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2012 Annual Report
SYDNEY SYMPHONY ANNUAL REPORT 2012 B sydney symphony 2012 annual report annual sydney symphony 2012 1 THE STORY OF THE SYDNEY SYMPHONY ONCE AGAIN DEMONSTRATES THE COMPANY’S ABILITY TO ADAPT, STAY RELEVANT AND CONTINUE TO FLOURISH. Kees Boersma, Principal Double Bass with student at Playerlink Albury. 2 SYDNEY SYMPHONY 2012 ANNUAL REPORT IN ITS 80TH ANNIVERSARY YEAR THE SYDNEY SYMPHONY CELEBRATES SUCCESS, RESILIENCE & GROWTH Sydney Symphony 4 Musicians 2012 6 Year in Review Chairman’s 8 Review Managing 9 Director’s Review Clockwise from top left: Sydney Five Year Symphony schools concert at the 11 Performance ABC, Ultimo; Carolyn Harris, Tutti Flute, digital Playerlink presentation Summary to Albury at the Telstra Experience Centre, Sydney; Vladimir Ashkenazy, Message from Anne-Sophie Mutter and the Sydney 12 Vladimir Ashkenazy Symphony at the Sydney Opera House; Mahler Symphony No. 2 CD cover with Vladimir Ashkenazy; Cellist Jian Wang performs with the Sydney 14 Community Symphony in Shanghai; Sydney Symphony brass section celebrate the 80 year anniversary of the Sydney Harbour Bridge. Supporters – 18 Donors & Sponsors 4 SYDNEY SYMPHONY MUSICIANS 2012 CONDUCTOR Vladimir Ashkenazy Principal Conductor & Artistic Advisor Sponsored by Emirates PATRON ASSISTANT CONDUCTOR CONCERTMASTER Her Excellency Professor Jessica Cottis Dene Olding Marie Bashir AC CVO Supported by Premier Partner Credit Suisse and Symphony Services International FIRST VIOLINS VIOLAS HARP HORNS Sun Yi Roger Benedict Louise Johnson Robert Johnson Associate Concertmaster Principal -
Sydney Conservatorium of Music Postgraduate Handbook
2008 Postgraduate handbook Sydney Conservatorium of Music Postgraduate handbook Set a course for Handbooks online … visit www.usyd.edu.au/handbooks Acknowledgements Acknowledgements The Arms of the University Sidere mens eadem mutato Though the constellation may change the spirit remains the same Copyright Disclaimers This work is copyright. No material anywhere in this work may be 1. The material in this handbook may contain references to persons copied, reproduced or further disseminated ± unless for private use who are deceased. or study ± without the express and written permission of the legal 2. The information in this handbook was as accurate as possible at holder of that copyright. The information in this handbook is not to be the time of printing. The University reserves the right to make used for commercial purposes. changes to the information in this handbook, including prerequisites for units of study, as appropriate. Students should Official course information check with faculties for current, detailed information regarding Faculty handbooks and their respective online updates along with the units of study. University of Sydney Calendar form the official legal source of Price information relating to study at the University of Sydney. Please refer to the following websites: The price of this handbook can be found on the back cover and is in www.usyd.edu.au/handbooks Australian dollars. The price includes GST. www.usyd.edu.au/calendar Handbook purchases Amendments You can purchase handbooks at the Student Centre, or online at -
Genevieve Lacey Recorder Genevieve Lacey Is a Recorder Virtuoso
Ancient and new! Traversing a thousand years of music for recorder, leading Australian performer Genevieve Lacey weaves together an enticing program of traditional tunes, baroque classics and newly composed music. Genevieve Lacey Recorder Genevieve Lacey is a recorder virtuoso. Her repertoire spans ten centuries, and she collaborates on projects as diverse as her medieval duo with Poul Høxbro, performances with the Black Arm Band, and her role in Barrie Kosky’s production of Liza Lim’s opera ‘The Navigator’. Genevieve has a substantial recording history with ABC Classics, and her newest album, ‘weaver of fictions’, was released in 2008. As a concerto soloist Genevieve has appeared with the Australian Chamber Orchestra, Australian Brandenburg Orchestra, Academy of Ancient Music (UK), English Concert (UK), Malaysian Philharmonic Orchestra and the Melbourne, West Australian, Tasmanian and Queensland Symphony