Greatest hits from

V IENN A

PRESENTING PARTNER VIENNA TOURIST BOARD

Wednesday 4 February 2015

*Selected performances. Booking fees of $5.00–$8.50 may apply. ^Additional fees may apply.

concert diary

Mozart at the OperaDramatic arias and overtures by Mozart.

Dene Olding violin-director Fiona Campbell mezzo-soprano

Mozart in the City

Thu 5 Feb 7pmCity Recital Hall Angel Place

Pre-concert talk by David Garrett

Schumann 1 & 2 Tetzlaff & MendelssohnSCHUMANN Symphony No.2 SCHUMANN Symphony No.1 (Spring)MENDELSSOHN Violin Concerto in E minor

David Robertson conductor Christian Tetzlaff violin

APT Master Series

Wed 11 Feb 8pmFri 13 Feb 8pm Sat 14 Feb 8pmPre-concert talk at 7.15pm

Schumann 3 & 4 Tetzlaff & WidmannSCHUMANN Symphony No.4 WIDMANN Violin Concerto australian premiere SCHUMANN Symphony No.3 (Rhenish)

David Robertson conductor Christian Tetzlaff violin

Mondays @ 7

Mon 16 Feb 7pmPre-concert talk at 6.15pm

Robertson conducts La Mer Before and after BoulezBOULEZ Rituel in memoriam Bruno Maderna LENTZ Jerusalem (after Blake) australian premiere DEBUSSY La Mer

David Robertson conductor

Meet the Music

Wed 18 Feb 6.30pmPre-concert talk at 5.45pm

Schumann 3 & 4 LENTZ Jerusalem (after Blake) SCHUMANN Symphony No.4* SCHUMANN Symphony No.3 (Rhenish)*

David Robertson conductor

Tea & Symphony

Fri 20 Feb 11am*Complimentary morning tea from 10am

Great Classics

Sat 21 Feb 2pmPre-concert talk at 1.15pm

Discover BeethovenBEETHOVEN Symphony No.2

Richard Gill conductor SSO Sinfonia

DownerTenix Discovery

Tue 24 Feb 6.30pmCity Recital Hall Angel Place

CLASSICAL

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WELCOME

On behalf of the Vienna Tourist Board, which this year is once again proud to be a partner of the Sydney Symphony Orchestra, I would like to welcome you to an exclusive evening devoted entirely to Vienna, the ‘capital of music’!

Greatest Hits from Vienna offers Sydney an unforgettable

classical music experience spanning the gap between past

and present with a very special inaugural event: for the first

time, a professional music ensemble will project its concert

live onto the sails of the Sydney Opera House, bringing

Vienna to an even larger audience on the Sydney foreshore.

It is only in Vienna that you can get even closer to the

Strauss waltz kings, Mozart, Schubert, Beethoven and

many other celebrated composers. In no other city have so

many famous musicians lived and worked as in the world’s

capital of music. Countless orchestras and the Vienna Boys’

Choir set the tone at the very top, while the Vienna State

Opera and the golden hall of the Musikverein are among the

world’s finest performance venues.

We have a living tradition in Vienna, with some ten

thousand music lovers listening to live classical music

every day – more than in any other city in the world.

I cordially invite you to experience Vienna’s musical appeal

for yourself when you visit our city!

I wish you an enjoyable concert evening!

Norbert Kettner Managing Director, Vienna Tourist BoardP

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GREATEST HITS FROM VIENNAOla Rudner conductor Elisabeth Flechl soprano

FRANZ SCHUBERT (1797–1828) Rosamunde Overture

WOLFGANG AMADEUS MOZART (1756–1791) ‘Mi tradi quel’alma ingrata’ (That ungrateful soul betrayed me) – Aria from Don Giovanni

LUDWIG VAN BEETHOVEN (1770–1827) Finale from the ballet The Creatures of Prometheus

FRANZ LEHÁR (1870–1948) ‘Liebe, du Himmel auf Erden’ (Love, heaven on earth) – Aria from Paganini

JOHANNES BRAHMS (1833–1897) Hungarian Dance No.4 orchestrated by Paul Juon

INTERVAL

FRANZ VON SUPPÉ (1819–1895) Overture to Morning, Noon and Night in Vienna

JOHANN STRAUSS II (1825–1899) Overture to Die Fledermaus

‘Klänge der Heimat’ (Sounds from Home) – Czárdás from Die Fledermaus

Artist’s Life – Waltz

Egyptian March

‘Grüß dich Gott, du liebes Nesterl’ (Greetings, my lovely little nest) – Entrance of the Countess from Wiener Blut

JOSEF STRAUSS (1827–1870) Ohne Sorgen! (Without a Care!) – Polka arranged by Max Schönherr

STRAUSS II By the Beautiful Blue Danube – Waltz

WEDNESDAY 4 FEBRUARY 2015, 8PM

SYDNEY OPERA HOUSE CONCERT HALL

Visions of Vienna Footage of the second half of tonight’s performance will be projected live on the sails of the Sydney Opera House together with an audio relay to listeners at Campbell’s Cove and a worldwide webcast. visions.vienna.info

Estimated durations: 40 minutes, 20-minute interval, 80 minutes The concert will conclude at approximately 10.20pm

PRESENTED BY

Clockwise from top: Ludwig van Beethoven, Johann Strauss II, Franz Lehár, Franz Schubert (in Gustav Klimt’s turn-of-the-century vision) and Wolfgang Amadeus Mozart – these are just some of the figures who bring us

tonight’s Greatest Hits from Vienna

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ABOUT THE MUSIC

Greatest Hits from ViennaVienna. The city of the schnitzel, the pastry and the coffee house. The city of Freud, Klimt and Wittgenstein. The city of elaborate palaces, cosy Biedermeier architecture and Adolf Loos’ ‘house without eyebrows’. The city of Mozart, Beethoven, Schubert and Brahms. And, above all, the city of the Waltz Kings!

The musical influence of Vienna extends far beyond the gracious Ringstraße. For several centuries the large and powerful Austrian empire gave Vienna political as well as cultural clout. When Mozart began chafing under his employment in Salzburg and got himself kicked out (literally), Vienna was his destination. In the 19th century Beethoven and Brahms were among the composers who flocked to the city, joining native geniuses such as Schubert and keeping Vienna firmly on the musical map. But these composers represent the Vienna of the concert hall. There is another Vienna, the Vienna of the ballroom, embodied above all by the sophisticated and timeless appeal of Johann Strauss II, the Waltz King. Tonight we visit both Viennas in music.

CLASSICAL VIENNA

Tonight’s concert begins in ‘classical’ Vienna, with music by composers who provide the staple repertoire of modern orchestras everywhere. Mozart, Beethoven, Schubert and Brahms differ from the Waltz Kings in one crucial respect: they wrote symphonies – music you sit down to listen to. But are those composers so very far in spirit from Strauss?

