MASTER SERIES

Wed 13 Mar 8pmFri 15 Mar 8pmSat 16 Mar 8pm

FATE AND FESTIVALSTchaikovsky’s First Piano Concerto

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Friday night’s performance will broadcast live across Australia on ABC Classic FM.

Pre-concert talk by David Larkin at 7.15pm in the Northern Foyer. Visit bit.ly/SSOspeakerbios for speaker biographies.

Estimated durations: 15 minutes, 32 minutes, 20-minute interval, 10 minutes, 24 minutesThe concert will conclude at approximately 10pm.

Fate and FestivalsCharles Olivieri-Munroe CONDUCTOR

Joyce Yang PIANO

Antonín Dvorák (1841–1904)Othello – Overture, Op.93

Peter Ilyich Tchaikovsky (1840–1893)Piano Concerto No.1 in B fl at minor, Op.23

Allegro non troppo e molto maestoso – Allegro con spiritAndantino semplice – Prestissimo – AndantinoAllegro con fuoco

INTERVAL

TchaikovskyFatum (Fate)

Ottorino Respighi (1879–1936)Feste romane (Roman Festivals)

Circenses (Circuses) –Il giubileo (The Jubilee) –L’Ottobrata (October Festival) –La Befana (Epiphany)

The four movements are played without pause.

2013 season master seriesWednesday 13 March | 8pmFriday 15 March | 8pmSaturday 16 March | 8pm

Sydney Opera House Concert Hall

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Damocles eagerly accepts the chance to sit in the place of his king and enjoy the trappings and ‘good fortune’ of his power. But above him hangs a sword, suspended only by a horse hair. According to the Greek tale,

Damocles was more than happy to leave this precarious situation and resume his place as courtier. ‘The Sword of Damocles’ by Felix Auvray (1800–33)

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INTRODUCTION

Fate and Festivals

In his note on Tchaikovsky’s Fatum, Gordon Williams points out that the idea of ‘fate’ was a dominant theme in the composer’s music. And he quotes Tchaikovsky’s description of the strident fanfare that begins his Fourth Symphony: ‘This is fate…which hangs above your head like the sword of Damocles.’ With this analogy from Greek legend, Tchaikovsky is reminding us that fate isn’t simply the force behind the inevitable, but comes wrapped up in a sense of foreboding and looming fear. Tragedy can sometimes be a hair’s breadth away, as the grim opening of Fatum seems to suggest.

‘Who can control his fate?’ asks Othello at the tragic climax of Shakespeare’s play. And Dvorák’s Othello overture begins the concert with sounds of prayer, of jealousy and the terrible fate of the Moor of Venice. Unlike Tchaikovsky’s Fatum, which follows no particular storyline, Othello is fate made personal.

The festivals in this concert (dare we say fêtes?) come courtesy of Respighi’s Roman Festivals. This is the kind of music that truly benefi ts from the concert hall acoustic: four orchestral showpieces – brilliantly coloured and unashamedly revelling in their musical decadence.

But most stunning of all – and perhaps the reason you’re here tonight – is Tchaikovsky’s fi rst piano concerto. Its popularity is no surprise at all: it begins with the combined power of piano and orchestra and the theatrical grandeur of which Tchaikovsky is a master, and it leaves us with the thrilling, and festive, sounds of a virtuoso fi nale based on a wild Cossack dance.

Turn to page 31 to read Bravo! – musician profi les, articles and news from the orchestra, including the popular ‘Ask a Musician’ spot. There are nine issues through the year, also available at sydneysymphony.com/bravo

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ABOUT THE MUSIC

Keynotes

DVORÁKBorn Nelahozeves, Bohemia, 1841Died Prague, 1904

Dvorák’s career is an inspiring reminder that greatness can grow from unlikely beginnings. A country inn-keeper’s son, Dvorák was destined to be a butcher. But his passion for music was his passport to upward mobility. His Moravian Duets caught the attention of Brahms, who recommended Dvorák to his own publisher. His Slavonic Dances took Europe by storm, and his Seventh and Eighth Symphonies became immensely popular in England. Then, inspired by his time spent teaching in the United States, he composed his two ultimate masterpieces, the New World Symphony and, on his return to Prague, the Cello Concerto.

OTHELLO OVERTURE

This comes from a set of three overtures, which follow a loose scenario from ‘Solitude’, via experience of ‘Life’, to the finding of ‘Love’. The third overture became the Othello overture, offering a vision of love coloured by passion and jealousy.

Dvorák’s handwritten score for Othello includes specific references to moments in Shakespeare’s play. This suggests Dvorák had a clear narrative (or programmatic) conception for the overture. It’s possible, for example, to recognise music for prayer and a jealousy motif, as well as the dramatic climax of Desdemona’s murder.

Othello and the sleeping Desdemona by Christian Köhler, 1859

Antonín Dvorák Othello – Overture, Op.93

In his 50th year, Dvorák composed three concert overtures, originally conceived as a connected cycle entitled Nature, Life and Love. These were his fi rst essays in program music: Dvorák’s letters reveal his intention to paint in music the most powerful expressions of the human soul. He understood nature as the expression of a divine will, a source of life in its aspects of good and evil. Although ‘overture’ here means much the same as ‘symphonic poem’ or ‘tone poem’, in the sense used by Liszt and Richard Strauss, it may be that Dvorák, who belonged to the opposing, ‘Brahms’ camp, felt reluctant to use that title or to commit himself too closely to a stated program. (By 1896, however, when composing programmatic orchestral pieces based on ballads by the poet Erben, he did call them ‘symphonic poems’, beginning with The Water Goblin.)

Although the same musical theme denoting nature occurs in all three overtures of 1891, they are independent compositions. Dvorák’s uncertainty what to call each overture is evident in his sketches. The fi rst was titled In Nature’s Realm or A Summer Night, with the sub-title Solitude. The second was fi rst called Life, but Dvorák settled on the sub-title from the sketches, Carnival. The third was called both Love and Othello. In the fi nal version Dvorák retained the title Othello as being more evocative of his theme: passion and jealousy as personifi ed by the Moor of Shakespeare’s play.

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The composer’s manuscript contains a number of quotations from the play, and though the overture cannot be regarded as a detailed musical resumé of the plot, Dvorák did write to his publisher: ‘it is, to a certain extent, program music.’ A program note, possibly authorised by the composer, said that he had ‘tried to express some of the emotions engendered in him by the fi nal scenes of Othello as an embodiment of both the gentlest and fi ercest expressions of love…the after-reverie of a man whose imagination has been kindled by the theme of the play.’ Dvorák was conscious of having made a new departure in the three overtures of Nature, Life and Love: ‘Here,’ he wrote to a friend, ‘I am poet as well as musician.’ Many good judges of Dvorák’s music have found Othello the fi nest of the three, and wondered why it is not heard more often.

The opening modal string passage suggests Desdemona’s prayer before retiring. An interjection provides the fi rst hint of the jealousy motif, then the nature theme emerges, sounded by the woodwind and repeated with harsh harmonic colouring. The jealousy theme is characterised by four accented falling semiquavers. These themes form the elements of the Allegro con brio section (worked out in a skilful adaptation of sonata form), which could represent to the imagination the scene between Desdemona and the Moor, climaxing in the murder. The music of Desdemona’s prayer returns as Othello prays and repents. After a passage with cymbals, drums and dark snatches of the nature music, Othello stabs himself and the music reaches its fi nal climax in the forceful statement of the jealousy theme.

© DAVID GARRETT

This overture calls for two flutes (one doubling piccolo), two oboes, cor anglais, two clarinets and two bassoons; four horns, two trumpets, three trombones and tuba; timpani and percussion; harp and strings.

The Sydney Symphony first performed Dvorák’s Othello overture in 1983, conducted by Zdenek Mácal, and most recently in 1988, conducted by Jirí Stárek. Our most recent performance of an overture from the Nature, Life and Love trilogy was in 2012 when Jakub Hru°ša conducted the Carnival overture.

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JAMES EHNESVLADIMIR ASHKENAZYSYDNEY SYMPHONY

Enjoy a live recording of the sensational James Ehnes performing Tchaikovsky’s beloved Violin Concerto, with Vladimir Ashkenazy conducting.

