TEA & SYMPHONY

TEA & SYMPHONY

Fri 14 Jun 11am

ALL STOPS OUT David Drury at the Organ

YOU CAN MAKE A BIG DIFFERENCEHelp us bring world-class artists to Sydney and the joy of music to thousands of kids.

Consider a gift to the Sydney Symphony’s Orchestra Fund or Allegro Education Fund before 30 June 2013.

Your precious and invaluable support makes it happen. Thank you!FIONA ZIEGLER, ASSISTANT CONCERTMASTER & PATRON AMBASSADOR

Any amount over $2 is tax deductible. Gifts over $500 are acknowledged in programs.

www.sydneysymphony.com/appeal Call (02) 8215 4600 – Select Option 2

All Stops Out!David Drury at the OrganDavid Drury ORGAN

Female voices of VOX (Sydney Philharmonia Choirs)Elizabeth Scott CHORUS DIRECTOR

Rebecca Gill VIOLIN

Johann Sebastian Bach (1685–1750) Toccata and Fugue in D minor, BWV 565

Wolfgang Amadeus Mozart (1756–1791)Fantasia in F minor for mechanical organ, K608

Louis Vierne (1870–1937)Adagio from the Organ Symphony No.3

Johannes Brahms (1833–1897)Ave Maria, Op.12for organ and choir

Sigfrid Karg-Elert (1877–1933)

Fugue, Canzona and Epilogue, Op.85 No.3for organ, violin and choir

Marche triomphale (Nun danket alle Gott)

2013 season tea & symphonyFriday 14 June | 11am

Sydney Opera House Concert Hall

This concert will be recorded for later broadcast on ABC Classic FM.

Estimated durations: 15 minutes, 10 minutes, 7 minutes, 3 minutes, 11 minutes, 4 minutesThe concert will conclude at approximately 12.05pm.

4 sydney symphony

ABOUT THE MUSIC

BACH Toccata and Fugue in D minor, BWV 565

For almost 100 years, this has been Bach’s greatest hit, its gothic grandeur synonymous with both Bach and the organ. Yet we can’t, with any certainty, trace it back to Bach’s pen. In the absence of a manuscript by Bach himself, the earliest copy is in the handwriting of a pupil of one of his pupils. It was not published or played again until 80 years after Bach’s death. But Felix Mendelssohn, who reintroduced it to the public in the 1830s, rightly judged that it was the one work by Bach that would appeal to the musically educated and uneducated alike. When the new Sydney city organist, Auguste Wiegand, played it on the Sydney Town Hall organ in 1891, the press noted, with surprise, that it ‘proved really interesting to the audience’. Yet if it really is Bach’s (and academics debate the issue), it must be very early, dating from his early 20s at latest. Not atypical for Bach, both toccata and fugue quote parts of an earlier organ work by Pachelbel. Yet while the music bears scant resemblance to the mature Bach, it unquestionably belongs within the tradition of virtuoso German organist-composers from which he emerged.

WA MOZART Fantasia in F minor, K608

It is hard to credit that this imposing fantasia – with its splendidly solemn theme, its intricate Bach-like fugatos, and lovely songlike Andante – was composed not for a human organist, but for mechanical one, a Flötenuhr (fl ute-clock), or as Mozart himself described it, ‘an organ in a clock’. Completed on 5 January 1791, the fantasia was probably commissioned by a disgraced count, Joseph Deym, who after being banished from Vienna for murdering an opponent in a duel, returned to the city clandestinely and was running a private ‘museum of curiosities’ under the alias Herr Müller. In March, Deym/Müller advertised a new attraction, a wax effi gy of the recently deceased Austrian war hero, Gideon von Laudon, in whose honour the clock organ played ‘on the stroke of each hour a Funeral Musique…This week’s composition by Herr Kapellmeister Mozart.’ Whether Mozart ever heard the fantasia played on what can have been nothing more than a large barrel organ is doubtful. Nor, in the 11 short months before his death, is there evidence he contemplated turning it into a piece for organ with human executant. But that is what posterity has made of it, salvaging a small masterpiece, the one organ work by Mozart that bears comparison with the great Bach.

sydney symphony 5

VIERNE Adagio (Quasi Largo) from the Organ Symphony No.3, Op.28

That France developed such an imaginative hybrid as ‘organ symphonies’ – pieces for solo organ, ‘symphonic’ in layout and colouring, but without an actual orchestra – was due to the genius of organ-builder Aristide Cavaillé-Coll, who designed huge instruments that he described as ‘symphonic organs’. What set his organs apart was the huge ‘orchestral’ crescendos their complex mechanism miraculously produced, and the greatly enlarged range of softer sounds, on ranks of pipes designed to imitate fl utes, oboes, and horns, or the aptly named ‘celeste’ (heavenly), whose pipes en masse sound like shimmering orchestral strings. Cavaillé-Coll’s greatest organs were those he began building in 1862 for Paris’s Notre Dame and the Church of St Sulpice. A decade later, the organist of St Sulpice, 25-year-old Charles Marie Widor, composed the fi rst of his ten ‘organ symphonies’ for ‘symphonic organ’. In 1899 in turn, Widor’s young assistant Louis Vierne composed the fi rst of his six. His third symphony (dedicated to his own student Marcel Dupré) dates from summer 1911. Though organist of Notre Dame, Vierne was then nursing a serious grudge at not having been chosen as the new organ professor at the Paris Conservatoire, and his quietly seething disappointment at this slight may well audible in this Adagio, as his injured pride is in the symphony’s opening Allegro.

