ROMAN TRILOGY

APT MASTER SERIES

Wednesday 9 September 2015 Friday 11 September 2015 Saturday 12 September 2015

concert diary

French ImpressionsRAVEL Rapsodie espagnole DEBUSSY Nocturnes BERLIOZ Te Deum

Charles Dutoit conductor • Joseph Kaiser tenor Sydney Philharmonia Choirs • Sydney Children’s Choir Tasmanian Symphony Orchestra Chorus

Thursday Afternoon Symphony

Thu 3 Sep 1.30pmEmirates Metro Series

Fri 4 Sep 8pmPre-concert talk by David Garrett 45 minutes before each performance

Roman TrilogyBERLIOZ Roman Carnival – Overture SCHUMANN Cello Concerto RESPIGHI Roman Festivals Fountains of Rome Pines of Rome

Charles Dutoit conductor Daniel Müller-Schott cello (PICTURED)

APT Master Series

Wed 9 Sep 8pm Fri 11 Sep 8pm Sat 12 Sep 8pmPre-concert talk by David Larkin at 7.15pm

Banned SSO Fellows Chamber Concert

Music by Schulhoff, Pavel Haas, Martinů and Mendelssohn, with the Sextet from Richard Strauss’s Capriccio.

Roger Benedict Artistic Director

Sat 19 Sep 6pmUtzon Room, Sydney Opera House

Anne-Sophie Mutter plays DvorákDVOŘÁK Romance for violin DVOŘÁK Violin Concerto BEETHOVEN Symphony No.3 (Eroica)

Jakub Hrůša conductor Anne-Sophie Mutter violin

Special Event Premier Partner Credit Suisse

Wed 23 Sep 8pm Fri 25 Sep 8pm Sat 26 Sep 8pm Pre-concert talk by Genevieve Huppert at 7.15pm

Sibelius 2 Robertson Conducts

SCULTHORPE Sun Music II WALTON Violin Concerto SIBELIUS Symphony No.2

David Robertson conductor Andrew Haveron violin (PICTURED)

Thursday Afternoon Symphony

Thu 8 Oct 1.30pmEmirates Metro Series

Fri 9 Oct 8pmGreat Classics

Sat 10 Oct 2pm Pre-concert talk by David Robertson 45 minutes before each performance

Cirque de la Symphonie Cirque de la Symphonie returns to Australia with a show of favourites and surprises. Enjoy elite performers from around the world presenting dazzling displays of circus artistry and skill with your Sydney Symphony Orchestra.

Presenting Partner Wilson Parking

Thu 17 Sep 7pm Fri 18 Sep 7pm Sat 19 Sep 2pm

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Anne-Sophie Mutter and the Camerata Academica Salzburg perform Mozart’s Violin Concerto No.1

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WELCOME

Welcome to tonight’s performance in the APT Master Series. This week, conductor Charles Dutoit and the Sydney Symphony Orchestra have created a program that is more than a concert – it’s a true journey in music.

Also performing tonight is German cellist Daniel Müller-

Schott, playing a concerto by Robert Schumann – music

that was perhaps inspired by the composer’s excitement at

newly arriving in Düsseldorf. Germany provides an interlude

in the journey, but the itinerary tonight begins and ends in

Rome with thrilling orchestral music by Hector Berlioz and

Ottorino Respighi.

There’s a spirit of celebration in the music we’ll be hearing

tonight, and here at APT we’ve been celebrating two

acknowledgements in the recent AFTA National Travel

Industry Awards: Best River Cruise Operator and Best Tour

Operator.

Tonight you can go on a musical journey to one of the most

inspiring and iconic cities in Europe. We hope it will inspire

you to see Rome for yourself, and we look forward to seeing

you at future Master Series concert.

Geoff McGeary oam APT Company Owner

PRESENTED BY

APT MASTER SERIES

WEDNESDAY 9 SEPTEMBER, 8PM

FRIDAY 11 SEPTEMBER, 8PM

SATURDAY 12 SEPTEMBER, 8PM

SYDNEY OPERA HOUSE CONCERT HALL

Saturday’s performance will be broadcast across Australia by ABC Classic FM.

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

Estimated durations: 8 minutes, 25 minutes, 20-minute interval, 24 minutes, 15 minutes, 23 minutes The concert will conclude at approximately 10.10pm.

COVER IMAGE: The Roman Festivals of the Colosseum, painted by Juan Pablo Salinas in the 1900s.

ROMAN TRILOGYCharles Dutoit conductor Daniel Müller-Schott cello

HECTOR BERLIOZ (1803–1869) Roman Carnival – Overture, Op.9

ROBERT SCHUMANN (1810–1856) Cello Concerto in A minor, Op.129

Nicht zu schnell (Not too fast) – Langsam (Slowly) – Sehr lebhaft (Very lively)

INTERVAL

OTTORINO RESPIGHI (1879–1936)

Roman FestivalsCircuses – The Jubilee – October Festival – Epiphany (La Befana)

Fountains of RomeThe Fountain of Valle Giulia at Dawn – The Triton Fountain in the Morning –  The Fountain of Trevi at Midday – The Villa Medici Fountain at Sunset

Pines of RomePines of the Villa Borghese – Pines near a Catacomb – Pines of the Janiculum – Pines of the Appian Way

2015 concert season

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Carnival in Rome or ‘Roman Carnival that took place during the visit by the Tsarevich and his entourage’ was painted by Alexander Myasoedov during the 1839 visit to Rome of the future Alexander II of Russia. It incorporates more than a hundred historical figures, including Alexander himself, watching the celebrations from the balcony of the Palazzo Ruspoli.

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INTRODUCTION

Roman Trilogy

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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

If you’ve ever been tempted by the idea of a three-course meal

consisting entirely of desserts then this concert offers the

equivalent in musical indulgence. Tonight you can enjoy at length

the brilliance, exuberance and sheer magnificence of sound

that’s possible when 110 musicians gather on stage and play

some of the most exciting music ever conceived.

The program begins with Berlioz and his Roman Carnival

overture from 1844. The scene is the Lenten carnival; the

atmosphere is wild, uninhibited and slightly dangerous; there

is dancing in the streets. The painting opposite shows how a

Russian visiting Rome in 1839 captured it on canvas, just as

Berlioz captures it in music.

Berlioz’s music isn’t completely hedonistic – there is a more

subdued moment with a love theme from that most gorgeous

of instruments, the cor anglais. Similarly, Schumann’s Cello

Concerto offers a moment of relative quiet and refinement

in the program overall. It begins with the kind of magical

summons that Mendelssohn uses in his Midsummer Night’s

Dream overture – three chords that tie the concerto together.

Schumann had said he could not write a concerto ‘for the

virtuosos’ and that he would ‘have to try for something else’.

That something else is a slender and graceful masterwork,

finding its power in Schumann’s lyrical imagination and his

willingness to depart from convention.

The second half of the concert is given over to the music of

Respighi and something we’ve never done before: program all

three of his ‘Roman’ symphonic poems: Festivals, Fountains and

Pines. (The closest we’ve come is two, in a 1979 gala.) On the

cover of tonight’s program is an early 20th-century artist’s

imagined picture of Ancient Rome. In much the same way,

Respighi offers vivid musical pictures of an imagined time and

place, coloured by his ingenious use of the orchestra. It’s possible

you’ll leave tonight’s concert feeling slightly exhausted by so

much musical richness, but we hope the music will also leave

you feeling revitalised and alive.

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Berlioz in the early 1830s. The drawing is thought to be by Ingres.

ABOUT THE MUSIC

Hector Berlioz Roman Carnival – Overture, Op.9Berlioz’s Roman Carnival (Le Carnaval romain) represents a rescue mission: lifting its material from a failed opera to give the music new life on the concert stage. The opera was inspired by what Berlioz called the ‘strange career’ of Benvenuto Cellini of Florence. Cellini was a true Renaissance man: a soldier, a musician, an author, a goldsmith and an artist, best known today for his sculptures. His life made such a deep impression on Berlioz that the composer poured all his energy and enthusiasm into the opera, having – he wrote in his autobiography – ‘stupidly concluded that it would be both dramatic and interesting to other people’.

