lang lang program book (8, 10, 11, 14 jun) · pdf filewe at credit suisse have great pleasure...

WED 8 | FRI 10 | SAT 11 | TUE 14 JUNE 8PM

LANG LANG

2011 SEASONSPECIAL EVENT

WELCOME

We at Credit Suisse have great pleasure in welcoming you to this

Sydney Symphony gala concert featuring world-renowned pianist

Lang Lang.

Since he launched onto the international stage in 1999 aged 17,

Lang Lang has made an extraordinary impact on the world of

classical music with his fl amboyant stage presence and unique

talent. We are delighted to help bring him to Australian audiences

for this week of concerts.

This is not Credit Suisse’s fi rst association with this remarkable

musician. We were fortunate to witness him perform and receive

a standing ovation at our 150th anniversary gala celebrations in

Hong Kong in 2006.

At Credit Suisse, we have a long-standing philosophy of nurturing

young talent. We are very proud to be the Premier Partner of the

Sydney Symphony and to be closely involved with helping develop

its talent through our support of the Sydney Symphony Fellowship,

now in its tenth year, and the Associate Conductor position.

We are particularly delighted that Lang Lang has chosen to include

Tchaikovsky’s First Piano Concerto among his concerts with the

Sydney Symphony this week. Not only was this the concerto that he

performed on his fi rst visit to the orchestra in 2004, it was the piece

that he performed when he made his break to stardom in 1999. Above

all, it was the concerto Lang Lang dreamed of performing as a child –

and when we nurture talent, we nurture dreams such as this.

We hope you have a very enjoyable evening.

David Livingstone Chief Executive Offi cerCredit Suisse, Australia

2011 SEASON

Lang Lang with the Sydney Symphony

Columbia Artists Music LLCPersonal Direction: Ronald A. Wilford and Jean-Jacques Cesbron1790 Broadway, New York NY 10019www.cami.com

Lang Lang is an Exclusive Recording Artist of Sony Music

PREMIER PARTNER

PROGRAM CONTENTS

Lang Langpage 6

Wednesday 8 June | 8pmLang Lang in Recital page 9

A Commitment to the Futurepage 14

Friday 10 June | 8pmSaturday 11 June | 8pmLang Lang plays Rachmaninoffpage 15

More Musicpage 22

Tuesday 14 June | 8pmLang Lang plays Tchaikovskypage 23

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6 | Sydney Symphony

Lang Lang

Heralded as the ‘hottest artist on the classical music planet’ by The New York Times, 28-year-old Lang Lang has played to sold-out houses in every major city in the world. He is the fi rst Chinese pianist to have been engaged by the Vienna and Berlin philharmonic orchestras and by the top American orchestras. He has worked with such leading conductors as Sir Simon Rattle and Daniel Barenboim, and appeared with Seiji Ozawa at the gala opening of the National Centre for the Performing Arts in Beijing.

Testimony to his success, Lang Lang recently appeared in Time magazine’s annual list of the World’s 100 Most Infl uential People. In 2008, 5 billion people witnessed his televised performance in the opening ceremony of the Beijing Olympics. His appearance has inspired more than 40 million Chinese children to learn classical piano, a phenomenon The Today Show (US) called ‘the Lang Lang eff ect’.

Lang Lang himself began playing piano at the age of three. Entering Beijing’s Central Music Conservatory at age nine, he won fi rst prize at the Tchaikovsky International Young Musicians Competition and at 13 played Chopin’s 24 Études at the Beijing Concert Hall. His break into stardom came at 17, when he was called upon to be a last-minute substitute, playing Tchaikovsky’s fi rst concerto with the Chicago Symphony Orchestra. Concerts around the world followed, The Times in London reporting: ‘Lang Lang took a sold-out Albert Hall by storm…This could well be history in the making.’

For nearly a decade, Lang Lang has been giving back to children around the world through volunteer activities

as diverse as mentoring talented young pianists, performing for sick children in hospitals, bringing classical recitals to remote communities, and donating his services to charitable causes. The Lang Lang International Music Foundation has the mission of inspiring the next generation of classical music lovers and performers by cultivating tomorrow’s top pianists, championing music education at the forefront of technology, and building young audiences through live music experiences. In 2009, Lang Lang and three young scholars from the foundation, aged 6 to 10, performed together on The Oprah Winfrey Show.

In 2004, he was appointed International Goodwill Ambassador to the United Nations Children’s Fund (UNICEF), and he has raised funds for earthquake relief in China and Haiti. In 2007, he was guest soloist at the Nobel Prize concert in Stockholm, and returned as soloist for the 2009 Nobel Peace Prize ceremony and concert for Barack Obama. At the 2008 Grammy Awards, he paired up with jazz great Herbie Hancock for a performance that was broadcast live to 45 million viewers. The two pianists continued their collaboration with a world tour in 2009. Lang Lang is one of 250 Young Global Leaders picked by the World Economic Forum and he received the 2010 Crystal Award in Davos.

Lang Lang made his Australian debut in 2004, performing Tchaikovsky’s First Piano Concerto with the Sydney Symphony and conductor Christopher Seaman.

www.langlang.comwww.thelanglangfoundation.org

7 | Sydney Symphony

9 | Sydney Symphony

This recital will be broadcast live across Australia on ABC Classic FM.

Pre-concert talk by David Garrett at 7.15pm in the Northern Foyer.Visit sydneysymphony.com/talk-bios for speaker biographies.

Approximate durations: 28 minutes, 26 minutes, 20-minute interval, 20 minutes, 19 minutes

The recital will conclude at approximately 10.10pm.

2011 SEASON GALAWednesday 8 June | 8pmSydney Opera House Concert Hall

LANG LANG IN RECITAL

LUDWIG VAN BEETHOVEN (1770–1827)

Piano Sonata No.3 in C, Op.2 No.3

Allegro con brioAdagioScherzo (Allegro)Allegro assai

Piano Sonata No.23 in F minor, Op.57 ‘Appassionata’

Allegro assaiAndante con moto –Allegro ma non troppo

INTERVAL

ISAAC ALBÉNIZ (1860–1909)Iberia, Book I

Evocation El PuertoFête-Dieu à Séville

SERGEI PROKOFIEV (1891–1953)Piano Sonata No.7, Op.83

Allegro inquieto – AndantinoAndante calorosoPrecipitato

PREMIER PARTNER

10 | Sydney Symphony

ABOUT THE MUSIC

Reading the Recital

The piano is centre stage, on its own. It awaits the pianist. A recital is about to begin. Obvious? Only history and tradition make it so. In fact, it’s a very unusual kind of concert, presented by a single musician, on a single instrument. Calling concerts recitals began with the piano, and among the fi rst ‘recitalists’ were Franz Liszt and Clara Schumann. There was novelty, and sensational publicity, when Liszt gave entire concerts on his own. The name for such concerts comes from the analogy of speaking poetry in public. Like poetry, a ‘recital’ of music may be given from memory – another of Liszt’s striking novelties.

Liszt’s programs displayed his amazing virtuosity, but much more than that. The shape of tonight’s program is unthinkable without Liszt’s pioneering example: the music is heard in historical order of composition, beginning, as the 18th century drew to a close, with Beethoven, and ending in the mid-20th century with Prokofi ev. It could be heard – if we wished – as illustrations of an imaginary lecture about the evolution of piano music. But we’ve come, surely, to hear the piano played. It’s the same instrument, but each composer makes it sound very diff erent. It’s no accident that the solo piano recital became part of concert life just as the piano was achieving consistency of design and manufacture,

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so that travelling virtuosos (though some still ‘travelled with a piano’) could expect much the same instrument, wherever the concert was given. The sound of these pianos could fi ll the larger halls where 19th-century pianists played.

Lang Lang has chosen music by three composers who were also virtuoso pianists. When Beethoven published his fi rst three sonatas, he was at the height of his fame in Vienna as a pianist. He was heard mainly in select gatherings of upper-class music lovers, and what impressed his listeners most was his powers of improvisation. When Beethoven chose to write for publication, he needed to meet expectations raised by his playing, and his fi rst three sonatas did that. The third sonata still suggests a young virtuoso revelling in his own brilliance (there is even a concerto-like cadenza at the end of the fi rst movement). The ‘Appassionata’ sonata came some ten years later, after the crisis of Beethoven’s increasing deafness. He was still playing in public, but hearing less. He preferred louder pianos, such as those, with increased string tension, made by the English fi rm of Broadwood. Many passages in the fast movements of this sonata sounded thrilling on the new pianos. The ‘Appassionata’, mighty in passion and intensity, also feels as if Beethoven is addressing himself to a broader public, and to other pianists. The sonata from Opus 2 announces the young virtuoso as a mature composer. Opus 57 is for posterity: late in life Beethoven told his pupil Carl Czerny that he regarded this sonata as his greatest, apart from the last fi ve (Op.101, 106, 109–111). So there’s a history lesson amidst the excitement and power of the two Beethoven sonatas.

