2 012 S E A S O N S P E C I A L E V E N T

WELCOME

We at Credit Suisse warmly welcome you to this screening of The Lord of the Rings: The Two Towers, accompanied by the Sydney Symphony live on stage at the Sydney Opera House.

The response to the Sydney Symphony’s presentation of The Fellowship of the Ring in 2011 was universally positive. We are certain that everyone here in the Concert Hall shared our delight when the orchestra included the second instalment of this epic trilogy in its busy 80th anniversary season.

Film today continues to provide music with vibrant and memorable new compositions. The works of Howard Shore, John Williams and Hans Zimmer have delighted many millions of fi lm goers and music lovers. A performance such as this recalls the times when orchestras routinely performed live in movie theatres, and promises to bring us a new dimension to both Peter Jackson’s fi lm and Howard Shore’s spectacular musical score.

We are thrilled to be involved in such an innovative approach to the presentation of orchestral music, which is bound to capture the imagination.

We hope that you enjoy the performance.

David LivingstoneChief Executive Offi cerCredit Suisse, Australia

special eventpremier partner credit suisseFriday 27 July, 7pmSaturday 28 July, 7pmSunday 29 July, 2pmSydney Opera House Concert Hall

2012 season

The Lord of the Rings: The Two TowersLudwig Wicki CONDUCTOR

Clara Sanabras VOCALS

Sebastian Pini BOY SOPRANO

Sydney Philharmonia ChoirsSydney Children’s Choir

Academy Award winner Howard Shore’s scoreperformed live to Peter Jackson’s epic motion picture

Pre-concert talk by Robert Murray in the Northern Foyer, 45 minutes before each performance. Visit bit.ly/SSOspeakerbios for speaker biographies.

The presentation will conclude at 10.20pm (Friday and Saturday) and 5.20pm (Sunday).

PART I

GlamdringElven RopeUglúk’s WarriorsThe Three HuntersThe Banishment of ÉomerNight CampThe Plains of RohanFangornThe Dead Marshes“Wraiths on Wings”Gandalf the WhiteEdorasThe Court of MeduseldThéoden KingThe Forests of Ithilien

INTERVAL

PART II

One of the DúnedainThe Wolves of IsengardRefuge at Helm’s DeepVoice of SarumanArwen’s FateThe Story ForetoldFaramir’s Good CounselAragorn’s ReturnWar is Upon Us“Where is the Horse and the Rider?”The Host of the EldarThe Battle of the HornburgThe Breach of the Deeping WallThe Entmoot DecidesRetreatMaster Peregrin’s PlanThe Last March of the EntsThéoden Rides ForthThe Tales That Really Matter

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Viggo Mortensen as Aragorn

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Ian McKellan as Gandalf the White

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INTRODUCTION

The Lord of the Rings: The Two TowersOriginal score composed by Howard Shore

Composer Howard Shore’s score to The Lord of the Rings: The Fellowship of the Ring introduced audiences to J.R.R. Tolkien’s Middle-earth and its resident cultures. In the saga’s second chapter, The Two Towers, the world has darkened, cloaked beneath the advancing shadow of Mordor and the threat of the evil One Ring.

The Two Towers opens with the Fellowship of the Ring broken three ways. Yet even as the band is pulled apart, Middle-earth’s cultures begin drawing together. So begins the gradual commingling of civilisations, as neatly compartmentalised social structures are dissolved, cultural strata are folded inwards and the free people of Middle-earth respond to the growing power of Mordor. The Two Towers score presents a more complex musical world than The Fellowship of the Ring. ‘The Fellowship of the Ring ends with the breaking of the Fellowship,’ says Shore. ‘The Two Towers follows the fragments – the shards of the Fellowship. Three distinct stories are being told linearly now.’

In The Two Towers Shore develops the themes introduced in The Fellowship of the Ring and debuts fi gures for new cultures and characters – but it is the strengthening relationships within the amassed material that illustrates the increasingly entangled plight of Middle-earth. The Shire’s themes, for example, are carried by Merry and Pippin into Fangorn Forest, where they mix with the austere music of the tree-herding Ents. The Ents relate to the cleansing waves of the Nature’s Reclamation theme, the purity of which is embodied in the voice of a boy soprano – the same vocal sound with which the Seduction of the Ring lures its victims. The One Ring’s principal motif, the History of the Ring, mixes with the Pity of Gollum as the wretched, obsessive creature leads Sam and Frodo – and his Precious – ever closer to Mordor. Sauron’s arsenal of material looms on the horizon, fl aring and rearing up behind the blunt pestle of the Isengard music, which sprawls across Middle-earth’s plains, assailing the new Rohan Fanfare. The nobly braided Rohan music, in turn, fi nds an impressive ally: the Fellowship theme, now representing a reduced coalition of Man, Elf, Dwarf and Wizard.

And so the connections continue, worlds of musical material circling and intertwining to create a vast ring of related themes. Across the grey slopes of Middle-earth, dusk deepens…

DOUG ADAMS

Doug Adams is a Chicago-based musician and writer. He is the author of The Music of the Lord of the Rings Films.

…circling and intertwining to create a vast ring of related themes.

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ABOUT THE MUSIC

The Themes of The Lord of the Rings: The Two Towers

Notes by Doug Adams

The One RingThe One Ring is the story’s most proactive element. It has three distinct themes to represent its multi-dimensional nature.

The History of the RingIn each fi lm, this theme is fi rst heard as “The Lord of the Rings” text appears, and reappears whenever the One Ring changes hands or marks signifi cant progress in its journey. In The Two Towers The History of the Ring intertwines with Gollum’s Pity theme to illustrate his besetting obsession with the Ring.

The Seduction of the RingThis theme, set in pure, clean choral tones and punctuated by rumbling bass drum strokes, represents the One Ring’s overwhelming allure.

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Orlando Bloom as Legolas Miranda Otto as Éowyn, sister-daughter of King Théoden and a shieldmaiden of Rohan.

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The Evil of the Ring (Mordor/Sauron)The third theme for the One Ring is an impervious snarl, limited to only four or fi ve pitches, and unwavering in its focus. As with the other ancient powers of Middle-earth, Shore treats this theme to Eastern-tinted harmonic infl ections suggesting a past age.

The Shire and the Hobbits This theme is composed of basic and unadorned musical elements. The diatonic melody hints at a simple pentatonic scale while the harmonies present only a sensitive handful of chord changes. Because this tune is so simply and fl exibly constructed, Shore is able to create several distinct variations out of the material. The reserved Pensive Setting and solemn Hymn Setting follow Frodo and Sam along their draining journey. More upbeat Playful and Lullaby variations join Merry and Pippin in Fangorn Forest. But in the end it is the more fully developed Hobbit’s Understanding line that speaks of the hobbits’ innate decency and perseverance.

GollumThe Pity of Gollum (Sméagol’s Theme)The enfolding triads of this melody represent Gollum’s wretched state of existence. By the end of The Two Towers they are reorganised and developed into Gollum’s Song, an upsetting articulation of Gollum’s warped psyche and his intentions towards the hobbits.