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CHEN QIGANG Enchantements oubliésORFF Carmina Burana

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Keynotes

TCHAIKOVSKYBorn Kamsko-Votkinsk, 1840Died St Petersburg, 1893

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

PIANO CONCERTO NO.1

This is one of the most popular of concertos (ABC Classic FM listeners voted it into their top ten). One of the reasons is the impressive way it begins and ends: piano and orchestra at full strength for maximum sonority and excitement. And in between Tchaikovsky supplies a glorious mine of melodic invention and piano virtuosity. The concerto appears to follow the traditional three-movement structure, but the middle movement is like a symphonic slow movement and scherzo blended together. The exhilarating finale has a Cossack dance as its theme. It was first performed by Hans von Bülow in Boston in 1875 and has held its place in listeners’ hearts ever since.

Pyotr Ilyich TchaikovskyPiano Concerto No.1 in B flat minor, Op.23Allegro non troppo e molto maestoso – Allegro con spiritoAndantino semplice – Prestissimo – AndantinoAllegro con fuoco

Joyce Yang piano

If it was fortuitous that Tchaikovsky succeeded at his fi rst attempt, writing perhaps the ‘greatest piano concerto of all time,’ it is surely remarkable that in the same stroke he inaugurated an entire Russian genre. Excepting the earlier examples by his teacher, Anton Rubinstein, in whom critics noted a lack of ‘Russianness’, Tchaikovsky’s First Piano Concerto established a model renowned for drama and an intense lyricism, often marked by extraordinary virtuosity. These attributes can be noted in succeeding compositions by Rachmaninoff , Medtner, Scriabin, Prokofi ev and Khachaturian, to name just a few. In Russia there had been no ‘classical’ tradition that Tchaikovsky could build on. Partly as a result of social hierarchy, and partly due to Europe-leaning tastes at the Imperial court, art music had been an imported commodity until the middle of the 19th century; the distinctive characteristics of the land and its people were yet to be fully explored. It was Anton Rubinstein who had insistently argued for the creation of a Conservatory in St Petersburg, so as to foster native talent, and a young Tchaikovsky who gained the title of ‘free artist’ in its fi rst graduating year.

Written over six weeks late in 1874, the concerto is not Tchaikovsky’s only youthful work to fi nd a permanent place in the repertoire – Romeo and Juliet (1869, later revised) and Swan Lake (1876) are distinguished additions – but it was the fi rst to receive an international premiere. The dedicatee of the concerto, Hans von Bülow, performed the work in Boston, Massachusetts, in 1875 to positive reviews, yet it is diffi cult to imagine that the small band, with only four fi rst violins, matched the music’s potential. (A critic noted that, after a missed entry of the trombones in the fi rst movement, von Bülow cried out ‘the brass may go to hell!’) Rather, it is likely that the scope of the new concerto was fi rst realised in a performance in Moscow by Sergei Taneev later that year (following an apparently poor performance by Gustav Kross in St Petersburg) – the composer noted that he ‘could not wish to hear a better performance,’ and he was touched that his young Moscow

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student had dedicated himself to mastering the concerto.And ‘mastery’ is what is required here of pianists.

Within days of the score’s completion, Tchaikovsky had turned to Anton Rubinstein’s young brother, Nikolai – an exceptionally gifted pianist by all accounts – seeking advice about piano writing that only a professional could off er. Instead – and quite notoriously – Nikolai Rubinstein savaged the composition, devastating its composer with comments suggesting that, in all, only a few pages could be salvaged and that the remainder should be discarded. There has been speculation ever since over Rubinstein’s reasons – ranging from jealousy to a tempestuous personality – but the defi ant young composer remained true to his word, publishing the work exactly as it stood. In any event, Nikolai soon recanted his position, conducting the fi rst Moscow performance of the concerto with Taneev, and performing often as soloist in the years before his early death.

With hindsight we can guess that the opinions Rubinstein voiced to Tchaikovsky concerned the demands of the solo part, or perhaps the danger that some of the piano textures might be lost beneath the orchestration. Or they could have been about structural matters still

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diffi cult to explain today, chief of which is the famous melody that serves as a grand introduction to the fi rst movement, a theme that, inexplicably, never returns and which is, in technical terms, in the ‘wrong’ key. (In this passage, Tchaikovsky eventually relented to the advice of later interpreters in his revised version of 1889, replacing the lightweight arpeggios that had previously accompanied the soaring string melody with the now-famous double-octave chords.) It is the brisk, dotted theme introduced quietly by the piano after the introduction that is the real fi rst subject in this sonata-form movement. And here, as if to indicate to the world the ethnic authenticity of his music, Tchaikovsky follows the lead of the newly formed ‘nationalist’ group of composers – the so-called kuchka – by borrowing a Ukrainian folksong, ‘Oy, kryatshe, kryatshe’.

The simple theme that opens the second movement typifi es Tchaikovsky’s innate gift for melody, the solo fl ute conjuring folk-like affi nities. A central section, however – originally marked Allegro vivace assai but later escalated to Prestissimo, no doubt capitalising on the concerto’s virtuosic appeal – briefl y quotes a café waltz well-known to the composer’s circle of friends, ‘Il faut s’amuser, danser et rire’.

And it is to another Ukrainian folksong, ‘Vïdy, vïdy, Ivan’ku’, that Tchaikovsky turns for the principal theme of the fi nale, its dance-like cross-rhythms evoking ‘national’ character, often referred to as ‘narodnost’ in Russia. The broadly lyrical melody that provides contrast with this material succeeds in holding back the momentum only momentarily, before the concerto arrives at a seemingly inevitable conclusion: a forceful double-octave passage traverses the entire keyboard, moving headlong into an apotheosised statement of the movement’s lyrical theme, the pianist indefatigably leading the entire orchestra with fortissimo treble chords. It is a famous and satisfying ending, well-known to audiences now, and to more than a few Russian composers from ensuing years, it proved an at times irresistible attraction.

SCOTT DAVIE © 2011

The First Piano Concerto calls for an orchestra of pairs of flutes, oboes, clarinet and bassoons; four horns, two trumpets and three trombones; timpani and strings.

The Sydney Symphony first performed Tchaikovsky’s First Piano Concerto on 4 June 1938; Allen McCristal was soloist and George Szell the conductor. The orchestra played it most recently in 2011 with pianist Lang Lang and conductor Jahja Ling.

…‘mastery’ is what is required here of pianists.

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Keynotes

FATUM

Fatum. Fate. This theme turns up again and again in Tchaikovsky’s music: in the great Fourth Symphony, in the ballet Swan Lake, in operas such as The Queen of Spades. And in this early symphonic poem – composed when Tchaikovsky was in his late 20s – ‘Fate’ provides the title and something of the general mood.

Tchaikovsky seems to have composed the music without any specific program or narrative in mind (although one colleague suspected it had a secret biographical inspiration). For the first performance, some poetic lines were suggested by a fan who hadn’t actually heard the music – it’s recommended you not pay much attention to these!

TchaikovskyFatum (Fate)

A strong argument could be made that Fate was Tchaikovsky’s great theme. For example, he said of the strident fanfare opening of his great Fourth Symphony of 1877 ‘This is fate…which hangs above your head like the sword of Damocles.’ It is not surprising, therefore, to fi nd one of Tchaikovsky’s early works actually given ‘fate’ as a title, even though the work has no known specifi c program.

In 1868, Tchaikovsky had been nearly three years on the staff of what would become the Moscow Conservatory. He’d been headhunted from St. Petersburg by Nikolai Rubinstein when Rubinstein wanted to institute a Moscow branch of his brother Anton’s St Petersburg-based Russian Musical Society. Tchaikovsky began Fatum in late September or early October 1868 and fi nished the scoring in December. The fi rst performance took place in February 1869 at the eighth concert of the Russian Musical Society in Moscow, conducted by Nikolai Rubinstein.

