APT MASTER SERIES

Wednesday 25 November 2015 Friday 27 November 2015 Saturday 28 November 2015

THUS SPAKE ZARATHUSTRA

FIND YOUR ARTThe best in fine music performance every weeknight at 8.30PM AEDT

Anne-Sophie Mutter and the Camerata Academica Salzburg perform Mozart’s Violin Concerto No.1

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Thus Spake Zarathustra Edo de Waart Returns WAGNER Lohengrin: Prelude to Act I JONGEN Symphonie concertante for organ & orchestra R STRAUSS Thus Spake Zarathustra WAGNER Lohengrin: Prelude to Act III

Edo de Waart conductor • Olivier Latry organ

APT Master Series

Wed 25 Nov 8pm Fri 27 Nov 8pm Sat 28 Nov 8pm Pre-concert talk by David Larkin 45 minutes before each performance

The Grand Organ Olivier Latry in Recital COUPERIN Offertory from the Mass for Parishes RAISON Christe – Passacaglia from the Mass on the Second Tone JS BACH Passacaglia and Fugue in C minor, BWV 582 MOBBERLEY Critical Mass DURUFLÉ Suite for organ, Op.5 with improvisations by Olivier Latry

Olivier Latry organ

Tea & Symphony Fri 27 Nov 11am complimentary morning tea from 10am

Edo de Waart conducts Mozart & ElgarEDWARDS White Ghost Dancing MOZART Piano Concerto No.24 in C minor, K491 ELGAR Symphony No.1

Edo de Waart conductor Ronald Brautigam piano (PICTURED)

Thursday Afternoon Symphony Thu 3 Dec 1.30pmEmirates Metro Series Fri 4 Dec 8pmGreat Classics Sat 5 Dec 2pmPre-concert talk by David Garrett 45 minutes before each performance

Toy Stories SSO Fellows Chamber Concert STRAVINSKY Concerto in E flat (Dumbarton Oaks) ADÈS Living Toys HARRISON Jabberwock HK GRUBER Frankenstein!!

Roger Benedict conductor • Tom Heath chansonnier 2015 SSO Fellowship

Sun 29 Nov 3pm Verbrugghen Hall, Sydney Conservatorium of Music

Pokémon: Symphonic Evolutions Experience Pokémon brought to life by the Sydney Symphony Orchestra with exciting visuals from recent and classic Pokémon video games and all new arrangements!

Fri 20 Nov 8pm Sat 21 Nov 2pm Sat 21 Nov 8pm

©2015 Pokémon. ©1995 - 2015 Nintendo/Creatures Inc./GAME FREAK inc. TM, ®, and character names are trademarks of Nintendo.

Peter Cetera Live with your SSO Successful solo artist and former lead of Chicago, hear all your favourite hits Glory of Love, Hard to Say I’m Sorry, If You Leave Me Now at the State Theatre.

Fri 11 Dec 8pm Sat 12 Dec 2pm Sat 12 Dec 8pm State Theatre, Sydney

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SSO PRESENTS

WELCOME

Welcome to tonight’s concert! In this final program for the 2015 APT Master Series, former SSO chief conductor Edo de Waart returns to Sydney to conduct one of the great orchestral tone poems of Richard Strauss.

Thus Spake Zarathustra is a monumental work that inspires

musicians and audiences alike. Its point of departure is

philosophy but this isn’t dry or ‘intellectual’ music, it’s music

that affects the emotions. The departure point for Richard

Wagner’s Lohengrin is the world of legend and mediæval

romance, resulting in music that is both poetic and festive.

(Joseph Jongen’s magnificent Symphonie concertante had its

starting point in an American department store – as you can

read later in this book!)

Just as in the great classical music masterpieces, an APT luxury

cruise offers a journey that will inspire and delight. And in

March 2016 you’ll be able to enjoy an SSO Departures cruise –

combining the joys of European river cruising with intimate

chamber music played by SSO musicians. The itinerary takes

in the heartland of orchestral music, with stops in Germany

and Austria, including an exclusive private concert in the City

Palace in Vienna, owned by the Princely Family of Liechtenstein.

Thank you for joining us tonight – we hope you enjoy the

performance.

Geoff McGeary oam APT Company Owner

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PRESENTED BY

Friday’s performance will be recorded by ABC Classic FM for broadcast across Australia on Saturday 28 November at 1pm.

Pre-concert talk by David Larkin at 7.15pm in the Northern Foyer.

Estimated durations: 8 minutes, 36 minutes, 20-minute interval, 20 minutes, 3 minutes The concert will conclude at approximately 9.45pm.

COVER IMAGE: The Sun (Rising Sun) – painted in 1904 by Giuseppe Pellizza da Volpedo (1868–1907). Galleria Nazionale d’Arte Moderna, Rome / Bridgeman Images

THUS SPAKE ZARATHUSTRAEdo de Waart conductor Olivier Latry organ

RICHARD WAGNER (1813–1883) Lohengrin: Prelude to Act I

JOSEPH JONGEN (1873–1953) Symphonie concertante for organ and orchestra

Allegro, molto moderato (in modo dorian) Divertimento (Molto vivo) Molto lento, misterioso Toccata. Moto perpetuo (Allegro moderato)

INTERVAL

Richard Strauss (1864–1949) Also sprach Zarathustra – Symphonic poem, Op.30 (Thus Spake Zarathustra)

WAGNER Lohengrin: Prelude to Act III

APT MASTER SERIES

WEDNESDAY 25 NOVEMBER, 8PM FRIDAY 27 NOVEMBER, 8PM SATURDAY 28 NOVEMBER, 8PM

SYDNEY OPERA HOUSE CONCERT HALL

2015 concert season

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Detail from Raphael’s famous fresco The School of Athens (1509–11). In this allegory of philosophy, Zoroaster is depicted holding the starry globe; the philosopher with his back to the viewer might be Ptolemy; Raphael himself stands as Appelles (back right) and Protogenes appears front right.

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Thus Spake Zarathustra: Edo de Waart ReturnsIf you were attending SSO concerts in the 1990s and early 2000s, when Edo de Waart was chief conductor, you’ll remember an era when concert presentations of Wagner operas were highlights of the programming, as well as performances of the great Strauss tone poems. There were other highlights too – Mahler symphonies, and the music of John Adams – but in tonight’s concert, it’s the music of Wagner and Richard Strauss that makes a fitting program for ‘Edo de Waart Returns’.

Pivotal to the program is the philosopher Friedrich Nietzsche, whose writing provided the inspiration for Strauss’s Thus Spake Zarathustra, and who – as a musician and thinker – was in turn inspired by Wagner. From Wagner we hear the two Lohengrin preludes: the masterpiece that begins the opera and, at the end of the concert, one of the shortest overtures in the repertoire, the prelude to Act III – three exhilarating minutes to send you home with a feeling of festive excitement.

Thus Spake Zarathustra enjoys widespread popular appeal because of its powerful presence in Stanley Kubrick’s 2001: A Space Odyssey. But concertgoers know there is so much more to this music than the three-minute ‘sunrise’ heard in the film. Following that awe-inspiring beginning is a 30-minute free interpretation of Nietzsche’s philosophical poem, of which Strauss felt rightly proud: ‘of all my pieces, the most perfect in form, the richest in content and the most individual in character’.

The first half of the concert features the Symphonie concertante for organ and orchestra by the Belgian composer Joseph Jongen. His name may not be as well known as those of Wagner or Strauss, but we’re confident you’ll find his music equally exhilarating and spectacular.

INTRODUCTION

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Richard Wagner Lohengrin: Prelude to Act I Prelude to Act III

Divided strings high in their compass alternating with four solo violins and a chorus of flutes and oboes begin the first prelude of Lohengrin, Wagner’s sixth opera and the last of his works that could be considered opera as distinct from music drama, his preferred designation. This is not a curtain-raiser, parading the big tunes of the evening ahead, but a poetic introduction, creating in one breath an image against which the ensuing plot may be compared. Here, as Wagner says in his own program note:

Out of the clear blue ether of the sky there seems to condense a wonderful yet at first hardly perceptible vision; and out of this there gradually emerges, ever more and more clearly, an angel host bearing in its midst the sacred Grail.