The plot, which takes place at the beginning of Lent in 1532, centres on the casting of an actual statue: Perseus holding the head of Medusa. It is a dramatic love story, with subterfuge, a lover’s abduction gone wrong and accusations of murder. Cellini’s craft and eleventh-hour ingenuity wins him a Papal pardon and the girl.

Berlioz offered Benvenuto Cellini to Henri Duponchel of the Paris Opéra, who, he says: ‘looked upon me as a species of lunatic – read the libretto and agreed to take my opera. After

KeynotesBERLIOZBorn La Côte-Saint-André, 1803 Died Paris, 1869

Berlioz set off for Paris when he was 18, ostensibly to study medicine (his father’s preference) but in reality following a musical path that would result in him becoming the ‘arch-Romantic’ composer of his age. Despite the fact that his main instrument was the guitar (he also played piano and flute, but badly), he became a master in the innovative use of the orchestra (he literally wrote the book) as well as a conductor.

ROMAN CARNIVAL

Berlioz called this piece a ‘character overture’. It’s not just a lively concert opener but music filled with musical imagery, colour, atmosphere and personality. The setting is the Carnival season in Rome, a time when daily life was turned on end, rules were broken, and the spirit of celebration spilled out onto the streets in the form of masquerades and parades. Berlioz captures some of that subversive feeling in music that’s based on a whirling Italian dance, the saltarello.

Roman Carnival was composed as a concert piece in 1844, drawing on musical themes from Berlioz’s failed opera Benvenuto Cellini.

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which he went about saying that he was going to put it on, not on account of the music, which was ridiculous, but of the book, which was charming.’

In his autobiography, Berlioz describes the unbelievable obstacles put in his path by those who tried to obstruct the production of the opera in 1838, and he tells of the incompetence and surly temper of François-Antoine Habeneck, who conducted the rehearsals. ‘Habeneck,’ says Berlioz, ‘never could manage the quick tempo of the saltarello; the dancers, unable to dance to his dragging measure, complained to me. I cried: “Faster! Faster! Wake up!” Habeneck, in a rage, hit the desk and broke his stick…I said calmly: “My good sir, breaking fifty sticks will not prevent your time being twice as slow as it ought to be. This is a saltarello…” If only I could have conducted myself…’

The opera received just four performances (a ‘deadly failure’) and Berlioz waited in vain for its rehabilitation. After six years he decided to use some of its material for a concert overture depicting the merry turmoil of Carnival time in Rome. Except for an interlude near the beginning, the music is of unashamed gaiety. It begins with the whirlwind saltarello, taken from the scene in the opera which presents the Lenten Carnival. There is a pause, and then the cor anglais presents a melody from the opera’s love duet. After more bustling and brilliantly coloured music, the dancing saltarello returns, dominating the overture to its tempestuous end. Despite the fact that Benvenuto Cellini is very rarely staged, the most musically exciting features of that work have survived in this ‘character overture’, as the composer called it.

ADAPTED FROM NOTES BY YVONNE FRINDLE

SYDNEY SYMPHONY ORCHESTRA © 2008/2012

Berlioz’s Roman Carnival calls for two flutes (one doubling piccolo),

two oboes (one doubling cor anglais), two clarinets and two bassoons;

four horns, two trumpets, two cornets and three trombones; timpani and

percussion; and strings.

The SSO first performed the Roman Carnival in 1939 under George Szell,

and most recently in 2012 conducted by David Zinman.

The SaltarelloSaltarello is Italian for ‘little hop’, summing up perfectly the character of this ancient dance. Generally speaking, it is a moderately quick dance, usually in triple time and involving many jumping steps. By Berlioz’s time the name had been applied to a folk dance that had emerged in Rome in the late 18th century. This could be a solo or a couple dance, and has been described as ‘increasingly rapid hopping steps around an imaginary semicircle, accompanied by “violent” arm movements’. Mendelssohn included a saltarello in the finale of his Italian Symphony (No.4).

Carnival in Rome‘Carnevale Romano’ has not been fully celebrated for more than a hundred years. Originally a pagan celebration of the coming of spring, it was adapted by the Christians, but the tradition of running wild remained. Masks, disguises, sweetmeats, confetti, candles and torches, drums, bands, horse racing, commedia dell’arte, dangerous liaisons…the Roman Carnival was a chance to shake off winter greyness and burst into colour.

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Robert Schumann Cello Concerto in A minor, Op.129Nicht zu schnell (Not too fast) – Langsam (Slowly) – Sehr lebhaft (Very lively)

Daniel Müller-Schott cello

The fluency and spontaneous grace of this work could be thought to reflect the single span of inspiration in which Schumann composed it. The work was composed by the 40-year-old, newly arrived in Düsseldorf from Dresden, in the space of 15 days – from 10 to 24 October 1850.

Schumann at first considered calling this masterpiece a Konzertstück (Concert Piece), to reflect its continuity and its less than concerto-length dimensions (it runs to about 25 minutes). However, it is only the brevity of the slow movement which could in any way threaten its claim to the grander title.

In contrast with certain passages in the Violin Concerto of 1853, Schumann here composed solo music that is well-pitched for the instrument. Schumann, though remembered as a pianist, in fact possessed a reasonably deep first-hand knowledge of the cello, having taken it up briefly after the injury in 1832 that put an end to his piano career. He once explained that he was able to handle the bow despite the paralysis which affected one of the fingers of his right hand.

Though Schumann didn’t study cello for long, this concerto is evidence that his time on the instrument paid off. As his wife, Clara, confided in her diary (16 November 1850): ‘Last month [Robert] composed a concerto for violoncello…It appears to be written in the true violoncello style.’

As always Clara was Schumann’s most perceptive critic and keenest admirer, and she added in her diary, a year later:

I have played Robert’s Cello Concerto again and thus procured for myself a truly musical and happy hour. The romantic quality, the flight, the freshness and the humour, and also the highly interesting interweaving of  cello and orchestra are, indeed, wholly ravishing, and what euphony and what deep sentiment are in all the melodic passages.

One could forgive Clara for being partisan, but in this case, her summary is quite apt. For once, Schumann’s habitually over-painted orchestration is under control. The cello is exploited for its eloquent tenor tone, and the work has a wonderful lyricism.

Schumann the musical poet is evident in the way each movement is linked to the next to allow for a continuity of

KeynotesSCHUMANNBorn Zwickau, 1810 Died Endenich, near Bonn, 1856

Schumann was a child of Romanticism: not only are his creations vividly imaginative and deeply lyrical, but he was aligned with the literary concerns of the Romantic era. It is no accident that he was a critic as well as a musician. At first he aspired to be a writer; he then pursued music under the guise of a law degree, studying piano with Friedrich Wieck in Leipzig. Wieck’s star pupil was his daughter Clara, and she and Robert fell in love, eventually marrying despite Wieck’s objections. Along the way Schumann injured his hand – exactly how and how much is disputed – thwarting his performing hopes but leaving the way open for him to focus on composition.

CELLO CONCERTO

Schumann conceived his cello concerto as a single-movement ‘concert piece’ for cello; in its final form the three ‘movements’ (fast–slow–fast) are played without pause, creating a seamless work. The music was composed in just a few weeks in 1850 and Schumann had a word for the heat of inspiration he experienced – Compositionsgelüste, or ‘urgent desires to compose’. The result is spontaneous and fervent.

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thought unlikely to be broken by applause, and in the eschewal of virtuosity for its own sake. ‘I cannot write a concerto for the virtuosos,’ Schumann had commented early in his career. The cadenza is in fact shifted from the first movement to the last, so that an audience may first attend to the warmth and scope of the musical ideas. The triplets in the first movement are the only early concessions to virtuosity.

There is no orchestral introduction as was customary in the Classical concerto – just four bars of material which introduces a sweeping opening melody in the cello. The cello goes on for some time in its attractive tenor register, until a more vigorous orchestral passage takes over. Then a secondary, slightly more chromatic, more rhythmically-pointed melody is heard, before triplets are introduced in the codetta, taking the listener almost imperceptibly into the development section, a passage notable for pert, light scoring for the orchestra and long, flowing responses in the solo cello. A recollection of the opening melody in more languorous mood, in the remote key of F sharp minor, marks the furthest point of the development, before a return to the material of the opening section, now slightly varied.

