mahler and bruch - Sydney Symphony Orchestra

MAHLER AND BRUCH
Ashkenazy and Zukerman
MASTER SERIES
Wednesday 13 November 2013
SUPPORTED BY VIENNA TOURIST BOARD
DECEMBER – JANUARY
CLASSICAL
Thibaudet plays
Gershwin
Jazz Inspirations
THURSDAY AF TERNOON
SYMPHONY
Thu 5 Dec 1.30pm
EMIRATES METRO SERIES
Fri 6 Dec 8pm
SHOSTAKOVICH Jazz Suite No.1
GERSHWIN Piano Concerto in F
PROKOFIEV Symphony No.5
GREAT CL ASSICS
James Gaffigan conductor
Jean-Yves Thibaudet piano
Mon 9 Dec 7pm
Sat 7 Dec 2pm
MONDAYS @ 7
Pre-concert talk
by Yvonne Frindle
Variations on an
English Theme
HAYDN Symphony No.92 (Oxford)
BRITTEN The Young Person’s
Guide to the Orchestra
BRITTEN Violin Concerto
BRAHMS Variations on a Theme of Haydn
James Gaffigan conductor
Vilde Frang violin
MASTER SERIES
Wed 11 Dec 8pm
Fri 13 Dec 8pm
Sat 14 Dec 8pm
Pre-concert talk
by David Garrett
Symphony in the Domain
Spread your blanket under the stars and
enjoy the sounds of the orchestra with
your family and friends in the Domain.
HOLST The Planets
TCHAIKOVSKY 1812 Overture
Simone Young conductor
John Bell actor-narrator
Sydney Philharmonia Choirs
Anne-Sophie Mutter
plays Mozart
MOZART
Violin Concerto No.2 in D, K211
Violin Concerto No.3 in G, K216 (Strassburger)
Violin Concerto No.5 in A, K219 (Turkish)
Anne-Sophie Mutter violin-director
Tickets for these concerts on sale
from Monday 2 December
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Sun 26 Jan 8pm
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WELCOME
On behalf of the Vienna Tourist Board, Silver Partner of the
Sydney Symphony Orchestra, I’d like to welcome you to
Vladimir Ashkenazy’s final performances with the orchestra
this year.
Vienna, the ‘City of Music’, has inspired generations of
famous composers. Music is literally in the air, from inside
the famed Musikverein to the memorials of Beethoven,
Haydn and Schubert dotted across town.
Vienna has not only been the birthplace of some of our
best-loved composers, but composers from across Europe
and indeed the world have decided to take residence there.
Mozart, Beethoven, Brahms and Mahler are just some of
the immigrated Viennese whose music now graces concert
platforms everywhere. Even Sibelius, the voice of Finland,
made Vienna the destination for his advanced music
studies.
This week, Sydney welcomes Pinchas Zukerman, a great
violinist and friend and colleague of Ashkenazy, and joining
them for two of the performances, cellist Amanda Forsyth.
We’re delighted to have helped support these concerts,
making this meeting of fine artistic spirits a possibility, and
giving you a chance to experience the immediacy and
timelessness of great music in this concert with the Sydney
Symphony Orchestra, Ashkenazy and his friends.
© WIENTOURISMUS/PETER RIGAUD
We hope you enjoy the performance!
Norbert Kettner
Managing Director
Vienna Tourist Board
2013 season
master series
Wednesday 13 November | 8pm
Sydney Opera House Concert Hall
Mahler and Bruch
Vladimir Ashkenazy CONDUCTOR
Pinchas Zukerman VIOLIN
Max Bruch (1838–1920)
Violin Concerto No.1 in G minor, Op.26
Vorspiel [Prelude] (Allegro moderato) –
Adagio
Finale (Allegro energico)
INTERVAL
Gustav Mahler (1860–1911)
Symphony No.5 in C sharp minor
Part I
Trauermarsch (In gemessenem Schritt. Streng. Wie ein
Kondukt) [Funeral march (With measured pace, stern,
like a funeral procession)]
Stürmisch bewegt. Mit grösster Vehemenz
[Stormy, with utmost vehemence]
Part II
Scherzo (Kräftig, nicht zu schnell)
[Strong, not too fast]
Part III
Adagietto (Sehr langsam) [Very slow]
Rondo – Finale (Allegro)
SUPPORTING PARTNER
The performance of this program
on Saturday 16 November will be
broadcast live on ABC Classic FM.
The 16 November performance will
also be webcast via BigPond and
will be available for later viewing on
demand. Visit: bigpondmusic.com/
sydneysymphony
Pre-concert talk by Roger Benedict
at 7.15pm in the Northern Foyer.
Estimated durations:
25 minutes, 20-minute interval,
70 minutes
The performance will conclude at
approximately 10pm
LEBRECHT MUSIC & ARTS
The first page of the Adagietto from Mahler’s Fifth Symphony. Willem Mengelberg’s score shows his
extensive markings in red and blue, together with a brief poem, which he has written into the left-hand
margin (see page 15 for a translation). Mengelberg’s annotations also include, in the top right corner:
‘N.B. This Adagietto was Gustav Mahler’s declaration of love to Alma! Instead of a letter he sent her
this in manuscript; no accompanying words. She understood and wrote to him: he should come!!!
Both told me this! W.M.’ And at the bottom of the page: ‘If music is a language, then it is one here –
“he” tells her everything in “tones” and “sounds” in: music.’
6 sydney symphony
INTRODUCTION
Ashkenazy and Zukerman perform
Mahler and Bruch
Long before he began his tenure as Principal Conductor in
2009, Vladimir Ashkenazy had won the hearts of Sydney
audiences. Perhaps you were there for the now famous
Sibelius cycle in 2004, or the inspirational Rachmaninoff
festival in 2007. Maybe you were fortunate enough to have
heard the recitals and concertos that marked his first
appearances for the Sydney Symphony Orchestra.
Now, this week, Ashkenazy offers a program that highlights
what has made his work with the SSO so special – not only
for audiences, but for everyone in the orchestra.
It’s a heart-warming program. It begins with the concerto
that violinist Joseph Joachim described as ‘the richest’ and
‘most seductive’ of the four great German violin concertos.
(He placed Bruch’s G minor concerto in the company of
Beethoven, Brahms and Mendelssohn.) And it concludes with
Mahler’s Fifth Symphony, with its musical declaration of love
given voice by strings and harp.
The symphony is a welcome reprise from Ashkenazy’s
Mahler Odyssey, the two-year journey through the complete
symphonies in 2010 and 2011. Our performance then was
captured on CD and has been praised for its compelling
approach and vision under our principal conductor. It ‘has
the vividness and energy of a live performance,’ wrote Peter
McCallum in The Sydney Morning Herald, ‘blending fire and
cogency, colour and concentration.’
For the concerto we welcome back to Sydney Pinchas
Zukerman, a long-standing friend and colleague of
Ashkenazy’s. And in this the concert highlights something
else about Ashkenazy’s work with the SSO: it is about making
music among friends and for friends. Once again, we’re
reminded of the T-shirt he so often wears for rehearsal,
bearing one word: ‘Musician’.
sydney symphony 7
ABOUT THE MUSIC
Max Bruch
Violin Concerto No.1 in G minor, Op.26
Keynotes
Vorspiel [Prelude] (Allegro moderato) –
Adagio
Finale (Allegro energico)
Born Cologne, 1838
Died Berlin, 1920
Pinchas Zukerman violin
Max Bruch’s First Violin Concerto is one of the greatest
success stories in the history of music. The violinist Joseph
Joachim, who gave the first performance of the definitive
version in 1868, and had a strong advisory role in its creation,
compared it with the other famous 19th-century German
violin concertos, those of Beethoven, Mendelssohn and
Brahms. Bruch’s, said Joachim, is ‘the richest, the most
seductive’. (Joachim was closely associated as performer with
all four of these concertos, and with the creation of Brahms’
concerto, which he premiered in 1879.) Soon Bruch was able
to report that his concerto was ‘beginning a fabulous career’.
In addition to Joachim, the most famous violinists of the day
took it into their repertoire: Auer, Ferdinand David, Sarasate.
With his first important large-scale orchestral work, the
30-year-old Bruch had a winner.
BRUCH
More than any other German
composer, Bruch was the true
successor of Mendelssohn, and
their respective violin concertos
share a family likeness. Bruch’s
next best-known work is his
Kol Nidrei, an Adagio on
Hebrew Melodies for cello and
orchestra. On the strength of
that work alone (Bruch was a
Protestant Christian), his music
was later banned by the Nazi
party.