Liszt, the pioneer piano recitalist, links Beethoven, through Czerny, to Albéniz. Beethoven possibly attended the 11-year old Liszt’s recital in Vienna. Czerny was Liszt’s teacher, and in 1878 Isaac Albéniz went to Weimar to receive instruction from the aging Liszt. Albéniz was then 18, but already had amazing adventures behind him, thanks to his precocious gifts as a pianist. He gave his fi rst public concert when he was four – his father wanted to turn him into a money-earning infant prodigy. Isaac gave many concerts in his native Spain, before running away from home, supporting himself by giving concerts. At age 12 he was arrested in Cadiz to be returned to his parents, but stowed away on a ship to Latin America. After studies in Leipzig and Brussels, amidst more touring, he became more serious about his development as an artist, and that led him to Liszt. Albéniz began to devote himself to serious repertoire – the kind of music heard in this recital. But he didn’t give

BeethovenPiano Sonata No.3 in C, Op.2 No.3

Allegro con brioAdagioScherzo (Allegro)Allegro assai

BeethovenPiano Sonata No.23 in F minor, Op.57 ‘Appassionata’

Allegro assaiAndante con moto –Allegro ma non troppo


up playing his own display pieces. Albéniz’s discovery of his Spanishness, and its creative expression, dates from 1883 when he began studies with Felipe Pedrell. Pedrell was mentor to the three composers who brought about the renaissance of Spanish music: Granados, Albéniz and Falla.

Pedrell understood that Albéniz grasped music not through theory but through the piano keyboard. The way was paved towards Albéniz’s masterpiece: not surprisingly it was for piano. It was titled ‘Iberia – twelve new impressions in four books’. Book I was fi rst played in 1906. Into Iberia Albéniz put all his discoveries of piano virtuosity – he worried that it was so diffi cult as to be unplayable, but interpreters have continued to prove him wrong! The pianism of Iberia contains many innovations in attack, hand-position and fi ngering, but Albéniz’s originality lies above all in the colouristic variety that goes with his complex and refi ned harmony.

Albéniz had by now become professor of piano at the Schola Cantorum in Paris – Iberia’s impressions of places and dances from Spain were conceived outside Spain. Suggestions of Spanish folklore and a rhapsodic manner partly conceal the careful construction, part of the high artistic conception of Iberia. The places it refers to lie in the formerly Moorish south of Spain, in Andalusia. Though

Albéniz Iberia, Book I

Evocation El PuertoFête-Dieu à Séville

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born in Barcelona, Albéniz claimed he was not a Catalan but ‘a Moor’. Rather than picture-postcard illustration, Iberia presents a kind of distillation of the spirit of place, through musical references. Even in Evocation, a kind of poetic portal, there is a suggestion of a dance (something like a fandanguillo). Dance comes to the fore in El Puerto, where the port may be Cadiz, and the dance the polo or zapateado – authorities can’t agree. In the evocation of the Corpus-Christi procession in Seville, virtually a symphonic poem for solo piano, the march is interrupted by the religious ecstasy of a saeta, an ‘arrow of song’, spontaneously voiced by spectators of the procession.

Sergei Prokofi ev burst on the scene in Russia, just before the revolutionary upheaval of 1917, as an enfant terrible of music. He shocked listeners with aggressive, even percussive pianism, projecting his daringly avant-garde music, as when he played his First Piano Concerto for his graduation from the conservatorium. Soon his career took him to live in Western Europe and the USA. Prokofi ev was frustrated that he was accepted as a pianist, while his music was rejected as too challenging. Then, to the surprise of some, Prokofi ev returned to Russia, and the music he composed there during the 1930s seemed to be aiming at a more ready acceptance (think Peter and the Wolf, and the ballet Romeo and Juliet). But the war brought back some of the ‘old’ Prokofi ev, especially in a trilogy of ‘war’ sonatas for piano (Nos. 6, 7 and 8). Prokofi ev himself premiered No.6, which was immediately taken up by the young Sviatoslav Richter. Richter in turn premiered No.7 early in 1943, learning it in four days!

In those dark hours for Russia, the violent contrasts and aggressive pianism were back, in what has become Prokofi ev’s most famous sonata. According to Prokofi ev’s second wife, Mira Mendelssohn, who was with him as he composed, Prokofi ev was reading Romain Rolland on Beethoven. The French novelist had described Beethoven’s ‘Appassionata’ sonata as ‘a torrent of fi re in a bed of granite’. Prokofi ev’s sonata – in a musical language Beethoven would have found startling – makes much the same eff ect. Like Beethoven, Prokofi ev allows respite – in the lyrical slower music following the obsessive disquiet of the opening, and in the ‘warm’ Andante middle movement. Then Prokofi ev’s ‘torrent’ returns in the headlong chase of the last movement, which has been described as a ‘wrist toccata’. Watch and listen! Recitals, after all, are for virtuosos, but prove they are musicians, too.

DAVID GARRETT ©2011

Prokofi evPiano Sonata No.7, Op.83

Allegro inquieto – AndantinoAndante calorosoPrecipitato


Kissin’s performances in September and Anne Sofi e von Otter’s concert in November; these are performances we would fi nd nearly impossible to bring to Sydney audiences without generous support. But even more important – and in tune with the premium Credit Suisse places on artistry and excellence – is their direct support for our Fellowship program and the Associate Conductor position. Credit Suisse recognises, as do we, that talent in any fi eld is best nurtured through opportunities and experiences at the highest level and through inspirational mentoring.

Follow the Sydney Symphony Fellows and their experiences at blog.ssofellowship.com

A Commitment to the Future

Look closely at the orchestra list for this special week of Lang Lang concerts and you might notice a few special names: Freya Franzen and Ji Won Kim among the violins, Hugh Kluger in the double basses. These talented young musicians join the Sydney Symphony on stage as members of our Fellowship program. This program, now in its tenth year, is a leader of its kind, acclaimed for the elite training it off ers musicians in their journey from study to full-fl edged members of the orchestral profession.

It is hardly surprising then, that it has attracted the support of a partner that is also a leader in its fi eld, a partner committed to the development of talent and exceptional achievement in cultural fi elds. If you go to hear the New York Philharmonic, visit the National Gallery in London or attend the Salzburg Festival, you’ll be experiencing just some of the great cultural organisations supported by Credit Suisse. The company is fi rmly of the opinion that the Sydney Symphony is on a par with these excellent musical and artistic institutions. Credit Suisse’s cultural commitments extend from its home base of Switzerland – numerous musical and artistic institutions in Zurich, Basel, Bern and Geneva – to Asia, including the Hong Kong Arts Festival and Beijing Music Festival.

It was at the 2009 Beijing Music Festival that Credit Suisse fi rst crossed paths with the Sydney Symphony, choosing our concert as its sponsored event. It soon became clear that we shared common values and, above all, a focus on excellence that extends beyond talk to performance. The fact that our principal conductor, Vladimir Ashkenazy, is a resident of Switzerland added a personal synergy to the emerging partnership.

Now, as our premier partner, Credit Suisse sponsors gala events across the season, such as these concerts with Lang Lang, Evgeny

David Livingstone, CEO of Credit Suisse in Australia, with the 2011 Fellows – ‘We are immensely proud to be involved in this extraordinary program.’

15 | Sydney Symphony15 | Sydney Symphony

2011 SEASON GALAFriday 10 June | 8pmSaturday 11 June | 8pmSydney Opera House Concert Hall

LANG LANG PLAYS RACHMANINOFF

Jahja Ling conductorLang Lang piano

PYOTR ILYICH TCHAIKOVSKY (1840–1893)Symphony No.4 in F minor, Op.36

Andante sostenuto – Moderato con anima – Moderato assai, quasi Andante – Allegro vivo Andantino in modo di canzona Scherzo (Pizzicato ostinato) – Allegro Finale (Allegro con fuoco)

INTERVAL

SERGEI RACHMANINOFF (1873–1943)Piano Concerto No.2 in C minor, Op.18

ModeratoAdagio sostenutoAllegro scherzando

PREMIER PARTNER

Saturday night’s performance will be broadcast live across Australia on ABC Classic FM.

Saturday’s performance will be webcast by BigPond. Visit bigpondmusic.com/sydneysymphony

Pre-concert talk by Scott Davie at 7.15pm in the Northern Foyer.Visit sydneysymphony.com/talk-bios for speaker biographies.

Approximate durations: 44 minutes, 20-minute interval, 37 minutes

The concert will conclude at approximately 10pm.


Pyotr Ilyich TchaikovskySymphony No.4 in F minor, Op.36

Andante sostenuto – Moderato con anima – Moderato assai, quasi Andante – Allegro vivo Andantino in modo di canzona Scherzo (Pizzicato ostinato) – Allegro Finale (Allegro con fuoco)

‘The Introduction is the kernel of the whole symphony, without question its main idea. This is Fate, the force of destiny…’

If you didn’t know these words were about Tchaikovsky’s Fourth Symphony, you might well guess they were a description of Beethoven’s Fifth. Certainly the beginning of Tchaikovsky’s symphony – strident horn fanfares – has the same ominous character of Beethoven’s famous ‘da da da dum’.

