FOUR LAST SONGS Glanert, Strauss & Brahms

APT MASTER SERIES

Wednesday 13 August 2014 Friday 15 August 2014 Saturday 16 August 2014

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

concert diary

FOR COMPLETE DETAILS OF THE 2014 SEASON VISIT

SYDNEYSYMPHONY.COM NO FEES WHEN YOU BOOK CLASSICAL CONCERTS ONLINE WITH THE SSO

CALL 8215 4600 MON-FRI 9AM-5PM

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

David Robertson conductor Nicolas Hodges piano

Meet the Music

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

Fri 22 Aug 11am complimentary morning tea from 10am

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

Symphonic InspirationBRAHMS Symphony No.3 LALO Symphonie espagnole for

violin and orchestraJANÁČEK Sinfonietta

David Robertson conductor Vadim Repin violin

Emirates Metro Series

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

Mon 1 Sep 7pm

Pre-concert talk by David Garrett

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

Richard Gill conductor

Tenix Discovery

Tue 2 Sep 6.30pm City Recital Hall, Angel Place

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

Stephen Hough piano

International Pianists in Recital Presented by Theme & Variations

Mon 15 Sep 7pm City Recital Hall, Angel Place

Pre-concert talk by Robert Curry

Stephen Hough plays DvorákDVOŘÁK Piano Concerto BRUCKNER Symphony No.6

Hans Graf conductor Stephen Hough piano

APT Master Series Presented by Vienna Tourist Board

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

Pre-concert talk by Scott Davie

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

Fri 5 Sep 8pm Sat 6 Sep 8pm

CLASSICAL

SSO PRESENTS

TICKETS FROM $39* TICKETS ALSO AVAILABLE ATSYDNEYOPERAHOUSE.COM 9250 7777 MON-SAT 9AM-8.30PM SUN 10AM-6PMALL CONCERTS AT SYDNEY OPERA HOUSE UNLESS OTHERWISE STATED

IPHIGÉNIE EN TAURIDEBLOOD ON THEIR HANDS

3, 5 & 9 Dec at 7pm 7 Dec at 5pmCity Recital Hall Angel Place, Sydney

Bookings/Enquiries02 8256 2222 or cityrecitalhall.com

pinchgutopera.com.auSupported by Heroes of Pinchgut

PINCHGUT OPERA PRESENTS GLUCK’S

WELCOME

We are delighted to welcome you to this concert in the APT Master Series Four Last Songs, which sees chief conductor David Robertson return to Sydney, together with American soprano Christine Brewer.

If you heard Christine Brewer sing Wagner in 2012, you’ll know that tonight we’ll be treated to a superlative voice, this time in the music of Richard Strauss. The Four Last Songs are literally his final creations – songs of farewell. David Robertson has chosen to pair the Strauss with summery music: Brahms’s Second Symphony, composed when he was on holiday in one of his favourite resorts in the Austrian alps. And there is the excitement of a new piece by German composer Detlev Glanert.

Discovering music for the first time is a lot like discovering a new destination – perhaps it will become a new favourite! There’s equal pleasure in hearing music you know well, like visiting a much-loved holiday spot. Just as we at APT pride ourselves on taking care of all the small things, you’ll find it’s the attention to detail that makes SSO performances so memorable.

We’re sure this evening’s performance will fire your imagination and inspire you to take an unforgettable journey of your own through the magnificent music of these composers. Thank you for joining us!

Geoff McGeary oam APT Company Owner

APT MASTER SERIESWEDNESDAY 13 AUGUST, 8PM

FRIDAY 15 AUGUST, 8PM

SATURDAY 16 AUGUST, 8PM

SYDNEY OPERA HOUSE CONCERT HALL

FOUR LAST SONGSDavid Robertson conductor Christine Brewer soprano

DETLEV GLANERT (born 1960) Frenesia

australian premiere

Richard Strauss (1864–1949) Vier letzte Lieder (Four Last Songs)

Frühling (Spring) September Beim Schlafengehen (On Going to Sleep) Im Abendrot (In Sunset’s Glow)

INTERVAL

Johannes Brahms (1833–1897) Symphony No.2 in D, Op.73

Allegro non troppo Adagio non troppo Allegretto grazioso (Quasi andantino) – Presto ma non assai Allegro con spirito

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

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

Estimated durations: 19 minutes, 25 minutes, 20-minute interval, 40 minutes The concert will conclude at approximately 9.55pm.

COVER IMAGE: Lake Starnberg, near Munich (1911) by Wilhelm Trübner (1851–1917). Held in the Thyssen-Bornemisza Museum, Madrid.

2014 concert season

PRESENTING PARTNER

6

EN

GR

AVIN

G: M

AR

KU

S P

ER

NH

AR

T (1

824

–18

71) /

PH

OTO

: JO

HA

NN

JA

RIT

Z, 2

00

6 (C

C B

Y-S

A)

Brahms composed his second symphony in 1877 at his favourite summer resort, the Alpine village of Pörtschach-am-Wörthersee in the Austrian alps. ‘The melodies fly so thick here,’ he wrote,

‘that you have to be careful not to step on one.’

7

INTRODUCTION

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

PLEASE SHAREPrograms grow on trees – help us be environmentally responsible and keep ticket prices down by sharing your program with your companion.

READ IN ADVANCEYou can also read SSO program books on your computer or mobile device by visiting our online program library in the week leading up to the concert: sydneysymphony.com/program_library

Four Last Songs: Glanert, Strauss and Brahms

Tonight’s concert begins, quite literally, in a ‘frenzy’ and with a gesture inspired by the supremely confident beginning of Richard Strauss’s tone poem A Hero’s Life. Frenesia is new music that we commissioned from German composer Detlev Glanert in collaboration with orchestras in Europe and the United States, and we’re excited to be presenting its Australian premiere.

