2 0 1 8

Viennese Romantics Korngold and Mahler

PRESENTED BY PREMIER PARTNER CREDIT SUISSE

FRI 16 NOV, 8PM • SAT 17 NOV, 8PM

Scottish FantasyBruch and Mendelssohn

R STRAUSS Macbeth BRUCH Scottish Fantasy for violin and orchestra MENDELSSOHN Symphony No.3 (Scottish)Asher Fisch conductor Tianwa Yang violin

Thursday Afternoon Symphony

Thu 7 Mar, 1.30pmTea & Symphony*

Fri 8 Mar, 11amGreat Classics

Sat 9 Mar, 2pmSydney Opera House

CONCERT DIARY

A Lunar New Year CelebrationLI HUANZHI Spring Festival Overture CHEN QIGANG Iris Unveiled TCHAIKOVSKY Eugene Onegin: Polonaise BORODIN Prince Igor: Polovtsian Dances LIU TIESHAN & MAO YUAN Dance of the Yao Tribe HUANG Saibei DanceElim Chan conductor Meng Meng Peking Opera singer Amelia Farrugia soprano Eva Kong soprano Jin Wu Koon Lion Dance Troupe

Fri 1 Feb, 7pmSat 2 Feb, 7pm

Sydney Opera House

2019 Season Opening GalaDiana Doherty performs Westlake

R STRAUSS Thus Spake Zarathustra WESTLAKE Spirit of the Wild – Oboe Concerto GRAINGER The WarriorsDavid Robertson conductor Diana Doherty oboe

Fri 8 Feb, 8pmSat 9 Feb, 8pm

Sydney Opera House

Bartók’s Concerto for Orchestra David Robertson Conducts

JANÁČEK Taras Bulba REICH Music for Ensemble and Orchestra AUSTRALIAN PREMIERE BARTÓK Concerto for OrchestraDavid Robertson conductor

Master Series

Wed 13 Feb, 8pm Fri 15 Feb, 8pm Sat 16 Feb, 8pmSydney Opera House

The Sydney Symphony and Jazz at Lincoln Center OrchestraVARÈSE Amériques (1929) MARSALIS The Jungle – Symphony No.4 AUSTRALIAN PREMIERE

David Robertson conductor Wynton Marsalis trumpet Jazz at Lincoln Center Orchestra

Meet the Music

Thu 21 Feb, 6.30pmEmirates Metro Series

Fri 22 Feb, 8pmMondays @ 7

Mon 25 Feb, 7pmSydney Opera House

Music of Count Basie and Duke EllingtonJazz at Lincoln Center Orchestra in Concert

DUKE ELLINGTON Greatest Hits COUNT BASIE Greatest HitsWynton Marsalis trumpet Jazz at Lincoln Center Orchestra

Sat 23 Feb, 7pmSydney Opera House

Casino Royale in ConcertJames Bond on the big screen accompanied by the Sydney Symphony performing David Arnold’s thrilling musical score live to the film!CASINO ROYALE LICENSED BY MGM. CASINO ROYALE © 2006 DANJAQ, UNITED ARTISTS. AND RELATED JAMES BOND TRADEMARKS, TM DANJAQ. ALL RIGHTS RESERVED.

Thu 28 Feb, 8pm Fri 1 Mar, 8pmSydney Opera House

FEBRUARY 2019

*

*

MARCH 2019

WELCOME

Credit Suisse welcomes you to this special gala performance tonight, marking the end of another stellar year for the Sydney Symphony Orchestra. It is fitting that following tonight’s program, Viennese Romantics, the orchestra’s next performance will be at Vienna’s beautiful Konzerthaus, signalling the start of its continental tour through the prestigious concert halls of Europe.

As Premier Partner for the past eight years, we have supported the Sydney

performances of some of the great names in classical music, including

Anne-Sophie Mutter, Wynton Marsalis and Lang Lang. We are delighted that

next year we welcome back Wynton Marsalis and Lang Lang for feature

performances in the 2019 season. These are high-profile, international

performers – very much in the spotlight of the musical world and favourites

with Australian audiences.

We are also very proud to collaborate with the SSO to support projects that

nurture musicians and music-lovers of the future and that make a broader

contribution to our community.

One of these initiatives is the Credit Suisse SSO Schools Music Education

Program, a three-year pilot program that aims to provide public primary

school students in Sydney and Melbourne with access to a world-class

music education. This partnership with the SSO – reaching more than a

thousand students in its initial pilot – will showcase the demonstrable link

between music education and academic performance, offering immediate

and long-term benefits for the students and their communities.

Through our partnership with the Sydney Symphony Orchestra, we are

equally proud to be supporting those at the start and at the pinnacle of

their musical journeys. And we wish our orchestra of cultural ambassadors

all the very best for their journey and performances in Europe.

John Knox

Chief Executive Officer

Credit Suisse Australia

The Lowy Chair of Chief Conductor and Artistic Director

SPECIAL EVENT PREMIER PARTNER CREDIT SUISSE

FRIDAY 16 NOVEMBER, 8PM SATURDAY 17 NOVEMBER, 8PM

SYDNEY OPERA HOUSE CONCERT HALL

86TH SEASON | 2018

Viennese RomanticsDavid Robertson conductor Renaud Capuçon violin

ANTONÍN DVOŘÁK (1841–1904) Carnival Overture, Op.92

ERICH WOLFGANG KORNGOLD (1897–1957) Violin Concerto in D, Op.35

Andante

Allegro – Più mosso – L’istesso tempo

Adagio

INTERVAL

GUSTAV MAHLER (1860–1911) Symphony No.5 in C sharp minor

Part ITrauermarsch (In gemessenem Schritt. Streng. Wie ein Kondukt)

[Funeral march (With measured pace, stern, like a funeral

procession)]

Stürmisch bewegt. Mit grösster Vehemenz

[Stormy, with utmost vehemence]

Part IIScherzo (Kräftig, nicht zu schnell) [Strong, not too fast]

Part IIIAdagietto (Sehr langsam) [Very slow]

Rondo – Finale (Allegro)

Saturday’s concert will be broadcast live across Australia by ABC Classic FM

Pre-concert talk by Zoltán Szabó in the Northern Foyer at 7.15pm.

Estimated durations: 10 minutes, 24 minutes, 20-minute interval, 70 minutes

The concert will conclude at approximately 10.30 pm.

Together we have created the Credit Suisse SSO Music Education Program to provide children with access to world-class music education.credit-suisse.com/au

Credit Suisse AG ABN 17 061 700 712. AFSL 226896 Copyright © 2018 Credit Suisse Group AG and/or its affiliates. All rights reserved.

Creating meaningful change through music.

110.8S.023.02 CS Anzeige Sydney Symphony Orchestra 150x240.indd 1 31.05.18 11:34

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ABOUT THE MUSIC

Antonín Dvořák Carnival Overture, Op.92Nature inspired many 19th-century composers to imagine music that ranged from serene to terrifying. Dvořák – among the later Romantics – was no exception. His Carnival Overture, composed in 1891 when the composer was 50, evokes both the pure realm of nature and the concerns of its human inhabitants. It abounds in the Czech folk colour for which Dvořák was already renowned.

The piece is the second in a trio of overtures entitled Nature, Life, and Love. Although independent compositions, the overtures are linked by a Nature theme that recurs in all three. In Carnival it is introduced by the clarinet in the music’s first tranquil aside.

It is clear from his manuscript sketches that Dvořák was far from sure what to call each of the overtures. He considered three possibilities for the first one: In Nature’s Realm, and A Summer Night, with the possible subtitle of Solitude. The second he called Life, adding Carnival as a subtitle, and the third had two names: Love, and – suggesting that it was a troubled, tragic love he had in mind – Othello.

Coming in the middle of the series, the title of the Carnival (that is, Mardi Gras) overture conjures up images of the boisterous circus-like atmosphere as rural communities, each year in late winter, celebrated their farewell to meat-eating, as they entered the fasting season of Lent. It is this sort of atmosphere – Dvořák seems to be arguing – that draws solitary people (people like shepherds and farmhands, who work alone in the fields) ‘out of themselves’, and into the community.

The overture begins with a frenzied theme, which then returns several times later. Rhythmic and melodic fragments of this theme are also scattered throughout the overture. Though played without a break, it falls into three quite distinct sections. The characteristically boisterous opening and closing sections frame a contrasting inner episode, a quiet return to nature and a pastoral mood, a reflective moment away from the surrounding party, and quite likely, too, anticipating the possibility of love.

SYDNEY SYMPHONY ORCHESTRA © 2012

The Carnival Overture calls for what the original score calls a ‘large’ orchestra: piccolo, two flutes, two oboes, cor anglais, two clarinets and two bassoons; four horns, two trumpets, three trombones and tuba; timpani and percussion (cymbals, tambourine, triangle); harp and strings.

