APT MASTER SERIES

Wednesday 18 March 2015 Friday 20 March 2015 Saturday 21 March 2015

BRAHMS & SIBELIUSJanine Jansen plays Brahms

concert diary

Janine Jansen plays BrahmsBRAHMS Violin Concerto BUTTERLEY Never This Sun, This Watcher SIBELIUS Symphony No.5Daniel Blendulf conductor Janine Jansen violin

APT Master Series

Wed 18 Mar 8pm Fri 20 Mar 8pm Sat 21 Mar 8pmPre-concert talk at 7.15pm

SSO Presents: The Planets by Gustav HolstA concert for the planet on the evening of Earth Hour. In association with the Global Orchestra project.David Robertson conductor Ladies of the Sydney Philharmonia Choirs

Tea & Symphony

Fri 27 Mar 11amComplimentary morning tea from 10am

Earth Hour Special Event

Sat 28 Mar 8.30pm

Symphonic VariationsMOZART Symphony No.31 (Paris) FRANCK Symphonic Variations for piano and orchestra MOZART Rondo in D for piano and orchestra, K382 FRANCK Symphony in D minorYan-Pascal Tortelier conductor Louis Lortie piano

Thursday Afternoon Symphony

Thu 9 Apr 1.30pmEmirates Metro Series

Fri 10 Apr 8pmGreat Classics

Sat 11 Apr 2pmPre-concert talk 45 minutes before each performance

Louis Lortie in RecitalFAURÉ Préludes, Op.103 SCRIABIN 24 Preludes, Op.11 CHOPIN 24 Préludes, Op.28

International Pianists in Recital Presented by Theme & Variations

Mon 13 Apr 7pm City Recital Hall Angel Place

Pre-concert talk at 6.15pm

Le Grand Tango with Sydney Dance CompanyPIAZZOLLA arr. Arturo Rodriguez Libertango • Le Grand Tango SARASATE Navarra BIZET Carmen: Suite No.1 PIAZZOLLA The Four Seasons of Buenos Aires GINASTERA Concerto Variations Daniel Carter conductor Soloists from the SSO including: Andrew Haveron violin • Catherine Hewgill cello Associate artists of Sydney Dance Company

Kaleidoscope

Fri 17 Apr 8pm Sat 18 Apr 8pmPre-concert talk at 7.15pm

Anzac Day Salute Centenary ConcertCOPLAND Fanfare for the Common Man MF WILLIAMS Letters from the Front australian premiere LEDGER War Music premiere VAUGHAN WILLIAMS Fantasia on a Theme by Thomas Tallis

Richard Gill conductor • Gondwana Chorale

Meet the Music

Wed 22 Apr 6.30pm Special Event

Fri 24 Apr 8pm Pre-concert talk 45 minutes before each performance

CLASSICAL

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WELCOME

Shakespeare said that music is the food of love, and this evening’s APT Master Series concert may just steal your heart.

It’s a concert of inspiration and poetry. You’ll hear Sibelius –

the most beloved of Finnish composers – inspired by his

homeland. You’ll hear Brahms, inspired by his friendship

with a great virtuoso. You’ll hear Nigel Butterley, inspired

by the poetry of Kathleen Raine and the vision of a sunrise.

Meanwhile, Dutch violinist Janine Jansen and her Swedish

husband Daniel Blendulf are the ultimate musical power

couple and have literally crossed oceans to share their

artistic partnership with us this evening.

We recognise that Europe will always be a source of

inspiration – for music, art and unforgettable memories.

From Amsterdam to Finland and numerous romantic

destinations in between, we know you’ll fall in love with

APT’s itineraries.

We hope you come away from tonight’s performance

inspired, refreshed, and a little bit in love.

Geoff McGeary oam APT Company Owner

2015 concert season

APT MASTER SERIES

WEDNESDAY 18 MARCH, 8PM

FRIDAY 20 MARCH, 8PM

SATURDAY 21 MARCH, 8PM

SYDNEY OPERA HOUSE CONCERT HALL

BRAHMS AND SIBELIUSDaniel Blendulf conductor Janine Jansen violin

JOHANNES BRAHMS (1833–1897) Violin Concerto in D, Op.77

Allegro non troppo Adagio Allegro giocoso

INTERVAL

NIGEL BUTTERLEY (born 1935) Never this sun, this watcher

JEAN SIBELIUS (1865–1957) Symphony No.5 in E flat, Op.82

Tempo molto moderato – Allegro moderato  Andante mosso, quasi allegretto  Allegro molto

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

Pre-concert talk by Scott Davie at 7.15pm in the Northern Foyer. Visit sydneysymphony.com/speaker-bios for more information.

Estimated durations: 38 minutes, 20-minute interval, 12 minutes, 30 minutes The concert will conclude at approximately 9.55pm.

PRESENTED BY

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Music in the Moment: Brahms, Butterley and Sibelius

At this point in history it’s possible to experience any music you wish, in any performance that takes your interest and at any time and place, regardless of what else you might be doing. Technology allows the curation of a soundtrack to life. Everyone’s a programmer.

And yet, if you’re reading this, chances are you – together with many others – still choose to go to concerts, to experience a particular performance of music chosen by others at a fixed time and place in a format that demands your full attention. That’s the old ‘technology’ of the concert hall.

