ANZAC DAY SALUTE Centenary Concert

MEET THE MUSIC

Wednesday 22 April 2015

SPECIAL EVENT

Friday 24 April 2015

concert diary

Bold as BrassBROUGHTON Fanfares, Marches, Hymns and FinaleKATS-CHERNIN MaterKOEHNE Albany Harbour (The Voyage)PUCCINI arr. G Boyd Scenes from Turandot

Michael Mulcahy conductorSSO Brass Ensemble

Tea & Symphony

Fri 1 May 11am Complimentary morning tea from 10am

Discover Mahler Songs of a WayfarerMAHLER Songs of a Wayfarer

Richard Gill conductor [PICTURED]

Alexander Knight baritone SSO Sinfonia

DownerTenix Discovery

Tue 5 May 6.30pm City Recital Hall Angel Place

Tchaikovsky’s Nutcracker Pure MagicMAHLER Songs from Des Knaben Wunderhorn (Youth’s Magic Horn)TCHAIKOVSKY Nutcracker: Act II (Kingdom of the Sweets)

Mark Wigglesworth conductor [PICTURED]

Caitlin Hulcup mezzo-soprano Randall Scarlata baritone

Thursday Afternoon Symphony

Thu 7 May 1.30pm Emirates Metro Series

Fri 8 May 8pm Great Classics

Sat 9 May 2pmPre-concert talk 45 minutes before each performance

Romantic VisionsWagner, Bartók & BrahmsWAGNER Siegfried IdyllBARTÓK Piano Concerto No.3BRAHMS orch. Schoenberg Piano Quartet in G minor

Matthias Pintscher conductor [PICTURED]

Peter Serkin piano

APT Master Series

Wed 13 May 8pmFri 15 May 8pmSat 16 May 8pmPre-concert talk at 7.15pm

SSO Chamber Music Cocktail HourIntimate space, inspiring music and a delicious cocktail to enjoy – One hour of sheer bliss.Hear individual members of your SSO up close in this year’s new Chamber Music Cocktail Hour series featuring music by Brahms (Clarinet Quintet, String Quintet No.2, String Sextet No.2) and others.

Sat 16 May 6pmSat 6 June 6pmSat 18 July 6pmUtzon Room Sydney Opera House

CLASSICAL

SSO PRESENTS

JOSH PYKE Live with your SSOJosh Pyke will perform hits from across all of his albums, including Leeward Side, Middle of the Hill and The Lighthouse Song.

Christopher Dragon conductor Josh Pyke vocalist/guitar

SSO presents

Wed 29 Apr 8pmMeet the Music

Thu 30 Apr 6.30pmPre-concert talk 45 minutes before each performance

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MESSAGE FROM THE PRIME MINISTER

PRIME MINISTER

I am pleased to provide this message for the Sydney Symphony Orchestra’s ANZAC Day Salute Centenary Concert.

The story of the Australians who served during the First World War is one of great triumph and tragedy. It is also one of almost unimaginable losses to a young nation.

From a population of just under five million, 417,000 enlisted, 332,000 served overseas, 152,000 were wounded and 61,000 never came home. Of the 270,000 who returned, more than half had been wounded – and others had mental scars that never healed.

The impact of their experiences is captured in the letters of servicemen and women to their families.

Some of these letters are at the heart of Michael F Williams’ Letters from the Front. Setting their words to music gives further poignancy to their expressions of loss, hardship and yearning.

Tonight you will hear the premiere of James Ledger’s War Music set to words by Paul Kelly. The work sets out to commemorate the sacrifices our forebears made for our freedom and our prosperity.

In a fitting tribute to our historic ties, these compositions were commissioned by the Sydney Symphony Orchestra together with the New Zealand Symphony Orchestra, and bring together young voices from both our nations.

Commemorative music is a worthwhile and necessary tradition. Edward Elgar, Charles Villiers Stanford, Hubert Parry and Benjamin Britten – all composers affected by war – wrote music to help us mourn and remember.

Tonight’s concert represents a thoughtful addition to this noble canon.

I thank all involved in the staging of this concert and join with all Australians in honouring all who have been prepared to put their lives on the line for our country.

Lest we forget.

The Hon Tony Abbott MP Prime Minister of Australia

31 March 2015

2015 concert season

MEET THE MUSICWEDNESDAY 22 APRIL, 6.30PM

SPECIAL EVENTFRIDAY 24 APRIL, 8PM

SYDNEY OPERA HOUSE CONCERT HALL

Friday’s performance will be recorded by ABC Classic FM for broadcast on Saturday 25 April at 8pm.

Pre-concert talk by Vincent Plush in the Northern Foyer 45 minutes before each performance. Visit sydneysymphony.com/speaker-bios for more information.

Estimated durations: 4 minutes, 25 minutes, 20-minute interval, 10 minutes (a cappella songs), 22 minutes, 16 minutes (Tallis & RVW)

The concert will conclude at approximately 8.20pm (Wednesday), 9.50pm (Friday).

The commissioned works by Ledger and MF Williams are receiving their combined Australian and New Zealand premieres on Wednesday 22 April, with concerts in Sydney and Wellington at 6.30pm local time.

ANZAC DAY SALUTE: CENTENARY CONCERTRichard Gill conductor Ayşe Göknur Shanal soprano Michael McStay narrator Gondwana Centenary Chorale with guests from France, Turkey and New Zealand

AARON COPLAND (1900–1990) Fanfare for the Common Man

MICHAEL F WILLIAMS (born 1962) Letters from the Front – Symphony No.1 for soprano, narrator and orchestrapremiere

INTERVAL

Three songs for a cappella chorus:

Requiem æternam – Liturgical chant from the Liber Usualis

AHMED ADNAN SAYGUN (1907–1991) Kâtibim – Choral variations on a traditional Turkish song

HUBERT PARRY (1848–1918) ‘My soul, there is a country’ from Songs of Farewell

JAMES LEDGER (born 1966) War Music for chorus and orchestrapremiere

THOMAS TALLIS (c.1505–1585) ‘Why fum’th in fight the Gentiles’ spite…?’

RALPH VAUGHAN WILLIAMS (1872–1958) Fantasia on a Theme by Thomas Tallis

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Diary of Gallipoli. Pages 4 and 5 from the diary of Sergeant Joseph Cecil Thompson (9th Battalion, 1st Australian Imperial Force), begun April 1915. Entries for 25, 26 and

27 April: landing at Gallipoli, action and casualties.

Tuesday’s entry continues overleaf: …as their practice is much better today. Artillery duel still continues and the Turkish guns are very well concealed. N. Zers captured 9 machine guns

yesterday. The men have all dug themselves into the cliffs. C. Veal (SB) [stretcher bearer] recommended for V. C. for rescuing Lt. Patterson from machine gun fire.

Full transcript: https://flic.kr/p/4gmbd

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INTRODUCTION

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The diary pages opposite tell the story of 25 April 1915 from

the viewpoint of one Australian soldier. There’s confidence –

‘Our chaps soon had the Turks on the run…’ – but also concern –

‘Severe fighting all day, and our men severely felt the want of

artillery. The Turks knew this…’ Wounds are severe; the fighting

continues into the night; casualties are heavy. The hoped-for

decisive result of the Gallipoli landings was not to be.

In tonight’s concert we commemorate the centenary of

Gallipoli and remember the Australian men and women who

served during World War I. Copland’s now timeless Fanfare for

the Common Man echoes a spirit of confidence and resolve.

Hubert Parry’s motet ‘My soul, there is a country’ longs for peace.

The Requiem chant from the Mass for the Dead reminds us of

the many lives that were sacrificed.

But perhaps the most telling words in tonight’s concert are

those that belong to Tallis’s tune. They come from Psalm 2 and

ask: ‘Why do the nations so furiously rage together?’ Ralph

Vaughan Williams, taking up the tune just a few years before

World War I, creates a musical work that, like Parry’s, seems to

long for peace.

Last year, together with the New Zealand Symphony Orchestra,

we commissioned two new works for this program. From New

Zealand comes music by Michael F Williams, inspired in large part

by the letters that were sent home by soldiers of all nationalities.

From Australia comes music by James Ledger with a new text

by Paul Kelly, offering both a reflection on the horrors of war

and a solemn memorial. In Ledger’s piece we are joined by a

specially assembled choir. The Gondwana Centenary Chorale

brings together young singers of about the same age (18–25) as

many of the soldiers who landed at Gallipoli. And in the ANZAC

spirit of collaboration, they come not only from Australia, but

from France, Turkey and New Zealand.

ANZAC Day Salute: Centenary Concert

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ABOUT THE MUSIC

Aaron Copland (1900–1990) Fanfare for the Common Man

Fanfare for the Common Man is Aaron Copland’s greatest hit, a

fact the composer attributed to its name. Despite – or perhaps

because of – its popularity and popular resonances, Copland’s

Fanfare is seldom performed in formal concert programs. It is

better known from television, movies, radio, sport, even politics.

