the ANZAC Day Salute program book

ANZAC DAY SALUTE
Centenary Concert
MEET THE MUSIC
Wednesday 22 April 2015
SPECIAL EVENT
Friday 24 April 2015
concert diary
CLASSICAL
Bold as Brass
Tea & Symphony
BROUGHTON Fanfares, Marches, Hymns and Finale
KATS-CHERNIN Mater
KOEHNE Albany Harbour (The Voyage)
PUCCINI arr. G Boyd Scenes from Turandot
Michael Mulcahy conductor
SSO Brass Ensemble
Discover Mahler
Complimentary morning tea
from 10am
DownerTenix Discovery
Tue 5 May 6.30pm
Songs of a Wayfarer
City Recital Hall Angel Place
MAHLER Songs of a Wayfarer
Richard Gill conductor [PICTURED]
Alexander Knight baritone
SSO Sinfonia
Tchaikovsky’s Nutcracker
Pure Magic
Thursday Afternoon Symphony
Thu 7 May 1.30pm
Emirates Metro Series
MAHLER Songs from Des Knaben
Wunderhorn (Youth’s Magic Horn)
TCHAIKOVSKY Nutcracker: Act II
(Kingdom of the Sweets)
Mark Wigglesworth conductor [PICTURED]
Caitlin Hulcup mezzo-soprano
Randall Scarlata baritone
Fri 8 May 8pm
Romantic Visions
APT Master Series
Wagner, Bartók & Brahms
WAGNER Siegfried Idyll
BARTÓK Piano Concerto No.3
BRAHMS orch. Schoenberg Piano Quartet in G minor
Matthias Pintscher conductor [PICTURED]
Peter Serkin piano
SSO Chamber Music
Cocktail Hour
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Fri 1 May 11am
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MESSAGE FROM THE PRIME MINISTER
PRIME MINISTER
I am pleased to provide this message for the Sydney Symphony Orchestra’s ANZAC Day Salute
Centenary Concert.
The story of the Australians who served during the First World War is one of great triumph and
tragedy. It is also one of almost unimaginable losses to a young nation.
From a population of just under five million, 417,000 enlisted, 332,000 served overseas,
152,000 were wounded and 61,000 never came home. Of the 270,000 who returned, more than
half had been wounded – and others had mental scars that never healed.
The impact of their experiences is captured in the letters of servicemen and women to their
families.
Some of these letters are at the heart of Michael F Williams’ Letters from the Front. Setting their
words to music gives further poignancy to their expressions of loss, hardship and yearning.
Tonight you will hear the premiere of James Ledger’s War Music set to words by Paul Kelly.
The work sets out to commemorate the sacrifices our forebears made for our freedom and our
prosperity.
In a fitting tribute to our historic ties, these compositions were commissioned by the Sydney
Symphony Orchestra together with the New Zealand Symphony Orchestra, and bring together
young voices from both our nations.
Commemorative music is a worthwhile and necessary tradition. Edward Elgar, Charles Villiers
Stanford, Hubert Parry and Benjamin Britten – all composers affected by war – wrote music to
help us mourn and remember.
Tonight’s concert represents a thoughtful addition to this noble canon.
I thank all involved in the staging of this concert and join with all Australians in honouring all
who have been prepared to put their lives on the line for our country.
Lest we forget.
The Hon Tony Abbott MP
Prime Minister of Australia
31 March 2015
2015 concert season
MEET THE MUSIC
WEDNESDAY 22 APRIL, 6.30PM
SPECIAL EVENT
FRIDAY 24 APRIL, 8PM
SYDNEY OPERA HOUSE CONCERT HALL
ANZAC DAY SALUTE:
CENTENARY CONCERT
Richard Gill conductor
Ayşe Göknur Shanal soprano
Michael McStay narrator
Gondwana Centenary Chorale with guests
from France, Turkey and New Zealand
AARON COPLAND (1900–1990)
Fanfare for the Common Man
MICHAEL F WILLIAMS (born 1962)
Letters from the Front – Symphony No.1
for soprano, narrator and orchestra
premiere
INTERVAL
Three songs for a cappella chorus:
Requiem æternam – Liturgical chant from the Liber Usualis
AHMED ADNAN SAYGUN (1907–1991)
Kâtibim – Choral variations on a traditional Turkish song
HUBERT PARRY (1848–1918)
‘My soul, there is a country’ from Songs of Farewell
JAMES LEDGER (born 1966)
War Music for chorus and orchestra
premiere
THOMAS TALLIS (c.1505–1585)
‘Why fum’th in fight the Gentiles’ spite…?’
RALPH VAUGHAN WILLIAMS (1872–1958)
Fantasia on a Theme by Thomas Tallis
Friday’s performance will be recorded
by ABC Classic FM for broadcast on
Saturday 25 April at 8pm.
Pre-concert talk by Vincent Plush
in the Northern Foyer 45 minutes
before each performance. Visit
sydneysymphony.com/speaker-bios
for more information.
Estimated durations: 4 minutes,
25 minutes, 20-minute interval,
10 minutes (a cappella songs),
22 minutes, 16 minutes (Tallis & RVW)
The concert will conclude at
approximately 8.20pm (Wednesday),
9.50pm (Friday).
The commissioned works by Ledger
and MF Williams are receiving their
combined Australian and New Zealand
premieres on Wednesday 22 April, with
concerts in Sydney and Wellington at
6.30pm local time.
ELLEN THOMPSON (CC BY 2.0)
Diary of Gallipoli. Pages 4 and 5 from the diary of Sergeant Joseph Cecil Thompson
(9th Battalion, 1st Australian Imperial Force), begun April 1915. Entries for 25, 26 and
27 April: landing at Gallipoli, action and casualties.
Tuesday’s entry continues overleaf: …as their practice is much better today. Artillery duel
still continues and the Turkish guns are very well concealed. N. Zers captured 9 machine guns
yesterday. The men have all dug themselves into the cliffs. C. Veal (SB) [stretcher bearer]
recommended for V. C. for rescuing Lt. Patterson from machine gun fire.
Full transcript: https://flic.kr/p/4gmbd
6
INTRODUCTION
ANZAC Day Salute:
Centenary Concert
The diary pages opposite tell the story of 25 April 1915 from
the viewpoint of one Australian soldier. There’s confidence –
‘Our chaps soon had the Turks on the run…’ – but also concern –
‘Severe fighting all day, and our men severely felt the want of
artillery. The Turks knew this…’ Wounds are severe; the fighting
continues into the night; casualties are heavy. The hoped-for
decisive result of the Gallipoli landings was not to be.
In tonight’s concert we commemorate the centenary of
Gallipoli and remember the Australian men and women who
served during World War I. Copland’s now timeless Fanfare for
the Common Man echoes a spirit of confidence and resolve.
Hubert Parry’s motet ‘My soul, there is a country’ longs for peace.
The Requiem chant from the Mass for the Dead reminds us of
the many lives that were sacrificed.
But perhaps the most telling words in tonight’s concert are
those that belong to Tallis’s tune. They come from Psalm 2 and
ask: ‘Why do the nations so furiously rage together?’ Ralph
Vaughan Williams, taking up the tune just a few years before
World War I, creates a musical work that, like Parry’s, seems to
long for peace.
Last year, together with the New Zealand Symphony Orchestra,
we commissioned two new works for this program. From New
Zealand comes music by Michael F Williams, inspired in large part
by the letters that were sent home by soldiers of all nationalities.
From Australia comes music by James Ledger with a new text
by Paul Kelly, offering both a reflection on the horrors of war
and a solemn memorial. In Ledger’s piece we are joined by a
specially assembled choir. The Gondwana Centenary Chorale
brings together young singers of about the same age (18–25) as
many of the soldiers who landed at Gallipoli. And in the ANZAC
spirit of collaboration, they come not only from Australia, but
from France, Turkey and New Zealand.
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READ IN ADVANCE
You can also read SSO program
books on your computer or
mobile device by visiting our
online program library in the
week leading up to the concert:
sydneysymphony.com/
program_library
7
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ABOUT THE MUSIC
Aaron Copland (1900–1990)
Fanfare for the Common Man
Fanfare for the Common Man is Aaron Copland’s greatest hit, a
fact the composer attributed to its name. Despite – or perhaps
because of – its popularity and popular resonances, Copland’s
Fanfare is seldom performed in formal concert programs. It is
better known from television, movies, radio, sport, even politics.
For a time the Rolling Stones adopted it as entrance music;
it opened the Atlanta Olympics. On the 20th anniversary of the
Declaration of Human Rights in 1968 all six ABC orchestras
performed the Fanfare in free concerts around the country.
And yet Copland’s Fanfare began life in a subscription concert.
In August 1942, Eugene Goossens, then conductor of the
Cincinnati Symphony Orchestra, invited Copland and more than
a dozen other composers to write short patriotic fanfares for
brass and percussion as ‘stirring and significant contributions
to the war effort’. Most of the composers – who included Walter
Piston, Darius Milhaud, Virgil Thomson and Morton Gould – wrote
fanfares for Freedom, Liberty, Paratroopers and the Signal Corps,
among others. Copland considered a number of options including
the Spirit of Democracy and Our Heroes, but settled on the
Common Man because: ‘it was the common man, after all, who
was doing all the dirty work in the war and the army. He deserved
a fanfare.’
The three-minute fanfare is a demonstration of simplicity
and strength. Copland, afraid that new music was confounding
its audiences, felt that it was ‘worth the effort to see if I couldn’t
say what I had to say in the simplest possible terms’. The result
in this instance is a universal musical language based on
compelling rhythms, modal harmonies and open textures.
Copland’s Fanfare begins in the percussion, a measured and
purposeful introduction to the rising trumpet tune, which is
gradually amplified through staggered entries from the other
brass instruments and layers of harmony in music that conjures
up a spirit of pioneering resolve.
‘…it was the common
man, after all, who
was doing all the dirty
work in the war and
the army. He deserved
a fanfare.’
COPLAND
ADAPTED FROM A NOTE BY YVONNE FRINDLE © 2000
Copland’s Fanfare for the Common Man calls for four horns, three trumpets,
three trombones and tuba (in other words a standard symphony orchestra
brass line up) with timpani, bass drum and tam tam.
