2 012 S E A S O N

Fri 14 September 11am

Brass Exhibition

Tea & Symphony

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INTRODUCTION

Brass ExhibitionIn an orchestral concert the brass section sits towards the back of the stage, behind the strings, behind the woodwinds. If you’re sitting in the stalls you may be hard pressed to catch even a glimpse of the players and their instruments. But without doubt you will hear them! Whenever symphonic music must sound especially magnifi cent, chances are the brass section will be there.

So it’s a special pleasure this morning to present the Sydney Symphony Brass Ensemble in the spotlight. The program is a ‘brass exhibition’, curated by Australian trombonist and conductor Michael Mulcahy.

It begins in the Renaissance Room, with music by the great Giovanni Gabrieli – trumpets and trombones calling one to the other in music conceived for the grand space of San Marco in Venice. It moves to the Australian Room, with contrasting miniatures by Elena Kats-Chernin and Paul Terracini. Then there is the pièce de résistance: an arrangement for brass and percussion of Mussorgsky’s Pictures at an Exhibition. This is music that quite literally walks us from aural image to aural image. We promenade with a Russian gait (characteristically lapsing into fi ve beats to the bar) and, pausing before each sketch, we’re caught up in the visions of Mussorgsky’s musical imagination. The fi nale, The Great Gate of Kiev, might have been composed for the piano, but we’re sure you’ll agree, it cries out for the brilliant and noble sounds of the brass.

Viktor Hartmann’s prize-winning design for the Kiev City Gate (pencil and watercolour).

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Brass ExhibitionMichael Mulcahy CONDUCTOR Sydney Symphony Brass Ensemble

Giovanni Gabrieli (c.1554/57–1612) Canzon septimi toni a 8, No.1

Elena Kats-Chernin (born 1957)Mater

Paul Terracini (born 1957) Gegensätze

Modest Mussorgsky (1839–1881)arranged Elgar HowarthPictures at an Exhibition

PromenadeGnomus (Gnome)PromenadeIl vecchio castello (The Old Castle)PromenadeTuileries. Children quarrelling at playBydło (Oxen)PromenadeBallet of the Unhatched Chicks‘Samuel’ Goldenberg and ‘Schmuÿle’PromenadeLimoges MarketCatacombae Sepulcrum romanum (Catacombs. Roman Sepulchre) –Con mortuis in lingua mortua (With the dead in a dead language)The Hut on Hen’s Legs (Baba Yaga) –The Great Gate of Kiev

2012 season tea & symphonyFriday 14 September, 11am

Sydney Opera House Concert Hall

This concert will be recorded for later broadcast on ABC Classic FM.

Estimated durations: 4 minutes, 6 minutes, 7 minutes, 36 minutesThe concert will conclude at approximately 12.10pm.

Biscuits at Tea & Symphony concertskindly provided by Kambly

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ABOUT THE MUSIC

Title page of the Sacræ Symphoniæ (1597) of

GIOVANNI GABRIELIVenetian composer(c.1554/57–1612)

GABRIELI Canzon septimi toni a 8 No.1

The basilica of San Marco in Venice is a glorious setting of gilded Byzantine domes and winged lions, distinguished (according to the musician’s perspective) by its multiple galleries. Giovanni Gabrieli – the greatest Venetian composer of the high Renaissance – composed this canzona with San Marco’s unique layout in mind, dividing the musicians into two groups or ‘choirs’, which would have been split between the two organ galleries. The technique became known as cori spezzati (literally ‘broken choirs’), characterised by call-and-response musical dialogue. This canzona appeared with similar instrumental works in the groundbreaking publication Sacræ Symphoniæ at the close of the 16th century.

San Marco’s golden ceiling is high and round – a desirable architectural feature for brass players – allowing the music to bounce and echo through the space in brilliant fanfares. And the separation of the performing groups served to emphasise the dramatic spatial eff ects of Gabrieli’s music.

The interior of San Marco (painting by Canaletto, c.1755).

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ELENA KATS-CHERNINAustralian composer(born Tashkent, 1957)

KATS-CHERNIN Mater

When Elena Kats-Chernin was commissioned to write a song around the theme of mother and child, she knew it would be a very personal investment: her son had recently been near death. She initially thought of writing a lullaby, but instead took inspiration from the Latin hymn, ‘Stabat Mater’. Mary, the mother, mourns at the foot of the cross: At the Cross her station keeping, stood the mournful Mother weeping, close to her Son to the last.

Dvorák, Haydn, Rossini and Verdi are just some of the composers who’ve set this powerful and moving text, often in richly vocal, even operatic, conceptions. In her own choral setting, Kats-Chernin chose to avoid dense word-painting and instead set the text with syncopated rhythms, creating a texture so intricate that at times the words are indistinguishable. The version for brass ensemble begins with a conversation between the upper voices and explores brassy depths when the instruments come together in unison, maintaining momentum until the fi nal ‘Amen’.

PAUL TERRACINIAustralian composer(born 1957)

TERRACINI Gegensätze

Paul Terracini says the noble sound quality of the brass ensemble makes it a rewarding medium, and that there’s always a feeling of ‘returning home’ when he composes for brass. (Terracini is himself an accomplished trumpet player.)

