BEETHOVEN 1 & 2Robertson & Ax

THURSDAY AFTERNOON SYMPHONY

Thursday 12 June 2014

EMIRATES METRO SERIES

Friday 13 June 2014

GREAT CLASSICS

Saturday 14 June 2014

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

concert diary

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Beethoven Piano Concertos David Robertson conductor Emanuel Ax piano

Beethoven 3 & 4TIPPETT Fantasia concertante on a Theme of Corelli BEETHOVEN Piano Concerto No.3 BEETHOVEN Piano Concerto No.4

Mondays @ 7

Mon 16 Jun 7pmAPT Master Series

Wed 18 Jun 8pm

Pre-concert talk by Peter McCallum

Beethoven’s EmperorDEAN Engelsflügel (Wings of Angels) premiere BEETHOVEN Piano Concerto No.5 (Emperor) R STRAUSS Ein Heldenleben (A Hero’s Life)

APT Master Series

Fri 20 Jun 8pm

Sat 21 Jun 8pm

Pre-concert talk by Scott Davie

Brahms and DvorákBRAHMS orch. Dvořák Hungarian Dances DVOŘÁK Cello Concerto in B minor BRAHMS Symphony No.4

Jakub Hrůša conductor Truls Mørk cello

Thursday Afternoon Symphony

Thu 10 Jul 1.30pmEmirates Metro Series

Fri 11 Jul 8pmGreat Classics

Sat 12 Jul 2pm

Pre-concert talk by Martin Buzacott

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

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

Meet the Music

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

Fri 18 Jul 11am complimentary morning tea from 10am

Pre-concert talk by Vincent Plush

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

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

Thursday Afternoon Symphony

Thurs 24 Jul 1.30pmEmirates Metro Series

Fri 25 Jul 8pmMondays @ 7

Mon 28 Jul 7pm

Pre-concert talk by Yvonne Frindle

CLASSICAL

TICKETS FROM $39* Tickets also available atsydneyoperahouse.com 9250 7777 Mon-Sat 9am-8.30pm Sun 10am-6pm

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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.

THURSDAY AFTERNOON SYMPHONYTHURSDAY 12 JUNE, 1.30PM

EMIRATES METRO SERIESFRIDAY 13 JUNE, 8PM

GREAT CLASSICS SATURDAY 14 JUNE, 2PM

SYDNEY OPERA HOUSE CONCERT HALL

BEETHOVEN PIANO CONCERTOS 1 AND 2David Robertson conductor Emanuel Ax piano

PAUL HINDEMITH (1895–1963) Concert Music for brass and strings, Op.50

Part 1. Moderately fast, with force –  Very broad, but flowing constantly Part 2. Lively – Slow – In the first tempo

LUDWIG VAN BEETHOVEN (1770–1827) Piano Concerto No.2 in B flat, Op.19

Allegro con brio Adagio Rondo (Molto allegro)

INTERVAL

BEETHOVEN Piano Concerto No.1 in C, Op.15

Allegro con brio Largo Rondo (Allegro scherzando)

2014 concert season

Friday night’s performance will be recorded by ABC Classic FM for broadcast across Australia on Saturday 21 June at 1pm.

n n n n n n n nEmanuel Ax Concert Patrons

The SSO thanks the following patrons who have generously supported Emanuel Ax’s Sydney performances of the Beethoven piano concertos:

Robert Albert ao & Elizabeth Albert Anne Arcus & Terrey Arcus am Berg Family Foundation Christine Bishop Tom Breen & Rachael Kohn John C Conde ao Robert & Janet Constable Michael Crouch ao & Shanny CrouchThe Hon. Ashley Dawson-Damer am

Stephen Freiberg & Donald Campbell Rory & Jane Jeffes Andrew Kaldor am & Renata Kaldor ao Frank Lowy ac & Shirley Lowy oam John & Akky van OgtropKeith & Eileen Ong Rodney Rosenblum am & Sylvia Rosenblum Paul Salteri am & Sandra Salteri Fred Street am & Dorothy Street John Symond am David Tudehope & Liz Dibbs

Pre-concert talk by David Garrett in the Northern Foyer, 45 minutes before each performance.

Estimated durations: 18 minutes, 28 minutes, 20-minute interval, 36 minutes. The concert will conclude at approximately 3.30pm (Thu), 10pm (Fri), 4pm (Sat).

The two concertos from Friday night’s performance will be streamed live on the Sydney Opera House YouTube channel from 8.20pm. Visit sydneyoperahouse.com/Beethoven

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Portrait of the young Beethoven, a pianist at the height of his powers. Miniature on ivory by Christian Hornemann (1802)

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The Beethoven Piano Concertos: 1 and 2

INTRODUCTION

Today Beethoven is perhaps the most famous composer in the world. In his lifetime he first became famous as a virtuoso – a force to be reckoned with. His compositions featuring piano were in effect calling cards, intended for his own performances and he made his Viennese debut playing the first of his piano concertos (published later and so known as No.2). The concert took place at the Burgtheater on 29 March 1795 and a few days later the Wiener Zeitung reported:

As an intermezzo, on the first evening, the celebrated Herr Ludwig von Beethoven reaped the unanimous applause of the audience for his performance on the pianoforte of a completely new concerto [in B flat, Op.19] composed by him.

By 1798 he had two piano concertos to his name and performed both during a visit to Prague where he was praised for his ‘powerful and brilliant playing’. This is music, says Emanuel Ax, in which ‘you sense a young man at the height of his pianistic powers’, someone determined to ‘sweep away all the other people in front of him’ with his incredible wizardry as a performer and as a composer-improviser.

This concert gives a chance to hear the first two Beethoven piano concertos in close succession and to marvel as Beethoven’s original listeners must have done, not only at the inventiveness of the compositions but at the powerful and brilliant playing of the performances. And to whet our listening appetites, David Robertson has chosen to begin the concert with another relatively youthful and equally high-spirited work, Paul Hindemith’s Concert Music for brass and strings.

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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Paul Hindemith in a photo taken around 1930. Viola was just one of the many instruments he could play.

