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ROMAN TRILOGY
APT MASTER SERIES
Wednesday 9 September 2015 Friday 11 September 2015 Saturday 12 September 2015
concert diary
French ImpressionsRAVEL Rapsodie espagnole DEBUSSY Nocturnes BERLIOZ Te Deum
Charles Dutoit conductor • Joseph Kaiser tenor Sydney Philharmonia Choirs • Sydney Children’s Choir Tasmanian Symphony Orchestra Chorus
Thursday Afternoon Symphony
Thu 3 Sep 1.30pmEmirates Metro Series
Fri 4 Sep 8pmPre-concert talk by David Garrett 45 minutes before each performance
Roman TrilogyBERLIOZ Roman Carnival – Overture SCHUMANN Cello Concerto RESPIGHI Roman Festivals Fountains of Rome Pines of Rome
Charles Dutoit conductor Daniel Müller-Schott cello (PICTURED)
APT Master Series
Wed 9 Sep 8pm Fri 11 Sep 8pm Sat 12 Sep 8pmPre-concert talk by David Larkin at 7.15pm
Banned SSO Fellows Chamber Concert
Music by Schulhoff, Pavel Haas, Martinů and Mendelssohn, with the Sextet from Richard Strauss’s Capriccio.
Roger Benedict Artistic Director
Sat 19 Sep 6pmUtzon Room, Sydney Opera House
Anne-Sophie Mutter plays DvorákDVOŘÁK Romance for violin DVOŘÁK Violin Concerto BEETHOVEN Symphony No.3 (Eroica)
Jakub Hrůša conductor Anne-Sophie Mutter violin
Special Event Premier Partner Credit Suisse
Wed 23 Sep 8pm Fri 25 Sep 8pm Sat 26 Sep 8pm Pre-concert talk by Genevieve Huppert at 7.15pm
Sibelius 2 Robertson Conducts
SCULTHORPE Sun Music II WALTON Violin Concerto SIBELIUS Symphony No.2
David Robertson conductor Andrew Haveron violin (PICTURED)
Thursday Afternoon Symphony
Thu 8 Oct 1.30pmEmirates Metro Series
Fri 9 Oct 8pmGreat Classics
Sat 10 Oct 2pm Pre-concert talk by David Robertson 45 minutes before each performance
Cirque de la Symphonie Cirque de la Symphonie returns to Australia with a show of favourites and surprises. Enjoy elite performers from around the world presenting dazzling displays of circus artistry and skill with your Sydney Symphony Orchestra.
Presenting Partner Wilson Parking
Thu 17 Sep 7pm Fri 18 Sep 7pm Sat 19 Sep 2pm
CLASSICAL
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Anne-Sophie Mutter and the Camerata Academica Salzburg perform Mozart’s Violin Concerto No.1
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WELCOME
Welcome to tonight’s performance in the APT Master Series. This week, conductor Charles Dutoit and the Sydney Symphony Orchestra have created a program that is more than a concert – it’s a true journey in music.
Also performing tonight is German cellist Daniel Müller-
Schott, playing a concerto by Robert Schumann – music
that was perhaps inspired by the composer’s excitement at
newly arriving in Düsseldorf. Germany provides an interlude
in the journey, but the itinerary tonight begins and ends in
Rome with thrilling orchestral music by Hector Berlioz and
Ottorino Respighi.
There’s a spirit of celebration in the music we’ll be hearing
tonight, and here at APT we’ve been celebrating two
acknowledgements in the recent AFTA National Travel
Industry Awards: Best River Cruise Operator and Best Tour
Operator.
Tonight you can go on a musical journey to one of the most
inspiring and iconic cities in Europe. We hope it will inspire
you to see Rome for yourself, and we look forward to seeing
you at future Master Series concert.
Geoff McGeary oam APT Company Owner
PRESENTED BY
APT MASTER SERIES
WEDNESDAY 9 SEPTEMBER, 8PM
FRIDAY 11 SEPTEMBER, 8PM
SATURDAY 12 SEPTEMBER, 8PM
SYDNEY OPERA HOUSE CONCERT HALL
Saturday’s performance will be broadcast across Australia by ABC Classic FM.
Pre-concert talk by David Larkin at 7.15pm in the Northern Foyer.
Estimated durations: 8 minutes, 25 minutes, 20-minute interval, 24 minutes, 15 minutes, 23 minutes The concert will conclude at approximately 10.10pm.
COVER IMAGE: The Roman Festivals of the Colosseum, painted by Juan Pablo Salinas in the 1900s.
ROMAN TRILOGYCharles Dutoit conductor Daniel Müller-Schott cello
HECTOR BERLIOZ (1803–1869) Roman Carnival – Overture, Op.9
ROBERT SCHUMANN (1810–1856) Cello Concerto in A minor, Op.129
Nicht zu schnell (Not too fast) – Langsam (Slowly) – Sehr lebhaft (Very lively)
INTERVAL
OTTORINO RESPIGHI (1879–1936)
Roman FestivalsCircuses – The Jubilee – October Festival – Epiphany (La Befana)
Fountains of RomeThe Fountain of Valle Giulia at Dawn – The Triton Fountain in the Morning – The Fountain of Trevi at Midday – The Villa Medici Fountain at Sunset
Pines of RomePines of the Villa Borghese – Pines near a Catacomb – Pines of the Janiculum – Pines of the Appian Way
2015 concert season
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Carnival in Rome or ‘Roman Carnival that took place during the visit by the Tsarevich and his entourage’ was painted by Alexander Myasoedov during the 1839 visit to Rome of the future Alexander II of Russia. It incorporates more than a hundred historical figures, including Alexander himself, watching the celebrations from the balcony of the Palazzo Ruspoli.
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INTRODUCTION
Roman Trilogy
PLEASE SHAREPrograms grow on trees – help us be environmentally responsible and keep ticket prices down by sharing your program with your companion.
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
If you’ve ever been tempted by the idea of a three-course meal
consisting entirely of desserts then this concert offers the
equivalent in musical indulgence. Tonight you can enjoy at length
the brilliance, exuberance and sheer magnificence of sound
that’s possible when 110 musicians gather on stage and play
some of the most exciting music ever conceived.
The program begins with Berlioz and his Roman Carnival
overture from 1844. The scene is the Lenten carnival; the
atmosphere is wild, uninhibited and slightly dangerous; there
is dancing in the streets. The painting opposite shows how a
Russian visiting Rome in 1839 captured it on canvas, just as
Berlioz captures it in music.
Berlioz’s music isn’t completely hedonistic – there is a more
subdued moment with a love theme from that most gorgeous
of instruments, the cor anglais. Similarly, Schumann’s Cello
Concerto offers a moment of relative quiet and refinement
in the program overall. It begins with the kind of magical
summons that Mendelssohn uses in his Midsummer Night’s
Dream overture – three chords that tie the concerto together.
Schumann had said he could not write a concerto ‘for the
virtuosos’ and that he would ‘have to try for something else’.
That something else is a slender and graceful masterwork,
finding its power in Schumann’s lyrical imagination and his
willingness to depart from convention.
The second half of the concert is given over to the music of
Respighi and something we’ve never done before: program all
three of his ‘Roman’ symphonic poems: Festivals, Fountains and
Pines. (The closest we’ve come is two, in a 1979 gala.) On the
cover of tonight’s program is an early 20th-century artist’s
imagined picture of Ancient Rome. In much the same way,
Respighi offers vivid musical pictures of an imagined time and
place, coloured by his ingenious use of the orchestra. It’s possible
you’ll leave tonight’s concert feeling slightly exhausted by so
much musical richness, but we hope the music will also leave
you feeling revitalised and alive.
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Berlioz in the early 1830s. The drawing is thought to be by Ingres.
ABOUT THE MUSIC
Hector Berlioz Roman Carnival – Overture, Op.9Berlioz’s Roman Carnival (Le Carnaval romain) represents a rescue mission: lifting its material from a failed opera to give the music new life on the concert stage. The opera was inspired by what Berlioz called the ‘strange career’ of Benvenuto Cellini of Florence. Cellini was a true Renaissance man: a soldier, a musician, an author, a goldsmith and an artist, best known today for his sculptures. His life made such a deep impression on Berlioz that the composer poured all his energy and enthusiasm into the opera, having – he wrote in his autobiography – ‘stupidly concluded that it would be both dramatic and interesting to other people’.
