HARP LEGENDS Simone Young Conducts

THURSDAY AFTERNOON SYMPHONY Thursday 24 July 2014

EMIRATES METRO SERIES Friday 25 July 2014

MONDAYS @ 7 Monday 28 July 2014 concert diary

CLASSICAL Jandamarra Meet the Music Wed 16 Jul 6.30pm HOLST A Fugal Overture Thu 17 Jul 6.30pm VAUGHAN WILLIAMS Oboe Concerto ^Tea & Symphony STANHOPE & HAWKE^ Fri 18 Jul 11am premiere Jandamarra – Sing for the Country complimentary morning tea from 10am Brett Weymark conductor Major Partner Kimberley Diamond Diana Doherty oboe Pre-concert talk Simon Lobelson baritone by Vincent Plush Yilimbirri Ensemble – singers and dancers (Wed, Thu only) Members of Gondwana Choirs

Thursday Afternoon Symphony Harp Legends Thu 24 Jul 1.30pm LISZT Orpheus Emirates Metro Series RODRIGO Concierto serenata for harp Fri 25 Jul 8pm BRACEGIRDLE Legends of the Old Castle – Mondays @ 7 Harp Concertino AUSTrALiAN premiere Mon 28 Jul 7pm ZEMLINSKY The Mermaid Pre-concert talk Simone Young conductor by Yvonne Frindle Louise Johnson harp (Bracegirdle) Sivan Magen harp (Rodrigo) Harpists of the World Harp Congress

Special Event Pepe Romero Premier Partner Credit Suisse ROSSINI The Barber of Seville: Overture Fri 1 Aug 8pm RODRIGO Concierto de Aranjuez Sat 2 Aug 8pm VIVALDI Concerto in D, RV 93 Pre-concert talk BEETHOVEN Symphony No.8 45 minutes before Tito Muñoz conductor each performance Pepe Romero guitar

APT Master Series Four Last Songs Wed 13 Aug 8pm GLANERT Frenesia AUSTrALiAN premiere Fri 15 Aug 8pm R STRAUSS Four Last Songs Sat 16 Aug 8pm BRAHMS Symphony No.2 Pre-concert talk David Robertson conductor by David Larkin Christine Brewer soprano

Meet the Music Hear it, Feel it Wed 20 Aug 6:30pm MOZART Symphony No.25: 1st movement Thu 21 Aug 6:30pm LIGETI Piano Concerto^ ^Tea & Symphony SCRIABIN The Poem of Ecstasy^ Fri 22 Aug 11am complimentary morning tea from 10am David Robertson conductor Pre-concert talk Nicolas Hodges piano by Scott Davie (Wed, Thu only)

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*Selected performances. Booking fees of $7.50 – $8.95 may apply. WELCOME TO THE EMIRATES METRO SERIES

2014 marks the 12th anniversary of Emirates’ partnership with the Sydney Symphony Orchestra. We’re proud to continue one of the longest running partnerships for the SSO and remain the naming sponsor of the orchestra’s Emirates Metro Series. Emirates connects travellers around the globe, bringing people together to discover, enjoy, and share experiences. Our partnership with the SSO is about connecting with you – our customers.

The Emirates Metro Series showcases a wonderful array of highly regarded compositions, including many key European composers. We hope that tonight’s performance prompts you to consider a future trip to Europe, where we fly to more than 35 destinations with the recent addition of Oslo, or internationally to more than 140 destinations in 80 countries.

Like the SSO, Emirates specialises in first-class entertainment, taking out the award for best inflight entertainment for the ninth consecutive year at the international Skytrax Awards in 2013.

With up to 1,600 channels to choose from, on 28 flights per week to New Zealand and 84 flights per week to Dubai, including a double daily A380 from Sydney, those flying on Emirates will now be able to watch SSO concerts onboard.

We are dedicated to the growth of arts and culture in Australia and we’re delighted to continue our support of the SSO. We encourage you to enjoy as many performances as possible in 2014.

Bryan Banston Emirates’ Vice President Australasia 2014 concert season

THURSDAY AFTERNOON SYMPHONY THURSDAY 24 JULY, 1.30PM EMIRATES METRO SERIES FRIDAY 25 JULY, 8PM MONDAYS @ 7 MONDAY, 28 JULY, 7PM

SYDNEY OPERA HOUSE CONCERT HALL

HARP LEGENDS Monday’s performance will be Simone Young conductor broadcast live across Australia by Louise Johnson harp ABC Classic FM. Sivan Magen harp Pre-concert talk by Yvonne Frindle FRANZ LISZT (1811–1886) in the Northern Foyer, 45 minutes before each performance. Orpheus – Symphonic Poem Estimated durations: JOAQUÍN RODRIGO (1901–1999) 14 minutes, 24 minutes, Concierto serenata 20-minute interval, Estudiantina (Allegro ma non troppo) 17 minutes, 42 minutes Intermezzo con Aria (Adagio) The concert will conclude at approximately 3.45pm (Thu), Sarao (Allegro deciso) 10.15pm (Fri), 9.15pm (Mon). Sivan Magen, harp

INTERVAL

LEE BRACEGIRDLE (born 1952) Legends of the Old Castle – Harp Concertino premiere Louise Johnson, harp

ALEXANDER ZEMLINSKY (1871–1942) The Mermaid – Fantasy after Hans Christian Andersen Sehr mäßig bewegt (At a very moderate tempo) Sehr bewegt, rauschend (Very agitated, roaring) Sehr gedehnt, mit schmerzvollem Ausdruck (Very drawn-out, full of pain) HANS-PETER SCHOLZ

The Hohenbaden ‘Old Castle’ has been home to Aeolian harps since the 1850s, when there were several celebrated instruments set into the windows of the towering ruins of the Rittersaal, or Knights’ Hall. These appear to have gone by 1920. The current Aeolian harp was installed by Baden-Baden musician Rüdiger Oppermann in 1999. It’s over four metres tall and has 120 strings, and Oppermann has declared it the largest such harp in Europe. The nylon strings are tuned to C and G.

6 INTRODUCTION

Harp Legends

This concert begins with two horn notes, the simplest of announcements, ushering in the harps. And the harp is the star of the program. You’ll see six harpists in the orchestra and two harp soloists. You’ll hear not one but two concertante works for harp: Rodrigo’s ‘Serenade concerto’ and a brand new piece by Lee Bracegirdle, Legends of the Old Castle. And on Friday night, there’s every chance you’ll be sitting near a harpist as we warmly welcome more than 200 delegates from the World Harp Congress. (The Sherlocks among us can look PLEASE SHARE for the tell-tale callused finger tips.) Programs grow on trees – Together with the flute, the harp is the first musical help us be environmentally instrument to be mentioned in Genesis; perhaps more responsible and keep ticket important, it’s the instrument David plays to soothe the prices down by sharing your troubled Saul. That theme is echoed in the Greek legend of program with your companion. Orpheus – with the lyre given to him by Apollo, god of music, he can charm all things: men, wild beasts, gods of the underworld, even stones. READ IN ADVANCE This was the vision that inspired Liszt when he wrote in You can also read SSO program books on your computer or the preface to his Orpheus tone poem: ‘…Humanity, now as mobile device by visiting our formerly and ever, has within itself these instincts of ferocity, online program library in the brutality and sensuality, which it is the mission of Art to week leading up to the concert: soften, to mitigate, to ennoble. Now as formerly and ever, sydneysymphony.com/ Orpheus, that is to say Art, should pour forth his melodious program_library waves, their chords vibrating like a soft and irresistible light over the conflicting elements…’ The mermaids of legend also charm with music – like the sirens they possess alluring voices –and in Hans Christian Andersen’s fairy tale, the Little Mermaid must give up her voice if she is to leave the sea and find her Prince. This is a bargain with a twist and it cannot end well; Zemlinsky’s music, based on the story, ends on a subdued note. The orchestral harps ripple nearly to the end, but at the final notes they slip away with the Little Mermaid as she dissolves into foam and becomes a spirit of the air.

Turn to page 31 to read Bravo! – musician profiles, articles COVER IMAGE: Detail of a gold mosaic floor (c.1881), designed by Walter Crane for the Arab Hall in Leighton House, near Holland Park in London. (Leighton and news from the orchestra. House Museum, Kensington & Chelsea / Bridgeman Images) It’s not There are nine issues through uncommon to see mermaids portrayed accompanying themselves with the year, also available at harps – as impractical as that might seem in a watery environment! sydneysymphony.com/bravo

7 ABOUT THE MUSIC

Franz Liszt Keynotes Orpheus – Symphonic Poem LISZT In keeping with his Romantic inclinations, Liszt brought an Born Doborján, Hungary, 1811 element of drama – and implicit autobiography – to his Died Bayreuth, Germany, 1886 programmatic orchestral works through the employment of Liszt’s father, also a musician, a ‘protagonist’. The subjects he chose for these bold knew Haydn and Beethoven; experiments in orchestral form represent a veritable gallery of Liszt himself became Richard Classical and Romantic heroes – Hamlet, Faust, Prometheus, Wagner’s father-in-law. He was Tasso, Mazeppa and, in the case of this particular work, the greatest concert pianist Orpheus. of the 1840s and the word ‘Lisztomania’ was coined to As Byron, Goethe and Shelley had discovered before him, describe his enormous appeal. it was through identification with these particular tragic From 1848, he and his lover (a figures that Liszt was able to dramatise his own ‘Romantic princess) led a quieter life at agony’ (as Mario Praz so aptly describes it), with all its Weimar, where he conducted the suffering, struggle, and occasional triumphs. Just as the court opera and orchestra, and poet Samuel Taylor Coleridge could boast ‘I have a smack invented the term ‘symphonic of Hamlet in myself’, so too Liszt could justifiably claim to poem’ for his own descriptive be of the ‘Orphic’ persuasion. Indeed, of all the leading orchestral compositions. In the 19th-century virtuosos, Liszt’s claim to the kind of musical 1860s he was living in semi- supremacy embodied in the mythical figure of Orpheus was seclusion in a Franciscan rivalled only by the violinist Paganini. As a touring virtuoso, monastery in Rome. In the 1870s Liszt travelled much of Europe, from Ireland to Turkey, from he returned to the peripatetic life Portugal to Russia, dazzling audiences with his keyboard of a musical celebrity. technique and wooing women with his diabolical good looks. ORPHEUS As the rapturous contemporary accounts of audience This symphonic poem began life members indicate, if anyone could be thought to influence as a prelude to a performance of listeners through music (as Orpheus tamed the wild beasts), Gluck’s opera Orfeo ed Euridice it was Liszt. that Liszt conducted in Weimar Yet, by the time Liszt came to write this work, he had given in 1854. In an introductory note, up the life of the travelling, audience-conquering virtuoso, he revealed he had in mind an and had assumed a full-time conducting position in Weimar. image of Orpheus on an Etruscan vase in the Louvre, ‘clothed in a starry robe, brow crowned with laurels, his lips exhaling divine songs, his long, slender fingers plucking the strings of his lyre’. Orchestral harps represent his lyre, one of the parts originally played by Weimar virtuoso Jeanne Pohl. The Orphic song ‘ascends gradually like a cloud of incense, enfolding the universe in its ineffable, mysterious harmonies’.