VIOLIN CONCERTO NO.1
After Mendelssohn’s concerto,
Bruch’s first is probably the
most popular Romantic
concerto in the repertoire.
Bruch conducted the first
performance in 1866, then
revised it substantially in 1868.
Bruch sold the work outright
to the publisher Simrock for
a pittance and never received
another penny from the
growing number of
performances. Sadly, though
he composed two more violin
concertos, neither caught the
public imagination in the same
way as the first.
Unusually, not just the opening
section but the whole of the
first movement is cast as an
introductory Vorspiel (Prelude),
which for the violin begins and
ends with cadenzas. A held
note for the orchestral violins
leads to the memorable Adagio
that forms the concerto’s
emotional centre. The finale is
by turns lyrical and virtuosic,
and takes on a decidedly
Hungarian Gypsy feel.
8 sydney symphony
The success of this concerto was to be a mixed blessing for
Bruch. Few composers so long-lived and prolific are so nearly
forgotten except for a single work. (Kol nidrei for cello and
orchestra is Bruch’s only other frequently performed piece,
its use of Jewish melodies having led many to assume that
Bruch himself was Jewish.) Bruch followed up this violin
concerto with two more, and another six pieces for violin and
orchestra. But although he constantly encouraged violinists
to play his other concertos, he had to concede that none of
them matched his first. This must have been especially
frustrating considering that Bruch had sold full rights in it
to a publisher for the paltry sum of 250 thalers.
In 1911 an American friend, Arthur Abell, asked Bruch
why he, a pianist, had taken such an interest in the violin.
He replied, ‘Because the violin can sing a melody better
than the piano can, and melody is the soul of music’.
It was the composer’s association with Johann Naret-Koning,
concertmaster of the Mainz orchestra, which first set Bruch
on the path of composing for the violin. He did not feel sure
of himself, regarding it as ‘very audacious’ to write a violin
concerto, and reported that between 1864 and 1868, ‘I rewrote
my concerto at least half a dozen times, and conferred with
x violinists’. The most important of these was Joachim.
Many years later Bruch had reservations about the
publication of his correspondence with Joachim about the
concerto, worrying that ‘the public would virtually believe
when it read all this that Joachim composed the concerto,
and not I’.
As we have seen, Joachim thought Bruch was on the right
track from the first. Bruch was lucky to have the advice of
so serious an artist, a composer himself, well aware of how
the ‘concerto problem’ presented itself 20 years after
Mendelssohn’s E minor Violin Concerto. Like Mendelssohn,
Bruch had brought in the solo violin right from the start,
after a drum roll and a motto-like figure for the winds.
The alternation of solo and orchestral flourishes suggests
to writer Michael Steinberg a dreamy variant of the opening
of Beethoven’s Fifth Piano Concerto.
With the main theme launched by the solo violin in
sonorous double-stopping, and a contrasting descending
second subject, a conventional opening movement in sonata
form seems to be under way. The rhythmic figure heard in
the plucked bass strings plays an important part. But at the
point where the recapitulation would begin, Bruch, having
brought back the opening chords and flourishes, uses them
instead to prepare a soft subsiding into the slow movement,
which begins without a pause. Bruch first called the first
The concerto’s success
was a mixed blessing
for Bruch, since he’d
sold full rights in it for
a paltry sum.
sydney symphony 9
At this very moment
a soloist’s heart is
beating in time to the
music at the Vienna
State Opera. It’s a
shame you can’t hear it.
VIENNA HOTELS & INFO
Tel. +43-1-24 555
[email protected]
WWW.VIENNA.INFO
Wiener Staatsballett, principal dancer, Olga Esina
movement Introduzione-Fantasia, then Vorspiel (Prelude), and
asked Joachim rather anxiously whether he shouldn’t call
the whole work a Fantasy rather than a Concerto. ‘The
designation concerto is completely apt,’ replied Joachim.
‘Indeed, the second and third movements are too fully
developed for a Fantasy. The separate sections of the work
cohere in a lovely relationship, and yet – and this is the most
important thing – there is sufficient contrast.’
The songful character of the violin is to the fore in Bruch’s
Adagio. Two beautiful themes are linked by a memorable
transitional idea featuring a rising scale. The themes are
artfully and movingly developed and combined, until the
second ‘enters grandly below and so carries us out in the full
tide of its recapitulation’ (Tovey).
Although the second movement comes to a quiet full
close, the third movement begins in the same warm key of
E flat major, with a crescendo modulating to the G major
of the Finale, another indication of the tendency of
Romantic composers like Bruch to think of a concerto as
a continuously unfolding and linked whole. The Hungarian
or Gypsy dance flavour of the last movement’s lively first
theme must be a tribute to the native land of Joachim, who
had composed a ‘Hungarian’ Concerto for violin. Bruch’s
theme was surely in Brahms’ mind at the same place in the
concerto he composed for Joachim. Bruch’s writing for the
solo violin – grateful yet never gratuitous throughout the
concerto – here scales new heights of virtuosity. Of the bold
and grand second subject, Tovey observed that Max Bruch’s
work ‘shows one of its noblest features just where some of
its most formidable rivals become vulgar.’ In this concerto
for once Bruch’s music displays enough emotion to balance
his admirable skill and tastefulness. The G minor Violin
Concerto is just right, and its success shows no sign of
wearing out.
‘Because the violin can
sing a melody better
than the piano can,
and melody is the soul
of music.’
Bruch, a pianist, explaining why
he so loved the violin
DAVID GARRETT © 2004
The orchestra for Bruch’s First Violin Concerto comprises pairs of flutes,
oboes, clarinets and bassoons; four horns and two trumpets; timpani
and strings.
Yehudi Menuhin was soloist in Bruch’s G minor concerto with
Maurice Abravanel and a ‘full professional orchestra’ (containing
many moonlighting Sydney Symphony Orchestra players) in Sydney in
June 1935. Georg Schneevoigt conducted the first official performance
with the SSO in 1937; the soloist was Lionel Lawson. The orchestra’s
most recent performance was with Daniel Hope and conductor Oleg
Caetani in 2010.
sydney symphony 11
Gustav Mahler
Symphony No.5 in C sharp minor
Keynotes
Part I
Trauermarsch (In gemessenem Schritt. Streng. Wie ein
Kondukt) [Funeral march (With measured pace, stern,
like a funeral procession)]
Stürmisch bewegt. Mit grösster Vehemenz
[Stormy, with utmost vehemence]
Born Kalischt, 1860
Died Vienna, 1911
Part II
Scherzo (Kräftig, nicht zu schnell) [Strong, not too fast]
Part III
Adagietto (Sehr langsam) [Very slow]
Rondo – Finale (Allegro)
Mahler’s first four symphonies were more or less
programmatic in their intention, drawing their inspiration
from folk poetry, incorporating themes from songs, and
(in all but the first) using the human voice in one or more
of the movements. The Fifth Symphony, on the other hand,
revealed no obvious program and was scored for orchestra
alone.
It was written in 1901–02 around the time of Mahler’s
meeting with, and rather hasty betrothal to, Alma Schindler.
While no period in Mahler’s life could be described as
unequivocally happy, there is no doubt that the Fifth
Symphony was conceived at a time of substantial personal
and professional satisfaction. Yet any sign of outward
pleasure or optimism tends to be avoided, at least early on
in the symphony – pointedly, and notoriously, it begins with
a funeral march.
Mahler’s friend Natalie Bauer-Lechner recalled Mahler
speaking to her about the symphony he was writing in his
hut in the woods during the summer of 1901:
Within the last few days Mahler has spoken to me for the first
time about his work this summer, his Fifth Symphony, and
in particular about the third movement: ‘The movement is
immensely difficult to work out because of the structure and the
supreme artistic mastery which it demands in all its relationships
and details…The human voice would be utterly out of place here.
There is no call for words, everything is said in purely musical
terms. It will be a straightforward symphony in four movements
too, with each movement independent and complete in itself and
related to the others only by the common mood.’
Mahler worked on the first two movements and part of
the third movement during the summer of 1901. The rest
of the symphony was completed the following summer, by
12 sydney symphony
MAHLER
Mahler is now regarded as one
of the greatest symphonists of
the turn of the 20th century. But
during his life his major career
was as a conductor – he was
effectively a ‘summer composer’.
Mahler believed that a symphony
must ‘embrace the world’. His
are large-scale, requiring huge
orchestras and often lasting
more than an hour. They cover
a tremendous emotional range,
and they have sometimes been
described as ‘Janus-like’ in the
way they blend romantic and
modern values, self-obsession
and universal expression,
idealism and irony.