The symphony does suggest a powerful and profound emotional drama. Tchaikovsky’s patron, Nadezhda von Meck, thought this. After the premiere in 1878 she asked Tchaikovsky whether the symphony had a defi nite program, a literary underpinning. Another of those fi rst listeners, a student of Tchaikovsky’s, said outright that the symphony gave off the whiff of program music, but he meant this critically. Tchaikovsky told him ‘of course’ the symphony was programmatic, ‘but this program is such that it cannot be formulated in words.’ However, for Madame von Meck, the generous but eccentric widow who paid his bills, Tchaikovsky went to the trouble of fi nding those words.

You ask whether the symphony has a defi nite program. Usually when I am asked this question about a symphonic work I answer, ‘None at all!’ And in truth, it is a hard question to answer. How shall I convey those vague sensations one goes through as one composes an instrumental work without a defi nite subject? It is a purely lyrical process…

In our symphony there is a program (that is, the possibility of explaining in words what it seeks to express)…Of course, I can do this here only in general terms.

The Introduction is the kernel of the whole symphony, without question its main idea. This is Fate, the force of destiny, which ever prevents our pursuit of happiness from reaching its goal…It is invincible, inescapable. One can only resign oneself and lament fruitlessly. This disconsolate and despairing feeling grows ever stronger and more intense. Would it not be better to turn away from reality and immerse oneself in dreams?

Keynotes

TCHAIKOVSKY

Born Kamsko-Votkinsk, Russia, 1840Died St Petersburg, Russia, 1893

Tchaikovsky represented a new direction for Russian music in the late 19th century: fully professional and cosmopolitan in outlook. He embraced the genres and forms of Western European tradition – symphonies, concertos and overtures – bringing to them his extraordinary dramatic sense and an unrivalled gift for melody. But many music lovers would argue that it’s his ballets that count among his masterpieces.

SYMPHONY NO.4

Tchaikovsky’s patron, Nadezhda von Meck, was struck by the Fourth Symphony’s ‘profound, terrifying despair’. He in turn told her that ‘where words fi nish, music begins’, and that any attempt to outline the meaning of the music in words would be necessarily imprecise. Nevertheless, he did offer her a kind of map of the work’s emotional journey, indicating that the main idea ‘is expressive of the idea of fate, that ominous power which prevents the success of our search for happiness. This power hangs constantly over our heads, like Damocles’ sword. There is no alternative but to submit to fate.’

ABOUT THE MUSIC


Tchaikovsky continues, identifying musical ideas that represent tender dreams and fervent hope, then a climax suggesting the possibility of happiness, before the Fate theme awakens us from the dreams…

And thus, all life is the ceaseless alternation of bitter reality with evanescent visions and dreams of happiness…There is no refuge. We are buff eted about by this sea until it seizes us and pulls us down to the bottom. There you have roughly the program of the fi rst movement.

This matches the emotional character of the fi rst movement – what Tchaikovsky called the music’s ‘profound, terrifying despair’ – and if we allow for Tchaikovsky’s personal turmoil at the time (he’d emerged from an ill-advised marriage) then an autobiographical interpretation becomes plausible.

More striking, though, is Tchaikovsky’s handling of his two principal ideas: Fate and ‘self ’. Fate is the fanfare; ‘self ’ is the fi rst real melody, to be played ‘in the character of a waltz’. What is less apparent, writes Richard Taruskin, is that the Fate theme is really a polonaise.

These two ideas collide in the music, and Tchaikovsky, who adored Mozart, copies a dramatic strategy from the fi nale of Don Giovanni: he superimposes his dances, matching three bars of waltz-time to one bar of the slower, more aristocratic polonaise. Then, in the coda, we hear the ‘complete subjection of self to Fate’ and the waltz returns one last time, stretched to match the pulse of the polonaise – hardly a waltz at all.

This is just one of the ways in which the fi rst movement – regardless of Tchaikovsky’s private program – behaves like a tone poem, and it introduces a musical problem. Tchaikovsky claims that the introduction off ers the ‘kernel’ of the symphony, its ‘main idea’, but the main theme is the waltz tune, appearing once the movement is properly underway.

Yet Tchaikovsky makes his introduction – the Fate fanfare – behave like a main theme because the real main theme, the waltz, isn’t well-suited to conventional symphonic development. This glorious melody resists being manipulated in the way that Beethoven, for example, manipulates the motto of his Fifth. This division of structural roles between diff erent musical materials is Tchaikovsky’s way of achieving a monumental character while sustaining a more lyrical motivation underneath.

The eff ect is of music, and a composer, torn between extremes. Tchaikovsky’s instinct was for lyrical outpourings,

Tchaikovsky, 1888

‘…life is the ceaseless alternation of bitter reality with evanescent visions and dreams of happiness…There is no refuge. We are buffeted about by this sea until it seizes us and pulls us down to the bottom. There you have roughly the program of the fi rst movement.’TCHAIKOVSKY


but he understood that to be a symphonist in 1878 meant observing the symphonic conventions established by Beethoven.

Tchaikovsky’s student, Sergei Taneyev, noticed with disapproval that ‘the fi rst movement is disproportionately long’ and has ‘the appearance of a symphonic poem to which three movements have been appended fortuitously to make up a symphony’. Many commentators have agreed. Tchaikovsky’s program provides a wealth of detail for the fi rst movement, but then peters out.

The second movement is summed up as an expression of ‘the melancholy feeling that arises in the evening as you sit alone, worn out from your labours’. And the Scherzo appears to express no defi nite feelings at all. ‘One’s mind is a blank,’ he writes, ‘and the imagination has free rein.’ But the scherzo doesn’t suff er for this. It’s one of the most eff ective parts of the symphony, famous for its use of pizzicato strings throughout, and the relentless plucking combines with brilliant and inventive writing for the woodwinds and brass, in particular the scampering piccolo.

In the Finale Tchaikovsky repeats a strategy he’d used twice before in his symphonies: he chooses a Russian folk song, ‘The Birch Tree’, as the theme for a set of variations. He characterises the fi nale as a picture of popular holiday festivity, but this apparently cheerful scenario is given a depressing cast: ‘If you can fi nd no impulse for joy within yourself, look at others…Never say that all the world is sad. You have only yourself to blame…Why not rejoice through the joys of others?’ It’s as if we are to hear the fi nale as festivity – but second hand. If this isn’t resignation to Fate, nothing is.

YVONNE FRINDLE ©2009

Tchaikovsky’s Fourth Symphony calls for two fl utes, piccolo, two oboes, two clarinets and two bassoons; four horns, two trumpets, three trombones and tuba; timpani and percussion (triangle, bass drum, cymbal); and strings.

The fi rst Australian performance of Tchaikovsky’s Fourth Symphony was by the South Australian Orchestra in Adelaide in 1926. The Sydney Symphony fi rst performed it in 1941 under Percy Code, and most recently in 2006 conducted by Jaap van Zweden.

‘If you can fi nd no impulse for joy within yourself, look at others…Never say that all the world is sad. You have only yourself to blame…Why not rejoice through the joys of others?’TCHAIKOVSKY


Keynotes

RACHMANINOFF

Born Oneg (Novgorod region), Russia, 1873Died Beverly Hills, USA, 1943

Rachmaninoff found success as a composer, pianist and conductor – but rarely in more than one fi eld of endeavour at a time. Performing provided a major source of income in later life after he moved to America, but this interfered with his composing and skewed perceptions of his work. He was one of the fi nest piano virtuosos of his day and his own compositions reveal the extent of his formidable technique. Tonight’s concerto was composed when Rachmaninoff was in his 20s.

PIANO CONCERTO NO.2

The Second Piano Concerto was completed in 1901, Rachmaninoff’s fi rst orchestral work after the compositional hiatus that followed the premiere of his First Symphony. Its three movements follow a typical concerto structure, although Rachmaninoff departs from tradition by omitting the solo cadenza from the fi rst movement and placing it at the climax of the second. The concerto is characterised by assuredness of style and exuberance of spirit.

Sergei RachmaninoffPiano Concerto No.2 in C minor, Op.18

ModeratoAdagio sostenutoAllegro scherzando

Lang Lang piano

The story of the creation of Rachmaninoff ’s Second Piano Concerto is often told: the young composer, a star student of the Moscow Conservatory and a favourite of Tchaikovsky, had achieved considerable success getting his earliest works published, but in 1897 his ambitious First Symphony was disastrously premiered in St Petersburg, resulting in vicious press attacks, notoriously from César Cui who compared it to a program symphony based on the Seven Plagues of Egypt. Supposedly, the ordeal led Rachmaninoff into a three-year period of deep depression in which he was unable to write, and which ended only after a course in hypnotherapy with the viola-playing Dr Nikolai Dahl. The doctor’s treatment apparently persuaded the young composer that he would be able to write a new concerto, and the resulting work – dedicated to Dahl – has become one of the most famous in the piano repertory.

It’s an attractive tale, yet despite Rachmaninoff ’s obvious disappointment with the reception of his symphony, the so-called ‘creative hiatus’ was a relatively busy period for him. From 1898, he took up the baton professionally for the fi rst time, conducting numerous performances for the newly established Mamontov Private Opera Company in Moscow, and directing the young bass Feodor Chaliapin in roles for which he would later become so famous. Such was his conducting skill that within a few years he would hold a position at the Bolshoi Theatre. The period also heralded a subtle but signifi cant change in his outlook on composition once he started writing larger works again. From 1900, Rachmaninoff favoured a more conservative style than that of his symphony, and one that, ironically, became the source of some personal consternation as he sought to evolve his creative voice in following years.

