the Latin Fever program book (25, 26, 28 Oct) PDF

LATIN FEVER
KALEIDOSCOPE
Friday 25 October 2013
Saturday 26 October 2013
MONDAYS @7
Monday 28 October 2013
OCTOBER – NOVEMBER
CLASSICAL
Dvořák’s New World
Explorations in Sound
BRITTEN Four Sea Interludes from Peter Grimes
ZHAO JIPING Pipa Concerto† Premiere
DVOŘÁK Symphony No.9, New World†
Joana
conductor
JessicaCarneiro
Cottis conductor
Wu Man pipa (Chinese lute)
MEET THE MUSIC
PRESENTED BY AIM
Wed 30 Oct 6.30pm
Thu 31 Oct 6.30pm
TEA & SYMPHONY
Fri 1 Nov 11am†
Pre-concert talk by
Kim Waldock (30, 31 Oct only)
Murray Perahia
in Recital
Australian Debut
One Night Only
JS BACH French Suite No.4
BEETHOVEN Sonata in F minor, Op.57
(Appassionata)
SCHUMANN Faschingsschwank aus Wien
CHOPIN Impromptu No.2
CHOPIN Scherzo No.2
Murray Perahia piano
SPECIAL EVENT
PREMIER PARTNER
CREDIT SUISSE
Fri 1 Nov 8pm
Sydney Opera House,
Concert Hall
Pre-concert talk
by David Larkin
War Requiem
Ashkenazy conducts Britten
BRITTEN War Requiem
Vladimir Ashkenazy conductor
Dina Kuznetsova soprano
Andrew Staples tenor
Dietrich Henschel baritone
Sydney Philharmonia Choirs
Sydney Children’s Choir
Mahler and Bruch
MASTER SERIES
Fri 8 Nov 8pm
Sat 9 Nov 8pm
Pre-concert talk
by Natalie Shea
MASTER SERIES
Askenazy and Zukerman
Wed 13 Nov 8pm
BRUCH Violin Concerto No.1 in G minor
MAHLER Symphony No.5
SPECIAL EVENT
PREMIER PARTNER
CREDIT SUISSE
Vladimir Ashkenazy conductor
Pinchas Zukerman violin
Sibelius And Brahms
Sat 16 Nov 8pm
Pre-concert talk
by Roger Benedict
Ashkenazy and Zukerman
THURSDAY AF TERNOON
SYMPHONY
BRAHMS Double Concerto
SIBELIUS Symphony No.5
Thu 14 Nov 1.30pm
Vladimir Ashkenazy conductor
Pinchas Zukerman violin
Amanda Forsyth cello
Fri 15 Nov 11am
TEA & SYMPHONY
Pre-concert talk by
Scott Davie (Thu 14 Nov)
SYDNEYSYMPHONY.COM
or call 8215 4600 Mon-Fri 9am-5pm
THE LEADING
SCHOOL FOR
TODAY’S MUS
INDUSTRY
* Booking fees of $7.50 – $8.95 may apply.
Tickets also available at
sydneyoperahouse.com 9250 7777
Mon-Sat 9am-8.30pm
Sun 10am-6pm
477 7457
479 0350
GUSTAVO DUDAMEL
GUSTAVO DUDAMEL
Gustavo Dudamel’s first
‘Best of’ album, featuring
MÁRQUEZ’s Danzón No.2
A unique album featuring
explosive Latin-American
showpieces
DISCOVERIES
FIESTA
479 1067
479 0073
PEPE ROMERO
KARL JENKINS
SPANISH NIGHTS
ADIEMUS COLORES
The guitar legend Pepe Romero
takes you on a journey with
Spanish Nights!
Adiemus Colores employs the
rhythms, sounds, colours and textures
of Latin American music to create a
distinctly unique and exotic soundworld – EXPECT THE UNEXPECTED!
2013 season
kaleidoscope
Friday 24 October, 8pm
Saturday 25 October, 8pm
mondays @ 7
Monday 27 October, 7pm
Sydney Opera House Concert Hall
Latin Fever
Miguel Harth-Bedoya CONDUCTOR
Katia and Marielle Labèque PIANO DUO
Gonzalo Grau and Raphaël Séguinier PERCUSSION
Osvaldo Golijov (born 1960)
Nazareno
Suite from La Pasión según San Marcos
arranged for two pianos, percussion and orchestra
by Gonzalo Grau
Berimbau
Tambor en Blanco y Negro
Guaracha y Mambo
Sur
Tormenta y Quitiplá
Procesión
AUSTRALIAN PREMIERE
INTERVAL
Arturo Márquez (born 1950)
Danzón No.2
Heitor Villa-Lobos (1887–1959)
Bachianas brasileiras No.4:
Preludio. Introdução (Lento)
Danza. Miudinho (Molto animato)
Astor Piazzolla (1921–1992)
Tangazo
Jimmy López (born 1978)
Fiesta! – four pop dances
Trance 1 –
Countertime
Trance 2 –
Techno
Saturday’s performance will be
recorded for later broadcast on
ABC Classic FM.
Pre-concert talk by Yvonne Frindle
at 7.15pm in the Northern Foyer
(6.15pm on Monday). Visit
sydneysymphony.com/talk-bios
for speaker biographies.
Estimated durations: 30 minutes,
20-minute interval, 10 minutes,
12 minutes, 14 minutes, 10 minutes
The concert will conclude at
approximately 9.45pm (8.45pm
Monday).
NACHO CARRETERO
6 sydney symphony
INTRODUCTION
Latin Fever
Argentina, Brazil, Mexico, Peru, Venezuela… Between the
music and the performers, tonight’s concert brings you
representatives of five of the largest nations of South
America. The Latin-American musical tradition is a rich
one that has melded the conventions and language of
European classical music and popular music through the
ages. But it’s unique in its thrilling rhythms and colours.
It’s the rhythms, especially, that make a program like this
so exciting, and those rhythms come from dance. So you’ll
hear the tango, the miudinho (a kind of samba) and the
danzón. And from Jimmy López, visiting Sydney this week,
there’s music influenced by the sounds of trance and
techno.
There are dance rhythms in Golijov’s Nazareno as well –
a mambo, a Brazilian samba and more. The effect is
highlighted by the featured presence of exotic percussion
instruments. Even the solo pianos become honorary
percussion instruments at times: in the movement ‘Drums
in Black and White’ they take on the role of hourglassshaped batá drums.
But the ‘passion’ in Nazareno doesn’t just come from the
energy of the dance rhythms. In its original form (as the
choral work La Pasión según San Marcos) this music follows
in the tradition of baroque Easter passions: dramatic
retellings of the crucifixion story. What Golijov added was
the Latin American voice, charged with energy and
emotion. As one critic said: ‘Only the stoniest of hearts
could fail to be moved – and moved mightily – by this
searing work.’ It’s a testament to Gonzalo Grau’s skill as an
arranger that he could remove the voices from the original
music without betraying that energy or emotion. And we
hope you will be moved – mightily – by tonight’s
performance, and tonight’s journey.
Turn to page 27 to read
Bravo! – musician profiles,
articles and news from the
orchestra. There are nine
issues through the year,
also available at
sydneysymphony.com/bravo
sydney symphony 7
ABOUT THE MUSIC
Osvaldo Golijov
Nazareno
Suite from La Pasión según San Marcos
arranged for two pianos, percussion and orchestra
by Gonzalo Grau
Berimbau
Tambor en Blanco y Negro
Guaracha y Mambo
Sur
Tormenta y Quitiplá
Procesión
Katia and Marielle Labèque piano duo
Gonzalo Grau and Raphaël Séguinier percussion
Keynotes
GOLIJOV
Born La Plata, Argentina, 1960
Osvaldo Golijov grew up in
an Eastern European Jewish
household in La Plata,
Argentina. He was raised
surrounded by classical
chamber music, Jewish liturgical
and klezmer music, and the
new tango of Astor Piazzolla.
These traditions combine in a
distinctive hybrid style that has
won favour with both musicians
and audiences.
Gonzalo Grau writes…
NAZARENO
I had the great pleasure of meeting composer Osvaldo
Golijov in May 1998, when he was about to begin writing
a new piece called La Pasión según San Marcos (The Passion
According to Saint Mark). Our collaboration on this
masterpiece perhaps began when it was only a blueprint in
his mind. We interchanged ideas about Afro-Cuban folklore,
santería and salsa music, religion and syncretism, and
I was able to see the whole creative process from scratch.