Lohengrin is a Grail story. Like much of Wagner’s work, the opera is based on mediæval accounts of mythology, in this instance, one of the legends of the Holy Grail. Elsa of Brabant has been falsely accused of murdering her brother, heir to the dukedom. She prays fervently for a champion to defend her honour, a knight she has seen in a vision, and Lohengrin appears – in a boat drawn by a swan. Lohengrin defeats Elsa’s accuser in combat and proposes marriage, providing she never asks him his name and origin. Act III begins with every reason for joy, but the seed of doubt and curiosity has already been placed in Elsa’s mind in Act II, tragedy unfolds and the opera ends with the couple parted forever.

ABOUT THE MUSIC

KeynotesWAGNERBorn Leipzig, 1813 Died Venice, 1883

As a composer of opera, writer and conductor, Wagner was one of the most influential creative personalities of his generation. He was also one of the most controversial: a composer who polarised listeners even as he changed the nature of opera forever. He cultivated an almost symphonic conception of opera, and his monumental creations were sustained by long-range harmonic thinking. One of his most important contributions to music was the ingenious linking of musical motifs (Leitmotiven or ‘leading motifs’) to specific characters and situations; the influence of this technique continues to be profoundly felt in most film soundtracks.

LOHENGRIN

The three-act opera Lohengrin was composed between 1846 and 1848 and premiered in Weimar in 1850. Wagner wrote his own libretto for the opera, drawing on Grail legends. The two preludes – the shimmering and angelic introduction to Act I and the exhilarating introduction to Act III – have become popular concert works in their own right. But perhaps the best known music from the opera is the Bridal Chorus from Act III (‘Here comes the bride…’).

Portrait of Richard Wagner by Caesar Willich, c.1862.

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The shimmering instrumental effect of the Prelude to Act I beautifully illustrates Wagner’s visionary image. Gradually a theme emerges which will gain significance later in the opera as the Grail theme. Skilfully introducing deeper and deeper instruments, Wagner suggests a long descent. The horns and brass gradually enter and the prelude gathers force, until ‘the Grail is revealed in all its glorious reality’. Having reached a climax, the music returns to its quiet origins in the rarefied atmosphere of the higher strings. The angels return to heaven, says Wagner, ‘having once more made pure the hearts of men.’

The Prelude to Act III – performed at the end of tonight’s program – offers a very different mood. This tiny prelude depicts the swirling activity of the festivities preceding a wedding – the wedding in which the world first heard the Bridal Chorus. These celebrations are for the union of Lohengrin, a Knight of the Holy Grail, and Elsa of Brabant.

Wagner could not supervise the premiere or attend the first performances: he’d become involved in the May uprising of 1849 and had had to flee to Switzerland. From there, he wrote to Liszt in Weimar, begging him to ‘bring out my Lohengrin!…to no-one but you would I entrust the production of this opera.’ Liszt took him at his word: ‘Your Lohengrin will be given under conditions that are most unusual and most favourable for its success. The direction will spend on this occasion almost 2,000 thalers – a sum unprecedented at Weimar within memory of man.’

Lohengrin premiered on 28 August 1850; despite his earlier encouraging reports, Liszt was bitterly disappointed with the production. A review in the Hamburg Kleine Musikzeitung called the performance ‘a gentle fiasco’ and declared that Wagner had revealed himself yet again to be ‘utterly unmusical’. Other reviewers, however, looked more favourably on the opera, publishing its praise all over Germany and in Paris, and provincial opera companies, having seen that Wagner’s operas could indeed be performed without an enormous theatre, took up his music with enthusiasm. Wagner’s European reputation was established.

SYDNEY SYMPHONY ORCHESTRA © 2015

ADAPTED IN PART FROM A NOTE BY GORDON KALTON WILLIAMS (ACT I)

The Lohengrin preludes call for three flutes, three oboes (one playing

coranglais in Act I), three clarinets (one playing bass clarinet) and three

bassoons; four horns, three trumpets, three trombones and tuba; timpani

and percussion; and strings.

The SSO first performed the Prelude to Act I of Lohengrin in 1938,

conducted by Joseph Post, and most recently in 1990, conducted by

Stephen Kovacevich. The Prelude to Act III also received its first SSO

performance in 1938, with W.G. James conducting, and was programmed

most recently in 2010 in concerts conducted by Simone Young. Edo

de Waart included the Act III Prelude in the 1996 Benevolent Fund Concert.

One review called the premiere ‘a gentle fiasco’…

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KeynotesJONGENBorn Liège, 1873 Died Sart, 1953

Belgian composer Joseph Jongen was born in Liège, the same city as César Franck. He was a prolific composer but withdrew many of his works in a fit of intense self-criticism late in life. He is best known for the Symphonie concertante for organ and orchestra and was himself an organist of renown, but his surviving compositions (numbering close to 250) also include orchestral works and much chamber music.

Jongen won the Belgian Royal Academy Competition at the age of 21 and the Belgian Prix de Rome three years later. In  the 1920s he was appointed Director and teacher of counterpoint and fugue at the Brussels Conservatory.

In Liège the name Jongen is pronounced with J as in French ‘je’, a hard G as in ‘go’, and the second syllable, with a short E, receives a slightly greater stress: zhon-GEN

SYMPHONIE CONCERTANTE

This piece is not strictly an organ concerto although the organ is the featured instrument, nor is it a symphony. Instead it forms a kind of alliance between organ and orchestra in ambitious and exciting music. It is in four movements, beginning with a tribute to tradition, followed by a lively scherzo, a longer slow movement full of colouristic effect, and a thrilling ‘perpetual motion’ finale.

Joseph Jongen Symphonie concertante for organ and orchestraAllegro, molto moderato (in modo dorian) Divertimento (Molto vivo) Molto lento, misterioso Toccata. Moto perpetuo (Allegro moderato)

Olivier Latry organ

In music which is king? The organ or the orchestra? Joseph

Jongen’s Symphonie concertante proposes less a contest than

an alliance. The result, as the title implies, is neither a symphony

nor a concerto, but both – one of the most ambitious, successful,

and satisfying pieces for organ and orchestra; exciting, too,

demanding a mighty instrument and a mighty player.

It will come as no surprise that Jongen was an organist as well

as a composer. Indeed, the scale and history of his Symphonie

concertante are to be explained by his prowess in both fields.

The commission to compose the piece came with the condition

that Jongen would give its first performance, not in his native

Belgium, but in transatlantic Philadelphia. Jongen’s fame as an

organ virtuoso had spread. The commissioner hoped for world

fame for the instrument on which the performance would

be given.

In 1911 Rodman Wanamaker, owner of a Philadelphia

department store that bore his name, had built a major attraction

into his store, an enormous organ of 1670 pipes and 455 ranks.

It was to inaugurate the restoration of the organ that Jongen

was to play his new piece. Just as Jongen was set to travel to

Philadelphia in early 1928, his father died and he postponed his

trip. Then there were delays in the restoration project, pushing

the concert date back to the end of 1928. It was scrapped

completely after Wanamaker’s unexpected death in March 1928.

Meanwhile Jongen, who had begun the work in 1926, played

the premiere in Brussels on 11 February 1928. No wonder he

used to refer to his Symphonie concertante as ‘that unfortunate

work’.

Jongen’s Belgian nationality helps explain some of the

character of the music. Like César Franck before him, Joseph

Jongen was born in the Francophone Belgian city of Liège, where

his brilliant precocity won him admission to the Conservatoire

at the age of seven. His abilities as organist, composer and

teacher kept pace with each other. The year before he began

his Symphonie concertante, he became director of the Royal

Conservatoire in Brussels. The influence of Brahms, Richard

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Strauss and César Franck on Jongen’s early music is still

apparent in the Symphonie concertante; perhaps especially

Franck, in the choice of featured instrument and the

chromaticism of the harmony.

This is very much a work of Jongen’s maturity (his 241

compositions cover the whole range of orchestral, solo and

chamber music). It also reflects the strong pull of the French

music of the impressionists, Debussy and Ravel, first revealed in

Jongen’s chamber piece Concert à cinq of 1923. In 1926 terms,

this organ and orchestra piece is stylistically up-to-date. Its

success was immediately noted by one of Jongen’s few peers

among Belgian musicians, his friend the violinist and composer

Eugène Ysaÿe, who suggested the Symphonie concertante

might better be called a symphony for two orchestras, since

‘the role you assign to the King of Instruments and its abundant

resources…is not limited or restricted; it is clearly a second

orchestra that enriches the first.’ Ysaÿe’s comment reliably helps

guide listening.

