3 | Sydney Symphony
PRESENTING PARTNER
2010 SEASON
DISCOVERYPRESENTED BY TENIX
City Recital Hall Angel Place
Discover the music of the great composerswith Richard Gill
PROGRAM CONTENTS
Monday 22 March | 6.30pmDiscover MahlerPAGE 5
Tuesday 27 April | 6.30pmDiscover SchubertPAGE 9
Monday 12 July | 6.30pmDiscover StravinskyPAGE 15
Monday 1 November | 6.30pmDiscover TchaikovskyPAGE 19
About the ArtistsPAGE 25
This year the program book for Discovery contains notes for all four concerts in the series. Copies will be available at every performance, but we invite you to keep your program and bring it with you to each concert.
WELCOME TO DISCOVERY
Paul Salteri
Chairman, Tenix Pty Ltd
Tenix warmly welcomes you to the 2010 Discovery series.
We are confi dent you will fi nd these concerts musically
exciting, and that they will open up for you a new
understanding of the featured composers and works.
Tenix’s sponsorship of the Sydney Symphony’s Education
Program is now in its sixth year. As a company with a
commitment to technology and innovation, we support
education and training across a range of fi elds, and we are
proud to support not only the Discovery Program but also
the Sydney Symphony’s extensive Schools program, which
brings the world of classical music to primary schools
across the State.
Sydney Symphony’s Discovery Program is a wonderfully
innovative and exciting experience. We hope you enjoy it
as much as we enjoy our Education partnership with the
orchestra.
5 | Sydney Symphony
2010 SEASON
DISCOVERYPRESENTED BY TENIX
DISCOVER MAHLERMonday 22 March | 6.30pmCity Recital Hall Angel Place
Richard Gill conductorSamuel Dundas baritone
MAHLERTwo songs from Lieder eines fahrenden Gesellen(Songs of a Wayfarer)
‘Wenn mein Schatz Hochzeit macht’(On my sweetheart’s wedding day)
‘Die zwei blauen Augen von meinem Schatz’(The two blue eyes of my sweetheart)
BRAHMSThird movement from Symphony No.3 in F major, Op.90
Poco Allegretto(A little fast and lively)
PRESENTING PARTNER
This concert will be recorded for later broadcast in the summer on ABC Radio National.
The ABC Classics DVD based on the Discovery series can be purchased online atsydneysymphony.com/shop
Discover more Mahler in 2010 and 2011 during our Mahler Odyssey, conducted by Vladimir Ashkenazy.
Next concerts:
Mahler 5 (20, 21, 22 May)
Mahler’s Song of the Earth (26, 28, 29 May)
6 | Sydney Symphony
ABOUT THE MUSIC
GUSTAV MAHLER(born Kalischt, 1860; died Vienna 1911)
During his lifetime, Mahler was better known as a
conductor of opera than as a composer. He held numerous
conducting posts including Kassel, Budapest, Vienna,
and fi nally New York, with the Metropolitan Opera. It was
a frustration that his conducting work allowed time for
composing only during the summer months.
Mahler’s nine completed symphonies and fi ve orchestral
song cycles constitute almost his entire oeuvre. The young
Mahler ranged over lieder, cantatas and chamber music,
but it was not until he turned to the symphony that he
found his true medium. In his hands, the symphony
grew in size and scope; as he later said to Jean Sibelius,
‘A symphony must be like the world. It must contain
everything.’
The song cycle Lieder eines fahrenden Gesellen (Songs
of a Wayfarer) points the way to Mahler’s technique of
interweaving symphony and song, a device he would
employ in many of his later works. It was inspired by an
ill-fated love aff air with Johanna Richter, a singer at
the Opera House in Kassel where Mahler was second
conductor from 1883 to 1885. ‘I have written a song cycle
dedicated to her…’ he wrote. ‘Their burden is this: a man
who has found only sadness in love goes forth into the
world a wanderer.’
The texts are Mahler’s own, but they are very similar in
character and tone to Des Knaben Wunderhorn (The Youth’s
Magic Horn), a collection of German folk poems which
Mahler discovered later and whose infl uence is evident in
his ‘Wunderhorn’ symphonies, Nos. 2, 3 and 4. Thematically,
the Wayfarer songs are all linked by the torturous thoughts
of a lover spurned, and a folk-like preoccupation with
nature – bird calls and open textures feature.
This song cycle is something of a companion piece to
Mahler’s First Symphony, which was begun around the
same time. The two works share musical material fi rst
heard in the second song ‘I went out this morning into the
fi elds’. And in the last of the Wayfarer songs, as our love-
lost wanderer goes out into the night seeking comfort, the
music accompanies with heavy-hearted tread. This idea is
echoed in the symphony, when Mahler introduces it in the
middle of the funeral march movement.
GENEVIEVE LANG ©2010
Gustav Mahler, 1896
7 | Sydney Symphony
On my sweetheart’s wedding day,
joyful wedding day,
it will be a sad day for me!
I will go to my little room,
my dark little room
and weep for my sweetheart,
my dear sweetheart!
Little blue fl ower! Little blue fl ower!
Do not fade! Do not fade!
Sweet little bird, sweet little bird,
you sing on the green heath.
Ah! How beautiful the world is!
La-la! La-la!
Do not sing! Do not bloom!
Spring is over and gone!
All singing is now over.
At evening, when I go to sleep,
I think of my sorrow!
Of my sorrow!
The two blue eyes of my sweetheart
have sent me out into the world.
I must take my leave
of the place I love more than anywhere!
O blue eyes,
Why did you ever look at me?
Now I have only eternal grief and pain!
I went out in the still night,
in the still night across the dark heath.
No one said farewell to me,
farewell, farewell!
Love and Sorrow were my companions!
By the road stands a linden tree,
and there for the fi rst time I slept peacefully.
Under the linden tree,
whose blossoms snowed gently down on me,
I no longer knew what life was like,
everything, everything was good again!
Everything! Everything!
Love and pain
and world and dream!
