2015 SEASON

DownerTenix DISCOVERY

RICHARD GILL ARTISTIC DIRECTOR

DISCOVER BEETHOVEN

DISCOVER RAVEL

Tuesday 24 February

Tuesday 25 August

DISCOVER MAHLER

DISCOVER RICHARD STRAUSS

Tuesday 5 May

Tuesday 10 November

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2015 concert season

DownerTenix DISCOVERY Discover the music of the great composers with Richard Gill CITY RECITAL HALL ANGEL PLACE

Program Contents Discover Beethoven’s Second Symphony Tuesday 24 February

PAGE 10

Discover Mahler’s Songs of a Wayfarer Tuesday 5 May

PAGE 14

Discover Ravel’s Mother Goose Suite Tuesday 25 August

PAGE 18

Discover Richard Strauss’s Death and Transfiguration Tuesday 10 November

PAGE 20

In Conversation with Richard Gill

PAGE 6

More Music

PAGE 12

About the SSO Sinfonia

PAGE 24

About the Artists

PAGE 22

PRESENTING PARTNER

This program book contains notes and articles for all four concerts in the 2015 DownerTenix Discovery series. Copies will be available at every performance, but we invite you to keep your program and bring it with you to each concert. Please share with your companion.

IN CONVERSATION WITH RICHARD GILL

Discovering Music in its Own Terms Ben Nielsen spoke to Richard Gill about the spirit of Discovery and a lifelong passion for teaching.

BRENDAN READ

‘Ladies and gentlemen! Boys and girls!’ When the mastermind behind Discovery takes to the stage, he radiates the genial enthusiasm of a favourite teacher and the inspiring charisma of a life-long performer. If there’s a single quality that comes across it’s passion – a passion inspired by music. And yet… ‘It’s a paradox,’ says Richard Gill. ‘Music has this incredible power to evoke, but we don’t know what it evokes. You can’t talk about it as being “very emotional” or “very passionate”, because that’s bullshit. So, I only ever talk about it in its own terms – technical aspects of the music and the way the orchestra works, the way the themes work, and the way the keys work.’ That is the essence of the Discovery series and the key to its success over the years. What Richard Gill wants us to discover, more than anything, is music in its own terms. He doesn’t want tell us what to think but how to think and – since this is music – how to listen. With every concert, Gill changes the way people listen to music. He does that by leaving the anecdotage to the program books – you can read about composers’ lives at your leisure – and instead opening ears to the way music works. And he does it better than just about anyone because, despite his many talents and vast musical experience, this conductor–pianist– composer–educator has one gift that stands above the rest. He loves to teach.

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KEITH SAUNDERS

So how do you listen to music?

As a child, Richard had nagged his parents for piano lessons only to be turned away from the first lesson because he had warts. Years later at the Sydney Conservatorium a tutor bluntly told him he had no future as a concert pianist. It’s no surprise that for the past 52 years he has sought to give young musicians the opportunities – and encouragement – he hadn’t always received himself. ‘When I was a student,’ he says, ‘we were told we would never amount to anything; we were all stupid and shouldn’t be at the Conservatorium; we weren’t worthy of the name musician.’ There was probably a degree of truth in that, he adds, ‘but we will never get anywhere if we don’t encourage other people and the most satisfying thing you can do is to put another human being in an advantageous situation.’ This drive to encourage and nurture talent in others has also shaped the distinctive character of Discovery. The ensemble for the series is the SSO Sinfonia, the training orchestra founded in 1996 during the era when Mary Vallentine was managing director and Edo de Waart chief conductor – initially out of necessity to cover schools concerts when the full orchestra was touring or recording. In the early years, Gill and the education manager at the time, Margie Moore, would go to the Con to promote the program – at one session 85 kids signed up then and there. Soon, Gill explains, Sinfonia began attracting students from further afield and they planned to audition them with music from the schools concerts repertoire. ‘The players said “no”…we should give them what they would play for a standard audition for the orchestra, and that was the best sign because it meant the players were starting to own the concept.’ That ownership remains visible: at every Discovery concert SSO musicians

I don’t listen to music. I read music a lot; I play scores on the piano. I rarely listen, I’d rather interact with the score. I have the biggest unplayed CD collection in the world, because I’ll buy a CD and think ‘Gee, this is good’ and then I won’t play it. What I tend to listen to is new music. The older I get, the more I go to the score. I think what I try to do is remove myself from the equation and get to the point of the music – that’s the really difficult thing to do. My view is ‘What is the music saying?’ I teach composition and I’m really interested in the way notes are put together, I love that approach, which is why I like doing Discovery. RICHARD GILL

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 Richard Gill conducting a workshop for the Sinfonietta Project, which identified and nurtured talented high-school composers.

are onstage as mentors; in some cases those musicians are Sinfonia alumni, among them Shefali Pryor, now Associate Principal Oboe. ‘I was lucky enough to be in Sinfonia when Richard did all the schools concerts,’ she says. ‘I loved the way he could lead a concert for children and still make it interesting for everybody in the room. The little kids were completely captivated, and as a musician I was extremely stimulated as well.’ With Discovery, the ‘everybody in the room’ grew to include adult audiences. (The series, begun in 2000, was originally called Adult Themes.) The pilot concert took place one night in the ABC’s Eugene Goossens Hall after a day of schools concerts. It was attended by about 200 people, who were introduced to Tchaikovsky’s Serenade for Strings and Stravinsky’s Symphonies of Wind Instruments. ‘We tried to choose pieces that were being played at the Opera House – like a “trailer” for the experience down the road,’ says Margie Moore. ‘Richard also chose pieces to fit into this whole understanding of where music had come from and how it developed. There were building blocks: he would do a piece of Mozart one year and a different piece of Mozart the next year to build people’s understanding.’ While Discovery concerts bear a faint resemblance to Leonard Bernstein’s televised Young People’s Concerts from the 1960s, there was no Australian precedent for this kind of concert and no particular template. In fact, Gill has always presented the concerts without script or rigid structure. He rehearses the music, of course, but not even the musicians will know what is going to happen in a Discovery concert. At best they might be warned of tricky solos, as is likely to happen in Ravel’s Mother Goose suite this year. 8

Until recently, Discovery also provided a platform for new Australian music and for nurturing talented young Australian composers (see sidebar). The dozen or so names have ranged from established figures such as Paul Stanhope and James Ledger to Andrew Howes, whose music was being programmed in Discovery while he was still in high school. This in turn is a reflection of what has been going on in the wider SSO education program. ‘Over my time,’ says Gill, ‘we’ve done something like 53 Australian premieres.’ This year is the final season of Discovery, the end of an era after 16 inspiring years. As always, Richard Gill will leave a wealth of fond memories. SSO violinist Léone Ziegler vividly recalls the first time she met Gill. As a 13-year-old, she was sandwiched next to fellow candidates at the Sydney Eisteddfod to receive personal appraisals from the adjudicator – a zany man with thick-framed glasses and fairy floss hair. ‘At the time I thought, “Wow, who is this man?” He obviously had really strong opinions and I guess I was slightly intimidated because I was so shy,’ she says. ‘Not long after, I was lucky enough to have him as a music teacher at the Conservatorium High School. That was incredible because he was, as he is now, larger than life and just totally inspiring.’ Several generations of musicians credit Gill with their passion for music, and for their professional achievements. He may not have been cut out to be a concert pianist, but Gill was earmarked as ‘a strong and compassionate teacher’ as soon as he entered his first classroom in 1958. It’s an appraisal that still fits today. ‘He’s just so passionate about it, so you can’t help but be inspired and fall in love with what he’s doing. It’s his love, amazement and awe of the music – it’s impossible for him not to invigorate you with that same type of feeling,’ says Ziegler. It’s not just students, musicians or audiences who take inspiration from Richard Gill. The pilot of his National Music Teachers Mentorship Programme was recently launched, offering opportunities for experienced music educators to mentor primary school classroom teachers and raise the standard and accessibility of early music education. ‘I think helping someone is incredibly satisfying…I love the fact that all the people I’ve taught will be smarter, infinitely better than I ever was, and do more than I ever did in their fields,’ Gill says with a mixture of modesty and pride. ‘You have to know what you can do, and I know my strength is teaching.’