The plot, which takes place at the beginning of Lent in 1532, centres on the casting of an actual statue: Perseus holding the head of Medusa. It is a dramatic love story, with subterfuge, a lover’s abduction gone wrong and accusations of murder. Cellini’s craft and eleventh-hour ingenuity wins him a Papal pardon and the girl.
Berlioz offered Benvenuto Cellini to Henri Duponchel of the Paris Opéra, who, he says: ‘looked upon me as a species of lunatic – read the libretto and agreed to take my opera. After
KeynotesBERLIOZBorn La Côte-Saint-André, 1803 Died Paris, 1869
Berlioz set off for Paris when he was 18, ostensibly to study medicine (his father’s preference) but in reality following a musical path that would result in him becoming the ‘arch-Romantic’ composer of his age. Despite the fact that his main instrument was the guitar (he also played piano and flute, but badly), he became a master in the innovative use of the orchestra (he literally wrote the book) as well as a conductor.
ROMAN CARNIVAL
Berlioz called this piece a ‘character overture’. It’s not just a lively concert opener but music filled with musical imagery, colour, atmosphere and personality. The setting is the Carnival season in Rome, a time when daily life was turned on end, rules were broken, and the spirit of celebration spilled out onto the streets in the form of masquerades and parades. Berlioz captures some of that subversive feeling in music that’s based on a whirling Italian dance, the saltarello.
Roman Carnival was composed as a concert piece in 1844, drawing on musical themes from Berlioz’s failed opera Benvenuto Cellini.
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which he went about saying that he was going to put it on, not on account of the music, which was ridiculous, but of the book, which was charming.’
In his autobiography, Berlioz describes the unbelievable obstacles put in his path by those who tried to obstruct the production of the opera in 1838, and he tells of the incompetence and surly temper of François-Antoine Habeneck, who conducted the rehearsals. ‘Habeneck,’ says Berlioz, ‘never could manage the quick tempo of the saltarello; the dancers, unable to dance to his dragging measure, complained to me. I cried: “Faster! Faster! Wake up!” Habeneck, in a rage, hit the desk and broke his stick…I said calmly: “My good sir, breaking fifty sticks will not prevent your time being twice as slow as it ought to be. This is a saltarello…” If only I could have conducted myself…’
The opera received just four performances (a ‘deadly failure’) and Berlioz waited in vain for its rehabilitation. After six years he decided to use some of its material for a concert overture depicting the merry turmoil of Carnival time in Rome. Except for an interlude near the beginning, the music is of unashamed gaiety. It begins with the whirlwind saltarello, taken from the scene in the opera which presents the Lenten Carnival. There is a pause, and then the cor anglais presents a melody from the opera’s love duet. After more bustling and brilliantly coloured music, the dancing saltarello returns, dominating the overture to its tempestuous end. Despite the fact that Benvenuto Cellini is very rarely staged, the most musically exciting features of that work have survived in this ‘character overture’, as the composer called it.
ADAPTED FROM NOTES BY YVONNE FRINDLE
SYDNEY SYMPHONY ORCHESTRA © 2008/2012
Berlioz’s Roman Carnival calls for two flutes (one doubling piccolo),
two oboes (one doubling cor anglais), two clarinets and two bassoons;
four horns, two trumpets, two cornets and three trombones; timpani and
percussion; and strings.
The SSO first performed the Roman Carnival in 1939 under George Szell,
and most recently in 2012 conducted by David Zinman.
The SaltarelloSaltarello is Italian for ‘little hop’, summing up perfectly the character of this ancient dance. Generally speaking, it is a moderately quick dance, usually in triple time and involving many jumping steps. By Berlioz’s time the name had been applied to a folk dance that had emerged in Rome in the late 18th century. This could be a solo or a couple dance, and has been described as ‘increasingly rapid hopping steps around an imaginary semicircle, accompanied by “violent” arm movements’. Mendelssohn included a saltarello in the finale of his Italian Symphony (No.4).
Carnival in Rome‘Carnevale Romano’ has not been fully celebrated for more than a hundred years. Originally a pagan celebration of the coming of spring, it was adapted by the Christians, but the tradition of running wild remained. Masks, disguises, sweetmeats, confetti, candles and torches, drums, bands, horse racing, commedia dell’arte, dangerous liaisons…the Roman Carnival was a chance to shake off winter greyness and burst into colour.
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Robert Schumann Cello Concerto in A minor, Op.129Nicht zu schnell (Not too fast) – Langsam (Slowly) – Sehr lebhaft (Very lively)
Daniel Müller-Schott cello
The fluency and spontaneous grace of this work could be thought to reflect the single span of inspiration in which Schumann composed it. The work was composed by the 40-year-old, newly arrived in Düsseldorf from Dresden, in the space of 15 days – from 10 to 24 October 1850.
Schumann at first considered calling this masterpiece a Konzertstück (Concert Piece), to reflect its continuity and its less than concerto-length dimensions (it runs to about 25 minutes). However, it is only the brevity of the slow movement which could in any way threaten its claim to the grander title.
In contrast with certain passages in the Violin Concerto of 1853, Schumann here composed solo music that is well-pitched for the instrument. Schumann, though remembered as a pianist, in fact possessed a reasonably deep first-hand knowledge of the cello, having taken it up briefly after the injury in 1832 that put an end to his piano career. He once explained that he was able to handle the bow despite the paralysis which affected one of the fingers of his right hand.
Though Schumann didn’t study cello for long, this concerto is evidence that his time on the instrument paid off. As his wife, Clara, confided in her diary (16 November 1850): ‘Last month [Robert] composed a concerto for violoncello…It appears to be written in the true violoncello style.’
As always Clara was Schumann’s most perceptive critic and keenest admirer, and she added in her diary, a year later:
I have played Robert’s Cello Concerto again and thus procured for myself a truly musical and happy hour. The romantic quality, the flight, the freshness and the humour, and also the highly interesting interweaving of cello and orchestra are, indeed, wholly ravishing, and what euphony and what deep sentiment are in all the melodic passages.
One could forgive Clara for being partisan, but in this case, her summary is quite apt. For once, Schumann’s habitually over-painted orchestration is under control. The cello is exploited for its eloquent tenor tone, and the work has a wonderful lyricism.
Schumann the musical poet is evident in the way each movement is linked to the next to allow for a continuity of
KeynotesSCHUMANNBorn Zwickau, 1810 Died Endenich, near Bonn, 1856
Schumann was a child of Romanticism: not only are his creations vividly imaginative and deeply lyrical, but he was aligned with the literary concerns of the Romantic era. It is no accident that he was a critic as well as a musician. At first he aspired to be a writer; he then 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 – exactly how and how much is disputed – thwarting his performing hopes but leaving the way open for him to focus on composition.
CELLO CONCERTO
Schumann conceived his cello concerto as a single-movement ‘concert piece’ for cello; in its final form the three ‘movements’ (fast–slow–fast) are played without pause, creating a seamless work. The music was composed in just a few weeks in 1850 and Schumann had a word for the heat of inspiration he experienced – Compositionsgelüste, or ‘urgent desires to compose’. The result is spontaneous and fervent.
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thought unlikely to be broken by applause, and in the eschewal of virtuosity for its own sake. ‘I cannot write a concerto for the virtuosos,’ Schumann had commented early in his career. The cadenza is in fact shifted from the first movement to the last, so that an audience may first attend to the warmth and scope of the musical ideas. The triplets in the first movement are the only early concessions to virtuosity.
There is no orchestral introduction as was customary in the Classical concerto – just four bars of material which introduces a sweeping opening melody in the cello. The cello goes on for some time in its attractive tenor register, until a more vigorous orchestral passage takes over. Then a secondary, slightly more chromatic, more rhythmically-pointed melody is heard, before triplets are introduced in the codetta, taking the listener almost imperceptibly into the development section, a passage notable for pert, light scoring for the orchestra and long, flowing responses in the solo cello. A recollection of the opening melody in more languorous mood, in the remote key of F sharp minor, marks the furthest point of the development, before a return to the material of the opening section, now slightly varied.
