Pepe Romero: Guitar from the Heart

PEPE ROMERO Guitar from the Heart

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Fri 1 Aug 8pm Sat 2 Aug 8pm

concert diary

CLASSICAL

Jandamarra

Meet the Music

HOLST A Fugal Overture VAUGHAN WILLIAMS Oboe Concerto STANHOPE & HAWKE^ Jandamarra – Sing for the Country premiere

^Tea & Symphony

Wed 16 Jul 6.30pm Thu 17 Jul 6.30pm Fri 18 Jul 11am complimentary morning tea from 10am

Brett Weymark conductor Diana Doherty oboe Simon Lobelson baritone Yilimbirri Ensemble – singers and dancers Members of Gondwana Choirs

Major Partner Kimberley Diamond

Harp Legends

Thursday Afternoon Symphony

LISZT Orpheus RODRIGO Concierto serenata for harp BRACEGIRDLE Legends of the Old Castle – Harp Concertino AUSTrALiAN premiere ZEMLINSKY The Mermaid Simone Young conductor Louise Johnson harp (Bracegirdle) Sivan Magen harp (Rodrigo) Harpists of the World Harp Congress

Pepe Romero

Pre-concert talk by Vincent Plush (Wed, Thu only)

Thu 24 Jul 1.30pm Emirates Metro Series

Fri 25 Jul 8pm Mondays @ 7

Mon 28 Jul 7pm Pre-concert talk by Yvonne Frindle

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ROSSINI The Barber of Seville: Overture RODRIGO Concierto de Aranjuez VIVALDI Concerto in D, RV 93 BEETHOVEN Symphony No.8 Tito Muñoz conductor Pepe Romero guitar

Four Last Songs

Fri 1 Aug 8pm Sat 2 Aug 8pm

Pre-concert talk 45 minutes before each performance

APT Master Series

GLANERT Frenesia AUSTrALiAN premiere R STRAUSS Four Last Songs BRAHMS Symphony No.2 David Robertson conductor Christine Brewer soprano

Wed 13 Aug 8pm Fri 15 Aug 8pm Sat 16 Aug 8pm Pre-concert talk by David Larkin

Hear it, Feel it

Meet the Music

MOZART Symphony No.25: 1st movement LIGETI Piano Concerto^ SCRIABIN The Poem of Ecstasy^

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David Robertson conductor Nicolas Hodges piano

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WELCOME

Credit Suisse warmly welcomes you to this special event in the Sydney Symphony Orchestra’s 2014 season. In the world of music there are families who pass on living traditions of composition and performance from one generation to the next. Bach and Mozart are names that spring to mind from the past; in the modern era, the Romero guitarists of Spain. Tonight you will experience the music-making of Pepe Romero – a living legend, not just of the guitar world but of classical music. He plays the best-loved and most beautiful of guitar concertos, the Concierto de Aranjuez by his countryman Joaquín Rodrigo, and a spirited Vivaldi concerto that you might recognise from the film Kramer vs. Kramer. It’s always a special occasion when a world-class artist performs with a great symphony orchestra and we’re proud to play a part by supporting this week’s concerts and giving Sydney audiences a chance to hear firsthand the passion and inspiration that comes with great music-making. We’ve been looking forward to the SSO debut of this revered artist. We’re delighted to see you here this evening and hope you enjoy the performance.

Rob Stewart Chief Executive Officer Credit Suisse Australia

2014 concert season

SPECIAL EVENT PREMIER PARTNER CREDIT SUISSE FRIDAY 1 AUGUST, 8PM SATURDAY 2 AUGUST, 8PM SYDNEY OPERA HOUSE CONCERT HALL

PEPE ROMERO: GUITAR FROM THE HEART Tito Muñoz conductor Pepe Romero guitar GIOACHINO ROSSINI (1792–1868) The Barber of Seville: Overture JOAQUÍN RODRIGO (1901–1999) Concierto de Aranjuez for guitar and orchestra Allegro con spirito Adagio Allegro gentile INTERVAL

ANTONIO VIVALDI (1678–1741) Guitar Concerto in D (adapted from the Concerto for mandolin and two violins, RV 93) Allegro giusto Largo Allegro LUDWIG VAN BEETHOVEN (1770–1827) Symphony No.8 in F, Op.93 Allegro vivace e con brio Allegretto scherzando Tempo di Menuetto Allegro vivace

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Saturday’s performance will be broadcast across Australia by ABC Classic FM on Sunday 3 August at 1pm. Pre-concert talk by David Larkin at 7.15pm in the Northern Foyer. Estimated durations: 8 minutes, 22 minutes, 20-minute interval, 10 minutes, 26 minutes The concert will conclude at approximately 9.45pm.

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NAOYA IKEGAMI

INTRODUCTION

Pepe Romero: Guitar from the Heart There’s a story told by Victoria Kamhi de Rodrigo: ‘In a nightclub, a singer is singing Aranjuez, mon amour. A patron says to his friend, “See what a great song that is. They’ve written a whole concerto from it!”’ In another of her anecdotes, a stranger in a bar pays for the composer’s coffee and asks just one thing: ‘Write us another Concierto de Aranjuez, but even better.’ Rodrigo did write many more concertos, for guitar and for other instruments; we played the harp concerto just last week. But he never did surpass the Concierto de Aranjuez. That first guitar concerto is unparalleled in its colour, its energy, its character and its sheer melodic beauty. It’s no surprise that the gorgeous, lamenting theme from the middle movement has entered popular culture. ‘Aranjuez, mon amour’ was just the beginning. We’re delighted in these concerts to welcome the legendary guitarist Pepe Romero. And it’s a special treat to hear not just the Rodrigo concerto but a lively concerto by Vivaldi. Although two centuries separate the works there’s a feeling of common spirit. Perhaps you’ll sense the connection, like the little boy on Spanish television who declared that Rodrigo was ‘a great composer who lived in the 18th century’. Music from Spain and music from Italy. The Rossini overture that begins the concert is both: written by an Italian for an opera set in Spain. And Beethoven’s Eighth Symphony with its cheerful character and witty gestures – combined with a finale that simply bursts with vitality – makes for a fitting conclusion to an evening that comes from the heart.

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Turn to page 27 to read Bravo! – musician profiles, articles and news from the orchestra. There are nine issues through the year, also available at sydneysymphony.com/bravo

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ABOUT THE MUSIC

Gioachino Rossini The Barber of Seville: Overture In an opera overture recognition test, Rossini’s William Tell would be a clear winner, but only for its last two minutes, the rousing march. His overture to The Barber of Seville has one tune almost as instantly and universally known, and as a whole remains probably the most famous overture ever composed. A sure sign is its exploitation in popular entertainment. In the 1950s the French singing group Les quatre barbus (The Bearded Foursome) had a big hit singing ‘J’ai de la barbe’ (I have a beard) to the first theme of the overture’s fast section; Bugs Bunny shaved Elmer Fudd, and Jerry Seinfeld eluded his own barber to the same tune. Yet the association with barbers and beards is almost an accident. Rossini originally composed the overture in 1813 for another opera, Aureliano in Palmira. Then he recycled it for Elisabetta, regina d’Inghilterra (Elizabeth, Queen of England, 1814), before linking it (inseparably) with The Barber of Seville (1816), where it makes so appropriate a curtain-raiser for Rossini’s operatic version of Beaumarchais’ comedy. This is an opera of crackling wit, with age-old comic themes: the attractive and nubile girl under the unwanted tutelage of an

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Keynotes ROSSINI Born Pesaro, 1792 Died Passy, France 1868 During the first half of the 19th century Rossini was the most famous composer of his age, enjoying prestige, wealth, and popular and critical acclaim. His delightful comic operas are among the very finest representatives of the style, and The Barber of Seville is easily the most popular of them all. Rossini clearly knew the winning formula! But to everyone’s surprise, in 1829 – at the age of 37 and with nearly 40 operas to his name – Rossini suddenly retired from operatic composition and wrote almost nothing for over 20 years. Soon, as The Record Guide points out, he was enjoying a second fame for ‘his wit, his epicurean tastes, and his Saturday evening receptions…’.