Biographers have speculated that the emotional turbulence of this work stems from the ups and downs of Tchaikovsky’s short-lived relationship with Belgian soprano, Désirée Artôt. At the time of the fi rst performance, however, Nikolai Rubinstein thought the work might benefi t from a more obviously explanatory title, and – at the suggestion of a botany professor and fan of Tchaikovsky’s – some lines by Konstantin Batyushkov were added as a kind of epigraph:

You know what grey-haired MelhisedekBidding farewell to life, uttered:‘A man was born a slaveHe will die a slave, And death will hardly tell himWhy he walked through the poor valley of tearsSuff ered, endured, sobbed and perished.’

It’s hard to see how this might have enlightened the fi rst audience. After all, what is the exact correspondence between Tchaikovsky’s often buoyant music and these words?

Tchaikovsky was at fi rst proud of the form he had created for this work. However, still seeking validation as a composer, he sent the score to Mily Balakirev back in St Petersburg for feedback. The leader of the group of nationalist Russian composers known as the ‘Mighty Five’

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wrote back: ‘It is not properly gestated…The seams show, as does all your clumsy stitching…’ Though Balakirev accepted the dedication and conducted the work’s fi rst St Petersburg performance, Tchaikovsky was discouraged and destroyed the full score. It had to be reconstructed from the individual orchestral performance parts after his death.

Is the work as seriously defi cient as Balakirev seems to have believed? What we have in Fatum is an overture-length work in two fairly similar halves. It opens with a stentorian statement of what could be considered the ‘fate’ theme. This is then given canonic treatment, beginning in the bassoon before opening out into one of those eloquent, panoramic melodies that might easily accompany stage action in a Tchaikovsky ballet. There follows a vigorous, fast section (Molto allegro), rather like a Russian dance, before a truncated return of the very opening.

After this return, the ‘panoramic’ section follows (the melody this time played by horns), and the Molto allegro section is recalled. There is not much here in the way of detailed ‘symphonic development’ – often a point of serious criticism as far as Tchaikovsky is concerned – but the work exhibits the eloquent lyricism that audiences have always loved in Tchaikovsky despite the reservations of critics.

César Cui, one of Balakirev’s ‘Five’, praised this work’s orchestration – the much-loved Tchaikovsky of the later symphonies and ballets is present in such details as the woodwind and harp gilding of the ‘panoramic’ melody. All was not lost with Balakirev’s trenchant criticism, however. In many respects, Fatum opened the door to his and Tchaikovsky’s fruitful relationship. Though Tchaikovsky was never a member of the Five, Balakirev assumed something of the role of a mentor. Late in 1869, Balakirev came to Moscow and began a custom of suggesting programmatic topics to Tchaikovsky. On one of their walks together he proposed Romeo and Juliet. It worked. On 7 October 1869 Tchaikovsky began what would become his fi rst undoubted orchestral masterpiece, the Romeo and Juliet fantasy overture.

GORDON KALTON WILLIAMS © 2013

Fatum calls for two flutes, piccolo, two oboes, cor anglais, two clarinets and two bassoons; four horns, three trumpets, three trombones and tuba; timpani and percussion; harp and strings.

This is the Sydney Symphony’s first performance of Fatum and the records suggest that it has never been played by an ABC orchestra.

…Tchaikovsky was discouraged and destroyed the full score.

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Keynotes

RESPIGHIBorn Bologna, 1879 Died Rome, 1936

Ottorini Respighi was a prolific composer who worked in nearly every genre of music except the ‘straight’ symphony, as well as making many charming and effective arrangements of music by other composers. Today he’s best-known in the theatre for his ballet La boutique fantasque (based on music by Rossini), and in the concert hall for his ‘Roman trilogy’: Fountains of Rome, Pines of Rome and Roman Festivals – spectacular orchestral showpieces.

ROMAN FESTIVALS

The four movements that make up Roman Festivals are like independent musical pictures, each one suggesting a scene and a mood. The subject matter provides the thematic connection: the four ‘festivals’ are traditional holidays or religious celebrations from across the ages, beginning in the days of ancient Rome and moving into the modern Christian era.

Ottorino RespighiFeste romane (Roman Festivals) Circenses (Circuses) –Il giubileo (The Jubilee) –L’Ottobrata (October Festival) –La Befana (Epiphany)

The four movements are played without pause.

Ottorino Respighi and his composer peers explored a range of ideas in a bid to create a uniquely Italian, especially non-operatic, music in the wake of the social upheavals of Unifi cation.

These ideas, evident to varying degrees in all of Respighi’s music, are brought together in Roman Festivals: the revival of early Italian music; an interest in the ancient modes and Gregorian chant of the early church; openness to the latest musical developments abroad (Debussy, Strauss and Stravinsky, in particular); the exploration of folk and popular music; and a fascination with the glories of ancient Rome.

Like its predecessors Fountains of Rome (1916) and Pines of Rome (1924), Roman Festivals was born of Respighi’s ‘need to express Rome’s sublime beauty in music’. Like them, it consists of four continuous movements. Unlike them, however, the inspiration for Roman Festivals was not pictorial but cultural: the celebrations that have brought Romans together over the centuries.

And whereas Respighi cites actual plainsong and popular tunes in Pines of Rome, it appears the numerous examples of ‘religious’ melodies and popular tunes in Roman Festivals are of Respighi’s creation – a device to lend local colour.

The opening movement, Circuses, was originally intended as part of a symphonic poem about the life and times of the ancient Roman emperor, Nero. Respighi abandoned that idea but retained the highly descriptive and almost onomatopoeic music he had written to depict the ‘theatre’ of the games in the Circus Maximus.

Respighi specifi es buccine, the horn-trumpet of Roman legion fanfares, to herald the start of the games. (Today, modern trumpets are substituted.)

The Christian tradition of the Jubilee – a special year of remission of sins and universal pardon – dates to 1300. It is celebrated every 25 or 50 years and, for Catholics at least, usually involves a pilgrimage to Rome.

By the early 20th century, the ancient Romans’ Bacchanalian and Dionysian celebrations of the October grape harvest had changed to Sunday outings around Rome

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The fly-leaf of the score of Roman Festivals bears the following notes…

Circuses

A threatening sky hangs over the Massimo Circus, but it is the people’s holiday; ‘Ave Nero!’ The iron doors are unlocked, the strains of a religious song and the howling of wild beasts float on the air. The crowd rises in agitation: unperturbed, the song of the martyrs develops, conquers and then is lost in the tumult.

The Jubilee

The pilgrims trail along the highway, praying. Finally appears from the summit of Monte Mario, to ardent eyes and gasping souls, the Holy City: ‘Rome! Rome!’ A hymn of praise bursts forth, the churches ring out their reply.

October Festival

The October festival in the Roman Castelli (hill towns) covered with vines: hunting echoes, tinkling of bells, songs of love. Then in the tender evenfall arises a romantic serenade.

Epiphany

The night before Epiphany in the Piazza Navona. A characteristic rhythm of trumpets dominates the frantic clamour: above the swelling noise float, from time to time, rustic motives, saltarello cadenzas, the strains of a barrel organ and the appeal of the town crier, the harsh song of the drunk and the lively stornello (an old Italian form of popular song) in which is expressed the popular spirit: ‘We are Romans, let us pass!’

known as La Ottobrata (or October festival). Departing in the early hours of the morning, carts drawn by horses wearing bell-collars would carry fancily dressed girls (their male friends and family would follow on foot) to fi elds near castles on the outskirts of Rome.

There, the day-trippers would eat, drink and be merry: dancing the saltarello; singing popular and romantic songs to the accompaniment of tambourines, guitars, mandolins and castanets; and playing games such as bocce (bowls) and morra, a kind of Italian version of rock–paper–scissors.

The Italian word Befana is a distortion of Epifania, or Epiphany, the Christian feast day that falls on 6 January, marking the end of the 12 days of Christmas. Tradition has it that on the eve of this national holiday in Italy, an old woman on a fl ying broom (La Befana) enters the house

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via the chimney to fi ll children’s stockings with gifts (for those who have been good) or lumps of coal (for those who have not).

The interplay of a lively dance (another saltarello) with an organ grinder’s waltz is interrupted by the wobbles (trombone glissandos) of one partygoer who has had too much to drink.

The saltarello, ultimately, wins out, building to a feverish pitch – the euphoria spurred on (no doubt) by an excess of food, wine, dance and life.

