the Carmina Burana program book (21, 22, 23 Mar) PDF

2013 SEASON SPECIAL EVENT
21 n 23 March | 8pm
WELCOME
On behalf of Credit Suisse, Premier Partner of the
Sydney Symphony, I am delighted to welcome you to this
performance of Carl Orff’s choral extravaganza, Carmina
Burana. Carl Orff combines the forces of a full orchestra
with symphonic choir, children’s voices and vocal soloists
to create an exciting sound.
Perhaps fittingly, given the orchestra’s recent tour of
China, these concerts bring a Chinese connection. One
of the soloists is baritone Chanyong Liao, and Long
Yu is conducting the orchestra for the first time in the
Sydney Opera House Concert Hall. He has chosen to
begin the concert with a magical piece by Chen Qigang,
Enchantements oubliés.
Credit Suisse is proud to play a part in bringing this
exciting concert program to Sydney audiences. We’re
especially aware that music such as Carmina Burana,
which has found its way into popular culture through film
and advertising, can also be a powerful introduction to the
concert hall for a new generation of audiences. Whether
you’re a longstanding lover of classical music or just
putting your toe in the water, we hope you find this special
concert thrilling and uplifting, and we hope to welcome
you to many more concerts in the future.
Rob Stewart
Chief Executive Officer
Credit Suisse Australia
2013 season
special event
premier partner credit suisse
Thursday 21 March | 8pm
Friday 22 March | 8pm
Saturday 23 March | 8pm
Sydney Opera House Concert Hall
Carmina Burana
Long Yu CONDUCTOR
Milica Ilic SOPRANO
Paul McMahon TENOR
Changyong Liao BARITONE
Sydney Philharmonia Choirs
Elizabeth Scott, Acting Musical Director
Sydney Children’s Choir
Lyn Williams, Artistic Director
Chen Qigang (born 1951)
Enchantements oubliés (Forgotten Enchantments)
INTERVAL
Carl Orff (1895–1982)
Carmina Burana
Fortuna, Imperatrix mundi (Fortune, Empress of the World)
Part I. Primo vere (In Springtime)
Uf dem anger (On the Lawn)
Part II. In Taberna (In the Tavern)
Part III. Cour d’amours (The Court of Love)
Blanziflor et Helena (Blanziflor and Helena)
Fortuna, Imperatrix mundi
Friday night’s performance will
be recorded for later broadcast on
ABC Classic FM.
Pre-concert talk by Genevieve
Lang Huppert at 7.15pm in the
Northern Foyer.
Visit bit.ly/SSOspeakerbios for
speaker biographies.
Estimated durations:
23 minutes, 20-minute interval,
65 minutes
The concert will conclude at
approximately 10pm
DE AGOSTINI PICTURE LIBRARY / A DAGLI ORTI / THE BRIDGEMAN ART LIBRARY
BIBLIOTHEQUE MUNICIPALE, ROUEN / GIRAUDON / THE BRIDGEMAN ART LIBRARY
Carl Orff conceived Carmina Burana as a staged work, following a principle he termed ‘theatrum
mundi’. This set design (top) by Ludwig Sievert, places nuns, monks and nobility as observers around
a kind of circus ring; the centrepiece is Fortune and her wheel.
The manuscript source for the Carmina Burana texts, the Codex Buranus, depicted Fortune’s wheel
on the first page. In the mediæval tradition, blind Fortune turns the wheel and so the experience of
those who ride it changes: I rule (top), I have ruled (tumbling down the side), I am without rule (naked
at the bottom) and I will rule (climbing on the left). This example is from a 14th-century manuscript.
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INTRODUCTION
Carmina Burana
‘O Fortuna!’
These are the words – and sounds – that come to mind
when we think of Carmina Burana. Thrilling music that
begins with the ominous thump of a drum and the fullthroated entry of more than two hundred voices. ‘O fickle
Fortune,’ they sing, ‘vain’ and ‘monstrous’ they call her –
now in our favour, now not. At the end of his exhilarating
creation, Carl Orff returns to the theme with a reprise
of the opening chorus. Blind Fortune’s wheel has turned
full circle.
Chen Qigang, whose music begins tonight’s concert,
has had his own brush with fortune. Or rather, he had
the misfortune to grow up during the era of the Cultural
Revolution in China, which saw his father – a calligrapher,
painter and teacher – sent to a labour camp and Qigang
himself subjected to ‘ideological re-education’. But he was
then fortunate, in the late 1970s, to be among the first of a
selected elite to enter the Central Conservatory of Music
in Beijing and later to be granted the opportunity to study
in Paris. You’ll hear the influence of French composers,
including his teacher Olivier Messiaen, in his music
tonight. Enchantements oubliés (Forgotten Enchantments)
is full of rich and subtle colours and magical effects.
Carmina Burana is not subtle. It’s vigorous, rhythmic,
vital and stimulating. And it’s loud! From the strings,
percussion, harp and celesta of Chen’s piece, the orchestra
grows to full size. After interval you’ll also see pianos and
half a dozen percussionists at the back with their vast array
of instruments. Then there are the voices: symphonic
choir, children’s chorus and three soloists.
But don’t think Carmina Burana is without contrast
or variety. If ‘O Fortuna!’ is the extent of your knowledge
coming into the concert hall, you’re in for an evening
of discovery. Carl Orff’s music encompasses moments
of meditation, humour, joyful dancing, down-to-earth
philosophy and teasing eroticism. And do follow the
words – the 13th-century monks who compiled the
Carmina Burana texts appear to have been more worldly
than you’d expect.
The texts and English
translations for Carmina
Burana begin on page 14.
Turn to page 42 to read
Bravo! – musician profiles,
articles and news from the
orchestra, including the
popular ‘Ask a Musician’ spot.
There are nine issues through
the year, also available at
sydneysymphony.com/bravo
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ABOUT THE MUSIC
Chen Qigang
Enchantements oubliés
(Forgotten Enchantments)
The opening of Enchantements oubliés seems to hover as if
suspended in space and time. To a palette of delicate
strings is added the slightest dashes of colour from harp,
celesta and percussion. (There are no woodwind or brass.)
Soaring violin lines reach for the magical and ethereal. It
is, however, a simpler forgotten enchantment that inspired
Chinese-French composer Qigang Chen. He writes:
LIU HUI
All fundamental pleasures in life are actually very simple:
spending time with your family, having a real break when
you’re tired from work or a nice meal when you’re hungry,
being able to keep warm when it gets cold and having some
down time to yourself. But most of the time people are not
content with these simple pleasures. You can say that this
piece seeks to express human emotion in its simplest, most
direct forms.
Keynotes
CHEN QIGANG
Born Shanghai, 1951
French citizen since 1992
Chen Qigang (Chen is the family
name) was born into an artistic
family. When the Cultural
Revolution broke out in China,
he was a middle school student
in the Central Conservatory of
Music in Beijing. His father –
administrator of the Beijing
Academy of Fine Arts – was
sent to a labour camp, while the
young Qigang was subjected to
‘ideological re-education’.
When the Central Conservatory
was restructured in the late
1970s, he was one of 26
students chosen from 2000
applicants, studying
composition with Luo
Zhonghong. In 1983 he had the
opportunity to study abroad
and he spent four years in Paris
studying with Olivier Messiaen.
Chen explains that the ‘detail
and nuance in French music’
were very similar to his own.
He had already discovered
Debussy and Ravel; Messiaen
proved to be a major influence.
In 2008 Chen was the Music
Director of the Olympic opening
ceremony in Beijing. Among
his major works is the four-act
ballet Épouses et concubines,
based on Raise the Red
Lantern.
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This is music at once simple and complex; floating
melodies are supported by many layers of interweaving
lines. There is a constant shifting of focus as a part that
serves as colour one moment will suddenly spring forward
with a fragment of melody, only to recede into the
background again a moment later.
This space and contemplation is a constant reference
point, but it is juxtaposed with a brisker triplet idea
introduced by vibraphone and marimba. This line is tossed
between parts with a constant feeling of upward motion.
Though often interrupted by the return of the opening
theme, the energetic melody keeps resurfacing to bubble
along. It increasingly seems that the music cannot help
itself. Ultimately, the two themes achieve a jovial union
as each comes to complement the other. Low strings and
percussion take up the rising triplet figure, over which
soars the oriental-sounding melody of the violins.
Enchantements oubliés was commissioned by the French
Radio Philharmonic Orchestra and conductor Kurt Masur
in 2005, and premiered by that orchestra in 2008 under the
baton of Alan Gilbert. Chen’s musical relationship with
Radio France began in the 1980s when he was studying
with Olivier Messiaen.
…at once simple
and complex…
NAOMI JOHNSON © 2013
Enchantements oubliés calls for string orchestra with timpani and
percussion, harp and celesta.
This is the Sydney Symphony’s first performance of the work.
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ABOUT THE MUSIC
Carl Orff
Carmina Burana
Fortuna, Imperatrix mundi (Fortune, Empress of the World)
Part I. Primo vere (In Springtime)
Uf dem anger (On the Lawn)
Part II. In Taberna (In the Tavern)
Part III. Cour d’amours (The Court of Love)
Blanziflor et Helena (Blanziflor and Helena)
Fortuna, Imperatrix mundi
Milica Ilic soprano
Paul McMahon tenor
Changyong Liao baritone
Sydney Philharmonia Choirs
Sydney Children’s Choir
In 1803 a large collection of mediæval poetry was
discovered in the abbey of Benediktbeuern in Bavaria.
Its 320 poems, written on parchment and illustrated with
illuminated capital letters, represent an anthology of styles
and languages including mediæval Latin, Old French and
Middle High German. It seems that the collection was
compiled for the Bishop of Seckau in 13th-century Austria.
The Bishop must have been quite worldly as the collection
includes songs of springtime and love as well as drinking
songs. In the mid-1930s the collection came to the
attention of Carl Orff who later remarked:
Fortune smiled on me when she put into my hands a
Würzburg secondhand books catalogue, in which I found a
title that exercised on me an attraction of magical force:
Carmina Burana: Latin and German songs and poems
of a 13th-century manuscript from Benediktbeuern,
edited by J.A. Schmeller.
Orff spoke more truly than he knew: certainly Carmina
Burana (‘Songs of Beuern’) would make his fortune, at least
artistically. But its success put much of his subsequent
achievement in the shade.
Orff was born in 1895 into a military family with
intellectual and artistic interests and studied music from
an early age including, significantly, research into nonEuropean music. His early opera Gisei for instance is based
on Japanese Nōh drama. In 1917 he enlisted in the German
army, but was wounded and invalided out. The 1920s saw
the gradual development of the music education theories
for which, apart from Carmina Burana, he is best
remembered today.
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Keynotes
ORFF
Born Munich, 1895
Died Munich, 1982
Carl Orff is famous today for
two reasons: Carmina Burana
and his work as a music
educator, which lives on in
the performance-oriented
Orff-Schulwerk method,
taught all over the world.
Although unsympathetic
to the Nazis, he has been
maligned for promoting his
works too assiduously under
the regime, a fact compounded
by the way his radiant and
vigorous music represents
many of the musical features
most praised by Hitler. Orff’s
influences included folk music
as well as ancient Greek
tragedy, and his themes
encompassed Bavarian
peasant life and Christian
mystery.
