KALEIDOSCOPE

Friday 25 October 2013

Saturday 26 October 2013

MONDAYS @7

Monday 28 October 2013

LATIN FEVER

Dvořák’s New WorldExplorations in Sound

BRITTEN Four Sea Interludes from Peter Grimes ZHAO JIPING Pipa Concerto† Premiere DVOŘÁK Symphony No.9, New World†

Joana Carneiro conductorWu Man pipa (Chinese lute)

MEET THE MUSIC PRESENTED BY AIM

Wed 30 Oct 6.30pmThu 31 Oct 6.30pm

TEA & SYMPHONY

Fri 1 Nov 11am†

Pre-concert talk by Kim Waldock (30, 31 Oct only)

Murray Perahia in RecitalAustralian Debut One Night Only

JS BACH French Suite No.4 BEETHOVEN Sonata in F minor, Op.57 (Appassionata) SCHUMANN Faschingsschwank aus Wien CHOPIN Impromptu No.2 CHOPIN Scherzo No.2

Murray Perahia piano

SPECIAL EVENT PREMIER PARTNER CREDIT SUISSE

Fri 1 Nov 8pm

Sydney Opera House, Concert Hall

Pre-concert talk by David Larkin

War RequiemAshkenazy conducts Britten

BRITTEN War Requiem

Vladimir Ashkenazy conductor Dina Kuznetsova soprano Andrew Staples tenor Dietrich Henschel baritone Sydney Philharmonia Choirs Sydney Children’s Choir

MASTER SERIES

Fri 8 Nov 8pmSat 9 Nov 8pm

Pre-concert talk by Natalie Shea

Mahler and BruchAskenazy and Zukerman

BRUCH Violin Concerto No.1 in G minor MAHLER Symphony No.5

Vladimir Ashkenazy conductor Pinchas Zukerman violin

MASTER SERIES

Wed 13 Nov 8pm

SPECIAL EVENT PREMIER PARTNER CREDIT SUISSE

Sat 16 Nov 8pm

Pre-concert talk by Roger Benedict

Sibelius And BrahmsAshkenazy and Zukerman

BRAHMS Double Concerto SIBELIUS Symphony No.5

Vladimir Ashkenazy conductor Pinchas Zukerman violin Amanda Forsyth cello

THURSDAY AFTERNOON SYMPHONY

Thu 14 Nov 1.30pm

TEA & SYMPHONY

Fri 15 Nov 11am

Pre-concert talk by Scott Davie (Thu 14 Nov)

OCTOBER – NOVEMBER

* Booking fees of $7.50 – $8.95 may apply.

SYDNEYSYMPHONY.COM or call 8215 4600 Mon-Fri 9am-5pm

Tickets also available at sydneyoperahouse.com 9250 7777 Mon-Sat 9am-8.30pm Sun 10am-6pm

CLASSICAL

THE LEADING SCHOOL FOR TODAY’S MUSINDUSTRY

Jessica Cottis conductorWu Man pipa (Chinese lute)

GUSTAVO DUDAMELDISCOVERIES

Gustavo Dudamel’s first‘Best of’ album, featuring

MÁRQUEZ’s Danzón No.2

GUSTAVO DUDAMELFIESTA

A unique album featuringexplosive Latin-American

showpieces

PEPE ROMEROSPANISH NIGHTS

The guitar legend Pepe Romero takes you on a journey with

Spanish Nights!

KARL JENKINS ADIEMUS COLORES

Adiemus Colores employs therhythms, sounds, colours and texturesof Latin American music to create adistinctly unique and exotic sound-

world – EXPECT THE UNEXPECTED!

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kaleidoscopeFriday 24 October, 8pmSaturday 25 October, 8pmmondays @ 7 Monday 27 October, 7pm

Sydney Opera House Concert Hall

2013 season

Latin FeverMiguel Harth-Bedoya CONDUCTOR

Katia and Marielle Labèque PIANO DUO

Gonzalo Grau and Raphaël Séguinier PERCUSSION

Osvaldo Golijov (born 1960)NazarenoSuite from La Pasión según San Marcos arranged for two pianos, percussion and orchestraby Gonzalo Grau

BerimbauTambor en Blanco y NegroGuaracha y MamboSurTormenta y QuitipláProcesiónAUSTRALIAN PREMIERE

INTERVAL

Arturo Márquez (born 1950)Danzón No.2

Heitor Villa-Lobos (1887–1959)Bachianas brasileiras No.4:Preludio. Introdução (Lento)Danza. Miudinho (Molto animato)

Astor Piazzolla (1921–1992) Tangazo

Jimmy López (born 1978)Fiesta! – four pop dancesTrance 1 – CountertimeTrance 2 – Techno

Saturday’s performance will be recorded for later broadcast on ABC Classic FM.

Pre-concert talk by Yvonne Frindle at 7.15pm in the Northern Foyer (6.15pm on Monday). Visit sydneysymphony.com/talk-bios for speaker biographies.

Estimated durations: 30 minutes, 20-minute interval, 10 minutes, 12 minutes, 14 minutes, 10 minutesThe concert will conclude at approximately 9.45pm (8.45pm Monday).

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INTRODUCTION

Turn to page 27 to read Bravo! – musician profi les, articles and news from the orchestra. There are nine issues through the year, also available at sydneysymphony.com/bravo

Latin Fever

Argentina, Brazil, Mexico, Peru, Venezuela… Between the music and the performers, tonight’s concert brings you representatives of fi ve of the largest nations of South America. The Latin-American musical tradition is a rich one that has melded the conventions and language of European classical music and popular music through the ages. But it’s unique in its thrilling rhythms and colours.

It’s the rhythms, especially, that make a program like this so exciting, and those rhythms come from dance. So you’ll hear the tango, the miudinho (a kind of samba) and the danzón. And from Jimmy López, visiting Sydney this week, there’s music infl uenced by the sounds of trance and techno.

There are dance rhythms in Golijov’s Nazareno as well – a mambo, a Brazilian samba and more. The eff ect is highlighted by the featured presence of exotic percussion instruments. Even the solo pianos become honorary percussion instruments at times: in the movement ‘Drums in Black and White’ they take on the role of hourglass-shaped batá drums.

But the ‘passion’ in Nazareno doesn’t just come from the energy of the dance rhythms. In its original form (as the choral work La Pasión según San Marcos) this music follows in the tradition of baroque Easter passions: dramatic retellings of the crucifi xion story. What Golijov added was the Latin American voice, charged with energy and emotion. As one critic said: ‘Only the stoniest of hearts could fail to be moved – and moved mightily – by this searing work.’ It’s a testament to Gonzalo Grau’s skill as an arranger that he could remove the voices from the original music without betraying that energy or emotion. And we hope you will be moved – mightily – by tonight’s performance, and tonight’s journey.

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ABOUT THE MUSIC

Osvaldo Golijov NazarenoSuite from La Pasión según San Marcos arranged for two pianos, percussion and orchestraby Gonzalo Grau

BerimbauTambor en Blanco y NegroGuaracha y MamboSurTormenta y QuitipláProcesión

Katia and Marielle Labèque piano duoGonzalo Grau and Raphaël Séguinier percussion

Gonzalo Grau writes…

I had the great pleasure of meeting composer Osvaldo Golijov in May 1998, when he was about to begin writing a new piece called La Pasión según San Marcos (The Passion According to Saint Mark). Our collaboration on this masterpiece perhaps began when it was only a blueprint in his mind. We interchanged ideas about Afro-Cuban folklore, santería and salsa music, religion and syncretism, and I was able to see the whole creative process from scratch. Eventually, Osvaldo began to rely on my salsa and popular music experience. This led him to commission me to orchestrate the mambos and moñas (instrumental Latin style interludes) of a few numbers of the Pasión, as well as the piano and bass parts for some of the numbers.

La Pasión según San Marcos is not only a true Latin American vision of the passion of Christ; it is a musical and cultural journey. Furthermore, and on a more personal level, the piece is a refl ection of my own personal experience in crossover relationships between classical and popular music. One of the beauties of La Pasión is that its musicians and singers enrich this piece with improvised variations over the original material. La Pasión keeps a high degree of energy and freshness in every performance, as we feel challenged to come up with new ways to improve our own previous performance. In the 15 years of the passion’s existence, the piece has continued to change and grow and I feel lucky to have been a part of this whole process.

