T E N I X D I S C O V E R YW I T H R I C H A R D G I L L
DISCOVER BEETHOVEN’S PASTORALTUE 5 MAR 6.30PM
DISCOVER HAYDN’S MIRACLETUE 9 APR 6.30PM
DISCOVER CHOPIN’S SECOND CONCERTOTUE 18 JUN 6.30PM
DISCOVER BRITTEN WITH KATIE NOONANTUE 22 OCT 6.30PM
C I T Y R E C I T A L H A L L A N G E L P L A C E E D U C AT I O N
P A R T N E R
2013 season tenix discovery
City Recital Hall Angel Place
Discover the music of the great composerswith Richard Gill
PROGRAM CONTENTS
Tuesday 5 March | 6.30pmDiscover Beethoven’s PastoralPAGE 8
Tuesday 9 April | 6.30pmDiscover Haydn’s MiraclePAGE 10
Tuesday 18 June | 6.30pmDiscover Chopin’s Piano Concerto No.2PAGE 12
Tuesday 22 October | 6.30pmDiscover Britten with Katie NoonanPAGE 16
About the Sydney Symphony SinfoniaPAGE 6
More MusicPAGE 14
About the ArtistsPAGE 22
This program book for Tenix Discovery contains information 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.
PAU
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Tenix. Sydney Symphony Education Partner.
Tenix is a leading delivery partner to owners of gas, electricity, water, wastewater, heavy
construct, operate, maintain and manage assets and systems to deliver optimal results
www.tenix.com
Tenix is proud to be the Education Partner of the Sydney Symphony. Just as sustainability is important to us, we congratulate the Sydney Symphony in the important work they do around the sustainability of music through the education and encouragement of our younger generation to inspire extraordinary music and musicians into the future.
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WELCOME TO TENIX DISCOVERY
As Education Partner of the Sydney Symphony we welcome you to
the 2013 Tenix Discovery series – four concerts of musical discovery
with the Sinfonia orchestra and Richard Gill.
Sustainability is important in the work we do at Tenix; equally
important is the sustainability of music through the education and
encouragement of our children, inspiring future generations of
musicians and audiences.
That is why, for over a decade, we have been proud to be a partner
of the Sydney Symphony – bringing classical music to our younger
generation, and to new music lovers of all ages.
Be it a symphony by Haydn or Beethoven, a Chopin piano concerto
or Britten’s masterly music for the voice, we hope you leave the
concert with an even greater appreciation and understanding of the
extraordinary music you will discover – or rediscover.
We hope you enjoy this evening’s Tenix Discovery concert as much
as we have enjoyed presenting it to you.
Ross TaylorChief Executive Offi cerTenix
6 sydney symphony
ABOUT THE ORCHESTRA
Sydney Symphony Sinfoniafounded 1996 supported by Leighton Holdings
Fellowship Programfounded 2001 supported by Premier Partner Credit Suisse
Sinfonietta Projectfounded 2006 supported by Leighton Holdings & Copyright Agency Cultural Fund
Education Programsupported by Tenix
Sydney Symphony Sinfonia
Th e Sinfonia is the Sydney Symphony’s acclaimed mentoring
orchestra – its members auditioned annually from a national
fi eld of the best tertiary music students and recent graduates.
Over the course of the concert season, these young musicians
sit alongside professional orchestral players in rehearsal and
performance, refi ning their craft under the guidance of their
mentors. Th e Sinfonia provides the kind of ‘on the job’ training
that an orchestral musician can gain nowhere else.
We’re especially proud that many of Sinfonia alumni –
together with alumni of our Fellowship program – have
achieved positions in some of the world’s fi nest orchestras.
Indeed, some of those musicians have won permanent positions
in the ranks of the Sydney Symphony itself: violinists Brielle
Clapson, Emily Long, Alexandra Mitchell and Alexander
Norton; violists Stuart Johnson and Felicity Tsai; cellists Kristy
Conrau and Christopher Pidcock; double bassists David
Campbell and Benjamin Ward; fl autist Emma Sholl; oboists
BE
N S
YM
ON
S
sydney symphony 7
New Sinfonia Scholarship
Last year the orchestra received a generous bequest from Joan
MacKenzie, a member of the Sydney Symphony Council
and one of our most committed supporters and advocates.
Th is gift has been generously matched by her nephew Gavin
Solomon and his wife Catherine, and the funds have been
invested to establish an annual scholarship for a violinist in our
Sinfonia mentoring orchestra. Th e new Joan MacKenzie Violin
Scholarship will support travel for a regional or interstate
participant and private lessons with Sydney Symphony
musicians.
Th e recipient of the inaugural scholarship will be
announced, in the presence of Joan’s relatives and friends, at
the Sinfonia’s fi rst concert for 2013: Discover Beethoven’s
Pastoral on 5 March.
If you’re considering making a notifi ed bequest to the Sydney
Symphony, write to [email protected] or call
(02) 8215 4625.
Shefali Pryor and David Papp; horn player Marnie Sebire and
timpanist and percussionist Mark Robinson.
Th ese appointments show the Sinfonia program achieving
precisely what it sets out to do: preparing talented young
instrumentalists to take their places in professional orchestras,
bridging the gap between formal institutional study and the
challenges of a musician’s work in the real world.
Established in 1996 as the brainchild of Richard Gill
and former Education Manager Margie Moore, the Sydney
Symphony Sinfonia has grown over the years, increasing the
depth of opportunities it off ers. In addition to providing the
orchestra for the Tenix Discovery series, the Sinfonia plays
for the Education Program’s Schools Concerts each year and
tours regionally. And since 2010, the best players from Sinfonia
have had the opportunity to appear ‘Side-by-Side’ with the
Sydney Symphony, performing large-scale repertoire in Meet
the Music, Family Concerts and on the Sydney Symphony
Regional Tour.
…bridging the gap between study and the real world.
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DISCOVER…
Beethoven’s Pastoral Symphony
On the freezing night of 22 December 1808, Viennese
devotees of new music made their way to the Th eater an der
Wien for what would turn out to be one of the most signifi cant
concerts in the history of Western music. Th e four-hour
program, consisting entirely of Beethoven premieres, began
with the Pastoral Symphony, followed by the concert aria ‘Ah,
perfi do!’, three movements from the C major Mass, the Fourth
Piano Concerto, the Fifth Symphony and a solo improvisation
at the piano by the composer himself, and fi nished with the
Choral Fantasia for piano, chorus and orchestra.
Th e theatre was unheated, the orchestra was unprepared –
having refused to rehearse with the composer present – and
the soprano suff ered from stage fright. In the words of the
composer Johann Reichardt, who attended as a guest of
Prince Lobkowitz (Beethoven’s patron and one of the Pastoral
Symphony’s dedicatees): ‘Th ere we sat in the bitterest cold from
6.30 to 10.30 and experienced the truth that one can easily
have too much of a good thing – and still more of a loud!’
