2 012 S E A S O N

Stravinsky Remembered Igor in Australia, 1961

Meet the MusicPresented by Ausgrid

Wed 7 March 6.30pmThu 8 March 6.30pm

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Welcome to the fi rst concert Meet the Music concert for 2012. The series is beginning with an especially exciting program that celebrates the visit of Igor Stravinsky to Australia in 1961. Tonight there are music-lovers in the audience who recall hearing Stravinsky’s Sydney concert as teenagers and young adults – a reminder that concerts connect us with history as well as with living music.

We’re delighted to welcome to Sydney the young German conductor Matthias Pintscher who, just as Stravinsky did in 1961, will be conducting music of his own. And Stravinsky himself is represented by the beautiful Firebird suite and his Violin Concerto, with Isabelle Faust making a welcome return to Sydney as soloist.

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

We’re also extremely proud of our partnership with the Sydney Symphony – sponsoring both the Master Series and Meet the Music. We are supporting the orchestra as a Community Partner, with the goal of bringing great music and exciting performances to an even wider audience.

In attending a Meet the Music concert, you join the ranks of music lovers whose enjoyment of music is continually enhanced by this series. We welcome you and trust you will fi nd tonight’s performance energising and illuminating.

WELCOME TO MEET THE MUSIC

GEORGE MALTABAROW Managing Director

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Thursday’s performance will be recorded by ABC Classic FM for broadcast across Australia on Saturday 17 March at 8pm.

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

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

Approximate durations: 16 minutes, 23 minutes, 20-minute interval, 8 minutes, 32 minutesThe concert will conclude at approximately 8.30pm.

Stravinsky Remembered: Igor in Australia, 1961Matthias Pintscher CONDUCTOR Isabelle Faust VIOLIN

Maurice Ravel (1875–1937)Mother Goose (Ma Mère l’Oye) – SuitePavane of the Sleeping BeautyTom Thumb (Petit Poucet)Laideronette, Empress of the PagodasConversations of Beauty and the BeastThe Magical Garden (Le Jardin féerique)

Igor Stravinsky (1882–1971)Violin ConcertoToccataAria IAria IICapriccio

INTERVAL

Matthias Pintscher (born 1971)towards Osiris – Study for orchestra

StravinskyThe Firebird: Suite (1945 version)Introduction – Prelude, Dance of the Firebird and VariationPantomime IPas de deux (The Firebird and Ivan Tsarevich)Pantomime IIScherzo (Dance of the Princesses)Pantomime IIIRound Dance of the Princesses (Khorovod) Infernal Dance Berceuse (The Firebird)Final hymnThe ten movements are played without pause

2012 season meet the musicpresented by ausgridWednesday 7 March, 6.30pmThursday 8 March, 6.30pmSydney Opera House Concert Hall

PRESENTING PARTNER

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ABOUT THE MUSIC

MAURICE RAVEL

French composer(1875–1937)

Mother Goose – Suite

Ravel’s Mother Goose suite is in fi ve movements, each one named for a fairy story. In the manner of a baroque suite, the music is infused with the spirit of the dance.

It begins with a tiny slumbering pavane, slow and courtly. There is a bustling march for the princess who has been turned into an ‘Ugly Little Girl’ – music that sounds as if it could be played on the black keys of a piano. A slow waltz in the style of Satie’s Gymnopédies is just right for conversation; and the suite ends with a nostalgic sarabande for a fairy garden. Tom Thumb is the odd one out: the perpetually shifting rhythmic metre that accompanies his bewildered wanderings would be impossible to dance to.

The suite was originally composed for piano duet and premiered in this form in 1910 (the same year as Stravinsky’s Firebird ballet). In 1911, Ravel made an orchestral version of the suite, and the following year he expanded it to create a ballet.

In transforming this music for orchestra, Ravel made subtle and sophisticated use of his instrumental colours: two fl utes (one doubling piccolo), two oboes (one doubling cor anglais), two clarinets, two bassoons (one doubling contrabassoon) and two horns; timpani, percussion and celesta; harp and strings.

Ravel was a virtuoso composer for orchestra, a master of magical eff ects. Listen for the twittering of the birds who eat Tom Thumb’s breadcrumb trail – no, don’t look at the fl utes, check out what the concertmaster is doing. And enjoy the clarinet and contrabassoon in their cameo roles as Beauty and the Beast.

‘Mother Goose’ is the apocryphal source for the great fairy tales and nursery rhymes that have been shared in Western countries since the 17th century. That’s when Charles

Navigating the suite

Transformation

Orchestral magician

Fairytales

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Perrault published his Tales of My Mother the Goose, with its stories of the Sleeping Beauty, Tom Thumb, and Beauty and the Beast.

Perrault was writing for adults, Ravel for children. His Perrault-inspired music radiates aff ection for children and a fascination with the world of childhood. In its original form, Mother Goose was intended not only for children to listen to, but for them to play: it was dedicated to two young pianists and another pair of children from the Paris Conservatoire had the honour of performing the piano duet premiere.

