the Mozart Requiem program book (2, 4, 5 May) PDF

2 0 12 S E A S O N
Mozart’s Requiem
Choral Contrasts
Wed 2 May 8pm
Fri 4 May 8pm
Sat 5 May 8pm
Ausgrid Master Series
WELCOME TO THE AUSGRID MASTER SERIES
Welcome to tonight’s concert at the Sydney Opera House, featuring two
great works for chorus and orchestra: the Poulenc Gloria and Mozart’s
Requiem.
Poulenc and Mozart give us polar opposites in mood: joyful music of praise
in the Gloria and a dramatic and solemn farewell to life in the Requiem. But
both works come from the rich tradition of music for the church, bringing
with them spiritual transcendence even when heard in a secular context.
It has been ten years since David Zinman conducted the Sydney Symphony
and we are delighted to welcome him back to the Sydney Opera House
and to this series. In this concert he is joined by the Sydney Philharmonia
Choir, which gave such an impressive performance in the first concerts of
the season. Also appearing in this concert is American soprano Jennifer
Welch-Babidge, making her debut with the orchestra in both the Mozart
and the sublime solo part of the Poulenc. The evening promises to be an
especially exciting one, with the unfailing combination of powerful emotions,
great music and compelling performances.
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
2012 season
ausgrid master series
Wednesday 2 May, 8pm
Friday 4 May, 8pm
Saturday 5 May, 8pm
Sydney Opera House Concert Hall
Mozart’s Requiem:
Choral Contrasts
David Zinman CONDUCTOR
Jennifer Welch-Babidge SOPRANO
Fiona Campbell MEZZO-SOPRANO
Paul McMahon TENOR
Paul Whelan BARITONE
Sydney Philharmonia Choirs
Brett Weymark chorusmaster
Francis Poulenc (1899–1963)
Gloria
for soprano, choir and orchestra
INTERVAL
Wolfgang Amadeus Mozart (1756–1791)
Requiem in D minor, K626
PRESENTING PARTNER
Wednesday night’s performance will
be recorded for broadcast on ABC
Classic FM on Saturday 12 May at
8pm.
Pre-concert talk by Natalie Shea at
7.15pm in the Northern Foyer. Visit
sydneysymphony.com/talk-bios for
speaker biographies.
Estimated durations: 28 minutes,
20-minute interval, 48 minutes
The concert will conclude at
approximately 9.45pm.
AKG-IMAGES / RABATTI-DOMINGIE
Detail from Benozzo Gozzoli’s fresco “Worshipping angel” (1459), located in the altar room of the
Chapel of the Magi in the Palazzo Medici-Riccardi, Florence. Poulenc said he had images like this
in mind when he composed his Gloria.
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INTRODUCTION
Choral Contrasts
This week brings our second collaboration with Sydney
Philharmonia Choirs for the 2012 season, following the
much-praised Beethoven 9 concerts in February. But where
Beethoven keeps the chorus and his vocal soloists back until
the finale of the Ninth Symphony, tonight’s program makes
the voice the focus with two great sacred choral works.
Mozart’s Requiem is the better-known music in this
concert. Not only is it powerful music in its own right but
its fame has been enhanced by the circumstances of its
commission and creation and by the poignant knowledge
that this funeral mass was left unfinished at Mozart’s death
in 1791. Not all the stories surrounding the Mozart Requiem
are entirely true, but they stimulate the imagination
nonetheless, as anyone familiar with Amadeus will know.
Poulenc’s Gloria, representing the 20th century, is
completely different in character – the Gloria is a song of
praise rather than a funeral mass and reveals another side
to Christian faith. One of the reasons that Poulenc’s
setting of the Gloria is so appealing is that it combines
its expressions of faith with sheer pleasure and delight,
even moments of irreverence.
‘When I wrote this piece,’ said Poulenc, ‘I had in mind
those frescoes by Gozzoli where the angels stick out their
tongues; and also some serious Benedictine monks I had
once seen revelling in a game of football.’ The result is music
that is good-humoured as well as serious, sumptuous as well
as restrained, theatrical as well as sacred.
Mozart, too, understood the value of ‘theatre’ in sacred
contexts, especially in his dramatic use of the orchestra –
it’s no accident that in the 18th century the trombone was
an instrument for the opera pit and the church, but not so
much the concert hall. (Beethoven was almost certainly the
first composer to include trombones in a symphony.) In his
funeral prayer, the composer who shone so brightly in the
opera house was perfectly equipped to portray fear, trust,
sorrow, optimism and hope – the emotions that touch the
souls of the faithful in the face of death.
Historical Timeline
We are developing an
interactive historical timeline,
presenting images,
documents, audio and video
from our past and into the
future. It will feature landmark
Sydney Symphony events and
performances and some of the
personalities associated with
the orchestra.
The timeline will be launched
with our new website later this
year, and you can play a part
in building it into into a rich
and valuable resource.
If you know of any events,
images or stories that belong
in the timeline visit
sydneysymphony.com/
80years/timeline_
contributions
sydney symphony 7
ABOUT THE MUSIC
Francis Poulenc
Gloria
Keynotes
Jennifer Welch-Babidge soprano
Sydney Philharmonia Choirs
Born Paris, 1899
Died Paris, 1963
Two clear phases are usually distinguished in the
development of the art of Francis Poulenc: the first
musically irreverent, light-hearted, perhaps short-winded;
the second serious, spiritually searching, marked by more
ambitious themes and a heartfelt lyricism of some stamina.
The turning point, it is said, was the death of Poulenc’s
close friend, the composer and critic Pierre-Octave Ferroud,
who was killed in a car accident in 1935. Poulenc then set
out on a pilgrimage to Rocamadour, in south central France,
where a statue of the Virgin carved out of blackwood
inspired his first religious work, the Litanies à la vierge noire
(1936). The composer described this time as one ‘where I
was seeking to drop roots into the very depths of my being,’
and certainly the music which followed reflected a greater
depth and seriousness.
The Mass of 1937 (for a cappella choir), the Motets for a
Time of Penitence (1938/39) and the Stabat mater (1950) show
a return to the religious faith of Poulenc’s childhood, his
father’s faith. The range and concerns of this new style and
approach are nowhere better experienced than in Poulenc’s
largest-scale work, the opera Dialogues of the Carmelites
(1954/56), which uses the adaptation, by the Catholic
intellectual Georges Bernanos, of a novella by Gertrud von
Le Fort to explore the themes of transference of grace, and
the theologically daring notion that we die not for ourselves
but for each other, or even in the place of others.
But the division of Poulenc’s career should not be too
sharply marked. Not all his religious music is deeply serious
in tone, nor is his serious music to be found only in his
religious works; it was anticipated much earlier in his
career, even when he was associated with the adventures
of Les Six (with fellow young composers Auric, Durey,
Honegger, Milhaud and Tailleferre) and their literary
mentor Jean Cocteau. Some of his most profound music is
written to the secular poetry of Paul Eluard, as in the song
cycle Tel jour, telle nuit (1937), or the choral piece Figure
humaine (1943). In fact, as the French critic Claude Rostand
has rightly observed, there was always in Poulenc
‘something of the monk and something of the street
urchin’.
The Gloria, one of Poulenc’s last works, reminds us of the
dangers of compartmentalising his music. It is, in places,
irrepressibly, almost jauntily cheerful. So painless is this
8 sydney symphony
POULENC
Francis Poulenc was a French
composer and pianist who
belonged to Les Six. This
group of composers flourished
briefly in Paris in the 1920s,
but Poulenc retained much of
its aesthetic throughout his
career, in particular what Jean
Cocteau described as ‘the
sophistication of the graceful’.
Poulenc’s first big success was
a ballet for Diaghilev’s Ballets
Russes, Les Biches (usually
translated as ‘The House
Party’). He once said that there
was room for ‘new’ music that
didn’t mind using other
people’s chords, and it’s no
surprise that his style was
bewitchingly melodic and
frequently influenced by
musical language from the
past. He avoided sentiment,
however, and much of his
music is coloured by wit and
irony.
GLORIA
Poulenc’s Gloria, premiered
in 1961, establishes him as
one of the most important
20th-century composers of
religious choral music. He had
described his personal faith
as resembling that ‘of a simple
country priest’ and the Gloria
has an appealing directness
and sincerity, as if composed
in ‘very clear, primary colours’.
The text is from the Latin Mass
and in this setting there are
six movements – the soprano
soloist is featured in the third
(Domine Deus), fifth (Domine
Deus, Agnus Dei) and sixth
(Qui sedes).
Sung texts and translations
begin on page 11.
praise of God that some critics have labelled it sacrilegious.
Poulenc’s religion never bans the natural impulse to
pleasure. He chose religious subjects without idolatry or
sanctimony: ‘God preserve me from the drearier saintly
figures of history,’ said he, explaining why he had chosen
for his opera the drama of the nuns of Compiègne martyred
in the French Revolution. Poulenc described his faith as
that of a country priest – genuine, often intense, but positive
and uncomplicated by sophistication. Replying to criticism
of his Gloria, he said, ‘As I wrote it, I was simply thinking
of those frescoes by Gozzoli where the angels stick out
their tongues; and also of some solemn Benedictine monks
I once saw playing football…’
No wonder laughter and high seriousness are often
inextricably linked, as James Harding has written, in the
same work by Poulenc. There are many glimpses in the
Gloria of what a dreadful pun calls ‘leg-Poulenc’ (legpulling). This is the composer who loved to go to the circus,
and loved the popular music of the cabaret, the brass band
and the dance orchestra. But note his own assessment of
his choral religious music: ‘I’ve put the best and most
genuine part of myself into it…I have a feeling that in that
sphere I’ve really produced something new…With the
Sept répons des ténèbres, the Stabat, and the Gloria, I have to
my credit, I hope, three worthwhile religious works. May
they spare me a few days of Purgatory, if, with a bit of luck,
I manage to avoid Hell.’
