the Tchaikovsky`s Pathétique program book

2 0 12 S E A S O N
Tchaikovsky’s Pathétique
Impassioned Masterpiece
Wed 4 July 8pm
Fri 6 July 8pm
Sat 7 July 8pm
Ausgrid Master Series
WELCOME TO THE AUSGRID MASTER SERIES
Welcome to tonight’s concert at the Sydney Opera House. This evening we are
proud and delighted to also be welcoming to the podium David Robertson, in
some of his first concerts with the Sydney Symphony since the announcement
of his appointment as Chief Conductor and Artistic Director.
Robertson has appeared in the Ausgrid Master Series before: in 2010,
conducting Chopin, Beethoven’s Fifth and the Australian premiere of Adams’
Doctor Atomic Symphony; in 2008, conducting Tchaikovsky and Stravinsky’s
Firebird; and in 2003, for his Australian debut, conducting Grieg, Sibelius and
Nielsen.
Tonight’s program promises similar variety and inspiration, in a program that
brings together three different styles in a powerful combination. Following the
haunting music of Vaughan Williams we’ll hear violinist Anthony Marwood
performing Concentric Paths, the concerto written for him by another English
composer, Thomas Adès. In the second half we’ll experience Robertson’s
affinity with the orchestra in Tchaikovsky’s emotionally powerful Pathétique
Symphony.
The Ausgrid network includes the poles, wires and substations that deliver
electricity to more than 1.6 million homes and businesses in New South Wales.
Ausgrid is transforming the traditional electricity network into a grid that is
smarter, more reliable and more interactive – something we are very proud of.
We’re also extremely proud of our partnership with the Sydney Symphony and
our support of the orchestra’s flagship Master Series. We are supporting the
orchestra as a Community Partner, with the goal of bringing great music and
exciting performances to an even wider audience.
We trust that you will enjoy tonight’s performance and we look forward to
seeing you again at Ausgrid Master Series concerts throughout the season.
GEORGE MALTABAROW
Managing Director
4 sydney symphony
2012 season
ausgrid master series
Wednesday 4 July, 8pm
Friday 6 July, 8pm
Saturday 7 July, 8pm
Sydney Opera House Concert Hall
Tchaikovsky’s Pathétique:
Impassioned Masterpiece
David Robertson CONDUCTOR
Anthony Marwood VIOLIN
Wednesday night’s performance will
be recorded for later broadcast on
ABC Classic FM.
Ralph Vaughan Williams (1872–1958)
Fantasia on a Theme by Thomas Tallis
Pre-concert talk by David Robertson
at 7.15pm in the Northern Foyer.
Thomas Adès (born 1971)
Violin Concerto – Concentric Paths, Op.24
Rings
Paths
Rounds
Estimated durations:
16 minutes, 21 minutes,
20-minute interval, 47 minutes
The concert will conclude at
approximately 10pm.
INTERVAL
Pyotr Ilyich Tchaikovsky (1840–1893)
Symphony No.6 in B minor, Op.74,
Pathétique
Adagio – Allegro non troppo
Allegro con grazia
Allegro molto vivace
Finale (Adagio lamentoso – Andante)
PRESENTING PARTNER
sydney symphony 5
© RIA NOVOSTI/LEBRECHT MUSIC & ARTS
Portrait of Tchaikovsky by Nikolai Dmitriyevich Kuznetsov – painted in 1893, the year Tchaikovsky wrote his Sixth
Symphony and the last year of his life. It was praised by many, including Tchaikovsky himself: “I made the acquaintance
of the painter N.D. Kuznetsov, who wished to paint my portrait, and this he carried out with exceptional success, as
others have said and as I, too, think. Those citizens of Odessa who came to look at this portrait during the sittings
expressed their extraordinary delight, amazement, and joy over the fact that such a splendid work of art was being
painted in their city. The portrait was painted rather hurriedly, and that is why it may possibly not have the desired finish
in the details, but in terms of its expression, lifelikeness, and authenticity it really is remarkable.”
6 sydney symphony
INTRODUCTION
Musical Conversations
Tonight you could have stayed at home and listened to
recordings – your own personal playlist. But one of the
reasons for coming to orchestral concerts is to experience
a different kind of ‘playlist’ – a thoughtfully programmed
selection of pieces, devised by the conductor in collaboration
with the orchestra’s artistic planner. David Robertson has
said that he sees the relationships between different pieces
in a concert program as being like conversations. What do
musical works ‘say’ to each other, and to listeners, when they
are heard together?
The anchor in tonight’s program is Tchaikovsky’s
Pathétique Symphony, which, says Robertson, ‘combines this
quality of extrovert and introvert’. Nowhere is this more
vividly illustrated than in the combination of the third and
fourth movements, and nowhere is that more viscerally felt
than in the live concert setting.
‘I sincerely believe,’ he says, ‘ that Tchaikovsky wants us
to release our enthusiasm at the end of the third movement
with wild applause, much like we would at a sporting event.
What then follows is a movement about the terrible fact
that each one of us is an individual, isolated being. That
Tchaikovsky manages to make an entire audience experience
that sense of solitude together at the same time is brilliant
beyond description.’
The first half of the program brings a different emotional
impact. Last year, when Robertson conducted this program
at Carnegie Hall, he explained that the Adès Violin Concerto
has ‘so much going on’. The long central movement is a
classical passacaglia or chaconne, steeped in tradition; the
first movement offers a quicksilver violin line, spinning a
magical narrative; the third movement is haunting, with
a kind of ancient simplicity.
Robertson’s question was: How do you prime the audience
for a piece like the Adès? And the theme that emerged was
the way the past is a constant source of newness for the
present – musical DNA being passed along the generations.
The Adès contains so much of the history of the violin
repertoire, and Ralph Vaughan Williams, in his own
response to a hymn tune from a distant time, captures a
historical perspective. After hearing the Tallis Fantasia, the
things that are new about the Adès can surprise and enchant
us, says Robertson, and the things that are traditional come
through in a different way. Above all, ‘we will understand
each one better by having the two of them in proximity’.
Tchaikovsky manages to
make an entire audience
experience that sense
of solitude together…
sydney symphony 7
ABOUT THE MUSIC
Ralph Vaughan Williams
Fantasia on a Theme of Thomas Tallis
Keynotes
VAUGHAN WILLIAMS
Early in his career, among his many other activities besides
composing, Vaughan Williams was chief music editor for
a new Anglican church hymnbook, The English Hymnal,
published in 1906. In selecting items for the book from the
huge body of traditional hymnody, he pursued a veritable
crusade against what he considered to be the sentimental
piety and bad music that had infiltrated English church
singing during the Victorian era. His strategy was one of
‘back to the future’, and the result was a theologically ‘high
church’, musically ‘elite’ collection, heavily biased toward
early music: Gregorian chant and 16th-, 17th- and 18th-century
hymn tunes in authentic editions, with, as he himself boasted,
‘enervating tunes…reduced to a minimum’. Vaughan Williams
stressed that preferring a ‘good’ tune over a bad one was:
…a moral rather than a musical issue…it requires a certain
effort to tune oneself to the moral atmosphere implied by a fine
melody; and it is far easier to dwell in the miasma of the
languishing and sentimental hymn tunes which so often
disfigure our services.’
Some of very finest tunes he rediscovered were also –
to the ordinary churchgoer of the early 1900s – the oddest.
They include many tunes from the rhymed psalm books
of the Tudor period, like The whole Psalter translated into
English metre, published around 1567 by Queen Elizabeth I’s
Archbishop of Canterbury, Matthew Parker, and to which
her veteran court composer Thomas Tallis (c.1505–1585)
contributed nine new ‘tunes’. Like Vaughan Williams
centuries later, Tallis and Parker attributed moral qualities
to these melodies, depending on the mode or scale upon
which they were based. The first tune (based on the mode
close to the modern minor key scale) they described as
‘meek’ and ‘devout, while the third tune ‘doth rage and
roughly bayeth’. Accordingly, Tallis’s raging ‘third tune’ was
fitted to Parker’s rhymed version of Psalm 2, ‘Why fumeth
in fight the Gentiles’ spite?’, a paraphrase of the text better
known as ‘Why do the nations so furiously rage together?’.
