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Donald Runnicles Conducts Fauré's Requiem

Donald Runnicles Conducts Fauré's Requiem

CONCERT DIARY

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Welcome to the Abercrombie & Kent Masters Series. Welcome to the latest instalment in the Abercrombie & Kent Masters Series, Fauré’s inspirational , one of the most beloved sacred works in the performance repertoire. It will be a thrill to experience this radiant piece under the baton of Donald Runnicles, sure to surprise and delight all who are privileged to hear it, as a Sydney Symphony Orchestra concert is known to do. With the program also including some of Strauss’ greatest works in Death & Transfiguration and his , featuring the voice of Canada’s sweetheart Erin Wall, this is sure to be an evening full of moving musical expression. An unforgettable journey, like a great symphony, often arises from a single poetic idea. Perhaps it is a lifelong dream to explore the wildlife-rich plains of Africa, a desire to celebrate a milestone birthday or anniversary amid Antarctic ice floes, or to revel in a romantic getaway in one of the charismatic capitals or regional cities of Europe. At Abercrombie & Kent, we’re in the business of turning singular travel ideas into incredible adventures, creating memories that, much like the poignant pieces in tonight’s program, will last a lifetime. We take the world’s most discerning and inquisitive travellers on truly immersive private and small group journeys to more than 100 countries. Some of our most popular journeys visit the ancient wonders of Egypt, immerse guests in the colourful cultures of India, and explore the world’s most spectacular coastlines on luxury expedition cruises to the Aegean, the Mediterranean, the Baltic, the Sea of Japan, the Kimberley coast, the Arctic and Antarctica. Every A&K journey, like every evening with the Sydney Symphony Orchestra, fills guests with a sense of awe and adventure, delivering truly extraordinary experiences. I hope you enjoy tonight’s performance, and leave feeling inspired to evolve your own poetic ideas into treasured adventures. Enjoy exploring!

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ABERCROMBIE & KENT MASTERS SERIES WEDNESDAY 23 OCTOBER, 8PM FRIDAY 25 OCTOBER, 8PM SATURDAY 26 OCTOBER, 8PM

SYDNEY OPERA HOUSE CONCERT HALL The Lowy Chair of Chief Conductor and Artistic Director

Donald Runnicles conducts Fauré’s Requiem Music of Inspiration

Donald Runnicles conductor Erin Wall soprano Samuel Dundas Friday’s concert will be broadcast on Sydney Philharmonia ABC Classic on 3 November at 12 noon, and again on 27 November at 8pm. (1864–1949) Pre-concert talk by Sam Torrens at Tod und Verklärung (Death and Transfiguration) 7.15pm in the Northern Foyer.

Four Last Songs (Vier letzte Lieder) Estimated durations: 23 minutes, Frühling (Spring) 24 minutes, 20 minute interval, 39 minutes. September

Beim Schlafengehen (On Going to Sleep) The concert will conclude at Im Abendrot (In Sunset’s Glow) approximately 10pm.

INTERVAL

GABRIEL FAURÉ (1845–1924) Requiem Op.48 (1900 version) THE ARTISTS © SIMON PAULY © KEITH SAUNDERS KEITH ©

Donald Runnicles conductor PRINCIPAL GUEST CONDUCTOR, SYDNEY SYMPHONY

Sydney Symphony Principal Guest Conductor Der Zwerg, and Strauss’ Elektra at the Lyric Opera Donald Runnicles is General Music Director of the of Chicago. In summer 2018, he conducted the Deutsche Oper Berlin and Music Director of the complete Ring Cycle with the San Francisco Grand Teton Music Festival (Jackson, Wyoming), Opera, and led the World Orchestra for Peace as well as Principal Guest Conductor of the Atlanta performing Beethoven’s Ninth Symphony at Symphony Orchestra. He is also Conductor the Proms. Emeritus of the BBC Scottish Symphony Beyond his annual commitments, Donald Orchestra, having served as its Chief Conductor Runnicles is active in symphonic repertoire and from 2009-2016. He enjoys close relationships guest conducts some of the world’s finest with several of the world’s most significant opera symphony orchestras. Though fully engaged with companies and orchestras and is especially five titled positions, he maintains regular guest celebrated for his interpretations of Romantic and relationships with the Berlin Philharmonic, post-Romantic symphonic and opera repertoire. London Symphony Orchestra, and the Recent conducting appearances have included Philadelphia Orchestra. the Deutsche Oper’s appearance in a concert From 1992 to 2008, Donald Runnicles was performance of Manon Lescaut at the Music Director of the . During Festival, with the Toronto his tenure, he led more than 60 productions Symphony Orchestra and Mahler’s Song of the including the world premieres of ’ Earth with the BBC Scottish Symphony Orchestra. and Conrad Susa’s Les Liaisons Other 2018-19 season highlights included the dangereuses. Recent recordings include Glanert’s world premiere of Detlev Glanert’s Oceane at the L’Invisible and James MacMillan’s Violin Concerto Deutsche Oper along with new Deutsche Oper (with Vadim Repin) and Symphony No.4. productions of Berg’s and Zemlinsky’s

6 © DAVID NOLES © BENJAMIN EALOVEGA © KRISTIN HOEBERMANN KRISTIN ©

Erin Wall soprano Samuel Dundas baritone

Erin Wall’s repertoire spans three centuries, from A graduate of the Melba Conservatorium of Music, Mozart and Beethoven to Britten and Richard Samuel Dundas’ performance experience Strauss. She has sung in many of the world’s great encompasses opera, musical theatre and concerts. opera houses, including the , He made his opera debut with Opera Queensland, , State Opera, Opéra National de before joining Victorian Opera’s Artist Development Paris, and , and appears in program and subsequently ’s Moffatt concert with leading conductors and orchestras Oxenbould Young Artist program. Samuel has since worldwide. performed leading roles with Opera Australia, West Erin Wall’s 2018-19 season included role debuts Australian Opera, Opera and Lost & as Elettra in for Lyric Opera of Chicago Found Opera. In concert Samuel has sung throughout and Chrysothemis in Richard Strauss’ Elektra at the Australia and New Zealand, including with the Sydney, . She also sang Marguerite Melbourne, Adelaide, Tasmanian and West Australian in with the Washington National Opera and the symphony orchestras, the Australian Youth Countess in in concert with Orchestra, Sydney Philharmonia Choirs and the the National Arts Center, Ottawa. Concert . Samuel has won appearances included the Four Last Songs with the the 2013 Lady Fairfax New York Scholarship and the Chicago Symphony and Edward Gardner, Mahler’s inaugural Dame Heather Begg Award in 2014. Symphony No. 8 with the Vienna Philharmonic and This season, Samuel performs the title role in a Franz Welser-Möst, Britten’s with the new opera Ned Kelly (Styles) commissioned by Lost & Royal Scottish National Orchestra and Peter Found Opera and Perth Festival, Marcello in La Oundjian at the BBC Proms and a European tour with Bohème and Guglielmo in Così fan tutte for Opera the National Arts Center Orchestra in which she Australia, Dancairo and Morales in for State featured in Claude Vivier’s Lonely Child and Zosha di Opera of South Australia and Count Carl Magnus Malcolm in A Little Night Music for Victorian Opera. Castri’s Dear Life. Forthcoming appearances include Other recent engagements include Papageno (The Massenet’s Thaïs in concert with the Toronto Magic ) for New Zealand Opera, Marcello (La Symphony Orchestra and Sir Andrew Davis, Mahler’s Bohème) for Handa Opera on Sydney Harbour, Enrico Symphony No.8 with the Atlanta Symphony (Lucia di Lammermoor), Count Almaviva (The Orchestra, and with and Marriage of Figaro) and Valentin (Faust) for West the Bergen Philharmonic in London. Australian Opera, and Marcello (La Bohème) in Hanoi, Erin Wall studied at Western Washington Vietnam. University, Rice University, the Aspen Music Festival, In 2020, Samuel’s roles will include Marcello in and Music Academy of the West. She began her La Bohème for Opera Australia and Frank-Fritz in professional career in 2001 as a member of the Ryan for Victorian Opera. Opera Center at the Lyric Opera of Chicago.