The SSO first performed this overture in 1938, conducted by Percy Code, and most recently in 2014, conducted by Pinchas Steinberg.

Keynotes

DVOŘÁK

Born Nelahozeves, Bohemia, 1841 Died Prague, 1904

Dvořák’s career is an inspiring reminder that greatness can grow from unlikely beginnings. A country inn-keeper’s son, Dvořák was destined to a butcher. But his passion for music was his passport to upward mobility. His Moravian Duets caught the attention of Brahms, who recommended Dvořák to his own publisher. His Slavonic Dances took Europe by storm, and his Seventh and Eighth Symphonies became immensely popular in England. Then, inspired by his time spent teaching in the United States, he composed his two ultimate masterpieces, the New World Symphony and, on his return to Prague, the Cello Concerto.

CARNIVAL OVERTUREThis is the centrepiece of a triptych of overtures. The scenario for Dvořák’s set was a journey from Solitude, via experience of Life, to the finding of Love. The second overture, ‘Life’, became Carnival. It begins in exuberant party mode, with percussion (usually kept in reserve) throwing caution to the winds. Backward glances to the lonely mood of the first overture progress toward a growing sense of joy of life. Finally, serenity gives way to exaltation.

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Erich Wolfgang Korngold Violin Concerto in D, Op.35Moderato nobile

Romance (Andante)

Finale (Allegro assai vivace)

Renaud Capuçon violinBetween 1935 and 1938 Korngold and his family lived a transatlantic existence. While writing his opera Die Kathrin he adapted Mendelssohn’s A Midsummer Night’s Dream music for Max Reinhardt’s film production of the play for Warner Bros, and on back-and-forth visits to Hollywood composed the music for several other pictures, including Anthony Adverse, which won him his first Academy Award.

In January 1938, leaving most of his family behind, Korngold left Vienna for Hollywood to compose music for The Adventures of Robin Hood, expecting to return in a few months for the premiere of Die Kathrin. But Germany’s annexation of Austria in March made a return home impossible, and his family escaped Austria on the last unrestricted train. Korngold’s belongings and assets were confiscated by the Nazis. With his Vienna house already under German occupation, he could imagine his collection of music being consigned to the flames. With extraordinary courage, Korngold’s publishers broke into his house in the dead of night and smuggled his scores into the USA inside shipments of newly published music.

Films were now Korngold’s only source of income. When his father berated him for not writing concert music, Korngold replied that if anyone in America wanted to perform his music they knew where to find him. His wife said later: ‘It was almost as if he had made a vow not to write any more until Hitler was defeated.’

The Violin Concerto was to be Korngold’s return to the concert hall. Ideas for this work seem first to have surfaced in 1937. A theme from the film Another Dawn, scored that year, is the principal melody of the concerto’s first movement; a transformation of the opening title theme for The Prince and the Pauper forms the basis for the concerto’s finale.

But Korngold did no serious work on the piece until the war in Europe was over. The violinist Bronislaw Huberman revived a joke that dated back to Korngold’s teenage years: ‘Erich, where’s my violin concerto?’ At dinner one night in 1945, Huberman asked the usual question, whereupon Korngold went to the piano and played the opening theme.

When the concerto was ready for performance, Huberman was vague about when he might perform it. When Jascha Heifetz expressed interest, Korngold didn’t hesitate: ‘Huberman, I haven’t been unfaithful yet, I’m not engaged…but I have flirted.’ Huberman’s death a short time later brought this chapter in the concerto’s life to an end.

Keynotes

KORNGOLD

Born Brno, 1897 Died Hollywood, 1957

When Erich Wolfgang Korngold died in Hollywood he was all but forgotten despite having been one of the most important composers of film music ever. After travelling to the USA with legendary producer Max Reinhardt in 1934, Korngold returned there after the Nazi annexation of Austria. Korngold created large-scale scores linked by motifs representing particular characters, as Wagner did in his operas. Mahler heard some of the ten year-old Korngold’s music and pronounced him a genius. Before he had turned 20 Korngold had composed orchestral works, including the still celebrated Sinfonietta, and his first two operas.

VIOLIN CONCERTOCompleted in the USA after World War II, and dedicated to Mahler’s widow, Alma Mahler-Werfel, Korngold’s concerto is steeped in the Romantic tradition of frank expressiveness that Korngold had learned from Mahler, Zemlinsky and Richard Strauss and turned into film music of the highest order. In the conventional three-movement design, it features moments of the sweetest lyricism and virtuosic display from the soloist and an orchestral palette of vast diversity. The strong sense of an unfolding emotional narrative, and the almost visual evocations stem from Korngold’s recycling of material from some of his finest film scores.

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For Korngold, the concerto symbolised his re-emergence into a musical mainstream in which he no longer felt completely secure. He was particularly nervous about the critics’ response to his frankly emotional musical language. In the weeks before the premiere, he wrote: ‘I want a confirmation, an answer to a question of decisive importance for me: is there still a place and a chance for music with expression and feeling, with long melodic themes, formed and developed on the principles of the classic masters – music conceived in the heart and not constructed on paper?’

The premiere, in St Louis with Heifetz, was a success. But in New York, Irving Kolodin’s cheap jibe ‘More corn than gold,’ hurt the composer deeply. Posterity’s answer to Korngold’s question has been mixed: the work languished on the fringes of the repertoire until the 1980s. It is now the most performed of all Korngold’s concert works.

LISTENING GUIDE

By 1945 Korngold was concerned that some of his best musical ideas were disappearing as each film was taken out of circulation. He had no hesitation in re-casting film themes in his concert music.

The first movement (Moderato nobile) is primarily lyrical. The violin joins the orchestra from the opening bars, with the theme adapted from the one Korngold first wrote for Another Dawn. The gentle second subject was first used in Juarez (1938). The vibrant coda offers one of the few opportunities for overtly virtuosic display in this movement.

The Romance is almost a love scene between soloist and orchestra. For the Romance’s lavish outpouring of melodic ideas, Korngold drew on his Anthony Adverse score, but created anew the haunting misterioso episode at the movement’s core, which recurs at the end. In a similar manner to the last movement of Samuel Barber’s violin concerto, Korngold establishes a decisive change of mood in the Finale, a set of variations on the Prince and the Pauper theme.

ABRIDGED FROM A NOTE BY PHILLIP SAMETZ © 2000

The orchestra for Korngold’s Violin Concerto comprises two flutes (one doubling piccolo), two oboes (one doubling cor anglais), two clarinets, bass clarinet and two bassoons (one doubling contrabassoon); four horns, two trumpets and trombone; timpani and percussion (glockenspiel, xylophone, vibraphone, cymbals, bass drum); harp, celesta and strings.

The SSO first performed the Violin Concerto in 2005 with conductor Marin Alsop and Michael Dauth as soloist, and most recently in 2008 with conductor Tomáš Netopil and soloist Arabella Steinbacher.

‘…is there still a place and a chance for music with expression and feeling, with long melodic themes, formed and developed on the principles of the classic masters – music conceived in the heart and not constructed on paper?’

KORNGOLD

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The first page of the Adagietto from Mahler’s Fifth Symphony. Willem Mengelberg’s score shows his extensive markings in red and blue, together with a brief poem, which he has written into the left-hand margin (see page 14 for a translation). Mengelberg’s annotations also include, in the top right corner: ‘N.B. This Adagietto was Gustav Mahler’s declaration of love to Alma! Instead of a letter he sent her this in manuscript; no accompanying words. She understood and wrote to him: he should come!!! Both told me this! W.M.’ And at the bottom of the page: ‘If music is a language, then it is one here – “he” tells her everything in “tones” and “sounds” in: music.’

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Keynotes

MAHLERBorn Kalischt, 1860 Died Vienna, 1911

Mahler is now regarded as one of the greatest symphonists of the turn of the 20th century. But during his life his major career was as a conductor – he was effectively a ‘summer composer’. Mahler believed that a symphony must ‘embrace the world’. His are large-scale, requiring huge orchestras and often lasting more than an hour. They cover a tremendous emotional range, and they have sometimes been described as ‘Janus-like’ in the way they blend romantic and modern values, self-obsession and universal expression, idealism and irony.

FIFTH SYMPHONYMahler described his Fifth Symphony originally as ‘a straightforward symphony in four separate movements’, though somehow, as the introductory opening grew into a separate slow movement, a Dead March, some of the promised straightforwardness was jettisoned. Mahler was composing the work in 1901–02, around the time of his betrothal to Alma Schindler, and according to Mahler’s colleague, Willem Mengelberg, the famous Adagietto for harp and strings is a declaration of love.

Finally, Mahler caves in to the temptation to unify the work’s ‘separate’ parts. His finale duly melds ideas from all four previous movements, particularly the Dead March and the Adagietto, into a joyous (giocoso) celebration. It brings the whole symphony to the ecstatic brass hymn of the conclusion, as close as Mahler ever came to an ‘Ode to Joy’.

