PRESENTED BY TENIX Boo… · services business and is proud to support the Sydney Symphony’s...

3 | Sydney Symphony

PRESENTING PARTNER

2010 SEASON

DISCOVERYPRESENTED BY TENIX

City Recital Hall Angel Place

Discover the music of the great composerswith Richard Gill

PROGRAM CONTENTS

Monday 22 March | 6.30pmDiscover MahlerPAGE 5

Tuesday 27 April | 6.30pmDiscover SchubertPAGE 9

Monday 12 July | 6.30pmDiscover StravinskyPAGE 15

Monday 1 November | 6.30pmDiscover TchaikovskyPAGE 19

About the ArtistsPAGE 25

This year the program book for Discovery contains notes for all four concerts in the series. Copies will be available at every performance, but we invite you to keep your program and bring it with you to each concert.

WELCOME TO DISCOVERY

Paul Salteri

Chairman, Tenix Pty Ltd

Tenix warmly welcomes you to the 2010 Discovery series.

We are confi dent you will fi nd these concerts musically

exciting, and that they will open up for you a new

understanding of the featured composers and works.

Tenix’s sponsorship of the Sydney Symphony’s Education

Program is now in its sixth year. As a company with a

commitment to technology and innovation, we support

education and training across a range of fi elds, and we are

proud to support not only the Discovery Program but also

the Sydney Symphony’s extensive Schools program, which

brings the world of classical music to primary schools

across the State.

Sydney Symphony’s Discovery Program is a wonderfully

innovative and exciting experience. We hope you enjoy it

as much as we enjoy our Education partnership with the

orchestra.

5 | Sydney Symphony

2010 SEASON


DISCOVER MAHLERMonday 22 March | 6.30pmCity Recital Hall Angel Place

Richard Gill conductorSamuel Dundas baritone

MAHLERTwo songs from Lieder eines fahrenden Gesellen(Songs of a Wayfarer)

‘Wenn mein Schatz Hochzeit macht’(On my sweetheart’s wedding day)

‘Die zwei blauen Augen von meinem Schatz’(The two blue eyes of my sweetheart)

BRAHMSThird movement from Symphony No.3 in F major, Op.90

Poco Allegretto(A little fast and lively)

PRESENTING PARTNER

This concert will be recorded for later broadcast in the summer on ABC Radio National.

The ABC Classics DVD based on the Discovery series can be purchased online atsydneysymphony.com/shop

Discover more Mahler in 2010 and 2011 during our Mahler Odyssey, conducted by Vladimir Ashkenazy.

Next concerts:

Mahler 5 (20, 21, 22 May)

Mahler’s Song of the Earth (26, 28, 29 May)

6 | Sydney Symphony

ABOUT THE MUSIC

GUSTAV MAHLER(born Kalischt, 1860; died Vienna 1911)

During his lifetime, Mahler was better known as a

conductor of opera than as a composer. He held numerous

conducting posts including Kassel, Budapest, Vienna,

and fi nally New York, with the Metropolitan Opera. It was

a frustration that his conducting work allowed time for

composing only during the summer months.

Mahler’s nine completed symphonies and fi ve orchestral

song cycles constitute almost his entire oeuvre. The young

Mahler ranged over lieder, cantatas and chamber music,

but it was not until he turned to the symphony that he

found his true medium. In his hands, the symphony

grew in size and scope; as he later said to Jean Sibelius,

‘A symphony must be like the world. It must contain

everything.’

The song cycle Lieder eines fahrenden Gesellen (Songs

of a Wayfarer) points the way to Mahler’s technique of

interweaving symphony and song, a device he would

employ in many of his later works. It was inspired by an

ill-fated love aff air with Johanna Richter, a singer at

the Opera House in Kassel where Mahler was second

conductor from 1883 to 1885. ‘I have written a song cycle

dedicated to her…’ he wrote. ‘Their burden is this: a man

who has found only sadness in love goes forth into the

world a wanderer.’

The texts are Mahler’s own, but they are very similar in

character and tone to Des Knaben Wunderhorn (The Youth’s

Magic Horn), a collection of German folk poems which

Mahler discovered later and whose infl uence is evident in

his ‘Wunderhorn’ symphonies, Nos. 2, 3 and 4. Thematically,

the Wayfarer songs are all linked by the torturous thoughts

of a lover spurned, and a folk-like preoccupation with

nature – bird calls and open textures feature.

This song cycle is something of a companion piece to

Mahler’s First Symphony, which was begun around the

same time. The two works share musical material fi rst

heard in the second song ‘I went out this morning into the

fi elds’. And in the last of the Wayfarer songs, as our love-

lost wanderer goes out into the night seeking comfort, the

music accompanies with heavy-hearted tread. This idea is

echoed in the symphony, when Mahler introduces it in the

middle of the funeral march movement.

GENEVIEVE LANG ©2010

Gustav Mahler, 1896

7 | Sydney Symphony

On my sweetheart’s wedding day,

joyful wedding day,

it will be a sad day for me!

I will go to my little room,

my dark little room

and weep for my sweetheart,

my dear sweetheart!

Little blue fl ower! Little blue fl ower!

Do not fade! Do not fade!

Sweet little bird, sweet little bird,

you sing on the green heath.

Ah! How beautiful the world is!

La-la! La-la!

Do not sing! Do not bloom!

Spring is over and gone!

All singing is now over.

At evening, when I go to sleep,

I think of my sorrow!

Of my sorrow!

The two blue eyes of my sweetheart

have sent me out into the world.

I must take my leave

of the place I love more than anywhere!

O blue eyes,

Why did you ever look at me?

Now I have only eternal grief and pain!

I went out in the still night,

in the still night across the dark heath.

No one said farewell to me,

farewell, farewell!

Love and Sorrow were my companions!

By the road stands a linden tree,

and there for the fi rst time I slept peacefully.

