LE GRAND TANGO

KALEIDOSCOPE

Friday 17 April 2015 Saturday 18 April 2015

concert diary

Louis Lortie in RecitalFAURÉ Préludes, Op.103 SCRIABIN 24 Preludes, Op.11 CHOPIN 24 Préludes, Op.28

International Pianists in Recital Presented by Theme & Variations

Mon 13 Apr 7pm City Recital Hall Angel Place

Pre-concert talk by Scott Davie at 6.15pm

Le Grand Tango with Sydney Dance CompanyBIZET Carmen: Suite No.1 SARASATE Navarra GINASTERA Concerto Variations PIAZZOLLA Le Grand Tango The Four Seasons of Buenos Aires Libertango Daniel Carter conductor Soloists from the SSO including: Andrew Haveron violin • Catherine Hewgill cello Marina Marsden violin • Kirsten Williams violin Associate artists of Sydney Dance Company

Kaleidoscope

Fri 17 Apr 8pm Sat 18 Apr 8pmPre-concert talk by Vincent Plush at 7.15pm

Anzac Day SaluteCOPLAND Fanfare for the Common ManMF WILLIAMS Letters from the Front australian premiere

Traditional Catholic and Turkish chantsPARRY My soul there is a countryLEDGER War Music premiere

TALLIS Why fumeth in fight…?VAUGHAN WILLIAMS Fantasia on a Theme by Thomas Tallis

Richard Gill conductor Ayse Göknur Shanal soprano Gondwana Chorale with guest singers from France, Turkey and New Zealand

Meet the Music

Wed 22 Apr 6.30pm Special Event

Fri 24 Apr 8pm Pre-concert talk by Vincent Plush 45 minutes before each performance

Bold as BrassBrilliant originals and transcriptions of classic favourites

SSO Brass Ensemble

Tea & Symphony

Fri 1 May 11am Complimentary morning tea from 10am

JOSH PYKE Live with your SSOJosh Pyke will perform hits from across all of his albums, including Leeward Side, Middle of the Hill and The Lighthouse Song.

Christopher Dragon conductor Josh Pyke vocalist/guitar

SSO presents

Wed 29 Apr 8pmMeet the Music

Thu 30 Apr 6.30pmPre-concert talk 45 minutes before each performance

CLASSICAL

SSO PRESENTS

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14K S27-28 K2 LeGrandTango.indd 4 14/04/15 7:16 AM

2015 concert season

KALEIDOSCOPE

FRIDAY 17 APRIL, 8PM

SATURDAY 18 APRIL, 8PM

SYDNEY OPERA HOUSE CONCERT HALL

LE GRAND TANGODaniel Carter conductor Andrew Haveron violin Kirsten Williams violin Marina Marsden violin Catherine Hewgill cello Dancers and Associate Artists of Sydney Dance Company

GEORGES BIZET (1838–1875) Carmen: Suite No.1

PABLO DE SARASATE (1844–1908) Navarra, Op.30

Kirsten Williams & Marina Marsden, violins

ALBERTO GINASTERA (1916–1983) Variaciones Concertantes, Op.23

INTERVAL

ÁSTOR PIAZZOLLA (1921–1992)Le Grand Tango arranged for cello and orchestra by Arturo Rodríguez

Catherine Hewgill, cello Associate Artists of Sydney Dance Company choreography by Cass Mortimer Eipper

The Four Seasons of Buenos Aires adapted by Leonid Desyatnikov

Andrew Haveron, violin Associate Artists of Sydney Dance Company choreography by Lucas Jervies

Libertango arr. Rodríguez

Janessa Dufty & Petros Treklis (Sydney Dance Company) choreography by Rafael Bonachela

See page 20 for full credits

Pre-concert talk by Vincent Plush in the Northern Foyer 45 minutes before each performance. Visit sydneysymphony.com/speaker-bios for more information.

Estimated durations: 12 minutes, 7 minutes, 21 minutes, 20-minute interval, 12 minutes, 25 minutes, 4 minutes The concert will conclude at approximately 10pm

Join us in the Northern Foyer for Night Lounge after the performance on 18 April.

14K S27-28 K2 LeGrandTango.indd 4 14/04/15 7:16 AM

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Georges Bizet (1838–1875) Suite No.1 from the opera CarmenAragonaise Intermezzo Les Dragons d’Alcala Les Toréadors

When Bizet’s best known opera, Carmen, was first produced

in Paris three months before his death (on the night of the

33rd performance), its unashamed realism – including women

fighting and smoking and the onstage murder of the heroine –

was too strong for many tastes. Nonetheless, it ran for 45

performances, largely on the strength of its shock value.

Set in Seville in Spain, the opera tells the story of Carmen, a

fickle gipsy girl, who is arrested for causing a disturbance among

the girls at the cigarette factory where she works. She is helped

to escape by the corporal, Don José, who falls for her wiles.

She seduces him from his career and duty, wrecking his life

and finally spurning him in favour of Escamillo, the famous

bullfighter. When she refuses to return to him, Don José stabs

her to death in a fit of passion.

Bizet’s aim in choosing the chillingly realistic story by Prosper

Mérimée for his libretto was provocative; he aimed to revitalise

opera and he at least partially succeeded. Eight years after the

first performances, the opera was again produced at the Opéra-

Celestine Galli-Marie, creator of the role of Carmen – portrait by Henri-Lucien Doucet, 1884

Georges Bizet – photo by Etienne Carja, 1875

ABOUT THE MUSIC

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Act 1 of Carmen from the 1875 premiere – lithograph by Pierre-Auguste Lamy

Comique, the original critical comments having given way to

enthusiastic acclaim, such as Carmen still receives today.

The music ideally combines French elegance and deft

orchestral scoring with strong feeling and Spanish local colour.

A most attractive feature is the linking and introduction of

scenes by instrumental movements, which form the larger part

of the orchestral suites drawn from the opera.

Aragonaise. Outside the walls of the bullring, the square is

animated: people have come to enjoy the spectacle of the

bullfight. The aragonaise is a lively dance in triple time

performed by couples facing each other and accompanying

their movements with castanets and singing.

Intermezzo. Act III is set in the rugged mountains outside Seville,

where the smugglers have made their camp. In this act Micaëla,

Don José’s childhood sweetheart and fiancée, comes to look

for the fallen corporal, to try to persuade him to come back to

her. This wistful, gentle piece, with its attractive lilt, introduces

the purity of Micaëla’s love.

Les Dragons d’Alcala. As Don José makes his way to the tavern

where Carmen is waiting for him, he sings about the dragoons

of Alcala. His pride in his duty is short-lived, for he decides to

desert and go with Carmen to join the smugglers’ camp.

Les Toreadors. This famous theme occurs at several different

points in the opera, including the climax of Act IV where Don

José, mad with jealousy, kills the faithless Carmen outside the

bullring, while the crowd inside roars its homage to the toreador,

Escamillo.

© SYMPHONY AUSTRALIA

The first Carmen suite calls for two flutes (one doubling piccolo), two

oboes (one doubling cor anglais), two clarinets and two bassoons; four

horns, two trumpets and three trombones (but no tuba); timpani and

percussion, harp and strings.

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Pablo de Sarasate (1844–1908) Navarra, Op.33 Kirsten Williams & Marina Marsden violins

As a boy, Pablo Martín Melitón de Sarasate y Navascuéz – the

talented son of a sandal maker and a small town bandmaster

from Pamplona – came to attention of Queen Isabella II of

Spain. Her personal sponsorship enabled him to study at the

Paris Conservatoire from the age of 13 and then to develop a

stellar career across Europe and the Americas. The Queen also

gave him a Stradivarius violin, which he played for most of his

life and eventually bequeathed to the Conservatoire.

His Spanish temperament, combined with the French

precision he learned at the Paris Conservatoire, led him to

becoming a violinist of great merit. Departing from the

classical style established by Joseph Joachim and the dashing

brilliance of Vieuxtemps and Wieniawski, he cultivated a tone

of unmatched sweetness and purity, with a broader vibrato

than his contemporaries. He quickly became famous for the

flexibility and stunning accuracy of his technique, and an

effortless, even casual, manner of playing – winning acclaim

from critics and inspiring compositions from Saint-Saëns,

Bruch, Lalo and Dvořák.

