2012 Annual Report
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Christine Brewer, Soprano and Craig Terry, Piano
Old Dominion University 2018-2019 F. Ludwig Diehn Concert Series Christine Brewer, soprano Craig Terry, piano Concert: October 15, 7:30 p.m. Master Class: October 16, 12:30 p.m. Wilson G. Chandler Recital Hall F. Ludwig Diehn Center for the Performing Arts arts@odu Program Dich, teure Halle Richard Wagner (1813 – 1883) from Tannhäuser Wesendonck Lieder Richard Wagner Der Engel Stehe Still Im Treibhaus Schmerzen Träume September Richard Strauss (1864 – 1949) from Vier Letzte Lieder Ich liebe dich Allerseelen Breit über mein Haupt Zueignung INTERMISSION With a Song in My Heart Richard Rodgers (1902 – 1979) from Spring is Here Sing to Me, Sing Sidney Homer (1864 – 1953) Review Celius Dougherty (1902 – 1986) Hickory Hill Paul Sargent (1910 – 1987) Come Rain or Come Shine Harold Arlen (1905 – 1986) I Had Myself a True Love from St. Louis Woman Happiness is Just a Thing Called Joe Harold Arlen from Cabin in the Sky When I Have Sung My Songs Ernest Charles (1895 – 1984) Love Went A-Riding Frank Bridge (1879 – 1941) An endowment established at the Hampton Roads Community Foundation, made possible by a generous gift from F. Ludwig Diehn, funds this program. Translations Dich, teure Halle – Tannhäuser Be Still! – Stehe Still! by Richard Wagner Hurrying, scurrying wheel of time Marking out eternity; You, dear hall, I greet again... Glowing spheres in distant space I gladly greet you, beloved room! Circling us with gravity; All sempiternal generation, cease! In you, I still hear his songs Enough of that – let me know peace! Which waken me from my gloomy dream When he departed from you Desist, now, creative powers; How desolate you appeared to me. -
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 -
Donald Runnicles Leads Cso in Program of Works by Elgar, Strauss, and Britten
For Immediate Release: Press Contacts: April 29, 2016 Eileen Chambers, 312-294-3092 Photos Available By Request [email protected] DONALD RUNNICLES LEADS CSO IN PROGRAM OF WORKS BY ELGAR, STRAUSS, AND BRITTEN May 5, 7 and 10, 2016 CHICAGO—Conductor Donald Runnicles leads the Chicago Symphony Orchestra (CSO) in concerts on Thursday, May 5, at 8:00 p.m., Saturday, May 7, at 8:00 p.m., and Tuesday, May 10, at 7:30 p.m. The program includes Benjamin Britten’s Sinfonia da requiem, Richard Strauss’ gripping tone poem Death and Transfiguration, and Edward Elgar’s Enigma Variations. Britten’s Sinfonia da requiem, opens the program. Written in 1940 as a commission for the 2600th anniversary celebrations of the Japanese emperor Hirohito’s ruling dynasty, the piece went unused for the occasion due to its notably mournful tone. Britten’s beautifully orchestrated and strikingly powerful work was later premiered by the New York Philharmonic in Carnegie Hall in 1941. The program continues with one of Richard Strauss’ early tone poems, Death and Transfiguration, which traces a man’s journey through the pain of death to his eventual redemption. Concluding the evening’s program is Elgar’s Variations on an Original Theme, Op. 36 (Enigma) which contains 14 charming and witty musical portraits of the composer’s circle of acquaintances and one of Elgar himself. Arguably one of the most popular English classical works of the 20th century, the Enigma Variations was given its U.S. premiere by the CSO in 1902. Internationally renowned conductor Donald Runnicles serves as General Music Director of the Deutsche Oper Berlin, Chief Conductor of BBC Scottish Symphony Orchestra, and Music Director of the Grand Teton Music Festival, as well as Principal Guest Conductor with the Atlanta Symphony Orchestra. -
Turangalîla-Symphonie and His American Harmonies Program Are a Perfect Expression of David’S Musical Leadership
CONCERT DIARY DECEMBER All That Jazz Sun 1 Dec, 3pm Verbrugghen Hall, Sydney WITH THE SYDNEY SYMPHONY FELLOWS Conservatorium of Music Program includes: HINDEMITH Kammermusik No.1 EISLER Overture to a Comedy SHOSTAKOVICH Jazz Suite No.1 Roger Benedict conductor Sydney Symphony Orchestra Fellows Guest Musicians from the Sydney Conservatorium of Music Mahler's Klagende Lied Abercrombie & Kent Masters Series SIMONE YOUNG’S VISIONS OF VIENNA Wed 4 Dec, 8pm MAHLER Das klagende Lied (The Sorrowful Song) Fri 6 Dec, 8pm Sat 7 Dec, 8pm Simone Young conductor Eleanor Lyons soprano Sydney Opera House Michaela Schuster mezzo-soprano Steve Davislim tenor Andrew Collis bass-baritone Sydney Philharmonia Choirs FEBRUARY 2020 The 1950s Latin Lounge Wed 5 Feb, 7pm Thu 6 Feb, 7pm Program includes: Sat 8 Feb, 7pm GERSHWIN Cuban Overture Sydney Town Hall MARQUEZ Danzón No.2 BERNSTEIN West Side Story – Mambo Guy Noble conductor Imogen Kelly dancer Ali McGregor soprano The Rite of Spring Symphony Hour Wed 19 Feb, 7pm RIOT AT THE BALLET Thu 20 Feb, 7pm WAGNER Die Meistersinger – Prelude Sydney Town Hall STRAVINSKY The Rite of Spring Pietari Inkinen conductor Abercrombie & Kent Debussy and Ravel Masters Series THE GREAT IMPRESSIONISTS Wed 26 Feb, 8pm RAVEL Piano Concerto in G Fri 28 Feb, 8pm MENDELSSOHN The Hebrides Sat 29 Feb, 8pm DEBUSSY La mer Thursday Afternoon Symphony Jun Märkl conductor Thu 27 Feb, 1.30pm Alexandra Dariescu piano Great Classics Sat 29 Feb, 2pm Sydney Town Hall MARCH 2020 Ben Folds Sydney Symphony Presents Fri 6 Mar, 8pm THE SYMPHONIC TOUR Sat 7 Mar, 8pm Pop icon and music innovator Ben Folds Sydney Town Hall returns to Sydney following his last sold- out shows with the Sydney Symphony. -
