra Staff

BEHIND THE SCENES

MANAGING DIRECTOR

Rory Jeffes

EXECUTIVE TEAM ASSISTANT

Lisa Davies-Galli

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC PLANNING

Benjamin Schwartz

ARTISTIC ADMINISTRATION MANAGER

Eleasha Mah

ARTIST LIAISON MANAGER

Ilmar Leetberg

RECORDING ENTERPRISE MANAGER

Philip Powers

LibraryAnna Cernik Victoria Grant Mary-Ann Mead

LEARNING AND ENGAGEMENT

DIRECTOR OF LEARNING AND ENGAGEMENT

Kim Waldock

EMERGING ARTISTS PROGRAM MANAGER

Rachel McLarin

EDUCATION MANAGER

Amy Walsh

EDUCATION OFFICER

Tim Walsh

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA MANAGEMENT

Aernout Kerbert

ORCHESTRA MANAGER

Rachel Whealy

ORCHESTRA COORDINATOR

Rosie Marks-Smith

OPERATIONS MANAGER

Kerry-Anne Cook

PRODUCTION MANAGER

Laura Daniel

STAGE MANAGER

Courtney Wilson

PRODUCTION COORDINATOR

Ollie Townsend

SALES AND MARKETING

DIRECTOR OF SALES & MARKETING

Mark J Elliott

MARKETING MANAGER, SUBSCRIPTION SALES

Simon Crossley-Meates

A/ SENIOR SALES & MARKETING MANAGER

Matthew Rive

MARKETING MANAGER, WEB & DIGITAL MEDIA

Eve Le Gall

MARKETING MANAGER, CRM & DATABASE

Matthew Hodge

A/ SALES & MARKETING MANAGER, SINGLE TICKET CAMPAIGNS

Jonathon Symonds

DATABASE ANALYST

David Patrick

SENIOR GRAPHIC DESIGNER

Christie Brewster

GRAPHIC DESIGNER

Tessa Conn

SENIOR ONLINE MARKETING COORDINATOR

Jenny Sargant

MARKETING ASSISTANT

Laura Andrew

Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlin

BOX OFFICE SYSTEMS SUPERVISOR

Jennifer Laing

BOX OFFICE BUSINESS ADMINISTRATOR

John Robertson

CUSTOMER SERVICE REPRESENTATIVES

Karen Wagg – CS ManagerMichael Dowling Tim Walsh

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

EXTERNAL RELATIONS

DIRECTOR OF EXTERNAL RELATIONS

Yvonne Zammit

PhilanthropyHEAD OF PHILANTHROPY

Luke Andrew Gay

PHILANTHROPY MANAGER

Jennifer Drysdale

A/ PATRONS EXECUTIVE

Sarah Morrisby

PHILANTHROPY COORDINATOR

Claire Whittle

Corporate RelationsCORPORATE PARTNERSHIPS MANAGER

Belinda Besson

CORPORATE PARTNERSHIPS EXECUTIVE

Paloma Gould

CommunicationsCOMMUNICATIONS & MEDIA MANAGER

Bridget Cormack

PUBLIC RELATIONS MANAGER

Katherine Stevenson

DIGITAL CONTENT PRODUCER

Kai Raisbeck

PUBLICITY & EVENTS COORDINATOR

Caitlin Benetatos

BUSINESS SERVICES

DIRECTOR OF FINANCE

John Horn

FINANCE MANAGER

Ruth Tolentino

ACCOUNTANT

Minerva Prescott

ACCOUNTS ASSISTANT

Emma Ferrer

PAYROLL OFFICER

Laura Soutter

PEOPLE AND CULTURE

IN-HOUSE COUNSEL

Michel Maree Hryce

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 aoMichael 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

Sydney Symphony Orchestra Board

25

Chair Patrons

SSO PATRONS

David 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 OboeAndrew Kaldor AM & Renata Kaldor 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

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

Maestro’s Circle

David Robertson

Peter Weiss AO Founding President & Doris Weiss

John C Conde AO Chairman

Brian Abel

Tom Breen & Rachel Kohn

The Berg Family Foundation

Andrew Kaldor AM & Renata Kaldor AO

Vicki Olsson

Roslyn Packer AO

David Robertson & Orli Shaham

Penelope Seidler AM

Mr Fred Street AM & Dorothy Street

Brian White AO & Rosemary White

Ray Wilson OAM in memory of the late James Agapitos OAM

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

FOR INFORMATION ABOUT THE CHAIR PATRONS

PROGRAM, CALL (02) 8215 4625.

n n n n n n n n n n

Umberto Clerici has been Principal Cello of the SSO since 2014. He has performed as a soloist with orchestras around the world and served as principal cello at the Teatro Regio in Turin in his native Italy before joining the SSO. Umberto’s chair is generously supported by Garry and Shiva Rich. Their son Samuel recently started learning the cello and aspires to join the SSO one day.