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ABOUT THE MUSIC

Paul Hindemith Concert Music for brass and strings, Op.50I. Mässig schnell, mit Kraft – Sehre breit, aber strets fliessend [Moderately fast, with force – Very broad, but flowing constantly] II. Lebhaft – Langsam – Lebhaft [Lively – Slow – Lively]

Hindemith taught himself to play every insrtument of the orchestra, so as to understand its character and possibilities. Hardly any of his early music was written for the conventional symphony orchestra. Instead, during the 1920s he composed a series of works under the general title Kammermusik (Chamber Music), using varied groupings of instruments, including some which were under-used in the standard repertoire. In 1930 Hindemith expanded this approach into music intended for the concert hall, reflecting the wider acceptance of his music in the public arena. He wrote three works named Konzertmusik (Concert Music): one for viola and orchestra; one for piano, brass and two harps; and his opus 50, the Concert Music for brass and strings.

This is the last work to which Hindemith assigned an opus number. It has been suggested that he was embarrassed to have reached opus 50 by the age of just 35! There is no diffidence, however, in this music – it is adventurous, assured

KeynotesHINDEMITHBorn Hanau, Germany, 1895 Died Frankfurt, 1963

Paul Hindemith was an outstandingly versatile musician who could write for any instrument, and most likely play it himself! By the 1930s he was at the height of his reputation as Germany’s leading composer but chose to leave his troubled country; during and immediately after World War II he lived in the United States. His Concert Music (or Konzertmusik) for brass and strings was composed for the Boston Symphony Orchestra’s 50th anniversary and premiered in 1931.

CONCERT MUSIC FOR BRASS AND STRINGS

In an orchestral concert, playing music for brass and strings means leaving the woodwind players and percussionists in the green room. Hindemith’s choice of instruments and the virtuoso demands he places on the orchestra result in a brilliant, athletic sound. The brass and strings are frequently used as ‘choirs’ – their distinctive colours providing exciting contrasts – and only towards the end do they collaborate fully.

Listen for the extreme precision of the brass as they play light, short notes, and for the expressive solos given to individual instruments. And at the end of Part 2, notice how the Hindemith brings back the thematic ideas from the first part of the movement and pulls everything altogether for a spirited finish.

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and exuberant. Like several other masterpieces, notably Roussel’s Third Symphony and Stravinsky’s Symphony of Psalms, it was commissioned by the Boston Symphony Orchestra to mark its 50th anniversary. Under the conductorship of the philanthropic Russian émigré Serge Koussevitsky, the Boston orchestra added to its virtuosic orchestral skills a mission to introduce the best of new music. Hindemith was not afraid to give its brass section a challenging assignment: he makes technical demands which only virtuosos can fulfil.

Hindemith’s treatment of the strings and brass as separate blocks is maintained almost to the end of the second movement. In order to match the brass group (four each of trumpets and horns, three trombones and tuba), the composer calls for the most numerous possible string section, and frequently writes for them in unison, combining first and second violins. The scoring in contrasts, formal clarity and dynamic drive are sometimes reminiscent of the baroque concerto grosso, in which a solo group is set against the full ensemble. The lyric melody that is the essence of each movement suggests German folk music and, together with the consonant harmony, evokes the spirit of the 18th-century divertimento.

Part 1 opens with a theme proclaimed in octaves by trumpets and trombones, around which the strings weave a more rhythmical figure. In the second section, after the strings have had the opportunity to be heard on their own, the brass also take up shorter, staccato rhythmic phrases, until the music subsides into a broad, slower section. Here the long unison melody – an extension of the movement’s, main theme – is given to the strings, and is marked at intervals by chords from the brass.

Part 2 begins with a fugato for strings, prefaced by three sharp chords for the brass. The theme is a lively one with many rapid repeated notes. In the central section the opening chords are developed into a five-note theme treated repetitively in a chaconne-like expressive slow movement. In the third section, beginning with a return of the fugal material, the brass and strings collaborate fully for the first time, and motifs emerge with a strong sprinkling of ‘blue’ notes – a tribute by Hindemith to his patrons of the moment and to a country he was yet to visit.

© DAVID GARRETT

Hindemith’s Concert Music for brass and strings calls for four horns, four trumpets, three trombones, tuba and a large string section.

The work was first performed on 3 April 1931, with Serge Koussevitsky conducting the Boston Symphony Orchestra. The SSO first performed it in 1956, conducted by Sir Bernard Heinze, and most recently in 1995, conducted by Edo de Waart.

Hindemith makes technical demands which only virtuosos can fulfil.

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KeynotesBEETHOVENBorn Bonn, 1770 Died Vienna, 1827

During his lifetime Beethoven was considered of the most brilliant piano virtuosos of the day, although his deafness eventually forced him off the concert platform. His piano concertos were written for himself to play and the early ones, in particular, helped make his name and reputation in the Viennese musical scene.

PIANO CONCERTO NO.2

Beethoven’s early piano concertos were virtuoso calling cards, and they convey something of his character as a pianist. ‘No.2’ was in fact his first concerto, premiered in a public concert organised by Haydn in 1795, and then revised in 1798. Mozart is the model, but Beethoven is already revealing his musical personality and seeking his own solutions to the longstanding challenge of how a soloist interacts with an orchestra.

Ludwig van Beethoven Piano Concerto No.2 in B flat, Op.19Allegro con brio Adagio Rondo, molto allegro

Emanuel Ax piano

When Beethoven sent the final version of this concerto to his publisher, he gave this estimate of its worth: ‘The concerto I value at ten ducats...I do not give it out as one of my best’. No doubt Beethoven was admitting that he had not solved entirely to his satisfaction the problem of apportioning the roles between soloist and orchestra in his first concerto to be played in Vienna. We also know that uppermost in his mind in composing it may have been consolidating his position as a virtuoso pianist, and that his admiration for the achievement of Mozart in composing piano concertos would lead him to judge his own efforts severely.

Fortunately, we can forget Beethoven’s self-criticism and enjoy this fresh, unpretentious concerto. Mozart was a good model, and we need not remind ourselves that Beethoven later achieved, in his fourth and fifth piano concertos, his own answer to the concerto challenge; we should imagine instead the young virtuoso glorying in his powers, using this vehicle to conquer the Viennese public.

The occasion was a concert in the Burgtheater in 1795. Beethoven’s playing in the salons of the aristocracy had already gained him a reputation as a solo pianist of extraordinary skill and daring, and a remarkable improviser – his skill in this direction may even have extended to his playing of the solo

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part in the concerto, for, when he was introducing a concerto himself, he did not bother to write out the solo part. In 1798 Beethoven revised the concerto for performances in Vienna and Prague with different soloists, but he withheld it from publication until 1801, which explains why it is numbered 2 although it was written before the published No.1.