BIBLIOTHÈQUE-MUSÉE DE L’OPÉRA NATIONAL DE PARIS / BRIDGEMAN

old and unattractive guardian; the servant (Figaro, the barber) who bids to outwit everybody, even his master; the introduction of the lover into the household under various disguises… The portentous E major chords which begin the overture immediately give way to music which could be chucklingly conspiratorial, and the famous first Allegro subject, when it comes, is in E minor, implying seriousness. Here, it has an ironic flavour. That’s partly because we know the story. Rossini probably didn’t have appropriateness in mind – he aimed merely to provide the public with a piece of orchestral music to put them in a good mood, excited and ready for what was to follow. The purpose of Rossini’s overtures, as summarised by one of his biographers, was to electrify listeners, predisposing them to the sheer physical enjoyment of sound, and to declare from the start that the composer was in charge of proceedings. Thus, as another biographer puts it, the Rossini overture was ‘a musical visiting-card.’ Rossini’s trademarks, in his overtures, are the reduction to musical essentials – rhythm, treated as enlivening musical mechanism; a simple structure of slow introduction, first and second subject, recapitulation and coda. Then there is his love of sheer noise, achieved by brilliantly skilful orchestral means. This was essential if the attention of the public was to be captured, as they went about the talkative business of attending the opera house, which was meeting-place, casino, refreshment bar and theatre all rolled into one. And finally, the famous ‘Rossini crescendo’, the piling up of instruments and volume. It is of mainly academic interest, then, that The Barber of Seville’s overture, contrary to Rossini’s usual practice, includes a theme (the second subject, in sustained notes, repeated by the horn) which comes from the opera to follow: not Barber, but Aureliano in Palmira! More interesting is the information that Rossini, for the Rome premiere, wrote an entirely new overture, using Spanish popular themes, which is lost. But The Barber is Spanish only by location. It is based on a French play, and the music is so Italian that it epitomises and crowns that nation’s genius for comic opera. The Barber of Seville overture has become the most representative of Italian opera overtures, and the most popular of Rossini’s inventive variants on his overture recipe.

Figaro’s master, Count Almaviva, woos his beloved with song

© DAVID GARRETT The overture calls for pairs of flutes, oboes, clarinets, bassoons, horns and trumpets; timpani and percussion; and strings. The first SSO concert performance of this overture was in 1941, conducted by Anderson Tyrer. Our most recent performances were in 2011, in a regional tour conducted by Nicholas Carter and a Parramatta Park concert conducted by Hans Graf. The most recent performance in a Sydney Opera House concert was in 2004, conducted by Gianluigi Gelmetti.

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GREAT RECORDINGS PEPE ROMERO Master of the Guitar A handsome 11-CD box set honouring the unique art of Pepe Romero, who celebrates his 70th birthday in 2014. Music by Bach, Vivaldi, Mozart, Torroba, Rodrigo, Villa-Lobos, Albéniz, Falla and Granados. 478 5669 (11CD)

NICOLA BENEDETTI A Scottish Fantasy Using Bruch’s Scottish Fantasy as its centrepiece, celebrated violinist Nicola Benedetti explores her Scottish heritage with an album of its best-loved music, featuring songs such as Loch Lomond, My Love is Like a Red Red Rose and more. 478 6690

VALENTINA LISITSA Chasing Pianos Valentina Lisitsa enters into the spirit of The Piano by re-creating the cinematic, kaleidoscopic world of Michael Nyman. Includes music from The Piano, The Diary of Anne Frank, A Zed and Two Noughts, Carrington and others. 478 6421

Hear it, see it, buy it, love it.

CUTTING THROUGH CLASSICAL visit

Joaquín Rodrigo Concierto de Aranjuez for guitar and orchestra Allegro con spirito Adagio Allegro gentile Pepe Romero guitar The Concierto de Aranjuez for guitar and orchestra is Rodrigo’s most famous creation, the piece that immediately established his reputation as the leading Spanish post- war composer. It remains not only the best-known guitar concerto but one of the most popular of all concertos, its overwhelming fame mirroring that of The Sorcerer’s Apprentice in the works of Rodrigo’s teacher Paul Dukas. In 1933 Rodrigo married the Turkish pianist Victoria Kamhi – who was to become the blind composer’s copyist – and the couple honeymooned in the exquisite surrounds of Aranjuez. Rodrigo left Spain again with the outbreak of civil war in 1936, and it was in Paris in the spring of 1939 that he composed the Concierto de Aranjuez for the virtuoso guitarist Regino Sainz de la Maza. It’s hardly surprising, then, that for all its Spanish ambience, the Concierto is equally flavoured by French neoclassicism. Rodrigo captures perfectly the atmosphere of the palace at Aranjuez – summer home to the Bourbon kings in the 17th and 18th centuries. His Spain is a rococo Spain, just as Aranjuez is a Spanish Versailles. There is less of the deep spirit of Andalusia associated with Manuel de Falla, and more of an 18th-century manner, valuing all that is colourful, elegant and pleasing. The choice of solo instrument ensures a passion that is never far from delicacy. ‘It would be unjust to expect strong sonorities from this Concierto,’ said Rodrigo, ‘they would falsify its essence and distort an instrument made for subtle ambiguities. Its strength is to be found in its very lightness and in the intensity of its contrasts. The Concierto de Aranjuez is meant to sound like the hidden breeze that stirs the treetops in the parks, and it should be only as strong as a butterfly and as dainty as a veronica.’ (A veronica is a particular type of pass in bull-fighting, requiring the utmost elegance and precision of execution.) Rodrigo matches his orchestration to the strength of the butterfly, with a relatively small ‘classical’ orchestra of strings with pairs of woodwinds, and just two trumpets and two horns in the brass section. The first movement begins with the soloist playing strummed chords called rasgueados over a long, sustained note from the double basses; the rhythm comes

Keynotes RODRIGO Born Sagunto, 1901 Died Madrid, 1999 Joaquín Rodrigo was born on 22 November, St Cecilia’s Day, and so was perhaps destined to a life in music. A bout of diphtheria at the age of three left him blind but didn’t prevent him from developing his musical talents as a pianist and composer. His teachers in Paris included Paul Dukas, and like Dukas he suffered the dubious blessing of becoming famous for just one piece, the Concierto de Aranjuez, which made his name when it was premiered by Regino Sainz de la Maza in 1940. He never played guitar, but Pepe Romero once described him as ‘the great guitarist’. CONCIERTO DE ARANJUEZ The inspiration for this guitar concerto came from the summer palace of Aranjuez, a place with happy associations for Rodrigo (he spent his honeymoon there), but also representing for him an idealised Spain. The music is a magical mix of rococo elegance and the vigour of traditional Spanish dance rhythms – ‘as strong as a butterfly and as dainty as a veronica’ said the composer. The popularity of the complete concerto is rivalled only by that of the slow movement, which has lent its beautiful melancholy to cover versions ranging from Miles Davis and Nana Mouskouri to the Grimethorpe Colliery Band.

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The royal palace of Aranjuez, whose musical associations gave Rodrigo the title and feeling of his concerto, was the favoured residence of the Bourbon kings of Spain. It is an elegant cream and terracotta coloured building, especially graced by its extensive landscaped gardens, whose avenues are lined with tall trees, and dotted with fountains drawing on the river alongside. Hidden in the gardens is the charming Casa del labrador (farmer’s house), a kind of Spanish version of Versailles’ Petit Trianon. Here kings and queens liked to sport in a well-groomed but natural setting. Aranjuez is especially linked with the Spanish art and music of the Rococo. Here Domenico Scarlatti lived and worked in the mid-18th century, presumably composing at Aranjuez many of his harpsichord sonatas, and perhaps absorbing folksongs from the farmers of the surrounding countryside. The artist Mengs, Goya’s teacher, was brought to Aranjuez from Italy as artist-inresidence, adorning the palace with canvasses and painting its ceilings. In the 20th century, the painter Rusiñol lived at Aranjuez and explored the colours and patterns of its gardens. Now Rodrigo has made its name even more famous than that of Philip II’s massive, forbidding monastery-palace, the Escorial. If that 16th-century palace could be said to stand for Spain’s religious and imperial destiny, her tragic sense of life, Aranjuez in the Spanish consciousness could represent a lighter, playful enjoyment of beauty, not without a wistful longing for past simplicities. © DAVID GARRETT