A gradual retarding of the coda leads to the slow movement, where traditionally the soloist plays in duet with the leader of the orchestral cellos. It is only 34 bars long, but rises to a glorious climax with the cello in its tenor register. An accelerating coloratura leads to the last movement. Here the cello takes on a more playful character, while remaining essentially melodic.

GORDON KALTON WILLIAMS

SYMPHONY AUSTRALIA © 1997

Schumann’s Cello Concerto calls for a modest-sized orchestra comprising

pairs of flutes, oboes, clarinets, bassoons, horns and trumpets; timpani

and strings.

The concerto was first performed in Leipzig on 9 June 1860, four years

after the composer’s death, in a concert in honour of what would have

been his 50th birthday; the soloist was Ludwig Ebert. In 1950 the SSO

was the first ABC orchestra to perform the concerto, with conductor

Alceo Galliera and soloist Edmund Kurtz. Our most recent performance

was in 2010 with Johannes Moser and conductor Alexander Vedernikov.

‘I cannot write a concerto for the virtuosos. I must try for something else.’ ROBERT SCHUMANN

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KeynotesRESPIGHIBorn Bologna, 1879 Died Rome, 1936

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

Ottorino Respighi Respighi is an intriguing figure in 20th-century music. He was Italian-born and Russian-and-German-educated, but his compositional influences virtually bypassed the Romantic and Classical periods altogether. He and his composer peers explored a range of ideas in a bid to create a uniquely Italian, especially non-operatic, music in the wake of the social upheavals of Unification. These ideas, evident to varying degrees in all of Respighi’s music, come together in his ‘Roman trilogy’: the revival of early Italian music; an interest in the ancient modes and Gregorian chant of the early church; openness to the latest musical developments abroad (Debussy, Strauss and Stravinsky, in particular); the exploration of folk and popular music; and a fascination with the glories of ancient Rome.

Although he was born in Bologna, Ottorino Respighi adored Rome and spent much of his later life there teaching at the Accademia di Santa Cecilia. His fascination with the landscapes and life of the city ultimately resulted in three of his best-known pieces: Fountains of Rome (completed 1916), Pines of Rome (1924) and Roman Festivals (1928).

Despite their obviously Italian topics, these orchestral pieces bear the direct influence of Nikolai Rimsky-Korsakov, with whom Respighi studied in Russia. From Rimsky-Korsakov, Respighi developed a thorough knowledge of orchestration techniques, which was coupled with his own innate ability to present strikingly visual imagery through musical forms.

Respighi’s major orchestral works have never lacked an appreciative audience, nor great conductors such as Arturo Toscanini and Herbert von Karajan to champion their cause, but they have tended to be underrated by critics and scholars. The misunderstanding and critical neglect seem to stem from the fact that Respighi was an ‘ancient’ in a modern world. It’s only more recently – as the ‘pre-classical’, often-modal works of composers such as Henryk Górecki, Arvo Pärt and John Tavener have found success – that Respighi’s music, which shares so many of the same attributes has found wider appreciation. If nothing else it can be appreciated for its lyrical inspiration and sophisticated orchestration alone.

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ROMAN TRILOGY

Each of the three symphonic poems in the Roman trilogy is divided into four distinct movements, played without pause.

In Roman Festivals each movement is an independent musical picture suggesting the atmosphere of a particular ‘festival’. These are traditional holidays or religious celebrations from across the ages, beginning in the days of ancient Rome and moving into the modern Christian era.

In Fountains of Rome each movement depicts a landmark fountain at a particular time of day: dawn mists draping the fountain of Valle Giulia; the joyous dance of water in the Triton fountain in the morning; a solemn midday procession at the Trevi fountain, and a nostalgic sunset at the Villa Medici fountain. Compared to Festivals and Pines, Fountains is a quieter and more delicate work.

Each section of Pines of Rome depicts views of Roman pine trees: at the gate of the Villa Borghese (lively and festive), overlooking the catacombs (slow and sombre), in the moonlight on the Janiculum hill (beginning with impressionist rippling from the piano and floating clarinet), and along the Appian Way (the tread of an ancient army giving rise to glorious triumph). Listen for the sound of the nightingale in the third movement.

Roman Festivals (Feste romane) Circuses – The Jubilee – October Festival – Epiphany (La Befana)

The four movements are played without pause.

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

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

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

In his orchestration Respighi specifies the use of buccine, the horn-trumpet of Roman legion fanfares, to herald the start of the games. (Today, modern trumpets are substituted.)

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

By the early 20th century, the ancient Romans’ Bacchanalian and Dionysian celebrations of the October grape harvest had changed to Sunday outings around Rome known as La Ottobrata (or the October Festival). Departing in the early hours of the morning, carts drawn by horses wearing bell-collars would carry fancily dressed girls (their male friends and family would follow on foot) to fields near castles on the outskirts of Rome.

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

The Italian word Befana is a distortion of Epifania, or Epiphany, the Christian feast day that falls on 6 January, marking the end of the twelve days of Christmas. Tradition has it that on the eve

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of this national holiday in Italy, an old woman on a flying broom (La Befana) enters the house via the chimney to fill children’s stockings with gifts (for those who have been good) or lumps of coal (for those who have not).

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

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

Fountains of Rome (Fontane di Roma)The Fountain of Valle Giulia at Dawn – The Triton Fountain in the Morning –  The Fountain of Trevi at Midday – The Villa Medici Fountain at Sunset

The four movements are played without pause.

Respighi himself sanctioned a contemporary program note on his Fountains of Rome, which was published with the score:

In this symphonic poem the composer has endeavoured to give impression to the sentiments and visions suggested to him by four of Rome’s fountains, contemplated at the hour in which their character is most in harmony with the surrounding landscape, or in which their beauty appears most impressive to the observer.

The first part, inspired by the Fountain of Valle Giulia, depicts a pastoral landscape: droves of cattle pass and disappear in the fresh damp mists of a Roman dawn.

A sudden loud and insistent blast of horns above the trills of the whole orchestra introduces the second part, The Triton Fountain in the Morning. It is like a joyous call, summoning troops of naiads and tritons who come running up, pursuing each other and mingling in a frenzied dance between the jets of water.

Next there appears a solemn theme, borne on the undulations of the orchestra. It is the Fountain of Trevi at Midday. The solemn theme, passing from the woodwind to the brass instruments, assumes a triumphal character. Trumpets peal; across the radiant surface of the water there passes Neptune’s chariot, drawn by sea-horses and followed by a train of sirens and tritons. The procession then vanishes, while faint trumpet blasts resound in the distance.

The fourth part, The Villa Medici Fountain at Sunset, is announced by a sad theme which rises above a subdued warbling. It is the nostalgic hour of sunset…

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Pietro Bracci’s sculpture of the god Oceanus stands in the central niche of the Trevi Fountain (1762).

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Pines of Rome (Pini di Roma)Pines of the Villa Borghese – Pines near a Catacomb – Pines of the Janiculum – Pines of the Appian Way

The four movements are played without pause.

Pines of Rome begins at the gate to the Villa Borghese, which was located less than half a kilometre from the composer’s residence. The gate is thrown open to reveal a playground full of children scurrying about. They are depicted (at first in the woodwinds) by a traditional Italian nursery rhyme, similar to ‘Ring Around a Rosy’. Towards the end of this first movement, raucous blasts on trumpets and a military theme portray the young children mimicking soldiers.

Pines near a Catacomb, the second movement, is based on an Advent plainchant – ‘Veni, veni, Emmanuel’ – which depicts the solemn atmosphere inside the Catacombs. The hymn builds slowly, starting with fragments of the melody played by the horns, winds and strings. It is not until the arrival of the trumpets, however, that the hymn is fully realised, allowing the melody to swell to a climax before the ‘dead-stillness’ of the Catacombs is restored. Respighi was to become fascinated with using sacred music as the basis for his own compositions, as demonstrated in the use of Gregorian chant in several of his later pieces, including Church Windows and the Concerto Gregoriano.