The musical form of Poulenc’s Gloria reflects his
selective interest in the music of the past and his
assessment of what he does best. Setting the Gloria from
the Mass on its own harks back to the practice of both
medieval and Baroque composers, and the division of the
text into separate movements is similar to the ‘cantata-mass’
convention used by Vivaldi in his celebrated Gloria and by
J.S. Bach in the Gloria of his Mass in B minor. But here the
resemblance ends – Poulenc writes for a soloist, but she is
given no elaborate display or coloratura arias; instead she
leads and alternates with the chorus, in a re-creation of the
ancient antiphonal relationship of the priest leading the
people. This solo part is a manifestation of Poulenc’s long
love-affair with the female voice – not for nothing had he
written an opera dominated by female characters, and
another, La Voix humaine, which is a monologue for soprano
and orchestra.
The choral writing itself is almost entirely homophonic,
in block chords, like most of Poulenc’s writing for choir.
One of his early teachers, the composer Charles Koechlin,
recognised that his pupil had no gift for counterpoint, and
sydney symphony 9
set him the exercise of studying Bach’s chorales and making
his own harmonisations. Koechlin had spotted Poulenc’s
talent for fresh, clear and uncluttered setting of words.
Poulenc became a master of ear-tickling and emotionally
affecting shifts of harmony. He departs from tradition by
not setting the final clause of the Gloria text, ‘Cum Sancto
Spiritu…’ in the almost compulsory fugal manner – indeed,
he doesn’t even end with these words, preferring to stress
the elevation of the Son to high holiness, and the prayer for
mercy.
Poulenc’s very suggestive tempo indications, printed
below, convey the flavour and contrasts of the Gloria: ‘Very
lively and joyful’, ‘Very slow and calm’, ‘Unusually calm
without dragging’ (‘sans traîner’, one of Poulenc’s favourite
instructions), warning against any sentimentality in his
intensely reflective devotion. The pungency of some of the
orchestral sound of the Gloria contains some of Poulenc’s
characteristic ‘jibes and salutations to other composers’, in
this case Stravinsky, who influences his later compositions
more and more. The Stravinsky reference is no accident,
since the Gloria was commissioned by the Koussevitzky
Foundation, and dedicated to the memory of the conductor
Serge Koussevitzky and his wife. In 1930 Koussevitzky had
given the first performance of Stravinsky’s Symphony of
Psalms, which he had commissioned, and which was
dedicated to the Glory of God and to the Boston Symphony
Orchestra. The same orchestra gave the first performance of
Poulenc’s Gloria, completed in December 1959, on 20
January 1961, conducted by Charles Münch.
DAVID GARRETT © 1998
Poulenc’s Gloria calls for soprano soloist, mixed choir and an orchestra
of piccolo, two flutes (one doubling piccolo), two oboes, cor anglais,
two clarinets, bass clarinet, two bassoons and contrabassoon; four
horns, three trumpets, three trombones and tuba; timpani, harp and
strings.
Charles Münch conducted the Boston Symphony Orchestra and
Chorus Pro Musica in the premiere of Poulenc’s Gloria on 20 January
1961; the soloist was Adele Addison. The first Australian performance
was given four years later by the Melbourne Symphony Orchestra. The
only Sydney Symphony performance on record was given in 1979 with
conductor Louis Frémaux, soprano Pearl Berridge and the Sydney
Philharmonia Choirs.
10 sydney symphony
‘jibes and salutations
to other composers’
I Gloria (Maestoso)
Gloria in excelsis Deo;
et in terra pax
hominibus bonae voluntatis.
Chorus (Majestic)
Glory be to God on high,
and on earth peace
to men of good will.
II Laudamus te (Très vif et joyeux)
Laudamus te, benedicimus te,
Adoramus te, glorificamus te,
Gratias agimus tibi
propter magnam gloriam tuam.
Chorus (Very lively and joyful)
We praise you, we bless you,
We adore you, we glorify you,
We give thanks to you
for your great glory.
III Domine Deus (Très lent et calme)
Domine Deus, Rex coelestis,
Deus Pater omnipotens.
Soprano solo and chorus (Very slow and calm)
O Lord God, heavenly King,
God the Father Almighty.
IV Domine fili unigenite (Très vite et joyeux)
Domine fili unigenite
Jesu Christe.
Chorus (Very lively and joyful)
O Lord, the only-begotten Son
Jesus Christ.
V Domine Deus, Agnus Dei (Très lent)
Domine Deus, Agnus Dei
Filius Patris, Rex coelestis,
Domine Deus,
Qui tollis peccata mundi,
miserere nobis.
Qui tollis peccata mundi,
suscipe deprecationem nostram;
Domine Deus, Agnus Dei,
Filius Patris
Qui tollis peccata mundi…
Soprano solo and chorus (Very slow)
O Lord God, Lamb of God,
Son of the Father, heavenly King,
O Lord God,
you take away the sins of the world,
have mercy upon us.
You take away the sins of the world,
receive our prayer.
O Lord God, Lamb of God,
Son of the Father,
you take away the sins of the world…
VI Qui sedes ad dexteram Patris (Maestoso)
Qui sedes ad dexteram Patris,
miserere nobis,
Quoniam tu solus Sanctus,
tu solus Dominus, Amen.
Tu solus altissimus, Jesu Christe,
cum Sancto Spiritu,
in gloria Dei Patris.
Tu solus altissimus,
miserere nobis.
Amen.
Soprano solo and chorus (Majestic)
You sit at the right hand of the Father,
have mercy on us,
for you alone are holy,
you alone are the Lord,
you alone are the Most High, Jesus Christ,
with the Holy Ghost,
in the glory of God the Father.
You alone are the Most High,
have mercy on us.
Amen.
sydney symphony 11
Wolfgang Amadeus Mozart
Requiem Mass, K626
Keynotes
Completed by Franz Süssmayr
Born Salzburg, 1756
Died Vienna, 1791
Jennifer Welch-Babidge soprano
Fiona Campbell mezzo
Paul McMahon tenor
Paul Whelan baritone
Sydney Philharmonia Choirs
Joseph Haydn said that Mozart’s fame would be secure if he
had written nothing but the Requiem, but it is a problematical
work, which Mozart did not live to complete and whose
origins are surrounded by mystery. Mozart, mortally ill and
in a state of great excitement while composing it, chose the
key of D minor: one associated with tragic drama in some of
his greatest works, as in Don Giovanni; and with tenderness
and pathos as well, as in the Piano Concerto in D minor. The
terrifying drive of the Dies irae of this Requiem; the powerful
rhythmic bite of the Rex tremendae, with its contrasting
tender interjection ‘Salva me’; the furious Confutatis – all
these are painted with the dramatic intensity of a composer
who had become convinced that he was writing his own
Requiem. The messenger in grey who had delivered a
commission from an anonymous patron had become in
Mozart’s mind an emissary of death. We now know that he
was a servant of Count Walsegg zu Stuppach, an aristocratic
amateur who liked to pass off music by professional
composers as his own.
Welcoming death as a friend, as in his letter of April
1787 (see margin, page 14), is closer to Mozart’s Masonic
outlook than to Catholic teaching. Masonic ritual and belief
marked this Requiem in more ways than one. Yet it turns
out that these words come from a book by the Jewish
philosopher Moses Mendelssohn, and Mozart perhaps chose
them as appropriate when writing to a father he knew to be
fatally ill. In his letter of September 1791 (page 15), the tone
of resignation with mild protest is probably closer to
Mozart’s real feelings. Actually the Requiem itself is the best
evidence – Mozart always reveals more of himself in music
than in words. So great was his emotional involvement with
the music of the Requiem that his anxious doctor had to
take the manuscript from his hands. Hence the power and
directness of those sections which are undoubtedly from
his pen.
Mozart’s Requiem contains, besides powerful drama and
intensity, much music of great tenderness, and of a consoling
pity. This music seems to express Mozart’s acceptance of the
transcendent, the world beyond life and death. We find it
MOZART
Mozart’s musical genius was
apparent from his childhood,
and during his short life he
composed masterpieces in
every genre. But his
professional success was
mixed: at times he was wildly
popular, especially after he
first moved to Vienna; at other
times he struggled and his
father would despair at his
lack of diplomacy and common
sense. In his later years, as
his income dwindled, Mozart
moved to progressively less
glamorous apartments and
began writing letters begging
assistance. But his creations
during this time were anything
but impoverished: today we
can enjoy The Magic Flute,
the last three symphonies,
his clarinet concerto and the
Requiem.
REQUIEM
The Requiem is a setting of
the Latin Mass for the Dead,
anonymously commissioned
for liturgical (that is, church)
use by a nobleman who
intended to pass it off as his
own work. It was Mozart’s final
work, and death caught him
mid-phrase in the ‘Lacrimosa’.
Mozart’s wife Constanze
subsequently arranged for it
to be completed by his student
Franz Xaver Süssmayr.
Mozart’s Requiem has the
dramatic character you’d
expect from an opera
composer, and the music
conveys in a very direct way
the passion and fervour of
faith.
