2014

Mee! !he Music

Thursd"y 27 Febru"ry 2014

K"leidoscope

Frid"y 28 Febru"ry 2014 S"!urd"y 1 M"rch 2014

ROBERTSON CONDUCTS JOHN WILLIAMS

* Selec!ed perform"nces. ^Booking fees of $7.50 – $8.95 m"y "pply. #Addi!ion"l fees m"y "pply.

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ALEXANDER GAVRYLYUK IN RECITAL

SCHUMANN Kinderszenen MOZART Pi"no Son"!" in C, K330 LISZT L"crymos" from Moz"r!’s Requiem LISZT T"r"n!ell" from Venezi" e N"poli, S162 PROKOFIEV Son"!" No.6 (W"r Son"!" 1)

In!ern"!ion"l Pi"nis!s in Reci!"l Presen!ed by Theme # V"ri"!ions

Mon 10 M!r 7pm Ci"y Reci"!l H!ll Angel Pl!ce

Pre-concer! !"lk by S!eph"nie McC"llum

DISCOVER SHOSTAKOVICH’S NINTHSHOSTAKOVICH Symphony No.9

Rich!rd Gill conduc!or

Tenix Discovery

Tue 11 M!r 6.30pm Ci"y Reci"!l H!ll Angel Pl!ce

RUSSIAN DAYDREAMSTCHAIKOVSKY # PROKOFIEV

TCHAIKOVSKY Symphony No.1, Win!er D"ydre"ms PROKOFIEV Alex"nder Nevsky – C"n!"!"

Pinch!s S"einberg conduc!or N!"!sch! Pe"rinsky mezzo-sopr"no Sydney Philh!rmoni! Choirs

M"s!er Series

Wed 12 M!r 8pm Fri 14 M!r 8pm S!" 15 M!r 8pm Pre-concer! !"lk by Yvonne Frindle

BEETHOVEN’S FIFTHVINE Smi!h’s Alchemy for s!rings WIENIAWSKI* Violin Concer!o No.2 BEETHOVEN* Symphony No.5

Pinch!s S"einberg conduc!or K!ren Gomyo violin

Mee! !he Music

Wed 19 M!r 6.30pmThursd"y Af!ernoon Symphony

Thu 20 M!r 1.30pmTe" # Symphony

Fri 21 M!r 11!m*

Pre-concer! !"lk by Andrew Aronowicz (Wed # Thu)

SSO PRESENTS

rePLAY SYMPHONY OF HEROES

Ge! se! for " g"ming p"r"dise on screen "nd s!"ge! Including Por!"l, Journey, The Legend of Zeld", The Elder Scrolls, H"lo "nd Fin"l F"n!"sy. Pl"yed ou! wi!h !he dr"m"!ic, powerful "nd live surround sound of !he SSO.

Fri 7 M!r 8pm S!" 8 M!r 2pm

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CLASSICAL

JOHN WILLIAMSA C E L E B R A T I O N

ALBUMS OUT NOW AND AVAILABLEAT THE MERCHANDISE DESK

2 CDSET

4CDSET

The essential JOHN WILLIAMS collectionAlmost 2 ! hours of memorable hits from the movies performed

with tremendous verve and panache.

STAR WARS, E.T., SUPERMAN,NEW-YORK, NEW-YORK and many more!

THE CLASSIC 100MUSIC IN THE MOVIES

The greatest scores andclassical tunes from the movies.

THE HOBBIT THE DESOLATION OF SMAUG

The epic soundtrack to thelatest in the HOBBIT movies.

JohnWilliams_HPV_SSO_Layout 1 30/01/2014 4:05 pm Page 1

2014 concert season

ROBERTSON CONDUCTS JOHN WILLIAMSD!vid Rober"son conductor Andrew H!veron violin Sydney Children’s Choir Gondw!n! Alumni Choir Lyn Willi!ms, Ar"is"ic Direc"or

Music from "he sound"r!cks of John Willi!ms, including J!ws, S"!r W!rs, R!iders of "he Los" Ark, E.T. "he Ex"r!-Terres"ri!l, Empire of "he Sun, Schindler’s Lis", Jur!ssic P!rk, Amis"!d, H!rry Po""er !nd ! few more

D!vid Rober"son will in"roduce "he progr!m from "he s"!ge

Visi" sydneysymphony.com/progr!m_libr!ry from Mond!y 3 M!rch "o downlo!d "his progr!m wi"h ! lis" of "he music performed.

MEET THE MUSICTHURSDAY 27 FEBRUARY, 6.30PM

KALEIDOSCOPEFRIDAY 28 FEBRUARY, 8PM SATURDAY 1 MARCH, 8PM

SYDNEY OPERA HOUSE CONCERT HALL

S!"urd!y nigh"’s perform!nce will be recorded for l!"er bro!dc!s" by ABC Cl!ssic FM on Sund!y 16 M!rch !" 2pm.

Pre-concer" "!lk by Genevieve L!ng !" 7.15pm in "he Nor"hern Foyer (5.45pm Thu)

Visi" bi".ly/SSOspe!kerbios for more inform!"ion.

There will be one in"erv!l of 20 minu"es !nd "he concer" will conclude !" !pproxim!"ely 10.10pm; (8.40pm Thu).

COVER IMAGE: De"!il from pos"er for S!"r W"rs VI: Re!urn of !he Jedi (Luc!sfilm / 20"h Cen"ury Fox / The Kob!l Collec"ion)

JOHN WILLIAMSA C E L E B R A T I O N

ALBUMS OUT NOW AND AVAILABLEAT THE MERCHANDISE DESK

2 CDSET

4CDSET

The essential JOHN WILLIAMS collectionAlmost 2 ! hours of memorable hits from the movies performed

with tremendous verve and panache.

STAR WARS, E.T., SUPERMAN,NEW-YORK, NEW-YORK and many more!

THE CLASSIC 100MUSIC IN THE MOVIES

The greatest scores andclassical tunes from the movies.

THE HOBBIT THE DESOLATION OF SMAUG

The epic soundtrack to thelatest in the HOBBIT movies.

JohnWilliams_HPV_SSO_Layout 1 30/01/2014 4:05 pm Page 1

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Robertson conducts John Williams: Music from the Movies

Turn "o p!ge 27 "o re!d Br"vo! – musici!n profiles, !r"icles !nd news from "he orches"r!. There !re nine issues "hrough "he ye!r, !lso !v!il!ble !" sydneysymphony.com/br!vo

INTRODUCTION

John Willi!ms is credi"ed wi"h res"oring symphonic sound "o "he movies in "he 1970s – pu""ing "he orches"r! b!ck in"o "he cinem!. So i" seems righ" "o re"urn "he complimen" "onigh" by bringing his film music in"o "he concer" h!ll.

Willi!ms spe!rhe!ded "he symphonic reviv!l wi"h his score for The Poseidon Adven!ure in 1972. I"s big, Korngold-inspired sound, m!de w!ves !f"er ! dec!de in which sound"r!cks h!d "ended "ow!rds j!zz, pop !nd elec"ronics, !nd in which every movie simply h!d "o h!ve ! hi" song ("hink Moon River). His !w!rd-winning score for J"ws followed in 1975. Then, "wo ye!rs l!"er, he wro"e "he film score "h!" re!lly m!de his n!me. In S!"r W"rs, no" only were !udiences given ! lush orches"r!l score, "h!" score w!s !ccomp!nying science fic!ion! John Willi!ms !s"u"ely recognised "h!", despi"e "he in"erg!l!c"ic se""ing, "he sp!ce ships !nd "he ligh"s!bers, S!"r W"rs w!s !" he!r" ! work of rom!n"ic s"ory"elling. I" is, !f"er !ll, ‘A long !ime "go in ! g!l!xy f!r, f!r !w!y’.

Since "hen, John Willi!ms h!s given !udiences "he scores for Close Encoun!ers of !he Third Kind, Superm"n (1978), more S!"r W"rs films, "he Indi!n! Jones movies beginning wi"h R"iders of !he Los! Ark in 1981, E.T. !he Ex!r"-Terres!ri"l, The Wi!ches of E"s!wick, Empire of !he Sun, "he more in"im!"e sound worlds of The Acciden!"l Touris! !nd Home Alone, Jur"ssic P"rk, Schindler’s Lis! wi"h i"s fe!"ured violin, Amis!"d, S"ving Priv"!e Ry"n, Angel"’s Ashes, The P"!rio!, A.I.:#Ar!ifici"l In!elligence, "he H!rry Po""er movies, Minori!y Repor!, W"r of !he Worlds, Memoirs of " Geish", The Adven!ures of Tin!in, W"r Horse, Lincoln !nd mos" recen"ly The Book Thief.

Th!" w!s jus" ! p!r"i!l lis", !nd ! single concer" c!n represen" only some of "hese m!rvellous scores. Which movies !nd which momen"s h!s c!lled for ! c!reful process of selec"ion !nd "here’s no one be""er "o in"roduce i" "o you "h!n "onigh"’s conduc"or, D!vid Rober"son.

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ABOUT THE MUSIC

From Jaws to Jurassic Park…John Williams and his Style

The s"!"is"ics !lone !re giddying: five Ac!demy Aw!rds (Fiddler on !he Roof, J"ws, S!"r W"rs, E.T. !nd Schindler’s Lis!), !lmos" 50 Osc!r nomin!"ions, !nd ! score which in 2005 "opped "he Americ!n Film Ins"i"u"e’s lis" of "he 25 gre!"es" film scores of "he cen"ury (S!"r W"rs). Bu" perh!ps more indic!"ive of "he con"ribu"ion "h!" John Willi!ms h!s m!de "o film is "h!" his n!me is f!mili!r "o such ! l!rge sec"ion of "he cinem!-going public. No o"her film composer, living or de!d, h!s been "he recipien" of ! comp!r!ble level of popul!r !ccl!im !nd recogni"ion. So s"rongly do his fellow Americ!ns iden"ify wi"h "he v!lues inspired by his music, he h!s been invi"ed "o compose for m!ny occ!sions of n!"ion!l signific!nce, including four Olympic G!mes !nd ceremonies commemor!"ing "he cen"en!ry of "he S"!"ue of Liber"y, "he 500"h !nnivers!ry of "he !rriv!l of Chris"opher Columbus in Americ!, !nd "he in!ugur!"ion of Presiden" B!r!ck Ob!m!.

