ROBERTSON CONDUCTS

SCHUMANN 1 & 2 Tetzlaff & Mendelssohn

APT MASTER SERIES

Wednesday 11 February 2015 Friday 13 February 2015 Saturday 14 February 2015

*Selected performances. Booking fees of $5.00–$8.50 may apply. ^Additional fees may apply.

concert diary

Schumann 3 & 4 Tetzlaff & WidmannSCHUMANN Symphony No.4 WIDMANN Violin Concerto australian premiere SCHUMANN Symphony No.3 (Rhenish)

David Robertson conductor Christian Tetzlaff violin

Mondays @ 7

Mon 16 Feb 7pm

Pre-concert talk at 6.15pm

Robertson conducts La Mer Before and after BoulezBOULEZ Rituel in memoriam Bruno Maderna LENTZ Jerusalem (after Blake) australian premiere DEBUSSY La Mer

David Robertson conductor

Meet the Music

Wed 18 Feb 6.30pm

Pre-concert talk at 5.45pm

Schumann 3 & 4 LENTZ Jerusalem (after Blake) australian premiere SCHUMANN Symphony No.4* SCHUMANN Symphony No.3 (Rhenish)*

David Robertson conductor

Tea & Symphony

Fri 20 Feb 11am*Complimentary morning tea from 10am

Great Classics

Sat 21 Feb 2pmPre-concert talk at 1.15pm

Discover BeethovenBEETHOVEN Symphony No.2

Richard Gill conductor SSO Sinfonia

DownerTenix Discovery

Tue 24 Feb 6.30pmCity Recital Hall Angel Place

Beethoven NineBRUCKNER Christus factus est – Motet, WAB 11 BERG Act III of Wozzeck BEETHOVEN Symphony No.9 (Choral)

David Robertson conductor

Miriam Gordon-Stewart, Michelle DeYoung, Simon O’Neill, Teddy Tahu Rhodes

Sydney Philharmonia Choirs, Gondwana Choir.

SEASON OPENING GALASpecial EventPremier Partner Credit Suisse

Fri 27 Feb 8pmSat 28 Feb 8pmSun 1 Mar 2pmPre-concert talk 45 minutes before each performance

An Evening with Ella, Louis and the Duke James Morrison’s A-Z of JazzFrom Armstrong to Zawinul, James Morrison covers the full trajectory of jazz.

Benjamin Northey conductor James Morrison jazz trumpet Hetty Kate vocalist

Meet the Music

Thu 5 Mar 6:30pmKaleidoscope

Fri 6 Mar 8pmSat 7 Mar 8pmPre-concert talk 45 minutes before each performance

CLASSICAL

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WELCOME

Welcome to this first concert in the APT Master Series for 2015. We’re delighted to see you in the Sydney Opera House Concert Hall for this evening of great music with the SSO’s chief conductor David Robertson and special guest Christian Tetzlaff.

This week’s performances are among the first in a year full

of exciting music-making – not just in this concert series

and this hall but in venues throughout Sydney and New

South Wales (and the world!) and in programs designed to

appeal to a wide range of musical tastes.

Even within the Master Series, the musical choices range

from the Romantic classics of tonight’s program to thrilling

works by Shostakovich and Richard Strauss, fresh new

voices such as Jörg Widmann and Steve Mackey, and

sublimely moving music by Beethoven. Geographically,

the music will take us all around Europe – the heartland of

orchestral classical music – as well as visiting Australia

and the United States.

In the same way, APT’s numerous itineraries offer

unforgettable experiences catering to all interests and

styles of travel. Wherever you’d like to go, whatever you’d

like to explore, we can help you get there in absolute luxury

and style.

We hope you enjoy this evening’s performance and look

forward to seeing you through the year!

Geoff McGeary oam APT Company Owner

2015 concert season

APT MASTER SERIES

WEDNESDAY 11 FEBRUARY, 8PM

FRIDAY 13 FEBRUARY, 8PM

SATURDAY 14 FEBRUARY, 8PM

SYDNEY OPERA HOUSE CONCERT HALL

SCHUMANN 1 & 2David Robertson conductor Christian Tetzlaff violin

ROBERT SCHUMANN (1810–1856) Symphony No.2 in C, Op.61

Sostenuto assai – Allegro, ma non troppo Scherzo (Allegro vivace) – Trio I – Trio II Adagio espressivo Allegro molto vivace

INTERVAL

SCHUMANN Symphony No.1 in B flat, Op.38 (Spring)

Andante un poco maestoso – Allegro molto vivace Larghetto – Scherzo (Molto vivace – Molto più vivace) Allegro animato e grazioso

FELIX MENDELSSOHN (1809–1847) Violin Concerto in E minor, Op.64

Allegro molto appassionato – Andante – Allegro non troppo – Allegro molto vivace

Saturday night’s performance will be recorded for broadcast by ABC Classic FM on Monday 23 February at 8pm.

Pre-concert talk by Benjamin Schwartz at 7.15pm in the Northern Foyer. Visit sydneysymphony.com/speaker-bios for more information.

Estimated durations: 38 minutes, 20-minute interval, 30 minutes, 26 minutes The concert will conclude at approximately 10.05pm.

PRESENTED BY

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Tonight Schumann and Mendelssohn appear together in the Sydney Opera House. But in the 1840s, the concert hall we could have associated with both composers was the Leipzig Gewandhaus.

This watercolour of the Gewandhaus was painted by Felix Mendelssohn himself as a memento of a performance on 11 February 1836, and given to the soprano soloist in that concert, Henriette Grabau.

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Turn to page 31 to read Bravo! – musician profiles, articles and news from the orchestra. Also available at sydneysymphony.com/bravo

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READ IN ADVANCEYou can also read SSO program books on your computer or mobile device by visiting our online program library in the week leading up to the concert: sydneysymphony.com/program_library

INTRODUCTION

This month at the SSO we’re immersing ourselves – and by extension you, our audience – in the Schumann symphonies. This is one of those once-in-a-lifetime experiences: a chance to hear all four of these symphonies in a relatively short space of time and performed by the one orchestra under the direction of a single conductor. It’s something the Sydney Symphony Orchestra has never done before. And to the best of our knowledge, only the Adelaide Symphony Orchestra has done something similar in Australia (in 2010, Schumann’s anniversary year). But if you believe in this music, and our chief conductor certainly does, then you don’t need an anniversary as a pretext. For the sheer love of it, February 2015 is all about Schumann.

But there is, says David Robertson, another composer who ‘hovers over this program’ and that’s Felix Mendelssohn. He is present in his exquisite, perfect violin concerto, the ‘heart’s jewel’ as violinist Joseph Joachim described it. But Mendelssohn is present in other ways too. As conductor of the Leipzig Gewandhaus Orchestra he gave the first performances of both the Schumann symphonies that we’ll hear tonight. He also conducted the first performance of Schubert’s Great C Major Symphony, which may have inspired the introduction of Schumann’s First. And in the finale of his first symphony it’s possible that Schumann is quoting, or at least alluding to, music by Mendelssohn. Similarly, the Second Symphony seems to pay tribute to Mendelssohn – tiny gestures of gratitude to a friend who was generous with his advice as a composer and practical in his support as a conductor.

By presenting Schumann symphonies in the company of a composer so intimately connected with the same musical tradition, it’s possible, says Robertson, to ‘contemplate the true stature of Schumann, and to revel in the breadth and depth of his musical thought and – above all – in his amazing way of handling orchestral colours and textures’. We hope you will share our joy in this rare opportunity!

