THURSDAY AFTERNOON SYMPHONY

Thursday 10 July 2014

EMIRATES METRO SERIES

Friday 11 July 2014

GREAT CLASSICS

Saturday 12 July 2014

ROMANTIC MASTERPIECESBrahms & Elgar

*Selected performances. Booking fees of $7.50 – $8.95 may apply.

concert diary

FOR COMPLETE DETAILS OF THE 2014 SEASON VISIT

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JandamarraHOLST A Fugal Overture VAUGHAN WILLIAMS Oboe Concerto STANHOPE & HAWKE^ Jandamarra – Sing for the Country premiere

Brett Weymark conductor Diana Doherty oboe Simon Lobelson baritone Yilimbirri Ensemble – singers and dancers Members of Gondwana Choirs

Meet the Music

Wed 16 Jul 6.30pm Thu 17 Jul 6.30pm^Tea & Symphony

Fri 18 Jul 11am complimentary morning tea from 10am

Major Partner Kimberley Diamond

Pre-concert talk by Vincent Plush (Wed, Thu only)

Harp LegendsLISZT Orpheus RODRIGO Concierto serenata for harp BRACEGIRDLE Legends of the Old Castle – Harp Concertino AUSTrALiAN premiere ZEMLINSKY The Mermaid

Simone Young conductor Louise Johnson harp (Bracegirdle) Sivan Magen harp (Rodrigo) Harpists of the World Harp Congress

Thursday Afternoon Symphony

Thu 24 Jul 1.30pmEmirates Metro Series

Fri 25 Jul 8pmMondays @ 7

Mon 28 Jul 7pm

Pre-concert talk by Yvonne Frindle

Pepe RomeroROSSINI The Barber of Seville: Overture RODRIGO Concierto de Aranjuez VIVALDI Concerto in D, RV 93 BEETHOVEN Symphony No.8

Tito Muñoz conductor Pepe Romero guitar

Special Event Premier Partner Credit Suisse

Fri 1 Aug 8pm Sat 2 Aug 8pm

Pre-concert talk 45 minutes before each performance

Four Last SongsGLANERT Frenesia AUSTrALiAN premiere R STRAUSS Four Last Songs BRAHMS Symphony No.2

David Robertson conductor Christine Brewer soprano

APT Master Series

Wed 13 Aug 8pm Fri 15 Aug 8pm Sat 16 Aug 8pm

Pre-concert talk by David Larkin

Hear it, Feel itMOZART Symphony No.25: 1st movement LIGETI Piano Concerto^ SCRIABIN The Poem of Ecstasy^

David Robertson conductor Nicolas Hodges piano

Meet the Music

Wed 20 Aug 6:30pm Thu 21 Aug 6:30pm^Tea & Symphony

Fri 22 Aug 11am complimentary morning tea from 10am

Pre-concert talk by Scott Davie (Wed, Thu only)

CLASSICAL

TICKETS FROM $39*

Tickets also available atsydneyoperahouse.com 9250 7777 Mon-Sat 9am-8.30pm Sun 10am-6pm

WELCOME TO THEEMIRATES METRO SERIES

Bryan Banston Emirates’ Vice President Australasia

2014 marks the 12th anniversary of Emirates’ partnership with the Sydney Symphony Orchestra. We’re proud to continue one of the longest running partnerships for the SSO and remain the naming sponsor of the orchestra’s Emirates Metro 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 more than 35 destinations with the recent addition of Oslo, or internationally to more than 140 destinations in 80 countries.

Like the SSO, Emirates specialises in first-class entertainment, taking out the award for best inflight entertainment for the ninth consecutive year at the international Skytrax Awards in 2013.

With up to 1,600 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 now be able to watch SSO concerts onboard.

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 in 2014.

2014 concert season

THURSDAY AFTERNOON SYMPHONYTHURSDAY 10 JULY, 1.30PM

EMIRATES METRO SERIESFRIDAY 11 JULY, 8PM

GREAT CLASSICS SATURDAY 12 JULY, 2PM

SYDNEY OPERA HOUSE CONCERT HALL

ROMANTIC MASTERPIECESJakub Hrůša conductor Truls Mørk cello

JOHANNES BRAHMS (1833–1897) Five Hungarian Dances orchestrated by Antonín Dvořák (1841–1904)

No.17 in F sharp minor No.18 in D major No.19 in B minor No.20 in E minor No.21 in E minor

EDWARD ELGAR (1857–1934) Cello Concerto in E minor, Op.85

Adagio – Moderato Lento – Allegro molto Adagio Allegro – Moderato – Allegro, ma non troppo

INTERVAL

JOHANNES BRAHMS Symphony No.4 in E minor, Op.98

Allegro non troppo Andante moderato Allegro giocoso – Poco meno presto Allegro energico e passionato – Più allegro

Saturday afternoon’s performance will be broadcast live across Australia by ABC Classic FM.

Pre-concert talk by Yvonne Frindle in the Northern Foyer, 45 minutes before each performance. Visit sydneysymphony.com/talk-bios for speaker biographies.

Estimated durations: 10 minutes, 30 minutes, 20-minute interval, 40 minutes The concert will conclude at approximately 3.35pm (Thu), 10.05pm (Fri), 4.05pm (Sat).

Earlier this year Truls Mørk suffered a minor injury and while he is very much improved he has had to re-address the number of pieces he is performing at one time. For this reason he has had to make the change from the Dvořák cello concerto to the Elgar.

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A view of Mürzzuschlag, where Brahms composed his Fourth Symphony over two summers. The image is a Photochrom print (colour photo lithograph) made sometime between 1890 and 1905.

Brahms Elgar

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Romantic Masterpieces: Brahms and Elgar

INTRODUCTION

Once, when asked the ‘meaning’ of his Cello Concerto, Elgar said: ‘A man’s attitude to life.’ It’s the attitude of a man in his 60s, fatigued by illness and depressed by the carnage of World War I and the vanishing of his world. The autumnal quality of the music is unsurprising. The cello’s first theme suggests, says Diana McVeagh, tiredness and resignation. And yet the music also has a kind of fierceness and vigour – it’s good to remember something else that Elgar said about the concerto, describing it as ‘a real large work & I think good & alive’.

As in Elgar’s best works, these two characteristics – nostalgia and vitality – keep the Cello Concerto in balance and save it from sentimentality, even during the heart-wrenching third movement. In this there’s an affinity with Brahms, whom Elgar greatly admired.

There’s no indulgence or extravagance in Brahms’s Fourth Symphony, and no trace of the sentimental. Instead he finds inspiration in the past while making a monumental statement in a contemporary voice. The mighty finale is based on a Baroque principle learned from Bach. The first movement sets up the musical equivalent of rational dialogue. The central movements glow with the same simple energy that we hear in the Hungarian Dances.

The result is two Romantic masterpieces which, for all their beauty and depth of feeling (the Elgar may well make you feel like crying), are muscular and ‘alive’ – and there lies their power.

Turn to page 27 to read Bravo! – musician profiles, articles and news from the orchestra. There are nine issues through the year, also available at sydneysymphony.com/bravo

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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

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ABOUT THE MUSIC

Johannes Brahms Hungarian Dances Nos 17–21 orchestrated by Antonín Dvořák

Unlike his contemporary Johann Strauss II, Brahms enjoyed little of the popular success that makes composers not only famous but rich. (Brahms once wrote on a copy of Strauss’s Blue Danube Waltz: ‘Unfortunately not by Brahms’!) Notable exceptions were his 21 Hungarian dances. Once the first ten were published in their original piano duet versions in 1869, they carried Brahms’s name around the world, The Sydney Morning Herald noting in 1884 that ‘to many in Australia Brahms is known only in connection with these dances’.

Brahms went on to orchestrate only three of them in 1873 (Nos 1, 3 and 10). He and his publisher, Fritz Simrock, shared benefits from the other 18 with hired orchestrators, of whom Dvořák was the last and only collaborator famous in his own right. Dvořák is, moreover, the only one whose original creative input in turning Nos 17 to 21 into genuinely idiomatic orchestral showpieces is still seriously credited today.

Brahms introduced the first ten Hungarian Dances to Simrock as ‘genuine gypsy children, which I did not father, merely raised on bread and milk’. But the publisher often glossed over this important detail, much to the chagrin of several unacknowledged contributors. One was Béla Kéler, composer of the big theme in the best-known dance, No.5. Brahms had learned many of the melodies while touring in 1853 as piano accompanist to the young violin virtuoso Edouard Reményi (1828–98). Reményi later toured the world, and in Sydney in 1884 introduced his own original upon which Brahms had based another of the dances.