Willi!ms is jus"ly f!mous for his sweeping, richly scored "hemes, bu" "he bre!d"h of his screen ou"pu" mus" !lso !rouse

‘When you enter a movie theatre you become aware of sound in a different way, the lights go down and you give yourself to the complete experience that awaits you. John Williams understands this and finds just the right combination of sounds and timbres to communicate with us on a very deep emotional level.’

DAVID ROBERTSON

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envy in even "he mos" !ccomplished film composers. A gl!nce !" "he lis" of movies which h!ve been gr!ced by his music shows "h!" he is proficien" in !lmos" every genre of symphonic cinem!"ic scoring.

The eclec"icism "h!" ch!r!c"erises his music is l!rgely ! resul" of his b!ckground !nd "r!ining. Born "he son of ! j!zz drummer !nd percussionis" (Johnny Willi!ms Snr pl!yed for CBS R!dio !nd Columbi! Pic"ures), he w!s exposed "o "he rigours of profession!l music!l life from !n e!rly !ge. Willi!ms spen" hours w!"ching his f!"her work !nd credi"s "his wi"h fos"ering ! f!scin!"ion wi"h orches"r!l "ex"ures, !s he would pick ou" "he lines pl!yed by "he v!rious ins"rumen"s. Form!l music s"udies in C!liforni! were followed by ! s"in" in "he US Air Force, where he composed !nd !rr!nged for mili"!ry b!nds. On being disch!rged, he moved "o New York where he s"udied pi!no !" Juilli!rd !nd picked up work !s ! j!zz pi!nis" !nd !rr!nger.

Willi!ms subsequen"ly re"urned "o Los Angeles, where his sigh"-re!ding !bili"ies e!rned him ! job !s ! pi!nis" wi"h Columbi! S"udios. He h!d no p!r"icul!r in"eres" in film music !" "his poin" bu" ! ch!nce oppor"uni"y resul"ed in !rr!nging work, which he e!gerly !ccep"ed. I" w!s during his nex" job, however, working !" Univers!l under Alfred Newm!n !nd Bern!rd Herrm!nn, "h!" Willi!ms re!lly served his !ppren"iceship !nd developed "he kind of musici!nship !nd work e"hic "h!" would m!ke him one of Hollywood’s mos" prolific !nd vers!"ile film composers.

Under "he "erms of his seven-ye!r con"r!c" he h!d "o wri"e "he music for 39–40 one-hour "elevision shows per ye!r – on !ver!ge one every week. For "his he h!d "o hop be"ween genres – one week ! comedy, "he nex" ! Wes"ern, "he following ! sp!ce oper!. ‘I w!s no" selec"ive,’ he s!ys. ‘I would do wh!"ever I w!s

John Williams’ ‘range is without bounds, his inspiration seems unending, and his power to unlock our emotions is breathtaking.’

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N M!rk H!mill, C!rrie Fisher !nd H!rrison Ford in "he origin!l S"!r W!rs.

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given !nd h!d no ide! i" would le!d "o being ! film composer.’ Bu" i" did, !nd i" w!s his scores for "he films The Reivers !nd The Cowboys "h!" c!ugh" "he e!r of "he 27-ye!r-old S"even Spielberg, who !sked Willi!ms "o score his debu" fe!"ure, The Sug"rl"nd Express. Despi"e Spielberg’s you"hful !ppe!r!nce !nd be!ring, Willi!ms w!s impressed by his en"husi!sm !nd knowledge of "he film music c!non !nd !greed. Thus beg!n !n !r"is"ic p!r"nership "h!" h!s endured for 40 ye!rs (Willi!ms h!s scored !ll bu" one of Spielberg’s direc"ori!l films) !nd r!ised "he symbio"ic rel!"ionship of cinem!"ic sound !nd vision "o dizzying new heigh"s. His coll!bor!"ions wi"h Spielberg !nd George Luc!s h!ve resul"ed in his mos" popul!r !nd successful scores, !nd h!ve led "o his being credi"ed wi"h res"oring "he symphonic componen" "o "he modern film score.

A music!l dr!m!"is"

I"’s ironic "o "hink "h!", despi"e his S!"r W"rs score’s "op spo" on "he AFI lis", Willi!ms never dre!med "h!" "he movie i"self would be so successful, simply believing "h!" i" would m!ke ! gre!" rip-ro!ring children’s S!"urd!y m!"inee. Five sequels (!nd coun"ing) !nd sever!l billion doll!rs l!"er, he’s been proved spec"!cul!rly wrong, !nd "he movie’s "heme, !long wi"h "hose of "he Superm"n !nd Indi"n" Jones films, !re now indelibly s"!mped on "he consciousness of sever!l gener!"ions of movie-goers.

Wh!" is i" !bou" Willi!ms’ movie "hemes "h!" m!kes "hem so memor!ble? Th!" he h!s ! melodic gif" is undeni!ble; his ex"ensive musici!nship is no" in ques"ion. His re!l genius, however, lies in his !bili"y "o devise ! seemingly simple "heme,

On the Indiana Jones theme: ‘Indiana’s theme can break into a situation and you just know the good guys are going to win no matter what the odds!’DR

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perh!ps consis"ing of ! mere few no"es, wi"h which he is !ble "o ex"r!c" "he full dr!m!"ic essence of ! s"ory or ch!r!c"er. Moreover, he is !ble "o convey "his essence "o "he viewer using music!l l!ngu!ge "h!" reson!"es ins"!n"!neously.

Willi!ms w!s well !w!re of Spielberg’s !nd Luc!s’s desire "o rec!p"ure "he rom!n"icism !nd exci"emen" of "he bl!ck-!nd-whi"e movies !nd !c"ion seri!ls of "heir childhood, !nd so he mined his by now ex"ensive film composer’s !rsen!l "o cre!"e ! fi""ing music!l !ccomp!nimen". T!king "he m!in "heme of S!"r W"rs !s !n ex!mple, "he re!son i" is so firmly embedded in our subconscious is no" jus" bec!use of i"s simple, di!"onic cons"ruc"ion (i" consis"s of "he firs" five no"es of "he m!jor sc!le), bu" !lso bec!use i" rec!lls some very f!mili!r music!l rhe"oric: you c!n he!r reminiscences of Erich Wolfg!ng Korngold’s her!ldic br!ss in "he Errol Flynn sw!shbucklers !nd of Hols"i!n "riple"s, !nd "he dis"inc"ive c!dence !" "he end of "he firs" phr!se is "ypic!l of "h!" used in "he epic wes"erns of "he 1950s !nd 60s ("he s!me chord progression c!n be he!rd !" "he equiv!len" poin" in "he "heme "o The Big Coun!ry). I" is by exploi"ing "hese !ur!l !ssoci!"ions "h!" Willi!ms c!n evoke in "he lis"ener wh!"ever emo"ion is implied by "he s"oryline.

Willi!ms’ psychologic!l !nd dr!m!"ic insigh"s !ren’" confined "o "he !c"ion-!dven"ure blockbus"er. His moving Hymn !o !he F"llen, which he composed for S"ving Priv"!e Ry"n, employs ! quin"essen"i!lly Americ!n ‘p!"rio"ic’ m!r"i!l idiom !lso used "o gre!" effec" in JFK. In Hedwig’s Theme, from H"rry Po!!er, "he swirling s"rings !nd child-like s"r!ins of

On Harry Potter: ‘Hedwig’s Theme has a mystery and grace that seems to sum up the whole magic of Harry’s world with its labyrinthine twists and unexpected harmonies.’DR

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In Jur!ssic P!rk (1993) ! life-size !nim!"ronic Tyr!nnos!urus w!s "he !cknowledged ‘s"!r’ of "he movie. John Willi!ms’ score c!p"ured equ!l p!r"s !we, f!scin!"ion !nd "error.

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"he celes"! indic!"e "h!" we’re !bou" "o be "r!nspor"ed "o ! world of m!gic!l f!n"!sy. Across !he S!"rs, "he love "heme from A!!"ck of !he Clones (S!"r W"rs Episode II), fe!"ures ! pl!ngen" oboe melody "h!" rec!lls Tch!ikovsky’s Sw"n L"ke !s i" depic"s "he doomed love of An!kin Skyw!lker !nd P!dmé Amid!l!. So unerring !re his dr!m!"ic ins"inc"s "h!" Spielberg credi"s Willi!ms !s m!king him ! ‘be""er direc"or "h!n I could ever h!ve been wi"hou" him’.

John Willi!ms h!s !dmi""ed "h!", wi"h movie fr!nchises, his job is m!de e!sier by vir"ue of h!ving exis"ing "hem!"ic m!"eri!l "o work wi"h. In !ddi"ion "o s!ving l!bour, "his offers ! s"ruc"ur!l !dv!n"!ge: developing exis"ing m!"eri!l lends ! con"inui"y !nd cohesion "h!" film music, being essen"i!lly ! sl!ve "o "he n!rr!"ive, migh" o"herwise l!ck. Willi!ms does "his ex"ensively; in !ll his scores, "hemes re!ppe!r in differen" guises, of"en foresh!dowing even"s in "he s"ory (for ex!mple, An"kin’s Theme from The Ph"n!om Men"ce reve!ls "r!ces of D!r"h V!der’s "heme, "he Imperi"l M"rch, hin"ing !" "he young boy’s des"iny). In "his respec", Willi!ms h!s exp!nded "he film score form "o incorpor!"e some of "he s"ruc"ur!l in"egri"y of !bsolu"e music, !nd "he concer" sui"es "h!" he h!s ex"r!c"ed from his scores "!ke "his ! s"ep fur"her.

From "he concer" h!ll "o "he cinem! !nd b!ck !g!in

Such is John Willi!ms’ repu"!"ion "h!" he c!n !""r!c" some of "he mos" respec"ed n!mes in cl!ssic!l music "o conduc" his music !nd perform on his film sound"r!cks, including Renée Fleming, I"zh!k Perlm!n !nd Yo-Yo M!, wi"h whom he h!s !lso coll!bor!"ed on "he concer" s"!ge. This migh" be seen !s ! revers!l of "he pre"en"iousness "h!" he believes h!s in "he p!s" perv!ded Americ!n music, where "he profession of film

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composer w!s looked down upon by "he music es"!blishmen". He no"es "h!" where!s "he references of "he origin!l film composers of Hollywood’s e!rly ye!rs s"emmed from Europe!n !r" music, "he si"u!"ion h!s now been "urned on i"s he!d, wi"h m!ny presen"-d!y cl!ssic!l composers such !s John Ad!ms dr!wing inspir!"ion from medi! or commerci!l music. (Inciden"!lly, "he !r"is"ic snobbery Willi!ms refers "o didn’" seem "o exis" elsewhere; in Bri"!in, "he ou"pu" of es"eemed composers such !s Ar"hur Bliss, R!lph V!ugh!n Willi!ms !nd Willi!m W!l"on included film, !nd ! simil!r si"u!"ion exis"ed elsewhere in Europe.)

