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APT MASTER SERIES
Wednesday 25 November 2015 Friday 27 November 2015 Saturday 28 November 2015
THUS SPAKE ZARATHUSTRA
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Thus Spake Zarathustra Edo de Waart Returns WAGNER Lohengrin: Prelude to Act I JONGEN Symphonie concertante for organ & orchestra R STRAUSS Thus Spake Zarathustra WAGNER Lohengrin: Prelude to Act III
Edo de Waart conductor • Olivier Latry organ
APT Master Series
Wed 25 Nov 8pm Fri 27 Nov 8pm Sat 28 Nov 8pm Pre-concert talk by David Larkin 45 minutes before each performance
The Grand Organ Olivier Latry in Recital COUPERIN Offertory from the Mass for Parishes RAISON Christe – Passacaglia from the Mass on the Second Tone JS BACH Passacaglia and Fugue in C minor, BWV 582 MOBBERLEY Critical Mass DURUFLÉ Suite for organ, Op.5 with improvisations by Olivier Latry
Olivier Latry organ
Tea & Symphony Fri 27 Nov 11am complimentary morning tea from 10am
Edo de Waart conducts Mozart & ElgarEDWARDS White Ghost Dancing MOZART Piano Concerto No.24 in C minor, K491 ELGAR Symphony No.1
Edo de Waart conductor Ronald Brautigam piano (PICTURED)
Thursday Afternoon Symphony Thu 3 Dec 1.30pmEmirates Metro Series Fri 4 Dec 8pmGreat Classics Sat 5 Dec 2pmPre-concert talk by David Garrett 45 minutes before each performance
Toy Stories SSO Fellows Chamber Concert STRAVINSKY Concerto in E flat (Dumbarton Oaks) ADÈS Living Toys HARRISON Jabberwock HK GRUBER Frankenstein!!
Roger Benedict conductor • Tom Heath chansonnier 2015 SSO Fellowship
Sun 29 Nov 3pm Verbrugghen Hall, Sydney Conservatorium of Music
Pokémon: Symphonic Evolutions Experience Pokémon brought to life by the Sydney Symphony Orchestra with exciting visuals from recent and classic Pokémon video games and all new arrangements!
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SSO PRESENTS
WELCOME
Welcome to tonight’s concert! In this final program for the 2015 APT Master Series, former SSO chief conductor Edo de Waart returns to Sydney to conduct one of the great orchestral tone poems of Richard Strauss.
Thus Spake Zarathustra is a monumental work that inspires
musicians and audiences alike. Its point of departure is
philosophy but this isn’t dry or ‘intellectual’ music, it’s music
that affects the emotions. The departure point for Richard
Wagner’s Lohengrin is the world of legend and mediæval
romance, resulting in music that is both poetic and festive.
(Joseph Jongen’s magnificent Symphonie concertante had its
starting point in an American department store – as you can
read later in this book!)
Just as in the great classical music masterpieces, an APT luxury
cruise offers a journey that will inspire and delight. And in
March 2016 you’ll be able to enjoy an SSO Departures cruise –
combining the joys of European river cruising with intimate
chamber music played by SSO musicians. The itinerary takes
in the heartland of orchestral music, with stops in Germany
and Austria, including an exclusive private concert in the City
Palace in Vienna, owned by the Princely Family of Liechtenstein.
Thank you for joining us tonight – we hope you enjoy the
performance.
Geoff McGeary oam APT Company Owner
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PRESENTED BY
Friday’s performance will be recorded by ABC Classic FM for broadcast across Australia on Saturday 28 November at 1pm.
Pre-concert talk by David Larkin at 7.15pm in the Northern Foyer.
Estimated durations: 8 minutes, 36 minutes, 20-minute interval, 20 minutes, 3 minutes The concert will conclude at approximately 9.45pm.
COVER IMAGE: The Sun (Rising Sun) – painted in 1904 by Giuseppe Pellizza da Volpedo (1868–1907). Galleria Nazionale d’Arte Moderna, Rome / Bridgeman Images
THUS SPAKE ZARATHUSTRAEdo de Waart conductor Olivier Latry organ
RICHARD WAGNER (1813–1883) Lohengrin: Prelude to Act I
JOSEPH JONGEN (1873–1953) Symphonie concertante for organ and orchestra
Allegro, molto moderato (in modo dorian) Divertimento (Molto vivo) Molto lento, misterioso Toccata. Moto perpetuo (Allegro moderato)
INTERVAL
Richard Strauss (1864–1949) Also sprach Zarathustra – Symphonic poem, Op.30 (Thus Spake Zarathustra)
WAGNER Lohengrin: Prelude to Act III
APT MASTER SERIES
WEDNESDAY 25 NOVEMBER, 8PM FRIDAY 27 NOVEMBER, 8PM SATURDAY 28 NOVEMBER, 8PM
SYDNEY OPERA HOUSE CONCERT HALL
2015 concert season
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Detail from Raphael’s famous fresco The School of Athens (1509–11). In this allegory of philosophy, Zoroaster is depicted holding the starry globe; the philosopher with his back to the viewer might be Ptolemy; Raphael himself stands as Appelles (back right) and Protogenes appears front right.
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Thus Spake Zarathustra: Edo de Waart ReturnsIf you were attending SSO concerts in the 1990s and early 2000s, when Edo de Waart was chief conductor, you’ll remember an era when concert presentations of Wagner operas were highlights of the programming, as well as performances of the great Strauss tone poems. There were other highlights too – Mahler symphonies, and the music of John Adams – but in tonight’s concert, it’s the music of Wagner and Richard Strauss that makes a fitting program for ‘Edo de Waart Returns’.
Pivotal to the program is the philosopher Friedrich Nietzsche, whose writing provided the inspiration for Strauss’s Thus Spake Zarathustra, and who – as a musician and thinker – was in turn inspired by Wagner. From Wagner we hear the two Lohengrin preludes: the masterpiece that begins the opera and, at the end of the concert, one of the shortest overtures in the repertoire, the prelude to Act III – three exhilarating minutes to send you home with a feeling of festive excitement.
Thus Spake Zarathustra enjoys widespread popular appeal because of its powerful presence in Stanley Kubrick’s 2001: A Space Odyssey. But concertgoers know there is so much more to this music than the three-minute ‘sunrise’ heard in the film. Following that awe-inspiring beginning is a 30-minute free interpretation of Nietzsche’s philosophical poem, of which Strauss felt rightly proud: ‘of all my pieces, the most perfect in form, the richest in content and the most individual in character’.
The first half of the concert features the Symphonie concertante for organ and orchestra by the Belgian composer Joseph Jongen. His name may not be as well known as those of Wagner or Strauss, but we’re confident you’ll find his music equally exhilarating and spectacular.
INTRODUCTION
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Richard Wagner Lohengrin: Prelude to Act I Prelude to Act III
Divided strings high in their compass alternating with four solo violins and a chorus of flutes and oboes begin the first prelude of Lohengrin, Wagner’s sixth opera and the last of his works that could be considered opera as distinct from music drama, his preferred designation. This is not a curtain-raiser, parading the big tunes of the evening ahead, but a poetic introduction, creating in one breath an image against which the ensuing plot may be compared. Here, as Wagner says in his own program note:
Out of the clear blue ether of the sky there seems to condense a wonderful yet at first hardly perceptible vision; and out of this there gradually emerges, ever more and more clearly, an angel host bearing in its midst the sacred Grail.
Lohengrin is a Grail story. Like much of Wagner’s work, the opera is based on mediæval accounts of mythology, in this instance, one of the legends of the Holy Grail. Elsa of Brabant has been falsely accused of murdering her brother, heir to the dukedom. She prays fervently for a champion to defend her honour, a knight she has seen in a vision, and Lohengrin appears – in a boat drawn by a swan. Lohengrin defeats Elsa’s accuser in combat and proposes marriage, providing she never asks him his name and origin. Act III begins with every reason for joy, but the seed of doubt and curiosity has already been placed in Elsa’s mind in Act II, tragedy unfolds and the opera ends with the couple parted forever.
ABOUT THE MUSIC
KeynotesWAGNERBorn Leipzig, 1813 Died Venice, 1883
As a composer of opera, writer and conductor, Wagner was one of the most influential creative personalities of his generation. He was also one of the most controversial: a composer who polarised listeners even as he changed the nature of opera forever. He cultivated an almost symphonic conception of opera, and his monumental creations were sustained by long-range harmonic thinking. One of his most important contributions to music was the ingenious linking of musical motifs (Leitmotiven or ‘leading motifs’) to specific characters and situations; the influence of this technique continues to be profoundly felt in most film soundtracks.
LOHENGRIN
The three-act opera Lohengrin was composed between 1846 and 1848 and premiered in Weimar in 1850. Wagner wrote his own libretto for the opera, drawing on Grail legends. The two preludes – the shimmering and angelic introduction to Act I and the exhilarating introduction to Act III – have become popular concert works in their own right. But perhaps the best known music from the opera is the Bridal Chorus from Act III (‘Here comes the bride…’).
Portrait of Richard Wagner by Caesar Willich, c.1862.