Sung texts and translations
begin on page 17.
sydney symphony 13
 An unfinished portrait of Mozart
by his brother-in-law Joseph
Lange, dating from 1782, when
he was 26 years old. The outline
of the empty portions of the
canvas suggests that the
completed painting would have
shown the composer seated at
a piano.
also in the opera The Magic Flute, and in the Masonic music
Mozart was composing at the same time as the Requiem.
Mozart’s instrumentation reflects the two facets of the music:
fierce, with trumpets and drums in the sterner sections, but
coloured elsewhere by the mild and liquid tones of basset
horns. Flutes, oboes and horns are banished (though whether
this was Mozart’s intention for the whole work is uncertain).
Mozart’s Requiem is a kind of summation of its models
and counterparts in the music of his contemporaries and
predecessors. Haydn’s admiration for the work was surely
a tribute to the compact unity into which it succeeds in
reconciling different styles and forms. Haydn himself
followed this example when he wrote his last six masses in
the 1790s. Like Mozart’s unfinished Great Mass in C minor
K.427, his Requiem is a cantata mass in the sense that the
Sequence (Dies irae) is divided up into separate choral and solo
ensemble movements. In the earlier Mass, each movement
was developed on a massive scale, whether in enormous
fugues or in Italianate chamber music arias – so much so
that Mozart may have abandoned it precisely because he felt
the result lacked stylistic unity. In the Requiem, on the other
hand, choral and solo movements are brought into balance
with each other, and the solo writing has lost all traces of
virtuosity for its own sake.
In many respects the Requiem is backward looking, with
Baroque elements, signs of the tremendous impact on
Mozart
14 sydney symphony
…As death, when we come to
consider it closely, is the true
goal of our existence, I have
formed during the last few
years, such close relations with
this best and truest friend of
mankind, that his image is not
only no longer terrifying to me,
but is indeed very soothing and
consoling…I never lie down at
night without reflecting that –
young as I am – I may not live
to see another day.
Letter from Mozart to his father,
4 April 1787
My spirit is broken and I cannot
divert my eyes from the vision
of that stranger. I see him
continually before me, he
entreats and urges me, and
impatiently asks for my work…
I know well that my hour is near,
that I am on the point of death:
I shall die without having known
any of the delights my talents
would have brought me, and
yet life is so full of beauty!
Alas, one cannot alter one’s
own destiny, and I must be
resigned.
Letter from Mozart to Da Ponte,
September 1791
AKG-IMAGES
of his study of the music of Bach and Handel, and also of his
familiarity with works by less celebrated Austrian musicians.
The Kyrie fugue, with the leap of a diminished seventh in its
subject, reminds one of ‘And with his stripes’ from Messiah.
The Rex tremendae has the dotted rhythms of a French
overture, and its choral entries may have been suggested by
the crashing chords of the opening chorus of Bach’s St John
Passion. The use of Gregorian melodies, as at the words ‘Te
decet hymnus’, was common in Austrian masses, and occurs
in a strikingly similar way in a Requiem by Michael Haydn,
brother of Josef and a colleague of Mozart’s in Salzburg.
This Requiem, which Mozart certainly heard 20 years before,
came back to his mind, whether consciously or not, as he
wrote his own setting. Michael Haydn’s is a remarkable and
stern work, with resemblances to Mozart’s in content and
in scoring: like Mozart, the younger Haydn banishes flutes,
oboes and horns, and uses the three trombones characteristic
of Salzburg, but not of Viennese church music. So the
musical experience of Mozart’s youth and maturity fused,
in the urgency of death’s imminence, into a testament of
church music, a composition, writes Karl Geiringer, ‘as
transcendental as it is human, as out of terror and guilt it
leads us gently towards peace and salvation’.
Mozart’s Requiem, then, is a treasure of artistic heritage,
but it is a flawed masterpiece. Its unsatisfactory features
stem from Mozart’s failure to complete it. More has been
written about this problem, perhaps, than about any other
aspect of Mozart’s work, and the details of the controversy
are out of place in a program note. Nevertheless, a summary
The last bars Mozart wrote of his Requiem score – ‘Judicandus homo reus’ from the Lacrimosa.
sydney symphony 15
Constanze Mozart was
keen to conceal the role
of other hands in the
finished Requiem.
ABC ARCHIVES
of the circumstances may help listeners to understand any
disquiet they may experience. The manuscript shows that
Mozart had completed the Introitus and Kyrie in full score.
Some other sections are in a half-finished state, the vocal
parts written in full, the instrumental parts sometimes
complete, sometimes only sketched. These are: the Dies irae
as far as the Lacrimosa, which breaks off in the eighth bar; the
Domine Jesu Christe and Hostias. There is nothing of Mozart’s
writing in the ending of the Lacrimosa, the Sanctus, Benedictus
and Agnus Dei.
Mozart’s widow was naturally anxious to collect the
composition fee, and after other musicians had declined the
task of completion she gave it to Franz Xavier Süssmayr, a
pupil of Mozart’s who had assisted him with the Requiem
and other late works. We do not know what sketches of Mozart’s
he may have had to work from, partly because Constanze
Mozart was keen to conceal the role of other hands in the
finished Requiem. It seems unlikely, on the basis of Süssmayr’s
original compositions, that he could have composed such a
movement as the Benedictus unaided by any sketches by
Mozart. It is not known whether the repetition of the Kyrie
fugue for the ‘Cum sanctis tuis’ was his idea or Mozart’s.
The chief criticisms of Süssmayr’s completion concern
the instrumentation and the filling out of inner parts.
Some of the part-writing and distribution is inept and
un-Mozartian; above all, the scoring of the entire work for
the same instrumental palette is monotonous and often
heavy. The trombones are used in inappropriate places and
with a lack of restraint, but the tenor trombone solo in the
Tuba mirum is undoubtedly Mozart’s even though it gives
the impression, as Alfred Einstein says, that the player is
showing off his own skill rather than announcing the Last
Margaret Whitlam (1919–2012)
For many years in the Sydney Symphony’s
Wednesday night Master Series, one of
the seats in the stalls of the Concert Hall
was occupied by Margaret Whitlam, who
attended concerts with her daughter.
Subscribers in surrounding seats remember
her with warmth and affection. Many more
will recall the role of the Gough Whitlam
government in encouraging the arts in
the 1970s. Margaret Whitlam was an
extraordinary public figure and an
enthusiastic music lover – she will be missed
on both counts.
16 sydney symphony
Gough and Margaret Whitlam at the Sydney
Opera House in 1975.
Judgment. The extent of Süssmayr’s contribution has always
been a matter of controversy, and scholars incline to the
view that it was less than used to be thought.
For better or for worse, Mozart’s Requiem is with us in a
form partly determined by Süssmayr, and in that form it has
remained one of his most admired and loved works. One
of the wisest and most knowledgeable students of music
of the Classical era, H.C. Robbins Landon, illuminatingly
compared the Requiem to a great building which we know
was not completed as its designer intended, but which to
change would destroy a view dear and close to us.
© DAVID GARRETT
Mozart’s Requiem calls for four vocal soloists and mixed choir with an
orchestra of two basset borns, two bassoons, two trumpets, three
trombones, timpani, organ and strings.
The Sydney Symphony first performed the Requiem in 1962 in a Mozart
concert conducted by Dean Dixon. The soloists were Valda Bagnall,
Florence Taylor, William Herbert and Raymond Myers, with the Hurlstone
Choral Society. Our most recent performance of the complete work was
in the 1999 Master Series, conducted by Arnold Östman with Cheryl
Barker, Kirsti Harms, David Hamilton, Stephen Bennett and the Sydney
Philharmonia Choirs. In 2003 we presented a program in which the
movements of the Requiem were interspersed with other works; those
concerts were conducted by Rolf Gupta with Joanna Cole, Catherine
Carby, Paul McMahon, Karl Huml and Cantillation. Cantillation also
performed selected choral movements in Gianluigi Gelmetti’s 2006
Shock of the New concerts.
Introit (Chorus and soprano solo)
Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis.
Te decet hymnus Deus in Sion,
et tibi reddetur votum in Jerusalem.
Exaudi orationem meam,
ad te omnis caro veniet.
Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis.
Grant them eternal rest, O Lord,
and may light perpetual shine upon them.
To you, O God, praise is given in Zion,
and prayer shall go up to you in Jerusalem.
Give ear to my supplication,
to you shall all flesh come.
Grant them eternal rest, O Lord,
and may light perpetual shine upon them.
Kyrie (Chorus)
Kyrie eleison.
Christe eleison.
Kyrie eleison.
Lord, have mercy upon us.
Christ, have mercy upon us.
Lord, have mercy upon us.
Sequence:
Dies irae (Chorus)
Dies irae, dies illa,
Solvet saeclum in favilla,
Teste David cum Sibylla,
Quantus tremor est futurus,
Quando judex est venturus,
Cuncta stricte discussurus!
The Day of Wrath, that day
shall dissolve the world in ashes,
as David and the Sibyl testify.
What trembling shall there be
when the Judge shall come
who shall thresh out all thoroughly!
sydney symphony 17
Tuba mirum (Solo quartet)
Tuba mirum spargens sonum
Per sepulcra regionum,
Coget omnes ante thronum.
Mors stupebit et natura
Cum resurget creatura
Judicanti responsura.
Liber scriptus proferetur
In quo totum continetur
Unde mundus judicetur.
Judex ergo cum sedebit
Quidquid latet apparebit:
Nil inultum remanebit.
Quid sum miser tunc dicturus,
Quem patronum rogaturus,
Cum vix justus sit securus?
