FRENCH IMPRESSIONS

THURSDAY AFTERNOON SYMPHONY

Thursday 3 September 2015

EMIRATES METRO SERIES

Friday 4 September 2015

concert diary

French ImpressionsRAVEL Rapsodie espagnole DEBUSSY Nocturnes BERLIOZ Te Deum

Charles Dutoit conductor • Joseph Kaiser tenor Sydney Philharmonia Choirs • Sydney Children’s Choir Tasmanian Symphony Orchestra Chorus

Thursday Afternoon Symphony

Thu 3 Sep 1.30pmEmirates Metro Series

Fri 4 Sep 8pmPre-concert talk by David Garrett 45 minutes before each performance

Roman TrilogyBERLIOZ Roman Carnival – Overture SCHUMANN Cello Concerto RESPIGHI Roman Festivals Fountains of Rome Pines of Rome

Charles Dutoit conductor Daniel Müller-Schott cello (PICTURED)

APT Master Series

Wed 9 Sep 8pm Fri 11 Sep 8pm Sat 12 Sep 8pmPre-concert talk by David Larkin at 7.15pm

Banned SSO Fellows Chamber Concert

Music by Schulhoff, Pavel Haas, Martinů and Mendelssohn, with the Sextet from Richard Strauss’s Capriccio.

Roger Benedict Artistic Director

Sat 19 Sep 6pmUtzon Room, Sydney Opera House

Anne-Sophie Mutter plays DvorákDVOŘÁK Romance for violin DVOŘÁK Violin Concerto BEETHOVEN Symphony No.3 (Eroica)

Jakub Hrůša conductor Anne-Sophie Mutter violin

Special Event Premier Partner Credit Suisse

Wed 23 Sep 8pm Fri 25 Sep 8pm Sat 26 Sep 8pm Pre-concert talk by Genevieve Huppert at 7.15pm

Sibelius 2 Robertson Conducts

SCULTHORPE Sun Music II WALTON Violin Concerto SIBELIUS Symphony No.2

David Robertson conductor Andrew Haveron violin (PICTURED)

Thursday Afternoon Symphony

Thu 8 Oct 1.30pmEmirates Metro Series

Fri 9 Oct 8pmGreat Classics

Sat 10 Oct 2pm Pre-concert talk by David Robertson 45 minutes before each performance

Cirque de la Symphonie Cirque de la Symphonie returns to Australia with a show of favourites and surprises. Enjoy elite performers from around the world presenting dazzling displays of circus artistry and skill with your Sydney Symphony Orchestra.

Presenting Partner Wilson Parking

Thu 17 Sep 7pm Fri 18 Sep 7pm Sat 19 Sep 2pm

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Anne-Sophie Mutter and the Camerata Academica Salzburg perform Mozart’s Violin Concerto No.1

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Rob GurneyDivisional Vice President Australasia Emirates

2015 marks the 13th anniversary of Emirates’ partnership with the Sydney Symphony Orchestra. We’re proud to continue one of the longest-running partnerships for the SSO and to remain the naming sponsor of the SSO’s Emirates Metro concert series.

Emirates connects travellers around the globe, bringing people together to discover, enjoy, and share experiences.  Our partnership with the SSO is about connecting with you – our customers.

The Emirates Metro Series showcases a wonderful array of highly regarded compositions, including many key European composers. We hope that tonight’s performance prompts you to consider a future trip to Europe, where we fly to over 35 destinations with the recent additions of Oslo, Brussels and Budapest, or internationally to more than 140 destinations in over 80 countries.

Like the SSO, Emirates specialises in first-class entertainment, taking out the award for best inflight entertainment for the tenth consecutive year at the international Skytrax Awards in 2014.

With up to 2,000 channels to choose from, on 28 flights per week to New Zealand and 84 flights per week to Dubai, including a double daily A380 from Sydney, those flying on Emirates will even be able to watch SSO concerts on board.