Eventually, Osvaldo began to rely on my salsa and popular
music experience. This led him to commission me to
orchestrate the mambos and moñas (instrumental Latin
style interludes) of a few numbers of the Pasión, as well as
the piano and bass parts for some of the numbers.
La Pasión según San Marcos is not only a true Latin
American vision of the passion of Christ; it is a musical and
cultural journey. Furthermore, and on a more personal level,
the piece is a reflection of my own personal experience in
crossover relationships between classical and popular music.
One of the beauties of La Pasión is that its musicians and
singers enrich this piece with improvised variations over the
original material. La Pasión keeps a high degree of energy
and freshness in every performance, as we feel challenged
to come up with new ways to improve our own previous
performance. In the 15 years of the passion’s existence, the
piece has continued to change and grow and I feel lucky to
have been a part of this whole process.
In the middle of 2008, La Pasión según San Marcos
presented another surprise to me. Katia and Marielle
Labèque heard about my collaboration with Osvaldo Golijov,
and had the idea of commissioning a suite for two pianos
and orchestra based on La Pasión. Osvaldo granted
The title of this suite means
‘Nazarene’ – referring to Jesus
of Nazareth. The music is
drawn from Golijov’s Passion
According to Saint Mark – a
choral and instrumental work
in the tradition of 18th-century
Easter passions, but with a
Latin American flavour in its
rhythms, melodies and colours.
(The original ensemble
featured only two trumpets,
two trombones, piano and a
small string orchestra, but with
accordion, guitar and a vast
range of percussion
instruments, some of them
played by the singers.)
8 sydney symphony
At the suggestion of Katia and
Marielle Labèque, Gonzalo
Grau (who had worked on La
Pasión) was entrusted with
creating an orchestral suite
featuring the piano duo. Each
of the six movements is based
on a distinctive section of the
original Pasión and together
they cover the gamut of
emotions in the passion story,
from the wild chants of the
crowd and the urgency of the
drama to the introversion of the
agony of Christ in the garden
of Gethsemane.
TANIT SAKAKINI
permission and entrusted his masterwork to me with great
excitement, and with the support and involvement of the
Orchestre de Paris, the ‘new Pasión’ was in my hands.
Since La Pasión is written for vocal soloists, choir and
chamber orchestra, and this suite was going to be only
instrumental, the numbers to be included in the suite
needed to have a completely new approach and
development. The lack of text became a new challenge,
opening possibilities not just for an instrumental version
of the original work, but for perhaps a new composition
inspired by Osvaldo’s Pasión. I developed six of the most
notable moments of the original La Pasión for this new
instrumentation and approach.
Listening Guide
(Titles in parentheses refer to the corresponding movements in
the original La Pasión)
1. Berimbau (Visión)
I summarised motifs from the original opening and ending.
The repetitive pulse is played this time by the two pianos,
and the woodwinds and brass create effects that were
originally achieved by the hyper-accordion (an accordion
with a customised microphone setup to exploit its natural
stereo separation) and digital delays.
2. Tambor en Blanco y Negro (Anuncios)
Originally written for three choirs and batá drums, this
movement is the ‘wake-up call’ of the people (literally
‘announcements’). I use three different groups of brass
instruments as my choir, emulating call-and-response and
overlapping new harmonies. And I replaced the santería
drums with the two pianos (these become the ‘drums in
black and white’ of the title), giving the duo not just a
rhythmic role but also a whole new harmonic function.
3. Guaracha y Mambo (¿Por Qué?)
For this movement I expanded the full potential of a Latin
counterpoint as a new symphonic mambo. Percussion
breaks and flashy piano accompaniments elevate this salsa
number to a whole new climax.
4. Sur (Agonía)
This is one of the most soulful and introverted moments
of La Pasión, and perhaps was the most challenging number
for me. I tried to take the essence of Osvaldo’s original
work and shaped it in a way that the players could pour all
their classical and romantic sound and expertise into the
music.
sydney symphony 9
5. Tormenta y Quitiplá (Soy Yo)
I used this number as a flashy and virtuosic transition,
interrupting the mellow and introspective mood of the
previous movement with a frenetic ascending climax, where
the two pianos and the marimba play an intricate layering
of polyrhythms.
6. Procesión (Crucifixión)
This is the final procession of Christ, one of the greatest
moments in the original work. Osvaldo takes two of the
most significant Latin American carnival music styles
(Cuban comparsa and Brazilian samba) to represent the
celebration and frenzy of the crowd while Jesus is carrying
the cross and is being crucified. I developed this movement
using, again, both pianos as a whole percussion ensemble.
Virtuosic polyrhythms serve as the foundation for brass
fanfares and counterpoints, giving this ‘instrumental
Pasión’ a whole new explosive ending without losing the
inner soulful meaning of the true passion.
ADAPTED FROM A PROGRAM NOTE BY GONZALO GRAU © 2010
In addition to the two solo pianos and featured percussionists, the
Nazareno suite calls for flute, piccolo, oboe, cor anglais, clarinet, bass
clarinet, bassoon and contrabassoon; three horns, three trumpets, three
trombones and tuba; timpani and just the cellos and basses of the
orchestral string section (no violins or violas).
La Pasión según San Marcos was
composed in 1998 and premiered
in Stuttgart in 2000. It received its
Australian premiere at the Sydney
Opera House in January 2003 with
the same performers: Orquesta
La Pasión, Schola Cantorum de
Caracas and conductor Mariá
Guinand. The original Pasión has
become one of Golijov’s most
frequently performed major works.
Gonzalo Grau’s Nazareno was first
performed in January 2010, under
the title ‘Suite from La Pasión según
San Marcos’, with Katia and Marielle
Labèque, the Orchestre de Paris
and Josep Pons. The Labèques
and Miguel Harth-Bedoya with the
Orquesta Sinfónica de Castilla y
Léon recorded Nazareno for
release in 2011. This is the first
performance of the suite since then
and its Australian premiere.
COLE PORTER, LET’S MISBEHAVE (1927)
SATURDAY 23 NOVEMBER — PADDINGTON TOWN HALL
Break out the tux, put on your dancing shoes and join us for a
night of revelry and entertainment to help us support Australia’s
most talented young musicians at the SSO Roaring 20s Ball!
Tickets are available through the SSO Box Office 8215 4600.
For more information visit www.sydneysymphony.com/20sball
10 sydney symphony
Arturo Márquez
Danzón No.2
The danzón originated in Cuba in the 19th century, but has
its roots in the French contredanse, brought to the island
from nearby Haiti, and the African-inflected rhythms of the
home-grown habañera. It became very popular in the dance
halls of Cuba and Mexico, though by the late 20th century
it had become very much an old-time ballroom dance,
supplanted by its ‘descendants’ such as the mambo.
The implicit nostalgia for the past is cultivated by
Mexican composer Arturo Márquez in several danzónes for
various instrumental combinations. As he notes, the danzón
is ‘a genre which old Mexican people continue to dance
with a touch of nostalgia and a jubilant escape towards their
own emotional world’. Márquez was inspired to compose
his second danzón (his first for orchestra) after a trip to
Mexico City and Veracruz with dancer Irene Martinez and
painter Andrés Fonseca.
The danzón has a very formal choreography, involving
precise steps on the syncopations, or off-beats, of the bar,
with punctuating sections where the dancers pause while
a musical transition is played. This formality is reflected in
the overall structure of the music, which Márquez uses as
the basis for his orchestral work: danzónes are in rondo
form (with a recurring ‘chorus’), further divided into two
distinct sections. The dance has two beats to the bar, and
makes much use of rhythmic patterns such as the cinquillo,
a one-bar ‘cell’ with strong syncopation. In traditional dance
halls, wind instruments play increasingly ornate figurations
over these rhythmic motifs.
Danzón No.2 evokes something of this in the opening
clarinet solo, whose melody is then passed to the oboe. The
work is, of course, a symphonic poem – not a dance track –
so its shifts of register are exaggerated, building to frenetic
climaxes that are then contrasted with quiet lyricism. The
orchestration is richly coloured, with bright wind solos,
opulent string textures and driving rhythmic passages that
might nod to such Americans as John Adams. Márquez
describes the piece as ‘a very personal way of paying my
respects and expressing my emotions towards truly popular
music’.
