VIVALDI'S FOUR SEASONS · VIVALDI’S FOUR SEASONS James Ehnes violin and director WOLFGANG AMADEUS MOZART (1756–1791) Don Giovanni: Overture and ‘Presto presto pria ch’ei venga’

VIVALDI'S FOUR SEASONS

SPECIAL EVENT PREMIER PARTNER CREDIT SUISSE

Friday 17 0ctober 2014

WELCOME

Rob Stewart Chief Executive Officer Credit Suisse Australia

Credit Suisse warmly welcomes you to this special event in the Sydney Symphony Orchestra’s 2014 season.

Tonight, in the intimate space of City Recital Hall Angel Place,

we’re privileged to hear award-winning Canadian violinist

James Ehnes and the musicians of the SSO perform the

most popular set of violin concertos of all time – Vivaldi’s

Four Seasons.

These concertos belong to classical music’s greatest hits

and it’s easy to see why. They’re lively and tuneful and they’re

full of vivid musical images that you can see in your mind.

The Four Seasons is music that never grows old – a true

classic – and perhaps you’ve heard it many times before.

But as with any classic, it’s the interpreters who bring the

music to life anew each time.

We are delighted to be supporting this special event, with a

world-class artist and the SSO musicians performing this

timeless and much-loved music.

We welcome you here this evening and hope you enjoy the

performance.

2014 concert season

SPECIAL EVENT PRESENTED BY CREDIT SUISSEFRIDAY 17 OCTOBER, 7PM

CITY RECITAL HALL ANGEL PLACE

VIVALDI’S FOUR SEASONSJames Ehnes violin and director

WOLFGANG AMADEUS MOZART (1756–1791) Don Giovanni: Overture and ‘Presto presto pria ch’ei venga’arranged for wind band by Josef Triebensee (1772–1846)

ANTONIO VIVALDI (1678–1741) The Four Seasons, Op.8

Concerto in E major, RV269, La Primavera (Spring)Allegro Largo Allegro

Concerto in G minor, RV293, L’estate (Summer)Allegro non molto Adagio – Presto Presto

MOZART Duets from 12 Pieces for two horns, K487 (Kegelduette)No.5 Larghetto No.2 Menuett (Allegretto)

VIVALDI

Concerto in F major, RV315, L’autunno (Autumn)Allegro – Allegro assai Adagio molto Allegro

Concerto in F minor, RV297, L’inverno (Winter)Allegro non molto Largo Allegro

This concert will be recorded by ABC Classic FM for broadcast across Australia on Saturday 18 October at 1pm.

Pre-concert talk by David Garrett at 6.15pm in the First Floor Reception Room. Visit sydneysymphony.com/talk-bios for speaker biographies.

Estimated durations: 11 minutes, 11 minutes, 10 minutes, 4 minutes, 9 minutes, 7 minutes The concert will conclude at approximately 8.10pm.

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Spring

A set of landscapes, The Four Seasons by Jan Josef Horemans the Elder (1682–1759)

Summer

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Autumn

Winter

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ABOUT THE MUSIC

VIVALDI The Four Seasons (Le quattro stagioni)from a set of 12 violin concertos Il cimento dell’armonia e dell’inventione (The Contest of Harmony and Invention), Op.8

Concerto in E major, RV269, Spring Concerto in G minor, RV293, Summer Concerto in F major, RV315, Autumn Concerto in F minor, RV297, Winter

The modern craze for Vivaldi’s Four Seasons shows no sign of abating – delighted listeners keep coming afresh to this most enjoyable piece of program music, or returning to it. It’s no surprise that the piece made a sensation when it was new in the 1720s. King Louis XV of France demanded and received a private performance. Then, after long neglect, Vivaldi’s Seasons spearheaded the mid-20th-century Baroque music revival, coinciding with the coming of the long-playing record, a comfortable fit for the four concertos. Exploring further, enthusiasts found it was not true, as 20th-century Italian composer Dallapiccola jibed in exasperation, that Vivaldi composed the same concerto five hundred times. The claim is untrue in more than one sense: few if any of Vivaldi’s concertos turned out to be as sustainedly delightful as The Four Seasons.

The Four Seasons forms part of Il cimento dell’armonia e dell’inventione (The Contest of Harmony and Invention), Opus 8, which was published in 1725 in Amsterdam. The programmatic or narrative aspect of The Four Seasons should not obscure the fact that its harmonic invention makes it a good illustration of the collection to which it belongs. The pastoral scene-painting seems also to have encouraged Vivaldi in his characteristic experiments with violin technique: position shifts, the use of mutes and pizzicato (plucking) to create new sounds and effects, often with specifically illustrative intent.

Knowing which season is which, listeners may guess what is being illustrated in the music. Vivaldi provides a detailed guide in the form of sonnets (possibly written by him) whose lines are written into the musical score at the appropriate illustrative moments.

Portrait of a violinist, possibly Vivaldi, by François Morellon de La Cave (1723)

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I. Spring (La primavera)

Allegro

Spring has come and the cheerful birds

Welcome it with happy song

And the brooks, caressed by soft winds

Flow with a sweet murmur.

The sky is covered with a dark mantle,

Thunder and lightning announce a storm

But when all is quiet, the birds

Return to fill the air with harmonious songs.

Largo

And in the flowery meadow

To the sweet murmuring of plants and leaves

The goatherd sleeps, his faithful dog beside him.

