concert diary
Louis Lortie in RecitalFAURÉ Préludes, Op.103 SCRIABIN 24 Preludes, Op.11 CHOPIN 24 Préludes, Op.28
International Pianists in Recital Presented by Theme & Variations
Mon 13 Apr 7pm City Recital Hall Angel Place
Pre-concert talk by Scott Davie at 6.15pm
Le Grand Tango with Sydney Dance CompanyBIZET Carmen: Suite No.1 SARASATE Navarra GINASTERA Concerto Variations PIAZZOLLA Le Grand Tango The Four Seasons of Buenos Aires Libertango Daniel Carter conductor Soloists from the SSO including: Andrew Haveron violin • Catherine Hewgill cello Marina Marsden violin • Kirsten Williams violin Associate artists of Sydney Dance Company
Kaleidoscope
Fri 17 Apr 8pm Sat 18 Apr 8pmPre-concert talk by Vincent Plush at 7.15pm
Anzac Day SaluteCOPLAND Fanfare for the Common ManMF WILLIAMS Letters from the Front australian premiere
Traditional Catholic and Turkish chantsPARRY My soul there is a countryLEDGER War Music premiere
TALLIS Why fumeth in fight…?VAUGHAN WILLIAMS Fantasia on a Theme by Thomas Tallis
Richard Gill conductor Ayse Göknur Shanal soprano Gondwana Chorale with guest singers from France, Turkey and New Zealand
Meet the Music
Wed 22 Apr 6.30pm Special Event
Fri 24 Apr 8pm Pre-concert talk by Vincent Plush 45 minutes before each performance
Bold as BrassBrilliant originals and transcriptions of classic favourites
SSO Brass Ensemble
Tea & Symphony
Fri 1 May 11am Complimentary morning tea from 10am
JOSH PYKE Live with your SSOJosh Pyke will perform hits from across all of his albums, including Leeward Side, Middle of the Hill and The Lighthouse Song.
Christopher Dragon conductor Josh Pyke vocalist/guitar
SSO presents
Wed 29 Apr 8pmMeet the Music
Thu 30 Apr 6.30pmPre-concert talk 45 minutes before each performance
CLASSICAL
SSO PRESENTS
Tickets also available atSYDNEYOPERAHOUSE.COM 9250 7777 Mon–Sat 9am–8.30pm Sun 10am–6pm
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2015 concert season
KALEIDOSCOPE
FRIDAY 17 APRIL, 8PM
SATURDAY 18 APRIL, 8PM
SYDNEY OPERA HOUSE CONCERT HALL
LE GRAND TANGODaniel Carter conductor Andrew Haveron violin Kirsten Williams violin Marina Marsden violin Catherine Hewgill cello Dancers and Associate Artists of Sydney Dance Company
GEORGES BIZET (1838–1875) Carmen: Suite No.1
PABLO DE SARASATE (1844–1908) Navarra, Op.30
Kirsten Williams & Marina Marsden, violins
ALBERTO GINASTERA (1916–1983) Variaciones Concertantes, Op.23
INTERVAL
ÁSTOR PIAZZOLLA (1921–1992)Le Grand Tango arranged for cello and orchestra by Arturo Rodríguez
Catherine Hewgill, cello Associate Artists of Sydney Dance Company choreography by Cass Mortimer Eipper
The Four Seasons of Buenos Aires adapted by Leonid Desyatnikov
Andrew Haveron, violin Associate Artists of Sydney Dance Company choreography by Lucas Jervies
Libertango arr. Rodríguez
Janessa Dufty & Petros Treklis (Sydney Dance Company) choreography by Rafael Bonachela
See page 20 for full credits
Pre-concert talk by Vincent Plush in the Northern Foyer 45 minutes before each performance. Visit sydneysymphony.com/speaker-bios for more information.
Estimated durations: 12 minutes, 7 minutes, 21 minutes, 20-minute interval, 12 minutes, 25 minutes, 4 minutes The concert will conclude at approximately 10pm
Join us in the Northern Foyer for Night Lounge after the performance on 18 April.
14K S27-28 K2 LeGrandTango.indd 4 14/04/15 7:16 AM
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Georges Bizet (1838–1875) Suite No.1 from the opera CarmenAragonaise Intermezzo Les Dragons d’Alcala Les Toréadors
When Bizet’s best known opera, Carmen, was first produced
in Paris three months before his death (on the night of the
33rd performance), its unashamed realism – including women
fighting and smoking and the onstage murder of the heroine –
was too strong for many tastes. Nonetheless, it ran for 45
performances, largely on the strength of its shock value.
Set in Seville in Spain, the opera tells the story of Carmen, a
fickle gipsy girl, who is arrested for causing a disturbance among
the girls at the cigarette factory where she works. She is helped
to escape by the corporal, Don José, who falls for her wiles.
She seduces him from his career and duty, wrecking his life
and finally spurning him in favour of Escamillo, the famous
bullfighter. When she refuses to return to him, Don José stabs
her to death in a fit of passion.
Bizet’s aim in choosing the chillingly realistic story by Prosper
Mérimée for his libretto was provocative; he aimed to revitalise
opera and he at least partially succeeded. Eight years after the
first performances, the opera was again produced at the Opéra-
Celestine Galli-Marie, creator of the role of Carmen – portrait by Henri-Lucien Doucet, 1884
Georges Bizet – photo by Etienne Carja, 1875
ABOUT THE MUSIC
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Act 1 of Carmen from the 1875 premiere – lithograph by Pierre-Auguste Lamy
Comique, the original critical comments having given way to
enthusiastic acclaim, such as Carmen still receives today.
The music ideally combines French elegance and deft
orchestral scoring with strong feeling and Spanish local colour.
A most attractive feature is the linking and introduction of
scenes by instrumental movements, which form the larger part
of the orchestral suites drawn from the opera.
Aragonaise. Outside the walls of the bullring, the square is
animated: people have come to enjoy the spectacle of the
bullfight. The aragonaise is a lively dance in triple time
performed by couples facing each other and accompanying
their movements with castanets and singing.
Intermezzo. Act III is set in the rugged mountains outside Seville,
where the smugglers have made their camp. In this act Micaëla,
Don José’s childhood sweetheart and fiancée, comes to look
for the fallen corporal, to try to persuade him to come back to
her. This wistful, gentle piece, with its attractive lilt, introduces
the purity of Micaëla’s love.
Les Dragons d’Alcala. As Don José makes his way to the tavern
where Carmen is waiting for him, he sings about the dragoons
of Alcala. His pride in his duty is short-lived, for he decides to
desert and go with Carmen to join the smugglers’ camp.
Les Toreadors. This famous theme occurs at several different
points in the opera, including the climax of Act IV where Don
José, mad with jealousy, kills the faithless Carmen outside the
bullring, while the crowd inside roars its homage to the toreador,
Escamillo.
© SYMPHONY AUSTRALIA
The first Carmen suite calls for two flutes (one doubling piccolo), two
oboes (one doubling cor anglais), two clarinets and two bassoons; four
horns, two trumpets and three trombones (but no tuba); timpani and
percussion, harp and strings.
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Pablo de Sarasate (1844–1908) Navarra, Op.33 Kirsten Williams & Marina Marsden violins
As a boy, Pablo Martín Melitón de Sarasate y Navascuéz – the
talented son of a sandal maker and a small town bandmaster
from Pamplona – came to attention of Queen Isabella II of
Spain. Her personal sponsorship enabled him to study at the
Paris Conservatoire from the age of 13 and then to develop a
stellar career across Europe and the Americas. The Queen also
gave him a Stradivarius violin, which he played for most of his
life and eventually bequeathed to the Conservatoire.
His Spanish temperament, combined with the French
precision he learned at the Paris Conservatoire, led him to
becoming a violinist of great merit. Departing from the
classical style established by Joseph Joachim and the dashing
brilliance of Vieuxtemps and Wieniawski, he cultivated a tone
of unmatched sweetness and purity, with a broader vibrato
than his contemporaries. He quickly became famous for the
flexibility and stunning accuracy of his technique, and an
effortless, even casual, manner of playing – winning acclaim
from critics and inspiring compositions from Saint-Saëns,
Bruch, Lalo and Dvořák.
Sarasate’s compositions were primarily for his own use and
are full of technical devices he either invented or developed.
Most of them, such as his popular Carmen Fantasy, are in
the Spanish idiom, with the best-known exception being
Zigeunerweisen, inspired by the Hungarian works of the piano
virtuoso Franz Liszt.