We are dedicated to the growth of arts and culture in Australia and we’re delighted to continue our support of the SSO. We encourage you to enjoy as many performances as possible over the year.

THURSDAY AFTERNOON SYMPHONY THURSDAY 3 SEPTEMBER, 1.30PM

EMIRATES METRO SERIES FRIDAY 4 SEPTEMBER, 8PM

SYDNEY OPERA HOUSE CONCERT HALL

Friday’s performance will be broadcast across Australia by ABC Classic FM.

Pre-concert talk by David Garrett in the Northern Foyer 45 minutes before each performance. Visit sydneysymphony.com/speaker-bios for more information.

Estimated durations: 16 minutes, 25 minutes, 20-minute interval, 52 minutes The concert will conclude at approximately 3.30pm (Thu), 10pm (Fri).

COVER IMAGE: The Rue Saint-Denis, Celebration of 30 June 1878 by Claude Monet

FRENCH IMPRESSIONSCharles Dutoit conductor Joseph Kaiser tenor Sydney Philharmonia Choirs Tasmanian Symphony Orchestra Chorus Sydney Children’s Choir

MAURICE RAVEL (1875–1937) Rapsodie espagnole (Spanish Rhapsody)

Prélude à la nuit (Prelude to the Night) – Malagueña Habanera Feria

CLAUDE DEBUSSY (1862–1918) Nocturnes

Nuages (Clouds) Fêtes (Festivals) Sirènes (Sirens)

Women of the Sydney Philharmonia Choirs

INTERVAL

HECTOR BERLIOZ (1803–1869) Te Deum, Op.22

Joseph Kaiser, tenor Sydney Philharmonia Choirs Tasmanian Symphony Orchestra Chorus Sydney Children’s Choir

2015 concert season

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With his title ‘Nocturnes’ Debussy was not thinking of the nocturnes of Chopin or John Field but rather ‘the various impressions and special effects of light that the word suggests’ – the world of Whistler’s Nocturnes. The first movement Nuages (Clouds), for example, ‘renders the immutable aspect of the sky and the slow, solemn motion of the clouds, fading away in grey tones lightly tinged with white’.

Nocturne: Blue and Silver – Chelsea (c.1871) by James Abbott McNeill Whistler

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INTRODUCTION

French Impressions Ravel, Debussy and Berlioz

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Modern audiences are accustomed to orchestral concert

programs that include a concerto – usually in the middle, neatly

framed by an ‘overture’ and a symphony. But sometimes we

claim the opportunity to showcase the orchestra itself and turn

it into the ‘virtuoso’ of the occasion. That is what we have in this

week’s concerts: three French masters of orchestral writing and

three works that show off an orchestra at its very best. (Although

we are not entirely without guests…)

Ravel’s Rapsodie espagnole, with its lavish orchestral colours

and sensuous musical gestures paints a brilliant picture of

Spain – all the more impressive since its composer hadn’t visited

Spain for himself.

Debussy’s Nocturnes find inspiration in visual impressions.

The kindred spirit of this music is the series of Nocturnes

paintings by Whistler, such as the one opposite. As with Ravel,

Debussy’s colourful use of the orchestra is exceptional and it

represents an approach that was new for the 20th century.

In the final movement, a wordless female chorus is added to

the palette – providing the magical and seductive voices of the

sirens of the sea.

In addition to conductor Charles Dutoit (always a welcome

visitor to Sydney), we are joined this week by Canadian tenor

Joseph Kaiser, two of Sydney’s finest choirs and, from Hobart,

the Tasmanian Symphony Orchestra Chorus. The instruments

of the orchestra and the grand organ are augmented by the

marvellous sound of the human voice. Everything comes

together for the epic conception of Berlioz’s Te Deum in the

second half. This is music for celebrations and important

occasions: joyous, but also magnificent. By the end, we’re all

likely to be in agreement with the composer, who thought the

finale ‘unquestionably the most imposing thing’ he had ever

produced.