Keynotes
MÁRQUEZ
Born Alamos, Mexico, 1950
Arturo Márquez was born in
the Mexican state of Sonora,
and studied in Mexico and
California as well as privately
in Paris. His early work
cultivated an avant-garde
sensibility, but from the 1990s
he increasingly explored a
style based in popular genres.
In recent years, he has
composed a series of danceinspired pieces, based on the
danzón, an elegant Cuba dance
adopted in Veracruz, Mexico.
Of these, his Danzón No.2 for
orchestra (commissioned by
the Universidad Nacional
Autónoma de Mexico in 1994)
has become one of the most
popular Latin American works
to emerge in the past 60 years.
ADAPTED FROM A NOTE BY GORDON KERRY © 2011
Danzón No.2 calls for two flutes (one doubling piccolo), two oboes, two
clarinets and two bassoons; four horns, two trumpets, three trombones
and tuba; a large percussion section, keyboard and strings.
sydney symphony 11
1. Preludio. Introdução (Lento)
4. Danza. Miudinho (Molto animato)
An experimenter and an original, Villa-Lobos rebelled not
only against academic musical training but against his own
parents, who were unhappy about his associations with
popular musicians. His father, a librarian, scholar and
amateur musician, taught him the cello, which remained his
main instrument and features in Bachianas brasileiras No.5 for
soprano and eight cellos, no doubt his most famous creation.
In music Villa-Lobos was virtually self-taught – his real
schooling was from two sources. One was his Bohemian
lifestyle, playing in night clubs, theatres and bars, absorbing
popular style; the other was Brazil itself, and his intuitive
grasp of Brazil’s popular idioms is reflected in all his work.
Bach and Brazil
The Bachianas brasileiras are a special kind of musical
composition based on the composer’s intimate knowledge of the
great works of Bach, and also of the harmonic, contrapuntal,
and melodic atmosphere of the folklore of the north-eastern
region of Brazil. The composer considers Bach a universal and
rich folkloristic source, deeply rooted in the folk music of every
country in the world. Thus Bach is a mediator among all
races.
Heitor Villa-Lobos
A love of Bach’s music was instilled in the young Villa-Lobos
by a favourite aunt; the idea of the ‘Bachianas brasileiras’
began to evolve in 1930 when Villa-Lobos was giving pioneering
performances in Brazil of major Bach works. In all the
Bachianas brasileiras, the movements have two titles: one
traditionally European, showing its baroque derivation, and
a characterful, national one, from popular Brazilian music.
Bachianas brasileiras No.4 was composed first for piano
solo (probably as four isolated pieces composed during the
1930s) and orchestrated ten years later. The first piece – with
the ‘baroque’ title Preludio, and the Portuguese (Brazilian)
title ‘Introduction’ – is the most Bach-like, imitating aspects
of baroque music in the same manner as, say, the ‘Albinoni’
Adagio, and featuring the strings. The concluding Danza
is a miudinho – a dance related to the samba with fast,
light steps that came into Brazil’s salons from the village
squares and beaches. A fragment of a song is quoted:
‘Vamos, Maruca.’
ADAPTED FROM A NOTE BY DAVID GARRETT © 1999
12 sydney symphony
Keynotes
VILLA-LOBOS
Born Rio de Janeiro, Brazil, 1887
Died Rio de Janeiro, 1959
Villa-Lobos was not only the
most creative Latin-American
composer of his generation,
but perhaps the most prolific
major composer of the 20th
century. According to some
accounts the total number of
his compositions exceeds
2000. Others, more sober,
admit over 1000. They include
12 symphonies, numerous
concertos, 17 string quartets,
piano and guitar music,
choruses, operas, and the
Bachianas brasileiras and
Chôros for which he is best
known. He often said that
music composition constituted
for him a biological necessity.
The title ‘Bachianas brasileiras’
is perhaps best translated
‘pieces in Brazilian and Bachian
manner’.
LEBRECHT MUSIC & ARTS
Heitor Villa-Lobos
Two movements from Bachianas brasileiras No.4
There is still some debate about the origins of the word
‘tango’, and uncertainty as to where exactly in Latin
America it began. What is certain is that it spread from
country to country in the 1850s, and came to have a
particular resonance in the poorer districts of the big
cities. The lyrics of a classic tango song speak inevitably
of a fatalistic approach to life and love that evoke the
genre’s urban origins. But in the first decades of the 20th
century, the tango began to make its way across the world.
It first became fashionable in Paris, after the abrupt
movements of the dance were modified for the ballrooms
of polite society, and then spread to Britain, before it
conquered the United States thanks, in part, to the dance
team of Vernon and Irene Castle. The Argentinean Carlos
Gardel became the first internationally renowned tango
singer, and his legendary status in South America only
increased after his early death in 1935.
Astor Piazzolla’s re-thinking of the tango genre began
in the 1940s, when he created his first large orchestral
tango arrangements. He also extended the musical
possibilities of the genre by drawing into it his interest
in ‘cool school’ jazz of the 1950s. His first tango quintet
included – in addition to the traditional tango instruments
of bandoneon (a button accordion), piano and double
bass – the vibraphone (replacing the more usual violin)
and electric guitar.
Tangazo is a late flowering of Piazzolla’s work in
broadening the possibilities of tango. It is a moody,
extended meditation on tango rhythms and melodic
gestures, beginning in darkness before the colours and
rhythms of the tango emerge unexpectedly from the
orchestral texture.
Keynotes
PIAZZOLLA
Born Mar del Plata,
Argentina, 1921
Died Buenos Aires, 1992
Astor Piazzolla was the ‘King
of Tango’ and father of the
nuevo tango, a heady, artful
combination of Argentinean
tango, jazz and the principles
of classical chamber music.
His own instrument was the
bandoneón, whose distinctive
reedy sound formed the heart
of the tango band and provided
the vital sounds of his childhood.
His formal studies, on the other
hand, took him into classical
territory: the great pianist Arthur
Rubinstein suggested he study
composition with Ginastera,
who in turn pointed him to an
opportunity to study with Nadia
Boulanger in Paris. Ultimately it
was Boulanger who guided him
back to his own distinctive
musical voice.
LEBRECHT MUSIC & ARTS
Astor Piazzolla
Tangazo
PHILLIP SAMETZ © 1999
Tangazo calls for pairs of flutes, oboes, clarinets, bassoons and horns;
percussion, piano and strings.
sydney symphony 13
Jimmy López
Fiesta! – four pop dances for orchestra
Keynotes
Trance 1 –
Countertime
Trance 2 –
Techno
Born Lima, Peru, 1978
The composer writes…
During recent years, eclecticism has become an important
part of my musical language. The challenge of creating
musically sensible interactions out of the juxtaposition of
apparently incompatible musical sources – some of which
result in unexpected contrasts – fascinates me. Fiesta! draws
influences from several musical sources: European academic
compositional techniques, Latin-American music, AfroPeruvian music and pop music. It utilises elaborate
developmental techniques while retaining the primeval
driving forces latent in popular culture.
The first and third movements of Fiesta! (Trance 1 and
Trance 2) are connected in spirit and form. Both start
energetically, feature slow passages and lead to the following
movement by means of open endings, featuring soft
melodies over a repeating pattern or note. The word ‘trance’
belongs to the realm of techno: electronic dance music with
of hypnotic and repetitive rhythms. But I also use the word
‘trance’ in its original meaning – conveying the hypnotising
state achieved while listening to a constantly shifting melody
against a static background, much like in Hindu music.
The second and fourth movements (Countertime and
Techno) maintain high levels of energy from beginning
to end. Latin rhythms play an essential part in these
movement and therefore the percussion section is
prominent. Countertime constantly shifts the downbeat
from the strong to the weak beat of the bar. Its title derives
from ‘counterpoint’, which in music theory defines the
rules of interaction between melodies, the goal being to
produce a harmonious whole. I use the word ‘countertime’
to underline the interaction between an underlying steady
pulse and the actual rhythms playing against it.
Techno uses Latin-American rhythms such as merengue.
A solo for trumpet and trombone marks the beginning of a
section where techno rhythms are made explicit. In a techno
piece, this type of solo would be played by synthesizers, and
would generally happen at the precise moment in which the
constant beat of the electronic bass drum has been
momentarily suspended in order to give the music a certain
lightness it wouldn’t otherwise have.