Sarasate’s compositions were primarily for his own use and

are full of technical devices he either invented or developed.

Most of them, such as his popular Carmen Fantasy, are in

the Spanish idiom, with the best-known exception being

Zigeunerweisen, inspired by the Hungarian works of the piano

virtuoso Franz Liszt.

Navarra is unusual in that it calls for two soloists rather than

one, and Sarasate frequently performed it with his countryman

Enrique Fernández-Arbós. The title refers to the region of

Spain where Sarasate was born; after the brief introduction for

the soloists alone, it’s clear that he had a dance in mind, the

jota. The music is high-spirited, even during the more lyrical

middle section. There’s a suggestion at times of pipe and tabor,

with basque drum effects from the percussion and flute-like

harmonics in the violins. And although there are fleeting

moments of one-upmanship between the soloists, their parts

spend most of the time in sweet parallel harmonies – an

exercise in true virtuoso partnership.

SYDNEY SYMPHONY ORCHESTRA © 2015

The orchestra for Navarra comprises pairs of flutes, oboes, clarinets,

bassoons, horns and trumpets; three trombones; timpani and percussion;

and strings.

SARASATE THE VIOLINIST

‘He never interprets anything: he plays it beautifully, and that is all…He is always alert, swift, clear, refined, certain, scrupulously attentive, and quite unaffected. This last adjective will surprise people who see him as a black-haired romantic young Spaniard, full of fascinating tricks and mannerisms…There is no trace of affectation about him: the picturesqueness of the pluck of the string and stroke of the bow that never fails to bring down the house is the natural effect of an action performed with perfect accuracy in an extraordinarily short time and strict measure.’

GEORGE BERNARD SHAW

Pablo de Sarasate: Portrait of a Violinist (c.1875) by William Merritt Chase

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Alberto Ginastera (1916–1983) Variaciones Concertantes, Op.23Theme, solo cello and harp (Adagio molto espressivo) – Interlude for strings (L’istesso tempo) – Variation in fun (giocosa) for flute (Tempo giusto) – Scherzo Variation for clarinet (Vivace) Dramatic variation for viola (Largo) Canonic variation for oboe and bassoon (Adagio tranquillo) Rhythmic variation for trumpet and trombone (Allegro) – Variation in moto perpetuo for solo violin (L’istesso tempo) Pastoral variation for horn (Largamente espressivo) Interlude for winds (Moderato) Return of the theme for solo double bass (Adagio molto espressivo) Final variation. Rondo for orchestra (Allegro molto)

Ginastera’s Variaciones Concertantes (‘Concerto Variations’) was designed as a showpiece for a small orchestra. The variations are concertante in the sense that each features a part of the orchestra, often a solo instrumentalist. Ginastera knew the orchestra and the players for whom he was writing, on a commission from the Buenos Aires Association of Friends of Music. Igor Markevitch, one of the work’s dedicatees, conducted the first performance in Buenos Aires on 2 June 1953.

Alberto Ginastera is probably the best known of all composers from Argentina. Born in Buenos Aires in 1916 to parents who were second-generation Argentines of Catalan and Italian ancestry, he studied at the National Conservatory in his native city with José André, a pupil of French composers d’Indy and Roussel. Before entering the conservatorium, he had some lessons with Alberto Williams, one of the pioneers of the national movement in Argentine music, who superimposed folkloristic elements on a traditional European style.

Ginastera’s early compositions followed Williams’ lead, but his studies under André also introduced him to the music of Debussy, Stravinsky and Bartók. Ginastera’s first acknowledged work was the ballet Panambí, based on indigenous, ‘gauchesco’ themes – an attempt at an ‘objective nationalism’, as in Bartók’s own early music. The performance of this ballet in 1937 gained Ginastera a national reputation, and led in 1940 to another ballet in the same style, Estancia, which won admiration abroad, and praise from Aaron Copland.

Variaciones Concertantes belongs to the period after Ginastera’s stay in the United States on a Guggenheim Fellowship (1945–47), a period he considered transitional, in which his music no longer depended on direct folk music quotation but comes from a

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subjective feeling for the mood and ambience of a people and a country (this period coincided with Ginastera’s loss of favour with the Perón regime, which he openly criticised). His later music tended towards polytonality, atonality and serialism, but in a completely undoctrinaire way. He created his own brand of ‘imaginary folklore’, and the sounds of the pampas are part of his colour world, as Latin dance is of his rhythms. His music is spontaneously ‘felt’, but disciplined by a strong sense of form: ‘A work without form is a work deformed,’ he said, ‘Music is architecture in movement, and the form must always be born with the music. It is not a different thing; it is the same thing.’ Far from the stereotype of the fiery, volatile Latin, Ginastera struck his friend Everett Helm as a serious, quiet, even reticent person ‘who gives the impression of a benevolent owl’.

Major works of Ginastera’s later years include the operas Don Rodrigo (1964), Bomarzo (1967) and Beatrix Cenci (1971), the series of Pampeanas for orchestra and for various instrumental combinations; concertos for piano, for harp and for cello (the second of these for the composer’s second wife, cellist Aurora Natoli); and Cantata para América mágica (1960) for soprano and 53 percussion instruments.

The theme of the Variaciones Concertantes is stated by a single cello over a figure played by the harp, sounding the notes of the open strings of the ‘gauchesco’ guitar (E–A–D–G–B–Eı), a tuning in fourths which runs through the chordal structure of the work, and relates the music to the feel of the pampas: the vast treeless plains and ranch lands that identify almost all of Argentina outside Buenos Aires and its suburbs. An analogy could be made between the role of the pampas in the Argentine imagination and the bush in the Australian. In the Finale of the Variaciones, too, where the whole orchestra is used for the first time, there is an element of the malambo, the dance associated with the dance contests of the gauchos. Beyond these observations, the composer’s very full and informative headings to each of the variations provide a sufficient guide.

Echoes and influences of Bartók, Falla and Stravinsky (especially his ballet The Rite of Spring) can be heard in this music, to its advantage. It provides a consistently entertaining, orchestrally resourceful, and expressive introduction to Ginastera who, in Helm’s judgment, may be the first composer to have achieved a music unmistakably Latin American, yet free of specific dialects and valid in universal terms.

DAVID GARRETT © 1999

Ginastera’s Variaciones calls for a small orchestra of two flutes (one doubling piccolo), oboe, two clarinets and bassoon; two horns, trumpet and trombone (again, no tuba); timpani, harp and strings.

…the sounds of the pampas are part of his colour world, as Latin dance is of his rhythms.

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Ástor Piazzolla (1921–1992) Le Grand Tango Libertangoarrangements by Arturo Rodríguez

Catherine Hewgill cello

In 1954 Ástor Piazzolla won a scholarship to study with the

legendary Nadia Boulanger in Paris. He was by this stage

acknowledged as a great composer of tangos and performer

on the bandoneón in his native Buenos Aires (though,

incidentally, he spent many of his earliest years in New York)

and had already studied with Alberto Ginastera. But Piazzolla,

like Gershwin, yearned to be a serious composer and played

down the importance of tango at first. Boulanger, however,

showed her usual perspicacity. Hearing Piazzolla play tango on

the bandoneón she famously said ‘Ástor, your classical pieces

are well written, but the true Piazzolla is here, never leave it

behind’ – echoing Ravel’s advice to Gershwin that there was

nothing he could teach the American.

Piazzolla took Boulanger’s advice, as one would, but at the

same time his interest in ‘classical’ music allowed him to enrich

KeynotesPIAZZOLLA

Born in Mar del Planta, a fishing port south of Buenos Aires, Ástor Piazzolla moved with his family to New York when he was a boy. There, at the age of eight, he received his first bandoneón, which his father bought for $19 from a pawn shop. Moving back to Mar del Planta when he was a teenager, Piazzolla quickly established himself on the musical scene. His formal studies took him into classical territory: the great pianist Artur Rubinstein suggested he study composition with Ginastera, who sent him to Paris to study with Nadia Boulanger, who in turn guided him back to his own distinctive musical voice. Piazzolla eventually created the nuevo tango, a heady, artful combination of Argentine tango, jazz and the principles of classical chamber music.