The opening movement (‘in the Dorian mode’) pays tribute to

two aspects of the organ’s history: the old church modes, and

fugue (a subject Jongen taught). Yet the unalerted listener might

miss Jongen’s learning, so lively, even sprightly is the material

in this combination of fugal exposition and sonata form. Jongen

wrote: ‘Unlike many composers who have recourse to fugues

at the end of their work, the present composer has introduced

a fugue at the very beginning.’

Changing time signatures give almost impish playfulness to

the scherzo-like Divertimento, alternating with more sustained,

song or even hymn-like passages.

The third and longest movement is the most tinged by

impressionism, and the most adventurous in harmony and

texture. Organ and orchestra achieve, in Jongen’s words, ‘the

best union possible’ with wondrous coloristic effect.

The perpetual motion finale recalls the symphonic toccatas

of such organist-composers as Widor. Words are inadequate for

this delirious music, piling climax on climax in its unceasing

spinning motion.

DAVID GARRETT © 2015

The orchestra for Jongen’s Symphonie concertante comprises three flutes (one doubling piccolo), two oboes, cor anglais, two clarinets, bass clarinet, two bassons and contrabassoon; four horns, three trumpets, three trombones and tuba; timpani and percussion; harp and strings.

The SSO was the first ABC orchestra to perform the Symphonie concertante, in 1983 with organist Gillian Weir and conductor Zdeněk Mácal. This is our first performance of the work since then.

Joseph Jongen – portrait from La Revue Musicale, 1923.

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KeynotesR STRAUSSBorn Munich, 1864 Died Garmisch- Partenkirchen, 1949

Richard Strauss wrote two symphonies as a teenager, but this was not the musical genre that captured his imagination. Instead he made his name in the theatre and with the evocative and storytelling possibilities of the symphonic poem as invented by Liszt. Even Strauss’s Alpine ‘Symphony’ and the ‘Symphonia’ domestica are large-scale symphonic poems with an underlying narrative.

THUS SPAKE ZARATHUSTRA

Thus Spake Zarathustra was composed in 1896 – a relatively early work – and takes its name from a philosophical poem by Nietzsche. The inspiration is loose, but Strauss does name the individual sections of the music (performed without pause) after different chapters in Nietzsche’s poem. The famous Sunrise is followed by musical explorations of the tensions between nature and mankind. Although Nietzsche is frequently associated with the concept of the ‘Superman’ and his poem ends in triumph, Strauss’s free interpretation closes in a mysterious and tranquil mood.

Richard Strauss Also sprach Zarathustra – Symphonic poem, Op.30 (Thus Spake Zarathustra)

In 1891–92 the usually robust Strauss suffered a period of

serious illness, including bouts of pneumonia, bronchitis and

pleurisy. In the summer of 1892 he took leave of his duties at

the Weimar Opera and travelled extensively through Italy, Greece

and Egypt, soaking up the sun, but more importantly enjoying

the awesome physical remains of the ancient pagan civilisations

in those countries. It was at this time that he began to think

about a musical response to some of the ideas of the German

philosopher Friedrich Nietzsche, particularly those expressed

n his poem Also sprach Zarathustra, though the work’s

composition had to wait until 1896.

Zoroaster (as he was known to the ancient Greeks) was a

Persian prophet living in the sixth century BCE who taught that

the universe, and humankind in particular, is subject to the

eternal struggle of two gods, represented by light and darkness;

his religion survives among the Parsees of modern India.

Nietzsche’s relationship to Zoroastrian ideas is fairly loose, and

as Norman Del Mar puts it, he used these ‘as a prop on which to

clothe his own ideas on the purpose and destiny of mankind’.

The most famous – indeed, notorious – of these is the idea of the

Übermensch or Superman. ‘Man,’ in Nietzsche’s words, ‘is a thing

to be surmounted…what is the ape to man? A jest or a thing of

shame. So shall man be to the Superman.’ While Nietzsche

(and, it must be admitted, the younger Strauss) were disdainful

of Christianity’s compassion for weakness, it is drawing a long

bow to make Nietzsche responsible for the atrocities of Nazism.

Indeed, Nietzsche scholar Joachim Köhler argues that Also

sprach Zarathustra, with its celebration of the individual will,

partly grew out of the poet’s freeing himself from the dominating

personality of the composer Richard Wagner. And Wagner’s

widow Cosima, writing to her son-in-law Houston Stewart

Chamberlain (whose racist ideas definitely did influence Hitler),

condemned Nietzsche’s book for its ‘Jewishness’.

Listening Guide

Strauss’s work is, as he said, ‘freely after Fr. Nietzsche’: he takes

some of the chapter headings as the defining images for each

section of his tone poem. It begins with the famous invocation to

the sun (Introduction: Sunrise), with low rumbling accompanying

the trumpets’ simple C-G-C theme (which in much of Strauss

represents primeval nature). The increasing blaze of full chords

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establishes C major as one pole of the work (and as Del Mar

notes, the sound of the organ at the end of the section adds

a liturgical note). Of the Back-worlds-men depicts humanity in

its primitive, or rather naïve state (in B minor, significantly –

B being the other tonal pole of the piece). Strauss includes those

who profess Christianity in this category, quoting a fragment of

the plainchant for the Credo to underline his point.

Of the Great Longing, which follows a gorgeous climax for

the strings, is a depiction of humanity’s search for something

beyond mere superstition, but Strauss’s music dramatises the

conflict between nature (the trumpet theme) and humanity’s

tendency to create dogma with more hints of plainchant and

the unresolved conflict between the keys of C and B. A new

chromatic motif leads into the Of Joys and Passions section

with a theme that Strauss described as ‘A flat (brass: dark blue)’.

Actually the section tends to be in C minor, linking it to the idea

of nature, whereas the following Funeral Song is in B minor, and

therefore linked to the idea of man.

Of Science is based on a deeply-voiced fugue that Strauss

described as ‘spine-chilling’ and Del Mar regards as having

a ‘strangely mysterious quality’ despite its dour timbre. In The Convalescent, Nietzsche describes Zoroaster’s spiritual and

physical collapse, after which he emerges as the Superman.

The Dance Song of the Superman is, like the Dance of the Seven

Veils in Salome, a Viennese waltz – a Straussian joke, perhaps.

Here poet and composer part company: Strauss’s Zoroaster

displays none of the triumphalism that Nietzsche’s does, and

the work closes with a mysterious and tranquil Night Wanderer’s Song in which the keys of nature and man still quietly contend.

GORDON KERRY © 2004

Thus Spake Zarathustra calls for four flutes (doubling piccolo), three

oboes (doubling cor anglais), four clarinets (doubling E flat clarinet),

four bassoons (doubling contrabassoon); six horns, four trumpets, three

trombones and two tubas; timpani and percussion; two harps, organ

and strings.

The SSO first performed the complete symphonic poem in 1947

under Bernard Heinze and most recently in 2007 conducted by Charles

Mackerras in what were to be his last concerts with the SSO.

After the final rehearsal for the premiere, Strauss, with characteristic modesty, wrote to his wife: ‘Zarathustra is glorious…of all my pieces, the most perfect in form, the richest in content and the most individual in character… I’m a fine fellow after all, and  feel just a little pleased with myself.’

Nietzsche afforded Strauss ‘much aesthetic enjoyment’ rather than any profound philosophical conversion.

Richard Strauss in 1900

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15

Nietzsche and Music

The stunning opening of Richard Strauss’s Also sprach

Zarathustra may remind you of the film 2001: A Space Odyssey.

The program note will tell you what Strauss had in mind: a sunrise

on the mountaintop from which the philosopher Zoroaster

contemplates the world with infinite detachment. This Zarathustra

is the creation of Friedrich Nietzsche – whose reputation is even

more durable than the Stanley Kubrick film.

The fascination of this German professor’s writings has

scarcely ever waned. Musicians who have drawn on his words

and inspiration include Mahler in his Third Symphony and Delius

in his Requiem and A Mass of Life. Nietzsche speaks to non-

conformists, to those who think of themselves as alienated

from ‘bourgeois’ society, and from Christianity. ‘God is Dead’

is one of his mottos, and he was profound on the subject.

Nietzsche believed empirical science separated reasoning

from the totality of the person. Modern knowledge, since the

18th-century Enlightenment, was leading towards nihilism.

Only a few free spirits, held Nietzsche, would be strong enough

to face the death of God, the collapse of traditional values;

these would create their own values, without illusions. This

concept of The Superman, and of ‘the will to power’ was

appropriated and misunderstood by Fascists.