The scale on which the third tune is based is, to modern
ears, the strangest of all modes (try singing the first five
notes quietly to yourself: me–fa–soh–lah–ti!). But it was this
extremely odd Third Tune by Tallis that Vaughan Williams
8 sydney symphony
Born Gloucestershire, 1872
Died London, 1958
His father was a vicar, his
mother descended from Josiah
Wedgwood, an uncle was
Lord Chief Justice, and Charles
Darwin a great uncle. RVW
himself was a mild-mannered,
mystical, agnostic Labour voter.
At the Royal College of Music,
Stokowski and Holst were
friends, Stanford and Parry his
teachers, as also later in Berlin
and Paris were Bruch and
Ravel. Like Bartók in Hungary,
from 1900 onwards RVW found
inspiration in his country’s
age-old folk music traditions.
His major legacy is his nine
symphonies, works of huge
emotional span, from the
pastoral third and fifth, to the
dissonant wartime fourth and
dramatic ninth. (‘Ralph’ is
pronounced in the traditional
way: rafe)
TALLIS FANTASIA
This 15-minute ‘meditation’
on a Tudor melody is scored,
like a set of Chinese boxes,
for three string ensembles of
diminishing size, the first full
symphonic strings; the second,
just nine players; third, a string
quartet. The opening minutes
consist of little else but Tallis’s
tune, given out by unison
lower strings, repeated by
high violins with harmonisation
from the ensemble. Phrases
then separate out, generating
new melodies for solo viola
and violin, traversing new
harmonic fields, building to
an impassioned climax.
The rhapsodic final section
canvasses feelings of
trepidation before peaceful
resolution.
chose, four years after completing his new hymnbook, as
theme for a string fantasia.
This 15-minute ‘meditation’ on Tallis’s melody is scored
for three string ensembles of diminishing size, ideally
separated physically. The opening couple of minutes
consist of little else but Tallis’s tune. Phrases then separate
out, generating new melodies for solo viola and violin,
building to an impassioned climax. Variously brooding
and rhapsodic, the final section appears to consider the
paradox of the potentially deadening weight of English
tradition, and yet its endless capacity to succour new
creative responses.
The Fantasia was first performed by the London Symphony
Orchestra, conducted by the composer, on 6 September
in Gloucester Cathedral as part of the 1910 Three Choirs
Festival, preceding Elgar’s Dream of Gerontius. Vaughan
Williams was worried that his modern listeners might find
Tallis’s melody alien and off-putting; or, as he put it, ‘that
the great art of Tallis connotes an exaltation of which we
are not capable’. And, although several reviews of the first
performance seemed to confirm this fear, the London
Times was positive: ‘The work is wonderful because it seems
to lift one into some unknown region of musical thought
and feeling. Throughout its course one is never sure
whether one is listening to something old or new.’ But the
same review has since been proved rather too cautious in
warning: ‘It could never thrive in a modern concert-room,
but in the quieter atmosphere of the cathedral the mind
falls readily into the reflective attitude necessary for the
enjoyment of every unexpected transition from chord to
chord.’
‘The work is wonderful
because it seems to lift
one into some unknown
region of musical thought
and feeling. Throughout
its course one is never
sure whether one is
listening to something
old or new.’
THE TIMES (1910)
GRAEME SKINNER © 2012
When giving instrumentations we don’t usually count out the strings,
but make an exception here for obvious reasons – the Fantasia calls for
Soli (two violins, viola, cello), Orchestra II (two first violins, two second
violins, two violas, two cellos, double bass), and Orchestra I (all the
string players we can muster). In these performances the solo string
quartet is placed at the front of the ensemble (where they also lead the
players of Orchestra I), with the nine musicians of Orchestra II at the
back where you might usually see the percussion.
The Sydney Symphony first gave a broadcast studio performance of
the Tallis Fantasia in 1940, conducted by Kenneth Murison Bourne.
The orchestra last played the Fantasia in 2005 with conductor Ola
Rudner.
sydney symphony 9
Thomas Adès
Violin Concerto – Concentric Paths, Op.24
Keynotes
ADÈS
Rings
Paths
Rounds
Adès’s Violin Concerto, written for Anthony Marwood and
scored for a Beethoven-scale orchestra with the crucial
addition of a pair of percussionists, was composed in 2005
and had its first performance at that year’s Berlin Festival.
Its subtitle, ‘Concentric Paths’, has to do with harmonic
circlings, as the composer has explained: the first
movement is ‘fast, with sheets of unstable harmony in
different orbits; the third playful, at ease, with stable cycles
moving in harmony at different rates’, while the middle
movement, the heart of the concerto, is ‘built from two
large, and very many small, independent cycles, which
overlap and clash, sometimes violently, in their motion
towards resolution’. One might note also that concentric
paths do not converge, and that those on them will circle
on eternally, unable to meet.
Both the outer movements, Rings and Rounds, are
geared to rhythmic machinery – a moto perpetuo in the
first movement and an infectious, snaking dance in the
finale. The dazzling, dizzying rings of the opening
movement, immediately establishing the work’s virtuoso
character, are spun largely by the soloist over slow
progressions that recall what was the composer’s most
recent big work, his opera The Tempest, though the roles can
also be reversed. The dance finale is, characteristically, at
once exciting and unsettling.
What comes in between, and provides the concerto’s
great weight, Paths, is also a dance, but one in the Baroque
tradition of the chaconne, and having qualities of gravity
and grief often associated with the chaconne by composers
from Purcell to Bach. Unlike the outer movements, with
their bouncing accents, this centrepiece has an unvarying
time signature, a sense of small, slow wheelings adding up
to a massive process, in keeping with the composer’s
description, and an atmosphere of darkness and struggle,
often expressed as if the music were stumbling forward on
heavy, dragging feet. Bright, perhaps frighteningly bright,
in the outer movements, the music’s voice is here one of
hardship being endured, of lamenting downward scales,
of angelic rhapsody (or pain) and of consolation, where
the violin is magically gathered into the rocking arms of
piccolo, orchestral violins and clarinet in succession. At
the end of this movement the voice goes down into the
10 sydney symphony
Born London, 1971
Thomas Adès (pronounced
AH-diss) made his debut as
concert pianist and composer in
London in 1993. His first major
score, Asyla, was premiered by
Simon Rattle and the City of
Birmingham Symphony in 1997.
His second orchestral work
for Rattle, Tevot (2007), was
commissioned by the Berlin
Philharmonic and Carnegie
Hall. In 2008 he and video artist
Tal Rosner produced a piano
concerto with moving image,
In Seven Days, on a commission
for the Los Angeles Philharmonic
and London Sinfonietta. In 2000
he became the youngest-ever
recipient of the prestigious
Grawemeyer Award. Adès
composed his violin concerto
Concentric Paths especially
for Anthony Marwood, who
premiered it in 2005.
CONCENTRIC PATHS
The composer writes: This
concerto has three movements,
like most, but it is really more
of a triptych, as the middle one,
Paths, is the largest. It is the
‘slow’ movement, built from
two large, and very many small,
independent cycles, which
overlap and clash, sometimes
violently, in their motion
towards resolution. The outer
movements too are circular in
design, the first, Rings, fast,
with sheets of unstable harmony
in different orbits, the third,
Rounds, playful, at ease, with
stable cycles moving in
harmony at different rates.
mellifluous murmurings of a down-and-out, enacted by the
violin in its lowest register with the orchestra’s furthest bass
instruments.