Whether due to the course in hypnotherapy – after all, it was some months before he began to write again – or simply the passage of time, there is no doubting the sense that something was unleashed within the composer in the works that followed. In the concerto and other compositions of the period (the second Two-Piano Suite and the Sonata for


…a new assuredness of style is evident, and there is an almost overwhelming abundance of melody.

Piano and Cello are the closest), a new assuredness of style is evident, and there is an almost overwhelming abundance of melody. These new works were also created quickly: the second and third movements of the concerto were completed within a few months, and a performance of these took place in December 1900 in Moscow. The fi rst complete performance of the new concerto occurred on the 27 October 1901 (Old Style), also in Moscow, with the composer at the piano and his cousin, the noted pianist Alexander Siloti, conducting.

The famous opening notes of the fi rst movement of the Second Piano Concerto are essentially an extended cadence: slightly varied chords over bell-like bass notes gradually increase in volume, before the notes A fl at, F, G – the basis of a motif that appears throughout the concerto – resolve to the home key of C minor, whereon the orchestra introduces the expansive principal subject. The second theme, in the key of the relative major, is by contrast given almost exclusively to the piano. The development section begins with material based on the motif, while a fragment of the second subject in the violins propels the movement to its climax. The recapitulation follows, with the orchestra again stating the main theme while the piano provides a martial-like accompaniment based on material extrapolated from the motif. The opening phrase of the second subject is recalled by the French horn, and, rather than providing a complete restatement, Rachmaninoff shares fragments of the melody gently between the soloist and the orchestra.

What tune is that?

Eric Carmen used the theme from the slow movement of the Second Piano Concerto for the verse of his song ‘All By Myself’ in 1976.

Buddy Kaye and Ted Mossman turned the ‘big tune’ from the third movement into ‘Full Moon and Empty Arms’, recorded by Frank Sinatra in 1945.

And in The Seven Year Itch (1955) Marilyn Monroe ‘goes to pieces’ every time she hears the concerto.


The reverie is soon broken, however, and a build up of momentum brings the movement to a fi ery close.

A short orchestral passage serves to move the second movement to the warmer key of E major where over an arpeggiated fi gure in the piano – material composed some years earlier for a six-hand piano Romance – the fi rst subject is given to the fl ute, then taken over by the clarinet. After a second statement of the theme by the soloist, the melody is developed as the music builds. A faster scherzando section – perhaps recalling the analogous section in Tchaikovsky’s First Piano Concerto – leads the movement to a climax, at which point Rachmaninoff provides a cadenza (lacking from its traditional place in the fi rst movement). The violins restate the opening melodic material, before sustained piano chords accompany a passage of gradual melodic descent as the movement dies away.

The fi nal movement begins quietly on low strings, the rhythmic material being related to the motif. A dramatic keyboard cadenza also emphasises the motif before introducing the principal theme. A short period of development, including a brief shift to waltz-time, leads to an abrupt key change and the announcement of the lyrical second subject by the oboe and violas. Perhaps one of Rachmaninoff ’s most famous melodies, the literature suggests it may have been ‘borrowed’ from a friend. However, if there is any truth to this story it is more likely that the reference is only to the opening notes, its expansive treatment bearing too many of the composer’s inimical hallmarks. A trance-like section over a held bass note leads to a development section where Rachmaninoff , with youthful exuberance, replaces a recapitulation of the fi rst subject with a fugue based on its opening notes. The second subject is then heard again in the distant key of D fl at major, before a short coda leads to a fi nal restatement of the melody, this time fortissimo and given to the full orchestra, underpinned by massive chords on the piano. In characteristic fashion, the concerto concludes with a spirited dash to the end.

SCOTT DAVIE ©2007

The orchestra for Rachmaninoff’s Second Piano Concerto calls for pairs of fl utes, oboes, clarinets and bassoons; four horns, two trumpets, three trombones and tuba; timpani and percussion (bass drum, cymbal); and strings.

The Sydney Symphony fi rst performed this concerto in 1938 with Malcolm Sargent conducting and Valda Aveling as soloist, and most recently in the 2007 Rachmaninoff festival conducted by Vladimir Ashkenazy with Cristina Ortiz as soloist.

…one of Rachmaninoff’s most famous melodies…may have been ‘borrowed’ from a friend. However, if there is any truth to this story it is more likely that the reference is only to the opening notes, its expansive treatment bearing too many of the composer’s inimical hallmarks.


MORE MUSIC

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Lang Lang Multimedia

Lang Lang’s autobiography, Journey of a Thousand Miles: My Story, fi rst appeared in 2008 to great acclaim, and is now published by Random House in eleven languages. He has also released a version of the book specifi cally aimed at younger readers, entitled Playing with Flying Keys.

His 2007 recording of Beethoven’s First and Fourth Piano Concertos with L’Orchestre de Paris and Christoph Eschenbach was launched as number 1 on the Classical Billboard Chart.

DEUTSCHE GRAMMOPHON 477 6719

His recording of Tchaikovsky’s First Piano Concerto, with the Chicago Symphony Orchestra conducted by Daniel Barenboim, was released in 2003.


He has also recorded Rachmaninoff’s Second Piano Concerto with the St Petersburg Mariinsky Theatre Orchestra, conducted by Valery Gergiev (2005).


In 2010, he joined Sony Music as an exclusive artist; his fi rst album with the label was Live in Vienna, featuring this week’s recital program as recorded in the Musikverein.

SONY CD 771901; DVD 772414; Blu-ray 771902

He has recently recorded the movie soundtrack of the Japanese blockbuster fi lm Nodame Cantabile, and Chopin’s 24 Etudes for Project Chopin (celebrating Chopin’s bicentenary).

Lang Lang is also the fi rst Ambassador of the YouTube Symphony Orchestra, a groundbreaking project created by YouTube and Google. And Steinway has recognised his work with children by creating fi ve versions of the Lang Lang™ Steinway for childhood music education.

Selected Discography

Selected Sydney Symphony concerts are webcast live on BigPond and made available for viewing On Demand. Visit: bigpondmusic.com/sydneysymphony:

Webcasts

2MBS-FM 102.5SYDNEY SYMPHONY 2011

Tuesday 14 June, 6pm

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

Broadcast Diary

JUNEThursday 9 June, 1.05pm

FELLOWSHIP (2010)

Damian Barbeler, Roger Benedict conductorsSydney Symphony Fellowship 2010

Chamber music by Wagner, Schoenberg, Debussy, Barbeler and Ibert

Saturday 11 June, 1pm

SYMPHONIC SPOTLIGHT

Nicholas Carter conductor

Kerry, Grainger, Bartók


LANG LANG PLAYS RACHMANINOFF

See this program for details.


THE BEST OF GILBERT & SULLIVAN

Guy Noble conductorwith Amelia Farrugia, Dominica Matthews, Stephen Smith, Richard Alexander and Stuart Maunder


BEST OF BERNSTEIN (2010)

David Robertson conductorAmelia Farrugia sopranoJames Egglestone tenor Orli Shaham piano

30 June, 1.05pm

RHAPSODY IN BLUE (2010)

Kristjan Järvi conductorFrancesco Celata clarinetMichael Kieran Harvey piano

Adams, Milhaud, Gershwin, Bernstein, Ellington

23 | Sydney Symphony23 | Sydney Symphony

2011 SEASON GALATuesday 14 June | 8pmSydney Opera House Concert Hall

LANG LANG PLAYS TCHAIKOVSKY

Jahja Ling conductorLang Lang piano

FELIX MENDELSSOHN (1809–1847)The Hebrides (Fingal’s Cave) – Overture, Op.26

JEAN SIBELIUS (1865–1957)Symphony No.2 in D, Op.43

AllegrettoTempo andanteVivacissimo –Allegro moderato

INTERVAL

PYOTR ILYICH TCHAIKOVSKY (1840–1893)Piano Concerto No.1 in B fl at minor, Op.23

Allegro non troppo e molto maestoso – Allegro con spiritoAndantino semplice – Prestissimo – AndantinoAllegro con fuoco

Pre-concert talk by Scott Davie at 7.15pm in the Northern Foyer.Visit sydneysymphony.com/talk-bios for speaker biographies.

Approximate durations: 11 minutes, 43 minutes, 20-minute interval, 36 minutes

The concert will conclude at approximately 10.10pm.

PREMIER PARTNER


Keynotes

MENDELSSOHN

Born Hamburg, Germany, 1809Died Leipzig, Germany, 1847

A combination of natural genius, intellectual stimulation and economic security ensured Felix Mendelssohn a chance to reach maturity as a composer while in his teens. He was the son of a family of bankers, with a great intellectual history inherited from his grandfather, the philosopher Moses Mendelssohn. He was also nurtured by the friendship of no lesser fi gure than Goethe, who held Mendelssohn in great affection, and was active in encouraging his musical, and especially compositional skills. For Goethe and many other luminaries, the young man composed and performed works at the regular concerts his father hosted in their home.