This concerto was the first ‘symphonic’ work of Beethoven’s to be heard in Vienna, and, not surprisingly, the orchestra spreads its wings at the outset. One commentator has identified as many as five themes before the piano comes in with a sixth. The crucial phrases are the opening ones: a short flourish from tonic to dominant and back, followed by a reflective lyrical phrase. Once the piano is in it dominates the discourse, with many passages obviously designed to show off Beethoven’s pianism – especially his legato runs, played with the thumb under, a technique he pioneered. The cadenza for this movement was not written until 1809, perhaps for Beethoven’s pupil, the Archduke Rudolf.

The Adagio is a truly slow movement, whereas Mozart’s concerto slow movements are usually more moderate andantes. As in many such movements in early Beethoven, the treatment

...many passages obviously designed to show off Beethoven’s pianism...

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BEETHOVEN’S VIENNESE DEBUT

Beethoven made his public concert debut in Vienna playing a new piano concerto of his own composition on 29 March 1795. He was 24 years old, and the concerto was almost certainly the one in B flat major, now known as No.2.

Beethoven had already been in Vienna more than two years, having made the move from his birthplace, Bonn, at the end of 1792. In that time, besides pursuing his studies with Haydn, Albrechtsberger and Salieri, he underwent the apprenticeship, as it were, of performing privately in the grand salons. As a result, his talents were known and admired amongst the nobility and aristocracy well before he appeared in public.

The occasion of his first appearance was an Italian oratorio performance, between the acts of which Beethoven played his concerto as an ‘intermezzo’. This was a procedure Handel had known in London and which still survived at the end of the 18th century before new-found freedoms led to the transformation and expansion of public concert activity in the 19th century. Presumably another artist provided the intermezzo the following evening, when the oratorio was repeated, because Beethoven seems to have been engaged only for the first night. At all events, the audience in the Imperial Court Theatre (Burgtheater) was impressed, giving the performance – and concerto – its ‘unanimous applause’.

ADAPTED FROM A NOTE BY ANTHONY CANE © 1998

of the theme by the piano becomes increasingly elaborate and decorative. The movement is distinguished by an eloquent – and prophetic – ending, where the soloist has a recitative-like utterance, marked con gran espressione (‘with great expression’), alternating with the orchestra’s statement of the theme in broken phrases.

The infectious last movement is a galloping rondo, whose hunting style is familiar from some of Mozart’s concertos in B flat; but it is more boisterous than anything in Mozart, mainly through Beethoven’s handling of the off-beat accents. The rhythmic placement of these accents is an important building block of the movement – they are shifted for effect at the beginning of the first couplet of the rondo, and in many other places. There is a pleasant surprise at the end, where Beethoven again follows Mozart’s precedent by introducing a new theme in the coda, a popular touch, followed by some Beethovenian humour. This is Beethoven the eloquent entertainer indeed, not much loved by his fellow-pianists, and we can see why if we compare this concerto he wrote to display his wares with the contemporary products of Hummel, Dussek, Clementi and others.

© DAVID GARRETT

The orchestra for Beethoven’s Piano Concerto No.2 calls for flute, two oboes, two bassoons, two horns and strings.

The SSO’s first performance on record of this concerto was in the 1943 Beethoven Festival, with pianist Eunice Gardiner and conductor Bernard Heinze. Our most recent performance of the concerto was in 2012 with pianist Andreas Haefliger and conductor David Zinman.

Beethoven made his Viennese debut at the old Burgtheater. (Painting by August Gerasch).

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KeynotesPIANO CONCERTO NO.1

This is another virtuoso calling card for Beethoven-the-pianist and it too reveals something of his playing style as well as his sheer skill, even though he later came to say that it wasn’t his best work.

The Piano Concerto No.1 was probably completed in 1797, was performed for certain in Prague the following year, and in 1800 was most likely the concerto that Beethoven played in his first benefit concert (i.e. a concert from which he took the profits) in Vienna’s Burgtheater.

Ludwig van Beethoven Piano Concerto No.1 in C, Op.15Allegro con brio Largo Rondo (Allegro scherzando)

Emanuel Ax piano

Beethoven’s first two mature piano concertos are numbered in reverse chronological order, reflecting not their dates of composition but rather their dates of publication. The first to be published, in March 1801, which we know as No.1 in C, was actually the second in order of composition. The earlier, highly Mozartian concerto in B flat did not appear in print until the following December, and so became known, wrongly, as No.2.

Already, the ambitious 30-year-old Beethoven was tending unreasonably to dismiss both these manifestations of his youthful genius as mere apprentice works, insisting in a letter to the publishers Breitkopf & Härtel in April 1801 that neither was among his best compositions.

The C major concerto shows a number of advances over its companion. Even though theoretically it could have been ready at the time Beethoven made his concerto debut in Vienna in March 1795, it was probably little more than sketches at that time, and was most likely completed in 1797. The first performance of it that can be positively identified came during Beethoven’s third visit to Prague, in 1798, when it was programmed in the first of two concerts he gave in the Konviktsaal. (He played the B flat concerto in the second concert.)

The Czech pianist and composer Václav Jan Tomášek, four years Beethoven’s junior, later published his indelible recollections of these events: ‘Beethoven’s magnificent playing and particularly the daring flights of his improvisation moved me strangely; indeed, I felt so humbled that I did not touch my own piano for several days.’

The new concerto calls for a bigger orchestra than that of the B flat concerto, adding clarinets, a pair of sparingly used trumpets and timpani. Apart from the addition of some distinctively Romantic clarinet tone-colour in the slow movement, however, the additional voices are used mainly for greater expressive power.

In the opening movement, we already hear greater economy of melodic ideas compared with the B flat concerto; and, with probably only four distinct themes, greater economy than usual with Mozart, either. As in the earlier concerto, however, Beethoven allows himself to get magnificently carried away

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in the opening ritornello. Having established the no-nonsense main theme with military crispness, he introduces his second subject ‘prematurely’ (i.e. before the entry of the soloist) in the remote-sounding, almost exotic, key of E flat. And still to appear in the ritornello, before the soloist’s entry, are an episode which will later prepare the development and the cadenza, and a third subject, related to the second.

‘This is very beautiful,’ Donald Tovey sniffs, ‘but…concerto tuttis will get into difficulties if they often thus digress in search of the picturesque.’ As if to prove that this is all immaterial, Beethoven brings in the soloist with a gentle, entirely new theme – which, having had its say, is never heard from again. Nor is it used in any of Beethoven’s cadenzas. (He later wrote no fewer than three different cadenzas for this movement, so perhaps he came to feel a degree of affection for the concerto after all.) The third, and longest, of the cadenzas achieves such commanding power and scope that, in Tovey’s view, ‘it affords a noble pretext for reviving a neglected early masterpiece which it harmoniously lifts to a higher plane of musical thought.’

