PURE MAGIC - Sydney Symphony Orchestra

Transcription

PURE MAGIC
Mahler & Tchaikovsky
THURSDAY AFTERNOON SYMPHONY
Thursday 7 May 2015
EMIRATES METRO SERIES
Friday 8 May 2015
GREAT CLASSICS
Saturday 9 May 2015
concert diary
CLASSICAL
Bold as Brass
Tea & Symphony
BROUGHTON Fanfares, Marches, Hymns and Finale
KATS-CHERNIN Mater
KOEHNE Albany Harbour (The Voyage)
PUCCINI arr. G Boyd Scenes from Turandot
Michael Mulcahy conductor
SSO Brass Ensemble
Discover Mahler
Complimentary morning tea
from 10am
DownerTenix Discovery
Tue 5 May 6.30pm
Songs of a Wayfarer
City Recital Hall Angel Place
MAHLER Songs of a Wayfarer
Richard Gill conductor [PICTURED]
Alexander Knight baritone
SSO Sinfonia
Tchaikovsky’s Nutcracker
Pure Magic
Thursday Afternoon Symphony
Thu 7 May 1.30pm
Emirates Metro Series
MAHLER Songs from Des Knaben
Wunderhorn (Youth’s Magic Horn)
TCHAIKOVSKY Nutcracker: Act II
(Kingdom of the Sweets)
Mark Wigglesworth conductor [PICTURED]
Caitlin Hulcup mezzo-soprano
Randall Scarlata baritone
Fri 8 May 8pm
Romantic Visions
APT Master Series
Wagner, Bartók & Brahms
WAGNER Siegfried Idyll
BARTÓK Piano Concerto No.3
BRAHMS orch. Schoenberg Piano Quartet in G minor
Matthias Pintscher conductor [PICTURED]
Peter Serkin piano
SSO Chamber Music
Cocktail Hour
SSO PRESENTS
Fri 1 May 11am
Intimate space, inspiring music and a delicious
cocktail to enjoy – One hour of sheer bliss.
Hear individual members of your SSO up close in
this year’s new Chamber Music Cocktail Hour series
featuring music by Brahms (Clarinet Quintet, String
Quintet No.2, String Sextet No.2) and others.
JOSH PYKE
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Pre-concert talk 45 minutes
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Wed 13 May 8pm
Fri 15 May 8pm
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Sat 16 May 6pm
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Utzon Room
Sydney Opera House
Wed 29 Apr 8pm
Meet the Music
Josh Pyke will perform hits from across
all of his albums, including Leeward Side,
Middle of the Hill and The Lighthouse Song.
Christopher Dragon conductor
Josh Pyke vocalist/guitar
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Sat 9 May 2pm
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WELCOME TO THE
EMIR ATES METRO SERIES
2015 marks the 13th anniversary of Emirates’ partnership with
the Sydney Symphony Orchestra. We’re proud to continue one of
the longest-running partnerships for the SSO and to remain the
naming sponsor of the SSO’s Emirates Metro concert 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 over 35 destinations with the
recent additions of Oslo, Brussels and Budapest, or internationally
to more than 140 destinations in over 80 countries.
Like the SSO, Emirates specialises in first-class entertainment,
taking out the award for best inflight entertainment for the tenth
consecutive year at the international Skytrax Awards in 2014.
With up to 2,000 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 even be able
to watch SSO concerts on board.
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 over the year.
Rob Gurney
Divisional Vice President Australasia Emirates
2015 concert season
THURSDAY AFTERNOON SYMPHONY
THURSDAY 7 MAY, 1.30PM
EMIRATES METRO SERIES
FRIDAY 8 MAY, 8PM
GREAT CLASSICS
SATURDAY 9 MAY, 2PM
SYDNEY OPERA HOUSE CONCERT HALL
PURE MAGIC
Mark Wigglesworth conductor
GUSTAV MAHLER (1860–1911)
Des Knaben Wunderhorn (Youth’s Magic Horn)
PYOTR ILYICH TCHAIKOVSKY (1840–1893)
Nutcracker: Act II – Kingdom of Sweets
Revelge (Reveille) RS
Rheinlegendchen (Little Rhine Legend) CH
Trost im Unglück (Solace in Misfortune) RS
Verlor’ne Müh (Wasted Effort) CH
Der Schildwache Nachtlied
(The Sentry’s Nightsong) RS
Das irdische Leben (The Earthly Life) CH
Lied des Verfolgten im Turm
(Song of the Persecuted in the Tower) RS
Wer hat dies Liedel Erdacht?
(Who has thought up this pretty little song?) CH
Des Antonius von Padua Fischpredigt
(St Anthony of Padua’s Sermon to the Fishes) RS
Urlicht (Primal Light) CH
Lob des hohen Verstandes
(In Praise of Superior Intellect) RS
Wo die schönen Trompeten blasen
(Where the Fine Trumpets Sound) RS
Der Tamboursg’sell (The Drummer Boy) RS
Scene: The Magic Castle on the Mountain
of Sweets
Scene: Clara and the Nutcracker Prince
Character Dances (Divertissement):
Chocolate (Spanish Dance)
Coffee (Arabian Dance)
Tea (Chinese Dance)
Trépak (Russian Dance)
Dance of the Mirlitons
Mother Gigogne and the Clowns
Waltz of the Flowers
Pas de deux:
Intrada
Variation I (Tarantella)
Variation II (Dance of the Sugar Plum Fairy)
Coda
Final Waltz and Apotheosis
INTERVAL
Friday’s performance will recorded
by ABC Classic FM for broadcast on
Sunday 10 May at 1pm.
Pre-concert talk by Yvonne Frindle in the Northern Foyer
45 minutes before each performance.
Visit sydneysymphony.com/speaker-bios for more information.
Estimated durations: 65 minutes, 20-minute interval, 41 minutes
The concert will conclude at approximately 3.45pm (Thu),
10.15pm (Fri), 4.15pm (Sat).
AKG-IMAGES
Konstantin Ivanov’s set design for the original production of Nutcracker in 1892 (Watercolour on paper).
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INTRODUCTION
Pure Magic:
Mahler and Tchaikovsky
On the surface, this is a concert about youth, innocence and
enchantment. Mahler’s orchestral songs in the first half are
drawn from the riches of Des Knaben Wunderhorn (The Youth’s
Magic Horn) and Act II of Tchaikovsky’s Nutcracker is set in the
Kingdom of Sweets and features a heroine still young enough to
play with dolls.
Below the surface, however, the ‘pure magic’ of this program
is more complex. Nutcracker might be well-known as a ballet for
children, a Christmas confection, but the story by ETA Hoffmann
on which it is based is a much darker and more intricate affair.
It says something of Tchaikovsky’s imagination and artistry
that he took the relatively bland ballet scenario presented to
him and crafted a sophisticated and galvanising score. Even in
Act II – by which point the drama is effectively over – it seems
Tchaikovsky may have created a private subtext of his own.
The act is framed by gentle, haunting music, and alongside the
sparkle and good cheer is a melody drawn from a lullaby for sick children (the Arabian dance) and a motif (in the pas de deux)
echoing the Orthodox funeral rite. Then to learn that
Tchaikovsky’s sister died when he was working on the ballet…
it’s easy to consider, as does Roland Wiley, that Act II of
Nutcracker might be more than just a musical idealisation of
childhood but a kind of nostalgia for happier times.
Des Knaben Wunderhorn takes its title from the first of the
700 or so ‘old German songs’ that fill the three volumes of the
collection. A boy gallops to the castle gates to present the
beautiful and wise empress with a bejewelled horn capable of
sweeter music than even the birds and the mermaids. But as
Paul Hamburger has pointed out, Moritz von Schwind’s painting
(see page 8) of a ‘recumbent youth lifting up a kind of
cornucopia from which myths and legends might be flowing’
gives a better idea of the entire collection’s Romantic range.
Mahler’s choices are diverse: soldier’s songs, humour, religious
themes and songs of love, foolish and fond. But as with
Tchaikovsky, underneath the magic is a prevailing mood of
nostalgia.
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week leading up to the concert:
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The foyer fanfare for this concert
is Please Take Your Seats,
composed by Marcus Milton (16)
of St Andrew’s Cathedral School.
This is a youth creativity project
by the Sydney Opera House and
Artology.
7
ABOUT THE MUSIC
Gustav Mahler
Des Knaben Wunderhorn (Youth’s Magic Horn)
Keynotes
Born Kalischt, 1860
Died Vienna, 1911
In the concert hall, Mahler is best known for his immense,
almost overwhelming symphonies. Many of the ideas in the first
four symphonies, however, came from Mahler’s early songs,
especially his Songs of a Wayfarer cycle (1896) and his many
settings of poems from Des Knaben Wunderhorn (1883–1901).