Pines of the Janiculum (with its dreamlike piano introduction), also deals with the subject of darkness, but in a very different context. Gone is the sombre, almost mystical atmosphere, to be replaced by a nocturnal scene. Respighi evokes the image of the moonlight outlining the pine trees, and does so with a pensive clarinet melody that dominates the first half of the movement. The nocturne concludes with the awakening of a nightingale. To achieve this, Respighi requested that the sound of a real nightingale should be used from a gramophone recording.

The final movement, Pines of the Appian Way, begins with the distant rumble of soldiers marching in step, as they return triumphant from battle. The movement is a sustained crescendo, culminating in resplendent writing for brass, at which point Respighi introduces six extra brass parts (often played by pairs of soprano, tenor and bass flugelhorns, or, as in this concert, by trumpets, bass trumpets and trombones). He calls these buccine in reference to the martial brass instruments of ancient Rome.

ADAPTED IN PART FROM NOTES BY VINCENT CICCARELLO (Festivals © 2013), MARTIN BUZACOTT (Fountains © 1998) AND BURHAN GÜNER (Pines © 1998)

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Twilight view of Rome from Mount Janiculum (detail) by David Roberts (1796–1864).

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Sydney Opera House TrustTrustees: Nicholas Moore [Chair], Catherine Brenner, The Hon Helen Coonan, Brenna Hobson, Chris Knoblanche am, Deborah Mailman, Peter Mason am, Jillian Segal am, Robert Wannan, Phillip Wolanski am

Chief Executive Officer: Louise Herron am

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

Roman Festivals has parts for three flutes (one doubling piccolo),

two oboes, cor anglais, two clarinets, bass clarinet and E-flat clarinet,

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

trombones and tuba with an additional three trumpets; timpani and a very

large percussion section (calling for nine players); piano duet, organ and

mandolin; and strings.

Fountains of Rome calls for a relatively modest orchestra comprising

two flutes, piccolo, two oboes, cor anglais, two clarinets, bass clarinet

and two bassoons; four horns, three trumpets, three trombones and tuba;

timpani and three percussion; two harps, celesta, piano and organ;

and strings.

Pines of Rome calls for an orchestra of three flutes (one doubling piccolo),

two oboes, cor anglais, two clarinets, bass clarinet, two bassoons and

contrabassoon; four horns, three trumpets and four trombones; six

‘buccine’; timpani and a large percussion section that includes a recording

of a nightingale; harp, celesta, piano and organ; and strings.

The SSO gave the first ABC

orchestra performances of all three

works in the Roman trilogy: Roman

Festivals in 1939 (conducted by

Antal Doráti), Pines of Rome in 1946

(Eugene Goossens) and Fountains

of Rome in 1949 (Joseph Post).

The only time we have performed

more than one of the works in

a single program was in 1979 when

Patrick Thomas conducted Pines

and Festivals in a ‘Capriccio Italiano’

gala concert. Our most recent

performances of these two works

were in 2013, when John Adams

conducted Pines and Charles

Olivieri-Munroe conducted Festivals.

We have not performed Fountains

since 1989, when it was conducted

by Hiroyuki Iwaki.

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Dutoit, Fountains by the Orchestre de la Suisse Romande with Ernest Ansermet, and Pines by the Cleveland Orchestra with Lorin Maazel.DECCA 443 7592

Broadcast Diary

September–October

abc.net.au/classic

Saturday 12 September, 8pmROMAN TRILOGYSee this program for details.

Saturday 26 September, 8pmANNE-SOPHIE MUTTER PLAYS DVOŘÁK Jakub Hrůša conductor Anne-Sophie Mutter violinDvořák, Beethoven

Saturday 10 October, 2pmSIBELIUS 2David Robertson conductor Andrew Haveron violinSculthorpe, Walton, Sibelius

Tuesday 20 October, 9.30pmBEETHOVEN’S MISSA SOLEMNISDavid Robertson conductor Susanna Phillips, Olesya Petrova, Stuart Skelton, Shenyang vocal soloists Sydney Philharmonia Choirs

SSO RadioSelected SSO performances, as recorded by the ABC, are available on demand: sydneysymphony.com/SSO_radio

SYDNEY SYMPHONY ORCHESTRA HOURTuesday 13 October, 6pmMusicians and staff of the SSO talk about the life of the orchestra and forthcoming concerts. Hosted by Andrew Bukenya.

finemusicfm.com

MORE MUSIC

BERLIOZ Berlioz rarely did anything by halves, nor need you. If you’re after a Berlioz immersion there are several collections to look for. From Charles Dutoit and the Montreal Symphony Orchestra and Chorus there is a 17-CD collectors edition, Berlioz Masterworks, that includes nearly all the orchestral and choral works, including the Roman Carnival overture.DECCA 478 5577

If you’re curious to hear more from Berlioz’s opera Benvenuto Cellini, then Colin Davis’s electrifying 1972 recording starring tenor Nicolai Gedda is an excellent place to begin. The BBC Symphony Orchestra is joined by the chorus of the Royal Opera House Covent Garden. Out of print, but available as an ArkivCD from arkivmusic.com or as a download in various formats from deccaclassics.com.DECCA 416 9552

SCHUMANNDaniel Müller-Schott has recorded the Schumann Cello Concerto with the NDR Symphony Orchestra and Christoph Eschenbach, available on an album with Bruch’s Kol Nidrei, Richard Strauss’s Romance for cello and orchestra and, in an intriguing combination, the cello concerto by Schumann’s younger contemporary Robert Volkmann.ORFEO 781091

Among Müller-Schott’s teachers and mentors was Mstislav Rostropovich, whose 1961 recording of the Schumann Cello Concerto (Leningrad Symphony Orchestra conducted by Gennadi Rozhdestvensky) can be found paired with Schumann’s Piano Concerto in A minor, with Martha Argerich as soloist and Rostropovich conducting the National Symphony Orchestra (1978).DEUTSCHE GRAMMOPHON 449100

RESPIGHI IN ROMEYou can hear Charles Dutoit conduct the complete Roman trilogy in a recording with Montreal Symphony Orchestra, available as a download.DECCA 410 1452

And if you’d like to explore more orchestral music by Respighi, there is the ‘Double Decca’ 2-CD set The Essential Respighi with a variety of great performances from the catalogue in a program that includes The Birds (Gli uccelli), Botticelli Triptych and the three suites of Ancient Airs and Dances as well as the Roman trilogy. Roman Festivals is performed by the Montreal Symphony Orchestra with Charles

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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

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

LOOK OUT FOR…

Our recording of Holst’s Planets with David Robertson. Available now!

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 ODYSSEY

The 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, Kindertotenlieder and Das Lied von der Erde. Available in a handsome boxed set of 12 discs or individually.

Join us on Facebook facebook.com/sydneysymphony

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

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SSO Online

20

Charles Dutoit is one of today’s most sought-after conductors, having performed with all the major orchestras of the five continents. He has been a regular visitor to Sydney since 1977, and his most recent appearance with the SSO was in 2013.

He is Artistic Director and Principal Conductor of the Royal Philharmonic Orchestra, and recently celebrated his 30-year artistic collaboration with the Philadelphia Orchestra, receiving the title of Conductor Laureate. Each season he conducts the orchestras of Chicago, Boston, San Francisco, New York and Los Angeles, and he is also a regular guest on the stages in London, Berlin, Paris, Munich, Moscow, Beijing, Hong Kong and Shanghai, among others. His discography of more than 200 recordings has garnered him many awards, including two Grammys.

For 25 years, he was Artistic Director of the Montreal Symphony Orchestra. Other titled posts have included Music Director of the Orchestre National de France (1991–2001) and Principal Conductor then Music Director (1996–2003) of the NHK Symphony Orchestra in Tokyo, where he is now Music Director Emeritus. Supporting the development of a younger generation of musicians, Charles Dutoit has been Music Director of the Sapporo Pacific Music Festival and Miyazaki International Music Festival in Japan as well as the Canton

International Summer Music Academy in Guangzhou. In 2009 he became Music Director of the Verbier Festival Orchestra.