Navarra is unusual in that it calls for two soloists rather than
one, and Sarasate frequently performed it with his countryman
Enrique Fernández-Arbós. The title refers to the region of
Spain where Sarasate was born; after the brief introduction for
the soloists alone, it’s clear that he had a dance in mind, the
jota. The music is high-spirited, even during the more lyrical
middle section. There’s a suggestion at times of pipe and tabor,
with basque drum effects from the percussion and flute-like
harmonics in the violins. And although there are fleeting
moments of one-upmanship between the soloists, their parts
spend most of the time in sweet parallel harmonies – an
exercise in true virtuoso partnership.
SYDNEY SYMPHONY ORCHESTRA © 2015
The orchestra for Navarra comprises pairs of flutes, oboes, clarinets,
bassoons, horns and trumpets; three trombones; timpani and percussion;
and strings.
SARASATE THE VIOLINIST
‘He never interprets anything: he plays it beautifully, and that is all…He is always alert, swift, clear, refined, certain, scrupulously attentive, and quite unaffected. This last adjective will surprise people who see him as a black-haired romantic young Spaniard, full of fascinating tricks and mannerisms…There is no trace of affectation about him: the picturesqueness of the pluck of the string and stroke of the bow that never fails to bring down the house is the natural effect of an action performed with perfect accuracy in an extraordinarily short time and strict measure.’
GEORGE BERNARD SHAW
Pablo de Sarasate: Portrait of a Violinist (c.1875) by William Merritt Chase
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Alberto Ginastera (1916–1983) Variaciones Concertantes, Op.23Theme, solo cello and harp (Adagio molto espressivo) – Interlude for strings (L’istesso tempo) – Variation in fun (giocosa) for flute (Tempo giusto) – Scherzo Variation for clarinet (Vivace) Dramatic variation for viola (Largo) Canonic variation for oboe and bassoon (Adagio tranquillo) Rhythmic variation for trumpet and trombone (Allegro) – Variation in moto perpetuo for solo violin (L’istesso tempo) Pastoral variation for horn (Largamente espressivo) Interlude for winds (Moderato) Return of the theme for solo double bass (Adagio molto espressivo) Final variation. Rondo for orchestra (Allegro molto)
Ginastera’s Variaciones Concertantes (‘Concerto Variations’) was designed as a showpiece for a small orchestra. The variations are concertante in the sense that each features a part of the orchestra, often a solo instrumentalist. Ginastera knew the orchestra and the players for whom he was writing, on a commission from the Buenos Aires Association of Friends of Music. Igor Markevitch, one of the work’s dedicatees, conducted the first performance in Buenos Aires on 2 June 1953.
Alberto Ginastera is probably the best known of all composers from Argentina. Born in Buenos Aires in 1916 to parents who were second-generation Argentines of Catalan and Italian ancestry, he studied at the National Conservatory in his native city with José André, a pupil of French composers d’Indy and Roussel. Before entering the conservatorium, he had some lessons with Alberto Williams, one of the pioneers of the national movement in Argentine music, who superimposed folkloristic elements on a traditional European style.
Ginastera’s early compositions followed Williams’ lead, but his studies under André also introduced him to the music of Debussy, Stravinsky and Bartók. Ginastera’s first acknowledged work was the ballet Panambí, based on indigenous, ‘gauchesco’ themes – an attempt at an ‘objective nationalism’, as in Bartók’s own early music. The performance of this ballet in 1937 gained Ginastera a national reputation, and led in 1940 to another ballet in the same style, Estancia, which won admiration abroad, and praise from Aaron Copland.
Variaciones Concertantes belongs to the period after Ginastera’s stay in the United States on a Guggenheim Fellowship (1945–47), a period he considered transitional, in which his music no longer depended on direct folk music quotation but comes from a
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subjective feeling for the mood and ambience of a people and a country (this period coincided with Ginastera’s loss of favour with the Perón regime, which he openly criticised). His later music tended towards polytonality, atonality and serialism, but in a completely undoctrinaire way. He created his own brand of ‘imaginary folklore’, and the sounds of the pampas are part of his colour world, as Latin dance is of his rhythms. His music is spontaneously ‘felt’, but disciplined by a strong sense of form: ‘A work without form is a work deformed,’ he said, ‘Music is architecture in movement, and the form must always be born with the music. It is not a different thing; it is the same thing.’ Far from the stereotype of the fiery, volatile Latin, Ginastera struck his friend Everett Helm as a serious, quiet, even reticent person ‘who gives the impression of a benevolent owl’.
Major works of Ginastera’s later years include the operas Don Rodrigo (1964), Bomarzo (1967) and Beatrix Cenci (1971), the series of Pampeanas for orchestra and for various instrumental combinations; concertos for piano, for harp and for cello (the second of these for the composer’s second wife, cellist Aurora Natoli); and Cantata para América mágica (1960) for soprano and 53 percussion instruments.
The theme of the Variaciones Concertantes is stated by a single cello over a figure played by the harp, sounding the notes of the open strings of the ‘gauchesco’ guitar (E–A–D–G–B–Eı), a tuning in fourths which runs through the chordal structure of the work, and relates the music to the feel of the pampas: the vast treeless plains and ranch lands that identify almost all of Argentina outside Buenos Aires and its suburbs. An analogy could be made between the role of the pampas in the Argentine imagination and the bush in the Australian. In the Finale of the Variaciones, too, where the whole orchestra is used for the first time, there is an element of the malambo, the dance associated with the dance contests of the gauchos. Beyond these observations, the composer’s very full and informative headings to each of the variations provide a sufficient guide.
Echoes and influences of Bartók, Falla and Stravinsky (especially his ballet The Rite of Spring) can be heard in this music, to its advantage. It provides a consistently entertaining, orchestrally resourceful, and expressive introduction to Ginastera who, in Helm’s judgment, may be the first composer to have achieved a music unmistakably Latin American, yet free of specific dialects and valid in universal terms.
DAVID GARRETT © 1999
Ginastera’s Variaciones calls for a small orchestra of two flutes (one doubling piccolo), oboe, two clarinets and bassoon; two horns, trumpet and trombone (again, no tuba); timpani, harp and strings.
…the sounds of the pampas are part of his colour world, as Latin dance is of his rhythms.
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Ástor Piazzolla (1921–1992) Le Grand Tango Libertangoarrangements by Arturo Rodríguez
Catherine Hewgill cello
In 1954 Ástor Piazzolla won a scholarship to study with the
legendary Nadia Boulanger in Paris. He was by this stage
acknowledged as a great composer of tangos and performer
on the bandoneón in his native Buenos Aires (though,
incidentally, he spent many of his earliest years in New York)
and had already studied with Alberto Ginastera. But Piazzolla,
like Gershwin, yearned to be a serious composer and played
down the importance of tango at first. Boulanger, however,
showed her usual perspicacity. Hearing Piazzolla play tango on
the bandoneón she famously said ‘Ástor, your classical pieces
are well written, but the true Piazzolla is here, never leave it
behind’ – echoing Ravel’s advice to Gershwin that there was
nothing he could teach the American.
Piazzolla took Boulanger’s advice, as one would, but at the
same time his interest in ‘classical’ music allowed him to enrich
KeynotesPIAZZOLLA
Born in Mar del Planta, a fishing port south of Buenos Aires, Ástor Piazzolla moved with his family to New York when he was a boy. There, at the age of eight, he received his first bandoneón, which his father bought for $19 from a pawn shop. Moving back to Mar del Planta when he was a teenager, Piazzolla quickly established himself on the musical scene. His formal studies took him into classical territory: the great pianist Artur Rubinstein suggested he study composition with Ginastera, who sent him to Paris to study with Nadia Boulanger, who in turn guided him back to his own distinctive musical voice. Piazzolla eventually created the nuevo tango, a heady, artful combination of Argentine tango, jazz and the principles of classical chamber music.
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his tango composition and move freely between popular and
‘serious’ musical worlds. He composed for Rostropovich, the
Kronos Quartet and Gidon Kremer among others, and maintained
an interest in ‘classical’ genres.
Tango itself was originally far from high art, and while its
origins are complex it was the music of the slum areas of
Buenos Aires in the early 20th century which is the root of
Piazzolla’s work. Characterised by an immediately recognisable
duple rhythm, tango developed into three major forms: tango-
milonga, the purely instrumental form; tango-romanza, which
blends dance with Romantic song; and tango-canción, a more
sentimental vocal form.