Under the linden tree,

whose blossoms snowed gently down on me,

I no longer knew what life was like,

everything, everything was good again!

Everything! Everything!

Love and pain

and world and dream!

1.

Wenn mein Schatz Hochzeit macht,

Fröhliche Hochzeit macht,

Hab’ ich meinen traurigen Tag!

Geh’ ich in mein Kämmerlein,

Dunkles Kämmerlein,

Weine, wein’ um meinen Schatz,

Um meinen lieben Schatz!

Blümlein blau! Blümlein blau!

Verdorre nicht! Verdorre nicht!

Vöglein süß, Vöglein süß,

Du singst auf grüner Heide!

Ach, wie ist die Welt so schön!

Ziküth! Ziküth!

Singet nicht! Blühet nicht!

Lenz ist ja vorbei!

Alles Singen ist nun aus.

Des Abends, wenn ich schlafen geh’

Denk’ ich an mein Leide.

An mein Leide!

4.

Die zwei blauen Augen von meinem Schatz,

Die haben mich in die weite Welt geschickt.

Da mußt ich Abschied nehmen

Vom allerliebsten Platz!

O Augen blau,

Warum habt ihr mich angeblickt?

Nun hab’ ich ewig Leid und Grämen!

Ich bin ausgegangen in stiller Nacht

In stiller Nacht wohl über die dunkle Heide.

Hat mir Niemand Ade gesagt,

Ade, Ade!

Mein Gesell’ war Lieb’ und Leide!

Auf der Straße steht ein Lindenbaum,

Da hab’ ich zum ersten Mal im Schlaf geruht!

Unter dem Lindenbaum,

Der hat seine Blüten über mich geschneit,

Da wußt’ ich nicht, wie das Leben tut,

War alles, alles wieder gut!

Alles! Alles!

Lieb’ und Leid!

Und Welt und Traum!

Lieder eines fahrenden Gesellen (Songs of a Wayfarer)

TEXTS: GUSTAV MAHLERTRANSLATION: NATALIE SHEA, SYMPHONY AUSTRALIA ©2002

8 | Sydney Symphony

Johannes Brahms

JOHANNES BRAHMS (born Hamburg, 1833; died Vienna, 1897)

Departing from the usual pattern of including an Australian work, Richard Gill has chosen the ‘intermezzo’ movement from Brahms’ Third Symphony to sit alongside his exploration of Mahler’s Songs of a Wayfarer. Both works were begun in 1883, and in hearing them together we’re reminded of how different they are, even as they share a common Romantic heritage.

About the composer

Brahms might not have considered himself primarily an

orchestral composer, but his symphonies occupy a fi rm

place in the orchestral repertoire. Haunted by Beethoven’s

legacy – ‘the thunderous step of a giant’ behind him – he

took 14 years to write his fi rst symphony, completing it

in 1876. Almost immediately he began work on a second,

working on it in an Austrian lakeside resort where ‘the

melodies fl y so thick…that you have to be careful not to

step on one’. By the time he wrote his third symphony, in

the summer of 1883, he had come to terms with the ‘giant’

but he was still exploring the possibilities of the large-scale

symphonic form.

About the musicPoco Allegretto from Symphony No.3

The critic Eduard Hanslick praised the Third Symphony

for the ‘clear direct impact it makes the fi rst time one

hears it’; furthermore, ‘it seems to have been created

in the fl ush of an inspired hour’. Nowhere is this more

apparent that in the third movement (Poco Allegretto), where

Brahms’ unfailing melodic gift comes to the fore. His

deeply lyrical music brims with impassioned expression

and rich sensuality. The main theme of this gentle

‘intermezzo’ is one of Brahms’ most perfect melodies –

disarmingly simple, but full of artful irregularities – and

it is given to the cellos, who are asked to play ‘half voice’

and expressively. The result is a glorious melancholy

unparalleled in Brahms’ symphonies.

The Third Symphony received a triumphant premiere on

2 December 1883, with Hans Richter conducting the Vienna

Philharmonic. Its directness of expression, newfound

variety of orchestral colour and wealth of melody ensured

its success with audiences, then and now.

9 | Sydney Symphony

PRESENTING PARTNER



Discover more Schubert in 2010:

Hear the ‘complete’ Unfi nished Symphony:Dance of the Imagination (23, 25, 26, 28 June)

and Schubert’s Rondo in A for violin and strings:Midori plays Classics (1, 2 July)

2010 SEASON


DISCOVER SCHUBERTTuesday 27 April | 6.30pmCity Recital Hall Angel Place

Richard Gill conductorCeleste Haworth mezzo-soprano

SCHUBERTFirst movement fromSymphony No.8 in B minor, D759

Allegro moderato(moderately fast)

JAMESONThe Wind in the Hemlocktext by Sara Teasdale (1884–1933)PREMIERE

The Wind in the Hemlock has been made possible through the support of Ars Musica Australis

Proud partner of the Sydney Symphony

Photo

gra

ph C

red

it: B

en S

ymons

Tenix’s major partnership of the

Sydney Symphony education

program has helped deliver music

appreciation and education to the

youth of NSW.

Tenix strongly supports education

and training across its infrastructure

services business and is proud to

support the Sydney Symphony’s

education program.

“The Sydney Symphony’s

commitment to world class

performance and quality fits perfectly

with our own corporate goals, and

it makes a major contribution to the

lives of the people in Sydney and

indeed Australia.”

Paul Salteri, Chairman, Tenix Pty Limited

11 | Sydney Symphony

ABOUT THE MUSIC

Franz Schubert

FRANZ SCHUBERT(born Vienna 1797; died Vienna 1828)

Franz Schubert’s early death at the age of 31 meant the

premature end to a prolifi c career; it also meant that

Schubert lived to hear very little of his orchestral music

performed. While a close circle of friends would regularly

gather to enjoy the composer’s chamber music and songs,

neither of his most celebrated symphonic works was

performed during his lifetime. The premiere of his ‘Great

C Major’ Symphony was given more than ten years after his

death, and his ‘Unfi nished’ – concealed in the possession

of a friend – was not performed until 1865!

