25, 26, 27 Feb, 1, 4 - Sydney Symphony Orchestra

I
t is with great pleasure that Veuve Clicquot welcomes you to an
exceptional evening of music by Bach and Ellington with Nigel Kennedy
and the Sydney Symphony.
Since the foundation the House of Veuve Clicquot Ponsardin in
1772, the champagnes have become synonymous with elegance,
seduction and celebration. Creating truly great champagne
is the collaboration of many individuals, along with the
finest vintage wines, which together produce a singular
sensation for the senses – much like the incredible talents
and dedication of the members of the Sydney Symphony
and the incomparable Nigel Kennedy.
Champagne adds a certain je ne sais quoi, a touch of luxury to
every occasion. By providing the flagship champagne of Veuve Clicquot,
the unmistakable Yellow Label, in the bars at the Sydney Opera House Concert Hall for the
Sydney performances on this tour, the aim is to enhance your pleasure from these superb musical
experiences.
Veuve Clicquot hopes you enjoy the outstanding talents of Nigel Kennedy
and the Sydney Symphony this evening, alongside a glass of its champagne.
La vie en Clicquot!
2010 SEASON
NIGEL KENNEDY AND THE
SYDNEY SYMPHONY
Thursday 25 February | 8pm
Friday 26 February
| 8pm
Saturday 27 February | 8pm
MONDAYS @ 7 – 1 March | 7pm
Sydney Opera House Concert Hall
Thursday 4 March | 8pm
Royal Theatre, Canberra
Friday night’s performance will be
recorded for later broadcast across
Australia on ABC Classic FM.
Saturday 6 March | 8pm
Queensland Performing Arts Centre
Pre-concert talk by Robert Murray
in the Northern Foyer, 45 minutes
before each Sydney performance.
Visit sydneysymphony.com/talk-bios
for speaker biographies.
Nigel Kennedy violin
Shefali Pryor oboe | Catherine Hewgill cello
Tomasz Grzegorski saxophone
Orphy Robinson marimba and vibraphone
Doug Boyle guitar | Adam Kowalewski bass
Krzysztof Dziedzic drums and percussion
The concert will conclude at
approximately 10.15pm
(9.15pm on 1 March)
Nigel Kennedy presents a unique evening of music inspired
by the masterworks of JS Bach and Duke Ellington.
JOHANN SEBASTIAN BACH (1685–1750)
Violin Concerto in E, BWV1042
1. Allegro – Adagio – Allegro
2. Adagio
EDWARD KENNEDY ‘DUKE’ ELLINGTON
(1899–1974)
In a Jam
In a Mellow Tone
Prelude to a Kiss
BACH
Two-part inventions, transcribed for
violin and cello
ELLINGTON
Harlem Airshaft
Perdido
ELLINGTON
Diminuendo and Crescendo
Dusk
BACH
Concerto in D minor for violin and oboe, BWV1060
3. Allegro
2. Adagio
ELLINGTON
Cotton Tail
Come Sunday
BACH
Violin Concerto in A minor, BWV1041
3. Allegro assai
INTERVAL
Chamber orchestra and band arrangements by Nigel Kennedy.
PRESENTING PARTNER
© LEONARD NEUMANN
PHOTOGRAPHS: © EMI CLASSICS
INTRODUCTION
BEYOND CATEGORY –
THE MUSIC OF NIGEL KENNEDY
‘The three greatest composers who ever lived are Bach,
Delius and Duke Ellington. Unfortunately Bach is dead,
Delius is very ill but we are happy to have with us today
The Duke.’ So declared Australian composer Percy Grainger
as he introduced Duke Ellington and his band before their
performance at one of Grainger’s lectures at New York
University in 1932. A great admirer of Ellington, Grainger was
keen to expose his students to diverse styles of music and to
open their minds to unfamiliar rhythmic and tonal possibilities,
decades before the term ‘world music’ was coined. Needless
to say, Duke’s appearance packed the hall out.
That Nigel Kennedy has chosen to feature music by Bach
and Ellington in the same bill should come as no surprise.
His appearance, mannerisms and choice of repertoire have
challenged the establishment for more than two decades
and still polarise opinion. A musician who loves to leave his
individual stamp on the music he plays – he has described
himself as ‘agent provocateur’ – Nigel Kennedy professes
a fondness for taking risks in order to get to the real heart
of the music. As a young man at Juilliard, he ignored his
teacher Dorothy DeLay’s warning that playing jazz in public
would put paid to any hope of a classical recording career.
Duke Ellington (at the piano) with Percy Grainger, 1932
7 | Sydney Symphony
Thirty years on, his repertoire encompasses Jimi Hendrix
and The Doors and he retains artistic control over recording
projects, his 2008 disc of Beethoven and Mozart concertos
featuring a genre-bending cadenza on electric violin.
His love for jazz is well documented and, recalling his
mentor Yehudi Menuhin’s regret-tinged comment that
he would have given ‘one eye tooth’ to have been able to
improvise freely alongside Stéphane Grappelli, one cannot
fault Kennedy’s resolve to live and play in the moment. On
his Beethoven/Mozart disc he paid tribute to Horace Silver,
eschewing other musicians given to pyrotechnic feats of
improvisation in favour of a jazzman who, he says, has a real
melodic gift and a ‘swinging, simple approach’. And it is this
desire to stir the soul that seems to drive Kennedy’s passion
for performing, whether it’s playing Bach, Ellington, Elgar
or jamming with The Who.
Duke Ellington himself had a favourite phrase to
describe musicians whose work he admired – he would
say that they were ‘beyond category’. You can be sure Nigel
Kennedy would take that as a compliment.
