TCHAIKOVSKY’S MANFRED

EMIRATES METRO SERIES

Friday 26 June 2015

GREAT CLASSICS

Saturday 27 June 2015

MONDAYS @ 7

Monday 29 June 2015

concert diary

Bach Concertos JS BACH Brandenburg Concerto No.6, BWV 1051 JS BACH Violin Concerto in A minor, BWV 1041* JS BACH Violin Concerto in E major, BWV 1042* JS BACH Double Violin Concerto in D minor, BWV 1043*

Gil Shaham violin-director Adele Anthony violin

Tea & Symphony

Fri 3 Jul 11am*

Special Event Premier Partner Credit Suisse

Sat 4 Jul 8pmPre-concert talk by Robert Murray at 7.15pm (Sat 4 Jul)

Yuja Wang in Recital CHOPIN Sonata No.2 in B flat minorSonata No.3 in B minorSCRIABIN Sonata No.9, Black MassBALAKIREV Islamey (1902)

International Pianists in Recital Presented by Theme & Variations

Mon 13 Jul 7pmCity Recital Hall Angel Place

Pre-concert talk at 6.15pm

Yuja Wang plays Brahms WIDMANN Con brio, on motifs by Beethoven australian premiere

BRAHMS Piano Concerto No.2 DVOŘÁK Symphony No.8

Lionel Bringuier conductor • Yuja Wang piano

APT Masters Series

Wed 15 Jul 8pm Fri 17 Jul 8pm Sat 18 Jul 8pmPre-concert talk at 7.15pm

SSO Chamber Music Cocktail HourDVOŘÁK Five songs from Cypresses, for string quartet BRAHMS Clarinet Quintet

Francesco Celata clarinet Lerida Delbridge violin • Marina Marsden violin Justin Williams viola • Catherine Hewgill cello

Sat 18 July 6pmUtzon Room Sydney Opera House

Russian RomanticsSCHULTZ Sound Lur and Serpent – Fanfare australian premiere TCHAIKOVSKY Piano Concerto No.1RACHMANINOFF Symphony No.1

Vasily Petrenko conductor Simon Trpčeski piano

Meet the Music

Wed 22 Jul 6.30pmThursday Afternoon Symphony

Tue 23 Jul 1.30pmEmirates Metro Series

Fri 24 Jul 8pmPre-concert talk 45 minutes before each performance

Chris Botti live with the SSO US Jazz trumpet extraordinaire Chris Botti performs hits such as When I Fall in Love, The Look of Love, Emmanuel and more.

Nicholas Buc conductor

Thu 2 Jul 8pm Fri 3 Jul 8pm

Danny ElfmanMusic from the films of Tim BurtonCelebrating the partnership of Tim Burton and composer Danny Elfman with music from Batman, Edward Scissorhands and The Nightmare Before Christmas.

Scott Dunn conductor

Fri 10 Jul 8pm Sat 11 Jul 2pm

CLASSICAL

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SSO PRESENTS

WELCOME

Rob GurneyDivisional Vice President Australasia Emirates

2015 marks the 13th anniversary of Emirates’ partnership with the Sydney Symphony Orchestra. We’re proud to continue one of the longest-running partnerships for the SSO and to remain the naming sponsor of the SSO’s Emirates Metro concert series.

Emirates connects travellers around the globe, bringing people together to discover, enjoy, and share experiences.  Our partnership with the SSO is about connecting with you – our customers.

The Emirates Metro Series showcases a wonderful array of highly regarded compositions, including many key European composers. We hope that tonight’s performance prompts you to consider a future trip to Europe, where we fly to over 35 destinations with the recent additions of Oslo, Brussels and Budapest, or internationally to more than 140 destinations in over 80 countries.

Like the SSO, Emirates specialises in first-class entertainment, taking out the award for best inflight entertainment for the tenth consecutive year at the international Skytrax Awards in 2014.

With up to 2,000 channels to choose from, on 28 flights per week to New Zealand and 84 flights per week to Dubai, including a double daily A380 from Sydney, those flying on Emirates will even be able to watch SSO concerts on board.

We are dedicated to the growth of arts and culture in Australia and we’re delighted to continue our support of the SSO. We encourage you to enjoy as many performances as possible over the year.

2015 concert season

Monday’s performance will broadcast live across Australia by ABC Classic FM.

Pre-concert talk by Scott Davie in the Northern Foyer 45 minutes before each performance. Visit sydneysymphony.com/speaker-bios for more information.

Estimated durations: 10 minutes, 25 minutes, 20-minute interval, 57 minutes

The concert will conclude at approximately 10.05pm (Fri) 4.05pm (Sat), 9.05pm (Mon)

COVER IMAGE: Detail from Manfred on the Jungfrau (1837) – a watercolour by John Martin (Birmingham Museum and Art Gallery / The Bridgeman Art Library)

TCHAIKOVSKY’S MANFREDBramwell Tovey conductorGil Shaham violin

BRAMWELL TOVEY (born 1953)Urban Runway

SAMUEL BARBER (1910–1981)Violin Concerto, Op.14AllegroAndantePresto in moto perpetuo

INTERVAL

PYOTR ILYICH TCHAIKOVSKY (1840–1893)Manfred – Symphony after Byron, Op.58

Lento lugubre – Moderato con moto – Andante (Manfred Wandering in the Alps)Vivace con spirito (The Fairy of the Alps)Andante con moto (Pastorale)Allegro con fuoco (The Subterranean Palace of Arimanes)

EMIRATES METRO SERIESFRIDAY 26 JUNE, 8PM

GREAT CLASSICSSATURDAY 27 JUNE, 2PM

MONDAYS @ 7MONDAY 29 JUNE, 7PM

SYDNEY OPERA HOUSE CONCERT HALL

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Manfred on the Jungfrau (1837), watercolour by John Martin, inspired by the following lines from Byron’s poem, in which Manfred is on the brink of committing suicide by tossing himself from the crag, only to

be pulled back from the edge by a hunter.

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...And you, ye crags upon whose extreme edge I stand, and on the torrent’s brink beneath Behold the tall pines dwindled as to shrubs In dizziness of distance, when a leap, A stir, a motion, even a breath, would bring My breast upon its rocky bosom’s bed To rest for ever – wherefore do I pause? …Thou winged and cloud-cleaving minister, Whose happy flight is highest into heaven, Well may’st thou swoop so near me… …How beautiful is all this visible world! How glorious in its action and itself!

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

The foyer fanfare for this

concert is Rebellion’s Rise,

composed by Paris Francis (13)

of St Catherine’s School,

Waverley. This is a youth

creativity project by the Sydney

Opera House and Artology.

INTRODUCTION

In this concert we hear a 19th-century Russian and a 20th-century American. Their paths never crossed and yet there’s a tremendous affinity between Tchaikovsky, the Romantic, and Barber, the Romantic at heart. The element of music that unites them above all else is melody. Both these composers are renowned – and loved – for their lyrical instincts and the memorable beauty of their tunes.

Barber’s Violin Concerto begins with the soloist setting out immediately with the first of several compelling themes. It’s the same strategy used by Mendelssohn in his violin concerto, and Barber in the 1930s could get away with such ‘old-fashioned’ gestures because, as the critic Virgil Thomson put it, his heart was pure. ‘The concerto cannot fail to charm,’ wrote Thomson, ‘by its graceful lyrical plenitude and its complete absence of tawdry swank.’

The music of Tchaikovsky has that same sincerity and directness of appeal, but also an unrivalled dramatic instinct. In his Manfred Symphony, the formal structures of the classical four-movement symphony – so familiar from Haydn, Mozart, Beethoven and beyond – are brought to the service of a detailed program or narrative, drawn from Byron’s poem. The inspiration is literary but it serves a musical drama, and although Tchaikovsky ended up having reservations about Manfred (he said he loathed everything except the first movement), there are musicians and music-lovers who would agree with his earlier assessment: ‘I think that this is my best symphonic work.’

