2 012 S E A S O N

Russian Passions

Wed 15 August 6.30pmThu 16 August 6.30pm

Meet the Music

Rachmaninoff and Tchaikovsky

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INTRODUCTION

Russian Passions

The Meet the Music series is normally characterised by eclecticism, so it’s unusual to have a program with as strong and clear-cut a thematic thread as this one.

We’ve called it ‘Russian Passions’ and in Thomas Sanderling we welcome a conductor who grew up in St Petersburg with the Russian symphonic sound in his ears. That accounts for three of the four works: Liadov’s gorgeously sinister Kikimora, a fairy tale miniature; Tchaikovsky’s portrait of illicit love, Francesca da Rimini; and Rachmaninoff ’s most popular piano concerto.

Playing the concerto is a Ukrainian-born pianist with an Australian passport in his pocket and fond memories of life in Sydney. Alexander Gavrylyuk brings ‘blow-your-socks-off virtuosity’, as his playing has been described in Gramophone.

The fourth work in our program tonight is by Peter Sculthorpe, the ‘odd man out’ as he laughingly described himself recently. Thomas Sanderling has chosen his ecstatic Sun Song to represent Australian music in this program. And perhaps it’s not as out of place as you might think. Just as the Russian composers cultivated a distinctly Russian sound and sensibility, so Sculthorpe has, more than anyone, shaped an Australian sound for classical music.

The Lovers’ Whirlwind, Francesca da Rimini and Paolo Malatesta. (Sketch in ink and watercolour by William Blake, 1757–1827.)

In the Inferno, the poet Dante hears the tragic tale of Francesca and her lover, doomed to the whirlwind of the second circle of hell. Her agonies move him to weeping and, he writes, ‘I swooned away as if I had been dying, And fell, even as a dead body falls.’

PRESENTING PARTNER

2012 season meet the musicpresented by ausgridWednesday 15 August, 6.30pmThursday 16 August, 6.30pmSydney Opera House Concert Hall

Russian PassionsThomas Sanderling CONDUCTOR Alexander Gavrylyuk PIANO

Anatol Liadov (1855–1914)Kikimora, Op.63

Sergei Rachmaninoff (1873–1943)Piano Concerto No.2 in C minor, Op.18

ModeratoAdagio sostenutoAllegro scherzando

INTERVAL

Peter Sculthorpe (born 1929)Sun Song, for orchestra (1984)

Pyotr Ilyich Tchaikovsky (1840–1893)Francesca da Rimini – Symphonic fantasia after Dante

This concert will be introduced by Andrew Ford, award-winning composer, writer and broadcaster, and presenter of The Music Show on ABC Radio National.

Thursday’s performance will be recorded for later broadcast by ABC Classic FM.

Pre-concert talk by Scott Davie in conversation with Peter Sculthorpe at 5.45pm in the Northern Foyer. Visit bit.ly/SSOspeakerbios for speaker biographies.

Approximate durations: 8 minutes, 35 minutes, 20-minute interval, 5 minutes, 25 minutesThe concert will conclude at approximately 8.30pm.

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ABOUT THE MUSIC

ANATOL LIADOVRussian composer(1855–1914)

KikimoraKikimora is a musical miniature based on a fairy tale:

Kikimora is brought up by a sorcerer in the stony mountains. In her youth she is beguiled, from early morn to late at night, by the tales of foreign lands told by the sorcerer’s Magic Cat. From night to dawn Kikimora is rocked in a crystal cradle. In seven years Kikimora grows up. Thin and dark, her head is as small as a thimble, and her body like a straw. She knocks and rattles from morning to evening, and whistles and hisses from evening to midnight. Then she sits till daylight at a spinning wheel, winding yarn and snipping silk at the loom. And in her mind she spins up evil against all mankind…The musical story telling begins with deep, ominous chords,

followed by a cor anglais solo (the Magic Cat’s lullaby). In the following section, the Cat’s tales are punctuated by gurgles and shrieks from the high woodwind, while the bass clarinet utters mysterious pronouncements. Kikimora suddenly appears in full-grown form and the brass and xylophone come to the fore. As she takes leave of us, this malevolent sprite contemplates her wicked ways in a mood of cackling mischievousness.

Kikimora calls for an orchestra of two fl utes, piccolo, two oboes, cor anglais, two clarinets, bass clarinet and two bassoons; four horns and two trumpets but no low brass; timpani and percussion, the bell-like celesta and strings.

If there’s one thing music lovers know about Liadov it’s the story about The Firebird ballet: Diaghilev had commissioned him to write the music, but after months of enquiries as to his progress, Liadov eventually admitted that all he’d done was buy the manuscript paper! The commission was given to Stravinsky and the rest is history. As a result, Liadov has become better known for his laziness than for his enchanting music.

Everything Liadov wrote is short – his most extended work would be about 20 minutes long. He was not necessarily a miniaturist at heart; he had grand musical ambitions, but lacked the energy or will to carry them out. And the music of Kikimora – together with The Enchanted Lake – is the surviving vestige of perhaps the greatest of Liadov’s unfi nished dreams: an opera Zoriushka.

Navigating Kikimora

Liadov’s ‘ingenious indolence’

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SERGEI RACHMANINOFFRussian composer(1873–1943)

Piano Concerto No.2Rachmaninoff ’s Second Piano Concerto is in three movements of roughly equal length following the traditional pattern of fast – slow – fast. It calls for pairs of fl utes, oboes, clarinets and bassoons; four horns, two trumpets, three trombones and tuba; timpani and percussion; and strings.

The fi rst movement (‘moderately’) begins with the piano alone – solemn chords over bell-like bass notes, which build until the notes A fl at, F, G resolve to the home key of C minor. (These three notes are the basis of an important motif that appears throughout the concerto.) At this point the orchestra enters with the expansive main theme of the fi rst movement. By contrast, the second theme (in E fl at major) is given almost exclusively to the soloist.