Schumann and Mendelssohn

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ABOUT THE MUSIC

Robert Schumann Symphony No.2 in C, Op.61Sostenuto assai – Allegro, ma non troppo Scherzo (Allegro vivace) – Trio I – Trio II Adagio espressivo Allegro molto vivace

Schumann’s Second Symphony begins with a motto theme. This assertive repetition of the tonic then the dominant chord may or may not be a reference to the identical opening of Haydn’s Symphony No.104. Schumann’s use of his motto to unify the symphony, bringing it back in the finale, also recalls Beethoven, in particular the Fifth Symphony.

Schumann belonged to the first generation of composers who wrote in full awareness and sometimes in awe of what their great predecessors had done. Any symphony composed in Germany in 1845 was written for audiences for whom Haydn, Mozart, and especially Beethoven provided the models of what a symphony should be. Felix Mendelssohn, who conducted the first performances of Schumann’s First and Second Symphonies, had done much to create this public awareness of past music, in his representative programs at the Leipzig Gewandhaus. The Second Symphony pays tribute to Mendelssohn, with whom Schumann had an exceptionally close

KeynotesSCHUMANN

Born Zwickau, Germany, 1810 Died Endenich Asylum, Bonn, 1856

Schumann’s creations are vividly imaginative and deeply lyrical, and he was aligned with the literary concerns of the Romantic era. It’s no accident that he was a critic as well as a musician. He pursued music under the guise of a law degree, studying piano with Friedrich Wieck in Leipzig. Wieck’s star pupil was his daughter Clara, and she and Robert fell in love, eventually marrying despite Wieck’s objections. Along the way, Schumann injured his hand, thwarting his performing hopes but leaving the way open for him to focus on composition.

SYMPHONY NO.2

This symphony begins with results of an earworm: Schumann’s inner ear had been plagued by the sounds of trumpets and drums. A fanfare? Yes, but a solemn one – slow and quietly grand. Keep your eyes and ears on the trumpets (and horns) as they introduce this motif, which will turn up again towards the end of the first movement and again at the end of the finale.

In the background of this symphony is Schumann’s nervous breakdown of 1844 and he himself seems to have regarded its composition (during 1845–46) as both therapeutic and a sign of recovery. This is echoed in the emotional transitions from the sombre despair of the slow introduction, through healing, to redemption and a long and magnificent finale.

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artistic collaboration. But by the already backward-looking standards set by its first critics, Schumann’s symphonies did not seem Classical enough, nor were their novelties convincing. Even a sympathetic musical colleague of Schumann’s in Leipzig, Moritz Hauptmann, found the First Symphony ‘somewhat curious, but always musical’.

The curiousness is just what makes Schumann’s symphony original. The form may be classical, but the language is new. Even as the motto is being stated – not with Haydn’s luminous clarity, but with what has been well described as a ‘mysteriously muted solemnity’ – another theme is outlined by the strings, rather ominous and chromatically creeping. This begins a movement Schumann described as of a ‘very moody and unruly character’. As he was about to begin the symphony, he wrote to Mendelssohn that for several days he had been hearing drums and trumpets in C major – ‘I don’t know what will come of it.’ Drums are not in the first statement of the motto at the very beginning of the symphony, but they are there, with a vengeance, when it returns in the first movement recapitulation. The symphony, written with great difficulty and, according to Schumann himself, documenting in music his recovery from serious illness, demands to be ‘read’, or rather heard, for its sub-text, a record of a changing mental state, from despair, through healing, to redemption.

Between Schumann’s First Symphony of 1841 and the Second, begun in late 1845, came his serious nervous breakdown beginning in 1844, marked by depression and lapses of memory. On his doctor’s advice he moved from Leipzig to the quieter Dresden. He finished the Piano Concerto for his wife Clara, but both Schumanns saw in the Second Symphony the sign of his full recovery, and a return of confidence to attempt large-scale orchestral works. Schumann’s tribute to Clara support is encrypted in the symphony’s finale.

The difficulties did not end with the burst of creativity which saw the symphony drafted in piano score in December 1845. Schumann had to put the orchestration aside when he had an attack of ringing and clicking in the ears in 1846. The symphony’s premiere was conducted by Mendelssohn in the Leipzig Gewandhaus on 5 November 1846, but Schumann made many changes, including adding the trombones, before the second performance 11 days later. The inseparability of the creation of the music from Schumann’s mental and physical state appears in his admission: ‘In the finale, I first began to feel myself again; and indeed, I was much better after I had completed the work. All the same, it reminds me of dark days.’

Schumann did indeed master his materials, and created a new kind of Romantic symphony inside a Classical scaffolding.

‘A great kettledrumming and trumpeting (trumpets in C) has been going on in my mind’s ear for quite a time. I have no idea what will come of it.’

SCHUMANN TO HIS FRIEND FELIX MENDELSSOHN, SEPTEMBER 1845

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This has been increasingly recognised, against those who find in Schumann’s formal devices – such as motto themes – simplistic attempts at thematic unity, and in the poetic element, with its wealth of references and associations, parentheses rather than the ‘real’, convincing thread of the music. The struggle of the first movement is a real one: from the slow introduction with its germinal themes the music seems almost with difficulty to gear itself up to begin a fast movement ‘but not too fast’, and the development section is very long – the working-out is not straightforward. The victory is not yet won, in spite of the return of the motto.

Schumann owed much to Mendelssohn’s advice, not least on the orchestral scoring at which he was a novice. It seems Mendelssohn suggested the transfer of the theme in triplets in the first of the Scherzo’s two trios from strings to winds. This movement, which comes second, is the most explicit of Schumann’s many tributes by imitation to Mendelssohn in his first two symphonies. Much in the brilliant non-stop dashing

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of the strings sounds Mendelssohnian, as do some of the wind interventions. But this is no ‘fairy scherzo’. The music is restless, and as the writer Michael Steinberg notices, ‘a layer of melancholy underlies the jocularity’. The two trios give complete contrast from the perpetuum mobile. In the second, a fugato section points to the B–A–C–H fugues for pedal piano Schumann had been writing in 1845 as part of an intensive study of Bach’s music. At one point the notes B–A–C–H (B flat, A, C, B natural in German note spelling) can be heard played in long notes by the first violins.

Schumann’s dialogue with Mendelssohn continues, Steinberg suggests, in the slow movement. In this Romantic and eloquent music Schumann seems to be saying: ‘I am not Mendelssohn.’ Again there is a fugato section, where the strings are joined by what Schumann called ‘the melancholy bassoon’. The movement starts in C minor, but ends in E flat major – it is full of felicitous scoring, for the wind soloists in particular, and has always escaped critical strictures. The conductor Felix Weingartner considered this ‘the best movement in all of [Schumann’s] four symphonies’.

Especially after Beethoven’s Ninth Symphony, the symphonic finale had become a challenge to composers: to clinch the whole symphony with a telling conclusion. Given Schumann’s ‘program’ or emotional narrative in this symphony, he was seeking an expression of victory over the dark, disturbing forces. This movement falls into two parts, the second so substantial that it has struck some as a ‘finale in the finale’. As in the first movement, the first part is dominated by a single rhythmical pattern, to which the theme of the slow movement provides a contrast, when it is introduced as a second subject. Then come a series of pauses, punctuated by string chords, following which Schumann introduces as new material a quotation from Beethoven’s song cycle To the Distant Beloved (An die ferne Geliebte). This reference, which he has already made in his C major Fantasie for solo piano, was to Clara. In the symphony it leads to a long and exultant conclusion, in which the opening motto is gradually reintroduced, shedding the mystery in which it was first heard, and affirming the light.