CARMINA BURANA
As with Beethoven’s Fifth
Symphony, Carmina Burana’s
popular recognition is
dependent on exactly four
notes: ‘O Fortuna!’ There is
so much more to be heard in
a performance of the complete
work. But even tonight we
don’t get the full picture. Orff
conceived it as a ‘scenic
cantata’ and gave it a subtitle:
‘Profane poems to be sung with
singers and dancers’. This is a
stage work and it’s sometimes
performed that way (most
recently in Sydney by The
Australian Ballet). Its appeal
lies partly in the visceral
rhythms and simple melodies,
but also in the ‘freshness and
bite’ and lyrical beauty of the
mediæval texts that give it
meaning.
Orff ’s own compositions during the 1920s show an
increasing interest in the use of percussion often with
piano (influenced partly by Stravinsky’s Les Noces),
harmony which is essentially diatonic but avoids the
goal-directed feel of traditional tonal music, and rhythm
characterised by the ‘Stravinsky-like’ use of repeated
figurations. These musical techniques reached their first
realisation in 1931’s Catulli Carmina, settings of one of the
great Roman poets. Carmina Burana followed a few years
later, and was first performed in Frankfurt in 1937.
1937 was, of course, a time when Hitler and the Nazis
were doing their utmost to win the hearts and minds of
Germany. Carmina Burana comes perilously close to the
kind of music favoured by the regime; the cheerfully
hedonistic poetry (‘I am the Abbot of Cockaigne’) similarly
reflects the growing anti-clericalism in 1930s Germany.
For this reason we need to take with a grain of salt Orff’s
assertion that the work never got a good review in Nazi
Germany. Generally critics praised the work in language
redolent of much Nazi propaganda, noting its ‘radiant
strength-filled life-joy’.
…cheerfully hedonistic
poetry…
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Music for Everyone
In the early 20th century many musicians felt that
European music had become overlaid with concert
hall and drawing room formality, overrefined, or
commercialised. It had evolved too far from the
roots of music in rhythm, gesture, singing and
dancing. One attempt to take music back to fresh
springs was the revival of authentic folk singing and
dancing, promoted in England by Cecil Sharp,
Vaughan Williams, and Holst, among others; in
Hungary by Bartók and Kodály, in Moravia by
Janáček, and, in a particularly original way, by the
Australian eccentric of genius Percy Grainger. A
related movement was mass choral singing,
especially in Eastern Europe, where it was
associated with gymnastics. Many of the composers
involved in these movements aimed at popular
education, with a ‘democratic’ purpose.
An especially interesting manifestation of this
tendency was Eurhythmics, the creation of the
Swiss educator Emile Jacques-Dalcroze, who made
his pupils ‘feel’ music through movement in time.
This is where Carl Orff comes in. He began his
professional career as a conductor and choral
trainer, and, influenced by Dalcroze, he evolved a
method of music education which brought together
performance through instruments and voice, ear
training, movement and improvisation.
In 1924 Orff founded, with Dorothea Guenther, a
school for gymnastics, dance and music, and began
to develop a range of musical materials and
percussion instruments. His aim was music for
everyone, and the inspiration of his composition ‘to
revive the natural unity of music and movement…
which arises from a single source’. This background
is essential for understanding Orff’s Carmina
Burana, the first work in which he felt he had found
his true voice as a composer.
DAVID GARRETT
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Fortune Goes to the
Movies
The ‘O Fortuna’ music from
Carmina Burana has been used
in countless advertisements,
television shows and feature
films. It has also become the
subject of a YouTube spoof
that turns its Latin text into an
illustrated mondegreen,
beginning with ‘O four tuna’
and continuing in the same
vein.
To name just a few of the
movies in which this rousing
and forboding music turns up:
Excalibur (1981), Hunt for Red
October (1990), The Doors
(1991), Natural Born Killers
(1994), The Bachelor (1999),
Cheaper by the Dozen (2003),
and Epic Movie (2007).
Wherever it has been performed, Carmina Burana
retains its ability to evoke what Alex Ross calls ‘primitive,
unreflective enthusiasm’. And that’s partly because of the
texts. Orff described the reading of the collection:
On opening it I immediately found, on the front page, the
long-famous picture of ‘Fortune and her wheel’ and under it
the lines O fortuna/velut luna/statu variabilis… Picture
and words seized hold of me…a new work, a stage work
with singing and dancing choruses, simply following the
illustrations and texts, at once came into my mind.
The ‘O Fortuna’ chorus bookends the whole work with
its mighty choral and orchestral forces and implacable
rhythms. The body of the work, which uses 23 of the
published poems, is divided into three main sections.
The first, ‘Springtime’ and ‘On the Meadow’ uses the
conventional genres of pastoral poetry: spring returns, the
sun warms the earth, forests awaken, and a young person’s
thoughts turn to love. But not before a brief spell ‘In the
Tavern’, a male-dominated environment in which Orff
creates a number of memorable characters. None more so,
if only musically, than the Roasting Swan, a high tenor
whose lament is for the loss of his whiteness as much as
for his imminent consumption. Finally ‘The Courts of
Love’ take up the erotic threads of ‘Spring’ contrasting
delicacy and robust humour before the soaring soprano
solo of ‘Dulcissime’ and ecstatic chorus to ‘Blanziflor and
Helena’. The ecstasy will, of course, be swept away by Fate,
so the music returns to ‘O Fortuna’. As Michael Steinberg
has noted, one wouldn’t guess from the music that the last
line of the poetry is ‘mecum omnes plangite’ (come, weep
with me).
Fortune’s wheel
GORDON KERRY ©2006
In addition to the three soloists, chorus and children’s choir, Carmina
Burana calls for three flutes (two doubling piccolo), three oboes (one
doubling cor anglais), three clarinets (one doubling bass clarinet and
one doubling E flat clarinet), two bassoons and contrabassoon; four
horns, three trumpets, three trombones and tuba; timpani and a large
percussion section; celesta and two pianos; and strings.
The Sydney Symphony gave the first Australian performance of
Carmina Burana in 1956, conducted by Hans Schmidt-Isserstedt with
the Hurlstone Choral Society (now Sydney Philharmonia Choirs), the
boys of the St Andrew’s Cathedral Choir and soloists Stewart Harvey,
Betty Prentice, Florence Taylor and Harry Bond. The most recent
performance was in 2009, conducted by Arvo Volmer, with soloists
Amelia Farrugia, Paul McMahon and William Dazeley, and Sydney
Philharmonia Choirs and Sydney Children’s Choir.
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CARMINA BURANA
FORTUNA,
IMPERATRIX MUNDI
FORTUNE,
EMPRESS OF THE WORLD
1. Chorus
1. Chorus
O Fortuna,
velut Luna
statu variabilis,
semper crescis
aut decrescis;
vita detestabilis
nunc obdurat
et tunc curat
ludo mentis aciem,
egestatem,
potestatem
dissolvit ut glaciem.
O Fortune,
changeable
as the moon,
you are always either waxing
or waning.
Detestable life
at one moment thwarts
and at another mockingly
indulges the mind’s desire,
melting away both
poverty and power,
like ice.
Sors immanis
et inanis,
rota tu volubilis,
status malus,
vana salus
semper dissolubilis,
obumbrata
et velata
michi quoque niteris;
nunc per ludum
dorsum nudum
fero tui sceleris.
Vain,
monstrous Fate,
you turning wheel,
you can, when you will,
destroy bad circumstances
and delusive success alike.
Veiled
and shadowy,
you attack me too;
now at your whim
I bare my back
under your assault.
Sors salutis
et virtutis
michi nunc contraria,
est affectus
et defectus
semper in angaria.
Hac in hora
sine mora
corde pulsum tangite;
quod per sortem
sternit fortem,
mecum omnes plangite!
You, Fate, who dispose health
and strength,
are now against me;
my desires
and my weakness
are in constant slavery.
At this hour
without delay
let all pluck the string;
since Fate
crushes the strong man
everyone weep with me!
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2. Chorus
2. Chorus
Fortune plango vulnera
stillantibus ocellis,
quod sua michi munera
subtrahit rebellis.
Verum est, quod legitur
fronte capillata,
sed plerumque sequitur
Occasio calvata.
I lament Fortune’s blows
with weeping eyes,
for she aggressively extorts
tribute from me;
it is written in truth,
that she has a fine head of hair,
but, when it comes to seizing an opportunity
she is bald.
In Fortune solio
sederam elatus,
prosperitatis vario
flore coronatus;
Quicquid enim florui
felix et beatus,
nunc a summo corrui
gloria privatus.
Once I sat high up
on Fortune’s throne,
garlanded with all
the blooms of prosperity;
indeed I was in the bloom
of blessed happiness,
but now I have tumbled from my eminence,
robbed of my glory.
Fortune rota volvitur:
descendo minoratus;
alter in altum tollitur;
nimis exaltatus
rex sedet in vertice
caveat ruinam!
nam sub axe legimus
Hecubam reginam.
Fortune’s wheel turns:
I am cut down and fall;
another is raised to the heights;
the king sits at the peak,
too much exalted –
let him beware of ruin,
for under the axle we read
the name of Queen Hecuba.
PRIMO VERE
SPRINGTIME
3. Semichorus
Veris leta facies
mundo propinatur,
hiemalis acies
victa iam fugatur,
in vestitu vario
Phebus principatur,
nemorum dulcisono
que cantu celebratur.
The smiling face of spring
is granted to the world,
keen winter is now defeated
and chased away.
Phoebus reigns
in colourful robes,
honoured in the sweet-sounding
song of the woods.
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Flore fusus gremio
Phebus novo more
risum dat, hoc vario
iam stipata flore.
Zephyrus nectareo
spirans in odore;
certatim pro bravio
curramus in amore.
Lying once more in Flora’s lap,
Phoebus laughs;
surrounded by
many-coloured flowers
Zephyrus breathes
the fragrance of their nectar;
let us hasten to love
and compete for its price.
Cytharizat cantico
dulcis Philomena,
flore rident vario
prata iam serena,
salit cetus avium
silve per amena,
chorus promit virginum
iam gaudia millena.
The sweet nightingale
strikes up her song,
the radiant meadows smile
with many-coloured flowers,
the birds dart about
the pleasant woods,
the chorus of dancing maidens
now brings delights in thousands.
4. Baritone solo
Omnia sol temperat
purus et subtilis,
nova mundo reserat
facies Aprilis,
ad Amorem properat
animus herilis,
et iocundis imperat
deus puerilis.
The bright, keen sun
tempers everything;
returning April
discloses her face to the world;
men’s hearts
hasten to love,
and the boyish god rules
over the amiable.
Rerum tanta novitas
in solemni vere
et veris auctoritas
iubet nos gaudere,
vias prebet solitas,
et in tuo vere
fides est et probitas
tuum retinere.
This great renewal
and the power
of festive spring
bid us rejoice;
spring brings back the well-known ways,
and in spring
it is good and loyal
to hold fast to your lover.
Ama me fideliter!
fidem meam nota:
de corde totaliter
et ex mente tota
Love me faithfully,
see the faithfulness
of my whole heart
and my whole mind.
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sum presentialiter
absens in remota,
quisquis amat taliter,
volvitur in rota.
I am with you
even when I am far away.
Whoever loves like that
is tortured on the wheel.
5. Chorus
Ecce gratum
et optatum
Ver reducit gaudia;
purpuratum
floret pratum,
Sol serenat omnia.
Iamiam cedant tristia!
Estas redit,
nunc recedit
Hyemis sevitia.
Behold, welcome
and longed-for
spring brings delight back,
the meadows glow
with rich flowers,
the sun makes all things bright.
Now sorrow flees!
Summer returns,
and harsh winter
withdraws.
