2 012 S E A S O N

Fri 17 August 11am

Russian PassionsTea & Symphony

2 sydney symphony

INTRODUCTION

Russian Passions

This morning’s program follows a clear-cut theme that takes us into a richly coloured world of powerful storytelling and heartfelt emotion.

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. In his musical choices we have Liadov’s gorgeously sinister Kikimora, a fairy tale miniature; Tchaikovsky’s portrait of illicit love, Francesca da Rimini, and the most popular of Rachmaninoff ’s piano concertos.

Playing the concerto is a Ukrainian-born pianist with an Australian passport in his pocket and fond memories of life as a young musician in Sydney. Returning now as a full-fl edged artist, Alexander Gavrylyuk brings ‘blow-your-socks-off virtuosity’, as his playing has been described in Gramophone. This program reveals a distinctly Russian sound and sensibility and we believe it’s in excellent hands.

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.’

sydney symphony 3

Russian Passions Thomas 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

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

2012 season

tea & symphonyFriday 17 August, 11am

Sydney Opera House Concert Hall

The music in this program was recorded by ABC Classic FM on Thursday 16 August for later broadcast.

Estimated durations: 8 minutes, 35 minutes, 25 minutesThe concert will conclude at approximately 12.10pm.

Biscuits at Tea & Symphony concertskindly provided by Kambly.

4 sydney symphony

ABOUT THE MUSIC

ANATOL LIADOV Russian composer(1855–1914)

LIADOV Kikimora

‘Nature had bestowed upon him every conceivable gift except energy and perseverance,’ musicologist Michael Calvocoressi said of Liadov, and it is symptomatic of the composer’s reputation that he is better remembered for not writing The Firebird than for the enchanting music he did complete.

Everything Liadov wrote is short – his most extended work is 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.

Liadov began to compose Zoriushka fi tfully in 1879 and was still toying with it in 1909, three librettists and many scenario changes later. In the end, his ‘ingenious indolence’ (as Gerald Abraham calls it) meant that Liadov completed nothing of any signifi cance, except for the ideas that he expanded into independent orchestral pieces. But Kikimora is based on a Russian legend that bears no relation to the Zoriushka story. According to the résumé at the front of the published score:

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 storytelling begins with deep, ominous chords,

followed by a cor anglais solo (the Magic Cat’s lullaby). n 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.

ABRIDGED FROM A NOTE BY PHILLIP SAMETZ © 1998

Our records suggest that this is the Sydney Symphony’s first performance of Kikimora.

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.

sydney symphony 5

SERGEI RACHMANINOFFRussian composer(1873–1943)

RACHMANINOFF Piano Concerto No.2

The story of the creation of Rachmaninoff ’s Second Piano Concerto is often told: the young composer, a star student of the Moscow Conservatory and a favourite of Tchaikovsky, had achieved considerable success getting his earliest works published, but in 1897 his ambitious First Symphony was disastrously premiered in St Petersburg, resulting in vicious attacks in the press, notoriously from César Cui who compared it to a program symphony based on the Seven Plagues of Egypt. Supposedly, the ordeal led Rachmaninoff into a three-year period of deep depression in which he was unable to compose, and ended only after a course in hypnotherapy with the viola-playing Dr Nikolai Dahl. The doctor’s treatment apparently persuaded the young composer that he would be able to write a new concerto, and the resulting work – dedicated to Dahl – has become one of the most famous in the piano repertory.

It’s an attractive tale, yet despite Rachmaninoff ’s obvious disappointment with the reception of his symphony, the so-called ‘creative hiatus’ was a relatively busy period for him. In 1898 he took up the baton professionally for the fi rst time, conducting numerous performances for the newly established Mamontov Private Opera Company in Moscow, and directing the young Chaliapin in roles for which he would later become so famous. Such was his conducting skill that within a few years he would hold a position at the Bolshoi Theatre. The period also 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 symphony, and one that, ironically, became the source of some personal consternation as he sought to evolve his creative voice in following years.

Whether due to the course in hypnotherapy – after all, it was some months before he began to write again – 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 concerto and other compositions of the period (the second suite for two pianos and the cello sonata are the closest), 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 occurred on the 27 October 1901 (Old Style), also in Moscow, with the composer at the piano and his cousin, the noted pianist Alexander Siloti, conducting.