Despi"e his conduc"ing commi"men"s !nd concer" works, !mong which he coun"s "wo symphonies !nd some 15 concer"os, Willi!ms h!s no in"en"ion of "urning his b!ck on films, !nd h!s confirmed "h!" he will compose "he score for Episode VII in "he S!"r W"rs series, scheduled for rele!se in December 2015. If "here were "o be !no"her ins"!lmen" in "he Indi!n! Jones fr!nchise wi"h S"even Spielberg !s direc"or, you c!n be" Willi!ms would be !" "he podium.

The es"eem in which Spielberg holds "he composer is bes" summed up by !n !necdo"e rel!"ed by Willi!ms himself, who "ells of being so moved by "he ini"i!l screening of Schindler’s Lis! "h!" he h!d "o s"ep ou"side "o compose himself. When he expressed "he concern "h!" he didn’" "hink he could do i" !nd "h!" perh!ps Spielberg should find !no"her composer, "he l!""er replied, ‘I know, bu" "hey’re !ll de!d.’ Among film’s gre!"es" composers, for S"even Spielberg !" le!s", John Willi!ms is "he l!s" m!n s"!nding.

LORRAINE NEILSON SYMPHONY SERVICES INTERNATIONAL © 2014

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AVID Li!m Neeson !nd Ben Kingsley in

Schindler’s Lis" (1993). Violinis" I"zh!k Perlm!n w!s fe!"ured in "he sound"r!ck.

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A golden age of film musicWhen John Willi!ms wri"es one of his sign!"ure ‘heroic’ "hemes, he’s "!pping in"o "he !udience’s collec"ive – !nd possibly unconscious – memories of movies p!s". The films which m!de him f!mous (J"ws, S!"r W"rs, R"iders of !he Los! Ark, Jur"ssic P"rk, E.T.) drew from such diverse genres !s !c"ion-!dven"ure, mons"er movies, sci-fi !nd even "he Wes"ern. These were big-budge" blockbus"ers "h!" h!rked b!ck "o ! previous, perh!ps more innocen", er! in filmm!king – !n er! when "he !c"ion on screen w!s underscored by "he full forces of ! symphony orches"r!. H!ving !lre!dy cre!"ed symphonic scores for The Poseidon Adven!ure !nd The Towering Inferno, Willi!ms w!s !mply qu!lified "o revive !nd upd!"e "he "r!di"ion for ! new !udience.

Wh!" we "hink of "od!y !s "he cl!ssic!l Hollywood score w!s pioneered by ! selec" b!nd of highly gif"ed composers, m!ny of "hem émigrés from Europe, who codified "he form in "he music dep!r"men"s of m!jor film s"udios during "he so-c!lled Golden Age of Hollywood of "he 1930s, 40s !nd 50s. Al"hough sound h!d figured in pic"ures since 1927, "he music fe!"ured in e!rly "!lkies w!s rudimen"!ry !nd "ended "o consis" of discre"e song !nd d!nce numbers. I" w!sn’" un"il "he e!rly 1930s "h!" "he pr!c"ice of dr!m!"ic underscoring c!me in"o being !s ! fully fledged componen" of "he filmm!king process. The pr!c"ice – !l"hough "hese d!ys i"’s righ"fully considered !n !r" – re!lly c!me in"o i"s own wi"h "he !rriv!l of such composers !s M!x S"einer, Erich Wolfg!ng Korngold, Fr!nz W!xm!n, Alfred Newm!n, Miklós Rózs! !nd Dimi"ri Tiomkin, who brough" wi"h "hem ! rigorous cl!ssic!l "r!ining, Europe!n sensibili"ies, !nd !n ex"ensive musici!nship "h!" !llowed "hem "o "urn "heir h!nds "o !ny "ype of music c!lled for by "he job in ques"ion. The highly dis"inc"ive s"yle "hey forged c!me "o be ch!r!c"erised by "hrough-composed music!l commen"!ry clo"hed in ex"r!v!g!n" orches"r!"ions, wi"hin !n expressive l!"e-Rom!n"ic idiom.

How "his s"yle c!me !bou" is open "o deb!"e, !nd could be "he resul" of v!rious f!c"ors. The Aus"ro-Germ!n music!l heri"!ge of "he composers migh" !ccoun" for "he obvious influence of cl!ssic!l composers such !s Rich!rd S"r!uss !nd W!gner. Ano"her f!c"or, however, could be wh!" John Willi!ms refers "o when he uses "he "erm ‘univers!lisms’: one of "he prim!ry func"ions of film music is "o communic!"e emo"ions or ‘!ffec"s’ "o "he !udience, especi!lly in "he !bsence of explici" visu!l cues or di!logue. To be !ble "o do "his, i" mus"

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be e!sily !nd immedi!"ely unders"ood by ! m!ss, he"erogeneous !udience, necessi"!"ing ! s"yle b!sed in "on!li"y "h!" h!s "he po"en"i!l "o express ! wide r!nge of ‘big’ sen"imen"s. In !ddi"ion, Hollywood w!s "he purveyor of dre!ms, "he "eller of "!les of hero !g!ins" vill!in, boy mee"s girl, good versus evil – subjec" m!""er "h!" w!s mos" effec"ively underscored by ! lush, chrom!"ic, bu" l!rgely "on!l, sound"r!ck.

In "erms of music!l gr!mm!r, sever!l "echniques exploi"ed by "he Golden Age composers !re s"ill used ex"ensively by "heir presen"-d!y coun"erp!r"s. One is "he use of mo"ifs, or "hemes, represen"ing specific ch!r!c"ers, pl!ces, ide!s, or emo"ions, ! "echnique used prolific!lly by W!gner in his epic Ring cycle of oper!s. M!x S"einer !cknowledged "his deb" when he commen"ed "h!" if W!gner h!d been !live during "he Hollywood er!, he would h!ve been ‘"he Number One film composer’. The mo"if !c"s !s ! signifier for "he !udience !nd c!n be highly effec"ive, even when i" consis"s of only ! few no"es, such !s Willi!ms’ f!mous mo"if for "he sh!rk in J"ws.

Ano"her is "he "echnique of ‘mickey-mousing’, where composers or orches"r!"ors synchronise "he music precisely wi"h poin"s of !c"ion on "he screen. S"einer used "his b!ck in 1933 in his groundbre!king score for King Kong, "o invoke bo"h fe!r (synchronising "he foo"s"eps of "he "rib!l chief wi"h "he b!ss no"es of ! "ub!) !nd comedy (when "he gi!n" gorill! "ickles his "iny c!p"ive "o "he !ccomp!nimen" of "rills). Synchronising "he music wi"h "he !c"ion poses !s m!ny ch!llenges "od!y !s i" no doub" did "hen: Willi!ms h!s spoken of his difficul"y in hi""ing "he 50 or so synch poin"s when recording "he music for "he fin!l bike ch!se scene in E.T. Af"er coun"less "!kes, Spielberg "old him "o record "he music wi"hou" reference "o "he film, !nd "o perform i" in ! n!"ur!l w!y wi"h !ny rub"!i (n!"ur!l v!ri!"ions in "empo) "h!" he fel" !ppropri!"e. Such is "he respec" "h!" Spielberg feels for Willi!ms, he "hen re-edi"ed "he film "o fi" "he music.

Al"hough ! l!"er gener!"ion of composers such !s Alex Nor"h !nd Elmer Berns"ein upheld !nd exp!nded "he symphonic "r!di"ion, "he influence of pop from "he 1960s on w!s perv!sive. I" is in no sm!ll me!sure down "o John Willi!ms’ sweeping orches"r!l scores of "he p!s" 40 ye!rs "h!" "he music of "hese pioneering composers is now being widely !ccorded "he respec" i" is due.

LORRAINE NEILSON SYMPHONY SERVICES INTERNATIONAL ©#2014

‘If Wagner had lived in this century, he would have been the Number One film composer.’

MAX STEINER (1888–1971)

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THE ARTISTS

Americ!n conduc"or D!vid Rober"son is ! compelling !nd p!ssion!"e communic!"or whose s"imul!"ing ide!s !nd music-m!king h!ve c!p"iv!"ed !udiences !nd musici!ns !like, !nd he h!s es"!blished s"rong rel!"ionships wi"h m!jor orches"r!s "hroughou" Europe !nd Nor"h Americ!.

He m!de his Aus"r!li!n debu" wi"h "he Sydney Symphony Orches"r! in 2003 !nd soon bec!me ! regul!r visi"or "o "he orches"r!, wi"h projec"s such !s The Colour of Time, ! concep"u!l mul"imedi! concer"; "he Aus"r!li!n premiere of John Ad!ms’ Doc!or A!omic Symphony; !nd concer" perform!nces of The Flying Du!chm"n wi"h video projec"ions. This is his firs" ye!r !s Chief Conduc"or of "he SSO.

He h!s been Music Direc"or of "he S" Louis Symphony since 2005. O"her "i"led pos"s h!ve included Princip!l Gues" Conduc"or of "he BBC Symphony Orches"r!, Music Direc"or of "he Orches"re N!"ion!l de Lyon !nd residen" conduc"or of "he Jerus!lem Symphony Orches"r!. A recognised exper" in 20"h- !nd 21s"-cen"ury music, he h!s !lso been Music Direc"or of "he Ensemble In"ercon"empor!in in P!ris (where composer !nd conduc"or Pierre Boulez w!s !n e!rly suppor"er) !nd his discogr!phy includes music by such composers !s Ad!ms, B!r"ók, Boulez, C!r"er, Gin!s"er!, Milh!ud !nd Reich. He is !lso ! ch!mpion of young musici!ns, devo"ing "ime "o working wi"h s"uden"s !nd young !r"is"s.