The development section begins with material based on the A fl at–F–G motif, while a fragment of the second subject in the violins propels the movement to its climax. The recapitulation follows, with the orchestra again stating the main theme while the piano provides a martial-like accompaniment based on material extrapolated from the motif. The opening phrase of the second subject is recalled by the horn, and fragments of the melody are shared between soloist and orchestra. The reverie is soon broken, however, and the movement builds to a fi ery close. Unusually, there is no fi rst-movement cadenza.

The second movement (‘slow, sustained’) is in the ‘warmer’ key of E major. The fi rst subject is played by fl ute, then clarinet, over a simple arpeggiated fi gure in the piano. A faster, playful section leads the movement to a climax, at which point Rachmaninoff fi nally provides a cadenza.

The fi nale (‘fast, playfully’) begins quietly on low strings, before a dramatic keyboard cadenza introduces the principal theme. The lyrical second subject is introduced by the violas. In the development section Rachmaninoff , with youthful exuberance, replaces the expected return of the fi rst subject with a weaving fugue based on its opening notes. A short coda leads to a fi nal restatement of the melody – this time fortissimo and given to the full orchestra – underpinned by massive chords on the piano. In characteristic fashion, the concerto concludes with a spirited dash to the end.

Navigating the concerto

II. Adagio sostenuto

I. Moderato

III. Allegro scherzando

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The composer and the hynoptist

Popular borrowingsThe wistful theme of the second movement was borrowed in the 1970s by Eric Carmen for his song ‘All By Myself ’. And the second subject of the fi nale – perhaps one of Rachmaninoff ’s most famous melodies – turned up in the 1940s song made popular by Frank Sinatra, ‘Full Moon and Empty Arms’.

The well-known story of Rachmaninoff ’s Second Piano Concerto has the young composer – star student of the Moscow Conservatory, favourite of Tchaikovsky and already enjoying considerable success – gutted by the vicious panning of his ambitious First Symphony in 1897. This ordeal supposedly prompted a three-year depression in which he was unable to write until he found relief in a course of hypnotherapy. The treatment gave him the confi dence to write a new concerto.

It’s an attractive tale, but the so-called ‘creative hiatus’ was nonetheless a relatively busy period for him. He took up conducting, developing suffi cient skill to gain him a position at the Bolshoi Theatre. And the fallow period heralded a subtle but signifi cant change in his outlook on composition once he started writing larger works again. From 1900, Rachmaninoff favoured a more conservative style than that of his ill-fated symphony.

Whether due to the hypnotherapy or simply the passage of time, there is no doubting the sense that something was unleashed within the composer in the works that followed. In the Second Concerto and other compositions of the period a new assuredness of style is evident, and there is an almost overwhelming abundance of melody.

These new works were also created quickly: the second and third movements of the concerto were completed within a few months, and a performance of these took place in December 1900 in Moscow. The fi rst complete performance of the new concerto took place in 1901, also in Moscow, with the composer at the piano and his cousin, the noted pianist Alexander Siloti, conducting.

Navigating the music

PETER SCULTHORPE Australian composer(born 1929)

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Sun Song (1984)The orchestra version of Sun Song, which could be regarded as an overture, consists of a number of variations on a free-fl owing melody. After a brief introduction, the music adopts

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About the composer

The composer writes…

the tempo that will be maintained throughout, and the musicians are directed to play ‘Estatico’ – ecstatically. The variations are punctuated by episodes based on the kind of syncopated or ‘off -beat’ rhythms that characterise many of Sculthorpe’s ‘ritualistic’ works.

The music calls for a modest orchestra with pairs of fl utes, oboes, clarinets, bassoons, horns, trumpets and trombones, with tuba, two percussionists and strings.

The melodic material of Sun Song stems from the three quick movements of my String Quartet No.10 (1983). Both works were composed at a time when I was committed to writing a clean-cut and extrovert music, the kind of music that Percy Grainger might have defi ned as Australian. In keeping with the desire to write clean-cut music, the variations are accompanied by fi gurations reminiscent of Balinese gamelan music; and the punctuating episodes by the pulsation of conga drums. Both musical ideas are brought together towards the end.

Perhaps no other composer has consciously attempted to make Australian orchestral music so truly Australian as Peter Sculthorpe. His output relates closely to the social and physical climate of Australia and the cultures of the Pacifi c Basin and is infl uenced by the music of Asia as well as by Australian Aboriginal and Torres Strait Island music and culture.

He came to public attention with the String Quartet No.6 (1964), and his reputation was cemented with the Sun Music series for orchestra, with its image of Australia as a sun-baked landscape. Irkanda IV (1961), signalled an interest in Aboriginal culture, and suggested a sense of loneliness and desolation, of the insignifi cant fi gure dwarfed by an overwhelming landscape.

Born in Launceston, he was educated at Melbourne University and Wadham College, Oxford. He is an Emeritus Professor at Sydney University, where he has taught since 1964, and he holds honorary doctorates from Tasmania, Melbourne, Sussex and Griffi th Universities. An Offi cer of both the Order of Australia and the British Empire, in 1998 he was elected an Australian National Living Treasure.www.petersculthorpe.com.au

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Francesca da RiminiTchaikovsky’s Francesca da Rimini was inspired by an episode from Dante’s Inferno, the fi rst part of his epic poem, Divine Comedy. It is a symphonic poem – an extended orchestral composition shaped by its narrative rather than abstract form.

