THE GRAND ORGAN Olivier Latry in Recital

TEA & SYMPHONY

Friday 27 November 2015

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Thus Spake Zarathustra Edo de Waart Returns WAGNER Lohengrin: Prelude to Act I JONGEN Symphonie concertante for organ & orchestra R STRAUSS Thus Spake Zarathustra WAGNER Lohengrin: Prelude to Act III

Edo de Waart conductor • Olivier Latry organ

APT Master Series

Wed 25 Nov 8pm Fri 27 Nov 8pm Sat 28 Nov 8pm Pre-concert talk by David Larkin 45 minutes before each performance

The Grand Organ Olivier Latry in Recital COUPERIN Offertory from the Mass for Parishes RAISON Christe – Passacaglia from the Mass on the Second Tone JS BACH Passacaglia and Fugue in C minor, BWV 582 MOBBERLEY Critical Mass DURUFLÉ Suite for organ, Op.5 with improvisations by Olivier Latry

Olivier Latry organ

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Edo de Waart conducts Mozart & ElgarEDWARDS White Ghost Dancing MOZART Piano Concerto No.24 in C minor, K491 ELGAR Symphony No.1

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Sun 29 Nov 3pm Verbrugghen Hall, Sydney Conservatorium of Music

Pokémon: Symphonic Evolutions Experience Pokémon brought to life by the Sydney Symphony Orchestra with exciting visuals from recent and classic Pokémon video games and all new arrangements!

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Fri 11 Dec 8pm Sat 12 Dec 2pm Sat 12 Dec 8pm State Theatre, Sydney

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This recital will be recorded by ABC Classic FM for broadcast across Australia on Tuesday 1 December at 9.30pm.

Estimated durations: 8 minutes, 2 minutes, 13 minutes, 5 minutes, 26 minutes, 10 minutes The concert will conclude at approximately 12.15pm.

COVER IMAGE: Pipes of the Sydney Opera House Grand Organ (photo by Christie Brewster)

THE GRAND ORGAN Olivier Latry organ

FRANÇOIS COUPERIN (1668 –1733) Offertoire sur les grands jeux from the Messe à l’usage de Paroisses (Mass for Parishes)

ANDRÉ RAISON (c.1640–1719) Christe – Trio en Passacaille from the Messe du Deuxième Ton (Mass on the Second Tone)

JOHANN SEBASTIAN BACH (1685–1750) Passacaglia and Fugue in C minor, BWV 582

The Raison and Bach will be played without pause

JAMES MOBBERLEY (born 1954) Critical Mass for organ and fixed media

MAURICE DURUFLÉ (1902–1986) Suite pour orgue, Op.5

Prélude (Lento) Sicilienne (Allegretto moderato) Toccata (Allegro, ma non troppo)

IMPROVISATION BY OLIVIER LATRY

TEA & SYMPHONY

FRIDAY 27 NOVEMBER, 11AM

SYDNEY OPERA HOUSE CONCERT HALL

2015 concert season

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The Grand Organ: Olivier Latry in RecitalWhen you attend an SSO Tea & Symphony concert here in the Sydney Opera House Concert Hall, the pipes of the grand organ always form an impressive backdrop. But it’s only on special occasions that this great instrument contributes to the music-making itself, and it’s even more of a special occasion when it can be heard in its full splendour as a solo instrument.

This morning we are privileged to hear one of the world’s finest organists, Olivier Latry, in recital. He is a titular organist at the Cathedral of Notre-Dame in Paris and a professor at the Paris Conservatoire, responsibilities that he combines with a busy career as a concert organist, performing around the world.

Olivier Latry’s program for this recital highlights the French organ tradition from the 17th century (with music by Couperin and Raison) to the 20th (Duruflé’s Suite from 1933). In particular – hardly surprising for a musician whose ‘day job’ immerses him in the musical workings of a cathedral – it’s a program that brings the organ’s function as a liturgical instrument into the concert hall.

Both Couperin and Raison are represented by selections from their organ masses: an Offertoire and a tiny Trio en Passacaille. The raison d’être for the latter in the program becomes obvious with the opening pedal notes of the Bach, which develops the French piece’s simple bass line into a splendid passacaglia and fugue.

Duruflé’s Suite is secular music, composed for concert performance, but even here there is a nod to the organ-in-church: it concludes with a brilliant toccata – exactly the kind of music that Couperin or Raison (or Duruflé himself!) might have performed at the conclusion of mass.

With Mobberley’s Critical Mass a ‘guest organ’ enters the mix: this is music for a solo organist, performing on the instrument you see before you, accompanied by pre-recorded sounds that come to us from the organ in the Cleveland Museum of Art. And to conclude, Olivier Latry will demonstrate the art of improvisation, basing his inventions on a theme that will be given to him just before the recital begins!

INTRODUCTION

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His many recordings include the music of JS Bach, Widor and Vierne, and the complete works of Duruflé. He has recorded a transcription disc, Midnight at Notre-Dame, featuring music by César Franck and the complete organ works of Messiaen. He has also recorded the Poulenc Concerto and the Barber Toccata Festiva with the Philadelphia Orchestra, and the Jongen Symphonie concertante with the Liège Orchestra. His  most recent recording, Trois Siècles d’Orgue Notre-Dame de Paris, features music composed by past and current organists of Notre-Dame Cathedral.