For a time the Rolling Stones adopted it as entrance music;

it opened the Atlanta Olympics. On the 20th anniversary of the

Declaration of Human Rights in 1968 all six ABC orchestras

performed the Fanfare in free concerts around the country.

And yet Copland’s Fanfare began life in a subscription concert.

In August 1942, Eugene Goossens, then conductor of the

Cincinnati Symphony Orchestra, invited Copland and more than

a dozen other composers to write short patriotic fanfares for

brass and percussion as ‘stirring and significant contributions

to the war effort’. Most of the composers – who included Walter

Piston, Darius Milhaud, Virgil Thomson and Morton Gould – wrote

fanfares for Freedom, Liberty, Paratroopers and the Signal Corps,

among others. Copland considered a number of options including

the Spirit of Democracy and Our Heroes, but settled on the

Common Man because: ‘it was the common man, after all, who

was doing all the dirty work in the war and the army. He deserved

a fanfare.’

The three-minute fanfare is a demonstration of simplicity

and strength. Copland, afraid that new music was confounding

its audiences, felt that it was ‘worth the effort to see if I couldn’t

say what I had to say in the simplest possible terms’. The result

in this instance is a universal musical language based on

compelling rhythms, modal harmonies and open textures.

Copland’s Fanfare begins in the percussion, a measured and

purposeful introduction to the rising trumpet tune, which is

gradually amplified through staggered entries from the other

brass instruments and layers of harmony in music that conjures

up a spirit of pioneering resolve.

ADAPTED FROM A NOTE BY YVONNE FRINDLE © 2000

Copland’s Fanfare for the Common Man calls for four horns, three trumpets,

three trombones and tuba (in other words a standard symphony orchestra

brass line up) with timpani, bass drum and tam tam.

The fanfare was first performed in 1943, by the Cincinatti Symphony

Orchestra with Eugene Goossens conducting. The date chosen was

12 March – income tax time and therefore an ideal opportunity to honour

the common man.

‘…it was the common man, after all, who was doing all the dirty work in the war and the army. He deserved a fanfare.’

COPLAND

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Michael F Williams (born 1962) Letters from the Front – Symphony No.1 for soprano, narrator and orchestrapremiere

I Agitato – dolce – a tempo agitato II Adagio lontano e tranquillo III Agitato – piu mosso

Ayşe Göknur Shanal soprano Michael McStay narrator

The composer writes…

I have felt very privileged to be commissioned to write a symphony for the Centenary of Gallipoli. I have felt a great sense of responsibility and have endeavoured to treat the subject matter with as much sensitivity as I could muster.

The structure of this work is somewhat different to that of traditional symphonies in that it uses the Golden Ratio as a means of determining the movement lengths, with the first around 6 minutes, the second 9, and the third and longest movement around 15.

The first movement is largely rhythmic and violent, depicting panic and chaos. The periods of repose suggest nostalgia and memories of a world at peace. These are but fleeting and are constantly ripped asunder by the ever-present violence and chaos of a world at war. George Butterworth’s beautiful song ‘Is My Team Ploughing’ from Songs of a Shropshire Lad is quoted in this movement, especially poignant as Butterworth was killed on the Somme in 1916 at the age of 31.

The second movement has an atmosphere of emptiness and grief. The narrator’s text quotes directly from letters written by my great-grandfather, Arthur Major, to his children. He was killed in the 3rd battle of Passchendaele in 1917. The soprano text is a Latin translation of the line ‘My heart is so shattered, I don’t know whether it is broken or not’ from the letter of a World War I soldier.

The third movement combines violence, fear, confusion, beauty and exaltation. The narration texts are from soldier’s letters and journal entries from many different nationalities – written from Gallipoli, Belgium and France. No matter the side, the sentiments are the same. They all speak of horror, fear and a desire for peace. The Wilfred Owen poem ‘Arms and the Boy’ running throughout this movement speaks of the unnaturalness of giving deadly arms to boys.

MICHAEL F WILLIAMS © 2015

The orchestra for Letters from the Front comprises two flutes, piccolo, two oboes, cor anglais, two clarinets, bass clarinet, two bassoons and contrabassoon; four horns, three trumpets, three trombones and tuba; timpani and three percussionists; harp and strings.

Letters from the Front was commissioned by the New Zealand Symphony Orchestra for the NZSO and the SSO, and jointly premiered in performances in Sydney and Wellington on Wednesday 22 April.

KeynotesMF WILLIAMS

Born Hamilton, 1962

Repeat performances are a coup for any contemporary composer and many of Michael F Williams’ works boast this distinction, including his oboe concerto Piercing the Vault, which has toured New Zealand twice and been performed in Vietnam. His opera The Juniper Passion, based on the battle of Monte Cassino in World War II, toured Italy in 2013 following its New Zealand premiere.

Born in New Zealand, Williams left for the UK in 1984 and subsequently settled in Melbourne until 1998, when he returned to his native country. Since then he has received substantial commissions from most of New Zealand’s major musical institutions including the NZSO, New Zealand Opera and Chamber Music New Zealand. He has composed in a diverse array of genres. No less diverse is his compositional style, which integrates influences as varied as Gregorian chant, pitch class sets and digital manipulation of acoustic instruments.

He is based at the University of Waikato, where he teaches composition, and his role as the artistic director and co-founder of  the contemporary performance ensemble Okta keeps him active in live performances of new music.

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Williams on WarMichael Williams spoke to Amber Read

Michael Williams embraced composition at an early age and has never looked back. ‘It has always seemed to me to be a very magical and mysterious experience,’ he recalls, ‘and even today that feeling remains.’ He readily acknowledges that contemporary classical composition is not an easy path though. ‘I think there is some sort of mad compulsion that keeps me composing,’ he says. The theme of Williams’ ANZAC Centenary commission is not for the faint of heart either. The battle of Gallipoli is a tale of terrible loss, carnage and chaos, and the longer Williams worked on the commission, the harder he found it to abstract himself from the horror of the story. ‘I think I became somewhat obsessed with it,’ he confesses.

Although Williams has a keen interest in the history of the World Wars, war was not a theme he deliberately set out to explore in his music. ‘I have somehow fallen into it over the last few years,’ he says. The most notable of Williams’ previous works on war themes is The Juniper Passion, an opera which won him the 2012 SOUNZ contemporary award, and has been performed multiple times around the globe.

As with The Juniper Passion, Williams uses a narrator in Letters from the Front. ‘I find a certain power in the spoken word, when placed carefully within the musical texture,’ he says. Letters from the Front also shares with The Juniper Passion a treatment that emphasises the suggestive and the symbolic rather than literal interpretations of the text.

‘My approach to war themes is not to glamorise war, but to highlight the waste, the bitterness and the futility,’ Williams says. ‘From a musical perspective, I have found it very satisfying to explore and try to capture humanity at its most extreme: from violence, courage, love, compassion and hatred.’ Letters from the Front alternately presents the chaos and fear in the trenches as seen through the eyes of the soldiers writing the letters, and the loss and grief on home territory as felt by the wives, children, and friends down under.

Letters from the Front has a personal connection for Williams. One of the letters quoted is a letter written by Williams’ great-grandfather, who fought at Gallipoli. ‘This commission gave me a chance to honour and acknowledge my great-grandfather and all those who gave the ultimate sacrifice in the service of their countries,’ he says. Williams encourages listeners to be open and compassionate as they come to this ANZAC memorial work: ‘I hope that listeners will remember what this piece is about – to remember the sacrifices of those men, to put themselves in their shoes and the shoes of those left behind who had to deal with the terrible losses.’

AMBER READ © 2015

Turn to page 12 for the sung and narrated texts.

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Letters from the Front

2nd movement

SOPRANO

Excerpt from a letter from a soldier home to his mother:

Tam percussum est cor meum ut fractumne sit necne nesciam

(My heart is so shattered I don’t know whether it is broken or not.)

NARRATOR

Extracts from letters written by my great-grandfather to his

children:

My dear children, I received your nice letters today and was very

pleased to get them. How did you like going back to school after

your long holiday? I did not like leaving you to go back to camp,

but we can’t always do the things we like most.

We may go by train tomorrow, but I expect we will have to walk

and it is such a long way over a very high hill and we will have to

sleep out in the cold for two nights. So you can see it is not

always nice to be a soldier. But daddy does not mind.

Don’t forget to say your prayers. Good night. Love to you all.

Your loving daddy.

3rd movement

SOPRANO

‘Arms and the boy’ by Wilfred Owen

Let the boy try along this bayonet-blade

How cold steel is, and keen with hunger of blood;

Blue with all malice, like a madman’s flash;

And thinly drawn with famishing for flesh.