Allegro

To the festive sound of the rustic bagpipe

Nymphs and shepherds dance, in love,

Their faces glowing with Springtime’s brilliance.

II. Summer (L’estate)

Allegro non molto

Under the merciless sun

Man languishes, his herd wilts, the pine tree

burns.

The cuckoo finds its voice, and at once

The turtledove and goldfinch join in song.

The sweet Zephyr blows, but once provoked,

The North-wind joins battle with its neighbor,

And the shepherd weeps because he fears

The fierce storm and his destiny.

Adagio e piano – Presto e forte

His tired limbs are robbed of their rest

By his fear of lightning and wild thunder,

And a furious swarm of gnats and flies surrounds

him.

Presto

Alas, his fears prove all too true.

Thunder and lightning split the heavens, and hail

Cuts down the lofty ears of corn.

III. Autumn (L’autumno)

Allegro – Allegro assai

The peasant celebrates with dance and song

The pleasure of a bountiful harvest.

And many, ablaze from Bacchus’ liquor

Finish their merriment in sleep.

Adagio molto

Now the mild and pleasant air

Makes everyone give up dancing and singing:

The season invites one and all

To savor a sweet slumber.

Allegro

At dawn the hunters are off to the hunt,

With horns and guns and dogs they sally forth,

The wild beast flees and they follow its trail.

Already terrified and weary from the din

Of guns and dogs, and wounded it tries

Feebly to escape, but exhausted dies.

IV. Winter (L’inverno)

Allegro non molto

Frozen and trembling in the icy snow

Amid the biting breath of the horrid wind,

We run, stamping our feet at every step,

Our teeth chattering in the hard frost.

Largo

To pass quiet, serene days before the fire

While the rain outside pours down in sheets.

Allegro

To walk on the ice with slow steps,

Moving with care for fear of falling.

To turn sharply, slip, fall to the ground,

Then go out again on the ice and dash about

Until the ice cracks and opens.

To hear the Sirocco, Boreas, and all the winds

Break through iron-clad doors and clash in war:

This is winter, but what a joy it brings.

The Four Seasons sonnets

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This was music for pleasure…

MOZART The Harmonie: 18th-century Musak and more

In addition to the pieces for violin and string orchestra that give this concert its title, this evening’s program also includes music for wind band or, as 18th-century German speakers would have called it, ‘Harmonie’.

One type of music-making very popular in Mozart’s Vienna was music for ensembles of wind instruments: Harmoniemusik. Its function was something like Musak and a little like the juke-box. In those days – before radio and recordings – small, relatively ‘portable’, bands of musicians were called upon to provide music in the streets and for ceremonial occasions, while wealthier households could afford to employ their own musicians to perform ‘at table’. In about 1782 the Austrian emperor and other aristocrats added first-class professional wind players to their payrolls.

Wind instrument ensembles had long been associated with outdoor types of music, because of their carrying power in the open air. Allusions were made to this kind of music (hunts, horseback displays and the like) even in music written to be played indoors. Because of the demand, Vienna had become a Mecca for wind players. And some of the best were in the employ of Emperor Joseph, whose Imperial Royal Harmonie included the Stadler brothers, who played clarinet, and the oboist Josef Triebensee.

Mozart’s serenades for winds reflect the changes in the Harmonie as he was composing them. He first wrote a piece in E flat (K375) for a sextet with clarinets, then re-wrote it for octet when he realised that the Emperor’s Harmonie – which would set the pattern – was to be an octet, with oboes as well. Later in the year Mozart wrote K388 in C minor, for this now standard Harmonie grouping: pairs of oboes, clarinets, bassoons and horns, sometimes with added support from a double bass. (It was only when Vienna’s salaried musicians were on holiday, during Lent, that they were able to assemble the ensemble of 13 required for a performance of Mozart’s Gran Partita.) Later, wind ensembles took on a more independent life, playing in such venues as the open-air amusement parks in Vienna, the Prater and the Augarten.

This was music for pleasure and – since a composer could give double pleasure if his music reminded listeners of other familiar music, as well as something new – arrangements for wind ensemble were made of operatic hits of the day. Occasionally the composer would make his own arrangement – as Mozart did with his Abduction from the Seraglio, in order

Mozart, a silverpoint drawing by Doris Stock (1789)

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to secure sales of the music. But more often transcriptions were made by the performers themselves, for example the set of highlights from Mozart’s Don Giovanni prepared by Triebensee.

The Don Giovanni opera itself exemplified the popularity of Harmoniemusik in the 1780s: the Don is entertained at his last dinner by a wind ensemble, playing an operatic medley including a tune from Mozart’s own Marriage of Figaro. And not only did Harmoniemusik play an important part as entertainment for banquets and suppers, but the use of wind instruments meant that it worked equally well out-of-doors. In another Mozart opera, Così fan tutte, a serenade in the garden scene features, naturally, a wind ensemble.

Even though Mozart missed the opportunity to make some money from transcribing his own operas, we know he would have liked to do so. At least we know, in the case of the Don Giovanni music for winds, who made the transcription, and for what purpose. We know of at least two Viennese aristocrats who purchased Triebensee’s transcription, presumably so that their resident wind ensembles could play it for them. But in the case of the pair of duets played in this concert, much less is sure. It is certain that the dozen short pieces for two instruments from which these are chosen are by Mozart. They have acquired the title Kegelduette, or ‘Skittle duets’, because on the manuscript someone (Mozart?) has written that they were composed ‘while playing skittles’ (or nine-pins?). This suggests an origin among musical friends of Mozart’s who might have joined him in the game.

