SYMPHONICINSPIRATION

EMIRATES METRO SERIES

Friday 29 August 2014

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

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

David Robertson conductor Nicolas Hodges piano

Meet the Music

Wed 20 Aug 6.30pm Thu 21 Aug 6.30pm^Tea & Symphony

Fri 22 Aug 11am complimentary morning tea from 10am

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

Symphonic InspirationBRAHMS Symphony No.3 LALO Symphonie espagnole for

violin and orchestraJANÁČEK Sinfonietta

David Robertson conductor Vadim Repin violin

Emirates Metro Series

Fri 29 Aug 8pmGreat Classics – Presented by APT Sat 30 Aug 2pmMondays @ 7 – Presented by APT

Mon 1 Sep 7pm

Pre-concert talk by David Garrett

Discover Brahms’s Haydn VariationsBRAHMS Variations on a Theme of Haydn

Richard Gill conductor

Tenix Discovery

Tue 2 Sep 6.30pm City Recital Hall, Angel Place

Stephen Hough in RecitalDEBUSSY La plus que lente DEBUSSY Estampes CHOPIN Ballades DEBUSSY Children’s Corner DEBUSSY L’Isle joyeuse

Stephen Hough piano

International Pianists in Recital Presented by Theme & Variations

Mon 15 Sep 7pm City Recital Hall, Angel Place

Pre-concert talk by Robert Curry

Stephen Hough plays DvorákDVOŘÁK Piano Concerto BRUCKNER Symphony No.6

Hans Graf conductor Stephen Hough piano

APT Master Series Presented by Vienna Tourist Board

Wed 17 Sep 8pm Fri 19 Sep 8pm Sat 20 Sep 8pm

Pre-concert talk by Scott Davie

GURRUMULGurrumul’s most popular songs and music from his new album, played with the SSO and illuminated by images from his life on a giant screen. With special guest Dewayne Everettsmith.

Fri 5 Sep 8pm Sat 6 Sep 8pm

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WELCOME TO THEEMIRATES METRO SERIES

Bryan Banston Emirates’ Vice President Australasia

2014 marks the 12th anniversary of Emirates’ partnership with the Sydney Symphony Orchestra. We’re proud to continue one of the longest running partnerships for the SSO and remain the naming sponsor of the orchestra’s Emirates Metro Series.

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

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

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

With up to 1,600 channels to choose from, on 28 flights per week to New Zealand and 84 flights per week to Dubai, including a double daily A380 from Sydney, those flying on Emirates will now be able to watch SSO concerts onboard.

We are dedicated to the growth of arts and culture in Australia and we’re delighted to continue our support of the SSO. We encourage you to enjoy as many performances as possible in 2014.

EMIRATES METRO SERIESFRIDAY 29 AUGUST, 8PM

SYDNEY OPERA HOUSE CONCERT HALL

JOHANNES BRAHMS (1833–1897) Symphony No.3 in F, Op.90

Allegro con brio Andante Poco Allegretto Allegro

INTERVAL

ÉDOUARD LALO (1823–1892) Symphonie espagnole for violin and orchestra, Op.21

Allegro non troppo Scherzando (Allegro molto) Intermezzo (Allegretto non troppo) Andante Rondo (Allegro)

LEOŠ JANÁČEK (1854–1928) Sinfonietta

Allegretto Andante Moderato Allegretto Andante con moto

Tonight’s performance will be recorded by ABC Classic FM for broadcast across Australia on Wednesday 3 September at 8pm.

Pre-concert talk by David Garrett at 7.15pm in the Northern Foyer. Visit sydneysymphony.com/talk-bios for speaker biographies.

Estimated durations: 35 minutes, 20-minute interval, 34 minutes, 24 minutes The concert will conclude at approximately 10.05pm.

2014 concert season

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From top: first page of Brahms’s Third Symphony, in his own hand; title page of Symphonie Espagnole; the Fanfares from Janáček’s Sinfonietta.

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INTRODUCTION

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

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Symphonic Inspiration

What’s in a name? Each of the three pieces in this concert has ‘symphony’ in the title, but each is distinctly different and only one conforms to the shape of a traditional symphony.

Going back to basics – which means Greek – ‘symphony’ is all about ‘sounding together’. Jumping to the 17th century, ‘symphony’ has become a term for music without voices – the instrumental overtures and interludes that were turning up in operas. By the 18th century, the symphony is the genre that we recognise in Haydn, Mozart, Beethoven and, of course, Brahms. And during the 19th century, a German coined one of those mock-Italian musical terms: Sinfonietta (a ‘little symphony’).

So what was Janáček thinking when he named his own Sinfonietta? His piece might be relatively short but there’s nothing little about it: there are 21 musicians in the brass section alone! Janáček wasn’t trying to write a traditional symphony; his music began with picturesque titles in mind, almost like a suite, and his inspiration came from landmarks in Brno, his home town.

Lalo’s Symphonie espagnole is similar in shape (five cameo-like movements), and it’s also inspired by place, in this case the generalised colour and atmosphere of Spain. He doesn’t call it a concerto, even though there’s a soloist with a brilliant part to play. In his words, it’s a ‘violin solo soaring above the rigid form of an old symphony’.

In this program, Brahms provides the ‘old symphony’. During his lifetime the Third Symphony was second in popularity only to the Second. Its relative neglect in modern concerts can be attributed to a single characteristic: it ends quietly, and too often conductors are reluctant to finish a concert with it. The solution in this concert is to adopt a program shape that was once relatively common: symphony then concerto, with a shorter rousing orchestral work to finish. By placing Brahms’s Third Symphony in the first half we can enjoy its wistful (and transfiguring) conclusion before interval, and the brilliant and exhilarating fanfares of Janáček provide an inspiring finale.

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KeynotesBRAHMSBorn Hamburg, 1833 Died Vienna, 1897

Brahms might not have considered himself primarily an orchestral composer, but his symphonies occupy a firm place in the orchestral repertoire. By the time he wrote his third symphony, in the summer of 1883, he had come to terms with the ‘giant’ Beethoven but he was still exploring the possibilities of the large scale symphonic form.

THIRD SYMPHONY

To understand this symphony, listen carefully to the very beginning and to the end. The symphony opens with three grand chords, which support a rising three-note motif. Brahms then sends the motif to the bass line and continues to use it as a unifying element throughout the symphony. The conclusion of the finale marks a bold departure from convention: Brahms’s listeners wouldn’t have expected a symphony to end in this quiet, wistful way – the tension of the symphony is released through a kind of musical transfiguration rather than grand, cathartic gestures.

The Third Symphony received a triumphant premiere on 2 December 1883, with Hans Richter conducting the Vienna Philharmonic. Its directness of expression, newfound variety of orchestral colour and wealth of melody ensured its success with audiences, then and now.

ABOUT THE MUSIC

Johannes Brahms Symphony No.3 in F, Op.90Allegro con brio Andante Poco Allegretto Allegro

The premiere of Brahms’s Third Symphony in 1883 was such a triumph that its overwhelmed composer felt the urge to cancel all his engagements. The first and second symphonies had also enjoyed success, but with the Third Symphony audiences and critics responded to a new directness of expression and immediacy in the musical ideas. Despite his innovations and bold moves, Brahms had written the kind of symphony of which a listener might say, then and now: ‘I can finally understand Brahms straightaway.’