Orpheus sings and plays his lyre while Thracian warriors listen, entranced. (From an Attic vase, c.440 BC)

8 He had turned from performance and the piano to composition and the orchestra, where he had first to serve a kind of apprenticeship, getting such people as his secretary, Joachim Raff, and the operetta composer, August Conradi, to prepare basic orchestrations that he would then modify to suit his own artistic purposes. Liszt very quickly attained mastery of the orchestra and indeed created an entirely new orchestral form – the symphonic poem – which in the hands of Richard Strauss, Jean Sibelius and many other composers of the next generation, became a dominant feature of fin-de-siècle orchestral music. Liszt biographer Alan Walker describes the symphonic poem as ‘a one-movement composition, connected in some way with the other arts (particularly poetry and painting), and whose internal musical contrasts are held together by thematic metamorphosis’. Twelve of the orchestral compositions composed by Liszt Franz Liszt – portrait by Wilhelm Kaulbach, 1856 during his years of residence at Weimar (1848–61) were eventually offered to the world as symphonic poems, yet not all originated under that designation. Is Orpheus a case in point? It began life as an introduction to the first Weimar performance of Gluck’s Orfeo ed Euridice, which Liszt conducted in 1854, but subsequently became a freestanding work in its own right. Within the orchestration, the harp is used to characterise Orpheus, who played upon the lyre, but, strictly speaking, how programmatic is the music? There is no specific storyline; rather, the work carries the listener along with an unfolding of almost-seamless, singing melody. It’s easy to imagine that it originated as an operatic prelude. Later, when Orpheus had been published as a symphonic poem, Liszt described his conception in a preface to the score: I once had to conduct a performance of Gluck’s Orpheus. During the rehearsals, I could not prevent my mind wandering…to that other Orpheus whose name hovers so majestically and harmoniously over one of the most poetic myths of Greece. I recalled an Etruscan vase in the Louvre collection, which represents the first poet-musician, clothed in a starry robe, his forehead bound with the mystically royal fillet, his lips open for the utterance of divine words and songs, and his lyre resounding under the touch of his long and graceful fingers. A preface such as this, similar to – and as ‘lush’ as – others that Liszt provided, is really only there to guard the listener against a false interpretation, to provide a context, before others can be interposed. Yet, Liszt obviously felt sufficiently piqued by the complaints of musical pedants (who expected

9 music to follow a purely musical logic) to write in response to conductor Alexander Ritter’s request to perform the work: ‘… have you considered that Orpheus has no proper working out section, and hovers quite simply between bliss and woe…’

Listening Guide The horns play a few simple notes, interspersed with harp Orpheus ‘hovers quite arpeggios, before the solo horn introduces a broad melody, simply between bliss which is next taken up by the oboe. Liszt’s skill in and woe…’ orchestration becomes apparent in a section where oboe, LISZT clarinet, and cor anglais smoothly dovetail their handling of the melody. The poignant mood is maintained as the harp accompanies a violin solo. The music eventually becomes a little more passionate, the pace quickens, and the opening theme is then replayed with subtly stronger scoring. The dovetailing music returns and the music builds again to a reprisal of the opening melody. Each of these climactic reiterations of the main melody are perfectly calculated in terms of orchestral strength; nothing is allowed to destroy the charmed atmosphere. Hushed harmonies bring the work to a close in such a way as to evoke the image of a curtain rising on an operatic scene. As a piece of mood-creation Orpheus succeeds to a high degree. Liszt’s handling of the orchestra, by this stage, had attained genuine mastery; there is much imagination in the subtle blending of colours, and the melodic unfolding charms in Orphic manner. Wagner, for one, claimed it a ‘quite unique masterpiece of the highest degree’.

GORDON KALTON WILLIAMS © SYMPHONY AUSTRALIA Liszt’s Orpheus calls for two flutes, piccolo, two oboes, cor anglais, two clarinets and two bassoons; four horns, two trumpets, three trombones and tuba; timpani; two harp parts (performed in this concert by six players); and strings. According to our records, the only previous SSO performance of Orpheus was on tour in 1951, when Eugene Goossens conducted it in Murwillumbah and Lismore.

11 Joaquín Rodrigo Keynotes Concierto serenata RODRIGO Estudiantina (Allegro ma non troppo) Born Sagunto, 1901 Intermezzo con Aria (Adagio) Died Madrid, 1999 Sarao (Allegro deciso) Joaquín Rodrigo was born on Sivan Magen harp 22 November, St Cecilia’s Day, and so was perhaps destined to a In 1992 Joaquín Rodrigo and his wife were ennobled as the life in music. A bout of diphtheria Marqueses de los Jardines de Aranjuez by King Juan Carlos I at the age of three left him blind of Spain. Rodrigo had, over the course of a long and productive but he learned to compose using life, become the voice of Spain to the rest of the world; Braille music notation. He international fame had been assured when his Concierto de studied with Paul Dukas in Paris, Aranjuez premiered in 1940. where in 1939, as World War II Born in 1901, Rodrigo was a direct contemporary of poet threatened, he wrote his Federico García Lorca, painter Salvador Dalí and filmmaker Concierto de Aranjuez, which made his name when it was Luis Buñuel. From 1927 he had studied with Paul Dukas in premiered by guitarist Regino Paris, and, after his marriage to Victoria Kamhi in 1933 in Sainz de la Maza in 1940. Rodrigo Valencia, returned to France. From then until 1939, the couple didn’t play guitar himself, but remained expatriates in France and Germany, despite often Pepe Romero once described serious discrimination in the latter country as the Turkish- him as ‘the great guitarist’. born Victoria was Jewish. The decision to return to Spain should not automatically be taken as an endorsement of the fascist regime of General Franco – Rodrigo hated violence – CONCIERTO SERENATA but the country was ostensibly neutral and so offered a This concerto, composed in degree of safety during World War II. Many of Rodrigo’s 1952 for the Spanish harpist colleagues, nevertheless, left Spain because of the political Nicanor Zabaleta, was Rodrigo’s situation: Manuel de Falla emigrated to Argentina, and Roberto fifth and his first for harp. The effervescent first movement, Gerhard, the leading Spanish avant-garde composer of his Estudiantina, recalls student generation, went to England. musicians playing in the streets Rodrigo’s essentially simple and overtly ‘Spanish’ musical of Madrid. The mysterious language has much in common with that of a number of intermezzo strikes an antique literary figures who sought to evoke the art of the Spanish note with an aria or song then Renaissance, often known as the Golden Age. His music wanders into a brisk fugue seeks to imagine an ideal, if unrealisable, Spain, through its before resuming its opening references to Renaissance music, traditional dance forms mood. The ebullient finale sets and folk song. It was for his commitment to a Spain beyond out on an evening promenade. politics that Rodrigo was elevated to the nobility. The extraordinary success of the Concierto de Aranjuez led to a succession of other concertos and concerto-like pieces for guitar – and for other instruments too! A piano concerto followed in 1941, then concertos for violin and for cello, and in the 1950s, the Concierto serenata – or ‘serenade concerto’ – for harp and orchestra. The Concierto serenata was commissioned and premiered by the great Spanish harpist Nicanor Zabaleta. It is a product of Rodrigo’s preoccupation with connecting Spain’s cultural heritage in all its phases to the present. Rodrigo describes

12 the Concierto serenata as evoking ‘the 18th-century Madrid that Barbieri recreated in the following century, and connects with the implicit Spanishness to be found in the sonatas of Scarlatti and Soler’. The first movement, Estudiantina, is named after a Spanish tradition dating from the Renaissance, of a strolling band of student musicians. Its first main theme is a cheerful march. A second is characterised by a dialogue between the soloist and various groups of other instruments, but as Rodrigo himself says: ‘It is almost non-existent; rather than a theme it could be called a brief refrain.’ The slow second movement is an Intermezzo con aria – an interlude with song. The aria is presented in the form of a canon (not unlike childhood singing rounds, but with each ‘voice’ characterised by a different instrumental colour). JUAN GYENES AND RODRIGO FOUNDATION RODRIGO GYENES AND JUAN It’s interrupted by a faster section in the form of a fugue, another musical technique based on melodic imitations. The musical textures wind and weave together in almost baroque complexity. A harp cadenza paves the way for a return to the song-like material, and the harp decorates the main melody with running ornaments until the orchestra gathers ‘Often, while composing together in a final statement of the theme. The harp leads the music, I have had the movement to its gentle conclusion. sense that everything The fast and decisive final movement, Sarao or ‘soirée’, is beautiful, and the is in rondo form, its main theme alternating with contrasting soul is this, is certain themes. The spirit is festive, with infectious Spanish dance to remain. I believe that rhythms, and Rodrigo said that he had ‘attempted to accomplish a very difficult thing – to make the entire work all which is superior in light, clear and joyful, like the harp’s child-like soul, and in the us will survive’. manner of a Concerto Serenade’. RODRIGO

ADAPTED FROM NOTES BY GORDON KERRY © 2102 AND KYLIE BURTLAND © SYMPHONY AUSTRALIA The orchestra for the Concierto serenata comprises two flutes (one doubling piccolo) and pairs of oboes, clarinets, bassoons, horns and trumpets; and strings. The concerto was first performed by Nicanor Zabaneta in Madrid in 1956. The first SSO performance of the concerto in our records was in 1995, when we performed it on tour in Albury and Shepparton with Julie Raines as soloist and David Stanhope conducting.