When still in his early 20s, he was invited by Herbert von Karajan to conduct the Vienna State Opera. He has since conducted at Covent Garden, the Metropolitan Opera, Deutsche Oper in Berlin, Rome Opera and Teatro Colón in Buenos Aires.

His honours and accolades include Grand Officier de l’Ordre national du Québec, Commandeur de l’Ordre des Arts et des Lettres (France), Honorary Officer of the Order of Canada, Honorary Citizen of the City of Philadelphia, and honorary doctorates from the universities of McGill, Montreal and Laval and the Curtis School of Music. In 2007 he received the Gold Medal of the city of Lausanne, his birthplace, and in 2014 he was given the Lifetime Achievement Award in the International Classical Music Awards.

Charles Dutoit’s musical training included violin, viola, piano, percussion, history of music and composition at the conservatoires and music academies of Geneva, Siena, Venice and Boston.

A globetrotter motivated by his passion for history and archaeology, political science, art and architecture, he has travelled in all 196 nations of the world.

Charles Dutoit conductor

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NDR Hannover and Andrew Manze, Netherlands Philharmonic and Marc Albrecht, Taiwan National Symphony orchestra with Thomas Dausgaard, and the Yomiuri Nippon Orchestra in Japan with Jun Märkl.

Projects for the 2015–16 season will include tours with the Washington National Symphony Orchestra and Christoph Eschenbach, and with the Dallas Symphony Orchestra and Jun Märkl, as well as concerto performances with the Leipzig Gewandhaus Orchestra, Tonhalle Orchestra in Zurich, Rotterdam Philhamonic, Bonn Beethoven Orchestra and the Malaysian Philharmonic.

Last year he released a recording of the Dvořák Cello Concerto with the NDR Hamburg Symphony Orchestra and Michael Sanderling. His recordings also include the Britten Cello Symphony and Prokofiev’s Symphony-Concerto, both with the SDR Köln Radio Orchestra and its music director Jukka-Pekka Saraste, and the Bach solo cello suites.

This is his first appearance with the Sydney Symphony Orchestra; he has previously appeared in Sydney as a guest of the Australian Chamber Orchestra.

Daniel Müller-Schott plays the ‘Ex Shapiro’ Matteo Goffriller, made in Venice in 1727. www.daniel-mueller-schott.com

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Daniel Müller-Schottcello

Born in Munich in 1976, Daniel Müller-Schott studied with Walter Nothas, Heinrich Schiff and Steven Isserlis, and was a scholar recipient of the Anne-Sophie Mutter Foundation, enabling him to study for a year with Mstislav Rostropovich. (More recently the Anne-Sophie Mutter Foundation awarded him the Aida Stucki Prize in acknowledgement of his outstanding contribution to the cello repertoire.)

When he was just 15 years old, he won first prize in the 1992 Moscow International Tchaikovsky Competition for Young Musicians. Since then he has appeared in many of the world’s great concert halls, performing with the Leipzig Gewandhaus Orchestra, Munich Philharmonic, Orchestre National de Radio France in Paris, Philharmonia Orchestra, BBC Symphony Orchestra, City of Birmingham Symphony Orchestra, New York Philharmonic, Cleveland Orchestra, San Francisco Symphony, Seoul Philharmonic and Tokyo’s NHK Symphony. He has also given the premieres of concertos composed for him by André Previn and Peter Ruzicka.

Recent highlights have included performances with the Orchestre National de France conducted by Lionel Bringuier, Royal Liverpool Philharmonic Orchestra and Yan-Pascal Tortelier, RTE National Orchestra Dublin and Alan Buribayev, Royal Scottish National Orchestra and Gilbert Varga, Gulbenkian Orchestra and Paul McCreesh,

22

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 second year of David Robertson’s tenure as Chief Conductor and Artistic Director.

DAVID ROBERTSON THE LOWY CHAIR OF

CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

PATRON Professor The Hon. Dame Marie Bashir ad cvo

23

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 RobertsonTHE LOWY CHAIR OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

Dene OldingCONCERTMASTER

Andrew HaveronCONCERTMASTER

Toby ThatcherASSISTANT CONDUCTOR SUPPORTED BY CREDIT SUISSE, RACHEL & GEOFFREY O’CONOR AND SYMPHONY SERVICES INTERNATIONAL

FIRST VIOLINS Andrew Haveron CONCERTMASTER

Kirsten Williams ASSOCIATE CONCERTMASTER

Sun Yi ASSOCIATE CONCERTMASTER

Lerida Delbridge ASSISTANT CONCERTMASTER

Fiona Ziegler ASSISTANT CONCERTMASTER

Jenny BoothSophie ColeClaire HerrickGeorges LentzNicola LewisEmily LongAlexandra MitchellLéone ZieglerVictoria Bihun†

Thibaud Pavlovic-Hobba†

Emily Qin°Dene Olding CONCERTMASTER

Amber DavisAlexander Norton

SECOND VIOLINS Kirsty Hilton Marina Marsden Marianne BroadfootEmma Jezek ASSISTANT PRINCIPAL

Freya FranzenEmma HayesShuti HuangStan W KornelBenjamin LiNicole MastersPhilippa PaigeBiyana RozenblitMaja VerunicaElizabeth Jones°

VIOLASRoger Benedict Justin Williams ASSISTANT PRINCIPAL

Sandro CostantinoRosemary CurtinJane HazelwoodGraham HenningsStuart JohnsonJustine MarsdenFelicity TsaiAmanda VernerLeonid VolovelskyJacqueline Cronin*Tobias Breider Anne-Louise Comerford

CELLOSUmberto ClericiCatherine Hewgill Leah Lynn ASSISTANT PRINCIPAL

Kristy ConrauFenella GillElizabeth NevilleTimothy NankervisAdrian WallisDavid WickhamRowena Macneish*Christopher Pidcock

DOUBLE BASSESKees Boersma Alex Henery David CampbellSteven LarsonRichard LynnBenjamin WardJosef Bisits°John Keene†

Neil Brawley PRINCIPAL EMERITUS

FLUTES Emma Sholl Carolyn HarrisRosamund Plummer PRINCIPAL PICCOLO

Janet Webb

OBOESShefali Pryor David PappAlexandre Oguey PRINCIPAL COR ANGLAIS

Diana Doherty

CLARINETSFrancesco Celata Christopher TingayCraig Wernicke PRINCIPAL BASS CLARINET

Sandra Ismail*

BASSOONSMatthew Wilkie Fiona McNamaraNoriko Shimada PRINCIPAL CONTRABASSOON

HORNSBen Jacks Robert Johnson Geoffrey O’Reilly PRINCIPAL 3RD

Euan HarveyMarnie SebireRachel Silver

TRUMPETSDavid Elton Craig Ross*Anthony HeinrichsDaniel Henderson*Owen Morris†

Rosie Turner°Paul Goodchild

BASS TRUMPETMinami Takahashi*

TROMBONESRonald Prussing Scott Kinmont Nick ByrneChristopher Harris PRINCIPAL BASS TROMBONE

Nigel Crocker*Iain Faragher†

TUBASteve Rossé

TIMPANIRichard Miller

PERCUSSIONRebecca Lagos Timothy ConstableMark Robinson Tim Brigden*Ian Cleworth*Gabriel Fischer†

Joshua Hill*Chiron Meller*Alison Pratt*Philip South*

HARP Louise Johnson Genevieve Huppert*

MANDOLINStephen Lalor*

PIANO/CELESTALouisa Breen* Catherine Davis*

ORGANDavid Drury*

° = CONTRACT MUSICIAN

* = GUEST MUSICIAN† = SSO FELLOW

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

24

BEHIND THE SCENES

Sydney Symphony Orchestra StaffMANAGING DIRECTORRory Jeffes

EXECUTIVE TEAM ASSISTANTLisa Davies-Galli

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC PLANNINGBenjamin Schwartz

ARTISTIC ADMINISTRATION MANAGER Eleasha Mah

ARTIST LIAISON MANAGERIlmar Leetberg

RECORDING ENTERPRISE MANAGER Philip Powers

LibraryAnna CernikVictoria GrantMary-Ann Mead

LEARNING AND ENGAGEMENT

DIRECTOR OF LEARNING AND ENGAGEMENT Linda Lorenza

EMERGING ARTISTS PROGRAM MANAGER Rachel McLarin

EDUCATION MANAGER Amy Walsh

EDUCATION OFFICER Tim Walsh

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA MANAGEMENT Aernout Kerbert

