2 012 S E A S O N

Wed 19 September 8pmFri 21 September 8pm Sat 22 September 8pm

Angela Hewitt plays Mozart

Mystery and Motion

Ausgrid Master Series

PRESENTING PARTNER

2012 seasonausgrid master seriesWednesday 19 September, 8pmFriday 21 September, 8pmSaturday 22 September, 8pm

Sydney Opera House Concert Hall

Mystery and MotionHannu Lintu CONDUCTOR

Angela Hewitt PIANO

Henri Dutilleux (born 1916)Mystère de l’instant (Mystery of the Moment)for 24 strings, cimbalom and percussionAppels (Calls) –Echos –Prismes –Espaces lointains (Distant spaces) – Litanies –Choral –Rumeurs – Soliloques –Métamorphoses (on the name SACHER) –Embrasement (Confl agration)

Wolfgang Amadeus Mozart (1756–1791)Piano Concerto No.20 in D minor, K466AllegroRomanzeRondo (Allegro assai)

INTERVAL

Ludwig van Beethoven (1770–1827)Symphony No.4 in B fl at, Op.60Adagio – Allegro vivaceAdagio Allegretto vivace – Trio (Un poco meno allegro)Allegro ma non troppo

Friday night’s performance will broadcast live across Australia on ABC Classic FM.

Pre-concert talk by Yvonne Frindle at 7.15pm in the Northern Foyer. Visit bit.ly/SSOspeakerbios for speaker biographies.

Estimated durations: 15 minutes, 31 minutes, 20-minute interval, 36 minutesThe concert will conclude at approximately 9.55pm

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Unfi nished portrait of Mozart at the piano, painted around 1789–90 by his brother-in-law Joseph Lange.

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INTRODUCTION

Mystery and MotionIf you were to take a musical snapshot of Beethoven – choose a moment that captures the essence of his style – what would it be? It would probably be orchestral, dramatic, and likely in a moody minor key. The opening of the Fifth Symphony, perhaps? – those four notes so indelibly linked to Beethoven’s name and his wild-haired scowling image.

What about Mozart’s snapshot? This is trickier. Two popular conceptions of Mozart have jostled for primacy over the centuries since his death. One is a ‘classical’ Mozart – charming, cheerful and elegant. The other, older, conception is a ‘romantic’ Mozart – turbulent, passionate and dramatic. This is the Mozart of the Requiem, Don Giovanni, the two symphonies in G minor, and tonight’s piano concerto in D minor. In some ways, Mozart’s D minor concerto is more ‘romantic’ than Beethoven.

Beethoven, on the other hand, is represented in this concert by music quite unlike the angst-ridden, dramatic style we tend to associate with him. The composer Robert Schumann described Beethoven’s Fourth as a ‘slender Greek maiden between two Norse giants’ – the giants being the Eroica Symphony and the Fifth. The symphony is perhaps more compact and sinewy than ‘slight’, but Schumann’s classical imagery nonetheless rings true.

So two works on this program off er ‘snapshots’ of their composers that might seem out of character, or at least the opposite of what you’d expect: a romantic Mozart, a classical Beethoven. But the music of French master Henri Dutilleux is completely true to form – elegantly crafted, intensely felt and steeped in the beauty of instrumental and harmonic sonorities. And the work itself, Mystère de l’instant (or ‘Mystery of the Moment’ as we’ve chosen to translate it), has been conceived as a series of snapshots – fl eeting moments of rare and vivid experience.

Not everything the orchestra does takes place on the Sydney Opera House concert platform – for Sydney Symphony news and profi les of the musicians, turn to Bravo!, a regular feature at the back of the program books, with nine issues a year. If you miss an issue, visit sydneysymphony.com/bravo

COVER IMAGE:An Evening in Ancient Times by Alphonse Osbert (1908)(Musée de la Ville de Paris, Musée du Petit-Palais / Giraudon / The Bridgeman Art Library)

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ABOUT THE MUSIC

Keynotes

DUTILLEUXBorn Angers, France, 1916

Henri Dutilleux is France’s most prominent, and admired, living composer – at 96 truly the grand old man of French music. In the 1930s he studied at the Paris Conservatoire, where his teachers included the composer Büsser. His day jobs included work as a choral director at the Paris Opera and director of music productions for French radio (RTF). He made his international name with Symphony No.1 (1951) and at the age of 47 he resigned from RTF to devote himself to composition. His peers included Jolivet, Milhaud, Poulenc and Auric, but Dutilleux himself has never belonged to a particular movement or group. Instead his style is characterised by craftsmanship and the captivating beauty of his sound world.

MYSTERY OF THE MOMENT

Mystère de l’instant was completed in 1989, a commission for Paul Sacher’s orchestra. The French title suggests the idea of a snapshot (instantané), and the music is organised in ten short movements – some barely 60 seconds long. Dutilleux’s intention is to capture a succession of fleeting sensations and suggest the uniqueness of any given moment in time. For example, the first movement, Calls, evokes the magical effect Dutilleux once experienced as a huge flock of birds approached him.

Henri DutilleuxMystère de l’instant (Mystery of the Moment) for 24 strings, cimbalom and percussionAppels (Calls) –Echos –Prismes –Espaces lointains (Distant spaces) – Litanies –Choral –Rumeurs – Soliloques –Métamorphoses (on the name SACHER) –Embrasement (Confl agration)

If you haven’t yet heard any music by French composer Henri Dutilleux, that may be because he is so fastidious – he has published few works in a long career, but these few put him in the front rank of living composers, still happily with us at age 96! Dutilleux’s music is French in its lucidity, the beauty of its sonority, also perhaps in intending that its intricacies and subtleties should reveal themselves only after it has made a clear and attractive impression on fi rst hearing. Dutilleux’s peers admire him as a musician who belongs to no school, and a craftsman devoted to making beautiful objects.

Henri Dutilleux in 1995

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Born into an artistic family in Angers, Dutilleux studied fi rst in Douai then, from 1933, in Paris. His composition teacher was Henri Büsser (orchestrator of Debussy’s Petite Suite). After World War II, Dutilleux became director of music productions at French radio, resigning in 1963 to devote himself entirely to composition. His opus 1 (he disowned earlier compositions) is the piano sonata he composed between 1946 and 1948 for Geneviève Joy, the distinguished pianist he married in 1946.

As his English-language biographer Caroline Potter observes, Dutilleux’s mature style was determined by non-French principles of musical organisation, including Bartók’s, and he was drawn to the idea of the large-scale masterpiece. He has composed two symphonies (1951 and 1959). The second of these was commissioned by the Koussevitzky Foundation for the Boston Symphony Orchestra. Orchestral works dominate Dutilleux’s small output, most of them written for non-French orchestras and performers. They include Métaboles of 1962–65 (which the Sydney Symphony will perform in 2013), the cello concerto Tout un monde lointain… (1968–70, for Rostropovich) and the violin concerto L’arbre des songes (1985, for Isaac Stern).

History and music intertwine in this fi rst Sydney performance of Mystère de l’instant. In 1974 the Collegium Musicum Zurich came to the Adelaide Festival and also performed in the Sydney Conservatorium’s Verbrugghen Hall. The conductor was Paul Sacher. Here was the man who commissioned Bartók’s Music for Strings, Percussion and Celesta, Stravinsky’s Concerto in D, and Richard Strauss’s Metamorphosen – among many other signifi cant works, notably by Swiss composers such as Frank Martin and Arthur Honegger. Dutilleux’s Mystère de l’instant is also a Sacher commission. It was still in the future, when the Zurich orchestra came to Australia – they gave the premiere on 22 October 1989 in Zurich’s Tonhalle (Sacher died in 1999, aged 93).