The fanfare was first performed in 1943, by the Cincinatti Symphony
Orchestra with Eugene Goossens conducting. The date chosen was
12 March – income tax time and therefore an ideal opportunity to honour
the common man.
9
Michael F Williams (born 1962)
Letters from the Front – Symphony No.1
for soprano, narrator and orchestra
Keynotes
premiere
Repeat performances are a coup
for any contemporary composer
and many of Michael F Williams’
works boast this distinction,
including his oboe concerto
Piercing the Vault, which has
toured New Zealand twice and
been performed in Vietnam.
His opera The Juniper Passion,
based on the battle of Monte
Cassino in World War II, toured
Italy in 2013 following its New
Zealand premiere.
I Agitato – dolce – a tempo agitato
II Adagio lontano e tranquillo
III Agitato – piu mosso
Ayşe Göknur Shanal soprano
Michael McStay narrator
The composer writes…
I have felt very privileged to be commissioned to write a symphony
for the Centenary of Gallipoli. I have felt a great sense of responsibility
and have endeavoured to treat the subject matter with as much
sensitivity as I could muster.
The structure of this work is somewhat different to that of
traditional symphonies in that it uses the Golden Ratio as a means
of determining the movement lengths, with the first around 6 minutes,
the second 9, and the third and longest movement around 15.
The first movement is largely rhythmic and violent, depicting panic
and chaos. The periods of repose suggest nostalgia and memories
of a world at peace. These are but fleeting and are constantly ripped
asunder by the ever-present violence and chaos of a world at war.
George Butterworth’s beautiful song ‘Is My Team Ploughing’ from
Songs of a Shropshire Lad is quoted in this movement, especially
poignant as Butterworth was killed on the Somme in 1916 at the
age of 31.
The second movement has an atmosphere of emptiness and
grief. The narrator’s text quotes directly from letters written by my
great-grandfather, Arthur Major, to his children. He was killed in the
3rd battle of Passchendaele in 1917. The soprano text is a Latin
translation of the line ‘My heart is so shattered, I don’t know whether
it is broken or not’ from the letter of a World War I soldier.
The third movement combines violence, fear, confusion, beauty
and exaltation. The narration texts are from soldier’s letters and
journal entries from many different nationalities – written from
Gallipoli, Belgium and France. No matter the side, the sentiments
are the same. They all speak of horror, fear and a desire for peace.
The Wilfred Owen poem ‘Arms and the Boy’ running throughout this
movement speaks of the unnaturalness of giving deadly arms to boys.
MICHAEL F WILLIAMS © 2015
The orchestra for Letters from the Front comprises two flutes, piccolo,
two oboes, cor anglais, two clarinets, bass clarinet, two bassoons and
contrabassoon; four horns, three trumpets, three trombones and tuba;
timpani and three percussionists; harp and strings.
Letters from the Front was commissioned by the New Zealand Symphony
Orchestra for the NZSO and the SSO, and jointly premiered in performances
in Sydney and Wellington on Wednesday 22 April.
10
MF WILLIAMS
Born Hamilton, 1962
Born in New Zealand, Williams
left for the UK in 1984 and
subsequently settled in
Melbourne until 1998, when he
returned to his native country.
Since then he has received
substantial commissions from
most of New Zealand’s major
musical institutions including
the NZSO, New Zealand Opera
and Chamber Music New Zealand.
He has composed in a diverse
array of genres. No less diverse
is his compositional style, which
integrates influences as varied
as Gregorian chant, pitch class
sets and digital manipulation of
acoustic instruments.
He is based at the University
of Waikato, where he teaches
composition, and his role as the
artistic director and co-founder
of the contemporary
performance ensemble Okta
keeps him active in live
performances of new music.
Williams on War
Michael Williams spoke to Amber Read
Michael Williams embraced composition at an early age and has
never looked back. ‘It has always seemed to me to be a very magical
and mysterious experience,’ he recalls, ‘and even today that feeling
remains.’ He readily acknowledges that contemporary classical
composition is not an easy path though. ‘I think there is some sort
of mad compulsion that keeps me composing,’ he says. The theme
of Williams’ ANZAC Centenary commission is not for the faint of
heart either. The battle of Gallipoli is a tale of terrible loss, carnage
and chaos, and the longer Williams worked on the commission, the
harder he found it to abstract himself from the horror of the story.
‘I think I became somewhat obsessed with it,’ he confesses.
Although Williams has a keen interest in the history of the World
Wars, war was not a theme he deliberately set out to explore in his
music. ‘I have somehow fallen into it over the last few years,’ he
says. The most notable of Williams’ previous works on war themes
is The Juniper Passion, an opera which won him the 2012 SOUNZ
contemporary award, and has been performed multiple times
around the globe.
As with The Juniper Passion, Williams uses a narrator in Letters
from the Front. ‘I find a certain power in the spoken word, when
placed carefully within the musical texture,’ he says. Letters from
the Front also shares with The Juniper Passion a treatment that
emphasises the suggestive and the symbolic rather than literal
interpretations of the text.
‘My approach to war themes is not to glamorise war, but to
highlight the waste, the bitterness and the futility,’ Williams says.
‘From a musical perspective, I have found it very satisfying to
explore and try to capture humanity at its most extreme: from
violence, courage, love, compassion and hatred.’ Letters from the
Front alternately presents the chaos and fear in the trenches as
seen through the eyes of the soldiers writing the letters, and the
loss and grief on home territory as felt by the wives, children, and
friends down under.
Letters from the Front has a personal connection for Williams.
One of the letters quoted is a letter written by Williams’ greatgrandfather, who fought at Gallipoli. ‘This commission gave me a
chance to honour and acknowledge my great-grandfather and all
those who gave the ultimate sacrifice in the service of their
countries,’ he says. Williams encourages listeners to be open and
compassionate as they come to this ANZAC memorial work: ‘I hope
that listeners will remember what this piece is about – to remember
the sacrifices of those men, to put themselves in their shoes and the
shoes of those left behind who had to deal with the terrible losses.’
AMBER READ © 2015
Turn to page 12 for the sung
and narrated texts.
11
Letters from the Front
2nd movement
SOPRANO
Excerpt from a letter from a soldier home to his mother:
Tam percussum est cor meum ut fractumne sit necne nesciam
(My heart is so shattered I don’t know whether it is broken or not.)
NARRATOR
Extracts from letters written by my great-grandfather to his
children:
My dear children, I received your nice letters today and was very
pleased to get them. How did you like going back to school after
your long holiday? I did not like leaving you to go back to camp,
but we can’t always do the things we like most.
We may go by train tomorrow, but I expect we will have to walk
and it is such a long way over a very high hill and we will have to
sleep out in the cold for two nights. So you can see it is not
always nice to be a soldier. But daddy does not mind.
Don’t forget to say your prayers. Good night. Love to you all.
Your loving daddy.
3rd movement
SOPRANO
‘Arms and the boy’ by Wilfred Owen
Let the boy try along this bayonet-blade
How cold steel is, and keen with hunger of blood;
Blue with all malice, like a madman’s flash;
And thinly drawn with famishing for flesh.
Lend him to stroke these blind, blunt bullet-leads, Which long to nuzzle in the hearts of lads, Or give him cartridges of fine zinc teeth Sharp with the sharpness of grief and death.
For his teeth seem for laughing round an apple.
There lurk no claws behind his fingers supple;
And God will grow no talons at his heels,
Nor antlers through the thickness of his curls.
12
NARRATOR
Taken from letters and journal entries written by soldiers of
various nationalities in Gallipoli, France and Belgium:
1. A glorious day, blue sky, blue sea. The sky is now flecked with
pretty little clouds of shrapnel which burst with a vicious smack.
Then a whizz as the head of the shell thumps into the earth or
sea and a broad spatter of bullets.
2. I am lying on the battlefield badly wounded. Whether I recover
is in God’s hands. If I die, do not weep. I am going blissfully home.
3. …In what way have we sinned, that we should be treated worse
than animals? Hunted from place to place, cold filthy and in rags,
we wander about like gypsies, and in the end are destroyed like
vermin. Will they never make peace?
4. Our losses are terrible. You cannot imagine, beloved mother,
what man will do against man. For five days my shoes have been
slippery with human brains, I have walked among lungs, among
entrails. A white body, splendid under the moon. I lay down near
him. The beauty of things awoke again for me.
5. This is an attack. They will attack when this hell is over. We
have got to get over the parapet when the guns lift.
6. The splutter of shrapnel, the red squeal of field guns, the growl
of the heavies moving slowly though the air, the cr-r-r-r-ump of
their explosions.
7. Verse from Owen:
Let the boy try along this bayonet-blade
How cold steel is, and keen with hunger of blood;
Blue with all malice, like a madman’s flash;
And thinly drawn with famishing for flesh.
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13
Songs for a cappella voices
Requiem æternam
This Latin chant is the Introit, literally ‘entrance’, which begins the
liturgy in the traditional Roman Catholic Mass for the Dead.
Requiem æternam dona eis Domine:
et lux perpetua luceat eis.
Grant them eternal rest, O Lord,
and let everlasting light shine upon them.
Te decet hymnus Deus in Sion
et tibi reddetur votum in Jerusalem
exaudi orationem meam
ad te omnis caro veniet
To thee, O God, praise is meet in Zion,
and prayer shall go up to thee in Jerusalem.
Give ear to my supplication,
unto thee shall all flesh come.
Requiem æternam…
Grant them eternal rest…
Ahmed Adnan Saygun (1907–1991)
Kâtibim – Choral variations on a traditional Turkish song
In his Times obituary in 1991, Saygun was described as the ‘grand
old man of Turkish music’, as revered in his country as Sibelius in
Finland, Falla in Spain or Bartók in Hungary. He studied with
Vincent d’Indy at the Schola Cantorum in Paris, and on returning
home was among those who pioneered western classical music in
the young Republic of Turkey, often incorporating traditional folk
elements.
This set of variations on the well-known song Kâtibim is the final
number from Saygun’s choral work Bir Tutam Kekik, Op.22 (1943).