Iam liquescit
et decrescit
grando nix et cetera;
bruma fugit,
et iam sugit
Ver Estatis ubera;
illi mens est misera
qui nec vivit,
nec lascivit
sub Estatis dextera.
Now hail, snow,
and the rest
melt away;
winter flees,
and now spring
sucks the breast of summer;
sad is the heart of him
who neither enjoys life
nor frolics
under the hand of summer.
Gloriantur
et letantur
in melle dulcedinis.
Qui conantur,
ut utantur
premio Cupidinis;
simus iussu Cypridis
gloriantes
et letantes
pares esse Paridis.
They glory
and rejoice
in sweetest honey,
who seek
to enjoy
Cupid’s prize
let us, at the command of Cyprian Venus,
glory
and rejoice
to be the equals of Paris.
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UF DEM ANGER
ON THE MEADOW
6. Dance (orchestra)
7. Chorus
Floret silva nobilis,
floribus et foliis.
Ubi est antiquus meus amicus?
Hinc equitavit,
eia, quis me amabit?
Floret silva undique,
nah mime gesellen ist mir wê.
Gruonet der walt allenthalben,
wâ ist min geselle alse lange?
Der ist geriten hinnen,
o wî, wer sol mich minnen?
The noble forest blooms
with flowers and leaves.
Where is he who was my lover?
He has ridden away.
Alas, who will love me?
Everywhere the forest blooms,
I am longing for my lover.
The wood is green all over,
where is my lover this long time?
He has ridden away.
Alas, who will love me?
8. Soprano solo and chorus
Chramer, gip die varwe mir,
die min wengel roete,
da mit ich die jungen man
an ir dank der minnenliebe noete.
Seht mich an,
jungen man!
lat mich iu gevallen.
Hawker, give me the rouge
to make my cheeks red,
so that I can invite the young men
to welcome love.
Look at me,
young men!
Let me please you!
Minnet, tugentliche man,
minnecliche frouwen!
minne tuot iu hoch gemuot
unde lat iuch in hohen eren schouwen.
Seht mich an…
Gallant men, love
lovely women!
Love puts you in high spirits
and does you great credit.
Look at me...
Wol dir, Werlt, daz du bist
also freudenriche!
ich will dir sin undertan
durch din liebe immer sicherliche.
Seht mich an…
Hail, world,
so rich in joys!
I will always be subject to you
through love of you.
Look at me...
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9a. Reie [Round Dance] (orchestra)
9b. Chorus
Swaz hie gat umbe,
daz sint allez megede,
die wellent an man
alle disen sumer gan!
Here, all in a circle,
are maidens
who are all after a man
this summer.
9c. Semichorus
Chume, chum, geselle min,
ih enbite harte din.
Come, come, my love,
I implore you.
Suzer rosenvarwer munt,
chum uñ mache mich gesunt.
Sweet rosy mouth,
come and make me whole.
Swaz hie gat umbe…
Here, all in a circle...
10. Chorus
Were diu werlt alle min
von deme mere unze an den Rin,
des wolt ih mih darben,
daz diu chünegin von Engellant
lege an minen armen. Hei!
If all the world were mine
from the sea to the Rhine,
I would give it up
to have the Queen of England
lying in my arms. Hey!
IN TABERNA
IN THE TAVERN
11. Baritone solo
Estuans interius
ira vehementi
in amaritudine
loquor mee menti:
factus de materia,
cinis elementi,
similis sum folio,
de quo ludunt venti.
Boiling inside
with violent rage,
I talk bitterly
to myself;
made of matter,
ash of the elements,
I am like a leaf
that the winds play with.
sydney symphony 19
Cum sit enim proprium
viro sapienti
supra petram ponere
sedem fundamenti,
stultus ego comparor
fluvio labenti,
sub eodem tramite
nunquam permanenti.
For, while it is the mark
of the wise man
to build his foundation
on rock,
I, a fool, am like
a gliding river,
which never keeps
to the same course.
Feror ego veluti
sine nauta navis,
ut per vias aeris
vaga fertur avis,
non me tenent vincula,
non me tenet clavis,
quero mihi similes
et adiungor pravis.
I am carried along
like a ship without a helmsman,
as a bird is carried aimlessly
through the ways of the air;
No fetters hold me,
no key holds me;
I seek others like myself,
and I join up with the wicked.
Mihi cordis gravitas
res videtur gravis;
iocus est amabilis
dulciorque favis;
quicquid Venus imperat,
labor est suavis,
que nunquam in cordibus
habitat ignavis.
Heaviness of heart
Seems to me a grievous thing;
merriment is delightful
and sweeter than honeycombs;
whatever Venus commands
is sweet labour,
and never dwells
in spiritless hearts.
Via lata gradior
more iuventutis,
implicor et vitiis
immemor virtutis,
voluptatis avidus
magis quam salutis,
mortuus in anima
curam gero cutis.
I travel the broad path
In manner of youth,
I am entangled in vice
And forgetful of virtue.
Greedier for pleasure
Than for welfare,
Dead in soul,
I look after my body.
12. Tenor solo and male chorus
Olim lacus colueram,
olim pulcher extiteram,
dum cignus ego fueram.
Once I lived in the lakes,
once I was beautiful,
when I was a swan.
Miser, miser!
modo niger
et ustus fortiter!
Woe, woe is me!
Now I am black
and roasted through!
20 sydney symphony
Girat, regirat garcifer;
me rogus urit fortiter;
propinat me nunc dapifer.
The cook turns me about on the spit;
the fire roasts me through;
now the waiter prepares me.
Miser, miser…
Woe, woe is me...
Nunc in scutella iaceo
et volitare nequeo,
dentes frendentes video:
Now I lie on the salver,
and I cannot fly;
I see gnashing teeth.
Miser, miser…
Woe, woe is me...
13. Baritone solo and male chorus
Ego sum abbas Cucaniensis,
et consilium meum est cum bibulis,
et in secta Decii voluntas mea est
et qui mane me quesierit in taberna,
post vesperam nudus egredietur,
et sic denudatus veste clamabit:
I am the Abbot of Cucany,
and my associates are drinkers,
and my adherence is to the sect of Decius,
and whoever meets me in the tavern over dice
in the morning
will go out naked by the end of the evening,
and stripped of his clothes will cry:
Wafna, wafna!
quid fecisti sors turpissima?
Nostre vite gaudia
abstulisti omnia!
Wafna, wafna!
what have you done, evil fate?
You have stolen away
all the joys of my life!
14. Male chorus
In taberna quando sumus,
non curamus quid sit humus,
sed ad ludum properamus,
cui semper insudamus.
Quid agatur in taberna,
ubi nummus est pincerna,
hoc est opus ut queratur,
si quid loquar, audiatur.
When we are in the tavern
we take no thought for the grave,
but rush to the gaming-tables,
over which we always sweat.
If you want to know
what happens in the tavern,
where it is money that brings the wine,
then listen to what I say.
Quidam ludunt, quidam bibunt,
quidam indiscrete vivunt.
Sed in ludo qui morantur,
ex his quidam denudantur,
quidam ibi vestiuntur,
quidam saccis induuntur.
Ibi nullus timet mortem
sed pro Baccho mittunt sortem.
Some gamble, some drink,
some just let themselves go.
Of those who spend their time gambling,
some lose their clothes,
others gain them,
others put on sackcloth.
There no one fears death:
they throw the dice for Bacchus.
sydney symphony 21
Primo pro nummata vini,
ex hac bibunt libertini;
semel bibunt pro captivis
post hec bibunt ter pro vivis,
quater pro Christianis cunctis,
quinquies pro fidelibus defunctis,
sexies pro sororibus vanis,
septies pro militibus silvanis.
First they throw for the wine bill,
from which the libertines drink.
Once more they drink to prisoners,
then three times to the living,
four times for all Christians,
five times for the faithful departed,
six times for the boastful sisters,
seven times for forest soldiers.
Octies pro fratribus perversis,
nonies pro monachis dispersis,
decies pro navigantibus,
undecies pro discordantibus,
duodecies pro penitentibus,
tredecies pro iter agentibus.
Tam pro papa quam pro rege
bibunt omnes sine lege.
Eight times for sinful brothers,
nine times for scattered monks,
ten times for the seafaring,
eleven times for the quarrelling,
twelve times for the penitent,
thirteen times for travellers.
They all drink without restraint
for the Pope just as for the King.
Bibit hera, bibit herus,
Bibit miles, bibit clerus,
bibit ille, bibit illa,
bibit servus cum ancilla,
bibit velox, bibit piger,
bibit albus, bibit niger,
bibit constans, bibit vagus,
bibit rudis, bibit magus.
The mistress drinks, the master drinks,
the soldier drinks, the cleric drinks,
this man drinks, that woman drinks,
the servant drinks with the maid,
the active man drinks, the lazy man drinks
the white man drinks, the black man drinks,
the settled man drinks, the wanderer drinks,
the ignorant man drinks, the scholar drinks.
Bibit pauper et egrotus,
bibit exul et ignotus,
bibit puer, bibit canus,
bibt presul et decanus,
bibit soror, bibit frater,
bibit anus, bibit mater,
bibit iste, bibit ille,
bibunt centum, bibunt mille.
The poor man and the sick man drink,
the unknown man and the exile drink,
the boy drinks, the old man drinks,
the leader and the deacon drink,
the sister drinks, the brother drinks,
the old woman drinks, the mother drinks,
this woman drinks, that man drinks,
hundreds drink, thousands drink.
Parum sexcente nummate
durant, cum immoderate
bibunt omnes sine meta,
quamvis bibit mente leta;
sic nos rodunt omnes gentes,
et sic erimus egentes.
Qui nos rodunt confundantur
et cum iustis non scribantur.
Io io!
Six hundred coins do not
last long enough, where all
drink without limit of restraint,
though they may drink with happy hearts;
thus everyone disparages us,
and thus we shall be destitute.
Let those who disparage us be confounded,
and their names be not inscribed with the just.
Io io!
22 sydney symphony
COUR D’AMOURS
THE COURT OF LOVE
15. Soprano solo and children’s
chorus
Amor volat undique;
captus est libidine.
Iuvenes, iuvencule
coniunguntur merito.
Love flies everywhere,
seized by desire.
Young men and girls
are rightly joined together.
Siqua sine socio,
caret omni gaudio,
tenet noctis infima
sub intimo
cordis in custodia:
fit res amarissima.
A girl without a man
lacks all delight;
deepest night
holds her inmost
heart enchained:
such a thing is indeed bitter.
16. Baritone solo
Dies, nox et omnia
michi sunt contraria,
virginum colloquia
me fay planszer,
oy suvenz suspirer,
plu me fay temer.
Day, night, and all things
are against me,
and the sound of girls’ voices
makes me weep,
and, alas, makes me often sigh,
and even makes me fear.
O sodales, ludite,
vos qui scitis dicite,
michi mesto parcite,
grand ey dolur,
attamen consulite
per voster honur.
O friends, amuse yourselves;
you who know, speak on.
spare me in my grief;
great is my sorrow.
But yet reflect,
by your honour.
Tua pulchra facies
me fay planszer milies,
pectus habet glacies
a remender,
statim vivus fierem
per un baser.
Your lovely face
and my heart
make me weep a thousand tears;
I should be cured
and brought to life again
by one kiss.
sydney symphony 23
17. Soprano solo
Stetit puella
rufa tunica:
si quis eam tetigit,
tunica crepuit. Eia.
There stood a girl
in a red tunic;
if anyone touched the tunic
it rustled. Eia.
