Celebration of Stravinsky

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THE SYDNEY YOUTH ORCHESTRA Fri 26 March, 8pm Verbrugghen Hall, O Sydney Conservatorium of Music

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t is lo o S Welcome to The Sydney d n a t is et Youth Orchestra’s first in lar l C ipa concert for 2021! inc h Pr Katherine Howart

Sydney Youth Orchestras has been an It is a work that highlights the charm and invaluable experience and opportunity genius of Debussy's writing, in which he for me during my time in Sydney. I have weaves various moods and characters been fortunate to have participated in into a seamless conversation between the The Sydney Youth Orchestra since 2018. clarinet and the orchestra. I am looking forward to working with Jessica Cottis, Growing up in Orange, NSW, I had never my SYO colleagues and friends to bring experienced what it was like to see, hear, this beautiful work to life in the upcoming or perform with high-quality orchestras Celebration of Stravinsky. regularly. The SYO has given me a taste of what quality orchestral performance Maestra Cottis’ wealth of experience sounds and feels like, which is such an and extensive knowledge of the works amazing, yet rare opportunity for many in this program is something that we, young musicians who grow up in regional as an orchestra, are truly fortunate to areas. There is truly nothing comparable have the opportunity to experience. I to the SYO west of the Mountains. know the orchestra will be hanging on her every word and taking in her ideas as This is why I feel especially excited and she conducts us through this program. privileged to have the opportunity to Considering that we haven't performed as perform Debussy's Première Rhapsodie a full ensemble for over a year, to begin with the SYO. our 2021 season with Jessica Cottis leading the orchestra is truly exciting.

I look forward to performing as soloist on stage at the Verbrugghen Hall and hope to look out into the audience and see a sea of familiar supportive faces.

See you there. Celebration of Stravinsky

THE SYDNEY YOUTH ORCHESTRA

Fri 26 March, 8pm Verbrugghen Hall, Sydney Conservatorium of Music

Repertoire Stravinsky Scherzo à la Russe Symphonies of Wind Instruments

Debussy Première Rhapsodie

Stravinsky Pulcinella Suite

Sydney Youth Orchestras acknowledges the traditional owners of the land on which we work, rehearse, gather and perform; the Gadigal people of the Eora Nation. We would like to pay our respects to Elders past, present and emerging and thank them for their rich musical traditions that continue to echo to this day. 3 The Musicians

Guest Conductor Cello French Horn Jessica Cottis Alisdair Guiney Simon Jones Lucy Blomfield Bryn Arnold Soloist Emilie Choi Jude Austen Kaupe Katherine Howarth clarinet Bahar Hakimjavadi Finn McGrath Violin Elden Loomes Trumpet James Armstrong Rory McClelland Jude Macarthur Olivia Kowalik Javier Mobellan Toby Rands William Carraro John Wu Elizabeth Dawson Emma Chang Double Bass Newton Cheang Tenor Trombone Lillian Bennett Andre Chen Cooper Rands Michael McNamara Rhianna Frahill Jordan Mattinson Hayley Whitmore Edmund Ing Bass Trombone Erin Jee Flute Harry Macpherson Elizabeth Kalotay Yiting Wang Jamie Krockenberger Isabeau Hansen Tuba Julia Kim Matthew Bottaro Jasper Mihalich Suraj Nagaraj Oboe James Parbery Percussion Miriam Cooney Alex Paterson Buddy Lovett Phoebe Xu Ethan Powell Owen Bloomfield Michael Chang Stephanie Ryan Yonatan Babicz Nurhan Solbudak Clarinet Harp Felicity Yau Katherine Howarth Kate Moloney Robert Mackay Paul Nicolaou Viola Yasmine Urquhart Alison Eom Piano Lucy Dube Bassoon Hayden Burge Ashly Zhang Julian Kwok Mun Joon Teo Joseph Newton Peter Lavilles Liaam Rao Po Shen Wang

4 GUEST CONDUCTOR Jessica Cottis

A charismatic and erudite Named ‘2019 Classical “Face to Watch”’ (The Times, UK), Jessica is much in figure on the podium, demand on the concert circuit, working conductor Jessica Cottis regularly with leading orchestras such as the London Symphony Orchestra, has earned critical acclaim The Philharmonia Orchestra, Singapore for her intellect, natural Symphony, Los Angeles Philharmonic, National Arts Centre Orchestra authority, and profound (Ottawa), Danish Radio Symphony musicality. She brings Orchestra, Royal Philharmonic Orchestra, Royal Opera House, Covent dynamism, intensity and Garden, as well as numerous re- clarity of vision to all her invitations annually to the prestigious BBC Proms. performances.