The trumpet, scattering a wondrous
sound through the tombs of all lands,
shall drive all unto the throne.
Death and nature shall be astounded
when all creation shall rise again
to answer the judge.
A written book shall be brought forth
in which shall be contained all
for which the world shall be judged.
And therefore when the Judge shall sit,
whatsoever is hidden shall be manifest:
and nothing shall remain unavenged.
What shall I say in my misery?
Whom shall I ask to be my advocate,
When scarcely the righteous may be without fear?
Rex tremendae (Chorus)
Rex tremendae majestatis,
Qui salvandos salvas gratis;
Salva me, fons pietatis.
King of awful majesty,
you who freely save the redeemed;
save me, O Fount of Pity.
Recordare (Solo quartet)
Recordare, Jesu pie,
Quod sum causa tuae viae
Ne me perdas illa die.
Quaerens me sedisti lassus
Redemisti crucem passus;
Tantus labor non sit cassus.
Juste judex ultionis,
Donum fac remissionis
Ante diem rationis.
Ingemisco tamquam reus:
Culpa rubet vultus meus.
Supplicanti parce, Deus.
Qui Mariam absolvisti
Et latronem exaudisti,
Mihi quoque spem dedisti.
Preces meae non sunt dignae,
Sed tu, bonus, fac benigne,
Ne perenni cremer igne.
Inter oves locum praesta
Et ab haedis me sequestra,
Statuens in parte dextra.
Remember, merciful Jesus,
that I am the reason for your journey,
let me not be lost on that day.
Seeking me, you sat weary.
You redeemed me, suffering the Cross:
let not such labour have been in vain.
O just Judge of Vengeance,
give the gift of redemption
before the day of reckoning.
I groan as one guilty;
my face blushes at my sin.
Spare the supplicant, O God.
You who absolved Mary
and heard the prayer of the thief,
you have also given hope to me.
My prayers are not worthy,
but you, O good one, show mercy,
lest I burn in everlasting fire.
Give me a place among the sheep,
and separate me from the goats,
setting me on the right hand.
Confutatis (Chorus)
Confutatis maledictis,
Flammis acribus addictis,
voca me cum benedictis.
Oro supplex et acclinis,
Cor contritum quasi cinis,
Gere curam mei finis.
When the damned are confounded
and consigned to sharp flames,
call me with the blessed.
I pray, kneeling in supplication,
a heart as contrite as ashes,
take my ending into your care.
18 sydney symphony
Lacrimosa (Chorus)
Lacrimosa dies illa
Qua resurget ex favilla
Judicandus homo reus.
Huic ergo parce, Deus.
Pie Jesu Domine:
Dona eis requiem. Amen.
That day is one of weeping
on which shall rise again from the ashes
guilty mankind, to be judged.
Therefore spare this one, O God.
Merciful Lord Jesus:
Grant them rest. Amen.
Offertorium
Domine Jesu Christe (Chorus and solo quartet)
Domine Jesu Christe, Rex gloriae,
libera animas omnium fidelium
defunctorum de poenis inferni,
et de profundo lacu;
libera eas de ore leonis,
ne absorbeat eas Tartarus,
ne cadant in obscurum.
Sed signifer sanctus Michael
repraesentet eas in lucem sanctam.
Quam olim Abrahae promisisti,
et semini ejus.
O Lord Jesus Christ, King of glory,
deliver the souls of all the departed faithful
from the torments of Hell,
and from the deep pit;
deliver them from the mouth of the lion;
that Hell may not swallow them up,
and that they may not fall into darkness.
But may the holy standard-bearer Michael
bring them into the holy light;
which thou didst promise of old to Abraham
and his seed.
Hostias (Chorus)
Hostias et preces tibi, Domine,
laudis offerimus.
Tu suscipe pro animabus illis,
quarum hodie memoriam facimus.
Fac eas, Domine,
de morte transire ad vitam.
Quam olim Abrahae promisisti,
et semini ejus.
We offer unto you, O Lord,
sacrifices and prayers of praise.
Receive them on behalf of those souls
whom we commemorate today.
Make them, O Lord,
to cross over from death to life,
as once you promised to Abraham
and his seed.
Sanctus (Chorus)
Sanctus, sanctus, sanctus,
Dominus Deus Sabaoth.
Pleni sunt coeli et terra gloria tua.
Hosanna in excelsis.
Holy, holy, holy,
Lord God of Hosts.
Heaven and earth are full of your glory.
Hosanna in the highest.
Benedictus (Solo quartet and chorus)
Benedictus qui venit in nomine
Domini.
Hosanna in excelsis.
Blessed is the one who comes in the name of
the Lord.
Hosanna in the highest.
Agnus Dei (Chorus)
Agnus Dei
qui tollis peccata mundi;
dona eis requiem sempiternam.
Lamb of God,
you who take away the sins of the world,
give them eternal rest.
Communio (Soprano solo and chorus)
Lux aeterna luceat eis Domine,
cum sanctis tuis in aeternum
quia pius es.
Requiem aeternam dona eis Domine,
et lux perpetua luceat eis.
Cum sanctis tuis in aeternum:
quia pius es.
Let everlasting light shine on them,
O Lord, with your saints for ever:
for you are good.
Grant them eternal rest, O Lord,
and let light perpetual shine upon them,
with your saints forever;
for you are good.
sydney symphony 19
MORE MUSIC
POULENC GLORIA
DAVID ZINMAN
Poulenc was one of the great sacred choral
composers of the 20th century and a recording with
the combined forces of Polyphony, the Choir of
Trinity College Cambridge and the Britten Sinfonia,
all conducted by Stephen Layton, brings together
the Gloria and some of the smaller choral works
such as the Motets pour un temps de pénitence and the
Motets pour le temps de Noël. Susan Gritton is the
soprano in the Gloria and the music-making has
been praised for its ‘immense power and vibrancy’.
David Zinman and the Zurich Tonhalle Orchestra
have recently released three recordings, including a
beautifully played and much praised Brahms
symphonies set.
HYPERION RECORDS CDA67623
If Poulenc is a new discovery for you and you’re
curious to hear more, look for one of the excellent
collections of his music. Perhaps the most generous
of these is the 5CD set conducted by Charles Dutoit.
In addition to the Gloria and the Stabat Mater (both
with soloist Françoise Pollet and the French National
Orchestra and Radio Choir), the piano and organ
concertos, Concert Champêtre for harpsichord, Suite
française, and his concerto-ballet Aubade (which the
Sydney Symphony played with pianist Ian Munro
last month).
RCA 793349
Also released this year were two Schubert discs,
recorded using 19th-century instruments and
prepared in consultation with the original editions
of the scores: the first and second symphonies, and
a disc combining the much-loved ‘Unfinished’
Symphony with Schubert’s pieces for solo violin and
orchestra (Andreas Janke is the soloist).
RCA 787147 (1 AND 2)
RCA 795335 (UNFINISHED)
David Zinman’s Mozart recordings include the
violin concertos with American soloist Pamela
Frank and the Zurich orchestra. In addition to the
five canonical concertos, the 2CD set also includes
the three-movement ‘violin concerto’ from the
Haffner Serenade, K250.
ARTE NOVA 721040
DECCA 475 8454
MOZART REQUIEM
Because Mozart’s Requiem was left unfinished, there
are various completions and editions to choose from.
Some of these build on or ‘correct’ Süssmayr’s work
as the first to complete the Requiem, while others
aim to begin with the material we can be sure was
Mozart’s. Claudio Abbado’s recording with the Berlin
Philharmonic and the Swedish Radio Choir uses
reconstructions by Franz Beyer (1971 and 1979) and
Robert Levin (1993). The soloists are Karita Mattila,
Sara Mingardo, Michael Schade and Bryn Terfel.
DEUTSCHE GRAMMOPHON 463 1812
For a representative assembly of the music from
Mozart’s final years (together with some earlier works),
look for the 6CD set from The Leonard Bernstein
Collectors Edition. In addition to the Requiem (Franz
Beyer/Kunzelmann edition), the set includes the
Clarinet Concerto, K622, the last three symphonies, the
Ave verum corpus, K618. Among the earlier creations
are the Mass in C minor, K427 and the soprano
motet Exsultate, jubilate, as well as the dramatic
‘Little G Minor’ Symphony (No.25) which proved so
effective in the opening titles of the film Amadeus.
DEUTSCHE GRAMMOPHON 477 6697
Among the period-instrument performances, Jordi
Savall’s recording with Le Concert des Nations and
La Capella Reial de Catalunya is well worth checking
out. The soloists are Claudia Schubert,
Gerd Türk, Stephan Schreckenberger and the late
Montserrat Figueras, and the disc is completed with
Mozart’s Masonic Funeral Music, K477.
ALIA VOX 9880
20 sydney symphony
Broadcast Diary
May
Saturday 12 May, 8pm
mozart’s requiem: choral contrasts
David Zinman conductor
Welch-Babidge, Campbell, McMahon, Whelan
vocal soloists
Sydney Philharmonia Choirs
Poulenc, Mozart
Please note change of broadcast time from previously
published information.
Monday 21 May, 7pm
a gershwin tribute
Bramwell Tovey piano-conductor
Tracy Dahl soprano
Friday 25 May, 8pm
carnevale
David Zinman conductor
Andreas Haefliger piano
Berlioz, Beethoven, Elgar
2MBS-FM 102.5
sydney symphony 2012
Tuesday 15 May, 6pm
Musicians, staff and guest artists discuss what’s in
store in our forthcoming concerts.
a gershwin tribute
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.