Mozart’s manuscript makes no mention of instrumentation, but the fact that all the pieces are in the same key suggests a pair of valveless brass instruments, and close study of which notes Mozart omits confirms that he was writing for French

An 18th-century silhouette of the Oettingen-Wallerstein wind band

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TCHAIKOVSKY VIOLIN CONCERTO WITH JAMES EHNESA live recording with the sensational James Ehnes performing Tchaikovsky’s beloved Violin Concerto.

“[The] soloist is the wondrous James Ehnes, a thinker of the violin as well as a supreme virtuoso of the instrument.” The Telegraph (UK), 2012

SYDNEYSYMPHONY.COM CALL (02) 8215 4600 MON–FRI 9AM–5PM

RRP $25 AVAILABLE IN THE CONCERT HALL FOYER AND OTHER RETAILERS

horns. What led to doubt was the extraordinary range, making some wonder whether Mozart meant the duets for another kind of horn, the basset horn, a variant of their instrument favoured by the clarinet-playing Stadler brothers. But the main suspect is Mozart’s Salzburg friend who, like him, moved to Vienna – Joseph Leutgeb. It’s clear from the French horn concertos Mozart wrote for him that Leutgeb was an exceptional virtuoso. The duets were probably for Leutgeb’s private use, perhaps for him to play with a gifted pupil.

In the third movement of Autumn from The Four Seasons Vivaldi has string instruments imitate pairs of horns, which to an 18th-century listener – as Vivaldi intended – would have set the scene for a hunt. This gave us our cue for Mozart’s music to salute Vivaldi’s.

DAVID GARRETT © 2014

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MORE MUSIC

MOZART HARMONIEMUSIK The Amadeus Ensemble of Rotterdam, directed by Julius Rudel, recorded all the Harmoniemusik transcriptions of Mozart operas in four volumes, with Don Giovanni occupying the second. The rest of the set comprises The Marriage of Figaro (Vol.1); The Magic Flute and The Abduction from the Seraglio (Vol.3); and La clemenza di Tito and Così fan tutte (Vol.4). Available on iTunes.MUSICMASTERS 67118 (Vol.2)

Or look for the Netherlands Wind Ensemble in a recording of the Don Giovanni Harmoniemusik, together with a similar arrangement of highlights from Rossini’s Barber of Seville.PENTATONE 518 6190

You can hear more of Mozart’s horn duos (K487) filling out a disc recorded by Nachtmusique and Eric Hoeprich. The main work is Mozart’s beautiful and masterly Gran Partita, K361.GLOSSA 80605

VIVALDI’S FOUR SEASONSHow do you choose the definitive recording of the piece that has been recorded more than any other music in history? You probably have your own favourite, but if you’re looking for something close to home, we recommend the Tasmanian Symphony Chamber Players’ thrillingly stylish recording with violinist Barbara Jane Gilby and Geoffrey Lancaster conducting.ELOQUENCE 836 2211

Also home grown: look for the Australian Brandenburg Orchestra’s period instrument recording of Vivaldi’s masterwork, with the formidable Elizabeth Wallfisch playing baroque violin, directed by Paul Dyer.ABC CLASSICS 456 3642

JAMES EHNESJames Ehnes has yet to record Vivaldi’s Four Seasons, but if you’re interested in hearing him in Mozart, look for his recording of the five violin concertos. The name of the hand-picked ensemble, Mozart Anniversary Orchestra, signals this as a tribute for the 250th anniversary of the composer, with whom Ehnes happens to share a birthday. The 2CD set also includes the alternative movements Mozart composed for these concertos.CBC RECORDS SMCD 5238-2

In 2010 he recorded the Tchaikovsky concerto live in concert with the SSO and Vladimir Ashkenazy. The Canadian release on Onyx (4076) – described by the Daily Telegraph as showing artistry ‘in the first order’ – won him a Juno Award, the Canadian Grammy. You can find it in Australia on the SSO’s own label.SSO 201206

Last week James Ehnes performed Prokofiev’s Second Violin Concerto with the SSO. Together with the first, this concerto is included in a 2CD set comprising Prokofiev’s complete violin music. The BBC Philharmonic is conducted by Gianandrea Noseda and Andrew Armstrong is the pianist in the violin sonatas.CHANDOS 10787

www.jamesehnes.com

Broadcast DiaryOctober–November

Saturday 18 October, 1pm VIVALDI’S FOUR SEASONSJames Ehnes violin-directorVivaldi, Mozart

Thursday 23 October, 8pm DRAMATIC TRUMPETBrett Dean conductor Håkan Hardenberger trumpetDean, Sibelius

Sunday 26 October, 2pm RUSSIAN DAYDREAMSPinchas Steinberg conductorNatascha Petrinsky mezzo-sopranoSydney Philharmonia ChoirsTchaikovsky, Prokofiev

Friday 31 October, 8pm MAHLER 7: NIGHT MUSICJonathan Nott conductor David Drury organPoulenc, Mahler

Saturday 1 November, 1pm JANDAMARRABrett Weymark conductor Diana Doherty oboe Members of the Yilimbirri Ensemble Gondwana ChoirsHolst, Vaughan Williams, Stanhope & Hawke

SYDNEY SYMPHONY ORCHESTRA HOURTuesday 11 November, 6pm

Roger Benedict talks about our Fellowship program, his favourite music and the Tea & Symphony program on 14 November. Hosted by Andrew Bukenya.