Schubert’s friends – poets, playwrights, painters

and philosophers – were more interested in intimate

musical experiences than the grandeur of the orchestra.

Nevertheless, Schubert began 13 symphonies and fi nished

seven. Of the fi rst six – written within about four years

for student and amateur orchestras – only the fi fth, with

its amiable rolling theme, is performed regularly today.

The seventh completed symphony is the ‘Great C Major’.

In addition there are two incomplete works that are

recognised as part of his oeuvre: one in E major and the

two-movement symphony in B minor, the ‘Unfi nished’.

It is a curious thing that Schubert left so many

symphonic torsos in his wake: many of these works

(including the ‘Unfi nished’) were begun, worked on in

great detail, and then simply set aside. No real reason is

given, although several hypotheses have arisen: Schubert

feels inadequate in comparison to his idol Beethoven,

Schubert gets a new idea and abandons this old one,

Schubert is too busy with mundane tasks, etcetera.

Schubert died in November 1828, from what is thought

to have been tertiary syphilis (at the time of his death he

was diagnosed with typhoid fever). As per his request,

he was buried next to his idol, Beethoven. For those who

would criticise Schubert’s symphonic output as unworthy

of comparison with Beethoven’s, it is worth remembering

that at the age at which Schubert met his death Beethoven

had composed but one symphony, one piano concerto, and

a handful of chamber works – in short, very few of the great

symphonic masterpieces for which he is best remembered

today. As is inscribed upon Schubert’s tombstone, “The

Art of Music here entombed a rich possession but even far

fairer hopes” (Franz Grillparzer).

HANNAH REARDON-SMITH ©2010


EMM

A T

EBB

E (2

009)

Phil Jameson

PHIL JAMESON(born London, 1993)

Phil Jameson attends Sydney Grammar School, where he

is currently in Year 11 with a music scholarship. He studies

piano with Ransford Elsley, organ with Robert Wagner, jazz

with Dave Levy and composition with Richard Gill. As a

performer, his interests mainly lie in 20th-century music

and also jazz, having recently played with such acclaimed

musicians as Wycliff e Gordon and James Morrison. He is

also interested in pursuing conducting. As a composer he

has co-written a musical for his school and participated in

the Sydney Sinfonietta Project on several occasions. More

recently, he has written a piano score for David Mamet’s play,

The Duck Variations, and also a setting of Theodore Roethke’s

Night Journey for Hotchkiss Summer Portals, a youth

development program in America, to which he is returning

this year to premiere a string quartet. The Wind in the Hemlock

is his second commission for the Sydney Sinfonia.

About the musicThe Wind in the HemlockI couldn’t have been happier to stumble across Sara Teasdale’s

‘The Wind in the Hemlock’ as a potential text for an orchestral

setting. Apart from being the perfect length, strongly voiced,

structurally ideal and emotionally loaded, it’s a fascinating

look at how we deal with the knowledge of our own mortality.

Teasdale is well known for the way her imagery is understated

yet so intense, and through careful weighting of each idea

she is able to write astonishingly organic poetry.

I’ve treated the text in three main sections, each dominated

by a family of the orchestra and a melodic idea. The primary

challenge lay in shaping each section’s metamorphosis into

the next, seamlessly yet unambiguously. This meant that I fi rst

had to develop an arsenal of colours which were evocative and

illuminating in isolation, but malleable as part of a greater

body of music. To this end, I am indebted to the French horn,

as well as the clarinet and cello, for being the faithful glue that

holds such orchestral music together! Next, I found that the

second theme was the most important in achieving an eff ective

metamorphosis through all three sections. It emerges very

early and dissolves quite late in the piece, so there was

an inherent challenge in writing a theme that would be

convincing through the relentless emotional turbulence of

the text – the singer’s confl ict with the reality of life on this

earth. This is gradually resolved as she learns to appreciate

the small beauties of the world… or so it would seem.

PHIL JAMESON ©2010

‘I think the crucial question this text leaves us with is whether the speaker’s emotional revolution is truly complete by the fi nal line. Ask yourself, what reservations are still left in this woman’s heart by the end of her outburst? Is she ready to face the world anew? Are we ever ready to face the world?’ PJ


The Wind in the HemlockSara Teasdale (1884–1933)

Steely stars and moon of brass,

How mockingly you watch me pass!

You know as well as I how soon

I shall be blind to stars and moon,

Deaf to the wind in the hemlock tree,

Dumb when the brown earth weighs on me.

With envious dark rage I bear,

Stars, your cold complacent stare;

Heart-broken in my hate look up,

Moon, at your clear immortal cup,

Changing to gold from dusky red –

Age after age when I am dead

To be fi lled up with light, and then

Emptied, to be refi lled again.

What has man done that only he

Is slave to death – so brutally

Beaten back into the earth

Impatient for him since his birth?

Oh let me shut my eyes, close out

The sight of stars and earth and be

Sheltered a minute by this tree.

Hemlock, through your fragrant boughs

There moves no anger and no doubt,

No envy of immortal things.

The night-wind murmurs of the sea

With veiled music ceaselessly,

That to my shaken spirit sings.

From their frail nest the robins rouse,

In your pungent darkness stirred,

Twittering a low drowsy word –

And me you shelter, even me.

In your quietness you house

The wind, the woman and the bird.

You speak to me and I have heard:

If I am peaceful, I shall see

Beauty’s face continually;

Feeding on her wine and bread

I shall be wholly comforted,

For she can make one day for me

Rich as my lost eternity.