The instrumentation is a reminder that Sacher’s were string orchestras, sometimes joined, as in the Bartók commission, by keyboards and percussion. Dutilleux’s piece is for strings, percussion and cimbalom, a kind of hammered dulcimer found in Hungary and surrounding regions.

The key word in Dutilleux’s title is ‘instant’. The word refers to a given moment in time, and also suggests the French word for snapshots, ‘instantanés’. Dutilleux wanted the title to acknowledge his departure, in this piece for Sacher, from the main tendency of his previous music.

The title refers to a given moment in time, and also suggests the French word for snapshots, instantanés.

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This had been the principle of variation, each section of the music referring both to what preceded and what followed it. The opposite is true of the ten sections of Mystère de l’instant, a succession of moments or snapshots.

The ‘mystery’ is how an artisan’s work (‘daily if possible’, says the composer) can lead him to such results. Dutilleux insists he is neither an impressionist nor a composer of program music. His poetic titles point to the outcome of the creative process.

The composer gives a clue to Mystère… in an experience one summer evening near the confl uence of the Loire and the Vienne (not far from Dutilleux’s birthplace, Angers). In what little daylight remained, he saw and heard a fl ock of a hundred birds coming closer and closer. Each one had its own timbre, and also a rhythm that was totally unorganised. ‘This was what made it so captivating, and this lack of organisation attracted me. Since then I’ve never heard the phenomenon again.’ Dutilleux fi nds in music an enchantment, an affi nity with ritual, and something ‘almost sacred’, involving a large part of magic or of mystery.

Dutilleux’s bird moment may be recaptured in the opening ‘instant’, with the strings divided into 24 solo parts. As the movement ends, the percussion and cimbalom provide a new sonority, and a kind of punctuation. Most of the titles help defi ne the music of each snapshot. As the work moves towards a climax, individual strings emerge as soloists in ‘soliloquies’. Then tribute is paid to the dedicatee, Paul Sacher, with ‘metamorphoses’ of the theme formed in musical notes by the letters of his name: E fl at or es (S), A, C, B (H), E, re (R). These notes are fi rst stated on the kettle drums. As a student, Dutilleux played percussion in an orchestra, and in 1976 he contributed a solo cello piece, Three Strophes on the name Sacher, to Mstislav Rostropovich’s celebration of the conductor’s 70th birthday. The ‘metamorphoses’ may refer to another of Sacher’s famous commissions – Dutilleux’s piece is full of such subtle allusions, yet the music is utterly distinctive and personal.

DAVID GARRETT © 2012

In April, students of the Australian National Academy of Music, directed by Dale Bartrop, gave the Australian premiere of Mystère de l’instant. This is the first performance by an Australian symphony orchestra.

The Cimbalom

The cimbalom is a concert version of the Hungarian hammered dulcimer used in gypsy and folk ensembles. The sound is made by hammers (‘beaters’) striking tuned metal strings stretched across the top of a large resonator. The cimbalom was an exotic folk instrument until 20th-century composers began to include it in their works. Stravinsky became fascinated by the twangy, jangly sound of the cimbalom in 1915, when he heard a Hungarian playing in a Geneva nightclub (the same player appeared in Paul Sacher’s concerts, playing Stravinsky, in the 1930s).

For a long period in Sydney important pieces such as Stravinsky’s Renard, and Kodaly’s Háry János could only be performed with substitute instruments – the orchestra did not own an instrument, nor was there a local player trained to play cimbalom in orchestral music. The dissatisfaction of Chief Conductor Stuart Challender with one of these makeshifts led in 1991 to Rebecca Lagos receiving a grant from the Friends of the SSO to study the cimbalom with one of the world’s leading specialists. A suitable instrument turned up for sale in Australia, and for years Rebecca Lagos has been called on by orchestras and ensembles all over the country when cimbalom is required.

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Keynotes

MOZARTBorn Salzburg, 1756Died Vienna, 1791

At the time of composing his D minor piano concerto, Mozart, recently turned 29, was approaching the height of his popularity and success in Vienna, establishing himself as the best keyboard player in town. Central to his reputation were self-promoted subscription concerts, which showed him as both composer and performer before the widest possible audience. The D minor concerto was premiered by the composer at one of these on 11 February 1785, just one day after Mozart had entered it into his catalogue – the copyist was still writing out the orchestral parts as the audience was arriving!

PIANO CONCERTO K466

The D minor concerto is the first of just two that Mozart composed in a minor key. The mood is already unsettled at the outset, with the panting, off-beat pulsations of the upper strings and the harmonically unstable sweeping motions of the lower strings beneath them. When the piano enters, it does so with a gentle, despairing melody that it never shares with the rest of the orchestra. The slow movement too, despite its famously beautiful main theme, is torn apart by a turbulent middle section. At the end of the concerto, Mozart seems to stick out his tongue with an abrupt, happy ending in D major.

Wolfgang Amadeus MozartPiano Concerto No.20 in D minor, K466AllegroRomanzeRondo (Allegro assai)

Angela Hewitt pianocadenzas by Paul Badura-Skoda and Jean-Paul Sévilla

Of all Mozart’s piano concertos there is one that has long been counted as more artful, more delightful – more popular in other words – than its fellow masterpieces. In our own time, the D minor concerto (K466) dominates the concert hall and especially the recording studio.

The fondness of musicians and audiences for the Piano Concerto in D minor is an old one. When we declare a liking for its drama and passion we’re in good company: Beethoven, Mendelssohn and Brahms, just to begin. And this is the only Mozart concerto that has never slipped in popularity. Beethoven played it in a 1795 concert to benefi t the composer’s widow, and in the years that followed the concerto was revered alongside Don Giovanni and the Requiem – dark, brooding passions and turbulent musical gestures being the key to the 19th-century imagination.

The D minor concerto represented a profoundly romantic conception of Mozart, a Mozart who found his ‘native soil’ in ‘the realm of grandeur, of turmoil…whose everlasting tempests and earthquakes must needs have sealed his early doom’. The major key concertos did not fi t this ‘romantic stylisation’ of the composer, and they languished in the early years of the 19th century.

Around the 1830s, perceptions shifted and Mozart became the epitome of rococo charm and a nostalgic classicism. Schumann could listen to the stormy G minor symphony (K550), for example, and hear nothing but ‘cheerfulness, placidity, grace – hallmarks of the art of Antiquity’! Although the D minor concerto was never supplanted, concertos such as the exuberant ‘Coronation’ (K537 in D) became enormously popular, and by the 1860s the Concerto in A (K488) was in the repertoire of the young Johannes Brahms.

As modern listeners, we’re inclined to side with the Romantics and admire the D minor concerto for its subjective eff ect on us. The key of D minor evokes the world of Don Giovanni (completed two years later in 1787), and suggests an emotional theme of vengeance, death and the demonic. The concerto itself is a theatrical experience, and its drama is found not only in its aff ective gestures – the turbulence, the passion – but in its intrinsic musical

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contrasts. But while we notice the drama and tension in the D minor concerto, what Mozart’s father Leopold considered remarkable was its artfulness, its delightful construction and its exceptional diffi culty.