Orchestras. Genevieve has performed at all the major Australian arts festivals and her European festival appearances have included the Proms, Klangboden Wien, Copenhagen Summer, Sablé, Montalbane, MaerzMusik, Europäisches Musikfest, Mitte Europa, Spitalfields, Cheltenham, Warwick, Lichfield and Huddersfield. Genevieve is strongly committed to contemporary music and collaborations on new works include those with composers Brett Dean, Erkki‐Sven Tuur, Moritz Eggert, Elena Kats‐ Chernin, James Ledger, John Rodgers, Damian Barbeler, Liza Lim, John Surman, Maurizio Pisati, Jason Yarde, Steve Adam, Max de Wardener, Bob Scott and Andrew Ford. As Artistic Director, Genevieve will direct the 2010 and 2012 Four Winds Festivals. In 2009, she will also design a composer mentorship/residency program for APRA‐AMCOS, and program a season of concerts for the 3MBS inaugural Musical Portraits series. -
Compositions by Matthew Hindson
Compositions by Matthew Hindson Matthew Hindson, M. Mus. (Melb), B.Mus. (Hons.) (Syd) A folio of original musical compositions and accompanying introductory essay submitted in fulfilment of the requirements of the degree of Doctor of Philosophy Department of Music University of Sydney July 2001 Volume I: Introductory Essay N.B.: This submission comprises a folio of creative work. It is in two volumes and includes two accompanying compact discs, musical scores and an introductory essay. © Matthew Hindson Certification I certify that this work has not been submitted for a degree to any other university or institution and, to the best of my knowledge and belief, contains no material previously published or written by any other person, except where due references has been made in the text. ____________________________ Matthew Hindson 31st July 2001 Possible works to be included on the CD and in the folio of compositions: • Speed (1996) – orchestra – 16 minutes [YES] • RPM (1996) – orchestra – 4 minutes [DO I NEED THIS ONE?] • Techno-Logic (1997) – string quartet – [no recording] • technologic 1-2 (1997) – string orchestra – 8 minutes [YES] • Night Pieces (1998) – soprano saxophone and piano – 8 minutes [YES] • Rush – guitar and string quartet – 9 minutes [YES] • In Memoriam: Concerto for Amplified Cello and Orchestra (2000) – 34 minutes [YES] • Moments of Plastic Jubilation (2000)– solo piano – 5 minutes [???] • Always on Time (2001) – violin and cello – 2 minutes [???] • The Rave and the Nightingale (2001) – string qt and string orch – 18 min. [???] [CONCERNS: IS THIS CONCENTRATED TOO MUCH ON ORCHESTRAL AND STRING WORKS? – THEY ARE THE BEST PIECES THOUGH] Chapter 1: Introduction As an Australian composer living at the end of the twentieth / start of the twenty-first centuries, I believe that there is an obligation embedded in musical art that is created in this era: to impart and explore musical and extra-musical ideas that are directly relevant to, and representative of, the society in which I live. -
Impact Report 2019 Impact Report
2019 Impact Report 2019 Impact Report 1 Sydney Symphony Orchestra 2019 Impact Report “ Simone Young and the Sydney Symphony Orchestra’s outstanding interpretation captured its distinctive structure and imaginative folkloric atmosphere. The sumptuous string sonorities, evocative woodwind calls and polished brass chords highlighted the young Mahler’s distinctive orchestral sound-world.” The Australian, December 2019 Mahler’s Das klagende Lied with (L–R) Brett Weymark, Simone Young, Andrew Collis, Steve Davislim, Eleanor Lyons and Michaela Schuster. (Sydney Opera House, December 2019) Photo: Jay Patel Sydney Symphony Orchestra 2019 Impact Report Table of Contents 2019 at a Glance 06 Critical Acclaim 08 Chair’s Report 10 CEO’s Report 12 2019 Artistic Highlights 14 The Orchestra 18 Farewelling David Robertson 20 Welcome, Simone Young 22 50 Fanfares 24 Sydney Symphony Orchestra Fellowship 28 Building Audiences for Orchestral Music 30 Serving Our State 34 Acknowledging Your Support 38 Business Performance 40 2019 Annual Fund Donors 42 Sponsor Salute 46 Sydney Symphony Under the Stars. (Parramatta Park, January 2019) Photo: Victor Frankowski 4 5 Sydney Symphony Orchestra 2019 Impact Report 2019 at a Glance 146 Schools participated in Sydney Symphony Orchestra education programs 33,000 Students and Teachers 19,700 engaged in Sydney Symphony Students 234 Orchestra education programs attended Sydney Symphony $19.5 performances Orchestra concerts 64% in Australia of revenue Million self-generated in box office revenue 3,100 Hours of livestream concerts -