Hungarian musicologist Ervin Major set the record straight in 1933 by identifying other original composers, including Kalman Simonffy (No.17), Mihal Furedy (No.18), Ferenc Sarkozy (19), Joszef Treichlinger (20) and Ferenc Herdy (21). But despite passing through so many professional hands, not all of them Hungarian, the dances remain remarkably true to the idiom and spirit of genuine folk models – the courting couples’ dance, the csardas, and the verbunkos, a men-only recruiting dance – contrasting sentimental nostalgic slow sections with fast, march-like music expressing the bravado of young Hungarian peasants press-ganged into the Habsburg armies.

GRAEME SKINNER © 2014

Dvořák’s orchestra for these dances comprises two flutes (one doubling piccolo), two oboes, two clarinets and two bassoons; four horns, two trumpets and three trombones; timpani and percussion; harp and strings.

This is the first occasion since 1999 that the SSO has programmed any of the Hungarian Dances in a mainstage subscription concert.

KeynotesBRAHMS & DVOŘÁK

Brahms and Dvořák’s friendship began in 1874, when the 32-year-old Dvořák applied to the Imperial Government in Vienna for a young artists grant. Brahms was on the selection panel, as was reviewer Eduard Hanslick who wrote informing Dvořák of his success: ‘Brahms takes an interest in your formidable talent…The attentions of an artist as influential and famous should not only be pleasing to you, but also useful.’ Brahms indeed recommended Dvořák to his own publisher, who reaped major rewards when, in the wake of Brahms’s Hungarian Dances, Dvořák’s Slavonic Dances became an international success.

HUNGARIAN DANCES

Brahms was himself an untried 21-year-old pianist when he set out from Hamburg on his first professional tour. Playing with the only slightly older Hungarian violinist and exiled revolutionary, Edouard Reményi, he had his first introduction to the genuine Hungarian (so-called ‘gypsy’) melodies that he later refurbished in inspired arrangements for piano duet as his 21 Hungarian Dances. Brahms himself orchestrated Nos 1, 3 and 10, his Vienna publisher farming out the other 18 to several little-known arrangers and one famous one, Dvořák, whose masterly orchestrations of the last five were published in 1881.

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KeynotesELGAR

Born Broadheath, 1857 Died Worcester, 1934

Edward Elgar was arguably the first major British composer after Henry Purcell in the 17th century. He came to prominence at the age of 42 with the Enigma Variations; this was followed by The Dream of Gerontius, the finest oratorio by an English-born composer, the violin and cello concertos, and two symphonies – powerful and inventive works that combined the inspiration of his homeland with the technique and musical vision of his European peers.

CELLO CONCERTO

This was the concerto that made the 20-year-old Jacqueline du Pré a star when she recorded it in 1965. It’s an intimate and moving work, intensely emotional but at the same time dignified. Unusually for a concerto, it’s structured in four movements. Elgar indicates that it should be begin ‘nobly’ and the opening entry of the soloist remains one of the concerto’s most striking aspects. The idea turns up again, with plucked strings, in the playful second movement, and in the mostly boisterous and uncomplicated finale. But at one point in the finale, Elgar drops his guard and shows his suffering soul in a self-pitying outburst. The Adagio third movement offers four minutes of exquisite lyricism.

The concerto was premiered in 1919.

Edward Elgar Cello Concerto in E minor, Op.85Adagio – Moderato Lento – Allegro molto Adagio Allegro – Moderato – Allegro, ma non troppo

Truls Mørk cello

In March 1918, the final year of World War I, Edward Elgar went into hospital to have a septic tonsil removed. Always given to depression and a degree of self-loathing, his spirits were particularly low at this point. As the foremost living English composer – and indeed the man who almost single-handedly had resurrected English music from the doldrums in which it had languished since the era of Purcell – his music nevertheless was drastically underrated in his home country. It was around this time, in fact, that Elgar began to proclaim that he loathed music and wanted nothing more to do with it.

But as the 61-year-old convalesced in hospital, he was also aware that the Edwardian world of which he and his music had been such distinctive representatives was crumbling in the wake of the War. The political crises of the previous four years, and the philosophical challenges which tend to follow acts of international mass destruction, had changed the face of European society forever. The arts reflected the ensuing radical re-evaluation of the new world order.

Already Schoenberg had exploded the concept of tonality; he was soon to establish serialism as one of the most radical and rigorous compositional methods ever created. In England, young composers like Gustav Holst, whose Planets was first performed in 1918, began to be recognised and celebrated for their outward-looking internationalist perspectives. In other post-War arts, modernism began to establish its ascendancy in the cubist works of Picasso and the literary extravaganzas of James Joyce.

So it was with an awareness of a brutal modern world rapidly passing him by that the convalescent Elgar asked a nurse for a pencil and paper. On the scrap of paper he sketched what was to become the nostalgic opening theme of the Cello Concerto.

Later in the year, the now-recovered Elgar was deeply involved in the piece as a whole, writing from his country cottage in Sussex to a friend that he was ‘frantically busy writing & have nearly completed a Concerto for Violoncello – a real large work & I think good & alive.’ He wrote it for Felix Salmond, cellist with the British String Quartet, who offered

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much technical advice during the composition and who was destined to give the premiere.

From that undulating initial theme so hastily sketched in hospital, the concerto unfolds as a rhapsodically structured, requiem-like outpouring of undiluted emotion in four movements. And yet for all the immediate appeal which the work seems to have these days, its premiere in 1919 bordered on disaster. Conducted by Elgar himself with Felix Salmond as soloist, it was programmed at the Queen’s Hall alongside Scriabin’s Poème de l’extase and Borodin’s Second Symphony, the latter two works conducted by Albert Coates.

Apparently Coates was reluctant to let Elgar have any rehearsal time, resulting not just in the insult of Elgar being kept waiting for more than an hour while the fractured sounds of Scriabin emerged from the rehearsal studio within, but also meaning that the public performance itself, in a half-empty hall, was painfully under-prepared. Indeed Ernest Newman wrote that the London Symphony Orchestra ‘made a lamentable public exhibition of itself’. For her part, Lady Elgar noted in her diary: ‘shameful…hope never to speak to that brutal Coates again.’

But perhaps there was something in the music too which exacerbated the effects of a poor performance. Certainly for those accustomed to the Edwardian splendour of Elgar’s two pre-War symphonies and the Pomp and Circumstance Marches, this work must have seemed unusually subdued and perhaps even austere in its orchestration. Even more than that, the Cello Concerto was written in an age when formal innovation and dazzling technical virtuosity were perhaps more highly prized than nakedly emotional and regretful statements such as this.

Elgar rehearsing with Beatrice Harrison in 1929. Harrison was one of the earliest cellists associated with the concerto, and made the first (abridged) recording of it, with the composer conducting. After this, she became Elgar’s preferred soloist.

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The Cello Concerto is in E minor, a reflective and almost naïve key in Elgar’s harmonic palette and the key of three of his last four major works. The opening of the first movement, with its characteristic nobilmente [nobly] marking in the score, is a flourish for the soloist which recurs throughout the concerto. The unmistakable main melody – at once both wistful and sublime – emerges almost immediately in the violas, before being taken up by the soloist. Throughout the course of the movement the theme winds its way through various keys, while the secondary thematic material emerges in the clarinets.

The next time we hear the soloist’s opening flourish, it is transformed into a pizzicato passage at the beginning of the second movement – a scherzo-like movement in G which is linked without substantial pause to the first movement. The main theme appears in staccato semiquavers, almost like a moto perpetuo, with a series of episodes intervening from time to time.

The core of the work is in the Adagio, which at just 60 bars in duration is one of the most extraordinary achievements in this form from an undisputed master of the slow movement. (The Adagio from Elgar’s First Symphony and the Larghetto from the Second are among the glories of English music.) In the unexpected key of B flat, the Adagio makes time stand still as the beautiful cantilena sings its music of unequivocal heartbreak. The orchestration here is reduced to strings, clarinets, bassoons and horns, as the soloist weaves in and out of the orchestral fabric in an eloquent song without words.

The finale settles back in E minor and has a rondo-like risoluto main subject. Echoes of the concerto’s opening flourish abound as the music toys with fragments of themes from all the previous movements. Here more than anywhere else in the concerto, Elgar harks back to the boisterousness of his pre-War works (and in particular the finale of the Enigma Variations). But nothing can disguise the fact that underlying the concerto as a whole is a mood of resignation and finality – a fact amply demonstrated by the absence, following the completion of this concerto, of any further orchestral music from Elgar in the 15 years that remained of his life.