From time to time – perhaps not often enough – that’s because the live performance is the only way to hear a piece of music. The Butterley piece we play tonight hasn’t yet been commercially recorded – this is your chance to experience it. Mostly, however, the music in a concert series like this one comes from the masterpieces of the orchestral repertoire. But even these familiar works take on a fresh aspect with each new performance because ultimately music exists in time, in performance, in the moment.

This week we’ve welcomed Dutch violinist Janine Jansen back to Sydney, and on this occasion she is accompanied by her husband, conductor Daniel Blendulf in what is a relatively rare chance for them to perform together. The pieces they’ve chosen for the program unite themes of poetry, vision and powerful imagination.

We begin with Brahms’s seriously beautiful violin concerto, music which Sibelius heard as grand, almost ‘too symphonic’, in its conception. The concert ends with one of Sibelius’s most accessible symphonies: optimistic and outgoing and full of heroic feeling. And in between there’s music by Australian Nigel Butterley, celebrating his 80th birthday this year. He takes his inspiration directly from the poetry of Kathleen Raine: ‘The sun that rose from the sea this morning will never return…Never this sun…never again this watcher.’ Life, and music, experienced in the moment.

INTRODUCTION

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ABOUT THE MUSIC

Johannes Brahms Violin Concerto in D, Op.77Allegro non troppo

Adagio

Allegro giocoso

Janine Jansen violin

Cadenza by Joachim

Brahms spent the summers of 1877–79 in the lakeside village of

Pörtschach in Carinthia, producing the Ballades for piano (Op.75),

the Symphony No.2 and his Violin Sonata in G (Op.78) – all works

which share an atmosphere of pastoral beauty shot through with

nostalgia. But as Brahms scholar Karl Geiringer notes, the

‘crowning masterpiece’ of this time is the Violin Concerto.

The Concerto, like the G major Sonata, was composed for the

great virtuoso Joseph Joachim, whom an ecstatic 15-year old

Brahms had heard play the Beethoven Concerto. In 1853 their

friendship began in earnest, with Joachim writing to Brahms’s

parents of how ‘Johannes had stimulated my work as an artist

to an extent beyond my hopes…my friendship is always at his

disposal’. Brahms similarly admired Joachim – significantly as

a composer rather than performer, saying that ‘there is more in

Joachim than in all the other young composers put together’.

While Joachim was intimately involved with the creation of

KeynotesBRAHMS

Born Hamburg, 1833 Died Vienna, 1897

Brahms is often thought reactionary: he valued classical forms, admired composers of the past, and his choral music is firmly rooted in the traditions of the baroque period. Yet his musical language and manner of using the orchestra clearly represents mid-19th-century romanticism in all its richness and emotive power. It took Brahms 15 years to compose his first symphony; he was keenly aware of the looming shadow of Beethoven. But the second symphony followed swiftly four months later in 1877, and the violin concerto soon after.

VIOLIN CONCERTO

Brahms wrote this concerto for his good friend and violin virtuoso Joseph Joachim. Since Brahms was not a violinist, he consulted Joachim as he worked, sending him drafts and urging him to ‘mark those parts that are difficult, awkward, or impossible to play’. A composer himself, Joachim enthusiastically offered suggestions and composed a cadenza, which he performed at the concerto’s premiere. In the second movement, Adagio, the solo violin steps back from the spotlight and plays ‘second fiddle’, accompanying an exquisitely lyrical solo from the oboe. The virtuosic last movement, an exuberant rondo, has a distinct gypsy character – a tribute by Brahms to his Hungarian violinist friend and collaborator.

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early works of Brahms’s chamber music, it was not, strangely

enough, until those summers by the lake at Pörtschach in the

1870s that Brahms wrote solo music for his friend. Geiringer

notes that, in the case of both concerto and sonata, Brahms

‘conscientiously asked his friend’s advice on all technical

questions – and then hardly ever followed it’, but in fact at crucial

points Joachim’s advice on technical matters was invaluable.

This consisted mainly of tinkering with certain figurations to

make them more gratifying to play. But Joachim was also a

profoundly serious artist – like Brahms – and out of their

collaboration came works in which the element of virtuosity

never overshadows the musical argument, despite the work’s

many technical challenges. Joachim also wrote a cadenza for

the concerto which is still frequently heard today.

The Violin Concerto has some of the expansive dimensions

of Brahms’s first piano concerto. This is especially true of the

spacious first movement which, like that of Beethoven’s Violin

Concerto, takes up more than half the work’s playing time,

and which begins with a long, symphonic exposition of its main

themes. Like its companion Second Symphony, the Concerto

is in D major, a key which composers like Beethoven,

Tchaikovsky and Sibelius used for violin concertos as it makes

use of the instrument’s natural resonance; like the Symphony

The Focus GroupIn 1878 Brahms sent his friend, the legendary violinist Joseph Joachim, the solo part of his new violin concerto. Joachim told him that, while it was sometimes difficult to tell how a concerto would work from the violin part alone, it appeared at first glance to be a very pleasing and successful work.

‘I wish I could go through it with a violinist less good than you,’ Brahms wrote back, ‘for I am afraid you are not sufficiently blunt and severe.’

The composer then sent music to another friend, the conductor Hans von Bülow, who responded with the quip that Max Bruch had written a concerto for the violin, while Brahms had written one against the violin.