13 Lee Bracegirdle Keynotes Legends of the Old Castle – Harp Concertino BRACEGIRDLE premiere Born Houston, 1952 Louise Johnson harp Lee Bracegirdle studied horn at Legends of the Old Castle – for harp, wind and percussion – takes the Philadelphia Musical Academy and the Juilliard School, where his inspiration from the ruins of Castle Hohenbaden in Baden-Baden, lecturers included Pierre Boulez, and in particular an Aeolian harp that has been set into one of Jacob Druckman, Vincent the huge windows, high in the wall of the roofless Knights’ Hall Persichetti and Robert Starer – (Rittersaal). composers who were to influence An Aeolian harp, or wind-harp, is made up of many strings his own compositional style. He tuned to only ‘open’ notes, such as the tonic and fifth of a key, has held orchestral horn positions for example C and G. As air blows past the strings and they on three continents over more resonate via a sounding box, the strings vibrate at random than three decades, as well as pitches from the harmonic series of those notes, depending enjoying a multifaceted freelance on the strength of the wind. career that saw him working with Legends of the Old Castle is not written for wind-harp, many prominent jazz musicians. but rather for orchestral harp. Nor does it follow a specific He first joined the SSO as storyline. However, two local legends about the Old Castle did Associate Principal Horn in 1980. inspire certain sections of the music. There is the story of an After conducting studies in amorous young 15th-century nobleman who falls in love with Austria, he returned to the SSO the ghostly apparition of a young pagan girl, and the gruesome from 1992 until 2012. He is also the Musical Director and fable of the greedy grey countess. At one point you might Composer-in-Residence of the even imagine a stately procession of nobles and knights, Australian Chamber Ballet. approaching from the distance, up the steep hill towards the castle, and entering triumphantly into the Rittersaal. His career as a composer began in 1998 when he won the Zoltán The composer explains the origins of the music… Kodály International Composers’ In 2007 I composed Threnos at the request of Robert Boudreau Competition with Divertimento for the American Wind Symphony Orchestra, after which he for Orchestra. Since then the SSO suggested I write a work for solo harp and orchestral winds. has premiered three of his works: At the time I was busy with other compositions, but he Variations for Orchestra (2002), mentioned the idea again in 2012 as I was preparing to leave Ammerseelieder (2005) and his Sydney to serve as composer-in-residence in the Brahms Euphonium Concerto (2008), House in Baden-Baden. This time I agreed. composed for Scott Kinmont. Among the many significant and beautiful historic sites of Other works composed for SSO musicians include Passacaglia Baden-Baden were the ruins of Castle Hohenbaden, locally and Gigues (2011) for Kees known as ‘the Old Castle’, which sits atop a mountain outside Boersma and a violin concerto the town. Baden-Baden’s history goes back to the times of for former concertmaster the Romans, when hot springs were discovered there and a Michael Dauth (2012). In 2007 complex of bath houses was built – hence the name, which the American Wind Symphony means ‘baths’. The castle was built in several stages from Orchestra premiered his Threnos 1100 to around 1400. It acquired its nickname when, in the late for horn and wind orchestra, and 1400s, the margraves of Baden built the ‘New Castle’, closer will give the American premiere to the centre of the city. of Legends of the Old Castle. The awesome sight of the Hohenbaden ruins and the weight of their history cast a significant impression on the psyche. One could sense the spirits of the noble families of a distant

14 The Legend of the Grey Woman Long ago in Castle Hohenbaden there lived an avaricious countess. She imposed high taxes and those who resisted or grumbled were imprisoned. One evening she carried her infant son to the castle tower, held him over the parapet and pointed to the people toiling in the lands below. ‘One day when it’s your turn, force them with your whip and spare them no labour, so that you can live well on this earth!’ No sooner had she spoken than the child slipped from her arms and fell into the depths. But his body was never found! Henceforth, she searched restlessly through the castle, screaming for her child. And even to this day, on stormy nights, the greedy woman walks in a grey coat through the deserted rooms of the Old Castle. millennium in procession up the hill. The mind filled with visions of all that might have passed within those imposing walls over The Legend of the Marble Statue so many generations. There lived at the Old Castle a I was told that a local harp builder had installed an Aeolian handsome, rakish young nobleman. Smitten with the lovely Clare of harp in the imposing main room, known as the Rittersaal Tiefenau, our squire journeyed daily (Knights’ Hall). The sight was astonishing. Roofless, open to on the path through the forest to her the sky, several stories high, dozens of openings in the home in Kuppenheim. Once, when he massive stone walls where windows once were – and in the was returning home by moonlight, a largest of these windows, high above us, stood the huge veiled female figure appeared near Aeolian harp. the path. He approached boldly; she As we approached the instrument it was silent. Suddenly melted away. The following night she dark clouds blew over, the wind gathered up, and the strange, was there again – unveiled, her dark, curly hair cascading. Again she melted eerie sounds of the wind-harp began to pierce the air. away. When the squire mentioned Relentlessly the wailing of the harp haunted all who were this to the elderly castle guard, he present, the forces of nature took over, and visions of the learned that a pagan temple had castle’s legends danced before us. I stood, stunned and agape, once stood there. So he returned and and in a flash the inspiration, the concept, and the overall unearthed a delicate Roman altar structure for my new composition became clear. and a beautiful marble statue, which he set up where he’d found them. But ADAPTED FROM A PROGRAM NOTE BY LEE BRACEGIRDLE © 2014 the squire became obsessed with the Legends of the Old Castle calls for two flutes, piccolo, alto flute, two oboes, marble nymph. Again he walked the cor anglais, two clarinets, bass clarinet and three bassoons (one doubling path by moonlight and saw her. This contrabassoon); four horns, three trumpets, three trombones and tuba; time she did not dissolve! The squire timpani and a large percussion section; and celesta. embraced her in his arms… And the Lee Bracegirdle thanks Robert Boudreau, Music Director of the next morning he was found dead, the American Wind Symphony Oorchestra, for commissioning this work, and statue gone. His brother smashed the Rev. Dr Arthur Bridge of Ars Musica Australis, whose grant supported the altar, replacing it with a Christian the 2012 residency at the Brahms House in Baden-Baden, during which shrine, and erected a stone cross, this work was developed. both of which stand today.

15 Alexander Zemlinsky (1871–1942) Keynotes Die Seejungfrau (The Mermaid) ZEMLINSKY Fantasy after Hans Christian Andersen Born Vienna, 1871 Died New York, 1942 Sehr mäßig bewegt (At a very moderate tempo) Zemlinsky received early Sehr bewegt, rauschend (Very agitated, roaring) encouragement from Johannes Sehr gedehnt, mit schmerzvollem Ausdruck Brahms, before going on to (Very drawn-out, full of pain) teach composition to (and fall in love with) the future Alma The roll-call of notable musicians forced to flee German- Mahler. He also gave speaking Europe in the 1930s includes Arnold Schoenberg, Otto counterpoint lessons to his Klemperer, Kurt Weill, Ernst Krenek, Erich Wolfgang Korngold, future brother-in-law, Arnold Hanns Eisler and many others who saw their aesthetics Schoenberg. When the Nazi questioned, their talent ridiculed and their livelihoods disappear party came to power in 1933, as the National Socialists rose to power. he sought asylum in the USA, Composer, conductor and teacher, Alexander Zemlinsky was settling in Los Angeles. But he a central figure in the world of German, Czech and Austrian never recovered from the music-making for more than three decades. Mahler conducted dislocation, and composed little the premiere of his opera Es war einmal… in 1900; he was the in his adopted country. Apart from his Lyric Symphony (1924), dedicatee of Schoenberg’s Opus 1 songs and conducted the based on poems by Tagore, he premiere of Schoenberg’s Erwartung in 1924 (by which time remains best known for his the two men were brothers-in-law). He also gave the Viennese songs and chamber music. premiere of Richard Strauss’s Salome in 1906. His composition pupils included Berg, Webern and Korngold. THE MERMAID His Jewish heritage meant that he was forced to emigrate This symphonic fantasy after in 1938. He, his wife and daughter fled to New York via Prague; Hans Christian Andersen’s fairy on his death in 1942 he was a forgotten figure. With the tale was premiered in Vienna revival of Mahler’s music in the 1960s, the gradual realisation in 1905, at a concert that that there was a significant cultural world represented by also included Schoenberg’s Pelleas und Melisande. The Mahler’s work led to the rediscovery of music by a number of first movement suggests the his contemporaries and successors: Schreker, Korngold, mermaid’s life in the depths Schulhoff and Zemlinsky among them. of the sea, and a storm and In his own music, one of Zemlinsky’s ambitions was to shipwreck from which she bridge what he saw as the artificial divide that existed between rescues the prince. The second the ‘absolute’ music of Brahms and the new direction many movement focuses on her composers had followed in response to the new boundaries of unrequited love for the prince. harmony, form and instrumental texture established by Liszt Sorrow is in store in the final and Wagner. The Mermaid, part symphony, part tone-poem, movement, as the mermaid is an attempt to prove how mutually compatible these two sadly watches the prince’s traditions could be. wedding. Shattered, she returns ‘Fairy tales became central to music at the end of the to the depths, and serene music announces her transformation 19th century, when human thought was transformed by a into an eternal spirit. Given that psychological view of the world,’ says conductor Hans Graf. Zemlinsky composed it after By that time fairy tales were hardly novel subjects for ballet Alma Schindler rejected him (think of Tchaikovsky’s Swan Lake and Sleeping Beauty) but and married Mahler, was he they were not common subjects for the lyric stage or concert the Mermaid, and Alma the orchestra. prince?