1.
Wenn mein Schatz Hochzeit macht,
Fröhliche Hochzeit macht,
Hab’ ich meinen traurigen Tag!
Geh’ ich in mein Kämmerlein,
Dunkles Kämmerlein,
Weine, wein’ um meinen Schatz,
Um meinen lieben Schatz!
Blümlein blau! Blümlein blau!
Verdorre nicht! Verdorre nicht!
Vöglein süß, Vöglein süß,
Du singst auf grüner Heide!
Ach, wie ist die Welt so schön!
Ziküth! Ziküth!
Singet nicht! Blühet nicht!
Lenz ist ja vorbei!
Alles Singen ist nun aus.
Des Abends, wenn ich schlafen geh’
Denk’ ich an mein Leide.
An mein Leide!
4.
Die zwei blauen Augen von meinem Schatz,
Die haben mich in die weite Welt geschickt.
Da mußt ich Abschied nehmen
Vom allerliebsten Platz!
O Augen blau,
Warum habt ihr mich angeblickt?
Nun hab’ ich ewig Leid und Grämen!
Ich bin ausgegangen in stiller Nacht
In stiller Nacht wohl über die dunkle Heide.
Hat mir Niemand Ade gesagt,
Ade, Ade!
Mein Gesell’ war Lieb’ und Leide!
Auf der Straße steht ein Lindenbaum,
Da hab’ ich zum ersten Mal im Schlaf geruht!
Unter dem Lindenbaum,
Der hat seine Blüten über mich geschneit,
Da wußt’ ich nicht, wie das Leben tut,
War alles, alles wieder gut!
Alles! Alles!
Lieb’ und Leid!
Und Welt und Traum!
Lieder eines fahrenden Gesellen (Songs of a Wayfarer)
TEXTS: GUSTAV MAHLERTRANSLATION: NATALIE SHEA, SYMPHONY AUSTRALIA ©2002
8 | Sydney Symphony
Johannes Brahms
JOHANNES BRAHMS (born Hamburg, 1833; died Vienna, 1897)
Departing from the usual pattern of including an Australian work, Richard Gill has chosen the ‘intermezzo’ movement from Brahms’ Third Symphony to sit alongside his exploration of Mahler’s Songs of a Wayfarer. Both works were begun in 1883, and in hearing them together we’re reminded of how different they are, even as they share a common Romantic heritage.
About the composer
Brahms might not have considered himself primarily an
orchestral composer, but his symphonies occupy a fi rm
place in the orchestral repertoire. Haunted by Beethoven’s
legacy – ‘the thunderous step of a giant’ behind him – he
took 14 years to write his fi rst symphony, completing it
in 1876. Almost immediately he began work on a second,
working on it in an Austrian lakeside resort where ‘the
melodies fl y so thick…that you have to be careful not to
step on one’. By the time he wrote his third symphony, in
the summer of 1883, he had come to terms with the ‘giant’
but he was still exploring the possibilities of the large-scale
symphonic form.
About the musicPoco Allegretto from Symphony No.3
The critic Eduard Hanslick praised the Third Symphony
for the ‘clear direct impact it makes the fi rst time one
hears it’; furthermore, ‘it seems to have been created
in the fl ush of an inspired hour’. Nowhere is this more
apparent that in the third movement (Poco Allegretto), where
Brahms’ unfailing melodic gift comes to the fore. His
deeply lyrical music brims with impassioned expression
and rich sensuality. The main theme of this gentle
‘intermezzo’ is one of Brahms’ most perfect melodies –
disarmingly simple, but full of artful irregularities – and
it is given to the cellos, who are asked to play ‘half voice’
and expressively. The result is a glorious melancholy
unparalleled in Brahms’ symphonies.
The Third Symphony received a triumphant premiere on
2 December 1883, with Hans Richter conducting the Vienna
Philharmonic. Its directness of expression, newfound
variety of orchestral colour and wealth of melody ensured
its success with audiences, then and now.
9 | Sydney Symphony
PRESENTING PARTNER
This concert will be recorded for later broadcast in the summer on ABC Radio National.
The ABC Classics DVD based on the Discovery series can be purchased online atsydneysymphony.com/shop
Discover more Schubert in 2010:
Hear the ‘complete’ Unfi nished Symphony:Dance of the Imagination (23, 25, 26, 28 June)
and Schubert’s Rondo in A for violin and strings:Midori plays Classics (1, 2 July)
2010 SEASON
DISCOVERYPRESENTED BY TENIX
DISCOVER SCHUBERTTuesday 27 April | 6.30pmCity Recital Hall Angel Place
Richard Gill conductorCeleste Haworth mezzo-soprano
SCHUBERTFirst movement fromSymphony No.8 in B minor, D759
Allegro moderato(moderately fast)
JAMESONThe Wind in the Hemlocktext by Sara Teasdale (1884–1933)PREMIERE
The Wind in the Hemlock has been made possible through the support of Ars Musica Australis
Proud partner of the Sydney Symphony
Photo
gra
ph C
red
it: B
en S
ymons
Tenix’s major partnership of the
Sydney Symphony education
program has helped deliver music
appreciation and education to the
youth of NSW.
Tenix strongly supports education
and training across its infrastructure
services business and is proud to
support the Sydney Symphony’s
education program.
“The Sydney Symphony’s
commitment to world class
performance and quality fits perfectly
with our own corporate goals, and
it makes a major contribution to the
lives of the people in Sydney and
indeed Australia.”
Paul Salteri, Chairman, Tenix Pty Limited
11 | Sydney Symphony
ABOUT THE MUSIC
Franz Schubert
FRANZ SCHUBERT(born Vienna 1797; died Vienna 1828)
Franz Schubert’s early death at the age of 31 meant the
premature end to a prolifi c career; it also meant that
Schubert lived to hear very little of his orchestral music
performed. While a close circle of friends would regularly
gather to enjoy the composer’s chamber music and songs,
neither of his most celebrated symphonic works was
performed during his lifetime. The premiere of his ‘Great
C Major’ Symphony was given more than ten years after his
death, and his ‘Unfi nished’ – concealed in the possession
of a friend – was not performed until 1865!