Ravel was the best-dressed of all the French composers of his day, and he delighted in collecting mechanical toys and exotic ornaments for his home. (‘Here,’ he would say to guests, ‘nothing but fake Chinese!) His music shows a corresponding enthusiasm for artifi ce, jewel-like surface detail, delicacy of expression and exotic eff ect.

As a boy he showed talent as a pianist, although his father (a Swiss engineer) had to bribe him to practise, and it was as a composer that he made his greatest contribution. Blessed with an ear for colour and instinct for orchestral eff ect, Ravel orchestrated many of his piano works.

About the composer

Meet the MusicMeet the Music is one of the Sydney Symphony’s longest-running concert series. It began in 1947 as the wildly popular Youth Concerts, distinguished by an age limit: only those under the age of 26 could attend. During the 1970s it was known as the 6.30 Series. The programming has long been characterised by its mix of old and new, popular and unfamiliar, local and international – a blend that has made it perfect for getting to know orchestral music in all its diversity. And for more than 30 years the series has been aligned with the orchestra’s Education program and a part of the lives of high school music students from all over Sydney.

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IGOR STRAVINSKY

Russian composer(1882–1971)

Violin Concerto

This concerto is in four movements rather than the usual three. Their titles hint at the neoclassical character of the music by referring to movement types from the 18th century and earlier. A toccata was originally a brilliant and rapid-fi re keyboard piece, designed to show off the performer’s ‘touch’ or technique, and Stravinsky’s features chugging, motoric rhythms. A capriccio was literally a ‘caprice’ – something lively and fanciful, free in character and form – and Stravinsky takes delight in the skilful manipulation of form, texture and relation between soloist and orchestra. An aria is a vocal form, which in this instrumental context points to the violin’s ability to sing and touch the emotions.

The concerto calls for an orchestra of two fl utes, piccolo, two oboes, cor anglais, two clarinets, the high-pitched E fl at clarinet, and three bassoons (one doubling contrabassoon); four horns, three trumpets, three trombones and tuba; timpani and strings. However, for the most part Stravinsky uses these large forces sparingly – for colour and eff ect rather than for sheer volume.

In 1929, Willy Strecker of Schott music publishers suggested that Stravinsky write a concerto for the young American violinist Samuel Dushkin. At fi rst Stravinsky hesitated; he was not sure of his capacity to write a full-length concerto for the instrument. But Strecker assured him that Dushkin would place himself fully at Stravinsky’s disposal to answer any technical questions. Stravinsky also consulted fellow composer Paul Hindemith who told him that not being a violinist himself might be an advantage. It would allow Stravinsky to ‘avoid a routine technique and give rise to ideas which would not be suggested by the familiar movement of the fi ngers’. (Stravinsky should also have known that some of the greatest concertos in the repertoire were written by non-violinists!)

Navigating the concerto

A concerto that ‘reeks of the violin’

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The violin being emblematic of romanticism, Stravinsky had tended to avoid it throughout the 1920s, during what is commonly described as his neoclassical period. The Symphonies of Wind Instruments and the Concerto for Piano and Winds, for example, had avoided the mellifl uous warmth of the violin sound. Stravinsky had used a solo violin before, in The Soldier’s Tale (1918), but there, as Richard Toop says, it ‘evokes the barn dance, not the concert hall’. Stravinsky admitted later that he was not inspired by the standard violin concertos – Mozart, Beethoven, Mendelssohn, or Brahms. But he was determined, he said, to write a concerto that reeked of the violin.

Samuel Dushkin recalls…During the winter I saw Stravinsky in Paris quite often. One day when we were lunching, Stravinsky took out a piece of paper and wrote down a chord...and asked me if it could be played. I had never seen a chord with such an enormous stretch, from the E to the top A, and I said ‘No’. Stravinsky said sadly ‘Quel dommage.’ (What a pity.) After I got home, I tried it, and, to my astonishment, I found that in that register, the stretch of the 11th was relatively easy to play, and the sound fascinated me. I telephoned immediately to tell him that it could be done. When the Concerto was fi nished, more than six months later, I understood his disappointment when I fi rst said ‘No’. This chord, in a diff erent dress, begins each of the four movements. Stravinsky himself calls it his ‘passport’ to that concerto.

One of the 20th century’s greatest and most infl uential composers, Igor Stravinsky was born in Russia, later adopting French and then American nationality. (He died in New York.) His style is similarly wide-ranging, from the exotic instrumental and harmonic colours of his ballet The Firebird to the transparency of his neoclassical style of the 1920s, with music such as the Violin Concerto and the ballet Apollo, which Stravinsky conducted here in Australia.

The composer Prokofi ev once described Stravinsky’s neoclassical music as ‘Bach with pockmarks’. It has also been called ‘wrong-note music’, on account of his practice of spicing otherwise conventional and Classical-sounding melodies and harmonies with unexpected notes.

The passport chord

About the composer

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towards Osiris – Study for orchestra (2005)

As a musical ‘study’, towards Osiris should be understood as an independent preparatory work, the ‘fi rst composed materials of a larger work’ that was completed later and premiered in 2008 – Osiris.

Matthias Pintscher describes the formal structure as consisting of ‘various stages of fragmentation and reanimation: the initial state of wholeness, the disintegration into separate parts and their reassembly and metamorphosis – a genuinely musical process’.