Stetit puella
tamquam rosula;
facie splenduit,
os eius floruit. Eia.
There stood a girl
like a little rose;
her face was radiant,
and her mouth bloomed. Eia.
18. Baritone solo and chorus
Circa mea pectora
multa sunt suspiria
de tua pulchritudine,
que me ledunt misere.
Manda liet, manda liet,
min geselle chumet niet!
My heart is filled
with many sighs
which give me grievous pain
because of your beauty.
Manda liet, manda liet,
my love does not come.
Tui lucent oculi
sicut solis radii,
sicut splendor fulguris
lucem donat tenebris.
Manda liet…
Your eyes shine
like rays of the sun,
as the brilliance of lightning
gives light to the dark night.
Manda liet...
Vellet deus, vellent dii,
quod mente proposui:
ut eius virginea
reserassem vincula.
Manda liet…
May the gods
approve my resolve
to undo the bonds
of her virginity.
Manda liet...
19. Male semichorus
19. Male semichorus
Si puer cum puellula
moraretur in cellula,
felix coniunctio.
Amore suscrescente,
pariter e medio
avulso procul tedio,
fit ludus ineffabilis
membris, lacertis, labiis.
If a boy is with a young girl
in a little room,
that is a happy union.
Love wells up
as restraint is banished
far from them,
and inexpressible pleasure comes over
their limbs, their arms, their lips.
24 sydney symphony
20. Double chorus
Veni, veni, veni venias,
ne me mori facias,
hyrca, hyrce,
nazaza, trillirivos…
Come, come, come,
do not make me die,
hyrca, hyrce,
nazaza, trillirivos…
Pulchra tibi facies,
oculorum acies,
capillorum series,
o quam clara species!
Your beautiful face,
the look of your eyes,
the braids of your hair,
O how glorious you look!
Rosa rubicundior,
lilio candidior,
omnibus formosior,
semper in te glorior!
Redder than the rose,
whiter than the lily,
more beautiful than all the rest,
I glory in you unceasingly!
21. Soprano solo
In trutina mentis dubia
fluctuant contraria
lascivus amor et pudicitia.
Sed eligo quod video,
collum iugo prebeo;
ad iugum tamen suave transeo.
Opposite courses hang in the balance
of my wavering mind;
wanton love and chastity.
But I choose what I see
and bend my neck to the yoke –
to the sweet yoke I submit.
22. Soprano and Baritone solos
Chorus and children’s chorus
Tempus est iocundum
o virgines,
modo congaudete
vos iuvenes.
Oh, oh, oh,
totus floreo!
Iam amore virginali
totus ardeo,
novus amor est
quo pereo!
The season is pleasant,
O maidens;
rejoice together,
you young men.
O, o, o,
I bloom all over
with love for a maiden;
it is a new,
new love
that I die of.
sydney symphony 25
Mea me confortat
promissio,
mea me deportat
negatio.
Oh, oh, oh…
Complying
soothes me,
refusing
casts me down.
O, o, o, I bloom all over...
Tempore brumali
vir patiens,
animo vernali
lasciviens.
Oh, oh, oh…
In winter time
a man is passive,
the breath of spring
arouses his desires.
O, o, o, I bloom all over...
Mea mecum ludit
virginitas,
mea me detrudit
simplicitas.
Oh, oh, oh…
My virginity
teases me,
my innocence
defeats me.
O, o, o, I bloom all over, etc.
Veni, domicella,
cum gaudio,
veni, veni, pulchra
iam pereo.
Oh, oh, oh…
Come with joy,
my mistress,
come, come, my beautiful one,
for I am dying.
O, o, o, I bloom all over...
23. Soprano solo
23. Soprano solo
Dulcissime, ah,
totam tibi subdo me!
Sweetest one,
I give myself to you utterly.
BLANZIFLOR ET HELENA
BLANZIFLOR AND HELENA
24. Chorus
Ave formosissima
gemma pretiosa,
ave decus virginum,
virgo gloriosa,
ave mundi luminar,
ave mundi rosa,
Blanziflor et Helena,
Venus generosa!
26 sydney symphony
Hail, most beautiful one,
precious jewel;
hail, pride of maidens,
glorious maiden;
hail, light of the world;
hail, rose of the world,
Blanziflor and Helena,
noble Venus.
FORTUNA,
IMPERATRIX MUNDI
FORTUNE,
EMPRESS OF THE WORLD
25. Chorus
25. Chorus
O Fortuna,
velut Luna
statu variabilis,
semper crescis
aut decrescis;
vita detestabilis
nunc obdurat
et tunc curat
ludo mentis aciem,
egestatem,
potestatem
dissolvit ut glaciem.
O Fortune,
changeable
as the moon,
you are always either improving
or deteriorating.
Detestable life
at one moment thwarts
and at another mockingly
indulges the mind’s desire,
melting away both
poverty and power,
like ice.
Sors immanis
et inanis,
rota tu volubilis,
status malus,
vana salus
semper dissolubilis,
obumbrata
et velata
michi quoque niteris;
nunc per ludum
dorsum nudum
fero tui sceleris.
Vain,
monstrous Fate,
you turning wheel,
you can, when you will,
destroy bad circumstances
and delusive success alike.
Veiled
and shadowy,
you attack me too;
now at your whim
I bare my back
under your assault.
Sors salutis
et virtutis
michi nunc contraria,
est affectus
et defectus
semper in angaria.
Hac in hora
sine mora
corde pulsum tangite;
quod per sortem
sternit fortem,
mecum omnes plangite!
You, Fate, who dispose health
and strength,
are now against me;
my desires
and my weakness
are in constant slavery.
At this hour
without delay
let all pluck the string;
let all lament with me
how the brave man
is crushed by Fate.
The text by Carl Orff from Carmina Burana is reproduced by permission of Hal Leonard Australia,
exclusive agent for Schott Music Ltd of Mainz
sydney symphony 27
MORE MUSIC
CHEN QIGANG
Unfortunately Enchantements oubliés has not been
recorded for commercial release, but other music by
Chen Qigang is available on CD and online.
Worth seeking out (and available as a download) is
Extase, with the title work a concerto for oboe and
orchestra from 1995. The disc also includes music
for traditional Chinese instruments and two works
for orchestra including L’Eloignement from 2004.
The French Radio Philharmonic Orchestra is
conducted by Leonard Slatkin and Yves Prin. The
Hua Xia Chamber Ensemble conducted by Tsung
Yeh provides the traditional element, and Jean-Louis
Capezzali is the oboe soloist.
Among recent recordings is one conducted by
Kristjan Järvi, who appeared with the Sydney
Symphony earlier this month. Kiera Duffy, Marco
Panuccio and Daniel Schmutzhard are the soloists,
with the Middle German Radio Symphony Orchestra
and Chorus.
SONY 544 621
Broadcast Diary
April
VIRGIN CLASSICS 44693
abc.net.au/classic
More recently Chen completed the soundtrack for
the film Flowers of War (2011), directed by Zhang
Yimou and starring Christian Bale. Violinist Joshua
Bell is among the soloists on the recording.
Tuesday 9 April, 1.05pm
SONY 99256
Short excerpts of Chen’s work are available for
download from the ‘Auditorium’ section of his
website: www.qigangchen.com/FE/english.htm
CARMINA BURANA
Eugen Jochum’s recording of Carmina Burana for
Deutsche Grammophon was made in 1967 under
the supervision of the composer and is generally
considered definitive. Jochum is joined by soloists
Gundula Janowitz, Gerhard Stolze, Dietrich FischerDieskau, and the Schöneberg Boys’ Choir and Berlin
German Opera Orchestra and Chorus.
DG THE ORIGINALS 447437
Berlin Classics’ budget line, Basics, reissues some
fine German performances and its Carmina Burana
is given a precise and rhythmically springy
interpretation by Herbert Kegel with the Leipzig
Radio and Children’s Radio Choirs, Leipzig Radio
Symphony Orchestra, and soloists Jutta Vulpius,
Hans-Joachim Rotzsch, Kurt Rehm and Kurt
Hübenthal, in a recording from 1960.
BERLIN CLASSICS 0185572BC
And if you’re wondering what there is beyond the
eclipsing fame of Carmina Burana, look for the
recording of Orff’s choral trilogy: Carmina Burana,
Catulli Carmina and Trionfi di Afrodite. Again, Herbert
Kegel conducts the Leipzig orchestra and its muchpraised chorus, but with a different line-up of
soloists and the Dresden Children’s Choir.
BERLIN CLASSICS 300066
28 sydney symphony
totally tchaikovsky (2012)
Vladimir Ashkenazy conductor
Garrick Ohlsson piano
Piano Concerto No.2 (original version),
Symphony No.4
Saturday 20 April, 1pm
resurrection symphony (2011)
Vladimir Ashkenazy conductor
Emma Matthews soprano
Michelle DeYoung mezzo-soprano
Sydney Philharmonia Choirs
Mahler
Fine Music 102.5
sydney symphony 2013
Tuesday 9 April, 6pm
Musicians, staff and guest artists discuss what’s in
store in our forthcoming concerts.
Webcasts
Selected Sydney Symphony concerts are webcast live
on BigPond and Telstra T-box and made available
for later viewing On Demand.
Our latest webcast:
jazz trumpet meets the orchestra
Visit: bigpondmusic.com/sydneysymphony
ABOUT THE ARTISTS
Long Yu
CONDUCTOR
Born in 1964 into a musical family in Shanghai, Long Yu
received his early musical education from his grandfather
Ding Shande, a composer of great renown, and went on to
study at the Shanghai Conservatory and the Hochschule der
Kunst in Berlin.
Since then, his career has included both artistic and
administrative appointments. He is currently Artistic
Director of the Beijing Music Festival (in which he played
a founding role in 1998) and the China Philharmonic
Orchestra; Music Director of the Shanghai and Guangzhou
symphony orchestras; and co-director of the MISA Shanghai
Summer Festival, which he established in 2010.
Under Long Yu’s leadership, the Beijing Music Festival has
come to be regarded as one of the world’s most important
music festivals, and his vision and efforts continue to make
it the hub of musical life in China’s capital.
He also regularly tours with his orchestras throughout
China and to major international centres, and as a guest
conductor he has appeared with leading orchestras and opera
companies worldwide. These include Orchestre de Paris,
Hamburg State Opera, Maggio Musicale Fiorentino, Munich
Philharmonic, New York Philharmonic, Chicago Symphony
Orchestra, Philadelphia Orchestra, Los Angeles Philharmonic,
Royal Philharmonic Orchestra, Cincinnati Symphony
Orchestra, Hong Kong Philharmonic, Tokyo Philharmonic
and the Singapore Symphony Orchestra. Forthcoming
debuts include appearances with the NDR Symphony
Orchestra Hamburg, Vienna Symphony Orchestra, BBC
Symphony Orchestra and Montreal Symphony Orchestra.
In 1992 he was appointed Principal Conductor of the
Central Opera Theatre in Beijing, and was involved in the
planning of the Chinese New Year concert series later that
year, serving as its conductor for three consecutive years.
He created opera productions for the Urban Council of
Hong Kong for five seasons. In 2005, with the provincial
government’s support, he built up the Canton International
Summer Music Academy and was its Chairman for three years,
and in 2010 he established the Canton Asian Music Festival.
His awards include the 2002 Arts Patronage Award of
the Montblanc Cultural Foundation and the Chevalier
dans L’Ordre des Arts et des Lettres (2003), and in 2005
President Berlusconi granted him the title ‘L’onorificenza
di commendatore’ for his outstanding contribution in the
field of music and culture. In 2010, Long Yu was named
an Honorary Academician of the Central Conservatory of
Beijing for his great dedication to cultural exchange and
music development in China.