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Ástor Piazzolla, 1975

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his tango composition and move freely between popular and

‘serious’ musical worlds. He composed for Rostropovich, the

Kronos Quartet and Gidon Kremer among others, and maintained

an interest in ‘classical’ genres.

Tango itself was originally far from high art, and while its

origins are complex it was the music of the slum areas of

Buenos Aires in the early 20th century which is the root of

Piazzolla’s work. Characterised by an immediately recognisable

duple rhythm, tango developed into three major forms: tango-

milonga, the purely instrumental form; tango-romanza, which

blends dance with Romantic song; and tango-canción, a more

sentimental vocal form.

Le Grand Tango is one such ‘classical’ evocation of that

unabashed famous dance of passion. Piazzolla uses the driving

tango rhythm to draw from the cello (and, in its original form,

the piano) an uncompromising and unrelenting vigour.

The three linked sections of Le Grand Tango seem to be a

meditation on the emotional state that exists within the dance –

the tango having within it sensuality, introspection and barely

reined-in passion. The long middle section is imbued with a

lyrical melancholy perfectly suited to the sonority of the cello

while the accompaniment plays an integral part in the shaping

of all three sections. Far more than a simple harmonic support,

the orchestra provides the sound of distant bells, rhythmic

variation and a distinct ‘second voice’ in commentary on the

tango.

The expected return of the tango rhythm frees the cello to

try some more daring things – double stopping and glissandos –

with extended passages of syncopation and some formidable

driving harmonies in the orchestra. The end, when it comes,

signifies exhaustion – but there is also exultation, a hint that

it was all worthwhile, and that we’d dance like that again!

In the early 1970s Piazzolla was associated with Conjunto 9,

an ensemble consisting of bandoneón (which he played), string

bass, electric guitar, piano, string quartet and drum kit. Their

sound was, naturally, more hi-tech than that of the roots of

tango, but Libertango, a ‘sort of song of liberty’, composed for

the group in 1974, has since been heard in several successful

arrangements.

ADAPTED FROM NOTES BY DAVID VIVIAN RUSSELL, SYMPHONY

AUSTRALIA © 2000 (Le Grand Tango) AND GORDON KERRY © 2011

(Libertango)

The orchestra in Rodríguez’s arrangements comprises pairs of flutes,

oboes, clarinets, bassoons, horns and trumpets; three trombones;

timpani and percussion; and strings.

Libertango composed by Ástor Piazzolla © 1975 Edizione Curci Srl and A Pagani Srl, Italy, arranged by Arturo Rodríguez, reproduced with the permission of Fable Music Pty Ltd (Australia).

…sensuality, introspection and barely reined-in passion.

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Piazzolla Cuatro Estaciones Porteñas – Suite (The Four Seasons of Buenos Aires)adapted by Leonid Desyatnikov

Verano porteño (Summer in Buenos Aires) Otoño porteño (Autumn in Buenos Aires) Invierno porteño (Winter in Buenos Aires) Primavera porteña (Spring in Buenos Aires)

Andrew Haveron violin

Behind Piazzolla’s Four Seasons of Buenois Aires is one of the

most famous pieces of classical music ever: Vivaldi’s Four

Seasons, a set of four violin concertos published in 1725. Vivaldi

wrote more concertos than anybody (500 and counting), but

the Four Seasons are by far the best known. With these

particular concertos Vivaldi tested the power of music to

describe the natural world, attempting to convey in music the

birds, zephyr winds and storms that break with thunder and

lightning. He even included supplementary ‘captions’ throughout

the music, directing the musician’s attention to the barking

dogs, chattering teeth and other striking effects.

It’s been said, in jest, that Vivaldi wrote not 500 concertos

but the one concerto 500 times. You might say he was on to a

good thing and he stuck to it. Not unlike the direction that an

ambitious but self-doubting Astor Piazzolla received when he

left his native Argentina to study in Paris with Nadia Boulanger

in the 1950s.

By then 32, Piazzolla was already famous as leading

performer on the bandoneón, a type of concertina that takes

the lead in many a swirling tango. Like Vivaldi, he was a virtuoso

performer who also composed and arranged music for bands

and small orchestras. Whereas Vivaldi gave the world

concertos, Piazzolla created the nuevo tango, a more complex

version of the traditional tango that took inspiration from the

Argentinean underclass and brothel scene. And when Piazzolla

sought Boulanger’s advice after composing a symphonic work,

she told him the way forward lay in his experience with tango.

He would go on to compose about 750 tangos, introducing

elements of classical music (chromaticism, dissonance,

rhythmic complexity) and jazz into the dance form.

The Four Seasons of Buenos Aires was not originally

composed for violin and orchestra, after the Vivaldi model.

It was not composed as a set, after that model, or even with

all the references you’ll hear to that model in tonight’s

performance. Piazzolla penned the first of his Estaciones

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porteñas – Verano (Summer) in 1965 for his Quinteto Nuevo

Tango, comprising violin, electric guitar, piano, bass and

bandoneón. Autumn followed in 1969, then Winter and Spring

in 1970. But the pieces were seldom (if ever) performed together

until 1991.

The timing is interesting. In 1989, Nigel Kennedy had

recorded Vivaldi’s Four Seasons and established a runaway

success. In 1991, while Piazzolla was in a coma that would

endure for a year before his death, his friends and admirers

banded together to create a tribute album they called ‘Four

Seasons of Buenos Aires’. They took the title from a Jaques

Morelenbaum arrangement of the four tangos Piazzolla

composed for the porteños, or port people of Buenos Aires.

These tangos did not describe the weather or the natural

landscape, but the barometer of the people in the city, their

attitude, sensuality, vulnerability and passion. They combined

popular dance rhythms with brooding harmonies, art music

devices and special effects (one of which sounds remarkably

like a croaky frog). Each season is a single-movement rhapsody,

but like Vivaldi’s seasons, they are divided into clear sections

and display an endless inventiveness that entertains and

rewards the ear and the mind.

Morelenbaum pulled the four tangos together to make a suite,

and orchestrated them for woodwind quintet, three cellos and

a double bass. Many other arrangements of the suite were made

subsequently, including tonight’s ingenious arrangement for

solo violin and orchestra made by Russian composer Leonid

Desyatnikov for Gidon Kremer, the Latvian violinist and leader of

Kremerata Baltica.

Kremer’s conception – which involved splicing together the

Vivaldi and Piazzolla works for ‘Eight Seasons’ – sparked the

references to Vivaldi’s concertos and there is plenty of fun to be

had spotting the similarities. Piazzolla’s spring is filled with lots

of funny croaking sounds, like Vivaldi’s birds, then moves into

the chordal stasis of Vivaldi’s autumn movement. Kremer says

this combination of spring and autumn acknowledges that

while it’s spring in Argentina it is autumn in Italy. In Piazzolla’s

autumn tango, there are references to Vivaldi’s spring concerto.

The winter tango quotes from the summer concerto (as well as

Boccherini and Bach), and there are obvious allusions to Vivaldi’s

winter at the start and finish of Piazzolla’s summer.

ADAPTED FROM A NOTE BY RITA WILLIAMS

SYDNEY SYMPHONY ORCHESTRA © 2008

Desyatnikov’s arrangement of Piazzolla’s Four Seasons of Buenos Aires

is scored for solo violin with string orchestra accompaniment

Cuatro Estaciones Porteñas Composed by Ástor Piazzolla © Editorial Lagos By kind permission of Warner/Chappell Music Australia Pty Ltd.

…a barometer of the people…their attitude, sensuality, vulnerability and passion.