5 GUEST CONDUCTOR Jessica Cottis

One of the most outstanding Australian Jessica Cottis’ early musical career was conductors working today, the 20/21 as an organist. Her formative education season will mark Jessica’s new role took place at the Australian National in leading the Canberra Symphony University where she was awarded first Orchestra’s artistic team, as Artistic class honours, and later in Paris, winning Advisor. Recognised for her engaging, awards from the Royal Philharmonic wide-ranging and thought-provoking/ Society and Royal College of Organists, enlightened programming, her domain and studying with pioneering French is music of the 19th to 21st centuries. organist Marie-Claire Alain. After a wrist This season she will conduct major works injury halted her playing career, she by Mahler, Stravinsky and Kurt Weill in began conducting studies with Prof Colin Canberra, and make highly anticipated Matters and Sir Colin Davis at the Royal debuts with orchestras including Bremer Academy of Music in London. She was Philharmoniker, Opéra Orchestre national awarded the Academy’s top conducting Montpellier, Orchestre National Bordeaux, prizes upon graduation in 2009 and RTÉ National Symphony Orchestra, and at appointed Manson Fellow in Composition. Opera Holland Park where she will conduct Janáček’s ‘The Cunning Little Vixen’. Jessica maintains a strong commitment 2019 Classical to new music, most recently — along “Face to Watch” with composer Matthew Hindson AM — THE TIMES, UK co-curating the Canberra Symphony’s Australian Miniseries, a significant Her early talent was further supported new commissioning series of works by by mentors Sir Donald Runnicles, Charles Australian composers including Liza Lim, Dutoit, and Vladimir Ashkenazy whilst Deborah Cheetham, and Ross Edwards. Assistant Conductor at the BBC Scottish Symphony Orchestra and Sydney A gifted communicator, Jessica works Symphony. In 2015 she was honoured as widely as an advocate for classical music. an Associate of the Royal Academy. Described as a “cool, contained, super- articulate and engaging” in The Scotsman, Jessica Cottis experiences sound as she has filmed programmes for the ABC colour. She resides in London, and outside and BBC, and is a frequent contributor of music is an avid lepidopterist. on BBC radio and television, commenting on a wide range of topics, from opera to architecture, synaesthesia, the environment and acoustics. In 2020 she led a series of courses for emerging female conductors for the Royal Opera House.

6 SOLOIST Katherine Howarth

Katherine Howarth is a clarinetist based in Orange, NSW. She has recently completed a Bachelor of Music Performance in clarinet at the Sydney Conservatorium of Music, achieving First- Class Honours.

Scholarships awarded to Katherine during Katherine has performed with the Sydney her undergraduate degree include The Youth Orchestra (2018-2020) and was William and Marie Souter Encouragement principal clarinettist during their 2019 Awards in 2018 and 2019, as well as international tour of the UK and now the Vice Chancellor's Global Mobility also as soloist in their current program Scholarship to assist travel costs which Celebration of Stravinsky. Katherine was allowed her to have lessons with Robert a participant in Ensemble Offspring's Hill, Janet Hilton, Richard Hosford and Hatched Home Academy (2020), and will Timothy Lines while on tour in the UK. be featured in Orange Chamber Music Festival's upcoming opening gala concert. During her time at the Sydney She is currently principal clarinet of the Conservatorium of Music, Katherine Sydney Youth Orchestra (2020-2021). studied clarinet and bass clarinet with Ms Susan Newsome, as well as Currently completing a Masters of performing in masterclasses with Musicology, Katherine is researching international clarinettists Jose Franch- the reception of Australian orchestral Ballester and Dimitri Ashkenazy. As works by female composers under the part of her undergraduate degree, supervision of Dr Rachel Campbell. Katherine was principal clarinettist of the Conservatorium Symphony Orchestra Katherine holds the Board of Governors' (2019), Wind Symphony (2019) and toured Scholarship for postgraduates at the to China with the SCM Modern Music Sydney Conservatorium (2020). Ensemble as bass clarinettist (2019).