A woman is travelling with her secretary or scribe (kâtip) to
Üsküdar, a district of Istanbul; she is very appreciative of his
elegant qualities.
Üsküdar’a gider iken aldı da bir yağmur.
Kâtibimin setresi uzun, eteği çamur.
Kâtip uykudan uyanmış, gözleri mahmur.
Kâtip benim, ben kâtibin,
el ne karışır?
Kâtibime kolalı da gömlek ne güzel yaraşır!
On the way to Üsküdar, rain poured down.
My clerk’s jacket is long, with its hem line muddied.
It seems the clerk just woke up, his eyes are languid.
The clerk belongs to me, I belong to the clerk,
what is it to others?
How handsome my clerk looks with starched shirts!
Üsküdar’a gider iken bir mendil buldum.
Mendilimin içine (de) lokum doldurdum.
Kâtibimi arar iken yanımda buldum.
Kâtip benim, ben kâtibin, el ne karışır?
Kâtibime kolalı da gömlek ne güzel yaraşır!
On the way to Üsküdar, I found a handkerchief.
I filled the handkerchief with Turkish delight.
As I was looking for my clerk, I found him next to me.
The clerk belongs to me, I belong to the clerk,
what is it to others?
How handsome my clerk looks with starched shirts!
14
Hubert Parry (1848–1918)
‘My soul, there is a country’ from Songs of Farewell
Parry’s Songs of Farewell for unaccompanied choir was composed
in the final years of his life, the work of a man who had ‘reached
the last milestone’ and who was profoundly depressed by what he
was witnessing in World War I. The poems of these hymns or
motets often reveal a very personal spirituality without being
conventionally devotional.
My soul, there is a country
far beyond the stars,
where stands a winged sentry,
All skilful in the wars:
There, above noise and danger,
Sweet Peace sits crowned with smiles
And One, born in a manger
Commands the beauteous files.
He is thy gracious friend,
And O my soul awake!
Did in pure love descend
To die here for thy sake.
If thou canst get but thither,
There grows the flow’r of Peace,
The Rose that cannot wither,
Thy fortress, and thy ease.
Leave then thy foolish ranges,
For none can thee secure
But One who never changes,|
Thy God, thy life, thy cure.
HENRY VAUGHAN (1622–1695)
Thomas Tallis (c.1505–1585)
Third Tune for Archbishop Parker’s Psalter
Read about Tallis and this hymn tune on page 18.
Why fum’th in fight: the Gentiles spite
In fury raging stout?
Why taketh in hond: the people fond,
Vain things to bring about.
The kings arise: the lords devise
in counsels met thereto:
Against the Lord with false accord,
Against their Christ they go.
15
James Ledger (born 1966)
War Music for chorus and orchestra
Text by Paul Kelly
premiere
Gondwana Centenary Chorale
The composer writes…
2015 sees the one-hundred year anniversary of the ANZAC
landing at Gallipoli. In two parts, War Music reflects on the horrors
of war in the first part, contrasted with a solemn memorial in
the second.
I was humbled on many occasions on writing a piece that
commemorates those who were confronted by such a terrifying
experience – I could only begin to imagine what it would have
been like in reality. This produced the profound difficulty of trying
to express the suffering and tragedy of war in purely musical
terms. And added to this are the complexities of the myths and
legends that surround the Gallipoli story. I therefore concentrated
on the broader aspects of war, hence the title.
The first part attempts to portray the brutality of war. It begins
with a soft bass drum that unrelentingly thumps away in the
background as the opening foreboding material unfolds. This
breaks out into a torrent of cascading notes over low brass and
strings. The music then settles in for a period of calm that slowly
and continuously builds towards a more torrid outburst. This is
followed by ‘screaming’ glissando strings set against discordant
winds. Then from out of the dissonance emerges a very soft minor
chord. These final moments are a very oblique reference to the
slow funeral-march movement of Beethoven’s Third Symphony.
In the second part, the orchestral forces have been
considerably reduced, representing the great loss of life that
war brings. There is however the addition of a choir. The text by
Paul Kelly, is set from the point of view of the diggers who died
at Gallipoli. It is a poignant and powerful reminder of the travesty
of young lives needlessly cut short.
JAMES LEDGER © 2015
In addition to the four-part choir, War Music calls for flute, two piccolos
(one doubling alto flute), two oboes, cor anglais, two clarinets (one
doubling bass clarinet), contrabass clarinet, two bassoons and
contrabassoon; four horns, three trumpets, three trombones and tuba;
four percussionists; celesta and strings.
War Music was commissioned by the Sydney Symphony Orchestra for
the SSO and the New Zealand Symphony Orchestra with the support of
the ANZAC Centenary Arts and Culture Fund, and jointly premiered in
performances in Sydney and Wellington on Wednesday 22 April.
16
Can you see us? Can you help us?
Lying broken on the shore
Look at us – we’re scattered playthings
Broken toys, no use, no more
We’re not heroes, we are fellows
From the country, from the town
We’re Jack and Doug and Pat and Darcy
Bill and Tom and Reg – all down
Can you hear us? We are dying,
We are screaming on the shore
We haven’t had our lives or wives yet
We never will, we’re never more
We didn’t think, we never thought
We’d die like this so far from home
Remember us, we died in smoke
We died in noise, we died alone
PAUL KELLY © 2015
About the composer…
Born in Perth, James Ledger studied French horn at the West
Australian Academy of Performing Arts. His first orchestral work,
Indian Pacific, was composed while he was living in England
during the mid-1990s. Since then, he has been composer in
residence with the Adelaide (2003–2004), Christchurch (2004)
and West Australian (2007–2009) symphony orchestras as well
as the Australian National Academy of Music (2011).
The SSO has performed some of the music created during
these associations, including Peeling and Arcs and Planes, and
in 2011, his bassoon concerto Outposts was premiered in the
Meet the Music series. More recently the SSO has performed
his fanfare The Madness and Death of King Ludwig. In 2011,
Chronicles was awarded Orchestral Work of the Year in the
Australasian Performing Rights Association/Australian Music
Centre Art Music Awards and The Monthly magazine listed it as
one of 20 Australian masterpieces since 2000. This year will also
see the premiere of a new large-scale work for the WASO.
In addition to his orchestral work, Ledger has received
commissions from Australia’s leading chamber ensembles
including the Australian String Quartet for whom he wrote
Processions. In 2013 he collaborated with Paul Kelly on the ARIA
award-winning song cycle Conversations with Ghosts.
In 2008, James Ledger was awarded a Churchill Fellowship to
research contemporary compositional practice with a particular
focus on new music in Estonia. He is currently a lecturer in
composition at the University of Western Australia.
17
Thomas Tallis
‘Why fumeth in fight the Gentiles’ spite…?’
Ralph Vaughan Williams
Fantasia on a Theme by Thomas Tallis
Early in his career, among his many other activities beside
composing, Vaughan Williams was chief music editor for a new
Anglican church hymnbook, The English Hymnal, published in
1906. In selecting items for the book from the huge body of
traditional hymnody, he pursued a veritable crusade against
what he considered to be the sentimental piety and bad music
that had infiltrated English church singing during the Victorian
era. His strategy was one of ‘back to the future’, and the result
was a theologically ‘high church’, musically ‘elite’ collection,
heavily biased toward early music: Gregorian chant and 16th-,
17th- and 18th-century hymn tunes in authentic editions, with,
as he himself boasted, ‘enervating tunes…reduced to a
minimum’. Vaughan Williams stressed that preferring a ‘good’
tune over a bad one was:
…a moral rather than a musical issue…it requires a certain
effort to tune oneself to the moral atmosphere implied by
a fine melody; and it is far easier to dwell in the miasma of
the languishing and sentimental hymn tunes which so often
disfigure our services.
Some of very finest tunes he rediscovered were also – to
the ordinary churchgoer of the early 1900s – the oddest. They
include many tunes from the rhymed psalm books of the Tudor
period, like The whole Psalter translated into English metre,
published around 1567 by Queen Elizabeth I’s Archbishop of
Canterbury, Matthew Parker, and to which her veteran court
composer Thomas Tallis (c.1505–1585) contributed nine new
‘tunes’. Like Vaughan Williams centuries later, Tallis and Parker
attributed moral qualities to these melodies, depending on the
mode or scale upon which they were based. The first tune
(based on the mode close to the modern minor key scale) they
described as ‘meek’ and ‘devout, while the third tune ‘doth rage
and roughly bayeth’. Accordingly, Tallis’s raging ‘third tune’ was
fitted to Parker’s rhymed version of Psalm 2, ‘Why fumeth in
fight the Gentiles’ spite?’, a paraphrase of the text better known
as ‘Why do the nations so furiously rage together?’. The scale on
18
Keynotes
TALLIS
Born c.1505
Died Greenwich, 1585
If you followed the TV series The
Tudors you might have seen the
composer Thomas Tallis in a
fictional representation (and
heard, too, the hymn tune we sing
tonight). Tallis probably received
his musical training as a chorister
in the royal chapel and as an adult
he held organist and other church
posts. His career spanned the
reigns of Henry VIII, Edward VI,
Queen Mary and Elizabeth I, and
he managed to steer clear of
the religious controversies that
raged – his music includes both
music set to Latin texts and
associated with the Roman
liturgy, as well as English
anthems. Perhaps his best-known
creation is the motet Spem in
alium, composed for 40 voices
(eight choirs of five voices each).
Ralph Vaughan Williams
which the third tune is based is, to modern ears, the strangest
of all modes (try singing the first five notes quietly to yourself:
me–fa–soh–lah–ti!). But it was this extremely odd Third Tune by
Tallis that Vaughan Williams chose, four years after completing
his new hymnbook, as the theme for a string fantasia.
This 15-minute ‘meditation’ on Tallis’s melody is scored for
three string ensembles of diminishing size, ideally separated
physically. The opening couple of minutes consist of little else
but Tallis’s tune. Phrases then separate out, generating new
melodies for solo viola and violin, building to an impassioned
climax. Variously brooding and rhapsodic, the final section
appears to consider the paradox of the potentially deadening
weight of English tradition, and yet its endless capacity to
succour new creative responses.