Perhaps not. As you’ll hear tonight, in addition to those mighty symphonies, they also inhabited the world of the ballroom and the stage. Franz Schubert was popular with his friends not least because you could invite him to a party and he’d sit at the piano and improvise dance music all night long. Those instincts are revealed in the lively, lilting themes of his so-called ‘Rosamunde’ Overture – actually written for a melodrama called The Magic Harp in 1820 but now indelibly associated with the music he later composed for the play Rosamunde, Princess of Cyprus.

Beethoven’s forays into the theatre included the score for a ‘heroic and allegorical’ ballet by the Italian dancer Salvatore Viganò. Produced in Vienna in 1800, The Creatures of Prometheus conflated the myth of Prometheus, who

The Viennese traditionally live in two countries. One is on the map. The other is the imaginary region where wine flows, love triumphs, and everything is silk-lined. This is the land of the waltz.

HANS FANTEL IN JOHANN STRAUSS: FATHER AND SON AND THEIR ERA

Johann Strauss II – the Waltz King (Josef Kriehuber, 1853)

Albertina

At this very moment a couple is havinga magical time in Vienna. And you?

WIEN-HOTELS & INFO info@vienna.infoTEL. +43 (0) 1 24 555WWW.VIENNA.INFO

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snatched fire from the sky, with that of Pygmalion, the sculptor whose statue came to life. Prometheus uses the fire to fashion a man and a woman from clay but they resist all his efforts to make them human, stubbornly remaining inert. He is about to destroy his handiwork when the god Pan persuades him to lead them to Mount Parnassus, where they are educated by Apollo, Orpheus and the Muses. Acquiring the ability to think and feel, they begin to appreciate the beauty of nature and the civilising influences of music and dance.

In Beethoven’s mind, the character of Prometheus was identified with the young Napoleon, the defender of ‘liberty, equality and fraternity’. In the finale of the ballet, a theme which could almost be called the refrain of Beethoven’s young manhood makes an early appearance. It is a theme associated with heroism, making its most memorable appearance in his Eroica Symphony.

As for Mozart, he was equally at home in the ballroom and on the stage, and more than once brought the two worlds together. As early as 1787, the ballroom scene in his opera Don Giovanni put the fledgling waltz firmly in its place: while the aristocratic guests trace the intricacies of the old-fashioned minuet and the Don and Zerlina enjoy a contredanse, Leporello

The young Beethoven, from a miniature by Christian Horneman (1802)

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and Masetto – at the bottom of the social ladder – dance a waltz (although Mozart himself would most likely have thought of it as the waltz’s rustic predecessor, the Ländler).

Elvira is among the masked aristocrats in that scene, but she’s there for vengeance, not the party – one of the Don’s many abandoned conquests. In the dramatic scene that Mozart added for her in Act II, she veers between fury and pity…

Brahms is the fourth of tonight’s Viennese ‘classics’. He was a contemporary of Johann Strauss II, but enjoyed little of the popular success that makes composers not only famous but rich. He once wrote under the opening notes of Strauss’s Blue Danube Waltz: ‘Unfortunately not by Brahms’! But among the notable exceptions were his 21 Hungarian dances. Once the first ten were published in their original piano duet versions in 1869 they carried Brahms’s name around the world, The Sydney Morning Herald noting in 1884 that ‘to many in Australia Brahms is known only in connection with these dances’.

Brahms introduced those first Hungarian dances to his publisher as ‘genuine gypsy children, which I did not father, merely raised on bread and milk’. He was essentially admitting that they were arrangements, in many instances drawn from melodies he’d learned while touring as piano accompanist to the violin virtuoso Edouard Reményi. The publisher conveniently

In quali eccessi, o Numi, in quai misfatti orribili, tremendi è avvolto il sciagurato! Ah no! non puote tardar l’ira del cielo, la giustizia tardar. Sentir già parmi la fatale saetta, chi gli piomba sul capo! Aperto veggio il baratro mortal!... Misera Elvira! che contrasto d’affetti in sen ti nasce! Perchè questi sospiri? e quest’ambascie?

Mi tradì quell’alma ingrata, Infelice, o Dio!, mi fa. Ma tradita e abbandonata, Provo ancor per lui pietà. Quando sento il mio tormento, Di vendetta il cor favella; Ma, se guardo il suo cimento, Palpitando il cor mi va.

LORENZO DA PONTE

In what excesses, O Heavens, In what horrible, terrible crimes The wretch has involved himself! Ah no! The wrath of Heaven cannot delay, Justice cannot delay. I already sense the fatal bolt Which is falling on his head! I see the mortal abyss open!… Unhappy Elvira! what a conflict of feelings Is born in your breast! Why these sighs? And these pains?

That ungrateful soul betrayed me, O God, how unhappy he made me! But, though betrayed and abandoned, I still know pity for him. When I feel my suffering, My heart speaks of vengeance; But when I see the danger he’s in, My heart beats for him.

ENGLISH TRANSLATION BY JANE BISHOP

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glossed over this fact, and among the unacknowledged contributors was N Mérty, whose Kalocsai emlék (a czárdás) provided the sultry opening theme as well as one of the livelier motifs in the moody and impassioned Hungarian Dance No.4.

Nowadays – following Bartók’s and Kodály’s pioneering work collecting genuine folk material – it’s apparent that much of what Brahms and his 19th-century contemporaries considered ‘gypsy’ music was in fact popular music of the middle classes. But regardless of its authenticity, the seductive and exciting ‘style hongrois’ was wildly popular throughout the Austro-Hungarian empire. It’s no accident that Strauss’s Die Fledermaus includes a czárdás among its most successful numbers. And while the style of Strauss and his followers is vastly different to that of Mozart or Beethoven, the dancing rhythms, the tuneful melodies and the irresistible impulse of their creations are shared qualities. There might be two Viennas  – the Vienna of Mozart, Beethoven and Brahms, and the Vienna of the Waltz Kings – but there are masterpieces to be found in both and the border between them is a porous one.

Brahms (standing) with violin virtuoso Edouard Reményi

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SONG AND DANCEHypnotic waltz, sultry folk, (with a touch of Flamenco) and beautiful orchestral music. If we inspired you tonight let us inspire you again with:

RAVEL Valses nobles et sentimentalesCANTELOUBE Songs of the Auvergne: Set 1 FALLA orch.Berio Seven Popular Spanish SongsR STRAUSS Der Rosenkavalier: Suite

Daniela Mack mezzo-soprano (pictured)

Thu 12 Mar 1.30pm Fri 13 Mar 11am

Complimentary morning tea from 10am

Mon 16 Mar 7pm

*Booking fees of $7.50 – $8.95 may apply.

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CALL 8215 4600 MON-FRI 9AM-5PM

BOOK NOW TICKETS FROM $39*

TICKETS ALSO AVAILABLE AT SYDNEYOPERAHOUSE.COM 9250 7777 MON-SAT 9AM-8.30PM SUN 10AM-6PM

Ward Stare conductor

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WALTZING VIENNA

As the young settlement of Sydney was beginning to thrive and grow at the end of the 18th century, in Europe the waltz was making its way up the social ladder and transforming itself from the earthy Ländler danced in hobnail boots on any piece of flat ground, to the whirling, maelstrom of a dance, strictly for satin slippers and polished floors.