Listen for the subtle eff ects and delicate shadings characteristic of Pintscher’s style, which has been described as an ‘anachronism’, out of place in ‘the strident, loud world which surrounds us today’. This is a composer who isn’t afraid to ask a musician to crescendo from silence to the softest of dynamics (pppp!) and back to nothing.

towards Osiris calls for three fl utes (two doubling piccolo), two oboes, cor anglais, two clarinets, bass and contrabass clarinet, two bassoons and contrabassoon; four horns, three trumpets, three trombones and tuba; percussion, two harps, celesta, piano and strings.

During the initial stages of conceiving an orchestral piece that would eventually bear the title towards Osiris, I came across a work of Joseph Beuys from the 1970s which shows individual objects (pasteboard sewing patterns originally created for his sculpture Felt Suit) strewn in a free rhythmic sequence and mounted on a blank, untreated screen. Beyond the direct impression made upon me by this work, ‘Osiris’, it also inspired me to explore the Osiris myth and to trace its signifi cance over the centuries.

According to Egyptian myth, Osiris was tricked and killed by his brother Seth, and his corpse later torn into pieces and strewn throughout the world. His sister and spouse, Isis, gathered the pieces and revives them, and their son

MATTHIAS PINTSCHER

German composer(born 1971)

Navigating towards Osiris

The composer writes…

The Osiris myth

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Horus, who results from this union, later takes his revenge on Seth. Osiris thus becomes the god of both the afterlife and fertility, an embodiment of growth and decay, and an allegory for artistic creativity.

towards Osiris was composed in response to a commission from the Berlin Philharmonic for an ‘asteroid’, a companion piece for Holst’s Planets. Komarov’s Fall by Brett Dean was another of the commissioned asteroids.

Matthias Pintscher talks about Osiris on YouTube: bit.ly/PintscherOsiris

Osiris in the stars

The Firebird: Suite (1945)

Stravinsky’s 1945 revision of his Firebird ballet music is organised in ten continuous movements, which follow the original scenario, based on elements from Russian fairytales.

Ivan Tsarevich discovers the Firebird inside the walls of an enchanted garden. He captures her, and in their slow pas de deux she pleads for her release. Departing, she leaves a golden feather with Ivan as a token of gratitude. Thirteen princesses enter the garden and dance while playing with golden apples (Scherzo). The princesses are under the enchantment of Kashchei the Deathless, and one – the Princess Unearthly Beauty represented by a solo clarinet – soon has the watching Ivan under an enchantment of her own. In the third pantomime, Ivan reveals his presence in a noble horn solo and the princesses invite him to join in a traditional circle dance, a Khorovod, with an oboe theme based on a Russian folk tune.

When Ivan is captured by Kashchei, he calls on the Firebird, who casts Kashchei and his followers into a trance before hurling them headlong into the wild and menacing Infernal Dance. She moves among the exhausted dancers and charms them into a profound sleep (Berceuse). This ravishing movement suspends the descending four-note Firebird motif above a lyrical bassoon theme. While the

Navigating The Firebird

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others sleep, Ivan destroys the egg that holds Kashchei’s immortal soul, and the princesses and their petrifi ed lovers are released. In the fi nale, a horn theme is developed into a majestic hymn of thanksgiving with a virtuosic display of rich orchestral sonorities.

The unsettling harmonies from the beginning of The Firebird reveal from the outset Stravinsky’s debt to his teacher, Rimsky-Korsakov. Just as Rimsky-Korsakov had done in his later operas (including one on Kashchei the Deathless), Stravinsky uses harmonic language to distinguish between mortal and supernatural characters.

His music for mortals such as Ivan and the princesses is built from familiar major and minor scales. Often the themes are drawn from folk songs and dances. Meanwhile, the supernatural characters are portrayed through artifi cial scales, fl ourishing harmonies and highly chromatic music.

Stravinsky received the Ballets Russes commission for the Firebird ballet when he was still a young and relatively unknown composer. The gamble paid off for all concerned: the ballet, premiered in Paris in 1910, was a huge success, and its colourful and dramatic score became one of Stravinsky’s most popular creations.

But Stravinsky came to prefer his 1945 suite to the original ballet (which he described as ‘too long and patchy’) and it is this suite that Balanchine used for the New York City Ballet Firebird in 1949. Not only is it shorter, it also calls for a smaller orchestra: two fl utes (one doubling piccolo) and pairs of oboes, clarinets and bassoons; four horns, two trumpets, three trombones and tuba; timpani and percussion; harp, piano and strings.

The Firebird was only the starting point for the rapid stylistic journey that Stravinsky undertook with Diaghilev and the Ballets Russes. Following this fi rst success, Stravinsky completed the vastly divergent Petrushka and The Rite of Spring in rapid succession, taking his music into new realms that certainly surprised, and in some cases even frightened, its audiences. Indeed there were times throughout his career when Stravinsky became annoyed at well-wishers who lamented that he had abandoned the lush Romantic sounds of The Firebird so soon, and he was known to refer contemptuously to The Firebird as ‘the lollipop for audiences’.

