2011 SEASON BEETHOVEN’S EGMONT THE …...conclude we’ll hear Beethoven’s dramatic Egmont...

2011 SEASON

WED 19 OCTOBER 6.30PM

THU 20 OCTOBER 6.30PM

MEET THE MUSIC PRESENTED BY

BEETHOVEN’S EGMONT

THE PERFECT HERO

WELCOME TO MEET THE MUSIC

Welcome to the fi nal concert in the Meet the Music series for 2011. In this dynamic series it is not unusual to hear premieres of new works, but this week’s Sydney premiere is both celebratory and solemn. Nigel Westlake’s Missa Solis – Requiem for Eli, honours the memory of his son, whose life was tragically cut short in 2008. The composer himself will conduct what is sure to be a powerful and poignant performance.

Framing Westlake’s elegy are two electric works by forward-thinking composers, both conducted by Richard Gill. Charles Ives’ creatively staged Unanswered Question will open the concert. To conclude we’ll hear Beethoven’s dramatic Egmont incidental music, with Eddie Perfect bringing his musical and dramatic talents to Goethe’s tale of heroism and tragedy.

The Ausgrid network includes the poles, wires and substations that deliver electricity to more than 1.6 million homes and businesses in New South Wales. Ausgrid is transforming the traditional electricity network into a grid that is smarter, more reliable and more interactive – something we are very proud of.

We’re also extremely proud of our partnership with the Sydney Symphony – sponsoring not only the fl agship Master Series, but the orchestra’s most exciting and vigorous concert series, Meet the Music.

We trust you will fi nd tonight’s performance energising and illuminating and we welcome you in 2011 to the ranks of music lovers whose enjoyment of music is continually enhanced by this series.

George MaltabarowManaging Director

PRESENTING PARTNER

2011 SEASON MEET THE MUSICPRESENTED BY AUSGRIDWednesday 19 October | 6.30pmThursday 20 October | 6.30pmSydney Opera House Concert Hall

BEETHOVEN’S EGMONT: THE PERFECT HERO Richard Gill conductor Nigel Westlake conductor*Eddie Perfect narratorKiandra Howarth sopranoCantillationJonathan Grieves-Smith, chorusmaster

CHARLES IVES (1874–1954)The Unanswered Question

NIGEL WESTLAKE (born 1958)Missa Solis – Requiem for Eli*

Liam Crisanti or Neil Baker boy sopranoCantillationSYDNEY PREMIERE

INTERVAL

LUDWIG VAN BEETHOVEN (1770–1827)Egmont – Incidental music, Op.84Text by Gordon Kalton Williams after Goethe and Grillparzer

Overture (Sostenuto, ma non troppo – Allegro)Song – ‘Die Trommel gerühret’ (Beat the drum)Zwischenakt I (Andante – Allegro con brio)Zwischenakt II (Larghetto)Song – ‘Freudvoll und leidvoll’ (Joyful and sorrowful)Zwischenakt III (Allegro) – March (Vivace)Zwischenakt IV (Poco sostenuto e risoluto – Andante agitato)Death of ClaraMelodrama Victory Symphony (Allegro con brio)

Kiandra Howarth ClaraEddie Perfect Narrator and Egmont

This concert will be introduced by Andrew Ford, award-winning composer, writer and broadcaster, and presenter of The Music Show on ABC Radio National.

Thursday’s performance will be broadcast live across Australia by ABC Classic FM.

Thursday’s performance will be webcast by BigPond. Visit bigpondmusic.com/sydneysymphony or watch live via the Sydney Symphony mobile app.

Pre-concert talk by Genevieve Lang at 5.45pm in the Northern Foyer. Visit sydneysymphony.com/talk-bios for speaker biographies.

Approximate durations: 6 minutes, 42 minutes, 20-minute interval, 40 minutes

The concert will conclude at approximately 8.35pm.

CONDUC T A SYMPHONY AT YOUR PL ACE

THINGS YOU NEED TO KNOW: BigPond® is a registered trade mark of Telstra Corporation Limited ABN 33 051 775 556 BWMTEL11407

You can enjoy ten selected live performances of the Sydney Symphony during its 2011 season in the

comfort of your own home, only at BigPond® Music online. Visit bigpondmusic.com/sydneysymphony

5 | Sydney Symphony

ABOUT THE MUSIC

The Unanswered Question

The Unanswered Question is a piece in one movement. Over a backdrop of slow-moving, soft string harmonies, a languid but angular trumpet line asks ‘the question’, while insistent interjections come from increasingly shrill fl utes.

The instruments represent hypothetical fi gures: the imperturbable strings (tonight an off -stage string quartet) are ‘The Silences of the Druids – Who Know, See and Hear Nothing’, the trumpet distantly maintains ‘The Perennial Question of Existence’ and ‘The Fighting Answerers’ are four agitated fl utes.

This piece has another title: ‘A Contemplation of a Serious Matter’. It was originally the fi rst of Two Contemplations (composed around 1906), the other being Central Park in the Dark or ‘A Contemplation of Nothing Serious’.

The composer writes…The quiet strings…represent the conventional life. We get up, and go to the offi ce, and come home again, have dinner with the family, sit around in the evening…But sometimes there comes a Question: Is this all my life is good for? Shouldn’t I be doing something courageous for the good of humanity? This question crosses the conventional life, doesn’t fi t with it. The fl utes and other people try to answer, more and more intensely, but can’t seem to get through. Meanwhile the conventional life goes on, and when the Question is asked for the last time, it is still not answered.

Seen by many as the forefather of modernism in American music, Ives was an experimental seeker; his works often pitting melodies and keys against one another in polytonal battles which are not always resolved. This trait had its roots in the unconventional music lessons given him by his bandmaster father George, who would play the piano in one key, while young Charles was instructed to sing along in an entirely diff erent key.

Navigating the ‘cosmic drama’

Ives wonders why

Melodious discord

CHARLES IVES American composer(1874–1954)

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As both successful insurance salesman and well-known composer, Charles Ives led an unconventional double life. However, as he explained, ‘My work in music helped my business and work in business helped my music.’