MARTIN BUZACOTT SYMPHONY AUSTRALIA © 1996

Elgar’s Cello Concerto calls for an orchestra comprising pairs of flutes, oboes, clarinets and bassoons; four horns, two trumpets, three trombones and an optional tuba; timpani and strings.

The SSO first performed the Cello Concerto in 1944, with conductor Percy Code and soloist Lauri Kennedy, and most recently in the 2008 Elgar Festival, with Vladimir Ashkenazy and soloist Jian Wang.

…one of the most extraordinary achievements… from an undisputed master of the slow movement.

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KeynotesBRAHMSBorn 1833, Hamburg Died 1897, Vienna

Brahms completed his final symphony in 1885. He had spent the summers of 1884 and 1885 working on it in an Austrian mountain retreat, Mürzzuschlag, but the inspiration seems to have come less from nature and more from his musical and intellectual enthusiasms, in particular the ‘old masters’ such as Johann Sebastian Bach.

FOURTH SYMPHONY

The Fourth Symphony has been described as the ‘brainiest’ of Brahms’s symphonies. This is a response to the opening movement (‘two tremendously witty people’) and to the finale – a monumental movement based on the Baroque technique of a repeating bass, above which Brahms spins an elaborate set of 30 variations. The inner movements bring beauty, serenity and good humour. The glowing Andante begins with a gently moving theme featuring Brahms’s favourite instrument, the horn. The playful scherzo – his first – brings extremes: the high-pitched piccolo and the lowest woodwind, the contrabassoon. And watch out for the triangle, heard only in the third movement!

Brahms conducted the premiere of his Fourth Symphony with the Meiningen Orchestra (49 players – small by our standards) on 25 October 1885.

Johannes Brahms Symphony No.4 in E minor, Op.98Allegro non troppo Andante moderato Allegro giocoso – Poco meno presto Allegro energico e passionato – Più allegro

Brahms spent years skirting around the symphonic genre, and when he did begin to write symphonies he agonised over them, apologetically circulating drafts to his musical friends. To his publisher, Simrock, Brahms wrote: ‘Some honourable colleagues (Bach, Mozart, Schubert) have mischievously overindulged the world. But if we are not able to write as beautifully as they could, then we must surely in addition protect ourselves from trying to write as quickly as they did…’

But the real culprit in Brahms’s struggle with the symphony had been Beethoven. ‘I shall never compose a symphony!’ wrote Brahms. ‘You don’t have any idea how it feels if one always hears such a giant marching behind one.’ Brahms needed to preserve his own identity against the expectations and precedents set by Beethoven. At the same time, more than any of his contemporaries, he had a deep reverence for the past, and his highly personal solutions to musical problems are often founded on the formal strength of Classical structures.

After the long and difficult gestation of his first symphony, Brahms gathered momentum, and the Fourth Symphony appeared only two years after the Third (in 1885) following two summers’ work at his mountain retreat in Mürzzuschlag in Austria. It can be heard as a ‘summing-up’ of Brahms’s aims: the marriage of past techniques with contemporary idioms and the close-knit integration of material. Especially in its weighty final movement, the symphony unleashes a certain ‘cumulative power’; even at the first rehearsal conductor Hans von Bülow recognised it as ‘gigantic, altogether a law unto itself, quite new, steely individuality. Exudes unparalleled energy from first note to last.’

The first movement opens not with a slow introduction (which Brahms discarded from his early draft), nor with a theme, but with a mighty gesture of falling thirds and rising sixths. It is a motto that Schoenberg later admired for its economy and almost abstract value as a pattern, and its fundamental significance lies in the way it hints at tonal relationships and provides the germ of melodic material for the whole symphony. Later, in the development, the alternation of the two intervals takes on a conversational tone. When the critic Eduard Hanslick heard Brahms and Ignaz Brüll play through a two-piano version of the draft symphony he

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The first page of the autograph manuscript for the Fourth Symphony.

commented: ‘During the whole first movement I felt as if I were being beaten soundly by two tremendously witty people.’ The duo piano arrangement may have contributed to this impression, and in performances such as this one – where the first and second violins sit either side of the conductor’s podium – there is a vivid sense of the dialectic that Brahms wrote into the music.

The Andante opens with a horn melody apparently in C major to prelude a movement in E major. The 21-year-old Richard Strauss heard this movement as ‘a funeral procession moving in silence across moonlit heights’. The cellos introduce the second subject, a sympathetically glowing and tender theme.

The third movement represents the first appearance of a ‘scherzo’ in a Brahms symphony. Rather than adopting the usual three-part scherzo and trio structure, Brahms’s Allegro giocoso is a boisterous sonata movement. Its exultant playfulness emerges in orchestral extremes – both piccolo and contrabassoon appear in the texture for the first time, and a triangle solo provides the only percussion moment in the symphony.

The previous year Brahms had received his copy of the 30th issue of the Bach Complete Edition, including Cantata

‘During the whole first movement I felt as if I were being beaten soundly by two tremendously witty people.’

EDUARD HANSLICK, AFTER HEARING A DRAFT OF THE SYMPHONY

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No.150 ‘Nach dir Gott verlanget mich’ (Unto thee, O Lord, will I lift up my soul). Brahms was drawn to its concluding choral passacaglia, and contemplated the symphonic use of its ground bass, asking von Bülow: ‘What would you think if someone were to write a symphony movement on the same theme? But it is too bulky, too straightforward; one must change it somehow.’

And change it he did: chromatically altering just one note (the fifth in the sequence) and elevating it from ground bass to melody line, with newly implied chords. This theme is stated at the beginning of the finale by brass and wind, establishing from the outset a sombre and dramatic atmosphere. Its austerity is further strengthened by the introduction of the trombones, which Brahms has held in reserve for this magnificent finale. Thirty variations follow, demonstrating a huge range of colour and emotion, concluded by a long, elaborate coda.

At first the passacaglia finale was thought an inappropriate conclusion for a symphony. The grand closing passacaglia or chaconne was a Baroque theatrical convention; and while Brahms – editor of Couperin and collector of Bach – would have appreciated this, few of his listeners did. But one critic at the Leipzig premiere in 1886 understood the gesture:

The [finale] is not only constructed on the form displayed in Bach’s Chaconne for violin, but it is filled with Bach’s spirit. It is built up with such astounding mastery...and in such a manner that its contrapuntal learning remains subordinate to its poetic contents...It can be compared with no former work of Brahms and stands alone in the symphonic literature of the present and the past.

As this anonymous critic recognised, Brahms had created the perfect marriage of learning and poetry, of past and present, and the Classical and Romantic spirit.

YVONNE FRINDLE © 2006

The orchestra for Brahms’s Fourth Symphony comprises two flutes, one doubling piccolo, two oboes, two clarinets, two bassoons and contrabassoon; four horns, two trumpets, and three trombones (in the fourth movement only); timpani and triangle (third movement only); and strings.

The SSO first performed the Fourth Symphony in 1938 under Malcolm Sargent. (This was the first complete performance of a Brahms symphony by the orchestra.) The most recent performance was in 2011, conducted by Thomas Dausgaard.

‘It can be compared with no former work of Brahms and stands alone in the symphonic literature of the present and the past.’

FROM AN 1886 REVIEW

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MORE MUSIC

HRŮŠA & SMETANAJakub Hrůša has released six recordings of Czech orchestral music for the national label Supraphon, including Dvořák’s American and Czech Suites, and Janáček’s Taras Bulba and Lachian Dances (for more information visit www.jakubhrusa.com). Of special note is his critically acclaimed live recording with his own orchestra, the Prague Philharmonia, of Smetana’s My Country (Má vlast) from the 2010 Prague Spring Festival. SUPRAPHON CD 4032

TRULS MØRK In 1999 Truls Mørk recorded the Elgar concerto with Simon Rattle and the City of Birmingham Symphony Orchestra in what was then its relatively new, and acoustically impressive, Symphony Hall. The Elgar is paired with Britten’s Cello Symphony. VIRGIN CLASSICS 86353

Mørk’s many recordings also include Haydn’s two concertos (Iona Brown, Norwegian Chamber Orchestra), Rautavaara’s Towards the Horizon (John Storgårds, Helsinki Philharmonic Orchestra), and most recently the two Shostakovich Concertos (Oslo Philharmonic, Vasily Petrenko) released earlier this year. And his 1993 recording of Dvořák’s concerto (coupled with Tchaikovsky’s Rococo Variations) is with Mariss Jansons and the Oslo Philharmonic.WARNER CLASSICS CD 352972

BRAHMS FROM THE VAULTIt’s almost unbelievable, but there is an 1889 Edison Wax Cylinder recording of Brahms himself playing his Hungarian Dance No.1. Despite sounding like a dozen un-tuned radios playing all at once in a wind tunnel, “old Brahms” is still just audible enough in a few fleeing snippets to make it well worth hearing. Try the enhanced listening options on Stanford University’s Brahms “Sonic Archeology” webpage: ccrma.stanford.edu/groups/edison/brahms/brahms.html

When Artur Nikisch (1855–1922) conducted Brahms’s Fourth Symphony, the composer called the performance ‘exemplary, impossible to hear better’. So another historical must-hear is Nikisch’s piano roll recording of Hungarian Dance No.6 (which you can find on YouTube).