In the middle of 2008, La Pasión según San Marcos presented another surprise to me. Katia and Marielle Labè que heard about my collaboration with Osvaldo Golijov, and had the idea of commissioning a suite for two pianos and orchestra based on La Pasión. Osvaldo granted

Keynotes

GOLIJOV

Born La Plata, Argentina, 1960

Osvaldo Golijov grew up in an Eastern European Jewish household in La Plata, Argentina. He was raised surrounded by classical chamber music, Jewish liturgical and klezmer music, and the new tango of Astor Piazzolla. These traditions combine in a distinctive hybrid style that has won favour with both musicians and audiences.

NAZARENO

The title of this suite means ‘Nazarene’ – referring to Jesus of Nazareth. The music is drawn from Golijov’s Passion According to Saint Mark – a choral and instrumental work in the tradition of 18th-century Easter passions, but with a Latin American flavour in its rhythms, melodies and colours. (The original ensemble featured only two trumpets, two trombones, piano and a small string orchestra, but with accordion, guitar and a vast range of percussion instruments, some of them played by the singers.)

At the suggestion of Katia and Marielle Labèque, Gonzalo Grau (who had worked on La Pasión) was entrusted with creating an orchestral suite featuring the piano duo. Each of the six movements is based on a distinctive section of the original Pasión and together they cover the gamut of emotions in the passion story, from the wild chants of the crowd and the urgency of the drama to the introversion of the agony of Christ in the garden of Gethsemane.

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permission and entrusted his masterwork to me with great excitement, and with the support and involvement of the Orchestre de Paris, the ‘new Pasión’ was in my hands.

Since La Pasión is written for vocal soloists, choir and chamber orchestra, and this suite was going to be only instrumental, the numbers to be included in the suite needed to have a completely new approach and development. The lack of text became a new challenge, opening possibilities not just for an instrumental version of the original work, but for perhaps a new composition inspired by Osvaldo’s Pasión. I developed six of the most notable moments of the original La Pasión for this new instrumentation and approach.

Listening Guide

(Titles in parentheses refer to the corresponding movements in the original La Pasión)

1. Berimbau (Visión)

I summarised motifs from the original opening and ending. The repetitive pulse is played this time by the two pianos, and the woodwinds and brass create eff ects that were originally achieved by the hyper-accordion (an accordion with a customised microphone setup to exploit its natural stereo separation) and digital delays.

2. Tambor en Blanco y Negro (Anuncios)

Originally written for three choirs and batá drums, this movement is the ‘wake-up call’ of the people (literally ‘announcements’). I use three diff erent groups of brass instruments as my choir, emulating call-and-response and overlapping new harmonies. And I replaced the santería drums with the two pianos (these become the ‘drums in black and white’ of the title), giving the duo not just a rhythmic role but also a whole new harmonic function.

3. Guaracha y Mambo (¿Por Qué?)

For this movement I expanded the full potential of a Latin counterpoint as a new symphonic mambo. Percussion breaks and fl ashy piano accompaniments elevate this salsa number to a whole new climax.

4. Sur (Agoní a)

This is one of the most soulful and introverted moments of La Pasión, and perhaps was the most challenging number for me. I tried to take the essence of Osvaldo’s original work and shaped it in a way that the players could pour all their classical and romantic sound and expertise into the music.

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COLE PORTER, LET’S MISBEHAVE (1927)

SATURDAY 23 NOVEMBER — PADDINGTON TOWN HALL

Break out the tux, put on your dancing shoes and join us for a night of revelry and entertainment to help us support Australia’s most talented young musicians at the SSO Roaring 20s Ball!

Tickets are available through the SSO Box Office 8215 4600.

For more information visit www.sydneysymphony.com/20sball

5. Tormenta y Quitiplá (Soy Yo)

I used this number as a fl ashy and virtuosic transition, interrupting the mellow and introspective mood of the previous movement with a frenetic ascending climax, where the two pianos and the marimba play an intricate layering of polyrhythms.

6. Procesión (Crucifi xió n)

This is the fi nal procession of Christ, one of the greatest moments in the original work. Osvaldo takes two of the most signifi cant Latin American carnival music styles (Cuban comparsa and Brazilian samba) to represent the celebration and frenzy of the crowd while Jesus is carrying the cross and is being crucifi ed. I developed this movement using, again, both pianos as a whole percussion ensemble. Virtuosic polyrhythms serve as the foundation for brass fanfares and counterpoints, giving this ‘instrumental Pasió n’ a whole new explosive ending without losing the inner soulful meaning of the true passion.

ADAPTED FROM A PROGRAM NOTE BY GONZALO GRAU © 2010

In addition to the two solo pianos and featured percussionists, the Nazareno suite calls for flute, piccolo, oboe, cor anglais, clarinet, bass clarinet, bassoon and contrabassoon; three horns, three trumpets, three trombones and tuba; timpani and just the cellos and basses of the orchestral string section (no violins or violas).

La Pasión según San Marcos was composed in 1998 and premiered in Stuttgart in 2000. It received its Australian premiere at the Sydney Opera House in January 2003 with the same performers: Orquesta La Pasión, Schola Cantorum de Caracas and conductor Mariá Guinand. The original Pasión has become one of Golijov’s most frequently performed major works.

Gonzalo Grau’s Nazareno was first performed in January 2010, under the title ‘Suite from La Pasión según San Marcos’, with Katia and Marielle Labèque, the Orchestre de Paris and Josep Pons. The Labèques and Miguel Harth-Bedoya with the Orquesta Sinfónica de Castilla y Léon recorded Nazareno for release in 2011. This is the first performance of the suite since then and its Australian premiere.

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Keynotes

MÁRQUEZ

Born Alamos, Mexico, 1950

Arturo Márquez was born in the Mexican state of Sonora, and studied in Mexico and California as well as privately in Paris. His early work cultivated an avant-garde sensibility, but from the 1990s he increasingly explored a style based in popular genres. In recent years, he has composed a series of dance-inspired pieces, based on the danzón, an elegant Cuba dance adopted in Veracruz, Mexico. Of these, his Danzón No.2 for orchestra (commissioned by the Universidad Nacional Autónoma de Mexico in 1994) has become one of the most popular Latin American works to emerge in the past 60 years.

Arturo MárquezDanzón No.2

The danzón originated in Cuba in the 19th century, but has its roots in the French contredanse, brought to the island from nearby Haiti, and the African-infl ected rhythms of the home-grown habañera. It became very popular in the dance halls of Cuba and Mexico, though by the late 20th century it had become very much an old-time ballroom dance, supplanted by its ‘descendants’ such as the mambo.

The implicit nostalgia for the past is cultivated by Mexican composer Arturo Márquez in several danzónes for various instrumental combinations. As he notes, the danzón is ‘a genre which old Mexican people continue to dance with a touch of nostalgia and a jubilant escape towards their own emotional world’. Márquez was inspired to compose his second danzón (his fi rst for orchestra) after a trip to Mexico City and Veracruz with dancer Irene Martinez and painter Andrés Fonseca.

The danzón has a very formal choreography, involving precise steps on the syncopations, or off -beats, of the bar, with punctuating sections where the dancers pause while a musical transition is played. This formality is refl ected in the overall structure of the music, which Márquez uses as the basis for his orchestral work: danzónes are in rondo form (with a recurring ‘chorus’), further divided into two distinct sections. The dance has two beats to the bar, and makes much use of rhythmic patterns such as the cinquillo, a one-bar ‘cell’ with strong syncopation. In traditional dance halls, wind instruments play increasingly ornate fi gurations over these rhythmic motifs.

Danzón No.2 evokes something of this in the opening clarinet solo, whose melody is then passed to the oboe. The work is, of course, a symphonic poem – not a dance track – so its shifts of register are exaggerated, building to frenetic climaxes that are then contrasted with quiet lyricism. The orchestration is richly coloured, with bright wind solos, opulent string textures and driving rhythmic passages that might nod to such Americans as John Adams. Márquez describes the piece as ‘a very personal way of paying my respects and expressing my emotions towards truly popular music’.

ADAPTED FROM A NOTE BY GORDON KERRY © 2011

Danzón No.2 calls for two flutes (one doubling piccolo), two oboes, two clarinets and two bassoons; four horns, two trumpets, three trombones and tuba; a large percussion section, keyboard and strings.