FIFTH SYMPHONY
Mahler described his Fifth
Symphony originally as ‘a
straightforward symphony in
four separate movements’,
though somehow, as the
introductory opening grew into
a separate slow movement,
a Dead March, some of the
promised straightforwardness
was jettisoned. Mahler was
composing the work in 1901–02,
around the time of his betrothal
to Alma Schindler, and according
to Mahler’s colleague, Willem
Mengelberg, the famous
Adagietto for harp and strings
is a declaration of love.
Finally, Mahler caves in to the
temptation to unify the work’s
‘separate’ parts. His finale
duly melds ideas from all
four previous movements,
particularly the Dead March
and the Adagietto, into a joyous
(giocoso) celebration. It brings
the whole symphony to the
ecstatic brass hymn of the
conclusion, as close as Mahler
ever came to an ‘Ode to Joy’.
which point Alma Schindler (whom he had met in November
1901) was very much part of his life. In her memoirs, Alma
recalled the couple going to Maiernigg in June 1902:
Mahler had the sketches of the Fifth Symphony with him.
Two movements were completed, the rest were being drafted.
I tried to play the piano softly, but when I asked him, he [said that
he] had heard me, although his working cabin was located far
away in the woods. Thereafter I changed my activities…In the
process I gradually became a real help to him.
By the autumn of 1902 the Fifth Symphony was complete
and Mahler played it for his new wife:
It was the first time that he played a new work for me.
Arm in arm we walked solemnly up to his studio in the woods.
Soon afterwards the vacation was over, and we moved to
Vienna. The Fifth was completed, and he worked all winter on
the final copy.
When the premiere took place in Cologne on 18 October
1904, the reception was mixed. The great conductor and early
champion of Mahler’s music, Bruno Walter, clearly
remembered the occasion for ‘a particular reason’:
…it was the first and, I think, the only time that a performance
of a Mahler work under his own baton left me unsatisfied.
The instrumentation did not succeed in bringing out clearly
the complicated contrapuntal fabric of the parts, and Mahler
complained to me afterwards that he never seemed able to
master the handling of the orchestra: in fact he later subjected
the orchestration to the most radical revision that he ever felt
obliged to undertake.
Gustav Mahler (portrait by Emil
Orlik, 1902) and Alma Mahler
Walter was not alone; Richard Strauss, also an admirer of
Mahler’s music, had reservations after witnessing a further
performance of the symphony some months later. Revision
after revision ensued, beginning with the overwritten
percussion parts and following through into the entire
orchestration. So thorough was Mahler’s reworking that,
even as the symphony’s popularity grew, each performance
was different from the previous. ‘The Fifth is an accursed
work,’ Mahler wrote. ‘No one understands it!’
The symphony follows Mahler’s principle of ‘progressive
tonality’, working its way from the beginning in C sharp
minor to a conclusion in a triumphant D major. On its
travels it passes through a vast range of moods and
emotions – ‘passionate, wild, pathetic, sweeping, solemn,
gentle, full of all the emotions of the human heart’ in Bruno
Walter’s memorable description. A massive work, it is in three
parts and five movements (rather than the four movements
Mahler had planned in 1901).
sydney symphony 13
The opening movement begins with a distinctive
trumpet call which recurs as the movement proceeds, and
which Mahler noted in the score should be played
‘somewhat hurriedly, in the manner of military fanfares’.
Like Berlioz and Tchaikovsky before him, Mahler opens with
a funeral march and the first movement itself is filled with
pain and grief.
As if to belie the claim that the symphony is ‘absolute’
rather than ‘programmatic’ music, the main theme is
actually based on a song by Mahler called Der Tamboursg’sell –
a song about a drummer boy facing execution. There are
two trios in the movement: the first in B flat minor with
a brief violin theme, the second a quieter section in
A minor following the return of the march theme. After
an impassioned climax toward the end, the movement dies
away amid echoes of the opening trumpet call.
Mahler leaves no doubt as to the intended mood of
the second movement – marked ‘Stormy, with utmost
vehemence’. Much of the material in this allegro movement
derives from that in the first and there is a distinct
reminiscence of the march rhythms. A brass chorale in
part anticipates the conclusion of the symphony as a whole;
after some distinctly sinister turns, the main themes of
the allegro return as the movement ends quietly and
ominously.
The Scherzo, which forms the third movement, is another
matter altogether. Its energetic main thematic material is in
the form of a joyous ländler. Ideas tumble over themselves
in an inventive contrapuntal display while a slower waltz
theme is juxtaposed with the main material. Contrasting
trios add a more sombre note and in one of these there
occurs a striking obbligato passage for the principal horn.
The Adagietto – arguably the most famous single
movement in all the Mahler symphonies – is essentially a
song without words. Scored for harps and strings alone, it
is closely related to Mahler’s song Ich bin der Welt abhanden
gekommen (I am lost to the world). According to Mahler’s
colleague, Dutch conductor Willem Mengelberg, the
Adagietto was intended as a declaration of love for Alma
and was composed shortly after the couple met. More like
a fascinated bystander than a conductor, Mengelberg wrote
in his score:
Instead of a letter, he sent her this in manuscript, no
accompanying words. She understood and wrote to him: he
should come!!! Both have told me this!…If music is a language,
then it is one here. He tells her everything in tones and sounds,
in: music.
14 sydney symphony
At the dress rehearsal,
your Fifth Symphony
again brought me great
pleasure, which was
dimmed for me only by
the little Adagietto. It
serves you right that
precisely that movement
was liked the most by the
audience. The first two
movements especially
are quite splendid; the
ingenious Scherzo
seemed a bit too long.
How much this is the
fault of the inadequate
performance is beyond
my judgement.
RICHARD STRAUSS
And also in Mengelberg’s score at the beginning of the
Adagietto was the following brief poem, presumably written
by Mahler himself:
Wie ich Dich liebe
Du meine Sonne
Ich kann mit Worten Dir’s nicht sagen
Nur meine Sehnsucht kann ich Dir klagen
Und meine Liebe
Meine Wonne!
How I love you,
my sun,
I cannot tell you in words,
I can only pour out to you my longing
and my love,
my delight!
The Adagietto gained a wider audience when used in the
soundtrack for Visconti’s film Death in Venice.
The Rondo–Finale shares material with each of the
previous four movements, particularly the Funeral March
and the Adagietto. The movement is a joyous (giocoso)
celebration which begins with a series of folk-like figures
on solo wind instruments. (The opening of the movement
quotes the witty Lob des hohen Verstandes (In Praise of Higher
Understanding) from Des Knaben Wunderhorn.) The main
rondo theme is first stated on the horns and the other ideas
are woven contrapuntally around this as counter-subjects.
When the main melody from the Adagietto returns it is
so transformed with energy that it is practically
unrecognisable. The development is elaborate, and the
movement as a whole works its way towards the ecstatic
brass chorale of the conclusion – as close as the melancholy
Mahler ever came to writing an ‘Ode to Joy’.
MARTIN BUZACOTT, SYMPHONY AUSTRALIA © 1997
Mahler’s Fifth Symphony is scored for four flutes (two doubling
piccolo), three oboes (one doubling English horn), three clarinets
(one doubling E flat clarinet and bass clarinet), three bassoons and
contrabassoon; seven horns, four trumpets, three trombones and tuba;
timpani and four percussion; harp and strings.
The Sydney Symphony Orchestra was the first ABC orchestra to
perform this symphony, with conductor Georg Schnéevoigt on
5 August 1937. The most recent performance was in 2010 with
Vladimir Ashkenazy conducting, also recorded as part of the SSO’s
Mahler Odyssey.
Before World War II, Mahler’s
symphonies were not
universally greeted as
masterworks. When Georg
Schnéevoigt conducted the
SSO’s first performance of the
Fifth in the Sydney Town Hall
on 5 August 1937, the Sydney
Morning Herald reviewer found
it:
…a long work, and an
uncommonly patchy one…
the composer seemed to be
going through the motions
of grief, joy, or frenzy, but
conveying nothing but a
disturbing noise. Mahler’s
well-known fondness for brass
instruments expressed itself
in frequent and by no means
uncertain terms. This, more
than anything else, made the
symphony fatiguing. Still, a
score which includes such
superb ideas as the Dead
March in the first movement
and the tender sincerity of the
Adagietto is not lightly to be
thrust aside.
sydney symphony 15
MORE MUSIC
ZUKERMAN PLAYS BRUCH
Pinchas Zukerman has recorded the Bruch G minor
violin concerto with Zubin Mehta and the Los
Angeles Philharmonic. Look for it in a pairing with
the Brahms violin concerto (Mehta conducting the
London Philharmonic Orchestra) on RCA, or in a
program with Vieuxtemps’ Violin Concerto No.5
(Grétry) and Lalo’s Symphonie espagnole in a Sony
Classical Essential Classics release.