My business experience revealed life to me in many aspects that I might otherwise have missed…In it one sees tragedy, nobility, meanness, high aims, low aims, brave hopes, faint hopes, great ideals, no ideals…The fabric of existence weaves itself whole. You cannot set an art off in the corner and hope for it to have vitality, reality and substance. There can be nothing exclusive about a substantial art. It comes directly out of the heart of experience of life and thinking about life and living life.

About the composer

Navigating the Mass

Finding inspiration in the sun

Missa Solis – Requiem for Eli

Missa Solis – Requiem for Eli is Nigel Westlake’s tribute to his late son Eli. Using large orchestral and choral forces, and texts assembled by the composer, it commends the awesome power of the sun in a series of eight movements.

The Missa Solis calls for pairs of fl utes, oboes, clarinets and bassoons; six horns, three trumpets, three trombones and tuba; a large percussion section, timpani, two harps and piano, strings, and choir with a boy soprano soloist, who sings in the third movement, Song of Transience. The fourth movement, Aurora, is an instrumental interlude, while the sixth, Hymn to the Aten, features percussion septet alongside the choir.

Originally conceived as the score to the Imax fi lm Solarmax, the Missa Solis was commissioned by the Melbourne Symphony Orchestra to be extended into a full-scale choral and symphonic work for the concert hall. (It was premiered on 19 February 2011 in the Sidney Myer Music Bowl.) The work has its origins in the text of a madrigal written by Italian composer Giovan Leonardo Primavera in the mid-16th century, ‘Nasce la gioia mia’ (subsequently taken as the secular basis for a mass by Palestrina):

NIGEL WESTLAKEAustralian composer (born 1958)

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My joy is bornEvery time I gaze at my beautiful sun:But my life dies When I cannot look at it,For the very sight is bliss to me.Oh sun, immortal life giverDo not hide, for I knowThat when I am unable to see youLife could not be worse

The tragic death of Nigel Westlake’s son Eli in 2008 left the composer devastated by grief: ‘My life was completely shattered…Many things, including music, completely lost their relevance and meaning. I was cast into an abyss.’

When he made his eventual return to work, Westlake was determined to channel these powerful feelings into his composition. He had fi nished a fi rst draft of Missa Solis right before the tragedy; completing this manuscript became a means for expressing his consuming sorrow:

As the pages of Missa Solis stared back at me from the desk, I saw within them the potential to further expand upon this material in a way that might somehow refl ect the enormity of my loss.

What had begun as music celebrating the sun became a spiritually driven tribute to the son Westlake had lost.

With fi lm credits including Miss Potter, Babe, Babe – Pig in the City, Children of the Revolution, A Little Bit of Soul and The Nugget, as well as Imax fi lms Antarctica, Imagine, The Edge and Solarmax, Nigel Westlake has established a formidable international presence.

He is known for his sweeping, pictorial scores and has received accolades from APRA, the New York International Radio Festival and the Screen Composer Guild. His concert works have been performed by ensembles and orchestras internationally, and Omphalo Centric Lecture (1984), has become one of the most frequently performed and recorded works in the percussion repertoire, taken up by groups in North America, Japan and Europe as well as Australia.

In 2008 Nigel Westlake formed the Smugglers of Light Foundation in memory of his son Eli.

For more information about Nigel Westlake visit www.rimshot.com.au

In memoriam

About the composer

8 | Sydney Symphony

1. Prologue

As gentle, expansive strains morph into repeated shimmering fi gures, we are led to feel a sense of enormity and perfection in the face of the colossal and powerful. The star and centre of our solar system looms: the sun.

From the text of a madrigal by Giovan Leonardo Primavera

Immortale, Immortale, Immortal, Immortal,O Sol, O Sol almo Immortale. O sun, immortal life-giver.

2. At the Edge

This movement celebrates science. The chorus sings of the sun, chanting its name in a number of languages, a musical exploration scientifi c concepts and ideas, such as the recent discovery that the sun itself sings. The movement begins with the strings bowing over the fi ngerboard, giving the fl ute-like eff ect known as fl autando. Breathy and muted, the sounds spiral like the outstretched arms of the Milky Way.

Text adapted from John Weiley’s narration to the Imax documentary Solarmax by Hannie Rayson and Michael Cathcart.

Missa Solis – commentary and texts

At the edgeAt the edge of a spiralSpiral galaxyThe edge of a spiral.

At the dawn,In the light of the fi rst day,The earth is breathing in life.

This small planet is our earth,One new planet and its sun.This small planet is bathed in polar lights.

Glowing... Aurora BorealisIn the infra red warmth.Aurora AustralisOf a star we call sun.The whole planet glowingIn the infra red warmthOf a star we call Sun.Sol.

The sun, the sun is singing.The sun, the sun is singing a song to itself.Too deep to be heardToo secret to knowToo deep to hearToo secret to know

Die Sonne, Soleil Ilios, Guwing Surya, EkiIlanga, Yaraaay Inti, Suvar Taiyo, Solis

A song of tides and currentsOf secret tides and currentsRevealing tides and currentsTides and currentsTides and currentsTides andTides and currentsRevealing.

A song of tides and currentsOf secret tides and currentsRevealing tides and currentsTides and currentsTides and currentsTides andTides and currentsRevealing.

Solntsa, KhamaSol!

Immortale

9 | Sydney Symphony

Glowing…the whole planet glowingWith the song of a star The whole planet glowing

At the edge of a spiralIn the infra red warmthWith the song of a star we call Sun.O Sol, O Sol Almo Immortale

3. Song of Transience

Here the texts come from the Tibetan Book of Living and Dying by Sogyal Rinpoche (used with kind permission). This movement takes the words of Buddha and Shakespeare (from his Merchant of Venice) and gives them to a solo boy soprano, singing of the ephemeral preciousness of life on earth.

What is born will dieWhat has been gathered will be dispersedWhat has been built up will collapseAnd what has been high will be brought low.