The violinist Henry Wieniawski, himself the composer of some fiendishly difficult violin concertos, also received a copy and declared it to be simply unplayable.

And when, after the premiere, the violinist Pablo de Sarasate was asked if he intended to play the new concerto, he responded (referring to the beginning of the Adagio): ‘I don’t deny that it is very good music, but do you think I could fall so low as to stand, violin in hand, and listen to the oboe play the only proper tune in the work?’

A place where ‘so many melodies fly about that one must take care not to tread on them.’

BRAHMS DESCRIBES HIS SUMMER RETREAT IN PÖRTSCHACH

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SYMPHONIC VARIATIONSStar French-Canadian pianist Louis Lortie returns to Sydney to perform two short, spirited opportunities for virtuoso display by Mozart and Franck. As well, enjoy Mozart’s Paris Symphony and Franck’s grand Symphony in D minor.

THU 9 APR | 1.30PM FRI 10 APR | 8PM SAT 11 APR | 2PM

MOZART Symphony No.31 (Paris) FRANCK Symphonic Variations for piano and orchestra MOZART Rondo in D for piano and orchestra, K382 FRANCK Symphony in D minor

Yan-Pascal Tortelier conductor Louis Lortie piano (pictured)

BEST SEATS

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it has something of a visionary Romantic tone.

Brahms originally thought to write the piece in four

movements, making the central pair a scherzo and contrasting

slow movement. But he wrote to Joachim that the ‘middle

movements – naturally the best ones – have fallen through.

So I have substituted a feeble adagio’. Feeble is of course hardly

the word for this piece: derived from the simplest of musical

figures (the falling broken chord with which the oboe introduces

the theme and the violin then begins) it evolves into one of

Brahms’s most soulful but restrained movements. As such it

provides a wonderful contrast to the gypsy style finale, with its

pyrotechnic solo line and exciting use of displaced accents.

Joachim premiered the piece in Leipzig in 1879, but the

response was tepid, and only through Joachim’s persistence

did it gradually gain its rightful place in the standard repertoire.

Brahms and Joachim fell out over the violinist’s divorce in 1884,

the rift lasting until Brahms wrote the Double Concerto for violin

and cello in 1887. But that’s another story.

GORDON KERRY © 2006

The orchestra for Brahms’s Violin Concerto calls for pairs of flutes, oboes, clarinets and bassoons; four horns, two trumpets, timpani and strings.

The SSO first performed the concerto in 1939 with soloist Jeanne Gautier and conductor Malcolm Sargent, and most recently in 2012 with conductor Vladimir Ashkenazy and soloist Lisa Batiashvili.

The First PerformanceJoseph Joachim once said that the greatest of the German violin concertos, ‘the one that makes fewest concessions’, was Beethoven’s, and that Brahms’s concerto came closest to Beethoven’s ‘in its seriousness’.

So it’s no surprise that he proposed, for the premiere of the Brahms, a program with Beethoven’s Violin Concerto at the beginning, and the new concerto at the end. The middle was to be filled with songs, two movements from one of Bach’s partitas for solo violin and an overture by Joachim himself.

Brahms had the kinds of doubts that occur to any thoughtful programmer: ‘Beethoven shouldn’t come before mine – of course, only because both are in D major. Perhaps the other way around – but it’s a lot of D major – and not much else on the program.’

Nonetheless, the program went ahead as Joachim had planned. If nothing else, it indicates his great stamina as a performer – performing two such monumental, and for us similar, works on the one program. But Michael Steinberg offers the reminder that to Joachim and his listeners these were not two established masterpieces but ‘one classic and a new and demanding work by a composer with a reputation for being difficult’.

Brahms with Joachim

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KeynotesBUTTERLEY

Born Sydney, 1935

Since the instrumental octet Laudes (1963), Nigel Butterley has been recognised as one of the foremost Australian composers of his generation, which included Richard Meale and Peter Sculthorpe. His reputation was consolidated in 1966 when his radiophonic choral work In the Head the Fire was awarded the Italia Prize. During the 1960s he composed two works for the SSO: Interaction, an improvisation for painter (John Peart), piano and orchestra, and First Day Covers, devised by Barry Humphries for Dame Edna Everage. His output also includes chamber music, the orchestral works Meditations of Thomas Traherne (1968) and From Sorrowing Earth (1991), and an opera Lawrence Hargrave Flying Alone (1988) as well as solo and ensemble music for voices.

From as early as Six Blake Songs (1956), poetry has been an important influence. His enthusiasm for Walt Whitman’s poetry resulted in three works, and There Came a Wind Like a Bugle comprises settings of Emily Dickinson. The strongest influence since 1990 has been Kathleen Raine. The Woven Light (1994) for soprano and orchestra and Paradise Unseen (2001) written for The Song Company are both settings of her poetry. It is also the main source for the text of Spell of Creation, for soloists, choir and orchestra, which was awarded the Paul Lowin Orchestral Prize in 2001.

Nigel Butterley Never this sun, this watcher

Nigel Butterley’s output of the 1960s and early 1970s is

concentrated in the area of orchestral music, with major

statements such as the Meditations of Thomas Traherne (1968)

and the piano concerto Explorations (1970) holding pride of

place. His more recent music, however, is predominantly for

smaller forces. From Sorrowing Earth, premiered by the Sydney

Symphony Orchestra in 1991, is one of his finest achievements,

but in the quarter century since then he has produced only

one further orchestral work.