The program begins in the 21st century with Urban Runway, music by our conductor Bramwell Tovey. His inspiration comes from the keen and witty observation of modern life, but this is a case where the composer makes the best introduction…

Tchaikovsky’s Manfred

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ABOUT THE MUSIC

…the strut of the fashion conscious, transforming the sidewalks of 5th Avenue and Rodeo Drive into “urban runways”…

Bramwell Tovey (born 1953) Urban Runway

The composer writes…

The concept for Urban Runway grew out of an amusing conversation with friends concerning the colourful idiosyncrasies of those who offer their patronage to the fashion houses on 5th Avenue in New York or Rodeo Drive in Los Angeles.

New clothes, even those unseen inside designer shopping bags, appear to influence the gait of shoppers as they strut along the sidewalk. With a little imagination the listener might care to speculate on the characters depicted in the music.

Based upon a simple, repeating figure housed in a cakewalk rhythm, the score is laced with jazz and minimalist flavours. A flugelhorn and marimba introduce distinctive elements and, perhaps characteristically, the violas take a moment to remind us of the benefits of the ‘pre-owned’ grunge look…

BRAMWELL TOVEY

Urban Runway calls for two flutes, piccolo, two oboes, cor anglais, two

clarinets, bass clarinet, two bassoons and contrabassoon; four horns, two

trumpets, flugelhorn, three trombones and tuba; timpani and percussion;

piano and strings.

Urban Runway was commissioned by the New York Philharmonic and

the Los Angeles Philharmonic. The Melbourne Symphony Orchestra gave

the Australian premiere in 2010, this is the SSO’s first performance of the

work.

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KeynotesBARBERBorn West Chester, PA, 1910 Died New York City, 1981

Samuel Barber was a child prodigy who enrolled in the newly founded Curtis Institute, Philadelphia, at the age of 14 and was winning major prizes in his teens. His

overture to The School for Scandal (1931) was his first large-scale orchestral work to be published and won him a Bearns Award. He came to international attention in 1938 when Toscanini programmed the First Essay and the Adagio for Strings in one of his orchestral broadcasts; the Adagio was to become his most famous music. Barber was also a singer – a fine baritone – something that emerges in the lyricism of his music and in his luminous writing for the voice.

VIOLIN CONCERTO

This is one of the most popular violin concertos of the 20th century – partly because of its straightforwardness, sincerity and charm, partly because of its memorable melodies, two of which are heard in succession near the beginning of the first movement. Like Mendelssohn, Barber has the soloist present the first theme immediately, without an orchestral introduction. The clarinet introduces the perky second idea. In the second movement listen for the oboe solo (a nod to the Brahms concerto perhaps?). The finale is remarkable for its bold harmonies and impetuous rhythms – the soloist plays for 110 bars without interruption in a brilliant ‘perpetual motion’.

Samuel Barber Violin Concerto, Op.14Allegro Andante Presto in moto perpetuo

Gil Shaham violin

In 1939, Virgil Thomson penned the somewhat acid observation that only five ‘standard’ American composers could ‘live on their take from commissions and performances’. Samuel Barber was one. The previous year, his status as a composer of international stature had been confirmed with the broadcast performance, by Toscanini and the NBC Symphony, of the hugely successful Adagio for Strings. From this point, almost all of Barber’s works were commissioned, culminating in the opera Antony and Cleopatra, commissioned by the Metropolitan Opera for its 1966 season.

Rich in melody, lush in tone – its gentle chromatic curlicues sweetly astringent on the ear – Barber’s music is synonymous with the elegant and dignified patrician demeanour of American Romanticism, true to its conservative self and intently personal in outlook.

Barber’s notes for the first performance of his violin concerto, coy and muted, contain no hint of the tortured background of the piece:

It is lyric and rather intimate in character… The first movement – Allegro molto moderato – begins with a lyrical first subject announced at once by the solo violin, without any orchestral introduction. This movement as a whole has perhaps more the character of a sonata than concerto form. The second movement – Andante sostenuto – is introduced by an extended oboe solo. The violin enters with a contrasting and rhapsodic theme, after which it repeats the oboe melody of the beginning. The last movement, a perpetual motion, exploits the more brilliant and virtuoso characteristics of the violin.Listening to the work today, one is struck by the chasm that

seems to exist between the first two movements together and the finale. The Allegro and Andante are suffused by almost-Mozartean lyricism, nearly devoid of brilliant passagework, while the Presto finale has the violin solo sawing away at full pelt, with only two moments in which to draw breath. This discrepancy has been the source of some controversy regarding the true nature of the work’s genesis.

We owe Barber’s Violin Concerto to an industrialist who made his fortune from a popular household toilet soap. Samuel S Fels

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harboured ambitions to make his mark in the world of music. Sometime during the northern winter of 1938–39, he decided to commission a violin concerto for Iso Briselli.

The violinist-turned-critic Gama Gilbert commended his good friend, Barber, to Fels, as the composer to write the new violin concerto. The arrangements seemed simple enough: Barber would receive US$1,000 for the concerto – $500 as down-payment, the rest on delivery.

Barber used part of Fels’ commission fee to travel to Switzerland. He made slow work on the piece but by the end of the summer of 1939 had managed to send the first two movements to Briselli. With the Nazi invasion of Poland, Barber and his partner, the composer Gian Carlo Menotti, fled first to Paris and then back to the USA. At a lakeside retreat in the Pocono mountains of north-eastern Pennsylvania, Barber worked for nearly a month on his ‘concertino’ – his curious designation for the concerto – completing it in Philadelphia in July 1940.

Even before its first performance, the Violin Concerto was mired in controversy. In his 1954 biography of the composer, Nathan Broder claimed that Briselli had rejected the finale as ‘too difficult’. This seems unlikely. For his debuts in New York and Philadelphia, the teenage Briselli had played concertos by Paganini and Beethoven, and his early recitals, comprising showpiece repertoire by Tartini, Sarasate, Wieniawski and Ysaÿe, were lauded for his ‘immaculate, facile technique, poetic expressiveness and rich tone’.

Thirty years later, in May 1984, when Briselli was interviewed by the writer Barbara Heyman for her biography of Barber, the violinist offered another explanation. Although he believed the first two movements were ‘beautiful’ and he was eager to see the finale, he was disappointed that, compared to the first two movements, it seemed ‘too lightweight’. Briselli suggested that Barber expand the middle section into a sonata-rondo form, a notion rejected by the composer as being intrusive interference.

Those who say that Briselli found the finale too difficult claim that a private reading was arranged to show that the work was ‘playable’ and Barber entitled to the balance of his commission. Indeed, one afternoon in 1939, the finale was played for a small audience in the studio of Josef Hofmann, director of the Curtis Institute. A gifted student, Herbert Baumel, had two hours to learn the piece but managed to toss it off. In an article in The Strad in November 1995, it is conceded that this private audition was scheduled to prove that there were no ‘difficulties’ in the music, but not that the audition had come about as a result of comments made by

Iso Briselli was born in Odessa in 1912. Having spent his childhood in Berlin, the 12-year-old prodigy, unable to speak a word of English, travelled to Philadelphia in 1924 as the youngest student of the celebrated teacher Carl Flesch at the new Curtis Institute of Music. The young virtuoso soon came to the notice of the Curtis trustee Samuel Fels and his wife, and the childless couple would eventually adopt Briselli.

2010 saw the publication of

correspondence between Samuel

Fels and Barber relating to the

circumstances of the

commissioning of the concerto. In

essence, it appears that it was not

Briselli who rejected the work

because its third movement was too

difficult, but his teacher of the time,

Albert Meiff, who found that it was

insufficiently ‘violinistic’ and

proposed to do a ‘surgical operation’

on the work himself!