BRAHMS Ave Maria, Op.12

Brahms’s fi nal o pus, composed in 1896, was a set of short organ preludes on eleven Lutheran chorale tunes. In mourning at the recent loss of his lifelong friend, Clara Schumann, and ill with the cancer that would kill him, his choice of tune for the last prelude was probably signifi cant – ‘O Welt, ich muss dich lassen’ (O World, I must leave you). His only other organ works date from 40 years earlier, when – after supporting Clara through the traumatic fi nal illness and death of her husband Robert Schumann – he returned to his home town Hamburg, and was occasionally playing organ in the local churches. The Schumanns had encouraged him to take up the organ as an adjunct to his interest in Bach’s music. Indeed, one of his Hamburg pieces – a Prelude and Fugue in G minor – bears striking resemblances to Bach’s D minor Toccata and Fugue. Brahms played the organ for a Hamburg amateur women’s choir. At its fi rst meeting in June 1859, eight women rehearsed his setting

6 sydney symphony

of the Ave Maria for voices with organ accompaniment, though by the time they sang it in public for the fi rst time, on 2 December, the choir numbered over 30. Though other Brahms works on that program manifested his fascination with Bach and Palestrina, this – his fi rst choral opus – has the simplicity of German folksong.

KARG-ELERT Fugue, Canzona and Epilogue, Op.85 No.3

Siegfried Karg – as he was then known – started out as a boy chorister at the Johanniskirche in Leipzig. When his voice broke, he was sent to train as a school teacher, but spent most of his time composing, and learning the fl ute, oboe and clarinet. From 1893, he earned a living playing in town bands and theatre orchestras, until he was run out of one small town for daring to pass himself off under the more aristocratic-sounding name ‘Siegfried von Markranstädt’. Nevertheless in 1896 – simply as Karg – he won a scholarship to Leipzig Conservatory, supplementing his income playing in bars but sporting a false beard and wig to avoid detection by the university authorities. On graduating, he was befriended by Norwegian composer Edvard Grieg, who recommended him to publishers and urged him to alter his forename to the Nordic ‘Sigfrid’. Not wanting to seem a novice, he bypassed the usual ‘Opus 1’ and designated his fi rst published work ‘Opus 10’. Finally, adding his mother’s maiden name ‘Elert’ to the unpromisingly monosyllabic Karg, his mature identify was forged.

Fortunately, though perhaps overly concerned with his image, Karg-Elert was also a gifted and prolifi c composer. The set of three Symphonic Canzonas, Op.85, to which this work belongs, appeared in 1911. It opens – rather than closes – with a fugue, incorporating as notes 2 to 5 of its theme the famous B–A–C–H motif (B fl at, A, C, B). Working the fugue up to an ear-splitting climax, the organist suddenly closes of all but the soft pipes for a hushed, hymn-like canzona. Its texture, too, grows fuller and denser. But the focus resolves even more quietly into the epilogue, and the entry – as from afar – of solo violin and heavenly chorus singing in Latin ‘Credo in vitam venturi saeculi, Amen’ (I believe in the life of the world to come. Amen). Notably, the work’s Australian premiere was on Sydney Town Hall organ in July 1921, given by the popular city organist, Ernest Truman, who himself graduated from Leipzig Conservatory in 1888 while Karg (not yet Elert) was still singing soprano at the Johanniskirche!

sydney symphony 7

Marche triomphale (Nun danket alle Gott), Op.65 No.59

Karg-Elert fi nally came to international attention with his 66 Chorale Improvisations, Op.65. This massive opus, issued in six volumes in 1909, quickly traversed the globe, and this triumphal march – based very loosely on the familiar hymn tune ‘Now thank we all our God’ – was introduced to Australian audiences by Adelaide organist, Wilfred Arlom, as early as 1913. Despite wartime prejudice against modern German composers, Karg-Elert was one of few Germans allowed to keep honours awarded them by British institutions. Yet precisely because of his popularity abroad, by the mid-1920s he felt fellow Germans were treating him as an outsider – ‘Someone to be boycotted, dismissed as Jew, traitor or Bolshevik.’ Perhaps, then, his exit was timely. Ill and demoralised, he died in Leipzig on 9 April 1933, a month after a general election confi rmed Hitler as chancellor.

GRAEME SKINNER © 2013

ABOUT THE ORGAN

The Grand Organ of the Sydney Opera House Concert Hall is the world’s largest known mechanical action pipe organ, with 10,154 pipes. It was built by Ronald Sharp and completed in 1979.

