2 012 S E A S O N

Thu 22 March 1.30pmFri 23 March 8pmSat 24 March 2pm

Fireworks & FantasyProkofiev & Berlioz

Thursday Afternoon Symphony

Emirates Metro Series

Great Classics

* Selected performances. Booking fees of $7 – $8.95 may apply. Free programs and pre-concert talks 45 mins before all concerts.Listen to audio clips & read programs at sydneysymphony.com Sydney Symphony concerts On Demand at bigpondmusic.com/sydneysymphony

2 012 S E A S O NC O M I N G U P M A R C H – M AY

Tickets available from $35*sydneysymphony.comor call 8215 4600 | Mon-Fri 9am-5pm

Tickets also available at

sydneyoperahouse.com9250 7777 | Mon-Sat 9am-8.30pm | Sun 10am-6pm

THURSDAY AFTERNOON SYMPHONY

Thu 22 March 1.30pm

EMIRATES METRO SERIES

Fri 23 March 8pm

GREAT CLASSICS

Sat 24 March 2pm

FIREWORKS AND FANTASYPROKOFIEV AND BERLIOZGYGER on air, dialogue for orchestra*PROKOFIEV Piano Concerto No.3BERLIOZ Harold in Italy

Vladimir Ashkenazy conductorBehzod Abduraimov pianoRoger Benedict viola * Winner of the 80th Anniversary Composition Prize

AUSGRID MASTER SERIES

Wed 2 May 8pmFri 4 May 8pmSat 5 May 8pm

MOZART’S REQUIEMCHORAL CONTRASTSPOULENC GloriaMOZART Requiem (Süssmayr completion)

David Zinman conductorJennifer Welch-Babidge sopranoFiona Campbell mezzo-sopranoPaul McMahon tenorPaul Whelan bassSydney Philharmonia Choirs

THURSDAY AFTERNOON SYMPHONY

Thu 19 April 1.30pm

EMIRATES METRO SER IES

Fri 20 April 8pm

MONDAYS @ 7

Mon 23 April 7pm

TCHAIKOVSKY AT THE BALLETNUTCRACKER AND SWAN LAKEGOLIJOV Last RoundFALLA Nights in the Gardens of SpainTCHAIKOVSKY Nutcracker: Highlights

Swan Lake: Highlights

Andrew Grams conductorLouis Lortie piano

TEA & SYMPHONY

Fri 20 April 11am

THE SYDNEY SYMPHONY FELLOWS ARE PROUDLY SPONSORED BY PREMIER PARTNER CREDIT SUISSE

JOLLY GOOD FELLOWSROSSINI Il signor Bruschino: OvertureHAYDN Keyboard Concerto in D, Hob.XVIII:11SCHUBERT Symphony No.5

Roger Benedict conductorOliver She pianowith the 2012 Fellows, Fellowship alumni and musicians of the Sydney Symphony.

SPECIAL EVENTPREMIER PARTNER CREDIT SUISSE

Fri 30 March 8pmSat 31 March 8pm

ANNE-SOPHIE MUTTERPLAYS BEETHOVENBEETHOVEN Violin ConcertoSHOSTAKOVICH Symphony No.5

Vladimir Ashkenazy conductorAnne-Sophie Mutter violin

Welco me to the Em i rates Metro Ser i es

HH She i kh Ahmed B i n Saeed Al-Ma kto um

Cha i rman and Chi e f Executive

Em i rates Ai r l i ne a nd Gro up

The Sydney Symphony is a first-class orchestra in one of the world’s most beautiful cities, and Emirates, as a world-class airline, is proud to be Principal Partner for another year. 2012 is a particularly special year – a cause for double celebration as the Sydney Symphony celebrates its 80th anniversary and we share our 10-year partnership.

A First Class experience is always a memorable one. Whether it be exiting your personal Emirates chauffeur-driven car at the airport, ready to be whisked away to the Emirates lounge, or entering a concert hall for an unforgettable night of music, the feeling of luxury and pleasure is the same.

Emirates in Australia has gone from strength to strength. Our growing network now features 29 exciting European destinations to be explored, including Geneva, Copenhagen and St Petersburg, launched in 2011; and most recently Dublin in January this year.

In 2012 we are proud to offer 70 flights per week from Australia to our hub in Dubai, as well as an additional 28 flights per week trans-Tasman. Flying from Sydney to Auckland with Emirates is a unique experience. We operate our state-of-the-art Airbus A380 superjumbo on this route, which offers all the luxuries that you have come to expect from Emirates – from chauffeur-driven transfers and priority check-in and world-class lounges for our Business and First Class customers, to a gourmet food and wine experience once on board, plus over 1000 channels of entertainment.

We are delighted to continue our support of the Sydney Symphony and Sydney as a whole, through sponsorships such as the Emirates Australian Open. We look forward to working with the orchestra throughout this special celebratory year, to showcase the best of the best when it comes to both music and luxury travel.

2012 seasonthursday afternoon symphonyThursday 22 March, 1.30pmemirates metro seriesFriday 23 March, 8pmgreat classicsSaturday 24 March, 2pm

Sydney Opera House Concert Hall

Fireworks and FantasyVladimir Ashkenazy CONDUCTOR

Behzod Abduraimov PIANO

Roger Benedict VIOLA

Elliott Gyger (born 1968)on air, dialogue for orchestraPREMIERE

Winner of the 80th anniversary composition prize

Sergei Prokofi ev (1891–1953)Piano Concerto No.3 in C, Op.26Andante – AllegroAndantino (with variations)Allegro non troppo

INTERVAL

Hector Berlioz (1803–1869)Harold in Italy – Symphony, Op.16Harold in the Mountains: Scenes of Melancholy, Happiness and Joy (Adagio – Allegro)March of Pilgrims chanting the Evening Hymn (Allegretto)Serenade by a Dweller of the Abruzzi Mountains to his Lover (Allegro assai – Allegretto)Orgy of Brigands – Reminiscences of earlier scenes (Allegro frenetico – Adagio – Allegro. Tempo I)

Roger Benedict VIOLA

Friday’s performance will be broadcast live across Australia on ABC Classic FM.

Pre-concert talk by Genevieve Lang in the Northern Foyer, 45 minutes before each performance. Visit sydneysymphony.com/talk-bios for speaker biographies.

Estimated durations: 10 minutes, 27 minutes, 20-minute interval, 45 minutes. The concert will conclude at approximately 3.20pm (Thu), 9.50pm (Fri), 3.50pm (Sat).

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‘The Bright Stone of Honour at the Tomb of Marceau’ from Byron’s Childe Harold (1835). Like Berlioz’s Harold in Italy, this oil painting by J.M.W. Turner was inspired by Childe Harold’s Pilgrimage.

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Album page with the Pilgrim's March theme from Harold in Italy and Berlioz’s autograph, 1834.

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INTRODUCTION

Fireworks and Fantasy

This concert has been shaped from two works that were conceived as musical calling cards. Prokofi ev’s brilliant third piano concerto was intended for himself to play – virtuoso music by a piano virtuoso. Berlioz’s Harold in Italy was the result of a commission from Niccolò Paganini, and was meant to show off the new Stradivarius viola the virtuoso violinist had acquired. But a viola concerto it is not (Berlioz himself labelled it a symphony), and Paganini declined to play it.

Perhaps Paganini would have been happier with a concerto in the manner of Prokofi ev’s – full of fi reworks. Instead, what Berlioz wrote for him was a narrative fantasy, where the soloist plays the part of a wanderer and Byronic dreamer. Prokofi ev’s piano concerto, by contrast, fi nds drama in the abstract: in the natural tensions and excitement that come from the contrast of soloist and orchestra.

Until two months ago, the fi rst work in this concert was an unknown quantity: all we knew was that the spot would be fi lled by the winner of our 80th anniversary composition prize. The brief for the entrants – the commission if you like – was for a work that would celebrate the orchestra’s 80th birthday and place that milestone in the context of other events from 1932, in particular the founding of the Australian Broadcasting Commission and the opening of the Sydney Harbour Bridge. A musical birthday card.

The winning work is by a Sydney-born composer, Elliott Gyger, who has taken inspiration from a photograph of the 17-piece studio orchestra that formed the nucleus of what was eventually to become the Sydney Symphony Orchestra. He was struck by the strange combination of instruments – speculating that it might have been chosen for its eff ectiveness with the recording and broadcasting technology of the 1930s – and curious as to how it might sound in a live concert. That curiosity can now be satisfi ed in on air, dialogue for orchestra, as Gyger plays this small ensemble against the sound of the full orchestra. In one sense, on air is also a musical calling card; it says to listeners: this is who we are, and this is where we’ve come from.

In 2011, Australian composers were invited to submit new works for the Sydney Symphony’s 80th anniversary composition prize. The competition was open to any composer who had never had their work performed by the orchestra in the Sydney Opera House, and attracted a field of 76 contestants, ranging from 16 to 70 years old. The prize was performance and a national broadcast in this week’s concerts, conducted by Vladimir Ashkenazy, together with $5,000. The judging panel comprised composers Matthew Hindson and Mary Finsterer; the artistic director of the orchestra’s Education program, Richard Gill; and CEO of the Australian Music Centre, John Davis.

