SUMMER NIGHTS

THURSDAY AFTERNOON SYMPHONY

Thursday 11 June 2015

EMIRATES METRO SERIES

Friday 12 June 2015

concert diary

SSO Chamber Music Cocktail HourRiffs: Brahms FusionMACKEY Heavy Light, for electric guitarFusion Tune, for electric guitar and cello BRAHMS String Sextet No.2Steven Mackey electric guitarKirsty Hilton violin • Emma Jezek violinTobias Breider viola • Amanda Verner viola Umberto Clerici cello • Fenella Gill cello Christopher Pidcock cello

Sat 6 June 6pmUtzon Room Sydney Opera House

Summer Nights HAYDN Symphony No.31 (Horn Signal) BERLIOZ Les Nuits d’été (Summer Nights) SCHUBERT Symphony No.4 (Tragic)

David Robertson conductor Katarina Karnéus mezzo-soprano

Thursday Afternoon Symphony

Thu 11 Jun 1.30pmEmirates Metro Series

Fri 12 Jun 8pm Pre-concert talk by David Garrett 45 minutes before each performance

Tristan und IsoldeOpera in the Concert Hall WAGNER Tristan und IsoldeSung in German with English surtitles. Performed with two intervals, including a dinner break

David Robertson conductorChristine Brewer soprano (Isolde)Lance Ryan tenor (Tristan)Katarina Karnéus mezzo-soprano (Brangäne)Stephen Milling bass (King Marke)Sydney Philharmonia ChoirsS Katy Tucker video and projection design

Special Event Premier Partner Credit Suisse

Sat 20 Jun 6pm Mon 22 Jun 6pmPre-concert talk by David Larkin at 5:15pm

Tchaikovsky’s Manfred TOVEY Urban RunwayBARBER Violin ConcertoTCHAIKOVSKY Manfred Symphony

Bramwell Tovey conductorGil Shaham violin PICTURED

Emirates Metro Series

Fri 26 Jun 8pmGreat Classics

Sat 27 Jun 2pmMondays @ 7

Mon 29 Jun 7pmPre-concert talk 45 minutes before each performance

Bach Concertos JS BACH Brandenburg Concerto No.6, BWV 1051JS BACH Violin Concerto in A minor, BWV 1041*JS BACH Violin Concerto in E major, BWV 1042*JS BACH Double Violin Concerto in D minor, BWV 1043*

Gil Shaham violin-director Adele Anthony violin

Tea & Symphony

Fri 3 Jul 11am*

Special Event Premier Partner Credit Suisse

Sat 4 Jul 8pmPre-concert talk by Robert Murray at 7:15pm (Sat 4 Jul)

CLASSICAL

Tickets also available atSYDNEYOPERAHOUSE.COM 9250 7777 Mon–Sat 9am–8.30pm Sun 10am–6pm

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SYDNEYSYMPHONY.COM CALL 8215 4600 Mon–Fri 9am–5pm

WELCOME TO THEEMIRATES METRO SERIES

Rob GurneyDivisional Vice President Australasia Emirates

2015 marks the 13th anniversary of Emirates’ partnership with the Sydney Symphony Orchestra. We’re proud to continue one of the longest-running partnerships for the SSO and to remain the naming sponsor of the SSO’s Emirates Metro concert series.

Emirates connects travellers around the globe, bringing people together to discover, enjoy, and share experiences.  Our partnership with the SSO is about connecting with you – our customers.

The Emirates Metro Series showcases a wonderful array of highly regarded compositions, including many key European composers. We hope that tonight’s performance prompts you to consider a future trip to Europe, where we fly to over 35 destinations with the recent additions of Oslo, Brussels and Budapest, or internationally to more than 140 destinations in over 80 countries.

Like the SSO, Emirates specialises in first-class entertainment, taking out the award for best inflight entertainment for the tenth consecutive year at the international Skytrax Awards in 2014.

With up to 2,000 channels to choose from, on 28 flights per week to New Zealand and 84 flights per week to Dubai, including a double daily A380 from Sydney, those flying on Emirates will even be able to watch SSO concerts on board.

We are dedicated to the growth of arts and culture in Australia and we’re delighted to continue our support of the SSO. We encourage you to enjoy as many performances as possible over the year.

Friday’s performance will be recorded by ABC Classic FM for broadcast on Saturday 20 June at 1pm.

Pre-concert talk by David Garrett in the Northern Foyer 45 minutes before each performance. Visit sydneysymphony.com/speaker-bios for more information.

Estimated durations: 25 minutes, 31 minutes, 20-minute interval, 31 minutes. The concert will conclude at approximately 3.25pm (Thu), 9.55pm (Fri)

COVER IMAGE: Summer Night (1886) by Eilif Peterssen (1852–1928).

THURSDAY AFTERNOON SYMPHONY THURSDAY 11 JUNE, 1.30PM

EMIRATES METRO SERIES FRIDAY 12 JUNE, 8PM

SYDNEY OPERA HOUSE CONCERT HALL

SUMMER NIGHTSDavid Robertson conductor Katarina Karnéus mezzo-soprano

JOSEPH HAYDN (1732–1809) Symphony No.31 in D (Horn Signal)Allegro Adagio Menuet Finale (Moderato molto – Presto)

HECTOR BERLIOZ (1803–1869) Les Nuits d’été (Summer Nights)Villanelle Le Spectre de la rose (The Spirit of the Rose) Sur les Lagunes (On the Lagoons) Absence Au Cimetière (The Cemetery) L’Île inconnue (The Unknown Isle)

Katarina Karnéus, mezzo-soprano

INTERVAL

FRANZ SCHUBERT (1797–1827) Symphony No.4 in C minor, D417, Tragic Adagio molto – Allegro vivace Andante Menuetto (Allegro vivace) – Trio Allegro

2015 concert season

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PH

OTO

: ZA

IRO

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Ceiling of the banquet and concert hall (now known as the Haydnsaal) of the Esterházy Palace in Eisenstadt. This is probably where Haydn’s Symphony No.31 was first performed.

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The foyer fanfare for this

concert is Rebellion’s Rise,

composed by Paris Francis (13)

of St Catherine’s School,

Waverley. This is a youth

creativity project by the Sydney

Opera House and Artology.

INTRODUCTION

Summer Nights

Nicknames and titles can be a boon in classical music, even when they’re dubious. If you take a composer as prolific as Haydn, with more than a hundred symphonies to his name, chances are the symphonies you know and remember are those with nicknames: London, Drumroll, Miracle (even though the ‘miracle’ occurred during a performance of a different symphony), the Surprise and so on. The Haydn symphony in this concert (No.31) has come to be known as the ‘Horn Signal’, and the reason is clear from the very beginning, as the four horns (double Haydn’s usual quota) play hunting calls that would have been well known to his listeners. But there’s more to this symphony: it quickly becomes apparent that Haydn had an orchestra of virtuosos at his disposal, including those horn players, and that this symphony is a kind of concerto for orchestra, with solos for nearly every instrument.

Schubert himself gave his Fourth Symphony the nickname ‘Tragic’, but well after he had composed the piece. The title doesn’t reflect an overall conception for the symphony but it does draw attention to the very distinctive slow introduction of the first movement. This is where Schubert sounds almost like Beethoven, with music that is powerfully dramatic. But after the introduction a sunnier Schubert takes over and perhaps the nickname, given in hindsight, is best forgotten. (Schubert’s own nickname among friends was Schwammerl – ‘little mushroom’.)

Between these two symphonies is the music by Berlioz that has also given this concert its name. There’s an irony in performing a ‘Summer Nights’ program just as Sydney has sunk into a chilly winter, not to mention in the middle of the day for one of the concerts. But perhaps that’s appropriate, since there is nothing especially to do with summer in the poems Berlioz chose to set. In fact the first song tells of the coming of spring! Perhaps, when great music is involved, it doesn’t pay to be too literal. These are sounds that we can enjoy in their own right regardless of the season.

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Joseph Haydn Symphony No.31 in D (Horn Signal)Allegro Adagio Menuet Finale (Moderato molto – Presto)

When Prince Nicolaus Esterházy engaged two additional horn players in 1765 for the orchestra at his country seat in Eisenstadt, he was probably thinking of the hunting season on the new estate he was developing at Eszterháza, not far away in Hungary. Whatever his motives, the appointments gave Haydn a total of four horn players whom he could show off in this agile and often demanding symphony. And not just four players who could make a rich, brassy sound together: rather, four potential soloists, though playing for the most part in two separate pairs juxtaposed against each other.

Joseph Haydn had by 1765 been four years in the service of the Esterházy court. He was 33 and in charge of his Prince’s music in all but name: he would officially succeed the aging Gregor Werner as Kapellmeister within a year. So he had fully served his apprenticeship. The Symphony No.31 celebrates the virtuosity of his prized little orchestra with a succession of bravura passages which give the work more the air of a sinfonia concertante than a symphony. It exuberantly demonstrates his own technical assuredness and joy of achievement as he stands on the threshold of a boundless maturity. It can be seen, in H.C. Robbins Landon’s view, as the composer’s farewell to youth.

The opening fanfare (which gives rise to the symphony’s 19th-century nickname) is, in fact, two horn calls, both probably familiar to Haydn’s audiences. The first, played by the four horns in unison, is an old hunting call, and the leaping solo call immediately following is a posthorn signal. If an extraordinary series of skittering upward runs by the solo flute do not, perhaps, represent the flight of startled birds, they certainly reflect the composer’s youthfully heady mood.