Olivier Latry has previously appeared with the SSO in 2002, when he performed the Poulenc Concerto on the recently refurbished organ of the Sydney Opera House. He has given recitals in Sydney on several occasions, performing on the Hill organ in the Sydney Town Hall and the Beckerath organ in the Great Hall of Sydney University.

Olivier Latry will perform Jongen’s Symphonie concertante with the SSO and Edo de Waart here in the Sydney Opera House Concert Hall on Friday 27 and Saturday 28 November at 8pm. See www.sydneysymphony.com for details.

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Olivier Latryorgan

Olivier Latry is one of the most distinguished concert organists in the world today. A titular organist at the Cathedral of Notre-Dame in Paris, he is also Professor of Organ at the Paris Conservatory and Organist Emeritus with the Montreal Symphony Orchestra, and he appears regularly as a soloist at prestigious venues and festivals, and with leading orchestras around the world.

He was born in 1962 in Boulogne-sur-Mer, France, where he began his musical studies. From 1981 to 1985 he was titular organist of Meaux Cathedral, and at 23 won the competition to become one of the three titular organists of Notre-Dame Cathedral. In 1990 he succeeded his teacher Gaston Litaize as organ professor at the Academy of Music at St Maur-des-Fossés, and in 1995 was appointed Professor of Organ at the Paris Conservatory. In 2009 he was presented the International Performer of the Year award by the New York City chapter of the American Guild of Organists, and in 2010 received an honorary doctorate from McGill University in Montreal.

As a concert organist, he does not specialise in a specific repertoire but explores all styles of organ music, as well as the art of improvisation. In 2000 he performed three complete cycles (six recitals each) of Olivier Messiaen’s organ music, at the Cathedral of Notre-Dame in Paris, the Church of St Ignatius Loyola in New York City and St Paul’s Cathedral in London.

ABOUT THE ARTIST

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Music for a Secular Cathedral: Couperin, Raison and JS Bach

The people enter a large and impressive space; they sit talking

quietly until a hush falls. The principal actor in the scene arrives

on the platform (or perhaps, as today, emerges in a loft on high).

Music plays. A community of souls turns eyes and ears to

a common object in rapt, almost worshipful attention.

The description is of a classical concert, but it could easily

be high mass. In both there are elements of ritual and of

performance; the distinctions between sacred and secular are

easily blurred. This morning the Sydney Opera House Concert

Hall is our ‘cathedral’, and the program begins in the sacred

realm with selections from organ masses by François Couperin

le Grand and André Raison.

These are presented as concert pieces, but they come to us

via the drama of the liturgy and for French Catholic organists

such as Couperin and Raison the ‘script’ was the Paris Ceremonial

of 1662. This set out the role of the organ in the liturgy – the exact

placement and character of its contributions – and the result

was the organ mass, a functional genre shaped by rules, tradition

and taste. Unlike the choral mass (a more familiar genre for most

ABOUT THE MUSIC

François Couperin

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The beginning of Couperin’s Offertoire as it appears in the first edition (Versailles. André Danican Philidor, 1689–90).

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concert audiences today), the organ mass would comprise short

interludes alternating with plainchant at specific points (a very

old practice known as alternatim), with the organist playing

when texts would otherwise have been sung. The Credo (or

Creed) was always reserved for the chorus from a papal edict

of 1600.

The 1662 Paris Ceremonial proved to be a turning point in

French organ music, leading to the publication of many books of

liturgical music, among them Raison’s Premier Livre (a

collection including five organ masses to suit the church

modes or ‘tones’) and Couperin’s pair of masses: the Mass for

Parishes and a more modest mass for use in monasteries and

convents. Each of Couperin’s masses contains 21 pieces, most

of them very short and intended to alternate with versets of

plainchant in the ordinary of the mass.

The Offertoire was one of the principal opportunities in an

organ mass for extended musical display because the activity

it accompanies (the preparation of bread and wine for

communion) can take some time. This recital begins with the

PARTS OF THE MASS

Organ prelude before the MassProcessional

KyrieLord, have mercy – the first sung prayerOrgan versets may alternate with sung chantGloriaGlory to God – a celebratory hymn

Readings from scripture and prayersCredoWe believe – a communal profession of faithOffertory

The elements of bread and wine are presented (sometimes in procession), prepared and formally offered by a priest. Since this can take a while, this is a major opportunity for music.

Sanctus – BenedictusHoly, holy, holy…

The Sanctus is a general acclamation, beginning the Eucharistic Prayer, leading to…The Lord’s Prayer

Begins the Communion RiteAgnus DeiLamb of God

Follows the breaking of the bread and leads to CommunionConcluding rite is followed by the dismissal ‘Go, the Mass is ended’

Deo GratiasAs the people disperse, there may be organ music. The French call this a ‘sortie’ (going out), and it often takes the form of a brilliant toccata.

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Offertoire from Couperin’s Mass for Parishes. This mass, scored

for a large organ, has a grand, public air and, at nearly nine

minutes, the Offertoire is its most substantial section. It’s clear

that the young Couperin was already an organist of considerable

ability and imagination.

The ‘grands jeux’ of the title refers to the intended colour or

registration: a loud and impressive effect achieved through reed

stops. Within the Offertoire itself, Couperin also indicates the

use of the bright and flute-like cornet stop (for example, in the

second phrase) and alternations between manuals: the ‘grand

Clavier’ and the more chamber-like effect of the ‘positif’.