The author of these ideas was originally a classical scholar.

Suffering ill-health most of his life, sensitive and solitary, he

compensated by declaring war on the ‘Christian’ values of pity

and charity, proclaiming the handsome, ruthless Superman,

and rationalising his own inner loneliness as superiority to the

common herd. In 1889 Nietzsche suffered a mental breakdown

and spent a year in an asylum. His last decade was enveloped in

mental darkness.

The power of Nietzsche’s writing comes from his intellectual

insight and his command of the German language, of which he

proclaimed himself the greatest master since Luther, Goethe

and Heine.

But Nietzsche was also a musician. The most important

encounter of his life was with the major musical force of his

time, Richard Wagner. Nietzsche eventually fell out with Wagner,

the god that failed. Turning from classical philology to philosophy,

Nietzsche abandoned, with sadness, his idea that music would

save Western culture.

The son of a Lutheran pastor from Saxony, Friedrich

Nietzsche began composing as an eight year old. His early

musical enthusiasms, reflected in his compositions, were Handel,

Mozart, Beethoven and, Schumann. But discovering Wagner

Friedrich Nietzsche in 1882, photo by Gustav Schultze.

Nietzsche played piano well enough for Wagner to comment ironically: ‘No Nietzsche, you play much too well for a professor!’ But Wagner’s admiration didn’t extend to Nietzsche’s own musical creations. The young Nietzsche was staying at Tribschen when Wagner’s son Siegfried was born, and when the Siegfried Idyll was first performed as Richard’s surprise birthday present for Cosima. But when Nietzsche’s New Year’s Echoes for piano four hands was played – also a birthday gift for Cosima – a reference to the Siegfried Idyll sent Wagner out of the room to roll on the floor convulsed with laughter.

16

was Nietzsche’s great epiphany: ‘The moment there was such

a thing as a piano reduction of Tristan…I was a Wagnerite.’

Wagner became curious about his fan, the young scholar.

They met in Leipzig; Wagner played and sang from his new

Mastersingers of Nuremberg, and talked with Nietzsche about

Schopenhauer. They both owed much to this philosopher, the

only one, according to Wagner, who recognised the essence of

music. Nietzsche discovered that Wagner shared his interest in

the musical drama of Greek antiquity.

Wagner was now living with his lover Cosima near Lucerne,

a powerful incentive for Nietzsche to accept the offer of a

professorship in nearby Basel. A brief but intense intimacy

began. Nietzsche began his first book, The Birth of Tragedy

out of the Spirit of Music, hailing tragedy as the supreme

achievement of Greek culture. Serenity and cheerfulness –

‘Apollonian’ qualities attributed to the Greeks – cannot be

understood, Nietzsche argued, unless we feel the unrestrained

‘Dionysian’ energies the Greeks harnessed in tragedy: ‘Music

and tragic myth are equally expressions of the Dionysian

capacity of a people, and they are inseparable.’

When he wrote this In 1871 Nietzsche believed that in Wagner

the Greek synthesis had been re-born. Wagner was delighted

to find an advocate who would give him greater credibility.

Nietzsche was the first to glorify Wagner intelligently. Their

eventual falling out was partly one genius’s jealousy of another.

Wagner was piqued that Nietzsche’s books weren’t all about

him; Nietzsche soon found Wagner unendurable as a person,

and as a philosopher a dilettante.

Nietzsche and Wagner last met in 1878. Meanwhile

Nietzsche’s writing gave Wagner more and more offence.

After Wagner’s death in 1883, and just before his own lapse

into insanity, Nietzsche published his witty and dismissive

The Case of Wagner (1888). Wagner, he now claimed, expressed

decadence, and had made music sick – a neurosis. Wagner

manipulated sensation; he was by instinct more actor than

musician, out for theatrical effect. This bad continuation of

German Romanticism was ‘the most un-Greek of all possible art

forms – moreover, a first-rate poison for the nerves…a narcotic

that intoxicates and spreads a fog’. Bayreuth’s music drama

was nothing other than grand opera à la Meyerbeer, ‘and not

even good opera’.

As an antidote to Wagner, Nietzsche famously chose Bizet’s

Carmen, whose Mediterranean fatalism seemed more in

harmony with the tragic outlook of the Greeks: ‘…as in Don

José’s last cry, which concludes the work: Yes. I have killed her.

Nietzsche was the type of musical amateur who has strong views but no deep musical judgment. When he put a musician on the pedestal to replace Wagner, Nietzsche chose a Basel student of his called Johann Heinrich Köselitz, who became his confidant and amanuensis in his later years, and the ‘faithful Kurwenal’ to Nietzsche’s Tristan during his madness. Köselitz composed under the name Peter Gast. His music is a mere curiosity of history, yet Nietzsche hailed him as ‘a new Mozart’. The choice of a musician as soul mate, nevertheless, shows what a large place music took in Nietzsche’s life and thought.

17

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I – my adored Carmen! Such a conception of love is the only one worthy of a philosopher’.

Nietzsche also enjoyed Bizet’s music: light, supple, and pleasant, ‘it does not sweat’. Nietzsche admitted that what he said about Carmen and Bizet was ‘as an ironic antithesis to Wagner’. It was Nietzsche’s fate to turn his back on Wagner. Yet he could still say ‘Wagner sums up modernity. There is no way out, one must first become a Wagnerian.’

Hearing music inspired by Nietzsche, and noting Nietzsche’s entanglement with Wagner, it is well to remember that so influential a philosopher had so much to do with music.

ABRIDGED FROM AN ARTICLE BY DAVID GARRETT © 2001/2015

As an antidote to Wagner, Nietzsche famously chose Bizet’s Carmen…

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MORE MUSIC

LOHENGRINTo hear Wagner’s Lohengrin in its entirety, you can’t go wrong with Georg Solti, the Vienna Philharmonic and State Opera Chorus and a star-studded cast with Jessye Norman as Elsa and Plácido Domingo in the title role. DECCA 470 7952

Or if the idea of Wagner in orchestral mode appeals, look for one of the many recordings of his overtures and preludes. An excellent place to start would be Volume 1 of Edo de Waart’s recording – with the Dutch Radio Philharmonic Orchestra – of Wagner: Orchestral Works. In addition to tonight’s preludes, you’ll find the overture to Die Meistersinger, Parsifal, The Flying Dutchman and Tannhäuser, together with the Prelude and Liebestod from Tristan und Isolde.EXTON 153

MORE JONGENTonight’s soloist, Olivier Latry, has recorded Jongen’s Symphonie concertante with the Liège Philharmonic Orchestra and conductor Pascal Rophé. The organ is an instrument by Pierre Schyven in the Liège Salle Philharmonique. Filling out the disc is Saint-Saëns’ Third Symphony (‘avec orgue’).CYPRES 7610

The Symphonie concertante is spectacular, but much of Jongen’s other music is on the more intimate chamber music scale. SSO Principal Viola Roger Benedict has paired Jongen with Charles Koechlin in his recording Volupté: Music for Viola and Piano. The four Jongen pieces include his Viola Concertino.MELBA MR 301126

Or try the recording by the aptly named Ensemble Joseph Jongen (violin, cello and piano). It features his landmark Trio for piano and strings, Aquarelles, and two Pièces en Trio: Elégie nocturnale and Allegro appassionata.FUGA LIBERA 518

SPECTACULAR STRAUSSIn his last concerts with the SSO, Charles Mackerras conducted Thus Spake Zarathustra and the result was captured for CD release on a 2-disc set alongside his trademark Czech repertoire: Dvořák’s Seventh Symphony, Smetana’s Vltava (The Moldau) and Janéček’s spectacular Sinfonietta.SSO LIVE 200705

For a comprehensive collection of Strauss’s tone poems, suites and other orchestral pieces – performed by an impressive line up of conductors and orchestras – you can’t go past the Decca 6-CD set Richard Strauss: The Tone Poems. Zarathustra is performed by the Los Angeles Philharmonic and Zubin Mehta.DECCA 470 9542

For a more recent release from closer to home, look for the Queensland Symphony Orchestra’s recording with Johannes Fritzsch of three of the tone poems: Don Juan, Macbeth and Death and Transfiguration. (Originally released in 2010 as Love and Death: The Tone Poems of Richard Strauss.)ABC CLASSICS 481 0857