Lend him to stroke these blind, blunt bullet-leads, 

Which long to nuzzle in the hearts of lads, 

Or give him cartridges of fine zinc teeth 

Sharp with the sharpness of grief and death.

For his teeth seem for laughing round an apple.

There lurk no claws behind his fingers supple;

And God will grow no talons at his heels,

Nor antlers through the thickness of his curls.

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NARRATOR

Taken from letters and journal entries written by soldiers of

various nationalities in Gallipoli, France and Belgium:

1. A glorious day, blue sky, blue sea. The sky is now flecked with

pretty little clouds of shrapnel which burst with a vicious smack.

Then a whizz as the head of the shell thumps into the earth or

sea and a broad spatter of bullets.

2. I am lying on the battlefield badly wounded. Whether I recover

is in God’s hands. If I die, do not weep. I am going blissfully home.

3. …In what way have we sinned, that we should be treated worse

than animals? Hunted from place to place, cold filthy and in rags,

we wander about like gypsies, and in the end are destroyed like

vermin. Will they never make peace?

4. Our losses are terrible. You cannot imagine, beloved mother,

what man will do against man. For five days my shoes have been

slippery with human brains, I have walked among lungs, among

entrails. A white body, splendid under the moon. I lay down near

him. The beauty of things awoke again for  me.

5. This is an attack. They will attack when this hell is over. We

have got to get over the parapet when the guns lift.

6. The splutter of shrapnel, the red squeal of field guns, the growl

of the heavies moving slowly though the air, the cr-r-r-r-ump of

their explosions.

7. Verse from Owen:

Let the boy try along this bayonet-blade

How cold steel is, and keen with hunger of blood;

Blue with all malice, like a madman’s flash;

And thinly drawn with famishing for flesh.

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Songs for a cappella voices

Requiem æternam

This Latin chant is the Introit, literally ‘entrance’, which begins the

liturgy in the traditional Roman Catholic Mass for the Dead.

Requiem æternam dona eis Domine: Grant them eternal rest, O Lord,

et lux perpetua luceat eis. and let everlasting light shine upon them.

Te decet hymnus Deus in Sion To thee, O God, praise is meet in Zion,

et tibi reddetur votum in Jerusalem and prayer shall go up to thee in Jerusalem.

exaudi orationem meam Give ear to my supplication,

ad te omnis caro veniet unto thee shall all flesh come.

Requiem æternam… Grant them eternal rest…

Ahmed Adnan Saygun (1907–1991) Kâtibim – Choral variations on a traditional Turkish song

In his Times obituary in 1991, Saygun was described as the ‘grand

old man of Turkish music’, as revered in his country as Sibelius in

Finland, Falla in Spain or Bartók in Hungary. He studied with

Vincent d’Indy at the Schola Cantorum in Paris, and on returning

home was among those who pioneered western classical music in

the young Republic of Turkey, often incorporating traditional folk

elements.

This set of variations on the well-known song Kâtibim is the final

number from Saygun’s choral work Bir Tutam Kekik, Op.22 (1943).

A woman is travelling with her secretary or scribe (kâtip) to

Üsküdar, a district of Istanbul; she is very appreciative of his

elegant qualities.

Üsküdar’a gider iken aldı da bir yağmur. On the way to Üsküdar, rain poured down.

Kâtibimin setresi uzun, eteği çamur. My clerk’s jacket is long, with its hem line muddied.

Kâtip uykudan uyanmış, gözleri mahmur. It seems the clerk just woke up, his eyes are languid.

Kâtip benim, ben kâtibin, The clerk belongs to me, I belong to the clerk,

el ne karışır? what is it to others?

Kâtibime kolalı da gömlek ne güzel yaraşır! How handsome my clerk looks with starched shirts!

Üsküdar’a gider iken bir mendil buldum. On the way to Üsküdar, I found a handkerchief.

Mendilimin içine (de) lokum doldurdum. I filled the handkerchief with Turkish delight.

Kâtibimi arar iken yanımda buldum. As I was looking for my clerk, I found him next to me.

Kâtip benim, ben kâtibin, The clerk belongs to me, I belong to the clerk,

el ne karışır? what is it to others?

Kâtibime kolalı da gömlek ne güzel yaraşır! How handsome my clerk looks with starched shirts!

15

Hubert Parry (1848–1918) ‘My soul, there is a country’ from Songs of Farewell

Parry’s Songs of Farewell for unaccompanied choir was composed

in the final years of his life, the work of a man who had ‘reached

the last milestone’ and who was profoundly depressed by what he

was witnessing in World War I. The poems of these hymns or

motets often reveal a very personal spirituality without being

conventionally devotional.

My soul, there is a country

far beyond the stars,

where stands a winged sentry,

All skilful in the wars:

There, above noise and danger,

Sweet Peace sits crowned with smiles

And One, born in a manger

Commands the beauteous files.

He is thy gracious friend,

And O my soul awake!

Did in pure love descend

To die here for thy sake.

If thou canst get but thither,

There grows the flow’r of Peace,

The Rose that cannot wither,

Thy fortress, and thy ease.

Leave then thy foolish ranges,

For none can thee secure

But One who never changes,|

Thy God, thy life, thy cure.

HENRY VAUGHAN (1622–1695)

Thomas Tallis (c.1505–1585) Third Tune for Archbishop Parker’s Psalter

Read about Tallis and this hymn tune on page 18.

Why fum’th in fight: the Gentiles spite

In fury raging stout?

Why taketh in hond: the people fond,

Vain things to bring about.

The kings arise: the lords devise

in counsels met thereto:

Against the Lord with false accord,

Against their Christ they go.

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James Ledger (born 1966) War Music for chorus and orchestra Text by Paul Kellypremiere

Gondwana Centenary Chorale

The composer writes…

2015 sees the one-hundred year anniversary of the ANZAC

landing at Gallipoli. In two parts, War Music reflects on the horrors

of war in the first part, contrasted with a solemn memorial in

the second.

I was humbled on many occasions on writing a piece that

commemorates those who were confronted by such a terrifying

experience – I could only begin to imagine what it would have

been like in reality. This produced the profound difficulty of trying

to express the suffering and tragedy of war in purely musical

terms. And added to this are the complexities of the myths and

legends that surround the Gallipoli story. I therefore concentrated

on the broader aspects of war, hence the title.

The first part attempts to portray the brutality of war. It begins

with a soft bass drum that unrelentingly thumps away in the

background as the opening foreboding material unfolds. This

breaks out into a torrent of cascading notes over low brass and

strings. The music then settles in for a period of calm that slowly

and continuously builds towards a more torrid outburst. This is

followed by ‘screaming’ glissando strings set against discordant

winds. Then from out of the dissonance emerges a very soft minor

chord. These final moments are a very oblique reference to the

slow funeral-march movement of Beethoven’s Third Symphony.

In the second part, the orchestral forces have been

considerably reduced, representing the great loss of life that

war brings. There is however the addition of a choir. The text by

Paul Kelly, is set from the point of view of the diggers who died

at Gallipoli. It is a poignant and powerful reminder of the travesty

of young lives needlessly cut short.

JAMES LEDGER © 2015

In addition to the four-part choir, War Music calls for flute, two piccolos

(one doubling alto flute), two oboes, cor anglais, two clarinets (one

doubling bass clarinet), contrabass clarinet, two bassoons and

contrabassoon; four horns, three trumpets, three trombones and tuba;

four percussionists; celesta and strings.

War Music was commissioned by the Sydney Symphony Orchestra for

the SSO and the New Zealand Symphony Orchestra with the support of

the ANZAC Centenary Arts and Culture Fund, and jointly premiered in

performances in Sydney and Wellington on Wednesday 22 April.

17

Can you see us? Can you help us?

Lying broken on the shore

Look at us – we’re scattered playthings

Broken toys, no use, no more

We’re not heroes, we are fellows

From the country, from the town

We’re Jack and Doug and Pat and Darcy

Bill and Tom and Reg – all down

Can you hear us? We are dying,

We are screaming on the shore

We haven’t had our lives or wives yet

We never will, we’re never more

We didn’t think, we never thought

We’d die like this so far from home

Remember us, we died in smoke

We died in noise, we died alone

PAUL KELLY © 2015

About the composer…

Born in Perth, James Ledger studied French horn at the West

Australian Academy of Performing Arts. His first orchestral work,

Indian Pacific, was composed while he was living in England

during the mid-1990s. Since then, he has been composer in

residence with the Adelaide (2003–2004), Christchurch (2004)

and West Australian (2007–2009) symphony orchestras as well

as the Australian National Academy of Music (2011).