Following a dramatic development section, Haydn springs a brilliant surprise by beginning the recapitulation not with the unison hunting call from the opening, but with the solo posthorn call – and in the minor key, and marked piano (quietly)! He proceeds to recapitulate in reverse order, as it were, bringing back the unison fanfare to end the first movement.

Solo violin and cello take centre stage in the serene, transparently orchestrated slow movement, with some virtuoso writing for the horns (now in two distinct pairs playing respectively in the dominant and tonic keys). The strings play now with bows, now plucking the strings (pizzicato), and the woodwinds are admiring spectators throughout.

ABOUT THE MUSIC

KeynotesHAYDN

Born Rohrau, 1732 Died Vienna, 1809

At the time of his death, Haydn was the most illustrious composer in Europe: more famous than Mozart or Beethoven. Despite spending much of his working life buried in the provincial estate of Eszterháza, he became known for his symphonies and string quartets – Classical forms that he helped develop – and was widely commissioned. From about 1780 Haydn’s music was in such demand that his symphonies were increasingly aimed at bigger orchestras and the general public. But most of those composed before 1780 were written with Prince Esterházy’s court orchestra in mind – small but populated by virtuosos.

SYMPHONY NO.31

In this symphony there are four horns, two more than usual for a Haydn symphony. It was composed in 1765 and exploits the extra pair of horns Haydn’s employer had hired. You can hear them from the outset, playing the horn calls that give the symphony its nickname. But the horns aren’t the instruments in the spotlight. This symphony is like a ‘concerto for orchestra’ with fleeting solos for the flute in the first movement and parts for solo violin and cello in the slow movement (Adagio). In the finale, Haydn features the oboes, horns, solo cello, flute, horns as soloists, solo violin and double bass before everyone plays together ‘as fast as possible’.

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The minuet, one of Haydn’s most irresistibly danceable, has oboes matching themselves against the horns in the central trio section.

Though Haydn returned throughout his life to the variation form for his slow movements, he rarely wrote variation finales. But he does so in the ‘Horn Signal’ finale (and, indeed, in the finale of his companion symphony for four horns, the wildly misnumbered No.72) as a means of displaying one after another of his orchestral soloists. Six variations are allotted in turn to: oboes, with horns; solo cello; solo flute; the four horns, each solo, in a variation of great technical difficulty; a skittish solo violin; then the whole of the orchestra, softly.

The seventh and final variation is marked for the violone, an ancestor of the modern double bass (which is the instrument we use in this performance).

Their demonstration ended, the musicians unite in a rousing Presto, unrelated to any of the preceding music, to send us on our way in the manner of a Kehraus, or sweeping-out dance. Only at the end does Haydn remind us of our hunting origins with a jubilant restatement of the original unison fanfare to bring the symphony full circle.

© ANTHONY CANE

Haydn’s Symphony No.31 calls for flute, two oboes, bassoon and four

horns; and strings.

According to our records, the SSO first performed this symphony in

2000, conducted by Nicholas McGegan, and this is our first performance

since then.

Engraved portrait of Haydn by Johann Ernst Mansfeld, published in 1781.

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Hector Berlioz Les Nuits d’été (Summer Nights)Villanelle Le Spectre de la rose (The Spirit of the Rose) Sur les Lagunes (On the Lagoons) Absence Au Cimetière (The Cemetery) L’Île inconnue (The Unknown Isle)

Katarina Karnéus mezzo-soprano

Les Nuits d’été is based on poems by Berlioz’s close friend and neighbour in Paris, Théophile Gautier. Performed as a cycle, Les Nuit’s songs suggest an emotional arc, in which, according to commentator John Mangum, ‘the longed-for “always” of the first song, Villanelle, becomes unattainable in the last one, L’Île inconnue’. Villanelle is the only song to carry a date – 23 March 1840 – though Absence and Le Spectre de la rose were meant to be part of a concert (which didn’t take place) in November 1840. All six songs were published for high voice and piano during the summer of 1841. Absence was orchestrated in 1843 for concerts in Germany and Le Spectre de la rose was orchestrated for a concert in Gotha in February 1856, attended by a Swiss music publisher who asked Berlioz, through composer Peter Cornelius, to orchestrate the remainder – which he did by the end of that year.

Why did Berlioz write these songs? Often this most literary of composers provided reams of background information. But there are few clues about Les Nuits d’été. Mangum sees significance in the fact that this was the period in which Berlioz’s marriage to the actress Harriet Smithson began to sour. Program notes on Berlioz’s most famous work, the Symphonie fantastique of 1830, always tell of how Berlioz fell in love with Smithson after seeing her as Ophelia in a touring English company’s production of Hamlet, and how he pursued and married her (in 1833). But it was probably always a case of reality chasing an idealised image. By 1840 their marriage was doomed. By the same token, Absence, the first of the songs Berlioz orchestrated, was a favourite of his mistress and later wife, Marie Recio, and she sang it on that concert tour in Germany in 1843.

Rather than being about ‘summer nights’, Villanelle is set in springtime and looks forward to never-ending love. ‘Fleet-footed’ might well describe the progress of its vocal line over unexpected modulations. The orchestration is light – a simple accompaniment of repeated woodwind chords with occasional string underlining of melody and some imitation of birdsong.

In Le Spectre de la rose, a rose consoles itself with the thought that in being plucked to be worn by a beautiful woman at the previous night’s ball, its death is to be envied. Gautier’s poem is perhaps best known as the inspiration for a Diaghilev

KeynotesBERLIOZ

Born La Côte-Saint-André, 1803 Died Paris, 1869

Berlioz set off for Paris when he was 18, ostensibly to study medicine (his father’s preference) but in reality following a musical path that would result in him becoming the ‘arch-Romantic’ composer of his age. Despite the fact that his main instrument was the guitar (he also played piano and flute, but badly), he became a master in the innovative use of the orchestra (he literally wrote the book) as well as a conductor.

LES NUITS D’ÉTÉ

These songs, based on poetry by Théophile Gautier, began life as songs for mezzo-soprano or tenor with piano; 15 years later Berlioz realised his orchestral conception for the songs. They don’t follow a continuous narrative in the way that a Schubert song cycle might and the ‘Summer Nights’ title doesn’t really point to a theme. If there is one, it’s the subject of romantic love. There is young love in the springtime mood of the Villanelle. The ‘spirit of the rose’ is the echo of a moment of rapture. The third song is a fisherman’s lament for a loved one. There is the pain of separation. At the cemetery the music turns very quiet and the already slim orchestra is reduced to flutes, clarinets and strings. The mood lifts for the final song and its promise of adventure.

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ballet danced to Berlioz’s orchestration of Weber’s Invitation to the Dance. Here Berlioz sets Gautier’s original poem in a slow waltz time that suggests languid reminiscence of the previous night’s dancing.

In Sur les Lagunes a fisherman mourns the fact that he must continue to travel the sea alone, left bereft by the angel who took his beloved but ‘would not take me’. In Berlioz’s hands there is anguish, darkly coloured, but the singer stops short of operatic outpouring of grief.

Absence is strikingly restrained. The complete reprise (twice) of the solemn first verse gives the song a marked formality.

There is evidence that Berlioz really wrestled with the setting of Au Cimetière, which seeks to convey a complex linkage of images: graves, shadows, yew trees, doves, melodies, fragrances, angels, ghosts… The orchestration of this song may be the lightest of the set but the harmonics suggesting a ghostly presence at the end of verse four reveal the perennial resourcefulness of Berlioz’s imagination.

Berlioz chose a spirited Allegro for the final song. The young man wants to be off; ‘the breeze is up’. His fair one wants him to take her to a shore where love is forever. Of course, the title of the song is The Unknown Isle.

In his day, Berlioz was often criticised for writing oversized music. ‘The orchestra that Beethoven used is not enough for him,’ said critic Paul Scudo. It’s a criticism you hear even now, but the nuanced chamber-music subtlety of Les Nuits d’été provides a corrective to any impression that Berlioz’s music is always pure bombast and grandiosity.

GORDON KALTON WILLIAMS © 2013

The orchestra for Berlioz’s Nuits d’été comprises two flutes, oboe, two clarinets, two bassoons and three horns; harp and strings.

The SSO first performed the cycle in 1979 with Elly Ameling and conductor Pinchas Steinberg. (Lauris Elms had sung the Villanelle in 1961 with conductor Joseph Post.) We performed the cycle most recently in 1995 with Susan Graham and conductor Edo de Waart, and in 2000 Alessandra Marc with pianist Terence Dennis sang four of the songs in a Great Performers recital presented by the SSO.

Sketch of Berlioz, possibly by Ingres

Le Nuits d'été is based on poems by Théophile Gautier (photo by Félix Nadar, c.1856)

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Villanelle

Quand viendra la saison nouvelle, Quand auront disparu les froids, Tous les deux nous irons, ma belle, Pour cueillir le muguet aux bois. Sous nos pieds égrenant les perles Que l’on voit au matin trembler, Nous irons écouter les merles Siffler.

Le printemps est venu, ma belle. C’est le mois des amants béni; Et l’oiseau, satinant son aile, Dit ses vers au rebord du nid. Oh, viens donc, sur ce banc de mousse, Pour parler de nos beaux amours, Et dis-moi de ta voix si douce: ‘Toujours!’

Loin, bien loin, égarant nos courses, Faisons fuir le lapin caché, Et le daim au miroir des sources Admirant son grand bois penché; Puis chez nous, tout heureux, tout aises, En paniers enlaçant nos doigts, Revenons, rapportant des fraises Des bois.

Villanelle

When the new season comes, When the cold has gone, The two of us will go, my love, To gather lily-of-the-valley in the woods. Scattering beneath our feet the dew-drops That are seen trembling in morning, We shall go and listen to the blackbirds Sing.