The creation of the Viennese waltz is attributed to Joseph Lanner (1801–1843). As a 12 year old he joined Vienna’s leading dance orchestra, playing Ländlers and waltzes, at 17 he formed his own ensemble, and soon recruited the 15-year-old Johann Strauss I. These underage musicians were destined to revolutionise dance halls everywhere, bringing new sophistication of expression, charm and verve to the classic dance in three-four time.

When he came of age in 1825, Strauss formed his own orchestra and the waltz came of age with him. His peers – composers in more rarefied genres – recognised the brilliance of his dance music. ‘Strauss and his waltzes obscure everything else,’ declared Chopin; the young Wagner described him as ‘the magic fiddler, the genius of Vienna’s innate musical spirit’.

Strauss senior soon began touring, taking the Viennese waltz beyond Austrian borders. In Paris he caused a sensation, and Berlioz (wearing his music-journalist hat) wrote of ‘the fire, the

While Strauss intones trembling preludes… the Viennese tucks his girl in his arm and in the strangest way the sway themselves into the measure…then suddenly the resounding trill rings out, the actual dance begins with whirlwind rapidity and the couple hurls itself into the maelstrom.

HEINRICH LAUBE (GERMAN PLAYWRIGHT)

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The Blue Danube Waltz swept the world: in ballrooms, in concert halls and in homes, where piano arrangements such as this were popular

intelligence, and poignant rhythmic coquetry’ of his music. Among Strauss’s French souvenirs were two new dances: the quadrille and the French, or quick, polka. But of all his contributions to dance music, the most popular is the obligatory encore to every Viennese program, the Radetzky March.

As it turned out, Strauss dynasty was in the right place at the right time. Father Johann Strauss ensured that his dance band was at the forefront of the waltz craze, and although he resisted their musical aspirations, his sons Johann, Josef and Eduard carried it on to new heights. But the undisputed Waltz King was Johann Strauss II, and the best-loved waltzes and polkas came from his pen.

VIENNA IN SONG

When they weren’t dancing the night away, the youth of Vienna – and their elders too – flocked to the theatres where they could hear the latest operettas. Franz von Suppé was one of the first Viennese composers to create local operetta following the success of Jacques Offenbach, and he wrote 31 light-hearted and melodious works for the stage. Nowadays his reputation survives primarily through his overtures, including the typically sparkling one written for Morning, Noon and Night in Vienna.

Often there was little to distinguish between the two genres:

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Klänge der Heimat, ihr weckt mir das Sehnen, rüfet die Tränen ins Auge mir! Wenn ich euch höre, ihr heimischen Lieder, zieht mich’s wieder, mein Ungarland, zu dir!

O Heimat so wunderbar, wie strahlt dort die Sonne so klar! Wie grün deine Wälder, wie lachend die Felder, O Land, wo so glücklich ich war! Ja, dein geliebtes Bild meine Seele so ganz erfüllt, dein geliebtes Bild!

KARL HAFFNER AND RICHARD GENÉE

Sounds of my homeland, you arouse my longing, bring tears to my eyes. When I hear you, you native songs, I am drawn back my Hungary, to you!

O wonderful homeland, there shines the sun so clear! How green are your forests, how your fields laugh, O land where I was so happy! Yes, your beloved image fills my soul completely, your beloved image.

many of Strauss junior’s 16 operettas were based on his ballroom music, and some of his waltzes featured singing. By the Beautiful Blue Danube began life as a choral waltz for male voices, admittedly with silly satirical lyrics about the new electric arc lights in Vienna. The choir nearly revolted and it was practically a failure – only one encore instead of the usual three! Strauss lost no time in dispensing with the words, resulting in the flowing, symphonic waltz that Brahms always wished he had written.

In its orchestral form the Blue Danube Waltz swept the world, with premieres in Vienna, Paris, New York and London within the space of six months in 1867. Strauss’s publisher, Spina, made a fortune, selling a million copies; Strauss received just 150 guilders.

Even though Strauss was hugely popular in the ballroom, many of his operettas were virtual flops because he was a poor judge of librettos. Die Fledermaus (‘The Bat’, 1874) was the exception and has never waned in popularity. It was composed in just 43 days to a complicated but hilarious libretto filled with practical jokes, an eight-day jail sentence for abusive language to a policeman, infidelities, disguises and mistaken identities. Nothing is as it appears, but Rosalinde’s Czárdás (Sounds of my homeland) is all the proof you should need that this ‘Hungarian countess’ is the genuine article. In fact, this song had already been performed at a charity concert before the composition of the operetta. Disguising Rosalinde as a Hungarian at Count Orlofsky’s party was simply a ploy for introducing this characteristic dance-song into the plot.

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In Wiener Blut (loosely translated as ‘Viennese Spirit’) a real Countess makes her entrance to similarly recycled music – perhaps you’ll recognise it as the Morning Papers Waltz, which Strauss had composed in a friendly competition with Offenbach. (Offenbach’s Evening Papers was encored four times but has since fallen into oblivion; Strauss’s waltz, which ‘lost’ with just one hearing, has withstood the test of time.) Wiener Blut is set during the time of the Congress of Vienna (1814–15) but the plot has little to do with the diplomatic conference of history. It bears a strong family resemblance to the scenario of Mozart’s Marriage of Figaro, only more frivolous. In ‘Greetings, my lovely little nest’ the Countess has returned to her suburban villa to find out what the philandering Count is up to, only to be mistaken by the visiting Prime Minister (also checking up on the Count) for the mistress rather than the wife!

Es hat dem Grafen nicht genützt, Das Warnen und das Bitten, Die Neugier ist in mir erwacht, Ich bin hieher geritten! Es steckt was dahinter, das ist klar, Den Grund muss ich erspäh’n. Ich finde alles, wie es war, So lieb, so traut, so schön!

Grüß dich Gott, du liebes Nesterl! Wie du warst, find’ ich dich noch, So wie einst ich dich verlassen, Als mich drückt’ das Ehejoch! Oft, ach, schmollt’ ich da im Erker, Weil der Graf just mich gefreit. Ach, wie oft an diesem Schreibtisch, Klagte ich Mama mein Leid! Wie hab’ auf dir ich musiziert, Armes Spinett, dich malträtiert. Die Bibliothek! Mancher Roman, Den man wohl liest – doch nicht erleben kann! Alter Homer, Wieland, Voltaire, Euch hielt ich mir als Aufputz hier. Was seh’ ich da? Da schau, ei, ei! Der Casanova? Das ist mir neu! Mein Schlafgemach, es scheint wohl verlassen, Alles ist so wie’s war, Hier löst’ ich zaghaft mein Myrtenkränzchen Bebend aus dem Haar! Hier nahm als Braut ich zitternd

To no avail has the Count warned me and begged me; curiosity is awakened in me, and so I rode here. There is something behind it all, clearly, I must spy out the land. I find everything as it was, so dear, so trusty, so charming!