Michael Finnissy Singular Voices
Michael Finnissy Singular Voices 1 Lord Melbourne †* 15:40 2 Song 1 5:29 3 Song 16 4:57 4 Song 11 * 3:02 5 Song 14 3:11 6 Same as We 7:42 7 Song 15 7:15 Beuk o’ Newcassel Sangs †* 8 I. Up the Raw, maw bonny 2:21 9 II. I thought to marry a parson 1:39 10 III. Buy broom buzzems 3:18 11 IV. A’ the neet ower an’ ower 1:55 12 V. As me an’ me marra was gannin’ ta wark 1:54 13 VI. There’s Quayside fer sailors 1:19 14 VII. It’s O but aw ken weel 3:17 Total Duration including pauses 63:05 Clare Lesser soprano David Lesser piano † Carl Rosman clarinet * Michael Finnissy – A Singular Voice by David Lesser The works recorded here present an overview of Michael Finnissy’s continuing engagement with the expressive and lyrical possibilities of the solo soprano voice over a period of more than 20 years. It also explores the different ways that the composer has sought to ‘open-up’ the multiple tradition/s of both solo unaccompanied song, with its universal connotations of different folk and spiritual practices, and the ‘classical’ duo of voice and piano by introducing the clarinet, supremely Romantic in its lyrical shadowing of, and counterpoints to, the voice in Song 11 (1969-71) and Lord Melbourne (1980), and in an altogether more abrasive, even aggressive, way in the microtonal keenings and rantings of the rarely used and notoriously awkward C clarinet in Beuk O’ Newcassel Sangs (1988). -
The Australian Music Centre Website
A select guide to Australian music theatre In Repertoire 2 I Dear Reader This guide takes you on a journey through contemporary Australian music theatre works that are currently available for touring. These and additional works in repertoire can all be found in the data base on pages 24 - 25 with contact addresses and other information. A few significant works no longer in repertoire are mentioned in the overview essay on pages 22-23. Many more are documented in Arias, Recent Australian Music Theatre (Red House Editions, 1997). A sample listing of works in progress is reported on page 26. On the same page a basic set of references can be found. A longer list is available on the Australian Music Centre website http://www.amcoz.com.au/amc The Editor Editor Keith Gallasch Assistant Editors Kirsten Krauth, Virginia Baxter Design i2i design, Sydney Cover photographs Left Arena Theatre Company, Eat Your Young, photo Jeff Busby Right Top Melbourne International Festival of the Arts, The Ghost Wife, photo Jeff Busby Right Bottom Queensland Theatre Company, The Sunshine Club, photo Rob MacColl All other photography credits page 27 Produced by RealTime for the Australia Council, the Federal Government’s arts funding and advisory body Australia Council PO Box 788 Strawberry Hills NSW Australia 2012 61 2 9215 9000 fax 61 2 9215 9111 [email protected] http://www.ozco.gov.au RealTime PO Box A2246 Sydney South NSW, Australia 1235 61 2 9283 2723 fax 61 2 9283 2724 [email protected] http://www.rtimearts.com.au/~opencity/ February 2000 ISBN 0 642 47222 X With the assistance of the Australian Music Centre 3 music theatre opera music+installation+performance Introduction The remarkable growth of Australian music theatre as we enter the new millennium appears to be exponential, manifesting itself in many different and surprising ways - as chamber opera, as the musical, as installation or site specific performance, and as pervasive musical scores and sound design in an increasing number of plays. -
Liza Lim Olga Neuwirth Serge Prokofiev Orchestre Symphonique Du Swr Baden-Baden & Freiburg Kazushi Ono William Barton, Gunhild Ott, Håkan Hardenberger