Gollum’s MenaceIn The Fellowship of the Ring, the Shire’s music included, among other Celtic sounds, the hammered dulcimer. In The Two Towers the cimbalom, a distant relative of the dulcimer, represents Gollum’s heritage with twitchy chromatic fi gures. Eventually, the cimbalom becomes so strongly associated with Gollum that it appears alongside him, even when Gollum’s Menace does not.

The ElvesLothlórienThe Lothlórien theme fi rst appears in The Two Towers as a mysterious air aloft Galadriel’s concerned voice. It reappears, transformed into a militaristic anthem, when the elvish archers arrive at Helm’s Deep.

RivendellRivendell’s theme bears a pronounced sadness in The Two Towers. The curving arpeggios conveyed a sense of age and wisdom in Fellowship. But the Elves are departing Middle-earth, and Arwen must choose between her immortality and her love for Aragorn.

…a mysterious air aloft Galadriel’s concerned voice.

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The DwarvesThe stout, gruff music of the Dwarves makes a quick cameo appearance in The Two Towers. During the fi lm’s opening, which occurs during the Fellowship’s fi nal moments in Moria, Howard Shore returns to the parallel harmonies and percussive choral writing native to the Dwarves’ stone halls.

The World of Men: RohanThe Rohirrim’s love for their land is embedded in every turn of phrase present in their theme. The songful melody is equally at home in proclamatory brass or the intense, thoughtful strains of the Hardanger, a Norwegian fi ddle.

The Fellowship of the RingThe Fellowship of the Ring was broken at the end of the fi rst fi lm. The Two Towers fi nds the members of the Fellowship scattered, but no less determined. Likewise, the Fellowship theme lacks the weight and heroism it once displayed, but it braves adversity unwaveringly.

IsengardTolkien scholars have long designated the confl icting goals of the industrial and natural worlds as one of the major dramatic themes in The Lord of the Rings, and Shore’s material follows suit with Isengard’s asymmetrically mechanical music.

Isengard/Orc ThemeThis is Isengard’s equivalent of the Fellowship theme, defying its burnished heroism with a sinewy show of impious force. It’s generally scored for low brass in their deepest registers. Like Isengard’s vicious culture, this theme is free of any artifi ce or decoration.

Five-Beat PatternIt is the Five-Beat Pattern that most often represents Isengard’s presence in the fi lm. This thunderous, hammering rhythm is scored for collections of metal bell plates, anvils, bass drum, Japanese taiko drum, and metal chains beating the strings inside a piano. In The Two Towers this malleable fi gure works its way deep inside opposing thematic material, attempting – virus-like – to corrupt and overpower.

MordorWhere the Shire’s music is familiar and warmly inviting, Mordor’s is morbid, threatening and sinister. This music favours low strings and the deepest registers of brass, fused to create a thick fog of overtones. Mixed choruses erupt into primal rhythms with abnormally close-spaced harmonies for a towering, ritualistic eff ect.

…thunderous, hammering rhythm…

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Mordor/Sauron (The Evil of the Ring)The primary motif for Barad-dûr and Sauron is identical to the One Ring’s Evil theme. (The three are practically interchangeable story elements.) Shore uses this theme to portray the Ring’s ‘character’, but it also represents its eff ect upon the world.

The EntsAppropriately, the Ents are represented by the wooden voices of the orchestra: bassoons, low strings, log drums and bass marimba. The rigid melody turns paired pitches back and forth, towards and away from each other, swaying to-and-fro like windblown branches.

Nature’s ReclamationThe Nature music spends most of its existence resisting outward manifestations of emotion. It is rarely angry or vengeful. It is, instead, ethereal and restrained – resolute, perhaps, but as a musical balm for the imbalances in Middle-earth. But as the Orc themes infect the musical landscape of Middle-earth, Nature’s Reclamation is spurred to action. The Ents’ march on Isengard introduces a grand manifestation of Nature’s will. Nature, of course, is a timeless force, and so the theme remains vocal and step-wise, but now summoned into great swelling choral blocks accompanied by stern strings, winds and martial percussion. The music rises ceaselessly, ebbing and fl owing, and ultimately overcoming Isengard’s percussive attacks through sheer force of presence.

Original text © 2006, 2009 by DOUG ADAMS

www.musicofl otr.com

Sean Astin as Samwise Gamgee and Elijah Wood as Frodo Baggins – the two hobbits must continue their quest into Mordor alone.

…a musical balm for the imbalances in Middle-earth.

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ABOUT THE CREATORS

Howard Shore COMPOSER

Howard Shore is among today’s most respected, honoured and active composers and conductors. His work with Peter Jackson on The Lord of the Rings trilogy stands as his most towering achievement to date, earning him three Academy Awards. He has also been honoured with four Grammy and three Golden Globe awards. He was one of the original creators of Saturday Night Live; serving as the music director on the show from 1975 to 1980. At the same time, he began collaborating with David Cronenberg and has scored 13 of the director’s fi lms, including The Fly, Crash and Naked Lunch. His original scores to Dead Ringers, Eastern Promises and A Dangerous Method were each honoured with a Genie Award. Shore continues to distinguish himself with a wide range of projects, from Martin Scorsese’s fi lms The Departed, The Aviator and Gangs of New York, to Ed Wood, The Silence of the Lambs, Philadelphia and Mrs Doubtfi re.

Howard Shore’s music has been performed in concerts throughout the world. In 2003, he conducted the New Zealand Symphony Orchestra and Chorus in the world premiere of The Lord of the Rings Symphony in Wellington. Since then, the work has had over 140 performances by the world’s most prestigious orchestras.

In 2008, his opera The Fly premiered at the Théâtre du Châtelet in Paris and at Los Angeles Opera. Other recent works include Fanfare for the Wanamaker Organ in Philadelphia and the piano concerto Ruin and Memory for Lang Lang, premiered in Beijing in 2010. He is currently working on his second opera and looks forward to a return to Middle-earth with J.R.R. Tolkien’s The Hobbit.

Howard Shore received the Career Achievement for Music Composition Award from the National Board of Review of Motion Pictures and New York Chapter’s Recording Academy Honors, ASCAP’s Henry Mancini Award, the Frederick Loewe Award and the Max Steiner Award from the city of Vienna. He holds honorary doctorates from Berklee College of Music and York University, he is an Offi cier de l’Ordre des Arts et des Lettres de la France and the recipient of the Canadian Governor General’s Performing Arts Award.

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Film CreditsNew Line Cinema presents a Wingnut Films Production, The Lord of the Rings: The Two Towers. The film is directed by Peter Jackson from a screenplay by Fran Walsh, Philippa Boyens, Stephen Sinclair and Peter Jackson based on the book by J.R.R. Tolkien. The producers are Barrie M. Osborne, Peter Jackson and Fran Walsh. The executive producers are Robert Shaye and Michael Lynne. Also executive producing are Mark Ordesky, Bob Weinstein and Harvey Weinstein. The director of photography is Andrew Lesnie, A.C.S. The production designer is Grant Major. The editor is John Gilbert. The co-producers are Rick Porras and Jamie Selkirk.