Schubert’s friends – poets, playwrights, painters
and philosophers – were more interested in intimate
musical experiences than the grandeur of the orchestra.
Nevertheless, Schubert began 13 symphonies and fi nished
seven. Of the fi rst six – written within about four years
for student and amateur orchestras – only the fi fth, with
its amiable rolling theme, is performed regularly today.
The seventh completed symphony is the ‘Great C Major’.
In addition there are two incomplete works that are
recognised as part of his oeuvre: one in E major and the
two-movement symphony in B minor, the ‘Unfi nished’.
It is a curious thing that Schubert left so many
symphonic torsos in his wake: many of these works
(including the ‘Unfi nished’) were begun, worked on in
great detail, and then simply set aside. No real reason is
given, although several hypotheses have arisen: Schubert
feels inadequate in comparison to his idol Beethoven,
Schubert gets a new idea and abandons this old one,
Schubert is too busy with mundane tasks, etcetera.
Schubert died in November 1828, from what is thought
to have been tertiary syphilis (at the time of his death he
was diagnosed with typhoid fever). As per his request,
he was buried next to his idol, Beethoven. For those who
would criticise Schubert’s symphonic output as unworthy
of comparison with Beethoven’s, it is worth remembering
that at the age at which Schubert met his death Beethoven
had composed but one symphony, one piano concerto, and
a handful of chamber works – in short, very few of the great
symphonic masterpieces for which he is best remembered
today. As is inscribed upon Schubert’s tombstone, “The
Art of Music here entombed a rich possession but even far
fairer hopes” (Franz Grillparzer).
HANNAH REARDON-SMITH ©2010
12 | Sydney Symphony
EMM
A T
EBB
E (2
009)
Phil Jameson
PHIL JAMESON(born London, 1993)
Phil Jameson attends Sydney Grammar School, where he
is currently in Year 11 with a music scholarship. He studies
piano with Ransford Elsley, organ with Robert Wagner, jazz
with Dave Levy and composition with Richard Gill. As a
performer, his interests mainly lie in 20th-century music
and also jazz, having recently played with such acclaimed
musicians as Wycliff e Gordon and James Morrison. He is
also interested in pursuing conducting. As a composer he
has co-written a musical for his school and participated in
the Sydney Sinfonietta Project on several occasions. More
recently, he has written a piano score for David Mamet’s play,
The Duck Variations, and also a setting of Theodore Roethke’s
Night Journey for Hotchkiss Summer Portals, a youth
development program in America, to which he is returning
this year to premiere a string quartet. The Wind in the Hemlock
is his second commission for the Sydney Sinfonia.
About the musicThe Wind in the HemlockI couldn’t have been happier to stumble across Sara Teasdale’s
‘The Wind in the Hemlock’ as a potential text for an orchestral
setting. Apart from being the perfect length, strongly voiced,
structurally ideal and emotionally loaded, it’s a fascinating
look at how we deal with the knowledge of our own mortality.
Teasdale is well known for the way her imagery is understated
yet so intense, and through careful weighting of each idea
she is able to write astonishingly organic poetry.
I’ve treated the text in three main sections, each dominated
by a family of the orchestra and a melodic idea. The primary
challenge lay in shaping each section’s metamorphosis into
the next, seamlessly yet unambiguously. This meant that I fi rst
had to develop an arsenal of colours which were evocative and
illuminating in isolation, but malleable as part of a greater
body of music. To this end, I am indebted to the French horn,
as well as the clarinet and cello, for being the faithful glue that
holds such orchestral music together! Next, I found that the
second theme was the most important in achieving an eff ective
metamorphosis through all three sections. It emerges very
early and dissolves quite late in the piece, so there was
an inherent challenge in writing a theme that would be
convincing through the relentless emotional turbulence of
the text – the singer’s confl ict with the reality of life on this
earth. This is gradually resolved as she learns to appreciate
the small beauties of the world… or so it would seem.
PHIL JAMESON ©2010
‘I think the crucial question this text leaves us with is whether the speaker’s emotional revolution is truly complete by the fi nal line. Ask yourself, what reservations are still left in this woman’s heart by the end of her outburst? Is she ready to face the world anew? Are we ever ready to face the world?’ PJ
13 | Sydney Symphony
The Wind in the HemlockSara Teasdale (1884–1933)
Steely stars and moon of brass,
How mockingly you watch me pass!
You know as well as I how soon
I shall be blind to stars and moon,
Deaf to the wind in the hemlock tree,
Dumb when the brown earth weighs on me.
With envious dark rage I bear,
Stars, your cold complacent stare;
Heart-broken in my hate look up,
Moon, at your clear immortal cup,
Changing to gold from dusky red –
Age after age when I am dead
To be fi lled up with light, and then
Emptied, to be refi lled again.
What has man done that only he
Is slave to death – so brutally
Beaten back into the earth
Impatient for him since his birth?
Oh let me shut my eyes, close out
The sight of stars and earth and be
Sheltered a minute by this tree.
Hemlock, through your fragrant boughs
There moves no anger and no doubt,
No envy of immortal things.
The night-wind murmurs of the sea
With veiled music ceaselessly,
That to my shaken spirit sings.
From their frail nest the robins rouse,
In your pungent darkness stirred,
Twittering a low drowsy word –
And me you shelter, even me.
In your quietness you house
The wind, the woman and the bird.
You speak to me and I have heard:
If I am peaceful, I shall see
Beauty’s face continually;
Feeding on her wine and bread
I shall be wholly comforted,
For she can make one day for me
Rich as my lost eternity.