A gradual retarding of the coda leads to the slow movement, where traditionally the soloist plays in duet with the leader of the orchestral cellos. It is only 34 bars long, but rises to a glorious climax with the cello in its tenor register. An accelerating coloratura leads to the last movement. Here the cello takes on a more playful character, while remaining essentially melodic.
GORDON KALTON WILLIAMS
SYMPHONY AUSTRALIA © 1997
Schumann’s Cello Concerto calls for a modest-sized orchestra comprising
pairs of flutes, oboes, clarinets, bassoons, horns and trumpets; timpani
and strings.
The concerto was first performed in Leipzig on 9 June 1860, four years
after the composer’s death, in a concert in honour of what would have
been his 50th birthday; the soloist was Ludwig Ebert. In 1950 the SSO
was the first ABC orchestra to perform the concerto, with conductor
Alceo Galliera and soloist Edmund Kurtz. Our most recent performance
was in 2010 with Johannes Moser and conductor Alexander Vedernikov.
‘I cannot write a concerto for the virtuosos. I must try for something else.’ ROBERT SCHUMANN
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KeynotesRESPIGHIBorn Bologna, 1879 Died Rome, 1936
Ottorini Respighi was a prolific composer who worked in nearly every genre of music except the ‘straight’ symphony, as well as making many charming and effective arrangements of music by other composers. Today he’s best-known in the theatre for his ballet La boutique fantasque (based on music by Rossini), and in the concert hall for his ‘Roman trilogy’ of orchestral showpieces: Fountains of Rome, Pines of Rome and Roman Festivals.
Ottorino Respighi Respighi is an intriguing figure in 20th-century music. He was Italian-born and Russian-and-German-educated, but his compositional influences virtually bypassed the Romantic and Classical periods altogether. He and his composer peers explored a range of ideas in a bid to create a uniquely Italian, especially non-operatic, music in the wake of the social upheavals of Unification. These ideas, evident to varying degrees in all of Respighi’s music, come together in his ‘Roman trilogy’: the revival of early Italian music; an interest in the ancient modes and Gregorian chant of the early church; openness to the latest musical developments abroad (Debussy, Strauss and Stravinsky, in particular); the exploration of folk and popular music; and a fascination with the glories of ancient Rome.
Although he was born in Bologna, Ottorino Respighi adored Rome and spent much of his later life there teaching at the Accademia di Santa Cecilia. His fascination with the landscapes and life of the city ultimately resulted in three of his best-known pieces: Fountains of Rome (completed 1916), Pines of Rome (1924) and Roman Festivals (1928).
Despite their obviously Italian topics, these orchestral pieces bear the direct influence of Nikolai Rimsky-Korsakov, with whom Respighi studied in Russia. From Rimsky-Korsakov, Respighi developed a thorough knowledge of orchestration techniques, which was coupled with his own innate ability to present strikingly visual imagery through musical forms.
Respighi’s major orchestral works have never lacked an appreciative audience, nor great conductors such as Arturo Toscanini and Herbert von Karajan to champion their cause, but they have tended to be underrated by critics and scholars. The misunderstanding and critical neglect seem to stem from the fact that Respighi was an ‘ancient’ in a modern world. It’s only more recently – as the ‘pre-classical’, often-modal works of composers such as Henryk Górecki, Arvo Pärt and John Tavener have found success – that Respighi’s music, which shares so many of the same attributes has found wider appreciation. If nothing else it can be appreciated for its lyrical inspiration and sophisticated orchestration alone.
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ROMAN TRILOGY
Each of the three symphonic poems in the Roman trilogy is divided into four distinct movements, played without pause.
In Roman Festivals each movement is an independent musical picture suggesting the atmosphere of a particular ‘festival’. These are traditional holidays or religious celebrations from across the ages, beginning in the days of ancient Rome and moving into the modern Christian era.
In Fountains of Rome each movement depicts a landmark fountain at a particular time of day: dawn mists draping the fountain of Valle Giulia; the joyous dance of water in the Triton fountain in the morning; a solemn midday procession at the Trevi fountain, and a nostalgic sunset at the Villa Medici fountain. Compared to Festivals and Pines, Fountains is a quieter and more delicate work.
Each section of Pines of Rome depicts views of Roman pine trees: at the gate of the Villa Borghese (lively and festive), overlooking the catacombs (slow and sombre), in the moonlight on the Janiculum hill (beginning with impressionist rippling from the piano and floating clarinet), and along the Appian Way (the tread of an ancient army giving rise to glorious triumph). Listen for the sound of the nightingale in the third movement.
Roman Festivals (Feste romane) Circuses – The Jubilee – October Festival – Epiphany (La Befana)
The four movements are played without pause.
Roman Festivals was the last of the Roman trilogy works to be composed and, like its predecessors Fountains of Rome (1916) and Pines of Rome (1924), it was born of Respighi’s ‘need to express Rome’s sublime beauty in music’. Like them, it consists of four continuous movements. Unlike them, however, the inspiration for Roman Festivals was not pictorial but cultural: the celebrations that have brought Romans together over the centuries.
And whereas Respighi cites actual plainsong and popular tunes in Pines of Rome, it appears the numerous examples of ‘religious’ melodies and popular tunes in Roman Festivals are of Respighi’s creation – a device to lend local colour.
The opening movement, Circuses, was originally intended as part of a symphonic poem about the life and times of the ancient Roman emperor, Nero. Respighi abandoned that idea but retained the highly descriptive and almost onomatopoeic music he had written to depict the ‘theatre’ of the games in the Circus Maximus.
In his orchestration Respighi specifies the use of buccine, the horn-trumpet of Roman legion fanfares, to herald the start of the games. (Today, modern trumpets are substituted.)
The Christian tradition of the Jubilee – a special year of remission of sins and universal pardon – dates to 1300. It is celebrated every 25 or 50 years and, for Catholics at least, usually involves a pilgrimage to Rome.
By the early 20th century, the ancient Romans’ Bacchanalian and Dionysian celebrations of the October grape harvest had changed to Sunday outings around Rome known as La Ottobrata (or the October Festival). Departing in the early hours of the morning, carts drawn by horses wearing bell-collars would carry fancily dressed girls (their male friends and family would follow on foot) to fields near castles on the outskirts of Rome.
There, the day-trippers would eat, drink and be merry: dancing the saltarello; singing popular and romantic songs to the accompaniment of tambourines, guitars, mandolins and castanets; and playing games such as bocce (bowls) and morra, a kind of Italian version of rock–paper–scissors.
The Italian word Befana is a distortion of Epifania, or Epiphany, the Christian feast day that falls on 6 January, marking the end of the twelve days of Christmas. Tradition has it that on the eve
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of this national holiday in Italy, an old woman on a flying broom (La Befana) enters the house via the chimney to fill children’s stockings with gifts (for those who have been good) or lumps of coal (for those who have not).
The interplay of a lively dance (another saltarello) with an organ grinder’s waltz is interrupted by the wobbles (trombone glissandos) of one partygoer who has had too much to drink.
The saltarello, ultimately, wins out, building to a feverish pitch – the euphoria spurred on (no doubt) by an excess of food, wine, dance and life.
Fountains of Rome (Fontane di Roma)The Fountain of Valle Giulia at Dawn – The Triton Fountain in the Morning – The Fountain of Trevi at Midday – The Villa Medici Fountain at Sunset
The four movements are played without pause.
Respighi himself sanctioned a contemporary program note on his Fountains of Rome, which was published with the score:
In this symphonic poem the composer has endeavoured to give impression to the sentiments and visions suggested to him by four of Rome’s fountains, contemplated at the hour in which their character is most in harmony with the surrounding landscape, or in which their beauty appears most impressive to the observer.
The first part, inspired by the Fountain of Valle Giulia, depicts a pastoral landscape: droves of cattle pass and disappear in the fresh damp mists of a Roman dawn.
A sudden loud and insistent blast of horns above the trills of the whole orchestra introduces the second part, The Triton Fountain in the Morning. It is like a joyous call, summoning troops of naiads and tritons who come running up, pursuing each other and mingling in a frenzied dance between the jets of water.