16 The ways in which these stories link the real and the imagined, the archetypal with the extraordinary, the everyday with the eternal and, in a very real sense, the folkloric with the literary, found memorable responses from some of the leading composers of the day. Humperdinck’s Hänsel und …these stories link the Gretel (1893) became one of the most successful operas of real and the imagined, the era; Dukas’ Ariane and Bluebeard (1907) takes the the archetypal with Bluebeard legend as seen through the prism of Maeterlinck’s the extraordinary… symbolist text to bring us one of the definitive avant-garde achievements of its day, while Rusalka (1901) is not only Dvořák’s most successful opera, but the most enduring stage transformation of a story told by Hans Christian Andersen in The Little Mermaid. Andersen’s tale concerns the youngest of six mermaid sisters. On their fifteenth birthday, they are each allowed to see the human world, about which their grandmother has told them so much. When the youngest finally rises to the water’s surface, she sees a ship on which a young prince is

 A Mermaid, 1901, by John William Waterhouse

17 celebrating his own birthday. Transfixed by his beauty, she watches in horror as a storm wrecks the ship. She takes him to the safety of the shore, where he wakes. But the sudden arrival of a group of young women scares the mermaid away and the prince’s eyes light upon the first of the girls he sees, whom he believes to be his rescuer. The mermaid knows that she can only win an immortal soul by making a man declare undying love for her; otherwise, when she dies, she will wash up on the sea as foam. Determined to marry the prince, she makes a perilous journey to the sea witch, who gives her a potion that will turn her fins

into legs. But the mermaid must pay for this potion with her DE AGOSTINI PICTURE LIBRARY / A DAGLI ORTI / BRIDGEMAN IMAGE beautiful voice – from now on she will be mute. The witch also tells the mermaid that every step she takes on land will cause her tremendous pain, as if she were walking on knives. In her human form the Prince grows fond of her but it is clear that he is meant for another – a Princess his parents have chosen for him, from a far-away land. When he finally meets his betrothed and sees in her the girl he believes rescued him from the shipwreck, his happiness is complete. The mermaid knows she must die on the day of the Prince’s wedding. Her sisters rise to the surface to tell her that if she kills the Prince and his blood flows onto her feet, she will be turned back into her original form. But she refuses, jumps into the sea and begins to melt. She suddenly realises that she has become a spirit of the air who, by performing good deeds, may come to win her immortal soul. We know little about how Zemlinsky was drawn to the subject. The allegorical nature of the story, with its themes of suffering, sacrifice, impossible love and redemption, must have held a special appeal for him at a time when he was recovering from the deep emotional wounds left by his tempestuous liaison with the beautiful Alma Schindler, who had been his composition student. Taunting him with his short Alma Mahler – ‘the Liz Taylor of stature and physical ugliness, she went on to marry Gustav the Bauhaus’ Mahler (and, after his death, had significant relationships with painter Oskar Kokoschka, architect Walter Gropius and novelist Franz Werfel; she is sometimes referred to as ‘the Liz Taylor of the Bauhaus’). In 1903, in the early stages of composing The Mermaid, Zemlinsky wrote to Schoenberg of the work’s structure: This is how it will divide up: 1st Part a) On the ocean bed (exposition); b) The Mermaid in the human world; the storm; the rescue of the Prince. 2nd Part a) The Mermaid; longing; at the Witch’s; b) The Prince’s Wedding; the Mermaid’s end. Sometime after this he recast the work into three movements, making the redemptive aspects of ‘the Mermaid’s end’ more

18 substantial. But even Zemlinsky’s early synopsis for the work tells us not to look for a literal representation of the story, but rather an exploration of its ideas. Although certain parts of the story – the opening on the sea bed, the shipwreck, the journey to the sea witch – seem to be depicted, the work is just as concerned with the emotional issues that lie at the heart of the story. The melodic ideas that recur in each movement – particularly the ‘sea’ theme we hear at the outset emerging from the depths of the orchestra and the ‘mermaid’ theme with which it is intertwined – evoke the story’s moods as

DE AGOSTINI PICTURE LIBRARY / A DAGLI ORTI / BRIDGEMAN IMAGE easily as they do specific moments from the narrative. The The lavish armoury lavish armoury of the late-Romantic orchestra – string of the late-Romantic sections divided internally to create more elaborate textures, orchestra… six horns rather than the usual four, two harp parts [performed by six players in this concert], elaborate parts for percussion – allows Zemlinsky to create chamber-like ensembles within the orchestra to convey very finely graded shades of feeling. The Mermaid’s orchestral vocabulary will be familiar to anyone who knows the work of Mahler and Richard Strauss, but it could not be mistaken for the work of either composer. The delicacy of the first movement’s final minutes, leading to a coda redolent with bell-tollings; the frequent and distinctive use of cor anglais; and the work’s ever-shimmering textures (created by the weaving in and out of short solos and the carefully controlled rise and fall in scale of the orchestral forces) are all distinctive. Yet when Zemlinsky conducted The Mermaid’s premiere in Vienna in 1905, in the same concert as Schoenberg’s Pelleas und Melisande, Zemlinsky’s highly self-critical view of his own work led him to withdraw it completely. On his escape to the United States he took the second and third movements with him, leaving the first (minus its title page) behind in Vienna. The three movements were not correctly identified and re-assembled until the early 1980s: there was an 79-year gap between the first and second performances. Since that time, The Mermaid has surfaced on many of the world’s concert stages and on disc, a major discovery from a significant period in Western musical history.

PHILLIP SAMETZ © 2004 Zemlinsky’s Mermaid calls for four flutes (two doubling piccolo), two oboes, cor anglais, two clarinets, bass clarinet, E-flat clarinet and three bassoons; six horns, three trumpets, four trombones and tuba; timpani and percussion; two harp parts (performed in this concert by six players); and strings. The Melbourne Symphony Orchestra gave the Australian premiere of The Mermaid in 2004. This is the SSO’s first performance of the work.

19 MORE MUSIC

HARPISTS’ RODRIGO Broadcast Diary Nicanor Zabaleta, original dedicatee both of Rodrigo’s Concierto serenata and of the harp version of the July–August Concierto de Aranjuez, recorded both works with the Berlin Philharmonic and conductor Reinhard Peters. ELOQUENCE (DG) CD 457306 Monday 28 July, 7pm THE MERMAID HARP LEGENDS Zemlinsky’s marvellous orchestral music is one of the See this program for details. great rediscoveries of the compact disc era. In the case of The Mermaid (Die Seejungfrau), let’s stay in Oceania, Sunday 3 August, 1pm and recommend James Judd and the New Zealand PEPE ROMERO Symphony Orchestra’s 2006 recording, coupled with Tito Muñoz conductor the more astringent 1934 Sinfonietta, composed as the Pepe Romero guitar Nazis imposed their power. Rossini, Rodrigo, Vivaldi, Beethoven NAXOS CD 8.570240 Friday 15 August, 8pm FOUR LAST SONGS SIMONE YOUNG’S MAHLER David Robertson conductor Staying in Zemlinsky’s Vienna… Simone Young’s 2012 Christine Brewer soprano recording of Gustav Mahler’s Resurrection Symphony Glanert, Richard Strauss, Brahms with the Hamburg Philharmonic Orchestra not only Saturday 23 August, 8pm earned rave reviews, but comes conveniently on a HEAR IT, FEEL IT single 79-minute CD. David Robertson conductor OEHMS CD 412 Nicolas Hodges piano Mozart, Ligeti, Boulez, Scriabin SIVAN MAGEN Sivan Magan is particularly proud of his recent 2012 recording, made with his colleagues in the Israeli Chamber Project. He appears in two magnificent chamber works, Saint-Saëns’ Fantaisie for violin and harp, and Martinů’s Chamber Music No.1 for clarinet, harp, and piano quartet. AZICA CD 71274 SYDNEY SYMPHONY ORCHESTRA 2014 Tuesday 12 August, 6pm MASSED HARPS Musicians, staff and guest artists discuss what’s in Why not take home an Australian souvenir of World store in our forthcoming concerts. Harp Congress Sydney 2014? Alice Giles directs SHE (Seven Harp Ensemble) in a Sydney-made disc featuring Carlos Salzedo’s Bolmimerie (and his arrangement of Bach’s Jesu, Joy of Man’s Desiring), as well as specially composed new Australian works by Ross Edwards and Martin Wesley-Smith. TALL POPPIES CD TP 204

20 THE ARTISTS BERTHOLD FABRICIUS

Simone Young conductor

Sydney-born Simone Young am is internationally Vienna, Munich, London and New York philharmonic recognised as one of the leading conductors of orchestras, the Staatskapelle Dresden, City of her generation and has been General Manager Birmingham Symphony Orchestra, Bruckner and Music Director of the Hamburg State Opera Orchestra, Linz, and the Wiener Symphoniker, and Music Director of the Philharmonic State this year for a tour of China. Orchestra Hamburg since 2005. She is an She has been elected to the Akademie der acknowledged interpreter of the operas of Kuenste in Hamburg, awarded a Professorship at Wagner and Strauss, and has conducted several the Musikhochschule in Hamburg and honorary complete cycles of Der Ring des Nibelungen at doctorates from Griffith University, Monash the Vienna State Opera, the State Opera in Berlin, University and the University of NSW. Other and in Hamburg as part of the Wagner-Wahn awards include Green Room and Helpmann Festival during which she conducted the ten Awards, the 2014 International Opera Award major Wagner operas. Her Hamburg recordings for best anniversary production for a Verdi include the Ring cycle, Hindemith’s Mathis der trilogy – La battaglia di Legnano, I due Foscari, Maler, and Bruckner, Brahms and Mahler I Lombardi – with Hamburg, Chevalier de l’Ordre symphonies. des Arts et des Lettres from France, the Goethe Simone Young has been Music Director of Institute Medal and the Sir Bernard Heinze Opera Australia, Chief Conductor of the Bergen Award. Philharmonic Orchestra and Principal Guest Simone Young regularly returns to Australia, Conductor of the Gulbenkian Orchestra, Lisbon. and this season she also works with the She has conducted at all the leading opera Queensland and West Australian symphony houses including the Vienna State Opera, Opéra orchestras, and the Australian National Academy National de Paris, Royal Opera House Covent of Music in Melbourne. Her most recent Garden, Bavarian State Opera, Metropolitan appearances with the SSO were in 2013, when Opera New York, Los Angeles Opera and Houston she conducted Wagner and Bruckner, and Grand Opera, and regularly leads some of the earlier this year, conducting Holst’s Planets for world’s great orchestras including the Berlin, Symphony in the Domain.