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Heitor Villa-Lobos Two movements from Bachianas brasileiras No.41. Preludio. Introdução (Lento)4. Danza. Miudinho (Molto animato)

An experimenter and an original, Villa-Lobos rebelled not only against academic musical training but against his own parents, who were unhappy about his associations with popular musicians. His father, a librarian, scholar and amateur musician, taught him the cello, which remained his main instrument and features in Bachianas brasileiras No.5 for soprano and eight cellos, no doubt his most famous creation.

In music Villa-Lobos was virtually self-taught – his real schooling was from two sources. One was his Bohemian lifestyle, playing in night clubs, theatres and bars, absorbing popular style; the other was Brazil itself, and his intuitive grasp of Brazil’s popular idioms is refl ected in all his work.

Bach and Brazil

The Bachianas brasileiras are a special kind of musical composition based on the composer’s intimate knowledge of the great works of Bach, and also of the harmonic, contrapuntal, and melodic atmosphere of the folklore of the north-eastern region of Brazil. The composer considers Bach a universal and rich folkloristic source, deeply rooted in the folk music of every country in the world. Thus Bach is a mediator among all races.Heitor Villa-Lobos

A love of Bach’s music was instilled in the young Villa-Lobos by a favourite aunt; the idea of the ‘Bachianas brasileiras’ began to evolve in 1930 when Villa-Lobos was giving pioneering performances in Brazil of major Bach works. In all the Bachianas brasileiras, the movements have two titles: one traditionally European, showing its baroque derivation, and a characterful, national one, from popular Brazilian music.

Bachianas brasileiras No.4 was composed fi rst for piano solo (probably as four isolated pieces composed during the 1930s) and orchestrated ten years later. The fi rst piece – with the ‘baroque’ title Preludio, and the Portuguese (Brazilian) title ‘Introduction’ – is the most Bach-like, imitating aspects of baroque music in the same manner as, say, the ‘Albinoni’ Adagio, and featuring the strings. The concluding Danza is a miudinho – a dance related to the samba with fast, light steps that came into Brazil’s salons from the village squares and beaches. A fragment of a song is quoted: ‘Vamos, Maruca.’

ADAPTED FROM A NOTE BY DAVID GARRETT © 1999

Keynotes

VILLA-LOBOS

Born Rio de Janeiro, Brazil, 1887Died Rio de Janeiro, 1959

Villa-Lobos was not only the most creative Latin-American composer of his generation, but perhaps the most prolific major composer of the 20th century. According to some accounts the total number of his compositions exceeds 2000. Others, more sober, admit over 1000. They include 12 symphonies, numerous concertos, 17 string quartets, piano and guitar music, choruses, operas, and the Bachianas brasileiras and Chôros for which he is best known. He often said that music composition constituted for him a biological necessity. The title ‘Bachianas brasileiras’ is perhaps best translated ‘pieces in Brazilian and Bachian manner’.

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Keynotes

PIAZZOLLA

Born Mar del Plata, Argentina, 1921 Died Buenos Aires, 1992

Astor Piazzolla was the ‘King of Tango’ and father of the nuevo tango, a heady, artful combination of Argentinean tango, jazz and the principles of classical chamber music. His own instrument was the bandoneón, whose distinctive reedy sound formed the heart of the tango band and provided the vital sounds of his childhood. His formal studies, on the other hand, took him into classical territory: the great pianist Arthur Rubinstein suggested he study composition with Ginastera, who in turn pointed him to an opportunity to study with Nadia Boulanger in Paris. Ultimately it was Boulanger who guided him back to his own distinctive musical voice.

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Astor PiazzollaTangazo

There is still some debate about the origins of the word ‘tango’, and uncertainty as to where exactly in Latin America it began. What is certain is that it spread from country to country in the 1850s, and came to have a particular resonance in the poorer districts of the big cities. The lyrics of a classic tango song speak inevitably of a fatalistic approach to life and love that evoke the genre’s urban origins. But in the fi rst decades of the 20th century, the tango began to make its way across the world. It fi rst became fashionable in Paris, after the abrupt movements of the dance were modifi ed for the ballrooms of polite society, and then spread to Britain, before it conquered the United States thanks, in part, to the dance team of Vernon and Irene Castle. The Argentinean Carlos Gardel became the fi rst internationally renowned tango singer, and his legendary status in South America only increased after his early death in 1935.

Astor Piazzolla’s re-thinking of the tango genre began in the 1940s, when he created his fi rst large orchestral tango arrangements. He also extended the musical possibilities of the genre by drawing into it his interest in ‘cool school’ jazz of the 1950s. His fi rst tango quintet included – in addition to the traditional tango instruments of bandoneon (a button accordion), piano and double bass – the vibraphone (replacing the more usual violin) and electric guitar.

Tangazo is a late fl owering of Piazzolla’s work in broadening the possibilities of tango. It is a moody, extended meditation on tango rhythms and melodic gestures, beginning in darkness before the colours and rhythms of the tango emerge unexpectedly from the orchestral texture.

PHILLIP SAMETZ © 1999

Tangazo calls for pairs of flutes, oboes, clarinets, bassoons and horns; percussion, piano and strings.

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Jimmy LópezFiesta! – four pop dances for orchestraTrance 1 – CountertimeTrance 2 – Techno

The composer writes…During recent years, eclecticism has become an important part of my musical language. The challenge of creating musically sensible interactions out of the juxtaposition of apparently incompatible musical sources – some of which result in unexpected contrasts – fascinates me. Fiesta! draws infl uences from several musical sources: European academic compositional techniques, Latin-American music, Afro-Peruvian music and pop music. It utilises elaborate developmental techniques while retaining the primeval driving forces latent in popular culture.

The fi rst and third movements of Fiesta! (Trance 1 and Trance 2) are connected in spirit and form. Both start energetically, feature slow passages and lead to the following movement by means of open endings, featuring soft melodies over a repeating pattern or note. The word ‘trance’ belongs to the realm of techno: electronic dance music with of hypnotic and repetitive rhythms. But I also use the word ‘trance’ in its original meaning – conveying the hypnotising state achieved while listening to a constantly shifting melody against a static background, much like in Hindu music.

The second and fourth movements (Countertime and Techno) maintain high levels of energy from beginning to end. Latin rhythms play an essential part in these movement and therefore the percussion section is prominent. Countertime constantly shifts the downbeat from the strong to the weak beat of the bar. Its title derives from ‘counterpoint’, which in music theory defi nes the rules of interaction between melodies, the goal being to produce a harmonious whole. I use the word ‘countertime’ to underline the interaction between an underlying steady pulse and the actual rhythms playing against it.

Techno uses Latin-American rhythms such as merengue. A solo for trumpet and trombone marks the beginning of a section where techno rhythms are made explicit. In a techno piece, this type of solo would be played by synthesizers, and would generally happen at the precise moment in which the constant beat of the electronic bass drum has been momentarily suspended in order to give the music a certain lightness it wouldn’t otherwise have.

Keynotes

LÓPEZ

Born Lima, Peru, 1978

Jimmy López studied first at the National Conservatory of Music in Lima, then at the Sibelius Academy in Helsinki, where he obtained his master’s degree in 2007. Last year he completed a doctorate in composition at the University of California, Berkeley. His music has been performed by leading orchestras in North and South America and in Europe, and he is currently working on an opera for the 2015–16 season based on the bestselling novel Bel Canto. He is also a founding member and Vice President of kohoBeat in Finland, a group of young people contributing to the development of the arts in Finland.

www.jimmylopez.com

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BE THE FIRST TO KNOW.

Sign up to our free e-newsletter.www.sydneysymphony.com/staytuned

This is the fi rst piece where I have made explicit use of elements from popular music, but it is certainly not the fi rst time it has been done. Composers from the past, especially during the baroque, would write suites assembling the dances that were popular in European courts. Later, some composers made these dances more sophisticated. That was part of my intention when picking up these genres. I believe they have enough potential to justify further development, but always keeping the primeval driving forces present in them.

ABRIDGED FROM A NOTE BY JIMMY LÓPEZ © 2008

Fiesta! calls for two flutes (one doubling piccolo), two oboes, two clarinets and two bassoons; four horns, two trumpets, three trombones and tuba; timpani and percussion and strings.