14 sydney symphony
LÓPEZ
Jimmy López studied first at
the National Conservatory of
Music in Lima, then at the
Sibelius Academy in Helsinki,
where he obtained his master’s
degree in 2007. Last year he
completed a doctorate in
composition at the University of
California, Berkeley. His music
has been performed by leading
orchestras in North and South
America and in Europe, and he
is currently working on an
opera for the 2015–16 season
based on the bestselling novel
Bel Canto. He is also a founding
member and Vice President of
kohoBeat in Finland, a group
of young people contributing
to the development of the arts
in Finland.
www.jimmylopez.com
This is the first piece where I have made explicit use of
elements from popular music, but it is certainly not the first
time it has been done. Composers from the past, especially
during the baroque, would write suites assembling the
dances that were popular in European courts. Later, some
composers made these dances more sophisticated. That was
part of my intention when picking up these genres. I believe
they have enough potential to justify further development,
but always keeping the primeval driving forces present in
them.
…primeval driving
forces latent in
popular culture.
ABRIDGED FROM A NOTE BY JIMMY LÓPEZ © 2008
Fiesta! calls for two flutes (one doubling piccolo), two oboes, two
clarinets and two bassoons; four horns, two trumpets, three trombones
and tuba; timpani and percussion and strings.
Originally scored for chamber ensemble, Fiesta! was commissioned by
Miguel Harth-Bedoya to celebrate the 100th anniversary of the Lima
Philharmonic Society in 2007, and the orchestral version was premiered
in 2008 with Harth-Bedoya conducting the Baltimore Symphony
Orchestra. This is its Australian premiere.
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MORE MUSIC
GOLIJOV
Nazareno has been released by Deutsche Grammophon,
but within a limited region. The easist way for
Australians to obtain this recording – which features
tonight’s conductor and soloists – is to head to
iTunes or the Spotify subscription service.
The original choral work, La Pasión según San Marcos
is readily available on CD. Look for the release from
2010, which includes a bonus DVD. María Guinand
conducts an ensemble of exciting vocalists, the
Orquesta la Pasión, led by Gonzalo Grau and
members of the Simón Bolívar Youth Orchestra of
Venezuela.
DEUTSCHE GRAMMOPHON 477 7461
Broadcast Diary
October – November
abc.net.au/classic
Thursday 31 October, 9.30pm
all stops out!
David Drury organ
Female voices of VOX
Elizabeth Scott chorus director
Rebecca Gill violin
JS Bach, Mozart, Vierne, Brahms, Karg-Elert
Saturday 9 November, 8pm
war requiem
MÁRQUEZ
Arturo Márquez’s popular Danzon No.2 is included
in Fiesta!, a survey of Latin American music with the
Simón Bolívar Youth Orchestra conducted by Gustavo
Dudamel. The program ends with an honorary Latin,
Leonard Bernstein, and a thrilling performance of
the Mambo from West Side Story.
Vladimir Ashkenazy conductor
Dina Kuznetsova, Andrew Staples,
Dietrich Henschel vocal soloists
Sydney Philharmonia Choirs
Sydney Children’s Choir
Britten
Thursday 14 November, 1.30pm
DEUTSCHE GRAMMOPHON 477 7457
sibelius & brahms
VILLA-LOBOS
Vladimir Ashkenazy conductor
Pinchas Zukerman violin
Amanda Forsyth cello
Looking for a recording of the complete Bachianas
brasileiras of Villa-Lobos? Naxos ticks the box with a
3-CD set performed by the Nashville Symphony
Orchestra and Kenneth Schermerhorn.
NAXOS 8557460-62
The original piano version of Bachianas brasileiras
No.4 is worth hearing, especially in the recording by
Nelson Freire of Villa-Lobos piano works.
APEX 740 837
Saturday 16 November, 8pm
mahler & bruch
Vladimir Ashkenazy conductor
Pinchas Zukerman violin
Thursday 28 November, 1.05pm
wagner madness
Nicholas Carter conductor
Janet Webb flute
Haydn, L Liebermann, Ledger, Wagner
PIAZZOLLA
Astor Piazzolla’s Tangazo is the title track on an allPiazzolla disc recorded by Charles Dutoit and the
Montreal Symphony Orchestra. In addition to smaller
pieces, the recording includes the concerto for
bandoneon and guitar.
DECCA 468 5282
LÓPEZ
Jimmy López appears on three recordings. His
Incubus III for clarinet, percussion and electronics
is available on a recording released by the
Donaueschingen Contemporary Music Festival. Four
of his works have been assembled for the disc Musuq
Peru (‘New Peru’ in Quechua), a recording from the
Caminos del Inka project. And Fiesta! appears on the
disc INTI: Three Centuries of Peruvian Music with Miguel
Harth-Bedoya conducting the Fort Worth Symphony
Orchestra. More information and links for purchasing
can be found on: www.jimmylopez.com/discography
16 sydney symphony
Fine Music 102.5
sydney symphony 2013
Tuesday 11 November, 6pm
Musicians, staff and guest artists discuss what’s in
store in our forthcoming concerts.
Webcasts
Selected Sydney Symphony Orchestra concerts are
webcast live on BigPond and Telstra T-box and
made available for later viewing On Demand.
Our current webcast:
lior & westlake
Visit: bigpondmusic.com/sydneysymphony
We recommend our free mobile app, now optimised
for the iPad, if you want to watch SSO live webcasts
on your mobile device.
ABOUT THE ARTISTS
Miguel Harth-Bedoya CONDUCTOR
Miguel Harth-Bedoya was born in Peru and studied
conducting at the Curtis Institute and the Juilliard School.
His teachers included Seiji Ozawa, Gustav Meier and
Otto-Werner Mueller. After graduating in 1993, he founded
the Lima Philharmonic and a partner opera company, and
other early posts included music director roles with the
Auckland Philharmonia Orchestra, Eugene Symphony
(Oregon) and the New York Youth Symphony. He is currently
in his 13th season as Music Director of the Fort Worth
Symphony Orchestra, and has just taken up the post of
Chief Conductor of the Norwegian Radio Orchestra.
He performs throughout North America, conducting
orchestras such as the Boston Symphony Orchestra,
Philadelphia Orchestra, Los Angeles Philharmonic, Atlanta
Symphony Orchestra and the Toronto Symphony Orchestra.
In Europe he has conducted the Helsinki Philharmonic,
Royal Scottish National Orchestra, Spanish National
Orchestra, the MDR Orchestra in Leipzig, Dresden
Philharmonic and the Orchestre de la Suisse Romande, as
well as a Scandinavian tour with soprano Renée Fleming.
Equally at home in the theatre, he has conducted Jonathan
Miller’s new production of La Bohème for English National
Opera (also recorded for DVD), and has appeared with the
Canadian Opera Company, Minnesota Opera, Santa Fe Opera
and Cincinnati Opera.
His recordings include an all-Tchaikovsky disc, the first
bilingual recording of Prokofiev’s Peter and the Wolf (Spanish
and English), Sentimiento Latin with Peruvian tenor Juan
Diego Flóres, and the Grammy-nominated recording
Traditions and Transformations with Yo-Yo Ma and the Chicago
Symphony Orchestra. In 2011 he conducted the premiere
recording of Nazareno with Katia and Marielle Labèque and
the Orquesta Sinfónica de Castilla y Léon.
A champion of new music, he has conducted many world
premieres, including music by Jimmy López and works by
FWSO composers-in-residence such as Jennifer Higdon
(featured in the recording Take Six). He is also the creator
and conductor of Caminos del Inka, a project with the goal of
rediscovering forgotten musical gems and commissioning
new works from composers associated with the South
American countries through which the Inca Trail winds.
Miguel Harth-Bedoya’s most recent appearance with the
SSO was in 2012 when he conducted the Sydney premiere
of Ross Edwards’ saxophone concerto Full Moon Dances.
miguelharth-bedoya.com
sydney symphony 17
Sibling pianists Katia and Marielle Labèque are renowned
for their energy and synchronicity. Daughters of Ada Cecchi
(a piano student of Marguerite Long), their childhood was
filled with music. Their musical ambitions energed at an
early age and they rose to international fame with their
rendition of Gershwin’s Rhapsody in Blue (one of the first
gold records in classical music).
