the Dancing with the Saxophone program book

2 0 12 S E A S O N
Dancing with the Saxophone
Amy Dickson & Ravel’s Bolero
Fri 5 October 8pm
Sat 6 October 8pm
Mon 8 October 7pm
Kaleidoscope
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2012 season
kaleidoscope
Friday 5 October, 8pm
Saturday 6 October, 8pm
mondays @ 7
Monday 8 October, 7pm
Sydney Opera House Concert Hall
Dancing with the Saxophone
Miguel Harth-Bedoya CONDUCTOR
Amy Dickson SAXOPHONE
Giuseppe Verdi (1813–1901)
Overture to the opera La forza del destino
(The Force of Destiny)
Ross Edwards (born 1943)
Full Moon Dances – Saxophone Concerto
Mantra with night birds and dark moon blossoms –
First Ritual Dance –
Water-Moon –
Sanctus –
Second Ritual Dance
The five movements are played without pause.
SYDNEY PREMIERE
INTERVAL
Maurice Ravel (1875–1937)
Alborada del gracioso (Morning Song of the Jester)
La Valse – Poème chorégraphique
Bolero
Monday night’s performance will be
broadcast live across Australia on
ABC Classic FM.
Monday’s performance will also be
webcast live via BigPond, available
for later viewing on demand. Visit
bigpondmusic.com/sydneysymphony
Pre-concert talk by Yvonne Frindle
in the Northern Foyer, 45 minutes
before each performance. Visit
sydneysymphony.com/talk-bios
for speaker biographies.
Estimated durations:
8 minutes, 25 minutes,
20-minute interval, 8 minutes,
12 minutes, 13 minutes
The concert will conclude at
approximately 9.45pm (8.45pm
Monday).
Headdress designed by Sydney milliner Suzy O’Rourke for Full Moon Dances. www.suzyorourke.com.au
6 sydney symphony
INTRODUCTION
Dancing with the Saxophone
Nearly all the performing arts have a theatrical aspect:
drama, opera, musicals, ballet, modern dance, physical
theatre, puppetry, cabaret, the arena rock concert… Attend
one of these and you’re attending a show.
Classical concerts can seem different – sometimes
playing down the theatre in favour of a pure listening
experience. Which might be why composer Ross Edwards
is seeking to ‘reconnect music with elemental forces and
restore its traditional association with ritual and dance’.
For Edwards, the idea goes back nearly 30 years, when he
considered the possibility of supporting a hypnotic and
contemplative work with subdued lighting in a darkened
hall. Yarrageh, a nocturne (‘night music’) for percussion and
orchestra, was his first work to carry lighting instructions.
Since then, he’s never looked back. Lighting, staging and
movement, costumes… Edwards’ pieces are conceived as
almost theatrical entities in which his unique sound-world
is supported by visual elements. He recognises that we go
to see concerts as much as hear them.
The ‘theatre’ of concert music covers a range as diverse as
the many functions of music itself. There is contemplation
and meditation; there is healing and relaxation; there is
story-telling; and dancing. Then there is the ritual aspect
of concert conventions, which can seem almost church-like
at times, and which Edwards sometimes likes to subvert
by reaching back to much older conventions or traditions
from other cultures.
Which is a long way of getting to the point of tonight’s
concert: it has a program that embraces the theatrical side
of music. It begins with an overture to a tragic opera. Ross
Edwards’ new saxophone concerto forms the dramatic and
visual highlight. And we end with thrilling pieces by
Maurice Ravel, two of which were conceived for the ballet
stage, La Valse and Bolero. Enjoy the show!
Not everything the orchestra
does takes place on the
Sydney Opera House concert
platform – for Sydney
Symphony news and profiles
of the musicians, turn to
Bravo!, a regular feature at the
back of the program books,
with nine issues a year.
If you miss an issue, visit
sydneysymphony.com/bravo
COVER IMAGE:
Torn Cloud Cover by Full Moon,
watercolour on blue vellum by
Friedrich Nerly (1807–1878).
akg-images
sydney symphony 7
ABOUT THE MUSIC
Giuseppe Verdi
Overture to the opera La forza del destino
(The Force of Destiny)
Insofar as the 19th-century opera overture was both an
attention-getter for a noisy audience and a ‘trailer’ for the
evening ahead, the Force of Destiny Overture fits the bill
perfectly. The arresting opening introduces a medley of
themes, including Leonora’s prayer from Act II, with its
Verdian trademark of high, shimmering violins. Its festive
ending casts off tragedy and ask us, unashamedly, to
admire the brilliance of the orchestra.
At the same time, the dramatic weight of the opera’s
tragedy is echoed in Verdi’s overture, right from the stark,
ominous notes of the opening. The opera’s victim of fate,
Leonora, gives us the overture’s musical substance, an
agitated theme from Act I, when she is cursed by her dying
father. This sinister ‘fate’ theme recurs throughout the
opera, but in the overture it takes on a dramatic life of its
own.
La forza del destino, composed by Verdi in 1862, is an
expansive opera based on a Spanish tragedy by Rivas about
the murder of the Marquis di Calatrava and the consequent
deaths of the other principal characters: his son, Don Carlo;
his daughter, Leonora; and Leonora’s lover, Don Alvaro.
The Marquis is accidentally killed by Don Alvaro when
he discovers that Leonora and her lover are about to elope.
Don Carlo swears to avenge his father’s death, and his
pursuit of Don Alvaro ends in a duel in which Don Carlo
is mortally wounded. Leonora casts herself sobbing upon
her brother’s body but, remembering his vow, he stabs her
and a grim destiny is fulfilled.
Keynotes
VERDI
Born near Parma, 1813
Died Milan, 1901
Giuseppe Verdi is without doubt
Italy’s greatest composer of
the 19th century and the grand
master of Romantic Italian
opera. He composed nearly 30
operas, many of which remain
staples of the repertoire: La
Traviata, Rigoletto, Aida, Otello,
Un ballo in maschera and La
forza del destino, to name just
some. ‘Va pensiero’, the moving
Chorus of the Hebrew Slaves
from Nabucco, resonated with
Italian patriots in the mid-19th
century and was so closely
associated with Verdi that
mourners sang it as his funeral
cortège passed through the
streets of Milan.
La forza was composed for
St Petersburg in 1862, after a
four-year lull following Un ballo
in maschera (A Masked Ball).
The overture dates from the
1869 revision of the work for
La Scala in Milan.
ADAPTED IN PART FROM A NOTE BY
YVONNE FRINDLE © 2005
The overture to La forza del destino calls for flute, piccolo, and pairs
of oboes, clarinets and bassoons; four horns, two trumpets, three
trombones and cimbasso (a low brass instrument); timpani and
percussion; two harps and strings.
The Sydney Symphony first performed the overture in 1949, conducted
by Franco Ghione, and most recently in 2008, conducted by Gianluigi
Gelmetti.
8 sydney symphony
Giuseppe Verdi: Pastel portrait
by Giovanni Boldini
Ross Edwards
Full Moon Dances – Saxophone Concerto
Keynotes
Mantra with night birds and dark moon blossoms –
First Ritual Dance –
Water-Moon –
Sanctus –
Second Ritual Dance
Born Sydney, 1943
Amy Dickson saxophone
The composer writes…
Some years ago, extra-musical associations began to
infiltrate my compositions, especially those in concerto
form, and such works as Bird Spirit Dreaming (2002) and
The Heart of Night (2004) contain, or at least make provision
for, elements of theatre and ritual.
In my saxophone concerto, Full Moon Dances, a female
soloist is proffered the role of universal Moon Goddess
incarnate, source of plant life and protector of the
environment, in which she performs a series of ritual
healing ceremonies. Serene and mysterious, she
nonetheless has power to unleash ecstasy and terror
beyond the bounds of reason.
The work unfolds in an unbroken sequence of five
movements:
1. Mantra with night birds and dark moon blossoms
An ancient Vedic mantra grows into a chant-like melody
which invokes the Goddess, whose appearance is
accompanied by eerie night sounds symbolising the
powerful psychic forces of the unconscious. The mantra
persists in the background, eventually dissolving into
moments of moon-drenched phantasmagoria.