Next there appears a solemn theme, borne on the undulations of the orchestra. It is the Fountain of Trevi at Midday. The solemn theme, passing from the woodwind to the brass instruments, assumes a triumphal character. Trumpets peal; across the radiant surface of the water there passes Neptune’s chariot, drawn by sea-horses and followed by a train of sirens and tritons. The procession then vanishes, while faint trumpet blasts resound in the distance.
The fourth part, The Villa Medici Fountain at Sunset, is announced by a sad theme which rises above a subdued warbling. It is the nostalgic hour of sunset…
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Pietro Bracci’s sculpture of the god Oceanus stands in the central niche of the Trevi Fountain (1762).
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Pines of Rome (Pini di Roma)Pines of the Villa Borghese – Pines near a Catacomb – Pines of the Janiculum – Pines of the Appian Way
The four movements are played without pause.
Pines of Rome begins at the gate to the Villa Borghese, which was located less than half a kilometre from the composer’s residence. The gate is thrown open to reveal a playground full of children scurrying about. They are depicted (at first in the woodwinds) by a traditional Italian nursery rhyme, similar to ‘Ring Around a Rosy’. Towards the end of this first movement, raucous blasts on trumpets and a military theme portray the young children mimicking soldiers.
Pines near a Catacomb, the second movement, is based on an Advent plainchant – ‘Veni, veni, Emmanuel’ – which depicts the solemn atmosphere inside the Catacombs. The hymn builds slowly, starting with fragments of the melody played by the horns, winds and strings. It is not until the arrival of the trumpets, however, that the hymn is fully realised, allowing the melody to swell to a climax before the ‘dead-stillness’ of the Catacombs is restored. Respighi was to become fascinated with using sacred music as the basis for his own compositions, as demonstrated in the use of Gregorian chant in several of his later pieces, including Church Windows and the Concerto Gregoriano.
Pines of the Janiculum (with its dreamlike piano introduction), also deals with the subject of darkness, but in a very different context. Gone is the sombre, almost mystical atmosphere, to be replaced by a nocturnal scene. Respighi evokes the image of the moonlight outlining the pine trees, and does so with a pensive clarinet melody that dominates the first half of the movement. The nocturne concludes with the awakening of a nightingale. To achieve this, Respighi requested that the sound of a real nightingale should be used from a gramophone recording.
The final movement, Pines of the Appian Way, begins with the distant rumble of soldiers marching in step, as they return triumphant from battle. The movement is a sustained crescendo, culminating in resplendent writing for brass, at which point Respighi introduces six extra brass parts (often played by pairs of soprano, tenor and bass flugelhorns, or, as in this concert, by trumpets, bass trumpets and trombones). He calls these buccine in reference to the martial brass instruments of ancient Rome.
ADAPTED IN PART FROM NOTES BY VINCENT CICCARELLO (Festivals © 2013), MARTIN BUZACOTT (Fountains © 1998) AND BURHAN GÜNER (Pines © 1998)
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Twilight view of Rome from Mount Janiculum (detail) by David Roberts (1796–1864).
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Roman Festivals has parts for three flutes (one doubling piccolo),
two oboes, cor anglais, two clarinets, bass clarinet and E-flat clarinet,
two bassoons and contrabassoon; four horns, four trumpets, three
trombones and tuba with an additional three trumpets; timpani and a very
large percussion section (calling for nine players); piano duet, organ and
mandolin; and strings.
Fountains of Rome calls for a relatively modest orchestra comprising
two flutes, piccolo, two oboes, cor anglais, two clarinets, bass clarinet
and two bassoons; four horns, three trumpets, three trombones and tuba;
timpani and three percussion; two harps, celesta, piano and organ;
and strings.
Pines of Rome calls for an orchestra of three flutes (one doubling piccolo),
two oboes, cor anglais, two clarinets, bass clarinet, two bassoons and
contrabassoon; four horns, three trumpets and four trombones; six
‘buccine’; timpani and a large percussion section that includes a recording
of a nightingale; harp, celesta, piano and organ; and strings.
The SSO gave the first ABC
orchestra performances of all three
works in the Roman trilogy: Roman
Festivals in 1939 (conducted by
Antal Doráti), Pines of Rome in 1946
(Eugene Goossens) and Fountains
of Rome in 1949 (Joseph Post).
The only time we have performed
more than one of the works in
a single program was in 1979 when
Patrick Thomas conducted Pines
and Festivals in a ‘Capriccio Italiano’
gala concert. Our most recent
performances of these two works
were in 2013, when John Adams
conducted Pines and Charles
Olivieri-Munroe conducted Festivals.
We have not performed Fountains
since 1989, when it was conducted
by Hiroyuki Iwaki.
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Dutoit, Fountains by the Orchestre de la Suisse Romande with Ernest Ansermet, and Pines by the Cleveland Orchestra with Lorin Maazel.DECCA 443 7592
Broadcast Diary
September–October
abc.net.au/classic
Saturday 12 September, 8pmROMAN TRILOGYSee this program for details.
Saturday 26 September, 8pmANNE-SOPHIE MUTTER PLAYS DVOŘÁK Jakub Hrůša conductor Anne-Sophie Mutter violinDvořák, Beethoven
Saturday 10 October, 2pmSIBELIUS 2David Robertson conductor Andrew Haveron violinSculthorpe, Walton, Sibelius
Tuesday 20 October, 9.30pmBEETHOVEN’S MISSA SOLEMNISDavid Robertson conductor Susanna Phillips, Olesya Petrova, Stuart Skelton, Shenyang vocal soloists Sydney Philharmonia Choirs
SSO RadioSelected SSO performances, as recorded by the ABC, are available on demand: sydneysymphony.com/SSO_radio
SYDNEY SYMPHONY ORCHESTRA HOURTuesday 13 October, 6pmMusicians and staff of the SSO talk about the life of the orchestra and forthcoming concerts. Hosted by Andrew Bukenya.
finemusicfm.com
MORE MUSIC
BERLIOZ Berlioz rarely did anything by halves, nor need you. If you’re after a Berlioz immersion there are several collections to look for. From Charles Dutoit and the Montreal Symphony Orchestra and Chorus there is a 17-CD collectors edition, Berlioz Masterworks, that includes nearly all the orchestral and choral works, including the Roman Carnival overture.DECCA 478 5577
If you’re curious to hear more from Berlioz’s opera Benvenuto Cellini, then Colin Davis’s electrifying 1972 recording starring tenor Nicolai Gedda is an excellent place to begin. The BBC Symphony Orchestra is joined by the chorus of the Royal Opera House Covent Garden. Out of print, but available as an ArkivCD from arkivmusic.com or as a download in various formats from deccaclassics.com.DECCA 416 9552
SCHUMANNDaniel Müller-Schott has recorded the Schumann Cello Concerto with the NDR Symphony Orchestra and Christoph Eschenbach, available on an album with Bruch’s Kol Nidrei, Richard Strauss’s Romance for cello and orchestra and, in an intriguing combination, the cello concerto by Schumann’s younger contemporary Robert Volkmann.ORFEO 781091
Among Müller-Schott’s teachers and mentors was Mstislav Rostropovich, whose 1961 recording of the Schumann Cello Concerto (Leningrad Symphony Orchestra conducted by Gennadi Rozhdestvensky) can be found paired with Schumann’s Piano Concerto in A minor, with Martha Argerich as soloist and Rostropovich conducting the National Symphony Orchestra (1978).DEUTSCHE GRAMMOPHON 449100
RESPIGHI IN ROMEYou can hear Charles Dutoit conduct the complete Roman trilogy in a recording with Montreal Symphony Orchestra, available as a download.DECCA 410 1452
And if you’d like to explore more orchestral music by Respighi, there is the ‘Double Decca’ 2-CD set The Essential Respighi with a variety of great performances from the catalogue in a program that includes The Birds (Gli uccelli), Botticelli Triptych and the three suites of Ancient Airs and Dances as well as the Roman trilogy. Roman Festivals is performed by the Montreal Symphony Orchestra with Charles
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SSO Live RecordingsThe Sydney Symphony Orchestra Live label was founded in 2006 and we’ve since released more than two dozen recordings featuring the orchestra in live concert performances with our titled conductors and leading guest artists. To buy, visit sydneysymphony.com/shop
Strauss & SchubertGianluigi Gelmetti conducts Schubert’s Unfinished and R Strauss’s Four Last Songs with Ricarda Merbeth. SSO 200803
Sir Charles MackerrasA 2CD set featuring Sir Charles’s final performances with the orchestra, in October 2007. SSO 200705
Brett DeanTwo discs featuring the music of Brett Dean, including his award-winning violin concerto, The Lost Art of Letter Writing. SSO 200702, SSO 201302
RavelGelmetti conducts music by one of his favourite composers: Maurice Ravel. Includes Bolero. SSO 200801
Rare RachmaninoffRachmaninoff chamber music with Dene Olding, the Goldner Quartet, soprano Joan Rodgers and Vladimir Ashkenazy at the piano. SSO 200901
Prokofiev’s Romeo and JulietVladimir Ashkenazy conducts the complete Romeo and Juliet ballet music of Prokofiev – a fiery and impassioned performance. SSO 201205
Tchaikovsky Violin ConcertoIn 2013 this recording with James Ehnes and Ashkenazy was awarded a Juno (the Canadian Grammy). Lyrical miniatures fill out the disc. SSO 201206
Tchaikovsky Second Piano ConcertoGarrick Ohlsson is the soloist in one of the few recordings of the original version of Tchaikovsky’s Piano Concerto No.2. Ashkenazy conducts. SSO 201301
Stravinsky’s FirebirdDavid Robertson conducts Stravinsky’s brilliant and colourful Firebird ballet, recorded with the SSO in concert in 2008. SSO 201402
LOOK OUT FOR…
Our recording of Holst’s Planets with David Robertson. Available now!