The SSO has performed some of the music created during

these associations, including Peeling and Arcs and Planes, and

in 2011, his bassoon concerto Outposts was premiered in the

Meet the Music series. More recently the SSO has performed

his fanfare The Madness and Death of King Ludwig. In 2011,

Chronicles was awarded Orchestral Work of the Year in the

Australasian Performing Rights Association/Australian Music

Centre Art Music Awards and The Monthly magazine listed it as

one of 20 Australian masterpieces since 2000. This year will also

see the premiere of a new large-scale work for the WASO.

In addition to his orchestral work, Ledger has received

commissions from Australia’s leading chamber ensembles

including the Australian String Quartet for whom he wrote

Processions. In 2013 he collaborated with Paul Kelly on the ARIA

award-winning song cycle Conversations with Ghosts.

In 2008, James Ledger was awarded a Churchill Fellowship to

research contemporary compositional practice with a particular

focus on new music in Estonia. He is currently a lecturer in

composition at the University of Western Australia.

18

Thomas Tallis ‘Why fumeth in fight the Gentiles’ spite…?’

Ralph Vaughan Williams Fantasia on a Theme by Thomas TallisEarly in his career, among his many other activities beside

composing, Vaughan Williams was chief music editor for a new

Anglican church hymnbook, The English Hymnal, published in

1906. In selecting items for the book from the huge body of

traditional hymnody, he pursued a veritable crusade against

what he considered to be the sentimental piety and bad music

that had infiltrated English church singing during the Victorian

era. His strategy was one of ‘back to the future’, and the result

was a theologically ‘high church’, musically ‘elite’ collection,

heavily biased toward early music: Gregorian chant and 16th-,

17th- and 18th-century hymn tunes in authentic editions, with,

as he himself boasted, ‘enervating tunes…reduced to a

minimum’. Vaughan Williams stressed that preferring a ‘good’

tune over a bad one was:

…a moral rather than a musical issue…it requires a certain

effort to tune oneself to the moral atmosphere implied by

a fine melody; and it is far easier to dwell in the miasma of

the languishing and sentimental hymn tunes which so often

disfigure our services.

Some of very finest tunes he rediscovered were also – to

the ordinary churchgoer of the early 1900s – the oddest. They

include many tunes from the rhymed psalm books of the Tudor

period, like The whole Psalter translated into English metre,

published around 1567 by Queen Elizabeth I’s Archbishop of

Canterbury, Matthew Parker, and to which her veteran court

composer Thomas Tallis (c.1505–1585) contributed nine new

‘tunes’. Like Vaughan Williams centuries later, Tallis and Parker

attributed moral qualities to these melodies, depending on the

mode or scale upon which they were based. The first tune

(based on the mode close to the modern minor key scale) they

described as ‘meek’ and ‘devout, while the third tune ‘doth rage

and roughly bayeth’. Accordingly, Tallis’s raging ‘third tune’ was

fitted to Parker’s rhymed version of Psalm 2, ‘Why fumeth in

fight the Gentiles’ spite?’, a paraphrase of the text better known

as ‘Why do the nations so furiously rage together?’. The scale on

KeynotesTALLIS

Born c.1505 Died Greenwich, 1585

If you followed the TV series The Tudors you might have seen the composer Thomas Tallis in a fictional representation (and heard, too, the hymn tune we sing tonight). Tallis probably received his musical training as a chorister in the royal chapel and as an adult he held organist and other church posts. His career spanned the reigns of Henry VIII, Edward VI, Queen Mary and Elizabeth I, and he managed to steer clear of the religious controversies that raged – his music includes both music set to Latin texts and associated with the Roman liturgy, as well as English anthems. Perhaps his best-known creation is the motet Spem in alium, composed for 40 voices (eight choirs of five voices each).

Ralph Vaughan Williams

19

KeynotesVAUGHAN WILLIAMS

Born Gloucestershire, 1872 Died London, 1958

His father was a vicar, his mother descended from Josiah Wedgwood, an uncle was Lord Chief Justice, and Charles Darwin a great uncle. RVW himself was a mild-mannered, mystical, agnostic Labour voter. At the Royal College of Music, Stokowski and Holst were friends, Stanford and Parry his teachers, as also later in Berlin and Paris were Bruch and Ravel. Like Bartók in Hungary, from 1900 onwards RVW found inspiration in his country’s age-old folk music traditions. His major legacy is his nine symphonies, works of huge emotional span, from the pastoral third and fifth, to the dissonant wartime fourth and dramatic ninth. (‘Ralph’ is pronounced in the traditional way: rafe).

TALLIS FANTASIA

This 15-minute ‘meditation’ on a Tudor melody is scored, like a set of Chinese boxes, for three string ensembles of diminishing size, the first full symphonic strings; the second, just nine players; third, a string quartet. The opening minutes consist of little else but Tallis’s tune, given out by unison lower strings, repeated by high violins with harmonisation from the ensemble. Phrases then separate out, generating new melodies for solo viola and violin, traversing new harmonic fields, building to an impassioned climax. The rhapsodic final section canvasses feelings of trepidation before peaceful resolution.

which the third tune is based is, to modern ears, the strangest

of all modes (try singing the first five notes quietly to yourself:

me–fa–soh–lah–ti!). But it was this extremely odd Third Tune by

Tallis that Vaughan Williams chose, four years after completing

his new hymnbook, as the theme for a string fantasia.

This 15-minute ‘meditation’ on Tallis’s melody is scored for

three string ensembles of diminishing size, ideally separated

physically. The opening couple of minutes consist of little else

but Tallis’s tune. Phrases then separate out, generating new

melodies for solo viola and violin, building to an impassioned

climax. Variously brooding and rhapsodic, the final section

appears to consider the paradox of the potentially deadening

weight of English tradition, and yet its endless capacity to

succour new creative responses.

The Fantasia was first performed by the London Symphony

Orchestra, conducted by the composer, on 6 September in

Gloucester Cathedral as part of the 1910 Three Choirs Festival,

preceding Elgar’s Dream of Gerontius. Vaughan Williams was

worried that his modern listeners might find Tallis’s melody

alien and off-putting; or, as he put it, ‘that the great art of Tallis

connotes an exaltation of which we are not capable’. And,

although several reviews of the first performance seemed to

confirm this fear, the London Times was positive: ‘The work is

wonderful because it seems to lift one into some unknown

region of musical thought and feeling. Throughout its course

one is never sure whether one is listening to something old or

new.’ But the same review has since been proved rather too

cautious in warning: ‘It could never thrive in a modern concert-

room, but in the quieter atmosphere of the cathedral the mind

falls readily into the reflective attitude necessary for the

enjoyment of every unexpected transition from chord to chord.’

GRAEME SKINNER © 2012

When giving instrumentations we don’t usually count out the strings,

but make an exception here for obvious reasons – the Fantasia calls for

Soli (two violins, viola, cello), Orchestra II (two first violins, two second

violins, two violas, two cellos, double bass), and Orchestra I (all the string

players we can muster). The solo string quartet is placed at the front of

the ensemble (where they also lead the players of Orchestra I), with the

nine musicians of Orchestra II at the back where you might usually see

the percussion.

The SSO first gave a broadcast studio performance of the Tallis

Fantasia in 1940, conducted by Kenneth Murison Bourn. The orchestra

last played the Fantasia in 2012 with David Robertson conducting.

20

MORE MUSIC

COPLAND FANFARE

To hear Copland’s best-loved music in great American performances, look for the recording in Sony’s Bernstein Century series. Leonard Bernstein conducts the New York Philharmonic in suites from Appalachian Spring and Billy the Kid, and the Four Dance Episodes from Rodeo. Fanfare for the Common Man provides the finale.SONY 63082

MICHAEL F WILLIAMS

Williams’ music is featured on several recordings on the New Zealand label Atoll Records. In particular, look for his opera The Juniper Passion, with a libretto by John G Davies. It’s a dramatic setting of the World War II incident at Monte Cassino, Italy.ATOLL RECORDS ACD243

JAMES LEDGER

On YouTube you can hear a taste of Conversations with Ghosts, a collaboration with Paul Kelly and featuring recorder virtuoso Genevieve Lacey and musicians from the Australian National Academy of Music. Also look for percussionist Callum Moncrieff in a performance of the solo piece Quickening.

TALLIS’S TUNE

Tallis’s Third Tune has appeared on two popular film soundtracks, for the TV series The Tudors (Season 2 Episode 10) and for Master and Commander. If you search for «Tallis Why fum’th» you’ll also find performances on YouTube.