(1920)

Sara Teasdale

About the poetSara Teasdale was an American lyric poet, born in St Louis, Missouri. Frail and sickly as a child, she was homeschooled at fi rst, only starting school when she was nine. She published her fi rst book of verse in 1907, when she was 23. She enjoyed a deep and longstanding friendship with the poet Vachel Lindsay, who proposed to her, but she married Ernst Filsinger, a wealthy merchant, in 1914. Two years later they moved to New York and in 1918 Teasdale won the Columbia University Poetry Society Prize (which later became the Pulitzer Prize for poetry) and the Poetry Society of American Prize for Love Songs. ‘The Wind in the Hemlock’ comes from the volume Flame and Shadow (1920), the last of a group of poems called ‘Songs for Myself’. She divorced Hilsinger in 1929 and in 1933, plagued by illness, she committed suicide.


2010 SEASON


DISCOVER STRAVINSKYMonday 12 July | 6.30pmCity Recital Hall Angel Place

Richard Gill conductorCeleste Haworth mezzo-soprano

STRAVINSKY

First movement fromSymphony in C Moderato alla breve(moderately, two beats to the bar)

Minuetto and Finale fromPulcinella

HOWESEveryone Sangtext by Siegfried Sassoon (1886–1967) PREMIERE

Everyone Sang has been made possible through the support of Ars Musica Australis

PRESENTING PARTNER



Discover more Stravinsky in 2010:

Dumbarton Oaks (Mozart meets Stravinsky – 29 April)

Symphonies of Wind Instruments (Harmony from Heaven – 12, 13, 17 May)

Concerto in D for strings (Midori plays Classics – 1, 2 July)

The Rite of Spring (Uncompromising Masterpieces – 13, 15, 16 October)


Igor Stravinsky

ABOUT THE MUSIC

Stravinsky is frequently quoted as saying that music is ‘by its very nature, essentially powerless to express anything at all…’ – a statement that appeared in his 1936 autobiography. Later he qualifi ed the statement, writing that he would put it the other way around: ‘music expresses itself’.

IGOR STRAVINSKY (born near St Petersburg, 1882; died New York, 1971)

Although Igor Stravinsky maintained a strong connection

with his Russian heritage throughout his private and

professional life, his identity as an emigré was also a

very important infl uence on his music. He left Russia

for Switzerland at the beginning of World War I, and

then moved to France six years later, taking out French

citizenship in 1934. World War II prompted him to move

to the United States in 1939, and by 1946 he had become

an American citizen. These experiences resulted in what

Stephen Walsh refers to as ‘a fl exible and reciprocal

association with his changing environment’, and an ability

to skilfully absorb new idioms and make them his own.

The composer himself joked that he suff ered from ‘a rare

form of kleptomania’.

As a young man, Stravinsky was strongly infl uenced

by the music of his teacher Nikolai Rimsky-Korsakov.

Stravinsky was deeply aff ected by his teacher’s death in

1908, but he had already quietly begun to separate himself

from the infl uence of Rimsky-Korsakov’s Russian musical

nationalism. It was around this time that he began to

associate with another infl uential Russian: Sergei Diaghilev,

impresario of the Ballets Russes. With Diaghilev’s support,

Stravinsky composed, amongst many other stage works,

his three most famous ballet scores: The Firebird (1910),

Petrushka (1911) and The Rite of Spring (1913).

Stravinsky’s involvement with the Ballets Russes

continued when he moved to Switzerland. In 1919,

Diaghilev suggested that Stravinsky arrange some pieces

they believed were by the baroque composer Giovanni

Pergolesi. This led him to compose the ballet Pulcinella,

often seen as a pathway to his neoclassical period, in

which Stravinsky turned away from the exaggerated

expressiveness and drama that was associated with

Romanticism. Instead he strove for objectivity, simplicity

and clarity, and aimed to distance himself personally

from his music rather than regarding his work as a direct

expression of his personality.

RACHEL ORZECH ©2010


Andrew Howes

Everyone Sang was composed for the 2009 Sinfonietta Project and receives its public premiere in this concert.

ANDREW HOWES(born Sydney, 1992)

About the composer

Andrew Howes completed his studies at the

Conservatorium High School in 2009. He plays violin

and viola, has participated in the Symphony Australia

Conductor Development Program, and has been

composing for as long as he can remember. He has

written works for the Department of Education, Sydney

Children’s Choir, Sydney Sinfonia and the 2007 ASME

conference in Perth, and his compositions were selected

for the Sydney Symphony’s Sinfonietta Project for four

years in a row. Andrew Howes enjoys working with a wide

range of performing media, including orchestras, chamber

ensembles, choirs and stage bands.

About the musicEveryone Sang (or Madrigal 3)

In 1501, the poet and literary theorist Pietro Bembo edited

an edition of Petrarch, the great 14th century poet, and later

published his theories on being carefully attentive to the

exact sounds of words, as well as their positioning within

lines. The poetic form of the madrigal, which consisted of

an irregular number of lines (typically of 7 or 11 syllables)

without repetition, and usually on a serious topic, came

into being as a result of Bembo’s infl uence.

The form of the poetic madrigal is refl ected musically

in two ways: the structure of the phrases is irregular, and

phrases are not repeated exactly throughout the piece.

However, development of every phrase is necessary for

organic development in the musical statements. For all

of these reasons, having one or two particular melodies

is impractical, whereas using fragments and gestures is

extremely eff ective. The highest goal is to achieve beauty in

every gesture and to use these separate motifs to form an

overall arc and line, coherent with the subject matter.

ANDREW HOWES ©2010


The composer profi les in this program have been written by four recent graduates of the AYO Music Presentation Fellowship, which provides opportunities for training and experience in publishing and broadcasting through organisations such as the Sydney Symphony and the Australian Broadcasting Corporation.