The film stars Elijah Wood, Ian McKellen, Sean Astin, Viggo Mortensen, Dominic Monaghan, Billy Boyd, Orlando Bloom, John Rhys-Davies, Christopher Lee, Bernard Hill, Mirando Otto, Karl Urban, Brad Dourif, Hugo Weaving, Liv Tyler, David Wenham and Cate Blanchett, and featuring Sean Bean as Boromir and Andy Serkis as Gollum. The cast also includes Craig Parker, John Leigh, Bruce Hopkins and John Bach.

Casting is by John Hubbard & Amy MacLean (UK), Victoria Burrows (US), Liz Mullane (New Zealand) and Ann Robinson (Australia). Costume designers are Ngila Dickson and Richard Taylor. Music is composed, orchestrated and conducted by Howard Shore. Special makeup, creatures, armour and miniatures are by Richard Taylor. Jim Rygiel is the visual effects supervisor. The film is released worldwide by New Line Cinema. www.lordoftherings.net

Fran Walsh LYRICIST

In 2004, Fran Walsh was awarded Academy Awards for Best Adapted Screenplay, Best Original Song, and Best Picture for The Lord of the Rings: The Return of the King. For her work co-writing The Lord of the Rings: The Fellowship of the Ring, she was nominated for an Oscar, a British Academy of Film and Television Arts award and Writers Guild of America Screen Award, and (together with Peter Jackson, Barrie Osborne and Tim Sanders) won the AFI Film Award. Fran Walsh fi rst garnered an Academy Award nomination for Best Screenplay for the feature Heavenly Creatures, which she wrote with her collaborator Peter Jackson. Her background is in music and she began her writing career soon after leaving Victoria University where she majored in English Literature.

Philippa Boyens WRITER

Since being named by Variety in their list of Ten Writers to Watch in 2000, Philippa Boyens, who made her debut as a screenwriter with The Lord of the Rings trilogy, has won an Academy Award for Best Adapted Screenplay for The Lord of the Rings: The Return of the King and was previously nominated for an Oscar, a British Academy of Film and Television Arts Award and a Writers Guild of America Award, among others. Philippa Boyens has worked in theatre as a playwright, teacher, producer and editor. She moved to fi lm via a stint as Director of the New Zealand Writers Guild. Her love of J.R.R. Tolkien’s work brought her to this project, having been a fan since she was eleven years old.

Peter Jackson DIRECTOR

Peter Jackson made cinema history in making The Lord of the Rings fi lm trilogy, comprising nine hours of a continuous cinema. The fi lms have become a cross-cultural phenomenon worldwide, not only embracing the respect of established Tolkien fans and scholars, but introducing young audiences to Tolkien’s classic novels. Peter Jackson was awarded three Academy Awards for Best Director, Best Picture and Best Adapted Screenplay for The Lord of the Rings: The Return of the King.

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Ludwig Wicki CONDUCTOR

A native of Lucerne, Ludwig Wicki grew up in a musical environment infl uenced by church and folk music. He initially studied trombone and became a member of the Lucerne Symphony Orchestra, eventually expanding his studies to include conducting. After several years at the music school in Bern, he continued his education with Cantor Martin Flämig and Donato Renzetti. During this period he also founded the Lucerne Philharmonic Brass Quintet, and following the success of the ensemble’s recordings, he was invited to play with the Empire Brass Quintet at Tanglewood. As a baroque trombonist, he frequently performed with various period instrument ensembles, collaborating with such luminaries as Andrew Parrott, Nikolaus Harnoncourt, Jeremy West and Simon Standage.

As a conductor, Ludwig Wicki enjoys working with a variety of musical genres. In his role as chorusmaster of the Lucerne Abbey Court Church, his repertoire ranges from Gregorian chants to contemporary sacred music, while his orchestral concerts feature late Romantic, Impressionist and 20th-century works by composers such as Stravinsky and Schoenberg.

His long-standing passion for fi lm music was fulfi lled in 1999 with the creation of the 21st Century Orchestra. This professional ensemble, which he leads as its sole artistic Director, currently off ers about ten performance-screenings each season, and has developed partnerships with renowned fi lm composers, including Howard Shore, Randy Newman, Martin Böttcher, and George Fenton. The 21st Century Orchestra also accompanies silent classics by Charlie Chaplin and Buster Keaton, as well as cult fi lms, such as Nosferatu.

In 2008 Ludwig Wicki conducted the 21st Century Orchestra for the premiere of The Fellowship of the Ring at the Lucerne Concert Hall (KKL). This was the fi rst complete live performance of the original fi lm music for the fi rst part of the Lord of the Rings trilogy. He has subsequently conducted the work in Munich, Washington (Wolftrap), Lyon, London, New York and other cities, as well as in Sydney in 2011.

Ludwig Wicki teaches chamber music and conducting at the conservatories in Lucerne and Bern. In 2007 he was honoured by the city of Lucerne for his accomplishments as a musician and educator.

ABOUT THE ARTISTS

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Clara Sanabras VOCALIST

Born in France, raised in Barcelona and now a Londoner, Clara Sanabras is one of the most original artists to emerge from the East London scene, with music-making as varied as her background. Classically trained, she has worked in early music, world music, jazz, folk and contemporary, and she accompanies herself on a diverse collection of instruments, including baroque guitar, oud, charango and Indian harmonium.

She has appeared at many international festivals, including Glastonbury 2011, the London Jazz Festival and Womad, and has mingled with artists from all disciplines. Her collaborations include James Newton-Howard (Snow White and the Huntsman), Jocelyn Pook, Alberto Iglesias, Natacha Atlas, The Harp Consort (Andrew Lawrence King), composer John Rutter, Jarvis Cocker, Theatre of Voices, London Voices, Charivari Agréable, Israel Camerata, eX Ensemble, The Dufay Collective, and she has appeared with the Royal Philharmonic Orchestra and the Orchestra of the Age of Enlightenment.

Clara Sanabras has an impressive discography, and her broadcast, theatre and screen credits include an appearance on screen alongside Al Pacino in The Merchant of Venice (Mike Radford, 2004), on stage with director Nicholas Hytner at the National Theatre, with Bill Nighy in the BBC Radio 3 play The Don and in concert under the guidance of Karlheinz Stockhausen. She is also the featured singer in the movie Cristiada about the Mexican Cristeros War, with music by James Horner of Titanic fame.