ASHKENAZY CONDUCTS MAHLER
Vladimir Ashkenazy conducted the SSO in Mahler’s
Fifth Symphony in 2010 as part of the Mahler
Odyssey, in which we performed and recorded the
complete symphonies and several major song cycles.
The symphony is available on its own, and also as
part of a handsome boxed set.
Broadcast Diary
November–December
abc.net.au/classic
Thursday 14 November, 1.30pm
sibelius & brahms
Vladimir Ashkenazy conductor
Pinchas Zukerman violin
Amanda Forsyth cello
Saturday 16 November, 8pm
mahler & bruch
See this program for details.
Thursday 28 November, 1.05pm
SSO LIVE 201003
wagner madness
Visit www.sydneysymphony.com/shop to buy the SSO
Mahler recordings and other music.
Nicholas Carter conductor
Janet Webb flute
Haydn, L Liebermann, Ledger, Wagner
PINCHAS ZUKERMAN
Pinchas Zukerman and Vladimir Ashkenazy were
frequent chamber music partners during the 1990s
and they appear together in Mozart’s Violin Concerto
No.5 (the ‘Turkish’), recorded in concert with
Ashkenazy conducting the Deutsches SymphonieOrchester Berlin. On the same disc Ashkenazy
conducts Richard Strauss’s Symphonia domestica.
AUDITE 97535
Zukerman and Ashkenazy’s chamber music recordings
include the complete Schubert piano trios with cellist
Lynn Harrell (who will perform with the SSO in 2014).
Saturday 14 December, 8pm
variations on an english theme
James Gaffigan conductor
Vilde Frang violin
Haydn, Britten, Brahms
Fine Music 102.5
sydney symphony 2013
Tuesday 10 December, 6pm
Musicians, staff and guest artists discuss what’s in
store for 2014.
DECCA 455 6852
Also a violist, Zukerman has recorded Berlioz’s
Harold in Italy with Charles Dutoit and the Montreal
Symphony Orchestra. Available in a 2CD Berlioz
collection that includes the Symphonie fantastique
and highlights from Roméo et Juliette.
DECCA 455 3612
To hear Zukerman in more core concerto repertoire,
look for his recording of Beethoven’s violin concerto
with Daniel Barenboim conducting the Chicago
Symphony Orchestra. Also in the 2CD set, Nathan
Milstein in his final studio recordings of the
Brahms, Mendelssohn and Tchaikovsky concertos,
accompanied by the Vienna Philharmonic.
DEUTSCHE GRAMMOPHON 453 1422
On the Eloquence label, Zukerman plays the muchloved Lark Ascending in an all-English collection of
music by Delius, Vaughan Williams and Walton.
Daniel Barenboim conducts the English Chamber
Orchestra.
ELOQUENCE 442 8333
16 sydney symphony
Webcasts
Selected Sydney Symphony Orchestra concerts are
webcast live on BigPond and Telstra T-box and
made available for later viewing On Demand.
Our next webcast:
mahler & bruch
From Saturday 16 November at 8pm
Visit: bigpondmusic.com/sydneysymphony
We recommend our free mobile app, now optimised
for the iPad, if you want to watch SSO live webcasts
on your mobile device.
MORE MUSIC
Sydney Symphony Live
MAHLER ODYSSEY
The Sydney Symphony Live label was founded in
2006 and we’ve since released more than a dozen
recordings featuring the orchestra in live concert
performances with our titled conductors and leading
guest artists, including the Mahler Odyssey cycle,
begun in 2010. To purchase, visit
sydneysymphony.com/shop
During the 2010 and 2011 concert
seasons, the Sydney Symphony
Orchestra and Vladimir Ashkenazy
set out to perform all the Mahler
symphonies, together with some of
the song cycles. These concerts
were recorded for CD and the set
is now complete, together with a special disc of historical
SSO Mahler performances. Available individually or as
a handsome boxed set.
Glazunov & Shostakovich
Alexander Lazarev conducts a thrilling
performance of Shostakovich 9 and
Glazunov’s Seasons.
SSO 2
Strauss & Schubert
Gianluigi Gelmetti conducts
Schubert’s Unfinished and
R Strauss’s Four Last Songs with
Ricarda Merbeth.
SSO 200803
Sir Charles Mackerras
A 2CD set featuring Sir Charles’s
final performances with the orchestra,
in October 2007.
Mahler 1 & Songs of a Wayfarer
Mahler 2
SSO 201203
Mahler 3
SSO 201101
Mahler 4
SSO 201102
Mahler 5
SSO 201003
Mahler 6
SSO 201103
Mahler 7
SSO 201104
SSO 201001
Mahler 8 (Symphony of a Thousand)
Mahler 9
SSO 201002
SSO 201201
Mahler 10 (Barshai completion)
Song of the Earth
SSO 201202
SSO 201004
SSO 200705
From the archives:
Brett Dean
Rückert-Lieder, Kindertotenlieder, Das Lied von
der Erde SSO 201204
Brett Dean performs his own viola
concerto, conducted by Simone
Young, in this all-Dean release.
SSO 200702
Ravel
Gelmetti conducts music by one of his
favourite composers: Maurice Ravel.
Includes Bolero.
LOOK OUT FOR…
Our next release featuring music by Brett Dean.
Sydney Symphony Orchestra Online
Join us on Facebook
facebook.com/sydneysymphony
SSO 200801
Rare Rachmaninoff
Follow us on Twitter
twitter.com/sydsymph
Rachmaninoff chamber music with
Dene Olding, the Goldner Quartet,
soprano Joan Rodgers and Vladimir
Ashkenazy at the piano.
Watch us on YouTube
www.youtube.com/SydneySymphony
SSO 200901
Visit sydneysymphony.com for concert
information, podcasts, and to read the
program book in the week of the concert.
Prokofiev’s Romeo and Juliet
Vladimir Ashkenazy conducts the
complete Romeo and Juliet ballet
music of Prokofiev – a fiery and
impassioned performance.
SSO 201205
Tchaikovsky Violin Concerto
In May this recording with James
Ehnes and Ashkenazy was awarded a
Juno (the Canadian Grammy). Lyrical
miniatures fill out the disc. SSO 201206
Stay tuned. Sign up to receive our
fortnightly e-newsletter
sydneysymphony.com/staytuned
Download our free mobile app
for iPhone/iPad or Android
sydneysymphony.com/mobile_app
sydney symphony 17
ABOUT THE ARTISTS
Vladimir Ashkenazy
Vladimir Ashkenazy first came to prominence on the world
stage in the 1955 Chopin Competition in Warsaw and as
winner of the 1956 Queen Elisabeth Competition in
Brussels. Since then he has built an extraordinary career,
not only as one of the most outstanding pianists of the
20th century, but as a revered and inspiring artist whose
creative life encompasses a vast range of activities.
Conducting has formed the largest part of his musicmaking for the past 20 years, and this is his fifth season
as Principal Conductor and Artistic Advisor of the Sydney
Symphony. He has also been Chief Conductor of the
Czech Philharmonic (1998–2003) and Music Director of
the NHK Symphony Orchestra, Tokyo (2004–2007), and he
is Conductor Laureate of the Philharmonia Orchestra,
with whom he has developed landmark projects such as
Prokofiev and Shostakovich Under Stalin and Rachmaninoff
Revisited.
He also holds the positions of Music Director of the
European Union Youth Orchestra and Conductor Laureate
of the Iceland Symphony Orchestra. He maintains strong
links with a number of other major orchestras, including
the Cleveland Orchestra (where he was formerly Principal
Guest Conductor) and Deutsches Symphonie-Orchester
Berlin (Chief Conductor and Music Director, 1988–96), as
well as making guest appearances with major orchestras
around the world.
Vladimir Ashkenazy continues to devote himself to the
piano, building his comprehensive recording catalogue
with releases such as the 1999 Grammy award-winning
Shostakovich Preludes and Fugues, Rautavaara’s Piano
Concerto No.3 (which he commissioned), Rachmaninoff
transcriptions, Bach’s Wohltemperierte Klavier and Beethoven’s
Diabelli Variations. His most recent solo releases feature the
music of Rachmaninoff.