7 Brett Weymark Artistic and Music Director Elizabeth Scott Music Director, VOX Claire Howard Race Assistant Chorus Master and Principal Rehearsal Pianist Sydney Philharmonia Choirs presents the art of choral singing at the highest standard, and develops the talents of those with a passion for singing in Sydney and beyond. Founded in 1920, it has become Australia’s finest choral organisation and performs regularly at the Sydney Opera House. Led by Music Director Brett Weymark since 2003, Sydney Philharmonia Choirs comprises of four regular choirs that perform a range of repertoire from choral classics to musical theatre and commissions by Australian composers. It presents its own annual season and collaborates with leading conductors, soloists and orchestras in Australia and overseas. In 2002, Sydney Philharmonia Choirs was the first Australian to sing at the BBC Proms (Mahler’s Eighth Symphony under ), returning again in 2010. The choirs perform in the Sydney Symphony Orchestra’s subscription series every year. In 2018 Sydney Philharmonia Choirs performed in Beethoven Mass in C, The Bernstein Songbook, Verdi’s Requiem, The Last Days of Socrates, Beethoven Nine and Last Night of the Proms. This year they have sung in Peter Grimes in Concert and will also sing in Fauré’s Requiem and Mahler’s Klagende Lied under . Highlights of Sydney Philharmonia Choirs own concert series this year include Bach and Mozart at Easter, Music from the Movies, Dvořák’s Requiem, and Messiah in December as well as PopUp Sing, their free singing workshops held at Carriageworks and Riverside Theatre. For more information visit sydneyphilharmonia.com.au Marlowe Fitzpatrick, Bradley Gilchrist & Estella Roche Rehearsal Pianists

SOPRANOS Jayne Oishi Lindy Jefferson Giles Donovan Paul Couvret Peta Andreone Nathalie O’Toole Tracey Jordan Robert Elliott Philip Crenigan Shelley Andrews Dympna Paterson Janina Key Blake Garner Robert Cunningham Mirei Ballinger Linda Peach Rachel Maiden Denys Gillespie Ian Davies Eva Berger Marina Amelie Pelizzaro Atalya Masi Tony Green Nicholas Davison Georgina Bitcon Georgia Rivers Hannah Mason Steven Hankey Benoit Deney Anne Blake Allison Rowlands Clara Mazzone Nick Hazell James Devenish Jodie Boehme Yukiko Saeda Donna McIntosh Tom Hazell Roderick Enriquez Nikki Bogard Kelly Ann Smith Janice McKeand Jude Holdsworth David Fisher Natalie Brown Katherine Thompson Maggie McKelvey Michael Kertesz Tom Forrester-Paton Lucy Bruton Sarah Thompson Tijana Miljovska James Lane Simon Harris Abbey Carter Narelle Vance Perry Penelope Morris Greg Lawler Derek Hodgkins Pam Cunningham Jessica Veliscek Carolan Marj O’Callaghan Selwyn Lemos Bruce Lane Rouna Daley Laura Wade Beverley Price Vincent Lo Johann Loibl Susan Farrell Genni Wetherell Jane Prosser Joao Lourenco Jason McFarland Rebecca Fitzpatrick Jacqui Wilkins Jolanda Rotteveel Frank Maio Mark McGoldrick Liz Fuggle Virginia Rowlands Dimitry Moraitis Robert Mitchell Rebecca Gladys-Lee ALTOS Susannah Russell George Panaretos Lei Mu Anamaria Gomez Leonie Armitage Debbie Scholem Adrien Piron Eric Nelson Natalie Gooneratne Meaghan Backhouse Johanna Segall Rajah Selvarajah Judith Gorry Amanda Baird Ian Pettener Jan Shaw Martin Stebbings Caroline Gude Gillian Behrens Andrew Pettingell-Ward Meg Shaw Robert Thomson Jamie Hunter Katie Blake Peter Poole Megan Solomon Nicholas Tong Amy Jelacic Nicola Clement Allan Redpath Robyn Tupman Michael Wallach Carine Jenkins Isabel Colman Michael Ryan Erica Venter Alex Walter Timothea Lau Julie Dowsley Robert Sherrington Sheli Wallach George Watkins Jessica Lee Claire Duffy Andrew Skinner Marianna Wong Will Willitts Yvette Leonard Helen Esmond Antony Strong Nikki Woolley Mark Wong Yeesum Lo Jennifer Gillman Ben Waters Lucy Yu Maria Lopes Jenny Harry Kenji Yamashita Bruce Watson Elena Lucio Bello Kathryn Harwood BASSES Nick Whiley Gillian Markham Vesna Hatezic Langzi Chiu Jock Baird David Wood Sarah McGarry Margaret Hofman Daniel Comarmond Julian Coghlan Jonathan Wood Sarah Moore Sarah Howell Malcolm Day Daryl Colquhoun Ben Yi

8 Richard Strauss (1864–1949) Tod und Verklärung (Death and Transfiguration) – Symphonic Poem, Op.24 Before becoming primarily an opera composer, the younger Richard Strauss specialised in the tone poem, honing his skills at musical portrayal. His third tone poem represents ‘the dying hours of a man who had striven towards the highest idealistic aims, maybe indeed those of an artist…’ The dying man’s sporadic pulse is suggested by a rhythm which seems derived from the Prelude to Act II of Wagner’s Götterdämmerung. Sighs are graphically portrayed by the strings. Several themes are Richard Strauss, 1888 presented, one on the flute answered by and , and, in particular, an oboe melody accompanied by harp arpeggios, which is IN BRIEF soon taken up by solo violin. On his deathbed, Strauss The music takes a sudden violent turn with a symphonic allegro. famously remarked to his It builds towards a defiant, disjointed fortissimo, contrasted with a daughter-in-law that he ‘heard so restless, downward rolling theme. The recall the opening’s much music’. She offered him syncopations before the music beats itself out in exhaustion. manuscript paper but he replied In a last desperate gesture, we hear the work’s most important that he had ‘composed it 60 years theme, representing the artist’s ‘ideals’, with its resolute upbeat and before in Tod und Verklärung. This vaulting octave leap built up from the traditional hunting call of the . is just like that.’ In 1888, however, A series of tableaux represents different phases of his life, from innocent Strauss was 24 years old and in childhood to dashing youth to heated lover. The themes are derived from perfect health. His career was those already established, suggesting that the man is embryonic in the beginning to take wing, and as a child. The ‘love’ theme soars higher and higher until the and relatively recent convert to the timpani hammer out the opening’s syncopations, as if the memory of ideals of the ‘New German’ school passion causes terrible heart palpitations. Now the dying man passes beyond memories of his earlier years to of music – represented by Liszt, the origin of his ideals. Strauss’ scheme was to repeat the ‘ideals’ theme Wagner and their followers. This three times, each time getting richer and more complex, as if to suggest work is one of several graphic the development of the dying man’s vision. Another violent outburst orchestral pieces that honed suggests his last spasms, and then several strokes on the – Strauss’ skill as a master extremely effective orchestration – mark the countdown to doom. composer of opera. Quietly, from the depths of the orchestra a statement of the ‘ideals’ theme begins and builds to a tremendous climax, but the music drains away to strains familiar from the opening. The final ‘transfiguration’ dwells with great beauty on the ‘ideals’ theme. Strauss was in his mid-20s when he wrote this work and had not experienced even serious illness. On his death bed the octogenarian composer said it was just as he had imagined it in Tod und Verklärung. Of course, he was only referring to the first part of the experience.

ADAPTED FROM A NOTE BY GORDON WILLIAMS SYMPHONY AUSTRALIA © 2001

Tod und Verklärung requires an orchestra of 3 , 3 (1 doubling ), 3 (1 doubling clarinet), 3 (1 doubling ), 4 horns, 3 , 3 trombones, , timpani, percussion, 2 harps and strings. The Sydney Symphony Orchestra first played Tod und Verklärung in August 1938 under Edgar Bainton, and most recently under in November 2015.

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10 Richard Strauss (1864–1949) Four Last Songs (Vier letzte Lieder) NORTH AFRICA, ARABIA & PERSIA Frühling (Spring) Handcrafted Private & Small Group Journeys September Beim Schlafengehen (On Going to Sleep) Abercrombie & Kent leads the world’s most discerning travellers on journeys to Im Abendrot (In Sunset’s Glow) literally dozens of dazzling, alluring, enigmatic North African and Middle Eastern Erin Wall soprano destinations. From Jordan’s classical ruins to Morocco’s colourful souks, from Egypt’s monuments and mysteries, and Israel’s biblical sites and living history, to the dramatic coastlines of Oman, the glittering cities of Dubai and Abu Dhabi, and the rich Persian Richard Strauss, 1949 history, cosmopolitan people, and sumptuous Islamic architecture of Iran.