Australian music in Discovery 2005 Kirsty Beilharz Aurorean Ritual Paul Stanhope Spin Dance James Ledger The Gossip Columns* 2006 Stuart Greenbaum Kosciuszko* Dan Walker Sibylline* George Palmer Seascape III* 2007 Sebastian Harris Motet Benedict Deane-Johns The Full-Rigged Ship Andrew Howes Morgentanz* 2008 Nicholas Vines Scenes from Suburbia 2009 Philip Jameson Pebbles and Stuff* David Paterson Introduction and Rondo* 2010 Jameson Wind in the Hemlock* Howes Everybody Sang* * premiere

BEN NIELSEN AND YVONNE FRINDLE SYDNEY SYMPHONY ORCHESTRA © 2015

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DISCOVER…

Beethoven’s Symphony No.2 In the summer of 1802, Beethoven retreated to the village of Heiligenstadt to work on his Second Symphony. ‘I am only a little satisfied with my previous works,’ he said at the time. ‘From today on I will take a new path’. Along with a sketchbook brimming with ideas, Beethoven brought along emotional baggage – the result of deteriorating hearing and unsuccessful romantic ventures. At the depths of his misery, he wrote the Heiligenstadt Testament, a dark valedictory addressed to his brothers. ‘Only art it was that withheld me [from suicide],’ Beethoven wrote, ‘it seemed impossible to leave the world until I had produced all that I felt called upon me to produce.’ The Testament was a rejection of suicide from a man grappling with despair; it was also creative manifesto. Beethoven had emerged from darkness with renewed artistic ambition, but not everyone recognised the signposts of his ‘new path’. In 1801 Beethoven’s First Symphony had been praised for its ‘art, novelty and a wealth of ideas’. But at the premiere of the Second Symphony two years later, many critics believed

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Beethoven had become intoxicated by his success, overstepping the mark in his attempt to be ‘new and striking’. The critic for the influential Allgemeine musikalische Zeitung described the symphony as ‘bizarre, harsh and undisciplined’. French musician Rodolphe Kreutzer even fled the auditorium with his hands planted over his ears. Today, this might seem strange. We hear the classical spirit in the Second Symphony without necessarily recognising how shocking Beethoven’s departures from convention must have seemed to his listeners in 1803. The slow introduction, for example, would have been recognisable from Haydn’s symphonies, but Beethoven makes it longer and more ambiguous than anyone would have expected. The graceful, spirited minuets that take third spot in Mozart’s symphonies have been replaced by Beethoven’s first scherzo – music that would have seemed wild and unruly. The music churns with unexpected key-changes, shifts of tempo and dynamics, but most striking is Beethoven’s approach to the overall structure. He weights the symphony towards a dramatic and lengthy conclusion, rather than placing all the musical and harmonic interest in the opening movement. (One critic described the coda as a ‘wounded dragon’ with a flailing tail, refusing to die!) Beethoven exploits the dramatic potential of the orchestra from the very beginning, where thunderous chords contrast with more delicate themes. In the Second Symphony Beethoven’s classical heritage is in full view, but so is his ambition and his vision. (Next stop: Eroica) The AmZ critic who’d described the music as bizarre and undisciplined had more to say: ‘This impression is so far overcome by the powerful, fiery spirit which is felt in this colossal work, by the wealth of new ideas and the almost total originality of their treatment, and by the profound knowledge of the principles of art that [this symphony]…will be heard with everincreasing pleasure when a thousand celebrated, fashionable pieces of today have long since gone to their graves.’

DOWNERTENIX DISCOVERY 2015

Discover Beethoven Symphony No.2 TUESDAY 24 FEBRUARY | 6.30PM CITY RECITAL HALL ANGEL PLACE

Richard Gill conductor

LUDWIG VAN BEETHOVEN (German, 1770–1827)

Symphony No.2 in D, Op.36 (Vienna, 1803) This symphony is in four movements, following the Classical format of Mozart or Haydn. But Beethoven has replaced the standard minuet of the third movement with something new, a scherzo. The first movement is fast and lively (Allegro con brio) but begins with a slow introduction (Adagio molto). Adagio molto – Allegro con brio Larghetto Scherzo (Allegro) Allegro molto

BEN NIELSEN © 2015 2014 AYO Music Presentation Fellow

The Discovery articles in this program have been written by former SSO Publications interns and by recent graduates of the AYO Music Presentation Fellowship, which provides opportunities for training and experience in publishing and broadcasting through organisations such as the Sydney Symphony Orchestra and the Australian Broadcasting Corporation.

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MORE MUSIC

Beyond Discovery If one of these Discovery concerts has left you curious to hear more music by the featured composers, seek out these concerts in the SSO’s 2015 season.

27, 28 February Can’t get enough Beethoven? His Ninth Symphony, best known for its ‘Ode to Joy’ choral finale, provides the triumphant opening to this year’s concert season, alongside music by Bruckner and Berg.

12, 13, 16 March If you enjoyed discovering the music of Richard Strauss and Ravel, both composers crop up in Song and Dance with the suite from Der Rosenkavalier and Valses nobles et sentimentales respectively. Canteloube’s Songs of the Auvergne and popular Spanish songs by Falla complete the program.

7, 8, 9 May Enjoyed Mahler’s Songs of a Wayfarer, but want something a little more light-hearted? Des Knaben Wunderhorn (Youth’s Magic Horn) is the composer’s playful collection of German folksongs. It’s also the perfect complement to his early symphonies, which rework musical material from the Wunderhorn songs.

18 May American pianist Peter Serkin strikes that ‘magical balance between intellect and heart’. In a fascinating recital program, he performs Beethoven’s Opus 109 piano sonata along with Elizabethan keyboard pieces from the Fitzwilliam Virginal Book and music by Nielsen, Reger and Mozart. City Recital Hall Angel Place

3, 4 September

title page as the SSO performs under the baton of Jakub Hrůša.

14, 16, 17 October The full forces of the Sydney Philharmonia Choirs and an impressive line-up of soloists come together to perform Beethoven’s choral masterpiece, Missa Solemnis. The composer himself described it as his ‘greatest work’.

25, 27, 28 November Some of Edo de Waart’s most exciting concerts as chief conductor featured music by Wagner and Strauss, and now he’s back with more! Thus Spake Zarathustra, made famous in 2001 A Space Odyssey, is the centrepiece to this program, which also features music from Wagner’s Lohengrin and Jongen’s spectacular Symphonie concertante for organ and orchestra.

All concerts at the Sydney Opera House Concert Hall unless specified. Visit www.sydneysymphony.com for more information and tickets, or call (02) 8215 4600.

Broadcasts

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

Join Charles Dutoit as he conducts the French music for which he is so renowned. Rapsodie espagnole, Ravel’s love letter to Spain (and also his first major orchestral work), begins this program.

23, 25, 26 September

SYDNEY SYMPHONY ORCHESTRA HOUR 2015

Beethoven planned to call his Third Symphony ‘Bonaparte’. But when he discovered that Napoleon had instated himself as Emperor, the name was changed to ‘Sinfonia eroica’ – a dedication to an anonymous ‘hero’. Hear the music behind the torn

Fine Music 102.5FM broadcasts a regular SSO spot at 6pm on the second Tuesday of each month. Tune in to hear musicians, staff and guest artists discuss what’s in store in our forthcoming concerts and to hear previews of the music. Andrew Bukenya is the host.