She burst into the global music scene in 2006, with the album Clara & The Real Lowdown (Smudged Discs), produced by Harvey Brough and featuring The Real Lowdown, a collective of the fi nest folk, jazz and world musicians in London. Since then, they’ve recorded another two albums: Hopetown House and The Emblem, and are working on Songs of Spanish Exile.

www.clarasanabras.co.uk

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MORE MUSIC

Selected Discography and Further ReadingTHE LORD OF THE RINGSThe complete recordings of Howard Shore’s music for The Lord of the Rings (with, for the most part, the London Philharmonic Orchestra) are available on the Reprise label.REPRISE 49454-2 (THE FELLOWSHIP OF THE RING)REPRISE 44376-2 (THE TWO TOWERS)REPRISE 162044-2 (THE RETURN OF THE KING)

Author Doug Adams has made a thorough and authoritative analysis of Howard Shore’s soundtrack for the trilogy, The Music of the Lord of the Rings Films. Defi nitely a fi rst stop for anyone wanting to explore this music in depth.www.musicofl otr.com

A truly dedicated enthusiast, Marilynn Miller, has compiled an unoffi cial website with a wealth of information about The Lord of the Rings movie soundtracks. A Magpie’s Nest, LOTR – check it out:www.amagpiesnest.com

And visit Howard Shore’s website for links to sheet music and to recordings of his other fi lm soundtracks.www.howardshore.com

A special extended trilogy edition of Jackson’s Lord of the Rings (12-DVD set) is available in Australia from Roadshow. The individual movies from the trilogy are also available on Blu-ray disc.

Finally, for another take – musical and dramatic – on The Lord of the Rings, seek out the BBC Radio dramatisation from 1981, available in a 13-CD set. The performances feature Ian Holm (as Frodo in this version) and Michael Horden (Gandalf ), with music by Stephen Oliver. Available from ABC shops.

Broadcast Diary

August

abc.net.au/classic

Saturday 11 August, 2pmwagner under the sailsSimone Young conductorChristine Brewer sopranoA recreation of all-Wagner program of the offi cial opening concert of the Sydney Opera House in 1973.

Monday 20 August, 1.05pmthe dream of gerontiusVladimir Ashkenazy conductorLilli Paasikivi mezzo-sopranoMark Tucker tenorDavid Wilson-Johnson baritoneSydney Philharmonia ChoirsElgar

Fine Music 102.5sydney symphony 2012Tuesday 14 August, 6pm

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

Fine Music is the new name for the station previously known as 2MBS (Music Broadcasting Society), transmitting on 102.5FM and streaming online from www.FineMusicFM.com

Webcasts

Selected Sydney Symphony concerts are webcast live on BigPond and Telstra T-box and made available for later viewing On Demand. Our latest webcast:kalkadunguVisit: bigpondmusic.com/sydneysymphony

Live webcasts can also be viewed via our mobile app.

Sydney Symphony Online

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Sydney Children’s Choir

The Sydney Children’s Choir has built a worldwide reputation for choral excellence, inspiring audiences with a distinctive Australian choral sound. Under the direction of founder Lyn Williams oam, the choir has commissioned more than 100 new Australian works and performs a signifi cant number of Australian compositions. The choir has toured extensively throughout Australia and Indonesia, Singapore, Finland, Estonia, France, the United Kingdom and Japan. In 2010, the choir celebrated its 21st birthday with a gala concert at the Sydney Opera House and a tour to China. In 2011 the choir performed in the YouTube Symphony Orchestra project conducted by Michael Tilson Thomas, and recorded the Sydney New Year’s Eve Anthem. The choir regularly performs with the Sydney Symphony, most recently in Mahler’s Third and Eighth symphonies, conducted by Vladimir Ashkenazy, and in The Fellowship of the Ring. The choir appears on the soundtracks of Moulin Rouge, Happy Feet and Australia, and on their CD Voices of Angels. www.sydneychildrenschoir.com.au

Lyn Williams OAM artistic director & founder, gondwana choirsLyn Williams is Australia’s leading director of choirs for young people, having founded the internationally renowned Gondwana Choirs. Since 1989, Gondwana Choirs has grown to include the Sydney Children’s Choir, Gondwana National Choirs and Gondwana National Indigenous Children’s Choir. Her exceptional skill in working with young people is recognised for its high artistic quality and ground-breaking innovation. She frequently directs and conducts for major events, tours internationally with her choirs, and has conducted the Sydney, Adelaide, Melbourne symphony orchestras, Australian Chamber Orchestra, Australian Youth Orchestra and Sydney Philharmonia Choirs. In 2004 she was awarded a Medal of the Order of Australia in recognition of her services to the Arts, and in 2006 the NSW State Award (Classical Music Awards) for her contribution to the advancement of Australian music. Lyn Williams is a Churchill Fellow and also a composer.

Sydney Children’s ChoirLyn Williams oam Artistic Director & FounderLuke Byrne Choral PreparationSally Whitwell Pianist

Hywel Sims General ManagerJohn Nolan Artistic AdministratorJocelyn O’Brien Choir Manager

Mia-Louise AdcockRhiona-Jade ArmontNeil BakerAlex BruceAlison CampbellCourtney ChongIhnteck ChungLeona CohenIsaac DavisMarta DavisStella Davy

Timothy DuttonMarianna EbersollMatilda ElliottAnnelise HallBeth Harper-KingChloe HartAbel HofflinVictoria HofflinMiranda IlchefRebecca JohnsonSophia Kalo

Vincent KerinHelena KerteszEleanor KozakReuben LangbeinTabitha LeeMarley LiyanagamaJemima LorenzOwen MacNamaraChad MartinLachlan MasseyEve McEwen

Rebecca O’HanlonDaniel PicardMadeleine PicardSebastian Pini*Gabi Powell-ThomasSofie RejtoAriana RicciLara Rogerson-WoodTimothy SampsonMackenzie ShawAmelia Smiles

Zoe TaylorJill TermaatBeatrice TuckerVanilla TupuGeneva WalkerEdie WarneJacqui WesiakIndiana WilliamsSelina Williamson* Soloist

ABOUT THE ARTISTS

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Sydney Philharmonia Choirs

Formed in 1920, Sydney Philharmonia Choirs is Australia’s largest choral organisation. The three principal choirs – the Chamber Singers, Symphony Chorus and the young adult choir VOX – perform a diverse repertoire each year, ranging from early a cappella works to challenging contemporary music. Sydney Philharmonia Choirs presents an annual concert series of choral masterpieces, and has premiered several commissioned works, most recently Peter Sculthorpe’s To Music. In 2002, Sydney Philharmonia was the fi rst Australian choir to sing at the BBC Proms (Mahler’s Eighth Symphony under Simon Rattle), returning again in 2010. Other highlights have included Beethoven’s Ninth for the Nagano Winter Olympics, concerts with Barbra Streisand and Britten’s War Requiem at the 2007 Perth Festival. Appearances with the Sydney Symphony have included Mahler’s Eighth for the Olympic Arts Festival (2000), Stravinsky’s Oedipus Rex and Symphony of Psalms, ‘Midsummer Shakespeare’ (2011 Sydney Festival), the choral symphonies in Ashkenazy’s Mahler Odyssey (2010–11), and most recently Mozart’s Requiem.