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from the fandango, with its intoxicating alternations of two slow and three quick beats. After this tiny, spirited introduction, the guitar and orchestra weave an intricate dance – the soloist rising above the orchestra as well as accompanying it, colouring rather than competing with shimmering solos from the bassoon, cor anglais, oboe, flute and clarinet. But it is the Adagio rather than the dance-like outer movements that has been responsible for the concerto’s immediate and enduring popularity, not to mention taking on a life of its own as a standalone hit. In what is probably the most irresistibly mournful solo written for any instrument, the cor anglais is given a theme based on an Andalusian lament sung during Holy Week. But there is also a hint of the idyllic and sensuous atmosphere of a Spanish summer evening – this romantic serenade is answered by equally ornate passages from the guitar soloist before the full orchestra takes up the theme. As in the first movement, the finale balances the graceful precision of rococo dances with the compelling syncopated and irregular rhythms typical of so much Spanish music, in this case briskly alternating groups of two and three beats. Rodrigo is the native Spaniard but, as did Boccherini before him, he knows how to blend Spanish character with universal galanterie. SYMPHONY AUSTRALIA © 1999/2010

In his tribute to Joaquín Rodrigo on his 90th birthday, Pepe Romero dubbed Spain’s most famous composer ‘the great guitarist’. ‘I do not know,’ he continued, ‘whether this is a result of his not being a guitar player or in spite of it…’

The Concierto de Aranjuez calls for an orchestra of two flutes (one doubling piccolo), two oboes (one doubling cor anglais), two clarinets, two bassoons, two horns, two trumpets, and strings. The SSO first performed the Concierto in 1972 with Willem van Otterloo and guitarist John Williams and most recently in 2010 with Slava Grigoryan as soloist and Miguel Harth-Bedoya conducting. In 1986 the Sydney Symphony Orchestra performed the harp version of the concerto with soloist Marisa Robles and conductor Zdeněk Mácal.

TCHAIKOVSKY’S VIOLIN CONCERTO WITH JAMES EHNES

A live recording with the sensational James Ehnes performing Tchaikovsky’s beloved Violin Concerto. RRP $25

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Antonio Vivaldi Guitar Concerto in D (adapted from the Concerto for mandolin and two violins, RV 93) Allegro giusto Largo Allegro Pepe Romero guitar With the revival of his music in the 1950s, Antonio Vivaldi leapt from almost complete obscurity to popular renown, even more famous than he had been in his lifetime, when he was firmly established as ‘the most popular composer for the violin, as well as player on that instrument’. The Four Seasons alone would have assured Vivaldi a place in the modern repertoire, but there was more to be discovered, including hundreds upon hundreds of brilliant instrumental concertos – mostly for violin – that rival The Four Seasons in their virtuosity and inventiveness. Nearly all these concertos were composed for the Conservatorio dell’ Ospedale della Pietà, one of four renowned music schools for girls in 18th-century Venice. At the Pietà, orphans and illegitimate daughters of the nobility were given an education and trained to sing and play instruments, preparing them for either a respectable marriage or a career on the stage. As music master at the Pietà (a post that he held in one way or another for nearly 40 years), Vivaldi established the orphanage-conservatory as something of a tourist attraction for musical people everywhere. One tourist, Charles de Brosses, reported: ‘They sing like angels, play the violin, flute, organ, oboe, cello, bassoon – in short no instrument is large enough to frighten them…I swear nothing is more charming than to see a young and pretty nun, dressed in white, a sprig of pomegranate blossom behind one ear, leading the orchestra and beating time with all the grace and precision imaginable.’ Judging from the music Vivaldi wrote for them, the young musicians of the Pietà must have been very fine players indeed. And they seem to have inspired the first known concertos for cello, bassoon, mandolin and flautino. But despite having hundreds concertos to his name, Vivaldi never wrote a guitar concerto. The ‘guitar concerto’ you hear in this concert was originally conceived as a chamber concerto – an intimate affair with just one musician per part. Those parts were for mandolin (a gut-strung mandolino milanese, the smallest member of the lute family), two violins and a 14

Keynotes VIVALDI Born Venice, 1678 Died Vienna, 1741 In his lifetime Antonio Vivaldi went by the nickname ‘il prete rosso’ – his hair was red and he was a priest, although he ceased saying Mass about a year after his ordination. Instead he took a post as director of music for the famed Pietà orphanage in Venice and gained renown as a virtuoso violinist and as a composer of operas (neglected nowadays), sacred choral works such as his popular setting of the Gloria, and the instrumental concertos that have become his chief claim to fame. In fact Vivaldi wrote more concertos than just about anybody (500 and counting), of which the best-known are the Four Seasons violin concertos.

continuo group (basso continuo being the baroque answer to the bass-and-chords function of a modern rhythm section). As a chamber concerto it cleverly combines elements of solo display and cooperation between plucked and bowed strings – a characteristic retained even when the music is transcribed for guitar and the richer sound of a string orchestra. The concerto is a favourite of guitarists, but gained wider popularity in 1979 when it was adopted for the soundtrack of Kramer vs. Kramer, starring Dustin Hoffman and Meryl Streep. The quickly flowing first movement loosely follows a ritornello structure in which the full ensemble plays a recurring theme interspersed by lightly accompanied solo sections from the guitar. The Largo, by contrast, is an extended soliloquy for the soloist above sustained, muted chords in the strings. The final movement is a cheerful, tripping gigue, returning to the ritornello structure of the opening movement. ADAPTED FROM NOTES BY YVONNE FRINDLE © 1998/2007 This arrangement of Vivaldi’s Concerto RV 93 calls for solo guitar, string orchestra and keyboard continuo. We believe this is our first performance of the concerto.

The Baroque Concerto Vivaldi effectively invented the solo concerto. In his hands it took its familiar three-movement form (fast – slow – fast), and the distinctive ritornello structure for individual movements reached its full development. (The legacy of both features was inherited by Classical composers such as Mozart.) Ritornello form operates on a similar principal to chorus-andverse. The ritornello theme (‘little return’) behaves like a chorus; between each appearance is a solo episode, providing contrasting musical ideas and an opportunity to explore foreign keys. This strategy gives the music its irresistible blend of brilliance and invention.

Practising priest or musical madman? There were two views on why Vivaldi, who had taken orders, never said Mass. It’s likely that Vivaldi suffered from a form of asthma, based on an explanation he gave in a letter in 1737: When I had been ordained a priest for a year or a bit more, I discontinued saying Mass, having had to leave the altar without completing it because of a chest ailment...that has burdened me since birth. For this reason I nearly always stay home, and I only go out in a gondola because I can no longer walk. But he didn’t exactly ‘stay home’, often roving Europe as a composer and virtuoso violinist, and one 18th-century writer, P.L. de Boigelou, put forward this theory: One day when Vivaldi was saying Mass, a musical theme came into his mind. He at once left the altar where he was officiating and repaired to the sacristy to write out his theme, then he came back to finish the Mass. He was reported to the Inquisition, which luckily looked on him as a musician, that is, as a madman, and merely forbade him to say Mass from that time forward.

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Ludwig van Beethoven Symphony No.8 in F, Op.93 Allegro vivace e con brio Allegretto scherzando Tempo di Menuetto Allegro vivace Beethoven wastes no time in his Eighth Symphony: there’s no introduction, no suspenseful meandering of harmony – instead the conductor’s baton comes down on the first notes of the main theme. It’s fast (Allegro), it’s lively (vivace) and Beethoven asks that it be played with vigour (con brio). It sets the tone for the symphony as a whole, which is concentrated, as if Beethoven has taken the power and content of a longer symphony and compressed it to a work of smaller proportions but even greater intensity – ‘little, but vast’ was how Sir George Grove described it. The result is only slightly longer than his first symphony, completed 12 years before, and it gives the impression that Beethoven had for once heeded the advice of his more reactionary critics and returned to Classical principles of balance in form and content, clarity of structure and wit and invention. The Eighth Symphony glows with inner calm and a classical perfection, but even so, this isn’t the kind of symphony that Mozart would have written, nor is it the Beethoven of the First Symphony. That beginning is a bold stroke, setting off uncharacteristically with a straightforward tune. The tune suggests Haydn, but the gesture does not – Haydn would surely have preceded such a self-contained melody with a slow introduction. The mood verges on recklessness, and Beethoven keeps it up with a rich variety of musical ideas all presented within a very short space of time.