The quality of mercy is not strainedIt droppeth as gentle rain from HeavenThe place beneath is twice blessedIt blesseth him that gives, and him that takes.

This existence of ours is as transient as autumn cloudsTo watch the birth and death of beings is like looking at the movements of a dance.

What is born will dieWhat has been gathered will be dispersedWhat has been built up will collapseAnd what has been high will be brought low.

4. Aurora – instrumental interlude

Listen for the rippling winds and shimmering cymbals that evoke both the Aurora Borealis and the Aurora Australis – the magnifi cent northern and southern lights caused by the electrons of the sun hitting the earth’s magnetosphere at each of the poles.

5. Nasce la gioia mia (My joy is born)

This movement begins by exploiting the majesty of unaccompanied voices in a four-part chorale setting of a portion of Primavera’s madrigal ‘Nasce la gioia mia’. The orchestra enters with a restrained and drawn-out chordal accompaniment, and segues directly into the following movement.

From the text of a madrigal by Giovan Leonardo Primavera

Nasce la gioia mia, My joy is bornOgni volta ch’io miro il mio bel sole, Every time I gaze at my beautiful sun:E la mia vita è via, But my life dies Qualor nol miro, when I cannot look at it,Perché il sguardo tale, For the very sightCh’ogni volta beato farmi suole. is bliss to me.O sol, o sol almo immortale. O sun, immortal life-giver.

10 | Sydney Symphony

6. Hymn to the Aten

The drama is tangible in this setting of The Great Hymn to the Aten for voices and a virtuoso percussion septet. Discovered in the tomb of Ay, in the rock tombs at Amarna in Egypt, the hymn is attributed to Pharaoh Akhenaten and suggests that Akhenaten considered Aten (the orb of the sun) as the only god, and creator of the universe.

Pharaoh Akhenaten, adapted by Nigel Westlake

Adoration of Amun,Rise as Harakhti,by the overseer (by the overseer) of the works of Amun, Horus!

Hail to you, RaAnd Khepri tires himself with labourHail, Hail to you RaElectrum can’t match your splendor.

Self made creatorOne of kindLive eternalWith millions ‘neath your guidanceYour splendour is brighter than heaven.

When you cross the sky, everyone sees you.When you are set, you are hidden from sight.

In a brief day You run a course ofMillions and hundreds of thousands of miles.

Your splendour is likeSplendour of HeavenBrighter than HeavenLike the splendourYour majestyYour splendour is likeBrighter than HeavenBrighter than HeavenIs brighter than heaven.

When you go downWe sleep as in deathWhen you awake Your light opens our eyes.

Hail to you celestial disc of dayHail to you creator of all who makes them live Great falcon, who created himselfBenefi cent mother of gods and people whoTires himself – (reaches the)greatly with – (ends of the)making them – (earth every day)countless

He who hastens – (took possession)He who races – (of the two lands)He who runs – (hail)Khepri!

Who illumines the landsThe primeval one

He who sees – (who illumines)All he made – (who created)He alone who rises In the sky as Ra!

Lord of SyriaLord of NubiaLord of EgyptLord of all lands.

Lord of eternityGreat of majestyLord of all things Aton!

Thou living Aton,When thou art risenThou art graciousGreat and glisteningNo one knows thy goingSuti!Thy rays encompass the lands to the limit of all thou hast madeThough thou art far awayFill every land with beauty.


Aton, creatorOne of kindLike no otherCelestial disc of dayWho passes through eternity.

Every land rejoice at his risingLiving AtonThou art gracious GlisteningAton of dayDawn of lifeHail RaHail to youAmun RaHail to you Ra.

Your splendour is likeSplendour of HeavenBrighter than HeavenLike the splendourYour majesty

Your splendour is likeBrighter than HeavenBrighter than HeavenIs brighter than heaven.

Hail to you Amun-RaHail to you Amun-RaHail to you Amun-Ra Hail to you Amun-RaHail to you Ra!

7. Sidereus Nuncius (The Starry Messenger)

Galileo was the inventor of the telescope and a miner of the knowledge he found through it. His treatise from 1610, Sidereus Nuncius (The Starry Messenger), challenged the very foundations of contemporary religion and philosophy. In this movement the violins and other string players are called upon to create artifi cial harmonics (achieved by depressing a string with one fi nger while lightly touching the string with another fi nger). These harmonics convey a pure, shining and distant quality, and a sense of ethereal magic.

Adapted from Galileo Galilei’s Sidereus Nuncius by Michael Cathcart and Nigel Westlake

Astronomer, Philosopher, Galileo Galilei,I magnifi ed one thousand times,Behold the moon and the stars of the night.

Through theory of refraction, Pipe of lead and lens of glass,Most wonderful invention,I saw great sights of the planets in fl ight.

I gazed on the moon,Its valleys and peaks,They rise and they fall.Illumined by the sun,After two hours a bright crest started to rise assuming triangular shape.

The principle of telescope,In each end a lens of glass,I magnifi ed with great delight,The galaxy and the Jovian mass.It is not alone,I sighted four stars,

And night after night I charted their motion,Io, Callisto, Europa and Ganymede.This I have seen through God’s grace. Ahh…

Lo! Truth lives among the stars.Behold the moon, The stars of the night,The milky way.Lo! truth lives among the stars.

More discoveries will come,Unfolding great sights seen through God’s Grace Sidereus Nuncius.Galileo Galilei.Unfolding great sights devised through God’s Grace,Enlightening my mind.This I have seen, have seen through God’s Grace.


8. O sol almo immortale (O sun, immortal life-giver)

The text of Primavera’s madrigal returns in a densely orchestrated chorale that mirrors and expands on the climax of the prologue. In Nigel Westlake’s words, ‘the fi nal bars symbolise a laying to rest – Requiescat in pace Eli’.