The Allegro fi rst movement of the D minor concerto rivals the ‘little G minor’ symphony (No.25) in its atmosphere. From the outset, throbbing syncopations are undercut by a menacing ‘slide’ fi gure in the basses; the winds steal in individually; and ‘lightning’ strikes. This music is inherently orchestral in character and quite unsuitable for the piano – the stage has been set for a concerto in which the soloist and orchestra stand in contrast. Rather than compete with the dramatic gestures of the opening, the piano enters with its own theme, at once lyrical and pensive, and it is only later that the soloist’s themes are connected with those of the orchestra.

With this concerto Mozart is breaking new ground: it is his fi rst concerto in a minor key and the fi rst of what are sometimes described as his ‘symphonic concertos’. Mozart gives more musical material to the orchestra; he occasionally places the soloist in an accompanying role; and he enriches the sound with trumpets and drums.

In other respects, Mozart is simply being fashionable, not least with his second movement, left without a tempo

February 1785An unrehearsed premiere…

The D minor piano concerto was premiered on 11 February 1785. It was an ‘incomparable’ concert, according to Leopold Mozart, and attended by a ‘vast concourse of people of rank’. The orchestra was excellent – a fortunate thing since the copyist was still writing out the parts for the superb new concerto when Mozart’s family arrived and the composer ‘had not even found time to play through the Rondo because he had to supervise the copying’.

…and a seal of approval

In Vienna but not in attendance at the concert was Joseph Haydn – on that date he was being initiated as an Entered Apprentice in the Freemasons’ Lodge ‘True Concord’. The following evening, however, Haydn joined the Mozart family and some friends for a private performance of the last three of Mozart’s ‘Haydn Quartets’. This was the event that prompted Haydn’s famous commendation to Leopold: ‘I tell you before God, and as an honest man, that your son is the greatest composer I know, either personally or by reputation: he has taste and moreover the greatest possible knowledge of the science of composing.’

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marking but entitled Romanze. This genre was increasingly taking the place of the customary adagio movement, but despite its newness it represented pure nostalgia: archaic in its style, simple in its ideas, poignant and noble in its expression. Mozart’s Romanze is no exception: an innocent rondo in the unexpected but relaxed key of B fl at major. The piano begins unaccompanied, the mood is genteel. But the drama of the theatre intrudes midway, with a violent shift to G minor and a return of the instability of the fi rst movement.

The fi nale is also introduced by the piano alone, and this time it is the soloist who has the ‘symphonic’ gesture: a vigorous opening outlining a chord, suggestive of the ‘Mannheim rocket’ so admired in orchestral music of the time. It is enough to shatter the mood of the Romanze and launch us into one of Mozart’s few minor-key rondos. Reminiscent of the fi rst movement, powerful and typically ‘orchestral’ tutti passages are set against lyrical solo themes, which in turn allude to themes from the Allegro. The movement is full of ambiguities and quirks until the opportunity for a miniature cadenza, or Eingang, returns the music to D major for a Classical conclusion.

ADAPTED FROM A NOTE BY YVONNE FRINDLE © 2004

Mozart’s Piano Concerto in D minor calls for an orchestra of flute with pairs of oboes, bassoons, horns and trumpets; timpani and strings.

The Sydney Symphony first performed the concerto in 1939 with Kathleen Herbert as soloist and Bernard Heinze conducting, and most recently in the 2004 Mozart in the City series with Ian Munro as soloist and Dene Olding directing.

www.sydneysymphony.com/staytuned

In other respects, Mozart is simply being fashionable…

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Keynotes

BEETHOVENBorn Bonn, 1770Died Vienna, 1827

In 1806, around the time he was composing his Fourth Symphony, Beethoven had reconciled himself to his deafness. He was no longer keeping it a secret, but had begun ‘plunging into the whirlpool of society’, as he put it. He also spent much of his time in the country estates of his noble friends, with one of these, Josephine Brunsvik, the most probable recipient of the letter he wrote to his ‘Immortal Beloved’. A fellow composer noted that around this time Beethoven was ‘cheerful to every jest laid, deeply happy, fun-loving, witty, and satirical’.

SYMPHONY NO.4

The Fourth Symphony is often unjustly overlooked as a lighter and less adventurous creation than its neighbours (the groundbreaking Eroica and mighty Fifth). But nothing undermines this reputation more than the opening, which unfurls onto an ominous, mysterious vista, and moves at a slow tread over long, drawn-out dissonances. As in the first movement of the Fifth Symphony, the Fourth’s beautiful, amorous slow movement is propelled by a simple rhythmic gesture, first heard in the second violins. The finale is powered forward by almost constant waves of rapid notes, whose wild joie de vivre is always threatening to spill over into something more dangerous and violent.

Ludwig van BeethovenSymphony No.4 in B flat, Op.60Adagio – Allegro vivaceAdagioAllegro vivace – Trio (Un poco meno allegro)Allegro ma non troppo

The deceptively spontaneous surge of creativity on which Beethoven had realised the mighty Eroica impelled him onward almost immediately into the fi erce energy of a new symphony in C minor. But when in 1806 Count Franz von Oppersdorff commissioned a symphony from him, Beethoven laid aside the two movements he had already completed of the C minor work and produced for the Count an altogether diff erent, less titanic symphony in B fl at major.

Having achieved symphonic strength on a grand scale in the Eroica, Beethoven was striving for an equivalent level of concentrated intensity in the new, more compact C minor work. But the scherzo was giving him problems, and the Oppersdorff commission, which he appears to have executed with uncommon speed, gave him breathing space in which to work them out.

The new symphony, which thus became the Fourth, is also compact and concentrated. Ostensibly sunny in character, its brightness is relative to the shadowy world from which it springs and which occasionally darkens its path. The allegro of the fi rst movement, evolving from the slow introduction (Adagio), bursts forth in brilliance out of the gloom, a realm of mysteriously shifting harmonies, of strangely detached notes and chords. The recapitulation similarly emerges from a dramatically hushed reminiscence of the introduction and a crescendo over menacing drum rolls – procedures which may well have given Beethoven the clue to his problems with the Fifth and inspired the breathtaking link in the later symphony from scherzo into fi nale.

The core of the Fourth, as in the Eroica, is probably the slow movement (Adagio), a spacious rondo of profound poetic qualities. Had Beethoven been given to revealing himself in his music, this serene idyll, based on a gentle rocking pulse, might well be seen as refl ecting his attachment at the time to the young Countess Therese von Brunsvik – one of the more special of the many women in his life. With a passionate outburst in the central section, the music is subjectively ‘romantic’ in the widest sense.

The third movement scherzo – though Beethoven no longer calls it that – brusquely dispels the calm of the Adagio with a vigorous, angular melody, copiously sprinkled with off -beat accents. A refl ective trio section, marked fractionally

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The second movement ‘seems to have been breathed by the archangel Michael when, seized with a fit of melancholy, he contemplated the universe, standing on the threshold of the empyrean.’BERLIOZ

‘A slender Greek maiden between two Norse giants.’SCHUMANN

slower than the main movement, makes not one but two appearances, giving the impression that the second-time scherzo impulsively failed to stop. The scherzo is thus obliged to make an unscheduled third appearance, though now severely condensed. In three short but pregnant bars, as Tovey says, the two horns abruptly ‘blow the whole movement away’.

The fi nale scurries in with carefree abandon. But here, too, gaiety soon gives way to passages of elegant charm and quixotic strokes of angry, minor-key chords. Beethovenian boldness and power underlie the humour of this music as it runs its exhilarating course.