THE HEBRIDES

In 1829, the 20-year-old Mendelssohn visited Scotland’s Hebridean islands. He wrote home: ‘In order to make you realise how extraordinarily the Hebrides have affected me, the following came into my mind there’, followed by a detailed sketch of the opening of the overture with its famous descending motto for the violas and cellos. The visit to Fingal’s Cave left Mendelssohn feeling extremely seasick, but his travelling companion described its ‘strange basalt pillars and caverns’ looking like ‘the inside of an immense organ, black and resounding’. The following year, these impressions were woven into The Hebrides, capturing a moody sense of solitude, bleakness and wild desolation.

Felix MendelssohnThe Hebrides (Fingal’s Cave) – Overture, Op.26

In April 1829, the 20-year-old Mendelssohn began a Grand Tour of Europe and Britain. His parents hoped that the journey might further broaden his mind, already considerably expanded at home by such visitors to the Mendelssohn household in Felix’s youth as scientist Alexander von Humboldt, philosopher Hegel, actor Eduard Devrient, and music critic and theorist Adolph Bernhard Marx.

Arriving there on 21 April, young Felix described London as ‘the most grandiose and complicated monster that the world has to off er’. After the London season ended, he and his travelling companion Carl Klingemann set off for Scotland, reaching Edinburgh on 28 July.

They then planned to travel north through Stirling and Perth to Blair Atholl, then westwards to the Inner Hebrides, where the objective was Fingal’s Cave, a grotto on the island of Staff a, ‘discovered’ by Joseph Banks in 1782. By the early 19th century it had become a tourist attraction. Wordsworth visited it in 1833, complaining of all the day-trippers. Later visitors included Turner, Heine, and Queen Victoria. Sir Robert Peel described it as ‘a temple not made with hands’. Klingemann was most impressed by an intrepid old woman who was determined to see the cave before she died, and who had to be hoisted in and out of the little rowing boats in which they were ‘lifted by the hissing sea up the pillar stumps to the celebrated…cave.’

In a letter dated 7 August 1829, Mendelssohn jotted down the theme that would eventually open this overture: ‘…to make you understand how extraordinarily the Hebrides have aff ected me,’ he wrote to his family. Mendelssohn’s musical impressions resulted in a work which remains to this day one of the great soundscapes in orchestral literature. Remarkably, he achieved this nature portrait within the bounds of a quite clear-cut, albeit modifi ed, sonata form. Indeed, the straightforwardness of early versions was one reason why Mendelssohn revised the work prior to its fi rst performance in May 1830, and again prior to publication in 1835. He wrote to his sister on 30 November 1829, by then from Italy, that he was too fond of the piece to allow it to be performed in its current state: ‘The D major middle section is very silly. The whole so-called development tastes more of counterpoint than of whale oil, seagulls and codliver oil, and it ought to be the other way around.’

ABOUT THE MUSIC


…one of the great soundscapes in orchestral literature.

The work begins with the undulating theme, subjected to gradual rolling modulation and subtle dynamic swells. The D major second subject, emerging from the lower strings, is more conventionally melodic. The exposition ends with brass interjections, which also punctuate the beginning of the development. Mendelssohn succeeded in heightening the expressive aspect of this section over formalistic working-out. Indeed the work is quite astonishing from this point to the end. The principal themes are reversed, and the opening theme returns quietly. This is an elegant rounding off , but the eff ect is almost peremptory, the fl ute taking our minds upwards, as if the overture drifts away on the wind.

ADAPTED FROM A NOTE BY G. K. WILLIAMSSYMPHONY AUSTRALIA © 2011

The Hebrides calls for a modest orchestra comprising pairs of fl utes, oboes, clarinets, bassoons, horns and trumpets; timpani and strings.

The overture was premiered in London on 14 May 1832. The fi rst Australian performance was at a special Australian Centennial concert on 27 January 1888 given by the Criterion Theatre Orchestra, Sydney, conducted by Leon Caron. It was fi rst played by the Sydney Symphony in 1943, conducted by Percy Code, and most recently in 2000 conducted by Donald Runnicles. (It was also a featured work in the 2009 Discovery series conducted by Richard Gill.)

Fingal’s Cave: strange basalt pillars and caverns, like the inside of an immense organ.


Keynotes

SIBELIUS

Born Hämeenlinna, Finland, 1865Died Ainola, Finland, 1957

In his early symphonies, Sibelius takes the language of Tchaikovsky and the Romantic nationalists and put his own stamp on it. Emotionally, it is possible to feel a ‘darkness to light’ progression in these works, and to imagine they must be ‘about’ something. Finland was in a political crisis caused by Russian claims on the country’s independence, but Sibelius, already a national fi gure, rejected attempts to project a specifi c nationalist agenda onto the music. He intended it to speak for, and about, itself.

SYMPHONY NO.2

‘It is as if the Almighty had thrown down pieces of a mosaic from Heaven and asked me to put them together.’ Sibelius’ description of the process of composing his Fifth Symphony seems appropriate to the fi rst movement of his Second, which draws together a series of fragments to create a coherent musical whole. The striking opening of the second movement, and a haunting chant-like fi gure on the bassoons, leads us into a dark world. The third movement, Vivacissimo, is linked directly to the Finale in which a sense of triumph is constantly renewed. The symphony ends with grand rhetorical fl ourish, restating a fi nal three-note theme, joyous and resplendent.

Jean SibeliusSymphony No.2 in D, Op.43

AllegrettoTempo andanteVivacissimo –Allegro moderato

Sibelius, like Brahms, came relatively late to writing symphonies, producing his First Symphony at the age of 33 and premiering it in 1899. Like Brahms, though, Sibelius had accrued considerable experience in writing for orchestra. The 1890s saw the composition of works like Kullervo, En saga, movements which later became the Karelia suite and the original version of the Lemminkäinen Suite, which depicts heroic tales from the Finnish mythological cycle, the Kalevala.

What all these works have in common, of course, is their preoccupation with the myths and legends of Finland, which remained until 1917 a satellite of Imperial Russia. As a member of the Swedish-speaking minority in Finland, Sibelius hadn’t given much thought to the traditional mythology of the Finns until his engagement in 1890 to Aino Järnefelt, whose family were very pro-Finnish. At the time he was studying in Vienna, where the music of Anton Bruckner made a deep impact on him. While Sibelius’ enthusiasm for Bruckner cooled over the years, the infl uence of the Austrian composer – particularly his ability to structure large-scale symphonic movements – remained crucial.

Sibelius’ nationalist music was related to a growing political consciousness: by 1899 the Russians were actively discriminating against Finns and suppressing their language. The work we know as Finlandia was banned by the Russians and had to be performed under the politically inoff ensive title of ‘Prelude’, though no Finn in the audience was unaware of the work’s signifi cance. Sibelius’ enterprise in the 1890s, then, was to create a Finnish musical language out of the drama of its legends, the typical modal patterns of its folksong (though he never quoted actual folk tunes) and the rhythmic imprint of its verse, and to blend these elements with the contemporary idioms of Bruckner, Liszt and Tchaikovsky.

Sibelius always denied that the Second Symphony, which appeared in 1902, had any extra-musical signifi cance. The journey it enacts from darkness to light relates it to works of ‘absolute’ music such as certain Beethoven symphonies,


but commentators – particularly in Finland – have often argued for its having an implicit program of national liberation. The audiences at its premiere performances certainly thought so: the concerts were sold out, the audiences ecstatic and the composer acclaimed as a national hero.

Its fi rst movement seems to evoke the pastoral landscapes of Finland, shot through with a sense of incipient grief. During its course the symphony passes through often fragmentary stages of deep melancholy and confl ict before emerging in the fi nal movement with one of Sibelius’ most stirring and memorable tunes.

In fact, Sibelius began writing music which ended up in the symphony while holidaying in Italy, leading some writers to comment on the more than usually warm textures that he draws from a modestly constituted orchestra. From his correspondence we know he was contemplating at least two projects: a set of tone-poems called Festivals and a single-movement work – inspired perhaps by Richard Strauss, whom Sibelius had recently met – on the story of Don Juan. Out of the sketches for these works, Sibelius fashioned some of his most memorable gestures: the sinister opening of the second movement, with its soft pizzicato opening, horn calls and bassoon solo, was originally to have evoked the fi gure of Death arriving at Don Juan’s castle.

The work may be a document of national liberation, but it is also about the process of unifying and reconciling diverse, often fragmentary, musical gestures, so that the expansive melody of the fi nale seems the inevitable outcome of all that went before. Five years later, Sibelius would have his much reported meeting with Mahler where he advocated a ‘severity of style and the profound logic that creates an inner connection between all the motifs’. Mahler’s response, ‘No, the symphony must be like the world and embrace everything,’ missed the point. In their diff erent ways, they were saying the same thing.

GORDON KERRY ©2003

The Second Symphony calls for pairs of fl utes, oboes, clarinets and bassoons; four horns, three trumpets, three trombones and tuba; timpani and strings.

The Sydney Symphony fi rst performed Sibelius’s Second Symphony on 16 March 1940, under the direction of Georg Schneevoigt, and most recently in 2008 conducted by Thomas Dausgaard.

The fi rst movement seems to evoke the pastoral landscapes of Finland, shot through with a sense of incipient grief.