Talk to your travel agent or call Abercrombie & Kent on 1300 851 800. IN BRIEF Strauss’ Four (almost) Last Songs www.abercrombiekent.com.au were composed at the end of his life in the shadow and aftermath of war. They were not composed as a cycle, as such, though the songs share common Romantic themes of loss and yearning, represented in imagery of the natural world, and offer a profound farewell to love and life in the sunset colours of the final song. It is hard not to see them as In his 1999 biography of Richard Strauss, Michael Kennedy remarks that a celebration of his long and never the Four Last Songs ‘are the music of old age and wisdom and serenity, boring marriage to the singer of death and transfiguration.’ Like Mozart, whom he adored, Strauss Pauline de Ahna. maintained a life-long love of the soprano voice, particularly that of Pauline, the wife to whom he was devoted for more than 50 years. In opera and song, and even here in these valedictory works, he wrote music of erotic intensity for it, and in that regard they may be seen as a final flowering of German Romanticism. Just as 19th-century figures like Novalis and Wagner conflated eroticism and extinction, here the texts of Hesse and Eichendorff identify the end of life and love with the peaceful embrace of night, dreams and death. Kennedy reminds us, however, that the works were not conceived as Strauss’ farewell, and that no-one knows if the composer intended them as a song-cycle in the strict sense of the term. They were published posthumously as his Four Last Songs, and seized upon by the great Norwegian soprano who disingenuously let it be known that she was Strauss’ ideal interpreter. Flagstad gave the first performance with Wilhelm Furtwängler at London’s Royal Albert Hall in 1950, after which they were taken up by Sena Jurinac with , and with Karl Böhm. Strauss’ publisher Ernst Roth had arbitrarily devised the order in which the songs are most commonly sung today.

11 Frühling (Spring) Words by Hermann Hesse Hesse’s early poem deals fairly conventionally with anticipation of the approach of spring – using many of the well-worn tropes of Romantic poetry such as the imagery of trees, blue skies and birdsong. Norman del Mar notes that this song, written straight after Im Abendrot, takes up the distinctive sound of birdsong in the woodwinds. There is also an echo of eroticism in the blissful trembling of the final lines, and throughout in the long elaborate melismas with which the singer decorates single syllables. Im dämmrigen Grüften In darkling caverns Träumte ich lang long have I dreamed Von deinen Bäumen und blauen Lüften, of your trees and blue skies, Von deinem Duft und Vogelgesang. your fragrance and bird-songs. Nun liegst du erschlossen Now you lie before me In Gleiss und Zier in shining splendour Von Licht übergossen glowing with light – Wie ein Wunder vor mir. a miracle. Du kennst mich wieder, You greet me again, Du lockest mich zart, tempting me gently. es zittert durch all meine Glieder My whole being trembles Deine selige Gegenwart. with the bliss of your presence. September Words by Hermann Hesse In September the poet expresses a yearning for rest. Both the poem’s imagery and the musical setting, however, represent this as something to be savoured – the falling of golden leaves causes the summer to smile even as it dies, and the music is full of finely detailed activity. In the final moments of the song, Strauss may be remembering his father, as Franz Strauss’ instrument, the horn, has the last word.

Der Garten trauert, The garden mourns. Kühl sinkt in die Blumen der Regen. Cool rain sinks on the flowers; Der Sommer schauert the summer shudders Still seinem Ende entgegen. as he quietly nears his end. Golden tropft Blatt um Blatt One by one, the golden leaves Nieder vom hohen Akazienbaum. fall slowly from the tall acacia tree. Sommer lächelt erstaunt und matt Wondering and weary, the summer smiles In den sterbenden Gartentraum. on the dying garden-dream. Lange noch bei den Rosen Yearning for rest Bleibt er stehen, sehnt sich nach Ruh. he lingers long by the roses Langsam tut er die before he slowly closes Müdegewordenen Augen zu. his wide, tired eyes.

12 Beim Schlafengehen (On Going to Sleep) Words by Hermann Hesse The poem Beim Schlafengehen dates from the time of World War I, when Hesse’s wife suffered severe mental illness. Yearning for rest is also its theme, and Hesse explores the common Romantic desire to be free from the bonds of consciousness. Strauss responds with one of his most celebrated inspirations: the violin solo which ecstatically rises to imitate the soul’s soaring ‘into the magic circle of night.’ Nun der Tag mich müd gemacht, Now the day has made me tired, Soll mein sehnliches Verlangen may the starry night receive Freundlich die gestirnte Nacht all my fervent longing Wie ein müdes Kind empfangen. like a weary child. Hände lasst von allem Tun, Leave your doing, O my hands, Stirn vergiss du alles Denken, brow, forget your thinking! Alle meine Sinne nun All my senses yearn for rest Wollen sich in Schlummer senken. and would sink into slumber. Und die Seele unbewacht Freed from all bonds Will in freien Flügen schweben, my soul would like to soar Um im Zauberkreis der Nacht so that it may live deeply and a thousandfold Tief und tausendfach zu leben. in the magic circle of night.

Im Abendrot (In Sunset’s Glow) Words by Joseph von Eichendorff Strauss set this poem by the great 19th-century poet Eichendorff before the Hesse settings, but it forms a fitting end to the set, and to Strauss’ career. Here the implicit is made plain: that these songs are all in some way about his love for Pauline. The scene is sunset, where an old couple stop to rest after a long and eventful life together amid the splendours of nature. The trilling larks remind us of the promise of spring in the birdsong of Frühling, and as the poet asks whether ‘this’ (and Strauss altered the text from ‘that’) might be death, we hear a reminiscence of the ‘idealism’ theme from Death and Transfiguration. As Norman Del Mar puts it, ‘only the memory of Pauline’s voice could be his companion on these farewell excursions through the music to which his life had been dedicated.’

Wir sind durch Not und Freude Through grief and joy together Gegangen Hand in Hand, we have walked, hand in hand. Vom Wandern ruhn wir Now let us rest from the journey Nun überm stillen Land. high above the quiet land. Rings sich die Täler neigen, Around us the valleys are slumbering Es dunkelt schon die Luft, and darkness veils the sky. Zwei Lerchen nur noch steigen Only two larks are still soaring Nachträumend in den Duft. and dreaming as they fly. Tritt her und lass sie schwirren, Come close and let them flutter, Bald ist es Schlafenszeit, soon it is time to sleep Dass wir uns nicht verirren lest we should go astray In dieser Einsamkeit. in this dark solitude. O weiter, stiller Friede! O peace, so wide and silent, So tief im Abendrot. deep in the sunset glow! Wie sind wir wandermüde – How weary we are with wandering – Ist dies etwa der Tod? can this, perchance, be death? GORDON KERRY © 2001/2005 HESSE TEXTS REPRINTED BY KIND PERMISSION OF HAL LEONARD AUSTRALIA TRANSLATIONS BY HEDWIG ROEDIGER, ABC/SYMPHONY AUSTRALIA © 1986