7 Program Notes

The pieces on this program form Igor Stravinsky an arc through time and place, BORN 17 June [O.S. 5 June] 1882, connecting two monumental Oranienbaum DIED 6 April 1971, New York composers of the 20th Century. Igor Stravinsky’s Pulcinella Suite, Igor Fyodorovich Stravinsky was born Symphonies of Wind Instruments in Russia, in a town situated close to and Scherzo à la Russe all bear the St Petersburg, to Anna Stravinsky, the mark of the composer’s pen, yet daughter of a high-ranking official, and showcase the immense variety of Fyodor Stravinsky, a bass opera singer. His music can be characterised into styles to which Stravinsky could three main periods; among the works of adapt. Alongside these three his Russian period are the three ballets pieces, Première Rhapsodie is Firebird, Petrushka and The Rite of Spring, a well-loved work by composer commissioned by impresario Sergei Claude Debussy, to whom Diaghilev and which guaranteed his rise to international fame. The second period, Stravinsky would later dedicate his which includes the ballet Pulcinella, is Symphonies of Wind Instruments characterised by neo-classical tendencies, in memoriam. particularly towards 18th Century music. This period extends into the composer’s move to the United States in 1939, following several years of living in Switzerland and France. Stravinsky’s later music comprises his ‘Serial’ period, during which the composer began to use the compositional techniques pioneered by composers such as Arnold Schoenberg (in particular, his twelve-tone technique).

I gor Stravinsky

8 Claude Debussy BORN 22 August 1862, Saint-Germain-en-Laye DIED 25 March 1918, Paris C la u d French composer Claude Achille Debussy e D was born in 1862 to Victorine Manoury eb us Debussy, a seamstress and Manuel- sy Achille Debussy, who owned a china shop. Debussy won the Prix de Rome as a student at the Paris Conservatoire in 1884, a four-year residency at the French the stylistic influence of which can be Academy in Rome. During this residency, seen in Stravinsky’s earlier compositions. the young composer was inspired little by traditional forms of composition- The two composers finally met in 1910, upon submitting his final compositions upon the premiere of Stravinsky’s to the Academy, the professors were Firebird in Paris. Following the successful unimpressed with the composer’s performance, Debussy went onstage to unorthodox style. The young composer congratulate the composer. Upon the would later go on to become a pioneer premiere of Petrushka, Debussy once of musical Impressionism, though the again congratulated Stravinsky and, composer himself disliked the labelling of as a token of his high esteem for the his works as Impressionist. His writing is composer, a walking stick was presented characterised by extensive pedal points, to Stravinsky upon which both of their used frequently in all voices, shimmering initials were inscribed. Debussy also passages of parallel chords, and the use dedicated his work for two pianos, of whole tone and pentatonic scales. Most En blanc et noir to Stravinsky in 1915 - well-known among his orchestral works the news of which reached Stravinsky are Prélude à l'après-midi d'un faune, and three years later, in 1918. the opera Pelléas et Mélisande. As Debussy became increasingly ill due Claude Debussy and Stravinsky – to his cancer, Stravinsky visited him on A friendship occasion and was deeply saddened by the composer’s worsening condition. In Stravinsky was an apprentice to Composer March 1918, Stravinsky was in the process Nikolai Rimsky-Korsakov when he first of composing his Piano-Rag-Music, as discovered the music of Claude Debussy. evidenced in his notebooks. On the 26th Warned by Rimsky-Korsakov not to listen March, upon hearing news of Debussy’s to Debussy’s music - “otherwise you run death, Stravinsky suddenly interrupted the risk of getting accustomed to it, and these sketches with the opening bars of you’ll end by liking it” - Stravinsky Symphonies of Wind Instruments, two nevertheless enjoyed Debussy’ works, years prior to the work’s conception.

9 Program Notes

Stravinsky (advertised as “Paul Whiteman Scherzo à la Russe & His Orchestra”) had premiered George Duration: Approx. 4 minutes Gershwin’s famed Rhapsody in Blue twenty years earlier. Hiring leading jazz Scored for: Piccolo, 2 flutes, 2 oboes, musicians as part of the orchestra, much 2 clarinets, 2 bassoons, 4 horns, of the music Paul Whiteman and his 3 trumpets, 3 trombones, tuba, orchestra recorded was characterised by percussion, harp, piano, strings a synthesis of symphonic and jazz styles.