A regular visitor to Sydney since his Australian debut in
1969, he has conducted subscription concerts and composer
festivals for the Sydney Symphony, with highlights including
the acclaimed Sibelius festival of 2004 and his Rachmaninoff
festival of 2007. In 2010–11 he conducted the Mahler Odyssey
concerts and live recordings, and his artistic role with the
orchestra includes annual international touring.
18 sydney symphony
KEITH SAUNDERS
PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR
Russian-born Vladimir Ashkenazy
inherited his musical gift from both
sides of his family: his father David
Ashkenazy was a professional
light music pianist and his mother
Evstolia (née Plotnova) was
daughter of a chorusmaster in
the Russian Orthodox church.
CHERYL MAZAK
Pinchas Zukerman VIOLIN
Pinchas Zukerman has remained a phenomenon in the
world of music for over four decades, equally respected as
violinist, violist, conductor, teacher and chamber musician.
His extraordinary musicianship, prodigious technique and
unwavering artistic standards are a marvel to audiences and
critics. His busy annual performance schedule takes him all
over North America, Europe and Asia, appearing in the
2013–14 season with such orchestras as the Vienna
Philharmonic, Boston Symphony Orchestra, Budapest
Festival Orchestra, Salzburg Camerata, Israel Philharmonic
Orchestra and the Royal Scottish National Orchestra.
As a chamber musician he appears this season with
pianist Yefim Bronfman in a North American recital tour,
and his ensemble, the Zukerman ChamberPlayers, will
perform at the Ravinia, Verbier and Miyazaki festivals, and
make their third South American tour.
Over the past decade, Pinchas Zukerman has become
equally regarded as a conductor, directing many of the
world’s top orchestras. He is in his 15th season as Music
Director of the National Arts Centre Orchestra of Ottawa
and has served as Principal Guest Conductor of the Royal
Philharmonic Orchestra since 2009.
His devotion to the next generation of musicians has
resulted in innovative teaching programs in London, New
York, China, Israel and Ottawa. He chairs the Pinchas
Zukerman Performance Program at the Manhattan School
of Music, pioneering the use of distance-learning
technology, and in Canada he established the NAC Institute
for Orchestra Studies and Summer Music Institute.
Born in Tel Aviv in 1948, he moved to America in 1962,
studying at the Juilliard School with Ivan Galamian. He has
been awarded the Medal of Arts and the Isaac Stern Award
for Artistic Excellence, and was appointed as the Rolex
Mentor and Protégé Arts Initiative’s first instrumentalist
mentor in the music discipline. His extensive discography
contains more than a hundred titles and has earned him 21
Grammy nominations and two awards.
Pinchas Zukerman’s most recent visit to Sydney was in
2000 as part of the Olympic Arts Festival, appearing for the
Australian Youth Orchestra and Musica Viva. On this visit to
Australia he also performs with the Adelaide and West
Australian symphony orchestras.
sydney symphony 19
MUSICIANS
Vladimir Ashkenazy
Principal Conductor
and Artistic Advisor
supported by Emirates
Andrew Haveron
Concertmaster
Jessica Cottis
Assistant Conductor
supported by Premier
Partner Credit Suisse
Dene Olding
Concertmaster
FIRST VIOLINS
VIOLAS
FLUTES
TRUMPETS
Dene Olding
Roger Benedict
Tobias Breider
Anne-Louise Comerford
Justin Williams
Janet Webb
Emma Sholl
Carolyn Harris
Rosamund Plummer
David Elton
Paul Goodchild
Anthony Heinrichs
Daniel Henderson*
Assistant Principal
Principal Piccolo
Concertmaster
Sun Yi
Associate Concertmaster
Kirsten Williams
Associate Concertmaster
Lerida Delbridge
Assistant Concertmaster
Fiona Ziegler
Assistant Concertmaster
Julie Batty
Jenny Booth
Marianne Broadfoot
Brielle Clapson
Sophie Cole
Amber Davis
Georges Lentz
Nicola Lewis
Alexander Norton
Léone Ziegler
Rebecca Gill†
Andrew Haveron
Concertmaster
Jennifer Hoy
Alexandra Mitchell
SECOND VIOLINS
Kirsty Hilton
Marina Marsden
Emma Jezek
A/ Associate Principal
Emily Long
A/ Assistant Principal
Shuti Huang
Stan W Kornel
Benjamin Li
Nicole Masters
Philippa Paige
Biyana Rozenblit
Maja Verunica
Alexandra D’Elia*
Elizabeth Jones*
Emily Qin*
Kelly Tang†
Maria Durek
Emma Hayes
Robyn Brookfield
Sandro Costantino
Jane Hazelwood
Graham Hennings
Stuart Johnson
Justine Marsden
Felicity Tsai
Leonid Volovelsky
Amanda Verner
TROMBONES
OBOES
Diana Doherty
Shefali Pryor
David Papp
Alexandre Oguey
Principal Bass Trombone
Ronald Prussing
Principal Cor Anglais
TUBA
CLARINETS
Steve Rossé
TIMPANI
Catherine Hewgill
Leah Lynn
Lawrence Dobell
Francesco Celata
Christopher Tingay
Craig Wernicke
Assistant Principal
Principal Bass Clarinet
CELLOS
Kristy Conrau
Fenella Gill
Timothy Nankervis
Elizabeth Neville
Christopher Pidcock
Adrian Wallis
David Wickham
James sang-oh Yoo†
DOUBLE BASSES
Kees Boersma
Alex Henery
Neil Brawley
Principal Emeritus
David Campbell
Steven Larson
Richard Lynn
David Murray
Benjamin Ward
BASSOONS
Matthew Wilkie
Fiona McNamara
Noriko Shimada
Richard Miller
PERCUSSION
Rebecca Lagos
Colin Piper
Mark Robinson
Brian Nixon*
Principal Contrabassoon
HARP
HORNS
Robert Johnson
Geoffrey O’Reilly
Principal 3rd
Euan Harvey
Rachel Silver
Abbey Edlin*
Jenny McLeod-Sneyd*
Brendan Parravicini†
Ben Jacks
Marnie Sebire
To see photographs of the full roster of permanent musicians
and find out more about the orchestra, visit our website:
www.sydneysymphony.com/SSO_musicians
If you don’t have access to the internet, ask one of our
customer service representatives for a copy of our Musicians flyer.
20 sydney symphony
Scott Kinmont
Nick Byrne
Christopher Harris
Louise Johnson
Bold = Principal
Italics = Associate Principal
* = Guest Musician
† = SSO Fellow
Grey = Permanent member of the
Sydney Symphony Orchestra not
appearing in this concert
The men of the Sydney
Symphony Orchestra are
proudly outfitted by
Van Heusen.
SYDNEY SYMPHONY ORCHESTRA
JOHN MARMARAS
Vladimir Ashkenazy Principal Conductor and Artistic Advisor
PATRON Her Excellency Professor Marie Bashir AC CVO
Founded in 1932 by the Australian Broadcasting
Commission, the Sydney Symphony Orchestra
has evolved into one of the world’s finest
orchestras as Sydney has become one of the
world’s great cities.
Resident at the iconic Sydney Opera House,
where it gives more than 100 performances
each year, the SSO also performs in venues
throughout Sydney and regional New South
Wales. International tours to Europe, Asia and
the USA have earned the orchestra worldwide
recognition for artistic excellence, most
recently in the 2012 tour to China.
The Sydney Symphony Orchestra’s first
Chief Conductor was Sir Eugene Goossens,
appointed in 1947; he was followed by Nicolai
Malko, Dean Dixon, Moshe Atzmon, Willem
van Otterloo, Louis Frémaux, Sir Charles
Mackerras, Zdeněk Mácal, Stuart Challender,
Edo de Waart and Gianluigi Gelmetti. David
Robertson will take up the post of Chief
Conductor in 2014. The orchestra’s history also
boasts collaborations with legendary figures
such as George Szell, Sir Thomas Beecham,
Otto Klemperer and Igor Stravinsky.
The Sydney Symphony Orchestra’s awardwinning education program is central to its
commitment to the future of live symphonic
music, developing audiences and engaging the
participation of young people. The orchestra
promotes the work of Australian composers
through performances, recordings and its
commissioning program. Recent premieres
have included major works by Ross Edwards,
Liza Lim, Lee Bracegirdle, Gordon Kerry and
Georges Lentz, and the orchestra’s recordings
of works by Brett Dean have been released on
both BIS and Sydney Symphony Live.