NIETZSCHE THE MUSICIANNietzsche’s fame today rests on his philosophy but he was also a musician: he played piano, was a self-taught composer and (for a time) a Wagnerite. His music is mostly small scale: piano pieces and vocal works, and of most interest as a musical byway, but a few recordings exist. Micheal Krocker has recorded the complete piano music (a single disc), and two volumes of Nietzsche’s vocal music are available on Albany Records. And baritone Dietrich Fischer-Dieskau lends distinction to Nietzsche with a selection of 16 songs, accompanied by Aribert Reimann. Out of print but available through Arkivmusic.comPHILIPS 426 863

Broadcast DiaryNovember–December

abc.net.au/classic

Saturday 28 November, 1pm

THUS SPAKE ZARATHUSTRAEdo de Waart conductor Olivier Latry organ

Wagner, Jongen, Richard Strauss, Wagner

SSO RadioSelected SSO performances, as recorded by the ABC, are available on demand:

sydneysymphony.com/SSO_radio

SYDNEY SYMPHONY ORCHESTRA HOURTuesday 8 December, 6pm

Musicians and staff of the SSO talk about the life of the orchestra and forthcoming concerts. Hosted by Andrew Bukenya.

finemusicfm.com

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

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

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

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

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

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

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

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

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

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

LOOK OUT FOR…

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

Mahler 1 & Songs of a Wayfarer SSO 201001

Mahler 2 SSO 201203

Mahler 3 SSO 201101

Mahler 4 SSO 201102

Mahler 5 SSO 201003 Mahler 6 SSO 201103

Mahler 7 SSO 201104

Mahler 8 (Symphony of a Thousand) SSO 201002

Mahler 9 SSO 201201

Mahler 10 (Barshai completion) SSO 201202

Song of the Earth SSO 201004

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

MAHLER ODYSSEY

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

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His extensive discography includes recent recordings of Mahler’s First Symphony and Elgar’s Dream of Gerontius, both with the Royal Flemish Philharmonic, as well as Henk de Vlieger’s arrangement of the Night Song and Liebestod from Tristan und Isolde with the Netherlands Radio Philharmonic Orchestra. He has long been an exponent of the music of John Adams, and conducted the first recording of Nixon in China in 1987 with the original cast.

Edo de Waart was made a Knight in the Order of the Dutch Lion in 2004, and his honours and accolades also include appointment as an Honorary Fellow of the Hong Kong Academy for Performing Arts. In 2005 he was appointed an Honorary Officer in the General Division of the Order of Australia, in recognition of his contribution to Australian cultural life during his decade in Sydney. He returns regularly to the SSO, appearing most recently in two programs in 2011.

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Edo de Waart conductor

Edo de Waart is Chief Conductor of the Royal Flemish Philharmonic, Music Director of the Milwaukee Symphony Orchestra and Conductor Laureate of the Netherlands Radio Philharmonic Orchestra. In March 2016 he takes up the post of Music Director of the New Zealand Symphony Orchestra.

He also continues to work with many of the world’s leading orchestras, with guest conducting appearances including the Chicago Symphony Orchestra, Los Angeles Philharmonic, NHK Symphony and Royal Stockholm Philharmonic Orchestra. He has previously held posts with the Rotterdam Philharmonic, San Francisco Symphony, Minnesota Orchestra and Hong Kong Philharmonic Orchestra, and from 1992 till  2003 he was Chief Conductor and Artistic Director of the Sydney Symphony Orchestra.

As an opera conductor, Edo de Waart has enjoyed success in a large and varied repertoire in many of the world’s greatest opera houses. He was Chief Conductor of the Netherlands Opera and he has conducted at Bayreuth, Royal Opera House Covent Garden, Grand Théâtre de Genève, Opera de Bastille, Santa Fe Opera and the Metropolitan Opera. In addition to semi-staged and concert opera performances with his orchestras in the United States, he regularly conducts opera with the Netherlands Radio Philharmonic Orchestra at the Concertgebouw Amsterdam matinee series.

ABOUT THE ARTISTS

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His many recordings include the music of JS Bach, Widor and Vierne, and the complete works of Duruflé. He has also recorded a transcription disc, Midnight at Notre-Dame, featuring music by César Franck and the complete organ works of Messiaen. He has also recorded the Poulenc Concerto and the Barber Toccata Festiva with the Philadelphia Orchestra, and the Jongen Symphonie concertante with the Liège Orchestra. His  most recent recording, Trois Siècles d’Orgue Notre-Dame de Paris, features music composed by past and current organists of Notre-Dame Cathedral.

Olivier Latry has previously appeared with the SSO in 2002, when he performed the Poulenc Concerto on the recently refurbished organ of the Sydney Opera House. He has also given recitals in Sydney on several occasions, performing on the Hill organ in the Sydney Town Hall and the Beckerath organ in the Great Hall of Sydney University.

Olivier Latry will give a solo recital here in the Sydney Opera House Concert Hall on Friday 27 November at 11am. See www.sydneysymphony.com for details.

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Olivier Latryorgan

Olivier Latry is one of the most distinguished concert organists in the world today. A titular organist at the Cathedral of Notre-Dame in Paris, he is also Professor of Organ at the Paris Conservatory and Organist Emeritus with the Montreal Symphony Orchestra, and he appears regularly as a soloist at prestigious venues and festivals, and with leading orchestras around the world.

He was born in 1962 in Boulogne-sur-Mer, France, where he began his musical studies. From 1981 to 1985 he was titular organist of Meaux Cathedral, and at 23 won the competition to become one of the three titular organists of Notre-Dame Cathedral. In 1990 he succeeded his teacher Gaston Litaize as organ professor at the Academy of Music at St Maur-des-Fossés, and in 1995 was appointed Professor of Organ at the Paris Conservatory. In 2009 he was presented the International Performer of the Year award by the New York City chapter of the American Guild of Organists, and in 2010 received an honorary doctorate from McGill University in Montreal.

As a concert organist, he does not specialise in a specific repertoire but explores all styles of organ music, as well as the art of improvisation. In 2000 he performed three complete cycles (six recitals each) of Olivier Messiaen’s organ music, at the Cathedral of Notre-Dame in Paris, the Church of St Ignatius Loyola in New York City and St Paul’s Cathedral in London.

22

SYDNEY SYMPHONY ORCHESTRA

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

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

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

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

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

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

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

DAVID ROBERTSON THE LOWY CHAIR OF

CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

PATRON Professor The Hon. Dame Marie Bashir ad cvo

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

To see photographs of the full roster of permanent musicians and find out more about the orchestra, visit our website: www.sydneysymphony.com/SSO_musiciansIf you don’t have access to the internet, ask one of our customer service representatives for a copy of our Musicians flyer.

THE ORCHESTRA

David RobertsonTHE LOWY CHAIR OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

Dene OldingCONCERTMASTER

Andrew HaveronCONCERTMASTER

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

FIRST VIOLINS Andrew Haveron CONCERTMASTER

Kirsten Williams ASSOCIATE CONCERTMASTER

Lerida Delbridge ASSISTANT CONCERTMASTER

Jenny BoothBrielle ClapsonSophie ColeAmber DavisClaire HerrickGeorges LentzNicola LewisEmily LongAlexandra MitchellAlexander NortonLéone ZieglerVictoria Bihun†

Emily Qin°Dene Olding CONCERTMASTER

Sun Yi ASSOCIATE CONCERTMASTER

Fiona Ziegler ASSISTANT CONCERTMASTER

SECOND VIOLINS Kirsty Hilton Marina Marsden Marianne BroadfootEmma Jezek ASSISTANT PRINCIPAL

Freya FranzenEmma HayesShuti HuangStan W KornelBenjamin LiNicole MastersPhilippa PaigeMaja VerunicaMonique Irik°Elizabeth Jones°Cristina Vaszilcsin°Lucy Warren*Biyana Rozenblit

VIOLASRoger Benedict Tobias BreiderJustin WilliamsASSISTANT PRINCIPAL

Sandro CostantinoRosemary CurtinJane HazelwoodGraham HenningsJustine MarsdenFelicity TsaiAndrew Jezek*Charlotte Fetherston†

Anne-Louise Comerford Stuart JohnsonAmanda VernerLeonid Volovelsky

CELLOSCatherine Hewgill Leah Lynn ASSISTANT PRINCIPAL

Kristy ConrauFenella GillTimothy NankervisElizabeth NevilleChristopher PidcockAdrian WallisDavid WickhamRebecca Proietto†