(1920)
Sara Teasdale
About the poetSara Teasdale was an American lyric poet, born in St Louis, Missouri. Frail and sickly as a child, she was homeschooled at fi rst, only starting school when she was nine. She published her fi rst book of verse in 1907, when she was 23. She enjoyed a deep and longstanding friendship with the poet Vachel Lindsay, who proposed to her, but she married Ernst Filsinger, a wealthy merchant, in 1914. Two years later they moved to New York and in 1918 Teasdale won the Columbia University Poetry Society Prize (which later became the Pulitzer Prize for poetry) and the Poetry Society of American Prize for Love Songs. ‘The Wind in the Hemlock’ comes from the volume Flame and Shadow (1920), the last of a group of poems called ‘Songs for Myself’. She divorced Hilsinger in 1929 and in 1933, plagued by illness, she committed suicide.
15 | Sydney Symphony
2010 SEASON
DISCOVERYPRESENTED BY TENIX
DISCOVER STRAVINSKYMonday 12 July | 6.30pmCity Recital Hall Angel Place
Richard Gill conductorCeleste Haworth mezzo-soprano
STRAVINSKY
First movement fromSymphony in C Moderato alla breve(moderately, two beats to the bar)
Minuetto and Finale fromPulcinella
HOWESEveryone Sangtext by Siegfried Sassoon (1886–1967) PREMIERE
Everyone Sang has been made possible through the support of Ars Musica Australis
PRESENTING PARTNER
This concert will be recorded for later broadcast in the summer on ABC Radio National.
The ABC Classics DVD based on the Discovery series can be purchased online atsydneysymphony.com/shop
Discover more Stravinsky in 2010:
Dumbarton Oaks (Mozart meets Stravinsky – 29 April)
Symphonies of Wind Instruments (Harmony from Heaven – 12, 13, 17 May)
Concerto in D for strings (Midori plays Classics – 1, 2 July)
The Rite of Spring (Uncompromising Masterpieces – 13, 15, 16 October)
16 | Sydney Symphony
Igor Stravinsky
ABOUT THE MUSIC
Stravinsky is frequently quoted as saying that music is ‘by its very nature, essentially powerless to express anything at all…’ – a statement that appeared in his 1936 autobiography. Later he qualifi ed the statement, writing that he would put it the other way around: ‘music expresses itself’.
IGOR STRAVINSKY (born near St Petersburg, 1882; died New York, 1971)
Although Igor Stravinsky maintained a strong connection
with his Russian heritage throughout his private and
professional life, his identity as an emigré was also a
very important infl uence on his music. He left Russia
for Switzerland at the beginning of World War I, and
then moved to France six years later, taking out French
citizenship in 1934. World War II prompted him to move
to the United States in 1939, and by 1946 he had become
an American citizen. These experiences resulted in what
Stephen Walsh refers to as ‘a fl exible and reciprocal
association with his changing environment’, and an ability
to skilfully absorb new idioms and make them his own.
The composer himself joked that he suff ered from ‘a rare
form of kleptomania’.
As a young man, Stravinsky was strongly infl uenced
by the music of his teacher Nikolai Rimsky-Korsakov.
Stravinsky was deeply aff ected by his teacher’s death in
1908, but he had already quietly begun to separate himself
from the infl uence of Rimsky-Korsakov’s Russian musical
nationalism. It was around this time that he began to
associate with another infl uential Russian: Sergei Diaghilev,
impresario of the Ballets Russes. With Diaghilev’s support,
Stravinsky composed, amongst many other stage works,
his three most famous ballet scores: The Firebird (1910),
Petrushka (1911) and The Rite of Spring (1913).
Stravinsky’s involvement with the Ballets Russes
continued when he moved to Switzerland. In 1919,
Diaghilev suggested that Stravinsky arrange some pieces
they believed were by the baroque composer Giovanni
Pergolesi. This led him to compose the ballet Pulcinella,
often seen as a pathway to his neoclassical period, in
which Stravinsky turned away from the exaggerated
expressiveness and drama that was associated with
Romanticism. Instead he strove for objectivity, simplicity
and clarity, and aimed to distance himself personally
from his music rather than regarding his work as a direct
expression of his personality.
RACHEL ORZECH ©2010
17 | Sydney Symphony
Andrew Howes
Everyone Sang was composed for the 2009 Sinfonietta Project and receives its public premiere in this concert.
ANDREW HOWES(born Sydney, 1992)
About the composer
Andrew Howes completed his studies at the
Conservatorium High School in 2009. He plays violin
and viola, has participated in the Symphony Australia
Conductor Development Program, and has been
composing for as long as he can remember. He has
written works for the Department of Education, Sydney
Children’s Choir, Sydney Sinfonia and the 2007 ASME
conference in Perth, and his compositions were selected
for the Sydney Symphony’s Sinfonietta Project for four
years in a row. Andrew Howes enjoys working with a wide
range of performing media, including orchestras, chamber
ensembles, choirs and stage bands.
About the musicEveryone Sang (or Madrigal 3)
In 1501, the poet and literary theorist Pietro Bembo edited
an edition of Petrarch, the great 14th century poet, and later
published his theories on being carefully attentive to the
exact sounds of words, as well as their positioning within
lines. The poetic form of the madrigal, which consisted of
an irregular number of lines (typically of 7 or 11 syllables)
without repetition, and usually on a serious topic, came
into being as a result of Bembo’s infl uence.
The form of the poetic madrigal is refl ected musically
in two ways: the structure of the phrases is irregular, and
phrases are not repeated exactly throughout the piece.
However, development of every phrase is necessary for
organic development in the musical statements. For all
of these reasons, having one or two particular melodies
is impractical, whereas using fragments and gestures is
extremely eff ective. The highest goal is to achieve beauty in
every gesture and to use these separate motifs to form an
overall arc and line, coherent with the subject matter.
ANDREW HOWES ©2010
18 | Sydney Symphony
The composer profi les in this program have been written by four recent graduates of the AYO Music Presentation Fellowship, which provides opportunities for training and experience in publishing and broadcasting through organisations such as the Sydney Symphony and the Australian Broadcasting Corporation.