Originally scored for chamber ensemble, Fiesta! was commissioned by Miguel Harth-Bedoya to celebrate the 100th anniversary of the Lima Philharmonic Society in 2007, and the orchestral version was premiered in 2008 with Harth-Bedoya conducting the Baltimore Symphony Orchestra. This is its Australian premiere.

…primeval driving forces latent in popular culture.

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MORE MUSIC

GOLIJOV

Nazareno has been released by Deutsche Grammophon, but within a limited region. The easist way for Australians to obtain this recording – which features tonight’s conductor and soloists – is to head to iTunes or the Spotify subscription service.

The original choral work, La Pasión según San Marcos is readily available on CD. Look for the release from 2010, which includes a bonus DVD. María Guinand conducts an ensemble of exciting vocalists, the Orquesta la Pasión, led by Gonzalo Grau and members of the Simón Bolívar Youth Orchestra of Venezuela.DEUTSCHE GRAMMOPHON 477 7461

MÁRQUEZ

Arturo Márquez’s popular Danzon No.2 is included in Fiesta!, a survey of Latin American music with the Simón Bolívar Youth Orchestra conducted by Gustavo Dudamel. The program ends with an honorary Latin, Leonard Bernstein, and a thrilling performance of the Mambo from West Side Story.DEUTSCHE GRAMMOPHON 477 7457

VILLA-LOBOS

Looking for a recording of the complete Bachianas brasileiras of Villa-Lobos? Naxos ticks the box with a 3-CD set performed by the Nashville Symphony Orchestra and Kenneth Schermerhorn.NAXOS 8557460-62

The original piano version of Bachianas brasileiras No.4 is worth hearing, especially in the recording by Nelson Freire of Villa-Lobos piano works.APEX 740 837

PIAZZOLLA

Astor Piazzolla’s Tangazo is the title track on an all-Piazzolla disc recorded by Charles Dutoit and the Montreal Symphony Orchestra. In addition to smaller pieces, the recording includes the concerto for bandoneon and guitar.DECCA 468 5282

LÓPEZ

Jimmy López appears on three recordings. His Incubus III for clarinet, percussion and electronics is available on a recording released by the Donaueschingen Contemporary Music Festival. Four of his works have been assembled for the disc Musuq Peru (‘New Peru’ in Quechua), a recording from the Caminos del Inka project. And Fiesta! appears on the disc INTI: Three Centuries of Peruvian Music with Miguel Harth-Bedoya conducting the Fort Worth Symphony Orchestra. More information and links for purchasing can be found on: www.jimmylopez.com/discography

Broadcast DiaryOctober – November

abc.net.au/classic

Thursday 31 October, 9.30pmall stops out!David Drury organFemale voices of VOXElizabeth Scott chorus directorRebecca Gill violinJS Bach, Mozart, Vierne, Brahms, Karg-Elert

Saturday 9 November, 8pmwar requiemVladimir Ashkenazy conductorDina Kuznetsova, Andrew Staples, Dietrich Henschel vocal soloistsSydney Philharmonia ChoirsSydney Children’s ChoirBritten

Thursday 14 November, 1.30pmsibelius & brahmsVladimir Ashkenazy conductorPinchas Zukerman violinAmanda Forsyth cello

Saturday 16 November, 8pmmahler & bruchVladimir Ashkenazy conductorPinchas Zukerman violin

Thursday 28 November, 1.05pmwagner madnessNicholas Carter conductorJanet Webb fl uteHaydn, L Liebermann, Ledger, Wagner

Fine Music 102.5sydney symphony 2013Tuesday 11 November, 6pmMusicians, staff and guest artists discuss what’s in store in our forthcoming concerts.

Webcasts

Selected Sydney Symphony Orchestra concerts are webcast live on BigPond and Telstra T-box and made available for later viewing On Demand. Our current webcast:lior & westlakeVisit: bigpondmusic.com/sydneysymphonyWe recommend our free mobile app, now optimised for the iPad, if you want to watch SSO live webcasts on your mobile device.

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ABOUT THE ARTISTS

Miguel Harth-Bedoya CONDUCTOR

Miguel Harth-Bedoya was born in Peru and studied conducting at the Curtis Institute and the Juilliard School. His teachers included Seiji Ozawa, Gustav Meier and Otto-Werner Mueller. After graduating in 1993, he founded the Lima Philharmonic and a partner opera company, and other early posts included music director roles with the Auckland Philharmonia Orchestra, Eugene Symphony (Oregon) and the New York Youth Symphony. He is currently in his 13th season as Music Director of the Fort Worth Symphony Orchestra, and has just taken up the post of Chief Conductor of the Norwegian Radio Orchestra.

He performs throughout North America, conducting orchestras such as the Boston Symphony Orchestra, Philadelphia Orchestra, Los Angeles Philharmonic, Atlanta Symphony Orchestra and the Toronto Symphony Orchestra. In Europe he has conducted the Helsinki Philharmonic, Royal Scottish National Orchestra, Spanish National Orchestra, the MDR Orchestra in Leipzig, Dresden Philharmonic and the Orchestre de la Suisse Romande, as well as a Scandinavian tour with soprano Renée Fleming.

Equally at home in the theatre, he has conducted Jonathan Miller’s new production of La Bohème for English National Opera (also recorded for DVD), and has appeared with the Canadian Opera Company, Minnesota Opera, Santa Fe Opera and Cincinnati Opera.

His recordings include an all-Tchaikovsky disc, the fi rst bilingual recording of Prokofi ev’s Peter and the Wolf (Spanish and English), Sentimiento Latin with Peruvian tenor Juan Diego Flóres, and the Grammy-nominated recording Traditions and Transformations with Yo-Yo Ma and the Chicago Symphony Orchestra. In 2011 he conducted the premiere recording of Nazareno with Katia and Marielle Labèque and the Orquesta Sinfónica de Castilla y Léon.

A champion of new music, he has conducted many world premieres, including music by Jimmy López and works by FWSO composers-in-residence such as Jennifer Higdon (featured in the recording Take Six). He is also the creator and conductor of Caminos del Inka, a project with the goal of rediscovering forgotten musical gems and commissioning new works from composers associated with the South American countries through which the Inca Trail winds.

Miguel Harth-Bedoya’s most recent appearance with the SSO was in 2012 when he conducted the Sydney premiere of Ross Edwards’ saxophone concerto Full Moon Dances.

miguelharth-bedoya.com

18 sydney symphony

Katia and Marielle Labèque PIANO DUO

Sibling pianists Katia and Marielle Labèque are renowned for their energy and synchronicity. Daughters of Ada Cecchi (a piano student of Marguerite Long), their childhood was fi lled with music. Their musical ambitions energed at an early age and they rose to international fame with their rendition of Gershwin’s Rhapsody in Blue (one of the fi rst gold records in classical music).

They perform with leading orchestras such as the Berlin Philharmonic, Bavarian Radio Symphony Orchestra, Boston and Chicago symphony orchestras, Cleveland Orchestra, Leipzig Gewandhaus Orchestra, London Symphony Orchestra, London Philharmonic Orchestra, Los Angeles Philharmonic, Filarmonia della Scala, Philadelphia Orchestra, Dresden Staatskapelle and the Vienna Philharmonic. And they have worked with conductors Semyon Bychkov, Colin Davis, Charles Dutoit, John Eliot Gardiner, Miguel Harth-Bedoya, Kristjan Järvi, Zubin Mehta, Seiji Ozawa, Antonio Pappano, Georges Prêtre, Simon Rattle, Esa-Pekka Salonen, Leonard Slatkin and Michael Tilson Thomas.

They have also begun performing with period instrument ensembles such as the English Baroque Soloists, Il Giardino Armonico, Musica Antiqua Cologne, Venice Baroque and the Orchestra of the Age of Enlightenment, and they perform in major festivals all over the world.

Katia and Marielle Labèque have also enjoyed the privilege of collaborating with composers such as Louis Andrieesen, Luciano Berio, Pierre Boulez, Osvaldo Golijov, György Ligeti and – at the very outset of their career – Olivier Messiaen. In recent seasons they have given the premiere performances of Nazareno (Orchestre de Paris) and Richard Dubugnon’s Double Piano Concerto (LA Philharmonic).