L!s" se!son he !ppe!red wi"h "he New York Philh!rmonic, Los Angeles Philh!rmonic, S!n Fr!ncisco Symphony !nd !" "he Me"ropoli"!n Oper!, !nd in Europe wi"h "he Roy!l Concer"gebouw Orches"r!, Vienn! R!dio Symphony Orches"r!, B!v!ri!n R!dio Symphony Orches"r!, Isr!el Philh!rmonic !nd Ensemble In"ercon"empor!in. He !lso "oured Europe wi"h "he S" Louis Symphony !nd violinis" Chris"i!n Te"zl!ff.

His !w!rds !nd !ccol!des include Music"l Americ" Conduc"or of "he Ye!r (2000), Columbi! Universi"y’s 2006 Di"son Conduc"or’s Aw!rd, !nd, wi"h "he SLSO, "he 2005–06 ASCAP Mor"on Gould Aw!rd for Innov!"ive Progr!mming. In 2010 he w!s elec"ed ! Fellow of "he Americ!n Ac!demy of Ar"s !nd Sciences, !nd in 2011 ! Chev!lier de l’Ordre des Ar"s e" des Le""res.

He w!s born in S!n"! Monic!, C!liforni!, !nd educ!"ed !" "he Roy!l Ac!demy of Music in London, where he s"udied French horn !nd composi"ion before "urning "o conduc"ing. He is m!rried "o pi!nis" Orli Sh!h!m.

THE POSITION OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR IS SUPPORTED BY EMIRATES

D!vid Rober"son Chief Conductor and Artistic Director

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Andrew H!veron joined "he SSO !s Co-Concer"m!s"er in 2013, !rriving in Sydney wi"h ! repu"!"ion !s one of "he UK’s mos" sough"-!f"er violinis"s. Born in London in 1975, he s"udied !" "he Purcell School !nd "he Roy!l College of Music !nd in 1996 w!s "he highes" Bri"ish prizewinner !" "he P!g!nini Compe"i"ion for "he p!s" 50 ye!rs. He !lso received prizes !" "he Queen Elis!be"h of Belgium !nd Indi!n!polis compe"i"ions.

As ! solois", he h!s !ppe!red wi"h "he London Symphony Orches"r! (conduc"ed by Colin D!vis), "he BBC Symphony Orches"r! (Ji$í B%lohl&vek), !nd wi"h "he H!llé !nd Ci"y of Birmingh!m Symphony orches"r!s.

As firs" violinis" of "he Brodsky Qu!r"e" (1999–2007), his work included coll!bor!"ions wi"h !r"is"s r!nging from Anne-Sofie von O""er !nd Alex!nder B!illie "o iconic crossover work wi"h Elvis Cos"ello, Björk, P!ul McC!r"ney !nd S"ing. He recorded more "h!n 15 !lbums wi"h "he qu!r"e", m!ny of which won !w!rds such !s Di!p!son d’or !nd Choc du Monde de l! Musique.

As !n orches"r!l le!der, he h!s frequen"ly worked wi"h m!jor symphony orches"r!s !round "he world, including le!ding "he World Orches"r! for Pe!ce !" "he reques" of V!lery Gergiev. In 2004 he received !n honor!ry doc"or!"e from "he Universi"y of Ken" for his services "o music.

Andrew H!veron pl!ys ! 1709 C!rlo Tononi violin.

Re!d more in Br"vo! bi".ly/Br!vo2013-3

Andrew H!veron violinCONCERTMASTER

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THE CHOIR

Sydney Children’s Choir !nd Gondw!n! Alumni Choir

Gondw!n! Choirs, Aus"r!li!’s le!ding n!"ion!l chor!l ne"work, includes "he Sydney Children’s Choir, Gondw!n! Voices !nd "he N!"ion!l Indigenous Children’s Choir. In 2014 "he org!nis!"ion celebr!"es i"s 25"h bir"hd!y. As p!r" of "he fes"ivi"ies, "he Sydney Children’s Choir is joined by "he speci!lly formed Gondw!n! Alumni Choir, members of which h!ve !ll experienced "he incredible music!l journey of "he Gondw!n! Choirs’ progr!m in "he p!s" 25 ye!rs. They re"urn !s musici!ns, l!wyers, doc"ors, !c"ors !nd "e!chers, !nd !ll look forw!rd "o "he oppor"uni"y "o be ! p!r" of Gondw!n! once more.

The Sydney Children’s Choir h!s buil" ! worldwide repu"!"ion for chor!l excellence, inspiring !udiences wi"h ! dis"inc"ly Aus"r!li!n chor!l sound. Under "he direc"ion of Gondw!n! Choirs’ founder Lyn Willi!ms OAM, "he choir h!s commissioned over ! hundred works from le!ding Aus"r!li!n composers !nd h!s "oured ex"ensively, performing "o gre!" !ccl!im "hroughou" Aus"r!li!, !nd "he world.

Closer "o home, "he Sydney Children’s Choir h!s performed !" m!jor even"s such !s "he APEC Le!ders’ Week !" "he Sydney Oper! House, "he Aus"r!li! D!y Spec"!cul!r !" D!rling H!rbour !nd "he Opening Ceremony of "he Sydney Olympic G!mes. The choir is of"en invi"ed "o perform wi"h some of "he world’s mos" !ccl!imed orches"r!s !nd conduc"ors including Mich!el Tilson Thom!s !nd "he YouTube Symphony Orches"r!, !nd Zubin Meh"! !nd "he Isr!el Philh!rmonic Orches"r!. The choir !lso frequen"ly !ppe!rs wi"h "he SSO – including concer"s under Edo de W!!r", Ch!rles Du"oi" !nd Vl!dimir Ashken!zy – !nd in recen" ye!rs h!s performed in "wo M!hler symphonies, "he Lord of !he Rings "rilogy !nd Bri""en’s W"r Requiem. The Sydney Children’s Choir c!n be he!rd on "he sound"r!cks of Moulin Rouge, H"ppy Fee! !nd Aus!r"li", !nd on "heir mos" recen" recording, Voices of Angels.

www.sydneychildrenschoir.com.!u

Lyn Willi!ms is Aus"r!li!’s le!ding direc"or of choirs for young people, h!ving founded "he in"ern!"ion!lly renowned Gondw!n! Choirs. Since 1989, Gondw!n! Choirs h!s grown "o include "he Sydney Children’s Choir, Gondw!n! N!"ion!l Choirs !nd Gondw!n! N!"ion!l Indigenous Children’s Choir. Her excep"ion!l skill in working wi"h young people is recognised for i"s high !r"is"ic qu!li"y !nd ground-bre!king innov!"ion. She frequen"ly direc"s !nd conduc"s for m!jor even"s, "ours in"ern!"ion!lly wi"h her choirs, !nd h!s conduc"ed "he Sydney, Adel!ide, Melbourne symphony orches"r!s, Aus"r!li!n Ch!mber Orches"r! !nd Aus"r!li!n You"h Orches"r!. In 2004 she w!s !w!rded ! Med!l of "he Order of Aus"r!li! in recogni"ion of her services "o "he Ar"s, !nd in 2006 "he NSW S"!"e Aw!rd (Cl!ssic!l Music Aw!rds) for her con"ribu"ion "o "he !dv!ncemen" of Aus"r!li!n music. Lyn Willi!ms is ! Churchill Fellow !nd !lso ! composer.

LYN WILLIAMS OAM

Ar"is"ic Direc"or ' Founder

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S"!ffLyn Willi!ms OAM Artistic Director & Founder D!n W!lker Associate Artistic Director Lucy Berger Artistic Operations Manager Cl!re Kenny SCC Manager & Alumni Coordinator V!ness! Ch!n National Choirs Manager Emm! B!rne"" Assistant Choir Manager Rob H!nsen Artistic Administration Assistant S!lly Whi"well Pianist

Senior ChoirSuebin B!eC!meron B!jr!k"!revic-H!yw!rdGui!n B!l!nBridie B!""erh!m-MurphyLucy BlomfieldSchuyer BoeAriel BonnellChrissy Burj!nHoney Chris"ensenGr!ci! CliffordLeon! CohenJoh!nn! CollinsEmily ColvinS"ell! D!vyMich!el DonohueC!ss!ndr! DoyleOsc!r Drew M!ri!nn! EbersollLily FowlerOliver Golding D!n!h Gressel-Keich

Dominic Grimsh!wAnnelise H!llAlison H!rdyChloe H!r"Rebecc! Hilli!rdBe"h H!rper-King Abel HofflinP!"sy Isl!m-P!rsonsM!eve Kel!herEmm! KorellEll! Kr!"zerEloise LoewyJemim! LorenzGenevieve LumbS"eph!nie M!cindoeAed!n M!cN!m!r!Owen M!cN!m!r!Ann! M!rshL!chl!n M!sseyG!brielle Mon"!lboS"ell! Moun"!inJ!de NgRebecc! O’H!nlon

Tesni P!ew!iTheo Pic!rdFlorence PoonAlex!ndr! R!leighEmm! Ren!udAri!n! RicciJuli! Spi"eriIs!bell! SucklingZoe T!ylorJill Term!!"Pie" TombsAd!m Tr!visJessic! Trevely!nBe!"rice TuckerTom W!rneOlivi! WeiImogen Willi!msIs!bell! WilsonJules Wi""enoom LouwYe-Je!n YunNiki"! Z!ik!