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ABOUT THE MUSIC

KeynotesRAVELBorn Ciboure, 1875 Died Paris, 1937

Ravel was born to Swiss and Basque parents in a French village just a stone’s throw from Spain. Although short in stature, he was the best-dressed of all the French composers of his day, and he delighted in collecting mechanical toys and exotic ornaments for his home. (‘This room,’ he would say to his guests, ‘is all fake Japanese!’) His  music shows a corresponding enthusiasm for jewel-like surface detail, delicacy of expression and exotic effect. And above all, he had an enduring fascination for Spain.

SPANISH RHAPSODY

Ravel completed the Rapsodie espagnole when he was 32. It was his first published work for full orchestra, but already it was clear that he had a wonderful ear for instrumental colour and brilliant effect. Ravel had yet to set foot in Spain, but he managed to capture the Spanish sound in music that conveyed a surprising authenticity of character.

A combination of effervescent, sharply defined Spanish rhythms and some of the subtlest orchestration in the repertoire (‘nervous and feline…as smooth as silk’ wrote Roland-Manuel) contributes to the charm of this music.

The Rapsodie is in four movements: a delicate Prelude to the Night, followed by two movements inspired by flamenco and traditional Spanish dances, and a dazzling Spanish festival (feria) to conclude.

Maurice Ravel Rapsodie espagnole (Spanish Rhapsody)Prélude à la nuit (Prelude to the Night) – Malagueña Habanera Feria

Maurice Ravel was born in Basque country, on the French side of the Spanish border. But when he composed Rapsodie espagnole – one of the most brilliant orchestral portraits of Spain ever written – he had yet to visit the country. Ravel’s Spain was a Spain of the imagination.

On the other hand, when the great Spanish composer, Manuel de Falla, heard Claude Debussy and Ricardo Viñes play the piano duo version of the Rapsodie (in 1907, shortly before it was to be premiered in a concert of the Société nationale de musique) he was greatly surprised by its Spanish character. He puzzled over what he called the music’s ‘subtly genuine Spanishness’ until he met Ravel’s mother, a Basque woman who’d sung Spanish folksongs to Ravel when he was in his cradle. Aha!

Among those folksongs was the habanera, which had been in vogue when Ravel’s mother lived in Madrid, and the third movement of the Rapsodie, the Habanera, was the first to have been composed, in 1895, beginning life as a work for two pianos.

The habanera was a popular dance form that had inspired other composers before Ravel; Emmanuel Chabrier composed a very famous example. Ravel’s Habanera is more dissonant and shadowy – a  ghost of a habanera. And if it sounds strangely familiar, that might be because Debussy borrowed Ravel’s score and transferred some of its effects to his piano piece Soirée dans

Dancers, musicians, fireworks and lights – this could be the world of Ravel’s Feria. The Joyous Festival (c.1906) by Gaston La Touche.

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Grenade (Evening in Granada) in 1903. No wonder Ravel pointedly added the original date ‘1895’ to the top of his own Habanera when he reused it for the Rapsodie in 1907. He did not, however, repeat the quotation from Baudelaire that had graced the original: ‘Au pays parfumé que le soleil caresse…’ (In the perfumed land that the sun caresses…).

The descending four-note motif that begins the haunting Prelude to the Night – an effect like the mournful pealing of bells – plays an important role in the Rapsodie as a whole. Ravel alludes to it towards the end of the Malagueña and again in the finale. The Prelude uses the full orchestra but with delicate gestures that never overwhelm with sound.

The Malagueña and its plucking ‘guitars’ emerges from the dying notes of the Prelude. In this tiny movement Ravel embeds such jewels as a fleeting solo for the cor anglais, and a deft, upward flourish brings it to a finish.

The Habanera – marked ‘quite slow and in a weary rhythm [d’un rythme las]’ provides a slow introduction to the finale, the Feria, at which point Ravel shows his wild streak. A ‘feria’ is a fiesta, a festival, but it also suggests the fairground and this is tumultuous music with a tremendous kinetic energy, even when, halfway through, a flamenco singer shows up and the movement takes on an improvisatory feel.