DAVID GARRETT © 2005/2015

Schumann’s Symphony No.2 calls for a modest orchestra comprising

pairs of flutes, oboes, clarinets and bassoons; two horns, two trumpets

and three trombones (no tuba); timpani and strings.

The SSO first performed this symphony in Newcastle, Lismore and

Grafton, on tour with Eugene Gooseens in 1948. We first performed the

symphony in Sydney in 1952, again with Goossens, and most recently in

2006, conducted by David Robertson.

Given Schumann’s ‘program’ or emotional narrative in this symphony, he was seeking an expression of victory over the dark, disturbing forces.

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Robert Schumann Symphony No.1 in B flat, Op.38 (Spring)Andante un poco maestoso – Allegro molto vivace Larghetto – Scherzo (Molto vivace – Molto più vivace) Allegro animato e grazioso

Schumann wrote his First Symphony with a quill pen he had found near Beethoven’s grave in Vienna. It was his first major orchestral composition, and began a brief but intensive creative spurt, in which he also composed the first version of what became Symphony No.4. This was typical of a composer whose creative focus shifted from genre to genre. In April 1839 Schumann wrote to a friend, ‘Sometimes I would like to smash my piano, it has become too narrow for my thoughts.’ Nevertheless, these thoughts still came in small units – typically four- and eight- bar phrases, but Schumann now worked very hard to assemble them into convincing larger forms. The example of Beethoven showed him that each symphony should have a very definite and individual character. Although Schumann removed the title ‘Spring’ Symphony when the music was published, he wrote to a conductor of the work:

Try to inspire the orchestra with some of the spring longing [Frühlingssehnsucht] which chiefly possessed me when I wrote the symphony in February 1841. At the very beginning I should like the trumpets to sound as if from on high, like a call to awaken. In what follows of the introduction there might be a suggestion of the growing green of everything, even of a butterfly flying up, and in the following allegro of the gradual assembling of all that belongs to spring. But these are fancies that came to me after the completion of the work.

Schumann was inspired by the spring time in which he was composing, and by the overwhelming happiness of his marriage to Clara Wieck, which had finally happened after so many obstacles. He was ambitious for the esteem he might gain by composing a successful symphony. Schumann sketched the whole work in four days, and had completed the orchestration within a month. There was another musical stimulus, too. Schumann had just discovered Schubert’s hitherto forgotten Great C Major Symphony (No.9). This excited him by showing that even after Beethoven a symphony could be written in a new way. The slow introduction to Schumann’s own symphony may have been inspired by Schubert’s. The Great C Major was conducted by Felix Mendelssohn, who conducted the premiere of Schumann’s own symphony in the Leipzig Gewandhaus on 31 March 1841. Mendelssohn also had a beneficent influence on Schumann’s

KeynotesSYMPHONY NO.1

This symphony was written rapidly, in a matter of weeks, and with what Schumann described as a ‘vernal passion’. He thought of it as his ‘Spring’ symphony, filled with a longing for spring. And after he’d completed it he began noticing little pictorial details: the way the trumpet’s first entry is like a ‘summons to awakening’ and how, during the slow introduction, the world turns green, ‘perhaps with a butterfly hovering in the air’; finally, as the music of the first movement quickens, the world comes to life.

The slow movement evokes an evening mood with graceful, singing music. Towards its end the trombones enter and the music is transformed, moving without a pause directly into the energetic scherzo movement. Initially, at least, Schumann had thought of this third movement as ‘Merry Playmates’ and it has a boisterous and often capricious character to match. The projected title for the finale was ‘Spring at its Height’ but in the end Schumann was content to mark it Allegro animato e grazioso: fast, animated and graceful.

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orchestration: as a novice in matters orchestral, Schumann was happy to accept his colleague’s guidance.

The very opening of the symphony, the ‘call of spring’ motif, probably spells out an underlying poetic text – its rhythm matches the first lines of a poem by Adolph Boettger:

O wende, wende deine Lauf, Im Tale bluht der Frühling auf!

Oh turn, turn aside thy course, the valley blooms with spring!

Schumann sent the first notes to the poet, with the words ‘Beginning of a symphony inspired by D. Adolph Boettger’. This opening caused an embarrassing moment at the first rehearsal. Schumann had scored it, for horns as well as trumpets, on B flat, the tonic note of the symphony. He seems to have forgotten that on valveless horns the notes would sound ‘as though they had caught a violent head cold’, and that the valveless trumpets could not play the required notes at all. Mendelssohn deftly solved the problem by transposing the phrase up so that it began on D, and the symphony was published with that alteration. Even after the Gewandhaus Orchestra and others had valved horns and trumpets, Schumann never changed it back. [Mahler was among the first conductors to restore Schumann’s original opening in performance. David Robertson admits to being of two minds, but for these performances has chosen to begin on B flat, saying, ‘the original idea of Schumann is picked up in so many places that it always feels sad not to do his initial conception’.]

The clarity of the scoring of the symphony, on the whole Schumann’s most effectively orchestrated, suggests the benefits of working with a first-rate conductor who was also an experienced

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orchestral composer. The symphony was immediately successful, and has remained Schumann’s most-often performed.

The opening motif dominates the first movement, the first subject of the Allegro being essentially a speeded up version of it, this time on B flat, since the trumpets and horns don’t have to play it. There is a lovely contrasting second subject led by the winds, and the material is elaborately, but essentially undramatically, developed by Schumann’s characteristic method of sequential repetition with harmonic modulation. At the point of climax which comes with the recapitulation, Schumann substitutes for the first subject of the Allegro an expanded version of the opening fanfare motive, in long note values and with a broadening of the tempo – an effect of grandeur.

At the end of the graceful Larghetto, in a song form with middle section and da capo, the melody is gradually transformed, at the entrance of the trombones, so that after a half-close it becomes the theme of the Scherzo. This follows without a break, soon establishing its key of D minor. The vigorous, stamping dance is contrasted with two trios, and, after the second, a very compressed last appearance of the Scherzo leads to a coda with capricious changes of tempo, and a quietening of the mood.

The finale begins with a loud outburst for the full orchestra stating an upward scale which will play a role later in the movement. The tripping main theme – ‘light as a daisy chain’, writes Tovey – made Schumann caution a conductor: ‘I like to think of it as the farewell of spring, so I wouldn’t want it played too frivolously.’ Soon, marked off by restatements of the opening scale, comes a quotation. This skipping theme also appears in Schumann’s cycle of piano pieces Kreisleriana, composed in 1838, and a favourite of its composer. Schumann liked riddles – a clue to this one is that the phrase is so close to one from the Canzonetta movement of Mendelssohn’s String Quartet Op.12 that it may be Schumann’s tribute to the conductor of his first symphony. The rhythmic pattern of the symphony’s opening plays its part in this movement, too. Schumann thought he was following Beethoven in thus unifying the work, and perhaps he was following Beethoven (the oboe solo in the first movement of the Fifth Symphony), in pausing just before the recapitulation for a flute solo cadenza. But the way this is ushered in by the horns, and its colouristic effect, is poetic and Romantic. Beethoven’s quill pen in a fresh hand.

DAVID GARRETT © 2005

Schumann’s Symphony No.1 calls for pairs of flutes, oboes, clarinets and

bassoons; four horns, two trumpets and three trombones; timpani,

percussion and strings.

The SSO first performed this symphony in 1941, conducted by Percy

Code in a Studio Orchestral concert, and most recently in 1998, conducted

by János Fürst.