Mahler 1 & Songs of a Wayfarer SSO 201001
Mahler 2 SSO 201203
Mahler 3 SSO 201101
Mahler 4 SSO 201102
Mahler 5 SSO 201003 Mahler 6 SSO 201103
Mahler 7 SSO 201104
Mahler 8 (Symphony of a Thousand) SSO 201002
Mahler 9 SSO 201201
Mahler 10 (Barshai completion) SSO 201202
Song of the Earth SSO 201004
From the archives: Rückert-Lieder, Kindertotenlieder, Das Lied von der Erde SSO 201204
MAHLER ODYSSEY
The complete Mahler symphonies (including the Barshai completion of No.10) together with some of the song cycles. Recorded in concert with Vladimir Ashkenazy during the 2010 and 2011 seasons. As a bonus: recordings from our archives of Rückert-Lieder, Kindertotenlieder and Das Lied von der Erde. Available in a handsome boxed set of 12 discs or individually.
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SSO Online
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Charles Dutoit is one of today’s most sought-after conductors, having performed with all the major orchestras of the five continents. He has been a regular visitor to Sydney since 1977, and his most recent appearance with the SSO was in 2013.
He is Artistic Director and Principal Conductor of the Royal Philharmonic Orchestra, and recently celebrated his 30-year artistic collaboration with the Philadelphia Orchestra, receiving the title of Conductor Laureate. Each season he conducts the orchestras of Chicago, Boston, San Francisco, New York and Los Angeles, and he is also a regular guest on the stages in London, Berlin, Paris, Munich, Moscow, Beijing, Hong Kong and Shanghai, among others. His discography of more than 200 recordings has garnered him many awards, including two Grammys.
For 25 years, he was Artistic Director of the Montreal Symphony Orchestra. Other titled posts have included Music Director of the Orchestre National de France (1991–2001) and Principal Conductor then Music Director (1996–2003) of the NHK Symphony Orchestra in Tokyo, where he is now Music Director Emeritus. Supporting the development of a younger generation of musicians, Charles Dutoit has been Music Director of the Sapporo Pacific Music Festival and Miyazaki International Music Festival in Japan as well as the Canton
International Summer Music Academy in Guangzhou. In 2009 he became Music Director of the Verbier Festival Orchestra.
When still in his early 20s, he was invited by Herbert von Karajan to conduct the Vienna State Opera. He has since conducted at Covent Garden, the Metropolitan Opera, Deutsche Oper in Berlin, Rome Opera and Teatro Colón in Buenos Aires.
His honours and accolades include Grand Officier de l’Ordre national du Québec, Commandeur de l’Ordre des Arts et des Lettres (France), Honorary Officer of the Order of Canada, Honorary Citizen of the City of Philadelphia, and honorary doctorates from the universities of McGill, Montreal and Laval and the Curtis School of Music. In 2007 he received the Gold Medal of the city of Lausanne, his birthplace, and in 2014 he was given the Lifetime Achievement Award in the International Classical Music Awards.
Charles Dutoit’s musical training included violin, viola, piano, percussion, history of music and composition at the conservatoires and music academies of Geneva, Siena, Venice and Boston.
A globetrotter motivated by his passion for history and archaeology, political science, art and architecture, he has travelled in all 196 nations of the world.
Charles Dutoit conductor
THE ARTISTS
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NDR Hannover and Andrew Manze, Netherlands Philharmonic and Marc Albrecht, Taiwan National Symphony orchestra with Thomas Dausgaard, and the Yomiuri Nippon Orchestra in Japan with Jun Märkl.
Projects for the 2015–16 season will include tours with the Washington National Symphony Orchestra and Christoph Eschenbach, and with the Dallas Symphony Orchestra and Jun Märkl, as well as concerto performances with the Leipzig Gewandhaus Orchestra, Tonhalle Orchestra in Zurich, Rotterdam Philhamonic, Bonn Beethoven Orchestra and the Malaysian Philharmonic.
Last year he released a recording of the Dvořák Cello Concerto with the NDR Hamburg Symphony Orchestra and Michael Sanderling. His recordings also include the Britten Cello Symphony and Prokofiev’s Symphony-Concerto, both with the SDR Köln Radio Orchestra and its music director Jukka-Pekka Saraste, and the Bach solo cello suites.
This is his first appearance with the Sydney Symphony Orchestra; he has previously appeared in Sydney as a guest of the Australian Chamber Orchestra.
Daniel Müller-Schott plays the ‘Ex Shapiro’ Matteo Goffriller, made in Venice in 1727. www.daniel-mueller-schott.com
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Daniel Müller-Schottcello
Born in Munich in 1976, Daniel Müller-Schott studied with Walter Nothas, Heinrich Schiff and Steven Isserlis, and was a scholar recipient of the Anne-Sophie Mutter Foundation, enabling him to study for a year with Mstislav Rostropovich. (More recently the Anne-Sophie Mutter Foundation awarded him the Aida Stucki Prize in acknowledgement of his outstanding contribution to the cello repertoire.)
When he was just 15 years old, he won first prize in the 1992 Moscow International Tchaikovsky Competition for Young Musicians. Since then he has appeared in many of the world’s great concert halls, performing with the Leipzig Gewandhaus Orchestra, Munich Philharmonic, Orchestre National de Radio France in Paris, Philharmonia Orchestra, BBC Symphony Orchestra, City of Birmingham Symphony Orchestra, New York Philharmonic, Cleveland Orchestra, San Francisco Symphony, Seoul Philharmonic and Tokyo’s NHK Symphony. He has also given the premieres of concertos composed for him by André Previn and Peter Ruzicka.
