27 March Sydney Town Hall HAYDN & GABRIELI

Principal Partner SYDNEY SYMPHONY ORCHESTRA 2021 CONCERT SEASON Saturday 27 March, 2pm GREAT CLASSICS Sydney Town Hall

PATRON Her Excellency The Honourable Margaret Beazley ac qc 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, the Sydney Symphony Orchestra also performs in venues throughout Sydney and regional New South Wales, and international tours to Europe, Asia and the USA 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, , , , Louis Frémaux, Sir , Zdenêk Mácal, , Edo de HAYDN AND Waart and . was Principal Conductor from 2009 to 2013, followed by David Robertson as Chief Conductor from 2014 to 2019. Australia-born Simone Young has been the Orchestra’s Chief Conductor Designate GABRIELI since 2020. She commences her role as Chief Conductor in 2022 as the Orchestra returns to the renewed Concert Hall of the Sydney Opera House. The Sydney Symphony Orchestra's concerts encompass masterpieces from the classical repertoire, music by some of the finest living composers, and collaborations ANDREW HAVERON director and violin ESTIMATED DURATIONS with guest artists from all genres, reflecting the Orchestra's versatility and diverse 6 minutes, 3 minutes, appeal. Its award-winning education program is central to its commitment to the RONALD PRUSSING speaker and brass ensemble conductor 6 minutes, 4 minutes, future of live symphonic music, and the Orchestra promotes the work of Australian interval 20 minutes, composers through performances, recordings and its commissioning program. 67 minutes. GIOVANNI GABRIELI (c.1556–1612) COVER IMAGE Sacrae symphoniae (1597): Andrew Haveron, Sydney Simone Young SECOND VIOLINS CELLOS CLARINETS TROMBONES Canzon per sonar primi toni Symphony Concertmaster Chief Conductor Marina Marsden Catherine Hewgill James Burke Scott Kinmont Photo: Nick Bowers Designate Principal Principal Principal Associate Principal Donald Runnicles Marianne Edwards Leah Lynn Francesco Celata Nick Byrne SAMUEL BARBER (1910–1981) Principal Guest Associate Principal Acting Associate Associate Principal Conductor Christopher Harris Mutations from Bach Emma Jezek Principal Christopher Tingay Principal Bass Trombone Vladimir Ashkenazy Assistant Principal Timothy Nankervis Dale Vail† Conductor Laureate Alexander Morris Alice Bartsch Adrian Wallis Principal Bass Clarinet Ronald Prussing MORTEN LAURIDSEN (born 1943) Kristy Conrau Andrew Haveron Victoria Bihun Principal Fenella Gill BASSOONS Concertmaster Emma Hayes O magnum mysterium Christopher Pidcock Chair supported by Wendy Kong Todd Gibson-Cornish TUBA David Wickham Vicki Olsson Maja Verunica Principal Steve Rossé Principal GABRIELI Kirsty Hilton DOUBLE BASSES Matthew Wilkie FIRST VIOLINS Principal Principal Emeritus Canzon per sonar in eco duodecimi toni Rebecca Gill Kees Boersma TIMPANI Andrew Haveron Principal Fiona McNamara Concertmaster Shuti Huang Noriko Shimada Mark Robinson Benjamin Li Steven Larson Acting Principal Harry Bennetts Principal Nicole Masters Benjamin Ward Associate Contrabassoon Alex Henery PERCUSSION Concertmaster JOSEPH HAYDN (1732–1809) VIOLAS Principal HORNS Rebecca Lagos Lerida Delbridge Tobias Breider David Campbell Principal Seven Last Words of our Redeemer from the Cross Hob.XX/1 Assistant Ben Jacks Principal Richard Lynn Concertmaster Principal Timothy Constable Introduzione: Adagio Justin Williams Jaan Pallandi Jenny Booth Geoffrey O’Reilly Acting Associate * = Guest Musician Sonata 1: Largo Claire Herrick Principal 3rd Horn Principal FLUTES ° = Contract Musician Sonata 2: Grave e cantabile Georges Lentz Euan Harvey Emma Sholl † = Sydney Symphony Emily Long Graham Hennings Marnie Sebire Sonata 3: Grave Stuart Johnson Associate Principal Fellow Alexandra Mitchell Rachel Silver Sonata 4: Largo Anna