More information can be found at

www.isobriselli.com

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Fels or Briselli. The Strad goes on: ‘Barbara Heyman relates that “Even after completing the violin concerto, Barber still had reservations about the technical feasibility of the final movement.” This statement suggests that Barber himself was not totally convinced about the finale and one wonders if that is what prompted the Baumel incident.’

Thereafter Barber arranged several dry runs with the Curtis Institute Orchestra, on one occasion Fritz Reiner conducting and Herbert Baumel playing the solo part. In August 1940, Barber visited Albert Spalding at Tanglewood. He had heard that the respected violinist – a good solid, reliable performer but ‘no Heifetz’, according to Barber – was looking for an American work he could play on his concert tours. Spalding took the concerto ‘on the spot’ and in February 1941 gave the first public performances with the Philadelphia Orchestra conducted by Eugene Ormandy.

Newspaper accounts reported ‘an exceptional popular success’ with ‘a storm of applause showered on both soloist and composer’, but even so Barber was still dissatisfied with aspects of the work’s structure and orchestration. In 1948 he made some revisions and it is in this revised form that the work is performed today.

Seventy years after the work’s premiere, critical questions remain. Were Briselli’s reported ‘objections’ based on technical or musical reservations? Clearly, the technical dimension can hardly have been an issue for him, given the virtuoso repertoire he championed. The work’s metrical oddities and the rapidly shifting chromatics remind listeners today of quicksilver Prokofiev. According to The Strad, Barber did ‘nothing to change the overall posture of the [final] movement’. The work bears no dedication.

But Samuel Barber’s Violin Concerto is still one of the greatest and certainly most beautiful 20th-century violin concertos. We can be grateful for the philanthropy which is the bedrock of American culture. It can put a computer in every classroom, or seek a cure for cancer. And in 1939, American philanthropy produced the Samuel Barber Violin Concerto.

ABRIDGED FROM A NOTE BY VINCENT PLUSH © 2003/2013

The orchestra for Barber’s Violin Concerto comprises two flutes (one

doubling piccolo), and pairs of oboes, clarinets, bassoons, horns and

trumpets (there are no trombones or tuba); timpani, piano and strings.

The Australian premiere of the concerto was given by the West Australian

Symphony Orchestra in 1966, with soloist Vaughan Hanly and Thomas Mayer

conducting. The SSO first performed it in 1985 with soloist Dylana Jenson

and conductor Zdeněk Mácal, and most recently in 2001 with soloist

Cho-Lian Lin and conductor Yakov Kreizberg.

Samuel Barber

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Pyotr Ilyich Tchaikovsky Manfred – Symphony after Byron, Op.58

Lento lugubre – Moderato con moto – Andante (Manfred Wandering in the Alps) Vivace con spirito (The Fairy of the Alps) Andante con moto (Pastorale) Allegro con fuoco (The Subterranean Palace of Arimanes)

Byron’s verse drama Manfred, which appeared in 1816, is a quintessential work of Romanticism. The lone and tortured hero lives in a Gothic castle, summoning spirits and yearning for death, bemoaning his sins but refusing repentance, ascending the Alpine peaks and travelling to the underworld. Byron’s sublime landscapes and supernatural events spoke to numerous artists such as painters John Martin and Ford Madox Brown, and composers such as Robert Schumann and Mily Balakirev. In Balakirev’s case, however, enthusiasm for Manfred led not to a work of his own, but, in 1882, to a rather imperious suggestion to Tchaikovsky that he compose such a work; to make things easier, Balakirev enclosed a detailed program, laying out the movements and the events they represent, along with what themes should be in what keys, and the general character and sound of the work. Tchaikovsky freely ignored much of that advice.

KeynotesTCHAIKOVSKYBorn Kamsko-Votkinsk, 1840 Died St Petersburg, 1893

Tchaikovsky represented a new direction for Russian music in the late 19th century: fully professional and cosmopolitan in outlook. He embraced the genres and forms of Western European tradition – symphonies, concertos and overtures – bringing to them an unrivalled gift for melody. But many music lovers would argue that it’s his ballets that count among his masterpieces, and certainly it’s Tchaikovsky’s extraordinary dramatic instinct that comes to the fore in all his music.

MANFRED

Many of Tchaikovsky’s orchestral works were inspired by literature – Shakespeare in the case of Romeo and Juliet and The Tempest, Byron in the case of the Manfred, a dramatic symphony in ‘four scenes’.

The four movements of Manfred follow a classical symphonic structure but, as their titles suggest, they are also closely tied to a scenario drawn from Byron’s poem. The Manfred who wanders the Alps is torn by despair; the Alpine fairy’s music provides emotional release; and the pastoral movement offers idyllic contrast to Manfred’s anguish. The finale departs from Byron’s text, allowing Manfred to find redemption.

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Consumed by grief and guilt, and unable to experience any other emotion, Manfred, like Faust, summons occult spirits; they are unable to grant him the gift of oblivion, but curse him: ‘Nor to slumber, nor to die, Shall be in thy destiny.’ Manfred attempts to throw himself over a precipice but is saved by a chamois hunter, who looks after him in his simple hut and attempts to talk Manfred out of his self-destructive ways. Later, Manfred speaks to the Witch of the Alps, who appears refracted in the mist of a cataract, and hints to her that his spiritual state is the result of being indirectly responsible for the death of his sister, Astarte, the only being he has ever loved. After an encounter with the Three Destinies and an appearance by the goddess Nemesis, he penetrates the hellish underworld. Manfred refuses to do obeisance to its king Arimanes, but is granted a vision of Astarte, who merely tells him that ‘to-morrow ends thine earthly ills’. As Manfred’s death approaches, demons appear, summoning him to suffer for his sins, and an Abbot tries to persuade him to repent; Manfred defies the demons and the Abbot, and expires with the words ‘Old man! ’tis not so difficult to die.’ We are left not knowing if Manfred’s soul has been saved or damned.

Tchaikovsky followed the broad outline of Balakirev’s program. The first movement begins with Manfred’s restless idée fixe, or theme, and depicts him wandering in the Alps, beset by memories of Astarte and wishing for oblivion. Balakirev’s program, following Byron’s chronology, next suggested a movement dedicated to the simple life of the peasant hunters; however, Tchaikovsky saw the need for a fast movement to offset the opening Lento, so the second is a scherzo representing the Witch of the Alps glittering in her waterfall. The Pastorale evokes the simple life of the chamois hunters and other rustic figures; this too provides huge contrast with the vision of the kingdom of Arimanes, the brief vision of Astarte and the final death of Manfred. Responding to a second version of Balakirev’s program, Tchaikovsky introduces the organ in a bright B major for what Balakirev called Manfred’s Requiem. His defiance of God, nature, demons and humans gives Manfred his heroic stature.

Tchaikovsky was deeply ambivalent about Manfred. On one hand, in 1886, he told his patron, Madame von Meck, that ‘I think that this is my best symphonic work’; two years later he wrote to an acquaintance, ‘without any wish to make a mere show of modesty, I would like to say that it is an abominable piece, and that I loathe it deeply, with the exception of the first movement alone’. In fact it is a fine example of his dramatic sense, large-scale structure and dazzlingly varied orchestration.

GORDON KERRY © 2013

A portrait of Lord Byron in Albanian costume (1813–14) by Thomas Phillips. Composers inspired by the poet include

Verdi, Donizetti, Liszt (Tasso),

Berlioz (Le Corsaire and Harold

in Italy), Schoenberg (Ode to

Napoleon), and Mussorgsky. Manfred was given musical life by Schumann and Tchaikovsky, as well as by Friedrich Nietzsche, who in his guise as amateur composer wrote a ‘Manfred Meditation’ for piano duet.

His defiance of God, nature, demons and humans gives Manfred his heroic stature.