On ‘Spring’Schumann ultimately removed the ‘Spring’ title from his first symphony and he never assigned titles to the individual movements as he’d considered doing. Even so, he thought of it as his ‘Spring’ symphony and, as he told the composer Louis Spohr, he wrote the music ‘with a vernal passion…that always sways men even into old age and surprises them anew each year. Description and painting were not part of my intention, but I do believe that the season in which this symphony was born influenced its structure and helped make it what it is.’ Writer Michael Steinberg points out that the symphony was ‘born’ in the months of January and February, suggesting not the mood of spring itself but the longing for spring in a cold and grey Leipzig winter.

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KeynotesMENDELSSOHN

Born Hamburg, 1809 Died Leipzig, 1847

Felix Mendelssohn is often called the 19th-century Mozart: he was a child prodigy, composing masterpieces such the Octet and the Midsummer Night’s Dream Overture when he was 16 and 17; his music has a classical sensibility; and he died in his 30s, his tremendous activity as composer, pianist, conductor and administrator having taken its toll on a fragile constitution. Some claim he never quite recaptured the genius of the two teenage masterworks, but the Violin Concerto, completed when he was in his 30s, proves them wrong.

VIOLIN CONCERTO

This is not Mendelssohn’s only violin concerto (he wrote one for violin and strings when he was 13) but it’s his best-known: the Mendelssohn Violin Concerto as far as most music lovers are concerned. He began thinking about it in 1838 and finished work in 1844, consulting the violinist Ferdinand David about technical matters along the way. It is an exquisite, song-like concerto, and Mendelssohn brings the soloist and the orchestra together in an intimate dialogue instead of a competitive relationship. Listen for the way the soloist enters almost at the very beginning and the way Mendelssohn delicately links the movements together, leaving no room for the applause he personally disliked.

Felix Mendelssohn Violin Concerto in E minor, Op.64Allegro molto appassionato – Andante – Allegro non troppo – Allegro molto vivace

Christian Tetzlaff violin

The late Hans Keller, one of the most stimulating and opinionated of writers on music, used to say that the Mendelssohn Violin Concerto was the greatest concerto ever written for the instrument. Many violinists share this view, and Jascha Heifetz said: ‘If it is conceivable that the music of Mendelssohn can die, then all music can die.’

This concerto is one of the best-loved of all Mendelssohn’s works. Its main rival for top ranking among violin concertos is probably Beethoven’s, and even in Mendelssohn’s day the comparison was already being made. The English pianist-composer William Sterndale Bennett wrote: ‘There seems to me to be something essentially and exquisitely feminine about it, just as there is something essentially and heroically masculine in the Beethoven Violin Concerto.’

Mendelssohn has a reputation in some quarters for facility, even for unthinking note-spinning. The Violin Concerto gives the impression of spontaneous invention, but only through the art which conceals art. The violinist Ferdinand David, the leader of the Leipzig Gewandhaus Orchestra under Mendelssohn, helped the composer with the technicalities of the solo part of his concerto, and gave the premiere in 1845. As early as 1838 Mendelssohn wrote to David: ‘I should also like to write a violin concerto for you next winter. One in E minor runs in my head, the beginning of which gives me no peace.’ Over the next six years Mendelssohn peppered David with questions about technical difficulties, and

All the music in tonight’s program was premiered in the Leipzig Gewandhaus.

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The bassoon note sustained from the last chord of the first movement, linking it with the second, is usually explained as Mendelssohn’s attempt to persuade the audience not to applaud at this point.

finished: ‘“Thank God this fellow is through with his Concerto,” you will say. Excuse my bothering you, but what can I do?’

Mendelssohn’s thoughtful approach to the challenge of writing this concerto produced a number of structural innovations in the first movement. The first was his solution to the problem of the traditional opening orchestral tutti (already tackled by Beethoven in his last two piano concertos). Mendelssohn abolishes it completely: the violin soars in with the impassioned and lyrical first subject after just a bar-and- a-half of orchestral accompaniment. Another happy find is the single open G-string note, which the soloist sustains as a bass to the beautifully contrasted second subject. The next formal innovation shows how the virtuosity of the writing for violin is subordinated to the overall musical purpose: the cadenza, fully written out, occurs in the middle of the movement, and concludes with the recapitulation – a magical moment, as the orchestra states the main theme while the violin continues with figuration from the cadenza.

The bassoon note sustained from the last chord of the first movement, linking it with the second movement, is usually explained as Mendelssohn’s attempt to persuade the audience not to applaud at this point. But it is such a subtle device that he can scarcely have expected it to succeed in that purpose. What it does do is make the music continuous, and emphasise the change of key to C major for the songful slow movement, with its more agitated middle section. Mendelssohn again shows his concern for overall unity by writing an introduction to the last movement, with a theme for violin and strings a little reminiscent of the first movement – the soloist leads the listener in a typically Romantic manner through the unfolding ‘story’ of the concerto.

The last movement has many affinities with Mendelssohn’s ‘fairy scherzo’ vein, first proclaimed in his teenage masterpieces, the Octet and the Midsummer Night’s Dream Overture. It is a movement of entrancing contrasts: between the opening call-to-attention, the substantial second subject, and the violin’s curving lyrical theme while the orchestra plays with scraps of the main theme. The whole concerto reveals how completely Mendelssohn, contrary to received opinion, could recapture the fresh inspiration of his youth in his full musical maturity.

DAVID GARRETT © 1998

The orchestra for Mendelssohn’s Violin Concerto comprises pairs of flutes,

oboes, clarinets, bassoons, horns and trumpets; timpani and strings.

The SSO first performed the concerto in its entirety in a 1940 War

Funds Concert, conducted by Georg Schnéevoigt with Yehudi Menuhin as

soloist, and most recently in 2013 with Charles Dutoit conducting and

violinist Arabella Steinbacher.

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MORE MUSIC

SCHUMANN SYMPHONIESWhen it comes to the Schumann symphonies you’ll be spoilt for choice, but one place to start might be with the orchestra that gave the premieres, the Leipzig Gewandhaus. You can find all four in assured and graceful interpretations conducted by Kurt Masur in the 1970s.RCA RED LABEL 34172

If you’re curious about the reception of these symphonies over time, and especially the way conductors have sometimes felt compelled to ‘improve’ on Schumann’s work, look for Decca’s ‘Mahler Edition’ of the Schumann symphonies, in which Riccardo Chailly conducts the Gewandhaus Orchestra using Mahler’s re-orchestrations. Some of the effects are striking and impressive, even if they aren’t Schumann. But in at least one respect Mahler returned to Schumann’s original intent (as does David Robertson in these concerts), restoring the opening notes of the ‘Spring’ symphony. DECCA 478 0037

TETZLAFF PLAYS MENDELSSOHN Christian Tetzlaff’s expressive and songful interpretation of the Mendelssohn Violin Concerto can be found in an apt pairing with Schumann’s Violin Concerto in D minor and Fantasie in C for violin and orchestra. Paavo Järvi conducts the Frankfurt Radio Symphony Orchestra.ONDINE 1195

DAVID ROBERTSONLast year we released David Robertson’s recording with the SSO of Stravinsky’s complete Firebird ballet music.SSO LIVE 201402

And available any day now, also on our own label: Holst’s suite The Planets. Watch this space!