Earthly vs supernatural realms

Big break, second thoughts

‘Lollipop’

Program notes adapted in part from notes by Yvonne Frindle (Mother Goose, Firebird), Gordon Kalton Williams (Violin Concerto) and Matthias Pintscher (towards Osiris).

SYDNEY SYMPHONY ©2012

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Matthias Pintscher CONDUCTOR

Matthias Pintscher sees his two main spheres of activity – composing and conducting – as entirely complementary. He has created signifi cant works for some of the world’s leading orchestras and regularly conducts throughout Europe and the United States. His early musical studies were in violin and conducting (as a student of Peter Eötvös); subsequently composing has taken a more prominent role in his life.

In 2010 he was appointed the BBC Scottish Symphony Orchestra’s fi rst-ever Artist-in-Association, a partnership that includes conducting concerts in both subscription and contemporary series. More recently he has conducted concerts with the New York Philharmonic, Milwaukee Symphony, Deutsches Symphonie Orchester Berlin, Stuttgart Radio Symphony Orchestra, and WDR Symphony Orchestra Cologne, as well as concerts in Paris, Madrid, Frankfurt and Darmstadt. He has also conducted the Cleveland Orchestra (where he was Composer-in-Residence 2000–02), St Paul Chamber Orchestra, Berlin Philharmonic, Tonhalle Orchester Zürich , Mahler Chamber Orchestra and BBC Symphony Orchestra, among others, and works regularly with contemporary music ensembles such as the Ensemble Modern, Ensemble Intercontemporain, Klangforum Wien and the International Contemporary Ensemble (ICE). In 2009 he directed the Melbourne Symphony Orchestra’s Metropolis Festival; this is his fi rst appearance with the Sydney Symphony.

Isabelle Faust VIOLIN

Isabelle Faust is a thoughtful and thought-provoking musician, known for her commitment to a diverse repertoire. Having founded a string quartet when she was just 11, her early experiences as a chamber musician have informed her musical approach: placing dialogue amongst musicians and the exchange of musical ideas at the heart of her interpretations.

Victory at the 1987 Leopold Mozart Competition, when she was 15, brought with it the prospect of a solo career, and in 1993 she won the Paganini Competition. Since then she has enjoyed international attention and appeared with many leading orchestras and conductors such as Jiˇrí Bˇelohlávek, Daniel Harding, Marek Janowski and Mariss Jansons. She made her Berlin Philharmonic debut in 2009 and will return to the orchestra in May for concerts with Claudio Abbado.Her discography reveals the range of her musical tastes – from Bach to Jolivet and Martin – as well as her interest in historical performance practices, refl ected in her recording of the Beethoven Violin Concerto. Her recent recording of the complete Beethoven sonatas with Alexander Melnikov received Gramophone and ECHO Klassik awards. Isabelle Faust’s most recent appearance with the Sydney Symphony was in 2009, when she performed the Mendelssohn concerto.

Isabelle Faust performs on the 1704 ‘Sleeping Beauty’ Stradivarius on generous loan to her from Germany’s L-Bank Baden-Württemberg.

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In 1910, Diaghilev of the Ballets Russes told the ballerina Karsavina: ‘Watch him closely. He is a man on the eve of celebrity.’ He was speaking of Igor Stravinsky, and as usual his judgement was impeccable. By the time Stravinsky visited Australian shores 51 years later, he was indeed a celebrity – the world’s most famous living composer.

Stravinsky was a man in the limelight. At an age when most of us would be thinking of retiring, he was still busy recording and touring; and composing. So it was quite a coup for the ABC to arrange for the great composer to visit Australia in 1961 to conduct his own music in Sydney and Melbourne.

STRAVINSKY IN AUSTRALIA, 1961

This is one of our favourite photos from the Stravinsky tour. Nothing says ‘He was here!’ like a stencilled double bass case.

John Painter was the principal cello in 1961 and an exposed phrase in The Firebird made him sweat. When Stravinsky mentioned the intonation wasn’t quite right, Painter complained that the phrase was written in an awkward part of the instrument. ‘I was young and foolish,’ he said in a recent interview, ‘…it was very good to have his side of it. It helped me a lot for the future.’ Painter promised to get it right by the show, which evidently he did – Stravinsky gave him a special round of applause at the end.

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Photos courtesy of ABC Document Archives

John Painter and Donald Hazelwood quotations sourced from articles by Julian Day (Limelight) and Harriet Cunningham (Sydney Morning Herald).

In the studio before the concert, Robert Craft did all the hard yakka, running coolly effi cient rehearsals with Stravinsky looking on. Sometimes the composer seemed to be asleep, but the musicians could tell he was listening to every note and he didn’t hesitate to jump in if things weren’t going the way he wanted.

‘Stravinsky was not all that wonderful as a conductor,’ says violinist Donald Hazelwood, ‘but that was beside the point.’ His stature as a composer and the aura of his personality made the difference. As cellist John Painter describes it, once he took to the podium, he ‘inspired everybody to play better than they really could.’