LORRAINE NIELSON
SYMPHONY AUSTRALIA ©2010
9 | Sydney Symphony
…this desire to stir
the soul…
ABOUT THE MUSIC
BACH IN CONCERTO MODE
Johann Sebastian Bach’s two concertos for violin and
strings were composed during his years at the court of
Anhalt-Cöthen (1717–1723). We know that some of his violin
concertos are lost, because practically all Bach’s harpsichord
concertos show evidence of having been transcribed by him
from concertos which were originally for violin. But only
two solo concertos for violin, in A minor (BWV1041) and E
major (BWV1042), have come down to us in their original
form. Their solo parts are thought to have been intended for
the leader of the Cöthen orchestra, Joseph Spiess.
The style of these concertos is modelled on the Italian
form of which Antonio Vivaldi is the leading representative,
but – although comparative evaluations are dangerously
subjective – it is hard to resist the conclusion that the
greatness of Bach’s concertos lies in their superiority to
their models. Bach had become familiar with Vivaldi’s
concertos during his time at Weimar, and the influence is
clear, first in the external form: three movements in the
pattern fast–slow–fast. In the E major Concerto, Bach’s
bold opening, upward-striding and fanfare-like, is Vivaldian
in its outline. Soon, however, it is clear that the motives
will not stay with their respective proponents – soloist and
the full band – but will invade each other in many-voiced
complexity undreamt of by Vivaldi. Only the continuation
of the main theme in the fast repeated notes of the tutti
violins remains exclusively the province of the tutti.
Soon Bach begins to spin his movement out of that
favourite device of Baroque composers, the sequence
(repetition of the same phrase at a different pitch). Bach’s
sequences are especially exciting and cumulative as they
range through different keys, preserving almost all the
while the bounce of an underlying dance rhythm. The solo
violin’s figuration is often cast in an accompanying role.
There is a series of short developments between the returns
to the main theme, including a section in the relative minor
key, until the momentum is broken by an extended Adagio
cadence in G minor, before the reprise begins – a moment
of reflection.
As in the A minor Concerto and the Concerto for two
violins (BWV1043, Bach’s only other surviving violin
concerto), the core of the E major Concerto is a slow
movement (Adagio) of quite unusual expressivity. It has
sent commentators groping for psychological analogies:
a dialogue in which the ground bass ostinato of the lower
10 | Sydney Symphony
Johann Sebastian Bach
German composer (1685–1750)
Violin Concerto in E,
BWV1042
1. Allegro – Adagio – Allegro
2. Adagio
strings remains ‘obsessed’ with its single, repeating figure,
while the solo soars in an expressive development of the
troubled mood of the bass – so free that its music has been
compared to the gliding or hovering of a bird, or to ‘the
suave authority of a trained dancer’.
The final movement of the A minor concerto is shaped
by a returning dance-like theme, a kind of jig. It is first
exposed by the whole band, in fugal imitation, with the
instrumental voices entering one after the other. The soloist
enters with a new theme, related, but differing in character
through its wider intervals and freer scope for virtuosic
elaboration.
Violin Concerto in
A minor, BWV1041
3. Allegro assai
******
With its highly attractive themes and exquisitely expressive
slow movement, the Concerto for violin and oboe
(BWV1060) has become one of Bach’s best-loved. Yet it is a
reconstruction – hypothetical, albeit very convincing.
Bach is known to have composed a concerto for
violin and oboe, listed in Breitkopf ’s 1764 catalogue, but
apparently lost. It was Waldemar Voigt in 1886 who first put
forward the theory that the Concerto in C minor for two
harpsichords, dating from Bach’s years in Leipzig, was an
adaptation of a concerto for oboe and violin. The compass
of one of the parts exactly fits the oboe, and lacks the violinlike arpeggio passages; the other part is often in unison
with the other violins.
In 1920 the musicologist Max Seiffert published a
reconstruction with oboe and violin as soloists, keeping the
right hand of the harpsichord parts and discarding the left,
and imitating the changes Bach made in those concertos
where both his violin original and the harpsichord
transcription have survived. Seiffert’s version is in the same
key, C minor, as the concerto for two harpsichords, but
other reconstructions, like the one played in this concert,
change the key to D minor, since when Bach adapted a
violin original in D, he transposed the music down a tone –
probably to fit the range of the harpsichord.
In its putative form as a concerto for oboe and violin, this
piece was almost certainly composed while Bach was in the
service of Prince Leopold of Anhalt-Cöthen. The Prince was
a good amateur musician who, as Bach said, ‘not only loved
but knew music’. As a Calvinist, this Prince kept the music
for his chapel simple, and Bach’s main task was to provide
instrumental music for concerts. His violin concertos, the
11 | Sydney Symphony
Concerto in D minor
for violin and oboe,
BWV1060
3. Allegro
2. Adagio
Brandenburg Concertos and the works for unaccompanied
violin and cello are all thought to date from these years. Two
outstanding violinists, Joseph Spiess and Martin Friedrich
Marcus, had been imported from Berlin to Cöthen. It was
probably for them that Bach composed the Double Violin
Concerto (BWV1043), and in the Concerto for violin and
oboe, one of them may have been joined by Johann Ludwig
Rose, another Berlin import.
Comparison with the concerto for harpsichords
underlines the beauty and appropriateness of the
adaptation. The slow movement (Adagio) has a singing
theme which is developed imitatively by the soloists. In
the harpsichord version, most of the accompaniment is for
plucked strings, perhaps to match the harpsichord’s lack of
sustaining ability. In the adaptation, this accompaniment
could be played with light bows, though that would deprive
us of the telling contrast of the entry of long bowed chords
under the soloists at the climax and conclusion of the
movement. The finale (Allegro) has the dance character of
a bourrée, in which the episodes are elaborations of the
recurring ritornello theme.
DAVID GARRETT © 2004, 2003
DISCOVER
MAHLER
A MUSICAL LECTURE WITH RICHARD GILL
Discover Mahler’s more intimate side with the entertaining
and illuminating Richard Gill.