Young Men’s ChoirNeil B!kerIhn"eck ChungIs!!c D!visTimo"hy Du""onAlex!nder Gorb!"ovVincen" KerinIosef! L!g!’!i!Reuben L!ngbeinCh!d M!r"inDominic N!khoulR!fi OwenRemi OwenOsc!r P!rkerD!niel Pic!rdM!ckenzie Sh!wC!ll!n Smi"hJesse V!n Proc"orYil!n Yu

Gondw!n! Alumni ChoirG!bby Aesch"S!m AllchurchEmily Amp"Rhion! Armon"Akos Armon"Ni!mh Arms"rongJ!ne Aylw!rdRosem!ry B!lcombEmm! B!rne""Ellen! B!roniShoshi Bl!ckm!nTess! Boyd-C!ineAni"! Burk!r"Cl!ire Burrell-McDon!ldL!r! BusseAlison C!mpbellAlice Ch!nceK!"e ChildsS"eph!nie Cl!rkMe"! CohenM!ry CollsS"eph!nie CollsIs!bel Colem!nBelind! CooperBi!nc! CooperSophie Cr!ddock

Li!m Cris!n"iBriony D!ley Whi"wor"hWill D!rbyshireAbr!h!m D!rleyRober"! Di!mondM!"ild! Ellio""Jon!"h!n F!wziJosephine GibsonErin GleesonEmm! H!ncockRober" H!nsenJem H!rdingSer!y! H!rdingVic"ori! HofflinAnn! HoyJord!n Hun"H!nlon Innocen"Fion! JohnsonAbhim!nyu K!poorCl!re KennyHelen! Ker"eszCorey KirkOsc!r KirkAdele Koz!kEle!nor Koz!kH!mish L!ne*Ben LeeJoe Lennox

Gr!ce Leon!rdAlex Li-Kim-MuiIgn!cio Lus!rdiK!"e M!cC!llumBe"h M!r"inAlex McEw!nEve McEwenS!muel MerrickMi! MillerSe!n Moloney*Ani"! MoserAndrew Mulholl!nd*Meg!n Murr!yL!ur! NichollsLi!ne P!p!n"oniouMich!el P!"onSophie Perro""e"H!rry PhillipsM!deleine Pic!rdY!smin PowellP!"rick R!smussenChris"opher Re""erBenj!min S!ffirT!m!sin Schmig!D!vid Sco""Thom!s Sh!n!h!nJ!mes Sh!nnonAlex!ndri! Siegers

Ameli! SmilesCh!rlo""e SneddenJerome S"uddyH!nn!h T!"!mEmm! T!ylorJ!mes ThomsonS!r!h TopferAnwen TowneAlice TruswellD!niel VerschuerS"eph!nie VierboomMeredi"h W!ldronD!n W!lkerYulin! W!lkerS!m!n"h! W!rhurs"Edie W!rneLi! Wei"zelChel! Wei"zelEmm! WernerRy!n WiblinOliver Willi!msWilli!m Y!xleySh!un Young*

*Appe!ring cour"esy of Sydney Philh!rmoni! Choirs – VOX

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SYDNEY SYMPHONY ORCHESTRA

Founded in 1932 by "he Aus"r!li!n Bro!dc!s"ing Commission, "he Sydney Symphony Orches"r! h!s evolved in"o one of "he world’s fines" orches"r!s !s Sydney h!s become one of "he world’s gre!" ci"ies.

Residen" !" "he iconic Sydney Oper! House, where i" gives more "h!n 100 perform!nces e!ch ye!r, "he SSO !lso performs in venues "hroughou" Sydney !nd region!l New Sou"h W!les. In"ern!"ion!l "ours "o Europe, Asi! !nd "he USA h!ve e!rned "he orches"r! worldwide recogni"ion for !r"is"ic excellence, mos" recen"ly in "he 2012 "our "o Chin!.

The orches"r!’s firs" Chief Conduc"or w!s Sir Eugene Goossens, !ppoin"ed in 1947; he w!s followed by Nicol!i M!lko, De!n Dixon, Moshe A"zmon, Willem v!n O""erloo, Louis Frém!ux, Sir Ch!rles M!ckerr!s, Zden(k M&c!l, S"u!r" Ch!llender, Edo de W!!r" !nd Gi!nluigi Gelme""i. Vl!dimir Ashken!zy w!s Princip!l Conduc"or from 2009 "o 2013. The orches"r!’s his"ory !lso bo!s"s coll!bor!"ions wi"h legend!ry figures

such !s George Szell, Sir Thom!s Beech!m, O""o Klemperer !nd Igor S"r!vinsky.

The SSO’s !w!rd-winning educ!"ion progr!m is cen"r!l "o i"s commi"men" "o "he fu"ure of live symphonic music, developing !udiences !nd eng!ging "he p!r"icip!"ion of young people. The orches"r! promo"es "he work of Aus"r!li!n composers "hrough perform!nces, recordings !nd i"s commissioning progr!m. Recen" premieres h!ve included m!jor works by Ross Edw!rds, Lee Br!cegirdle, Gordon Kerry, M!ry Fins"erer, Nigel Wes"l!ke !nd Georges Len"z, !nd "he orches"r!’s recordings of music by Bre"" De!n h!ve been rele!sed on bo"h "he BIS !nd SSO Live l!bels.

O"her rele!ses on "he SSO Live l!bel, es"!blished in 2006, include perform!nces wi"h Alex!nder L!z!rev, Gi!nluigi Gelme""i, Sir Ch!rles M!ckerr!s !nd Vl!dimir Ashken!zy. In 2010–11 "he orches"r! m!de concer" recordings of "he comple"e M!hler symphonies wi"h Ashken!zy, !nd h!s !lso rele!sed recordings of R!chm!ninoff !nd Elg!r orches"r!l works on "he Ex"on/Tri"on l!bels, !s well !s numerous recordings on ABC Cl!ssics.

This is "he firs" ye!r of D!vid Rober"son’s "enure !s Chief Conduc"or !nd Ar"is"ic Direc"or.

DAVID ROBERTSONChief Conduc"or !nd Ar"is"ic Direc"or

PATRON Her Excellency Professor M!rie B!shir AC CVO

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MUSICIANS

D!vid Rober"sonCHIEF CONDUCTOR AND ARTISTIC DIRECTOR SUPPORTED BY EMIRATES

Dene OldingCONCERTMASTER

Jessic! Co""isASSISTANT CONDUCTOR SUPPORTED BY PREMIER PARTNER CREDIT SUISSE

Andrew H!veronCONCERTMASTER

FIRST VIOLINSAndrew H!veron CONCERTMASTER

Sun Yi ASSOCIATE CONCERTMASTER

Kirs"en Willi!ms ASSOCIATE CONCERTMASTER

Lerid! Delbridge ASSISTANT CONCERTMASTER

Jenny Boo"hM!ri!nne Bro!dfoo"Brielle Cl!psonSophie ColeAmber D!visGeorges Len"zNicol! LewisAlex!nder Nor"onLéone ZieglerEmily Qin*Dene Olding CONCERTMASTER

Fion! Ziegler ASSISTANT CONCERTMASTER

Jennifer HoyAlex!ndr! Mi"chell

SECOND VIOLINS Kirs"y Hil"on M!rin! M!rsden Emm! Jezek ASSISTANT PRINCIPAL

M!ri! DurekEmily LongEmm! H!yesShu"i Hu!ngS"!n W KornelBenj!min LiNicole M!s"ersM!j! Verunic!Cl!ire Herrick*Liis! P!ll!ndi†Philipp! P!igeBiy!n! Rozenbli"

VIOLASRoger Benedic" Anne-Louise Comerford Jus"in Willi!ms ASSISTANT PRINCIPAL

S!ndro Cos"!n"inoRosem!ry Cur"inJ!ne H!zelwoodGr!h!m HenningsS"u!r" JohnsonJus"ine M!rsdenAm!nd! VernerLeonid VolovelskyTobi!s Breider Felici"y Ts!i

CELLOSUmber"o ClericiC!"herine Hewgill Le!h Lynn ASSISTANT PRINCIPAL

Fenell! GillTimo"hy N!nkervisEliz!be"h NevilleChris"opher PidcockD!vid Wickh!mHenry D!vid V!rem! Kris"y Conr!uAdri!n W!llis

DOUBLE BASSESKees Boersm! S"even L!rsonNeil Br!wley PRINCIPAL EMERITUS

D!vid C!mpbellRich!rd LynnJosef Bisi"s*Alex Henery D!vid Murr!yBenj!min W!rd

FLUTES Emm! Sholl C!rolyn H!rrisK!"ie Z!gorski†J!ne" Webb Ros!mund Plummer PRINCIPAL PICCOLO

OBOESShef!li Pryor D!vid P!ppAlex!ndre Oguey PRINCIPAL COR ANGLAIS

Di!n! Doher"y

CLARINETSFr!ncesco Cel!"! Chris"opher Ting!yCr!ig Wernicke PRINCIPAL BASS CLARINET

L!wrence Dobell

BASSOONSBen Ho!dley*Fion! McN!m!r!Noriko Shim!d! PRINCIPAL CONTRABASSOON

M!""hew Wilkie

HORNSBen J!cks Rober" Johnson M!rnie SebireR!chel SilverEu!n H!rveyGeoffrey O’Reilly PRINCIPAL 3RD

TRUMPETSD!vid El"on P!ul Goodchild An"hony HeinrichsD!niel HendersonSimon Sweeney*

TROMBONESRon!ld Prussing Sco"" Kinmon" Nick ByrneChris"opher H!rris PRINCIPAL BASS TROMBONE

TUBAS"eve Rossé

TIMPANIM!rk Robinson ASSISTANT PRINCIPAL

Rich!rd Miller

PERCUSSIONRebecc! L!gos Timo"hy Cons"!ble*Willi!m J!ckson*Chiron Meller*Alison Pr!""*Philip Sou"h*

HARP Louise Johnson KEYBOARDS Sus!nne Powell*

BOLD = PRINCIPAL

ITALICS = ASSOCIATE PRINCIPAL

* = GUEST MUSICIAN† = SSO FELLOW

GREY = PERMANENT MEMBER OF THE

SYDNEY SYMPHONY ORCHESTRA NOT

APPEARING IN THIS CONCERT

The men of "he Sydney Symphony Orches"r! !re proudly ou"fi""ed by V!n Heusen.

To see pho"ogr!phs of "he full ros"er of perm!nen" musici!ns !nd find ou" more !bou" "he orches"r!, visi" our websi"e: www.sydneysymphony.com/SSO_musici!nsIf you don’" h!ve !ccess "o "he in"erne", !sk one of our cus"omer service represen"!"ives for ! copy of our Musici!ns flyer.