According to his friends, and from his own writings,
Beethoven held nature in a kind of mystical reverence. He
Detail from a portrait of Beethoven by WJ Mähler (1804)
sydney symphony 9
spent a great deal of his time in the country, and would
frequently leave Vienna to work in rural townships, such as
Heiligenstadt. Here in 1802 he penned his soul-searching
Testament, part of which reads, ‘What a humiliation when
someone stood beside me and heard a fl ute in the distance and
I heard nothing, or someone heard the shepherd singing and
again I heard nothing! Such incidents brought me to the verge
of despair, but little more and I would have put an end to my
life – only art it was that withheld me…’
In the Fifth Symphony (composed concurrently with
the Sixth) Beethoven heroically clashes with his spiritual
frustrations and attempts to surmount and surpass them in a
heaven-storming fi nale. With the Sixth however, the composer
lays down his arms, retreats to the country, and enters into an
idyllic communion with nature. In spite of the programmatic
titles that accompany the movements, Beethoven himself
stressed that the symphony’s relationship with nature is: ‘a
matter more of feeling than of painting in sounds…Anyone
that has formed any ideal of rural life does not need titles to
imagine [my] intentions.’
DOUGLAS RUTHERFORD © 20132012 Sydney Symphony Fellow (double bass)
Hear Vladimir Ashkenazy conduct Beethoven’s Pastoral Symphony in May.
tenix discovery 2013
Discover Beethoven’s PastoralTuesday 5 March | 6.30pmCity Recital Hall Angel Place
Richard Gill CONDUCTOR
LUDWIG VAN BEETHOVEN (German composer, 1770–1827)
Symphony No.6 in F major, Op.68, Sinfonia pastorale(Vienna, 1808)
The symphony is in fi ve movements to which Beethoven gave descriptive titles as well as tempo directions:
I. Awakening of happy feelings on arrival in the country (Allegro ma non troppo)II. Scene by the brook (Andante molto mosso)III. Peasants’ merrymaking (Allegro) –IV. Thunderstorm (Allegro) –V. Shepherd’s Song: Thanksgiving after the storm (Allegretto)
The last three movements are played without pause.
The Discovery articles in this program have been written by former Sydney Symphony Publications interns and by 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.
10 sydney symphony
DISCOVER…
Haydn’s Miracle Symphony
No doubt Richard Gill will say this tonight: Haydn is the
greatest – and most original – of the Viennese Classical
composers. Certainly Haydn’s title as the ‘Father of the
Symphony’ is well earned: he was prolifi c in this genre,
having written an unprecedented 104 numbered symphonies.
More important, Haydn took the symphony from its modest
beginnings – the simple three-part sinfonia of the Italian
theatres – and established the balanced and appealing structure
that became the standard symphonic form adopted by Mozart,
Beethoven and countless composers since.
Haydn’s fi rst symphony dates from 1759, when he was
serving as Music Director for Count Morzin. However, it
wasn’t until he was employed by the Esterházy court in 1761
that he had a chance to experiment with his conception of the
symphony:
As head of an orchestra I could try things out…I was cut off
from the world, nobody in my vicinity could upset my self-
confi dence or annoy me, and so I had no choice but to become
original.
Portrait of Haydn by Thomas Hardy. (1757–c.1805), made in 1972 during the composer’s first visit to London
sydney symphony 11
By the 1770s Haydn’s symphonies were hugely popular and
his published works were becoming well known throughout
Europe. He was regarded, without exception, as the greatest
composer of the day – a celebrity.
When Prince Nikolaus Esterházy died in 1791, the violinist
and impresario Johann Peter Salomon travelled quickly to
Vienna to ‘inform’ Haydn he would be coming to work in
London. While Nikolaus was alive, Haydn had been unable
to negotiate the freedom to travel and work where he desired.
But his successor, Anton Esterházy, had little interest in the
arts and dissolved the court’s musical establishment, granting
Haydn a year’s leave immediately upon request.
Haydn revelled in the vibrant and cosmopolitan culture
of London, and considered it to be the happiest period of
his life. He was determined that his fi rst production ‘should
both amuse and please the musical public and rivet him in
their favour’. Th e so-called ‘Miracle’ Symphony (the fi rst of
the set of symphonies he composed in London) premiered
to an enthralled audience at the Hanover Square Rooms on
11 March 1791 and was an unqualifi ed success.
Haydn’s visits to London (he returned for the 1794–95
season) inspired him to compose 12 ‘London’ or ‘Salomon’
symphonies in all, the last and the most complex and ambitious
symphonies he would ever write. He said of the fi nal three
that he had introduced the audience to ‘the highest intellectual
and “moral” level that he could envisage being possible in
symphonies’.
NATASHA CONRAU © 20132012 AYO Music Presentation Fellow2013 Sinfonia member (violin)
Hear Nicholas Carter conduct Symphony No.96 in July–August, and James Gaffigan conduct Haydn’s Oxford Symphony (No.92) in December.
tenix discovery 2013
Discover Haydn’s MiracleTuesday 9 April | 6.30pmCity Recital Hall Angel Place
Richard Gill CONDUCTOR
JOSEPH HAYDN (Austrian composer, 1732–1809)
Symphony No.96 in D major (Miracle)(London, 1791)
The symphony is in four movements, following the Classical pattern Haydn established, with a solemn introduction leading directly into a fast movement; a slower, more leisurely movement; a dance movement (minuet) with a contrasting trio section; and a lively (very!) fi nale:
I. Adagio – AllegroII. AndanteIII. Menuetto. Allegro – TrioIV. Finale. Vivace (assai)
What’s in a nickname?
Th e ‘Miracle’ Symphony derives its nickname from a
sensational story: at the end of one of Haydn’s concerts, the
enraptured audience stood up and rushed to the front of the
hall to get a better look at the composer. Just as the seats
had emptied, the great chandelier crashed down. Nobody
was hurt – a miracle! A chandelier did fall during a Haydn
concert, but it’s now known that the event occurred at the
premiere of Symphony No.102 during Haydn’s second visit
to London.
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DISCOVER…
Chopin’s Piano Concerto No.2
‘Chopin does not play like others,’ said Polish music critic
Maurycy Mochnacki after hearing the 20-year-old virtuoso
perform. Th e frail young pianist from Warsaw had quickly
gained a reputation as an enigma in the Parisian music world,
astonishing audiences with his deftness of touch and original
compositions that seemed to speak directly to the heart. Yet his
music was heard mostly in the salons of wealthy patrons and
royalty – he avoided public performances because of poor health
and concerns that his light touch might not project in large
halls. Th is predilection for small-scale recitals in private settings
went hand in hand with the introspective and poetic style that
was to become his musical signature.
It’s not surprising then, that the larger part of Chopin’s
mature oeuvre comprised small-scale works for solo piano.
But as a young man he clearly had grand aspirations: by the
age of 21 he’d composed four concertante works for piano and
orchestra and his only two concertos.