The Fantasia was first performed by the London Symphony
Orchestra, conducted by the composer, on 6 September in
Gloucester Cathedral as part of the 1910 Three Choirs Festival,
preceding Elgar’s Dream of Gerontius. Vaughan Williams was
worried that his modern listeners might find Tallis’s melody
alien and off-putting; or, as he put it, ‘that the great art of Tallis
connotes an exaltation of which we are not capable’. And,
although several reviews of the first performance seemed to
confirm this fear, the London Times was positive: ‘The work is
wonderful because it seems to lift one into some unknown
region of musical thought and feeling. Throughout its course
one is never sure whether one is listening to something old or
new.’ But the same review has since been proved rather too
cautious in warning: ‘It could never thrive in a modern concertroom, but in the quieter atmosphere of the cathedral the mind
falls readily into the reflective attitude necessary for the
enjoyment of every unexpected transition from chord to chord.’
GRAEME SKINNER © 2012
When giving instrumentations we don’t usually count out the strings,
but make an exception here for obvious reasons – the Fantasia calls for
Soli (two violins, viola, cello), Orchestra II (two first violins, two second
violins, two violas, two cellos, double bass), and Orchestra I (all the string
players we can muster). The solo string quartet is placed at the front of
the ensemble (where they also lead the players of Orchestra I), with the
nine musicians of Orchestra II at the back where you might usually see
the percussion.
The SSO first gave a broadcast studio performance of the Tallis
Fantasia in 1940, conducted by Kenneth Murison Bourn. The orchestra
last played the Fantasia in 2012 with David Robertson conducting.
Keynotes
VAUGHAN WILLIAMS
Born Gloucestershire, 1872
Died London, 1958
His father was a vicar, his
mother descended from Josiah
Wedgwood, an uncle was Lord
Chief Justice, and Charles Darwin
a great uncle. RVW himself was
a mild-mannered, mystical,
agnostic Labour voter. At the
Royal College of Music, Stokowski
and Holst were friends, Stanford
and Parry his teachers, as also
later in Berlin and Paris were
Bruch and Ravel. Like Bartók in
Hungary, from 1900 onwards
RVW found inspiration in his
country’s age-old folk music
traditions. His major legacy is
his nine symphonies, works of
huge emotional span, from the
pastoral third and fifth, to the
dissonant wartime fourth and
dramatic ninth. (‘Ralph’ is
pronounced in the traditional
way: rafe).
TALLIS FANTASIA
This 15-minute ‘meditation’ on
a Tudor melody is scored, like a
set of Chinese boxes, for three
string ensembles of diminishing
size, the first full symphonic
strings; the second, just nine
players; third, a string quartet.
The opening minutes consist of
little else but Tallis’s tune, given
out by unison lower strings,
repeated by high violins with
harmonisation from the
ensemble. Phrases then separate
out, generating new melodies for
solo viola and violin, traversing
new harmonic fields, building
to an impassioned climax. The
rhapsodic final section canvasses
feelings of trepidation before
peaceful resolution.
19
MORE MUSIC
COPLAND FANFARE
To hear Copland’s best-loved music in great American
performances, look for the recording in Sony’s
Bernstein Century series. Leonard Bernstein conducts
the New York Philharmonic in suites from Appalachian
Spring and Billy the Kid, and the Four Dance Episodes
from Rodeo. Fanfare for the Common Man provides
the finale.
SONY 63082
MICHAEL F WILLIAMS
Williams’ music is featured on several recordings on
the New Zealand label Atoll Records. In particular, look
for his opera The Juniper Passion, with a libretto by
John G Davies. It’s a dramatic setting of the World
War II incident at Monte Cassino, Italy.
ATOLL RECORDS ACD243
JAMES LEDGER
On YouTube you can hear a taste of Conversations
with Ghosts, a collaboration with Paul Kelly and
featuring recorder virtuoso Genevieve Lacey and
musicians from the Australian National Academy of
Music. Also look for percussionist Callum Moncrieff in
a performance of the solo piece Quickening.
TALLIS’S TUNE
Tallis’s Third Tune has appeared on two popular film
soundtracks, for the TV series The Tudors (Season 2
Episode 10) and for Master and Commander. If you
search for «Tallis Why fum’th» you’ll also find
performances on YouTube.
STOKOWSKI PLAYS RVW
In 1975, eighty years after he and Vaughan Williams
were students together, Leopold Stokowski recorded
the Tallis Fantasia with the strings of the Royal
Philharmonic Orchestra. It was among the very last
works he recorded and the venue was No.1 Studio,
Abbey Road, London.
NEWTON CLASSICS 8802025
FANTASIA IN THE CATHEDRAL
You can see the BBC Symphony Orchestra and
Andrew Davis perform the Tallis Fantasia inside the
very cathedral – Gloucester – where it was premiered
in 1910.
Watch: bit.ly/FantasiaInTheCathedral
20
Broadcast Diary
April–May
abc.net.au/classic
Saturday 25 April, 8pm
ANZAC DAY SALUTE
See this program for details.
Friday 8 May, 8pm
PURE MAGIC
Mark Wigglesworth conductor
Caitlin Hulcup mezzo-soprano
Randall Scarlata baritone
Mahler, Tchaikovsky
Friday 15 May, 8pm
ROMANTIC VISIONS
Matthias Pintscher conductor
Peter Serkin piano
Wagner, Bartók, Brahms orch. Schoenberg
Friday 22 May, 8pm
PETER SERKIN IN RECITAL
Renaissance keyboard pieces, Nielsen,
Reger, Mozart, Beethoven
SSO Radio
Selected SSO performances, as recorded by the ABC,
are available on demand:
sydneysymphony.com/SSO_radio
SYDNEY SYMPHONY ORCHESTRA HOUR
Tuesday 12 May, 6pm
Musicians and staff of the SSO talk about the life of
the orchestra and forthcoming concerts. Hosted by
Andrew Bukenya.
finemusicfm.com
SSO Live Recordings
The Sydney Symphony Orchestra Live label was founded
in 2006 and we’ve since released more than two dozen
recordings featuring the orchestra in live concert
performances with our titled conductors and leading
guest artists. To buy, visit sydneysymphony.com/shop
Strauss & Schubert
Gianluigi Gelmetti conducts Schubert’s
Unfinished and R Strauss’s Four
Last Songs with Ricarda Merbeth.
SSO 200803
Sir Charles Mackerras
A 2CD set featuring Sir Charles’s
final performances with the orchestra,
in October 2007.
SSO 200705
Brett Dean
Two discs featuring the music of Brett
Dean, including his award-winning
violin concerto, The Lost Art of Letter
Writing. SSO 200702, SSO 201302
MAHLER ODYSSEY
The complete Mahler symphonies
(including the Barshai completion
of No.10) together with some of
the song cycles. Recorded in
concert with Vladimir Ashkenazy
during the 2010 and 2011 seasons.
As a bonus: recordings from our
archives of Rückert-Lieder, Kindertotenlieder and
Das Lied von der Erde. Available in a handsome boxed
set of 12 discs or individually.
Mahler 1 & Songs of a Wayfarer SSO 201001
Mahler 2 SSO 201203
Mahler 3 SSO 201101
Mahler 4 SSO 201102
Mahler 5 SSO 201003
Mahler 6 SSO 201103
Mahler 7 SSO 201104
Mahler 8 (Symphony of a Thousand) SSO 201002
Mahler 9 SSO 201201
Mahler 10 (Barshai completion) SSO 201202
Song of the Earth SSO 201004
Ravel
Gelmetti conducts music by one of
his favourite composers: Maurice
Ravel. Includes Bolero.
From the archives:
Rückert-Lieder, Kindertotenlieder, Das Lied von
der Erde SSO 201204
SSO 200801
LOOK OUT FOR…
Rare Rachmaninoff
Rachmaninoff chamber music with
Dene Olding, the Goldner Quartet,
soprano Joan Rodgers and Vladimir
Ashkenazy at the piano. SSO 200901
Our recording of Holst’s Planets with David Robertson.
Due for release early in 2015.
SSO Online
Prokofiev’s Romeo and Juliet
Vladimir Ashkenazy conducts the
complete Romeo and Juliet ballet
music of Prokofiev – a fiery and
impassioned performance. SSO 201205
Join us on Facebook
facebook.com/sydneysymphony
Follow us on Twitter
twitter.com/sydsymph
Tchaikovsky Violin Concerto
In 2013 this recording with James
Ehnes and Ashkenazy was awarded a
Juno (the Canadian Grammy). Lyrical
miniatures fill out the disc. SSO 201206
Tchaikovsky Second Piano Concerto
Garrick Ohlsson is the soloist in one
of the few recordings of the original
version of Tchaikovsky’s Piano Concerto
No.2. Ashkenazy conducts. SSO 201301
Stravinsky’s Firebird
David Robertson conducts Stravinsky’s
brilliant and colourful Firebird ballet,
recorded with the SSO in concert in
2008. SSO 201402
Watch us on YouTube
www.youtube.com/SydneySymphony
Visit sydneysymphony.com for concert
information, podcasts, and to read the
program book in the week of the concert.
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Stay tuned. Sign up to receive our
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sydneysymphony.com/staytuned
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for iPhone/iPad or Android
sydneysymphony.com/mobile_app
21
JEFF BUSBY
ABOUT THE ARTISTS
Richard Gill conductor
artistic director, downertenix discovery, paul salteri AM & sandra salteri chair
Richard Gill oam is one of Australia’s most
admired conductors and is internationally
respected as a music educator. He has been
Artistic Director of the SSO’s Education program
(1992–2014), and 2015 marks his 16th year
conducting and presenting the DownerTenix
Discovery series.
He is also founding Music Director and
Conductor Emeritus of Victorian Opera, and has
been Artistic Director of OzOpera and Artistic
Director and Chief Conductor of the Canberra
Symphony Orchestra. He is currently Artistic
Advisor for the Musica Viva Education program.