Brett Weymark artistic and musical directorBrett Weymark studied singing at the University of Sydney and conducting at the Sydney Conservatorium. In 2003 he was appointed Musical Director of Sydney Philharmonia Choirs. He has conducted the choirs in premieres of works by composers such as Elena Kats-Chernin and Peter Sculthorpe, and has also prepared the choirs for concerts with conductors such as Charles Mackerras, Charles Dutoit and Simon Rattle. Most recently, he has conducted Die Fledermaus at the Western Australian Academy of Performing Arts and Symphony in the Domain for the 2012 Sydney Festival, and this season he conducts the OzOpera tour of Don Giovanni and returns to WAAPA to conduct Goetz’s Taming of the Shrew.

Elizabeth Scott musical director, voxElizabeth Scott graduated from the Sydney Conservatorium of Music in 1995 as a fl ute major and then studied choral conducting, vocal performance and aural training in Hungary and Germany. Before her appointment as Musical Director of VOX, she was the Sydney Philharmonia’s Assistant Chorusmaster (2006–2008). She is also Associate Conductor of Sydney Chamber Choir and a guest choral director of Coro Innominata, Macquarie University Singers and Orpheus Choral Music, among others. She is Music Projects Offi cer at The Arts Unit, a specialist branch of the Department of Education and Training, and Director of Vocal and Choral Studies at the Conservatorium High School. She has participated in the Symphony Australia Conductor Development Program, and in 2008 received the Sydney Choral Symposium Foundation Choral Conducting Scholarship. Elizabeth Scott sings with Cantillation and has performed with Pinchgut Opera and The Song Company.

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To find about Sydney Philharmonia concerts or joining one of the choirs, visit www.sydneyphilharmonia.com.au

Brett Weymark Artistic and Musical DirectorAtul Joshi General ManagerElizabeth Scott ChorusmasterLuke Byrne Rehearsal pianist

Publishing Rights CreditsAll Compositions by Howard Shore (ASCAP) except:“Evenstar” featured in “One of the Dúnedain” Music by Howard Shore, Lyrics by J.R.R. Tolkien, translated into Sindarin by David Salo.“The Grace of the Valar” known as “Breath of Life” featured in “Arwen’s Fate” Music by Howard Shore, Lyrics by Fran Walsh, translated into Sindarin by David Salo.“Haldir’s Lament” featured in “Retreat” Music by Howard Shore, Lyrics by J.R.R. Tolkien.“Gollum’s Song” featured in “The Tales That Really Matter” Music by Howard Shore, Lyrics by Fran Walsh.Choral Text by J.R.R. Tolkien, Philippa Boyens and Fran Walsh.Published by New Line Tunes (ASCAP) Except: “Evenstar, Part 1”; “Breath of Life”; “Evenstar, Part 2”; “Haldir’s Lament”; “Gollum’s Song”; and “Evenstar End Credits, Part 3” Co-Published by New Line Tunes (ASCAP) and South Fifth Avenue Publishing (ASCAP).© 2002 All Rights Reserved.The Lord of the Rings and the name of the characters, events, items and places therein, are trademarks of The Saul Zaentz Company trading as Tolkien Enterprises under license to New Line Productions, Inc. All Rights Reserved.Howard Shore would like to thank: Peter Jackson, Fran Walsh, Philippa Boyens, J.R.R. Tolkien, Ronald Wilford, Jean-Jacques Cesbron, New Line Cinema, Mark Ordesky, Paul Broucek, Stephen Einhorn, Michael Mulvihill, Danny Bramson, Lori Silfen, Elizabeth Cotnoir, Alan Frey, Ludwig Wicki, Pirimin Zängerle, Doug Adams, James Sizemore, Tim Starnes, Jeffrey Markowitz, Jeff Halsey and for these performances Clara Sanabras, Sydney Philharmonia Choirs, Sydney Children’s Choir and the Sydney Symphony.

ProducersColumbia Artists Music, LLC: Ronald A. Wilford – Chairman and CEO Jean-Jacques Cesbron – PresidentJeffrey Markowitz – Technical SupervisorPaul Bevan – Sound Engineer Howard Shore Prince in New York Music CorporationJames Sizemore and Tim Starnes – Auricle

SOPRANOSRia AndrianiNaomi BaggaOlivia Bandler-LlewellynNikki BogardVictoria CampbellCharmaine CusackAlya DrobotVanessa EdeGenevra HowardClare KennyAthena LillGeorgia MelvilleAmelia MyersLindsey Paget-CookeQuan Quan PhuaLaura PlattsClare RichardsMaya SchwenkeKaila SercombeStephanie Vierboom

ALTOSHelena BackesRebecca CampbellErin ChapmanSoo Young ChoiIsabel ColmanNaomi CooperKerry FrancisFiona HartKaren HenwoodEdwina HowesHelen HughsonSarah McGrathGeorgia MooreMadi MooreChristine PolecSuzanne SherringtonChela WeitzelLia WeitzelBrigitte WirflerPriscilla Yuen

TENORSAlexei BernardXander BirdLanhowe ChenDenys Gillespie*Steven HankeyTodd HawkenPaul HudsonMichael KerteszSelwyn LemosVincent LoThomas MacDonaldStephen McDonnellPaul MaiJarred MattesJack PengellyIan SeppeltPaul SoperRobert ThomsonAlex Walter*Ben WirflerShaun Young

BASSESGreg AndersonBryan BanstonTimothy BennettDominic BlakeSimon BoileauAndrew BrotenKyle BuchananEdwin CarterDaryl ColquhounTristan EntwistleTom Forrester-PatonDerek HodgkinsAdrian KennySamuel MerrickRobert SherringtonEdwin TomlinsRobert TotonjianRyan WiblinAngus WilkinsonStephen YoungKen Zhang* = Section leader

20 sydney symphony

MUSICIANS

Vladimir AshkenazyPrincipal Conductor and Artistic Advisor supported by Emirates

Dene OldingConcertmaster

Nicholas CarterAssociate Conductor supported by Premier Partner Credit Suisse

FIRST VIOLINSKirsten WilliamsAssociate Concertmaster

Roy Theaker*Julie BattyJennifer BoothMarianne BroadfootBrielle ClapsonNicola LewisAlexander NortonElizabeth Jones°Freya Franzen*Claire Herrick°Francesca Hiew*Martin Silverton*Tereza Singer*Dene OldingConcertmaster

Sun YiAssociate Concertmaster

Fiona ZieglerAssistant Concertmaster

Sophie ColeAmber DavisJennifer HoyLéone Ziegler

SECOND VIOLINSEmily Long A/Assistant Principal

Emma Hayes Shuti Huang Stan W Kornel Benjamin Li Nicole Masters Alexandra D’Elia°Emily Qin°Anna Albert*Anthea Hetherington*Monique Irik*Liisa Pallandi*Marina Marsden Emma West Assistant Principal

Susan Dobbie Principal Emeritus

Maria Durek Philippa Paige Biyana RozenblitMaja Verunica

VIOLASTobias Breider Sandro CostantinoJane HazelwoodGraham HenningsStuart JohnsonLeonid VolovelskyChrista Jardine*Vera Marcu*Shelley Sorensen*David Wicks*Roger Benedict Anne-Louise Comerford Robyn BrookfieldJustine MarsdenFelicity Tsai