The music begins at the mouth of Hell itself, the gloomy, ominous introduction hinting at dark and nameless terrors. Raging whirlwinds – equally infl uenced by Gustave Doré’s illustrations from his 1861 edition of the Divine Comedy and the storms of Liszt’s Dante Symphony – form the fast outer sections. At the heart of the fantasia Francesca makes her appearance – con amore – to tell her poignant story. ‘I wrote it with love,’ said Tchaikovsky, ‘and I think that the love has come through quite well.’

Francesca da Rimini calls for three fl utes (one doubling piccolo), two oboes, cor anglais, two clarinets and two bassoons; four horns, two trumpets, two cornets, three trombones and tuba; timpani and percussion; harp and strings.

In 1876, when Francesca da Rimini was composed, Tchaikovsky was in a kind of personal hell. Struggling with his sexuality, the composer had entered into a disastrous, farcical marriage. Francesca da Rimini allowed Tchaikovsky to identify with the tragedy of illicit love and the fantasia’s emotional outpourings are as much about the composer’s agony as his subject’s.

The story of Francesca da Rimini was based on an historical event familiar to Dante’s 14th-century readers.

Francesca’s hand in marriage is sought by a famous but ugly soldier, Gianciotto Malatesta. He woos her by proxy through his handsome younger brother, Paolo, and so she is unaware of Gianciotto’s hunched-back and unpleasant nature until the marriage has been solemnised and it is too late. Inevitably, love blossoms between Francesca and Paolo, and they are discovered by Gianciotto, who murders them in a jealous rage. Their souls are sent – together – to the eternal darkness of the second circle of hell, where the lustful are tossed by raging whirlwinds. (As a murderer,

PYOTR ILYICH TCHAIKOVSKYRussian composer(1840–1893)

The Tragedy of Francesca da Rimini

Navigating the symphonic fantasia

Abandon all hope, ye who enter here…

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‘Too much even for hell itself!’

Orchestral genius

Gianciotto would have ended up in the seventh circle of hell – a river of blood.)

The emotional power of the fantasia is in part due to Tchaikovsky’s genius for precision of instrumental eff ect. His musical ideas came to him ready coloured by orchestral timbres, and this is especially evident in the central section of Francesca da Rimini, where the clarinet’s ‘capacity for melancholy introspection’ is put to use in a beautiful drawn-out melody above plucked strings. Elsewhere soft horn fanfares and the conspicuous sweetness of three fl utes in close harmony above a broad cello theme reveal Tchaikovsky’s unerring instinct. In all three sections, agitated syncopations and disruptions to the pulse capture the distraught mood and build dramatic atmosphere.

The Moscow premiere in 1877 was a success and performances in St Petersburg, Paris, Cambridge and New York were greeted enthusiastically. Although there were reservations about the length and the resemblance to Liszt, most of Tchaikovsky’s colleagues praised the music and the audience’s applause went on ‘for ever’.

But in German-speaking countries, reactions to Francesca da Rimini were strongly divided. Hans von Bülow thought it a better work than Romeo and Juliet, but the critic in Berlin described it as having neither subject nor ideas, being only a mass of sounds which seemed to him too much even for hell itself !

The craftsmanship is impeccable, but the expression is extravagant and emotionally unrestrained. This fantasia reveals a composer who was pouring his own emotional whirlwinds into one of the most moving of love stories. If we fi nd the vividness of the experience unbearable, so did he.

SYDNEY SYMPHONY © 2012

Program notes adapted in part from notes by PHILLIP SAMETZ (Liadov), PETER SCULTHORPE and YVONNE FRINDLE (Tchaikovsky).

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Thomas Sanderling CONDUCTOR

Thomas Sanderling grew up in St Petersburg, where his father, Kurt Sanderling, was permanent conductor of the St Petersburg Philharmonic Orchestra. A graduate of the Conservatory there, he then studied conducting in Berlin, and at 24 was appointed Music Director of the Halle Opera. By his mid-20s he was conducting for all the principal orchestras and opera houses in the then East Germany, including the Dresden Staatskapelle, Leipzig Gewandhaus and Komische Oper Berlin.

He has enjoyed a close relationship with Shostakovich and his family and still works in close collaboration with Irina Shostakovich. He fi rst met Dmitri Shostakovich while making his Moscow debut, conducting the State Orchestra of Russia on the invitation of Evgeny Svetlanov. He subsequently conducted the German premieres of Shostakovich’s 13th and 14th symphonies, and the world premiere recording of the Michelangelo Suite. (It was this recording which led to his becoming assistant to both Herbert von Karajan and Leonard Bernstein.)

In the early 1980s he became permanent guest conductor of the Berlin State Opera, which led to his successful debut at the Vienna State Opera. He has also conducted opera for Deutsche Oper Berlin, Bavarian State Opera, Hamburg State Opera, the Bolshoi and Maryinsky theatres, Royal Theatre Denmark, Finnish National Opera, Opéra de Nice and La Fenice in Venice.

He has conducted many of the leading orchestras throughout Europe and the UK and in North America, including the Moscow Philharmonic, Czech Philharmonic, Leipzig Gewandhaus Orchestra, London Philharmonic, Royal Stockholm Philharmonic, Pittsburgh Symphony Orchestra and Vancouver Symphony. He is also a regular guest conductor of the German radio orchestras.

Recent highlights include the Russian premiere of Bernstein’s Symphony No.3 (Kaddish) with the Russian National Orchestra and a new production of Shostakovich’s Lady Macbeth of Mtsensk with Göteborg Opera. His recordings include Mahler’s Sixth Symphony with the St Petersburg Philharmonic and the Brahms symphonies with the Philharmonia Orchestra.

He is currently principal guest conductor of the Novosibirsk Philharmonic Orchestra and the National Philharmonic Orchestra of Russia, and the Osaka Symphony awarded him the title of Music Director Laureate for his lifetime.