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. -
Sir Colin Davis Discography
1 The Hector Berlioz Website SIR COLIN DAVIS, CH, CBE (25 September 1927 – 14 April 2013) A DISCOGRAPHY Compiled by Malcolm Walker and Brian Godfrey With special thanks to Philip Stuart © Malcolm Walker and Brian Godfrey All rights of reproduction reserved [Issue 10, 9 July 2014] 2 DDDISCOGRAPHY FORMAT Year, month and day / Recording location / Recording company (label) Soloist(s), chorus and orchestra RP: = recording producer; BE: = balance engineer Composer / Work LP: vinyl long-playing 33 rpm disc 45: vinyl 7-inch 45 rpm disc [T] = pre-recorded 7½ ips tape MC = pre-recorded stereo music cassette CD= compact disc SACD = Super Audio Compact Disc VHS = Video Cassette LD = Laser Disc DVD = Digital Versatile Disc IIINTRODUCTION This discography began as a draft for the Classical Division, Philips Records in 1980. At that time the late James Burnett was especially helpful in providing dates for the L’Oiseau-Lyre recordings that he produced. More information was obtained from additional paperwork in association with Richard Alston for his book published to celebrate the conductor’s 70 th birthday in 1997. John Hunt’s most valuable discography devoted to the Staatskapelle Dresden was again helpful. Further updating has been undertaken in addition to the generous assistance of Philip Stuart via his LSO discography which he compiled for the Orchestra’s centenary in 2004 and has kept updated. Inevitably there are a number of missing credits for producers and engineers in the earliest years as these facts no longer survive. Additionally some exact dates have not been tracked down. Contents CHRONOLOGICAL LIST OF RECORDING ACTIVITY Page 3 INDEX OF COMPOSERS / WORKS Page 125 INDEX OF SOLOISTS Page 137 Notes 1. -
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. -
GUITAR FESTIVAL SYMPHONY GALA Presented by Adelaide Symphony Orchestra & Adelaide Festival Centre ADELAIDE TOWN HALL 13 AUGUST 7PM TWO WORLD PREMIERE PIECES
GUITAR FESTIVAL SYMPHONY GALA Presented by Adelaide Symphony Orchestra & Adelaide Festival Centre ADELAIDE TOWN HALL 13 AUGUST 7PM TWO WORLD PREMIERE PIECES Stellar Soloists, Stunning Premieres Guitar Festival Symphony Gala, featuring Adelaide Symphony Orchestra, boasts world premieres of new works from esteemed Cuban composer Leo Brouwer and Australia’s Andrew Ford. Brouwer’s commission, Austral* for guitar and chamber orchestra, is entrusted to the glorious hands of Spain’s Ricardo Gallén, while Ford’s Raga†, a concerto for electric guitar, was written for the multi-genre Australian guitar firebrand, Zane Banks. The concert commences with soloists Karin Schaupp, Aleksandr Tsiboulski, Leonard Grigoryan and Ken Murray delivering Joaquín Rodrigo’s joyously festive Concierto andaluz for four guitars. “(The ASO is) one of the country’s finest” – THE AUSTRALIAN “I believe Ricardo Gallén is one of the most important classical guitarists in our world today” – CLASSICAL GUITAR REVIEW “Banks gives a masterful interpretation… subtly twisting the shapes through tonal shifts” – LIMELIGHT MAGAZINE “…Schaupp lives up to her reputation as one of the world’s most accomplished classically trained guitarists” – SYDNEY MORNING HERALD “Tsiboulski is little short of a magician [...] producing astonishing varieties of tone from the lute-like early music to virtuoso feats of contemporary dexterity...” – THE ADVERTISER “Ken Murray is a guitarist of rare musicianship” – CLASSIKON CONDUCTOR Benjamin Northey REPERTOIRE Joaquín Rodrigo – Conceierto andaluz Leo Brouwer – Austral for guitar and chamber orchestra (World Premiere) Maurice Ravel – Mother Goose: Suite Andrew Ford – Raga (World Premiere) ADELAIDE SYMPHONY ORCHESTRA The Adelaide Symphony Orchestra is South Australia’s largest performing arts organisation and plays a major role in Adelaide’s cultural vibrancy – and 2016 marks the ASO’s 80th anniversary. -
Christine Brewer's Biography