Gustav MahlerSymphony No.5 in C sharp minor

Part ITrauermarsch (In gemessenem Schritt. Streng. Wie ein Kondukt)

[Funeral march (With measured pace, stern, like a funeral

procession)]

Stürmisch bewegt. Mit grösster Vehemenz

[Stormy, with utmost vehemence]

Part IIScherzo (Kräftig, nicht zu schnell) [Strong, not too fast]

Part IIIAdagietto (Sehr langsam) [Very slow]

Rondo – Finale (Allegro)

Mahler’s first four symphonies were more or less programmatic in their intention, drawing their inspiration from folk poetry, incorporating themes from songs, and (in all but the first) using the human voice in one or more of the movements. The Fifth Symphony, on the other hand, revealed no obvious program and was scored for orchestra alone.

It was written in 1901–02 around the time of Mahler’s meeting with, and rather hasty betrothal to, Alma Schindler. While no period in Mahler’s life could be described as unequivocally happy, there is no doubt that the Fifth Symphony was conceived at a time of substantial personal and professional satisfaction. Yet any sign of outward pleasure or optimism tends to be avoided, at least early on in the symphony – pointedly, and notoriously, it begins with a funeral march.Mahler’s friend Natalie Bauer-Lechner recalled Mahler speaking to her about the symphony he was writing in his hut in the woods during the summer of 1901:

Within the last few days Mahler has spoken to me for the first time about his work this summer, his Fifth Symphony, and in particular about the third movement: ‘The movement is immensely difficult to work out because of the structure and the supreme artistic mastery which it demands in all its relationships and details…The human voice would be utterly out of place here. There is no call for words, everything is said in purely musical terms. It will be a straightforward symphony in four movements too, with each movement independent and complete in itself and related to the others only by the common mood.’

Mahler worked on the first two movements and part of the third movement during the summer of 1901. The rest of the symphony was completed the following summer, by which point Alma Schindler (whom he had met in November 1901) was very much part of his life. In her memoirs, Alma recalled the couple going to Maiernigg in June 1902:

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Mahler had the sketches of the Fifth Symphony with him. Two movements were completed, the rest were being drafted. I tried to play the piano softly, but when I asked him, he [said that he] had heard me, although his working cabin was located far away in the woods. Thereafter I changed my activities…In the process I gradually became a real help to him.

By the autumn of 1902 the Fifth Symphony was complete and Mahler played it for his new wife:

It was the first time that he played a new work for me. Arm in arm we walked solemnly up to his studio in the woods. Soon afterwards the vacation was over, and we moved to Vienna. The Fifth was completed, and he worked all winter on the final copy.

When the premiere took place in Cologne on 18 October 1904, the reception was mixed. The great conductor and early champion of Mahler’s music, Bruno Walter, clearly remembered the occasion for ‘a particular reason’:

…it was the first and, I think, the only time that a performance of a Mahler work under his own baton left me unsatisfied. The instrumentation did not succeed in bringing out clearly the complicated contrapuntal fabric of the parts, and Mahler complained to me afterwards that he never seemed able to master the handling of the orchestra: in fact, he later subjected the orchestration to the most radical revision that he ever felt obliged to undertake.

Walter was not alone; Richard Strauss, also an admirer of Mahler’s music, had reservations after witnessing a further performance of the symphony some months later. Revision after revision ensued, beginning with the overwritten percussion parts and following through into the entire orchestration. So thorough was Mahler’s reworking that, even as the symphony’s popularity grew, each performance was different from the previous. ‘The Fifth is an accursed work,’ Mahler wrote. ‘No one understands it!’

The symphony follows Mahler’s principle of ‘progressive tonality’, working its way from the beginning in C sharp minor to a conclusion in a triumphant D major. On its travels it passes through a vast range of moods and emotions – ‘passionate, wild, pathetic, sweeping, solemn, gentle, full of all the emotions of the human heart’ in Bruno Walter’s memorable description. A massive work, it is in three parts and five movements (rather than the four movements Mahler had planned in 1901).

At the dress rehearsal, your Fifth Symphony again brought me great pleasure, which was dimmed for me only by the little Adagietto. It serves you right that precisely that movement was liked the most by the audience. The first two movements especially are quite splendid; the ingenious Scherzo seemed a bit too long. How much this is the fault of the inadequate performance is beyond my judgement.

RICHARD STRAUSS

Gustav Mahler (portrait by Emil Orlik, 1902) and Alma Mahler

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The opening movement begins with a distinctive trumpet call which recurs as the movement proceeds, and which Mahler noted in the score should be played ‘somewhat hurriedly, in the manner of military fanfares’. Like Berlioz and Tchaikovsky before him, Mahler opens with a funeral march and the first movement itself is filled with pain and grief.

As if to belie the claim that the symphony is ‘absolute’ rather than ‘programmatic’ music, the main theme is actually based on a song by Mahler called Der Tamboursg’sell – a song about a drummer boy facing execution. There are two trios in the movement: the first in B flat minor with a brief violin theme, the second a quieter section in A minor following the return of the march theme. After an impassioned climax toward the end, the movement dies away amid echoes of the opening trumpet call.

Mahler leaves no doubt as to the intended mood of the second movement – marked ‘Stormy, with utmost vehemence’. Much of the material in this allegro movement derives from that in the first and there is a distinct reminiscence of the march rhythms. A brass chorale in part anticipates the conclusion of the symphony as a whole; after some distinctly sinister turns, the main themes of the allegro return as the movement ends quietly and ominously.

The Scherzo, which forms the third movement, is another matter altogether. Its energetic main thematic material is in the form of a joyous ländler. Ideas tumble over themselves in an inventive contrapuntal display while a slower waltz theme is juxtaposed with the main material. Contrasting trios add a more sombre note and in one of these there occurs a striking obbligato passage for the principal horn.

The Adagietto – arguably the most famous single movement in all the Mahler symphonies – is essentially a song without words. Scored for harps and strings alone, it is closely related to Mahler’s song Ich bin der Welt abhanden gekommen (I am lost to the world). According to Mahler’s colleague, Dutch conductor Willem Mengelberg, the Adagietto was intended as a declaration of love for Alma and was composed shortly after the couple met. More like a fascinated bystander than a conductor, Mengelberg wrote in his score:

Instead of a letter, he sent her this in manuscript, no accompanying words. She understood and wrote to him: he should come!!! Both have told me this!…If music is a language, then it is one here. He tells her everything in tones and sounds, in: music.

Instead of a letter, he sent her this manuscript without further explanation…If music is a language, then this is proof.

…passionate, wild, pathetic, sweeping, solemn, gentle, full of all the emotions of the human heart.

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And also in Mengelberg’s score at the beginning of the Adagietto was the following brief poem, presumably written by Mahler himself:

Wie ich Dich liebeDu meine SonneIch kann mit Worten Dir’s nicht sagenNur meine Sehnsucht kann ich Dir klagenUnd meine LiebeMeine Wonne!

The Adagietto gained a wider audience when used in the soundtrack for Visconti’s film Death in Venice.

The Rondo–Finale shares material with each of the previous four movements, particularly the Funeral March and the Adagietto. The movement is a joyous (giocoso) celebration which begins with a series of folk-like figures on solo wind instruments. (The opening of the movement quotes the witty Lob des hohen Verstandes (In Praise of Higher Understanding) from Des Knaben Wunderhorn.) The main rondo theme is first stated on the horns and the other ideas are woven contrapuntally around this as counter-subjects. When the main melody from the Adagietto returns it is so transformed with energy that it is practically unrecognisable. The development is elaborate, and the movement as a whole works its way towards the ecstatic brass chorale of the conclusion – as close as the melancholy Mahler ever came to writing an ‘Ode to Joy’.

MARTIN BUZACOTT, SYMPHONY AUSTRALIA © 1997

Mahler’s Fifth Symphony is scored for four flutes (two doubling piccolo), three oboes (one doubling English horn), three clarinets (one doubling E flat clarinet and bass clarinet), three bassoons and contrabassoon; seven horns, four trumpets, three trombones and tuba; timpani and four percussion; harp and strings.

The Sydney Symphony Orchestra was the first ABC orchestra to perform this symphony, with conductor Georg Schnéevoigt on 5 August 1937. The most recent performance was in 2013 with Vladimir Ashkenazy conducting.

Before World War II, Mahler’s symphonies were not universally greeted as masterworks. When Georg Schnéevoigt conducted the SSO’s first performance of the Fifth in the Sydney Town Hall on 5 August 1937, The Sydney Morning Herald reviewer found it:… a long work, and an uncommonly patchy one ... the composer seemed to be going through the motions of grief, joy, or frenzy, but conveying nothing but a disturbing noise. Mahler’s well-known fondness for brass instruments expressed itself in frequent and by no means uncertain terms. This, more than anything else, made the symphony fatiguing. Still, a score which includes such superb ideas as the Dead March in the first movement and the tender sincerity of the Adagietto is not lightly to be thrust aside.