Le Grand Tango is one such ‘classical’ evocation of that
unabashed famous dance of passion. Piazzolla uses the driving
tango rhythm to draw from the cello (and, in its original form,
the piano) an uncompromising and unrelenting vigour.
The three linked sections of Le Grand Tango seem to be a
meditation on the emotional state that exists within the dance –
the tango having within it sensuality, introspection and barely
reined-in passion. The long middle section is imbued with a
lyrical melancholy perfectly suited to the sonority of the cello
while the accompaniment plays an integral part in the shaping
of all three sections. Far more than a simple harmonic support,
the orchestra provides the sound of distant bells, rhythmic
variation and a distinct ‘second voice’ in commentary on the
tango.
The expected return of the tango rhythm frees the cello to
try some more daring things – double stopping and glissandos –
with extended passages of syncopation and some formidable
driving harmonies in the orchestra. The end, when it comes,
signifies exhaustion – but there is also exultation, a hint that
it was all worthwhile, and that we’d dance like that again!
In the early 1970s Piazzolla was associated with Conjunto 9,
an ensemble consisting of bandoneón (which he played), string
bass, electric guitar, piano, string quartet and drum kit. Their
sound was, naturally, more hi-tech than that of the roots of
tango, but Libertango, a ‘sort of song of liberty’, composed for
the group in 1974, has since been heard in several successful
arrangements.
ADAPTED FROM NOTES BY DAVID VIVIAN RUSSELL, SYMPHONY
AUSTRALIA © 2000 (Le Grand Tango) AND GORDON KERRY © 2011
(Libertango)
The orchestra in Rodríguez’s arrangements comprises pairs of flutes,
oboes, clarinets, bassoons, horns and trumpets; three trombones;
timpani and percussion; and strings.
Libertango composed by Ástor Piazzolla © 1975 Edizione Curci Srl and A Pagani Srl, Italy, arranged by Arturo Rodríguez, reproduced with the permission of Fable Music Pty Ltd (Australia).
…sensuality, introspection and barely reined-in passion.
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Piazzolla Cuatro Estaciones Porteñas – Suite (The Four Seasons of Buenos Aires)adapted by Leonid Desyatnikov
Verano porteño (Summer in Buenos Aires) Otoño porteño (Autumn in Buenos Aires) Invierno porteño (Winter in Buenos Aires) Primavera porteña (Spring in Buenos Aires)
Andrew Haveron violin
Behind Piazzolla’s Four Seasons of Buenois Aires is one of the
most famous pieces of classical music ever: Vivaldi’s Four
Seasons, a set of four violin concertos published in 1725. Vivaldi
wrote more concertos than anybody (500 and counting), but
the Four Seasons are by far the best known. With these
particular concertos Vivaldi tested the power of music to
describe the natural world, attempting to convey in music the
birds, zephyr winds and storms that break with thunder and
lightning. He even included supplementary ‘captions’ throughout
the music, directing the musician’s attention to the barking
dogs, chattering teeth and other striking effects.
It’s been said, in jest, that Vivaldi wrote not 500 concertos
but the one concerto 500 times. You might say he was on to a
good thing and he stuck to it. Not unlike the direction that an
ambitious but self-doubting Astor Piazzolla received when he
left his native Argentina to study in Paris with Nadia Boulanger
in the 1950s.
By then 32, Piazzolla was already famous as leading
performer on the bandoneón, a type of concertina that takes
the lead in many a swirling tango. Like Vivaldi, he was a virtuoso
performer who also composed and arranged music for bands
and small orchestras. Whereas Vivaldi gave the world
concertos, Piazzolla created the nuevo tango, a more complex
version of the traditional tango that took inspiration from the
Argentinean underclass and brothel scene. And when Piazzolla
sought Boulanger’s advice after composing a symphonic work,
she told him the way forward lay in his experience with tango.
He would go on to compose about 750 tangos, introducing
elements of classical music (chromaticism, dissonance,
rhythmic complexity) and jazz into the dance form.
The Four Seasons of Buenos Aires was not originally
composed for violin and orchestra, after the Vivaldi model.
It was not composed as a set, after that model, or even with
all the references you’ll hear to that model in tonight’s
performance. Piazzolla penned the first of his Estaciones
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porteñas – Verano (Summer) in 1965 for his Quinteto Nuevo
Tango, comprising violin, electric guitar, piano, bass and
bandoneón. Autumn followed in 1969, then Winter and Spring
in 1970. But the pieces were seldom (if ever) performed together
until 1991.
The timing is interesting. In 1989, Nigel Kennedy had
recorded Vivaldi’s Four Seasons and established a runaway
success. In 1991, while Piazzolla was in a coma that would
endure for a year before his death, his friends and admirers
banded together to create a tribute album they called ‘Four
Seasons of Buenos Aires’. They took the title from a Jaques
Morelenbaum arrangement of the four tangos Piazzolla
composed for the porteños, or port people of Buenos Aires.
These tangos did not describe the weather or the natural
landscape, but the barometer of the people in the city, their
attitude, sensuality, vulnerability and passion. They combined
popular dance rhythms with brooding harmonies, art music
devices and special effects (one of which sounds remarkably
like a croaky frog). Each season is a single-movement rhapsody,
but like Vivaldi’s seasons, they are divided into clear sections
and display an endless inventiveness that entertains and
rewards the ear and the mind.
Morelenbaum pulled the four tangos together to make a suite,
and orchestrated them for woodwind quintet, three cellos and
a double bass. Many other arrangements of the suite were made
subsequently, including tonight’s ingenious arrangement for
solo violin and orchestra made by Russian composer Leonid
Desyatnikov for Gidon Kremer, the Latvian violinist and leader of
Kremerata Baltica.
Kremer’s conception – which involved splicing together the
Vivaldi and Piazzolla works for ‘Eight Seasons’ – sparked the
references to Vivaldi’s concertos and there is plenty of fun to be
had spotting the similarities. Piazzolla’s spring is filled with lots
of funny croaking sounds, like Vivaldi’s birds, then moves into
the chordal stasis of Vivaldi’s autumn movement. Kremer says
this combination of spring and autumn acknowledges that
while it’s spring in Argentina it is autumn in Italy. In Piazzolla’s
autumn tango, there are references to Vivaldi’s spring concerto.
The winter tango quotes from the summer concerto (as well as
Boccherini and Bach), and there are obvious allusions to Vivaldi’s
winter at the start and finish of Piazzolla’s summer.
ADAPTED FROM A NOTE BY RITA WILLIAMS
SYDNEY SYMPHONY ORCHESTRA © 2008
Desyatnikov’s arrangement of Piazzolla’s Four Seasons of Buenos Aires
is scored for solo violin with string orchestra accompaniment
Cuatro Estaciones Porteñas Composed by Ástor Piazzolla © Editorial Lagos By kind permission of Warner/Chappell Music Australia Pty Ltd.
…a barometer of the people…their attitude, sensuality, vulnerability and passion.