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Ginastera seems to conjure the spirits and magic of pre-Columbian South America. It features, along with music by Villa-Lobos and José Evangelista, on a recording from I Musici de Montreal under the direction of Yuli Turovsky.CHANDOS 9434

MORE MUSIC

MORE PIAZZOLLA

Growing up in New York, the jazz-smitten eight-year-old Astor Piazzolla was disappointed when his father set him learn not the saxophone, as he’d have preferred, but a curious and unwieldy button squeeze-box. Fatally un-cool, his bandoneón received little attention until a Hungarian pianist who lived in his apartment block taught him to play some Bach on it. Back in Argentina, and already a night-club musician at age 17, he was a fish out of water, a bandonenista with classical aspirations. Piazzolla’s double life was no more evident than on those occasions he actually took tango and his bandoneón into the classical concert hall, and his Bandoneón Concerto (1979) perfectly encapsulates his creative response to his dilemma. According to Pablo Ziegler, Piazzolla’s regular pianist at the time the concerto was written, even in classical dress the tango remained ‘swing plus slang; defiant and exhibitionist…all about mugre (filth) and roña (fight)…Piazzolla wrote very sophisticated compositions, but at the same time, they are mugrosas’. Piazzolla himself is soloist in both this work and his 1985 Concerto for bandoneón and guitar, recorded and filmed for The Next Tango, with composer interviews.DEUTSCHE GRAMMOPHON (DVD)

MORE BIZET VIA SARASATE

A century ago, Sarasate’s music was a staple on recital and orchestral programs. Which is not to suggest that it is altogether forgotten in today’s recording age. His Concert Fantasy for violin (with orchestral or piano accompaniment) on themes from Bizet’s Carmen, Op.25 (known more simply as the Carmen Fantasy) remains well known and much loved, a personal re-appreciation of Bizet’s original that nevertheless represents faithfully the opera’s highlights, notably the famous Habanera and Séguidilla of Act I. The Fantasy appears on Vol.2 of Sarasate: Music for Violin and Orchestra, with soloist Tianwa Yang and the Orquestra Sinfónica de Navarra, conducted by Ernest Martínez Izquierdo.NAXOS 8.572216

MORE GINASTERA

Dating from the mid 1960s, Ginastera’s four-movement Concerto for Strings, Op.33, was first performed at the Caracas Music Festival in Venezuela by the strings of the visiting Philadelphia Orchestra, conducted by Eugene Ormandy. A radical repackaging of music from his strikingly modernist, freely atonal Second String Quartet (1958), its skittishly sparkling centrepiece is a Scherzo fantastico, a piece in which

Broadcast Diary

April

abc.net.au/classic

Saturday 25 April, 8pm ANZAC DAY SALUTE

Richard Gill conductor Ayse Göknur Shanal soprano Michael McStay narrator Gondwana Chorale

Copland, MF Williams, Parry, Ledger, Tallis, Vaughan Williams

SSO RadioSelected SSO performances, as recorded by the ABC, are available on demand: sydneysymphony.com/SSO_radio

SYDNEY SYMPHONY ORCHESTRA HOUR

Tuesday 12 May, 6pm

Musicians and staff of the SSO talk about the life of the orchestra and forthcoming concerts. Hosted by Andrew Bukenya.

finemusicfm.com

17

Daniel Carter graduated from the University of Melbourne with an honours degree in music having studied composition and piano. After a two-year period as a Developing Artist Conductor/Repetiteur with Victorian Opera, working as Assistant Conductor and as Richard Gill’s assistant, in 2012 he won the Brian Stacey Memorial Award for Emerging Conductors. A graduate of the Symphony Services International Core Conductors Program, he has worked with the symphony orchestras in Melbourne, Adelaide, Hobart and Auckland under the tutelage of conductors such as Bernard Labadie, Arvo Volmer, Lutz Köhler, Sebastian Lang-Lessing and Christopher Seaman. He has also taught at Symphony Services International as part of their Scholar Conductors Program.

He has conducted performances of Kurt Weill’s Threepenny Opera at Sydney Theatre Company, education performances of Mozart’s Magic Flute for Victorian Opera, prepared the chorus for the Australian Ballet’s Elegy (Fauré), and worked as Assistant Music Director on Assembly for the Melbourne Festival.

Since 2012 he has worked as assistant conductor on Mozart’s Così fan tutte and Verdi’s Aida, and as conductor on the tour of Mozart’s Don Giovanni for Opera Australia; with the West Australian Symphony Orchestra (Young Performers Awards Grand Final); the Melbourne and Sydney festivals, including performances of Schoenberg’s Pierrot Lunaire with soloist Merlyn Quaife; Melbourne Youth Music and Willoughby Symphony Orchestra. For Victorian Opera he has conducted Elliott Carter’s What Next?, Master Peter’s Puppet Show, Puss in Boots, Rush Hour and Calvin Bowman’s Magic Pudding (for which he received a Green Room Award nomination for Best Conductor) as well as assisting on Nixon in China.

Most recently he conducted Carmen for Theater Freiburg in Germany, and in Australia he has conducted both the Sydney and Queensland symphony orchestras.

Daniel is currently assistant to Simone Young and resident repetiteur at the Hamburg State Opera, where his performances include Mozart’s Magic Flute, Rossini’s Barber of Seville, and a double bill for the Opera Studio: In the Locked Room (Watkins) and Persona (Langemann).

Daniel Carterconductor

THE ARTISTS

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THE ARTISTS

Andrew Haveron joined the SSO as Co-Concertmaster in 2013, arriving in Sydney with a reputation as one of the UK’s most sought-after violinists. Born in London in 1975, he studied at the Purcell School and the Royal College of Music and in 1996 was the highest British prizewinner at the Paganini Competition for the past 50 years. He also received prizes at the Queen Elisabeth of Belgium and Indianapolis competitions.

As a soloist, he has appeared with the London Symphony Orchestra (conducted by Colin Davis), the BBC Symphony Orchestra (Jiří Bělohlávek), and with the Hallé and City of Birmingham Symphony orchestras.

As first violinist of the Brodsky Quartet (1999–2007), his work included collaborations with artists ranging from Anne-Sofie von Otter and Alexander Baillie to iconic crossover work with Elvis Costello, Björk, Paul McCartney and Sting. He recorded more than 15 albums with the quartet, many of which won awards such as Diapason d’or and Choc du Monde de la Musique.

As an orchestral leader, he has frequently worked with major symphony orchestras around the world, including leading the World Orchestra for Peace at the request of Valery Gergiev. In 2004 he received an honorary doctorate from the University of Kent for his services to music.

Andrew Haveron plays on a violin made for him by the American luthier Sam Zygmuntowicz in 2001. Read more in Bravo! bit.ly/Bravo2013-3

Andrew Haveron violinconcertmaster

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Kirsten Williams studied with Alice Waten at the Sydney Conservatorium and then Igor Ozim in Switzerland before joining the first violins in the Royal Opera House Orchestra at Covent Garden and spending two years with the Academy of St Martin in the Fields. She has been a member of the Australian Chamber Orchestra as associate leader, and guest concertmaster of the Australian Opera and Ballet Orchestra and the Queensland Symphony Orchestra. In 2000 she was appointed Associate Concertmaster of the SSO.

As a soloist, she has appeared with the Bern Symphony Orchestra, Neuchâtel Chamber Orchestra and Philharmonische Akademie Bern, as well as the West Australian, Queensland and Sydney symphony orchestras, the Metropolitan Orchestra and the ACO.

A dedicated teacher, she has also been involved with Sydney Youth Orchestra for many years and toured North America as Artistic Director of the Australian Youth Orchestra’s Camerata. She also has a passion for playing music for healing purposes: she has recorded two CDs for Australian Bush Flower Essences and in 2014 was named Volunteer of the Year for her work playing to babies in the Intensive Care Unit at Westmead Children’s Hospital. Last year she also became patron of the Goulburn Strings Project, designed to bring music education to low socioeconomic and disadvantaged children in regional Australia, and travels weekly to Goulburn to give violin lessons to the children in the program.

Kirsten Williams violinassociate concertmaster, i kallinikos chair

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Marina Marsden has been the SSO’s Principal Second Violin since 2006, and from 1995 until 2006 was the orchestra’s Assistant Concertmaster. She studied violin at the Sydney Conservatorium with Alice Waten and from 1985, assisted by several scholarships, studied for a Performer’s Diploma in Vienna with Gerhard Schulz (Alban Berg Quartet). She was a concertmaster of the Bruckner Orchestra (Austria) in 1990 and the Associate Concertmaster of the Melbourne Symphony Orchestra (1992–94). In 1997, she travelled to Austria and the USA on a Churchill Fellowship. More recently she travelled to Europe for advanced study in violin playing and mentoring, assisted by the SSO Michael and Mary Whelan Trust Scholarship.