They perform with leading orchestras such as the Berlin
Philharmonic, Bavarian Radio Symphony Orchestra, Boston
and Chicago symphony orchestras, Cleveland Orchestra,
Leipzig Gewandhaus Orchestra, London Symphony
Orchestra, London Philharmonic Orchestra, Los Angeles
Philharmonic, Filarmonia della Scala, Philadelphia
Orchestra, Dresden Staatskapelle and the Vienna
Philharmonic. And they have worked with conductors
Semyon Bychkov, Colin Davis, Charles Dutoit, John Eliot
Gardiner, Miguel Harth-Bedoya, Kristjan Järvi, Zubin Mehta,
Seiji Ozawa, Antonio Pappano, Georges Prêtre, Simon Rattle,
Esa-Pekka Salonen, Leonard Slatkin and Michael Tilson
Thomas.
They have also begun performing with period instrument
ensembles such as the English Baroque Soloists, Il Giardino
Armonico, Musica Antiqua Cologne, Venice Baroque and
the Orchestra of the Age of Enlightenment, and they
perform in major festivals all over the world.
Katia and Marielle Labèque have also enjoyed the
privilege of collaborating with composers such as Louis
Andrieesen, Luciano Berio, Pierre Boulez, Osvaldo Golijov,
György Ligeti and – at the very outset of their career – Olivier
Messiaen. In recent seasons they have given the premiere
performances of Nazareno (Orchestre de Paris) and Richard
Dubugnon’s Double Piano Concerto (LA Philharmonic).
They have an extensive discography on major labels and
have more recently started their own label, KML Recordings,
and the KML Foundation, aimed at furthering research and
developing awareness of the piano duo repertoire and
fostering meetings between artists from all fields. Recent
releases include a new recording of Rhapsody in Blue and
Bernstein’s West Side Story, and their new project Minimalist
Dreamhouse, a survey of 50 years of minimalism inspired by
the concerts curated by La Monte Young at Yoko Ono’s New
York loft in 1961 and bringing together musicians from the
alternative rock and classical worlds.
UMBERTO NICOLETTI
Katia and Marielle Labèque PIANO DUO
www.labeque.com
Katia and Marielle Labèque
first visited Australia in 1988,
playing Brahms, Schubert,
Ravel’s Mother Goose and
Gershwin’s Rhapsody in Blue
in a tour for Musica Viva. They
returned to Sydney in 1990
to play Mozart and Poulenc
concertos (Stephen Kovacevich
conducting the SSO) and a
recital including Bernstein’s
West Side Story. In 1994 they
appeared in the Melbourne
Festival and on this visit they
also return to Melbourne to
perform in recital.
Read an interview with Katia
Labèque in the International
Pianists in Recital program book
bit.ly/RecitalsProgramSSO
18 sydney symphony
Gonzalo Grau PERCUSSION
Gonzalo Grau began his musical studies at the age of three in
Caracas, Venezuela. Along his musical journey he has developed
skills in many instruments, from viola da gamba and cello
to the flamenco cajón and his principal instrument, piano.
A Berklee College summa cum laude, his credits range from
performances with Venezuelan music projects such as Maroa,
Schola Cantorum de Venezuela, Camerata de Caracas and the
Simón Bolivar National Youth Orchestra, to work with jazz
icon Maria Schneider and the Latin jazz giant Timbalaye.
As a music director he leads Plural (Latin jazz-FlamencoVenezuelan fusion) and La Clave Secreta (salsa fusion). He has
participated in more than 80 recordings bridging the classical
and popular music worlds, with recent productions including
the studio recording of Osvaldo Golijov’s La Pasión según San
Marcos (ECHO award 2010). With Katia and Marielle Labèque
he has recorded Nazareno and West Side Story (winner of the
Choc de Classica).
As a composer and arranger, he has collaborated with Golijov
on the opera Ainadamar and La Pasión as well as arranging
Nazareno. And his original works include the overture Pregunta
y Respuesta (Atlanta Symphony Orchestra), Café con Pan
(Chicago Symphony Orchestra), Nazareno, and the oratorio
Aqua (Bach Academy International).
Raphaël Séguinier DRUMS
Born in 1979, Raphaël Séguinier began playing drums at the
age of 15, teaching himself after learning classical piano.
Influenced by the indie/noise/post-rock scene (Fugazi, Mogwai,
Sonic Youth…), he plays in many bands, creating and producing
his own musical projects and touring Europe.
In 2003, as he became more and more interested in
improvising and experimental music, he joined the French
collective Zazen, performing and recording with musicians
from diverse musical territories: jazz, hardcore, electronic and
traditional.
In 2005 he moved to Paris, where he began his professional
career as a studio drummer. At the same time, he began touring
internationally with such acts as Nouvelle Vague, Phoebe Killdeer
& The Short Straws, Nadéah, Émilie Simon, Chocolate Genius,
Cocoon and Saul Williams.
In 2010 he began working with Katia and Marielle Labèque,
first in the project ‘B for Bang’ and later to record West Side Story
and work on the project Minimalist Dream House. More recently
he has started a new band with David Chalmin (Red Velvet,
Dimension X, Nadéah, B for Bang) and an improvisational
drums/electronic project with French producer Villeneuve.
sydney symphony 19
MUSICIANS
Vladimir Ashkenazy
Principal Conductor
and Artistic Advisor
supported by Emirates
Andrew Haveron
Concertmaster
Jessica Cottis
Assistant Conductor
supported by Premier
Partner Credit Suisse
Dene Olding
Concertmaster
FIRST VIOLINS
VIOLAS
FLUTES
TRUMPETS
Dene Olding
Tobias Breider
Anne-Louise Comerford
Justin Williams
Emma Sholl
Carolyn Harris
Rosamund Plummer
Assistant Principal
Principal Piccolo
Paul Goodchild
Anthony Heinrichs
Owen Morris*
David Elton
Robyn Brookfield
Jane Hazelwood
Graham Hennings
Stuart Johnson
Justine Marsden
Felicity Tsai
Leonid Volovelsky
Roger Benedict
Sandro Costantino
Amanda Verner
Janet Webb
Concertmaster
Kirsten Williams
Associate Concertmaster
Lerida Delbridge
Assistant Concertmaster
Fiona Ziegler
Assistant Concertmaster
Julie Batty
Jenny Booth
Marianne Broadfoot
Brielle Clapson
Amber Davis
Georges Lentz
Nicola Lewis
Alexander Norton
Léone Ziegler
Kelly Tang†
Andrew Haveron
Concertmaster
Sun Yi
Associate Concertmaster
Sophie Cole
Jennifer Hoy
Alexandra Mitchell
CELLOS
Catherine Hewgill
Kristy Conrau
Fenella Gill
Timothy Nankervis
Christopher Pidcock
Adrian Wallis
David Wickham
Eleanor Betts*
Leah Lynn
TROMBONES
OBOES
Shefali Pryor
Alexandre Oguey
Principal Cor Anglais
Jonathan Ramsay*
Ronald Prussing
Nick Byrne
CLARINETS
TUBA
Lawrence Dobell
Craig Wernicke
Scott Frankcombe*
Steve Rossé
Principal Bass Clarinet
Christopher Tingay
BASSOONS
Jack Schiller†
A/ Associate Bassoon
Noriko Shimada
Principal Contrabassoon
SECOND VIOLINS
Kirsty Hilton
Emma Jezek
Elizabeth Neville
Melissa Woodroffe*
Matthew Wilkie
Fiona McNamara
A/ Associate Principal
DOUBLE BASSES
HORNS
Emily Long
Kees Boersma
Neil Brawley
Maria Durek
Emma Hayes
Stan W Kornel
Benjamin Li
Philippa Paige
Biyana Rozenblit
Emily Qin*
Rebecca Gill†
Belinda Jezek*
Marina Marsden
Shuti Huang
Nicole Masters
Maja Verunica
Principal Emeritus
Steven Larson
Richard Lynn
Benjamin Ward
Josef Bisits*
Alex Henery
David Campbell
David Murray
TIMPANI
Richard Miller
PERCUSSION
Rebecca Lagos
Colin Piper
Mark Robinson
HARP
Louise Johnson
Robert Johnson
Geoffrey O’Reilly
KEYBOARDS
Susanne Powell*
Principal 3rd
Euan Harvey
Rachel Silver
Brendan Parravicini†
Ben Jacks
Marnie Sebire
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.
20 sydney symphony
Principal Bass Trombone
Diana Doherty
David Papp
Assistant Principal
A/ Assistant Principal
Scott Kinmont
Christopher Harris
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 the Sydney
Symphony Orchestra are
proudly outfitted by
Van Heusen.