Glanert’s Frenesia introduces Strauss and Brahms, composers from the heart of the Austro-German symphonic tradition. This is rich and romantic music, but the true richness of the program can be found in the contrasts. On the one hand are the intimate, valedictory sounds of Strauss’s final creative act, his Four Last Songs, on the other the summery and glowing world of Brahms’s Second Symphony.

But music is never as straightforward as that. Four Last Songs is not all darkness – listen and you can hear the birdsong, the sun through autumn leaves, the ecstasy –  and even Brahms’s lyrical and expansive symphony has its shadowy, introspective moments. But above all, these are works that are loved because they speak directly to our emotions. The words of critic Eduard Hanslick, written about Brahms’s Second Symphony, could easily apply to tonight’s Strauss as well: it ‘radiates like the sun, warming connoisseurs and amateurs; it belongs to all who long for good music, whether they understand its most difficult aspects or not.’

8

KeynotesGLANERT

Born Hamburg, 1960

Glanert began composing around the age of 12 while studying trumpet and then double bass. He later studied composition and his teachers included Hans Werner Henze in Cologne. His first symphony was premiered in 1985 by the Berlin Philharmonic and he has since become known for his orchestral works and especially his operas: he is a master of dramatic form as well as orchestration (it is no surprise he admires the music of Ravel). But he has also composed witty miniatures, such as the Four Quartets for double basses and the Kleine Kuttel-Daddel-Du Musik for barrel organ.

Stylistically, Glanert’s music demonstrates a highly developed lyrical gift and a fascination with the Romantic past as viewed from a modern perspective. ‘I am not a composer who destroys the past to create his own world,’ he says. ‘I want always to know where I am coming from, where my roots are…that makes me free.’

ABOUT THE MUSIC

Detlev Glanert Frenesia

Frenesia was composed for the occasion of the 150th birthday of Richard Strauss, and Strauss’s tone poem A Hero’s Life provides the energy and motivation, if not the sound world, for Glanert’s music.

The music of Richard Strauss, says Glanert, ‘has always awakened in me associations of an organic body, a living body of sound’. The live orchestra, in other words. ‘Rarely in musical history has more sensual music ever been composed.’

Before its premiere in January, Glanert described how ‘when you hear the start of a work like Ein Heldenleben you are struck by the strong muscular gesture and the way it energises the direction of the music. I wanted my new work to have a similar opening gesture, here wild and frenetic – hence the title Frenesia – which could act as a resource for what follows. This richness is contrasted with material which is an example of the “musica povera” that I’m currently exploring – stripped bare, down to small melodic cells.’

Frenesia as a whole could be considered an anti-Heldenleben, says Glanert, ‘not in any critical or satirical sense, but rather because the piece is against the traditional Romantic view of grand heroism, which I think is no longer possible after the historic events leading to 1945.’ Instead, the music demonstrates a different power, that of the sound of a brilliant orchestra in its hall.

The wild, ‘frenetic’ gesture that begins Frenesia contains in it all the material for what follows. ‘The physicality of Strauss’s music tells us something of the situation of the people living in Strauss’s own time,’ explains Glanert. ‘I wanted to try a similar process and approach in my new orchestral piece – using my own sound world, of course, and in a way that doesn’t imitate or quote the gestures of Strauss, but rather develops them further.’ In this way Frenesia can be heard as a portrait of the modern human being – the physicality, nervous system, muscles and movements.’

Frenesia calls for a large orchestra with four flutes (including piccolo and

alto flute doublings), two oboes, cor anglais, two clarinets, bass clarinet,

two bassoons and contrabassoon; four horns, three trumpets, three

trombones and tuba; timpani and a large percussion section; two harps,

celesta and strings.

Frenesia was commissioned by the Royal Concertgebouw Orchestra,

Sydney Symphony Orchestra, Gürzenich-Orchester in Cologne and the

Saint Louis Symphony. It was premiered by the RCO and Xian Zhang in the

Amsterdam Concertgebouw on 23 January 2014. This is its Australian

premiere.

RO

NA

LD K

NA

PP

9

KeynotesR STRAUSSBorn Munich, 1864 Died Garmisch-Partenrkirchen, 1949

Richard Strauss wrote two symphonies as a teenager, but this was not the musical genre that captured his imagination. Instead he made his name with the evocative and storytelling possibilities of the symphonic poem (or ‘tone poem’, as he preferred to call it) and above all with opera. He composed 15 operas, of which Salome and Elektra are among the earliest and perhaps the most striking. These were followed by Der Rosenkavalier and Ariadne auf Naxos. His final opera was Capriccio but this was not his final music for voice.

FOUR LAST SONGS

These are literally Strauss’s four last song settings, and also his last compositions. With quiet serenity and tenderness they offer a musical farewell, and the final words of the last song – Can this perchance be death? – are underpinned by a discreet quotation from Strauss’s youthful tone poem Death and Transfiguration.

Richard Strauss Vier letzte Lieder (Four Last Songs)Frühling (Spring) September Beim Schlafengehen (On Going to Sleep) Im Abendrot (In Sunset’s Glow)

Christine Brewer soprano

In his biography of Richard Strauss, Michael Kennedy remarks that the Four Last Songs ‘are the music of old age and wisdom and serenity, of death and transfiguration’. Like Mozart, whom he adored, Strauss maintained a life-long love of the soprano voice, particularly that of Pauline, the wife to whom he was devoted for more than fifty years. In opera and song, and even here in these valedictory works, he wrote music of erotic intensity for it, and in that regard they may be seen as a final flowering of German Romanticism. Just as 19th-century figures like Novalis and Wagner conflated eroticism and extinction, here the texts of Hesse and Eichendorff identify the end of life and love with the peaceful embrace of night, dreams and death.