21 KEITH SAUNDERS KEITH

PRINCIPAL HARP Louise Johnson harp

Louise Johnson studied harp at the Sydney She has performed with all the major Conservatorium of Music High School, and later Australian symphony and theatre orchestras, the at the Cleveland Institute of Music and Salzedo Australian Chamber Orchestra and the Australia Summer Harp School in the United States with Ensemble. She has also performed with artists Alice Chalifoux. such as Cher, Sammy Davis Jr and the Bee Gees; At 18, she was appointed Principal Harp of the toured Australia with the Bolshoi and Sadler’s Queensland Symphony Orchestra, a position she Wells ballet companies and played for the Bolshoi held for one year before deciding to spread her Opera, as well as appearing with Luciano Berio in wings and pursue a freelance career overseas. a concert of his own works. She performed the Between 1983 and 1985 she lived in London, Ginastera Harp Concerto in Seattle for the 1996 performing as guest principal and guest second World Harp Congress and is a featured artist of harp with the London Symphony Orchestra under the 12th World Harp Congress, being held here in the baton of Claudio Abbado and Richard Hickox. Sydney this month. She also gave recitals in Wigmore Hall and the Louise Johnson has taught harp at the Sydney Purcell Room. Conservatorium of Music for 24 years. She is in Louise Johnson gave her first performance demand as a tutor and teaches regularly at the with the Sydney Symphony Orchestra at the age AYO National Music Camp. of 14, later joined the orchestra as a permanent member, and was appointed Principal Harp in 1985. She regularly appears as a soloist with the orchestra: performing Debussy’s Danse sacrée et danse profane with conductor Mark Elder in 1998; Mozart’s Flute and Harp Concerto with James Galway (1990), Janet Webb (2005) and Emma Sholl (2011); and Spohr’s Concertante for violin and harp with former SSO concertmaster Michael Dauth in 2006. Last year she was also featured in Hindemith’s Concerto for winds and harp.

22 Sivan Magen harp

Sivan Magen is the only Israeli to have won the He is also an avid chamber musician and has prestigious International Harp Contest in his own collaborated with such artists as Nobuko Imai, country. Born in Jerusalem, he studied piano with Shmuel Ashkenazi, Gary Hoffman, Michel Letiec, Benjamin Oren and Talma Cohen and harp with Charles Neidich, Carol Wincenc, Emmanuel Irena Kaganovsky-Kessler at the Jerusalem Pahud, soprano Susanna Phillips, and members Academy for Music and Dance. He continued his of the Guarneri and Juilliard Quartets. The studies in France with Germaine Lorenzini and 2011–12 season marked the debut of his new in Isabelle Moretti’s harp class at the Paris trio Tre Voce with Marina Piccinini and Kim Conservatory, graduating with a Premier Prix. Kashkashian. He is also a founding member He then completed a Master of Music degree as of the Israeli Chamber Project, which has a student of Nancy Allen at the Juilliard School, undertaken outreach and concert activities at and continues to live in New York City. venues such as the Enav Center, Tel Aviv, and Recent recital highlights have included Merkin New York’s Symphony Space and Morgan Library. Hall and Carnegie’s Weill Hall in New York, Wigmore His 2013–14 season has already included Hall in London, and the Amsterdam Musiekgebouw. concerto debuts with the Scottish Chamber As a concerto soloist, he has toured North and Orchestra and Vienna Chamber Orchestra, and South America, Europe and Israel, including an appearance in the opening concert of the performing the premiere of Haim Permont’s Aviv Netherlands Harp Festival. This is his Sydney concerto with the Israel Philharmonic Orchestra. Symphony Orchestra debut and he is a featured Sivan Magen is sought after as a teacher, artist of the 12th World Harp Congress. presenting master classes at the Juilliard School, Curtis Institute, Peabody Institute, New England Conservatory, Utrecht Conservatory, London’s Guildhall School and Trinity College, the Kuhmo Festival Academy in Finland, and Jerusalem Music Academy’s International Music in the Valley seminar. He is currently on the faculty of Brooklyn College Conservatory of Music.

23 SYDNEY SYMPHONY ORCHESTRA

DAVID ROBERTSON such as George Szell, Sir Thomas Beecham, Chief Conductor and Artistic Director Otto Klemperer and Igor Stravinsky. The SSO’s award-winning education program PATRON is central to its commitment to the future of live Her Excellency, Prof. The Hon. Dame Marie Bashir ad cvo symphonic music, developing audiences and Founded in 1932 by the Australian Broadcasting engaging the participation of young people. Commission, the Sydney Symphony Orchestra The orchestra promotes the work of Australian has evolved into one of the world’s finest composers through performances, recordings orchestras as Sydney has become one of the and its commissioning program. Recent world’s great cities. premieres have included major works by Ross Resident at the iconic Sydney Opera House, Edwards, Lee Bracegirdle, Gordon Kerry, Mary where it gives more than 100 performances Finsterer, Nigel Westlake and Georges Lentz, each year, the SSO also performs in venues and the orchestra’s recordings of music by throughout Sydney and regional New South Brett Dean have been released on both the BIS Wales. International tours to Europe, Asia and and SSO Live labels. the USA – including three visits to China – have Other releases on the SSO Live label, earned the orchestra worldwide recognition for established in 2006, include performances artistic excellence. with Alexander Lazarev, Gianluigi Gelmetti, The orchestra’s first Chief Conductor was Sir Charles Mackerras, Vladimir Ashkenazy and Sir Eugene Goossens, appointed in 1947; he was David Robertson. In 2010–11 the orchestra made followed by Nicolai Malko, Dean Dixon, Moshe concert recordings of the complete Mahler Atzmon, Willem van Otterloo, Louis Frémaux, symphonies with Ashkenazy, and has also Sir Charles Mackerras, Zdenĕk Mácal, Stuart released recordings of Rachmaninoff and Elgar Challender, Edo de Waart and Gianluigi Gelmetti. orchestral works on the Exton/Triton labels, as Vladimir Ashkenazy was Principal Conductor well as numerous recordings on ABC Classics. from 2009 to 2013. The orchestra’s history also This is the first year of David Robertson’s boasts collaborations with legendary figures tenure as Chief Conductor and Artistic Director.

24 MUSICIANS

David Robertson CHIEF CONDUCTOR Jessica Cottis AND ARTISTIC DIRECTOR ASSISTANT CONDUCTOR SUPPORTED BY Andrew Haveron Dene Olding SUPPORTED BY PREMIER EMIRATES CONCERTMASTER CONCERTMASTER PARTNER CREDIT SUISSE

FIRST VIOLINS VIOLAS FLUTES TRUMPETS Dene Olding Tobias Breider Janet Webb David Elton CONCERTMASTER Justin Williams Emma Sholl Anthony Heinrichs Sun Yi ASSISTANT PRINCIPAL Carolyn Harris Greg Flynn* ASSOCIATE CONCERTMASTER Sandro Costantino Rosamund Plummer Paul Goodchild Kirsten Williams Rosemary Curtin PRINCIPAL PICCOLO ASSOCIATE CONCERTMASTER Jane Hazelwood Brielle Clapson TROMBONES Graham Hennings OBOES Ronald Prussing Sophie Cole Stuart Johnson Diana Doherty Scott Kinmont Claire Herrick Vera Marcu* David Papp Nick Byrne Georges Lentz Felicity Tsai Alexandre Oguey Christopher Harris Nicola Lewis Leonid Volovelsky PRINCIPAL COR ANGLAIS PRINCIPAL BASS TROMBONE Emily Long James Wannan* Shefali Pryor Alexandra Mitchell Roger Benedict TUBA Alexander Norton Anne-Louise Comerford CLARINETS Steve Rossé Léone Ziegler Justine Marsden Lawrence Dobell Madeleine Boud* Amanda Verner Francesco Celata TIMPANI Elizabeth Jones° Christopher Tingay Richard Miller Emily Qin* CELLOS Craig Wernicke Martin Silverton* PRINCIPAL BASS CLARINET Catherine Hewgill PERCUSSION

Andrew Haveron Henry David Varema Rebecca Lagos CONCERTMASTER Leah Lynn BASSOONS Timothy Constable Lerida Delbridge ASSISTANT PRINCIPAL Ben Hoadley* ASSISTANT CONCERTMASTER Mark Robinson Kristy Conrau Fiona McNamara William Jackson* Fiona Ziegler Noriko Shimada ASSISTANT CONCERTMASTER Fenella Gill Brian Nixon* PRINCIPAL CONTRABASSOON Jenny Booth Timothy Nankervis Matthew Wilkie Amber Davis Elizabeth Neville HARPS Christopher Pidcock HORNS Louise Johnson Adrian Wallis Julie Kim* SECOND VIOLINS Ben Jacks Kirsty Hilton David Wickham Miriam Lawson* Umberto Clerici Geoffrey O’Reilly Marina Marsden PRINCIPAL 3RD Verna Lee* Marianne Broadfoot Marnie Sebire Meriel Owen* Shuti Huang DOUBLE BASSES Rachel Silver Natalie Wong* Kees Boersma Stan W Kornel Euan Harvey Alex Henery Benjamin Li Alexander Love* CELESTA Neil Brawley Nicole Masters Jenny McLeod-Sneyd* Catherine Davis* Philippa Paige PRINCIPAL EMERITUS David Campbell Robert Johnson Maja Verunica Steven Larson Rebecca Gill* BOLD = PRINCIPAL Richard Lynn ITALICS = ASSOCIATE PRINCIPAL Monique Irik* Benjamin Ward ° = CONTRACT MUSICIAN Vivien Jeffery° * = GUEST MUSICIAN Josef Bisits° Belinda Jezek° GREY = PERMANENT MEMBER OF THE David Murray SYDNEY SYMPHONY ORCHESTRA NOT Emma Jezek APPEARING IN THIS CONCERT ASSISTANT PRINCIPAL Maria Durek Emma Hayes Biyana Rozenblit

To see photographs of the full roster of permanent musicians and find out more about the orchestra, visit our website: The men of the Sydney www.sydneysymphony.com/SSO_musicians Symphony Orchestra are If you don’t have access to the internet, ask one of our customer proudly outfitted by service representatives for a copy of our Musicians flyer. Van Heusen.

