SPECIAL EVENT PREMIER PARTNER CREDIT SUISSE

Friday 31 January 2014 Saturday 1 February 2014 Sunday 2 February 2014

2014

ANNE-SOPHIE MUTTER PLAYS MOZART

Mozart goes to the MoviesMOZART The Impresario: OvertureHAYDN Symphony No.94 (Surprise)MOZART Piano Concerto No.21 in C, K467

Dene Olding violin-directorAlexander Gavrylyuk piano

Mozart in the City

Thu 6 Feb 7pmCity Recital Hall Angel Place

Tea & Symphony

Fri 7 Feb 11am

Pre-concert talk by David Garrett (6 Feb)

Absolutely BeethovenThe Robertson Era Begins

STRAVINSKY Symphony in Three MovementsADAMS Absolute Jest Australian premiereBEETHOVEN Symphony No.7

David Robertson conductorAustralian String Quartet

MASTER SERIES

Wed 12 Feb 8pmFri 14 Feb 8pmSat 15 Feb 8pm

Pre-concert talk by David Robertson

ElektraAn Opera in the Concert Hall

R STRAUSS Elektra

David Robertson conductorChristine Goerke soprano (Elektra)Lisa Gasteen soprano (Klytemnestra)Cheryl Barker soprano (Chrysothemis)Peter Coleman-Wright baritone (Orestes)Kim Begley tenor (Aegisthus) Sydney Philharmonia ChoirsSydney Dance CompanyStephanie Lake choreographer

Special EventPremier Partner Credit Suisse

Sat 22 Feb 8pm

Mondays @ 7

Mon 24 Feb 7pm

Pre-concert talk by David Larkin

The Greatest Hits ofQUEENThe harmony, hits and nostalgia of one of the world’s all-time greatest bands. Featuring Bohemian Rhapsody, Radio Ga Ga, We Are The Champions, and many more. Experience the unforgettable magic of Queen, featuring MiG Ayesa, Carly Thomas Smith, Michael Falzon and Amanda Harrison and your SSO.

Presenting Partner Wilson Parking

Fri 7 Feb 8pm Sat 8 Feb 2pmSat 8 Feb 8pm

FEBRUARY

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WELCOME

Credit Suisse warmly welcomes you to the first concerts of the Sydney Symphony Orchestra’s 2014 season – beginning the year with a very special musical event.

In 2012, Anne-Sophie Mutter made her Australian debut, performing Beethoven to enthralled Sydney audiences here in the Sydney Opera House Concert Hall. This season she returns to perform, and direct the orchestra, in a program of three Mozart violin concertos.

As Premier Parter we were proud to play a role in bringing about Anne-Sophie Mutter’s Australian debut, and we are thrilled to support her return appearance.

We’re delighted to welcome the ‘undisputed queen of violin-playing’ back to Sydney and hope you enjoy the concert.

Rob Stewart Chief Executive Officer Credit Suisse Australia

Sunday afternoon’s performance will be recorded for broadcast by ABC Classic FM on Saturday 8 February at 1pm.

Pre-concert talk by David Larkin in the Northern Foyer, 45 minutes before each performance.

Estimated durations: 21 minutes, 24 minutes, 20-minute interval, 31 minutes. The performance will conclude at approximately 9.55pm (3.55pm Sunday).

No photographs or recordings may be taken or made during the concert.

ANNE-SOPHIE MUTTER PLAYS MOZARTAnne-Sophie Mutter violin and director

WOLFGANG AMADEUS MOZART (1756–1791)Violin Concerto No.2 in D, K211Allegro moderato Andante Rondeau

Violin Concerto No.3 in G, K216 (Strassburger)Allegro Adagio Rondeau (Allegro)

INTERVAL

Violin Concerto No.5 in A, K219 (Turkish)Allegro aperto Adagio Rondeau (Tempo di menuetto)

2014 concert season

SPECIAL EVENT PREMIER PARTNER CREDIT SUISSEFRIDAY 31 JANUARY, 8PM

SATURDAY 1 FEBRUARY, 8PM

SUNDAY 2 FEBRUARY, 2PM

SYDNEY OPERA HOUSE CONCERT HALL

Anne-Sophie Mutter Concert Patrons

The SSO thanks the following patrons who have generously supported these performances by Anne-Sophie Mutter:

Mr Geoff Ainsworth am

Mr John Conde ao The Hon. Mrs Ashley Dawson-Damer Mr & Mrs Bob & Ruth MagidMr David Maloney am & Ms Erin Flaherty Drs Keith & Eileen Ong Mr Kim Williams am & Ms Catherine Dovey

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THE ARTIST

Anne-Sophie Mutter has been one of the most famous violin virtuosos of our time for more than 35 years. Born in Rheinfelden in Baden, she began her international career at the Lucerne Festival in 1976. A year later, she appeared as a soloist at the Salzburg Festival under the baton of Herbert von Karajan. As well as performing traditional repertoire, she constantly introduces new works to her listeners: Sebastian Currier, Henri Dutilleux, Sofia Gubaidulina, Witold Lutosławski, Norbert Moret, Krzysztof Penderecki, André Previn and Wolfgang Rihm have dedicated works to her. In addition, she is involved in many charity projects and the promotion of exceptionally talented young musicians.

In 2014 she will give concerts in Asia, Europe and North America as well as Australia. Her program will focus on the concertos of Brahms, Bruch (No.1), Dvořák and Mozart, appearing with the London Symphony Orchestra, National Symphony Orchestra (Washington, DC), Pittsburgh Symphony Orchestra, Berlin Philharmonic and the Boston Symphony Orchestra, among others. This year also sees a European recital tour and performances in Carnegie Hall celebrating the 25th anniversary of her collaboration with pianist Lambert Orkis, and she will embark on her third tour with Mutter’s Virtuosi (comprising 14 current and former scholarship students of the Anne-Sophie Mutter Foundation), performing in North America.

Anne-Sophie Mutter has been awarded the German Record Prize, the Record Academy prize, the Grand Prix du Disque and the International Record Prize, as well as several Grammys. In 2011, on the occasional of Mozart’s 250th birthday, she made new recordings of all of Mozart’s important compositions for violin. To mark her 35th stage anniversary, Deutsche Grammophon launched a comprehensive boxed set; simultaneously, she released an album with the world premiere recordings of works dedicated to her by Wolfgang Rihm (Lichtes Spiel and Dyade), Sebastian Currier (Time Machines) and

Krzysztof Penderecki (Duo concertante). Most recently, in 2013, she released her first recording of the Dvořák Violin Concerto with the Berlin Philharmonic and Manfred Honeck.

In 2008, she established the Anne-Sophie Mutter Foundation, whose objective is the further strengthening of the worldwide promotion of top young musical talents: a task she set herself in 1997 with the foundation of the Friends of the Anne-Sophie Mutter Foundation. Work on current-day medical and social problems is also important to her and she supports these concerns with regular charity concerts.

In 2013 Anne-Sophie Mutter became a Foreign Honorary Member of the American Academy of Arts and Sciences and was awarded the Order of the Lutosławski Society (Warsaw). In 2012 the Atlantic Council granted her the Distinguished Artistic Leadership Award and in 2011 she received the Brahms prize, and the Erich-Fromm and Gustav-Adolf prizes for her social involvement. In 2010 the Norwegian University of Science and Technology in Trondheim awarded her an honorary doctorate; in 2009 she was distinguished with the European St Ullrichs prize as well as the Cristobal Gabarron award. In 2008, Anne-Sophie Mutter received the International Ernst von Siemens Music prize and the Leipzig Mendelssohn prize. She has also received the Grand Cross of the Order of Merit of the Federal Republic of Germany, the French Order of the Legion of Honour, the Bavarian Order of Honour, the Grand Austrian State Decoration of Honour and numerous other awards.