Stravinsky’s Sydney Program

Thursday 23 November 1961Sydney Town Hall

Pulcinella: SuiteSymphony in Three MovementsRobert Craft, conductor

* * * * * *ApolloThe Firebird: Berceuse and FinaleIgor Stravinsky, conductor

(In Melbourne the program included The Fairy’s Kiss, Symphonies of Wind Instruments and Jeu de cartes.)

One of Stravinsky’s first Australian impressions was of Sydney suburbia – from the air. Looking out the aeroplane window at the endless expanse of red-tiled rooftops, he observed, ‘Looks like impetigo.’

You couldn’t visit Australia and not meet the native fauna. Stravinsky’s music assistant, Robert Craft, holds the koala.

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MUSICIANS

Vladimir AshkenazyPrincipal Conductor and Artistic Advisor supported by Emirates

Dene OldingConcertmaster

Nicholas CarterAssociate Conductor supported by Premier Partner Credit Suisse

To see photographs of the full roster of permanent musicians and find out more about the orchestra, visit our website: www.sydneysymphony.com/SSO_musiciansIf you don’t have access to the internet, ask one of our customer service representatives for a copy of our Musicians flyer.

FIRST VIOLINSVesa-Matti Leppanen* Concertmaster

Sun Yi Associate Concertmaster

Fiona Ziegler Assistant Concertmaster

Julie Batty Amber Davis Georges LentzNicola Lewis Alexandra MitchellAlexander NortonFreya Franzen*Claire Herrick*Belinda Jezek*Elizabeth Jones*Martin Silverton*Dene Olding Concertmaster

Kirsten Williams Associate Concertmaster

Katherine Lukey Assistant Concertmaster

Jennifer Booth Brielle ClapsonSophie Cole Jennifer Hoy Léone Ziegler

SECOND VIOLINSMarina Marsden Kirsty Hilton Maria DurekShuti Huang Stan W Kornel Benjamin Li Nicole Masters Philippa Paige Biyana Rozenblit Maja Verunica Alexandra D’Elia°Emily Qin°Emma West Assistant Principal

Susan Dobbie Principal Emeritus

Emma Hayes Emily Long

VIOLASAnne-Louise Comerford Imants Larsens*Robyn Brookfield Sandro Costantino Graham Hennings Stuart JohnsonJustine MarsdenFelicity TsaiLeonid Volovelsky Tara Houghton°Roger Benedict Tobias Breider Jane Hazelwood

CELLOSLeah Lynn Assistant Principal

Timothy NankervisChristopher Pidcock David Wickham Mee Na Lojewski*Rowena Macneish°Adam Szabo°Rachael Tobin°Catherine Hewgill Kristy ConrauFenella Gill Elizabeth NevilleAdrian Wallis

DOUBLE BASSESAlex Henery Neil BrawleyPrincipal Emeritus

David Campbell Steven Larson Richard Lynn Benjamin Ward Kees Boersma David Murray

FLUTES Emma Sholl Carolyn HarrisRosamund Plummer Principal Piccolo

Janet Webb

OBOESShefali Pryor David Papp Huw Jones*Diana Doherty Alexandre Oguey Principal Cor Anglais

CLARINETSFrancesco Celata Christopher Tingay Craig Wernicke Principal Bass Clarinet

Lawrence Dobell

BASSOONSMatthew Wilkie Fiona McNamara Noriko Shimada Principal Contrabassoon

HORNSBen Jacks Lee BracegirdleEuan HarveyMarnie Sebire Robert Johnson Geoffrey O’Reilly Principal 3rd

TRUMPETSDavid Elton Paul Goodchild John FosterAndrew Evans*Anthony Heinrichs

TROMBONESRonald Prussing Nick Byrne Christopher HarrisPrincipal Bass Trombone

Scott Kinmont

TUBAEdwin Diefes*Steve Rossé

TIMPANIMark Robinson Assistant Principal

Richard Miller

PERCUSSIONRebecca Lagos Colin Piper Timothy Constable*John Douglas* HARP Louise Johnson Genevieve Lang*

KEYBOARDS Catherine Davis*Susanne Powell*

Bold = PrincipalItalics = Associate Principal * = Guest Musician ° = Contract Musician† = Sydney Symphony FellowGrey = Permanent member of the Sydney Symphony not appearing in this concert

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

Resident at the Sydney Opera House, the Sydney Symphony also performs in venues throughout Sydney and NSW. International tours have earned the orchestra worldwide recognition for artistic excellence, most recently in the 2011 tour of Japan and Korea.