The Offertoire is organised in three contrasting parts. The 

first is an example of the classic French overture style with long,

held notes interspersed by short notes or quicker flourishes for

a majestic effect. About three minutes in there is a sudden

move from C major to C minor and a new theme is introduced

in delicate and subdued tones. Here, in a shift of geography,

Couperin writes an Italian ricercar, with each of the three

weaving voices in the texture entering in turn with the same

melody. The final section returns to the major key and adopts

the sprightly skipping rhythms of a gigue.

These three sections can be recognised as symbolic of the

Holy Trinity: the majesty of the Father, the suffering of the Son,

and the enlivening presence of the Holy Spirit.

André Raison’s Christe from the Mass on the Second Tone

also represents a three-fold symbolism, but on a smaller scale.

It’s a trio with three independent voices or melodic lines, and it

adopts a three-beat metre. Liturgically, it sits at the centre of

the five organ versets that make up the Kyrie, alternating with

sung chant for nine sections in total:

Kyrie eleison (Lord, have mercy): organ – chant – organ

Christe eleison (Christ, have mercy): chant – organ – chant

Kyrie eleison (Lord, have mercy): organ – chant – organ

In French organ masses of this period, the individual versets

were very brief – somewhere between one or two minutes

each – and Raison’s Christe is no exception. Even so, it is a fully

formed passacaille (or passacaglia), with a simple eight-note

theme providing the characteristic repeating bass line – played

six times in all. Mostly this theme is heard ‘straight’, with just

a few simple French agréments or ornaments, but on two of

the repetitions Raison introduces more elaborate divisions to

ornament the bass line.

By contrast with Couperin’s Offertoire, Raison’s Christe might

seem slight, especially when shorn of its framing plainchant and

ritual. But its place in the program will be clear from the moment

RAISON (c.1640–1719) Christe – Trio en Passacaille from the Mass on the Second Tone

André Raison was the organist at the Abbey of Ste Geneviève from 1666 to 1716, and an influential figure in French organ music. He published two books of organ music: a volume of organ masses and magnificats, and a volume of variations on noëls. The collection of masses (1688) contains a lengthy preface with instructions for performance (including the advice that the dance rhythms be played slightly slower in respect for the holiness of the location) and a guide to ornamenting cadences. The five masses are presented as ‘sufficient’ for use with all eight of the church modes or ‘tones’ of plainchant (the Mass on the Second Tone is in G minor).

COUPERIN (1668–1733) Offertoire sur les grands jeux from the Mass for Parishes

François Couperin is best known to modern listeners as a composer for harpsichord, but from the age of 25 until his death he was the principal organist to Louis XIV at Versailles. He’d inherited the post of organist at the Church of St Gervais in Paris when he was just 11 after the premature death of his father and was formally installed when he reach his majority. (His uncle had acted as a kind of ’regent’ in the meantime – like the Bach family in Germany, the Couperins represented a  long-standing musical dynasty in France.) In 1690, while at St Gervais, he published his two organ masses.

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J.S. BACH (1685–1750) Passacaglia and Fugue in C minor, BWV 582

It’s not known exactly when Bach composed his only Passacaglia, but it’s agreed that it was an early work, completed by the time he was 23, and possibly composed when he was in Arnstadt (1703–07). Stylistically, the influence is Dietrich Buxtehude, whom Bach admired so much that he once walked 200 miles to visit the older organist. (He’d been granted four weeks’ leave for the purpose but lingered four months!)

you hear the pedal at the beginning of Bach’s Passacaglia and Fugue, BWV 582. The key has shifted from G minor to C minor,

but the melodic shape of Bach’s first eight notes is identical.

Is Bach quoting Raison? We can’t know for sure. It’s possible

Bach knew Raison’s organ masses, but beyond this quotation –

if in fact it is a quotation – there is no satisfying evidence:

no correspondence, report or library catalogue. Two factors

support the theory, though. The second half of Bach’s

passacaglia theme (the remaining seven notes) resembles

the bass line of another Raison Christe, a Trio en Chaconne,

which suggests Bach was familiar with Raison’s masses as a

collection. And, given that it’s unusual for a passacaglia to

precede a fugue (you’re more likely to see a prelude, toccata

or fantasia in that spot), it’s conceivable that Bach borrowed

Raison’s passacaglia genre together with the theme. We’ll likely

never know, but there is no disputing that these two passacaglias,

one miniature and one mighty, both share the same starting

material.

Raison’s tiny Christe offered a passacaglia in essence: the

simple repeating bass line that underpins the weaving inventions

of the upper voices, the three-beat metre and, albeit slow and

stylised, the dance origins of the genre. Bach takes the essence

and expands on its possibilities.

At the beginning the pedal sets out the bass line in full –

15 notes that form a harmonically complete eight-bar melody –

and this theme is strictly maintained, although sometimes it

moves from the bass to the treble voice.

Bach builds 20 variations on the theme, adopting increasingly

elaborate figurations for each one and at one point breaking

into rippling, harp-like arpeggios. These are followed by a

glorious fugue (marked ‘Thema fugatum’) in which the theme

sets off in the treble above a countersubject built from pairs of

repeated notes. After nearly 15 minutes of brilliant invention,

Bach leaves the listener with one more surprise: a ‘shattering’

chord and dramatic pause before bringing the whole

piece home.