Never this sun, this watcher is a relatively modest work,

composed for the Ku-ring-gai Philharmonic Orchestra and

premiered by them in 2005. As often happens in Butterley’s

output, the epigraph and title are from the English poet

Kathleen Raine (1908–2003):

The sun that rose

From the sea this morning

Will never return,

For the broadcast light

That brightens the leaves

And glances on water

Will travel tonight

On its long journey

Out of the universe,

Never this sun,

This world, and never

Again this watcher.

The poem’s central idea, the uniqueness and unrepeatability

of every moment of experience, is reflected in two ways. First,

the music is in constant evolution; ideas do reappear, but

always in altered guise, and the tonal references are rich but

unstable. This is already apparent in the opening bars, where

an initial suggestion of C major is clouded as early as the third

bar by a bi-tonal combination of E minor and E flat major, a type

of harmony which appears frequently in the work. After rapid

suggestions of several other key areas, the opening returns,

but transposed up a semitone.

The second aspect of response to the poem is almost the

opposite of the first. About two-thirds of the way through, the

restlessness of the music is halted for a startling revelation of

orchestral luminescence, based on a resonant six-note chord

pulsing at several different speeds. While its constituent

elements are heard earlier, this passage stands out as a

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moment of epiphany, never to be repeated, evoking the sunrise

described in the poem. After a condensed and occluded

recapitulation of the first half, the score concludes with a

coda based on two triads – F sharp major and A major – which

alternate and overlap while gradually descending into the lowest

register of the strings.

ELLIOTT GYGER © 2015

Elliott Gyger has recently completed a book The Music of Nigel Butterley (Wildbird Music).

Never this sun, this watcher calls for two flutes (one doubling piccolo), two oboes, two clarinets, two bassoons; four horns, two trumpets and three trombones; timpani and percussion; and strings.

Never this sun… was commissioned by a consortium of Australian amateur and community orchestras with financial assistance from the Ian Potter Cultural Trust. The first performance was given in 2005 by the Ku-ring-gai Philharmonic Orchestra and conductor Wilfred Lehmann. This is the SSO’s first performance of the work.

In 2015 Nigel Butterley is celebrating his 80th birthday. In addition to these concerts in Sydney, his music is featured this month in a concert at the Australian National Academy of Music in Melbourne. Ten years ago, shortly before the premiere of Never this sun, this watcher, he spoke to Andrew Ford on The Music Show about how the music came about. He explained how he’d become involved with the Amateur Chamber Music Society – ‘lots of brain surgeons and QCs and other people who are often very good performers’. One of these musicians, a violinist in the Ku-ring-gai Philharmonic Orchestra, sparked the idea of writing a piece specifically for community orchestras.

As it turned out, he found it very demanding to write a piece ‘which was not too technically difficult, but it is musically difficult’, but at the same time the imposed limitations stimulated creativity. ‘I knew that I couldn’t have all the nice sort of percussion like marimbas and vibraphones, and I couldn’t take the French horns up terribly high and exposed, and I had to be aware of the fact that these are all, or many of them, are very good players, but the composite is a mixture of people, and I wanted to give them something that they would like playing, something that they wouldn’t find too difficult. Because I found with the Amateur Chamber Music people that they like to have something different, but it’s got to be reasonably fulfilling – they don’t want to waste their time with something which is going to be as difficult in six months as it is now.’

Nigel Butterley

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Jean Sibelius Symphony No.5 in E flat, Op.82Tempo molto moderato – Allegro moderato 

Andante mosso, quasi allegretto

Allegro molto

The pitiless despair of Sibelius’s Fourth Symphony (1911)

puzzled many of its first listeners. The work seemed an unlikely

sequel to the gentle radiance of the Third (1907), yet its gaze

into the abyss gave way, in the Fifth, to one of Sibelius’s most

shining, life-affirming creations.

Early in 1914 he heard Schoenberg’s Chamber Symphony

for the first time. ‘This is a legitimate and valid way of looking

at things, I suppose,’ he wrote in his diary. ‘But it is certainly

painful to listen to.’ Yet we know that Schoenberg’s

abandonment of tonality continued to fascinate Sibelius, for

it suggested a ‘next step’ for his own work after the Fourth

Symphony. (He expressed his admiration for Schoenberg

publicly at this time.) But the Fifth Symphony tells us plainly

that Sibelius could not adopt another’s solutions to the musical

issues he confronted. While the Fifth is light to the Fourth’s

darkness, a progression from doubt to belief (Sibelius’s

admiration for Bruckner should not be forgotten here), it

represents no shift in Sibelius’s compositional principles; he

was not a man to change his ways so swiftly. An economy of

orchestral resource, the building up of musical paragraphs by

the development of tiny melodic fragments, the determination

to create his own solutions to the problems of harmonic

language and symphonic form – these were abiding features

of his music from the beginning of his composing life. In fact

of all the major composers of the last century he was the most

solitary, methodical and purposeful in his stylistic development,

taking only fitful interest in the work of his contemporaries.