So much better! Beethoven’s Seventh and Eighth symphonies were both completed in 1812 and given public premieres in Vienna in the winter of 1813–14. But, like the earlier pairing of the Fifth and Pastoral Symphonies (from 1808), it is a marriage of contrasts. The Seventh Symphony, long recognised for its compelling treatment of rhythm, enjoyed almost instant popularity and its second movement assumed the status of a hit. It was a great symphony, the composer himself thought so. The Eighth Symphony, however, was less of a success than the Seventh. ‘That’s because it’s so much better,’ Beethoven is reported to have said.

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Keynotes BEETHOVEN Born Bonn, 1770 Died Vienna, 1827 In orchestral repertoire at least, Beethoven’s busiest years were between 1800 and 1812, when he completed eight of his nine symphonies and the five piano concertos. And until 1808 he was also active as a piano soloist. During these years, Beethoven was stretching his audience, who (on the whole) were gamely following as he pushed the boundaries of structure, style and musical expression. EIGHTH SYMPHONY Beethoven may have been in his 40s when he wrote it, but the Eighth Symphony has a youthful energy and a definite humorous side. (Don’t feel alarmed if Beethoven’s sometimes startling effects prompt you to laugh out loud.) Surprisingly, given that his symphonies had been growing longer, this is one of Beethoven’s shortest – the result of a powerful concentration of musical material. It’s full of unexpected gestures including the abrupt ending he gives to the cheerful second movement and a ‘rogue’ note that intrudes on the opening of the fourth movement. The third movement, which by now his listeners would have expected to be an exuberant scherzo, is instead, a broad and flowing minuet. The finale – bursting with vitality – provides the ‘centre of gravity’ for the symphony, as if all the other movements have been leading to just this moment.

There’s more that his audiences wouldn’t have been expecting. The symphony doesn’t have a slow movement, nor does it have a scherzo, the wildly playful movement that Beethoven had made a ‘standard’ element of his symphonies. The place of the slow movement is taken by the Allegretto scherzando. This is supposedly a joking tribute to Maelzel, inventor of the metronome – the theme turns up in a canon, which Beethoven supposedly improvised at a supper where his friend Maelzel was present. Unfortunately the story (and the canon) are the invention of Beethoven’s biographer Schindler, but if you want to go along with the fiction, you can hear the ticking of Maelzel’s timekeeping device in the wind section’s spiky repeated chords, which underpin the beginning of the movement and return whenever the sudden changes in volume and whimsical melodies threaten to lead the music from its main idea. The scherzo is replaced by something positively oldfashioned: a flowing movement in the tempo of a minuet, the dance form that Mozart or Haydn would have used at this point in their symphonies. It comes across as courtly and comfortable – and cheerful in every way. In the middle of the movement the horns, clarinet and a busy solo cello are given the spotlight. The finale returns to the impetuous character of the first movement. It sets off in a rush with a light-footed, dashing theme, discreet enough until, barely 15 seconds in, Beethoven throws in a rogue note, a very loud C sharp that simply doesn’t belong in the symphony’s key of F major. Somehow he manages to continue as if nothing untoward had happened – just as you do when recovering from a stumble – and with good reason: he has plenty of other musical surprises in store, setting up expectations and then misleading his listeners. He hints at and then denies us the repeated exposition of themes expected of a movement in sonata form, misleadingly beginning the development section in the home key. When that C sharp intrudes again, it’s more insistent, a cue for the music to drag us off on excursions to remote and unexplored harmonies. So far does Beethoven wander, that it takes him longer than usual to bring the music home to F major – the result is a grand, extended coda (‘tail’) to bring this spirited symphony to its jubilant end.

An engraved portrait of the composer made in 1814 by Blasius Höfel. Beethoven was 44 years old, with eight symphonies and the five piano concertos to his credit.

YVONNE FRINDLE © 2011 Beethoven’s Eighth Symphony calls for pairs of flutes, oboes, clarinets, bassoons, horns and trumpets; timpani and strings. The SSO first performed the symphony in 1941, conducted by Percy Code, and most recently in 2010, conducted by Oleg Caetani.

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DARIO ACOSTA

THE ARTISTS

Tito Muñoz conductor Recently appointed Music Director of the Phoenix Symphony, Tito Muñoz is increasingly recognised as a gifted and versatile conductor. He previously served as Music Director of the Opéra National de Lorraine and Orchestre symphonique et lyrique de Nancy in France, and has held assistant conductor posts with the Cleveland Orchestra, Cincinnati Symphony Orchestra, Cincinnati Chamber Orchestra and Aspen Music Festival. An accomplished violinist, Tito Muñoz began his musical training at the Juilliard School, Manhattan School of Music and Fiorello H LaGuardia High School of Music & Art and Performing Arts, before studying at Queens College (CUNY) as a violin student of Daniel Phillips. From 2004 to 2006 he attended the American Academy of Conducting at Aspen, where he studied with David Zinman and Murry Sidlin and participated in masterclasses with Asher Fisch, Leon Fleisher, George Manahan, David Robertson and Leonard Slatkin. He won the Aspen Music Festival’s 2005 Robert J Harth Conductor Prize and the 2006 Aspen Conducting Prize, returning as the festival’s Assistant Conductor in 2007 and later as a guest conductor.

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Tito Muñoz made his professional conducting debut in 2006 with the National Symphony Orchestra at the Kennedy Center, invited by Leonard Slatkin as a participant of the National Conducting Institute. That same year, at the invitation of David Zinman, he made his Cleveland Orchestra debut at the Blossom Music Festival. Since then he has conducted orchestras throughout the United States, as well as summer festival engagements including the Chautauqua Symphony, Grant Park Orchestra and Chicago Philharmonic at the Ravinia Festival, and he returns annually to conduct the Cleveland Orchestra. Joint performances with the Joffrey Ballet and the Cleveland Orchestra in 2009 led to further collaborations, including a complete Nutcracker and the orchestra’s first staged Rite of Spring, as well as an invitation to tour with the Joffrey Ballet in the 2010–11 season. Following debuts in Europe with the Lausanne Chamber Orchestra and the Opéra de Rennes, he conducted the Danish Radio Sinfonietta, Deutsche Radio Philharmonie Saarbrücken, Luxembourg Philharmonic, and the Orchestre National de Lorraine. Earlier this year he made his Auckland Philharmonia Orchestra debut.

ANTON GOIRI

Pepe Romero guitar One of the most celebrated and versatile musicians of his generation, Spanish-born guitarist Pepe Romero has enjoyed a varied and illustrious career since he first set foot on the concert stage aged seven. Together with his father, the legendary Celedonio Romero, and his brothers Celin and Angel – the ‘Royal Family of the Guitar’ – he established Los Romeros as the world’s leading guitar quartet. (Los Romeros gave the premiere of Rodrigo’s Concierto andaluz.) Known for his compelling and virtuosic classical performances, Pepe Romero is also a passionate advocate of the traditional flamenco of his native Andalusia. He has appeared as soloist with the world’s greatest orchestras and ensembles, collaborating with the most celebrated conductors and composers. He has made more than 50 recordings, including more than 20 concertos with the Academy of St Martin-in-the-Fields. Among his recent recordings are Concierto festivo, written for him by Ernesto Cordero, the song cycle Mi jardín solitario by Lorenzo Palomo, and a Spanish solo collection, Spanish Nights (which includes the premiere recording of Suite Madrileña No.1 by Celedonio Romero). In 2012, he received a Latin Grammy nomination for Best Classical Album for his recording of Concierto festivo.

Last year he played many concerts worldwide honouring the 100th anniversary of the birth of his father. This year he is touring the world celebrating his own 70th birthday, a journey which began with an all-Bach recital in New York City, and will include birthday recitals in Hong Kong, Zurich, Philadelphia, Baltimore, Dallas, Munich, Berlin, Tokyo, Hamburg, Istanbul and Adelaide. In 2004, he was named Distinguished Artist in Residence at the University of Southern California’s Thornton School of Music; he also teaches master classes at USC, in the Salzburg Summer Academy, the Schleswig-Holstein Festival and the Córdoba Guitar Festival. Other honours include the Order of Isabel la Católica, honorary doctorates from the San Francisco Conservatory of Music and the University of Victoria, and the Premio Andalucia de Música, Spain’s highest recognition for contribution to the arts. He was featured in the award-winning film documentary Shadows and Light: Joaquín Rodrigo at 90.