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The shimmering instrumental effect of the Prelude to Act I beautifully illustrates Wagner’s visionary image. Gradually a theme emerges which will gain significance later in the opera as the Grail theme. Skilfully introducing deeper and deeper instruments, Wagner suggests a long descent. The horns and brass gradually enter and the prelude gathers force, until ‘the Grail is revealed in all its glorious reality’. Having reached a climax, the music returns to its quiet origins in the rarefied atmosphere of the higher strings. The angels return to heaven, says Wagner, ‘having once more made pure the hearts of men.’
The Prelude to Act III – performed at the end of tonight’s program – offers a very different mood. This tiny prelude depicts the swirling activity of the festivities preceding a wedding – the wedding in which the world first heard the Bridal Chorus. These celebrations are for the union of Lohengrin, a Knight of the Holy Grail, and Elsa of Brabant.
Wagner could not supervise the premiere or attend the first performances: he’d become involved in the May uprising of 1849 and had had to flee to Switzerland. From there, he wrote to Liszt in Weimar, begging him to ‘bring out my Lohengrin!…to no-one but you would I entrust the production of this opera.’ Liszt took him at his word: ‘Your Lohengrin will be given under conditions that are most unusual and most favourable for its success. The direction will spend on this occasion almost 2,000 thalers – a sum unprecedented at Weimar within memory of man.’
Lohengrin premiered on 28 August 1850; despite his earlier encouraging reports, Liszt was bitterly disappointed with the production. A review in the Hamburg Kleine Musikzeitung called the performance ‘a gentle fiasco’ and declared that Wagner had revealed himself yet again to be ‘utterly unmusical’. Other reviewers, however, looked more favourably on the opera, publishing its praise all over Germany and in Paris, and provincial opera companies, having seen that Wagner’s operas could indeed be performed without an enormous theatre, took up his music with enthusiasm. Wagner’s European reputation was established.
SYDNEY SYMPHONY ORCHESTRA © 2015
ADAPTED IN PART FROM A NOTE BY GORDON KALTON WILLIAMS (ACT I)
The Lohengrin preludes call for three flutes, three oboes (one playing
coranglais in Act I), three clarinets (one playing bass clarinet) and three
bassoons; four horns, three trumpets, three trombones and tuba; timpani
and percussion; and strings.
The SSO first performed the Prelude to Act I of Lohengrin in 1938,
conducted by Joseph Post, and most recently in 1990, conducted by
Stephen Kovacevich. The Prelude to Act III also received its first SSO
performance in 1938, with W.G. James conducting, and was programmed
most recently in 2010 in concerts conducted by Simone Young. Edo
de Waart included the Act III Prelude in the 1996 Benevolent Fund Concert.
One review called the premiere ‘a gentle fiasco’…
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KeynotesJONGENBorn Liège, 1873 Died Sart, 1953
Belgian composer Joseph Jongen was born in Liège, the same city as César Franck. He was a prolific composer but withdrew many of his works in a fit of intense self-criticism late in life. He is best known for the Symphonie concertante for organ and orchestra and was himself an organist of renown, but his surviving compositions (numbering close to 250) also include orchestral works and much chamber music.
Jongen won the Belgian Royal Academy Competition at the age of 21 and the Belgian Prix de Rome three years later. In the 1920s he was appointed Director and teacher of counterpoint and fugue at the Brussels Conservatory.
In Liège the name Jongen is pronounced with J as in French ‘je’, a hard G as in ‘go’, and the second syllable, with a short E, receives a slightly greater stress: zhon-GEN
SYMPHONIE CONCERTANTE
This piece is not strictly an organ concerto although the organ is the featured instrument, nor is it a symphony. Instead it forms a kind of alliance between organ and orchestra in ambitious and exciting music. It is in four movements, beginning with a tribute to tradition, followed by a lively scherzo, a longer slow movement full of colouristic effect, and a thrilling ‘perpetual motion’ finale.
Joseph Jongen Symphonie concertante for organ and orchestraAllegro, molto moderato (in modo dorian) Divertimento (Molto vivo) Molto lento, misterioso Toccata. Moto perpetuo (Allegro moderato)
Olivier Latry organ
In music which is king? The organ or the orchestra? Joseph
Jongen’s Symphonie concertante proposes less a contest than
an alliance. The result, as the title implies, is neither a symphony
nor a concerto, but both – one of the most ambitious, successful,
and satisfying pieces for organ and orchestra; exciting, too,
demanding a mighty instrument and a mighty player.
It will come as no surprise that Jongen was an organist as well
as a composer. Indeed, the scale and history of his Symphonie
concertante are to be explained by his prowess in both fields.
The commission to compose the piece came with the condition
that Jongen would give its first performance, not in his native
Belgium, but in transatlantic Philadelphia. Jongen’s fame as an
organ virtuoso had spread. The commissioner hoped for world
fame for the instrument on which the performance would
be given.
In 1911 Rodman Wanamaker, owner of a Philadelphia
department store that bore his name, had built a major attraction
into his store, an enormous organ of 1670 pipes and 455 ranks.
It was to inaugurate the restoration of the organ that Jongen
was to play his new piece. Just as Jongen was set to travel to
Philadelphia in early 1928, his father died and he postponed his
trip. Then there were delays in the restoration project, pushing
the concert date back to the end of 1928. It was scrapped
completely after Wanamaker’s unexpected death in March 1928.
Meanwhile Jongen, who had begun the work in 1926, played
the premiere in Brussels on 11 February 1928. No wonder he
used to refer to his Symphonie concertante as ‘that unfortunate
work’.
Jongen’s Belgian nationality helps explain some of the
character of the music. Like César Franck before him, Joseph
Jongen was born in the Francophone Belgian city of Liège, where
his brilliant precocity won him admission to the Conservatoire
at the age of seven. His abilities as organist, composer and
teacher kept pace with each other. The year before he began
his Symphonie concertante, he became director of the Royal
Conservatoire in Brussels. The influence of Brahms, Richard
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Strauss and César Franck on Jongen’s early music is still
apparent in the Symphonie concertante; perhaps especially
Franck, in the choice of featured instrument and the
chromaticism of the harmony.
This is very much a work of Jongen’s maturity (his 241
compositions cover the whole range of orchestral, solo and
chamber music). It also reflects the strong pull of the French
music of the impressionists, Debussy and Ravel, first revealed in
Jongen’s chamber piece Concert à cinq of 1923. In 1926 terms,
this organ and orchestra piece is stylistically up-to-date. Its
success was immediately noted by one of Jongen’s few peers
among Belgian musicians, his friend the violinist and composer
Eugène Ysaÿe, who suggested the Symphonie concertante
might better be called a symphony for two orchestras, since
‘the role you assign to the King of Instruments and its abundant
resources…is not limited or restricted; it is clearly a second
orchestra that enriches the first.’ Ysaÿe’s comment reliably helps
guide listening.
The opening movement (‘in the Dorian mode’) pays tribute to
two aspects of the organ’s history: the old church modes, and
fugue (a subject Jongen taught). Yet the unalerted listener might
miss Jongen’s learning, so lively, even sprightly is the material
in this combination of fugal exposition and sonata form. Jongen
wrote: ‘Unlike many composers who have recourse to fugues
at the end of their work, the present composer has introduced
a fugue at the very beginning.’
Changing time signatures give almost impish playfulness to
the scherzo-like Divertimento, alternating with more sustained,
song or even hymn-like passages.
The third and longest movement is the most tinged by
impressionism, and the most adventurous in harmony and
texture. Organ and orchestra achieve, in Jongen’s words, ‘the
best union possible’ with wondrous coloristic effect.
The perpetual motion finale recalls the symphonic toccatas
of such organist-composers as Widor. Words are inadequate for
this delirious music, piling climax on climax in its unceasing
spinning motion.
DAVID GARRETT © 2015
The orchestra for Jongen’s Symphonie concertante comprises three flutes (one doubling piccolo), two oboes, cor anglais, two clarinets, bass clarinet, two bassons and contrabassoon; four horns, three trumpets, three trombones and tuba; timpani and percussion; harp and strings.
The SSO was the first ABC orchestra to perform the Symphonie concertante, in 1983 with organist Gillian Weir and conductor Zdeněk Mácal. This is our first performance of the work since then.
Joseph Jongen – portrait from La Revue Musicale, 1923.
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KeynotesR STRAUSSBorn Munich, 1864 Died Garmisch- Partenkirchen, 1949
Richard Strauss wrote two symphonies as a teenager, but this was not the musical genre that captured his imagination. Instead he made his name in the theatre and with the evocative and storytelling possibilities of the symphonic poem as invented by Liszt. Even Strauss’s Alpine ‘Symphony’ and the ‘Symphonia’ domestica are large-scale symphonic poems with an underlying narrative.
THUS SPAKE ZARATHUSTRA
Thus Spake Zarathustra was composed in 1896 – a relatively early work – and takes its name from a philosophical poem by Nietzsche. The inspiration is loose, but Strauss does name the individual sections of the music (performed without pause) after different chapters in Nietzsche’s poem. The famous Sunrise is followed by musical explorations of the tensions between nature and mankind. Although Nietzsche is frequently associated with the concept of the ‘Superman’ and his poem ends in triumph, Strauss’s free interpretation closes in a mysterious and tranquil mood.