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Ginastera seems to conjure the spirits and magic of pre-Columbian South America. It features, along with music by Villa-Lobos and José Evangelista, on a recording from I Musici de Montreal under the direction of Yuli Turovsky.CHANDOS 9434
MORE MUSIC
MORE PIAZZOLLA
Growing up in New York, the jazz-smitten eight-year-old Astor Piazzolla was disappointed when his father set him learn not the saxophone, as he’d have preferred, but a curious and unwieldy button squeeze-box. Fatally un-cool, his bandoneón received little attention until a Hungarian pianist who lived in his apartment block taught him to play some Bach on it. Back in Argentina, and already a night-club musician at age 17, he was a fish out of water, a bandonenista with classical aspirations. Piazzolla’s double life was no more evident than on those occasions he actually took tango and his bandoneón into the classical concert hall, and his Bandoneón Concerto (1979) perfectly encapsulates his creative response to his dilemma. According to Pablo Ziegler, Piazzolla’s regular pianist at the time the concerto was written, even in classical dress the tango remained ‘swing plus slang; defiant and exhibitionist…all about mugre (filth) and roña (fight)…Piazzolla wrote very sophisticated compositions, but at the same time, they are mugrosas’. Piazzolla himself is soloist in both this work and his 1985 Concerto for bandoneón and guitar, recorded and filmed for The Next Tango, with composer interviews.DEUTSCHE GRAMMOPHON (DVD)
MORE BIZET VIA SARASATE
A century ago, Sarasate’s music was a staple on recital and orchestral programs. Which is not to suggest that it is altogether forgotten in today’s recording age. His Concert Fantasy for violin (with orchestral or piano accompaniment) on themes from Bizet’s Carmen, Op.25 (known more simply as the Carmen Fantasy) remains well known and much loved, a personal re-appreciation of Bizet’s original that nevertheless represents faithfully the opera’s highlights, notably the famous Habanera and Séguidilla of Act I. The Fantasy appears on Vol.2 of Sarasate: Music for Violin and Orchestra, with soloist Tianwa Yang and the Orquestra Sinfónica de Navarra, conducted by Ernest Martínez Izquierdo.NAXOS 8.572216
MORE GINASTERA
Dating from the mid 1960s, Ginastera’s four-movement Concerto for Strings, Op.33, was first performed at the Caracas Music Festival in Venezuela by the strings of the visiting Philadelphia Orchestra, conducted by Eugene Ormandy. A radical repackaging of music from his strikingly modernist, freely atonal Second String Quartet (1958), its skittishly sparkling centrepiece is a Scherzo fantastico, a piece in which
Broadcast Diary
April
abc.net.au/classic
Saturday 25 April, 8pm ANZAC DAY SALUTE
Richard Gill conductor Ayse Göknur Shanal soprano Michael McStay narrator Gondwana Chorale
Copland, MF Williams, Parry, Ledger, Tallis, Vaughan Williams
SSO RadioSelected SSO performances, as recorded by the ABC, are available on demand: sydneysymphony.com/SSO_radio
SYDNEY SYMPHONY ORCHESTRA HOUR
Tuesday 12 May, 6pm
Musicians and staff of the SSO talk about the life of the orchestra and forthcoming concerts. Hosted by Andrew Bukenya.
finemusicfm.com
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Daniel Carter graduated from the University of Melbourne with an honours degree in music having studied composition and piano. After a two-year period as a Developing Artist Conductor/Repetiteur with Victorian Opera, working as Assistant Conductor and as Richard Gill’s assistant, in 2012 he won the Brian Stacey Memorial Award for Emerging Conductors. A graduate of the Symphony Services International Core Conductors Program, he has worked with the symphony orchestras in Melbourne, Adelaide, Hobart and Auckland under the tutelage of conductors such as Bernard Labadie, Arvo Volmer, Lutz Köhler, Sebastian Lang-Lessing and Christopher Seaman. He has also taught at Symphony Services International as part of their Scholar Conductors Program.
He has conducted performances of Kurt Weill’s Threepenny Opera at Sydney Theatre Company, education performances of Mozart’s Magic Flute for Victorian Opera, prepared the chorus for the Australian Ballet’s Elegy (Fauré), and worked as Assistant Music Director on Assembly for the Melbourne Festival.
Since 2012 he has worked as assistant conductor on Mozart’s Così fan tutte and Verdi’s Aida, and as conductor on the tour of Mozart’s Don Giovanni for Opera Australia; with the West Australian Symphony Orchestra (Young Performers Awards Grand Final); the Melbourne and Sydney festivals, including performances of Schoenberg’s Pierrot Lunaire with soloist Merlyn Quaife; Melbourne Youth Music and Willoughby Symphony Orchestra. For Victorian Opera he has conducted Elliott Carter’s What Next?, Master Peter’s Puppet Show, Puss in Boots, Rush Hour and Calvin Bowman’s Magic Pudding (for which he received a Green Room Award nomination for Best Conductor) as well as assisting on Nixon in China.
Most recently he conducted Carmen for Theater Freiburg in Germany, and in Australia he has conducted both the Sydney and Queensland symphony orchestras.
Daniel is currently assistant to Simone Young and resident repetiteur at the Hamburg State Opera, where his performances include Mozart’s Magic Flute, Rossini’s Barber of Seville, and a double bill for the Opera Studio: In the Locked Room (Watkins) and Persona (Langemann).
Daniel Carterconductor
THE ARTISTS
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THE ARTISTS
Andrew Haveron joined the SSO as Co-Concertmaster in 2013, arriving in Sydney with a reputation as one of the UK’s most sought-after violinists. Born in London in 1975, he studied at the Purcell School and the Royal College of Music and in 1996 was the highest British prizewinner at the Paganini Competition for the past 50 years. He also received prizes at the Queen Elisabeth of Belgium and Indianapolis competitions.
As a soloist, he has appeared with the London Symphony Orchestra (conducted by Colin Davis), the BBC Symphony Orchestra (Jiří Bělohlávek), and with the Hallé and City of Birmingham Symphony orchestras.
As first violinist of the Brodsky Quartet (1999–2007), his work included collaborations with artists ranging from Anne-Sofie von Otter and Alexander Baillie to iconic crossover work with Elvis Costello, Björk, Paul McCartney and Sting. He recorded more than 15 albums with the quartet, many of which won awards such as Diapason d’or and Choc du Monde de la Musique.
As an orchestral leader, he has frequently worked with major symphony orchestras around the world, including leading the World Orchestra for Peace at the request of Valery Gergiev. In 2004 he received an honorary doctorate from the University of Kent for his services to music.
Andrew Haveron plays on a violin made for him by the American luthier Sam Zygmuntowicz in 2001. Read more in Bravo! bit.ly/Bravo2013-3
Andrew Haveron violinconcertmaster
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Kirsten Williams studied with Alice Waten at the Sydney Conservatorium and then Igor Ozim in Switzerland before joining the first violins in the Royal Opera House Orchestra at Covent Garden and spending two years with the Academy of St Martin in the Fields. She has been a member of the Australian Chamber Orchestra as associate leader, and guest concertmaster of the Australian Opera and Ballet Orchestra and the Queensland Symphony Orchestra. In 2000 she was appointed Associate Concertmaster of the SSO.
As a soloist, she has appeared with the Bern Symphony Orchestra, Neuchâtel Chamber Orchestra and Philharmonische Akademie Bern, as well as the West Australian, Queensland and Sydney symphony orchestras, the Metropolitan Orchestra and the ACO.
A dedicated teacher, she has also been involved with Sydney Youth Orchestra for many years and toured North America as Artistic Director of the Australian Youth Orchestra’s Camerata. She also has a passion for playing music for healing purposes: she has recorded two CDs for Australian Bush Flower Essences and in 2014 was named Volunteer of the Year for her work playing to babies in the Intensive Care Unit at Westmead Children’s Hospital. Last year she also became patron of the Goulburn Strings Project, designed to bring music education to low socioeconomic and disadvantaged children in regional Australia, and travels weekly to Goulburn to give violin lessons to the children in the program.
Kirsten Williams violinassociate concertmaster, i kallinikos chair
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Marina Marsden has been the SSO’s Principal Second Violin since 2006, and from 1995 until 2006 was the orchestra’s Assistant Concertmaster. She studied violin at the Sydney Conservatorium with Alice Waten and from 1985, assisted by several scholarships, studied for a Performer’s Diploma in Vienna with Gerhard Schulz (Alban Berg Quartet). She was a concertmaster of the Bruckner Orchestra (Austria) in 1990 and the Associate Concertmaster of the Melbourne Symphony Orchestra (1992–94). In 1997, she travelled to Austria and the USA on a Churchill Fellowship. More recently she travelled to Europe for advanced study in violin playing and mentoring, assisted by the SSO Michael and Mary Whelan Trust Scholarship.
As soloist, she has performed with the Sydney Symphony, Melbourne Symphony, Canberra Symphony and Adelaide Chamber orchestras. In 2011 she performed as a member of the inaugural Australian World Orchestra. She appears frequently in the SSO Chamber Players series, and as a founding member of the Linden String Trio, as well as in chamber music festivals, including the 2009 Bowral Autumn Festival with members of the Australia Ensemble.
Her recordings include Marina Marsden – Violin Recital and Margaret Sutherland – The Chamber Music with Strings, for which she received a 1999 Australian Music Centre National Award. In 2009 she released a recording of Australian violin music, Spirit Dances, and in 2011 recorded three CDs for the AMEB with pianist Clemens Leske.
Marina Marsden violinprincipal second violin
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Catherine Hewgill studied cello in Perth before international studies took her to the Royal College of Music, University of Southern Calfornia, Santa Barbara Music Academy and the Aspen Summer Music Festival. In 1984 she won the Hammer-Rostropovich Scholarship and was invited by Rostropovich to perform in a recital at the Second American Cello Congress. A period of private study with Rostropovich followed. She then toured Europe with I Solisti Veneti, and studied with William Pleeth in London. Returning to Australia, she joined the Australian Chamber Orchestra.