This is Thomas Sanderling’s Sydney Symphony debut.

MUSICIANS

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Alexander Gavrylyuk PIANO

Alexander Gavrylyuk began studying piano at the age of seven and gave his fi rst concerto performance when he was nine. He received second prize in his group at the 1997 Horowitz International Competition for Young Pianists, and when he returned to the competition two years later he won fi rst prize and a gold medal. He subsequently won fi rst prize in the 2000 Hamamatsu International Piano Competition in Japan, and he has since returned regularly to Japan, performing in some of the major concert venues. More recently he won fi rst prize, gold medal and the award for Best Performance of a Classical Concerto at the 2005 Arthur Rubinstein International Piano Master Competition.

From 1998 to 2006 he lived in Sydney, and his Australian concert activities have included recitals at the Sydney Opera House and City Recital Hall Angel Place as well as performances with the Melbourne, Tasmanian and West Australian symphony orchestras. In 2003 he became a Steinway Artist, and in 2007 he made his solo recital debut at the Great Hall of the Moscow Conservatorium. He has also performed in recital at the Kremlin.

In 2010 he made debut appearances at the Vienna Musikverein and with the Royal Concertgebouw Orchestra, New York Philharmonic and Los Angeles Philharmonic at the Hollywood Bowl. He also recorded the Chopin concertos at the Royal Wawel Castle in Poland. Last year, he toured Japan, giving recitals and appearing as a concerto soloist with the NHK Orchestra and Vladimir Ashkenazy. Other highlights included a return to the LA Philharmonic, concerts with the Royal Scottish National Orchestra, a solo tour of Russia and an appearance in the Master Pianist Series at the Amsterdam Concertgebouw.

As a concerto soloist he has performed with many leading orchestras, including the Russian National Orchestra, Israel Philharmonic Orchestra, Rotterdam Philharmonic Orchestra, Tokyo Symphony Orchestra, Warsaw Philharmonic Orchestra and Netherlands Philharmonic Orchestra. He has worked with conductors such as Vladimir Ashkenazy, Herbert Blomstedt, Oleg Caetani, Vladimir Fedoseyev, Alexander Lazarev, Sebastian Lang-Lessing, Vasily Petrenko, Mikhail Pletnev, Stefan Sanderling and Leif Segerstam.

Alexander Gavrylyuk made his Sydney Symphony debut in the 2009 Prokofi ev festival conducted by Vladimir Ashkenazy, and also recorded the complete Prokofi ev concertos with the orchestra.

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MUSICIANS

FIRST VIOLINS

Sun Yi Associate Concertmaster

Kirsten Williams Associate Concertmaster

Fiona Ziegler Assistant Concertmaster

Julie BattyJennifer BoothMarianne BroadfootBrielle ClapsonAmber DavisJennifer HoyNicola LewisAlexander NortonClaire Herrick°Freya Franzen*Elizabeth Jones*Dene Olding Concertmaster

Sophie ColeLéone Ziegler

SECOND VIOLINS

Sophie Rowell*Emily Long A/Assistant Principal

Susan Dobbie Principal Emeritus

Maria DurekEmma HayesShuti HuangStan W KornelBenjamin LiNicole MastersBiyana RozenblitMaja VerunicaAlexandra D’Elia°Marina Marsden Kirsty Hilton Emma West Assistant Principal

Philippa Paige

VIOLAS

Roger Benedict Anne-Louise Comerford Robyn BrookfieldJane HazelwoodGraham HenningsJustine MarsdenLeonid VolovelskyElla Brinch*Tara Houghton°Neil Thompson†

Justin Williams*Tobias Breider Sandro CostantinoStuart JohnsonFelicity Tsai

CELLOS

Catherine Hewgill Karolina Ohman*Timothy NankervisChristopher PidcockAdrian WallisDavid WickhamMee Na Lojewski*Rowena Macneish°Leah Lynn Assistant Principal

Kristy ConrauFenella GillElizabeth Neville

DOUBLE BASSES

Alex Henery David CampbellRichard LynnDavid MurrayBenjamin WardHugh Kluger*Kees Boersma Steven LarsonNeil Brawley Principal Emeritus

FLUTES

Emma Sholl Kate Lawson*Rosamund Plummer Principal Piccolo

Janet Webb Carolyn Harris

OBOES

Shefali Pryor David PappAlexandre Oguey Principal Cor Anglais

Diana Doherty

CLARINETS

Francesco Celata Christopher TingayCraig Wernicke Principal Bass Clarinet

Lawrence Dobell

BASSOONS

Matthew Wilkie Nicole Tait °Fiona McNamaraNoriko Shimada Principal Contrabassoon

HORNS

Ben Jacks Geoffrey O’Reilly Principal 3rd

Marnie SebireEuan HarveyJenny McLeod-Sneyd°Robert Johnson

TRUMPETS

David Elton Paul Goodchild John FosterAnthony Heinrichs

TROMBONES

Scott Kinmont Nick ByrneChristopher Harris Principal Bass Trombone

Ronald Prussing

TUBA

Steve Rossé

TIMPANI

Richard Miller

PERCUSSION

Rebecca Lagos Colin PiperMark Robinson

HARP

Louise Johnson

CELESTA

Josephine Allan*

Bold = PrincipalItalics = Associate Principal* = Guest Musician° = Contract Musician† = Sydney Symphony FellowGrey = Permanent member of the Sydney Symphony not appearing in this concert

To see photographs of the full roster of permanent musicians and find out more about the orchestra, visit our website: www.sydneysymphony.com/SSO_musiciansIf you don’t have access to the internet, ask one of our customer service representatives for a copy of our Musicians flyer.