Richard Strauss Also sprach Zarathustra – Symphonic poem, Op.30 (Thus Spake Zarathustra)
In 1891–92 the usually robust Strauss suffered a period of
serious illness, including bouts of pneumonia, bronchitis and
pleurisy. In the summer of 1892 he took leave of his duties at
the Weimar Opera and travelled extensively through Italy, Greece
and Egypt, soaking up the sun, but more importantly enjoying
the awesome physical remains of the ancient pagan civilisations
in those countries. It was at this time that he began to think
about a musical response to some of the ideas of the German
philosopher Friedrich Nietzsche, particularly those expressed
n his poem Also sprach Zarathustra, though the work’s
composition had to wait until 1896.
Zoroaster (as he was known to the ancient Greeks) was a
Persian prophet living in the sixth century BCE who taught that
the universe, and humankind in particular, is subject to the
eternal struggle of two gods, represented by light and darkness;
his religion survives among the Parsees of modern India.
Nietzsche’s relationship to Zoroastrian ideas is fairly loose, and
as Norman Del Mar puts it, he used these ‘as a prop on which to
clothe his own ideas on the purpose and destiny of mankind’.
The most famous – indeed, notorious – of these is the idea of the
Übermensch or Superman. ‘Man,’ in Nietzsche’s words, ‘is a thing
to be surmounted…what is the ape to man? A jest or a thing of
shame. So shall man be to the Superman.’ While Nietzsche
(and, it must be admitted, the younger Strauss) were disdainful
of Christianity’s compassion for weakness, it is drawing a long
bow to make Nietzsche responsible for the atrocities of Nazism.
Indeed, Nietzsche scholar Joachim Köhler argues that Also
sprach Zarathustra, with its celebration of the individual will,
partly grew out of the poet’s freeing himself from the dominating
personality of the composer Richard Wagner. And Wagner’s
widow Cosima, writing to her son-in-law Houston Stewart
Chamberlain (whose racist ideas definitely did influence Hitler),
condemned Nietzsche’s book for its ‘Jewishness’.
Listening Guide
Strauss’s work is, as he said, ‘freely after Fr. Nietzsche’: he takes
some of the chapter headings as the defining images for each
section of his tone poem. It begins with the famous invocation to
the sun (Introduction: Sunrise), with low rumbling accompanying
the trumpets’ simple C-G-C theme (which in much of Strauss
represents primeval nature). The increasing blaze of full chords
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establishes C major as one pole of the work (and as Del Mar
notes, the sound of the organ at the end of the section adds
a liturgical note). Of the Back-worlds-men depicts humanity in
its primitive, or rather naïve state (in B minor, significantly –
B being the other tonal pole of the piece). Strauss includes those
who profess Christianity in this category, quoting a fragment of
the plainchant for the Credo to underline his point.
Of the Great Longing, which follows a gorgeous climax for
the strings, is a depiction of humanity’s search for something
beyond mere superstition, but Strauss’s music dramatises the
conflict between nature (the trumpet theme) and humanity’s
tendency to create dogma with more hints of plainchant and
the unresolved conflict between the keys of C and B. A new
chromatic motif leads into the Of Joys and Passions section
with a theme that Strauss described as ‘A flat (brass: dark blue)’.
Actually the section tends to be in C minor, linking it to the idea
of nature, whereas the following Funeral Song is in B minor, and
therefore linked to the idea of man.
Of Science is based on a deeply-voiced fugue that Strauss
described as ‘spine-chilling’ and Del Mar regards as having
a ‘strangely mysterious quality’ despite its dour timbre. In The Convalescent, Nietzsche describes Zoroaster’s spiritual and
physical collapse, after which he emerges as the Superman.
The Dance Song of the Superman is, like the Dance of the Seven
Veils in Salome, a Viennese waltz – a Straussian joke, perhaps.
Here poet and composer part company: Strauss’s Zoroaster
displays none of the triumphalism that Nietzsche’s does, and
the work closes with a mysterious and tranquil Night Wanderer’s Song in which the keys of nature and man still quietly contend.
GORDON KERRY © 2004
Thus Spake Zarathustra calls for four flutes (doubling piccolo), three
oboes (doubling cor anglais), four clarinets (doubling E flat clarinet),
four bassoons (doubling contrabassoon); six horns, four trumpets, three
trombones and two tubas; timpani and percussion; two harps, organ
and strings.
The SSO first performed the complete symphonic poem in 1947
under Bernard Heinze and most recently in 2007 conducted by Charles
Mackerras in what were to be his last concerts with the SSO.
After the final rehearsal for the premiere, Strauss, with characteristic modesty, wrote to his wife: ‘Zarathustra is glorious…of all my pieces, the most perfect in form, the richest in content and the most individual in character… I’m a fine fellow after all, and feel just a little pleased with myself.’
Nietzsche afforded Strauss ‘much aesthetic enjoyment’ rather than any profound philosophical conversion.
Richard Strauss in 1900
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Nietzsche and Music
The stunning opening of Richard Strauss’s Also sprach
Zarathustra may remind you of the film 2001: A Space Odyssey.
The program note will tell you what Strauss had in mind: a sunrise
on the mountaintop from which the philosopher Zoroaster
contemplates the world with infinite detachment. This Zarathustra
is the creation of Friedrich Nietzsche – whose reputation is even
more durable than the Stanley Kubrick film.
The fascination of this German professor’s writings has
scarcely ever waned. Musicians who have drawn on his words
and inspiration include Mahler in his Third Symphony and Delius
in his Requiem and A Mass of Life. Nietzsche speaks to non-
conformists, to those who think of themselves as alienated
from ‘bourgeois’ society, and from Christianity. ‘God is Dead’
is one of his mottos, and he was profound on the subject.
Nietzsche believed empirical science separated reasoning
from the totality of the person. Modern knowledge, since the
18th-century Enlightenment, was leading towards nihilism.
Only a few free spirits, held Nietzsche, would be strong enough
to face the death of God, the collapse of traditional values;
these would create their own values, without illusions. This
concept of The Superman, and of ‘the will to power’ was
appropriated and misunderstood by Fascists.
The author of these ideas was originally a classical scholar.
Suffering ill-health most of his life, sensitive and solitary, he
compensated by declaring war on the ‘Christian’ values of pity
and charity, proclaiming the handsome, ruthless Superman,
and rationalising his own inner loneliness as superiority to the
common herd. In 1889 Nietzsche suffered a mental breakdown
and spent a year in an asylum. His last decade was enveloped in
mental darkness.
The power of Nietzsche’s writing comes from his intellectual
insight and his command of the German language, of which he
proclaimed himself the greatest master since Luther, Goethe
and Heine.
But Nietzsche was also a musician. The most important
encounter of his life was with the major musical force of his
time, Richard Wagner. Nietzsche eventually fell out with Wagner,
the god that failed. Turning from classical philology to philosophy,
Nietzsche abandoned, with sadness, his idea that music would
save Western culture.
The son of a Lutheran pastor from Saxony, Friedrich
Nietzsche began composing as an eight year old. His early
musical enthusiasms, reflected in his compositions, were Handel,
Mozart, Beethoven and, Schumann. But discovering Wagner
Friedrich Nietzsche in 1882, photo by Gustav Schultze.
Nietzsche played piano well enough for Wagner to comment ironically: ‘No Nietzsche, you play much too well for a professor!’ But Wagner’s admiration didn’t extend to Nietzsche’s own musical creations. The young Nietzsche was staying at Tribschen when Wagner’s son Siegfried was born, and when the Siegfried Idyll was first performed as Richard’s surprise birthday present for Cosima. But when Nietzsche’s New Year’s Echoes for piano four hands was played – also a birthday gift for Cosima – a reference to the Siegfried Idyll sent Wagner out of the room to roll on the floor convulsed with laughter.
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was Nietzsche’s great epiphany: ‘The moment there was such
a thing as a piano reduction of Tristan…I was a Wagnerite.’
Wagner became curious about his fan, the young scholar.
They met in Leipzig; Wagner played and sang from his new
Mastersingers of Nuremberg, and talked with Nietzsche about
Schopenhauer. They both owed much to this philosopher, the
only one, according to Wagner, who recognised the essence of
music. Nietzsche discovered that Wagner shared his interest in
the musical drama of Greek antiquity.
Wagner was now living with his lover Cosima near Lucerne,
a powerful incentive for Nietzsche to accept the offer of a
professorship in nearby Basel. A brief but intense intimacy
began. Nietzsche began his first book, The Birth of Tragedy
out of the Spirit of Music, hailing tragedy as the supreme
achievement of Greek culture. Serenity and cheerfulness –
‘Apollonian’ qualities attributed to the Greeks – cannot be
understood, Nietzsche argued, unless we feel the unrestrained
‘Dionysian’ energies the Greeks harnessed in tragedy: ‘Music
and tragic myth are equally expressions of the Dionysian
capacity of a people, and they are inseparable.’