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SYDNEY SYMPHONY ORCHESTR A

DAVID ROBERTSON

Chief Conductor and Artistic Director PATRON Her Excellency, Prof. 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

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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 first 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

Sun Yi

Roger Benedict Tobias Breider Sandro Costantino Rosemary Curtin Graham Hennings Felicity Tsai Amanda Verner Leonid Volovelsky Anne-Louise Comerford Justin Williams

Janet Webb Carolyn Harris Emma Sholl Rosamund Plummer

David Elton Anthony Heinrichs Paul Goodchild

PRINCIPAL PICCOLO

TROMBONES

ASSOCIATE CONCERTMASTER

Kirsten Williams ASSOCIATE CONCERTMASTER

Lerida Delbridge ASSISTANT CONCERTMASTER

Jenny Booth Brielle Clapson Claire Herrick Georges Lentz Nicola Lewis Emily Long Alexandra Mitchell Alexander Norton Elizabeth Jones* Andrew Haveron CONCERTMASTER

Dene Olding CONCERTMASTER

Fiona Ziegler ASSISTANT CONCERTMASTER

Sophie Cole Amber Davis Léone Ziegler

SECOND VIOLINS Marianne Broadfoot Emma Jezek ASSISTANT PRINCIPAL

Emma Hayes Shuti Huang Stan W Kornel Benjamin Li Nicole Masters Maja Verunica Vivien Jeffery° Kirsty Hilton Marina Marsden Maria Durek Philippa Paige Biyana Rozenblit

ASSISTANT PRINCIPAL

Jane Hazelwood Stuart Johnson Justine Marsden

CELLOS Catherine Hewgill Henry David Varema Fenella Gill Elizabeth Neville Adrian Wallis David Wickham Umberto Clerici Leah Lynn ASSISTANT PRINCIPAL

Kristy Conrau Timothy Nankervis Christopher Pidcock

DOUBLE BASSES Alex Henery David Campbell Steven Larson Benjamin Ward Kees Boersma Neil Brawley

OBOES Shefali Pryor Alexandre Oguey PRINCIPAL COR ANGLAIS

Diana Doherty David Papp

CLARINETS

Ronald Prussing Scott Kinmont Nick Byrne Christopher Harris PRINCIPAL BASS TROMBONE

TUBA Steve Rossé

Francesco Celata Craig Wernicke

TIMPANI

PRINCIPAL BASS CLARINET

ASSISTANT PRINCIPAL

Lawrence Dobell Christopher Tingay

BASSOONS Matthew Wilkie Fiona McNamara Noriko Shimada PRINCIPAL CONTRABASSOON

HORNS Robert Johnson Rachel Silver Ben Jacks Geoffrey O’Reilly PRINCIPAL 3RD

Marnie Sebire Euan Harvey

Mark Robinson Richard Miller

PERCUSSION Rebecca Lagos Timothy Constable

HARP Louise Johnson

HARPSICHORD Stewart Smith*

BOLD = PRINCIPAL ITALICS = ASSOCIATE PRINCIPAL ° = CONTRACT MUSICIAN * = GUEST MUSICIAN GREY = PERMANENT MEMBER OF THE SYDNEY SYMPHONY ORCHESTRA NOT APPEARING IN THIS CONCERT

PRINCIPAL EMERITUS

Richard Lynn 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.

The men of the Sydney Symphony Orchestra are proudly outfitted by Van Heusen.

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BEHIND THE SCENES SYDNEY SYMPHONY ORCHESTRA BOARD

SYDNEY SYMPHONY ORCHESTRA STAFF MANAGING DIRECTOR

MARKETING COORDINATOR

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

Rory Jeffes

Jonathon Symonds

EXECUTIVE TEAM ASSISTANT

SENIOR ONLINE MARKETING COORDINATOR

Lisa Davies-Galli

Jenny Sargant

ARTISTIC OPERATIONS DIRECTOR OF ARTISTIC PLANNING

Benjamin Schwartz ARTISTIC ADMINISTRATION MANAGER

Eleasha Mah ARTIST LIAISON MANAGER

Ilmar Leetberg RECORDING ENTERPRISE MANAGER

Philip Powers

Library

SYDNEY SYMPHONY ORCHESTRA COUNCIL Geoff Ainsworth am Andrew Andersons ao Michael Baume ao Christine Bishop Ita Buttrose ao obe Peter Cudlipp John Curtis am Greg Daniel am John Della Bosca Alan Fang Erin Flaherty Dr Stephen Freiberg Donald Hazelwood ao obe Dr Michael Joel am Simon Johnson Yvonne Kenny am Gary Linnane Amanda Love Helen Lynch am David Maloney am David Malouf ao Deborah Marr The Hon. Justice Jane Mathews ao Danny May Wendy McCarthy ao Jane Morschel Dr Timothy Pascoe am Prof. Ron Penny ao Jerome Rowley Paul Salteri am Sandra Salteri Juliana Schaeffer Leo Schofield am Fred Stein oam Gabrielle Trainor John van Ogtrop Peter Weiss ao HonDLitt Mary Whelan Rosemary White

Anna Cernik Victoria Grant Mary-Ann Mead

LEARNING AND ENGAGEMENT DIRECTOR OF LEARNING AND ENGAGEMENT

Kim Waldock EMERGING ARTISTS PROGRAM MANAGER

Box Office MANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlin BOX OFFICE SYSTEMS SUPERVISOR

Jennifer Laing BOX OFFICE BUSINESS ADMINISTRATOR

John Robertson CUSTOMER SERVICE REPRESENTATIVES

Karen Wagg – Senior CSR  Michael Dowling Katarzyna Ostafijczuk Tim Walsh

Publications PUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Mark Lawrenson

Yvonne Frindle

EDUCATION MANAGER

EXTERNAL RELATIONS

Rachel McLarin EDUCATION OFFICER

Amy Walsh

DIRECTOR OF EXTERNAL RELATIONS

Yvonne Zammit

Philanthropy

ORCHESTRA MANAGEMENT

HEAD OF PHILANTHROPY

DIRECTOR OF ORCHESTRA MANAGEMENT

Luke Andrew Gay

Aernout Kerbert

DEVELOPMENT MANAGER

ORCHESTRA MANAGER

Amelia Morgan-Hunn

Rachel Whealy

PHILANTHROPY COORDINATOR

ORCHESTRA COORDINATOR

Sarah Morrisby

Georgia Fryer

Corporate Relations

OPERATIONS MANAGER

Kerry-Anne Cook PRODUCTION MANAGER

BUSINESS DEVELOPMENT MANAGER

Belinda Besson CORPORATE RELATIONS MANAGER

Laura Daniel

Janine Harris

STAGE MANAGER

Communications

Courtney Wilson PRODUCTION COORDINATORS

Tim Dayman Dave Stabback

PUBLIC RELATIONS MANAGER

Katherine Stevenson COMMUNICATIONS & MEDIA MANAGER

Bridget Cormack

SALES AND MARKETING

DIGITAL CONTENT PRODUCER

DIRECTOR OF SALES & MARKETING

Kai Raisbeck

Mark J Elliott

SOCIAL MEDIA AND PUBLICITY OFFICER

SENIOR SALES & MARKETING MANAGER

Caitlin Benetatos

Penny Evans

BUSINESS SERVICES

MARKETING MANAGER, SUBSCRIPTION SALES

Simon Crossley-Meates MARKETING MANAGER, CLASSICAL SALES

Matthew Rive MARKETING MANAGER, WEB & DIGITAL MEDIA

Eve Le Gall MARKETING MANAGER, CRM & DATABASE

Matthew Hodge DATABASE ANALYST

David Patrick SENIOR GRAPHIC DESIGNER

Christie Brewster

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ONLINE MARKETING COORDINATOR