They have an extensive discography on major labels and have more recently started their own label, KML Recordings, and the KML Foundation, aimed at furthering research and developing awareness of the piano duo repertoire and fostering meetings between artists from all fi elds. Recent releases include a new recording of Rhapsody in Blue and Bernstein’s West Side Story, and their new project Minimalist Dreamhouse, a survey of 50 years of minimalism inspired by the concerts curated by La Monte Young at Yoko Ono’s New York loft in 1961 and bringing together musicians from the alternative rock and classical worlds.

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Katia and Marielle Labèque fi rst visited Australia in 1988, playing Brahms, Schubert, Ravel’s Mother Goose and Gershwin’s Rhapsody in Blue in a tour for Musica Viva. They returned to Sydney in 1990 to play Mozart and Poulenc concertos (Stephen Kovacevich conducting the SSO) and a recital including Bernstein’s West Side Story. In 1994 they appeared in the Melbourne Festival and on this visit they also return to Melbourne to perform in recital.

Read an interview with Katia Labèque in the International Pianists in Recital program bookbit.ly/RecitalsProgramSSO

sydney symphony 19

Gonzalo Grau PERCUSSION

Gonzalo Grau began his musical studies at the age of three in Caracas, Venezuela. Along his musical journey he has developed skills in many instruments, from viola da gamba and cello to the fl amenco cajón and his principal instrument, piano. A Berklee College summa cum laude, his credits range from performances with Venezuelan music projects such as Maroa, Schola Cantorum de Venezuela, Camerata de Caracas and the Simón Bolivar National Youth Orchestra, to work with jazz icon Maria Schneider and the Latin jazz giant Timbalaye.

As a music director he leads Plural (Latin jazz-Flamenco-Venezuelan fusion) and La Clave Secreta (salsa fusion). He has participated in more than 80 recordings bridging the classical and popular music worlds, with recent productions including the studio recording of Osvaldo Golijov’s La Pasión según San Marcos (ECHO award 2010). With Katia and Marielle Labèque he has recorded Nazareno and West Side Story (winner of the Choc de Classica).

As a composer and arranger, he has collaborated with Golijov on the opera Ainadamar and La Pasión as well as arranging Nazareno. And his original works include the overture Pregunta y Respuesta (Atlanta Symphony Orchestra), Café con Pan (Chicago Symphony Orchestra), Nazareno, and the oratorio Aqua (Bach Academy International).

Raphaël Séguinier DRUMS

Born in 1979, Raphaël Séguinier began playing drums at the age of 15, teaching himself after learning classical piano. Infl uenced by the indie/noise/post-rock scene (Fugazi, Mogwai, Sonic Youth…), he plays in many bands, creating and producing his own musical projects and touring Europe.

In 2003, as he became more and more interested in improvising and experimental music, he joined the French collective Zazen, performing and recording with musicians from diverse musical territories: jazz, hardcore, electronic and traditional.

In 2005 he moved to Paris, where he began his professional career as a studio drummer. At the same time, he began touring internationally with such acts as Nouvelle Vague, Phoebe Killdeer & The Short Straws, Nadéah, Émilie Simon, Chocolate Genius, Cocoon and Saul Williams.

In 2010 he began working with Katia and Marielle Labèque, fi rst in the project ‘B for Bang’ and later to record West Side Story and work on the project Minimalist Dream House. More recently he has started a new band with David Chalmin (Red Velvet, Dimension X, Nadéah, B for Bang) and an improvisational drums/electronic project with French producer Villeneuve.

20 sydney symphony

MUSICIANS

Vladimir AshkenazyPrincipal Conductor and Artistic Advisor supported by Emirates

Dene OldingConcertmaster

Jessica CottisAssistant Conductor supported by Premier Partner Credit Suisse

Andrew HaveronConcertmaster

To see photographs of the full roster of permanent musicians and find out more about the orchestra, visit our website: www.sydneysymphony.com/SSO_musiciansIf you don’t have access to the internet, ask one of our customer service representatives for a copy of our Musicians flyer.

The men of the Sydney Symphony Orchestra are proudly outfitted by Van Heusen.

FIRST VIOLINS

Dene Olding Concertmaster

Kirsten Williams Associate Concertmaster

Lerida Delbridge Assistant Concertmaster

Fiona Ziegler Assistant Concertmaster

Julie BattyJenny BoothMarianne BroadfootBrielle ClapsonAmber DavisGeorges LentzNicola LewisAlexander NortonLéone ZieglerKelly Tang†

Andrew Haveron Concertmaster

Sun Yi Associate Concertmaster

Sophie ColeJennifer HoyAlexandra Mitchell

SECOND VIOLINS

Kirsty Hilton Emma Jezek A/ Associate Principal

Emily Long A/ Assistant Principal

Maria DurekEmma HayesStan W KornelBenjamin LiPhilippa PaigeBiyana RozenblitEmily Qin*Rebecca Gill†

Belinda Jezek*Marina Marsden Shuti HuangNicole MastersMaja Verunica

VIOLAS

Tobias Breider Anne-Louise Comerford Justin Williams Assistant Principal

Robyn BrookfieldJane HazelwoodGraham HenningsStuart JohnsonJustine MarsdenFelicity TsaiLeonid VolovelskyRoger Benedict Sandro CostantinoAmanda Verner

CELLOS

Catherine Hewgill Kristy ConrauFenella GillTimothy NankervisChristopher PidcockAdrian WallisDavid WickhamEleanor Betts*Leah Lynn Assistant Principal

Elizabeth Neville

DOUBLE BASSES

Kees Boersma Neil Brawley Principal Emeritus

Steven LarsonRichard LynnBenjamin WardJosef Bisits*Alex Henery David CampbellDavid Murray

FLUTES

Emma Sholl Carolyn HarrisRosamund Plummer Principal Piccolo

Janet Webb

OBOES

Shefali Pryor Alexandre Oguey Principal Cor Anglais

Diana Doherty David Papp

CLARINETS

Lawrence Dobell Craig Wernicke Principal Bass Clarinet

Christopher Tingay

BASSOONS

Jack Schiller†

A/ Associate Bassoon

Noriko Shimada Principal Contrabassoon

Melissa Woodroffe*Matthew Wilkie Fiona McNamara

HORNS

Robert Johnson Geoffrey O’Reilly Principal 3rd

Euan HarveyRachel SilverBrendan Parravicini†

Ben Jacks Marnie Sebire

TRUMPETS

Paul Goodchild Anthony HeinrichsOwen Morris*David Elton

TROMBONES

Scott Kinmont Christopher Harris Principal Bass Trombone

Jonathan Ramsay*Ronald Prussing Nick Byrne

TUBA

Scott Frankcombe*Steve Rossé

TIMPANI

Richard Miller

PERCUSSION

Rebecca Lagos Colin PiperMark Robinson HARP

Louise Johnson

KEYBOARDS

Susanne Powell*

Bold = PrincipalItalics = Associate Principal* = Guest Musician† = SSO FellowGrey = Permanent member of the Sydney Symphony Orchestra not appearing in this concert

sydney symphony 21

SYDNEY SYMPHONY ORCHESTRAVladimir Ashkenazy, Principal Conductor and Artistic AdvisorPATRON Her Excellency Professor Marie Bashir AC CVO

Founded in 1932 by the Australian Broadcasting Commission, the Sydney Symphony Orchestra 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 SSO 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 Orchestra’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 Orchestra’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 recordings of works by Brett Dean have been released on both BIS and Sydney Symphony Live.

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.