BRAHMS SYMPHONIESIf you’d like to explore the Brahms symphonies further, look for Georg Solti and the Chicago Symphony Orchestra. The Tragic and Academic Festival overtures are included with the four symphonies.DECCA/LONDON 4307992

Broadcast DiaryJuly–August

Saturday 12 July, 2pm BRAHMS & ELGAR Jakub Hrůša conductor Truls Mørk cello

Wednesday 16 July, 8pm JANDAMARRABrett Weymark conductor Diana Doherty oboe Yilimbirri Ensemble Members of Gondwana Choirs

Holst, Vaughan Williams, Stanhope & Hawke

Monday 28 July, 7pm HARP LEGENDSSimone Young conductor Louise Johnson harp Sivan Magen harp

Liszt, Bracegirdle, Rodrigo, Zemlinsky

Sunday 3 August, 1pm PEPE ROMEROTito Muñoz conductor Pepe Romero guitar

Rossini, Rodrigo, Vivaldi, Beethoven

Friday 15 August, 8pm FOUR LAST SONGSDavid Robertson conductor Christine Brewer soprano

Glanert, Richard Strauss, Brahms

Saturday 23 August, 8pm HEAR IT, FEEL ITDavid Robertson conductor Nicolas Hodges piano

Mozart, Ligeti, Boulez, Scriabin

SYDNEY SYMPHONY ORCHESTRA 2014 Tuesday 12 August, 6pm

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

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

LOOK OUT FOR…Our recording of Holst’s Planets with David Robertson. Due for release later in 2014.

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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 ODYSSEYThe 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, Kintertotenlieder and Das Lied von der Erde. Available in a handsome boxed set of 12 discs or individually.

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

18

Born in the Czech Republic in 1981, Jakub Hrůša is Music Director and Chief Conductor of the Prague Philharmonia and Principal Guest Conductor of Tokyo Metropolitan Symphony Orchestra.

He studied at the Academy of Performing Arts, Prague, where his teachers included Jiří Bělohlávek. Since graduating in 2004, he has conducted all the major Czech orchestras, and been Music Director of the Bohuslav Martinů Philharmonic and Associate Conductor of the Czech Philharmonic. In 2010 he was the youngest conductor since 1949 to conduct the opening concert of the Prague Spring Festival.

He gave his first Australian performance in 2009 with the West Australian Symphony Orchestra, followed by debuts with the Sydney and Melbourne symphony orchestras (in Sydney replacing Tugan Sokhiev at short notice). He returned to Melbourne in 2012, conducting the Czech Philharmonic Orchestra.

He is a regular guest with leading European orchestras, including the Leipzig Gewandhaus Orchestra, Orchestre Philharmonique de Radio France, Finnish Radio Symphony, SWR Symphony Stuttgart, WDR Symphony Cologne and the BBC Symphony Orchestra. In Asia, in addition to his Tokyo commitments, he led the Prague Philharmonia on a tour of Japan in 2012, and has been guest conductor with the Hong Kong

Philharmonic Orchestra, Seoul Philharmonic, New Japan Philharmonic and Osaka Philharmonic. He made his North American debut in 2009, and has conducted the Cleveland Orchestra, Washington National Symphony, the symphony orchestras of Dallas, Houston, Atlanta and Seattle, and the National Arts Centre Orchestra in Ottawa.

Highlights of the current season include concerts with London’s Philharmonia Orchestra, playing music of Dvořák, Suk and Janáček; and debut appearances with the Los Angeles Philharmonic, Vienna Radio Symphony Orchestra, Russian National Orchestra, Baltimore Symphony Orchestra, Montreal Symphony Orchestra, Netherlands Radio Philharmonic and the Oslo Philharmonic Orchestra. He also conducts Janáček’s Jenůfa for Finnish National Opera. His other operatic work includes Bizet’s Carmen, Mozart’s Don Giovanni, Britten’s Turn of the Screw, Puccini’s La bohème, and Dvořák’s Rusalka (all for Glyndebourne Festival and Tour); for Royal Danish Opera, Mussorgsky’s Boris Godunov (Royal Danish Opera); and Rusalka and Janáček’s Cunning Little Vixen (Prague National Theatre).

He is currently President of the International Martinů Circle.

Jakub Hrůšaconductor

THE ARTISTS

19

Truls Mørk was born in Norway in 1961. Initially taught by his father, he continued his studies with Frans Helmerson, Heinrich Schiff and Natalia Schakowskaya. Early in his career he won the Moscow Tchaikovsky Competition (1982), Cassado Cello Competition in Florence (1983), the UNESCO Prize at the European Radio-Union competition in Bratislava (1983) and the Naumberg Competition in New York (1986).

In Europe he has appeared as soloist with the Orchestre de Paris, Berlin Philharmonic, Vienna Philharmonic, Royal Concertgebouw Orchestra, Philharmonia Orchestra, Munich Philharmonic, and the Leipzig Gewandhaus Orchestra. In North America he has played with the New York Philharmonic, the Philadelphia and Cleveland orchestras, Boston Symphony Orchestra and the Los Angeles Philharmonic. Conductors he has worked with include Myung-Whun Chung, Mariss Jansons, Manfred Honeck, Esa-Pekka Salonen, Gustavo Dudamel, Simon Rattle, Kent Nagano, Yannick Nézet-Séguin and Christoph Eschenbach.

His performances in 2014 include concerts with the London Philharmonic Orchestra (Vladimir Jurowski), Philharmonia Orchestra (Jakub Hrůša), Munich Philharmonic (Lionel Bringuier), and WDR Sinfonieorchester Köln at Salzburg Festival (Jukka-Pekka Saraste). Already this year he has toured with the Concertgebouw Orchestra and Mariss Jansons to London and

Paris, playing Haydn’s Cello Concerto No.1, and with the Orchestre de la Suisse Romande (Neeme Järvi) playing the Brahms Double Concerto with violinist Vadim Repin.

Truls Mørk also gives regular recitals at major world venues and festivals. In the 2011 Bergen International Festival he performed the complete Beethoven cello sonatas and variations. He is a great champion of modern music and has given more than 30 premieres. These include Rautavaara’s Towards the Horizon with the BBC Symphony Orchestra (John Storgårds), Pavel Haas’s Cello Concerto with the Vienna Philharmonic (Jonathan Nott), Penderecki’s Concerto for Three Cellos with the NHK Symphony Orchestra (Charles Dutoit) and Haflidi Hallgrimsson’s Cello Concerto, commissioned by the Oslo Philharmonic, Iceland Symphony and Scottish Chamber orchestras.

His award-winning recording output includes many of the great cello concertos, including the Dvořák concerto with Mariss Jansons and the Oslo Philharmonic. His most recent release presents the Shostakovich concertos with the same orchestra and conductor Vasily Petrenko.

A regular visitor to Sydney, Truls Mørk most recently performed with the SSO in 2005, playing the Elgar concerto. This return visit will be followed by a European tour with the Melbourne Symphony Orchestra.

Truls Mørkcello

20

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 have earned the orchestra worldwide recognition for artistic excellence, and the SSO is about to make a return visit to China.

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 first year of David Robertson’s tenure as Chief Conductor and Artistic Director.