Monday 21 May at 7pm
Mahler 9
Visit: bigpondmusic.com/sydneysymphony
Live webcasts can also be viewed via our mobile app.
In March, Mahler’s Ninth, his last
completed symphony, was released.
Sydney Symphony Live
ALSO CURRENTLY AVAILABLE
Webcasts
Selected Sydney Symphony concerts are webcast live
on BigPond and Telstra T-box and made available
for later viewing On Demand.
Coming up next:
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
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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fortnightly e-newsletter
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for iPhone or Android
sydneysymphony.com/mobile_app
sydney symphony 21
Mystery
& Motion
Angela Hewitt plays Mozart
Mozart at his most Romantic, Beethoven
at his most Classical, and the luminous,
exotic sounds of a composer who
understands the ‘mystery of the moment’.
DUTILLEUX Mystère de l’instant
(Mystery of the Moment) AUSTRALIAN PREMIERE
MOZART Piano Concerto No.20 in D minor, K466
BEETHOVEN Symphony No.4
Hannu Lintu conductor
Angela Hewitt piano
AUSGRID MASTER SERIES
19, 21 & 22 Sep 8pm
BOOK NOW! Tickets available from $35*
SYDNEYSYMPHONY.COM
or call 8215 4600 Mon-Fri 9am-5pm
Tickets also available at
sydneyoperahouse.com
9250 7777 Mon-Sat 9am-8.30pm | Sun 10am-6pm
*Booking fees of $7.50 – $8.95 may apply
PRISKA KETTERER
ABOUT THE ARTISTS
David Zinman CONDUCTOR
David Zinman is in his 17th season as Music Director of
the Tonhalle-Orchester Zürich. His conducting career
has been distinguished by his extraordinarily broad
repertoire, strong commitment to contemporary music and
introduction of historically informed performance practice.
He has conducted all the leading North American
orchestras, including the Boston Symphony, Chicago
Symphony, Cleveland and Philadelphia orchestras, and
the New York Philharmonic. In Europe he has conducted
the Berlin Philharmonic, Leipzig Gewandhaus, Bavarian
Radio Symphony Orchestra, Orchestra of the Age of
Enlightenment, Royal Concertgebouw Orchestra
Amsterdam, Vienna Symphony, London Philharmonic
Orchestra, Orchestre de Paris, Philharmonia Orchestra
and Orchestre National de France, as well as other leading
orchestras. He has toured widely, including tours in Europe,
Asia and the United States with the Tonhalle-Orchester
Zürich. He also conducts opera, most recently Offenbach’s
Les contes d’Hoffmann for Geneva Opera in 2010.
He has more than 100 recordings, which have earned
him five Grammy awards, two Grand Prix du Disque,
two Edison Prizes, the Deutsche Schallplattenpreis and
a Gramophone Award. He recently completed a Mahler
symphony cycle with the Tonhalle-Orchester Zürich,
following symphonic cycles by Beethoven, Strauss,
Schumann and most recently Brahms. Their current
project is the Schubert symphonies.
David Zinman studied conducting with Pierre Monteux,
and made his major debut with the Philadelphia Orchestra
in 1967. He has been Music Director of the Rotterdam
Philharmonic Orchestra, Rochester Philharmonic Orchestra
and Baltimore Symphony Orchestra, and Principal Conductor
of the Netherlands Chamber Orchestra. He has also been
Music Director of the Aspen Music Festival and School,
and of the American Academy of Conducting.
In 2000 the French Ministry of Culture made David
Zinman a Chevalier de l’Ordre des Arts et des Lettres and in
2002 the City of Zurich awarded him its Art Prize – the first
conductor and the first non-Swiss to receive it. In 1997 he
received Columbia University’s Ditson Award for performing
works by American composers, and in 2008 he was named
Midem Classical Artist of the Year for his work with the
Tonhalle-Orchester Zürich.
David Zinman’s most recent appearance with the Sydney
Symphony was in 2002 when he conducted an all-Brahms
program in the Master Series and Pictures at an Exhibition in
Meet the Music.
sydney symphony 23
Jennifer Welch-Babidge
SOPRANO
Jennifer Welch-Babidge was born in Aulander, North Carolina
and holds a Master’s degree in vocal performance from the North
Carolina School of the Arts. Her achievements have included a
Thomas Foundation ARIA award and Richard Tucker Career
Grant (2001) and she was a winner of the Metropolitan Opera
National Council Auditions in 1997. She subsequently joined
the company’s Lindemann Young Artist Development Program,
and since then has frequently appeared at the Metropolitan,
where her performances have included Fidelio, The Queen of
Spades, The Abduction from the Seraglio and Das Rheingold. In recent
seasons she has also sung Lucia di Lammermoor (New York City
Opera, Opera Colorado, Opera Theatre of Saint Louis), The
Abduction from the Seraglio (San Francisco Opera and St Louis),
Die Fledermaus (San Francisco), Don Pasquale (Houston Grand
Opera), Rigoletto (Opera Colorado), La Traviata (Opera Pacific)
and The Pearl Fishers (Washington National Opera).
Recent concert performances include Mahler’s Fourth
Symphony and Berg’s Lulu Suite (Philadelphia Orchestra),
Mahler’s Eighth Symphony and concert performances of Candide
(San Francisco Symphony), Mahler’s Resurrection Symphony
(Nashville Symphony) and Handel’s Messiah (Boston Baroque).
This week’s concerts are her first performances of Poulenc’s
Gloria as well as her Sydney Symphony debut.
Fiona Campbell
MEZZO-SOPRANO
Australian-born mezzo-soprano Fiona Campbell is consistently
praised for her exquisite musicianship and powerful performances
on stage, in the concert hall and as a recording artist. Last year
she won the Limelight Award for Best Solo Performance, and she
has been a Vocal category winner in the ABC Young Performers
Awards and an Opera Awards winner in the Australian Singing
Competition.
Fiona Campbell is a touring favourite of tenor José Carreras
and American soprano Barbara Bonney, and sings regularly as a
guest artist with Australia’s major ensembles and orchestras,
including appearances in Sydney with the Australian Chamber
Orchestra, Australian Brandenburg Orchestra, Australia Ensemble
and Sydney Philharmonia Choirs. She has also appeared with
the Brodsky Quartet, Tokyo Philharmonic, Soloists of Royal
Opera House Orchestra, Manchester Camerata, Prague
Chamber Orchestra and Hong Kong Philharmonic, and with
Grange Park Opera, Glyndebourne Festival Opera, Opera North,
Opera Australia and Pinchgut Opera.
Her recordings include her first solo album Love+Loss and
Baroque Duets with countertenor David Walker. This season
she again tours with the ACO and ABO, appears for Musica
Viva at the Huntington Festival and in Orfeo for the Brisbane
Festival, and will give recitals at the Art Gallery of NSW and in
Europe. This is Fiona Campbell’s Sydney Symphony debut.
24 sydney symphony
Paul McMahon TENOR
Tenor Paul McMahon is one of Australia’s leading singers of
baroque and classical repertoire. He performs regularly as a
soloist with symphony orchestras, chamber music groups and
choirs throughout Australia, New Zealand and Asia, and is in
special demand for the part of the Evangelist in the Passions of
JS Bach. Performance highlights include the St John Passion
(Australian Chamber Orchestra, Richard Tognetti), St Matthew
Passion (Auckland Philharmonia Orchestra, Roy Goodman);
Haydn’s Creation (Australian Opera and Ballet Orchestra, Richard
Hickox) and Stravinsky’s Pulcinella (Melbourne Symphony
Orchestra, Markus Stenz). His recordings include the solo album
A Painted Tale – English, French and Italian lute songs, Handel’s
Messiah, Handel’s Semele, Monteverdi’s Orfeo, Purcell’s Fairy Queen,
Mozart’s Requiem and Idomeneo, and Carl Orff ’s Carmina Burana.
In 2011 he sang the Evangelist in both Bach Passions (Orpheus
Choir Wellington, Sydney Philharmonia Choirs and St George’s
Cathedral, Perth), Bach’s Magnificat (Adelaide Symphony Orchestra),
Mozart’s Mass in C Minor (Melbourne and West Australian
Symphony Orchestras) and Orff ’s Carmina Burana (Melbourne
Symphony Orchestra). This season he performs with the Sydney
and Adelaide Symphony Orchestras, the Australia Ensemble,
Auckland Choral Society, Melbourne Bach Choir and St George’s
Cathedral, Perth. His most recent appearance with the Sydney
Symphony was in 2009, in Carmina Burana.
Paul Whelan BARITONE
Paul Whelan studied in Wellington and at the Royal Northern
College of Music. At the beginning of his career he won the
Lieder Prize in the 1993 Cardiff Singer of the World Competition,
and since then has performed with Metropolitan Opera,
Covent Garden, Netherlands Opera, English National Opera,
Glyndeborne, Opéra de Paris, Opéra de Genève and Bavarian
State Opera (Munich), among others. As his voice matured and
settled, he began concentrating on the bass-baritone and lyric
bass repertoire. Recent roles have included Seneca in
L’Incoronazione di Poppea (Opera de Lille and Opera Dijon) and
Harry Joy in Bliss (Hamburg State Opera) and last year he
performed his first Wotan in Das Rheingold (Auckland
Philharmonia). For Opera Australia he has sung the title roles
in Don Giovanni and Onegin, Demetrius in Britten’s Midsummer
Night’s Dream, the Count (The Marriage of Figaro) and Olivier
(Capriccio), and this year will sing Ramfis in Aida.