Anne-Sophie Mutter violin

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ABOUT THE MUSIC

Mozart and the ViolinWhen a genius like Mozart sets his mind to a particular form of music, the results make for a rich study in resourcefulness. Mozart composed all three of this concert’s violin concertos in the same year, and they have a family similarity, yet rather than repeat himself, Mozart explores new possibilities in each concerto. With this diversity comes unity. The focus is on the violin, Mozart appearing not just as a composer, but as a performer also.

Listening to Mozart’s violin concertos, it’s good to realise that even if we can’t prove he played them himself, we can be certain he could have had he chosen. A famous 20th-century violinist, the Belgian Arthur Grumiaux, made a recording in which, by the trick of overdubbing, he accompanied himself in sonatas by Brahms and Mozart. Mozart’s fame was above all as a keyboard player, a pianist. Yet just as the violinist Grumiaux was also accomplished on piano, so was Mozart on violin.

On 6 October 1777 Mozart wrote from Munich to his father in Salzburg: ‘To finish off, I played the last cassation from my B flat. Everyone was amazed! I played as if I were the greatest violinist in all Europe!’ Leopold replied on 18 October: ‘It does not surprise me in the least that everyone was amazed at the performance of your last cassation; you do not know yourself how well you play the violin.’

Leopold Mozart knew what he was talking about. With a father’s pride and encouragement came the judgement of arguably the most influential teacher of the violin of his place and time. In the year of his son Wolfgang’s birth, 1756, Leopold had distilled his experience into A Treatise on the Fundamental Principles of Violin Playing. Regarded as one of the most important instrumental treatises ever written, this book was reprinted and translated into several languages.

In other letters to his son, Leopold urged him not to neglect his violin practice. It was, after all, one of the main ways Wolfgang earned his living. Both he and his father were violinists in the court orchestra of the Prince-Archbishop of Salzburg. And in October 1770 Wolfgang Mozart was appointed Konzertmeister of the Salzburg court, that is, leader of the violins in the orchestra.

Did Mozart write these violin concertos for himself to play?

Mozart’s father once suggested to him that the best way to introduce himself in a place where he wasn’t known was to play a violin concerto. The father-son correspondence about a cassation in B flat confirms that Mozart played the solos in at least some of the violin concerto-like movements embedded

Above: Mozart’s father Leopold, ‘arguably the most influential teacher of the violin of his place and time’. Opposite: Barbara Krafft’s posthumous portrait of Mozart, 1819.

‘Mozart has always been present on a daily basis in my life: his spirit is always present, even when I’m playing contemporary repertoire, and I’ve always been trying out new ways to get closer to him. He’s the composer I have grown up with, who was always there waiting for me, at every juncture of my career.’ ASM

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in the multi-movement serenades, cassations and similar occasional pieces he composed around the time of tonight’s concertos.

As for the violin concertos, five of them, there is no conclusive evidence that Mozart played any of them in public. Mozart authority Stanley Sadie considers that if he had intended the concertos for his own use, Mozart would have played at least some of them when he was on tour away from Salzburg, as he did with one of his cassations, two years after the concertos were composed. On the other hand, there is no player who is known as having inspired Mozart’s ‘flurry’ of violin concertos in 1775, though one name tentatively mentioned by scholars is that of the amateur violinist Count Johann Rudolph Czernin, friend and nephew of the archbishop.

Some books on Mozart suggest that he wrote the later concertos, at least, for Antonio Brunetti – Salzburg court music director, concert violinist and concertmaster. But the dates are wrong – this violinist from Naples did not take up appointment until early 1776, by which time all five of Mozart’s concertos were written. Leopold reported favourably, later, on Brunetti’s playing of K216, and he presumably also played K207 and 219 – since Mozart provided him with a replacement slow movement for the latter and a rondo for the former.

ANNE-SOPHIE MUTTER ON PLAYING MOZART CONCERTOS WITHOUT A CONDUCTOR

‘…every player has to take a much higher level of personal responsibility for the musical outcome. The leadership comes from the violins, as in Mozart’s time…’

‘I’m not a conductor. But I am a leader – partly because it’s my nature, and partly because I know precisely what I want from the score… Mozart himself was also more instrumentalist than conductor, and in a humbler way I am trying to emulate him…’

Anne-Sophie Mutter began playing the concertos without a conductor in 2000: ‘I felt an urgent desire to do it right this time! But the last thing I want to do is pretend that my view of Mozart is definitive. Partly because he doesn’t need my help – he’ll live long after I am totally forgotten. I do it simply because I love his music very much, and because it has made my spine tingle, and moved me to tears, and because it always reaches out to audiences.’

Watercolour of the seven-year-old Mozart with father Leopold and sister Nannerl by Louis Carrogis called Carmontelle.

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The evolution of Mozart’s solo violin writing

Recent research – particularly into the dating of the music paper used for the autograph manuscripts – has established a reliable chronology of Mozart’s writing for solo violin. The list reveals how the concertos are interspersed with works of the serenade or Finalmusik type (a Finalmusik – sometimes called ‘cassation’ – was an occasional piece for the festivities marking the end of the academic year at the university).

Typically these works had as many as seven movements, not necessarily played consecutively, and many included an allegro and an andante in concerto style, and also a minuet with a solo violin part in its trio. This was functional, entertainment music, but as musicologist Marius Flothuis has remarked: ‘although this was certainly not Mozart’s intention, his work in these concertante serenade movements prepared him for the writing of full-fledged violin concertos.’

Differences with these concertante movements become more marked in the last three concertos. The first concerto in this concert, K211, is a sequel to the miniature concertos from the serenades. It shows the less elaborate textures and the simpler handling of themes found in the serenades. The later concertos make heavier technical demands on the soloist, whereas K211 has no double stopping or other

The Prince-Archbishop of Salzburg, Count Hieronymus von Colloredo, employer of the Mozart family

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technical feats. Stanley Sadie justly observes that the differences between concertos and concertantes from the serenades ‘speak of the requirements of music designed to be attentively listened to rather than casually heard.’

A timeline

April 1773 Violin Concerto No.1, K207

August 1774 Serenade K203 (including violin concerto movements in B flat)

This may be ‘my Cassation’ of Mozart’s letter, but see also below.

August 1774 Serenade, K204

August 1774 Serenade, K185

April 1775 Violin Concerto No.2, K211

August 1775 Serenade, K204

September 1775 Violin Concerto No.3, K216

October 1775 Violin Concerto No.4, K218

December 1775 Violin Concerto No.5, K219

August 1776 ‘Haffner’ Serenade, K250

June 1777 (?) Divertimento in B flat, K287

In view of the date and key, this is likely to be the work referred to as ‘my latest’ in October 1777. The violin solos, especially in the last movement, fit the description.

Another Mozart masterpiece is the Sinfonia concertante for violin and viola K364 of 1779. But after Mozart left Salzburg for Vienna in 1782, he never returned to the string concerto genre. Was it because he had distanced himself from his prodding father, or was it because of Vienna, a city Mozart called ‘the land of the piano’? We don’t know. But our musical heritage has been enriched by gems from the 19-year-old Mozart. It’s no wonder these violin concertos have remained test pieces for the musicality of fiddlers young and old. Their clarity and balance does not preclude virtuosity, and the least blemish is exposed. But above all the musical ideas are never smothered by mere display – and what entrancing ideas!