CITY RECITAL HALL ANGEL PLACE
MON 22 MAR 6.30PM
Songs of a Wayfarer:
‘Wenn mein Schatz Hochzeit macht’
‘Die zwei blauen Augen von meinem Schatz’
BRAHMS Symphony No.3: 3rd movement
Photo: Keith Saunders
MAHLER
RICHARD GILL conductor
SAM DUNDAS baritone
SYDNEY SINFONIA
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BACH THE INVENTOR
In 1720 Bach began to compile a keyboard tutor for his
nine-year-old son Wilhelm Friedemann. In addition to
finger exercises and preparatory pieces, this Clavierbüchlein
(Little Keyboard Book) contained two sets of 15 short
contrapuntal pieces in two and three parts. They proved
an invaluable teaching resource, and so the composer
revisited them several years later when he took up his
position in Leipzig. According to the inscription on the
title page, Bach intended the miniatures to aid students of
the keyboard:
Two-Part Inventions
Arranged for violin and cello
(1) to learn to play cleanly in two parts, and (2) to handle
three obbligato parts correctly; and along with this not only to
develop good inventions, but to develop them well; above all,
to achieve a cantabile style in playing and acquire a strong
foretaste of composition.
In this introduction, Bach’s words get to the very heart
of the pieces. Not only do they prepare students technically
for the rigours of counterpoint, they provide a masterful
insight into how to think and listen in two, and three,
separate and equal parts. Bach often takes a simple idea
and, through a variety of means whereby that idea is passed
back and forth between ‘voices’, weaves an intricate web
(or ‘invention’). This development, rather than distancing
us from the original musical idea, pulls us ever inward,
unravelling its very essence. That he is able to do this
within a profoundly beautiful and seamless musical line is
what makes these pieces such a joy to play and comprehend
on many levels.
SYMPHONY AUSTRALIA ©2010
14 | Sydney Symphony
Program notes continue
on page 16
GLOSSARY
BOURRÉE –
a Baroque dance, usually in
duple metre (two beats to the bar) and
characterised by quick running steps
OBBLIGATO –
CADENCE – has a similar meaning in music
as it does in speech or poetry. During the
18th and 19th centuries composers used
particular progressions of chords, cadences,
to signal the end of a phrase, section, or
work. Beethoven made an art of prolonging
his cadences to monumental proportions.
OSTINATO – a short musical pattern that is
repeated many times in succession, while
other elements in the music change. An
ostinato can be a melody, a chord pattern, a
rhythm, or a combination of these.
CANTABILE –
in a singing style
CONCERTO –
a work for solo instrument
and orchestra, most commonly in three
movements (fast, slow, fast) and including
extended virtuoso passages for the soloist to
play alone. Normally there is just one
soloist, but concertos for multiple soloists
can be found throughout the history of
concert music.
CONTRAPUNTAL – a style of music in which
two or more different musical lines or
melodies are played at the same time
(COUNTERPOINT). Imitative counterpoint
is when the various parts begin playing
similar or identical melodies one after the
other – childhood rounds are the simplest
form of imitative counterpoint.
GROUND BASS –
a melodic bass line or chord
pattern that is repeated many times as a
support for continuous melodic variations.
The technique emerged in the 16th century
and was very popular through the Baroque
period.
KEY – in Western music there are two main
categories of scale or key: major and minor.
Aurally, a major scale will sound ‘brighter’
or more cheerful (‘Happy Birthday’), while a
minor scale will sound sombre or mournful
(funeral marches).
15 | Sydney Symphony
literally, ‘obligatory’: an
instrument or part that must not be
omitted. By extension, a prominent
accompanying melody.
RITORNELLO –
a recurring section of music
(literally ‘a little return’) that alternates with
passages for a soloist or solo group.
TUTTI –
all together! (Also refers to a section
of music in which all the musicians are
playing.)
In much of the classical repertoire, movement
titles are taken from the Italian words that
indicate the tempo and mood. A selection of
terms from this program is included here.
Adagio – slow
Allegro – fast
Allegro assai – very fast
This glossary is intended only as a quick and easy
guide, not as a set of comprehensive and absolute
definitions. Most of these terms have many subtle
shades of meaning which cannot be included for
reasons of space.
THE ELLINGTON EFFECT
© FIA RA / LEBRECHT MUSIC & ARTS
‘All musicians should get down on their knees one day to
thank Duke Ellington.’
MILES DAVIS
© RA / LEBRECHT MUSIC & ARTS
Duke Ellington’s career began in the relatively modest
dance band scene in Washington, DC and would eventually
encompass the Harlem Renaissance, the rise and ebb
of swing, the challenge of bebop, and the subsequent
fragmentation of jazz styles. Through it all Ellington
followed his own idiosyncratic course, and by the time of
his death in 1974 jazz had established itself as arguably the
foremost musical art form of the 20th century.
As a young man Duke moved to New York and honed
his pianistic skills ‘cutting’ with the great masters of
stride piano in Harlem. By the time of his residency at the
Cotton Club Ellington had begun to assemble some of
the musicians who would form his Famous Orchestra and
whose names have since passed into legend: Sonny Greer,
Bubber Miley, Joe ‘Tricky Sam’ Nanton, Barney Bigard,
Harry Carney and Cootie Williams, to name a few.
Duke’s time at the Cotton Club played a crucial role in
forming his unique compositional style. The club was owned
Duke Ellington with the Cotton Club Orchestra
16 | Sydney Symphony
Duke Ellington
© JEFF LOWENTHAL / LEBRECHT MUSIC & ARTS
Billy Strayhorn and Duke Ellington
and run by the mob and had one aim – to make money.
‘Slumming’ in Harlem was the fashion, and the club played
to the prejudicial notions of the affluent white clientele
by mounting exotic-themed shows. As the house band,
Duke and his men were required to perform the music for
these revues, back the speciality acts and chorus line, and
provide dance music for the club’s patrons. Sonny Greer’s
flamboyant drums and the growl and gutbucket techniques
of Miley and Nanton were perfect for the ‘jungle’ style the
band developed. Duke crafted music with the particular
capabilities of his musicians in mind and exploited the
talents of soloists who had their own unique voice, primarily
altoist Johnny Hodges, whose portamento graced many
ballads such as Prelude to a Kiss. As he expanded the
orchestra he experimented more freely with tone colour
and texture, creating those lush dissonances which Billy
Strayhorn termed ‘the Ellington effect’. The addition of
bassist Jimmy Blanton and tenor saxophonist Ben Webster
by the early 1940s and the Victor recordings of this period
constitute for many the pinnacle of the band’s artistic
achievements. The essence of the Ellington sound can be heard
on numbers such as Take the ‘A’ Train, Perdido, In a Mellotone,
17 | Sydney Symphony
Harlem Airshaft, Dusk and the up-tempo Cotton Tail,
featuring Webster’s solo and a block harmonised sax section
chorus.