Kennedy reminds us, however, that the works were not conceived as Strauss’s farewell, and that no-one knows if the composer intended them as a song cycle in the strict sense of the term. They were published posthumously as his Four Last Songs, and seized upon by the great Norwegian soprano Kirsten Flagstad who disingenuously let it be known that she was Strauss’s ideal interpreter. Flagstad gave the first performance with Wilhelm Furtwängler at London’s Royal Albert Hall in 1950, after which they taken up by Sena Jurinac with Fritz Busch, and Lisa della Casa with Karl Böhm. (In those first performances the order of the first three songs was reversed from that which Strauss’s publisher Ernst Roth had devised, and which is performed most commonly, including tonight.)

Frühling (Spring) Words by Hermann Hesse

In placing this song at the beginning of the set, Roth sets up a satisfying arc for the cycle as a whole. Here Hesse’s poem deals with anticipation – specifically that of the poet at the approach of spring – using many of the well-worn tropes of Romantic poetry such as the imagery of trees, blue skies and birdsong. There is also an echo of eroticism in the blissful trembling of the final lines.

RO

NA

LD K

NA

PP

10

Im dämmrigen Grüften In darkling caverns Träumte ich lang long have I dreamed Von deinen Bäumen und blauen Lüften, of your trees and blue skies, Von deinem Duft und Vogelgesang. your fragrance and bird-songs.

Nun liegst du erschlossen Now you lie before me In Gleiss und Zier in shining splendour Von Licht übergossen glowing with light – Wie ein Wunder vor mir. a miracle.

Du kennst mich wieder, You greet me again, Du lockest mich zart, tempting me gently. es zittert durch all meine Glieder My whole being trembles Deine selige Gegenwart. with the bliss of your presence.

September Words by Hermann Hesse

In September spring is long past and the anticipation felt by the poet is transformed into a yearning for rest. Both the poem’s imagery and the musical setting, however, represent this as something to be savoured – the falling of golden leaves causes the summer to smile even as it dies, and the music is full of finely detailed activity. In the final moments of the song, Strauss may be remembering his father, as Franz Strauss’s instrument, the horn, has the last word.

Der Garten trauert, The garden mourns. Kühl sinkt in die Blumen der Regen. Cool rain sinks on the flowers; Der Sommer schauert the summer shudders Still seinem Ende entgegen. as he quietly nears his end.

Golden tropft Blatt um Blatt One by one, the golden leaves Nieder vom hohen Akazienbaum. fall slowly from the tall acacia tree. Sommer lächelt erstaunt und matt Wondering and weary, the summer smiles In den sterbenden Gartentraum. on the dying garden-dream.

Lange noch bei den Rosen Yearning for rest Bleibt er stehen, sehnt sich nach Ruh. he lingers long by the roses Langsam tut er die before he slowly closes Müdegewordenen Augen zu. his wide, tired eyes.

Beim Schlafengehen (On Going to Sleep) Words by Hermann Hesse

Yearning for rest is also the theme of Beim Schlafengehen, where Hesse further explores the Romantic wish to be free from the bonds of consciousness. Strauss responds with one of his most celebrated inspirations: the violin solo which ecstatically rises to imitate the soul’s soaring into ‘the magic circle of night’.

Nun der Tag mich müd gemacht, Now the day has made me tired, Soll mein sehnliches Verlangen may the starry night receive Freundlich die gestirnte Nacht all my fervent longing Wie ein müdes Kind empfangen. like a weary child.

Hände lasst von allem Tun, Leave your doing, O my hands, Stirn vergiss du alles Denken, brow, forget your thinking! Alle meine Sinne nun All my senses yearn for rest Wollen sich in Schlummer senken. and would sink into slumber.

11

Und die Seele unbewacht Freed from all bonds Will in freien Flügen schweben, my soul would like to soar Um im Zauberkreis der Nacht so that it may live deeply and a thousandfold Tief und tausendfach zu leben. in the magic circle of night.

Im Abendrot (In Sunset’s Glow) Words by Joseph von Eichendorff

Strauss set this poem by the great 19th-century poet Eichendorff before he made the Hesse settings, but it forms a fitting end to the set, and to Strauss’s career. Here the implicit is made plain: that these songs are all in some way about his love for Pauline. The scene is sunset, where an old couple stop to rest after a long and eventful life together amid the splendours of nature. The trilling larks remind us of the promise of spring in the birdsong of Frühling, and as the poet asks whether ‘this’ (and Strauss altered the text from ‘that’) might be death, we hear a reminiscence of the ‘idealism’ theme from Death and Transfiguration. As Norman Del Mar puts it, ‘only the memory of Pauline’s voice could be his companion on these farewell excursions through the music to which his life had been dedicated.’

Wir sind durch Not und Freude Through grief and joy together Gegangen Hand in Hand, we have walked, hand in hand. Vom Wandern ruhn wir Now let us rest from the journey Nun überm stillen Land. high above the quiet land.

Rings sich die Täler neigen, Around us the valleys are slumbering Es dunkelt schon die Luft, and darkness veils the sky. Zwei Lerchen nur noch steigen Only two larks are still soaring Nachträumend in den Duft. and dreaming as they fly.

Tritt her und lass sie schwirren, Come close and let them flutter, Bald ist es Schlafenszeit, soon it is time to sleep Dass wir uns nicht verirren lest we should go astray In dieser Einsamkeit. in this dark solitude.

O weiter, stiller Friede! O peace, so wide and silent, So tief im Abendrot. deep in the sunset glow! Wie sind wir wandermüde – How weary we are with wandering – Ist dies etwa der Tod? can this, perchance, be death?

Introduction and commentary by GORDON KERRY © 2001

The text by Hermann Hesse for Frühling, September and Beim Schlafengehen from Vier letzte Lieder (Four Last Songs) by Richard Strauss is reproduced by permission of Hal Leonard Australia exclusive agent for Boosey & Hawkes Music Publishers Ltd of London.