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BEHIND THE SCENES

MANAGING DIRECTORRory JeffesEXECUTIVE TEAM ASSISTANTLis! D!vies-G!lli

ARTISTIC OPERATIONSDIRECTOR OF ARTISTIC PLANNINGPe"er Czornyj

Ar!is!ic Adminis!r"!ionARTISTIC ADMINISTRATION MANAGEREle!sh! M!hARTIST LIAISON MANAGERIlm!r Lee"bergRECORDING ENTERPRISE MANAGERPhilip Powers

Educ"!ion Progr"msHEAD OF EDUCATIONKim W!ldockEMERGING ARTISTS PROGRAM MANAGERM!rk L!wrensonEDUCATION COORDINATORR!chel McL!rinCUSTOMER SERVICE OFFICERAmy W!lsh

Libr"ryAnn! CernikVic"ori! Gr!n"M!ry-Ann Me!d

ORCHESTRA MANAGEMENTDIRECTOR OF ORCHESTRA MANAGEMENTAernou" Kerber"ORCHESTRA MANAGERChris LewisORCHESTRA COORDINATORGeorgi! S"!m!"opoulosOPERATIONS MANAGERKerry-Anne CookPRODUCTION MANAGERL!ur! D!nielSTAGE MANAGERCour"ney WilsonPRODUCTION COORDINATORTim D!ym!nPRODUCTION COORDINATORI!n Spence

SALES AND MARKETINGDIRECTOR OF SALES ' MARKETINGM!rk J Ellio""SENIOR SALES ' MARKETING MANAGERPenny Ev!nsMARKETING MANAGER, SUBSCRIPTION SALESSimon Crossley-Me!"esMARKETING MANAGER, CLASSICAL SALESM!""hew RiveMARKETING MANAGER, WEB ' DIGITAL MEDIAEve Le G!llMARKETING MANAGER, CRM ' DATABASE M!""hew HodgeDATABASE ANALYSTD!vid P!"rickGRAPHIC DESIGNERLucy McCullough

CREATIVE ARTWORKERN!"h!n!el v!n der ReydenMARKETING COORDINATORJon!"hon SymondsONLINE MARKETING COORDINATORJenny S!rg!n"

Box OfficeMANAGER OF BOX OFFICE SALES ' OPERATIONSLynn McL!ughlinBOX OFFICE SYSTEMS SUPERVISORJ!cqueline TooleyBOX OFFICE BUSINESS ADMINISTRATORJohn Rober"son CUSTOMER SERVICE REPRESENTATIVESK!ren W!gg – Senior CSR#Mich!el DowlingK!"!rzyn! Os"!fijczukTim W!lsh

Public"!ionsPUBLICATIONS EDITOR ' MUSIC PRESENTATION MANAGER Yvonne Frindle

EXTERNAL RELATIONSDIRECTOR, EXTERNAL RELATIONSYvonne Z!mmi"

Phil"n!hropyHEAD OF PHILANTHROPYLuke Andrew G!yDEVELOPMENT MANAGERAmeli! Morg!n-HunnPHILANTHROPY COORDINATORS!r!h Morrisby

Corpor"!e Rel"!ionsHEAD OF CORPORATE RELATIONSJeremy GoffCORPORATE RELATIONS MANAGERJ!nine H!rris

Communic"!ionsPUBLIC RELATIONS MANAGERK!"herine S"evensonDIGITAL CONTENT PRODUCERK!i R!isbeckSOCIAL MEDIA AND PUBLICITY OFFICERC!i"lin Bene"!"os

BUSINESS SERVICESDIRECTOR OF FINANCEJohn Horn FINANCE MANAGERRu"h Tolen"inoACCOUNTANTMinerv! Presco""ACCOUNTS ASSISTANTEmm! FerrerPAYROLL OFFICERL!ur! Sou""er

PEOPLE AND CULTURE IN-HOUSE COUNSELMichel M!ree Hryce

John C Conde AO Ch"irm"nTerrey Arcus AM

Ewen Crouch AM

Ross Gr!n"Jennifer HoyRory JeffesAndrew K!ldor AM

D!vid Livings"oneGoe"z Rich"er

SYDNEY SYMPHONY ORCHESTRA COUNCILGeoff Ainswor"h AM

Andrew Andersons AO

Mich!el B!ume AO

Chris"ine BishopI"! Bu""rose AO OBE

Pe"er CudlippJohn Cur"is AM

Greg D!niel AM

John Dell! Bosc!Al!n F!ngErin Fl!her"yDr S"ephen FreibergDon!ld H!zelwood AO OBE

Dr Mich!el Joel AM

Simon JohnsonYvonne Kenny AM

G!ry Linn!neAm!nd! LoveHelen Lynch AM

D!vid M!loney AM

D!vid M!louf AO

Debor!h M!rrThe Hon. Jus"ice J!ne M!"hews AO

D!nny M!yWendy McC!r"hy AO

J!ne MorschelDr Timo"hy P!scoe AM

Prof. Ron Penny AO

Jerome RowleyP!ul S!l"eriS!ndr! S!l"eriJuli!n! Sch!efferLeo Schofield AM

Fred S"ein OAM

G!brielle Tr!inorIv!n Ung!rJohn v!n Og"ropPe"er Weiss AO HonDLi""M!ry Whel!nRosem!ry Whi"e

SYDNEY SYMPHONY ORCHESTRA BOARD

SYDNEY SYMPHONY ORCHESTRA STAFF

23

Through !heir inspired fin"nci"l suppor!, P"!rons ensure !he SSO’s con!inued success, resilience "nd grow!h. Join !he SSO P"!rons Progr"m !od"y "nd m"ke " difference.

sydneysymphony.com/p!"rons (02) 8215 4674 • phil"n!hropy@sydneysymphony.com

MAKE A DIFFERENCE

)*

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SYDNEY SYMPHONY ORCHESTRA PATRONS

MAESTRO’S CIRCLESUPPORTING THE ARTISTIC VISION OF DAVID ROBERTSON, CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

Pe!er Weiss AO Founding Presiden! # Doris WeissJohn C Conde AO Ch"irm"nGeoff Ainswor!h AM Tom Breen # R"ch"el KohnIn memory of He!!y # Egon GordonAndrew K"ldor AM # Ren"!" K"ldor AOVicki Olsson

Roslyn P"cker AOPenelope Seidler AMMr Fred S!ree! AM # Mrs Doro!hy S!ree!Wes!field GroupBri"n # Rosem"ry Whi!eR"y Wilson OAM in memory of !he l"!e J"mes Ag"pi!os OAM

CHAIR PATRONS

)+ Kirs"y Hil"on Princip!l Second Violin Corrs Ch!mbers Wes"g!r"h Ch!ir

), Rober" Johnson Princip!l Horn J!mes ' Leonie Furber Ch!ir

)- Eliz!be"h Neville Cello Ru"h ' Bob M!gid Ch!ir

). Emm! Sholl Associ!"e Princip!l Flu"e Rober" ' J!ne" Cons"!ble Ch!ir

*) J!ne" Webb Princip!l Flu"e Helen Lynch AM ' Helen B!uer Ch!ir

)* Roger Benedic" Princip!l Viol! Kim Willi!ms AM ' C!"herine Dovey Ch!ir

)/ L!wrence Dobell Princip!l Cl!rine" Terrey Arcus AM ' Anne Arcus Ch!ir

)0 Di!n! Doher"y Princip!l Oboe Andrew K!ldor AM ' Ren!"! K!ldor AO Ch!ir

)1 Rich!rd Gill OAM Ar"is"ic Direc"or, Educ!"ion S!ndr! ' P!ul S!l"eri Ch!ir

)2 C!"herine Hewgill Princip!l Cello The Hon. Jus"ice AJ ' Mrs Fr!n Me!gher Ch!ir

FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM, CALL (02) 8215 4619.

24

PLAYING YOUR PART

The Sydney Symphony Orches"r! gr!"efully !cknowledges "he music lovers who don!"e "o "he orches"r! e!ch ye!r. E!ch gif" pl!ys !n impor"!n" p!r" in ensuring our con"inued !r"is"ic excellence !nd helping "o sus"!in impor"!n" educ!"ion !nd region!l "ouring progr!ms. Don!"ions of $50 !nd !bove !re !cknowledged on our websi"e !" www.sydneysymphony.com/p!"rons

DIAMOND PATRONS: $30,000+Geoff Ainswor"h AM

Mr John C Conde AO

Mr Andrew K!ldor AM ' Mrs Ren!"! K!ldor AO

In Memory of M!""hew KrelMrs Roslyn P!cker AO

P!ul ' S!ndr! S!l"eriScully Found!"ionMrs W S"eningMr Fred S"ree" AM '

Mrs Doro"hy S"ree"Pe"er Weiss AO ' Doris WeissMr Bri!n ' Mrs Rosem!ry

Whi"eKim Willi!ms AM '

C!"herine Dovey

PLATINUM PATRONS: $20,000–$29,999Bri!n AbelRober" Alber" AO '

Eliz!be"h Alber"Terrey Arcus AM ' Anne ArcusTom Breen ' R!ch!el KohnS!ndr! ' Neil Burns

BRONZE PATRONS: PRESTO $2,500–$4,999Mr Henri W Ar!m OAM

Dr Fr!ncis J Augus"usThe Berg F!mily Found!"ion in memory of He""y GordonMr B ' Mrs M ColesMr How!rd ConnorsGre"! D!visFirehold P"y L"dS"ephen Freiberg '

Don!ld C!mpbellAnn Hob!nIrwin Imhof in memory of

Her"! ImhofG!ry Linn!neRober" McDoug!llJ!mes ' Elsie MooreMs J!ckie O’BrienJ F ' A v!n Og"ropM!rliese ' Georges Tei"lerMr Rober" ' Mrs Rosem!ry

W!lshYim F!mily Found!"ionMr ' Mrs T ' D Yim

BRONZE PATRONS: VIVACE $1,000–$2,499Mrs Lenore Ad!msonMrs An"oine""e Alber"Andrew Andersons AO

Sibill! B!erD!vid B!rnesAll!n ' Julie BlighDr ' Mrs H!nnes BoshoffJ!n BowenMr Pe"er Br!i"hw!i"eLenore P BuckleM!rg!re" BulmerIn memory of RW BurleyI"! Bu""rose AO OBE

Mr JC C!mpbell QC ' Mrs C!mpbell

Dr Rebecc! ChinDr Di!n! Choque""e '

Mr Rober" MillinerMr Pe"er Cl!rkeCons"!ble Es"!"e Viney!rds Dom Co""!m '

K!n!ko Im!mur!Debby Cr!mer ' Bill C!ukillMr John Cunningh!m SCM '

Mrs M!rg!re" Cunningh!m

Lis! ' Miro D!visM!""hew Del!seyMr ' Mrs Gr!n" DixonColin Dr!per ' M!ry J!ne

BrodribbM!lcolm Ellis ' Erin O’NeillMrs M!rg!re" EppsP!ul R EspieProfessor Mich!el Field AM

Mr Tom Fr!ncisW!rren GreenAn"hony GreggAkiko GregoryIn memory of Dor! '

Osc!r GrynbergJ!ne""e H!mil"onMrs Jennifer HershonMrs ' Mr HolmesMich!el ' Ann! JoelAron KleinlehrerMr Jus"in L!mL M B L!mpr!"iMr Pe"er L!z!r AM