The Largo slow movement, as if emulating the unexpected E flat excursion in the opening ritornello, takes us blissfully into A flat, a sunny world of romantic tenderness. Beethoven here displays a hitherto unsuspected lyrical quality, in which display is an expression of underlying poetry. The rapt ensemble of clarinets and piano in the dreamlike coda evokes memories of Mozart’s Piano Concerto in A, K488.

The finale is a happy Rondo, in which Haydnish high spirits are overlaid with Beethovenian strength, yet remaining at all times airily light-hearted. The first of the episodes which alternate with the main rondo theme has been said to derive from a popular song of the 15th century, and the second episode juxtaposes a tearaway melody of Tin Pan Alley proclivities with a quiet, chromatic theme. Surprises in the coda highlight the general euphoria.

Though the original score marks the rondo simply Allegro, early published editions add scherzando, doubtless with the composer’s connivance, to underline the lack of solemnity the enterprise demands.

ANTHONY CANE © 2002

The orchestra for Beethoven’s Piano Concerto No.1 calls for flute and pairs of oboes, clarinets, bassoons, horns and trumpets; timpani and strings.

The first SSO performance on record of this concerto was in a 1940 Young People’s concert with Bernard Heinze conducting and pianist Maureen Jones. We performed it most recently in 2009 with soloist Paul Lewis and Douglas Boyd conducting, as part of a fortnight of programs that also included Piano Concerto No.2.

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The SYDNEY SYMPHONY ORCHESTRA STREAMING LIVE from the SYDNEY OPERA HOUSE FIVE BEETHOVEN PIANO CONCERTOS IN THREE EVENTS: 13, 18 & 21 JUNE AT 8:20PMEmanuel Ax piano David Robertson conductor

To stream these performances live visit sydneyoperahouse.com/Beethoven

MORE MUSIC

HINDEMITH CONCERT MUSICOne of most comprehensive collections of Hindemith’s orchestral music is an Australian effort: the SSO with the Queensland and Melbourne orchestras in recordings with Werner Andreas Albert. In the 6-CD set you can hear the Concert Music Op.50 (MSO) with works such as the Mathis der Maler Symphony (SSO) and the Symphonic Metamorphosis (QSO).CPO 999248

These three works are also collected together in a recent Hyperion release, featuring the BBC and BBC Scottish symphony orchestras with conductor Martyn Brabbins.HYPERION 68006

EMANUEL AX PLAYS BEETHOVENThis month we’re presenting the five numbered piano concertos of Beethoven, but there’s more, some of which you can discover in Emanuel Ax’s 3-CD set of the Beethoven concertos. He includes the Choral Fantasy, Op.80 – which you can hear as a test run for the choral finale of his Ninth Symphony or as a unique musical combination of piano, choir and orchestra with a joyous main theme. RCA VICTOR RED SEAL 55703

MORE EMANUEL AXIf you’ve enjoyed Ax’s approach to Beethoven, look for the recently released 4-CD collection of some of Haydn’s best-known sonatas and three concertos, including the popular D major concerto. SONY 5440182

A recent residency with the New York Philharmonic led to an exploration of variation form in a recital disc of Haydn, Beethoven (the ‘Eroica’ Variations) and Schumann.SONY 542086

And in another recent release, Ax teams up with Yo-Yo Ma for Phantasmagoria: Music of John Corigliano, featuring The Ghosts of Versailles: Phantasmagoria for cello and piano. SONY 756143

Broadcast DiaryJune–July

FIVE BEETHOVEN PIANO CONCERTOS IN ONE WEEKEND

David Robertson conductor Emanuel Ax piano

Saturday 21 June, 1pm BEETHOVEN 1 & 2Hindemith, Beethoven Piano Concertos 1 & 2

Saturday 21 June, 8pm BEETHOVEN 3 & 4Tippett, Beethoven Piano Concertos 3 & 4

Sunday 22 June, 2pm BEETHOVEN’S EMPERORDean, Beethoven, Richard Strauss

Or catch the concertos via our new live-streaming partnership with the Sydney Opera House. 13, 18 and 21 June at 8.20pm sydneyoperahouse.com/Beethoven

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

Wednesday 16 July, 8pm JANDAMARRA Brett Weymark conductor | Diana Doherty oboe Yilimbirri Ensemble | Members of Gondwana Choirs Holst, Vaughan Williams, Stanhope & Hawke

SYDNEY SYMPHONY ORCHESTRA 2014 Tuesday 8 July, 6pm

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

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

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

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

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

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

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

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

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

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

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

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

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

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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

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Born in Lvov, Poland, Emanuel Ax moved to Canada with his family when he was a boy. He studied at the Juilliard School, New York, and subsequently won the Young Concert Artists Award; he also attended Columbia University, where he majored in French. He captured public attention in 1974 when he won the first Arthur Rubinstein International Piano Competition in Tel Aviv. Five years later he won the coveted Avery Fisher Prize.

In the 2013–14 season he has appeared with the London Symphony Orchestra and Bernard Haitink, as well as performing with the Royal Concertgebouw Orchestra and Mariss Jansons during the RCO’s centenary celebrations. He also realised a project inspired by Brahms, which included new pieces by Missy Mazzoli, Nico Muhly, Brett Dean and Anders Hillborg and involved the participation of Anne-Sophie Mutter and Yo-Yo Ma.

Highlights of recent seasons have included a residency and European tour with the New York Philharmonic and the release of a recital disc featuring variations by composers such as Haydn, Beethoven and Schumann. He appeared in the San Francisco Symphony’s American Mavericks festival and participated with the Chicago Symphony Orchestra in a two-week residency, Keys to the City.

Emanuel Ax has been an exclusive Sony Classical recording artist since 1987. Recent releases include Mendelssohn trios with Yo-Yo Ma

and Itzhak Perlman, Strauss’s Enoch Arden narrated by Patrick Stewart, and recordings with Yefim Bronfman of piano duo music by Brahms and Rachmaninoff. He has received Grammy Awards for two volumes in his Haydn piano sonata cycle and also appears with Yo-Yo Ma on a series of Grammy-winning recordings of Beethoven and Brahms cello sonatas. His discography ranges from solo Brahms and Liszt and Schoenberg concertos to Piazzolla tangos and the premiere recording of John Adams’ Century Rolls with the Cleveland Orchestra.