Translations by HEDWIG ROEDIGER, ABC/SYMPHONY AUSTRALIA © 1986

The orchestra for Strauss’s Four Last Songs comprises three flutes (one doubling piccolo), piccolo, two oboes, cor anglais, two clarinets, bass clarinet and three bassoons (one doubling contrabassoon); four horns, three trumpets, three trombones and tuba; timpani; harp and celesta; and strings.

The SSO first performed the Four Last Songs in 1960 with Lois Marshall and conductor Nicolai Malko, and most recently in the 2006 season opening gala with soprano Ricarda Merbeth and Gianluigi Gelmetti conducting.

13

KeynotesBRAHMSBorn 1833, Hamburg Died 1897, Vienna

Having finally completed his first symphony after a 14-year struggle, Brahms almost immediately began work on a second, completing it the following year, in 1877. He did much of the work in a lakeside resort in Austria’s Carinthia region, where ‘the melodies fly so thick…that you have to be careful not to step on one.’

SECOND SYMPHONY

Brahms’s First Symphony was dubbed ‘the Tenth’ and his Third ‘Brahms’s Eroica’ – both references to Beethoven. In another reference, his Second Symphony came to be known as ‘Brahms’s Pastoral’. This annoyed Brahms, but it is hardly surprising: the Second is the most melodic of his symphonies, and its lyrical and radiant character assured its place as the most popular during his lifetime. But the symphony has a darker side as well, which Brahms half-joked about, saying that the music should be printed with a black border. You can hear it, for example, in the way he introduces the sombre sounds of timpani and trombones very early in the first movement.

Hans Richter conducted the premiere of the Second Symphony with the Vienna Philharmonic on 30 December 1877.

Johannes Brahms Symphony No.2 in D, Op.73Allegro non troppo Adagio non troppo Allegretto grazioso (Quasi andantino) – Presto ma non assai Allegro con spirito

Composed in the summer of 1877 at the resort village of Pörtschach, on the edge of the Wörthersee in the Austrian Alps, the Second Symphony is the sunniest of Brahms’s symphonies. There, in solitude and in between dawn swims and long daily walks – Brahms was always a keen trekker – he composed this bucolically joyous work with rare swiftness. Four months is all it took, nothing like the tortuous, two decades’ struggle of the First Symphony.

A personal tone and easy lyrical warmth immediately set the Second Symphony apart from the First. Brahms seems at last able to put the weighty symphonic inheritance of Beethoven behind him and arrive at a more individual position. Clara Schumann was one of the first to comment: on hearing Brahms play parts of the score on piano, she remarked that the new symphony was more original than its predecessor, and she predicted correctly that the public would prefer it. The premiere by the Vienna Philharmonic under conductor Hans Richter on 30 December was a resounding success, critics praising the work as ‘attractive’, ‘understandable’ and refreshingly un-Beethovenian.

14

Paradoxically, the Second’s originality lies partly in its mild, backward-looking stance.

‘The melodies fly so thick here that you have to be careful not to step on one.’

BRAHMS WRITING FROM THE ALPINE VILLAGE OF PÖRTSCHACH

Paradoxically, the Second’s originality lies partly in its mild, backward-looking stance. Gentle pastoral imagery and a compressed expressive scale seem to evoke a past world. The work’s character is genial: all four movements are like companions, not dramatically set against one another – and all are in major keys.

More than anything else, it is a melodic symphony. Brahms wrote to Eduard Hanslick about how inspired he was finding Pörtschach: ‘The melodies fly so thick here that you have to be careful not to step on one.’ Indeed each movement abounds with lyricism. In the first movement a leisurely, lilting waltz serves as the main subject, followed by an equally lilting ‘lullaby’ second subject in the cellos. No doubt the birdsong later in the flute, decorating the main subject’s return, helped this to become ‘Brahms’s Pastoral Symphony’ – which label greatly annoyed the composer.

The flowing melodic vein continues in a noble, expansively romantic Adagio, one of Brahms’s finest symphonic movements. Tuneful in a different way is the diminutive third movement, which consists of a suite of elegant Baroque-sounding dances. The finale is the only outrightly dramatic movement: it bursts out with resplendent melody as if proclaiming victory.

But a victory over what? If one listens with different ears to the Second Symphony, its radiantly lit landscape seems continually threatened. A brooding quality seems to grow out of the first movement’s initial three-note motif, heard in the cellos, and it is emphasised by this motif ’s numerous reappearances not only in this movement but in the second as well. Even the third and fourth movements with their lighter mood have a shadowy side, in wistful major-minor inflections and moments of muted introspection.

So maybe all is not so sunny after all. One perceptive listener of the time, Vincenz Lachner, questioned Brahms about his

Including the Sydney Symphony Orchestra in your estate plans is a wonderful way to ensure a legacy of artistic excellence for your orchestra. In appreciation of your generosity and vision, you will become a member of the Stuart Challender Legacy Society, bringing you closer to your orchestra.

Contact Luke Gay to discuss how your bequest can make a difference (02) 8215 4625 luke.gay@sydneysymphony.com

Stuart Challender Legacy SocietyIncluding the Sydney Symphony Orchestra in your estate plans

15

‘The new symphony is so melancholy that you can’t stand it. I have never written anything so sad, so minorish: the score must appear with a black border.’

BRAHMS TO HIS PUBLISHER SIMROCK

intent in the symphony, in particular on why he introduces the gloomy sounds of tremolo timpani and low trombones so early in the first movement – just one minute in. Brahms’s reply is extraordinary for what it reveals about himself and the work:

I would have to confess that I am...a severely melancholic person, that black wings are constantly flapping above us, and that in my output – perhaps not entirely by chance – this symphony is followed by a little essay about the great ‘Why’. If you don’t know this [motet, Warum] I will send it to you. It casts the necessary shadow on the serene symphony and perhaps accounts for those timpani and trombones.