How I love you,my sun,I cannot tell you in words,I can only pour out to you my longingand my love,my delight!

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Help spark a lifetime love of music…

“ There’s nothing better than looking up and seeing the joy on a child’s face who has just experienced live orchestral music for the first time!” Kristy Conrau, Sydney Symphony Cellist since 2006

Over the last 12 months more than 23,000 students have participated in our music education programs and more than 50,000 people have viewed one of our concerts online. By donating today you can help build future audiences and make concerts more accessible for young people across New South Wales.

Your gift, of any amount, will make an important difference.

supports free and subsidised tickets for ten deserving young people to attend a Family Concert

supports professional learning and digital resources for a teacher to bring their students to ‘Meet the Music’

supports an interactive visit from our musicians to a school in regional NSW

supports equipment for a live broadcast into libraries and conservatoriums across NSW

$125 $250 $500 $1,000

To make your donation please visit:

sydneysymphony.com/appeal

Or call (02) 8215 4600 today

Make your gift today!The Sydney Symphony is a family affair and you’re an important member of our family! Your tax-deductible gift before the end of the year will help us share the joy of music as widely as possible in 2019.

17

Help spark a lifetime love of music…

“ There’s nothing better than looking up and seeing the joy on a child’s face who has just experienced live orchestral music for the first time!” Kristy Conrau, Sydney Symphony Cellist since 2006

Over the last 12 months more than 23,000 students have participated in our music education programs and more than 50,000 people have viewed one of our concerts online. By donating today you can help build future audiences and make concerts more accessible for young people across New South Wales.

Your gift, of any amount, will make an important difference.

supports free and subsidised tickets for ten deserving young people to attend a Family Concert

supports professional learning and digital resources for a teacher to bring their students to ‘Meet the Music’

supports an interactive visit from our musicians to a school in regional NSW

supports equipment for a live broadcast into libraries and conservatoriums across NSW

$125 $250 $500 $1,000

To make your donation please visit:

sydneysymphony.com/appeal

Or call (02) 8215 4600 today

Make your gift today!The Sydney Symphony is a family affair and you’re an important member of our family! Your tax-deductible gift before the end of the year will help us share the joy of music as widely as possible in 2019.

HARRY POTTER characters, names and related indicia are © & ™ Warner Bros. Entertainment Inc. J.K. ROWLING’S WIZARDING WORLD™ J.K. Rowling and Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s18)

Create Your Own 2019 season package!With Create Your Own packages, you can mix and match concerts for your family and friends, include your favourite music, or challenge yourself to do something new!

It’s 2019. Choose your music.

THE MUSIC OF COUNT BASSIE AND DUKE ELLINGTONTrumpet legend Wynton Marsalis and his famous Jazz at the Lincoln Center Orchestra in concert.

23 February 2019

HARRY POTTER AND THE ORDER OF THE PHOENIX™ IN CONCERTExperience the magic of the film with a live orchestra.

10 – 13 April 2019

BEETHOVEN SYMPHONY NO.5and violinist Vadim Gluzman performs Prokofiev.

3 – 8 July 2019

CASINO ROYALE IN CONCERTJames Bond on the big screen with the power of the orchestra.

28 February –1 March 2019

A RUSSIAN GALAExperience Tchaikovsky’s First Piano Concerto performed by the sensational young pianist Behzod Abduraimov.

8 & 9 November 2019

LANG LANG GALA PERFORMANCE The Chinese superstar pianist returns to perform Mozart.

27 & 29 June 2019

THE SHOW-STOPPERS OF 2019 INCLUDE:

Buy any four or more of these concerts as a CYO season package / Save up to 10% on regular prices Ticket exchanges / Secure the best seats / Book at sydneysymphony.com/2019

CASINO ROYALE LICENSED BY MGM. CASINO ROYALE © 2006 DANJAQ, UNITED ARTISTS. AND RELATED JAMES BOND TRADEMARKS, TM DANJAQ. ALL RIGHTS RESERVED.

Presented with the support of Premier Partner Credit Suisse

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THE ARTISTS

David Robertson – conductor, artist, thinker and

American musical visionary – is a highly sought-

after figure in the worlds of opera, orchestral

music and new music. A consummate and deeply

collaborative musician, he is hailed for his

intensely committed music-making and

celebrated worldwide as a champion of

contemporary composers, an ingenious and

adventurous programmer, and a masterful

communicator and advocate for his art form.

He made his Australian debut with the SSO in

2003 and soon became a regular visitor to Sydney,

with highlights including the Australian premiere

of John Adams’ Doctor Atomic Symphony and

concert performances of The Flying Dutchman.

In 2014, his inaugural season as Chief Conductor

and Artistic Director, he led the SSO on a tour of

China. More recent highlights have included

presentations of Elektra, Tristan und Isolde,

Beethoven’s Missa Solemnis, and Porgy and Bess;

the Australian premiere of Adams’ Scheherazade.2

violin concerto, Messiaen’s From the Canyons to

the Stars and Stravinsky ballet scores (also

recorded for CD release), as well as the SSO at

Carriageworks series (2016–17).

Currently in his farewell season as Music

Director of the St Louis Symphony, David

Robertson has served as artistic leader to many

musical institutions, including the BBC Symphony

Orchestra, Orchestre National de Lyon, and –

as a protégé of Pierre Boulez – Ensemble

Intercontemporain. With frequent projects at the

world’s leading opera houses, including the

Metropolitan Opera, La Scala, Bavarian State

Opera, Théâtre du Châtelet and San Francisco

Opera, he is also a frequent guest with major

orchestras worldwide, conducting the New York

Philharmonic, Los Angeles Philharmonic, Boston

and Chicago symphony orchestras, Philadelphia

and Cleveland orchestras, Berlin Philharmonic,

Staatskapelle Dresden, BBC Symphony Orchestra

and Hong Kong Philharmonic Orchestra.David Robertson is devoted to supporting young

musicians and has worked with students at the Aspen, Tanglewood and Lucerne festivals; as well as the Paris Conservatoire, Juilliard School, Music Academy of the West, National Orchestral Institute (University of Maryland) and the National Youth Orchestra of Carnegie Hall.

His awards and accolades include Musical America Conductor of the Year (2000), Columbia University’s 2006 Ditson Conductor’s Award, and 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.

David Robertson 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 also supported by Principal Partner Emirates.

David Robertson conductorTHE LOWY CHAIR OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

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Born in Chambéry, eastern France, Renaud

Capuçon began his studies at the Conservatoire

National Supérieur de Musique de Paris at the age

of 14. Following this, he moved to Berlin to study

with Thomas Brandis and Isaac Stern and was

awarded the Prize of the Berlin Academy of Arts.

In 1997 he was invited by Claudio Abbado to

become concertmaster of the Gustav Mahler

Jugendorchester, which he led for three summers.

Since then, he has performed as soloist with

leading orchestras such as the Berlin

Philharmonic, Vienna Philharmonic, London

Symphony Orchestra, Orchestre National de

France, Filarmonica della Scala, and Boston

Symphony. He has worked with conductors

including Valery Gergiev, Daniel Barenboim,

Semyon Bychkov, Paavo Järvi, Yannick Nézet-

Séguin and Jaap van Zweden. Highlights of

Renaud Capuçon’s 2018–19 season so far have

included an Asian tour with the Camerata Salzburg

and the premiere in Brussels of a new concerto,

Les Horizons perdus, written especially for him by

Guillaume Connesson.

Renaud Capuçon’s chamber music

collaborations have included performances with

Martha Argerich, Yuri Bashmet, Yefim Bronfman,

and Yuja Wang, as well as with his brother, cellist

Gautier Capuçon, and have taken him to festivals

such as Lucerne, Verbier, Aix-en-Provence, La

Roque d’Anthéron, Salzburg, Edinburgh and

Renaud Capuçon violin

Tanglewood. He is also the Artistic Director of two

festivals, the Sommets Musicaux de Gstaad (since

2016), and the Easter Festival in Aix-en-Provence,

which he founded in 2013.

Renaud Capucon’s recordings include Bartók’s

two violin concertos with the London Symphony

Orchestra conducted by François-Xavier Roth,

Brahms and Berg concertos with the Vienna

Philharmonic conducted by Daniel Harding, and

chamber music of Debussy. His latest recording,

Cinema was released in October.

In 2017 he founded the Lausanne Soloists,

comprising current and former students of the

Haute École de Musique de Lausanne, where he

has held a professorship since 2014. He plays the

Guarneri del Gesù ‘Panette’ (1737), which belonged

to Isaac Stern. In June 2011 he was appointed

Chevalier dans l’Ordre National du Mérite and in

March 2016 Chevalier de la Légion d’honneur by

the French Government. Renaud Capuçon played

Beethoven’s Violin Concerto with the Sydney

Symphony Orchestra and conductor Kristjan Järvi

in 2010.