Spring has come, my love. It is the month blessed by lovers; And the bird, preening its wings, Recites its verses at the edge of its nest. Oh, come with me then, on to this mossy bank, To talk of our sweet love, And tell me in your voice so soft: ‘Always!’

Far, far away, let us stray, And scare off the hidden rabbit, And the stag admiring the reflection Of his antlers in the spring waters; Then we’ll head home, happy and at ease, Our fingers entwined in baskets, We’ll return, bringing strawberries From the woods.

Gautier's poem Le Spectre de la rose is best known as the inspiration for a ballet by Michel Fokine, its roles created by Vaslav Nijinsky and Tamara Karsavina (1911).

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Le Spectre de la rose

Soulève ta paupière close Qu’effleure un songe virginal. Je suis le spectre d’une rose Que tu portais hier au bal. Tu me pris encore emperlée Des pleurs d’argent de l’arrosoir, Et parmi la fête étoilée Tu me promenas tout le soir.

Ô toi, qui de ma mort fus cause, Sans que tu puisses le chasser, Toutes les nuits mon spectre rose A ton chevet viendra danser. Mais ne crains rien, je ne réclame Ni messe ni De Profundis. Ce léger parfum est mon âme Et j’arrive du paradis.

Mon destin fut digne d’envie, Et pour avoir un sort si beau Plus d’un aurait donné sa vie: Car sur ton sein j’ai mon tombeau, Et sur l’albâtre où je repose Un poète, avec un baiser, Ecrivit: ‘Ci-gît une rose Que tous les rois vont jalouser.’

The Spirit of the Rose

Open your closed eyelids That are brushed by a maiden’s dream. I am the spectre of a rose That you wore yesterday to the ball. You took me, still covered with pearls Of silver tears from the sprinkler, And amid the glittering festivities You displayed me all evening.

Oh you, who brought about my death, You won’t be able to send me away, Every night my rose spectre Shall come to dance by your bedside. But do not fear, I ask for Neither Mass nor De profundis. This gentle scent is my soul And I come from paradise.

My destiny was worthy of envy, And to have a fate so beautiful More than one would have given their lives: For on your breast I have my tomb, And on the alabaster where I lie A poet, with a kiss, Wrote: ‘Here lies a rose Which shall be envied by all kings.’

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Sur les Lagunes

Ma belle amie est morte, Je pleurerai toujours. Sous la tombe elle emporte Mon âme et mes amours. Dans le ciel sans m’attendre Elle s’en retourna. L’ange qui l’emmena Ne voulut pas me prendre. Que mon sort est amer – Ah! Sans amour, s’en aller sur la mer.

La blanche créature Est couchée au cercueil. Comme dans la nature Tout me paraît en deuil: La colombe oubliée Pleure et songe à l’absent; Mon âme pleure et sent Qu’elle est dépareillée. Que mon sort…

Sur moi la nuit immense S’étend comme un linceul. Je chante ma romance Que le ciel entend seul. Ah, comme elle était belle, Et comme je l’aimais! Je n’aimerai jamais Une femme autant qu’elle. Que mon sort…

Absence

Reviens, reviens, ma bien-aimée! Comme une fleur loin du soleil, La fleur de ma vie est fermée Loin de ton sourire vermeil.

Entre nos coeurs quelle distance! Tant d’espace entre nos baisers! Ô sort amer! Ô dure absence! Ô grands désirs inapaisés! Reviens, reviens…

D’ici là-bas que de campagnes, Que de villes et de hameaux, Que de vallons et de montagnes, A lasser le pied des chevaux! Reviens, reviens…

On the Lagoons

My beloved is dead, I will weep forever. To the grave she takes My soul and my love. To heaven, without waiting for me, She returned. The angel who led her there Wished not to take me. How bitter is my fate – Ah, to set sail, without love.

The white creature Lies in her coffin. While in nature All seems to be in mourning. The forsaken dove Weeps and dreams of the absent one; My soul weeps and feels That it is incomplete. How bitter is my fate…

Over me the vast night Unfolds like a shroud. I sing my ballad That heaven alone hears. Ah, how beautiful she was, And how I loved her! I will never again love A woman as much as her. How bitter is my fate…

Absence

Return, return to me, my beloved! Like a flower far from the sun, The flower of my life is closed Far from your ruby-red smile.

Our hearts are so far apart! Such a gulf separates our kisses! Oh bitter fate! Oh harsh absence! Oh great desires unquenched! Return to me…

From here to there so many lands, So many towns and hamlets, So many valleys and hills, To weary the horses’ hooves! Return to me…

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Au Cimetière

Connaissez-vous la blanche tombe Où flotte avec un son plaintif L’ombre d’un if? Sur l’if une pâle colombe, Triste et seule au soleil couchant, Chante son chant.

Un air maladivement tendre, À la fois charmant et fatal Qui vous fait mal Et qu’on voudrait toujours entendre; Un air comme en soupire aux cieux L’ange amoureux.

On dirait que l’âme éveillée Pleure sous terre à l’unisson De la chanson, Et, du malheur d’être oubliée Se plaint dans un roucoulement Bien doucement.

Sur les ailes de la musique On sent lentement revenir Un souvenir. Une ombre, une forme angélique Passe dans un rayon tremblant En voile blanc.

Les belles-de-nuit, demi-closes, Jettent leur parfum faible et doux Autour de vous, Et le fantôme aux molles poses Murmure, en vous tendant les bras: ‘Tu reviendras!’

Ô! Jamais plus, près de la tombe Je n’irai, quand descend le soir Au manteau noir, Écouter la pâle colombe Chanter sur la pointe de l’if Son chant plaintif.

The Cemetery

Do you know the white tomb Where hovers with its plaintive sound The shadow of a yew? On the yew a pale dove, Sad and alone in the setting sun, Sings its song.

A melody that’s tender and persistent, At once charming and deadly That hurts And that one longs always to hear; A melody like a sigh in heaven Of a loving angel.

It seems as though the awakened soul Weeps beneath the earth in unison With the song And in sorrow at being forgotten Coos a sad lament So softly.

On the wings of the music One feels a memory Gradually return; A shadow, an angelic form Passes in a shimmering ray Veiled in white.

The belles-de-nuit, half-closed, Spread their faint, sweet scent Around you, And the ghostly, billowing figure Murmurs, reaching out to you: ‘You shall return!’

Oh, never again to the tomb Shall I go, when the black cloak Of evening falls, To listen to the pale dove Sing atop the yew Its sad song.

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The Unknown Isle

‘Tell me, my young beauty, Where do you want to go? The sail swells, The breeze blows. The oar is of ivory, The pennant of watered silk, The helm of fine gold. I have for ballast an orange, For sail, an angel’s wing, For cabin-boy, a seraph. I have for ballast…

Tell me…where do you want to go?… To the Baltic? To the Pacific Ocean? To the island of Java? Or perhaps to Norway, To gather snowflowers? Or the flower of Angsoka?

Tell me, tell me…’ ‘Take me,’ says the beauty, ‘To the faithful shore Where love lasts forever!’ ‘This shore, my dear, Is hardly known In the land of love. Where do you want to go? The breeze is getting up.’

ENGLISH TRANSLATION © SYMPHONY AUSTRALIA

L’Île inconnue

‘Dites, la jeune belle, Où voulez-vous aller? La voile enfle son aile, La brise va souffler. L’aviron est d’ivoire, Le pavillon de moire, Le gouvernail d’or fin J’ai pour lest une orange, Pour voile une aile d’ange, Pour mousse un séraphin. J’ai pour lest…

Dites…où voulez-vous aller?… Est-ce dans la Baltique? Dans la mer Pacifique? Dans l’île de Java? Ou bien est-ce en Norvège, Cueillir la fleur de neige, Ou la fleur d’Angsoka?

Dites, dites…’ ‘Menez-moi,’ dit la belle, ‘À la rive fidèle Où l’on aime toujours!’ ‘Cette rive, ma chère, On ne la connaît guère Au pays des amours. Où voulez-vous aller? La brise va souffler.’

THÉOPHILE GAUTIER (1811–1872)

theme & variations presents

select your perfect piano from a collection of the world’s finest

the 2015 sydney symphony orchestra

PIANO SALEAll new and pre-owned grand and upright pianos on sale

3 days only, fri 10 - sun 12 julyfriday & saturday by appointment only, phone 9958 9800451 willoughby rd, willoughby nsw 2068visit www.themeandvariations.com.au

*See website for terms and conditions.

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Franz Schubert Symphony No.4 in C minor, D417, TragicAdagio molto – Allegro vivace Andante Menuetto (Allegro vivace) – Trio Allegro

No one ever suggests that Beethoven’s Eroica Symphony lacks valour or that his Pastoral is too ‘urban’. Schubert’s ‘Tragic’ Symphony on the other hand, seems to have generated nothing but uncertainty ever since his early symphonies gained public attention in the 1930s. And it’s fair to say that most listeners – if encountering Schubert’s Fourth Symphony for the first time in a ‘blind hearing’ – would be unlikely to christen it ‘Tragic’. As a result, paragraphs are given over to either defensively beefing up the ‘tragic’ elements in an attempt to justify the title or dismissing it altogether as a youthful whim on the part of the composer.

The title is uncharacteristic of Schubert. It was the first and only time that he gave a title of any kind to a symphony or sonata. It was not his way to conceive of such abstract pieces as explicitly programmatic, nor did he do so for his Fourth Symphony, which he composed in a few weeks in April 1816. He added the title later, possibly for a performance that was given by the private orchestra that had grown up around the Schubert family string quartet in which he played viola.