Skálová Amanda Verner Carolyn Harris Nick Mooney* Grey = Permanent Léone Ziegler Leonid Volovelsky Joshua Batty Member of the Sydney Sonata 5: Adagio Sun Yi Anne-Louise Principal TRUMPETS Symphony Orchestra Sonata 6: Lento Associate Comerford not appearing in OBOES David Elton Concertmaster Associate Principal Principal this concert Sonata 7: Largo – Fiona Ziegler Sandro Costantino Diana Doherty Anthony Heinrichs Il Terremoto: Presto e con tutta la forza Assistant Rosemary Curtin Principal Paul Goodchild* Concertmaster Jane Hazelwood Alexandre Oguey Daniel Henderson* Justine Marsden Kirsten Williams Principal Cor Anglais Felicity Tsai Associate Shefali Pryor Concertmaster Associate Principal Emeritus PRINCIPAL PARTNER Brielle Clapson Sophie Cole Nicola Lewis Alexander Norton ABOUT THE ARTISTS ABOUT THE MUSIC

ANDREW HAVERON director and violin Baroque music was frequently tailored to the physical Sydney Symphony Concertmaster, environment in which it was to be performed. In Venice, Vicki Olsson Chair for instance, composers like Andrea and Giovanni Gabrieli, and Monteverdi at one time, were employed at the basilica of San Marco. They were inspired by Andrew Haveron has established himself as one of the the building’s space and shape to develop a distinctive most sought-after violinists of his generation. polychoral style, where groups of voices and or A laureate of some of the most prestigious international instruments placed in different parts of the church, violin competitions, Andrew studied in at the such as the choir lofts that face each other, to create Purcell School and the Royal College of Music. With his antiphonal, or stereophonic effects. Often, as in the unrivalled versatility, he is a highly respected soloist, works we hear today, the composer creates the effect chamber musician and concertmaster. of echoes in a vast space. Giovanni Gabrieli was made As a soloist, Andrew has collaborated with conductors principal organist at San Marco in 1584, and on the such as Sir Colin Davis, Sir Roger Norrington, Jiří death of his uncle Andrea became principal composer Andrew Haveron The Basilica of San Marco, Bělohlávek, Stanislaw Skrowachewski, David Robertson there, a post he held for the next two decades. and John Wilson, performing a broad range of the well- Photo: Nick Bowers Venice Gabrieli’s canzone don’t always specify instrumentation known and less familiar concertos with many of the UK’s so much as the number of players (these versions are finest orchestras. His performance of Walton’s violin by US composer Tim Higgins), and are usually based on concerto with the Sydney Symphony Orchestra in 2015 ‘recitation tones’ – melodic fragments to which certain was nominated for a Helpmann Award. Andrew’s playing parts of the Mass were routinely chanted. has also been featured on many film and video-game soundtracks, including Disney’s ‘Fantasia’ game, which includes his performance of Vivaldi’s Four Seasons with The Canzon per sonar primi toni juxtaposes two musical the Academy of St Martin in the Fields. ideas – one in common time based on a contrapuntal In 1999 Andrew was appointed first violinist of the elaboration of the theme with its distinctive long-short- internationally acclaimed Brodsky Quartet. A busy short ‘canzone’ rhythm, and a more dance-like section in schedule saw the quartet perform and broadcast in their triple time. unique style all over the world. Amassing a repertoire of The Canzon per sonar in echo duodecimi toni is formally almost 300 works, they collaborated with outstanding simpler, beginning with both groups in rhythmic unison artists and commissioned many new works from today’s but diverging to create the piece’s distinctive echo effects. composers. Also famed for their iconic ‘cross-genre’ projects, the