Thus it is a Janus-faced Brahms who found his idyll in the mountainous retreat of Pörtschach: the sombre sounding motet he mentions, Warum ist das Licht gegeben, Op.74, dates from his same summer there.

All of which has led Malcolm MacDonald to suggest that the Second is ‘one of the darkest of major-key symphonies’. Not to be overlooked either is Brahms’s own wryly exaggerated comment to the publisher Fritz Simrock: ‘The new symphony is so melancholy that you can’t stand it. I have never written anything so sad, so minorish: the score must appear with a black border.’

The Second does not easily disclose itself but is like the man himself, wrapped in ambiguity and internal contradictions. Friends loved him yet found him insufferable, fearing that, as Hermann Levi put it to Clara, the ‘demon of abruptness, of coldness and of heartlessness’ would finally snatch his ‘better self ’ away. That cold- warmth, or warmth at a distance, is felt particularly in this work; but with granite-like creative strength Brahms turns his own frailties into human universalities.

The Second is too amiable to be revolutionary. But in its tone-painting without glory, its fatalism and its ‘taint of the real’, Brahms points the way toward the symphonies of Mahler. Reinhold Brinkmann calls the Second ‘an emphatic questioning of the pastoral world, a firm denial of the possibility of pure serenity’. Its revelation is of a composer, a nature lover, for whom there was no joy without sadness, and no sadness without joy.

GRAHAM STRAHLE © 2004

Brahms’s Second Symphony calls for pairs of flutes, oboes, clarinets and

bassoons (it is the only Brahms symphony not to use the contrabassoon);

four horns, two trumpets, three trombones and tuba; timpani and strings.

The SSO first performed Brahms’s Second Symphony in 1938

conducted by Joseph Post, and most recently in the 2012 Master Series

under Hugh Wolff.

16

MORE MUSIC

STRAUSS’S FOUR LAST SONGSIf you loved Christine Brewer’s performance this evening, you might want to check out her 2006 recording of Strauss’s Four Last Songs. She is accompanied by the Atlanta Symphony Orchestra and conductor Donald Runnicles.TELARC 80661

For those interested in hearing more, Great Strauss Scenes acts as both a fantastic introduction to Strauss’s operas and Christine Brewer’s distinguished musical interpretations.TELARC 31755

Or for a recording of historical significance, look for Kirsten Flagstad’s recording of Four Last Songs with London’s Philharmonia Orchestra, made in 1950 (just two years after it was written). This recording was made widely available in 1995 on the third volume of a collection of Kristen Flagstad’s live recordings from 1948–1957.SIMAX 1823

BRAHMS SYMPHONIESIt’s hard to go past Simon Rattle’s recording of Brahms’s Second Symphony. His clarity and precision is a perfect match for Brahms’s classically inspired sound, resulting in an electrifying performance.EMI CLASSICS 67254

If you enjoyed Brahms’s second symphony then the next obvious step is to look at his wider orchestral works. Decca recently released a 3-CD set covering Brahms’s entire symphonic and orchestral output. Performed by the Leipzig Gewandhaus Orchestra and conducted by Riccardo Chailly, this is a must have for any Brahms enthusiast.DECCA 4787471

DETLEV GLANERTFrenesia was premiered in January and as yet there are no commercial recordings of it. But if you’re interested in discovering more of Glanert’s music, there are a couple of different compilations worth checking out. The Ensemble for New Music has released a recording of Glanert’s Gestalt, while Fluß ohne Ufer (Shoreless River) for orchestra has been released on Volume 4 of the Royal Concertgebouw Orchestra’s Horizon series, as part of a larger tribute to Gustav Mahler.MUSICAPHON 55706 (Gestalt) RCO LIVE 11001 (Fluß ohne Ufer)

For a change of pace, there’s Glanert’s opera Caligula. Based on the play by Albert Camus, Caligula tells the story of the depraved Roman emperor, offering a wry comment on the dangers of absolute power. Careening wildly between the sounds of contemporary opera and burlesque silliness, Glanert embraces an element of the grotesque throughout, heightening Caligula’s madness.OEHMS 932

Broadcast DiaryAugust–September

Friday 15 August, 8pm FOUR LAST SONGS

See this program for details.

Saturday 23 August, 8pm HEAR IT, FEEL IT

David Robertson conductor Nicolas Hodges conductor

Mozart, Ligeti, Boulez, Scriabin

Wednesday 3 September, 8pm SYMPHONIC INSPIRATION

David Robertson conductor Vadim Repin violin

Brahms, Lalo, Janáček

Monday 15 September, 7pm STEPHEN HOUGH IN RECITAL

Stephen Hough piano

Debussy, Chopin

Friday 19 September, 8pm BRUCKNER 6

Hans Graf conductor Stephen Hough piano

Dvořák, Bruckner

SYDNEY SYMPHONY ORCHESTRA 2014

Tuesday 9 September, 6pm

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

17

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

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

Join us on Facebook facebook.com/sydneysymphony

Follow us on Twitter twitter.com/sydsymph

Watch us on YouTube www.youtube.com/SydneySymphony

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

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

Download our free mobile app for iPhone/iPad or Android sydneysymphony.com/mobile_app

SSO Online

Mahler 1 & Songs of a Wayfarer SSO 201001

Mahler 2 SSO 201203

Mahler 3 SSO 201101

Mahler 4 SSO 201102

Mahler 5 SSO 201003 Mahler 6 SSO 201103

Mahler 7 SSO 201104

Mahler 8 (Symphony of a Thousand) SSO 201002

Mahler 9 SSO 201201

Mahler 10 (Barshai completion) SSO 201202

Song of the Earth SSO 201004

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

MAHLER 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

18

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

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

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

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

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

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

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

David Robertson Chief Conductor and Artistic Director

THE ARTISTS

MIC

HA

EL

TAM

MA

RO

19

Christine Brewer was born in Illinois and began her professional career with the Opera Theatre of Saint Louis. Since then she has appeared in most of the world’s leading opera houses, including the Metropolitan Opera New York, Royal Opera House Covent Garden, San Francisco Opera, New York City Opera, Madrid, Lisbon, Paris Opera, Opéra de Lyon and English National Opera. She is also an avid recitalist, performing in venues such as the Zankel Hall at Carnegie Hall, Wigmore Hall and the Amsterdam Concertgebouw, as well as singing at major festivals such as Edinburgh, Aldeburgh and the BBC Proms. In 2008 she received the BBC Radio 3 Listener’s Award in the Royal Philharmonic Society Music Awards.