In addition to solo soprano, Strauss’ Four Last Songs call for an orchestra of 4 flutes (2 doubling piccolo), 3 oboes (1 doubling cor anglais), 3 clarinets (1 doubling ), 3 bassoons (1 doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, harp, and strings. The Sydney Symphony Orchestra first performed Strauss’ Four Last Songs in March 1960 with Nikolai Malko and soprano Lois Marshall, and most recently in August 2014 under David Robertson with soprano . 13 Gabriel Fauré (1845–1924) Requiem Op.48 (1900 version) Erin Wall soprano Samuel Dundas baritone Sydney Philharmonia Choirs Fauré’s Requiem is his one widely popular work, and indeed the only one of his larger-scale works to have found a secure place in the repertory. This is certainly not because of any lack of merit in his other compositions, but their highly civilised, rather private makes it unlikely they will ever have wide appeal. Gabriel Fauré Fauré stood somewhat apart from the musical partisanship of his day – independent of the German tendencies of César Franck and his IN BRIEF followers, and of the ‘impressionism’ of the Debussyites. He nevertheless Fauré’s Requiem came together earned wide respect and became Director of the Paris Conservatoire over the period between 1877 and (1905-1920). Ravel was the most famous of his pupils. 1889, during which both of his The Requiem, first performed in 1888 at a funeral in the Church of the parents died. In assembling the Madeleine in Paris, is a comparatively early work which reflects and sums text, from both the Mass for the up many of the features of its composer’s early style. It makes a Dead and the liturgy for the Burial memorable impression of serenity and contemplation, and has been of the Dead, Fauré seems praised by many commentators as highly appropriate to the Mass for deliberately to have avoided the Dead. traditional notions of judgment It has been said that Fauré’s Requiem is suited to liturgical use rather and damnation in favour of than concert performance. But it is by and large in the concert hall that it comfort, and the ‘sure and certain has become known, and special permission had to be obtained from the hope’ of eternal rest with God in Church for it to be performed at Fauré’s own funeral. This is because of Paradise. The piece exists in three Fauré’s unconventional choice of liturgical texts – he omits the Dies Irae, versions, two of which are suitable except for the Pie Jesu, and adds two movements whose words are taken for liturgical use and tonight’s from the order for Burial: the Libera me (also set by Verdi in his Requiem) version, made in 1900, which uses and the In Paradisum. It has been suggested that Fauré chose his texts to a modestly substantial orchestra. give greater prominence to the word requiem (rest). Fauré’s father died in 1885. Then his mother died on New Year’s Eve 1887-88, and it may have been this event which prompted him to complete the Agnus Dei, Sanctus, and In Paradisum, which, together with other movements of the original version, were the first performed. The It has been called most dramatic part of the work, the Libera me was composed much ‘a Requiem without the earlier (in 1877), but added later – it is the only part which contains Last Judgement’, and reference to the Day of Judgement. There has been considerable discussion as to whether Fauré’s ‘a paradisiacal Requiem is more pagan than Christian in tone. It has been called (wrongly) imagining, with no ‘a Requiem without the Last Judgement’, and one critic has gone so far as trace of torment or to describe it as ‘a paradisiacal imagining, with no trace of torment or doubt, scarcely even doubt, scarcely even of mourning’. This goes too far, but Fauré, though a of mourning’. church organist (at the Madeleine), was more drawn to Greek stoical ideals of contemplation and resignation than to the Christian sense of sin, judgement and hope for the afterlife. His is the unperturbed vision, says biographer Norman Suckling, ‘of one whose attention was just then fixed on death, since it was then that he had lost his parents’.

14 The musical style of the Requiem shows the influence on Fauré of his training at the École Niedermeier, founded to train organists and choir masters. This school promoted the study of the masters of church music of the past, and even of the ecclesiastical modes used in Gregorian chant. This musical source is evident throughout the Requiem, most strikingly in the monotoned chant of the solo baritone in the Hostias. These sober passages are contrasted with long phrases of sinuous melodic curve, such as the themes of the Domine, Pie Jesu, Libera me and In Paradisum. The originality of the melodic outline sets Fauré’s Requiem apart from the The Church of the Madeleine, Paris, sacred works of Gounod, which Fauré admired and which influenced his ca 1890-1900 early sacred compositions. Fauré’s great restraint is particularly evident in his orchestration. Several of the pieces which constitute the Requiem were first conceived as choruses with organ, and even in the final version the organ, with double basses, plays a kind of continuo role. The versions of Fauré’s Requiem As performed in January 1888, the first version consisted of Introit and Kyrie, Sanctus, Pie Jesu, Agnus Dei and In Paradisum. The choir and treble soloist (in the Pie Jesu) were accompanied by a small orchestra: divided violas and cellos, double basses, harp, organ, and one solo violin in the Sanctus, playing unmuted an octave higher than in the published version of 1900. In June 1889 Fauré completed the Offertorium, and in 1891 added the Libera me of 1877, with baritone soloist and rescored for an orchestra including trombones. Adding horns and trumpets, and violins in the In Paradisum, this expanded second version of the Requiem was first performed at the Madeleine on 21 January 1893. Fauré seems then to have given in to his publishers’ suggestion to expand the orchestra still further for the third (concert) version first performed in 1900 at the Trocadéro, and published the same year by Hamelle. The idea was to make the Requiem more suitable for concert performance; it is not certain whether Fauré or one of his pupils adapted the orchestration. The added parts for woodwinds and violins double other instruments. As Fauré scholar Jean-Michel Nectoux points out, the version heard tonight, though not the composer’s first idea, was approved by him. Thus there are two equally valid performing traditions for the Fauré Requiem: one stressing its liturgical purpose, the other more symphonic in scale and making the work a quieter example of the tradition of sacred works with orchestra to which the masses of Gounod and Saint-Saëns also belong. David Garrett Symphony Australia © 1998

The 1900 version of Fauré’s Requiem is scored for soprano, baritone and choir, accompanied by pairs of flutes, clarinets and bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, harp, organ and strings. The Sydney Symphony Orchestra first performed Fauré’s Requiem in August 1947 under Eugene Goossens with Elsie Findlay, soprano, Noel Melvin, baritone and the Hurlstone Choral Society. 15 I. Introït et Kyrie I. Introit and Kyrie Requiem aeternam dona eis Domine Grant them eternal rest, Lord et lux perpetua luceat eis. And may perpetual light shine on them. Te decet hymnus, Deus in Sion To you, God, hymns of praise are sung in Sion et tibi reddetur votum in Jerusalem. and unto you shall vows be performed in Jerusalem. Exaudi orationem meam Hear my prayer; ad te omnis caro veniet. To you shall come all flesh. Kyrie eleison. Lord have mercy. Christe eleison. Christ have mercy. II. Offertoire II. Offertory O Domine Jesu Christe, rex gloriae, O Lord Jesus Christ, king of glory, libera animas defunctorum Free the departed souls de poenis inferni et de profundo lacu; from the pains of hell and from the deep pit; de ore leonis ne absorbeat Tartarus; from the jaws of the lion; let them not be swallowed up ne cadant in obscurum. nor vanish into darkness. Amen. Amen. Hostias et preces tibi, Domine Our sacrifice and prayers, Lord, Laudis offerimus. we offer to you with praise. Tu suscipe pro animabus illis Receive them on behalf of the souls Quarum hodie memoriam facimus; who we remember today; fac eas Domine de morte transire ad vitam; make them, Lord, pass from death to life, quam olim Abrahae promisisti et semini ejus. as you promised Abraham and his seed. III. Sanctus III. Sanctus Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Holy, holy, holy Lord God of Hosts. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of your glory. Hosanna in excelsis. Hosanna in the highest. IV. Pie Jesu IV. Pie Jesu Pie Jesu Domine Merciful Lord Jesus Dona eis requiem, Grant them rest, sempiternam requiem. eternal rest. V. Agnus Dei V. Agnus Dei Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world, dona eis requiem. grant them rest. Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world, dona eis requiem sempiternam. grant them eternal rest. Lux aeterna luceat eis, Domine, May perpetual light shine on them, Lord cum sanctis tuis in aeternum, quia pius es. with your saints throughout eternity, by your grace. Requiem aeternam dona eis Domine, Grant them eternal rest, Lord, et lux perpetua luceat eis. and may perpetual light shine on them.

16 VI. Libera me VI. Libera me Libera me Domine de morte aeterna Deliver me, Lord, from eternal death in die illa tremenda, on that terrible day, quando coeli movendi sunt et terra, when earth and heaven are shaken; dum veneris judicare saeculum per ignem. when you come to judge all things by fire. Tremens factus sum ego et timeo, I am trembling and afraid, dum discussio venerit atque ventura ira: until the trial comes, and the wrath; quando coeli movendi sunt et terra. when earth and heaven are shaken. Dies illa, dies irae, calamitatis et miseriae, Day of torment, day of wrath, calamity and misery, dies magna et amara valde. greatest and most bitter day. Requiem aeternam dona eis Domine, Grant them eternal rest, Lord, Et lux perpetua luceat eis. and may perpetual light shine on them. Libera me Domine de morte aeterna Deliver me, Lord, from eternal death in die illa tremenda, on that terrible day, quando coeli movendi sunt et terra, when earth and heaven are shaken; dum veneris judicare saeculum per ignem. when you come to judge all things by fire. VII. In Paradisum VII. In Paradisum In paradisum deducant angeli in tuo adventu May angels lead you into Paradise; may you be received suscipiant te martyres et perducant te by the martyrs and brought to in civitatem sanctum Jerusalem. the holy city of Jerusalem. Chorus angelorum te suscipiat, May choirs of angels greet you, et cum Lazaro quondam paupere, and with Lazarus, who was once lowly, aeternam habeas requiem. may you find eternal rest.