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Listening GuideEven while following a detailed program, Manfred falls into Tchaikovsky’s favourite symphonic pattern: a substantial expository movement, two lighter interlude-like movements, and a finale of sufficient weight to balance the whole. Each movement is prefaced by a description, that to the first movement being the most elaborate:

Manfred wanders in the alps. Weary of the fatal question of existence, tormented by hopeless longings and the memory of past crimes, he suffers cruel spiritual pangs. He has plunged into the occult sciences and commands the mighty powers of darkness, but neither they nor anything in this world can give him the forgetfulness to which alone he vainly aspires. The memory of the lost Astarte, once passionately loved by him, gnaws his heart and there is neither limit nor end to Manfred’s despair.Manfred’s darkly descending theme is announced

immediately by three bassoons and bass clarinet, after which the strings announce an equally intense, rising theme, sometimes described as ‘Manfred’s longing for forgetfulness’. These ideas are developed considerably before the movement’s second section begins with the lyrical theme depicting Astarte, appearing softly on the first violins. Tchaikovsky then represents with great vividness Manfred’s

Manfred and the Alpine Witch (John Martin)

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feelings of tenderness, passion and bitterness at his memory of her. This finely structured movement ends with a powerful new statement of the Manfred theme, replete with gong-strokes and great shuddering brass exclamations; it is a masterful depiction of hysterical despair.

In contrast to the first movement’s fiery torment, the scherzo second movement (Vivace con spirito) is primarily one of lightness and lyricism, as Byron’s Witch of the Alps becomes ‘the Alpine fairy’ who ‘appears before Manfred in the rainbow from the spray of a waterfall’. The outer sections, depicting the waterfall and the rainbow that appears in the spray, inspire sonorities of gossamer delicacy. These are set in relief, in the trio, by the appearance of the Fairy, who is given a warmly romantic melody first heard on the violins. As her music becomes increasingly passionate we are made aware of Manfred’s agonised presence, as he confesses to her his numerous sins and indiscretions. At the movement’s conclusion, when the Fairy disappears in the watery mist, the sound drifts upwards to a faint shimmer, in a passage that is a great test of orchestral virtuosity.

The Andante concerns ‘the simple, free and peaceful life of the mountain people’, with a quintet of cor anglais, clarinets and bassoon evoking Byron’s ‘natural music of the mountain reed’. Although it is ostensibly the second of the ‘interludes’ intended to provide a buffer between the storms and torments of the two outer movements, it is also an ironic portrayal, as, towards its conclusion, the idyllic rusticisms are shattered by a reminder of Manfred’s burning anguish.

The finale (Allegro con fuoco) finds us in ‘the subterranean palace of Arimanes. Manfred appears in the middle of the Bacchanale. Evocation of the shade of Astarte. She foretells the end of his earthly sufferings. Death of Manfred.’

We are plunged straight away into the bacchanal’s dubious delights, in the midst of which Manfred is glimpsed once more. He seems to be overwhelmed by the proceedings until his theme is transformed into a fugue, which leads to a dramatic, exclamatory passage suggesting Manfred’s revulsion at his surroundings. Astarte’s theme is now recalled by the strings, at first tenderly, then almost desperately, until it is gradually combined with Manfred’s main theme, which is then given out in the grand, theatrical manner that closed the first movement. This leads suddenly to the apotheosis of Manfred (a departure from Byron’s Manfred, who dies both unrepentant and unbedevilled), scored for orchestra and organ, after which the work ends peacefully and quietly.

LISTENING GUIDE ADAPTED FROM A NOTE BY PHILLIP SAMETZ © 2008

Tchaikovsky’s Manfred calls for three

flutes (one doubling piccolo), two

oboes, cor anglais, two clarinets,

bass clarinet and three bassoons;

four horns, two trumpets, two

cornets, three trombones and tuba;

timpani and percussion; two harps,

organ, and strings.

According to ABC records, the

SSO gave the first Australian

performance of Tchaikovsky’s

Manfred in 1948 in a Benevolent

Fund concert conducted by Eugene

Goossens. The orchestra’s most

recent performance of the

symphony was in 2012 with Vladimir

Ashkenazy.

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

Chairman & Advertising Director Brian Nebenzahl OAM RFD

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

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

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

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

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

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

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

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

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

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music, performed by Dietrich Fischer-Dieskau and pianists Aribert Reimann and Elmar Budde.PHILIPS 426 8632

(But don’t be led astray by Carl Reinecke’s opera King Manfred – its title character is someone else entirely!)

Broadcast Diary

June–July

abc.net.au/classic

Monday 29 June, 7pmTCHAIKOVSKY’S MANFRED See this program for details

Saturday 4 July, 8pmBACH CONCERTOSGil Shaham violin-directorAdele Anthony violinJS Bach

Saturday 25 July, 1pmRUSSIAN ROMANTICSVasily Petrenko conductorSimon Trpčeski pianoSchultz, Tchaikovsky, Rachmaninoff

Sunday 26 July, 5pmYUJA WANG IN RECITALYuja Wang pianoChopin, Scriabin, Balakirev

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

SYDNEY SYMPHONY ORCHESTRA HOUR Tuesday 14 July, 6pmMusicians and staff of the SSO talk about the life of the orchestra and forthcoming concerts. Hosted by Andrew Bukenya. Special guest: new assistant conductor Toby Thatcher.finemusicfm.com

MORE MUSIC

BARBER

After the Adagio for Strings (and its vocal version ‘Agnus Dei’), Barber’s Violin Concerto is his most frequently recorded work. It’s also one of the greatest and most attractive of the 20th-century violin concertos and Gil Shaham includes it on Volume 1 of his series 1930s Violin Concertos (released on his own label). In a ‘dream program’ the Barber keeps company with the concertos by Alban Berg, Igor Stravinsky and Benjamin Britten and the Concerto funebre for violin and strings by Karl Amadeus Hartmann. The Barber is accompanied by the New York Philharmonic and David Robertson. Other collaborators on this 2CD set: Staatskapelle Dresden, the BBC Symphony Orchestra, Boston Symphony Orchestra, conductor Juanjo Mena and the Sejong Soloists. CANARY CLASSICS 12

If you’d like to hear more of Barber’s music, look for the 2CD set Samuel Barber Adagio, released in 2010 to celebrate his centenary. In addition to the concerto (with soloist Elmar Oliveira) and the Adagio (played by the Berlin Philharmonic and Simon Rattle), the album includes all his best-known works, such as Knoxville, Summer of 1915 for soprano and orchestra and the School for Scandal overture, and the Endellion Quartet perform the original String Quartet in B minor, Op.11, from which the Adagio was drawn.WARNER CLASSICS 87286

MANFRED IN MUSIC

If you heard us perform Tchaikovsky’s Manfred with Oleg Caetani conducting in 2008, you may be interested in his recording of the symphony with the Melbourne Symphony Orchestra, released that same year. It’s part of a 6-CD set of the complete Tchaikovsky symphonies.ABC CLASSICS 476 6442

Schumann’s interpretation of Byron’s poem took the form of an 80-minute melodrama (music integrated with acting), of which usually only the overture is heard in the concert hall. There is a video recording from Düsseldorf of the complete work with spectacular visualisations that seek to place the audience in Manfred’s shoes – experiencing through his ‘eyes’ the ‘visually alienated world’ of the Swiss alpine setting. Andrey Boreyko conducts the local symphony orchestra and chorus; Johann von Bülow is Manfred. (DVD region 0)ARTHAUS MUSIK 101575

For those who love to explore music’s byways, look for Friedrich Nietzsche wearing his composer hat in Manfred Meditation for piano duet. You can find it on an album devoted to Nietzsche’s songs and piano

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SSO Live RecordingsThe Sydney Symphony Orchestra Live label was founded in 2006 and we’ve since released more than two dozen recordings featuring the orchestra in live concert performances with our titled conductors and leading guest artists. To buy, visit sydneysymphony.com/shop

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

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

Brett DeanTwo discs featuring the music of Brett Dean, including his award-winning violin concerto, The Lost Art of Letter Writing. SSO 200702, SSO 201302

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

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

Prokofiev’s Romeo and JulietVladimir Ashkenazy conducts the complete Romeo and Juliet ballet music of Prokofiev – a fiery and impassioned performance. SSO 201205

Tchaikovsky Violin ConcertoIn 2013 this recording with James Ehnes and Ashkenazy was awarded a Juno (the Canadian Grammy). Lyrical miniatures fill out the disc. SSO 201206

Tchaikovsky Second Piano ConcertoGarrick Ohlsson is the soloist in one of the few recordings of the original version of Tchaikovsky’s Piano Concerto No.2. Ashkenazy conducts. SSO 201301

Stravinsky’s FirebirdDavid Robertson conducts Stravinsky’s brilliant and colourful Firebird ballet, recorded with the SSO in concert in 2008. SSO 201402

LOOK OUT FOR…

Our recording of Holst’s Planets with David Robertson. Available now!