About the poet
Siegfried Sassoon was an English poet of Anglo-Catholic and Jewish heritage. His mother was fond of Wagner’s operas, and this was the source of his German name. He enjoyed a privileged upbringing and studied at Cambridge (although he didn’t graduate), before dedicating himself to poetry. In 1913 he achieved his fi rst real success with The Daffodil Murderer, a parody of the work of another poet, John Masefi eld. He joined the army and fought in World War I, and is best-known today for his war poems.
Hear Sassoon himself reading this poem in a recording from the BBC Archives:http://www.poetryarchive.org/poetryarchive/singlePoem.do?poemId=7098
Siegfried Sassoon
GEO
RG
E C
HA
RLE
S B
ERES
FOR
D
Everyone SangSiegfried Sassoon (1886–1967)
Everyone suddenly burst out singing;
And I was fi lled with such delight
As prisoned birds must fi nd in freedom,
Winging wildly across the white
Orchards and dark-green fi elds; on- on- and out of sight.
Everyone’s voice was suddenly lifted;
And beauty came like the setting sun:
My heart was shaken with tears; and horror
Drifted away… O, but Everyone
Was a bird; and the song was wordless; the singing will
never be done.
(APRIL 1919)
©SIEGFRIED SASSOON
REPRODUCED BY KIND PERMISSION OF THE ESTATE OF GEORGE SASSOON
19 | Sydney Symphony
2010 SEASON
DISCOVERYPRESENTED BY TENIX
DISCOVER TCHAIKOVSKYMonday 1 November | 6.30pmCity Recital Hall Angel Place
Richard Gill conductor
TCHAIKOVSKY
Panorama fromSleeping Beauty
Arabian Dance and Apotheosis fromNutcracker
SCULTHORPE
New Norcia
PRESENTING PARTNER
This concert will be recorded for later broadcast in the summer on ABC Radio National.
The ABC Classics DVD based on the Discovery series can be purchased online atsydneysymphony.com/shop
Discover more Tchaikovsky in 2010:
Serenade for Strings (10, 11 June)
Russian Rococo (11, 12 November)
Tchaikovsky Spectacular (9, 10, 11 December)
20 | Sydney Symphony
ABOUT THE MUSIC
Peter Ilyich Tchaikovsky, 1888
Tsar Alexander III may have been politely dismissive of Sleeping Beauty, but Tchaikovsky was less politely dismissive of the Tsar’s opinion. Writing to his patron Nadezhda von Meck, Tchaikovsky noted: ‘Rehearsal of the ballet was attended by the Emperor. “Very nice”!!!!! His Majesty was very haughty with me. Pity about him.’
PETER ILYICH TCHAIKOVSKY (born Kamsko-Votkinsk, 1840; died St Petersburg, 1893)
Tchaikovsky is often considered to be the fi rst Russian
composer to mediate successfully the 19th-century tension
between Russian nationalism and European cosmopolitanism
in music. One (possibly apocryphal) anecdote has the boy
Tchaikovsky kissing the map of Russia and spitting on the
rest of Europe, while carefully shielding France with his
hand. However, by the time he commenced his short-lived
career in the Russian civil service at the age of 19, he was
a connoisseur of French theatre, Italian opera, and other
imported art forms. Opera was the most prestigious of
these, yet it was Tchaikovsky’s fi rst ballet, Swan Lake (1875–76)
that ushered him into the theatrical canon.
Marius Petipa, the tyrannical director of the Russian
Imperial Ballet, favoured a form of ballet à grand spectacle that
was characterised by sumptuous tableaux, enlivened with
splashes of exoticism and hints of the phantasmic. Tchaikovsky’s
fl air for vibrant and distinctive musical settings, evident
even in his early programmatic works, was well suited to the
creation of a compositional framework for these elements.
The two main approaches to ballet at the time were
embodied in the contrasting styles of Europe’s leading
ballerinas: Marie Taglioni’s gossamer ethereality contrasted
with Fanny Elssler’s robust and fl amboyant approach to
characterisation, and Tchaikovsky’s mastery of both can be
seen in the scores of his late ballets Sleeping Beauty (1888–89)
and Nutcracker (1891–92). These works are prized for their
vivid colouration and rhythmic complexity, which created
a dramatic impetus and cohesion far removed from the
‘in-house’ musical assemblages of earlier ballet composers.
It is thus somewhat ironic that early reviews of both ballets
singled out Tchaikovsky’s music as thoroughly unsuitable
for dancing.
Tchaikovsky approached his two late ballets with very
diff erent attitudes. He was ‘delighted’ with the scenario
for Sleeping Beauty, and fi red through the entire score in
around 40 days. He approached the Nutcracker score more
pessimistically; he had misgivings about the scenario
and was beginning to feel his age. But his imagination
was stirred by the ‘divinely beautiful tone’ of the recently
invented celesta, and this put the crystal fi nish on the
compositional sugar plum.
ANGHARAD DAVIS ©2010
21 | Sydney Symphony
Peter Sculthorpe
AD
RIE
NN
E LE
VIN
SO
N
The Sydney Symphony and Richard Gill gave the premiere of New Norcia in 2001.
PETER SCULTHORPE (born Launceston, 1929)
About the composer
Peter Sculthorpe is widely recognised as Australia’s
most prominent composer and has been elected one of
Australia’s Living National Treasures and an Australian
Icon. He fi rst came to widespread attention with his String
Quartet No.6, commissioned by Musica Viva Australia in
1964, and his reputation was cemented with the Sun Music
series for orchestra, inspired by an vision of Australia as
a sun-baked landscape. An earlier work, Irkanda IV (1961),
signalled an interest in Aboriginal culture, at this stage
refl ected purely in titles. Another infl uence has been his
interest in the music of Australia’s neighbours (including
Japan) as well as from the impulse to bring together aspects
of native Australian music with that of the heritage of the
West.
The composer writesNew Norcia
In 1846, the Mission of New Norcia was founded in
Western Australia by two Spanish Benedictine monks.