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17 SYDNEY SYMPHONY ORCHESTRA PHOTO: KEITH SAUNDERS KEITH PHOTO:

DAVID ROBERTSON Challender, and . THE LOWY CHAIR OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR was Principal Conductor from 2009 to 2013. The Orchestra’s history also boasts PATRON Her Excellency The Honourable Margaret Beazley ao qc collaborations with legendary figures such as George Szell, Sir Thomas Beecham, Founded in 1932 by the Australian Broadcasting and Igor Stravinsky. Commission, the Sydney Symphony Orchestra has The Sydney Symphony’s award-winning evolved into one of the world’s finest orchestras as Learning and Engagement program is central to its Sydney has become one of the world’s great cities. commitment to the future of live symphonic Resident at the iconic Sydney Opera House, the music, developing audiences and engaging the Sydney Symphony Orchestra also performs in participation of young people. The Orchestra venues throughout Sydney and regional New South promotes the work of Australian composers Wales, and international tours to Europe, Asia and through performances, recordings and the USA have earned the Orchestra worldwide commissions. Recent premieres have included recognition for artistic excellence. major works by Ross Edwards, Lee Bracegirdle, Well on its way to becoming the premier Gordon Kerry, Mary Finsterer, Nigel Westlake, Paul orchestra of the Asia Pacific region, the Sydney Stanhope and Georges Lentz, and recordings of Symphony Orchestra has toured China on five music by have been released on both occasions, and in 2014 won the arts category in the BIS and SSO Live labels. the Australian Government’s inaugural Other releases on the SSO Live label, Australia-China Achievement Awards, recognising established in 2006, include performances ground-breaking work in nurturing the cultural conducted by Alexander Lazarev, Sir Charles and artistic relationship between the two nations. Mackerras and David Robertson, as well as the The Orchestra’s first chief conductor was Sir complete Mahler symphonies conducted by Eugene Goossens, appointed in 1947; he was Vladimir Ashkenazy. followed by Nicolai Malko, , Moshe 2019 is David Robertson’s sixth season as Chief Atzmon, , Louis Frémaux, Conductor and Artistic Director. Sir , Zdeněk Mácal, Stuart

18 THE ORCHESTRA

David Robertson Donald Runnicles Vladimir Ashkenazy Andrew Haveron THE LOWY CHAIR OF CHIEF PRINCIPAL GUEST CONDUCTOR LAUREATE CONCERTMASTER CONDUCTOR AND ARTISTIC CONDUCTOR SUPPORTED BY VICKI OLSSON DIRECTOR

FIRST VIOLINS VIOLAS FLUTES TRUMPETS Andrew Haveron Tobias Breider Joshua Batty David Elton CONCERTMASTER PRINCIPAL PRINCIPAL PRINCIPAL Sun Yi Anne-Louise Comerford Emma Sholl Anthony Heinrichs ASSOCIATE CONCERTMASTER ASSOCIATE PRINCIPAL ASSOCIATE PRINCIPAL Colin Grisdale* Lerida Delbridge Justin Williams Carolyn Harris Paul Goodchild ASSISTANT CONCERTMASTER ACTING ASSOCIATE PRINCIPAL Lisa Osmialowski* ASSOCIATE PRINCIPAL Fiona Ziegler Sandro Costantino GUEST PRINCIPAL PICCOLO TROMBONES ASSISTANT CONCERTMASTER Rosemary Curtin Jenny Booth Jane Hazelwood OBOES Scott Kinmont Sophie Cole Graham Hennings Diana Doherty ASSOCIATE PRINCIPAL Nick Byrne Claire Herrick Stuart Johnson PRINCIPAL Georges Lentz Felicity Tsai Shefali Pryor Christopher Harris Nicola Lewis Amanda Verner ASSOCIATE PRINCIPAL PRINCIPAL BASS Emily Long Leonid Volovelsky Alexandre Oguey Ronald Prussing Alexandra Mitchell Roger Benedict PRINCIPAL COR ANGLAIS PRINCIPAL David Papp Alexander Norton PRINCIPAL TUBA Anna Skálová Justine Marsden CLARINETS Steve Rossé Léone Ziegler CELLOS Francesco Celata PRINCIPAL Elizabeth Jones* Catherine Hewgill ACTING PRINCIPAL Emily Qin* Christopher Tingay TIMPANI Harry Bennetts PRINCIPAL Mark Robinson Leah Lynn Alexander Morris ASSOCIATE CONCERTMASTER PRINCIPAL BASS CLARINET ACTING PRINCIPAL ACTING ASSOCIATE PRINCIPAL Kirsten Williams PERCUSSION ASSOCIATE CONCERTMASTER Kristy Conrau BASSOONS Fenella Gill Todd Gibson-Cornish Timothy Constable EMERITUS Rebecca Lagos Brielle Clapson Elizabeth Neville PRINCIPAL Christopher Pidcock Fiona McNamara PRINCIPAL SECOND VIOLINS Adrian Wallis Noriko Shimada HARP Marina Marsden David Wickham PRINCIPAL CONTRABASSOON Genevieve Lang* PRINCIPAL Eleanor Betts* Matthew Wilkie GUEST PRINCIPAL Emma Jezek Paul Stender* PRINCIPAL EMERITUS Natalie Wong* ASSISTANT PRINCIPAL Umberto Clerici Alice Bartsch PRINCIPAL HORNS ORGAN Victoria Bihun Timothy Nankervis Bertrand Chatenet* David Drury* Rebecca Gill GUEST PRINCIPAL GUEST PRINCIPAL Shuti Huang DOUBLE BASSES Geoffrey O’Reilly Monique Irik Kees Boersma PRINCIPAL 3RD CELESTA Wendy Kong PRINCIPAL Euan Harvey Susanne Powell* Stan W Kornel David Campbell Marnie Sebire GUEST PRINCIPAL Benjamin Li Steven Larson Rachel Silver Nicole Masters Richard Lynn Ben Jacks ° = CONTRACT MUSICIAN Liisa Pallandi* Benjamin Ward PRINCIPAL * = GUEST MUSICIAN Benjamin Tjoa* Robin Brawley* † = SYDNEY SYMPHONY FELLOW Maja Verunica Alex Henery Grey = PERMANENT MEMBER OF PRINCIPAL THE SYDNEY SYMPHONY ORCHESTRA Kirsty Hilton NOT APPEARING IN THIS CONCERT PRINCIPAL Jaan Pallandi Marianne Edwards ASSOCIATE PRINCIPAL Emma Hayes

The men’s tails are hand tailored by Sydney’s leading bespoke tailors, G.A. Zink & Sons. www.sydneysymphony.com/SSO_musicians

19 SYDNEY SYMPHONY ORCHESTRA

Patron Administration Her Excellency The Honourable EXECUTIVE Patricia Laksmono External Affairs Officer Margaret Beazley ao qc Emma Dunch Chief Executive Officer Governor of Ilmar Leetberg Artist Liaison Manager Sarah Falzarano Director of Finance Alyssa Lim Publicity Manager Richard Hemsworth Director of Operations Rosie Marks-Smith Orchestra Personnel Board of Directors Aernout Kerbert Director of Orchestra Manager Terrey Arcus am Chairman Management Alastair McKean Library Manager Geoff Ainsworth am Luke Nestorowicz Director of Marketing Rachel McLarin Orchestra Personnel Manager Andrew Baxter Lynn McLaughlin Head of CRM Kees Boersma Raff Wilson Director of Artistic Planning Ewen Crouch am Mary-Ann Mead Librarian Emma Dunch CEO Lars Mehlan Head of Corporate Relations Catherine Hewgill Ross Chapman Production Manager Marketing Associate The Hon. Justice AJ Meagher Mihka Chee External Affairs Manager Tom Niall Karen Moses Alex Norden Operations Manager Callum Close Philanthropy Manager John Vallance Aeva O’Dea Office Administrator Geoff Wilson Ian Colley Customer Analyst Lauren Patten Philanthropy Officer Meg Collis Philanthropy Coordinator Minerva Prescott Accountant Kerry-Anne Cook Associate Director Council of Operations & Touring Andrea Reitano Digital Marketing Coordinator PATRON EMERITUS Pim den Dekker Head of Customer Service Genevieve Scott Stage Manager The Hon Prof Dame ad cvo and Ticketing Elissa Seed Production Coordinator Michael Dowling Customer Service COUNCIL MEMBERS Indah Shillingford Design Lead Representative Brian Abel Andrea Shrewsbury Marketing Project Manager Doug Battersby Jennifer Drysdale Head of Philanthropy Peter Silver Acting Director, Sydney Christine Bishop Douglas Emery Marketing Manager Symphony Presents Dr Rebecca Chin Emma Ferrer Accounts Assistant Laura Soutter Payroll Officer John C Conde ao The Hon. John Della Bosca Meera Gooley Head of Digital Marketing Brendon Taylor Production Coordinator Alan Fang Victoria Grant Librarian Ruth Tolentino Finance Manager Hannah Fink and Andrew Shapiro Sam Torrens Artistic Planning Manager Erin Flaherty Tess Herrett Marketing Associate Dr Stephen Freiberg Michel Maree Hryce In-House Counsel, Simonette Turner Orchestra Personnel Manager Robert Joannides People & Culture Stephen Wilson Senior Customer Service Manager Simon Johnson Gary Linnane Meklit Kibret Community Engagement Officer Amy Zhou Graphic Designer Helen Lynch am David Maloney am Danny May Jane Morschel Dr Eileen Ong Andy Plummer Deirdre Plummer Seamus Robert Quick Paul Salteri am Sandra Salteri Juliana Schaeffer Fred Stein oam Mary Whelan Brian White ao Rosemary White HONORARY COUNCIL MEMBERS Ita Buttrose ac obe Donald Hazelwood ao obe am Wendy McCarthy ao Dene Olding am Leo Schofield am Peter Weiss ao