Her roles include Countess Almaviva (The Marriage of Figaro), Donna Anna (Don Giovanni), Leonore (Fidelio); Richard Strauss’s Aegyptische Helena, Britten’s Gloriana and Chrysothemis (Elektra). She has sung Isolde with the BBC Symphony Orchestra and San Francisco Opera (both conducted by Donald Runnicles), Los Angeles Philharmonic (Esa-Pekka Salonen), and at the Edinburgh Festival with Jonathan Nott. She has also sung the Dyer’s Wife (Die Frau ohne Schatten) in Chicago and Paris, and has achieved international renown for her performances in the title role of Richard Strauss’s Ariadne auf Naxos.

In concert, she performs with the major American orchestras, working with such conductors as Pierre Boulez, James Levine, James Conlon, Michael Tilson Thomas, David Robertson, Alan Gilbert, Christoph Eschenbach, Christoph von Dohnányi and Gustavo Dudamel. Her European appearances have included the Concertgebouw and Bavarian Radio orchestras (Mariss Jansons), Berlin Philharmonic, BBC Symphony Orchestra (Jiří Bělohlávek), London Philharmonic Orchestra (Vladimir Jurowski), London Symphony Orchestra (Colin Davis) and the Accademia Santa Cecilia (Antonio Pappano).

Recent engagement highlights include Britten’s Albert Herring (BBCSO) and his War Requiem (San Francisco Symphony), Vier letzte Lieder in Tokyo with Jonathan Nott, The Sound of Music (Lyric Opera of Chicago), Mme Lidoine in Dialogues des Carmélites (St Louis) and the premiere of Douglas J Cuomo’s Doubt for Minnesota Opera.

Christine Brewer previously performed with the SSO in 2012, singing Wagner in a recreation of the opening concert of the Sydney Opera House, and will return to Sydney in 2015 to sing Isolde in a presentation of Tristan und Isolde conducted by David Robertson.

Christine Brewersoprano

CH

RIS

TIA

N S

TEIN

ER

20

SYDNEY SYMPHONY ORCHESTRA

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

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

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

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

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

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

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

DAVID ROBERTSON Chief Conductor and Artistic Director

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

21

FIRST VIOLINS Andrew Haveron CONCERTMASTER

Kirsten Williams ASSOCIATE CONCERTMASTER

Lerida Delbridge ASSISTANT CONCERTMASTER

Fiona Ziegler ASSISTANT CONCERTMASTER

Jenny BoothBrielle ClapsonSophie ColeClaire HerrickGeorges LentzNicola LewisEmily LongAlexandra MitchellAlexander NortonLéone ZieglerElizabeth Jones*Emily Qin*Dene Olding CONCERTMASTER

Sun Yi ASSOCIATE CONCERTMASTER

Amber Davis

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

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

Maria Durek

VIOLASRoger Benedict Tobias Breider Justin Williams ASSISTANT PRINCIPAL

Sandro CostantinoRosemary CurtinJane Hazelwood Graham HenningsStuart JohnsonJustine MarsdenFelicity TsaiAmanda VernerLeonid VolovelskyAnne-Louise Comerford

CELLOSCatherine Hewgill Leah Lynn ASSISTANT PRINCIPAL

Kristy ConrauFenella GillTimothy NankervisElizabeth NevilleChristopher PidcockAdrian WallisDavid WickhamUmberto Clerici Henry David Varema

DOUBLE BASSESKees Boersma Alex Henery Neil Brawley PRINCIPAL EMERITUS

David CampbellSteven LarsonRichard LynnBenjamin WardAurora Henrich†

David Murray

FLUTES Janet Webb Carolyn HarrisRosamund Plummer PRINCIPAL PICCOLO

Kate Proctor*Emma Sholl

OBOESShefali Pryor Alexandre Oguey PRINCIPAL COR ANGLAIS

Diana Doherty David Papp

CLARINETSLawrence Dobell Christopher TingayCraig Wernicke PRINCIPAL BASS CLARINET

Francesco Celata

BASSOONSMatthew Wilkie Fiona McNamaraNoriko Shimada PRINCIPAL CONTRABASSOON

HORNSRobert Johnson Geoffrey O’ReillyPRINCIPAL 3RD

Euan HarveyMarnie SebireRachel SilverBen Jacks

TRUMPETSPaul Goodchild Anthony HeinrichsRosie Turner*David Elton

TROMBONESRonald Prussing Nick ByrneChristopher Harris PRINCIPAL BASS TROMBONE

Scott Kinmont TUBASteve Rossé

TIMPANIRichard Miller PERCUSSIONRebecca Lagos Timothy ConstableMark Robinson Brian Nixon*Philip South* HARP Louise Johnson Genevieve Huppert* CELESTASusanne Powell*