The relationship between songs and symphonies in Mahler’s
writing is complex, and goes beyond the obvious point that
Mahler often included the human voice in his symphonic
writing. (Three of the first four symphonies, for example,
include movements which are really orchestral songs and
Symphony No.8 involves a huge double chorus, children’s choir
and eight soloists.) There is much cross-fertilisation between
songs and symphonies: from the third movement of the
Resurrection Symphony (No.2), which takes almost all its
MAHLER
Mahler is now regarded as one of
the greatest symphonists of the
turn of the 20th century. But
during his life his major career
was as a conductor – he was
effectively a ‘summer composer’.
Mahler believed that a symphony
must ‘embrace the world’, and
his are large-scale, requiring
huge orchestras and often lasting
more than an hour. They cover
a tremendous emotional range,
and they have sometimes been
described as ‘Janus-like’ in the
way they blend romantic and
modern values, self-obsession
and universal expression, idealism
and irony. But from the outset of
his composing career, Mahler’s
instincts were leading him along
two intertwining paths:
symphonies was one, orchestral
songs the other.
YOUTH’S MAGIC HORN
One of Mahler’s main sources of
vocal texts was the collection of
poems published as Youth’s Magic
Horn in 1805–08. They reflect the
spirit of German Romanticism
with their idealised view of folk
traditions and nostalgic character,
and while the texts were collected
from folk sources, they were often
modified to accommodate literary
structures and some were written
by the editors. Mahler also drew
on this collection for Songs of a
Wayfarer and his Second, Third
and Fourth symphonies.
 In the Forest (Des Knaben
Wunderhorn) by Moritz von
Schwind (c.1850)
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 Portrait sketch of Mahler by Emil
Orlik (1902)
thematic material from St Anthony of Padua’s Sermon to the
Fishes, to the first movement of the Third Symphony, which
Mahler described as a ‘rhythmic study’ for Revelge, which he
‘could never have composed without it’. Subtle traces of two
of the songs in tonight’s selection, Das irdische Leben and
Rheinlegendchen, can also be heard in Symphony No.2, and
Urlicht will be known to many music-lovers as the meditative
fourth movement of that symphony.
Perhaps it is not a coincidence that Mahler, who was known
as a conductor of opera but who wrote no operas of his own,
was drawn to the use of voices and of words in his symphonic
writing. ‘You can express so much more in the music than the
words actually say,’ he wrote. ‘The text is actually a mere
indication of the deeper significance to be extracted from it.’
The poems of the Youth’s Magic Horn collection, assembled
by Achim von Arnim and Clemens Brentano and published in
1805–08, are high German Romanticism with their emphasis
on the folk tradition, the simple, artless life of the ‘little people’,
and the glamour of bygone days. These treasures of the past
were to be the seed of a new German cultural empire. Mahler
spent nearly 20 years of his composing life drawing on this
collection:
‘You can express so
much more in the
music than the words
actually say.’
MAHLER
I have devoted myself heart and soul to [this] poetry (which
is essentially different from any other kind of ‘literary poetry,’
and might almost be called something more like Nature and
9
Life – in other words, the sources of all poetry – than art) in
full awareness of its character and tone.
Songs such as the dark and tragic Irdische Leben suggest
that Mahler was attracted to this icon of German Romanticism
not by any desire to indulge in the past or to stir hearts and
minds in support of a new age of cultural glory: by changing
that poem’s title (originally Verspätung, or ‘Delay’) Mahler
showed that he had found in the sorrows of one mother and
child the pain of all humankind:
human life…is symbolised by the child’s crying for bread
and the answer of the mother, consoling it with promises
again and again. In life, everything that one most needs for
the growth of the spirit and body is withheld – as with the
dead child – until it is too late. And I believe that this is
characteristically and frighteningly expressed in the
uncanny notes of the accompaniment, which bluster past
as in a storm; in the child’s anguished cry of fear, and the
slow, monotonous responses of the mother – of Fate,
which is in no particular hurry to satisfy our cries for bread.
Several of the songs in this concert – Wo die schönen
Trompeten blasen, Revelge and Der Tambourg’sell – evoke the
pain of humankind through a military theme. Mahler had from
his childhood been fascinated by band music: in Wo die
schönen, the hollow glamour of uniforms and trumpet fanfares
is contrasted sharply with the lyrical, expressive writing for
strings, which evokes the love of the young girl for the naive
young man whose life will most likely be cut short by war.
It was not Mahler’s intention, however, to dwell on suffering:
in 1896 he declared that ‘the aim of art, as I see it, must always
be the ultimate liberation from and transcendence of sorrow.’
Of the Sermon to the Fishes, he wrote to Natalie Bauer-Lechner:
A somewhat sweet-and-sour humour prevails in the
Fischpredigt. Antonius preaches to the fishes, but he seems
to be drunk. His speech is slurred (in the clarinet) and
confused. And what a glittering congregation!…I practically
saw them in the music and burst out laughing.
Songs such as Rheinlegendchen, with its ländler rhythms, are
among the more carefree numbers in the Magic Horn set, dancelike tunes which sparkle with good humour while still bearing
the stamp of Mahler’s harmonic wit.
ADAPTED FROM A NOTE BY NATALIE SHEA
SYMPHONY AUSTRALIA © 2002
10
Mahler left no definitive sequence
for performances of songs from Des
Knaben Wunderhorn. In fact he is on
record as telling baritone Johannes
Messchaert, who performed the
cycle in 1907, that he should make
up his own mind about the
sequence. In this concert we are
performing all but one of the 14
orchestral song settings.
The orchestra for Des Knaben
Wunderhorn comprises two flutes,
piccolo, two oboes, cor anglais, two
clarinets, E-flat clarinet and three
bassoons; four horns, two trumpets,
trombone and tuba; timpani and
percussion, harp and strings.
Songs from Des Knaben
Wunderhorn were most recently
heard in the Sydney Opera House
when the Vienna Philharmonic
toured Australia in 2011; Matthias
Goerne was the soloist and
Christoph Eschenbach conducted.
1. Revelge
1. Reveille
Des Morgens zwischen drein und vieren,
Da müssen wir Soldaten marschieren
Das Gäßlein auf und ab;
Trallali, trallaley, trallalera,
Mein Schätzel sieht herab.
In the morning between three and four,
we soldiers must march,
Up and down the street;
Tralali, tralaley, tralalera
My sweetheart looks down.
“Ach Bruder jetzt bin ich geschossen,
Die Kugel hat mich schwer getroffen,
Trag mich in mein Quartier,
Es ist nicht weit von hier.”
“Ah brother, I’ve been shot,
The bullet has wounded me badly,
Carry me to my quarters,
It’s not far from here.”
“Ach Bruder, ich kann dich nicht tragen,
Die Feinde haben uns geschlagen,
Helf dir der liebe Gott;
Ich muß marschieren bis in Tod.”
“Ah brother, I cannot carry you,
The enemy has beaten us,
May God help you;
I must march on to my death.”
“Ach, Brüder! ihr geht ja an mir vorüber,
Als wär’s mit mir vorbei,
Ihr tretet mir zu nah.
“Ah brothers, you pass by me,
As if it were all over for me!
You tread too close.
Ich muß wohl meine Trommel rühren,
Trallali, trallaley, trallalera
Sonst werde ich mich verlieren;
Trallali, trallaley, trallalera
Die Brüder dick gesät,
Sie liegen wie gemäht.”
I must play my drum
Else I’ll be lost;
My brothers lie thick on the ground,
As if they were scythed grass.
Er schlägt die Trommel auf und nieder,
Er wecket seine stillen Brüder,
Trallali, trallaley, trallali, trallaley!
Sie schlagen ihren Feind,
Ein Schrecken schlägt den Feind.
He plays the drum up and down,
He wakes his silent brothers,
Tralali, tralaley, tralali, tralaley!
They strike at their enemy,
Terror strikes their enemy.
Er schlägt die Trommel auf und nieder,
Da sind sie vor dem Nachtquartier schon wieder,
Ins Gäßlein hell hinaus,
Sie ziehn vor Schätzleins Haus.
He plays the drum up and down,
They’re back before their quarters,
Tralali, tralaley, tralali, tralaley!
Straight into the street
They march to his sweetheart’s house.
Des Morgen stehen da die Gebeine
In Reih und Glied sie stehn wie Leichensteine,
Die Trommel steht voran,
Daß sie ihn sehen kann.
Trallali, trallaley, trallalera.
In the morning their bones lie there,
In rank and file as tombstones.
The drummer book is at the front
So that she can see him.
Tralali, tralaley, tralalera.
11
2. Rheinlegendchen
2. Little Rhine Legend
Bald gras’ ich am Neckar, bald gras’ ich am
Rhein;
Bald hab’ ich ein Schätzel, bald bin ich allein!
Was hilft mir das Grasen, wenn d’Sichel nicht
schneid’t!
Was hilft mir ein Schätzel, wenn’s bei mir nicht
bleibt!
Now I thresh by the Neckar, now I thresh by the
Rhine;
Now I have a sweetheart, now I am alone!
What use is my threshing if the sickle doesn’t
cut?
What use is a sweetheart who won’t stay?
So soll ich denn grasen am Neckar, am Rhein,
So werf’ ich mein goldenes Ringlein hinein.
Es fließet im Neckar und fließet im Rhein,
Soll schwimmen hinunter ins Meer tief hinein.