When he wrote this In 1871 Nietzsche believed that in Wagner
the Greek synthesis had been re-born. Wagner was delighted
to find an advocate who would give him greater credibility.
Nietzsche was the first to glorify Wagner intelligently. Their
eventual falling out was partly one genius’s jealousy of another.
Wagner was piqued that Nietzsche’s books weren’t all about
him; Nietzsche soon found Wagner unendurable as a person,
and as a philosopher a dilettante.
Nietzsche and Wagner last met in 1878. Meanwhile
Nietzsche’s writing gave Wagner more and more offence.
After Wagner’s death in 1883, and just before his own lapse
into insanity, Nietzsche published his witty and dismissive
The Case of Wagner (1888). Wagner, he now claimed, expressed
decadence, and had made music sick – a neurosis. Wagner
manipulated sensation; he was by instinct more actor than
musician, out for theatrical effect. This bad continuation of
German Romanticism was ‘the most un-Greek of all possible art
forms – moreover, a first-rate poison for the nerves…a narcotic
that intoxicates and spreads a fog’. Bayreuth’s music drama
was nothing other than grand opera à la Meyerbeer, ‘and not
even good opera’.
As an antidote to Wagner, Nietzsche famously chose Bizet’s
Carmen, whose Mediterranean fatalism seemed more in
harmony with the tragic outlook of the Greeks: ‘…as in Don
José’s last cry, which concludes the work: Yes. I have killed her.
Nietzsche was the type of musical amateur who has strong views but no deep musical judgment. When he put a musician on the pedestal to replace Wagner, Nietzsche chose a Basel student of his called Johann Heinrich Köselitz, who became his confidant and amanuensis in his later years, and the ‘faithful Kurwenal’ to Nietzsche’s Tristan during his madness. Köselitz composed under the name Peter Gast. His music is a mere curiosity of history, yet Nietzsche hailed him as ‘a new Mozart’. The choice of a musician as soul mate, nevertheless, shows what a large place music took in Nietzsche’s life and thought.
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I – my adored Carmen! Such a conception of love is the only one worthy of a philosopher’.
Nietzsche also enjoyed Bizet’s music: light, supple, and pleasant, ‘it does not sweat’. Nietzsche admitted that what he said about Carmen and Bizet was ‘as an ironic antithesis to Wagner’. It was Nietzsche’s fate to turn his back on Wagner. Yet he could still say ‘Wagner sums up modernity. There is no way out, one must first become a Wagnerian.’
Hearing music inspired by Nietzsche, and noting Nietzsche’s entanglement with Wagner, it is well to remember that so influential a philosopher had so much to do with music.
ABRIDGED FROM AN ARTICLE BY DAVID GARRETT © 2001/2015
As an antidote to Wagner, Nietzsche famously chose Bizet’s Carmen…
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MORE MUSIC
LOHENGRINTo hear Wagner’s Lohengrin in its entirety, you can’t go wrong with Georg Solti, the Vienna Philharmonic and State Opera Chorus and a star-studded cast with Jessye Norman as Elsa and Plácido Domingo in the title role. DECCA 470 7952
Or if the idea of Wagner in orchestral mode appeals, look for one of the many recordings of his overtures and preludes. An excellent place to start would be Volume 1 of Edo de Waart’s recording – with the Dutch Radio Philharmonic Orchestra – of Wagner: Orchestral Works. In addition to tonight’s preludes, you’ll find the overture to Die Meistersinger, Parsifal, The Flying Dutchman and Tannhäuser, together with the Prelude and Liebestod from Tristan und Isolde.EXTON 153
MORE JONGENTonight’s soloist, Olivier Latry, has recorded Jongen’s Symphonie concertante with the Liège Philharmonic Orchestra and conductor Pascal Rophé. The organ is an instrument by Pierre Schyven in the Liège Salle Philharmonique. Filling out the disc is Saint-Saëns’ Third Symphony (‘avec orgue’).CYPRES 7610
The Symphonie concertante is spectacular, but much of Jongen’s other music is on the more intimate chamber music scale. SSO Principal Viola Roger Benedict has paired Jongen with Charles Koechlin in his recording Volupté: Music for Viola and Piano. The four Jongen pieces include his Viola Concertino.MELBA MR 301126
Or try the recording by the aptly named Ensemble Joseph Jongen (violin, cello and piano). It features his landmark Trio for piano and strings, Aquarelles, and two Pièces en Trio: Elégie nocturnale and Allegro appassionata.FUGA LIBERA 518
SPECTACULAR STRAUSSIn his last concerts with the SSO, Charles Mackerras conducted Thus Spake Zarathustra and the result was captured for CD release on a 2-disc set alongside his trademark Czech repertoire: Dvořák’s Seventh Symphony, Smetana’s Vltava (The Moldau) and Janéček’s spectacular Sinfonietta.SSO LIVE 200705
For a comprehensive collection of Strauss’s tone poems, suites and other orchestral pieces – performed by an impressive line up of conductors and orchestras – you can’t go past the Decca 6-CD set Richard Strauss: The Tone Poems. Zarathustra is performed by the Los Angeles Philharmonic and Zubin Mehta.DECCA 470 9542
For a more recent release from closer to home, look for the Queensland Symphony Orchestra’s recording with Johannes Fritzsch of three of the tone poems: Don Juan, Macbeth and Death and Transfiguration. (Originally released in 2010 as Love and Death: The Tone Poems of Richard Strauss.)ABC CLASSICS 481 0857
NIETZSCHE THE MUSICIANNietzsche’s fame today rests on his philosophy but he was also a musician: he played piano, was a self-taught composer and (for a time) a Wagnerite. His music is mostly small scale: piano pieces and vocal works, and of most interest as a musical byway, but a few recordings exist. Micheal Krocker has recorded the complete piano music (a single disc), and two volumes of Nietzsche’s vocal music are available on Albany Records. And baritone Dietrich Fischer-Dieskau lends distinction to Nietzsche with a selection of 16 songs, accompanied by Aribert Reimann. Out of print but available through Arkivmusic.comPHILIPS 426 863
Broadcast DiaryNovember–December
abc.net.au/classic
Saturday 28 November, 1pm
THUS SPAKE ZARATHUSTRAEdo de Waart conductor Olivier Latry organ
Wagner, Jongen, Richard Strauss, Wagner
SSO RadioSelected SSO performances, as recorded by the ABC, are available on demand:
sydneysymphony.com/SSO_radio
SYDNEY SYMPHONY ORCHESTRA HOURTuesday 8 December, 6pm
Musicians and staff of the SSO talk about the life of the orchestra and forthcoming concerts. Hosted by Andrew Bukenya.
finemusicfm.com
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SSO Live RecordingsThe Sydney Symphony Orchestra Live label was founded in 2006 and we’ve since released more than two dozen recordings featuring the orchestra in live concert performances with our titled conductors and leading guest artists. To buy, visit sydneysymphony.com/shop
Strauss & SchubertGianluigi Gelmetti conducts Schubert’s Unfinished and R Strauss’s Four Last Songs with Ricarda Merbeth. SSO 200803
Sir Charles MackerrasA 2CD set featuring Sir Charles’s final performances with the orchestra, in October 2007. SSO 200705
Brett DeanTwo discs featuring the music of Brett Dean, including his award-winning violin concerto, The Lost Art of Letter Writing. SSO 200702, SSO 201302
RavelGelmetti conducts music by one of his favourite composers: Maurice Ravel. Includes Bolero. SSO 200801
Rare RachmaninoffRachmaninoff chamber music with Dene Olding, the Goldner Quartet, soprano Joan Rodgers and Vladimir Ashkenazy at the piano. SSO 200901
Prokofiev’s Romeo and JulietVladimir Ashkenazy conducts the complete Romeo and Juliet ballet music of Prokofiev – a fiery and impassioned performance. SSO 201205
Tchaikovsky Violin ConcertoIn 2013 this recording with James Ehnes and Ashkenazy was awarded a Juno (the Canadian Grammy). Lyrical miniatures fill out the disc. SSO 201206
Tchaikovsky Second Piano ConcertoGarrick Ohlsson is the soloist in one of the few recordings of the original version of Tchaikovsky’s Piano Concerto No.2. Ashkenazy conducts. SSO 201301
Stravinsky’s FirebirdDavid Robertson conducts Stravinsky’s brilliant and colourful Firebird ballet, recorded with the SSO in concert in 2008. SSO 201402
LOOK OUT FOR…
Our recording of Holst’s Planets with David Robertson. Available now!
Mahler 1 & Songs of a Wayfarer SSO 201001
Mahler 2 SSO 201203
Mahler 3 SSO 201101
Mahler 4 SSO 201102
Mahler 5 SSO 201003 Mahler 6 SSO 201103
Mahler 7 SSO 201104
Mahler 8 (Symphony of a Thousand) SSO 201002
Mahler 9 SSO 201201
Mahler 10 (Barshai completion) SSO 201202
Song of the Earth SSO 201004
From the archives: Rückert-Lieder, Kindertotenlieder, Das Lied von der Erde SSO 201204
MAHLER ODYSSEY
The complete Mahler symphonies (including the Barshai completion of No.10) together with some of the song cycles. Recorded in concert with Vladimir Ashkenazy during the 2010 and 2011 seasons. As a bonus: recordings from our archives of Rückert-Lieder, Kindertotenlieder and Das Lied von der Erde. Available in a handsome boxed set of 12 discs or individually.