As soloist, she has performed with the Sydney Symphony, Melbourne Symphony, Canberra Symphony and Adelaide Chamber orchestras. In 2011 she performed as a member of the inaugural Australian World Orchestra. She appears frequently in the SSO Chamber Players series, and as a founding member of the Linden String Trio, as well as in chamber music festivals, including the 2009 Bowral Autumn Festival with members of the Australia Ensemble.

Her recordings include Marina Marsden – Violin Recital and Margaret Sutherland – The Chamber Music with Strings, for which she received a 1999 Australian Music Centre National Award. In 2009 she released a recording of Australian violin music, Spirit Dances, and in 2011 recorded three CDs for the AMEB with pianist Clemens Leske.

Marina Marsden violinprincipal second violin

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Catherine Hewgill studied cello in Perth before international studies took her to the Royal College of Music, University of Southern Calfornia, Santa Barbara Music Academy and the Aspen Summer Music Festival. In 1984 she won the Hammer-Rostropovich Scholarship and was invited by Rostropovich to perform in a recital at the Second American Cello Congress. A period of private study with Rostropovich followed. She then toured Europe with I Solisti Veneti, and studied with William Pleeth in London. Returning to Australia, she joined the Australian Chamber Orchestra.

In 1989 she joined the SSO, and was appointed Principal Cello the following year. She has performed as a soloist with most of the Australian orchestras and her SSO concerto appearances have included: Beethoven’s Triple Concerto (conducted by Vladimir Ashkenazy), Haydn’s D major concerto (Charles Dutoit), Elgar’s Cello Concerto, Tchaikovsky’s Rococo Variations, the Boccherini/Grützmacher Concerto in B flat, Dutilleux’s Tout un monde lointain, the Brahms Double Concerto with Michael Dauth, and as a soloist in concerts with Nigel Kennedy. Chamber music highlights include Messiaen’s Quartet for the End of Time with Reinbert de Leeuw. In 2003 she toured Japan with the Orchestra Ensemble Kanazawa and Michael Dauth (Brahms Double), and in 2011 she played principal in the inaugural concerts of the Australian World Orchestra.

Catherine Hewgill plays a 1729 Carlo Tononi cello. Read more in Bravo! bit.ly/Bravo2012-5

Catherine Hewgill celloprincipal cello, the hon. justice aj & mrs fran meagher chair

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Janessa Dufty Petros Treklis

THE ARTISTS

Sydney Dance Company is a legendary force in Australian contemporary dance. Its performances have appeared on the great dance stages of the world, from the Sydney Opera House to the Joyce Theatre in New York, the Grand in Shanghai and the Stanislavsky in Moscow.

Led by Artistic Director and resident choreographer Rafael Bonachela, the Company thrives on an ethos of collaboration and excellence – working with the most exciting and engaging artistic talents nationally and internationally.

Sydney Dance Company has cemented its reputation as a creative powerhouse under Bonachela’s leadership, actively creating and touring new work with an ensemble of 16 exceptional dancers, featuring collaborations with emerging and established Australian and international choreographers, designers, composers and musicians.

Rafael Bonachela Artistic Director Anne Dunn Executive Director Chris Aubrey Rehearsal Director

Choreographers

Rafael Bonachela Libertango Cass Mortimer Eipper Le Grand Tango Lucas Jervies Four Seasons of Buenos Aires

Aleisa Jelbart (Hephzibah Tintner Fellowship) Costume Designer Matthew Marshall Lighting Designer

COMPANY DANCERSLibertango

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Tara Gower Olympia Kotopoulos Zachary Lopez

Luke Mangraviti Daniel Russell Laura Wood

ASSOCIATE ARTISTSLe Grand Tango andFour Seasons of Buenos Aires

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SYDNEY SYMPHONY ORCHESTRA

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

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

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

such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.

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

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

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

DAVID ROBERTSON Chief Conductor and Artistic Director

PATRON Professor The Hon. Dame Marie Bashir ad cvo

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FIRST VIOLINS Andrew Haveron CONCERTMASTER

Kirsten Williams ASSOCIATE CONCERTMASTER

Fiona Ziegler ASSISTANT CONCERTMASTER

Jenny BoothClaire HerrickGeorges LentzNicola LewisEmily LongAlexandra MitchellAlexander NortonLéone ZieglerEmily Qin°Rebecca Gill*Brett Yang†

Dene Olding CONCERTMASTER

Sun Yi ASSOCIATE CONCERTMASTER

Lerida Delbridge ASSISTANT CONCERTMASTER

Sophie ColeAmber Davis

SECOND VIOLINS Kirsty Hilton Marina Marsden Emma Jezek ASSISTANT PRINCIPAL

Emma HayesShuti HuangStan W KornelBenjamin LiPhilippa PaigeBiyana RozenblitMaja VerunicaEmma Jardine°Elizabeth Jones*Victoria Bihun†

Marianne BroadfootMaria DurekNicole Masters

VIOLASRoger Benedict Tobias Breider Rosemary CurtinJane HazelwoodJustine MarsdenFelicity TsaiAmanda VernerLeonid VolovelskyCharlotte Fetherston†Elizabeth Woolnough†

Anne-Louise Comerford Justin Williams ASSISTANT PRINCIPAL

Sandro CostantinoGraham HenningsStuart Johnson

CELLOSCatherine Hewgill Leah Lynn ASSISTANT PRINCIPAL

Kristy ConrauTimothy NankervisElizabeth NevilleChristopher PidcockDavid WickhamEleanor Betts*Umberto ClericiFenella GillAdrian Wallis

DOUBLE BASSESAlex Henery Neil Brawley PRINCIPAL EMERITUS

David CampbellSteven LarsonRichard LynnJosef Bisits°Kees Boersma David MurrayBenjamin Ward

FLUTES Janet Webb Rosamund PlummerPRINCIPAL PICCOLO

Emma Sholl Carolyn Harris

OBOESDiana Doherty Alexandre Oguey PRINCIPAL COR ANGLAIS

Shefali Pryor David Papp

CLARINETSLawrence Dobell Craig Wernicke PRINCIPAL BASS CLARINET

Francesco Celata Christopher Tingay

BASSOONSMatthew Wilkie Fiona McNamaraNoriko Shimada PRINCIPAL CONTRABASSOON

HORNSRobert Johnson Marnie SebireRachel SilverKara Hahn†

Ben Jacks Geoffrey O’Reilly PRINCIPAL 3RD

Euan Harvey

TRUMPETSDavid Elton Josh Rogan°Paul Goodchild Anthony Heinrichs

TROMBONESRonald Prussing Iain Faragher†

Brett Page*Scott Kinmont Nick ByrneChristopher Harris PRINCIPAL BASS TROMBONE

TUBASteve Rosse

TIMPANIMark Robinson ASSISTANT PRINCIPAL

Richard Miller

PERCUSSIONRebecca Lagos Timothy ConstableGabriel Fischer†

Kevin Man*

HARP Louise Johnson

BOLD = PRINCIPAL

ITALICS = ASSOCIATE PRINCIPAL

° = CONTRACT MUSICIAN

* = GUEST MUSICIAN† = SSO FELLOW

GREY = PERMANENT MEMBER OF THE SYDNEY SYMPHONY ORCHESTRA NOT APPEARING IN THIS CONCERT

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

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

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

MUSICIANS

David RobertsonCHIEF CONDUCTOR AND ARTISTIC DIRECTOR SUPPORTED BY EMIRATES

Dene OldingCONCERTMASTER

Jessica CottisASSISTANT CONDUCTOR SUPPORTED BY PREMIER PARTNER CREDIT SUISSE

Andrew HaveronCONCERTMASTER

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Sydney Symphony Orchestra Staff