So if I am to thresh by the Neckar and by the Rhine,
then I’ll throw in my golden ring.
It will flow with the Neckar and the Rhine,
And float right down into the deep sea.
Und schwimmt es, das Ringlein, so frisst es ein
Fisch!
Das Fischlein soll kommen auf’s König’s sein Tisch!
Der König tät fragen, wem’s Ringlein sollt’ sein?
Da tät mein Schatz sagen: das Ringlein g’hört
mein.
And as it floats, the little ring, a fish will eat it!
Mein Schätzlein tät springen Berg auf und Berg ein,
Tät mir wied’rum bringen das Goldringlein mein!
Kannst grasen am Neckar, kannst grasen am
Rhein!
Wirf du mir nur immer dein Ringlein hinein!
My sweetheart will hurry up hill and down hill,
and bring me back my ring!
‘You can thresh by the Neckar, and thresh by the
Rhine
if you will always throw your ring in for me!’
3. Trost im Unglück
3. Solace in Misfortune
Wohlan! Die Zeit ist kommen!
Mein Pferd, das muß gesattelt sein!
Ich hab’ mir’s vorgenommen,
geritten muß es sein!
Well! The time has come!
My horse must be saddled!
I’ve made up my mind,
I must ride away!
Geh’ du nur hin!
Ich hab’ mein Teil!
Ich lieb’ dich nur aus Narretei!
Ohn’ dich kann ich wohl leben!
Ja leben!
Ohn’ dich kann ich wohl sein!
Go, just go!
I have my due!
I love you only in folly!
I can live without you!
Yes, live!
Without you I can well be!
So setz’ ich mich auf’s Pferdchen,
und trink’ ein Gläschen kühlen Wein!
Und schwör’s bei meinem Bärtchen:
dir ewig treu zu sein!
So I’ll sit on my horse
and drink a glass of chilled wine,
and swear by my beard,
to be faithful to you forever!
Du glaubst, du bist der Schönste
wohl auf der ganzen weiten Welt,
You think, you are the fairest
in the whole wide world,
12
The fish will eventually come to the King’s table!
The king will ask whose ring it is,
and my sweetheart will say: ‘The ring belongs
to me.’
und auch der Angenehmste!
Ist aber weit, weit gefehlt!
and also the most agreeable!
But you are far, far from it!
In meines Vaters Garten
wächst eine Blume drin!
So lang’ will ich noch warten,
bis die noch größer ist!
In my father’s garden
a flower is growing!
I’ll keep waiting
till it is bigger!
Und geh’ du nur hin!
Ich hab mein Teil!
Ich lieb’ dich nur aus Narretei!
Ohn’ dich kann ich wohl leben,
ohn’ dich kann ich wohl sein!
And off you go now!
I have my due!
I love you only in folly!
Without you I can well live!
Without you I can well exist!
Du glaubst, ich werd’ dich nehmen!
Das hab’ ich lang’ noch nicht im Sinn!
Ich muß mich deiner schämen,
wenn ich in Gesellschaft bin!
You think I’m going to take you!
That I will not think of for a long time!
I must be ashamed of you,
when I am in public!
4. Verlor’ne Müh
4. Wasted Effort
Sie:
Büble, wir wollen außre gehe!
Wollen wir? Unsere Lämmer besehe?
Gelt! Komm’, lieb’s Büberle,
komm’, ich bitt’!
She:
Laddie, let’s go out!
Shall we? To look at our lambs?
Eh, Come, dear laddie!
Come on, please!
Er:
Närrisches Dinterle,
ich geh dir holt nit!
He:
Foolish lassie,
I won’t go with you!
Sie:
Willst vielleicht ä bissel nasche?
Hol’ dir was aus meiner Tasch’!
Hol’, lieb’s Büberle,
hol’, ich bitt’!
She:
Maybe you want something to nibble?
Take something from my pocket!
Take it, dear laddie!
Take it, please!
Er:
ich nasch’ dir holt nit!
He:
Foolish lassie,
I don’t want to nibble anything!
Sie:
Gelt, ich soll mein Herz dir schenke!?
Immer willst an mich gedenke!?
Nimm’s! Lieb’s Büberle!
Nimm’s, ich bitt’!
She:
Eh, shall I give you my heart!?
Then you’ll always think of me?
Take it! Dear laddie!
Take it, please!
Er:
ich mag es holt nit!
He:
Foolish lassie,
I don’t want it!
13
5. Der Schildwache Nachtlied
5. The Sentry’s Night Song
(A Scene from Army Life)
“Ich kann und mag nicht fröhlich sein;
Wenn alle Leute schlafen,
So muß ich wachen,
Muß traurig sein.”
“I can’t and may not be cheerful;
When everyone sleeps,
I must keep watch,
I must be sad.”
“Lieb’ Knabe, du sollst nicht traurig sein,
Will deiner warten,
Im Rosengarten,
Im grünen Klee.”
“Dear lad, you mustn’t be sad,
I will wait for you
In the rose garden,
In the green clover.”
“Zum grünen Klee, da komm ich nicht,
zum Waffengarten
Voll Helleparten
Bin ich gestellt.”
“To the green clover, I cannot go;
To the weapons garden,
Full of halberds,
I’ve been posted.”
“Stehst du im Feld, so helf dir Gott,
An Gottes Segen
Ist alles gelegen,
Wer’s glauben tut.”
“When you are in battle, may God help you!
On God’s blessing
Everything depends,
For him who believes.”
“Wer’s glauben tut, ist weit davon,
Er ist ein König, Er ist ein Kaiser,
Er führt den Krieg.
Halt! Wer da? Rund!
Bleib’ mir vom Leib!”
“He who believes is far away.
He is a king, he is an emperor,
He sends us to war.
Halt! Who’s there? Turn around!
Stand back from me!”
“Wer sang es hier? Wer sang zur Stund’?
Verlorne Feldwacht
Sang es um Mitternacht.
Mitternacht! Feldwacht!”
Who sang here? Who was singing now?
A forlorn sentinel
Singing at midnight.
Midnight! A sentry!
6. Das irdische Leben
6. The Earthly Life
“Mutter, ach Mutter! es hungert mich,
Gieb mir Brot, sonst sterbe ich.”
“Warte nur, warte nur, mein liebes Kind,
Morgen wollen wir ernten geschwind.”
“Mother, oh Mother! I’m hungry;
Give me bread, or I shall die!”
“Wait a little, my darling child;
Tomorrow we shall harvest quickly.”
Und als das Korn geerntet war,
Rief das Kind noch immerdar:
Gieb mir Brot, sonst sterbe ich.”
Morgen wollen wir dreschen geschwind.”
And when the corn had been harvested,
The child wailed again:
Tomorrow we shall thresh quickly.”
Und als das Korn gedroschen war,
Rief das Kind noch immerdar:
And when the corn had been threshed,
The child wailed again:
14
Gieb mir Brot, sonst sterbe ich!”
Morgen wollen wir backen geschwind.”
Tomorrow we shall bake quickly.”
Und als das Brot gebacken war,
Lag das Kind auf der Totenbahr.
And when the bread had been baked,
The child was lying on the funeral bier.
7. Lied des Verfolgten im Turm
7. Song of the Persecuted in the Tower
Der Gefangene:
Die Gedanken sind frei,
Wer kann sie erraten?
Sie rauschen vorbei
Wie nächtliche Schatten.
Kein Mensch kann sie wissen,
Kein Jäger sie schießen;
Es bleibet dabei,
Die Gedanken sind frei.
The prisoner:
Thoughts are free,
Who can guess them?
They rush past
Like nocturnal shadows.
No man can know them,
No hunter shoot them;
For so it shall always be:
Thoughts are free.
Das Mädchen:
Im Sommer ist gut lustig sein
Auf hohen wilden Heiden,
Dort findet man grün Plätzelein,
Mein herzverliebtes Schätzelein,
Von dir mag ich nit scheiden.
The maiden:
In summer it is good to make merry
On high, wild meadows,
There we can find green nooks;
My heart’s beloved treasure,
I never want to part from you!
Der Gefangene:
Und sperrt man mich ein
Im finstern Kerker,
Dies alles sind nur
Vergebliche Werke;
Denn meine Gedanken
Zerreißen die Schranken
Und Mauern entzwei,
The prisoner:
And if they should lock me up
In a dark dungeon,
It would be
All in vain,
For my thoughts
Break the barriers
And walls in two:
Thoughts are free!
Das Mädchen:
Im Sommer ist gut lustig sein
Auf hohen wilden Bergen;
Man ist da ewig ganz allein,
Man hört da gar kein Kindergeschrei,
Die Luft mag einem da werden.
The maiden:
In summer it is good to be merry
On high, wild mountains;
There one is always alone;
One hears no children shrieking,
And the air is so inviting.
Der Gefangene:
So sei es, wie es will,
Und wenn es sich schicket,
Nur alles in der Still;
The prisoner:
Let things be, just as they will;
And if it must be so,
But let it be in silence;
15
SSO CHAMBER MUSIC
COCKTAIL
HOUR
Three inspiring evenings at the
Utzon Room, Sydney Opera House
Lights shimmering on the harbour, a uniquely intimate
space, inspiring music, and a delicious cocktail to
enjoy – all the elements for one hour of sheer bliss.
