HEAVENLY SCHUBERT

THURSDAY AFTERNOON SYMPHONY

Thursday 10 April 2014

EMIRATES METRO SERIES

Friday 11 April 2014

GREAT CLASSICS

Saturday 12 April 2014

* Selected performances. ^Booking fees of $7.50 – $8.95 may apply. #Additional fees may apply.

concert diary

SSO PRESENTS

STRICTLY LUHRMANN Music from the movies of Baz Luhrmann including The Great Gatsby, Moulin Rouge, Strictly Ballroom, Romeo + Juliet and Australia.

Matthew Dunkley conductor Taryn Fiebig soprano Andrew Jones baritone Ben Dawson piano VOX (Sydney Philharmonia Choirs)

Kaleidoscope

Fri 2 May 8pm Sat 3 May 8pm

Pre-concert talk by Genevieve Lang Huppert

FOR COMPLETE DETAILS OF THE 2014 SEASON VISIT

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Russian Maestros The ‘Rach 3’RACHMANINOFF Piano Concerto No.3 SHOSTAKOVICH Symphony No.15

Alexander Lazarev conductor Lukáš Vondráček piano

Thursday Afternoon Symphony

Thu 8 May 1.30pmEmirates Metro Series

Fri 9 May 8pmGreat Classics

Sat 10 May 2pm

Pre-concert talk by Scott Davie

Lukáš Vondrácek in Recital HAYDN Sonata in C, Hob.XVI:50 RACHMANINOFF Corelli Variations BRAHMS Six Piano Pieces, Op.118 PROKOFIEV Sonata No.7 (War Sonata 2)

International Pianists in RecitalPresented by Theme & Variations

Mon 12 May 7pm City Recital Hall Angel Place

Pre-concert talk by David Larkin

ElijahMENDELSSOHN ElijahPaul McCreesh conductor (pictured) Nicole Car soprano Deborah Humble mezzo-soprano Thomas Walker tenor Andrew Foster-Williams bass-baritone Sydney Philharmonia Choirs Conservatorium High School Choir

APT Master Series

Wed 14 May 8pm Fri 16 May 8pm Sat 17 May 8pm

Pre-concert talk by David Garrett

Mozart’s Haffner SymphonyMOZART Symphony No.35 (Haffner) BERNSTEIN Serenade after Plato’s Symposium MOZART The Abduction from the Seraglio: OvertureJessica Cottis conductor Dene Olding violin (Bernstein)

Mozart in the City

Thu 29 May 7pm City Recital Hall, Angel Place

Tea & Symphony

Fri 6 Jun 11am Sydney Opera House

Pre-concert talk by David Garrett (Thu)

CLASSICAL

TICKETS FROM $39* Tickets also available atsydneyoperahouse.com 9250 7777 Mon-Sat 9am-8.30pm Sun 10am-6pm

cityrecitalhall.com# 8256 2222 Mon-Fri 9am-5pm

WELCOME TO THEEMIRATES METRO SERIES

Bryan Banston Emirates’ Vice President Australasia

2014 marks the 12th anniversary of Emirates’ partnership with the Sydney Symphony Orchestra. We’re proud to continue one of the longest running partnerships for the SSO and remain the naming sponsor of the orchestra’s Emirates Metro Series.

Emirates connects travellers around the globe, bringing people together to discover, enjoy, and share experiences. Our partnership with the SSO is about connecting with you – our customers.

The Emirates Metro Series showcases a wonderful array of highly regarded compositions, including many key European composers. We hope that tonight’s performance prompts you to consider a future trip to Europe, where we fly to more than 35 destinations with the recent addition of Oslo, or internationally to more than 140 destinations in 80 countries.

Like the SSO, Emirates specialises in first-class entertainment, taking out the award for best inflight entertainment for the ninth consecutive year at the international Skytrax Awards in 2013.

With up to 1,600 channels to choose from, on 28 flights per week to New Zealand and 84 flights per week to Dubai, including a double daily A380 from Sydney, those flying on Emirates will now be able to watch SSO concerts onboard.

We are dedicated to the growth of arts and culture in Australia and we’re delighted to continue our support of the SSO. We encourage you to enjoy as many performances as possible in 2014.

2014 concert season

THURSDAY AFTERNOON SYMPHONYTHURSDAY 10 APRIL, 1.30PM

EMIRATES METRO SERIESFRIDAY 11 APRIL, 8PM

GREAT CLASSICS SATURDAY 12 APRIL, 2PM

SYDNEY OPERA HOUSE CONCERT HALL

HEAVENLY SCHUBERTOleg Caetani conductor Lynn Harrell cello

LUIGI CHERUBINI (1760–1842) Médée: Overture

DMITRI SHOSTAKOVICH (1906–1975) Cello Concerto No.2 in G, Op.126Largo Allegretto Allegretto

INTERVAL

FRANZ SCHUBERT (1797–1828) Symphony No.9 in C, D944 (Great C Major)Andante – Allegro ma non troppo Andante con moto Scherzo (Allegro vivace – Trio) Finale (Allegro vivace)

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

Pre-concert talk by David Garrett in the Northern Foyer, 45 minutes before each performance

Estimated durations: 10 minutes, 33 minutes, 20-minute interval, 50 minutes The concert will conclude at approximately 10.05pm.

COVER IMAGE: Study of Clouds with a Sunset near Rome (oil on paper) from a series of 48 cloud studies by Flemish artist Simon Alexandre Clément Denis (1755–1812).

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A page of the finale from the autograph score of Schubert’s Great C Major Symphony, together with the letter of dedication he wrote to the Gesellschaft der Musikfreunde in October 1826:

Convinced of the Austrian Musical Society’s noble intention to support any artistic endeavour as far as possible, I venture, as a native artist, to dedicate to them this, my Symphony, and to commend it most politely to their protection.

With all respect, your devoted

Frz. Schubert

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INTRODUCTION

Heavenly Schubert

When the composer and music journalist Robert Schumann enthused over the ‘heavenly length’ of Schubert’s last complete symphony, he could hardly have known that the phrase would be taken up so wholeheartedly by generations of musicians, music lovers and music promoters.

Schumann’s compliment brings together two ideas: the sheer beauty and inventiveness of the symphony and what was, in 1840, its unprecedented length. For Schubert and his contemporaries the term ‘grosse’ was an objective reference to the size and scale of the symphony – closer in meaning to ‘grand’ than to ‘great’ in a qualitative sense – and ‘Great C Major’ is a convenient way of distinguishing the symphony from his shorter ‘Little C Major’ symphony (No.6). For us, as English speakers, we enjoy the best of both worlds, since what we hear in this concert is also a truly great symphony.

Schubert’s symphony concludes a concert that’s ripe with contrasts. It’s ambitious and monumental music, brilliant and optimistic in tone. Shostakovich’s second cello concerto, on the other hand, is dark and brooding – music to draw us into its introspective depths and touch deep emotions. And since it’s Shostakovich, there’s likely more to the music than meets the eye: we know of at least one private joke embedded in its themes. But perhaps Schumann’s words could apply equally well to this concerto when he cautions against reading too much into the music we hear, since ‘the composer himself may have had nothing else on his mind than to get down the best music that was in him’.

The concert begins with music from the theatre: the overture to Cherubini’s opera Médée. Cherubini is not so well-known now, but he was highly regarded by Haydn and named by Beethoven as the greatest living composer (after himself!). And Médée is said to have been Schubert’s favourite opera: he would have been delighted to see it in this concert program. The overture isn’t long, but in its 10 minutes it summons a powerful, dramatic atmosphere, with thrilling effects that hint at a harrowing and sensational opera to follow. It has something of the darkness of Shostakovich’s concerto and the grandeur of Schubert’s symphony. Heavenly, in its own way. Turn to page 27 to read Bravo! –

musician profiles, articles and news from the orchestra. There are nine issues through the year, also available at sydneysymphony.com/bravo

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READ IN ADVANCEYou can also read SSO program books on your computer or mobile device by visiting our online program library in the week leading up to the concert: sydneysymphony.com/program_library

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ABOUT THE MUSIC

Luigi Cherubini Médée: Overture

Beethoven in his deafness favoured a particular coffee-house in Vienna, where he could sit close enough to a music-box to hear it play Cherubini’s Overture to the opera Médée. Asked in 1817 who after himself was the greatest living composer, Beethoven named Cherubini. Cherubini’s operas aroused great interest when performed in Vienna in the first years of the 19th century. Haydn regarded Cherubini as the greatest dramatic composer of his time, and Médée is said to have been Schubert’s favourite opera.