The organ’s mechanical tracker action contributes to something of a baroque character – articulated and sensitive – and the instrument has a warm but relatively gentle sound that most agree is extremely well-suited to earlier music such as Bach. At the same time, says today’s organist David Drury, the organ holds some surprises. Among its repertoire of colours is one that’s very close to the harmonic fl ute stop, invented by Cavaillé-Coll in the mid-19th century and favoured in French music. It’s a distinctive breathy, open, but singing sound, which comes into its own in music by composers such as Vierne.

Read more about the organ’s construction and see the full specifi cations in the Sydney Opera House information sheet (PDF fi le) online at bit.ly/GrandOrganSOH

8 sydney symphony

ABOUT THE ARTISTS

David Drury ORGAN

David Drury was born in 1961 and educated at Trinity Grammar School, Sydney. He graduated from the Sydney Conservatorium with a degree in organ performance and as the recipient of the Vasanta scholarship for overseas study. In England he studied with David Sanger of the Royal Academy of Music, gaining the Associate Diploma in organ and the Choir-Master Diploma from the Royal College of Organists. In 1987 he became the fi rst and only Australian to win the Tournemire prize for improvisation at the St Alban’s International Organ Competition.

Since then he has given recitals in Westminster Abbey, St Paul’s Cathedral, Westminster Cathedral and King’s College Cambridge. In Paris he has performed four times at Notre Dame and twice at La Madeleine, and played at the Toulon Festival. He has also toured North America and has given masterclasses and performed on America radio and television.

In Australia and New Zealand he has appeared at the Sydney Opera House and the Sydney, Melbourne, Brisbane, Adelaide, Hobart, Christchurch and Auckland town halls. He has performed at the Melbourne International Festival of Organ and Harpsichord, the Newcastle Festival, Barossa Festival, Ballarat Goldfi elds Festival, Sydney Festival and the New Zealand Organists Congress. He broadcasts regularly for the ABC and other radio stations.

David Drury has performed concertos with the Adelaide and West Australian symphony orchestras, the Australian Opera and Ballet Orchestra, Orchestra Victoria and the Hong Kong Philharmonic. He performed in the 2000 Olympic Games opening ceremony and in front of the world leaders at the 2007 APEC concert at the Sydney Opera House. He also plays with the Sydney Symphony when organ is required, and has performed with the Australian Chamber Orchestra, Seymour Group, The Song Company, Sydney Brass Ensemble, Sydney University Musical Society, Sydney Philharmonia Choirs and Australian Baroque Brass.

David Drury has released four solo recordings as well as appearing on numerous recordings as a guest artist. He is also the keyboardist with the progressive band Resonaxis, and as a composer, he has a large output of choral music. He is Director of Music at St Paul’s College, within the University of Sydney.

sydney symphony 9

Rebecca Gill VIOLIN

Rebecca Gill grew up in Newcastle, where she began studying the violin with Elizabeth Holowell. In 2009 she graduated from Sydney Conservatorium with fi rst class honours and the highest violin recital mark of her year. She continued her studies with Janet Davies, completing a Master of Violin Performance (Research) degree in 2012.

She has been a member of the Australian Youth Orchestra for several years, including playing principal second violin in 2011 and 2012; served as concertmaster in many programs at the Sydney Conservatorium; and for many years led the SBS Youth Orchestra. As a member of these ensembles she has toured Australia and internationally, performing in venues such as the Royal Albert Hall and the Amsterdam Concertgebouw, and in Germany. She also performs in a variety of professional and pre-professional ensembles including the Sydney Symphony Orchestra and Sinfonia, and the Britten Pears Orchestra in the UK.

Rebecca Gill has been privileged to work with many leading artists, including violinists Pekka Kuusisto and Elizabeth Wallfi sch, conductors Mark Elder and Simone Young, and the Eggner Trio. And as a 2013 Sydney Symphony Fellow, she is participating in an intensive year-long apprenticeship with the orchestra.

Elizabeth Scott MUSIC DIRECTOR – VOX

Elizabeth Scott graduated from the Sydney Conservatorium of Music in 1995 as a fl ute major and completed postgraduate studies in choral conducting, vocal performance and aural training in Hungary and Germany. Before her appointment as Music 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 Offi cer 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.

2013 SYDNEY SYMPHONY FELLOW

10 sydney symphony

To find out about Sydney Philharmonia concerts or joining one of the choirs, visit www.sydneyphilharmonia.com.au

VOX – Sydney Philharmonia Choirs

VOX – a 50-voice chamber vocal ensemble for young adults – is one of the three principal choirs that make up Sydney Philharmonia Choirs, which also includes the Chamber Singers and Symphony Chorus. Having previously performed alongside the Symphony Chorus in Sydney Symphony concerts, in 2011 VOX made its fi rst appearance with the orchestra in its own right, singing in the semi-staged production of Grieg’s Peer Gynt. Other appearances with the orchestra include the Lord of the Rings trilogy and Beethoven Nine. This season, VOX has worked with American composer and conductor Eric Whitacre and is preparing the program Luminous Night for concerts in August.