The title Gegensätze (literally ‘contrary sets’) suggests contrasts, contradictions, even confl ict. These ideas are explored by calling on the players in this large ensemble to shift rapidly between passages of intense rhythmic energy, hymn-like lyricism, and extreme contrasts of volume and colour.

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MUSSORGKY arr. Elgar HowarthPictures at an Exhibition

Modest Mussorgsky had been introduced to Russian artist Viktor Hartmann in 1870, and the two became close, sharing a mutual love for Russian expression in the arts. When Hartmann died just three years later at the age of 39, Mussorgsky was plunged into depression. But the following year, a memorial exhibition of Hartmann’s delicate sketches and designs inspired Mussorgsky to compose Pictures at an Exhibition – a suite of musical sketches for piano shaped by a scenario that places the listener in the position of the composer – wandering through the exhibition and refl ecting on Hartmann’s legacy.

If you know the music of Pictures at an Exhibition, most likely you know Ravel’s renowned orchestral arrangement from 1922. But this is just one of many orchestrations and arrangements made over the years – it’s as if Mussorgsky’s music calls out for more colours and a grander scale than a piano can provide. In translating the music for brass instruments, Elgar Howarth faced practical challenges: how to get tricky trills and runs through metres of tubing; how to provide enough variety of instrumental colour and eff ect to hold the listener’s interest. His solution employs a large ensemble including brass instruments outside the standard orchestral line-up: euphonium, fl ugelhorn and piccolo trumpet.

Mussorgsky’s music places us at the exhibition, promenading from picture to picture. This is the recurring Promenade, which wanders between a fi ve- and six-beat pulse. It’s heard fi ve times during the piece (Howarth includes the fi fth Promenade that Ravel omitted), each with a diff erent voicing, mood and texture.

Gnomus was inspired by the design for a nutcracker in the form of a gnome. This gives Howarth the opportunity to introduce eerie and grotesque brass eff ects: muted trumpets for a distant, tense tone, and ‘stopped’ horns where the hand is inserted into the bell of the horn to give a harsh, buzzing sound. Together they depict the shrieks of the gnome as it stalks and stumbles through the lowest voices of the ensemble.

A watercolour of a troubadour singing before The Old Castle is given a lyrical musical treatment. Ravel’s famous (and inspired) alto saxophone solo is, in this arrangement, passed between fl ugelhorn, tuba, trumpets and horn, supported by a pulsing bass line and distant trumpet calls.

The painting of the Tuileries Garden in Paris is among the Hartmann sketches now lost, but it’s likely the artist added fi gures of quarrelling children and their nannies to give a sense of scale. The teasing tone of falling intervals and ascending runs of scampering feet play in the upper brass. The calmer middle section could suggest adults trying

MODEST MUSSORGSKYRussian composer(1839–1881)

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Canary Chicks in their Shells. Hartmann’s costume sketch for Gerber’s ballet Trilby (watercolour).

to calm the children; evidently they do not listen and the bickering fi rst theme returns.

Bydło is the Polish word for ‘cattle’, and refers to a drawing of two large oxen pulling a heavy cart. Where Ravel gave this lumbering tune to the tuba, Howarth writes for horns playing loudly in their middle register – a powerful, and uncharacteristically edgy, sound. The tune builds to a climax as the cart passes, then the opening tune returns and fades, as the oxen pulling their burden into the distance.

Ballet of the Unhatched Chicks is based on a costume design of dancers dressed in shells for the opera Trilby. The fi rst section is fi lled with skittish tweets and chirps, dancing in the upper register of muted trumpets. The central section is smoother and more orderly, a walking theme superimposed by shimmering trills. A fi nal repeat of the fi rst section – a rare strategy for Mussorgsky – completes the structure of this comical number.

‘Samuel’ Goldenberg and ‘Schmuÿle’ takes as its starting point two life sketches, described by Vladimir Stasov as ‘Two Jews: rich and poor’. Most likely Mussorgsky named them himself. In both Ravel’s orchestration and Howarth’s arrangement the wealthy Samuel Goldenberg is represented by sinister horns; poor ‘Schmuÿle’ by a stuttering piccolo trumpet. In combining two unrelated portraits, Mussorgsky establishes an expressive narrative of his own. The two main themes combine as the poor man begs from the rich, but to no avail.

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The Limoges Market depicts two women gossiping in a busy market. Trumpets, horns and cymbals imitate calls and yells from the bustling crowd, and the scene becomes increasingly chaotic before falling straight into depths of the Catacombs. In this painting, Hartmann depicted himself exploring the Paris catacombs, the light of the lantern spilling onto piles of skulls. There is a dramatic dialogue between the upper and lower brass, and the tense chords eventually fade into With the dead in a dead language, the title appropriately given in Latin. This eerie variation of the Promenade theme echoes amongst quivering trumpets.

Baba Yaga is a fearsome witch of Russian folklore who lives in a hut built on the legs of a giant fowl and dines on children. She has a broom, but her mode of travel is a mortar and pestle – the broom is merely to brush away her tracks. Hartmann’s Baba Yaga is a meticulous design for a clock, which of course stands on hen’s legs. Mussorgsky’s music is mechanical with a driving clockwork rhythm, contrasted with fragile, anxious moments – is she, perhaps, luring some poor lost child?