Cherubini was an Italian who moved to Paris where he spent most of his life, and an admirer of the musical ideas of Mozart and Haydn – he and his music would not fit neatly any of the boxes of music’s history. His reputation suffered from the vivid portrait of him in Berlioz’s Memoirs, as a cantankerous old conservative, yet Berlioz couldn’t escape Cherubini’s influence, especially that of his sacred music.

Cherubini’s imaginative treatment of the orchestra – his mastery of massive effects and use of dynamics for drama – influenced Beethoven considerably. His overtures, in particular, showed the way not only to Beethoven, but also to Weber and even Wagner. Following Gluck’s maxim that the prime function of overtures is ‘to apprise the spectators of the nature of the following action’, Cherubini paradoxically created pieces capable of standing alone as independent concert overtures.

Médée remained the most famous of Cherubini’s operas in the 19th century and was revived in the 20th, especially for Maria Callas who could match the histrionic and vocal demands of the title role. In the overture listeners may be reminded immediately of Beethoven, his Coriolan and Leonore overtures in particular. There are two main ideas, the first a powerful minor key gesture, the second a more sustained descending subject, beginning with imitation of one instrumental part by another. Repetitions, mainly derived from the second idea, build a series of crescendos, issuing in restatements of the powerful opening. Cherubini increases the contrasts and tensions by varying tonality, texture, orchestration and dynamics. A contemporary critic found Médée ‘broad, expressive, majestic and terrible’. These words could describe the Overture, with ‘passionate and exciting’ thrown in.

DAVID GARRETT © 2014

The overture to Médée calls for pairs of flutes, oboes, clarinets and bassoons; four horns (and no other brass instruments); timpani and strings.This is the SSO’s first performance of the overture to Médée.

THE OPERA MÉDÉE

Médée was first staged in Paris in 1797. Derived from Euripides via Corneille, the story is of the sorceress Jason met on the voyage of the Argonauts, and took back to live with him in Corinth. When Jason tired of her and decided to marry the daughter of the King of Corinth, Medea sent her rival a poisoned robe, then punished Jason further by killing their two sons.

In Cherubini’s harrowing treatment, Medea dominates the opera, and her part is extremely strenuous. In 1953 the opera was revived in Florence for Maria Callas, not, however in the original French with spoken dialogue, but with sung recitatives by Schubert’s friend Franz Lachner, composed for Munich in 1855, later translated into Italian. Opera Australia’s staging of 1987, with Elizabeth Connell as Médée, was in French with dialogue. Ruth Cracknell also spoke English words selected from Euripides’ play.

Luigi Cherubini (born Florence, 1760; died Paris, 1842). Detail from a portrait by Ingres, made the year before the composer died.

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SHOSTAKOVICHBorn St Petersburg, 1906 Died Moscow, 1975

One of the great symphonic composers of the 20th century, Shostakovich was also a controversial and enigmatic personality who lived through the Bolshevik Revolution, the Stalinist purges and World War II. After Stalin’s death in 1953, the harassment of Soviet artists abated: Shostakovich was made People’s Artist of the USSR in 1954 and performances were given of works that had formerly been suppressed. It was after this that Shostakovich composed both his cello concertos.

CELLO CONCERTO NO.2

Shostakovich composed his second cello concerto in 1966. As with the first concerto, it was dedicated to the ‘fabulous Rostropovich’ and the jaunty second movement includes a private musical joke. Later, Shostakovich said that the concerto could be described as a ‘fourteenth symphony with solo cello part’, but that way of thinking about the music in no way diminishes its virtuosity. It is, however, darker and more reflective than the first cello concerto. The remarkable first movement is slow and begins with the cello alone, accompanied only by the low strings. The second movement is short – less than 5 minutes – but eventful and full of character. The finale begins with a horn fanfare introducing the soloist, and the music becomes increasingly frenzied before returning to the sombre mood of the beginning.

Dmitri Shostakovich Cello Concerto No.2 in G, Op.126Largo Allegretto Allegretto

Lynn Harrell cello

The early 1960s were for the best of times and the worst of times for Shostakovich. Stalin’s death in 1953 and Khrushchev’s famous ‘secret’ speech of denunciation culminated in a thaw of sorts. He had been acclaimed as a People’s Artist in 1954 and from the late 1950s was appointed to high office in the official composers’ unions. He was able to travel with some degree of freedom within and outside the Soviet Union: he travelled to London in 1960 with the Leningrad Symphony Orchestra and there met Benjamin Britten with whom he developed a close friendship. On a trip to Edinburgh in 1962 he heard Britten’s Turn of the Screw and, impressed by the British composer’s fruitful marriage of 12-note serial procedure with traditional tonal harmony, he made his own experiments. The following year saw the triumphant premiere of Katerina Ismailova and the reworking of Lady Macbeth of Mtsensk, which had caused Shostakovich such difficulty 30 years earlier. His international eminence and stature at home were perhaps behind his decision in 1960 to finally join the Communist Party, a decision which was ratified in 1966.

On the debit side, Shostakovich is said to have threatened suicide, but was persuaded by friends not to kill himself in the wake of his embrace of and by the Communist Party. In reality there was little relief for the composer or his country. After embarrassing scenes in such forums as the United Nations, and the potential global disaster of the Cuban Missile Crisis, Khrushchev was quietly removed from office in 1964 and replaced by Leonid Brezhnev, whose regime was distinctly less liberal than that of his predecessor. Shostakovich’s health, which had been poor since the late 1950s continued to decline: in 1966 a chronic injury to his hand forced him to give up public performance as a pianist and on the night of his farewell concert he suffered a heart attack.

The works of Shostakovich’s last decade then show an even more pervasive concern with mortality than his earlier music. In a sense the Cello Concerto No.2 ushers in this phase, coming as it did at the time when Shostakovich was forced to withdraw from the platform and confront his chronic illness. In addition he began to lose colleagues of his age cohort – to natural causes; in 1965 the second violinist, and foundation

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member of the Beethoven Quartet, Vassily Shirinsky died and Shostakovich dedicated his Eleventh Quartet to him.

The Second Cello Concerto is likewise dedicated to a performer colleague. In 1960, when Shostakovich met Britten in London, the Leningrad Symphony Orchestra was performing his First Cello Concerto, and the soloist was Mstislav Rostropovich. The cellist, who died in 2007 aged 80, was the inspiration, first interpreter and dedicatee of several major works by composers like Prokofiev, Khachaturian, Lutosławski, Dutilleux, Britten and of course Shostakovich, who wrote both his concertos for him. Rostropovich regarded Shostakovich, Prokofiev and Britten as his ‘three musical gods’. In addition to being a brilliant cellist and fine conductor, Rostropovich became a political hero in the last days of the Cold War. In 1970 he had publicly condemned the Brezhnev administration’s treatment of Alexander Solzhenitsyn; repeating his remarks while in Paris in 1978 led to his effective banishment from the Soviet Union, to which he didn’t return until 1990. In 1991 he went back to show public support for Boris Yeltsin in the face of a hard-line coup in Moscow.

In 1964 Britten produced his Symphony for Cello and Orchestra for Rostropovich. The composer was careful not to call it a concerto, but rather to underline the importance of the overall thematic integration of the solo and orchestral parts. It is possible that Shostakovich was in some way influenced by this; it is said that he originally considered making this concerto his Symphony No.14. As Britten and Prokofiev (whose Symphony-Concerto was written for Rostropovich) have shown, though, this needn’t mean any downgrading of the role of virtuosity in the solo part, and in the case of Shostakovich’s second concerto the same is true.

Whatever the final designation, the work is both thrillingly virtuosic and satisfyingly symphonic in its argument, as even the late solo sonatas of Shostakovich are as well. As David Fanning puts it:

The Second Cello Concerto, Second Violin Concerto and Violin and Viola Sonatas have much in common, in particular a sense of familiar territory being traversed but in a wan, alienated manner, as though experienced by a lost soul. Moments of tonal clarification register increasingly as out-of-body experiences, and they are surrounded by paroxysms of pain, inscrutable soliloquies and ghostly revisitings of the past.

The first movement is marked Largo, unusually slow for a concerto opening, and begins with deep solo ruminations gradually joined by the rest of the orchestra. The orchestration, typically for as astute a composer as this, calls for a wind

Rostropovich with Shostakovich

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‘Looking at the score, it seems nothing special, but the effect these opening pages have when heard in sound is overwhelming, and this is a mark of Shostakovich’s genius.’

ROSTROPOVICH ON THE BEGINNING OF THE CONCERTO

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section of double woodwinds (plus contrabassoon) and two horns. There is no other brass, but Shostakovich makes sure the band can make serious noise by including a fair amount of percussion and two harps.

Shostakovich composed the work largely in Crimea, and second movement, a scherzo, quotes a cabaret song from the city of Odessa, Bubliki, kupitye bubliki which translates as ‘Buy my bread rolls’ (or indeed, ‘bagels’!). Gerard McBurney has pointed out that this is an in-joke between the composer and Rostropovich going back to a New Year’s Eve party some months before. The singer of the song is, of course, offering rather more than fresh bread.