In 2013 the SSO gave the premiere of John Adams’ Saxophone Concerto with soloist Timothy McAllister and the composer conducting. The work was a co-commission with the St Louis Symphony among the partners, and it’s now available in the recording they made with David Robertson conducting and McAllister again playing the solo part. The concerto is paired with the very appealing City Noir, which also features saxophone.NONESUCH 541 356

CHRISTIAN TETZLAFFIn a completely different vein from Mendelssohn: Shostakovich’s two violin concertos. Christian Tetzlaff recorded the pair with the Helsinki Philharmonic Orchestra and conductor John Storgårds for his most recent release on the Ondine label.ONDINE 1239

Closer to the spirit of tonight’s program is his recording with pianist Lars Vogt of the three Schumann violin sonatas.ONDINE 1205

Broadcast Diary

February–March

Monday 23 February, 8pm SCHUMANN 1 & 2David Robertson conductor Christian Tetzlaff violinSchumann, Mendelssohn

Tuesday 24 February, 8pm SCHUMANN 3 & 4David Robertson conductorLentz, Schumann

Friday 20 March, 8pm BRAHMS & SIBELIUSDaniel Blendulf conductor Janine Jansen violinBrahms, Butterley, Sibelius

Saturday 21 March, 1pm SONG & DANCEWard Stare conductor Daniela Mack mezzo-sopranoRavel, Canteloube, Falla orch. Berio, Richard Strauss

SYDNEY SYMPHONY ORCHESTRA HOUR

Tuesday 10 March, 6pm

Hosted by Andrew Bukenya.

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The SSO joins in celebrating the 40th anniversary of Sydney’s fine music radio station

Radio has played a big part in developing the appreciation of music – not least orchestral music. No wonder Sydney’s own fine music station, Fine Music 102.5, has enjoyed a close relationship, across the 40 years since its birth in 1974–5, with the Sydney Symphony Orchestra. Many of the radio station’s volunteers and listeners received their first experience of orchestral music, played live, from Sydney’s orchestra.

Before there was any FM station (and what was then 2MBS-FM was Australia’s first),

Forty Years of Fine Music

The original mast being erected on the AMP Centre roof in Sydney (1976–77) Image courtesy Fine Music 102.5FM.

listeners found their music on the ABC. They recognised the ABC as the founder, and for decades the manager, of the SSO. But the ABC is national, whereas Fine Music 102.5 is local and can make its focus local. It has been able to support the Sydney Symphony Orchestra, not by broadcasting its concerts (long may the ABC continue to do that) but in many other ways – by broadcasting programs that support the SSO’s concert programs, by interviewing on air both resident and visiting SSO musicians, by publishing orchestra-related material in its program magazine, and so on.

Subscribers to the radio station and subscribers to the orchestra have a lot in common – they are supporters, who put down their names (and their money) for the sake of the music they love. There can never be an excess of such support, and especially, the orchestra will feel, of the music for which they exist. Forty years of collaboration in music’s cause is all the more to be celebrated since on both sides it remains as sweet as it was before. Play on, SSO, and Fine Music, give us that strain again!

DAVID GARRETT © 2015

In addition to his work writing and speaking for the SSO,

David Garrett is a volunteer programmer and presenter

for Fine Music.

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David Robertson is a compelling and passionate communicator whose stimulating ideas and music-making have captivated audiences and musicians alike. A consummate musician and masterful programmer, he has forged strong relationships with major orchestras throughout Europe and North America.

He made his Australian debut with the Sydney Symphony Orchestra in 2003 and soon became a regular visitor to Sydney, with projects such as The Colour of Time, a conceptual multimedia concert; the Australian premiere of John Adams’ Doctor Atomic Symphony; and concert performances of The Flying Dutchman with video projections. In 2014, his inaugural season as Chief Conductor and Artistic Director, he led the SSO on a seven-city tour of China.

Last year he launched his tenth season as Music Director of the St Louis Symphony. Other titled posts have included Principal Guest Conductor of the BBC Symphony Orchestra, Music Director of the Orchestre National de Lyon and resident conductor of the Jerusalem Symphony Orchestra. An expert in 20th- and 21st-century music, he has also been Music Director of the Ensemble Intercontemporain in Paris (where composer and conductor Pierre Boulez was an early supporter). He is also a champion of young musicians, devoting time to working with students and young artists.

David Robertson is a frequent guest with major orchestras and opera houses throughout the word and in recent seasons he has conducted the New York Philharmonic, Los Angeles Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, and the Philadelphia and Cleveland orchestras, as well as the Berlin Philharmonic, Staatskapelle Dresden, BBC Symphony Orchestra and the Hong Kong Philharmonic Orchestra. Last year he conducted the controversial but highly acclaimed Metropolitan Opera premiere of John Adams’ Death of Klinghoffer.

His awards and accolades include Musical America Conductor of the Year (2000), Columbia University’s 2006 Ditson Conductor’s Award, and, with the SLSO, the 2005–06 ASCAP Morton Gould Award for Innovative Programming. In 2010 he was elected a Fellow of the American Academy of Arts and Sciences, and in 2011 a Chevalier de l’Ordre des Arts et des Lettres.

David Robertson was born in Santa Monica, California, and educated at the Royal Academy of Music in London, where he studied French horn and composition before turning to conducting. He is married to pianist Orli Shaham.

THE POSITION OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR IS SUPPORTED BY EMIRATES

David Robertson Chief Conductor and Artistic Director

THE ARTISTS

MIC

HA

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TAM

MA

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For more than 20 years Christian Tetzlaff has enjoyed a fulfilling concert life with a hundred concerts per year. He began the 2014–15 season with concerts at festivals in North America and an extensive tour with the Tetzlaff Quartet through Austria, Great Britain, Germany, Korea and Japan.

He is currently Artist in Residence with the Berlin Philharmonic, playing in chamber music projects, directing from the violin, performing in recital and as a soloist with the orchestra under Simon Rattle (Brahms Violin Concerto). The season also includes mini-residence appearances in Paris with the Orchestre Philharmonique de Radio France conducted by Daniel Harding.

In addition to tours with the Swedish Radio Symphony and Daniel Harding in Sweden, Austria and Germany; with the Deutsche Kammerphilharmonie Bremen (Paavo Järvi) in Canada, Korea and Japan; and with the Deutsches Symphonie Orchester Berlin (Tugan Sokhiev) in Slovenia and Germany; Christian Tetzlaff will appear with the Munich Philharmonic, Scottish Chamber Orchestra, Rotterdam Philharmonic, Nederlands Philharmonic, Gürzenich Orchestra Cologne, Vienna Philharmonic, London Symphony Orchestra and Vienna Symphony Orchestra.

His North American appearances will include the Montreal Symphony Orchestra (Juraj Valcuha), Seattle Symphony Orchestra (Ludovic Morlot), Cleveland Orchestra (Franz Welser-Möst) and Pittsburgh Symphony Orchestra (Manfred Honeck). He will also perform in both Boston and Carnegie Hall with the Boston Symphony Orchestra and Andris Nelsons.

His discography includes the most frequently played works for the violin. His recent releases also include sonatas by Schumann and Mozart, recorded with pianist Lars Vogt; the Widmann violin concerto with the Swedish Radio Symphony Orchestra and Daniel Harding; and the Shostakovich violin concertos with the Helsinki Philharmonic and John Storgårds.

Christian Tetzlaff plays a violin made by German violinmaker Peter Greiner and teaches regularly at the Kronberg Academy near Frankfurt. His most recent appearances with the SSO were in 1993, when he played the Mendelssohn concerto, and 1998 (Berg).

On Monday 16 February (7pm) Christian Tetzlaff will perform Jörg Widmann’s Violin Concerto in a program with Schumann’s Third and Fourth symphonies, conducted by David Robertson.