In 1989 she joined the SSO, and was appointed Principal Cello the following year. She has performed as a soloist with most of the Australian orchestras and her SSO concerto appearances have included: Beethoven’s Triple Concerto (conducted by Vladimir Ashkenazy), Haydn’s D major concerto (Charles Dutoit), Elgar’s Cello Concerto, Tchaikovsky’s Rococo Variations, the Boccherini/Grützmacher Concerto in B flat, Dutilleux’s Tout un monde lointain, the Brahms Double Concerto with Michael Dauth, and as a soloist in concerts with Nigel Kennedy. Chamber music highlights include Messiaen’s Quartet for the End of Time with Reinbert de Leeuw. In 2003 she toured Japan with the Orchestra Ensemble Kanazawa and Michael Dauth (Brahms Double), and in 2011 she played principal in the inaugural concerts of the Australian World Orchestra.
Catherine Hewgill plays a 1729 Carlo Tononi cello. Read more in Bravo! bit.ly/Bravo2012-5
Catherine Hewgill celloprincipal cello, the hon. justice aj & mrs fran meagher chair
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Janessa Dufty Petros Treklis
THE ARTISTS
Sydney Dance Company is a legendary force in Australian contemporary dance. Its performances have appeared on the great dance stages of the world, from the Sydney Opera House to the Joyce Theatre in New York, the Grand in Shanghai and the Stanislavsky in Moscow.
Led by Artistic Director and resident choreographer Rafael Bonachela, the Company thrives on an ethos of collaboration and excellence – working with the most exciting and engaging artistic talents nationally and internationally.
Sydney Dance Company has cemented its reputation as a creative powerhouse under Bonachela’s leadership, actively creating and touring new work with an ensemble of 16 exceptional dancers, featuring collaborations with emerging and established Australian and international choreographers, designers, composers and musicians.
Rafael Bonachela Artistic Director Anne Dunn Executive Director Chris Aubrey Rehearsal Director
Choreographers
Rafael Bonachela Libertango Cass Mortimer Eipper Le Grand Tango Lucas Jervies Four Seasons of Buenos Aires
Aleisa Jelbart (Hephzibah Tintner Fellowship) Costume Designer Matthew Marshall Lighting Designer
COMPANY DANCERSLibertango
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Sydney Opera House TrustThe Hon. Helen Coonan [Acting Chair]Ms Catherine Brenner, Ms Brenna Hobson, Mr Chris Knoblanche, Mr Peter Mason am, Ms Jillian Segal am, Mr Robert Wannan, Mr Phillip Wolanski am
Executive ManagementChief Executive Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Louise Herron am
Chief Operating Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Claire SpencerDirector, Programming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jonathan BielskiDirector, Theatre & Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David ClaringboldDirector, Building Development & Maintenance . . . . . . . . Greg McTaggartDirector, Marketing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anna ReidDirector, External Relations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Brook Turner
SYDNEY OPERA HOUSE Bennelong Point GPO Box 4274 Sydney NSW 2001Administration (02) 9250 7111 Box Office (02) 9250 7777 Facsimile (02) 9250 7666 Website sydneyoperahouse.com
Tara Gower Olympia Kotopoulos Zachary Lopez
Luke Mangraviti Daniel Russell Laura Wood
ASSOCIATE ARTISTSLe Grand Tango andFour Seasons of Buenos Aires
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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 – including three visits to China – have earned the orchestra worldwide recognition for artistic excellence.
The orchestra’s first Chief Conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Zdenĕk Mácal, Stuart Challender, Edo de Waart and Gianluigi Gelmetti. Vladimir Ashkenazy was Principal Conductor from 2009 to 2013. The orchestra’s history also boasts collaborations with legendary figures
such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.
The SSO’s award-winning education program is central to its commitment to the future of live symphonic music, developing audiences and engaging the participation of young people. The orchestra promotes the work of Australian composers through performances, recordings and its commissioning program. Recent premieres have included major works by Ross Edwards, Lee Bracegirdle, Gordon Kerry, Mary Finsterer, Nigel Westlake and Georges Lentz, and the orchestra’s recordings of music by Brett Dean have been released on both the BIS and SSO Live labels.
Other releases on the SSO Live label, established in 2006, include performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras, Vladimir Ashkenazy and David Robertson. In 2010–11 the orchestra made concert recordings of the complete Mahler symphonies with Ashkenazy, and has also released recordings of Rachmaninoff and Elgar orchestral works on the Exton/Triton labels, as well as numerous recordings on ABC Classics.
This is the second year of David Robertson’s tenure as Chief Conductor and Artistic Director.
DAVID ROBERTSON Chief Conductor and Artistic Director
PATRON Professor The Hon. Dame Marie Bashir ad cvo
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FIRST VIOLINS Andrew Haveron CONCERTMASTER
Kirsten Williams ASSOCIATE CONCERTMASTER
Fiona Ziegler ASSISTANT CONCERTMASTER
Jenny BoothClaire HerrickGeorges LentzNicola LewisEmily LongAlexandra MitchellAlexander NortonLéone ZieglerEmily Qin°Rebecca Gill*Brett Yang†
Dene Olding CONCERTMASTER
Sun Yi ASSOCIATE CONCERTMASTER
Lerida Delbridge ASSISTANT CONCERTMASTER
Sophie ColeAmber Davis
SECOND VIOLINS Kirsty Hilton Marina Marsden Emma Jezek ASSISTANT PRINCIPAL
Emma HayesShuti HuangStan W KornelBenjamin LiPhilippa PaigeBiyana RozenblitMaja VerunicaEmma Jardine°Elizabeth Jones*Victoria Bihun†
Marianne BroadfootMaria DurekNicole Masters
VIOLASRoger Benedict Tobias Breider Rosemary CurtinJane HazelwoodJustine MarsdenFelicity TsaiAmanda VernerLeonid VolovelskyCharlotte Fetherston†Elizabeth Woolnough†
Anne-Louise Comerford Justin Williams ASSISTANT PRINCIPAL
Sandro CostantinoGraham HenningsStuart Johnson
CELLOSCatherine Hewgill Leah Lynn ASSISTANT PRINCIPAL
Kristy ConrauTimothy NankervisElizabeth NevilleChristopher PidcockDavid WickhamEleanor Betts*Umberto ClericiFenella GillAdrian Wallis
DOUBLE BASSESAlex Henery Neil Brawley PRINCIPAL EMERITUS
David CampbellSteven LarsonRichard LynnJosef Bisits°Kees Boersma David MurrayBenjamin Ward
FLUTES Janet Webb Rosamund PlummerPRINCIPAL PICCOLO
Emma Sholl Carolyn Harris
OBOESDiana Doherty Alexandre Oguey PRINCIPAL COR ANGLAIS
Shefali Pryor David Papp
CLARINETSLawrence Dobell Craig Wernicke PRINCIPAL BASS CLARINET
Francesco Celata Christopher Tingay
BASSOONSMatthew Wilkie Fiona McNamaraNoriko Shimada PRINCIPAL CONTRABASSOON
HORNSRobert Johnson Marnie SebireRachel SilverKara Hahn†
Ben Jacks Geoffrey O’Reilly PRINCIPAL 3RD
Euan Harvey
TRUMPETSDavid Elton Josh Rogan°Paul Goodchild Anthony Heinrichs
TROMBONESRonald Prussing Iain Faragher†
Brett Page*Scott Kinmont Nick ByrneChristopher Harris PRINCIPAL BASS TROMBONE
TUBASteve Rosse
TIMPANIMark Robinson ASSISTANT PRINCIPAL
Richard Miller
PERCUSSIONRebecca Lagos Timothy ConstableGabriel Fischer†
Kevin Man*
HARP Louise Johnson
BOLD = PRINCIPAL
ITALICS = ASSOCIATE PRINCIPAL
° = CONTRACT MUSICIAN
* = GUEST MUSICIAN† = SSO FELLOW
GREY = PERMANENT MEMBER OF THE SYDNEY SYMPHONY ORCHESTRA NOT APPEARING IN THIS CONCERT
The men of the Sydney Symphony Orchestra are proudly outfitted by Van Heusen.
To see photographs of the full roster of permanent musicians and find out more about the orchestra, visit our website: www.sydneysymphony.com/SSO_musicians
If you don’t have access to the internet, ask one of our customer service representatives for a copy of our Musicians flyer.