DAVID ROBERTSON Chief Conductor and Artistic Director

PATRONHer Excellency, Prof. The Hon. Dame Marie Bashir ad cvo

21

FIRST VIOLINS Andrew Haveron CONCERTMASTER

Kirsten Williams ASSOCIATE CONCERTMASTER

Lerida Delbridge ASSISTANT CONCERTMASTER

Fiona Ziegler ASSISTANT CONCERTMASTER

Jenny BoothBrielle ClapsonSophie ColeClaire Herrick Georges LentzEmily LongAlexandra MitchellAlexander NortonFreya Franzen*Elizabeth Jones°Liisa Pallandi†

Emily Qin°Dene Olding CONCERTMASTER

Sun Yi ASSOCIATE CONCERTMASTER

Amber DavisNicola LewisLéone Ziegler

SECOND VIOLINS Kirsty Hilton Marina Marsden Marianne Broadfoot Emma Jezek ASSISTANT PRINCIPAL

Emma HayesStan W KornelBenjamin LiNicole MastersPhilippa PaigeMaja VerunicaAlexandra D’Elia*Rebecca Gill*Belinda Jezek°Nicholas Waters†

Maria DurekShuti HuangBiyana Rozenblit

VIOLASTobias Breider Anne-Louise ComerfordJustin Williams ASSISTANT PRINCIPAL

Sandro CostantinoRosemary CurtinJane HazelwoodGraham HenningsStuart JohnsonJustine MarsdenAmanda VernerLeonid VolovelskyCarl Lee†

Roger Benedict Felicity Tsai

CELLOSHenry David Varema Leah Lynn ASSISTANT PRINCIPAL

Kristy ConrauTimothy NankervisElizabeth NevilleChristopher PidcockAdrian WallisDavid WickhamMee Na Lojewski*James sang-oh Yoo†

Umberto ClericiCatherine Hewgill Fenella Gill

DOUBLE BASSESKees Boersma Neil Brawley PRINCIPAL EMERITUS

David CampbellSteven LarsonBenjamin WardJosef Bisits*Aurora Henrich†

Hugh Kluger*Alex Henery Richard LynnDavid Murray

FLUTES Janet Webb Rosamund Plummer PRINCIPAL PICCOLO

Emma Sholl Carolyn Harris

OBOESShefali Pryor Alexandre Oguey PRINCIPAL COR ANGLAIS

Diana Doherty David Papp

CLARINETSLawrence Dobell Francesco Celata Christopher TingayCraig Wernicke PRINCIPAL BASS CLARINET

BASSOONSMatthew Wilkie Noriko Shimada PRINCIPAL CONTRABASSOON

Timothy Murray†

Fiona McNamara

HORNSBen Jacks Geoffrey O’ReillyPRINCIPAL 3RD

Euan HarveyRachel SilverRobert Johnson Marnie Sebire

TRUMPETSPaul Goodchild Anthony HeinrichsDavid Elton

TROMBONESRonald Prussing Nick ByrneChristopher Harris PRINCIPAL BASS TROMBONE

Scott Kinmont

TUBASteve Rossé

TIMPANIRichard Miller Mark Robinson ASSISTANT PRINCIPAL

PERCUSSIONRebecca Lagos Brian Nixon*Alison Pratt*Timothy Constable

HARP Louise Johnson

BOLD = PRINCIPAL

ITALICS = ASSOCIATE PRINCIPAL

° = CONTRACT MUSICIAN

* = GUEST MUSICIAN† = SSO FELLOW

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

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 RobertsonCHIEF CONDUCTOR AND ARTISTIC DIRECTOR SUPPORTED BY EMIRATES

Dene OldingCONCERTMASTER

Jessica CottisASSISTANT CONDUCTOR SUPPORTED BY PREMIER PARTNER CREDIT SUISSE

Andrew HaveronCONCERTMASTER

22

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 CernikVictoria GrantMary-Ann Mead

LEARNING AND ENGAGEMENT

DIRECTOR OF LEARNING AND ENGAGEMENT

Kim Waldock

EMERGING ARTISTS PROGRAM MANAGER

Mark Lawrenson

EDUCATION MANAGER

Rachel McLarin

EDUCATION OFFICER

Amy Walsh

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA MANAGEMENT

Aernout Kerbert

ORCHESTRA MANAGER

Rachel Whealy

ORCHESTRA COORDINATOR

Georgia Fryer

OPERATIONS MANAGER

Kerry-Anne Cook

PRODUCTION MANAGER

Laura Daniel

STAGE MANAGER

Courtney Wilson

PRODUCTION COORDINATORS

Tim DaymanDave Stabback

SALES AND MARKETING

DIRECTOR OF SALES & MARKETING

Mark J Elliott

SENIOR SALES & MARKETING MANAGER

Penny Evans

MARKETING MANAGER, SUBSCRIPTION SALES

Simon Crossley-Meates

MARKETING MANAGER, CLASSICAL SALES

Matthew Rive

MARKETING MANAGER, WEB & DIGITAL MEDIA

Eve Le Gall

MARKETING MANAGER, CRM & DATABASE

Matthew Hodge

DATABASE ANALYST

David Patrick

SENIOR GRAPHIC DESIGNER

Christie Brewster

GRAPHIC DESIGNER

Tessa Conn

MARKETING COORDINATOR

Jonathon Symonds

SENIOR ONLINE MARKETING COORDINATOR

Jenny Sargant

ONLINE MARKETING COORDINATOR

Jonathan Davidoff

Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlin

BOX OFFICE SYSTEMS SUPERVISOR

Jennifer Laing

BOX OFFICE BUSINESS ADMINISTRATOR

John Robertson

CUSTOMER SERVICE REPRESENTATIVES

Karen Wagg – Senior CSR Michael DowlingKatarzyna OstafijczukTim Walsh

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

EXTERNAL RELATIONS

DIRECTOR OF EXTERNAL RELATIONS

Yvonne Zammit

PhilanthropyHEAD OF PHILANTHROPY

Luke Andrew Gay

DEVELOPMENT MANAGER

Amelia Morgan-Hunn

PHILANTHROPY COORDINATOR

Sarah Morrisby

Corporate RelationsBUSINESS DEVELOPMENT MANAGER

Belinda Besson

CORPORATE RELATIONS MANAGER

Janine Harris

CommunicationsPUBLIC RELATIONS MANAGER

Katherine Stevenson

COMMUNICATIONS & MEDIA MANAGER

Bridget Cormack

DIGITAL CONTENT PRODUCER

Kai Raisbeck

SOCIAL MEDIA AND PUBLICITY OFFICER

Caitlin Benetatos

BUSINESS SERVICES

DIRECTOR OF FINANCE

John Horn

FINANCE MANAGER

Ruth Tolentino

ACCOUNTANT

Minerva Prescott

ACCOUNTS ASSISTANT

Emma Ferrer

PAYROLL OFFICER

Laura Soutter

PEOPLE AND CULTURE

IN-HOUSE COUNSEL

Michel Maree Hryce

SYDNEY SYMPHONY ORCHESTRA STAFF

John C Conde ao ChairmanTerrey Arcus am

Ewen Crouch am

Ross GrantCatherine HewgillJennifer HoyRory JeffesAndrew Kaldor am

David LivingstoneThe Hon. Justice AJ MeagherGoetz Richter

SYDNEY SYMPHONY ORCHESTRA BOARD

SYDNEY SYMPHONY ORCHESTRA COUNCIL

Geoff Ainsworth am

Andrew Andersons ao

Michael Baume ao

Christine BishopIta Buttrose ao obe

Peter CudlippJohn Curtis am

Greg Daniel am

John Della BoscaAlan FangErin FlahertyDr Stephen FreibergDonald Hazelwood ao obe

Dr Michael Joel am

Simon JohnsonYvonne Kenny am

Gary LinnaneAmanda LoveHelen Lynch am

David Maloney am

David Malouf ao

Deborah MarrThe Hon. Justice Jane Mathews ao

Danny MayWendy McCarthy ao

Jane MorschelDr Timothy Pascoe am

Prof. Ron Penny ao

Jerome RowleyPaul SalteriSandra SalteriJuliana SchaefferLeo Schofield am

Fred Stein oam

Gabrielle TrainorJohn van OgtropPeter Weiss ao HonDLittMary WhelanRosemary White

23

SYDNEY SYMPHONY ORCHESTRA PATRONS

MAESTRO’S CIRCLESUPPORTING THE ARTISTIC VISION OF DAVID ROBERTSON, CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

Peter Weiss ao Founding President & Doris WeissJohn C Conde ao ChairmanBrian AbelGeoff Ainsworth am Tom Breen & Rachael KohnIn memory of Hetty & Egon GordonAndrew Kaldor am & Renata Kaldor aoVicki Olsson

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

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 4674 • philanthropy@sydneysymphony.com