VINCENT CICCARELLO © 2013

Roman Festivals has parts for three flutes (one doubling piccolo), two oboes, cor anglais, two clarinets, bass clarinet and E-flat clarinet, two bassoons and contrabassoon; four horns, four trumpets, three trombones and tuba with an additional three trumpets; timpani and a very large percussion section (calling for nine players); piano duet, organ and mandolin; and strings.

The Sydney Symphony first performed Roman Festivals in 1939, conducted by Antal Doráti, and most recently in 2004 conducted by Vittorio Parisi.

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MORE MUSIC

DVORÁK’S OTHELLO

The Othello and Carnival overtures are included in a set of the complete Dvorák symphonies, recorded by London Symphony Orchestra and Witold Rowicki. Excellent value for a 6-CD set.DECCA 478 2296

If you’d like to pursue the Shakespearian theme beyond the usual warhorses, consider a program of Berlioz’s Béatrice et Bénédict overture, Elgar’s Falstaff and Dvorák’s Othello. The Munich Radio Symphony Orchestra is conducted by John Fiore.ORFEO 645061

TCHAIKOVSKY CONCERTOS

As one of the most popular concertos in the repertoire, Tchaikovsky’s First Piano Concerto can be found in hundreds of recordings – almost too many to choose from! But you can’t go past Vladimir Ashkenazy and the London Symphony Orchestra conducted by Lorin Maazel. Ashkenazy conducts the Philharmonia Orchestra in Tchaikovsky’s Fourth Symphony to complete the disc.DECCA 478 3367

For a recording that also includes Tchaikovsky’s other works for piano and orchestra – there are two more concertos (in assorted versions) and a concert fantasia – look for Stephen Hough’s recording with the Minnesota Orchestra conducted by Osmo Vänskä.HYPERION 67711

FATUM

As our performance history reveals, Fatum is not much played, so it’s not surprising that there are few recordings in the catalogue. You can fi nd it in a collection of Tchaikovsky orchestral works, recorded by the Bamberg Symphony Orchestra and José Serebrier. In addition to Fatum, it includes his Elegy for strings, Serebrier’s orchestration of String Quartet No.1, Capriccio italien, and two rousers: Marche slave and the 1812 overture.BIS 1283

ROMAN TRILOGY

For the complete Roman Trilogy of Respighi – Pines of Rome, Fountains of Rome and Roman Festivals, look for Vladimir Ashkenazy’s recording with the Netherlands Radio Philharmonic Orchestra.EXTON 217

If you’d like to explore more orchestral music by Respighi, there is the ‘Double Decca’ 2-CD release, Essential Respighi with a variety of great performances from the catalogue in a program that includes the Roman Trilogy, The Birds (Gli uccelli), Botticelli Triptych and the three suites of Ancient Airs and Dances.DECCA 443 7592

CHARLES OLIVIERI-MUNROE

Charles Olivieri-Munroe’s recordings include the four symphonies of Vasco Martins (North Czech Philharmonic Orchestra) and a live recording of Prokofi ev’s Fifth Symphony with the Slovak Radio Symphony Orchestra. Among his most recent releases is a recording with the Prague Philharmonic Orchestra and cellist Sol Gabetta of mostly French vocal music arranged for cello and orchestra.RCA VICTOR RED SEAL 735962

JOYCE YANG

In 2011 Joyce Yang released a solo recital disc, Collage, which (as the name suggests) features an intriguingly diverse program from Scarlatti to Sebastian Currier. Included is Lowell Liebermann’s Gargoyles, which Yang performed in Sydney in 2010.AVIE 2229

Broadcast DiaryMarch–April

abc.net.au/classic

Thursday 14 March, 1.05pma finnish epicVladimir Ashkenazy conductorHelena Juntunen sopranoVille Rusanen baritoneJean-Effl am Bavouzet pianoMen of the Sydney Philharmonia ChoirsRavel, Sibelius

Friday 15 March, 8pmfate and festivalsCharles Olivieri-Munroe conductorJoyce Yang pianoDvorák, Tchaikovsky, Respighi

Tuesday 19 March, 1.05pmrussian passions (2012)Thomas Sanderling conductorAlexander Gavrylyuk pianoLiadov, Rachmaninoff , Sculthorpe, Tchaikovsky

Tuesday 9 April, 1.05pmtotally tchaikovsky (2012)Vladimir Ashkenazy conductorGarrick Ohlsson pianoPiano Concerto No.2 (original version), Symphony No.4

Fine Music 102.5sydney symphony 2013Tuesday 9 April, 6pmMusicians, staff and guest artists discuss what’s in store in our forthcoming concerts.

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Webcasts

Selected Sydney Symphony concerts are webcast live on BigPond and Telstra T-box and made available for later viewing On Demand. Our latest webcast:jazz trumpet meets the orchestraThursday 7 March at 6.30pmVisit: bigpondmusic.com/sydneysymphony

Sydney Symphony Live

The Sydney Symphony 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, including the Mahler Odyssey cycle, begun in 2010. To purchase, visit sydneysymphony.com/shop

Glazunov & ShostakovichAlexander Lazarev conducts a thrilling performance of Shostakovich 9 and Glazunov’s Seasons. SSO 2

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

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

Brett DeanBrett Dean performs his own viola concerto, conducted by Simone Young, in this all-Dean release. SSO 200702

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

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

Sydney Symphony Online

Join us on Facebookfacebook.com/sydneysymphony

Follow us on Twittertwitter.com/sydsymph

Watch us on YouTubewww.youtube.com/SydneySymphony

Visit sydneysymphony.com for concert information, podcasts, and to read the program book in the week of the concert.

Stay tuned. Sign up to receive our fortnightly e-newslettersydneysymphony.com/staytuned

Download our free mobile app for iPhone or Androidsydneysymphony.com/mobile_app

MAHLER ODYSSEY ON CDDuring the 2010 and 2011 concert seasons, the Sydney Symphony and Vladimir Ashkenazy set out to perform all the Mahler symphonies, together with some of the song cycles. The series is now complete and available in a boxed set.

Mahler 1 & Songs of a Wayfarer SSO 201001 Mahler 2 SSO 201203 Mahler 3SSO 201101 Mahler 4SSO 201102 Mahler 5SSO 201003 Mahler 6SSO 201103

Mahler 7SSO 201104 Mahler 8 (Symphony of a Thousand) SSO 201002 Mahler 9SSO 201201 Mahler 10 (Barshai completion)SSO 201202 Song of the EarthSSO 201004

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

22 sydney symphony

Charles Olivieri-Munroe CONDUCTOR

Charles Olivieri-Munroe grew up in Toronto, where he studied the piano with Boris Berlin, at the Royal Conservatory of Music and Toronto University. After graduating in 1992, he studied conducting with Otakar Trhlík at the Janácek Academy of Music in Brno, Czechoslovakia. He was also a student of Jirí Belohlávek, and of Ilja Musin and Yuri Temirkanov at the L’Accademia Musicale Chigiana in Siena, and in 1997 he received a career grant from the Canada Council for the Arts.

His international career was launched by a series of triumphs in international competitions, culminating with him winning First Prize and other awards in the 2000 Prague Spring International Music Festival Conducting Competition. He subsequently held the post of chief conductor of the Slovak Radio Symphony Orchestra in Bratislava (2001–04).

Today, Charles Olivieri-Munroe is a key personality with the major musical institutions in Prague, including the Prague Academy of Music, where he has been a member of the conducting faculty since 2011. He is also principal conductor of the North Czech Philharmonic (since 1997) and Philharmonie Südwestfalen (Germany), and music director of Warsaw Chamber Opera. At the Czech Philharmonic he is the head of a new educational program for young adults. In the United States he is resident conductor with the Texas Round Top Festival Institute.

He also appears as a guest with many of the world’s leading orchestras, including the Israel Philharmonic, Czech Philharmonic and Czech Radio Symphony Orchestra, Montreal Symphony Orchestra, Berlin Deutsches Symphonie-Orchester, St Petersburg Philharmonic, Moscow Philharmonic, Danish Radio Symphony Orchestra, Budapest Symphony, Warsaw Phiharmonic, Royal Brussels Philharmonic and Toronto Symphony Orchestra.