This last reflects his commitment to contemporary composers, premiering works by Adams, Christopher Rouse, Krzysztof Penderecki, Bright Sheng, and Melinda Wagner. He is also a devoted chamber musician and has also worked with such artists as Young Uck Kim, Cho-Liang Lin, Edgar Meyer, Peter Serkin, Jaime Laredo, and the late Isaac Stern.

Emanuel Ax is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Yale and Columbia Universities. His most recent appearances with the SSO were in 2002, when he played Beethoven’s Fourth Piano Concerto and appeared in recital, and in 2008, when he played Mozart’s K482 concerto and again gave a solo recital.

www.emanuelax.com

Emanuel Axpiano

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

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

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

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

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

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

DAVID ROBERTSON Chief Conductor and Artistic Director

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

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FIRST VIOLINS Andrew Haveron CONCERTMASTER

Dene Olding CONCERTMASTER

Sun Yi ASSOCIATE CONCERTMASTER

Kirsten Williams ASSOCIATE CONCERTMASTER

Lerida Delbridge ASSISTANT CONCERTMASTER

Fiona Ziegler ASSISTANT CONCERTMASTER

Jenny BoothBrielle ClapsonSophie ColeGeorges LentzNicola LewisEmily LongAlexander NortonLéone ZieglerAmber Davis Claire HerrickJennifer HoyAlexandra Mitchell

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

Maria DurekEmma HayesShuti HuangStan W KornelBenjamin LiNicole MastersPhilippa PaigeBiyana RozenblitMaja Verunica

VIOLASRoger Benedict Tobias Breider Anne-Louise ComerfordJustin Williams ASSISTANT PRINCIPAL

Sandro CostantinoRosemary CurtinJane HazelwoodGraham HenningsStuart JohnsonJustine MarsdenFelicity TsaiAmanda VernerLeonid Volovelsky

CELLOSUmberto ClericiCatherine Hewgill Leah Lynn ASSISTANT PRINCIPAL

Timothy NankervisElizabeth NevilleChristopher PidcockAdrian WallisDavid WickhamHenry David Varema Kristy ConrauFenella Gill

DOUBLE BASSESKees Boersma Alex Henery David CampbellSteven LarsonRichard LynnBenjamin WardNeil Brawley PRINCIPAL EMERITUS

David Murray

FLUTES Janet Webb Emma Sholl Carolyn HarrisRosamund Plummer PRINCIPAL PICCOLO

OBOESDiana Doherty David PappShefali Pryor Alexandre Oguey PRINCIPAL COR ANGLAIS

CLARINETSLawrence Dobell Christopher TingayFrancesco Celata Craig Wernicke PRINCIPAL BASS CLARINET

BASSOONSMatthew Wilkie Fiona McNamaraNoriko Shimada PRINCIPAL CONTRABASSOON

HORNSBen Jacks Geoffrey O’Reilly PRINCIPAL 3RD

Marnie SebireEuan HarveyRobert Johnson Rachel Silver

TRUMPETSDavid Elton Paul Goodchild Anthony HeinrichsOwen Morris* TROMBONESRonald Prussing Scott Kinmont Christopher Harris PRINCIPAL BASS TROMBONE