Other releases on the Sydney Symphony
Live label, established in 2006, include
performances with Alexander Lazarev, Gianluigi
Gelmetti, Sir Charles Mackerras and Vladimir
Ashkenazy. In 2010–11 the orchestra made concert
recordings of the complete Mahler symphonies
with Ashkenazy, and has also released recordings
of Rachmaninoff and Elgar orchestral works
on the Exton/Triton labels, as well as numerous
recordings on the ABC Classics label.
This is the fifth year of Ashkenazy’s tenure
as Principal Conductor and Artistic Advisor.
sydney symphony 21
BEHIND THE SCENES
Sydney Symphony
Orchestra
Board
Sydney Symphony Orchestra Staff
S
EXECUTIVE TEAM ASSISTANT
EX
ONLINE MARKETING COORDINATOR
John C Conde ao Chairman
Terrey Arcus am
Ewen Crouch am
Ross Grant
Jennifer Hoy
Rory Jeffes
Andrew Kaldor am
David Livingstone
Goetz Richter
Lisa Davies-Galli
Li
Jenny Sargant
ARTISTIC OPERATIONS
A
Box Office
DIRECTOR OF ARTISTIC PLANNING
D
MANAGER OF BOX OFFICE SALES &
OPERATIONS
MANAGING DIRECTOR
M
MARKETING COORDINATOR
Rory Jeffes
R
Jonathon Symonds
Peter Czornyj
Pe
BOX OFFICE SYSTEMS SUPERVISOR
ARTISTIC ADMINISTRATION MANAGER
AR
Jacqueline Tooley
Eleasha Mah
El
BOX OFFICE BUSINESS ADMINISTRATOR
ARTIST LIAISON MANAGER
AR
John Robertson
Ilmar Leetberg
Il
CUSTOMER SERVICE REPRESENTATIVES
RECORDING ENTERPRISE MANAGER
RE
Karen Wagg – Senior CSR
Michael Dowling
Katarzyna Ostafijczuk
Tim Walsh
Philip Powers
Ph
P
Sydney Symphony
Orchestra
Council
Geoff Ainsworth am
Andrew Andersons ao
Michael Baume ao
Christine Bishop
Ita Buttrose ao obe
Peter Cudlipp
John Curtis am
Greg Daniel am
John Della Bosca
Alan Fang
Erin Flaherty
Dr Stephen Freiberg
Donald Hazelwood ao obe
Dr Michael Joel am
Simon Johnson
Yvonne Kenny am
Gary Linnane
Amanda Love
Helen Lynch am
David Maloney
David Malouf ao
Julie Manfredi-Hughes
Deborah Marr
The Hon. Justice Jane Mathews ao
Danny May
Wendy McCarthy ao
Jane Morschel
Greg Paramor
Dr Timothy Pascoe am
Prof. Ron Penny ao
Jerome Rowley
Paul Salteri
Sandra Salteri
Juliana Schaeffer
Leo Schofield am
Fred Stein oam
Gabrielle Trainor
Ivan Ungar
John van Ogtrop
Peter Weiss ao HonDLitt
Mary Whelan
Rosemary White
22 sydney symphony
Lynn McLaughlin
Artistic Administration
Ar
Education Programs
Ed
HEAD OF EDUCATION
H
Kim Waldock
K
EMERGING ARTISTS PROGRAM MANAGER
EM
COMMUNICATIONS
Mark Lawrenson
M
HEAD OF COMMUNICATIONS &
SPONSOR RELATIONS
EDUCATION COORDINATOR
ED
Yvonne Zammit
Rachel McLarin
R
PUBLIC RELATIONS MANAGER
CUSTOMER SERVICE OFFICER
C
Katherine Stevenson
Amy Walsh
Am
Library
Li
Anna Cernik
An
Victoria
Grant
Vi
Mary-Ann
Mead
M
COMMUNICATIONS COORDINATOR
Janine Harris
DIGITAL CONTENT PRODUCER
Kai Raisbeck
FELLOWSHIP SOCIAL MEDIA OFFICER
Caitlin Benetatos
ORCHESTRA MANAGEMENT
O
Publications
DIRECTOR OF ORCHESTRA MANAGEMENT
D
Aernout Kerbert
Ae
PUBLICATIONS EDITOR & MUSIC
PRESENTATION MANAGER
ORCHESTRA MANAGER
O
Yvonne Frindle
Chris Lewis
C
ORCHESTRA COORDINATOR
O
Georgia Stamatopoulos
G
OPERATIONS MANAGER
O
Kerry-Anne Cook
K
PRODUCTION MANAGER
PR
Laura Daniel
La
PRODUCTION COORDINATOR
PR
Tim Dayman
T
PRODUCTION COORDINATOR
PR
Ian Spence
Ia
DEVELOPMENT
DIRECTOR OF DEVELOPMENT
Caroline Sharpen
HEAD OF CORPORATE RELATIONS
Jeremy Goff
HEAD OF MAJOR GIFTS
Luke Andrew Gay
DEVELOPMENT MANAGER
Amelia Morgan-Hunn
DEVELOPMENT COORDINATOR
Sarah Morrisby
SALES AND MARKETING
S
DIRECTOR OF SALES & MARKETING
D
Mark J Elliott
M
SENIOR SALES & MARKETING MANAGER
SE
Penny Evans
Pe
MARKETING MANAGER, SUBSCRIPTION SALES
M
Simon Crossley-Meates
Si
MARKETING MANAGER, CLASSICAL SALES
M
Matthew Rive
M
MARKETING MANAGER, WEB & DIGITAL MEDIA
M
Eve Le Gall
Ev
MARKETING MANAGER, DATABASE & CRM
M
Matthew Hodge
M
BUSINESS SERVICES
DIRECTOR OF FINANCE
John Horn
FINANCE MANAGER
Ruth Tolentino
ACCOUNTANT
Minerva Prescott
ACCOUNTS ASSISTANT
Emma Ferrer
PAYROLL OFFICER
Laura Soutter
HUMAN RESOURCES
GRAPHIC DESIGNER
G
Lucy McCullough
Lu
CREATIVE ARTWORKER
C
Nathanael van der Reyden
N
HEAD OF HUMAN RESOURCES
Michel Maree Hryce
SYDNEY SYMPHONY ORCHESTRA PATRONS
Maestro’s Circle
Peter Weiss ao – Founding President & Doris Weiss
John C Conde ao – Chairman
Geoff Ainsworth am
Tom Breen & Rachael Kohn
In memory of Hetty & Egon Gordon
Andrew Kaldor am & Renata Kaldor ao
Vicki Olsson
Roslyn Packer ao
Penelope Seidler am
Mr Fred Street am & Mrs Dorothy Street
Westfield Group
Brian & Rosemary White
Ray Wilson oam in memory of the late James Agapitos oam
Sydney Symphony Orchestra Corporate Alliance
Tony Grierson, Braithwaite Steiner Pretty
Insurance Australia Group
John Morschel, Chairman, ANZ
Chair Patrons
01
04
02
05
03
06
01 Roger Benedict
Principal Viola
Kim Williams am &
Catherine Dovey Chair
06 Kirsty Hilton
Principal Second Violin
Corrs Chambers Westgarth
Chair
02 Lawrence Dobell
Principal Clarinet
Terrey Arcus am &
Anne Arcus Chair
07 Robert Johnson
Principal Horn
James & Leonie Furber Chair
03 Diana Doherty
Principal Oboe
Andrew Kaldor am &
Renata Kaldor ao Chair
04 Richard Gill oam
Artistic Director, Education
Sandra & Paul Salteri Chair
07
08
09
05 Catherine Hewgill
Principal Cello
The Hon. Justice AJ &
Mrs Fran Meagher Chair
08 Elizabeth Neville
Cello
Ruth & Bob Magid Chair
09 Colin Piper
Percussion
Justice Jane Mathews ao
Chair
10 Emma Sholl
Associate Principal Flute
Robert & Janet Constable
Chair
11 Janet Webb
Principal Flute
Helen Lynch am &
Helen Bauer Chair
For information about the Chair Patrons program, please call (02) 8215 4619.