MUSICIANS
David RobertsonCHIEF CONDUCTOR AND ARTISTIC DIRECTOR SUPPORTED BY EMIRATES
Dene OldingCONCERTMASTER
Jessica CottisASSISTANT CONDUCTOR SUPPORTED BY PREMIER PARTNER CREDIT SUISSE
Andrew HaveronCONCERTMASTER
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Sydney Symphony Orchestra Staff
BEHIND THE SCENES
MANAGING DIRECTOR
Rory Jeffes
EXECUTIVE TEAM ASSISTANT
Lisa Davies-Galli
ARTISTIC OPERATIONS
DIRECTOR OF ARTISTIC PLANNING
Benjamin Schwartz
ARTISTIC ADMINISTRATION MANAGER
Eleasha Mah
ARTIST LIAISON MANAGER
Ilmar Leetberg
RECORDING ENTERPRISE MANAGER
Philip Powers
LibraryAnna Cernik Victoria Grant Mary-Ann Mead
LEARNING AND ENGAGEMENT
DIRECTOR OF LEARNING AND ENGAGEMENT
Kim Waldock
EMERGING ARTISTS PROGRAM MANAGER
Rachel McLarin
EDUCATION MANAGER
Amy Walsh
EDUCATION OFFICER
Tim Walsh
ORCHESTRA MANAGEMENT
DIRECTOR OF ORCHESTRA MANAGEMENT
Aernout Kerbert
ORCHESTRA MANAGER
Rachel Whealy
ORCHESTRA COORDINATOR
Rosie Marks-Smith
OPERATIONS MANAGER
Kerry-Anne Cook
PRODUCTION MANAGER
Laura Daniel
STAGE MANAGER
Courtney Wilson
PRODUCTION COORDINATORS
Ollie Townsend
SALES AND MARKETING
DIRECTOR OF SALES & MARKETING
Mark J Elliott
MARKETING MANAGER, SUBSCRIPTION SALES
Simon Crossley-Meates
A/ SENIOR SALES & MARKETING MANAGER
Matthew Rive
MARKETING MANAGER, WEB & DIGITAL MEDIA
Eve Le Gall
MARKETING MANAGER, CRM & DATABASE
Matthew Hodge
A/ SALES & MARKETING MANAGER, SINGLE TICKET CAMPAIGNS
Jonathon Symonds
DATABASE ANALYST
David Patrick
SENIOR GRAPHIC DESIGNER
Christie Brewster
GRAPHIC DESIGNER
Tessa Conn
SENIOR ONLINE MARKETING COORDINATOR
Jenny Sargant
MARKETING ASSISTANT
Theres Mayer
Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS
Lynn McLaughlin
BOX OFFICE SYSTEMS SUPERVISOR
Jennifer Laing
BOX OFFICE BUSINESS ADMINISTRATOR
John Robertson
CUSTOMER SERVICE REPRESENTATIVES
Karen Wagg – Customer Service Team ManagerMichael Dowling Tim Walsh
PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER
Yvonne Frindle
EXTERNAL RELATIONS
DIRECTOR OF EXTERNAL RELATIONS
Yvonne Zammit
PhilanthropyHEAD OF PHILANTHROPY
Luke Andrew Gay
PHILANTHROPY MANAGER
Jennifer Drysdale
A/ PATRONS EXECUTIVE
Sarah Morrisby
PHILANTHROPY COORDINATOR
Claire Whittle
Corporate RelationsCORPORATE PARTNERSHIPS MANAGER
Belinda Besson
CORPORATE PARTNERSHIPS EXECUTIVE
Paloma Gould
CommunicationsCOMMUNICATIONS & MEDIA MANAGER
Bridget Cormack
PUBLIC RELATIONS MANAGER
Katherine Stevenson
DIGITAL CONTENT PRODUCER
Kai Raisbeck
PUBLICITY & EVENTS COORDINATOR
Caitlin Benetatos
BUSINESS SERVICES
DIRECTOR OF FINANCE
John Horn
FINANCE MANAGER
Ruth Tolentino
ACCOUNTANT
Minerva Prescott
ACCOUNTS ASSISTANT
Emma Ferrer
PAYROLL OFFICER
Laura Soutter
PEOPLE AND CULTURE
IN-HOUSE COUNSEL
Michel Maree Hryce
John C Conde AO Chairman Terrey Arcus AM
Ewen Crouch AM
Ross GrantCatherine HewgillJennifer HoyRory JeffesAndrew Kaldor AM
David LivingstoneThe Hon. Justice AJ Meagher Goetz Richter
Sydney Symphony Orchestra CouncilGeoff Ainsworth AM
Doug BattersbyChristine BishopThe Hon John Della Bosca MLC
Michael J Crouch AO
Alan FangErin FlahertyDr Stephen Freiberg Simon JohnsonGary LinnaneHelen Lynch AM
David Maloney AM Justice Jane Mathews AO Danny MayJane MorschelDr Eileen OngAndy PlummerDeirdre Plummer Seamus Robert Quick Paul Salteri AM
Sandra SalteriJuliana SchaefferFred Stein OAM
John van OgtropBrian WhiteRosemary White
HONORARY COUNCIL MEMBERSIta Buttrose AO OBE Donald Hazelwood AO OBE
Yvonne Kenny AM
David Malouf AO
Wendy McCarthy AO
Leo Schofield AM
Peter Weiss AO
Sydney Symphony Orchestra Board
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Chair Patrons
SSO PATRONS
Roger BenedictPrincipal ViolaKim Williams AM & Catherine Dovey Chair
Kees BoersmaPrincipal Double BassSSO Council Chair
Umberto ClericiPrincipal CelloGarry & Shiva Rich Chair
Timothy ConstablePercussionJustice Jane Mathews AO Chair
Lerida DelbridgeAssistant ConcertmasterSimon Johnson Chair
Lawrence DobellPrincipal ClarinetAnne Arcus & Terrey Arcus AM Chair
Diana DohertyPrincipal OboeAndrew Kaldor AM & Renata Kaldor AO Chair
Richard Gill oam
Artistic Director, DownerTenix DiscoveryPaul Salteri AM & Sandra Salteri Chair
Jane HazelwoodViolaBob & Julie Clampett Chair in memory of Carolyn Clampett
Catherine HewgillPrincipal CelloThe Hon. Justice AJ & Mrs Fran Meagher Chair
Robert JohnsonPrincipal HornJames & Leonie Furber Chair
Elizabeth NevilleCelloRuth & Bob Magid Chair
Shefali PryorAssociate Principal OboeMrs Barbara Murphy Chair
Emma ShollAssociate Principal FluteRobert & Janet Constable Chair
Janet WebbPrincipal FluteHelen Lynch AM & Helen Bauer Chair
Kirsten WilliamsAssociate ConcertmasterI Kallinikos Chair
Maestro’s Circle
David Robertson
Peter Weiss AO Founding President & Doris Weiss
John C Conde AO Chairman
Brian Abel
Tom Breen & Rachel Kohn
The Berg Family Foundation
Andrew Kaldor AM & Renata Kaldor AO
Vicki Olsson
Roslyn Packer AO
David Robertson & Orli Shaham
Penelope Seidler AM
Mr Fred Street AM & Dorothy Street
Brian White AO & Rosemary White
Ray Wilson OAM in memory of the late James Agapitos OAM
Supporting the artistic vision of David Robertson, Chief Conductor and Artistic Director
FOR INFORMATION ABOUT THE CHAIR PATRONS
PROGRAM, CALL (02) 8215 4625.
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Umberto Clerici has been Principal Cello of the SSO since 2014. He has performed as a soloist with orchestras around the world and served as principal cello at the Teatro Regio in Turin in his native Italy before joining the SSO. Umberto’s chair is generously supported by Garry and Shiva Rich. Their son Samuel recently started learning the cello and aspires to join the SSO one day.
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Learning & Engagement
SSO PATRONS
Commissioning CircleSupporting the creation of new works.