Despite its superfi cial similarity in form and scale with the symphonies of Haydn and Mozart, Beethoven’s Fourth already inhabits a diff erent spiritual world. Robert Schumann surely saw only half the picture when he likened this utterly masculine symphony, in relation to the Eroica and the Fifth, to ‘a slender Greek maiden between two Nordic giants’. More to the point is Sir George Grove’s assessment of how music to this point had gained at Beethoven’s hand, ‘not,’ as he says, ‘in invention, wit or spirit, but in variety of structure, colour and expression’.

ANTHONY CANE © 1978/2011

Beethoven’s Fourth Symphony calls for flute with pairs of oboes, clarinets, bassoons, horns and trumpets; timpani and strings.

The earliest known Sydney Symphony performance of Beethoven’s Fourth was in 1941, conducted by Percy Code. Our most recent performance was in the 2007 Beethoven Festival, conducted by Gianluigi Gelmetti.

Mozart and Beethoven keynotes by Douglas Rutherford.

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MORE MUSIC

DUTILLEUXIf the Dutilleux sound world has captured your imagination, look for his complete orchestral works in a 4-CD set on the Chandos label. Yan Pascal Tortelier conducts the BBC Philharmonic Orchestra, and in addition to Mystère de l’instant the collection includes Métaboles, which the Sydney Symphony will perform in 2013, and The Shadows of Time, performed here in 2002.CHANDOS 9853

MOZART K466There are more than 200 recordings of Mozart’s D minor piano concerto in the current catalogue – it’s by far the most frequently recorded of his concertos. We can only look forward to a recording by Angela Hewitt, but in the meantime, released just this month is Maria-Joao Pires’ recording with Claudio Abbado conducting Orchestra Mozart. The dramatic K466 concerto is paired with the majestic Piano Concerto No.27 in B fl at, K595. DEUTSCHE GRAMMOPHON 479 0075

Among older releases, look for Mitsuko Uchida with Jeff rey Tate and the English Chamber Orchestra in a 2-CD set with concertos No.19 (K459), No.20 (K466). No.21 (K467), No.22 (K482) and No.23 (K488).PHILIPS 468 5402

BEETHOVEN 4We can’t point you to a Hannu Lintu recording of Beethoven, but for another Finnish take on the symphonies, there’s Osmo Vänskä’s complete set, recorded with the Minnesota Orchestra for BIS. BIS 1825/6 (COMPLETE)BIS 1416 (4 AND 5)

HANNU LINTUHannu Lintu’s most recent recording also features tonight’s soloist, Angela Hewitt, in the Schumann Piano Concerto and two other works by Schumann for piano and orchestra. The orchestra is the Deutsches Symphonie-Orchester Berlin.HYPERION 67885

Also released earlier this year was Hannu Lintu’s disc of music by Romanian George Enescu – a sadly neglected composer nowadays, but one worth getting to know. On this release – the fi rst of a planned Enescu cycle with the Tampere Philharmonic Orchestra – you can hear Symphony No.2 and the Chamber Symphony for 12 instruments.ONDINE 1196-2

ANGELA HEWITTIn addition to the Schumann concerto recording mentioned, above, Angela Hewitt’s recent recordings with orchestra include three early Mozart piano concertos (6, 8 and 9, the so-called ‘Jeunehomme’) with the Mantova Chamber Orchestra.HYPERION 67840.

Angela Hewitt has a discography of nearly 50 releases on the Hyperion label – including Bach’s Goldberg Variations, which she performs in Sydney next week. Her repertoire is diverse, ranging from Bach and the French baroque masters, to Beethoven piano sonatas, Mozart concertos and music by Schumann, Chopin, Ravel and Messiaen. They are available for sale on CD and in a variety of high-quality download formats from www.hyperion-records.co.uk

Although Angela Hewitt records almost exclusively for Hyperion, there’s a handful of releases on other labels, including an early recording made for Deutsche Grammophon in 1985: a Bach collection featuring the Italian Concerto (BWV 971) and English Suite No.6 in D minor (BWV 811).ELOQUENCE 4429446

Broadcast DiaryOctober

abc.net.au/classic

Monday 8 October, 7pmdances with saxophoneMiguel Harth-Bedoya conductorAmy Dickson saxophoneVerdi, Edwards, Ravel

Thursday 11 October, 8pmbeauty and turmoilVladimir Ashkenazy conductorJian Wang celloDvorák, ShostakovichFarewell concert before the orchestra departs for ChinaThursday 25 October, 1.05pmharmony from heaven (2010)Matthew Coorey conductorDiana Doherty oboeAlexandre Oguey cor anglaisBeethoven, Lentz, Stravinsky, SibeliusWith introductions by Andrew FordSaturday 27 October, 1pmyoung guns: ayo (2010)Thomas Dausgaard conductorDene Olding violinAustralian Youth OrchestraDebussy, Vine, Nielsen

Fine Music 102.5sydney symphony 2012Tuesday 9 October, 6pm

Musicians, staff and guest artists discuss what’s in store in our forthcoming concerts.

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Webcasts

Selected Sydney Symphony concerts are webcast live on BigPond and Telstra T-box and made available for later viewing On Demand. Our latest webcast:rajaton and the sydney symphony in symphonic abba

Visit: bigpondvideo.com/classical

Sydney Symphony Live

The Sydney Symphony Live label was founded in 2006 and we’ve since released more than a dozen recordings featuring the orchestra in live concert performances with our titled conductors and leading guest artists, including the Mahler Odyssey cycle, begun in 2010. To purchase, visit sydneysymphony.com/shop

Sydney Symphony Online

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Glazunov & ShostakovichAlexander Lazarev conducts a thrilling performance of Shostakovich 9 and Glazunov’s Seasons. SSO 2

Strauss & SchubertGianluigi Gelmetti conducts Schubert’s Unfi nished and R Strauss’s Four Last Songs with Ricarda Merbeth. SSO 200803

Sir Charles MackerrasA 2CD set featuring Sir Charles’s fi nal performances with the orchestra, in October 2007. SSO 200705

Brett DeanBrett Dean performs his own viola concerto, conducted by Simone Young, in this all-Dean release. SSO 200702

RavelGelmetti conducts music by one of his favourite composers: Maurice Ravel. Includes Bolero. SSO 200801

Rare Rachmaninoff Rachmaninoff chamber music with Dene Olding, the Goldner Quartet, soprano Joan Rodgers and Vladimir Ashkenazy at the piano. SSO 200901

MAHLER ODYSSEY ON CDDuring the 2010 and 2011 concert seasons, the Sydney Symphony and Vladimir Ashkenazy set out to perform all the Mahler symphonies, together with some of the song cycles. These concerts were recorded for CD, with nine releases so far and more to come.

Mahler 9 OUT NOW

In March, Mahler’s Ninth, his last completed symphony, was released. SSO 201201

ALSO CURRENTLY AVAILABLE

Mahler 1 & Songs of a WayfarerSSO 201001

Mahler 8 (Symphony of a Thousand)SSO 201002

Mahler 5 SSO 201003

Song of the Earth SSO 201004

Mahler 3 SSO 201101

Mahler 4 SSO 201102

Mahler 6 SSO 201103

Mahler 7 SSO 201104

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Hannu Lintu CONDUCTOR

Hannu Lintu was born in Finland and studied cello and piano at the Sibelius Academy, and then conducting with Jorma Panula. He participated in masterclasses with Myung-Whun Chung at the Accademia Chigiana in Italy, and in 1994 won the Nordic Conducting Competition in Bergen.