10
11
Sydney Symphony Orchestra Vanguard
Vanguard Collective
Justin Di Lollo – Chair
Kees Boersma
Marina Go
David McKean
Amelia Morgan-Hunn
Jonathan Pease
Seamus R Quick
Members
Centric Wealth
Matti Alakargas
Stephen Attfield
Damien Bailey
Mar Beltran
Evonne Bennett
Nicole Billet
David Bluff
Kees Boersma
Andrew Bragg
Peter Braithwaite
Blake Briggs
Andrea Brown
Helen Caldwell
Hilary Caldwell
Hahn Chau
Alistair Clark
Matthew Clark
Benoît Cocheteux
Paul Colgan
George Condous
Juliet Curtin
Justin Di Lollo
Alistair Furnival
Alistair Gibson
Sam Giddings
Marina Go
Sebastian Goldspink
Tony Grierson
Louise Haggerty
Rose Herceg
Philip Heuzenroeder
Paolo Hooke
Peter Howard
Jennifer Hoy
Scott Jackson
Justin Jameson
Aernout Kerbert
Tristan Landers
Gary Linnane
Paul Macdonald
Kylie McCaig
Rebecca MacFarling
David McKean
Hayden McLean
Amelia Morgan-Hunn
Phoebe Morgan-Hunn
Taine Moufarrige
Nick Nichles
Tom O’Donnell
Kate O’Reilly
Fiona Osler
Archie Paffas
Jonathan Pease
Jingmin Qian
Seamus R Quick
Leah Ranie
Michael Reede
Paul Reidy
Chris Robertson
Benjamin Robinson
Emma Rodigari
Jacqueline Rowlands
Katherine Shaw
Randal Tame
Sandra Tang
Adam Wand
Jon Wilkie
Jonathan Watkinson
Darren Woolley
Misha Zelinsky
sydney symphony 23
PLAYING YOUR PART
The Sydney Symphony Orchestra gratefully acknowledges the music lovers who donate to the
orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence
and helping to sustain important education and regional touring programs. Donations of $50 and
above are acknowledged on our website at www.sydneysymphony.com/patrons
Platinum Patrons: $20,000+
Brian Abel
Robert Albert ao & Elizabeth Albert
Geoff Ainsworth
Terrey Arcus am & Anne Arcus
Tom Breen & Rachael Kohn
Sandra & Neil Burns
Mr John C Conde ao
Robert & Janet Constable
Michael Crouch ao & Shanny Crouch
James & Leonie Furber
Dr Bruno & Mrs Rhonda Giuffre
In memory of Hetty & Egon Gordon
Mr Andrew Kaldor am &
Mrs Renata Kaldor ao
D & I Kallinikos
Helen Lynch am & Helen Bauer
Vicki Olsson
Mrs Roslyn Packer ao
Paul & Sandra Salteri
Mrs Penelope Seidler am
G & C Solomon in memory of
Joan MacKenzie
Mrs W Stening
Mr Fred Street am & Mrs Dorothy Street
Peter Weiss ao & Doris Weiss
Westfield Group
Mr Brian & Mrs Rosemary White
Kim Williams am & Catherine Dovey
Ray Wilson oam in memory of
James Agapitos oam
Gold Patrons: $10,000–$19,999
Doug & Alison Battersby
Alan & Christine Bishop
Ian & Jennifer Burton
Copyright Agency Cultural Fund
Edward & Diane Federman
Nora Goodridge
Mr Ross Grant
Mr Ervin Katz
James N Kirby Foundation
Ms Irene Lee
Ruth & Bob Magid
The Hon. Justice AJ Meagher &
Mrs Fran Meagher
Mrs T Merewether oam
Mr John Morschel
Mr John Symond
Andy & Deirdre Plummer
Caroline Wilkinson
Anonymous (1)
Silver Patrons: $5000–$9,999
Stephen J Bell
Mr Alexander & Mrs Vera Boyarsky
Mr Robert Brakspear
Mr David & Mrs Halina Brett
Mr Robert & Mrs L Alison Carr
Bob & Julie Clampett
Ewen Crouch am & Catherine Crouch
Ian Dickson & Reg Holloway
24 sydney symphony
Dr C Goldschmidt
The Greatorex Foundation
Mr Rory Jeffes
Judges of the Supreme Court of NSW
J A McKernan
R & S Maple-Brown
Justice Jane Mathews ao
Mora Maxwell
Mrs Barbara Murphy
Drs Keith & Eileen Ong
Timothy & Eva Pascoe
William McIlrath Charitable Foundation
Mr B G O’Conor
Rodney Rosenblum am & Sylvia
Rosenblum
Estate of the late Greta C Ryan
Manfred & Linda Salamon
Simpsons Solicitors
Mrs Joyce Sproat & Mrs Janet Cooke
Michael & Mary Whelan Trust
June & Alan Woods Family Bequest
Anonymous (2)
Bronze Patrons:
Presto $2,500–$4,999
Mr Henri W Aram oam
The Berg Family Foundation
in memory of Hetty Gordon
Mr B & Mrs M Coles
Mr Howard Connors
Greta Davis
The Hon. Ashley Dawson-Damer
Firehold Pty Ltd
Stephen Freiberg & Donald Campbell
Vic & Katie French
Mrs Jennifer Hershon
Gary Linnane
Robert McDougall
Renee Markovic
James & Elsie Moore
Ms Jackie O’Brien
J F & A van Ogtrop
In memory of Sandra Paul
Pottinger
In memory of H St P Scarlett
David & Isabel Smithers
Marliese & Georges Teitler
Mr Robert & Mrs Rosemary Walsh
Mr & Mrs T & D Yim
Anonymous (1)
Bronze Patrons:
Vivace $1,000–$2,499
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26 sydney symphony
Photo: Keith Saunders
ORCHESTRA NEWS | NOVEMBER 2013
`
It’s an
extension of
my body…
a
HELLO CELLO
Assistant Principal cellist Leah Lynn is
at one with her instrument.
Like many of our musicians,
Assistant Principal cellist
Leah Lynn has a very
close relationship with her
instrument. ‘Most of the time,
it’s like an extension of my body,’
she says, ‘it’s a comfortable
and symbiotic relationship.’
Running around after three
kids with her husband Richard,
who plays double bass in the
orchestra, sometimes leaves less
than the ideal amount of time
to practise. ‘If life has been busy
and I’ve had too little time with
my cello, the symbiotic sense is
lost. It can feel like I’m holding
some kind of strange “thing” – it
can feel a bit alien.
A few years ago, the orchestra
purchased a 1901 Vincenzo
Sannino cello, an acquisition
made possible through our
Instrument Fund; Leah was
the very happy recipient of this
magnificent Italian cello. ‘I’ve
now got this new and expressive
language of colour and timbre
available to me. It has a sonority
with which I can express
myself so much better [than
before].
‘The sound [of the Sannino]
is just so close to my ideal
sound, to what’s in my head.
I think all music starts in
the your head. When I was
younger, I often thought – quite
naively – that if I was to loose
a sense, I would least mind
losing my hearing, because
I’ve got the music in my head
already; I can see it, and I can
hear it.’
For the first few years in
the job, says Leah, there’s no
amount of preparation that
compares with the experience
of repeating a piece, and what
that brings to your bank of
skills. ‘Although I heard the
words many times as a
younger professional about
“needing experience”, I don’t
think I quite understood what
that meant, what experience
really can bring.
‘Having been in the orchestra
for over 15 years, I feel like
I’ve reached a different point
of reference. It’s not that the
music still always feels fresh,
but most pieces you just take a
different approach to. The only
pieces that will ever feel tired
to me are ones that I really
dislike. For everything else, I
just try to change and hopefully
improve my perspective each
time.’
For more information about
donating to the instrument fund,
contact Luke Gay at
[email protected]
or (02) 8215 4625.
Education Highlight
Ask a Musician
Love music. Will travel.
‘I absolutely loved the sound of the Wagner
tubas in the Orchestral Adventure concert,’
writes one concert-goer. ‘They look like
a euphonium given the once-over by
Salvador Dali!’
Have a question about music, instruments of the
inner workings of an orchestra? ‘Ask a Musician’ at
[email protected] or by writing to
Bravo! Reply Paid 4338, Sydney NSW 2001
Photo: Ken Butti
Kamikaze kookaburras. Cake and cookies from the
Country Women’s Association. All in a day’s work
for our SSO Fellows when they took to the road
to join in the music-making at the Moorambilla
Festival in September.
‘The festival’s a celebration of music which
brings local communities together, and gives rural
kids the opportunity to be involved in a large-scale
musical event,’ says clarinet Fellow Som Howie.
The heart of the festival was hosted at Coonamble,
seven hours’ drive northwest of Sydney. ‘Some
of the schools involved have only ten students
enrolled, so without Moorambilla, it’s unlikely
those kids would have the chance to sing in a large
choir or music ensemble.’
Our Fellows, alongside other professional and
amateur ensembles from Sydney, worked with
local groups, sharing their passion and expertise.