25 BEHIND THE SCENES

SYDNEY SYMPHONY SYDNEY SYMPHONY ORCHESTRA STAFF ORCHESTRA BOARD MANAGING DIRECTOR MARKETING COORDINATOR Rory Jeffes Jonathon Symonds John C Conde ao Chairman Terrey Arcus am EXECUTIVE TEAM ASSISTANT SENIOR ONLINE MARKETING COORDINATOR Lisa Davies-Galli Jenny Sargant Ewen Crouch am ONLINE MARKETING COORDINATOR Ross Grant ARTISTIC OPERATIONS Jonathan Davidoff Catherine Hewgill DIRECTOR OF ARTISTIC PLANNING Jennifer Hoy Benjamin Schwartz Box Office MANAGER OF BOX OFFICE SALES & Rory Jeffes ARTISTIC ADMINISTRATION MANAGER OPERATIONS Andrew Kaldor am Eleasha Mah Lynn McLaughlin David Livingstone ARTIST LIAISON MANAGER BOX OFFICE SYSTEMS SUPERVISOR The Hon. Justice AJ Meagher Ilmar Leetberg Jennifer Laing Goetz Richter RECORDING ENTERPRISE MANAGER BOX OFFICE BUSINESS ADMINISTRATOR Philip Powers John Robertson Library CUSTOMER SERVICE REPRESENTATIVES Anna Cernik Karen Wagg – Senior CSR SYDNEY SYMPHONY Victoria Grant Michael Dowling ORCHESTRA COUNCIL Mary-Ann Mead Katarzyna Ostafijczuk LEARNING AND ENGAGEMENT Tim Walsh Geoff Ainsworth am DIRECTOR OF LEARNING AND ENGAGEMENT Publications Andrew Andersons ao Kim Waldock PUBLICATIONS EDITOR & MUSIC Michael Baume ao EMERGING ARTISTS PROGRAM MANAGER PRESENTATION MANAGER Christine Bishop Mark Lawrenson Yvonne Frindle Ita Buttrose ao obe EDUCATION MANAGER EXTERNAL RELATIONS Peter Cudlipp Rachel McLarin DIRECTOR OF EXTERNAL RELATIONS John Curtis am EDUCATION OFFICER Yvonne Zammit Greg Daniel am Amy Walsh John Della Bosca Philanthropy Alan Fang ORCHESTRA MANAGEMENT HEAD OF PHILANTHROPY Erin Flaherty DIRECTOR OF ORCHESTRA MANAGEMENT Luke Andrew Gay Dr Stephen Freiberg Aernout Kerbert DEVELOPMENT MANAGER Donald Hazelwood ao obe ORCHESTRA MANAGER Amelia Morgan-Hunn Dr Michael Joel am Rachel Whealy PHILANTHROPY COORDINATOR Simon Johnson ORCHESTRA COORDINATOR Sarah Morrisby Yvonne Kenny am Georgia Fryer Corporate Relations Gary Linnane OPERATIONS MANAGER BUSINESS DEVELOPMENT MANAGER Amanda Love Kerry-Anne Cook Belinda Besson Helen Lynch am PRODUCTION MANAGER CORPORATE RELATIONS MANAGER David Maloney am Laura Daniel Janine Harris David Malouf ao STAGE MANAGER Communications Courtney Wilson Deborah Marr PUBLIC RELATIONS MANAGER The Hon. Justice Jane Mathews ao PRODUCTION COORDINATORS Katherine Stevenson Tim Dayman Danny May COMMUNICATIONS & MEDIA MANAGER Dave Stabback Wendy McCarthy ao Bridget Cormack Jane Morschel SALES AND MARKETING DIGITAL CONTENT PRODUCER Dr Timothy Pascoe am DIRECTOR OF SALES & MARKETING Kai Raisbeck Prof. Ron Penny ao Mark J Elliott SOCIAL MEDIA AND PUBLICITY OFFICER Jerome Rowley SENIOR SALES & MARKETING MANAGER Caitlin Benetatos Paul Salteri am Penny Evans BUSINESS SERVICES Sandra Salteri MARKETING MANAGER, SUBSCRIPTION SALES DIRECTOR OF FINANCE Juliana Schaeffer Simon Crossley-Meates John Horn Leo Schofield am MARKETING MANAGER, CLASSICAL SALES FINANCE MANAGER Fred Stein oam Matthew Rive Ruth Tolentino Gabrielle Trainor MARKETING MANAGER, WEB & DIGITAL MEDIA John van Ogtrop ACCOUNTANT Eve Le Gall Minerva Prescott Peter Weiss ao HonDLitt MARKETING MANAGER, CRM & DATABASE ACCOUNTS ASSISTANT Mary Whelan Matthew Hodge Emma Ferrer Rosemary White DATABASE ANALYST PAYROLL OFFICER David Patrick Laura Soutter SENIOR GRAPHIC DESIGNER Christie Brewster PEOPLE AND CULTURE GRAPHIC DESIGNER IN-HOUSE COUNSEL Tessa Conn Michel Maree Hryce

26 SYDNEY SYMPHONY ORCHESTRA PATRONS

MAESTRO’S CIRCLE SUPPORTING THE ARTISTIC VISION OF DAVID ROBERTSON, CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

Peter Weiss ao Founding President & Doris Weiss Roslyn Packer ao John C Conde ao Chairman David Robertson Brian Abel Penelope Seidler am Geoff Ainsworth am Mr Fred Street am & Mrs Dorothy Street Tom Breen & Rachael Kohn Westfield Group In memory of Hetty & Egon Gordon Brian & Rosemary White Andrew Kaldor am & Renata Kaldor ao Ray Wilson oam in memory of the late James Agapitos oam Vicki Olsson

CHAIR PATRONS

01 Roger Benedict 07 Kirsty Hilton Principal Viola Principal Second Violin Kim Williams am & Corrs Chambers Westgarth Catherine Dovey Chair Chair 02 Lawrence Dobell 08 Robert Johnson Principal Clarinet Principal Horn 01 02 03 04 Anne & Terrey Arcus am James & Leonie Furber Chair Chair 03 Diana Doherty 09 Elizabeth Neville Principal Oboe Cello Andrew Kaldor am & Ruth & Bob Magid Chair Renata Kaldor ao Chair 10 Emma Sholl 05 06 07 08 04 Richard Gill oam Associate Principal Flute Artistic Director, Education Robert & Janet Constable Paul Salteri am & Chair Sandra Salteri Chair 11 Janet Webb 05 Jane Hazelwood, Viola Principal Flute Bob & Julie Clampett Chair Helen Lynch am & in memory of Helen Bauer Chair 09 10 11 12 Carolyn Clampett 12 Kirsten Williams, 06 Catherine Hewgill Associate Concertmaster Principal Cello I Kallinikos Chair The Hon. Justice AJ & Mrs Fran Meagher Chair n n n n n n n n n n

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Through their inspired financial support, Patrons ensure the SSO’s continued success, resilience and growth. Join the SSO Patrons Program today and make a difference. sydneysymphony.com/patrons (02) 8215 4674 • [email protected]

27 PLAYING YOUR PART

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. Donations of $50 and above are acknowledged on our website at www.sydneysymphony.com/patrons

DIAMOND PATRONS: I Kallinikos Mr Ervin Katz Rory & Jane Jeffes $30,000+ Helen Lynch am & Helen Bauer James N Kirby Foundation The late Mrs Isabelle Joseph Mrs T Merewether oam Ruth & Bob Magid Judges of the Supreme Court Geoff Ainsworth am Mr B G O’Conor The Hon. Justice AJ Meagher of NSW Anne & Terrey Arcus am Vicki Olsson Tom Breen & Rachael Kohn & Mrs Fran Meagher Frank Lowy am & David Robertson Mr John Morschel Shirley Lowy oam Mr John C Conde ao Mrs Penelope Seidler am Drs Keith & Eileen Ong Robert & Janet Constable J A McKernan G & C Solomon in memory of Mr John Symond am David Maloney am & Erin Mr Andrew Kaldor am & Joan MacKenzie Andy & Deirdre Plummer Flaherty Mrs Renata Kaldor ao Westfield Group Caroline Wilkinson R & S Maple-Brown In Memory of Matthew Krel Ray Wilson oam in memory of Anonymous (2) Justice Jane Mathews ao Mrs Roslyn Packer ao James Agapitos oam Mora Maxwell Paul Salteri am & Sandra Salteri Anonymous (1) Mrs Barbara Murphy Scully Foundation SILVER PATRONS: $5000–$9,999 William McIlrath Charitable Mrs W Stening GOLD PATRONS: Foundation Mr Fred Street am & Dr Francis J Augustus $10,000–$19,999 John & Akky van Ogtrop Mrs Dorothy Street Stephen J Bell Bailey Family Foundation The Berg Family Foundation Rodney Rosenblum am & Peter Weiss ao & Doris Weiss Doug & Alison Battersby Sylvia Rosenblum Mr Brian & Mrs Rosemary White Dr & Mrs Hannes Boshoff Alan & Christine Bishop Mr Alexander & Mrs Vera Dr Evelyn Royal Kim Williams am & Audrey Blunden Boyarsky The Estate of the late Catherine Dovey Mr Robert Brakspear Peter Braithwaite & Gary Greta C Ryan Ian & Jennifer Burton Linnane Manfred & Linda Salamon PLATINUM PATRONS: Mr Robert & Mrs L Alison Carr Mr David & Mrs Halina Brett Simpsons Solicitors $20,000–$29,999 Bob & Julie Clampett Ewen Crouch am & Mrs Joyce Sproat & Brian Abel Michael Crouch ao & Catherine Crouch Mrs Janet Cooke Robert Albert ao & Shanny Crouch Ian Dickson & Reg Holloway David Tudehope & Liz Dibbs Elizabeth Albert Copyright Agency Cultural Fund In memory of Westpac Group Sandra & Neil Burns The Hon. Mrs Ashley Dawson- Dr Lee MacCormick Edwards Michael & Mary Whelan Trust James & Leonie Furber Damer am Dr Stephen Freiberg & In memory of Geoff White In memory of Hetty & Edward & Diane Federman Donald Campbell June & Alan Woods Family Egon Gordon Nora Goodridge Dr Colin Goldschmidt Bequest The Estate of Dr Lynn Joseph Mr Ross Grant The Greatorex Foundation Anonymous (1)