Mahler 1 & Songs of a Wayfarer SSO 201001

Mahler 2 SSO 201203

Mahler 3 SSO 201101

Mahler 4 SSO 201102

Mahler 5 SSO 201003 Mahler 6 SSO 201103

Mahler 7 SSO 201104

Mahler 8 (Symphony of a Thousand) SSO 201002

Mahler 9 SSO 201201

Mahler 10 (Barshai completion) SSO 201202

Song of the Earth SSO 201004

From the archives: Rückert-Lieder, Kindertotenlieder, Das Lied von der Erde SSO 201204

MAHLER ODYSSEY

The complete Mahler symphonies (including the Barshai completion of No.10) together with some of the song cycles. Recorded in concert with Vladimir Ashkenazy during the 2010 and 2011 seasons. As a bonus: recordings from our archives of Rückert-Lieder, Kindertotenlieder and Das Lied von der Erde. Available in a handsome boxed set of 12 discs or individually.

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SSO Online

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Bramwell Tovey was born in England and studied piano and composition at the Royal Academy of Music and the University of London. His subsequent work as a conductor has been enhanced by this perspective as a pianist and composer.

He was appointed Music Director of the Vancouver Symphony Orchestra in 2000; he is also the Artistic Adviser of the VSO School of Music, which opened in 2011. His tenure has included complete symphony cycles of Beethoven, Mahler, Brahms as well as the establishment of an annual contemporary music festival, and in 2007 his recording of the Walton, Korngold and Barber violin concertos with James Ehnes and the VSO received a Grammy and a Juno Award. In 2018 he will become the orchestra’s Music Director Emeritus.

In the 2014–15 season he has made guest appearances with several American orchestras including the Philadelphia Orchestra and New York Philharmonic, in Europe with the BBC Philharmonic and the Helsingborg Symphony Orchestra. He has also enjoyed relationships with the New York Philharmonic (hosting the Summertime Classics festival since 2004) and Los Angeles Philharmonic (where he was Principal Guest Conductor at the Hollywood Bowl), and in 2008 both orchestras commissioned him to write Urban Runway.

Other commissions include works for the Toronto Symphony Orchestra and Calgary Opera, who premiered his opera The Inventor in 2011. His trumpet concerto, Songs of Paradise Saloon, has been performed by the LA Philharmonic and the Philadelphia Orchestra with Alison Balsom as soloist. In 2003 he won the Juno Award for Best Classical Composition for his choral and brass work Requiem for a Charred Skull, and he was the first artist to win a Juno Award in both conducting and composing.

Bramwell Tovey has appeared as a piano soloist with major orchestras in New York, Los Angeles, Pittsburgh, St Louis, Toronto and Scotland, among others. In 2014 he conducted Gershwin’s Rhapsody in Blue from the piano at the Hollywood Bowl with the LA Philharmonic and in Saratoga with the Philadelphia Orchestra. He has performed his own Pictures in the Smoke with the Melbourne and Helsingborg symphony orchestras and the Royal Philharmonic Orchestra, and he made his SSO debut as conductor and pianist in 2012.

Bramwell Toveyconductor

THE ARTISTS

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Gil Shahamviolin

Gil Shaham is one of the foremost violinists of our time: his flawless technique combined with his inimitable warmth and generosity of spirit has solidified his renown as an American master. Highlights of his 2014–15 season have included a Parisian-themed gala with the Seattle Symphony, and with the San Francisco Symphony and Michael Tilson Thomas performances of Mozart’s ‘Turkish’ concerto and Prokofiev’s Second Violin Concerto, the latter on a tour that included Carnegie Hall. The Prokofiev is one of the works showcased in his long-term exploration of violin concertos of the 1930s.

In addition to giving the premiere performances of a new concerto by David Bruce with the San Diego Symphony, he has also given concerto performances in Philadelphia, Berlin, London, Dallas, Tokyo, Canada and Luxembourg. In recital, he has presented Bach’s solo sonatas and partitas at Chicago’s Symphony Center, LA’s Disney Hall and other venues in a multimedia collaboration with photographer and video artist David Michalek.

He has more than two dozen concerto and solo recordings to his name, earning him multiple Grammys, a Grand Prix du Disque, Diapason d’Or, and a Gramophone Editor’s Choice. His recent recordings are issued on the Canary Classics label, which he founded in 2004. These include 1930s Violin Concertos Vol.1, recordings of the Haydn violin concertos

and Mendelssohn’s Octet with the Sejong Soloists, Nigunim: Hebrew Melodies, Sarasate: Virtuoso Violin Works, Elgar’s Violin Concerto with the Chicago Symphony Orchestra and David Zinman, and, most recently, JS Bach’s complete sonatas and partitas for solo violin.

Gil Shaham was awarded an Avery Fisher Career Grant in 1990, and in 2008 he received the coveted Avery Fisher Prize. In 2012 he was named Instrumentalist of the Year by Musical America, which cited the ‘special kind of humanism’ with which his performances are imbued. He plays the 1699 ‘Countess Polignac’ Stradivarius, and lives in New York City with his wife, violinist Adele Anthony, and their three children.

Gil Shaham’s most recent appearance with the SSO was in 2001 when he played the Brahms concerto with Paavo Järvi conducting.

Hear Gil Shaham and Adele Anthony play Bach violin concertos with the SSO.

FRIDAY 3 JULY, 11AMSATURDAY 4 JULY, 8PMSYDNEY OPERA HOUSE CONCERT HALL

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SYDNEY SYMPHONY ORCHESTRA

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

Resident at the iconic Sydney Opera House, where it gives more than 100 performances each year, the SSO also performs in venues throughout Sydney and regional New South Wales. International tours to Europe, Asia and the USA – including three visits to China – have earned the orchestra worldwide recognition for artistic excellence.

The orchestra’s first Chief Conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Zdenĕk Mácal, Stuart Challender, Edo de Waart and Gianluigi Gelmetti. Vladimir Ashkenazy was Principal Conductor from 2009 to 2013. The orchestra’s history also boasts collaborations with legendary figures

such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.

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

Other releases on the SSO Live label, established in 2006, include performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras, Vladimir Ashkenazy and David Robertson. In 2010–11 the orchestra made concert recordings of the complete Mahler symphonies with Ashkenazy, and has also released recordings of Rachmaninoff and Elgar orchestral works on the Exton/Triton labels, as well as numerous recordings on ABC Classics.

This is the second year of David Robertson’s tenure as Chief Conductor and Artistic Director.