Recent highlights have included performances with the Orchestre National de France conducted by Lionel Bringuier, Royal Liverpool Philharmonic Orchestra and Yan-Pascal Tortelier, RTE National Orchestra Dublin and Alan Buribayev, Royal Scottish National Orchestra and Gilbert Varga, Gulbenkian Orchestra and Paul McCreesh,
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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 THE LOWY CHAIR OF
CHIEF CONDUCTOR AND ARTISTIC DIRECTOR
PATRON Professor The Hon. Dame Marie Bashir ad cvo
23
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 RobertsonTHE LOWY CHAIR OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR
Dene OldingCONCERTMASTER
Andrew HaveronCONCERTMASTER
Toby ThatcherASSISTANT CONDUCTOR SUPPORTED BY CREDIT SUISSE, RACHEL & GEOFFREY O’CONOR AND SYMPHONY SERVICES INTERNATIONAL
FIRST VIOLINS Andrew Haveron CONCERTMASTER
Kirsten Williams ASSOCIATE CONCERTMASTER
Sun Yi ASSOCIATE CONCERTMASTER
Lerida Delbridge ASSISTANT CONCERTMASTER
Fiona Ziegler ASSISTANT CONCERTMASTER
Jenny BoothSophie ColeClaire HerrickGeorges LentzNicola LewisEmily LongAlexandra MitchellLéone ZieglerVictoria Bihun†
Thibaud Pavlovic-Hobba†
Emily Qin°Dene Olding CONCERTMASTER
Amber DavisAlexander Norton
SECOND VIOLINS Kirsty Hilton Marina Marsden Marianne BroadfootEmma Jezek ASSISTANT PRINCIPAL
Freya FranzenEmma HayesShuti HuangStan W KornelBenjamin LiNicole MastersPhilippa PaigeBiyana RozenblitMaja VerunicaElizabeth Jones°
VIOLASRoger Benedict Justin Williams ASSISTANT PRINCIPAL
Sandro CostantinoRosemary CurtinJane HazelwoodGraham HenningsStuart JohnsonJustine MarsdenFelicity TsaiAmanda VernerLeonid VolovelskyJacqueline Cronin*Tobias Breider Anne-Louise Comerford
CELLOSUmberto ClericiCatherine Hewgill Leah Lynn ASSISTANT PRINCIPAL
Kristy ConrauFenella GillElizabeth NevilleTimothy NankervisAdrian WallisDavid WickhamRowena Macneish*Christopher Pidcock
DOUBLE BASSESKees Boersma Alex Henery David CampbellSteven LarsonRichard LynnBenjamin WardJosef Bisits°John Keene†
Neil Brawley PRINCIPAL EMERITUS
FLUTES Emma Sholl Carolyn HarrisRosamund Plummer PRINCIPAL PICCOLO
Janet Webb
OBOESShefali Pryor David PappAlexandre Oguey PRINCIPAL COR ANGLAIS
Diana Doherty
CLARINETSFrancesco Celata Christopher TingayCraig Wernicke PRINCIPAL BASS CLARINET
Sandra Ismail*
BASSOONSMatthew Wilkie Fiona McNamaraNoriko Shimada PRINCIPAL CONTRABASSOON
HORNSBen Jacks Robert Johnson Geoffrey O’Reilly PRINCIPAL 3RD
Euan HarveyMarnie SebireRachel Silver
TRUMPETSDavid Elton Craig Ross*Anthony HeinrichsDaniel Henderson*Owen Morris†
Rosie Turner°Paul Goodchild
BASS TRUMPETMinami Takahashi*
TROMBONESRonald Prussing Scott Kinmont Nick ByrneChristopher Harris PRINCIPAL BASS TROMBONE
Nigel Crocker*Iain Faragher†
TUBASteve Rossé
TIMPANIRichard Miller
PERCUSSIONRebecca Lagos Timothy ConstableMark Robinson Tim Brigden*Ian Cleworth*Gabriel Fischer†
Joshua Hill*Chiron Meller*Alison Pratt*Philip South*
HARP Louise Johnson Genevieve Huppert*
MANDOLINStephen Lalor*
PIANO/CELESTALouisa Breen* Catherine Davis*
ORGANDavid Drury*
° = CONTRACT MUSICIAN
* = GUEST MUSICIAN† = SSO FELLOW
GREY = PERMANENT MEMBER OF THE SYDNEY SYMPHONY ORCHESTRA NOT APPEARING IN THIS CONCERT
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BEHIND THE SCENES
Sydney Symphony Orchestra StaffMANAGING DIRECTORRory Jeffes
EXECUTIVE TEAM ASSISTANTLisa Davies-Galli
ARTISTIC OPERATIONS
DIRECTOR OF ARTISTIC PLANNINGBenjamin Schwartz
ARTISTIC ADMINISTRATION MANAGER Eleasha Mah
ARTIST LIAISON MANAGERIlmar Leetberg
RECORDING ENTERPRISE MANAGER Philip Powers
LibraryAnna CernikVictoria GrantMary-Ann Mead
LEARNING AND ENGAGEMENT
DIRECTOR OF LEARNING AND ENGAGEMENT Linda Lorenza
EMERGING ARTISTS PROGRAM MANAGER Rachel McLarin
EDUCATION MANAGER Amy Walsh
EDUCATION OFFICER Tim Walsh
ORCHESTRA MANAGEMENT
DIRECTOR OF ORCHESTRA MANAGEMENT Aernout Kerbert
ORCHESTRA MANAGERRachel Whealy
ORCHESTRA COORDINATOR Rosie Marks-Smith
OPERATIONS MANAGER Kerry-Anne Cook
PRODUCTION MANAGER Laura Daniel
STAGE MANAGERCourtney Wilson
PRODUCTION COORDINATORSElissa SeedOllie Townsend
PRODUCER, SPECIAL EVENTSMark Sutcliffe
SALES AND MARKETING
DIRECTOR OF SALES & MARKETINGMark J Elliott
MARKETING MANAGER, SUBSCRIPTION SALES Simon Crossley-Meates
SENIOR SALES & MARKETING MANAGERPenny Evans
A/ SENIOR SALES & MARKETING MANAGER Matthew Rive
MARKETING MANAGER, WEB & DIGITAL MEDIA Eve Le Gall
MARKETING MANAGER, CRM & DATABASEMatthew Hodge
A/ SALES & MARKETING MANAGER, SINGLE TICKET CAMPAIGNSJonathon Symonds
DATABASE ANALYSTDavid Patrick
SENIOR GRAPHIC DESIGNERChristie Brewster GRAPHIC DESIGNER
Tessa ConnSENIOR ONLINE MARKETING COORDINATOR
Jenny SargantMARKETING ASSISTANT
Laura Andrew
Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS
Lynn McLaughlinBOX OFFICE SYSTEMS SUPERVISOR
Jennifer LaingBOX OFFICE BUSINESS ADMINISTRATOR
John RobertsonCUSTOMER SERVICE REPRESENTATIVES
Karen Wagg – CS ManagerRosie BakerMichael Dowling
PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER
Yvonne Frindle
EXTERNAL RELATIONSDIRECTOR OF EXTERNAL RELATIONS
Yvonne Zammit
PhilanthropyPHILANTHROPY MANAGER
Jennifer DrysdalePATRONS EXECUTIVE
Sarah MorrisbyPHILANTHROPY COORDINATOR
Claire Whittle
Corporate RelationsCORPORATE PARTNERSHIPS MANAGER
Belinda BessonCORPORATE PARTNERSHIPS EXECUTIVE
Paloma Gould
CommunicationsCOMMUNICATIONS & MEDIA MANAGER
Bridget CormackPUBLICIST
Caitlin BenetatosDIGITAL CONTENT PRODUCER
Kai Raisbeck
BUSINESS SERVICES
DIRECTOR OF FINANCE
John HornFINANCE MANAGER
Ruth Tolentino ACCOUNTANT
Minerva Prescott ACCOUNTS ASSISTANT
Emma Ferrer PAYROLL OFFICER
Laura Soutter
PEOPLE AND CULTUREIN-HOUSE COUNSEL
Michel Maree Hryce
Terrey Arcus AM Chairman Ewen Crouch AM
Ross GrantCatherine HewgillJennifer HoyRory JeffesDavid LivingstoneThe Hon. Justice AJ Meagher Goetz Richter
Sydney Symphony Orchestra CouncilGeoff Ainsworth AM
Doug BattersbyChristine BishopThe Hon John Della Bosca MLC
John C Conde ao
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
Anthony Whelan mbe
Sydney Symphony Orchestra Board
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SSO PATRONS
Maestro’s Circle
David Robertson
Peter Weiss AO Founding President & Doris Weiss
Terrey Arcus AM Chairman & Anne Arcus
Brian Abel
Tom Breen & Rachel Kohn
The Berg Family Foundation
John C Conde AO
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
Chair PatronsDavid RobertsonThe Lowy Chair of Chief Conductor and Artistic Director
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
Diana DohertyPrincipal OboeJohn C Conde 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
Leah LynnAssistant Principal CelloSSO Vanguard Chair With lead support from Taine Moufarrige, Seamus R Quick, and Chris Robertson & Katherine Shaw
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
FOR INFORMATION ABOUT THE CHAIR PATRONS
PROGRAM, CALL (02) 8215 4625.
n n n n n n n n n n
Lerida Delbridge was appointed Assistant Concertmaster of the SSO in 2013. She is a founding member of the Tinalley String Quartet and was previously a member of the Melbourne Symphony Orchestra. SSO Council member and leading providore Simon Johnson has been following Lerida’s career since her days in the Australian Youth Orchestra and is delighted to support her chair.