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ABOUT THE MUSIC

Elliott Gyger (born 1968)on air, dialogue for orchestra (2011)PREMIERE

Winner of the 80th anniversary composition prize

The composer writes…

on air refl ects something of the history and evolution of the Sydney Symphony Orchestra, and its close ties with the Australian Broadcasting Commission (later Corporation) which was founded in the same year, 1932.

Like many composers, I am fascinated by the orchestra, an unlikely assemblage of between 60 and 90 players which has evolved into the most subtle and sophisticated instrument imaginable. In my case, this fascination has often been expressed in pieces which are not just for orchestra, but in some sense about the orchestra: that is, their drama resides not only in the interplay of musical ideas, but also in the interactions between instrumental colours and textures, soloists and groups.

on air is no exception in this regard. The musical starting point for the piece was a well-known photograph of a Sydney studio ‘orchestra’ – not yet known as the SSO –

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The studio orchestra inherited by the newly formed Australian Broadcasting Commission in 1932 had a ‘perplexing’ distribution of instruments, says Elliott Gyger. It’s early days, with just 17 musicians, but Neville Amadio – later to be the long-serving principal flute of the Sydney Symphony Orchestra – is already a member.

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of just 17 players. The distribution of instruments is somewhat perplexing, in particular the fact that just six strings are deployed against six brass, with a piccolo, two clarinets, piano and one percussionist completing the list. Perhaps this brash, edgy line-up made perfect sense in the recording conditions of the early 1930s, but I was intrigued to fi nd out how it would work in a live concert situation!

Heard on its own at the start of the piece, this unlikely ensemble subsequently acts as a catalyst and a kernel around which other instruments gradually materialise. However, the piece is not simply a ‘Farewell Symphony’ in reverse; the original ensemble does not expand, but rather engages in dialogue with a n ewly forming and much mellower group comprising the rest of the orchestra.

The evolving relationship between the two groups can be read metaphorically in several ways – broadcaster and audience, ABC and SSO, or as the development of the orchestra itself – but all are linked by a common sense of growth and change. Every process of evolution, however, involves loss as well as gain, and at the piece’s climax the original ensemble falls silent. The orchestra which completes the work is thus entirely diff erent from the one which began it. The more refl ective tone of the work’s fi nal pages is not meant to suggest any diminishing of energy or optimism – simply that on reaching a certain age, an organisation begins to look back as well as forward, thereby gaining an enriched sense of perspective.

This orchestra layout for on air shows the placement of the 17 musicians of the small orchestra within the sections of the full ensemble.

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FIRST VIOLINS

SECOND VIOLINS

BRASS

PERCUSSION

TIMPANI

BASS CLARINET

BASSOONS

FLUTES OBOES

VIOLAS

DOUBLE BASSES

CELLOS

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While my title refers most directly to the SSO’s broadcasting origins, much of the music is also rather ‘airy’ – light, mobile, unpredictable, dominated by agile colours in the higher registers. Despite projecting institutional solidity at any given moment, when viewed over a longer period the life of an orchestra reveals a very diff erent character: volatile, precarious and visionary.

About the composer…

Elliott Gyger was born in Sydney and has been writing music since about the age of ten. He holds degrees in composition from the University of Sydney and Harvard University, and his composition teachers have included Ross Edwards, Peter Sculthorpe, Bernard Rands and Mario Davidovsky. His music has been played by many of Australia’s major performing groups, including the Sydney, Melbourne, Adelaide and Tasmanian symphony orchestras, as well as North American ensembles such as the Nouvel Ensemble Moderne, Columbia Sinfonietta, Collage, and the Emerson, Mendelssohn and Ying Quartets.

Elliott Gyger was Assistant Professor of Music at Harvard from 2002 to 2007, and has been Lecturer in Composition at the University of Melbourne since 2008.

Sydney audiences may remember hearing Deep and dissolving verticals of light, premiered by the Sydney Symphony and David Porcelijn in the 1997 20th Century Orchestra Series in the Sydney Town Hall. This ‘nocturnal concerto for orchestra’ was inspired by Kenneth Slessor’s poem Five Bells, also the inspiration for John Olsen’s mural in the northern foyer of the Sydney Opera House Concert Hall.

Among Elliott Gyger’s other major works are si doux (1997), commissioned by the Australia Ensemble; Polishing Firewood (2001), for the New York New Music Ensemble; and From the hungry waiting country (2006), for Halcyon, which was highly commended in the 2006 Paul Lowin Song Cycle Award. Recent premieres have included The Face of Nature (2009), setting words from Darwin’s Origin of Species, for soprano and ensemble; a celesta concerto entitled Angels and Insects (2010); and voice (and nothing more) (2011), for the San Francisco-based choir Volti.

on air calls for two orchestras:Orchestra I – piccolo, two clarinets, horn, two trumpets, two trombones, sousaphone, percussion, piano, three violins, viola, cello and double bass.Orchestra II – two flutes, two oboes, cor anglais, bass clarinet, two bassoons and contrabassoon; three horns, piccolo trumpet and bass trombone; timpani, percussion, harp, and strings.

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Keynotes

PROKOFIEVBorn Sontsovka (Ukraine), 1891Died Moscow, 1953

For his graduation in 1914, Prokofiev played his own piano concerto, displaying remarkable skills as both composer and performer. At this point his career could have gone either way and it’s possible his teachers were expecting him to become a concert pianist, since his marks for composition were poor. As it turned out, composition became his focus as he nurtured a distinctive and often quirky style, although he continued to perform and tour as a virtuoso.

PIANO CONCERTO NO.3

Prokofiev began setting down his ideas for the Third Piano Concerto in 1917, while he was still in Russia, he completed it in 1921, giving the premiere in Chicago. It soon became his calling card as a virtuoso pianist. Its lyrical opening is interrupted by an impish piano theme, immediately establishing the mercurial contrasts of mood that characterise so much of Prokofiev’s music. The second movement is a set of five variations on a song-like theme he’d noted down eight years before, and its form is essentially slow with fast interludes. The finale is fast (but interspersed with slower interludes), its spiky opening shifting into an ‘unabashedly Romantic’ theme that evokes the world of Rachmaninoff.

Sergei ProkofievPiano Concerto No.3 in C, Op.26Andante – AllegroAndantino (with variations)Allegro non troppo

Behzod Abduraimov piano

Prokofi ev was a virtuoso pianist, who made an authoritative recording of his own Third Concerto. One of his most successful and popular concert works, the concerto shows the most typical aspects of his mature musical style in ideal balance: a mixture of rather Romantic passages with incisive, humorous, sometimes even grotesque episodes. This is obvious right at the start: the opening Andante melody for clarinet is lyrical, almost wistful, and Russian-sounding. But immediately the piano comes in, the music becomes very busy, incisive, almost icy. The lyricism of the opening will return in place of a ‘development’ section in the middle of the fi rst movement.

Prokofi ev conceived musical materials for his fi rst three concertos in the years before he left Russia at the time of the 1917 Revolution. The fi rst two concertos, in their driving rhythms and crunching discords, illustrate Prokofi ev’s not altogether unwelcome casting as the ‘enfant terrible’ of Russian music, and evoked a corresponding critical reaction (‘cats on a roof make better music,’ wrote one Russian critic of Concerto No.2). No.3, on the other hand, shows much more of the tunefulness and accessibility which it is wrong to regard as having entered Prokofi ev’s music only after he returned to Russia in the early 1930s. The lyrical opening of this piano concerto, completed in 1921, recalls that of the First Violin Concerto of 1916–17. Even earlier, the great Russian impresario Diaghilev had perceived Prokofi ev’s true musical nature: ‘Few composers today have Prokofi ev’s gift of inventing personal melodies, and even fewer have a genuine fl air for a fresh use of simple tonal harmonies…he doesn’t need to hide behind inane theories and absurd noises.’

The Third Piano Concerto refl ects Prokofi ev’s world-travelling existence around the time of its creation. He had been collecting its themes for over ten years by the time he put them together in 1921. Prokofi ev rarely threw away anything that might come in handy later on. He began the concerto in Russia in 1917, completed it in France in 1921, and gave the premiere later that year in Chicago, where his opera The Love for Three Oranges was premiered. An American critic wrote of the concerto, ‘It is greatly a matter of slewed harmony, neither adventurous enough to win the aff ection

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nor modernist enough to be annoying.’ You can’t win! A New York critic was wrong, but more perceptive, when he wrote, ‘It is hard to imagine any other pianist than Mr Prokofi ev playing it.’ Prokofi ev’s own playing pioneered a new kind of piano virtuosity. A rewarding piece for any virtuoso, this concerto is formally clear and satisfying, full of memorable tunes harmonised and orchestrated with a peculiarly personal piquancy, and suffi ciently of our time to be bracing and refreshing.