The final movement – written in haste after Shostakovich destroyed the first effort – begins with a kind of cadenza where the cellist echoes fanfares from the horns. The music tries several times to introduce a note of lyricism and calm, but before long Shostakovich unleashes the full force of the orchestra in a terrifyingly, frenetic outburst which seems for a time to crush the soloist. The cello re-emerges, bloodied but unbowed.

GORDON KERRY © 2007

Shostakovich’s second cello concerto calls for an orchestra of flute, piccolo, two oboes, two clarinets and three bassoons (one doubling contrabassoon); two horns (and no other brass instruments); timpani and percussion; two harps and strings.

Rostropovich gave the first performance of the concerto on 25 September 1966 in the Moscow Conservatory under Yevgeny Svetlanov in a concert to honour Shostakovich’s 60th birthday. The Australian premiere of Shostakovich’s Second Cello Concerto was given by the QSO in 1987 with soloist Antonio Meneses. This is the SSO’s first performance of the concerto.

Christopher Harris – 20 years with the SSOLast month, Christopher Harris celebrated 20 years as Principal Bass Trombone with the SSO – a key player in the low brass section, providing depth and direction to the rich sound of the trombones. In his work, he says, sometimes the things that are ‘easy’ in the practice room are the hardest to do well on stage, and the big challenges are playing those ‘beautiful, delicate moments after 35 minutes of doing nothing’. Listen for Chris and his fellow trombonists as they proclaim the big tune – fortissimo! – in the opening minutes of Schubert’s Great C Major Symphony.

From all at the SSO, as well as his fans in the audience, we congratulate Chris on two decades of fine work with the orchestra, and look forward to enjoying his performances in the years to come.

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KeynotesSCHUBERTBorn Vienna, 1797 Died Vienna, 1828

Like Beethoven, Schubert inherited the Classical tradition of Haydn and Mozart and pushed the boundaries of emerging Romanticism; like Mozart he died young. His greatest ambition was for symphonic writing, but during his lifetime he was regarded principally as a writer of songs. Nowadays those songs are still regarded as masterpieces, but his symphonies – none of which received professional performances when he was alive – have also found their proper place in the concert hall.

GREAT C MAJOR SYMPHONY

Completed two years before Schubert’s death, the Ninth Symphony was also his final symphony. It represents Schubert’s desire to write a grand symphony of monumental proportions, and for many years its length stood between it and a public performance, although at least one orchestra did play through it. After Schubert’s death it languished in the keeping of his brother until it was discovered by Robert Schumann. Together with fellow composer Felix Mendelssohn, Schumann organised the premiere in 1839. The symphony was acclaimed and its length – as well as the long-range development of musical ideas that it encompasses within its classical structure – became a virtue.

Franz Schubert Symphony No.9 in C, D944 (Great C Major)Andante – Allegro ma non troppo Andante con moto Scherzo (Allegro vivace – Trio) Finale (Allegro vivace)

More than a decade after Schubert’s death, his Symphony No.9 received its premiere. Even then, the performance was not in his native Vienna – where he was regarded principally as a writer of songs – but in Leipzig, and it had taken the efforts of fellow composers Felix Mendelssohn and Robert Schumann to bring this magnificent and monumental symphony to the attention of audiences.

It was a great success. Following that first performance in 1839, Mendelssohn, who had conducted, wrote to Schubert’s older brother Ferdinand: ‘There was great and sustained applause after each movement and, more important than that, all the musicians in the orchestra were moved and delighted by the splendid work.’

But attempts at earlier performances had been plagued with difficulties, not least the refusal of professional players to devote the necessary rehearsal time to the symphony. When Schubert first presented it to Vienna’s Gesellschaft der Musikfreunde (in late 1826) it was played through at a rehearsal, but ‘provisionally put aside, because of its length and difficulty.’

In Vienna, and later in London, 19th-century concert programming and the practicalities of rehearsing an hour-long work had delayed performances of the symphony. Certain technical difficulties in the string writing only compounded its fate. Anton Schindler complained that the second and fourth movements were lengthy to the point of boredom, criticising the ‘too frequent repetition’ of musical ideas. On the other hand, Robert Schumann – who had discovered the symphony in the keeping of the composer’s brother – referred to its ‘heavenly length’ in letters and in his review for the Neue Zeitschrift für Musik.

WORK ON THE NINTH

Until the mid-1970s it was believed that Schubert’s Ninth Symphony was the product of the last few months of his life, supposedly written in one inspired burst of creative energy. It is now accepted that, in spite of the date on Schubert’s autograph score (March 1828), the Great C Major Symphony was composed in 1825 and 1826. Furthermore, the outer movements show evidence of substantial revision during the compositional process.

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For 21st-century listeners an hour may not be all that long. After all, we have symphonies of Bruckner or Mahler for comparison. But in 1828, the longest symphony was Beethoven’s Ninth, and even this monumental work – while received with some enthusiasm – had lost its composer money at the premiere in May 1824.

The following year, Schubert began work on a ‘grosse Symphonie’ – a ‘grand symphony’, although this was never his formal name for the work. The final result (following closely on four abandoned attempts, including the Unfinished Symphony No.8), was the fruit of a long-held ambition to write a symphonic work of the proportions of Beethoven’s Ninth. In many ways, the originality of the Unfinished Symphony – particularly in the broad unfurling of long-range harmonic thinking – reflects Schubert’s personal struggle to reconcile new ideas with inherited forms and musical language.

The Great C Major displays that same tension between flourishing Romanticism and Schubert’s Classical background. (His teacher Antonio Salieri had raised him on the music of Haydn and Mozart.) Surrounded on either side by Beethoven’s Ninth and Berlioz’s Symphonie fantastique (1830), the Great C Major has been described equally as the last great Classical symphony and the first of the Romantic symphonies. Perhaps it was this synthesis and bridging of styles that was slow to be valued. As Schindler pointed out, the structure of the music is built up of seamless repetitions of smaller material. This need not, of course, be seen as a weakness, rather as a source of colour and variation, a rhetorical device.

At the same time, it is in its structure that the symphony is at its most Classical. Not only does Schubert return (as in his piano sonatas) to the traditional four-movement pattern of the late 18th century, but his use of sonata form in not one but three of the movements imparts a Classical sense of drama achieved through formal conflict between harmonic centres. The traditional forms are enlarged and enriched in Schubert’s treatment. As Schumann wrote in his review of the symphony: ‘Herein is revealed the finest technical skill, life in every fibre of the music, the finest gradations of colouring and care for the minutest detail; the whole structure is shrouded in the cloak of Romanticism which has now become familiar to us in Schubert’s compositions.’

The introduction of the first movement is Romantic in its function as well as its feeling. In the manner of Beethoven’s Seventh and Ninth Symphonies, Schubert integrates the introduction (Andante) with the main Allegro section, to the point where, as Brian Newbould observes, the concept of an ‘introduction’ must be redefined. The distinctive opening motif,

TOO LONG, TOO DIFFICULT

In October 1826 Schubert wrote to the Gesellschaft der Musikfreunde (Society of the Friends of Music) venturing ‘as a native artist, to dedicate to them this, my Symphony, and to commend it most politely to their protection.’ The Society did play through the symphony but was unwilling, or unable, to undertake a performance. Despite complaining of its ‘length and difficulty’, the Society was not entirely unappreciative and Schubert was given (‘not as a fee’) an honorarium of 100 florins.

HEAVENLY LENGTH

The symphony ‘had a success in spite of some voices being raised against its length, for it lasted a full hour…’

Publisher Raymund Härtel in a letter to Robert Schumann

‘…all the instruments are human voices. It is gifted beyond measure, this instrumentation, Beethoven notwithstanding – and this length, the heavenly length, like a novel in four volumes, longer than [Beethoven’s] Ninth Symphony.’

Schumann in a letter to Clara Wieck

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played by unison horns, is more than a call for attention. It is a pivotal musical idea, reappearing at the end of the movement without reverting to the introductory tempo.

The second movement (Andante con moto) is a curious blend of rondo and variation form within a sonata-form context. Here, the opening oboe theme is developed by tireless winds above a measured accompaniment. Relentlessly the strings occupy every beat until the climax of the movement, where the sudden hush is rendered all the more dramatic.

While a symphonic scherzo is traditionally light in spirit, Schubert’s ambitious Allegro vivace is both vibrant and weighty on a scale to match the surrounding movements. The composer’s leaning towards waltz themes is evident; the weight of the Scherzo comes from its rhythmic drive and Schubert’s unusual and brilliant orchestration. The harmonic support and colour given by the three trombones reminds us of Schubert’s instinctive writing for wind and brass – surpassing, as Schumann and later writers have assured us, even Beethoven.