Nasce la gioia mia, My joy is bornOgni volta ch’io miro il mio bel sole, Every time I gaze at my beautiful sun:E la mia vita è via, But my life dies Qualor nol miro, when I cannot look at it,Perché il sguardo tale, For the very sightCh’ogni volta beato farmi suole. is bliss to me.O sol, o sol almo immortale. O sun, immortal life-giver.

www.sydneysymphony.com/staytuned


LUDWIG VAN BEETHOVENGerman composer (1770–1827)

Egmont – Incidental music, Op.84

Beethoven’s Egmont music was written to accompany Goethe’s tragedy – incidental music (as it’s called) intended to support the play in the same way a soundtrack supports a fi lm. As in a soundtrack, incidental music is sometimes a featured part of the action – especially when a character sings – and at other times remains in the background, lending atmosphere to the scene.

Egmont consists of an overture, two songs for a soprano soloist, several orchestral numbers and a melodrama. This last form is a very specifi c kind of background music, composed to fi t precisely with a spoken text, which is written into the music. (Mendelssohn included several melodramas in his music for A Midsummer Night’s Dream.)

This concert performance of the complete Egmont music calls for pairs of fl utes, oboes, clarinets and bassoons; four horns and two trumpets; timpani, strings, soprano and actor.

Johann Wolfgang von Goethe (1749–1832) is one of Germany’s most revered literary fi gures, best-known among English-speaking music lovers for his verse play Faust, which has inspired many musical works. Egmont is an earlier play, premiered in 1789, depicting the true story of the Flemish general Lamoral, Count of Egmont.

Beethoven’s incidental music was commissioned for the long-awaited Viennese premiere of the play in 1810. Goethe himself heard it in a concert performance in 1821, prompting him to say of Egmont’s melodrama: ‘Beethoven has followed my intentions with admirable genius.’

That 1821 concert performance is signifi cant. Even within Goethe’s and Beethoven’s lifetimes, promoters were conscious that a performance of the original play with music would last more than four hours. To solve the problem, an abridged narration was devised to link the musical numbers. The script was revised in 1834 by Franz Grillparzer, a leading Austrian poet, and this – together with Goethe’s original text – forms the basis of tonight’s narration by Gordon Kalton Williams.

Navigating the music

The playwright

Adding music to dramaand narration to music


The ten years between 1802 and 1812 are commonly referred to as Beethoven’s ‘middle’ or ‘heroic’ period. His Egmont music was written towards the end of this time, which also saw the composition of such assertive works as the Fifth Symphony, and Beethoven’s notorious crossing-out of Napoleon as dedicatee of his Third Symphony, subsequently called Sinfonia eroica.

Like his opera Fidelio, Egmont is a drama of political oppression and the struggle for liberty, and it was clearly the political aspect that inspired Beethoven rather than any human drama such as in his overture for Collin’s play Coriolan.

In his Egmont music, insistent driving rhythms, noble rising fi gures, swells and surprising turns triumphantly combine to evoke Beethoven’s hero ideal – an enlightened, honourable and fearless character of integrity acting in the interests of utopian equality (or perhaps, meritocracy). Listen in the fi nal Victory Symphony (Siegessymphonie) for the shining brass and thunderous timpani, announcing heroic martyrdom and heroic glory – Egmont has not died in vain.

After the overture, the narrator sets the scene, extols Egmont’s virtues as a general and strategist and introduces Clara (Klärchen), a romantic addition of Goethe’s. She sings, while winding yarn, of her desire to follow Egmont into battle (Die Trommel gerühret). The narrator foreshadows ominous events in the fi rst of several Zwischenakte (literally ‘between acts’ music). Egmont is able to forget political dangers in the company of his beloved (Zwischenakt II). The threat to Egmont’s and Clara’s happiness looms closer (Freudvoll und leidvoll).

Egmont and Clara spend one last night together (Zwischenakt III) before the Spanish enter the city (March). Egmont is trapped and Clara, though weak with grief, tries to rouse her countrymen (Zwischenakt IV). Clara dies in a musical number of great pathos (Death of Clara). Egmont is condemned and passes his last night in prison. In his dreams, Egmont sees a vision which portends the eventual liberation of the northern provinces (Melodrama), and before his death makes a speech exhorting his countrymen to rise up against the tyrants (Victory Symphony).

Beethoven: hero

Synopsis


Die Trommel gerühret!

Die Trommel gerühret!Das Pfeifchen gespielt!Mein Liebster gewaff netDem Haufen befi ehlt,Die Lanze hoch führetDie Leute regieret

Wie klopft mir das Herze!Wie wallt mir das Blut!O hatt ich ein Wamslein,Und Hosen und Hut!Ich folgt ihm zum Tor nausMit mutigem Schritt,Ging durch die Provinzen,Ging überall mit.

Die Feinde schon weichen,Wir schiessen dareinWelch Gluck sondergleichen,Ein Mannsbild zu sein!

Freudvoll und leidvoll

FreudvollUnd leidvollGedankenvoll sein,LangenUnd bangenIn schwebender Pein,Himmelhoch jauchzend,Zum Tode betrubt,Glucklich allein,Ist der Seele, die liebt.

Beat the drum!

Beat the drum! Sound the fi fe!My beloved, in armour,commands his troops,holds high his lance,rules his men.

How my heart beats!How my blood races!Oh, if only I had doubletbreeches and helmet!I would follow him through the gatewith valiant tread,and march through the provinces,march all over with him.

The enemy waversas we fi re into them.What joy unequalledto be a man!

Joyful and sorrowful

To be joyfuland sorrowful,to be pensive,to longand dreadin lingering pain,to exult to heaven,cast down unto death happy aloneis the soul that loves.

Clara’s Songs

PROGRAM NOTES WRITTEN AND PREPARED BY JENNIFER MILLS, 2011 AYO MUSIC PRESENTATION FELLOW.ADAPTED IN PART FROM NOTES BY NIGEL WESTLAKE (MISSA SOLIS), AND GORDON KALTON WILLIAMS AND ANTHONY CANE (EGMONT).

SYDNEY SYMPHONY ©2011


ABOUT THE ARTISTS

Richard Gill conductor

Richard Gill is internationally respected as a music educator, specialising in opera, musical theatre and vocal and choral training. In addition to his role as Artistic Director of the Sydney Symphony’s Education Program, he is Music Director of Victorian Opera. He has also been Artistic Director of OzOpera, Artistic Director and Chief Conductor of the Canberra Symphony Orchestra and the Adviser for the Musica Viva in Schools program.