STOKOWSKI PLAYS RVW

In 1975, eighty years after he and Vaughan Williams were students together, Leopold Stokowski recorded the Tallis Fantasia with the strings of the Royal Philharmonic Orchestra. It was among the very last works he recorded and the venue was No.1 Studio, Abbey Road, London.NEWTON CLASSICS 8802025

FANTASIA IN THE CATHEDRAL

You can see the BBC Symphony Orchestra and Andrew Davis perform the Tallis Fantasia inside the very cathedral – Gloucester – where it was premiered in 1910. Watch: bit.ly/FantasiaInTheCathedral

Broadcast Diary

April–May

abc.net.au/classic

Saturday 25 April, 8pm ANZAC DAY SALUTESee this program for details.

Friday 8 May, 8pm PURE MAGICMark Wigglesworth conductor Caitlin Hulcup mezzo-soprano Randall Scarlata baritone

Mahler, Tchaikovsky

Friday 15 May, 8pm ROMANTIC VISIONSMatthias Pintscher conductor Peter Serkin piano

Wagner, Bartók, Brahms orch. Schoenberg

Friday 22 May, 8pm PETER SERKIN IN RECITALRenaissance keyboard pieces, Nielsen, Reger, Mozart, Beethoven

SSO RadioSelected SSO performances, as recorded by the ABC, are available on demand: sydneysymphony.com/SSO_radio

SYDNEY SYMPHONY ORCHESTRA HOUR

Tuesday 12 May, 6pm

Musicians and staff of the SSO talk about the life of the orchestra and forthcoming concerts. Hosted by Andrew Bukenya.

finemusicfm.com

21

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. Due for release early in 2015.

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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SSO Online

22

Richard Gill oam is one of Australia’s most admired conductors and is internationally respected as a music educator. He has been Artistic Director of the SSO’s Education program (1992–2014), and 2015 marks his 16th year conducting and presenting the DownerTenix Discovery series.

He is also founding Music Director and Conductor Emeritus of Victorian Opera, and has been Artistic Director of OzOpera and Artistic Director and Chief Conductor of the Canberra Symphony Orchestra. He is currently Artistic Advisor for the Musica Viva Education program.

In addition to Discovery, for the SSO he has conducted Meet the Music and Family concerts, and directed the Sinfonietta Project for young composers. He has conducted all the major Australian symphony and youth orchestras, the New Zealand Symphony Orchestra, Sydney Chamber Choir and Sydney Philharmonia Choir. This year his engagements include the Melbourne Symphony Orchestra’s Ears Wide Open series and the Auckland Philharmonia Orchestra’s Unwrap the Music series

His extensive operatic repertoire encompasses baroque opera, core works such as The Marriage of Figaro and Rigoletto, operetta, 20th-century classics and new work, including – for Victorian Opera – How to Kill Your Husband (Alan John) and Rembrandt’s Wife (Andrew Ford). For Opera Australia he has conducted, among others, The Love for Three Oranges, Orpheus in the Underworld, Faust, The Eighth Wonder (Alan John), Lindy (Moya Henderson), Macbeth, Lucia di Lammermoor, Fidelio, Turandot and Pearl Fishers. He has also conducted for Opera Queensland and the Sydney Theatre Company.

Richard Gill has held several important posts, including Dean of the West Australian Conservatorium of Music and Director of Chorus at the Australian Opera. His numerous accolades include the Bernard Heinze Award, honorary doctorates from the Edith Cowan University of Western Australia and the Australian Catholic University, the Australian Music Centre’s award for Most Distinguished Contribution to the Presentation of Australian Music by an Individual, and the Australia Council’s Don Banks Award.

Richard Gill conductorartistic director, downertenix discovery, paul salteri AM & sandra salteri chair

ABOUT THE ARTISTS

JEFF

BU

SB

Y

23

Born in Brisbane, Turkish-Australian soprano Ayşe Göknur Shanal is a versatile classical singer, displaying outstanding artistry in operatic, recital, oratorio and concert repertoire. She is also a passionate advocate of Australian and 21st-century music.

Ayşe Göknur Shanal studied as the Dame Joan Sutherland Scholar at the Royal College of Music and was an adjunct member of the Lindemann Young Artist Development Program at the Metropolitan Opera, New York. Her awards and scholarships include the Australian Singing Competition, Dame Joan Sutherland Scholarship and Award, Opera Foundation’s Metropolitan Opera Award (New York), McDonald’s Operatic Aria, Queen’s Trust for Young Australians, Symphony Australia’s Young Performers’ Awards Vocal Category, Australian Music Foundation Award (London), Countess of Munster Scholarship (London) and the Special Prize of the Loreley-Festspiele at the New Voices International Singing Competition in Germany. In 2014 she was named the winner of the National Liederfest Competition, held in Melbourne, and was the recipient of an Australian Opera Awards Committee Scholarship for the Lisa Gasteen National Opera School.

Later this year, she will appear in two concerts in Pittsburgh and as a guest artist with the Queensland Symphony Orchestra.

Ayşe Göknur Shanal soprano

Michael McStay is an actor, writer, director and musician. Before studying at NIDA, he acted around his home town of Melbourne, appearing in plays such as Michael Gow’s Away, Alan Bennett’s History Boys and the original Australian works Daisy Chain (Alan Skinner and Eryn Skinner) and Webley and Huxley Live the Life (Bruce Shearer). He also appeared in numerous short films in association with the Victorian College of the Arts Film & Television Course.

He is an avid reader and writer, which has led to the creation of original work in appreciation for the literary canon, including the development in association with the NIDA Independent Program of an epic play he wrote during his time at NIDA, scheduled for December of this year. And for the 2013 NIDA Student Festival, he wrote, directed and composed Esther, based on the Old Testament book. He is also currently writing a novel.

Michael McStay has studied classical piano and he plays guitar, sings and composes.

Michael McStaynarrator

24

THE CHOIR

LYN WILLIAMS oamArtistic Director & Founder

Lyn Williams is Australia’s leading director of choirs for young people. For more than 26 years, she has been the driving force behind three internationally acclaimed choral programs, working with hundreds of young Australian musicians each year. She has conducted Sydney Children’s Choir, Gondwana Voices, Gondwana Chorale and Gondwana Indigenous Children’s Choir nationally and internationally. Lyn Williams is a recipient of the 2006 NSW State Award (Classical Music Awards), a Churchill Fellow and

a composer. In 2004 she was recognised with a Medal of the Order of Australia in recognition of her services to the arts.

Gondwana Centenary Chorale

Lyn Williams oam Artistic Director and Founder

Bernie Heard General Manager

Paul Holley Chorus Preparation

Founded as Sydney Children’s Choir in 1989 by Lyn Williams oam, Gondwana Choirs has grown to include Gondwana National Choirs and Gondwana Indigenous Children’s Choir. The organisation has built a worldwide reputation for choral excellence and occupies a unique position in the Australian landscape, having developed its repertoire through the commissioning of more than 150 works. Singers from all three arms of the organisation have come together on several occasions, most recently in 2014 for the premiere of Jandamarra – Sing for the Country by Paul Stanhope and Steve Hawke.

Established by Lyn Williams in 1997, Gondwana National Choirs are truly national ensembles whose members come from throughout Australia and range in age from 10 to 26. They are the children of dairy farmers and teachers, wheat farmers and flying doctors, engineers, office workers and musicians. The work of the choirs is a powerful expression of

the determination of young Australians to work together to create extraordinary musical ensembles. They form every January at the Gondwana National Choral School for intensive training and performances across five vocal ensembles, including programs for developing composers and conductors.

In the spirit of innovation and exceptional artistic standards for which it is known, Gondwana Choirs has formed a special international ensemble to take part in the Anzac centenary commemorations, combining Gondwana Chorale with members of youth choirs from Turkey, France and New Zealand. Aged between 18 and 25, reflecting the age of many of the soldiers involved in the campaign, the combined choir will create an atmosphere of poignant reflection, in a fitting tribute to nations represented at Gallipoli and the Western Front.

www.gondwanachoirs.com.au

25

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Sydney Opera House TrustThe Hon. Helen Coonan [Acting Chair]Ms Catherine Brenner, Ms Brenna Hobson, Mr Chris Knoblanche am, Ms Deborah Mailman, Mr Peter Mason am, Ms Jillian Segal am, Mr Robert Wannan, Mr Phillip Wolanski am

Executive ManagementChief Executive Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Louise Herron am

Director, Programming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jonathan BielskiDirector, Theatre & Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David ClaringboldDirector, Building Development & Maintenance . . . . . . . . Greg McTaggartDirector, Marketing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stephen O’ConnorDirector, External Relations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Brook Turner

SYDNEY OPERA HOUSE Bennelong Point GPO Box 4274 Sydney NSW 2001Administration (02) 9250 7111 Box Office (02) 9250 7777 Facsimile (02) 9250 7666 Website sydneyoperahouse.com