Hear individual members of your SSO up close in this year’s new
chamber series with music of Brahms, some of the most beautiful
chamber music ever written.
BONES
BRAHMS & BRASS
RIFFS
BRAHMS FUSION
ECHOES
LOVE & NOSTALGIA
SAT 16 MAY | 6PM
SAT 6 JUNE | 6PM
SAT 18 JULY | 6PM
WEBERN arr. Hetzler
Slow Movement in E flat
BRUCKNER arr. Doms
Two Motets
MACKEY
Heavy Light,
for electric guitar
Fusion Tune, for electric
guitar and cello
BRAHMS
String Sextet No.2
DVOŘÁK
Five songs from Cypresses,
for string quartet
BRAHMS
Clarinet Quintet
arranged for trombone quartet
BRAHMS
String Quintet No.2
COCKTAIL BAR FROM 5.30PM
A selection of drinks will be available for cash and
may be enjoyed before and during the concert.
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CONCERT
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16 APRIL
SINGLE CONCERT $49^
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*Drink voucher may only be redeemed at Utzon Room Bar on 16 May, 6 June & 18 July events.
ALL 3 CONCERTS WITH DRINK VOUCHERS $117*
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Mon–Fri 9am–5pm
Mein Wunsch und Begehren
Niemand kann’s wehren;
Es bleibet dabei,
My wish and desires
None can forbid
Thoughts are free.
Das Mädchen:
Mein Schatz, du singst so fröhlich hier
Wie’s Vögelein in dem Grase;
Ich steh so traurig bei Kerkertür,
Wär ich doch tot, wär ich bei dir,
Ach, muß ich denn immer klagen?
The maiden:
My darling, you sing so cheerfully here,
Like a little bird in the grass;
I stand so sadly by the prison door.
Would I were dead, if only I were with you!
Ah! must I lament forever?
Der Gefangene:
Und weil du so klagst,
Der Lieb ich entsage,
Und ist es gewagt,
So kann mich nicht plagen!
So kann ich im Herzen
Stets lachen, bald scherzen;
Es bleibet dabei,
The prisoner:
And because you lament so,
I renounce love,
And if I dare this,
Nothing can torment me.
Then in my heart
I can always laugh and joke,
Thoughts are free.
8. Wer hat dies Liedel erdacht?
8. Who has thought up this pretty
little song?
Dort oben am Berg in dem hohen Haus,
Da guckt ein fein’s, lieb’s Mädel heraus!
Es ist nicht dort daheime!
Es ist des Wirt’s sein Töchterlein!
Es wohnet auf grüner Haide!
Up there on the mountain, in a high-up house,
a lovely, darling girl looks out of the window.
She does not live there:
she is the daughter of the innkeeper,
and she lives on the green meadow.
Mein Herzle is’ wundt!
Komm’, Schätzle, mach’s g’sund!
Dein’ schwarzbraune Äuglein,
Die hab’n mich verwund’t!
‘My heart is sore!
Come, my treasure, make it well again!
Your dark brown eyes
have wounded me.
Dein rosiger Mund
Macht Herzen gesund.
Macht Jugend verständig,
Macht Tote lebendig,
Macht Kranke gesund.
Your rosy mouth
makes hearts healthy.
It makes youth wise,
brings the dead to life,
gives health to the ill.’
Wer hat denn das schöne Liedel erdacht?
Es haben’s drei Gäns’ über’s Wasser gebracht!
Zwei graue und eine weisse!
Und wer das Liedel nicht singen kann,
Dem wollen sie es pfeifen! Ja!
Who has thought up this pretty little song then?
It was brought over the water by three geese –
two grey and one white –
and if you cannot sing the little song,
they will whistle it for you!
17
9. Des Antonius von Padua
Fischpredigt
9. St Anthony of Padua’s Sermon
to the Fishes
Antonius zur Predigt
Die Kirche find’t ledig.
Er geht zu den Flüssen
und predigt den Fischen;
Sie schlagen mit den Schwänzen,
Im Sonnenschein glänzen.
St Anthony comes to preach
And finds the church empty.
He goes to the rivers
To preach to the fishes;
They flap their tails,
Glistening in the sunshine.
Die Karpfen mit Rogen
Sind all’ hierher zogen
Haben d’Mäuler aufrissen,
Sich Zuhörens beflissen;
Kein Predigt niemalen
Den Fischen so g’fallen.
The carp with their roe
Have all come here,
With mouths wide open,
Listening eagerly.
No sermon ever
Pleased the fishes so much.
Spitzgoschete Hechte,
Die immerzu fechten,
Sind eilend herschwommen,
Zu hören den Frommen;
Auch jene Phantasten,
Die immerzu fasten;
Die Stockfisch ich meine,
Zur Predigt erscheinen;
Den Stockfisch so g’fallen.
Sharp-toothed pike
That are always fighting,
Have swum here hurriedly
To hear this pious man;
Also, those dreamers
That are always fasting –
The cod, I mean –
Turn up for the sermon;
No sermon ever
Pleased the cod so much.
Gut Aale und Hausen,
Die vornehme schmausen,
Die selbst sich bequemen,
Die Predigt vernehmen.
Auch Krebse, Schildkroten,
Sonst langsame Boten,
Steigen eilig vom Grund,
Zu hören diesen Mund:
den Krebsen so g’fallen.
Good eels and sturgeons,
The elegant feast –
Condescend to
Listen to the sermon.
Also crabs, and turtles,
Usually so slow,
Rise swiftly from the bottom,
To hear this voice.
No sermon ever
pleased the crabs so much.
Fisch große, Fisch kleine,
Vornehm und gemeine,
Erheben die Köpfe
Wie verständge Geschöpfe:
Auf Gottes Begehren
Die Predigt anhören.
Fish great and small,
Noble and common,
Lift their heads
Like intelligent creatures:
At God’s behest
They listen to the sermon.
Die Predigt geendet,
Ein jeder sich wendet,
Die Hechte bleiben Diebe,
The sermon ended,
Each turns away;
The pike remain thieves,
18
Die Aale viel lieben.
Die Predigt hat g’fallen.
Sie bleiben wie alle.
The eels, great lovers.
The sermon has pleased them,
But they stay the same.
Die Krebs gehn zurücke,
Die Stockfisch bleiben dicke,
Die Karpfen viel fressen,
die Predigt vergessen.
Die Predigt hat g’fallen.
Sie bleiben wie alle.
The crabs still walk backwards,
The cod stay fat,
The carps still guzzle,
The sermon is forgotten!
The sermon has pleased them,
But they stay the same.
10. Urlicht
10. Primal Light
O Röschen rot,
Der Mensch liegt in größter Not,
Der Mensch liegt in größter Pein,
Je lieber möcht’ ich im Himmel sein.
Da kam ich auf einem breiten Weg,
Da kam ein Engelein und wollt’ mich abweisen.
Ach nein, ich ließ mich nicht abweisen!
Ich bin von Gott und will wieder zu Gott,
Der liebe Gott wird mir ein Lichtchen geben,
Wird leuchten mir bis in das ewig selig’ Leben!
O little red rose,
Man lies in greatest need,
Man lies in greatest pain.
I would much rather be in heaven.
Then I came upon a wide path,
There appeared an Angel who would turn me away.
But no, I would not be turned away!
I came from God, and will return to God,
The loving God will give me a little light,
To light my way to eternal, blessed life!
11. Lob des hohen Verstandes
11. In Praise of Superior Intellect
Einstmals in einem tiefen Tal
Kuckuck und Nachtigall
Täten ein Wett’ anschlagen:
Zu singen um das Meisterstück,
Gewinn’ es Kunst, gewinn’ es Glück:
Dank soll er davon tragen.
Once in a deep valley,
The cuckoo and the nightingale
Set a contest:
To sing the best song.
To win by art, to win by luck,
The winner would have his reward.
Der Kuckuck sprach: “So dir’s gefällt,
Hab’ ich den Richter wählt”,
Und tät gleich den Esel ernennen.
“Denn weil er hat zwei Ohren groß,
So kann er hören desto bos
Und, was recht ist, kennen!”
The cuckoo said: “If it please you,
I have chosen the judge.”
And he immediately named the donkey:
“Since he has two huge ears,
The better to hear what is bad
And know what is correct.”
Sie flogen vor den Richter bald.
Wie dem die Sache ward erzählt,
Schuf er, sie sollten singen.
Die Nachtigall sang lieblich aus!
Der Esel sprach: “Du machst mir’s kraus!
They flew before the judge
And when the matter was explained to him,
He told them they should sing.
The nightingale sang out sweetly!
The donkey said: “You make me confused!
19
Du machst mir’s kraus! I-ja! I-ja!
Ich kann’s in Kopf nicht bringen!”
You make me confused! Hee-haw!
I can’t get it into my head!”