Formed in 1920, Sydney Philharmonia Choirs is Australia’s largest choral organisation. It presents an annual concert series covering a diverse repertoire, from early a cappella works to contemporary music. In 2010 Sydney Philharmonia made a return visit to the BBC Proms. Other recent highlights include Semele Walk and 2001: A Space Odyssey (Sydney Festival), Vladimir Ashkenazy’s Mahler Odyssey (2010–11) and concert performances of Tchaikovsky’s Queen of Spades.

Brett Weymark Music Director Elizabeth Scott Music Director – VOXAtul Joshi General Manager Anthony Pasquill Assistant ChorusmasterRehearsal pianistsLuke Byrne, Michael Curtain

VOX

SOPRANOS

Olivia Bandler- LlewellynHolly BrookeAnita BurkartCharlotte CampbellVictoria CampbellSarah DockrillVicky GrayGeorgina Hannam

Emi HaskellMadi HolnessGenevra HowardClare KennyGeorgia MooreAmelia MyersQuan Quan PhuaMaya Schwenke

ALTOS

Alice ChanceAdela GreenbaumEmma HancockCara HitchinsLiane PapantoniouOlivia RobinsonSuzanne Sherrington

Alexandra Stuart- WattChela WeitzelLia WeitzelJaimie WolbersPriscilla Yuen

sydney symphony 11

Irene LeeDavid LivingstoneGoetz Richter

Sydney Symphony BoardJohn C Conde ao ChairmanTerrey Arcus amEwen Crouch amRoss Grant

Jennifer HoyRory JeffesAndrew Kaldor am

SYDNEY SYMPHONYVladimir Ashkenazy, Principal Conductor and Artistic AdvisorPATRON 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 fi nest 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 fi rst 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, Zdenek 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 fi gures 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 fi fth year of Ashkenazy’s tenure as Principal Conductor and Artistic Advisor.

JOH

N M

AR

MA

RA

S

12 sydney symphony

SYDNEY SYMPHONY PATRONS

Maestro’s CirclePeter William Weiss ao – Founding President & Doris WeissJohn C Conde ao – ChairmanGeoff Ainsworth am & Vicki Ainsworth Tom Breen & Rachael KohnIn memory of Hetty & Egon GordonAndrew Kaldor am & Renata Kaldor aoRoslyn Packer ao

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

Sydney Symphony Corporate AllianceTony Grierson, Braithwaite Steiner PrettyInsurance Australia Grou pJohn Morschel, Chairman, ANZ

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

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

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

06 Robert Johnson Principal Horn James & Leonie Furber Chair

07 Elizabeth Neville Cello Ruth & Bob Magid Chair

08 Colin Piper Percussion Justice Jane Mathews ao Chair

09 Emma Sholl Associate Principal Flute Robert & Janet Constable Chair

For information about the Directors’ Chairs program, please call (02) 8215 4619.

Directors’ Chairs

01 02 03 04 05

06 07 08 09

Sydney Symphony VanguardVanguard CollectiveJustin Di Lollo – ChairKees BoersmaMarina GoDavid McKeanAmelia Morgan-HunnJonathan PeaseSeamus R Quick

Benoît CocheteuxGeorge CondousMichael CookPaul CousinsJustin Di LolloRose GalloAlistair GibsonSam GiddingsMarina GoSebastian GoldspinkRose HercegPaolo HookePeter HowardJennifer HoyScott JacksonDamian Kassagbi

MembersCentric WealthMatti AlakargasJames ArmstrongStephen AttfieldDamien BaileyAndrew BaxterMar BeltranKees Boersma Andrew BraggPeter BraithwaiteAndrea BrownIan BurtonJennifer BurtonHahn ChauAlistair ClarkMatthew Clark

Jingmin QianSeamus R QuickLeah RanieMichael ReedeChris RobertsonEmma RodigariJacqueline RowlandsBernard RyanKatherine ShawRandal TameAdam WandJon WilkieJonathan WatkinsonDarren WoolleyMisha Zelinsky

Aernout KerbertAntony Lighten Gary LinnanePaul MacdonaldDavid McKeanHayden McLeanAmelia Morgan-HunnPhoebe Morgan-HunnTom O’DonnellTaine MoufarrigeHugh MunroFiona OslerJulia OwensArchie PaffasJonathan Pease

sydney symphony 13

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+Brian AbelRobert Albert ao & Elizabeth AlbertGeoff AinsworthTerrey Arcus am & Anne ArcusTom Breen & Rachael KohnSandra & Neil BurnsMr John C Conde aoRobert & Janet ConstableMichael Crouch ao & Shanny CrouchJames & Leonie FurberDr Bruno & Mrs Rhonda Giuff reIn memory of Hetty & Egon GordonMr Andrew Kaldor am & Mrs Renata Kaldor aoD & I KallinikosJames N Kirby FoundationThe late Joan MacKenzieVicki OlssonMrs Roslyn Packer aoPaul & Sandra SalteriMrs Penelope Seidler amG & C Solomon in memory of Joan MacKenzieMrs W SteningMr Fred Street am & Mrs Dorothy StreetPeter William Weiss ao & Doris WeissWestfi eld GroupMr Brian & Mrs Rosemary WhiteKim Williams am & Catherine DoveyRay Wilson oam in memory of James Agapitos oam