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SYDNEY SYMPHONY ORCHESTRA

Founded in 1932 by the Australian Broadcasting Commission, the Sydney Symphony Orchestra has evolved into one of the world’s finest orchestras as Sydney has become one of the world’s great cities. Resident at the iconic Sydney Opera House, the SSO also performs in venues throughout Sydney and regional New South Wales, and international tours to Europe, Asia and the USA have earned the orchestra worldwide recognition for artistic excellence.

Well on its way to becoming the premier orchestra of the Asia Pacific region, the SSO has toured China on five occasions, and in 2014 won the arts category in the Australian Government’s inaugural Australia-China Achievement Awards, recognising ground-breaking work in nurturing the cultural and artistic relationship between the two nations.

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, Zdeněk 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 Learning and Engagement 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 commissions. Recent premieres have included major works by Ross Edwards, Lee Bracegirdle, Gordon Kerry, Mary Finsterer, Nigel Westlake, Paul Stanhope and Georges Lentz, and 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 conducted by Alexander Lazarev, Sir Charles Mackerras and David Robertson, as well as the complete Mahler symphonies conducted by Vladimir Ashkenazy.

2018 is David Robertson’s fifth season as Chief Conductor and Artistic Director.

DAVID ROBERTSONTHE LOWY CHAIR OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

PATRON Professor The Hon. Dame Marie Bashir ad cvo

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David RobertsonTHE LOWY CHAIR OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

Andrew HaveronCONCERTMASTER SUPPORTED BY VICKI OLSSON

Brett DeanARTIST IN RESIDENCE SUPPORTED BY GEOFF AINSWORTH am & JOHANNA FEATHERSTONE

THE ORCHESTRA

FIRST VIOLINSAndrew HaveronCONCERTMASTER

Sun Yi ASSOCIATE CONCERTMASTER

Kirsten Williams ASSOCIATE CONCERTMASTER

Lerida DelbridgeASSISTANT CONCERTMASTER

Fiona ZieglerASSISTANT CONCERTMASTER

Jenny Booth Sophie Cole Claire Herrick Georges Lentz Nicola Lewis Emily Long Alexandra Mitchell Alexander Norton Anna SkálováLéone Ziegler Brielle Clapson

SECOND VIOLINS Kirsty HiltonPRINCIPAL

Marina Marsden PRINCIPAL

Marianne Edwards ASSOCIATE PRINCIPAL

Emma Jezek ASSISTANT PRINCIPAL

Alice BartschVictoria Bihun Rebecca GillEmma Hayes Shuti Huang Monique Irik Wendy KongStan W Kornel Benjamin Li Nicole Masters Maja Verunica

VIOLASRoger Benedict PRINCIPAL

Tobias BreiderPRINCIPAL

Anne-Louise Comerford ASSOCIATE PRINCIPAL

Justin Williams ASSISTANT PRINCIPAL Sandro Costantino Rosemary Curtin Jane Hazelwood Graham Hennings Stuart Johnson Justine Marsden Felicity Tsai Amanda Verner Stephen Wright*Leonid Volovelsky

CELLOSUmberto Clerici PRINCIPAL

Catherine HewgillPRINCIPAL

Leah Lynn ASSISTANT PRINCIPAL

Fenella Gill Timothy Nankervis Christopher Pidcock Adrian Wallis David WickhamKristy Conrau Elizabeth Neville

DOUBLE BASSESKees Boersma PRINCIPAL

Alex HeneryPRINCIPAL

David Campbell Steven Larson Richard Lynn Jaan Pallandi Benjamin Ward Alanna Jones†

FLUTES Joshua Batty* PRINCIPAL

Lisa Osmialowski°ASSOCIATE PRINCIPAL

Carolyn Harris Rosamund Plummer PRINCIPAL PICCOLO

Emma Sholl A/ PRINCIPAL

OBOESDiana Doherty PRINCIPAL

Shefali Pryor ASSOCIATE PRINCIPAL

David Papp Alexandre OgueyPRINCIPAL COR ANGLAIS

CLARINETSFrancesco Celata ACTING PRINCIPAL

Christopher Tingay Alexander Morris PRINCIPAL BASS CLARINET

BASSOONSTodd Gibson-Cornish PRINCIPAL

Matthew Wilkie PRINCIPAL EMERITUS

Noriko ShimadaPRINCIPAL CONTRABASSOON

Melissa Woodroffe°Fiona McNamara

HORNSBen Jacks PRINCIPAL

Tim Jones* PRINCIPAL

Geoffrey O’Reilly PRINCIPAL 3RD

Euan Harvey Marnie Sebire Aidan Gabriels†

Alexander Love*Rachel Silver

TRUMPETSDavid Elton PRINCIPAL

Paul Goodchild ASSOCIATE PRINCIPAL

Anthony Heinrichs Daniel Henderson°

TROMBONESRonald Prussing PRINCIPAL

Scott Kinmont ASSOCIATE PRINCIPAL

Nick Byrne Brett Page* PRINCIPAL BASS TROMBONE

Christopher Harris

PRINCIPAL BASS TROMBONE

TUBASteve Rossé PRINCIPAL

TIMPANIMark Robinson A/ PRINCIPAL

PERCUSSIONRebecca Lagos PRINCIPAL

Timothy ConstableTim Brigden* Ian Cleworth* Alison Pratt*

HARPLouise Johnson PRINCIPAL

CELESTA Kate Golla*

° = CONTRACT MUSICIAN

* = GUEST MUSICIAN

† = SSO FELLOW

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

www.sydneysymphony.com/SSO_musicians

The men’s tails are hand tailored by Sydney’s leading bespoke tailors, G.A. Zink & Sons.

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BEHIND THE SCENES

Sydney Symphony Orchestra StaffMARKETING MANAGER, DIGITAL & ONLINE

Meera Gooley

ONLINE MARKETING COORDINATOR

Andrea Reitano

MARKETING COORDINATOR

Tess Herrett

Box Office

HEAD OF TICKETING

Emma Burgess

SENIOR CUSTOMER SERVICE MANAGER

Pim den Dekker

CUSTOMER SERVICE MANAGER

Amie Stoebner

CUSTOMER SERVICE REPRESENTATIVE

Michael Dowling

PHILANTHROPY

DIRECTOR OF PHILANTHROPY

Lindsay Robinson

PHILANTHROPY MANAGER

Kate Parsons

PHILANTHROPY MANAGER

Jennifer Drysdale

PHILANTHROPY COORDINATOR

Georgia Lowe

EXTERNAL AFFAIRS

DIRECTOR OF EXTERNAL AFFAIRS

Lizzi Nicoll

HEAD OF CORPORATE RELATIONS

Patricia Noeppel-Detmold

BUSINESS DEVELOPMENT MANAGER

Benjamin Moh

EXTERNAL AFFAIRS OFFICER

Mihka Chee

EVENTS OFFICER

Claire Whittle

PUBLICITY MANAGER

Alyssa Lim

MULTIMEDIA CONTENT MANAGER

Daniela Testa

BUSINESS SERVICES

DIRECTOR OF FINANCE

Sarah Falzarano

FINANCE MANAGER

Ruth Tolentino

ACCOUNTANT

Minerva Prescott

ACCOUNTS ASSISTANT

Emma Ferrer

PAYROLL OFFICER

Laura Soutter

PEOPLE AND CULTURE

IN-HOUSE COUNSEL

Michel Maree Hryce

TRANSFORMATION PROJECTS

DIRECTOR OF TRANSFORMATION PROJECTS

Richard Hemsworth

CHIEF EXECUTIVE OFFICER

Emma Dunch

CHIEF OF STAFF

Philip Jameson

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC PLANNING

Raff Wilson

ARTISTIC PLANNING MANAGER

Sam Torrens

ARTIST LIAISON MANAGER

Ilmar Leetberg

LIBRARY MANAGER

Alastair McKean

LIBRARIANS

Victoria Grant

Mary-Ann Mead

SYDNEY SYMPHONY PRESENTS

ASSOCIATE PRODUCER

Peter Silver

OPERATIONS & COMMERCIAL COORDINATOR

Alexander Norden

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA MANAGEMENT

Aernout Kerbert

ORCHESTRA MANAGER

Rachel Whealy

ORCHESTRA COORDINATOR

Rosie Marks-Smith

OPERATIONS MANAGER

Kerry-Anne Cook

STAGE MANAGER

Suzanne Large

PRODUCTION COORDINATORS

Elissa Seed

Brendon Taylor

LEARNING AND ENGAGEMENT

DIRECTOR OF LEARNING & ENGAGEMENT

Linda Lorenza

EMERGING ARTISTS PROGRAM MANAGER

Rachel McLarin

EDUCATION MANAGER

Amy Walsh

Tim Walsh

EDUCATION OFFICER

Tim Diacos

SALES AND MARKETING

INTERIM DIRECTOR OF MARKETING

Luke Nestorowicz

MARKETING MANAGER, CLASSICAL SALES

Douglas Emery

MARKETING MANAGER, SYDNEY SYMPHONY PRESENTS

Kate Jeffery

MARKETING MANAGER, CRM

Lynn McLaughlin

LEAD DESIGNER

Indah Shillingford

GRAPHIC DESIGNER

Amy Zhou

Terrey Arcus AM Chairman

Andrew Baxter

Kees Boersma

Ewen Crouch AM

Emma Dunch

Catherine Hewgill

David Livingstone

The Hon. Justice AJ Meagher

Karen Moses

John Vallance

Sydney Symphony Orchestra Board

Sydney Symphony Orchestra CouncilGeoff Ainsworth AM

Doug BattersbyChristine BishopDr Rebecca ChinJohn C Conde AO

The Hon. John Della Bosca Alan FangMs Hannah Fink and Mr Andrew ShapiroErin FlahertyDr Stephen Freiberg Robert JoannidesSimon 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