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MORE MUSIC

Selected Recordings BEETHOVEN SYMPHONY NO.2 If you’re after a complete recording of the Beethoven symphonies, we recommend the set by Osmo Vänskä and the Minnesota Orchestra. BIS SACD 1825/26

Nine symphonies too much? Riccardo Chailly and the Leipzig Gewandhaus Orchestra pair Beethoven’s first two symphonies, revealing what a striking step forward the Second Symphony must have been. DECCA 478 3493

SONGS OF A WAYFARER With so many different recordings of Mahler’s symphonies to choose from, why not turn to your local orchestra? The SSO performed and recorded all ten symphonies with Vladimir Ashkenazy during the 2010 and 2011 seasons. Available individually or as part of a boxed set. SSO LIVE 201001

If you’d like to hear more of Mahler’s vocal music, Deutsche Grammophon has compiled Mahler: Song Cycles. These recordings are in great shape despite their age (they were made almost 60 years ago). German lyric baritone Dietrich FischerDieskau proves why he is considered as ‘one of the supreme vocal artists of the 20th century’ – performing alongside Karl Engel with the Bavarian Radio Symphony Orchestra and the Berlin Philharmonic.

and the Sonatine, together with two of the Miroirs as laid down in a piano roll recording. Ravel tries his conducting chops on the famous Bolero. PIERIAN RECORDING SOCIETY 0013

DEATH AND TRANSFIGURATION Now that you’ve discovered the death of Strauss’s hero, you might like to hear what came before: A Hero’s Life (Ein Heldenleben), thought to be partly autobiographical. It’s paired with another Strauss tone poem, Don Juan, in a recording featuring the Bavarian Radio Symphony Orchestra with Mariss Jansons. BR KLASSIK 900127

Strauss’s ‘swansong’ can be found in a deluxe hardcover book-CD set, Strauss: Four Last Songs. The opulent voice of Anna Netrebko is the highlight of this recording; accompanying her is the Staatskapelle Berlin (known for its interpretation of Strauss) with conductor Daniel Barenboim. DEUTSCHE GRAMMOPHON 479 3964

SSO Online Join us on Facebook facebook.com/sydneysymphony Follow us on Twitter twitter.com/sydsymph Watch us on YouTube www.youtube.com/SydneySymphony

DEUTSCHE GRAMMOPHON 4779375

MOTHER GOOSE SUITE Pascal Rogé is joined by his wife Ami in Play Debussy and Ravel. This collection of French piano duos includes the first version of Ravel’s Mother Goose (Ma mère l’Oye) and a specially arranged four-hand version of La Mer by Debussy. ONYX 4117

Discover the composer-performer in Ravel: Composer as Pianist and Conductor. Distributed by Naxos (and also available from Presto Classical), this recording includes the piano version of the Valses nobles et sentimentales, the much-loved Pavane

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

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DISCOVER…

Mahler’s Songs of a Wayfarer It was 1884 when Gustav Mahler met Johanna Richter, a soprano in his chorus at Kassel’s Hoftheater. Having already experienced a similar, though unrequited, infatuation some years earlier, Mahler wrote to a friend: ‘I had scarcely set foot in the streets of Kassel when the same terrible old spell befell me, and I don’t know how to regain my balance.’ Following a short affair with Richter, the 24-year old conductor, and ‘sometimescomposer’, was left broken hearted. And yet, despite the love affair’s unhappy conclusion, or perhaps because of it, Mahler produced his first mature work, Songs of a Wayfarer. The song cycle is, at its core, a highly dramatised emotional record of this romance, with the lyrics drawn from poems written for Richter by Mahler himself. Mahler spent the next five years orchestrating these songs, with the finished orchestral version remaining unperformed until 1896. During this time, Mahler also completed his first three symphonies. But it is Songs of a Wayfarer that marks Mahler’s first venture as a musically sophisticated composer, displaying

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his thorough initiation into the ideas and themes of the German literature and philosophy he’d encountered in his student years. Songs of a Wayfarer is simpler and more intimate than the corresponding symphonic works. ‘The idea of the song,’ explains Mahler, ‘is that a wayfaring man, who has been stricken by fate, now sets forth into the world, travelling wherever his road may lead him.’ This wayfarer is the romantic personification of Mahler himself, so it is interesting that, while he acknowledges the importance of the love affair, it is the wayfarer who is central to much of Mahler’s discussion of the piece. Mahler would have first encountered the wayfarer image as a child – such drifters frequented his father’s inn on the highway between Prague and Vienna – and later in his studies of romantic poetry. Then Mahler himself became something of a wayfarer when, for a decade and a half, he moved between professional appointments in Kassel, Prague, Leipzig, Budapest, Hamburg and Vienna – always in search of greater artistic and professional satisfaction. Mahler was painfully aware his displacement and experience as an outsider, once saying: ‘I am three times homeless: a native of Bohemia in Austria; an Austrian among Germans; a Jew throughout the world.’ It’s a statement that also speaks directly to his experience as an outsider. While the pains of love are the cause of the fictional wayfarer’s grief, Songs of a Wayfarer ultimately captures Mahler’s own unrest – ­ a wayfarer professionally, personally and culturally.

DOWNERTENIX DISCOVERY 2015

Discover Mahler Songs of a Wayfarer TUESDAY 5 MAY | 6.30PM CITY RECITAL HALL ANGEL PLACE

Richard Gill conductor Alexander Knight baritone

GUSTAV MAHLER (Austrian, 1860–1911)

Songs of a Wayfarer (Lieder eines fahrenden Gesellen) (Kassel, 1884) Wenn mein Schatz Hochzeit macht (When my sweetheart has her wedding) Ging heut’ Morgen übers Feld (I walked this morning through the fields) Ich hab’ ein glühend Messer (I have a gleaming knife) Die zwei blauen Augen (Her two blue eyes) Turn to page 16 for the full texts and translations of Mahler’s poems.

SAM GILLES © 2015 2014 AYO Music Presentation Fellow

 The Avenue at Middleharnis (1689) by Meindert Hobbema

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1. Wenn mein Schatz Hochzeit macht, Fröhliche Hochzeit macht, Hab’ ich meinen traurigen Tag! Geh’ ich in mein Kämmerlein, Dunkles Kämmerlein, Weine, wein’ um meinen Schatz, Um meinen lieben Schatz!

On my sweetheart’s wedding day, joyful wedding day, it will be a sad day for me! I will go to my little room, my dark little room and weep for my sweetheart, my dear sweetheart!

Blümlein blau! Blümlein blau! Verdorre nicht! Verdorre nicht! Vöglein süß, Vöglein süß, Du singst auf grüner Heide! Ach, wie ist die Welt so schön! Ziküth! Ziküth!

Little blue flower! Little blue flower! Do not fade! Do not fade! Sweet little bird, sweet little bird, you sing on the green heath. Ah! How beautiful the world is! La-la! La-la!

Singet nicht! Blühet nicht! Lenz ist ja vorbei! Alles Singen ist nun aus. Des Abends, wenn ich schlafen geh’ Denk’ ich an mein Leide. An mein Leide!

Do not sing! Do not bloom! Spring is over and gone! All singing is now over. At evening, when I go to sleep, I think of my sorrow! Of my sorrow!

2. Ging heut morgen übers Feld, Tau noch auf den Gräsern hing; Sprach zu mir der lust’ge Fink: ‘Ei du! Gelt? Guten Morgen! Ei gelt? Du! Wird’s nicht eine schöne Welt? Zink! Zink! Schön und flink! Wie mir doch die Welt gefällt!’

I went out this morning into the fields, the dew was still hanging on the grass, the happy finch said to me: ‘Hey, you! Good morning! Yes, you! Right! Isn’t it a beautiful world? Chirrup! Chirrup! Lovely and lively! How I love the world!’

Auch die Glockenblum’ am Feld Hat mir lustig, guter Ding’, Mit den Glöckchen, klinge, kling, klinge, kling, Ihren Morgengruß geschellt: ‘Wird’s nicht eine schöne Welt? Kling, kling! Schönes Ding! Wie mir doch die Welt gefällt! Heia!’

Even the bluebells in the field merrily and with good spirits ring out to me with their little bells, ting, ting, ting, their morning greeting: ‘Isn’t it a beautiful world? Ting, ting! What a lovely thing! How I love the world! Hey-ho!’

Und da fing im Sonnenschein Gleich die Welt zu funkeln an; Alles Ton und Farbe gewann Im Sonnenschein! Blum’ und Vogel, groß und klein! ‘Guten Tag, ist’s nicht eine schöne Welt? Ei du, gelt! Schöne Welt!’ Nun fängt auch mein Glück wohl an? Nein, nein, das ich mein’, Mir nimmer blühen kann!

And then in the sunshine, the world began to sparkle; everything took on sound and colour in the sunshine! Flowers and birds, great and small! ‘Good morning! Isn’t this a beautiful world? Hey! You! It’s a lovely world!’ Now will my happiness also begin? No, no, that happiness can never bloom for me!

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3. Ich hab’ ein glühend Messer, Ein Messer in meiner Brust, O weh! O weh! Das schneid’t so tief In jede Freud’ und jede Lust, So tief, so tief!