The Sydney Symphony’s fi rst Chief Conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Zdenek Mácal, Stuart Challender,

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

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

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

THE SYDNEY SYMPHONY

Sydney Symphony BoardJohn C Conde ao ChairmanTerrey Arcus amEwen CrouchRoss Grant

Jennifer HoyRory JeffesAndrew KaldorIrene Lee

David LivingstoneGoetz RichterDavid Smithers am

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SYDNEY SYMPHONY PATRONS

Maestro’s CirclePeter Weiss am – Founding President & Doris WeissJohn C Conde ao – ChairmanGeoff Ainsworth am & Vicki AinsworthTom Breen & Rachael KohnIn memory of Hetty & Egon GordonAndrew Kaldor & Renata Kaldor aoRoslyn Packer aoPenelope Seidler amMr Fred Street am & Mrs Dorothy StreetWestfield GroupRay Wilson oam in memory of the late James Agapitos oam

Sydney Symphony Leadership EnsembleDavid Livingstone, CEO, Credit Suisse, AustraliaAlan Fang, Chairman, Tianda GroupMacquarie Group FoundationJohn Morschel, Chairman, ANZAndrew Kaldor, Chairman, Pelikan Artline

Lynn Kraus, Sydney Office Managing Partner, Ernst & YoungShell Australia Pty LtdJames Stevens, CEO, Roses OnlyStephen Johns, Chairman, Leighton Holdings,and Michele Johns

01 Roger Benedict Principal Viola Kim Williams am & Catherine Dovey Chair

02 Lawrence Dobell Principal Clarinet Anne Arcus & Terrey Arcus am Chair

03 Diana Doherty Principal Oboe Andrew Kaldor & Renata Kaldor ao Chair

04 Richard Gill oam Artistic Director Education Sandra & Paul Salteri Chair

05 Jane Hazelwood Viola Veolia Environmental Services Chair

06 Catherine Hewgill Principal Cello Tony & Fran Meagher Chair

07 Elizabeth Neville Cello Ruth & Bob Magid Chair

08 Colin Piper Percussion Justice Jane Mathews ao Chair

09 Shefali Pryor Associate Principal Oboe Rose Herceg Chair

10 Emma Sholl Associate Principal Flute Robert & Janet Constable Chair

For information about the Directors’ Chairs program, please call (02) 8215 4619.

Directors’ Chairs

01 02 03 04 05 06 07 08 09 10

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PLAYING YOUR PART

Platinum Patrons$20,000+Brian AbelGeoff Ainsworth am & Vicki Ainsworth

Robert Albert ao & Elizabeth AlbertTerrey Arcus am & Anne ArcusTom Breen & Rachael KohnSandra & Neil BurnsMr John C Conde aoRobert & Janet ConstableDr Bruno & Mrs Rhonda GiuffreIn memory of Hetty & Egon GordonMs Rose HercegMrs E HerrmanMr Andrew Kaldor & Mrs Renata Kaldor ao

D & I KallinikosJames N Kirby FoundationJustice Jane Mathews aoMrs Roslyn Packer aoDr John Roarty oam in memory of Mrs June Roarty

Paul & Sandra SalteriMrs Penelope Seidler amMrs W SteningMr Fred Street am & Mrs Dorothy Street

Mr Peter Weiss am & Mrs Doris Weiss

Westfield Group Mr Brian & Mrs Rosemary WhiteRay Wilson oam in memory of James Agapitos oam

Kim Williams am & Catherine DoveyJune & Alan Woods Family BequestAnonymous (1)

Gold Patrons$10,000–$19,999Alan & Christine BishopIan & Jennifer BurtonMr C R AdamsonThe Estate of Ruth M DavidsonThe Hon. Ashley Dawson-DamerFerris Family FoundationJames & Leonie FurberMr Ross GrantHelen Lynch am & Helen BauerMrs Joan MacKenzieRuth & Bob MagidMrs T Merewether oamTony & Fran MeagherMr B G O’ConorMrs Joyce Sproat & Mrs Janet CookeMs Caroline WilkinsonAnonymous (2)

The Sydney Symphony gratefully acknowledges the music lovers who donate to the orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs. Donations of $50 and above are acknowledged on our website at sydneysymphony.com/patrons

Silver Patrons$5,000–$9,999

Mark Bethwaite am & Carolyn BethwaiteJan BowenMr Alexander & Mrs Vera BoyarskyMr Robert BrakspearMr Robert & Mrs L Alison CarrBob & Julie ClampettIan Dickson & Reg HollowayMr Colin Draper & Mary Jane Brodribb Penny EdwardsMichael & Gabrielle FieldMr James Graham am & Mrs Helen Graham

Mrs Jennifer HershonMichelle Hilton Stephen Johns & Michele BenderJudges of the Supreme Court of NSW Mr Ervin KatzGary LinnaneMr David LivingstoneWilliam McIlrath Charitable FoundationDavid Maloney & Erin FlahertyEva & Timothy PascoeRodney Rosenblum am & Sylvia Rosenblum

Manfred & Linda SalamonThe Sherry Hogan FoundationDavid & Isabel SmithersIan & Wendy ThompsonMichael & Mary Whelan TrustDr Richard WingateJill WranAnonymous (1)

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ORCHESTRA NEWS |MARCH 2012

‘I don’t do my hair. I don’t own a brush.’ Chris Harris’ voice comes crackling down the line as he explains the dishevelled hairstyle he’s sporting in his photo. ‘Yeah, I took that photo myself.’ It’s an intense gaze that’s staring back, wouldn’t you agree? It somewhat belies the musician. Or does it?