In Neville Cardus’ memorable description, Sibelius ‘sits alone

in the house of music rather away from the hearth and the

logs and the company; he says little, and sometimes by his

taciturnity alone he makes an impression of deep thinking.’

He wrote the Fifth, one of the most popular of all his works,

at a time of great personal difficulty. The Great War had broken

out and, as a result, Sibelius had lost access to the revenue

from his German publishers, Breitkopf and Härtel. To earn some

regular income he wrote a great number of salon pieces for

domestic performance, and had little time for other composing;

the Fifth Symphony is his only major work of the war years.

KeynotesSIBELIUS

Born Hämeenlinna, 1865 Died Järvenpää, 1957

Sibelius was a force in the creation of a distinctive Finnish voice at the turn of the 20th century, and much of his music was based on themes from the Finnish folk epic, the Kalevala. His symphonies represented more ‘abstract’ works; he completed seven before he stopped composing in the 1930s, and worked on an eighth.

FIFTH SYMPHONY

The Fifth Symphony was composed in the troubled times of World War I, but even so it is one of Sibelius’s ‘most shining, life-affirming creations’. The music adopted a modest-sized orchestra and, eventually, a symmetrical structure of three movements – a departure from the four-movement classical symphony of Beethoven. The first movement – which opens with an important horn call – links what was originally two movements: a slow introduction and a waltz-like ‘scherzo’. The calm second movement is a set of variations on a rhythmic motif, and the final movement reverses the tempo directions of the first by beginning fast and ending slowly.

Sibelius conducted the premiere of the original version on 8 December 1915: his 50th birthday.

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Sibelius himself conducted the symphony’s first performance,

at a concert given on 8 December 1915 to mark his 50th birthday.

It was a jubilant event, treated almost as a national holiday,

but Sibelius was unhappy with the work and revised it twice.

In 1916 he joined the first two of the original four movements

together, and he made further revisions before it was published

in 1919.

The first movement begins quietly with horns and timpani.

The theme we hear at this point is soon elaborated into a

woodwind cadenza. At its conclusion the strings enter, and we

seem to be moving gradually and inexorably into the landscape

of the music until we come to the vista presented by a great

tolling of the brass and the announcement of a jagged

syncopated theme on the strings. Now we have reached the

threshold beyond which the heart of the symphony lies. A

mysterious, cloudy passage for the strings – over which the

bassoon utters a sorrowful version of one of the main themes –

Detail from a portrait of Sibelius by Akseli Gallen-Kallela

‘Spent the evening with the [Fifth] symphony. Arrangement of the themes. This important task, which fascinates me in a mysterious way. It’s as if God the Father had thrown down the tiles of a mosaic from heaven’s floor and asked me to determine what kind of picture it was. Maybe a good definition of ‘composing’. Maybe not. How would I know!’

ENTRY IN SIBELIUS’S DIARY, 10 APRIL 1915

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An economy of orchestral resource, the building up of musical paragraphs by the development of tiny melodic fragments, the determination to create his own solutions to the problems of harmonic language and symphonic form – these were abiding features of Sibelius’s music from the beginning of his composing life.

leads to a burnished assertion by the trumpets of the very first

theme of the symphony, shortly after which, with a change of

time signature from 12/8 to 3/4, the mood changes to one of

dancing lightness, in which the sound of the two flutes leads us

on. Soon the music gathers pace and the strings take up the

dance strain with increasing excitement until the brass join in

for the final, sudden, invigorating climax.

The second movement is a set of variations not on a theme,

but on a rhythmic pattern that Sibelius contrives to behave like

a theme. The whole movement is a centre of calm, and even the

passionate descending string tune that marks one of the most

decisive transformations of the original idea is marked Poco

tranquillo. Towards the end of the movement the brass toll out

a reminiscence of their earlier, more excitable selves; this leads

to a series of cloudy gestures which recall music from the earlier

movement. But towards the end the mood changes to one of

almost childlike serenity, which is carried through to the short,

abbreviated, coda.

The finale throws us into its hurly-burly almost immediately,

with a whirlwind passage for the strings leading to one of the

most famous of all themes in Sibelius’s music, that in which,

as Donald Tovey famously described it, Thor swings his hammer.

It is a good example of how orchestrally conceived Sibelius’s

ideas are. Played on the piano the tune would mean very little,

but given out on horns with a high, syncopated woodwind

counterpoint, it attains a unique nobility. After some woodwind

carolling and a return to the gusty sounds of the movement’s

opening, Sibelius prepares us for a return of the swinging horn

theme. When this finally re-appears, it does so as a chorale that

has to struggle through long pedal-points and changes of key

before bursting into its sunset glory. These final minutes of the

movement contain the richest orchestration of the whole work,

but almost before we can register the fact, the symphony ends

with six jubilant, adamant chords.

PHILLIP SAMETZ © 1995/2004

Sibelius’s Fifth Symphony calls for pairs of flutes, oboes, clarinets and bassoons; four horns, three trumpets and three trombones; timpani and strings.

The SSO first performed the Fifth Symphony in 1939 with Edgar Bainton conducting. Vladimir Ashkenazy conducted the symphony in his Sibelius festival in 2004 and again in our most recent performance in 2013.