Schubert’s addition of a title appears to owe something to the 18th-century practice of appending nicknames to symphonies (not always by composers themselves) according to some remarkable feature. Haydn’s ‘Surprise’ Symphony isn’t full of surprises, one is sufficient; the ‘Drum Roll’ doesn’t overdo its percussion effects; and the ‘Clock’ Symphony restricts its tick-tocking to just one movement, likewise the fanfares of the ‘Horn Signal’. It was a way of telling symphonies apart rather than an attempt to characterise the entire work. In the same way, Schubert’s Fourth Symphony isn’t imbued with tragedy – it was simply the symphony that was in a minor key and that began with a particularly dark and powerful slow introduction. Tragedy is a distinguishing rather than a defining feature.

Schubert’s Fourth is distinguished in several other ways as well. When compared to his first three symphonies it reveals an improved technical facility. There is a new feeling of concision (not quite terseness) that is unparalleled in his expansive early symphonies. It was his first foray into minor key territory after symphonies in the sunny key of B flat major or the more martial D major. And while it may not convince as a vehicle of emotional drama, it is not lacking in purely musical drama as Schubert skilfully handles his thematic material and

KeynotesSCHUBERT

Born Vienna, 1797 Died Vienna, 1828

Like Beethoven, Schubert inherited the Classical tradition of Haydn and Mozart and pushed the boundaries of emerging Romanticism; like Mozart he died young. His greatest ambition was for symphonic writing, but during his lifetime he was regarded principally as a writer of songs. Nowadays those songs are still regarded as masterpieces, but his symphonies – none of which received professional performances when he was alive – have also found their proper place in the concert hall.

SYMPHONY NO.4

If you heard only the first chord of this symphony you might think you were going to hear Beethoven’s Coriolan overture. Both pieces begin with the instruments playing a single note (C) and no clue as to whether the drama will continue in a major or minor key (turn happy or sad). If there’s a good reason for Schubert calling his fourth symphony ‘Tragic’, this moody slow introduction is it. But the rest of the symphony is livelier and more cheerful. Once the fast section of the first movement gets underway, Schubert uses every musical strategy to bring his listeners pure delight. Hear Schubert-songwriter in the second movement and Schubert-improviser-of-dances in the tiny third movement. The finale returns to the introductory key of C minor and, like the first movement, concludes with a mood of optimism in C major.

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Tragedy is a distinguishing rather than a defining feature.

bold harmonic ideas.Schubert’s language is still that of the Classical masters,

but the content, the aspirations, and even the choice of key for the Fourth Symphony suggest the influence of Beethoven. Like Beethoven’s Fifth Symphony, Schubert’s Fourth begins in C minor and ends in C major. But Schubert treads the path twice (in the first and last movements) and the means and the effect are quite different.

The opening gesture brings in the full orchestra with a dramatic unison – pairs of flutes, oboes, clarinets, bassoons and trumpets, two pairs of horns, timpani and strings, all playing the note C. There is nothing to signal whether this will be a major or a minor key symphony, but the suspense is quickly broken by throbbing violas and second violins followed by the entry of the main theme in the first violins. From this point on, the introductory Adagio molto constantly shifts its harmonic ground with striking changes of key and highly chromatic lines, resolving finally in C minor for the beginning of the main part of the first movement, Allegro vivace.

Despite its minor key, the Allegro vivace is more sprightly and energetic than dramatic or solemn. Even restless passages of tension and climax are insufficient to weigh down the optimistic quality of the theme, constructed from rising thirds. Schubert’s increasing technical confidence is most evident in this

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movement – the born melodist for once shakes his compulsion to think in ‘tunes’ and with a new-found concision develops his themes with a pithy symphonic dynamism.

The second movement is the most exquisite in the symphony, summing up all that is lovable in Schubert’s music – poetic expansiveness and songful beauty. For a long time it was the only movement from all of Schubert’s first six symphonies that had been published in score (by Peters in 1871). If the Fourth Symphony were to be truly tragic then this would have been Schubert’s opportunity – he might have written an adagio, mournful and languishing. Instead we have this Andante, nostalgic and lyrical. The trumpets, drums and second pair of horns are omitted, leaving the woodwinds (and especially the oboe) to shine in serenely breath fragments of thematic material over palpitating strings.

Schubert’s early minuet movements dance a line between the Austrian Ländler (a kind of country waltz) and the wild Beethovenian scherzo. This Menuetto is perhaps closest to a true scherzo; certainly it is a far cry from the elegance of an 18th-century ballroom. It has a brashness partly brought about by the suggestions of cross-rhythms, partly by astringent confrontations in the harmony, and partly by the presentation of its melodies in strong unisons. The level of melodic chromaticism is unusual for Schubert and only confirms that this is no minuet for dancing. By contrast the Trio is plaintive and candid in character.

The agitated finale has two qualities characteristic of Schubert’s early symphonies: an apparently limitless supply of imaginatively lyrical material, and the development of ideas through melodies rather than harmony or thematic motifs. This is the work of a composer who spent the eight months between his third and fourth symphonies composing more than 200 songs. The effusiveness of the Allegro finally draws to a close – as in the first movement – in a resoundingly optimistic C major. And the same open unison that had pronounced a mood of tragedy in the first movement returns to triumph over Schubert’s ‘Tragic’ Symphony.

ADAPTED FROM A NOTE BY YVONNE FRINDLE © 1999/2015

Schubert’s Fourth Symphony calls for pairs of flutes, oboes, clarinets and bassoons; four horns and two trumpets; timpani and strings.

The SSO first performed the symphony in 1951, conducted by Eugene Goossens, and most recently in 2001, conducted by Bruno Weil.

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Sydney Opera House TrustThe Hon. Helen Coonan [Acting Chair]Catherine Brenner, Brenna Hobson, Chris Knoblanche, Deborah Mailman, Peter Mason am, Jillian Segal am, Robert Wannan, Phillip Wolanski am

Executive ManagementChief Executive Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Louise Herron am

Director, Programming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jonathan BielskiDirector, Theatre & Events . . . . . . . . . . . . . . . . . . . . . . . . . . . .David ClaringboldChief Financial Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Natasha CollierGeneral Counsel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Michelle DixonDirector, Building Development & Maintenance . . . . . . . . .Greg McTaggartDirector, Marketing (Acting) . . . . . . . . . . . . . . . . . . . . . . . . . .Stephen O’ConnorDirector, External Relations . . . . . . . . . . . . . . . . . . . . . . . . . . .Brook Turner

SYDNEY OPERA HOUSE Bennelong Point GPO Box 4274 Sydney NSW 2001Administration (02) 9250 7111 Box Office (02) 9250 7777 Facsimile (02) 9250 7666 Website sydneyoperahouse.com

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Julius Drake, with whom she has also recorded a program of songs by Grieg.

HELIOS 55471 (Sibelius) HYPERION 67670

Or you can hear her in Mahler: Kindertotenlieder, Songs of a Wayfarer and the Rückert-Lieder, recorded with Gothenberg Symphony Orchestra and conductor Susanna Mälkki.

BIS 1600.

Broadcast Diary

June

abc.net.au/classic

Saturday 20 June, 1pm SUMMER NIGHTS David Robertson conductor Katarina Karnéus mezzo-soprano Haydn, Berlioz, Schubert

Sunday 21 June, 7pm TRISTAN UND ISOLDE David Robertson conductor Cast including soprano Christine Brewer and tenor Lance Ryan Wagner

Monday 29 June, 7pm TCHAIKOVSKY’S MANFRED Bramwell Tovey conductor Gil Shaham violin Tovey, Barber, Tchaikovsky

SSO RadioSelected SSO performances, as recorded by the ABC, are available on demand: sydneysymphony.com/SSO_radio

SYDNEY SYMPHONY ORCHESTRA HOUR Tuesday 14 June, 6pmMusicians and staff of the SSO talk about the life of the orchestra and forthcoming concerts. Hosted by Andrew Bukenya.finemusicfm.com

MORE MUSIC

HAYDN SYMPHONIES

One of the features of Haydn’s ‘Horn Signal’ symphony is the presence of two pairs of horns in the ensemble, so it’s not surprising that it turns up on a recording by the American Horn Quartet with the Polish orchestra Sinfonia Varsovia. Their program begins with Schumann’s Concert Piece for four horns and orchestra and in includes music by Handel and Telemann before concluding with the Haydn.

NAXOS 8.557747

Alternatively, if you’d like to hear more of Haydn’s symphonies, look for Nikolaus Harnoncourt’s recording with Concentus Musicus Wien. Following the ‘Horn Signal’ Symphony, you can hear Symphony No.59 and another symphony with hunting calls: No.73, ‘La Chasse’.

WARNER CLASSICS & JAZZ 469 0550

SCHUBERT SYMPHONIES

When it comes to Schubert’s symphonies, the live recordings by Frans Brüggen and the Orchestra of the 18th Century offer illuminating performances that capture the energy and lyricism of this music to perfection. The set was re-issued in a 4-CD Decca Collectors Edition earlier this year.

DECCA 478 7839

LES NUITS D’ÉTÉ

If you’re looking for your first recording of Les Nuits d’été, you can’t go wrong with the acclaimed 1963 recording with Régine Crespin and Ernest Ansermet conducting the Suisse Romande Orchestra. It’s been remastered for Decca’s ‘The Originals’ series, together with Ravel’s Shéhérazade and the album features the generous addition of songs by Debussy and Poulenc, accompanied by pianist John Wustman. Even today, Crespin’s recording sets the standard.