KE

ITH

SA

UN

DE

RS

26

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 4674philanthropy@sydneysymphony.com

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

Australia-Korea FoundationCrown FoundationThe Greatorex Foundation

Foundations

James N Kirby FoundationPacker Family FoundationIan Potter Foundation

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 Principal Patron, Cello ChairKim Williams AM & Catherine Dovey Patrons of Roger Benedict,

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

fellowship supporting patronsMr Stephen J BellGary Linnane & Peter BraithwaiteJoan 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 HollowayTony Strachan

major education donorsBronze Patrons & above

John Augustus & Kim RyrieMr Alexander & Mrs Vera BoyarskyBob & Julie ClampettHoward & Maureen ConnorsThe Greatorex FoundationThe Ian Potter FoundationJames N Kirby Foundation Mrs & Mr Judith A. McKernanMr & Mrs Nigel Price

Sydney Symphony Orchestra 2015 Fellows

KE

ITH

SA

UN

DE

RS

27

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.

Stuart Challender Legacy Society

Celebrating the vision of donors who are leaving a bequest to the SSO.

Playing Your Part

DIAMOND PATRONS $50,000+The Estate of Dr Lynn JosephMr Andrew Kaldor AM &

Mrs Renata Kaldor AO

In Memory of Matthew KrelMr Frank Lowy AC &

Mrs Shirley Lowy OAM

Roslyn Packer AO

Ian Potter FoundationPaul Salteri AM & Sandra

SalteriMr Fred Street AM &

Mrs Dorothy Street Mr Peter Weiss AO &

Mrs Doris WeissMr Brian White AO &

Mrs Rosemary White

PLATINUM PATRONS $30,000–$49,999Anne & Terrey Arcus AM

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

Robert & Janet ConstableMrs Barbara MurphyMrs W SteningKim Williams AM &

Catherine Dovey 

GOLD PATRONS $20,000–$29,999Brian AbelGeoff Ainsworth AM

Robert Albert AO & Elizabeth Albert

Christine Bishop Sandra & Neil BurnsJames & Leonie FurberI KallinikosHelen Lynch AM & Helen

BauerMrs T Merewether OAM

Rachel & Geoffrey O’ConorVicki OlssonAndy & Deirdre PlummerGarry & Shiva RichDavid Robertson & Orli

ShahamMrs Penelope Seidler AM

G & C Solomon in memory of Joan MacKenzie

Geoff StearnRay Wilson OAM in memory

of James Agapitos OAM

Anonymous (2) 

SILVER PATRONS $10,000–$19,999

Bailey Family FoundationAudrey BlundenMr Robert BrakspearIan & Jennifer BurtonMr Robert & Mrs L Alison CarrBob & Julie ClampettMichael Crouch AO &

Shanny CrouchThe Hon. Mrs Ashley

Dawson-Damer AM

Paul EspieEdward & Diane FedermanNora GoodridgeMr Ross GrantIan Dickson & Reg HollowayEstate of Irwin ImhofSimon JohnsonMr Ervin KatzJames N Kirby FoundationRuth & Bob MagidJustice Jane Mathews AO

The Hon. Justice AJ Meagher & Mrs Fran Meagher

Mr John MorschelDrs Keith & Eileen OngKenneth Reed AM

Mr John Symond AM

The Harry Triguboff Foundation

Caroline WilkinsonAnonymous (2)

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

BoshoffMr Alexander & Mrs Vera

BoyarskyPeter Braithwaite &

Gary LinnaneMr David & Mrs Halina BrettMr Howard ConnorsEwen Crouch AM &

Catherine CrouchIn memory of Dr Lee

MacCormick EdwardsDr Stephen Freiberg &

Donald CampbellDr Colin GoldschmidtThe Greatorex FoundationRory & Jane JeffesThe late Mrs Isabelle JosephRobert McDougall

Henri W Aram OAM & Robin Aram

Stephen J BellMr David & Mrs Halina BrettHoward ConnorsGreta DavisBrian GalwayMiss Pauline M Griffin AM

John Lam-Po-Tang

Peter Lazar AM

Daniel LemesleLouise MillerJames & Elsie MooreDouglas 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 RyanJune & 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

28

BRONZE PATRONS CONTINUED

J A McKernanDavid Maloney AM &

Erin FlahertyR & S Maple-BrownMora MaxwellWilliam McIlrath Charitable

FoundationTaine MoufarrigeNexus ITJohn & Akky van OgtropSeamus Robert QuickChris Robertson &

Katharine ShawRodney Rosenblum AM &

Sylvia RosenblumDr Evelyn RoyalManfred & Linda SalamonMrs Joyce Sproat &

Mrs Janet CookeTony StrachanDavid Tudehope & Liz DibbsMr Robert & Mrs Rosemary

WalshWestpac GroupMichael & Mary Whelan

TrustIn memory of Geoff WhiteJune & Alan Woods Family

BequestAnonymous (2) 