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James Ehnes was born in 1976 in Brandon, Manitoba. He began studying violin aged four and at nine became a protégé of Canadian violinist Francis Chaplin. He studied with Sally Thomas at the Meadowmount School of Music and from 1993 to 1997 at the Juilliard School. At 13 he made his major orchestral solo debut with the Montreal Symphony Orchestra.

He has also received the inaugural Ivan Galamian Memorial Award, the Canada Council for the Arts’ Virginia Parker Prize and a 2005 Avery Fisher Career Grant. He holds an honorary doctorate from Brandon University and in 2007 was elected as a Fellow to the Royal Society of Canada. In 2010 the Governor General of Canada appointed him a Member of the Order of Canada, and in 2013 he was named an Honorary Member of the Royal Academy of Music, limited to a select group of 300 living distinguished musicians.

James Ehnes plays the Marsick Stradivarius (1715). His previous visit to the SSO was in 2010 when he played the Tchaikovsky violin concerto.

www.jamesehnes.com

Canadian violinist James Ehnes has performed in more than 30 countries on five continents, appearing regularly in the world’s great concert halls and with many of the most celebrated orchestras and conductors.

In the 2014–15 season he performs with the Royal Philharmonic Orchestra, Danish National Orchestra, and the Melbourne, NHK, Vienna, and Boston symphony orchestras, appears for the Chamber Music Society of Lincoln Center, and will give recitals in Prague, London, Toronto, Fort Worth and Montreal. He also performs with the Ehnes Quartet across North America and will lead the winter and summer festivals of the Seattle Chamber Music Society, where he is the Artistic Director.

His extensive discography features music ranging from JS Bach to John Adams. Recent projects include Khachaturian’s Violin Concerto paired with Shostakovich’s Seventh and Eighth String Quartets, an American chamber music disc, the complete violin works of Prokofiev, Britten and Shostakovich concertos, four CDs of Béla Bartók, and Tchaikovsky’s complete works for violin. His recordings have been honoured with many international awards and prizes, among them a Grammy, a Gramophone and nine Juno Awards, including a Juno for his recording with the SSO and Vladimir Ashkenazy of the Tchaikovsky concerto.

James Ehnesviolin

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SYDNEY SYMPHONY ORCHESTRA

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

Resident at the iconic Sydney Opera House, where it gives more than 100 performances each year, the SSO also performs in venues throughout Sydney and regional New South Wales. International tours to Europe, Asia and the USA have earned the orchestra worldwide recognition for artistic excellence, most recently in the 2012 tour to China.

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

The SSO’s award-winning education program is central to its commitment to the future of live

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

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

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

DAVID ROBERTSON Chief Conductor and Artistic Director

PATRON Professor The Hon. Dame Marie Bashir ad cvo

SYDNEY SYMPHONY ORCHESTRA BOARDJohn C Conde ao ChairmanTerrey Arcus am Rory JeffesEwen Crouch am Andrew Kaldor am

Ross Grant David LivingstoneCatherine Hewgill The Hon. Justice AJ MeagherJennifer Hoy Goetz Richter

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FIRST VIOLINS Andrew Haveron CONCERTMASTER

Kirsten Williams ASSOCIATE CONCERTMASTER

Fiona Ziegler ASSISTANT CONCERTMASTER

Jenny BoothNicola LewisLéone ZieglerDene Olding CONCERTMASTER

Sun Yi ASSOCIATE CONCERTMASTER

Lerida Delbridge ASSISTANT CONCERTMASTER

Brielle ClapsonSophie ColeAmber DavisClaire HerrickGeorges LentzAlexandra MitchellAlexander Norton

SECOND VIOLINS Kirsty Hilton Marina Marsden Shuti HuangEmily LongPhilippa PaigeMaja VerunicaMarianne Broadfoot Emma Jezek ASSISTANT PRINCIPAL

Maria DurekEmma HayesStan W KornelBenjamin LiNicole MastersBiyana Rozenblit

VIOLASRoger Benedict Justin Williams ASSISTANT PRINCIPAL

Sandro CostantinoFelicity TsaiTobias Breider Anne-Louise Comerford Rosemary CurtinJane HazelwoodGraham HenningsStuart JohnsonJustine MarsdenAmanda VernerLeonid Volovelsky

CELLOSCatherine Hewgill Henry David Varema Fenella GillUmberto ClericiLeah Lynn ASSISTANT PRINCIPAL

Kristy ConrauTimothy NankervisElizabeth NevilleChristopher PidcockAdrian WallisDavid Wickham

DOUBLE BASSESKees Boersma Alex Henery Neil Brawley PRINCIPAL EMERITUS

David CampbellSteven LarsonRichard LynnDavid MurrayBenjamin Ward

FLUTES Janet Webb Emma Sholl Carolyn HarrisRosamund Plummer PRINCIPAL PICCOLO

OBOESDiana Doherty David PappShefali Pryor Alexandre Oguey PRINCIPAL COR ANGLAIS

CLARINETSChristopher TingayCraig WernickePRINCIPAL BASS CLARINET

Lawrence Dobell Francesco Celata

BASSOONSMatthew Wilkie Fiona McNamaraNoriko Shimada PRINCIPAL CONTRABASSOON

HORNSRobert Johnson Marnie SebireBen Jacks Geoffrey O’Reilly PRINCIPAL 3RD

Euan Harvey Rachel Silver

TRUMPETSDavid Elton Paul Goodchild Anthony Heinrichs

TROMBONESRonald Prussing Scott Kinmont Nick ByrneChristopher HarrisPRINCIPAL BASS TROMBONE