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22 sydney symphony

BEHIND THE SCENES

MANAGING DIRECTOR

Rory JeffesEXECUTIVE TEAM ASSISTANT

Lisa Davies-Galli

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC PLANNING

Peter Czornyj

Artistic AdministrationARTISTIC ADMINISTRATION MANAGER

Eleasha MahARTIST LIAISON MANAGER

Ilmar LeetbergRECORDING ENTERPRISE MANAGER

Philip Powers

Education ProgramsHEAD OF EDUCATION

Kim WaldockEMERGING ARTISTS PROGRAM MANAGER

Mark LawrensonEDUCATION COORDINATOR

Rachel McLarinCUSTOMER SERVICE OFFICER

Amy Walsh

LibraryAnna CernikVictoria GrantMary-Ann Mead

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA MANAGEMENT

Aernout KerbertORCHESTRA MANAGER

Chris Lewis ORCHESTRA COORDINATOR

Georgia StamatopoulosOPERATIONS MANAGER

Kerry-Anne CookPRODUCTION MANAGER

Laura DanielPRODUCTION COORDINATOR

Tim DaymanPRODUCTION COORDINATOR

Ian Spence

SALES AND MARKETING

DIRECTOR OF SALES & MARKETING

Mark J ElliottSENIOR SALES & MARKETING MANAGER

Penny EvansMARKETING MANAGER, SUBSCRIPTION SALES

Simon Crossley-MeatesMARKETING MANAGER, CLASSICAL SALES

Matthew RiveMARKETING MANAGER, WEB & DIGITAL MEDIA

Eve Le GallMARKETING MANAGER, DATABASE & CRM

Matthew HodgeGRAPHIC DESIGNER

Lucy McCulloughCREATIVE ARTWORKER

Nathanael van der Reyden

Sydney Symphony Orchestra Staff

MARKETING COORDINATOR

Jonathon Symonds ONLINE MARKETING COORDINATOR

Jenny Sargant

Box OfficeMANAGER OF BOX OFFICE SALES &OPERATIONS

Lynn McLaughlinBOX OFFICE SYSTEMS SUPERVISOR

Jacqueline TooleyBOX OFFICE BUSINESS ADMINISTRATOR

John Robertson CUSTOMER SERVICE REPRESENTATIVES

Karen Wagg – Senior CSR Michael DowlingKatarzyna OstafijczukTim Walsh

COMMUNICATIONS

HEAD OF COMMUNICATIONS & SPONSOR RELATIONS

Yvonne ZammitPUBLIC RELATIONS MANAGER

Katherine StevensonCOMMUNICATIONS COORDINATOR

Janine Harris DIGITAL CONTENT PRODUCER

Kai RaisbeckFELLOWSHIP SOCIAL MEDIA OFFICER

Caitlin Benetatos

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

DEVELOPMENT

DIRECTOR OF DEVELOPMENT

Caroline SharpenHEAD OF CORPORATE RELATIONS

Jeremy GoffHEAD OF MAJOR GIFTS

Luke Andrew GayDEVELOPMENT MANAGER

Amelia Morgan-HunnDEVELOPMENT COORDINATOR

Sarah Morrisby

BUSINESS SERVICES

DIRECTOR OF FINANCE

John HornFINANCE MANAGER

Ruth TolentinoACCOUNTANT

Minerva PrescottACCOUNTS ASSISTANT

Emma FerrerPAYROLL OFFICER

Laura Soutter

HUMAN RESOURCES

HEAD OF HUMAN RESOURCES

Michel Maree Hryce

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John C Conde ao ChairmanTerrey Arcus amEwen Crouch amRoss GrantJennifer HoyRory JeffesAndrew Kaldor amDavid LivingstoneGoetz Richter

Sydney Symphony Orchestra Board

Sydney Symphony Orchestra Council

Geoff Ainsworth amAndrew Andersons aoMichael Baume aoChristine BishopIta Buttrose ao obePeter CudlippJohn Curtis amGreg Daniel amJohn Della BoscaAlan FangErin FlahertyDr Stephen FreibergDonald Hazelwood ao obeDr Michael Joel amSimon JohnsonYvonne Kenny amGary LinnaneAmanda LoveHelen Lynch amDavid MaloneyDavid Malouf aoJulie Manfredi-HughesDeborah MarrThe Hon. Justice Jane Mathews aoDanny MayWendy McCarthy aoJane MorschelGreg ParamorDr Timothy Pascoe amProf. Ron Penny aoJerome RowleyPaul SalteriSandra SalteriJuliana SchaefferLeo Schofield amFred Stein oamGabrielle TrainorIvan UngarJohn van OgtropPeter Weiss ao HonDLittMary WhelanRosemary White

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sydney symphony 23

06 Kirsty Hilton Principal Second Violin Corrs Chambers Westgarth Chair

07 Robert Johnson Principal Horn James & Leonie Furber Chair

08 Elizabeth Neville Cello Ruth & Bob Magid Chair

09 Colin Piper Percussion Justice Jane Mathews ao Chair

10 Emma Sholl Associate Principal Flute Robert & Janet Constable Chair

11 Janet Webb Principal Flute Helen Lynch am & Helen Bauer Chair

SYDNEY SYMPHONY ORCHESTRA 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 Orchestra 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 Terrey Arcus am & Anne Arcus 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

Chair Patrons

01 02 03

04 05 06

07 08 09

10 11 For information about the Chair Patrons program, please call (02) 8215 4619.

David BluffKees Boersma Andrew BraggPeter BraithwaiteBlake BriggsAndrea BrownHelen CaldwellHilary CaldwellHahn ChauAlistair ClarkMatthew ClarkBenoît CocheteuxPaul ColganGeorge CondousJuliet CurtinJustin Di Lollo

Alistair FurnivalAlistair GibsonSam GiddingsMarina GoSebastian GoldspinkTony GriersonLouise HaggertyRose HercegPhilip HeuzenroederPaolo HookePeter HowardJennifer HoyScott JacksonJustin JamesonAernout KerbertTristan Landers

Gary LinnanePaul MacdonaldRebecca MacFarlingKylie McCaigDavid McKeanHayden McLeanAmelia Morgan-HunnPhoebe Morgan-HunnTaine MoufarrigeNick NichlesTom O’DonnellKate O’ReillyFiona OslerArchie PaffasJonathan PeaseJingmin Qian

Seamus R QuickLeah RanieMichael ReedePaul ReidyChris RobertsonBenjamin RobinsonEmma RodigariJacqueline RowlandsKatherine ShawRandal TameSandra TangAdam WandJon WilkieJonathan WatkinsonDarren WoolleyMisha Zelinsky

Justin Di Lollo – ChairKees BoersmaMarina GoDavid McKeanAmelia Morgan-HunnJonathan PeaseSeamus R Quick

MembersCentric WealthMatti AlakargasStephen AttfieldDamien BaileyMar BeltranEvonne BennettNicole Billet

Sydney Symphony Orchestra VanguardVanguard Collective

24 sydney symphony

PLAYING YOUR PART

The Sydney Symphony Orchestra gratefully acknowledges the music lovers who donate to the orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs. 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 KallinikosHelen Lynch am & Helen BauerVicki 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–$19,999Doug & Alison BattersbyAlan & Christine BishopIan & Jennifer BurtonCopyright Agency Cultural Fund Edward & Diane FedermanNora GoodridgeMr Ross GrantMr Ervin KatzJames N Kirby FoundationMs Irene LeeRuth & Bob MagidThe Hon. Justice AJ Meagher & Mrs Fran MeagherMrs T Merewether oamMr John MorschelMr John SymondAndy & Deirdre Plummer Caroline WilkinsonAnonymous (1)

Silver Patrons: $5000–$9,999Stephen J BellMr Alexander & Mrs Vera BoyarskyMr Robert BrakspearMr David & Mrs Halina BrettMr Robert & Mrs L Alison Carr Bob & Julie ClampettEwen Crouch am & Catherine CrouchIan Dickson & Reg Holloway

Dr C GoldschmidtThe Greatorex Foundation Mr Rory Jeff esJudges of the Supreme Court of NSW J A McKernanR & S Maple-BrownJustice Jane Mathews aoMora MaxwellMrs Barbara MurphyDrs Keith & Eileen OngTimothy & Eva PascoeWilliam McIlrath Charitable FoundationMr B G O’ConorRodney Rosenblum am & Sylvia RosenblumEstate of the late Greta C RyanManfred & Linda SalamonSimpsons SolicitorsMrs Joyce Sproat & Mrs Janet CookeMichael & Mary Whelan TrustJune & Alan Woods Family BequestAnonymous (2)

Bronze Patrons: Presto $2,500–$4,999Mr Henri W Aram oamThe Berg Family Foundation in memory of Hetty GordonMr B & Mrs M ColesMr Howard ConnorsGreta DavisThe Hon. Ashley Dawson-DamerFirehold Pty LtdStephen Freiberg & Donald CampbellVic & Katie FrenchMrs Jennifer HershonGary LinnaneRobert McDougallRenee MarkovicJames & Elsie MooreMs Jackie O’BrienJ F & A van OgtropIn memory of Sandra Paul PottingerIn memory of H St P ScarlettDavid & Isabel SmithersMarliese & Georges TeitlerMr Robert & Mrs Rosemary WalshMr & Mrs T & D YimAnonymous (1)