In addition to Discovery, for the SSO he has
conducted Meet the Music and Family concerts,
and directed the Sinfonietta Project for young
composers. He has conducted all the major
Australian symphony and youth orchestras,
the New Zealand Symphony Orchestra, Sydney
Chamber Choir and Sydney Philharmonia Choir.
This year his engagements include the Melbourne
Symphony Orchestra’s Ears Wide Open series
and the Auckland Philharmonia Orchestra’s
Unwrap the Music series
22
His extensive operatic repertoire
encompasses baroque opera, core works such
as The Marriage of Figaro and Rigoletto, operetta,
20th-century classics and new work, including –
for Victorian Opera – How to Kill Your Husband
(Alan John) and Rembrandt’s Wife (Andrew Ford).
For Opera Australia he has conducted, among
others, The Love for Three Oranges, Orpheus
in the Underworld, Faust, The Eighth Wonder
(Alan John), Lindy (Moya Henderson), Macbeth,
Lucia di Lammermoor, Fidelio, Turandot and
Pearl Fishers. He has also conducted for Opera
Queensland and the Sydney Theatre Company.
Richard Gill has held several important
posts, including Dean of the West Australian
Conservatorium of Music and Director of Chorus
at the Australian Opera. His numerous accolades
include the Bernard Heinze Award, honorary
doctorates from the Edith Cowan University of
Western Australia and the Australian Catholic
University, the Australian Music Centre’s award
for Most Distinguished Contribution to the
Presentation of Australian Music by an Individual,
and the Australia Council’s Don Banks Award.
Ayşe Göknur Shanal
Michael McStay
Born in Brisbane, Turkish-Australian soprano
Ayşe Göknur Shanal is a versatile classical
singer, displaying outstanding artistry in
operatic, recital, oratorio and concert repertoire.
She is also a passionate advocate of Australian
and 21st-century music.
Ayşe Göknur Shanal studied as the Dame
Joan Sutherland Scholar at the Royal College
of Music and was an adjunct member of the
Lindemann Young Artist Development Program
at the Metropolitan Opera, New York. Her awards
and scholarships include the Australian Singing
Competition, Dame Joan Sutherland Scholarship
and Award, Opera Foundation’s Metropolitan
Opera Award (New York), McDonald’s Operatic
Aria, Queen’s Trust for Young Australians,
Symphony Australia’s Young Performers’ Awards
Vocal Category, Australian Music Foundation
Award (London), Countess of Munster Scholarship
(London) and the Special Prize of the LoreleyFestspiele at the New Voices International
Singing Competition in Germany. In 2014 she
was named the winner of the National Liederfest
Competition, held in Melbourne, and was the
recipient of an Australian Opera Awards
Committee Scholarship for the Lisa Gasteen
National Opera School.
Later this year, she will appear in two concerts
in Pittsburgh and as a guest artist with the
Queensland Symphony Orchestra.
Michael McStay is an actor, writer, director and
musician. Before studying at NIDA, he acted
around his home town of Melbourne, appearing
in plays such as Michael Gow’s Away, Alan Bennett’s
History Boys and the original Australian works
Daisy Chain (Alan Skinner and Eryn Skinner) and
Webley and Huxley Live the Life (Bruce Shearer).
He also appeared in numerous short films in
association with the Victorian College of the
Arts Film & Television Course.
He is an avid reader and writer, which has led
to the creation of original work in appreciation
for the literary canon, including the development
in association with the NIDA Independent
Program of an epic play he wrote during his
time at NIDA, scheduled for December of this
year. And for the 2013 NIDA Student Festival,
he wrote, directed and composed Esther, based
on the Old Testament book. He is also currently
writing a novel.
Michael McStay has studied classical piano
and he plays guitar, sings and composes.
soprano
narrator
23
THE CHOIR
Gondwana Centenary Chorale
Lyn Williams oam Artistic Director and Founder
Bernie Heard General Manager
Paul Holley Chorus Preparation
Founded as Sydney Children’s Choir in 1989 by
Lyn Williams oam, Gondwana Choirs has grown to
include Gondwana National Choirs and
Gondwana Indigenous Children’s Choir. The
organisation has built a worldwide reputation for
choral excellence and occupies a unique position
in the Australian landscape, having developed
its repertoire through the commissioning of more
than 150 works. Singers from all three arms of
the organisation have come together on several
occasions, most recently in 2014 for the
premiere of Jandamarra – Sing for the Country
by Paul Stanhope and Steve Hawke.
Established by Lyn Williams in 1997,
Gondwana National Choirs are truly national
ensembles whose members come from
throughout Australia and range in age from 10
to 26. They are the children of dairy farmers and
teachers, wheat farmers and flying doctors,
engineers, office workers and musicians. The
work of the choirs is a powerful expression of
the determination of young Australians to work
together to create extraordinary musical
ensembles. They form every January at the
Gondwana National Choral School for intensive
training and performances across five vocal
ensembles, including programs for developing
composers and conductors.
In the spirit of innovation and exceptional
artistic standards for which it is known,
Gondwana Choirs has formed a special
international ensemble to take part in the
Anzac centenary commemorations, combining
Gondwana Chorale with members of youth
choirs from Turkey, France and New Zealand.
Aged between 18 and 25, reflecting the age of
many of the soldiers involved in the campaign,
the combined choir will create an atmosphere
of poignant reflection, in a fitting tribute to
nations represented at Gallipoli and the Western
Front.
www.gondwanachoirs.com.au
LYN WILLIAMS oam
Artistic Director & Founder
Lyn Williams is Australia’s leading director of
choirs for young people. For more than 26 years,
she has been the driving force behind three
internationally acclaimed choral programs,
working with hundreds of young Australian
musicians each year. She has conducted Sydney
Children’s Choir, Gondwana Voices, Gondwana
Chorale and Gondwana Indigenous Children’s
Choir nationally and internationally. Lyn Williams
is a recipient of the 2006 NSW State Award
(Classical Music Awards), a Churchill Fellow and
24
a composer. In 2004 she was recognised with a
Medal of the Order of Australia in recognition of
her services to the arts.
Gondwana Centenary Chorale
SOPRANOS
Bensu Altunsoy†
Irem Arslan†
Deniz Can Bakkalcı†
Anita Burkart
Meta Cohen
Marine Delagarde‡
Josephine Gibson
Hélène Hayreaud‡
Lana Kains
Clare Kenny
Adele Kozak
Grace Leonard
Jade McFaul
Chloë Aissaoui Michel‡
Sierra Suet Sum Suen
Joanna Wells*
ALTOS
Cansın Hazan Bayrak†
Caitlyn Bosch
Jessie-Claire Campbell
Rhianna Clarke*
Isabel Colman
Anna Freer
Sophie Gregory
Edwina Howes
Anne Le Goff‡
Anita Moser
Megan Murray
Rebecca O’Hanlon
Maïmiti Dintongxay-Ladoire‡
Laura Pitts
Aysu Sağir†
Louise Underwood
Lia Weitzel
TENORS
Ozan Çavuşoğlu†
Cody Christopher
Michael Gill
Toby Graham
Rhys Little
Jerome Studdy
Daniel Verschuer
BASSES
Oliver Bruhl
Luc Dhenin‡
Max Fox
Erdinç Hasılcıoğulları†
Josh McGirr*
Brice Modard‡
Oscar Parker
Corbin Thorne
Daniel Yasar
† Ministry of Culture State
Polyphonic Choir, Istanbul
‡ Mikrokosmos, France
* New Zealand Youth Choir
Alumni
Gondwana Choirs gratefully
acknowledges the support
of the French and Turkish
consulates and the New
Zealand High Commission.
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25
SYDNEY SYMPHONY ORCHESTR A
DAVID ROBERTSON
Chief Conductor and Artistic Director
PATRON Professor The Hon. Dame Marie Bashir ad cvo
Founded in 1932 by the Australian Broadcasting
Commission, the Sydney Symphony Orchestra
has evolved into one of the world’s finest
orchestras as Sydney has become one of the
world’s great cities.
Resident at the iconic Sydney Opera House,
where it gives more than 100 performances
each year, the SSO also performs in venues
throughout Sydney and regional New South
Wales. International tours to Europe, Asia and
the USA – including three visits to China – have
earned the orchestra worldwide recognition for
artistic excellence.
The orchestra’s first Chief Conductor was
Sir Eugene Goossens, appointed in 1947; he was
followed by Nicolai Malko, Dean Dixon, Moshe
Atzmon, Willem van Otterloo, Louis Frémaux,
Sir Charles Mackerras, Zdenĕk Mácal, Stuart
Challender, Edo de Waart and Gianluigi Gelmetti.
Vladimir Ashkenazy was Principal Conductor
from 2009 to 2013. The orchestra’s history also
boasts collaborations with legendary figures
26
such as George Szell, Sir Thomas Beecham,
Otto Klemperer and Igor Stravinsky.
The SSO’s award-winning education program
is central to its commitment to the future of live
symphonic music, developing audiences and
engaging the participation of young people.
The orchestra promotes the work of Australian
composers through performances, recordings
and its commissioning program. Recent
premieres have included major works by Ross
Edwards, Lee Bracegirdle, Gordon Kerry, Mary
Finsterer, Nigel Westlake and Georges Lentz,
and the orchestra’s recordings of music by
Brett Dean have been released on both the BIS
and SSO Live labels.
Other releases on the SSO Live label,
established in 2006, include performances
with Alexander Lazarev, Gianluigi Gelmetti,
Sir Charles Mackerras, Vladimir Ashkenazy and
David Robertson. In 2010–11 the orchestra made
concert recordings of the complete Mahler
symphonies with Ashkenazy, and has also
released recordings of Rachmaninoff and Elgar
orchestral works on the Exton/Triton labels, as
well as numerous recordings on ABC Classics.
This is the second year of David Robertson’s
tenure as Chief Conductor and Artistic Director.