TUBASteve Rossé

TIMPANIRichard Miller Mark Robinson ASSISTANT PRINCIPAL

PERCUSSIONRebecca Lagos

HARP Louise Johnson

HARPSICHORDDonald Nicolson*

BOLD = PRINCIPALITALICS = ASSOCIATE PRINCIPAL

° = CONTRACT MUSICIAN* = GUEST MUSICIANGREY = PERMANENT MEMBER OF THE SYDNEY SYMPHONY ORCHESTRA NOT APPEARING IN THIS CONCERT

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

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

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

MUSICIANS

David RobertsonCHIEF CONDUCTOR AND ARTISTIC DIRECTOR SUPPORTED BY EMIRATES

Dene OldingCONCERTMASTER

Jessica CottisASSISTANT CONDUCTOR SUPPORTED BY PREMIER PARTNER CREDIT SUISSE

Andrew HaveronCONCERTMASTER

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

sydneysymphony.com/patrons (02) 8215 4674 • [email protected]

MAKE A DIFFERENCE

SYDNEY SYMPHONY ORCHESTRA PATRONS

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

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

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

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

CHAIR PATRONS

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

02 Umberto Clerici Principal Cello Garry & Shiva Rich Chair

03 Lerida Delbridge Assistant Concertmaster Simon Johnson Chair

04 Lawrence Dobell Principal Clarinet Anne & Terrey Arcus am Chair

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

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

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

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

09 Robert Johnson Principal Horn James & Leonie Furber Chair

10 Elizabeth Neville Cello Ruth & Bob Magid Chair

11 Shefali Pryor Associate Principal Oboe Mrs Barbara Murphy Chair

12 Emma Sholl Associate Principal Flute Robert & Janet Constable Chair

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

14 Kirsten Williams, Associate Concertmaster I Kallinikos Chair

FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM,

CALL (02) 8215 4619.

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PLAYING YOUR PART

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

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Debby Cramer & Bill CaukillMr John Cunningham scm &

Mrs Margaret CunninghamLisa & Miro DavisElizabeth DonatiColin Draper & Mary Jane

BrodribbProf. & Mrs John EdmondsMalcolm Ellis & Erin O’NeillMrs Margaret Epps

Professor Michael Field am

Mr Tom FrancisMr Matt GarrettVivienne Goldschmidt &

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

HallidayJanette HamiltonAngus HoldenDr & Mrs Michael HunterMichael & Anna JoelMrs W G KeighleyDr Andrew KennedyAron KleinlehrerProf. Andrew Korda am &

Ms Susan PearsonMr Justin LamMr Peter Lazar am

Professor Winston LiauwAirdrie LloydPeter Lowry oam & Dr Carolyn

Lowry oam

Kevin & Deirdre McCannIan & Pam McGawMacquarie Group FoundationBarbara MaidmentJohn Mar

Renee MarkovicHenry & Ursula MooserMilja & David MorrisMrs J MulveneyDr Mike O’Connor am

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

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

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

SmithersDr Judy SoperMrs Judith SouthamMs Barbara SpencerMrs Elizabeth SquairCatherine Stephen

18

PLAYING YOUR PART

TO FIND OUT MORE ABOUT BECOMING A

SYDNEY SYMPHONY ORCHESTRA PATRON, PLEASE

CONTACT THE PHILANTHROPY OFFICE ON (02) 8215 4674

OR EMAIL [email protected]

n n n n n n n n n n

The Hon. Brian Sully qc

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

FenwickeAnn & Brooks C Wilson am

Dr Richard WingDr Peter Wong & Mrs Emmy K

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

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

Dr Margaret BoothIn memory of Jillian BowersMrs R D Bridges obe

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

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

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

Mr Kevin Holland & Mrs Roslyn Andrews

Bill & Pam Hughes

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

& Mrs Marian PurvisMiss Julie Radosavljevic

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

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

COLLECTIVEMr Justin Di Lollo ChairBelinda BentleyAmelia Morgan-HunnSeamus Robert QuickJonathan PeaseShefali PryorCamille Thioulouse

FOUNDING PATRONSSeamus Robert QuickTaine Moufarrige

MEMBERSJames ArmstrongJoan BallantineJames BaudzusAndrew BaxterAnthony BeresfordDavid BluffPeter BraithwaiteBlake Briggs

Andrea BrownMelanie BrownProf. Attila BrungsIan BurtonJennifer BurtonPaul ColganRobbie CranfieldJuliet CurtinRosalind DesaillyAlastair FurnivalAlexandra GibsonSam GiddingsMarina GoJeremy GoffHilary GoodsonTony GriersonLouise HaggertyRose HercegFrancis HicksPeter HowardJennifer Hoy

Katie HryceThe Hon. Virginia JudgeJonathan KennedyAernout KerbertPatrick KokAlisa LaiTristan LandersJessye LinGary LinnaneGabriel LopataRobert McGroryDavid McKeanNick NichlesKate O’ReillyPeter O’SullivanLaurisa PoulosMichael RadovnikovicSudeep RaoMichael ReedePaul ReidyChris Robertson

Dr Benjamin RobinsonAlvaro Rodas FernandezJacqueline RowlandsProf. Anthony Michael

SchembriBenjamin SchwartzCaroline SharpenKatherine ShawCeclilia StornioloRandal TameSandra TangIan TaylorMichael TidballMark TimminsMichael TuffyKim WaldockJon WilkieYvonne Zammit

19

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

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❝The rehearsals are not always pretty.