Mozart would ‘have liked a bigger orchestra – the size of his orchestras depended on what was available. My orchestra is…relatively large for the period, and beautiful! But the sound is transparent and chamber musical – when necessary.’ ASM

Mozart, 1777

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Mozart goesto the MoviesIncludes a complimentary cup of tea or coffee from 10am!

Mozart’s Piano Concerto No.21 took on a new and glamorouslife when its rapturous slow movement was used in the 1967 Swedish movie Elvira Madigan. Now hear this striking and beautiful concerto in the concert hall.

MOZART The Impresario: OvertureHAYDN Symphony No.94 (Surprise)MOZART Piano Concerto No.21 in C, K467

Dene Olding violin-director Alexander Gavrylyuk piano

Tea & SymphonyFRI 7 FEB 11AM

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Listening Guides

Violin Concerto No.2 in D, K211[Allegro moderato] [Andante] Rondeau [Allegro]Cadenzas by Zino Francescatti

In the Mozart household Wolfgang would have become familiar with violin concertos taught by his father, from the older Italian school of Tartini, Geminiani and Locatelli, and the more sensuous works of the younger generation such as Nardini, Pugnani and Boccherini, among others. These Italian models are often recalled in Mozart’s second concerto (perhaps especially Nardini), and like them Mozart makes sure of a striking opening. After that the treatment is a little old-fashioned, with short and squarish phrases, and the violin part is first among equals, not attempting the Italians’ virtuosity. The second movement is, as Alfred Einstein finds, like the aria a shepherdess might sing in an opera of the period, full of slightly homespun sentiment.

Unlike the rondos of the third and fifth concertos, that of the second maintains the same tempo throughout, in the metre of a minuet. It recalls the same movement in Mozart’s Bassoon Concerto K191 of 1774. For listeners whose expectations are based on other Mozart rondos, however, it is the most intriguing movement of this violin concerto, because the relation of the episodes to the returning theme is unusual, the second episode being the one to be recapitulated, with an unexpected link to the coda.

Violin Concerto No.3 in G, K216 (Strassburger)Allegro Adagio Rondeau (Allegro)Cadenzas by Sam Franko

The concerto in G major is in many ways the most endearing of Mozart’s violin concertos, the most intimate, charming and sensual in expression. Here a more assured Mozart transcends the sometimes short-winded style of the first two concertos. The special tenderness of this concerto is the gracious bending of artistic strength.

To begin this concerto, Mozart re-uses the orchestral music introducing the aria ‘Aer tranquillo’ from his opera Il re pastore, composed five months earlier. Then there’s a flood of contrasting ideas. This violin concerto anticipates the mature piano concertos in the variety of exchanges between soloist

On Violin Concerto No.2: ‘elegant, reflecting the French influence, including the Rondeau finale…more conventional in every sense compared with the last three.’ ASM

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and orchestra, and for the first time in any Mozart concerto the solo instrument is given a melodic idea which will remain exclusively its own. Just before the reprise, the soloist, like a singer, has a brief passage of declamatory recitative.

The slow movement, in D major, is rapturous and dreamy, like that of the Piano Concerto in C, K467 (used in the 1967 Swedish film Elvira Madigan). The similarities include the broken triplet accompaniment, like a throbbing, or the lapping of water – also the muted strings and pizzicato bass. Coloration is further softened by flutes replacing oboes.

The main theme of the Rondeau, in a jaunty triple time, comes back five times. Its throwaway ending leaves horns and oboes on their own. Later come two fanciful episodes. The first, in a slower tempo (Andante), has a plucked string accompaniment overlapping a kind of stately pavane from the violin. Then comes a forthright, simple and folk-like theme in common time, repeated by the winds while the violin garlands it with triplets. Because of this theme, Mozart and his father refer to this concerto as ‘the Strassburger’. The discovery in the 1970s of this theme in a collection assembled in 1813, where it is described as ‘à la mélodie de Strassburger’, confirms that the name belongs to this concerto and not the D major concerto, K218. This rather whimsical interruption contains in-jokes, we must suppose, more obvious to the first audiences than to us, but delightful anyway. The throwaway line gracefully waves as the concerto leaves the stage.

Violin Concerto No.5 in A, K219 (Turkish)Allegro aperto Adagio Rondeau (Tempo di menuetto)Cadenzas by Joseph Joachim, new version by Ossip Schnirlin

Although we now know that Antonio Brunetti was probably not the first violinist to play this concerto, he must have been pleased with his first entry: a change to a slow tempo, Adagio, for six bars of quasi-recitative for the soloist over murmuring strings. It is similar to Joseph Haydn’s devices in some of his early symphonies for showing off the leader of the Esterházy orchestra. Then a rising arpeggio figure resumes, the springboard of the movement, and derived from the Italian style familiar from Vivaldi. As in the third concerto, the soloist has a dedicated theme.

The slow movement is in the unusual key of E major, which promotes its floating rapture. Brunetti found this movement, rather to our amazement, ‘too artificial’, and Mozart composed for him a replacement movement (K261), more obvious in its charm.

On Violin Concerto No.3: ‘Alfred Einstein was right to describe the Adagio of K216 as seeming to have fallen straight from heaven – the effect of muted strings was quite new, and gives the entire movement a magical atmosphere, and the Rondeau is much more daring than previous ones. What’s more, there’s now an equal dialogue between violin and orchestra, as opposed to the first two concertos, where it’s merely a partner in the back-ground. Here Mozart has achieved the ideal shape of the violin concerto.’ ASM

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This concerto’s most spectacular feature is the ‘Turkish’ episode in the finale, with its double basses playing with the wood of the bow, an imitation of ‘Turkish percussion’, or Janissary music. One of the themes in this episode comes from the ballet The Jealousies of the Seraglio (1773) – an entr’acte, possibly not by Mozart, for his opera composed in Milan, Lucio Silla. The whole passage has the same flavour as several Turkish pieces by Mozart’s fellow Salzburg composer Michael Haydn (Joseph’s brother). Haydn may have collected the tunes in Hungary, which still had a strong Turkish presence, and where he spent the years 1757–63. Perhaps this kind of music went down particularly well in Salzburg. It is the first time Mozart uses it in his own work. The capricious-sounding interruption of the rondo’s triple rhythm by episodes in duple time, however, and the exotic colouring of the episodes, shows how the classical style, in Mozart’s hands, could accommodate a game which is dramatic in conception.

DAVID GARRETT © 2014

Anne-Sophie Mutter quotes excerpted from interviews with Clive Paget for

Limelight (January 2014) and with Michael Church for her recording of the

Mozart concertos with the London Symphony Orchestra (2005).

Mozart’s violin concertos call for relatively modest orchestral

accompaniment, with pairs of oboes and horns, and strings. Concerto No.3

also includes a pair of flutes. In these performances, Anne-Sophie Mutter

has opted for a string body of 28 players.

Our records suggest the SSO performed Mozart’s Violin Concerto K211

for the first time in 1975. The conductor was Maxim Shostakovich and the

soloist was György Pauk. Our first performance of K216 was in 1948 with

conductor Eugene Goossens and soloist Brenton Langbein. And our first

performance of K219 was in 1949 with Clive Douglas conducting and

soloist Donald Weekes. Most recently we’ve performed K211 in 2006 (with

Mirijam Contzen and conductor John Storgårds), K216 in 2002 (with

concertmaster Michael Dauth directing the orchestra from the violin), and

K219 in 2010 (with Midori and conductor Antonello Manacorda).