I have a red-hot knife, A knife in my chest, Ah, pain! Ah, pain! It cuts so deep through every joy and pleasure. So deep, so deep.

Ach, was ist das für ein böser Gast! Nimmer hält er Ruh’, Nimmer hält er Rast, Nicht bei Tag, nicht bei Nacht Wenn ich schlief! O weh! O weh!

Alas, what an evil guest! It is never still, it never rests, not by day, not by night when I sleep. Oh, woe! Oh, woe!

Wenn ich in dem Himmel seh’, Seh’ ich zwei blaue Augen steh’n. O weh! O weh! Wenn ich im gelben Felde geh’, Seh’ ich von Fern das blonde Haar Im Winde weh’n. O weh! O weh! Wenn ich aus dem Traum auffahr’ Und höre klingen ihr silbern Lachen, O weh! O weh! Ich wollt’, ich läg auf der schwarzen Bahr’, Könnt’ nimmer, nimmer die Augen aufmachen!

When I look up at the sky, I see there two blue eyes. Oh woe! Oh, woe! When I go through the golden fields I see from far away blond hair rippling in the wind. Oh, woe! Oh, woe! When I wake up from a dream and hear the ringing of her silver laughter, Oh, woe! Oh, woe! I wish I were lying on a blackened bier, and could never ever open my eyes again!

4. Die zwei blauen Augen von meinem Schatz, Die haben mich in die weite Welt geschickt. Da mußt ich Abschied nehmen Vom allerliebsten Platz! O Augen blau, Warum habt ihr mich angeblickt? Nun hab’ ich ewig Leid und Grämen!

The two blue eyes of my sweetheart have sent me out into the world. I must take my leave of the place I love more than anywhere! O blue eyes, Why did you ever look at me? Now I have only eternal grief and pain!

Ich bin ausgegangen in stiller Nacht In stiller Nacht wohl über die dunkle Heide. Hat mir Niemand Ade gesagt, Ade, Ade! Mein Gesell’ war Lieb’ und Leide!

I went out in the still night, in the still night across the dark heath. No one said farewell to me, farewell, farewell! Love and Sorrow were my companions!

Auf der Straße steht ein Lindenbaum, Da hab’ ich zum ersten Mal im Schlaf geruht! Unter dem Lindenbaum, Der hat seine Blüten über mich geschneit, Da wußt’ ich nicht, wie das Leben tut, War alles, alles wieder gut! Alles! Alles! Lieb’ und Leid! Und Welt und Traum!

By the road stands a linden tree, and there for the first time I slept peacefully. Under the linden tree, whose blossoms snowed gently down on me, I no longer knew what life was like, everything, everything was good again! Everything! Everything! Love and pain and world and dream!

GUSTAV MAHLER

TRANSLATION: NATALIE SHEA, SYMPHONY AUSTRALIA © 2002

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DISCOVER…

Ravel’s Mother Goose Suite Once, in a land far, far away, lay a princess whom none could wake from an enchanted sleep… Pensive flutes and clarinets, ethereal chords in the strings – Ravel could have been writing the music of Sleeping Beauty’s enchanted dreams. Pavane pour la belle au bois dormant (Pavane for Sleeping Beauty in the Forest) begins a series of studies in miniature. Ravel treats the orchestral ensemble as a paintbox from which he can draw the subtlest of colours and textures in the narration of his fairytales. The charming Mother Goose Suite started out as a piano duo – a gift for Mimi and Jean Godebski, the children of Ravel’s friends. In 1911, a year after the concert premiere, Ravel both orchestrated the suite and also wrote an extended ballet with the same material. He had seldom conformed to the expectations of his teachers at the Paris Conservatoire, and had five times failed to win the coveted Prix de Rome. Yet this work, along with the ballet Daphnis et Chloé completed in 1912, shows a remarkable understanding of the orchestra and its possibilities. The tale of Petit Poucet, or Tom Thumb, continues the dreamy sound world. Poor Tom leaves himself a trail of crumbs to find his way back out of the woods, only to find they’ve been eaten by hungry birds in his absence. Oboe and cor anglais give voice to Tom, whose melancholy melody wanders in the circles of a lost child. The mischievous birds come from rustles and

 Gustave Dore’s illustration for

La Belle au bois dormant from the 1862 edition of Charles Perrault’s Tales of Mother Goose.

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DOWNERTENIX DISCOVERY 2015

Discover Ravel’s Mother Goose Suite TUESDAY 25 AUGUST | 6.30PM CITY RECITAL HALL ANGEL PLACE

Richard Gill conductor

MAURICE RAVEL (French, 1875–1937)

Mother Goose (Ma Mère l’Oye) – Suite (Paris, 1911)

flurries in the flute and piccolo (as you’d expect) but also from the concertmaster, playing sliding, flutey sounds high in the violin’s range. The tale of Laideronette, Impératrice des Pagodes (Little Ugly Girl, Empress of the Pagodas) is less well-known to English speakers. It’s inspired by the tale of the green serpent by Marie Catherine d’Aulony. The little girl takes a bath, while pagoda birds serenade her on tiny theorbos made of nut shells. However, it is not a lullaby that they play, rather a chirruping and bustling march, with flute, piccolo and tinkling celesta taking pride of place in a bouncy, pentatonic portrait of the far east. In Les entretiens de la belle et de la bête (Conversations of Beauty and the Beast) the musical characters are almost comical. Beauty is depicted by a simple clarinet tune, but before long the beast arrives with the unmistakeable growling voice of the contrabassoon. The two waltz, though it seems that both are still unsure, as the movement is tinged with unresolved sadness. From this emerges the majestic Jardin féerique (Enchanted Garden) where the strings finally come to the fore to paint a picture of the most delightful of secret places.

The suite is in five movements, inspired by tales from Charles Perrault’s Contes de ma Mère l’Oye: Pavane for Sleeping Beauty in the Forest Tom Thumb Little Ugly Girl, Empress of the Pagodas Conversations of Beauty and the Beast – Enchanted Garden

NAOMI JOHNSON © 2015 2012 AYO Music Presentation Fellow

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DISCOVER…

Richard Strauss’s Death and Transfiguration It was six years ago that it occurred to me to present in the form of a tone poem the dying hours of a man who had striven towards the highest idealistic aims, maybe indeed those of an artist. The sick man lies in bed, asleep, with heavy irregular breathing; friendly dreams conjure a smile on the features of the deeply suffering man; he wakes up; he is once more racked with horrible agonies; his limbs shake with fever – as the attack passes and the pains leave off, his thoughts wander through his past life; his childhood passes before him, the time of his youth with its strivings and passions and then, as the pains already begin to return, there appears to him the fruit of his life’s path, the conception, the ideal which he has sought to realise, to present artistically, but which he has not been able to complete, since it is not for man to be able to accomplish such things. The hour of death approaches, the soul leaves the body in order to find, gloriously achieved in everlasting space, those things which could not be fulfilled here below. Richard Strauss (1894) Perhaps it was a little brash for a man in his early 20s to be grappling with ideas as weighty as mortality and spiritual transcendence, let alone believing he could do them justice. But by the late summer of 1888 when he sat down to begin work on Death and Transfiguration, Richard Strauss was already creating a stir in musical circles. In recent years he’d secured a number of important conducting engagements and planted his flag in the ‘progressive’ camp with a series of increasingly provocative tone poems – short, vivid orchestral works designed to evoke distinct moods or conjure up a particular scenario or atmosphere. Liszt had pioneered the form some 40 years earlier, his experiments in musical dramaturgy resulting in a Romantic alternative to the Beethovenian symphony. In taking up the mantle of the tone poet, Strauss brought the genre into the modern era with intensity of expression, powerhouse orchestration and dramatic flair. In particular, Don Juan, which was premiered in November 1889, just a week before the completion of Death and Transfiguration, was a great success and launched him into the international spotlight. Ten years later, aged 34, he would compose A Hero’s Life (Ein Heldenleben) – with himself thinly disguised in the title role. 20

DOWNERTENIX DISCOVERY 2015

Discover Richard Strauss Death and Transfiguration TUESDAY 10 NOVEMBER | 6.30PM CITY RECITAL HALL ANGEL PLACE