BRONZE PATRONS: BRONZE PATRONS: Colin Draper & Mary Jane Macquarie Group PRESTO $2,500–$4,999 VIVACE $1,000–$2,499 Brodribb Foundation Mr Henri W Aram oam Mrs Lenore Adamson Malcolm Ellis & Erin O’Neill Renee Markovic Dr Diana Choquette & Mrs Antoinette Albert Mrs Margaret Epps Henry & Ursula Mooser Mr Robert Milliner Andrew Andersons ao Paul R Espie Milja & David Morris Mr B & Mrs M Coles Sibilla Baer Professor Michael Field am Mrs J Mulveney Mr Howard Connors David Barnes Mr Tom Francis Mr & Mrs Ortis Greta Davis Allan & Julie Bligh Warren Green Mr Darrol Norman Firehold Pty Ltd Jan Bowen Anthony Gregg Dr A J Palmer Stephen Freiberg & Lenore P Buckle Akiko Gregory Mr Andrew C Patterson Donald Campbell Margaret Bulmer In memory of Dora & Dr Natalie E Pelham Ann Hoban In memory of RW Burley Oscar Grynberg Almut Piatti Irwin Imhof in memory of Ita Buttrose ao obe Janette Hamilton Robin Potter Herta Imhof Mr JC Campbell qc & Mrs Jennifer Hershon In memory of Sandra Paul Robert McDougall Mrs Campbell Mrs & Mr Holmes Pottinger James & Elsie Moore Dr Rebecca Chin Michael & Anna Joel TA & MT Murray-Prior Ms Jackie O’Brien Mr Peter Clarke Aron Kleinlehrer Dr Raffi Qasabian Marliese & Georges Teitler Constable Estate Vineyards Mr Justin Lam Michael Quailey Mr Robert & Mrs Rosemary Dom Cottam & L M B Lamprati Mr Patrick Quinn-Graham Walsh Kanako Imamura Mr Peter Lazar am Ernest & Judith Rapee Yim Family Foundation Debby Cramer & Bill Caukill Professor Winston Liauw Kenneth R Reed Mr & Mrs T & D Yim Mr John Cunningham SCM & Dr David Luis Patricia H Reid Endowment Mrs Margaret Cunningham Peter Lowry oam & Pty Ltd Lisa & Miro Davis Dr Carolyn Lowry oam Dr Marilyn Richardson Matthew Delasey Kevin & Deirdre McCann Robin Rodgers Mr & Mrs Grant Dixon Ian & Pam McGaw

28 PLAYING YOUR PART

Lesley & Andrew Rosenberg Dr Miles Burgess Niki Kallenberger Mr Kenneth Ryan In memory of H St P Scarlett Pat & Jenny Burnett Mrs W G Keighley Garry Scarf & Morgie Blaxill Caroline Sharpen Eric & Rosemary Campbell Mrs Margaret Keogh Peter & Virginia Shaw David & Isabel Smithers Barrie Carter Dr Henry Kilham V Shore Mrs Judith Southam Mr Jonathan Chissick Chris J Kitching Mrs Diane Shteinman am Catherine Stephen Mrs Sandra Clark Anna-Lisa Klettenberg Victoria Smyth The Hon. Brian Sully qc Michael & Natalie Coates Mr & Mrs Gilles T Kryger Dr Judy Soper Mildred Teitler Coffs Airport Security Car Park The Laing Family Doug & Judy Sotheren Kevin Troy Jen Cornish Sonia Lal Ruth Staples John E Tuckey Degabriele Kitchens Dr Leo & Mrs Shirley Leader Mr & Mrs Ashley Stephenson In memory of Joan & Phil Diment am & Bill Margaret Lederman Margaret Suthers Rupert Vallentine Zafiropoulos Mrs Erna Levy Ms Margaret Swanson Dr Alla Waldman Dr David Dixon Sydney & Airdrie Lloyd The Taplin Family Miss Sherry Wang Elizabeth Donati Mrs A Lohan Dr & Mrs H K Tey Henry & Ruth Weinberg Mrs Jane Drexler Panee Low Alma Toohey The Hon. Justice A G Whealy Dr Nita Durham & Dr David Luis Judge Robyn Tupman A Willmers & R Pal Dr James Durham Melvyn Madigan Mrs M Turkington Mr & Mrs B C Wilson John Favaloro Barbara Maidment Gillian Turner & Rob Bishop Dr Richard Wing Ms Julie Flynn & Mr Trevor Cook Helen & Phil Meddings Ronald Walledge Mr Robert Woods Mrs Lesley Finn David Mills In memory of Denis Wallis In memory of Lorna Wright Mr John Gaden Kenneth Newton Mitchell The Wilkinson Family Dr John Yu Vivienne Goldschmidt Helen Morgan Evan Williams am & Anonymous (11) Clive & Jenny Goodwin Chris Morgan-Hunn Janet Williams Ruth Grahame Mr Graham North Dr Edward J Wills BRONZE PATRONS: Ms Fay Grear E J Nuffield Audrey & Michael Wilson ALLEGRO $500–$999 In Memory of Angelica Green Dr Margaret Parker Dr Richard Wingate David & Rae Allen Mr Robert Green Dr Kevin Pedemont Dr Peter Wong & Mr & Mrs Garry S Ash Richard Griffin am Dr John Pitt Mrs Emmy K Wong Dr Lilon Bandler Mr & Mrs Harold & Mrs Greeba Pritchard Geoff Wood & Melissa Waites Michael Baume ao & Toni Baume Althea Halliday Miss Julie Radosavljevic Mrs Robin Yabsley Beauty Point Retirement Resort Benjamin Hasic & Belinda Davie Renaissance Tours Anonymous (29) Richard & Margaret Bell Mr Robert Havard Anna Ro Mrs Jan Biber Roger Henning Agnes Ross List correct as of 1 May 2014 Minnie Biggs Sue Hewitt Mrs Elizabeth Boon In memory of Emil Hilton n n n n n n n n n n Mr Colin G Booth Dorothy Hoddinott ao Dr Margaret Booth Mr Joerg Hofmann TO FIND OUT MORE ABOUT BECOMING A Mr Frederick Bowers Mr Angus Holden SYDNEY SYMPHONY ORCHESTRA PATRON, PLEASE Mr Harry H Brian Mr Kevin Holland R D & L M Broadfoot Bill & Pam Hughes CONTACT THE PHILANTHROPY OFFICE ON (02) 8215 4674 Miss Tanya Brycker Dr Esther Janssen OR EMAIL [email protected]

SYDNEY SYMPHONY ORCHESTRA VANGUARD A MEMBERSHIP PROGRAM FOR A DYNAMIC GROUP OF GEN X & Y SSO FANS AND FUTURE PHILANTHROPISTS

Vanguard Collective Andrea Brown Jennifer Hoy Leah Ranie Justin Di Lollo Chair Melanie Brown Katie Hryce Sudeep Rao Kees Boersma Prof. Attila Brungs Scott Jackson Michael Reede Amelia Morgan-Hunn Helen Caldwell Justin Jameson Paul Reidy Jonathan Pease Hilary Caldwell Jonathan Kennedy Chris Robertson Seamus R Quick Hahn Chau Aernout Kerbert Dr Benjamin Robinson Chloe Sasson Alistair Clark Patrick Kok Emma Rodigari Camille Thioulouse Paul Colgan Alisa Lai Jacqueline Rowlands Juliet Curtin Tristan Landers Benjamin Schwartz Members Alastair Furnival Gary Linnane Caroline Sharpen James Armstrong Alexandra Gibson Paul Macdonald Katherine Shaw Damien Bailey Alistair Gibson Kylie McCaig Randal Tame Joan Ballantine Sam Giddings Rebecca MacFarling Sandra Tang Andrew Baxter Marina Go David McKean Michael Tidball Mar Beltran Tony Grierson Hayden McLean Mark Timmins Evonne Bennett Louise Haggerty Taine Moufarrige Kim Waldock Nicole Billet Rose Herceg Nick Nichles Jonathan Watkinson David Bluff Philip Heuzenroeder Tom O’Donnell Jon Wilkie Andrew Bragg Francis Hicks Kate O’Reilly Yvonne Zammit Peter Braithwaite Paolo Hooke Laurissa Poulos Blake Briggs Peter Howard Jingmin Qian

29 SALUTE

PRINCIPAL PARTNER GOVERNMENT PARTNERS

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

PREMIER PARTNER

PLATINUM PARTNER EDUCATION PARTNER

MAJOR PARTNERS

GOLD PARTNERS

SILVER PARTNERS

VANGUARD PARTNER REGIONAL TOUR PARTNER MARKETING PARTNER

30

Salute 2014_FOUR-2A.indd 1 26/06/14 2:21 PM ORCHESTRA NEWS | JULY 2014

❝ Tuning, tuning, tuning… ❞ ‘With the harp being a solo instrument in the orchestra, I tend to prepare everything as though it’s going to be a solo.’ It’s certainly true that composers often use the harp as a special colour within the orchestra, rather than treating it as part of a larger section. And cadenzas and other soloistic passages are not uncommon in the music of Ravel, Tchaikovsky and MAGICAL COLOUR Stravinsky. Performing as soloist out the Principal harpist Louise Johnson celebrates front of the orchestra does allow her instrument in all its guises and with all certain refreshing freedoms, however. ‘I have the freedom its challenges. to decide my own dynamics, the shape of phrases and other It’s a rare sight to see a harpist What’s the collective noun musical elements, rather and their instrument out the for a bunch of harpists then? than having to realise just the front of the orchestra for a An arpeggio? A cloud? ‘A conductor’s intentions.’ Legends concerto performance. When haggle,’ replies Louise, without of the Old Castle, then, will offer Principal Harp, Louise Johnson a moment’s hesitation and with Louise the chance to exercise her appears as soloist with us in July, a cheeky twinkle in her eye. own self-expression. ‘I’m free to performing Lee Bracegirdle’s And what are the challenges have my own ideas about this Legends of the Old Castle, it of having so many harpists work,’ she says with relish. will be as part of the World in the one program? ‘Tuning, There’s a lovely synergy Harp Congress – a weeklong tuning, tuning,’ she says. ‘Each in the fact that Simone celebration of this most ancient instrument needs to be tuned Young is conducting this and beguiling instrument. The before every rehearsal and every harpstravaganza – her own program features not one, but performance. With 47 strings on daughter is a gifted young two concertos for harp (the other each instrument you can imagine harpist. ‘I’ve no doubt we’re being Rodrigo’s Concierto serenata the tuning schedule we have to going to get along famously,’ performed by Sivan Magen), and create!’ smiles Louise. two orchestral works featuring Preparing for a concerto is Louise Johnson is a soloist in Harp multiple harps within the not necessarily so different to Legends on 24, 25 and 28 July. orchestra. preparing an orchestral part. Simone Young conducts.