CELLOSHenry David Varema*Leah Lynn Assistant Principal

Christopher PidcocDavid WickhamJanine Boubbov*Mee Na Lojewski*Rowena Macneish°Rachael Tobin°Catherine Hewgill Fenella Gill Timothy NankervisElizabeth NevilleAdrian Wallis

DOUBLE BASSESAlex HenerySteven Larson Neil Brawley Principal Emeritus

David Campbell David Murray Benjamin Ward Hugh Kluger†

Kees Boersma Richard Lynn

FLUTES Janet Webb Emma Sholl Rosamund Plummer Principal Piccolo

Carolyn Harris

OBOESDiana Doherty Shefali Pryor Huw Jones*David Papp Alexandre Oguey Principal Cor Anglais

CLARINETSFrancesco Celata Craig Wernicke Principal Bass Clarinet

David Rowden*Lawrence Dobell Christopher Tingay

BASSOONSMatthew Wilkie Fiona McNamaraNoriko Shimada Principal Contrabassoon

Roger Brooke

HORNSRobert Johnson Geoffrey O’Reilly Principal 3rd

Euan HarveyVictoria Chatterley*Katy Grisdale*Jenny McLeod-Sneyd*Ben Jacks Marnie Sebire

TRUMPETSDavid Elton John FosterAnthony HeinrichsPeter Miller*Paul Goodchild

TROMBONESScott Kinmont Nick Byrne Christopher HarrisPrincipal Bass Trombone

Ronald Prussing

TUBASteve Rossé

TIMPANIMark Robinson Assistant Principal

Richard Miller

PERCUSSIONRebecca Lagos John Douglas*Joshua Hill*Brian Nixon*Philip South*Colin Piper

HARPLouise Johnson KEYBOARDSJosephine 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.

sydney symphony 21

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

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

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

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

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

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

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

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22 sydney symphony

BEHIND THE SCENES

MANAGING DIRECTOR

Rory JeffesEXECUTIVE TEAM ASSISTANT

Lisa Davies-Galli

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC PLANNING

Peter Czornyj

Artistic AdministrationARTISTIC ADMINISTRATION MANAGER

Elaine ArmstrongARTIST LIAISON MANAGER

Ilmar LeetbergRECORDING ENTERPRISE MANAGER

Philip Powers

Education ProgramsHEAD OF EDUCATION

Kim WaldockEMERGING ARTISTS PROGRAM MANAGER

Mark LawrensonEDUCATION COORDINATOR

Rachel McLarin

LibraryLIBRARIAN

Anna CernikLIBRARY ASSISTANT

Victoria GrantLIBRARY ASSISTANT

Mary-Ann Mead

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA MANAGEMENT

Aernout KerbertORCHESTRA MANAGER

Chris Lewis ORCHESTRA COORDINATOR

Georgia StamatopoulosOPERATIONS MANAGER

Kerry-Anne CookTECHNICAL MANAGER

Derek CouttsPRODUCTION COORDINATOR

Tim DaymanPRODUCTION COORDINATOR

Ian SpenceSTAGE MANAGER

Peter Gahan

SALES AND MARKETING

DIRECTOR OF SALES & MARKETING

Mark J ElliottMARKETING MANAGER, SUBSCRIPTION SALES

Simon Crossley-MeatesA/SENIOR MARKETING MANAGER, SALES

Matthew RiveMARKETING MANAGER, BUSINESS RESOURCES

Katrina RiddleONLINE MARKETING MANAGER

Eve Le Gall

John C Conde ao ChairmanTerrey Arcus amEwen CrouchRoss GrantJennifer HoyRory JeffesAndrew KaldorIrene LeeDavid LivingstoneGoetz RichterDavid Smithers am

Sydney Symphony Board

Sydney Symphony Council

Sydney Symphony StaffMARKETING & ONLINE COORDINATOR

Kaisa HeinoGRAPHIC DESIGNER

Lucy McCulloughDATA ANALYST

Varsha KarnikMARKETING ASSISTANT

Jonathon Symonds

Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlinMANAGER OF BOX OFFICE OPERATIONS

Tom DowneyCUSTOMER SERVICE REPRESENTATIVES

Steve Clarke – Senior CSRMichael DowlingDerek ReedJohn RobertsonBec Sheedy

COMMUNICATIONS

HEAD OF COMMUNICATIONS

Yvonne ZammitPUBLICIST

Katherine StevensonDIGITAL CONTENT PRODUCER

Ben Draisma

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

DEVELOPMENT

DIRECTOR OF DEVELOPMENT

Caroline SharpenEXTERNAL RELATIONS MANAGER

Stephen AttfieldPHILANTHROPY, PATRONS PROGRAM

Ivana JirasekPHILANTHROPY, EVENTS & ENGAGEMENT

Amelia Morgan-Hunn

BUSINESS SERVICES

DIRECTOR OF FINANCE

John HornFINANCE MANAGER

Ruth TolentinoACCOUNTANT

Minerva PrescottACCOUNTS ASSISTANT

Emma Ferrer

HUMAN RESOURCES

HEAD OF HUMAN RESOURCES

Michel Hryce

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

sydney symphony 23

SYDNEY SYMPHONY PATRONS

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 aoPenelope 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 Elizabeth Neville Cello Ruth & Bob Magid Chair

08 Colin Piper Percussion Justice Jane Mathews ao Chair

09 Shefali Pryor Associate Principal Oboe Rose Herceg Chair

10 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

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

Jonathan PeaseAnna Swan

Sydney Symphony VanguardVanguard CollectiveJustin Di Lollo – ChairKees BoersmaRose Herceg

David McKeanAmelia Morgan-Hunn

MembersNikki AndrewsJames ArmstrongStephen AttfieldAndrew BaxterMar BeltranKees Boersma Peter BraithwaiteAndrea Brown

Ian BurtonJennifer BurtonRon ChristiansonMichael CookPaul CousinsJustin Di LolloRose GalloDerek Hand

Rose HercegDamian KassagbiChris KeherElizabeth LeeAntony LightenGary LinnaneDavid McKeanHayden McLean

Amelia Morgan-HunnHugh MunroPeter OutridgeJonathan PeaseSeamus R QuickJacqueline RowlandsBernard RyanJonathan Watkinson

24 sydney symphony

PLAYING YOUR PART

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

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 $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 FedermanMr James Graham am & Mrs Helen GrahamThe 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 LivingstoneEva & Timothy 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 GreenAnn HobanIn memory of Bernard M H KhawMatthew McInnesJ A McKernanR & S Maple-BrownGreg & Susan MarieAlan & Joy Martin