Having emigrated to the United States Originally composed for an assorted in 1939, Igor Stravinsky finally settled in ensemble of instruments including West Hollywood from 1941. In order to six saxophones, the work was later adapt to this new professional climate, re-orchestrated for full symphony the composer began to steadily re-style orchestra in 1945. This new arrangement his music for American audiences, writing was premiered in 1946 by Stravinsky, for more popular styles with works conducting the San Francisco Symphony such as his Tango (1940), and his ballet Orchestra. The piece opens with a lively Circus Polka (1942). The latter was a scherzo theme, with syncopated, accented particularly unusual project- composed rhythms interacting with a driving for the Barnum and Bailey Circus, Circus pulse. The music soon moves towards Polka was performed by no less than its central ‘trio’ sections; the first of fifty ballerinas- accompanied by fifty which places the piano and harp in close elephants. canon, accompanied by muted violins, muted viola and muted trumpet. The Such commercial pursuits had no effect second trio rises to a crescendo with full on the quality of Stravinsky’s music- these orchestral forces, followed once again by works remain timeless, a fascinating the opening scherzo. Scherzo à la Russe window into Stravinsky’s ability to tends less towards jazz and more towards maintain his stylistic integrity whilst folk influences, with the composer adapting to a fast-changing world. It was himself having stated that the piece was within this new climate that Stravinsky composed “In the spirit of Russian music.” composed the Scherzo à la Russe. Originally destined for a Russian war Stravinsky film The North Star (1943), Stravinsky’s Symphonies of Wind Instruments musical sketches remained unperformed Duration: Approx. 10 minutes due to the aborted film production. Later, the composer was commissioned to write Scored for: 3 flutes, 2 oboes, cor anglais, some “symphonic jazz” to be played for 3 clarinets, 3 bassoons (including a 1944 radio broadcast by Blue Network. contrabassoon), 4 horns, The commissioner was bandleader Paul 3 trumpets, 3 trombones and tuba Whiteman, whose Jazz orchestra

10 Dedicated in memoriam to composer Debussy Claude Debussy, Symphonies of Wind Première Rhapsodie Instruments was composed two years Duration: Approx. 8 minutes after Debussy’s death. The work was requested by the publication La revue Scored for: Solo clarinet, 3 flutes, 2 oboes, musicale, the first page of which would cor anglais, 2 clarinets, 3 bassoons, 4 appear as part of the December 1920 horns, 2 trumpets, percussion, 2 harps, supplement “Tombeau de Claude strings (including solo violin) Debussy”. The premiere performance occurred in June 1921, conducted by Serge Composed from December 1909- Koussevitzky at the Queen’s Hall in London. January 1910, Première Rhapsodie was commissioned by the Paris Conservatoire This work exists in multiple versions - the as part of their annual clarinet 1947 version, performed as the standard examinations. Debussy was asked to version by most orchestras, was revised compose two pieces for the occasion - by Stravinsky to settle a long debate over Première Rhapsodie (which students were which parts of the music belonged to the to receive, memorize and perform within authentic version. one month), and Petite Piece, which was to comprise the sight reading test. Despite Stravinsky’s friendship with Claude Debussy, Symphonies of Wind Sitting on the jury for these examinations, Instruments bears little resemblance Debussy was pleased with his work to the impressionist-influenced works and its positive reception, and he soon of Stravinsky’s earlier years. American set to work re-orchestrating the piece Musicologist Richard Taruskin has drawn from clarinet and piano to clarinet parallels between the music’s form and and orchestra. Dedicated to Prosper the sections of Panikhida, a Russian Mimart, Professor of clarinet at the Paris Orthodox funeral service. The title refers Conservatoire, Première Rhapsodie was not to the music’s form, but to the sense premiered by Mimart on January 16, 1911. of harmony and balance that exists Despite the implications of the piece’s between the instruments. Clear-cut title, a second Rhapsodie was never sections juxtapose different combinations composed by Debussy. of wind instruments. Alongside these abrupt changes, further contrast is The serene opening statements of created between those instruments that Première Rhapsodie soon give way to a remain in balance, and solo lines that lyrical theme, showcasing the clarinet’s leap forward from the texture. The music colourful palette of expression, from light, reaches a point of stability and order with sustained melodies to brilliant articulated the closing chorale, each instrument now passages. Building in speed and virtuosity, held in balance within the ensemble. the music finishes with a bright statement from the clarinet, worlds away from the serenity of the opening chords.