SYDNEY SYMPHONY ORCHESTRA © 2015 WITH RESEARCH BY DELIA BARTLE

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James Mobberley Critical Mass for organ and fixed media

Dizzying chromatic passages ripple as percussive bangs rattle in

hollow tones… Synthesised tones emerge and disperse, and the

live organ battles with a pre-recorded organ…

To create this immersive sound world, American composer

James Mobberley uses fixed media – the playback of pre-

recorded material as opposed to the real-time processing or

manipulation of sound in live electronics. These pre-recorded

sounds are literally ‘fixed’ – the duration and tempo remains the

same for every performance – and the organist is driven by this

endless propulsion, causing a chain reaction from start to finish.

Hence the title Critical Mass – the smallest amount of fissionable

material sufficient to sustain a chain reaction.

When writing for fixed media with live performers, Mobberley

explains:

…I’m usually most interested in selecting recorded sounds

that are either directly produced by the instruments that will

be playing live or that are similar to them. This often makes it

difficult for an audience to tell which sounds are live and which

are recorded. They also are frequently constructed so as to

create a ‘meta-instrument’ – one that plays outside the normal

range, or faster than the fingers can go, or louder or softer

than the instrument can produce. So my first step is to create

or record a set of sounds that I can use. Usually these are

‘standard’ instrumental (or instrument-like) sounds, plus

some other sounds, such as synthetic, vocal or natural

(environmental) sounds. Working with sounds to create fixed

media is a form of performance – the composer takes raw

material and sculpts it into a layer of music that needs to be

as musically satisfying as the layers produced by the live

performer(s), with careful attention to articulation, timbre,

phrasing, dynamics, and rubato.

KeynotesMOBBERLEYBorn Des Moines, Iowa, 1954

James Mobberley writes music that ranges from orchestral to electro-acoustic, and his output includes scores for dance and film. He is a professor at the University of Missouri–Kansas City Conservatory of Music and Dance, and was the first composer-in-residence with the Kansas City Symphony in 1991. A particular specialty of his is music for solo instrument with fixed media playback and he has now written 15 such pieces. Many of his work titles take inspiration from scientific concepts.

He studied with Roger Hannah at the University of North Carolina, and earned his doctorate at the Cleveland Institute of Music studying with Donald Erb and Eugene O’Brien. His awards include a Guggenheim Fellowship and a Composer’s Fellowship from the National Endowment for the Arts.

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Jazz legend Wynton Marsalis makes his long-awaited SSO debut with his band, Hollywood Rhapsody brings the best of movie music to the stage and Pink Martini in a thrilling and eclectic program.

KaleidoscopeJazz meets orchestra!

Pink Martini with the SSOFri 16 Sep | Sat 17 Sep Eclectic and exotic songs in jazz-classical style.

Toby Thatcher conductor Pink Martini

Hollywood RhapsodyFri 17 Jun | Sat 18 Jun Including highlights from… Psycho, Citizen Kane, The Adventures of Robin Hood, Casablanca, Ben Hur... and many more

John Wilson conductor

Wynton Marsalis and the SSO Fri 26 Feb | Sat 27 FebBernstein Fancy Free – Ballet; Prelude, Fugue and Riffs Marsalis Swing Symphony Australian premiere

Wynton Marsalis trumpet Jazz at the Lincoln Center Orchestra

*See T&C at sydneysymphony.com

All three concerts for just $99* | City Recital Hall, Angel Placesydneysymphony.com/subscriptions

PRIORITYFLEXIBILITYSAVINGSCONVENIENCE

Olivier Latry’s world tour, ending here in Sydney, has included 21 performances of Critical Mass. This, points out Mobberley, introduces a special challenge: ‘Some organs have been around for centuries, and there have been many tunings.’ The Sydney Opera House organ, for example, is tuned to modern concert pitch (A=440Hz) but there’s an organ in Belgium that sounds more than a semitone flat at A=409Hz! To accommodate the various organs Latry would be playing, Mobberley needed to prepare three versions of the fixed media, lowering the pitch of the playback without altering the timing.

The fixed media track for Critical Mass consists mostly of sounds recorded on the McMyler organ at the Cleveland Museum of Art, together with ambient electronic pitches and metallic bangs created by slapping the pipes. It’s the overlapping of these musical layers with the live organ in performance that creates Mobberley’s ‘meta instrument’, and in Critical Mass a key aspect of the performer’s role is to choose registrations that will blend with the recorded organ.

Mobberley opens a world of creative sonic opportunities by mixing pre-recorded materials with virtuoso live performance. ‘One of the joys of working in the electronic music medium,’ he says, ‘is having a huge range of sounds from which to construct fixed media – I feel very much like a kid in a candy store!’

DELIA BARTLE © 2015

AYO MUSIC PRESENTATION FELLOW

Critical Mass was commissioned by Frank K Griesinger and is dedicated to organist Karel Paukert, who premiered the work in 1989 at the Cleveland Museum of Art. We believe this performance will be the Australian premiere.

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KeynotesDURUFLÉ Born Louviers, 1902 Died Louveciennes, 1986

French composer and organist Maurice Duruflé was a student of Paul Dukas and shared with his teacher a perfectionist instinct and a relatively small surviving output of compositions – 19 published works. A Catholic and a church organist (he held the organ post at St Étienne-du- Mont in Paris from 1929 until his death), he also composed devotional and liturgical works, including a Requiem, which is his best-known music. In 1939 he gave the premiere of Poulenc’s Organ Concerto. Duruflé was a consultant for organ restoration following the devastation of France in the world wars, and was determined to revitalise French musical culture in the process.