Th e Piano Concerto No.2 reveals a youthful composer
inexperienced in handling orchestral forces and clearly
Chopin at the Ballet
Chopin never wrote a ballet score, but more than one
choreographer has seen potential in his piano music. One
of the fi rst was Michel Fokine, with Chopiniana, named for
the orchestral suite Glazunov had made from Chopin piano
pieces. (Fokine asked Glazunov to orchestrate an additional
waltz, Op.64 No.2.) Th e following year, in 1908, Fokine
made an expanded ‘Second Chopiniana’ for the Imperial
Ballet School. With the exception of the Op.64 No.2 waltz,
he ditched the original music and commissioned from
Maurice Keller orchestrations of a new selection of Chopin
pieces, with the Grande valse brillante, Op.18 as the fi nale.
Th en in 1909 Sergei Diaghilev commissioned fresh
orchestrations of these numbers for a new Paris production
of Fokine’s ballet, to be called Les Sylphides – A Romantic
Reverie. Once again, Glazunov’s additional waltz was
retained, but Diaghilev spread the remaining work amongst
several composers, including the young Igor Stravinsky.
Since then – ballet being the pragmatic art that it is –
various orchestrations have been made of the Les Sylphides
ballet score, including one by Benjamin Britten. Th e most
commonly performed version is by Roy Douglas; for this
concert we’re using John Lanchbery’s slightly smaller
orchestration.
Chopin’s unmistakeable flourishes…
sydney symphony 13
tenix discovery 2013
Discover Chopin’s Piano Concerto No.2Tuesday 18 June | 6.30pmCity Recital Hall Angel Place
Richard Gill CONDUCTOR
Raymond Yong PIANO
FRÉDÉRIC CHOPIN (Polish composer, 1810–1849)
Grande valse brillante, Op.18Chopin’s fi rst published waltz for solo pianoOrchestrated by John Lanchbery for the ballet Les Sylphides
Piano Concerto No.2 in F minor, Op.21(Warsaw, 1830)
The concerto is in three movements:
I. MaestosoII. LarghettoIII. Allegro vivace
infl uenced by the concertos of his early 19th-century
contemporaries. Th e orchestral writing may be somewhat
reserved, but this allows space for the piano to shine, and
Chopin’s unmistakable fl ourishes, rhythmic elasticity and
melodic beauty, particularly in the slow second movement, are
all present.
Th e Grande valse brillante, Op.18 carries Chopin’s name, but
was not orchestrated by him. Th e original composition, a waltz
for solo piano, is another early work (1831) and its brilliant
opening fanfare and energetic main theme conveys youthful
exuberance rather than the melancholy nostalgia so often
associated with Chopin. Th is was his fi rst published waltz and
its glistening, almost haughty, charm became very popular with
the Parisian elite, which certainly didn’t harm his career.
ABRIDGED FROM A NOTE BY ROBERT CLARK © 2013
Hear Ingrid Fliter play Chopin’s Piano Concerto No.2 with conductor Mark Wigglesworth in September.
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MORE MUSIC
1, 2, 3 MayEnglish composer-conductor Thomas Adès begins his program with BEETHOVEN’s rarely played Namensfeier (Name-Day) overture.
9, 10, 11, 13 MayVladimir Ashkenazy conducts an all-BEETHOVEN program with the Pastoral Symphony as the musical star attraction. Also on the program: Felix Weingartner’s orchestration of Beethoven’s Grosse Fuge and the Triple Concerto for violin, cello and piano.
29 JulyAmerican pianist Jonathan Biss plays four BEETHOVEN sonatas, including the Waldstein Sonata and the Sonata in D major, Op.28, nicknamed ‘Pastorale’. A solo recital at City Recital Hall Angel Place.
31 July; 1, 2 AugustThe concert might be called ‘Wagner Madness’ but it begins with HAYDN brilliance in the form of the Miracle Symphony (No.96). Former associate conductor Nicholas Carter returns to conduct.
22, 23 AugustOne of America’s most famous living composers visits Australia to conduct two of his concertos, including the premiere of his new saxophone concerto. The program begins with the overture to Fidelio by BEETHOVEN and ends with Respighi’s spectacular Pines of Rome.
18, 19, 20, 21 SeptemberIngrid Fliter, the Argentinean pianist with CHOPIN in her veins, returns to Sydney with his Piano Concerto No.2. Mark Wigglesworth conducts in a concert that features Henk de Vlieger’s brilliantly crafted orchestral digest of Wagner’s Ring cycle.
30, 31 October2013 is Benjamin BRITTEN’s centenary and we have plenty on off er, beginning with the Four Sea Interludes from Peter Grimes. Hear this hauntingly beautiful suite of pieces in Meet the Music, conducted by Joana Carneiro. Also on the program: the premiere of a new pipa concerto and Dvorák’s New World Symphony.
8, 9 NovemberVladimir Ashkenazy conducts BRITTEN’s War Requiem with a multi-national cast that mirrors
Beyond DiscoveryIf one of these Discovery concerts has left you curious to hear more music by the featured composers, seek out these concerts in the Sydney Symphony’s 2013 season.
Webcasts
Selected Sydney Symphony concerts are recorded for webcast by BigPond and are available for later listening on demand. Visit: bigpondmusic.com/sydneysymphony
Broadcasts
Most Sydney Symphony concerts are recorded by ABC Classic FM for live or delayed broadcast and broadcast listings can be found atwww.abc.net.au/classic
Fine Music 102.5FMsydney symphony 2013Fine Music 102.5FM 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.
the composer’s original intention: Russian soprano, English tenor, German baritone. Sydney Philharmonia Choirs and Sydney Children’s Choir join the orchestra for this powerful and moving work.
11, 13, 14 DecemberWe end the season with Variations on an English Theme in a program devised by young American conductor James Gaffi gan. HAYDN is represented by his Symphony No.92 (Oxford). BRITTEN is represented by two works: The Young Person’s Guide to the Orchestra (a set of variations on a theme by Purcell) and his Violin Concerto, with soloist Vilde Frang.
All concerts at the Sydney Opera House Concert Hall unless specifi ed.