Richard Gill conductor

RICHARD STRAUSS (German, 1864–1949)

Death and Transfiguration (Tod und Verklärung) –  Symphonic Poem, Op.24 (Eisenach, 1890)

But why would he offer up the death of the hero at the age of 24? The angst and morbid mood of turn-of-the-century Europe surely played a part. Mahler had begun work on his Resurrection symphony just a few months before Strauss started on Death and Transfiguration. But when a friend queried him in 1931 on the genesis of Death and Transfiguration, the by now world-famous composer gave a guilefully pedestrian answer. ‘It was an idea just like any other. Probably ultimately the musical need [after Macbeth and Don Juan]. Who knows?’ For his previous two tone poems, Strauss had drawn on Shakespeare and Spanish legend for inspiration, but for Death and Transfiguration, he devised his own narrative – an elucidation of the inner life of the archetypal hero in his death throes. In this he was aided by his friend Alexander Ritter, who had introduced him to the tone poems of Liszt and deepened his appreciation of Wagner and Schopenhauer – powerful influences which changed his creative life forever. Strauss dedicated the tone poem to his lifelong friend, the attorney, philanthropist, some-time conductor and music critic Friedrich Rösch. DOUGLAS RUTHERFORD © 2015 2012 SSO Fellow (Double Bass) and 2012 Publications Intern

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JEFF BUSBY

ABOUT THE ARTISTS

ARTISTIC DIRECTOR, DOWNERTENIX DISCOVERY SANDRA & PAUL SALTERI CHAIR

Richard Gill conductor Richard Gill oam is one of Australia’s most admired conductors and is internationally respected as a music educator. He has been Artistic Director of the SSO’s Education program (1992–2014), and 2015 marks his 16th year conducting and presenting Discovery. He is also founding Music Director and Conductor Emeritus of Victorian Opera, and has been Artistic Director of OzOpera and Artistic Director and Chief Conductor of the Canberra Symphony Orchestra. He is currently Artistic Advisor for the Musica Viva Education program. For the SSO, he has conducted Meet the Music, Discovery and Family concerts, and directed the Sinfonietta Project for young composers. He has conducted all the major Australian symphony and youth orchestras, the New Zealand Symphony Orchestra, Sydney Chamber Choir and Sydney Philharmonia Choir. This year his engagements include the Melbourne Symphony Orchestra’s Ears Wide Open series, Auckland Philharmonia Orchestra’s Unwrap the Music series and the SSO’s Anzac Day Salute, including new music by Australian and New Zealand composers.

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His extensive operatic repertoire encompasses baroque opera, core works such as The Marriage of Figaro and Rigoletto, operetta, 20th-century classics and new work, including – for Victorian Opera – How to Kill Your Husband (Alan John) and Rembrandt’s Wife (Andrew Ford). For Opera Australia he has conducted, among others, The Love for Three Oranges, Orpheus in the Underworld, Faust, The Eighth Wonder (Alan John), Lindy (Moya Henderson), Macbeth, Lucia di Lammermoor, Fidelio, Turandot and Pearl Fishers. He has also conducted for Opera Queensland and the Sydney Theatre Company. Richard Gill has held several important posts, including Dean of the West Australian Conservatorium of Music and Director of Chorus at the Australian Opera. His numerous accolades include the Bernard Heinze Award, honorary doctorates from the Edith Cowan University of Western Australia and the Australian Catholic University, the Australian Music Centre’s award for Most Distinguished Contribution to the Presentation of Australian Music by an Individual, and the Australia Council’s Don Banks Award.

Alexander Knight baritone Alexander Knight holds a performance degree from the Sydney Conservatorium of Music, and recently completed an Advanced Diploma of Opera. In 2013, he was a finalist of IFAC Australian Singing Competition, and was awarded the Audience Prize. His operatic roles include John Brooke in Little Women (Adamo), The Mayor in Le docteur Miracle (Bizet), Bob in The Old Maid and the Thief (Menotti), Figaro in The Marriage of Figaro (Mozart), Arthur/Officer 3 in The Lighthouse (Maxwell-Davies), Aeneas in Dido and Aeneas (Purcell), and the Forester in The Cunning Little Vixen (Janáček). On the concert platform, he has performed in War Requiem (Britten), Carmina Burana (Orff), A German Requiem (Brahms), St John Passion (Bach), Elijah (Mendelssohn), Fantasia on Christmas Carols (Vaughan Williams), Messiah (Handel), Mass in C and Ninth Symphony (Beethoven) and Vespers of 1610 (Monteverdi).

He has also appeared on the international stage at the Edinburgh Fringe Festival, and in 2011 he appeared in a dramatised presentation of Grieg’s Peer Gynt music with the SSO and Vladimir Ashkenazy. Alexander Knight has worked with conductors such as Richard Gill, Brett Weymark and Roland Peelman, and has performed with Sydney Philharmonia Choirs, Sydney Chamber Choir, Sydney University Graduate Choir and the Song Company. Future engagements for 2015 will include a recital for Art Song Canberra and A German Requiem with Sydney Chamber Choir.

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ABOUT THE ORCHESTRA

Sydney Symphony Orchestra Sinfonia SSO Sinfonia founded 1996

Fellowship Program founded 2001 supported by Premier Partner Credit Suisse The Sinfonia is the SSO’s acclaimed mentoring orchestra – its members auditioned annually from a national field of the best tertiary music students and recent graduates. Over the course of the concert season, these young musicians sit alongside professional orchestral players in rehearsal and performance, refining their craft under the guidance of their mentors. The SSO Sinfonia provides the kind of ‘on the job’ training that an orchestral musician can gain nowhere else. Many Sinfonia alumni – together with alumni of our Fellowship program – have achieved positions in some of the world’s finest orchestras. Indeed, some of those musicians have won permanent positions in the ranks of the SSO itself: violinists Brielle Clapson, Claire Herrick, Emily Long, Alexandra Mitchell and Alexander Norton; violists Stuart Johnson and Felicity Tsai; cellists Kristy Conrau and Christopher Pidcock; double bassists David Campbell and Benjamin Ward; flautist Emma Sholl; oboists Shefali Pryor and David Papp; horn player Marnie Sebire, timpanist and percussionist Mark Robinson and percussionist Timothy Constable. These appointments show the Sinfonia program achieving precisely what it sets out to do: prepare talented young instrumentalists to take their places in professional orchestras, bridging the gap between formal institutional study and the challenges of a musician’s work in the real world. Established in 1996 as the brainchild of Richard Gill and former Education Manager Margie Moore, the SSO Sinfonia has grown over the years, increasing the depth of opportunities it offers. In addition to providing the orchestra for the DownerTenix Discovery series, the Sinfonia has played for the Education Program’s Schools Concerts, and tours regionally. Since 2010, the best players from the Sinfonia have had the opportunity to appear ‘Side-by-Side’ with the Sydney Symphony Orchestra, performing large-scale repertoire in Meet the Music, Family Concerts and on the SSO’s regional tour. 24

Learning and Engagement Program supported by DownerTenix

MUSICIANS David Robertson CHIEF CONDUCTOR AND ARTISTIC DIRECTOR SUPPORTED BY EMIRATES

Toby Thatcher Andrew Haveron

Dene Olding

CONCERTMASTER

CONCERTMASTER

ASSISTANT CONDUCTOR SUPPORTED BY PREMIER PARTNER CREDIT SUISSE

Sydney Symphony Orchestra Sinfonia VIOLINS

CELLOS

HORNS

Jenny Booth Brielle Clapson Sophie Cole Emma Hayes Claire Herrick Kirsty Hilton Shuti Huang Emma Jezek Marina Marsden Nicole Masters Alexander Norton Philippa Paige Fiona Ziegler Léone Ziegler Victoria Bihun† Catherine Bucknell Emma Buss Meg Cohen Brian Hong Gemma Lee Bridget O’Donnell Eddy Chen Ann Patrick Thibaud Pavlovic-Hobba† Benjamin Tjoa Brett Yang†

Fenella Gill Elizabeth Neville Christopher Pidcock Bethan Lillicrap Rebecca Proietto† Emma Rayner