MUSICIANS
David Robertson
Jessica Cottis
CHIEF CONDUCTOR
AND ARTISTIC DIRECTOR
SUPPORTED BY
EMIRATES
Andrew Haveron
Dene Olding
CONCERTMASTER
CONCERTMASTER
ASSISTANT CONDUCTOR
SUPPORTED BY PREMIER
PARTNER CREDIT SUISSE
FIRST VIOLINS
VIOLAS
FLUTES
TRUMPETS
Andrew Haveron
Tobias Breider
Justin Williams
Emma Sholl
Carolyn Harris
Rosamund Plummer
Paul Goodchild
Anthony Heinrichs
Josh Rogan°
David Elton
CONCERTMASTER
Lerida Delbridge
ASSISTANT CONCERTMASTER
Fiona Ziegler
ASSISTANT CONCERTMASTER
Jenny Booth
Sophie Cole
Amber Davis
Claire Herrick
Georges Lentz
Nicola Lewis
Emily Long
Alexandra Mitchell
Alexander Norton
Léone Ziegler
Rebecca Gill*
Dene Olding
CONCERTMASTER
Sun Yi
ASSOCIATE CONCERTMASTER
Kirsten Williams
ASSOCIATE CONCERTMASTER
SECOND VIOLINS
Kirsty Hilton
Marina Marsden
Marianne Broadfoot
Emma Jezek
ASSISTANT PRINCIPAL
Rosemary Curtin
Jane Hazelwood
Graham Hennings
Justine Marsden
Felicity Tsai
Amanda Verner
Leonid Volovelsky
Andrew Jezek*
Roger Benedict
Anne-Louise Comerford
Sandro Costantino
Stuart Johnson
CELLOS
Umberto Clerici
Catherine Hewgill
Leah Lynn
ASSISTANT PRINCIPAL
Fenella Gill
Timothy Nankervis
Elizabeth Neville
Christopher Pidcock
Adrian Wallis
Kristy Conrau
David Wickham
ASSISTANT PRINCIPAL
Emma Hayes
Stan W Kornel
Benjamin Li
Nicole Masters
Philippa Paige
Monique Irik°
Emma Jardine°
Elizabeth Jones*
Maria Durek
Shuti Huang
Biyana Rozenblit
Maja Verunica
DOUBLE BASSES
Alex Henery
Neil Brawley
PRINCIPAL EMERITUS
Steven Larson
Richard Lynn
Benjamin Ward
Josef Bisits°
Kees Boersma
David Campbell
David Murray
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.
PRINCIPAL PICCOLO
Janet Webb
OBOES
Diana Doherty
David Papp
Alexandre Oguey
PRINCIPAL COR ANGLAIS
Shefali Pryor
CLARINETS
Francesco Celata
Christopher Tingay
Craig Wernicke
PRINCIPAL BASS CLARINET
Lawrence Dobell
BASSOONS
Matthew Wilkie
Noriko Shimada
PRINCIPAL CONTRABASSOON
Ben Hoadley*
Fiona McNamara
HORNS
Ben Jacks
Geoffrey O’Reilly
PRINCIPAL 3RD
Euan Harvey
Marnie Sebire
Rachel Silver
Robert Johnson
TROMBONES
Scott Kinmont
Nick Byrne
Christopher Harris
PRINCIPAL BASS TROMBONE
Ronald Prussing
TUBA
Steve Rossé
TIMPANI
Mark Robinson
ASSISTANT PRINCIPAL
Richard Miller
PERCUSSION
Rebecca Lagos
Timothy Constable
Colin Piper*
Philip South*
HARP
Genevieve Huppert*
Louise Johnson
CELESTA
Catherine Davis*
BOLD = PRINCIPAL
ITALICS = ASSOCIATE PRINCIPAL
° = CONTRACT MUSICIAN
* = GUEST MUSICIAN
GREY = PERMANENT MEMBER OF THE
SYDNEY SYMPHONY ORCHESTRA NOT
APPEARING IN THIS CONCERT
The men of the Sydney
Symphony Orchestra are
proudly outfitted by
Van Heusen.
27
BEHIND THE SCENES
Sydney Symphony
Orchestra Board
John C Conde AO Chairman
Terrey Arcus AM
Ewen Crouch AM
Ross Grant
Catherine Hewgill
Jennifer Hoy
Rory Jeffes
Andrew Kaldor AM
David Livingstone
The Hon. Justice AJ Meagher
Goetz Richter
Sydney Symphony Orchestra Staff
MANAGING DIRECTOR
SENIOR ONLINE MARKETING COORDINATOR
Rory Jeffes
Jenny Sargant
EXECUTIVE TEAM ASSISTANT
MARKETING ASSISTANT
Lisa Davies-Galli
Theres Mayer
ARTISTIC OPERATIONS
Box Office
DIRECTOR OF ARTISTIC PLANNING
Benjamin Schwartz
ARTISTIC ADMINISTRATION MANAGER
Eleasha Mah
ARTIST LIAISON MANAGER
Ilmar Leetberg
RECORDING ENTERPRISE MANAGER
Philip Powers
Sydney Symphony
Orchestra Council
Geoff Ainsworth AM
Doug Battersby
Christine Bishop
The Hon John Della Bosca MLC
Michael J Crouch AO
Alan Fang
Erin Flaherty
Dr Stephen Freiberg
Simon Johnson
Gary Linnane
Helen Lynch AM
David Maloney AM
Justice Jane Mathews AO
Danny May
Jane Morschel
Dr Eileen Ong
Andy Plummer
Deirdre Plummer
Seamus Robert Quick
Paul Salteri AM
Sandra Salteri
Juliana Schaeffer
Fred Stein OAM
John van Ogtrop
Brian White
Rosemary White
HONORARY COUNCIL MEMBERS
Ita Buttrose AO OBE
Donald Hazelwood AO OBE
Yvonne Kenny AM
David Malouf AO
Wendy McCarthy AO
Leo Schofield AM
Peter Weiss AO
Library
Anna Cernik
Victoria Grant
Mary-Ann Mead
LEARNING AND ENGAGEMENT
DIRECTOR OF LEARNING AND ENGAGEMENT
Kim Waldock
EMERGING ARTISTS PROGRAM MANAGER
Rachel McLarin
EDUCATION MANAGER
Amy Walsh
EDUCATION OFFICER
Tim Walsh
Lynn McLaughlin
BOX OFFICE SYSTEMS SUPERVISOR
Jennifer Laing
BOX OFFICE BUSINESS ADMINISTRATOR
John Robertson
CUSTOMER SERVICE REPRESENTATIVES
Karen Wagg – Customer Service Team
Manager
Michael Dowling
Tim Walsh
Publications
PUBLICATIONS EDITOR &
MUSIC PRESENTATION MANAGER
Yvonne Frindle
EXTERNAL RELATIONS
DIRECTOR OF EXTERNAL RELATIONS
Yvonne Zammit
Philanthropy
HEAD OF PHILANTHROPY
Luke Andrew Gay
ORCHESTRA MANAGEMENT
PHILANTHROPY MANAGER
DIRECTOR OF ORCHESTRA MANAGEMENT
Jennifer Drysdale
Aernout Kerbert
A/ PATRONS EXECUTIVE
ORCHESTRA MANAGER
Rachel Whealy
Sarah Morrisby
PHILANTHROPY COORDINATOR
ORCHESTRA COORDINATOR
Claire Whittle
Rosie Marks-Smith
Corporate Relations
OPERATIONS MANAGER
CORPORATE PARTNERSHIPS MANAGER
Kerry-Anne Cook
Belinda Besson
PRODUCTION MANAGER
CORPORATE PARTNERSHIPS EXECUTIVE
Laura Daniel
Paloma Gould
STAGE MANAGER
Communications
Courtney Wilson
PRODUCTION COORDINATORS
Ollie Townsend
SALES AND MARKETING
DIRECTOR OF SALES & MARKETING
Mark J Elliott
MARKETING MANAGER, SUBSCRIPTION SALES
Simon Crossley-Meates
A/ SENIOR SALES & MARKETING MANAGER
Matthew Rive
MARKETING MANAGER, WEB & DIGITAL MEDIA
Eve Le Gall
MARKETING MANAGER, CRM & DATABASE
COMMUNICATIONS & MEDIA MANAGER
Bridget Cormack
PUBLIC RELATIONS MANAGER
Katherine Stevenson
DIGITAL CONTENT PRODUCER
Kai Raisbeck
PUBLICITY & EVENTS COORDINATOR
Caitlin Benetatos
BUSINESS SERVICES
DIRECTOR OF FINANCE
John Horn
FINANCE MANAGER
Ruth Tolentino
Matthew Hodge
ACCOUNTANT
A/ SALES & MARKETING MANAGER,
SINGLE TICKET CAMPAIGNS
ACCOUNTS ASSISTANT
Jonathon Symonds
DATABASE ANALYST
David Patrick
SENIOR GRAPHIC DESIGNER
Christie Brewster
28
MANAGER OF BOX OFFICE SALES &
OPERATIONS
Minerva Prescott
Emma Ferrer
PAYROLL OFFICER
Laura Soutter
PEOPLE AND CULTURE
GRAPHIC DESIGNER
IN-HOUSE COUNSEL
Tessa Conn
Michel Maree Hryce
SSO PATRONS
Maestro’s Circle
Supporting the artistic vision of David Robertson,
Chief Conductor and Artistic Director
Peter Weiss AO Founding President & Doris Weiss
John C Conde AO Chairman
Brian Abel
Tom Breen & Rachel Kohn
The Berg Family Foundation
Andrew Kaldor AM & Renata Kaldor AO
Vicki Olsson
Roslyn Packer AO
David Robertson & Orli Shaham
Penelope Seidler AM
Mr Fred Street AM & Dorothy Street
Brian White AO & Rosemary White
Ray Wilson OAM in memory of the late James Agapitos OAM
David Robertson
Roger Benedict
Principal Viola
Kim Williams AM &
Catherine Dovey Chair
Jane Hazelwood
Viola
Bob & Julie Clampett Chair
in memory of Carolyn Clampett
Kees Boersma
Principal Double Bass
SSO Council Chair
Catherine Hewgill
Principal Cello
The Hon. Justice AJ &
Mrs Fran Meagher Chair
Umberto Clerici
Principal Cello
Garry & Shiva Rich Chair
Timothy Constable
Percussion
Justice Jane Mathews AO Chair
Lerida Delbridge
Assistant Concertmaster
Simon Johnson Chair
Lawrence Dobell
Principal Clarinet
Anne Arcus &
Terrey Arcus AM Chair
KEITH SAUNDERS
Chair Patrons
Robert Johnson
Principal Horn
James & Leonie Furber Chair
Elizabeth Neville
Cello
Ruth & Bob Magid Chair
Shefali Pryor
Associate Principal Oboe
Mrs Barbara Murphy Chair
Emma Sholl
Associate Principal Flute
Robert & Janet Constable Chair
Diana Doherty
Principal Oboe
Andrew Kaldor AM &
Renata Kaldor AO Chair
Janet Webb
Principal Flute
Helen Lynch AM &
Helen Bauer Chair
Richard Gill oam
Artistic Director,
DownerTenix Discovery
Paul Salteri AM &
Sandra Salteri Chair
Kirsten Williams
Associate Concertmaster
I Kallinikos Chair
Umberto Clerici has been Principal Cello
of the SSO since 2014. He has performed
as a soloist with orchestras around the
world and served as principal cello at the
Teatro Regio in Turin in his native Italy
before joining the SSO. Umberto’s chair is
generously supported by Garry and Shiva
Rich. Their son Samuel recently started
learning the cello and aspires to join the
SSO one day.
n n n n n n n n n n
FOR INFORMATION ABOUT THE CHAIR PATRONS
PROGRAM, CALL (02) 8215 4625.