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Chairman & Advertising Director Brian Nebenzahl OAM RFD

Managing Director Michael NebenzahlEditorial Director Jocelyn Nebenzahl Manager—Production—Classical Music Alan Ziegler

Operating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, Hobart & Darwin

Clocktower Square, Argyle Street, The Rocks NSW 2000GPO Box 4972, Sydney NSW 2001Telephone (02) 8215 4644Box Office (02) 8215 4600Facsimile (02) 8215 4646www.sydneysymphony.com

All rights reserved, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage or retrieval system, without permission in writing. The opinions expressed in this publication do not necessarily reflect the beliefs of the editor, publisher or any distributor of the programs. While every effort has been made to ensure accuracy of statements in this publication, we cannot accept responsibility for any errors or omissions, or for matters arising from clerical or printers’ errors. Every effort has been made to secure permission for copyright material prior to printing.

Please address all correspondence to the Publications Editor: Email program.editor@sydneysymphony.com

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

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

Chief Operating Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Claire SpencerDirector, Programming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jonathan BielskiDirector, Theatre & Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David ClaringboldDirector, Building Development & Maintenance . . . . . . . . Greg McTaggartDirector, Marketing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anna ReidDirector, 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

IGOR STRAVINSKY THE FIREBIRDIn August 2008, David Robertson conducted Stravinsky’s ballet The Firebird in this spirited performance. Released in 2014, this CD celebrates the beginning of David Robertson’s term as Chief Conductor and Artistic Director.

“...here the colours of this fantastical dream remained to linger in the imagination.” Sydney Morning Herald, 2008 (concert review)

SYDNEYSYMPHONY.COM CALL (02) 8215 4600 MON–FRI 9AM–5PM

RRP $20 AVAILABLE IN THE CONCERT HALL FOYER AND OTHER RETAILERS

Recent Release

IGOR STRAVINSKY THE FIREBIRDIn August 2008, David Robertson conducted Stravinsky’s ballet The Firebird in this spirited performance. Released in 2014, this CD celebrates the beginning of David Robertson’s term as Chief Conductor and Artistic Director.

“...here the colours of this fantastical dream remained to linger in the imagination.” Sydney Morning Herald, 2008 (concert review)

SYDNEYSYMPHONY.COM CALL (02) 8215 4600 MON–FRI 9AM–5PM

RRP $20 AVAILABLE IN THE CONCERT HALL FOYER AND OTHER RETAILERS

Recent Release

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Broadcast Diary

March–April

abc.net.au/classic

Friday 20 March, 8pm BRAHMS & SIBELIUSSee this program for details.

Saturday 21 March, 1pm SONG & DANCEWard Stare conductor Daniela Mack mezzo-sopranoRavel, Canteloube, Falla orch. Berio, Richard Strauss

Friday 10 April, 8pm SYMPHONIC VARIATIONSYan Pascal Tortelier conductor Louis Lortie pianoMozart, Franck

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

SYDNEY SYMPHONY ORCHESTRA HOURTuesday 9 April, 6pm

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

finemusicfm.com

MORE MUSIC

BRAHMS & THE VIOLIN CONCERTOBrahms’s Violin Concerto was premiered by Joseph Joachim in Leipzig on New Year’s Day 1879. As soloist, Joachim hailed Brahms’s new work as last of the four great German violin concertos, after Bruch, and his own favourite Mendelssohn. Seeing in it a return to the very wellsprings of German tradition, Joachim believed that Brahms challenged even Beethoven’s indomitable concerto in its uncompromising seriousness. In line with his keen interest in earlier music, Brahms himself might well have added one of Bach’s violin concertos to the beginning of this list.

Given Joachim’s close association with the Brahms concerto, it’s fascinating to hear what his own concertos sounded like, and American violinist Rachel Barton Pine has paired the Brahms with Joachim’s Violin Concerto No.2 (in Hungarian style). The Chicago Symphony Orchestra is conducted by Carlos Kalmar.CEDILLE RECORDS 68

NIGEL BUTTERLEYNigel Butterley became a composer of interest after his strikingly innovative In the Head the Fire won a prestigious international Prix Italia radiophonic award in 1966 (ahead of Luciano Berio). Based on texts from the Dead Sea Scrolls describing the battles between followers of Light and Darkness, it was created on tape for radio broadcast, using sung and spoken texts, and recorded input from the Sydney and Adelaide symphony orchestras, conducted by John Hopkins. You can hear the original winning mono tape, remastered for stereo and streamed by ABC Classic FM: bit.ly/ButterleyFire

Andrew Ford’s 2012 ABC Music Show interview with Nigel includes excerpts from other key works: bit.ly/ButterleyTMS2012. As a fine pianist, Nigel has performed many modern piano classics, especially by composers that have influenced him personally, including Messiaen, and on his 1993 disc Music by John Cage for Prepared Piano (Tall Poppies TP025).

FIFTH SYMPHONIESThe number 5’s special symphonic cachet is traceable back to Beethoven’s Fifth at the outset of the 19th century. But it was only last century – the 20th – that pre-eminently distinguished Fifth Symphonies emerged. In addition to Sibelius’s Fifth, there’s Mahler’s Fifth (composed 1901–02), Prokofiev’s (1944), Vaughan Williams’ (1938–43), and Shostakovich’s (1937) – each symphony laying strong claim to being its composer’s most popular and characteristic. Even for those who think other symphonies by these composers ‘better’, getting to know all these great 20th-century Fifths offers immense musical rewards, and important insights into the era that fostered them. This is especially so in the case of the last three, all composed against the same background of shattering war and evil dictatorships, yet ultimately attesting to the good and true in life as in art.