❞each other. It’s fun to watch them both being so diplomatic! But I’m so impressed with the patience that they’ve shown the children.’

For Jane’s own pre-concert preparation, she likes to take deliberate time getting ready. ‘I’ll have dinner in the green room – grateful thanks to the canteen! – and then get dressed and go up on stage quite early.’ That gives her viola time to acclimatise to the temperature and humidity in the hall. ‘I notice if the temperature changes a lot. My viola is pretty stable, but it can affect the tuning. Galamian’s book Principles of Violin: Playing & Teaching says you should be able to play in tune even when your instrument is out of tune, but I like to give myself a helping hand by starting with an instrument that’s in tune!’

Chair Patrons Bob & Julie Clampett support Jane Hazelwood’s Viola Chair in memory of their daughter Carolyn Clampett. To find out more about the Chair Patrons program call (02) 8215 4619.

Any parent in search of an instrument for their young child would do well to consider the viola. Why? Well, as violist Jane Hazelwood says, if they were to one day end up in the viola section of an orchestra, they’d find a ‘very friendly, quite relaxed group of musicians who work together in a democratic and very supportive way’. Jane continues: ‘I really love to feel as if I’m part of a team. I love it when I can listen to the whole viola sound, and not just me. As a section, we’re on a journey trying to make a group sound – we’re a team.’

Music has long been a part of Jane’s life, from early days at National Music Camps when her parents – former SSO

concertmaster Don Hazelwood and clarinettist Anne Menzies – tutored many of today’s great orchestral players. ‘In our family,’ says Jane, ‘my brother and I were allowed to choose our own instrument, but the rule was we had to stick with it until we were 14 years old.’ Jane’s three children were also invited to pick an instrument to study.

With so many musicians in the family, it was only natural they start their own concert series. ‘The rehearsals,’ laughs Jane, ‘are not always pretty. My father and my husband [Carl Pini, former concertmaster of the MSO and the Philharmonia Orchestra] are bending over backwards to be respectful to

FAMILY AFFAIRA career in music was inevitable for violist Jane Hazelwood

ORCHESTRA NEWS | SEPTEMBER–OCTOBER 2014

SSO Bravo! #7 2014 Insert.indd 1 10/09/14 8:11 AM

Our Chief Conductor David Robertson surprised guests at our latest Vanguard event with a special appearance playing his Fender Stratocaster electric guitar. He joined 12 of our musicians at Carriageworks for an intimate performance of Terry Riley’s minimalist masterpiece In C. David told us afterwards: ‘At first I was very nervous, but then the way the musicians were playing was so enjoyable that I relaxed into it and that was really fun.’ For more information on Vanguard head to www.sydneysymphony.com/ vanguard

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How does each member of the orchestra knows exactly when to start playing their instrument? After all, the music in front of them is just for their particular instrument, isn’t it?Sarah via email.

An individual orchestral part doesn’t just tell the musician what notes to play but also indicates when and for how long they must remain silent. There are symbols for precisely indicating periods of rest, whether at the beginning of the piece or at any point during

the music. Counting very long periods of rest requires tremendous focus, and if you look very closely, you might even spot a musician or two counting subtly on their fingers to help keep track in performance!

In addition, individual parts may sometimes include a cue, printed in smaller notation, that will indicate an important melody or rhythm that is being played by someone else immediately before the relevant entry. This helps those musicians who prefer to listen to what their colleagues are playing

and rely on their ears to signal when their next entry is approaching.

And finally, part of the conductor’s job is to cue or signal to the musicians when they are meant to enter. Not for every single entry, of course, but certainly for especially important or tricky entries.Have a question about music, instruments or the inner workings of an orchestra? ‘Ask a Musician’ at [email protected] or by writing to Bravo! Reply Paid 4338, Sydney NSW 2001.

Ask a Musician

for the best seats, with savings of up to 20% before single tickets go on sale. Book today! www.sydneysymphony.com/subscribe

Artistic HighlightSkelton –v– Tristan

Stuart Skelton

The heldentenor – ‘hero tenor’ in German – is a rare beast indeed. Capable of producing big, dramatic, ringing sounds, the heldentenor also has to have the ability to soar and sustain in the upper ranges. Stuart Skelton is just such a singer and has the ‘cords of steel’ to prove it.

In 2015, Stuart takes on the title role in Wagner’s Tristan und Isolde, David Robertson’s next opera in the concert hall project. David was particularly excited about working with Stuart: ‘You see these people coming available and you shout, “Hold them, don’t lose them!”’

This performance will be Stuart’s first-ever Tristan – truly an epic milestone in the career of any singer. Stuart says this role ‘has always been the one that I wanted, no, needed to conquer. I feel at once excited, intimidated, elated and…scared.’ The prospect of making this significant role debut in his hometown no doubt offers great reassurance for this hero tenor.