The scoring of the Finale (Allegro vivace) harks back to the outer movements of Schubert’s Fourth Symphony, with the strings sustaining the fierce energy of a galloping combination of triplet and dotted rhythms. In contrast with Schubert’s supposed introvert nature and the private tone of the Unfinished Symphony, this finale is, in every sense, spacious and extroverted music – not only in its scale but in its uplifting joyousness.

‘Among more recent works,’ wrote Mendelssohn shortly after the Leipzig premiere of the symphony, ‘it is certainly one of the best we have; lively, piquant and original throughout, it stands at the very summit of Schubert’s instrumental works.’ And Schumann could say quite frankly to a readership perhaps more familiar with Schubert’s songs than his instrumental works that ‘he who is not acquainted with this symphony knows but little of Schubert…’

ADAPTED FROM A NOTE BY YVONNE FRINDLE SYMPHONY AUSTRALIA © 1997

The symphony is scored for pairs of flutes, oboes, clarinets and bassoons; two horns, two trumpets and three trombones; timpani and strings.

Felix Mendelssohn conducted the premiere of Schubert’s Great C Major Symphony at the Leipzig Gewandhaus on 21 March 1839. The SSO first performed it in 1938 with conductor George Szell, and most recently in 2011 under Jonathan Nott.

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MORE MUSIC

SHOSTAKOVICH CELLO CONCERTOSAs with concert performances, there are far fewer recordings of Shostakovich’s Cello Concerto No.2 than of the more popular first concerto, but Lynn Harrell’s is one of these. Made with the Royal Liverpool Philharmonic Orchestra and conductor Gerard Schwarz, it was released in 2006 in a pairing with Prokofiev’s Symphony-Concerto.AVIE 2090

Rostropovich was the dedicatee of the second concerto and recorded it on several occasions. Perhaps the most interesting is the collection Rostropovich plays Shostakovich, with Yevgeny Svetlanov conducting the Prague Symphony Orchestra in the second concerto, the composer himself accompanying Rostropovich in the Cello Sonata, and two performances of the first concerto: Kirill Kondrashin conducting the Czech Philharmonic and Alexander Gauk conducting the Moscow Philharmonic.SUPRAPHON 4101

Or for a more varied compilation featuring Rostropovich, look for the BBC Legends release with Khachaturian’s Concert-Rhapsody, Tchaikovsky’s Rococo Variations and Shostakovich’s Second Concerto in recordings from the 1960s with the London and BBC symphony orchestras.BBC LEGENDS 4073

GREAT C MAJOR SYMPHONYIf you’re looking to hear more of Schubert’s music for orchestra, try the late Claudio Abbado’s interpretations of all the complete symphonies with the Chamber Orchestra of Europe in a 5-CD Collector’s Edition set. Made in 1988, the recordings of the Fourth, Unfinished and Great C Major symphonies were the first to use editions based on Schubert’s autograph manuscripts.DEUTSCHE GRAMMOPHON 477 8687

For a more athletic approach, look for Frans Brüggen and the Orchestra of the 18th Century in their Schubert symphony boxed set, recorded on period instruments. This Philips release is out of print but is available as a download from iTunes (complete set or as individual symphonies).

OLEG CAETANIMaestro Caetani’s own website www.olegcaetani.com is a good place to begin exploring his recorded repertoire. On the Multimedia page, he even offers some basic video tips on conducting!

His complete set of Shostakovich symphonies, recorded with the Orchestra Sinfonica di Milano G. Verdi (and its chorus), is available as individual releases on the Arts Music label or in a collection of 10 discs. ARTS MUSIC 47850/88

Another recent project is his recording of the Alexandre Tansman symphonies with the Melbourne Symphony Orchestra and (in volume 4) the Orchestra della Svizzera Italiana.CHANDOS 5041, 5054 , 5065, 10574

Also with the MSO, a well-regarded recording of the Tchaikovsky symphonies: 1 to 6, together with the original version of the Manfred Symphony.MSO LIVE/ABC CLASSICS 476 6442

LYNN HARRELLLynn Harrell has also recorded Shostakovich’s First Cello Concerto, released with Shostakovich’s Ninth Symphony and two fairytale pieces for orchestra by Liadov. Gerard Schwarz conducts the Seattle Symphony.ARTEK 56-2

In a discography of around 80 recordings, there is plenty to choose from, but among his more recent releases is The Known Unknowns – a program of 18th-century cello concertos by CPE Bach, Haydn and Boccherini (the concerto made popular in Grützmacher’s arrangement), as well as pieces by François Couperin. The Angeli Ensemble is directed by Michael Nowak.AZIC 71265

Broadcast Diary

April–May

Friday 11 April, 8pm HEAVENLY SCHUBERT

Oleg Caetani conductor Lynn Harrell cello

See this program for details.

Saturday 17 May, 1pm RUSSIAN MAESTROSAlexander Lazarev conductor Lukáš Vondráček pianoRachmaninoff, Shostakovich

Saturday 17 May, 8pm ELIJAHPaul McCreesh conductor with soloists and choirs

Mendelssohn

Saturday 19 May, 8pm LUKAS VONDRACEK IN RECITALHaydn, Rachmaninoff, Brahms, Prokofiev

SYDNEY SYMPHONY ORCHESTRA 2014 Tuesday 13 May, 6pm

Musicians, staff and guest artists discuss what’s in store in our forthcoming concerts.

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

Glazunov & ShostakovichAlexander Lazarev conducts a thrilling performance of Shostakovich 9 and Glazunov’s Seasons. SSO 2

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 DeanBrett Dean performs his own viola concerto, conducted by Simone Young, in this all-Dean release. SSO 200702

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

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

LOOK OUT FOR…Our second release featuring music by Brett Dean and our new recording of Stravinsky’s Firebird with David Robertson.

Join us on Facebook facebook.com/sydneysymphony

Follow us on Twitter twitter.com/sydsymph

Watch us on YouTube www.youtube.com/SydneySymphony

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

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Download our free mobile app for iPhone/iPad or Android sydneysymphony.com/mobile_app

SSO Online

MAHLER ODYSSEYDuring the 2010 and 2011 concert seasons, the SSO and Vladimir Ashkenazy set out to perform all the Mahler symphonies, together with some of the song cycles. These concerts were recorded for CD and the set is now complete, together with a special disc of historical SSO Mahler performances. Available individually or as a handsome boxed set.

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Oleg Caetani is an opera and concert conductor, giving equal importance to both these aspects of his work. The great teacher Nadia Boulanger was the driving inspiration of his career, discovering his talent and giving him the philosophical approach he holds today.

At Rome’s Conservatory of Santa Cecilia he attended Franco Ferrara’s conducting class, and at 17 made his theatre debut with Il combattimento di Tancredi e Clorinda by Monteverdi. Later, he studied in Moscow with Kirill Kondrashin and St Petersburg with Ilya Musin, during which time Shostakovich’s music became central to his repertoire. Since then he has conducted Shostakovich all over the world as well as recording the complete symphonies with the Verdi Orchestra in Milan.

After winning the RAI Turin and Karajan competitions, he began his career at the Berlin State Opera. His deep experience of opera has in turn influenced his approach to symphonic repertoire. The first opera he conducted, aged 24, was Eugene Onegin; since then Tchaikovsky has played an important role in his repertoire, with new productions of The Maid of Orleans, The Queen of Spades and Nutcracker, as well as an acclaimed recording of the Tchaikovsky symphonies.

His pioneering recordings of Alexandre Tansman’s symphonies have won three Diapason d’Or. He also champions the music of Romanian George Enescu and was awarded the legion of

honour of the Romanian Republic in recognition for his performances of Enescu’s music around the world.

Oleg Caetani made his debut at La Scala, Milan in 2001 with Turandot, returning in 2005 for Otello. Recent opera engagements have included Khovanchina, Madama Butterfly, La bohème and Vaughan Williams’ Sir John In Love (English National Opera); The Flying Dutchman in Rome; Poulenc’s La voix humaine coupled with Bluebeard’s Castle (Bartók), and Verdi’s Don Carlos in Cologne; and Madama Butterfly (Berlin and Oslo). He also regularly conducts orchestras such as the Staatskapelle Dresden, Munich Philharmonic, Bavarian Radio Symphony Orchestra, Vienna Symphony Orchestra, Orchestre National de Radio France, RAI National Symphony Orchestra, l’Accademia di Santa Cecilia and the Hong Kong Philharmonic.