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Learning & Engagement
SSO PATRONS
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 Cello ChairKim Williams AM & Catherine Dovey Patrons of Roger Benedict,
Artistic Director, FellowshipJune & Alan Woods Family Bequest Bassoon ChairAnonymous Double Bass ChairAnonymous Trumpet Chair
fellowship supporting patronsMr Stephen J BellJoan MacKenzie ScholarshipDrs Eileen & Keith OngIn Memory of Geoff White
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 HollowayMrs Barbara MurphyTony Strachan
major education donorsBronze Patrons & above
John Augustus & Kim RyrieBob & Julie ClampettHoward & Maureen ConnorsThe Greatorex FoundationJ A McKernanBarbara MaidmentMr & Mrs Nigel PriceDrs Eileen & Keith OngMr Robert & Mrs Rosemary Walsh
Sydney Symphony Orchestra 2015 Fellows
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RS
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
A U S T R A L I A - K O R E AF O U N D A T I O N
Foundations
“Patrons allow us to dream of projects, and then share them with others. What could be more rewarding?” DAVID ROBERTSON SSO Chief Conductor and Artistic Director
BECOME A PATRON TODAY. Call: (02) 8215 4650 Email: [email protected]
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Stuart Challender Legacy Society
Celebrating the vision of donors who are leaving a bequest to the SSO.
Henri W Aram OAM & Robin Aram
Stephen J BellMr David & Mrs Halina BrettR BurnsHoward ConnorsGreta DavisBrian GalwayMichele Gannon-MillerMiss Pauline M Griffin AM
John Lam-Po-TangPeter Lazar AM
Daniel LemesleLouise MillerJames & Elsie MooreVincent Kevin Morris &
Desmond McNallyMrs Barbara MurphyDouglas 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 ClampettEstate 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 RyanEstate of Rex Foster SmartJune & 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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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.
Playing Your Part
DIAMOND PATRONS $50,000+Anne & Terrey Arcus am
In Memory of Matthew KrelMr Frank Lowy ac & Mrs Shirley
Lowy oam
Roslyn Packer ao
Paul Salteri am & Sandra Salteri
Estate of the late Rex Foster Smart
Peter Weiss ao & Doris WeissMr Brian White ao &
Mrs Rosemary White
PLATINUM PATRONS$30,000–$49,999Doug and Alison BattersbyMr John C Conde ao
Robert & Janet ConstableMr Andrew Kaldor am &
Mrs Renata Kaldor ao
Mrs Barbara MurphyVicki OlssonMrs W SteningMr Fred Street am &
Mrs Dorothy StreetKim Williams am & Catherine
Dovey
GOLD PATRONS $20,000–$29,999Brian AbelRobert Albert ao & Elizabeth
AlbertThe Berg Family FoundationTom Breen & Rachael KohnSandra & Neil BurnsEstate of Jonathan Earl
William ClarkJames & Leonie FurberI KallinikosHelen Lynch am & Helen
BauerJustice Jane Mathews ao
Mrs T Merewether oam
Rachel & Geoffrey O’ConorAndy & Deirdre PlummerGarry & Shiva RichDavid Robertson & Orli
ShahamMrs Penelope Seidler am
G & C Solomon in memory of Joan MacKenzie
Ray Wilson oam in memory of James Agapitos oam
Anonymous (2)
SILVER PATRONS $10,000–$19,999Geoff Ainsworth am
Christine BishopAudrey BlundenMr Robert BrakspearMr Robert & Mrs L Alison CarrBob & Julie ClampettMichael Crouch ao & Shanny
CrouchIan Dickson & Reg HollowayPaul EspieEdward & Diane FedermanNora GoodridgeMr Ross GrantThe Estate of Mr Irwin ImhofSimon JohnsonRuth & Bob MagidSusan Maple-Brown The Hon Justice AJ Meagher &
Mrs Fran MeagherMr John MorschelDrs Keith & Eileen OngMr and Mrs Nigel PriceKenneth R Reed am
Mrs Joyce Sproat & Mrs Janet Cooke
John Symond am
The Harry Triguboff FoundationCaroline WilkinsonJune & Alan Woods Family
BequestAnonymous (2)
BRONZE $5,000–$9,999Mr Henri W Aram oam
John Augustus & Kim RyrieStephen J BellDr Hannes & Mrs Barbara
BoshoffBoyarsky Family TrustPeter Braithwaite & Gary
LinnaneIan & Jennifer BurtonRebecca ChinMr Howard ConnorsDavid Z Burger FoundationDr Colin GoldschmidtThe Greatorex FoundationRory & Jane JeffesRobert JoannidesMr Ervin KatzBarbara MaidmentMora MaxwellTaine MoufarrigeRobert McDougallWilliam McIlrath Charitable
FoundationJ A McKernan
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Playing Your Part
SSO PATRONS
BRONZE PATRONS CONTINUED
Nexus ITJohn & Akky van OgtropSeamus Robert QuickChris Robertson & Katherine
ShawRodney Rosenblum am & Sylvia
RosenblumDr Evelyn RoyalManfred & Linda SalamonGeoff StearnTony StrachanJohn & Josephine StruttMr Robert & Mrs Rosemary WalshIn memory of Geoff WhiteAnonymous
PRESTO $2,500–$4,999G & L BessonIan BradyMr David & Mrs Halina BrettMark Bryant oam
Lenore P BuckleMrs Stella ChenCheung FamilyDr Paul CollettEwen Crouch am & Catherine
CrouchProf. Neville Wills &
Ian FenwickeFirehold Pty LtdDr Kim FrumarWarren GreenAnthony GreggAnn HobanJames & Yvonne HocrothMr Roger Hundson &
Mrs Claudia Rossi-HudsonDr & Mrs Michael HunterMr John W Kaldor AMProfessor Andrew Korda am &
Ms Susan PearsonIn memoriam Dr Reg Lam-Po-TangProfessor Winston LiauwMrs Juliet LockhartRenee MarkovicHelen & Phil MeddingsJames & Elsie MooreMs Jackie O’BrienPatricia H Reid Endowment
Pty LtdJuliana SchaefferHelen & Sam ShefferDr Agnes E SinclairEzekiel SolomonMr Ervin Vidor am &
Mrs Charlotte VidorLang Walker ao & Sue WalkerWestpac GroupMary Whelan & Robert
BaulderstoneYim Family FoundationDr John YuAnonymous (3)
VIVACE $1,000–$2,499Mrs Lenore AdamsonAntoinette AlbertRae & David AllenAndrew Andersons ao
Mr Matthew AndrewsMr Garry and Mrs Tricia AshSibilla BaerThe Hon Justice Michael BallDavid BarnesDr Richard & Mrs Margaret BellIn memory of Lance BennettMs Gloria BlondeG D BoltonJan BowenIn memory of Jillian BowersIn Memory of Rosemary Boyle,
Music TeacherRoslynne BracherWilliam Brooks & Alasdair BeckMr Peter BrownIn memory of R W BurleyIta Buttrose ao obe
Mrs Rhonda CaddyHon J C Campbell qc &
Mrs CampbellDebby Cramer & Bill CaukillMr B & Mrs M ColesMs Suzanne CollinsJoan Connery oam & Maxwell
Connery oam
Mr Phillip CornwellMr John Cunningham scm &
Mrs Margaret CunninghamDiana DalyDarin Cooper FoundationGreta DavisLisa & Miro DavisDr Robert DickinsonE DonatiProfessor Jenny EdwardsDr Rupert C EdwardsMalcolm Ellis & Erin O’NeillMrs Margaret EppsMr & Mrs J B Fairfax am