6 sydney symphony

The famous opening notes of the fi rst movement (Moderato) are essentially an extended cadence: slightly varied chords over bell-like bass notes gradually increase in volume, before the notes A fl at, F, G – the basis of a motif that appears throughout the concerto – resolve to the home key of C minor, whereon the orchestra introduces the expansive principal subject. The second theme, in the key of the relative major, is by contrast given almost exclusively to the piano. The development section begins with material based on the 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 French horn, and, rather than providing a complete restatement, Rachmaninoff shares fragments of the melody gently between the soloist and the orchestra. The reverie is soon broken, however, and a build up of momentum brings the movement to a fi ery close.

A short orchestral passage serves to move the second movement (Adagio sostenuto) to the warmer key of E major where, over an arpeggiated fi gure in the piano (material composed some years earlier for a six-hand piano Romance), the fi rst subject is given to the fl ute, then taken over by the clarinet. After a second statement of the theme by the soloist, the melody is developed as the music builds. A faster

Popular borrowings…

The 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 finale – perhaps one of Rachmaninoff’s most famous melodies – turned up in the 1940s song made popular by Frank Sinatra, ‘Full Moon and Empty Arms’.

Autographed sketch of Sergei Rachmaninoff at the piano in 1933. (Hilda Wiener)

sydney symphony 7

scherzando section – perhaps recalling the analogous section in Tchaikovsky’s First Piano Concerto – leads the movement to a climax, at which point Rachmaninoff provides a cadenza (lacking from its traditional place in the fi rst movement). The violins restate the opening melodic material, before sustained piano chords accompany a passage of gradual melodic descent as the movement dies away.

The fi nal movement (Allegro scherzando) begins quietly on low strings, the rhythmic material being related to the motif. A dramatic keyboard cadenza also emphasises the motif before introducing the principal theme. A short period of development, including a brief shift to waltz-time, leads to an abrupt key change and the announcement of the lyrical second subject by the oboe and violas. Perhaps one of Rachmaninoff ’s most famous melodies, the literature suggests it may have been ‘borrowed’ from a friend. However, if there is any truth to this story it is more likely that the reference is only to the opening notes, its expansive treatment bearing too many of the composer’s inimical hallmarks. A trance-like section over a held bass note leads to a development section where Rachmaninoff , with youthful exuberance, replaces a recapitulation of the fi rst subject with a fugue based on its opening notes. The second subject is then heard again in the distant key of D fl at major, before 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.

SCOTT DAVIE © 2007

The Sydney Symphony first performed Rachmaninoff’s Second Piano Concerto in 1938 with Valda Aveling as soloist and conductor Malcolm Sargent. In recent years the orchestra has performed the concerto with Lang Lang and conductor Jahja Ling (2011), with Bernd Glemser and conductor Mark Wigglesworth (2010), and with Cristina Ortiz in the 2007 Rachmaninoff festival conducted by Vladimir Ashkenazy.

8 sydney symphony

PYOTR ILYICH TCHAIKOVSKYRussian composer(1840–1893)

The story of Francesca da Rimini can be found in the Fifth Canto, or book, of Dante’s Inferno, the first part of his epic poem, Divine Comedy.

TCHAIKOVSKY Francesca da Rimini

Abandon all hope, ye who enter here…Tchaikovsky’s symphonic fantasia after Dante begins at the mouth of Hell itself, the gloomy, ominous introduction hinting at the dark and nameless terrors that inhabit the poet’s Inferno. 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, but he’d not abandoned all hope of convincing himself and those around him that he was not homosexual. Francesca da Rimini allowed Tchaikovsky to identify with the tragedy of illicit love and the fantasia’s emotional outpourings refl ect the composer’s agonies as much as his subject’s.

The Tragedy of Francesca da RiminiThe story of Francesca da Rimini was a popular one (Rachmaninoff was just one of several who wrote operas on the subject), especially following its dramatisation early in the 19th century. It is the most famous episode from the Divine Comedy, of which the Inferno forms the fi rst part, and was based on an historical event familiar to Dante’s readers.