DECCA475 7712

Among more recent recordings – and to hear more of Berlioz’s music for the voice – look for Veronique Gens’ recording with the Loire National Orchestra conducted by John Axelrod. Like Crespin, Gens includes Ravel’s Shéhérazade in her program, together Berlioz’s early cantata Herminie, in which you might recognise some key themes that were to turn up in his Symphonie fantastique.

ONDINE 1200

KATARINA KARNÉUS

Among Katarina Karnéus’s more recent recordings is an album of Sibelius songs (most of them in Swedish, his first language). She is accompanied by pianist

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SSO Live RecordingsThe Sydney Symphony Orchestra Live label was founded in 2006 and we’ve since released more than two dozen recordings featuring the orchestra in live concert performances with our titled conductors and leading guest artists. To buy, visit sydneysymphony.com/shop

Strauss & SchubertGianluigi Gelmetti conducts Schubert’s Unfinished and R Strauss’s Four Last Songs with Ricarda Merbeth. SSO 200803

Sir Charles MackerrasA 2CD set featuring Sir Charles’s final performances with the orchestra, in October 2007. SSO 200705

Brett DeanTwo discs featuring the music of Brett Dean, including his award-winning violin concerto, The Lost Art of Letter Writing. SSO 200702, SSO 201302

RavelGelmetti conducts music by one of his favourite composers: Maurice Ravel. Includes Bolero. SSO 200801

Rare RachmaninoffRachmaninoff chamber music with Dene Olding, the Goldner Quartet, soprano Joan Rodgers and Vladimir Ashkenazy at the piano. SSO 200901

Prokofiev’s Romeo and JulietVladimir Ashkenazy conducts the complete Romeo and Juliet ballet music of Prokofiev – a fiery and impassioned performance. SSO 201205

Tchaikovsky Violin ConcertoIn 2013 this recording with James Ehnes and Ashkenazy was awarded a Juno (the Canadian Grammy). Lyrical miniatures fill out the disc. SSO 201206

Tchaikovsky Second Piano ConcertoGarrick Ohlsson is the soloist in one of the few recordings of the original version of Tchaikovsky’s Piano Concerto No.2. Ashkenazy conducts. SSO 201301

Stravinsky’s FirebirdDavid Robertson conducts Stravinsky’s brilliant and colourful Firebird ballet, recorded with the SSO in concert in 2008. SSO 201402

LOOK OUT FOR…

Our recording of Holst’s Planets with David Robertson. Available now!

Mahler 1 & Songs of a Wayfarer SSO 201001

Mahler 2 SSO 201203

Mahler 3 SSO 201101

Mahler 4 SSO 201102

Mahler 5 SSO 201003 Mahler 6 SSO 201103

Mahler 7 SSO 201104

Mahler 8 (Symphony of a Thousand) SSO 201002

Mahler 9 SSO 201201

Mahler 10 (Barshai completion) SSO 201202

Song of the Earth SSO 201004

From the archives: Rückert-Lieder, Kindertotenlieder, Das Lied von der Erde SSO 201204

MAHLER ODYSSEY

The complete Mahler symphonies (including the Barshai completion of No.10) together with some of the song cycles. Recorded in concert with Vladimir Ashkenazy during the 2010 and 2011 seasons. As a bonus: recordings from our archives of Rückert-Lieder, Kindertotenlieder and Das Lied von der Erde. Available in a handsome boxed set of 12 discs or individually.

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David Robertson is a compelling and passionate communicator whose stimulating ideas and music-making have captivated audiences and musicians alike. A consummate musician and masterful programmer, he has forged strong relationships with major orchestras throughout Europe and North America.

He made his Australian debut with the Sydney Symphony Orchestra in 2003 and soon became a regular visitor to Sydney, with projects such as The Colour of Time, a conceptual multimedia concert; the Australian premiere of John Adams’ Doctor Atomic Symphony; and concert performances of The Flying Dutchman with video projections. In 2014, his inaugural season as Chief Conductor and Artistic Director, he led the SSO on a seven-city tour of China.

Last year he launched his tenth season as Music Director of the St Louis Symphony. Other titled posts have included Principal Guest Conductor of the BBC Symphony Orchestra, Music Director of the Orchestre National de Lyon and resident conductor of the Jerusalem Symphony Orchestra. An expert in 20th- and 21st-century music, he has also been Music Director of the Ensemble Intercontemporain in Paris (where composer and conductor Pierre Boulez was an early supporter). He is also a champion of young musicians, devoting time to working with students and young artists.

David Robertson is a frequent guest with major orchestras and opera houses throughout the word and in recent seasons he has conducted the New York Philharmonic, Los Angeles Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, and the Philadelphia and Cleveland orchestras, as well as the Berlin Philharmonic, Staatskapelle Dresden, BBC Symphony Orchestra and the Hong Kong Philharmonic Orchestra. Last year he conducted the controversial but highly acclaimed Metropolitan Opera premiere of John Adams’ Death of Klinghoffer.

His awards and accolades include Musical America Conductor of the Year (2000), Columbia University’s 2006 Ditson Conductor’s Award, and, with the SLSO, the 2005–06 ASCAP Morton Gould Award for Innovative Programming. In 2010 he was elected a Fellow of the American Academy of Arts and Sciences, and in 2011 a Chevalier de l’Ordre des Arts et des Lettres.

David Robertson was born in Santa Monica, California, and educated at the Royal Academy of Music in London, where he studied French horn and composition before turning to conducting. He is married to pianist Orli Shaham. The position of Chief Conductor and Artistic Director is also supported by Principal Partner Emirates.

David RobertsonTHE LOWY CHAIR OFCHIEF CONDUCTOR AND ARTISTIC DIRECTOR

THE ARTISTS

MIC

HA

EL

TAM

MA

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Born in Stockholm, Katarina Karnéus studied at Trinity College of Music in London and at the National Opera Studio. In 1995 she won the BBC Cardiff Singer of the World Competition. Since then she has appeared throughout the world in opera, concert and recital and worked with many leading conductors including Simon Rattle, Charles Mackerras, Mark Elder, Roger Norrington, Antonio Pappano, Michael Tilson Thomas, Franz Welser-Möst and Ivor Bolton. She is a member of the Gothenburg Opera and acts as an international ambassador for the company.

Her repertoire includes the great mezzo-soprano roles of Handel, Mozart, Rossini, Bizet, Wagner and Richard Strauss, and her opera engagements have taken her to the Metropolitan Opera New York, Royal Opera House Covent Garden and Glyndebourne Festival Opera. Highlights include Ruggiero (Alcina) in Gothenburg and Stuttgart; Orfeo (Orfeo ed Euridice), Erwartung, Hamlet and Gefors’ Notorius in Gothenburg; Donna Elvira for Covent Garden; Ariane et Barbe-bleue in Frankfurt; Fricka at the Gran Teatre del Liceu in Barcelona and for Opera North; and Brangäne in Stuttgart and Gothenburg. She also sings Brangäne in the SSO presentation of Tristan und Isolde later this month.

As a concert artist, Katarina Karnéus has worked with many of the world’s leading orchestras, including the Berlin Philharmonic, North German Radio Symphony Orchestra, Vienna Symphony Orchestra and the San Francisco Symphony, and she has appeared at the BBC Proms, Edinburgh International Festival and Salzburg Festival. As a recitalist she has been heard in major venues such as London’s Wigmore Hall, Amsterdam Concertgebouw, Lincoln Center New York and La Monnaie Brussels.

Recent and future concert engagements include performances with the Hallé Orchestra, BBC National Orchestra of Wales, BBC Symphony Orchestra, Accademia Nazionale di Santa Cecilia, Orchestre Philharmonique de Radio-France, Uppsala Chamber Orchestra, Swedish Radio Symphony, Swedish Chamber Orchestra, Vienna Philharmonic, Czech Philharmonic, Orquesta Sinfonica Castilla y Leon, Dresden Philharmonic, Netherlands Philharmonic, international tours with the San Francisco Symphony, and performances at the Wiener Kozerthaus, Baltic Sea Festival, Edinburgh International Festival and the BBC Proms. On this visit to Australia she will also appear with the Melbourne and Adelaide symphony orchestras.

Katarina Karnéus mezzo-soprano

MAT

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SYDNEY SYMPHONY ORCHESTRA

Founded in 1932 by the Australian Broadcasting Commission, the Sydney Symphony Orchestra has evolved into one of the world’s finest orchestras as Sydney has become one of the world’s great cities.

Resident at the iconic Sydney Opera House, where it gives more than 100 performances each year, the SSO also performs in venues throughout Sydney and regional New South Wales. International tours to Europe, Asia and the USA – including three visits to China – have earned the orchestra worldwide recognition for artistic excellence.

The orchestra’s first Chief Conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Zdenĕk Mácal, Stuart Challender, Edo de Waart and Gianluigi Gelmetti. Vladimir Ashkenazy was Principal Conductor from 2009 to 2013. The orchestra’s history also boasts collaborations with legendary figures

such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.

The SSO’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, Lee Bracegirdle, Gordon Kerry, Mary Finsterer, Nigel Westlake and Georges Lentz, and the orchestra’s recordings of music by Brett Dean have been released on both the BIS and SSO Live labels.

Other releases on the SSO Live label, established in 2006, include performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras, Vladimir Ashkenazy and David Robertson. 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 ABC Classics.

This is the second year of David Robertson’s tenure as Chief Conductor and Artistic Director.