Umberto Clerici

DOUBLE BASSESKees Boersma Alex Henery Neil Brawley PRINCIPAL EMERITUS

David CampbellSteven LarsonBenjamin WardJosef Bisits°John Keene†

Richard Lynn

FLUTES Janet Webb Carolyn HarrisRosamund Plummer PRINCIPAL PICCOLO

Nicola Crowe†

Emma Sholl

OBOESDiana Doherty David PappAlexandre Oguey PRINCIPAL COR ANGLAIS

Ngaire De Korte*Shefali Pryor

CLARINETSFrancesco Celata A/ PRINCIPAL

Christopher TingayAlexei Dupressoir*PRINCIPAL BASS CLARINET

Amy Whyte*Craig Wernicke PRINCIPAL BASS CLARINET

BASSOONSMatthew Wilkie Fiona McNamaraNoriko Shimada PRINCIPAL CONTRABASSOON

Justin Sun†

HORNSBen Jacks Robert Johnson Geoffrey O’Reilly PRINCIPAL 3RD

Euan HarveyRachel SilverJenny McLeod-Sneyd*Timothy Skelly*Marnie Sebire

TRUMPETSDavid Elton Matthew Dempsey*Anthony HeinrichsOwen Morris†

Paul Goodchild

TROMBONESRonald Prussing Scott Kinmont Christopher Harris PRINCIPAL BASS TROMBONE

Nick Byrne

TUBASteve Rossé Tim Buzbee*

TIMPANIRichard Miller

PERCUSSIONRebecca Lagos Timothy ConstableMark Robinson

HARP Louise Johnson Genevieve Huppert*

ORGANDavid Drury*

Bold = PRINCIPAL

Italics = ASSOCIATE PRINCIPAL

° = CONTRACT MUSICIAN

* = GUEST MUSICIAN† = SSO FELLOW

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

24

BEHIND THE SCENES

Sydney Symphony Orchestra StaffMANAGING DIRECTORRory Jeffes

EXECUTIVE TEAM ASSISTANTLisa Davies-Galli

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC PLANNINGBenjamin Schwartz

ARTISTIC ADMINISTRATION MANAGER Eleasha Mah

ARTIST LIAISON MANAGERIlmar Leetberg

TECHNICAL MEDIA PRODUCER Philip Powers

LibraryAnna CernikVictoria GrantMary-Ann Mead

LEARNING AND ENGAGEMENT

DIRECTOR OF LEARNING AND ENGAGEMENT Linda Lorenza

EMERGING ARTISTS PROGRAM MANAGER Rachel McLarin

EDUCATION MANAGER Amy Walsh

EDUCATION OFFICER Tim Walsh

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA MANAGEMENT Aernout Kerbert

ORCHESTRA MANAGERRachel Whealy

ORCHESTRA COORDINATOR Rosie Marks-Smith

OPERATIONS MANAGER Kerry-Anne Cook

HEAD OF PRODUCTION Laura Daniel

STAGE MANAGERCourtney Wilson

PRODUCTION COORDINATORSElissa SeedOllie Townsend

PRODUCER, SPECIAL EVENTSMark Sutcliffe

SALES AND MARKETING

DIRECTOR OF SALES & MARKETINGMark J Elliott

MARKETING MANAGER, SUBSCRIPTION SALES Simon Crossley-Meates

SENIOR SALES & MARKETING MANAGERPenny Evans

A/ SENIOR SALES & MARKETING MANAGER Matthew Rive

MARKETING MANAGER, WEB & DIGITAL MEDIA Eve Le Gall

MARKETING MANAGER, CRM & DATABASEMatthew Hodge

A/ SALES & MARKETING MANAGER, SINGLE TICKET CAMPAIGNSJonathon Symonds

DATABASE ANALYSTDavid Patrick

SENIOR GRAPHIC DESIGNERChristie Brewster GRAPHIC DESIGNER

Tessa ConnSENIOR ONLINE MARKETING COORDINATOR

Jenny SargantMARKETING ASSISTANT

Laura Andrew

Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlinBOX OFFICE SYSTEMS SUPERVISOR

Jennifer LaingBOX OFFICE BUSINESS ADMINISTRATOR

John RobertsonCUSTOMER SERVICE REPRESENTATIVES

Karen Wagg – CS ManagerRosie BakerMichael Dowling

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

EXTERNAL RELATIONSDIRECTOR OF EXTERNAL RELATIONS

Yvonne Zammit

PhilanthropyHEAD OF PHILANTHROPY

Rosemary SwiftPHILANTHROPY MANAGER

Jennifer DrysdalePATRONS EXECUTIVE

Sarah MorrisbyPHILANTHROPY COORDINATOR

Claire Whittle

Corporate RelationsCORPORATE PARTNERSHIPS MANAGER

Belinda BessonCORPORATE PARTNERSHIPS EXECUTIVE

Paloma Gould

CommunicationsCOMMUNICATIONS & MEDIA MANAGER

Bridget CormackPUBLICIST

Caitlin BenetatosMULTIMEDIA CONTENT PRODUCER

Kai Raisbeck

BUSINESS SERVICES

DIRECTOR OF FINANCE

John HornFINANCE MANAGER

Ruth Tolentino ACCOUNTANT

Minerva Prescott ACCOUNTS ASSISTANT

Emma Ferrer PAYROLL OFFICER

Laura Soutter

PEOPLE AND CULTUREIN-HOUSE COUNSEL

Michel Maree Hryce

Terrey Arcus AM Chairman Andrew BaxterEwen Crouch AM

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

Sydney Symphony Orchestra CouncilGeoff Ainsworth AM

Doug BattersbyChristine BishopThe Hon John Della Bosca MLC

John C Conde ao

Michael J Crouch AO

Alan FangErin FlahertyDr Stephen Freiberg Simon JohnsonGary LinnaneHelen Lynch AM

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

Sandra SalteriJuliana SchaefferFred Stein OAM

John van OgtropBrian WhiteRosemary White

HONORARY COUNCIL MEMBERSIta Buttrose AO OBE Donald Hazelwood AO OBE

Yvonne Kenny AM

David Malouf AO

Wendy McCarthy AO

Leo Schofield AM

Peter Weiss AO

Anthony Whelan mbe

Sydney Symphony Orchestra Board

25

SSO PATRONS

Maestro’s Circle

David Robertson

Peter Weiss AO Founding President & Doris Weiss

Terrey Arcus AM Chairman & Anne Arcus

Brian Abel

Tom Breen & Rachel Kohn

The Berg Family Foundation

John C Conde AO

Andrew Kaldor AM & Renata Kaldor AO

Vicki Olsson

Roslyn Packer AO

David Robertson & Orli Shaham

Penelope Seidler AM

Mr Fred Street AM & Dorothy Street

Brian White AO & Rosemary White

Ray Wilson OAM in memory of the late James Agapitos OAM

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

FOR INFORMATION ABOUT THE CHAIR PATRONS

PROGRAM, CALL (02) 8215 4625.

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Chair PatronsDavid RobertsonThe Lowy Chair of Chief Conductor and Artistic Director

Roger BenedictPrincipal ViolaKim Williams AM & Catherine Dovey Chair

Kees BoersmaPrincipal Double BassSSO Council Chair

Umberto ClericiPrincipal CelloGarry & Shiva Rich Chair

Timothy ConstablePercussionJustice Jane Mathews AO Chair

Lerida DelbridgeAssistant ConcertmasterSimon Johnson Chair

Diana DohertyPrincipal OboeJohn C Conde AO Chair

Richard Gill oam

Artistic Director, DownerTenix DiscoveryPaul Salteri AM & Sandra Salteri Chair

Jane HazelwoodViolaBob & Julie Clampett Chair in memory of Carolyn Clampett

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

Robert JohnsonPrincipal HornJames & Leonie Furber Chair

Scott KinmontAssociate Principal TromboneAudrey Blunden Chair

Leah LynnAssistant Principal CelloSSO Vanguard Chair With lead support from Taine Moufarrige, Seamus R Quick, and Chris Robertson & Katherine Shaw

Nicole MastersSecond ViolinNora Goodridge Chair

Elizabeth NevilleCelloRuth & Bob Magid Chair

Shefali PryorAssociate Principal OboeMrs Barbara Murphy Chair

Emma ShollAssociate Principal FluteRobert & Janet Constable Chair

Janet WebbPrincipal FluteHelen Lynch AM & Helen Bauer Chair

Kirsten WilliamsAssociate ConcertmasterI Kallinikos Chair

Janet and Robert Constable with Associate Principal Flute Emma Sholl. ‘When we first met her in the Green Room at the Opera House,’ recalls Robert, ‘it was a lovely hug from Emma that convinced us that this was not only an opportunity to support her chair but to get involved with the orchestra and its supporters. It has been a great experience.’