Visit www.sydneysymphony.com for more information and tickets, or call (02) 8215 4600.
sydney symphony 15
MORE MUSIC
BEETHOVEN’S PASTORAL
If you’re after a complete recording of the Beethoven symphonies, we recommend the set by Osmo Vänskä and the Minnesota Orchestra.BIS SACD 1825/26
Or, if you prefer a period instrument sound in this music, seek out the set by Frans Brüggen and the Orchestra of the Eighteenth Century, recorded live in Rotterdam in 2011 and released just last year.GLOSSA 921116
Nine symphonies too much? Riccardo Chailly and the Leipzig Gewandhaus Orchestra pair Beethoven’s Fifth and Sixth symphonies – appropriately, since the two works were premiered at the same marathon concert.DECCA 478 3495
HAYDN’S MIRACLE
For a taste of Haydn’s symphonies, try Bruno Weil and Cappella Coloniensis in their recording of three of the London symphonies: 93, 95 and 96.ARS PRODUKTION 38061
If Richard Gill has convinced you to get to know Haydn’s music better, then an excellent place to begin would be the bargain 5-CD collection, Ultimate Haydn. It claims to off er the essential masterpieces and certainly doesn’t disappoint: concertos, string quartets, the Nelson Mass, and fi ve of the brilliant, late symphonies with Antal Doráti conducting the Philharmonica Hungarica.DECCA 478 1478
Haydn’s symphonies were so popular in London that impresario Johann Peter Salomon arranged for some of them to be arranged for piano, violin and cello – perfect for the domestic market. The Ensemble of the Classic Era (Geoff rey Lancaster, Paul Wright and Susan Blake) has recorded Symphony No.92 (Oxford), 96 (Miracle) and 94 (Surprise) in these chamber versions. ABC CLASSICS 4725612
CHOPIN PIANO CONCERTOS
American pianist Garrick Ohlsson has been known as a Chopin specialist ever since he won the International Chopin Piano Competition in Warsaw in 1970. He has recorded both concertos and two of Chopin’s concertante works for piano and orchestra with Jerzy Maksymiuk and the Warsaw Polish Radio Orchestra.EMI CLASSICS 71472
Or look for the recording by Polish pianist Krystian Zimerman, made in 1999 with the Polish Festival Orchestra, an orchestra he formed specifi cally for the
purpose of touring and recording the two Chopin concertos. Zimerman directs from the keyboard.DEUTSCHE GRAMMOPHON 459 6842
BENJAMIN BRITTEN
Benjamin Britten wrote much of his vocal music with tenor Peter Pears in mind, and perhaps the best place to begin with Les Illuminations is the recording Pears made with Eugene Goossens (former chief conductor of the SSO) conducting the New Symphony Orchestra. The same artists, with British horn virtuoso Dennis Brain, perform Britten’s Serenade for tenor, horn and strings, and Britten conducts Pears and the London Symphony Orchestra in Nocturne, joined by a starry line-up of supporting artists that includes Australian horn player Barry Tuckwell. ELOQUENCE 476 8470
If you like the sound of a female voice in Les Illuminations, then the recent releases include Belgian soprano Anne-Catherine Gillet with the Liège Philharmonic Orchestra and Paul Daniel in a gorgeous program with Barber’s Knoxville – Summer of 1915 and Les nuits d’été by Berlioz.AEON 1113
For an excellent collection of Britten orchestral works that includes the Suite on English Folk Tunes, look for Richard Hickox and the Bournemouth Symphony Orchestra. Also on the disc: The Young Person’s Guide to the Orchestra, the rarely heard Johnson over Jordan suite, and the Four Sea Interludes from Peter Grimes.CHANDOS 9221
Selected Recordings
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DISCOVER…
Britten’s Les Illuminations
As a child, Benjamin Britten was encouraged to think of
four great ‘B’s of classical music: Bach, Beethoven, Brahms
and himself. Ironically, he had no great fondness for these
predecessors, preferring the works of contemporaries
Schoenberg and Stravinsky for their exploration of harmony,
rhythm and form.
Britten graduated from London’s Royal College of Music in
1932 and – after being denied the opportunity to study with
the ‘immoral’ Alan Berg in Vienna – secured a job composing
for the General Post Offi ce Film Unit. It was through this that
he met both the poet WH Auden (with whom he collaborated
on several fi lms and an early opera) and in 1937 his lifelong
partner, the tenor Peter Pears. In the years leading up to
World War II, Britten grew increasingly discontent with his
homeland; he focused his compositional eff orts on achieving
a more Europeanised style, and in early 1939 he and Pears
followed Auden to the United States.
…a kaleidoscope of dream-like scenes…
sydney symphony 17
tenix discovery 2013
Discover Britten with Katie NoonanTuesday 22 October | 6.30pmCity Recital Hall Angel Place
Richard Gill CONDUCTOR
Katie Noonan SOPRANO
BENJAMIN BRITTEN (English composer, 1913–1976)
Les Illuminations, Op.18for high voice and string orchestra(Long Island NY, 1939)
Turn to page 18 to follow the song texts and translations.
Suite on English Folk Tunes, Op.90A Time There Was…(Aldeburgh, 1974)
The suite is in fi ve movements, each based on a pair of folksongs:
I. Cakes and AleII. The Bitter WithyIII. Hankin BoobyIV. Hunt the SquirrelV. Lord Melbourne
Behind the title
Some years ago, a European agent faxed to the ABC the
repertoire list of a tenor he represented. All the foreign titles
had been ‘helpfully’ translated into English, including one
mysterious entry: Th e Flashes. He meant Les Illuminations,
which in French would refer to ‘lights’ or, yes, ‘fl ashes’, as in
fl ashes of inspiration. But Paul Verlaine explains that the
title of Rimbaud’s suite of poems came from English rather
than French, and the illuminations he had in mind were
those created by mediæval scribes: intricately illustrated
miniatures, gleaming with leaf gold, vermilion red and
ultramarine blue.
French poet Arthur Rimbaud’s collection of prose poems
Les Illuminations (published in 1886) was dedicated to his lover
Paul Verlaine. Britten found the poems fascinating, sculpting a
song cycle for high voice and string orchestra around a selection
of them in 1939. Th e verses chosen do not tell a clear story,
instead painting a kaleidoscope of dream-like scenes and events
through which the narrator tries to make sense of the world.
Th e second last movement, Parade, is thematically central to
the cycle, depicting the colourful and almost grotesque bustle
of a street festival. Its fi nal line – ‘I alone hold the key to this
wild parade’ – is repeated in both the opening Fanfare and the
fl ighty Interlude, suggesting that the composer found this image
far-reaching in its connotations.
Britten’s three years away ultimately confi rmed the
importance of his British heritage, and from 1940 onwards he
set English texts almost exclusively. It is for his reinvigoration
of English music that the composer is best known; his settings
of folk songs and the opera Peter Grimes (1945) prompting
a redefi nition of the genres in his home country. Th e Suite
on English Folk Tunes, completed in 1974, was Britten’s last
orchestral piece. A meditation on the corruption of innocence,
the suite is dedicated – ‘lovingly and reverently’ – to the
memory of Australian composer Percy Grainger.
NAOMI JOHNSON © 20132012 AYO Music Presentation Fellow
In this Britten centenary year, hear his Four Sea Interludes from Peter Grimes in October, the War Requiem (conducted by Vladimir Ashkenazy) in November, and his Violin Concerto (with soloist Vilde Frang) and The Young Person’s Guide to the Orchestra in December.
18 sydney symphony
LES ILLUMINATIONS
1. Fanfare
J’ai seul la clef de cette parade sauvage.