DAVID ROBERTSON THE LOWY CHAIR OF

CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

PATRON Professor The Hon. Dame Marie Bashir ad cvo

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

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

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

MUSICIANS

David RobertsonTHE LOWY CHAIR OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

Dene OldingCONCERTMASTER

Andrew HaveronCONCERTMASTER

Toby ThatcherASSISTANT CONDUCTOR SUPPORTED BY CREDIT SUISSE, RACHEL & GEOFFREY O’CONOR AND SYMPHONY SERVICES INTERNATIONAL

FIRST VIOLINS Dene Olding CONCERTMASTER

Sun Yi ASSOCIATE CONCERTMASTER

Kirsten Williams ASSOCIATE CONCERTMASTER

Fiona Ziegler ASSISTANT CONCERTMASTER

Jenny BoothAmber DavisClaire HerrickGeorges LentzEmily LongNicola LewisAlexandra MitchellAlexander NortonLéone ZieglerVictoria Bihun†

Emily Qin°Lucy Warren*Andrew Haveron CONCERTMASTER

Lerida Delbridge ASSISTANT CONCERTMASTER

Sophie Cole

SECOND VIOLINS Kirsty Hilton Marina Marsden Marianne BroadfootEmma Jezek ASSISTANT PRINCIPAL

Freya FranzenShuti HuangBenjamin LiNicole MastersPhilippa PaigeRebecca Gill*Monique Irik°Bridget O'Donnell*Veronique Serret*Brett Yang†

Emma HayesStan W KornelBiyana RozenblitMaja Verunica

VIOLASRoger Benedict Tobias Breider Sandro CostantinoRosemary CurtinJane HazelwoodStuart JohnsonJustine MarsdenAmanda VernerLeonid VolovelskyJacqueline Cronin*Andrew Jezek*James Wannan*Anne-Louise Comerford Justin Williams ASSISTANT PRINCIPAL

Graham HenningsFelicity Tsai

CELLOSUmberto ClericiCatherine Hewgill Leah Lynn ASSISTANT PRINCIPAL

Kristy ConrauTimothy NankervisChristopher PidcockAdrian WallisDavid WickhamRowena Macneish*Rebecca Proietto†

Fenella GillElizabeth Neville

DOUBLE BASSESKees Boersma Neil Brawley PRINCIPAL EMERITUS

David CampbellSteven LarsonRichard LynnBenjamin WardJosef Bisits°John Keene†

Alex Henery David Murray

FLUTES Janet Webb Rosamund PlummerPRINCIPAL PICCOLO

Nicola Crowe†

Emma Sholl Carolyn Harris

OBOESDiana Doherty David PappAlexandre Oguey PRINCIPAL COR ANGLAIS

Shefali Pryor

CLARINETSLawrence Dobell Christopher TingayCraig Wernicke PRINCIPAL BASS CLARINET

Francesco Celata

BASSOONSNicole Tait*Fiona McNamaraNoriko Shimada PRINCIPAL CONTRABASSOON

Melissa Woodroffe*Matthew Wilkie

HORNSBen Jacks Euan HarveyMarnie SebireRachel SilverKara Hahn†Robert Johnson Geoffrey O’Reilly PRINCIPAL 3RD

TRUMPETSDavid Elton Paul Goodchild Anthony HeinrichsJosh Rogan°

TROMBONESScott Kinmont Christopher Harris PRINCIPAL BASS TROMBONE

Iain Faragher†

Ronald Prussing Nick Byrne

TUBASteve Rossé

TIMPANIMark Robinson ASSISTANT PRINCIPAL

Richard Miller

PERCUSSIONRebecca Lagos Timothy ConstableKevin Man*Chiron Meller*

HARP Louise Johnson Genevieve Huppert*

PIANOSusanne Powell*

ORGANDavid Drury*

BOLD = PRINCIPALITALICS = ASSOCIATE PRINCIPAL

° = CONTRACT MUSICIAN

* = GUEST MUSICIAN† = SSO FELLOW

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

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Sydney Symphony Orchestra Staff

BEHIND THE SCENES

MANAGING DIRECTOR

Rory Jeffes

EXECUTIVE TEAM ASSISTANT

Lisa Davies-Galli

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC PLANNING

Benjamin Schwartz

ARTISTIC ADMINISTRATION MANAGER

Eleasha Mah

ARTIST LIAISON MANAGER

Ilmar Leetberg

RECORDING ENTERPRISE MANAGER

Philip Powers

LibraryAnna Cernik Victoria Grant Mary-Ann Mead

LEARNING AND ENGAGEMENT

DIRECTOR OF LEARNING AND ENGAGEMENT

Linda Lorenza

EMERGING ARTISTS PROGRAM MANAGER

Rachel McLarin

EDUCATION MANAGER

Amy Walsh

EDUCATION OFFICER

Tim Walsh

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA MANAGEMENT

Aernout Kerbert

ORCHESTRA MANAGER

Rachel Whealy

ORCHESTRA COORDINATOR

Rosie Marks-Smith

OPERATIONS MANAGER

Kerry-Anne Cook

PRODUCTION MANAGER

Laura Daniel

STAGE MANAGER

Courtney Wilson

PRODUCTION COORDINATORS

Elissa SeedOllie Townsend

SALES AND MARKETING

DIRECTOR OF SALES & MARKETING

Mark J Elliott

MARKETING MANAGER, SUBSCRIPTION SALES

Simon Crossley-Meates

SENIOR SALES & MARKETING MANAGER

Penny Evans

A/ SENIOR SALES & MARKETING MANAGER

Matthew Rive

MARKETING MANAGER, WEB & DIGITAL MEDIA

Eve Le Gall

MARKETING MANAGER, CRM & DATABASE

Matthew Hodge

A/ SALES & MARKETING MANAGER, SINGLE TICKET CAMPAIGNS

Jonathon Symonds

DATABASE ANALYST

David Patrick

SENIOR GRAPHIC DESIGNERChristie Brewster GRAPHIC DESIGNERTessa Conn

SENIOR ONLINE MARKETING COORDINATOR Jenny Sargant

MARKETING ASSISTANTLaura Andrew

Box OfficeMANAGER OF BOX OFFICE SALES &

OPERATIONSLynn McLaughlin

BOX OFFICE SYSTEMS SUPERVISOR Jennifer Laing

BOX OFFICE BUSINESS ADMINISTRATOR John Robertson

CUSTOMER SERVICE REPRESENTATIVES Karen Wagg – CS ManagerMichael Dowling Tim Walsh

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER Yvonne Frindle

EXTERNAL RELATIONSDIRECTOR OF EXTERNAL RELATIONS Yvonne Zammit

PhilanthropyHEAD OF PHILANTHROPY Luke Andrew Gay

PHILANTHROPY MANAGERJennifer Drysdale

PATRONS EXECUTIVESarah Morrisby

PHILANTHROPY COORDINATORClaire Whittle

Corporate RelationsCORPORATE PARTNERSHIPS MANAGER Belinda BessonCORPORATE PARTNERSHIPS EXECUTIVE Paloma Gould

CommunicationsCOMMUNICATIONS & MEDIA MANAGER Bridget Cormack

PUBLICIST Caitlin Benetatos

DIGITAL CONTENT PRODUCERKai Raisbeck

BUSINESS SERVICESDIRECTOR OF FINANCE John Horn

FINANCE MANAGER Ruth Tolentino

ACCOUNTANT Minerva Prescott

ACCOUNTS ASSISTANT Emma Ferrer

PAYROLL OFFICER Laura Soutter

PEOPLE AND CULTUREIN-HOUSE COUNSEL Michel Maree Hryce

Terrey Arcus AM Chairman Ewen Crouch AM

Ross GrantCatherine HewgillJennifer HoyRory JeffesDavid LivingstoneThe Hon. Justice AJ Meagher Goetz Richter

Sydney Symphony Orchestra CouncilGeoff Ainsworth AM

Doug BattersbyChristine BishopThe Hon John Della Bosca MLC

John C Conde aoMichael J Crouch AO

Alan FangErin FlahertyDr Stephen Freiberg Simon JohnsonGary LinnaneHelen Lynch AM

David Maloney AM Justice Jane Mathews AO Danny MayJane MorschelDr Eileen OngAndy PlummerDeirdre Plummer Seamus Robert Quick Paul Salteri AM