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His extensive discography includes recent recordings of Mahler’s First Symphony and Elgar’s Dream of Gerontius, both with the Royal Flemish Philharmonic, as well as Henk de Vlieger’s arrangement of the Night Song and Liebestod from Tristan und Isolde with the Netherlands Radio Philharmonic Orchestra. He has long been an exponent of the music of John Adams, and conducted the first recording of Nixon in China in 1987 with the original cast.
Edo de Waart was made a Knight in the Order of the Dutch Lion in 2004, and his honours and accolades also include appointment as an Honorary Fellow of the Hong Kong Academy for Performing Arts. In 2005 he was appointed an Honorary Officer in the General Division of the Order of Australia, in recognition of his contribution to Australian cultural life during his decade in Sydney. He returns regularly to the SSO, appearing most recently in two programs in 2011.
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Edo de Waart conductor
Edo de Waart is Chief Conductor of the Royal Flemish Philharmonic, Music Director of the Milwaukee Symphony Orchestra and Conductor Laureate of the Netherlands Radio Philharmonic Orchestra. In March 2016 he takes up the post of Music Director of the New Zealand Symphony Orchestra.
He also continues to work with many of the world’s leading orchestras, with guest conducting appearances including the Chicago Symphony Orchestra, Los Angeles Philharmonic, NHK Symphony and Royal Stockholm Philharmonic Orchestra. He has previously held posts with the Rotterdam Philharmonic, San Francisco Symphony, Minnesota Orchestra and Hong Kong Philharmonic Orchestra, and from 1992 till 2003 he was Chief Conductor and Artistic Director of the Sydney Symphony Orchestra.
As an opera conductor, Edo de Waart has enjoyed success in a large and varied repertoire in many of the world’s greatest opera houses. He was Chief Conductor of the Netherlands Opera and he has conducted at Bayreuth, Royal Opera House Covent Garden, Grand Théâtre de Genève, Opera de Bastille, Santa Fe Opera and the Metropolitan Opera. In addition to semi-staged and concert opera performances with his orchestras in the United States, he regularly conducts opera with the Netherlands Radio Philharmonic Orchestra at the Concertgebouw Amsterdam matinee series.
ABOUT THE ARTISTS
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His many recordings include the music of JS Bach, Widor and Vierne, and the complete works of Duruflé. He has also recorded a transcription disc, Midnight at Notre-Dame, featuring music by César Franck and the complete organ works of Messiaen. He has also recorded the Poulenc Concerto and the Barber Toccata Festiva with the Philadelphia Orchestra, and the Jongen Symphonie concertante with the Liège Orchestra. His most recent recording, Trois Siècles d’Orgue Notre-Dame de Paris, features music composed by past and current organists of Notre-Dame Cathedral.
Olivier Latry has previously appeared with the SSO in 2002, when he performed the Poulenc Concerto on the recently refurbished organ of the Sydney Opera House. He has also given recitals in Sydney on several occasions, performing on the Hill organ in the Sydney Town Hall and the Beckerath organ in the Great Hall of Sydney University.
Olivier Latry will give a solo recital here in the Sydney Opera House Concert Hall on Friday 27 November at 11am. See www.sydneysymphony.com for details.
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Olivier Latryorgan
Olivier Latry is one of the most distinguished concert organists in the world today. A titular organist at the Cathedral of Notre-Dame in Paris, he is also Professor of Organ at the Paris Conservatory and Organist Emeritus with the Montreal Symphony Orchestra, and he appears regularly as a soloist at prestigious venues and festivals, and with leading orchestras around the world.
He was born in 1962 in Boulogne-sur-Mer, France, where he began his musical studies. From 1981 to 1985 he was titular organist of Meaux Cathedral, and at 23 won the competition to become one of the three titular organists of Notre-Dame Cathedral. In 1990 he succeeded his teacher Gaston Litaize as organ professor at the Academy of Music at St Maur-des-Fossés, and in 1995 was appointed Professor of Organ at the Paris Conservatory. In 2009 he was presented the International Performer of the Year award by the New York City chapter of the American Guild of Organists, and in 2010 received an honorary doctorate from McGill University in Montreal.
As a concert organist, he does not specialise in a specific repertoire but explores all styles of organ music, as well as the art of improvisation. In 2000 he performed three complete cycles (six recitals each) of Olivier Messiaen’s organ music, at the Cathedral of Notre-Dame in Paris, the Church of St Ignatius Loyola in New York City and St Paul’s Cathedral in London.
22
SYDNEY SYMPHONY ORCHESTRA
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 – including three visits to China – have earned the orchestra worldwide recognition for artistic excellence.
The 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, Zdenĕk Mácal, Stuart Challender, Edo de Waart and Gianluigi Gelmetti. Vladimir Ashkenazy was Principal Conductor from 2009 to 2013. The orchestra’s history also boasts collaborations with legendary figures
such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.
The SSO’s award-winning 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, Lee Bracegirdle, Gordon Kerry, Mary Finsterer, Nigel Westlake and Georges Lentz, and the orchestra’s recordings of music by Brett Dean have been released on both the BIS and SSO Live labels.
Other releases on the SSO Live label, established in 2006, include performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras, Vladimir Ashkenazy and David Robertson. 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 ABC Classics.
This is the second year of David Robertson’s tenure as Chief Conductor and Artistic Director.
DAVID ROBERTSON THE LOWY CHAIR OF
CHIEF CONDUCTOR AND ARTISTIC DIRECTOR
PATRON Professor The Hon. Dame Marie Bashir ad cvo
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The men of the Sydney Symphony Orchestra are proudly outfitted by Van Heusen.
To see photographs of the full roster of permanent musicians and find out more about the orchestra, visit our website: www.sydneysymphony.com/SSO_musiciansIf you don’t have access to the internet, ask one of our customer service representatives for a copy of our Musicians flyer.
THE ORCHESTRA
David RobertsonTHE LOWY CHAIR OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR
Dene OldingCONCERTMASTER
Andrew HaveronCONCERTMASTER
Toby ThatcherASSISTANT CONDUCTOR SUPPORTED BY CREDIT SUISSE, RACHEL & GEOFFREY O’CONOR AND SYMPHONY SERVICES INTERNATIONAL
FIRST VIOLINS Andrew Haveron CONCERTMASTER
Kirsten Williams ASSOCIATE CONCERTMASTER
Lerida Delbridge ASSISTANT CONCERTMASTER
Jenny BoothBrielle ClapsonSophie ColeAmber DavisClaire HerrickGeorges LentzNicola LewisEmily LongAlexandra MitchellAlexander NortonLéone ZieglerVictoria Bihun†
Emily Qin°Dene Olding CONCERTMASTER
Sun Yi ASSOCIATE CONCERTMASTER
Fiona Ziegler ASSISTANT CONCERTMASTER
SECOND VIOLINS Kirsty Hilton Marina Marsden Marianne BroadfootEmma Jezek ASSISTANT PRINCIPAL