In 2002 Long Yu conducted
the orchestra in Symphony
Under the Sails on the Sydney
Opera House Forecourt.
This is his first concert hall
appearance with the Sydney
Symphony.
sydney symphony 29
Milica Ilic SOPRANO
In 1996, Serbian-born Milica Ilic migrated to New Zealand, where
she began studying singing with David Griffiths. As a member of
the Young Friends of Opera New Zealand, she performed as a
oloist and in the chorus, and a television appearance on Dreams
Come True led to her participation in a workshop hosted by Dame
Kiri Te Kanawa. Milica Ilic holds a music degree from the
Queensland Conservatorium, Griffith University, where her roles
included Papagena (The Magic Flute), Cupid (Semele) and Nannetta
(Falstaff). She also studied German at the Berlin Goethe-Institut
and voice with Leandra Overmann (Academy of Music, Würzburg).
Affiliated with Opera Queensland as a Young Artist, she created
the role of Emma in the youth opera Dirty Apple, and appeared
in La Traviata and their touring production of The Merry Widow.
She has also sung Barbarina (The Marriage of Figaro) for the
Macau International Music Festival and given a private recital in
the Sydney Opera House Utzon Room. Last year she appeared
for Opera Australia as the Queen of the Night in The Magic
Flute and covered the title role in Lucia di Lammermoor. She also
released an EP, Lakmé, with mezzo-soprano Victoria Lambourn.
In 2010 she performed in the Queensland Symphony Orchestra’s
Opera Gala and has since appeared as a soloist with the QSO on
several occasions. This is her Sydney Symphony debut.
Paul McMahon TENOR
Tenor Paul McMahon is one of Australia’s leading singers of
baroque and classical repertoire. He performs regularly as a
soloist with orchestras, chamber music groups and choirs
throughout Australia, New Zealand and Asia, and is in special
demand for the part of the Evangelist in the Passions of JS Bach.
Performance highlights include the St John Passion (Australian
Chamber Orchestra, Richard Tognetti), St Matthew Passion
(Auckland Philharmonia Orchestra, Roy Goodman); Haydn’s
Creation (Australian Opera and Ballet Orchestra, Richard Hickox)
and Stravinsky’s Pulcinella (Melbourne Symphony Orchestra,
Markus Stenz). His recordings include the solo album A Painted
Tale – English, French and Italian lute songs, Messiah, Handel’s
Semele, Monteverdi’s Orfeo, Purcell’s Fairy Queen, Mozart’s Requiem
and Idomeneo, Fauré’s Naissance de Venus and Carl Orff’s Carmina
Burana.
In 2011 he sang the Evangelist in both Bach Passions (Orpheus
Choir Wellington, Sydney Philharmonia Choirs and St George’s
Cathedral, Perth), Bach’s Magnificat (Adelaide Symphony Orchestra),
Mozart’s Mass in C Minor (Melbourne and West Australian
Symphony Orchestras) and Carmina Burana (Melbourne Symphony
Orchestra). Last year he performed with the Adelaide Symphony
Orchestra, Australia Ensemble, Auckland Choral Society, Melbourne
Bach Choir and St George’s Cathedral, Perth. His appearances
with the Sydney Symphony include Carmina Burana (2009) and
most recently Mozart’s Requiem under David Zinman.
30 sydney symphony
Changyong Liao BARITONE
Changyong Liao is a leading Chinese vocalist and opera
performer who occupies a notable position on the international
stage. As an administrator, he is also director of the Chinese
Musicians Association, vice chairman of the Shanghai
Musicians Association and director of the Vocal Performance
Department at the Shanghai Conservatory.
He studied with distinguished tenor Wei Luo and soprano
Xiaoyan Zhou, graduating from the Shanghai Conservatory
in 1995 with a master’s degree. Soon after, he won three
major international competitions within the space of
twelve months: Placido Domingo’s Operalia – The World
Opera Competition, the Queen Sonja International Music
Competition in Norway, and the 41st International Singing
Competition of Toulouse.
Since then, he has performed with the BBC Symphony
Orchestra, London Symphony Orchestra, San Francisco Opera
Orchestra, Toulouse National Symphony Orchestra, Tokyo
Philharmonic Orchestra, Osaka Philharmonic Orchestra,
Stuttgart Radio Symphony Orchestra and Norwegian National
Opera, among others.
His operatic roles include Valentin (Faust) with OpéraComique, Morales (Carmen) with the LSO, Escamillo (Carmen)
at Shanghai Opera House and Nancy Opera House, Germont
(La Traviata) with the Taipei National Symphony Orchestra,
Danilo (The Merry Widow) at Shanghai Opera House and
Alfio (Cavalleria rusticana) at Shanghai Grand Theatre. He
has also sung Rigoletto, Rinaldo (A Masked Ball) and Marcello
(La bohème) for the Zhou Xiaoyan International Opera Centre
of the Shanghai Conservatory.
This is Changyong Liao’s Sydney Symphony debut.
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www.sydneysymphony.com/staytuned
sydney symphony 31
Sydney Philharmonia Choirs
Formed in 1920, Sydney Philharmonia Choirs is Australia’s
largest choral organisation. The three principal choirs –
the Chamber Singers, Symphony Chorus and the young
adult choir VOX – perform a diverse repertoire each year,
ranging from early a cappella works to challenging
contemporary music. Sydney Philharmonia Choirs presents
an annual concert series of choral masterpieces, and has
premiered several commissioned works, most recently
Andrew Ford’s Waiting for the Barbarians and Rautavaara’s
Missa a Cappella. In 2002, Sydney Philharmonia was the
first Australian choir to sing at the BBC Proms (Mahler’s
Eighth Symphony under Simon Rattle), returning again in
2010. Other highlights have included Britten’s War Requiem
at the 2007 Perth Festival and Semele Walk at the 2013
Sydney Festival. Appearances with the Sydney Symphony
have included Mahler’s Eighth for the Olympic Arts
Festival (2000), Stravinsky’s Oedipus Rex and Symphony of
Psalms, ‘Midsummer Shakespeare’ and 2001: A Space Odyssey
(Sydney Festival), the choral symphonies in Vladimir
Ashkenazy’s Mahler Odyssey (2010–11), Sibelius’s Kullervo,
the Lord of the Rings trilogy, and concert performances of
Tchaikovsky’s Queen of Spades, conducted by Ashkenazy.
Elizabeth Scott acting music director
Elizabeth Scott graduated from the Sydney Conservatorium
of Music in 1995 as a flute major and completed
postgraduate studies in choral conducting, vocal
performance and aural training in Hungary and Germany.
Before her appointment as Musical Director of VOX, she
was the Sydney Philharmonia Assistant Chorusmaster
(2006–2008). She is also Associate Conductor of Sydney
Chamber Choir and a guest choral director for Gondwana
Choirs, Coro Innominata, Macquarie University Singers
and Orpheus Choral Music. She is Music Performance
Projects Officer at The Arts Unit, a specialist branch of the
Department of Education and Training, and is the Director
of Vocal and Choral Studies at the Conservatorium High
School. Since 2007, she has participated in the Symphony
Australia Conductor Development Program, and in 2008
was awarded the Sydney Choral Symposium Foundation
Choral Conducting Scholarship. Elizabeth Scott sings with
Cantillation and has performed and recorded with
Pinchgut Opera and The Song Company.
32 sydney symphony
Brett Weymark Music Director
Elizabeth Scott Acting Music Director | Music Director – VOX
Atul Joshi General Manager
Anthony Pasquill Assistant Chorusmaster
Rehearsal pianists Josephine Allan, Luke Byrne, Chris Cartner, Michael Curtain
SOPRANOS
Ria Andriani
Olivia BandlerLlewellyn
Ruth Beecher
Sandi Bell
Amy Bentley
Jacqui Binetsky
Georgina Bitcon
Anne Blake
Megan Boundey
Anita Burkart
Victoria Campbell
Charlotte
Campbell
Jeongyoon (Ashley)
Choi
Meta Cohen
Anne Cooke
Pam Cunningham
Charmaine Cusack
Rouna Daley
Catherine De Luca
Shamistha
De Soysa*
Vanessa Downing
Vanessa Ede
Soline EpainMarzac
Rachel Evans
Joanna Forbes
Judith Gorry
Vicky Gray
Belinda Griffiths
Emi Haskell
Ellen Hopper
Genevra Howard
Rebecca Howard
Rychelle Kiely
Yi-Hsia Koh
Karolina Kulczynska
Yvette Leonard
Alexandra Little
Carolyn Lowry
Lyanne Macfarlane
Claire Maynard
Georgia Melville
Bernadette Mitchell
Amelia Myers
Sarah Parker
Dympna Paterson
Quan Quan Phua
Amanda Ramos
Clare Richards
Allison Rowlands
Elna Schonfeldt
Maya Schwenke
Kaila Sercombe
Meg Shaw
Rachel Sibley
Alex Siegers
Kimberley Stuart
Sarah Thompson
Simone Toldi
Jessica Veliscek
Carolan
Sara Watts
Jacqui Wilkins
ALTOS
Amanda Baird
Mallika Bender
Katie Blake
Jan Borrie
Gae Bristow
Heather Burnett
Caitlin Campbell
Maddy Carr
Michelle (NienHung) Chou
Misha Christian
Kate Clowes
Isabel Colman
Pip Davies
Alison Dutton
Ruth Edenborough
Helen Esmond
Jan Fawke
Phoebe Ferguson
Kerry Francis
Nadia Fried
Linda Gerryts
Jennifer Gillman
Emma Hancock
Kathryn Harwood
Margaret Hofman
Edwina Howes
Judy Huang
Sanne Hulst
Johanna Knoechel
Pia Kostiainen
Rachel Maiden
Sarah McGrath
Donna McIntosh
Janice McKeand
Maggie McKelvey
Tijana Miljovska
Penelope Morris
Susie North
Helen Pedersen
Christine Polec
Clodagh Reid
Olivia Robinson
Johanna Segall
Hannah Shanks
Jan Shaw
Suzanne
Sherrington
Vanessa South*
Alexandra StuartWatt
Natasja Stul
Melvin Tan
Robyn Tupman
Sheli Wallach
Chela Weitzel
Lia Weitzel
Brigitte Wirfler
Jaimie Wolbers
Noriko Yamanaka
Priscilla Yuen
BASSES
Timothy Bennett
Dominic Blake
Simon Boileau
Julian Coghlan
Daryl Colquhoun
TENORS
Philip Crenigan*
Matthew Allchurch Robert
Cunningham
Xander Bird
Graham Dick
Paul Boswell
Simon Cadwallader Gabe Fischer
Isaias Sirur Flores
Lanhowe Chen
Daniel Comarmond Tom ForresterPaton
Blade Fuller
Jack Garner
Shaun Gessler
Zac Gough
Denys Gillespie*
Eric Hansen
Andrew Guy
David Jacobs
Steven Hankey
Timothy Jenkins
Todd Hawken
Adrian Kenny
Jude Holdsworth
Alex Li-Kim-Mui
Ben Hurley
Mark McGoldrick
Fenn Idle
Samuel Merrick
Michael Kertesz
Sean Moloney
Neil Lazo
Michael Nolan
Vincent Lo
Ian Pettener
Paul Mai
Peter Poole
Frank Maio
Michael Ryan
Juan Martin
Theo Small
Marangoni
Tim Storer
Jarred Mattes
Jannie Van
Mark Meehan
Deventer
Dimitry Moraitis
Ryan Wiblin
George Panaretos
Robert Williams
Jack Pengelly
Arthur Winckler
Martin Stebbings
David Wood
Michael Wallach
Stephen Young
Ben Wirfler
Ken Zhang
Shaun Young
Chamberlain
Zhang
* Section Leaders
To find out about Sydney Philharmonia concerts or joining one of the choirs, visit
www.sydneyphilharmonia.com.au
sydney symphony 33
Sydney Children’s Choir
The Sydney Children’s Choir has built a worldwide reputation
for choral excellence, inspiring audiences with a distinctly
Australian choral sound. Under the direction of founder Lyn
Williams oam, the choir has commissioned over a hundred
works from leading Australian composers and has toured
extensively, performing this Australian choral repertoire to
great acclaim throughout Australia as well as in Indonesia,
Singapore, Finland, Estonia, Denmark, France, the United
Kingdom, Japan and China.