About the poet

Siegfried Sassoon was an English poet of Anglo-Catholic and Jewish heritage. His mother was fond of Wagner’s operas, and this was the source of his German name. He enjoyed a privileged upbringing and studied at Cambridge (although he didn’t graduate), before dedicating himself to poetry. In 1913 he achieved his fi rst real success with The Daffodil Murderer, a parody of the work of another poet, John Masefi eld. He joined the army and fought in World War I, and is best-known today for his war poems.

Hear Sassoon himself reading this poem in a recording from the BBC Archives:http://www.poetryarchive.org/poetryarchive/singlePoem.do?poemId=7098

Siegfried Sassoon

GEO

RG

E C

HA

RLE

S B

ERES

FOR

D

Everyone SangSiegfried Sassoon (1886–1967)

Everyone suddenly burst out singing;

And I was fi lled with such delight

As prisoned birds must fi nd in freedom,

Winging wildly across the white

Orchards and dark-green fi elds; on- on- and out of sight.

Everyone’s voice was suddenly lifted;

And beauty came like the setting sun:

My heart was shaken with tears; and horror

Drifted away… O, but Everyone

Was a bird; and the song was wordless; the singing will

never be done.

(APRIL 1919)

©SIEGFRIED SASSOON

REPRODUCED BY KIND PERMISSION OF THE ESTATE OF GEORGE SASSOON


2010 SEASON


DISCOVER TCHAIKOVSKYMonday 1 November | 6.30pmCity Recital Hall Angel Place

Richard Gill conductor

TCHAIKOVSKY

Panorama fromSleeping Beauty

Arabian Dance and Apotheosis fromNutcracker

SCULTHORPE

New Norcia

PRESENTING PARTNER



Discover more Tchaikovsky in 2010:

Serenade for Strings (10, 11 June)

Russian Rococo (11, 12 November)

Tchaikovsky Spectacular (9, 10, 11 December)


ABOUT THE MUSIC

Peter Ilyich Tchaikovsky, 1888

Tsar Alexander III may have been politely dismissive of Sleeping Beauty, but Tchaikovsky was less politely dismissive of the Tsar’s opinion. Writing to his patron Nadezhda von Meck, Tchaikovsky noted: ‘Rehearsal of the ballet was attended by the Emperor. “Very nice”!!!!! His Majesty was very haughty with me. Pity about him.’

PETER ILYICH TCHAIKOVSKY (born Kamsko-Votkinsk, 1840; died St Petersburg, 1893)

Tchaikovsky is often considered to be the fi rst Russian

composer to mediate successfully the 19th-century tension

between Russian nationalism and European cosmopolitanism

in music. One (possibly apocryphal) anecdote has the boy

Tchaikovsky kissing the map of Russia and spitting on the

rest of Europe, while carefully shielding France with his

hand. However, by the time he commenced his short-lived

career in the Russian civil service at the age of 19, he was

a connoisseur of French theatre, Italian opera, and other

imported art forms. Opera was the most prestigious of

these, yet it was Tchaikovsky’s fi rst ballet, Swan Lake (1875–76)

that ushered him into the theatrical canon.

Marius Petipa, the tyrannical director of the Russian

Imperial Ballet, favoured a form of ballet à grand spectacle that

was characterised by sumptuous tableaux, enlivened with

splashes of exoticism and hints of the phantasmic. Tchaikovsky’s

fl air for vibrant and distinctive musical settings, evident

even in his early programmatic works, was well suited to the

creation of a compositional framework for these elements.

The two main approaches to ballet at the time were

embodied in the contrasting styles of Europe’s leading

ballerinas: Marie Taglioni’s gossamer ethereality contrasted

with Fanny Elssler’s robust and fl amboyant approach to

characterisation, and Tchaikovsky’s mastery of both can be

seen in the scores of his late ballets Sleeping Beauty (1888–89)

and Nutcracker (1891–92). These works are prized for their

vivid colouration and rhythmic complexity, which created

a dramatic impetus and cohesion far removed from the

‘in-house’ musical assemblages of earlier ballet composers.

It is thus somewhat ironic that early reviews of both ballets

singled out Tchaikovsky’s music as thoroughly unsuitable

for dancing.

Tchaikovsky approached his two late ballets with very

diff erent attitudes. He was ‘delighted’ with the scenario

for Sleeping Beauty, and fi red through the entire score in

around 40 days. He approached the Nutcracker score more

pessimistically; he had misgivings about the scenario

and was beginning to feel his age. But his imagination

was stirred by the ‘divinely beautiful tone’ of the recently

invented celesta, and this put the crystal fi nish on the

compositional sugar plum.

ANGHARAD DAVIS ©2010


Peter Sculthorpe

AD

RIE

NN

E LE

VIN

SO

N

The Sydney Symphony and Richard Gill gave the premiere of New Norcia in 2001.

PETER SCULTHORPE (born Launceston, 1929)

About the composer

Peter Sculthorpe is widely recognised as Australia’s

most prominent composer and has been elected one of

Australia’s Living National Treasures and an Australian

Icon. He fi rst came to widespread attention with his String

Quartet No.6, commissioned by Musica Viva Australia in

1964, and his reputation was cemented with the Sun Music

series for orchestra, inspired by an vision of Australia as

a sun-baked landscape. An earlier work, Irkanda IV (1961),

signalled an interest in Aboriginal culture, at this stage

refl ected purely in titles. Another infl uence has been his

interest in the music of Australia’s neighbours (including

Japan) as well as from the impulse to bring together aspects

of native Australian music with that of the heritage of the

West.

The composer writesNew Norcia

In 1846, the Mission of New Norcia was founded in

Western Australia by two Spanish Benedictine monks.