On Violin Concerto No.5: ‘the crowning achievement is K219, because there Mozart experiments with many new ideas. That is the most daring and multi-layered concerto, full of abrupt emotional changes.’ ASM

A portrait of the Mozart family by Johann Nepomuk Della Croce, 1780–81, with the late matriarch Anna Maria Mozart represented by a painting on the wall.

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MORE MUSIC

THE MOZART PROJECTTo celebrate 30 years of concert performance, Anne-Sophie Mutter embarked on The Mozart Project, performing and recording Mozart’s sonatas, concertos and chamber music featuring violin. You can hear the Mozart violin concertos in two different recordings. On CD she appears with the London Symphony Orchestra, joined by violist Yuri Bashment for the Sinfonia concertante K364.DEUTSCHE GRAMMOPHON 477 5925

She also recorded the five solo concertos for video with the Camerata Salzburg. Available on their own, or with Mozart sonatas and trios in a 5-DVD set.DEUTSCHE GRAMMOPHON DVD 073 4210 (2 DVDs)

DEUTSCHE GRAMMOPHON DVD 073 4217 (5 DVDs)

Anne-Sophie Mutter describes Mozart as the composer who has always been there at every juncture of her career, and that includes her first recording, made when she was still a teenager, with Herbert von Karajan and the Berlin Philharmonic. Now available in the DG The Originals series, the disc pairs the third and fifth concertos.DEUTSCHE GRAMMOPHON 457 7462

ANNE-SOPHIE MUTTERLast year Anne-Sophie Mutter returned to the Berlin Philharmonic to record Dvořák’s Violin Concerto with conductor Manfred Honeck. The disc is completed with three short Dvořák pieces: Mazurek, Op.49; Romance, Op.11 and the famous Humoresque, Op.101 No.7.DEUTSCHE GRAMMOPHON 479 1060

DEUTSCHE GRAMMOPHON 479 1984 (with bonus DVD)

From the chamber music repertoire, Anne-Sophie Mutter and pianist Lambert Orkis have recently recorded two Beethoven violin sonatas: the Spring Sonata (Op.24) and the Kreutzer (Op.47). DEUTSCHE GRAMMOPHON 479 1679

And her most recent release of new music is a disc of pieces by Sebastian Currier (Time Machine for violin and orchestra), Wolfgang Rihm (Lichtes Spiel for violin and orchestra, and Dyade, for violin and double bass), and Krzysztof Penderecki (his Duo concertante, also for violin and double bass). The orchestra is the New York Philharmonic, conducted by Alan Gilbert and Michael Francis, and her duo partner is double bass virtuoso Roman Patkoló. DEUTSCHE GRAMMOPHON 477 9359

Finally, the true fan of Anne-Sophie Mutter should look no further than ASM35 Anne-Sophie Mutter: The Complete Musician, originally released in 2011 as a limited edition 40-CD collection to celebrate her 35th year of concert performance. It’s a handsome tribute to some mighty musical achievements with a program ranging from Mozart, the composer Mutter first

recorded, to new works that have been written especially for her. Available in a digital download edition, with eight hours of music.DEUTSCHE GRAMMOPHON 477 9859

Or look for the highlights in a 2CD set:DEUTSCHE GRAMMOPHON 477 9730

MULTI-TASKING MOZARTIf you’re curious about Arthur Grumiaux’s 1959 recording of Brahms and Mozart sonatas, mentioned in the program notes, you can find it on the Eloquence label. He plays violin and accompanies himself on the piano in Mozart’s sonata K481 and Brahms’s second violin sonata, and gives a more conventional performance of Grieg’s Violin Sonata No.3 with pianist István Hajdu.ELOQUENCE 476 7930

Broadcast Diary

February

Wednesday 5 February, 8pm THE LABÈQUE SISTERS IN RECITAL (2013) Katia and Marielle Labèque piano duo Gonzalo Grau and Raphaël Séguinier percussion Ravel, Glass, Bernstein

Saturday 8 February, 1pm ANNE-SOPHIE MUTTER PLAYS MOZART See this program for details

Saturday 15 February, 8pmABSOLUTELY BEETHOVENDavid Robertson conductorAustralian String QuartetStravinsky, Adams, Beethoven

Thursday 20 February, 9.30pm MOZART & SHOSTAKOVICH (2013) Dene Olding conductor Avan Yu piano Shostakovich, Mozart, Britten

SYDNEY SYMPHONY ORCHESTRA 2014 Tuesday 11 February, 6pmMusicians, staff and guest artists discuss what’s in store in our forthcoming concerts.

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SSO Live RecordingsThe Sydney Symphony Orchestra Live label was founded in 2006 and we’ve since released more than a dozen recordings featuring the orchestra in live concert performances with our titled conductors and leading guest artists, including the Mahler Odyssey cycle. To purchase, visit sydneysymphony.com/shop

Glazunov & ShostakovichAlexander Lazarev conducts a thrilling performance of Shostakovich 9 and Glazunov’s Seasons. SSO 2

Strauss & SchubertGianluigi Gelmetti conducts Schubert’s Unfinished and R Strauss’s Four Last Songs with Ricarda Merbeth. SSO 200803

Sir Charles MackerrasA 2CD set featuring Sir Charles’s final performances with the orchestra, in October 2007. SSO 200705

Brett DeanBrett Dean performs his own viola concerto, conducted by Simone Young, in this all-Dean release. SSO 200702

RavelGelmetti conducts music by one of his favourite composers: Maurice Ravel. Includes Bolero. SSO 200801

Rare RachmaninoffRachmaninoff chamber music with Dene Olding, the Goldner Quartet, soprano Joan Rodgers and Vladimir Ashkenazy at the piano. SSO 200901

Prokofiev’s Romeo and JulietVladimir Ashkenazy conducts the complete Romeo and Juliet ballet music of Prokofiev – a fiery and impassioned performance. SSO 201205

Tchaikovsky Violin ConcertoIn 2013 this recording with James Ehnes and Ashkenazy was awarded a Juno (the Canadian Grammy). Lyrical miniatures fill out the disc. SSO 201206

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

From the archives: Rückert-Lieder, Kindertotenlieder, Das Lied von der Erde SSO 201204

LOOK OUT FOR…Our second release featuring music by Brett Dean.

MAHLER ODYSSEYDuring the 2010 and 2011 concert seasons, the SSO and Vladimir Ashkenazy set out to perform all the Mahler symphonies, together with some of the song cycles. These concerts were recorded for CD and the set is now complete, together with a special disc of historical SSO Mahler performances. Available individually or as a handsome boxed set.

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Visit sydneysymphony.com for concert information, podcasts, and to read the program book in the week of the concert.

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SSO Online

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SYDNEY SYMPHONY ORCHESTRA

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 have earned the orchestra worldwide recognition for artistic excellence, most recently in the 2012 tour to China.

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 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 and Vladimir Ashkenazy. 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.