In addition to his work with Warsaw Chamber Opera, he has conducted at the Berlin Komische Oper (Falstaff ), Warsaw National Theatre (Le Rossignol), Teatro La Fenice in Venice and in Milan (Don Giovanni), as well as the Prague National Opera and Prague State Opera. He conducted the Netherlands National Ballet crossover production Body and Voice in Amsterdam, and this year he conducts Korngold’s Violanta for Brno National Opera.

This is Charles Olivieri-Munroe’s Australian debut.

ABOUT THE ARTISTS

sydney symphony 23

Joyce Yang PIANO

Joyce Yang has established herself as a leading artist of her generation through innovative solo recitals and collaborations with the world’s top orchestras, and in 2010 she was awarded an Avery Fisher Career Grant.

Born in Seoul, Korea, she received her fi rst piano lesson at the age of four. Over the next few years, she won several national piano competitions in Korea, and at ten she entered the School of Music at the Korea National University of Arts. In 1997, she moved to New York to study at the Juilliard School with Yoheved Kaplinsky, and she gave a performance of Prokofi ev’s Third Piano Concerto with the Philadelphia Orchestra when she was just 12 years old.

She came to international attention in 2005 as the silver medallist of the 12th Van Cliburn International Piano Competition, also winning awards for the Best Performance of Chamber Music and Best Performance of a New Work.

In 2006, she made her New York Philharmonic debut with Lorin Maazel and performed on their Asian tour. Since then, she has appeared frequently with the orchestra. She has also performed with the Chicago Symphony Orchestra, Los Angeles Philharmonic, Philadelphia Orchestra, San Francisco Symphony and BBC Philharmonic, among others, and has worked with such conductors as Edo de Waart, Lorin Maazel, James Conlon, Leonard Slatkin, David Robertson and Bramwell Tovey. She has performed in recital at the Lincoln Center and the Metropolitan Museum in New York, the Kennedy Center in Washington DC, Chicago’s Symphony Hall and the Zurich Tonhalle.

In the 2012–13 season she will make her German concerto debut performing with the Deutsches Symphonie Orchester Berlin and her English debut in a recital in Cambridge. She will also return to the Milwaukee Symphony to continue a Rachmaninoff concerto cycle with Edo de Waart. As a chamber musician, she will perform with the Takács Quartet and the Modigliani Quartet, as well as collaborating with violinist Augustin Hadelich, and she has recital appearances throughout North America.

Joyce Yang made her Australian debut in the Sydney Symphony’s 2010 International Pianists in Recital series, and returned the following year for the concerto engagements with the Melbourne and Sydney symphony orchestras, conducted by Edo de Waart.

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Hear Joyce Yang in recital on Monday 18 March in a program of Bartók, Schumann and Rachmaninoff. City Recital Hall Angel Place at 7pm.

24 sydney symphony

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

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

FIRST VIOLINS

Kirsten Williams Associate Concertmaster

Sun Yi Associate Concertmaster

Fiona Ziegler Assistant Concertmaster

Roy Theaker*Jennifer BoothMarianne BroadfootBrielle ClapsonSophie ColeAmber DavisNicola LewisAlexander NortonLéone ZieglerAlexandra D’Elia*Kerry Martin*Emily Qin°Martin Silverton*Kelly Tang†

Dene OldingConcertmaster

Julie BattyJennifer HoyGeorges LentzAlexandra Mitchell

SECOND VIOLINS

Kirsty Hilton Alexander Read Emma Jezek Assistant Principal

Susan Dobbie Principal Emeritus

Maria DurekShuti HuangStan W KornelEmily LongBenjamin LiNicole MastersPhilippa PaigeBiyana RozenblitMaja VerunicaEmma HayesMarina Marsden

VIOLAS

Roger Benedict Tobias Breider Anne-Louise Comerford Robyn BrookfieldSandro CostantinoJane HazelwoodGraham HenningsStuart JohnsonJustine MarsdenFelicity TsaiLeonid VolovelskyRosemary Curtin*Justin Williams Assistant Principal

CELLOS

Catherine Hewgill Leah Lynn Assistant Principal

Fenella GillElizabeth NevilleChristopher PidcockAdrian WallisDavid WickhamEleanor Betts*Teije Hylkema*James sang-oh Yoo†

Kristy ConrauTimothy Nankervis

DOUBLE BASSES

Kees Boersma Alex Henery Steven LarsonNeil BrawleyPrincipal Emeritus Richard LynnDavid MurrayBenjamin WardJosef Bisits†

David Campbell

FLUTES

Janet Webb Carolyn HarrisLamorna Nightingale*Emma Sholl Rosamund Plummer Principal Piccolo

OBOES

Diana Doherty David PappAlexandre Oguey Principal Cor Anglais

Shefali Pryor

CLARINETS

Lawrence Dobell Francesco Celata Christopher TingayCraig Wernicke Principal Bass Clarinet

BASSOONS

Roger Brooke Fiona McNamaraNoriko Shimada Principal Contrabassoon

Matthew Wilkie

HORNS

Ben Jacks Geoffrey O’Reilly Principal 3rd

Marnie SebireEuan HarveyRachel Shaw°Robert Johnson

TRUMPETS

David Elton Paul Goodchild Anthony HeinrichsBrendon Tasker*Matthew Dempsey*Timothy Keenihan*Rob Mattessi*John Foster

TROMBONES

Scott Kinmont Nick ByrneChristopher Harris Principal Bass Trombone

Ronald Prussing

TUBA

Steve Rossé TIMPANIRichard Miller

PERCUSSION

Rebecca Lagos Colin PiperMark Robinson Ian Cleworth*Claire Edwardes*Joshua Hill*William Jackson*Kevin Man*Chiron Meller*Philip South*

HARP

Louise Johnson

MANDOLIN

Quentin Bamford*

ORGAN

David Drury*

PIANO

Catherine Davis*Susanne Powell*

Bold = PrincipalItalics = Associate Principal° = Contract Musician* = Guest Musician† = Sydney Symphony FellowGrey = Permanent member of the Sydney Symphony not appearing in this concert

MUSICIANS

Vladimir AshkenazyPrincipal Conductor and Artistic Advisor supported by Emirates

Dene OldingConcertmaster

Jessica CottisAssistant Conductor supported by Premier Partner Credit Suisse

sydney symphony 25

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

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

Resident at the iconic Sydney Opera House, where it gives more than 100 performances each year, the Sydney Symphony also performs in venues throughout Sydney and regional New South Wales. International tours to Europe, Asia and the USA have earned the orchestra worldwide recognition for artistic excellence, most recently in the 2012 tour to China.

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

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

Other releases on the Sydney Symphony Live label, established in 2006, include performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras and Vladimir Ashkenazy. 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 the ABC Classics label.

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

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BEHIND THE SCENES

MANAGING DIRECTOR

Rory JeffesEXECUTIVE TEAM ASSISTANT

Lisa Davies-Galli

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC PLANNING

Peter Czornyj

Artistic AdministrationARTISTIC ADMINISTRATION MANAGER

Eleasha MahARTIST LIAISON MANAGER

Ilmar LeetbergRECORDING ENTERPRISE MANAGER

Philip Powers

Education ProgramsHEAD OF EDUCATION

Kim WaldockEMERGING ARTISTS PROGRAM MANAGER

Mark LawrensonEDUCATION COORDINATOR

Rachel McLarinCUSTOMER SERVICE OFFICER

Derek Reed

LibraryLIBRARIAN

Anna CernikLIBRARY ASSISTANT

Victoria GrantLIBRARY ASSISTANT

Mary-Ann Mead

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA MANAGEMENT

Aernout KerbertORCHESTRA MANAGER

Chris Lewis ORCHESTRA COORDINATOR

Georgia StamatopoulosOPERATIONS MANAGER

Kerry-Anne CookPRODUCTION MANAGER

Laura DanielPRODUCTION COORDINATOR

Tim DaymanPRODUCTION COORDINATOR

Ian SpenceSTAGE MANAGER

Elise Beggs

SALES AND MARKETING

DIRECTOR OF SALES & MARKETING

Mark J ElliottSENIOR SALES & MARKETING MANAGER

Penny EvansMARKETING MANAGER, SUBSCRIPTION SALES

Simon Crossley-MeatesMARKETING MANAGER, CLASSICAL SALES

Matthew RiveMARKETING MANAGER, WEB & DIGITAL MEDIA

Eve Le GallMARKETING MANAGER, DATABASE & CRM

Matthew Hodge

John C Conde ao ChairmanTerrey Arcus amEwen Crouch amRoss GrantJennifer HoyRory JeffesAndrew Kaldor amIrene LeeDavid LivingstoneGoetz Richter