Mora MaxwellJames & Elsie MooreDavid & 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 AugustusDavid 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 oamDebby 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 GoldschmidtAkiko 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 LiauwGary LinnaneSydney & Airdrie LloydCarolyn & Peter Lowry oamKevin & Deidre McCann

sydney symphony 25

Robert McDougallIan & Pam McGawMacquarie Group FoundationMr Robert & Mrs Renee MarkovicA NhanMs Jackie O’BrienDrs Keith & Eileen OngMr R A OppenMr Robert OrrellMr & Mrs OrtisIn memory of Sandra PaulPiatti Holdings Pty LtdRobin PotterErnest & Judith RapeeKenneth R ReedPatricia H Reid Endowment Pty LtdIn memory of H St P ScarlettCaroline SharpenDr Agnes E SinclairCatherine StephenJohn & Alix SullivanThe Hon. Brian Sully qcMildred TeitlerJohn E TuckeyMrs M TurkingtonIn memory of Joan & Rupert VallentineDr Alla WaldmanIn memory of Dr Reg WalkerThe Hon. Justice A G WhealyAnn & Brooks Wilson amGeoff Wood & Melissa WaitesMr Robert & Mrs Rosemary WalshMr R R WoodwardIn memory of Lorna WrightDr John YuAnonymous (14)

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

Mrs Sarah ChissickMrs Catherine J ClarkR A & M J ClarkeMrs Joan Connery oamJen CornishMr David CrossElizabeth DonatiThe Dowe FamilyDr Nita & Dr James DurhamMalcolm Ellis & Erin O’NeillMrs Margaret EppsIn memory of Peter EverettMr & Mrs FarrellMr Tom FrancisVivienne 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 LedermanAnita & 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 Mitchell

Chris Morgan-HunnMrs Milja MorrisCoff 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 RaeAnna RoPamela RogersLesley & Andrew RosenbergAgnes RossMrs Pamela SayersGarry Scarf & Morgie BlaxillWilliam SewellMrs Diane Shteinman amMs Stephanie SmeeMs Tatiana SokolovaDoug & Judy SotherenMrs Judith SouthamMargaret SuthersMr Lindsay & Mrs Suzanne StoneNorman & Lydia TaylorDr Heng Tey & Mrs Cilla TeyMrs Alma Toohey & Mr Edward SpicerKevin TroyJudge Robyn TupmanGillian Turner & Rob BishopProf Gordon E WallMrs Margaret WallisRonald WalledgeMr Palmer WangMs Elizabeth WilkinsonAudrey & Michael WilsonA Willmers & R PalDr Richard WingDr Peter Wong & Mrs Emmy K WongMr Robert WoodsMrs Everly WyssMrs Robin YabsleyAnonymous (15)

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

26 sydney symphony

SALUTE

PRINCIPAL PARTNER

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

GOVERNMENT PARTNERS

PREMIER PARTNER

COMMUNITY PARTNER MAJOR PARTNERSPLATINUM PARTNER

REGIONAL TOUR PARTNERS

Fine Music 102.5

MARKETING PARTNER

GOLD PARTNERS

SILVER PARTNERS

executive search

❝I’m in search of the perfect instrument.

❞‘You don’t want to be question-ing yourself on a soft high entry. They’re often much trickier than the big loud entries.’

Ben credits Dale Clevenger, Principal Horn of the Chicago Symphony Orchestra, as the teacher who had the greatest infl uence on him. ‘He gave me some excellent advice: “If some-thing happens [in performance], you’ve got to forget about it immediately. Focus on the line and phrase. If you focus on what went wrong, it will just happen again.” ’

Perhaps it’s a brass cliché, but Ben cites the big Romantics – Strauss and Mahler – as amongst his favourites to play. ‘It’s such heroic writing. They really let the horn sing and shine through all its registers. The older I get, though, the more I appreciate Brahms. I understand better the intricacy and genius of his writing.’

‘As a professional, I suffer something of an affl iction – I’m in search of the perfect instru-ment. I play four horns, have another on order and am consid-ering a sixth… Is my wife going to read this?’

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A quick Google of “hardest instrument to play” reveals a widely held belief that the French horn is the most diffi cult to master. How did Ben Jacks, Principal Horn, come to choose this most capricious instrument?

‘It was a case of simple eco-nomics. My mother was a music teacher. I went to the school where she was teaching, and there was a spare horn in the storeroom. There wasn’t anyone else playing it, so the school was offering free lessons for a semester to encourage someone to try.’

Did the young Ben know what lay ahead? ‘I have a memory of an early lesson with Eric

Bramble [former Associate Principal Horn of MSO]. He said, “Ben, sometimes playing the French horn makes you feel like doing this,” and then kicked a chair across the room and into the wall! He was otherwise a polite, well-spoken professional!’

The challenges to mastering this instrument are inherent in the physics of the French horn. A great degree of fi nesse is required to form exactly the right embouchure, or shape of the mouth, and direct the speed of air through the instrument to achieve the desired note at the desired dynamic. ‘If you think about the physics of it, it can become quite daunting,’ says Ben.

CHASING PERFECTIONPrincipal Horn Ben Jacks explains how the horn earned its reputation as a fi ckle tool of trade.

ORCHESTRA NEWS | JULY–AUGUST 2012

Proud sponsor of theSydney Symphonyin their 80th yearof timeless entertainment

Orchestra OnlineREFRESHING TIMES

Q. What’s black and white and red all over?A. The new Sydney Symphony website!www.sydneysymphony.com

We’ve launched a revamped Sydney Symphony website – up and running since early July!

Your feedback and comments have helped our web agency Deepend design the new site for easy navigation and straightforward ticket purchase.

Our new What’s On calendar allows you to view concerts by month, searching is improved, and you can fi lter for your favourite category of music or for particular artists, making it easier to fi nd exactly what you’re looking for.

We’ve also incorporated lots of fun features, including videos, a live Twitter feed and our annual tour blog. In coming weeks we’ll be reinstating audio samples and podcasts and launching a new historical timeline. Meanwhile, you can still download program books from this season and years past, and pdfs of these Bravo! newsletters.

If you still need an incentive to visit the new site, consider making your next subscription purchase online. After our 2013 season launches on Wednesday 8 August, those who subscribe online before 30 September will receive a free DVD of The Concert. (One DVD per household.)

Your SayThank you Sydney Symphony, for another wonderful Family Classics concert [May]. Special thanks to timpanist Mark Robinson for being so friendly, talking to my son and his friend about percussion instruments. Mark went out of his way to converse with my son. This means an awful lot to a 10 year old.Angie Dalli

Did I really see Dene Olding playing in the back row of the violins at the concert on Saturday 12 May, or was I seeing things? If it was him, what had he done to be so demoted?Jennifer Hotop

It was indeed Dene Olding, our Concertmaster, sitting at the back of the section for this concert. But rest assured, he hasn’t been demoted! Rather, as we’ve recently invited a number of guest musicians to try out for the role of Co-Concertmaster, Dene has been joining the section – albeit towards the back – so that he too can develop an informed opinion about the candidates.