DAVID ROBERTSON THE LOWY CHAIR OF

CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

PATRON Professor The Hon. Dame Marie Bashir ad cvo

27

FIRST VIOLINS Andrew HaveronCONCERTMASTER

Dene Olding CONCERTMASTER

Sun Yi ASSOCIATE CONCERTMASTER

Kirsten Williams ASSOCIATE CONCERTMASTER

Lerida Delbridge ASSISTANT CONCERTMASTER

Fiona Ziegler ASSISTANT CONCERTMASTER

Jenny BoothSophie Cole Amber Davis Claire Herrick Georges Lentz Nicola Lewis Alexandra Mitchell Alexander Norton Léone Ziegler Emily Long

SECOND VIOLINS Kirsty Hilton Marina Marsden Marianne Broadfoot Emma Jezek ASSISTANT PRINCIPAL

Freya Franzen Emma Hayes Shuti Huang Stan W Kornel Philippa Paige Biyana Rozenblit Monique Irik° Elizabeth Jones° Benjamin Li Nicole Masters Maja Verunica

VIOLASRoger Benedict Tobias Breider Justin Williams ASSISTANT PRINCIPAL

Sandro Costantino Rosemary Curtin Graham Hennings Stuart Johnson Amanda Verner Leonid Volovelsky Charlotte Fetherston† Anne-Louise Comerford Jane Hazelwood Justine Marsden Felicity Tsai

CELLOSUmberto Clerici Catherine Hewgill Leah Lynn ASSISTANT PRINCIPAL

Kristy Conrau Fenella Gill Elizabeth Neville Adrian Wallis David Wickham Timothy Nankervis Christopher Pidcock

DOUBLE BASSESKees Boersma Alex HeneryDavid Campbell Steven Larson Richard Lynn Josef Bisits° Neil Brawley PRINCIPAL EMERITUS

David Murray Benjamin Ward

FLUTES Emma Sholl Carolyn Harris Janet Webb Rosamund PlummerPRINCIPAL PICCOLO

OBOESDiana Doherty David PappShefali Pryor Alexandre Oguey PRINCIPAL COR ANGLAIS

CLARINETLawrence Dobell Christopher TingayFrancesco Celata Craig Wernicke PRINCIPAL BASS CLARINET

BASSOONSMatthew Wilkie Fiona McNamaraNoriko Shimada PRINCIPAL CONTRABASSOON

HORNSBen Jacks Geoffrey O’Reilly PRINCIPAL 3RD

Euan HarveyMarnie SebireRobert Johnson Rachel Silver

TRUMPETSDavid Elton Josh Rogan° Paul Goodchild Anthony Heinrichs

TROMBONESRonald Prussing Scott Kinmont Nick ByrneChristopher Harris PRINCIPAL BASS TROMBONE

TUBASteve Rossé

TIMPANIRichard Miller Mark Robinson ASSISTANT PRINCIPAL

PERCUSSIONRebecca Lagos Timothy Constable

HARP Louise Johnson

BOLD = PRINCIPAL

ITALICS = ASSOCIATE PRINCIPAL

° = CONTRACT MUSICIAN

* = GUEST MUSICIAN† = SSO FELLOW

GREY = PERMANENT MEMBER OF THE SYDNEY SYMPHONY ORCHESTRA NOT APPEARING IN THIS CONCERT

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

To see photographs of the full roster of permanent musicians and find out more about the orchestra, visit our website: www.sydneysymphony.com/SSO_musicians

If you don’t have access to the internet, ask one of our customer service representatives for a copy of our Musicians flyer.

MUSICIANS

David RobertsonTHE LOWY CHAIR OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

Dene OldingCONCERTMASTER

Andrew HaveronCONCERTMASTER

Toby ThatcherASSISTANT CONDUCTOR SUPPORTED BY CREDIT SUISSE, RACHEL & GEOFFREY O’CONOR AND SYMPHONY SERVICES INTERNATIONAL

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Sydney Symphony Orchestra Staff

BEHIND THE SCENES

MANAGING DIRECTOR

Rory Jeffes

EXECUTIVE TEAM ASSISTANT

Lisa Davies-Galli

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC PLANNING

Benjamin Schwartz

ARTISTIC ADMINISTRATION MANAGER

Eleasha Mah

ARTIST LIAISON MANAGER

Ilmar Leetberg

RECORDING ENTERPRISE MANAGER

Philip Powers

LibraryAnna Cernik Victoria Grant Mary-Ann Mead

LEARNING AND ENGAGEMENT

DIRECTOR OF LEARNING AND ENGAGEMENT

Kim Waldock

EMERGING ARTISTS PROGRAM MANAGER

Rachel McLarin

EDUCATION MANAGER

Amy Walsh

EDUCATION OFFICER

Tim Walsh

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA MANAGEMENT

Aernout Kerbert

ORCHESTRA MANAGER

Rachel Whealy

ORCHESTRA COORDINATOR

Rosie Marks-Smith

OPERATIONS MANAGER

Kerry-Anne Cook

PRODUCTION MANAGER

Laura Daniel

STAGE MANAGER

Courtney Wilson

PRODUCTION COORDINATORS

Elissa SeedOllie Townsend

SALES AND MARKETING

DIRECTOR OF SALES & MARKETING

Mark J Elliott

MARKETING MANAGER, SUBSCRIPTION SALES

Simon Crossley-Meates

SENIOR SALES & MARKETING MANAGER

Penny Evans

A/ SENIOR SALES & MARKETING MANAGER

Matthew Rive

MARKETING MANAGER, WEB & DIGITAL MEDIA

Eve Le Gall

MARKETING MANAGER, CRM & DATABASE

Matthew Hodge

A/ SALES & MARKETING MANAGER, SINGLE TICKET CAMPAIGNS

Jonathon Symonds

DATABASE ANALYST

David Patrick

SENIOR GRAPHIC DESIGNER

Christie Brewster

GRAPHIC DESIGNER

Tessa Conn

SENIOR ONLINE MARKETING COORDINATOR

Jenny Sargant

MARKETING ASSISTANT

Laura Andrew

Box OfficeMANAGER OF BOX OFFICE SALES &

OPERATIONS

Lynn McLaughlin

BOX OFFICE SYSTEMS SUPERVISOR

Jennifer Laing

BOX OFFICE BUSINESS ADMINISTRATOR

John Robertson

CUSTOMER SERVICE REPRESENTATIVES

Karen Wagg – CS ManagerMichael Dowling Tim Walsh

PublicationsPUBLICATIONS EDITOR &

MUSIC PRESENTATION MANAGER

Yvonne Frindle

EXTERNAL RELATIONSDIRECTOR OF EXTERNAL RELATIONS

Yvonne Zammit

PhilanthropyHEAD OF PHILANTHROPY

Luke Andrew Gay

PHILANTHROPY MANAGER

Jennifer Drysdale

A/ PATRONS EXECUTIVE

Sarah Morrisby

PHILANTHROPY COORDINATOR

Claire Whittle

Corporate RelationsCORPORATE PARTNERSHIPS MANAGER

Belinda Besson

CORPORATE PARTNERSHIPS EXECUTIVE

Paloma Gould

CommunicationsCOMMUNICATIONS & MEDIA MANAGER

Bridget Cormack

PUBLIC RELATIONS MANAGER

Katherine Stevenson

DIGITAL CONTENT PRODUCER

Kai Raisbeck

PUBLICITY & EVENTS COORDINATOR

Caitlin Benetatos

BUSINESS SERVICESDIRECTOR OF FINANCE

John Horn

FINANCE MANAGER

Ruth Tolentino

ACCOUNTANT

Minerva Prescott

ACCOUNTS ASSISTANT

Emma Ferrer

PAYROLL OFFICER

Laura Soutter

PEOPLE AND CULTUREIN-HOUSE COUNSEL

Michel Maree Hryce

Terrey Arcus AM Chairman Ewen Crouch AM

Ross GrantCatherine HewgillJennifer HoyRory JeffesDavid LivingstoneThe Hon. Justice AJ Meagher Goetz Richter

Sydney Symphony Orchestra CouncilGeoff Ainsworth AM

Doug BattersbyChristine BishopThe Hon John Della Bosca MLC

John C Conde aoMichael J Crouch AO

Alan FangErin FlahertyDr Stephen Freiberg Simon JohnsonGary LinnaneHelen Lynch AM

David Maloney AM Justice Jane Mathews AO Danny MayJane MorschelDr Eileen OngAndy PlummerDeirdre Plummer Seamus Robert Quick Paul Salteri AM

Sandra SalteriJuliana SchaefferFred Stein OAM

John van OgtropBrian WhiteRosemary White

HONORARY COUNCIL MEMBERSIta Buttrose AO OBE Donald Hazelwood AO OBE

Yvonne Kenny AM

David Malouf AO

Wendy McCarthy AO

Leo Schofield AM

Peter Weiss AO

Sydney Symphony Orchestra Board

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Chair Patrons

SSO PATRONS

David RobertsonThe Lowy Chair of Chief Conductor and Artistic Director

Roger BenedictPrincipal ViolaKim Williams AM & Catherine Dovey Chair

Kees BoersmaPrincipal Double BassSSO Council Chair

Umberto ClericiPrincipal CelloGarry & Shiva Rich Chair

Timothy ConstablePercussionJustice Jane Mathews AO Chair

Lerida DelbridgeAssistant ConcertmasterSimon Johnson Chair

Lawrence DobellPrincipal ClarinetAnne Arcus & Terrey Arcus AM Chair

Diana DohertyPrincipal OboeAndrew Kaldor AM & Renata Kaldor AO Chair

Richard Gill oam

Artistic Director, DownerTenix DiscoveryPaul Salteri AM & Sandra Salteri Chair

Jane HazelwoodViolaBob & Julie Clampett Chair in memory of Carolyn Clampett

Catherine HewgillPrincipal CelloThe Hon. Justice AJ & Mrs Fran Meagher Chair

Robert JohnsonPrincipal HornJames & Leonie Furber Chair

Elizabeth NevilleCelloRuth & Bob Magid Chair

Shefali PryorAssociate Principal OboeMrs Barbara Murphy Chair

Emma ShollAssociate Principal FluteRobert & Janet Constable Chair

Janet WebbPrincipal FluteHelen Lynch AM & Helen Bauer Chair

Kirsten WilliamsAssociate ConcertmasterI Kallinikos Chair

Maestro’s Circle

David Robertson

Peter Weiss AO Founding President & Doris Weiss

Terry Arcus AM Chairman & Anne Arcus

Brian Abel

Tom Breen & Rachel Kohn

The Berg Family Foundation

John C Conde AO

Andrew Kaldor AM & Renata Kaldor AO

Vicki Olsson

Roslyn Packer AO

David Robertson & Orli Shaham

Penelope Seidler AM

Mr Fred Street AM & Dorothy Street

Brian White AO & Rosemary White

Ray Wilson OAM in memory of the late James Agapitos OAM

Supporting the artistic vision of David Robertson, Chief Conductor and Artistic Director

FOR INFORMATION ABOUT THE CHAIR PATRONS

PROGRAM, CALL (02) 8215 4625.