PAUL GRIFFIFTHS © 2007
Composer and pianist Thomas Adès was a student at
London’s Guildhall School of Music in the late 1980s
and then at Cambridge, where he studied with composer
Alexander Goehr. Signed up by the publisher Faber at 19,
his opus 1, a setting of T.S. Eliot’s Landscapes, appeared in
1990. From 1993 and 1995 he was Composer in Association
with the Hallé Orchestra, for which he composed These
Premises are Alarmed in 1996. Asyla (1997) was commissioned
by Simon Rattle and the City of Birmingham Symphony,
and Rattle conducted it again at his opening concert
as music director of the Berlin Philharmonic in 2002.
Adès’s first opera, Powder Her Face, premiered at the 1995
Cheltenham Festival, was televised by Channel Four and
release on DVD. In 1999, he was musical director of the
Aldeburgh Festival, and in 2001 he composed his Piano
Quintet for the Melbourne Festival, and premiered it there
with the Arditti Quartet. He was also featured composer at
the 2010 Melbourne Festival.
Around the time he composed the violin concerto on this
program, Adès was entering on a relationship with Israeli
video artist Tal Rosner. They became civil partners at the
beginning of 2006. A recent large-scale work, Polaris – Voyage
for Orchestra, his second major artistic collaboration with
Rosner, was premiered in 2011 by the New World Symphony,
and since then the score has also been played by the Los
Angeles Philharmonic, the New York Phiharmonic, the
San Francisco Symphony, and, conducted by Adès himself,
Amsterdam’s Concertgebouw Orchestra.
BRIAN VOICE
Adès in context
Paths is a dance in the
Baroque tradition of the
chaconne, and having
qualities of gravity and
grief often associated
with the chaconne by
composers from Purcell
to Bach.
Concentric Paths calls for an orchestra of two flutes (both doubling
piccolo), two oboes, two clarinets and two bassoons; three horns,
two trumpets, trombone and tuba; timpani and percussion; and a string
section of ten first violins, eight second violins, six violas, five cellos,
and three double basses.
This is the first time the Sydney Symphony has performed Concentric
Paths, which received its Australian premiere in Melbourne in 2010.
Previously the orchestra has performed Adès’ Chamber Symphony,
conducted by Marin Alsop in 2000, and Asyla, conducted by the
composer in 2010.
sydney symphony 11
Pyotr Ilyich Tchaikovsky
Symphony No.6 in B minor, Op.74, Pathétique
Keynotes
TCHAIKOVSKY
Adagio – Allegro non troppo
Allegro con grazia
Allegro molto vivace
Finale (Adagio lamentoso – Andante)
The original audience for the Sixth Symphony was
uncomprehending and ambivalent. Tchaikovsky had
expected this, writing to his nephew and the dedicatee,
‘Bob’ Davidov, that he wouldn’t be surprised if the
symphony were ‘torn to pieces’, even though he considered
it his best and most sincere work. The critic Hermann
Laroche suggested that audiences who ‘did not get to the
core’ of the symphony would ‘in the end, come to love it.’
As it turned out, it took them only 12 days. In the
intervening period its composer had died, and for the
second performance, in a memorial concert, it was
promoted with the composer’s subtitle: Pathétique (or
Pateticheskaia Simfoniia – ‘impassioned symphony’ – as he
had conceived it in Russian). The symphony was declared
a masterpiece.
The myth of the-Pathétique-as-suicide-note (not to
mention Tchaikovsky’s ‘suicide’ itself ) has been more or
less debunked in the past two decades, in particular by the
work of Alexander Poznansky. There are no grounds for
doubting that Tchaikovsky died from post-choleric
complications; the theory that his old classmates decided
in a ‘court of honour’ that he should commit suicide to
avoid disgrace has been undermined; and his social,
financial and artistic situation all speak against any other
motivation for suicide, even if he continued to be troubled
by his homosexuality.
The Sixth Symphony, specifically, seems to have been
a source of immense pride, satisfaction and joy to him.
And shortly after its premiere he is reported to have said
‘I feel I shall live a long time’.
He was wrong. And following his death, his audience –
now in mourning and seeking ‘portents’ – immediately
heard the Sixth Symphony (the Pathétique) in a fresh way.
New significance was given to the appearance in the first
movement of an Orthodox burial chant, ‘Repose the Soul’ –
a hymn sung only when someone has died – and to the
otherworldly, dying character of the slow finale.
Even if the symphony is not a suicide note, there is a
programmatic and semi-autobiographical underpinning
to the symphony that is the source of its unusual form and
turbulent emotions. Tchaikovsky admitted the existence
Born Kamsko-Votkinsk, 1840
Died St Petersburg, 1893
Tchaikovsky’s dramatic instinct
comes to the fore in his
ballets, operas, overtures and
symphonies. But he was less
successful at life than he was
with art. Having conducted the
premiere of the Pathétique
Symphony on 28 October,
Tchaikovsky died on 6 November
1893. Some say it was cholera,
others that it was an ‘honour
suicide’.
His emotions were always on
show. Ever the enthusiast, he
once danced an impromptu
ballet on the stage of Moscow
Conservatory with Saint-Saëns!
But, as The Sydney Morning
Herald’s St Petersburg
correspondent recalled in
1898: ‘Tchaikovsky himself was
never a good conductor, he
simply spoiled his works when
he directed them himself, being
altogether too nervous and
excitable.’
PATHÉTIQUE SYMPHONY
In the original Russian, the
nickname for the Sixth
Symphony means something
like ‘impassioned’. His brother
suggested it, Tchaikovsky
adopted and then almost
immediately retracted it, but
too late. But it’s appropriate,
since, as Tchaikovsky admitted:
‘without exaggeration, I have
put my whole soul into this
symphony.’
Two features are especially
striking. The second movement
is a waltz with five (rather than
three) beats to the bar; and the
finale (after a riotous third
movement that sounds like it
could be the end) brings the
symphony to a tragic close.
sydney symphony 13
 Tchaikovsky with his nephew
‘Bob’ Davidov
of a program but was cagey about the details, perhaps
because it reflected his romantic feelings for Davidov. The
closest we have is a sketched scenario, devised originally
for an abandoned symphony in E flat but appearing to
correspond with much of the Sixth Symphony:
Following is essence of plan for a symphony Life! First
movement – all impulse, confidence, thirst for activity. Must
be short (Finale death – result of collapse). Second movement
love; third disappointment; fourth ends with a dying away
(also short).
There are aspects of this program and the Sixth
Symphony that suggest suffering, but for Tchaikovsky the
composition of the symphony was a cathartic experience
rather than an expression of current sufferings. He himself
wrote: ‘Anyone who believes that the creative person is
capable of expressing what he feels out of a momentary
effect aided by the means of art is mistaken. Melancholy
as well as joyous feelings can always be expressive only out
of the Retrospective.’
In its art this is Tchaikovsky’s most innovative symphony.
He dares to conclude with a brooding slow movement and
uses boldly dramatic gestures to give the music its emotional
14 sydney symphony
impulse. The ‘limping’ elegance of the second movement
waltz would have been less surprising, to Russians at least –
its five-beat metre was a part of a tradition that was embraced
by Borodin, Rimsky-Korsakov and Mussorgsky (in his Pictures
at an Exhibition), and later Rachmaninoff (in The Isle of the
Dead).
In the Sixth Symphony Tchaikovsky comes to terms
with his professed inadequacies in structural matters. His
solution in the first movement was to extend the exposition
section, so well suited to his melodic gifts, and to compress
the central development section in which he felt his skills
inadequate. The music begins in the depths with the dark
colour of the bassoon and yet somehow Tchaikovsky
sustains a downward trajectory, or the impression of one,
for the whole work.