SUITE FOR ORGAN

The Suite for organ was composed in 1933 and dedicated to Dukas. The slow Prélude begins with sombre, even funereal, sounds (the theme is marked tristamente), before expanding to display the full power of the organ. The Sicilienne – a lilting dance form – shows Duruflé in a ‘quest for colour’ and contrasting timbres. The Toccata introduces its ‘rhythmic and vigorous’ principal theme in the pedal after a short and busy introduction. In the middle section a new theme appears, to be combined with the first, and after a return of the introduction, the suite comes to a brilliant conclusion.

Maurice Duruflé Suite pour orgue, Op.5Prélude (Lento) Sicilienne (Allegretto moderato) Toccata (Allegro, ma non troppo)

Against a B flat octave the organist slowly pedals an eerily chromatic figure. The pedal introduces an E natural, setting up the ‘devil’s interval’ (diabolus in musica) to create a sense of ominous premonition. A quiet falling pattern begins, occasionally drifting upwards before sinking again as the octave continues to drone. Fleeting arpeggios ripple, and glorious but brooding chords pace like heavy footsteps. This striking opening of Duruflé’s Opus 5 Suite sets the tone for a work in which the expressive power, virtuosity and majesty of the organ is revealed.

Duruflé’s love for the organ developed during his childhood when he was student at the Rouen Cathedral Choir School. At 17 he moved to Paris to study organ with Charles Tournemire and with Louis Vierne, then organist at the Cathedral of Notre Dame. These two masters inspired Duruflé’s use of the shapes and colours of Gregorian plainsong, even in secular works, as in the beginning of the Prélude of Opus 5.

Composed in 1933, the Suite for organ was dedicated to his composition teacher Paul Dukas, and it’s perhaps no coincidence that the Prélude shares with Dukas’s piano sonata of 1899 the key of E flat minor and its sombre character. There are just two themes in this first movement. The first is the simple eight-note motif marked out in the pedal at the beginning; the second comprises three long phrases, smooth and lyrical. These develop and play against each other as Duruflé gradually unleashes the power of the organ.

The second movement is a Sicilienne, a baroque dance form characterised by gentle, lilting rhythms and a lyrical melody. Duruflé described it as having a ‘classic construction’, with three statements of the main theme, separated by two episodes. The focus is colour and a quest for contrasting timbres, and the impressionistic effects, together with the music’s melodic fluidity, suggest the style of Ravel and Debussy.

According to French organist Marie-Claire Alain: ‘Maurice Duruflé was the only one of my professors to explain and demonstrate the nature of touch at the organ. It was he who made me understand the importance of note values and how they are held, the relation of one note to another within the concept of a musical line.’ The Toccata embraces the gamut of keyboard ‘touch’ – from weighty, sustained chords to bell-like melodies – and is notoriously challenging to play, with widespread

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and dense chords that stretch beyond the regular handspan, as well as figuration requiring a very light touch. Flurries of fast notes unfurl in vibrant patterns, lending the movement an improvisatory character, and themes overlap with kaleidoscopic colour.

Duruflé’s self-criticism often led to him revising his works years after they’d been published. He disliked the original ending of the Toccata enough to completely rewrite it: ‘The first theme is very bad…and as the theme is the essential thing in a composition, the composition cannot be successful with a bad theme.’

Duruflé encouraged his students to play with energy but warned against excessive elaboration, preferring precision to flamboyance. (He was very particular, marking every detail in his organ music: fingerings, registrations, changes between the manuals or keyboard, phrasing and articulation.) He disliked organists taking liberties with his works, particularly in this Toccata. His wife – herself an organist – remarked: ‘At the end of the Toccata, one finds a series of virtuosic chords. My husband did not like anyone to begin with a rubato followed by an accelerando. He had a horror of this effect of a train starting up.’

DELIA BARTLE © 2015 AYO MUSIC PRESENTATION FELLOW

‘Maurice Duruflé was the only one of my professors to explain and demonstrate the nature of touch at the organ.’MARIE-CLAIRE ALAIN

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The Art of Improvising

Improvisation is composing in the moment, and it happens all the time. People throw together a meal with the contents of the pantry, or they speak without notes. Every time we do something unprepared, we’re using the innovative and creative resourcefulness that makes us human. Improvising in music means to take a risk – to be musically vulnerable and to create something shaped by technique and experience that’s entirely individual and spontaneous.

There was a time when every musician improvised. Bach improvised at the organ, Mozart at the piano. In particular, concerto soloists were expected to extemporise their own cadenzas. Things changed in the 19th century and Beethoven provides the landmark example. In his Emperor piano concerto he not only notated the cadenza but added a stern instruction that performers not add anything of their own. Other composers followed suit, placing cadenzas in unexpected points in the structure and dictating their exact content. So quickly did the improvised cadenza fall out of fashion that when Brahms left space for one in his violin concerto it was unusual and noteworthy.

Over time, other avenues for improvisation fell from favour: by the middle of the 20th century, for example, it was rare for pianists to improvise preludes in recital. Outside of jazz, improvisation

JS Bach was renowned as a master improviser

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Not quite a lost art…

Australian pianist Geoffrey Tozer would often end his recitals with improvisations using themes and styles suggested by the audience. And in a recent recital of Haydn sonatas for the SSO, Geoffrey Lancaster demonstrated that the art of preluding is not entirely lost! In the world of organ playing, where improvisation remains an essential skill, Marcel Dupré was especially renowned for his ability to improvise entire organ symphonies on themes submitted by listeners before his concerts. And in this recital, Olivier Latry will similarly improvise on a theme given to him just before the performance.

came to be regarded as something inaccessible within the Western music tradition. In 2008 when Gabriela Montero devoted a portion of her SSO recital program to improvisations, it was considered novel and remarkable.