The second movement is a set of fi ve variations on a theme Prokofi ev had composed in 1913, intending it even then for variation treatment. This theme has an old-world, rather gavotte-like character, which in the fi rst variation is treated solo by the piano in what Prokofi ev describes as ‘quasi-sentimental fashion’. Then the tempo changes to a furious allegro, one of the abrupt contrasts in which the concerto abounds. After a quiet, meditative fourth variation, and an energetic fi fth one, the theme returns on fl utes and clarinets in its original form and at its old speed, while the piano continues at top speed but more quietly. This has been compared to a sprinter viewed from the window of a train.

Pencil sketch by Hilda Wiener of Prokofi ev performing his third piano concerto in Brussels in February 1936. Autographed by Prokofi ev.

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Prokofi ev’s own program note describes the fi nale as beginning with a staccato theme for bassoons and pizzicato strings, interrupted by the blustering entry of the piano:

The orchestra holds its own with the opening theme, however, and there is a good deal of argument, with frequent diff erences of opinion as regards key. Eventually the piano takes up the fi rst theme and develops it to a climax. With a reduction of tone and slackening of tempo, an alternative theme is introduced in the woodwinds. The piano replies with a theme that is more in keeping with the caustic humour of the work.

The unabashedly Romantic ‘alternative theme’ is worked up to an emotional pitch that shows Prokofi ev as having more in common with Rachmaninoff than is usually suspected, and both as owing much to Tchaikovsky. Then the opening returns in a brilliant coda.

DAVID GARRETT ©2003

The orchestra for Prokofiev’s Piano Concerto No.3 calls for two flutes (one doubling piccolo), two oboes, two clarinets and two bassoons; four horns, two trumpets and three trombones; timpani and percussion; and strings.

The Sydney Symphony first performed this concerto in 1941 with soloist Raymond Lambert and conductor Edgar L Bainton, and most recently in the 2009 Prokofiev festival conducted by Vladimir Ashkenazy, with soloist Alexander Gavrylyuk.

Proud sponsor of theSydney Symphonyin their 80th yearof timeless entertainment

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Keynotes

BERLIOZBorn La Côte-Saint-André, 1803 Died Paris, 1869

Berlioz set off for Paris when he was 18, ostensibly to study medicine (his father’s preference) but in reality following a musical path that would result in his becoming the ‘arch-Romantic’ composer of his age. Despite the fact that his main instrument was the guitar (he also played piano and flute, but badly), he became a master in the innovative use of the orchestra (he literally wrote the book) as well as a conductor. Audiences know him best for the notoriously ‘autobiographical’ Symphonie fantastique, but Berlioz’s dramatic instincts also emerged in concert music with a theatrical bent (Roméo et Juliette) and music for the stage, including his opera The Trojans. He wrote no concertos in the traditional sense. The closest he came was Harold in Italy with its featured viola soloist, and a tiny Rêverie et caprice for violin and orchestra.

HAROLD IN ITALY

Harold in Italy is a strange hybrid: it’s a symphony, but with a viola soloist, and a narrative that contains not one incident from Byron’s poem. The viola-hero – introduced at the beginning with his own motto theme – wanders through the mountains, encounters pilgrims, witnesses a lover’s serenade and (finally) a frenetic orgy of brigands.

Hector BerliozHarold in Italy – Symphony, Op.16Harold in the Mountains: Scenes of Melancholy, Happiness and Joy (Adagio – Allegro)March of Pilgrims chanting the Evening Hymn (Allegretto)Serenade by a Dweller of the Abruzzi Mountains to his Lover (Allegro assai – Allegretto)Orgy of Brigands – Reminiscences of earlier scenes (Allegro frenetico – Adagio – Allegro. Tempo I)

Roger Benedict viola

If the basic distinctions between a Classical and a Romantic composer involve notions of clarity of defi nition, single-mindedness of intent and integration of all the elements of a whole, then Hector Berlioz is arguably the most Romantic of all composers. Many of his works defy categorisation into a genre, and disclose a multitude of purposes. Quite often his works are held together merely by the vividness, exuberance, sweep and acuity of Berlioz’s imagination.

Harold in Italy is a case in point. Although labelled a symphony, it does not fi t neatly into that category, containing elements of the concerto it was originally meant to be. Nor is Harold in Italy an isolated case. Lélio, Op.14b – the ‘sequel’ to Symphonie fantastique – also defi es categorisation. It consists of setting for tenor and piano of a poem by Goethe, choruses (one a fantasy on Shakespeare’s The Tempest), spoken monologues and orchestral movements – items, in some cases, as is common with Berlioz, meant for other (presumably incomplete) projects. The Damnation of Faust and The Childhood of Christ are, again, not quite operas (few try to stage them), but more than cantatas. The Symphonie fantastique, Op.14a, when presented with Lélio, and thus becoming an evening’s entertainment known as An Episode in the Life of an Artist, also begins to sink beneath between its generical supports.

Harold in Italy began life as a result of a request from the great violin virtuoso Niccolò Paganini. Bowled over by the Symphonie fantastique, Paganini asked Berlioz (at a benefi t concert for Harriet Smithson, the inspiration behind the Symphonie) for a concerto-type work to display the qualities of his newly purchased Stradivarius viola.

Berlioz began work on a piece originally intended to be about the last hours of Mary Queen of Scots. He showed Paganini the fi rst section, but when Paganini saw all the viola’s rests in the Allegro, he said, according to Berlioz’s Memoirs: ‘This won’t do!…I must be playing the whole time!’ Berlioz then decided to rethink his piece, casting the viola rather as a character who observes certain events. Not that this necessarily results in any easing of the technical diffi culties

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of the solo part – just ask a violist about the double-stopped octaves in the fi rst movement! – but sometimes it is possible to lose sight, or sound, of the soloist amid the interesting business of the orchestra. So Paganini, the star virtuoso, never played the work.

It has been pointed out that, despite the reference in the work’s title to Byron’s Childe Harold, the piece depicts no incidents in Byron’s poem. Yet what was Berlioz’s intention? An admirer of the English poet, he simply wanted the audience to know that his soloist, like Byron’s subject, is a melancholy dreamer, an observer. As with the Symphonie fantastique, the elements of this work are linked by the use of one special theme, an idée fi xe. In the Symphonie, this theme represented Berlioz’s beloved. Here it represents ‘childe Harold’, and it is heard at the outset of the viola solo, after the low growling fugato opening – a Romantic’s non-academic fugato designed more as preliminary scene setting than musical exposition.

The ‘childe Harold’ theme is typical of Berlioz’s recycling of previously used material. It was earlier used to represent Diana Vernon in the Rob Roy Overture, then again in a piece

Portrait of Paganini, ‘The Modern Orpheus’, promoting his offi cial London debut on 3 June 1831. Lithograph by Richard Lane.Looking on: violinist Nicolas Mori, cellist Robert Lindley, double bass player Domenico Dragonetti (his instrument is under the piano), conductor Michael Costa (standing to the right) and, probably, Sir George Smart at the keyboard.

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he wrote for a classmate, and then again in the sketches for the Mary Queen of Scots project. It can’t really be thought to depict any particular aspect of Harold’s character, though it wanders around rather as we are supposed to imagine Harold doing.

And where does he wander? Like Byron, Berlioz had been touched by Italy (he was a Prix de Rome student in 1831–32) and the remaining movements convey musical portraits of sights and sounds he no doubt witnessed there.

The second movement neatly depicts the approach and passing of a band of pilgrims. Even before reading in the movement headings that the travellers are singing their evening prayer, a Berlioz enthusiast may recognise the particular purple night atmosphere which was a specialty of Berlioz the mood-painter (another example occurs in ‘Nuit d’ivresse et d’extase infi nie’ from The Trojans). The linking role of ‘Harold’s’ theme can be appreciated here where it arises out of a counterpoint to the pilgrims’ material.

The opening of the third movement has been thought to portray the squawking pipes of the ‘piff erari’, the strolling wind instrumentalists Berlioz encountered in Italy. The slower cor anglais solo suggests episodes in Berlioz’s Memoirs where he tells of local boys serenading round the village all night, singing beneath their mistresses’ windows.

Though the last movement is nowhere near as wild as Berlioz claimed it to be when the work was completed in 1834, it does remind us that there was a pretty wild, abandoned, even wayward, side to Berlioz’s character. As he himself said:

I long to go to Mount Posilippo, to Calabria, or to Capri, and put myself in the service of a brigand chief. That’s the life I crave: volcanoes, rocks, rich piles of plunder in mountain caves, a concert of shrieks accompanied by an orchestra of pistols and carbines, blood and lachryma Christi, a bed of lava rocked by subterranean tremors. Allons donc, voilà la vie!

And try telling a brigand chief how to write a conventional symphony!