quartet enjoyed barrier-breaking work with Samuel Barber’s short work for brass and timpani Giovanni Gabrieli Elvis Costello, Björk, Paul McCartney and Sting. Andrew was composed in 1967. It is based on a chorale melody has also appeared with numerous other chamber groups published in 1525 set to the words ‘O Christ, Lamb of such as the Nash and Hebrides ensembles, the Logos God, you take away the sins of the world, have mercy on Chamber Group, Kathy Selby and Ensemble Q. us … grant us your peace’, the last ‘fixed’ section of the Andrew is also in great demand as a concertmaster and traditional text of the Mass. Barber includes the words in director and has worked with all the major symphony the printed score where the melody appears. orchestras in the UK and many further afield. In 2007 he Joachim Decker was one of the early Lutheran became concertmaster of the BBC Symphony Orchestra, composers to arrange liturgical melodies as ‘chorales’ broadcasting frequently on BBC Radio and enjoying for congregational singing, supporting the tune with many appearances at the BBC Proms including the simple harmony and regular metre. Barber begins with famous “Last Night”. Joining the Philharmonia Orchestra Decker’s 1604 version, given here to the horns and in 2012 Andrew also led the 'World Orchestra for Peace’ tuba. The addition of the brighter trumpets signals the at the request of its conductor Valery Gergiev, and again beginning of Bach’s harmonisation of the melody from in 2018 at the request of Donald Runnicles. He has also over a century later. His Cantata BWV 23, ‘You true God been the leader of ‘The John Wilson Orchestra’ since its and son of David’ was composed in 1723 and formed inception. In 2013, Andrew started in his current position a part of Bach’s job application to the city of Leipzig Samuel Barber, 1951 of concertmaster of the Sydney Symphony Orchestra. where he would spend much of his professional life. It In 2019 Andrew appeared with the London Symphony concludes with a harmonically more elaborate version of Orchestra under Sir Simon Rattle, and in recitals around the chorale. Australia with pianists Anna Goldsworthy, Piers Lane and Barber then derives an accompanying texture of Simon Tedeschi. overlapping descending scales from Bach’s chorale prelude, BWV 619, based on this tune, from the Andrew Haveron plays a 1757 Guadagnini violin, generously loaned to the Sydney Symphony Orchestra by Vicki Olsson. Orgelbüchlein (Little Organ Book) composed some years earlier. The music returns to the mood of the Cantata, specifically its second-movement recitative where the ABOUT THE MUSIC ABOUT THE MUSIC

tenor imagines himself one of the blind people healed then in the same way pronounced the second word, by Jesus, singing against a slow-movement version of then the third, and so on, the orchestra following on the chorale. Barber has the chorale played by trumpet the conclusion of each discourse. with the horn having the more expressive melody, before quietly restating Decker’s harmony at the close. Haydn duly composed a set of orchestral ‘sonatas’, his publisher released a string quartet version soon after, most likely with Haydn’s approval if not in his actual Christ as Lamb of God is associated with his sacrifice arrangement. That formed the basis of a keyboard at Easter, where O magnum mysterium is, of course, reduction and some years later Haydn reworked the associated with Christmas, with the charming (if non- piece as an oratorio. Biblical) image of the animals in the stable gazing at the new-born Saviour. US composer Morten Lauridsen’s From the mid-1770s Haydn’s duties as music director setting is characteristically serene and slow moving but to Prince Nikolas Eszterházy at his palace, Eszterháza, builds to a beautiful