SOPRANOS

Bensu Altunsoy†

Irem Arslan†

Deniz Can Bakkalcı†

Anita Burkart

Meta Cohen

Marine Delagarde‡

Josephine Gibson

Hélène Hayreaud‡

Lana Kains

Clare Kenny

Adele Kozak

Grace Leonard

Jade McFaul

Chloë Aissaoui Michel‡

Sierra Suet Sum Suen

Joanna Wells*

ALTOSCansın Hazan Bayrak†

Caitlyn Bosch

Jessie-Claire Campbell

Rhianna Clarke*

Isabel Colman

Anna Freer

Sophie Gregory

Edwina Howes

Anne Le Goff‡

Anita Moser

Megan Murray

Rebecca O’Hanlon

Maïmiti Dintongxay-Ladoire‡

Laura Pitts

Aysu Sağir†

Louise Underwood

Lia Weitzel

TENORSOzan Çavuşoğlu†

Cody Christopher

Michael Gill

Toby Graham

Rhys Little

Jerome Studdy

Daniel Verschuer

BASSESOliver Bruhl

Luc Dhenin‡

Max Fox

Erdinç Hasılcıoğulları†

Josh McGirr*

Brice Modard‡

Oscar Parker

Corbin Thorne

Daniel Yasar

† Ministry of Culture State Polyphonic Choir, Istanbul

‡ Mikrokosmos, France

* New Zealand Youth Choir Alumni

Gondwana Centenary Chorale

Gondwana Choirs gratefully

acknowledges the support

of the French and Turkish

consulates and the New

Zealand High Commission.

26

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 Chief Conductor and Artistic Director

PATRON Professor The Hon. Dame Marie Bashir ad cvo

27

FIRST VIOLINS Andrew Haveron CONCERTMASTER

Lerida Delbridge ASSISTANT CONCERTMASTER

Fiona Ziegler ASSISTANT CONCERTMASTER

Jenny BoothSophie ColeAmber DavisClaire HerrickGeorges LentzNicola LewisEmily LongAlexandra MitchellAlexander NortonLéone ZieglerRebecca Gill*Dene Olding CONCERTMASTER

Sun Yi ASSOCIATE CONCERTMASTER

Kirsten Williams ASSOCIATE CONCERTMASTER

SECOND VIOLINS Kirsty Hilton Marina Marsden Marianne BroadfootEmma Jezek ASSISTANT PRINCIPAL

Emma HayesStan W KornelBenjamin LiNicole MastersPhilippa PaigeMonique Irik°Emma Jardine°Elizabeth Jones*Maria DurekShuti HuangBiyana RozenblitMaja Verunica

VIOLASTobias Breider Justin Williams ASSISTANT PRINCIPAL

Rosemary CurtinJane HazelwoodGraham HenningsJustine MarsdenFelicity TsaiAmanda VernerLeonid VolovelskyAndrew Jezek*Roger Benedict Anne-Louise Comerford Sandro CostantinoStuart Johnson

CELLOSUmberto ClericiCatherine Hewgill Leah Lynn ASSISTANT PRINCIPAL

Fenella GillTimothy NankervisElizabeth NevilleChristopher PidcockAdrian WallisKristy ConrauDavid Wickham

DOUBLE BASSESAlex Henery Neil Brawley PRINCIPAL EMERITUS

Steven LarsonRichard LynnBenjamin WardJosef Bisits°Kees Boersma David CampbellDavid Murray

FLUTES Emma Sholl Carolyn HarrisRosamund PlummerPRINCIPAL PICCOLO

Janet Webb

OBOESDiana Doherty David PappAlexandre Oguey PRINCIPAL COR ANGLAIS

Shefali Pryor

CLARINETSFrancesco Celata Christopher TingayCraig Wernicke PRINCIPAL BASS CLARINET

Lawrence Dobell

BASSOONSMatthew Wilkie Noriko Shimada PRINCIPAL CONTRABASSOON

Ben Hoadley*Fiona McNamara

HORNSBen Jacks Geoffrey O’Reilly PRINCIPAL 3RD

Euan HarveyMarnie SebireRachel SilverRobert Johnson

TRUMPETSPaul Goodchild Anthony HeinrichsJosh Rogan°David Elton

TROMBONESScott Kinmont Nick ByrneChristopher Harris PRINCIPAL BASS TROMBONE

Ronald Prussing

TUBASteve Rossé

TIMPANIMark Robinson ASSISTANT PRINCIPAL

Richard Miller

PERCUSSIONRebecca Lagos Timothy ConstableColin Piper*Philip South*

HARP Genevieve Huppert*Louise Johnson CELESTACatherine Davis*

BOLD = PRINCIPAL

ITALICS = ASSOCIATE PRINCIPAL

° = CONTRACT MUSICIAN

* = GUEST MUSICIAN

GREY = PERMANENT MEMBER OF THE SYDNEY SYMPHONY ORCHESTRA NOT APPEARING IN THIS CONCERT

The men of the Sydney Symphony Orchestra are proudly outfitted by Van Heusen.

To see photographs of the full roster of permanent musicians and find out more about the orchestra, visit our website: www.sydneysymphony.com/SSO_musicians

If you don’t have access to the internet, ask one of our customer service representatives for a copy of our Musicians flyer.

MUSICIANS

David RobertsonCHIEF CONDUCTOR AND ARTISTIC DIRECTOR SUPPORTED BY EMIRATES

Dene OldingCONCERTMASTER

Jessica CottisASSISTANT CONDUCTOR SUPPORTED BY PREMIER PARTNER CREDIT SUISSE

Andrew HaveronCONCERTMASTER

28

Sydney Symphony Orchestra Staff

BEHIND THE SCENES

MANAGING DIRECTOR

Rory Jeffes

EXECUTIVE TEAM ASSISTANT

Lisa Davies-Galli

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC PLANNING

Benjamin Schwartz

ARTISTIC ADMINISTRATION MANAGER

Eleasha Mah

ARTIST LIAISON MANAGER

Ilmar Leetberg

RECORDING ENTERPRISE MANAGER

Philip Powers

LibraryAnna Cernik Victoria Grant Mary-Ann Mead

LEARNING AND ENGAGEMENT

DIRECTOR OF LEARNING AND ENGAGEMENT

Kim Waldock

EMERGING ARTISTS PROGRAM MANAGER

Rachel McLarin

EDUCATION MANAGER

Amy Walsh

EDUCATION OFFICER

Tim Walsh

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA MANAGEMENT

Aernout Kerbert

ORCHESTRA MANAGER

Rachel Whealy

ORCHESTRA COORDINATOR

Rosie Marks-Smith

OPERATIONS MANAGER

Kerry-Anne Cook

PRODUCTION MANAGER

Laura Daniel

STAGE MANAGER

Courtney Wilson

PRODUCTION COORDINATORS

Ollie Townsend

SALES AND MARKETING

DIRECTOR OF SALES & MARKETING

Mark J Elliott

MARKETING MANAGER, SUBSCRIPTION SALES

Simon Crossley-Meates

A/ SENIOR SALES & MARKETING MANAGER

Matthew Rive

MARKETING MANAGER, WEB & DIGITAL MEDIA

Eve Le Gall

MARKETING MANAGER, CRM & DATABASE

Matthew Hodge

A/ SALES & MARKETING MANAGER, SINGLE TICKET CAMPAIGNS

Jonathon Symonds

DATABASE ANALYST

David Patrick

SENIOR GRAPHIC DESIGNER

Christie Brewster

GRAPHIC DESIGNER

Tessa Conn

SENIOR ONLINE MARKETING COORDINATOR

Jenny Sargant

MARKETING ASSISTANT

Theres Mayer

Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlin

BOX OFFICE SYSTEMS SUPERVISOR

Jennifer Laing

BOX OFFICE BUSINESS ADMINISTRATOR

John Robertson

CUSTOMER SERVICE REPRESENTATIVES

Karen Wagg – Customer Service Team ManagerMichael Dowling Tim Walsh

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

EXTERNAL RELATIONS

DIRECTOR OF EXTERNAL RELATIONS

Yvonne Zammit

PhilanthropyHEAD OF PHILANTHROPY

Luke Andrew Gay

PHILANTHROPY MANAGER

Jennifer Drysdale

A/ PATRONS EXECUTIVE

Sarah Morrisby

PHILANTHROPY COORDINATOR

Claire Whittle

Corporate RelationsCORPORATE PARTNERSHIPS MANAGER

Belinda Besson

CORPORATE PARTNERSHIPS EXECUTIVE

Paloma Gould

CommunicationsCOMMUNICATIONS & MEDIA MANAGER

Bridget Cormack

PUBLIC RELATIONS MANAGER

Katherine Stevenson

DIGITAL CONTENT PRODUCER

Kai Raisbeck

PUBLICITY & EVENTS COORDINATOR

Caitlin Benetatos

BUSINESS SERVICES

DIRECTOR OF FINANCE

John Horn

FINANCE MANAGER

Ruth Tolentino

ACCOUNTANT

Minerva Prescott

ACCOUNTS ASSISTANT

Emma Ferrer

PAYROLL OFFICER

Laura Soutter

PEOPLE AND CULTURE

IN-HOUSE COUNSEL

Michel Maree Hryce

John C Conde AO Chairman Terrey Arcus AM

Ewen Crouch AM

Ross GrantCatherine HewgillJennifer HoyRory JeffesAndrew Kaldor AM

David LivingstoneThe Hon. Justice AJ Meagher Goetz Richter

Sydney Symphony Orchestra CouncilGeoff Ainsworth AM

Doug BattersbyChristine BishopThe Hon John Della Bosca MLC

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

Sydney Symphony Orchestra Board

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Chair Patrons

SSO PATRONS

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

Lawrence DobellPrincipal ClarinetAnne Arcus & Terrey Arcus AM Chair

Diana DohertyPrincipal OboeAndrew Kaldor AM & Renata Kaldor 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