Der Kuckuck drauf fing an geschwind
Sein Sang durch Terz und Quart und Quint.
Dem Esel g’fiels, er sprach nur
“Wart! Wart! Wart! Dein Urteil will ich sprechen,
Wohl sungen hast du, Nachtigall!
Aber Kuckuck, singst gut Choral!
Und hältst den Takt fein innen!
Das sprech’ ich nach mein’ hoh’n Verstand!
Und kost’ es gleich ein ganzes Land,
So laß ich’s dich gewinnen!
Kuckuck, kuckuck, i-ja!”
The cuckoo then quickly started
His song in thirds and fourths and fifths;
The donkey liked it, and only said:
“Wait! Wait! Wait! I will pronounce judgement now.
You sang well, Nightingale!
But, Cuckoo, you sing a good chorale!
And you keep the rhythm well!
I speak from my superior intellect,
And even though it should cost an entire land,
I declare you the winner!
Cuckoo, cuckoo! Hee-haw!”
12. Wo die schönen Trompeten blasen
12. Where the Fine Trumpets Sound
Wer ist denn draussen und wer klopfet an,
Der mich so leise, so leise wecken kann?
Das ist der Herzallerlieble dein,
Steh’ auf und lass mich zu dir ein!
Who is then outside, and who is knocking,
Who can so softly, softly waken me?
It is your darling,
Arise and let me come in to you!
Was soll ich hier nun länger steh’n?
Ich seh’ die Morgenröt’ aufgeh’n,
Die Morgenröt’, zwei helle Stern’.
Bei meinem Schatz, da wär ich gern’,
bei meiner Herzallerlieble.
Why should I stand here any longer?
I see the dawn arrive,
The dawn, two bright stars,
With my darling would I gladly be,
With my heart’s most beloved!
Das Mädchen stand auf und liess ihn ein;
Sie heisst ihn auch willkommen sein.
Willkommen, lieber Knabe mein,
So lang hast du gestanden!
The maiden arose and let him in;
She welcomed him as well:
Welcome, my beloved boy,
You have stood outside so long!
Sie reicht’ ihm auch die schneeweisse Hand.
Von ferne sang die Nachtigall,
Das Mädchen fing zu weinen an.
She reached to him her snow-white hand.
From afar a nightingale sang;
The maiden began to weep.
Ach weine nicht, du Liebste mein,
Auf’s Jahr sollst du mein Eigen sein.
Mein Eigen sollst du werden gewiss,
Wie’s Keine sonst auf Erden ist!
O Lieb auf grüner Erden.
Oh, do not cry, my darling,
Next year you shall be my own!
My own shall you certainly be,
As no one else on earth is.
O Love on the green earth!
Ich zieh’ in Krieg auf grüne Haid’,
Die grüne Haide, die ist so weit!
Allwo dort die schönen Trompeten blasen,
Da ist mein Haus, von grünem Rasen.
I go to war on the green heath,
The green heath that is so broad!
It is there where the fine trumpets sound,
There is my house of green grass!
20
13. Der Tambourg’sell
13. The Drummer Boy
Ich armer Tambourgesell,
Man führt mich aus dem Gwölb,
Wär ich ein Tambour blieben,
Dürft ich nicht gefangen liegen.
I’m a poor drummer boy –
they’re leading me from my cell.
If I had stayed a drummer
I wouldn’t have been imprisoned.
O Galgen, du hohes Haus,
Du siehst so furchtbar aus,
Ich schau’ dich nicht mehr an,
Weil i’ weiß, daß i’ gehör dran.
O gallows, you lofty house,
You look so fearsome,
I won’t look at you any more
because I know that’s where I belong.
Wenn Soldaten vorbeimarschieren,
Bei mir nicht einquartieren.
Wenn sie fragen, wer i’ g’wesen bin:
Tambour von der Leibkompanie.
When soldiers march by
who weren’t quartered with me –
and they ask who I was, I say:
Drummer in the first company.
Gute Nacht, ihr Marmelstein,
Ihr Berg und Hügelein.
Gute Nacht, ihr Offizier,
Korporal und Musketier.
Good night, marble stones,
You mountains and hills –
Good night, you officers,
corporals and musketeers.
Gute Nacht! Ihr Offizier,
Korporal und Grenadier!
Ich schrei mit lauter Stimm’,
Von euch ich Urlaub nimm.
Gute Nacht! Gute Nacht.
Good night, you officers,
corporals and grenadiers,
I cry with a loud voice,
and take my leave of you!
Good night! Good night.
21
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ABOUT THE MUSIC
Pyotr Ilyich Tchaikovsky
Nutcracker: Act II – Kingdom of Sweets
Keynotes
Scene: The Magic Castle on the Mountain of Sweets
Scene: Clara and the Nutcracker Prince
Character Dances (Divertissement):
Chocolate (Spanish Dance)
Coffee (Arabian Dance)
Tea (Chinese Dance)
Trépak (Russian Dance)
Dance of the Mirlitons
Mother Gigogne and the Clowns
Waltz of the Flowers
Pas de deux:
Intrada
Variation I (Tarantella)
Variation II (Dance of the Sugar Plum Fairy)
Coda
Final Waltz and Apotheosis
Born Kamsko-Votkinsk, 1840
Died St Petersburg, 1893
It may seem strange to be listening to a complete act from a
ballet without the dancing, but great ballet music loses nothing
when transferred to the concert hall. Some of the most famous
ballets in the repertoire owe their enduring popularity to the
magnificent music that has been composed for them: Swan
Lake, Sleeping Beauty and Prokofiev’s Romeo and Juliet are just
a few.
But great ballet music is not to be taken for granted. After a
golden era during the French baroque period (Louis XIV, the Sun
King, liked to dance and looked rather fine in tights), ballet music
slumped in reputation and quality. It took a 19th-century
Frenchman, Léo Delibes, to lift ballet from its musical doldrums
with his scores for Sylvia and the more famous Coppélia, and it
was a Russian Francophile, Tchaikovsky, who followed his lead
and became one of the first composers to write ballet music that
was truly symphonic.
Tchaikovsky took ballet very seriously (he liked to dance too).
It’s no wonder that his three ballet scores – Swan Lake, Sleeping
Beauty and Nutcracker – are as popular as concert suites as they
are on the stage.
Unusually, it was as a concert suite that some of the Nutcracker
music was first presented to the public in 1892 – a 19th-century
‘trailer’ for the ballet in preparation. The suite of musical
highlights was so successful that most of the numbers were
encored. This performance of all the music from Act II gives you
the opportunity to enjoy some of those same dances – including
everyone’s favourites, the Dance of the Sugar Plum Fairy and the
TCHAIKOVSKY
Tchaikovsky represented a new
direction for Russian music in
the late 19th century: fully
professional and cosmopolitan
in outlook. He embraced the
genres and forms of Western
European tradition – symphonies,
concertos and overtures –
bringing to them an unrivalled
gift for melody and an
extraordinary dramatic sense.
He composed three full ballet
scores: Swan Lake (1877), The
Sleeping Beauty (1889) and
Nutcracker (1892). At the time,
ballet music as a genre was
looked down on by serious
composers, but Tchaikovsky
took his commissions very
seriously. His inspiration and
models came from the French
composer Delibes, and he went
so far as to say that Swan Lake
was ‘poor stuff’ compared to
Delibes’ Sylvia. The ballet scores
of both men were remarkable for
bringing new musical refinement
and power to the ballet stage.
Tchaikovsky’s ballets reveal the
profound love he felt for his
task – the scores are infused
with sophisticated and
expressive symphonic elements
without ever losing sight of the
practical and stylistic demands
of dancers and choreographers.
No wonder that Tchaikovsky’s
ballet music is as effective in
the concert hall as it is in
the theatre.
23
Waltz of the Flowers – along with rare treats not often heard
outside the theatre.
Nutcracker is loosely based on a ‘fairytale’ for grownups by
E.T.A. Hoffmann. In its translation to dance the tale lost some
of its darkly mysterious qualities and nowadays, especially in
the United States, the ballet is entrenched as a Christmas
entertainment for children of all ages. The ballet scenario is a
lopsided affair – the first act carries virtually all the action of
the Christmas Eve party and Clara’s dream (or is it?) in which
the Nutcracker Prince does battle with oversized rats and mice;
the second act is a pure confection with little apparent
significance to the plot.
Tchaikovsky himself felt unhappy with the scenario and of
all his ballets Nutcracker is the one that has responded best to
new interpretations of its themes. The most interesting of these
is Graeme Murphy’s inspired interpretation for the Australian
Ballet – the tender and dramatic reverie of a former Russian
ballerina with a Hills hoist in her backyard.
But whether the production is traditional or revisionist,
Tchaikovsky’s music shines. He skilfully evokes a world of
childlike wonder and shimmering fantasy, and it is in Act II, in
the Kingdom of Sweets, that his genius for national colour and
jewel-like divertissements emerges.
Act II owes something to the tradition of court galas instituted
by Louis XIV. A flimsy scenario is sufficient pretext for glorious
music: the Sugar Plum Fairy, Queen of the Kingdom, celebrates
the bravery of 12-year-old Clara and her Nutcracker Prince with a
festival in the Magic Castle.