Jonathan Davidoff

DIRECTOR OF FINANCE

John Horn FINANCE MANAGER

Ruth Tolentino ACCOUNTANT

Minerva Prescott ACCOUNTS ASSISTANT

Emma Ferrer PAYROLL OFFICER

Laura Soutter

PEOPLE AND CULTURE

GRAPHIC DESIGNER

IN-HOUSE COUNSEL

Tessa Conn

Michel Maree Hryce

SYDNEY SYMPHONY ORCHESTR A 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 Geoff Ainsworth am Tom Breen & Rachael Kohn The Berg Family Foundation Andrew Kaldor am & Renata Kaldor ao Vicki Olsson

Roslyn Packer ao David Robertson Penelope Seidler am Mr Fred Street am & Mrs Dorothy Street Mr Frank Lowy ac & Mrs Shirley Lowy oam Brian & Rosemary White Ray Wilson oam in memory of the late James Agapitos oam

CHAIR PATRONS 01

Roger Benedict Principal Viola Kim Williams am & Catherine Dovey Chair

02 Umberto Clerici Principal Cello Garry & Shiva Rich Chair 03 Lawrence Dobell Principal Clarinet Anne & Terrey Arcus am Chair

08 Kirsty Hilton Principal Second Violin Corrs Chambers Westgarth Chair 09 Robert Johnson Principal Horn James & Leonie Furber Chair

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02

03

04

05

06

07

08

09

10

11

12

13

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10 Elizabeth Neville Cello Ruth & Bob Magid Chair

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Diana Doherty Principal Oboe Andrew Kaldor am & Renata Kaldor ao Chair

11 Shefali Pryor Associate Principal Oboe Mrs Barbara Murphy Chair

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Richard Gill oam Artistic Director, Education Paul Salteri am & Sandra Salteri Chair

12 Emma Sholl Associate Principal Flute Robert & Janet Constable Chair

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Jane Hazelwood, Viola Bob & Julie Clampett Chair in memory of Carolyn Clampett

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Catherine Hewgill Principal Cello The Hon. Justice AJ & Mrs Fran Meagher Chair

14 Kirsten Williams, Associate Concertmaster I Kallinikos Chair

Janet Webb Principal Flute Helen Lynch am & Helen Bauer Chair

n n n n n n n n n n FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM, CALL (02) 8215 4619.

MAKE A DIFFERENCE 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]

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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. Donations of $50 and above are acknowledged on our website at www.sydneysymphony.com/patrons DIAMOND PATRONS: $30,000+ Geoff Ainsworth am Anne & Terrey Arcus am Doug & Alison Battersby The Berg Family Foundation Tom Breen & Rachael Kohn Mr John C Conde ao Robert & Janet Constable The Estate of Dr Lynn Joseph Mr Andrew Kaldor am & Mrs Renata Kaldor ao In Memory of Matthew Krel Mrs Roslyn Packer ao Ian Potter Foundation Paul Salteri am & Sandra Salteri Scully Foundation Mrs W Stening Mr Fred Street am & Mrs Dorothy Street Peter Weiss ao & Doris Weiss Mr Brian & Mrs Rosemary White Kim Williams am & Catherine Dovey

I Kallinikos Helen Lynch am & Helen Bauer Mrs T Merewether oam Mrs Barbara Murphy Mr B G O’Conor Vicki Olsson Andy & Deirdre Plummer David Robertson Mrs Penelope Seidler am G & C Solomon in memory of Joan MacKenzie Geoff Stearn Ray Wilson oam in memory of James Agapitos oam Anonymous (1)

GOLD PATRONS: $10,000–$19,999

Brian Abel Robert Albert ao & Elizabeth Albert Sandra & Neil Burns James & Leonie Furber

Bailey Family Foundation Alan & Christine Bishop 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

BRONZE PATRONS: PRESTO $2,500–$4,999

BRONZE PATRONS: VIVACE $1,000–$2,499

Mr Henri W Aram oam Ian Brady Mr Mark Bryant Dr Rebecca Chin Dr Diana Choquette & Mr Robert Milliner Mr B & Mrs M Coles Mr Howard Connors Greta Davis Firehold Pty Ltd Warren Green Anthony Gregg Ann Hoban Irwin Imhof in memory of Herta Imhof Mr John Lam-Po-Tang James & Elsie Moore Mr Darrol Norman Ms Jackie O’Brien Dr Agnes E Sinclair Tony Strachan Yim Family Foundation

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 Lenore P Buckle Margaret Bulmer In memory of RW Burley Mrs Rhonda Caddy Mrs Stella Chen Ms Suzanne Collins Joan Connery oam & Maxwell Connery oam Debby Cramer & Bill Caukill Mr John Cunningham scm & Mrs Margaret Cunningham Lisa & Miro Davis Elizabeth Donati Colin Draper & Mary Jane Brodribb Prof. & Mrs John Edmonds Malcolm Ellis & Erin O’Neill

PLATINUM PATRONS: $20,000–$29,999

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Mr Ross Grant Mr Ervin Katz James N Kirby Foundation Ruth & Bob Magid The Hon. Justice AJ Meagher & Mrs Fran Meagher Mr John Morschel Drs Keith & Eileen Ong Garry & Shiva Rich Caroline Wilkinson Anonymous (2)

SILVER PATRONS: $5000–$9,999 Dr Francis Augustus Stephen J Bell Dr Hannes & Mrs Barbara Boshoff Mr Alexander & Mrs Vera Boyarsky Peter Braithwaite & Gary Linnane Mr David & Mrs Halina Brett Ewen Crouch am & Catherine Crouch Ian Dickson & Reg Holloway In memory of Dr Lee MacCormick Edwards Dr Stephen Freiberg & Donald Campbell Dr Colin Goldschmidt The Greatorex Foundation Mrs Margaret Epps Professor Michael Field am Mr Tom Francis Mr Matt Garrett Vivienne Goldschmidt & Owen Jones Mrs Fay Grear In Memory of Angelica Green Akiko Gregory Mr & Mrs Harold & Althea Halliday Janette Hamilton Angus Holden Dr & Mrs Michael Hunter Michael & Anna Joel Mrs W G Keighley Dr Andrew Kennedy Aron Kleinlehrer Mr Andrew Korda & Ms Susan Pearson Mr Justin Lam Mr Peter Lazar am Professor Winston Liauw Airdrie Lloyd Peter Lowry oam & Dr Carolyn Lowry oam Kevin & Deirdre McCann Ian & Pam McGaw Macquarie Group Foundation

Rory & Jane Jeffes The late Mrs Isabelle Joseph Frank Lowy am & Shirley Lowy oam J A McKernan David Maloney am & Erin Flaherty R & S Maple-Brown Justice Jane Mathews ao Mora Maxwell William McIlrath Charitable Foundation John & Akky van Ogtrop Seamus Robert Quick Rodney Rosenblum am & Sylvia Rosenblum Dr Evelyn Royal The late Greta C Ryan Manfred & Linda Salamon Mrs Joyce Sproat & Mrs Janet Cooke Mr John Symond am 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)

Barbara Maidment John Mar Renee Markovic Henry & Ursula Mooser Milja & David Morris Mrs J Mulveney Dr Mike O’Connor am Mr & Mrs Ortis Mr Andrew C Patterson Dr Natalie E Pelham Almut Piatti In memory of Sandra Paul Pottinger Dr Raffi Qasabian Michael Quailey Mr Patrick Quinn-Graham Ernest & Judith Rapee Kenneth R Reed Patricia H Reid Endowment Pty Ltd Dr Marilyn Richardson Lesley & Andrew Rosenberg In memory of H St P Scarlett Mr Samuel F Sheffer David & Alison Shilligton David Smithers am & Isabel Smithers Dr Judy Soper Mrs Judith Southam

PLAYING YOUR PART Ms Barbara Spencer Mrs Elizabeth Squair Catherine Stephen The Hon. Brian Sully qc Mrs Margaret Swanson The Taplin Family 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 Dr Richard T White Mrs Leonore Whyte A Willmers & R Pal 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 (15)

BRONZE PATRONS: ALLEGRO $500–$999 Ms Jenny Allum Mr Peter J Armstrong Garry & Tricia Ash Mr & Mrs George Ball Dr Lilon Bandler Barlow Cleaning Pty Ltd Michael Baume ao & Toni Baume Beauty Point Retirement Resort Mr Michael Beck Dr Andrew Bell Richard & Margaret Bell Mrs Jan Biber Minnie Biggs