11 Program Notes

Commedia dell'arte Perusing the Italian manuscripts Commedia dell'arte was a form of theatre provided by Diaghilev, Stravinsky was which found its genesis in Northern Italy, particularly drawn to the music of during the 15th Century. Translating to Composer Giovanni Pergolesi. “comedy of professional artists”, the form was characterised by improvised Composed from 1919-1920, Pulcinella dialogue, often incorporating tongue-in- was premiered in May 1920 at the Paris cheek political jokes and bold humour. Opera, and performed by the Ballets Performances were based on a set Russes. The ballet was choreographed plot, around which staple and recurring by Leonide Massine, with scenery and characters would improvise, most of costumes by Pablo Picasso. Stravinsky’s whom wore masks. One such character music draws upon Baroque and Rococo was the Neapolitan Pulcinella, who was styles, and includes re-orchestrations of usually portrayed as an amicable glutton, Pergolesi’s trio sonatas, orchestral and played in loose-fitting white clothes, a operatic works. It is worth noting that a conical hat and black mask. number of these works were incorrectly attributed to Pergolesi, now known to Stravinsky be the compositions of Domenico Gallo, Pulcinella Suite Count van Wassenaer, and Carlo Ignazio Duration: Approx. 25 minutes Monza. In keeping the original bass lines and melodies of these 18th century works, Scored for: 2 flutes (including piccolo), Stravinsky’s penmanship is nevertheless 2 oboes, 2 bassoons, 2 horns, trumpet, unmistakeable within his completely trombone, quintet of solo strings restructured harmonies and often irregular (concertino) and orchestral strings (ripieno). rhythmic phrases.

Having composed The Rite of Spring The Pulcinella Suite was composed in seven years earlier, which famously 1922. Rather than solely adapting the caused a riot at its 1913 premiere, music of the original ballet, Stravinsky Stravinsky’s Pulcinella was written in stark incorporated even more material from the contrast to the composer’s earlier works. 18th century manuscripts into his suite. This project in particular would become a Beginning with a sinfonia, each successive turning point in the composer’s career, as movement of the suite humorously depicts his compositions began to venture into the several Neapolitan maidens who, through neo - classical style. In 1919, Impresario dance, attempt to seduce Pulcinella. Sergei Diaghilev asked Stravinsky to re-orchestrate music from the early 18th Century for a new ballet, based on the Baroque commedia dell'arte.

12 The Pulcinella Suite is comprised of eight movements. The Sinfonia is adapted from the bright overture which opens the ballet. Followed by a lyrical Serenata, the music takes a lively turn with a light Scherzino and the Tarantella, a traditional Neapolitan dance. A Toccata and Gavotta follow, two musical forms from the Baroque period, with the former ending in a rude exclamation from the trombone. After a short and lively Vivo, the suite ends with a Minuetto that morphs into a fast-paced finale.

Notes written by Jessica Scott, former Principal Flutist of The Sydney Youth Orchestra, SYO alumna 2017-2019 ABOVE 1. SET DESIGNS FOR PULCINELLA Pablo Picasso, c. 1920 2. PORTRAIT OF IGOR STRAVINSKY Pablo Picasso, 1920 13 Our Donors

On behalf of the young musicians, staff and Board of Sydney Youth Orchestras, we would like to acknowledge and thank the following individuals, companies and foundations for their support and generosity in championing the future of orchestral music in Australia.

50,000+ $5,000 - $9,999 $1,000 - $2,499 The Howarth Foundation Kate and Daryl Dixon Antoinette Albert Gohil - Caruana Family Neil Burns $25,000 - $49,999 Sarah Sherwood Chasuble Pty Ltd Suzanne & Anthony Maple-Brown Anthony Gregg $2,500 - $4,999 Patricia H Reid Endowment Peter and Des Hunter Ursula Armstrong Ian Hutchinson $15,000 - $24,999 Francis Beens Mira Joksovic Macquarie Group Timothy Downing Harry K McCann Foundation Bunny Gardiner-Hill Mia Patoulios Harrison Manufacturing $10,000 - $14,999 Co Pty Ltd Greeba Pritchard Stephen Bell Greg and Philippa Levy Tom Story John and Irene Garran Malcolm Long Mike Thompson Macquarie Telecom Jon North Gabriel Van Aalst Pieter Oomens Ravenmill Foundation