GORDON WILLIAMSSYMPHONY AUSTRALIA © 1997

Berlioz’s Harold in Italy calls for solo viola with an orchestra comprising two flutes (one doubling piccolo), two oboes (one doubling cor anglais), two clarinets and, as was characteristic in music from 19th-century Paris, four bassoons; four horns, two trumpets, two cornets, three trombones and ophicleide ; timpani and a large percussion section; harp and strings. In the fourth movement, an offstage string trio briefly recalls the Pilgrim’s March theme.

The Sydney Symphony first performed Harold in Italy in 1952 with soloist Robert Pikler and conductor Eugene Goossens, and most recently in 2005 with Roger Benedict and conductor Richard Gill.

This drawing of Berlioz from the early 1830s is thought to be by Ingres.

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MORE MUSIC

ELLIOTT GYGER

Elliott Gyger’s ‘nocturnal concerto for orchestra’, Deep and dissolving verticals of light, can be streamed in full from ABC Classic FM’s classic/amp site, a rich collection of Australian contemporary music drawn from ABC archival recordings. The Sydney Symphony is conducted by David Porcelijn.www.abc.net.au/classic/australianmusic/presented/

PROKOFIEV PIANO CONCERTOS

You can hear Vladimir Ashkenazy as soloist in the fi ve Prokofi ev piano concertos in a 3CD collection of all the Prokofi ev concertos. André Previn conducts the London Symphony Orchestra. Joshua Bell is the soloist in the violin concertos (accompanied by Charles Dutoit and the Montreal Symphony Orchestra) and cellist Lynn Harrell plays the Concertino and the Symphony-Concerto (with the Royal Philharmonic Orchestra and Ashkenazy conducting).DECCA 473 2592

Prokofi ev’s own recording of his Third Piano Concerto is available on the Naxos Historical label. The recording was made in 1932 with the London Symphony Orchestra and Piero Coppola conducting. On the same disc Prokofi ev plays some of his solo piano music, including the Visions Fugitives and his transcription of the Gavotte from the Classical Symphony. NAXOS 8.110670

HAROLD IN ITALY

In a release from 2011, Vladimir Ashkenazy conducts the Helsinki Philharmonic Orchestra in a Harold and Italy themed disc with viola soloist David Aaron Carpenter. Berlioz’s viola ‘concerto’ is framed by his overture to Béatrice et Bénédict and, in a nod to the dedicatee of Harold, Paganini’s Sonata 'per la grand viola’ and orchestra.ONDINE 1188

Or look for Nobuko Imai with Colin Davis and the London Symphony Orchestra in a 5CD Ultimate Berlioz collection – a perfect introduction to Berlioz’s music at a perfect price.DECCA 478 1746

ROGER BENEDICT

Roger Benedict’s debut recital disc, Volupté, features rarely heard music for viola and piano by Joseph Jongen and Charles Koechlin. Timothy Young plays piano and Sydney Symphony principal horn Ben Jacks is a supporting artist in Koechlin’s Four Little Pieces.MELBA MR 301126

In 2009, Benedict performed Vaughan Williams’ Flos Campi with the Sydney Symphony, Cantillation and conductor Mark Wigglesworth. The performance is included on Arcadia Lost, a recording of music by Vaughan Williams and Britten, and including from the same concerts The Lark Ascending (with soloist Michael Dauth) and Britten’s Sinfonia da Requiem. Tenor Steve Davislim with the Hamer Quartet and pianist Benjamin Martin fi ll out the disc with a performance of On Wenlock Edge.MELBA MR 301131

ABDURAIMOV PLAYS PROKOFIEV

Abduraimov’s debut recital CD was released earlier this month. The disc begins with the Liszt/Horowitz arrangement of Saint-Saëns’ Danse macabre and Prokofi ev’s Suggestion diabolique and ends with Liszt’s Mephisto Waltz. In between these ‘diabolical’ bookends can be found Liszt’s Bénédiction de Dieu dans la solitude and Prokofi ev’s Piano Sonata No.6 (the fi rst of his so-called ‘War sonatas’). DECCA 478 3301

Broadcast Diary

March–April

Friday 23 March, 8pmfireworks & fantasyVladimir Ashkenazy conductorBehzod Abduraimov pianoRoger Benedict violaGyger, Prokofi ev, Berlioz

Friday 20 April, 8pmtchaikovsky at the balletAndrew Grams conductorLouis Lortie pianoGolijov, Falla, Tchaikovsky

2MBS-FM 102.5Tuesday 10 April, 6pmsydney symphony 2012 Musicians, staff and guest artists discuss what’s in store in our forthcoming concerts.

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Glazunov & ShostakovichAlexander Lazarev conducts a thrilling performance of Shostakovich 9 and Glazunov’s Seasons. SSO 2

Strauss & SchubertGianluigi Gelmetti conducts Schubert’s Unfi nished and R Strauss’s Four Last Songs with Ricarda Merbeth. SSO 200803

Sir Charles MackerrasA 2CD set featuring Sir Charles’s fi nal performances with the orchestra, in October 2007. SSO 200705

Brett DeanBrett Dean performs his own viola concerto, conducted by Simone Young, in this all-Dean release. SSO 200702

RavelGelmetti conducts music by one of his favourite composers: Maurice Ravel. Includes Bolero. SSO 200801

Rare Rachmaninoff Rachmaninoff chamber music with Dene Olding, the Goldner Quartet, soprano Joan Rodgers and Vladimir Ashkenazy at the piano. SSO 200901

MAHLER ODYSSEY ON CDDuring the 2010 and 2011 concert seasons, the Sydney Symphony and Vladimir Ashkenazy set out to perform all the Mahler symphonies, together with some of the song cycles. These concerts were recorded for CD, with eight releases so far and more to come.

Mahler 7 OUT NOW

The most recent addition to the catalogue is Symphony No.7, sometimes known as the ‘Night Music’ symphony. SSO 201104

ALSO CURRENTLY AVAILABLE

Mahler 1 & Songs of a WayfarerSSO 201001

Mahler 8 (Symphony of a Thousand)SSO 201002

Mahler 5 SSO 201003

Song of the Earth SSO 201004

Mahler 3 SSO 201101

Mahler 4 SSO 201102

Mahler 6 SSO 201103

Webcasts

Selected Sydney Symphony concerts are webcast live on BigPond and Telstra T-box and made available for later viewing On Demand.Coming up next:a gershwin tributeMonday 21 May at 7pm

Visit: bigpondmusic.com/sydneysymphonyLive webcasts can also be viewed via our mobile app.

Sydney Symphony Live

The Sydney Symphony Live label was founded in 2006 and we’ve since released more than a dozen recordings featuring the orchestra in live concert performances with our titled conductors and leading guest artists, including the Mahler Odyssey cycle, begun in 2010. To purchase, visit sydneysymphony.com/shop

Sydney Symphony Online

Join us on Facebookfacebook.com/sydneysymphony

Follow us on Twittertwitter.com/sydsymph

Watch us on YouTubewww.youtube.com/SydneySymphony

Visit sydneysymphony.com for concert information, podcasts, and to read the program book in the week of the concert.

Stay tuned. Sign up to receive our fortnightly e-newslettersydneysymphony.com/staytuned

Download our free mobile app for iPhone or Androidsydneysymphony.com/mobile_app

BOOK NOW! Tickets available from $35*

SYDNEYSYMPHONY.COM or call 8215 4600 Mon-Fri 9am-5pm

Tickets also available at sydneyoperahouse.com 9250 7777 Mon-Sat 9am-8.30pm | Sun 10am-6pm

*Booking fees of $7.50 – $8.95 may apply

Presenting Partner

THURSDAY AFTERNOON SYMPHONY

Thu 10 May 1.30pmEMIRATES METRO SERIES

Fri 11 May 8pmGREAT CLASSICS

Sat 12 May 2pm

Join us for this festive journey of colour, energy and vivid storytelling, including Beethoven’s virtuosic Piano Concerto No.2.

BERLIOZ Benvenuto Cellini: Overture BEETHOVEN Piano Concerto No.2 ELGAR Falstaff BERLIOZ Roman Carnival – Overture

David Zinman conductor Andreas Haefliger piano (pictured)

A concert of celebration and inspiration.

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ABOUT THE ARTISTS

Vladimir Ashkenazy PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR

In the years since Vladimir Ashkenazy fi rst came to prominence on the world stage in the 1955 Chopin Competition in Warsaw he has built an extraordinary career, not only as one of the most renowned and revered pianists of our times, but as an inspiring artist whose creative life encompasses a vast range of activities.

Conducting has formed the largest part of his music-making for the past 20 years. He has been Chief Conductor of the Czech Philharmonic (1998–2003), and Music Director of the NHK Symphony Orchestra, Tokyo (2004–2007). This is his fourth season as Principal Conductor and Artistic Advisor of the Sydney Symphony.

Alongside these roles, Vladimir Ashkenazy is also Conductor Laureate of the Philharmonia Orchestra, with whom he has developed landmark projects such as Prokofi ev and Shostakovich Under Stalin (a project which he toured and later developed into a TV documentary) and Rachmaninoff Revisited at the Lincoln Center, New York.