If you’d like to explore more of Sibelius’s orchestral music, look for the boxed set with the symphonies, tone poems and violin concerto. Vladimir Ashkenazy conducts the Philharmonia Orchestra and Boris Belkin (one of Janine Jansen’s former teachers) is the violin soloist.DECCA 473 5902

JANINE JANSENJanine Jansen has yet to record the Brahms concerto, but you can hear her in concertos by one of Brahms’s favourite composers: JS Bach. DECCA 478 5362

And in her most recent recording she plays chamber music by Brahms: the Clarinet Quintet with clarinettist Martin Fröst.BIS 2063

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Born in Stockholm in 1981, Daniel Blendulf began his career as a cellist, after studying with Torleif Thedéen and Heinrich Schiff. In addition to his successful solo career, he was a member of the Mahler Chamber Orchestra and the Lucerne Festival Orchestra. Changing track, in 2008 he won First Prize at the Swedish Conducting Competition, and went on to graduate from Stockholm’s Royal College of Music in 2010. In 2014 he was awarded the Herbert Blomstedt Conducting Prize, presented to him by King Carl Gustaf of Sweden.

As one of Scandinavia’s most promising younger conductors, he is already working at the highest level in his native Sweden. He appears regularly with the Royal Stockholm Philharmonic Orchestra and the Swedish Radio Symphony Orchestra, and this season he also makes return appearances with the Gothenburg Symphony and Swedish Chamber Orchestra.

During the 2014–15 season he makes a number of significant international debuts. In addition to his Australian debut in these concerts with the SSO, these include appearances with the New Zealand Symphony and Malaysian Philharmonic orchestras.

He made his Norwegian debut with the Kristiansand Symphony Orchestra in November, and, already this year, made first appearances with the Norwegian Radio Orchestra, the Zurich Chamber Orchestra, and in the UK with the BBC National Orchestra of Wales.

Recent highlights include a performance with the Danish National Symphony Orchestra as part of Denmark’s Midsummer’s Day celebrations, his 2014 Finnish debut with the Tampere Philharmonic Orchestra, and concerts with the Macao Orchestra and the Orquesta Sinfónica de Tenerife. With the Malmö Symphony Orchestra he conducted the premiere of Britta Byström’s Invisible Cities.

As an opera conductor, Daniel Blendulf has directed the Royal Swedish Opera in productions of Carmen (with Katarina Dalayman in the title role), Don Pasquale, and the 2012 world premiere of Anders Eliasson’s chamber opera Karolina’s Sleep. Other productions have included Gounod’s Faust with Folkoperan and Berg’s Wozzeck with Norrlands Opera in Umeå.

Daniel Blendulf conductor

THE ARTISTS

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Born in the Netherlands in 1978, Janine Jansen began studying violin at the age of six with her father, and later with Coosje Wijzenbeek, Philipp Hirschhorn and Boris Belkin. She went on to win numerous prizes and recording awards, including four Edison Classical Awards, three ECHO Classical awards, the German Record Critics’ Prize, the NDR Music Prize for outstanding artistic achievement, and most recently the Concertgebouw Prize. She was awarded a Dutch Theatre and Concert Association (VSCD) Classical Music Prize for individual achievement, and a Royal Philharmonic Society Instrumentalist Award for performances in the UK.

She has played regularly with the Royal Concertgebouw Orchestra, the Berlin Philharmonic and the New York Philharmonic. She was featured artist at the 2014 BBC Proms, culminating in her appearance at the famous Last Night of the Proms. Her most recent appearance with the SSO was in 2009 when she played the Dvořák concerto.

This season she makes return appearances with the San Francisco Symphony under Michael Tilson Thomas, the Orchestre de Paris under Paavo Järvi, the Royal Stockholm Philharmonic

Orchestra under Sakari Oramo and the Rotterdam Philharmonic under Valery Gergiev. In November 2014 she gave the premiere of Michel van der Aa’s Violin Concerto with the RCO conducted by Vladimir Jurowski, followed by further performances of the work with Andrew Litton and the Bergen Philharmonic Orchestra.

Already this year she has appeared with the Orchestra dell’Accademia Nazionale di Santa Cecilia and Antonio Pappano, and with the London Symphony Orchestra in a six-concert European tour conducted by Daniel Harding. She also takes Vivaldi’s Four Seasons on tour with the Amsterdam Sinfonietta and directs the Chamber Orchestra of Europe in concerts in Germany, France and the Netherlands.

She is a dedicated chamber musician and her schedule includes recital tours with pianist Itamar Golan in the Netherlands and USA. She is also the founder and curator of the annual International Chamber Music Festival in Utrecht.

Janine plays the 1727 ‘Baron Deurbroucq’ Stradivarius kindly loaned to her by the Beares International Violin Society.