The Rapsodie espagnole is often cited as one of the works that Ravel composed specifically for orchestra (as opposed to orchestrating existing piano music, as he did with his Mother Goose ballet, for example, or the Alborada del gracioso). But  the scenario is more complicated than that. Ravel did begin the Rapsodie with a piano duo in mind; early on, however, Viñes suggested that it might work better in orchestra form, given the ‘awkwardness’ of some of the piano writing. (Roger Nichols suggests this assessment may have come about from Ravel and Viñes attempting to play it on one piano, with a tangle of hand-crossing as a result!) Ravel took the advice and the result was his first published orchestral work, and a brilliant debut in the symphonic medium.

ADAPTED FROM A NOTE BY YVONNE FRINDLE © 2014

Ravel’s Rapsodie espagnole calls for two flutes, two piccolos, two oboes,

cor anglais, two clarinets, bass clarinet, three bassoons and sarrusophone;

four horns, three trumpets, three trombones and tuba; timpani and

percussion (bass drum, cymbals, snare drum, triangle, tambourine,

tam-tam, xylophone, castanets); two harps, celesta and strings.

The SSO gave the first Australian performances of the Malagueña and

Habanera in 1945, conducted by Ernest MacMillan. We first performed the

complete Rapsodie espagnole in 1948 under Eugene Goossens, and most

recently in 2008 conducted by Gianluigi Gelmetti. Katia and Marielle

Labèque played the piano duo version in an SSO recital in 2014.

Ravel in 1907 – his ‘Spanish Year’, which saw the creation of Rapsodie espagnole and the opera L’Heure espagnole (The Spanish Hour).

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KeynotesDEBUSSYBorn St Germain-en-Laye, 1862 Died Paris, 1918

In attempting to establish a palpably ‘French’ musical style in the face of the Austro-Germanic tradition, Debussy brought about the birth of modern music. He first heard the sound of gamelan music at the Paris Exposition of 1889, and this prompted him to adopt non-traditional scales and free-floating effects. In both his orchestral and his piano music he explored new instrumental and harmonic colours, and his style has often been compared with that of the Impressionists in visual art, even though Debussy himself hated the term ‘Impressionism’.

NOCTURNES

A nocturne is music that evokes the night (literally ‘nocturnal’). Its origins can be found in 18th-century serenades but the title is most strongly associated with the piano nocturnes of Chopin in the 19th century. It wasn’t long before Whistler had adopted it, together with other musical terms such as ‘symphony’, for his paintings. This is the heritage of Debussy’s Nocturnes from 1899: three evocative orchestral pieces in which he acknowledges a debt to the world of visual art.

The central movement (Festivals) is vibrant and brilliantly coloured. (In this concert it’s interesting to compare it with the Feria of Ravel’s Rapsodie espagnole.) It’s framed by shadowy and floating music in Clouds and the sensuous and pulsing effects of Sirens. In the final movement the orchestra is joined by a wordless female chorus.

Claude Debussy NocturnesNuages (Clouds) Fêtes (Festivals) Sirènes (Sirens)

Women of the Sydney Philharmonia Choirs

Debussy completed the Nocturnes on 15 December 1899 at three in the morning. Nuages and Fêtes were first performed in December the following year. It wasn’t until October 1901 that all three Nocturnes (including the movement with wordless female chorus – Sirènes) were performed in public. In more than a symbolic sense, however, the Nocturnes can be considered the first major work of the 20th century. In this piece are many of the features which mark a break with the 19th century – a subtler sense of form, non-directional harmony, less assertive melody, and the elevation of the importance of orchestral colour. As foreshadowed in Debussy’s earlier works, there is an acceptance of sound as something to luxuriate in, rather than a Classical-Romantic notion of sound as something to be mobilised in the pursuit of a statement or climax.