He has sung in concert with such conductors as Simon
Rattle, Kent Nagano, Richard Hickox, Charles Mackerras and
Valery Gergiev, and recital appearances include Wigmore Hall,
Purcell Room, St David’s Hall Cardiff, the BBC, Perth Festival
and the Châtelet Paris. Paul Whelan’s most recent appearance
with the Sydney Symphony was in Beethoven’s Missa Solemnis
in 2008.
sydney symphony 25
Sydney Philharmonia Choirs
Formed in 1920, Sydney Philharmonia Choirs is Australia’s
largest choral organisation. The three principal choirs – the
Chamber Singers, Symphony Chorus and the young adult choir
VOX – perform a diverse repertoire each year, ranging from early
a cappella works to challenging contemporary music. Sydney
Philharmonia Choirs presents an annual concert series featuring
sacred and secular choral masterpieces, and has premiered
several commissioned works, most recently Peter Sculthorpe’s
To Music. In 2002, Sydney Philharmonia was the first Australian
choir to sing at the BBC Proms (Mahler’s Eighth Symphony
under Simon Rattle), returning again in 2010. Other highlights
have included Beethoven’s Ninth for the Nagano Winter Olympics,
concerts with Barbra Streisand and Britten’s War Requiem at the
2007 Perth Festival.
Appearances with the Sydney Symphony have included Mahler’s
Eighth for the Olympic Arts Festival (2000), Stravinsky’s Oedipus
Rex and Symphony of Psalms, ‘Midsummer Shakespeare’ (2011
Sydney Festival) and the choral symphonies in Ashkenazy’s Mahler
Odyssey (2010–11). Last year VOX made its first independent
appearance with the orchestra, performing in Grieg’s Peer Gynt.
The choir’s most recent appearance with the orchestra was in
Beethoven 9 in February.
Brett Weymark artistic and musical director
Brett Weymark studied singing at the University of Sydney
and conducting at the Sydney Conservatorium. In 2003 he
was appointed Musical Director of Sydney Philharmonia
Choirs. He has conducted the choirs in premieres of works by
composers such as Elena Kats-Chernin and Peter Sculthorpe,
and has also prepared the choirs for concerts with conductors
such as Charles Mackerras, Charles Dutoit and Simon Rattle.
Most recently, he has conducted Die Fledermaus at the Western
Australian Academy of Performing Arts and Symphony in the
Domain for the 2012 Sydney Festival, and this season he will
conduct the OzOpera tour of Don Giovanni and return to
WAAPA to conduct Goetz’s Taming of the Shrew.
Anthony Pasquill assistant chorusmaster
Born in Royal Leamington Spa, Anthony began his musical
training in the choir of Lichfield Cathedral, where he has
appeared with Dame Kiri Te Kanawa, Michael George and the
BBC Philharmonic Orchestra. Before moving to Australia, he
gained a degree in clarinet performance from Leeds University
and spent a year studying at the University of North Texas.
In addition to his work with the Sydney Philharmonia choruses,
he is currently Musical Director of Sydney-based chamber
choir Bel a cappella, and this year he conducts the Australian
premieres of Pēteris Vasks’ Missa and George Dyson’s Hierusalem
with Bel.
26 sydney symphony
Brett Weymark Artistic and Musical Director
Atul Joshi General Manager
Anthony Pasquill Assistant Chorusmaster
Josephine Allan and Estella Roche Rehearsal pianists
SOPRANOS
Heather Aird
Shelley Andrews*
Ruth Beecher
Sandi Bell
Amy Bentley
Jacqui Binetsky
Georgina Bitcon
Anne Blake
Olga Bodrova
Jodie Boehme
Nikki Bogard
Larissa Burak
Claire Burrell-McDonald
Elizabeth Cartmer
Anne Cooke
Pam Cunningham
Rouna Daley
Catherine De Luca
Shamistha De Soysa*
Alya Drobot
Soline Epain-Marzac
Karina Falland
Natalie Fisher
Dorothy Gill
Judith Gorry
Belinda Griffiths
Caroline Gude
Stephanie Hall
Maria Hemphill
Rebecca Howard
Carine Jenkins
Sue Justice
Michelle Kang
Rychelle Kiely
Karolina Kulczynska
Victoria Laverick
Carolyn Lowry
Jayne Oishi
Lindsey Paget-Cooke
Dympna Paterson
Georgia Rivers
Susie Roberts
Meg Shaw
Rachel Sibley
Sarah Thompson
Karen Walmsley
Cindy Yang
ALTOS
Leonie Armitage
Jan Borrie
Gae Bristow
Heather Burnett
Kate Clowes
Ruth Collerson
Penny Craswell
Pip Davies
Catriona Debelle
Claire Duffy
Alison Dutton
Ruth Edenborough
Helen Esmond
Jan Fawke
Phoebe Ferguson
Nadia Fried
Elizabeth Galloway
Penny Gay
Linda Gerryts
Jennifer Gillman
Rebecca Gladys-Lee
Jemma Golding
Edith Gray
Ritu Gupta
Tracy Hall
Sue Harris
Jenny Harry
Kathryn Harwood
Margaret Hofman
Sarah Howell
Helen Hughson
Sanne Hulst
SooJin Kim
Pia Kostiainen
Natalie Lane
Rachel Maiden
Hannah Mason*
Donna McIntosh
Janice McKeand
Maggie McKelvey
Tijana Miljovska
Penny Morris
Susie North
Helen Pedersen
Arwen Seccombe
Jan Shaw
Megan Solomon
Vanessa South*
Erica Svampa
Melvin Tan
Maree Tyrrell
Sheli Wallach
TENORS
Matthew Allchurch
Paul Boswell
Daniel Comarmond
Malcolm Day
Robert Elliott
Lius Firdaus
Denys Gillespie*
Steven Hankey
Jude Holdsworth
Keyan Karroobee
Michael Kertesz
David Larkin
Selwyn Lemos
Vincent Lo
Thomas MacDonald
Frank Maio
Stephen McDonnell
Mark Meehan
Dimitry Moraitis
Paul Soper
Martin Stebbings
Tijl Stynen
Bruce Turner+
Michael Wallach
Alex Walter*
Ben Wirfler
BASSES
Bryan Banston
Dominic Blake
Simon Boileau
Andrew Broten
Kyle Buchanan
Edwin Carter
Gordon Cheng
Julian Coghlan
Dion Condack
Paul Couvret
Philip Crenigan*
Paul Cunningham*
Robert Cunningham
Ian Davies*
Graham Dick
David Faulkner
Tom Forrester-Paton
Matthew Gyton
Eric Hansen
Derek Hodgkins
Timothy Jenkins
Martin Kuskis
Samuel Merrick
Peter Poole
Michael Ryan
Edwin Tomlins
Nicholas Tong
Robert Totonjian
Robert Williams
Arthur Winckler
David Wood
Ken Zhang
* section leader
+ tenor soloist
(Poulenc)
To find about Sydney Philharmonia concerts
or joining one of the choirs, visit
www.sydneyphilharmonia.com.au
sydney symphony 27
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
TRUMPETS
Andrew Haveron*
Roger Benedict
Anne-Louise Comerford
Jane Hazelwood
Sandro Costantino
Graham Hennings
Stuart Johnson
Justine Marsden
Leonid Volovelsky
Rosemary Curtin*
Tara Houghton°
Tobias Breider
Robyn Brookfield
Felicity Tsai
Emma Sholl
Carolyn Harris
Rosamund Plummer
Janet Webb
Paul Goodchild
Anthony Heinrichs
Andrew Evans°
David Elton
John Foster
OBOES
TROMBONES
Shefali Pryor
Alexandre Oguey
Scott Kinmont
Nick Byrne
Christopher Harris
CELLOS
CLARINETS &
BASSET HORNS
Concertmaster
Dene Olding
Concertmaster
Sun Yi
Associate Concertmaster
Kirsten Williams
Associate Concertmaster
Fiona Ziegler
Assistant Concertmaster
Jennifer Booth
Marianne Broadfoot
Brielle Clapson
Sophie Cole
Jennifer Hoy
Nicola Lewis
Alexander Norton
Léone Ziegler
Elizabeth Jones°
Katherine Lukey
Assistant Concertmaster
Julie Batty
Amber Davis
SECOND VIOLINS
Kirsty Hilton
Marina Marsden
Emily Long
Catherine Hewgill
Teije Hylkema*
Leah Lynn
Assistant Principal
Timothy Nankervis
Elizabeth Neville
Christopher Pidcock
Adrian Wallis
David Wickham
Fenella Gill
Kristy Conrau
Rachel Cashmore†
Diana Doherty
David Papp
Francesco Celata
Christopher Tingay
Craig Wernicke
Principal Bass Trombone
Ronald Prussing
Susan Dobbie
Kees Boersma
Alex Henery
Neil Brawley
Principal Emeritus
David Campbell
David Murray
Benjamin Ward
Steven Larson
Richard Lynn
Steve Rossé
TIMPANI
Richard Miller
Principal Bass Clarinet
Lawrence Dobell
PERCUSSION
BASSOONS
Rebecca Lagos
Colin Piper
Mark Robinson
Matthew Wilkie
Nicole Tait°
Noriko Shimada
Principal Contrabassoon
DOUBLE BASSES
Maria Durek
Shuti Huang
Benjamin Li
Nicole Masters
Philippa Paige
Biyana Rozenblit
Maja Verunica
Emily Qin°
Emma West
Principal Cor Anglais
TUBA
A/Assistant Principal
Principal Emeritus
Principal Piccolo
HARP
Louise Johnson
Fiona McNamara
ORGAN
HORNS
David Drury*
Robert Johnson
Geoffrey O’Reilly
Principal 3rd
Sharn McIver†
Jenny McLeod-Sneyd°
Ben Jacks
Euan Harvey
Marnie Sebire
Bold = Principal
Italics = Associate Principal
* = Guest Musician
° = Contract Musician
† = Sydney Symphony Fellow
Grey = Permanent member of the
Sydney Symphony not appearing
in this concert
Assistant Principal
Emma Hayes
Stan W Kornel
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.