14 $500 - $999 Rod & Pam Harris Alex Siegers Tim Horton and Jane Bernie Heard Kirri Stone Anderson Ian Hill Kate Sullivan Wallis Graham John Hughes Birgit Von der Hocht Jeffrey Mellefont Michael Ing Po Shen Wang Robert Mitchell Bruno Krockenberger Jonathan Whitting Reingard Porges N C Long Elizabeth Whittle Mark Robinson Nikolas Margerrison Shemara Wikramanayake Félicité Ross Erica Marshall-McClelland Angela Wright Kay Vernon Janet Nash and Sharon Yuen Alan Hauserman $0 - $499 Kaari Pallandi SYO Foundation Anonymous Life Patrons Dagmar Pidd Rosalind Baker Stephen Bell Georgina Price David Carraro Jan Bowen AM Shefali Pryor Belinda Cooney Peter Davidson Victoria Rands Mary De Bellis Susie & Martin Dickson AM John Rome Laura Dee Tim Samway Anthony Rossiter Sarah Dunn Mike Thompson Tamara Seeto Jane Furlong Frank Shapcott Michael Gleeson-White

To learn more about how your gift can help our young musicians, please contact us. 02 92 51 2422 | [email protected] | syo.com.au/giving 15 Our Partners

We wish to thank each of our partners for their continued involvement and contribution towards SYO’s vibrancy.

Community Engagement

Greatorex Foundation

Orchestral Training

Enterprise

Sydney Youth Orchestras is supported by the NSW Government through Create NSW

Artistic Program

16 Our People

Chief Executive Officer Orchestral Training Mia Patoulios Administration & Management

Orchestral Training Team Artistic Program & Operations Manager Chief Artistic Director Katie Garman Christopher Lawrence Orchestras Administrator Conductors Laura Balthazar

Alexander Briger AO Orchestral Training Coordinator Chief Conductor Vanessa Agius The Sydney Youth Orchestra Productions & Symphonic Orchestral Program Rehearsal Coordinator Andrew Collins Brian Buggy OAM SYO Philharmonic Connection and Outreach

John Ockwell Marketing & Events Manager Peter Seymour Orchestra Marita Cranwell

James Pensini Marketing & Digital Coordinator Symphonic Wind Orchestra, Natalie Lamont Western Sydney Youth Community Orchestra Engagement Manager Nick Munro SYO Strings Program Kate Morgan Business Kathryn Crossing Niamh Armstrong Executive Officer Dr Sadaharu Muramatsu Daniel Placido Sandi Oh Victoria Jacono-Gilmovich Finance Manager Susan Hart Orchestral Musicianship Tutors Contacts John Ockwell Email Sarah Qiu [email protected] Angus Davidson Phone 02 9251 2422

17 Coming up at SYO

Winter Showcase

SYO STRINGS & SYMPHONIC ORCHESTRAS

Sun 20 June Details coming soon

Winter Showcase A concert that showcases the incredible achievements of our young musicians as they perform on stage for the first time in 2021. Please join us to support their progress thus far and celebrate their ensemble performances.

A concert with Sydney Philharmonic Choirs

THE SYDNEY YOUTH ORCHESTRA

Sat 24 July, 3pm Details coming soon

When In Rome

THE SYDNEY YOUTH ORCHESTRA

Sun 12 September, 2pm Verbrugghen Hall, Sydney Conservatorium of Music

Repertoire Corelli’s Concerto Grosso, Edward’s Symphony No. 1 & Respighi’s Pines of Rome

18 Summer Showcase

Sat 4 December Verbrugghen Hall, Sydney Conservatorium of Music

Back on stage for their final performances for the year, Sydney Summer Showcase Youth Orchestras' String groups and Symphonic Orchestras will display their musicianship learnt over 2021. What a way to the end the year. We look forward to sharing these highlights with you.

Fate - Brahms & Tchaikovsky

THE SYDNEY YOUTH ORCHESTRA

Sun 5 December, 2pm Verbrugghen Hall, Sydney Conservatorium of Music

Repertoire Brahms' Violin Concerto & Tchaikovsky’s Fourth Symphony

19 Design THREEFOURLEFT Photography Craig Proudford S

182 Cumberland Street, The Rocks NSW 2000 T 02 9251 2422 E [email protected] SYO is supported by the NSW Government syo.com.au through Create NSW. O