DAVID ROBERTSON Chief Conductor and Artistic Director

PATRON Her Excellency Professor Marie Bashir ac cvo

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MUSICIANS

David RobertsonCHIEF CONDUCTOR AND ARTISTIC DIRECTOR SUPPORTED BY EMIRATES

Dene OldingCONCERTMASTER

Jessica CottisASSISTANT CONDUCTOR SUPPORTED BY PREMIER PARTNER CREDIT SUISSE

Andrew HaveronCONCERTMASTER

FIRST VIOLINS Dene OldingCONCERTMASTER

Sun YiASSOCIATE CONCERTMASTER

Lerida DelbridgeASSISTANT CONCERTMASTER

Marianne BroadfootBrielle ClapsonSophie ColeAmber DavisGeorges LentzAlexander NortonAndrew HaveronCONCERTMASTER

Kirsten WilliamsASSOCIATE CONCERTMASTER

Fiona ZieglerASSISTANT CONCERTMASTER

Jenny BoothJennifer HoyNicola LewisAlexandra MitchellLéone Ziegler

SECOND VIOLINS Marina MarsdenPRINCIPAL

Emma JezekASSISTANT PRINCIPAL

Emily LongEmma HayesBenjamin LiNicole MastersPhilippa PaigeMaja VerunicaKirsty Hilton Maria DurekShuti HuangStan W KornelBiyana Rozenblit

VIOLASTobias Breider Anne-Louise Comerford Rosemary CurtinStuart JohnsonFelicity TsaiAmanda VernerRoger Benedict Justin WilliamsASSISTANT PRINCIPAL

Sandro CostantinoJane HazelwoodGraham HenningsJustine MarsdenLeonid Volovelsky

CELLOSCatherine Hewgill Leah LynnASSISTANT PRINCIPAL

Elizabeth NevilleChristopher PidcockUmberto Clerici Henry David Varema Kristy ConrauFenella GillTimothy NankervisAdrian WallisDavid Wickham

DOUBLE BASSESAlex Henery Richard LynnKees Boersma Neil BrawleyPRINCIPAL EMERITUS

David CampbellSteven LarsonDavid MurrayBenjamin Ward

FLUTES Janet Webb Carolyn HarrisEmma Sholl Rosamund PlummerPRINCIPAL PICCOLO

OBOESDiana Doherty Shefali Pryor David PappAlexandre OgueyPRINCIPAL COR ANGLAIS

CLARINETSLawrence Dobell Francesco Celata Christopher TingayCraig WernickePRINCIPAL BASS CLARINET

BASSOONSMatthew Wilkie Fiona McNamaraNoriko ShimadaPRINCIPAL CONTRABASSOON

HORNSBen JacksEuan HarveyRobert Johnson Geoffrey O’ReillyPRINCIPAL 3RD

Marnie SebireRachel Silver

TRUMPETSDavid Elton Paul Goodchild Anthony Heinrichs

TROMBONESRonald PrussingScott KinmontNick ByrneChristopher HarrisPRINCIPAL BASS TROMBONE

TUBASteve Rossé

TIMPANIRichard MillerMark RobinsonASSISTANT PRINCIPAL

PERCUSSIONRebecca Lagos

HARP Louise Johnson

BOLD = PRINCIPAL

ITALICS = ASSOCIATE PRINCIPAL

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.

To see photographs of the full roster of permanent musicians and find out more about the orchestra, visit our website: www.sydneysymphony.com/SSO_musiciansIf you don’t have access to the internet, ask one of our customer service representatives for a copy of our Musicians flyer.

22

BEHIND THE SCENES

MANAGING DIRECTOR

Rory Jeffes

EXECUTIVE TEAM ASSISTANT

Lisa Davies-Galli

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC PLANNING

Peter Czornyj

Artistic AdministrationARTISTIC ADMINISTRATION MANAGER

Eleasha Mah

ARTIST LIAISON MANAGER

Ilmar Leetberg

RECORDING ENTERPRISE MANAGER

Philip Powers

Education ProgramsHEAD OF EDUCATION

Kim Waldock

EMERGING ARTISTS PROGRAM MANAGER

Mark Lawrenson

EDUCATION COORDINATOR

Rachel McLarin

CUSTOMER SERVICE OFFICER

Amy Walsh

LibraryAnna CernikVictoria GrantMary-Ann Mead

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA MANAGEMENT

Aernout Kerbert

ORCHESTRA MANAGER

Chris Lewis

ORCHESTRA COORDINATOR

Georgia Stamatopoulos

OPERATIONS MANAGER

Kerry-Anne Cook

PRODUCTION MANAGER

Laura Daniel

STAGE MANAGER

Courtney Wilson

PRODUCTION COORDINATOR

Tim Dayman

PRODUCTION COORDINATOR

Ian Spence

SALES AND MARKETING

DIRECTOR OF SALES & MARKETING

Mark J Elliott

SENIOR SALES & MARKETING MANAGER

Penny Evans

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

GRAPHIC DESIGNER

Lucy McCullough

CREATIVE ARTWORKER

Nathanael van der Reyden

MARKETING COORDINATOR

Jonathon Symonds

ONLINE MARKETING COORDINATOR

Jenny Sargant

Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlin

BOX OFFICE SYSTEMS SUPERVISOR

Jacqueline Tooley

BOX OFFICE BUSINESS ADMINISTRATOR

John Robertson

CUSTOMER SERVICE REPRESENTATIVES

Karen Wagg – Senior CSR Michael DowlingKatarzyna OstafijczukTim Walsh

EXTERNAL RELATIONS

DIRECTOR, EXTERNAL RELATIONS

Yvonne Zammit

PhilanthropyHEAD OF PHILANTHROPY

Luke Andrew Gay

DEVELOPMENT MANAGER

Amelia Morgan-Hunn

PHILANTHROPY COORDINATOR

Sarah Morrisby

Corporate RelationsHEAD OF CORPORATE RELATIONS

Jeremy Goff

CORPORATE RELATIONS MANAGER

Janine Harris

CommunicationsPUBLIC RELATIONS MANAGER

Katherine Stevenson

DIGITAL CONTENT PRODUCER

Kai Raisbeck

SOCIAL MEDIA AND PUBLICITY OFFICER

Caitlin Benetatos

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

BUSINESS SERVICES

DIRECTOR OF FINANCE

John Horn

FINANCE MANAGER

Ruth Tolentino

ACCOUNTANT

Minerva Prescott

ACCOUNTS ASSISTANT

Emma Ferrer

PAYROLL OFFICER

Laura Soutter

PEOPLE AND CULTURE IN-HOUSE COUNSEL

Michel Maree Hryce

John C Conde ao ChairmanTerrey Arcus am

Ewen Crouch am

Ross GrantJennifer HoyRory JeffesAndrew Kaldor am

David LivingstoneGoetz Richter

SYDNEY SYMPHONY ORCHESTRA COUNCIL

Geoff Ainsworth am

Andrew Andersons ao

Michael Baume ao

Christine BishopIta Buttrose ao obe

Peter CudlippJohn Curtis am

Greg Daniel am

John Della BoscaAlan FangErin FlahertyDr Stephen FreibergDonald Hazelwood ao obe

Dr Michael Joel am

Simon JohnsonYvonne Kenny am

Gary LinnaneAmanda LoveHelen Lynch am

David Maloney am

David Malouf ao

Deborah MarrThe Hon. Justice Jane Mathews ao

Danny MayWendy McCarthy ao

Jane MorschelDr Timothy Pascoe am

Prof. Ron Penny ao

Jerome RowleyPaul SalteriSandra SalteriJuliana SchaefferLeo Schofield am

Fred Stein oam

Gabrielle TrainorIvan UngarJohn van OgtropPeter Weiss ao HonDLittMary WhelanRosemary White

SYDNEY SYMPHONY ORCHESTRA BOARD

SYDNEY SYMPHONY ORCHESTRA STAFF

23

SYDNEY SYMPHONY ORCHESTRA PATRONS

MAESTRO’S CIRCLESUPPORTING THE ARTISTIC VISION OF DAVID ROBERTSON, CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

CHAIR PATRONS

01 02 03 04

05 06 07 08

09 10

FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM,

CALL (02) 8215 4619.