28 sydney symphony
The men of the Sydney
Symphony are proudly
outfitted by Van Heusen.
JOHN MARMARAS
THE SYDNEY SYMPHONY
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,
most recently, Gianluigi Gelmetti. 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 Sydney
Symphony 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 a 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 29
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
Elaine Armstrong
ARTIST LIAISON MANAGER
Ilmar Leetberg
RECORDING ENTERPRISE MANAGER
Philip Powers
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
30 sydney symphony
Education Programs
HEAD OF EDUCATION
Kim Waldock
EMERGING ARTISTS PROGRAM MANAGER
Mark Lawrenson
EDUCATION COORDINATOR
Rachel McLarin
MANAGER OF BOX OFFICE SALES &
OPERATIONS
Lynn McLaughlin
MANAGER OF BOX OFFICE OPERATIONS
Tom Downey
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
DIRECTOR OF ORCHESTRA MANAGEMENT
Aernout Kerbert
ORCHESTRA MANAGER
Chris Lewis
ORCHESTRA COORDINATOR
Georgia Stamatopoulos
OPERATIONS MANAGER
Kerry-Anne Cook
TECHNICAL MANAGER
Derek Coutts
DEVELOPMENT
DIRECTOR OF DEVELOPMENT
Caroline Sharpen
CORPORATE RELATIONS
Julia Owens
CORPORATE RELATIONS
Stephen Attfield
PHILANTHROPY, PATRONS PROGRAM
Ivana Jirasek
PHILANTHROPY, EVENTS & ENGAGEMENT
Amelia Morgan-Hunn
PRODUCTION COORDINATOR
Tim Dayman
BUSINESS SERVICES
PRODUCTION COORDINATOR
DIRECTOR OF FINANCE
Ian Spence
John Horn
STAGE MANAGER
FINANCE MANAGER
Peter Gahan
Ruth Tolentino
ACCOUNTANT
SALES AND MARKETING
Minerva Prescott
DIRECTOR OF SALES & MARKETING
ACCOUNTS ASSISTANT
Mark J Elliott
Emma Ferrer
MARKETING MANAGER, SUBSCRIPTION SALES
PAYROLL OFFICER
Simon Crossley-Meates
Geoff Ravenhill
A/SENIOR MARKETING MANAGER, SALES
Matthew Rive
MARKETING MANAGER, BUSINESS RESOURCES
Katrina Riddle
ONLINE MARKETING MANAGER
Eve Le Gall
HUMAN RESOURCES
HUMAN RESOURCES MANAGER
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
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
twitter.com/sydsymph
facebook.com/sydneysymphony
sydney symphony 31
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 Robert & Mrs L Alison Carr
Bob & Julie Clampett
Ian Dickson & Reg Holloway
Mr Colin Draper & Mary Jane Brodribb
Penny Edwards
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
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)
32 sydney symphony
Bronze Patrons
$2,500 – $4,999
Dr Lilon Bandler
Stephen J Bell
Marc Besen ao & Eva Besen ao
Mr David & Mrs Halina Brett
Lenore P Buckle
Howard Connors
Ewen & Catherine Crouch
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
Marliese & Georges Teitler
Ms Gabrielle Trainor
J F & A van Ogtrop
Anonymous (3)
Bronze Patrons
$1,000-$2,499
Charles & Renee Abrams
Andrew Andersons ao
Mr Henri W Aram oam
Dr Francis J Augustus
Richard Banks
David Barnes
Doug & Alison Battersby
Michael Baume ao & Toni Baume
Phil & Elese Bennett
Nicole Berger
Mrs Jan Biber
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
Lisa & Miro Davis
Matthew Delasey
John Favaloro
Mr Edward Federman
Mr Ian Fenwicke & Prof. N R Wills
Firehold Pty Ltd
Dr & Mrs C Goldschmidt
Akiko Gregory
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
Ms Jan Lee Martin & Mr Peter Lazar
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
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
Dr Raffi Qasabian
Ernest & Judith Rapee
Kenneth R Reed
Patricia H Reid Endowment Pty Ltd
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
Andrew & Isolde Tornya
Gerry & Carolyn Travers
John E Tuckey
Mrs M Turkington
In memory of Dr Reg Walker
Henry & Ruth Weinberg
The Hon. Justice A G Whealy
Geoff Wood & Melissa Waites
Warren Green
Mr R R Woodward
Dr John Yu & Dr George Soutter
Anonymous (12)
Bronze Patrons
$500–$999
Mr Peter J Armstrong
Mr & Mrs Garry S Ash
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
Jen Cornish
Greta Davis
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
Rev Harry & Mrs 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
Mr & Mrs Gilles T Kryger
Mrs M J Lawrence
Dr & Mrs Leo Leader
Margaret Lederman
Mrs Yolanda Lee
Martine Letts
Anita & Chris Levy
Erna & Gerry Levy am
Dr Winston Liauw
Mrs Helen Little
Sydney & Airdrie Lloyd
Mrs A Lohan
Mrs Panee Low
Carolyn & Peter Lowry oam
Dr David Luis
Melvyn Madigan
Dr Jean Malcolm
Mrs Silvana Mantellato
Mr K J Martin
Geoff & Jane McClellan
Mrs Flora MacDonald
Mrs Helen Meddings
David & Andree Milman
Kenneth N Mitchell
Chris Morgan-Hunn
Nola Nettheim
Mrs Margaret Newton
Mr Graham North
Dr M C O’Connor am
A Willmers & R Pal
Dr A J Palmer
Mr Andrew C Patterson
Dr Kevin Pedemont
Dr Natalie E Pelham
Mr Allan Pidgeon
Robin Potter
Lois & Ken Rae
Mr Donald Richardson
Pamela Rogers
Agnes Ross
Dr Mark & Mrs Gillian Selikowitz
Caroline Sharpen
Mrs Diane Shteinman am
Dr Agnes E Sinclair
Doug & Judy Sotheren
Mrs Elsie Stafford
Mr Lindsay & Mrs Suzanne Stone
Mr D M Swan
Mr Norman Taylor
Ms Wendy Thompson
Kevin Troy
Judge Robyn Tupman
Gillian Turner & Rob Bishop
Prof. Gordon E Wall
Ronald Walledge
Mr Robert & Mrs Rosemary Walsh
Mr Palmer Wang
David & Katrina Williams
Audrey & Michael Wilson
Dr Richard Wing
Mr Robert Woods
Mr & Mrs Glenn Wyss
Mrs Robin Yabsley
Anonymous (18)
To find out more about becoming
a Sydney Symphony Patron, please
contact the Philanthropy Office
on (02) 8215 4625 or email
[email protected]
sydney symphony 33
SALUTE
PRINCIPAL PARTNER
GOVERNMENT PARTNERS
The Sydney Symphony is assisted by the Commonwealth Government through the
Australia Council, its arts funding and advisory body
PREMIER PARTNER
The Sydney Symphony is assisted by the NSW Government through Arts NSW
COMMUNITY PARTNER
GOLD PARTNERS
SILVER PARTNERS
REGIONAL TOUR PARTNERS
MARKETING PARTNER
2MBS 102.5 Sydney’s Fine Music Station
34 sydney symphony
PLATINUM PARTNER
MAJOR PARTNERS
Brendan Read
ORCHESTRA NEWS |MAY 2012
❝
The backbone
of the sound.
❞
Steven Larson and David Murray on stage.
DOUBLE DOUBLE BASS
Two bass players from Minneapolis end up playing
in the same orchestra on the other side of the planet.
For David Murray and Steven Larson, it’s a small
musical world…
Ten years ago, two young bass
players from Minneapolis,
whose mothers had taught at
the same school, auditioned
for the Sydney Symphony on
the same day. David Murray
was in Sydney on a job swap
from his orchestra in Bergen,
Norway when the audition was
announced. Steven Larson,
working in Spain, heard through
the international music grapevine. Here’s a snapshot of where
they’re at.
Besides playing in the orchestra, David Murray has another
big string to his… er… bass?
Jazz. ‘It’s a strict discipline in
terms of what notes you can
put over what chords, what beat
you should emphasise. The
difference with classical is in
the style of learning: the tools
are the same – like scales and
arpeggios – but with jazz you
learn how to use them for your
own purposes, you get creative
with an arpeggio, maybe even
turn it into a melody.’
The similarities with classical
music are in the listening.
‘You’re actively listening to the
harmony, to what everyone else
is doing. In many respects it isn’t
that different [to playing in the
orchestra].’
Steven and David agree it’s the
role of the bass in the orchestra
that they like. ‘It’s a supporting
instrument, the backbone of the
sound,’ says Steve. ‘It’s funny –
I don’t like the solo sound of the
instrument at all! But it’s the
sound that they make as a section
that I really get.’
So which composers write
best for the bass? ‘Beethoven,
Mozart, Shostakovich,’ says
Steven. ‘They write well because
they keep it as a fundamental
harmonic instrument. They
understand that it’s important within the context of the
orchestra – a bit like the rhythm
section of the orchestra.’