The critic Eduard Hanslick praised the Third Symphony for the ‘clear direct impact it makes the first time one hears it’; furthermore, ‘it seems to have been created in the flush of an inspired hour’. The ‘inspired hour’ was in fact an inspired summer in the spa town of Wiesbaden – quite a different scenario from the 14 years that Brahms spent labouring at his first symphony.

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Wiesbaden had offered Brahms the idyllic pleasures of country life, not to mention proximity to the contralto Hermine Spies. It’s possible Brahms contemplated marriage, but Spies was considerably younger than his 50 years and, in the end, there was no proposal. Perhaps the more wistful moments in the Third Symphony suggest Brahms’s resigned attitude to yet another unrequited love.

Perhaps. More than any other Brahms symphony, the Third attracted speculative – and wildly differing – interpretations from the outset: thwarted love; Leander swimming the Hellespont to his beloved Hero; a possible connection with Goethe’s Faust; a nationalist ‘Germania Symphony’; a celebration of bachelor freedoms. And after the premiere Clara Schumann wrote to Brahms with a pastoral reverie:

How the mysterious magic of sylvan life surrounds one from beginning to end! …In the first movement, I am immediately enchanted by the brilliance of the new-born day, by the rays of the sun sparkling through the trees, by the life that awakens everything, by the cheerfulness radiating from all things – how wonderfully blissful! In the second movement, an unblemished idyll, I hear the faithful praying next to a little forest chapel, the babbling brook, the games of the ladybugs and the gnats – there is such a humming and buzzing around me that I feel enveloped by all the delights of nature.

There is indeed something blissful about the Third Symphony, and something heroic, and self-confident, and melancholy... But these fanciful interpretations are simply personal expressions of the impact the symphony had on listeners; none begins to explain the appeal and power of the symphony as a whole.

First there is Brahms’s sense of structure. The symphony is extraordinarily compact and tautly argued, and Brahms develops an organic unity with the intricate use of themes and ideas that are developed and alluded to throughout the symphony. In fact, he launches into the symphony with its single most important gesture: three dramatic chords supporting a rising three-note motto (the notes F, A flat, F). Our attention captured, Brahms sends the motto to the bass line, where it underpins one of the most impassioned ideas in symphonic music: a plunging violin theme, hovering, like the motto, between F major and F minor.

From the beginning Brahms indulges in teasing harmonic and rhythmic ambiguities, sufficiently daring to delight the listener but handled so deftly that, in Hanslick’s words, the symphony ‘manages to make an impact without detriment to its comprehensibility’. Brahms is able to combine different rhythms and float his themes between major and minor tonalities without losing us along the way.

Frei aber froh

It’s rare to read about Brahms’s Third Symphony and not come across a reference to the symphony’s three-note motto (the notes F, A flat or A, F) as a musical cipher for ‘Frei aber froh’ (free but happy). This was supposedly a variation on the motto adopted by Brahms’s friend Joachim: ‘Frei aber einsam’ (free but lonely). Brahms scholar Michael Musgrave and others have cast doubt on the validity of this interpretation: the Joachim motto (F–A–E) appears in correspondence, but the only source referring to F–A–F as a cipher is the biography by Max Kalbeck. Even so, there is a certain elegant appeal to the theory, which perhaps accounts for its persistence.

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There is Brahms’s use of the orchestral sound: ‘more generously endowed with attractive new blends of colour than the earlier [symphonies],’ wrote Hanslick. The winds are more independent in the Third Symphony (in the First they appear only with the strings), as in the second movement (Andante) where Brahms juxtaposes wind and string choirs. Overall there is greater transparency, more detail, and a sense of chamber-music intimacy to the textures, even within the rich orchestral sonorities that Brahms creates. And in introducing his themes Brahms is drawn to the ‘warmest’ instruments of the main families: he gives important music to the clarinets (the mellowest of the winds), the horn (his own instrument), and the cello.

Then there is Brahms’s unfailing melodic gift. True, Brahms appeals to the intellect and has an ‘enterprising strength’, but his deeply lyrical music also brims with impassioned expression and rich sensuality. Nowhere is this more apparent than in the third movement (Poco Allegretto). The main theme of this gentle ‘intermezzo’ is one of Brahms’s most perfect melodies – disarmingly simple, but full of artful irregularities – and it is given to the cellos, who are asked to play ‘half voice’ and expressively. The result is a glorious melancholy unparalleled in the symphonies.

Finally, there is the coda of the fourth movement: Brahms’s the boldest departure from convention, and the most unexpected. Beethoven’s legacy ensured that focus of a Romantic symphony would fall on its final movement. No longer could a composer end with a frothy, spirited rondo, instead the musical tensions and thematic ideas of the symphony would seek resolution in a magnificent, weighty finale.

Brahms understands this, but with tremendous ingenuity he gives the finale of his Third Symphony a twist in the tail. It begins with suppressed agitation and stark textures, alludes to a sighing theme from the Andante, and builds to the expected stormy exhilaration as full orchestra and a wealth of musical ideas ‘jostle for supremacy’. Then the tempo slows. Shimmering colours from muted and pizzicato strings, the flute in its high register, and floating wind chords transfigure the opening ideas of the symphony: the three-note motif and the plunging violin theme. The pianissimo ending may not be triumphant but it is sublime.

YVONNE FRINDLE © 2007

The orchestra for Brahms’s Third Symphonies comprises pairs of flutes,

oboes, clarinets, bassoons, and contrabassoon; four horns, two trumpets

and three trombones; timpani and strings.

The SSO first performed Brahms’s Third Symphony in 1939 under

Malcolm Sargent, and most recently in 2009 under Thomas Zehetmair.

Brahms’s Eroica

After the Third’s premiere, the conductor Hans Richter hailed it as ‘Brahm’s Eroica’. An elaborate compliment making reference to Beethoven’s Third, the nickname inevitably invites comparison with the real Eroica. The two symphonies are vastly different, of course – they are in different keys, are structured differently and are of very different characters. There is no hero’s funeral march in Brahms, no wild scherzo; the finale comes to a gentle conclusion rather than a fiercely cathartic one. And far from being his longest symphony to date (as Beethoven’s Eroica was) the Third was Brahms’s shortest and most compact. At the same time, there is a heroic quality in the strength and assuredness of Brahms’s music, in the assertive opening, and in the initial exhilaration of the finale.

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KeynotesLALOBorn Lille, 1823 Died Paris, 1892

Nowadays, Edouard Lalo is known primarily for two works: the Symphonie espagnole for violin and orchestra and his cello concerto (last performed by the SSO in 2010). But during his lifetime he was an influential figure in French music. Debussy, for example, admired his ballet Namouna (and supposedly clapped so enthusiastically he was asked to leave the theatre). Lalo’s style had affinities with the German tradition, and much of its appeal lies in its often vibrant and straightforward character.

SYMPHONIE ESPAGNOLE

Despite the title, this is not a symphony, nor is it, strictly speaking, a concerto. The Symphonie espagnole is a virtuoso work for a solo violin and orchestra – each of its five movements full of vivid and varied tunes and brilliant writing. The title also suggests Spanishness, which seems true enough: the music was written for the great Spanish violinist Sarasate and it’s full of the Spanish rhythms and melodies that were becoming popular in French music in the 1870s.