Bronze Patrons: Vivace $1,000–$2,499Mrs Antoinette AlbertAndrew Andersons aoMr & Mrs Garry S AshDr Francis J AugustusSibilla BaerRichard and Christine Banks David BarnesMark Bethwaite am & Carolyn Bethwaite

Allan & Julie BlighDr & Mrs Hannes Boshoff Jan BowenLenore P BuckleM BulmerIn memory of RW BurleyIta Buttrose ao obeMr JC Campbell qc & Mrs CampbellDr Rebecca ChinDr Diana Choquette & Mr Robert MillinerMr Peter ClarkeConstable Estate Vineyards Debby Cramer & Bill CaukillMr John Cunningham SCM & Mrs Margaret CunninghamLisa & Miro DavisMatthew DelaseyMr & Mrs Grant DixonColin Draper & Mary Jane BrodribbMalcolm Ellis & Erin O’NeillMrs Margaret EppsPaul R EspieProfessor Michael Field AMMr Tom FrancisMr James Graham am & Mrs Helen GrahamWarren GreenAnthony GreggAkiko GregoryTony GriersonEdward & Deborah Griffi nRichard Griffi n amIn memory of Dora & Oscar GrynbergJanette HamiltonMrs & Mr HolmesThe Hon. David Hunt ao qc & Mrs Margaret HuntDr & Mrs Michael HunterIrwin Imhof in memory of Herta ImhofMichael & Anna JoelIn memory of Bernard M H KhawMr Justin LamMr Luigi LampratiMr Peter Lazar amProfessor Winston LiauwDr David LuisPeter Lowry oam & Dr Carolyn Lowry oamDr David LuisDeirdre & Kevin McCannIan & Pam McGawMatthew McInnesMacquarie Group FoundationMrs Toshiko MericHenry & Ursula MooserMilja & David MorrisMrs J MulveneyOrigin FoundationMr & Mrs OrtisDr A J PalmerMr Andrew C Patterson

sydney symphony 25

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

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 ?

Dr Natalie E PelhamAlmut PiattiRobin PotterTA & MT Murray-PriorDr Raffi QasabianMichael QuaileyErnest & Judith RapeeKenneth R ReedPatricia H Reid Endowment Pty LtdDr John Roarty oam in memory of Mrs June RoartyRobin RodgersLesley & Andrew RosenbergJulianna Schaeff erCaroline SharpenDr Agnes E SinclairMrs Judith SouthamMrs Karen Spiegal-KeighleyCatherine StephenJohn & Alix SullivanThe Hon. Brian Sully qcMildred TeitlerKevin TroyJohn E TuckeyIn memory of Joan & Rupert VallentineDr Alla WaldmanMiss Sherry WangHenry & Ruth WeinbergThe Hon. Justice A G WhealyMs Kathy White in memory of Mr Geoff WhiteA Willmers & R PalMr & Mrs B C WilsonDr Richard WingMr Robert WoodsIn memory of Lorna WrightDr John YuAnonymous (12)

Bronze Patrons: Allegro $500–$999Mrs Lenore AdamsonDavid & Rae AllenMichael Baume ao & Toni BaumeBeauty Point Retirement ResortRichard & Margaret BellMrs Jan BiberMinnie BiggsMrs Elizabeth BoonMr Colin G BoothDr Margaret BoothMr Peter BraithwaiteMr Harry H BrianR D & L M BroadfootDr Miles Burgess

Pat & Jenny BurnettEric & Rosemary CampbellBarrie CarterMr Jonathan ChissickMrs Sandra ClarkMichael & Natalie CoatesCoff s Airport Security Car ParkJen CornishDom Cottam & Kanako ImamuraDegabriele KitchensPhil Diment am & Bill Zafi ropoulosDr David DixonElizabeth DonatiThe Dowe FamilyMrs Jane DrexlerDr Nita Durham & Dr James DurhamJohn FavaloroMs Julie Flynn & Mr Trevor CookMrs Lesley FinnMr John GadenVivienne GoldschmidtClive & Jenny GoodwinMs Fay GrearIn Memory of Angelica GreenMr Robert GreenMr & Mrs Harold & Althea HallidayMr Robert HavardRoger HenningSue HewittIn memory of Emil HiltonDorothy Hoddinott aoMr Joerg HofmannMr Angus HoldenMr Kevin HollandBill & Pam HughesDr Esther JanssenNiki KallenbergerMrs Margaret KeoghDr Henry KilhamChris J KitchingAron KleinlehrerAnna-Lisa KlettenbergMr & Mrs Giles T KrygerThe Laing FamilySonia LalDr Leo & Mrs Shirley LeaderMargaret LedermanMrs Erna Levy Sydney & Airdrie LloydMrs A LohanMrs Panee LowMelvyn MadiganBarbara MaidmentHelen & Phil MeddingsDavid Mills

Kenneth Newton MitchellMs Margaret Moore oam & Dr Paul Hutchins amHelen MorganChris Morgan-HunnMr Darrol NormanMr Graham NorthDr Margaret ParkerDr Kevin PedemontDr John PittMrs Greeba PritchardMr Patrick Quinn-GrahamMiss Julie RadosavljevicRenaissance ToursDr Marilyn RichardsonAnna RoMr Kenneth RyanMrs Pamela SayersGarry Scarf & Morgie BlaxillPeter & Virginia ShawMr & Mrs ShoreMrs Diane Shteinman amVictoria SmythDoug & Judy SotherenRuth StaplesMr & Mrs Ashley StephensonMargaret SuthersThe Taplin FamilyDr & Mrs H K TeyMrs Alma Toohey & Mr Edward SpicerJudge Robyn TupmanMrs M TurkingtonGillian Turner & Rob BishopMr & Mrs Franc VaccherProf Gordon E WallRonald WalledgeIn memory of Denis WallisThe Wilkinson FamilyEvan Williams am & Janet WilliamsAudrey & Michael WilsonDr Richard WingateDr Peter Wong & Mrs Emmy K WongGeoff Wood & Melissa WaitesMrs Robin YabsleyAnonymous (24)

List correct as of 18 July 2013

26 sydney symphony

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

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

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I learnt how to crave a really great orchestral sound.

the Chicago Symphony Orchestra whose string sound is so present, so close to the bridge. All their courage is in the bow.’

Somewhat unusually, Chris’s parents travelled with him on the last SSO tour. ‘It was pretty cool having them there. It wasn’t like “I’m a problem child and I need someone to look after me”. Dad’s a hæmatologist, and plays piano and organ a lot. If ever someone’s had a bad diagnosis, Dad’s two favourite things are gardening and playing piano. Mozart is a salvation. Any frustration you have with people can be dealt with through playing music or gardening.’

‘Music is a vocation, not a job. I’m practising and thinking about music a lot. There’s a great term that Yo Yo Ma uses, of a “citizen musician”, where your role is to share music as a cultural device. Our orchestra is a major part of that. I feel that our schedule allows enough time to do other concerts, to make it a real vocation. There’s so much work to be done, it never really ends.’

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‘Bikram cello.’ That’s what cellist Chris Pidcock suggests he’s engaged in as he practises furiously in a rehearsal room at the Sydney Opera House. It’s warm. It could be the air-conditioning, but equally, when you find out what he’s working on… ‘A bit of Saariaho, some Giacinto Scelsi, a work by Anna Clyne for cello and electronics.’ Um. Perhaps the challenging repertoire better explains his heated condition?

Chris is getting ready for an extracurricular solo concert of contemporary music. ‘The really fun part [of my preparations]

is playing for my colleagues. Suddenly I’ve got a hundred “teachers”. I get really excited when I can play for them because they’re buzzing with ideas.’

‘I always knew I wanted to be part of a great orchestra. I remember walking away from an SSO performance of La Mer, and I couldn’t understand how it was so perfect. I learnt how to crave a really great orchestral sound.’ That craving was fed further by other great orchestras: ‘You go to Vienna and the violins have a flautando [flutelike] sound so perfect that you can’t breathe when you hear it. Then there’s

CITIZEN MUSICIANYoga. Gardening. Music. There’s no limit to cellist Chris Pidcock’s interests.