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

Ian BradyMr Mark Bryant oamIta Buttrose AO OBE

Mrs Stella ChenDr Rebecca ChinDr Diana Choquette &

Mr Robert MillinerFirehold Pty LtdDr Kim FrumarWarren GreenAnthony GreggJames & Yvonne HochrothMr Roger Hudson &

Mrs Claudia Rossi-HudsonProf. Andrew Korda am &

Ms Susan PearsonIn memoriam

Dr Reg Lam-Po-TangHelen & Phil MeddingsJames & Elsie MooreMs Jackie O’BrienJuliana SchaefferDr Agnes E SinclairEzekiel Solomon AM

Mr Ervin Vidor AM & Mrs Charlotte Vidor

Lang Walker AO & Sue WalkerYim Family Foundation Anonymous (2)

VIVACE PATRONS $1,000–$2,499

Mrs Lenore AdamsonMrs Antoinette AlbertRae & David AllenAndrew Andersons AO

Mr Matthew AndrewsThe Hon Justice Michael BallDavid BarnesMr Garry BessonAllan & Julie BlighJan BowenRoslynne BracherMrs R D Bridges OBE

Lenore P BuckleMargaret BulmerIn memory of RW BurleyMrs Rhonda CaddyMr B & Mrs M ColesMs Suzanne CollinsJoan Connery OAM &

Maxwell Connery OAM

Debby Cramer & Bill CaukillMr John Cunningham SCM &

Mrs Margaret CunninghamGreta DavisLisa & Miro DavisElizabeth DonatiColin Draper & Mary Jane

BrodribbProf. & Mrs John EdmondsMalcolm Ellis & Erin O’NeillMrs Margaret EppsMr Matt GarrettVivienne Goldschmidt &

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

Althea HallidayJanette HamiltonMrs Jennifer HershonAngus HoldenMr Kevin Holland &

Mrs Roslyn AndrewsThe Hon. David Hunt AO QC &

Mrs Margaret HuntDr & Mrs Michael HunterMr Philip Isaacs OAM

Michael & Anna JoelMrs W G KeighleyDr Andrew KennedyJennifer KingAron KleinlehrerMr Andrew Korda &

Ms Susan PearsonMr Justin LamMr Peter Lazar AM

Professor Winston LiauwAirdrie LloydMrs Juliet LockhartPeter Lowry OAM &

Dr Carolyn Lowry OAM

Kevin & Deirdre McCannIan & Pam McGawMatthew McInnesMacquarie Group FoundationBarbara MaidmentJohn MarRenee MarkovicMr Danny R MayI MerrickHenry & Ursula MooserMilja & David MorrisMrs J MulveneyMr Darrol NormanE J NuffieldDr Mike O’Connor AM

Mr & Mrs OrtisMr Andrew C PattersonMichael PaulAlmut PiattiIn memory of Sandra Paul

PottingerDr Raffi QasabianMr Patrick Quinn-GrahamErnest & Judith RapeePatricia H Reid Endowment

Pty LtdDr Marilyn RichardsonIn memory of Katherine

RobertsonMr David RobinsonTim RogersLesley & Andrew RosenbergIn memory of H St P ScarlettMr Samuel F ShefferDavid & Alison ShilligtonDr Judy SoperMrs Judith SouthamMs Barbara SpencerMrs Elizabeth SquairCatherine StephenThe Hon. Brian Sully QC

Mrs Margaret SwansonThe Taplin FamilyDr & Mrs H K TeyKevin TroyJohn E TuckeyJudge Robyn TupmanDr Alla WaldmanMiss Sherry WangWestpac Banking

CorporationHenry & Ruth WeinbergThe Hon. Justice A G WhealyMary Whelan & Robert

BaulderstoneDr Richard T WhiteMrs Leonore WhyteA Willmers & R PalBetty WilkenfeldDr Edward J WillsProf. Neville Wills &

Ian FenwickeAnn & Brooks C Wilson AM

Dr Richard Wing

Dr Peter Wong & Mrs Emmy K Wong

Geoff Wood & Melissa WaitesSir Robert WoodsMr & Mrs Lindsay WoolveridgeIn memory of Lorna WrightDr John YuAnonymous (12)

ALLEGRO PATRONS $500–$999Nikki AbrahamsMs Jenny AllumKatherine AndrewsMr Peter J ArmstrongGarry & Tricia AshMr & Mrs George BallDr Lilon BandlerBarlow Cleaning Pty LtdBarracouta Pty LtdBeauty Point Retirement