BOLD = PRINCIPAL

ITALICS = ASSOCIATE PRINCIPAL

° = CONTRACT MUSICIAN

* = GUEST MUSICIAN† = SSO FELLOW

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

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

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

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

MUSICIANS

David RobertsonCHIEF CONDUCTOR AND ARTISTIC DIRECTOR SUPPORTED BY EMIRATES

Dene OldingCONCERTMASTER

Jessica CottisASSISTANT CONDUCTOR SUPPORTED BY PREMIER PARTNER CREDIT SUISSE

Andrew HaveronCONCERTMASTER

22

BEHIND THE SCENES

MANAGING DIRECTOR

Rory Jeffes

EXECUTIVE TEAM ASSISTANT

Lisa Davies-Galli

ARTISTIC OPERATIONSDIRECTOR OF ARTISTIC PLANNING

Benjamin Schwartz

ARTISTIC ADMINISTRATION MANAGER

Eleasha Mah

ARTIST LIAISON MANAGER

Ilmar Leetberg

RECORDING ENTERPRISE MANAGER

Philip Powers

LibraryAnna CernikVictoria GrantMary-Ann Mead

LEARNING AND ENGAGEMENTDIRECTOR OF LEARNING AND ENGAGEMENT

Kim Waldock

EMERGING ARTISTS PROGRAM MANAGER

Mark Lawrenson

EDUCATION MANAGER

Rachel McLarin

EDUCATION OFFICER

Amy Walsh

ORCHESTRA MANAGEMENTDIRECTOR OF ORCHESTRA MANAGEMENT

Aernout Kerbert

ORCHESTRA MANAGER

Rachel Whealy

ORCHESTRA COORDINATOR

Georgia Fryer

OPERATIONS MANAGER

Kerry-Anne Cook

PRODUCTION MANAGER

Laura Daniel

STAGE MANAGER

Courtney Wilson

PRODUCTION COORDINATORS

Tim DaymanDave Stabback

SALES AND MARKETINGDIRECTOR OF SALES & MARKETING

Mark J Elliott

MARKETING MANAGER, SUBSCRIPTION SALES

Simon Crossley-Meates

A/ SENIOR SALES & MARKETING MANAGER

Matthew Rive

MARKETING MANAGER, CRM & DATABASE

Matthew Hodge

A/ SALES & MARKETING MANAGER,SINGLE TICKET CAMPAIGNS

Jonathon Symonds

DATABASE ANALYST

David Patrick

SENIOR GRAPHIC DESIGNER

Christie Brewster

GRAPHIC DESIGNER

Tessa Conn

SENIOR ONLINE MARKETING COORDINATOR

Jenny Sargant

ONLINE MARKETING COORDINATOR

Jonathan Davidoff

MARKETING ASSISTANT

Theres Mayer

Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlin

BOX OFFICE SYSTEMS SUPERVISOR

Jennifer Laing

BOX OFFICE BUSINESS ADMINISTRATOR

John Robertson

CUSTOMER SERVICE REPRESENTATIVES

Karen Wagg – Senior CSR Michael DowlingKatarzyna OstafijczukTim Walsh

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

EXTERNAL RELATIONSDIRECTOR OF EXTERNAL RELATIONS

Yvonne Zammit

PhilanthropyHEAD OF PHILANTHROPY

Luke Andrew Gay

DEVELOPMENT MANAGER

Amelia Morgan-Hunn

PHILANTHROPY COORDINATOR

Sarah Morrisby

Corporate RelationsBUSINESS DEVELOPMENT MANAGER

Belinda Besson

CORPORATE RELATIONS MANAGER

Janine Harris

CommunicationsPUBLIC RELATIONS MANAGER

Katherine Stevenson

COMMUNICATIONS & MEDIA MANAGER

Bridget Cormack

DIGITAL CONTENT PRODUCER

Kai Raisbeck

SOCIAL MEDIA AND PUBLICITY OFFICER

Caitlin Benetatos

BUSINESS SERVICESDIRECTOR OF FINANCE

John Horn

FINANCE MANAGER

Ruth Tolentino

ACCOUNTANT

Minerva Prescott

ACCOUNTS ASSISTANT

Emma Ferrer

PAYROLL OFFICER

Laura Soutter

PEOPLE AND CULTURE IN-HOUSE COUNSEL

Michel Maree Hryce

SYDNEY SYMPHONY ORCHESTRA STAFF

John C Conde ao ChairmanTerrey Arcus am

Ewen Crouch am

Ross GrantCatherine HewgillJennifer HoyRory JeffesAndrew Kaldor am

David LivingstoneThe Hon. Justice AJ MeagherGoetz Richter

SYDNEY SYMPHONY ORCHESTRA BOARD

SYDNEY SYMPHONY ORCHESTRA COUNCIL

Geoff Ainsworth am

Andrew Andersons ao

Michael Baume ao

Christine BishopIta Buttrose ao obe

Peter CudlippJohn Curtis am

Greg Daniel am

John Della BoscaAlan FangErin FlahertyDr Stephen FreibergDonald Hazelwood ao obe

Dr Michael Joel am

Simon JohnsonYvonne Kenny am

Gary LinnaneAmanda LoveHelen Lynch am

David Maloney am

David Malouf ao

Deborah MarrThe Hon. Justice Jane Mathews ao

Danny MayWendy McCarthy ao

Jane MorschelDr Timothy Pascoe am

Prof. Ron Penny ao

Jerome RowleyPaul Salteri am

Sandra SalteriJuliana SchaefferLeo Schofield am

Fred Stein oam

Gabrielle TrainorJohn van OgtropPeter Weiss ao HonDLittMary WhelanRosemary White

23

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

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

MAKE A DIFFERENCE

SYDNEY SYMPHONY ORCHESTRA PATRONS

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

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

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

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

FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM,

CALL (02) 8215 4619.