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Learning & Engagement

SSO PATRONS

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

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

fellowship supporting patronsMr Stephen J BellJoan MacKenzie ScholarshipDrs Eileen & Keith OngIn Memory of Geoff White

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

Additional support provided by:Anne Arcus & Terrey Arcus AM

Ian & Jennifer Burton Ian Dickson & Reg HollowayMrs Barbara MurphyTony Strachan

major education donorsBronze Patrons & above

John Augustus & Kim RyrieBob & Julie ClampettHoward & Maureen ConnorsThe Greatorex FoundationJ A McKernanBarbara MaidmentMr & Mrs Nigel PriceDrs Eileen & Keith OngMr Robert & Mrs Rosemary Walsh

Sydney Symphony Orchestra 2015 Fellows

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Commissioning CircleSupporting the creation of new works.

ANZAC Centenary Arts and Culture FundGeoff Ainsworth AM

Raji AmbikairajahChristine BishopDr John EdmondsAndrew Kaldor AM & Renata Kaldor AO

Jane Mathews AO

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

“Patrons allow us to dream of projects, and then share them with others. What could be more rewarding?” DAVID ROBERTSON SSO Chief Conductor and Artistic Director

BECOME A PATRON TODAY. Call: (02) 8215 4650 Email: philanthropy@sydneysymphony.com

Foundations

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

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Stuart Challender Legacy Society

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

Henri W Aram OAM & Robin Aram

Stephen J BellMr David & Mrs Halina BrettR BurnsHoward ConnorsGreta DavisJennifer FultonBrian GalwayMichele Gannon-MillerMiss Pauline M Griffin AM

John Lam-Po-Tang

Peter Lazar AM

Daniel LemesleLouise MillerJames & Elsie MooreVincent Kevin Morris &

Desmond McNallyMrs Barbara MurphyDouglas PaisleyKate RobertsMary Vallentine AO

Ray Wilson OAM

Anonymous (10)

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

bequest donors

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

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

IF YOU WOULD LIKE MORE INFORMATION

ON MAKING A BEQUEST TO THE SSO,

PLEASE CONTACT OUR PHILANTHROPY TEAM

ON 8215 4625.

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

Playing Your Part

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

In Memory of Matthew KrelMr Frank Lowy ac & Mrs Shirley

Lowy oam

Roslyn Packer ao

Paul Salteri am & Sandra Salteri

Estate of the late Rex Foster Smart

Peter Weiss ao & Doris WeissMr Brian White ao &

Mrs Rosemary White

PLATINUM PATRONS$30,000–$49,999Doug and Alison BattersbyMr John C Conde ao

Robert & Janet ConstableMr Andrew Kaldor am &

Mrs Renata Kaldor ao

Mrs Barbara MurphyVicki OlssonMrs W SteningMr Fred Street am &

Mrs Dorothy StreetKim Williams am & Catherine

Dovey

GOLD PATRONS $20,000–$29,999Brian AbelRobert Albert ao & Elizabeth

AlbertThe Berg Family FoundationTom Breen & Rachael KohnSandra & Neil BurnsEstate of Jonathan Earl

William ClarkJames & Leonie FurberI KallinikosHelen Lynch am & Helen

BauerJustice Jane Mathews ao

Mrs T Merewether oam

Rachel & Geoffrey O’ConorAndy & Deirdre PlummerGarry & Shiva RichDavid Robertson & Orli

ShahamMrs Penelope Seidler am

G & C Solomon in memory of Joan MacKenzie

Ray Wilson oam in memory of James Agapitos oam

Anonymous (2)

SILVER PATRONS $10,000–$19,999Geoff Ainsworth &

Jo FeatherstoneChristine BishopAudrey BlundenMr Robert BrakspearMr Robert & Mrs L Alison CarrBob & Julie ClampettMichael Crouch ao & Shanny

CrouchIan Dickson & Reg HollowayPaul EspieEdward & Diane FedermanNora GoodridgeMr Ross GrantThe Estate of Mr Irwin ImhofSimon JohnsonRuth & Bob MagidSusan Maple-Brown The Hon Justice AJ Meagher &

Mrs Fran MeagherMr John MorschelDrs Keith & Eileen OngMr and Mrs Nigel PriceKenneth R Reed am

Mrs Joyce Sproat & Mrs Janet Cooke

John Symond am

The Harry Triguboff Foundation

Caroline WilkinsonJune & Alan Woods Family

BequestAnonymous (2)

BRONZE $5,000–$9,999John Augustus & Kim RyrieDushko BajicStephen J BellDr Hannes & Mrs Barbara

BoshoffBoyarsky Family TrustPeter Braithwaite & Gary

LinnaneIan & Jennifer BurtonRebecca ChinMr Howard ConnorsDavid Z Burger FoundationDr Colin GoldschmidtThe Greatorex FoundationRory & Jane JeffesRobert JoannidesMr Ervin KatzIn memoriam

Dr Reg Lam-Po-TangBarbara MaidmentMora MaxwellTaine MoufarrigeRobert McDougallWilliam McIlrath Charitable

Foundation

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Playing Your Part

SSO PATRONS

BRONZE PATRONS CONTINUED

J A McKernanNexus ITJohn & Akky van OgtropSeamus Robert QuickChris Robertson & Katherine

ShawRodney Rosenblum am & Sylvia

RosenblumDr Evelyn RoyalManfred & Linda SalamonGeoff StearnTony StrachanJohn & Josephine StruttMr Robert & Mrs Rosemary WalshIn memory of Geoff WhiteAnonymous (2)

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

G & L BessonIan BradyMr David & Mrs Halina BrettMark Bryant oam

Lenore P BuckleMrs Stella ChenCheung FamilyDr Paul CollettEwen Crouch am & Catherine

CrouchProf. Neville Wills &

Ian FenwickeFirehold Pty LtdDr Kim FrumarWarren GreenAnthony GreggAnn HobanJames & Yvonne HocrothMr Roger Hundson &

Mrs Claudia Rossi-HudsonDr & Mrs Michael HunterMr John W Kaldor AMProfessor Andrew Korda am &

Ms Susan PearsonProfessor Winston LiauwDr Barry LandaMrs Juliet LockhartRenee MarkovicHelen & Phil MeddingsJames & Elsie MooreMs Jackie O’BrienPatricia H Reid Endowment

Pty LtdJuliana SchaefferHelen & Sam ShefferDr Agnes E SinclairEzekiel SolomonRosemary SwiftMr Ervin Vidor am &

Mrs Charlotte VidorLang Walker ao & Sue WalkerWestpac GroupMary Whelan & Robert

BaulderstoneYim Family Foundation

Dr John YuAnonymous (2)

VIVACE $1,000–$2,499Mrs Lenore AdamsonAntoinette AlbertRae & David AllenAndrew Andersons ao

Mr Matthew AndrewsMr Garry and Mrs Tricia AshSibilla BaerThe Hon Justice Michael BallDavid BarnesDr Richard & Mrs Margaret BellIn memory of Lance BennettMs Gloria BlondeG D BoltonJan BowenIn memory of Jillian BowersIn Memory of Rosemary Boyle,

Music TeacherRoslynne BracherWilliam Brooks & Alasdair BeckMr Peter BrownIn memory of R W BurleyIta Buttrose ao obe

Mrs Rhonda CaddyHon J C Campbell qc &

Mrs CampbellDebby Cramer & Bill CaukillMr B & Mrs M ColesMs Suzanne CollinsJoan Connery oam & Maxwell

Connery oam

Mr Phillip CornwellMr John Cunningham scm &

Mrs Margaret CunninghamDiana DalyDarin Cooper FoundationGreta DavisLisa & Miro DavisDr Robert DickinsonE DonatiProfessor Jenny EdwardsDr Rupert C EdwardsMalcolm Ellis & Erin O’NeillMrs Margaret EppsMr & Mrs J B Fairfax am

Julie FlynnDr Stephen Freiberg & Donald

CampbellMr Matt GarrettVivienne Goldschmidt &

Owen JonesIn Memory of Angelica GreenAkiko GregoryDr Jan Grose oam

Mr & Mrs Harold & Althea HallidayJanette HamiltonSandra HaslamMrs Jennifer HershonSue HewittDorothy Hoddinott ao