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

Vladimir AshkenazyPrincipal Conductor and Artistic Advisor supported by Emirates

Dene OldingConcertmaster

Jessica CottisAssistant Conductor supported by Premier Partner Credit Suisse

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SYDNEY SYMPHONYVladimir Ashkenazy, Principal Conductor and Artistic AdvisorPATRON Her Excellency Professor Marie Bashir AC CVO

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

Resident at the iconic Sydney Opera House, where it gives more than 100 performances each year, the Sydney Symphony also performs in venues throughout Sydney and regional New South Wales. International tours to Europe, Asia and the USA have earned the orchestra worldwide recognition for artistic excellence, most recently in the 2011 tour of Japan and Korea.

The Sydney Symphony’s fi rst Chief Conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Zdenek Mácal, Stuart Challender, Edo de Waart and Gianluigi Gelmetti. David Robertson will take up the post of Chief Conductor in 2014. The orchestra’s history also boasts collaborations with legendary fi gures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.

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

Other releases on the Sydney Symphony Live label, established in 2006, include performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras and Vladimir Ashkenazy. The orchestra has recently completed recording the Mahler symphonies, and has also released recordings with Ashkenazy of Rachmaninoff and Elgar orchestral works on the Exton/Triton labels, as well as numerous recordings on the ABC Classics label.

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

Sydney Symphony BoardJohn C Conde ao ChairmanTerrey Arcus amEwen CrouchRoss Grant

Jennifer HoyRory JeffesAndrew KaldorIrene Lee

David LivingstoneGoetz RichterDavid Smithers am

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The Sebel Pier One Sydney is proud to be the premier accommodation sponsor for the

Sydney Symphony

Our dedication to your comfort, enjoyment and service is echoed in the international standard of the Sydney Symphony and their incredible passion for excellence. Nestled on the water, at the foot of the Sydney Harbour Bridge, The Sebel Pier One Sydney offers amazing views over Sydney Harbour.

We are pleased to offer you 10% off your next stay with us. Our beautiful fully renovated rooms are a stunning mix of historic charm and contemporary chic. So book today and enjoy our Deluxe hotel with million dollar views. Call 1800 780 485 and book yourself a beautiful Waterside King room. Mention “Symphony” and you’ll receive 10% off our best available rate. Or simply visit www.sebelpierone.com.au and enter the promotional code “Symphony”.

The Sebel Pier One Sydney, The Sydney Symphony

and you: let’s make beautiful music together.

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SYDNEY SYMPHONY PATRONS

Sydney Symphony Leadership EnsembleDavid Livingstone, CEO, Credit Suisse, AustraliaAlan Fang, Chairman, Tianda GroupTony Grierson, Braithwaite Steiner PrettyInsurance Australia Grou pMacquarie Group FoundationJohn Morschel, Chairman, ANZ

Andrew Kaldor, Chairman, Pelikan ArtlineLynn Kraus, Sydney Office Managing Partner, Ernst & YoungShell Australia Pty LtdJames Stevens, CEO, Roses OnlyStephen Johns, Chairman, Leighton Holdings,

and Michele Johns

Maestro’s CirclePeter Weiss am – Founding President & Doris WeissJohn C Conde ao – ChairmanGeoff Ainsworth am & Vicki Ainsworth Tom Breen & Rachael KohnIn memory of Hetty & Egon GordonAndrew Kaldor & Renata Kaldor aoRoslyn Packer ao

Penelope Seidler amMr Fred Street am & Mrs Dorothy StreetWestfield GroupBrian & Rosemary WhiteRay Wilson oam in memory of the late James Agapitos oam

01 Roger Benedict Principal Viola Kim Williams am & Catherine Dovey Chair

02 Lawrence Dobell Principal Clarinet Anne Arcus & Terrey Arcus am Chair

03 Diana Doherty Principal Oboe Andrew Kaldor & Renata Kaldor ao Chair

04 Richard Gill oam Artistic Director Education Sandra & Paul Salteri Chair

05 Jane Hazelwood Viola Veolia Environmental Services Chair

06 Catherine Hewgill Principal Cello The Hon. Justice AJ & Mrs Fran Meagher Chair

07 Robert Johnson Principal Horn James & Leonie Furber Chair

08 Elizabeth Neville Cello Ruth & Bob Magid Chair

09 Colin Piper Percussion Justice Jane Mathews ao Chair

10 Shefali Pryor Associate Principal Oboe Rose Herceg Chair

11 Emma Sholl Associate Principal Flute Robert & Janet Constable Chair

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

Directors’ Chairs

01 02 03 04 05 06

07 08 09 10 11

Andrea Brown Ian BurtonJennifer BurtonRon ChristiansonMichael CookPaul CousinsJustin Di Lollo

Rose GalloDerek Hand Rose HercegDamian KassagbiChris KeherElizabeth Lee

Jonathan PeaseAnna Swan

Sydney Symphony VanguardVanguard CollectiveJustin Di Lollo – ChairKees BoersmaRose Herceg

David McKeanAmelia Morgan-Hunn

MembersNikki AndrewsJames ArmstrongStephen AttfieldAndrew BaxterMar BeltranKees Boersma Peter Braithwaite

Antony Lighten Gary LinnaneDavid McKeanHayden McLeanAmelia Morgan-HunnHugh Munro

Peter OutridgeJonathan Pease Seamus R QuickJacqueline RowlandsBernard RyanJonathan Watkinson

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PLAYING YOUR PART

The Sydney Symphony gratefully acknowledges the music lovers who donate to the orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs. Donations of $50 and above are acknowledged on our website at www.sydneysymphony.com/patrons