Professor Wins"on Li!uwDr D!vid LuisPe"er Lowry OAM '

Dr C!rolyn Lowry OAM

Kevin ' Deirdre McC!nnI!n ' P!m McG!wM!cqu!rie Group Found!"ionRenee M!rkovicHenry ' Ursul! MooserMilj! ' D!vid MorrisMrs J MulveneyMr ' Mrs Or"isMr D!rrol Norm!nDr A J P!lmerMr Andrew C P!""ersonDr N!"!lie E Pelh!mAlmu" Pi!""iRobin Po""erIn memory of S!ndr! P!ul

Po""ingerTA ' MT Murr!y-PriorDr R!ffi Q!s!bi!nMich!el Qu!ileyErnes" ' Judi"h R!peeKenne"h R ReedP!"rici! H Reid Endowmen"

P"y L"dRobin RodgersLesley ' Andrew RosenbergIn memory of H S" P Sc!rle""C!roline Sh!rpen

Rober" ' J!ne" Cons"!bleJ!mes ' Leonie FurberIn memory of He""y '

Egon GordonI K!llinikosHelen Lynch AM '

Helen B!uerMrs T Merewe"her OAM

Vicki OlssonMrs Penelope Seidler AM

G ' C Solomon in memory of Jo!n M!cKenzie

Wes"field GroupR!y Wilson OAM in memory of

J!mes Ag!pi"os OAM

Anonymous (1)

GOLD PATRONS: $10,000–$19,999Doug ' Alison B!""ersbyAl!n ' Chris"ine BishopI!n ' Jennifer Bur"onMich!el Crouch AO '

Sh!nny CrouchCopyrigh" Agency Cul"ur!l

Fund Edw!rd ' Di!ne Federm!nNor! Goodridge

Mr Ross Gr!n"Mr Ervin K!"zJ!mes N Kirby Found!"ionMs Irene LeeRu"h ' Bob M!gidThe Hon. Jus"ice AJ Me!gher ' Mrs Fr!n Me!gher

Mr John MorschelDrs Kei"h ' Eileen OngMr John SymondAndy ' Deirdre PlummerC!roline WilkinsonAnonymous (1)

SILVER PATRONS: $5000–$9,999S"ephen J BellMr Alex!nder ' Mrs Ver!

Boy!rskyMr Rober" Br!kspe!rMr D!vid ' Mrs H!lin! Bre""Mr Rober" ' Mrs L Alison C!rr Bob ' Julie Cl!mpe""Ewen Crouch AM '

C!"herine CrouchThe Hon. Mrs Ashley D!wson-

D!merI!n Dickson ' Reg Hollow!y

Dr Lee M!cCormick Edw!rds ' Mr Mich!el Cr!ne

Dr Colin Goldschmid"The Gre!"orex Found!"ion Mr Rory JeffesJudges of "he Supreme Cour"

of NSW J A McKern!nD!vid M!loney AM ' Erin Fl!her"yR ' S M!ple-BrownJus"ice J!ne M!"hews AO

Mor! M!xwellMrs B!rb!r! MurphyWilli!m McIlr!"h Ch!ri"!ble

Found!"ionMr B G O’ConorRodney Rosenblum AM '

Sylvi! RosenblumEs"!"e of "he l!"e

Gre"! C Ry!nM!nfred ' Lind! S!l!monSimpsons Solici"orsMrs Joyce Spro!" '

Mrs J!ne" CookeMich!el ' M!ry Whel!n Trus"June ' Al!n Woods F!mily

Beques"Anonymous (1)

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D!vid ' Is!bel Smi"hersMrs Judi"h Sou"h!mC!"herine S"ephenThe Hon. Bri!n Sully QC

Mildred Tei"lerKevin TroyJohn E TuckeyIn memory of Jo!n '

Ruper" V!llen"ineDr All! W!ldm!nMiss Sherry W!ngHenry ' Ru"h WeinbergThe Hon. Jus"ice A G Whe!lyMs K!"hy Whi"e in memory

of Mr Geoff Whi"eA Willmers ' R P!lMr ' Mrs B C WilsonDr Rich!rd Wing

Mr Rober" WoodsIn memory of Lorn! Wrigh"Dr John YuAnonymous (11)

BRONZE PATRONS: ALLEGRO $500–$999D!vid ' R!e AllenMr ' Mrs G!rry S AshDr Lilon B!ndlerMich!el B!ume AO ' Toni B!umeBe!u"y Poin" Re"iremen" Resor"Rich!rd ' M!rg!re" BellMrs J!n BiberMinnie BiggsMrs Eliz!be"h BoonMr Colin G Boo"hDr M!rg!re" Boo"hMr Frederick BowersMr H!rry H Bri!nR D ' L M Bro!dfoo"Miss T!ny! BryckerDr Miles BurgessP!" ' Jenny Burne""

Mrs M!rg!re" KeoghDr Henry Kilh!mChris J Ki"chingAnn!-Lis! Kle""enbergMr ' Mrs Gilles T KrygerThe L!ing F!milySoni! L!lDr Leo ' Mrs Shirley Le!derM!rg!re" Lederm!nMrs Ern! Levy Sydney ' Airdrie LloydMrs A Loh!nP!nee LowDr D!vid LuisMelvyn M!dig!nB!rb!r! M!idmen"Helen ' Phil MeddingsD!vid MillsKenne"h New"on Mi"chellHelen Morg!nChris Morg!n-HunnMr Gr!h!m Nor"hE J NuffieldDr M!rg!re" P!rkerDr Kevin Pedemon"Dr John Pi""Mrs Greeb! Pri"ch!rdMr P!"rick Quinn-Gr!h!mMiss Julie R!dos!vljevicRen!iss!nce ToursDr M!rilyn Rich!rdsonAnn! RoAgnes RossMr Kenne"h Ry!n

Eric ' Rosem!ry C!mpbellB!rrie C!r"erMr Jon!"h!n ChissickMrs S!ndr! Cl!rkMich!el ' N!"!lie Co!"esCoffs Airpor" Securi"y C!r P!rkJen CornishDeg!briele Ki"chensPhil Dimen" AM ' Bill

Z!firopoulosDr D!vid DixonEliz!be"h Don!"iMrs J!ne DrexlerDr Ni"! Durh!m '

Dr J!mes Durh!mJohn F!v!loroMs Julie Flynn ' Mr Trevor

CookMrs Lesley FinnMr John G!denVivienne Goldschmid"Clive ' Jenny GoodwinMs F!y Gre!rIn Memory of Angelic! GreenMr Rober" GreenRich!rd Griffin AM

Mr ' Mrs H!rold ' Al"he! H!llid!y

Benj!min H!sic ' Belind! D!vie

Mr Rober" H!v!rdRoger HenningSue Hewi""In memory of Emil Hil"onDoro"hy Hoddino"" AO

Mr Joerg Hofm!nnMr Angus HoldenMr Kevin Holl!ndBill ' P!m HughesDr Es"her J!nssenNiki K!llenbergerMrs W G Keighley

G!rry Sc!rf ' Morgie Bl!xill

Pe"er ' Virgini! Sh!wV ShoreMrs Di!ne Sh"einm!n AM

Vic"ori! Smy"hDr Judy SoperDoug ' Judy So"herenRu"h S"!plesMr ' Mrs Ashley S"ephensonM!rg!re" Su"hersMs M!rg!re" Sw!nsonThe T!plin F!milyDr ' Mrs H K TeyAlm! Toohey Judge Robyn Tupm!nMrs M Turking"onGilli!n Turner ' Rob BishopRon!ld W!lledgeIn memory of Denis W!llisThe Wilkinson F!milyEv!n Willi!ms AM '

J!ne" Willi!msDr Edw!rd J WillsAudrey ' Mich!el Wilson

Dr Rich!rd Wing!"eDr Pe"er Wong '

Mrs Emmy K WongGeoff Wood ' Meliss! W!i"esMrs Robin Y!bsleyAnonymous (29)

Lis! correc! "s of 17 J"nu"ry 2014

V!ngu!rd Collec"iveJus"in Di Lollo Ch"irKees Boersm!D!vid McKe!nAmeli! Morg!n-HunnJon!"h!n Pe!seSe!mus R QuickChloe S!ssonC!mille Thioulouse

MembersD!mien B!ileyAndrew B!x"erM!r Bel"r!nEvonne Benne""Nicole Bille"D!vid BluffAndrew Br!gg

SYDNEY SYMPHONY ORCHESTRA VANGUARDA MEMBERSHIP PROGRAM FOR A DYNAMIC GROUP OF GEN X & Y SSO FANS AND FUTURE PHILANTHROPISTS

TO FIND OUT MORE ABOUT BECOMING A SYDNEY SYMPHONY ORCHESTRA PATRON, PLEASE CONTACT THE PHILANTHROPY OFFICE ON (02) 8215 4674 OR EMAIL PHILANTHROPY@SYDNEYSYMPHONY.COM

Pe"er Br!i"hw!i"eBl!ke BriggsAndre! BrownProf. A""il! BrungsHelen C!ldwellHil!ry C!ldwellH!hn Ch!uAlis"!ir Cl!rkP!ul Colg!nJulie" Cur"inAlis"!ir Furniv!lAlis"!ir GibsonS!m GiddingsM!rin! GoTony GriersonLouise H!gger"yRose HercegPhilip Heuzenroeder

P!olo HookePe"er How!rdJennifer HoySco"" J!cksonJus"in J!mesonAernou" Kerber"Tris"!n L!ndersG!ry Linn!neP!ul M!cdon!ldKylie McC!igRebecc! M!cF!rlingH!yden McLe!nT!ine Mouf!rrigeNick NichlesTom O’DonnellK!"e O’ReillyL!uriss! PoulosJingmin Qi!n

Le!h R!nieMich!el ReedeP!ul ReidyChris Rober"sonDr Benj!min RobinsonEmm! Rodig!riJ!cqueline Rowl!ndsK!"herine Sh!wR!nd!l T!meS!ndr! T!ngMich!el Tidb!llJon!"h!n W!"kinsonJon Wilkie

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SALUTE

PRINCIPAL PARTNER

The Sydney Symphony Orches"r! is !ssis"ed by "he Commonwe!l"h Governmen" "hrough "he Aus"r!li! Council, i"s !r"s funding !nd !dvisory body

GOVERNMENT PARTNERS

The Sydney Symphony Orches"r! is !ssis"ed by "he NSW Governmen" "hrough Ar"s NSW

PREMIER PARTNER

PLATINUM PARTNER

EDUCATION PARTNER MAJOR PARTNERS

GOLD PARTNERS

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REGIONAL TOUR PARTNER MARKETING PARTNER

…brass playing is a very physical thing.

and second horns together in the tonic, or ‘home’ key, third and fourth together in a related key. First and third are traditionally considered ‘high’, while second and fourth are ‘low’.