Currently Artistic Director and Chief Conductor of the Tampere Philharmonic Orchestra, he was appointed Chief Conductor of the Finnish Radio Symphony Orchestra in 2010. His tenure begins with the 2013–14 season, following a year as the orchestra’s Principal Guest Conductor. He is also Principal Guest Conductor of the RTÉ National Symphony Orchestra in Dublin, and has held artistic director positions with the Helsingborg Symphony and Turku Philharmonic orchestras.

In the 2012–13 season he will conduct the London Philharmonic Orchestra, BBC Scottish Symphony Orchestra, Royal Liverpool Philharmonic Orchestras, Orquesta Sinfónica de Galicia. In America he will conduct the St Louis Symphony, Baltimore Symphony Orchestra, Houston Symphony and Oregon Symphony, and make his debut with the Minnesota Orchestra.

Recent highlights have included engagements in Tokyo, Hong Kong and Seoul, and last season he conducted the complete Beethoven symphonies with the Iceland Symphony Orchestra.

His operatic projects include Tannhäuser with Tampere Opera earlier this year. Regularly appearing with Finnish National Opera, he has conducted several productions, including Parsifal, Carmen, and Aulis Sallinen’s King Lear. He has also worked with Estonian National Opera, recording Tauno Pylkkänen’s Mare and her son, and has conducted at both the Savonlinna Opera Festival and Chicago’s Grant Park Festival, giving a concert performance of Gianni Schicchi.

Hannu Lintu’s recent recordings include Schumann’s complete works for piano and orchestra, featuring soloist Angela Hewitt. He has also recorded works by Enescu and Jouni Kaipainen with the Tampere Philharmonic Orchestra, and music by Schumann, Dietrich, Gernsheim and Volkmann with the Rundfunk-Sinfonieorchester Berlin. His prizes and accolades include a Grammy nomination in 2011 for the Best Opera CD category.

Hannu Lintu made his Sydney Symphony debut in 2007. On this tour he also conducts the Adelaide Symphony Orchestra.

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ABOUT THE ARTISTS

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Goldberg VariationsHear Angela Hewitt perform Bach’s Goldberg Variations on Monday 24 September at City Recital Hall Angel Place at 7pm. sydneysymphony.com

In the Green RoomDownload the International Pianists in Recital program pdf bit.ly/PianoRecitals2012program to read an interview with Angela Hewitt.

Angela Hewitt PIANO

One of the world’s leading pianists, Angela Hewitt regularly appears in recital and in concertos with major orchestras throughout Europe, the Americas and Asia. Her performances and recordings of Bach have drawn particular praise, marking her out as one of the composer’s foremost interpreters of our time.

Born into a musical family, she began her piano studies aged three, performing in public at four and a year later winning her fi rst scholarship. She went on to study with French pianist, Jean-Paul Sévilla, and in 1985 she won the Toronto International Bach Piano Competition.

In the 2012–13 season she will perform Bach’s Art of Fugue over two programs in major venues worldwide, including the Royal Festival Hall and on tour for Musica Viva. This follows ‘Angela Hewitt’s Bach Book’ in 2010, which included premieres of six commissioned works at Wigmore Hall.

Angela Hewitt’s award-winning recordings have garnered praise from around the world, and her ten-year project to record the major keyboard works of Bach has won her a huge following. Her discography also includes Beethoven, Schumann, Messiaen, Ravel, Chopin, Couperin, Rameau and Chabrier. Her most recent release features the Schumann concerto, conducted by Hannu Lintu, while future recording plans include a series of Mozart concertos.

Angela Hewitt was named Artist of the Year at the 2006 Gramophone Awards. She was made an Offi cer of the Order of Canada in 2000, and was awarded an OBE in the Queen’s Birthday Honours in 2006. She lives in London and has homes in Ottawa and Umbria in Italy, where she invites musicians each summer to take part in her Trasimeno Music Festival.

Angela Hewitt made her Australian debut in 1991, replacing Walter Klien at short notice to perform fi ve Mozart piano concertos with orchestras around the country. Since then she has been a regular visitor to Australia, appearing with the Australian Chamber Orchestra and Musica Viva as well as the symphony orchestras. She returned to the Sydney Symphony in 1995, performing Mozart’s Piano Concerto No.22 in E fl at, K482.

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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 NortonLéone ZieglerElizabeth Jones°Claire Herrick°Dene OldingConcertmaster

Sophie Cole

SECOND VIOLINS

Marina MarsdenAlexander ReadMaria DurekShuti HuangBenjamin LiNicole MastersPhilippa PaigeBiyana RozenblitMaja VerunicaAlexandra D’Elia°Emily Qin°Lucy Warren†

Emma West Assistant Principal

Emily LongSusan Dobbie Principal Emeritus

Emma HayesStan W Kornel

VIOLAS

Roger Benedict Tobias Breider Anne-Louise Comerford Sandro CostantinoJane HazelwoodGraham HenningsStuart JohnsonJustine MarsdenLeonid VolovelskyVera Marcu*David Wicks*Justin Williams Assistant Principal

Robyn BrookfieldJacqueline CroninFelicity Tsai

CELLOS

Catherine Hewgill Leah Lynn Assistant Principal

Kristy ConrauFenella GillTimothy NankervisElizabeth NevilleChristopher PidcockAdrian WallisDavid Wickham

DOUBLE BASSES

Kees Boersma Alex Henery Steven LarsonRichard LynnDavid MurrayBenjamin WardNeil Brawley Principal Emeritus

David Campbell

FLUTES

Emma Sholl Janet Webb Carolyn HarrisRosamund PlummerPrincipal Piccolo

OBOES

Diana Doherty David PappShefali Pryor Alexandre Oguey Principal Cor Anglais

CLARINETS

Francesco CelataChristopher TingayLawrence Dobell Craig Wernicke Principal Bass Clarinet

BASSOONS

Matthew Wilkie Fiona McNamaraRoger BrookeNoriko Shimada Principal Contrabassoon

HORNS

Robert Johnson Marnie SebireBen Jacks Geoffrey O’Reilly Principal 3rd

Euan Harvey

TRUMPETS

Paul Goodchild Anthony HeinrichsDavid Elton John Foster

TROMBONES

Ronald Prussing Scott Kinmont Nick ByrneChristopher Harris Principal Bass Trombone

TUBA

Steve Rossé

TIMPANI

Richard Miller

PERCUSSION

Rebecca Lagos Colin PiperMark Robinson

CIMBALOM

Rebecca Lagos

HARP

Louise Johnson

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.