Forthcoming engagements include his Royal Opera House debut in May with Tosca, and Lady Macbeth of Mtzensk (Oslo) as well as concerts with the Verdi Orchestra, Taipei Symphony Orchestra, Taijin Symphony Orchestra, St Petersburg Philharmonic, Bern Symphony Orchestra and Orchestre Philharmonique de Strasbourg, among others. His most recent appearance with the SSO was in 2012, when he conducted Shostakovich’s Sixth Symphony.

Oleg Caetaniconductor

THE ARTISTS

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Lynn Harrell is a consummate soloist, chamber musician, recitalist, conductor and teacher, and his work throughout the Americas, Europe and Asia has placed him in the highest echelon of today’s performing artists. He was born in New York to musician parents, and began his musical studies in Dallas before proceeding to the Juilliard School and the Curtis Institute of Music. This year he celebrates his 70th birthday and a 50-year career as a concert cellist.

He returns this season to Carnegie Hall with James Levine and the Metropolitan Opera Orchestra, and his touring will include recitals and concerts in Nova Scotia and China as well as this visit to Sydney and Adelaide. He will also return to the summer festivals in Aspen, Ventura and La Jolla, and with the Eastern Music Orchestra.

Recent engagements have included concerts with the Teatro di San Carlo Orchestra, a European tour with Riccardo Chailly and the Leipzig Gewandhaus Orchestra, an Asian tour with concerts in Singapore and Taipei, and concerts with the Los Angeles Philharmonic and Frühbeck de Burgos, the Boston Symphony Orchestra and Christoph Eschenbach for the premiere of Augusta Read Thomas’s Cello Concerto No.3 – Legend of the Phoenix, and concerts in New York, Detroit, Edmonton and Tanglewood.

A frequent guest of the world’s greatest orchestras, he appears often with conductors such as James Levine, Neville Marriner, Kurt Masur, Zubin Mehta, Simon Rattle, Leonard Slatkin, Yuri Temirkanov and Michael Tilson Thomas. As a recitalist and chamber musician, he has collaborated with Anne-Sophie Mutter, Yuri Bashmet and André Previn, and he has recorded with Vladimir Ashkenazy, Itzhak Perlman, Pinchas Zukerman and Nigel Kennedy. His acclaimed discography ranges from Bach to Walton, with several Grammy Award winners and premiere recordings amongst them.

He is also founder, director and Artist Ambassador (together with his wife, violinist Helen Nightengale) of the HEARTbeats Foundation, a Los Angeles-based charity for children. He serves as a board officer and Artist Ambassador and works directly with children in need.

Lynn Harrell has toured extensively in Australia and his most recent appearances with the SSO were in 1996 (Dvořák’s Cello Concerto with conductor Yuri Temirkanov) and 1998 (the Schumann concerto with Edo de Waart).

Lynn Harrell cello

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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 have earned the orchestra worldwide recognition for artistic excellence, most recently in the 2012 tour to China.

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 and Vladimir Ashkenazy. 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 first year of David Robertson’s tenure as Chief Conductor and Artistic Director.

DAVID ROBERTSON Chief Conductor and Artistic Director

PATRON Her Excellency Professor Marie Bashir ac cvo

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MUSICIANS

David RobertsonCHIEF CONDUCTOR AND ARTISTIC DIRECTOR SUPPORTED BY EMIRATES

Dene OldingCONCERTMASTER

Jessica CottisASSISTANT CONDUCTOR SUPPORTED BY PREMIER PARTNER CREDIT SUISSE

Andrew HaveronCONCERTMASTER

FIRST VIOLINSAndrew Haveron CONCERTMASTER

Kirsten Williams ASSOCIATE CONCERTMASTER

Lerida Delbridge ASSISTANT CONCERTMASTER

Fiona Ziegler ASSISTANT CONCERTMASTER

Jenny BoothMarianne BroadfootGeorges LentzNicola LewisClaire Herrick°Monique Irik*Emma Jardine*Elizabeth Jones°Emily Qin°Lucy Warren*Dene Olding CONCERTMASTER

Sun Yi ASSOCIATE CONCERTMASTER

Brielle ClapsonSophie ColeAmber DavisJennifer HoyAlexandra MitchellAlexander NortonLéone Ziegler

SECOND VIOLINS Marina Marsden Emma Jezek ASSISTANT PRINCIPAL

Emily LongMaria DurekShuti HuangStan W KornelBenjamin LiNicole MastersPhilippa PaigeMaja VerunicaRebecca Gill*Vivien Jeffery*Belinda Jezek°Kirsty HiltonEmma HayesBiyana Rozenblit

VIOLASTobias Breider Anne-Louise Comerford Rosemary CurtinJane HazelwoodGraham HenningsStuart JohnsonJustine MarsdenAmanda VernerLeonid VolovelskyRoger Benedict Justin Williams ASSISTANT PRINCIPAL

Sandro CostantinoFelicity Tsai

CELLOSCatherine Hewgill Henry David Varema Leah Lynn ASSISTANT PRINCIPAL

Kristy ConrauFenella GillTimothy NankervisElizabeth NevilleDavid WickhamUmberto ClericiChristopher PidcockAdrian Wallis

DOUBLE BASSESKees Boersma Neil Brawley PRINCIPAL EMERITUS

David CampbellSteven LarsonRichard LynnBenjamin WardAlex HeneryDavid Murray

FLUTES Janet Webb Lamorna Nightingale*Emma Sholl Carolyn HarrisRosamund Plummer PRINCIPAL PICCOLO

OBOESShefali Pryor ACTING PRINCIPAL

David PappDiana Doherty Alexandre Oguey PRINCIPAL COR ANGLAIS

CLARINETSFrancesco Celata Christopher TingayLawrence Dobell Craig Wernicke PRINCIPAL BASS CLARINET

BASSOONSMatthew Wilkie Fiona McNamaraNoriko Shimada PRINCIPAL CONTRABASSOON

HORNSBen Jacks Robert Johnson Euan HarveyGeoffrey O’Reilly PRINCIPAL 3RD

Marnie SebireRachel Silver

TRUMPETSDavid Elton Andrew Evans*Paul Goodchild Anthony Heinrichs

TROMBONESRonald Prussing Nick ByrneChristopher Harris PRINCIPAL BASS TROMBONE

Scott Kinmont

TUBASteve Rossé TIMPANIRichard Miller

PERCUSSIONRebecca LagosMark RobinsonPhilip South*

HARP Louise Johnson Verna Lee*

BOLD = PRINCIPAL

ITALICS = ASSOCIATE PRINCIPAL

° = CONTRACT MUSICIAN

* = GUEST MUSICIAN

GREY = PERMANENT MEMBER OF THE

SYDNEY SYMPHONY ORCHESTRA NOT

APPEARING IN THIS CONCERT

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

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

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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