LIZA LIM OLGA NEUWIRTH SERGE PROKOFIEV ORCHESTRE SYMPHONIQUE DU SWR BADEN-BADEN & FREIBURG KAZUSHI ONO WILLIAM BARTON, GUNHILD OTT, HÅKAN HARDENBERGER THÉÂTRE DU CHÂTELET O NOVEMBRE NMMP © David Young Liza Lim Souffles Olga Neuwirth Texte de Laurent Feneyrou Serge Prokofiev Ces œuvres nous racontent toutes trois une histoire, autour du souffle, de la trompe,desonembouchure,deslèvresquil’animentetdesimages,poétiques ou triomphantes, qu’elle évoque. Un égal souci de narration les traverse, em- Liza Lim pruntant à la tradition épique du symphonisme russe, ou au kalyuyuru du The Compass, désert australien – ce mot par lequel les aborigènes désignent le miroitement pour didgeridoo, flûte et orchestre de l’eau qui tombe sur des lits asséchés et la fluidité des chants entendus en rêve –, ou encore à un quotidien équivoque, hybride, menaçant, rendu à son Olga Neuwirth absurdité, tout en césures, proliférations et décalages impromptus. ...miramondo multiplo..., Endebrèvesscènesmusicales,suscitantbiendesimagesàl’écoute,...miramon- pour trompette et orchestre do multiplo... saisit toute l’hétérogénéité des résonances de la trompette, un instrument qu’Olga Neuwirth étudia dès sept ans. De la grandiloquence par- entracte foisvantardedesontimbreàl’orphéonauxéchosfelliniens,entrefiguresbaro- ques et autres lignes suaves, sorties de musiques de film, le vampirisme des ci- Serge Prokofiev tationsetleurmontagen’yexcluentnilatorsion,nilasalissureduson,nil’ironie, Sixième Symphonie, en mi bémol, ni même, en deçà, la douceur révolue des années d’enfance, -
Carnival of Dangerous Creatures
MEET THE ORCHESTRA CARNIVAL OF DANGEROUS CREATURES Teaching and Learning Guide (Levels 7–12) mso.com.au/education DISCOVER MEET THE ORCHESTRA: CARNIVAL OF DANGEROUS CREATURES CONTENTS 1. REPERTOIRE 3 2. ARTIST INFORMATION 4 3. A WORD FROM OUR ARTISTS 6 4. BEFORE THE REHEARSAL 8 5. SAMPLE LESSON PLANS LESSON PLAN 1: MSO MUSICIANS AND THEIR INSTRUMENTS 9 LESSON PLAN 2: INTRODUCING THE COMPOSERS! 10 LESSON PLAN 3: COMPOSITION CHALLENGE 11 LESSON PLAN 4: ANALYSING THEA ROSSEN’S SOUNDS OF THE REEF 13 LESSON PLAN 5: POST-CONCERT REFLECTION 15 6. APPENDICES 16 7. LEARN MORE 18 Front page: Johannes Moser, cello MEET THE ORCHESTRA: CARNIVAL OF DANGEROUS CREATURES MSO 2019 TEACHING AND LEARNING GUIDE – 2 SECTION 1 REPERTOIRE The repertoire featured in this concert is: Note: Hindson’s Dangerous Creatures work, composed in 2008, has never been recorded! While a transposition of the orchestral score can be viewed here courtesy of the HINDSON Dangerous Creatures (excerpts: Snakepit, Australian Music Centre, we very much look forward to Spiders, Rhinoceros Tango, Army Ants, Big Black introducing you to the work in-concert. Bear, Scorpions, Humans) Likewise, Thea Rossen’s work, Sounds of the Reef, was ROSSEN Sounds of the Reef developed during Rossen’s final year at the Australian National Academy of Music (ANAM). MSO has made SAINT-SAËNS The Carnival of the Animals available a video recording of the work which can be accessed in Section 4 of this guide. (excerpts: Introduction and Royal March of the Lion, The Swan, Aviary, Fossils, Aquarium, Kangaroos) A topical contemporary work particularly appropriate for analysis tasks, Rossen addresses and assesses issues Note: MSO reserves the right to tweak repertoire at any of climate change and humans’ impact on the natural time prior to the commencement of the concert. -
Canberra International Music Festival 27 April – 6 May 2018
CANBERRA INTERNATIONAL MUSIC FESTIVAL 27 APRIL – 6 MAY 2018 Experience the music adventure CONCERT CALENDAR PAGE 1 OPENING GALA 7.30 pm Friday April 27 Fitters’ Workshop 5 Personal Injury Lawyers 2 DAPPER'S DELIGHT 11 am Saturday April 28 Fitters’ Workshop 9 3 ROGER WOODWARD I 3 pm Saturday April 28 Fitters’ Workshop 11 4 FOUR SEASONS 8 pm Saturday April 28 Fitters’ Workshop 15 5 BACH ON SUNDAY 11 am Sunday April 29 Fitters’ Workshop 19 National Gallery of Australia 6 ENOCH ARDEN 3 pm Sunday April 29 23 Instrumental Fairfax Theatre 7 CLASSIC SOUVENIR 6.30 pm Sunday April 29 Fitters’ Workshop 27 Starts at 8 FROM THE LETTER TO THE LAW 11 am Monday April 30 31 in protecting the National Library of Australia 9 ISRAEL IN EGYPT 6.30 pm Monday April 30 Fitters’ Workshop 37 10 am, 10 REQUIEM Tuesday May 1 Australian War Memorial 41 11.30 am rights of more 11 ROGER WOODWARD II 6.30 pm Tuesday May 1 Fitters’ Workshop 45 12 GLASS GAMES 12 pm Wednesday May 2 Canberra Glassworks 49 Canberrans. 13 ULYSSES NOW 6.30 pm Wednesday May 2 Fitters’ Workshop 52 8.30 am - –– TASTE OF THE COUNTRY Thursday May 3 Annual Festival Trip 57 4 pm 14 ORAVA QUARTET 6 pm Thursday May 3 Fitters’ Workshop 59 THE ASPIRATIONS OF A J O 15 8 pm Thursday May 3 Canberra Theatre 63 M R DAISE MORROW At Maliganis Edwards Johnson, we’ve seen 2018 Canberra 16 RETURN TO BASICS 11 am Friday May 4 Canberra Grammar School 65 firsthand how an injury can impact lives. -