The Symphonie espagnole was first performed on 7 February 1875 at a Colonne Concert in the Châtelet, Paris. The soloist was Pablo Sarasate.

Édouard Lalo Symphonie espagnole, Op.21Allegro non troppo Scherzando (Allegro molto) Intermezzo (Allegretto non troppo) Andante Rondo (Allegro)

Vadim Repin violin

Symphony? Concerto? Suite? What is it that we hear in Lalo’s Symphonie espagnole? Lalo himself was thinking of ‘a violin solo soaring above the rigid form of an old symphony’ and his subtitle ‘pour violon principal’ indicates this is not so much a traditional concerto as a ‘symphonie concertante’ with the principal part assigned to a solo violin. But regardless of whether you hear it as a virtuoso ‘genre-suite’ or as a full-fledged violin concerto, its popularity is unchallenged and it remains Lalo’s best-known composition.

Given the title, it’s tempting to draw attention to the composer’s Spanish ancestry. But the connection is a loose one: Lalo’s family became Belgian in the 16th century (having settled in Flanders during the Spanish conquest) and Lalo himself took the first opportunity to leave his native Lille for Paris. It’s more likely that the Symphonie espagnole was inspired partly by Lalo’s friendship for the great Spanish violinist Pablo Sarasate and partly by the great enthusiasm for Spanish music prevalent in French music of the time. (Symphonie espagnole was premiered in the same year as Bizet’s Carmen and was soon to be followed by Chabrier’s España, Debussy’s Ibéria and Ravel’s Rapsodie espagnole.)

As if to undermine its name, the Symphonie espagnole opens with the least Spanish and most German of its movements. Lalo’s first compositional essays were in the unfashionable genre of chamber music (he earned his living as a viola player in a string quartet) and his influences included unfashionable composers (at least in France) such as Schubert, Mendelssohn and Schumann. To this German Romantic influence Lalo added his own ear for melody and flair for orchestral colour.

The first movement of the Symphonie espagnole follows the traditional symphonic sonata form, rather than the concerto sonata form with its separate expositions for orchestra and soloist, and Lalo introduces the violin almost immediately, much as Mendelssohn had done in his violin concerto. The main theme of the movement is gradually pieced together from bold orchestral fragments and brilliant violin flourishes, interrupted only by a brief anticipation of the last movement’s

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malagueña theme. In contrast with the spacious main theme, the second theme is lyrical and yearning: a simple six note phrase presented first by the cellos and basses. In the substantial development Lalo takes the soloist on a roller coaster ride through its highest, most brilliant range to the lowest, most sonorous.

The second movement (Scherzando) takes us to Spain. Melodically, notes from outside the scale hint at the Moorish element of Spanish folk music, while a seguidilla rhythm opens the movement – plucked strings suggesting the dance’s traditional castanet refrain. The solo melody exhibits an almost vocal flexibility, echoed by fleeting changes of tempo and tonality and wispy textures.

The central movement presents a darker mood with an ominously rhythmic motif from unison strings, lightened only by interjections from the winds. The movement is even more strongly Spanish than the Scherzando, and its contrasting central section is brilliant and light – Lalo once more demonstrating his mastery of delicate scoring.

A sombre chant-like theme, dominated by the low brass, introduces the melancholy solo of the Andante. Only the remarkable virtuoso embellishment of the middle section serves to relieve the wistful mood, before the movement’s D minor brightens into D major. After a brief cadenza the soloist reminds us of the opening theme, this time accompanied by pulsing timpani.

The Rondo begins with the oboes, flutes and harp exchanging open, drone-like fifths, introducing a bouncing rhythmic phrase that is repeated and tossed between the orchestral groups before settling down to accompany the soloist’s dancing saltarello theme. This festive theme returns as a refrain between displays of effortless virtuosity and knowing allusions to Mendelssohn’s Violin Concerto. The mood of infectious gaiety is broken only when the malagueña motif from the introduction of the first movement is developed into a languorous episode.

ABRIDGED FROM A NOTE BY YVONNE FRINDLE © 1998

The orchestra for Symphonie espagnole comprises two flutes, piccolo,

and pairs of oboes, clarinets and bassoons; four horns, two trumpets and

three trombones; timpani and percussion; harp and strings.

The SSO gave what we believe was the Australian premiere in 1940

with soloist Dorcas McClean and conductor Georg Schneevoigt, and most

recently in 1998 in concerts conducted by then SSO concertmaster John

Harding with soloist Leonidas Kavakos.

Pablo Sarasate

Sarasate was the authentic Spanish ingredient in Lalo’s Symphonie espagnole, although the great violinist had trained and made his home in France. Departing from the classical style established by Joseph Joachim and the dashing brilliance of Vieuxtemps and Wieniawski, Sarasate cultivated a tone of unmatched sweetness and purity, with a broader vibrato. He quickly became famous for the flexibility and stunning accuracy of his technique, and an effortless, even casual, manner of playing. This new style proved attractive to composers and Sarasate was the dedicatee of works by Bruch, Saint-Saëns, Wieniawski, Dvořák and Joachim, as well as Lalo.

‘He never interprets anything: he plays it beautifully, and that is all,’ wrote George Bernard Shaw. ‘He is always alert, swift, clear, refined, certain, scrupulously attentive, and quite unaffected. This last adjective will surprise people who see him as a black-haired romantic young Spaniard, full of fascinating tricks and mannerisms… There is no trace of affectation about him: the picturesqueness of the pluck of the string and stroke of the bow that never fails to bring down the house is the natural effect of an action performed with perfect accuracy in an extraordinarily short time and strict measure.’

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KeynotesJANÁČEK Born Hukvaldy, Moravia, 1854 Died Ostrava, 1928

Leoš Janáček had the misfortune to go largely unrecognised until quite late in his life, when his opera Jenůfa found success in 1916, and his last decade was his most prolific, with major operas such as Kátya Kabanová, the Glagolitic Mass, Sinfonietta and many other works. He took even longer to gain proper recognition outside Czechoslovakia; this came after his death, with conductors such as Charles Mackerras becoming advocates for his work in the 1950s.

SINFONIETTA

The Sinfonietta emerged from a plan to write music for a gymnastics festival in Prague in 1926. But it grew from a simple festive fanfare to a much more ambitious symphonic work in five movements. The origins are still there, however: the fanfare begins and ends the Sinfonietta, and the orchestra includes an awe-inspiring 12 trumpets. The emphasis on the brass choirs in the music also gives the Sinfonietta an ‘outdoor’ character. The three central movements adopt distinctive combinations of instrumental colours, and the overall effect is brilliant, vigorous and unforgettable.

Leoš Janáček SinfoniettaAllegretto Andante Moderato Allegretto Andante con moto

Janáček’s last and greatest instrumental work grew from unpromising origins – a military band concert in a park and an invitation to write some music for a gymnastics festival. And although the Sinfonietta calls for a massive battery of brass and timpani, it contains no element of militarism or aggression: it expresses rather the exaltation of fulfilment and, born of a transcending love of a country, an ultimate faith in, and love of, mankind. In Janáček’s own words – and it may well be felt that the Sinfonietta is even more all-embracing than the composer believed – it represents ‘contemporary free man, his spiritual beauty and joy, his strength, courage and determination to fight for victory’.