Sibelius, 1890


Keynotes

TCHAIKOVSKY

Born Kamsko-Votkinsk, Russia, 1840Died St Petersburg, Russia, 1893

Tchaikovsky charted a new direction for Russian music in the late 19th century: fully professional and cosmopolitan in outlook. He embraced the genres and forms of Western European tradition – symphonies, concertos and overtures – bringing to them his extraordinary dramatic sense and an unrivalled gift for melody. But many music lovers would argue that it’s his ballets that count among his masterpieces.

PIANO CONCERTO NO.1

This is one of the most popular of concertos (ABC Classic FM listeners voted it into their top ten). One of the reasons is the impressive way it begins and ends: piano and orchestra at full strength for maximum sonority and excitement. And in between Tchaikovsky supplies a glorious mine of melodic invention and piano virtuosity. The concerto appears to follow the traditional three-movement structure, but the middle movement is like a symphonic slow movement and scherzo blended together. The exhilarating fi nale has a Cossack dance as its theme. It was fi rst performed, by Hans von Bülow in Boston in 1875 and has held its place in listeners’ hearts ever since.

Pyotr Ilyich TchaikovskyPiano Concerto No.1 in B fl at minor, Op.23

Allegro non troppo e molto maestoso – Allegro con spiritoAndantino semplice – Prestissimo – AndantinoAllegro con fuoco

Lang Lang piano

If it was fortuitous that Tchaikovsky succeeded at his fi rst attempt, writing perhaps the ‘greatest piano concerto of all time’, it is surely remarkable that in the same stroke he inaugurated an entire Russian genre. Excepting the earlier examples by his teacher, Anton Rubinstein, of whom critics noted a lack of ‘Russianness’, Tchaikovsky’s First Piano Concerto established a model renowned for drama and an intense lyricism, often marked by extraordinary virtuosity. These attributes can be noted in successive compositions by Rachmaninoff , Medtner, Scriabin, Prokofi ev and Khachaturian, to name just a few. For, in Russia, there had been no ‘classical’ tradition that Tchaikovsky could build on. Partly as a result of social hierarchy, and partly due to Europe-leaning tastes of the Imperial court, art music had been an imported commodity until the middle of the 19th century; the distinctive characteristics of the land and its people were yet to be fully explored. It was Anton Rubinstein who had insistently argued for the creation of a Conservatory in St Petersburg, so as to foster native talent, and a young Tchaikovsky who gained the title of ‘free artist’ in its fi rst graduating year.

Written over six weeks late in 1874, the concerto is not Tchaikovsky’s only youthful work to fi nd a permanent place in the repertoire – Romeo and Juliet (1869, later revised) and Swan Lake (1876) are distinguished additions – but it was the fi rst to receive an international premiere. The dedicatee of the concerto, Hans von Bülow, performed the work in Boston, Massachusetts, in 1875 to positive reviews, yet it is diffi cult to imagine that the small band, consisting of only four fi rst violins, matched the music’s potential. (A critic noted that, after a missed entry of the trombones in the fi rst movement, von Bülow cried out ‘the brass may go to hell!’) Rather, it is likely that the scope of the new concerto was fi rst realised in a performance in Moscow by Sergei Taneev later that year (following an apparently poor performance by Gustav Kross in St Petersburg) – the composer noted that he ‘could not wish to hear a better


Tchaikovsky, 1870s

performance’, and he was touched that his young Moscow student had dedicated himself to mastering the concerto.

And ‘mastery’ is what is required here of pianists. It had been to Anton Rubinstein’s younger brother, Nikolai – an exceptionally gifted pianist by all accounts – that Tchaikovsky had turned within days of the score’s completion, seeking advice about piano writing that only a professional could off er. Instead – and quite notoriously – Nikolai Rubinstein savaged the composition, devastating its composer with comments suggesting that, in all, only a few pages could be salvaged and that the remainder should be discarded. There has been speculation ever since over his reasons – ranging from jealousy to a tempestuous personality – but the defi ant young composer remained true to his word, publishing the work exactly as it stood. In any event, Nikolai soon recanted his position, conducting the fi rst Moscow performance with Taneev, and performing often as soloist in the years before his early death.

With hindsight, it might have been over concerns for the demanding solo part that Rubinstein voiced opinions, or about sections where piano textures might be lost beneath the orchestration. Or it could have been about

…the defi ant young composer remained true to his word…


structural matters that are still diffi cult to explain today, chief of which is the famous melody that serves as a grand introduction to the fi rst movement, a theme that, inexplicably, never returns and which is, in technical terms, in the ‘wrong’ key. (In this passage, Tchaikovsky eventually relented to the advice of later interpreters in his revised version of 1889, replacing the lightweight arpeggios that had previously accompanied the soaring string melody with the now-famous double-octave chords.) In terms of the structure, it is the brisk, dotted theme introduced quietly by the piano after the introduction that is the real fi rst subject in this sonata-form movement. And here, as if to indicate to the world the ethnic authenticity of his music, Tchaikovsky follows the lead of the newly formed ‘nationalist’ group of composers – the so-called kuchka – by borrowing a Ukrainian folksong, ‘Oy, kryatshe, kryatshe’.

The simple theme that opens the second movement typifi es Tchaikovsky’s innate gift for melody, the solo fl ute conjuring folk-like affi nities. A central section, however – originally marked Allegro vivace assai but later escalated to Prestissimo, no doubt capitalising on the concerto’s virtuosic appeal – briefl y quotes a café waltz, ‘Il faut s’amuser, danser et rire’, well-known to the composer’s circle of friends.

And it is to another Ukrainian folksong, ‘Vïdy, vïdy, Ivan’ku’, that Tchaikovsky turns for the principal theme of the fi nale, its dance-like cross-rhythms evoking ‘national’ character, often referred to as narodnost’ in Russia. The broadly lyrical melody that provides contrast with this material succeeds in holding back the momentum only momentarily, before the concerto arrives at a seemingly inevitable conclusion: a forceful double-octave passage traverses the entire keyboard, moving head-long into an apotheosised statement of the movement’s lyrical theme, the pianist indefatigably leading the entire orchestra with fortissimo treble chords. It is a famous and satisfying ending well-known to audiences now, yet, to more than a few Russian composers from ensuing years, it proved an at times irresistible attraction.

SCOTT DAVIE ©2011

The First Piano Concerto calls for an orchestra of pairs of fl utes, oboes, clarinet and bassoons; four horns, two trumpets and three trombones; timpani and strings.

The Sydney Symphony fi rst performed Tchaikovsky’s First Piano Concerto on 4 June 1938; Allen McCristal was soloist and George Szell the conductor. The orchestra played it most recently in 2010 with pianist Maxwell Foster and conductor Richard Gill.

…Tchaikovsky’s innate gift for melody…


ABOUT THE CONDUCTOR

Jahja Ling conductor

Born in Jakarta, Indonesia, of Chinese descent and now an American citizen, Jahja Ling studied piano at the Jakarta School of Music. At 17 he won the Jakarta Piano Competition and a year later was awarded a Rockefeller grant to attend the Juilliard School, where he studied piano with Mieczyslaw Munz and conducting with John Nelson. He then studied conducting at the Yale School of Music under Otto-Werner Mueller and was awarded a doctorate of musical arts in 1985. In 1980, he was the Leonard Bernstein Conducting Fellow at Tanglewood, and two years later Bernstein, who became one of his most infl uential mentors, chose him to be a Conducting Fellow at the Los Angeles Philharmonic Institute.

After serving as assistant and associate conductor of the San Francisco Symphony, he joined the Cleveland Orchestra as associate conductor for the 1984–85 season and was its resident conductor for 17 years until 2005.He was also Music Director of the Florida Orchestra (1988–2003). He is the fi rst and only conductor of Chinese descent to have conducted all of the major American orchestras, including Boston, Chicago, Los Angeles, New York, Philadelphia and Pittsburgh. He was also founding director of the Cleveland Orchestra Youth Orchestra(1986–1993) and the San Francisco Symphony Youth Orchestra (1981–84).

Jahja Ling made his European debut with the Leipzig Gewandhaus Orchestra in 1988. In 1997, he led the Scottish Chamber Orchestra on tour to Hong Kong as part of the celebrations marking the return of the colony to China. He was artistic director of the Taiwan National Symphony from 1998–2001. In 2009 he conducted the Worldwide Chinese Festival Orchestra in the new National Centre for the Performing Arts in Beijing.

He is currently celebrating his seventh season as music director of the San Diego Symphony. Under his leadership, the orchestra has been designated Tier One by the League of American Symphony Orchestras, based on a new level of artistic excellence, continuing increase in audiences, and fi nancial stability.

His most recent appearance with the Sydney Symphony was in 1998 when he conducted Shostakovich’s Tenth Symphony.