07 Robert Johnson Principal Horn James & Leonie Furber Chair

08 Elizabeth Neville Cello Ruth & Bob Magid Chair

09 Emma Sholl Associate Principal Flute Robert & Janet Constable Chair

10 Janet Webb Principal Flute Helen Lynch am & Helen Bauer Chair

01 Roger Benedict Principal Viola Kim Williams am & Catherine Dovey Chair

02 Lawrence Dobell Principal Clarinet Terrey Arcus am & Anne Arcus Chair

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

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

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

06 Kirsty Hilton Principal Second Violin Corrs Chambers Westgarth Chair

n n n n n n n n n n

Peter Weiss ao Founding President & Doris WeissJohn C Conde ao ChairmanGeoff Ainsworth am Tom Breen & Rachael KohnIn memory of Hetty & Egon GordonAndrew Kaldor am & Renata Kaldor aoVicki Olsson

Roslyn Packer aoPenelope Seidler amMr Fred Street am & Mrs Dorothy StreetWestfield GroupBrian & Rosemary WhiteRay Wilson oam in memory of the late James Agapitos oam

24

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

Mr John C Conde ao

Mr Andrew Kaldor am & Mrs Renata Kaldor ao

In Memory of Matthew KrelMrs Roslyn Packer ao

Paul & Sandra SalteriScully FoundationMrs W SteningMr Fred Street am &

Mrs Dorothy StreetPeter Weiss ao & Doris WeissMr Brian & Mrs Rosemary

WhiteKim Williams am &

Catherine Dovey

PLATINUM PATRONS: $20,000–$29,999Brian AbelRobert Albert ao &

Elizabeth AlbertTerrey Arcus am & Anne ArcusTom Breen & Rachael KohnSandra & Neil Burns

BRONZE PATRONS: PRESTO $2,500–$4,999Mr Henri W Aram oam

Dr Francis J AugustusThe Berg Family Foundation in memory of Hetty GordonMr B & Mrs M ColesMr Howard ConnorsGreta DavisFirehold Pty LtdStephen Freiberg &

Donald CampbellAnn HobanIrwin Imhof in memory of

Herta ImhofGary LinnaneRobert McDougallJames & Elsie MooreMs Jackie O’BrienJ F & A van OgtropMarliese & Georges TeitlerMr Robert & Mrs Rosemary

WalshYim Family FoundationMr & Mrs T & D Yim

BRONZE PATRONS: VIVACE $1,000–$2,499Mrs Lenore AdamsonMrs Antoinette AlbertAndrew Andersons ao

Sibilla BaerDavid BarnesAllan & Julie BlighDr & Mrs Hannes BoshoffJan BowenMr Peter BraithwaiteLenore P BuckleMargaret BulmerIn memory of RW BurleyIta Buttrose ao obe

Mr JC Campbell qc & Mrs Campbell

Dr Rebecca ChinDr Diana Choquette &

Mr Robert MillinerMr Peter ClarkeConstable Estate Vineyards Dom Cottam &

Kanako ImamuraDebby Cramer & Bill CaukillMr John Cunningham SCM &

Mrs Margaret Cunningham

Lisa & Miro DavisMatthew DelaseyMr & Mrs Grant DixonColin Draper & Mary Jane

BrodribbMalcolm Ellis & Erin O’NeillMrs Margaret EppsPaul R EspieProfessor Michael Field am

Mr Tom FrancisWarren GreenAnthony GreggAkiko GregoryIn memory of Dora &

Oscar GrynbergJanette HamiltonMrs Jennifer HershonMrs & Mr HolmesAron KleinlehrerMr Justin LamL M B LampratiMr Peter Lazar am

Professor Winston LiauwDr David LuisPeter Lowry oam &

Dr Carolyn Lowry oam

Kevin & Deirdre McCann

Ian & Pam McGawMacquarie Group FoundationRenee MarkovicHenry & Ursula MooserMilja & David MorrisMrs J MulveneyMr & Mrs OrtisMr Darrol NormanDr A J PalmerMr Andrew C PattersonDr Natalie E PelhamAlmut PiattiRobin PotterIn memory of Sandra Paul

PottingerTA & MT Murray-PriorDr Raffi QasabianMichael QuaileyErnest & Judith RapeeKenneth R ReedPatricia H Reid Endowment

Pty LtdRobin RodgersLesley & Andrew RosenbergIn memory of H St P ScarlettCaroline SharpenDavid & Isabel Smithers

Robert & Janet ConstableJames & Leonie FurberIn memory of Hetty &

Egon GordonI KallinikosHelen Lynch am &

Helen BauerMrs T Merewether oam

Vicki OlssonMrs Penelope Seidler am

G & C Solomon in memory of Joan MacKenzie

Westfield GroupRay Wilson oam in memory of

James Agapitos oam

Anonymous (1)

GOLD PATRONS: $10,000–$19,999Doug & Alison BattersbyAlan & Christine BishopIan & Jennifer BurtonMichael Crouch ao &

Shanny CrouchCopyright Agency Cultural

Fund Edward & Diane FedermanNora Goodridge

Mr Ross GrantMr Ervin KatzJames N Kirby FoundationMs Irene LeeRuth & Bob MagidThe Hon. Justice AJ Meagher

& Mrs Fran MeagherMr John MorschelDrs Keith & Eileen OngMr John SymondAndy & Deirdre PlummerCaroline WilkinsonAnonymous (1)

SILVER PATRONS: $5000–$9,999Stephen J BellMr Alexander & Mrs Vera

BoyarskyMr Robert BrakspearMr David & Mrs Halina BrettMr Robert & Mrs L Alison Carr Bob & Julie ClampettEwen Crouch am &

Catherine CrouchThe Hon. Mrs Ashley Dawson-

DamerIan Dickson & Reg Holloway

Dr Lee MacCormick Edwards & Mr Michael Crane

Dr Colin GoldschmidtThe Greatorex Foundation Mr Rory JeffesJudges of the Supreme Court

of NSW J A McKernanDavid Maloney am & Erin FlahertyR & S Maple-BrownJustice Jane Mathews ao

Mora MaxwellMrs Barbara MurphyWilliam McIlrath Charitable

FoundationMr B G O’ConorRodney Rosenblum am &

Sylvia RosenblumEstate of the late

Greta C RyanManfred & Linda SalamonSimpsons SolicitorsMrs Joyce Sproat &

Mrs Janet CookeMichael & Mary Whelan TrustJune & Alan Woods Family

BequestAnonymous (1)

25

Mrs Judith SouthamCatherine StephenThe Hon. Brian Sully qc

Mildred TeitlerKevin TroyJohn E TuckeyIn memory of Joan &

Rupert VallentineDr Alla WaldmanMiss Sherry WangHenry & Ruth WeinbergThe Hon. Justice A G WhealyMs Kathy White in memory

of Mr Geoff WhiteA Willmers & R PalMr & Mrs B C WilsonDr Richard Wing

Mr Robert WoodsIn memory of Lorna WrightDr John YuAnonymous (11)

BRONZE PATRONS: ALLEGRO $500–$999David & Rae AllenMr & Mrs Garry S AshDr Lilon BandlerMichael Baume ao & Toni BaumeBeauty Point Retirement ResortRichard & Margaret BellMrs Jan BiberMinnie BiggsMrs Elizabeth BoonMr Colin G BoothDr Margaret BoothMr Frederick BowersMr Harry H BrianR D & L M BroadfootMiss Tanya BryckerDr Miles BurgessPat & Jenny BurnettEric & Rosemary Campbell