Platinum Patrons $20,000+Brian AbelGeoff Ainsworth am & Vicki AinsworthRobert Albert ao & Elizabeth AlbertTerrey Arcus am & Anne ArcusTom Breen & Rachael KohnSandra & Neil BurnsMr John C Conde aoRobert & Janet ConstableJames & Leonie FurberDr Bruno & Mrs Rhonda Giuff reIn memory of Hetty & Egon GordonMs Rose HercegMr Andrew Kaldor & Mrs Renata Kaldor aoD & I KallinikosJames N Kirby FoundationMrs Joan MacKenzieJustice Jane Mathews aoMrs Roslyn Packer aoDr John Roarty oam in memory of Mrs June RoartyPaul & Sandra SalteriMrs Penelope Seidler amMrs W SteningMr Fred Street am & Mrs Dorothy StreetMr Peter Weiss am & Mrs Doris WeissWestfi eld GroupMr Brian & Mrs Rosemary WhiteRay Wilson oam in memory of James Agapitos oamKim Williams am & Catherine DoveyJune & Alan Woods Family Bequest

Gold Patrons$10,000–$19,999Mr C R AdamsonStephen J BellAlan & Christine BishopIan & Jennifer BurtonCopyright Agency Limited The Hon. Ashley Dawson-DamerFerris Family FoundationMr Ross GrantThe Estate of the late Ida GuggerHelen Lynch am & Helen BauerRuth & Bob MagidThe Hon. Justice AJ Meagher & Mrs Fran MeagherMrs T Merewether oamMr B G O’ConorMrs Joyce Sproat & Mrs Janet CookeHenry & Ruth WeinbergAnonymous (2)

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Centre-front is the greatest seat in the house.

sound of the string section for a more unified approach.’

You might have noticed Dene playing within the ranks of the First Violin section in some concerts recently. ‘I’m happy to say that so far I haven’t been demoted! That was my choice. It’s been useful and instructive to remind myself what it’s like to sit in the back.’ And a delight-ful reminder of the honour and privilege of his usual chair. ‘Centre-front is the greatest seat in the house. I feel sorry that the rest of the orchestra and public can’t sit where I’m sitting, where you really get the full impact!’

So how does Dene unwind? With martial arts, no less. ‘I was a relative latecomer to Aikido, but it seemed to be tailor-made.’ The name ‘Aikido’ translates to ‘the way of the harmonious spirit’. ‘With my profession, I’m not out there trying to break bricks. Aikido is about harmonising with an attack, and then neutral-ising it. As a philosophy, it fits well with music.’ Aikido’s roots in jujitsu and Samurai sword technique also pay unexpected dividends. ‘There are so many similarities in the way you hold the bow – the grip is almost identical!’

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A simple warm-up interview question – ‘How has your day been?’ – draws an unexpected response from Dene Olding, Concertmaster of the Sydney Symphony. ‘I’m sure my tomb-stone will read, “Here lies a busy man”.’

‘Busy’ doesn’t begin to describe Dene’s schedule. He’s just come from the audition of a new member of the cello section, having led the orchestra in the previous week through Richard Strauss’s fabulous but fiendish suite from Le Bourgeois Gentilhomme, and is about to dash off for two weeks at the Australian Festival of Chamber

Music in Townsville, where he will perform in eight concerts with the Goldner String Quartet, a chamber group he co-founded. Phew!

Recently, the Sydney Sym-phony has been in search of a second concertmaster, someone with whom Dene will share the role. ‘It’s very important to have concertmasters with the same musical philosophy about what the orchestra should sound like.’ Any change of leader means a change of gear, ‘but in an ideal world, we should have people with a similar style of leading, and of a similar temperament. Then we can start to develop the

LEADING A BUSY LIFEOur Concertmaster Dene Olding has a non-stop schedule, with only the occasional pause for breath.

ORCHESTRA NEWS | AUGUST–SEPTEMBER 2012

This year has already seen many wonderful musical experiences as part of our 80th anniversary year, and there are many more to come, not least when our artistic leader Vladimir Ashkenazy returns in October for concerts in preparation for our tour of major venues in China. Then in November, he will be back for Tchaikovsky’s opera The Queen of Spades, which we’ll be presenting in concert. This is a personal highlight of our season for me, and something I urge you not to miss.

As I welcome you to this edition of Bravo!, we have just launched our 2013 season. Next year presents an opportunity to celebrate the wonderful musical partnership between the Sydney Symphony and Vladimir Ashkenazy. The programming includes many artists and friends he admires – Pinchas Zukerman, Murray Perahia performing in recital, and Lisa Gasteen, to name but a few. It promises to be an outstanding season for your orchestra and audiences alike and I very much look forward to sharing it with you.

RORY JEFFES

From the Managing Director

Nita Lawrie asked us a great question via Facebook: Why was the orchestra arranged quite differently on stage for the Tchaikovsky? (Absolutely fantastic concert btw.)

Ask a Musician in mind. One practical result is that it gives listeners a kind of stereo effect between the first and second violins, and in some pieces this brings out the question-and-answer gestures in the music, for example the first movement of Brahms’s Fourth Symphony. So it’s not unknown for conductors to request this kind of arrangement for Mozart, Beethoven, Brahms, Mendelssohn and Tchaikovsky, to name a few.

By contrast, the Vaughan Wil-liams Fantasia that began this concert called for a special layout of the strings, dictated by the fact that the orchestra is functioning as three ensembles in one.

For those who weren’t there, in our performance of Tchaikovsky’s Pathétique Symphony, the first and second violin sections sat left and right of the podium, with the cellos and violas in the middle in front of the conductor. (The double basses had moved to the left, behind the cellos.) It’s often called an ‘antiphonal’ arrange-

ment. For some orchestras, it’s their basic configuration.