29
SSO PATRONS
Learning & Engagement
Foundations
KEITH SAUNDERS
Australia-Korea Foundation
Crown Foundation
The Greatorex Foundation
James N Kirby Foundation
Packer Family Foundation
Ian Potter Foundation
AUSTRALIA-KOREA
F O U N D A T I O N
Commissioning Circle
Sydney Symphony Orchestra 2015 Fellows
fellowship patrons
Robert Albert AO & Elizabeth Albert Flute Chair
Christine Bishop Percussion Chair
Sandra & Neil Burns Clarinet Chair
In Memory of Matthew Krel Violin Chair
Mrs T Merewether OAM Horn Chair
Paul Salteri AM & Sandra Salteri Violin and Viola Chairs
Mrs W Stening Principal Patron, Cello Chair
Kim Williams AM & Catherine Dovey Patrons of Roger Benedict,
Artistic Director, Fellowship
Anonymous Double Bass Chair
June & Alan Woods Family Bequest
Supporting the creation of new works.
ANZAC Centenary Arts and Culture Fund
Geoff Ainsworth AM
Christine Bishop
Dr John Edmonds
Andrew Kaldor AM & Renata Kaldor AO
Jane Mathews AO
Mrs Barbara Murphy
Nexus IT
Vicki Olsson
Caroline & Tim Rogers
Geoff Stearn
Dr Richard T White
Anonymous
fellowship supporting patrons
Mr Stephen J Bell
Gary Linnane & Peter Braithwaite
Joan MacKenzie Scholarship
Drs Eileen & Keith Ong
In Memory of Geoff White
MAKE
A DIFFERENCE
tuned-up!
TunED-Up! is made possible with the generous support of
Fred Street AM & Dorothy Street
Additional support provided by:
Anne Arcus & Terrey Arcus AM
Ian & Jennifer Burton
Ian Dickson & Reg Holloway
Tony Strachan
major education donors
Bronze Patrons & above
John Augustus & Kim Ryrie
Mr Alexander & Mrs Vera Boyarsky
Bob & Julie Clampett
Howard & Maureen Connors
The Greatorex Foundation
The Ian Potter Foundation
James N Kirby Foundation
Mrs & Mr Judith A. McKernan
Mr & Mrs Nigel Price
30
Through their inspired financial support,
Patrons ensure the SSO’s continued
success, resilience and growth. Join the
SSO Patrons Program today and make a
difference.
sydneysymphony.com/patrons
(02) 8215 4674
[email protected]
Stuart Challender
Legacy Society
Celebrating the vision of donors who are leaving
a bequest to the SSO.
Henri W Aram OAM &
Robin Aram
Stephen J Bell
Mr David & Mrs Halina Brett
Howard Connors
Greta Davis
Brian Galway
Miss Pauline M Griffin AM
John Lam-Po-Tang
Peter Lazar AM
Daniel Lemesle
Louise Miller
James & Elsie Moore
Douglas Paisley
Kate Roberts
Mary Vallentine AO
Ray Wilson OAM
Anonymous (10)
Stuart Challender, SSO Chief Conductor
and Artistic Director 1987–1991
bequest donors
We gratefully acknowledge donors who have left
a bequest to the SSO.
The late Mrs Lenore Adamson
Estate of Carolyn Clampert
Estate Of Jonathan Earl William Clark
Estate of Colin T Enderby
Estate of Mrs E Herrman
Estate of Irwin Imhof
The late Mrs Isabelle Joseph
The Estate of Dr Lynn Joseph
The Late Greta C Ryan
June & Alan Woods Family Bequest
n n n n n n n n n n
IF YOU WOULD LIKE MORE INFORMATION ON
MAKING A BEQUEST TO THE SSO, PLEASE
CONTACT LUKE GAY ON 8215 4625.
Playing Your Part
The Sydney Symphony Orchestra gratefully
acknowledges the music lovers who donate to the
orchestra each year. Each gift plays an important part
in ensuring our continued artistic excellence and
helping to sustain important education and regional
touring programs.
DIAMOND PATRONS
$50,000+
The Estate of Dr Lynn Joseph
Mr Andrew Kaldor AM &
Mrs Renata Kaldor AO
In Memory of Matthew Krel
Roslyn Packer AO
Ian Potter Foundation
Paul Salteri AM & Sandra
Salteri
Mr Fred Street AM &
Mrs Dorothy Street
Mr Peter Weiss AO &
Mrs Doris Weiss
Mr Brian White AO &
Mrs Rosemary White
PLATINUM PATRONS
$30,000–$49,999
Anne & Terrey Arcus AM
Doug & Alison Battersby
The Berg Family Foundation
Tom Breen & Rachael Kohn
Mr John C Conde AO
Robert & Janet Constable
Mrs Barbara Murphy
Mrs W Stening
Kim Williams AM &
Catherine Dovey GOLD PATRONS
$20,000–$29,999
Brian Abel
Geoff Ainsworth AM
Robert Albert AO &
Elizabeth Albert
Christine Bishop
Sandra & Neil Burns
James & Leonie Furber
I Kallinikos
Helen Lynch AM & Helen
Bauer
Mrs T Merewether OAM
Rachel & Geoffrey O’Conor
Vicki Olsson
Andy & Deirdre Plummer
Garry & Shiva Rich
David Robertson & Orli
Shaham
Mrs Penelope Seidler AM
G & C Solomon in memory
of Joan MacKenzie
Geoff Stearn
Ray Wilson OAM in memory
of James Agapitos OAM
Anonymous (2) SILVER PATRONS
$10,000–$19,999
Bailey Family Foundation
Audrey Blunden
Mr Robert Brakspear
Ian & Jennifer Burton
Mr Robert & Mrs L Alison Carr
Bob & Julie Clampett
Michael Crouch AO &
Shanny Crouch
The Hon. Mrs Ashley
Dawson-Damer AM
Paul Espie
Edward & Diane Federman
Nora Goodridge
Mr Ross Grant
Ian Dickson & Reg Holloway
Estate of Irwin Imhof
Simon Johnson
Mr Ervin Katz
James N Kirby Foundation
Ruth & Bob Magid
Justice Jane Mathews AO
The Hon. Justice AJ Meagher
& Mrs Fran Meagher
Mr John Morschel
Drs Keith & Eileen Ong
Kenneth Reed AM
Mr John Symond AM
The Harry Triguboff
Foundation
Caroline Wilkinson
Anonymous (2)
BRONZE PATRONS
$5,000–$9,999
John Augustus & Kim Ryrie
Stephen J Bell
Dr Hannes & Mrs Barbara
Boshoff
Mr Alexander & Mrs Vera
Boyarsky
Peter Braithwaite &
Gary Linnane
Mr David & Mrs Halina Brett
Mr Howard Connors
Ewen Crouch AM &
Catherine Crouch
In memory of Dr Lee
MacCormick Edwards
Dr Stephen Freiberg &
Donald Campbell
Dr Colin Goldschmidt
The Greatorex Foundation
Rory & Jane Jeffes
The late Mrs Isabelle Joseph
Mr Frank Lowy AC &
Mrs Shirley Lowy OAM
31
SSO PATRONS
Playing Your Part
BRONZE PATRONS CONTINUED
Robert McDougall
J A McKernan
David Maloney AM &
Erin Flaherty
R & S Maple-Brown
Mora Maxwell
William McIlrath Charitable
Foundation
Taine Moufarrige
Nexus IT
John & Akky van Ogtrop
Seamus Robert Quick
Chris Robertson &
Katharine Shaw
Rodney Rosenblum AM &
Sylvia Rosenblum
Dr Evelyn Royal
Manfred & Linda Salamon
Mrs Joyce Sproat &
Mrs Janet Cooke
Tony Strachan
David Tudehope & Liz Dibbs
Mr Robert & Mrs Rosemary
Walsh
Westpac Group
Michael & Mary Whelan Trust
In memory of Geoff White
June & Alan Woods Family
Bequest
Anonymous (2) PRESTO PATRONS
$2,500–$4,999
Mr Henri W Aram OAM
Ian Brady
Mr Mark Bryant oam
Ita Buttrose AO OBE
Mrs Stella Chen
Dr Rebecca Chin
Dr Diana Choquette &
Mr Robert Milliner
Firehold Pty Ltd
Dr Kim Frumar
Warren Green
Anthony Gregg
James & Yvonne Hochroth
Mr Roger Hudson &
Mrs Claudia Rossi-Hudson
Prof. Andrew Korda am &
Ms Susan Pearson
In memoriam
Dr Reg Lam-Po-Tang
Helen & Phil Meddings
James & Elsie Moore
Ms Jackie O’Brien
Juliana Schaeffer
Dr Agnes E Sinclair
Ezekiel Solomon AM
Mr Ervin Vidor AM & Mrs
Charlotte Vidor
Lang Walker AO & Sue Walker
Yim Family Foundation Anonymous (2)
32
VIVACE PATRONS
$1,000–$2,499
Mrs Lenore Adamson
Mrs Antoinette Albert
Rae & David Allen
Andrew Andersons AO
Mr Matthew Andrews