ecstatic response to the mystery of in rural Hungary involved overseeing a full-time opera the Incarnation. Lauridsen, much of whose work is highly company (the Empress Maria Theresa once quipped that mystical if not explicitly religious, composed it in 1993 she had to go the country to see a decent production). for the Los Angeles Master Chorale. It was inspired, in Haydn conducted numerous works and contributed part by Francisco de Zurbarán's painting Still Life With some six operas to the repertoire. The Seven Last Words, Lemons, Oranges and a Rose, a work which, like much unsurprisingly, shows his finely-honed ability to depict 17th century painting is freighted with iconographical emotion and a dramatic scenario. symbolism that, as the composer puts it ‘projects an Morten Lauridsen aura of mystery, powerful in its unadorned simplicity, Haydn prefaces the set with an introduction (maestoso its mystical quality creating an atmosphere of deep ed adagio), which establishes the solemnity of the contemplation…’ In response, Lauridsen composed a occasion through a stately pace and the distinctive piece that, in his words ‘seems to float, to hover in the air, dotted rhythms that feature frequently in ceremonial due to a predominant use of inverted chords, recalling music of the period. This nevertheless gains impetus from the Renaissance practice of fauxbourdon. Inclusion of the a pervasive pattern of three repeated quavers and off- Alleluia descant over sustained pedal tones references beat accents. yet another characteristic of the era.’ The seven sentences that follow presented Haydn with This version for brass was commissioned by the Bay the challenge of sustaining the sombre mood, largely Brass of San Francisco. though slow tempos, while not boring the audience. He met the challenge in several ways – by transforming Haydn’s Stabat mater, a 13-movement work for soloists, material from movement to movement, sometimes choir and orchestra describes the anguish of the Virgin unusual orchestration, and contrasting key and metre. Mary at seeing her son dying on the cross, and asks, Each of the sentences begins with a motto, or theme that The interior of the Oratory on behalf of Christian souls, to share in the agony of ‘fits’ the Latin text from the Gospel. of the Holy Cave, photo Christ and subsequent bliss in heaven. First performed The first, ‘Father forgive them for they know not what Jim Walton in Vienna in 1768 it became immensely popular, nowhere they do’, presents the theme on oboe and violin, taking more so than in Spain. Haydn’s celebrity there eventually up the dotted rhythms and repeated quavers of the led to a commission from ‘a canon of Cádiz Cathedral’ introduction. The harmony is often chromatic, with for an orchestral work to accompany the liturgical expressive semitonal dissonances, like sighs, on strong presentation of the seven last utterances of Christ, as beats. At the end, the repeated notes, as if exhausted are recorded in the Gospels. In the season of Lent in 1787, the quietly stated and separated by rests. ceremony took place in the Oratory of the Holy Cave, an ‘Today you will be with me in Paradise’, the second underground church in the city. Presumably on the basis sonata, likewise states the theme in the first violin, with of an eye-witness account, Haydn’s friend and biographer Joseph Haydn the repeated note pattern, now half speed, forming the Georg August Griesinger described the occasion: accompaniment. Here Christ is addressing one of the thieves crucified with him, assuring him of the comfort On the appointed day, the walls, windows, and pillars of salvation, which Haydn represents in lyrical music that of the church were hung with black cloth, and only one transforms from minor- to major-key harmony. large