Dr Henry KilhamChris J KitchingAnna-Lisa KlettenbergMr & Mrs Giles T KrygerThe Laing FamilySonia LalDr Leo & Mrs Shirley LeaderMargaret LedermanMrs Erna Levy Sydney & Airdrie LloydMrs A LohanPanee LowDr David LuisMelvyn MadiganBarbara MaidmentHelen & Phil MeddingsDavid MillsKenneth Newton MitchellHelen MorganChris Morgan-HunnMr Graham NorthE J NuffieldDr Margaret ParkerDr Kevin PedemontDr John PittMrs Greeba PritchardMr Patrick Quinn-GrahamMiss Julie RadosavljevicRenaissance ToursDr Marilyn RichardsonAnna RoAgnes RossMr Kenneth Ryan

Barrie CarterMr Jonathan ChissickMrs Sandra ClarkMichael & Natalie CoatesCoffs Airport Security Car ParkJen CornishDegabriele KitchensPhil Diment am & Bill

ZafiropoulosDr David DixonElizabeth DonatiMrs Jane DrexlerDr Nita Durham &

Dr James DurhamJohn FavaloroMs Julie Flynn & Mr Trevor

CookMrs Lesley FinnMr John GadenVivienne GoldschmidtClive & Jenny GoodwinMs Fay GrearIn Memory of Angelica GreenMr Robert GreenRichard Griffin am

Mr & Mrs Harold & Althea Halliday

Benjamin Hasic & Belinda Davie

Mr Robert HavardRoger HenningSue HewittIn memory of Emil HiltonDorothy Hoddinott ao

Mr Joerg HofmannMr Angus HoldenMr Kevin HollandBill & Pam HughesDr Esther JanssenNiki KallenbergerMrs W G KeighleyMrs Margaret Keogh

Garry Scarf & Morgie Blaxill

Peter & Virginia ShawV ShoreMrs Diane Shteinman am

Victoria SmythDr Judy SoperDoug & Judy SotherenRuth StaplesMr & Mrs Ashley StephensonMargaret SuthersMs Margaret SwansonThe Taplin FamilyDr & Mrs H K TeyAlma Toohey Judge Robyn TupmanMrs M TurkingtonGillian Turner & Rob BishopRonald WalledgeIn memory of Denis WallisThe Wilkinson FamilyEvan Williams am &

Janet WilliamsDr Edward J WillsAudrey & Michael Wilson

Dr Richard WingateDr Peter Wong &

Mrs Emmy K WongGeoff Wood & Melissa WaitesMrs Robin YabsleyAnonymous (29)

List correct as of 17 January 2014

Vanguard CollectiveJustin Di Lollo ChairKees BoersmaDavid McKeanAmelia Morgan-HunnJonathan PeaseSeamus R QuickChloe Sasson

MembersDamien BaileyMar BeltranEvonne BennettNicole BilletDavid BluffAndrew BraggPeter BraithwaiteBlake Briggs

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

TO FIND OUT MORE ABOUT BECOMING A

SYDNEY SYMPHONY ORCHESTRA PATRON, PLEASE

CONTACT THE PHILANTHROPY OFFICE ON (02) 8215 4674

OR EMAIL PHILANTHROPY@SYDNEYSYMPHONY.COM

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Andrea BrownProf. Attila BrungsHelen CaldwellHilary CaldwellHahn ChauAlistair ClarkPaul ColganJuliet CurtinAlistair FurnivalAlistair GibsonSam GiddingsMarina GoTony GriersonLouise HaggertyRose HercegPhilip HeuzenroederPaolo HookePeter Howard

Jennifer HoyScott JacksonJustin JamesonAernout KerbertTristan LandersGary LinnanePaul MacdonaldKylie McCaigRebecca MacFarlingHayden McLeanTaine MoufarrigeNick NichlesTom O’DonnellKate O’ReillyLarissa PoulosJingmin QianLeah RanieMichael Reede

Paul ReidyChris RobertsonDr Benjamin RobinsonEmma RodigariJacqueline RowlandsKatherine ShawRandal TameSandra TangMichael TidballJonathan WatkinsonJon Wilkie

SALUTE

PRINCIPAL PARTNER

The Sydney Symphony Orchestra is assisted by the

Commonwealth Government through the Australia Council,

its arts funding and advisory body

GOVERNMENT PARTNERS

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

REGIONAL TOUR PARTNER MARKETING PARTNER

❝…brass playing is a very physical thing.

❞and second horns together in the tonic, or ‘home’ key, third and fourth together in a related key. First and third are traditionally considered ‘high’, while second and fourth are ‘low’.

Recently appointed to the position of section horn, Rachel is discovering that playing in the SSO requires a degree of flexibility. ‘I’m definitely most comfortable playing second or fourth, but sometimes I’ll be required to bump the first horn.’ (‘Bumping’ means sharing the first horn part between two players.) ‘The bumper won’t play any of the big solos, but we do some of the grunt work to give the first horn a break.’ That might mean taking over some of the really loud notes, or occasionally helping out in the middle of a phrase to disguise the need to take a breath. ‘It’s satisfying when you can assist your first horn and help make them feel comfortable.’

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‘When my niece asks what I do for a job, I blow a raspberry and tell her, “Someone pays me to do that all day.”’ French horn player Rachel Silver has her tongue firmly in cheek, of course. It’s a whole lot more complicated than that. ‘Actually, brass playing is a very physical thing. It involves the whole body – using big muscles to take in a lot of air and blow it out, with the vibration of your lips to produce the sound. Smaller movements with little muscles around the embouchure help make sure we hit the right note.’

As with many instruments, playing the horn for a long time

can result in physical changes to a musician’s body. ‘If you use a finger hook [to support the weight of the instrument], you can end up with a bent little finger.’ Or too much pressure on the mouthpiece, for instance, and a pair of small crescent moon-shaped indentations may appear on the lips. Check twice next time you’re talking to a brass player!

The internal structure of an orchestral horn section dates back to a time when crooks (sections of tubing) were used to change the key in which the instrument was playing. The horns would play in pairs – first

GRUNT WORKRachel Silver, recently appointed to the SSO horn section, finds herself doing some of the heavy lifting.

ORCHESTRA NEWS | JANUARY–FEBRUARY 2014

SSO Bravo! #1 2014 Insert_21Jan.indd 1 22/01/14 2:44 PM

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en Vanguard took members and guests on a sensory adventure, matching Brokenwood Wines and Young Henry’s beer with music played by an ensemble of SSO musicians. Dan Hampton (Young Henry’s), Justin Di Lollo (Vanguard Chair), and Oscar MacMahon (Young Henry’s) clearly enjoyed the night!

Welcome to our 2014 season – and what a season it promises to be, under the leadership of our new Chief Conductor and Artistic Director, David Robertson. From Strauss’s epic opera Elektra to the film music of John Williams, from the enduring mastery of Beethoven and Brahms to a commissioned work celebrating our Indigenous culture, Jandamarra by Paul Stanhope, we aim to offer something that will inspire everyone who loves to hear live orchestral music.

As I look ahead at this year’s feast of musical offerings, I pay tribute to the extraordinary talents and commitment of our players, administrators and artists. And I also thank you, our audience, for your contribution and support for your orchestra. An inspiring performance requires not just great music making on stage, but also an engaged audience, full of people who come to see, hear and love what these talented individuals create when they come together in the name of that thing which we love above all – music.