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Umberto Clerici has been Principal Cello of the SSO since 2014. He has performed as a soloist with orchestras around the world and served as principal cello at the Teatro Regio in Turin in his native Italy before joining the SSO. Umberto’s chair is generously supported by Garry and Shiva Rich. Their son Samuel recently started learning the cello and aspires to join the SSO one day.

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Commissioning CircleSupporting the creation of new works.

ANZAC Centenary Arts and Culture FundGeoff Ainsworth AM

Christine BishopDr John EdmondsAndrew Kaldor AM & Renata Kaldor AO

Jane Mathews AO

Mrs Barbara MurphyNexus ITVicki OlssonCaroline & Tim RogersGeoff StearnDr Richard T WhiteAnonymous

MAKE A DIFFERENCE

Through their inspired financial support,

Patrons ensure the SSO’s continued

success, resilience and growth. Join the

SSO Patrons Program today and make a

difference.

sydneysymphony.com/patrons(02) 8215 4674philanthropy@sydneysymphony.com

A U S T R A L I A - K O R E AF O U N D A T I O N

Australia-Korea FoundationCrown FoundationThe Greatorex Foundation

Foundations

James N Kirby FoundationPacker Family FoundationIan Potter Foundation

Learning & Engagement

SSO PATRONS

fellowship patronsRobert Albert AO & Elizabeth Albert Flute ChairChristine Bishop Percussion ChairSandra & Neil Burns Clarinet ChairIn Memory of Matthew Krel Violin ChairMrs T Merewether OAM Horn ChairPaul Salteri AM & Sandra Salteri Violin and Viola ChairsMrs W Stening Principal Patron, Cello ChairKim Williams AM & Catherine Dovey Patrons of Roger Benedict,

Artistic Director, FellowshipJune & Alan Woods Family Bequest Bassoon ChairAnonymous Double Bass Chair

fellowship supporting patronsMr Stephen J BellGary Linnane & Peter BraithwaiteJoan MacKenzie ScholarshipDrs Eileen & Keith OngIn Memory of Geoff White

tuned-up!TunED-Up! is made possible with the generous support of Fred Street AM & Dorothy Street

Additional support provided by:Anne Arcus & Terrey Arcus AM

Ian & Jennifer Burton Ian Dickson & Reg HollowayTony Strachan

major education donorsBronze Patrons & above

John Augustus & Kim RyrieMr Alexander & Mrs Vera BoyarskyBob & Julie ClampettHoward & Maureen ConnorsThe Greatorex FoundationThe Ian Potter FoundationJames N Kirby Foundation Mrs & Mr Judith A. McKernanMr & Mrs Nigel Price

Sydney Symphony Orchestra 2015 Fellows

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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.

Stuart Challender Legacy Society

Celebrating the vision of donors who are leaving a bequest to the SSO.

Playing Your Part

DIAMOND PATRONS $50,000+Anne & Terrey Arcus AM

The Estate of Dr Lynn JosephMr Andrew Kaldor AM &

Mrs Renata Kaldor AO

In Memory of Matthew KrelMr Frank Lowy AC &

Mrs Shirley Lowy OAM

Roslyn Packer AO

Ian Potter FoundationPaul Salteri AM & Sandra

SalteriMr Fred Street AM &

Mrs Dorothy Street Mr Peter Weiss AO &

Mrs Doris WeissMr Brian White AO &

Mrs Rosemary White

PLATINUM PATRONS $30,000–$49,999Doug & Alison BattersbyThe Berg Family FoundationTom Breen & Rachael KohnMr John C Conde AO

Robert & Janet ConstableMrs Barbara MurphyMrs W SteningKim Williams AM &

Catherine Dovey 

GOLD PATRONS $20,000–$29,999Brian AbelGeoff Ainsworth AM

Robert Albert AO & Elizabeth Albert

Christine Bishop Sandra & Neil BurnsJames & Leonie FurberI KallinikosHelen Lynch AM & Helen

BauerJustice Jane Mathews AO

Mrs T Merewether OAM

Rachel & Geoffrey O’ConorVicki OlssonAndy & Deirdre PlummerGarry & Shiva RichDavid Robertson & Orli

ShahamMrs Penelope Seidler AM

G & C Solomon in memory of Joan MacKenzie

Geoff StearnRay Wilson OAM in memory

of James Agapitos OAM

Anonymous (2) 

SILVER PATRONS $10,000–$19,999

Bailey Family FoundationAudrey BlundenMr Robert BrakspearMr Robert & Mrs L Alison CarrBob & Julie ClampettMichael Crouch AO &

Shanny CrouchPaul EspieEdward & Diane FedermanNora GoodridgeMr Ross GrantIan Dickson & Reg HollowayEstate of Irwin ImhofSimon JohnsonJames N Kirby FoundationRuth & Bob MagidThe Hon. Justice AJ Meagher

& Mrs Fran MeagherMr John MorschelDrs Keith & Eileen OngKenneth Reed AM

Mr John Symond AM

Mrs Joyce Sproat & Mrs Janet Cooke

The Harry Triguboff Foundation

Caroline WilkinsonAnonymous (3)

BRONZE PATRONS $5,000–$9,999Mr Henri W Aram OAM

John Augustus & Kim RyrieStephen J BellDr Hannes & Mrs Barbara

BoshoffMr Alexander & Mrs Vera

BoyarskyPeter Braithwaite &

Gary LinnaneMr David & Mrs Halina BrettIan & Jennifer BurtonMr Howard ConnorsEwen Crouch AM &

Catherine CrouchThe Hon. Mrs Ashley

Dawson-Damer AM

In memory of Dr Lee MacCormick Edwards

Dr Stephen Freiberg & Donald Campbell

Dr Colin GoldschmidtThe Greatorex FoundationRory & Jane JeffesThe late Mrs Isabelle JosephRobert McDougallMr Ervin Katz

Henri W Aram OAM & Robin Aram

Stephen J BellMr David & Mrs Halina BrettHoward ConnorsGreta DavisBrian GalwayMiss Pauline M Griffin AM

John Lam-Po-Tang

Peter Lazar AM

Daniel LemesleLouise MillerJames & Elsie MooreDouglas PaisleyKate RobertsMary Vallentine AO

Ray Wilson OAM

Anonymous (10)

Stuart Challender, SSO Chief Conductor and Artistic Director 1987–1991

bequest donors

We gratefully acknowledge donors who have left a bequest to the SSO.

The late Mrs Lenore AdamsonEstate of Carolyn ClampertEstate Of Jonathan Earl William ClarkEstate of Colin T EnderbyEstate of Mrs E HerrmanEstate of Irwin ImhofThe late Mrs Isabelle JosephThe Estate of Dr Lynn JosephThe Late Greta C RyanJune & Alan Woods Family Bequest

IF YOU WOULD LIKE MORE INFORMATION ON

MAKING A BEQUEST TO THE SSO, PLEASE

CONTACT LUKE GAY ON 8215 4625.

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32

BRONZE PATRONS CONTINUED

J A McKernanDavid Maloney AM &

Erin FlahertyR & S Maple-BrownMora MaxwellWilliam McIlrath Charitable

FoundationTaine MoufarrigeNexus ITJohn & Akky van OgtropSeamus Robert QuickChris Robertson &

Katharine ShawRodney Rosenblum AM &

Sylvia RosenblumDr Evelyn RoyalManfred & Linda SalamonTony StrachanDavid Tudehope & Liz DibbsMr Robert & Mrs Rosemary

WalshWestpac GroupMichael & Mary Whelan

TrustIn memory of Geoff WhiteJune & Alan Woods Family

BequestAnonymous (2) 

PRESTO PATRONS $2,500–$4,999

Ian BradyMr Mark Bryant oamIta Buttrose AO OBE

Mrs Stella ChenDr Joanna CheungDr Rebecca ChinDr Diana Choquette &

Mr Robert MillinerFirehold Pty LtdDr Kim FrumarWarren GreenAnthony GreggJames & Yvonne HochrothMr Roger Hudson &

Mrs Claudia Rossi-HudsonProf. Andrew Korda am &

Ms Susan PearsonIn memoriam

Dr Reg Lam-Po-TangHelen & Phil MeddingsJames & Elsie MooreMs Jackie O’BrienJuliana SchaefferDr Agnes E SinclairEzekiel Solomon AM

Mr Ervin Vidor AM & Mrs Charlotte Vidor

Lang Walker AO & Sue WalkerYim Family Foundation Anonymous (2)