ANZAC Centenary Arts and Culture FundGeoff Ainsworth AM
Christine BishopDr John EdmondsAndrew Kaldor AM & Renata Kaldor AO
Jane Mathews AO
Mrs Barbara MurphyNexus ITVicki OlssonCaroline & Tim RogersGeoff StearnDr Richard T WhiteAnonymous
fellowship patronsRobert Albert AO & Elizabeth Albert Flute ChairChristine Bishop Percussion ChairSandra & Neil Burns Clarinet ChairIn Memory of Matthew Krel Violin ChairMrs T Merewether OAM Horn ChairPaul Salteri AM & Sandra Salteri Violin and Viola ChairsMrs W Stening Principal Patron, Cello ChairKim Williams AM & Catherine Dovey Patrons of Roger Benedict,
Artistic Director, FellowshipAnonymous Double Bass Chair
fellowship supporting patronsMr Stephen J BellGary Linnane & Peter BraithwaiteJoan MacKenzie ScholarshipDrs Eileen & Keith OngIn Memory of Geoff WhiteJune & Alan Woods Family Bequest
tuned-up!TunED-Up! is made possible with the generous support of Fred Street AM & Dorothy Street
Additional support provided by:Anne Arcus & Terrey Arcus AM
Ian & Jennifer Burton Ian Dickson & Reg HollowayTony Strachan
major education donorsBronze Patrons & above
John Augustus & Kim RyrieMr Alexander & Mrs Vera BoyarskyBob & Julie ClampettHoward & Maureen ConnorsThe Greatorex FoundationThe Ian Potter FoundationJames N Kirby Foundation Mrs & Mr Judith A. McKernanMr & Mrs Nigel Price
MAKE A DIFFERENCE
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 [email protected]
A U S T R A L I A - K O R E AF O U N D A T I O N
Australia-Korea FoundationCrown FoundationThe Greatorex Foundation
Foundations
James N Kirby FoundationPacker Family FoundationIan Potter Foundation
Sydney Symphony Orchestra 2015 Fellows
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The Sydney Symphony Orchestra gratefully acknowledges the music lovers who donate to the orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs.
Stuart Challender Legacy SocietyCelebrating the vision of donors who are leaving a bequest to the SSO.
Playing Your Part
DIAMOND PATRONS $50,000+The Estate of Dr Lynn JosephMr Andrew Kaldor AM &
Mrs Renata Kaldor AO
In Memory of Matthew KrelRoslyn Packer AO
Ian Potter FoundationPaul Salteri AM & Sandra
SalteriMr Fred Street AM &
Mrs Dorothy Street Mr Peter Weiss AO &
Mrs Doris WeissMr Brian White AO &
Mrs Rosemary White
PLATINUM PATRONS $30,000–$49,999Anne & Terrey Arcus AM
Doug & Alison BattersbyThe Berg Family FoundationTom Breen & Rachael KohnMr John C Conde AO
Robert & Janet ConstableMrs Barbara MurphyMrs W SteningKim Williams AM &
Catherine Dovey
GOLD PATRONS $20,000–$29,999Brian AbelGeoff Ainsworth AM
Robert Albert AO & Elizabeth Albert
Christine Bishop Sandra & Neil BurnsJames & Leonie FurberI KallinikosHelen Lynch AM & Helen
BauerMrs T Merewether OAM
Rachel & Geoffrey O’ConorVicki OlssonAndy & Deirdre PlummerGarry & Shiva RichDavid Robertson & Orli
ShahamMrs Penelope Seidler AM
G & C Solomon in memory of Joan MacKenzie
Geoff StearnRay Wilson OAM in memory
of James Agapitos OAM
Anonymous (2)
SILVER PATRONS $10,000–$19,999
Bailey Family FoundationAudrey BlundenMr Robert BrakspearIan & Jennifer BurtonMr Robert & Mrs L Alison CarrBob & Julie ClampettMichael Crouch AO &
Shanny CrouchThe Hon. Mrs Ashley
Dawson-Damer AM
Paul EspieEdward & Diane FedermanNora GoodridgeMr Ross GrantIan Dickson & Reg HollowayEstate of Irwin ImhofSimon JohnsonMr Ervin KatzJames N Kirby FoundationRuth & Bob MagidJustice Jane Mathews AO
The Hon. Justice AJ Meagher & Mrs Fran Meagher
Mr John MorschelDrs Keith & Eileen OngKenneth Reed AM
Mr John Symond AM
The Harry Triguboff Foundation
Caroline WilkinsonAnonymous (2)
BRONZE PATRONS $5,000–$9,999John Augustus & Kim RyrieStephen J BellDr Hannes & Mrs Barbara
BoshoffMr Alexander & Mrs Vera
BoyarskyPeter Braithwaite &
Gary LinnaneMr David & Mrs Halina BrettMr Howard ConnorsEwen Crouch AM &
Catherine CrouchIn memory of Dr Lee
MacCormick EdwardsDr Stephen Freiberg &
Donald CampbellDr Colin GoldschmidtThe Greatorex FoundationRory & Jane JeffesThe late Mrs Isabelle JosephMr Frank Lowy AC &
Mrs Shirley Lowy OAM
Henri W Aram OAM & Robin Aram
Stephen J BellMr David & Mrs Halina BrettHoward ConnorsGreta DavisBrian GalwayMiss Pauline M Griffin AM
John Lam-Po-Tang
Peter Lazar AM
Daniel LemesleLouise MillerJames & Elsie MooreDouglas PaisleyKate RobertsMary Vallentine AO
Ray Wilson OAM
Anonymous (10)
Stuart Challender, SSO Chief Conductor and Artistic Director 1987–1991
bequest donors
We gratefully acknowledge donors who have left a bequest to the SSO.
The late Mrs Lenore AdamsonEstate of Carolyn ClampertEstate Of Jonathan Earl William ClarkEstate of Colin T EnderbyEstate of Mrs E HerrmanEstate of Irwin ImhofThe late Mrs Isabelle JosephThe Estate of Dr Lynn JosephThe Late Greta C RyanJune & Alan Woods Family Bequest
IF YOU WOULD LIKE MORE INFORMATION ON
MAKING A BEQUEST TO THE SSO, PLEASE
CONTACT LUKE GAY ON 8215 4625.
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BRONZE PATRONS CONTINUED
Robert McDougallJ A McKernanDavid Maloney AM &
Erin FlahertyR & S Maple-BrownMora MaxwellWilliam McIlrath Charitable
FoundationTaine MoufarrigeNexus ITJohn & Akky van OgtropSeamus Robert QuickChris Robertson &
Katharine ShawRodney Rosenblum AM &
Sylvia RosenblumDr Evelyn RoyalManfred & Linda SalamonMrs Joyce Sproat &
Mrs Janet CookeTony StrachanDavid Tudehope & Liz DibbsMr Robert & Mrs Rosemary
WalshWestpac GroupMichael & Mary Whelan TrustIn memory of Geoff WhiteJune & Alan Woods Family
BequestAnonymous (2)
PRESTO PATRONS $2,500–$4,999Mr Henri W Aram OAM
Ian BradyMr Mark Bryant oam
Ita Buttrose AO OBE
Mrs Stella ChenDr Rebecca ChinDr Diana Choquette &
Mr Robert MillinerFirehold Pty LtdDr Kim FrumarWarren GreenAnthony GreggJames & Yvonne HochrothMr Roger Hudson &
Mrs Claudia Rossi-HudsonProf. Andrew Korda am &
Ms Susan PearsonIn memoriam
Dr Reg Lam-Po-TangHelen & Phil MeddingsJames & Elsie MooreMs Jackie O’BrienJuliana SchaefferDr Agnes E SinclairEzekiel Solomon AM
Mr Ervin Vidor AM & Mrs Charlotte Vidor
Lang Walker AO & Sue WalkerYim Family Foundation Anonymous (2)
VIVACE PATRONS $1,000–$2,499Mrs Lenore AdamsonMrs Antoinette AlbertRae & David AllenAndrew Andersons AO
Mr Matthew AndrewsThe Hon Justice Michael BallDavid BarnesMr Garry BessonAllan & Julie BlighJan BowenRoslynne BracherMrs R D Bridges OBE
Lenore P BuckleMargaret BulmerIn memory of RW BurleyMrs Rhonda CaddyMr B & Mrs M ColesMs Suzanne CollinsJoan Connery OAM &
Maxwell Connery OAM
Debby Cramer & Bill CaukillMr John Cunningham SCM &
Mrs Margaret CunninghamGreta DavisLisa & Miro DavisElizabeth DonatiColin Draper & Mary Jane