lamp hanging from the centre of the roof broke Addressing his mother and his favourite disciple (St the solemn darkness. At an appointed hour the doors John) in the third piece, Jesus says ‘Woman, behold were all locked, and the music began. After a short your son’. Delicately scored, the music is much more prelude the bishop ascended the pulpit, pronounced fragmented – the repeated-note figure appears at the first of the seven words (or sentences) and various speeds in isolation, and the theme comes in short delivered a meditation upon it. As soon as this was motifs in the violins, and is passed to solo flute. ended, he left the pulpit, and prostrated himself before the altar. The interval was filled by music. The bishop ABOUT THE MUSIC THANK YOU

Jesus’ impassioned cry ‘My God, my God, why have you Every gift makes a difference. We gratefully acknowledge the generosity forsaken me?’ forms the fourth sonata, a dark minor-key of our community, including those who wish to remain anonymous. piece redolent of similar moments in opera, punctuated by solo sobbing motifs. Suffused by dotted rhythms and the VISIONARIES Bob & Julie Clampett three-note pattern, it too ends in a gesture of exhaustion. Brian Abel Darin Cooper Foundation ‘I thirst’, the fifth sonata, begins with a unison cry followed Geoff Ainsworth am & Johanna Featherstone Simon Johnson by the dry texture of pizzicato strings over which the two Antoinette Albert Dr John Lam-Po-Tang note ‘theme’ migrates from one instrumental group to Terrey Arcus am & Anne Arcus The late Dr Barry Landa another. Jesus’ increasing distress is depicted in more and The Berg Family Foundation Warren & Marianne Lesnie more insistent music, bringing in the sobbing motif from Robert & Janet Constable Sylvia & the late Sol Levi earlier in the work. Crown Resorts Foundation Helen Lynch am & Helen Bauer The theme of ‘It is finished’, the sixth sonata, is given Gillian Eldershaw Susan Maple-Brown am a fully-scored chorale treatment before breaking into Dr Gary Holmes & Dr Anne Reeckmann The Hon. Justice AJ Meagher & Fran Meagher canon, and then offering a contrasting – and an oddly Dr Rachael Kohn ao & Tom Breen John & Jane Morschel cheerful seeming second theme. Jesus has, after all Sir Frank Lowy ac & the late Lady Shirley Lowy oam Janet & Michael Neustein conquered the world. Bob Magid oam & Ruth Magid Kenneth R Reed am Anthony & Suzanne Maple-Brown Geoffrey Robertson ao The final sentence ‘Father, into your hands I commend Neilson Foundation Graeme Robertson my spirit’ is again operatic at first, and in E flat, a key Roslyn Packer ac (President, Maestro’s Circle) Tim Robertson sc which composers of the time associated with heroism. Packer Family Foundation In memory of Joyce Sproat Now-familiar motifs return – the repeated-note idea, Drs Keith & Eileen Ong James Stening the etiolated sobbing figure, the dramatic use of sudden Patricia H Reid Endowment Pty Ltd June & Alan Woods Family Bequest dynamic changes. And as Jesus gives up his spirit the music dissolves into fragmentary pizzicato, leading Doris Weiss & the late Peter Weiss ao $10,000+ (President Emeritus, Maestro’s Circle) straight into a fast, forceful (and operatic) evocation Rob Baulderstone & Mary Whelan Judy & Sam Weiss of the earthquake that, according to Matthew 27:51, Roxane Clayton signalled Jesus’ death. MAESTRO’S CIRCLE Richard Cobden sc Gordon Kerry © 2021 Robert Albert ao & Elizabeth Albert Janet Cooke Christine Bishop The Greatorex Fund Dr Rebecca Chin Carolyn Githens John C Conde ao Dr Bruno & Rhonda Giuffre Edward & Diane Federman Dr Margot Harris Ian Dickson & Reg Holloway The Hilmer Family Endowment Nora Goodridge oam Roland Lee Ingrid Kaiser Dr Lee MacCormick Edwards Charitable I Kallinikos Foundation Sharon & Anthony Lee