Under one of the founders, Dom Rosenda Salvado, a choir,

a string orchestra and a band were formed, the three

groups eventually consisting almost entirely of Aboriginal

performers. During the second half of the 19th century,

New Norcia was one of the places in Australia where

Gregorian chant was sung. Salvado regarded music in every

form as a gift from God. His diaries, in fact, demonstrate

a considerable understanding of Aboriginal chant and

ritual. They contain what are probably the fi rst signifi cant

writings on the subject.

Unlike much of my music, New Norcia makes no

references to Aboriginal chant. It is, however, fi rmly based

upon the plainchant melody Psalmus 150, a song of praise

for the Lord through music. In New Norcia, the six verses

of the plainchant are each stated twice, the verses separated

by either a short episode or an interlude. It seems to me

that the Aboriginal children of New Norcia might have

made some contribution of their own to the liturgy, and

I have no doubt that Dom Salvado would have enjoyed this.

For them, I added drumming to the two interludes, the

fi nal verse and the coda.

ADAPTED FROM A NOTE BY PETER SCULTHORPE ©2001

O n l y a t S h a n g r i - L a

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O n l y a t S h a n g r i - L a


MORE MUSIC

Selected Discography

MAHLER

Thomas Quasthoff sings Songs of a Wayfarer with the Vienna Philharmonic and Pierre Boulez conducting, on a recording with mezzo-soprano performances of the Rückert Lieder (Violetta Urmana) and the Kindertotenlieder (Anne Sofi e von Otter).DEUTSCHE GRAMMOPHON 389 402

For the version with piano accompaniment, try Dietrich Fischer-Dieskau with Daniel Barenboim on a disc that includes Des Knaben Wunderhorn and the Rückert Lieder.

EMI CLASSICS 76780

SCHUBERT

Schubert’s ‘Unfi nished’ Symphony is his most frequently recorded symphony, followed by the ‘Great C Major’ Symphony. Among the recommended releases is Carlos Kleiber’s 1978 recording with the Vienna Philharmonic Orchestra, which pairs the symphony with Brahms’ Fourth (also the VPO) and scenes from Wagner’s Tristan und Isolde (Dresden Staatskapelle and a cast including Margaret Price and Dietrich Fischer-Dieskau).

DEUTSCHE GRAMMOPHON 344 702

STRAVINSKY

For the Symphony in C and other neoclassical works by Stravinsky, try the recording with Robert Craft and various ensembles, including the Philharmonia Orchestra. Also on the disc, Dumbarton Oaks, the Symphony in Three Movements, and Octet for Wind Instruments.

NAXOS 8557507

The suite from Pulcinella can be heard with the ballet Apollo, in a recording by the Chamber Orchestra of Europe, conducted by Alexander Janiczek. (An SACD hybrid).

LINN RECORDS 330

TCHAIKOVSKY

Suites from all three of Tchaikovsky’s great ballet scores – Swan Lake, Sleeping Beauty and Nutcracker – can be heard in Seiji Ozawa’s recording with the Boston Symphony Orchestra.

DEUTSCHE GRAMMOPHON 130602

The most exhilarating recording of the complete music for Nutcracker is by the Kirov Theatre Orchestra, conducted by Valery Gergiev.

PHILIPS 462114

For the complete Sleeping Beauty try the London Symphony Orchestra and André Previn, recorded in 1974, but recently re-released in a 2-CD set.

EMI CLASSICS 67689

Most Sydney Symphony concerts are recorded by ABC Classic FM for live or delayed broadcast and broadcast listings can be found at www.abc.net.au/classic

In addition, concerts in the Discovery series are recorded by ABC Radio National and broadcast during the summer each year.

2MBS-FM 102.5

SYDNEY SYMPHONY 2010

2MBS-FM broadcasts a regular Sydney Symphony spot at 6pm on the second Tuesday of each month. Tune in to hear musicians, staff and guest artists discuss what’s in store in our forthcoming concerts and to hear previews of the music.

Webcasts

Selected Sydney Symphony concerts are recorded for webcast by BigPond.

Visit: bigpondmusic.com/sydneysymphony

Sydney Symphony Online

Visit the Sydney Symphony at sydneysymphony.com for concert information, podcasts, and to read the program book in the week of the concert.

Become a fan on Facebook at http://tinyurl.com/facebook-SSO (or search for “Sydney Symphony” from inside your Facebook account).

Follow us on Twitter at twitter.com/sso_notes for program alerts and musical curiosities, straight from the editor’s desk.

Have Your Say

Tell us what you thought of the concert at sydneysymphony.com/yoursay

or email: [email protected]

Broadcasts


ABOUT THE CONDUCTOR

RICHARD GILL conductorARTISTIC DIRECTOR, EDUCATION

Richard Gill is the Artistic Director of the Sydney

Symphony’s Education Program. In 2006 he was appointed

Music Director of the then newly formed Victorian Opera

Company, where his performances have since included

Les Noces, Oedipus Rex, Così fan tutte, Puccini’s Mass, The

Coronation of Poppea and Sing Your Own Opera. He has also

been Artistic Director of OzOpera, Artistic Director and

Chief Conductor of the Canberra Symphony Orchestra

and the Adviser for the Musica Viva in Schools Program.

Richard has frequently conducted for Opera Australia

and OzOpera, and in recent seasons has conducted Meet

the Music concerts with the Sydney Symphony, Discovery

concerts with the Sydney Sinfonia; the Melbourne,

Canberra, Queensland and Tasmanian symphony

orchestras; Sing Your Own Opera at the Melbourne

International Festival of the Arts; and the Brisbane and

Melbourne premiere seasons of The Love of the Nightingale

by Richard Mills.