BrodribbProf. & Mrs John EdmondsMalcolm Ellis & Erin O’NeillMrs Margaret EppsMr Matt GarrettVivienne Goldschmidt &
Owen JonesMrs Fay GrearIn Memory of Angelica GreenAkiko GregoryMr & Mrs Harold &
Althea HallidayJanette HamiltonMrs Jennifer HershonAngus HoldenMr Kevin Holland &
Mrs Roslyn AndrewsThe Hon. David Hunt AO QC &
Mrs Margaret HuntDr & Mrs Michael HunterMr Philip Isaacs OAM
Michael & Anna JoelMrs W G KeighleyDr Andrew KennedyJennifer KingAron KleinlehrerMr Andrew Korda &
Ms Susan PearsonMr Justin LamMr Peter Lazar AM
Professor Winston LiauwAirdrie LloydMrs Juliet LockhartPeter Lowry OAM &
Dr Carolyn Lowry OAM
Kevin & Deirdre McCannIan & Pam McGawMatthew McInnesMacquarie Group FoundationBarbara MaidmentJohn MarRenee MarkovicMr Danny R MayI MerrickHenry & Ursula MooserMilja & David MorrisMrs J MulveneyMr Darrol NormanE J NuffieldDr Mike O’Connor AM
Mr & Mrs OrtisMr Andrew C PattersonMichael PaulAlmut PiattiIn memory of Sandra Paul
PottingerDr Raffi QasabianMr Patrick Quinn-GrahamErnest & Judith RapeePatricia H Reid Endowment
Pty LtdDr Marilyn RichardsonIn memory of Katherine
RobertsonMr David RobinsonTim RogersLesley & Andrew RosenbergIn memory of H St P ScarlettMr Samuel F ShefferDavid & Alison ShilligtonDr Judy SoperMrs Judith SouthamMs Barbara SpencerMrs Elizabeth SquairCatherine StephenThe Hon. Brian Sully QC
Mrs Margaret SwansonThe Taplin FamilyDr & Mrs H K TeyKevin TroyJohn E TuckeyJudge Robyn TupmanDr Alla WaldmanMiss Sherry WangWestpac Banking
CorporationHenry & Ruth WeinbergThe Hon. Justice A G WhealyMary Whelan & Robert
BaulderstoneDr Richard T WhiteMrs Leonore WhyteA Willmers & R PalBetty WilkenfeldDr Edward J WillsProf. Neville Wills &
Ian FenwickeAnn & Brooks C Wilson AM
Dr Richard Wing
Dr Peter Wong & Mrs Emmy K Wong
Geoff Wood & Melissa WaitesSir Robert WoodsMr & Mrs Lindsay WoolveridgeIn memory of Lorna WrightDr John YuAnonymous (12)
ALLEGRO PATRONS $500–$999Nikki AbrahamsMs Jenny AllumKatherine AndrewsMr Peter J ArmstrongGarry & Tricia AshMr & Mrs George BallDr Lilon BandlerBarlow Cleaning Pty LtdBarracouta Pty LtdBeauty Point Retirement
ResortMr Michael BeckDr Andrew BellRichard & Margaret BellJan BiberMinnie BiggsG D BoltonIn memory of Jillian BowersR D & L M BroadfootDr Peter BroughtonDr David BryantArnaldo BuchDr Miles BurgessPat & Jenny BurnettRosemary CampbellMr JC Campbell QC &
Mrs CampbellJudy ChiddyIn memory of Beth HarpleyMr Phillip CornwellDr Peter CraswellMr David CrossPhil Diment AM & Bill
ZafiropoulosDr David DixonSusan DoenauMrs Jane DrexlerDana DupereDr Nita DurhamJohn FavaloroMrs Lesley FinnMs Julie Flynn & Mr Trevor
CookMrs Paula FlynnMr John GadenClive & Jenny GoodwinRichard Griffin AM
Dr Jan GroseBenjamin Hasic &
Belinda DavieMr Robert HavardMrs Joan HenleyRoger Henning
Playing Your Part
SSO PATRONS
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“Together, we have an ambition to foster a love of orchestral music in school children of all ages, and to equip their teachers with the skills they need to develop this in our young people…”DAVID ROBERTSON SSO Chief Conductor and Artistic Director
PLEASE CONSIDER MAKING A TAX-DEDUCTIBLE DONATION TODAY
Sue HewittDr Joan-Mary HindsDorothy Hoddinott AO
Bill & Pam HughesMs Cynthia KayeMrs Margaret KeoghDr Henry KilhamDr Joyce KirkMrs Patricia KleinhansAnna-Lisa KlettenbergSonia LalL M B LampratiDr Barry LandaElaine M LangshawDr Leo & Mrs Shirley LeaderMargaret LedermanMrs Erna LevyMrs A LohanMr Gabriel LopataPanee LowMelvyn MadiganMs Jolanta MasojadaMr Guido MayerLouise MillerPatricia MillerKenneth Newton MitchellMrs Judith MortonMr Graham NorthMr Sead NurkicDr A J PalmerDr Kevin PedemontDr Natalie E PelhamDr John PittJohn Porter & Annie
Wesley-SmithMrs Greeba PritchardThe Hon. Dr Rodney Purvis AM &
Mrs Marian PurvisMichael QuaileyMiss Julie RadosavljevicRenaissance Tours
VANGUARD COLLECTIVEJustin Di Lollo ChairBelinda BentleyOscar McMahonTaine Moufarrige
Founding PatronShefali PryorSeamus R Quick
Founding PatronChris Robertson &
Katherine Shaw Founding Patrons
MEMBERSJames ArmstrongPhilip AtkinLuan AtkinsonJoan BallantineJames BaudzusAndrew BaxterAdam BeaupeurtAnthony BeresfordAndrew BotrosPeter BraithwaiteBlake BriggsAndrea BrownMelanie BrownAttila BrungsIan BurtonJennifer BurtonPaul ColganClaire CooperBridget CormackRobbie CranfieldAsha CugatiJuliet CurtinRosalind De SaillyPaul DeschampsCatherine DonnellyAlistair FurnivalAlexandra GibsonSam GiddingsMarina GoJeremy GoffHilary GoodsonTony GriersonLouise HaggertyRose HercegFrancis HicksPeter HowardJennifer HoyKatie HryceVirginia JudgeJonathan Kennedy
Aernout KerbertPatrick KokAlisa LaiJohn Lam-Po-TangTristan LandersJessye LinGary LinnaneDavid LoSaskia LoGabriel LopataRebecca MacFarlingRobert McGroryDavid McKeanNick NichlesKate O’ReillyPeter O’SullivanJonathan PeaseCleo PosaLaurisa PoulosMichael RadovnikovicSudeep RaoMichael ReedeChris RobertsonBenjamin RobinsonAlvaro Rodas FernandezJacqueline RowlandsAnthony Michael SchembriBenjamin SchwartzKatherine ShawCecilia StornioloRandal TameSandra TangIan TaylorMichael TidballMark TimminsMichael TuffyKim WaldockJon WilkieYvonne ZammitAmy Zhou
SSO Vanguard
A membership program for a dynamic group of Gen X & Y SSO fans and future philanthropists
Janelle RostronMrs Christine Rowell-MillerMrs Louise RowstonJorie Ryan for Meredith RyanMr Kenneth RyanGarry Scarf & Morgie BlaxillPeter & Virginia ShawJudge David S ShillingtonMrs Diane Shteinman AM
Victoria SmythDoug & Judy SotherenColin SpencerJames & Alice SpigelmanFred & May SteinAshley & Aveen StephensonMargaret & William SuthersMargaret SwansonDr Jenepher ThomasMrs Caroline ThompsonMrs June ThorntonPeter & Jane ThorntonMs Rhonda TingAlma TooheyMrs M TurkingtonGillian Turner & Rob BishopRoss TzannesMr Robert VeelRonald WalledgeIn memory of Denis WallisIn memoriam JBL WattMiss Roslyn WheelerThe Wilkinson FamilyEdward & Yvonne WillsYetty WindtMr Evan WongMrs Robin YabsleyAnonymous (34)
SSO Patrons pages correct as of 27 February 2015
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SALUTE
The Sydney Symphony Orchestra is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body
GOVERNMENT PARTNERS
The Sydney Symphony Orchestra is assisted by the NSW Government through Arts NSW
PRINCIPAL PARTNER
EDUCATION PARTNERPLATINUM PARTNER
REGIONAL TOUR PARTNER MARKETING PARTNERVANGUARD PARTNER
PREMIER PARTNER
SILVER PARTNERS
s i n f i n i m u s i c . c o m
UNIVERSAL MUSIC AUSTRALIA
MAJOR PARTNERS
GOLD PARTNERS
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