Steven has just bought a
second bass. ‘I’ve been waiting
30 years to buy this instrument –
it was the one I learned on
when I was young, belonged to
my teacher. He promised me
first shot at buying it when he
retired.’ It took Steve’s teacher
a little longer than expected to
honour his promise. ‘Ten years!’
But his ‘brand new’ 300-yearold bass was worth waiting for:
‘It looks like it’s been through
the wars, but the sound is solid.
It’s an instrument from Italy
that was made before Italy was
Italy!’
Event News
Access to a World of Music
Sydney Symphony Vanguard
‘Inventing, and reinventing, meaningful access to the
world of music…is a challenge’, says Graham Sattler,
Director of the Orange Regional Conservatorium.
‘In my opinion, those [arts organisations] that are
truly effective are those that welcome children into
the wonderful, rich, evocative world of “fine” music;
communicating the genuine joy, without resorting to
patronising novelty.’
Graham says that over the past decade the Sydney
Symphony has consistently demonstrated ‘a serious
approach to the business of education’. And in the
lead up to our annual fundraising campaign, it’s
encouraging to hear that our education programs are
playing a vital role in regional areas. Activities such
as Playerlink (mini music camps in NSW centres),
the Sinfonietta composition project and annual
regional tours, demonstrate how seriously we take
the business of education and outreach.
These remarkable programs flourish through
the generous and sustained support of Sydney
Symphony concertgoers. Our appeal will commence
in May, enabling you to claim a tax deduction this
financial year – please continue and extend your
support to keep your orchestra at the forefront of
music education in Australia.
In April we launched Sydney Symphony Vanguard,
a membership program for new orchestra fans and
future philanthropists. Private events throughout the
year will introduce Vanguard members to classical
music in intimate settings and unexpected contexts,
and the program is supported and advised by the
Vanguard Collective (pictured below, from left): Anna
Swan, Jonathan Pease, Rose Herceg, Justin Di Lollo,
Amelia Morgan-Hunn and Kees Boersma.
Ken Butti
Cultivating the Future
Ken Butti
At the launch event Sydney Symphony musicians
and Fellows were joined on stage by a surprise guest
performer: hip-hop artist and dj Nacho Pop.
Your Say
In Harold in Italy [March 2012] I was
intrigued to see an ophicleide in the
brass section. I cannot remember
seeing one in action before. There are
other less common instruments that
appear in the orchestra from time to
time. When they are included, would
you consider putting a little note in the
program, explaining what they are and
why the composer chose to include
them?
Richard W Manuell
This is something we do from time to
time, although not in every program.
Meanwhile you’ve given us an idea for
Ask a Musician…
At recent concerts, announcements
have been made thanking the
audience for their support. We are
told how many have been subscribing
for 10 and 20 years, but not for 30, 40 or
even 50 years. I am sure there must be
many who fit into this unannounced
group. We have been
subscribers since 1971 at least!
I would be interested to know how
many other long-term subscribers
there are. It would be an interesting
project and reflect the role the
orchestra has in the cultural life of
this city.
Professor Barry and Dr Judith Batts
Beyond 20 years, our information is
patchy and reliant on self-reported
information. But we are always glad to
hear from concertgoers who can help
us update our records.
We like to hear from you. Write to [email protected] or Bravo! Reply Paid 4338, Sydney NSW 2001.
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Artistic Focus
The Score
So you think you can’t clap?
In 2009 the orchestra purchased
its first three violins, courtesy
of the instrument acquisition
fund, and these are now played
by (from left) Sophie Cole,
Alexandra Mitchell and
Emma West.
SOUND INVESTMENTS
For four years, slowly but surely, the orchestra has been
improving the quality of instruments in the string section.
Not all musical instruments are
created equal, whether in price
tag or in quality of sound. ‘The
sounds of the individual string
instruments must firstly blend
well in the section,’ says Sydney
Symphony Concertmaster Dene
Olding. When new players join
the orchestra, they naturally bring
their own violin, viola, cello or
double bass. ‘Without detracting
from the individual worth and
sweetness of sound of those
instruments, they won’t necessarily be capable of the colours
and complexities of sound that
we need.’
In 2008, the orchestra set up
the Instrument Acquisition Fund
to purchase instruments that are
then loaned to our musicians.
‘This project is going to help
us build a superior sound,’ says
Dene.
Many imagine the price tag
attached to a violin might reach
into the millions. And sometimes
that’s true (think Stradivarius).
How much, then, do you imagine
it would cost to purchase, say, six
violins, one viola and a cello, of
a standard suitable for a leading
symphony orchestra?
Gifts and pledged bequests to
the Instrument Acquisition Fund
totalling over $1.5m have enabled
us so far to purchase seven instru-
ments. As custodians of these
instruments – some as old as 150
years – the orchestra now holds
these appreciating assets on its
balance sheet.
The process of identifying
which instruments to buy has been
exhaustive and impartial. It’s easy
to imagine that a higher price tag
or more prestigious maker might
bias our assessment of the quality
of an instrument and its sound.
We’re only human, after all! To
eliminate this possibility, every
time the orchestra has arranged
for a group of instruments to be
trialled – within the orchestra and
at separate listening sessions – the
instruments have been identified
only by a number (their true identities known only by a select few,
who are sworn to secrecy).
Once a decision is made, the
chosen instrument’s maker and
age are revealed. The most recent
recommendation to the Board
is for the purchase of a 1901
Vincenzo Sannino cello, made
in Naples. It will be played by
Leah Lynn, our Assistant
Principal Cello.
Further instrument trials and
listening sessions will take place
later this year. Perhaps you’d like to
attend? Call (02) 8215 4663 or email
[email protected]
to register your interest.
Tchaikovsky’s Pathétique Symphony has a trick up its sleeve:
the third movement ends loudly,
the finale dies away. Experienced
concert-goers are wise to this and
know not to clap after the third
movement, but is fighting against
instinct the right response?
‘I sincerely believe,’ says conductor David Robertson, ‘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 he manages
to make an entire audience experience that sense of solitude together
is brilliant beyond description.’
The unexpected sequence of
extrovert–introvert is one of the
ways Tchaikovsky shows his
‘uncanny genius’. It’s also something that can’t be fully experienced except in the live concert
setting. Some music, explains
Robertson, needs to be experienced in ‘real time’. This way, he
says, ‘the emotional impact comes
through without any distractions’.
All three works in his July program
are examples of this. Tchaikovsky’s
meditation on feelings is ‘as personally compelling as when he first
wrote it’. Then there’s ‘something
about the atmosphere of music
from the 1600s inspiring Vaughan
Williams and the whole history
of the violin inspiring Adès in his
Concentric Paths violin concerto’.
And in each movement of the Adès,
‘the violin holds our attention
from its first note until its last,
spinning a magical web of narrative, like some sort of enchanter’.
Tchaikovsky’s Pathétique
Conducted by David Robertson
Ausgrid Master Series
Wed 4, Fri 6, Sat 7 July | 8pm
David Robertson
TEACHING THE TEACHERS
CODA
SSO CHAMBER MUSIC
This month, hear musicians from the
orchestra in the more intimate context
of a lunchtime chamber music
concert at St James’ King Street
(at the northern end of Hyde Park):
Wednesday 23 May at 1.15pm
Alexandre Oguey (cor anglais),
Jennifer Hoy (violin), Sandro
Costantino (viola), Fenella Gill (cello)
and David Campbell (double bass)
play charming music by Michael
Haydn, Rossini and Françaix.
This month the Education team
visits Coffs Harbour, Grafton, Taree
and Newcastle to present professional
learning programs for local teachers.
These programs enable teachers to
be better prepared for bringing their
students to hear the orchestra in our
regional schools concerts.
The team has also gone halfway
around the country preparing
teachers and students for this year’s
Sinfonietta composition project,
with workshops in Sydney, Brisbane,
Melbourne and Hobart. We’re hoping
to take the program to Perth in midMay.
MUSICIANS IN JAIL
Just recently the Sydney Symphony
Fellows spent some time in jail!
For two mornings at the end of April
(during the course of a weeklong
retreat at the Bundanon Trust
property) they worked with inmates
of the South Coast Correctional
Centre near Nowra – a first for both
Bundanon Trust and the Fellowship
program.
The Fellows are also looking forward
to masterclasses with visiting
violinists Julian Rachlin and Anthony
Marwood.
NEW PARTNERSHIP
We’re delighted to announce a new
hotel partnership with The Sebel Pier
One.
guest soloist. In a bonus treat, the
touring party and audience were lured
to Robertson Park across the road
from the theatre where a night market
was being
held to open Orange F.O.O.D. Week.
Good timing!
Coming up at the end of May is
our annual regional tour featuring
the Sydney Symphony and our
Sinfonia training orchestra in a
side-by-side program conducted by
Benjamin Northey. Our destinations:
Grafton (29 May), Taree (30 May)
and Newcastle (1 June). We will also
be presenting schools concerts in
each city. Our guest soloist is the
charismatic young saxophonist
Nicholas Russoniello, who was the
ABC Symphony Australia Young
Performer of the Year in 2011. In
Grafton we’ll be performing in a fine
surviving example of a two-level
cinema, the Saraton Theatre, which
dates from 1926.
ON TOUR IN NSW
Friday 13 April was a lucky day for
the orchestra – marked by a very
successful return to the Orange Civic
Theatre after several years. We took
our Mozart and the French Connection
program (from the Mozart in the City
series), with pianist Ian Munro as
BRAVO EDITOR Genevieve Lang
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