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BEHIND THE SCENES

MANAGING DIRECTOR

Rory JeffesEXECUTIVE TEAM ASSISTANT

Lisa Davies-Galli

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC PLANNING

Peter Czornyj

Artistic AdministrationARTISTIC ADMINISTRATION MANAGER

Elaine ArmstrongARTIST LIAISON MANAGER

Ilmar LeetbergRECORDING ENTERPRISE MANAGER

Philip Powers

Education ProgramsHEAD OF EDUCATION

Kim WaldockEMERGING ARTISTS PROGRAM MANAGER

Mark LawrensonEDUCATION COORDINATOR

Rachel McLarin

LibraryLIBRARIAN

Anna CernikLIBRARY ASSISTANT

Victoria GrantLIBRARY ASSISTANT

Mary-Ann Mead

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA MANAGEMENT

Aernout KerbertORCHESTRA MANAGER

Chris Lewis ORCHESTRA COORDINATOR

Georgia StamatopoulosOPERATIONS MANAGER

Kerry-Anne CookTECHNICAL MANAGER

Derek CouttsPRODUCTION COORDINATOR

Tim DaymanPRODUCTION COORDINATOR

Ian SpenceSTAGE MANAGER

Peter Gahan

SALES AND MARKETING

DIRECTOR OF SALES & MARKETING

Mark J ElliottMARKETING MANAGER, SUBSCRIPTION SALES

Simon Crossley-MeatesA/SENIOR MARKETING MANAGER, SALES

Matthew RiveMARKETING MANAGER, BUSINESS RESOURCES

Katrina RiddleONLINE MARKETING MANAGER

Eve Le Gall

John C Conde ao ChairmanTerrey Arcus amEwen CrouchRoss GrantJennifer HoyRory JeffesAndrew KaldorIrene LeeDavid LivingstoneGoetz Richter

Sydney Symphony Board

Sydney Symphony Council

Sydney Symphony StaffMARKETING & ONLINE COORDINATOR

Kaisa HeinoGRAPHIC DESIGNER

Lucy McCulloughDATA ANALYST

Varsha KarnikMARKETING ASSISTANT

Jonathon Symonds

Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlinMANAGER OF BOX OFFICE OPERATIONS

Tom DowneyCUSTOMER SERVICE REPRESENTATIVES

Steve Clarke – Senior CSRMichael DowlingDerek ReedJohn RobertsonBec Sheedy

COMMUNICATIONS

HEAD OF COMMUNICATIONS & SPONSOR RELATIONS

Yvonne ZammitPUBLIC RELATIONS MANAGER

Katherine StevensonCOMMUNICATIONS COORDINATOR

Janine Harris DIGITAL CONTENT PRODUCER

Ben Draisma

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

DEVELOPMENT

DIRECTOR OF DEVELOPMENT

Caroline SharpenEXTERNAL RELATIONS MANAGER

Stephen AttfieldPHILANTHROPY, PATRONS PROGRAM

Ivana JirasekDEVELOPMENT MANAGER

Amelia Morgan-Hunn

BUSINESS SERVICES

DIRECTOR OF FINANCE

John HornFINANCE MANAGER

Ruth TolentinoACCOUNTANT

Minerva PrescottACCOUNTS ASSISTANT

Emma FerrerPAYROLL OFFICER

Laura Soutter

HUMAN RESOURCES

HEAD OF HUMAN RESOURCES

Michel Hryce

Geoff Ainsworth amAndrew Andersons aoMichael Baume aoChristine BishopIta Buttrose ao obePeter CudlippJohn Curtis amGreg Daniel amJohn Della BoscaAlan FangErin FlahertyDr Stephen FreibergDonald Hazelwood ao obeDr Michael Joel amSimon JohnsonYvonne Kenny amGary LinnaneAmanda LoveHelen Lynch amDavid MaloneyDavid Malouf aoJulie Manfredi-HughesDeborah MarrThe Hon. Justice Jane Mathews aoDanny MayWendy McCarthy aoJane MorschelGreg ParamorDr Timothy Pascoe amProf. Ron Penny aoJerome RowleyPaul SalteriSandra SalteriJuliana SchaefferLeo Schofield amFred Stein oamGabrielle TrainorIvan UngarJohn van OgtropPeter Weiss amMary WhelanRosemary White

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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

Sydney Symphony VanguardVanguard CollectiveJustin Di Lollo – ChairKees BoersmaRose HercegDavid McKeanAmelia Morgan-HunnJonathan Pease

Ron ChristiansonMatthew ClarkGeorge CondousMichael CookPaul CousinsJustin Di LolloRose GalloSam GiddingsDerek HandRose HercegJennifer Hoy

Damian Kassagbi Chris KeherElizabeth LeeAntony Lighten Gary LinnaneDavid McKeanHayden McLeanAmelia Morgan-HunnHugh MunroFiona OslerPeter Outridge

MembersNikki AndrewsJames ArmstrongStephen AttfieldAndrew BaxterMar BeltranKees Boersma Peter BraithwaiteAndrea BrownIan BurtonJennifer BurtonHahn Chau

Archie PaffasJonathan Pease Seamus R QuickMichael ReedeJacqueline RowlandsBernard RyanAdam WandJon WilkieJonathan WatkinsonDarren WoolleyMisha Zelinsky

24 sydney symphony

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 ConstableMichael Crouch ao & Shanny CrouchJames & 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 FoundationNora GoodridgeMr 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)

Silver Patrons $5000–$9,999Doug & Alison BattersbyMr Alexander & Mrs Vera BoyarskyMr Robert BrakspearMr David & Mrs Halina BrettMr Robert & Mrs L Alison Carr Bob & Julie ClampettHoward ConnorsEwen & Catherine CrouchIan Dickson & Reg HollowayColin Draper & Mary Jane BrodribbPenny EdwardsEdward FedermanThe Greatorex Foundation Mrs Jennifer HershonThe Sherry Hogan FoundationMr Rory Jeff esStephen Johns & Michele BenderJudges of the Supreme Court of NSW Mr Ervin KatzThe Estate of the late Patricia LanceMr David LivingstoneTimothy & Eva PascoeWilliam McIlrath Charitable FoundationDavid Maloney & Erin FlahertyRodney Rosenblum am & Sylvia RosenblumManfred & Linda SalamonJF & A van OgtropMichael & Mary Whelan TrustMs Caroline WilkinsonJill WranAnonymous (2)

Bronze Patrons $2,500–$4,999Mr Marc Besen ao & Mrs Eva Besen aoJan BowenM BulmerFirehold Pty LtdStephen Freiberg & Donald CampbellAnthony Gregg & Deanne WhittlestonVic & Katie FrenchWarren GreenMrs Jennifer HershonAnn HobanIn memory of Bernard M H KhawGary LinnaneMatthew McInnesJ A McKernanR & S Maple-BrownGreg & Susan MarieAlan & Joy MartinMora MaxwellJames & Elsie MooreDrs Keith & Eileen Ong

In memory of H St P ScarlettDavid & Isabel SmithersMrs Hedy SwitzerMarliese & Georges TeitlerDr Richard WingateMr & Mrs T & D YimAnonymous (2)

Bronze Patrons $1,000–$2,499Charles & Renee AbramsMrs Antoinette AlbertAndrew Andersons aoMr Henri W Aram oamDr Francis J AugustusRichard and Christine Banks David BarnesMichael Baume ao & Toni BaumeNicole BergerMrs Jan BiberAllan & Julie BlighLenore P BuckleIn memory of RW BurleyEric & Rosemary CampbellThe Hon. Justice JC & Mrs CampbellDr John H CaseyJoan Connery oam & Maxwell Connery oamConstable Estate Vineyards Debby Cramer & Bill CaukillMr John Cunningham SCM & Mrs Margaret CunninghamGreta DavisLisa & Miro DavisMatthew DelaseyMr & Mrs Grant DixonJohn FavaloroMr Ian Fenwicke & Prof. Neville WillsMichael & Gabrielle FieldDr & Mrs C GoldschmidtMr James Graham am & Mrs Helen GrahamAkiko GregoryEdward & Deborah Griffi thJanette HamiltonDorothy Hoddinott aoThe Hon. David Hunt ao qc & Mrs Margaret HuntDr & Mrs Michael HunterMr Peter HutchisonMichael & Anna JoelAnna-Lisa KlettenbergMr Justin LamMr Peter Lazar amAssociate Professor Winston LiauwSydney & Airdrie LloydCarolyn & Peter Lowry oam

sydney symphony 25

Deirdre & Kevin McCannRobert McDougallIan & Pam McGawMacquarie Group FoundationRenee MarkovicA NhanMs Jackie O’BrienMr R A OppenMr Robert OrrellMr & Mrs OrtisMr Andrew C PattersonIn memory of Sandra PaulPiatti Holdings Pty LtdAndy & Deirdre Plummer Robin PotterPottingerErnest & Judith RapeeKenneth R ReedPatricia H Reid Endowment Pty LtdCaroline SharpenDr Agnes E SinclairCatherine StephenJohn & Alix SullivanThe Hon. Brian Sully qcMildred TeitlerJohn E TuckeyMrs M TurkingtonIn memory of Joan & Rupert VallentineDr Alla WaldmanIn memory of Dr Reg WalkerThe Hon. Justice A G WhealyAnn & Brooks Wilson amGeoff Wood & Melissa WaitesMr Robert & Mrs Rosemary WalshMr R R WoodwardIn memory of Lorna WrightDr John YuAnonymous (14)