VIVACE PATRONS $1,000–$2,499

Mrs Lenore AdamsonMrs Antoinette AlbertRae & David AllenAndrew Andersons AO

Mr Matthew AndrewsSibilla BaerThe Hon Justice Michael BallDavid BarnesMr Garry BessonAllan & Julie BlighJan BowenRoslynne BracherMrs R D Bridges OBE

Lenore P BuckleMargaret BulmerIn memory of RW BurleyMrs Rhonda CaddyMr B & Mrs M ColesMs Suzanne CollinsJoan Connery OAM &

Maxwell Connery OAM

Mr Phillip CornwellDebby Cramer & Bill CaukillMr John Cunningham SCM &

Mrs Margaret CunninghamGreta DavisLisa & Miro DavisElizabeth DonatiProf. & Mrs John EdmondsMalcolm Ellis & Erin O’NeillMrs Margaret EppsMr Matt GarrettVivienne Goldschmidt &

Owen JonesMrs Fay GrearIn Memory of Angelica GreenAkiko GregoryMr & Mrs Harold &

Althea HallidayJanette HamiltonMrs Jennifer HershonAngus HoldenMr Kevin Holland &

Mrs Roslyn AndrewsThe Hon. David Hunt AO QC &

Mrs Margaret HuntDr & Mrs Michael HunterMr Philip Isaacs OAM

Michael & Anna JoelMrs W G KeighleyJennifer KingAron KleinlehrerMr Justin LamMr Peter Lazar AM

Professor Winston LiauwAirdrie LloydMrs Juliet LockhartPeter Lowry OAM &

Dr Carolyn Lowry OAM

Kevin & Deirdre McCannIan & Pam McGawMatthew McInnesMacquarie Group FoundationBarbara MaidmentJohn Mar

Renee MarkovicMr Danny R MayI MerrickHenry & Ursula MooserMilja & David MorrisMrs J MulveneyMr Darrol NormanE J NuffieldDr Mike O’Connor AM

Mr & Mrs OrtisMr Andrew C PattersonMichael PaulAlmut PiattiIn memory of Sandra Paul

PottingerThe Hon. Dr Rodney Purvis AM &

Mrs Marian PurvisDr Raffi Qasabian & Dr John

WynterMr Patrick Quinn-GrahamErnest & Judith RapeePatricia H Reid Endowment

Pty LtdIn memory of Katherine

RobertsonMr David RobinsonTim RogersDr Colin RoseMr Shah RusitiIn memory of H St P ScarlettGeorge & Mary ShadMr Samuel F ShefferDavid & Alison ShilligtonDr Judy SoperMrs Judith SouthamMs Barbara SpencerMrs Elizabeth SquairCatherine StephenThe Hon. Brian Sully QC

Mrs Margaret SwansonThe Taplin FamilyDr & Mrs H K TeyKevin TroyJohn E TuckeyJudge Robyn TupmanDr Alla WaldmanMiss Sherry WangWestpac Banking

CorporationHenry & Ruth WeinbergThe Hon. Justice A G WhealyMary Whelan & Robert

BaulderstoneJerry WhitcombDr Richard T WhiteMrs Leonore WhyteA Willmers & R PalBetty WilkenfeldProf. Neville Wills &

Ian FenwickeAnn & Brooks C Wilson AM

Dr Richard WingDr Peter Wong &

Mrs Emmy K WongGeoff Wood & Melissa Waites

Sir Robert WoodsMr & Mrs Lindsay WoolveridgeIn memory of Lorna WrightMrs Robin YabsleyDr John YuAnonymous (13)

ALLEGRO PATRONS $500–$999Nikki AbrahamsMs Jenny AllumKatherine AndrewsMr Peter J ArmstrongGarry & Tricia AshMr & Mrs George BallMrs Blanche CassenBarlow Cleaning Pty LtdBarracouta Pty LtdBeauty Point Retirement

ResortMr Michael BeckDr Andrew BellRichard & Margaret BellJan BiberMinnie BiggsG D BoltonIn memory of Jillian BowersR D & L M BroadfootDr Peter BroughtonDr David BryantArnaldo BuchDr Miles BurgessPat & Jenny BurnettRosemary CampbellMr JC Campbell QC &

Mrs CampbellJudy ChiddyMichael & Natalie CoatesDr Peter CraswellMr David CrossDr David DixonSusan DoenauDana DupereDr Nita DurhamJohn FavaloroMrs Lesley FinnMs Julie Flynn & Mr Trevor

CookMrs Paula FlynnMs Lynne FrolichMr John GadenClive & Jenny GoodwinMr Geoffrey GreenwellRichard Griffin AM

Dr Jan GroseIn memory of Beth HarpleyBenjamin Hasic &

Belinda DavieMr Robert HavardMrs Joan HenleyRoger HenningSue HewittDorothy Hoddinott AO

Bill & Pam HughesMs Cynthia KayeDr Andrew Kennedy

Playing Your Part

SSO PATRONS

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“Together, we have an ambition to foster a love of orchestral music in school children of all ages, and to equip their teachers with the skills they need to develop this in our young people…”DAVID ROBERTSON SSO Chief Conductor and Artistic Director

PLEASE CONSIDER MAKING A TAX-DEDUCTIBLE DONATION TODAY

Mrs Margaret KeoghDr Henry KilhamDr Joyce KirkMrs Patricia KleinhansAnna-Lisa KlettenbergSonia LalL M B LampratiDr Barry LandaElaine M LangshawDr Leo & Mrs Shirley LeaderMargaret LedermanMrs Erna LevyMrs A LohanMr Gabriel LopataPanee LowMelvyn MadiganMs Jolanta MasojadaMr Guido MayerLouise MillerKenneth Newton MitchellMrs Judith MortonMr Graham NorthMr Sead NurkicDr A J PalmerMr Michael O'BrienDr Kevin PedemontDr Natalie E PelhamErika PidcockDr John PittJohn Porter & Annie

Wesley-SmithMrs Greeba PritchardMichael QuaileyMiss Julie RadosavljevicRenaissance ToursDr Marilyn RichardsonJanelle RostronMrs Christine Rowell-MillerMrs Louise RowstonJorie Ryan for Meredith RyanMr Kenneth RyanMs Donna St Clair

VANGUARD COLLECTIVEJustin Di Lollo ChairBelinda BentleyOscar McMahonTaine Moufarrige

Founding PatronShefali PryorSeamus R Quick

Founding PatronChris Robertson & Katherine

Shaw Founding Patrons

MEMBERSClare Ainsworth-HershallJames ArmstrongPhilip AtkinLuan AtkinsonJoan BallantineAndrew Batt-RawdenJames BaudzusAndrew BaxterAdam BeaupeurtAnthony BeresfordAndrew BotrosPeter BraithwaiteAndrea BrownAttila BrungsIan BurtonJennifer BurtonPaul ColganClaire CooperBridget CormackRobbie CranfieldAsha CugatiJuliet CurtinDavid CutcliffeEste Darin-CooperRosalind De SaillyPaul DeschampsCatherine DonnellyJennifer DrysdaleJohn-Paul DrysdaleNaomi FlutterAlistair FurnivalAlexandra GibsonSam GiddingsMarina GoJeremy GoffHilary GoodsonTony GriersonLouise HaggertyRose HercegPeter Howard

Jennifer HoyKatie HryceVirginia JudgeJonathan KennedyAernout KerbertPatrick KokJohn Lam-Po-TangTristan LandersJessye LinGary LinnaneDavid LoSaskia LoGabriel LopataRobert McGroryDavid McKeanJulia NewbouldNick NichlesKate O’ReillyPeter O’SullivanJune PickupRoger PickupCleo PosaStephanie PriceMichael RadovnikovicSudeep RaoBenjamin RobinsonAlvaro Rodas FernandezAdam SadlerAnthony Michael SchembriBenjamin SchwartzCecilia StornioloRandal TameSandra TangIan TaylorMichael TidballMichael TuffyKim WaldockJon WilkieYvonne ZammitAmy Zhou

SSO Vanguard

A membership program for a dynamic group of Gen X & Y SSO fans and future philanthropists

Garry Scarf & Morgie BlaxillPeter & Virginia ShawJudge David S ShillingtonMrs Diane Shteinman AM

Mrs Solange ShulzVictoria SmythDoug & Judy SotherenColin SpencerJames & Alice SpigelmanFred & May SteinAshley & Aveen StephensonMargaret & William SuthersDr Jenepher ThomasMrs Caroline ThompsonPeter & Jane ThorntonMs Rhonda TingAlma TooheyMrs M TurkingtonGillian Turner & Rob BishopRoss TzannesMr Robert VeelRonald WalledgeIn memory of Denis WallisIn memoriam JBL WattMiss Roslyn WheelerThe Wilkinson FamilyEdward & Yvonne WillsDr Edward J WillsYetty WindtMr Evan WongAnonymous (35)

SSO Patrons pages correct as of 4 May 2015

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SALUTE

The Sydney Symphony Orchestra is assisted by the Commonwealth

Government through the Australia Council, its arts funding and

advisory body

GOVERNMENT PARTNERS

The Sydney Symphony Orchestra is

assisted by the NSW Government

through Arts NSW

PRINCIPAL PARTNER

EDUCATION PARTNERPLATINUM PARTNER

REGIONAL TOUR PARTNER MARKETING PARTNERVANGUARD PARTNER

PREMIER PARTNER

SILVER PARTNERS

s i n f i n i m u s i c . c o m

UNIVERSAL MUSIC AUSTRALIA

MAJOR PARTNERS

GOLD PARTNERS

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