The band concert took place in the park of the 13th-century town of Písek on the Otava River, south of Prague, in 1925. The 70-year-old composer was deeply impressed by some of the fanfares the bandsmen played, the historical uniform they wore, and the way the players stood for solos. The invitation in the following year to compose music for a gymnastics festival of the patriotic Sokol movement (of which Janáček was an enthusiastic member from 1876 until his death) offered him the opportunity to create his own fanfares and, by extension, to express his own nationalistic joy at the hope and promise of the newly independent state of Czechoslovakia, born out of the Peace of Versailles. The festival fanfares, solemnly jubilant, provided the frame within which his ideas expanded to form a five-movement work. No sooner was the Sinfonietta first performed in Prague on 26 June 1926 (under the baton of Václav Talich) than it began to travel around the world: before the end of 1927 Otto Klemperer had conducted it four times, in Wiesbaden, Berlin and New York.

It was a gesture of homage and gratitude, not a warlike program, that caused Janáček to dedicate his Sinfonietta ‘to the Czechoslovak Armed Forces’ and to insist on its being called ‘Military Sinfonietta’. He felt in Brno, the capital of Moravia, a miraculous transformation from a gloomy, inhospitable town of the Austro-Hungarian Empire into a radiant and liberated city of the new Czechoslovakia, a transformation which for him symbolised the new face of the whole country. Although the Prague audience at the first

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performance must have been puzzled, a series of enigmatic movement headings which Janáček appended to the program were inspired by Brno:

1. Fanfares 2. The Castle 3. The Queen’s Monastery 4. The Street 5. The Town Hall

All were made clear in an article Janáček published the following year under the title My Town:

I saw the town change miraculously. I lost my dislike of the forbidding town hall, my hatred of the hill whose bowels screamed with pain, my loathing of the street and everything crawling in it. By some miracle the resurrection of 28 October 1918 spread a radiant light of freedom over the town. I saw myself there. I belonged. And the brazen, victorious trumpets, the holy peace of the Queen’s Monastery, shadows at night, life restored to the green hill, and a vision of the town’s future greatness – all these gave birth to my Sinfonietta.

It is thus suddenly clear that the ‘castle’ of the second movement is not the splendid Prague Castle, as its first hearers must have imagined, but the notorious Spilberk of Brno, with its underground dungeons – the ‘hill whose bowels screamed with pain’. But this and all that Janáček had hated in Brno – above all, its Germanness – were transformed by its becoming Czech. The Queen’s Monastery is obviously the Augustinian school in Old Brno where Janáček had been a chorister – a ‘Blue Boy’ as the lads were known from their uniform; the streets of the new Brno are alive with the bustle of people going freely about their business, and the Town Hall is a symbol not of oppression but of self-determination.

Although these ideas can be observed in the Sinfonietta in a general way, the music is as absolute as anything Janáček ever wrote. It makes no attempt at being a symphony, yet it is far more than a mere suite of picturesque cameos. Despite the huge forces called for (including additional trumpets), each movement is scored with characteristic individuality and the ultimate effect is one of considerable lightness, even delicacy, offset against the moments of great power.

The fanfares of the opening movement are, as Czech conductor and Janáček biographer Jaroslav Vogel points out, essentially an intrada to the four main movements which follow. The burden of this solemn festivity is borne by the nine extra trumpets that augment the basic three in the orchestra, plus bass trumpets and tenor tubas. Apart from

Relief portrait of Janáček by Julius Pelikán in Olomouc, Czech Republic.

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an appearance by the trumpets in the second movement (as indicated in Janáček’s autograph score), all these ‘extra’ instruments will henceforth remain silent until the fanfares return at the end of the last movement.

The Andante is built on two themes, the first described by Vogel as a ‘burlesque dance motif’ and the second more lyrical although, as Vogel demonstrates, it is actually a skilfully derived variant of the first. There is a hint of melancholy, even tragedy, about the nocturnal serenity of the third movement. However, the mood is disrupted by an extraordinary central section which becomes for Vogel a ‘wild ride’ building to a frenzied climax. After this a return to the preceding serenity can only seem somewhat ambivalent.

With bright-eyed innocence the Allegretto presents a welcome contrast. The movement is based on the single opening theme, and its 14 repetitions are in the nature of a set of tiny variations, in which one or two small musical jokes are masked by a disarmingly straight face. The theme with which flutes launch the finale is, as Vogel once more indicates, a nostalgic minor variant of the theme of the preceding movement: when clarinets take over, it becomes slightly grotesque; as the movement progresses, it becomes increasingly macabre until, following a squeal almost of anguish from the E flat clarinet, the additional brass re-emerge and all 12 trumpets play together for the first time in the exultant fanfares of the opening movement. The fanfares now are heard with the support of the full orchestra, embellished by penetrating trills in the strings and wind as they move irrepressibly forward to a short, impelling coda.

ANTHONY CANE © 1995

Janáček’s Sinfonietta calls for four flutes (one doubling piccolo), two

oboes (one doubling cor anglais), two clarinets (one doubling E flat

clarinet), bass clarinet and two bassoons; four horns, twelve trumpets,

two bass trumpets, four trombones, two tenor tubas and tuba; timpani

and percussion (cymbal, chimes, glockenspiel, suspended cymbal), harp

and strings.

The SSO first performed the Sinfonietta in 1958 under Kurt Woess,

and most recently in 2010 under Marc Taddei.

…a ‘wild ride’ building to a frenzied climax.

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MORE MUSIC

BRAHMS SYMPHONIESThe premiere of Brahms’s Third Symphony was given by the Vienna Philharmonic and Hans Richter in 1883. Hear the same orchestra under Herbert von Karajan in a Decca Originals recording that couples the Brahms with Dvořák’s Symphony No.8, Op.88. DECCA 478 2661

Or, if you’re out to build a collection, look for the 9-CD Karajan – Legendary Decca Recordings set, which also includes great music by Haydn, Beethoven, Tchaikovsky and assorted Strausses.DECCA 478 0115

For the complete Brahms symphonies with an Australian connection, look for the recording made by Charles Mackerras and the Scottish Chamber Orchestra. The performances use the smaller forces and layout – as well as performance practices – typical of the 49-piece Meiningen Court Orchestra, which gave the premiere of Brahms’s Fourth Symphony.TELARC 80450

ÉDOUARD LALOVadim Repin has recorded Symphonie espagnole with the London Symphony Orchestra and Kent Nagano, in an attractive collection that also contains Chausson’s Poème and the orchestral version of Ravel’s Tzigane.ERATO 27314

If you’re curious to hear more by Lalo, look for David Robertson’s recording of the complete Namouna ballet score with the Monte Carlo Philharmonic Orchestra. (Namouna is rarely staged, but ballet fans will recognise much of the music from Serge Lifar’s Suite en blanc.)NAIVE 4907

JANÁČEK SINFONIETTAIn his final performances with the SSO, Charles Mackerras conducted Janáček’s Sinfonietta, together with The Moldau by Smetana and Dvořák’s Symphony No.7. This was the Czech repertoire that was close to his heart and the result was captured for posterity on the SSO Live label. The second disc in the set contains Thus Spake Zarathustra by Richard Strauss.SSO 200705

Broadcast DiarySeptember

Wednesday 3 September, 8pm SYMPHONIC INSPIRATION

David Robertson conductor Vadim Repin violin

Brahms, Lalo, Janáček

Friday 19 September, 8pm BRUCKNER 6

Hans Graf conductor Stephen Hough piano

Dvořák, Bruckner

CORRECTION:

The Stephen Hough piano recital on Monday 15 September will not be broadcast.