Bronze Patrons $500–$999Mr Peter J ArmstrongMr & Mrs Garry S AshBarlow Cleaning Pty LtdMrs Margaret BellMinnie BiggsPat & Jenny BurnettMr & Mrs CoatesDr & Mrs Hannes Boshoff Arnaldo BuchThe Hon. Justice JC & Mrs CampbellDr Rebecca Chin

Mrs Sarah ChissickMrs Catherine J ClarkR A & M J ClarkeMrs Joan Connery oamJen CornishMr David CrossElizabeth DonatiThe Dowe FamilyDr Nita & Dr James DurhamMalcolm Ellis & Erin O’NeillMrs Margaret EppsIn memory of Peter EverettMr & Mrs FarrellMr Tom FrancisTony Grierson Vivienne GoldschmidtMr Richard Griffi n amIan R L HarperKen HawkingsMrs A HaywardMr Roger HenningHarry & Meg HerbertMr Joerg HofmannMrs Kimberley HoldenMr Gregory HoskingAlex HoughtonBill & Pam HughesBeauty Point Retirement ResortNiki KallenbergerMrs W G KeighleyMrs Margaret KeoghDr Henry KilhamChris J KitchingMr Aron & Mrs Helen KleinlehrerMr & Mrs Gilles T KrygerSonia LalMr Luigi LampratiDr & Mrs Leo LeaderMargaret LedermanIrene LeeAnita & Chris LevyErna & Gerry Levy amMrs A LohanMrs Panee LowDr David LuisDr Jean MalcolmPhilip & Catherine McClellandMrs Flora MacDonaldMrs Helen MeddingsMrs Toshiko MericP J MillerDavid & Andree Milman

Kenneth N MitchellChris Morgan-HunnMrs Milja MorrisCoff s Airport Security Car ParkDr Mike O’Connor amMr Graham NorthDr A J PalmerJustice George Palmer amDr Kevin PedemontDr Natalie E PelhamLois & Ken RaeRenaissance ToursAnna RoPamela RogersLesley & Andrew RosenbergAgnes RossMrs Pamela SayersGarry Scarf & Morgie BlaxillWilliam SewellMrs Diane Shteinman amMs Stephanie SmeeMs Tatiana SokolovaDoug & Judy SotherenMrs Judith SouthamMargaret SuthersMr Lindsay & Mrs Suzanne StoneNorman & Lydia TaylorDr Heng Tey & Mrs Cilla TeyMrs Alma Toohey & Mr Edward SpicerKevin TroyJudge Robyn TupmanGillian Turner & Rob BishopProf Gordon E WallMrs Margaret WallisRonald WalledgeMr Palmer WangMs Elizabeth WilkinsonAudrey & Michael WilsonA Willmers & R PalDr Richard WingDr Peter Wong & Mrs Emmy K WongMr Robert WoodsMrs Everly WyssMrs Robin YabsleyAnonymous (15)

To find out more about becominga Sydney Symphony Patron, pleasecontact the Philanthropy Officeon (02) 8215 4625 or emailphilanthropy@sydneysymphony.com

26 sydney symphony

SALUTE

PRINCIPAL PARTNER GOVERNMENT PARTNERS

The Sydney Symphony is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body

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

PREMIER PARTNER

Fine Music 102.5

MARKETING PARTNER

GOLD PARTNERS

REGIONAL TOUR PARTNERS

SILVER PARTNERS

executive search

EDUCATION PARTNER MAJOR PARTNERS

COMMUNITY PARTNER PLATINUM PARTNERS

We’re connecting the musical dots for people

‘But then Lawrence [Dobell, Principal Clarinet of the Sydney Symphony] rang to say there was a job coming up, and I had to audition.’

Twenty-two years later, Kees is breaking new ground for Sydney Symphony Vanguard, a member-ship program that takes classical music and fuses it with other genres, all in an intimate setting. It’s an informal and engaging, restless and sometimes irrever-ent approach to music making. ‘Vanguard seeks to find another subset of our audience,’ Kees explains. ‘We’re connecting the musical dots for people. If some-one’s interested, then they can find new ways to engage.’

On the home front, there’s more music in the family – his gorgeous wife Kirsty McCahon is also a bass player. ‘I get my most severe criticism from her, and also the most genuine com-pliments. She understands the lifestyle and the life. If there’s a big concert coming up for either of us, we have an innate under-standing about when not to push the buttons.’ There are draw-backs though. ‘I bought a beauti-ful Italian instrument some years ago, which she decided would be perfect for her, and now I don’t get to touch it!’ *Sigh*

sydneysymphony.com/vanguard

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How did the youngest son of eight children raised in rural South Australia come to be the Principal Double Bass of the Sydney Symphony? As Kees (rhymes with ‘bass’) Boersma jokes, ‘all the trades were taken care of, so I was given pretty free rein in what I wanted to do!’ Music was his preferred holiday activity, and involvement with youth music organisations even-tually led him to the Australian Youth Orchestra. Playing Mahler Six at the Perth Festival was a key moment. ‘You can have one experience like that that completely blows your mind, and makes you want to take the

jump.’ For Kees, the spark had ignited.

After studies, Kees made his way to Holland, the country of his ancestors, and played in the Concertgebouw Orchestra for a number of seasons. But military service loomed. ‘They did grant me a year’s grace,’ he says, ‘but my efforts to convince the authori-ties that my Dutch wasn’t good enough to follow orders eventu-ally failed – even though I used my thickest Australian accent!’

Returning to Australia and accepting a short-term contract with Orchestra Victoria, a rest-less Kees considered a return to an earlier television career.

MARRIED TO MUSICPrincipal Double Bass Kees Boersma pinpoints some defining moments in his musical journey.

ORCHESTRA NEWS | SEPTEMBER–OCTOBER 2012

Proud sponsor of theSydney Symphonyin their 80th yearof timeless entertainment

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Philanthropy Highlight

Madama Butterfly and ‘Un bel di’. Not a bad introduction to classical music. The young Ray Wilson’s connection with music was forged at the free summertime concerts – ‘my family were quite poor’ – at the Sidney Myer Music Bowl. Later came a move to Sydney ‘to work at a pretty rough printing company. I had a little transistor radio tuned to the ABC on my desk, and I would just listen, listen, listen.’ Here Ray met and worked for the late James Agapitos, the man who soon became his partner in business and in life.