Closer to home, the Sydney Children’s Choir has performed
at major events including the Papal Welcome at World Youth
Day 2008, APEC Leaders’ Week at the Sydney Opera House,
the Australia Day Spectacular at Darling Harbour and the
Opening Ceremony of the Sydney Olympic Games. The choir
is also frequently invited to perform with some of the world’s
most acclaimed orchestras and conductors including Michael
Tilson Thomas and the YouTube Symphony Orchestra, Zubin
Mehta and the Israel Philharmonic Orchestra, and with the
Sydney Symphony under Edo de Waart, Charles Dutoit and
Vladimir Ashkenazy. The choir’s many performances with
the Sydney Symphony in recent years have included Mahler
symphonies (No.8 and No.3), The Fellowship of the Ring and The
Two Towers (with The Return of the King scheduled for 2013),
and Tchaikovsky’s Queen of Spades. The choir appears on the
soundtracks of Moulin Rouge, Happy Feet and Australia, and on
their most recent recording, Voices of Angels.
Lyn Williams OAM
artistic director & founder, gondwana choirs
Lyn Williams is Australia’s leading director of choirs for
young people, having founded the internationally renowned
Gondwana Choirs. Since 1989, Gondwana Choirs has grown
to include the Sydney Children’s Choir, Gondwana National
Choirs and Gondwana National Indigenous Children’s
Choir. Her exceptional skill in working with young people
is recognised for its high artistic quality and groundbreaking innovation. She frequently directs and conducts
for major events, tours internationally with her choirs, and
has conducted the Sydney, Adelaide, Melbourne symphony
orchestras, Australian Chamber Orchestra and Australian
Youth Orchestra. In 2004 she was awarded a Medal of the
Order of Australia in recognition of her services to the Arts,
and in 2006 the NSW State Award (Classical Music Awards)
for her contribution to the advancement of Australian music.
Lyn Williams is a Churchill Fellow and also a composer.
34 sydney symphony
STAFF
Lyn Williams oam Artistic Director & Founder
Dan Walker Associate Artistic Director
Sally Whitwell Pianist
Karynne Courts General Manager
John Nolan Artistic Operations Manager
Clare Kenny Choir Manager
Emma Barnett Assistant Choir Manager
Rob Hansen Artistic Administration Assistant
CHORISTERS
Madeleine Aarons
Guian Balan
Neil Baker
Ariel Bonnell
Alison Campbell
Ihnteck Chung
Stella Davy
Timothy Dutton
Marianna Ebersoll
Oliver Golding
Annelise Hall
Beth Harper-King
Chloe Hart
Abel Hofflin
Victoria Hofflin
Miranda Ilchef
Rebecca Johnson
Maeve Kelaher
Helena Kertesz
Emma Korrell
Eleanor Kozak
Reuben Langbein
Tabitha Lee
Eloise Loewy
Jemima Lorenz
Stephanie Macindoe
Owen MacNamara
Anna Marsh
Lachlan Massey
Eve McEwen
Rebecca O’Hanlon
Madeleine Picard
Sebastian Pini
Gabi Powell-Thomas
Emma Renaud
Ariana Ricci
Timothy Sampson
Mackenzie Shaw
Amelia Smiles
Isabella Suckling
Zoe Taylor
Jill Termaat
James Thomson
Adam Travis
Beatrice Tucker
Vanilla Tupu
Olivia Wei
Imogen Williams
Juliet Wittenoom Louw
Yilan Yu
www.sydneychildrenschoir.com.au
sydney symphony 35
MUSICIANS
Vladimir Ashkenazy
Principal Conductor
and Artistic Advisor
supported by Emirates
Dene Olding
Concertmaster
Jessica Cottis
Assistant Conductor
supported by Premier Partner
Credit Suisse
FIRST VIOLINS
VIOLAS
FLUTES
TRUMPETS
Dene Olding
Tobias Breider
Anne-Louise Comerford
Robyn Brookfield
Jane Hazelwood
Graham Hennings
Stuart Johnson
Justine Marsden
Felicity Tsai
Leonid Volovelsky
Rosemary Curtin*
Roger Benedict
Justin Williams
Emma Sholl
Rosamund Plummer
David Elton
Anthony Heinrichs
Matthew Dempsey*
Paul Goodchild
John Foster
Concertmaster
Sun Yi
Associate Concertmaster
Roy Theaker*
Jennifer Booth
Brielle Clapson
Sophie Cole
Georges Lentz
Nicola Lewis
Alexander Norton
Elizabeth Jones*
Claire Herrick°
Emily Qin°
Kelly Tang†
Lucy Warren*
Kirsten Williams
Associate Concertmaster
Fiona Ziegler
Assistant Concertmaster
Julie Batty
Marianne Broadfoot
Amber Davis
Jennifer Hoy
Alexandra Mitchell
Léone Ziegler
SECOND VIOLINS
Marina Marsden
Kirsty Hilton
Alexander Read
Emily Long
Nicole Masters
Maja Verunica
Susan Dobbie
Principal Emeritus
Benjamin Li
Shuti Huang
Biyana Rozenblit
Philippa Paige
Stan W Kornel
Maria Durek
Emma Jezek
Principal Piccolo
Katie Zagorski*
Janet Webb
Carolyn Harris
TROMBONES
Diana Doherty
Alexandre Oguey
Ronald Prussing
Nick Byrne
Christopher Harris
Principal Cor Anglais
Principal Bass Trombone
Scott Kinmont
Sandro Costantino
Stephanie Cooper*
Shefali Pryor
David Papp
CELLOS
CLARINETS
Michael Stirling*
Catherine Hewgill
Kristy Conrau
Fenella Gill
Timothy Nankervis
Adrian Wallis
David Wickham
Rowena Macneish°
Leah Lynn
Lawrence Dobell
Christopher Tingay
Craig Wernicke
TIMPANI
Principal Bass Clarinet
Richard Miller
Assistant Principal
Jack Schiller†
Melissa Woodroffe*
Matthew Wilkie
Roger Brooke
Fiona McNamara
Assistant Principal
OBOES
Steve Rossé
Elizabeth Neville
Christopher Pidcock
DOUBLE BASSES
Alex Henery
David Campbell
Steven Larson
David Murray
Benjamin Ward
Josef Bisits
Kees Boersma
Neil Brawley
Principal Emeritus
Richard Lynn
Mark Robinson
Assistant Principal
Francesco Celata
PERCUSSION
BASSOONS
Noriko Shimada
Principal Contrabassoon
HORNS
Ben Jacks
Marnie Sebire
Sebastian Dunn*
Rachel Shaw°
Robert Johnson
Geoffrey O’Reilly
Rebecca Lagos
Colin Piper
Timothy Constable*
Kevin Man*
Chiron Meller*
Philip South*
HARP
Louise Johnson
KEYBOARDS
Catherine Davis*
Susanne Powell*
Sally Whitwell*
Principal 3rd
Euan Harvey
Assistant Principal
Emma Hayes
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.
36 sydney symphony
TUBA
Bold = Principal
Italics = Associate Principal
° = Contract Musician
* = Guest Musician
† = Sydney Symphony Fellow
Grey = Permanent member of the
Sydney Symphony not appearing
in this concert
The men of the Sydney
Symphony are proudly
outfitted by Van Heusen.
SYDNEY SYMPHONY
JOHN MARMARAS
Vladimir Ashkenazy, Principal Conductor and Artistic Advisor
PATRON Her Excellency Professor Marie Bashir AC CVO
Founded in 1932 by the Australian Broadcasting
Commission, the Sydney Symphony 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 Sydney Symphony also performs
in venues throughout Sydney and regional New
South Wales. International tours to Europe,
Asia and the USA have earned the orchestra
worldwide recognition for artistic excellence,
most recently in the 2012 tour to China.
The Sydney Symphony’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, Zdeněk
Mácal, Stuart Challender, Edo de Waart and
Gianluigi Gelmetti. David Robertson will take
up the post of Chief Conductor in 2014. The
orchestra’s history also boasts collaborations
with legendary figures such as George Szell, Sir
Thomas Beecham, Otto Klemperer and Igor
Stravinsky.
The Sydney Symphony’s award-winning
education program is central to its
commitment to the future of 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,
Liza Lim, Lee Bracegirdle, Gordon Kerry and
Georges Lentz, and the orchestra’s recording of
works by Brett Dean was released on both the
BIS and Sydney Symphony Live labels.
Other releases on the Sydney Symphony Live
label, established in 2006, include performances
with Alexander Lazarev, Gianluigi Gelmetti, Sir
Charles Mackerras and Vladimir Ashkenazy. In
2010–11 the orchestra made concert recordings
of the complete Mahler symphonies with
Ashkenazy, and has also released recordings of
Rachmaninoff and Elgar orchestral works on
the Exton/Triton labels, as well as numerous
recordings on the ABC Classics label.