Christian Tetzlaffviolin

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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

Sun Yi ASSOCIATE CONCERTMASTER

Kirsten Williams ASSOCIATE CONCERTMASTER

Lerida Delbridge ASSISTANT CONCERTMASTER

Fiona Ziegler ASSISTANT CONCERTMASTER

Emily LongJenny BoothSophie ColeAmber DavisClaire HerrickGeorges LentzNicola LewisAlexandra MitchellAlexander NortonLéone ZieglerDene Olding CONCERTMASTER

SECOND VIOLINS Kirsty Hilton Marina Marsden Marianne Broadfoot Emma Jezek ASSISTANT PRINCIPAL

Emma HayesShuti HuangStan W KornelBenjamin LiNicole MastersPhilippa PaigeMaja VerunicaMonique Irik°Emma Jardine°Maria DurekBiyana Rozenblit

VIOLASRoger Benedict Justin Williams ASSISTANT PRINCIPAL

Sandro CostantinoRosemary CurtinJane HazelwoodGraham HenningsStuart JohnsonFelicity TsaiAmanda VernerLeonid VolovelskyTobias Breider Anne-Louise Comerford Justine Marsden

CELLOSUmberto ClericiCatherine Hewgill Leah Lynn ASSISTANT PRINCIPAL

Fenella GillTimothy NankervisElizabeth NevilleAdrian WallisDavid WickhamKristy ConrauChristopher Pidcock

DOUBLE BASSESKees Boersma Alex Henery David CampbellSteven LarsonRichard LynnBenjamin WardNeil Brawley PRINCIPAL EMERITUS

David Murray

FLUTES Janet Webb Carolyn HarrisEmma Sholl Rosamund Plummer PRINCIPAL PICCOLO

OBOESDiana Doherty Shefali Pryor David PappAlexandre Oguey PRINCIPAL COR ANGLAIS

CLARINETSLawrence Dobell Christopher TingayFrancesco Celata Craig Wernicke PRINCIPAL BASS CLARINET

BASSOONSMatthew Wilkie Fiona McNamaraNoriko Shimada PRINCIPAL CONTRABASSOON

HORNSBen Jacks Robert Johnson Geoffrey O’Reilly PRINCIPAL 3RD

Euan HarveyMarnie SebireRachel Silver

TRUMPETSDavid Elton Josh Rogan°Paul Goodchild Anthony Heinrichs

TROMBONESRonald Prussing Nick ByrneChristopher Harris PRINCIPAL BASS TROMBONE

Scott Kinmont

TUBASteve Rossé

TIMPANIRichard Miller PERCUSSIONMark Robinson Rebecca Lagos Timothy Constable

HARP Louise Johnson

BOLD = PRINCIPALITALICS = ASSOCIATE PRINCIPAL

° = CONTRACT MUSICIAN

* = GUEST MUSICIAN

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

Mark Lawrenson

EDUCATION MANAGER

Rachel McLarin

EDUCATION OFFICER

Amy Walsh

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA MANAGEMENT

Aernout Kerbert

ORCHESTRA MANAGER

Rachel Whealy

ORCHESTRA COORDINATOR

Georgia Fryer

OPERATIONS MANAGER

Kerry-Anne Cook

PRODUCTION MANAGER

Laura Daniel

STAGE MANAGER

Courtney Wilson

PRODUCTION COORDINATORS

Ollie TownsendDave Stabback

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 – Senior CSRMichael 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

Corporate RelationsCORPORATE PARTNERSHIPS MANAGER

Belinda Besson

CORPORATE RELATIONS MANAGER

Janine Harris

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 MorschelAndy 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 The Hon. Paul Keating 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

Chair PatronsJane 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

Mrs Barbara Murphy (right) first fell in love with Shefali Pryor’s oboe playing during her performances with violinist Nigel Kennedy and the SSO in 2010. After getting to know each other, they bonded over a mutual love of travel and knitting.

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

Penelope Seidler AM

Mr Fred Street AM & Dorothy Street

Brian White AO & Rosemary White

Ray Wilson OAM in memory of the late James Agapitos OAM

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

FOR INFORMATION ABOUT THE CHAIR PATRONS

PROGRAM, CALL (02) 8215 4625.

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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

Vicki 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

Sydney Symphony Orchestra 2014 Fellows

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

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IF YOU WOULD LIKE MORE INFORMATION ON

MAKING A BEQUEST TO THE SSO, PLEASE

CONTACT LUKE GAY ON 8215 4625.

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 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

Mrs Barbara MurphyMr B G O’ConorVicki OlssonAndy & Deirdre PlummerGarry & Shiva RichDavid RobertsonMrs 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–$19,999Bailey 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 HollowaySimon JohnsonMr Ervin KatzJames N Kirby FoundationRuth & Bob MagidJustice Jane Mathews AO

The Hon. Justice AJ Meagher & Mrs Fran Meagher

Mr John MorschelDrs Keith & Eileen OngMr John Symond AM

The Harry Triguboff Foundation

Caroline WilkinsonAnonymous (2)

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

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

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BRONZE PATRONS CONTINUED

J A McKernanDavid Maloney AM &

Erin FlahertyR & S Maple-BrownMora MaxwellWilliam McIlrath Charitable

FoundationTaine MoufarrigeJohn & 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 BryantIta 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-HudsonMr John Lam-Po-TangJames & 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 (1)

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 Mar

Renee MarkovicMr Danny R MayHelen & Phil MeddingsI 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 RapeeKenneth R ReedPatricia 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 WhealyDr Richard T WhiteMrs Leonore WhyteA Willmers & R PalBetty WilkenfeldDr Edward J WillsProf. Neville Wills &

Ian FenwickeAnn & Brooks C Wilson AM

Dr Richard WingDr Peter Wong &

Mrs Emmy K WongGeoff Wood & Melissa WaitesSir Robert WoodsMr & Mrs Lindsay WoolveridgeIn memory of Lorna Wright

Dr John YuAnonymous (13)

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 BellMrs Jan 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 HenningSue HewittDr Joan-Mary HindsDorothy Hoddinott AO

Bill & Pam HughesMs Cynthia KayeMrs Margaret KeoghDr Henry Kilham

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

Dr 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 ToursJanelle RostronMrs Christine Rowell-MillerMrs Louise RowstonJorie Ryan for Meredith RyanMr Kenneth Ryan

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 PoserLaurisa 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

Garry Scarf & Morgie BlaxillPeter & Virginia ShawJudge David S ShillingtonMrs Diane Shteinman AM

Victoria SmythDoug & Judy SotherenColin SpencerJames & Alice SpigelmanAshley & Aveen StephensonMargaret & William SuthersMargaret SwansonDr Jenepher ThomasMrs Caroline ThompsonMrs June ThorntonMs Rhonda TingAlma TooheyMrs M TurkingtonGillian Turner & Rob BishopMr 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 5 January 2015

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SALUTE

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

GOVERNMENT PARTNERS

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

PRINCIPAL PARTNER

EDUCATION PARTNERPLATINUM PARTNER

REGIONAL TOUR PARTNER MARKETING PARTNERVANGUARD PARTNER

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Salute 2015_21Jan.indd 1 3/02/15 2:42 PM

ORCHESTRA NEWS | FEBRUARY–MARCH 2015

❝You have to find a way in music to grab people…

❞piece, I am always full of doubts and fear. When I write a piece, I quite literally believe it’s the last piece I ever write.’ It’s a torturous path. ‘Every time I think “this is my last piece. I may as well pour everything I’ve got into this one.” It makes it quite an intense thing when I get to rehearsals. I’ve invested all of myself in that and what if, after all that, it’s no good?’

Jerusalem (after Blake) is the most recent work completed in Georges’ magnum opus Caeli enarrant… Based on the poetry and visual art of William Blake, ‘this piece is somewhat psychedelic, even apocalyptic. Blake is a visionary, his poetry and art are very intense and direct. I too would like to grab people, take them by the throat. From a fortissimo darkness, through the most gentle serene moments. You have to find a way in music to grab people, not to leave them uninvolved.’