When the exciting chase returns, it plunges headlong into The Great Gate of Kiev. In this fi nal movement, Mussorgsky matches the grandeur of Hartmann’s prize-winning design for a commemorative city gate (never built). He settles the uneven pulse of the Promenades, building from a stately chorale with soft chant-like melody to the fi nal majestic procession – big, beautiful and Russian, as if it was always meant to be played by brass.

ROSA GOLLANSYDNEY SYMPHONY © 2012

Baba Yaga’s Hut on Hen’s Legs. Hartmann’s sketch for a clock in the Russian style (pencil).

Paris Catacombs. Artist Viktor Hartmann with his friend Vasily Kenel and a guide with a lantern (watercolour).

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Michael Mulcahy CONDUCTOR

Michael Mulcahy was born in Sydney and began studying trombone with his father, Jack Mulcahy. He completed his studies with Baden McCarron of the Sydney Symphony, and Geoff rey Bailey at the Sydney Conservatorium, and in 1980 he was a winner in the ABC Instrumental and Vocal Competition (now Young Performers Awards).

His orchestral career began in 1976 as principal trombone of the Tasmanian Symphony Orchestra; the following year he joined the Melbourne Symphony Orchestra as principal trombone. In 1981 he left Australia to pursue his career in Europe, where he was appointed solo trombone with the Cologne Radio Symphony Orchestra.

In 1989 Georg Solti appointed him to his current post with the Chicago Symphony Orchestra. He is also principal trombone with Music of the Baroque (Chicago) and the Grand Teton Music Festival, and has appeared as a soloist throughout North America and around the world, including concerto performances with the CSO, Bavarian Radio Symphony Orchestra, Hilversum Radio Symphony Orchestra and on tour with the Melbourne Symphony Orchestra.

Since 1999 he has been Professor of Music at Northwestern University, where he leads a summer masterclass. He has also held lecturing and artist-in-residence posts at the Canberra School of Music at the Australian National University (where he formed the CSM Chamber Players and Orchestral Repertoire Ensemble), Indiana University and Florida State University. He has also taught and conducted at Daniel Barenboim’s East West Divan workshop for young Arab and Israeli musicians in Seville, and has served as Music Director for the Australian Youth Orchestra’s National Music Camp.

Michael Mulcahy’s interest in conducting was sparked in 1987 when West German Radio invited him to direct a program of Arvo Pärt. Since then he has served as assistant conductor for the Civic Orchestra of Chicago, and he conducts regularly for the Music at the Millenium and Composers Perspectives Festivals at the Museum of Contemporary Art. Other conducting engagements have taken him to Japan (International Youth Musicale, Shizouka) and Denmark (Royal Danish Orchestra).

ABOUT THE ARTISTS

With Scott Kinmont, Nick Byrne and Eric Klay, Michael Mulcahy has recently released the recording Full Circle, a collection of Australian music for trombone, including premiere recordings of Richard Mills’ Sonata for three trombones and percussion, Barry McKimm’s Trombone Quartet and At a Loss by Stuart Campbell. www.ericklay.com/Full-Circle-Background.html

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Sydney Symphony Brass Ensemble

HORNS

Ben Jacks Principal

Geoffrey O’Reilly Principal 3rd

Euan HarveyMarnie SebireSharn McIver†

* Guest musician† Sydney Symphony Fellow

TRUMPETS

David Elton Principal

Paul Goodchild Associate Principal

Anthony HeinrichsAndrew Evans*Justin Lingard*Josh Rogan*

TROMBONES

Ronald Prussing Principal

Scott Kinmont Associate Principal

Nick ByrneChristopher Harris Principal Bass Trombone

TUBA

Steve Rossé Principal

Karina Filipi*

TIMPANI

Richard Miller Principal

PERCUSSION

Mark Robinson

Sydney Symphony BoardJohn C Conde ao ChairmanTerrey Arcus amEwen CrouchRoss Grant

Jennifer HoyRory JeffesAndrew Kaldor

Irene LeeDavid LivingstoneGoetz Richter

Formed in 1997, the Sydney Symphony Brass Ensemble comprises many of Australia’s fi nest brass players, drawn from the brass section of the Sydney Symphony. Varying in size from a quintet to a full brass section of 16, the ensemble has a repertoire that ranges from music of the Renaissance to contemporary composers, including specially commissioned works from Australian composers such as Matthew Hindson, Nigel Westlake and Ross Edwards. In addition to performances in Sydney, the Brass Ensemble tours regularly throughout New South Wales and in most seasons appears in the Sydney Symphony subscription series.