But there’s one place where improvisation is alive and well in classical music, and that’s the organ loft.

The organ is the only classical instrument to have maintained a continuous tradition of improvisation over the centuries. Since the 16th century, church organists have relied on improvisation to provide the vast amount of music that accompanies and punctuates the liturgy. An organist ‘job interview’ might include challenges such as the improvisation of a strict four-part fantasia on a given theme. To this day, organ guilds around the world include improvisation among the skills needed for certification of advanced ability.

Improvisation in church, says David Hangreaves, mirrors the ‘liturgical drama and establishes a common atmosphere’. But  it’s also common for organists to improvise in a concert setting. And in that context, Hangreaves continues, ‘improvisation is a creative language that develops musical content or expresses personal states of mind and feeling with an intrinsic value for the individual musician’.

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MORE MUSIC

THE BEST OF THE ORGAN

For a selection of organ masterpieces, look no further than Glorious Pipes – Organ Music. This two-disc set features some of the world’s most respected organists playing music by JS Bach, Charles-Marie Widor and Dietrich Buxtehude. The set concludes with Olivier Latry’s virtuosic interpretation of two works by Olivier Messiaen.DEUTSCHE GRAMMOPHON

OLIVIER LATRY

On Midnight at Notre-Dame Olivier Latry performs spellbinding transcriptions of music by JS Bach, Mozart, Berlioz and more – all recorded on the Cavaillé-Coll organ at Notre-Dame Cathedral in Paris. It’s a true testament to the king of the instruments.DEUTSCHE GRAMMOPHON 474 8162

Recordings of organ music depend as much on the instrument as the performer, and in Messiaen: Complete Organ Works, Olivier Latry once again explores the rich possibilities of the Notre-Dame organ. Deutsche Grammophon engineers have carefully balanced the cathedral’s acoustic resonance and the organ’s up-close dynamic range in this bright and articulated performance. DEUTSCHE GRAMMOPHON 471 4802

MORE MOBBERLEY

For an introduction to James Mobberley’s orchestral sound world, look for Paul Freeman Introduces… with Mobberley’s piano concerto, his concerto for marimba eight hands, and the ballet score Arena. The soloists are Richard Cass (piano) and the enemble Marimba Yajalon, with the Czech National Symphony Orchestra. ALBANY RECORDS TROY335

And if you’d like to hear Critical Mass again, head to Mobberley’s channel on SoundCloud for a recording by dedicatee Karel Paukert. soundcloud.com/jim-mobberley/critical-mass

RARE RAISON

For more from this relatively unknown composer, try David Ponsford’s recital on the beautiful 1714 Boizard organ in the Benedictine abbey of Saint-Michel-en-Thiérache. French Organ Music Volume Three features the Mass on the First Tone by Raison, and two suites from his pupil and JS Bach contemporary Louis-Nicolas Clérambault.NIMBUS NI6268

JOSEPH JONGEN

Today’s soloist, Olivier Latry, has recorded Jongen’s Symphonie concertante with the Liège Philharmonic Orchestra and conductor Pascal Rophé. The organ is an instrument by Pierre Schyven in the Liège Salle Philharmonique. Filling out the disc is Saint-Saëns’ Third Symphony (‘avec orgue’).CYPRES 7610

Broadcast Diary

November–December

abc.net.au/classic

Saturday 28 November, 1pm

THUS SPAKE ZARATHUSTRAEdo de Waart conductor Olivier Latry organ

Wagner, Jongen, Richard Strauss, Wagner

Tuesday 1 December, 9.30pm

THE GRAND ORGANOlivier Latry organ

Couperin, Raison, JS Bach, Mobberley, Duruflé, and an improvisation by Olivier Latry

SSO RadioSelected SSO performances, as recorded by the ABC, are available on demand:

sydneysymphony.com/SSO_radio

SYDNEY SYMPHONY ORCHESTRA HOURTuesday 8 December, 6pm

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

finemusicfm.com

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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

PRIORITYFLEXIBILITYSAVINGSCONVENIENCE

THREE-CONCERT PACKAGES FROM $87! No fees when you book these concerts online at

sydneysymphony.com/subscriptions Call 8215 4600 Mon–Fri 9am–5pm

NEW IN 2016!

*See T&C at sydneysymphony.com ©Emma Chichester Clark, Illustration Reproduced by permission of Walker Books Ltd, London

Playlist is your perfect introduction to classical music – a one-hour informal concert where a member of the SSO curates a unique program – their Playlist – of music that has inspired them and shaped their life. Join us at the bar and meet the musicians after every concert!