Francesca’s hand in marriage is sought by a famous but irredeemably ugly soldier, Gianciotto Malatesta. He woos her by proxy through his handsome younger brother, Paolo, and so she is oblivious to 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, Gianciotto would have ended up in the seventh circle of hell – a river of blood.)It is in hell that Dante encounters the tormented lovers

and hears Francesca’s piteous story. And it was in Dante’s portrayal of the scene that Tchaikovsky encountered his inspiration. While this symphonic fantasia is program music in that it has a clearly set out ‘program’ or narrative, the actual events are less important than expected. It is Francesca and her telling of the story that dominates the music rather than the story itself. The result is less a musical drama and more a portrait, framed by the tempests of hell.

Love and turmoilTchaikovsky’s raging whirlwinds – inspired by Gustave Doré’s famous illustrations from his 1861 edition of the

sydney symphony 9

Divine Comedy and the storms of Liszt’s Dante Symphony – form the fast outer sections of a three-part structure. At the heart of the fantasia Francesca makes her poignant appearance – con amore. ‘I wrote it with love,’ said Tchaikovsky, ‘and I think that the love has come through quite well.’

Tchaikovsky’s musical ideas came to him ready coloured by orchestral timbres, and this is especially evident in the central section, 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 rhythms and disruptions to the pulse capture the distraught mood.

‘Too much even for hell itself!’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.

ABRIDGED FROM A NOTE BY YVONNE FRINDLE © 1999

The Sydney Symphony first performed Francesca da Rimini in 1940, conducted by Thomas Beecham, and most recently in the 2005 Tea & Symphony series, conducted by Alexander Anissimov

Illustration by Gustave Doré for the 1861 edition of Dante’s Inferno (Canto V. The Second Circle…Francesca da Rimini)

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.’

10 sydney symphony

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

sydney symphony 11

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.

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

sydney symphony 13

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

JOH

N M

AR

MA

RA

S

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.

sydney symphony 15

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

16 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 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)

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 GregoryJanette 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 oamKevin & Deidre McCann

sydney symphony 17

Robert McDougallIan & Pam McGawMacquarie Group FoundationMr Robert & Mrs Renee MarkovicA NhanMs Jackie O’BrienMr R A OppenMr Robert OrrellMr & Mrs OrtisIn memory of Sandra PaulPiatti Holdings Pty LtdAndy & Deirdre Plummer Robin PotterPottingerErnest & Judith RapeeKenneth R ReedPatricia H Reid Endowment Pty LtdCaroline SharpenCatherine 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 ChinMrs Sarah ChissickMrs Catherine J ClarkR A & M J Clarke

Mrs 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 MilmanKenneth N MitchellChris Morgan-HunnMrs Milja Morris

Coff s Airport Security Car ParkDr Mike O’Connor amMr Graham NorthDr A J PalmerJustice George Palmer amMr Andrew C PattersonDr Kevin PedemontDr Natalie E PelhamLois & Ken RaeRenaissance ToursAnna RoPamela RogersLesley & Andrew RosenbergAgnes RossMrs Pamela SayersGarry Scarf & Morgie BlaxillWilliam SewellMrs Diane Shteinman amDr Agnes E SinclairMs 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

18 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

sydney symphony 19

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!’

Pho

to: K

eith

Sau

nder

s

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.

Pho

to: K

en B

utti

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.

Pho

to: J

o G

ilber

t

Marwood Masterclass

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

EXECUTIVE MANAGEMENTChief Executive Offi cer Louise HerronExecutive Producer SOH Presents Jonathan BielskiDirector, Theatre and Events David ClaringboldDirector, Marketing, Communications and Director, Customer Services Victoria DoidgeBuilding Development and Maintenance Greg McTaggartDirector, Venue Partners and Safety Julia PucciChief Financial Offi cer Claire Spencer

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

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

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

Please address all correspondence to the Publications Editor: Email program.editor@sydneysymphony.com

PAPER PARTNER

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

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

By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover than that in which it was published, or distributed at any other event than specifi ed on the title page of this publication 16869 — 1/170812 — 25TS S64

This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064Head Office: Suite A, Level 1, Building 16, Fox Studios Australia, Park Road North, Moore Park NSW 2021PO Box 410, Paddington NSW 2021Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: admin@playbill.com.au Website: www.playbill.com.auChairman Brian Nebenzahl OAM RFD

Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager—Production & Graphic Design Debbie ClarkeManager—Production—Classical Music Alan ZieglerOperating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, Hobart & Darwin

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