BEHIND THE SCENES

MANAGING DIRECTOR

Rory Jeffes

EXECUTIVE TEAM ASSISTANT

Lisa Davies-Galli

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC PLANNING

Benjamin Schwartz

ARTISTIC ADMINISTRATION MANAGER

Eleasha Mah

ARTIST LIAISON MANAGER

Ilmar Leetberg

RECORDING ENTERPRISE MANAGER

Philip Powers

LibraryAnna Cernik Victoria Grant Mary-Ann Mead

LEARNING AND ENGAGEMENT

DIRECTOR OF LEARNING AND ENGAGEMENT

Kim Waldock

EMERGING ARTISTS PROGRAM MANAGER

Rachel McLarin

EDUCATION MANAGER

Amy Walsh

EDUCATION OFFICER

Tim Walsh

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA MANAGEMENT

Aernout Kerbert

ORCHESTRA MANAGER

Rachel Whealy

ORCHESTRA COORDINATOR

Rosie Marks-Smith

OPERATIONS MANAGER

Kerry-Anne Cook

PRODUCTION MANAGER

Laura Daniel

STAGE MANAGER

Courtney Wilson

PRODUCTION COORDINATORS

Ollie Townsend

SALES AND MARKETING

DIRECTOR OF SALES & MARKETING

Mark J Elliott

MARKETING MANAGER, SUBSCRIPTION SALES

Simon Crossley-Meates

A/ SENIOR SALES & MARKETING MANAGER

Matthew Rive

MARKETING MANAGER, WEB & DIGITAL MEDIA

Eve Le Gall

MARKETING MANAGER, CRM & DATABASE

Matthew Hodge

A/ SALES & MARKETING MANAGER, SINGLE TICKET CAMPAIGNS

Jonathon Symonds

DATABASE ANALYST

David Patrick

SENIOR GRAPHIC DESIGNER

Christie Brewster

GRAPHIC DESIGNER

Tessa Conn

SENIOR ONLINE MARKETING COORDINATOR

Jenny Sargant

MARKETING ASSISTANT

Theres Mayer

Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlin

BOX OFFICE SYSTEMS SUPERVISOR

Jennifer Laing

BOX OFFICE BUSINESS ADMINISTRATOR

John Robertson

CUSTOMER SERVICE REPRESENTATIVES

Karen Wagg – Customer Service Team ManagerMichael Dowling Tim Walsh

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

EXTERNAL RELATIONS

DIRECTOR OF EXTERNAL RELATIONS

Yvonne Zammit

PhilanthropyHEAD OF PHILANTHROPY

Luke Andrew Gay

PHILANTHROPY MANAGER

Jennifer Drysdale

A/ PATRONS EXECUTIVE

Sarah Morrisby

PHILANTHROPY COORDINATOR

Claire Whittle

Corporate RelationsCORPORATE PARTNERSHIPS MANAGER

Belinda Besson

CORPORATE PARTNERSHIPS EXECUTIVE

Paloma Gould

CommunicationsCOMMUNICATIONS & MEDIA MANAGER

Bridget Cormack

PUBLIC RELATIONS MANAGER

Katherine Stevenson

DIGITAL CONTENT PRODUCER

Kai Raisbeck

PUBLICITY & EVENTS COORDINATOR

Caitlin Benetatos

BUSINESS SERVICES

DIRECTOR OF FINANCE

John Horn

FINANCE MANAGER

Ruth Tolentino

ACCOUNTANT

Minerva Prescott

ACCOUNTS ASSISTANT

Emma Ferrer

PAYROLL OFFICER

Laura Soutter

PEOPLE AND CULTURE

IN-HOUSE COUNSEL

Michel Maree Hryce

John C Conde AO Chairman Terrey Arcus AM

Ewen Crouch AM

Ross GrantCatherine HewgillJennifer HoyRory JeffesAndrew Kaldor AM

David LivingstoneThe Hon. Justice AJ Meagher Goetz Richter

Sydney Symphony Orchestra CouncilGeoff Ainsworth AM

Doug BattersbyChristine BishopThe Hon John Della Bosca MLC

Michael J Crouch AO

Alan FangErin FlahertyDr Stephen Freiberg Simon JohnsonGary LinnaneHelen Lynch AM

David Maloney AM Justice Jane Mathews AO Danny MayJane MorschelDr Eileen OngAndy PlummerDeirdre Plummer Seamus Robert Quick Paul Salteri AM

Sandra SalteriJuliana SchaefferFred Stein OAM

John van OgtropBrian WhiteRosemary White

HONORARY COUNCIL MEMBERSIta Buttrose AO OBE Donald Hazelwood AO OBE

Yvonne Kenny AM

David Malouf AO

Wendy McCarthy AO

Leo Schofield AM

Peter Weiss AO

Sydney Symphony Orchestra Board

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Chair Patrons

SSO PATRONS

Roger BenedictPrincipal ViolaKim Williams AM & Catherine Dovey Chair

Kees BoersmaPrincipal Double BassSSO Council Chair

Umberto ClericiPrincipal CelloGarry & Shiva Rich Chair

Timothy ConstablePercussionJustice Jane Mathews AO Chair

Lerida DelbridgeAssistant ConcertmasterSimon Johnson Chair

Lawrence DobellPrincipal ClarinetAnne Arcus & Terrey Arcus AM Chair

Diana DohertyPrincipal OboeAndrew Kaldor AM & Renata Kaldor AO Chair

Richard Gill oam

Artistic Director, DownerTenix DiscoveryPaul Salteri AM & Sandra Salteri Chair

Jane HazelwoodViolaBob & Julie Clampett Chair in memory of Carolyn Clampett

Catherine HewgillPrincipal CelloThe Hon. Justice AJ & Mrs Fran Meagher Chair

Robert JohnsonPrincipal HornJames & Leonie Furber Chair

Elizabeth NevilleCelloRuth & Bob Magid Chair

Shefali PryorAssociate Principal OboeMrs Barbara Murphy Chair

Emma ShollAssociate Principal FluteRobert & Janet Constable Chair

Janet WebbPrincipal FluteHelen Lynch AM & Helen Bauer Chair

Kirsten WilliamsAssociate ConcertmasterI Kallinikos Chair

Maestro’s Circle

David Robertson

Peter Weiss AO Founding President & Doris Weiss

John C Conde AO Chairman

Brian Abel

Tom Breen & Rachel Kohn

The Berg Family Foundation

Andrew Kaldor AM & Renata Kaldor AO

Vicki Olsson

Roslyn Packer AO

David Robertson & Orli Shaham

Penelope Seidler AM

Mr Fred Street AM & Dorothy Street

Brian White AO & Rosemary White

Ray Wilson OAM in memory of the late James Agapitos OAM

Supporting the artistic vision of David Robertson, Chief Conductor and Artistic Director

FOR INFORMATION ABOUT THE CHAIR PATRONS

PROGRAM, CALL (02) 8215 4625.

n n n n n n n n n n

Umberto Clerici has been Principal Cello of the SSO since 2014. He has performed as a soloist with orchestras around the world and served as principal cello at the Teatro Regio in Turin in his native Italy before joining the SSO. Umberto’s chair is generously supported by Garry and Shiva Rich. Their son Samuel recently started learning the cello and aspires to join the SSO one day.

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Learning & Engagement

SSO PATRONS

Commissioning CircleSupporting the creation of new works.

ANZAC Centenary Arts and Culture FundGeoff Ainsworth AM

Christine BishopDr John EdmondsAndrew Kaldor AM & Renata Kaldor AO

Jane Mathews AO

Mrs Barbara MurphyNexus ITVicki OlssonCaroline & Tim RogersGeoff StearnDr Richard T WhiteAnonymous

fellowship patronsRobert Albert AO & Elizabeth Albert Flute ChairChristine Bishop Percussion ChairSandra & Neil Burns Clarinet ChairIn Memory of Matthew Krel Violin ChairMrs T Merewether OAM Horn ChairPaul Salteri AM & Sandra Salteri Violin and Viola ChairsMrs W Stening Principal Patron, Cello ChairKim Williams AM & Catherine Dovey Patrons of Roger Benedict,

Artistic Director, FellowshipAnonymous Double Bass Chair

fellowship supporting patronsMr Stephen J BellGary Linnane & Peter BraithwaiteJoan MacKenzie ScholarshipDrs Eileen & Keith OngIn Memory of Geoff WhiteJune & Alan Woods Family Bequest

tuned-up!TunED-Up! is made possible with the generous support of Fred Street AM & Dorothy Street

Additional support provided by:Anne Arcus & Terrey Arcus AM

Ian & Jennifer Burton Ian Dickson & Reg HollowayTony Strachan

major education donorsBronze Patrons & above

John Augustus & Kim RyrieMr Alexander & Mrs Vera BoyarskyBob & Julie ClampettHoward & Maureen ConnorsThe Greatorex FoundationThe Ian Potter FoundationJames N Kirby Foundation Mrs & Mr Judith A. McKernanMr & Mrs Nigel Price

MAKE A DIFFERENCE

Through their inspired financial support,

Patrons ensure the SSO’s continued

success, resilience and growth. Join the

SSO Patrons Program today and make a

difference.

sydneysymphony.com/patrons(02) 8215 4674philanthropy@sydneysymphony.com

A U S T R A L I A - K O R E AF O U N D A T I O N

Australia-Korea FoundationCrown FoundationThe Greatorex Foundation

Foundations

James N Kirby FoundationPacker Family FoundationIan Potter Foundation

Sydney Symphony Orchestra 2015 Fellows

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The Sydney Symphony Orchestra gratefully acknowledges the music lovers who donate to the orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs.