The development of the long-playing record in the
1940s gave Ellington the opportunity to expand the threeminute form. From 1943 for a period of several years he
performed annual concerts at Carnegie Hall, showcasing
his series of extended format jazz suites. The first of these
was Black, Brown and Beige, a musical portrait of the story
of the African American experience, from enslavement
and religious redemption (the spiritual ‘Come Sunday’) to
emancipation and migration to Harlem.
The immediate post-war period was tough for big bands,
and Ellington’s fortunes flagged. A triumphant appearance
at the 1956 Newport Jazz Festival helped put the band back
on track, thanks largely to a now-famous 27-chorus solo
by tenor saxophonist Paul Gonsalves in the middle of
Diminuendo and Crescendo in Blue.
Much has been made of Duke’s suave demeanour and
aristocratic bearing, but it went far deeper than sartorial
elegance; the desire to tell the story of his people and help
shape their cultural landscape underpinned much of his
work. Perhaps it was for this reason that he continually
strove to craft ‘Negro music’ – as he called it – that
portrayed every nuance of the African American experience
in defiance of narrow racial stereotypes. We can only
imagine what magic he might have conjured had he been
able to experiment further with larger orchestral forces.
As he said, ‘I don’t know where jazz itself starts or where
it stops, where Tin Pan Alley starts or where jazz ends, or
even where more serious music and jazz divide. There is no
specific boundary line. You know what it is about music?
When it sounds good, it is good.’
Miles was right – we don’t have to get down on our knees,
but we should all thank the Duke for a body of timeless
music that is, quite simply, beyond category.
LORRAINE NIELSON
SYMPHONY AUSTRALIA ©2010
18 | Sydney Symphony
‘You know what it is
about music? When
it sounds good, it is
good.’
DUKE ELLINGTON
MORE MUSIC
Selected Discography
Broadcast Diary
NIGEL KENNEDY
A Very Nice Album
With the Nigel Kennedy Quintet
EMI CLASSICS 2131712
MARCH–APRIL
12 Mar, 8pm
Polish Spirit
FANTASTIQUE!
Emil Mlynarski’s Violin Concerto No.2 and Mieczyslaw
Karlowicz’s Violin Concerto in A, with arrangements
of Chopin Nocturnes. Nigel Kennedy plays and directs
the Polish Chamber Orchestra.
Pinchas Steinberg conductor
Louis Lortie piano
EMI CLASSICS 79934
17 Mar, 6.30pm
The Blue Note Sessions
Nigel Kennedy, playing electric violin, is joined by
saxophonists Joe Lovano and JD Allen, bassist Ron
Carter, drummer Jack DeJohnette, pianist Kenny
Werner, percussionist Daniel Sadownick, guitarist and
vocalist Raul Midon, and organist Lucky Peterson.
Franck, Ravel, Berlioz
THE HALL OF HEROES
Alexander Briger conductor
François-Frédéric Guy piano
Ledger, Beethoven, Wagner
3 Apr, 9.15pm
EMI CLASSICS 705058
TWO SYMPHONIES AND A FUNERAL (2009)
Elgar Violin Concerto
Michael Dauth violin-director
Clemens Leske piano
Nigel Kennedy’s acclaimed interpretation of the
Elgar Violin Concerto has been recorded twice and is
available in a number of releases including one
with Vernon Handley and the London Philharmonic
Orchestra (1984).
EMI GREAT RECORDINGS OF THE CENTURY 45793
JC Bach, Mozart, Haydn
5 April, 8pm
ORGAN SPLENDOUR (2009)
David Drury organ
Solo organ works: Bach, Jongen, Dupre, Widor
Vivaldi’s Four Seasons
This disc became the best-selling classical recording
of all time, recorded with the English Chamber
Orchestra in 1989.
6 April, 1.05pm
RAVEL’S BOLERO (2008)
Gianluigi Gelmetti conductor
EMI CLASSICS 56253
More recently a pair of releases with members of the
Berlin Philharmonic and guest soloists placed The
Four Seasons alongside other Vivaldi concertos:
Vivaldi I (incl. The Four Seasons) – EMI CLASSICS 57666
17 Apr, 8pm
Vivaldi II – EMI CLASSICS 57859
Bach, Lalo, Tippett, Handel
Sydney Symphony Online
2MBS-FM 102.5
PYROTECHNICA
Roy Goodman conductor
Jian Wang cello
SYDNEY SYMPHONY 2010
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Have Your Say
Tell us what you thought of the concert at
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or email: [email protected]
19 | Sydney Symphony
9 March, 6pm
What’s on in concerts, with interviews and music.
Webcast Diary
Selected Sydney Symphony concerts are recorded for
webcast by BigPond.
Visit: bigpondmusic.com/sydneysymphony
February
MAHLER 8 – ‘SYMPHONY OF A THOUSAND’
Available on demand.
ABOUT THE ARTISTS
Nigel Kennedy’s virtuosic technique, unique talent and mass
appeal have brought fresh perspectives to both the classical
and contemporary repertoire, and he is the best-selling
classical violinist worldwide.
As a child he studied at the Menuhin School before
studying with the celebrated Dorothy DeLay at the Juilliard
School of Music. He has performed with the world’s
major orchestras and conductors, and major debuts have
included the London Royal Festival Hall in 1977, the Berlin
Philharmonic in 1980, his New York orchestral debut in 1987
and his 2004 French debut. He has given numerous Royal
command performances, and his many awards include
Outstanding Contribution to British Music and Male Artist
of the Year at the UK Brit Awards, and the Swiss Gold Rose
of Montreux.