He also holds the positions of Music Director of the European Union Youth Orchestra and Conductor Laureate of the Iceland Symphony Orchestra. He maintains strong links with a number of other major orchestras, including the Cleveland Orchestra (where he was formerly Principal Guest Conductor), San Francisco Symphony, and Deutsches Symphonie Orchester Berlin (Chief Conductor and Music Director, 1988 –96), as well as making guest appearances with orchestras such as the Berlin Philharmonic.

Vladimir Ashkenazy continues to devote himself to the piano, building his comprehensive recording catalogue with releases such as the 1999 Grammy award-winning Shostakovich Preludes and Fugues, Rautavaara’s Piano Concerto No.3 (which he commissioned), Rachmaninoff transcriptions, Bach’s Wohltemperierte Klavier and Beethoven’s Diabelli Variations. In 2009 he released a disc of French piano duo works with Vovka Ashkenazy.

A regular visitor to Sydney over many years, he has conducted subscription concerts and composer festivals for the Sydney Symphony, with his fi ve-program Rachmaninoff festival forming a highlight of the 75th Anniversary Season in 2007. In 2010–11 he conducted the Mahler Odyssey concerts and live recordings, and his artistic role with the orchestra also includes annual international touring.

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ABOUT THE ARTISTS

Behzod Abduraimov PIANO

Behzod Abduraimov was born in Tashkent, Uzbekistan in 1990 and began to play the piano at the age of fi ve. He was a pupil of Tamara Popovich at the Uspensky State Central Lyceum in Tashkent, and is currently a student of Stanislav Ioudenitch at the International Center for Music at Park University, Kansas City.

He gave his fi rst performance as a soloist at the age of eight with the National Symphony Orchestra of Uzbekistan. Since then he has given many concerts in the United States, Italy, Russia and Uzbekistan, he has collaborated with conductors such as Charles Dutoit, Pinchas Zuckerman, Michael Christie, Krzysztof Urbanski, Michael Stern and Alexander Lazarev, as well as Vladimir Ashkenazy, and he is establishing an impressive reputation for electrifying audiences with his captivating performances.

At the age of 18, he achieved a sensational victory in the 2009 London International Piano Competition, performing Prokofi ev’s Piano Concerto No. 3. This resulted in invitations to work with the Royal Philharmonic Orchestra and the London Philharmonic Orchestra, as well as the opportunity to tour China and Kuala Lumpur with the Sydney Symphony and Vladimir Askenazy in 2009. This collaboration led to a second touring engagement with the orchestra, appearing in the 2010 Musikfest Bremen. The same year he won fi rst prize in the Piano Olympics in Bad Kissingen (Kissinger Klavierolymp), appeared at the BOZAR (Centre for Fine Arts) in Brussels and made his Wigmore Hall debut.

In the 2011–12 season he will make debut appearances with the Atlanta, Tokyo and Kansas City symphony orchestras, National Arts Center Orchestra Ottawa, Lausanne Chamber Orchestra, Orchestre Philharmonique de Monte Carlo and English Chamber Orchestra. Future plans also include recitals in the Gilmore Rising Star and Vancouver Recital Series, London’s International Piano Series, Milan’s La Società dei Concerti and the Klangraum, Waidhofen (his Austrian debut). His debut recital CD was released earlier this month.

This is Behzod Abduraimov’s fi rst Sydney appearance with the Sydney Symphony. On this Australian debut tour he also performs with the Adelaide and West Australian symphony orchestras and gives recitals in Sydney, Melbourne and Brisbane.

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Hear Behzod Abduraimov in recital on Monday 26 March at 7pm, City Recital Hall Angel Place, in a program including music by Beethoven, Brahms and Liszt.sydneysymphony.com

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Roger Benedict VIOLA

Roger Benedict has worked as a soloist, chamber musician, orchestral player, teacher and conductor. He studied at the Royal Northern College of Music in Manchester (where he was later a professor), and the International Musicians’ Seminar, Prussia Cove. In 1991 he was appointed Principal Viola of the Philharmonia Orchestra, and in 2002 Principal Viola of the Sydney Symphony. He is also Artistic Director of the orchestra’s Fellowship program, and has performed as guest principal with the Chamber Orchestra of Europe.

As a soloist he has appeared with the Philharmonia Orchestra, Royal Philharmonic Orchestra, Royal Liverpool Philharmonic Orchestra Ulster Orchestra, and Orchestra Ensemble Kanazawa, Japan. He has performed Strauss’s Don Quixote many times, and with the Sydney Symphony he has performed Mozart’s Sinfonia concertante, Berlioz’s Harold in Italy, Ford’s Unquiet Grave and Vaughan Williams’ Flos Campi.

Other solo highlights include performances with cellists Lynn Harrell and Steven Isserlis, and concerts for the opening of the Melbourne Recital Centre in 2009. He has appeared at London’s Wigmore Hall and Purcell Room, as well as all the major festivals and concert series in the UK. His chamber music partners have included Lorin Maazel, Simon Rattle, Louis Lortie and Leif Ove Andsnes, and he has performed as a guest artist with the Tinalley String Quartet and Sydney Soloists.

He has recorded several concertante works for BBC Radio 3, including Michael Berkeley’s Viola Concerto, of which he gave the premiere, and he is frequently heard on ABC Classic FM. His debut recital CD Volupté (music by Koechlin and Jongen), was released in 2010, and his recording of Flos Campi with the Sydney Symphony was released last year.

Roger Benedict has begun to establish himself as a conductor, regularly directing orchestras at the Sydney Conservatorium and Australian National Academy of Music, the National Youth Orchestra in London and Aldeburgh, and the Auckland Philharmonia Orchestra. In addition to leading the Sydney Symphony Fellowship program, he is a Senior Lecturer at the Sydney Conservatorium of Music, a European Union Orchestra tutor, and was an orchestral mentor for the YouTube Symphony Orchestra 2011 in Sydney.

Roger Benedict plays a Carlo Antonio Testore viola made in Milan in 1753.

PRINCIPAL VIOLA, KIM WILLIAMS AM & CATHERINE DOVEY CHAIR

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MUSICIANS

Vladimir AshkenazyPrincipal Conductor and Artistic Advisor supported by Emirates

Dene OldingConcertmaster

Nicholas CarterAssociate Conductor supported by Premier Partner Credit Suisse

FIRST VIOLINSDene Olding Concertmaster

Sun Yi Associate Concertmaster

Kirsten Williams Associate Concertmaster

Katherine Lukey Assistant Concertmaster

Jennifer Booth Marianne BroadfootBrielle ClapsonSophie Cole Amber Davis Jennifer Hoy Georges LentzNicola Lewis Alexandra MitchellAlexander NortonLéone Ziegler Lucy Warren†

Fiona ZieglerAssistant Concertmaster

Julie Batty

SECOND VIOLINS Kirsty Hilton Marina Marsden Susan Dobbie Principal Emeritus

Maria Durek Emma Hayes Shuti Huang Stan W Kornel Benjamin Li Emily Long Nicole Masters Philippa Paige Biyana Rozenblit Maja Verunica Emily Qin°Emma West Assistant Principal

VIOLASTobias Breider Anne-Louise Comerford Imants Larsens*Robyn Brookfield Sandro Costantino Jane Hazelwood Graham Hennings Stuart Johnson Justine Marsden Leonid Volovelsky Tara Houghton°Rosemary Curtin*Roger Benedict Felicity Tsai

CELLOSCatherine Hewgill Leah Lynn Assistant Principal

Fenella Gill Timothy NankervisChristopher Pidcock Adrian Wallis David Wickham Eleanor Betts†

Mee Na Lojewski*Patrick Suthers*Kristy ConrauElizabeth Neville

DOUBLE BASSESKees Boersma Alex Henery Neil Brawley Principal Emeritus

David Campbell Steven Larson Richard Lynn David Murray Benjamin Ward

FLUTES Janet Webb Carolyn HarrisRosamund Plummer Principal Piccolo

Emma Sholl

OBOESShefali Pryor David Papp Alexandre Oguey Principal Cor Anglais

Diana Doherty

CLARINETSLawrence Dobell Christopher Tingay Craig Wernicke Principal Bass Clarinet

Francesco Celata

BASSOONSMatthew Wilkie Nicole Tait °Fiona McNamara Noriko Shimada Principal Contrabassoon

HORNSRobert Johnson Geoffrey O’Reilly Principal 3rd

Euan HarveyMarnie Sebire Ben Jacks Lee Bracegirdle

TRUMPETSDavid Elton Paul Goodchild John FosterAndrew Evans*Anthony Heinrichs

TROMBONESScott Kinmont Nick Byrne Christopher Harris Principal Bass Trombone

Ronald Prussing

OPHICLEIDENick Byrne (Berlioz)

TUBASteve Rossé

SOUSAPHONESteve Rossé (Gyger)

TIMPANIMark Robinson Assistant Principal

Richard Miller

PERCUSSIONRebecca Lagos Colin Piper John Douglas*

HARP Louise Johnson PIANOCatherine Davis*

Bold = PrincipalItalics = Associate Principal* = Guest Musician° = Contract Musician† = Sydney Symphony FellowGrey = Permanent member of the Sydney Symphony not appearing in this concert

To see photographs of the full roster of permanent musicians and find out more about the orchestra, visit our website: www.sydneysymphony.com/SSO_musiciansIf you don’t have access to the internet, ask one of our customer service representatives for a copy of our Musicians flyer.