Gold Patrons$10,000–$19,999Stephen J BellAlan & Christine BishopIan & Jennifer BurtonHoward ConnorsCopyright Agency Cutlural Fund Edward FedermanNora GoodridgeMr Ross GrantThe Estate of the late Ida GuggerHelen Lynch am & Helen BauerRuth & Bob MagidJustice Jane Mathews aoThe Hon. Justice AJ Meagher & Mrs Fran MeagherMrs T Merewether oamMr B G O’ConorHenry & Ruth WeinbergCaroline WilkinsonJune & Alan Woods Family Bequest

Silver Patrons $5000–$9,999Doug & Alison BattersbyMr Robert BrakspearMr David & Mrs Halina BrettMr Robert & Mrs L Alison Carr Bob & Julie ClampettIan Dickson & Reg HollowayDr C GoldschmidtThe Greatorex Foundation Mr Rory Jeff esJudges of the Supreme Court of NSW Mr Ervin KatzThe Estate of the late Patricia LanceTimothy & Eva PascoeWilliam McIlrath Charitable FoundationRodney Rosenblum am & Sylvia RosenblumManfred & Linda SalamonMrs Joyce Sproat & Mrs Janet CookeMichael & Mary Whelan TrustAnonymous (1)

Bronze Patrons $2,500–$4,999Ewen Crouch am & Catherine CrouchThe Hon. Ashley Dawson-DamerFirehold Pty LtdStephen Freiberg & Donald CampbellVic & Katie FrenchMrs Jennifer HershonMichael & Anna JoelGary LinnaneMatthew McInnesJ A McKernanR & S Maple-BrownRenee MarkovicMora MaxwellJames & Elsie MooreDrs Keith & Eileen OngIn memory of Sandra Paul PottingerDr John Roarty oam in memory of Mrs June RoartyIn memory of H St P ScarlettJulianna Schaeff erDavid & Isabel SmithersMarliese & Georges TeitlerMr & Mrs T & D YimAnonymous (2)

Bronze Patrons $1,000–$2,499Mrs Antoinette AlbertAndrew Andersons aoMr Henri W Aram oamDr Francis J AugustusRichard and Christine Banks David BarnesNicole BergerAllan & Julie BlighDr & Mrs Hannes Boshoff Jan BowenLenore P BuckleM BulmerIn memory of RW BurleyIta Buttrose ao obeJoan Connery oam & Maxwell Connery oamConstable Estate Vineyards Debby Cramer & Bill CaukillMr John Cunningham SCM & Mrs Margaret CunninghamGreta DavisLisa & Miro DavisMatthew DelaseyMr & Mrs Grant DixonColin Draper & Mary Jane BrodribbMrs Margaret EppsMr Ian Fenwicke & Prof. Neville WillsMr James Graham am & Mrs Helen GrahamWarren GreenAnthony Gregg & Deanne WhittlestonAkiko GregoryTony GriersonEdward & Deborah Griffi nRichard Griffi n amIn memory of Dora & Oscar GrynbergJanette HamiltonMichelle HiltonThe Hon. David Hunt ao qc & Mrs Margaret HuntDr & Mrs Michael HunterIn memory of Bernard M H KhawMr Justin LamMr Peter Lazar amIrene LeeAssociate Professor Winston LiauwDr David LuisCarolyn & Peter Lowry oamDeirdre & Kevin McCannIan & Pam McGawMacquarie Group Foundation

14 sydney symphony

To find out more about becominga Sydney Symphony Patron, pleasecontact the Philanthropy Officeon (02) 8215 4625 or emailphilanthropy@sydneysymphony.com

Ms Jackie O’BrienJF & A van OgtropMr & Mrs OrtisMr Andrew C PattersonPiatti Holdings Pty LtdAndy & Deirdre Plummer Robin PotterErnest & Judith RapeeKenneth R ReedPatricia H Reid Endowment Pty LtdCaroline SharpenDr Agnes E SinclairCatherine StephenJohn & Alix SullivanThe Hon. Brian Sully qcMildred TeitlerJohn E TuckeyMrs M TurkingtonIn memory of Joan & Rupert VallentineDr Alla WaldmanMr Robert & Mrs Rosemary WalshAnn & Brooks Wilson amDr Richard WingMr R R WoodwardIn memory of Lorna WrightDr John YuAnonymous (9)