These days, the two men’s names are proudly visible in the world of philanthropy. Ray has chosen to make a notified bequest to our orchestra. ‘The bequests I’m making are in both our names. It’s a way of honouring James, and honouring our relationship. We spent 40 very happy years together.’

‘We owe it to say thank you to the institutions that have been part of our lives. It’s all about saying to the institution “I really enjoy our involvement and I want to say thank you for having given me pleasure and for improving the quality of my life.” It’s a two-way street.’

If you’re considering making a notified bequest to the Sydney Symphony, contact our Philanthropy team: philanthropy@sydneysymphony.com or call (02) 8215 4625.

Life’s gift

Stephen Johns, Chairman of Leighton Holdings, welcomes the audience to the annual special Leighton Holdings Discovery concert. On the program? Discovering Mozart with the inspirational guidance of Richard Gill (right) and the Sydney Sinfonia.

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Event News

Your Say

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

nod to Britten in the centenary of his death. Shirley Pearson

I attended the concert last Friday night [Wagner Under the Sails] – what a magnificent performance! I don’t believe this is a word that is usually used in relation to Wagner, but the SSO sounded absolutely ravishing in the orchestral items. Simone Young did a fantastic job, inspiring the orchestra to make this 80th anniversary concert something really special. Then we come to the soloist. Christine Brewer was just brilliant. A stunning voice and I hope she will be coming back to perform with the orchestra in the future. Jerome Prince-Foster

I would like to say how much I am enjoying having Bravo! included in the concert programs – and also to say how much I always enjoy the program notes. They are consistently interesting and certainly add to the listening enjoyment. Marianne Cochrane

I remember (misty-eyed) each wonderful performance of the Sibelius cycle in 2004, and hearing Mr Ashkenazy’s words of praise for the orchestra at the final concert. To reprise the Fifth Symphony, and introduce new ones [in 2013], is for me, a fitting way to celebrate and conclude Mr Ashkenazy’s tenure… Thank you too for the

Spanish GuitarsSpanish rhythms are so compellingly infectious, aren’t they? Whether it’s the flowing festival dance of the sevillanas, or the macho zapateado dance step of the flamenco, these traditional sounds get your toes tapping, and conjure images of toreadors and Andalusian plains.

The gypsy dances of Manuel de Falla’s Love, the Magician were originally conceived in 1915 as a ballet for which Falla created original melodies that sounded like Spanish folk tunes. This popular work has been transcribed many times since. For instance, the swirling, mesmerising Ritual Fire Dance was a favourite encore of pianist Arthur Rubinstein (‘I had to repeat it three times!’). In November, the Los Angeles Guitar Quartet bring their own arrangement for four guitars and orchestra.

Joaquín Rodrigo’s Concierto andaluz – an original work for four guitars and orchestra – was commissioned by Celedonio Romero, who premiered the piece with his three sons. The second son, Pepe, later taught all four founding members of the Los Angeles Guitar Quartet (and when one left the group he was replaced by the student of another member!). So each member of the LA Guitar Quartet has in some way inherited the spirit of Rodrigo.

Thursday Afternoon Symphony Thu 15 Nov | 1.30pmKaleidoscope Fri 16, Sat 18 Nov | 8pm

The Score

BAPTISM OF FIREFrom inspiring audiences of tomorrow to the demands of being a conductor-understudy – the role of Assistant Conductor is a big commitment.

Artistic Focus

Conducting eight concerts for almost 7,000 school children and their teachers is one heck of a way to begin your tenure as an assistant conductor, but Australian-British conductor Jessica Cottis didn’t bat an eyelid. From the whirling of Tchaikovsky’s Waltz of the Flowers to the surging motion of Paul Stanhope’s Groundswell, she captured the attention of the musicians and her young audience.

Jessica’s appointment was announced in July, just as she began her first stint with the orchestra. ‘They were three utterly brilliant weeks,’ she says. During that time, she assisted conductors Simone Young and Jakub Hr °uša (who was filling in at short notice for Tugan Sokhiev), as well as conducting education concerts at City Recital Hall Angel Place and Sydney Olympic Park.

Shortly after completing a two-year appointment as Assistant Conductor of the BBC Scottish Symphony Orchestra, Jessica received an email ‘completely out of the blue’ from our Director of Artistic Planning, Peter Czornyj, asking if she’d be interested in auditioning for the Assistant Conductor position in Sydney.

‘I was busy working on a new opera in Glasgow, so I had to make the return journey [to audition] in the space of three days – not to be recommended! But I’m pleased to be able to say that it must have gone well, because here I am now!’

Peter Czornyj agrees. ‘Jessica really impressed us with her thorough preparation and clear technique, demonstrating a range of gestures and inspirational authority.’

Jessica will accompany the orchestra on the upcoming tour to China, assisting Vladimir Ashkenazy and being ready to stand in at a moment’s notice. Next year she will spend four months with the orchestra. ‘Some of the conductors I’ll assist will have done the pieces over 50 times. They have a huge amount of experience, and as an emerging conductor there’s so much I can learn from them. Each week I work as assistant I need to learn the music as though I were conducting the rehearsals and concert myself – in case I have to go on and sub for them. It’s a big commitment.’In 2013 Jessica Cottis will conduct concerts in the Mozart in the City and Tea & Symphony series.

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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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INSTRUMENT FUND

We recently completed another round of listening sessions and tryouts for our string instrument fund – auditioning ten violins from London, and six violins and one viola from Chicago. Although the final decision wasn’t known at the time of going to print, it’s hoped that two or three instruments will have been selected from this recent group to add to our growing instrument collection. Interested in having a listen yourself? Contact philanthropy@sydneysymphony.com to ask about attending one of the listening sessions.

GROWING VANGUARD

Ten new ground-breakers signed up to our Vanguard program after a recent event, which saw members and guests transported from Chippendale to Argentina. Special guest, accordionist James Crabb, and some of our musicians

performed a selection of dazzling Piazzolla tangos, which of course demanded some dancers. The photos are on facebook.com/SydneySymphonyVanguard

FAREWELL DECCA

We recently farewelled our longest serving member of the behind-the-scenes team – Derek ‘Decca’ Coutts, who’s been our Technical Manager for 16 years. He’s upped sticks and moved out west to spend more time with family. We wish him all the very best for the future.

PROUD AS PUNCH

Som Howie, who plays clarinet in our Sydney Sinfonia, has reached the grand final of this year’s ABC Symphony Australia Young Performers Awards (YPA). He’ll be performing Copland’s Clarinet Concerto with the West Australian Symphony Orchestra on Thursday 4 October at 6pm. Tune in to ABC Classic FM and catch the excitement as it happens.

CONGRATULATIONS

Young conductor Daniel Carter – who led our musicians in this year’s Playerlink program and will be conducting schools concerts for us later in the year – has received the Brian Stacey Award for emerging Australian conductors. Dan will also be heading west in October to conduct the WASO during the judge’s adjudication of the YPA grand final.

COMPOSITION COMPETITION

Are you aged between 18 and 29? Do you have an original composition for oboe, clarinet, bassoon, horn, violin, viola, cello and double bass that hasn’t been performed before in public? Or have one in mind? Then enter our composition competition. You could have your piece performed by the Sydney Symphony Fellows and recorded for broadcast on ABC Classic FM. For more information, visit bit.ly/CompositionComp2012

CODA

BRAVO EDITOR Genevieve Lang sydneysymphony.com/bravoBRAVO EDITOR Genevieve Lang sydneysymphony.com/bravo