2. First Ritual Dance
This cleansing ritual is driven by self-abandoning rhythms
whose function is to purge negative thoughts and feelings.
After a central climax, the dance abruptly returns to its
source and resurges, gathering intensity.
3. Water-Moon
Guan Yin, the Chinese Goddess of Compassion (who may
be compared with the Christian Mary), is venerated in her
various guises throughout Southeast Asia. She is often
depicted as a beautiful, graceful woman in a white robe,
sometimes with a halo of moonlight. In a Tang dynasty
poem by Po Chu-I she is symbolised by the moon’s
reflection ‘floating in pure, clear water’. This dance pays
homage to her.
EDWARDS
Ross Edwards is one of Australia’s
best-known and most widely
performed composers. He has
created a unique sound-world,
seeking to restore music’s
traditional association with
ritual and dance. His music
is universal in its concern for
age-old mysteries surrounding
humanity. It’s also deeply
connected to its roots in
Australia, whose cultural
diversity it celebrates, and from
whose natural environment it
draws inspiration, especially
birdsong and the mysterious
patterns and drones of insects.
Edwards studied with Peter
Sculthorpe and Richard Meale,
and in Adelaide and London
with Peter Maxwell Davies.
His compositions include five
symphonies, concertos, choral,
chamber and vocal music,
children’s music, film scores, a
chamber opera and music for
dance.
FULL MOON DANCES
In a number of his concert
works – beginning with the
percussion concerto Yarrageh
(1989) – Edwards has called
for special lighting, movement,
costume and visual
accompaniment. A notable
example is the oboe concerto Bird
Spirit Dreaming, which Diana
Doherty premiered with the Sydney
Symphony. Full Moon Dances,
a concerto for saxophonist Amy
Dickson, is similar, with specially
designed capes and headdresses,
dynamic use of the concert
platform and lighting to create
a musical experience that is
visual as well as aural.
The concerto is in five distinct
movements or sections, played
in an unbroken sequence.
www.rossedwards.com
sydney symphony 9
4. Sanctus
The stage is transformed into a sacred space. Over an
accompaniment of trance-like stillness scored for bell and
muted strings, the Goddess sings serenely as she receives
and transmits gentle moon radiance. This movement
draws, as does its successor, on material from my Mass of
the Dreaming (2009) and makes oblique reference to
fragments of plainchant.
5. Second Ritual Dance
The finale joyously celebrates the earth with drone-based
shapes and rhythms that recall Australian Aboriginal chant.
The melody that bloomed from the mantra now returns
accompanied by a blazing darbuka (small, goblet-shaped
North African hand drum), after which a reflective passage
leads to a restatement of the insistent, dance-like hymn to
the earth.
ROSS EDWARDS © 2012
The concerto calls for a large orchestra of three flutes, three oboes,
three clarinets and three bassoons; four horns, three trumpets, three
trombones and tuba; timpani and percussion; harp and strings.
Full Moon Dances was commissioned for Amy Dickson, the Sydney
Symphony and the Australian symphony orchestras by Andrew Kaldor
and Renata Kaldor AO with the support of Symphony Services
International. The concerto received its premiere on 7 June 2012 with
Amy Dickson as soloist and the Adelaide Symphony Orchestra
conducted by Andrew Grams. It has since been performed by the West
Australian and Tasmanian symphony orchestras, and will be performed
by the Melbourne Symphony Orchestra in February 2013. This is the
Sydney premiere.
In recent years, Sydney Symphony performances of Edwards’ music
have included the violin concerto Maninyas; and the oboe concerto
Bird Spirit Dreaming, Earth Spirit Songs (Symphony No.2) and The
Promised Land (Symphony No.5), the last three commissioned with the
assistance of the Kaldors.
10 sydney symphony
The Moon and I
Abridged from an article by Ross Edwards
Amy Dickson started writing to me after she won the
Symphony Australia Young Performers’ Award in 2004.
Amy is a performer in the Diana mould. [Ross Edwards
composed Bird Spirit Dreaming for Sydney Symphony
principal oboe Diana Doherty in 2002; when she
performed the concerto in New York she was billed as the
‘dancing oboist’.] Wonderfully musical, Amy has a flawless
technique, a riveting stage presence and is game for
anything. When we were getting serious about my writing
her a concerto I asked her did she like to dance? Yes!
Would she like to be a Moon Goddess? Oh yes!!!
I completed the score of Full Moon Dances last November.
Amy and I had communicated by email most of the time
I was composing, occasionally meeting when she happened
to be in Sydney. I’d send her bits of the solo part as it
evolved, and nothing seemed to faze her.
Having mastered the solo part, Amy turned her attention
to the visual aspect of the performance. In Sydney she
modelled a prototypal Moon Goddess costume for my
wife Helen and me. From London we had an email
describing a new white dress especially chosen for her by
Armani, with colourful, reversible capes and hoods which
were Helen’s brilliant and highly practical concept.
Sydney milliner Suzy O’Rourke has designed capes and
special headdresses. Then there were the practicalities
of lighting and movement. Since it’s not possible to
actually dance with so weighty an instrument as an alto
sax, we’re settling for a more dignified presence, as befits a
Goddess – actually a series of Goddess avatars: mysterious,
demonic, serene and celebratory, each with music and
costume and lighting variations to match.
Amy Dickson
Read more about the concerto and its creation at
bit.ly/FullMoonDancesRE
sydney symphony 11
Maurice Ravel
Alborada del gracioso
(Morning Song of the Jester)
Like many French composers in the 19th and early 20th
centuries, Ravel was fascinated by Spain, a fact reflected in
many of his works (from the one-act opera L’Heure espagnole
and the Rapsodie espagnole to the celebrated Bolero). This
fascination was not primarily the result of personal experience.
The Spain of Alborada del gracioso (or, for that matter, of
Bizet’s Carmen or Debussy’s Ibéria) was not a real country,
but rather an exotic, mysterious ideal of heady perfumes
and vibrant colours, populated by passionate gypsies and
dashing bullfighters: the Spain of travel brochures.
Alborada del gracioso was originally written for piano, as
part of a set entitled Miroirs (Mirrors), which appeared in
1905. Several of Ravel’s orchestral works are transcribed
from piano pieces: such is his genius as an orchestrator,
however, that the orchestral and piano versions both have
Keynotes
RAVEL
Born Ciboure, 1875
Died Paris 1937
Ravel was born to Swiss and
Basque parents in a French
village just a stone’s throw
from Spain. Although short
in stature, he was the bestdressed of all the French
composers of his day, and
he delighted in collecting
mechanical toys and exotic
ornaments for his home.
(‘This room,’ he would say
to his guests, ‘is all fake
Japanese!’) His music shows
a corresponding enthusiasm
for jewel-like surface detail,
delicacy of expression and
exotic effect. And above all,
he had an enduring fascination
for Spain.
His other passions included
dance and times past. These
loves take different forms
and are sometimes combined,
as in La Valse. The music
itself covers the spectrum of
physical expression: from
aloof elegance to the hypnotic
repetition and overwhelming
surge of Bolero.
MORNING SONG OF THE
JESTER
An Alborada is a morning
song or serenade (‘aubade’ in
French) and this one is sung
by a gracioso, one of the
jesters who populated the
courts of 17th century Spain
and the paintings of Velázquez.
It is volatile and moody music
evoking an imaginary Spain
and it originally formed part
of a piano suite. In 1918 Ravel
orchestrated the music, turning
the orchestra into a giant guitar
with strumming harps and
strings.
Ravel: Portrait by Achille Ouvre, c.1907
12 sydney symphony
the status of originals. Each version is so perfectly
conceived for its scoring that it seems impossible to
imagine it in any other medium. Alborada is particularly
interesting, in that its whole harmonic and rhythmic
fabric is a powerful evocation of a guitar, being played by
a virtuoso in the Spanish tradition – an ‘original version’,
which does not exist and yet appears to predate the other
two!