Mary WhelanBrian White AO

Rosemary White

HONORARY COUNCIL MEMBERS

Ita Buttrose AO OBE

Donald Hazelwood AO OBE

Yvonne Kenny AM

Wendy McCarthy AO

Dene Olding AM

Leo Schofield AM

Peter Weiss AO

Concertmasters EmeritusDonald Hazelwood AO OBE

Dene Olding AM

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SSO PATRONS

Maestro’s Circle

Roslyn Packer AC PresidentPeter Weiss AO President Emeritus Terrey Arcus AM Chairman & Anne ArcusBrian AbelTom Breen & Rachel KohnThe Berg Family FoundationJohn C Conde AO

The late Michael Crouch AO & Shanny CrouchVicki OlssonDrs Keith & Eileen OngRuth & Bob MagidKenneth R Reed AM

David Robertson & Orli ShahamPenelope Seidler AM

Peter Weiss AO & Doris WeissRay Wilson OAM in memory of the late James Agapitos OAM

Anonymous (1)

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

David Robertson

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Justin WilliamsAssistant Principal ViolaMr Robert & Mrs L Alison Carr Chair

Kirsten WilliamsAssociate ConcertmasterI Kallinikos Chair

Carolyn HarrisFluteDr Barry Landa Chair

Jane HazelwoodViolaBob & Julie Clampett Chair in memory of Carolyn Clampett

Claire HerrickViolinMary & Russell McMurray Chair

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

Kirsty HiltonPrincipal Second ViolinDrs Keith & Eileen Ong Chair

Scott KinmontAssociate Principal TromboneAudrey Blunden Chair

Leah LynnAssistant Principal CelloSSO Vanguard Chair with lead support from Taine Moufarrige and Seamus R Quick

Nicole MastersSecond ViolinNora Goodridge Chair

Timothy NankervisCelloDr Rebecca Chin & Family Chair

Elizabeth NevilleCelloRuth & Bob Magid Chair

Alexandre OgueyPrincipal Cor AnglaisGC Eldershaw Chair

Chair PatronsDavid RobertsonThe Lowy Chair of Chief Conductor and Artistic Director

Andrew HaveronConcertmasterVicki Olsson Chair

Brett DeanArtist in ResidenceGeoff Ainsworth AM & Johanna Featherstone Chair

Kees BoersmaPrincipal Double BassSSO Council Chair

Tobias BreiderPrincipal ViolaMrs Roslyn Packer AC and Ms Gretel Packer Chair

Umberto ClericiPrincipal CelloGarry & Shiva Rich Chair

Anne-Louise ComerfordAssociate Principal ViolaWhite Family Chair

Kristy ConrauCelloJames Graham AM & Helen Graham Chair

Timothy ConstablePercussionJustice Jane Mathews AO Chair

Lerida DelbridgeAssistant ConcertmasterSimon Johnson Chair

Diana DohertyPrincipal OboeJohn C Conde AO Chair

Shefali PryorAssociate Principal OboeEmma & David Livingstone Chair

Mark RobinsonActing Principal TimpaniSylvia Rosenblum Chair in memory of Rodney Rosenblum

Emma ShollActing Principal FluteRobert & Janet Constable Chair

FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM

CALL (02) 8215 4625

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‘Knowing that there are such generous people out there who love music as much as I do really makes a difference to me. I have been so lucky to have met Fran and Tony. They are the most lovely, giving couple who constantly inspire me and we have become great friends over the years. I’m sure that this experience has enriched all of us.’ Catherine Hewgill, Principal Cello

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Learning & Engagement

fellowship patronsRobert Albert AO & Elizabeth Albert Flute ChairChristine Bishop Percussion ChairSandra & Neil Burns Clarinet ChairDr Gary Holmes & Dr Anne Reeckmann Horn ChairIn Memory of Matthew Krel Violin ChairWarren & Marianne Lesnie Trumpet ChairPaul Salteri AM & Sandra Salteri Violin, Double Bass and Trombone ChairsIn Memory of Joyce Sproat Viola ChairThe late Mrs W Stening Cello ChairJune & Alan Woods Family Bequest Bassoon ChairAnonymous Oboe Chair

fellowship supporting patronsBronze Patrons & aboveMr Stephen J BellJudy Crawford & the late Robin Crawford AM Mrs Carolyn Githens The Greatorex Foundation Dr Jan Grose OAM

Dr Barry LandaGabriel LopataThe Dr Lee MacCormick Edwards Charitable FoundationDrs Eileen & Keith OngDominic Pak & Cecilia TsaiDr John Yu AC

Anonymous (2)

tuned-up!Bronze Patrons & aboveAntoinette Albert Ian & Jennifer Burton Ian Dickson & Reg HollowayDr Gary Holmes & Dr Anne ReeckmannDrs Keith & Eileen OngTony Strachan

major education donorsBronze Patrons & aboveBeverley & Phil BirnbaumThe late Mrs PM Bridges OBE

Bob & Julie ClampettHoward & Maureen ConnorsKimberley HoldenMrs WG KeighleyRoland LeeMr & Mrs Nigel PriceMr Dougall SquairMr Robert & Mrs Rosemary WalshIn memory of Dr Bill Webb & Mrs Helen WebbAnonymous (1)

Sydney Symphony Orchestra 2018 Fellows The Fellowship program receives generous support from the Estate of the late Helen MacDonnell Morgan.

Geoff Ainsworth AM & Johanna FeatherstoneChristine BishopDr John EdmondsAlvaro Rodas FernandezDr Stephen Freiberg & Donald CampbellPeter HowardAndrew Kaldor AM & Renata Kaldor AO

Gary Linnane & Peter BraithwaiteGabriel LopataDr Peter LouwJustice Jane Mathews AO

Dr Janet MerewetherVicki OlssonCaroline & Tim RogersGeoff StearnRosemary SwiftIan TaylorDr Richard T WhiteKim Williams AM & Catherine DoveyAnonymous

SSO CommissionsEach year – both alone and in collaboration with other orchestras worldwide – the SSO commissions new works for the mainstage concert season. These commissions represent Australian and international composers, established and new voices, and reflect our commitment to the nurturing of orchestral music.

Premieres in 2018…

JULIAN ANDERSON The Imaginary Museum – Piano Concerto with soloist Steven Osborne 2, 3, 4 August (Australian premiere)

BRETT DEAN Cello Concerto with soloist Alban Gerhardt 22, 24, 25 August (Premiere)

Commissioning CircleSupporting the creation of new works.