If you enjoyed The Flying Dutchman (2013) and Elektra (2014), then Tristan und Isolde is a must! 2015 Season subscribers enjoy priority access to tickets


to those institutions that have been meaningful in his life. In remembering the SSO, Ray says he’s able ‘to deepen, in a very concrete way, my involvement with the orchestra. The Legacy Society initiative of arranging an annual lunch and other events for notified bequestors is establishing a body of likeminded people who can regularly get together, which in itself will be socially rewarding. And it’s a chance to get to know more people within the institution. Everyone goes away revitalized.’

Ray remembers former chief conductor Stuart Challender, for whom the Legacy Society has been named, as ‘a great physical presence on stage. I think his rapport with the musicians, because he was Australian, created a stronger bond. The orchestra certainly respected him, and he always brought the best out of them.’

If you’re considering supporting the SSO with a gift in your will, we encourage you to contact our Head of Philanthropy, Luke Andrew Gay. Your enquiry will be handled confidentially and with sensitivity. (02) 8215 4625 [email protected] sydneysymphony.com/plannedgiving

Ray Wilson was 23 years old when he first heard the Sydney Symphony Orchestra. ‘One of the perks of working at the ABC in the 70s was the staff discount tickets for concerts at Sydney Town Hall,’ recalls Ray. ‘James [Ray’s partner in business and in life] and I went to an electrifying performance of the Beethoven Emperor Concerto with Vladimir Ashkenazy at the piano. It was the first time in my life that I had experienced a whole audience giving a standing ovation. It was very, very moving.’ From that moment on, says Ray, ‘the SSO really became a part of my life.’

Ray is a founding member of the newly established Stuart Challender Legacy Society, a special group of people who’ve made notified bequests to the orchestra. Ray’s not shy when talking about drawing up his will. ‘I think we’re obligated to write a will from an early age. It’s the responsible thing to do. Coming from a poor background, I’ve been incredibly fortunate in life. I find [updating my will] a very stimulating exercise, in thinking through who I should support, who needs to be remembered, what my obligations to family are.’

As a part of Ray’s considerations, he’s also made sure to give something back

Philanthropy Focus

A FORTUNATE LIFE

Ray Wilson sees the new Stuart Challender Legacy Society as a way of deepening his involvement with the SSO.

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The ScoreConcerto for a Sewing Machine HeiressMost Sydney music-lovers agree that the Grand Organ of the Sydney Opera House doesn’t appear in concert programs nearly enough. But at the end of October our performances of Mahler Seven will be preceded by Poulenc’s Organ Concerto, featuring David Drury as soloist.

We’ll be hearing it played on the world’s largest mechanical tracker-action pipe organ in a hall that seats more than 2,500, but the concerto began life in more intimate – although still impressive – surroundings. Its first (private) performance in 1938 was given in the studio of the Princesse de Polignac with Maurice Duruflé playing her Cavaillé Coll organ.

And who was this princess who had a pipe organ in her Paris mansion and boasted Nadia Boulanger as her musical advisor? She’d grown up as Winnaretta Singer, heiress to the sewing machine fortune. The Princesse was an accomplished pianist and organist who had already commissioned a double piano concerto from Poulenc. Her generosity and vision as a patron gave the world music by composers such as Stravinsky, Falla, Milhaud, Weill and Satie.

Poulenc’s concerto will probably remind you of Bach but it also has the air of the French style – ‘pompous, gay and pungent’ – exploiting the thrilling sonorities of the modern organ.

Mahler 7: Night MusicAPT Master Series 29, 31 Oct, 1 Nov, 8pm

David Drury


EDITOR Genevieve Huppert sydneysymphony.com/bravo

CONGRATULATIONSWe’re mighty proud of Richard Gill oam and Kim Waldock who were both recognised for their contributions towards music in Australia at the recent APRA Music Awards. Richard was recognised for Distinguished Services to Australian Music and Kim received the NSW State Award for Excellence in Music Education. Bravi!

NEW CHAIR PATRONSWe’d like to welcome and acknowledge our new Chair Patrons: Iphy Kallinikos (Associate Principal Violin Chair, Kirsten Williams), Bob and Julie Clampett, in memory of their daughter Carolyn (Viola Chair, Jane Hazelwood), Garry and Shiva Rich and family (Principal Cello Chair, Umberto Clerici), Barbara Murphy (Associate Principal Oboe Chair, Shefali Pryor), and Simon Johnson (Assistant Concertmaster Chair, Lerida Delbridge).

DRAGON FLUTEOur Night Lounge audience at the end of August witnessed the Sydney Opera House debut of the ry–uteki, the Japanese dragon flute, played by Rosamund Plummer. If you’d like to know more about this haunting instrument and Rosamund’s journey of musical discovery, check out her blog: bit.ly/RyutekiRose

GIDDY ELEKTRAWe shared Christine Goerke’s recent delight at winning the Helpmann Award for Best Female Performer in an Opera for her performances in the title role of Elektra earlier this year. On learning the news, she tweeted with excitement: ‘I WON?! Holy Cow!! Thank you so much!! #giddy #nicewaytostarttheday’

CITY2SURFA record number of SSO musicians and staff combined forces to run this year’s City2Surf. Fourteen spirited souls joined Team Sydney Symphony Sprint to raise nearly $1,000 for the Starlight Children’s

Foundation. And special congratulations to Principal Trumpet David Elton and our Head of Philanthropy Luke Gay for finishing with the first 1750 runners with times just shy of 60 minutes!