ResortMr Michael BeckDr Andrew BellRichard & Margaret BellJan BiberMinnie BiggsG D BoltonIn memory of Jillian BowersR D & L M BroadfootDr Peter BroughtonDr David BryantArnaldo BuchDr Miles BurgessPat & Jenny BurnettRosemary CampbellMr JC Campbell QC &

Mrs CampbellJudy ChiddyIn memory of Beth HarpleyMr Phillip CornwellDr Peter CraswellMr David CrossPhil Diment AM & Bill

ZafiropoulosDr David DixonSusan DoenauMrs Jane DrexlerDana DupereDr Nita DurhamJohn FavaloroMrs Lesley FinnMs Julie Flynn & Mr Trevor

CookMrs Paula FlynnMr John GadenClive & Jenny GoodwinRichard Griffin AM

Dr Jan GroseBenjamin Hasic &

Belinda DavieMr Robert HavardMrs Joan HenleyRoger Henning

Playing Your Part

SSO PATRONS

29

“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

Sue HewittDr Joan-Mary HindsDorothy Hoddinott AO

Bill & Pam HughesMs Cynthia KayeMrs Margaret KeoghDr Henry KilhamDr Joyce KirkMrs Patricia KleinhansAnna-Lisa KlettenbergSonia LalL M B LampratiDr Barry LandaElaine M LangshawDr Leo & Mrs Shirley LeaderMargaret LedermanMrs Erna LevyMrs A LohanMr Gabriel LopataPanee LowMelvyn MadiganMs Jolanta MasojadaMr Guido MayerLouise MillerPatricia MillerKenneth Newton MitchellMrs Judith MortonMr Graham NorthMr Sead NurkicDr A J PalmerDr Kevin PedemontDr Natalie E PelhamDr John PittJohn Porter & Annie

Wesley-SmithMrs Greeba PritchardThe Hon. Dr Rodney Purvis AM &

Mrs Marian PurvisMichael QuaileyMiss Julie RadosavljevicRenaissance Tours

VANGUARD COLLECTIVEJustin Di Lollo ChairBelinda BentleyOscar McMahonTaine Moufarrige

Founding PatronShefali PryorSeamus R Quick

Founding PatronChris Robertson & Katherine

Shaw Founding Patrons

MEMBERSClare Ainsworth-HershallJames ArmstrongPhilip AtkinLuan AtkinsonJoan BallantineAndrew Batt-RawdenJames BaudzusAndrew BaxterAdam BeaupeurtAnthony BeresfordAndrew BotrosPeter BraithwaiteAndrea BrownAttila BrungsIan BurtonJennifer BurtonPaul ColganClaire CooperBridget CormackRobbie CranfieldAsha CugatiJuliet CurtinDavid CutcliffeEste Darin-CooperRosalind De SaillyPaul DeschampsCatherine DonnellyJennifer DrysdaleJohn-Paul DrysdaleNaomi FlutterAlistair FurnivalAlexandra GibsonSam GiddingsMarina GoJeremy GoffHilary GoodsonTony GriersonLouise HaggertyRose HercegPeter Howard

Jennifer HoyKatie HryceVirginia JudgeJonathan KennedyAernout KerbertPatrick KokJohn Lam-Po-TangTristan LandersJessye LinGary LinnaneDavid LoSaskia LoGabriel LopataRobert McGroryDavid McKeanJulia NewbouldNick NichlesKate O’ReillyPeter O’SullivanJune PickupRoger PickupCleo PosaStephanie PriceMichael RadovnikovicSudeep RaoBenjamin RobinsonAlvaro Rodas FernandezAdam SadlerAnthony Michael SchembriBenjamin SchwartzCecilia StornioloRandal TameSandra TangIan TaylorMichael TidballMichael TuffyKim WaldockJon WilkieYvonne ZammitAmy Zhou

SSO Vanguard

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

Janelle RostronMrs Christine Rowell-MillerMrs Louise RowstonJorie Ryan for Meredith RyanMr Kenneth RyanGarry Scarf & Morgie BlaxillPeter & Virginia ShawJudge David S ShillingtonMrs Diane Shteinman AM

Victoria SmythDoug & Judy SotherenColin SpencerJames & Alice SpigelmanFred & May SteinAshley & Aveen StephensonMargaret & William SuthersMargaret SwansonDr Jenepher ThomasMrs Caroline ThompsonMrs June ThorntonPeter & Jane ThorntonMs Rhonda TingAlma TooheyMrs M TurkingtonGillian Turner & Rob BishopRoss TzannesMr Robert VeelRonald WalledgeIn memory of Denis WallisIn memoriam JBL WattMiss Roslyn WheelerThe Wilkinson FamilyEdward & Yvonne WillsYetty WindtMr Evan WongMrs Robin YabsleyAnonymous (34)

SSO Patrons pages correct as of 27 February 2015

n n n n n n n n n n

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_April_#16+.indd 1 22/04/15 1:14 PM