This layout is requested by our conductors from time to time, depending on the music we’re playing. It was a common arrange-ment for orchestras right into the late 19th century, so there’s a lot of music that would have been composed with this layout

Insider TipsJust in time for our 2013 season launch, ‘Box Office’ Steve shares some of his Top Tips for helping ensure a hassle-free subscription purchase.

requests, it’s important to let us know early and thus improve your chances of securing the seats you want.

give us a clearer idea of where you want to sit. Also, in case your preferred seat isn’t available, offering alternative options is helpful.

don’t have any particular seating preferences, try to avoid calling first thing on Monday morning, when we’re super busy in the box office.

renewal form means a shorter wait before you have your tickets in hand.

trained staff join the box office team, and as we all know, it can take a little while to get into the swing of things. Your patience is truly appreciated!

The US Consul General Niels Marquardt hosted a welcome for David Robertson, who will begin his tenure as Chief Conductor and Artistic Director in 2014. From left: Rory Jeffes, Orli Shaham, David Robertson, John Conde and Niels Marquardt.

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A SEASON IS BORNOur 2013 season has finally launched – 28 conductors, 63 soloists and nearly 120 musical works coming together in 46 different programs…

Artistic FocusDancing Moon GoddessThis October, saxophonist Amy Dickson must become the ‘uni-versal Moon Goddess incarnate’, according to Ross Edwards, who has written his latest concerto for her. Full Moon Dances requires her to effect a series of onstage apotheoses, by adorning herself in a variety of heavenly costumes. Amy, who became close friends with the composer after she was named ABC/Symphony Australia Young Performer of the Year in 2004, said it was ‘a dream come true’ when he offered to write the concerto for her.

Ross Edwards is well-known for his use of special lighting, choreography, costume and other seemingly extra-musical visual accompaniments – all part of his vision to restore the ancient, elemental associations of music with the mysticism, ritual and dance of a primal humanity. Amy worked directly with Ross and his family in the design of the costumes, which include a halo manufactured by Sydney milliner Suzy O’Rourke. She says that with Ross’s conception in mind, and arrayed in her celestial regalia, she finds it very easy to assume the goddess-like role he describes: ‘Serene and mysterious, she nonetheless has the power to unleash ecstasy and terror beyond the bounds of reason.’

Dancing with the SaxophoneVerdi, Edwards and Ravel’s BoleroFri 5 Oct | 8pm Sat 6 Oct | 8pm Mon 8 Oct | 7pm

Full Moon Dances was com-missioned by Andrew Kaldor and Renata Kaldor AO with the support of Symphony Services International.

The Score

On Wednesday 8 August we launched the 2013 season. And in homes across Sydney, excited concert-goers were tearing the wrapping from their season brochures to see what was in store.

The first responses poured in. Explosions of delight as music-lovers spotted favourites. ‘Murray Perahia – boom!’ said one. ‘Woah…Saint-Saëns Organ Symphony! Always good when the SOH organ gets a chance to assert itself,’ wrote another. ‘Tan Dun!! John Adams!! Flying Dutchman!! Verdi Requiem!! Britten’s War Requiem!! Woohoo!!’ More than a few are looking forward to the third instalment of The Lord of the Rings, one of several special events supported by premier partner Credit Suisse.

One fan spotted two of her favourite pieces – ‘Massively happy to be a subscriber!’ – only to follow with ‘Dang, neither of my favourites are in my series.’ Then another fan offered some advice: ‘Why not opt for a Con-noisseur’s Selection and choose your own concerts?’

A local journalist got so excited she slipped into all-caps. ‘ERIC OWENS! PINCHAS ZUKERMAN! JOHN ADAMS! MURRAY PERAHIA! THOMAS ADÈS! WU MAN! KRISTJAN JÄRVI!’ And once she’d calmed down… ‘OK, Schreker and Mozart with Geoffrey Lancaster. That does it for me. So much goodness.’ Yes, a little program buried in the Mozart in the City series, but

promising to be one of the jewels of the season with some scrump-tious music and a truly inspiring soloist.

This is why the season brochure rewards a thorough reading. The warhorses will leap out at you – Carmina Burana, Bruch and Mendelssohn violin concertos, Dvorák’s New World Symphony or Respighi’s Pines of Rome. But then there will be the treats, the rarities and the new creations to look forward to as well. Perhaps that piece you love despite its not being famous has been included in the wider ‘constellation’ of works, as our artistic planner Peter Czornyj calls it.

Threaded through the season are the connecting themes. Perhaps you’ve noticed a lot of Britten and Wagner as well as Verdi’s concert hall masterpiece. There’s a reason: 2013 is an anniversary year for all three. Next year is also the centenary of the notorious premiere of Stravinsky’s Rite of Spring, and we celebrate that with a spellbind-ing program of Stravinsky and Mendelssohn.

Above all, our 2013 program-ming acknowledges the remark-able musical relationship the orchestra enjoys with Principal Conductor Vladimir Ashkenazy. There are concerts featuring some of his favourite composers, and two high-energy programs with Pinchas Zukerman (pictured).

We’ve put our energy into creating a season that offers a wealth of choice and – we sincerely hope – will bring you a year of delight.

You can request a brochure via our website: www.sydneysymphony.com or by calling (02) 8215 4600.

Impatient music-lovers can view the brochure online at: bit.ly/2013OnlineBrochure

Proud sponsor of theSydney Symphonyin their 80th yearof timeless entertainment

Your Saythe Sydney Symphony’s performance [7 July] was quite special. The Adès Violin Concerto was refreshing and approachable, and Tchaikovsky’s Sixth Symphony had all the excitement of a first performance. I have a very good feeling about the Sydney Symphony’s future under the direction of David Robertson. David Potter

Richard Gill taught me music at Marsden High School in 1961/2 and I loved it. He sat down at the beginning of one lesson and played the Moonlight Sonata without any music – wow. He had us close our eyes, listen to classical music and make up our own story according to the music we heard – great. He composed the school anthem. Thank you Richard Gill. Judy Crofton

Touring Focus – China‘The Phoenix China is emerging,’ says ABC Classic FM presenter Damien Beaumont. ‘Industrially and financially, of course, but also culturally, which is most exciting.’ In October, the Sydney Symphony will set course for China, for a six-concert tour conducted by Vladimir Ashkenazy. Our programs will include Shostakovich’s Tenth Symphony, which was completed

after Stalin’s death in 1953, and Dvorák’s Cello Concerto, a showpiece for soloist Jian Wang.