He is an exclusive EMI artist, and his acclaimed
recordings include Elgar’s Violin Concerto (1985 Gramophone
Record of the Year), Brahms and Beethoven concertos, and
his landmark recording of Vivaldi’s Four Seasons, the bestselling classical work of all time. He has also recorded
concertos by Bach, Beethoven, Berg, Brahms, Bruch,
Mendelssohn, Sibelius, Tchaikovsky and Walton, as well as
chamber music and recital discs.
His passion for jazz resulted in the 2006 album Blue Note
Sessions, produced by Jay Newland and featuring a band of
jazz giants including Ron Carter and Jack DeJohnette. His
latest album, A Very Nice Album, with the Nigel Kennedy
Quintet marks another bold excursion into non-classical
repertoire, in which he steps to the fore as composer and
improviser. In 2010 the quintet will release SHHH.
In 2002 he was appointed Artistic Director of the Polish
Chamber Orchestra, with whom he has recorded a concerto
by late-Romantic Polish composer Mlynarski, coupled with
Karlowicz’s Violin Concerto in A in the award-winning CD,
Polish Spirit (2007).
He is currently founding a new chamber orchestra,
comprising handpicked young musicians, and 2010 marks
their first international tour. This year will also see him
as Artistic Director of a major Polish festival weekend at
London’s South Bank Centre.
Nigel Kennedy has long been a devotee of Aston Villa,
attending as many games as his schedule allows. He has one
son, is married to Polish lawyer, Agnieszka, and they divide
their time between homes in London and Krakow.
20 | Sydney Symphony
© LEONARD NEUMANN
Nigel Kennedy violin
Nigel Kennedy’s most recent
appearances with the Sydney
Symphony were in 2008,
when he performed Mozart
and Beethoven concertos,
and in 2006, when he
presented a Vivaldi program.
In this performance Nigel
Kennedy plays both his
acoustic violin and a 5-string
Violectric in Aston Villa
colours.
PHOTOS: © EMI CLASSICS
21 | Sydney Symphony
Shefali Pryor is the Sydney Symphony’s Associate Principal
Oboe. She joined the orchestra after graduating from the
Sydney Conservatorium of Music, and in 2004–05 she
took time off to study at the Salzburg Mozarteum. In 2006
she was a finalist in the Symphony Australia/ABC Young
Performers Awards and performed Vivaldi with Nigel
Kennedy.
© KEITH SAUNDERS
Catherine Hewgill cello
© KEITH SAUNDERS
Shefali Pryor oboe
Catherine Hewgill is Principal Cello of the Sydney Symphony.
She began studying cello in Perth, before studying in London,
completing a degree at the University of Southern California,
and taking private lessons with Mstislav Rostropovich.
She played with the Australian Chamber Orchestra before
joining the Sydney Symphony in 1989. Since then she has
made several solo appearances with the orchestra as well as
with the other major Australian symphony orchestras.
Catherine Hewgill plays a Carlo Tononi cello (Venice, 1729).
Tomasz Grzegorski saxophone
A graduate of the Academy of Music in Katowice,
Poland, Tomasz Grzegorski made his debut in 1997 with
Quintessence Eric Kulma, and later performed with the
Parnassus Jazz Quintet and George Malka’s quintet. He has
performed at festivals throughout Europe, and plays in his
own trio with Piotr Kulakowski and Tomasz Sowinskiego.
Tomasz Grzegorski is a member of the Nigel Kennedy
Quintet.
22 | Sydney Symphony
Orphy Robinson marimba and vibraphone
Orphy Robinson is an award-winning multi-instrumentalist
and composer, combining jazz, contemporary classical,
African, funk and improvisation. He was a founding
member of Savanna, and has performed with Courtney
Pine, Andy Sheppard and the big band Jazz Warriors,
among others. His career took off with the formation of
the Annavas band, and his distinctive sound features on his
Blue Note debut album, When Tomorrow Comes.
www.orphyrobinson.com
Doug Boyle guitar
Doug Boyle is an English guitarist, best-known for his work
with Caravan (1996–2005). From 1987 to 1992 he played in
the band of ex-Led Zeppelin singer, Robert Plant, touring
and appearing on two albums. He also composes music for
television and freelances as a session player. He has been
performing with Nigel Kennedy since 1994, and last year
released his solo album, the third rail.
Adam Kowalewski bass
Adam Kowalewski graduated from the Academy of Music
in Katowice, and has been a lecturer in the jazz faculty there
since 1999. He works with leading Polish jazz musicians and
has played in all the major jazz festivals in Poland as well
as appearing in festivals in Mexico, Israel and Australia.
Adam Kowalewski is a member of the Nigel Kennedy
Quintet.
Krzysztof Dziedzic drums and percussion
Krzysztof Dziedzic is a graduate of the Academy of Music,
Katowice. He made his debut at the 1994 Jazz Jamboree
Festival, and was a prizewinner at the Jazz Festival in Odra
in 1997. He has collaborated with the Piotr Wojtasik Quintet
and Adam Pieronczyk Trio, as well as with Michal Urbaniak,
Zbigniew Namyslowski and Jaroslaw Smietana.
Krzysztof Dziedzic is a member of the Nigel Kennedy
Quintet.