2. Villes
Ce sont des villes ! C’est un peuple pour qui se sont montés ces Alleghanys et ces Libans de rêve ! Des chalets de cristal et de bois qui se meuvent sur des rails et des poulies invisibles. Les vieux cratères ceints de colosses et de palmiers de cuivre rugissent mélodieusement dans les feux.…Des cortèges de Mabs en robes rousses, opalines, montent des ravines. Là-haut, les pieds dans la cascade et les ronces, les cerfs tettent Diane. Les Bacchantes des banlieues sanglotent et la lune brûle et hurle. Vénus entre dans les cavernes des forgerons et des ermites. Des groupes de beffrois chantent les idées des peuples. Des châteaux bâtis en os sort la musique inconnue.…Le paradis des orages s’effondre.…Les sauvages dansent sans cesse la fête de la nuit.
Quels bons bras, quelle belle heure me rendront cette région d’où viennent mes sommeils et mes moindres mouvements?
3a. Phrase
J’ai tendu des cordes de clocher à clocher; des guirlandes de fenêtre à fenêtre; des chaînes d’or d’étoile à étoile, et je danse.
3b. Antique
Gracieux fi ls de Pan! Autour de ton front couronné de fl eurettes et de baies, tes yeux, des boules précieuses, remuent. Tachées
Fanfare
I alone hold the key to this wild parade.
Cities
These are cities! This is a people for whom these dream Alleghenies and Lebanons were raised up! Crystal and wooden chalets move on invisible rails and pulleys. The old craters, encircled by colossi and copper palm-trees, roar melodiously in the fl ames.…Processions of Mabs in russet and opaline robes climb the gullies. Up there, Diana suckles stags, with their feet in the cascade and brambles. Suburban Bacchantes sob, and the moon burns and howls. Venus enters caverns of blacksmiths and hermits. From groups of belfries are sung the people’s ideas. From castles built of bones unknown music pours forth.…The paradise of storms collapses.…The savages dance ceaselessly the festival of the night.
What lovely arms, what beautiful hour will bring back to me that region from whence come my slumbers and my smallest movements?
Phrase
I hung strings from steeple to steeple; garlands from window to window; gold chains from star to star, and I dance.
Antique
Graceful son of Pan! Around your brow, crowned by tiny fl owers and berries, your eyes – precious globes – stir. Stained by
sydney symphony 19
de lies brunes, tes joues se creusent. Tes crocs luisent. Ta poitrine ressemble à une cithare, des tintements circulent dans tes bras blonds. Ton coeur bat dans ce ventre où dort le double sexe. Promène-toi, la nuit en mouvant doucement cette cuisse, cette seconde cuisse et cette jambe de gauche.
4. Royauté
Un beau matin, chez un peuple fort doux, un homme et une femme superbes criaient sur la place publique: “Mes amis, je veux qu’elle soit reine!” “Je veux être reine!” Elle riait et tremblait. Il parlait aux amis de révélation, d’épreuve terminée. Ils se pâmaient l’un contre l’autre.
En effet ils furent rois toute une matinée où les tentures carminées se relevèrent sur les maisons, et toute l’après-midi, où ils s’avancèrent du côté des jardins de palmes.
5. Marine
Les chars d’argent et de cuivre –Les proues d’acier et d’argent –Battent l’écume, –Soulèvent les souches des ronces.Les courants de la lande,Et les ornières immenses du refl ux,Filent circulairement vers l’est,Vers les piliers de la forêt,Vers les fûts de la jetée,Dont l’angle est heurté par des tourbillons de lumière.
6. Interlude
J’ai seul la clef de cette parade sauvage.
brown dregs, your cheeks are hollowed. Your fangs glisten. Your bosom resembles a zither, its chiming spreading about in your fair arms. Your heart beats in that belly where the double sex sleeps. Walk in the night, moving gently this thigh, that other thigh, and that left leg.
Royalty
A beautiful morning, among a most gentle people, a superb man and woman, cry out in a public square: “My friends, I wish to make her your queen!” “I wish to be your queen!” She laughs and trembles. He speaks to his friends of revelation, of a fi nished ordeal. They swoon, one against the other.
Indeed, they were kings all that morning while the crimson hangings went up on the houses, and all that afternoon, when they advanced besides gardens of palms.
Marine
Chariots of silver and copper –Prows of steel and silver – Stir up the foam – Lift up the roots of bramble, The currents of the land, And the immense tracks of the ebb, Running out in a circle towards the east, Toward the pillars of the forest, Toward the piles of the jetty,Whose corner is struck by whirlpools of light.
Interlude
I alone hold the key to this wild parade.
20 sydney symphony
7. Being Beauteous
Devant une neige un Être de Beauté de haute taille. Des siffl ements de mort et des cercles de musique sourde font monter, s’élargir et trembler comme un spectre ce corps adoré: des blessures écarlates et noires éclatent dans les chaires superbes. Les couleurs propres de la vie se foncent, dansent, et se dégagent autour de la Vision, sur le chantier.Et les frissons s’élèvent et grondent, et la saveur forcenée de ces effets se chargeant avec les siffl ements mortels et les rauques musiques que le monde, loin derrière nous, lance sur notre mère de beauté, – elle recule, elle se dresse. Oh! nos os sont revêtus d’un nouveau corps amoureux.
******
Ô la face cendrée, l’écusson de crin, les bras de cristal! Le canon sur lequel je dois m’abattre à travers la mêlée des arbres et de l’air léger!
8. Parade
Des drôles très solides. Plusieurs ont exploité vos mondes. Sans besoins, et peu pressés de mettre en œuvre leurs brillantes facultés et leur expérience de vos consciences. Quels hommes mûrs ! Des yeux hébétés à la façon de la nuit d’été, rouges et noirs, tricolores, d’acier piqué d’étoiles d’or ; des faciès déformés, plombés, blêmis, incendiés ; des enrouements folâtres ! La démarche cruelle des oripeaux ! – Il y a quelques jeunes.…
Ô le plus violent Paradis de la grimace enragée !…Chinois, Hottentots, bohémiens, niais, hyènes, Molochs, vieilles démences, démons sinistres, ils mêlent les tours populaires, maternels, avec les poses et les tendresses bestiales. Ils interpréteraient des
Being Beauteous
In front of the snow stands a tall Beauteous Being. The hissing of death and circles of muffl ed music make this adored body climb, expand, and tremble: black and scarlet wounds burst in the superb fl esh. Life’s own colours darken, dance, and emerge from around the vision, upon the yard. And the shudders rise and fall, and the maniacal fl avour of these effects being charged with the mortal hissing and raucous music that the world, far behind us, hurls on our mother of beauty – she withdraws, she stands up. O! Our bones are dressed once more in a new amorous body.
******
O ashen face with shield of hair, and arms of crystal! The cannon on which I should throw myself down, amid the scuffl e of trees and the light breeze!