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

Maestro’s Circle

David Robertson

Peter Weiss AO Founding President & Doris Weiss

John C Conde AO Chairman

Brian Abel

Tom Breen & Rachel Kohn

The Berg Family Foundation

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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Umberto Clerici has been Principal Cello of the SSO since 2014. He has performed as a soloist with orchestras around the world and served as principal cello at the Teatro Regio in Turin in his native Italy before joining the SSO. Umberto’s chair is generously supported by Garry and Shiva Rich. Their son Samuel recently started learning the cello and aspires to join the SSO one day.

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Learning & Engagement

SSO PATRONS

Commissioning CircleSupporting the creation of new works.

ANZAC Centenary Arts and Culture FundGeoff Ainsworth AM

Christine BishopDr John EdmondsAndrew Kaldor AM & Renata Kaldor AO

Jane Mathews AO

Mrs Barbara MurphyNexus ITVicki OlssonCaroline & Tim RogersGeoff StearnDr Richard T WhiteAnonymous

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 Principal Patron, Cello ChairKim Williams AM & Catherine Dovey Patrons of Roger Benedict,

Artistic Director, FellowshipAnonymous Double Bass ChairJune & Alan Woods Family Bequest

fellowship supporting patronsMr Stephen J BellGary Linnane & Peter BraithwaiteJoan 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 HollowayTony Strachan

major education donorsBronze Patrons & above

John Augustus & Kim RyrieMr Alexander & Mrs Vera BoyarskyBob & Julie ClampettHoward & Maureen ConnorsThe Greatorex FoundationThe Ian Potter FoundationJames N Kirby Foundation Mrs & Mr Judith A. McKernanMr & Mrs Nigel Price

MAKE A DIFFERENCE

Through their inspired financial support,

Patrons ensure the SSO’s continued

success, resilience and growth. Join the

SSO Patrons Program today and make a

difference.

sydneysymphony.com/patrons(02) 8215 4674philanthropy@sydneysymphony.com

A U S T R A L I A - K O R E AF O U N D A T I O N

Australia-Korea FoundationCrown FoundationThe Greatorex Foundation

Foundations

James N Kirby FoundationPacker Family FoundationIan Potter Foundation

Sydney Symphony Orchestra 2015 Fellows

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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.

Stuart Challender Legacy SocietyCelebrating the vision of donors who are leaving a bequest to the SSO.

Playing Your Part

DIAMOND PATRONS $50,000+The Estate of Dr Lynn JosephMr Andrew Kaldor AM &

Mrs Renata Kaldor AO

In Memory of Matthew KrelRoslyn Packer AO

Ian Potter FoundationPaul Salteri AM & Sandra

SalteriMr Fred Street AM &

Mrs Dorothy Street Mr Peter Weiss AO &

Mrs Doris WeissMr Brian White AO &

Mrs Rosemary White

PLATINUM PATRONS $30,000–$49,999Anne & Terrey Arcus AM

Doug & Alison BattersbyThe Berg Family FoundationTom Breen & Rachael KohnMr John C Conde AO

Robert & Janet ConstableMrs Barbara MurphyMrs W SteningKim Williams AM &

Catherine Dovey 

GOLD PATRONS $20,000–$29,999Brian AbelGeoff Ainsworth AM

Robert Albert AO & Elizabeth Albert

Christine Bishop Sandra & Neil BurnsJames & Leonie FurberI KallinikosHelen Lynch AM & Helen

BauerMrs T Merewether OAM

Rachel & Geoffrey O’ConorVicki OlssonAndy & Deirdre PlummerGarry & Shiva RichDavid Robertson & Orli

ShahamMrs Penelope Seidler AM

G & C Solomon in memory of Joan MacKenzie

Geoff StearnRay Wilson OAM in memory

of James Agapitos OAM

Anonymous (2) 

SILVER PATRONS $10,000–$19,999

Bailey Family FoundationAudrey BlundenMr Robert BrakspearIan & Jennifer BurtonMr Robert & Mrs L Alison CarrBob & Julie ClampettMichael Crouch AO &

Shanny CrouchThe Hon. Mrs Ashley

Dawson-Damer AM

Paul EspieEdward & Diane FedermanNora GoodridgeMr Ross GrantIan Dickson & Reg HollowayEstate of Irwin ImhofSimon JohnsonMr Ervin KatzJames N Kirby FoundationRuth & Bob MagidJustice Jane Mathews AO

The Hon. Justice AJ Meagher & Mrs Fran Meagher

Mr John MorschelDrs Keith & Eileen OngKenneth Reed AM

Mr John Symond AM

The Harry Triguboff Foundation

Caroline WilkinsonAnonymous (2)

BRONZE PATRONS $5,000–$9,999John Augustus & Kim RyrieStephen J BellDr Hannes & Mrs Barbara

BoshoffMr Alexander & Mrs Vera

BoyarskyPeter Braithwaite &

Gary LinnaneMr David & Mrs Halina BrettMr Howard ConnorsEwen Crouch AM &

Catherine CrouchIn memory of Dr Lee

MacCormick EdwardsDr Stephen Freiberg &

Donald CampbellDr Colin GoldschmidtThe Greatorex FoundationRory & Jane JeffesThe late Mrs Isabelle JosephMr Frank Lowy AC &

Mrs Shirley Lowy OAM

Henri W Aram OAM & Robin Aram

Stephen J BellMr David & Mrs Halina BrettHoward ConnorsGreta DavisBrian GalwayMiss Pauline M Griffin AM

John Lam-Po-Tang

Peter Lazar AM

Daniel LemesleLouise MillerJames & Elsie MooreDouglas 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 ClampertEstate 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 RyanJune & Alan Woods Family Bequest

IF YOU WOULD LIKE MORE INFORMATION ON

MAKING A BEQUEST TO THE SSO, PLEASE

CONTACT LUKE GAY ON 8215 4625.

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BRONZE PATRONS CONTINUED

Robert McDougallJ A McKernanDavid Maloney AM &

Erin FlahertyR & S Maple-BrownMora MaxwellWilliam McIlrath Charitable

FoundationTaine MoufarrigeNexus ITJohn & Akky van OgtropSeamus Robert QuickChris Robertson &

Katharine ShawRodney Rosenblum AM &

Sylvia RosenblumDr Evelyn RoyalManfred & Linda SalamonMrs Joyce Sproat &

Mrs Janet CookeTony StrachanDavid Tudehope & Liz DibbsMr Robert & Mrs Rosemary

WalshWestpac GroupMichael & Mary Whelan TrustIn memory of Geoff WhiteJune & Alan Woods Family

BequestAnonymous (2) 

PRESTO PATRONS $2,500–$4,999Mr Henri W Aram OAM

Ian BradyMr Mark Bryant oam

Ita Buttrose AO OBE

Mrs Stella ChenDr Rebecca ChinDr Diana Choquette &

Mr Robert MillinerFirehold Pty LtdDr Kim FrumarWarren GreenAnthony GreggJames & Yvonne HochrothMr Roger Hudson &

Mrs Claudia Rossi-HudsonProf. Andrew Korda am &

Ms Susan PearsonIn memoriam

Dr Reg Lam-Po-TangHelen & Phil MeddingsJames & Elsie MooreMs Jackie O’BrienJuliana SchaefferDr Agnes E SinclairEzekiel Solomon AM

Mr Ervin Vidor AM & Mrs Charlotte Vidor

Lang Walker AO & Sue WalkerYim Family Foundation Anonymous (2)

VIVACE PATRONS $1,000–$2,499Mrs Lenore AdamsonMrs Antoinette AlbertRae & David AllenAndrew Andersons AO

Mr Matthew AndrewsThe Hon Justice Michael BallDavid BarnesMr Garry BessonAllan & Julie BlighJan BowenRoslynne BracherMrs R D Bridges OBE