The castle works its magic by lulling us into a richly swirling
theme with flourishing flutes and rippling passages from the
harp and celesta, the signature colour of the Fairy herself.
The Prince then tells of the battle with the Mouse King, providing
Tchaikovsky with the opportunity for a nice symphonic gesture,
a recapitulation of themes from Act I. All pretence of storytelling
over, the party then begins with a sequence of characterful
divertissements.
The choreographer Marius Petipa had imagined dances for the
confections of the day, each associated with a different country.
Chocolate is given a Spanish dance with a brilliant solo for the
trumpet and castanets for colour. The coffee is evidently Arabian
(‘Café mocca’, to quote Petipa’s instructions), although its
convincingly ‘Oriental’ music with hypnotic accompaniment is
actually based on a Georgian lullaby traditionally sung to children
suffering from the measles. Chinese tea makes a fleeting
appearance, a jogging number with an acrobatic flute.
24
Detail from Nikolai Kuznetsov’s
portrait of Tchaikovsky, made
soon after the premiere of
Nutcracker
The Trépak, a Russian Dance, begins ‘molto vivace’ (very
lively) and accelerates from there. Following its rumbustious
finish the music immediately assumes a deft and dainty
character for the Dance of the Mirlitons. (In the musical world
a mirliton is a reed pipe, or, more familiarly, a kazoo. For a
confectioner it can be a mousse-filled pastry tube, the ends
sealed with chocolate.) A trio of flutes play perfectly coordinated
arabesques while the cor anglais offers its poignant view
of affairs.
Mother Gigogne is better known to English speakers as the
Old Woman Who Lived in a Shoe, and her French fairytale origins
inspired the use of sprightly French nursery tunes, including
‘Cadet Rousselle’ in the middle.
Two grand waltzes take pride of place in the Kingdom of
Sweets. The Waltz of Flowers is perhaps Tchaikovsky’s most
famous waltz of all and in its traditional choreography it fills
the stage with a cast of thousands, including children carrying
garlands. An effusion of melody and impetuous grace reveals
Tchaikovsky in his element. The Final Waltz is more courtly in
its character, but no less exhilarating as it leads into the
apotheosis. Here the same charming music that beckoned us
into the Kingdom of Sweets brilliantly bids goodbye and returns
Clara to the real world.
But Tchaikovsky’s real coup is in the Pas de deux for the
Prince and the Sugar Plum Fairy – opulent, ‘colossal in effect’
and perhaps the finest music in the whole ballet. While in Paris,
the composer was seduced by the ‘glistering tones’ of a
marvellous new instrument, ‘something between a small piano
and a Glockenspiel’. Determined to surprise Russian audiences
(and his composer colleagues!) he had one shipped secretly
to St Petersburg. The bell-like sound of the celesta worked its
magic in the Dance of the Sugar Plum Fairy – a distillation of
the delicate effects, exotic colour and lyricism that make
Nutcracker so irresistible.
Varvara Nikitina danced the Sugar
Plum Fairy in the first production
of Nutcracker. The first section of
the pas de deux with the prince
(danced by Pavel Gerdt) exploited
hidden stage machinery to make
it appear that she was floating
across the stage on a scarf.
YVONNE FRINDLE © 2000 / 2015
Act II of Nutcracker calls for three flutes (one doubling piccolo), two oboes,
cor anglais, two clarinets, bass clarinet and two bassoons; four horns, two
trumpets, three trombones and tuba; timpani and percussion; two harps,
celesta and strings.
We believe this is the first time the SSO has performed a complete act
from Nutcracker; it’s more common for us to play highlights or a concert
suite. In 2012 we performed highlights from Act II in concerts conducted
by Andrew Grams.
25
MORE MUSIC
MORE MAHLER
Mahler turned to Des Knaben Wunderhorn many times
during his composing career and, as in this concert,
most recordings can only present a selection. But if
completeness is your thing, look for The Complete
Wunderhorn Songs sung by Dietrich Henschel with
Boris Berezovsky at the piano. You’ll hear the earlier
songs, composed for voice and piano, together with
those conceived for orchestra.
EVIL PENGUIN RECORDS 13
For the orchestral Wunderhorn songs in full colour
try the recording in which Dietrich Henschel is
joined by Sarah Connolly with Philippe Herrewegghe
conducting the Champs-Élysées Orchestra.
Sleeping Beauty is Tchaikovsky’s other great ballet,
and it can be found, together with Swan Lake,
Nutcracker, his Pathétique Symphony and selected
orchestral works, in a bargain-priced 6CD set from
Brilliant Classics, with performances by the Suisse
Romande Orchestra and Ernest Ansermet.
BRILLIANT CLASSICS 94031
Broadcast Diary
May–June
HARMONIA MUNDI 290 1920
abc.net.au/classic
And if you’re looking for Mahler’s other songs with
orchestra, you can’t go wrong with discs from our
Mahler Odyssey set, recorded with Vladimir
Ashkenazy in 2010–11. You’ll find Songs of a Wayfarer
sung by baritone Markus Eiche (and coupled with the
First Symphony) and Song of the Earth, featuring
mezzo-soprano Lilli Paasikivi and tenor Stuart
Skelton. Also in the collection is an album drawn from
our archives with performances of the Rückert-Lieder
and Kindertotenlieder as well as Song of the Earth.
Friday 8 May, 8pm
PURE MAGIC
See this program for details.
SSO LIVE 201001; 201004; 201204
MORE TCHAIKOVSKY
There’s an abundance of recordings of Tchaikovsky’s
ballet music, whether suites and highlights or
complete recordings. For Nutcracker you can’t go
past the exhilarating performance by Valery Gergiev
with the Kirov Theatre Orchestra (the orchestra of the
Mariinsky Theatre in St Petersburg, where the ballet
was premiered). The eye-catching production is also
available on video.
PHILIPS 462 1142
DECCA 074 3217 (DVD); 074 3301 (Blu-ray)
A more recent recording of the complete ballet, by
the Berlin Philharmonic and Simon Rattle, comes in
an ‘Experience Edition’ with lavish digital extras on
EMI Classics. Available in physical format or as a
download through iTunes.
Friday 15 May, 8pm
ROMANTIC VISIONS
Matthias Pintscher conductor
Peter Serkin piano
Wagner, Bartók, Brahms orch. Schoenberg
Friday 22 May, 8pm
PETER SERKIN IN RECITAL
Renaissance keyboard pieces, Nielsen,
Reger, Mozart, Beethoven
Tuesday 9 June, 9.30pm
FATHERS AND SONS
Andrew Haveron violin-director
Yelian He cello
JS Bach, CPE Bach, L Mozart, WA Mozart
SSO Radio
Selected SSO performances, as recorded by the ABC,
are available on demand:
sydneysymphony.com/SSO_radio
EMI CLASSICS 31621
Also highly recommended is Graeme Murphy’s
brilliant re-imagining of Nutcracker from an
Australian perspective. Nutcracker: The Story of Clara
takes its inspiration from the visits to Australia of
touring companies such as the Ballets Russes in the
1940s. Available on DVD through ABC Shops and the
Australian Ballet.
SYDNEY SYMPHONY ORCHESTRA HOUR
Tuesday 12 May, 6pm
Musicians and staff of the SSO talk about the life of
the orchestra and forthcoming concerts. Hosted by
Andrew Bukenya.
ABC DVD R-105058-9
finemusicfm.com
26
SSO Live Recordings
The Sydney Symphony Orchestra Live label was founded
in 2006 and we’ve since released more than two dozen
recordings featuring the orchestra in live concert
performances with our titled conductors and leading
guest artists. To buy, visit sydneysymphony.com/shop
Strauss & Schubert
Gianluigi Gelmetti conducts Schubert’s
Unfinished and R Strauss’s Four
Last Songs with Ricarda Merbeth.
SSO 200803
Sir Charles Mackerras
A 2CD set featuring Sir Charles’s
final performances with the orchestra,
in October 2007.
SSO 200705
Brett Dean
Two discs featuring the music of Brett
Dean, including his award-winning
violin concerto, The Lost Art of Letter
Writing. SSO 200702, SSO 201302
MAHLER ODYSSEY
The complete Mahler symphonies
(including the Barshai completion
of No.10) together with some of
the song cycles. Recorded in
concert with Vladimir Ashkenazy
during the 2010 and 2011 seasons.
As a bonus: recordings from our
archives of Rückert-Lieder, Kindertotenlieder and
Das Lied von der Erde. Available in a handsome boxed
set of 12 discs or individually.
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
Ravel
Gelmetti conducts music by one of
his favourite composers: Maurice
Ravel. Includes Bolero.
From the archives:
Rückert-Lieder, Kindertotenlieder, Das Lied von
der Erde SSO 201204
SSO 200801
LOOK OUT FOR…
Rare Rachmaninoff
Rachmaninoff chamber music with
Dene Olding, the Goldner Quartet,
soprano Joan Rodgers and Vladimir
Ashkenazy at the piano. SSO 200901
Our recording of Holst’s Planets with David Robertson.