Georges Lentz’s Jerusalem (after Blake) was commissioned with the assistance of an anonymous donor. It receives its first Australian performances in February.

Robertson conducts La MerWed 18 Feb, 6.30pmSchumann 3 & 4Sat 21 Feb, 2pm

Once upon a time, performing composers were the norm. Sadly, these days they’re the exception. And our very own exception is first violinist Georges Lentz, also an internationally celebrated composer who originally hails from Luxembourg.

How do performing and composing inform each other? ‘I’ve always liked to do both,’ says Georges. ‘It gives a nice balance. When one thing is not going so well, there’s always the other to fall back on. Also, performing gives you insight into the practicalities of writing for musicians: you know what

musicians like to see, you know what annoys them.’

‘It can sometimes be difficult – as a composer who is also an orchestral musician – to play Tchaikovsky all day long and then go home and write your own music. Sure, as musicians we have a responsibility to play the music of Tchaikovsky, or Walton, or even Elton John, in such a way that it is relevant and alive.’ But as a composer, he sighs, ‘it’s not always what you need to hear.’

Of his own music, Georges is extremely self critical. ‘Before a rehearsal process starts on a new

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AN EXCEPTIONAL MUSICIANFirst violinist Georges Lentz straddles the complementary professions of composer and performer

SSO Bravo! #1 2015 Insert_2.indd 1 6/02/15 2:14 PM

I noticed in a recent concert that the clarinets seemed to keep swapping instruments, which, to the naked and distant eye, more or less looked exactly the same. What’s the reason for this?

What a great question! Let me first say, it’s not because we’re extremely indecisive! Mostly we’re switching between two clarinets – the ‘B flat’ and ‘A’ clarinets. Physically, they’re about 2 cms different in length, with the A clarinet the longer of the

two, and therefore sounding a semitone lower.

There are subtle, but important differences in tone colour between the two instruments. The B flat is slightly brighter, whereas the A clarinet has a more mellow, rounded tone. Sometimes we have to change between clarinets really quickly, especially in the music of Mahler and Strauss.

The mouthpieces are interchangeable, and we use cork grease to ensure the mouthpiece can come out easily and then be inserted into the other barrel.

There’s a danger in a really quick clarinet change that you might accidentally rip the reed out too.

Clarinets are considered transposing instruments. From a clarinettist’s point of view, using two different clarinets has the advantage of keeping key signatures to just four sharps or flats. Fully explaining transposition would take more space than I have here, but basically, if composers are nice then we don’t have to play in horrible key signatures.Christopher Tingay, clarinet

Ask a Musician

Special EventPlanet EarthComposer Charlie Chan of the Global Orchestra Foundation has ideas. Lots of ideas. For instance, coinciding with this year’s Earth Hour, a performance by the SSO of Holst’s Planets is going to be beamed around the globe.

‘The Global Orchestra team wanted to find a way to encourage musicians to participate and extend the participation of Earth Hour,’ explains Charlie. A plan was hatched to find a soundtrack to Earth Hour. Nathan Waks, former principal cellist with the SSO, suggested The Planets and the idea took flight.

The hope is that schools, universities, individuals and ensembles of all abilities will participate by playing along with the live stream of the concert. ‘We’ll be composing additional music that’s suited to primary school students,’ adds Charlie. ‘They’ll make some junk instruments out of recycled materials, so that kids can make their own instruments and play along.’

With The Planets forming the true heart of this

project, there are a number of satellite ways in which the Global team hope you’ll take part. For more information: www.globalorchestra.com

David Robertson conducts The Planets on Friday 27 March (11am) and for Earth Hour on Saturday 28 March (8.30pm).

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‘Yes, that’s our concertmaster Andrew Haveron – nine storeys high on the Sydney Opera House!’

If you were near the Sydney Opera House on 4 February you would have seen spectacular

projections, bringing our Greatest Hits from Vienna concert from inside the Concert Hall to viewers, not just on the foreshore, but watching from around the world. The dynamic footage of our musicians in performance was complemented by gorgeous imagery inspired by Vienna’s rich culture. The awe-inspiring result represented a true cross-city cultural collaboration, and we thank the Vienna Tourist Board for presenting the event. Enjoy the webstream via YouTube: bit.ly/VisionsViennaOnDemand

SSO Bravo! #1 2015 Insert_2.indd 2 6/02/15 2:15 PM

Farewell Bravo! – till we meet againSince 2012, we’ve been publishing Bravo! as an in-program magazine. But this has been just one manifestation of our audience newsletters over the years. If you’ve been a subscriber for long enough you’ll probably remember the quarterly Bravo! that was mailed to homes and the various newsletters – Notations, Symphony – that preceded it going back to the 1990s and even earlier.

One of the reasons we moved Bravo! to the program books was a desire to reach everyone in our audience, not just those who were on our subscriber mailing list. And for the past three years Bravo! has functioned as our way of sharing news and insights with anyone who attended a concert.

Recently we’ve found that the news we’d like to share and the musical personalities we want to introduce to you are too much for the few pages available at the back of the program. We’re also realising that printed booklets aren’t the best way to share music, talk or video in an increasingly multimedia world.

So even though this is the final issue of Bravo! as you’ve known it in recent years, stay tuned as we expand the offerings on our website, and continue to bring you a wealth of news and stories from behind the scenes.

Finally, we’d like to extend a huge thank you to Bravo! editor Genevieve Huppert, who has shepherded more than 30 issues of Bravo! into being. We especially admire the grace and imagination she has brought to the musician feature-profiles.

Past issues of Bravo! can be downloaded from sydneysymphony.com/bravo

The Score

teens, early 20s; that’s exactly the age of our singers,’ says Lyn. ‘To me, there’s a power in that.

For the centenary commemorations of the 1915 Gallipoli landing, choristers from Turkey, France and New Zealand will augment the Australian Gondwana Chorale. ‘The idea was to represent many of the nations that were there in Gallipoli.’ Lyn explains. ‘It makes a lot of sense for these choristers to come together – especially with what’s going on in the world,’ says Lyn. ‘While there is conflict in the world, our young choristers can come together to present a positive affirmation of peace.’

Writing the piece also gave James pause for thought about war and conflict. ‘I deliberately chose the title War Music, rather than specifically addressing the Gallipoli landing. I think anybody who has lost their lives through a political decision in the name of their country – not just in 1915 – deserves to be commemorated.’

Gondwana Choirs is looking for host families to billet the visiting international choristers for these performances. If you are able to extend the ANZAC spirit in this way, please contact Tessa Kay at tessa@gondwanachoirs.com.au or call (02) 8274 7003.

‘War is horrible,’ says Australian composer James Ledger. ‘The extent of its casualties goes well beyond the horrific number of people who die on the battlefields.’

On 24 April, the Sydney and New Zealand symphony orchestras are commemorating the centenary of the Gallipoli landings with simultaneous concerts featuring two world premieres by Australian and New Zealand composers. The SSO commissioned James to write War Music, which features words by Australian musician and storyteller Paul Kelly; the NZSO has commissioned Kiwi composer Michael F Williams to write Letters from the Front.

‘Paul’s new text is written from the point of view of the souls and spirits of the diggers who died there,’ explains James. ‘One of the lines in it was: “We died in smoke and noise. We died alone.” That’s the line that really hit me – “We died alone.” That just got me.’

To perform War Music, the SSO will be joined by singers from Gondwana Chorale, whose members are aged 17–25. Lyn Williams, Artistic Director and Founder of Gondwana Choirs, says there is a real impact in using young voices for a work like this. ‘If you think of soldiers at Gallipoli, they would have been in their late

Artistic Focus

ANZAC SPIRITS

Gondwana Chorale will be joined by other young choristers from Turkey, France and New Zealand when they perform James Ledger’s War Music in April.