BIOGRAPHY Grammy Award-winning American soprano Christine Brewer’s appearances in opera, concert, and recital are marked by her own unique timbre, at once warm and brilliant, combined with a vibrant personality and emotional honesty reminiscent of the great sopranos of the past. Named one of the top 20 sopranos of all time (BBC Music), her range, golden tone, boundless power, and control make her a favorite of the stage and a highly sought-after recording artist, one who is “in her prime and sounding glorious” (Anthony Tommasini, New York Times). Highlights of Brewer’s 2011-12 season include singing Wagner and Beethoven for the Atlanta Symphony Orchestra’s season-opening concert, followed by Wagner’s Wesendonck Lieder with the New World Symphony and Michael Tilson Thomas, and finally Ring cycle excerpts with the San Francisco Symphony and Esa-Pekka Salonen. The soprano also revisits Beethoven in five accounts of the Missa solemnis with the Boston Symphony and James Levine, culminating in a March 2012 performance at New York’s Carnegie Hall. The “superlative Strauss singer” (New York Times) undertakes the late-Romantic’s Four Last Songs with the St. Louis Symphony and David Robertson, and performs his music alongside that of Marx, Thomson, Ives, and Smith for a Mother’s Day recital with her regular pianist Craig Rutenberg at New York’s Alice Tully Hall. She returns to the London Symphony Orchestra under Sir Colin Davis for concert performances of Weber’s Der Freischütz and makes her Los Angeles Opera debut with her celebrated portrayal of Lady Billows in Britten’s Albert Herring. -
Re-Routing Power Relationships in Music
Prof. Liza Lim, University of Sydney Luck, Grief, Hospitality – re-routing power relationships in music Keynote for ‘Women in the Creative Arts’ conference, ANU, 11th August, 2017 I would firstly like to acknowledge the First Australians on whose traditional lands we meet. I pay my respects to the Ngunnawal custodians and their elders, as well as to other Indigenous elders and emerging leaders here. I also want to acknowledge our senior women in Australian music – the composers, performers, organisers – whose work and contribution allows us to build this conversation about gender equality today. I feel very honoured to be invited to give a keynote and thank Natalie Williams, the conference committee and ANU for creating this space in which we might think together. I’m a great believer in the distributed and ecological nature of thought. I think individual ideas arise in a partnership with a surrounding fabric of ideas. The communities we locate ourselves in are forms of off-board memory, cultural resource and intelligences, of extended brain power and so I see this conference as a way of strengthening our individual capacities for creativity, thought and action through a strengthening of our communities of creative women. As a composer, I make work that connects across very different scales of time and identity so I’m going to take a compositional and intersectional approach in this talk. My metabolism as an artist is shaped by my experiences as a woman in a long lineage of Chinese matriarchs; by being a traveller from a long train of migrants, and by formative experiences growing up in lands colonised by the British, like Australia and Brunei. -
CHAN 3123(2) CHAN 3123(2) Fidelio Beethoven CHAN 3123 BOOK.Qxd 12/9/06 4:24 Pm Page 2
CHAN 3123Cover.qxd12/9/064:26pmPage1 CHAN 3123(2) Beethoven Fidelio CHAN 3123(2) CHAN 3123 BOOK.qxd 12/9/06 4:24 pm Page 2 Ludwig van Beethoven (1770–1827) Fidelio Opera in two acts Libretto by Joseph von Sonnleithner, with revisions by Stephan von Breuning and © Lebrecht Music & Music © Lebrecht Arts Library Photo Georg Treitschke, after Jean-Nicolas Bouilly’s Léonore, ou L’amour conjugal English translation by David Pountney Rocco, jailer .......................................................................................................Robert Lloyd bass Marzellina, his daughter .............................................................................Rebecca Evans soprano Jaquino, Rocco’s assistant....................................................................................Peter Wedd tenor Don Pizarro, prison governor ...............................................................Pavlo Hunka bass-baritone Don Fernando, minister and Spanish nobleman ......................................Christopher Purves bass Florestan, a prisoner.................................................................................Richard Margison tenor Leonora, his wife, and assistant to Rocco, under the name of Fidelio.....Christine Brewer soprano First prisoner.................................................................................................Ashley Catling tenor Second prisoner .......................................................................................Christopher Purves bass Philharmonia Orchestra Geoffrey Mitchell