Chris Lewis

ORCHESTRA COORDINATOR

Georgia Stamatopoulos

OPERATIONS MANAGER

Kerry-Anne Cook

PRODUCTION MANAGER

Laura Daniel

STAGE MANAGER

Courtney Wilson

PRODUCTION COORDINATOR

Tim Dayman

SALES AND MARKETING

DIRECTOR OF SALES & MARKETING

Mark J Elliott

SENIOR SALES & MARKETING MANAGER

Penny Evans

MARKETING MANAGER, SUBSCRIPTION SALES

Simon Crossley-Meates

MARKETING MANAGER, CLASSICAL SALES

Matthew Rive

MARKETING MANAGER, WEB & DIGITAL MEDIA

Eve Le Gall

MARKETING MANAGER, CRM & DATABASE

Matthew Hodge

DATABASE ANALYST

David PatrickSENIOR GRAPHIC DESIGNER

Christie BrewsterMARKETING COORDINATOR

Jonathon Symonds

SENIOR ONLINE MARKETING COORDINATOR

Jenny Sargant

ONLINE MARKETING COORDINATOR

Jonathan Davidoff

Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlin

BOX OFFICE SYSTEMS SUPERVISOR

Jacqueline Tooley

BOX OFFICE BUSINESS ADMINISTRATOR

John Robertson

CUSTOMER SERVICE REPRESENTATIVES

Karen Wagg – Senior CSR Michael DowlingKatarzyna OstafijczukTim Walsh

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

EXTERNAL RELATIONS

DIRECTOR OF EXTERNAL RELATIONS

Yvonne Zammit

PhilanthropyHEAD OF PHILANTHROPY

Luke Andrew Gay

DEVELOPMENT MANAGER

Amelia Morgan-Hunn

PHILANTHROPY COORDINATOR

Sarah Morrisby

Corporate RelationsHEAD OF CORPORATE RELATIONS

Jeremy Goff

CORPORATE RELATIONS MANAGER

Janine Harris

CommunicationsPUBLIC RELATIONS MANAGER

Katherine Stevenson

DIGITAL CONTENT PRODUCER

Kai Raisbeck

SOCIAL MEDIA AND PUBLICITY OFFICER

Caitlin Benetatos

BUSINESS SERVICES

DIRECTOR OF FINANCE

John Horn

FINANCE MANAGER

Ruth Tolentino

ACCOUNTANT

Minerva Prescott

ACCOUNTS ASSISTANT

Emma Ferrer

PAYROLL OFFICER

Laura Soutter

PEOPLE AND CULTURE

IN-HOUSE COUNSEL

Michel Maree Hryce

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 COUNCIL

Geoff Ainsworth am

Andrew Andersons ao

Michael Baume ao

Christine BishopIta Buttrose ao obe

Peter CudlippJohn Curtis am

Greg Daniel am

John Della BoscaAlan FangErin FlahertyDr Stephen FreibergDonald Hazelwood ao obe

Dr Michael Joel am

Simon JohnsonYvonne Kenny am

Gary LinnaneAmanda LoveHelen Lynch am

David Maloney am

David Malouf ao

Deborah MarrThe Hon. Justice Jane Mathews ao

Danny MayWendy McCarthy ao

Jane MorschelDr Timothy Pascoe am

Prof. Ron Penny ao

Jerome RowleyPaul SalteriSandra SalteriJuliana SchaefferLeo Schofield am

Fred Stein oam

Gabrielle TrainorIvan UngarJohn van OgtropPeter Weiss ao HonDLittMary WhelanRosemary White

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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

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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 ChairmanGeoff Ainsworth am Tom Breen & Rachael KohnIn memory of Hetty & Egon GordonAndrew Kaldor am & Renata Kaldor aoVicki Olsson

Roslyn Packer aoDavid RobertsonPenelope Seidler amMr Fred Street am & Mrs Dorothy StreetWestfield GroupBrian & Rosemary WhiteRay Wilson oam in memory of the late James Agapitos oam

CHAIR PATRONS

06 Kirsty Hilton Principal Second Violin Corrs Chambers Westgarth Chair

07 Robert Johnson Principal Horn James & Leonie Furber Chair

08 Elizabeth Neville Cello Ruth & Bob Magid Chair

09 Emma Sholl Associate Principal Flute Robert & Janet Constable Chair

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

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

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

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

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

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

FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM,

CALL (02) 8215 4619.

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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

Mr John C Conde ao

Mr Andrew Kaldor am & Mrs Renata Kaldor ao

In Memory of Matthew KrelMrs Roslyn Packer ao

Paul & Sandra SalteriScully FoundationMrs 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 AlbertTerrey Arcus am & Anne ArcusTom Breen & Rachael KohnSandra & Neil BurnsRobert & Janet ConstableJames & Leonie FurberIn memory of Hetty &

Egon Gordon

BRONZE PATRONS: PRESTO $2,500–$4,999Mr Henri W Aram oam

The Berg Family Foundation in memory of Hetty Gordon

Mr B & Mrs M ColesMr Howard ConnorsGreta DavisFirehold Pty LtdStephen Freiberg &

Donald CampbellAnn HobanIrwin Imhof in memory of

Herta ImhofRobert McDougallJames & Elsie MooreMs Jackie O’BrienJ F & A van OgtropMarliese & Georges TeitlerMr Robert & Mrs Rosemary

WalshYim Family FoundationMr & Mrs T & D Yim

BRONZE PATRONS: VIVACE $1,000–$2,499Mrs Lenore AdamsonMrs Antoinette AlbertAndrew Andersons ao

Sibilla BaerDavid BarnesAllan & Julie BlighDr & Mrs Hannes BoshoffJan BowenLenore P BuckleMargaret BulmerIn memory of RW BurleyIta Buttrose ao obe

Mr JC Campbell qc & Mrs Campbell

Dr Rebecca ChinDr Diana Choquette &

Mr Robert MillinerMr Peter ClarkeConstable Estate Vineyards Dom Cottam &

Kanako ImamuraDebby Cramer & Bill CaukillMr John Cunningham SCM &

Mrs Margaret CunninghamLisa & Miro Davis

Matthew DelaseyMr & Mrs Grant DixonColin Draper & Mary Jane

BrodribbMalcolm Ellis & Erin O’NeillMrs Margaret EppsPaul R EspieProfessor Michael Field am

Mr Tom FrancisWarren GreenAnthony GreggAkiko GregoryIn memory of Dora &

Oscar GrynbergJanette HamiltonMrs Jennifer HershonMrs & Mr HolmesMichael & Anna JoelAron KleinlehrerMr Justin LamL M B LampratiMr Peter Lazar am

Professor Winston LiauwDr David LuisPeter Lowry oam &

Dr Carolyn Lowry oam

Kevin & Deirdre McCann

I KallinikosHelen Lynch am & Helen BauerMrs T Merewether oam

Vicki OlssonDavid RobertsonMrs Penelope Seidler am

G & C Solomon in memory of Joan MacKenzie

Westfield GroupRay Wilson oam in memory of

James Agapitos oam

Anonymous (1)

GOLD PATRONS: $10,000–$19,999Doug & Alison BattersbyAlan & Christine BishopIan & Jennifer BurtonMichael Crouch ao &

Shanny CrouchCopyright Agency Cultural

Fund Edward & Diane FedermanNora GoodridgeMr Ross GrantMr Ervin KatzJames N Kirby FoundationMs Irene LeeRuth & Bob Magid

The Hon. Justice AJ Meagher & Mrs Fran Meagher

Mr John MorschelDrs Keith & Eileen OngMr John SymondAndy & Deirdre PlummerCaroline WilkinsonAnonymous (1)

SILVER PATRONS: $5000–$9,999Dr Francis J AugustusStephen J BellMr Alexander & Mrs Vera

BoyarskyPeter Braithwaite & Gary

LinnaneMr Robert BrakspearMr David & Mrs Halina BrettMr Robert & Mrs L Alison Carr Bob & Julie ClampettEwen Crouch am &

Catherine CrouchThe Hon. Mrs Ashley Dawson-

DamerIan Dickson & Reg HollowayDr Lee MacCormick Edwards &

Mr Michael CraneDr Colin Goldschmidt

The Greatorex Foundation Mr Rory JeffesJudges of the Supreme Court

of NSW J A McKernanDavid Maloney am & Erin

FlahertyR & S Maple-BrownJustice Jane Mathews ao

Mora MaxwellMrs Barbara MurphyWilliam McIlrath Charitable

FoundationMr B G O’ConorRodney Rosenblum am &

Sylvia RosenblumDr Evelyn RoyalThe Estate of the late

Greta C RyanManfred & Linda SalamonSimpsons SolicitorsMrs Joyce Sproat &

Mrs Janet CookeMichael & Mary Whelan TrustJune & Alan Woods Family

BequestAnonymous (1)

Ian & Pam McGawMacquarie Group FoundationRenee MarkovicHenry & Ursula MooserMilja & David MorrisMrs J MulveneyMr & Mrs OrtisMr Darrol NormanDr A J PalmerMr Andrew C PattersonDr Natalie E PelhamAlmut PiattiRobin PotterIn memory of Sandra Paul

PottingerTA & MT Murray-PriorDr Raffi QasabianMichael QuaileyMr Patrick Quinn-GrahamErnest & Judith RapeeKenneth R ReedPatricia H Reid Endowment

Pty LtdDr Marilyn RichardsonRobin RodgersLesley & Andrew RosenbergIn memory of H St P Scarlett

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Vanguard CollectiveJustin Di Lollo ChairKees BoersmaDavid McKeanAmelia Morgan-HunnJonathan PeaseSeamus R QuickChloe SassonCamille Thioulouse

MembersDamien BaileyJoan BallantineAndrew BaxterMar BeltranEvonne BennettNicole BilletDavid Bluff

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

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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Andrew BraggPeter BraithwaiteBlake BriggsAndrea BrownProf. Attila BrungsHelen CaldwellHilary CaldwellHahn ChauAlistair ClarkPaul ColganJuliet CurtinAlastair FurnivalAlistair GibsonSam GiddingsMarina GoTony GriersonLouise HaggertyRose Herceg

Philip HeuzenroederPaolo HookePeter HowardJennifer HoyScott JacksonJustin JamesonAernout KerbertTristan LandersGary LinnanePaul MacdonaldKylie McCaigRebecca MacFarlingHayden McLeanTaine MoufarrigeNick NichlesTom O’DonnellKate O’ReillyLaurissa Poulos

Jingmin QianLeah RanieSudeep RaoMichael ReedePaul ReidyChris RobertsonDr Benjamin RobinsonEmma RodigariJacqueline RowlandsKatherine ShawRandal TameSandra TangMichael TidballJonathan WatkinsonJon WilkieYvonne Zammit