Bronze Patrons $500–$999Mrs Lenore AdamsonMr & Mrs Garry S AshBarlow Cleaning Pty LtdBeauty Point Retirement ResortMrs Margaret BellMinnie BiggsMrs Jan BiberDr Anthony BookallilR D & L M BroadfootArnaldo BuchAnn & Miles BurgessPat & Jenny BurnettThe Hon. Justice JC & Mrs CampbellDr Rebecca ChinMrs Sarah ChissickMrs Catherine J ClarkR A & M J ClarkeMr & Mrs Coates

Coff s Airport Security Car ParkMr B & Mrs M ColesMrs Joan Connery oamJen CornishMr David CrossPhil Diment am & Bill Zafi ropoulosElizabeth DonatiThe Dowe FamilyJohn FavaloroMalcolm Ellis & Erin O’NeillIn memory of Peter EverettMr Tom FrancisMr John GadenVivienne GoldschmidtClive & Jenny GoodwinRoger HenningHarry & Meg HerbertSue HewittDorothy Hoddinott aoMr Joerg HofmannMrs Kimberley HoldenMr Gregory HoskingNiki KallenbergerMrs Margaret KeoghDr Henry KilhamChris J KitchingAnna-Lisa KlettenbergSonia LalMr Luigi LampratiDr & Mrs Leo LeaderMargaret LedermanErna & Gerry Levy amSydney & Airdrie LloydMrs A LohanMrs Panee LowDr David LuisPhilip & Catherine McClellandMelvyn MadiganAlan & Joy MartinMrs Toshiko MericMs Irene Miller & Ms Kim HardingP J MillerDavid MillsKenneth N MitchellMs Margaret Moore oam & Dr Paul Hutchins amChris Morgan-HunnMrs Milja Morris

A NhanMr Graham NorthDr Mike O’Connor amMr R A OppenOrigin FoundationDr A J PalmerDr Kevin PedemontDr Natalie E PelhamMichael QuaileyRenaissance ToursAnna RoLesley & Andrew RosenbergMrs Pamela SayersGarry Scarf & Morgie BlaxillPeter & Virginia ShawMrs Diane Shteinman amMs Stephanie SmeeMs Tatiana SokolovaDoug & Judy SotherenMrs Judith SouthamMrs Karen Spiegal-KeighleyMargaret SuthersNorman & Lydia TaylorDr Heng Tey & Mrs Cilla TeyMrs Alma Toohey & Mr Edward SpicerKevin TroyGillian Turner & Rob BishopProf Gordon E WallMrs Margaret WallisRonald WalledgeMs Elizabeth WilkinsonAudrey & Michael WilsonA Willmers & R PalDr Peter Wong & Mrs Emmy K WongGeoff Wood & Melissa WaitesGlen & Everly WyssMrs Robin YabsleyAnonymous (22)

List correct as of 1 May 2013

Learn how, with the people who know books

and writing best.

Faber Academyat ALLEN & UNWIN

T (02) 8425 0171

W allenandunwin.com/faberacademy

D O Y O U H A V E A S T O R Y T O

T E L L ?

sydney symphony 15

SALUTE

PRINCIPAL PARTNER GOVERNMENT PARTNERS

The Sydney Symphony is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body

The Sydney Symphony is assisted by the NSW Government through Arts NSW

PREMIER PARTNER

Fine Music 102.5

MARKETING PARTNER

GOLD PARTNERS

REGIONAL TOUR PARTNERS

SILVER PARTNERS

executive search

THE LEADING SCHOOL FOR TODAY’S MUSIC INDUSTRY

EDUCATION PARTNER MAJOR PARTNERS

PLATINUM PARTNERS

I think of the piccolo as the icing on the cake in the orchestra.

from decades of experience of playing with an orchestra that plays in tune. I know I can’t make them tune to me.’ Rose explains that on the piccolo, some notes are more ‘flexible’ than others. For instance, at the end of the Elegia movement in Bartók’s Concerto for Orchestra, the piccolo, harp and violins (playing harmonics) play a unison D flat. ‘I remember when I went to Chicago on a Friends [of the SSO] scholarship, I was working through all the orchestral excerpts with Walfrid Kujala, who was the Principal Piccolo of the Chicago Symphony Orchestra at the time. When we got to that very note in the Bartók, he turned to me and asked quite sincerely, “Do you have any luck with that note?”’ It seems piccolo players the world over are facing the same musical challenges. Though perhaps not all of them are doing it in between marathons…

Pho

to: B

rend

an R

ead

‘It’s all about the food,’ jokes Rosamund Plummer, Principal Piccolo. ‘I do it so I can eat more.’ This is the first explanation she gives for her relatively newfound love of long-distance running. Actually, running was something that she’d tried on and off for decades, but it never stuck. ‘I used to think I wasn’t built for it, couldn’t do it. That I’d only end up hurting my knees. When I turned 50, I thought I’m either going to go down the drain, or choose not to. I did a course in learning to run at a community college and learnt so much. In nearly four years, I’ve never been injured, and I’ve run two marathons!’

‘The experience of getting older,’ reflects Rose, ‘is kind of the opposite of what most people think. You actually get tougher. You get over all your earlier hang-ups.’