His operatic repertoire includes Orpheus in the

Underworld, Faust, The Gondoliers, Moya Henderson’s Lindy,

The Eighth Wonder by Alan John and Dennis Watkins,

Macbeth, Rigoletto, Lucia di Lammermoor, Il trovatore, Roméo

et Juliette, La Périchole, The Merry Widow, Fidelio, Turandot,

The Pearl Fishers, The Force of Destiny, Dido and Aeneas, Il

combattimento di Tancredi e Clorinda, The Love for Three

Oranges, Julius Caesar and The Marriage of Figaro. For

OzOpera he has conducted Carmen, The Magic Flute,

La bohème, and The Barber of Seville. His music theatre

repertoire includes Jonathan Mills’ Ghost Wife, which he

has conducted in Melbourne, Adelaide, Sydney and

London, and Eternity Man for the Sydney Festival.

Richard Gill has received numerous accolades, including

an Order of Australia Medal, the Bernard Heinze Award,

an Honorary Doctorate from the Edith Cowan University

of Western Australia, the Australian Music Centre’s award

for Most Distinguished Contribution to the Presentation

of Australian Composition by an individual, and the

Australia Council’s prestigious Don Banks Award.

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ABOUT THE ARTISTS

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SAMUEL DUNDAS baritone

Samuel Dundas is a graduate of the Melba Conservatorium

of Music and his performance experience encompasses

opera, musical theatre and concerts. He has appeared

throughout Australia and New Zealand, singing with the

Tasmanian, Melbourne, Adelaide and West Australian

symphony orchestras and the Auckland Philharmonic

Orchestra, and his concert repertoire includes Bach’s

St John Passion, Fauré’s Requiem and Mozart’s Requiem.

He made his operatic debut with Opera Queensland in

2005 and has since performed with Victorian Opera as a

guest and as a member of the Artist Development program.

Last year he made his role debut in the title role of the VO

production of Don Giovanni, as well as singing Harlequin

in Ariadne auf Naxos (VO) and Vaughan Williams’ Serenade

to Music for the inaugural concert of the Melbourne

Recital Centre. He recently won a place in the 2010 Moff att

Oxenbould Young Artist program at Opera Australia.

This is his Sydney Symphony debut.

CELESTE HAWORTH mezzo-soprano

Celeste Haworth recently completed a Bachelor of Music

Studies and an Advanced Diploma of Opera at the Sydney

Conservatorium, and is now studying for a Diploma of

Music – Opera. At the Conservatorium her roles have

included Sally (Barber’s A Hand of Bridge), Deuxième

Commère (Ibert’s Angélique), The Maid (Hindemith’s Hin

und Zurück), Bertarido (Handel’s Rodelinda), La Marchande

(Poulenc’s Mamelles de Tiresias), and Florence Pike and Nancy

Waters (Britten’s Albert Herring). This year she will sing

the title role in Handel’s Tamerlano and Madama Rosa in

Donizetti’s Il Campanello.

Recent concert engagements have included Handel’s Messiah,

An Armed Man – A Mass for Peace (Macquarie University

Singers), Vivaldi’s Gloria, Haydn’s Nelson Mass, Queen

Jezebel in Mendelssohn’s Elijah (Christ Church St Laurence),

Bach’s Cantata No.21, and Mozart’s Requiem and Handel’s

‘My Heart Is Inditing’ (Sydney University Musical Society).

Celeste Haworth was one of ten semi-fi nalists nationwide

in the 2008 Australian Singing Competition (Mathy Awards).

In 2008 and 2009 she was nominated for the Joan Carden

Award, and was a place winner in the City of Sydney Eisteddfod,

as well as Warringah Eisteddfod Champion and Aria Winner.


SYDNEY SINFONIA

The Sydney Sinfonia is the Sydney Symphony’s

mentoring orchestra – an internationally

recognised program through which we strive

to enrich our future and the future of young

musicians. Its members are auditioned

annually from a national fi eld of the best

tertiary students and recent graduates;

those selected are given the opportunity

to sit alongside professional orchestral

players in rehearsal and performance, and

to present the concerts of our Education

Program. These emerging professionals gain

invaluable experience working alongside

accomplished musicians as part of a

performing orchestra, learning ‘on the job’

under the guidance of their mentors.

The Sydney Sinfonia, now 15 years old,

represents a vital tradition of training young

orchestral musicians and nurtures a culture

of mentoring amongst the musicians of the

Sydney Symphony. We’re especially proud

that many of its alumni have achieved

positions in professional orchestras around

the world

SYDNEY SYMPHONY FELLOWSHIP

Selected from competitive national

auditions, these nine young musicians have

been handpicked by the members of the

Sydney Symphony. We hold high hopes and

expectations for them, as they join the ranks

of esteemed Fellowship alumni who now

perform in many of Australia’s symphony

orchestras and chamber ensembles.

We invite you to hear the Sydney

Symphony Fellows perform at one of their

chamber music concerts during the year.

FRI 7 MAY, 1pm – Eugene Goossens Hall, ABC Ultimo CentreWED 14 JULY, 1.15pm – St James’ Church, King StreetSUN 1 AUGUST, 4pm – Wyvern Music ClubSAT 14 AUGUST, 2pm – Blacktown Arts CentreTHU 23 SEPTEMBER, 7pm – St James’ Church, King StreetSAT 2 OCTOBER, 7pm – Campbelltown Arts Centre SUN 14 NOVEMBER, 3pm –Joan Sutherland Performing Arts Centre, PenrithSUN 28 NOVEMBER, 3pm – Verbrugghen Hall, Sydney Conservatorium

For more information, visit:

www.sydneysymphony.com/education/artist_development/concerts_2010


MUSICIANS

Sydney Sinfonia

VIOLINS

Kirsten WilliamsFiona ZieglerMarianne BroadfootBrielle ClapsonSusan DobbieAmber GuntherKirsty HiltonShuti HuangStan W KornelMarina MarsdenPhilippa PaigeMaja VerunicaLéone ZieglerClaire Herrick†Mariana Green† Christina MorrisClare MillerDavid DalsenoElla BennettsFiona DoigJason Tong Jennifer KhafagiLiisa PallandiMonique IrikNatasha ConrauSamanatha BostonSusannah CumingTadijana Ilici