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Photo: Julian Kingma Photo: Janine Harris Live attheCortilewithSSO Ask aMusician I alsofindthatifhaveacold overrides anydesiretosneeze. required inperformance are right–theconcentration sneeze inaconcert!Ithinkyou sometimes marvelthatIdon’t What agoodquestion!I Anne Irish I dowonder! I haven’t evernoticedit,but the intenseconcentration. doesn’t happenbecauseof a soloistmightdo.Maybeit sneeze, nottomentionwhat suddenly feelstheneedto concert whenheorshe musician doesinalive I amwonderingwhata Rosemary CurtinandElizabethNeville From Dobell, left:KirstenWilliams, Delbridge,Lawrence Lerida Sponsor Highlight

for theaudiencelistening. either tocolleaguesonstageor so asnottobetoodistracting, necessitate leavingthestage occasionally acoughingfitwill and there’snoescape.Very of mycolleagues.It’sawful, slow movement!),ashavemost always seemstohappeninthe in variousslowmovements(it I havehadmanycoughingfits seems tobeadifferentmatter. at work. be theadrenalineofperformance for afewminutes.Thatmust and IcanforgetthatI’munwell solo –suddenlymyheadclears especially ifit’sanimportant up, justbeforeIhavetoplay– and mysinusesareblocked Unfortunately coughing drama. Visit bit.ly/SSOLiveattheCortile take youonanoperaticjourneyofopulenceand when aquartetfeaturingoboistShelfaliPryorwill Live attheCortileeventonThursday7August, The eventsoldout,sobooknowforthenextSSO Embraceable You playedbymembersoftheSSO. Salutd’AmourandGershwin’squintets, Elgar’s movements fromtheBrahmsandMozartclarinet designed tomatchthemusic,whichincluded wine martinis,chestnutveloutésandtartesTatin, to awinter-timecanapémenu,includingmulled- Sydney. ExecutivechefTamas Palmer treatedguests Cortile barandloungeattheInterContinental second eventinourintimateconcertseriesthe food loversstillventuredoutintothecoldfor Winter isdefinitelyherebutplentyofmusical

invincible.’ the hero’smotif. It’s likebeing hit thatEflatchord whichis Strauss’s Heldenlebenwhenwe in ourfirstconcertwas told us:‘Myfavouritemoment Haochen Zhang. Stevelater Shanghai-based prodigy Emperor PianoConcertowith percussion, andBeethoven’s new fanfareforbrassand and Serpent,AndrewSchultz’s that openedwithSoundLur Henery prepareforaprogram Principal DoubleBassAlex Principal Tuba SteveRosséand Shanghai OrientalArtCenter, Warming upinthegrand NSW 2001. Reply Paid 4338,Sydney or bywritingtoBravo! @sydneysymphony.com ‘Ask aMusician’ atyoursay workings ofanorchestra? instruments ortheinner Have aquestionaboutmusic, Principal Piccolo Rosamund Plummer, all intheserviceofmusic. noticed thesemoments.We’re so I’mgladifyou’ve never overcoming thesechallenges, another levelofawareness. later broadcast,thenthatadds live onradio,orrecordedfor If theconcertisbeingbroadcast Professionalism means

1/07/14 1:18PM

Photo: Anna Ryan Regional Tour The Score TIARAS AND TOUCHDOWN Symphonies to Spare Orchestral concerts tend to have a standard ‘menu’: an overture or short concert opener, a concerto with a soloist, then the Photo: Anna Ryan symphony – the big work. Sometimes the concerto is so ‘symphonic’ we put it last (the Brahms piano concertos, for example), but most of the time that’s the pattern we follow. But at the end of August, David Robertson has taken a slightly different approach, with a program that looks – at first glance – as if it has nothing but symphonies! Brahms’s Third Symphony is serious music, sometimes melancholy, sometimes blissful, with a shimmering, floating In Cobar, the children dressed up for the orchestra, wearing tiaras and tinfoil crowns. pianissimo ending. We hope that, by playing it first rather than at We might have returned from I never experienced the sound the end, you’ll be able to hear it our third visit to China but of an orchestra,’ Sebastian said. with fresh ears. we’ve only just made it to Cobar! ‘It’s what I want to do for the rest Our ‘concerto’ with soloist Every year approximately 60 of my life, but I never played in Vadim Repin is Lalo’s Symphonie SSO players (including Fellows an orchestra until I started my espagnole, a ‘Spanish symphony’ and Sinfonia musicians) tour undergraduate degree.’ composed for Sarasate. Lalo to regional centres throughout This tour, 2000 children did imagined the violin ‘soaring NSW. Some of those towns and have a chance to experience the above the rigid form of an old cities are old friends – Dubbo, sound of an orchestra and a wide symphony’ and the result is Broken Hill – others are new variety of music – the big hit colourful and vibrant. acquaintances, like Cobar. It was was LiteSPEED by Australian And from Janácˇek there’s a a first visit that we won’t forget composer Matthew Hindson. sinfonietta. Technically, that’s a in a hurry: Cobar takes its footy ‘The music was obviously very ‘little symphony’ although this seriously, so having our concert stimulating for our “groovy” one is little only in duration – start during the State of Origin little bodies,’ praised a teacher the orchestra is huge, with 12 game presented a challenge. from Morgan St Public School, trumpets! We’ve placed it last Cobar’s mayor Lillian Brady Broken Hill. Kim Waldock, because it’s so striking and was thrilled the orchestra was SSO Director of Learning and spectacular that really nothing in town but was ‘keeping an eye Engagement, says ‘we met could possibly follow it. on the score, don’t you worry’. students with some experience Conductor Daniel Carter is also of orchestral music but the Symphonic Inspiration a footy tragic: ‘It’s such a great majority – especially in Cobar Emirates Metro Series cultural mix. To come somewhere and Broken Hill – had absolutely 29 August, 8pm like Cobar and in one night no idea of what to expect. Staff Great Classics to experience great romantic and children of Cobar Public 30 August, 2pm Russian masterworks that are School created an “event”, Mondays @ 7 over 150 years old – and a game arriving in tinfoil bow ties and 1 September, 7pm of NRL.’ Everyone was still able tiaras, even the principal wore a to get to the pub in time to see dinner suit!’ the Blues triumph. In Broken Hill, the city’s Our return to Dubbo allowed Community Orchestra and Brass Sebastian Dunn, a horn player in Band had great fun rehearsing Photo: Gela Megrelidze our Sinfonia training orchestra, with the SSO players. And five to perform in his home town, SSO players gave a lesson for not just in the public concert the School of the Air in Broken but also playing for his younger Hill, which was later broadcast brother and friends at his old by ABC Regional Radio to other school. ‘Coming from Dubbo, children in remote areas. Vadim Repin

SSO Bravo! #5 2014 Insert.indd 3 1/07/14 1:18 PM SUN 3 AUG, 1.30pm Stay Tuned e-newsletter to receive CODA Turramurra Uniting Church the special booking code. The Chanterelle Quartet plays bit.ly/EmiratesDubaiStopoverSSO SSO CHINA TOUR BLOG string quartets by Haydn, Lalor and Catch up on all the highlights of our Mozart. STUDENT RUSH third tour to China, which took in WED 6 AUG, 1.15pm Did you know we offer student rush Shanghai, Guangzhou, Shenzhen, St James’, King St tickets to many of our concerts? Jinan, Hangzhou, Zi’an and Beijing, Janet Webb leads a program of Follow our Facebook page to find where we performed in the famous wind chamber music treats. Entry out when. Tickets are always strictly National Centre for the Performing by donation. limited but you’ll often spend no Arts in Beijing (more commonly WED 6 AUG, 7pm, Verbrugghen Hall more than $15. Bargain! referred to as ‘The Egg’!). The SSO Brass Ensemble performs NEW ARRIVALS Sharing in the tour spirit, the staff music by Barber, Terracini, back in Sydney invited chef Gary Rautavaara and Copland at the Our Bravo! editor (and regular Au to visit our office in the Rocks Sydney Conservatorium. guest harpist) Genevieve Huppert and demonstrate the ancient art is taking a few issues off to enjoy SUMMER STOPOVERS IN of making Dragon Beard Candy. the company of newborn Felix DUBAI Check out the blog for the photo Islay. And Associate Principal evidence, including some very Emirates has announced a free Cello Henry Varema has been in sticky ‘beards’. 24-hour stopover package for Estonia for the birth of his daughter. blog.ssoontour.com passengers travelling from Australia Congratulations! on eligible flights to destinations SSO CHAMBER MUSIC beyond Dubai. With transfers, THANK YOU Fancy a more intimate setting for a 36-hour UAE entry visa and We are extremely grateful to the your next concert? Our musicians a 24-hour hotel stay, including many donors who responded to are busy performing chamber music breakfast, this is your chance our recent end-of-financial-year alongside the big concerts… to explore the vibrant city that appeal. Your support will enable us WED 23 JUL, 1.15pm Emirates calls home. As Principal to achieve our growing educational St James’, King St Partner of the SSO, Emirates offers and artistic goals and provide you Our Fellows perform the Elgar our patrons an exclusive 10% online in our audience and many students String Quartet and a new piece by discount on all Emirates flights. throughout NSW with exciting and James Wade. Entry by donation. Make sure you’ve signed up to our fulfilling musical experiences.

GUEST EDITOR Jacqui Smith | MUSICIAN PROFILE Genevieve Huppert sydneysymphony.com/bravo

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