Stuart Challender Legacy SocietyCelebrating the vision of donors who are leaving a bequest to the SSO.

Playing Your Part

DIAMOND PATRONS $50,000+The Estate of Dr Lynn JosephMr Andrew Kaldor AM &

Mrs Renata Kaldor AO

In Memory of Matthew KrelRoslyn Packer AO

Ian Potter FoundationPaul Salteri AM & Sandra

SalteriMr Fred Street AM &

Mrs Dorothy Street Mr Peter Weiss AO &

Mrs Doris WeissMr Brian White AO &

Mrs Rosemary White

PLATINUM PATRONS $30,000–$49,999Anne & Terrey Arcus AM

Doug & Alison BattersbyThe Berg Family FoundationTom Breen & Rachael KohnMr John C Conde AO

Robert & Janet ConstableMrs Barbara MurphyMrs W SteningKim Williams AM &

Catherine Dovey 

GOLD PATRONS $20,000–$29,999Brian AbelGeoff Ainsworth AM

Robert Albert AO & Elizabeth Albert

Christine Bishop Sandra & Neil BurnsJames & Leonie FurberI KallinikosHelen Lynch AM & Helen

BauerMrs T Merewether OAM

Rachel & Geoffrey O’ConorVicki OlssonAndy & Deirdre PlummerGarry & Shiva RichDavid Robertson & Orli

ShahamMrs Penelope Seidler AM

G & C Solomon in memory of Joan MacKenzie

Geoff StearnRay Wilson OAM in memory

of James Agapitos OAM

Anonymous (2) 

SILVER PATRONS $10,000–$19,999

Bailey Family FoundationAudrey BlundenMr Robert BrakspearIan & Jennifer BurtonMr Robert & Mrs L Alison CarrBob & Julie ClampettMichael Crouch AO &

Shanny CrouchThe Hon. Mrs Ashley

Dawson-Damer AM

Paul EspieEdward & Diane FedermanNora GoodridgeMr Ross GrantIan Dickson & Reg HollowayEstate of Irwin ImhofSimon JohnsonMr Ervin KatzJames N Kirby FoundationRuth & Bob MagidJustice Jane Mathews AO

The Hon. Justice AJ Meagher & Mrs Fran Meagher

Mr John MorschelDrs Keith & Eileen OngKenneth Reed AM

Mr John Symond AM

The Harry Triguboff Foundation

Caroline WilkinsonAnonymous (2)

BRONZE PATRONS $5,000–$9,999John Augustus & Kim RyrieStephen J BellDr Hannes & Mrs Barbara

BoshoffMr Alexander & Mrs Vera

BoyarskyPeter Braithwaite &

Gary LinnaneMr David & Mrs Halina BrettMr Howard ConnorsEwen Crouch AM &

Catherine CrouchIn memory of Dr Lee

MacCormick EdwardsDr Stephen Freiberg &

Donald CampbellDr Colin GoldschmidtThe Greatorex FoundationRory & Jane JeffesThe late Mrs Isabelle JosephMr Frank Lowy AC &

Mrs Shirley Lowy OAM

Henri W Aram OAM & Robin Aram

Stephen J BellMr David & Mrs Halina BrettHoward ConnorsGreta DavisBrian GalwayMiss Pauline M Griffin AM

John Lam-Po-Tang

Peter Lazar AM

Daniel LemesleLouise MillerJames & Elsie MooreDouglas PaisleyKate RobertsMary Vallentine AO

Ray Wilson OAM

Anonymous (10)

Stuart Challender, SSO Chief Conductor and Artistic Director 1987–1991

bequest donors

We gratefully acknowledge donors who have left a bequest to the SSO.

The late Mrs Lenore AdamsonEstate of Carolyn ClampertEstate Of Jonathan Earl William ClarkEstate of Colin T EnderbyEstate of Mrs E HerrmanEstate of Irwin ImhofThe late Mrs Isabelle JosephThe Estate of Dr Lynn JosephThe Late Greta C RyanJune & Alan Woods Family Bequest

IF YOU WOULD LIKE MORE INFORMATION ON

MAKING A BEQUEST TO THE SSO, PLEASE

CONTACT LUKE GAY ON 8215 4625.

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28

BRONZE PATRONS CONTINUED

Robert McDougallJ A McKernanDavid Maloney AM &

Erin FlahertyR & S Maple-BrownMora MaxwellWilliam McIlrath Charitable

FoundationTaine MoufarrigeNexus ITJohn & Akky van OgtropSeamus Robert QuickChris Robertson &

Katharine ShawRodney Rosenblum AM &

Sylvia RosenblumDr Evelyn RoyalManfred & Linda SalamonMrs Joyce Sproat &

Mrs Janet CookeTony StrachanDavid Tudehope & Liz DibbsMr Robert & Mrs Rosemary

WalshWestpac GroupMichael & Mary Whelan TrustIn memory of Geoff WhiteJune & Alan Woods Family

BequestAnonymous (2) 

PRESTO PATRONS $2,500–$4,999Mr Henri W Aram OAM

Ian BradyMr Mark Bryant oam

Ita Buttrose AO OBE

Mrs Stella ChenDr Rebecca ChinDr Diana Choquette &

Mr Robert MillinerFirehold Pty LtdDr Kim FrumarWarren GreenAnthony GreggJames & Yvonne HochrothMr Roger Hudson &

Mrs Claudia Rossi-HudsonProf. Andrew Korda am &

Ms Susan PearsonIn memoriam

Dr Reg Lam-Po-TangHelen & Phil MeddingsJames & Elsie MooreMs Jackie O’BrienJuliana SchaefferDr Agnes E SinclairEzekiel Solomon AM

Mr Ervin Vidor AM & Mrs Charlotte Vidor

Lang Walker AO & Sue WalkerYim Family Foundation Anonymous (2)

VIVACE PATRONS $1,000–$2,499Mrs Lenore AdamsonMrs Antoinette AlbertRae & David AllenAndrew Andersons AO

Mr Matthew AndrewsThe Hon Justice Michael BallDavid BarnesMr Garry BessonAllan & Julie BlighJan BowenRoslynne BracherMrs R D Bridges OBE

Lenore P BuckleMargaret BulmerIn memory of RW BurleyMrs Rhonda CaddyMr B & Mrs M ColesMs Suzanne CollinsJoan Connery OAM &

Maxwell Connery OAM

Debby Cramer & Bill CaukillMr John Cunningham SCM &

Mrs Margaret CunninghamGreta DavisLisa & Miro DavisElizabeth DonatiColin Draper & Mary Jane

BrodribbProf. & Mrs John EdmondsMalcolm Ellis & Erin O’NeillMrs Margaret EppsMr Matt GarrettVivienne Goldschmidt &

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

Althea HallidayJanette HamiltonMrs Jennifer HershonAngus HoldenMr Kevin Holland &

Mrs Roslyn AndrewsThe Hon. David Hunt AO QC &

Mrs Margaret HuntDr & Mrs Michael HunterMr Philip Isaacs OAM

Michael & Anna JoelMrs W G KeighleyDr Andrew KennedyJennifer KingAron KleinlehrerMr Andrew Korda &