The Hon Justice Michael Ball
David Barnes
Mr Garry Besson
Allan & Julie Bligh
Jan Bowen
Roslynne Bracher
Mrs R D Bridges OBE
Lenore P Buckle
Margaret Bulmer
In memory of RW Burley
Mrs Rhonda Caddy
Mr B & Mrs M Coles
Ms Suzanne Collins
Joan Connery OAM &
Maxwell Connery OAM
Debby Cramer & Bill Caukill
Mr John Cunningham SCM &
Mrs Margaret Cunningham
Greta Davis
Lisa & Miro Davis
Elizabeth Donati
Colin Draper & Mary Jane
Brodribb
Prof. & Mrs John Edmonds
Malcolm Ellis & Erin O’Neill
Mrs Margaret Epps
Mr Matt Garrett
Vivienne Goldschmidt &
Owen Jones
Mrs Fay Grear
In Memory of Angelica Green
Akiko Gregory
Mr & Mrs Harold &
Althea Halliday
Janette Hamilton
Mrs Jennifer Hershon
Angus Holden
Mr Kevin Holland &
Mrs Roslyn Andrews
The Hon. David Hunt AO QC &
Mrs Margaret Hunt
Dr & Mrs Michael Hunter
Mr Philip Isaacs OAM
Michael & Anna Joel
Mrs W G Keighley
Dr Andrew Kennedy
Jennifer King
Aron Kleinlehrer
Mr Andrew Korda &
Ms Susan Pearson
Mr Justin Lam
Mr Peter Lazar AM
Professor Winston Liauw
Airdrie Lloyd
Mrs Juliet Lockhart
Peter Lowry OAM &
Dr Carolyn Lowry OAM
Kevin & Deirdre McCann
Ian & Pam McGaw
Matthew McInnes
Macquarie Group Foundation
Barbara Maidment
John Mar
Renee Markovic
Mr Danny R May
I Merrick
Henry & Ursula Mooser
Milja & David Morris
Mrs J Mulveney
Mr Darrol Norman
E J Nuffield
Dr Mike O’Connor AM
Mr & Mrs Ortis
Mr Andrew C Patterson
Michael Paul
Almut Piatti
In memory of Sandra Paul
Pottinger
Dr Raffi Qasabian
Mr Patrick Quinn-Graham
Ernest & Judith Rapee
Patricia H Reid Endowment
Pty Ltd
Dr Marilyn Richardson
In memory of Katherine
Robertson
Mr David Robinson
Tim Rogers
Lesley & Andrew Rosenberg
In memory of H St P Scarlett
Mr Samuel F Sheffer
David & Alison Shilligton
Dr Judy Soper
Mrs Judith Southam
Ms Barbara Spencer
Mrs Elizabeth Squair
Catherine Stephen
The Hon. Brian Sully QC
Mrs Margaret Swanson
The Taplin Family
Dr & Mrs H K Tey
Kevin Troy
John E Tuckey
Judge Robyn Tupman
Dr Alla Waldman
Miss Sherry Wang
Westpac Banking
Corporation
Henry & Ruth Weinberg
The Hon. Justice A G Whealy
Mary Whelan & Robert
Baulderstone
Dr Richard T White
Mrs Leonore Whyte
A Willmers & R Pal
Betty Wilkenfeld
Dr Edward J Wills
Prof. Neville Wills &
Ian Fenwicke
Ann & Brooks C Wilson AM
Dr Richard Wing
Dr Peter Wong &
Mrs Emmy K Wong
Geoff Wood & Melissa Waites
Sir Robert Woods
Mr & Mrs Lindsay Woolveridge
In memory of Lorna Wright
Dr John Yu
Anonymous (12)
ALLEGRO PATRONS
$500–$999
Nikki Abrahams
Ms Jenny Allum
Katherine Andrews
Mr Peter J Armstrong
Garry & Tricia Ash
Mr & Mrs George Ball
Dr Lilon Bandler
Barlow Cleaning Pty Ltd
Barracouta Pty Ltd
Beauty Point Retirement
Resort
Mr Michael Beck
Dr Andrew Bell
Richard & Margaret Bell
Jan Biber
Minnie Biggs
G D Bolton
In memory of Jillian Bowers
R D & L M Broadfoot
Dr Peter Broughton
Dr David Bryant
Arnaldo Buch
Dr Miles Burgess
Pat & Jenny Burnett
Rosemary Campbell
Mr JC Campbell QC &
Mrs Campbell
Judy Chiddy
In memory of Beth Harpley
Mr Phillip Cornwell
Dr Peter Craswell
Mr David Cross
Phil Diment AM & Bill
Zafiropoulos
Dr David Dixon
Susan Doenau
Mrs Jane Drexler
Dana Dupere
Dr Nita Durham
John Favaloro
Mrs Lesley Finn
Ms Julie Flynn & Mr Trevor
Cook
Mrs Paula Flynn
Mr John Gaden
Clive & Jenny Goodwin
Richard Griffin AM
Dr Jan Grose
Benjamin Hasic &
Belinda Davie
Mr Robert Havard
Mrs Joan Henley
Roger Henning
SSO Vanguard
Sue Hewitt
Dr Joan-Mary Hinds
Dorothy Hoddinott AO
Bill & Pam Hughes
Ms Cynthia Kaye
Mrs Margaret Keogh
Dr Henry Kilham
Dr Joyce Kirk
Mrs Patricia Kleinhans
Anna-Lisa Klettenberg
Sonia Lal
L M B Lamprati
Dr Barry Landa
Elaine M Langshaw
Dr Leo & Mrs Shirley Leader
Margaret Lederman
Mrs Erna Levy
Mrs A Lohan
Mr Gabriel Lopata
Panee Low
Melvyn Madigan
Ms Jolanta Masojada
Mr Guido Mayer
Louise Miller
Patricia Miller
Kenneth Newton Mitchell
Mrs Judith Morton
Mr Graham North
Mr Sead Nurkic
Dr A J Palmer
Dr Kevin Pedemont
Dr Natalie E Pelham
Dr John Pitt
John Porter & Annie
Wesley-Smith
Mrs Greeba Pritchard
The Hon. Dr Rodney Purvis AM &
Mrs Marian Purvis
Michael Quailey
Miss Julie Radosavljevic
Renaissance Tours
Janelle Rostron
Mrs Christine Rowell-Miller
Mrs Louise Rowston
Jorie Ryan for Meredith Ryan
Mr Kenneth Ryan
Garry Scarf & Morgie Blaxill
Peter & Virginia Shaw
Judge David S Shillington
Mrs Diane Shteinman AM
Victoria Smyth
Doug & Judy Sotheren
Colin Spencer
James & Alice Spigelman
Fred & May Stein
Ashley & Aveen Stephenson
Margaret & William Suthers
Margaret Swanson
Dr Jenepher Thomas
Mrs Caroline Thompson
Mrs June Thornton
Peter & Jane Thornton
Ms Rhonda Ting
Alma Toohey
Mrs M Turkington
Gillian Turner & Rob Bishop
Ross Tzannes
Mr Robert Veel
Ronald Walledge
In memory of Denis Wallis
In memoriam JBL Watt
Miss Roslyn Wheeler
The Wilkinson Family
Edward & Yvonne Wills
Yetty Windt
Mr Evan Wong
Mrs Robin Yabsley
Anonymous (34)
SSO Patrons pages correct
as of 27 February 2015
“Together, we have an ambition to foster
a love of orchestral music in school
children of all ages, and to equip their
teachers with the skills they need to
develop this in our young people…”
A membership program for a dynamic group of
Gen X & Y SSO fans and future philanthropists
VANGUARD COLLECTIVE
Justin Di Lollo Chair
Belinda Bentley
Oscar McMahon
Taine Moufarrige
Founding Patron
Shefali Pryor
Seamus R Quick
Founding Patron
Chris Robertson &
Katherine Shaw
Founding Patrons
MEMBERS
James Armstrong
Philip Atkin
Luan Atkinson
Joan Ballantine
James Baudzus
Andrew Baxter
Adam Beaupeurt
Anthony Beresford
Andrew Botros
Peter Braithwaite
Blake Briggs
Andrea Brown
Melanie Brown
Attila Brungs
Ian Burton
Jennifer Burton
Paul Colgan
Claire Cooper
Bridget Cormack
Robbie Cranfield
Asha Cugati
Juliet Curtin
Rosalind De Sailly
Paul Deschamps
Catherine Donnelly
Alistair Furnival
Alexandra Gibson
Sam Giddings
Marina Go
Jeremy Goff
Hilary Goodson
Tony Grierson
Louise Haggerty
Rose Herceg
Francis Hicks
Peter Howard
Jennifer Hoy
Katie Hryce
Virginia Judge
Jonathan Kennedy
Aernout Kerbert
Patrick Kok
Alisa Lai
John Lam-Po-Tang
Tristan Landers
Jessye Lin
Gary Linnane
David Lo
Saskia Lo
Gabriel Lopata
Rebecca MacFarling
Robert McGrory
David McKean
Nick Nichles
Kate O’Reilly
Peter O’Sullivan
Jonathan Pease
Cleo Posa
Laurisa Poulos
Michael Radovnikovic
Sudeep Rao
Michael Reede
Chris Robertson
Benjamin Robinson
Alvaro Rodas Fernandez
Jacqueline Rowlands
Anthony Michael Schembri
Benjamin Schwartz
Katherine Shaw
Cecilia Storniolo
Randal Tame
Sandra Tang
Ian Taylor
Michael Tidball
Mark Timmins
Michael Tuffy
Kim Waldock
Jon Wilkie
Yvonne Zammit
Amy Zhou
DAVID ROBERTSON
SSO Chief Conductor and Artistic Director
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