The timbres featured in Ravel’s orchestration (from
1918) make the guitar references explicit, with much use
of harp, string pizzicato and harmonics, and an extensive
percussion section, with prominent parts for side drum
and castanets. There are a number of specific genres in
Spanish folk music which bear the name Alborada (literally
‘dawn song’), but Ravel was perhaps thinking more of the
romantic mediæval idea of a farewell serenade sung by a
lover, as he rides away from his beloved at dawn. The
complete title, ‘Morning Song of the Jester’, aptly suggests
the music’s volatile nature, by turns melancholy, playful
and extravagant.
…a powerful evocation
of a guitar…
ELLIOTT GYGER
© SYMPHONY AUSTRALIA
In its orchestrated form, the Alborada del gracioso calls for three
flutes (one doubling piccolo), two oboes, cor anglais, two clarinets,
two bassoons and contrabassoon, four horns, two trumpets, three
trombones and tuba, timpani and percussion (bass drum, cymbals,
snare drum, triangle, tambourine, xylophone, crotales, castanets), two
harps and strings.
The Sydney Symphony first performed the Alborada in 1952 under
Eugene Goossens, and most recently in 2008 in an all-Ravel concert
conducted by Gianluigi Gelmetti.
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sydney symphony 13
La Valse – poème chorégraphique
La Valse begins with a grumble – a muted double bass section
divided into three separate groups that share eerie tremolos
and ominous plucked notes. (It has more than a passing
resemblance to the famous motif from Jaws.) Ravel’s scenario
describes eddying clouds that part from time to time, offering
fleeting glimpses of waltzing couples. Bassoons, horns and
clarinets join in…harps and more trembling strings…all
is low and all is muted. This is the waltz viewed from a
distance, each intimate couple in its own private world.
But we cannot stay voyeurs for long – the mists gradually
disperse to reveal a huge ballroom in red and gold, brilliantly
lit with chandeliers, and the waltzing couples have become a
whirling crowd. The music embarks on a chain of waltzes
that capture the verve of Johann Strauss, the opulence of
Richard Strauss, and the frenzy of the ballroom. ‘I’m waltzing
frantically,’ wrote Ravel when working on the piece.
The themes are sophisticated and volatile by turn – one
moment the crowd of dancers is all glittering elegance, the
next it is caught up in the fatal whirling that Ravel imagined.
The fantastic melodic invention is matched by scintillating
orchestral effects such as sweeping glissandos from the harps
and the division of the string groups into as many as 16
separate parts. But the potential of Ravel’s huge orchestra of
more than 90 players is kept in reserve – we’re overwhelmed
by its exquisite colours before we’re overwhelmed by its sheer
power. By the time Ravel brings on his second crescendo,
shorter and more turbulent, we’re completely intoxicated.
Not everyone was intoxicated, however. Sergei Diaghilev
of the Ballets Russes was offered this spectacular music
for a ballet but rejected it as too symphonic and lacking in
choreographic variety. In doing so he lost the friendship of
the composer who’d written Daphnis et Chloé for his company
in 1912. In the end it was Ida Rubinstein who produced La
Valse, nine years later, with choreography by Bronislava
Nijinska. But the music was first performed in the concert
hall and that’s where its exhilarating momentum and surging
climaxes continue to sweep us away. Pre-war Vienna may
have waltzed itself into fatal oblivion but La Valse whirls on.
ADAPTED FROM A NOTE BY YVONNE FRINDLE © 2005
La Valse calls for a large orchestra of three flutes (one doubling piccolo),
three oboes (one doubling cor anglais), two clarinets, bass clarinet, two
bassoons and contrabassoon; four horns, three trumpets, three trombones
and tuba; timpani and percussion; two harps and strings.
The Sydney Symphony first performed La Valse in 1939 with Antal Doráti, and
most recently in 2008 in an all-Ravel concert conducted by Gianluigi Gelmetti.
14 sydney symphony
Keynotes
LA VALSE
Ravel wrote La Valse (The
Waltz) in the years 1919–20.
World War I had crushed the
society that danced in threequarter time, and the waltz had
become a thing of the past –
this music is the apotheosis of
the Viennese waltz.
La Valse is a ‘choreographic
poem for orchestra’: a concert
piece, but a ballet too. Ravel
imagined it this way:
‘Swirling clouds afford glimpses,
through rifts, of waltzing
couples. The clouds scatter little
by little; one can distinguish an
immense hall with a whirling
crowd. The scene grows
progressively brighter. The light
of the chandeliers bursts forth
at the fortissimo. An imperial
court, around 1855.’
Ravel wanted to create ‘the
impression of a fantastic, fatal
whirling’, and he achieves the
effect through the simplest of
devices: the crescendo, or
building of sound from soft to
loud. In this respect it is not
unlike Bolero, but instead of
one long overwhelming
crescendo, La Valse offers two.
Bolero
Ida Rubinstein wanted to create a Spanish ballet and she
invited Ravel to orchestrate music from Albéniz’s piano work
Iberia. But one of Ravel’s friends pointed out that such a ballet
was already in the making (it was 1928) and that neither
he nor Rubinstein would be able to obtain the necessary
permissions to repeat the exercise: the ballet, the scenario
and the music were ‘covered by a network of agreements,
signatures and copyrights that could not be broken’.
Thwarted and put out, Ravel came up with something
‘rather unusual’. He said it had no true form, no development,
hardly any modulation and a vulgar theme, but plenty of
rhythm and orchestration. Bolero was born.
For this radiant music, Rubinstein created a tableau in the
manner of Goya: a moody interior, in which a flamenco dancer
performs a stylised bolero on table ‘amid the encouragement
and impassioned quarrels of the spectators’, a languid
beginning building to a representation of inflamed desire.
Ravel accepted her interpretation, but its orgiastic sensuality
was not what he had in mind. (His own choreographic visions
had included factory assembly lines to mirror the mechanistic
repetition and chain-like linking of themes in the music.)
And he offered what is perhaps the most famous disclaimer
in music:
I am particularly desirous that there should be no misunderstanding
as to my Bolero. It is an experiment in a very special and limited
direction… Before the first performance, I issued a warning to the
effect that what I had written was a piece lasting 17 minutes and
consisting wholly of orchestral tissue without music…
Ravel goes on to point out that there are no contrasts, the
themes are ‘impersonal’, and there is ‘practically no invention
except in the plan and the manner of the execution’. And he
was not exaggerating when he described Bolero as one long
crescendo: the music builds inexorably in colour, texture
and sheer volume – from the voice of a lone snare drum to
the overwhelming effect of the full orchestra. Whatever
Ravel might say, Bolero is a tour de force.
Keynotes
BOLERO
Whether it brings to mind
images of Bo Derek or Torvill
and Dean, Bolero needs little
introduction. It begins with a
snare drum rhythm, then builds
irresistibly and hypnotically to a
frenzied climax. Along the way
Ravel demonstrates his
absolute mastery of ‘orchestral
tissue’, in this order:
solo flute
solo clarinet
bassoon
the high E-flat clarinet
oboe d’amore
flute
muted trumpet
tenor saxophone
soprano saxophone
then groups of instruments…
two piccolos, horn and celesta
the oboe family, clarinet and
bass clarinet
solo trombone (with its
characteristic slide)
woodwinds
joined by the first violins
then the second violins and
tenor saxophone
flutes, oboes, violins and
trumpet
joined by a horn
clarinets, trombone and
soprano sax return to the
mix, together with violas
and cellos
and ultimately the full ensemble,
including a second snare
drum
YVONNE FRINDLE, SYDNEY SYMPHONY © 2008/2012
Bolero calls for two flutes (one doubling piccolo), piccolo, two oboes (one
doubling oboe d’amore), cor anglais, two clarinets (one doubling E flat
clarinet), bass clarinet, two bassoons and contrabassoon; four horns,
four trumpets, three trombones and tuba; soprano and tenor saxophones;
timpani and percussion; harp, celesta, and strings.