Sandra SalteriJuliana SchaefferFred Stein OAM

John van OgtropBrian WhiteRosemary White

HONORARY COUNCIL MEMBERSIta Buttrose AO OBE Donald Hazelwood AO OBE

Yvonne Kenny AM

David Malouf AO

Wendy McCarthy AO

Leo Schofield AM

Peter Weiss AO

Sydney Symphony Orchestra Board

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Chair Patrons

SSO PATRONS

David RobertsonThe Lowy Chair of Chief Conductor and Artistic Director

Roger BenedictPrincipal ViolaKim Williams AM & Catherine Dovey Chair

Kees BoersmaPrincipal Double BassSSO Council Chair

Umberto ClericiPrincipal CelloGarry & Shiva Rich Chair

Timothy ConstablePercussionJustice Jane Mathews AO Chair

Lerida DelbridgeAssistant ConcertmasterSimon Johnson Chair

Lawrence DobellPrincipal ClarinetAnne Arcus & Terrey Arcus AM Chair

Diana DohertyPrincipal OboeAndrew Kaldor AM & Renata Kaldor AO Chair

Richard Gill oam

Artistic Director, DownerTenix DiscoveryPaul Salteri AM & Sandra Salteri Chair

Jane HazelwoodViolaBob & Julie Clampett Chair in memory of Carolyn Clampett

Catherine HewgillPrincipal CelloThe Hon. Justice AJ & Mrs Fran Meagher Chair

Robert JohnsonPrincipal HornJames & Leonie Furber Chair

Elizabeth NevilleCelloRuth & Bob Magid Chair

Shefali PryorAssociate Principal OboeMrs Barbara Murphy Chair

Emma ShollAssociate Principal FluteRobert & Janet Constable Chair

Janet WebbPrincipal FluteHelen Lynch AM & Helen Bauer Chair

Kirsten WilliamsAssociate ConcertmasterI Kallinikos Chair

Maestro’s Circle

David Robertson

Peter Weiss AO Founding President & Doris Weiss

Terrey Arcus AM Chairman & Anne Arcus

Brian Abel

Tom Breen & Rachel Kohn

The Berg Family Foundation

John C Conde AO

Andrew Kaldor AM & Renata Kaldor AO

Vicki Olsson

Roslyn Packer AO

David Robertson & Orli Shaham

Penelope Seidler AM

Mr Fred Street AM & Dorothy Street

Brian White AO & Rosemary White

Ray Wilson OAM in memory of the late James Agapitos OAM

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

FOR INFORMATION ABOUT THE CHAIR PATRONS

PROGRAM, CALL (02) 8215 4625.

n n n n n n n n n n

Timothy Constable joined the SSO Percussion section in 2014. He is also a composer, eletronica producer and singer. Jane Mathews has been following Timothy’s career for some time and is extremely pleased to support his chair. She previously supported the chair of retired SSO percussionist Colin Piper.

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Commissioning CircleSupporting the creation of new works.

ANZAC Centenary Arts and Culture FundGeoff Ainsworth AM

Christine BishopDr John EdmondsAndrew Kaldor AM & Renata Kaldor AO

Jane Mathews AO

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

MAKE A DIFFERENCE

Through their inspired financial support,

Patrons ensure the SSO’s continued

success, resilience and growth. Join the

SSO Patrons Program today and make a

difference.

sydneysymphony.com/patrons(02) 8215 4674philanthropy@sydneysymphony.com

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

Australia-Korea FoundationCrown FoundationThe Greatorex Foundation

Foundations

James N Kirby FoundationPacker Family FoundationIan Potter Foundation

Learning & Engagement

SSO PATRONS

fellowship patronsRobert Albert AO & Elizabeth Albert Flute ChairChristine Bishop Percussion ChairSandra & Neil Burns Clarinet ChairIn Memory of Matthew Krel Violin ChairMrs T Merewether OAM Horn ChairPaul Salteri AM & Sandra Salteri Violin and Viola ChairsMrs W Stening Principal Patron, Cello ChairKim Williams AM & Catherine Dovey Patrons of Roger Benedict,

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

fellowship supporting patronsMr Stephen J BellGary Linnane & Peter BraithwaiteJoan MacKenzie ScholarshipDrs Eileen & Keith OngIn Memory of Geoff White

tuned-up!TunED-Up! is made possible with the generous support of Fred Street AM & Dorothy Street

Additional support provided by:Anne Arcus & Terrey Arcus AM

Ian & Jennifer Burton Ian Dickson & Reg HollowayTony Strachan

major education donorsBronze Patrons & above

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

Sydney Symphony Orchestra 2015 Fellows

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The Sydney Symphony Orchestra gratefully acknowledges the music lovers who donate to the orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs.

Stuart Challender Legacy Society

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

Playing Your Part

DIAMOND PATRONS $50,000+Anne & Terrey Arcus AM

The Estate of Dr Lynn JosephMr Andrew Kaldor AM &

Mrs Renata Kaldor AO

In Memory of Matthew KrelMr Frank Lowy AC &

Mrs Shirley Lowy OAM

Roslyn Packer AO

Ian Potter FoundationPaul Salteri AM & Sandra

SalteriMr Fred Street AM &

Mrs Dorothy Street Mr Peter Weiss AO &

Mrs Doris WeissMr Brian White AO &

Mrs Rosemary White

PLATINUM PATRONS $30,000–$49,999Doug & Alison BattersbyThe Berg Family FoundationTom Breen & Rachael KohnMr John C Conde AO

Robert & Janet ConstableMrs Barbara MurphyMrs W SteningKim Williams AM &

Catherine Dovey 

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

Robert Albert AO & Elizabeth Albert

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

BauerJustice Jane Mathews AO

Mrs T Merewether OAM

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

ShahamMrs Penelope Seidler AM

G & C Solomon in memory of Joan MacKenzie

Geoff StearnRay Wilson OAM in memory

of James Agapitos OAM

Anonymous (2) 

SILVER PATRONS $10,000–$19,999

Bailey Family FoundationAudrey BlundenMr Robert BrakspearMr Robert & Mrs L Alison CarrBob & Julie ClampettMichael Crouch AO &

Shanny CrouchPaul EspieEdward & Diane FedermanNora GoodridgeMr Ross GrantIan Dickson & Reg HollowayEstate of Irwin ImhofSimon JohnsonJames N Kirby FoundationRuth & Bob MagidThe Hon. Justice AJ Meagher

& Mrs Fran MeagherMr John MorschelDrs Keith & Eileen OngKenneth Reed AM

Mr John Symond AM

Mrs Joyce Sproat & Mrs Janet Cooke

The Harry Triguboff Foundation

Caroline WilkinsonAnonymous (3)

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

John Augustus & Kim RyrieStephen J BellDr Hannes & Mrs Barbara

BoshoffMr Alexander & Mrs Vera

BoyarskyPeter Braithwaite &

Gary LinnaneMr David & Mrs Halina BrettIan & Jennifer BurtonMr Howard ConnorsEwen Crouch AM &

Catherine CrouchThe Hon. Mrs Ashley

Dawson-Damer AM

In memory of Dr Lee MacCormick Edwards

Dr Stephen Freiberg & Donald Campbell

Dr Colin GoldschmidtThe Greatorex FoundationRory & Jane JeffesThe late Mrs Isabelle JosephRobert McDougallMr Ervin Katz

Henri W Aram OAM & Robin Aram

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

John Lam-Po-Tang

Peter Lazar AM

Daniel LemesleLouise MillerJames & Elsie MooreDouglas PaisleyKate RobertsMary Vallentine AO

Ray Wilson OAM

Anonymous (10)

Stuart Challender, SSO Chief Conductor and Artistic Director 1987–1991

bequest donors

We gratefully acknowledge donors who have left a bequest to the SSO.