Events culminated in an enormous combined gala
performance. Horn Fellow Brendan Parravicini
found it a moving experience: ‘When we were
accompanying the children’s choir, made up of
hundreds of kids, I felt humbled to share in such a
special occasion.’
Wagner tubas are the brainchild of Richard Wagner,
who was searching for a bridge in the sound between
the horns and trombones at the time of composing
his Ring cycle.
SSO horn player Marnie Sebire is often called on
to play this notoriously unwieldy instrument: ‘Let’s
just say it’s “interesting” to play!’ Despite the name,
Wagner tubas are normally assigned to the horn
section, rather than tuba players; the shape of the
instrument might be very different to the horn, but
the mouthpiece used is identical.
‘Wagner tubas have a few inherent flaws; often
the notes don’t “centre”. On the horn, we can
move our right hand around in the bell to alter the
intonation, but we lose that advantage when the bell
is pointing straight up.’ Instead the player has to
alter the shape of their embouchure. ‘We’re always
lipping up or down to get the notes in tune.’
Few composers use the instrument – Richard
Strauss in some of his symphonic tone poems,
Stravinsky in The Rite of Spring, Wagner of course
– but every orchestra will own a set of four. ‘We
need the instruments there for us to practise on and
keep familiar,’ says Marnie. The SSO is currently
investigating the purchase of a new set, at a cost of
about $40,000.
Challenges aside, Marnie says the sound of
the Wagner tuba is one of the most honest and
honourable. ‘They have a rich, warm and resonant
sound. When you’ve got a good quartet playing, it’s
something very special.’
Our Education Partner Tenix recently gave three
aspiring young Australian musicians the chance
to travel to Sydney for the inaugural Tenix Sydney
Symphony Orchestra Experience Day. Seventeenyear-old Grace Halloway (right) made the trip from
Kingsley in Perth to take part in a private bassoon
lesson with SSO principal Noriko Shimada (left).
With Madeline Baker (clarinet) and Murphy Guo
(piano) from Victoria, Grace also enjoyed lunch with
the SSO’s Fellows, a personalised Sydney Opera
House tour with our Assistant Conductor Jessica
Cottis, and a concert by the orchestra.
The Score
JP ON THE VANGUARD
Dancing with Britten
JP (Jonathan Pease) was one of the first to join the SSO’s Vanguard Collective.
When Development Manager
Amelia Morgan-Hunn was
interviewed for her job in 2010
she pitched us the idea of ‘SSO
Vanguard’. It got us excited, and
needless to say, she got the job!
One of the first to join Amelia
on this initiative was Jonathan
Pease, ‘JP’ to everyone. With a
20-year background in marketing
and advertising for the biggest
guns in town, JP jumped at the
chance to do something for the
greater cultural good. ‘I love art.
I love music. I think without art
and music around you, everything
becomes extremely transactional
and boring. I don’t want to live
in a world without either. When
Amelia invited me to be involved,
it was a no-brainer.’
The Sydney Symphony
Orchestra Vanguard encourages
young philanthropists to discover
and enjoy classical music by
taking it into unexpected spaces.
‘We want a new audience to fall
in love with music,’ says JP. ‘And
we’re doing that by taking the
orchestra out of the Opera House,
giving it a twist, and making it
more relevant for a Gen X–Y
demographic. These are people
who don’t have a season pass, and
who may never go to the Opera
House for a performance.’
‘The main thing is that people
don’t know what they don’t know.
If you say to someone who’s never
seen the SSO, “Do you like this
sort of music? Are you into it?”
they’ll probably say “No”. But
bring them to Vanguard – to a
car park in Kings Cross, or a
warehouse in Surry Hills – to
witness the SSO playing our sort
of music, and they walk away
saying, “Wow. I really love that.”
I haven’t brought anyone to
Vanguard who hasn’t loved it and
wanted to come back.’
In addition to the car park
and the warehouse, Vanguard
has hosted events in a basement
and a brewery, and has raised
over $45,000 to fund three yearlong places in the SSO’s Sinfonia
mentoring orchestra for talented
young musicians.
‘We’re going to continue to
push it, do new and creative
things. The next one might be
in an aircraft carrier,’ laughs JP,
‘or maybe we’ll launch the SSO
blimp!’ Watch the skies…
Visit sydneysymphony.com/
vanguard for more information
or contact Amelia Morgan-Hunn:
amelia.morgan-hunn@
sydneysymphony.com or
(02) 8215 4663.
Our final set of concerts for the
year offers ‘Variations on an
English Theme’: music for the
English, music by an Englishman,
and music celebrating variation
technique – sometimes all three
at once!
And at the centre of the
program is Britten’s Violin
Concerto, which will also see
the Australian debut of young
Norwegian violinist, Vilde Frang.
Those who’ve heard Vilde
Frang play know she’s a leading
musician of her generation. She
was discovered by Mariss Jansons
at the age of 13, and last year
made her debut with the Vienna
Philharmonic at the Lucerne
Festival, at which she received
the 2012 Credit Suisse Young
Artists Award.
It’s less well-known that she
studied ballet for many years and
dreamed of being a choreographer.
Maybe it’s appropriate then that
her current musical focus is the
Britten – a concerto that ends
with a Passacaglia, a massive set
of dance variations.
The concerto begins with a
sense of impending doom (it was
composed in 1939) but also has
a wonderful intensity to it. And
the Passacaglia introduces the
variation form that Britten loved
so much (think Young Person’s
Guide to the Orchestra), making for
an expansive and virtuosic finale.
Ideal music for a violinist with
dancing in her bones; ideal music
for a violinist with multifaceted
sound and a maturity that belies
her youth.
Variations on an English Theme
Master Series
11, 13, 14, December | 8pm
Photo: Sussie Ahlburg
Photo: Ben Symons
Philanthropy Focus
CODA
SSO FAMILY
First violinist Alexandra Mitchell
and husband Charles welcomed
daughter Chloe in September. She
didn’t give her mum much time to
recover from the rigours of Wagner
before demanding her entry to the
world. Brava Alex!
CONDOLENCES
We were saddened to learn of
the death of Douglas Trengove,
a horn player with the SSO for 42
years. In a Sydney Morning Herald
review from 1962, he was praised
for the ‘liquescent cut and curl of
the passagework’ in Mozart’s Horn
Quintet. Our thoughts are with
Douglas’s wife Barbara, children
Christopher and Caroline, and
extended family and friends.
NEW CHAIR PATRONS
We’re delighted to announce two
new Chair Patrons for the orchestra.
The Principal Flute Chair (Janet
Webb), is now supported by Helen
Lynch AM & Helen Bauer. And Corrs
Chambers Westgarth have come
on board to support the Principal
Second Violin Chair (Kirsty Hilton).
Our Chair Patrons program –
formerly Directors’ Chairs – builds
special relationships between our
musicians and members of our
community of supporters. For more
information, call (02) 8215 4619.
STUDENT RUSH
Did you know we offer student rush
tickets to many of our concerts?
Follow our Facebook page to find
out where, when, and how many.
Tickets are always strictly limited,
but you’ll often spend no more than
$15. Bargain!
FELLOWS ON FILM
Why does Brendan Parravicini call
the SSO Fellowship program an
‘arranged marriage’? Get to know
our 2013 Fellows through a series
of short videos, created by
Premier Partner Credit Suisse:
bit.ly/5MinutesWithTheFellows
3x3
August and September saw us
present three world premieres in
three weeks. John Adams’ Saxophone
Concerto, Mary Finsterer’s Double
Bass Concerto, and Compassion
by Lior and Nigel Westlake,
were heard by more than 10,000
people, thanks to ABC Classic FM
broadcasts and our webcast of the
Lior-Westlake concert.
INFLIGHT
ENTERTAINMENT
Fly with Emirates and enjoy the
SSO in flight! A selection of
webcast performances – including
our 2010 performance of Mahler’s
Sixth Symphony with Vladimir
Ashkenazy – can now be viewed
on Emirates’ ice, which recently
took out the award for best inflight
entertainment system for the ninth
year running in the Skytrax Awards.
CATCHING THE WORM
Our 2014 Season Emirates Early
Bird prize has been won by Mrs
Margaret Harlow, an SSO subscriber
for more than 17 years. Mrs Harlow
(and a lucky travel partner) will fly
Emirates’ luxurious business class
to Dubai and enjoy five nights in
the JW Marriot Marquis Dubai.
Congratulations!
BRAVO EDITOR Genevieve Lang Huppert
sydneysymphony.com/bravo
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