The Sydney Symphony first performed Bolero in 1946, conducted by
Bernard Heinze, and most recently in 2008 in an all-Ravel concert
conducted by Gianluigi Gelmetti.
sydney symphony 15
MORE MUSIC
VERDI
Want to hear more from the master of Italian opera?
Look for The Number One Verdi Album, which lives up
to its name with a selection from Verdi’s best-known
overtures, arias and choruses in some top-notch
performances from the Universal back catalogue.
The 2CD set begins with ‘La donna è mobile’ from
Rigoletto (sung by Pavarotti) and never looks back.
ELOQUENCE 476 5897
EDWARDS
Look for the premiere recording of Edwards’ violin
concerto, Maninyas, with dedicatee and Sydney
Symphony concertmaster Dene Olding as soloist
and the Sydney Symphony conducted by Stuart
Challender. On the same disc David Porcelijn
conducts Symphony Da Pacem Domine and Yarrageh –
Nocturne for solo percussion and orchestra with Ian
Cleworth. (Nearly 20 years old and possibly out of
print but available for download through iTunes.)
Sounds of the Silk Road Chicago, an eclectic program
featuring cellist Yo-Yo Ma and his Silk Road Ensemble
with the Chicago Symphony Orchestra. The disc
includes Bloch’s poignant Schelomo for cello and
orchestra and a performance with pipa virtuoso Wu
Man, who’ll be appearing with the Sydney Symphony
in 2013.
CSO RESOUND 901801
AMY DICKSON
Amy Dickson has two albums available on the RCA
Victor Red Seal label, both released in 2009. On
Smile she plays a diverse program that includes
Rachmaninoff, Pärt, Debussy, Ginastera and, of course,
Charlie Chaplin. Catherine Milledge is the pianist.
RCA VICTOR RED SEAL 720307
The second album showcases her arrangement for
soprano saxophone of the Philip Glass Violin
Concerto. Mikel Toms conducts the Royal
Philharmonic Orchestra.
ABC CLASSICS 438 6102
RCA VICTOR RED SEAL 737679
The TSO Australian Composer Series includes an
appealing selection, all performed by the Tasmanian
Symphony Orchestra with Richard Mills conducting:
White Ghost Dancing, Veni Creator Spiritus, Mountain
Village in a Clearing Mist, Enyato I and the Guitar
Concerto with Karin Schaupp.
And fresh out of the studio is the premiere recording
of Holbrooke’s beguiling Saxophone Concerto from
1927. Dickson also plays in Country Dances by
Richard Rodney Bennett, and the disc begins with
Holbrooke’s Aucassin and Nicolette suite. George Vass
conducts the Royal Scottish National Orchestra.
ABC CLASSICS 476 2270
DUTTON/VOCALION 7277
Sydney Symphony principal Diana Doherty is the
star on an all-Edwards recording featuring Bird Spirit
Dreaming’. Two shorter works for oboe and orchestra
complete the disc: Yanada and Ulpirra. Arvo Volmer
conducts the Melbourne Symphony Orchestra.
Broadcast Diary
October
ABC CLASSICS 476 7173
RAVEL
If you’re looking for tonight’s selection of Ravel pieces,
seek out the recent re-release of Lorin Maazel’s 1982
recording with the ORTF (French Radio) National
Orchestra. Alborada del gracioso in its orchestral
version is followed by Bolero and La Valse. The bonus
treat is Rapsodie espagnole.
SONY 771 0922
To hear a thrilling rendition of Alborada in its piano
version, look no further than Dinu Lipatti.
EMI CLASSICS 07318
abc.net.au/classic
Monday 8 October, 7pm
dancing with the saxophone
See this program for details
Thursday 11 October, 8pm
beauty and turmoil
Vladimir Ashkenazy conductor
Jian Wang cello
Dvořák, Shostakovich
Farewell concert before the orchestra departs for China
Thursday 25 October, 1.05pm
MIGUEL HARTH-BEDOYA
harmony from heaven (2010)
Last November saw the release of Nazareno, with Miguel
Harth-Bedoya conducting the Orquesta Sinfónica de
Castilla y León in music by Golijov with Ginastera’s
Estancia and Revueltas’ La noche de los mayas. The title
work, Nazareno, by Golijov features French duo pianists,
Katia and Marielle Labèque. It can be found on the
Spotify and MOG streaming services (search
“Nazareno”) and is also available for purchase
through the Australian iTunes Store.
Matthew Coorey conductor
Diana Doherty oboe
Alexandre Oguey cor anglais
Beethoven, Lentz, Stravinsky, Sibelius
With introductions by Andrew Ford
Also among Harth-Bedoya’s most recent releases is
the Grammy-nominated Traditions and Transformations:
16 sydney symphony
Fine Music 102.5
sydney symphony 2012
Tuesday 9 October, 6pm
Musicians, staff and guest artists discuss what’s in
store in our forthcoming concerts.
Webcasts
Selected Sydney Symphony concerts are webcast live
on BigPond and Telstra T-box and made available
for later viewing On Demand. Our next webcast:
dancing with the saxophone
Visit: bigpondmusic.com/sydneysymphony
MAHLER ODYSSEY ON CD
During the 2010 and 2011 concert
seasons, the Sydney Symphony
and Vladimir Ashkenazy set out to
perform all the Mahler symphonies,
together with some of the song
cycles. These concerts were
recorded for CD, with nine releases
so far and more to come.
Mahler 9
OUT NOW
In March, Mahler’s Ninth, his last
completed symphony, was released.
SSO 201201
Sydney Symphony Live
ALSO CURRENTLY AVAILABLE
The Sydney Symphony Live label was founded in
2006 and we’ve since released more than a dozen
recordings featuring the orchestra in live concert
performances with our titled conductors and
leading guest artists, including the Mahler
Odyssey cycle, begun in 2010. To purchase, visit
sydneysymphony.com/shop
Mahler 1 & Songs of a Wayfarer
SSO 201001
Mahler 8
(Symphony of a Thousand)
SSO 201002
Mahler 5
SSO 201003
Song of the Earth
Glazunov & Shostakovich
Alexander Lazarev conducts a
thrilling performance of
Shostakovich 9 and Glazunov’s
Seasons. SSO 2
SSO 201004
Mahler 3
SSO 201101
Mahler 4
SSO 201102
Mahler 6
SSO 201103
Mahler 7
SSO 201104
Strauss & Schubert
Gianluigi Gelmetti conducts
Schubert’s Unfinished and
R Strauss’s Four Last Songs with
Ricarda Merbeth. SSO 200803
Sydney Symphony Online
Sir Charles Mackerras
A 2CD set featuring Sir Charles’s
final performances with the
orchestra, in October 2007.
Join us on Facebook
facebook.com/sydneysymphony
SSO 200705
Follow us on Twitter
twitter.com/sydsymph
Brett Dean
Brett Dean performs his own viola
concerto, conducted by Simone
Young, in this all-Dean release.
Watch us on YouTube
www.youtube.com/SydneySymphony
SSO 200702
Visit sydneysymphony.com for concert
information, podcasts, and to read the
program book in the week of the concert.
Ravel
Gelmetti conducts music by
one of his favourite composers:
Maurice Ravel. Includes Bolero.
SSO 200801
Rare Rachmaninoff
Rachmaninoff chamber music with
Dene Olding, the Goldner Quartet,
soprano Joan Rodgers and Vladimir
Ashkenazy at the piano. SSO 200901
Stay tuned. Sign up to receive our
fortnightly e-newsletter
sydneysymphony.com/staytuned
Download our free mobile app
for iPhone or Android
sydneysymphony.com/mobile_app
sydney symphony 17
ABOUT THE ARTISTS
Miguel Harth-Bedoya was born in Peru and studied
conducting at the Curtis Institute and then the Juilliard
School. 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
12th season as Music Director of the Fort Worth Symphony
Orchestra, and will take up the post of Chief Conductor
of the Norwegian Radio Orchestra in 2013.