Concertmasters Emeritus

Donald Hazelwood AO OBE Dene Olding AM

20 SYDNEY SYMPHONY ORCHESTRA PATRONS

The Sydney Symphony Orchestra gratefully acknowledges the music lovers who support us. Your generous philanthropy is instrumental to our continued artistic excellence and helps to sustain our important education and regional touring programs. In addition to those listed below, we also acknowledge those supporters who wish to remain anonymous.

VISIONARIES Geoffrey Robertson ao Dr Lee MacCormick Edwards Jane Thornton oam & Graeme Roberston Charitable Foundation Peter Thornton Brian Abel Tim Robertson sc Mora Maxwell Kevin Troy Geoff Ainsworth am & Robert McDougall Judge Robyn Tupman Johanna Featherstone James Stening Judith A McKernan Ken Unsworth Anne Arcus & Terrey Arcus am Judy & Sam Weiss Jackie O’Brien Dr Alla Waldman The Berg Family Foundation Caroline Wilkinson oam Sandra Plowman The Hon. Justice A G Whealy Dr Rachael Kohn ao & June & Alan Woods Mark & Lindsay Robinson Evan Wong & Maura Cordial Mr Tom Breen Family Bequest Dr Agnes E Sinclair Lindsay & Margaret Woolveridge Robert & Janet Constable $10,000+ Dougall Squair Josette Wunder Crown Resorts Foundation Ainsworth Foundation Howard Tanner am & Mary Tanner Sir Frank Lowy ac & $1,000+ Rob Baulderstone & Mary Whelan David FC Thomas & Lady Shirley Lowy oam Audrey Blunden Katerina Thomas Lenore Adamson Ruth & Bob Magid oam John Aitken Daniel & Drina Brezniak Women’s Health & Research Roslyn Packer ac Institute of Australia Rae & David Allen (President, Maestro’s Circle) Richard Cobden sc Robert Veel Henri W Aram oam Packer Family Foundation Janet Cooke Robert & Rosemary Walsh In memory of Toby Avent Thyne Reid Foundation Ewen Crouch am & Yim Family Foundation John Augustus & Kim Ryrie Peter Weiss ao (President Catherine Crouch Dr John Yu ac Lyn Baker Emeritus, Maestro’s Circle) & Ian Dickson & Reg Holloway Malcolm & Joanna Barlow Doris Weiss The Greatorex Fund $2,500+ Dr Richard & Mrs Margaret Bell Carolyn Githens Colin & Richard Adams G & L Besson MAESTRO’S CIRCLE Nora Goodridge oam David Barnes Mark Bethwaite am Robert Albert ao & James Graham am & In memory of Lance Bennett Minnie Biggs Elizabeth Albert Helen Graham In memory of Rosemary Boyle, Allan & Julie Bligh Christine Bishop Ross Grant Music Teacher Judith Bloxham John C Conde ao The Hilmer Family Endowment In memory of R W Burley Andre Boerema Dr Gary Holmes & Jim & Kim Jobson Cheung Family Irene & Robert Bonella Dr Anne Reeckmann Roland Lee Jill E Choulkes Dr Barbara Booth & Ingrid Kaiser Dr Janet Merewether Dr Paul Collett Dr Margaret Booth I Kallinikos Dr Dominic Pak & Cecilia Tsai Andrew & Barbara Dowe Jan Bowen am Anthony & Sharon Lee Mr & Mrs Nigel Price Sarah & Tony Falzarano Ros Bracher am Foundation Sylvia Rosenblum Ian Fenwicke & the late Prof Peter Braithwaite & Gary Linnane Warren & Marianne Lesnie The Ross Trust Neville Wills Mrs H Breekveldt The late Hon ao Rod Sims & Alison Pert Michael & Rochelle Goot Ita Buttrose ac obe Catriona Morgan-Hunn Tony Strachan Anthony Gregg Hugh & Hilary Cairns Rachel & Geoffrey O’Conor Russell Tagg & Pat Woolley Sherry & Tom Gregory Michel-Henri Carriol Vicki Olsson M D Chapman am & J M Chapman Kim Williams am & Catherine Dovey Jill Hickson am Drs Keith & Eileen Ong Roger Hudson & Norman & Suellen Chapman David Robertson & Orli Shaham SUPPORTERS PROGRAM Claudia Rossi-Hudson Dr Diana Choquette Paul Salteri am & Sandra Salteri Andrew Kaldor am & David Churches & Helen Rose $5,000+ Penelope Seidler am Renata Kaldor ao Donald Clark In memory of Mrs W Stening Stephen J Bell W G Keighley In memory of L & R Collins Kathy White Dr Victor Bien & Dr Heng Khung & Mrs Cilla Tey Joan Connery oam In memory of Dr Bill Webb & Ms Silvana d’Iapico Professor Andrew Korda am & Debby Cramer & Bill Caukill Mrs Helen Webb Beverley & Phil Birnbaum Susan Pearson Dr Peter Craswell Ray Wilson oam, in memory of Boyarsky Family Trust A/Prof Winston Liauw & Ellen Liauw Mary Anne Cronin James Agapitos oam Ian & Jennifer Burton Juliet Lockhart Trevor Cook & Julie Flynn PATRONS PROGRAM Hon J C Campbell qc & Gabriel Lopata Charles P Curran ac & Mrs Campbell Peter Lowry oam & Mrs Eva Curran $15,000+ Margot Chinneck Dr Carolyn Lowry oam John Curotta Antoinette Albert Roxane Clayton David Maloney am & Erin Flaherty Diana Daly Doug & Alison Battersby B & M Coles Renee Markovic The Hon. Justice David Davies & Dugald Black Howard & Maureen Connors Matthew McInnes Mr Paul Presa Sandra & Neil Burns Donus Australia Foundation Dr V Jean McPherson Greta Davis Robert & L Alison Carr Limited Phil & Helen Meddings Lisa & Miro Davis The Deveson Family Dr Rebecca Chin Paul R Espie ao James & Elsie Moore Kate Dixon Bob & Julie Clampett Richard Flanagan Janet Newman Susan Doenau Emma Dunch Dr Stephen Freiberg & Timothy & Eva Pascoe Edward & Diane Federman Andrew Patterson & Steven Bardy Stuart & Alex Donaldson Donald Campbell Simon Johnson Graham Quinton Peter Doyle Dr Colin Goldschmidt Dr Barry Landa Suzanne Rea & Graham Stewart JP & Jen Drysdale Sylvia and the late Sol Levi Warren Green Patricia H Reid Endowment Pty Ltd Professor Jenny Edwards Dr Jan Grose oam Helen Lynch am & Helen Bauer Dr Evelyn Royal Dr Rupert C Edwards Susan Maple-Brown am James & Yvonne Hochroth Shah Rusiti The Hon. Justice Sylvia Emmett Russell & Mary McMurray Kimberley & Angus Holden Manfred & Linda Salamon Suellen & Ron Enestrom The Hon. Justice AJ Meagher & Peter M Howard Tony Schlosser John B Fairfax ao & Libby Fairfax Mrs Fran Meagher David Jeremy Sophie Schultz Hannah Fink & Andrew Shapiro John & Jane Morschel Ervin Katz Helen & Sam Sheffer Mr & Mrs Alexander Fischl Karen Moses Justice Francois Kunc & Yvonne Sontag Vernon Flay & Linda Gilbert Kenneth R Reed am Ms Felicity Rourke Titia Sprague Frielich Family Foundation Garry & Shiva Rich John Lam-Po-Tang Jo Strutt & the late John Strutt Lynne Frolich