Principal bass trombone of the Sydney Symphony, Chris speaks straight and true. ‘I chose the bass trombone because it was the one shiny “instrument of choice” at school that wasn’t being used.’ School was in South Africa. ‘I’d already played normal [tenor]

trombone, but the bass made a bigger and warmer sound. I immediately had a “thing” for it.’ For a beginner on the trombone, the quality of an instrument is important. ‘It’s an instrument that’s very easily damaged by kids. If you put a ding in the slide and it doesn’t work properly, that can make a huge difference. The mechanism has to work.’

Luckily for beginner-Chris, his school instrument was no obstacle to success. Now a member of the Sydney Symphony for 18 years, Chris describes his role in the orchestra: ‘In the section, I’m in

a very close partnership with the tuba. We often play in unison, or in octaves.’ The bass trombone acts like a link between the rest of the trombones and the tuba. ‘It’s a team thing. The bass trom-bone has a much more direct sound than the tuba, which is more enveloping, and warm and fuzzy.’ Overall, the brass section is responsible for rhythmic drive and harmonic foundation. ‘The trombone adds an amazing bril-liance of colour to the bottom end of the sound.’

Unsurprisingly, composers like Mahler and Wagner hold a special place in Chris’ affections, from the quiet, sublime chorales to the incredibly powerful passages of emotion. ‘But Mozart also wrote beautifully for the trombone – it’s really nicely voiced. There’s always a nice ring to the sound. I love playing Mozart.’

‘The hardest thing about my job is whatever you do, you’re always going to be heard. And the easy things are the hardest things to do well, like delicate moments after long periods of not playing.’

So how does Chris relax? Well, the hairstyle sa ys it all really – surfi ng of course!

❝I immediatelyhad a ‘thing’for it.

❞

CHRISTOPHER HARRIS

For Principal Bass Trombone Chris Harris, playing his instrument is a team thing.

Shiny instrument of choice

CH

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TOP

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Proud sponsor of theSydney Symphonyin their 80th yearof timeless entertainment

Orchestra OnlineHISTORICAL TIMELINEOne of our 80th anniversary celebration projects in 2012 is the development of an interactive historical timeline that will show our history in images, documents, audio and video since 1932 and into the future. Our plan is to give our community and the world at large a way to discover more about land-mark Sydney Symphony events and performances and some of the personalities who’ve shaped the orchestra over the generations.

The timeline will be launched with our new website later this year and we’ll be adding more detail in the future.

Audience members and former musicians are invited play a part in building this timeline into a rich and valuable resource. So if you know of any events, images or stories that you think should be part of the timeline and would like to contribute, visit sydneysymphony.com/80years/timeline_contributions for more information.

Your SayBirthday Greetings from FacebookHappy birthday Sydney Symphony! Only two years younger than me. I have been dating you since we were both teenagers in the 70s and the attraction has never worn off.Janet Dixon-Hughes

Beethoven 9 – from the surveys‘This was the most amazing performance of Beethoven’s Ninth. It was a brilliant event. Just magic. Congratulations Vladimir for being a brilliant conductor and a warm human being.’

‘The performance was something that will remain in my memory for many moons!! I will certainly be back for more!!’

‘We had one of the most memorable nights, the choir was magnifi cent. We are looking forward to attending more often – thank you.’

And we’re only guessing, but suspect that there were some younger ‘groovers’ in the audience that week: ‘It was totally awesome. The Sydney Symphony should do more with the Sydney Philharmonia Choir. It was completely awesome.’

We like to hear from you. Write to yoursay@sydneysymphony.com or Bravo! Reply Paid 4338, Sydney NSW 2001.

Celebrating after the gala performance of Beethoven 9: the Sydney Symphony’s patron (and one of our loyal concertgoers), Her Excellency Professor Marie Bashir AC CVO, Governor of NSW (left), with Squadron Leader David Glasson ADC and Patricia Lovejoy.

We celebrated the beginning of the 2012 season in February with a gala performance of Beethoven’s Ninth Symphony conducted by Vladimir Ashkenazy. In the thrilling fi nale to the evening we were joined by Sydney Philharmonia Choirs in fi ne form and soloists Lorina Gore, Sally-Anne Russell, James Egglestone and Michael Nagy.

Community Focus

George Maltabarow (left), Managing Director of Ausgrid, wishing the Sydney Symphony a happy birthday after our recent Beethoven 9 concerts – with Janet Webb, Principal Flute, and Amanda Maltabarow (right).

COMMUNITY TIXOne long-standing Sydney Symphony partner has devised a new program to help bring great orchestral music to the wider community.

Do you remember your fi rst symphony orchestra concert? Perhaps someone helped you give orchestral music a try – a relative, a friend, a teacher – and that’s why you’re part of the Sydney Symphony community today.

Or was there, perhaps, a low-level anxiety in handing over precious pennies saved for your ticket? What if you didn’t enjoy it? Value for money has always been important. Wouldn’t it be great if you could ‘try before you buy’?

Ausgrid’s community partner-ship with the Sydney Symphony means you can do just that. Under the new Community Tix program, 80 people will be able to head along to a Masters Series or Kaleidoscope concert at a discounted rate before choosing to buy a subscription, the classical equivalent of a season pass.