As a guest conductor he appears throughout North America
with orchestras such as the Boston Symphony Orchestra,
Philadelphia Orchestra, Los Angeles Philharmonic, Atlanta
Symphony Orchestra and the Toronto Symphony Orchestra.
Recent European engagements have included 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), and Sentimiento Latin with Peruvian tenor
Juan Diego Flóres. In 2009 his recording Traditions and
Transformations with Yo-Yo Ma and the Chicago Symphony
Orchestra was nominated for Grammy Awards in two
categories. Last year he recorded Golijov’s Nazareno with
pianists Katia and Marielle Labèque, and will conduct this
work here in Sydney in 2013.
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.
He is also the creator and conductor of Caminos del Inka, a
multimedia 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
Sydney Symphony was in 2010.
miguelharth-bedoya.com
18 sydney symphony
VAN LENTE
Miguel Harth-Bedoya CONDUCTOR
Amy Dickson SAXOPHONE
These concerts represent Amy Dickson’s first appearance
with the Sydney Symphony in the Sydney Opera House
following her win here in the grand final of the 2004
ABC/Symphony Australia Young Performers Awards. Since
then, she has become a leader in her field, internationally
recognised for her distinctive tone and exceptional
musicality and technique.
Amy Dickson appears as a recitalist and concerto soloist
throughout Europe, as well as in Australasia, where she has
appeared with nearly all the major symphony orchestras.
Highlights have included concerts with the London
Philharmonic Orchestra, Royal Philharmonic Orchestra,
the Philharmonia Orchestra and the Vienna Chamber
Orchestra, and appearances at the Wigmore Hall, London,
as well as in Prague, Amsterdam, Harare, Beirut and Hong
Kong. As a chamber musician, she is collaborating with
the Mandelring and Chilingrian string quartets, and her
festival engagements include the Cheltenham Festival and
the Australian Festival of Chamber Music.
She has recorded for ABC Classic FM, Fine Music 102.5
and the BBC, and her discography includes Smile (2008)
and a recording featuring her own arrangement of the
Philip Glass Violin Concerto. Last year she made the world
premiere recording of Holbrooke’s saxophone concerto
with the Royal Scottish National Orchestra.
Amy Dickson regularly commissions new works
for saxophone as well as arranging music from other
instrumental repertoire. Composers writing for her
include Peter Sculthorpe, Geoffrey Gordon, Piet Swerts
and Jessica Wells, and Ross Edwards and Graeme Koehne
have arranged their oboe concertos for saxophone
performance. She is equally a champion of the established
saxophone repertoire, performing concertos by composers
such as Glazunov, Villa-Lobos, Ibert and Milhaud.
Amy Dickson was born in Sydney and studied at London’s
Royal College of Music, the Amsterdam Conservatorium
and the Sydney Conservatorium of Music, where her
teachers have included Kyle Horch, Arno Bornkamp and
Mark Walton. Her association with the Sydney Symphony
has included participation in the James Fairfax Young
Artist program, and recordings of Dubois’ Divertissement
and the Larsson concerto. In 2006 she performed the
Binge concerto with the orchestra in Blacktown, Orange
and Bathurst.
www.amydickson.com
Amy Dickson is an ambassador
of the Prince’s Trust and the
Australian Children’s Music
Foundation. She is a Selmer
Paris Performing Artist, is
dressed by Armani, and is
endorsed by REN skincare.
sydney symphony 19
MUSICIANS
Vladimir Ashkenazy
Principal Conductor
and Artistic Advisor
supported by Emirates
Dene Olding
Concertmaster
Jessica Cottis
Assistant Conductor
supported by Premier Partner
Credit Suisse
FIRST VIOLINS
VIOLAS
FLUTES
TRUMPETS
Kirsten Williams
Roger Benedict
Tobias Breider
Anne-Louise Comerford
Robyn Brookfield
Sandro Costantino
Jane Hazelwood
Stuart Johnson
Justine Marsden
Felicity Tsai
Leonid Volovelsky
Jacqueline Cronin°
Tara Houghton*
David Wicks*
Justin Williams
Janet Webb
Carolyn Harris
Rosamund Plummer
Emma Sholl
David Elton
Paul Goodchild
Anthony Heinrichs
Craig Ross*
John Foster
OBOES
TROMBONES
Shefali Pryor
Alexandre Oguey
Ronald Prussing
Nick Byrne
Colin Burrows*
Scott Kinmont
Christopher Harris
Associate Concertmaster
Sun Yi
Associate Concertmaster
Fiona Ziegler
Assistant Concertmaster
Julie Batty
Jennifer Booth
Marianne Broadfoot
Brielle Clapson
Sophie Cole
Amber Davis
Jennifer Hoy
Nicola Lewis
Alexander Norton
Léone Ziegler
Claire Herrick°
Elizabeth Jones°
Lucy Warren†
Dene Olding
Concertmaster
SECOND VIOLINS
Kirsty Hilton
Alexander Read
Emily Long
A/Assistant Principal
Susan Dobbie
Principal Emeritus
Maria Durek
Emma Hayes
Shuti Huang
Stan W Kornel
Benjamin Li
Philippa Paige
Biyana Rozenblit
Maja Verunica
Rebecca Gill*
Emily Qin°
Marina Marsden
Emma West
Assistant Principal
Nicole Masters
Assistant Principal
Principal Piccolo
Principal Cor Anglais
Rachel Cashmore†
Diana Doherty
David Papp
CLARINETS
TUBA
Steve Rossé
CELLOS
Lawrence Dobell
Christopher Tingay
Craig Wernicke
Leah Lynn
Principal Bass Clarinet
Assistant Principal
Francesco Celata
Richard Miller
BASSOONS
PERCUSSION
Matthew Wilkie
Fiona McNamara
Noriko Shimada
SAXOPHONES
Rebecca Lagos
Colin Piper
Mark Robinson
John Douglas*
Kevin Man*
Brian Nixon*
Christina Leonard*
James Nightingale*
HARP
DOUBLE BASSES
HORNS
Louise Johnson
Genevieve Lang*
Kees Boersma
Alex Henery
Neil Brawley
Ben Jacks
Geoffrey O’Reilly
Graham Hennings
Kristy Conrau
Timothy Nankervis
Elizabeth Neville
Christopher Pidcock
Adrian Wallis
David Wickham
Eleanor Betts†
Rowena Macneish°
Rachael Tobin°
Catherine Hewgill
Fenella Gill
Principal Emeritus
David Campbell
Steven Larson
Richard Lynn
David Murray
Benjamin Ward
Principal Contrabassoon
Principal 3rd
Marnie Sebire
Euan Harvey
Rachel Shaw°
Robert Johnson
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
TIMPANI
Bold = Principal
Italics = Associate Principal
* = Guest Musician
° = Contract Musician
† = Sydney Symphony Fellow
Grey = Permanent member of the
Sydney Symphony not appearing
in this concert
The men of the Sydney
Symphony are proudly
outfitted by Van Heusen.
SYDNEY SYMPHONY
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 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 Sydney Symphony also performs
in venues throughout Sydney and regional
New South Wales. International tours to
Europe, Asia and the USA have earned the
orchestra worldwide recognition for artistic
excellence, most recently in the 2011 tour of
Japan and Korea.
The Sydney Symphony’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’s award-winning
education program is central to its
commitment to the future of live symphonic
music, developing audiences and engaging the
participation of young people. The orchestra
promotes the work of Australian composers
through performances, recordings and its
commissioning program. Recent premieres
have included major works by Ross Edwards,
Liza Lim, Lee Bracegirdle, Gordon Kerry and
Georges Lentz, and the orchestra’s recording of
works by Brett Dean was released on both the
BIS and Sydney Symphony Live labels.
Other releases on the Sydney Symphony
Live label, established in 2006, include
performances with Alexander Lazarev,
Gianluigi Gelmetti, Sir Charles Mackerras
and Vladimir Ashkenazy. The orchestra has
recently completed recording the Mahler
symphonies, and has also released recordings
with Ashkenazy of Rachmaninoff and Elgar
orchestral works on the Exton/Triton labels,
as well as numerous recordings on the ABC
Classics label.