Freya FranzenEmma HayesShuti HuangStan W KornelBenjamin LiNicole MastersPhilippa PaigeMaja VerunicaMonique Irik°Elizabeth Jones°Cristina Vaszilcsin°Lucy Warren*Biyana Rozenblit
VIOLASRoger Benedict Tobias BreiderJustin WilliamsASSISTANT PRINCIPAL
Sandro CostantinoRosemary CurtinJane HazelwoodGraham HenningsJustine MarsdenFelicity TsaiAndrew Jezek*Charlotte Fetherston†
Anne-Louise Comerford Stuart JohnsonAmanda VernerLeonid Volovelsky
CELLOSCatherine Hewgill Leah Lynn ASSISTANT PRINCIPAL
Kristy ConrauFenella GillTimothy NankervisElizabeth NevilleChristopher PidcockAdrian WallisDavid WickhamRebecca Proietto†
Umberto Clerici
DOUBLE BASSESKees Boersma Alex Henery Neil Brawley PRINCIPAL EMERITUS
David CampbellSteven LarsonBenjamin WardJosef Bisits°John Keene†
Richard Lynn
FLUTES Janet Webb Carolyn HarrisRosamund Plummer PRINCIPAL PICCOLO
Nicola Crowe†
Emma Sholl
OBOESDiana Doherty David PappAlexandre Oguey PRINCIPAL COR ANGLAIS
Ngaire De Korte*Shefali Pryor
CLARINETSFrancesco Celata A/ PRINCIPAL
Christopher TingayAlexei Dupressoir*PRINCIPAL BASS CLARINET
Amy Whyte*Craig Wernicke PRINCIPAL BASS CLARINET
BASSOONSMatthew Wilkie Fiona McNamaraNoriko Shimada PRINCIPAL CONTRABASSOON
Justin Sun†
HORNSBen Jacks Robert Johnson Geoffrey O’Reilly PRINCIPAL 3RD
Euan HarveyRachel SilverJenny McLeod-Sneyd*Timothy Skelly*Marnie Sebire
TRUMPETSDavid Elton Matthew Dempsey*Anthony HeinrichsOwen Morris†
Paul Goodchild
TROMBONESRonald Prussing Scott Kinmont Christopher Harris PRINCIPAL BASS TROMBONE
Nick Byrne
TUBASteve Rossé Tim Buzbee*
TIMPANIRichard Miller
PERCUSSIONRebecca Lagos Timothy ConstableMark Robinson
HARP Louise Johnson Genevieve Huppert*
ORGANDavid Drury*
Bold = PRINCIPAL
Italics = ASSOCIATE PRINCIPAL
° = CONTRACT MUSICIAN
* = GUEST MUSICIAN† = SSO FELLOW
Grey = PERMANENT MEMBER OF THE SYDNEY SYMPHONY ORCHESTRA NOT APPEARING IN THIS CONCERT
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BEHIND THE SCENES
Sydney Symphony Orchestra StaffMANAGING DIRECTORRory Jeffes
EXECUTIVE TEAM ASSISTANTLisa Davies-Galli
ARTISTIC OPERATIONS
DIRECTOR OF ARTISTIC PLANNINGBenjamin Schwartz
ARTISTIC ADMINISTRATION MANAGER Eleasha Mah
ARTIST LIAISON MANAGERIlmar Leetberg
TECHNICAL MEDIA PRODUCER Philip Powers
LibraryAnna CernikVictoria GrantMary-Ann Mead
LEARNING AND ENGAGEMENT
DIRECTOR OF LEARNING AND ENGAGEMENT Linda Lorenza
EMERGING ARTISTS PROGRAM MANAGER Rachel McLarin
EDUCATION MANAGER Amy Walsh
EDUCATION OFFICER Tim Walsh
ORCHESTRA MANAGEMENT
DIRECTOR OF ORCHESTRA MANAGEMENT Aernout Kerbert
ORCHESTRA MANAGERRachel Whealy
ORCHESTRA COORDINATOR Rosie Marks-Smith
OPERATIONS MANAGER Kerry-Anne Cook
HEAD OF PRODUCTION Laura Daniel
STAGE MANAGERCourtney Wilson
PRODUCTION COORDINATORSElissa SeedOllie Townsend
PRODUCER, SPECIAL EVENTSMark Sutcliffe
SALES AND MARKETING
DIRECTOR OF SALES & MARKETINGMark J Elliott
MARKETING MANAGER, SUBSCRIPTION SALES Simon Crossley-Meates
SENIOR SALES & MARKETING MANAGERPenny Evans
A/ SENIOR SALES & MARKETING MANAGER Matthew Rive
MARKETING MANAGER, WEB & DIGITAL MEDIA Eve Le Gall
MARKETING MANAGER, CRM & DATABASEMatthew Hodge
A/ SALES & MARKETING MANAGER, SINGLE TICKET CAMPAIGNSJonathon Symonds
DATABASE ANALYSTDavid Patrick
SENIOR GRAPHIC DESIGNERChristie Brewster GRAPHIC DESIGNER
Tessa ConnSENIOR ONLINE MARKETING COORDINATOR
Jenny SargantMARKETING ASSISTANT
Laura Andrew
Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS
Lynn McLaughlinBOX OFFICE SYSTEMS SUPERVISOR
Jennifer LaingBOX OFFICE BUSINESS ADMINISTRATOR
John RobertsonCUSTOMER SERVICE REPRESENTATIVES
Karen Wagg – CS ManagerRosie BakerMichael Dowling
PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER
Yvonne Frindle
EXTERNAL RELATIONSDIRECTOR OF EXTERNAL RELATIONS
Yvonne Zammit
PhilanthropyHEAD OF PHILANTHROPY
Rosemary SwiftPHILANTHROPY MANAGER
Jennifer DrysdalePATRONS EXECUTIVE
Sarah MorrisbyPHILANTHROPY COORDINATOR
Claire Whittle
Corporate RelationsCORPORATE PARTNERSHIPS MANAGER
Belinda BessonCORPORATE PARTNERSHIPS EXECUTIVE
Paloma Gould
CommunicationsCOMMUNICATIONS & MEDIA MANAGER
Bridget CormackPUBLICIST
Caitlin BenetatosMULTIMEDIA CONTENT PRODUCER
Kai Raisbeck
BUSINESS SERVICES
DIRECTOR OF FINANCE
John HornFINANCE MANAGER
Ruth Tolentino ACCOUNTANT
Minerva Prescott ACCOUNTS ASSISTANT
Emma Ferrer PAYROLL OFFICER
Laura Soutter
PEOPLE AND CULTUREIN-HOUSE COUNSEL
Michel Maree Hryce
Terrey Arcus AM Chairman Andrew BaxterEwen Crouch AM
Ross GrantCatherine HewgillJennifer HoyRory JeffesDavid LivingstoneThe Hon. Justice AJ Meagher Goetz Richter
Sydney Symphony Orchestra CouncilGeoff Ainsworth AM
Doug BattersbyChristine BishopThe Hon John Della Bosca MLC
John C Conde ao
Michael J Crouch AO
Alan FangErin FlahertyDr Stephen Freiberg Simon JohnsonGary LinnaneHelen Lynch AM
David Maloney AM Justice Jane Mathews AO Danny MayJane MorschelDr Eileen OngAndy PlummerDeirdre Plummer Seamus Robert Quick Paul Salteri AM
Sandra SalteriJuliana SchaefferFred Stein OAM
John van OgtropBrian WhiteRosemary White
HONORARY COUNCIL MEMBERSIta Buttrose AO OBE Donald Hazelwood AO OBE
Yvonne Kenny AM
David Malouf AO
Wendy McCarthy AO
Leo Schofield AM
Peter Weiss AO
Anthony Whelan mbe
Sydney Symphony Orchestra Board
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SSO PATRONS
Maestro’s Circle
David Robertson
Peter Weiss AO Founding President & Doris Weiss
Terrey Arcus AM Chairman & Anne Arcus
Brian Abel
Tom Breen & Rachel Kohn
The Berg Family Foundation
John C Conde AO
Andrew Kaldor AM & Renata Kaldor AO
Vicki Olsson
Roslyn Packer AO
David Robertson & Orli Shaham
Penelope Seidler AM
Mr Fred Street AM & Dorothy Street
Brian White AO & Rosemary White
Ray Wilson OAM in memory of the late James Agapitos OAM
Supporting the artistic vision of David Robertson, Chief Conductor and Artistic Director
FOR INFORMATION ABOUT THE CHAIR PATRONS
PROGRAM, CALL (02) 8215 4625.
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Chair PatronsDavid RobertsonThe Lowy Chair of Chief Conductor and Artistic Director
Roger BenedictPrincipal ViolaKim Williams AM & Catherine Dovey Chair
Kees BoersmaPrincipal Double BassSSO Council Chair
Umberto ClericiPrincipal CelloGarry & Shiva Rich Chair
Timothy ConstablePercussionJustice Jane Mathews AO Chair
Lerida DelbridgeAssistant ConcertmasterSimon Johnson Chair
Diana DohertyPrincipal OboeJohn C Conde AO Chair
Richard Gill oam
Artistic Director, DownerTenix DiscoveryPaul Salteri AM & Sandra Salteri Chair
Jane HazelwoodViolaBob & Julie Clampett Chair in memory of Carolyn Clampett
Catherine HewgillPrincipal CelloThe Hon. Justice AJ & Mrs Fran Meagher Chair
Robert JohnsonPrincipal HornJames & Leonie Furber Chair
Scott KinmontAssociate Principal TromboneAudrey Blunden Chair
Leah LynnAssistant Principal CelloSSO Vanguard Chair With lead support from Taine Moufarrige, Seamus R Quick, and Chris Robertson & Katherine Shaw
Nicole MastersSecond ViolinNora Goodridge Chair
Elizabeth NevilleCelloRuth & Bob Magid Chair
Shefali PryorAssociate Principal OboeMrs Barbara Murphy Chair
Emma ShollAssociate Principal FluteRobert & Janet Constable Chair
Janet WebbPrincipal FluteHelen Lynch AM & Helen Bauer Chair
Kirsten WilliamsAssociate ConcertmasterI Kallinikos Chair
Janet and Robert Constable with Associate Principal Flute Emma Sholl. ‘When we first met her in the Green Room at the Opera House,’ recalls Robert, ‘it was a lovely hug from Emma that convinced us that this was not only an opportunity to support her chair but to get involved with the orchestra and its supporters. It has been a great experience.’