ORCHESTRA NEWS | SEPTEMBER–OCTOBER 2013

In July, SSO Chairman John Conde AO welcomed patrons to his home for a special preview of our 2014 concert season. Guests were treated to a lively Q&A session with incoming Chief Conductor and Artistic Director David Robertson and our

Managing Director Rory Jeffes. Diana Doherty, Catherine Hewgill and Kirsty Hilton provided the musical entertainment.For information about the SSO Patrons Program email philanthropy@sydneysymphony.com or call (02) 8215 4674.

I noticed Janet Webb was playing a metal flute when she performed the Liebermann concerto recently. But she used to play on a wooden instrument – it was always a distinctive sight on the concert platform. Why the switch? And what difference does it make? Lapsed Flautist

Well spotted, Lapsed Flautist! Janet has indeed switched from her wooden flute back to a metal one – this time a solid 14-carat gold instrument. As Janet explains, she decided it was time for a change. ‘I’m always looking for different sounds, and different possibilities.’ Her new gold flute sounds more…well…golden. ‘I want to make a mellow, rounded sound. The gold flute allows me to find warmer, darker, deeper, more complex qualities.’ Janet describes the wooden flute as having an earthy sound, ‘just like the material it’s made from.’ A silver flute offers something different again – a brighter, more penetrating sound.

There are some physical differences – Janet’s wooden flute was heavier and fatter than her gold flute. The wooden flute also retained its warmth after being played – ‘I could put it down and then come back to it later and it would still be warm.’ This ensures stability in intonation. The physical properties of the metal mean a gold flute will cool down faster after being played. ‘I just have to pay more attention to the tuning if I come in after a long rest.’ Above all, however, the quality of the sound depends on the flautist. ‘It’s all about how people blow. I still sound like me!’

Have a question about music, instruments or the inner workings of an orchestra? ‘Ask a Musician’ at yoursay@sydneysymphony.com or by writing to Bravo! Reply Paid 4338, Sydney NSW 2001.

Ask a MusicianOrchestra HighlightYour Orchestra’s New Look

Everything old is new again! With the excitement of a new chief conductor and a new season of music on the horizon, we thought it was time to bring back something that in reality never truly went away (although it was effectively sidelined for more than a decade).

In announcing the 2014 season, we officially welcomed back our original name: Sydney Symphony Orchestra. Sometimes you might find it easier to refer to the shortened version of ‘SSO’. Either way, we’re your orchestra.

Perhaps you’ve also noticed our colourful new logo? We think it’s rather joyful – akin to the explosion of colourful sound you can hear from the orchestra.

The graphic is a visual abstraction of both musicians and audience. The new exuberant identity also expresses the wide range of choice we offer audiences and the role we play in our community, with each vibrant square a different shade of a harmonious whole.

We hope you like our new/old name, and that you’ll enjoy our fresh new look as we move into another exciting era of inspirational and first-class music making.

CHINA EXCHANGEInternational Focus

‘These activities, which began last year, will lead to a long-term program of masterclasses, exchanges, orchestral workshops, commissions and tour performances, which will be further enhanced and facilitated through digital technology,’ says Rory. ‘Our relationship with the Conservatory, which is the only higher music education institution in Southern China, is also significant given the sister-city relationship between Sydney and Guangzhou.’

Also in 2012, the SSO signed a significant Memorandum of Understanding with the National Centre for the Performing Arts in Beijing, also known as ‘The Egg’. This agreement involves our musicians working with the NCPA orchestra, as well as SSO administrative staff passing on their expertise and knowledge about audience development. Our Director of Marketing, Mark Elliott, will soon be visiting the NCPA in this capacity.

Recently, the SSO won the major award at the inaugural Australian Arts in Asia Awards for our work in China. The awards, which attracted 120 entries, celebrate the role of Australian artists and arts organisations working in Asia.

‘It’s impossible to say for certain, but some estimates suggest there are 50 million young people learn-ing the violin in China,’ says our Managing Director Rory Jeffes.

Recently, three of the top young string players visited us from the Xinghai Conservatory in Guangzhou. Violinists Guo Lu and Zhu Siyao and violist Chen Chen, aged between 19 and 23, spent a week with the SSO’s Sinfonia mentoring orchestra. They took part in a busy schedule of schools and family concerts, as well as a read through of Prokofiev’s Fifth Symphony. Violin mentors from the SSO, Shuti Huang and Ben Li, sat with the girls in the orchestra, occasionally translating for the students and generally unravelling the mysteries of professional orchestral etiquette.

‘The pace was faster than they anticipated, but they quickly adjusted,’ said Shuti. ‘By the end of the week, they were all feeling very much a part of the orchestra.’

Before our 2012 China tour, the SSO signed a Memorandum of Understanding with the Xinghai Conservatory. On that tour, as a first step in building ties, our musicians gave masterclasses to students at the conservatory and Vladimir Ashkenazy conducted a rehearsal of their orchestra.

War RequiemVladimir Ashkenazy admits to not liking everything Benjamin Britten wrote, but the War Requiem, he says, is ‘one of Britten’s best pieces, maybe the best’. In its music, its text and its effect, it is ‘absolutely compelling’.

The War Requiem was composed in response to the horrors of World War II and was dedicated to the memory of four of Britten’s friends. It was an ambitious and daring musical creation, but also deeply symbolic. Perhaps most significant was Britten’s intended casting, and this is something Ashkenazy has set out to replicate for our performances in November, with Russian soprano Dina Kuznetsova, English tenor Andrew Staples and German baritone Dietrich Henschel.

The three nationalities were chosen by Britten to represent three principal countries in the conflict. (The first recording features the soloists he had in mind: Galina Vishnevskaya, Peter Pears and Dietrich Fischer-Dieskau.) And the symbolism reaches full weight when tenor and baritone, as two dead soldiers, sing the lines from Wilfred Owen’s World War I poem, Strange Meeting: ‘I am the enemy you killed, my friend.’

Britten’s War Requiem uses its multinational cast to issue a call for peace, a call that seems as relevant today as it did in 1961. It’s not merely a protest against war, but music that Britten hoped would make us ‘think a bit’.

War RequiemMaster Series 8 and 9 November | 8pm

The Score

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From left: Zhu Siyao, Guo Lu, Chen Chen

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LET’S MISBEHAVE!Dust off your tux and shake out the feather boa – it’s time for the SSO Roaring 20s Ball. Taking place on Saturday 23 November at Paddington Town Hall, your fun night out will include a 50-piece orchestra, music from the jazz age and dancing! Tickets may be purchased through our box office 02 8215 4600. More information here: sydneysymphony/20sball

REAL JOBSIt’s not uncommon for friends to ask young musicians about their jobs: What do you do all day? And why do you have to practise so much? Perhaps you’ve occasionally wondered the same. SSO Fellow, flautist Laura van Rijn, has written a blog post answering these questions and others. Read it at: blog.ssofellowship.com/2013/08/what-do-you-do

WELCOME PARTNER

We’re pleased to announce that the Hotel Intercontinental Sydney is a new Gold Partner of the SSO. Keep an eye out for exclusive dining and accommodation packages in Stay Tuned, program books and at sydneysymphony.com

EARLY BIRDSThe winners of our 2013 Season Emirates Early Bird prize, Joyce and Ivan Cribb, returned from their prize trip to Barcelona (and a side trip to France) with glowing reports and memories to cherish. A highlight was hearing the local Barcelona Symphony and Catalonia National Orchestra perform Mahler’s First Symphony.

You could win this year! The 2014 Season Emirates Early Bird prize closes soon. This time the prize is two business class Emirates flights

to Dubai plus five nights’ luxury accommodation Enter the draw by booking your 2014 SSO subscription by 10 September 2013. T&Cs apply.

CONQUERORSThe mighty Team Sydney Symphony Sprint put in a valiant – nay, impressive! – effort in the recent City to Surf. Fastest on the day was double bassist David Campbell, with a time of 59:22. Breathing down his neck was Principal Trumpet David Elton, mere hundredths of a second behind. Go team!

EMIRATES RENEWALWe recently announced the renewal for three years of our principal partner relationship with Emirates, making it one of our longest-standing corporate partnerships. Among the benefits: SSO audiences receive an exclusive 10% online discount on all Emirates flights. How? Visit sydneysymphony.com/emirates

CODA