Parade
What sturdy odd fellows. Several have exploited your worlds. Without needs, and little concerned with putting their brilliant minds and their experience of your consciences to work. What mature men! Eyes dazed like a summer night, red and black, tri-coloured, steel dotted with golden stars; deformed features, leaden, made pale, made to burn; their foolish cries! The cruel walk of rags! There are some young ones.…
O the most violent Paradise of the fanatical grimace!…Chinese, Hottentots, Bohemians, deniers, hyenas, Molochs, old demented men, sinister demons, they mix popular and maternal tricks with bestial poses and tenderness. They would
sydney symphony 21
pièces nouvelles et des chansons « bonnes fi lles ». Maîtres jongleurs, ils transforment le lieu et les personnes, et usent de la comédie magnétique.…
J’ai seul la clef de cette parade sauvage.
9. Départ
Assez vu. La vision s’est rencontrée à tous les airs.Assez eu. Rumeurs des Villes, le soir, et au soleil, et toujours.Assez connu. Les arrêts de la vie. Ô Rumeurs et Visions!Départ dans l’affection et le bruit neufs!
ARTHUR RIMBAUD (1854–1891)
interpret new plays and “nice girl” songs. Master jugglers, they transform the place and the people and use magnetic comedy.…
I alone hold the key to this wild parade.
Departure
Enough seen. Visions have been met in every respect. Enough had. Rumours of towns, at night, and in the light of day, and always.Enough known. The haltings of life. O rumours and visions! Depart in new affection and new noise!
TRANSLATION BY AHMED E. ISMAIL © 2011
22 sydney symphony
ABOUT THE ARTISTS
Richard Gill CONDUCTOR
Richard Gill OAM is one of Australia’s most admired conductors and is internationally respected as a music educator. In addition to his role as Artistic Director of the Sydney Symphony’s Education Program, he is Founding Music Director and Conductor Emeritus of Victorian 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.
In recent seasons he has conducted Sydney Symphony Meet the Music, Discovery and Family concerts, as well as directing the orchestra’s Sinfonietta Project for young composers. He has conducted all the major Australian symphony orchestras (including the Melbourne Symphony Orchestra’s Ears Wide Open concerts), Sydney Philharmonia Choirs, and the Australian, Western Australian and Sydney youth orchestras.
His extensive operatic repertoire encompasses baroque opera, core works such as The Marriage of Figaro and Rigoletto, operetta, 20th-century classics and new work. His productions for Victorian Opera have included The Rake’s Progress, The Magic Flute, Così fan tutte, Don Giovanni, How to Kill Your Husband (Alan John), Damnation of Faust, Julius Caesar, Duke Bluebeard’s Castle, Ariadne auf Naxos and Rembrandt’s Wife (Andrew Ford). For Opera Australia he has conducted, among others, The Love for Three Oranges, Orpheus in the Underworld, Faust, The Eighth Wonder (Alan John), Lindy (Moya Henderson), Macbeth, Lucia di Lammermoor, Fidelio and Pearl Fishers. He has also conducted for Opera Queensland and the Sydney Theatre Company (The Threepenny Opera).
Richard Gill has held several important posts, including Dean of the Western Australian Conservatorium of Music and Director of Chorus at the Australian Opera, and his numerous accolades include an Order of Australia Medal, the Bernard Heinze Award, honorary doctorates from the Edith Cowan University of Western Australia and the Australian Catholic University, the Australian Music Centre’s award for Most Distinguished Contribution to the Presentation of Australian Composition by an individual, and the Australia Council’s Don Banks Award.
JEFF
BU
SB
Y
ARTISTIC DIRECTOR, EDUCATIONSANDRA & PAUL SALTERI CHAIR
sydney symphony 23
Raymond Yong PIANO
Raymond Yong was born in Malaysia and at the age of two emigrated to Australia, beginning his musical training in Perth. He is a graduate of the University of Melbourne where he studied with Stephen McIntyre (piano) and John Hopkins (conducting), and holds an Artist’s Diploma from the Hannover University of Music and Drama, where he studied with Karl-Heinz Kämmerling. He has gained widespread recognition as a pianist, performing recitals, concertos and chamber music with some of Australia’s fi nest musicians and ensembles.
As a concerto soloist he has appeared with the West Australian, Tasmanian and Melbourne symphony orchestras and Auckland Philharmonia. He performed chamber music for Musica Viva’s Huntington Festival, the Melbourne International Festival, Port Fairy Spring Music Festival and Linari Classic in Italy, and can be regularly heard on ABC Classic FM.
He is also a conductor, having made his conducting debut in 2010 with the Melbourne Chamber Orchestra. He has been music director of the Victorian Youth Symphony Orchestra and the Victoria Chorale, and was the founding Artistic Director of Orchestra 21.
Raymond Yong has been a Young Visiting Artist at the Australian National Academy of Music (2003–2004), and a guest lecturer and piano teacher at the University of Melbourne Conservatorium of Music.
Katie Noonan SOPRANO
Katie Noonan is one of Australia’s most versatile and beloved vocalists. A mother, singer, producer, songwriter, pianist and business woman, she fi rst received widespread praise as the angel-voiced songstress of indie pop band George. Since then she has taken audiences on sublime excursions though jazz, pop and classical music, including collaborations with Australian symphony orchestras and with Richard Tognetti and the Australian Chamber Orchestra.
She has seven platinum recordings to her credit and has won four ARIA awards, including one for Before Time Could Change Us, with jazz pianist Paul Grabowsky, and another for Blackbird. Her releases include her folk-jazz trio’s self-titled album Elixir, the top ten solo album Skin and a classical album, Two of a Kind, with her mother Maggie.
More recently she has recorded Emperor’s Box with her band The Captains; a long-awaited second album with Elixir, First Seed Ripening, which won the ARIA award for Best Jazz Album in 2011; and a collaboration with classical guitarist Karin Schaupp, Songs of the Southern Skies, featuring iconic Australian and New Zealand compositions – classical and contemporary. Last year she also composed a song cycle as the basis for collaboration with circus group Circa, creating a physical theatre piece, Love–Song–Circus, which premiered at the Adelaide Cabaret Festival.
WIL
K
F I V E S T U N N I N G C O N C E R T S
ASHKENAZY CONDUCTS BEETHOVENThe Pastoral Symphony is the highlight of an all-Beethoven program.
Thu 9 May 1 .30pmFri 10 May 8pmSat 11 May 2pmMon 13 May 7pm
HAYDN’S MIRACLE SYMPHONY In a concert called Wagner Madness.
Wed 31 Jul 6.30pmThu 1 Aug 6.30pmFri 2 Aug 11am
CHOPIN’S PIANO CONCERTO NO.2Performed by Ingrid Fliter in a concert called Wagner’s Ring Adventure.