“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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DIAMOND PATRONS $50,000 and aboveBrian AbelGeoff Ainsworth am & Johanna FeatherstoneAnne Arcus & Terrey Arcus am

The Berg Family FoundationTom Breen & Rachael KohnMr John C Conde ao Dr Gary Holmes & Dr Anne ReeckmannSir Frank Lowy ac & Lady Lowy oam

Ruth and Bob Magid Vicki OlssonRoslyn Packer ac

Paul Salteri am & Sandra SalteriPeter Weiss ao & Doris Weiss

PLATINUM PATRONS $30,000–$49,999Robert & Janet ConstableThe late Michael Crouch ao & Shanny Crouch Ms Ingrid Kaiser David Robertson & Orli ShahamThe late Mrs W Stening

GOLD PATRONS $20,000–$29,999Antoinette AlbertRobert Albert ao & Elizabeth AlbertChristine BishopSandra & Neil BurnsGC Eldershaw Edward & Diane FedermanMrs Carolyn GithensMr Andrew Kaldor am & Mrs Renata Kaldor ao

I KallinikosDr Barry LandaRussell & Mary McMurrayKaren MosesRachel & Geoffrey O’ConorDrs Keith & Eileen OngKenneth R Reed am

Mrs Penelope Seidler am

In memory of Joyce SproatGeoff StearnRay Wilson oam in memory of James Agapitos oam

June & Alan Woods Family BequestAnonymous (1)

SILVER PATRONS $10,000–$19,999Ainsworth FoundationDoug & Alison BattersbyRob Baulderstone & Mary WhelanAudrey BlundenDaniel & Drina BrezniakMr Robert & Mrs L Alison Carr

Dr Rebecca ChinBob & Julie Clampett Richard Cobden sc Mrs Janet CookeIan Dickson & Reg HollowayEmma DunchDr Lee MacCormick Edwards Charitable FoundationNora GoodridgeSimon JohnsonWarren & Marianne LesnieEmma & David LivingstoneHelen Lynch am & Helen BauerSusan Maple-Brown am Justice Jane Mathews ao

The Hon. Justice A J Meagher & Mrs Fran MeagherDr Janet MerewetherMr John MorschelDr Dominic Pak & Mrs Cecilia TsaiMr & Mrs Nigel PriceSeamus Robert QuickGarry & Shiva RichSylvia Rosenblum Rod Sims and Alison PertTony StrachanIsaac Wakil ao & the late Susan Wakil ao

In memory of Dr Bill Webb & Mrs Helen WebbJudy & Sam WeissIn memory of Anthony Whelan mbe

In memory of Geoff WhiteCaroline WilkinsonAnonymous (4)

BRONZE PATRONS $5,000–$9,999Stephen J BellBeverley & Phil BirnbaumBoyarsky Family TrustThe late Mrs P M Bridges obe

Ian & Jennifer BurtonHon. J C Campbell qc & Mrs CampbellMr Lionel ChanDr Diana ChoquetteMr B & Mrs M ColesHoward Connors Ewen Crouch am & Catherine CrouchDonus Australia Foundation LtdPaul & Roslyn EspieIn memory of Lyn FergussonMr Richard FlanaganDr Stephen Freiberg & Donald CampbellJames & Leonie FurberDr Colin GoldschmidtMr Ross GrantMr David Greatorex ao & Mrs Deirdre Greatorex

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

n n n n n n n n n nIF YOU WOULD LIKE MORE INFORMATION ON MAKING A BEQUEST TO THE SSO, PLEASE CONTACT OUR PHILANTHROPY TEAM ON 8215 4625.

Warwick K AndersonMr Henri W Aram oam &

Mrs Robin AramTimothy Ball Dr Rosemary BarnardStephen J BellChristine BishopMrs Judith BloxhamMr David & Mrs Halina BrettR BurnsDavid Churches & Helen RoseHoward Connors Greta DavisG C Eldershaw Glenys FitzpatrickDr Stephen Freiberg Vic and Katie French Jennifer FultonBrian GalwayGeoffrey Greenwell

Miss Pauline M Griffin AM

John Lam-Po-TangDr Barry LandaPeter Lazar AM

Daniel LemesleArdelle LohanLinda LorenzaMary McCarterLouise MillerJames & Elsie MooreMrs Barbara MurphyDouglas PaisleyKate RobertsDr Richard SpurwayRosemary SwiftMary Vallentine AO

Ray Wilson OAM

Dawn and Graham WornerAnonymous (41)

Honouring the legacy of Stuart Challender.

SSO Bequest Society

bequest donors

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

The late Mr Ross Adamson Estate of Douglas Vincent AgnewEstate of Carolyn ClampettEstate of Jonathan Earl William Clark Estate of Paul Louis de LeuilEstate of Colin T EnderbyEstate of Mrs E HerrmanEstate of Irwin ImhofThe late Mrs Isabelle JosephThe Estate of Dr Lynn JosephEstate of Matthew KrelEstate of Helen MacDonnell MorganThe late Greta C RyanEstate of Rex Foster SmartEstate of Joyce SproatJune & Alan Woods Family Bequest

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

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SSO PATRONS

Playing Your PartWarren GreenDr Jan Grose oam The Hilmer Family EndowmentJames & Yvonne HochrothAngus & Kimberley HoldenJim & Kim JobsonMr Ervin KatzRoland LeeGabriel LopataRobert McDougall Ian & Pam McGawJudith A McKernanMora MaxwellMs Jackie O’BrienMrs Sandra PlowmanMark & Lindsay RobinsonManfred & Linda SalamonMr Dougall SquairJohn & Jo StruttMs Rosemary SwiftMr David FC Thomas & Mrs Katerina ThomasDr Alla WaldmanMr Robert & Mrs Rosemary WalshDr John Yu ac

PRESTO PATRONS $2,500–$4,999John N Aitken Rae & David AllenDavid BarnesIn memory of Rosemary Boyle, Music TeacherMrs Ros Bracher am

In memory of RW BurleyCheung FamilyMr B & Mrs M ColesDr Paul CollettAndrew & Barbara DoweSuellen & Ron EnestromAnthony GreggRoger Hudson & Claudia Rossi-HudsonDr Michael & Mrs Penny HunterFran & Dave KallawayProfessor Andrew Korda am & Ms Susan PearsonIn memory of Dr Reg Lam-Po-TangA/Prof. Winston Liauw & Mrs Ellen LiauwMrs Juliet LockhartIan & Pam McGawBarbara MaidmentRenee MarkovicMrs Alexandra Martin & the late Mr Lloyd Martin am

Helen & Phil MeddingsJames & Elsie MooreTimothy & Eva PascoeAndrew Patterson & Steven BardyPatricia H Reid Endowment Pty LtdLesley & Andrew RosenbergShah RusitiIn memory of H St P ScarlettHelen & Sam ShefferPeter & Jane ThorntonKevin TroyJudge Robyn TupmanRussell van Howe & Simon BeetsJohn & Akky van OgtropMr Robert VeelThe Hon. Justice A G WhealyProf. Neville Wills & Ian FenwickeMs Josette WunderYim Family Foundation

Anonymous (3)

VIVACE PATRONS $1,000–$2,499Colin & Richard AdamsMrs Lenore AdamsonAndrew Andersons ao

Mr Matthew AndrewsMr Henri W Aram oam

In memory of Toby AventMargaret & James BeattieDr Richard & Mrs Margaret BellAllan & Julie BlighPeter Braithwaite & Gary LinnaneMrs H BreekveldtMrs Heather M BreezeMr David & Mrs Halina BrettEric & Rosemary CampbellMichel-Henri CarriolDebby Cramer & Bill CaukillM D Chapman am & Mrs J M ChapmanNorman & Suellen ChapmanMrs Stella ChenMrs Margot ChinneckDavid Churches & Helen RoseMr Donald ClarkJoan Connery oam & Max Connery oam

Constable Estate VineyardsDr Peter CraswellChristie & Don DavisonGreta DavisLisa & Miro DavisKate DixonStuart & Alex DonaldsonProfessor Jenny EdwardsDr Rupert C EdwardsMrs Margaret EppsMr John B Fairfax ao

Sarah & Tony FalzaranoMr & Mrs Alexander FischlVic & Katie FrenchMrs Lynne FrolichVernon Flay & Linda GilbertJulie FlynnVictoria Furrer-BrownMichele Gannon-MillerMrs Linda GerkeMr Stephen Gillies & Ms Jo MetzkeMs Lara GoodridgeClive & Jenny GoodwinMichael & Rochelle GootMr David GordonIn Memory of Angelica GreenAkiko GregoryRichard Griffin am & Jay GriffinHarry & Althea HallidayMrs Jennifer HershonSue HewittJill Hickson am

Dr Lybus HillmanDorothy Hoddinott ao

Mr Peter HowardAidan & Elizabeth Hughes In memory of Mr Geoffrey IsraelDavid JeremyMrs Margaret Johnston

Dr Owen Jones & Ms Vivienne Goldschmidt Mrs W G KeighleyAnna-Lisa KlettenbergDr Michael Kluger & Jane EnglandMr Justin LamL M B LampratiBeatrice LangMr Peter Lazar am

Anthony & Sharon Lee FoundationRobert LeeMr David LemonBenjamin LiAirdrie LloydMrs A LohanLinda LorenzaPeter Lowry oam & Carolyn Lowry oam

Dr Michael LunzerKevin & Susan McCabeKevin & Deidre McCannMatthew McInnesDr V Jean McPhersonMrs Suzanne Maple-BrownJohn & Sophia MarAnna & Danny MarcusDanny MayGuido & Rita MayerMrs Evelyn MeaneyKim Harding & Irene MillerHenry & Ursula MooserMilja & David MorrisJudith & Roderick MortonP MullerJudith MulveneyMs Yvonne Newhouse & Mr Henry BrenderPaul & Janet NewmanDarrol Norman & Sandra HortonProf. Mike O’Connor am