Greetings, my lovely little nest! I find you just as you were when I left you as the marriage-yoke pressed too hard! Often I brooded there by the window, because the Count left me to myself. Oh, how often at this desk did I complain to Mama of my sorrows! On you poor spinet did I play music, or rather, mistreated you. The library! So many novels one could read – but not experience! Old Homer, Wieland, Voltaire, I kept you here for show. What do I see over there? Look here, my my! Casanova? That’s new to me! My bedroom looks untouched, everything is as it was, here the bridal flowers fell trembling from my hair! Here, as a bride I

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Den Schleier zögernd vom Gesicht, Und aus den Augen flossen mir Tränen, Na, heute heult’ ich nicht!

Grüß dich Gott, du liebes Nesterl, Wie du warst find’ ich dich noch, So wie einst ich dich verlassen, Als mich drückt das Ehejoch! Doch wer weiss, es kann gelingen, Dass du meine Neugier stillst, Und ich doch was Neues finde, Das du mir verbergen willst!

LIBRETTO: VICTOR LÉON AND LEO STEIN

lifted the veil nervously from my face, and from my eyes flowed tears; no, today I won’t cry!

God’s greetings to you, my lovely little nest, I find you just as you were when I left you as the marriage-yoke pressed too hard! But who knows, it can work out perhaps you can satisfy my curiosity, and I will find out what is new, that you want to hide from me!

ENGLISH TRANSLATION BY KP KEMP © ABC

(In the end, the Countess forgives the Count his indiscretions, secretly pleased that the Viennese ‘spirit’ or ‘atmosphere’ has transformed him from dull diplomat to a veritable Don Juan!)

Wiener Blut is filled with Strauss’s music and yet Strauss had virtually nothing to do with its creation. In his old age, the composer had been approached by a Viennese entrepreneur, who asked him to try once more to recreate the success of Die Fledermaus and The Gypsy Baron. Strauss’s energies were flagging – he was 74 and unwell – but he authorised the composer Adolf Müller II to compile and arrange an operetta from his earlier music. Victor Léon and Leo Stein, who later worked on Lehár’s Merry Widow, provided the libretto and the result was premiered in October 1899, four months after Strauss’s death.

The tradition of Viennese operetta was ailing when Hungarian- born Franz Lehár inherited it from Strauss and Suppé at the turn of the 20th century. But the great success of The Merry Widow (1905), did much to revive the genre’s fortunes and establish Lehár as Strauss’s successor. Lehár’s later works preserved the sentimental traditions of Viennese operetta in the face of the 20th century and the rise of American popular music. Among these operettas was Paganini (1925) based – loosely! – on the life of the famous virtuoso violinist and featuring violin solos among its most popular excerpts. Paganini enchants everyone with his violin playing and spends much of the operetta flirting with two women, one of them Napoleon’s sister, the Princess Maria Anna Elisa. She has the power to have him arrested when she finds she has a rival in love, but eventually his playing saves the day, or rather his skin. In ‘Love, heaven on earth’ – a song of forced parting – the Princess is obliged to go along with Paganini’s expulsion from the city, to avoid scandal. This is the Viennese waltz in a pensive mood.

Franz Lehár

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Thanks to the influence of Suppé, Strauss and their successors, the waltz became a signature of the Viennese operetta, even as it held sway in the ballroom. But when the ball goes on until four in the morning some variety and respite is necessary. Enter the march, and the polka with its two galloping beats to the bar, injecting novelty and humour –  not to mention a change of pace – into the musical proceedings.

These shorter dances also offered composers a chance to touch on topical themes of the day. The Egyptian March was composed in anticipation of the November 1869 opening of the Suez Canal. Before the year was out the sinuous themes of the march had also found a place as a processional for Egyptian warriors in Anton Bittner’s Viennese burlesque Into Egypt.

Josef Strauss, like his brothers, had to overcome his father’s hostility to musical ambitions. Johann senior wanted him to be a professional soldier, but Josef refused and turned first to architecture and then engineering. (He invented a street cleaner for Vienna.) His eventual debut as a composer took place with a set of waltzes when he was 26. Three years later he was conducting the Strauss orchestra at the Grosser Zeisig.

Johann junior later hoped that Josef might take over his summer gig in Pavlovsk, near St Petersburg (he hated the train travel) but Josef’s health was not up to the responsibility.

Franz von Suppé

Ich kann es nicht fassen, nicht glauben,  daß grausam mein Traum ist zerstört,  man will dem Geliebten mir rauben,  dem ganz mein Herz gehört! Das Glück will ich halten, das launenhaft,  das Schicksal gestalten mit eig’ner Kraft,  und stünd´ ich auch gegen die Welt allein,  er sei mein, er sei mein! 

Liebe, du Himmel auf Erden, ewig besteh‘!  Liebe, du Traum aller Träume, niemals vergeh‘!  Du sollst mich umschweben  holdselig im Leben, nur du gibst unserm Sein Inhalt allein! 

Liebe, du Himmel auf Erden, ewig besteh‘!  Liebe, du Traum aller Träume, niemals vergeh‘!  Du schenkst alle Freuden,  du heilst alle Leiden, dein,  dein ist die Macht über jedes Herz!

I cannot believe, do not believe that my dream is cruelly destroyed, you want to rob me of my beloved, to whom my whole heart belongs! I want to seize my happiness, wayward thing, to shape my destiny by my own strength, and even if I stand alone against the world for him to be mine!

Love, heaven on earth, stay forever! Love, dream of all dreams , never fade! You should hover around me gracious in life, only you give our existence meaning alone!

Love, heaven on earth, stay forever! Love, dream of all dreams, never fade! You are the giver of all joys, you heal all suffering, Yours is the power over every heart!

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As he wrote to his wife in 1869: ‘I do not look good, my cheeks are hollow, I have lost my hair, I am becoming dull on the whole…’ And yet it was around this time that Josef composed the literally ‘carefree’ Ohne Sorgen! polka.

Music like this polka needs little explanation and no analysis, and that is Vienna’s gift to music. For every great symphony and concerto this city has produced there is an equally great waltz or polka – masterpieces no less – and for every opera there is the dancing exuberance of an operetta. The Sydney Symphony Orchestra might spend most of its time in the Vienna of the classics, but it’s a joy to hear them in the Vienna of the ballroom. And although Vienna is a city that every music lover should visit at least once, a concert ticket is nearly as good as a plane ticket if you want to breathe the magical atmosphere of this profoundly musical city.