Sydney Symphony Board

Sydney Symphony Council

Sydney Symphony StaffDATA ANALYST

Varsha KarnikGRAPHIC DESIGNER

Lucy McCulloughCREATIVE ARTWORKER

Nathanael van der ReydenMARKETING COORDINATOR

Jonathon Symonds

Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlinBOX OFFICE SYSTEMS SUPERVISOR

Jacqueline TooleyCUSTOMER SERVICE REPRESENTATIVES

Steve Clarke – Senior CSRMichael DowlingJohn RobertsonBec SheedyAmy Walsh

COMMUNICATIONS

HEAD OF COMMUNICATIONS & SPONSOR RELATIONS

Yvonne ZammitPUBLIC RELATIONS MANAGER

Katherine StevensonCOMMUNICATIONS COORDINATOR

Janine Harris FELLOWSHIP SOCIAL MEDIA OFFICER

Caitlin Benetatos

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

DEVELOPMENT

DIRECTOR OF DEVELOPMENT

Caroline SharpenEXTERNAL RELATIONS MANAGER

Stephen AttfieldPHILANTHROPY, PATRONS PROGRAM

Ivana JirasekDEVELOPMENT MANAGER

Amelia Morgan-Hunn

BUSINESS SERVICES

DIRECTOR OF FINANCE

John HornFINANCE MANAGER

Ruth TolentinoACCOUNTANT

Minerva PrescottACCOUNTS ASSISTANT

Emma FerrerPAYROLL OFFICER

Laura Soutter

HUMAN RESOURCES

HEAD OF HUMAN RESOURCES

Michel Maree Hryce

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

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sydney symphony 27

SYDNEY SYMPHONY PATRONS

Sydney Symphony Leadership EnsembleAlan Fang, Chairman, Tianda GroupTony Grierson, Braithwaite Steiner PrettyInsurance Australia Grou pMacquarie Group FoundationJohn Morschel, Chairman, ANZAndrew Kaldor am, Chairman, Pelikan Artline

Lynn Kraus, Sydney Office Managing Partner, Ernst & YoungShell Australia Pty LtdJames Stevens, CEO, Roses OnlyStephen Johns, Chairman, Leighton Holdings,

and Michele Johns

Maestro’s CirclePeter William Weiss ao – Founding President & Doris WeissJohn C Conde ao – ChairmanGeoff Ainsworth am & Vicki Ainsworth Tom Breen & Rachael KohnIn memory of Hetty & Egon GordonAndrew Kaldor am & Renata Kaldor aoRoslyn Packer ao

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

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

02 Lawrence Dobell Principal Clarinet Anne Arcus & Terrey Arcus am Chair

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

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

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

06 Robert Johnson Principal Horn James & Leonie Furber Chair

07 Elizabeth Neville Cello Ruth & Bob Magid Chair

08 Colin Piper Percussion Justice Jane Mathews ao Chair

09 Emma Sholl Associate Principal Flute Robert & Janet Constable Chair

For information about the Directors’ Chairs program, please call (02) 8215 4619.

Directors’ Chairs

01 02 03 04 05

06 07 08 09

Sydney Symphony Vanguard

Vanguard CollectiveJustin Di Lollo – ChairKees BoersmaDavid McKeanAmelia Morgan-HunnJonathan Pease

Ron ChristiansonMatthew ClarkBenoît CocheteuxGeorge CondousMichael CookPaul CousinsJustin Di LolloRose GalloSam GiddingsDerek HandRose HercegJennifer Hoy

Damian Kassagbi Chris KeherElizabeth LeeAntony Lighten Gary LinnanePaul MacdonaldDavid McKeanHayden McLeanAmelia Morgan-HunnHugh MunroFiona OslerPeter Outridge

MembersMatti AlakargasNikki AndrewsJames ArmstrongStephen AttfieldAndrew BaxterMar BeltranKees Boersma Peter BraithwaiteAndrea BrownIan BurtonJennifer BurtonHahn Chau

Archie PaffasJonathan Pease Seamus R QuickMichael ReedeJacqueline RowlandsBernard RyanAdam WandJon WilkieJonathan WatkinsonDarren WoolleyMisha Zelinsky

28 sydney symphony

PLAYING YOUR PART

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

Platinum Patrons $20,000+Brian AbelGeoff Ainsworth am & Vicki AinsworthRobert Albert ao & Elizabeth AlbertTerrey Arcus am & Anne ArcusTom Breen & Rachael KohnSandra & Neil BurnsMr John C Conde aoRobert & Janet ConstableMichael Crouch ao & Shanny CrouchJames & Leonie FurberDr Bruno & Mrs Rhonda Giuff reIn memory of Hetty & Egon GordonMs Rose HercegMr Andrew Kaldor am & Mrs Renata Kaldor aoD & I KallinikosJames N Kirby FoundationJoan MacKenzie Violin Scholarship, SinfoniaJustice Jane Mathews aoMrs Roslyn Packer aoPaul & Sandra SalteriMrs Penelope Seidler amG & C Solomon in memory of Joan MacKenzieMrs W SteningMr Fred Street am & Mrs Dorothy StreetPeter William Weiss ao & Doris WeissWestfi eld GroupMr Brian & Mrs Rosemary WhiteKim Williams am & Catherine DoveyRay Wilson oam in memory of James Agapitos oam

Gold Patrons$10,000–$19,999Stephen J BellAlan & Christine BishopIan & Jennifer BurtonHoward ConnorsCopyright Agency Cutlural Fund Edward FedermanNora GoodridgeMr Ross GrantThe Estate of the late Ida GuggerHelen Lynch am & Helen BauerRuth & Bob MagidThe Hon. Justice AJ Meagher & Mrs Fran MeagherMrs T Merewether oamMr B G O’ConorMrs Joyce Sproat & Mrs Janet CookeHenry & Ruth WeinbergJune & Alan Woods Family Bequest

Silver Patrons $5000–$9,999Doug & Alison BattersbyMr Robert BrakspearMr David & Mrs Halina BrettMr Robert & Mrs L Alison Carr Bob & Julie ClampettEwen Crouch am & Catherine CrouchIan Dickson & Reg HollowayPenny EdwardsDr C GoldschmidtThe Greatorex Foundation Mr Rory Jeff esJudges of the Supreme Court of NSW Mr Ervin KatzThe Estate of the late Patricia LanceTimothy & Eva PascoeWilliam McIlrath Charitable FoundationRodney Rosenblum am & Sylvia RosenblumManfred & Linda SalamonMichael & Mary Whelan TrustCaroline WilkinsonJill Wran

Bronze Patrons $2,500–$4,999Jan BowenThe Hon. Ashley Dawson-DamerFirehold Pty LtdStephen Freiberg & Donald CampbellVic & Katie FrenchMrs Jennifer HershonMichael & Anna JoelGary LinnaneMatthew McInnesJ A McKernanR & S Maple-BrownRenee MarkovicMora MaxwellJames & Elsie MooreDrs Keith & Eileen OngIn memory of Sandra PaulPottingerDr John Roarty oam in memory of Mrs June RoartyIn memory of H St P ScarlettJulianna Schaeff erDavid & Isabel SmithersMarliese & Georges TeitlerJF & A van OgtropMr & Mrs T & D YimAnonymous (1)