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SYDNEY SYMPHONY PATRONS

Sydney Symphony Leadership EnsembleDavid Livingstone, CEO, Credit Suisse, AustraliaAlan Fang, Chairman, Tianda GroupTony Grierson, Braithwaite Steiner PrettyInsurance Australia Grou pMacquarie Group FoundationJohn Morschel, Chairman, ANZ

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

and Michele Johns

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

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

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

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

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

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

05 Jane Hazelwood Viola Veolia Environmental Services Chair

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

07 Robert Johnson Principal Horn James & Leonie Furber Chair

08 Elizabeth Neville Cello Ruth & Bob Magid Chair

09 Colin Piper Percussion Justice Jane Mathews ao Chair

10 Shefali Pryor Associate Principal Oboe Rose Herceg Chair

11 Emma Sholl Associate Principal Flute Robert & Janet Constable Chair

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

Directors’ Chairs

01 02 03 04 05 06

07 08 09 10 11

Sydney Symphony VanguardVanguard CollectiveJustin Di Lollo – ChairKees BoersmaRose HercegDavid McKeanAmelia Morgan-HunnJonathan PeaseAnna Swan

Matthew ClarkGeorge CondousMichael CookPaul CousinsJustin Di LolloRose GalloSam GiddingsDerek HandRose HercegJennifer HoyDamian Kassagbi

Chris KeherElizabeth LeeAntony Lighten Gary LinnaneDavid McKeanHayden McLeanAmelia Morgan-HunnHugh MunroFiona OslerPeter Outridge

MembersNikki AndrewsJames ArmstrongStephen AttfieldAndrew BaxterMar BeltranKees Boersma Peter BraithwaiteAndrea BrownIan BurtonJennifer BurtonRon Christianson

Jonathan Pease Seamus R QuickMichael ReedeJacqueline RowlandsBernard RyanAdam WandJon WilkieJonathan WatkinsonDarren WoolleyMisha Zelinksy

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PLAYING YOUR PART

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

Platinum Patrons $20,000+Brian AbelGeoff Ainsworth am & Vicki AinsworthRobert Albert ao & Elizabeth AlbertTerrey Arcus am & Anne ArcusTom Breen & Rachael KohnSandra & Neil BurnsMr John C Conde aoRobert & Janet ConstableMichael Crouch ao & Shanny CrouchJames & Leonie FurberDr Bruno & Mrs Rhonda Giuff reIn memory of Hetty & Egon GordonMs Rose HercegMr Andrew Kaldor & Mrs Renata Kaldor aoD & I KallinikosJames N Kirby FoundationMrs Joan MacKenzieJustice Jane Mathews aoMrs Roslyn Packer aoDr John Roarty oam in memory of Mrs June RoartyPaul & Sandra SalteriMrs Penelope Seidler amMrs W SteningMr Fred Street am & Mrs Dorothy StreetMr Peter Weiss am & Mrs Doris WeissWestfi eld GroupMr Brian & Mrs Rosemary WhiteRay Wilson oam in memory of James Agapitos oamKim Williams am & Catherine DoveyJune & Alan Woods Family Bequest

Gold Patrons$10,000–$19,999Mr C R AdamsonStephen J BellAlan & Christine BishopIan & Jennifer BurtonCopyright Agency Limited The Hon. Ashley Dawson-DamerFerris Family FoundationNora GoodridgeMr Ross GrantThe Estate of the late Ida GuggerHelen Lynch am & Helen BauerRuth & Bob MagidThe Hon. Justice AJ Meagher & Mrs Fran MeagherMrs T Merewether oamMr B G O’ConorMrs Joyce Sproat & Mrs Janet CookeHenry & Ruth WeinbergAnonymous (2)

Silver Patrons $5000–$9,999Doug & Alison BattersbyMr Alexander & Mrs Vera BoyarskyMr Robert BrakspearMr David & Mrs Halina BrettMr Robert & Mrs L Alison Carr Bob & Julie ClampettHoward ConnorsEwen & Catherine CrouchIan Dickson & Reg HollowayColin Draper & Mary Jane BrodribbPenny EdwardsEdward FedermanThe Greatorex Foundation Mrs Jennifer HershonThe Sherry Hogan FoundationMr Rory Jeff esStephen Johns & Michele BenderJudges of the Supreme Court of NSW Mr Ervin KatzThe Estate of the late Patricia LanceMr David LivingstoneTimothy & Eva PascoeWilliam McIlrath Charitable FoundationDavid Maloney & Erin FlahertyRodney Rosenblum am & Sylvia RosenblumManfred & Linda SalamonJF & A van OgtropMichael & Mary Whelan TrustMs Caroline WilkinsonJill WranAnonymous (2)

Bronze Patrons $2,500–$4,999Mr Marc Besen ao & Mrs Eva Besen aoJan BowenM BulmerFirehold Pty LtdStephen Freiberg & Donald CampbellAnthony Gregg & Deanne WhittlestonVic & Katie FrenchWarren GreenMrs Jennifer HershonAnn HobanIn memory of Bernard M H KhawGary LinnaneMatthew McInnesJ A McKernanR & S Maple-BrownGreg & Susan MarieAlan & Joy MartinMora MaxwellJames & Elsie MooreDrs Keith & Eileen Ong

In memory of H St P ScarlettDavid & Isabel SmithersMrs Hedy SwitzerMarliese & Georges TeitlerDr Richard WingateMr & Mrs T & D YimAnonymous (2)