In recent seasons he has conducted Sydney Symphony Meet the Music concerts and Discovery concerts with the Sydney Sinfonia, as well as directing the Sinfonietta Project. He has also conducted the Melbourne, Queensland, Tasmanian and Canberra symphony orchestras, Orchestra Victoria, Sydney Philharmonia Choirs, and the Australian, Western Australian and Sydney youth orchestras. In addition to OzOpera and Victorian Opera, he has conducted for Opera Australia and Opera Queensland, and in 2005–06 he was Chairman of the Jury for the ABC/OA Operatunity OZ project.

His diverse operatic repertoire encompasses baroque opera, core works such as The Marriage of Figaro and Rigoletto, operetta and 20th-century classics, as well as new Australian operas and music theatre works. Most recently in Sydney he was the music director for the Sydney Theatre Company production of The Threepenny Opera.

Nigel Westlake conductor

Following clarinet studies with his father, Donald Westlake (former principal clarinettist with the Sydney Symphony), Nigel Westlake left the Sydney (NSW) Conservatorium High School at 16 to pursue a performance career. In 1983 he travelled to Amsterdam to study with Harry Sparnaay, the leading exponent of the bass clarinet. Having travelled widely with groups as varied as ballet companies, circus troupes and orchestras, he went on to perform with the Australia Ensemble (1985–1992) and was later a member of guitarist John Williams’ group Attacca, as both performer and composer. For a number of years he balanced his life as a composer with a busy international performing schedule, but since the early 1990s he has turned his focus to composition.

Nigel Westlake made his conducting debut with the Queensland Symphony Orchestra in 1997 and has since conducted concerts and recordings of his works with the Melbourne Symphony Orchestra, the Tasmanian Symphony Orchestra and the Sydney Youth Orchestra. This is his fi rst performance as conductor of the Sydney Symphony.

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ARTISTIC DIRECTOR, EDUCATIONSANDRA & PAUL SALTERI CHAIR


Kiandra Howarth soprano

Kiandra Howarth made her professional debut with Opera Queensland in 2009, creating the role of Josie in the youth opera Dirty Apple. She is currently a Young Artist with Opera Queensland, recently understudying the role of Despina in Così fan tutte, and next year she will join the Opera Australia Young Artist Program, singing Papagena (The Magic Flute) and Zerlina (Don Giovanni).

Kiandra Howarth graduated from the Queensland Conservatorium in 2010, while also a member of the Opera Queensland Developing Artist Program. For the Conservatorium she appeared in the title role in Massenet’s Cendrillon. That same year, in the Australian Singing Competition, she won the Guildhall School of Music and Drama Award, the Mozart Opera Institute Award, the Symphony Australia Young Vocalist Award, and the Dr Handa Prize. She also won the Southeast Queensland Aria and Concerto Competition and received an Acclaim Italian Fellowship Award for study in Italy. In 2013 she will undertake a year’s study at the Mozart Operatic Institute in Salzburg.

Eddie Perfect actor

Eddie Perfect studied at the Western Australian Academy of Performing Arts, graduating in 2001. Since then he has become known for his versatility – as an actor, comedian and musician.

His television credits include Off spring, the 2011 Logie Awards, and Spicks and Specks, as well as performing his own comedy. His theatre and comedy appearances in Sydney include Keating! The Musical (Company B Belvoir), Shane Warne The Musical, Misanthropology (Sydney Festival) and The Threepenny Opera (Sydney Theatre Company, with Richard Gill).

He has written and toured several shows, including Angry Eddie as well as Shane Warne The Musical, Misanthropology, and most recently Songs From The Middle, a collaboration with the Brodsky Quartet and the Australian National Academy of Music. He has also composed music for several Malthouse Theatre productions, for the Helpmann, Awgie and Inside Film Awards and for Off spring.

Eddie Perfect’s accolades include several Green Room Awards, mostly recently for Best New Australian Musical (Shane Warne The Musical), the 2009 Victorian Premier’s Literary Award for Best Music Theatre Script, and Helpmann Awards for Best New Australian Work (2009) and Best Cabaret Performer (2011). This is his debut appearance with the Sydney Symphony.

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Jonathan Grieves-Smith chorusmaster

Jonathan Grieves-Smith is chorusmaster of the Melbourne Symphony Orchestra Chorus and artistic director of the professional chamber choir, Hallelujah Junction. Previously he was chorusmaster of the Huddersfi eld Choral Society and the Hallé Choir, and for 15 years worked with the Brighton Festival Chorus, latterly as Music Director. He has trained choirs for performances and recordings with the world’s leading conductors, including Simon Rattle, Seiji Ozawa, Valery Gergiev, Mark Elder, Andrew Davis, Pierre Boulez, Mark Wigglesworth, James Levine, Lorin Maazel, Yuri Temirkanov and Roger Norrington.

Conducting highlights include tours to Brazil with the Chorus of Rome’s Accademia di Santa Cecilia, and concerts with pianist Nelson Freire and the London Mozart Players, and the Melbourne Chorale (now MSO Chorus). For the Hallé Orchestra he has conducted Belshazzar’s Feast (with Bryn Terfel) and the Elgar Violin Concerto (Tasmin Little); and he conducted the Royal Philharmonic Orchestra in Mendelssohn’s Symphony No.2 Lobgesang at the Brighton Festival. As a guest conductor he works with the Academy of St Martin in the Fields Chorus, Sydney Chamber Choir, the BBC Singers, Sydney Philharmonia Choirs, Dartington International Summer School, the Flemish Federation of Young Choirs and Europa Cantat.

In addition to baroque and romantic repertoire, he is a passionate advocate for new music, commissioning and conducting premieres by Brett Dean, John Woolrich, Paul Stanhope, Gabriel Jackson, Giya Kancheli, Gavin Bryars, Richard Mills, Alfred Schnittke, Ross Edwards, Krzysztof Penderecki, Arvo Pärt and Peteris Vasks.