In the third movement the idea of ‘disappointment’ is
replaced by something more malevolent. In purely musical
terms it conflates two musical ideas – feverish tarantella
triplets and a spiky march – but the juxtapositions and
incursions into each other’s thematic territory create a
disturbing sense of antagonism. The movement’s applauseprovoking conclusion could be triumphant, or it could be
the crash of self-delusion.
The finale may not fit the formula established by
Tchaikovsky’s classical predecessors, but within the
emotional journey of the symphony its stark sense of
tragedy provides an inevitable conclusion – all the more
powerful for the grace and jauntiness of the preceding
movements.
YVONNE FRINDLE © 2008
Tchaikovsky’s Sixth Symphony calls for three flutes (one doubling
piccolo), two oboes, two clarinets and two bassoons; four horns,
two trumpets, three trombones and tuba; timpani and percussion
(cymbals, bass drum, tam-tam); and strings.
‘Just as I was starting on my
journey, the idea came to
me for a new symphony.
This time with a program,
but of the kind which
remains an enigma to all –
let them guess who can.
The work will be entitled ‘A
Program Symphony’ (No.6).
This program is penetrated
by subjective sentiment.
During my journey, while
composing it in my mind,
I frequently shed tears...
There will be much more
that is novel as regards form
in this work. For instance,
the Finale will not be a great
Allegro, but an Adagio of
considerable dimensions.
You cannot imagine what joy
I feel at the conviction that
my day is not yet over.’
Tchaikovsky describes the
symphony’s genesis in a
letter to his brother Anatoly.
The first Australian performance of the symphony was by the South
Australian Orchestra (precursor of the Adelaide Symphony Orchestra)
in 1923. The Sydney Symphony first performed it in 1939, conducted
by Malcolm Sargent, and most recently in 2010, conducted by
Alexander Vedernikov.
sydney symphony 15
MORE MUSIC
TALLIS’S TUNE
Tallis’s Third Tune has appeared on two popular film
soundtracks, for the TV series The Tudors (Season 2
Episode 10) and for Master and Commander. Also
search for «Tallis Why fum’th» on YouTube.
STOKOWSKI PLAYS RVW
In 1975, eighty years after he and Vaughan Williams
were students together, Leopold Stokowski recorded
the Tallis Fantasia with the strings of the Royal
Philharmonic Orchestra. It was among the very last
works he recorded and the venue was No.1 Studio,
Abbey Road, London.
Depending on your tastes, we recommend two quite
different recordings by David Robertson. First with
the St Louis Symphony, contemporary American
composer John Adams’ Doctor Atomic Symphony,
which Robertson conducted here in Sydney in 2010.
NONESUCH CD 468220
www.nonesuch.com/albums/doctor-atomic-symphony
Alternatively, with the Orchestre National de Lyon,
Robertson has recorded the orchestral suite from
Bartók’s ballet The Miraculous Mandarin.
HARMONIA MUNDI HCC 901777
NEWTON CLASSICS 8802025
FANTASIA IN THE CATHEDRAL
While we celebrate news that David Robertson will
take over as the Sydney Symphony’s chief conductor
in 2014, the Melbourne Symphony will welcome
British conductor Andrew Davis as its chief. Watch
Davis conducting the BBC Symphony in the Tallis
Fantasia inside the very cathedral – Gloucester –
where it was premiered in 1910.
Watch: bit.ly/FantasiaInTheCathedral
Broadcast Diary
June–July
abc.net.au/classic
Friday 6 July, 7.30pm
ADÈS & MARWOOD
abc/symphony australia
young performers awards
Concentric Paths was recorded by EMI, with Anthony
Marwood and the Chamber Orchestra of Europe, the
composer conducting. It is available either as a
download from iTunes or as a mid-price CD coupled
with Adès’s spectacular orchestral work Tevot, played
by the Berlin Philharmonic under Simon Rattle.
Stage III Final – Piano
Finalists: Young Kwon Choi, John Fisher,
Tony Lee, Jeremy So
Tasmanian Symphony Orchestra conducted by
Marc Taddei
Tchaikovsky, Prokofiev and Liszt
EMI CLASSICS 5099945781322
MORE ADÈS
In Seven Days is a spectacular multimedia
interpretation the Hebrew bible creation story, a
collaboration between Adès and video-artist Tal
Rosner. The recording, on a CD and DVD set (and
also as a download from iTunes), features pianist
Nicholas Hodges and the London Sinfonietta,
conducted by the composer. You can also listen and
watch Ades and Rosner discussing their work at:
www.londonsinfonietta.org.uk/listen-watch
SIGNUM SIGCD277
SYMPHONIC TCHAIKOVSKY
Until the demise of the Soviet Union, there was
nothing quite like the sound of a huge Russian
orchestra playing Tchaikovsky. It didn’t get much
better than the last recorded six-symphony cycle by
the USSR State Symphony Orchestra under Yevgeny
Svetlanov. You can also sample their performance of
Pathétique on YouTube.
Tuesday 17 July, 8pm
Wednesday 18 July, 8pm
sydney international piano competition
Nicholas Carter conductor
Mozart concerto finals
Thursday 19 July, 1.05pm
abc heritage broadcast: mahler 3
Edo de Waart conductor
Birgit Remmert soprano
Sydney Philharmonia Choirs
Sydney Children’s Choir
Mahler 3, recorded at the Sydney Town Hall in 2003
Friday 20 July, 8pm
Saturday 21 July, 2.30pm
sydney international piano competition
Nicholas Milton conductor
19th and 20th-century concerto finals
WARNER CLASSICS 469424 (5 CDS)
MULTIMEDIA ROBERTSON
Revisit this program by watching David Robertson
talk about his earlier performance of these works
with his St Louis Symphony at Carnegie Hall.
bit.ly/RobertsonDiscussesAdesRVW
16 sydney symphony
2MBS-FM 102.5
sydney symphony 2012
Tuesday 10 July, 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 latest webcast,
conducted by David Robertson:
kalkadungu
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.
Thursday 28 June at 6.30pm
Mahler 9
Visit: bigpondmusic.com/sydneysymphony
In March, Mahler’s Ninth, his last
completed symphony, was released.
Live webcasts can also be viewed via our mobile app.
Sydney Symphony Live
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
OUT NOW
SSO 201201
ALSO CURRENTLY AVAILABLE
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
Strauss & Schubert
Gianluigi Gelmetti conducts
Schubert’s Unfinished and
R Strauss’s Four Last Songs with
Ricarda Merbeth. SSO 200803
SSO 201004
Mahler 3
SSO 201101
Mahler 4
SSO 201102
Mahler 6
SSO 201103
Mahler 7
SSO 201104
Sydney Symphony Online
Sir Charles Mackerras
Join us on Facebook
facebook.com/sydneysymphony
A 2CD set featuring Sir Charles’s
final performances with the
orchestra, in October 2007.
Follow us on Twitter
twitter.com/sydsymph
SSO 200705
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

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for iPhone or Android
sydneysymphony.com/mobile_app
sydney symphony 17
American conductor David Robertson is a compelling
and passionate communicator whose stimulating ideas and
music-making have captivated audiences and musicians
alike, and he has established strong relationships with
major orchestras throughout Europe and North America.
He begins his tenure as Chief Conductor and Artistic
Director of the Sydney Symphony in 2014.
He is currently Music Director of the Saint Louis Symphony
and Principal Guest Conductor of the BBC Symphony
Orchestra. Other titled posts have included Music Director
of the Orchestre National de Lyon and resident conductor
of the Jerusalem Symphony Orchestra. A recognised expert
in 20th- and 21st-century music, he has also been Music
Director of the Ensemble Intercontemporain in Paris –
where composer and conductor Pierre Boulez was an early
supporter – and his discography includes works by such
composers as Adams, Bartók, Boulez, Carter, Ginastera,
Milhaud and Reich. He is also a champion of young
musicians, devoting time to working with students and
young artists.