23 | Sydney Symphony
Michael Dauth
Principal Conductor
and
Artistic Advisor
© KEITH SAUNDERS
Vladimir Ashkenazy
© KEITH SAUNDERS
© KEITH SAUNDERS
MUSICIANS
Dene Olding
Concertmaster Chair
supported by the Sydney
Symphony Board and Council
Concertmaster Chair
supported by the Sydney
Symphony Board and Council
Performing in this concert…
FIRST VIOLINS
VIOLAS
OBOE
Dene Olding
Aurelie Entringer*
Shefali Pryor
Concertmaster
Sandro Costantino
Fiona Ziegler
Stuart Johnson
HARPSICHORD
Felicity Tsai
Neal Peres da Costa*
Assistant Concertmaster
Marianne Broadfoot
Brielle Clapson
Sophie Cole
SECOND VIOLINS
Marina Marsden
CELLOS
Catherine Hewgill
Elizabeth Neville
Bold = Principal
Italic= Associate Principal
* = Guest Musician
Adrian Wallis
David Wickham
Shuti Huang
Stan W Kornel
Biyana Rozenblit
Maja Verunica
DOUBLE BASSES
Alex Henery
Benjamin Ward
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
For NIGEL KENNEDY
Management Terri Robson Associates
Personal Assistant Holly Topps
Tour and Production Manager Steve Cox
Tour Agent Australia 2009 Andrew Croot
24 | Sydney Symphony
Sound Engineer Gary Falkenthal
Monitor Engineer Piotr Zalewski
THE SYDNEY SYMPHONY
© KEITH SAUNDERS
Vladimir Ashkenazy PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR
PATRON Her Excellency Professor Marie Bashir AC CVO, Governor of New South Wales
Founded in 1932 by the Australian Broadcasting
Corporation, 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, and in
2009 it made its first tour to mainland Asia.
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, Zdenek 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.
25 | Sydney Symphony
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 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 Sydney Symphony
has also released recordings with Ashkenazy
of Rachmaninoff and Elgar orchestral works
on the Exton label, and numerous recordings
on the ABC Classics label.
This is the second year of Ashkenazy’s tenure
as Principal Conductor and Artistic Advisor.
SALUTE
PRINCIPAL PARTNER
GOVERNMENT PARTNERS
The Sydney Symphony is assisted by the
Commonwealth Government through the
Australia Council, its arts funding and
advisory body
PLATINUM PARTNERS
The Sydney Symphony is assisted by the
NSW Government through Arts NSW
MAJOR PARTNERS
GOLD PARTNERS
SILVER PARTNERS
REGIONAL TOUR PARTNERS
BRONZE PARTNER
MARKETING PARTNERS
Vittoria Coffee
Lindsay Yates & Partners
26 | Sydney Symphony
2MBS 102.5 Sydney’s Fine Music Station
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. Please visit sydneysymphony.com/patrons for a list of all our donors,
including those who give between $100 and $499.
$20,000+
Geoff & Vicki Ainsworth
Mr Robert O Albert AO
Roger Allen & Maggie Gray
Tom Breen & Rachael Kohn
Sandra & Neil Burns
Mr John C Conde AO
Robert & Janet Constable
The Hon Ashley Dawson-Damer
Mr J O Fairfax AC
Fred P Archer Charitable Trust
The Berg Family Foundation
in memory of Hetty Gordon
The Hansen Family
Mr Andrew Kaldor &
Mrs Renata Kaldor AO
D & I Kallinikos
Mrs Roslyn Packer AO
The Paramor Family
Dr John Roarty in memory of
Mrs June Roarty
Paul & Sandra Salteri
Mrs Penelope Seidler AM
Mrs Joyce Sproat &
Mrs Janet Cooke
Mrs W Stening
Mr Fred Street AM & Mrs Dorothy
Street
In memory of D M Thew
Mr Peter Weiss AM & Mrs Doris
Weiss
Westfield Group
The Estate of the late G S Wronker
Ray Wilson OAM in memory of
James Agapitos OAM
Anonymous
$10,000–$19,999
Brian Abel
Alan & Christine Bishop
Ian & Jennifer Burton
Libby Christie & Peter James
Penny Edwards
Dr Bruno & Mrs Rhonda Giuffre
Stephen Johns & Michele Bender
Helen Lynch AM & Helen Bauer
Mrs Joan MacKenzie
Justice Jane Mathews AO
Tony & Fran Meagher
Mrs T Merewether OAM
Mr B G O’Conor
Anonymous (2)
$5,000–$9,999
Mrs Antoinette Albert
Andrew Andersons AO
Jan Bowen
Mr Donald Campbell &
Dr Stephen Freiberg
Mr Robert & Mrs L Alison Carr
Emily Chang
Bob & Julie Clampett
Michael & Manuela Darling
James & Leonie Furber
Mr Robert Gay
27 | Sydney Symphony
Mr David Greatorex AO &
Mrs Deirdre Greatorex
Irwin Imhof in memory of
Herta Imhof
Judges of the Supreme Court
of NSW
Gary Linnane
Ruth & Bob Magid
David Maloney & Erin Flaherty
David & Andree Milman
J F & A van Ogtrop
Eva & Timothy Pascoe
Rodney Rosenblum AM &
Sylvia Rosenblum
David Smithers AM & Family
Mrs Hedy Switzer
In memory of Dr William &
Mrs Helen Webb
Michael & Mary Whelan Trust
Jill Wran
Anonymous
$2,500–$4,999
David Barnes
Marco Belgiorno-Zegna AM
Lenore P Buckle
Hilmer Family Trust
Paul & Susan Hotz
Mark Johnson
Anna-Lisa Klettenberg
Mr Justin Lam
Mora Maxwell
Judith McKernan
James & Elsie Moore
Mr & Mrs Ortis
Bruce & Joy Reid Foundation
Georges & Marliese Teitler
Anonymous (2)
$1,000–$2,499
Adcorp Australia Limited
Charles & Renee Abrams