Bronze Patrons $1,000–$2,499Mrs Antoinette AlbertAndrew Andersons aoMr Henri W Aram oamDr Francis J AugustusRichard and Christine Banks David BarnesNicole BergerAllan & Julie BlighDr & Mrs Hannes Boshoff Lenore P BuckleM BulmerIn memory of RW BurleyIta Buttrose ao obeJoan Connery oam & Maxwell Connery oamConstable Estate Vineyards Debby Cramer & Bill CaukillMr John Cunningham SCM & Mrs Margaret CunninghamGreta DavisLisa & Miro DavisMatthew DelaseyMr & Mrs Grant DixonColin Draper & Mary Jane BrodribbMrs Margaret EppsMr Ian Fenwicke & Prof. Neville WillsMr James Graham am & Mrs Helen GrahamWarren GreenAnthony Gregg & Deanne WhittlestonAkiko GregoryTony GriersonEdward & Deborah Griffi nRichard Griffi n amIn memory of Dora & Oscar GrynbergJanette HamiltonMichelle HiltonThe Hon. David Hunt ao qc & Mrs Margaret HuntDr & Mrs Michael HunterIn memory of Bernard M H KhawMr Justin LamMr Peter Lazar amIrene LeeAssociate Professor Winston LiauwDr David LuisCarolyn & Peter Lowry oamDeirdre & Kevin McCannIan & Pam McGawMacquarie Group FoundationMs Jackie O’BrienMr Robert OrrellMr & Mrs OrtisMr Andrew C Patterson

sydney symphony 29

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

Piatti Holdings Pty LtdAndy & Deirdre Plummer Robin PotterErnest & Judith RapeeKenneth R ReedPatricia H Reid Endowment Pty LtdCaroline SharpenDr Agnes E SinclairCatherine StephenJohn & Alix SullivanThe Hon. Brian Sully qcMildred TeitlerJohn E TuckeyMrs M TurkingtonIn memory of Joan & Rupert VallentineDr Alla WaldmanMr Robert & Mrs Rosemary WalshThe Hon. Justice A G WhealyAnn & Brooks Wilson amDr Richard WingMr R R WoodwardIn memory of Lorna WrightDr John YuAnonymous (14)

Bronze Patrons $500–$999Mrs Lenore AdamsonMr & Mrs Garry S AshBarlow Cleaning Pty LtdBeauty Point Retirement ResortMrs Margaret BellMinnie BiggsMrs Jan BiberDr Anthony BookallilR D & L M BroadfootArnaldo BuchAnn & Miles BurgessPat & Jenny BurnettThe Hon. Justice JC & Mrs CampbellDr Rebecca ChinMrs Sarah ChissickMrs Catherine J ClarkR A & M J ClarkeMr & Mrs CoatesCoff s Airport Security Car ParkMr B & Mrs M ColesMrs Joan Connery oamJen CornishMr David CrossPhil Diment am & Bill Zafi ropoulos

Elizabeth DonatiThe Dowe FamilyJohn FavaloroDr Nita & Dr James DurhamMalcolm Ellis & Erin O’NeillIn memory of Peter EverettMr & Mrs FarrellMr Tom FrancisMr John GadenVivienne GoldschmidtClive & Jenny GoodwinIan R L HarperKen HawkingsMr Roger HenningHarry & Meg HerbertSue HewittDorothy Hoddinott aoMr Joerg HofmannMrs Kimberley HoldenMr Gregory HoskingBill & Pam HughesNiki KallenbergerMrs W G KeighleyMrs Margaret KeoghDr Henry KilhamChris J KitchingAnna-Lisa KlettenbergMr & Mrs Gilles T KrygerSonia LalMr Luigi LampratiDr & Mrs Leo LeaderMargaret LedermanErna & Gerry Levy amSydney & Airdrie LloydMrs A LohanMrs Panee LowDr David LuisPhilip & Catherine McClellandMelvyn MadiganAlan & Joy MartinMrs Helen MeddingsMrs Toshiko MericMs Irene Miller & Ms Kim HardingP J MillerDavid MillsKenneth N MitchellMs Margaret Moore oam & Dr Paul Hutchins amChris Morgan-HunnMrs Milja MorrisA Nhan

Mr Graham NorthDr Mike O’Connor amMr R A OppenOrigin FoundationDr A J PalmerJustice George Palmer amDr Kevin PedemontDr Natalie E PelhamMichael QuaileyLois & Ken RaeRenaissance ToursAnna RoPamela RogersLesley & Andrew RosenbergAgnes RossMrs Pamela SayersGarry Scarf & Morgie BlaxillPeter & Virginia ShawMrs Diane Shteinman amMs Stephanie SmeeMs Tatiana SokolovaDoug & Judy SotherenMrs Judith SouthamMargaret SuthersMr Lindsay & Mrs Suzanne StoneNorman & Lydia TaylorDr Heng Tey & Mrs Cilla TeyMrs Alma Toohey & Mr Edward SpicerKevin TroyGillian Turner & Rob BishopProf Gordon E WallMrs Margaret WallisRonald WalledgeMr Palmer WangMs Elizabeth WilkinsonAudrey & Michael WilsonA Willmers & R PalDr Peter Wong & Mrs Emmy K WongGeoff Wood & Melissa WaitesMr Robert WoodsGlen & Everly WyssMrs Robin YabsleyAnonymous (22)

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30 sydney symphony

SALUTE

PRINCIPAL PARTNER GOVERNMENT PARTNERS

The Sydney Symphony is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body

The Sydney Symphony is assisted by the NSW Government through Arts NSW

PREMIER PARTNER

Fine Music 102.5

MARKETING PARTNER

GOLD PARTNERS

REGIONAL TOUR PARTNERS

SILVER PARTNERS

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…our section needs to play louder than the first violins

Orchestra, which means that I go back to work with them four times a year.’ Combined with her job in the Sydney Symphony, that means almost no time for holidays! ‘It doesn’t matter, because I’m so restless – the change feels like a holiday.’

Though initially appointed Associate Concertmaster with the Sydney Symphony, Kirsty soon made the switch to leading the second violins. ‘I like playing the inner parts, and sitting in the middle of the orchestra. I don’t like being stuck physically on the edge of the stage.’

Ironically, the challenges for the second violins are inherent in where that section sits, and the musical material they have to play. ‘Really, our section needs to play louder than the first violins,’ explains Kirsty. Depending on the string section’s configuration, the Seconds are either tucked in behind the first violins, or seated antiphonally (on the opposite side of the conductor’s podium), with their instruments facing away from the audience. Either way, they need to ‘beef it up’. ‘The firsts often rely on us because we’ll be playing the motor semiquavers,’ explains Kirsty. Occasionally, there might be disagreement within the ensemble about where to play. ‘It’s tricky because we don’t often have the melody. We have to decide in a split second about whether to follow the cellos, or the firsts.’

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Kirsty Hilton loves where she lives. Nicknamed the ‘Rose Bay Hilton’ by friends, her apartment allows her – and her guests! – to live near the harbour. ‘I really missed not being by the water all those years I was in Europe,’ she says. ‘All those years’ included a period of study in London with David Takeno, followed by admis-sion into the prestigious Karajan Academy in Berlin. ‘That was my most intense study time,’ says Kirsty. ‘We had to play almost every week with the Berlin Phil-harmonic, and four times a year we’d give a big chamber music

concert in the Berliner Philhar-monie.’

Kirsty was soon appointed to the Bavarian Radio Symphony Orchestra. ‘[Mariss] Jansons is my favourite conductor from my time in Munich. He always had time for you personally, even though he could seem quite shy and distant. And he would always give 100 per cent in rehearsal and in concert.’

A touch homesick, Kirsty returned to Sydney in 2007. These days, however, she still divides her time between Australia and Europe: ‘I have a 50 per cent position with the Mahler Chamber

POCKET ROCKETDiminutive in stature but with towering international orchestral experience, for second violin principal Kirsty Hilton, it’s all about location, location, location.

ORCHESTRA NEWS | MARCH–APRIL 2013

with Damien Beaumont Vienna – Dresden – Berlin – Cologne – Paris24 May–9 June 2013 (17 days)

Experience the great orchestras of Europe on this wonderful musical odyssey from Vienna to Paris, including the Vienna and Berlin Philharmonics, and Amsterdam’s Royal Concertgebouw!

Great Orchestras of Europe

For detailed information call 1300 727 095 visit www.renaissancetours.com.auor contact your travel agent

Sir Simon Rattle with the Berlin Philharmonic © Monika Rittershaus

Artistic HighlightIntroducing S. Katy Tucker

Come July, Chief Conductor designate David Robertson will embark on his annual opera-in-concert series, with a semi-staged performance of Wagner’s Flying Dutchman. For this project, there will be a new face in the house with a very important role to play.