Nick Byrne

TUBASteve Rossé

TIMPANIRichard Miller Mark Robinson ASSISTANT PRINCIPAL

PERCUSSIONRebecca Lagos Timothy Constable

HARP Louise Johnson

BOLD = PRINCIPAL

ITALICS = ASSOCIATE PRINCIPAL

* = GUEST MUSICIAN

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

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BEHIND THE SCENES

MANAGING DIRECTOR

Rory Jeffes

EXECUTIVE TEAM ASSISTANT

Lisa Davies-Galli

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC PLANNING

Benjamin Schwartz

ARTISTIC ADMINISTRATION MANAGER

Eleasha Mah

ARTIST LIAISON MANAGER

Ilmar Leetberg

RECORDING ENTERPRISE MANAGER

Philip Powers

LibraryAnna CernikVictoria GrantMary-Ann Mead

LEARNING AND ENGAGEMENT

DIRECTOR OF LEARNING AND ENGAGEMENT

Kim Waldock

EMERGING ARTISTS PROGRAM MANAGER

Mark Lawrenson

EDUCATION MANAGER

Rachel McLarin

EDUCATION OFFICER

Amy Walsh

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA MANAGEMENT

Aernout Kerbert

ORCHESTRA COORDINATOR

Georgia Stamatopoulos

OPERATIONS MANAGER

Kerry-Anne Cook

PRODUCTION MANAGER

Laura Daniel

STAGE MANAGER

Courtney Wilson

PRODUCTION COORDINATOR

Tim Dayman

PRODUCTION COORDINATOR

Dave Stabback

SALES AND MARKETING

DIRECTOR OF SALES & MARKETING

Mark J Elliott

SENIOR SALES & MARKETING MANAGER

Penny Evans

MARKETING MANAGER, SUBSCRIPTION SALES

Simon Crossley-Meates

MARKETING MANAGER, CLASSICAL SALES

Matthew Rive

MARKETING MANAGER, WEB & DIGITAL MEDIA

Eve Le Gall

MARKETING MANAGER, CRM & DATABASE

Matthew Hodge

DATABASE ANALYST

David Patrick

SENIOR GRAPHIC DESIGNER

Christie Brewster

GRAPHIC DESIGNER

Tessa Conn

MARKETING COORDINATOR

Jonathon Symonds

SENIOR ONLINE MARKETING COORDINATOR

Jenny Sargant

ONLINE MARKETING COORDINATOR

Jonathan Davidoff

Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlin

BOX OFFICE SYSTEMS SUPERVISOR

Jacqueline Tooley

BOX OFFICE BUSINESS ADMINISTRATOR

John Robertson

CUSTOMER SERVICE REPRESENTATIVES

Karen Wagg – Senior CSR Michael DowlingKatarzyna OstafijczukTim Walsh

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

EXTERNAL RELATIONS

DIRECTOR OF EXTERNAL RELATIONS

Yvonne Zammit

PhilanthropyHEAD OF PHILANTHROPY

Luke Andrew Gay

DEVELOPMENT MANAGER

Amelia Morgan-Hunn

PHILANTHROPY COORDINATOR

Sarah Morrisby

Corporate RelationsBUSINESS DEVELOPMENT MANAGER

Belinda Besson

CORPORATE RELATIONS MANAGER

Janine Harris

CommunicationsPUBLIC RELATIONS MANAGER

Katherine Stevenson

COMMUNICATIONS & MEDIA MANAGER

Bridget Cormack

DIGITAL CONTENT PRODUCER

Kai Raisbeck

SOCIAL MEDIA AND PUBLICITY OFFICER

Caitlin Benetatos

BUSINESS SERVICES

DIRECTOR OF FINANCE

John Horn

FINANCE MANAGER

Ruth Tolentino

ACCOUNTANT

Minerva Prescott

ACCOUNTS ASSISTANT

Emma Ferrer

PAYROLL OFFICER

Laura Soutter

PEOPLE AND CULTURE

IN-HOUSE COUNSEL

Michel Maree Hryce

SYDNEY SYMPHONY ORCHESTRA STAFF

John C Conde ao ChairmanTerrey Arcus am

Ewen Crouch am

Ross GrantCatherine HewgillJennifer HoyRory JeffesAndrew Kaldor am

David LivingstoneThe Hon. Justice AJ MeagherGoetz Richter

SYDNEY SYMPHONY ORCHESTRA BOARD

SYDNEY SYMPHONY ORCHESTRA COUNCIL

Geoff Ainsworth am

Andrew Andersons ao

Michael Baume ao

Christine BishopIta Buttrose ao obe

Peter CudlippJohn Curtis am

Greg Daniel am

John Della BoscaAlan FangErin FlahertyDr Stephen FreibergDonald Hazelwood ao obe

Dr Michael Joel am

Simon JohnsonYvonne Kenny am

Gary LinnaneAmanda LoveHelen Lynch am

David Maloney am

David Malouf ao

Deborah MarrThe Hon. Justice Jane Mathews ao

Danny MayWendy McCarthy ao

Jane MorschelDr Timothy Pascoe am

Prof. Ron Penny ao

Jerome RowleyPaul SalteriSandra SalteriJuliana SchaefferLeo Schofield am

Fred Stein oam

Gabrielle TrainorJohn van OgtropPeter Weiss ao HonDLittMary WhelanRosemary White

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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

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SYDNEY SYMPHONY ORCHESTRA PATRONS

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

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

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

CHAIR PATRONS

06 Kirsty Hilton Principal Second Violin Corrs Chambers Westgarth Chair

07 Robert Johnson Principal Horn James & Leonie Furber Chair

08 Elizabeth Neville Cello Ruth & Bob Magid Chair

09 Emma Sholl Associate Principal Flute Robert & Janet Constable Chair

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

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

02 Lawrence Dobell Principal Clarinet Anne & Terrey Arcus am Chair

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

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

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

FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM,

CALL (02) 8215 4619.

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PLAYING YOUR PART

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

DIAMOND PATRONS: $30,000+Geoff Ainsworth am

Anne & Terrey Arcus am

Tom Breen & Rachael KohnMr John C Conde ao

Robert & Janet ConstableMr Andrew Kaldor am &

Mrs Renata Kaldor ao

In Memory of Matthew KrelMrs Roslyn Packer ao

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

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

Catherine Dovey

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

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

Egon GordonThe Estate of Dr Lynn Joseph

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

Dr Diana Choquette & Mr Robert Milliner

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

Donald CampbellAnn HobanIrwin Imhof in memory of

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

WalshYim Family FoundationMr & Mrs T & D Yim

I KallinikosHelen Lynch am & Helen BauerMrs T Merewether oam

Mr B G O’ConorVicki OlssonDavid RobertsonMrs Penelope Seidler am

G & C Solomon in memory of Joan MacKenzie

Westfield GroupRay Wilson oam in memory of

James Agapitos oam

Anonymous (1)

GOLD PATRONS: $10,000–$19,999Doug & Alison BattersbyAlan & Christine BishopIan & Jennifer BurtonMichael Crouch ao &

Shanny CrouchCopyright Agency Cultural

Fund The Hon. Mrs Ashley Dawson-

Damer am

Edward & Diane FedermanNora GoodridgeMr Ross GrantMr Ervin KatzJames N Kirby FoundationMs Irene LeeRuth & Bob Magid

The Hon. Justice AJ Meagher & Mrs Fran Meagher

Mr John MorschelDrs Keith & Eileen OngMr John Symond am

Andy & Deirdre PlummerCaroline WilkinsonAnonymous (1)

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

BoyarskyPeter Braithwaite & Gary

LinnaneMr Robert BrakspearMr David & Mrs Halina BrettMr Robert & Mrs L Alison Carr Bob & Julie ClampettEwen Crouch am &

Catherine CrouchIan Dickson & Reg HollowayIn memory of

Dr Lee MacCormick EdwardsStephen Freiberg &

Donald CampbellDr Colin GoldschmidtThe Greatorex Foundation Rory & Jane Jeffes

The late Mrs Isabelle JosephJudges of the Supreme Court

of NSW Frank Lowy am &

Shirley Lowy oam

J A McKernanDavid Maloney am & Erin

FlahertyR & S Maple-BrownJustice Jane Mathews ao

Mora MaxwellMrs Barbara MurphyWilliam McIlrath Charitable

FoundationJohn & Akky van OgtropRodney Rosenblum am &

Sylvia RosenblumDr Evelyn RoyalThe Estate of the late

Greta C RyanManfred & Linda SalamonSimpsons SolicitorsMrs Joyce Sproat &

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

BequestAnonymous (1)

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

Sibilla BaerDavid BarnesAllan & Julie BlighDr & Mrs Hannes BoshoffJan BowenLenore P BuckleMargaret BulmerIn memory of RW BurleyIta Buttrose ao obe

Mr JC Campbell qc & Mrs Campbell

Dr Rebecca ChinMr Peter ClarkeConstable Estate Vineyards Dom Cottam &

Kanako ImamuraDebby Cramer & Bill CaukillMr John Cunningham SCM &

Mrs Margaret Cunningham

Lisa & Miro DavisMatthew DelaseyMr & Mrs Grant DixonColin Draper & Mary Jane

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

Mr Tom FrancisWarren GreenAnthony GreggAkiko GregoryIn memory of Dora &

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

Professor Winston LiauwDr David Luis

Peter Lowry oam & Dr Carolyn Lowry oam

Kevin & Deirdre McCannIan & Pam McGawMacquarie Group

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

PottingerTA & MT Murray-PriorDr Raffi QasabianMichael QuaileyMr Patrick Quinn-GrahamErnest & Judith RapeeKenneth R Reed

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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