Bronze Patrons $1,000–$2,499Charles & Renee AbramsMrs Antoinette AlbertAndrew Andersons aoMr Henri W Aram oamDr Francis J AugustusRichard and Christine Banks David BarnesMichael Baume ao & Toni BaumeNicole BergerMrs Jan BiberAllan & Julie BlighLenore P BuckleIn memory of RW BurleyEric & Rosemary CampbellThe Hon. Justice JC & Mrs CampbellDr John H CaseyJoan Connery oam & Maxwell Connery oamConstable Estate Vineyards Debby Cramer & Bill CaukillMr John Cunningham SCM & Mrs Margaret CunninghamGreta DavisLisa & Miro DavisMatthew DelaseyMr & Mrs Grant DixonJohn FavaloroMr Ian Fenwicke & Prof. Neville WillsMichael & Gabrielle FieldDr & Mrs C GoldschmidtMr James Graham am & Mrs Helen GrahamAkiko GregoryEdward & Deborah Griffi thJanette HamiltonDorothy Hoddinott aoThe Hon. David Hunt ao qc & Mrs Margaret HuntDr & Mrs Michael HunterMr Peter HutchisonMichael & Anna JoelAnna-Lisa KlettenbergMr Justin LamMr Peter Lazar amAssociate Professor Winston LiauwSydney & Airdrie LloydCarolyn & Peter Lowry oam

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Deirdre & Kevin McCannRobert McDougallIan & Pam McGawMacquarie Group FoundationRenee MarkovicA NhanMs Jackie O’BrienMr R A OppenMr Robert OrrellMr & Mrs OrtisMr Andrew C PattersonIn memory of Sandra PaulPiatti Holdings Pty LtdAndy & Deirdre Plummer Robin PotterPottingerErnest & Judith RapeeKenneth R ReedPatricia H Reid Endowment Pty LtdCaroline SharpenDr Agnes E SinclairCatherine StephenJohn & Alix SullivanThe Hon. Brian Sully qcMildred TeitlerJohn E TuckeyMrs M TurkingtonIn memory of Joan & Rupert VallentineDr Alla WaldmanIn memory of Dr Reg WalkerThe Hon. Justice A G WhealyAnn & Brooks Wilson amGeoff Wood & Melissa WaitesMr Robert & Mrs Rosemary WalshMr R R WoodwardIn memory of Lorna WrightDr John YuAnonymous (14)

Bronze Patrons $500–$999Mr Peter J ArmstrongMr & Mrs Garry S AshBarlow Cleaning Pty LtdMrs Margaret BellMinnie BiggsPat & Jenny BurnettMr & Mrs CoatesDr & Mrs Hannes Boshoff Arnaldo BuchThe Hon. Justice JC & Mrs CampbellDr Rebecca Chin

Mrs Sarah ChissickMrs Catherine J ClarkR A & M J ClarkeMrs Joan Connery oamJen CornishMr David CrossElizabeth DonatiThe Dowe FamilyDr Nita & Dr James DurhamMalcolm Ellis & Erin O’NeillMrs Margaret EppsIn memory of Peter EverettMr & Mrs FarrellMr Tom FrancisTony Grierson Vivienne GoldschmidtMr Richard Griffi n amIan R L HarperKen HawkingsMrs A HaywardMr Roger HenningHarry & Meg HerbertMr Joerg HofmannMrs Kimberley HoldenMr Gregory HoskingAlex HoughtonBill & Pam HughesBeauty Point Retirement ResortNiki KallenbergerMrs W G KeighleyMrs Margaret KeoghDr Henry KilhamChris J KitchingMr Aron & Mrs Helen KleinlehrerMr & Mrs Gilles T KrygerSonia LalMr Luigi LampratiDr & Mrs Leo LeaderMargaret LedermanIrene LeeAnita & Chris LevyErna & Gerry Levy amMrs A LohanMrs Panee LowDr David LuisDr Jean MalcolmPhilip & Catherine McClellandMrs Flora MacDonaldMrs Helen MeddingsMrs Toshiko MericP J MillerDavid & Andree Milman

Kenneth N MitchellChris Morgan-HunnMrs Milja MorrisCoff s Airport Security Car ParkDr Mike O’Connor amMr Graham NorthDr A J PalmerJustice George Palmer amDr Kevin PedemontDr Natalie E PelhamLois & Ken RaeRenaissance ToursAnna RoPamela RogersLesley & Andrew RosenbergAgnes RossMrs Pamela SayersGarry Scarf & Morgie BlaxillWilliam SewellMrs Diane Shteinman amMs Stephanie SmeeMs Tatiana SokolovaDoug & Judy SotherenMrs Judith SouthamMargaret SuthersMr Lindsay & Mrs Suzanne StoneNorman & Lydia TaylorDr Heng Tey & Mrs Cilla TeyMrs Alma Toohey & Mr Edward SpicerKevin TroyJudge Robyn TupmanGillian Turner & Rob BishopProf Gordon E WallMrs Margaret WallisRonald WalledgeMr Palmer WangMs Elizabeth WilkinsonAudrey & Michael WilsonA Willmers & R PalDr Richard WingDr Peter Wong & Mrs Emmy K WongMr Robert WoodsMrs Everly WyssMrs Robin YabsleyAnonymous (15)

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

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SALUTE

PRINCIPAL PARTNER GOVERNMENT PARTNERS

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

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

PREMIER PARTNER

Fine Music 102.5

MARKETING PARTNER

GOLD PARTNERS

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executive search

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COMMUNITY PARTNER PLATINUM PARTNERS

Centre-front is the greatest seat in the house.

sound of the string section for a more unified approach.’