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MUSICIANS

Performing in these concerts…

FIRST VIOLINS Dene Olding Concertmaster

Kirsten Williams Associate Concertmaster

Fiona Ziegler Assistant Concertmaster

Julie Batty Jennifer Booth Marianne BroadfootBrielle ClapsonSophie Cole Amber Davis Georges LentzNicola Lewis Alexandra MitchellLéone Ziegler Freya Franzen†

Ji Won Kim†

Alexander Norton*Martin Silverton*

SECOND VIOLINS Marina Marsden Jennifer Hoy A/Assistant Principal

Susan Dobbie Principal Emeritus

Maria Durek Emma Hayes Shuti Huang Stan W Kornel Benjamin Li Emily Long Biyana Rozenblit Maja Verunica Alexandra D’Elia#

Emily Qin#

Belinda Jezek*

VIOLASRoger Benedict Anne-Louise Comerford Sandro CostantinoRobyn Brookfi eld Jane Hazelwood Graham Hennings Stuart Johnson Justine Marsden Felicity Tsai Leonid Volovelsky Rosemary Curtin#

David Wicks#

CELLOSCatherine Hewgill Leah Lynn Assistant Principal

Kristy ConrauTimothy NankervisElizabeth NevilleAdrian Wallis David Wickham Rowena Crouch#

Patrick Suthers#

Rachael Tobin#

DOUBLE BASSESKees Boersma Alex Henery Neil Brawley Principal Emeritus

David Campbell Richard Lynn David Murray Benjamin Ward Hugh Kluger†

FLUTES Emma Sholl Carolyn HarrisRosamund Plummer Principal Piccolo

OBOES (Rachmaninoff)Diana Doherty David Papp

OBOES (Tchaikovsky)Shefali PryorAlexandre Oguey Principal Cor Anglais

CLARINETSLawrence Dobell Francesco Celata Christopher Tingay (Tchaikovsky)

BASSOONS Matthew Wilkie (Rachmaninoff)Roger Brooke (Tchaikovsky)Fiona McNamara

HORNSBen Jacks Robert Johnson (Rachmaninoff)Geoffrey O’Reilly Principal 3rd

Lee BracegirdleEuan HarveyMarnie Sebire

TRUMPETSDaniel Mendelow Anthony Heinrichs

TROMBONESScott Kinmont Nick Byrne Christopher Harris Principal Bass Trombone

TUBASteve Rossé

TIMPANIRichard Miller

PERCUSSIONRebecca Lagos Mark Robinson Colin Piper

Musicians appear in both the Rachmaninoff and the Tchaikovsky programs unless otherwise indicated.

Bold = PrincipalItalic= Associate Principal* = Guest Musician # = Contract Musician† = Sydney Symphony Fellow

To see photographs of the full roster of permanent musicians and fi nd 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 fl yer.

Vladimir AshkenazyPrincipal Conductorand Artistic Advisorsupported by Emirates

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Michael DauthConcertmaster

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Dene OldingConcertmaster

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Nicholas CarterAssociate Conductor supported bySymphony Services International & Premier Partner Credit Suisse


Founded in 1932 by the Australian Broadcasting Corporation, 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 a tour of European summer festivals, including the BBC Proms and the Edinburgh Festival.

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, most recently, Gianluigi Gelmetti. 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 Sydney Symphony 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 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. Currently the orchestra is recording the complete Mahler symphonies. The Sydney Symphony has also released recordings with Ashkenazy of Rachmaninoff and Elgar orchestral works on the Exton/Triton labels, and numerous recordings on the ABC Classics label.

This is the third year of Ashkenazy’s tenure as Principal Conductor and Artistic Advisor.

THE SYDNEY SYMPHONYVladimir Ashkenazy PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR

PATRON Her Excellency Professor Marie Bashir AC CVO

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PRINCIPAL PARTNER GOVERNMENT PARTNERS

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

The Sydney Symphony is assisted by the Commonwealth Government through the

Australia Council, its arts funding and advisory body

PLATINUM PARTNERS MAJOR PARTNERS

PREMIER PARTNER

Emanate 2MBS 102.5 Sydney’s Fine Music Station

BRONZE PARTNER MARKETING PARTNER

GOLD PARTNERS

SILVER PARTNERS

REGIONAL TOUR PARTNERS


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. Please visit sydneysymphony.com/patrons for a list of all our donors, including those who give between $100 and $499.

PLATINUM PATRONS $20,000+Brian AbelGeoff & Vicki AinsworthRobert Albert AO & Elizabeth AlbertTom Breen & Rachael KohnSandra & Neil BurnsIan & Jennifer BurtonMr John C Conde AO

Robert & Janet ConstableThe Hon. Ashley Dawson-DamerIn memory of Hetty & Egon GordonThe Hansen FamilyMs Rose HercegJames N. Kirby FoundationMr Andrew Kaldor & Mrs Renata Kaldor AO

D & I KallinikosJustice Jane Mathews AO

Mrs Roslyn Packer AO

Greg & Kerry Paramor & Equity Real Estate PartnersDr John Roarty in memory of Mrs June RoartyPaul & Sandra SalteriMrs Penelope Seidler AM

Mrs W SteningMr Fred Street AM & Mrs Dorothy StreetIn memory of D M ThewMr Peter Weiss AM & Mrs Doris WeissWestfi eld GroupRay Wilson OAM in memory of James Agapitos OAM

Mr Brian and Mrs Rosemary WhiteJune & Alan Woods Family BequestAnonymous (1)

GOLD PATRONS $10,000–$19,999Alan & Christine BishopThe Estate of Ruth M DavidsonPenny EdwardsPaul R. EspieDr Bruno & Mrs Rhonda GiuffreMr David Greatorex AO & Mrs Deirdre GreatorexMrs Joan MacKenzieRuth & Bob MagidTony & Fran MeagherMrs T Merewether OAM

Mr B G O’ConorMrs Joyce Sproat & Mrs Janet CookeMs Caroline WilkinsonAnonymous (1)

SILVER PATRONS $5,000–$9,999Mr and Mrs Mark BethwaiteJan BowenMr Donald Campbell & Dr Stephen FreibergMr Robert & Mrs L Alison CarrBob & Julie Clampett

Mrs Gretchen M DechertIan Dickson & Reg HollowayJames & Leonie FurberMr James Graham AM & Mrs Helen GrahamStephen Johns & Michele BenderJudges of the Supreme Court of NSWMr Ervin KatzGary LinnaneWilliam McIlrath Charitable FoundationEva & Timothy PascoeRodney Rosenblum AM & Sylvia RosenblumDavid & Isabel SmithersMrs Hedy SwitzerIan & Wendy ThompsonMichael & Mary Whelan TrustJill WranAnonymous (1)

BRONZE PATRONS $2,500–$4,999Dr Lilon BandlerStephen J BellMr David & Mrs Halina BrettLenore P BuckleKylie GreenJanette HamiltonAnn HobanPaul & Susan HotzIrwin Imhof in memory of Herta ImhofMr Justin LamR & S Maple-BrownMora MaxwellJudith McKernanJustice George Palmer AM QC

James & Elsie MooreBruce & Joy Reid FoundationMary Rossi TravelGeorges & Marliese TeitlerGabrielle TrainorJ F & A van OgtropGeoff Wood & Melissa WaitesAnonymous (1)

BRONZE PATRONS $1,000–$2,499Charles & Renee AbramsMr Henri W Aram OAM

Terrey Arcus AM & Anne ArcusClaire Armstrong & John SharpeDr Francis J AugustusRichard BanksDoug & Alison BattersbyDavid BarnesPhil & Elese BennettColin Draper & Mary Jane BrodribbM BulmerPat & Jenny BurnettDebby Cramer & Bill CaukillEwen & Catherine CrouchMr John Cunningham SCM & Mrs Margaret CunninghamLisa & Miro Davis

John FavaloroMr Ian Fenwicke & Prof Neville WillsFirehold Pty LtdAnthony Gregg & Deanne WhittlestonAkiko GregoryIn memory of Oscar GrynbergMrs E HerrmanMrs Jennifer HershonBarbara & John HirstBill & Pam HughesThe Hon. David Hunt AO QC & Mrs Margaret HuntDr & Mrs Michael HunterThe Hon. Paul KeatingIn Memory of Bernard M H KhawJeannette KingAnna-Lisa KlettenbergWendy LapointeMacquarie Group FoundationMelvyn MadiganMr Robert & Mrs Renee MarkovicKevin & Deidre McCannMatthew McInnesMrs Barbara McNulty OBE

Harry M. Miller, Lauren Miller Cilento & Josh CilentoNola NettheimMr R A OppenMr Robert Orrell Mr & Mrs OrtisMaria PagePiatti Holdings Pty LtdAdrian & Dairneen PiltonRobin PotterMr & Ms Stephen ProudMiss Rosemary PryorDr Raffi QasabianErnest & Judith RapeePatricia H ReidMr M D SalamonJohn SaundersJuliana SchaefferCaroline SharpenMr & Mrs Jean-Marie SimartCatherine StephenMildred TeitlerAndrew & Isolde TornyaGerry & Carolyn TraversJohn E TuckeyMrs M TurkingtonHenry & Ruth WeinbergThe Hon. Justice A G WhealyDr Richard WingateMr R R WoodwardAnonymous (12)

BRONZE PATRONS $500–$999Mr C R AdamsonMs Baiba B. Berzins & Dr Peter LovedayMrs Jan BiberDr & Mrs Hannes Boshoff Dr Miles BurgessIta Buttrose AO OBE