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Learning & Engagement
SSO PATRONS
fellowship patronsRobert Albert AO & Elizabeth Albert Flute ChairChristine Bishop Percussion ChairSandra & Neil Burns Clarinet ChairIn Memory of Matthew Krel Violin ChairMrs T Merewether OAM Horn ChairPaul Salteri AM & Sandra Salteri Violin and Viola ChairsMrs W Stening Cello ChairKim Williams AM & Catherine Dovey Patrons of Roger Benedict,
Artistic Director, FellowshipJune & Alan Woods Family Bequest Bassoon ChairAnonymous Double Bass ChairAnonymous Trumpet Chair
fellowship supporting patronsMr Stephen J BellJoan MacKenzie ScholarshipDrs Eileen & Keith OngIn Memory of Geoff White
tuned-up!TunED-Up! is made possible with the generous support of Fred Street AM & Dorothy Street
Additional support provided by:Anne Arcus & Terrey Arcus AM
Ian & Jennifer Burton Ian Dickson & Reg HollowayMrs Barbara MurphyTony Strachan
major education donorsBronze Patrons & above
John Augustus & Kim RyrieBob & Julie ClampettHoward & Maureen ConnorsThe Greatorex FoundationJ A McKernanBarbara MaidmentMr & Mrs Nigel PriceDrs Eileen & Keith OngMr Robert & Mrs Rosemary Walsh
Sydney Symphony Orchestra 2015 Fellows
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Commissioning CircleSupporting the creation of new works.
ANZAC Centenary Arts and Culture FundGeoff Ainsworth AM
Raji AmbikairajahChristine BishopDr John EdmondsAndrew Kaldor AM & Renata Kaldor AO
Jane Mathews AO
Mrs Barbara MurphyNexus ITVicki OlssonCaroline & Tim RogersGeoff StearnDr Richard T WhiteAnonymous
“Patrons allow us to dream of projects, and then share them with others. What could be more rewarding?” DAVID ROBERTSON SSO Chief Conductor and Artistic Director
BECOME A PATRON TODAY. Call: (02) 8215 4650 Email: philanthropy@sydneysymphony.com
Foundations
A U S T R A L I A - K O R E AF O U N D A T I O N
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Stuart Challender Legacy Society
Celebrating the vision of donors who are leaving a bequest to the SSO.
Henri W Aram OAM & Robin Aram
Stephen J BellMr David & Mrs Halina BrettR BurnsHoward ConnorsGreta DavisJennifer FultonBrian GalwayMichele Gannon-MillerMiss Pauline M Griffin AM
John Lam-Po-Tang
Peter Lazar AM
Daniel LemesleLouise MillerJames & Elsie MooreVincent Kevin Morris &
Desmond McNallyMrs Barbara MurphyDouglas PaisleyKate RobertsMary Vallentine AO
Ray Wilson OAM
Anonymous (10)
Stuart Challender, SSO Chief Conductor and Artistic Director 1987–1991
bequest donors
We gratefully acknowledge donors who have left a bequest to the SSO.
The late Mrs Lenore AdamsonEstate of Carolyn ClampettEstate Of Jonathan Earl William ClarkEstate of Colin T EnderbyEstate of Mrs E HerrmanEstate of Irwin ImhofThe late Mrs Isabelle JosephThe Estate of Dr Lynn JosephThe Late Greta C RyanEstate of Rex Foster SmartJune & Alan Woods Family Bequest
IF YOU WOULD LIKE MORE INFORMATION
ON MAKING A BEQUEST TO THE SSO,
PLEASE CONTACT OUR PHILANTHROPY TEAM
ON 8215 4625.
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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.
Playing Your Part
DIAMOND PATRONS $50,000+Anne & Terrey Arcus am
In Memory of Matthew KrelMr Frank Lowy ac & Mrs Shirley
Lowy oam
Roslyn Packer ao
Paul Salteri am & Sandra Salteri
Estate of the late Rex Foster Smart
Peter Weiss ao & Doris WeissMr Brian White ao &
Mrs Rosemary White
PLATINUM PATRONS$30,000–$49,999Doug and Alison BattersbyMr John C Conde ao
Robert & Janet ConstableMr Andrew Kaldor am &
Mrs Renata Kaldor ao
Mrs Barbara MurphyVicki OlssonMrs W SteningMr Fred Street am &
Mrs Dorothy StreetKim Williams am & Catherine
Dovey
GOLD PATRONS $20,000–$29,999Brian AbelRobert Albert ao & Elizabeth
AlbertThe Berg Family FoundationTom Breen & Rachael KohnSandra & Neil BurnsEstate of Jonathan Earl
William ClarkJames & Leonie FurberI KallinikosHelen Lynch am & Helen
BauerJustice Jane Mathews ao
Mrs T Merewether oam
Rachel & Geoffrey O’ConorAndy & Deirdre PlummerGarry & Shiva RichDavid Robertson & Orli
ShahamMrs Penelope Seidler am
G & C Solomon in memory of Joan MacKenzie
Ray Wilson oam in memory of James Agapitos oam
Anonymous (2)
SILVER PATRONS $10,000–$19,999Geoff Ainsworth &
Jo FeatherstoneChristine BishopAudrey BlundenMr Robert BrakspearMr Robert & Mrs L Alison CarrBob & Julie ClampettMichael Crouch ao & Shanny
CrouchIan Dickson & Reg HollowayPaul EspieEdward & Diane FedermanNora GoodridgeMr Ross GrantThe Estate of Mr Irwin ImhofSimon JohnsonRuth & Bob MagidSusan Maple-Brown The Hon Justice AJ Meagher &
Mrs Fran MeagherMr John MorschelDrs Keith & Eileen OngMr and Mrs Nigel PriceKenneth R Reed am
Mrs Joyce Sproat & Mrs Janet Cooke
John Symond am
The Harry Triguboff Foundation
Caroline WilkinsonJune & Alan Woods Family
BequestAnonymous (2)
BRONZE $5,000–$9,999John Augustus & Kim RyrieDushko BajicStephen J BellDr Hannes & Mrs Barbara
BoshoffBoyarsky Family TrustPeter Braithwaite & Gary
LinnaneIan & Jennifer BurtonRebecca ChinMr Howard ConnorsDavid Z Burger FoundationDr Colin GoldschmidtThe Greatorex FoundationRory & Jane JeffesRobert JoannidesMr Ervin KatzIn memoriam
Dr Reg Lam-Po-TangBarbara MaidmentMora MaxwellTaine MoufarrigeRobert McDougallWilliam McIlrath Charitable
Foundation
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Playing Your Part
SSO PATRONS
BRONZE PATRONS CONTINUED
J A McKernanNexus ITJohn & Akky van OgtropSeamus Robert QuickChris Robertson & Katherine
ShawRodney Rosenblum am & Sylvia
RosenblumDr Evelyn RoyalManfred & Linda SalamonGeoff StearnTony StrachanJohn & Josephine StruttMr Robert & Mrs Rosemary WalshIn memory of Geoff WhiteAnonymous (2)
PRESTO $2,500–$4,999Mr Henri W Aram oam
G & L BessonIan BradyMr David & Mrs Halina BrettMark Bryant oam
Lenore P BuckleMrs Stella ChenCheung FamilyDr Paul CollettEwen Crouch am & Catherine
CrouchProf. Neville Wills &
Ian FenwickeFirehold Pty LtdDr Kim FrumarWarren GreenAnthony GreggAnn HobanJames & Yvonne HocrothMr Roger Hundson &
Mrs Claudia Rossi-HudsonDr & Mrs Michael HunterMr John W Kaldor AMProfessor Andrew Korda am &
Ms Susan PearsonProfessor Winston LiauwDr Barry LandaMrs Juliet LockhartRenee MarkovicHelen & Phil MeddingsJames & Elsie MooreMs Jackie O’BrienPatricia H Reid Endowment
Pty LtdJuliana SchaefferHelen & Sam ShefferDr Agnes E SinclairEzekiel SolomonRosemary SwiftMr Ervin Vidor am &
Mrs Charlotte VidorLang Walker ao & Sue WalkerWestpac GroupMary Whelan & Robert
BaulderstoneYim Family Foundation
Dr John YuAnonymous (2)
VIVACE $1,000–$2,499Mrs Lenore AdamsonAntoinette AlbertRae & David AllenAndrew Andersons ao
Mr Matthew AndrewsMr Garry and Mrs Tricia AshSibilla BaerThe Hon Justice Michael BallDavid BarnesDr Richard & Mrs Margaret BellIn memory of Lance BennettMs Gloria BlondeG D BoltonJan BowenIn memory of Jillian BowersIn Memory of Rosemary Boyle,
Music TeacherRoslynne BracherWilliam Brooks & Alasdair BeckMr Peter BrownIn memory of R W BurleyIta Buttrose ao obe
Mrs Rhonda CaddyHon J C Campbell qc &
Mrs CampbellDebby Cramer & Bill CaukillMr B & Mrs M ColesMs Suzanne CollinsJoan Connery oam & Maxwell