In the 2012–2013 season he will appear with the New York
Philharmonic, Los Angeles Philharmonic, San Francisco
Symphony and at the Metropolitan Opera, and in Europe
with the Royal Concertgebouw Orchestra, Vienna Radio
Symphony Orchestra, Bavarian Radio Symphony Orchestra,
Israel Philharmonic and Ensemble Intercontemporain.
In September he will tour Europe with the Saint Louis
Symphony and violinist Christian Tetzlaff.
His awards and accolades include Musical America Conductor
of the Year (2000), Columbia University’s 2006 Ditson
Conductor’s Award, and, with the SLS, the 2005–06 ASCAP
Morton Gould Award for Innovative Programming. In 2010
he was elected a Fellow of the American Academy of Arts
and Sciences, and in 2011 a Chevalier de l’Ordre des Arts
et des Lettres.
He was born in Santa Monica, California, and educated at
the Royal Academy of Music in London, where he studied
French horn and composition before turning to conducting.
He is married to pianist Orli Shaham.
David Robertson made his Australian debut with the
Sydney Symphony in 2003 and since then has appeared
regularly with the orchestra, most recently in 2010 when he
conducted the Australian premiere of John Adams’ Doctor
Atomic Symphony.
18 sydney symphony
MICHAEL TAMMARO
David Robertson CONDUCTOR
British violinist Anthony Marwood is recognised
internationally for his versatility as an orchestral soloist,
chamber musician, recitalist and ensemble director. As
a soloist he has worked with leading conductors such as
Valery Gergiev, Yan Pascal Tortelier, Marin Alsop and Ilan
Volkov. This season, as well as making his debut with the
Sydney Symphony, he makes his first appearances with
the São Paulo Symphony in Brazil, the Musikkollegium
Winterthur in Switzerland, Orquestra Sinfonica de Galicia
in Spain and Norrlands Orchestra in Sweden.
Thomas Adès composed his violin concerto especially
for Anthony Marwood, who premiered it in Berlin and at
London’s BBC Proms in 2005, and has since played it with
the Los Angeles Philharmonic and the City of Birmingham
Symphony Orchestra. Steven Mackey – whose piano concerto
was played last week in the Meet the Music series – also
composed his concerto for violin and electric guitar, Four
Iconoclastic Episodes, for Anthony and himself to play. They
gave its British premiere last month.
Formerly artistic director of the Irish Chamber Orchestra,
he has also formed strong relationships the Australian
Chamber Orchestra, Australian National Academy of
Music and the Academy of St Martin in the Fields. In the
ASMF’s recent staged production of Stravinsky’s Soldier’s
Tale, Anthony Marwood acted the role of the violin-playing
Soldier. He has also collaborated with Indian classical
dancer Mayuri Boonham in acclaimed performances at
London’s South Bank and Royal Opera House.
He recently toured a Stravinsky recital program with
Thomas Adès at the piano. They were joined by cellist Steven
Isserlis in recital at Carnegie Hall in 2010 and at Wigmore
Hall in 2011. As violinist of the Florestan Trio, he presented
a Beethoven cycle at Wigmore Hall earlier this year. He is
the co-artistic director of the Peasmarsh Chamber Music
Festival and teaches annually at the Yellow Barn Festival in
Vermont. In 2006, the Royal Philharmonic Society named
him Instrumentalist of the Year.
www.anthonymarwood.com
PIA JOHNSON
Anthony Marwood VIOLIN
Anthony Marwood plays a 1736
Carlo Bergonzi violin, kindly
bought by a syndicate of
purchasers.
sydney symphony 19
MUSICIANS
Vladimir Ashkenazy
Principal Conductor
and Artistic Advisor
supported by Emirates
Dene Olding
Concertmaster
Nicholas Carter
Associate Conductor
supported by Premier Partner
Credit Suisse
FIRST VIOLINS
VIOLAS
FLUTES
TROMBONES
Dene Olding
Roger Benedict
Anne-Louise Comerford
Justin Williams*
Robyn Brookfield
Sandro Costantino
Jane Hazelwood
Graham Hennings
Stuart Johnson
Justine Marsden
Neil Thompson
Felicity Tsai
Leonid Volovelsky
Tara Houghton°
Tobias Breider
Janet Webb
Carolyn Harris
Rosamund Plummer
Ronald Prussing
Nick Byrne
Christopher Harris
Principal Piccolo
Principal Bass Trombone
Emma Sholl
Scott Kinmont
OBOES
TUBA
Shefali Pryor
David Papp
Diana Doherty
Alexandre Oguey
Tim Buzbee*
Steve Rossé
Principal Cor Anglais
Mark Robinson
Concertmaster
Sun Yi
Associate Concertmaster
Fiona Ziegler
Assistant Concertmaster
Roy Theaker*
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°
Kirsten Williams
CELLOS
Assistant Principal
CLARINETS
Richard Miller
Lawrence Dobell
Craig Wernicke
PERCUSSION
Principal Bass Clarinet
Susan Dobbie
Catherine Hewgill
Martin Smith*
Timothy Nankervis
Elizabeth Neville
Christopher Pidcock
David Wickham
Rowena Macneish°
Eleanor Betts†
Adam Szabo#
Rachael Tobin°
Leah Lynn
Principal Emeritus
Assistant Principal
HORNS
Maria Durek
Shuti Huang
Benjamin Li
Nicole Masters
Biyana Rozenblit
Freya Franzen*
Anthea Hetherington*
Belinda Jezek*
Emily Qin°
Lucy Warren†
Robin Wilson*
Emma West
Fenella Gill
Adrian Wallis
Ben Jacks
Geoffrey O’Reilly
Associate Concertmaster
SECOND VIOLINS
Marina Marsden
Emily Long
A/Assistant Principal
Assistant Principal
Emma Hayes
Stan W Kornel
Philippa Paige
Maja Verunica
Francesco Celata
Christopher Tingay
BASSOONS
Nicole Tait°
Noriko Shimada
Principal Contrabassoon
Matthew Wilkie
Fiona McNamara
Rebecca Lagos
Philip South*
HARP
Louise Johnson
Bold = Principal
Italics = Associate Principal
* = Guest Musician
° = Contract Musician
† = Sydney Symphony Fellow
Grey = Permanent member of the
Sydney Symphony not appearing
in this concert
Principal 3rd
DOUBLE BASSES
Kees Boersma
Alex Henery
Neil Brawley
Marnie Sebire
Euan Harvey
Robert Johnson
Principal Emeritus
TRUMPETS
David Campbell
Steven Larson
David Murray
Benjamin Ward
Douglas Rutherford†
Richard Lynn
David Elton
Anthony Heinrichs
Paul Goodchild
John Foster
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
TIMPANI
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
John C Conde ao Chairman
Terrey Arcus am
Ewen Crouch
Ross Grant
Jennifer Hoy
Rory Jeffes
Andrew Kaldor
Irene Lee
David Livingstone
Goetz Richter
David Smithers am
Sydney Symphony Staff
MANAGING DIRECTOR
MARKETING & ONLINE COORDINATOR
Rory Jeffes
Kaisa Heino
EXECUTIVE TEAM ASSISTANT
GRAPHIC DESIGNER
Lisa Davies-Galli
Lucy McCullough
ARTISTIC OPERATIONS
Varsha Karnik
DATA ANALYST
DIRECTOR OF ARTISTIC PLANNING
MARKETING ASSISTANT
Peter Czornyj
Jonathon Symonds
Artistic Administration
Box Office
ARTISTIC ADMINISTRATION MANAGER
MANAGER OF BOX OFFICE SALES &
OPERATIONS
Elaine Armstrong
ARTIST LIAISON MANAGER
Ilmar Leetberg