PLAYING YOUR PART

Caroline SharpenDavid & Isabel SmithersMrs Judith SouthamCatherine StephenThe Hon. Brian Sully qc

Mildred TeitlerKevin TroyJohn E TuckeyIn memory of Joan &

Rupert VallentineDr Alla WaldmanMiss Sherry WangHenry & Ruth WeinbergThe Hon. Justice A G WhealyMs Kathy White in memory

of Mr Geoff WhiteA Willmers & R PalMr & Mrs B C WilsonDr Richard Wing

Mr Robert WoodsIn memory of Lorna WrightDr John YuAnonymous (11)

BRONZE PATRONS: ALLEGRO $500–$999David & Rae AllenMr & Mrs Garry S AshDr Lilon BandlerMichael Baume ao & Toni BaumeBeauty Point Retirement ResortRichard & Margaret BellMrs Jan BiberMinnie BiggsMrs Elizabeth BoonMr Colin G BoothDr Margaret BoothMr Frederick BowersMr Harry H BrianR D & L M BroadfootMiss Tanya BryckerDr Miles Burgess

Pat & Jenny BurnettEric & Rosemary CampbellBarrie CarterMr Jonathan ChissickMrs Sandra ClarkMichael & Natalie CoatesCoffs Airport Security Car ParkJen CornishDegabriele KitchensPhil Diment am & Bill

ZafiropoulosDr David DixonElizabeth DonatiMrs Jane DrexlerDr Nita Durham &

Dr James DurhamJohn FavaloroMs Julie Flynn & Mr Trevor CookMrs Lesley FinnMr John GadenVivienne GoldschmidtClive & Jenny GoodwinRuth GrahameMs Fay GrearIn Memory of Angelica GreenMr Robert GreenRichard Griffin am

Mr & Mrs Harold & Althea Halliday

Benjamin Hasic & Belinda Davie

Mr Robert HavardRoger HenningSue HewittIn memory of Emil HiltonDorothy Hoddinott ao

Mr Joerg HofmannMr Angus HoldenMr Kevin HollandBill & Pam HughesDr Esther JanssenNiki Kallenberger

Mrs W G KeighleyMrs Margaret KeoghDr Henry KilhamChris J KitchingAnna-Lisa KlettenbergMr & Mrs Gilles T KrygerThe Laing FamilySonia LalDr Leo & Mrs Shirley LeaderMargaret LedermanMrs Erna Levy Sydney & Airdrie LloydMrs A LohanPanee LowDr David LuisMelvyn MadiganBarbara MaidmentHelen & Phil MeddingsDavid MillsKenneth Newton MitchellHelen MorganChris Morgan-HunnMr Graham NorthE J NuffieldDr Margaret ParkerDr Kevin PedemontDr John PittMrs Greeba PritchardMiss Julie RadosavljevicRenaissance ToursAnna RoAgnes RossMr Kenneth RyanGarry Scarf & Morgie Blaxill

Peter & Virginia ShawV ShoreMrs Diane Shteinman am

Victoria SmythDr Judy SoperDoug & Judy SotherenRuth StaplesMr & Mrs Ashley StephensonMargaret SuthersMs Margaret SwansonThe Taplin FamilyDr & Mrs H K TeyAlma Toohey Judge Robyn TupmanMrs M TurkingtonGillian Turner & Rob BishopRonald WalledgeIn memory of Denis WallisThe Wilkinson FamilyEvan Williams am &

Janet WilliamsDr Edward J WillsAudrey & Michael Wilson

Dr Richard WingateDr Peter Wong &

Mrs Emmy K WongGeoff Wood & Melissa

WaitesMrs Robin YabsleyAnonymous (29)

List correct as of 1 March 2014

26 49

SALUTE

PRINCIPAL PARTNER

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

PREMIER PARTNER

PLATINUM PARTNER

GOLD PARTNERS

SILVER PARTNERS

REGIONAL TOUR PARTNER MARKETING PARTNER

EDUCATION PARTNER MAJOR PARTNERS

07 Intl Pianists Omnibus.indd 49 27/02/14 8:07 AM

❝I’d practise trumpet in the off season.

❞Paul is a good friend of

the Barmy Army’s mascot trumpeter, Bill. The Army covers Bill’s expenses, and in return he leads many of the tunes they sing. You’ve no doubt heard him on the ABC Grandstand broadcasts. ‘Bill and I were introduced via text message by a mutual friend who happened to be in Switzerland when we were at the Sydney Cricket Ground. He suggested we should meet up, so we did – didn’t talk much about the trumpet, mostly talked about cricket and drank wine.’

The two have stayed in touch. Last year when the Ashes was played at Lords, Paul took great delight in texting Bill from the comfort of his couch on the other side of the world with suggestions about what he should play next, only to hear those tunes coming through the television moments later. There are two things for sure: technology makes the world a smaller place, and music knows no boundaries!

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In the summertime, there’s one place you’re guaranteed to find trumpeter Paul Goodchild – watching the cricket. At the ground or via the telly, Paul follows cricket with a passion. ‘My love of cricket comes from two of my uncles, who used to talk about it so passionately.’ Cricket was Paul’s game of choice at his very sporty high school. ‘I didn’t play a winter sport because I had to protect my teeth, but cricket in the summer was safe. I’d practise trumpet in the off season!’

Anyone who’s ever followed an Ashes Series will be familiar

with the Barmy Army – the jolly mob of fanatical cricket fans who travel from Blighty to wherever the English team is playing. This summer past, Paul found himself fraternising with members of the Army. ‘I wanted to make them feel welcome on hostile soil. The Barmy Army’s an institution. They’re great fun and they all love to sing. Every player on the field will have his own “anthem” that they sing. Some are very tongue in cheek, like singing “Your next queen is Camilla Parker Bowles” to the tune of Yellow Submarine to goad the Aussie side.’

GOOD SPORTMusic and sport. Who says the two can’t go hand-in-hand? Certainly not Paul Goodchild, the SSO’s Associate Principal Trumpet…

ORCHESTRA NEWS | APRIL–MAY 2014

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Music and travel have gone hand in hand since Mozart’s time. ‘I assure you that without travel,’ he wrote to his father Leopold, ‘we are miserable creatures. A man of mediocre talent will remain mediocre whether he travels or not; but one of superior talent…will go to seed if he remains continually in one place.’

Mozart’s words are music to our ears as we announce our new partnership with luxury cruise and tour operator APT as the presenting partner of our Master Series. ‘We’re delighted to be working with one of Australia’s leading cultural institutions,’ says APT General Manager of Marketing and Sales, Debra Fox, ‘and look forward to sharing some outstanding concerts with music lovers from Sydney and across Australia.’

SSO Managing Director Rory Jeffes adds, ‘The SSO and APT are focused on excellence in all our offerings, be it a performance at the Sydney Opera House or a river boat cruise in Europe. Our organisations share a belief in experiences of the highest quality.’

Sponsorship Highlight Ask a MusicianIn July, we’re giving the premiere of a new cantata by composer Paul Stanhope and librettist Steve Hawke: Jandamarra: Sing for the Country, Ngalanyba Muwayi. We asked Paul about the creative and collaborative process of writing such a large-scale work.

In 2011 Paul Stanhope first contacted Steve Hawke (son of former Australian Prime Minister Bob Hawke) about setting his existing play, Jandamarra, to music. ‘He really liked the idea’, says Paul, ‘and thought it was important to involve the Bunuba community, which he’s worked with for years.’

Paul’s cantata will incorporate the music of the Bunuba people. ‘It’s a really important part of how the story is told.’ A junba (traditional song from the West Australian Kimberly region) will be performed by members of the Yilimbirri ensemble from Fitzroy Crossing, and adapted into the musical fabric of the cantata.

Paul has also had assistance from June Oscar ao, an ambassador for the Bunuba community: ‘She’s helped me to come up with song lyrics, and given me advice on how to set the language.’

With around 500 performers (including singers and dancers and 400 young choristers), there will be huge musical forces to marshal: a challenge even for a seasoned composer such as Paul. ‘It’s quite huge!’ he says. ‘It’s the biggest and most complicated project I’ve ever been involved in.’

‘This is our chance to really tell the story one of the few organised armed insurrections documented against European settlement in Australia to a whole lot of people who otherwise would never have known about it.’

Have a question about music, instruments or the inner workings of an orchestra? ‘Ask a Musician’ at yoursay@sydneysymphony.com or by writing to Bravo! Reply Paid 4338, Sydney NSW 2001.

Perfect Partners

In March, the SSO again joined with Emirates Wolgan Valley Resort & Spa for the annual Symphony under the Stars chamber music weekend – three days of food, wine and fine music. More than 70 resort guests mingled with SSO musicians and enjoyed chamber music ranging from Mozart, Mendelssohn and Tchaikovsky to Broadway favourites. You can register your interest in the 2015 event by contacting Wolgan Valley on (02) 9290 9733.