Ben Jacks Robert Johnson Emma Gregan Kara Hahn† Ben Messenger

VIOLAS

Francesco Celata Lawrence Dobell Alex McCracken† Amy Whyte

Jane Hazelwood Stuart Johnson Felicity Tsai Julia Doukakis Charlotte Fetherston† Elizabeth Woolnough† Sariah Xu

TRUMPETS DOUBLE BASSES David Campbell Alex Henery Benjamin Ward John Keene†

David Elton Paul Goodchild Andrew Evans* Tetsuya Lawson Brody Linke Owen Morris†

FLUTES TROMBONES

Carolyn Harris Janet Webb Nicola Crowe† Kate Proctor

Scott Kinmont Iain Faragher† Ben Turner

OBOES

TUBA

Diana Doherty Alexandre Oguey Shefali Pryor Ennes Mehmedbasic

Tak Chun Lai

CLARINETS

PERCUSSION

BASSOONS Noriko Shimada Matthew Wilkie Long Nguyen Justin Sun†

TIMPANI Richard Miller

Joel Bass Gabriel Fischer† Hugh Tidy

HARP Louise Johnson ITALIC = SSO MENTOR MUSICIAN * = GUEST MENTOR MUSICIAN † = SSO FELLOW

This list shows all SSO Sinfonia members and mentors for 2015 at the time of publication (February). To see the orchestra lists for individual DownerTenix Discovery performances, visit www.sydneysymphony.com/sinfonia in the week of each concert.

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BEHIND THE SCENES Sydney Symphony Orchestra Board John C Conde AO Chairman Terrey Arcus AM Ewen Crouch AM Ross Grant Catherine Hewgill Jennifer Hoy Rory Jeffes Andrew Kaldor AM David Livingstone The Hon. Justice AJ Meagher Goetz Richter

Sydney Symphony Orchestra Staff MANAGING DIRECTOR

SENIOR ONLINE MARKETING COORDINATOR

Rory Jeffes

Jenny Sargant

EXECUTIVE TEAM ASSISTANT

MARKETING ASSISTANT

Lisa Davies-Galli

Theres Mayer

ARTISTIC OPERATIONS

Box Office

DIRECTOR OF ARTISTIC PLANNING

Benjamin Schwartz ARTISTIC ADMINISTRATION MANAGER

Eleasha Mah ARTIST LIAISON MANAGER

Ilmar Leetberg RECORDING ENTERPRISE MANAGER

Philip Powers

Sydney Symphony Orchestra Council Geoff 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 Dr Eileen Ong 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 Yvonne Kenny AM David Malouf AO Wendy McCarthy AO Leo Schofield AM Peter Weiss AO

Library Anna Cernik Victoria Grant Mary-Ann Mead LEARNING AND ENGAGEMENT

Lynn McLaughlin BOX OFFICE SYSTEMS SUPERVISOR

Jennifer Laing BOX OFFICE BUSINESS ADMINISTRATOR

John Robertson CUSTOMER SERVICE REPRESENTATIVES

Karen Wagg – CS Manager Michael Dowling Tim Walsh

Publications PUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

DIRECTOR OF LEARNING AND ENGAGEMENT

Yvonne Frindle

Kim Waldock

EXTERNAL RELATIONS

EMERGING ARTISTS PROGRAM MANAGER

Rachel McLarin EDUCATION MANAGER

Amy Walsh EDUCATION OFFICER

DIRECTOR OF EXTERNAL RELATIONS

Yvonne Zammit

Philanthropy HEAD OF PHILANTHROPY

Tim Walsh

Luke Andrew Gay

ORCHESTRA MANAGEMENT

Jennifer Drysdale

DIRECTOR OF ORCHESTRA MANAGEMENT

A/ PATRONS EXECUTIVE

Aernout Kerbert

Sarah Morrisby

PHILANTHROPY MANAGER

ORCHESTRA MANAGER

PHILANTHROPY COORDINATOR

Rachel Whealy

Claire Whittle

ORCHESTRA COORDINATOR

Corporate Relations

Rosie Marks-Smith OPERATIONS MANAGER

Kerry-Anne Cook PRODUCTION MANAGER

Laura Daniel STAGE MANAGER

Courtney Wilson PRODUCTION COORDINATORS

Ollie Townsend

SALES AND MARKETING DIRECTOR OF SALES & MARKETING

Mark J Elliott

CORPORATE PARTNERSHIPS MANAGER

Belinda Besson CORPORATE PARTNERSHIPS EXECUTIVE

Paloma Gould

Communications COMMUNICATIONS & MEDIA MANAGER

Bridget Cormack PUBLIC RELATIONS MANAGER

Katherine Stevenson DIGITAL CONTENT PRODUCER

Kai Raisbeck PUBLICITY & EVENTS COORDINATOR

MARKETING MANAGER, SUBSCRIPTION SALES

Caitlin Benetatos

Simon Crossley-Meates

BUSINESS SERVICES

A/ SENIOR SALES & MARKETING MANAGER

Matthew Rive MARKETING MANAGER, WEB & DIGITAL MEDIA

DIRECTOR OF FINANCE

John Horn FINANCE MANAGER

Eve Le Gall

Ruth Tolentino

MARKETING MANAGER, CRM & DATABASE

ACCOUNTANT

Matthew Hodge A/ SALES & MARKETING MANAGER, SINGLE TICKET CAMPAIGNS

Jonathon Symonds DATABASE ANALYST

David Patrick SENIOR GRAPHIC DESIGNER

Minerva Prescott ACCOUNTS ASSISTANT

Emma Ferrer PAYROLL OFFICER

Laura Soutter

PEOPLE AND CULTURE

Christie Brewster

IN-HOUSE COUNSEL

GRAPHIC DESIGNER

Michel Maree Hryce

Tessa Conn

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MANAGER OF BOX OFFICE SALES & OPERATIONS

SSO PATRONS Maestro’s Circle Supporting the artistic vision of David Robertson, Chief Conductor and Artistic Director Peter Weiss AO Founding President & Doris Weiss John C Conde AO Chairman Brian Abel Tom Breen & Rachel Kohn The Berg Family Foundation Andrew Kaldor AM & Renata Kaldor AO Vicki Olsson Roslyn Packer AO David Robertson & Orli Shaham Penelope Seidler AM Mr Fred Street AM & Dorothy Street Brian White AO & Rosemary White Ray Wilson OAM in memory of the late James Agapitos OAM

David Robertson

Roger Benedict Principal Viola Kim Williams AM & Catherine Dovey Chair

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

Kees Boersma Principal Double Bass SSO Council Chair

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

Umberto Clerici Principal Cello Garry & Shiva Rich Chair Timothy Constable Percussion Justice Jane Mathews AO Chair Lerida Delbridge Assistant Concertmaster Simon Johnson Chair Lawrence Dobell Principal Clarinet Anne Arcus & Terrey Arcus AM Chair

KEITH SAUNDERS

Chair Patrons

Robert Johnson Principal Horn James & Leonie Furber Chair Elizabeth Neville Cello Ruth & Bob Magid Chair Shefali Pryor Associate Principal Oboe Mrs Barbara Murphy Chair Emma Sholl Associate Principal Flute Robert & Janet Constable Chair

Diana Doherty Principal Oboe Andrew Kaldor AM & Renata Kaldor AO Chair

Janet Webb Principal Flute Helen Lynch AM & Helen Bauer Chair

Richard Gill oam Artistic Director, DownerTenix Discovery Paul Salteri AM & Sandra Salteri Chair

Kirsten Williams Associate Concertmaster I Kallinikos Chair

Umberto Clerici has been Principal Cello of the SSO since 2014. He has performed as a soloist with orchestras around the world and served as principal cello at the Teatro Regio in Turin in his native Italy before joining the SSO. Umberto’s chair is generously supported by Garry and Shiva Rich. Their son Samuel recently started learning the cello and aspires to join the SSO one day.

n n n n n n n n n n FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM, CALL (02) 8215 4625.