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

sydney symphony 25

THE SYDNEY SYMPHONY

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

Resident at the iconic Sydney Opera House, where it gives more than 100 performances each year, the Sydney Symphony also performs in venues throughout Sydney and regional New South Wales. International tours to Europe, Asia and the USA have earned the orchestra worldwide recognition for artistic excellence, most recently in the 2011 tour of Japan and Korea.

The Sydney Symphony’s fi rst Chief Conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Zdenek Mácal, Stuart Challender, Edo de Waart and, most recently, Gianluigi Gelmetti. The orchestra’s history also boasts collaborations with legendary fi gures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.

The Sydney Symphony’s award-winning education program is central to its commitment to the future of live symphonic music, developing audiences and engaging the participation of young people. The Sydney Symphony promotes the work of Australian composers through performances, recordings and its commissioning program. Recent premieres have included major works by Ross Edwards, Liza Lim, Lee Bracegirdle, Gordon Kerry and Georges Lentz, and a recording of works by Brett Dean was released on both the BIS and Sydney Symphony Live labels.

Other releases on the Sydney Symphony Live label, established in 2006, include performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras and Vladimir Ashkenazy. The orchestra has recently completed recording the Mahler symphonies, and has also released recordings with Ashkenazy of Rachmaninoff and Elgar orchestral works on the Exton/Triton labels, as well as numerous recordings on the ABC Classics label.

This is the fourth year of Ashkenazy’s tenure as Principal Conductor and Artistic Advisor.

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BEHIND THE SCENES

MANAGING DIRECTOR

Rory JeffesEXECUTIVE TEAM ASSISTANT

Lisa Davies-Galli

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC PLANNING

Peter Czornyj

Artistic AdministrationARTISTIC ADMINISTRATION MANAGER

Elaine ArmstrongARTIST LIAISON MANAGER

Ilmar LeetbergRECORDING ENTERPRISE MANAGER

Philip Powers

Education ProgramsHEAD OF EDUCATION

Kim WaldockEMERGING ARTISTS PROGRAM MANAGER

Mark LawrensonEDUCATION COORDINATOR

Rachel McLarin

LibraryLIBRARIAN

Anna CernikLIBRARY ASSISTANT

Victoria GrantLIBRARY ASSISTANT

Mary-Ann Mead

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA MANAGEMENT

Aernout KerbertORCHESTRA MANAGER

Christopher Lewis-ToddORCHESTRA COORDINATOR

Georgia StamatopoulosOPERATIONS MANAGER

Kerry-Anne CookTECHNICAL MANAGER

Derek CouttsPRODUCTION COORDINATOR

Tim DaymanPRODUCTION COORDINATOR

Ian SpenceSTAGE MANAGER

Peter Gahan

SALES AND MARKETING

DIRECTOR OF SALES & MARKETING

Mark J ElliottMARKETING MANAGER, SUBSCRIPTION SALES

Simon Crossley-MeatesA/SENIOR MARKETING MANAGER, SALES

Matthew RiveMARKETING MANAGER, BUSINESS RESOURCES

Katrina RiddleONLINE MARKETING MANAGER

Eve Le Gall

John C Conde ao ChairmanTerrey Arcus amEwen CrouchRoss GrantJennifer HoyRory JeffesAndrew KaldorIrene LeeDavid LivingstoneGoetz RichterDavid Smithers am

Sydney Symphony Board

Sydney Symphony Council

Sydney Symphony StaffMARKETING & ONLINE COORDINATOR

Kaisa HeinoGRAPHIC DESIGNER

Lucy McCulloughDATA ANALYST

Varsha KarnikMARKETING ASSISTANT

Jonathon Symonds

Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlinMANAGER OF BOX OFFICE OPERATIONS

Tom DowneyCUSTOMER SERVICE REPRESENTATIVES

Steve Clarke – Senior CSRMichael DowlingDerek ReedJohn RobertsonBec Sheedy

COMMUNICATIONS

HEAD OF COMMUNICATIONS

Yvonne ZammitPUBLICIST

Katherine StevensonDIGITAL CONTENT PRODUCER

Ben Draisma

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

DEVELOPMENT

HEAD OF CORPORATE RELATIONS

Leann MeiersCORPORATE RELATIONS

Julia OwensCORPORATE RELATIONS

Stephen AttfieldHEAD OF PHILANTHROPY & PUBLIC AFFAIRS

Caroline SharpenPHILANTHROPY, PATRONS PROGRAM

Ivana JirasekPHILANTHROPY, EVENTS & ENGAGEMENT

Amelia Morgan-Hunn

BUSINESS SERVICES

DIRECTOR OF FINANCE

John HornFINANCE MANAGER

Ruth TolentinoACCOUNTANT

Minerva PrescottACCOUNTS ASSISTANT

Emma FerrerPAYROLL OFFICER

Geoff Ravenhill

HUMAN RESOURCES

HUMAN RESOURCES MANAGER

Anna Kearsley

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 amJoan MacKenzieDavid 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 Weiss amMary WhelanRosemary White

sydney symphony 27

SYDNEY SYMPHONY PATRONS

Maestro’s CirclePeter Weiss am – Founding President & Doris WeissJohn C Conde ao – ChairmanGeoff Ainsworth am & Vicki AinsworthTom Breen & Rachael KohnIn memory of Hetty & Egon GordonAndrew Kaldor & Renata Kaldor aoRoslyn Packer aoPenelope Seidler amMr Fred Street am & Mrs Dorothy StreetWestfield GroupBrian & Rosemary WhiteRay Wilson oam in memory of the late James Agapitos oam

Sydney Symphony Leadership EnsembleDavid Livingstone, CEO, Credit Suisse, AustraliaAlan Fang, Chairman, Tianda GroupMacquarie Group FoundationJohn Morschel, Chairman, ANZAndrew Kaldor, 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

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 & Renata Kaldor ao Chair

04 Richard Gill oam Artistic Director Education Sandra & Paul Salteri Chair

05 Jane Hazelwood Viola Veolia Environmental Services Chair

06 Catherine Hewgill Principal Cello Tony & Fran Meagher Chair

07 Elizabeth Neville Cello Ruth & Bob Magid Chair

08 Colin Piper Percussion Justice Jane Mathews ao Chair

09 Shefali Pryor Associate Principal Oboe Rose Herceg Chair

10 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 10

Watch us online

www.youtube.com/sydneysymphonybigpondmusic.com/sydneysymphony

28 sydney symphony

PLAYING YOUR PART

Platinum Patrons$20,000+Brian AbelGeoff Ainsworth am & Vicki Ainsworth

Robert Albert ao & Elizabeth AlbertTerrey Arcus am & Anne ArcusTom Breen & Rachael KohnSandra & Neil BurnsMr John C Conde aoRobert & Janet ConstableDr Bruno & Mrs Rhonda GiuffreIn memory of Hetty & Egon GordonMs Rose HercegMrs E HerrmanMr Andrew Kaldor & Mrs Renata Kaldor ao

D & I KallinikosJames N Kirby FoundationJustice Jane Mathews aoMrs Roslyn Packer aoDr John Roarty oam in memory of Mrs June Roarty

Paul & Sandra SalteriMrs Penelope Seidler amMrs W SteningMr Fred Street am & Mrs Dorothy Street

Mr Peter Weiss am & Mrs Doris Weiss

Westfield Group Mr Brian & Mrs Rosemary WhiteRay Wilson oam in memory of James Agapitos oam

Kim Williams am & Catherine DoveyJune & Alan Woods Family BequestAnonymous (1)

Gold Patrons$10,000–$19,999Alan & Christine BishopIan & Jennifer BurtonMr C R AdamsonThe Estate of Ruth M DavidsonThe Hon. Ashley Dawson-DamerPaul R EspieFerris Family FoundationJames & Leonie FurberMr Ross GrantHelen Lynch am & Helen BauerMrs Joan MacKenzieRuth & Bob MagidMrs T Merewether oamTony & Fran MeagherMr B G O’ConorMrs Joyce Sproat & Mrs Janet CookeMs Caroline WilkinsonAnonymous (2)