G D Bolton Mr Colin G Booth Dr Margaret Booth In memory of Jillian Bowers Mrs R D Bridges obe R D & L M Broadfoot Dr Peter Broughton Dr David Bryant Arnaldo Buch Dr Miles Burgess Pat & Jenny Burnett Eric & Rosemary Campbell Mr JC Campbell qc & Mrs Campbell Barrie Carter Mr Jonathan Chissick Mrs Sandra Clark In memory of Beth Harpley Mr Phillip Cornwell Dom Cottam & Kanako Imamura Dr Peter Craswell Mr David Cross Phil Diment am & Bill Zafiropoulos Dr David Dixon Susan Doenau Mrs Jane Drexler Dr Nita Durham John Favaloro Mrs Lesley Finn Ms Julie Flynn & Mr Trevor Cook Mrs Paula Flynn Mr John Gaden Clive & Jenny Goodwin Ruth Grahame Mr Robert Green Richard Griffin am Dr Jan Grose Benjamin Hasic & Belinda Davie Mr Robert Havard Mrs Joan Henley Roger Henning Sue Hewitt In memory of Emil Hilton Dorothy Hoddinott ao Mr Kevin Holland & Mrs Roslyn Andrews

Bill & Pam Hughes Ms Cynthia Kaye Mrs Margaret Keogh Dr Henry Kilham Dr Joyce Kirk Chris J Kitching Mrs Patricia Kleinhans Anna-Lisa Klettenberg Sonia Lal L M B Lamprati Elaine M Langshaw Dr Leo & Mrs Shirley Leader Margaret Lederman Mrs Erna Levy Mrs A Lohan Mr Gabriel Lopata Panee Low Dr David Luis Melvyn Madigan Ms Jolanta Masojada Helen & Phil Meddings I Merrick Louise Miller Patricia Miller Kenneth Newton Mitchell Helen Morgan Chris Morgan-Hunn Mr Graham North E J Nuffield Mr Sead Nurkic Dr A J Palmer Dr Kevin Pedemont Dr John Pitt Mrs Greeba Pritchard The Hon. Dr Rodney Purvis am & Mrs Marian Purvis Miss Julie Radosavljevic Renaissance Tours

Anna Ro Mr David Robinson Agnes Ross Mrs Christine Rowell-Miller Mr Kenneth Ryan Garry Scarf & Morgie Blaxill Peter & Virginia Shaw V Shore Mrs Diane Shteinman am Victoria Smyth Doug & Judy Sotheren Colin Spencer James & Alice Spigelman Ashley & Aveen Stephenson Margaret & William Suthers Dr & Mrs H K Tey Dr Jenepher Thomas Mr Michael Thompson Ms Rhonda Ting Alma Toohey Mrs M Turkington Gillian Turner & Rob Bishop Mr Robert Veel Ronald Walledge In memory of Denis Wallis In memoriam JBL Watt Miss Roslyn Wheeler The Wilkinson Family Audrey & Michael Wilson Yetty Windt Dr Richard Wingate Mr Evan Wong Mrs Robin Yabsley Anonymous (45)

n n n n n n n n n n TO FIND OUT MORE ABOUT BECOMING A SYDNEY SYMPHONY ORCHESTRA PATRON, PLEASE CONTACT THE PHILANTHROPY OFFICE ON (02) 8215 4674 OR EMAIL [email protected]

SYDNEY SYMPHONY ORCHESTRA VANGUARD A MEMBERSHIP PROGRAM FOR A DYNAMIC GROUP OF GEN X & Y SSO FANS AND FUTURE PHILANTHROPISTS

Vanguard Collective Justin Di Lollo Chair Belinda Bentley Amelia Morgan-Hunn Jonathan Pease Shefali Pryor Seamus R Quick Camille Thioulouse

Members James Armstrong Joan Ballantine Andrew Baxter Mar Beltran Nicole Billet David Bluff Peter Braithwaite Blake Briggs

Andrea Brown Melanie Brown Prof. Attila Brungs Ian & Jennifer Burton Helen Caldwell Hilary Caldwell Paul Colgan Juliet Curtin Alvaro R Fernandez Alastair Furnival Alexandra Gibson Sam Giddings Marina Go Jeremy Goff Tony Grierson Louise Haggerty Rose Herceg Philip Heuzenroeder

Francis Hicks Peter Howard Jennifer Hoy Katie Hryce Justin Jameson Jonathan Kennedy Aernout Kerbert Patrick Kok Alisa Lai Tristan Landers Gary Linnane Gabriel Lopata Kylie McCaig Rebecca MacFarling David McKean Taine Moufarrige Nick Nichles Kate O’Reilly

Sudeep Rao Michael Reede Paul Reidy Chris Robertson Dr Benjamin Robinson Jacqueline Rowlands Benjamin Schwartz Caroline Sharpen Katherine Shaw Randal Tame Sandra Tang Michael Tidball Mark Timmins Kim Waldock Jonathan Watkinson Jon Wilkie Yvonne Zammit

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SALUTE PRINCIPAL PARTNER

GOVERNMENT PARTNERS

The Sydney Symphony Orchestra is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body

The Sydney Symphony Orchestra is assisted by the NSW Government through Arts NSW

PREMIER PARTNER

PLATINUM PARTNER

EDUCATION PARTNER

MAJOR PARTNERS

GOLD PARTNERS

SILVER PARTNERS

UNIVERSAL MUSIC AUSTRALIA

sinf inimusic.com

VANGUARD PARTNER

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REGIONAL TOUR PARTNER

MARKETING PARTNER

ORCHESTRA NEWS | JULY 2014

❝ Tuning, tuning, tuning…

❞

MAGICAL COLOUR Principal harpist Louise Johnson celebrates her instrument in all its guises and with all its challenges. It’s a rare sight to see a harpist and their instrument out the front of the orchestra for a concerto performance. When Principal Harp, Louise Johnson appears as soloist with us in July, performing Lee Bracegirdle’s Legends of the Old Castle, it will be as part of the World Harp Congress – a weeklong celebration of this most ancient and beguiling instrument. The program features not one, but two concertos for harp (the other being Rodrigo’s Concierto serenata performed by Sivan Magen), and two orchestral works featuring multiple harps within the orchestra.

What’s the collective noun for a bunch of harpists then? An arpeggio? A cloud? ‘A haggle,’ replies Louise, without a moment’s hesitation and with a cheeky twinkle in her eye. And what are the challenges of having so many harpists in the one program? ‘Tuning, tuning, tuning,’ she says. ‘Each instrument needs to be tuned before every rehearsal and every performance. With 47 strings on each instrument you can imagine the tuning schedule we have to create!’ Preparing for a concerto is not necessarily so different to preparing an orchestral part.

‘With the harp being a solo instrument in the orchestra, I tend to prepare everything as though it’s going to be a solo.’ It’s certainly true that composers often use the harp as a special colour within the orchestra, rather than treating it as part of a larger section. And cadenzas and other soloistic passages are not uncommon in the music of Ravel, Tchaikovsky and Stravinsky. Performing as soloist out the front of the orchestra does allow certain refreshing freedoms, however. ‘I have the freedom to decide my own dynamics, the shape of phrases and other musical elements, rather than having to realise just the conductor’s intentions.’ Legends of the Old Castle, then, will offer Louise the chance to exercise her own self-expression. ‘I’m free to have my own ideas about this work,’ she says with relish. There’s a lovely synergy in the fact that Simone Young is conducting this harpstravaganza – her own daughter is a gifted young harpist. ‘I’ve no doubt we’re going to get along famously,’ smiles Louise. Louise Johnson is a soloist in Harp Legends on 24, 25 and 28 July. Simone Young conducts.