The late Mrs Lenore AdamsonEstate of Carolyn ClampertEstate Of Jonathan Earl William ClarkEstate of Colin T EnderbyEstate of Mrs E HerrmanEstate of Irwin ImhofThe late Mrs Isabelle JosephThe Estate of Dr Lynn JosephThe Late Greta C RyanJune & Alan Woods Family Bequest

IF YOU WOULD LIKE MORE INFORMATION ON

MAKING A BEQUEST TO THE SSO, PLEASE

CONTACT LUKE GAY ON 8215 4625.

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BRONZE PATRONS CONTINUED

J A McKernanDavid Maloney AM &

Erin FlahertyR & S Maple-BrownMora MaxwellWilliam McIlrath Charitable

FoundationTaine MoufarrigeNexus ITJohn & Akky van OgtropSeamus Robert QuickChris Robertson &

Katharine ShawRodney Rosenblum AM &

Sylvia RosenblumDr Evelyn RoyalManfred & Linda SalamonTony StrachanDavid Tudehope & Liz DibbsMr Robert & Mrs Rosemary

WalshWestpac GroupMichael & Mary Whelan TrustIn memory of Geoff WhiteJune & Alan Woods Family

BequestAnonymous (2) 

PRESTO PATRONS $2,500–$4,999

Ian BradyMr Mark Bryant oamIta Buttrose AO OBE

Mrs Stella ChenDr Joanna CheungDr Rebecca ChinDr Diana Choquette &

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

Mrs Claudia Rossi-HudsonProf. Andrew Korda am &

Ms Susan PearsonIn memoriam

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

Mr Ervin Vidor AM & Mrs Charlotte Vidor

Lang Walker AO & Sue WalkerYim Family Foundation Anonymous (1)

VIVACE PATRONS $1,000–$2,499

Mrs Lenore AdamsonMrs Antoinette AlbertRae & David AllenAndrew Andersons AO

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

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

Maxwell Connery OAM

Mr Phillip CornwellDebby Cramer & Bill CaukillMr John Cunningham SCM &

Mrs Margaret CunninghamGreta DavisLisa & Miro DavisElizabeth DonatiProf. & Mrs John EdmondsMalcolm Ellis & Erin O’NeillMrs Margaret EppsMr Matt GarrettVivienne Goldschmidt &

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

Althea HallidayJanette HamiltonMrs Jennifer HershonAngus HoldenMr Kevin Holland &

Mrs Roslyn AndrewsThe Hon. David Hunt AO QC &

Mrs Margaret HuntDr & Mrs Michael HunterMr Philip Isaacs OAM

Michael & Anna JoelMrs W G KeighleyJennifer KingAron KleinlehrerMr Justin LamMr Peter Lazar AM

Professor Winston LiauwAirdrie LloydMrs Juliet LockhartPeter Lowry OAM &

Dr Carolyn Lowry OAM

Kevin & Deirdre McCannIan & Pam McGawMatthew McInnesMacquarie Group FoundationBarbara MaidmentJohn Mar

Renee MarkovicMr Danny R MayI MerrickHenry & Ursula MooserMilja & David MorrisMrs J MulveneyMr Darrol NormanE J NuffieldDr Mike O’Connor AM

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

PottingerThe Hon. Dr Rodney Purvis AM &

Mrs Marian PurvisDr Raffi Qasabian & Dr John

WynterMr Patrick Quinn-GrahamErnest & Judith RapeePatricia H Reid Endowment

Pty LtdIn memory of Katherine

RobertsonMr David RobinsonTim RogersDr Colin RoseMr Shah RusitiIn memory of H St P ScarlettGeorge & Mary ShadMr Samuel F ShefferDavid & Alison ShilligtonDr Judy SoperMrs Judith SouthamMs Barbara SpencerMrs Elizabeth SquairCatherine StephenThe Hon. Brian Sully QC

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

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

BaulderstoneJerry WhitcombDr Richard T WhiteMrs Leonore WhyteA Willmers & R PalBetty WilkenfeldProf. Neville Wills &

Ian FenwickeAnn & Brooks C Wilson AM

Dr Richard WingDr Peter Wong &

Mrs Emmy K WongGeoff Wood & Melissa Waites

Sir Robert WoodsMr & Mrs Lindsay WoolveridgeIn memory of Lorna WrightMrs Robin YabsleyDr John YuAnonymous (13)

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

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

Mrs CampbellJudy ChiddyMichael & Natalie CoatesDr Peter CraswellMr David CrossDr David DixonSusan DoenauDana DupereDr Nita DurhamJohn FavaloroMrs Lesley FinnMs Julie Flynn & Mr Trevor

CookMrs Paula FlynnMs Lynne FrolichMr John GadenClive & Jenny GoodwinMr Geoffrey GreenwellRichard Griffin AM

Dr Jan GroseIn memory of Beth HarpleyBenjamin Hasic &

Belinda DavieMr Robert HavardMrs Joan HenleyRoger HenningSue HewittDorothy Hoddinott AO

Bill & Pam HughesMs Cynthia KayeDr Andrew Kennedy

Playing Your Part

SSO PATRONS

29

Mrs Margaret KeoghDr Henry KilhamDr Joyce KirkMrs Patricia KleinhansAnna-Lisa KlettenbergSonia LalL M B LampratiDr Barry LandaElaine M LangshawDr Leo & Mrs Shirley LeaderMargaret LedermanMrs Erna LevyMrs A LohanMr Gabriel LopataPanee LowMelvyn MadiganMs Jolanta MasojadaMr Guido MayerLouise MillerKenneth Newton MitchellMrs Judith MortonMr Graham NorthMr Sead NurkicDr A J PalmerMr Michael O'BrienDr Kevin PedemontDr Natalie E PelhamErika PidcockDr John PittJohn Porter & Annie

Wesley-SmithMrs Greeba PritchardMichael QuaileyMiss Julie RadosavljevicRenaissance ToursDr Marilyn RichardsonJanelle RostronMrs Christine Rowell-MillerMrs Louise RowstonJorie Ryan for Meredith RyanMr Kenneth RyanMs Donna St Clair

VANGUARD COLLECTIVEJustin Di Lollo ChairBelinda BentleyOscar McMahonTaine Moufarrige

Founding PatronShefali PryorSeamus R Quick

Founding PatronChris Robertson & Katherine

Shaw Founding Patrons

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

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

SSO Vanguard

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

Garry Scarf & Morgie BlaxillPeter & Virginia ShawJudge David S ShillingtonMrs Diane Shteinman AM

Mrs Solange ShulzVictoria SmythDoug & Judy SotherenColin SpencerJames & Alice SpigelmanFred & May SteinAshley & Aveen StephensonMargaret & William SuthersDr Jenepher ThomasMrs Caroline ThompsonPeter & Jane ThorntonMs Rhonda TingAlma TooheyMrs M TurkingtonGillian Turner & Rob BishopRoss TzannesMr Robert VeelRonald WalledgeIn memory of Denis WallisIn memoriam JBL WattMiss Roslyn WheelerThe Wilkinson FamilyEdward & Yvonne WillsDr Edward J WillsYetty WindtMr Evan WongAnonymous (35)

SSO Patrons pages correct as of 4 May 2015

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30

SALUTE

The Sydney Symphony Orchestra is assisted by the Commonwealth

Government through the Australia Council, its arts funding and

advisory body

GOVERNMENT PARTNERS

The Sydney Symphony Orchestra is

assisted by the NSW Government

through Arts NSW

PRINCIPAL PARTNER

EDUCATION PARTNERPLATINUM PARTNER

REGIONAL TOUR PARTNER MARKETING PARTNERVANGUARD PARTNER

PREMIER PARTNER

SILVER PARTNERS

s i n f i n i m u s i c . c o m

UNIVERSAL MUSIC AUSTRALIA

MAJOR PARTNERS

GOLD PARTNERS

Salute 2015_April_#16+.indd 1 15/05/15 12:01 PM