SYDNEY SYMPHONY ORCHESTRA 2014

Tuesday 9 September, 6pm

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

18

American conductor David Robertson is a compelling and passionate communicator whose stimulating ideas and music-making have captivated audiences and musicians alike, and he has established strong relationships with major orchestras throughout Europe and North America.

He made his Australian debut with the Sydney Symphony Orchestra in 2003 and soon became a regular visitor to the orchestra, with projects such as The Colour of Time, a conceptual multimedia concert; the Australian premiere of John Adams’ Doctor Atomic Symphony; and concert performances of The Flying Dutchman with video projections. This is his first year as Chief Conductor of the SSO.

He has been Music Director of the St Louis Symphony since 2005. Other titled posts have included Principal Guest Conductor of the BBC Symphony Orchestra, Music Director of the Orchestre National de Lyon and resident conductor of the Jerusalem Symphony Orchestra. A recognised expert in 20th- and 21st-century music, he has also been Music Director of the Ensemble Intercontemporain in Paris (where composer and conductor Pierre Boulez was an early supporter) and his discography includes music by such composers as Adams, Bartók, Boulez, Carter, Ginastera, Milhaud and Reich. He is also a champion of young musicians, devoting time to working with students and young artists.

Last season he appeared with the New York Philharmonic, Los Angeles Philharmonic, San Francisco Symphony and at the Metropolitan Opera, and in Europe with the Royal Concertgebouw Orchestra, Vienna Radio Symphony Orchestra, Bavarian Radio Symphony Orchestra, Israel Philharmonic and Ensemble Intercontemporain. He also toured Europe with the St Louis Symphony and violinist Christian Tetzlaff.

His awards and accolades include Musical America Conductor of the Year (2000), Columbia University’s 2006 Ditson Conductor’s Award, and, with the SLSO, the 2005–06 ASCAP Morton Gould Award for Innovative Programming. In 2010 he was elected a Fellow of the American Academy of Arts and Sciences, and in 2011 a Chevalier de l’Ordre des Arts et des Lettres.

He was born in Santa Monica, California, and educated at the Royal Academy of Music in London, where he studied French horn and composition before turning to conducting. He is married to pianist Orli Shaham.

THE POSITION OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR IS SUPPORTED BY EMIRATES

David Robertson Chief Conductor and Artistic Director

THE ARTISTS

MIC

HA

EL

TAM

MA

RO

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Born in Siberia in 1971, Vadim Repin was 11 when he won the gold medal in all age categories in the Wieniawski Competition and gave his recital debuts in Moscow and St Petersburg. At 14 he made his debuts in Tokyo, Munich, Berlin and Helsinki; a year later in Carnegie Hall. At 17 he was the youngest-ever winner of the Queen Elisabeth Music Competition.

Since then he has performed with all the world’s greatest orchestras and conductors. Among the highlights of his career in the past few seasons have been tours with the London Symphony Orchestra and Valery Gergiev, and the NHK Orchestra and Charles Dutoit. He also gave a series of acclaimed premiere performances of the James MacMillan violin concerto (written for him) in London (2010), Philadelphia, New York, Paris, Amsterdam, and other cities, returning to London to perform it in a sold-out BBC Prom in 2013.

Highlights of the current season include concerts in Hong Kong and Beijing, a European tour with the Orchestre de la Suisse Romande under Neeme Järvi, and concerts in Vienna with Kent Nagano and Lionel Bringuier. In April Vadim Repin presented as Artistic Director the first Trans-Siberian Festival of the Arts in Novosibirsk’s magnificent new concert hall.

Vadim Repin has recorded the great Russian violin concertos by Shostakovich, Prokofiev and Tchaikovsky; the Beethoven Violin Concerto and the Brahms Violin Concerto and Double Concerto (with cellist Truls Mørk) with the Gewandhaus Orchester; the Tchaikovsky and Rachmaninoff trios with Mischa Maisky and Lang Lang (which won an Echo Klassik); and works by Grieg, Janáček and César Franck with Nikolai Lugansky, which won the 2011 BBC Music Award.

In 2010 he received the Victoire d’Honneur, France’s most prestigious award for a lifetime’s dedication to music, and became Chevalier de l’Ordre des Arts et Lettres.

Vadim Repin’s most recent appearance in Sydney was in 2009 on tour with the London Philharmonic Orchestra and Vladimir Jurowski. His most recent performances with the SSO were in 1996.

Vadim Repin plays on the 1736 Lafont violin by Guarneri del Gesù.

Vadim Repinviolin

GE

LA M

EGR

ELI

DZE

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SYDNEY SYMPHONY ORCHESTRA

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

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

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

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

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

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

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

DAVID ROBERTSON Chief Conductor and Artistic Director

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

21

FIRST VIOLINS Dene Olding CONCERTMASTER

Sun Yi ASSOCIATE CONCERTMASTER

Kirsten Williams ASSOCIATE CONCERTMASTER

Lerida Delbridge ASSISTANT CONCERTMASTER

Fiona Ziegler ASSISTANT CONCERTMASTER

Jenny BoothBrielle ClapsonSophie ColeClaire HerrickGeorges LentzNicola LewisEmily LongAlexandra MitchellAlexander NortonLéone ZieglerElizabeth Jones*Andrew Haveron CONCERTMASTER

Amber Davis

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

Emma HayesShuti HuangStan W KornelBenjamin LiNicole MastersPhilippa PaigeBiyana RozenblitMaja VerunicaVivien Jeffery°Nicholas Waters†

Maria Durek

VIOLASRoger Benedict Tobias Breider Justin Williams ASSISTANT PRINCIPAL

Sandro CostantinoRosemary CurtinGraham HenningsStuart JohnsonJustine MarsdenFelicity TsaiAmanda VernerLeonid VolovelskyElla Brinch*Anne-Louise Comerford Jane Hazelwood

CELLOSUmberto ClericiCatherine Hewgill Henry David Varema Leah Lynn ASSISTANT PRINCIPAL

Kristy ConrauFenella GillTimothy NankervisElizabeth NevilleChristopher PidcockAdrian WallisDavid Wickham

DOUBLE BASSESKees Boersma Alex Henery David CampbellSteven LarsonRichard LynnBenjamin WardJosef Bisits°Aurora Henrich†

Neil Brawley PRINCIPAL EMERITUS

David Murray

FLUTES Janet Webb Emma Sholl Carolyn HarrisRosamund Plummer PRINCIPAL PICCOLO

OBOESDiana Doherty Alexandre Oguey PRINCIPAL COR ANGLAIS

Shefali Pryor David Papp

CLARINETSFrancesco Celata Christopher TingayCraig Wernicke PRINCIPAL BASS CLARINET