Available now!
SSO Online
Prokofiev’s Romeo and Juliet
Vladimir Ashkenazy conducts the
complete Romeo and Juliet ballet
music of Prokofiev – a fiery and
impassioned performance. SSO 201205
Join us on Facebook
facebook.com/sydneysymphony
Follow us on Twitter
twitter.com/sydsymph
Tchaikovsky Violin Concerto
In 2013 this recording with James
Ehnes and Ashkenazy was awarded a
Juno (the Canadian Grammy). Lyrical
miniatures fill out the disc. SSO 201206
Tchaikovsky Second Piano Concerto
Garrick Ohlsson is the soloist in one
of the few recordings of the original
version of Tchaikovsky’s Piano Concerto
No.2. Ashkenazy conducts. SSO 201301
Stravinsky’s Firebird
David Robertson conducts Stravinsky’s
brilliant and colourful Firebird ballet,
recorded with the SSO in concert in
2008. SSO 201402
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.

Stay tuned. Sign up to receive our
fortnightly e-newsletter
sydneysymphony.com/staytuned
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for iPhone/iPad or Android
sydneysymphony.com/mobile_app
27
BEN EALOVEGA
THE ARTISTS
Mark Wigglesworth
conductor
Born in Sussex, England, Mark Wigglesworth
studied music at Manchester University and
conducting at the Royal Academy of Music in
London. A few weeks after leaving the Academy,
he won the Kondrashin International Conducting
Competition in the Netherlands and since then
has worked with many of the world’s leading
orchestras and opera companies.
In 1992 he became Associate Conductor of
the BBC Symphony Orchestra and further
appointments have included Principal Guest
Conductor of the Swedish Radio Symphony
Orchestra and Music Director of the BBC National
Orchestra of Wales. In September he will take up
the post of Music Director for English National
Opera.
In addition to concerts with most of the UK’s
orchestras, Mark Wigglesworth has regularly
guest conducted many of Europe’s finest
ensembles, including the Berlin Philharmonic,
Royal Concertgebouw Orchestra, Salzburg
Mozarteum Orchestra, Orchestra of La Scala
Milan, Finnish Radio Symphony, Gothenburg
Symphony, Oslo Philharmonic and the Budapest
Festival Orchestra.
He is just as busy in North America, where
his engagements include the Cleveland
Orchestra, New York Philharmonic, Los Angeles
Philharmonic, San Francisco Symphony, and
the Chicago, Boston, Montreal and Toronto
symphony orchestras. He regularly visits the
Minnesota Orchestra and has a standing
28
commitment to the New World Symphony in
Miami.
Equally at home in the opera house,
Wigglesworth was Music Director of Opera
Factory, London, and has performed at
Glyndebourne, Welsh National Opera, English
National Opera, La Monnaie, Netherlands Opera,
Metropolitan Opera and the Royal Opera House,
Covent Garden. In Sydney he has conducted
Peter Grimes for Opera Australia.
His recording projects include the complete
Shostakovich symphonies, as well as Mahler’s
Sixth and Tenth symphonies, recorded with the
Melbourne Symphony Orchestra, and a recording
of English repertoire with the SSO. Most recently
he has recorded the Brahms piano concertos
with soloist Stephen Hough and the Salzburg
Mozarteum Orchestra.
Mark Wigglesworth conducted the SSO in
the closing concert of the 2000 Olympic Arts
Festival and more recently in 2009, when he
conducted an all-English program.
Caitlin Hulcup
Randall Scarlatta
mezzo-soprano
baritone
Caitlin Hulcup trained initially as a violinist, then,
after winning an Australian Opera Foundation
competition, she studied at the National Opera
Studio in London. She has since appeared at
international opera houses including the Wiener
Staatsoper, Deutsche Staatsoper Berlin, Royal
Opera House London, Bayerisches Staatsoper,
Maggio Musicale Fiorentino and Palau de les Arts
Valencia.
Her opera roles have included Cherubino (The
Marriage of Figaro), Rosina (The Barber of Seville),
Dorabella (Così fan tutte), Hansel (Hansel and
Gretel), Carmen and Calbo (Maometto II). With Zubin
Mehta she has sung Donna Elvira (Don Giovanni)
and Octavian (Der Rosenkavalier). She has also
sung Octavian at Moscow’s Bolshoi Theatre with
Vasily Sinaiski and in Beijing with Sebastian
Lang-Lessing. In baroque repertoire, she gained
acclaim for the title roles of Handel’s Ariodante,
Vivaldi’s Griselda and as Cesare in Catone in Utica,
and most recently in Gluck’s Iphigénie en Tauride
for Pinchgut Opera and Orfeo ed Euridice for
Scottish Opera. Future engagements will include
Idamante (Idomeneo) with Tobias Ringborg and
a return to Scottish Opera as Ariodante.
Highlights from her concert performances
include Beethoven’s Ninth Symphony with
Gustavo Dudamel in Venezuela and at the BBC
Proms, Mozart’s Great C Minor Mass with Jeremy
Rhorer, Mahler’s Eighth Symphony in Edinburgh
with Peter Oundjian and Beethoven’s Missa
Solemnis with Martin Haselböck.
Randall Scarlata has appeared as soloist with top
orchestras and on important concert stages
throughout the world. He is particularly well
known as a recitalist and collaborates regularly
with pianists such as Gilbert Kalish, Jeremy
Denk, Jonathan Biss, Benjamin Hochman, Inon
Barnatan and Laura Ward. A frequent performer
of new music, he has given premieres of music by
Ned Rorem, George Crumb, Richard Danielpour,
Christopher Theofanidis, Thea Musgrave,
Mohammed Fairouz, Daron Hagen, Samuel Adler
and Paul Moravec. His awards and honours
include Young Concert Artists, Das Schubert
Lied, Joy in Singing, The Naumburg Competition,
The International Brahms Competition, the
Alice Tully Vocal Arts Debut Recital Award, and
a Fulbright Grant to study in Vienna, Austria.
Highlights of the 2014–15 season include
recital appearances in Austria, at the Schola
Cantorum in Paris, and throughout the United
States. He also appears at the Festival Internacional
Cervantino in Guanajuato, Mexico to premiere
four new works for voice and chamber ensemble,
and with the early music group Tempesta di
Mare for performances of Handel’s Messiah.
Other engagements include performances of
Stephen Paulus’ To Be Certain of the Dawn and
Crumb’s Voices from the Morning of the Earth
(American Songbook VI), which he has also
recorded. Also to be released this year is his
recording of Schubert’s Winterreise, with Gilbert
Kalish.
29
SYDNEY SYMPHONY ORCHESTR A
DAVID ROBERTSON
Chief Conductor and Artistic Director
PATRON Professor The Hon. Dame Marie Bashir ad cvo
Founded in 1932 by the Australian Broadcasting
Commission, the Sydney Symphony Orchestra
has evolved into one of the world’s finest
orchestras as Sydney has become one of the
world’s great cities.
Resident at the iconic Sydney Opera House,
where it gives more than 100 performances
each year, the SSO also performs in venues
throughout Sydney and regional New South
Wales. International tours to Europe, Asia and
the USA – including three visits to China – have
earned the orchestra worldwide recognition for
artistic excellence.
The orchestra’s first Chief Conductor was
Sir Eugene Goossens, appointed in 1947; he was
followed by Nicolai Malko, Dean Dixon, Moshe
Atzmon, Willem van Otterloo, Louis Frémaux,
Sir Charles Mackerras, Zdenĕk Mácal, Stuart
Challender, Edo de Waart and Gianluigi Gelmetti.
Vladimir Ashkenazy was Principal Conductor
from 2009 to 2013. The orchestra’s history also
boasts collaborations with legendary figures
30
such as George Szell, Sir Thomas Beecham,
Otto Klemperer and Igor Stravinsky.
The SSO’s award-winning education program
is central to its commitment to the future of live
symphonic music, developing audiences and
engaging the participation of young people.
The orchestra promotes the work of Australian
composers through performances, recordings
and its commissioning program. Recent
premieres have included major works by Ross
Edwards, Lee Bracegirdle, Gordon Kerry, Mary
Finsterer, Nigel Westlake and Georges Lentz,
and the orchestra’s recordings of music by
Brett Dean have been released on both the BIS
and SSO Live labels.
Other releases on the SSO Live label,
established in 2006, include performances
with Alexander Lazarev, Gianluigi Gelmetti,
Sir Charles Mackerras, Vladimir Ashkenazy and
David Robertson. In 2010–11 the orchestra made
concert recordings of the complete Mahler
symphonies with Ashkenazy, and has also
released recordings of Rachmaninoff and Elgar
orchestral works on the Exton/Triton labels, as
well as numerous recordings on ABC Classics.
This is the second year of David Robertson’s
tenure as Chief Conductor and Artistic Director.