Lenore P BuckleMargaret BulmerIn memory of RW BurleyMrs Rhonda CaddyMr B & Mrs M ColesMs Suzanne CollinsJoan Connery OAM &

Maxwell Connery OAM

Debby Cramer & Bill CaukillMr John Cunningham SCM &

Mrs Margaret CunninghamGreta DavisLisa & Miro DavisElizabeth DonatiColin Draper & Mary Jane

BrodribbProf. & Mrs John EdmondsMalcolm Ellis & Erin O’NeillMrs Margaret EppsMr Matt GarrettVivienne Goldschmidt &

Owen JonesMrs Fay GrearIn Memory of Angelica GreenAkiko GregoryMr & Mrs Harold &

Althea HallidayJanette HamiltonMrs Jennifer HershonAngus HoldenMr Kevin Holland &

Mrs Roslyn AndrewsThe Hon. David Hunt AO QC &

Mrs Margaret HuntDr & Mrs Michael HunterMr Philip Isaacs OAM

Michael & Anna JoelMrs W G KeighleyDr Andrew KennedyJennifer KingAron KleinlehrerMr Andrew Korda &

Ms Susan PearsonMr Justin LamMr Peter Lazar AM

Professor Winston LiauwAirdrie LloydMrs Juliet LockhartPeter Lowry OAM &

Dr Carolyn Lowry OAM

Kevin & Deirdre McCannIan & Pam McGawMatthew McInnesMacquarie Group FoundationBarbara MaidmentJohn MarRenee MarkovicMr Danny R MayI MerrickHenry & Ursula MooserMilja & David MorrisMrs J MulveneyMr Darrol NormanE J NuffieldDr Mike O’Connor AM

Mr & Mrs OrtisMr Andrew C PattersonMichael PaulAlmut PiattiIn memory of Sandra Paul

PottingerDr Raffi QasabianMr Patrick Quinn-GrahamErnest & Judith RapeePatricia H Reid Endowment

Pty LtdDr Marilyn RichardsonIn memory of Katherine

RobertsonMr David RobinsonTim RogersLesley & Andrew RosenbergIn memory of H St P ScarlettMr Samuel F ShefferDavid & Alison ShilligtonDr Judy SoperMrs Judith SouthamMs Barbara SpencerMrs Elizabeth SquairCatherine StephenThe Hon. Brian Sully QC

Mrs Margaret SwansonThe Taplin FamilyDr & Mrs H K TeyKevin TroyJohn E TuckeyJudge Robyn TupmanDr Alla WaldmanMiss Sherry WangWestpac Banking

CorporationHenry & Ruth WeinbergThe Hon. Justice A G WhealyMary Whelan & Robert

BaulderstoneDr Richard T WhiteMrs Leonore WhyteA Willmers & R PalBetty WilkenfeldDr Edward J WillsProf. Neville Wills &

Ian FenwickeAnn & Brooks C Wilson AM

Dr Richard Wing

Dr Peter Wong & Mrs Emmy K Wong

Geoff Wood & Melissa WaitesSir Robert WoodsMr & Mrs Lindsay WoolveridgeIn memory of Lorna WrightDr John YuAnonymous (12)

ALLEGRO PATRONS $500–$999Nikki AbrahamsMs Jenny AllumKatherine AndrewsMr Peter J ArmstrongGarry & Tricia AshMr & Mrs George BallDr Lilon BandlerBarlow Cleaning Pty LtdBarracouta Pty LtdBeauty Point Retirement

ResortMr Michael BeckDr Andrew BellRichard & Margaret BellJan BiberMinnie BiggsG D BoltonIn memory of Jillian BowersR D & L M BroadfootDr Peter BroughtonDr David BryantArnaldo BuchDr Miles BurgessPat & Jenny BurnettRosemary CampbellMr JC Campbell QC &

Mrs CampbellJudy ChiddyIn memory of Beth HarpleyMr Phillip CornwellDr Peter CraswellMr David CrossPhil Diment AM & Bill

ZafiropoulosDr David DixonSusan DoenauMrs Jane DrexlerDana DupereDr Nita DurhamJohn FavaloroMrs Lesley FinnMs Julie Flynn & Mr Trevor

CookMrs Paula FlynnMr John GadenClive & Jenny GoodwinRichard Griffin AM

Dr Jan GroseBenjamin Hasic &

Belinda DavieMr Robert HavardMrs Joan HenleyRoger Henning

Playing Your Part

SSO PATRONS

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“Together, we have an ambition to foster a love of orchestral music in school children of all ages, and to equip their teachers with the skills they need to develop this in our young people…”DAVID ROBERTSON SSO Chief Conductor and Artistic Director

PLEASE CONSIDER MAKING A TAX-DEDUCTIBLE DONATION TODAY

Sue HewittDr Joan-Mary HindsDorothy Hoddinott AO

Bill & Pam HughesMs Cynthia KayeMrs Margaret KeoghDr Henry KilhamDr Joyce KirkMrs Patricia KleinhansAnna-Lisa KlettenbergSonia LalL M B LampratiDr Barry LandaElaine M LangshawDr Leo & Mrs Shirley LeaderMargaret LedermanMrs Erna LevyMrs A LohanMr Gabriel LopataPanee LowMelvyn MadiganMs Jolanta MasojadaMr Guido MayerLouise MillerPatricia MillerKenneth Newton MitchellMrs Judith MortonMr Graham NorthMr Sead NurkicDr A J PalmerDr Kevin PedemontDr Natalie E PelhamDr John PittJohn Porter & Annie

Wesley-SmithMrs Greeba PritchardThe Hon. Dr Rodney Purvis AM &

Mrs Marian PurvisMichael QuaileyMiss Julie RadosavljevicRenaissance Tours

VANGUARD COLLECTIVEJustin Di Lollo ChairBelinda BentleyOscar McMahonTaine Moufarrige

Founding PatronShefali PryorSeamus R Quick

Founding PatronChris Robertson &

Katherine Shaw Founding Patrons

MEMBERSJames ArmstrongPhilip AtkinLuan AtkinsonJoan BallantineJames BaudzusAndrew BaxterAdam BeaupeurtAnthony BeresfordAndrew BotrosPeter BraithwaiteBlake BriggsAndrea BrownMelanie BrownAttila BrungsIan BurtonJennifer BurtonPaul ColganClaire CooperBridget CormackRobbie CranfieldAsha CugatiJuliet CurtinRosalind De SaillyPaul DeschampsCatherine DonnellyAlistair FurnivalAlexandra GibsonSam GiddingsMarina GoJeremy GoffHilary GoodsonTony GriersonLouise HaggertyRose HercegFrancis HicksPeter HowardJennifer HoyKatie HryceVirginia JudgeJonathan Kennedy

Aernout KerbertPatrick KokAlisa LaiJohn Lam-Po-TangTristan LandersJessye LinGary LinnaneDavid LoSaskia LoGabriel LopataRebecca MacFarlingRobert McGroryDavid McKeanNick NichlesKate O’ReillyPeter O’SullivanJonathan PeaseCleo PosaLaurisa PoulosMichael RadovnikovicSudeep RaoMichael ReedeChris RobertsonBenjamin RobinsonAlvaro Rodas FernandezJacqueline RowlandsAnthony Michael SchembriBenjamin SchwartzKatherine ShawCecilia StornioloRandal TameSandra TangIan TaylorMichael TidballMark TimminsMichael TuffyKim WaldockJon WilkieYvonne ZammitAmy Zhou

SSO Vanguard

A membership program for a dynamic group of Gen X & Y SSO fans and future philanthropists

Janelle RostronMrs Christine Rowell-MillerMrs Louise RowstonJorie Ryan for Meredith RyanMr Kenneth RyanGarry Scarf & Morgie BlaxillPeter & Virginia ShawJudge David S ShillingtonMrs Diane Shteinman AM

Victoria SmythDoug & Judy SotherenColin SpencerJames & Alice SpigelmanFred & May SteinAshley & Aveen StephensonMargaret & William SuthersMargaret SwansonDr Jenepher ThomasMrs Caroline ThompsonMrs June ThorntonPeter & Jane ThorntonMs Rhonda TingAlma TooheyMrs M TurkingtonGillian Turner & Rob BishopRoss TzannesMr Robert VeelRonald WalledgeIn memory of Denis WallisIn memoriam JBL WattMiss Roslyn WheelerThe Wilkinson FamilyEdward & Yvonne WillsYetty WindtMr Evan WongMrs Robin YabsleyAnonymous (34)

SSO Patrons pages correct as of 27 February 2015

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SALUTE

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

EDUCATION PARTNERPLATINUM PARTNER

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

MAJOR PARTNERS

GOLD PARTNERS

Salute 2015_21Jan.indd 1 20/02/15 11:06 AM