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

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

Janet WilliamsDr Edward J WillsAudrey & Michael Wilson

Dr Richard WingateDr Peter Wong &

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

List correct as of 1 May 2014

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

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

Patricia H Reid Endowment Pty Ltd

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

Mildred TeitlerKevin TroyJohn E TuckeyIn memory of Joan &

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

BRONZE PATRONS: ALLEGRO $500–$999David & Rae AllenMr & Mrs Garry S AshDr Lilon BandlerMichael Baume ao & Toni BaumeBeauty Point Retirement ResortRichard & Margaret BellMrs Jan BiberMinnie BiggsMrs Elizabeth BoonMr Colin G BoothDr Margaret BoothMr Frederick Bowers

Mr Harry H BrianR D & L M BroadfootMiss Tanya BryckerDr Miles BurgessPat & Jenny BurnettEric & Rosemary CampbellBarrie CarterMr Jonathan ChissickMrs Sandra ClarkMichael & Natalie CoatesCoffs Airport Security Car ParkJen CornishDegabriele KitchensPhil Diment am & Bill

ZafiropoulosDr David DixonElizabeth DonatiMrs Jane DrexlerDr Nita Durham &

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

Mr & Mrs Harold & Althea Halliday

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

Mr Joerg HofmannMr Angus Holden

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

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

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

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

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

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SALUTE

The Sydney Symphony Orchestra is assisted by the

Commonwealth Government through the Australia Council,

its arts funding and advisory body

GOVERNMENT PARTNERS

The Sydney Symphony Orchestra is

assisted by the NSW Government

through Arts NSW

PRINCIPAL PARTNER

PREMIER PARTNER

GOLD PARTNERS

SILVER PARTNERS

REGIONAL TOUR PARTNER MARKETING PARTNER

EDUCATION PARTNERPLATINUM PARTNER

MAJOR PARTNERS

Salute 2014_THREE.indd 1 12/05/14 12:43 PM

❝We work on our bodies, we work on our techniques. But how do we work on our mental strength?

❞mental strength is something we could use as musicians. We work on our bodies, we work on our techniques. But how do we work on mental strength?

‘Yoga’s not just physical, it also trains your mind. What we do as musicians is not only challenging in itself, but the thing is you only get one chance – often in front of 2,000 people – to get it right. It’s the context of the thing, rather than the thing itself, that makes it tricky!’

Through yoga and mindfulness, Diana has found another tool for her performance-skills ‘toolkit’. ‘I think it’s one more way in which to improve. I’ve been in the job a long time now, and hope I will be still for many years to come. I just want to get better and better at it, and finding ways to better deal with the pressure is a step in that direction. There is always something to be learned, and understanding to be deepened.’

The Principal Oboe Chair is generously supported by Andrew Kaldor am and Renata Kaldor ao.

You may have noticed that for some three months a familiar face has been missing from the platform of the Sydney Opera House Concert Hall. Principal oboist, Diana Doherty, has been taking a much-deserved break on long service leave to refresh and recharge. She’s used the ‘time out’ to explore some other longed-for creative pursuits. ‘I can now say I have hobbies!’ she enthuses.

‘I’ve been experimenting with a bit of painting, and took an online course in creative writing. And I did a 40-day intense yoga course, doing yoga six times a week, learning to meditate,

learning more about whole foods, and how to guide myself through my own yoga practice.’ And how was it? ‘Fantastic! Through the meditation side of it, I learnt a lot about mental strength, focus and calm; all things that are really useful and I can really relate to my oboe playing.

‘I’m very keen on tennis, and watch the big tournaments on television. And I’m always amazed at the mental strength those guys have. They might be up against the odds, down two match points and receiving serve, and I think: “How do you come back from a moment like that?” I’ve always thought that kind of

FINDING FOCUSDiana Doherty, Principal Oboe, has been exploring the world without and the world within…

ORCHESTRA NEWS | JUNE 2014

SSO Bravo! #4 2014 Insert.indd 1 30/05/14 7:38 AM

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When it comes to the future of orchestral music, David Robertson is clear about his mission: ‘We have an ambition to foster the love of orchestral music in school children of all ages, and to equip their teachers with the skills they need to develop this in our young people. Through excellence and education (and excellence in education) – this is how the music we love will survive long after us.’

But it takes more than we receive through ticket sales and government funding to achieve these noble aims. Donations from patrons who share David’s vision make the critical difference.

In 2013, Fred Street am provided the seed money for a brand new education program for teachers, TunED Up, to support that all-important step in nurturing a lifelong love of music in children. Your gift to the Allegro Education Fund will allow us to sustain and expand TunED Up into the future.

Make your gift before 30 June 2014. Any gift of $2 or greater is fully tax deductible; gifts over $500 are acknowledged in our program books.

Visit sydneysymphony.com/appeal or call (02) 8215 4600 and select option 2.

Philanthropy HighlightA gift for tomorrow

In March, five SSO brass principals visited Hong Kong to perform at the annual Credit Suisse Asian Investment Conference. They also visited the Pun U Association Wah Yan Primary School where they performed for 300 students and spoke about their instruments. In Hong Kong every child is encouraged to learn a musical instrument, with most playing piano or violin. But perhaps our visit to the school will encourage more of them to take up a brass instrument! The children greeted our brass players like rock stars, showing a huge interest in the SSO.From left: Paul Goodchild, Chris Harris, David Elton, Ron Prussing and Ben Jacks

SSO Online

LIVE-STREAMING ON YOUTUBEAs Emanuel Ax pulls up his stool to play Beethoven’s piano concertos, cameras will be poised to film his performance for the Sydney Opera House YouTube channel. We’ve entered a new live-streaming partnership with the Sydney Opera House, which will allow us to share our concerts with our international, regional and remote audiences.

Chief Conductor David Robertson says using digital technology to live-stream concerts lets us share the magic of live performance with those who cannot attend in person: ‘Footage from multiple cameras and behind the scenes will enable viewers around the world to see inside the SSO’s home – the Sydney Opera House Concert Hall – and fall in love with the artistry of the musicians.’

Recognising that not everyone can attend our concerts, we began webcasting in 2006 and in 2011 became the first orchestra in the world to live-stream concerts to mobile devices. Under our new partnership, several of our performances each year will be streamed live on the Sydney Opera House YouTube channel, where you can view them for free, beginning with the Beethoven concertos from our concerts in June. Live-streaming might not offer the ephemeral experience of being part of a live audience, but it can offer a taste of what it’s like to be there in the hall. And since the webcasts will be available later on-demand, they will also allow concertgoers to relive the experience.