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The Score

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Yoo (returning on cello), Aurora Henrich (double bass), Georgina Roberts (oboe), Alexei Dupressoir (clarinet) and Timothy Murray (bassoon).

‘I’m really looking forward to getting stuck into some chamber music,’ says Liisa. ‘I feel that’s something that you often miss out on at university if you’re always preparing for recitals or auditions. Even if you’re freelancing you’re often playing in big groups, so chamber music gets overlooked.’

The Artistic Director of the SSO Fellowship program, Roger Benedict, says there’s a shared hunger in this crop of Fellows ‘for the experiences that take them to the next stage, that really prepare them for a career in music’.

‘After 13 years of a wonderfully successful program,’ he continues, ‘we have members in the SSO who were Fellows, and in orchestras all over the world now. The program has grown from strength to strength, and largely due to the support of Credit Suisse and our supporters.’ These generous supporters include Mrs W Stening, Tenix, Kim Williams am & Catherine Dovey, Robert Albert ao & Elizabeth Albert, Sandra & Neil Burns, Mrs T Merewether oam, and a donor who has given in memory of Matthew Krel, as well as anonymous donors.

The early months of the SSO’s annual Fellowship program are a process of learning and discovery, revealing as much about personalities as musicianship and talent. Tim Murray, bassoon Fellow, is not afraid to take a lighter look at serious subjects: ‘When I think about my expectations for the Fellowship program,’ he says with a grin, ‘I expect to get really good at sight-reading!’ Tim knows already that the musical demands of this year’s Fellowship program will require him and the seven other young musicians in the program to juggle practising and rehearsal of solo repertoire, chamber music and orchestral music.

The Sydney Symphony Orchestra Fellowship is an intensive year-long program that introduces aspiring young instrumentalists to the world of full-time music-making at the highest level. Every year, up to nine Fellows are selected from hundreds of applicants through a rigorous audition process. The successful candidates then enter a world of professional concert-giving, mentoring by SSO musicians, masterclasses with visiting guest artists, and a series of chamber music recitals. This year’s Fellows are Liisa Pallandi and Nicholas Waters (violin), Carl Lee (viola), James sang-oh

Education Focus

NEW FACES

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We welcome our 2014 Fellows

Strictly Luhrmann: Strictly MusicalBaz Luhrmann’s boyhood might not have included music lessons but he’s a deeply musical person, someone who listens. Arranger and conductor Matt Dunkley, who’s worked on several Luhrmann films, says the director has ‘a real sensibility for music and he understands what it can do – the music’s there in the script from the beginning’.

Dunkley (pictured) is well placed to develop a concert around the soundtracks of the five Luhrmann movies. All the music is good – he recalls the cutting-edge choices in Romeo+Juliet, including early Radiohead. The challenge for an orchestral concert is that Luhrmann’s taste is so eclectic.

‘Naturally if we start trying to reinvent all the pop tracks that’s not going to work orchestrally,’ says Dunkley, ‘the result will be cheesy, like “Hooked on Classics”.’ Instead he’s tried to suggest the story of each movie, finding the heart of the scores, the big orchestral moments, and marrying these with the songs that people remember and the concert hall classics. The result mixes original music such as O Verona, written by Craig Armstrong for Romeo+Juliet, with popular vocal sequences such as the ‘Elephant Love Medley’ from Moulin Rouge, and classics such as Rhapsody in Blue (The Great Gatsby) and The Blue Danube (Strictly Ballroom).

Strictly LuhrmannKaleidoscope 2, 3 May | 8pm

SSO Bravo! #3 2014 Insert.indd 3 27/03/14 2:00 PM

SYMPHONY SERVICES INTERNATIONALSuite 2, Level 5, 1 Oxford Street, Darlinghurst NSW 2010PO Box 1145, Darlinghurst NSW 1300Telephone (02) 8622 9400 Facsimile (02) 8622 9422www.symphonyinternational.net

SYDNEY OPERA HOUSE TRUSTMr John Symond am (Chair)Ms Catherine Brenner, The Hon Helen Coonan, Ms Brenna Hobson, Mr Chris Knoblanche, Mr Peter Mason am, Ms Jillian Segal am, Mr Robert Wannan, Mr Phillip Wolanski am

EXECUTIVE MANAGEMENTChief Executive Officer Louise Herron am

Chief Operating Officer Claire SpencerDirector, Programming Jonathan BielskiDirector, Theatre and Events David ClaringboldDirector, Building Development and Maintenance Greg McTaggartDirector, External Affairs Brook TurnerDirector, Commercial David Watson

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

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

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All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright. Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited.

By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover than that in which it was published, or distributed at any other event than specified on the title page of this publication 17291 — 1/100414 — 12TH/E/G S24/26

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Chairman Brian Nebenzahl OAM RFD

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

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

SYMPHONY SERVICES INTERNATIONALSuite 2, Level 5, 1 Oxford Street, Darlinghurst NSW 2010PO Box 1145, Darlinghurst NSW 1300Telephone (02) 8622 9400 Facsimile (02) 8622 9422www.symphonyinternational.net

SYDNEY OPERA HOUSE TRUSTMr John Symond am [Chair]Ms Catherine Brenner, The Hon Helen Coonan, Ms Brenna Hobson, Mr Chris Knoblanche, Mr Peter Mason am, Ms Jillian Segal am, Mr Robert Wannan, Mr Phillip Wolanski, am

EXECUTIVE MANAGEMENTChief Executive Officer Louise Herron am

Chief Operating Officer Claire SpencerDirector, Programming Jonathan BielskiDirector, Theatre and Events David ClaringboldDirector, Building Development and Maintenance Greg McTaggartDirector, External Affairs Brook TurnerDirector, Commercial David Watson

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

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

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

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

PAPER PARTNER

All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright. Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited.

By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover than that in which it was published, or distributed at any other event than specified on the title page of this publication 17282 — 1/040414 — 11TS S23

This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064

Head Office: Suite A, Level 1, Building 16, Fox Studios Australia, Park Road North, Moore Park NSW 2021PO Box 410, Paddington NSW 2021Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: admin@playbill.com.au Website: www.playbill.com.au

Chairman Brian Nebenzahl OAM RFD

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

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

EDITOR Genevieve Lang Huppert sydneysymphony.com/bravoCONTRIBUTOR Andrew Aronowicz

BUSY FELLOWSIn March our 2014 Fellows gave a private backstage concert for SSO Fellowship and Education patrons. The Fellows performed music by Mozart, Nielsen and Hindson, then met with their supporters over drinks.

In April the Fellows will be making a visit to the South Coast Correctional Centre, combining a one-hour chamber music performance with a workshop led by Roger Benedict exploring communication, conflict resolution and teamwork in the context of chamber music. The Fellows will also have lunch with 30 specially selected inmates, who are all taking part based on their good behaviour and enrolment in education classes.

HEALING POWERLast month we launched the 2014 season of our music4health program at Sydney Children’s Hospital, Randwick. Since starting this program six years ago, we’ve

visited hospitals throughout NSW, performed at retirement homes and given concerts at the Powerhouse Museum as part of Disability Awareness Week, and we perform each year to hundreds of autistic children in a special event in conjunction with the Autism Advisory and Support Service. This year music4health will include visits to Westmead Children’s Hospital and the Randwick and Hunters Hill campuses of the Montefiore Home.

If you would like more information or to join our musicians on a music4health visit to see firsthand the power of music, contact Amelia Morgan-Hunn at amelia.morgan-hunn@sydneysymphony.com

SUPPORTING OUR FUTUREThe SSO has received a generous bequest of $50,000 from the late Dr Lynn Joseph. Dr Joseph, a survivor of World War II, was a long-time SSO subscriber until passing away last year at the age of 94. We are deeply grateful to Dr Joseph for supporting the orchestra in such a meaningful way.

If you’d like more information about leaving a gift to the SSO in your will, contact Luke Gay on (02) 8215 4625.

JOAN MACKENZIE SCHOLARSHIPLast year a generous bequest and gift from the late Joan MacKenzie and her family allowed us to set up an annual scholarship for an out-of-state violinist in the SSO’s Sinfonia program. This year the scholarship has been awarded to 22-year-old violinist Brett Yang, from Sunnybank Queensland, and will cover his travel to Sydney as well as private lessons with SSO musicians.

SYMPHONY IN THE PARKOn 22 March we gave our seventh annual concert in Parramatta Park, performing music by Dvorák and Wieniawski, and Beethoven’s Fifth Symphony, under the baton of Pinchas Steinberg, with violin soloist Karen Gomyo. On the night we announced future plans for the event, which will incorporate primary and high school music education activities in the Parramatta region.

CODA

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