Coinciding with the Sydney Symphony’s 80th birthday, the Community Tix program provides two-for-one priced tickets to the fi rst 40 people who enter each month on the Sydney Symphony website. Details will be advertised in community newspapers each month.

Ausgrid Managing Director George Maltabarow said its partnership with the Sydney Symphony was designed to help more people gain access to the arts.

“We are very proud to provide direct support to the Orchestra so it can continue to enrich the lives of so many Australians,” Mr Maltabarow said.

The fi rst concert to feature in the Community Tix program is When I Fall in Love: An Evening with Chris Botti, which opens the Kaleidoscope series in mid-March.

Visit sydneysymphony.com/communitytix for more information

Nothing but the pianoEach season the Sydney Sym-phony presents four concerts that don’t involve the orchestra at all. The series is International Pianists in Recital, supported by Theme & Variations, and it presents four leading pianists in programs drawn from the rich repertoire of music for solo piano – just one musician, seated at the ‘monarch of instruments’, painting pictures for the ears and taking us on astonishing musical journeys. The series has a dedi-cated following, often fi lling the 1200-seat City Recital Hall at Angel Place. What’s the attrac-tion?

First there are the individual artists: from brilliant newcom-ers, such as Behzod Abduraimov, making his Australian debut this year, to pianists well-known to Sydney audiences, such as Piers Lane. Then there are the pro-grams. Our recitalists bring all their imagination and musical insight to planning their pro-grams. For some the motivation is a desire to tell stories in music, others make programs that are historically illuminating, some will choose a monumental work that fi lls the entire evening. Others, such as Abduraimov, take the Mozartian approach: fi nding the perfect balance between appealing to connoisseurs and simply allowing everyone in the hall (performer included!) to have fun and enjoy all the brilliant possibilities of the piano.

Behzod Abduraimov Mon 26 March | 7pmAndreas Haefl igerMon 14 May | 7pmPiers LaneMon 20 August | 7pmAngela HewittMon 24 September | 7pm

The Score

Behzod Abduraimov

INSTRUMENT ACQUISITION

Late last year we received another signifi cant donation towards our Sydney Symphony String Instrument Fund. This will allow the purchase of another violin and cello to improve, and better match, the overall sound of our string section. Various international violinmakers in London and Chicago have helped us source 11 violins and four cellos to ‘audition’ in the orchestra. Each instrument is identifi ed only by a number, ensuring greater impartiality in the assessment process – think of it as the instrument equivalent of a blind tasting. Stay tuned for more news about our fi nal selection.

ANNIVERSARY COMPOSITION PRIZE WINNER

At the end of February we announced the winner of our 80th anniversary composition prize: Elliott Gyger. His prize-winning work, on air, dialogue for orchestra, was inspired by a photograph of the Australian Broadcasting Commission’s fi rst studio orchestra

(just 17 musicians), and celebrates the Sydney Symphony’s origins and close links to broadcasting. Vladimir Ashkenazy will conduct the premiere performances on 22, 23 and 24 March in our Fireworks and Fantasy program.

BIRTHDAY GREETINGS

Music-loving celebrities from Australia and abroad have been wishing us happy birthday via YouTube. So far, the videos include greetings from Hugh Jackman, Roger Federer, Andrew Denton, Peter Sculthorpe and John Bell, with videos from Katie Noonan, Eddie Perfect and others still to come. Check out the full playlist here: bit.ly/HappyBirthdaySSO

NEW ARRIVALS

Sydney Symphony trumpeter Anthony Heinrichs and his wife Bridget Bolliger welcomed a son, Luca Raphael, into the world on 31 January. And cellist Tim Nankervis and wife Jacqui were also delighted to announce the arrival of their little girl Mietta Susan on 2 February. Congratulations all!

LEADERSHIP ENSEMBLE

We welcome new Leadership Ensemble members James Stevens, CEO of Roses Only; Shell (Australia); Stephen Johns, Chairman of Leighton Holdings and Michele Johns.

SSONIC

In February we launched a brand new program for music lovers under 35 – SSONIC. If you or someone you know fi ts the bill, the program offers the chance to experience Sydney Symphony concerts in a fresh way. The prices are unbeatable and the packages offer fl exibility to suit a youthful lifestyle. Find out more on our website: sydneysymphony.com/ssonic

OBOE MASTERCLASS

Last month, two oboists from our Emerging Artist Program played in a masterclass with François Leleux, who was in town to perform in a pair of concerts with the Sydney Symphony. Rachel Cashmore (2012 Oboe Fellow) and Sinfonia member Toby Thatcher both benefi ted from François’ expert guidance and his unfl agging energy. Members of the Australian Double Reed Society were also present.

CODA

BRAVO EDITOR Genevieve Lang sydneysymphony.com/bravo

SYDNEY OPERA HOUSE TRUSTMr Kim Williams AM (Chair)Ms Catherine Brenner, Rev Dr Arthur Bridge AM, Mr Wesley Enoch, Ms Renata Kaldor AO, Mr Robert Leece AM RFD, Ms Sue Nattrass AO, Dr Thomas (Tom) Parry AM, Mr Leo Schofi eld AM, Mr Evan Williams AM

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