MAKE A DIFFERENCE

CHAIR PATRONS

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

02 Lawrence Dobell Principal Clarinet Anne & Terrey Arcus am Chair

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

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

05 Jane Hazelwood, Viola Bob & Julie Clampett Chair in memory of Carolyn Clampett

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

07 Kirsty Hilton Principal Second Violin Corrs Chambers Westgarth Chair

08 Robert Johnson Principal Horn James & Leonie Furber Chair

09 Elizabeth Neville Cello Ruth & Bob Magid Chair

10 Emma Sholl Associate Principal Flute Robert & Janet Constable Chair

11 Janet Webb Principal Flute Helen Lynch am & Helen Bauer Chair

12 Kirsten Williams, Associate Concertmaster I Kallinikos Chair

FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM,

CALL (02) 8215 4619.

n n n n n n n n n n

0401 02 03

09 10 11 12

06 07 0805

24

PLAYING YOUR PART

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. Donations of $50 and above are acknowledged on our website at www.sydneysymphony.com/patrons

DIAMOND PATRONS: $30,000+Geoff Ainsworth am

Anne & Terrey Arcus am

Tom Breen & Rachael KohnMr John C Conde ao

Robert & Janet ConstableMr Andrew Kaldor am &

Mrs Renata Kaldor ao

In Memory of Matthew KrelMrs Roslyn Packer ao

Paul Salteri am & Sandra SalteriScully FoundationMrs W SteningMr Fred Street am &

Mrs Dorothy StreetPeter Weiss ao & Doris WeissMr Brian & Mrs Rosemary WhiteKim Williams am &

Catherine Dovey

PLATINUM PATRONS: $20,000–$29,999Brian AbelRobert Albert ao &

Elizabeth AlbertSandra & Neil BurnsJames & Leonie FurberIn memory of Hetty &

Egon GordonThe Estate of Dr Lynn Joseph

I KallinikosHelen Lynch am & Helen BauerMrs T Merewether oam

Mr B G O’ConorVicki OlssonDavid RobertsonMrs Penelope Seidler am

G & C Solomon in memory of Joan MacKenzie

Westfield GroupRay Wilson oam in memory of

James Agapitos oam

Anonymous (1)

GOLD PATRONS: $10,000–$19,999Bailey Family FoundationDoug & Alison BattersbyAlan & Christine BishopAudrey BlundenMr Robert BrakspearIan & Jennifer BurtonMr Robert & Mrs L Alison Carr Bob & Julie ClampettMichael Crouch ao &

Shanny CrouchCopyright Agency Cultural Fund The Hon. Mrs Ashley Dawson-

Damer am

Edward & Diane FedermanNora GoodridgeMr Ross Grant

Mr Ervin KatzJames N Kirby FoundationRuth & Bob MagidThe Hon. Justice AJ Meagher

& Mrs Fran MeagherMr John MorschelDrs Keith & Eileen OngMr John Symond am

Andy & Deirdre PlummerCaroline WilkinsonAnonymous (2)

SILVER PATRONS: $5000–$9,999Dr Francis J AugustusStephen J BellThe Berg Family FoundationDr & Mrs Hannes BoshoffMr Alexander & Mrs Vera

BoyarskyPeter Braithwaite & Gary

LinnaneMr David & Mrs Halina BrettEwen Crouch am &

Catherine CrouchIan Dickson & Reg HollowayIn memory of

Dr Lee MacCormick EdwardsDr Stephen Freiberg &

Donald CampbellDr Colin GoldschmidtThe Greatorex Foundation

Rory & Jane JeffesThe late Mrs Isabelle JosephJudges of the Supreme Court

of NSW Frank Lowy am &

Shirley Lowy oam

J A McKernanDavid Maloney am & Erin

FlahertyR & S Maple-BrownJustice Jane Mathews ao

Mora MaxwellMrs Barbara MurphyWilliam McIlrath Charitable

FoundationJohn & Akky van OgtropRodney Rosenblum am &

Sylvia RosenblumDr Evelyn RoyalThe Estate of the late

Greta C RyanManfred & Linda SalamonSimpsons SolicitorsMrs Joyce Sproat &

Mrs Janet CookeDavid Tudehope & Liz DibbsWestpac GroupMichael & Mary Whelan TrustIn memory of Geoff WhiteJune & Alan Woods Family

BequestAnonymous (1)

BRONZE PATRONS: PRESTO $2,500–$4,999Mr Henri W Aram oam

Dr Diana Choquette & Mr Robert Milliner

Mr B & Mrs M ColesMr Howard ConnorsGreta DavisFirehold Pty LtdStephen Freiberg &

Donald CampbellAnn HobanIrwin Imhof in memory of

Herta ImhofRobert McDougallJames & Elsie MooreMs Jackie O’BrienMarliese & Georges TeitlerMr Robert & Mrs Rosemary

WalshYim Family FoundationMr & Mrs T & D Yim

BRONZE PATRONS: VIVACE $1,000–$2,499Mrs Lenore AdamsonMrs Antoinette AlbertAndrew Andersons ao

Sibilla BaerDavid BarnesAllan & Julie BlighJan BowenLenore P BuckleMargaret BulmerIn memory of RW BurleyIta Buttrose ao obe

Mr JC Campbell qc & Mrs Campbell

Dr Rebecca ChinMr Peter ClarkeConstable Estate Vineyards Dom Cottam &

Kanako ImamuraDebby Cramer & Bill CaukillMr John Cunningham SCM &

Mrs Margaret CunninghamLisa & Miro DavisMatthew DelaseyMr & Mrs Grant Dixon

Colin Draper & Mary Jane Brodribb

Malcolm Ellis & Erin O’NeillMrs Margaret EppsPaul R EspieProfessor Michael Field am

Mr Tom FrancisWarren GreenAnthony GreggAkiko GregoryIn memory of Dora &

Oscar GrynbergJanette HamiltonMrs Jennifer HershonMrs & Mr HolmesMichael & Anna JoelAron KleinlehrerMr Justin LamL M B LampratiMr Peter Lazar am

Professor Winston LiauwDr David LuisPeter Lowry oam &

Dr Carolyn Lowry oam

Kevin & Deirdre McCannIan & Pam McGaw

Macquarie Group Foundation

Renee MarkovicHenry & Ursula MooserMilja & David MorrisMrs J MulveneyMr & Mrs OrtisMr Darrol NormanDr A J PalmerMr Andrew C PattersonDr Natalie E PelhamAlmut PiattiRobin PotterIn memory of Sandra Paul

PottingerTA & MT Murray-PriorDr Raffi QasabianMichael QuaileyMr Patrick Quinn-GrahamErnest & Judith RapeeKenneth R ReedPatricia H Reid Endowment

Pty LtdDr Marilyn RichardsonRobin Rodgers

25

PLAYING YOUR PART

TO FIND OUT MORE ABOUT BECOMING A

SYDNEY SYMPHONY ORCHESTRA PATRON, PLEASE

CONTACT THE PHILANTHROPY OFFICE ON (02) 8215 4674

OR EMAIL PHILANTHROPY@SYDNEYSYMPHONY.COM

n n n n n n n n n n

Lesley & Andrew RosenbergIn memory of H St P ScarlettCaroline SharpenDavid & Isabel SmithersMrs Judith SouthamCatherine StephenThe Hon. Brian Sully qc

Mildred TeitlerKevin TroyJohn E TuckeyIn memory of Joan &

Rupert VallentineDr Alla WaldmanMiss Sherry WangHenry & Ruth WeinbergThe Hon. Justice A G WhealyA Willmers & R PalMr & Mrs B C WilsonDr Richard WingMr Robert WoodsIn memory of Lorna WrightDr John YuAnonymous (11)

BRONZE PATRONS: ALLEGRO $500–$999David & Rae AllenMr & Mrs Garry S AshDr Lilon BandlerMichael Baume ao & Toni BaumeBeauty Point Retirement ResortRichard & Margaret BellMrs Jan BiberMinnie BiggsMrs Elizabeth BoonMr Colin G BoothDr Margaret BoothMr Frederick BowersMr Harry H BrianR D & L M BroadfootMiss Tanya Brycker

Dr Miles BurgessPat & Jenny BurnettEric & Rosemary CampbellBarrie CarterMr Jonathan ChissickMrs Sandra ClarkMichael & Natalie CoatesCoffs Airport Security Car ParkJen CornishDegabriele KitchensPhil Diment am & Bill

ZafiropoulosDr David DixonElizabeth DonatiMrs Jane DrexlerDr Nita Durham &

Dr James DurhamJohn FavaloroMs Julie Flynn & Mr Trevor CookMrs Lesley FinnMr John GadenVivienne GoldschmidtClive & Jenny GoodwinRuth GrahameMs Fay GrearIn Memory of Angelica GreenMr Robert GreenRichard Griffin am