Playlist

Alexandre’s PlaylistTue 1 Nov | 6.30pm

Music by Bach, Haydn, Martin, Schoenberg and Schubert, and including RAVEL Mother Goose: The Enchanted Garden

Toby Thatcher conductor

Rick’s PlaylistTue 24 May | 6.30pm

Music by JS Bach, Beethoven, Mozart, Elgar and Stravinsky, and including WAGNER Good Friday Music from Parsifal

Brett Weymark conductor

Lerida’s Playlist Tue 15 Mar | 6.30pm

Music by Mendelssohn, Fauré, Copland, Mahler and Bach, and including Vaughan Williams The Lark Ascending

Andrew Haveron violin-director

Lerida Delbridge violin

New to classical music and want to know more? LERIDA DELBRIDGE

Assistant ConcertmasterRICHARD MILLER Principal Timpani

ALEXANDRE OGUEY Principal Cor Anglais

From James Morrison’s jazzy hits to The Composer is Dead with Frank Woodley, or the magic of The Pied Piper of Hamelin, these magical introductions to orchestral music will plant the seed for a lifetime love of orchestral music.

Family concerts

The Pied Piper of HamelinSun 9 Oct | 2pm

Colin Matthews The Pied Piper of Hamelin Australian premiere

Toby Thatcher conductor Sydney Children’s Choir

The Composer is DeadSun 22 May | 2pm

Stookey & Snicket The Composer is Dead

Toby Thatcher conductor Frank Woodley narrator and The Inspector

James Morrison PresentsSun 20 Mar | 2pm

Family fun and jazzy hits from Dixieland to Duke Ellington, and beyond.

Benjamin Northey conductor James Morrison jazz trumpet and presenter

City Recital Hall, Angel Place

SYDNEY OPERA HOUSE

CITY RECITAL HALL, ANGEL PLACE

23

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

PRIORITYFLEXIBILITYSAVINGSCONVENIENCE

THREE-CONCERT PACKAGES FROM $87! No fees when you book these concerts online at

sydneysymphony.com/subscriptions Call 8215 4600 Mon–Fri 9am–5pm

NEW IN 2016!

*See T&C at sydneysymphony.com ©Emma Chichester Clark, Illustration Reproduced by permission of Walker Books Ltd, London

Playlist is your perfect introduction to classical music – a one-hour informal concert where a member of the SSO curates a unique program – their Playlist – of music that has inspired them and shaped their life. Join us at the bar and meet the musicians after every concert!

Playlist

Alexandre’s PlaylistTue 1 Nov | 6.30pm

Music by Bach, Haydn, Martin, Schoenberg and Schubert, and including RAVEL Mother Goose: The Enchanted Garden

Toby Thatcher conductor

Rick’s PlaylistTue 24 May | 6.30pm

Music by JS Bach, Beethoven, Mozart, Elgar and Stravinsky, and including WAGNER Good Friday Music from Parsifal

Brett Weymark conductor

Lerida’s Playlist Tue 15 Mar | 6.30pm

Music by Mendelssohn, Fauré, Copland, Mahler and Bach, and including Vaughan Williams The Lark Ascending

Andrew Haveron violin-director

Lerida Delbridge violin

New to classical music and want to know more? LERIDA DELBRIDGE

Assistant ConcertmasterRICHARD MILLER Principal Timpani

ALEXANDRE OGUEY Principal Cor Anglais

From James Morrison’s jazzy hits to The Composer is Dead with Frank Woodley, or the magic of The Pied Piper of Hamelin, these magical introductions to orchestral music will plant the seed for a lifetime love of orchestral music.

Family concerts

The Pied Piper of HamelinSun 9 Oct | 2pm

Colin Matthews The Pied Piper of Hamelin Australian premiere

Toby Thatcher conductor Sydney Children’s Choir

The Composer is DeadSun 22 May | 2pm

Stookey & Snicket The Composer is Dead

Toby Thatcher conductor Frank Woodley narrator and The Inspector

James Morrison PresentsSun 20 Mar | 2pm

Family fun and jazzy hits from Dixieland to Duke Ellington, and beyond.

Benjamin Northey conductor James Morrison jazz trumpet and presenter

City Recital Hall, Angel Place

SYDNEY OPERA HOUSE

CITY RECITAL HALL, ANGEL PLACE

24

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

TECHNICAL MEDIA PRODUCER 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

HEAD OF PRODUCTION 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

PhilanthropyHEAD OF PHILANTHROPY

Rosemary SwiftPHILANTHROPY 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 BenetatosMULTIMEDIA 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 Andrew BaxterEwen 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

FOR INFORMATION ABOUT THE CHAIR PATRONS

PROGRAM, CALL (02) 8215 4625.

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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

Scott KinmontAssociate Principal TromboneAudrey Blunden Chair

Leah LynnAssistant Principal CelloSSO Vanguard Chair With lead support from Taine Moufarrige, Seamus R Quick, and Chris Robertson & Katherine Shaw

Nicole MastersSecond ViolinNora Goodridge 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

Janet and Robert Constable with Associate Principal Flute Emma Sholl. ‘When we first met her in the Green Room at the Opera House,’ recalls Robert, ‘it was a lovely hug from Emma that convinced us that this was not only an opportunity to support her chair but to get involved with the orchestra and its supporters. It has been a great experience.’

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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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Commissioning CircleSupporting the creation of new works.