ORCHESTRA MANAGERRachel Whealy

ORCHESTRA COORDINATOR Rosie Marks-Smith

OPERATIONS MANAGER Kerry-Anne Cook

PRODUCTION MANAGER Laura Daniel

STAGE MANAGERCourtney Wilson

PRODUCTION COORDINATORSElissa SeedOllie Townsend

PRODUCER, SPECIAL EVENTSMark Sutcliffe

SALES AND MARKETING

DIRECTOR OF SALES & MARKETINGMark J Elliott

MARKETING MANAGER, SUBSCRIPTION SALES Simon Crossley-Meates

SENIOR SALES & MARKETING MANAGERPenny Evans

A/ SENIOR SALES & MARKETING MANAGER Matthew Rive

MARKETING MANAGER, WEB & DIGITAL MEDIA Eve Le Gall

MARKETING MANAGER, CRM & DATABASEMatthew Hodge

A/ SALES & MARKETING MANAGER, SINGLE TICKET CAMPAIGNSJonathon Symonds

DATABASE ANALYSTDavid Patrick

SENIOR GRAPHIC DESIGNERChristie Brewster GRAPHIC DESIGNER

Tessa ConnSENIOR ONLINE MARKETING COORDINATOR

Jenny SargantMARKETING ASSISTANT

Laura Andrew

Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlinBOX OFFICE SYSTEMS SUPERVISOR

Jennifer LaingBOX OFFICE BUSINESS ADMINISTRATOR

John RobertsonCUSTOMER SERVICE REPRESENTATIVES

Karen Wagg – CS ManagerRosie BakerMichael Dowling

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

EXTERNAL RELATIONSDIRECTOR OF EXTERNAL RELATIONS

Yvonne Zammit

PhilanthropyPHILANTHROPY MANAGER

Jennifer DrysdalePATRONS EXECUTIVE

Sarah MorrisbyPHILANTHROPY COORDINATOR

Claire Whittle

Corporate RelationsCORPORATE PARTNERSHIPS MANAGER

Belinda BessonCORPORATE PARTNERSHIPS EXECUTIVE

Paloma Gould

CommunicationsCOMMUNICATIONS & MEDIA MANAGER

Bridget CormackPUBLICIST

Caitlin BenetatosDIGITAL CONTENT PRODUCER

Kai Raisbeck

BUSINESS SERVICES

DIRECTOR OF FINANCE

John HornFINANCE MANAGER

Ruth Tolentino ACCOUNTANT

Minerva Prescott ACCOUNTS ASSISTANT

Emma Ferrer PAYROLL OFFICER

Laura Soutter

PEOPLE AND CULTUREIN-HOUSE COUNSEL

Michel Maree Hryce

Terrey Arcus AM Chairman Ewen Crouch AM

Ross GrantCatherine HewgillJennifer HoyRory JeffesDavid LivingstoneThe Hon. Justice AJ Meagher Goetz Richter

Sydney Symphony Orchestra CouncilGeoff Ainsworth AM

Doug BattersbyChristine BishopThe Hon John Della Bosca MLC

John C Conde ao

Michael J Crouch AO

Alan FangErin FlahertyDr Stephen Freiberg Simon JohnsonGary LinnaneHelen Lynch AM

David Maloney AM Justice Jane Mathews AO Danny MayJane MorschelDr Eileen OngAndy PlummerDeirdre Plummer Seamus Robert Quick Paul Salteri AM

Sandra SalteriJuliana SchaefferFred Stein OAM

John van OgtropBrian WhiteRosemary White

HONORARY COUNCIL MEMBERSIta Buttrose AO OBE Donald Hazelwood AO OBE

Yvonne Kenny AM

David Malouf AO

Wendy McCarthy AO

Leo Schofield AM

Peter Weiss AO

Anthony Whelan mbe

Sydney Symphony Orchestra Board

25

SSO PATRONS

Maestro’s Circle

David Robertson

Peter Weiss AO Founding President & Doris Weiss

Terrey Arcus AM Chairman & Anne Arcus

Brian Abel

Tom Breen & Rachel Kohn

The Berg Family Foundation

John C Conde AO

Andrew Kaldor AM & Renata Kaldor AO

Vicki Olsson

Roslyn Packer AO

David Robertson & Orli Shaham

Penelope Seidler AM

Mr Fred Street AM & Dorothy Street

Brian White AO & Rosemary White

Ray Wilson OAM in memory of the late James Agapitos OAM

Supporting the artistic vision of David Robertson, Chief Conductor and Artistic Director

Chair PatronsDavid RobertsonThe Lowy Chair of Chief Conductor and Artistic Director

Roger BenedictPrincipal ViolaKim Williams AM & Catherine Dovey Chair

Kees BoersmaPrincipal Double BassSSO Council Chair

Umberto ClericiPrincipal CelloGarry & Shiva Rich Chair

Timothy ConstablePercussionJustice Jane Mathews AO Chair

Lerida DelbridgeAssistant ConcertmasterSimon Johnson Chair

Diana DohertyPrincipal OboeJohn C Conde AO Chair

Richard Gill oam

Artistic Director, DownerTenix DiscoveryPaul Salteri AM & Sandra Salteri Chair

Jane HazelwoodViolaBob & Julie Clampett Chair in memory of Carolyn Clampett

Catherine HewgillPrincipal CelloThe Hon. Justice AJ & Mrs Fran Meagher Chair

Robert JohnsonPrincipal HornJames & Leonie Furber Chair

Leah LynnAssistant Principal CelloSSO Vanguard Chair With lead support from Taine Moufarrige, Seamus R Quick, and Chris Robertson & Katherine Shaw

Elizabeth NevilleCelloRuth & Bob Magid Chair

Shefali PryorAssociate Principal OboeMrs Barbara Murphy Chair

Emma ShollAssociate Principal FluteRobert & Janet Constable Chair

Janet WebbPrincipal FluteHelen Lynch AM & Helen Bauer Chair

Kirsten WilliamsAssociate ConcertmasterI Kallinikos Chair

FOR INFORMATION ABOUT THE CHAIR PATRONS

PROGRAM, CALL (02) 8215 4625.

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Lerida Delbridge was appointed Assistant Concertmaster of the SSO in 2013. She is a founding member of the Tinalley String Quartet and was previously a member of the Melbourne Symphony Orchestra. SSO Council member and leading providore Simon Johnson has been following Lerida’s career since her days in the Australian Youth Orchestra and is delighted to support her chair.

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Learning & Engagement

SSO PATRONS

fellowship patronsRobert Albert AO & Elizabeth Albert Flute ChairChristine Bishop Percussion ChairSandra & Neil Burns Clarinet ChairIn Memory of Matthew Krel Violin ChairMrs T Merewether OAM Horn ChairPaul Salteri AM & Sandra Salteri Violin and Viola ChairsMrs W Stening Cello ChairKim Williams AM & Catherine Dovey Patrons of Roger Benedict,

Artistic Director, FellowshipJune & Alan Woods Family Bequest Bassoon ChairAnonymous Double Bass ChairAnonymous Trumpet Chair

fellowship supporting patronsMr Stephen J BellJoan MacKenzie ScholarshipDrs Eileen & Keith OngIn Memory of Geoff White

tuned-up!TunED-Up! is made possible with the generous support of Fred Street AM & Dorothy Street

Additional support provided by:Anne Arcus & Terrey Arcus AM

Ian & Jennifer Burton Ian Dickson & Reg HollowayMrs Barbara MurphyTony Strachan

major education donorsBronze Patrons & above

John Augustus & Kim RyrieBob & Julie ClampettHoward & Maureen ConnorsThe Greatorex FoundationJ A McKernanBarbara MaidmentMr & Mrs Nigel PriceDrs Eileen & Keith OngMr Robert & Mrs Rosemary Walsh

Sydney Symphony Orchestra 2015 Fellows

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Commissioning CircleSupporting the creation of new works.