Janine Jansen violin

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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

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FIRST VIOLINS Dene OldingCONCERTMASTER

Sun Yi ASSOCIATE CONCERTMASTER

Lerida Delbridge ASSISTANT CONCERTMASTER

Fiona Ziegler ASSISTANT CONCERTMASTER

Jenny BoothSophie ColeAmber DavisClaire HerrickGeorges LentzNicola LewisEmily LongAlexander NortonLéone ZieglerVivien Jeffery*Thibaud Pavlovic-Hobba†Emily Qin°Andrew Haveron CONCERTMASTER

Kirsten Williams ASSOCIATE CONCERTMASTER

Alexandra Mitchell

SECOND VIOLINS Kirsty Hilton Marina Marsden Marianne Broadfoot Emma Jezek ASSISTANT PRINCIPAL

Shuti HuangStan W KornelNicole MastersPhilippa PaigeBiyana RozenblitMaja VerunicaMonique Irik°Emma Jardine°Elizabeth Jones*Brett Yang†Maria DurekEmma HayesBenjamin Li

VIOLASTobias Breider Justin Williams ASSISTANT PRINCIPAL

Sandro CostantinoRosemary CurtinJane HazelwoodGraham HenningsJustine MarsdenFelicity TsaiLeonid VolovelskyCharlotte Fetherston†Andrew Jezek*Elizabeth Woolnough†

Roger Benedict Anne-Louise Comerford Stuart JohnsonAmanda Verner

CELLOSUmberto ClericiCatherine Hewgill Leah Lynn ASSISTANT PRINCIPAL

Fenella GillTimothy NankervisElizabeth NevilleChristopher PidcockAdrian WallisDavid WickhamRebecca Proietto†

Kristy Conrau

DOUBLE BASSESKees Boersma Alex Henery Neil Brawley PRINCIPAL EMERITUS

Steven LarsonRichard LynnBenjamin WardJosef Bisits°John Keene†

David CampbellDavid Murray

FLUTES Emma ShollCarolyn HarrisJanet Webb Rosamund Plummer PRINCIPAL PICCOLO

OBOESDiana Doherty David PappShefali Pryor Alexandre Oguey PRINCIPAL COR ANGLAIS

CLARINETSFrancesco Celata Craig Wernicke PRINCIPAL BASS CLARINET

Lawrence Dobell Christopher Tingay

BASSOONSMatthew Wilkie Fiona McNamaraNoriko Shimada PRINCIPAL CONTRABASSOON

HORNSRobert Johnson Geoffrey O’Reilly PRINCIPAL 3RD

Euan HarveyRachel SilverKara Hahn†

Ben Jacks Marnie Sebire

TRUMPETSPaul Goodchild Anthony HeinrichsJosh Rogan°David Elton

TROMBONESRonald Prussing Nick ByrneChristopher Harris PRINCIPAL BASS TROMBONE

Scott Kinmont

TUBASteve Rossé

TIMPANIRichard Miller PERCUSSIONTimothy ConstableMark Robinson Rebecca Lagos

HARP Louise Johnson

BOLD = PRINCIPAL

ITALICS = ASSOCIATE PRINCIPAL

° = CONTRACT MUSICIAN

* = GUEST MUSICIAN† = SSO FELLOW

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

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

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

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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

Mark Lawrenson

EDUCATION MANAGER

Rachel McLarin

EDUCATION OFFICER

Amy Walsh

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA MANAGEMENT

Aernout Kerbert

ORCHESTRA MANAGER

Rachel Whealy

ORCHESTRA COORDINATOR

Georgia Fryer

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 ConnSENIOR 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 – Senior CSRMichael 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

Corporate RelationsCORPORATE PARTNERSHIPS MANAGER

Belinda Besson

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 MorschelAndy 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

Chair PatronsJane 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

Mrs Barbara Murphy (right) first fell in love with Shefali Pryor’s oboe playing during her performances with violinist Nigel Kennedy and the SSO in 2010. After getting to know each other, they bonded over a mutual love of travel and knitting.

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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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 Chair

fellowship supporting patronsMr Stephen J BellGary Linnane & Peter BraithwaiteJoan MacKenzie ScholarshipDrs Eileen & Keith OngIn Memory of Geoff WhiteJune & Alan Woods Family Bequest

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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IF YOU WOULD LIKE MORE INFORMATION ON

MAKING A BEQUEST TO THE SSO, PLEASE

CONTACT LUKE GAY ON 8215 4625.

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

Mr B G 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–$19,999Bailey 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 HollowaySimon JohnsonMr Ervin KatzJames N Kirby FoundationRuth & Bob MagidJustice Jane Mathews AO

The Hon. Justice AJ Meagher & Mrs Fran Meagher

Mr John MorschelDrs Keith & Eileen OngMr John Symond AM

The Harry Triguboff Foundation

Caroline WilkinsonAnonymous (2)

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

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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 oamIta 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-TangJames & 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 (1)

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 MayHelen & Phil MeddingsI 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 RapeeKenneth R ReedPatricia 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 WhealyDr 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 (13)

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 HenningSue Hewitt

Playing Your Part

SSO PATRONS

29

“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

Dr 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 Radosavljevic

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

Renaissance ToursJanelle 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 SpigelmanAshley & Aveen StephensonMargaret & William SuthersMargaret SwansonDr Jenepher ThomasMrs Caroline ThompsonMrs June ThorntonPeter & Jane ThorntonMs Rhonda TingAlma TooheyMrs M TurkingtonGillian Turner & Rob BishopMr 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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30

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