Liam Crisanti boy soprano

Liam Crisanti has been a member of Gondwana Voices since 2008 and the Sydney Children’s Choir since 2009, appearing as a soloist with both choirs and touring to China and Hong Kong. Earlier this year he appeared as soloist in the Sydney Symphony’s performances of The Lord of the Rings: The Fellowship of the Ring. Other highlights include singing the national anthem at this year’s State of Origin and performing with the 2011 YouTube Symphony Orchestra at the Sydney Opera House under the direction of Michael Tilson Thomas. He is currently a student at St Aloysius College, where he is involved in the music program and learns violin.

Neil Baker boy soprano

As a member of the Sydney Children’s Choir’s Junior Performing Choir, Neil Baker has performed with the Sydney Symphony under the direction of Vladimir Ashkenazy, and with the Sydney Philharmonia Choirs. He recently sang with the Sydney Children’s Choir in the Four Winds Festival’s 2011 Inspire Program. He also sings in the choir of Randwick Public School and was previously a member of Young Adelaide Voices. Neil Baker has studied piano since the age of six and plays soccer, cricket and tennis.

Liam Crisanti and Neil Baker appear courtesy of Gondwana Choirs (www.gondwanachoirs.com.au)

In tonight’s performance of Missa Solis, the boy soprano solo will be sung by Liam Crisanti or Neil Baker.


SOPRANOSJennifer BonnerCatherine BryantBryony DwyerAnna Fraser Elli GreenSarah JonesSusannah LawergrenRuth McCallBelinda MontgomeryAlison MorganEloise RowlandJosie RyanLiz ScottMeinir ThomasEmma Zampieri

MEZZO-SOPRANOSGeorgina AndrewsJo BurtonKeara DonohoeJenny Duck-ChongAnne FarrellKerith FowlesJoanne GoodmanSue HarrisJudy HerskovitsLanneke JonesRose SaundersNatalie SheaNicole SmeuldersNicole ThomsonAmanda Wagg

TENORSDean BassettPaul BevanRichard BlackPhilip ChuMiguel IglesiasAndrei LaptevDominic NgJohn PitmanJoel RoastAlex RyanRichard SanchezDaniel TambascoJoseph TwistDan WalkerMichael Warby

BASSESPhilip BartonJohn BisphamDavid CerviNick DavisonMark DonnellyAshley GilesPaul Goodwin-GroenSimon HalliganDavid HaytonRobin HilliardSébastien MauryGregory McCreanorPhilip MurrayJosh SalterEd Suttle

Antony Walker Music DirectorAlison Johnston ManagerJonathan Grieves-Smith guest chorusmasterCathy Davis rehearsal pianist

Cantillation is a chorus of professional singers – an ensemble of fi ne voices with the speed, agility and fl exibility of a chamber orchestra. Formed in 2001 by Antony Walker and Alison Johnston, it has since been busy in the concert hall, opera theatre and recording studio.

Performances with the Sydney Symphony have included John Adams’ Harmonium and On the Transmigration of Souls, Ross Edwards’ Star Chant – Symphony No. 4, Haydn’s Nelson Mass and Jonathan Mills’ Sandakan Threnody, as well as A German Requiem, Daphnis et Chloé, Gelmetti’s Cantata della vita, Vaughan Williams’ Sinfonia antartica and Flos Campi, The Creation, Final Fantasy, The Very Best of Gilbert and Sullivan, and The Bells by Rachmaninoff .

Cantillation has appeared in all of Pinchgut Opera’s productions to date, recorded and fi lmed Jonathan Mills’ opera The Eternity Man, performed with Andrea Bocelli, and toured NSW in Musica Viva’s CountryWide program, as well as singing for the Dalai Lama and recording the national anthems for the 2003 Rugby World Cup.

Cantillation can be heard on the soundtracks of Legend of the Guardians: The Owls of Ga’ Hoole, Happy Feet 2 and The December Boys, and on a number of CDs for ABC Classics, including Prayer for Peace, Handel’s Messiah, Mozart’s Requiem, and Magnifi cat with Emma Kirkby

Cantillation

Jonathan Grieves-Smith appears with the kind permission of the MSO.


Vladimir AshkenazyPrincipal Conductorand Artistic Advisorsupported by Emirates ©

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Dene OldingConcertmaster ©

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Nicholas CarterAssociate Conductor supported bySymphony Services International & Premier Partner Credit Suisse

MUSICIANS

To see photographs of the full roster of permanent musicians and fi nd 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 fl yer.

PERFORMING IN THESE CONCERTS…

FIRST VIOLINS Sun Yi Associate Concertmaster

Kirsten Williams Associate Concertmaster

Fiona Ziegler Assistant Concertmaster

Julie Batty Jennifer Booth Marianne BroadfootBrielle ClapsonSophie Cole Amber Davis Georges LentzNicola Lewis Alexandra MitchellLéone Ziegler Emily Qin#

SECOND VIOLINS Kirsty Hilton Alexander Read*Emma West Assistant Principal

Jennifer Hoy A/Assistant Principal

Susan Dobbie Principal Emeritus

Maria Durek Shuti Huang Stan W Kornel Benjamin Li Emily Long Maja Verunica Alexandra D’Elia#

VIOLASAnne-Louise Comerford Sandro CostantinoJane Hazelwood Graham Hennings Stuart Johnson Justine Marsden Felicity Tsai Leonid Volovelsky Rosemary Curtin#

David Wicks#

CELLOSLeah Lynn Assistant Principal

Timothy NankervisElizabeth NevilleAdrian Wallis David Wickham Eleanor Betts*Mee Na Lojewski*Mathisha Panagoda*