Wed 18 Sep 8pmThu 19 Sep 1 .30pmFri 20 Sep 8pmSat 21 Sep 8pm
BRITTEN’S WAR REQUIEMAshkenazy conducts Britten’s masterpiece.
Fri 8 Nov 8pmSat 9 Nov 8pm
VARIATIONS ON AN ENGLISH THEMEFeaturing Britten’s Violin Concerto and The Young Person’s Guide to the Orchestra.
Wed 11 Dec 8pmFri 13 Dec 8pmSat 14 Dec 8pm
After you’ve heard Richard Gill unpack the music of Beethoven, Haydn, Chopin and Britten, enjoy five stunning mainstage concerts later in the season.
Purchase a ticket to any of the concerts above and receive a free CD from the Steinway legends series.^ Just quote code 6568 when you book.
PLUS subscribers save 10% with their subscriber discount.
ALL CONCERTS AT THE SYDNEY OPERA HOUSEBOOK NOW – TICKETS FROM $35*SYDNEYSYMPHONY.COM 8215 4600 MON-FRI 9AM-5PM
*BOOKING FEE OF $7.50-$8.50 MAY APPLY. ^ THIS SPECIAL OFFER IS ONLY AVAILABLE THROUGH THE SYDNEY SYMPHONY BOX OFFICE & WEBSITE. NOT VALID FOR PREVIOUS PURCHASES. ONE CD PER HOUSEHOLD AND MUST BE COLLECTED FROM THE CUSTOMER SERVICE DESK ON THE EVENING OF YOUR PERFORMANCE. AVAILABLE WHILE STOCKS LAST. OFFER ENDS 10 DEC 2013.
sydney symphony 25
This list shows all the Sydney Sinfonia members and mentors for 2013 at the time of publication. To see the orchestra lists for individual Discovery performances, please visit www.sydneysymphony.com/sinfonia in the weekof each concert.
VIOLINS
Jennifer BoothSophie ColeSusan DobbieKirsty HiltonJennifer HoyGeorges LentzEmily LongMarina MarsdenNicole MastersPhilippa PaigeAlexander ReadMaja VerunicaSun YiFiona ZieglerLéone ZieglerKate AgostinoCatherine BucknellYena ChoiMeg CohenNatasha ConrauZoe FreisbergRebecca Gill†Grace KimAnna O’BrienLillian SoBen SpiersJesre StensonKelly Tang†
Nicholas WatersBrett Yang
VIOLAS
Roger BenedictAnne-Louise ComerfordStuart JohnsonJustin WilliamsCameron CampbellCharlotte FetherstonNathan GreentreeNicole Greentree†
CELLOS
Kristy ConrauFenella GillElizabeth NevilleRowena Macneish*Douglas EmeryBethan LillicrapSamuel PayneJames sang-oh Yoo†
Talulah Yunkers
DOUBLE BASSES
David CampbellAlex HeneryDavid MurrayAurora HenrichShandelle HorsfordMuhamed Mehmedbasic
FLUTES
Carolyn HarrisEmma ShollJanet WebbBronte HudnottLaura van Rijn†
OBOES
Diana DohertyAlexandre OgueyDavid PappStephanie Cooper
CLARINETS
Lawrence DobellChristopher TingaySom Howie†
BASSOONS
Matthew WilkieTony LiuJack Schiller†
HORNS
Ben JacksRobert JohnsonBrendan Parravicini†
TRUMPETS
David EltonDaniel HendersonRob Mattessi
TROMBONES
Scott KinmontRonald PrussingIain FaragherBen Lovell-GreeneMitchell Nissen
PERCUSSION
Rebecca LagosColin PiperMark RobinsonGabriel FischerShanie Klas
HARP
Natalie Wong
PIANO
Catherine Davis*
Italic = Sydney Symphony Mentor Musician* = Guest Mentor Musician† = Sydney Symphony Fellow
Sydney Symphony Sinfonia
MUSICIANS
Vladimir AshkenazyPrincipal Conductor and Artistic Advisor supported by Emirates
Dene OldingConcertmaster
Jessica CottisAssistant Conductor supported by Premier Partner Credit Suisse
Andrew HaveronConcertmaster(from May)
26 sydney symphony
BEHIND THE SCENES
MANAGING DIRECTOR
Rory JeffesEXECUTIVE TEAM ASSISTANT
Lisa Davies-Galli
ARTISTIC OPERATIONS
DIRECTOR OF ARTISTIC PLANNING
Peter Czornyj
Artistic AdministrationARTISTIC ADMINISTRATION MANAGER
Eleasha MahARTIST LIAISON MANAGER
Ilmar LeetbergRECORDING ENTERPRISE MANAGER
Philip Powers
Education ProgramsHEAD OF EDUCATION
Kim WaldockEMERGING ARTISTS PROGRAM MANAGER
Mark LawrensonEDUCATION COORDINATOR
Rachel McLarinCUSTOMER SERVICE OFFICER
Derek ReedEDUCATION ARTIST LIAISON
Patricia Fletcher
LibraryAnna CernikVictoria GrantMary-Ann Mead
ORCHESTRA MANAGEMENT
DIRECTOR OF ORCHESTRA MANAGEMENT
Aernout KerbertORCHESTRA MANAGER
Chris Lewis ORCHESTRA COORDINATOR
Georgia StamatopoulosOPERATIONS MANAGER
Kerry-Anne CookPRODUCTION MANAGER
Laura DanielPRODUCTION COORDINATOR
Tim DaymanPRODUCTION COORDINATOR
Ian SpenceSTAGE MANAGER
Elise Beggs
SALES AND MARKETING
DIRECTOR OF SALES & MARKETING
Mark J ElliottSENIOR SALES & MARKETING MANAGER
Penny EvansMARKETING MANAGER, SUBSCRIPTION SALES
Simon Crossley-MeatesMARKETING MANAGER, CLASSICAL SALES
Matthew RiveMARKETING MANAGER, WEB & DIGITAL MEDIA
Eve Le GallMARKETING MANAGER, DATABASE & CRM
Matthew Hodge
John C Conde ao ChairmanTerrey Arcus amEwen Crouch amRoss GrantJennifer HoyRory JeffesAndrew Kaldor amIrene LeeDavid LivingstoneGoetz Richter
Sydney Symphony Board
Sydney Symphony Council
Sydney Symphony StaffDATA ANALYST
Varsha KarnikGRAPHIC DESIGNER
Lucy McCulloughCREATIVE ARTWORKER
Nathanael van der ReydenMARKETING COORDINATOR
Jonathon Symonds
Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS
Lynn McLaughlinBOX OFFICE SYSTEMS SUPERVISOR
Jacqueline TooleyCUSTOMER SERVICE REPRESENTATIVES
Steve Clarke – Senior CSRMichael DowlingJohn RobertsonBec SheedyAmy Walsh
COMMUNICATIONS
HEAD OF COMMUNICATIONS & SPONSOR RELATIONS
Yvonne ZammitPUBLIC RELATIONS MANAGER
Katherine StevensonCOMMUNICATIONS COORDINATOR
Janine Harris DIGITAL CONTENT PRODUCER
Ben DraismaFELLOWSHIP SOCIAL MEDIA OFFICER
Caitlin Benetatos
PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER
Yvonne Frindle
DEVELOPMENT
DIRECTOR OF DEVELOPMENT
Caroline SharpenEXTERNAL RELATIONS MANAGER
Stephen AttfieldPHILANTHROPY, PATRONS PROGRAM
Ivana JirasekDEVELOPMENT MANAGER
Amelia Morgan-Hunn
BUSINESS SERVICES
DIRECTOR OF FINANCE
John HornFINANCE MANAGER