This is the fourth year of Ashkenazy’s tenure
as Principal Conductor and Artistic Advisor.
sydney symphony 21
BEHIND THE SCENES
Sydney
Symphony
Board
Sydney Symphony Staff
S
EXECUTIVE TEAM ASSISTANT
EX
GRAPHIC DESIGNER
John C Conde ao Chairman
Terrey Arcus am
Ewen Crouch
Ross Grant
Jennifer Hoy
Rory Jeffes
Andrew Kaldor
Irene Lee
David Livingstone
Goetz Richter
Lisa Davies-Galli
Li
Lucy McCullough
ARTISTIC OPERATIONS
A
Varsha Karnik
MANAGING DIRECTOR
M
MARKETING & ONLINE COORDINATOR
Rory Jeffes
R
Kaisa Heino
DATA ANALYST
DIRECTOR OF ARTISTIC PLANNING
D
MARKETING ASSISTANT
Peter Czornyj
Pe
Jonathon Symonds
Artistic Administration
Ar
Box Office
ARTISTIC ADMINISTRATION MANAGER
AR
MANAGER OF BOX OFFICE SALES &
OPERATIONS
Elaine Armstrong
El
ARTIST LIAISON MANAGER
AR
Ilmar Leetberg
Il
Lynn McLaughlin
MANAGER OF BOX OFFICE OPERATIONS
Tom Downey
RECORDING ENTERPRISE MANAGER
RE
Philip Powers
Ph
P
Education Programs
Ed
Sydney
Symphony
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 am
Mary Whelan
Rosemary White
22 sydney symphony
HEAD OF EDUCATION
H
Kim Waldock
K
EMERGING ARTISTS PROGRAM MANAGER
EM
Mark Lawrenson
M
EDUCATION COORDINATOR
ED
Rachel McLarin
R
Library
Li
LIBRARIAN
LI
Anna Cernik
An
LIBRARY ASSISTANT
LI
Victoria Grant
Vi
LIBRARY ASSISTANT
LI
Mary-Ann Mead
M
CUSTOMER SERVICE REPRESENTATIVES
Steve Clarke – Senior CSR
Michael Dowling
Derek Reed
John Robertson
Bec Sheedy
COMMUNICATIONS
HEAD OF COMMUNICATIONS &
SPONSOR RELATIONS
Yvonne Zammit
PUBLIC RELATIONS MANAGER
Katherine Stevenson
COMMUNICATIONS COORDINATOR
Janine Harris
DIGITAL CONTENT PRODUCER
Ben Draisma
Publications
ORCHESTRA MANAGEMENT
O
DIRECTOR OF ORCHESTRA MANAGEMENT
D
Aernout Kerbert
Ae
ORCHESTRA MANAGER
O
PUBLICATIONS EDITOR & MUSIC
PRESENTATION MANAGER
Yvonne Frindle
DEVELOPMENT
Chris Lewis
C
DIRECTOR OF DEVELOPMENT
ORCHESTRA COORDINATOR
O
Caroline Sharpen
Georgia Stamatopoulos
G
EXTERNAL RELATIONS MANAGER
OPERATIONS MANAGER
O
Stephen Attfield
Kerry-Anne Cook
K
PHILANTHROPY, PATRONS PROGRAM
TECHNICAL MANAGER
TE
Ivana Jirasek
Derek Coutts
D
DEVELOPMENT MANAGER
PRODUCTION COORDINATOR
PR
Amelia Morgan-Hunn
Tim Dayman
T
PRODUCTION COORDINATOR
PR
Ian Spence
Ia
STAGE MANAGER
ST
Peter Gahan
Pe
SALES AND MARKETING
SA
DIRECTOR OF SALES & MARKETING
D
Mark J Elliott
M
MARKETING MANAGER, SUBSCRIPTION SALES
M
Simon Crossley-Meates
Si
BUSINESS SERVICES
DIRECTOR OF FINANCE
John Horn
FINANCE MANAGER
Ruth Tolentino
ACCOUNTANT
Minerva Prescott
ACCOUNTS ASSISTANT
Emma Ferrer
PAYROLL OFFICER
Laura Soutter
A/SENIOR MARKETING MANAGER, SALES
A/
Matthew Rive
M
HUMAN RESOURCES
MARKETING MANAGER, BUSINESS RESOURCES
M
HEAD OF HUMAN RESOURCES
Katrina Riddle
K
Michel Hryce
ONLINE MARKETING MANAGER
O
Eve Le Gall
Ev
SYDNEY SYMPHONY PATRONS
Maestro’s Circle
Peter Weiss am – 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 & 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 Leadership Ensemble
Andrew Kaldor, Chairman, Pelikan Artline
Lynn Kraus, Sydney Office Managing Partner, Ernst & Young
Shell Australia Pty Ltd
James Stevens, CEO, Roses Only
Stephen Johns, Chairman, Leighton Holdings,
and Michele Johns
David Livingstone, CEO, Credit Suisse, Australia
Alan Fang, Chairman, Tianda Group
Tony Grierson, Braithwaite Steiner Pretty
Insurance Australia Group
Macquarie Group Foundation
John Morschel, Chairman, ANZ
Directors’ Chairs
01
02
03
06
07
08
01 Roger Benedict
Principal Viola
Kim Williams am &
Catherine Dovey Chair
02 Lawrence Dobell
Principal Clarinet
Anne Arcus & Terrey Arcus am Chair
03 Diana Doherty
Principal Oboe
Andrew Kaldor &
Renata Kaldor ao Chair
04
05
09
04 Richard Gill oam
Artistic Director Education
Sandra & Paul Salteri Chair
07 Elizabeth Neville
Cello
Ruth & Bob Magid Chair
05 Catherine Hewgill
Principal Cello
The Hon. Justice AJ &
Mrs Fran Meagher Chair
08 Colin Piper
Percussion
Justice Jane Mathews ao Chair
06 Robert Johnson
Principal Horn
James & Leonie Furber Chair
09 Emma Sholl
Associate Principal Flute
Robert & Janet Constable Chair
For information about the Directors’ Chairs program, please call (02) 8215 4619.