Foundation Russell & Mary McMurray Ian & Ann Levi Sue Milliken ao Catriona Morgan-Hunn Dr Dominic Pak & Cecilia Tsai Karen Moses Nigel & Carol Price Nelson Meers Foundation Garry & Shiva Rich Rachel & Geoffrey O'Conor Sylvia Rosenblum Vicki Olsson Dougall Squair The Ross Trust Rod Sims & Alison Pert Paul Salteri am & Sandra Salteri Penelope Seidler am In memory of Mrs W Stening Geoff Stearn Kathy White Tony Strachan In memory of Dr Bill Webb & Helen Webb Howard Tanner am & Mary Tanner Caroline Wilkinson oam Judge Robyn Tupman Ray Wilson oam, in memory of James Agapitos oam Russell Tagg & Pat Woolley Yim Family Foundation PATRONS PROGRAM $15,000+ Ainsworth Foundation For a full listing of our Sydney Symphony family Doug & Alison Battersby of donors, please visit sydneysymphony.com/our- Dugald Black supporters. Audrey Blunden To discuss your giving or learn which areas most need Sandra & Neil Burns your support, please contact our Philanthropy team on Robert & L Alison Carr 02 8215 4674 or [email protected]. BOARD OF DIRECTORS THANK YOU Terrey Arcus am Chairman The Hon. Justice AJ Meagher Geoff Ainsworth am Sam Meers ao Andrew Baxter Karen Moses Deputy Chair Kees Boersma Dr John Vallance Emma Dunch CEO Geoff Wilson Catherine Hewgill

ORCHESTRA CHAIR PATRONS PRINCIPAL PARTNER GOVERNMENT PARTNERS Emma Dunch Claire Herrick Chief Executive Officer Violin I Kallinikos Chair Russell & Mary McMurray Chair Andrew Haveron Catherine Hewgill Concertmaster Principal Cello The Sydney Symphony Orchestra is assisted by The Sydney Symphony Orchestra Vicki Olsson Chair the Commonwealth Government through the Australia is supported by the NSW Government The Hon. Justice AJ & Council, its arts funding and advisory body. through Create NSW. Joshua Batty Mrs Fran Meagher Chair Principal Flute Kirsty Hilton Karen Moses Chair Principal Second Violin Harry Bennetts Drs Keith & Eileen Ong Chair Associate Concertmaster Scott Kinmont Judy & Sam Weiss Chair Associate Principal Trombone Victoria Bihun Audrey Blunden Chair Violin Emily Long PREMIER PARTNER Sylvia & the late Sol Levi Chair Violin Kees Boersma Dr Margot Harris Chair Principal Double Bass Leah Lynn Council Chair Assistant Principal Cello Tobias Breider Sydney Symphony Orchestra Principal Viola Vanguard Chair (lead MAJOR PARTNER FOUNDATIONS Roslyn Packer ac & support from Seamus R Quick) Gretel Packer am Chair Nicole Masters James Burke Violin Principal Clarinet Nora Goodridge oam Chair Oranges & Sardines Foundation Chair Fiona McNamara Nick Byrne Bassoon BRAND AGENCY PARTNER GOLD PARTNERS Trombone Nelson Meers Foundation Chair Robertson Family Chair Timothy Nankervis Anne-Louise Comerford Cello Associate Principal Viola Dr Rebecca Chin & Family Chair White Family Chair Elizabeth Neville Timothy Constable Cello Percussion Bob Magid oam & Ruth Magid Chair SILVER PARTNERS Christine Bishop Chair Alexandre Oguey Rosemary Curtin Principal Cor Anglais Viola Mackenzie’s Friend Chair John & Jane Morschel Chair Mark Robinson EVENT HIRE Lerida Delbridge Acting Principal Timpani Assistant Concertmaster Sylvia Rosenblum Chair Simon Johnson Chair in memory of Rodney Rosenblum Diana Doherty Rachel Silver Principal Oboe Horn John C Conde ao Chair Sue Milliken ao Chair Todd Gibson-Cornish Emma Sholl COMMUNITY AND INDUSTRY PARTNERS Principal Bassoon Associate Principal Flute Nelson Meers Foundation Chair Robert & Janet Constable Chair Rebecca Gill Matthew Wilke Violin Principal Emeritus Bassoon In memory of Reg & Jeannette Nelson Meers Foundation Chair Lam-Po-Tang Chair Justin Williams Carolyn Harris Assistant Principal Viola Flute Robert & L Alison Carr Chair VANGUARD PARTNER HOTEL PARTNER REGIONAL TOUR PARTNER The late Dr Barry Landa Chair Jane Hazelwood Viola Bob & Julie Clampett Chair in memory of Carolyn Clampett