Lynn McLaughlin
MANAGER OF BOX OFFICE OPERATIONS
Tom Downey
RECORDING ENTERPRISE MANAGER
Philip Powers
Education Programs
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
Joan MacKenzie
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
Kim Waldock
EMERGING ARTISTS PROGRAM MANAGER
Mark Lawrenson
EDUCATION COORDINATOR
Rachel McLarin
CUSTOMER SERVICE REPRESENTATIVES
Steve Clarke – Senior CSR
Michael Dowling
Derek Reed
John Robertson
Bec Sheedy
COMMUNICATIONS
HEAD OF COMMUNICATIONS
Yvonne Zammit
Library
PUBLICIST
LIBRARIAN
Katherine Stevenson
Anna Cernik
DIGITAL CONTENT PRODUCER
LIBRARY ASSISTANT
Ben Draisma
Victoria Grant
LIBRARY ASSISTANT
Mary-Ann Mead
Publications
PUBLICATIONS EDITOR & MUSIC
PRESENTATION MANAGER
Yvonne Frindle
ORCHESTRA MANAGEMENT
DEVELOPMENT
DIRECTOR OF ORCHESTRA MANAGEMENT
Aernout Kerbert
DIRECTOR OF DEVELOPMENT
Caroline Sharpen
ORCHESTRA MANAGER
Chris Lewis
ORCHESTRA COORDINATOR
Georgia Stamatopoulos
OPERATIONS MANAGER
Kerry-Anne Cook
TECHNICAL MANAGER
Derek Coutts
CORPORATE RELATIONS
Julia Owens
CORPORATE RELATIONS
Stephen Attfield
PHILANTHROPY, PATRONS PROGRAM
Ivana Jirasek
PHILANTHROPY, EVENTS & ENGAGEMENT
Amelia Morgan-Hunn
PRODUCTION COORDINATOR
Tim Dayman
PRODUCTION COORDINATOR
Ian Spence
STAGE MANAGER
Peter Gahan
BUSINESS SERVICES
DIRECTOR OF FINANCE
John Horn
FINANCE MANAGER
Ruth Tolentino
ACCOUNTANT
SALES AND MARKETING
Minerva Prescott
DIRECTOR OF SALES & MARKETING
ACCOUNTS ASSISTANT
Mark J Elliott
Emma Ferrer
MARKETING MANAGER, SUBSCRIPTION SALES
Simon Crossley-Meates
HUMAN RESOURCES
HUMAN RESOURCES MANAGER
A/SENIOR MARKETING MANAGER, SALES
Matthew Rive
MARKETING MANAGER, BUSINESS RESOURCES
Katrina Riddle
ONLINE MARKETING MANAGER
Eve Le Gall
Anna Kearsley
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
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
Macquarie Group Foundation
John Morschel, Chairman, ANZ
Andrew Kaldor, Chairman, Pelikan Artline
Directors’ Chairs
01
02
03
04
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
05
06
07
08
09
10
04 Richard Gill oam
Artistic Director Education
Sandra & Paul Salteri Chair
08 Colin Piper
Percussion
Justice Jane Mathews ao Chair
05 Jane Hazelwood
Viola
Veolia Environmental Services Chair
09 Shefali Pryor
Associate Principal Oboe
Rose Herceg Chair
06 Catherine Hewgill
Principal Cello
Tony & Fran Meagher Chair
10 Emma Sholl
Associate Principal Flute
Robert & Janet Constable Chair
07 Elizabeth Neville
Cello
Ruth & Bob Magid Chair
For information about the Directors’
Chairs program, please call
(02) 8215 4619.
Join in the conversation
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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 sydneysymphony.com/patrons
Platinum Patrons
$20,000+
Silver Patrons
$5,000–$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
Dr Bruno & Mrs Rhonda Giuffre
In memory of Hetty & Egon Gordon
Ms Rose Herceg
Mrs E Herrman
Mr Andrew Kaldor &
Mrs Renata Kaldor ao
D & I Kallinikos
James N Kirby Foundation
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
Anonymous (1)
Mark Bethwaite am & Carolyn
Bethwaite
Jan Bowen
Mr Alexander & Mrs Vera Boyarsky
Mr Robert Brakspear
Mr David & Mrs Halina Brett
Mr Robert & Mrs L Alison Carr
Bob & Julie Clampett
Ian Dickson & Reg Holloway
Mr Colin Draper & Mary Jane Brodribb
Penny Edwards
John Favaloro
Mr Edward Federman
Michael & Gabrielle Field
Mr James Graham am &
Mrs Helen Graham
Mrs Jennifer Hershon
Michelle Hilton
Stephen Johns & Michele Bender
Judges of the Supreme Court of NSW
Mr Ervin Katz
The Estate of the late Patricia Lance
Gary Linnane
Mr David Livingstone
William McIlrath Charitable
Foundation
David Maloney & Erin Flaherty
Eva & Timothy Pascoe
Rodney Rosenblum am &
Sylvia Rosenblum
Manfred & Linda Salamon
The Sherry Hogan Foundation
David & Isabel Smithers
Ian & Wendy Thompson
Michael & Mary Whelan Trust
Dr Richard Wingate
Jill Wran
Anonymous (1)
Gold Patrons
$10,000–$19,999
Mr C R Adamson
Alan & Christine Bishop
Ian & Jennifer Burton
Copyright Agency Limited
The Estate of Ruth M Davidson
The Hon. Ashley Dawson-Damer
Paul R Espie
Ferris Family Foundation
James & Leonie Furber
Mr Ross Grant
The Estate of the late Ida Gugger
Helen Lynch am & Helen Bauer
Mrs Joan MacKenzie
Ruth & Bob Magid
Mrs T Merewether oam
Tony & Fran Meagher
Mr B G O’Conor
Mrs Joyce Sproat & Mrs Janet Cooke
Ms Caroline Wilkinson
Anonymous (2)
24 sydney symphony
Bronze Patrons
$2,500 – $4,999
Dr Lilon Bandler
Stephen J Bell
Marc Besen ao & Eva Besen ao
Lenore P Buckle
Howard Connors
Ewen & Catherine Crouch
Firehold Pty Ltd
Vic & Katie French
Mr Erich Gockel
Ms Kylie Green
Anthony Gregg & Deanne Whittleston
Ann Hoban
Irwin Imhof in memory of Herta Imhof
J A McKernan
R & S Maple-Brown
Greg & Susan Marie
Mora Maxwell
James & Elsie Moore
Justice George Palmer am
Bruce & Joy Reid Foundation
Mary Rossi Travel
Mrs Hedy Switzer
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J F & A van Ogtrop
Anonymous (3)
Bronze Patrons
$1,000-$2,499
Charles & Renee Abrams
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David Barnes
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Phil & Elese Bennett
Nicole Berger
Mrs Jan Biber
Allan & Julie Bligh
M Bulmer
In memory of R W Burley
Eric & Rosemary Campbell
Dr John H Casey
Debby Cramer & Bill Caukill
Dr Diana Choquette &
Mr Robert Milliner
Joan Connery oam & Maxwell
Connery oam
Mr John Cunningham scm &
Mrs Margaret Cunningham
Greta Davis
Lisa & Miro Davis
Matthew Delasey
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Dr & Mrs C Goldschmidt
Warren Green
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In memory of the late Dora &
Oscar Grynberg
Janette Hamilton
Dorothy Hoddinott ao
Paul & Susan Hotz
The Hon. David Hunt ao qc &
Mrs Margaret Hunt
Dr & Mrs Michael Hunter
Mr Peter Hutchison
Michael & Anna Joel
The Hon. Paul Keating
In Memory of Bernard MH Khaw
Anna-Lisa Klettenberg
Mr Justin Lam
Wendy Lapointe
Mr Peter Lazar
Dr Winston Liauw
Kevin & Deidre McCann
Robert McDougall
Ian & Pam McGaw
Matthew McInnes
Macquarie Group Foundation
Mr Robert & Mrs Renee Markovic
Alan & Joy Martin
Harry M Miller, Lauren Miller Cilento
& Josh Cilento
Miss An Nhan
Ms Jackie O’Brien
Mrs Rachel O’Conor
Drs Keith & Eileen Ong
Mr R A Oppen
Mr Robert Orrell
Mr & Mrs Ortis
Maria Page
Piatti Holdings Pty Ltd
Adrian & Dairneen Pilton
Robin Potter
Dr Raffi Qasabian
Ernest & Judith Rapee
Kenneth R Reed
Patricia H Reid Endowment Pty Ltd
Robin Rodgers
John Saunders
In memory of H St P Scarlett
Juliana Schaeffer
Mr & Mrs Jean-Marie Simart