n n n n n n n n n n

CHAIR PATRONS

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

02 Umberto Clerici Principal Cello Garry & Shiva Rich Chair

03 Lawrence Dobell Principal Clarinet Anne & Terrey Arcus am Chair

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

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

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

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

08 Kirsty Hilton Principal Second Violin Corrs Chambers Westgarth Chair

09 Robert Johnson Principal Horn James & Leonie Furber Chair

10 Elizabeth Neville Cello Ruth & Bob Magid Chair

11 Shefali Pryor Associate Principal Oboe Mrs Barbara Murphy Chair

12 Emma Sholl Associate Principal Flute Robert & Janet Constable Chair

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

14 Kirsten Williams, Associate Concertmaster I Kallinikos Chair

10 121109

05 07 0806

13 14

01 03 0402

24

PLAYING YOUR PART

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

DIAMOND PATRONS: $30,000+Geoff Ainsworth am

Anne & Terrey Arcus am

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

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

Mrs Renata Kaldor ao

In Memory of Matthew KrelMrs Roslyn Packer ao

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

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

Dovey

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

AlbertSandra & Neil BurnsJames & Leonie Furber

I KallinikosHelen Lynch am & Helen BauerMrs T Merewether oam

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

G & C Solomon in memory of Joan MacKenzie

Geoff StearnRay Wilson oam in memory of

James Agapitos oam

Anonymous (1)

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

CrouchThe Hon. Mrs Ashley

Dawson-Damer am

Paul EspieEdward & Diane FedermanNora Goodridge

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

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

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

BoshoffMr Alexander & Mrs Vera

BoyarskyPeter Braithwaite & Gary

LinnaneMr David & Mrs Halina BrettEwen Crouch am & Catherine

CrouchIan Dickson & Reg HollowayIn memory of Dr Lee

MacCormick EdwardsDr Stephen Freiberg & Donald

CampbellDr Colin GoldschmidtThe Greatorex Foundation

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

Lowy oam

J A McKernanDavid Maloney am & Erin

FlahertyR & S Maple-BrownJustice Jane Mathews ao

Mora MaxwellWilliam McIlrath Charitable

FoundationJohn & Akky van OgtropSeamus Robert QuickRodney Rosenblum am &

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

Mrs Janet CookeMr John Symond am

David Tudehope & Liz DibbsMr Robert & Mrs Rosemary

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

BequestAnonymous (2)

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

Ian BradyMr Mark BryantDr Rebecca ChinDr Diana Choquette &

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

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

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

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

Maxwell Connery oam

Debby Cramer & Bill CaukillMr John Cunningham scm &

Mrs Margaret CunninghamLisa & Miro DavisElizabeth DonatiColin Draper & Mary Jane

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

Mrs Margaret EppsProfessor Michael Field am

Mr Tom FrancisMr Matt GarrettVivienne Goldschmidt &

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

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

PearsonMr Justin LamMr Peter Lazar am

Professor Winston LiauwAirdrie LloydPeter Lowry oam & Dr Carolyn

Lowry oam

Kevin & Deirdre McCannIan & Pam McGawMacquarie Group Foundation

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

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

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

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

SmithersDr Judy SoperMrs Judith Southam

25

PLAYING YOUR PART

TO FIND OUT MORE ABOUT BECOMING A

SYDNEY SYMPHONY ORCHESTRA PATRON, PLEASE

CONTACT THE PHILANTHROPY OFFICE ON (02) 8215 4674

OR EMAIL PHILANTHROPY@SYDNEYSYMPHONY.COM

n n n n n n n n n n

Ms Barbara SpencerMrs Elizabeth SquairCatherine StephenThe Hon. Brian Sully qc

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

FenwickeAnn & Brooks C Wilson am

Dr Richard WingDr Peter Wong & Mrs Emmy K

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

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

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

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

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

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

Mr Kevin Holland & Mrs Roslyn Andrews

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

& Mrs Marian PurvisMiss Julie RadosavljevicRenaissance Tours

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

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

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

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

MembersJames ArmstrongJoan BallantineAndrew BaxterMar BeltranNicole BilletDavid BluffPeter BraithwaiteBlake Briggs

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

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

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

26

SALUTE

The Sydney Symphony Orchestra is assisted by the

Commonwealth Government through the Australia Council,

its arts funding and advisory body

GOVERNMENT PARTNERS

The Sydney Symphony Orchestra is

assisted by the NSW Government

through Arts NSW

PRINCIPAL PARTNER

EDUCATION PARTNERPLATINUM PARTNER

MAJOR PARTNERS

GOLD PARTNERS

REGIONAL TOUR PARTNER MARKETING PARTNERVANGUARD PARTNER

PREMIER PARTNER

SILVER PARTNERS

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

UNIVERSAL MUSIC AUSTRALIA

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

❝Tuning, tuning, tuning…

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

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

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

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

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

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

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

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

ORCHESTRA NEWS | JULY/AUGUST 2014

SSO Bravo! #5 2014 Insert.indd 1 7/08/14 12:44 PM

Pho

to: J

ulia

n K

ingm

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

Sponsor HighlightP

hoto

: Jan

ine

Har

ris

Live at the Cortile with the SSO

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

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

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

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

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

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

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

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

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

Ask a Musician

Pho

to: A

nna

Rya

n

SSO Bravo! #5 2014 Insert.indd 2 1/07/14 1:18 PM

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

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

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

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

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

Regional Tour

TIARAS AND TOUCHDOWN

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

Pho

to: A

nna

Rya

n

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

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

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

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

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

Pho

to: G

ela

Meg

relid

ze

Vadim Repin

SSO Bravo! #5 2014 Insert.indd 3 1/07/14 1:18 PM

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

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

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

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

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

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

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

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

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

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

CODA

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

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 17358 — 1/240714 — 22TH/E/MO S52/54

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

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

Chairman Brian Nebenzahl OAM RFD

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

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

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

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

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

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

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

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

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

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

PAPER PARTNER

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

By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover than that in which it was published, or distributed at any other event than specified on the title page of this publication 17372 — 1/130814 — 24 S57/59

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

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

Chairman Brian Nebenzahl OAM RFD

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

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

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

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

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