ADAPTED IN PART FROM NOTES BY YVONNE FRINDLE, GRAEME SKINNER

(BRAHMS) AND JAMES BEATTIE (WIENER BLUT)

Johann Strauss II conducting at the Court Ball in 1888 (Theo Zasche)

Tony David Cray Creative Director (SOH)

Nicholas Tory Animations Director (Ample)

Technical Directions Company

Kain Jones Technical Director

Olin Winton Technical Director

Todd Decker Vision Director (SOH)

Pete Gordon Technical Director (SOH)

Jason Blackwell Audio Director (SOH)

Madeleine Holder Director’s Assistant (SOH)

Philip Powers Score Preparation (SSO)

Tod Deeley Audio Engineer (SOH)

Raoul Plimer Audio Engineer (SOH)

Camera Operators (SOH)

Michael Gribbin, Honie Farrington, Bob Frankel,

Michael Den Boer, Brandon Batten, Bernard Webber

James Jordan Tech Support (SOH)

Julian Hewitt Tech Support (SOH)

David Harris Web Streaming (SOH)

Technical Credits for Tonight’s Projection and Webstream

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Broadcast DiaryFebruary

Monday 23 February, 8pm SCHUMANN 1 & 2David Robertson conductor Christian Tetzlaff violinSchumann, Mendelssohn

Tuesday 24 February, 8pm SCHUMANN 3 & 4David Robertson conductorLentz, Schumann

SYDNEY SYMPHONY ORCHESTRA HOURTuesday 10 February, 6pm

Hosted by Andrew Bukenya with special guest Scott Kinmont.

MORE MUSIC

THE WALTZ KINGS

If waltzes, polkas and galops set your toes tapping and make your eyes shine, then immerse yourself in the world of the Strauss waltz kings, Lanner, Lehár and Suppé with the 11-CD set Ballroom Classics, featuring the Vienna Johann Strauss Orchestra conducted by Willi Boskovsky, who nails the stylistic subtleties of this dance music like no one else. The set includes most of the ballroom and operetta pieces heard in tonight’s concert, and much, much more!

WARNER CLASSICS 56571

If 12 hours of dance music is too much, try the 2 hours of Essential Johann Strauss II, with waltzes, overtures and songs performed by some of the great artists.

EMI CLASSICS 78139

OLA RUDNER

Among Ola Rudner’s most recent recordings is one with an Aussie connection: Mozart Arias and Orchestral Music with baritone Teddy Tahu Rhodes and the Tasmanian Symphony Orchestra, where he was chief conductor. It includes music from The Marriage of Figaro, Così fan tutte, The Magic Flute and Don Giovanni.

ABC CLASSICS 4728262

Or you can hear Rudner conducting his current orchestra, the Württembergische Philharmonie Reutlingen, in popular music by Grieg (both Peer Gynt suites and From Holberg’s Time) and Lars-Erik Larsson (Pastoral Suite).

ANTES EDITION 319288

Also with the Württemberg orchestra, and the Aurelius Boys’ Choir of Calw, Ola Rudner conducts Festliches Weihnachtskonzert, a Christmas program of traditional music and classical favourites from Bach to Bizet.

HÄNSSLER CLASSIC 98635

ELISABETH FLECHL

The voice of Elisabeth Flechl can be heard on a beautiful Christmas-themed recording recorded in Vienna’s Church of St Augustin. The recording, Et incarnatus est:

Weihnachten in St Augustin, captures the spirit of a traditional Christmas service, with readings, carols, music from Schubert’s and Mozart’s mass settings, classical concert pieces and, of course, FX Gruber’s Silent Night.

PREISER RECORDS 3582

THE SSO PLAYS STRAUSSThe very first release on our SSO Live label featured music by Johann Strauss II (the Blue Danube waltz) and the ‘other’ Strauss, Richard (Four Last Songs). The gorgeous program was completed with Schubert’s Unfinished Symphony. Gianluigi Gelmetti conducted, with Ricarda Merbeth as soprano soloist.

SSO 200803

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SSO Live RecordingsThe Sydney Symphony Orchestra Live label was founded in 2006 and we’ve since released more than two dozen recordings featuring the orchestra in live concert performances with our titled conductors and leading guest artists. To buy, visit sydneysymphony.com/shop

LOOK OUT FOR…

Our recording of Holst’s Planets with David Robertson. Due for release later in 2014.

Mahler 1 & Songs of a Wayfarer SSO 201001

Mahler 2 SSO 201203

Mahler 3 SSO 201101

Mahler 4 SSO 201102

Mahler 5 SSO 201003 Mahler 6 SSO 201103

Mahler 7 SSO 201104

Mahler 8 (Symphony of a Thousand) SSO 201002

Mahler 9 SSO 201201

Mahler 10 (Barshai completion) SSO 201202

Song of the Earth SSO 201004

From the archives: Rückert-Lieder, Kindertotenlieder, Das Lied von der Erde SSO 201204

MAHLER ODYSSEY

The complete Mahler symphonies (including the Barshai completion of No.10) together with some of the song cycles. Recorded in concert with Vladimir Ashkenazy during the 2010 and 2011 seasons. As a bonus: recordings from our archives of Rückert-Lieder, Kindertotenlieder and Das Lied von der Erde. Available in a handsome boxed set of 12 discs or individually.

Strauss & SchubertGianluigi Gelmetti conducts Schubert’s Unfinished and R Strauss’s Four Last Songs with Ricarda Merbeth. SSO 200803

Sir Charles MackerrasA 2CD set featuring Sir Charles’s final performances with the orchestra, in October 2007. SSO 200705

Brett DeanTwo discs featuring the music of Brett Dean, including his award-winning violin concerto, The Lost Art of Letter Writing. SSO 200702, SSO 201302

RavelGelmetti conducts music by one of his favourite composers: Maurice Ravel. Includes Bolero.

SSO 200801

Rare RachmaninoffRachmaninoff chamber music with Dene Olding, the Goldner Quartet, soprano Joan Rodgers and Vladimir Ashkenazy at the piano. SSO 200901

Prokofiev’s Romeo and JulietVladimir Ashkenazy conducts the complete Romeo and Juliet ballet music of Prokofiev – a fiery and impassioned performance. SSO 201205

Tchaikovsky Violin ConcertoIn 2013 this recording with James Ehnes and Ashkenazy was awarded a Juno (the Canadian Grammy). Lyrical miniatures fill out the disc. SSO 201206

Tchaikovsky Second Piano ConcertoGarrick Ohlsson is the soloist in one of the few recordings of the original version of Tchaikovsky’s Piano Concerto No.2. Ashkenazy conducts. SSO 201301

Stravinsky’s FirebirdDavid Robertson conducts Stravinsky’s brilliant and colourful Firebird ballet, recorded with the SSO in concert in 2008. SSO 201402

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MORE MUSIC

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Swedish conductor Ola Rudner began his career as a high-profile violinist, prize-winner of the Paganini Competition in Genoa, assistant to the legendary Sándor Végh at the Salzburg Camerata Academica and concertmaster of various orchestras in Salzburg and Vienna. In 1995 – the year in which he made his Australian conducting debut with the Queensland Symphony Orchestra – he founded the orchestra Philharmonia Wien. One admired string to his bow is his idiomatic direction of Viennese waltz music.

His conducting career developed rapidly both in Europe and in Australia, where he has conducted all the symphony orchestras. He was Principal Conductor of the Tasmanian Symphony Orchestra from 2001 to 2003, and of the Haydn Orchestra in Bolzano (2003–2008). Currently he is Chief Conductor of the Württembergische Philharmonie in Reutlingen.