Judith OlsenMr & Mrs OrtisMrs Elizabeth OstorMrs Faye ParkerIn memory of Sandra PaulGreg PeirceMr Stephen PerkinsAlmut PiattiPeter & Susan PicklesErika & Denis PidcockDr John I PittMs Ann PritchardMrs Greeba PritchardThe Hon. Dr Rodney Purvis am qc & Mrs Marian PurvisDr Raffi Qasabian & Dr John WynterMr Patrick Quinn-GrahamMr Graham QuintonErnest & Judith RapeeAnna RoIn memory of Katherine RobertsonMrs Judy RoughMs Christine Rowell-MillerJorie Ryan for Meredith RyanMr Kenneth RyanMs Donna St ClairMrs Solange SchulzGeorge & Mary ShadMs Kathleen ShawMarlene & Spencer SimmonsMrs Victoria SmythMrs Yvonne SontagJudith Southam

Catherine Stephen Ashley & Aveen StephensonThe Hon. Brian Sully am qc

Mildred TeitlerHeng & Cilla TeyDr Jenepher ThomasMrs Helen TwibillMary Vallentine ao

Mr Ken UnsworthIn memory of Denis WallisMichael WatsonHenry & Ruth WeinbergJerry WhitcombMr Brian White ao & Mrs Rosemary WhiteBetty WilkenfeldA L Willmers & R PalDr Edward J WillsAnn & Brooks C Wilson am

Margaret WilsonDr Richard WingMr Evan Wong & Ms Maura CordialDr Peter Wong & Mrs Emmy K WongLindsay & Margaret WoolveridgeIn memory of Lorna WrightMrs Robin YabsleyAnonymous (26)

ALLEGRO PATRONS $500–$999John and Livia Aboud Mr Nick AndrewsMr Luke ArnullMr Garry & Mrs Tricia AshMiss Lauren AtmoreLyn BakerMr Ariel BalagueJoy BalkindMr Paul BalkusSimon BathgateMs Jan BellMr Chris BennettIn memory of Lance BennettSusan BergerMs Baiba BerzinsMinnie BiggsJane BlackmoreMrs Judith BloxhamKees BoersmaMr Stephen BoothR D & L M BroadfootWilliam Brooks & Alasdair BeckCommander W J Brash obe

Dr Tracy BryanProfessor David Bryant oam

Mr Darren BuczmaChristine Burke & Edward NuffieldMrs Anne CahillHugh & Hilary CairnsMrs Jane CamilleriP C ChanJonathan ChissickSimone ChuahIn memory of L & R CollinsJan & Frank ConroySuzanne CooreyDom Cottam & Kanako ImamuraMs Fiona CottrellMs Mary Anne CroninMr David CrossRobin & Wendy CummingD F Daly

29

Ms Anthoula DanilatosGeoff & Christine DavidsonMark Dempsey & Jodi SteeleDr David DixonGrant & Kate DixonSusan DoenauE DonatiMr George DowlingJP & Jen DrysdaleMs Margaret DunstanDana DupereCameron Dyer & Richard MasonMiss Lili DuMr Malcolm Ellis & Ms Erin O’NeillJohn FavaloroDr Roger FelthamMs Carole FergusonMrs Lesley FinnMs Lee GallowayMs Lyn GearingMr & Mrs Peter GoldingMs Carole A GraceMr Robert GreenDr Sally GreenawayMr Geoffrey GreenwellPeter & Yvonne HalasIn memory of Beth HarpleySandra HaslamRobert HavardRoger HenningMrs Mary HillIn memory of my father, Emil Hilton, who introduced me to musicLynette HiltonA & J HimmelhochYvonne HolmesMrs Georgina M HortonMrs Suzzanne & Mr Alexander HoughtonRobert & Heather HughesDr Mary JohnssonMs Philippa Kearsley Kim & Megan KemmisMrs Leslie KennedyIn memory of Bernard M H KhawDr Henry KilhamJennifer KingMr & Mrs Gilles KrygerMr Patrick LaneThe Laing FamilyMs Sonia LalElaine M LangshawDr Leo & Mrs Shirley LeaderMr Cheok F LeePeter Leow & Sue ChoongMrs Erna LevyLiftronc Pty LtdJoseph LipskiHelen LittleNorma LopataKevin McDonaldFrank MachartAlastair McKeanMs Margaret McKennaMelvyn MadiganMrs Silvana MantellatoMs Kwok-Ling MauLouise MillerMr John MitchellKevin Newton MitchellRobert MitchellHoward Morris

Alan Hauserman & Janet NashMr John R NethercoteMrs Janet & Mr Michael NeusteinMr Davil NolanJohn & Verity NormanMr Graham NorthPaul O’DonnellMr Edmund OngKate ParsonsDr Kevin PedemontMichael QuaileySuzanne Rea & Graham StewartKim & Graham RichmondDr Peter RoachMr David RobinsonAlexander & Rosemary RocheMr Michael RollinsonAgnes RossMrs Audrey SandersonGarry E Scarf & Morgie BlaxillMr Tony SchlosserLucille SealePeter & Virginia ShawAlison Shillington & the late David ShillingtonMrs Diane Shteinman am

Dr Evan SiegelMargaret SikoraJan & Ian SloanMaureen SmithAnn & Roger SmithCharles SolomonTitia SpragueMrs Jennifer SpitzerRobert SpryCheri StevensonFiona StewartDr Vera StoermerMargaret & Bill SuthersMr Ian TaylorMr Ludovic TheauAlma TooheyHugh TregarthenMs Laurel TsangGillian Turner & Rob BishopMs Kathryn TurnerRoss TzannesMr Thierry VancaillieJan & Arthur WaddingtonRonald WalledgeIn memory of Don WardClaire WhittleMrs Bernadette WilliamsonJane Sarah WilliamsonPeter WilliamsonMr D & Mrs H WilsonDr Wayne WongMrs Sue WoodheadSir Robert WoodsMs Roberta WoolcottDawn & Graham WornerMr John WottonMs Lee WrightMs Juliana WusunPaul WyckaertAnne YabsleyL D & H YMichele & Helga ZwiAnonymous (52)

Sydney Symphony Vanguard is an adventurous way to demonstrate your commitment to supporting a secure future for orchestral music and live performance. A membership program for the musically curious, Vanguard is your ticket to join the Sydney Symphony community.

VANGUARD COLLECTIVEJustin Di Lollo ChairTaine Moufarrige Founding PatronSeamus Robert Quick Founding Patron Chris Robertson & Katherine Shaw Founding PatronsPaul ColganOscar McMahonShefali Pryor

VANGUARD MEMBERSLaird AbernethyLuan AtkinsonAttila BaloghNatalie BascurJemma BassoAndrew BaxterBelinda BentleyDr Victoria BeyerAdam BlakeDeryn BlissDaniel BoothDr Andrew BotrosGeorgia BranchChristie BrewsterNikki BrownChloe BurnettSandra ButlerAlicia CabreraJacqueline ChalmersTony ChalmersDharma ChandranTanya CostelloMichelle CottrellAlex CowieAnthony CowiePeter CreedenAlastair & Jane CurrieShevi de SoysaEmily ElliottRoslyn FarrarAndrea FarrellMatthew FogartyMatthew Garrett & Courtney ThomasonSam GiddingsJulia GlaserJeremy Goff & Amelia Morgan-HunnLisa GoochJoelle GoudsmitJanice HailstoneJennifer HoyKatie HryceInside Eagles Pty LtdAmelia JohnsonVirginia JudgeAernout Kerbert

Dr John Lam-Po-TangRobert LarosaGabirel LopataCarl McLaughlinSabrina MeierJemma MorrisSarah MorrisbyRod NaylorJulia NewbouldAlex NicholasAlasdair NicolSimon OatenAdrian O’RourkeConnie PicosSamyuktha PillaiJoel PinkhamNeil PowerKate QuiggJohn QuinnJane RobertsonAlvaro Rodas FernandezWouter RoesemsMary SabinRachel ScanlonCassandra ScottVanessa Louise SheedyDaniel SooTim SteeleKristina StefanovaLuke StorrierBen SweetenSandra TangIan TaylorKimon TellidisRobyn ThomasRussell Van Howe & Simon BeetsAmanda VerrattiAurora VossJames WhelanIrene WillisAdrian WilsonDr Danika WrightYvonne Zammit

SSO Vanguard

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SALUTE

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PRINCIPAL PARTNER GOVERNMENT PARTNERS

The Sydney Symphony Orchestra is

assisted by the NSW Government

through Create NSW.

The Sydney Symphony Orchestra is assisted by the

Commonwealth Government through the Australia

Council, its arts funding and advisory body.

REGIONAL TOUR PARTNERVANGUARD PARTNER SUPPORTERS

LOVE SUPREME, PADDINGTON

TECHNOLOGY PARTNERFOUNDATIONS

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