Sydney Symphony Vanguard
Vanguard Collective
Members
Justin Di Lollo – Chair
Kees Boersma
Rose Herceg
David McKean
Amelia Morgan-Hunn
Jonathan Pease
Matti Alakargas
Nikki Andrews
James Armstrong
Stephen Attfield
Andrew Baxter
Mar Beltran
Kees Boersma
Peter Braithwaite
Andrea Brown
Ian Burton
Jennifer Burton
Hahn Chau
Ron Christianson
Matthew Clark
Benoît Cocheteux
George Condous
Michael Cook
Paul Cousins
Justin Di Lollo
Rose Gallo
Sam Giddings
Derek Hand
Rose Herceg
Jennifer Hoy
Damian Kassagbi
Chris Keher
Elizabeth Lee
Antony Lighten
Gary Linnane
David McKean
Hayden McLean
Amelia Morgan-Hunn
Hugh Munro
Fiona Osler
Peter Outridge
Archie Paffas
Jonathan Pease
Seamus R Quick
Michael Reede
Jacqueline Rowlands
Bernard Ryan
Adam Wand
Jon Wilkie
Jonathan Watkinson
Darren Woolley
Misha Zelinsky
sydney symphony 23
PLAYING YOUR PART
The Sydney Symphony gratefully acknowledges the music lovers who donate to the orchestra
each year. Each gift plays an important part in ensuring our continued artistic excellence
and helping to sustain important education and regional touring programs. Donations of
$50 and above are acknowledged on our website at www.sydneysymphony.com/patrons
Platinum Patrons
$20,000+
Silver Patrons
$5000–$9,999
Brian Abel
Geoff Ainsworth am & Vicki Ainsworth
Robert Albert ao & Elizabeth Albert
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
Ms Rose Herceg
Mr Andrew Kaldor & Mrs Renata
Kaldor ao
D & I Kallinikos
James N Kirby Foundation
Mrs Joan MacKenzie
Justice Jane Mathews ao
Mrs Roslyn Packer ao
Dr John Roarty oam in memory of
Mrs June Roarty
Paul & Sandra Salteri
Mrs Penelope Seidler am
Mrs W Stening
Mr Fred Street am & Mrs Dorothy Street
Mr Peter Weiss am & Mrs Doris Weiss
Westfield Group
Mr Brian & Mrs Rosemary White
Ray Wilson oam in memory of
James Agapitos oam
Kim Williams am & Catherine Dovey
June & Alan Woods Family Bequest
Doug & Alison Battersby
Mr Alexander & Mrs Vera Boyarsky
Mr Robert Brakspear
Mr David & Mrs Halina Brett
Mr Robert & Mrs L Alison Carr
Bob & Julie Clampett
Howard Connors
Ewen & Catherine Crouch
Ian Dickson & Reg Holloway
Colin Draper & Mary Jane Brodribb
Penny Edwards
The Greatorex Foundation
Mrs Jennifer Hershon
The Sherry Hogan Foundation
Mr Rory Jeffes
Stephen Johns & Michele Bender
Judges of the Supreme Court of NSW
Mr Ervin Katz
The Estate of the late Patricia Lance
Mr David Livingstone
Timothy & Eva Pascoe
William McIlrath Charitable Foundation
David Maloney & Erin Flaherty
Rodney Rosenblum am & Sylvia
Rosenblum
Manfred & Linda Salamon
JF & A van Ogtrop
Michael & Mary Whelan Trust
Ms Caroline Wilkinson
Jill Wran
Anonymous (2)
Gold Patrons
$10,000–$19,999
Mr Marc Besen ao & Mrs Eva Besen ao
Jan Bowen
M Bulmer
Firehold Pty Ltd
Stephen Freiberg & Donald Campbell
Anthony Gregg & Deanne Whittleston
Vic & Katie French
Warren Green
Mrs Jennifer Hershon
Ann Hoban
In memory of Bernard M H Khaw
Gary Linnane
Matthew McInnes
J A McKernan
R & S Maple-Brown
Greg & Susan Marie
Alan & Joy Martin
Mora Maxwell
James & Elsie Moore
Drs Keith & Eileen Ong
In memory of H St P Scarlett
David & Isabel Smithers
Mr C R Adamson
Stephen J Bell
Alan & Christine Bishop
Ian & Jennifer Burton
Copyright Agency Limited
The Hon. Ashley Dawson-Damer
Edward Federman
Ferris Family Foundation
Nora Goodridge
Mr Ross Grant
The Estate of the late Ida Gugger
Helen Lynch am & Helen Bauer
Ruth & Bob Magid
The Hon. Justice AJ Meagher &
Mrs Fran Meagher
Mrs T Merewether oam
Mr B G O’Conor
Mrs Joyce Sproat & Mrs Janet Cooke
Henry & Ruth Weinberg
Anonymous (2)
24 sydney symphony
Bronze Patrons
$2,500–$4,999
Mrs Hedy Switzer
Marliese & Georges Teitler
Dr Richard Wingate
Mr & Mrs T & D Yim
Anonymous (2)
Bronze Patrons
$1,000–$2,499
Charles & Renee Abrams
Mrs Antoinette Albert
Andrew Andersons ao
Mr Henri W Aram oam
Dr Francis J Augustus
Richard and Christine Banks
David Barnes
Michael Baume ao & Toni Baume
Nicole Berger
Mrs Jan Biber
Allan & Julie Bligh
Lenore P Buckle
In memory of RW Burley
Eric & Rosemary Campbell
The Hon. Justice JC & Mrs Campbell
Dr John H Casey
Joan Connery oam & Maxwell
Connery oam
Constable Estate Vineyards
Debby Cramer & Bill Caukill
Mr John Cunningham SCM &
Mrs Margaret Cunningham
Greta Davis
Lisa & Miro Davis
Matthew Delasey
Mr & Mrs Grant Dixon
John Favaloro
Mr Ian Fenwicke & Prof. Neville Wills
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Fine Music 102.5
26 sydney symphony
Photo: Steven Godbee
ORCHESTRA NEWS | SEPTEMBER–OCTOBER 2012
`
We’re connecting
the musical dots
for people
a
MARRIED TO MUSIC
Principal Double Bass Kees Boersma pinpoints
some defining moments in his musical journey.
How did the youngest son of
eight children raised in rural
South Australia come to be the
Principal Double Bass of the
Sydney Symphony? As Kees
(rhymes with ‘bass’) Boersma
jokes, ‘all the trades were taken
care of, so I was given pretty free
rein in what I wanted to do!’
Music was his preferred holiday
activity, and involvement with
youth music organisations eventually led him to the Australian
Youth Orchestra. Playing Mahler
Six at the Perth Festival was
a key moment. ‘You can have
one experience like that that
completely blows your mind,
and makes you want to take the
jump.’ For Kees, the spark had
ignited.
After studies, Kees made his
way to Holland, the country of
his ancestors, and played in the
Concertgebouw Orchestra for a
number of seasons. But military
service loomed. ‘They did grant
me a year’s grace,’ he says, ‘but my
efforts to convince the authorities that my Dutch wasn’t good
enough to follow orders eventually failed – even though I used
my thickest Australian accent!’
Returning to Australia and
accepting a short-term contract
with Orchestra Victoria, a restless Kees considered a return
to an earlier television career.
‘But then Lawrence [Dobell,
Principal Clarinet of the Sydney
Symphony] rang to say there was
a job coming up, and I had to
audition.’
Twenty-two years later, Kees is
breaking new ground for Sydney
Symphony Vanguard, a membership program that takes classical
music and fuses it with other
genres, all in an intimate setting.
It’s an informal and engaging,
restless and sometimes irreverent approach to music making.
‘Vanguard seeks to find another
subset of our audience,’ Kees
explains. ‘We’re connecting the
musical dots for people. If someone’s interested, then they can
find new ways to engage.’
On the home front, there’s
more music in the family – his
gorgeous wife Kirsty McCahon
is also a bass player. ‘I get my
most severe criticism from her,
and also the most genuine compliments. She understands the
lifestyle and the life. If there’s a
big concert coming up for either
of us, we have an innate understanding about when not to push
the buttons.’ There are drawbacks though. ‘I bought a beautiful Italian instrument some years
ago, which she decided would be
perfect for her, and now I don’t
get to touch it!’ *Sigh*
sydneysymphony.com/vanguard
Event News
Photo: Paul Wilcock
Philanthropy Highlight
Photo: Genevieve Lang
Life’s gift
Madama Butterfly and ‘Un bel di’. Not a bad
introduction to classical music. The young Ray
Wilson’s connection with music was forged at the
free summertime concerts – ‘my family were quite
poor’ – at the Sidney Myer Music Bowl. Later
came a move to Sydney ‘to work at a pretty rough
printing company. I had a little transistor radio
tuned to the ABC on my desk, and I would just
listen, listen, listen.’ Here Ray met and worked for
the late James Agapitos, the man who soon became
his partner in business and in life.
These days, the two men’s names are proudly
visible in the world of philanthropy. Ray has
chosen to make a notified bequest to our orchestra.
‘The bequests I’m making are in both our names.
It’s a way of honouring James, and honouring
our relationship. We spent 40 very happy years
together.’
‘We owe it to say thank you to the institutions
that have been part of our lives. It’s all about saying
to the institution “I really enjoy our involvement
and I want to say thank you for having given me
pleasure and for improving the quality of my life.”
It’s a two-way street.’
If you’re considering making a notified bequest to
the Sydney Symphony, contact our Philanthropy
team: [email protected] or call
(02) 8215 4625.
Stephen Johns, Chairman of Leighton Holdings, welcomes the
audience to the annual special Leighton Holdings Discovery concert.
On the program? Discovering Mozart with the inspirational
guidance of Richard Gill (right) and the Sydney Sinfonia.
Your Say
I would like to say how much
I am enjoying having Bravo!
included in the concert
programs – and also to say
how much I always enjoy the
program notes. They are
consistently interesting and
certainly add to the listening
enjoyment.