You might have noticed Dene playing within the ranks of the First Violin section in some concerts recently. ‘I’m happy to say that so far I haven’t been demoted! That was my choice. It’s been useful and instructive to remind myself what it’s like to sit in the back.’ And a delight-ful reminder of the honour and privilege of his usual chair. ‘Centre-front is the greatest seat in the house. I feel sorry that the rest of the orchestra and public can’t sit where I’m sitting, where you really get the full impact!’

So how does Dene unwind? With martial arts, no less. ‘I was a relative latecomer to Aikido, but it seemed to be tailor-made.’ The name ‘Aikido’ translates to ‘the way of the harmonious spirit’. ‘With my profession, I’m not out there trying to break bricks. Aikido is about harmonising with an attack, and then neutral-ising it. As a philosophy, it fits well with music.’ Aikido’s roots in jujitsu and Samurai sword technique also pay unexpected dividends. ‘There are so many similarities in the way you hold the bow – the grip is almost identical!’

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A simple warm-up interview question – ‘How has your day been?’ – draws an unexpected response from Dene Olding, Concertmaster of the Sydney Symphony. ‘I’m sure my tomb-stone will read, “Here lies a busy man”.’

‘Busy’ doesn’t begin to describe Dene’s schedule. He’s just come from the audition of a new member of the cello section, having led the orchestra in the previous week through Richard Strauss’s fabulous but fiendish suite from Le Bourgeois Gentilhomme, and is about to dash off for two weeks at the Australian Festival of Chamber

Music in Townsville, where he will perform in eight concerts with the Goldner String Quartet, a chamber group he co-founded. Phew!

Recently, the Sydney Sym-phony has been in search of a second concertmaster, someone with whom Dene will share the role. ‘It’s very important to have concertmasters with the same musical philosophy about what the orchestra should sound like.’ Any change of leader means a change of gear, ‘but in an ideal world, we should have people with a similar style of leading, and of a similar temperament. Then we can start to develop the

LEADING A BUSY LIFEOur Concertmaster Dene Olding has a non-stop schedule, with only the occasional pause for breath.

ORCHESTRA NEWS | AUGUST–SEPTEMBER 2012

This year has already seen many wonderful musical experiences as part of our 80th anniversary year, and there are many more to come, not least when our artistic leader Vladimir Ashkenazy returns in October for concerts in preparation for our tour of major venues in China. Then in November, he will be back for Tchaikovsky’s opera The Queen of Spades, which we’ll be presenting in concert. This is a personal highlight of our season for me, and something I urge you not to miss.

As I welcome you to this edition of Bravo!, we have just launched our 2013 season. Next year presents an opportunity to celebrate the wonderful musical partnership between the Sydney Symphony and Vladimir Ashkenazy. The programming includes many artists and friends he admires – Pinchas Zukerman, Murray Perahia performing in recital, and Lisa Gasteen, to name but a few. It promises to be an outstanding season for your orchestra and audiences alike and I very much look forward to sharing it with you.

RORY JEFFES

From the Managing Director

Nita Lawrie asked us a great question via Facebook: Why was the orchestra arranged quite differently on stage for the Tchaikovsky? (Absolutely fantastic concert btw.)

Ask a Musician in mind. One practical result is that it gives listeners a kind of stereo effect between the first and second violins, and in some pieces this brings out the question-and-answer gestures in the music, for example the first movement of Brahms’s Fourth Symphony. So it’s not unknown for conductors to request this kind of arrangement for Mozart, Beethoven, Brahms, Mendelssohn and Tchaikovsky, to name a few.

By contrast, the Vaughan Wil-liams Fantasia that began this concert called for a special layout of the strings, dictated by the fact that the orchestra is functioning as three ensembles in one.

For those who weren’t there, in our performance of Tchaikovsky’s Pathétique Symphony, the first and second violin sections sat left and right of the podium, with the cellos and violas in the middle in front of the conductor. (The double basses had moved to the left, behind the cellos.) It’s often called an ‘antiphonal’ arrange-

ment. For some orchestras, it’s their basic configuration.

This layout is requested by our conductors from time to time, depending on the music we’re playing. It was a common arrange-ment for orchestras right into the late 19th century, so there’s a lot of music that would have been composed with this layout

Insider TipsJust in time for our 2013 season launch, ‘Box Office’ Steve shares some of his Top Tips for helping ensure a hassle-free subscription purchase.

requests, it’s important to let us know early and thus improve your chances of securing the seats you want.

give us a clearer idea of where you want to sit. Also, in case your preferred seat isn’t available, offering alternative options is helpful.

don’t have any particular seating preferences, try to avoid calling first thing on Monday morning, when we’re super busy in the box office.

renewal form means a shorter wait before you have your tickets in hand.

trained staff join the box office team, and as we all know, it can take a little while to get into the swing of things. Your patience is truly appreciated!

The US Consul General Niels Marquardt hosted a welcome for David Robertson, who will begin his tenure as Chief Conductor and Artistic Director in 2014. From left: Rory Jeffes, Orli Shaham, David Robertson, John Conde and Niels Marquardt.