VIOLAS

Jane HazelwoodStuart JohnsonFelicity TsaiMaike-Karoline Drabe†Arabella Bozic†Andrea NgEmma FetherstonLaura CurottaLisa BucknellThomas Chawner

CELLOS

Fenella GillLeah LynnTimothy NankervisDavid WickhamWilliam Hewer†Adam Szabo Daniel PiniEslee HwangJack WardJia TangMee Na LojewskiRebecca ProiettoSamuel Payne

DOUBLE BASSES

Neil BrawleyDavid CampbellRichard LynnJosef Bisits†Hugh Kluger Matheuzs DiehlRobin Brawley

FLUTES

Janet WebbRosamund Plummer Alexander Nelson Dominique ChaselingJonathan HendersonKate Proctor

OBOES

Diana DohertyShefali PryorAlexandre OgueyJonathan Connolly Nicola Bell

CLARINETS

Lawrence DobellFrancesco CelataCraig WernickeAlexandra Carson†Lisa McCowage Nick EvansRowena Watts

BASSOONS

Matthew WilkieRoger BrookeChloe Turner† Mellissa Woodroffe

HORNS

Robert JohnsonBen JacksFrancesco Lo Surdo† Brendan Parravicini Bryan Griffi thsSharn McIver

TRUMPETS

Daniel MendelowJohn FosterColin Grisdale James PolackKen Allars

TROMBONES

Ronald PrussingScott Kinmont Christopher HarrisBen Lovell-GreeneMatthew McGeachin Mitchell Staines

TUBAS

Steve RosséMark Shearn

TIMPANI & PERCUSSION

Richard MillerRebecca LagosColin PiperAndrew Kut Chan Sophia Ang Tim Brigden

HARP

Jennifer Betzer

Italic = Sydney Symphony Mentor Musician† = Sydney Symphony Fellow

This list shows all the Sydney Sinfonia members and mentors for 2010. To see the orchestra lists for individual Discovery performances, please visit www.sydneysymphony.com/education/artist_development/sinfonia_2010 in the week of each concert.

Vladimir AshkenazyPrincipal Conductor andArtistic AdvisorK

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Michael DauthConcertmaster Chairsupported by the SydneySymphony Board and CouncilK

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Dene OldingConcertmaster Chairsupported by the SydneySymphony Board and CouncilK

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SALUTE

BRONZE PARTNER MARKETING PARTNERS

Vittoria Coffee Lindsay Yates & Partners 2MBS 102.5 Sydney’s Fine Music Station

PRINCIPAL PARTNER GOVERNMENT PARTNERS

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

The Sydney Symphony is assisted by the Commonwealth Government through the

Australia Council, its arts funding and advisory body

SILVER PARTNERS

GOLD PARTNERS

REGIONAL TOUR PARTNERS

PLATINUM PARTNERS MAJOR PARTNERS


SALUTE

Presenting Partner Education Program

Presenting Partner,Sydney Sinfonia

Sandra & Paul SalteriPrincipal Patrons of Richard Gill OAM,Artistic Director

SYDNEY SYMPHONY FELLOWSHIP PROGRAM PATRONS

Mrs Warwick Stenning Principal Patron

Robert Albert AO & Elizabeth Albert

Sandra & Neil Burns

Penny Edwards

Dr Bruno & Mrs Rhonda Giuffre

Mrs Tempe Merewether OAM

Greg & Kerry Paramor and Equity Real Estate Partners

June & Alan Woods Family Bequest

Tenix

ALLEGRO EDUCATION FUND

Brian Abel

Alan & Christine Bishop

Ian & Jennifer Burton

Robert & Alison Carr

Bob & Julie Clampett

THE PARTNER

Leighton Holdings is delighted to join with the Sydney

Symphony as Presenting Partner of the Sydney Sinfonia.

The Sydney Sinfonia’s unique structure and format drives a

dynamic culture of professional development and innovative

performance, benefi ting not only the young musicians involved

but also contributing to a greater understanding of classical

music within the community regardless of age.

Leighton Holdings’ corporate community investment

program is focused on developing long-term partnerships

with organisations that build Australia’s future skills base and

support excellence through arts and culture. We are proud

to support the current and future generations of talented

orchestral musicians as they entertain, educate and inspire us.

David Mortimer AO

Chairman, Leighton Holdings

PLAYING YOUR PART Richard Gill, the Sydney Symphony’s acclaimed educator and

musician, has worked with Australia’s leading musicians and

music teachers to create our innovative and world-renowned

Education Program. We bridge the gap between classroom and

concert hall by producing high quality resources and off ering

development programs to assist teachers, giving inspiring

concerts to school children and awarding fellowships to

postgraduate musicians.

To support our activities and help enrich our community with

the wonder of music, please contribute by making a donation.

Call Caroline Sharpen (02) 8215 4619, email [email protected] or write to Sydney Symphony, GPO Box 4972, Sydney NSW 2001

EDUCATION PROGRAMOur range of programs encourages people to respond to music

in a number of ways. They include: School Concerts for all

ages, with supporting educational materials and professional

development seminars for teachers; Playerlink and Regional Tours, bringing the orchestra to children in regional areas;

Sydney Sinfonia, tonight’s ensemble, providing a career pathway

and mentoring for emerging professional musicians; Sydney Symphony Sinfonietta, an elite ensemble drawn from the

Sinfonia to perform contemporary repertoire and nurture young

composers; Sydney Symphony Fellowship Program, providing

opportunities for young professional musicians to work closely

with the Orchestra and to enhance their skills through work on

chamber music repertoire; and Discovery, a concert series for

adults that examines how orchestral music works.

For more information email [email protected]

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