ANZAC Centenary Arts and Culture FundGeoff Ainsworth AM

Raji AmbikairajahChristine BishopDr John EdmondsAndrew Kaldor AM & Renata Kaldor AO

Jane Mathews AO

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

“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: philanthropy@sydneysymphony.com

Foundations

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

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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 DavisJennifer FultonBrian GalwayMichele Gannon-MillerMiss Pauline M Griffin AM

John Lam-Po-Tang

Peter 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 OUR PHILANTHROPY TEAM

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 &

Jo FeatherstoneChristine 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 Foundation

Caroline WilkinsonJune & Alan Woods Family

BequestAnonymous (2)

BRONZE $5,000–$9,999John Augustus & Kim RyrieDushko BajicStephen 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 KatzIn memoriam

Dr Reg Lam-Po-TangBarbara MaidmentMora MaxwellTaine MoufarrigeRobert McDougallWilliam McIlrath Charitable

Foundation

28

Playing Your Part

SSO PATRONS

BRONZE PATRONS CONTINUED

J A McKernanNexus ITMs Jackie O’BrienJohn & 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 (2)

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

G & 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 PearsonProfessor Winston LiauwDr Barry LandaMrs Juliet LockhartRenee MarkovicHelen & Phil MeddingsJames & Elsie MooreMs Jackie O’BrienPatricia H Reid Endowment

Pty LtdJuliana SchaefferHelen & Sam ShefferDr Agnes E SinclairEzekiel SolomonRosemary SwiftMr Ervin Vidor am &

Mrs Charlotte VidorLang Walker ao & Sue WalkerWestpac GroupMary Whelan & Robert

Baulderstone

Yim Family FoundationDr John YuAnonymous (2)

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 Holden

Mr 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 LamBeatrice 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 HortonJudith OlsenMr & Mrs OrtisAndrew Patterson & Steven BardyIn memory of Sandra Paul

PottingerMr Stephen PerkinsAlmut PiattiDr John I PittThe 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 AndrewsDr Gregory AuMr & Mrs George BallBarlow Cleaning Pty LtdBarracouta Pty LtdSimon BathgateDr Andrew BellMr Chris BennettMs Baiba BerzinsJan 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 CoventryDr Peter CraswellMr David CrossMark Dempsey sc

Dr David DixonSusan DoenauDana DupereJohn FavaloroMrs Lesley FinnMr Richard FlanaganMs Lynne FrolichMichele Gannon-MillerMs Lyn GearingMr Robert GreenDr Sally Greenaway

29

VANGUARD COLLECTIVEJustin Di Lollo ChairBelinda BentleyAlexandra McGuiganOscar McMahonTaine Moufarrige

Founding PatronShefali PryorSeamus R Quick

Founding PatronChris Robertson &

Katherine Shaw Founding Patrons

MEMBERSLaird AbernethyElizabeth AdamsonClare Ainsworth-HerschellCharles ArcusPhoebe ArcusJames ArmstrongLuan AtkinsonDushko Bajic

Supporting PatronJoan BallantineScott BarlowAndrew Batt-RawdenJames BaudzusAndrew BaxterAdam BeaupeurtAnthony BeresfordJames BessonAndrew BotrosPeter BraithwaiteAndrea BrownNikki BrownAttila BrungsTony ChalmersDharmendra ChandranLouis ChienPaul ColganClaire CooperBridget CormackKarynne CourtsRobbie CranfieldPeter CreedenAsha CugatiJuliet CurtinDavid CutcliffeEste Darin-CooperRosalind De SaillyPaul DeschampsCatherine DonnellyJennifer DrysdaleJohn-Paul DrysdaleKerim El GabailiKaren EwelsRoslyn FarrarTalitha FishburnNaomi Flutter

Alexandra GibsonSam GiddingsJeremy GoffLisa GoochHilary GoodsonTony GriersonJason HairKathryn HiggsPeter HowardJennifer HoyKatie HryceJames HudsonJacqui HuntingtonVirginia JudgePaul KalmarTisha KelemenAernout KerbertPatrick KokAngela KwanJohn Lam-Po-TangTristan LandersJessye LinGarry LinnaneDavid LoSaskia LoFern MoufarrigeMarcus MoufarrigeSarah MoufarrigeAlasdair Murrie-WestJulia NewbouldAnthony NgNick NichlesKate O’ReillyPeter O’SullivanJune PickupRoger PickupStephanie PriceMichael RadovnikovicBenjamin RobinsonAlvaro Rodas FernandezAdam SadlerAnthony SchembriBenjamin SchwartzBen ShipleyCecilia StornioloBen SweetenRandal TameSandra TangIan TaylorZoe TaylorCathy ThorpeMichael TidballMark TrevarthenMichael TuffyRussell van HoweSarah VickMichael WatsonAlan WattersJon WilkieYvonne Zammit

SSO Vanguard

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

n n n n n n n n n n

Mr Geoffrey GreenwellMr Richard Griffin am

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 KingMiss Joan KleinMrs Patricia KleinhansAnna-Lisa KlettenbergMs Sonia LalL M B LampratiDavid & Val LandaIn memory of Marjorie LanderElaine M LangshawMargaret LedermanRoland LeeMr David LemonPeter Leow & Sue ChoongMrs Erna LevyMrs A LohanLinda LorenzaM J MashfordMs Jolanta MasojadaKenneth Newton MitchellMr David MuttonMr & Mrs NewmanMr Graham NorthDr Lesley NorthSead NurkicMr Michael O’BrienDr Alice J PalmerDr Natalie E PelhamPeter and Susan PicklesErika PidcockAnne Pittman

John 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: philanthropy@sydneysymphony.com

30

SALUTE

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

PLATINUM PARTNER MAJOR PARTNERS

GOLD PARTNERS

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

Salute 2015_Sep_#32+_rev.indd 1 18/09/2015 10:02 am