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

Silver Patrons$5,000–$9,999Mark Bethwaite am & Carolyn BethwaiteJan BowenMr Alexander & Mrs Vera BoyarskyMr Robert BrakspearMr Robert & Mrs L Alison CarrBob & Julie ClampettIan Dickson & Reg HollowayMr Colin Draper & Mary Jane Brodribb Penny EdwardsMichael & Gabrielle FieldMr James Graham am & Mrs Helen Graham

Mrs Jennifer HershonMichelle Hilton Stephen Johns & Michele BenderJudges of the Supreme Court of NSW Mr Ervin KatzGary LinnaneMr David LivingstoneWilliam McIlrath Charitable FoundationDavid Maloney & Erin FlahertyEva & Timothy PascoeRodney Rosenblum am & Sylvia Rosenblum

Manfred & Linda SalamonThe Sherry Hogan FoundationDavid & Isabel SmithersIan & Wendy ThompsonMichael & Mary Whelan TrustDr Richard WingateJill WranAnonymous (1)

Bronze Patrons$2,500 – $4,999Dr Lilon BandlerStephen J BellMarc Besen ao & Eva Besen aoMr David & Mrs Halina BrettLenore P BuckleHoward ConnorsEwen & Catherine CrouchVic & Katie FrenchMr Erich GockelMs Kylie GreenAnthony Gregg & Deanne WhittlestonAnn HobanIrwin Imhof in memory of Herta ImhofJ A McKernanR & S Maple-BrownGreg & Susan MarieMora MaxwellJames & Elsie MooreJustice George Palmer amBruce & Joy Reid FoundationMary Rossi Travel

Mrs Hedy SwitzerMarliese & Georges TeitlerMs Gabrielle TrainorJ F & A van OgtropAnonymous (3)

Bronze Patrons$1,000-$2,499Charles & Renee AbramsAndrew Andersons aoMr Henri W Aram oamDr Francis J AugustusRichard BanksDavid BarnesDoug & Alison BattersbyMichael Baume ao & Toni BaumePhil & Elese BennettNicole BergerMrs Jan BiberJulie BlighM BulmerIn memory of R W BurleyEric & Rosemary CampbellDr John H CaseyDebby Cramer & Bill CaukillDr Diana Choquette & Mr Robert Milliner

Joan Connery oam & Maxwell Connery oam

Mr John Cunningham scm & Mrs Margaret Cunningham

Lisa & Miro DavisMatthew DelaseyJohn FavaloroMr Edward FedermanMr Ian Fenwicke & Prof. N R WillsFirehold Pty LtdDr & Mrs C GoldschmidtAkiko GregoryIn memory of the late Dora & Oscar Grynberg

Janette HamiltonDorothy Hoddinott aoPaul & Susan HotzThe Hon. David Hunt ao qc & Mrs Margaret Hunt

Dr & Mrs Michael HunterMr Peter HutchisonDr Michael Joel am & Mrs Anna JoelThe Hon. Paul KeatingIn Memory of Bernard MH KhawAnna-Lisa KlettenbergMr Justin Lam Wendy LapointeMs Jan Lee Martin & Mr Peter LazarKevin & Deidre McCannRobert McDougallIan & Pam McGaw

sydney symphony 29

To find out more about becominga Sydney Symphony Patron, pleasecontact the Philanthropy Officeon (02) 8215 4625 or emailphilanthropy@sydneysymphony.com

Matthew McInnesMacquarie Group FoundationMr Robert & Mrs Renee MarkovicAlan & Joy MartinHarry M Miller, Lauren Miller Cilento & Josh Cilento

Miss An NhanMrs Rachel O’ConorMr R A OppenMr Robert OrrellMr & Mrs OrtisMaria PagePiatti Holdings Pty LtdAdrian & Dairneen PiltonDr Raffi QasabianErnest & Judith RapeeKenneth R Reed Patricia H Reid Endowment Pty LtdJohn SaundersIn memory of H St P ScarlettJuliana SchaefferMr & Mrs Jean-Marie SimartCatherine StephenJohn & Alix SullivanThe Hon Brian Sully qcMildred TeitlerAndrew & Isolde TornyaGerry & Carolyn TraversJohn E TuckeyMrs M TurkingtonIn memory of Dr Reg WalkerHenry & Ruth WeinbergThe Hon. Justice A G WhealyGeoff Wood & Melissa WaitesWarren GreenMr R R WoodwardDr John Yu & Dr George SoutterAnonymous (12)

Bronze Patrons$500–$999Mr Peter J ArmstrongMr & Mrs Garry S AshMrs Baiba B Berzins & Dr Peter Loveday Dr & Mrs Hannes BoshoffMinnie BriggsDr Miles BurgessPat & Jenny BurnettIta Buttrose ao obeStephen Bryne & Susie Gleeson

The Hon. Justice J C & Mrs CampbellMr Percy ChissickMrs Catherine J ClarkJen CornishGreta DavisElizabeth DonatiDr Nita & Dr James DurhamGreg Earl & Debbie CameronMr & Mrs FarrellRobert GellingVivienne GoldschmidtMr Robert GreenMr Richard Griffin amJules & Tanya HallMr Hugh HallardMr Ken HawkingsMrs A HaywardDr Heng & Mrs Cilla TeyMr Roger HenningRev Harry & Mrs Meg HerbertSue HewittMr Joerg HofmannMs Dominique Hogan-DoranMr Brian HorsfieldAlex HoughtonBill & Pam HughesSusie & Geoff IsraelMrs W G KeighleyMr & Mrs Gilles T KrygerMrs M J LawrenceDr & Mrs Leo LeaderMargaret LedermanMrs Yolanda LeeMartine LettsAnita & Chris LevyErna & Gerry Levy amDr Winston LiauwMrs Helen LittleSydney & Airdrie LloydMrs A LohanMrs Panee LowCarolyn & Peter Lowry oamDr David LuisMelvyn MadiganDr Jean MalcolmMrs Silvana MantellatoMr K J MartinGeoff & Jane McClellanMrs Flora MacDonaldMrs Helen Meddings

David & Andree MilmanKenneth N MitchellChris Morgan-HunnNola NettheimMrs Margaret NewtonMr Graham NorthDr M C O’Connor amA Willmers & R PalDr A J PalmerMr Andrew C PattersonDr Kevin PedemontDr Natalie E PelhamMr Allan PidgeonRobin PotterLois & Ken RaeMr Donald RichardsonPamela RogersAgnes RossDr Mark & Mrs Gillian SelikowitzCaroline SharpenMrs Diane Shteinman amDr Agnes E SinclairDoug & Judy SotherenMrs Elsie StaffordMr Lindsay & Mrs Suzanne StoneMr D M SwanMr Norman TaylorMs Wendy ThompsonKevin TroyJudge Robyn TupmanGillian Turner & Rob BishopProf. Gordon E WallRonald WalledgeMr Robert & Mrs Rosemary WalshMr Palmer WangDavid & Katrina WilliamsAudrey & Michael WilsonDr Richard WingMr Robert WoodsMr & Mrs Glenn WyssMrs Robin YabsleyAnonymous (18)

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SALUTE

PRINCIPAL PARTNER

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

GOVERNMENT PARTNERS

PREMIER PARTNER

COMMUNITY PARTNER MAJOR PARTNERS

2MBS 102.5 Sydney’s Fine Music Station

PLATINUM PARTNER

GOLD PARTNERS

SILVER PARTNERS

REGIONAL TOUR PARTNERS

MARKETING PARTNER

ORCHESTRA NEWS |MARCH 2012

‘I don’t do my hair. I don’t own a brush.’ Chris Harris’ voice comes crackling down the line as he explains the dishevelled hairstyle he’s sporting in his photo. ‘Yeah, I took that photo myself.’ It’s an intense gaze that’s staring back, wouldn’t you agree? It somewhat belies the musician. Or does it?

Principal bass trombone of the Sydney Symphony, Chris speaks straight and true. ‘I chose the bass trombone because it was the one shiny “instrument of choice” at school that wasn’t being used.’ School was in South Africa. ‘I’d already played normal [tenor]

trombone, but the bass made a bigger and warmer sound. I immediately had a “thing” for it.’ For a beginner on the trombone, the quality of an instrument is important. ‘It’s an instrument that’s very easily damaged by kids. If you put a ding in the slide and it doesn’t work properly, that can make a huge difference. The mechanism has to work.’

Luckily for beginner-Chris, his school instrument was no obstacle to success. Now a member of the Sydney Symphony for 18 years, Chris describes his role in the orchestra: ‘In the section, I’m in

a very close partnership with the tuba. We often play in unison, or in octaves.’ The bass trombone acts like a link between the rest of the trombones and the tuba. ‘It’s a team thing. The bass trom-bone has a much more direct sound than the tuba, which is more enveloping, and warm and fuzzy.’ Overall, the brass section is responsible for rhythmic drive and harmonic foundation. ‘The trombone adds an amazing bril-liance of colour to the bottom end of the sound.’

Unsurprisingly, composers like Mahler and Wagner hold a special place in Chris’ affections, from the quiet, sublime chorales to the incredibly powerful passages of emotion. ‘But Mozart also wrote beautifully for the trombone – it’s really nicely voiced. There’s always a nice ring to the sound. I love playing Mozart.’