Mr & Mrs Harold & Althea Halliday

Benjamin Hasic & Belinda DavieMr Robert HavardRoger HenningSue HewittIn memory of Emil HiltonDorothy Hoddinott ao

Mr Joerg HofmannMr Angus HoldenMr Kevin HollandBill & Pam HughesDr Esther Janssen

Niki KallenbergerMrs W G KeighleyMrs Margaret KeoghDr Henry KilhamChris J KitchingAnna-Lisa KlettenbergMr & Mrs Gilles T KrygerThe Laing FamilySonia LalDr Leo & Mrs Shirley LeaderMargaret LedermanMrs Erna Levy Sydney & Airdrie LloydMrs A LohanPanee LowDr David LuisMelvyn MadiganBarbara MaidmentHelen & Phil MeddingsDavid MillsKenneth Newton MitchellHelen MorganChris Morgan-HunnMr Graham NorthE J NuffieldDr Margaret ParkerDr Kevin PedemontDr John PittMrs Greeba PritchardMiss Julie RadosavljevicRenaissance ToursAnna RoAgnes Ross

Mr Kenneth RyanGarry Scarf & Morgie BlaxillPeter & Virginia ShawV ShoreMrs Diane Shteinman am

Victoria SmythDr Judy SoperDoug & Judy SotherenRuth StaplesMr & Mrs Ashley StephensonMargaret SuthersMs Margaret SwansonThe Taplin FamilyDr & Mrs H K TeyAlma Toohey Judge Robyn TupmanMrs M TurkingtonGillian Turner & Rob BishopRonald WalledgeIn memory of Denis WallisThe Wilkinson FamilyEvan Williams am &

Janet WilliamsDr Edward J WillsAudrey & Michael Wilson

Dr Richard WingateDr Peter Wong &

Mrs Emmy K WongGeoff Wood & Melissa WaitesMrs Robin YabsleyAnonymous (29)

List correct as of 1 May 2014

SYDNEY SYMPHONY ORCHESTRA VANGUARDA MEMBERSHIP PROGRAM FOR A DYNAMIC GROUP OF GEN X & Y SSO FANS AND FUTURE PHILANTHROPISTS

Vanguard CollectiveJustin Di Lollo ChairKees BoersmaAmelia Morgan-HunnJonathan PeaseSeamus R QuickChloe SassonCamille Thioulouse

MembersJames ArmstrongDamien BaileyJoan BallantineAndrew BaxterMar BeltranEvonne BennettNicole BilletDavid BluffAndrew BraggPeter BraithwaiteBlake Briggs

Andrea BrownMelanie BrownProf. Attila BrungsHelen CaldwellHilary CaldwellHahn ChauAlistair ClarkPaul ColganJuliet CurtinAlastair FurnivalAlexandra GibsonAlistair GibsonSam GiddingsMarina GoTony GriersonLouise HaggertyRose HercegPhilip HeuzenroederFrancis HicksPaolo HookePeter Howard

Jennifer HoyKatie HryceScott JacksonJustin JamesonJonathan KennedyAernout KerbertPatrick KokAlisa LaiTristan LandersGary LinnanePaul MacdonaldKylie McCaigRebecca MacFarlingDavid McKeanHayden McLeanTaine MoufarrigeNick NichlesTom O’DonnellKate O’ReillyLaurissa PoulosJingmin Qian

Leah RanieSudeep RaoMichael ReedePaul ReidyChris RobertsonDr Benjamin RobinsonEmma RodigariJacqueline RowlandsBenjamin SchwartzCaroline SharpenKatherine ShawRandal TameSandra TangMichael TidballMark TimminsKim WaldockJonathan WatkinsonJon WilkieYvonne Zammit

26

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

PREMIER PARTNER

EDUCATION PARTNERPLATINUM PARTNER

MAJOR PARTNERS

GOLD PARTNERS

REGIONAL TOUR PARTNER MARKETING PARTNERVANGUARD PARTNER

SILVER PARTNERS

Salute 2014_FOUR-2A.indd 1 26/06/14 2:21 PM

❝Tuning, tuning, tuning…

❞‘With the harp being a solo instrument in the orchestra, I tend to prepare everything as though it’s going to be a solo.’ It’s certainly true that composers often use the harp as a special colour within the orchestra, rather than treating it as part of a larger section. And cadenzas and other soloistic passages are not uncommon in the music of Ravel, Tchaikovsky and Stravinsky.

Performing as soloist out the front of the orchestra does allow certain refreshing freedoms, however. ‘I have the freedom to decide my own dynamics, the shape of phrases and other musical elements, rather than having to realise just the conductor’s intentions.’ Legends of the Old Castle, then, will offer Louise the chance to exercise her own self-expression. ‘I’m free to have my own ideas about this work,’ she says with relish.

There’s a lovely synergy in the fact that Simone Young is conducting this harpstravaganza – her own daughter is a gifted young harpist. ‘I’ve no doubt we’re going to get along famously,’ smiles Louise.

Louise Johnson is a soloist in Harp Legends on 24, 25 and 28 July. Simone Young conducts.

It’s a rare sight to see a harpist and their instrument out the front of the orchestra for a concerto performance. When Principal Harp, Louise Johnson appears as soloist with us in July, performing Lee Bracegirdle’s Legends of the Old Castle, it will be as part of the World Harp Congress – a weeklong celebration of this most ancient and beguiling instrument. The program features not one, but two concertos for harp (the other being Rodrigo’s Concierto serenata performed by Sivan Magen), and two orchestral works featuring multiple harps within the orchestra.

What’s the collective noun for a bunch of harpists then? An arpeggio? A cloud? ‘A haggle,’ replies Louise, without a moment’s hesitation and with a cheeky twinkle in her eye. And what are the challenges of having so many harpists in the one program? ‘Tuning, tuning, tuning,’ she says. ‘Each instrument needs to be tuned before every rehearsal and every performance. With 47 strings on each instrument you can imagine the tuning schedule we have to create!’

Preparing for a concerto is not necessarily so different to preparing an orchestral part.

MAGICAL COLOURPrincipal harpist Louise Johnson celebrates her instrument in all its guises and with all its challenges.

ORCHESTRA NEWS | JULY 2014

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a Warming up in the grand Shanghai Oriental Art Center, Principal Tuba Steve Rossé and Principal Double Bass Alex Henery prepare for a program that opened with Sound Lur and Serpent, Andrew Schultz’s new fanfare for brass and percussion, and Beethoven’s Emperor Piano Concerto with Shanghai-based prodigy Haochen Zhang. Steve later told us: ‘My favourite moment in our first concert was in Strauss’s Heldenleben when we hit that E flat chord which is the hero’s motif. It’s like being invincible.’

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Live at the Cortile with the SSO

From left: Kirsten Williams, Lerida Delbridge, Lawrence Dobell, Rosemary Curtin and Elizabeth Neville

Winter is definitely here but plenty of musical food lovers still ventured out into the cold for the second event in our intimate concert series in the Cortile bar and lounge at the InterContinental Sydney. Executive chef Tamas Palmer treated guests to a winter-time canapé menu, including mulled-wine martinis, chestnut veloutés and tartes Tatin, designed to match the music, which included movements from the Brahms and Mozart clarinet quintets, Elgar’s Salut d’Amour and Gershwin’s Embraceable You played by members of the SSO. The event sold out, so book now for the next SSO Live at the Cortile event on Thursday 7 August, when a quartet featuring oboist Shelfali Pryor will take you on an operatic journey of opulence and drama. Visit bit.ly/SSOLiveattheCortile

I am wondering what a musician does in a live concert when he or she suddenly feels the need to sneeze, not to mention what a soloist might do. Maybe it doesn’t happen because of the intense concentration. I haven’t ever noticed it, but I do wonder! Anne Irish

What a good question! I sometimes marvel that I don’t sneeze in a concert! I think you are right – the concentration required in performance overrides any desire to sneeze. I also find that if I have a cold

and my sinuses are blocked up, just before I have to play – especially if it’s an important solo – suddenly my head clears and I can forget that I’m unwell for a few minutes. That must be the adrenaline of performance at work.

Unfortunately coughing seems to be a different matter. I have had many coughing fits in various slow movements (it always seems to happen in the slow movement!), as have most of my colleagues. It’s awful, and there’s no escape. Very occasionally a coughing fit will necessitate leaving the stage so as not to be too distracting, either to colleagues onstage or for the audience listening.