An Interview with Liza Lim Madeline Roycroft
2017 © Madeline Roycroft, Context 42 (2017): 85–90. COMPOSER INTERVIEW The Ecology of Collaboration: An Interview with Liza Lim Madeline Roycroft Liza Lim is one of Australia’s leading composers. Born in Perth in 1966, she completed her BMus at the Victorian College of the Arts, MMus at the University of Melbourne and received her PhD from the University of Queensland. As Director of the Centre for Research in New Music at the University of Huddersfield from 2008–2017, Liza Lim established the highly regarded Divergence Press and CeReNeM Journals, as well as the Huddersfield Contempor- ary Records label. Now based in Melbourne, she maintains a part-time role at Huddersfield and from 2017 is Professor of Composition at the Sydney Conservatorium of Music. She is also Visiting Professor of Composition at the Shanghai Conservatory during 2017. Lim has been commissioned by some of the world’s pre-eminent orchestras, including the Los Angeles Philharmonic, BBC Symphony, and Bavarian Radio Orchestra, and she was composer in residence with the Sydney Symphony from 2005–2007. She has collaborated with ensembles such as MusikFabrik, Ensemble Intercontemporain and Ensemble Modern, and has been particularly associated with the ELISION Ensemble since the group’s inception. Lim has composed three operas: The Oresteia (1993), Moon Spirit Feasting (1999) and The Navigator (2008), all of which ELISION have performed in seasons across Melbourne, Brisbane, Adelaide, 85 86 Context 42 (2017) Tokyo, Moscow, Paris, Zurich and Berlin. Her fourth opera, Tree of Codes (2015), commissioned and presented by Cologne Opera, Musikfabrik and Hellerau in Cologne and Dresden, was described as ‘a major contribution to the music theatre of our time.’ Liza Lim connects her compositional practice to areas of thought and knowledge such as Australian Indigenous aesthetics, Asian ritual forms, Sufi poetics, and the textilic arts of weaving and knot-making. -
Sydney Symphony Orchestra | Australia the Crescent Parramatta Park 20 January 120 Mins
SYMPHONY UNDER THESYDNEY SYMPHONY ORCHESTRA STARS | AUSTRALIA Photo: Jamie Williams (Parramatta Park, 2017) Park, Williams (Parramatta Jamie Photo: SYMPHONY UNDER THE STARS SYDNEY SYMPHONY ORCHESTRA | AUSTRALIA THE CRESCENT PARRAMATTA PARK 20 JANUARY 120 MINS Benjamin Northey conductor BEFORE THE MAIN EVENT Paul Goodchild trumpet Supporting the Sydney Symphony Orchestra tonight, Sydney Symphony Orchestra Western Sydney’s brightest young classical musicians will take to Parramatta Park’s Crescent stage from 6.30pm PROGRAM for a high-energy, uplifting program of popular classics Hector Berlioz (French, 1803–1869) as you’ve never seen before. You’ll witness two bold and Roman Carnival – Overture exciting ensembles presented by Resonance Concerts and Camille Saint-Saëns (French, 1835–1921) Events: one brass and one percussion, featuring talented Danse macabre students ranging from 15 years to emerging professional Claude Debussy (French, 1862–1918) performers in their 20s. orchestrated by Lucien Cailliet Clair de lune (Moonlight) Led by artistic directors Cameron Gregory and Paul Joseph Haydn (Austrian, 1732–1809) Goodchild, the young musicians will also be mentored First movement (Allegro) from by Sydney Symphony Orchestra brass and percussion Trumpet Concerto in E flat major Fellows as part of their artistic development. Breaking John Williams (American, born 1932) from tradition, the percussion ensemble will feature a less Adventures on Earth from conventional combination of sounds, including a DJ and the E.T. the Extra-Terrestrial vocal stylings of renowned Australian beatboxer Chris Gale. The brass ensemble will also perform a range of popular INTERVAL excerpts from the ballet La Peri and the opera Carmen, Mikhail Glinka (Russian, 1804–1857) ahead of a climactic finale.