Mr Henri W Aram OAM
Terrey & Anne Arcus
Claire Armstrong & John
Sharpe
Richard Banks Optometrists
Charles Barran
Doug & Alison Battersby
Jo-Anne Beirne
Stephen J Bell
Phil & Elesa Bennett
Nicole Berger
Gabrielle Blackstock
Mr Alexander & Mrs Vera
Boyarsky
David S Brett
Jane Brodribb & Colin Draper
Mr Maximo Buch
M Bulmer
Pat & Jenny Burnett
The Clitheroe Foundation
Debby Cramer & Bill Caukill
Ewen & Catherine Crouch
Lisa & Miro Davis
Mr James Graham AM &
Mrs Helen Graham
Ian Dickson & Reg Holloway
Paul Espie
Russell & Sue Farr
Rosemary & Max Farr-Jones
John Favaloro
Mr Ian Fenwicke &
Prof Neville Wills
Firehold Pty Ltd
Annette Freeman
Ross & Jill Gavin
Warren Green
Anthony Gregg & Deanne
Whittleston
Akiko Gregory
In memory of Oscar Grynberg
Janette Hamilton
Ann Hoban
The Hon David Hunt AO QC &
Mrs Margaret Hunt
Dr Michael Joel AM &
Mrs Anna Joel
Sam & Barbara Linz
Mallesons Stephen Jaques
Mr Robert & Mrs Renee Markovic
Ian & Pam McGaw
Matthew McInnes
Mrs Barbara McNulty OBE
Mr R A Oppen
Mr Robert Orrell
Jill Pain
Mrs Almut Piatti
Adrian & Dairneen Pilton
Robin Potter
Mr & Ms Stephen Proud
Ernest & Judith Rapee
Patricia H Reid
Pamela Rogers
Jerome & Pamela Rowley
Juliana Schaeffer
Victoria Smyth
Ezekiel Solomon
Catherine Stephen
Andrew & Isolde Tornya
John E Tuckey
Mrs Merle Turkington
Andrew Turner & Vivian Chang
Mrs Kathleen Tutton
A W Tyree Foundation
Estate of B M Warden
Henry & Ruth Weinberg
Audrey & Michael Wilson
Geoff Wood & Melissa Waites
Anonymous (11)
$500–$999
Bruce Cutler
Prof Christine Deer
Peter English & Surry Partners
In Memory of Mr Nick Enright
Dr & Mrs C Goldschmidt
In memory of Angelica Green
Damien Hackett
The Hallway
Martin Hanrahan
Dr Heng & Mrs Cilla Tey
Rev H & Mrs M Herbert
Dr & Mrs Michael Hunter
Jannette King
Iven & Sylvia Klineberg
Ian Kortlang
Mr & Mrs Gilles T Kryger
Dr and Mrs Leo Leader
Margaret Lederman
Erna & Gerry Levy AM
Sydney & Airdrie Lloyd
Alison Lockhart & Bruce Watson
Locumsgroup Holdings LP
Dr Carolyn A Lowry OAM &
Mr Peter Lowry OAM
Wendy McCarthy AO
Macquarie Group Foundation
Mrs Silvana Mantellato
Kenneth N Mitchell
Helen Morgan
Mr Graham North
Dr M C O’Connor
Mrs Rachel O’Conor
K B Meyboom
A Willmers & R Pal
Mrs S D O’Toole
Mr George A Palmer
Dr A J Palmer
Dr Kevin Pedemont
L T & L M Priddle
Dr K D Reeve AM
Rowan & Annie Ross
Richard Royle
Brian Russell & Irina Singleman
Mr M D Salamon
In memory of H St P Scarlett
Caroline Sharpen
Robyn Smiles
E Stuart
Mr John Sullivan
Mr Ken Tribe AC & Mrs Joan Tribe
Prof Gordon E Wall
Ronald Walledge
The Hon. Justice Anthony
Whealy
The Hon. Edward G Whitlam
Mrs R Yabsley
Anonymous (19)
Mr C R Adamson
Dr Francis J Augustus
Michael & Toni Baume AO
G D Bolton
Dr & Mrs Hannes Boshoff
Hon. Justice J C & Mrs Campbell
Joan Connery OAM
Jen Cornish
To find out more about
becoming a Sydney Symphony
patron please contact the
Philanthropy Office on
(02) 8215 4625
or email philanthropy@
sydneysymphony.com
MAESTRO’S CIRCLE
John C Conde AO – Chairman
Andrew Kaldor & Renata Kaldor AO
Peter Weiss AM – Founding President
& Doris Weiss
Roslyn Packer AO
Geoff & Vicki Ainsworth
Mr Fred Street AM & Mrs Dorothy Street
Tom Breen & Rachael Kohn
Westfield Group
The Hon. Ashley Dawson-Damer
Ray Wilson OAM
in memory of the late James Agapitos OAM
Penelope Seidler AM
In memory of Hetty & Egon Gordon
DIRECTORS’ CHAIRS
02
03
© KEITH SAUNDERS
© JEFF BUSBY
01
01
Richard Gill OAM
Artistic Director Education
Sandra and Paul Salteri Chair
02
Ronald Prussing
Principal Trombone
Industry & Investment NSW
Chair
03
Michael Dauth and
Dene Olding
Board and Council of
the Sydney Symphony support
the Concertmaster Chairs
05
06
04
Nick Byrne
Trombone
RogenSi Chair
with Gerald Tapper,
Managing Director RogenSi
© KEITH SAUNDERS
04
05
Diana Doherty
Principal Oboe
Andrew Kaldor and
Renata Kaldor AO Chair
06
Paul Goodchild
Associate Principal Trumpet
The Hansen Family Chair
07
08
09
© KEITH SAUNDERS
07
Catherine Hewgill
Principal Cello
Tony and Fran Meagher Chair
08
Emma Sholl
Associate Principal Flute
Robert and Janet Constable
Chair
09
Roger Benedict
Principal Viola
Roger Allen and Maggie Gray
Chair
For information about the Directors’ Chairs program, please call (02) 8215 4619.
28 | Sydney Symphony
BEHIND THE SCENES
Sydney Symphony Board
CHAIRMAN
John C Conde AO
Ewen Crouch
Jennifer Hoy
Rory Jeffes
Stephen Johns
Andrew Kaldor
Goetz Richter
David Smithers AM
Gabrielle Trainor
Sydney Symphony Council
Geoff Ainsworth
Andrew Andersons AO
Michael Baume AO*
Christine Bishop
Deeta Colvin
John Curtis AM
Greg Daniel AM
John Della Bosca MLC
Alan Fang
Erin Flaherty
Dr Stephen Freiberg
Richard Gill OAM
Donald Hazelwood AO OBE*
Dr Michael Joel AM
Simon Johnson
Judy Joye
Yvonne Kenny AM
Gary Linnane
Amanda Love
Helen Lynch AM
The Hon.