21 SYDNEY SYMPHONY ORCHESTRA PATRONS

Jennifer Fulton Alexander & Rosemary Roche Alexandra & Axel Buchner Dr Leo Leader & Mrs Shirley Leader Dr Greg Gard & Lesley & Andrew Rosenberg Darren Buczma Cheok F Lee Dr Joanne Grimsdale Christine Rowell-Miller Anne Cahill oam Catherine Leslie Irene & John Garran Jorie Ryan for Meredith Ryan Lorraine Cairnes & Peter Moffitt Erna Levy Ray & Lindy Gerke Kenneth Ryan Eric & Rosemary Campbell Liftronic Pty Ltd Stephen Gillies & Jo Metzke Hon Justice Ronald Sackville ao Mary Carter Joseph Lipski Clive & Jenny Goodwin & Mrs Pam Sackville Freda Cassen Anne Loveridge Marilyn & Max Gosling In memory of H St P Scarlett C Cathels Panee Low Andrea Govaert & Solange Schulz P C Chan Wik Farwerck George & Mary Shad Callum Close & James Tolhurst Lyon Family In memory of Angelica Green Kathleen Shaw Alison Clugston-Cornes Elaine MacDonald Robert Green Peter & Virginia Shaw Brian Cohen Frank Machart Geoffrey Greenwell Alison Shillington & Meg Isabelle Collis Melvyn Madigan Akiko Gregory the late David Shillington In memory of Beth Harpley Silvana Mantellato Harry & Althea Halliday Dr Evan Siegel Dom Cottam & Kanako Imamura Molly McConville Kim Harding & Irene Miller Margaret Sikora lan Creighton Alastair McKean V Hartstein Marlene & Spencer Simmons Robin & Wendy Cumming Margaret McKenna Donald Hazelwood ao obe & Maureen Smith John & Jill Curtin Ross McNair & Robin Richardson Helen Hazelwood Barbara & Bruce Solomon Katarina Cvitkovic I Merrick Jennifer Hershon Anthoula Danilatos Judith Southam John Mitchell Sue Hewitt Geoff & Christine Davidson Donna St Clair Kenneth Newton Mitchell Dr Lybus Hillman Fred Stein oam Christie & Don Davison Alan Hauserman & Janet Nash Michelle Hilton, in memory of my Catherine Stephen Mark Dempsey & Jodi Steele father, Emil Hilton Dr Vera Stoermer Anne Dineen John R Nethercote Dorothy Hoddinott ao Rosemary Swift Dr David Dixon Graham North Georgina Horton D P Taranto & A J Cassidy Grant & Kate Dixon Kate Parsons Dr Brian Hsu & Mrs Felicity Hsu M Teh Marion Dixon Dr Kevin Pedemont Dr Michael & Mrs Penny Hunter Mildred Teitler Lili Du Tobias Pfau In memory of Geoffrey Israel Jonathan Teperson Camron Dyer & Richard Mason Erika & Denis Pidcock Beth Jackson & John Griffiths Dr Jenepher Thomas Ron Dyer oam & Dorothy Dyer Dr Michael Pidcock Margaret Johnston H M Tregarthen John A Easton & Glenda C Easton Jane Purkiss Dr Owen Jones & Margaret Epps Gillian Turner & Rob Bishop The Hon. Dr Rodney Purvis am qc Vivienne Goldschmidt John Favaloro Helen Twibill & Mrs Marian Purvis Fran & Dave Kallaway Suzanne & Ross Tzannes am Dr Roger Feltham Leslie Kennedy Carole Ferguson Dongming & Jiyi Ren Dr John Vallance Kim & Graham Richmond Anna-Lisa Klettenberg Mary Vallentine ao E Fidler Megan Rofe Justin Lam John & Akky van Ogtrop Lesley Finn Beatrice Lang Mr & Mrs Waddington Barbara Fogarty Catherine H Rogers Peter Lazar am Ronald Walledge Arlene Goldman Peter & Heather Roland Robert Lee In memory of Denis Wallis Sharon Goldschmidt Agnes Ross The Levins Family Foundation In memory of Don Ward Dr Leo Gothelf Kaye Russell Benjamin Li Jerry Whitcomb Carole A P Grace Peter & Edith Ryba A Lohan Dr Peter White Richard Griffin am & Jay Griffin Justin Schaffer Dr Linda Lorenza Peter Williamson Peter & Yvonne Halas William Sewell Michael & Hilary Lunzer A L Willmers & R Pal Christopher Harris Daniela Shannon Barbara Maidment Michael Harvey Dr Edward J Wills Diane Shteinman am John & Sophia Mar Sandra Haslam Margaret Wilson Ian & Jan Sloan Anna & Danny Marcus Dr Richard Wing Robert Havard Alexandra Martin Rosemary Heal Charles Soloman Dr Peter W Wong Jennifer Spitzer Danny May In memory of Lorna Wright James Henderson Robert Spry Kevin McCann am & R Yabsley Roger Henning & Anton Enus Deidre McCann Lynette Hilton Dr Vladan Starcevic Ian & Pam McGaw $500+ Prof Ken Ho & Mrs Tess Ho Cheri Stevenson Evelyn Meaney John & Livia Aboud Sally Hochfeld Ian Taylor Keith Miller Phillip Alexander & Geoff Hogbin Pam & Ross Tegel Dr Robert Mitchell Elizabeth Steel Andrew & Carmella Hollo Ludovic Theau Henry & Ursula Mooser Heather & Peter Andrews Suzzanne & Alexander Houghton Daryl & Claire Thorn Nick & Juliet Andrews Howard Morris Heather & Malcom Hughes Alma Toohey Luke Arnull P Muller Philip Jameson Kathryn J Turner Judith Mulveney Garry & Tricia Ash Dr Mary Johnsson Kristina Vesk oam Janet & Michael Neustein Lauren Atmore Michael Jones Yvonne Newhouse & John Bagnall Scott & Ellie Kable Lynette Walker Henry Brender Paul Balkus Karanikas Family Holdings Pty Ltd June Walpole Darrol Norman & Sandra Horton The Hon. Chief Justice Bathurst Beverly Katz & Anthony Larkum Edward West J E Norman & G V Norman & Mrs Bathurst In memory of Pauline Keating Robert Wheen Professor Mike O’Connor am Jan Bell Kim & Megan Kemmis Dr Peter White Judith Olsen Chris Bennett M Keogh In memory of JB Whittle Mr & Mrs Ortis Susan Berger Dr Henry Kilham P & B Williamson In memory of Sandra Paul Baiba Berzins Jennifer King In memory of Trevor Williamson Christina Pender The Hon. Michael Black ac qc & Susan Kitchin & John Woolford Don & Heather Wilson Stephen Perkins Mrs Margaret Black Margaret Kyburz Marianna Wong Peter & Louise Black Almut Piatti Sonia Lal Sue Woodhead Dr John I Pitt Jane Blackmore Tania Lamble In memory of Olwen Woolcott Greeba Pritchard Richard Bloor Eugen Lamotte & Duncan George Dr Raffi Qasabian & Kees Boersma & Kirsty McCahon Patrick Lane Dawn & Graham Worner Dr John Wynter Stephen Booth The Laing Family Juliana Wusun Patrick Quinn-Graham Ian & Barbara Brady Elaine M Langshaw Paul Wyckaert Ernest & Judith Rapee Libby Braybrooks Dr Allan Laughlin L D & H Y In memory of Katherine R D & L M Broadfoot Olive Lawson Joyce Yong Robertson Dr Tracy Bryan Antoinette le Marchant Helga & Michele Zwi