Kimberley Holden

Mr Kevin Holland & Mrs Roslyn Andrews

The Hon. David Hunt ao qc & Mrs Margaret Hunt

Mr Phillip Isaacs oam

Dr Owen JonesMrs Margaret KeoghAron KleinlehrerMrs Gilles KrygerMr Justin LamBeatrice LangMr Peter Lazar am

Airdrie LloydGabriel LopataPeter Lowry oam & Carolyn

Lowry oam

Macquarie Group FoundationMelvyn MadiganDavid Maloney am & Erin FlahertyJohn & Sophia MarMr Danny R MayMr Guido MayerKevin & Deidre McCannIan & Pam McGawMatthew McInnesI MerrickHenry & Ursula MooserMilja & David MorrisJudith MulveneyDarrol Norman & Sandra HortonJudith OlsenMr & Mrs OrtisAndrew Patterson & Steven BardyIn memory of Sandra Paul

PottingerMr Stephen PerkinsAlmut PiattiDr John I PittThe Hon. Dr Rodney Purvis am

& Mrs Marian PurvisDr Raffi Qasabian &

Dr John WynterMr Patrick Quinn-GrahamErnest & Judith RapeeIn Memory of

Katherine RobertsonMr David RobinsonTim RogersDr Colin RoseLesley & Andrew RosenbergJanelle RostronMr Shah RusitiJorie Ryan for Meredith RyanIn memory of H St P ScarlettGeorge and Mary ShadVictoria SmythDr Judy SoperJudith SouthamMr Dougall SquairCatherine StephenThe Honourable Brian Sully am qc

Mrs Margaret SwansonThe Taplin FamilyMildred TeitlerDr & Mrs H K TeyDr Jenepher Thomas

Kevin TroyJohn E TuckeyJudge Robyn TupmanDr Alla WaldmanIn memory of Denis WallisMiss Sherry WangHenry & Ruth WeinbergThe Hon. Justice A G WhealyJerry WhitcombMrs Leonore WhyteA Willmers & R PalAnn & Brooks C Wilson am

Dr Richard WingEvan WongDr Peter Wong &

Mrs Emmy K WongGeoff Wood & Melissa WaitesSir Robert WoodsLindsay & Margaret WoolveridgeIn memory of Lorna WrightMrs Robin YabsleyAnonymous (20)

ALLEGRO $500–$999Nikki AbrahamsKatherine AndrewsDr Gregory AuMr & Mrs George BallBarlow Cleaning Pty LtdBarracouta Pty LtdSimon BathgateDr Andrew BellMr Chris BennettMs Baiba BerzinsJan BiberMinnie BiggsJane BlackmoreMrs P M BridgesR D and L M BroadfootDr Peter BroughtonDr David BryantArnaldo BuchDr Miles BurgessPat & Jenny BurnettHugh & Hilary CairnsEric & Rosemary CampbellM D & J M ChapmanJonathan ChissickMichael & Natalie CoatesDom Cottam & Kanako ImamuraAnn CoventryMr David CrossMark Dempsey sc

Dr David DixonSusan DoenauDana DupereJohn FavaloroMrs Lesley FinnMr Richard FlanaganMs Lynne FrolichMichele Gannon-MillerMs Lyn GearingMr Robert GreenDr Sally GreenawayMr Geoffrey Greenwell

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VANGUARD COLLECTIVEJustin Di Lollo ChairBelinda BentleyAlexandra McGuiganOscar McMahonTaine Moufarrige

Founding PatronShefali PryorSeamus R Quick

Founding PatronChris Robertson &

Katherine Shaw Founding Patrons

MEMBERSLaird AbernethyElizabeth AdamsonClare Ainsworth-HerschellCharles ArcusPhoebe ArcusJames ArmstrongLuan AtkinsonDushko Bajic

Supporting PatronJoan BallantineScott BarlowAndrew Batt-RawdenJames BaudzusAndrew BaxterAdam BeaupeurtAnthony BeresfordJames BessonAndrew BotrosPeter BraithwaiteAndrea BrownNikki BrownAttila BrungsTony ChalmersDharmendra ChandranLouis ChienPaul ColganClaire CooperBridget CormackKarynne CourtsRobbie CranfieldPeter CreedenAsha CugatiJuliet CurtinDavid CutcliffeEste Darin-CooperRosalind De SaillyPaul DeschampsCatherine DonnellyJennifer DrysdaleJohn-Paul DrysdaleKerim El GabailiKaren EwelsRoslyn FarrarTalitha FishburnNaomi Flutter

Alexandra GibsonSam GiddingsJeremy GoffLisa GoochHilary GoodsonTony GriersonJason HairKathryn HiggsPeter HowardJennifer HoyKatie HryceJames HudsonJacqui HuntingtonVirginia JudgePaul KalmarTisha KelemenAernout KerbertPatrick KokAngela KwanJohn Lam-Po-TangTristan LandersJessye LinGarry LinnaneDavid LoSaskia LoFern MoufarrigeMarcus MoufarrigeSarah MoufarrigeAlasdair Murrie-WestJulia NewbouldAnthony NgNick NichlesKate O’ReillyPeter O’SullivanJune PickupRoger PickupStephanie PriceMichael RadovnikovicBenjamin RobinsonAlvaro Rodas FernandezAdam SadlerAnthony SchembriBenjamin SchwartzBen ShipleyCecilia StornioloBen SweetenRandal TameSandra TangIan TaylorZoe TaylorCathy ThorpeMichael TidballMark TrevarthenMichael TuffyRussell van HoweSarah VickMichael WatsonAlan WattersJon WilkieYvonne Zammit

SSO Vanguard

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

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Mr Richard Griffin am

In memory of Beth HarpleyV HartsteinBenjamin Hasic & Belinda

DavieAlan Hauserman & Janet

NashRobert HavardMrs A HaywardRoger HenningProf. Ken Ho & Mrs Tess HoDr Mary JohnssonAernout Kerbert & Elizabeth

NevilleDr Henry KilhamJennifer KingMiss Joan KleinMrs Patricia KleinhansAnna-Lisa KlettenbergMs Sonia LalL M B LampratiDavid & Val LandaIn memory of Marjorie LanderElaine M LangshawMargaret LedermanRoland LeeMr David LemonMrs Erna LevyMrs A LohanLinda LorenzaM J MashfordMs Jolanta MasojadaKenneth Newton MitchellMr David MuttonMr & Mrs NewmanMr Graham NorthDr Lesley NorthSead NurkicMr Michael O’BrienDr Alice J PalmerDr Natalie E PelhamPeter and Susan PicklesErika PidcockAnne Pittman

John Porter & Annie Wesley-Smith

Mrs Greeba PritchardMichael QuaileyMr Thomas ReinerDr Marilyn RichardsonAnna RoMr Michael RollinsonMrs Christine Rowell-MillerMr Kenneth RyanGarry E Scarf & Morgie BlaxillMrs Solange SchulzPeter & Virginia ShawDavid & Alison ShilligtonMrs Diane Shteinman am

Margaret SikoraColin SpencerTitia SpragueRobert SpryMs Donna St ClairFred & Mary SteinAshley & Aveen StephensonMargaret & William SuthersPam & Ross TegelMrs Caroline ThompsonPeter & Jane ThorntonRhonda TingAlma TooheyHugh TregarthenMrs M TurkingtonGillian Turner & Rob BishopRoss TzannesMr Robert VeelRonald WalledgeMiss Roslyn WheelerIn Memoriam JBL WattDr Edward J WillsDr Wayne WongDr Roberta WoolcottPaul WyckaertAnonymous (32)

SSO Patrons pages correct as of 7 July 2015

Create a sustainable future for orchestral music by helping to build the audiences of tomorrow.

SUPPORT THE SSO EDUCATION FUND. Call: (02) 8215 4650 Email: philanthropy@sydneysymphony.com

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SALUTE

REGIONAL TOUR PARTNER MARKETING PARTNERVANGUARD PARTNER

PREMIER PARTNER

SILVER PARTNERS

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

UNIVERSAL MUSIC AUSTRALIA

PLATINUM PARTNER MAJOR PARTNERS

GOLD PARTNERS

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

Salute 2015_Sep_#32+_rev.indd 1 18/09/2015 10:02 am