Stephen Byrne & Susie GleesonHon. Justice J C & Mrs Campbell

Mrs Catherine J ClarkJoan Connery OAM & Maxwell Connery OAM

Mr Charles Curran AC & Mrs Eva CurranMatthew DelaseyGreg Earl & Debbie CameronRobert GellingDr & Mrs C GoldschmidtMr Robert GreenMr Richard Griffi n AM

Jules & Tanya HallMr Hugh HallardDr Heng & Mrs Cilla TeyRoger HenningRev Harry & Mrs Meg HerbertMichelle Hilton-VernonMr Joerg HofmannDominique Hogan-DoranMr Brian Horsfi eldGreta JamesIven & Sylvia KlinebergDr & Mrs Leo LeaderMargaret LedermanMartine LettsErna & Gerry Levy AM

Dr Winston LiauwSydney & Airdrie LloydCarolyn & Peter Lowry OAM

Dr David LuisMrs M MacRae OAM

Mrs Silvana MantellatoGeoff & Jane McClellanIan & Pam McGrawMrs Inara MerrickKenneth N MitchellHelen MorganMrs Margaret NewtonSandy NightingaleMr Graham NorthDr M C O’Connor AM

Mrs Rachel O’ConorA Willmers & R PalDr A J PalmerMr Andrew C. PattersonDr Kevin PedemontLois & Ken RaePamela RogersDr Mark & Mrs Gillian SelikowitzMrs Diane Shteinman AM

Robyn SmilesRev Doug & Mrs Judith SotherenJohn & Alix SullivanMr D M SwanMs Wendy ThompsonProf Gordon E WallRonald WalledgeDavid & Katrina WilliamsAudrey & Michael WilsonMr Robert WoodsMr & Mrs Glenn WyssAnonymous (11)

To fi nd out more about becoming a Sydney Symphony Patron please contact the Philanthropy Offi ce on (02) 8215 4625 or email [email protected]


MAESTRO’S CIRCLE

Peter Weiss AM – Founding President & Doris Weiss John C Conde AO – ChairmanGeoff & Vicki AinsworthTom Breen & Rachael KohnThe Hon. Ashley Dawson-DamerIn memory of Hetty & Egon Gordon

Andrew Kaldor & Renata Kaldor AO

Roslyn Packer AO

Penelope Seidler AM

Mr Fred Street AM & Mrs Dorothy StreetWestfi eld GroupRay Wilson OAM

in memory of the late James Agapitos OAM

SYDNEY SYMPHONY LEADERSHIP ENSEMBLE David Livingstone, CEO Credit Suisse, AustraliaAlan Fang, Chairman, Tianda Group

Macquarie Group FoundationJohn Morschel, Chairman, ANZ

We also gratefully acknowledge the following patrons: Ruth & Bob Magid – supporting the position of Elizabeth Neville, cello Justice Jane Mathews AO – supporting the position of Colin Piper, percussion.

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

01Richard Gill OAM

Artistic Director Education Sandra and Paul Salteri Chair

02Ronald PrussingPrincipal TromboneIndustry & Investment NSW Chair

03Jane HazelwoodViolaVeolia Environmental Services Chair

04Nick ByrneTromboneRogenSi Chair

05Diana DohertyPrincipal Oboe Andrew Kaldor and Renata Kaldor AO Chair

06Shefali Pryor Associate Principal OboeRose Herceg & Neil LawrenceChair

07Paul Goodchild Associate Principal TrumpetThe Hansen Family Chair

08Catherine Hewgill Principal CelloTony and Fran Meagher Chair

09Emma Sholl Associate Principal FluteRobert and Janet ConstableChair

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DIRECTORS’ CHAIRS


BEHIND THE SCENES

Sydney Symphony Board

CHAIRMANJohn C Conde AO

Terrey Arcus AM

Ewen CrouchRoss GrantJennifer HoyRory JeffesAndrew KaldorIrene LeeDavid LivingstoneGoetz RichterDavid Smithers AM

Geoff AinsworthAndrew Andersons AO

Michael Baume AO*Christine BishopIta Buttrose AO OBE

Peter CudlippJohn Curtis AM

Greg Daniel AM

John Della BoscaAlan FangErin FlahertyDr Stephen FreibergDonald Hazelwood AO OBE*Dr Michael Joel AM

Simon Johnson

Yvonne Kenny AM

Gary LinnaneAmanda LoveHelen Lynch AM

Ian Macdonald*Joan MacKenzieDavid MaloneyDavid Malouf AO

Julie Manfredi-HughesDeborah MarrThe Hon. Justice Jane Mathews AO*Danny MayWendy McCarthy AO

Jane Morschel

Greg ParamorDr Timothy Pascoe AM

Prof. Ron Penny AO

Jerome RowleyPaul SalteriSandra SalteriJuliana SchaefferLeo Schofi eld AM

Fred Stein OAM

Ivan UngarJohn van Ogtrop*Peter Weiss AM

Anthony Whelan MBE

Rosemary White

Sydney Symphony Council

* Regional Touring Committee member

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 [email protected]

SYDNEY OPERA HOUSE TRUSTMr Kim Williams AM (Chair)Ms Catherine Brenner, Rev Dr Arthur Bridge AM, Mr Wesley Enoch, Ms Renata Kaldor AO, Mr Robert Leece AM RFD, Ms Sue Nattrass AO, Dr Thomas (Tom) Parry AM, Mr Leo Schofi eld AM, Mr Evan Williams AM

EXECUTIVE MANAGEMENTChief Executive Offi cer Richard Evans Chief Operating Offi cer David Antaw Chief Financial Offi cer Claire Spencer Director, Building Development & Maintenance Greg McTaggart Director, Marketing Communications & Customer Services Victoria Doidge Director, Venue Partners & Safety Julia Pucci Executive Producer, SOH Presents Jonathan Bielski

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

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

PAPER PARTNER

All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright. Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover than that in which it was published, or distributed at any other event than specifi ed on the title page of this publication 16446 — 1/080611 — 17 S44/47

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: [email protected] 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

MANAGING DIRECTOR

Rory JeffesEXECUTIVE TEAM ASSISTANT

Lisa Davies-Galli

ARTISTIC OPERATIONSDIRECTOR OF ARTISTIC PLANNING

Peter Czornyj

Artistic AdministrationARTISTIC ADMINISTRATION MANAGER

Elaine ArmstrongARTIST LIAISON MANAGER

Ilmar LeetbergRECORDING ENTERPRISE MANAGER

Philip Powers

Education ProgramsHEAD OF EDUCATION

Kim WaldockARTIST DEVELOPMENT MANAGER

Bernie HeardEDUCATION ASSISTANT

Rachel McLarin

LibraryLIBRARIAN

Anna CernikLIBRARY ASSISTANT

Victoria GrantLIBRARY ASSISTANT

Mary-Ann Mead

DEVELOPMENTHEAD OF CORPORATE RELATIONS

Leann MeiersCORPORATE RELATIONS EXECUTIVE

Julia OwensCORPORATE RELATIONS EXECUTIVE

Stephen Attfi eldHEAD OF PHILANTHROPY & PUBLIC AFFAIRS

Caroline SharpenA/ PHILANTHROPY MANAGER

Alan WattDEVELOPMENT COORDINATOR

Amelia Morgan-Hunn

SALES AND MARKETINGDIRECTOR OF SALES & MARKETING

Mark J ElliottSENIOR MARKETING MANAGER,SINGLE SALES

Penny EvansMARKETING MANAGER, SUBSCRIPTION SALES

Simon Crossley-MeatesMARKETING MANAGER, CLASSICAL SALES

Matthew RiveMARKETING MANAGER, BUSINESS RESOURCES

Katrina Riddle

ONLINE MANAGER

Eve Le GallMARKETING & MEDIA SERVICES COORDINATOR

Alison Martin GRAPHIC DESIGNER

Lucy McCulloughDATA ANALYST

Varsha Karnik

Box Offi ceMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlinMANAGER OF BOX OFFICE OPERATIONS

Natasha PurkissCUSTOMER SERVICE REPRESENTATIVES

Steve Clarke – Senior CSRMichael DowlingLisa MullineuxDerek ReedJohn RobertsonBec Sheedy

COMMUNICATIONSHEAD OF COMMUNICATIONS

Yvonne ZammitPUBLICIST

Katherine Stevenson

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

ORCHESTRA MANAGEMENTDIRECTOR OF ORCHESTRA MANAGEMENT

Aernout KerbertORCHESTRAL COORDINATOR

Georgia StamatopoulosOPERATIONS MANAGER

Kerry-Anne CookTECHNICAL MANAGER

Derek CouttsPRODUCTION COORDINATOR

Tim DaymanPRODUCTION COORDINATOR

Ian SpenceSTAGE MANAGER

Peter Gahan

BUSINESS SERVICESDIRECTOR OF FINANCE

John HornFINANCE MANAGER

Ruth TolentinoASSISTANT ACCOUNTANT

Minerva PrescottACCOUNTS ASSISTANT

Li LiPAYROLL OFFICER

Usef Hoosney

HUMAN RESOURCESHUMAN RESOURCES MANAGER

Anna Kearsley

Sydney Symphony Staff

lang lang program book (8, 10, 11, 14 jun) · pdf filewe at credit suisse have great pleasure...

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