SYDNEY SYMPHONY ORCHESTRA
JOHN MARMARAS
Vladimir Ashkenazy, Principal Conductor and Artistic Advisor
PATRON Her Excellency Professor Marie Bashir AC CVO
Founded in 1932 by the Australian Broadcasting
Commission, the Sydney Symphony Orchestra
has evolved into one of the world’s 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 have earned the orchestra worldwide
recognition for artistic excellence, most
recently in the 2012 tour to China.
The Sydney Symphony 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, Zdeněk Mácal, Stuart Challender,
Edo de Waart and Gianluigi Gelmetti. David
Robertson will take up the post of Chief
Conductor in 2014. The orchestra’s history also
boasts collaborations with legendary figures
such as George Szell, Sir Thomas Beecham,
Otto Klemperer and Igor Stravinsky.
The Sydney Symphony Orchestra’s awardwinning education program is central to its
commitment to the future of live symphonic
music, developing audiences and engaging the
participation of young people. The orchestra
promotes the work of Australian composers
through performances, recordings and its
commissioning program. Recent premieres
have included major works by Ross Edwards,
Liza Lim, Lee Bracegirdle, Gordon Kerry and
Georges Lentz, and the orchestra’s recordings
of works by Brett Dean have been released on
both BIS and Sydney Symphony Live.
Other releases on the Sydney Symphony
Live label, established in 2006, include
performances with Alexander Lazarev, Gianluigi
Gelmetti, Sir Charles Mackerras and Vladimir
Ashkenazy. In 2010–11 the orchestra made concert
recordings of the complete Mahler symphonies
with Ashkenazy, and has also released recordings
of Rachmaninoff and Elgar orchestral works
on the Exton/Triton labels, as well as numerous
recordings on the ABC Classics label.
This is the fifth year of Ashkenazy’s tenure
as Principal Conductor and Artistic Advisor.
sydney symphony 21
BEHIND THE SCENES
Sydney Symphony
Orchestra
Board
Sydney Symphony Orchestra Staff
S
EXECUTIVE TEAM ASSISTANT
EX
ONLINE MARKETING COORDINATOR
John C Conde ao Chairman
Terrey Arcus am
Ewen Crouch am
Ross Grant
Jennifer Hoy
Rory Jeffes
Andrew Kaldor am
David Livingstone
Goetz Richter
Lisa Davies-Galli
Li
Jenny Sargant
ARTISTIC OPERATIONS
A
Box Office
DIRECTOR OF ARTISTIC PLANNING
D
MANAGER OF BOX OFFICE SALES &
OPERATIONS
MANAGING DIRECTOR
M
MARKETING COORDINATOR
Rory Jeffes
R
Jonathon Symonds
Peter Czornyj
Pe
BOX OFFICE SYSTEMS SUPERVISOR
ARTISTIC ADMINISTRATION MANAGER
AR
Jacqueline Tooley
Eleasha Mah
El
BOX OFFICE BUSINESS ADMINISTRATOR
ARTIST LIAISON MANAGER
AR
John Robertson
Ilmar Leetberg
Il
CUSTOMER SERVICE REPRESENTATIVES
RECORDING ENTERPRISE MANAGER
RE
Karen Wagg – Senior CSR
Michael Dowling
Katarzyna Ostafijczuk
Tim Walsh
Philip Powers
Ph
P
Sydney Symphony
Orchestra
Council
Geoff Ainsworth am
Andrew Andersons ao
Michael Baume ao
Christine Bishop
Ita Buttrose ao obe
Peter Cudlipp
John Curtis am
Greg Daniel am
John Della Bosca
Alan Fang
Erin Flaherty
Dr Stephen Freiberg
Donald Hazelwood ao obe
Dr Michael Joel am
Simon Johnson
Yvonne Kenny am
Gary Linnane
Amanda Love
Helen Lynch am
David Maloney
David Malouf ao
Julie Manfredi-Hughes
Deborah Marr
The Hon. Justice Jane Mathews ao
Danny May
Wendy McCarthy ao
Jane Morschel
Greg Paramor
Dr Timothy Pascoe am
Prof. Ron Penny ao
Jerome Rowley
Paul Salteri
Sandra Salteri
Juliana Schaeffer
Leo Schofield am
Fred Stein oam
Gabrielle Trainor
Ivan Ungar
John van Ogtrop
Peter Weiss ao HonDLitt
Mary Whelan
Rosemary White
22 sydney symphony
Lynn McLaughlin
Artistic Administration
Ar
Education Programs
Ed
HEAD OF EDUCATION
H
Kim Waldock
K
EMERGING ARTISTS PROGRAM MANAGER
EM
COMMUNICATIONS
Mark Lawrenson
M
HEAD OF COMMUNICATIONS &
SPONSOR RELATIONS
EDUCATION COORDINATOR
ED
Yvonne Zammit
Rachel McLarin
R
PUBLIC RELATIONS MANAGER
CUSTOMER SERVICE OFFICER
C
Katherine Stevenson
Amy Walsh
Am
Library
Li
Anna Cernik
An
Victoria
Grant
Vi
Mary-Ann
Mead
M
COMMUNICATIONS COORDINATOR
Janine Harris
DIGITAL CONTENT PRODUCER
Kai Raisbeck
FELLOWSHIP SOCIAL MEDIA OFFICER
Caitlin Benetatos
ORCHESTRA MANAGEMENT
O
Publications
DIRECTOR OF ORCHESTRA MANAGEMENT
D
Aernout Kerbert
Ae
PUBLICATIONS EDITOR & MUSIC
PRESENTATION MANAGER
ORCHESTRA MANAGER
O
Yvonne Frindle
Chris Lewis
C
ORCHESTRA COORDINATOR
O
Georgia Stamatopoulos
G
OPERATIONS MANAGER
O
Kerry-Anne Cook
K
PRODUCTION MANAGER
PR
Laura Daniel
La
PRODUCTION COORDINATOR
PR
Tim Dayman
T
PRODUCTION COORDINATOR
PR
Ian Spence
Ia
DEVELOPMENT
DIRECTOR OF DEVELOPMENT
Caroline Sharpen
HEAD OF CORPORATE RELATIONS
Jeremy Goff
HEAD OF MAJOR GIFTS
Luke Andrew Gay
DEVELOPMENT MANAGER
Amelia Morgan-Hunn
DEVELOPMENT COORDINATOR
Sarah Morrisby
SALES AND MARKETING
S
DIRECTOR OF SALES & MARKETING
D
Mark J Elliott
M
SENIOR SALES & MARKETING MANAGER
SE
Penny Evans
Pe
MARKETING MANAGER, SUBSCRIPTION SALES
M
Simon Crossley-Meates
Si
MARKETING MANAGER, CLASSICAL SALES
M
Matthew Rive
M
MARKETING MANAGER, WEB & DIGITAL MEDIA
M
Eve Le Gall
Ev
MARKETING MANAGER, DATABASE & CRM
M
Matthew Hodge
M
BUSINESS SERVICES
DIRECTOR OF FINANCE
John Horn
FINANCE MANAGER
Ruth Tolentino
ACCOUNTANT
Minerva Prescott
ACCOUNTS ASSISTANT
Emma Ferrer
PAYROLL OFFICER
Laura Soutter
HUMAN RESOURCES
GRAPHIC DESIGNER
G
Lucy McCullough
Lu
CREATIVE ARTWORKER
C
Nathanael van der Reyden
N
HEAD OF HUMAN RESOURCES
Michel Maree Hryce
SYDNEY SYMPHONY ORCHESTRA PATRONS
Maestro’s Circle
Peter William Weiss ao – Founding President & Doris Weiss
John C Conde ao – Chairman
Geoff Ainsworth am & Vicki Ainsworth
Tom Breen & Rachael Kohn
In memory of Hetty & Egon Gordon
Andrew Kaldor am & Renata Kaldor ao
Roslyn Packer ao
Penelope Seidler am
Mr Fred Street am & Mrs Dorothy Street
Westfield Group
Brian & Rosemary White
Ray Wilson oam in memory of the late James Agapitos oam
Sydney Symphony Orchestra Corporate Alliance
Tony Grierson, Braithwaite Steiner Pretty
Insurance Australia Group
John Morschel, Chairman, ANZ
Chair Patrons
01
04
02
05
03
06
01 Roger Benedict
Principal Viola
Kim Williams am &
Catherine Dovey Chair
06 Kirsty Hilton
Principal Second Violin
Corrs Chambers Westgarth
Chair
02 Lawrence Dobell
Principal Clarinet
Terrey Arcus am &
Anne Arcus Chair
07 Robert Johnson
Principal Horn
James & Leonie Furber Chair
03 Diana Doherty
Principal Oboe
Andrew Kaldor am &
Renata Kaldor ao Chair
04 Richard Gill oam
Artistic Director, Education
Sandra & Paul Salteri Chair
07
08
09
05 Catherine Hewgill
Principal Cello
The Hon. Justice AJ &
Mrs Fran Meagher Chair
08 Elizabeth Neville
Cello
Ruth & Bob Magid Chair
09 Colin Piper
Percussion
Justice Jane Mathews ao
Chair
10 Emma Sholl
Associate Principal Flute
Robert & Janet Constable
Chair
11 Janet Webb
Principal Flute
Helen Lynch am &
Helen Bauer Chair
For information about the Chair Patrons program, please call (02) 8215 4619.