Under one of the founders, Dom Rosenda Salvado, a choir,
a string orchestra and a band were formed, the three
groups eventually consisting almost entirely of Aboriginal
performers. During the second half of the 19th century,
New Norcia was one of the places in Australia where
Gregorian chant was sung. Salvado regarded music in every
form as a gift from God. His diaries, in fact, demonstrate
a considerable understanding of Aboriginal chant and
ritual. They contain what are probably the fi rst signifi cant
writings on the subject.
Unlike much of my music, New Norcia makes no
references to Aboriginal chant. It is, however, fi rmly based
upon the plainchant melody Psalmus 150, a song of praise
for the Lord through music. In New Norcia, the six verses
of the plainchant are each stated twice, the verses separated
by either a short episode or an interlude. It seems to me
that the Aboriginal children of New Norcia might have
made some contribution of their own to the liturgy, and
I have no doubt that Dom Salvado would have enjoyed this.
For them, I added drumming to the two interludes, the
fi nal verse and the coda.
ADAPTED FROM A NOTE BY PETER SCULTHORPE ©2001
O n l y a t S h a n g r i - L a
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23 | Sydney Symphony
MORE MUSIC
Selected Discography
MAHLER
Thomas Quasthoff sings Songs of a Wayfarer with the Vienna Philharmonic and Pierre Boulez conducting, on a recording with mezzo-soprano performances of the Rückert Lieder (Violetta Urmana) and the Kindertotenlieder (Anne Sofi e von Otter).DEUTSCHE GRAMMOPHON 389 402
For the version with piano accompaniment, try Dietrich Fischer-Dieskau with Daniel Barenboim on a disc that includes Des Knaben Wunderhorn and the Rückert Lieder.
EMI CLASSICS 76780
SCHUBERT
Schubert’s ‘Unfi nished’ Symphony is his most frequently recorded symphony, followed by the ‘Great C Major’ Symphony. Among the recommended releases is Carlos Kleiber’s 1978 recording with the Vienna Philharmonic Orchestra, which pairs the symphony with Brahms’ Fourth (also the VPO) and scenes from Wagner’s Tristan und Isolde (Dresden Staatskapelle and a cast including Margaret Price and Dietrich Fischer-Dieskau).
DEUTSCHE GRAMMOPHON 344 702
STRAVINSKY
For the Symphony in C and other neoclassical works by Stravinsky, try the recording with Robert Craft and various ensembles, including the Philharmonia Orchestra. Also on the disc, Dumbarton Oaks, the Symphony in Three Movements, and Octet for Wind Instruments.
NAXOS 8557507
The suite from Pulcinella can be heard with the ballet Apollo, in a recording by the Chamber Orchestra of Europe, conducted by Alexander Janiczek. (An SACD hybrid).
LINN RECORDS 330
TCHAIKOVSKY
Suites from all three of Tchaikovsky’s great ballet scores – Swan Lake, Sleeping Beauty and Nutcracker – can be heard in Seiji Ozawa’s recording with the Boston Symphony Orchestra.
DEUTSCHE GRAMMOPHON 130602
The most exhilarating recording of the complete music for Nutcracker is by the Kirov Theatre Orchestra, conducted by Valery Gergiev.
PHILIPS 462114
For the complete Sleeping Beauty try the London Symphony Orchestra and André Previn, recorded in 1974, but recently re-released in a 2-CD set.
EMI CLASSICS 67689
Most Sydney Symphony concerts are recorded by ABC Classic FM for live or delayed broadcast and broadcast listings can be found at www.abc.net.au/classic
In addition, concerts in the Discovery series are recorded by ABC Radio National and broadcast during the summer each year.
2MBS-FM 102.5
SYDNEY SYMPHONY 2010
2MBS-FM broadcasts a regular Sydney Symphony spot at 6pm on the second Tuesday of each month. Tune in to hear musicians, staff and guest artists discuss what’s in store in our forthcoming concerts and to hear previews of the music.
Webcasts
Selected Sydney Symphony concerts are recorded for webcast by BigPond.
Visit: bigpondmusic.com/sydneysymphony
Sydney Symphony Online
Visit the Sydney Symphony at sydneysymphony.com for concert information, podcasts, and to read the program book in the week of the concert.
Become a fan on Facebook at http://tinyurl.com/facebook-SSO (or search for “Sydney Symphony” from inside your Facebook account).
Follow us on Twitter at twitter.com/sso_notes for program alerts and musical curiosities, straight from the editor’s desk.
Have Your Say
Tell us what you thought of the concert at sydneysymphony.com/yoursay
or email: [email protected]
Broadcasts
24 | Sydney Symphony
ABOUT THE CONDUCTOR
RICHARD GILL conductorARTISTIC DIRECTOR, EDUCATION
Richard Gill is the Artistic Director of the Sydney
Symphony’s Education Program. In 2006 he was appointed
Music Director of the then newly formed Victorian Opera
Company, where his performances have since included
Les Noces, Oedipus Rex, Così fan tutte, Puccini’s Mass, The
Coronation of Poppea and Sing Your Own Opera. He has also
been Artistic Director of OzOpera, Artistic Director and
Chief Conductor of the Canberra Symphony Orchestra
and the Adviser for the Musica Viva in Schools Program.
Richard has frequently conducted for Opera Australia
and OzOpera, and in recent seasons has conducted Meet
the Music concerts with the Sydney Symphony, Discovery
concerts with the Sydney Sinfonia; the Melbourne,
Canberra, Queensland and Tasmanian symphony
orchestras; Sing Your Own Opera at the Melbourne
International Festival of the Arts; and the Brisbane and
Melbourne premiere seasons of The Love of the Nightingale
by Richard Mills.