This is the fifth year of Ashkenazy’s tenure as
Principal Conductor and Artistic Advisor.
sydney symphony 37
BEHIND THE SCENES
Sydney
Symphony
Board
Sydney Symphony Staff
S
EXECUTIVE TEAM ASSISTANT
EX
GRAPHIC DESIGNER
John C Conde ao Chairman
Terrey Arcus am
Ewen Crouch am
Ross Grant
Jennifer Hoy
Rory Jeffes
Andrew Kaldor am
Irene Lee
David Livingstone
Goetz Richter
Lisa Davies-Galli
Li
Lucy McCullough
ARTISTIC OPERATIONS
A
Nathanael van der Reyden
MANAGING DIRECTOR
M
DATA ANALYST
Rory Jeffes
R
Varsha Karnik
CREATIVE ARTWORKER
DIRECTOR OF ARTISTIC PLANNING
D
MARKETING COORDINATOR
Peter Czornyj
Pe
Jonathon Symonds
Artistic Administration
Ar
ARTISTIC ADMINISTRATION MANAGER
AR
Eleasha Mah
El
ARTIST LIAISON MANAGER
AR
MANAGER OF BOX OFFICE SALES &
OPERATIONS
RECORDING ENTERPRISE MANAGER
RE
Lynn McLaughlin
Education Programs
Ed
E
HEAD OF EDUCATION
H
Kim Waldock
K
EMERGING ARTISTS PROGRAM MANAGER
EM
Mark Lawrenson
M
EDUCATION COORDINATOR
ED
Rachel McLarin
R
Geoff Ainsworth am
Andrew Andersons ao
Michael Baume ao
Christine Bishop
Ita Buttrose ao obe
Peter Cudlipp
John Curtis am
Greg Daniel am
John Della Bosca
Alan Fang
Erin Flaherty
Dr Stephen Freiberg
Donald Hazelwood ao obe
Dr Michael Joel am
Simon Johnson
Yvonne Kenny am
Gary Linnane
Amanda Love
Helen Lynch am
David Maloney
David Malouf ao
Julie Manfredi-Hughes
Deborah Marr
The Hon. Justice Jane Mathews ao
Danny May
Wendy McCarthy ao
Jane Morschel
Greg Paramor
Dr Timothy Pascoe am
Prof. Ron Penny ao
Jerome Rowley
Paul Salteri
Sandra Salteri
Juliana Schaeffer
Leo Schofield am
Fred Stein oam
Gabrielle Trainor
Ivan Ungar
John van Ogtrop
Peter Weiss ao HonDLitt
Mary Whelan
Rosemary White
38 sydney symphony
Box Office
Ilmar Leetberg
Il
Philip Powers
Ph
Sydney
Symphony
Council
ONLINE MARKETING COORDINATOR
Jenny Sargant
CUSTOMER SERVICE OFFICER
C
Derek Reed
D
Library
Li
LIBRARIAN
LI
BOX OFFICE SYSTEMS SUPERVISOR
Jacqueline Tooley
CUSTOMER SERVICE REPRESENTATIVES
Steve Clarke – Senior CSR
Michael Dowling
John Robertson
Bec Sheedy
Amy Walsh
COMMUNICATIONS
HEAD OF COMMUNICATIONS &
SPONSOR RELATIONS
Yvonne Zammit
Anna Cernik
An
PUBLIC RELATIONS MANAGER
LIBRARY ASSISTANT
LI
Katherine Stevenson
Victoria Grant
Vi
COMMUNICATIONS COORDINATOR
LIBRARY ASSISTANT
LI
Janine Harris
Mary-Ann Mead
M
FELLOWSHIP SOCIAL MEDIA OFFICER
Caitlin Benetatos
ORCHESTRA MANAGEMENT
O
DIRECTOR OF ORCHESTRA MANAGEMENT
D
Publications
Aernout Kerbert
Ae
PUBLICATIONS EDITOR & MUSIC
PRESENTATION MANAGER
ORCHESTRA MANAGER
O
Yvonne Frindle
Chris Lewis
C
ORCHESTRA COORDINATOR
O
Georgia Stamatopoulos
G
OPERATIONS MANAGER
O
Kerry-Anne Cook
K
PRODUCTION MANAGER
PR
Laura Daniel
La
PRODUCTION COORDINATOR
PR
Tim Dayman
T
PRODUCTION COORDINATOR
PR
Ian Spence
Ia
STAGE MANAGER
ST
Elise Beggs
El
DEVELOPMENT
DIRECTOR OF DEVELOPMENT
Caroline Sharpen
EXTERNAL RELATIONS MANAGER
Stephen Attfield
PHILANTHROPY, PATRONS PROGRAM
Ivana Jirasek
DEVELOPMENT MANAGER
Amelia Morgan-Hunn
BUSINESS SERVICES
DIRECTOR OF FINANCE
John Horn
SALES AND MARKETING
SA
FINANCE MANAGER
DIRECTOR OF SALES & MARKETING
D
Ruth Tolentino
Mark J Elliott
M
ACCOUNTANT
SENIOR SALES & MARKETING MANAGER
SE
Minerva Prescott
Penny Evans
Pe
ACCOUNTS ASSISTANT
MARKETING MANAGER, SUBSCRIPTION SALES
M
Simon Crossley-Meates
Si
MARKETING MANAGER, CLASSICAL SALES
M
Matthew Rive
M
MARKETING MANAGER, WEB & DIGITAL MEDIA
M
Eve Le Gall
Ev
MARKETING MANAGER, DATABASE & CRM
M
Matthew Hodge
M
Emma Ferrer
PAYROLL OFFICER
Laura Soutter
HUMAN RESOURCES
HEAD OF HUMAN RESOURCES
Michel Maree Hryce
SYDNEY SYMPHONY PATRONS
Maestro’s Circle
Peter William Weiss ao – Founding President & Doris Weiss
John C Conde ao – Chairman
Geoff Ainsworth am & Vicki Ainsworth
Tom Breen & Rachael Kohn
In memory of Hetty & Egon Gordon
Andrew Kaldor am & Renata Kaldor ao
Roslyn Packer ao
Penelope Seidler am
Mr Fred Street am & Mrs Dorothy Street
Westfield Group
Brian & Rosemary White
Ray Wilson oam in memory of the late James Agapitos oam
Sydney Symphony Leadership Ensemble
Lynn Kraus, Sydney Office Managing Partner, Ernst & Young
Shell Australia Pty Ltd
James Stevens, CEO, Roses Only
Stephen Johns, Chairman, Leighton Holdings,
and Michele Johns
Alan Fang, Chairman, Tianda Group
Tony Grierson, Braithwaite Steiner Pretty
Insurance Australia Group
Macquarie Group Foundation
John Morschel, Chairman, ANZ
Andrew Kaldor am, Chairman, Pelikan Artline
Directors’ Chairs
01
02
06
07
01 Roger Benedict
Principal Viola
Kim Williams am &
Catherine Dovey Chair
02 Lawrence Dobell
Principal Clarinet
Anne Arcus &
Terrey Arcus am Chair
03 Diana Doherty
Principal Oboe
Andrew Kaldor am &
Renata Kaldor ao Chair
03
04
08
09
05
04 Richard Gill oam
Artistic Director Education
Sandra & Paul Salteri Chair
07 Elizabeth Neville
Cello
Ruth & Bob Magid Chair
05 Catherine Hewgill
Principal Cello
The Hon. Justice AJ &
Mrs Fran Meagher Chair
08 Colin Piper
Percussion
Justice Jane Mathews ao Chair
06 Robert Johnson
Principal Horn
James & Leonie Furber Chair
09 Emma Sholl
Associate Principal Flute
Robert & Janet Constable Chair
For information about the Directors’ Chairs program, please call (02) 8215 4619.
Sydney Symphony Vanguard
Vanguard Collective
Members
Justin Di Lollo – Chair
Kees Boersma
Marina Go
David McKean
Amelia Morgan-Hunn
Jonathan Pease
Seamus R Quick
Matti Alakargas
Nikki Andrews
James Armstrong
Stephen Attfield
Andrew Baxter
Mar Beltran
Kees Boersma
Peter Braithwaite
Andrea Brown
Ian Burton
Jennifer Burton
Hahn Chau
Ron Christianson
Matthew Clark
Benoît Cocheteux
George Condous
Michael Cook
Paul Cousins
Justin Di Lollo
Rose Gallo
Sam Giddings
Marina Go
Derek Hand
Rose Herceg
Jennifer Hoy
Damian Kassagbi
Chris Keher
Elizabeth Lee
Antony Lighten
Gary Linnane
Paul Macdonald
David McKean
Hayden McLean
Amelia Morgan-Hunn
Taine Moufarrige
Hugh Munro
Fiona Osler
Peter Outridge
Archie Paffas
Jonathan Pease
Seamus R Quick
Michael Reede
Jacqueline Rowlands
Bernard Ryan
Adam Wand
Jon Wilkie
Jonathan Watkinson
Darren Woolley
Misha Zelinsky
sydney symphony 39
PLAYING YOUR PART
The Sydney Symphony gratefully acknowledges the music lovers who donate to the orchestra
each year. Each gift plays an important part in ensuring our continued artistic excellence
and helping to sustain important education and regional touring programs. Donations of
$50 and above are acknowledged on our website at www.sydneysymphony.com/patrons
Platinum Patrons
$20,000+
Silver Patrons
$5000–$9,999
Bronze Patrons
$1,000–$2,499
Brian Abel
Geoff Ainsworth am & Vicki Ainsworth
Robert Albert ao & Elizabeth Albert
Terrey Arcus am & Anne Arcus
Tom Breen & Rachael Kohn
Sandra & Neil Burns
Mr John C Conde ao
Robert & Janet Constable
Michael Crouch ao & Shanny Crouch
James & Leonie Furber
Dr Bruno & Mrs Rhonda Giuffre
In memory of Hetty & Egon Gordon
Ms Rose Herceg
Mr Andrew Kaldor am & Mrs Renata
Kaldor ao
D & I Kallinikos
James N Kirby Foundation
Joan MacKenzie Violin Scholarship,
Sinfonia
Justice Jane Mathews ao
Mrs Roslyn Packer ao
Paul & Sandra Salteri
Mrs Penelope Seidler am
G & C Solomon in memory of
Joan MacKenzie
Mrs W Stening
Mr Fred Street am & Mrs Dorothy Street
Peter William Weiss ao & Doris Weiss
Westfield Group
Mr Brian & Mrs Rosemary White
Kim Williams am & Catherine Dovey
Ray Wilson oam in memory of
James Agapitos oam
Doug & Alison Battersby
Mr Robert Brakspear
Mr David & Mrs Halina Brett
Mr Robert & Mrs L Alison Carr
Bob & Julie Clampett
Ewen Crouch am & Catherine Crouch
Ian Dickson & Reg Holloway
Penny Edwards
Dr C Goldschmidt
The Greatorex Foundation
Mr Rory Jeffes
Judges of the Supreme Court of NSW
Mr Ervin Katz
The Estate of the late Patricia Lance
Timothy & Eva Pascoe
William McIlrath Charitable
Foundation
Rodney Rosenblum am & Sylvia
Rosenblum
Manfred & Linda Salamon
Michael & Mary Whelan Trust
Caroline Wilkinson
Jill Wran
Mrs Antoinette Albert
Andrew Andersons ao
Mr Henri W Aram oam
Dr Francis J Augustus
Richard and Christine Banks
David Barnes
Nicole Berger
Allan & Julie Bligh
Dr & Mrs Hannes Boshoff
Lenore P Buckle
M Bulmer
In memory of RW Burley
Ita Buttrose ao obe
Joan Connery oam & Maxwell
Connery oam
Constable Estate Vineyards
Debby Cramer & Bill Caukill
Mr John Cunningham SCM &
Mrs Margaret Cunningham
Greta Davis
Lisa & Miro Davis
Matthew Delasey
Mr & Mrs Grant Dixon
Colin Draper & Mary Jane Brodribb
Mrs Margaret Epps
Mr Ian Fenwicke & Prof. Neville Wills
Mr James Graham am & Mrs Helen
Graham
Warren Green
Anthony Gregg & Deanne
Whittleston
Akiko Gregory
Tony Grierson
Edward & Deborah Griffin
Richard Griffin am
In memory of Dora & Oscar Grynberg
Janette Hamilton
Michelle Hilton
The Hon. David Hunt ao qc &
Mrs Margaret Hunt
Dr & Mrs Michael Hunter
In memory of Bernard M H Khaw
Mr Justin Lam
Mr Peter Lazar am
Irene Lee
Associate Professor Winston Liauw
Dr David Luis
Carolyn & Peter Lowry oam
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42 sydney symphony
Photo: Keith Saunders
ORCHESTRA NEWS | MARCH–APRIL 2013
`
…our section
needs to play
louder than the
first violins
a
POCKET ROCKET
Diminutive in stature but with towering
international orchestral experience, for second
violin principal Kirsty Hilton, it’s all about
location, location, location.