So welcome, and enjoy this performance and the forthcoming season, with our thanks and commitment to providing you with a year of outstanding artistic experiences.

RORY JEFFES

From the Managing Director Education HighlightWhat’s my motivation?There are motives, and then there are motives. What does it mean when a composer uses a motive in his or her composition? This was the question explored by participants in our Sinfonietta Composition Project at the end of 2013. Supported by Leighton Holdings and CAL Cultural Fund, the Sinfonietta Project is now in its eighth year, and in 2013 attracted the highest ever number of applicants. Fourteen students from around Australia, aged 13 to 17, were selected to take part in a three-day intensive workshop under the mindful care of Richard Gill, and with the expert assistance of our Fellowship quartet. Two teachers also travelled from Tasmania with their students to observe the workshops.

The string quartets of Haydn and Shostakovich were examined for examples of rhythmic and harmonic motives, before each participant had the opportunity to try their own hand, composing for performance by the string quartet. Working with the Fellows, said one participant, ‘gave a sense of realism to what, until then, had been quite an abstracted practice’. There’s clearly no substitute for the real thing! Another student, from Melbourne, acknowledged the depth and breadth of the program: ‘I learn much more about music from the Sinfonietta project than any other class I’ve been to at the specialist music school I attend.’

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Richard Gill with the 2013 Sinfonietta composers

SSO Bravo! #1 2014 Insert_21Jan.indd 2 22/01/14 2:44 PM

The ScoreAlexander NevskyThis year we’ve planned four concerts with an overt film connection, but there’s a fifth concert with a hidden connection: Russian Daydreams in March.

In 1938 Prokofiev – newly returned to Russia from a visit to Hollywood – was invited by film director Sergei Eisenstein to write the music for Alexander Nevsky. The result has become a cult classic among film buffs and is still regarded as one of the greatest collaborations between composer and director in the history of cinema. (So closely did they work, Eisenstein would often cut his shots to the music rather than vice versa.)

Thanks to the machinations of history, Prokofiev’s music has also survived in the concert hall. Not long after the December 1938 premiere, the Nazi-Soviet pact of 1939 was signed and the film – which told the story of the Russians’ victory over the Teutonic knights in 1242 – was withdrawn. But Prokofiev salvaged the most powerful moments of his score to create a seven-movement cantata for mezzo-soprano, chorus and orchestra.

Eisenstein declared Prokofiev ‘a perfect composer for the screen’, saying that his music was never merely illustrative but embodied the emotion of the events on screen. And even without the striking imagery of the film, the cantata conveys the dramatic range of the story: from the tragedy of Russia under oppression to the Battle on the Ice and the triumph of victory.

Russian Daydreams Master Series 12, 14, 15 March | 8pm

Artistic Focus

in concert’ presentations (West Side Story is the other), chief conductor David Robertson will set the tone in February when he conducts and compères a concert hall program dedicated to the music of John Williams.

John Williams’ film scores include Jaws, E.T., Superman and Schindler’s List, to name just a few, and David is in awe of his skill as a composer. ‘His range is without bounds, his inspiration seems unending, and his power to unlock our emotions is breathtaking.’ He says Williams understands that when we enter a movie theatre, we become aware of sound in a different way, and open ourselves to the complete experience of a film. Williams ‘finds just the right combination of sounds and timbres to communicate with us on a very deep emotional level. Those moments in cinema when people say “I couldn’t help but cry” are often brought on by his music or framed by it.’

28 Feb, 1 MarRobertson conducts John Williams: Music from the Movies

2, 3 MayStrictly Luhrmann: Music from the Movies

26, 27 SepThe Matrix Live: Film in Concert

7, 8 NovWest Side Story: On Stage and Screen

More info: bit.ly/SSOfilmmusic

‘Never send a human to do a machine’s job.’ So says Agent Smith in a chilling monotone in The Matrix. With this advice he would surely find himself at odds with conductor Frank Strobel, who joins us in September to conduct the film in concert.

It’s true that a live orchestra accompanying a big screen picture requires a machine-like synchronicity between orchestra and film, but Frank argues there’s still plenty of room for spontaneity. ‘Similar to an operatic performance, I need to be able to shape and structure a work and to uphold its tension, without having the feeling of being at the movie’s mercy. And it is especially important to me that a performance takes place without any additional technical aids, such as a click track in my ear or a visible time code on the monitor – for musicality’s sake.’

So without the usual mechanical or electronic assistance, how is the necessary precision achieved to play in time with the picture? ‘Synchronicity can be achieved with a precise knowledge of the film, plentiful (often more than a thousand) synchronicity pointers in the score, exact tempo specifications (preferably metronomic indications) and the aforementioned feeling for movement and mounting in the picture. Spontaneity does not need to suffer because of this.’

In a year featuring two ‘film

SSO GOES TO THE MOVIES

David Robertson will present highlights from John Williams’ film scores in his first visit to Sydney as chief conductor. (Pictured: Alex Mitchell and Emma Jezek)

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SSO Bravo! #1 2014 Insert_21Jan.indd 3 22/01/14 2:45 PM

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Operating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, Hobart & Darwin

EDITOR Genevieve Lang Huppert sydneysymphony.com/bravo

NEWBIESWe welcome Rachel Silver (horn) and Amanda Verner (viola) to the permanent ranks of the SSO, following successful completion of their trials.

FAREWELLSIn December 2013 we farewelled three of the orchestra’s longest-serving musicians – Julie Batty (first violin), Robyn Brookfield (viola) and Colin Piper (percussion). Combined, they have given the orchestra almost 100 years of service. We thank them for their dedication, inspiration and wonderful collegiality over all these years, and wish them the very best for their future retirement projects.

And at the end of this month we will bid a fond farewell to our director of artistic planning, Peter Czornyj, who is returning with his family to the United States to take up the same role at the Dallas Symphony Orchestra.

TURNING JAPANESERosamund Plummer (SSO Principal Piccolo) has been selected as the very first Global Winds Artist in Residence at the Tokyo Academy of Instrumental Heritage Music. Rose will travel to Japan and America for three months to study the ryuteki, a traditional Japanese transverse bamboo flute. This award is an initiative of the department of mediæval Japanese music at Columbia University, which hopes to seed high profile Western orchestras with musicians who can play traditional Japanese instruments and thus perform specialised music. Rose is currently learning as much Japanese language as possible to get the most out of daily lessons with her ryuteki mentor in Tokyo. がんばって、ローズ!

MOVIN’ ON UPWe can report exciting times for our most recent crop of Fellowship alumni, with multiple successes following their time with SSO. The string Fellows have all been

accepted into a winter residency at The Banff Centre in Canada; Som Howie (clarinet) has won a position in the Southbank Sinfonia in London for 2014; and Laura van Rijn (flute) is taking up a contract position as Associate Principal Flute with the Auckland Philharmonia. Bravi tutti!

PARK & DINEDid you know…? If you’re an SSO subscriber you can take advantage of InterContinental Sydney’s exclusive park and dine package. Enjoy valet parking when combined with a meal at Cafe Opera, just a short stroll from the Sydney Opera House. Call (02) 9240 1396 to find out more about this deal from our accommodation partner.

HIGH TEAOn 9 December we thanked our wonderful and dedicated volunteers with a special Christmas high tea backstage at the Sydney Opera House. Volunteers are special members of the SSO family whose support is invaluable.

CODA

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