If the concert is being broadcast live on radio, or recorded for later broadcast, then that adds another level of awareness.

Professionalism means overcoming these challenges, so I’m glad if you’ve never noticed these moments. We’re all in the service of the music.Rosamund Plummer, Principal Piccolo

Have a question about music, instruments or the inner workings of an orchestra? ‘Ask a Musician’ at yoursay @sydneysymphony.com or by writing to Bravo! Reply Paid 4338, Sydney NSW 2001.

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I never experienced the sound of an orchestra,’ Sebastian said. ‘It’s what I want to do for the rest of my life, but I never played in an orchestra until I started my undergraduate degree.’

This tour, 2000 children did have a chance to experience the sound of an orchestra and a wide variety of music – the big hit was LiteSPEED by Australian composer Matthew Hindson. ‘The music was obviously very stimulating for our “groovy” little bodies,’ praised a teacher from Morgan St Public School, Broken Hill. Kim Waldock, SSO Director of Learning and Engagement, says ‘we met students with some experience of orchestral music but the majority – especially in Cobar and Broken Hill – had absolutely no idea of what to expect. Staff and children of Cobar Public School created an “event”, arriving in tinfoil bow ties and tiaras, even the principal wore a dinner suit!’

In Broken Hill, the city’s Community Orchestra and Brass Band had great fun rehearsing with the SSO players. And five SSO players gave a lesson for the School of the Air in Broken Hill, which was later broadcast by ABC Regional Radio to other children in remote areas.

We might have returned from our third visit to China but we’ve only just made it to Cobar! Every year approximately 60 SSO players (including Fellows and Sinfonia musicians) tour to regional centres throughout NSW. Some of those towns and cities are old friends – Dubbo, Broken Hill – others are new acquaintances, like Cobar. It was a first visit that we won’t forget in a hurry: Cobar takes its footy seriously, so having our concert start during the State of Origin game presented a challenge. Cobar’s mayor Lillian Brady was thrilled the orchestra was in town but was ‘keeping an eye on the score, don’t you worry’. Conductor Daniel Carter is also a footy tragic: ‘It’s such a great cultural mix. To come somewhere like Cobar and in one night to experience great romantic Russian masterworks that are over 150 years old – and a game of NRL.’ Everyone was still able to get to the pub in time to see the Blues triumph.

Our return to Dubbo allowed Sebastian Dunn, a horn player in our Sinfonia training orchestra, to perform in his home town, not just in the public concert but also playing for his younger brother and friends at his old school. ‘Coming from Dubbo,

Regional Tour

TIARAS AND TOUCHDOWN

In Cobar, the children dressed up for the orchestra, wearing tiaras and tinfoil crowns.

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The ScoreSymphonies to SpareOrchestral concerts tend to have a standard ‘menu’: an overture or short concert opener, a concerto with a soloist, then the symphony – the big work. Sometimes the concerto is so ‘symphonic’ we put it last (the Brahms piano concertos, for example), but most of the time that’s the pattern we follow. But at the end of August, David Robertson has taken a slightly different approach, with a program that looks – at first glance – as if it has nothing but symphonies!

Brahms’s Third Symphony is serious music, sometimes melancholy, sometimes blissful, with a shimmering, floating pianissimo ending. We hope that, by playing it first rather than at the end, you’ll be able to hear it with fresh ears.

Our ‘concerto’ with soloist Vadim Repin is Lalo’s Symphonie espagnole, a ‘Spanish symphony’ composed for Sarasate. Lalo imagined the violin ‘soaring above the rigid form of an old symphony’ and the result is colourful and vibrant.

And from Janácek there’s a sinfonietta. Technically, that’s a ‘little symphony’ although this one is little only in duration – the orchestra is huge, with 12 trumpets! We’ve placed it last because it’s so striking and spectacular that really nothing could possibly follow it.

Symphonic InspirationEmirates Metro Series 29 August, 8pmGreat Classics 30 August, 2pmMondays @ 7 1 September, 7pm

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GUEST EDITOR Jacqui Smith | MUSICIAN PROFILE Genevieve Huppert sydneysymphony.com/bravo

SSO CHINA TOUR BLOGCatch up on all the highlights of our third tour to China, which took in Shanghai, Guangzhou, Shenzhen, Jinan, Hangzhou, Zi’an and Beijing, where we performed in the famous National Centre for the Performing Arts in Beijing (more commonly referred to as ‘The Egg’!).

Sharing in the tour spirit, the staff back in Sydney invited chef Gary Au to visit our office in the Rocks and demonstrate the ancient art of making Dragon Beard Candy. Check out the blog for the photo evidence, including some very sticky ‘beards’.blog.ssoontour.com

SSO CHAMBER MUSICFancy a more intimate setting for your next concert? Our musicians are busy performing chamber music alongside the big concerts…WED 23 JUL, 1.15pm St James’, King St Our Fellows perform the Elgar String Quartet and a new piece by James Wade. Entry by donation.

SUN 3 AUG, 1.30pm Turramurra Uniting Church The Chanterelle Quartet plays string quartets by Haydn, Lalor and Mozart. WED 6 AUG, 1.15pm St James’, King St Janet Webb leads a program of wind chamber music treats. Entry by donation. WED 6 AUG, 7pm, Verbrugghen Hall The SSO Brass Ensemble performs music by Barber, Terracini, Rautavaara and Copland at the Sydney Conservatorium.

SUMMER STOPOVERS IN DUBAIEmirates has announced a free 24-hour stopover package for passengers travelling from Australia on eligible flights to destinations beyond Dubai. With transfers, a 36-hour UAE entry visa and a 24-hour hotel stay, including breakfast, this is your chance to explore the vibrant city that Emirates calls home. As Principal Partner of the SSO, Emirates offers our patrons an exclusive 10% online discount on all Emirates flights. Make sure you’ve signed up to our

Stay Tuned e-newsletter to receive the special booking code. bit.ly/EmiratesDubaiStopoverSSO

STUDENT RUSHDid you know we offer student rush tickets to many of our concerts? Follow our Facebook page to find out when. Tickets are always strictly limited but you’ll often spend no more than $15. Bargain!

NEW ARRIVALSOur Bravo! editor (and regular guest harpist) Genevieve Huppert is taking a few issues off to enjoy the company of newborn Felix Islay. And Associate Principal Cello Henry Varema has been in Estonia for the birth of his daughter. Congratulations!

THANK YOUWe are extremely grateful to the many donors who responded to our recent end-of-financial-year appeal. Your support will enable us to achieve our growing educational and artistic goals and provide you in our audience and many students throughout NSW with exciting and fulfilling musical experiences.

CODA

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

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By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover than that in which it was published, or distributed at any other event than specified on the title page of this publication 17345 — 1/100714 — 20TH/E/G S46/48

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Chairman Brian Nebenzahl OAM RFD

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

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

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

SYDNEY OPERA HOUSE TRUSTMr John Symond am [Chair]Ms Catherine Brenner, The Hon Helen Coonan, Ms Brenna Hobson, Mr Chris Knoblanche, Mr Peter Mason am, Ms Jillian Segal am, Mr Robert Wannan, Mr Phillip Wolanski am

EXECUTIVE MANAGEMENTChief Executive Officer Louise Herron am

Chief Operating Officer Claire SpencerDirector, Programming Jonathan BielskiDirector, Theatre and Events David ClaringboldDirector, Building Development and Maintenance Greg McTaggartDirector, External Affairs Brook TurnerDirector, Commercial David Watson

SSO Bravo! #5 2014 Insert.indd 4 1/07/14 1:18 PM

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

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

PAPER PARTNER

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

By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover than that in which it was published, or distributed at any other event than specified on the title page of this publication 17345 — 1/100714 — 20TH/E/G S46/48

This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064

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 Brian Nebenzahl OAM RFD

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

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

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

SYDNEY OPERA HOUSE TRUSTMr John Symond am [Chair]Ms Catherine Brenner, The Hon Helen Coonan, Ms Brenna Hobson, Mr Chris Knoblanche, Mr Peter Mason am, Ms Jillian Segal am, Mr Robert Wannan, Mr Phillip Wolanski am

EXECUTIVE MANAGEMENTChief Executive Officer Louise Herron am

Chief Operating Officer Claire SpencerDirector, Programming Jonathan BielskiDirector, Theatre and Events David ClaringboldDirector, Building Development and Maintenance Greg McTaggartDirector, External Affairs Brook TurnerDirector, Commercial David Watson