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A SEASON IS BORNOur 2013 season has finally launched – 28 conductors, 63 soloists and nearly 120 musical works coming together in 46 different programs…

Artistic FocusDancing Moon GoddessThis October, saxophonist Amy Dickson must become the ‘uni-versal Moon Goddess incarnate’, according to Ross Edwards, who has written his latest concerto for her. Full Moon Dances requires her to effect a series of onstage apotheoses, by adorning herself in a variety of heavenly costumes. Amy, who became close friends with the composer after she was named ABC/Symphony Australia Young Performer of the Year in 2004, said it was ‘a dream come true’ when he offered to write the concerto for her.

Ross Edwards is well-known for his use of special lighting, choreography, costume and other seemingly extra-musical visual accompaniments – all part of his vision to restore the ancient, elemental associations of music with the mysticism, ritual and dance of a primal humanity. Amy worked directly with Ross and his family in the design of the costumes, which include a halo manufactured by Sydney milliner Suzy O’Rourke. She says that with Ross’s conception in mind, and arrayed in her celestial regalia, she finds it very easy to assume the goddess-like role he describes: ‘Serene and mysterious, she nonetheless has the power to unleash ecstasy and terror beyond the bounds of reason.’

Dancing with the SaxophoneVerdi, Edwards and Ravel’s BoleroFri 5 Oct | 8pm Sat 6 Oct | 8pm Mon 8 Oct | 7pm

Full Moon Dances was com-missioned by Andrew Kaldor and Renata Kaldor AO with the support of Symphony Services International.

The Score

On Wednesday 8 August we launched the 2013 season. And in homes across Sydney, excited concert-goers were tearing the wrapping from their season brochures to see what was in store.

The first responses poured in. Explosions of delight as music-lovers spotted favourites. ‘Murray Perahia – boom!’ said one. ‘Woah…Saint-Saëns Organ Symphony! Always good when the SOH organ gets a chance to assert itself,’ wrote another. ‘Tan Dun!! John Adams!! Flying Dutchman!! Verdi Requiem!! Britten’s War Requiem!! Woohoo!!’ More than a few are looking forward to the third instalment of The Lord of the Rings, one of several special events supported by premier partner Credit Suisse.

One fan spotted two of her favourite pieces – ‘Massively happy to be a subscriber!’ – only to follow with ‘Dang, neither of my favourites are in my series.’ Then another fan offered some advice: ‘Why not opt for a Con-noisseur’s Selection and choose your own concerts?’

A local journalist got so excited she slipped into all-caps. ‘ERIC OWENS! PINCHAS ZUKERMAN! JOHN ADAMS! MURRAY PERAHIA! THOMAS ADÈS! WU MAN! KRISTJAN JÄRVI!’ And once she’d calmed down… ‘OK, Schreker and Mozart with Geoffrey Lancaster. That does it for me. So much goodness.’ Yes, a little program buried in the Mozart in the City series, but

promising to be one of the jewels of the season with some scrump-tious music and a truly inspiring soloist.

This is why the season brochure rewards a thorough reading. The warhorses will leap out at you – Carmina Burana, Bruch and Mendelssohn violin concertos, Dvorák’s New World Symphony or Respighi’s Pines of Rome. But then there will be the treats, the rarities and the new creations to look forward to as well. Perhaps that piece you love despite its not being famous has been included in the wider ‘constellation’ of works, as our artistic planner Peter Czornyj calls it.

Threaded through the season are the connecting themes. Perhaps you’ve noticed a lot of Britten and Wagner as well as Verdi’s concert hall masterpiece. There’s a reason: 2013 is an anniversary year for all three. Next year is also the centenary of the notorious premiere of Stravinsky’s Rite of Spring, and we celebrate that with a spellbind-ing program of Stravinsky and Mendelssohn.

Above all, our 2013 program-ming acknowledges the remark-able musical relationship the orchestra enjoys with Principal Conductor Vladimir Ashkenazy. There are concerts featuring some of his favourite composers, and two high-energy programs with Pinchas Zukerman (pictured).

We’ve put our energy into creating a season that offers a wealth of choice and – we sincerely hope – will bring you a year of delight.

You can request a brochure via our website: www.sydneysymphony.com or by calling (02) 8215 4600.

Impatient music-lovers can view the brochure online at: bit.ly/2013OnlineBrochure

Proud sponsor of theSydney Symphonyin their 80th yearof timeless entertainment

Your Saythe Sydney Symphony’s performance [7 July] was quite special. The Adès Violin Concerto was refreshing and approachable, and Tchaikovsky’s Sixth Symphony had all the excitement of a first performance. I have a very good feeling about the Sydney Symphony’s future under the direction of David Robertson. David Potter

Richard Gill taught me music at Marsden High School in 1961/2 and I loved it. He sat down at the beginning of one lesson and played the Moonlight Sonata without any music – wow. He had us close our eyes, listen to classical music and make up our own story according to the music we heard – great. He composed the school anthem. Thank you Richard Gill. Judy Crofton

Touring Focus – China‘The Phoenix China is emerging,’ says ABC Classic FM presenter Damien Beaumont. ‘Industrially and financially, of course, but also culturally, which is most exciting.’ In October, the Sydney Symphony will set course for China, for a six-concert tour conducted by Vladimir Ashkenazy. Our programs will include Shostakovich’s Tenth Symphony, which was completed

after Stalin’s death in 1953, and Dvorák’s Cello Concerto, a showpiece for soloist Jian Wang.