Lawrence Dobell

BASSOONSRoger Brooke*Fiona McNamaraNoriko Shimada PRINCIPAL CONTRABASSOON

Matthew Wilkie

HORNSBen Jacks Geoffrey O’ReillyPRINCIPAL 3RD

Euan HarveyMarnie SebireRachel SilverRobert Johnson

TRUMPETSDavid Elton Paul Goodchild Anthony HeinrichsMark Bremner*Andrew Evans*Callum G’Froerer*Adam Malone*Owen Morris*Josh Rogan*Rainer Saville*Jenna Smith*Rosie Turner*

TROMBONESRonald Prussing Scott Kinmont Nick ByrneChristopher Harris PRINCIPAL BASS TROMBONE

Nigel Crocker*Iain Faragher*Bradley Lucas*Minami Takahashi* TUBASteve Rossé

TIMPANIRichard Miller Mark Robinson ASSISTANT PRINCIPAL

PERCUSSIONRebecca Lagos Timothy Constable

HARP Louise Johnson

BOLD = PRINCIPAL

ITALICS = ASSOCIATE PRINCIPAL

° = CONTRACT MUSICIAN

* = GUEST MUSICIAN† = SSO FELLOW

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

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

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

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

MUSICIANS

David RobertsonCHIEF CONDUCTOR AND ARTISTIC DIRECTOR SUPPORTED BY EMIRATES

Dene OldingCONCERTMASTER

Jessica CottisASSISTANT CONDUCTOR SUPPORTED BY PREMIER PARTNER CREDIT SUISSE

Andrew HaveronCONCERTMASTER

22

BEHIND THE SCENES

MANAGING DIRECTOR

Rory Jeffes

EXECUTIVE TEAM ASSISTANT

Lisa Davies-Galli

ARTISTIC OPERATIONSDIRECTOR OF ARTISTIC PLANNING

Benjamin Schwartz

ARTISTIC ADMINISTRATION MANAGER

Eleasha Mah

ARTIST LIAISON MANAGER

Ilmar Leetberg

RECORDING ENTERPRISE MANAGER

Philip Powers

LibraryAnna CernikVictoria GrantMary-Ann Mead

LEARNING AND ENGAGEMENTDIRECTOR OF LEARNING AND ENGAGEMENT

Kim Waldock

EMERGING ARTISTS PROGRAM MANAGER

Mark Lawrenson

EDUCATION MANAGER

Rachel McLarin

EDUCATION OFFICER

Amy Walsh

ORCHESTRA MANAGEMENTDIRECTOR OF ORCHESTRA MANAGEMENT

Aernout Kerbert

ORCHESTRA MANAGER

Rachel Whealy

ORCHESTRA COORDINATOR

Georgia Fryer

OPERATIONS MANAGER

Kerry-Anne Cook

PRODUCTION MANAGER

Laura Daniel

STAGE MANAGER

Courtney Wilson

PRODUCTION COORDINATORS

Tim DaymanDave Stabback

SALES AND MARKETINGDIRECTOR OF SALES & MARKETING

Mark J Elliott

MARKETING MANAGER, SUBSCRIPTION SALES

Simon Crossley-Meates

A/ SENIOR SALES & MARKETING MANAGER

Matthew Rive

MARKETING MANAGER, CRM & DATABASE

Matthew Hodge

A/ SALES & MARKETING MANAGER,SINGLE TICKET CAMPAIGNS

Jonathon Symonds

DATABASE ANALYST

David Patrick

SENIOR GRAPHIC DESIGNER

Christie Brewster

GRAPHIC DESIGNER

Tessa Conn

SENIOR ONLINE MARKETING COORDINATOR

Jenny Sargant

ONLINE MARKETING COORDINATOR

Jonathan Davidoff

MARKETING ASSISTANT

Theres Mayer

Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlin

BOX OFFICE SYSTEMS SUPERVISOR

Jennifer Laing

BOX OFFICE BUSINESS ADMINISTRATOR

John Robertson

CUSTOMER SERVICE REPRESENTATIVES

Karen Wagg – Senior CSR Michael DowlingKatarzyna OstafijczukTim Walsh

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

EXTERNAL RELATIONSDIRECTOR OF EXTERNAL RELATIONS

Yvonne Zammit

PhilanthropyHEAD OF PHILANTHROPY

Luke Andrew Gay

DEVELOPMENT MANAGER

Amelia Morgan-Hunn

PHILANTHROPY COORDINATOR

Sarah Morrisby

Corporate RelationsBUSINESS DEVELOPMENT MANAGER

Belinda Besson

CORPORATE RELATIONS MANAGER

Janine Harris

CommunicationsPUBLIC RELATIONS MANAGER

Katherine Stevenson

COMMUNICATIONS & MEDIA MANAGER

Bridget Cormack

DIGITAL CONTENT PRODUCER

Kai Raisbeck

SOCIAL MEDIA AND PUBLICITY OFFICER

Caitlin Benetatos

BUSINESS SERVICESDIRECTOR OF FINANCE

John Horn

FINANCE MANAGER

Ruth Tolentino

ACCOUNTANT

Minerva Prescott

ACCOUNTS ASSISTANT

Emma Ferrer

PAYROLL OFFICER

Laura Soutter

PEOPLE AND CULTURE IN-HOUSE COUNSEL

Michel Maree Hryce

SYDNEY SYMPHONY ORCHESTRA STAFF

John C Conde ao ChairmanTerrey Arcus am

Ewen Crouch am

Ross GrantCatherine HewgillJennifer HoyRory JeffesAndrew Kaldor am

David LivingstoneThe Hon. Justice AJ MeagherGoetz Richter

SYDNEY SYMPHONY ORCHESTRA BOARD

SYDNEY SYMPHONY ORCHESTRA COUNCIL

Geoff Ainsworth am

Andrew Andersons ao

Michael Baume ao

Christine BishopIta Buttrose ao obe

Peter CudlippJohn Curtis am

Greg Daniel am

John Della BoscaAlan FangErin FlahertyDr Stephen FreibergDonald Hazelwood ao obe

Dr Michael Joel am

Simon JohnsonYvonne Kenny am

Gary LinnaneAmanda LoveHelen Lynch am

David Maloney am

David Malouf ao

Deborah MarrThe Hon. Justice Jane Mathews ao

Danny MayWendy McCarthy ao

Jane MorschelDr Timothy Pascoe am

Prof. Ron Penny ao

Jerome RowleyPaul Salteri am

Sandra SalteriJuliana SchaefferLeo Schofield am

Fred Stein oam

Gabrielle TrainorJohn van OgtropPeter Weiss ao HonDLittMary WhelanRosemary White

23

Through their inspired financial support, Patrons ensure the SSO’s continued success, resilience and growth. Join the SSO Patrons Program today and make a difference.