Ms Susan PearsonMr Justin LamMr Peter Lazar AM

Professor Winston LiauwAirdrie LloydMrs Juliet LockhartPeter Lowry OAM &

Dr Carolyn Lowry OAM

Kevin & Deirdre McCannIan & Pam McGawMatthew McInnesMacquarie Group FoundationBarbara MaidmentJohn MarRenee MarkovicMr Danny R MayI MerrickHenry & Ursula MooserMilja & David MorrisMrs J MulveneyMr Darrol NormanE J NuffieldDr Mike O’Connor AM

Mr & Mrs OrtisMr Andrew C PattersonMichael PaulAlmut PiattiIn memory of Sandra Paul

PottingerDr Raffi QasabianMr Patrick Quinn-GrahamErnest & Judith RapeePatricia H Reid Endowment

Pty LtdDr Marilyn RichardsonIn memory of Katherine

RobertsonMr David RobinsonTim RogersLesley & Andrew RosenbergIn memory of H St P ScarlettMr Samuel F ShefferDavid & Alison ShilligtonDr Judy SoperMrs Judith SouthamMs Barbara SpencerMrs Elizabeth SquairCatherine StephenThe Hon. Brian Sully QC

Mrs Margaret SwansonThe Taplin FamilyDr & Mrs H K TeyKevin TroyJohn E TuckeyJudge Robyn TupmanDr Alla WaldmanMiss Sherry WangWestpac Banking

CorporationHenry & Ruth WeinbergThe Hon. Justice A G WhealyMary Whelan & Robert

BaulderstoneDr Richard T WhiteMrs Leonore WhyteA Willmers & R PalBetty WilkenfeldDr Edward J WillsProf. Neville Wills &

Ian FenwickeAnn & Brooks C Wilson AM

Dr Richard Wing

Dr Peter Wong & Mrs Emmy K Wong

Geoff Wood & Melissa WaitesSir Robert WoodsMr & Mrs Lindsay WoolveridgeIn memory of Lorna WrightDr John YuAnonymous (12)

ALLEGRO PATRONS $500–$999Nikki AbrahamsMs Jenny AllumKatherine AndrewsMr Peter J ArmstrongGarry & Tricia AshMr & Mrs George BallDr Lilon BandlerBarlow Cleaning Pty LtdBarracouta Pty LtdBeauty Point Retirement

ResortMr Michael BeckDr Andrew BellRichard & Margaret BellJan BiberMinnie BiggsG D BoltonIn memory of Jillian BowersR D & L M BroadfootDr Peter BroughtonDr David BryantArnaldo BuchDr Miles BurgessPat & Jenny BurnettRosemary CampbellMr JC Campbell QC &

Mrs CampbellJudy ChiddyIn memory of Beth HarpleyMr Phillip CornwellDr Peter CraswellMr David CrossPhil Diment AM & Bill

ZafiropoulosDr David DixonSusan DoenauMrs Jane DrexlerDana DupereDr Nita DurhamJohn FavaloroMrs Lesley FinnMs Julie Flynn & Mr Trevor

CookMrs Paula FlynnMr John GadenClive & Jenny GoodwinRichard Griffin AM

Dr Jan GroseBenjamin Hasic &

Belinda DavieMr Robert HavardMrs Joan HenleyRoger Henning

Playing Your Part

SSO PATRONS

29

“Together, we have an ambition to foster a love of orchestral music in school children of all ages, and to equip their teachers with the skills they need to develop this in our young people…”DAVID ROBERTSON SSO Chief Conductor and Artistic Director

PLEASE CONSIDER MAKING A TAX-DEDUCTIBLE DONATION TODAY

Sue HewittDr Joan-Mary HindsDorothy Hoddinott AO

Bill & Pam HughesMs Cynthia KayeMrs Margaret KeoghDr Henry KilhamDr Joyce KirkMrs Patricia KleinhansAnna-Lisa KlettenbergSonia LalL M B LampratiDr Barry LandaElaine M LangshawDr Leo & Mrs Shirley LeaderMargaret LedermanMrs Erna LevyMrs A LohanMr Gabriel LopataPanee LowMelvyn MadiganMs Jolanta MasojadaMr Guido MayerLouise MillerPatricia MillerKenneth Newton MitchellMrs Judith MortonMr Graham NorthMr Sead NurkicDr A J PalmerDr Kevin PedemontDr Natalie E PelhamDr John PittJohn Porter & Annie

Wesley-SmithMrs Greeba PritchardThe Hon. Dr Rodney Purvis AM &

Mrs Marian PurvisMichael QuaileyMiss Julie RadosavljevicRenaissance Tours

VANGUARD COLLECTIVEJustin Di Lollo ChairBelinda BentleyOscar McMahonTaine Moufarrige

Founding PatronShefali PryorSeamus R Quick

Founding PatronChris Robertson &

Katherine Shaw Founding Patrons

MEMBERSJames ArmstrongPhilip AtkinLuan AtkinsonJoan BallantineJames BaudzusAndrew BaxterAdam BeaupeurtAnthony BeresfordAndrew BotrosPeter BraithwaiteBlake BriggsAndrea BrownMelanie BrownAttila BrungsIan BurtonJennifer BurtonPaul ColganClaire CooperBridget CormackRobbie CranfieldAsha CugatiJuliet CurtinRosalind De SaillyPaul DeschampsCatherine DonnellyAlistair FurnivalAlexandra GibsonSam GiddingsMarina GoJeremy GoffHilary GoodsonTony GriersonLouise HaggertyRose HercegFrancis HicksPeter HowardJennifer HoyKatie HryceVirginia JudgeJonathan Kennedy

Aernout KerbertPatrick KokAlisa LaiJohn Lam-Po-TangTristan LandersJessye LinGary LinnaneDavid LoSaskia LoGabriel LopataRebecca MacFarlingRobert McGroryDavid McKeanNick NichlesKate O’ReillyPeter O’SullivanJonathan PeaseCleo PosaLaurisa PoulosMichael RadovnikovicSudeep RaoMichael ReedeChris RobertsonBenjamin RobinsonAlvaro Rodas FernandezJacqueline RowlandsAnthony Michael SchembriBenjamin SchwartzKatherine ShawCecilia StornioloRandal TameSandra TangIan TaylorMichael TidballMark TimminsMichael TuffyKim WaldockJon WilkieYvonne ZammitAmy Zhou

SSO Vanguard

A membership program for a dynamic group of Gen X & Y SSO fans and future philanthropists

Janelle RostronMrs Christine Rowell-MillerMrs Louise RowstonJorie Ryan for Meredith RyanMr Kenneth RyanGarry Scarf & Morgie BlaxillPeter & Virginia ShawJudge David S ShillingtonMrs Diane Shteinman AM

Victoria SmythDoug & Judy SotherenColin SpencerJames & Alice SpigelmanFred & May SteinAshley & Aveen StephensonMargaret & William SuthersMargaret SwansonDr Jenepher ThomasMrs Caroline ThompsonMrs June ThorntonPeter & Jane ThorntonMs Rhonda TingAlma TooheyMrs M TurkingtonGillian Turner & Rob BishopRoss TzannesMr Robert VeelRonald WalledgeIn memory of Denis WallisIn memoriam JBL WattMiss Roslyn WheelerThe Wilkinson FamilyEdward & Yvonne WillsYetty WindtMr Evan WongMrs Robin YabsleyAnonymous (34)

SSO Patrons pages correct as of 27 February 2015

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30

SALUTE

The Sydney Symphony Orchestra is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body

GOVERNMENT PARTNERS

The Sydney Symphony Orchestra is assisted by the NSW Government through Arts NSW

PRINCIPAL PARTNER

EDUCATION PARTNERPLATINUM PARTNER

REGIONAL TOUR PARTNER MARKETING PARTNERVANGUARD PARTNER

PREMIER PARTNER

SILVER PARTNERS

s i n f i n i m u s i c . c o m

UNIVERSAL MUSIC AUSTRALIA

MAJOR PARTNERS

GOLD PARTNERS

Salute 2015_21Jan.indd 1 20/02/15 11:06 AM

NOW PLAYING | CAPITOL THEATREBOOK AT TICKETMASTER

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THE MUSICAL PHENOMENON

BOUBLIL & SCHÖNBERG’S LEGENDARY MUSICAL Lyrics by HERBERT KRETZMER

CAMERON MACKINTOSH’S ACCLAIMED NEW PRODUCTION