MUSICIANS
David Robertson
Toby Thatcher
CHIEF CONDUCTOR
AND ARTISTIC DIRECTOR
SUPPORTED BY
EMIRATES
Andrew Haveron
Dene Olding
CONCERTMASTER
CONCERTMASTER
ASSISTANT CONDUCTOR
SUPPORTED BY PREMIER
PARTNER CREDIT SUISSE
FIRST VIOLINS
VIOLAS
FLUTES
TRUMPETS
Andrew Haveron
Roger Benedict
Tobias Breider
Anne-Louise Comerford
Sandro Costantino
Rosemary Curtin
Graham Hennings
Amanda Verner
Leonid Volovelsky
Ella Brinch*
Andrew Jezek*
Vera Marcu*
David Wicks*
Justin Williams
Emma Sholl
Carolyn Harris
Rosamund Plummer
David Elton
Josh Rogan°
Paul Goodchild
Anthony Heinrichs
CONCERTMASTER
Sun Yi
ASSOCIATE CONCERTMASTER
Kirsten Williams
ASSOCIATE CONCERTMASTER
Fiona Ziegler
ASSISTANT CONCERTMASTER
Jenny Booth
Sophie Cole
Amber Davis
Claire Herrick
Nicola Lewis
Emily Long
Alexandra Mitchell
Alexander Norton
Rebecca Gill*
Vivien Jeffery*
Emily Qin°
Lucy Warren*
Dene Olding
CONCERTMASTER
Lerida Delbridge
ASSISTANT PRINCIPAL
Jane Hazelwood
Stuart Johnson
Justine Marsden
Felicity Tsai
PRINCIPAL COR ANGLAIS
Diana Doherty
CLARINETS
Lawrence Dobell
Craig Wernicke
PRINCIPAL BASS CLARINET
BASSOONS
Kristy Conrau
Fenella Gill
Timothy Nankervis
Elizabeth Neville
Adrian Wallis
David Wickham
Eleanor Betts*
Rowena Macneish *
Umberto Clerici
Christopher Pidcock
Emma Hayes
Nicole Masters
Biyana Rozenblit
Shefali Pryor
David Papp
Alexandre Oguey
Catherine Hewgill
Leah Lynn
Georges Lentz
Léone Ziegler
ASSISTANT PRINCIPAL
OBOES
CELLOS
ASSISTANT PRINCIPAL
Marina Marsden
Marianne Broadfoot
Shuti Huang
Stan W Kornel
Benjamin Li
Philippa Paige
Maja Verunica
Madeleine Boud*
Alexandra D’Elia*
Freya Franzen*
Monique Irik°
Elizabeth Jones°
Narine Melconian*
Cristina Vaszilcsin*
Kirsty Hilton
Emma Jezek
Janet Webb
Rowena Watts*
Francesco Celata
Christopher Tingay
ASSISTANT CONCERTMASTER
SECOND VIOLINS
PRINCIPAL PICCOLO
DOUBLE BASSES
Kees Boersma
Neil Brawley
PRINCIPAL EMERITUS
David Campbell
Steven Larson
Richard Lynn
Benjamin Ward
Josef Bisits°
Max McBride*
Alex Henery
David Murray
To see photographs of the full roster of permanent musicians
and find out more about the orchestra, visit our website:
www.sydneysymphony.com/SSO_musicians
If you don’t have access to the internet, ask one of our customer
service representatives for a copy of our Musicians flyer.
Matthew Wilkie
Fiona McNamara
Noriko Shimada
PRINCIPAL CONTRABASSOON
HORNS
Robert Johnson
Geoffrey O’Reilly
PRINCIPAL 3RD
Euan Harvey
Katy Grisdale*
Ben Jacks
Marnie Sebire
Rachel Silver
TROMBONES
Ronald Prussing
Christopher Harris
Ashley Carter*
Scott Kinmont
Nick Byrne
TUBA
Steve Rossé
TIMPANI
Mark Robinson
ASSISTANT PRINCIPAL
Richard Miller
PERCUSSION
Rebecca Lagos
Timothy Constable
Ian Cleworth*
Kevin Man*
HARP
Louise Johnson
Genevieve Huppert*
CELESTA
Susanne Powell*
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.
31
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
Laura Andrew
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
DIRECTOR OF LEARNING AND ENGAGEMENT
Kim Waldock
EMERGING ARTISTS PROGRAM MANAGER
Rachel McLarin
EDUCATION MANAGER
Amy Walsh
EDUCATION OFFICER
Tim Walsh
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
Yvonne Frindle
EXTERNAL RELATIONS
DIRECTOR OF EXTERNAL RELATIONS
Yvonne Zammit
Philanthropy
HEAD OF PHILANTHROPY
Luke Andrew Gay
PHILANTHROPY MANAGER
ORCHESTRA MANAGEMENT
Jennifer Drysdale
DIRECTOR OF ORCHESTRA MANAGEMENT
A/ PATRONS EXECUTIVE
Aernout Kerbert
ORCHESTRA MANAGER
Sarah Morrisby
PHILANTHROPY COORDINATOR
Rachel Whealy
Claire Whittle
ORCHESTRA COORDINATOR
Corporate Relations
Rosie Marks-Smith
OPERATIONS MANAGER
CORPORATE PARTNERSHIPS MANAGER
Belinda Besson
Kerry-Anne Cook
CORPORATE PARTNERSHIPS EXECUTIVE
PRODUCTION MANAGER
Paloma Gould
Laura Daniel
STAGE MANAGER
Courtney Wilson
PRODUCTION COORDINATOR
Ollie Townsend
SALES AND MARKETING
DIRECTOR OF SALES & MARKETING
Mark J Elliott
MARKETING MANAGER, SUBSCRIPTION SALES
Simon Crossley-Meates
A/ SENIOR SALES & MARKETING MANAGER
Matthew Rive
MARKETING MANAGER, WEB & DIGITAL MEDIA
Communications
COMMUNICATIONS & MEDIA MANAGER
Bridget Cormack
PUBLIC RELATIONS MANAGER
Katherine Stevenson
DIGITAL CONTENT PRODUCER
Kai Raisbeck
PUBLICITY & EVENTS COORDINATOR
Caitlin Benetatos
BUSINESS SERVICES
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
32
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.
33
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 Ian Potter Foundation
Mrs & Mr Judith A. McKernan
Mr & Mrs Nigel Price
34
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
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
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
Rory & Jane Jeffes
The late Mrs Isabelle Joseph
Mr Frank Lowy AC &
Mrs Shirley Lowy OAM
35
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)
36
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
Clare Ainsworth-Hershall
James Armstrong
Philip Atkin
Luan Atkinson
Joan Ballantine
Andrew Batt-Rawden
James Baudzus
Andrew Baxter
Adam Beaupeurt
Anthony Beresford
Andrew Botros
Peter Braithwaite
Andrea Brown
Attila Brungs
Ian Burton
Jennifer Burton
Paul Colgan
Claire Cooper
Bridget Cormack
Robbie Cranfield
Asha Cugati
Juliet Curtin
David Cutcliffe
Este Darin-Cooper
Rosalind De Sailly
Paul Deschamps
Catherine Donnelly
Jennifer Drysdale
John-Paul Drysdale
Naomi Flutter
Alistair Furnival
Alexandra Gibson
Sam Giddings
Marina Go
Jeremy Goff
Hilary Goodson
Tony Grierson
Louise Haggerty
Rose Herceg
Peter Howard
Jennifer Hoy
Katie Hryce
Virginia Judge
Jonathan Kennedy
Aernout Kerbert
Patrick Kok
John Lam-Po-Tang
Tristan Landers
Jessye Lin
Gary Linnane
David Lo
Saskia Lo
Gabriel Lopata
Robert McGrory
David McKean
Julia Newbould
Nick Nichles
Kate O’Reilly
Peter O’Sullivan
June Pickup
Roger Pickup
Cleo Posa
Stephanie Price
Michael Radovnikovic
Sudeep Rao
Benjamin Robinson
Alvaro Rodas Fernandez
Adam Sadler
Anthony Michael Schembri
Benjamin Schwartz
Cecilia Storniolo
Randal Tame
Sandra Tang
Ian Taylor
Michael Tidball
Michael Tuffy
Kim Waldock
Jon Wilkie
Yvonne Zammit
Amy Zhou
DAVID ROBERTSON
SSO Chief Conductor and Artistic Director
PLEASE CONSIDER MAKING A
TAX-DEDUCTIBLE DONATION TODAY
n n n n n n n n n n
37
SALUTE
PRINCIPAL PARTNER
GOVERNMENT PARTNERS
The Sydney Symphony Orchestra is assisted by the
Commonwealth Government through the Australia Council,
its arts funding and advisory body
The Sydney Symphony Orchestra is
assisted by the NSW Government
through Arts NSW
PREMIER PARTNER
PLATINUM PARTNER
EDUCATION PARTNER
MAJOR PARTNERS
GOLD PARTNERS
SILVER PARTNERS
UNIVERSAL MUSIC AUSTRALIA
sinf inimusic.com
VANGUARD PARTNER
38
REGIONAL TOUR PARTNER
MARKETING PARTNER

PURE MAGIC - Sydney Symphony Orchestra

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