GOLDBERG TAPESTRYFollowing the enthusiastic reception we received from a packed house at our recent Strauss chamber music concert in the Utzon Room, we’ve planned another chamber music event in the larger Verbrugghen Hall at the Sydney Conservatorium. On Wednesday 15 October we’re presenting A Goldberg Tapestry, with selections from Bach’s Goldberg Variations woven together with music of our own time, including Luciano Berio’s Sequenza V for solo trombone, Nguurra by SSO violinist Georges Lentz, and a lively Basque-inspired ‘Dialogue’ for two piccolos and drum by Spanish flautist Roberto Casado.

CODA

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Please address all correspondence to the Publications Editor: Email [email protected]

Sydney Opera House TrustMr John Symond am [Chair]Ms Catherine Brenner, The Hon Helen Coonan, Ms Brenna Hobson, Mr Chris Knoblanche, Mr Peter Mason am, Ms Jillian Segal am, Mr Robert Wannan, Mr Phillip Wolanski am

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

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

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

Head Office: Suite A, Level 1, Building 16, Fox Studios Australia, Park Road North, Moore Park NSW 2021 PO Box 410, Paddington NSW 2021Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: [email protected] Website: www.playbill.com.auChairman Brian Nebenzahl OAM RFD Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager—Production—Classical Music Alan ZieglerOperating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, Hobart & Darwin

Playbill runs its own printery where we print all our theatre programs. We also print a variety of jobs from flyers to posters to brochures. Contact us at [email protected] for a quote on your printing work.

SSO Bravo! #7 2014 Insert_alt 30S.indd 4 2/10/14 7:06 AM

EDITOR Genevieve Huppert sydneysymphony.com/bravo

CONGRATULATIONSWe’re mighty proud of Richard Gill oam and Kim Waldock who were both recognised for their contributions towards music in Australia at the recent APRA Music Awards. Richard was recognised for Distinguished Services to Australian Music and Kim received the NSW State Award for Excellence in Music Education. Bravi!

NEW CHAIR PATRONSWe’d like to welcome and acknowledge our new Chair Patrons: Iphy Kallinikos (Associate Principal Violin Chair, Kirsten Williams), Bob and Julie Clampett, in memory of their daughter Carolyn (Viola Chair, Jane Hazelwood), Garry and Shiva Rich and family (Principal Cello Chair, Umberto Clerici), Barbara Murphy (Associate Principal Oboe Chair, Shefali Pryor), and Simon Johnson (Assistant Concertmaster Chair, Lerida Delbridge).

DRAGON FLUTEOur Night Lounge audience at the end of August witnessed the Sydney Opera House debut of the ry–uteki, the Japanese dragon flute, played by Rosamund Plummer. If you’d like to know more about this haunting instrument and Rosamund’s journey of musical discovery, check out her blog: bit.ly/RyutekiRose

GIDDY ELEKTRAWe shared Christine Goerke’s recent delight at winning the Helpmann Award for Best Female Performer in an Opera for her performances in the title role of Elektra earlier this year. On learning the news, she tweeted with excitement: ‘I WON?! Holy Cow!! Thank you so much!! #giddy #nicewaytostarttheday’

CITY2SURFA record number of SSO musicians and staff combined forces to run this year’s City2Surf. Fourteen spirited souls joined Team Sydney Symphony Sprint to raise nearly $1,000 for the Starlight Children’s

Foundation. And special congratulations to Principal Trumpet David Elton and our Head of Philanthropy Luke Gay for finishing with the first 1750 runners with times just shy of 60 minutes!

GOLDBERG TAPESTRYFollowing the enthusiastic reception we received from a packed house at our recent Strauss chamber music concert in the Utzon Room, we’ve planned another chamber music event in the larger Verbrugghen Hall at the Sydney Conservatorium. On Wednesday 15 October we’re presenting A Goldberg Tapestry, with selections from Bach’s Goldberg Variations woven together with music of our own time, including Luciano Berio’s Sequenza V for solo trombone, Nguurra by SSO violinist Georges Lentz, and a lively Basque-inspired ‘Dialogue’ for two piccolos and drum by Spanish flautist Roberto Casado.

CODA




Sydney Opera House TrustMr John Symond am [Chair]Ms Catherine Brenner, The Hon Helen Coonan, Ms Brenna Hobson, Mr Chris Knoblanche, Mr Peter Mason am, Ms Jillian Segal am, Mr Robert Wannan, Mr Phillip Wolanski am

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

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


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All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright. Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover than that in which it was published, or distributed at any other event than specified on the title page of this publication

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

Head Office: Suite A, Level 1, Building 16, Fox Studios Australia, Park Road North, Moore Park NSW 2021 PO Box 410, Paddington NSW 2021Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: [email protected] Website: www.playbill.com.auChairman Brian Nebenzahl OAM RFD Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager—Production—Classical Music Alan ZieglerOperating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, Hobart & Darwin

Playbill runs its own printery where we print all our theatre programs. We also print a variety of jobs from flyers to posters to brochures. Contact us at [email protected] for a quote on your printing work.

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Documents

VIVALDI'S FOUR SEASONS · VIVALDI’S FOUR SEASONS James Ehnes violin and director WOLFGANG AMADEUS MOZART (1756–1791) Don Giovanni: Overture and ‘Presto presto pria ch’ei venga’