Recently appointed to the position of section horn, Rachel is discovering that playing in the SSO requires a degree of flexibility. ‘I’m definitely most comfortable playing second or fourth, but sometimes I’ll be required to bump the first horn.’ (‘Bumping’ means sharing the first horn part between two players.) ‘The bumper won’t play any of the big solos, but we do some of the grunt work to give the first horn a break.’ That might mean taking over some of the really loud notes, or occasionally helping out in the middle of a phrase to disguise the need to take a breath. ‘It’s satisfying when you can assist your first horn and help make them feel comfortable.’

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‘When my niece asks what I do for a job, I blow a raspberry and tell her, “Someone pays me to do that all day.”’ French horn player Rachel Silver has her tongue firmly in cheek, of course. It’s a whole lot more complicated than that. ‘Actually, brass playing is a very physical thing. It involves the whole body – using big muscles to take in a lot of air and blow it out, with the vibration of your lips to produce the sound. Smaller movements with little muscles around the embouchure help make sure we hit the right note.’

As with many instruments, playing the horn for a long time

can result in physical changes to a musician’s body. ‘If you use a finger hook [to support the weight of the instrument], you can end up with a bent little finger.’ Or too much pressure on the mouthpiece, for instance, and a pair of small crescent moon-shaped indentations may appear on the lips. Check twice next time you’re talking to a brass player!

The internal structure of an orchestral horn section dates back to a time when crooks (sections of tubing) were used to change the key in which the instrument was playing. The horns would play in pairs – first

GRUNT WORKRachel Silver, recently appointed to the SSO horn section, finds herself doing some of the heavy lifting.

ORCHESTRA NEWS | JANUARY–FEBRUARY 2014

SSO Bravo! #1 2014 Insert_21Jan.indd 1 22/01/14 2:44 PM

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n Vanguard took members and guests on a sensory adventure, matching Brokenwood Wines and Young Henry’s beer with music played by an ensemble of SSO musicians. Dan Hampton (Young Henry’s), Justin Di Lollo (Vanguard Chair), and Oscar MacMahon (Young Henry’s) clearly enjoyed the night!

Welcome to our 2014 season – and what a season it promises to be, under the leadership of our new Chief Conductor and Artistic Director, David Robertson. From Strauss’s epic opera Elektra to the film music of John Williams, from the enduring mastery of Beethoven and Brahms to a commissioned work celebrating our Indigenous culture, Jandamarra by Paul Stanhope, we aim to offer something that will inspire everyone who loves to hear live orchestral music.

As I look ahead at this year’s feast of musical offerings, I pay tribute to the extraordinary talents and commitment of our players, administrators and artists. And I also thank you, our audience, for your contribution and support for your orchestra. An inspiring performance requires not just great music making on stage, but also an engaged audience, full of people who come to see, hear and love what these talented individuals create when they come together in the name of that thing which we love above all – music.

So welcome, and enjoy this performance and the forthcoming season, with our thanks and commitment to providing you with a year of outstanding artistic experiences.RORY JEFFES

From the Managing Director Education HighlightWhat’s my motivation?There are motives, and then there are motives. What does it mean when a composer uses a motive in his or her composition? This was the question explored by participants in our Sinfonietta Composition Project at the end of 2013. Supported by Leighton Holdings and CAL Cultural Fund, the Sinfonietta Project is now in its eighth year, and in 2013 attracted the highest ever number of applicants. Fourteen students from around Australia, aged 13 to 17, were selected to take part in a three-day intensive workshop under the mindful care of Richard Gill, and with the expert assistance of our Fellowship quartet. Two teachers also travelled from Tasmania with their students to observe the workshops.

The string quartets of Haydn and Shostakovich were examined for examples of rhythmic and harmonic motives, before each participant had the opportunity to try their own hand, composing for performance by the string quartet. Working with the Fellows, said one participant, ‘gave a sense of realism to what, until then, had been quite an abstracted practice’. There’s clearly no substitute for the real thing! Another student, from Melbourne, acknowledged the depth and breadth of the program: ‘I learn much more about music from the Sinfonietta project than any other class I’ve been to at the specialist music school I attend.’

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Richard Gill with the 2013 Sinfonietta composers

SSO Bravo! #1 2014 Insert_21Jan.indd 2 22/01/14 2:44 PM

The ScoreAlexander NevskyThis year we’ve planned four concerts with an overt film connection, but there’s a fifth concert with a hidden connection: Russian Daydreams in March.

In 1938 Prokofiev – newly returned to Russia from a visit to Hollywood – was invited by film director Sergei Eisenstein to write the music for Alexander Nevsky. The result has become a cult classic among film buffs and is still regarded as one of the greatest collaborations between composer and director in the history of cinema. (So closely did they work, Eisenstein would often cut his shots to the music rather than vice versa.)

Thanks to the machinations of history, Prokofiev’s music has also survived in the concert hall. Not long after the December 1938 premiere, the Nazi-Soviet pact of 1939 was signed and the film – which told the story of the Russians’ victory over the Teutonic knights in 1242 – was withdrawn. But Prokofiev salvaged the most powerful moments of his score to create a seven-movement cantata for mezzo-soprano, chorus and orchestra.

Eisenstein declared Prokofiev ‘a perfect composer for the screen’, saying that his music was never merely illustrative but embodied the emotion of the events on screen. And even without the striking imagery of the film, the cantata conveys the dramatic range of the story: from the tragedy of Russia under oppression to the Battle on the Ice and the triumph of victory.

Russian Daydreams Master Series 12, 14, 15 March | 8pm

Artistic Focus

in concert’ presentations (West Side Story is the other), chief conductor David Robertson will set the tone in February when he conducts and compères a concert hall program dedicated to the music of John Williams.

John Williams’ film scores include Jaws, E.T., Superman and Schindler’s List, to name just a few, and David is in awe of his skill as a composer. ‘His range is without bounds, his inspiration seems unending, and his power to unlock our emotions is breathtaking.’ He says Williams understands that when we enter a movie theatre, we become aware of sound in a different way, and open ourselves to the complete experience of a film. Williams ‘finds just the right combination of sounds and timbres to communicate with us on a very deep emotional level. Those moments in cinema when people say “I couldn’t help but cry” are often brought on by his music or framed by it.’

28 Feb, 1 MarRobertson conducts John Williams: Music from the Movies

2, 3 MayStrictly Luhrmann: Music from the Movies

26, 27 SepThe Matrix Live: Film in Concert

7, 8 NovWest Side Story: On Stage and Screen

More info: bit.ly/SSOfilmmusic

‘Never send a human to do a machine’s job.’ So says Agent Smith in a chilling monotone in The Matrix. With this advice he would surely find himself at odds with conductor Frank Strobel, who joins us in September to conduct the film in concert.

It’s true that a live orchestra accompanying a big screen picture requires a machine-like synchronicity between orchestra and film, but Frank argues there’s still plenty of room for spontaneity. ‘Similar to an operatic performance, I need to be able to shape and structure a work and to uphold its tension, without having the feeling of being at the movie’s mercy. And it is especially important to me that a performance takes place without any additional technical aids, such as a click track in my ear or a visible time code on the monitor – for musicality’s sake.’

So without the usual mechanical or electronic assistance, how is the necessary precision achieved to play in time with the picture? ‘Synchronicity can be achieved with a precise knowledge of the film, plentiful (often more than a thousand) synchronicity pointers in the score, exact tempo specifications (preferably metronomic indications) and the aforementioned feeling for movement and mounting in the picture. Spontaneity does not need to suffer because of this.’

In a year featuring two ‘film

SSO GOES TO THE MOVIES

David Robertson will present highlights from John Williams’ film scores in his first visit to Sydney as chief conductor. (Pictured: Alex Mitchell and Emma Jezek)

Phot

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NEWBIESWe welcome Rachel Silver (horn) and Amanda Verner (viola) to the permanent ranks of the SSO, following successful completion of their trials.

FAREWELLSIn December 2013 we farewelled three of the orchestra’s longest-serving musicians – Julie Batty (first violin), Robyn Brookfield (viola) and Colin Piper (percussion). Combined, they have given the orchestra almost 100 years of service. We thank them for their dedication, inspiration and wonderful collegiality over all these years, and wish them the very best for their future retirement projects.

And at the end of this month we will bid a fond farewell to our director of artistic planning, Peter Czornyj, who is returning with his family to the United States to take up the same role at the Dallas Symphony Orchestra.

TURNING JAPANESERosamund Plummer (SSO Principal Piccolo) has been selected as the very first Global Winds Artist in Residence at the Tokyo Academy of Instrumental Heritage Music. Rose will travel to Japan and America for three months to study the ryuteki, a traditional Japanese transverse bamboo flute. This award is an initiative of the department of mediæval Japanese music at Columbia University, which hopes to seed high profile Western orchestras with musicians who can play traditional Japanese instruments and thus perform specialised music. Rose is currently learning as much Japanese language as possible to get the most out of daily lessons with her ryuteki mentor in Tokyo. がんばって、ローズ!

MOVIN’ ON UPWe can report exciting times for our most recent crop of Fellowship alumni, with multiple successes following their time with SSO. The string Fellows have all been

accepted into a winter residency at The Banff Centre in Canada; Som Howie (clarinet) has won a position in the Southbank Sinfonia in London for 2014; and Laura van Rijn (flute) is taking up a contract position as Associate Principal Flute with the Auckland Philharmonia. Bravi tutti!

PARK & DINEDid you know…? If you’re an SSO subscriber you can take advantage of InterContinental Sydney’s exclusive park and dine package. Enjoy valet parking when combined with a meal at Cafe Opera, just a short stroll from the Sydney Opera House. Call (02) 9240 1396 to find out more about this deal from our accommodation partner.

HIGH TEAOn 9 December we thanked our wonderful and dedicated volunteers with a special Christmas high tea backstage at the Sydney Opera House. Volunteers are special members of the SSO family whose support is invaluable.

CODA