Julie FlynnDr Stephen Freiberg & Donald
CampbellMr Matt GarrettVivienne Goldschmidt &
Owen JonesIn Memory of Angelica GreenAkiko GregoryDr Jan Grose oam
Mr & Mrs Harold & Althea HallidayJanette HamiltonSandra HaslamMrs Jennifer HershonSue HewittDorothy Hoddinott ao
Kimberley HoldenMr Kevin Holland & Mrs Roslyn
Andrews
The Hon. David Hunt ao qc & Mrs Margaret Hunt
Mr Phillip Isaacs oam
Dr Owen JonesMrs Margaret KeoghAron KleinlehrerMrs Gilles KrygerMr Justin LamDr Barry LandaBeatrice LangMr Peter Lazar am
Airdrie LloydGabriel LopataPeter Lowry oam & Carolyn
Lowry oam
Macquarie Group FoundationMelvyn MadiganDavid Maloney am & Erin
FlahertyJohn & Sophia MarMr Danny R MayMr Guido MayerKevin & Deidre McCannIan & Pam McGawMatthew McInnesI MerrickHenry & Ursula MooserMilja & David MorrisJudith MulveneyDarrol Norman & Sandra HortonMr & Mrs OrtisAndrew Patterson & Steven BardyIn memory of Sandra Paul
PottingerMr Stephen PerkinsAlmut PiattiThe Hon. Dr Rodney Purvis am
& Mrs Marian PurvisDr Raffi Qasabian &
Dr John WynterMr Patrick Quinn-GrahamErnest & Judith RapeeIn Memory of
Katherine RobertsonMr David RobinsonTim RogersDr Colin RoseLesley & Andrew RosenbergJanelle RostronMr Shah RusitiJorie Ryan for Meredith RyanIn memory of H St P ScarlettGeorge and Mary ShadVictoria SmythDr Judy SoperJudith SouthamMr Dougall SquairCatherine StephenThe Honourable Brian Sully am qc
Mrs Margaret SwansonThe Taplin FamilyMildred TeitlerDr & Mrs H K TeyDr Jenepher Thomas
Kevin TroyJohn E TuckeyJudge Robyn TupmanDr Alla WaldmanIn memory of Denis WallisMiss Sherry WangHenry & Ruth WeinbergThe Hon. Justice A G WhealyJerry WhitcombMrs Leonore WhyteA Willmers & R PalAnn & Brooks C Wilson am
Dr Richard WingEvan WongDr Peter Wong &
Mrs Emmy K WongGeoff Wood & Melissa WaitesSir Robert WoodsLindsay & Margaret WoolveridgeIn memory of Lorna WrightMrs Robin YabsleyAnonymous (20)
ALLEGRO $500–$999Nikki AbrahamsKatherine AndrewsMr & Mrs George BallBarlow Cleaning Pty LtdBarracouta Pty LtdSimon BathgateDr Andrew BellMr Chris BennettJan BiberMinnie BiggsJane BlackmoreMrs P M BridgesR D and L M BroadfootDr Peter BroughtonDr David BryantArnaldo BuchDr Miles BurgessPat & Jenny BurnettHugh & Hilary CairnsEric & Rosemary CampbellM D & J M ChapmanJonathan ChissickMichael & Natalie CoatesDom Cottam & Kanako ImamuraAnn CoventryMr David CrossMark Dempsey sc
Dr David DixonSusan DoenauDana DupereJohn FavaloroMrs Lesley FinnMr Richard FlanaganMs Lynne FrolichMichele Gannon-MillerMs Lyn GearingMr Robert GreenMr Geoffrey GreenwellMr Richard Griffin am
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VANGUARD COLLECTIVEJustin Di Lollo ChairBelinda BentleyOscar McMahonTaine Moufarrige
Founding PatronShefali PryorSeamus R Quick
Founding PatronChris Robertson & Katherine
Shaw Founding Patrons
MEMBERSLaird Abernethy Elizabeth AdamsonClare Ainsworth-HershellCharles ArcusPhoebe ArcusPhilip AtkinLuan AtkinsonJoan BallantineAndrew Batt-RawdenJames BaudzusAndrew BaxterAdam Beaupeurt Anthony BeresfordDr Andrew BotrosPeter BraithwaiteAndrea BrownNikki BrownProfessor Attila BrungsTony ChalmersDharmendra ChandranLouis ChienPaul ColganClaire CooperBridget CormackKarynne CourtsRobbie CranfieldAsha CugatiJuliet CurtinDavid CutcliffeEste Darin-CooperRosalind De SaillyPaul DeschampsCatherine DonnellyJennifer DrysdaleJohn-Paul DrysdaleKerim El GabailiRoslyn FarrarNaomi FlutterAlastair FurnivalAlexandra Gibson
Sam GiddingsJeremy GoffHilary GoodsonTony GriersonLouise HaggertyJason HairPeter HowardJennifer HoyKatie HryceVirginia JudgePaul KalmarJonathan KennedyPatrick KokJohn Lam-Po-TangTristan LandersGary LinnaneDavid LoSaskia LoGabriel LopataRobert McGroryAlexandra McGuiganDavid McKeanSarah MoufarrigeJulia NewbouldNick NichlesKate O’ReillyPeter O’SullivanCleo PosaJune PickupRoger PickupStephanie PriceMichael RadovnikovicKatie RobertsonDr Benjamin RobinsonAlvaro Rodas FernandezAdam SadlerProfessor Anthony SchembriBenjamin SchwartzCecilia StornioloRandal TameSandra TangIan TaylorDr Zoe TaylorMichael TidballMark TrevarthenMichael TuffySarah VickAlan WattersJon WilkieYvonne ZammitAmy Zhou
SSO Vanguard
A membership program for a dynamic group of Gen X & Y SSO fans and future philanthropists
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In memory of Beth HarpleyV HartsteinBenjamin Hasic & Belinda DavieAlan Hauserman & Janet NashRobert HavardMrs A HaywardRoger HenningProf. Ken Ho & Mrs Tess HoDr Mary JohnssonAernout Kerbert & Elizabeth
NevilleDr Henry KilhamJennifer KingMrs Patricia KleinhansAnna-Lisa KlettenbergMs Sonia LalL M B LampratiDavid & Val LandaIn memory of Marjorie LanderElaine M LangshawMargaret LedermanRoland LeeMrs Erna LevyMrs A LohanLinda LorenzaM J MashfordMs Jolanta MasojadaKenneth Newton MitchellMr David MuttonMr & Mrs NewmanMr Graham NorthDr Lesley NorthSead NurkicMr Michael O’BrienJudith OlsenDr Alice J PalmerDr Natalie E PelhamPeter and Susan PicklesErika PidcockDr John I PittAnne PittmanJohn Porter & Annie Wesley-Smith
Mrs Greeba PritchardMichael QuaileyMr Thomas ReinerDr Marilyn RichardsonAnna RoMr Michael RollinsonMrs Christine Rowell-MillerMr Kenneth RyanGarry E Scarf & Morgie BlaxillMrs Solange SchulzPeter & Virginia ShawDavid & Alison ShilligtonMrs Diane Shteinman am
Margaret SikoraColin SpencerTitia SpragueRobert SpryMs Donna St ClairFred & Mary SteinAshley & Aveen StephensonMargaret & William SuthersPam & Ross TegelMrs Caroline ThompsonPeter & Jane ThorntonRhonda TingAlma TooheyHugh TregarthenMrs M TurkingtonGillian Turner & Rob BishopRoss TzannesMr Robert VeelRonald WalledgeMiss Roslyn WheelerIn Memoriam JBL WattDr Edward J WillsDr Wayne WongDr Roberta WoolcottPaul WyckaertAnonymous (32)
SSO Patrons pages correct as of 7 July 2015
Create a sustainable future for orchestral music by helping to build the audiences of tomorrow.
SUPPORT THE SSO EDUCATION FUND. Call: (02) 8215 4650 Email: [email protected]
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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
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
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