I am very pleased and excited with the news that David Robertson has been engaged from 2014 onwards. My husband and I lived in St Louis for 11 years, and for 10 of those,

we were season ticket holders to the St Louis Symphony. We remember the excitement when David Robertson was appointed there, and were pleased with the sense of renewed vitality he brought to the orchestra. We heard many fantastic concerts with him on the podium. For me, one highlight was a performance of Messiaen’s Turangalîla Symphony. I really appreciate his commitment to modern music and hope it continues when he arrives in Sydney.Jennifer Milne

A cigar on the piano was all that was missing from last night’s performance of A Gershwin Tribute. The wicked wit of Mr Bramwell Tovey, the mischievous grin of Mr David Jones, the great voice of Ms Tracey Dahl, and last but not least every member of the orchestra made the evening a most memorable experience.Isabell St Leon

My wife and I have been very supportive of the SSO for many years. Last night’s Gershwin concert was out of this world… All we can say is that it demonstrates how world class your concerts are! Please keep up the unbelievably good performances.Peter Kennewel

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

WEAVING MAGICAn orchestra on tour fulfi ls cultural needs at night and sparks new interest by day.

A tree-change is not without its drawbacks. ‘I was a regular at SSO concerts in Sydney before moving to the mid-North coast 12 months ago,’ said Robyn Neasmith, ‘and had been feeling rather deprived of my “cultural fi ll”.’ When the Sydney Symphony visited Taree on its recent annual regional tour, Robyn was delighted. ‘I got my fi ll!’

By all reports, audiences were thrilled. ‘What was so wonderful was the joy and pleasure that the orchestra gave to so many in the local community who had never had the privilege of seeing them perform ,’ said Robyn.

Conductor Benjamin Northey led the side-by-side forces of the Sydney Symphony and Sydney Sinfonia on a tour to Taree, Grafton and Newcastle, where in addition to giving performances by night, they also presented schools concerts during the day.

More than 2,000 children from regional NSW were enchanted by saxophonist Nicholas Russoniello (2011 ABC/Symphony Australia Young Performer of the Year) weaving his way through the audience as he performed Barry Cockcroft’s Black and Blue.

‘The kids loved it!’ said Ben, himself a former saxophonist. ‘The piece was really jazzy, lots

of wailing, very clever stuff. You know, it was at a concert just like this that Leonard Bernstein decided he was going to be a musician. He heard Ravel’s Bolero at a New York Philharmonic schools concert and the rest is history.’

‘We found lots of ways of engaging the kids in the concert, by asking them to come up with words for the main theme of Dvorák’s Ninth Symphony, for instance. Here’s what they worked out: “Peanut butter fi ts on the table, with vegemite, with vegemite, with vegemite on toast.” They sang it so loud!’ laughed Ben. [Try it yourself – you’ll see the words fi t beautifully!]

One special group of music lovers came from St Dominic’s Centre for Hearing Impaired Children. After the concert, Sinfonia cellists went out into the audience to give these children the chance to feel the instruments as they were being played.

‘These concerts aren’t just about potentially sparking the interest of a young musician,’ said Ben. ‘They’re also about fostering an audience who are interested and invested. Concert-goers who, down the track, we hope will really love music.’

Regional Touring

Double bassist and Sinfonia member Douglas Rutherford hands his bow to Cowper Public School student Tess Chevalier at the Saraton Theatre, Grafton.

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PN Ribbons of Colour

Some music doesn’t just sound extraordinary – it’s also visually stunning. And Takemitsu’s From me fl ows what you call Time is one of those pieces. It’s scored for fi ve percussionists and orchestra, but it’s no ordinary percussion section you’ll be seeing when we play this piece in September.

Most striking are the fi ve coloured ribbons extending from bells above the stage, and manipu-lated by the soloists, who wear matching colours. These represent the fi ve natural phenomena: water (blue), fi re (red), earth (yellow), wind (green) and sky (white). There’s also a huge array of world percussion – Japanese temple bowls placed on timpani drums, Indonesian wooden angklungs, and Pakistani Noah bells, to name a few.

‘There’s more than the usual amount of preparation,’ says Prin-cipal Percussion Rebecca Lagos. ‘We have to source some strange instruments, work out how we’re going to suspend fi ve bells above the orchestra…’ And that’s before rehearsals have even begun!

A piece like this requires a special kind of mapping. ‘For percussion-ists, every piece has a different combination of instruments. We organise all those different elements into a single instrument. There’s a lot of choreograp hy required, and it may take time before you have your set-up exactly right.’

The fi nal effect is one of solem-nity and ritual. ‘The music sounds incredibly impressionistic and romantic, delicate and beautiful. Anyone expecting a driving, rhythm-based piece will be surprised.’

Symphony for the Common ManThursday Afternoon SymphonyThu 6 Sep | 1.30pmEmirates Metro SeriesFri 7 Sep | 8pmGreat ClassicsSat 8 Sep | 2pm

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SYDNEY SYMPHONY SPRINT!

Fifteen fearless Sydney Symphony musicians and staff are re-forming Team Sydney Symphony Sprint to take another tilt at the City2Surf on Sunday 12 August. First Violin Jennifer Hoy explains why they’ve chosen Nordoff-Robbins Music Therapy as their charit y:

‘All of us at the Sydney Symphony are fortunate enough to be able to perform, experience and share great music every day – we can’t imagine life without it! …We have chosen to run for Nordoff-Robbins because they provide the unique gift of music to people who are in need – including those with physical and intellectual disabilities, mental health problems, and learning and behavioural diffi culties. Help u s make music an everyday part of life for those in our community who need it most!’

If you want to support Sydney Symphony Sprint as they tackle Heartbreak Hill this year, visit their giving page at bit.ly/City2SurfSprint2012

SOUND UPDATE

Work continues with the acoustic improvements to the Concert Hall. The black drapes of the past year are now gone and the original sawtooth panels have been replaced with fl at ones. Acoustician Larry Kirkegaard has been hard at work, refi ning the angles of the new panels. The project team is also looking into issues of wheelchair access and changes to sightlines from the boxes that have resulted from the new panels.

PLAYERS LINKED

In June, 44 student musicians, aged between 11 and 60, took part in the Sydney Symphony Playerlink program in Albury. During three days of intensive workshops, the students worked closely with members of the Sydney Symphony, exploring ensemble playing, musical interpretation and technical skills. The weekend ended with a public concert that included Rossini’s William Tell Overture and the Trepak (Russian Dance) from Tchaikovsky’s Nutcracker.

DIAMOND JUBILEE

The Sydney Symphony contributed to the celebration of the Queen’s Diamond Jubilee by recording a song with Gary Barlow (front man with boy band Take That, and head judge on The X Factor in the UK). ‘Sing’ features musicians from throughout the Commonwealth – including the African Children’s Choir, the Slum Drummers from Kenya, and Geoffrey Gurrumul Yunupingu – accompanied by the Sydney Symphony. The track is part of a special Diamond Jubilee album, available from iTunes and music shops. More info: bit.ly/JubileeSing

OUR FAMILY JUST KEEPS GROWING

Mark Robinson (Assistant Principal Timpani / Tutti Percussion) and his wife Lindsay welcomed Harris James on Thursday 14 June. Big sister Chloe has agreed to keep him. And double bassist Steve Larson, with partner Melissa Barnard (cellist in the Australian Chamber Orchestra) welcomed their daughter Maia. What are the chances she’s going to be a string player?

CODA

BRAVO EDITOR Genevieve Lang sydneysymphony.com/bravo