The Nocturnes were originally conceived and drafted as a triptych, Scènes au crépuscule (Scenes at twilight), inspired by poems by Henri de Régnier. A phrase from Régnier’s poems which speaks of ‘the brilliance of angry tambourines and sharp trumpet calls’ seems to be reverberating in the Fêtes movement of Nocturnes, written some years later. In 1894 Debussy wrote to the Belgian violinist Ysaÿe:

I am working at three nocturnes for violin and orchestra that are intended for you; the first is scored for strings, the second for three flutes, four horns, three trumpets and two harps; the third combines both these groups. This is, in fact, an experiment in the various arrangements that can be made with a single colour – what a study in grey would be in painting.

The reference to painting is notable. In few other works is the epithet ‘impressionist’, borrowed from painting, more appropriate. One writer goes so far as to say that even without the titles a listener could form a pretty good idea of the suggested subjects – the march on muted trumpets, accompanied by harp, lower strings and timpani in Fêtes, for example, undoubtedly represents the approach and passing of a procession.

Debussy did not intend the title Nocturnes to be understood in the sense of a Chopin nocturne. The title probably has more to do with a series of Whistler paintings of the same name. [See page 6 for an example of one of these.] The composer himself said:

The title Nocturnes is to be interpreted here in a general, and more particularly, in a decorative sense. Therefore, it is not meant to designate the usual form of the nocturne, but rather all the

12

various impressions and the special effects of light that the word suggests.

The intent of these works is illustrative, without the emotional involvement of the late Romantic tone-poets. ‘Nuages renders the immutable aspect of the sky and the slow, solemn motion of the clouds, fading away in grey tones lightly tinged with white – the composer’s words find musical expression in the slowly changing background of rootless, floating chords which underlie the recurring tone of the cor anglais. Classical-Romantic distinctions between theme and texture are irrelevant in the smooth accompaniment; the cor anglais call never evolves into a melody. There is a whole new range of string colours here – delicate combinations of bowed and pizzicato effects, harmonics, non-standard divisions of the string forces. A complete change of colour and a new pentatonic theme on flute and harp mark an obvious new section in the music, and the movement closes with merely a resumé of the opening material. There is no progression to a clearly marked cadence at the end, but rather a gradual disintegration of elements, as the cor anglais motif breaks down into smaller and smaller particles.

In complete contrast with Nuages and its ‘study in grey’, Fêtes gives us an almost kaleidoscopic display of momentarily bright colours. Once more the composer supplies a description:

Fêtes gives us the vibrating, dancing rhythm of the atmosphere with sudden flashes of light. There is also the episode of the procession (a dazzling, fantastic vision) which passes through the festive scene and becomes merged in it. But the background remains persistently the same: the festival with its blending of music and luminous dust participating in the cosmic rhythm.

A brisk theme on clarinets and cor anglais against a rhythmic accompaniment is later taken up by other instruments. After a harp glissando, the activity dies down and the march approaches as if from afar. This builds up and takes us back into the racy opening material. At the end there is a gradual atomising of material and dulling of colour. A ghost of the march can be heard on the tambour against descending lower strings. Muted trumpets and muted horns play single chords, mere specks of colour, then there is a dry tap of the timpani, a touch of the cymbal and the piece disappears into silence with a low pizzicato note.

Sirènes evolves almost as a continuum; it swells and ebbs, rather than marking out a path; the melody grows and decays by the addition or alteration of small details. It is understandable how turn-of-the-century listeners, accustomed to more definition in form, could have regarded this music as impressionistic. It is possible that the use of wordless female voices in this last Nocturne was suggested to Debussy not only by Régnier’s L’Homme et la sirène, but also by Swinburne’s poem Nocturne, in which love

The intent of these works is illustrative, without the emotional involvement of the late Romantic tone-poets.

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is symbolised by a mermaid rising from the sea. Debussy wrote that this last movement ‘depicts the sea and its countless rhythms and presently, amongst the waves silvered by moonlight… the mysterious song of the sirens as they laugh and pass on.’