Catherine Stephen
John & Alix Sullivan
The Hon Brian Sully qc
Mildred Teitler
Alma Toohey & Edward Spicer
Andrew & Isolde Tornya
Gerry & Carolyn Travers
John E Tuckey
Mrs M Turkington
In memory of Joan & Rupert Vallentine
In memory of Dr Reg Walker
Henry & Ruth Weinberg
The Hon. Justice A G Whealy
Geoff Wood & Melissa Waites
Ann & Brooks Wilson am
Mr R R Woodward
In memory of Lorna Wright
Dr John Yu
Anonymous (12)
Bronze Patrons
$500–$999
Mr Peter J Armstrong
Mr & Mrs Garry S Ash
Mr & Mrs Anthony Barlow
Mrs Margaret Bell
Mrs Baiba B Berzins & Dr Peter
Loveday
Dr & Mrs Hannes Boshoff
Minnie Briggs
Dr Miles Burgess
Pat & Jenny Burnett
Ita Buttrose ao obe
Stephen Bryne & Susie Gleeson
The Hon. Justice J C & Mrs Campbell
Mr Percy Chissick
Mrs Catherine J Clark
R A & M J Clarke
Jen Cornish
Mr David Cross
Elizabeth Donati
Dr Nita & Dr James Durham
Greg Earl & Debbie Cameron
Mr & Mrs Farrell
Robert Gelling
Vivienne Goldschmidt
Mr Robert Green
Mr Richard Griffin am
Jules & Tanya Hall
Mr Hugh Hallard
Mr Ken Hawkings
Mrs A Hayward
Dr Heng & Mrs Cilla Tey
Mr Roger Henning
Harry & Meg Herbert
Sue Hewitt
Mr Joerg Hofmann
Ms Dominique Hogan-Doran
Mr Brian Horsfield
Alex Houghton
Bill & Pam Hughes
Susie & Geoff Israel
Mrs W G Keighley
Niki Kellenberger
Dr Henry Kilham
Mr & Mrs Gilles T Kryger
Sonia Lal
Luigi Lamprati
Mrs M J Lawrence
Dr & Mrs Leo Leader
Margaret Lederman
Mrs Yolanda Lee
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ORCHESTRA NEWS | JUNE–JULY 2012
❝
…I’ll be able to do
normal things like
a normal person!
❞
LUCKY BREAK
In 2001 Principal Cello Catherine Hewgill suffered a
potentially career-ending injury. She talks about what
it’s like to come through a period of such turmoil.
Catherine Hewgill is an elegantly
poised presence on stage.
Whether it’s the tranquil cello
solo from the slow movement
of Brahms’s Second Piano Concerto, or fearlessly leading her
troops into the fray of a mighty
Bruckner symphony, she takes it
all in her stride. Principal Cello
with the Sydney Symphony
for 22 years, Catherine even
managed to overcome a potentially career-ending injury when
she slipped over after a concert
and crushed all the bones in her
wrist. ‘The surgeon thought I
would never play again.’
Lying in her hospital bed,
Catherine initially welcomed
the thought of being able to
take time off. ‘Wow! For the
next couple of months, I’ll be
able to do normal things like a
normal person!’ Those feelings
quickly wore off. ‘I didn’t feel
at all fulfilled. I felt really
strongly that I’d lost my raison
d’être.’
It was a difficult, frustrating
time. ‘My husband said I was
horrible to live with, that
I wasn’t the same. He used to
say that I needed to be “clapped
at” about four times a week!
‘I really lost all my selfconfidence. I’ll never forget, after
14 months, when I came back
to work, it was like the first day
back at school. I was petrified!’
But after about 30 minutes of
rehearsal, it was like I’d never
left. It was really like getting
straight back on the bike.’
Was the accident a blessing
in disguise? A lot of people say
this after they’ve had some kind
of interruption in their career –
it felt like a rebirth.’ I felt as
though I played much better
than before, I thought about
things better, and I didn’t take
anything for granted any more.
In a way, so long as my wrist
holds out, it wasn’t such a bad
thing after all.’
So does Catherine take any
extra precautions now? ‘No!
I’m always shocking my husband
with the way I chop onions.
I love cooking. That’s my
favourite place to be – in the
kitchen. And he takes one look
at me, and then has to look away.
But I never really think about it.
I’m not precious at all.’
The Principal Cello Chair is supported by Fran & Tony Meagher.
Through this support, the Meaghers
enjoy a close relationship with
Catherine and the orchestra. For
more information on Directors’
Chairs call 8215 4663
Education News
Your Say
Meeting Steve Reich
Our post-concert surveys
always bring a variety
of views. The one for
Tchaikovsky at the Ballet in
April was no exception:
Dan Boud
Right: Violinist Freya Franzen, rehearsing
Reich’s Variations for Vibes, Pianos and
Strings.
Below: Wearing his trademark baseball
cap, the composer looks on in rehearsal.
Dan Boud
In May four members of the Sydney Symphony’s
emerging artists program – Freya Franzen, Liisa
Pallandi (violin), Tara Houghton (viola) and Adam
Szabo (cello) – took part in a marathon concert
celebrating the works of American minimalist
composer Steve Reich. The Sydney Opera
House hosted Steve’s residency, which included
performances of many of his seminal works. Our
musicians gave the Australian premiere of Variations
for Vibes, Pianos and Strings, alongside members of
Synergy Percussion, and other young string players,
conducted by Roland Peelman.
‘We can’t say that we have
enjoyed the first half of
the concert because of the
choice of the music pieces.
[Golijov’s Last Round] was
poorly composed and poorly
rehearsed. The second piece
“Spanish Garden” [sic]
was something resembling
the sound of a graveyard.
However, we thoroughly
enjoyed the second half of
the concert! The brilliant
music, the fine direction
of the conductor and the
passion of the orchestra
were absolutely heavenly!’
‘Conductor Andrew Grams
was a joy to watch – he
should have had a whip to
conduct with, not to hit the
musicians of course, but
to swish it above their
heads. He was on fire! The
music selection was very
interesting – [the Golijov]
Ask a Musician
One concert-goer was intrigued by the ophicleide,
which recently appeared in Berlioz’s Harold in Italy.
‘What are they, and why would a composer choose to
include them?’ he asked. Our resident ‘ophicleidian’
Nick Byrne was more than happy to respond.
The ophicleide was invented in
1817 by Frenchman Jean Hilaire
Asté. It’s a lower-pitched extension of the keyed bugle family
and came into being at a time
when composers were searching
for a lower voice to supplement
the sound of the trombone. Piston
valves were still in an early (some
would say primitive!) stage of their
development, but composers like
Berlioz (Symphonie fantastique,
Harold in Italy), Mendelssohn
(Overture to A Midsummer
Night’s Dream, Elijah) and Wagner
(Rienzi, The Flying Dutchman,
was like watching a tennis
game – left – right – left –
right! A marvellous questionand-answer piece. A big
thank you to all musicians
of the SSO as well as to the
pianist and the conductor.’
And from a star-struck
subscriber earlier in the year:
‘Wow! What a night it was!