His operatic repertoire includes Orpheus in the
Underworld, Faust, The Gondoliers, Moya Henderson’s Lindy,
The Eighth Wonder by Alan John and Dennis Watkins,
Macbeth, Rigoletto, Lucia di Lammermoor, Il trovatore, Roméo
et Juliette, La Périchole, The Merry Widow, Fidelio, Turandot,
The Pearl Fishers, The Force of Destiny, Dido and Aeneas, Il
combattimento di Tancredi e Clorinda, The Love for Three
Oranges, Julius Caesar and The Marriage of Figaro. For
OzOpera he has conducted Carmen, The Magic Flute,
La bohème, and The Barber of Seville. His music theatre
repertoire includes Jonathan Mills’ Ghost Wife, which he
has conducted in Melbourne, Adelaide, Sydney and
London, and Eternity Man for the Sydney Festival.
Richard Gill has received numerous accolades, including
an Order of Australia Medal, the Bernard Heinze Award,
an Honorary Doctorate from the Edith Cowan University
of Western Australia, the Australian Music Centre’s award
for Most Distinguished Contribution to the Presentation
of Australian Composition by an individual, and the
Australia Council’s prestigious Don Banks Award.
JEFF
BU
SB
Y
25 | Sydney Symphony
ABOUT THE ARTISTS
JEFF
BU
SB
Y
SAMUEL DUNDAS baritone
Samuel Dundas is a graduate of the Melba Conservatorium
of Music and his performance experience encompasses
opera, musical theatre and concerts. He has appeared
throughout Australia and New Zealand, singing with the
Tasmanian, Melbourne, Adelaide and West Australian
symphony orchestras and the Auckland Philharmonic
Orchestra, and his concert repertoire includes Bach’s
St John Passion, Fauré’s Requiem and Mozart’s Requiem.
He made his operatic debut with Opera Queensland in
2005 and has since performed with Victorian Opera as a
guest and as a member of the Artist Development program.
Last year he made his role debut in the title role of the VO
production of Don Giovanni, as well as singing Harlequin
in Ariadne auf Naxos (VO) and Vaughan Williams’ Serenade
to Music for the inaugural concert of the Melbourne
Recital Centre. He recently won a place in the 2010 Moff att
Oxenbould Young Artist program at Opera Australia.
This is his Sydney Symphony debut.
CELESTE HAWORTH mezzo-soprano
Celeste Haworth recently completed a Bachelor of Music
Studies and an Advanced Diploma of Opera at the Sydney
Conservatorium, and is now studying for a Diploma of
Music – Opera. At the Conservatorium her roles have
included Sally (Barber’s A Hand of Bridge), Deuxième
Commère (Ibert’s Angélique), The Maid (Hindemith’s Hin
und Zurück), Bertarido (Handel’s Rodelinda), La Marchande
(Poulenc’s Mamelles de Tiresias), and Florence Pike and Nancy
Waters (Britten’s Albert Herring). This year she will sing
the title role in Handel’s Tamerlano and Madama Rosa in
Donizetti’s Il Campanello.
Recent concert engagements have included Handel’s Messiah,
An Armed Man – A Mass for Peace (Macquarie University
Singers), Vivaldi’s Gloria, Haydn’s Nelson Mass, Queen
Jezebel in Mendelssohn’s Elijah (Christ Church St Laurence),
Bach’s Cantata No.21, and Mozart’s Requiem and Handel’s
‘My Heart Is Inditing’ (Sydney University Musical Society).
Celeste Haworth was one of ten semi-fi nalists nationwide
in the 2008 Australian Singing Competition (Mathy Awards).
In 2008 and 2009 she was nominated for the Joan Carden
Award, and was a place winner in the City of Sydney Eisteddfod,
as well as Warringah Eisteddfod Champion and Aria Winner.
26 | Sydney Symphony
SYDNEY SINFONIA
The Sydney Sinfonia is the Sydney Symphony’s
mentoring orchestra – an internationally
recognised program through which we strive
to enrich our future and the future of young
musicians. Its members are auditioned
annually from a national fi eld of the best
tertiary students and recent graduates;
those selected are given the opportunity
to sit alongside professional orchestral
players in rehearsal and performance, and
to present the concerts of our Education
Program. These emerging professionals gain
invaluable experience working alongside
accomplished musicians as part of a
performing orchestra, learning ‘on the job’
under the guidance of their mentors.
The Sydney Sinfonia, now 15 years old,
represents a vital tradition of training young
orchestral musicians and nurtures a culture
of mentoring amongst the musicians of the
Sydney Symphony. We’re especially proud
that many of its alumni have achieved
positions in professional orchestras around
the world
SYDNEY SYMPHONY FELLOWSHIP
Selected from competitive national
auditions, these nine young musicians have
been handpicked by the members of the
Sydney Symphony. We hold high hopes and
expectations for them, as they join the ranks
of esteemed Fellowship alumni who now
perform in many of Australia’s symphony
orchestras and chamber ensembles.
We invite you to hear the Sydney
Symphony Fellows perform at one of their
chamber music concerts during the year.