ANZAC Centenary Arts and Culture FundGeoff Ainsworth AM

Christine BishopDr John EdmondsAndrew Kaldor AM & Renata Kaldor AO

Jane Mathews AO

Mrs Barbara MurphyNexus ITVicki OlssonCaroline & Tim RogersGeoff StearnDr Richard T WhiteAnonymous

A U S T R A L I A - K O R E AF O U N D A T I O N

Foundations

“Patrons allow us to dream of projects, and then share them with others. What could be more rewarding?” DAVID ROBERTSON SSO Chief Conductor and Artistic Director

BECOME A PATRON TODAY. Call: (02) 8215 4650 Email: philanthropy@sydneysymphony.com

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Stuart Challender Legacy Society

Celebrating the vision of donors who are leaving a bequest to the SSO.

Henri W Aram OAM & Robin Aram

Stephen J BellMr David & Mrs Halina BrettR BurnsHoward ConnorsGreta DavisBrian GalwayMichele Gannon-MillerMiss Pauline M Griffin AM

John Lam-Po-TangPeter Lazar AM

Daniel LemesleLouise MillerJames & Elsie MooreVincent Kevin Morris &

Desmond McNallyMrs Barbara MurphyDouglas PaisleyKate RobertsMary Vallentine AO

Ray Wilson OAM

Anonymous (10)

Stuart Challender, SSO Chief Conductor and Artistic Director 1987–1991

bequest donors

We gratefully acknowledge donors who have left a bequest to the SSO.

The late Mrs Lenore AdamsonEstate of Carolyn ClampettEstate Of Jonathan Earl William ClarkEstate of Colin T EnderbyEstate of Mrs E HerrmanEstate of Irwin ImhofThe late Mrs Isabelle JosephThe Estate of Dr Lynn JosephThe Late Greta C RyanEstate of Rex Foster SmartJune & Alan Woods Family Bequest

IF YOU WOULD LIKE MORE INFORMATION ON

MAKING A BEQUEST TO THE SSO, PLEASE

CONTACT LUKE GAY ON 8215 4625.

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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.

Playing Your Part

DIAMOND PATRONS $50,000+Anne & Terrey Arcus am

In Memory of Matthew KrelMr Frank Lowy ac & Mrs Shirley

Lowy oam

Roslyn Packer ao

Paul Salteri am & Sandra Salteri

Estate of the late Rex Foster Smart

Peter Weiss ao & Doris WeissMr Brian White ao &

Mrs Rosemary White

PLATINUM PATRONS$30,000–$49,999Doug and Alison BattersbyMr John C Conde ao

Robert & Janet ConstableMr Andrew Kaldor am &

Mrs Renata Kaldor ao

Mrs Barbara MurphyVicki OlssonMrs W SteningMr Fred Street am &

Mrs Dorothy StreetKim Williams am & Catherine

Dovey

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

AlbertThe Berg Family FoundationTom Breen & Rachael KohnSandra & Neil BurnsEstate of Jonathan Earl

William ClarkJames & Leonie FurberI KallinikosHelen Lynch am & Helen

BauerJustice Jane Mathews ao

Mrs T Merewether oam

Rachel & Geoffrey O’ConorAndy & Deirdre PlummerGarry & Shiva RichDavid Robertson & Orli

ShahamMrs Penelope Seidler am

G & C Solomon in memory of Joan MacKenzie

Ray Wilson oam in memory of James Agapitos oam

Anonymous (2)

SILVER PATRONS $10,000–$19,999Geoff Ainsworth am

Christine BishopAudrey BlundenMr Robert BrakspearMr Robert & Mrs L Alison CarrBob & Julie ClampettMichael Crouch ao & Shanny

CrouchIan Dickson & Reg HollowayPaul EspieEdward & Diane FedermanNora GoodridgeMr Ross GrantThe Estate of Mr Irwin ImhofSimon JohnsonRuth & Bob MagidSusan Maple-Brown The Hon Justice AJ Meagher &

Mrs Fran MeagherMr John MorschelDrs Keith & Eileen OngMr and Mrs Nigel PriceKenneth R Reed am

Mrs Joyce Sproat & Mrs Janet Cooke

John Symond am

The Harry Triguboff FoundationCaroline WilkinsonJune & Alan Woods Family

BequestAnonymous (2)

BRONZE $5,000–$9,999Mr Henri W Aram oam

John Augustus & Kim RyrieStephen J BellDr Hannes & Mrs Barbara

BoshoffBoyarsky Family TrustPeter Braithwaite & Gary

LinnaneIan & Jennifer BurtonRebecca ChinMr Howard ConnorsDavid Z Burger FoundationDr Colin GoldschmidtThe Greatorex FoundationRory & Jane JeffesRobert JoannidesMr Ervin KatzBarbara MaidmentMora MaxwellTaine MoufarrigeRobert McDougallWilliam McIlrath Charitable

FoundationJ A McKernan

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Playing Your Part

SSO PATRONS

BRONZE PATRONS CONTINUED

Nexus ITJohn & Akky van OgtropSeamus Robert QuickChris Robertson & Katherine

ShawRodney Rosenblum am & Sylvia

RosenblumDr Evelyn RoyalManfred & Linda SalamonGeoff StearnTony StrachanJohn & Josephine StruttMr Robert & Mrs Rosemary WalshIn memory of Geoff WhiteAnonymous

PRESTO $2,500–$4,999G & L BessonIan BradyMr David & Mrs Halina BrettMark Bryant oam

Lenore P BuckleMrs Stella ChenCheung FamilyDr Paul CollettEwen Crouch am & Catherine

CrouchProf. Neville Wills &

Ian FenwickeFirehold Pty LtdDr Kim FrumarWarren GreenAnthony GreggAnn HobanJames & Yvonne HocrothMr Roger Hundson &

Mrs Claudia Rossi-HudsonDr & Mrs Michael HunterMr John W Kaldor AMProfessor Andrew Korda am &

Ms Susan PearsonIn memoriam Dr Reg Lam-Po-TangProfessor Winston LiauwMrs Juliet LockhartRenee MarkovicHelen & Phil MeddingsJames & Elsie MooreMs Jackie O’BrienPatricia H Reid Endowment

Pty LtdJuliana SchaefferHelen & Sam ShefferDr Agnes E SinclairEzekiel SolomonMr Ervin Vidor am &

Mrs Charlotte VidorLang Walker ao & Sue WalkerWestpac GroupMary Whelan & Robert

BaulderstoneYim Family FoundationDr John YuAnonymous (3)

VIVACE $1,000–$2,499Mrs Lenore AdamsonAntoinette AlbertRae & David AllenAndrew Andersons ao

Mr Matthew AndrewsMr Garry and Mrs Tricia AshSibilla BaerThe Hon Justice Michael BallDavid BarnesDr Richard & Mrs Margaret BellIn memory of Lance BennettMs Gloria BlondeG D BoltonJan BowenIn memory of Jillian BowersIn Memory of Rosemary Boyle,

Music TeacherRoslynne BracherWilliam Brooks & Alasdair BeckMr Peter BrownIn memory of R W BurleyIta Buttrose ao obe

Mrs Rhonda CaddyHon J C Campbell qc &

Mrs CampbellDebby Cramer & Bill CaukillMr B & Mrs M ColesMs Suzanne CollinsJoan Connery oam & Maxwell

Connery oam

Mr Phillip CornwellMr John Cunningham scm &

Mrs Margaret CunninghamDiana DalyDarin Cooper FoundationGreta DavisLisa & Miro DavisDr Robert DickinsonE DonatiProfessor Jenny EdwardsDr Rupert C EdwardsMalcolm Ellis & Erin O’NeillMrs Margaret EppsMr & Mrs J B Fairfax am

Julie FlynnDr Stephen Freiberg & Donald

CampbellMr Matt GarrettVivienne Goldschmidt &

Owen JonesIn Memory of Angelica GreenAkiko GregoryDr Jan Grose oam

Mr & Mrs Harold & Althea HallidayJanette HamiltonSandra HaslamMrs Jennifer HershonSue HewittDorothy Hoddinott ao