10
11
Sydney Symphony Orchestra Vanguard
Vanguard Collective
Justin Di Lollo – Chair
Kees Boersma
Marina Go
David McKean
Amelia Morgan-Hunn
Jonathan Pease
Seamus R Quick
Members
Centric Wealth
Matti Alakargas
Stephen Attfield
Damien Bailey
Mar Beltran
Evonne Bennett
Nicole Billet
David Bluff
Kees Boersma
Andrew Bragg
Peter Braithwaite
Blake Briggs
Andrea Brown
Helen Caldwell
Hilary Caldwell
Hahn Chau
Alistair Clark
Matthew Clark
Benoît Cocheteux
Paul Colgan
George Condous
Juliet Curtin
Justin Di Lollo
Alistair Furnival
Alistair Gibson
Sam Giddings
Marina Go
Sebastian Goldspink
Tony Grierson
Louise Haggerty
Rose Herceg
Philip Heuzenroeder
Paolo Hooke
Peter Howard
Jennifer Hoy
Scott Jackson
Justin Jameson
Aernout Kerbert
Tristan Landers
Gary Linnane
Paul Macdonald
Rebecca MacFarling
Kylie McCaig
David McKean
Hayden McLean
Amelia Morgan-Hunn
Phoebe Morgan-Hunn
Taine Moufarrige
Nick Nichles
Tom O’Donnell
Kate O’Reilly
Fiona Osler
Archie Paffas
Jonathan Pease
Jingmin Qian
Seamus R Quick
Leah Ranie
Michael Reede
Paul Reidy
Chris Robertson
Benjamin Robinson
Emma Rodigari
Jacqueline Rowlands
Katherine Shaw
Randal Tame
Sandra Tang
Adam Wand
Jon Wilkie
Jonathan Watkinson
Darren Woolley
Misha Zelinsky
sydney symphony 23
PLAYING YOUR PART
The Sydney Symphony Orchestra gratefully acknowledges the music lovers who donate to the
orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence
and helping to sustain important education and regional touring programs. Donations of $50 and
above are acknowledged on our website at www.sydneysymphony.com/patrons
Platinum Patrons: $20,000+
Brian Abel
Robert Albert ao & Elizabeth Albert
Geoff Ainsworth
Terrey Arcus am & Anne Arcus
Tom Breen & Rachael Kohn
Sandra & Neil Burns
Mr John C Conde ao
Robert & Janet Constable
Michael Crouch ao & Shanny Crouch
James & Leonie Furber
Dr Bruno & Mrs Rhonda Giuffre
In memory of Hetty & Egon Gordon
Mr Andrew Kaldor am &
Mrs Renata Kaldor ao
D & I Kallinikos
Helen Lynch am & Helen Bauer
Vicki Olsson
Mrs Roslyn Packer ao
Paul & Sandra Salteri
Mrs Penelope Seidler am
G & C Solomon in memory of
Joan MacKenzie
Mrs W Stening
Mr Fred Street am & Mrs Dorothy Street
Peter William Weiss ao & Doris Weiss
Westfield Group
Mr Brian & Mrs Rosemary White
Kim Williams am & Catherine Dovey
Ray Wilson oam in memory of
James Agapitos oam
Gold Patrons: $10,000–$19,999
Doug & Alison Battersby
Alan & Christine Bishop
Ian & Jennifer Burton
Copyright Agency Cultural Fund
Edward & Diane Federman
Nora Goodridge
Mr Ross Grant
Mr Ervin Katz
James N Kirby Foundation
Ms Irene Lee
Ruth & Bob Magid
The Hon. Justice AJ Meagher &
Mrs Fran Meagher
Mrs T Merewether oam
Mr John Morschel
Mr John Symond
Andy & Deirdre Plummer
Caroline Wilkinson
Anonymous (1)
Silver Patrons: $5000–$9,999
Stephen J Bell
Mr Alexander & Mrs Vera Boyarsky
Mr Robert Brakspear
Mr David & Mrs Halina Brett
Mr Robert & Mrs L Alison Carr
Bob & Julie Clampett
Ewen Crouch am & Catherine Crouch
Ian Dickson & Reg Holloway
24 sydney symphony
Dr C Goldschmidt
The Greatorex Foundation
Mr Rory Jeffes
Judges of the Supreme Court of NSW
J A McKernan
R & S Maple-Brown
Justice Jane Mathews ao
Mora Maxwell
Mrs Barbara Murphy
Drs Keith & Eileen Ong
Timothy & Eva Pascoe
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26 sydney symphony
Photo: Richard Barlow
ORCHESTRA NEWS | SEPTEMBER–OCTOBER 2013
`
I learnt how to
crave a really
great orchestral
sound.
a
CITIZEN MUSICIAN
Yoga. Gardening. Music. There’s no limit
to cellist Chris Pidcock’s interests.
‘Bikram cello.’ That’s what
cellist Chris Pidcock suggests
he’s engaged in as he practises
furiously in a rehearsal room
at the Sydney Opera House.
It’s warm. It could be the airconditioning, but equally, when
you find out what he’s working
on… ‘A bit of Saariaho, some
Giacinto Scelsi, a work by Anna
Clyne for cello and electronics.’
Um. Perhaps the challenging
repertoire better explains his
heated condition?
Chris is getting ready for an
extracurricular solo concert of
contemporary music. ‘The really
fun part [of my preparations]
is playing for my colleagues.
Suddenly I’ve got a hundred
“teachers”. I get really excited
when I can play for them because
they’re buzzing with ideas.’
‘I always knew I wanted to
be part of a great orchestra. I
remember walking away from an
SSO performance of La Mer, and
I couldn’t understand how it was
so perfect. I learnt how to crave
a really great orchestral sound.’
That craving was fed further by
other great orchestras: ‘You go
to Vienna and the violins have
a flautando [flutelike] sound so
perfect that you can’t breathe
when you hear it. Then there’s
the Chicago Symphony Orchestra
whose string sound is so present,
so close to the bridge. All their
courage is in the bow.’
Somewhat unusually, Chris’s
parents travelled with him on the
last SSO tour. ‘It was pretty cool
having them there. It wasn’t like
“I’m a problem child and I need
someone to look after me”. Dad’s
a hæmatologist, and plays piano
and organ a lot. If ever someone’s
had a bad diagnosis, Dad’s two
favourite things are gardening
and playing piano. Mozart is a
salvation. Any frustration you
have with people can be dealt
with through playing music or
gardening.’
‘Music is a vocation, not a
job. I’m practising and thinking
about music a lot. There’s a
great term that Yo Yo Ma uses,
of a “citizen musician”, where
your role is to share music as a
cultural device. Our orchestra is
a major part of that. I feel that
our schedule allows enough time
to do other concerts, to make it
a real vocation. There’s so much
work to be done, it never really
ends.’
Orchestra Highlight
Ask a Musician
Your Orchestra’s New Look
I noticed Janet Webb was playing a metal
flute when she performed the Liebermann
concerto recently. But she used to play
on a wooden instrument – it was always
a distinctive sight on the concert platform.
Why the switch? And what difference does
it make?
Lapsed Flautist
Everything old is new again! With the excitement
of a new chief conductor and a new season of music
on the horizon, we thought it was time to bring
back something that in reality never truly went
away (although it was effectively sidelined for more
than a decade).