DOUBLE BASSESAlex Henery Neil Brawley Principal Emeritus

David Campbell Steven Larson David Murray Hugh Kluger†

FLUTES Janet Webb Carolyn HarrisRosamund Plummer Principal Piccolo

Katie Zagorski†

OBOESDiana Doherty Alexandre Oguey Principal Cor Anglais

CLARINETSFrancesco Celata Craig Wernicke Principal Bass Clarinet

BASSOONSRoger Brooke Fiona McNamara

HORNSBen JacksGeoffrey O’Reilly Principal 3rd

Euan HarveyMarnie Sebire Sebastian Dunn*Katy Grisdale†

TRUMPETSPaul Goodchild John FosterAnthony Heinrichs

TROMBONESScott Kinmont Nick Byrne Christopher Harris Principal Bass Trombone

TUBASteve Rossé

TIMPANIRichard Miller

PERCUSSIONRebecca Lagos Colin Piper Mark Robinson John Douglas*Brian Nixon*Philip South*

HARP Louise Johnson Genevieve Lang*

KEYBOARDS Josephine Allan#

Bold = PrincipalItalic= Associate Principal* = Guest Musician # = Contract Musician† = Sydney Symphony Fellow


Founded in 1932 by the Australian Broadcasting Commission, the Sydney Symphony has evolved into one of the world’s fi nest orchestras as Sydney has become one of the world’s great cities.

Resident at the Sydney Opera House, the Sydney Symphony also performs in venues throughout Sydney and NSW. International tours have earned the orchestra worldwide recognition for artistic excellence, most recently in a European tour that included the BBC Proms and the Edinburgh Festival.

The Sydney Symphony’s fi rst 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, Zdenek Mácal, Stuart

Challender, Edo de Waart and Gianluigi Gelmetti. The orchestra’s history also boasts collaborations with legendary fi gures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.

The Sydney Symphony’s award-winning education program is central to its commitment to the future of symphonic music, and the orchestra promotes the work of Australian composers through performances, recordings and commissions.

The Sydney Symphony Live label has captured performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras and Vladimir Ashkenazy. The orchestra has also released recordings with Ashkenazy on the Exton/Triton labels, and numerous recordings for ABC Classics.

THE SYDNEY SYMPHONYPRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR Vladimir Ashkenazy PATRON Her Excellency Professor Marie Bashir AC CVO

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Sydney Symphony Board

CHAIRMAN John C Conde AO

Terrey Arcus AM Jennifer Hoy Irene Lee Goetz RichterEwen Crouch Rory Jeffes David Livingston David Smithers AM

Ross Grant Andrew Kaldor


SALUTE

PRINCIPAL PARTNER GOVERNMENT PARTNERS

The Sydney Symphony is assisted by the NSW Government through Arts NSW

The Sydney Symphony is assisted by the Commonwealth Government through the

Australia Council, its arts funding and advisory body

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PLAYING YOUR PART

The Sydney Symphony 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. Please visit sydneysymphony.com/patrons for a list of all our donors, including those who give between $100 and $499.

PLATINUM PATRONS $20,000+Brian AbelGeoff Ainsworth AM & Vicki AinsworthRobert Albert AO & Elizabeth AlbertTerrey Arcus AM & Anne ArcusTom Breen & Rachael KohnSandra & Neil BurnsIan & Jennifer BurtonMr John C Conde AO

Robert & Janet ConstableIn memory of Hetty & Egon GordonThe Hansen FamilyMs Rose HercegThe Estate of Mrs E HerrmanJames N. Kirby FoundationMr Andrew Kaldor & Mrs Renata Kaldor AO

D & I KallinikosJustice Jane Mathews AO

Mrs Roslyn Packer AO

Dr John Roarty in memory of Mrs June RoartyPaul & Sandra SalteriMrs Penelope Seidler AM

Mrs W SteningMr Fred Street AM & Mrs Dorothy StreetIn memory of D M ThewMr Peter Weiss AM & Mrs Doris WeissWestfi eld GroupRay Wilson OAM in memory of James Agapitos OAM

Mr Brian and Mrs Rosemary WhiteJune & Alan Woods Family BequestAnonymous (1)

GOLD PATRONS $10,000–$19,999Alan & Christine BishopThe Estate of Ruth M DavidsonThe Hon Ashley Dawson-DamerPaul R. EspieFerris Family FoundationDr Bruno & Mrs Rhonda GiuffreRoss GrantMr David Greatorex AO & Mrs Deirdre GreatorexHelen Lynch AM & Helen BauerMrs Joan MacKenzieRuth & Bob MagidTony & Fran MeagherMrs T Merewether OAM

Mr B G O’ConorMrs Joyce Sproat & Mrs Janet CookeMs Caroline WilkinsonAnonymous (1)

SILVER PATRONS $5,000–$9,999Mr and Mrs Mark BethwaiteJan BowenMr Robert BrakspearMr Donald Campbell & Dr Stephen FreibergMr Robert & Mrs L Alison CarrBob & Julie ClampettMrs Gretchen M DechertIan Dickson & Reg HollowayDr Michael FieldJames & Leonie FurberMrs Jennifer HershonMichelle HiltonStephen Johns & Michele BenderJudges of the Supreme Court of NSWMr Ervin KatzGary LinnaneMr David LivingstoneWilliam McIlrath Charitable FoundationEva & Timothy Pascoe

Rodney Rosenblum AM & Sylvia RosenblumSherry-Hogan FoundationDavid & Isabel SmithersMrs Hedy SwitzerIan & Wendy ThompsonMichael & Mary Whelan TrustDr Richard WingateJill WranAnonymous (2)

BRONZE PATRONS $2,500–$4,999Dr Lilon BandlerStephen J BellMr David & Mrs Halina BrettLenore P BuckleHoward ConnorsEwen & Catherine CrouchVic & Katie FrenchMr Erich GockelMr James Graham AM & Mrs Helen GrahamKylie GreenJanette HamiltonAnn HobanIrwin Imhof in memory of Herta ImhofR & S Maple-BrownDr Greg & Mrs Susan MarieMora MaxwellJ A McKernanJustice George Palmer AM QC

James & Elsie MooreBruce & Joy Reid FoundationMary Rossi TravelGeorges & Marliese TeitlerGabrielle TrainorJ F & A van OgtropGeoff Wood & Melissa WaitesAnonymous (1)