Ian Macdonald MLC*
Joan MacKenzie
Sir Charles
Mackerras CH AC CBE
David Maloney
David Malouf AO
Julie Manfredi-Hughes
Deborah Marr
The Hon. Justice Jane
Mathews AO*
Danny May
Wendy McCarthy AO
John Morschel
Greg Paramor
Dr Timothy Pascoe AM
Stephen Pearse
Jerome Rowley
Paul Salteri
Sandra Salteri
Jacqueline Samuels
Juliana Schaeffer
Leo Schofield AM
Ivan Ungar
John van Ogtrop*
Justus Veeneklaas*
Peter Weiss AM
Anthony Whelan MBE
Rosemary White
Kim Williams AM
* Regional Touring Committee
member
Sydney Symphony Regional Touring Committee
The Hon. Ian Macdonald MLC Minister for State and
Regional Development, Forest and Mineral Resources
Dr Richard Sheldrake Director-General,
NSW Department of Industry and Investment
Mark Duffy Deputy Director-General,
Energy and Minerals Division, NSW Department of
Industry and Investment
Colin Bloomfield Illawarra Coal BHPBilliton
Stephen David Caroona Project, BHPBilliton
Romy Meerkin Regional Express Airlines
Peter Freyberg Xstrata
Tony McPaul Cadia Valley Operations
Terry Charlton Snowy Hydro
Sivea Pascale St.George Bank
Paul Mitchell Telstra
Grant Cochrane The Land
Sydney Symphony Staff
MANAGING DIRECTOR
HEAD OF PHILANTHROPY &
PUBLIC AFFAIRS Caroline Sharpen
Rory Jeffes
EXECUTIVE TEAM ASSISTANT
PHILANTHROPY & PUBLIC AFFAIRS
EXECUTIVE Kylie Anania
Lisa Davies-Galli
ARTISTIC OPERATIONS
Publications
PUBLICATIONS EDITOR &
MUSIC PRESENTATION MANAGER
Yvonne Frindle
DEVELOPMENT COORDINATOR
ORCHESTRA MANAGEMENT
Georgia Wilton
SALES AND MARKETING
DIRECTOR OF ORCHESTRA
MANAGEMENT Aernout Kerbert
DIRECTOR OF SALES & MARKETING
DEPUTY ORCHESTRA MANAGER
Mark J Elliott
Lisa Mullineux
SENIOR MARKETING MANAGER,
SINGLE SALES Penny Evans
ORCHESTRAL COORDINATOR
MARKETING MANAGER, CLASSICAL
SALES Antonia Farrugia
OPERATIONS MANAGER
Philip Powers
MARKETING MANAGER, SUBSCRIPTION
SALES Simon Crossley-Meates
TECHNICAL MANAGER Derek
Education Programs
ONLINE MANAGER Kate
Tim Dayman
EDUCATION MANAGER
GRAPHIC DESIGNER
Kim Waldock
PRODUCTION COORDINATOR
Christie Hutchinson
DATA ANALYST Kent Prusas
Ian Spence
Box Office
BUSINESS SERVICES
DIRECTOR OF FINANCE John Horn
FINANCE MANAGER Ruth Tolentino
DIRECTOR OF ARTISTIC PLANNING
Peter Czornyj
Artistic Administration
ARTISTIC MANAGER
Raff Wilson
ARTIST LIAISON MANAGER
Ilmar Leetberg
RECORDING PRODUCTION MANAGER
ARTIST DEVELOPMENT MANAGER
Bernie Heard
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MANAGER OF TICKETING &
CUSTOMER SERVICE
Library
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HEAD OF CORPORATE RELATIONS
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Taylor
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Cernik
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LIBRARY ASSISTANT Mary-Ann Mead
Stephanie Mirow
STAGE MANAGER Peter
Minerva Prescott
CUSTOMER SERVICE REPRESENTATIVES
Michael Dowling, Erich Gockel,
Matt Lilley, Rachel McLarin
CORPORATE RELATIONS EXECUTIVE
HEAD OF COMMUNICATIONS
Julia Owens
Yvonne Zammit
PUBLICIST Katherine Stevenson
Please address all correspondence to the Publications Editor:
Email [email protected]
SYDNEY OPERA HOUSE TRUST
Mr Kim Williams AM (Chair)
Mr John Ballard, Ms Catherine Brenner, Rev Dr Arthur Bridge AM,
Mr Wesley Enoch, Ms Renata Kaldor AO, Mr Robert Leece AM RFD,
Ms Sue Nattrass AO, Mr Leo Schofield AM, Mr Evan Williams AM
EXECUTIVE MANAGEMENT
CHIEF EXECUTIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Richard Evans
DIRECTOR, BUILDING DEVELOPMENT & MAINTENANCE . . . . . .Greg McTaggart
DIRECTOR, TOURISM & VISITOR OPERATIONS. . . . . . . . . . . . . . .Maria Sykes
DIRECTOR, FINANCE & INNOVATION . . . . . . . . . . . . . . . . . . . . . . . .David Antaw
DIRECTOR, MARKETING & DEVELOPMENT. . . . . . . . . . . . . . . . . . .Victoria Doidge
DIRECTOR, PERFORMING ARTS . . . . . . . . . . . . . . . . . . . . . . . . . . . .Rachel Healy
SYDNEY OPERA HOUSE
Bennelong Point GPO Box 4274, Sydney NSW 2001
Administration (02) 9250 7111 Box Office (02) 9250 7777
Facsimile (02) 9250 7666 Website sydneyoperahouse.com
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HUMAN RESOURCES
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Seleena Semos
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