Sydney Symphony Orchestra, Live from the Sydney Opera House launches this month with the live-streaming of Emanuel Ax’s performances of the Beethoven piano concertos, conducted by David Robertson. Head to YouTube on 13, 18 and 21 June at 8.20pm www.youtube.com/sydneyoperahouse

SSO Bravo! #4B 2014 Insert.indd 2 2/06/14 12:28 PM

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“The Great Guitarist”For most music-lovers the name Joaquín Rodrigo means one thing: the Concierto de Aranjuez for guitar. The concerto has become so popular that it virtually eclipses Rodrigo’s other achievements. For example, he wrote a further 12 concertos – so flautists, pianists, violinists, cellists and harpists don’t need to be too envious of the guitarists (who have five to choose from!).

But it’s that first guitar concerto that made Rodrigo’s name. So much so that years later guitarist Pepe Romero said: ‘I feel that Joaquín Rodrigo must be described as “the great guitarist”. I do not know whether this is a result of his not being a guitar player or in spite of it…’

At the beginning of August we’ll be privileged to have Pepe Romero himself gracing the stage with the SSO in a program including the Concierto de Aranjuez. But in a further treat, just the week before, Israeli harp virtuoso Sivan Magen will be performing Rodrigo’s Concierto serenata for harp in concerts conducted by Simone Young. If you love the Aranjuez concerto, chances are you’ll love the ‘Serenade’ concerto just as much, and our ‘Rodrigo fortnight’ might be the perfect chance to discover it!

Harp LegendsConcierto serenata 24, 25, 28 July

Pepe RomeroConcierto de Aranjuez 1, 2 August

for a composer to get a premiere, but very hard to ensure the piece gets subsequent performances and stays in the repertoire.’

One way to ensure future performances, says our Director of Artistic Planning Ben Schwartz, is through co-commissions. This year we’ve commissioned Detlev Glanert’s Frenesia in partnership with orchestras in Amsterdam, Cologne and St Louis. ‘Sending it around the globe like that,’ says Ben, ‘guarantees multiple performances, giving the composer greater exposure, and advocating for further future performances.’

Closer to home, and for the same reason, new music is often commissioned for the Australian network of orchestras with additional support from Symphony Services International. The Edwards saxophone concerto, for example, was heard all over the country in 2012.

Similarly, another new work this season, Jandamarra, was commissioned by the SSO for the Australian network, also with the support of Symphony Services. And again, it has benefited from the generosity of two donors, this time Vicki Olsson and Geoff Ainsworth.To find out more about supporting our commissioning program, contact Luke Gay on (02) 8215 4625.Jandamarra by Stanhope and Hawke can be heard in concerts on 16, 17 and 18 July; Glanert’s Frenesia in concerts on 13, 15 and 16 August.

Arts philanthropist and SSO Board member Andrew Kaldor freely admits that two years of music studies as a child didn’t leave him with strong musical abilities. ‘But,’ he says, ‘I love being with musicians, and the feelings that music can induce.’ He and his wife Renata, whose grandmother was an opera singer, sustain their relationship with classical music in a very special way – by commissioning new music.

The first piece Andrew supported was Ross Edwards’ Second Symphony, featuring soprano Yvonne Kenny. ‘Renata was celebrating a significant birthday,’ says Andrew, ‘…I found Ross’ music compelling, and he was writing something for the orchestra at the time, so I commissioned it. It was so easy to do!

More recently, the Kaldors commissioned another Edwards work, his Full Moon Dances saxophone concerto, and last year gave their support to the commissioning of a saxophone concerto by John Adams.

‘Our involvement in the process of commissioning a piece isn’t in any sense directive,’ says Andrew. Rather, it’s about enjoying the association with the composers and musicians involved. ‘They’re all terrific people, and it’s a joy to think that in some small way, we’ve contributed to something that will hopefully endure.’

Andrew recognises that the commission is only half the challenge. ‘It’s relatively easy

Artistic Focus

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SSO Bravo! #4B 2014 Insert.indd 3 2/06/14 7:06 AM

EDITOR Genevieve Huppert sydneysymphony.com/bravo

AUDITIONING VIA YOUTUBEOur Playerlink program received YouTube audition videos for the first time this year. Due to extreme popularity of Playerlink – an annual three-day pop-up orchestra camp in regional NSW – we needed a way to select the participants fairly, yet ensure a simple process for the young musicians.

This was embraced by applicants. We even received a video taken while a young trombonist was on holiday in the Northern Territory, complete with the faint sound of a waterfall in the background! Now that’s dedication!

The 2014 Playerlink program will be held in Bathurst on 1–3 August.

GROWING FELLOWSFrom 2015, our Fellowship program will be expanding. For the first time ever, brass players and percussionists are invited to apply alongside their string and woodwind-playing peers.

Applications are now open. For more information visit bit.ly/Fellowship2015Announcement

ELIJAH BANTER

A lively discussion followed after we posted the Elijah stage plan on our Facebook page. Topics ranged from questions on where to find an ophicleide for sale; requests for flashmobs on Sydney trains, and a tongue-in-cheek suggestion for cristal baschet accompaniment to Mendelssohn’s great oratorio. If you haven’t already, “like” our Facebook page and have your day suitably distracted by the latest orchestra news and some stimulating audience banter. facebook.com/sydneysymphony

A NOTE OF CAUTIONOur clarinet Fellow, Alexei Dupressoir, recently suffered an injury resulting from over-practising, leaving him unable to play his instrument for weeks. He wrote about the experience over at the SSO Fellowship blog, explaining how it changed his approach towards his practice and his work/life balance: bit.ly/FellowshipBlog_NotTheEndOfTheWorld

FAREWELLIn April, we bid farewell to Orchestra Manager Chris Lewis. Chris joined us three years ago from the UK, to whence he has returned to take up an exciting position with the Hallé Orchestra in Manchester. We wish Chris and his young family all the very best for their return home.

CODA

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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 17321 — 1/060614 — 16TS S37

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Chairman Brian Nebenzahl OAM RFD

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

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

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

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

EXECUTIVE MANAGEMENTChief Executive Officer Louise Herron am

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

SSO Bravo! #4 2014 Insert.indd 4 29/05/14 12:44 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 17329 — 1/120614 — 17TH/E/G S39/41

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

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

Chairman Brian Nebenzahl OAM RFD

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

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

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

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

EXECUTIVE MANAGEMENTChief Executive Officer Louise Herron am

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