BRONZE PATRONS $1,000–$2,499Charles & Renee AbramsAndrew Andersons AO

Mr Henri W Aram OAM

Claire Armstrong & John SharpeDr Francis J AugustusRichard BanksDoug & Alison BattersbyDavid BarnesMichael Baume AO & Toni BaumePhil & Elese BennettNicole BergerMrs Jan BiberJulie BlighColin Draper & Mary Jane BrodribbM BulmerIn memory of R W BurleyEric & Rosemary CampbellDr John H CaseyDr Diana Choquette & Mr Robert MillinerJoan Connery OAM & Maxwell Connery OAM

Debby Cramer & Bill CaukillMr John Cunningham SCM & Mrs Margaret CunninghamLisa & Miro DavisMatthew DelaseyJohn FavaloroMr Edward FedermanMr Ian Fenwicke & Prof N R WillsFirehold Pty LtdWarren GreenAnthony Gregg & Deanne WhittlestonAkiko GregoryIn memory of the late Dora & Oscar Grynberg

Janette HamiltonBarbara & John HirstDorothy Hoddinott AO

Paul & Susan HotzBill & Pam HughesThe Hon. David Hunt AO QC & Mrs Margaret HuntDr & Mrs Michael HunterMr Peter HutchisonDr Michael Joel AM & Mrs Anna JoelThe Hon. Paul KeatingIn Memory of Bernard M H KhawJeannette KingAnna-Lisa KlettenbergJustin LamWendy LapointeMacquarie Group FoundationMr Robert & Mrs Renee MarkovicKevin & Deidre McCannRobert McDougallIan & Pam McGawMatthew McInnesMrs Barbara McNulty OBE

Harry M. Miller, Lauren Miller Cilento & Josh CilentoMiss An NhanMrs Rachel O’ConorMr R A OppenMr Robert Orrell Mr & Mrs OrtisMaria PagePiatti Holdings Pty LtdAdrian & Dairneen PiltonMr & Ms Stephen ProudMiss Rosemary PryorDr Raffi QasabianErnest & Judith RapeeKenneth R. ReedPatricia H Reid Endowment Pty LtdMr M D SalamonJohn SaundersJuliana SchaefferMr & Mrs Jean-Marie SimartCatherine StephenJohn & Alix SullivanThe Hon. Brian Sully QC

Mildred TeitlerAndrew & Isolde TornyaGerry & Carolyn TraversJohn E TuckeyMrs M TurkingtonIn memory of Dr Reg WalkerHenry & Ruth WeinbergThe Hon. Justice A G WhealyMr R R WoodwardDr John Yu & Dr George SoutterAnonymous (12)

BRONZE PATRONS $500–$999Mr C R AdamsonMr Peter J ArmstrongMs Baiba B. Berzins & Dr Peter LovedayDr & Mrs Hannes Boshoff Minnie BriggsDr Miles BurgessPat & Jenny BurnettIta Buttrose AO OBE

Stephen Byrne & Susie GleesonHon. Justice J C & Mrs CampbellPercy ChissickMrs Catherine J ClarkMr Charles Curran AC & Mrs Eva CurranGreta DavisElizabeth DonatiDr & Dr Nita DurhamGreg Earl & Debbie CameronMr & Mrs FarrellRobert GellingDr & Mrs C Goldschmidt

Vivienne GoldschmidtMr Robert GreenMr Richard Griffi n AM

Jules & Tanya HallMr Hugh HallardMrs A HaywardRoger HenningRev Harry & Mrs Meg HerbertSue HewittMr Joerg HofmannDominique Hogan-DoranAlex HoughtonBill & Pam HughesGeoff & Susie IsraelIven & Sylvia KlinebergMr & Mrs Gilles T KrygerDr & Mrs Leo LeaderMargaret LedermanMartine LettsAnita & Chris LevyErna & Gerry Levy AM

Dr Winston LiauwMrs Helen LittleSydney & Airdrie LloydMrs A LohanCarolyn & Peter Lowry OAM

Dr David LuisMrs M MacRae OAM

Melvyn MadiganDr Jean MalcolmAlan & Joy MartinGeoff & Jane McClellanMrs Helen MeddingsMrs Inara MerrickDavid & Andree MilmanKenneth N MitchellHelen MorganChris Morgan-HunnNola NettheimMrs Margaret NewtonSandy NightingaleMr Graham NorthDr M C O’Connor AM

A Willmers & R PalDr A J PalmerMr Andrew C. PattersonDr Kevin PedemontRobin PotterLois & Ken RaePamela RogersAgnes RossIn memory of H.St.P ScarlettDr Mark & Mrs Gillian SelikowitzCaroline SharpenMrs Diane Shteinman AM

Robyn SmilesDoug & Judy SotherenMrs Elsie StaffordMr D M SwanMr Norman TaylorDr Heng & Mrs Cilla TeyMs Wendy ThompsonKevin TroyJudge Robyn TupmanGillian Turner & Rob BishopMr Robert & Mrs Rosemary WalshRonald WalledgeDavid & Katrina WilliamsAudrey & Michael WilsonDr Richard WingMr Robert WoodsMr & Mrs Glenn WyssAnonymous (17)

To fi nd out more about becoming a Sydney Symphony Patron please contact the Philanthropy Offi ce on (02) 8215 4625 or email [email protected]

SYDNEY OPERA HOUSE TRUSTMr Kim Williams AM (Chair)Ms Catherine BrennerRev Dr Arthur Bridge AM

Mr Wesley EnochMs Renata Kaldor AO

Mr Robert Leece AM RFD

Ms Sue Nattrass AO

Dr Thomas (Tom) Parry AM

Mr Leo Schofi eld AM

Mr Evan Williams AM

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David AntawCHIEF FINANCIAL OFFICER

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Victoria DoidgeDIRECTOR, VENUE PARTNERS & SAFETY

Julia PucciEXECUTIVE PRODUCER SOH PRESENTS

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2011 SEASON BEETHOVEN’S EGMONT THE …...conclude we’ll hear Beethoven’s dramatic Egmont...

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