Sponsor Highlight Photo: Janine Harris

Live at the Cortile with the SSO

From left: Kirsten Williams, Lerida Delbridge, Lawrence Dobell, Rosemary Curtin and Elizabeth Neville

Ask a Musician I am wondering what a musician does in a live concert when he or she suddenly feels the need to sneeze, not to mention what a soloist might do. Maybe it doesn’t happen because of the intense concentration. I haven’t ever noticed it, but I do wonder! Anne Irish

Photo: Julian Kingma

What a good question! I sometimes marvel that I don’t sneeze in a concert! I think you are right – the concentration required in performance overrides any desire to sneeze. I also find that if I have a cold

Winter is definitely here but plenty of musical food lovers still ventured out into the cold for the second event in our intimate concert series in the Cortile bar and lounge at the InterContinental Sydney. Executive chef Tamas Palmer treated guests to a winter-time canapé menu, including mulledwine martinis, chestnut veloutés and tartes Tatin, designed to match the music, which included movements from the Brahms and Mozart clarinet quintets, Elgar’s Salut d’Amour and Gershwin’s Embraceable You played by members of the SSO. The event sold out, so book now for the next SSO Live at the Cortile event on Thursday 7 August, when a quartet featuring oboist Shelfali Pryor will take you on an operatic journey of opulence and drama. Visit bit.ly/SSOLiveattheCortile

and my sinuses are blocked up, just before I have to play – especially if it’s an important solo – suddenly my head clears and I can forget that I’m unwell for a few minutes. That must be the adrenaline of performance at work. Unfortunately coughing seems to be a different matter. I have had many coughing fits in various slow movements (it always seems to happen in the slow movement!), as have most of my colleagues. It’s awful, and there’s no escape. Very occasionally a coughing fit will necessitate leaving the stage so as not to be too distracting, either to colleagues onstage or for the audience listening.

If the concert is being broadcast live on radio, or recorded for later broadcast, then that adds another level of awareness. Professionalism means overcoming these challenges, so I’m glad if you’ve never noticed these moments. We’re all in the service of the music. Rosamund Plummer, Principal Piccolo Have a question about music, instruments or the inner workings of an orchestra? ‘Ask a Musician’ at yoursay @sydneysymphony.com or by writing to Bravo! Reply Paid 4338, Sydney NSW 2001.

Warming up in the grand Shanghai Oriental Art Center, Principal Tuba Steve Rossé and Principal Double Bass Alex Henery prepare for a program that opened with Sound Lur and Serpent, Andrew Schultz’s new fanfare for brass and percussion, and Beethoven’s Emperor Piano Concerto with Shanghai-based prodigy Haochen Zhang. Steve later told us: ‘My favourite moment in our first concert was in Strauss’s Heldenleben when we hit that E flat chord which is the hero’s motif. It’s like being invincible.’

The Score

TIARAS AND TOUCHDOWN

Symphonies to Spare

In Cobar, the children dressed up for the orchestra, wearing tiaras and tinfoil crowns.

We might have returned from our third visit to China but we’ve only just made it to Cobar! Every year approximately 60 SSO players (including Fellows and Sinfonia musicians) tour to regional centres throughout NSW. Some of those towns and cities are old friends – Dubbo, Broken Hill – others are new acquaintances, like Cobar. It was a first visit that we won’t forget in a hurry: Cobar takes its footy seriously, so having our concert start during the State of Origin game presented a challenge. Cobar’s mayor Lillian Brady was thrilled the orchestra was in town but was ‘keeping an eye on the score, don’t you worry’. Conductor Daniel Carter is also a footy tragic: ‘It’s such a great cultural mix. To come somewhere like Cobar and in one night to experience great romantic Russian masterworks that are over 150 years old – and a game of NRL.’ Everyone was still able to get to the pub in time to see the Blues triumph. Our return to Dubbo allowed Sebastian Dunn, a horn player in our Sinfonia training orchestra, to perform in his home town, not just in the public concert but also playing for his younger brother and friends at his old school. ‘Coming from Dubbo,

I never experienced the sound of an orchestra,’ Sebastian said. ‘It’s what I want to do for the rest of my life, but I never played in an orchestra until I started my undergraduate degree.’ This tour, 2000 children did have a chance to experience the sound of an orchestra and a wide variety of music – the big hit was LiteSPEED by Australian composer Matthew Hindson. ‘The music was obviously very stimulating for our “groovy” little bodies,’ praised a teacher from Morgan St Public School, Broken Hill. Kim Waldock, SSO Director of Learning and Engagement, says ‘we met students with some experience of orchestral music but the majority – especially in Cobar and Broken Hill – had absolutely no idea of what to expect. Staff and children of Cobar Public School created an “event”, arriving in tinfoil bow ties and tiaras, even the principal wore a dinner suit!’ In Broken Hill, the city’s Community Orchestra and Brass Band had great fun rehearsing with the SSO players. And five SSO players gave a lesson for the School of the Air in Broken Hill, which was later broadcast by ABC Regional Radio to other children in remote areas.

Orchestral concerts tend to have a standard ‘menu’: an overture or short concert opener, a concerto with a soloist, then the symphony – the big work. Sometimes the concerto is so ‘symphonic’ we put it last (the Brahms piano concertos, for example), but most of the time that’s the pattern we follow. But at the end of August, David Robertson has taken a slightly different approach, with a program that looks – at first glance – as if it has nothing but symphonies! Brahms’s Third Symphony is serious music, sometimes melancholy, sometimes blissful, with a shimmering, floating pianissimo ending. We hope that, by playing it first rather than at the end, you’ll be able to hear it with fresh ears. Our ‘concerto’ with soloist Vadim Repin is Lalo’s Symphonie espagnole, a ‘Spanish symphony’ composed for Sarasate. Lalo imagined the violin ‘soaring above the rigid form of an old symphony’ and the result is colourful and vibrant. And from Janácˇek there’s a sinfonietta. Technically, that’s a ‘little symphony’ although this one is little only in duration – the orchestra is huge, with 12 trumpets! We’ve placed it last because it’s so striking and spectacular that really nothing could possibly follow it.

Symphonic Inspiration Emirates Metro Series 29 August, 8pm Great Classics 30 August, 2pm Mondays @ 7 1 September, 7pm Photo: Gela Megrelidze

Photo: Anna Ryan

Regional Tour

Vadim Repin

CODA SSO CHINA TOUR BLOG Catch up on all the highlights of our third tour to China, which took in Shanghai, Guangzhou, Shenzhen, Jinan, Hangzhou, Zi’an and Beijing, where we performed in the famous National Centre for the Performing Arts in Beijing (more commonly referred to as ‘The Egg’!). Sharing in the tour spirit, the staff back in Sydney invited chef Gary Au to visit our office in the Rocks and demonstrate the ancient art of making Dragon Beard Candy. Check out the blog for the photo evidence, including some very sticky ‘beards’. blog.ssoontour.com

SSO CHAMBER MUSIC Fancy a more intimate setting for your next concert? Our musicians are busy performing chamber music alongside the big concerts… WED 23 JUL, 1.15pm St James’, King St Our Fellows perform the Elgar String Quartet and a new piece by James Wade. Entry by donation.

Stay Tuned e-newsletter to receive the special booking code. bit.ly/EmiratesDubaiStopoverSSO

SUN 3 AUG, 1.30pm Turramurra Uniting Church The Chanterelle Quartet plays string quartets by Haydn, Lalor and Mozart. WED 6 AUG, 1.15pm St James’, King St Janet Webb leads a program of wind chamber music treats. Entry by donation. WED 6 AUG, 7pm, Verbrugghen Hall The SSO Brass Ensemble performs music by Barber, Terracini, Rautavaara and Copland at the Sydney Conservatorium.

STUDENT RUSH Did you know we offer student rush tickets to many of our concerts? Follow our Facebook page to find out when. Tickets are always strictly limited but you’ll often spend no more than $15. Bargain!

NEW ARRIVALS Our Bravo! editor (and regular guest harpist) Genevieve Huppert is taking a few issues off to enjoy the company of newborn Felix Islay. And Associate Principal Cello Henry Varema has been in Estonia for the birth of his daughter. Congratulations!

SUMMER STOPOVERS IN DUBAI Emirates has announced a free 24-hour stopover package for passengers travelling from Australia on eligible flights to destinations beyond Dubai. With transfers, a 36-hour UAE entry visa and a 24-hour hotel stay, including breakfast, this is your chance to explore the vibrant city that Emirates calls home. As Principal Partner of the SSO, Emirates offers our patrons an exclusive 10% online discount on all Emirates flights. Make sure you’ve signed up to our

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