SSO Bravo! #1 2015 Insert_2.indd 3 6/02/15 2:15 PM

Clocktower Square, Argyle Street, The Rocks NSW 2000GPO Box 4972, Sydney NSW 2001Telephone (02) 8215 4644Box Office (02) 8215 4600Facsimile (02) 8215 4646www.sydneysymphony.com

All rights reserved, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage or retrieval system, without permission in writing. The opinions expressed in this publication do not necessarily reflect the beliefs of the editor, publisher or any distributor of the programs. While every effort has been made to ensure accuracy of statements in this publication, we cannot accept responsibility for any errors or omissions, or for matters arising from clerical or printers’ errors. Every effort has been made to secure permission for copyright material prior to printing.

Please address all correspondence to the Publications Editor: Email program.editor@sydneysymphony.com

Sydney Opera House TrustMr John Symond am [Chair]Ms Catherine Brenner, The Hon Helen Coonan, Ms Brenna Hobson, Mr Chris Knoblanche, Mr Peter Mason am, Ms Jillian Segal am, Mr Robert Wannan, Mr Phillip Wolanski am

Executive ManagementChief Executive Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Louise Herron am

Chief Operating Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Claire SpencerDirector, Programming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jonathan BielskiDirector, Theatre & Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .David ClaringboldDirector, Building Development & Maintenance . . . . . . . . . . .Greg McTaggartDirector, Marketing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Anna ReidDirector, External Relations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Brook Turner

SYDNEY OPERA HOUSE Administration (02) 9250 7111 Bennelong Point Box Office (02) 9250 7777 GPO Box 4274 Facsimile (02) 9250 7666 Sydney NSW 2001 Website sydneyoperahouse.com

PAPER PARTNER

Symphony Services InternationalSuite 2, Level 5, 1 Oxford Street, Darlinghurst NSW 2010PO Box 1145, Darlinghurst NSW 1300Telephone (02) 8622 9400 Facsimile (02) 8622 9422www.symphonyinternational.net

All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright. Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover than that in which it was published, or distributed at any other event than specified on the title page of this publication 17491 — 1/110215 — 02 S2/4

This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064

Head Office: Suite A, Level 1, Building 16, Fox Studios Australia, Park Road North, Moore Park NSW 2021 PO Box 410, Paddington NSW 2021Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: admin@playbill.com.au Website: www.playbill.com.auChairman Brian Nebenzahl OAM RFD Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager—Production—Classical Music Alan ZieglerOperating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, Hobart & Darwin

Playbill runs its own printery where we print all our theatre programs. We also print a variety of jobs from flyers to posters to brochures. Contact us at print@playbill.com.au for a quote on your printing work.

EDITOR Genevieve Huppert sydneysymphony.com/bravo

TunED-Up

Already this year, 50 primary school teachers with little or no existing music training, have travelled to Sydney from all over NSW to participate in the SSO’s five-day TunED-Up program. Now in its second year, TunED-Up helps teachers develop their music teaching skills under the guidance of SSO Director of Learning and Engagement Kim Waldock. Last year we calculated we reached about 8,000 children by ‘teaching the teachers’, and that number is set to grow again this year. Our thanks to Fred and Dorothy Street together with the other supporters who make this magical program possible.

OUR BIGGEST FAN

Nothing beats a personal recommendation, and last November Ben Folds was our biggest fan. In concerts with the

SSO featuring his new piano concerto, he told audiences to come back to the concert hall and listen to the music that makes their orchestra shine. ‘My stuff’s not bad,’ he said, but orchestras are the ‘highest form of civilisation’.

TRADE SECRETS

Someone asked us recently if we use real cannons for the performance of Tchaikovsky’s 1812 Overture, which traditionally concludes Symphony in the Domain. As this is the final print issue of Bravo, we’re in the mood to spill a few trade secrets. Each cannon has pyrotechnics attached to the muzzle and is fired via a wireless remote. There are usually two special guests invited to ‘light’ the cannons with sparklers. For best effect, our stage manager cues the VIPs to touch the sparkler to the cannons at the appropriate moment. The pyro technician who is doing the actual ‘firing’ is also cued. Needless to say, after so many years of the 1812 Overture,

the stage manager’s score is starting to look a little dog-eared…

DISCOVERY

If you haven’t yet been to one of our DownerTenix Discovery series concerts, then quite simply you’ve been missing out. Richard Gill, Artistic Director of the series, is communicator par excellence, and unpacks music in such a way that everyone can understand. This is his final year of leading these illuminating and inspiring presentations, so come along and begin by discovering Beethoven’s Second Symphony with Richard and the Sydney Symphony Sinfonia on 24 February.

Discover Mahler Tue 5 May Discover Ravel Tue 25 Aug Discover Richard Strauss Tue 10 Nov City Recital Hall Angel Place

WELCOME

We welcome Jennifer Drysdale, our new Philanthropy Manager.

CODA

Clocktower Square, Argyle Street, The Rocks NSW 2000GPO Box 4972, Sydney NSW 2001Telephone (02) 8215 4644Box Office (02) 8215 4600Facsimile (02) 8215 4646www.sydneysymphony.com

All rights reserved, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage or retrieval system, without permission in writing. The opinions expressed in this publication do not necessarily reflect the beliefs of the editor, publisher or any distributor of the programs. While every effort has been made to ensure accuracy of statements in this publication, we cannot accept responsibility for any errors or omissions, or for matters arising from clerical or printers’ errors. Every effort has been made to secure permission for copyright material prior to printing.

Please address all correspondence to the Publications Editor: Email program.editor@sydneysymphony.com

Sydney Opera House TrustMr John Symond am [Chair]Ms Catherine Brenner, The Hon Helen Coonan, Ms Brenna Hobson, Mr Chris Knoblanche, Mr Peter Mason am, Ms Jillian Segal am, Mr Robert Wannan, Mr Phillip Wolanski am

Executive ManagementChief Executive Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Louise Herron am

Chief Operating Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Claire SpencerDirector, Programming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jonathan BielskiDirector, Theatre & Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .David ClaringboldDirector, Building Development & Maintenance . . . . . . . . . . .Greg McTaggartDirector, Marketing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Anna ReidDirector, External Relations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Brook Turner

SYDNEY OPERA HOUSE Administration (02) 9250 7111 Bennelong Point Box Office (02) 9250 7777 GPO Box 4274 Facsimile (02) 9250 7666 Sydney NSW 2001 Website sydneyoperahouse.com

PAPER PARTNER

Symphony Services InternationalSuite 2, Level 5, 1 Oxford Street, Darlinghurst NSW 2010PO Box 1145, Darlinghurst NSW 1300Telephone (02) 8622 9400 Facsimile (02) 8622 9422www.symphonyinternational.net

All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright. Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover than that in which it was published, or distributed at any other event than specified on the title page of this publication 1/110215 — 02 — S2/4

This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064

Head Office: Suite A, Level 1, Building 16, Fox Studios Australia, Park Road North, Moore Park NSW 2021 PO Box 410, Paddington NSW 2021Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: admin@playbill.com.au Website: www.playbill.com.auChairman Brian Nebenzahl OAM RFD Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager—Production—Classical Music Alan ZieglerOperating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, Hobart & Darwin

Playbill runs its own printery where we print all our theatre programs. We also print a variety of jobs from flyers to posters to brochures. Contact us at print@playbill.com.au for a quote on your printing work.

SSO Bravo! #1 2015 Insert_2.indd 4 6/02/15 2:15 PM