In announcing the 2014 season, we officially
welcomed back our original name: Sydney
Symphony Orchestra. Sometimes you might find
it easier to refer to the shortened version of ‘SSO’.
Either way, we’re your orchestra.
Perhaps you’ve also noticed our colourful new
logo? We think it’s rather joyful – akin to the
explosion of colourful sound you can hear from
the orchestra.
The graphic is a visual abstraction of both
musicians and audience. The new exuberant
identity also expresses the wide range of choice
we offer audiences and the role we play in our
community, with each vibrant square a different
shade of a harmonious whole.
We hope you like our new/old name, and that
you’ll enjoy our fresh new look as we move into
another exciting era of inspirational and first-class
music making.
In July, SSO Chairman John Conde AO welcomed
patrons to his home for a special preview of our
2014 concert season. Guests were treated to a lively
Q&A session with incoming Chief Conductor
and Artistic Director David Robertson and our
Well spotted, Lapsed Flautist! Janet has indeed
switched from her wooden flute back to a metal
one – this time a solid 14-carat gold instrument.
As Janet explains, she decided it was time for a
change. ‘I’m always looking for different sounds,
and different possibilities.’ Her new gold flute
sounds more…well…golden. ‘I want to make a
mellow, rounded sound. The gold flute allows
me to find warmer, darker, deeper, more complex
qualities.’ Janet describes the wooden flute as
having an earthy sound, ‘just like the material it’s
made from.’ A silver flute offers something different
again – a brighter, more penetrating sound.
There are some physical differences – Janet’s
wooden flute was heavier and fatter than her gold
flute. The wooden flute also retained its warmth
after being played – ‘I could put it down and then
come back to it later and it would still be warm.’
This ensures stability in intonation. The physical
properties of the metal mean a gold flute will cool
down faster after being played. ‘I just have to pay
more attention to the tuning if I come in after a
long rest.’ Above all, however, the quality of the
sound depends on the flautist. ‘It’s all about how
people blow. I still sound like me!’
Have a question about music, instruments or the
inner workings of an orchestra? ‘Ask a Musician’
at [email protected] or by writing to
Bravo! Reply Paid 4338, Sydney NSW 2001.
Managing Director Rory Jeffes. Diana Doherty,
Catherine Hewgill and Kirsty Hilton provided the
musical entertainment.
For information about the SSO Patrons Program email
[email protected] or call (02) 8215 4674.
International Focus
The Score
CHINA EXCHANGE
War Requiem
‘It’s impossible to say for certain,
but some estimates suggest there
are 50 million young people learning the violin in China,’ says our
Managing Director Rory Jeffes.
Recently, three of the top
young string players visited us
from the Xinghai Conservatory
in Guangzhou. Violinists Guo
Lu and Zhu Siyao and violist
Chen Chen, aged between 19
and 23, spent a week with the
SSO’s Sinfonia mentoring
orchestra. They took part in a
busy schedule of schools and
family concerts, as well as a read
through of Prokofiev’s Fifth
Symphony. Violin mentors
from the SSO, Shuti Huang and
Ben Li, sat with the girls in the
orchestra, occasionally translating
for the students and generally
unravelling the mysteries of
professional orchestral etiquette.
‘The pace was faster than they
anticipated, but they quickly
adjusted,’ said Shuti. ‘By the end
of the week, they were all feeling
very much a part of the orchestra.’
Before our 2012 China tour, the
SSO signed a Memorandum of
Understanding with the Xinghai
Conservatory. On that tour, as
a first step in building ties, our
musicians gave masterclasses to
students at the conservatory and
Vladimir Ashkenazy conducted a
rehearsal of their orchestra.
‘These activities, which began
last year, will lead to a longterm program of masterclasses,
exchanges, orchestral workshops,
commissions and tour
performances, which will be
further enhanced and facilitated
through digital technology,’ says
Rory. ‘Our relationship with
the Conservatory, which is the
only higher music education
institution in Southern China, is
also significant given the sistercity relationship between Sydney
and Guangzhou.’
Also in 2012, the SSO signed
a significant Memorandum of
Understanding with the
National Centre for the
Performing Arts in Beijing,
also known as ‘The Egg’.
This agreement involves our
musicians working with the
NCPA orchestra, as well as SSO
administrative staff passing on
their expertise and knowledge
about audience development.
Our Director of Marketing, Mark
Elliott, will soon be visiting the
NCPA in this capacity.
Recently, the SSO won the
major award at the inaugural
Australian Arts in Asia Awards
for our work in China. The
awards, which attracted 120
entries, celebrate the role of
Australian artists and arts
organisations working in Asia.
War Requiem
Master Series
8 and 9 November | 8pm
Photo: Keith Saunders
From left: Zhu Siyao, Guo Lu, Chen Chen
Vladimir Ashkenazy admits to
not liking everything Benjamin
Britten wrote, but the War Requiem,
he says, is ‘one of Britten’s best
pieces, maybe the best’. In its
music, its text and its effect, it is
‘absolutely compelling’.
The War Requiem was
composed in response to the
horrors of World War II and
was dedicated to the memory
of four of Britten’s friends.
It was an ambitious and daring
musical creation, but also
deeply symbolic. Perhaps most
significant was Britten’s intended
casting, and this is something
Ashkenazy has set out to replicate
for our performances in November,
with Russian soprano Dina
Kuznetsova, English tenor
Andrew Staples and German
baritone Dietrich Henschel.
The three nationalities were
chosen by Britten to represent
three principal countries in the
conflict. (The first recording
features the soloists he had in
mind: Galina Vishnevskaya,
Peter Pears and Dietrich FischerDieskau.) And the symbolism
reaches full weight when tenor
and baritone, as two dead
soldiers, sing the lines from
Wilfred Owen’s World War I
poem, Strange Meeting: ‘I am the
enemy you killed, my friend.’
Britten’s War Requiem uses
its multinational cast to issue a
call for peace, a call that seems as
relevant today as it did in 1961.
It’s not merely a protest against
war, but music that Britten hoped
would make us ‘think a bit’.
CODA
WELCOME PARTNER
to Dubai plus five nights’ luxury
accommodation Enter the draw by
booking your 2014 SSO subscription
by 10 September 2013. T&Cs apply.
We’re pleased to announce that the
Hotel Intercontinental Sydney is a
new Gold Partner of the SSO. Keep
an eye out for exclusive dining
and accommodation packages in
Stay Tuned, program books and at
sydneysymphony.com
CONQUERORS
LET’S MISBEHAVE!
Dust off your tux and shake out
the feather boa – it’s time for the
SSO Roaring 20s Ball. Taking
place on Saturday 23 November
at Paddington Town Hall, your fun
night out will include a 50-piece
orchestra, music from the jazz
age and dancing! Tickets may be
purchased through our box office
02 8215 4600. More information
here: sydneysymphony/20sball
REAL JOBS
It’s not uncommon for friends to
ask young musicians about their
jobs: What do you do all day? And
why do you have to practise so
much? Perhaps you’ve occasionally
wondered the same. SSO Fellow,
flautist Laura van Rijn, has written
a blog post answering these
questions and others. Read it at:
blog.ssofellowship.com/2013/08/
what-do-you-do
EARLY BIRDS
The winners of our 2013 Season
Emirates Early Bird prize, Joyce and
Ivan Cribb, returned from their prize
trip to Barcelona (and a side trip to
France) with glowing reports and
memories to cherish. A highlight
was hearing the local Barcelona
Symphony and Catalonia National
Orchestra perform Mahler’s First
Symphony.
You could win this year! The 2014
Season Emirates Early Bird prize
closes soon. This time the prize is
two business class Emirates flights
The mighty Team Sydney
Symphony Sprint put in a valiant –
nay, impressive! – effort in the
recent City to Surf. Fastest on
the day was double bassist David
Campbell, with a time of 59:22.
Breathing down his neck was
Principal Trumpet David Elton,
mere hundredths of a second
behind. Go team!
EMIRATES RENEWAL
We recently announced the
renewal for three years of our
principal partner relationship
with Emirates, making it one of
our longest-standing corporate
partnerships. Among the benefits:
SSO audiences receive an
exclusive 10% online discount on
all Emirates flights. How? Visit
sydneysymphony.com/emirates
BRAVO EDITOR Genevieve Lang Huppert
sydneysymphony.com/bravo
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