His successes as a guest conductor with major orchestras throughout the world include appearances with the BBC Symphony Orchestra, Frankfurt Radio Symphony Orchestra, Oslo Philharmonic, RAI Torino, Luxembourg Philharmonic, Mozarteum Orchestra Salzburg, Hong Kong Philharmonic Orchestra, Vienna

Symphony Orchestra, London Philharmonic Orchestra, Orchestra of the Florence Maggio Musicale, Swedish Radio Orchestra, and the Malaysian Philharmonic.

He is also a notable opera conductor, having conducted for Opera Australia and in Austria at the Landestheater Salzburg as well as regularly at Vienna’s Volksoper. Operas he has conducted include The Marriage of Figaro, Così fan tutte, The Magic Flute, Idomeneo, La clemenza di Tito, Fidelio, La traviata, Il trovatore, The Barber of Seville, Carmen and Don Pasquale.

His interest in contemporary music has led to premieres of works by Martinsson, Schmidinger, Beamish, Colazzo, Resch, Unterhofer, Wimberger, Zehm and, among Australians, Brenton Broadstock and Elena Kats-Chernin. His recordings include Beamish’s viola concerto with Tabea Zimmermann, Kats-Chernin’s Wild Swans and music by Broadstock and Carl Vine.

For his musical work in Australia he received the Centenary Medal. He is also the recipient of the Silver Medal for services to the Republic of Austria.

Ola Rudner made his Sydney Symphony Orchestra debut in 1999, returning in 2004 and 2005.

Ola Rudnerconductor

THE ARTISTS

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Austrian-born soprano Elisabeth Flechl studied at the University of Music and Performing Arts in Vienna, graduating with a Master of Arts degree. She went on to study lieder and oratorio with Kurt Equiluz and Walter Berry, and in 1989 won the Austrian Young Musician of the Year Award.

Since then she has established herself as one of Austria’s foremost sopranos in both opera and operetta. She made her debut at the Vienna Volksoper in 2001 as Rosalinde in Die Fledermaus and since the 2007–08 season has been a member of the company, singing leading roles not only in operas but especially in Viennese operettas: Rosalinde, the Countess in Wiener Blut, Lisa in The Land of Smiles and Hanna Glawari in The Merry Widow, the title role in Countess Maritza and Sylva Varescu in The Gypsy Princess. Her operatic repertoire includes the Countess in The Marriage of Figaro, Donna Elvira in Don Giovanni, First Lady in The Magic Flute, Agathe in Der Freischütz, Woglinde in Götterdämmerung, Antonia in The Tales of Hoffmann, the Governess in The Turn of the Screw, Lady Billows in Albert Herring and Elisabeth in Last Dance Around St Stephen’s by Ernst Krenek.

As a concert singer, interpreting lieder and oratorio, Elisabeth Flechl has performed in Austria, Belgium, the Czech Republic, Germany, France, Italy, Spain, Russia, the United States, Japan and Australia, and her repertoire includes all famous oratorios and masses. She is frequently invited to perform in concerts as an ambassador for Viennese music, often performing with the Vienna Opera Ball Orchestra and the Johann Strauss-Capelle.

Elisabeth Flechl has previously appeared in several Viennese-themed concerts in Australia, performing in the Sydney Opera House, Melbourne Concert Hall, Sydney Town Hall and other venues; this is her Sydney Symphony Orchestra debut.

Elisabeth Flechlsoprano

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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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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.

FIRST VIOLINS Andrew HaveronCONCERTMASTER

Lerida Delbridge ASSISTANT CONCERTMASTER

Fiona Ziegler ASSISTANT CONCERTMASTER

Emily LongAmber DavisClaire HerrickGeorges LentzAlexandra MitchellLéone ZieglerEmily Qin°Victoria Bihun†

Thibaud Pavlovic-Hobba†

SECOND VIOLINS Marina Marsden PRINCIPAL

Marianne Broadfoot Shuti HuangStan W KornelPhilippa PaigeMadeleine Boud*Rebecca Gill*Emma Jardine°Narine Melconian*Brett Yang†

VIOLASJustin Williams ASSISTANT PRINCIPAL

Sandro CostantinoGraham HenningsStuart JohnsonJustine MarsdenAmanda VernerLeonid VolovelskyCharlotte Fetherston†

Elizabeth Woolnough†

CELLOSLeah Lynn ASSISTANT PRINCIPAL

Kristy ConrauElizabeth NevilleChristopher PidcockDavid WickhamMinah Choe*Rowena Macneish*Rebecca Proietto†

DOUBLE BASSESNeil Brawley PRINCIPAL EMERITUS

David CampbellSteven LarsonBenjamin WardJosef Bisits°Aurora Henrich*

FLUTES Janet Webb Rosamund PlummerPRINCIPAL PICCOLO

OBOESShefali Pryor Alexandre Oguey PRINCIPAL COR ANGLAIS

CLARINETSChristopher TingayAlex McCracken†

BASSOONSBen Hoadley*Noriko Shimada PRINCIPAL CONTRABASSOON

HORNSRobert Johnson Marnie SebireKara Hahn†

TRUMPETSPaul Goodchild Colin Grisdale*Josh Rogan°

TROMBONESScott Kinmont Nick ByrneColin Burrows*

TUBASteve Rossé

TIMPANIMark Robinson ASSISTANT PRINCIPAL

PERCUSSIONRebecca Lagos Timothy ConstableBrian Nixon*Alison Pratt*

HARP Louise Johnson

BOLD = PRINCIPALITALICS = ASSOCIATE PRINCIPAL

° = CONTRACT MUSICIAN

* = GUEST MUSICIAN† = SSO FELLOW

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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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 CernikVictoria GrantMary-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 TownsendDave Stabback

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 PatrickSENIOR GRAPHIC DESIGNER

Christie Brewster

GRAPHIC DESIGNER

Tessa Conn

SENIOR ONLINE MARKETING COORDINATOR

Jenny Sargant

MARKETING ASSISTANT

Theres Mayer

Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlin

BOX OFFICE SYSTEMS SUPERVISOR

Jennifer Laing

BOX OFFICE BUSINESS ADMINISTRATOR

John Robertson

CUSTOMER SERVICE REPRESENTATIVES

Karen Wagg – Senior CSR Michael DowlingTim Walsh

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

EXTERNAL RELATIONSDIRECTOR 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

CORPORATE RELATIONS MANAGER

Janine Harris

CommunicationsCOMMUNICATIONS & MEDIA MANAGER

Bridget Cormack

PUBLIC RELATIONS MANAGER

Katherine Stevenson

DIGITAL CONTENT PRODUCER

Kai Raisbeck

PUBLICITY & EVENTS COORDINATOR

Caitlin Benetatos

BUSINESS SERVICESDIRECTOR 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

SYDNEY SYMPHONY ORCHESTRA STAFF

John C Conde ao ChairmanTerrey Arcus am

Ewen Crouch am

Ross GrantCatherine HewgillJennifer HoyRory JeffesAndrew Kaldor am

David LivingstoneThe Hon. Justice AJ MeagherGoetz Richter

SYDNEY SYMPHONY ORCHESTRA BOARD

SYDNEY SYMPHONY ORCHESTRA COUNCILGeoff Ainsworth am Doug Battersby Christine Bishop The Hon John Della Bosca mlc Michael J Crouch ao Alan Fang Erin Flaherty Dr Stephen Freiberg Simon Johnson Gary Linnane Helen Lynch am David Maloney am Justice Jane Mathews ao Danny May Jane Morschel Andy Plummer Deirdre Plummer Seamus Robert Quick Paul Salteri am Sandra Salteri Juliana Schaeffer Fred Stein oam John van Ogtrop Brian White Rosemary White