Connery oam
Mr Phillip CornwellMr John Cunningham scm &
Mrs Margaret CunninghamDiana DalyDarin Cooper FoundationGreta DavisLisa & Miro DavisDr Robert DickinsonE DonatiProfessor Jenny EdwardsDr Rupert C EdwardsMalcolm Ellis & Erin O’NeillMrs Margaret EppsMr & Mrs J B Fairfax am
Julie FlynnDr Stephen Freiberg & Donald
CampbellMr Matt GarrettVivienne Goldschmidt &
Owen JonesIn Memory of Angelica GreenAkiko GregoryDr Jan Grose oam
Mr & Mrs Harold & Althea HallidayJanette HamiltonSandra HaslamMrs Jennifer HershonSue HewittDorothy Hoddinott ao
Kimberley Holden
Mr Kevin Holland & Mrs Roslyn Andrews
The Hon. David Hunt ao qc & Mrs Margaret Hunt
Mr Phillip Isaacs oam
Dr Owen JonesMrs Margaret KeoghAron KleinlehrerMrs Gilles KrygerMr Justin LamBeatrice LangMr Peter Lazar am
Airdrie LloydGabriel LopataPeter Lowry oam & Carolyn
Lowry oam
Macquarie Group FoundationMelvyn MadiganDavid Maloney am & Erin FlahertyJohn & Sophia MarMr Danny R MayMr Guido MayerKevin & Deidre McCannIan & Pam McGawMatthew McInnesI MerrickHenry & Ursula MooserMilja & David MorrisJudith MulveneyDarrol Norman & Sandra HortonJudith OlsenMr & Mrs OrtisAndrew Patterson & Steven BardyIn memory of Sandra Paul
PottingerMr Stephen PerkinsAlmut PiattiDr John I PittThe Hon. Dr Rodney Purvis am
& Mrs Marian PurvisDr Raffi Qasabian &
Dr John WynterMr Patrick Quinn-GrahamErnest & Judith RapeeIn Memory of
Katherine RobertsonMr David RobinsonTim RogersDr Colin RoseLesley & Andrew RosenbergJanelle RostronMr Shah RusitiJorie Ryan for Meredith RyanIn memory of H St P ScarlettGeorge and Mary ShadVictoria SmythDr Judy SoperJudith SouthamMr Dougall SquairCatherine StephenThe Honourable Brian Sully am qc
Mrs Margaret SwansonThe Taplin FamilyMildred TeitlerDr & Mrs H K TeyDr Jenepher Thomas
Kevin TroyJohn E TuckeyJudge Robyn TupmanDr Alla WaldmanIn memory of Denis WallisMiss Sherry WangHenry & Ruth WeinbergThe Hon. Justice A G WhealyJerry WhitcombMrs Leonore WhyteA Willmers & R PalAnn & Brooks C Wilson am
Dr Richard WingEvan WongDr Peter Wong &
Mrs Emmy K WongGeoff Wood & Melissa WaitesSir Robert WoodsLindsay & Margaret WoolveridgeIn memory of Lorna WrightMrs Robin YabsleyAnonymous (20)
ALLEGRO $500–$999Nikki AbrahamsKatherine AndrewsDr Gregory AuMr & Mrs George BallBarlow Cleaning Pty LtdBarracouta Pty LtdSimon BathgateDr Andrew BellMr Chris BennettMs Baiba BerzinsJan BiberMinnie BiggsJane BlackmoreMrs P M BridgesR D and L M BroadfootDr Peter BroughtonDr David BryantArnaldo BuchDr Miles BurgessPat & Jenny BurnettHugh & Hilary CairnsEric & Rosemary CampbellM D & J M ChapmanJonathan ChissickMichael & Natalie CoatesDom Cottam & Kanako ImamuraAnn CoventryMr David CrossMark Dempsey sc
Dr David DixonSusan DoenauDana DupereJohn FavaloroMrs Lesley FinnMr Richard FlanaganMs Lynne FrolichMichele Gannon-MillerMs Lyn GearingMr Robert GreenDr Sally GreenawayMr Geoffrey Greenwell
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VANGUARD COLLECTIVEJustin Di Lollo ChairBelinda BentleyAlexandra McGuiganOscar McMahonTaine Moufarrige
Founding PatronShefali PryorSeamus R Quick
Founding PatronChris Robertson &
Katherine Shaw Founding Patrons
MEMBERSLaird AbernethyElizabeth AdamsonClare Ainsworth-HerschellCharles ArcusPhoebe ArcusJames ArmstrongLuan AtkinsonDushko Bajic
Supporting PatronJoan BallantineScott BarlowAndrew Batt-RawdenJames BaudzusAndrew BaxterAdam BeaupeurtAnthony BeresfordJames BessonAndrew BotrosPeter BraithwaiteAndrea BrownNikki BrownAttila BrungsTony ChalmersDharmendra ChandranLouis ChienPaul ColganClaire CooperBridget CormackKarynne CourtsRobbie CranfieldPeter CreedenAsha CugatiJuliet CurtinDavid CutcliffeEste Darin-CooperRosalind De SaillyPaul DeschampsCatherine DonnellyJennifer DrysdaleJohn-Paul DrysdaleKerim El GabailiKaren EwelsRoslyn FarrarTalitha FishburnNaomi Flutter
Alexandra GibsonSam GiddingsJeremy GoffLisa GoochHilary GoodsonTony GriersonJason HairKathryn HiggsPeter HowardJennifer HoyKatie HryceJames HudsonJacqui HuntingtonVirginia JudgePaul KalmarTisha KelemenAernout KerbertPatrick KokAngela KwanJohn Lam-Po-TangTristan LandersJessye LinGarry LinnaneDavid LoSaskia LoFern MoufarrigeMarcus MoufarrigeSarah MoufarrigeAlasdair Murrie-WestJulia NewbouldAnthony NgNick NichlesKate O’ReillyPeter O’SullivanJune PickupRoger PickupStephanie PriceMichael RadovnikovicBenjamin RobinsonAlvaro Rodas FernandezAdam SadlerAnthony SchembriBenjamin SchwartzBen ShipleyCecilia StornioloBen SweetenRandal TameSandra TangIan TaylorZoe TaylorCathy ThorpeMichael TidballMark TrevarthenMichael TuffyRussell van HoweSarah VickMichael WatsonAlan WattersJon WilkieYvonne Zammit
SSO Vanguard
A membership program for a dynamic group of Gen X & Y SSO fans and future philanthropists
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Mr Richard Griffin am
In memory of Beth HarpleyV HartsteinBenjamin Hasic & Belinda
DavieAlan Hauserman & Janet
NashRobert HavardMrs A HaywardRoger HenningProf. Ken Ho & Mrs Tess HoDr Mary JohnssonAernout Kerbert & Elizabeth
NevilleDr Henry KilhamJennifer KingMiss Joan KleinMrs Patricia KleinhansAnna-Lisa KlettenbergMs Sonia LalL M B LampratiDavid & Val LandaIn memory of Marjorie LanderElaine M LangshawMargaret LedermanRoland LeeMr David LemonMrs Erna LevyMrs A LohanLinda LorenzaM J MashfordMs Jolanta MasojadaKenneth Newton MitchellMr David MuttonMr & Mrs NewmanMr Graham NorthDr Lesley NorthSead NurkicMr Michael O’BrienDr Alice J PalmerDr Natalie E PelhamPeter and Susan PicklesErika PidcockAnne Pittman
John Porter & Annie Wesley-Smith
Mrs Greeba PritchardMichael QuaileyMr Thomas ReinerDr Marilyn RichardsonAnna RoMr Michael RollinsonMrs Christine Rowell-MillerMr Kenneth RyanGarry E Scarf & Morgie BlaxillMrs Solange SchulzPeter & Virginia ShawDavid & Alison ShilligtonMrs Diane Shteinman am
Margaret SikoraColin SpencerTitia SpragueRobert SpryMs Donna St ClairFred & Mary SteinAshley & Aveen StephensonMargaret & William SuthersPam & Ross TegelMrs Caroline ThompsonPeter & Jane ThorntonRhonda TingAlma TooheyHugh TregarthenMrs M TurkingtonGillian Turner & Rob BishopRoss TzannesMr Robert VeelRonald WalledgeMiss Roslyn WheelerIn Memoriam JBL WattDr Edward J WillsDr Wayne WongDr Roberta WoolcottPaul WyckaertAnonymous (32)
SSO Patrons pages correct as of 7 July 2015
Create a sustainable future for orchestral music by helping to build the audiences of tomorrow.
SUPPORT THE SSO EDUCATION FUND. Call: (02) 8215 4650 Email: philanthropy@sydneysymphony.com
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SALUTE
REGIONAL TOUR PARTNER MARKETING PARTNERVANGUARD PARTNER
PREMIER PARTNER
SILVER PARTNERS
s i n f i n i m u s i c . c o m
UNIVERSAL MUSIC AUSTRALIA
PLATINUM PARTNER MAJOR PARTNERS
GOLD PARTNERS
The Sydney Symphony Orchestra is assisted by the Commonwealth
Government through the Australia Council, its arts funding and
advisory body
GOVERNMENT PARTNERS
The Sydney Symphony Orchestra is
assisted by the NSW Government
through Arts NSW
PRINCIPAL PARTNER
Salute 2015_Sep_#32+_rev.indd 1 18/09/2015 10:02 am