Marianne Cochrane
I remember (misty-eyed) each
wonderful performance of the
Sibelius cycle in 2004, and
hearing Mr Ashkenazy’s words
of praise for the orchestra at
the final concert. To reprise the
Fifth Symphony, and introduce
new ones [in 2013], is for me,
a fitting way to celebrate and
conclude Mr Ashkenazy’s
tenure… Thank you too for the
nod to Britten in the centenary
of his death.
Shirley Pearson
I attended the concert last Friday
night [Wagner Under the Sails] –
what a magnificent performance!
I don’t believe this is a word that
is usually used in relation to
Wagner, but the SSO sounded
absolutely ravishing in the
orchestral items. Simone Young
did a fantastic job, inspiring the
orchestra to make this 80th
anniversary concert something
really special. Then we come to
the soloist. Christine Brewer was
just brilliant. A stunning voice
and I hope she will be coming
back to perform with the
orchestra in the future.
Jerome Prince-Foster
We like to hear from you.
Write to [email protected] or
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Artistic Focus
The Score
BAPTISM OF FIRE
Spanish Guitars
Photo: Kenneth Dundas
From inspiring audiences of tomorrow to the demands
of being a conductor-understudy – the role of Assistant
Conductor is a big commitment.
Conducting eight concerts for
almost 7,000 school children and
their teachers is one heck of a way
to begin your tenure as an assistant
conductor, but Australian-British
conductor Jessica Cottis didn’t bat
an eyelid. From the whirling of
Tchaikovsky’s Waltz of the Flowers
to the surging motion of Paul
Stanhope’s Groundswell, she
captured the attention of the
musicians and her young audience.
Jessica’s appointment was
announced in July, just as she
began her first stint with the
orchestra. ‘They were three
utterly brilliant weeks,’ she says.
During that time, she assisted
conductors Simone Young and
° (who was filling
Jakub Hruša
in at short notice for Tugan
Sokhiev), as well as conducting
education concerts at City
Recital Hall Angel Place and
Sydney Olympic Park.
Shortly after completing a
two-year appointment as
Assistant Conductor of the BBC
Scottish Symphony Orchestra,
Jessica received an email
‘completely out of the blue’
from our Director of Artistic
Planning, Peter Czornyj,
asking if she’d be interested in
auditioning for the Assistant
Conductor position in Sydney.
‘I was busy working on a
new opera in Glasgow, so I had
to make the return journey [to
audition] in the space of three
days – not to be recommended!
But I’m pleased to be able to
say that it must have gone well,
because here I am now!’
Peter Czornyj agrees. ‘Jessica
really impressed us with her
thorough preparation and clear
technique, demonstrating a range
of gestures and inspirational
authority.’
Jessica will accompany the
orchestra on the upcoming tour
to China, assisting Vladimir
Ashkenazy and being ready to
stand in at a moment’s notice.
Next year she will spend four
months with the orchestra.
‘Some of the conductors I’ll
assist will have done the pieces
over 50 times. They have a huge
amount of experience, and as
an emerging conductor there’s
so much I can learn from them.
Each week I work as assistant
I need to learn the music as
though I were conducting the
rehearsals and concert myself –
in case I have to go on and sub
for them. It’s a big commitment.’
In 2013 Jessica Cottis will conduct
concerts in the Mozart in the City
and Tea & Symphony series.
Spanish rhythms are so
compellingly infectious, aren’t
they? Whether it’s the flowing
festival dance of the sevillanas,
or the macho zapateado dance
step of the flamenco, these
traditional sounds get your toes
tapping, and conjure images
of toreadors and Andalusian
plains.
The gypsy dances of Manuel
de Falla’s Love, the Magician
were originally conceived in
1915 as a ballet for which Falla
created original melodies that
sounded like Spanish folk
tunes. This popular work has
been transcribed many times
since. For instance, the swirling,
mesmerising Ritual Fire Dance
was a favourite encore of pianist
Arthur Rubinstein (‘I had
to repeat it three times!’). In
November, the Los Angeles
Guitar Quartet bring their own
arrangement for four guitars and
orchestra.
Joaquín Rodrigo’s Concierto
andaluz – an original work for
four guitars and orchestra – was
commissioned by Celedonio
Romero, who premiered the
piece with his three sons. The
second son, Pepe, later taught
all four founding members
of the Los Angeles Guitar
Quartet (and when one left the
group he was replaced by the
student of another member!).
So each member of the LA
Guitar Quartet has in some
way inherited the spirit of
Rodrigo.
Thursday Afternoon Symphony
Thu 15 Nov | 1.30pm
Kaleidoscope
Fri 16, Sat 18 Nov | 8pm
CODA
INSTRUMENT FUND
We recently completed another
round of listening sessions and
tryouts for our string instrument
fund – auditioning ten violins from
London, and six violins and one
viola from Chicago. Although the
final decision wasn’t known at the
time of going to print, it’s hoped
that two or three instruments
will have been selected from this
recent group to add to our growing
instrument collection. Interested in
having a listen yourself? Contact
[email protected]
to ask about attending one of the
listening sessions.
GROWING VANGUARD
Ten new ground-breakers signed
up to our Vanguard program after a
recent event, which saw members
and guests transported from
Chippendale to Argentina. Special
guest, accordionist James Crabb,
and some of our musicians
performed a selection of dazzling
Piazzolla tangos, which of course
demanded some dancers. The
photos are on facebook.com/
SydneySymphonyVanguard
FAREWELL DECCA
We recently farewelled our longest
serving member of the behind-thescenes team – Derek ‘Decca’ Coutts,
who’s been our Technical Manager
for 16 years. He’s upped sticks and
moved out west to spend more time
with family. We wish him all the very
best for the future.
PROUD AS PUNCH
Som Howie, who plays clarinet in
our Sydney Sinfonia, has reached
the grand final of this year’s
ABC Symphony Australia Young
Performers Awards (YPA). He’ll
be performing Copland’s Clarinet
Concerto with the West Australian
Symphony Orchestra on Thursday
4 October at 6pm. Tune in to ABC
Classic FM and catch the excitement
as it happens.
BRAVO EDITOR Genevieve Lang
Please address all correspondence to the Publications Editor:
Email [email protected]
SYDNEY OPERA HOUSE TRUST
Mr Kim Williams AM [Chair]
Ms Catherine Brenner, The Hon Helen Coonan, Mr Wesley Enoch,
Ms Renata Kaldor AO, Mr Robert Leece AM RFD, Mr Peter Mason AM,
Dr Thomas Parry AM, Mr Leo Schofield AM, Mr John Symond AM
EXECUTIVE MANAGEMENT
Chief Executive Officer Louise Herron
Executive Producer SOH Presents Jonathan Bielski
Director, Theatre and Events David Claringbold
Director, Marketing, Communications and Director, Customer Services
Victoria Doidge
Building Development and Maintenance Greg McTaggart
Director, Venue Partners and Safety Julia Pucci
Chief Financial Officer Claire Spencer
SYDNEY OPERA HOUSE
Bennelong Point GPO Box 4274, Sydney NSW 2001
Administration (02) 9250 7111 Box Office (02) 9250 7777
Facsimile (02) 9250 7666 Website sydneyoperahouse.com
Young conductor Daniel Carter –
who led our musicians in this year’s
Playerlink program and will be
conducting schools concerts for us
later in the year – has received the
Brian Stacey Award for emerging
Australian conductors. Dan will
also be heading west in October
to conduct the WASO during the
judge’s adjudication of the YPA
grand final.
COMPOSITION COMPETITION
Are you aged between 18 and 29?
Do you have an original composition
for oboe, clarinet, bassoon, horn,
violin, viola, cello and double bass
that hasn’t been performed before
in public? Or have one in mind?
Then enter our composition
competition. You could have your
piece performed by the Sydney
Symphony Fellows and recorded
for broadcast on ABC Classic FM.
For more information, visit
bit.ly/CompositionComp2012
sydneysymphony.com/bravo
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