HONORARY COUNCIL MEMBERS

Ita Buttrose ao obe Donald Hazelwood ao obe The Hon. Paul Keating Yvonne Kenny am David Malouf ao Wendy McCarthy ao Leo Schofield am Peter Weiss ao

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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 4674 • philanthropy@sydneysymphony.com

MAKE A DIFFERENCE

SYDNEY SYMPHONY ORCHESTRA PATRONS

MAESTRO’S CIRCLESUPPORTING THE ARTISTIC VISION OF DAVID ROBERTSON, CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

Peter Weiss ao Founding President & Doris WeissJohn C Conde ao ChairmanBrian AbelGeoff Ainsworth am Tom Breen & Rachael KohnThe Berg Family FoundationAndrew Kaldor am & Renata Kaldor aoVicki Olsson

Roslyn Packer aoDavid RobertsonPenelope Seidler amMr Fred Street am & Mrs Dorothy StreetMr Frank Lowy ac & Mrs Shirley Lowy oam

Brian & Rosemary WhiteRay Wilson oam in memory of the late James Agapitos oam

FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM,

CALL (02) 8215 4619.

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CHAIR PATRONS

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

02 Umberto Clerici Principal Cello Garry & Shiva Rich Chair

03 Timothy Constable Percussion Justice Jane Mathews ao Chair

04 Lerida Delbridge Assistant Concertmaster Simon Johnson Chair

05 Lawrence Dobell Principal Clarinet Anne & Terrey Arcus am Chair

06 Diana Doherty Principal Oboe Andrew Kaldor am & Renata Kaldor ao Chair

07 Richard Gill oam Artistic Director, Education Paul Salteri am & Sandra Salteri Chair

08 Jane Hazelwood, Viola Bob & Julie Clampett Chair in memory of Carolyn Clampett

09 Catherine Hewgill Principal Cello The Hon. Justice AJ & Mrs Fran Meagher Chair

10 Robert Johnson Principal Horn James & Leonie Furber Chair

11 Elizabeth Neville Cello Ruth & Bob Magid Chair

12 Shefali Pryor Associate Principal Oboe Mrs Barbara Murphy Chair

13 Emma Sholl Associate Principal Flute Robert & Janet Constable Chair

14 Janet Webb Principal Flute Helen Lynch am & Helen Bauer Chair

15 Kirsten Williams, Associate Concertmaster I Kallinikos Chair

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14 15

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02 03 04

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PLAYING YOUR PART

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. Donations of $50 and above are acknowledged on our website at www.sydneysymphony.com/patrons

DIAMOND PATRONS: $30,000+Geoff Ainsworth am

Anne & Terrey Arcus am

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

Robert & Janet ConstableThe Estate of Dr Lynn JosephMr Andrew Kaldor am &

Mrs Renata Kaldor ao

In Memory of Matthew KrelMrs Roslyn Packer ao

Ian Potter FoundationPaul Salteri am & Sandra SalteriMrs W SteningMr Fred Street am &

Mrs Dorothy StreetPeter Weiss ao & Doris WeissMr Brian & Mrs Rosemary WhiteKim Williams am & Catherine

Dovey

PLATINUM PATRONS: $20,000–$29,999Brian AbelRobert Albert ao & Elizabeth

AlbertChristine BishopSandra & Neil BurnsJames & Leonie Furber

I KallinikosHelen Lynch am & Helen BauerMrs T Merewether oam

Mrs Barbara MurphyMr B G O’ConorVicki OlssonAndy & Deirdre PlummerGarry & Shiva RichDavid RobertsonMrs Penelope Seidler am

G & C Solomon in memory of Joan MacKenzie

Geoff StearnRay Wilson oam in memory of

James Agapitos oam

Anonymous (2)

GOLD 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

Ian Dickson & Reg HollowayPaul EspieEdward & Diane FedermanNora Goodridge

Mr Ross GrantSimon JohnsonMr Ervin KatzJames N Kirby FoundationRuth & Bob MagidThe Hon. Justice AJ Meagher &

Mrs Fran MeagherMr John MorschelDrs Keith & Eileen OngThe Harry Triguboff FoundationCaroline WilkinsonAnonymous (2)

SILVER PATRONS: $5000–$9,999John Augustus & Kim RyrieStephen J BellDr Hannes & Mrs Barbara

BoshoffMr Alexander & Mrs Vera

BoyarskyPeter Braithwaite & Gary

LinnaneMr David & Mrs Halina BrettMr Howard ConnorsEwen Crouch am & Catherine

CrouchIn memory of Dr Lee

MacCormick EdwardsDr Stephen Freiberg & Donald

CampbellDr Colin GoldschmidtThe Greatorex Foundation

Rory & Jane JeffesThe late Mrs Isabelle JosephFrank Lowy am & Shirley

Lowy oam

J A McKernanDavid Maloney am & Erin FlahertyR & S Maple-BrownJustice Jane Mathews ao

Mora MaxwellWilliam McIlrath Charitable

FoundationTaine MoufarrigeJohn & Akky van OgtropSeamus Robert QuickChris Robertson & Katherine

ShawRodney Rosenblum am &

Sylvia RosenblumDr Evelyn RoyalThe late Greta C RyanManfred & Linda SalamonMrs Joyce Sproat &

Mrs Janet CookeMr John Symond am

David 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 BryantIta Buttrose ao obe

Mrs Stella ChenDr Rebecca ChinDr Diana Choquette &

Mr Robert MillinerMr B & Mrs M ColesFirehold Pty LtdDr Kim FrumarWarren GreenAnthony GreggJames & Yvonne HochrothMr Roger Hudson & Mrs Claudia

Rossi-HudsonMr John Lam-Po-TangJames & Elsie MooreMs Jackie O’BrienJuliana SchaefferDr Agnes E SinclairEzekiel SolomonTony StrachanMr Ervin Vidor am &

Mrs Charlotte VidorMr Lang & Mrs Sue WalkerYim Family FoundationAnonymous (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 BowenLenore P BuckleMargaret BulmerIn memory of RW BurleyMrs Rhonda CaddyMs 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 Epps

Professor Michael Field am

Mr Tom FrancisMr Matt GarrettVivienne Goldschmidt &

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

HallidayJanette HamiltonAngus HoldenDr & Mrs Michael HunterMichael & Anna JoelMrs W G KeighleyDr Andrew KennedyAron KleinlehrerProf. Andrew Korda am &

Ms Susan PearsonMr Justin LamMr Peter Lazar am

Professor Winston LiauwAirdrie LloydPeter Lowry oam & Dr Carolyn

Lowry oam

Kevin & Deirdre McCannIan & Pam McGawMacquarie Group FoundationBarbara MaidmentJohn Mar