‘I don’t have any musical talent,’ says S. Katy Tucker. ‘But I do have a deep, deep love of music that I can connect with in an unconventional way through video projections.’

Katy has been engaged to create a dramatic environment for the orchestra and soloists for our performances of Wagner’s first great opera. She’ll do this through the projection of images and abstractions on a large screen, cut to resemble the sails of a square-rigger. ‘We want to make the performance of Dutchman more “splashy”.’ Touché.

Katy describes her projections as holistic. ‘It’s up to me to balance the attention and focus of the audience. I don’t want my visuals to compete with, or detract from, the music.’

skatytucker.com

Every concert we see the ‘men in black’ busily preparing the stage for the performance and shifting instruments and gear around between pieces. But what do they do behind the scenes?

Production preparations begin the moment the orchestra’s roster is released, which can be 6 to 16 months before a concert. The stage manager, who is responsible for all the ‘men-and-women in black’, will identify all the extra technical requirements. In the case of a concert like The Lord of the Rings: The Return of the King, that might include a screen, projector and speakers, and sconce lights for the music stands. All these need to be communicated to the venue well in advance to ensure everything’s in place for the first rehearsal.

Once rehearsals are underway, the stage manager monitors everything that happens on stage, through a window at side of stage and via a ‘spy mike’ near the conductor. The SM needs to react to a variety of situations, from replacing a chair (easy!) to attending to a medical emergency (scary!). He or she also times the length of movements for every piece, building a better picture of a concert’s duration, and then shares that information with the ABC for broadcast planning.

Key to the position of stage manager is an ability to multi-task and to communicate with a broad range of personalities. From orchestral musicians, soloists and conductors to technical crew, and even the pre-concert speaker in the foyer, everyone involved has their own needs (and occasionally demands!), which need to be met in a calm, cool-headed and friendly way.

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

Ask a Musician

Playing FavouritesAsk Vladimir Ashkenazy outright about his favourite composers or musical works and the response is usually tactfully non-commit-tal: ‘How could I possibly name one? – they are all so great!’ Genuinely awed by the wonder of musical creation, he comes across like an unswervingly fair parent – refusing to play favourites.

But, of course, there are com-posers and pieces that are close to his heart, that make his eyes light up, that prompt him to en thusiastic discussion and wonderful anecdotes. And he has chosen three such works for the second of his programs in May.

There’s Russian romanticism in Tchaikovsky’s Romeo and Juliet – the heartfelt storytelling that Ashkenazy does so well. And there’s elegant neoclassicism in the form of Richard Strauss’s late oboe concerto, with soloist Hansjörg Schellenberger. But the real highlight is Walton’s First Symphony.

The choice of an English sym-phony might seem unexpected, until you remember Ashkenazy’s Elgar festival in 2008, when Russian and English sensibilities met to powerful effect. ‘I love Walton’s First,’ says Ashkenazy, ‘it’s an absolute favourite.’ The appeal is in its ‘tremendous energy’ and Walton’s distinctive style – nostalgic sometimes, but spirited and colourful. And the anecdote? Stay tuned for the story of the trumpet solo…

Ashkenazy’s FavouritesMaster Series 15, 17, 18 May | 8pm

The Score

TRUE GRITEducation Focus

mentoring and have the opportun- ity of working with a professional orchestra. This combination en- sures that we’ll all come out of the program as musically balanced, ex- perienced and inspired individuals.’

The continued support from premier partner Credit Suisse, as well as from individual donors, has ensured the quality of training our Fellows receive, and helped the Fellowship program reach its 12th year. Testament to the program’s success are the achievements of its alumni, with well over half employed in full-time orchestral positions, including seven past Fellows who are now members of the Sydney Symphony itself. Previous Fellows also include violinist Jane Piper, who is now a full-time member of the Royal Concertgebouw Orchestra, which is touring Australia later this year.

For violinist Kelly Tang, earning a place in the Fellowship program has been her confirma-tion that her career in music is on the right track. ‘I’ve known that I’ve wanted to be a musician from the age of five. Achieving a place in the Fellowship has made me even more determined and now I can’t imagine doing anything else that I love this much!’ CB

Follow the Fellows on their journey this year: blog.ssofellowship.com

Hundreds of graduate musicians across the country dream of per-forming in professional orchestras. Despite this, full-time orches tral positions are rare and competition is fierce. But for the eight young musicians selected for this year’s Sydney Symphony Fellowship program, that dream is much closer to becoming reality.

‘I was so excited when I heard I’d been accepted into the 2013 Fellowship!’ said viola Fellow Nicole Greentree, at their first get-together this year. ‘I keep thinking about how much I’m going to learn from working with the Sydney Symphony.’

Chosen from nearly 300 appli-cants nation-wide, the Fellows rep-resent the most talented emerg ing musicians of their generation. But in order to develop into well- rounded professionals, these young musicians require skills and ex peri- ences that cannot be taught in an academic environment. The pur- pose of the Fellowship program is to provide these musicians with the training and mentoring they need to bridge the divide between student and professional.

For horn Fellow Brendan Parra- vicini, originally from Perth, it’s the diversity of the program that makes it so valuable. ‘We’ll perform chamber music together on a regu- lar basis, benefit from individual

From left: Brendan Parravicini, Nicole Greentree, Som Howie, James sang-oh Yoo, Rebecca Gill, Laura van Rijn, Kelly Tang, Jack Schiller

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Eight young musicians on the cusp of musical careers have secured a place in the Sydney Symphony’s hotly contested Fellowship program.

APP-TASTIC!Our Sydney Symphony app has hit 9,000 downloads across 51 countries. If you haven’t tried it yet, why not down- load to watch videos, listen to music and watch live webstreams – all free, and all on your mobile! Visit the iTunes store, or Google Play to download for Android.

PROGRAM BOOKS ON THE RUNYou can pick up a free program book at nearly every concert we give. But did you know you can also download our programs in advance? For one-stop downloading, bookmark sydney symphony.com/program_library and read the program on your desktop computer or mobile device.

HONOUREDIn February our principal conductor, Vladimir Ashkenazy, was awarded the Honorary Degree of Doctor of Music by the University of Leicester. He is in good company: other recipients include Benjamin Britten, Michael Tippett, Malcolm Arnold, John Barbirolli and Colin Davis. Bravo maestro!

HAPPY BIRTHDAY VANGUARDThe Sydney Symphony Vanguard – our membership program for Gen X/Y philanthropists – celebrates its first birthday in March. The program has paired hip-hop dancer Nacho Pop with classical musicians, created a percussion-only performance zone in a Kings Cross car park, and more, and it has attracted 75 members so far. Sound interesting? Contact Amelia Morgan-Hunn on 02 8215 4663 for more info.

WOLGAN WONDERSThose in search of a special weekend destination might be interested to hear about the Sydney Symphony’s new involvement with Emirates Wolgan Valley Resort and Spa. The first weekend in March saw several of our musicians travel off the beaten track, past the upper Blue Mountains, for the inaugural Sydney Symphony chamber music weekend at Australia’s only six-star resort. Guests were treated to four concerts, including one by the Sydney Symphony Brass Ensemble in which the audience – armed with balloons, paper bags, pots and pans – accompanied a quintet arrangement

of Tchaikovsky’s 1812 Overture, to great delight! We hope this new mini festival of music will become a regular feature of the Wolgan Valley calendar.

ON THE ROADThe Sydney Symphony hits the road in May for two residencies in Canberra and Albury. Associate Conductor Jessica Cottis will lead our merry band of musicians in a series of schools concerts and outreach activities, as well as evening performances. The repertoire will delight young and old, with music from Handel’s Water Music suites, selections from Stravinsky’s Pulcinella and Beethoven’s Pastoral Symphony.

CANBERRA Llewellyn Hall, ANU School of Music Wed 22 May – 7.30pm concert Thu 23 May – Primary and secondary schools concerts

ALBURY Albury Entertainment Centre Fri 24 May – Primary and secondary schools concerts Sat 25 May – 8pm concert

CODA

BRAVO EDITOR Genevieve Lang sydneysymphony.com/bravoCONTRIBUTOR Caitlin Benetatos

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