Coinciding with the orchestra’s tour, Damien will be leading a 15-day Renaissance Tour, which will take in several performances at the Beijing Music Festival, visits to Shanghai and Hangzhou, and a trip to the Great Wall of China. He’ll be in the audience

when we perform in the ‘Bird’s Egg’ – the National Centre for the Performing Arts in Beijing. ‘Hearing our beloved Sydney Symphony in an ambassadorial role will be a real highlight.’

For more information about Music Lovers Renaissance Tours, visit bit.ly/RenaissanceToursChina2012

Bruckner’s Symphony No.8 was superbly performed by the SSO and Lothar Koenigs [21 June]. It was very evident that the orchestra and conductor at their first concert together had mutual respect and the result was beautiful, emotional, professional, and simply overwhelming. The brass and horns did an outstanding job with what must be one of the most taxing pieces of music for them, and the strings were relentless, sweeping, sweet, and everything that is beautiful. Congratulations to my favourite orchestra and Lothar Koenigs who must return on a regular basis. Richard Fay

I must confess to a certain bias in favour of Vaughan Williams’ Fantasia. Let’s put it this way…if it could cook, I would marry it. Even allowing for that, I thought

We like to hear from you. Write to yoursay@sydneysymphony.com or Bravo! Reply Paid 4338, Sydney NSW 2001.

Education Focus

Our Fellows recently surprised violinist Anthony Marwood on his birthday, which he had generously given over to leading a masterclass. ‘We played the three opening notes of Beethoven’s Septet,’ said Viola Fellow Neil Thompson, ‘and then launched into “Happy Birthday”. It definitely caught him by surprise!’

Putting laughter aside, the real work started. ‘Anthony immediately focussed on the dramatic aspect of Beethoven’s music.’ The musicians also worked on a Grand Septet by Berwald. ‘At one point Anthony was gesturing for us to bring out its theatrical strains, and it suddenly dawned on me that he hadn’t brought his instrument with him. And yet, he was leading the masterclass so effortlessly without it! It was a really inspiring and nourishing session.’ – with birthday cake at the end to reward hard work, naturally!

We gratefully acknowledge the supporters of the Fellowship program: Kim Williams AM & Catherine Dovey, Robert Albert AO & Elizabeth Albert, June & Alan Woods Family Bequest, Paul & Sandra Salteri, Mrs W Stening, Bruno & Rhonda Giuffre, Tempe Merewether OAM, Neil & Sandra Burns and premier partner Credit Suisse.

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SYDNEY OPERA HOUSE TRUSTMr Kim Williams AM [Chair]Ms Catherine Brenner, The Hon Helen Coonan, Mr Wesley Enoch,Ms Renata Kaldor AO, Mr Robert Leece AM RFD, Mr Peter Mason AM,Dr Thomas Parry AM, Mr Leo Schofi eld AM, Mr John Symond AM

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THANK YOU

We are extremely grateful to the many donors who responded to our recent end-of-financial-year appeal. This support will enable us to achieve our growing educational and orchestral goals and provide you in the audience and many music students throughout NSW with exciting and fulfilling musical experiences. These can range from supporting our more ambitious large-scale productions such as operas in concert to the annual development of student and teacher training resources. And of course, your support is welcome throughout the year. For more details, visit our website or feel free to contact us at philanthropy@sydneysymphony.com or (02) 8215 4625.

WELCOME TO A NEW FACE IN THE ORCHESTRA

We’re delighted to welcome Justin Williams to the position of Assistant Principal Viola. Justin was previously a member of the Melbourne Symphony Orchestra, and is also an active chamber musician and a founding member of the Tinalley String Quartet.

BRASS EXHIBITION

Living brass legend, Australian trombonist Michael Mulcahy, will take time out from his regular ‘gig’ with the Chicago Symphony Orchestra to direct the Sydney Symphony Brass Ensemble for a performance at the Sydney Opera House on Friday 14 September. The Sydney performance will be preceded by a tour to Armidale, Port Macquarie and Grafton at the end of August.

Regional and metropolitan audiences will enjoy the talents of these fabulous musicians in a concert that promenades from the high

Renaissance to high Romanticism and on to music of our own time and place, including music by Elena Kats-Chernin. The program culminates in Elgar Howarth’s spectacular arrangement of Mussorgsky’s Pictures at an Exhibition.

FREE LUNCH…

…time concerts in the city. In August and September you can enjoy two lunchtime performances by our musicians. Entry is by donation.

Wed 29 August, 1.15pm St James’ Church Sydney Symphony Fellows. The program will include Mozart’s Oboe Quartet and Franz Hasenöhrl’s witty chamber version of a Richard Strauss tone poem: Till Eulenspiegel einmal anders! – a frolic for five instruments.

Wed 19 September, 1.15pm St James’ Church Sophie Cole (violin), Rosemary Curtin (viola) and Leah Lynn (cello) The program will include Ravel’s Sonata for violin and cello.

CODA

BRAVO EDITOR Genevieve Lang sydneysymphony.com/bravoBRAVO EDITOR Genevieve Lang sydneysymphony.com/bravo‘SCORE’ CONTRIBUTOR Douglas Rutherford