Renee MarkovicHenry & Ursula MooserMilja & David MorrisMrs J MulveneyDr Mike O’Connor am

Mr & Mrs OrtisMr Andrew C PattersonDr Natalie E PelhamAlmut PiattiIn memory of Sandra Paul

PottingerDr Raffi QasabianMichael QuaileyMr Patrick Quinn-GrahamErnest & Judith RapeeKenneth R ReedPatricia H Reid Endowment

Pty LtdDr Marilyn RichardsonLesley & Andrew RosenbergIn memory of H St P ScarlettMr Samuel F ShefferDavid & Alison ShilligtonDavid Smithers am & Isabel

SmithersDr Judy SoperMrs Judith SouthamMs Barbara SpencerMrs Elizabeth SquairCatherine Stephen

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PLAYING YOUR PART

TO FIND OUT MORE ABOUT BECOMING A

SYDNEY SYMPHONY ORCHESTRA PATRON, PLEASE

CONTACT THE PHILANTHROPY OFFICE ON (02) 8215 4674

OR EMAIL PHILANTHROPY@SYDNEYSYMPHONY.COM

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The Hon. Brian Sully qc

Mrs Margaret SwansonThe Taplin FamilyKevin TroyJohn E TuckeyJudge Robyn TupmanDr Alla WaldmanMiss Sherry WangWestpac Banking CorporationHenry & Ruth WeinbergThe Hon. Justice A G WhealyDr Richard T WhiteMrs Leonore WhyteBetty WilkenfieldA Willmers & R PalDr Edward J WillsProf. Neville Wills &

Ian FenwickeAnn & Brooks C Wilson am

Dr Richard WingDr Peter Wong &

Mrs Emmy K WongGeoff Wood & Melissa WaitesSir Robert WoodsMr & Mrs Lindsay WoolveridgeIn memory of Lorna WrightDr John YuAnonymous (15)

ALLEGRO PATRONS: $500–$999Ms Jenny AllumMr Peter J ArmstrongGarry & Tricia AshMr & Mrs George BallDr Lilon BandlerBarlow Cleaning Pty LtdMichael Baume ao & Toni BaumeBeauty Point Retirement ResortMr Michael BeckDr Andrew BellRichard & Margaret BellMrs Jan BiberMinnie BiggsG D BoltonMr Colin G Booth

Dr Margaret BoothIn memory of Jillian BowersMrs R D Bridges obe

R D & L M BroadfootDr Peter BroughtonDr David BryantArnaldo BuchDr Miles BurgessPat & Jenny BurnettEric & Rosemary CampbellMr JC Campbell qc &

Mrs CampbellBarrie CarterMr Jonathan ChissickMrs Sandra ClarkIn memory of Beth HarpleyMr Phillip CornwellDom Cottam & Kanako

ImamuraDr Peter CraswellMr David CrossPhil Diment am &

Bill ZafiropoulosDr David DixonSusan DoenauMrs Jane DrexlerDr Nita DurhamJohn FavaloroMrs Lesley FinnMs Julie Flynn & Mr Trevor

CookMrs Paula FlynnMr John GadenClive & Jenny GoodwinRuth GrahameMr Robert GreenRichard Griffin am

Dr Jan GroseBenjamin Hasic &

Belinda DavieMr Robert HavardMrs Joan HenleyRoger HenningSue HewittIn memory of Emil HiltonDorothy Hoddinott ao

Mr Kevin Holland & Mrs Roslyn Andrews

Bill & Pam HughesMs Cynthia KayeMrs Margaret KeoghDr Henry KilhamDr Joyce KirkChris J KitchingMrs Patricia KleinhansAnna-Lisa KlettenbergSonia LalL M B LampratiElaine M LangshawDr Leo & Mrs Shirley LeaderMargaret LedermanMrs Erna LevyMrs A LohanMr Gabriel LopataPanee LowDr David LuisMelvyn MadiganMs Jolanta MasojadaHelen & Phil MeddingsI MerrickLouise MillerPatricia MillerKenneth Newton MitchellHelen MorganChris Morgan-HunnMr Graham NorthE J NuffieldMr Sead NurkicDr A J PalmerDr Kevin PedemontDr John PittMrs Greeba PritchardThe Hon. Dr Rodney Purvis am

& Mrs Marian Purvis

Miss Julie RadosavljevicRenaissance Tours Anna RoMr David RobinsonAgnes RossMrs Christine Rowell-Miller Mr Kenneth RyanGarry Scarf & Morgie BlaxillPeter & Virginia ShawV ShoreMrs Diane Shteinman am

Victoria SmythDoug & Judy SotherenColin SpencerJames & Alice SpigelmanAshley & Aveen StephensonMargaret & William SuthersDr & Mrs H K TeyDr Jenepher ThomasMr Michael ThompsonMs Rhonda TingAlma TooheyMrs M TurkingtonGillian Turner & Rob BishopMr Robert VeelRonald WalledgeIn memory of Denis WallisIn memoriam JBL WattMiss Roslyn WheelerThe Wilkinson FamilyAudrey & Michael WilsonYetty WindtDr Richard WingateMr Evan WongMrs Robin YabsleyAnonymous (45)

SYDNEY SYMPHONY ORCHESTRA VANGUARDA MEMBERSHIP PROGRAM FOR A DYNAMIC GROUP OF GEN X & Y SSO FANS AND FUTURE PHILANTHROPISTS

COLLECTIVEMr Justin Di Lollo ChairOscar McMahonTaine Moufarrige*Seamus Robert Quick*Shefali PryorChris Robertson* & Katherine

Shaw*Camille Thioulouse*Founding Patron

MEMBERSJames ArmstrongJoan BallantineJames BaudzusAndrew BaxterAnthony BeresfordDavid BluffPeter BraithwaiteBlake Briggs

Andrea BrownMelanie BrownProf. Attila BrungsIan BurtonJennifer BurtonPaul ColganRobbie CranfieldJuliet CurtinRosalind DesaillyAlastair FurnivalAlexandra GibsonSam GiddingsMarina GoJeremy GoffHilary GoodsonTony GriersonLouise HaggertyRose HercegFrancis HicksPeter Howard

Jennifer HoyKatie HryceThe Hon. Virginia JudgeJonathan KennedyAernout KerbertPatrick KokAlisa LaiTristan LandersJessye LinGary LinnaneGabriel LopataRobert McGroryDavid McKeanNick NichlesKate O’ReillyPeter O’SullivanLaurisa PoulosMichael RadovnikovicSudeep RaoMichael Reede

Paul ReidyChris RobertsonDr Benjamin RobinsonAlvaro Rodas FernandezJacqueline RowlandsProf. Anthony Michael

SchembriBenjamin SchwartzCaroline SharpenKatherine ShawCeclilia StornioloRandal TameSandra TangIan TaylorMichael TidballMark TimminsMichael TuffyKim WaldockJon WilkieYvonne Zammit

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 22/01/15 12:00 PM