So how does Rose’s newly acquired habit affect her performance in the orchestra? ‘I’ve found that it makes me fearless. If I can run a marathon, I know I can do anything. Tchaikovsky’s Fourth five times in a row? Sure. Shostakovich Ten in every concert in China? Doesn’t faze me. As a piccolo player, it’s quite handy to be fearless.’

‘I think of the piccolo as the icing on the cake in the orchestra. I love it. I’ve learnt

RUNNING ROSEPrincipal Piccolo Rosamund Plummer knows no fear

ORCHESTRA NEWS | JUNE 2013

Photo: Brendan Read

You can enjoy six selected live performances of the Sydney Symphony during its 2013 season in the comfort of your own home, only at BigPond® Music online or on T-Box®.

Visit bigpondmusic.com/sydneysymphony

The spectrum device is a trade mark of Telstra Corporation Limited. ® Registered trade marks of Telstra Corporation Limited ABN 33 051 775 556

CONDUCT A SYMPHONYAT YOUR PLACE

Sponsorship Highlight

Ara Vartoukian reveals the innards of a Steinway concert grand.

Deconstructing the SteinwayEver wondered about the mechanism behind the sound of a glorious grand piano? At a recent event at Theme & Variations Piano Services showroom, an audience of patrons, guests and Sydney Symphony friends witnessed the ‘deconstruction’ of a Steinway grand before their very eyes!

Theme & Variations director Ara Vartoukian has years of experience here and in Europe – tuning, voicing and regulating these instruments and in the course of the evening he shared his vast knowledge, shining a light on the evolution of the iconic sound of the Steinway, explaining the intricacies of the

mechanism and how technology has changed the instrument.

Theme & Variations is the presenting partner of our International Pianists in Recital series. Jonathan Biss performs Beethoven sonatas on 29 July at City Recital Hall Angel Place.

In May we visited Canberra and Albury for concerts and workshops. During the tour the Fellowship Quartet performed in the Great Hall of Parliament House.

Ask a MusicianWhat’s the difference between a concertmaster, an associate concertmaster and an assistant concertmaster?

Traditionally, the concertmaster’s role was to take over from the conductor if he fell ill, though that’s less likely these days because we’re lucky enough to have assistant conductors who train to do that. The concert-master is expected to liaise with the conductor, determine the

bowings, demonstrate phrasing and monitor ensemble in the first violins, and in the orchestra more broadly. In a tricky acoustic environment, lots of people will keep an eye on the leader’s bow, to know exactly when to play.

The associate and assistant concertmasters are also required

to lead the orchestra from time to time, if the concertmaster falls ill or is away. More often, though, we’re there to support the concertmaster. I often have to pass information back to the rest of the section, or resolve any seating issues. We also play the front-desk solos when required.

My job requires a different kind of leading to sitting in the concertmaster’s seat, where you’re the one who’s initiating any translation of the conductor’s beat. I see my role as transmitting a lot of what else is going on in the orchestra, particularly from the second violins because I sit so close to them. Sometimes too, people in our section can’t actually see the concertmaster, and so they watch me instead. It’s vital that I don’t move in a direction contrary to what the concertmaster is showing.

Kirsten Williams, Associate Concertmaster

THANK YOU CONCERTOutreach Focus

Handel’s Water Music together with a brass fanfare by French composer Paul Dukas.

‘I’m delighted this tradition continues today. Our musicians asked for an opportunity to thank the John Holland employees who are working to improve the conditions of our home,’ continued Rory.

Due to be completed late next year, the new underground loading dock and tunnel will give all Opera House users vastly improved access to the Concert Hall and allow us to move large instruments and other equipment in and out of the venue more efficiently. Wholly funded by the NSW Government, the work is being completed by John Holland, a subsidiary of Leighton Holdings.

Hamish Tyrwhitt, Chief Executive Officer of Leighton Holdings, said: ‘Leighton Holdings is extremely proud of its ten-year partnership with the Sydney Symphony. It’s based on supporting young and emerging talent, a theme very much in line with our philosophy of fostering the development of our employees.’

It’s not every day that SSO musicians are required to don hard hats and high visibility vests to go to work. In May, however, it was entirely appropriate concert clobber as our musicians performed for construction workers at the Sydney Opera House. This special concert was our way of saying thank you to the crews for all their work in improving the orchestra’s home behind the scenes.

This wasn’t the first time such a concert had been arranged. ‘The Sydney Symphony gave the very first performance in the Concert Hall in December 1972,’ said Managing Director Rory Jeffes. ‘This was almost one year before the official opening of the Opera House, for an audience of construction workers and their families, in a concert designed to test the acoustics of the Concert Hall.’

This time it was the acoustics of the excavated site deep beneath the Opera House forecourt that was given a work out. Five of our brass musicians performed some of the music that was played at that 1972 concert: an Allegro from

Recently our musicians took their (hard) hats off to the men and women working on improvements to the Sydney Opera House.