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

MAKE A DIFFERENCE

SYDNEY SYMPHONY ORCHESTRA PATRONS

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

Peter Weiss ao Founding President & Doris WeissJohn C Conde ao ChairmanBrian AbelGeoff Ainsworth am Tom Breen & Rachael KohnThe Berg Family FoundationAndrew Kaldor am & Renata Kaldor aoVicki Olsson

Roslyn Packer aoDavid RobertsonPenelope Seidler amMr Fred Street am & Mrs Dorothy StreetMr Frank Lowy ac & Mrs Shirley Lowy oam

Brian & Rosemary WhiteRay Wilson oam in memory of the late James Agapitos oam

FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM,

CALL (02) 8215 4619.

n n n n n n n n n n

CHAIR PATRONS

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

02 Umberto Clerici Principal Cello Garry & Shiva Rich Chair

03 Lawrence Dobell Principal Clarinet Anne & Terrey Arcus am Chair

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

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

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

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

08 Kirsty Hilton Principal Second Violin Corrs Chambers Westgarth Chair

09 Robert Johnson Principal Horn James & Leonie Furber Chair

10 Elizabeth Neville Cello Ruth & Bob Magid Chair

11 Shefali Pryor Associate Principal Oboe Mrs Barbara Murphy Chair

12 Emma Sholl Associate Principal Flute Robert & Janet Constable Chair

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

14 Kirsten Williams, Associate Concertmaster I Kallinikos Chair

10 121109

05 07 0806

13 14

01 03 0402

24

PLAYING YOUR PART

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

DIAMOND PATRONS: $30,000+Geoff Ainsworth am

Anne & Terrey Arcus am

Doug & Alison BattersbyThe Berg Family FoundationTom Breen & Rachael KohnMr John C Conde ao

Robert & Janet ConstableThe Estate of Dr Lynn JosephMr Andrew Kaldor am &

Mrs Renata Kaldor ao

In Memory of Matthew KrelMrs Roslyn Packer ao

Ian Potter FoundationPaul Salteri am & Sandra SalteriScully FoundationMrs W SteningMr Fred Street am &

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

Dovey

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

AlbertSandra & Neil BurnsJames & Leonie Furber

I KallinikosHelen Lynch am & Helen BauerMrs T Merewether oam

Mrs Barbara MurphyMr B G O’ConorVicki OlssonAndy & Deirdre PlummerDavid RobertsonMrs Penelope Seidler am

G & C Solomon in memory of Joan MacKenzie

Geoff StearnRay Wilson oam in memory of

James Agapitos oam

Anonymous (1)

GOLD PATRONS: $10,000–$19,999Bailey Family FoundationAlan & Christine BishopAudrey BlundenMr Robert BrakspearIan & Jennifer BurtonMr Robert & Mrs L Alison CarrBob & Julie ClampettMichael Crouch ao & Shanny

CrouchThe Hon. Mrs Ashley

Dawson-Damer am

Paul EspieEdward & Diane FedermanNora Goodridge

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

Mrs Fran MeagherMr John MorschelDrs Keith & Eileen OngGarry & Shiva RichCaroline WilkinsonAnonymous (2)

SILVER PATRONS: $5000–$9,999Dr Francis AugustusStephen J BellDr Hannes & Mrs Barbara

BoshoffMr Alexander & Mrs Vera

BoyarskyPeter Braithwaite & Gary

LinnaneMr David & Mrs Halina BrettEwen Crouch am & Catherine

CrouchIan Dickson & Reg HollowayIn memory of Dr Lee

MacCormick EdwardsDr Stephen Freiberg & Donald

CampbellDr Colin GoldschmidtThe Greatorex Foundation

Rory & Jane JeffesThe late Mrs Isabelle JosephFrank Lowy am & Shirley

Lowy oam

J A McKernanDavid Maloney am & Erin

FlahertyR & S Maple-BrownJustice Jane Mathews ao

Mora MaxwellWilliam McIlrath Charitable

FoundationJohn & Akky van OgtropSeamus Robert QuickRodney Rosenblum am &

Sylvia RosenblumDr Evelyn RoyalThe late Greta C RyanManfred & Linda SalamonMrs Joyce Sproat &

Mrs Janet CookeMr John Symond am

David Tudehope & Liz DibbsMr Robert & Mrs Rosemary

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

BequestAnonymous (2)

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

Ian BradyMr Mark BryantDr Rebecca ChinDr Diana Choquette &

Mr Robert MillinerMr B & Mrs M ColesMr Howard ConnorsGreta DavisFirehold Pty LtdWarren GreenAnthony GreggAnn HobanIrwin Imhof in memory of

Herta ImhofMr John Lam-Po-TangJames & Elsie MooreMr Darrol NormanMs Jackie O’BrienDr Agnes E SinclairTony StrachanYim Family Foundation

BRONZE PATRONS: VIVACE $1,000–$2,499Mrs Lenore AdamsonMrs Antoinette AlbertRae & David AllenAndrew Andersons ao

Mr Matthew AndrewsThe Hon Justice Michael BallDavid BarnesMr Garry BessonAllan & Julie BlighJan BowenLenore P BuckleMargaret BulmerIn memory of RW BurleyMrs Rhonda CaddyMrs Stella ChenMs Suzanne CollinsJoan Connery oam &

Maxwell Connery oam

Debby Cramer & Bill CaukillMr John Cunningham scm &

Mrs Margaret CunninghamLisa & Miro DavisElizabeth DonatiColin Draper & Mary Jane

BrodribbProf. & Mrs John EdmondsMalcolm Ellis & Erin O’Neill

Mrs Margaret EppsProfessor Michael Field am

Mr Tom FrancisMr Matt GarrettVivienne Goldschmidt &

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

HallidayJanette HamiltonAngus HoldenDr & Mrs Michael HunterMichael & Anna JoelMrs W G KeighleyDr Andrew KennedyAron KleinlehrerMr Andrew Korda & Ms Susan

PearsonMr Justin LamMr Peter Lazar am

Professor Winston LiauwAirdrie LloydPeter Lowry oam & Dr Carolyn

Lowry oam

Kevin & Deirdre McCannIan & Pam McGawMacquarie Group Foundation

Barbara MaidmentJohn MarRenee MarkovicHenry & Ursula MooserMilja & David MorrisMrs J MulveneyDr Mike O’Connor am

Mr & Mrs OrtisMr Andrew C PattersonDr Natalie E PelhamAlmut PiattiIn memory of Sandra Paul

PottingerDr Raffi QasabianMichael QuaileyMr Patrick Quinn-GrahamErnest & Judith RapeeKenneth R ReedPatricia H Reid Endowment

Pty LtdDr Marilyn RichardsonLesley & Andrew RosenbergIn memory of H St P ScarlettMr Samuel F ShefferDavid & Alison ShilligtonDavid Smithers am & Isabel

SmithersDr Judy SoperMrs Judith Southam

25

PLAYING YOUR PART

TO FIND OUT MORE ABOUT BECOMING A

SYDNEY SYMPHONY ORCHESTRA PATRON, PLEASE

CONTACT THE PHILANTHROPY OFFICE ON (02) 8215 4674

OR EMAIL PHILANTHROPY@SYDNEYSYMPHONY.COM

n n n n n n n n n n

Ms Barbara SpencerMrs Elizabeth SquairCatherine StephenThe Hon. Brian Sully qc

Mrs Margaret SwansonThe Taplin FamilyKevin TroyJohn E TuckeyJudge Robyn TupmanDr Alla WaldmanMiss Sherry WangWestpac Banking CorporationHenry & Ruth WeinbergThe Hon. Justice A G WhealyDr Richard T WhiteMrs Leonore WhyteA Willmers & R PalDr Edward J WillsProf. Neville Wills & Ian

FenwickeAnn & Brooks C Wilson am

Dr Richard WingDr Peter Wong & Mrs Emmy K

WongGeoff Wood & Melissa WaitesSir Robert WoodsMr & Mrs Lindsay WoolveridgeIn memory of Lorna WrightDr John YuAnonymous (15)