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SSO PATRONS Learning & Engagement

Foundations

KEITH SAUNDERS

Australia-Korea Foundation Crown Foundation The Greatorex Foundation

James N Kirby Foundation Packer Family Foundation Ian Potter Foundation

AUSTRALIA-KOREA F O U N D A T I O N

Commissioning Circle Sydney Symphony Orchestra 2015 Fellows

fellowship patrons Robert Albert AO & Elizabeth Albert Flute Chair Christine Bishop Percussion Chair Sandra & Neil Burns Clarinet Chair In Memory of Matthew Krel Violin Chair Mrs T Merewether OAM Horn Chair Paul Salteri AM & Sandra Salteri Violin and Viola Chairs Mrs W Stening Principal Patron, Cello Chair Kim Williams AM & Catherine Dovey Patrons of Roger Benedict, Artistic Director, Fellowship June & Alan Woods Family Bequest Bassoon Chair Anonymous Double Bass Chair

Supporting the creation of new works. ANZAC Centenary Arts and Culture Fund Geoff Ainsworth AM Christine Bishop Dr John Edmonds Andrew Kaldor AM & Renata Kaldor AO Jane Mathews AO Mrs Barbara Murphy Nexus IT Vicki Olsson Caroline & Tim Rogers Geoff Stearn Dr Richard T White Anonymous

fellowship supporting patrons Mr Stephen J Bell Gary Linnane & Peter Braithwaite Joan MacKenzie Scholarship Drs Eileen & Keith Ong In Memory of Geoff White

MAKE A DIFFERENCE

tuned-up! TunED-Up! is made possible with the generous support of Fred Street AM & Dorothy Street Additional support provided by: Anne Arcus & Terrey Arcus AM Ian & Jennifer Burton Ian Dickson & Reg Holloway Tony Strachan

major education donors Bronze Patrons & above John Augustus & Kim Ryrie Mr Alexander & Mrs Vera Boyarsky Bob & Julie Clampett Howard & Maureen Connors The Greatorex Foundation The Ian Potter Foundation James N Kirby Foundation Mrs & Mr Judith A. McKernan Mr & Mrs Nigel Price

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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 [email protected]

Stuart Challender Legacy Society Celebrating the vision of donors who are leaving a bequest to the SSO. Henri W Aram OAM & Robin Aram Stephen J Bell Mr David & Mrs Halina Brett Howard Connors Greta Davis Brian Galway Miss Pauline M Griffin AM John Lam-Po-Tang

Peter Lazar AM Daniel Lemesle Louise Miller James & Elsie Moore Douglas Paisley Kate Roberts Mary Vallentine AO Ray Wilson OAM Anonymous (10)

Stuart Challender, SSO Chief Conductor and Artistic Director 1987–1991

bequest donors We gratefully acknowledge donors who have left a bequest to the SSO. The late Mrs Lenore Adamson Estate of Carolyn Clampert Estate Of Jonathan Earl William Clark Estate of Colin T Enderby Estate of Mrs E Herrman Estate of Irwin Imhof The late Mrs Isabelle Joseph The Estate of Dr Lynn Joseph The Late Greta C Ryan June & Alan Woods Family Bequest

n n n n n n n n n n IF YOU WOULD LIKE MORE INFORMATION ON MAKING A BEQUEST TO THE SSO, PLEASE CONTACT LUKE GAY ON 8215 4625.

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. DIAMOND PATRONS $50,000+ The Estate of Dr Lynn Joseph Mr Andrew Kaldor AM & Mrs Renata Kaldor AO In Memory of Matthew Krel Roslyn Packer AO Ian Potter Foundation Paul Salteri AM & Sandra Salteri Mr Fred Street AM & Mrs Dorothy Street Mr Peter Weiss AO & Mrs Doris Weiss Mr Brian White AO & Mrs Rosemary White PLATINUM PATRONS $30,000–$49,999 Anne & Terrey Arcus AM Doug & Alison Battersby The Berg Family Foundation Tom Breen & Rachael Kohn Mr John C Conde AO Robert & Janet Constable Mrs Barbara Murphy Mrs W Stening Kim Williams AM & Catherine Dovey  GOLD PATRONS $20,000–$29,999 Brian Abel Geoff Ainsworth AM Robert Albert AO & Elizabeth Albert Christine Bishop Sandra & Neil Burns James & Leonie Furber I Kallinikos Helen Lynch AM & Helen Bauer Mrs T Merewether OAM Rachel & Geoffrey O’Conor Vicki Olsson Andy & Deirdre Plummer Garry & Shiva Rich David Robertson & Orli Shaham Mrs Penelope Seidler AM G & C Solomon in memory of Joan MacKenzie Geoff Stearn Ray Wilson OAM in memory of James Agapitos OAM Anonymous (2) 

SILVER PATRONS $10,000–$19,999 Bailey Family Foundation Audrey Blunden Mr Robert Brakspear Ian & Jennifer Burton Mr Robert & Mrs L Alison Carr Bob & Julie Clampett Michael Crouch AO & Shanny Crouch The Hon. Mrs Ashley Dawson-Damer AM Paul Espie Edward & Diane Federman Nora Goodridge Mr Ross Grant Ian Dickson & Reg Holloway Estate of Irwin Imhof Simon Johnson Mr Ervin Katz James N Kirby Foundation Ruth & Bob Magid Justice Jane Mathews AO The Hon. Justice AJ Meagher & Mrs Fran Meagher Mr John Morschel Drs Keith & Eileen Ong Kenneth Reed AM Mr John Symond AM The Harry Triguboff Foundation Caroline Wilkinson Anonymous (2) BRONZE PATRONS $5,000–$9,999 John Augustus & Kim Ryrie Stephen J Bell Dr Hannes & Mrs Barbara Boshoff Mr Alexander & Mrs Vera Boyarsky Peter Braithwaite & Gary Linnane Mr David & Mrs Halina Brett Mr Howard Connors Ewen Crouch AM & Catherine Crouch In memory of Dr Lee MacCormick Edwards Dr Stephen Freiberg & Donald Campbell Dr Colin Goldschmidt The Greatorex Foundation Rory & Jane Jeffes The late Mrs Isabelle Joseph Mr Frank Lowy AC & Mrs Shirley Lowy OAM

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SSO PATRONS Playing Your Part BRONZE PATRONS CONTINUED Robert McDougall J A McKernan David Maloney AM & Erin Flaherty R & S Maple-Brown Mora Maxwell William McIlrath Charitable Foundation Taine Moufarrige Nexus IT John & Akky van Ogtrop Seamus Robert Quick Chris Robertson & Katharine Shaw Rodney Rosenblum AM & Sylvia Rosenblum Dr Evelyn Royal Manfred & Linda Salamon Mrs Joyce Sproat & Mrs Janet Cooke Tony Strachan David Tudehope & Liz Dibbs Mr Robert & Mrs Rosemary Walsh Westpac Group Michael & Mary Whelan Trust In memory of Geoff White June & Alan Woods Family Bequest Anonymous (2)  PRESTO PATRONS $2,500–$4,999 Mr Henri W Aram OAM Ian Brady Mr Mark Bryant oam Ita Buttrose AO OBE Mrs Stella Chen Dr Rebecca Chin Dr Diana Choquette & Mr Robert Milliner Firehold Pty Ltd Dr Kim Frumar Warren Green Anthony Gregg James & Yvonne Hochroth Mr Roger Hudson & Mrs Claudia Rossi-Hudson Prof. Andrew Korda am & Ms Susan Pearson In memoriam Dr Reg Lam-Po-Tang Helen & Phil Meddings James & Elsie Moore Ms Jackie O’Brien Juliana Schaeffer Dr Agnes E Sinclair Ezekiel Solomon AM Mr Ervin Vidor AM & Mrs Charlotte Vidor Lang Walker AO & Sue Walker Yim Family Foundation  Anonymous (2)