Kirsty Hilton loves where she
lives. Nicknamed the ‘Rose Bay
Hilton’ by friends, her apartment
allows her – and her guests! – to
live near the harbour. ‘I really
missed not being by the water all
those years I was in Europe,’ she
says. ‘All those years’ included a
period of study in London with
David Takeno, followed by admission into the prestigious Karajan
Academy in Berlin. ‘That was
my most intense study time,’ says
Kirsty. ‘We had to play almost
every week with the Berlin Philharmonic, and four times a year
we’d give a big chamber music
concert in the Berliner Philharmonie.’
Kirsty was soon appointed to
the Bavarian Radio Symphony
Orchestra. ‘[Mariss] Jansons is my
favourite conductor from my time
in Munich. He always had time
for you personally, even though he
could seem quite shy and distant.
And he would always give 100 per
cent in rehearsal and in concert.’
A touch homesick, Kirsty
returned to Sydney in 2007. These
days, however, she still divides
her time between Australia and
Europe: ‘I have a 50 per cent
position with the Mahler Chamber
Orchestra, which means that I go
back to work with them four times
a year.’ Combined with her job in
the Sydney Symphony, that means
almost no time for holidays! ‘It
doesn’t matter, because I’m so
restless – the change feels like a
holiday.’
Though initially appointed
Associate Concertmaster with
the Sydney Symphony, Kirsty
soon made the switch to leading
the second violins. ‘I like playing
the inner parts, and sitting in the
middle of the orchestra. I don’t
like being stuck physically on the
edge of the stage.’
Ironically, the challenges for the
second violins are inherent in where
that section sits, and the musical
material they have to play. ‘Really,
our section needs to play louder
than the first violins,’ explains
Kirsty. Depending on the string
section’s configuration, the
Seconds are either tucked in
behind the first violins, or seated
antiphonally (on the opposite side
of the conductor’s podium), with
their instruments facing away from
the audience. Either way, they need
to ‘beef it up’. ‘The firsts often rely
on us because we’ll be playing
the motor semiquavers,’ explains
Kirsty. Occasionally, there might
be disagreement within the
ensemble about where to play. ‘It’s
tricky because we don’t often have
the melody. We have to decide in
a split second about whether to
follow the cellos, or the firsts.’
Artistic Highlight
Ask a Musician
Introducing S. Katy Tucker Every concert we see the ‘men in
black’ busily preparing the stage
for the performance and shifting
instruments and gear around
between pieces. But what do they do
behind the scenes?
Come July, Chief Conductor designate David
Robertson will embark on his annual opera-inconcert series, with a semi-staged performance
of Wagner’s Flying Dutchman. For this project,
there will be a new face in the house with a very
important role to play.
‘I don’t have any musical talent,’ says S. Katy
Tucker. ‘But I do have a deep, deep love of music
that I can connect with in an unconventional way
through video projections.’
Katy has been engaged to create a dramatic
environment for the orchestra and soloists for
our performances of Wagner’s first great opera.
She’ll do this through the projection of images
and abstractions on a large screen, cut to resemble
the sails of a square-rigger. ‘We want to make
the performance of Dutchman more “splashy”.’
Touché.
Katy describes her projections as holistic. ‘It’s
up to me to balance the attention and focus of the
audience. I don’t want my visuals to compete with,
or detract from, the music.’
skatytucker.com
Production preparations begin the moment the
orchestra’s roster is released, which can be 6 to 16
months before a concert. The stage manager, who
is responsible for all the ‘men-and-women in black’,
will identify all the extra technical requirements.
In the case of a concert like The Lord of the Rings:
The Return of the King, that might include a screen,
projector and speakers, and sconce lights for the
music stands. All these need to be communicated to
the venue well in advance to ensure everything’s in
place for the first rehearsal.
Once rehearsals are underway, the stage manager
monitors everything that happens on stage, through
a window at side of stage and via a ‘spy mike’ near
the conductor. The SM needs to react to a variety of
situations, from replacing a chair (easy!) to attending
to a medical emergency (scary!). He or she also times
the length of movements for every piece, building
a better picture of a concert’s duration, and then
shares that information with the ABC for broadcast
planning.
Key to the position of stage manager is an ability
to multi-task and to communicate with a broad
range of personalities. From orchestral musicians,
soloists and conductors to technical crew, and
even the pre-concert speaker in the foyer, everyone
involved has their own needs (and occasionally
demands!), which need to be met in a calm, coolheaded and friendly way.
Have a question about the music, instruments, or
inner workings of the orchestra? ‘Ask a Musician’
at yoursay@sydneysymphony.com or by writing to
Bravo! Reply Paid 4338, Sydney NSW 2001.
Great Orchestras of Europe
with Damien Beaumont
Vienna – Dresden – Berlin – Cologne – Paris
24 May– 9 June 2013 (17 days)
Experience the great orchestras of Europe on this
wonderful musical odyssey from Vienna to Paris, including
the Vienna and Berlin Philharmonics, and Amsterdam’s
Royal Concertgebouw!
Sir Simon Rattle with the Berlin Philharmonic
© Monika Rittershaus
For detailed information call 1300 727 095
visit www.renaissancetours.com.au
or contact your travel agent
Education Focus
The Score
TRUE GRIT
Playing Favourites
Photo: Ben Symons
Eight young musicians on the cusp of musical
careers have secured a place in the Sydney
Symphony’s hotly contested Fellowship program.
From left: Brendan Parravicini, Nicole Greentree, Som Howie, James sang-oh Yoo, Rebecca
Gill, Laura van Rijn, Kelly Tang, Jack Schiller
Hundreds of graduate musicians
across the country dream of performing in professional orchestras.
Despite this, full-time orchestral
positions are rare and competition
is fierce. But for the eight young
musicians selected for this year’s
Sydney Symphony Fellowship
program, that dream is much
closer to becoming reality.
‘I was so excited when I heard
I’d been accepted into the 2013
Fellowship!’ said viola Fellow
Nicole Greentree, at their first
get-together this year. ‘I keep
thinking about how much I’m
going to learn from working with
the Sydney Symphony.’
Chosen from nearly 300 applicants nation-wide, the Fellows represent the most talented emerging
musicians of their generation.
But in order to develop into wellrounded professionals, these young
musicians require skills and experiences that cannot be taught in an
academic environment. The purpose of the Fellowship program is
to provide these musicians with
the training and mentoring they
need to bridge the divide between
student and professional.
For horn Fellow Brendan Parravicini, originally from Perth, it’s
the diversity of the program that
makes it so valuable. ‘We’ll perform
chamber music together on a regular basis, benefit from individual
mentoring and have the opportunity of working with a professional
orchestra. This combination ensures that we’ll all come out of the
program as musically balanced, experienced and inspired individuals.’
The continued support from
premier partner Credit Suisse, as
well as from individual donors, has
ensured the quality of training our
Fellows receive, and helped the
Fellowship program reach its 12th
year. Testament to the program’s
success are the achievements of
its alumni, with well over half
employed in full-time orchestral
positions, including seven past
Fellows who are now members
of the Sydney Symphony itself.
Previous Fellows also include
violinist Jane Piper, who is now
a full-time member of the Royal
Concertgebouw Orchestra, which
is touring Australia later this year.
For violinist Kelly Tang,
earning a place in the Fellowship
program has been her confirmation that her career in music is on
the right track. ‘I’ve known that
I’ve wanted to be a musician from
the age of five. Achieving a place
in the Fellowship has made me
even more determined and now I
can’t imagine doing anything else
that I love this much!’ CB
Follow the Fellows on their journey
this year: blog.ssofellowship.com
Ask Vladimir Ashkenazy outright
about his favourite composers or
musical works and the response
is usually tactfully non-committal: ‘How could I possibly name
one? – they are all so great!’
Genuinely awed by the wonder of
musical creation, he comes across
like an unswervingly fair parent –
refusing to play favourites.
But, of course, there are composers and pieces that are close
to his heart, that make his eyes
light up, that prompt him to
enthusiastic discussion and
wonderful anecdotes. And he has
chosen three such works for the
second of his programs in May.
There’s Russian romanticism
in Tchaikovsky’s Romeo and
Juliet – the heartfelt storytelling
that Ashkenazy does so well. And
there’s elegant neoclassicism in
the form of Richard Strauss’s
late oboe concerto, with soloist
Hansjörg Schellenberger. But the
real highlight is Walton’s First
Symphony.
The choice of an English symphony might seem unexpected,
until you remember Ashkenazy’s
Elgar festival in 2008, when
Russian and English sensibilities
met to powerful effect. ‘I love
Walton’s First,’ says Ashkenazy,
‘it’s an absolute favourite.’ The
appeal is in its ‘tremendous
energy’ and Walton’s distinctive
style – nostalgic sometimes, but
spirited and colourful. And the
anecdote? Stay tuned for the
story of the trumpet solo…
Ashkenazy’s Favourites
Master Series
15, 17, 18 May | 8pm
HAPPY BIRTHDAY VANGUARD
CODA
APP-TASTIC!
Our Sydney Symphony app has hit
9,000 downloads across 51 countries. If
you haven’t tried it yet, why not download to watch videos, listen to music
and watch live webstreams – all free,
and all on your mobile! Visit the iTunes
store, or Google Play to download for
Android.
PROGRAM BOOKS ON THE RUN
You can pick up a free program book
at nearly every concert we give. But
did you know you can also download
our programs in advance? For onestop downloading, bookmark sydney
symphony.com/program_library
and read the program on your desktop
computer or mobile device.
HONOURED
In February our principal conductor,
Vladimir Ashkenazy, was awarded the
Honorary Degree of Doctor of Music
by the University of Leicester. He is
in good company: other recipients
include Benjamin Britten, Michael
Tippett, Malcolm Arnold, John Barbirolli
and Colin Davis. Bravo maestro!
The Sydney Symphony Vanguard –
our membership program for Gen X/Y
philanthropists – celebrates its first
birthday in March. The program has
paired hip-hop dancer Nacho Pop
with classical musicians, created a
percussion-only performance zone in
a Kings Cross car park, and more, and
it has attracted 75 members so far.
Sound interesting? Contact Amelia
Morgan-Hunn on 02 8215 4663 for
more info.
WOLGAN WONDERS
Those in search of a special weekend
destination might be interested to
hear about the Sydney Symphony’s
new involvement with Emirates Wolgan
Valley Resort and Spa. The first
weekend in March saw several of our
musicians travel off the beaten track,
past the upper Blue Mountains, for the
inaugural Sydney Symphony chamber
music weekend at Australia’s only
six-star resort. Guests were treated to
four concerts, including one by the
Sydney Symphony Brass Ensemble
in which the audience – armed with
balloons, paper bags, pots and pans –
accompanied a quintet arrangement
of Tchaikovsky’s 1812 Overture, to
great delight! We hope this new mini
festival of music will become a
regular feature of the Wolgan Valley
calendar.
ON THE ROAD
The Sydney Symphony hits the
road in May for two residencies in
Canberra and Albury. Associate
Conductor Jessica Cottis will lead
our merry band of musicians in
a series of schools concerts and
outreach activities, as well as
evening performances. The
repertoire will delight young and
old, with music from Handel’s
Water Music suites, selections
from Stravinsky’s Pulcinella and
Beethoven’s Pastoral Symphony.
CANBERRA
Llewellyn Hall, ANU School of Music
Wed 22 May – 7.30pm concert
Thu 23 May – Primary and secondary
schools concerts
ALBURY
Albury Entertainment Centre
Fri 24 May – Primary and secondary
schools concerts
Sat 25 May – 8pm concert
BRAVO EDITOR Genevieve Lang
CONTRIBUTOR Caitlin Benetatos
sydneysymphony.com/bravo
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