BRONZE PATRONS: ALLEGRO $500–$999Ms Jenny AllumMr Peter J ArmstrongGarry & Tricia AshMr & Mrs George BallDr Lilon BandlerBarlow Cleaning Pty LtdMichael Baume ao & Toni BaumeBeauty Point Retirement ResortMr Michael BeckDr Andrew BellRichard & Margaret BellMrs Jan BiberMinnie Biggs

G D BoltonMr Colin G BoothDr Margaret BoothIn memory of Jillian BowersMrs R D Bridges obe

R D & L M BroadfootDr Peter BroughtonDr David BryantArnaldo BuchDr Miles BurgessPat & Jenny BurnettEric & Rosemary CampbellMr JC Campbell qc &

Mrs CampbellBarrie CarterMr Jonathan ChissickMrs Sandra ClarkIn memory of Beth HarpleyMr Phillip CornwellDom Cottam & Kanako ImamuraDr Peter CraswellMr David CrossPhil Diment am & Bill ZafiropoulosDr David DixonSusan DoenauMrs Jane DrexlerDr Nita DurhamJohn FavaloroMrs Lesley FinnMs Julie Flynn & Mr Trevor CookMrs Paula FlynnMr John GadenClive & Jenny GoodwinRuth GrahameMr Robert GreenRichard Griffin am

Dr Jan GroseBenjamin Hasic & Belinda DavieMr Robert HavardMrs Joan HenleyRoger HenningSue HewittIn memory of Emil HiltonDorothy Hoddinott ao

Mr Kevin Holland & Mrs Roslyn Andrews

Bill & Pam HughesMs Cynthia KayeMrs Margaret KeoghDr Henry KilhamDr Joyce KirkChris J KitchingMrs Patricia KleinhansAnna-Lisa KlettenbergSonia LalL M B LampratiElaine M LangshawDr Leo & Mrs Shirley LeaderMargaret LedermanMrs Erna LevyMrs A LohanMr Gabriel LopataPanee LowDr David LuisMelvyn MadiganMs Jolanta MasojadaHelen & Phil MeddingsI MerrickLouise MillerPatricia MillerKenneth Newton MitchellHelen MorganChris Morgan-HunnMr Graham NorthE J NuffieldMr Sead NurkicDr A J PalmerDr Kevin PedemontDr John PittMrs Greeba PritchardThe Hon. Dr Rodney Purvis am

& Mrs Marian PurvisMiss Julie RadosavljevicRenaissance Tours

Anna RoMr David RobinsonAgnes RossMrs Christine Rowell-Miller Mr Kenneth RyanGarry Scarf & Morgie BlaxillPeter & Virginia ShawV ShoreMrs Diane Shteinman am

Victoria SmythDoug & Judy SotherenColin SpencerJames & Alice SpigelmanAshley & Aveen StephensonMargaret & William SuthersDr & Mrs H K TeyDr Jenepher ThomasMr Michael ThompsonMs Rhonda TingAlma TooheyMrs M TurkingtonGillian Turner & Rob BishopMr Robert VeelRonald WalledgeIn memory of Denis WallisIn memoriam JBL WattMiss Roslyn WheelerThe Wilkinson FamilyAudrey & Michael WilsonYetty WindtDr Richard WingateMr Evan WongMrs Robin YabsleyAnonymous (45)

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

Vanguard CollectiveJustin Di Lollo ChairBelinda BentleyAmelia Morgan-HunnJonathan PeaseShefali PryorSeamus R QuickCamille Thioulouse

MembersJames ArmstrongJoan BallantineAndrew BaxterMar BeltranNicole BilletDavid BluffPeter BraithwaiteBlake Briggs

Andrea BrownMelanie BrownProf. Attila BrungsIan & Jennifer BurtonHelen CaldwellHilary CaldwellPaul ColganJuliet CurtinAlvaro R FernandezAlastair FurnivalAlexandra GibsonSam GiddingsMarina GoJeremy GoffTony GriersonLouise HaggertyRose HercegPhilip Heuzenroeder

Francis HicksPeter HowardJennifer HoyKatie HryceJustin JamesonJonathan KennedyAernout KerbertPatrick KokAlisa LaiTristan LandersGary LinnaneGabriel LopataKylie McCaigRebecca MacFarlingDavid McKeanTaine MoufarrigeNick NichlesKate O’Reilly

Sudeep RaoMichael ReedePaul ReidyChris RobertsonDr Benjamin RobinsonJacqueline RowlandsBenjamin SchwartzCaroline SharpenKatherine ShawRandal TameSandra TangMichael TidballMark TimminsKim WaldockJonathan WatkinsonJon WilkieYvonne Zammit

26

SALUTE

The Sydney Symphony Orchestra is assisted by the

Commonwealth Government through the Australia Council,

its arts funding and advisory body

GOVERNMENT PARTNERS

The Sydney Symphony Orchestra is

assisted by the NSW Government

through Arts NSW

PRINCIPAL PARTNER

EDUCATION PARTNERPLATINUM PARTNER

MAJOR PARTNERS

GOLD PARTNERS

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

Salute 2014_FOUR-2A_23Jul.indd 1 23/07/14 9:03 AM

❝Tuning, tuning, tuning…

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

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

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

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

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

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

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

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

ORCHESTRA NEWS | JULY/AUGUST 2014

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

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Live at the Cortile with the SSO

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Regional Tour

TIARAS AND TOUCHDOWN

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

CODA

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

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

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

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

By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover than that in which it was published, or distributed at any other event than specified on the title page of this publication 17358 — 1/240714 — 22TH/E/MO S52/54

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Chairman Brian Nebenzahl OAM RFD

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

Operating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, Hobart & DarwinSydney Opera House TrustMr John Symond am [Chair]Ms Catherine Brenner, The Hon Helen Coonan, Ms Brenna Hobson, Mr Chris Knoblanche, Mr Peter Mason am, Ms Jillian Segal am, Mr Robert Wannan, Mr Phillip Wolanski am

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

Chief Operating Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Claire SpencerDirector, Programming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jonathan BielskiDirector, Theatre & Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .David ClaringboldDirector, Building Development & Maintenance . . . . . . . . . . .Greg McTaggartDirector, Marketing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Anna ReidDirector, External Relations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Brook Turner

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

SSO Bravo! #5 2014 Insert.indd 4 17/07/14 12:51 PM

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

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

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

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

PAPER PARTNER

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

By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover than that in which it was published, or distributed at any other event than specified on the title page of this publication 17390 — 1/290814 — 26E/G/MO S63/65

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

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

Chairman Brian Nebenzahl OAM RFD

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

Operating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, Hobart & DarwinSydney Opera House TrustMr John Symond am [Chair]Ms Catherine Brenner, The Hon Helen Coonan, Ms Brenna Hobson, Mr Chris Knoblanche, Mr Peter Mason am, Ms Jillian Segal am, Mr Robert Wannan, Mr Phillip Wolanski am

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

Chief Operating Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Claire SpencerDirector, Programming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jonathan BielskiDirector, Theatre & Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .David ClaringboldDirector, Building Development & Maintenance . . . . . . . . . . .Greg McTaggartDirector, Marketing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Anna ReidDirector, External Relations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Brook Turner

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