FRI 7 MAY, 1pm – Eugene Goossens Hall, ABC Ultimo CentreWED 14 JULY, 1.15pm – St James’ Church, King StreetSUN 1 AUGUST, 4pm – Wyvern Music ClubSAT 14 AUGUST, 2pm – Blacktown Arts CentreTHU 23 SEPTEMBER, 7pm – St James’ Church, King StreetSAT 2 OCTOBER, 7pm – Campbelltown Arts Centre SUN 14 NOVEMBER, 3pm –Joan Sutherland Performing Arts Centre, PenrithSUN 28 NOVEMBER, 3pm – Verbrugghen Hall, Sydney Conservatorium
For more information, visit:
www.sydneysymphony.com/education/artist_development/concerts_2010
27 | Sydney Symphony
MUSICIANS
Sydney Sinfonia
VIOLINS
Kirsten WilliamsFiona ZieglerMarianne BroadfootBrielle ClapsonSusan DobbieAmber GuntherKirsty HiltonShuti HuangStan W KornelMarina MarsdenPhilippa PaigeMaja VerunicaLéone ZieglerClaire Herrick†Mariana Green† Christina MorrisClare MillerDavid DalsenoElla BennettsFiona DoigJason Tong Jennifer KhafagiLiisa PallandiMonique IrikNatasha ConrauSamanatha BostonSusannah CumingTadijana Ilici
VIOLAS
Jane HazelwoodStuart JohnsonFelicity TsaiMaike-Karoline Drabe†Arabella Bozic†Andrea NgEmma FetherstonLaura CurottaLisa BucknellThomas Chawner
CELLOS
Fenella GillLeah LynnTimothy NankervisDavid WickhamWilliam Hewer†Adam Szabo Daniel PiniEslee HwangJack WardJia TangMee Na LojewskiRebecca ProiettoSamuel Payne
DOUBLE BASSES
Neil BrawleyDavid CampbellRichard LynnJosef Bisits†Hugh Kluger Matheuzs DiehlRobin Brawley
FLUTES
Janet WebbRosamund Plummer Alexander Nelson Dominique ChaselingJonathan HendersonKate Proctor
OBOES
Diana DohertyShefali PryorAlexandre OgueyJonathan Connolly Nicola Bell
CLARINETS
Lawrence DobellFrancesco CelataCraig WernickeAlexandra Carson†Lisa McCowage Nick EvansRowena Watts
BASSOONS
Matthew WilkieRoger BrookeChloe Turner† Mellissa Woodroffe
HORNS
Robert JohnsonBen JacksFrancesco Lo Surdo† Brendan Parravicini Bryan Griffi thsSharn McIver
TRUMPETS
Daniel MendelowJohn FosterColin Grisdale James PolackKen Allars
TROMBONES
Ronald PrussingScott Kinmont Christopher HarrisBen Lovell-GreeneMatthew McGeachin Mitchell Staines
TUBAS
Steve RosséMark Shearn
TIMPANI & PERCUSSION
Richard MillerRebecca LagosColin PiperAndrew Kut Chan Sophia Ang Tim Brigden
HARP
Jennifer Betzer
Italic = Sydney Symphony Mentor Musician† = Sydney Symphony Fellow
This list shows all the Sydney Sinfonia members and mentors for 2010. To see the orchestra lists for individual Discovery performances, please visit www.sydneysymphony.com/education/artist_development/sinfonia_2010 in the week of each concert.
Vladimir AshkenazyPrincipal Conductor andArtistic AdvisorK
EITH
SA
UN
DER
S
Michael DauthConcertmaster Chairsupported by the SydneySymphony Board and CouncilK
EITH
SA
UN
DER
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Dene OldingConcertmaster Chairsupported by the SydneySymphony Board and CouncilK
EITH
SA
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28 | Sydney Symphony
SALUTE
BRONZE PARTNER MARKETING PARTNERS
Vittoria Coffee Lindsay Yates & Partners 2MBS 102.5 Sydney’s Fine Music Station
PRINCIPAL PARTNER GOVERNMENT PARTNERS
The Sydney Symphony is assisted by the NSW Government through Arts NSW
The Sydney Symphony is assisted by the Commonwealth Government through the
Australia Council, its arts funding and advisory body
SILVER PARTNERS
GOLD PARTNERS
REGIONAL TOUR PARTNERS
PLATINUM PARTNERS MAJOR PARTNERS
29 | Sydney Symphony
SALUTE
Presenting Partner Education Program
Presenting Partner,Sydney Sinfonia
Sandra & Paul SalteriPrincipal Patrons of Richard Gill OAM,Artistic Director
SYDNEY SYMPHONY FELLOWSHIP PROGRAM PATRONS
Mrs Warwick Stenning Principal Patron
Robert Albert AO & Elizabeth Albert
Sandra & Neil Burns
Penny Edwards
Dr Bruno & Mrs Rhonda Giuffre
Mrs Tempe Merewether OAM
Greg & Kerry Paramor and Equity Real Estate Partners
June & Alan Woods Family Bequest
Tenix
ALLEGRO EDUCATION FUND
Brian Abel
Alan & Christine Bishop
Ian & Jennifer Burton
Robert & Alison Carr
Bob & Julie Clampett
THE PARTNER
Leighton Holdings is delighted to join with the Sydney
Symphony as Presenting Partner of the Sydney Sinfonia.
The Sydney Sinfonia’s unique structure and format drives a
dynamic culture of professional development and innovative
performance, benefi ting not only the young musicians involved
but also contributing to a greater understanding of classical
music within the community regardless of age.
Leighton Holdings’ corporate community investment
program is focused on developing long-term partnerships
with organisations that build Australia’s future skills base and
support excellence through arts and culture. We are proud
to support the current and future generations of talented
orchestral musicians as they entertain, educate and inspire us.
David Mortimer AO
Chairman, Leighton Holdings
PLAYING YOUR PART Richard Gill, the Sydney Symphony’s acclaimed educator and
musician, has worked with Australia’s leading musicians and
music teachers to create our innovative and world-renowned
Education Program. We bridge the gap between classroom and
concert hall by producing high quality resources and off ering
development programs to assist teachers, giving inspiring
concerts to school children and awarding fellowships to
postgraduate musicians.
To support our activities and help enrich our community with
the wonder of music, please contribute by making a donation.
Call Caroline Sharpen (02) 8215 4619, email [email protected] or write to Sydney Symphony, GPO Box 4972, Sydney NSW 2001
EDUCATION PROGRAMOur range of programs encourages people to respond to music
in a number of ways. They include: School Concerts for all
ages, with supporting educational materials and professional
development seminars for teachers; Playerlink and Regional Tours, bringing the orchestra to children in regional areas;
Sydney Sinfonia, tonight’s ensemble, providing a career pathway
and mentoring for emerging professional musicians; Sydney Symphony Sinfonietta, an elite ensemble drawn from the
Sinfonia to perform contemporary repertoire and nurture young
composers; Sydney Symphony Fellowship Program, providing
opportunities for young professional musicians to work closely
with the Orchestra and to enhance their skills through work on
chamber music repertoire; and Discovery, a concert series for
adults that examines how orchestral music works.
For more information email [email protected]
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