22 SYDNEY SYMPHONY ORCHESTRA PATRONS

Chair Patrons David Robertson Umberto Clerici Jane Hazelwood Timothy Nankervis The Lowy Chair of Principal Cello Viola Cello Chief Conductor and Garry & Shiva Rich Chair Bob & Julie Clampett Chair Dr Rebecca Chin & Family Chair Artistic Director in memory of Carolyn Clampett Anne-Louise Comerford Elizabeth Neville Emma Dunch Associate Principal Viola Claire Herrick Cello Chief Executive Officer White Family Chair Violin Ruth & Bob Magid OAM Chair I Kallinikos Chair Kristy Conrau Mary & Russell McMurray Chair Alexandre Oguey Andrew Haveron Cello Catherine Hewgill Principal Cor Anglais Concertmaster James Graham AM & Principal Cello Mackenzie’s Friend Chair Vicki Olsson Chair Helen Graham Chair The Hon. Justice AJ & Mark Robinson Joshua Batty Timothy Constable Mrs Fran Meagher Chair Acting Principal Timpani Principal Flute Percussion Kirsty Hilton Sylvia Rosenblum Chair Karen Moses Chair The late Hon. Jane Mathews AO Principal Second Violin in memory of Rodney Chair Victoria Bihun Drs Keith & Eileen Ong Chair Rosenblum Violin Lerida Delbridge Scott Kinmont Emma Sholl Sylvia & the late Sol Levi Chair Assistant Concertmaster Associate Principal Trombone Associate Principal Flute Simon Johnson Chair Kees Boersma Audrey Blunden Chair Robert & Janet Constable Chair Principal Double Bass Diana Doherty Leah Lynn Justin Williams Council Chair Principal Oboe Assistant Principal Cello Assistant Principal Viola John C Conde AO Chair Tobias Breider Sydney Symphony Orchestra Robert & L Alison Carr Chair Principal Viola Paul Goodchild Vanguard Chair (lead support Roslyn Packer ac & Associate Principal from Taine Moufarrige and Gretel Packer Chair Friends of the late Hon. Jane Seamus R Quick) Mathews AO Chair Nick Byrne Nicole Masters Trombone Carolyn Harris Violin Robertson Family Chair Flute Nora Goodridge oam Chair Dr Barry Landa Chair

“I will be forever grateful for the support that Jane Mathews gave the Orchestra, and to The Friends of Jane Mathews who have been inspired by Jane in the support of my Chair. We will never forget her, or the significant impact that she had on our music community.” — Paul Goodchild, Associate Principal Trumpet FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM CALL (02) 8215 4674

23 SYDNEY SYMPHONY ORCHESTRA PATRONS

Sydney Symphony Fellowship The Fellowship program receives generous support from Paul Salteri am & Sandra Salteri and the Estate of the late Helen MacDonnell Morgan. Fellowship Artistic Director, Roger Benedict is supported

by Warren & Marianne Lesnie. ANTHONY GEERNAERT PHOTO: fellowship patrons Robert Albert AO & Elizabeth Albert Violin Fellow Black, Morgan-Hunn & Stening Oboe Fellow Christine Bishop Percussion Fellow Sandra & Neil Burns Clarinet Fellow Dr Gary Holmes & Dr Anne Reeckmann Horn Fellow In memory of Matthew Krel Violin Fellow Warren & Marianne Lesnie Trumpet Fellow The Ross Trust Double Bass Fellow In memory of Joyce Sproat Viola Fellow In memory of Mrs W Stening Cello Fellow June & Alan Woods Family Bequest Bassoon Fellow

Sydney Symphony Orchestra 2019 Fellows

Sydney Symphony Orchestra Commissions 2019

Each year – both alone and in collaboration with other orchestras worldwide – the Sydney Symphony Orchestra commissions new works for the mainstage concert season. These commissions represent Australian and international composers, established and new voices, and reflect our commitment to the nurturing of orchestral music.

STEVE REICH Music for Ensemble and Orchestra Premiered February 2019 Commissioned with the support of Dr Stephen Freiberg & Donald Campbell

CHRISTOPHER ROUSE Bassoon Concerto Help spark a lifetime Premiering 28, 29, 30 November 2019 love of music and support Commissioned with the support of Geoff Stearn the Orchestra’s future.

PLEASE DONATE TODAY

(02) 8215 4674 [email protected]

24 SYDNEY SYMPHONY ORCHESTRA PATRONS

Sydney Symphony Bequest Society Sydney Symphony Orchestra Vanguard We recognise the generosity and vision of donors who help to Sydney Symphony Vanguard is an adventurous way to secure a bright future for the Sydney Symphony by making demonstrate your commitment to supporting a secure future a bequest. The Sydney Symphony Bequest Society honours for orchestral music and live performance. A membership the legacy of , the Sydney Symphony program for the musically curious, Vanguard is your ticket to Orchestra’s renowned Chief Conductor from 1987 until his join the Sydney Symphony community. untimely death in 1991. In addition to those listed below, VANGUARD COLLECTIVE Cassandra Scott we also acknowledge those who wish to remain anonymous. Justin Di Lollo Chair Mischa Simmonds Warwick K Anderson Dr John Lam-Po-Tang Taine Moufarrige Tim Steele Henri W Aram OAM & Robin Aram Dr Barry Landa Founding Patron Ben Sweeten Timothy Ball Peter Lazar AM Chris Robertson & Katherine Shaw Ian Taylor Dr Rosemary Barnard Daniel Lemesle Founding Patrons Lena Teo Stephen J Bell Ardelle Lohan Paul Colgan Robyn Thomas Christine Bishop Dr Linda Lorenza Judith Bloxham Oscar McMahon Russell Van Howe & Simon Beets Mary McCarter Dr Danika Wright David & Halina Brett Louise Miller Shefali Pryor R Burns Jane Wurth James & Elsie Moore VANGUARD MEMBERS David Churches & Helen Rose Barbara Murphy Howard Connors Duncan & Wendy Abernethy Greta Davis Douglas Paisley Laird Abernethy Glenys Fitzpatrick Jane Purkiss Gabrielle Aimes Dr Stephen Freiberg Kate Roberts Emilia Archibald Dr Richard Spurway Vic & Katie French Attila Balogh Jennifer Fulton Rosemary Swift Andrew Baxter Brian Galway Mary Vallentine AO Geoffrey Greenwell Ray Wilson OAM Dr Victoria Beyer Pauline M Griffin AM Dawn & Graham Worner Daniel Booth Dr Andrew Botros Christie Brewster Nikki Brown Chloe Burnett Sandra Butler Alicia Cabrera Jacqueline Chalmers Dharma Chandran Dr Rebecca Chin Tanya Costello Alex Cowie Anthony Cowie Peter Creeden Paul Deschamps Stuart Challender, Sydney Symphony Orchestra Paul & Rachelle Edwards Chief Conductor and Artistic Director 1987–1991 Roslyn Farrar Matthew Garrett & We gratefully acknowledge those who have left a Courtney Thomason bequest to the Sydney Symphony Orchestra Rob Gaunt The Estate of the late Ross Adamson Sam Giddings The Estate of the late Douglas Vincent Agnew Kathryn Higgs The Estate of the late Dr Alison Margaret Burrell Katie Hryce The Estate of the late Carolyn Clampett Virginia Judge The Estate of the late Jonathan Earl William Clark Aernout Kerbert The Estate of the late Martha Danos Robert Larosa The Estate of the late Roma Valeria Joy Ellis Kate Lavender The Estate of the late Paul Louis de Leuil Lauren Macaulay The Estate of the late Colin T Enderby The Estate of the late Mrs E Herrman Elizabeth McEvoy The Estate of the late Irwin Imhof Carl McLaughlin The Estate of the late Isabelle Joseph Sabrina Meier The Estate of the late Dr Lynn Joseph Adrian Miller The Estate of the late Matthew Krel Jemma Morris The Estate of the late Helen MacDonnell Morgan Alex Nicholas The Estate of the late Greta C Ryan Timothy Nicholls & James Camilleri The Estate of the late Foster Smart Joel Pinkham The Estate of the late Joyce Sproat Seamus Robert Quick June & Alan Woods Family Bequest We are proud to acknowledge Katie Robertson those donors who have IF YOU WOULD LIKE MORE INFORMATION ON MAKING A Alvaro Rodas Fernandez given in support of our work BEQUEST TO THE SYDNEY SYMPHONY ORCHESTRA, PLEASE Wouter Roesems over the last twelve months. CONTACT OUR PHILANTHROPY TEAM ON 8215 4625. Rachel Scanlon (1 September, 2019)

25 SALUTE

PRINCIPAL PARTNER GOVERNMENT PARTNERS

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

PREMIER PARTNER

PLATINUM PARTNER MAJOR PARTNERS

FOUNDATIONS

GOLD PARTNERS

SILVER PARTNERS MEDIA PARTNERS

COMMUNITY & INDUSTRY PARTNERS

VANGUARD PARTNER EVENT PARTNER REGIONAL TOUR PARTNER

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