Quite stupendous! Anne
Sophie Mutter [March]
was just unbelievable and
so worth waiting for all
these years. The orchestra
were wonderful and really
shone in the Shostakovich,
where Ashkenazy just came
alive… How privileged I felt
being able to attend this
wonderful concert. To many
more concerts of this class,
and look forward to having
Evgeny Kissin and Behzod
Abduraimov and Sophie
Mutter here again…soon!!’
We like to hear from
you. Write to yoursay@
sydneysymphony.com or
Bravo! Reply Paid 4338,
Sydney NSW 2001.
Lohengrin) all took advantage of
the ophicleide’s special sound.
Sweet and versatile in the upper
register, open and gruff in its
lower tones, the ophicleide is
wholly individual in character
and temperament compared with
its modern generic replacements.
Tragically, by 1860–70 the
ophicleide had been superseded
by the bass tuba and euphonium.
Nick Byrne, Second Trombone
www.ophicleide.com
Have a question about the music,
instruments or inner workings of
the orchestra? Write to us using the
Your Say addresses above.
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The Score
Wendell Teodoro
Artistic Focus
Crossover Classics
DAVID ROBERTSON
We announce David Robertson as Chief Conductor and
Artistic Director designate.
The story goes that at a performance of Szymanowski’s Fourth
Symphony by a North American
orchestra, the end of the thrilling
first movement drew applause
from a handful of eager audience
members. It was short-lived when
exuberance turned to embarrassment at clapping in the ‘wrong
place’. But the conductor for that
occasion quickly turned around
with words of reassurance: ‘It’s
okay. We’re excited too!’
The conductor was David
Robertson, the recently
announced Chief Conductor
designate of the Sydney Symphony.
And this delightful concert
vignette illustrates the importance
he places on honest and open
communication. He’s not afraid
to communicate with audiences,
introduce new ideas and be a
dynamic advocate for the music
of our time.
At the announcement of his
appointment on 15 May, Principal
Cello Catherine Hewgill recalled
Robertson’s first visit to the
Sydney Symphony in 2003: ‘I had
what can only be described as an
out-of-body experience during
a performance of John Adams’
Harmonielehre. Having David
direct us through this incredibly
harmonically complex music just
took me somewhere else completely.’
Current Principal Conductor
and Artistic Advisor Vladimir
Ashkenazy will continue to
return annually to the Sydney
Symphony. That the orchestra is
able to continue its relationship
with Ashkenazy, at the same time
as building a new partnership
with David Robertson is testament to the mutual respect and
admiration the musicians share
for both men, and the conductors
for each other. Critic Peter
McCallum from The Sydney
Morning Herald, summed up
Ashkenazy’s time with the
orchestra beautifully: ‘He has
built supportive audiences and
international networks and will
depart much loved for his deep
musical understanding, humility, warmth and charm, and the
abiding memory of many insightful performances.’
For the incoming Chief Conductor, Concertmaster Dene Olding
is full of praise: ‘He is an exceptional musician – highly intelligent, articulate and a wonderful
communicator. His four previous
appearances with the orchestra
have shown the breadth of his
repertoire and the sophistication
of his musical interpretations.’
David Robertson’s plans from
2014 include a series of innovative
projects with the orchestra. These
include an annual opera-in-concert, commissioning partnerships
with other orchestras such as the
Royal Concertgebouw, and annual
international touring. There’s
much to look forward to. As
Catherine Hewgill says, ‘This
marriage will be a good one!’
David Robertson’s tenure as Chief
Conductor will begin in 2014, with a
five-year contract.
Marco Borggreve
The wonders of technology allowed David Robertson to join us by live video feed from New
York for the announcement on 15 May. From left: Peter Czornyj, Simon Crean, John Conde,
Catherine Hewgill and Rory Jeffes.
The blurring of genres is nothing
new. These days we tend to associate the term ‘crossover’ with
performers – think Katherine
Jenkins or Aled Jones – but crossover might also describe composers’ experimentations with form
and genre. Take Brahms’s First
Piano Concerto. This ambitious
work began life as a fledgling
attempt at a symphony. But the
figure of Beethoven loomed large
for young Brahms, who lost
confidence: ‘You’ve no idea what
it’s like to hear the footsteps of a
giant like that behind you.’ He
re-worked the material, first into
a sonata for two pianos and eventually his First Piano Concerto.
Grand in scope, it’s almost a symphony for piano and orchestra.
Rachmaninoff ’s Symphonic
Dances also borrows from other
genres. As the title suggests, each
of the three movements is based
in dance. Similarly symphonic
in scope, the work began life as a
prospective ballet score – waltzes
and energetic rhythms abound,
orchestral colours (including
Rachmaninoff ’s only inclusion
of the alto saxophone) surround
the listener. In the majestic final
movement, Rachmaninoff recycles
the ‘Dies Irae’, the funereal plain
chant used to such great effect
in his Rhapsody on a Theme of
Paganini. Far from being dirge-like,
the ‘Dies Irae’ brings the music
to a brilliant climax that quotes
thrilling ‘Allelujahs’ from Rachmaninoff ’s Vespers, sounding a
final, powerful affirmation of faith.
Symphonic Dances
Brahms, Dvořák, Rachmaninoff
Ausgrid Master Series
Wed 1 Aug | 8pm
Fri 3 Aug | 8pm
Sat 4 Aug | 8pm
Tugan Sokhiev returns to Sydney to conduct
Symphonic Dances.
VANGUARD
CODA
500 YEARS OF TROMBONE:
THE CONCERT
On Wednesday 13 June, trombonists
Ron Prussing, Scott Kinmont, Nick
Byrne and Christopher Harris will
present a lunchtime concert at
St James’ Church King Street.
The program will include original
music and transcriptions from
composers such as Josquin des Prez,
Dowland, Daniel Speer, Beethoven,
Bruckner, Tomasi and Elena KatsChernin.
Our new philanthropic program
Vanguard got off to a strong start
on 4 April and its members have
already enjoyed a second event. On
23 May the musical program saw a
collaboration between double bass,
trombone, guitar and voice – mixing
classical, jazz and hip-hop. There are
more private events scheduled for
2012, all intended to create intimate
but surprising experiences of classical
music. To find out more and to join,
visit sydneysymphony.com/vanguard
ARRIVALS…
ACOUSTIC REFINEMENT
The installation of new acoustic
panels in the Sydney Opera House
Concert Hall is on track, with the
work due for completion in early
June. Acoustician Larry Kirkegaard
will be in Sydney 19–23 June to do
further testing during our rehearsals
and concerts. Based on these results,
and feedback given by the musicians,
Larry will be refining the angles of
the various panels to achieve an
optimum sound.
We’ve welcomed quite a few recent
additions to the Sydney Symphony
family: Eloise Anwyl was welcomed
by Penny Evans (Senior Marketing
Manager) and her husband Ben on
10 February; Hannah Ying-Leng
met her parents Felicity (viola) and
Thomas Tsai on 10 March; Emma
West (Assistant Principal Second
Violin) and her husband Andrew
welcomed Lila Grace into the world
on 20 March; and proud parents
Alexandra Mitchell (First Violin) and
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
Acting Chief Executive Officer 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
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…AND A FAREWELL
Lee Bracegirdle retired from the
Horn section after 32 years of service
with the orchestra. But that doesn’t
necessarily mean that audiences
won’t be hearing from him. Lee is
also a composer, and will no doubt
retain his connection with the
world of music-making through this
creative outlet. We wish him all the
best into the future.
STRINGS ON STEROIDS
In recent months we’ve seen a
number of guest players in the
concertmaster and principal cello
chairs as we seek to fill these
positions. Two of our guests –
violinist Andrew Haveron and cellist
Teije Hylkema – managed to find
some time for offstage creativity as
well. We’re assured no cellos were
harmed in the making of this music
video: bit.ly/StringsOnSteroids
sydneysymphony.com/bravo
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husband Charlie announced the
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Phew! Sydney Symphony crèche
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