‘The hardest thing about my job is whatever you do, you’re always going to be heard. And the easy things are the hardest things to do well, like delicate moments after long periods of not playing.’

So how does Chris relax? Well, the hairstyle sa ys it all really – surfi ng of course!

❝I immediatelyhad a ‘thing’for it.

❞

CHRISTOPHER HARRIS

For Principal Bass Trombone Chris Harris, playing his instrument is a team thing.

Shiny instrument of choice

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Proud sponsor of theSydney Symphonyin their 80th yearof timeless entertainment

Orchestra OnlineHISTORICAL TIMELINEOne of our 80th anniversary celebration projects in 2012 is the development of an interactive historical timeline that will show our history in images, documents, audio and video since 1932 and into the future. Our plan is to give our community and the world at large a way to discover more about land-mark Sydney Symphony events and performances and some of the personalities who’ve shaped the orchestra over the generations.

The timeline will be launched with our new website later this year and we’ll be adding more detail in the future.

Audience members and former musicians are invited play a part in building this timeline into a rich and valuable resource. So if you know of any events, images or stories that you think should be part of the timeline and would like to contribute, visit sydneysymphony.com/80years/timeline_contributions for more information.

Your SayBirthday Greetings from FacebookHappy birthday Sydney Symphony! Only two years younger than me. I have been dating you since we were both teenagers in the 70s and the attraction has never worn off.Janet Dixon-Hughes

Beethoven 9 – from the surveys‘This was the most amazing performance of Beethoven’s Ninth. It was a brilliant event. Just magic. Congratulations Vladimir for being a brilliant conductor and a warm human being.’

‘The performance was something that will remain in my memory for many moons!! I will certainly be back for more!!’

‘We had one of the most memorable nights, the choir was magnifi cent. We are looking forward to attending more often – thank you.’

And we’re only guessing, but suspect that there were some younger ‘groovers’ in the audience that week: ‘It was totally awesome. The Sydney Symphony should do more with the Sydney Philharmonia Choir. It was completely awesome.’

We like to hear from you. Write to yoursay@sydneysymphony.com or Bravo! Reply Paid 4338, Sydney NSW 2001.

Celebrating after the gala performance of Beethoven 9: the Sydney Symphony’s patron (and one of our loyal concertgoers), Her Excellency Professor Marie Bashir AC CVO, Governor of NSW (left), with Squadron Leader David Glasson ADC and Patricia Lovejoy.

We celebrated the beginning of the 2012 season in February with a gala performance of Beethoven’s Ninth Symphony conducted by Vladimir Ashkenazy. In the thrilling fi nale to the evening we were joined by Sydney Philharmonia Choirs in fi ne form and soloists Lorina Gore, Sally-Anne Russell, James Egglestone and Michael Nagy.

Community Focus

George Maltabarow (left), Managing Director of Ausgrid, wishing the Sydney Symphony a happy birthday after our recent Beethoven 9 concerts – with Janet Webb, Principal Flute, and Amanda Maltabarow (right).

COMMUNITY TIXOne long-standing Sydney Symphony partner has devised a new program to help bring great orchestral music to the wider community.

Do you remember your fi rst symphony orchestra concert? Perhaps someone helped you give orchestral music a try – a relative, a friend, a teacher – and that’s why you’re part of the Sydney Symphony community today.

Or was there, perhaps, a low-level anxiety in handing over precious pennies saved for your ticket? What if you didn’t enjoy it? Value for money has always been important. Wouldn’t it be great if you could ‘try before you buy’?

Ausgrid’s community partner-ship with the Sydney Symphony means you can do just that. Under the new Community Tix program, 80 people will be able to head along to a Masters Series or Kaleidoscope concert at a discounted rate before choosing to buy a subscription, the classical equivalent of a season pass.

Coinciding with the Sydney Symphony’s 80th birthday, the Community Tix program provides two-for-one priced tickets to the fi rst 40 people who enter each month on the Sydney Symphony website. Details will be advertised in community newspapers each month.

Ausgrid Managing Director George Maltabarow said its partnership with the Sydney Symphony was designed to help more people gain access to the arts.

“We are very proud to provide direct support to the Orchestra so it can continue to enrich the lives of so many Australians,” Mr Maltabarow said.

The fi rst concert to feature in the Community Tix program is When I Fall in Love: An Evening with Chris Botti, which opens the Kaleidoscope series in mid-March.

Visit sydneysymphony.com/communitytix for more information

Nothing but the pianoEach season the Sydney Sym-phony presents four concerts that don’t involve the orchestra at all. The series is International Pianists in Recital, supported by Theme & Variations, and it presents four leading pianists in programs drawn from the rich repertoire of music for solo piano – just one musician, seated at the ‘monarch of instruments’, painting pictures for the ears and taking us on astonishing musical journeys. The series has a dedi-cated following, often fi lling the 1200-seat City Recital Hall at Angel Place. What’s the attrac-tion?

First there are the individual artists: from brilliant newcom-ers, such as Behzod Abduraimov, making his Australian debut this year, to pianists well-known to Sydney audiences, such as Piers Lane. Then there are the pro-grams. Our recitalists bring all their imagination and musical insight to planning their pro-grams. For some the motivation is a desire to tell stories in music, others make programs that are historically illuminating, some will choose a monumental work that fi lls the entire evening. Others, such as Abduraimov, take the Mozartian approach: fi nding the perfect balance between appealing to connoisseurs and simply allowing everyone in the hall (performer included!) to have fun and enjoy all the brilliant possibilities of the piano.

Behzod Abduraimov Mon 26 March | 7pmAndreas Haefl igerMon 14 May | 7pmPiers LaneMon 20 August | 7pmAngela HewittMon 24 September | 7pm

The Score

Behzod Abduraimov

INSTRUMENT ACQUISITION

Late last year we received another signifi cant donation towards our Sydney Symphony String Instrument Fund. This will allow the purchase of another violin and cello to improve, and better match, the overall sound of our string section. Various international violinmakers in London and Chicago have helped us source 11 violins and four cellos to ‘audition’ in the orchestra. Each instrument is identifi ed only by a number, ensuring greater impartiality in the assessment process – think of it as the instrument equivalent of a blind tasting. Stay tuned for more news about our fi nal selection.

ANNIVERSARY COMPOSITION PRIZE WINNER

At the end of February we announced the winner of our 80th anniversary composition prize: Elliott Gyger. His prize-winning work, on air, dialogue for orchestra, was inspired by a photograph of the Australian Broadcasting Commission’s fi rst studio orchestra

(just 17 musicians), and celebrates the Sydney Symphony’s origins and close links to broadcasting. Vladimir Ashkenazy will conduct the premiere performances on 22, 23 and 24 March in our Fireworks and Fantasy program.

BIRTHDAY GREETINGS

Music-loving celebrities from Australia and abroad have been wishing us happy birthday via YouTube. So far, the videos include greetings from Hugh Jackman, Roger Federer, Andrew Denton, Peter Sculthorpe and John Bell, with videos from Katie Noonan, Eddie Perfect and others still to come. Check out the full playlist here: bit.ly/HappyBirthdaySSO

NEW ARRIVALS

Sydney Symphony trumpeter Anthony Heinrichs and his wife Bridget Bolliger welcomed a son, Luca Raphael, into the world on 31 January. And cellist Tim Nankervis and wife Jacqui were also delighted to announce the arrival of their little girl Mietta Susan on 2 February. Congratulations all!

LEADERSHIP ENSEMBLE

We welcome new Leadership Ensemble members James Stevens, CEO of Roses Only; Shell (Australia); Stephen Johns, Chairman of Leighton Holdings and Michele Johns.

SSONIC

In February we launched a brand new program for music lovers under 35 – SSONIC. If you or someone you know fi ts the bill, the program offers the chance to experience Sydney Symphony concerts in a fresh way. The prices are unbeatable and the packages offer fl exibility to suit a youthful lifestyle. Find out more on our website: sydneysymphony.com/ssonic

OBOE MASTERCLASS

Last month, two oboists from our Emerging Artist Program played in a masterclass with François Leleux, who was in town to perform in a pair of concerts with the Sydney Symphony. Rachel Cashmore (2012 Oboe Fellow) and Sinfonia member Toby Thatcher both benefi ted from François’ expert guidance and his unfl agging energy. Members of the Australian Double Reed Society were also present.

CODA

BRAVO EDITOR Genevieve Lang sydneysymphony.com/bravo

SYDNEY OPERA HOUSE TRUSTMr Kim Williams AM (Chair)Ms Catherine Brenner, Ms Helen Coonan, Mr Wesley Enoch, Ms Renata Kaldor AO, Mr Robert Leece AM RFD, Mr Peter Mason AM, Dr Thomas (Tom) Parry AM, Mr Leo Schofi eld AM, Mr John Symond AM

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