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VIVACE PATRONS $1,000–$2,499 Mrs Lenore Adamson Mrs Antoinette Albert Rae & David Allen Andrew Andersons AO Mr Matthew Andrews The Hon Justice Michael Ball David Barnes Mr Garry Besson Allan & Julie Bligh Jan Bowen Roslynne Bracher Mrs R D Bridges OBE Lenore P Buckle Margaret Bulmer In memory of RW Burley Mrs Rhonda Caddy Mr B & Mrs M Coles Ms Suzanne Collins Joan Connery OAM & Maxwell Connery OAM Debby Cramer & Bill Caukill Mr John Cunningham SCM & Mrs Margaret Cunningham Greta Davis Lisa & Miro Davis Elizabeth Donati Colin Draper & Mary Jane Brodribb Prof. & Mrs John Edmonds Malcolm Ellis & Erin O’Neill Mrs Margaret Epps Mr Matt Garrett Vivienne Goldschmidt & Owen Jones Mrs Fay Grear In Memory of Angelica Green Akiko Gregory Mr & Mrs Harold & Althea Halliday Janette Hamilton Mrs Jennifer Hershon Angus Holden Mr Kevin Holland & Mrs Roslyn Andrews The Hon. David Hunt AO QC & Mrs Margaret Hunt Dr & Mrs Michael Hunter Mr Philip Isaacs OAM Michael & Anna Joel Mrs W G Keighley Dr Andrew Kennedy Jennifer King Aron Kleinlehrer Mr Andrew Korda & Ms Susan Pearson Mr Justin Lam Mr Peter Lazar AM Professor Winston Liauw Airdrie Lloyd Mrs Juliet Lockhart Peter Lowry OAM & Dr Carolyn Lowry OAM

Kevin & Deirdre McCann Ian & Pam McGaw Matthew McInnes Macquarie Group Foundation Barbara Maidment John Mar Renee Markovic Mr Danny R May I Merrick Henry & Ursula Mooser Milja & David Morris Mrs J Mulveney Mr Darrol Norman E J Nuffield Dr Mike O’Connor AM Mr & Mrs Ortis Mr Andrew C Patterson Michael Paul Almut Piatti In memory of Sandra Paul Pottinger Dr Raffi Qasabian Mr Patrick Quinn-Graham Ernest & Judith Rapee Patricia H Reid Endowment Pty Ltd Dr Marilyn Richardson In memory of Katherine Robertson Mr David Robinson Tim Rogers Lesley & Andrew Rosenberg In memory of H St P Scarlett Mr Samuel F Sheffer David & Alison Shilligton Dr Judy Soper Mrs Judith Southam Ms Barbara Spencer Mrs Elizabeth Squair Catherine Stephen The Hon. Brian Sully QC Mrs Margaret Swanson The Taplin Family Dr & Mrs H K Tey Kevin Troy John E Tuckey Judge Robyn Tupman Dr Alla Waldman Miss Sherry Wang Westpac Banking Corporation Henry & Ruth Weinberg The Hon. Justice A G Whealy Mary Whelan & Robert Baulderstone Dr Richard T White Mrs Leonore Whyte A Willmers & R Pal Betty Wilkenfeld Dr Edward J Wills Prof. Neville Wills & Ian Fenwicke Ann & Brooks C Wilson AM Dr Richard Wing

Dr Peter Wong & Mrs Emmy K Wong Geoff Wood & Melissa Waites Sir Robert Woods Mr & Mrs Lindsay Woolveridge In memory of Lorna Wright Dr John Yu Anonymous (12)

ALLEGRO PATRONS $500–$999 Nikki Abrahams Ms Jenny Allum Katherine Andrews Mr Peter J Armstrong Garry & Tricia Ash Mr & Mrs George Ball Dr Lilon Bandler Barlow Cleaning Pty Ltd Barracouta Pty Ltd Beauty Point Retirement Resort Mr Michael Beck Dr Andrew Bell Richard & Margaret Bell Jan Biber Minnie Biggs G D Bolton In memory of Jillian Bowers R D & L M Broadfoot Dr Peter Broughton Dr David Bryant Arnaldo Buch Dr Miles Burgess Pat & Jenny Burnett Rosemary Campbell Mr JC Campbell QC & Mrs Campbell Judy Chiddy In memory of Beth Harpley Mr Phillip Cornwell Dr Peter Craswell Mr David Cross Phil Diment AM & Bill Zafiropoulos Dr David Dixon Susan Doenau Mrs Jane Drexler Dana Dupere Dr Nita Durham John Favaloro Mrs Lesley Finn Ms Julie Flynn & Mr Trevor Cook Mrs Paula Flynn Mr John Gaden Clive & Jenny Goodwin Richard Griffin AM Dr Jan Grose Benjamin Hasic & Belinda Davie Mr Robert Havard Mrs Joan Henley Roger Henning

SSO Vanguard Sue Hewitt Dr Joan-Mary Hinds Dorothy Hoddinott AO Bill & Pam Hughes Ms Cynthia Kaye Mrs Margaret Keogh Dr Henry Kilham Dr Joyce Kirk Mrs Patricia Kleinhans Anna-Lisa Klettenberg Sonia Lal L M B Lamprati Dr Barry Landa Elaine M Langshaw Dr Leo & Mrs Shirley Leader Margaret Lederman Mrs Erna Levy Mrs A Lohan Mr Gabriel Lopata Panee Low Melvyn Madigan Ms Jolanta Masojada Mr Guido Mayer Louise Miller Patricia Miller Kenneth Newton Mitchell Mrs Judith Morton Mr Graham North Mr Sead Nurkic Dr A J Palmer Dr Kevin Pedemont Dr Natalie E Pelham Dr John Pitt John Porter & Annie Wesley-Smith Mrs Greeba Pritchard The Hon. Dr Rodney Purvis AM & Mrs Marian Purvis Michael Quailey Miss Julie Radosavljevic Renaissance Tours

Janelle Rostron Mrs Christine Rowell-Miller Mrs Louise Rowston Jorie Ryan for Meredith Ryan Mr Kenneth Ryan Garry Scarf & Morgie Blaxill Peter & Virginia Shaw Judge David S Shillington Mrs Diane Shteinman AM Victoria Smyth Doug & Judy Sotheren Colin Spencer James & Alice Spigelman Fred & May Stein Ashley & Aveen Stephenson Margaret & William Suthers Margaret Swanson Dr Jenepher Thomas Mrs Caroline Thompson Mrs June Thornton Peter & Jane Thornton Ms Rhonda Ting Alma Toohey Mrs M Turkington Gillian Turner & Rob Bishop Ross Tzannes Mr Robert Veel Ronald Walledge In memory of Denis Wallis In memoriam JBL Watt Miss Roslyn Wheeler The Wilkinson Family Edward & Yvonne Wills Yetty Windt Mr Evan Wong Mrs Robin Yabsley Anonymous (34) SSO Patrons pages correct as of 27 February 2015

“Together, we have an ambition to foster a love of orchestral music in school children of all ages, and to equip their teachers with the skills they need to develop this in our young people…”

A membership program for a dynamic group of Gen X & Y SSO fans and future philanthropists VANGUARD COLLECTIVE Justin Di Lollo Chair Belinda Bentley Oscar McMahon Taine Moufarrige Founding Patron Shefali Pryor Seamus R Quick Founding Patron Chris Robertson & Katherine Shaw Founding Patrons MEMBERS James Armstrong Philip Atkin Luan Atkinson Joan Ballantine James Baudzus Andrew Baxter Adam Beaupeurt Anthony Beresford Andrew Botros Peter Braithwaite Blake Briggs Andrea Brown Melanie Brown Attila Brungs Ian Burton Jennifer Burton Paul Colgan Claire Cooper Bridget Cormack Robbie Cranfield Asha Cugati Juliet Curtin Rosalind De Sailly Paul Deschamps Catherine Donnelly Alistair Furnival Alexandra Gibson Sam Giddings Marina Go Jeremy Goff Hilary Goodson Tony Grierson Louise Haggerty Rose Herceg Francis Hicks Peter Howard Jennifer Hoy Katie Hryce Virginia Judge Jonathan Kennedy

Aernout Kerbert Patrick Kok Alisa Lai John Lam-Po-Tang Tristan Landers Jessye Lin Gary Linnane David Lo Saskia Lo Gabriel Lopata Rebecca MacFarling Robert McGrory David McKean Nick Nichles Kate O’Reilly Peter O’Sullivan Jonathan Pease Cleo Posa Laurisa Poulos Michael Radovnikovic Sudeep Rao Michael Reede Chris Robertson Benjamin Robinson Alvaro Rodas Fernandez Jacqueline Rowlands Anthony Michael Schembri Benjamin Schwartz Katherine Shaw Cecilia Storniolo Randal Tame Sandra Tang Ian Taylor Michael Tidball Mark Timmins Michael Tuffy Kim Waldock Jon Wilkie Yvonne Zammit Amy Zhou

DAVID ROBERTSON SSO Chief Conductor and Artistic Director

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