How I learn a pieceJonathan Biss: The most im portant thing, which does not vary, is that I learn in phases. I first start looking seriously at a new piece more than a year in advance of the performance and with the knowledge that I’ll go away from it at least twice before then. I find the time I spend away from a piece of music is almost more important than the practice schedule and initial practising – there’s a strange osmosis that happens. I’ll spend ten months really getting some-thing into my fingers – dealing with the essential problems and looking for solutions to things that are tricky for my fingers. Then I’ll come back to it three months later not having thought about it so much and find the problems have magically resolved themselves. It usually then it reveals a whole new set of problems! I try to go through that process at least twice. I find my whole relationship with a piece is so much deeper than it would be otherwise. Let’s say I spend three months working on a piece before going on stage – I’m much happier knowing that those three months of work took place over 12 months.

Jonathan Biss plays BeethovenInternational Pianists in Recital 29 July | 7pm

Jonathan Biss plays MozartThursday Afternoon Symphony 25 July | 1.30pmEmirates Metro Series 26 July | 8pmGreat Classics 27 July | 2pm

The Score

Pho

to: J

illia

n Ed

elst

ein/

EMI C

lass

ics

SYDNEY OPERA HOUSE TRUSTMr Kim Williams AM [Chair]Ms Catherine Brenner, The Hon Helen Coonan, Mr Wesley Enoch,Ms Renata Kaldor AO, Mr Robert Leece AM RFD, Mr Peter Mason AM,Dr Thomas Parry AM, Mr Leo Schofi eld AM, Mr John Symond AM

EXECUTIVE MANAGEMENTChief Executive Offi cer Louise Herron AM

Executive Producer SOH Presents Jonathan BielskiDirector, Theatre and Events David ClaringboldDirector, Marketing, Communications and Director, Customer Services Victoria DoidgeBuilding Development and Maintenance Greg McTaggartDirector, Venue Partners and Safety Julia PucciChief Financial Offi cer Claire Spencer

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

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

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

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

PAPER PARTNER

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

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

By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover than that in which it was published, or distributed at any other event than specifi ed on the title page of this publication 17092 — 1/140613 — 17TS S41

This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064Head Office: Suite A, Level 1, Building 16, Fox Studios Australia, Park Road North, Moore Park NSW 2021PO Box 410, Paddington NSW 2021Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: admin@playbill.com.au Website: www.playbill.com.auChairman Brian Nebenzahl OAM RFD

Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager—Production & Graphic Design Debbie ClarkeManager—Production—Classical Music Alan ZieglerOperating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, Hobart & Darwin

PA

All Entis ptitl

By conpubbinpag

ThTPlaACHeFoPOTeTE-ChMaEdMaMaOp

VALE HAZEL HAWKEWe were saddened to learn recently of the death of Hazel Hawke. Her tremendous legacy includes her role as a patron of the arts, and specifically of the ABC Young Performers Awards. Many of us in the orchestra remember the time she performed with us as a piano soloist! It was in a pair of Meet the Music concerts in 1990, conducted by John Hopkins, in which Hazel Hawke was joined by two former YPA winners, Rebecca Chambers and Duncan Gifford, in Mozart’s Concerto in F for three pianos, K242.

EMERGING ARTISTS 2014: APPLICATIONS OPENSydney Sinfonia and Fellowship applications are closing on Friday 19 July. More information, including online applications, is available through our website

at bit.ly/EmergingArtists Application2014 Any questions? Call Mark Lawrenson on (02) 8215 4652.

ASHKENAZY’S FAVOURITE THINGSRecently Vladimir Ashkenazy joined us for a fortnight of concerts, including a program we dubbed ‘Ashkenazy’s Favourites’. While he was in town he shared a few of his favourite things in a series of videos. Enjoy the full playlist for Ashkenazy’s favourite joke, favourite clothing, favourite food and a top restaurant recommendation should you ever find yourself in Iceland! bit.ly/AshkenazyFavesPlaylist

YOUR SAYA concertgoer response we simply had to share…

Stuck in a rainstorm traffic snarl on the M4, I sometimes wonder in this age of high-fidelity recordings why we concert-goers haul

ourselves up to 160 kilometres round trip to attend a live concert. The performance of Carmina Burana on 22 March provided the answer, especially when directed with the rhythmic subtlety and excitement of Long Yu. Sitting 10 metres away from massed choirs, gongs, drums and brass during ‘O Fortuna’ is an experience you cannot re-create with a CD or a DVD.

Now I must admit that Carmina Burana is a guilty pleasure, because it is about as profound as an Iced Vo-Vo, and when listening to it, I feel like a scholar skipping a visit to the British Museum to go pole dancing. On the other hand, which other orchestral piece features as much sex, booze and gambling, along with cameo appearances by the Pope and the Queen? No wonder the percussionists had such broad smiles on their faces at the end. They probably felt the earth move, too. David Potter

CODA

BRAVO EDITOR Genevieve Lang sydneysymphony.com/bravo