Coinciding with the orchestra’s tour, Damien will be leading a 15-day Renaissance Tour, which will take in several performances at the Beijing Music Festival, visits to Shanghai and Hangzhou, and a trip to the Great Wall of China. He’ll be in the audience

when we perform in the ‘Bird’s Egg’ – the National Centre for the Performing Arts in Beijing. ‘Hearing our beloved Sydney Symphony in an ambassadorial role will be a real highlight.’

For more information about Music Lovers Renaissance Tours, visit bit.ly/RenaissanceToursChina2012

Bruckner’s Symphony No.8 was superbly performed by the SSO and Lothar Koenigs [21 June]. It was very evident that the orchestra and conductor at their first concert together had mutual respect and the result was beautiful, emotional, professional, and simply overwhelming. The brass and horns did an outstanding job with what must be one of the most taxing pieces of music for them, and the strings were relentless, sweeping, sweet, and everything that is beautiful. Congratulations to my favourite orchestra and Lothar Koenigs who must return on a regular basis. Richard Fay

I must confess to a certain bias in favour of Vaughan Williams’ Fantasia. Let’s put it this way…if it could cook, I would marry it. Even allowing for that, I thought

We like to hear from you. Write to yoursay@sydneysymphony.com or Bravo! Reply Paid 4338, Sydney NSW 2001.

Education Focus

Our Fellows recently surprised violinist Anthony Marwood on his birthday, which he had generously given over to leading a masterclass. ‘We played the three opening notes of Beethoven’s Septet,’ said Viola Fellow Neil Thompson, ‘and then launched into “Happy Birthday”. It definitely caught him by surprise!’

Putting laughter aside, the real work started. ‘Anthony immediately focussed on the dramatic aspect of Beethoven’s music.’ The musicians also worked on a Grand Septet by Berwald. ‘At one point Anthony was gesturing for us to bring out its theatrical strains, and it suddenly dawned on me that he hadn’t brought his instrument with him. And yet, he was leading the masterclass so effortlessly without it! It was a really inspiring and nourishing session.’ – with birthday cake at the end to reward hard work, naturally!

We gratefully acknowledge the supporters of the Fellowship program: Kim Williams AM & Catherine Dovey, Robert Albert AO & Elizabeth Albert, June & Alan Woods Family Bequest, Paul & Sandra Salteri, Mrs W Stening, Bruno & Rhonda Giuffre, Tempe Merewether OAM, Neil & Sandra Burns and premier partner Credit Suisse.

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SYDNEY OPERA HOUSE TRUSTMr Kim Williams AM [Chair]Ms Catherine Brenner, The Hon Helen Coonan, Mr Wesley Enoch,Ms Renata Kaldor AO, Mr Robert Leece AM RFD, Mr Peter Mason AM,Dr Thomas Parry AM, Mr Leo Schofi eld AM, Mr John Symond AM

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THANK YOU

We are extremely grateful to the many donors who responded to our recent end-of-financial-year appeal. This support will enable us to achieve our growing educational and orchestral goals and provide you in the audience and many music students throughout NSW with exciting and fulfilling musical experiences. These can range from supporting our more ambitious large-scale productions such as operas in concert to the annual development of student and teacher training resources. And of course, your support is welcome throughout the year. For more details, visit our website or feel free to contact us at philanthropy@sydneysymphony.com or (02) 8215 4625.

WELCOME TO A NEW FACE IN THE ORCHESTRA

We’re delighted to welcome Justin Williams to the position of Assistant Principal Viola. Justin was previously a member of the Melbourne Symphony Orchestra, and is also an active chamber musician and a founding member of the Tinalley String Quartet.

BRASS EXHIBITION

Living brass legend, Australian trombonist Michael Mulcahy, will take time out from his regular ‘gig’ with the Chicago Symphony Orchestra to direct the Sydney Symphony Brass Ensemble for a performance at the Sydney Opera House on Friday 14 September. The Sydney performance will be preceded by a tour to Armidale, Port Macquarie and Grafton at the end of August.

Regional and metropolitan audiences will enjoy the talents of these fabulous musicians in a concert that promenades from the high

Renaissance to high Romanticism and on to music of our own time and place, including music by Elena Kats-Chernin. The program culminates in Elgar Howarth’s spectacular arrangement of Mussorgsky’s Pictures at an Exhibition.

FREE LUNCH…

…time concerts in the city. In August and September you can enjoy two lunchtime performances by our musicians. Entry is by donation.

Wed 29 August, 1.15pm St James’ Church Sydney Symphony Fellows. The program will include Mozart’s Oboe Quartet and Franz Hasenöhrl’s witty chamber version of a Richard Strauss tone poem: Till Eulenspiegel einmal anders! – a frolic for five instruments.

Wed 19 September, 1.15pm St James’ Church Sophie Cole (violin), Rosemary Curtain (viola) and Leah Lynn (cello) The program will include Ravel’s Sonata for violin and cello .

CODA

BRAVO EDITOR Genevieve Lang sydneysymphony.com/bravoBRAVO EDITOR Genevieve Lang sydneysymphony.com/bravo‘SCORE’ CONTRIBUTOR Douglas Rutherford