Kimberley HoldenMr Kevin Holland & Mrs Roslyn

Andrews

The Hon. David Hunt ao qc & Mrs Margaret Hunt

Mr Phillip Isaacs oam

Dr Owen JonesMrs Margaret KeoghAron KleinlehrerMrs Gilles KrygerMr Justin LamDr Barry LandaBeatrice LangMr Peter Lazar am

Airdrie LloydGabriel LopataPeter Lowry oam & Carolyn

Lowry oam

Macquarie Group FoundationMelvyn MadiganDavid Maloney am & Erin

FlahertyJohn & Sophia MarMr Danny R MayMr Guido MayerKevin & Deidre McCannIan & Pam McGawMatthew McInnesI MerrickHenry & Ursula MooserMilja & David MorrisJudith MulveneyDarrol Norman & Sandra HortonMr & Mrs OrtisAndrew Patterson & Steven BardyIn memory of Sandra Paul

PottingerMr Stephen PerkinsAlmut PiattiThe Hon. Dr Rodney Purvis am

& Mrs Marian PurvisDr Raffi Qasabian &

Dr John WynterMr Patrick Quinn-GrahamErnest & Judith RapeeIn Memory of

Katherine RobertsonMr David RobinsonTim RogersDr Colin RoseLesley & Andrew RosenbergJanelle RostronMr Shah RusitiJorie Ryan for Meredith RyanIn memory of H St P ScarlettGeorge and Mary ShadVictoria SmythDr Judy SoperJudith SouthamMr Dougall SquairCatherine StephenThe Honourable Brian Sully am qc

Mrs Margaret SwansonThe Taplin FamilyMildred TeitlerDr & Mrs H K TeyDr Jenepher Thomas

Kevin TroyJohn E TuckeyJudge Robyn TupmanDr Alla WaldmanIn memory of Denis WallisMiss Sherry WangHenry & Ruth WeinbergThe Hon. Justice A G WhealyJerry WhitcombMrs Leonore WhyteA Willmers & R PalAnn & Brooks C Wilson am

Dr Richard WingEvan WongDr Peter Wong &

Mrs Emmy K WongGeoff Wood & Melissa WaitesSir Robert WoodsLindsay & Margaret WoolveridgeIn memory of Lorna WrightMrs Robin YabsleyAnonymous (20)

ALLEGRO $500–$999Nikki AbrahamsKatherine AndrewsMr & Mrs George BallBarlow Cleaning Pty LtdBarracouta Pty LtdSimon BathgateDr Andrew BellMr Chris BennettJan BiberMinnie BiggsJane BlackmoreMrs P M BridgesR D and L M BroadfootDr Peter BroughtonDr David BryantArnaldo BuchDr Miles BurgessPat & Jenny BurnettHugh & Hilary CairnsEric & Rosemary CampbellM D & J M ChapmanJonathan ChissickMichael & Natalie CoatesDom Cottam & Kanako ImamuraAnn CoventryMr David CrossMark Dempsey sc

Dr David DixonSusan DoenauDana DupereJohn FavaloroMrs Lesley FinnMr Richard FlanaganMs Lynne FrolichMichele Gannon-MillerMs Lyn GearingMr Robert GreenMr Geoffrey GreenwellMr Richard Griffin am

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VANGUARD COLLECTIVEJustin Di Lollo ChairBelinda BentleyOscar McMahonTaine Moufarrige

Founding PatronShefali PryorSeamus R Quick

Founding PatronChris Robertson & Katherine

Shaw Founding Patrons

MEMBERSLaird Abernethy Elizabeth AdamsonClare Ainsworth-HershellCharles ArcusPhoebe ArcusPhilip AtkinLuan AtkinsonJoan BallantineAndrew Batt-RawdenJames BaudzusAndrew BaxterAdam Beaupeurt Anthony BeresfordDr Andrew BotrosPeter BraithwaiteAndrea BrownNikki BrownProfessor Attila BrungsTony ChalmersDharmendra ChandranLouis ChienPaul ColganClaire CooperBridget CormackKarynne CourtsRobbie CranfieldAsha CugatiJuliet CurtinDavid CutcliffeEste Darin-CooperRosalind De SaillyPaul DeschampsCatherine DonnellyJennifer DrysdaleJohn-Paul DrysdaleKerim El GabailiRoslyn FarrarNaomi FlutterAlastair FurnivalAlexandra Gibson

Sam GiddingsJeremy GoffHilary GoodsonTony GriersonLouise HaggertyJason HairPeter HowardJennifer HoyKatie HryceVirginia JudgePaul KalmarJonathan KennedyPatrick KokJohn Lam-Po-TangTristan LandersGary LinnaneDavid LoSaskia LoGabriel LopataRobert McGroryAlexandra McGuiganDavid McKeanSarah MoufarrigeJulia NewbouldNick NichlesKate O’ReillyPeter O’SullivanCleo PosaJune PickupRoger PickupStephanie PriceMichael RadovnikovicKatie RobertsonDr Benjamin RobinsonAlvaro Rodas FernandezAdam SadlerProfessor Anthony SchembriBenjamin SchwartzCecilia StornioloRandal TameSandra TangIan TaylorDr Zoe TaylorMichael TidballMark TrevarthenMichael TuffySarah VickAlan WattersJon WilkieYvonne ZammitAmy Zhou

SSO Vanguard

A membership program for a dynamic group of Gen X & Y SSO fans and future philanthropists

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In memory of Beth HarpleyV HartsteinBenjamin Hasic & Belinda DavieAlan Hauserman & Janet NashRobert HavardMrs A HaywardRoger HenningProf. Ken Ho & Mrs Tess HoDr Mary JohnssonAernout Kerbert & Elizabeth

NevilleDr Henry KilhamJennifer KingMrs Patricia KleinhansAnna-Lisa KlettenbergMs Sonia LalL M B LampratiDavid & Val LandaIn memory of Marjorie LanderElaine M LangshawMargaret LedermanRoland LeeMrs Erna LevyMrs A LohanLinda LorenzaM J MashfordMs Jolanta MasojadaKenneth Newton MitchellMr David MuttonMr & Mrs NewmanMr Graham NorthDr Lesley NorthSead NurkicMr Michael O’BrienJudith OlsenDr Alice J PalmerDr Natalie E PelhamPeter and Susan PicklesErika PidcockDr John I PittAnne PittmanJohn Porter & Annie Wesley-Smith

Mrs Greeba PritchardMichael QuaileyMr Thomas ReinerDr Marilyn RichardsonAnna RoMr Michael RollinsonMrs Christine Rowell-MillerMr Kenneth RyanGarry E Scarf & Morgie BlaxillMrs Solange SchulzPeter & Virginia ShawDavid & Alison ShilligtonMrs Diane Shteinman am

Margaret SikoraColin SpencerTitia SpragueRobert SpryMs Donna St ClairFred & Mary SteinAshley & Aveen StephensonMargaret & William SuthersPam & Ross TegelMrs Caroline ThompsonPeter & Jane ThorntonRhonda TingAlma TooheyHugh TregarthenMrs M TurkingtonGillian Turner & Rob BishopRoss TzannesMr Robert VeelRonald WalledgeMiss Roslyn WheelerIn Memoriam JBL WattDr Edward J WillsDr Wayne WongDr Roberta WoolcottPaul WyckaertAnonymous (32)

SSO Patrons pages correct as of 7 July 2015

Create a sustainable future for orchestral music by helping to build the audiences of tomorrow.

SUPPORT THE SSO EDUCATION FUND. Call: (02) 8215 4650 Email: philanthropy@sydneysymphony.com

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SALUTE

The Sydney Symphony Orchestra is assisted by the Commonwealth

Government through the Australia Council, its arts funding and

advisory body

GOVERNMENT PARTNERS

The Sydney Symphony Orchestra is

assisted by the NSW Government

through Arts NSW

PRINCIPAL PARTNER

EDUCATION PARTNERPLATINUM PARTNER

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

MAJOR PARTNERS

GOLD PARTNERS

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