Ruth TolentinoACCOUNTANT
Minerva PrescottACCOUNTS ASSISTANT
Emma FerrerPAYROLL OFFICER
Laura Soutter
HUMAN RESOURCES
HEAD OF HUMAN RESOURCES
Michel Maree Hryce
Geoff Ainsworth amAndrew Andersons aoMichael Baume aoChristine BishopIta Buttrose ao obePeter CudlippJohn Curtis amGreg Daniel amJohn Della BoscaAlan FangErin FlahertyDr Stephen FreibergDonald Hazelwood ao obeDr Michael Joel amSimon JohnsonYvonne Kenny amGary LinnaneAmanda LoveHelen Lynch amDavid MaloneyDavid Malouf aoJulie Manfredi-HughesDeborah MarrThe Hon. Justice Jane Mathews aoDanny MayWendy McCarthy aoJane MorschelGreg ParamorDr Timothy Pascoe amProf. Ron Penny aoJerome RowleyPaul SalteriSandra SalteriJuliana SchaefferLeo Schofield amFred Stein oamGabrielle TrainorIvan UngarJohn van OgtropPeter William Weiss aoMary WhelanRosemary White
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IaST
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sydney symphony 27
SYDNEY SYMPHONY PATRONS
Sydney Symphony Leadership EnsembleAlan Fang, Chairman, Tianda GroupTony Grierson, Braithwaite Steiner PrettyInsurance Australia Grou pMacquarie Group FoundationJohn Morschel, Chairman, ANZAndrew Kaldor am, Chairman, Pelikan Artline
Lynn Kraus, Sydney Office Managing Partner, Ernst & YoungShell Australia Pty LtdJames Stevens, CEO, Roses OnlyStephen Johns, Chairman, Leighton Holdings,
and Michele Johns
Maestro’s CirclePeter William Weiss ao – Founding President & Doris WeissJohn C Conde ao – ChairmanGeoff Ainsworth am & Vicki Ainsworth Tom Breen & Rachael KohnIn memory of Hetty & Egon GordonAndrew Kaldor am & Renata Kaldor aoRoslyn Packer ao
Penelope Seidler amMr Fred Street am & Mrs Dorothy StreetWestfield GroupBrian & Rosemary WhiteRay Wilson oam in memory of the late James Agapitos oam
01 Roger Benedict Principal Viola Kim Williams am & Catherine Dovey Chair
02 Lawrence Dobell Principal Clarinet Anne Arcus & Terrey Arcus am Chair
03 Diana Doherty Principal Oboe Andrew Kaldor am & Renata Kaldor ao Chair
04 Richard Gill oam Artistic Director Education Sandra & Paul Salteri Chair
05 Catherine Hewgill Principal Cello The Hon. Justice AJ & Mrs Fran Meagher Chair
06 Robert Johnson Principal Horn James & Leonie Furber Chair
07 Elizabeth Neville Cello Ruth & Bob Magid Chair
08 Colin Piper Percussion Justice Jane Mathews ao Chair
09 Emma Sholl Associate Principal Flute Robert & Janet Constable Chair
For information about the Directors’ Chairs program, please call (02) 8215 4619.
Directors’ Chairs
01 02 03 04 05
06 07 08 09
Sydney Symphony VanguardVanguard CollectiveJustin Di Lollo – ChairKees BoersmaDavid McKeanAmelia Morgan-HunnJonathan Pease
Ron ChristiansonMatthew ClarkBenoît CocheteuxGeorge CondousMichael CookPaul CousinsJustin Di LolloRose GalloSam GiddingsDerek HandRose HercegJennifer Hoy
Damian Kassagbi Chris KeherElizabeth LeeAntony Lighten Gary LinnanePaul MacdonaldDavid McKeanHayden McLeanAmelia Morgan-HunnHugh MunroFiona OslerPeter Outridge
MembersMatti AlakargasNikki AndrewsJames ArmstrongStephen AttfieldAndrew BaxterMar BeltranKees Boersma Peter BraithwaiteAndrea BrownIan BurtonJennifer BurtonHahn Chau
Archie PaffasJonathan Pease Seamus R QuickMichael ReedeJacqueline RowlandsBernard RyanAdam WandJon WilkieJonathan WatkinsonDarren WoolleyMisha Zelinsky
28 sydney symphony
SALUTE
Presenting Partner Sydney Sinfonia and the Sinfonietta Project
Sandra & Paul SalteriPrincipal Patrons of Richard Gill OAM,Artistic Director, Education
SYDNEY SYMPHONY PATRONS
FELLOWSHIP PROGRAM
Mrs Warwick Stening Principal Patron
Kim Williams AM & Catherine DoveyPatrons of Roger Benedict,Artistic Director, Fellowship
Robert Albert AO & Elizabeth Albert
Sandra & Neil Burns
Dr Bruno & Mrs Rhonda Giuffre
Mrs Tempe Merewether OAM
June & Alan Woods Family Bequest
Tenix
SINFONIETTA
Copyright Agency Cultural Fund
SINFONIA
Brian AbelPrincipal Patron
Joan MacKenzie Violin Scholarship
Dr John Roarty OAM in memory of Mrs June RoartyViolin Chair
SINFONIA PARTNERLeighton Holdings is delighted to join with the Sydney Symphony as Presenting Partner of the Sydney Symphony Sinfonia.
The 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. We are proud to support the current and future generations of talented orchestral musicians as they entertain, educate and inspire us.
Mr Hamish Tyrwhitt CEO, 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 Symphony 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 Tenix Discovery, a concert series for adults that examines how orchestral music works.
For more information email [email protected]
sydney symphony 29
SALUTE
PRINCIPAL PARTNER GOVERNMENT PARTNERS
The Sydney Symphony is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body
The Sydney Symphony is assisted by the NSW Government through Arts NSW
PREMIER PARTNER
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Head Office: Suite A, Level 1, Building 16, Fox Studios Australia, Park Road North, Moore Park NSW 2021PO Box 410, Paddington NSW 2021Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: [email protected] Website: www.playbill.com.au
Chairman Brian Nebenzahl OAM RFD
Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager—Production & Graphic Design Debbie ClarkeManager—Production—Classical Music Alan Ziegler
PERT
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