Within the value system of the Classical-Romantic period, Debussy’s music was at first seen by some as negative, even morbid. Fluent rather than dramatic, plastic rather than constructed, it is the very antithesis of the positive striving of, say, a Beethoven or a Bruckner. Yet Debussy’s innovations laid the foundations for a new ethos in Western music and for new techniques of musical language, opening up for the 20th century many new vistas for exploration.

GORDON KALTON WILLIAMS SYMPHONY AUSTRALIA © 1998

Nocturnes calls for three flutes (one doubling piccolo), two oboes, cor anglais, two clarinets and three bassoons; four horns, three trumpets, three trombones and tuba; timpani and two percussionists; two harps; strings and female chorus.

The SSO performed the first two movements of Debussy’s Nocturnes in 1941, conducted by Edgar Leslie Bainton. The following year, Bernard Heinze conducted the complete work in a concert with the women of the Hurlstone Choral Society (now Sydney Philharmonia Choirs) and the ABC Wireless Chorus. Our most recent performance of Nocturnes was in 1999, conducted by Hiroyuki Iwaki, and in the 2008 Symphony in the Domain concert we performed Fêtes, conducted by Jonathan Stockhammer.

Portrait sketch of Debussy (1913) by Ivan Thiele

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Hector Berlioz Te Deum, Op.22 Te Deum (Hymn) Tibi omnes (Hymn) Dignare Domine (Prayer) Christe, rex gloriae (Hymn) Te ergo quaesumus (Prayer) Judex crederis (Hymn and Prayer)

Joseph Kaiser tenor Sydney Philharmonia Choirs Tasmanian Symphony Orchestra Chorus Sydney Children’s Choir

Te Deum

The Te Deum laudamus, beginning ‘we praise Thee, O Lord’, is an ancient Catholic liturgical text, a Latin hymn of praise and thanksgiving, to the Father and the Son, in rhythmical prose. Tradition (rejected by modern scholarship) ascribes its authorship to St Ambrose, Bishop of Milan, for the baptism of St Augustine in 386. As well as forming part of the liturgy for Matins, the Te Deum is often sung on celebratory and ceremonial occasions. One of the most notorious performances was in 1687, when Lully, conducting his Te Deum in the presence of Louis XIV, struck his foot with the staff he used to beat time – gangrene set in, and Lully died.

Berlioz’s Te Deum and the Two Napoleons

We do not know exactly why the agnostic Berlioz decided, in 1849, to compose a setting of the Te Deum. He had no commission, nor a definite hope of a performance. Berlioz was well aware of the place of the Te Deum in French ceremonial occasions. His teacher Le Sueur had contributed to the large-scale music for public manifestations of the French Revolution’s ‘religion of humanity’, and Berlioz himself was repeatedly drawn to monumental music, as in his Grande messe des morts (Requiem) of 1837. The Requiem was a government commission commemorating both an assassinated French general and the memory of the victims of the 1830 Revolution, also celebrated by Berlioz in his 1840 Symphonie funèbre et triomphale.

Berlioz’s Te Deum has Napoleonic associations. The composer welcomed the accession to power of Louis-Napoleon, in the aftermath of the 1848 Revolution. But a series of Imperial ceremonies he hoped might become a pretext for the Te Deum brought disappointments: Louis Napoleon’s marriage, his inauguration as President, and finally his coronation as Emperor.

In any case, it was not the sometimes farcical nephew Berlioz associated with his music, but the great Napoleon Bonaparte.

KeynotesBERLIOZBorn La Côte-Saint-André, 1803 Died Paris, 1869

Berlioz set off for Paris when he was 18, ostensibly to study medicine (his father’s preference) but in reality following a musical path that would result in him becoming the ‘arch-Romantic’ composer of his age. Despite the fact that his main instrument was the guitar (he also played piano and flute, but badly), he became a master in the innovative use of the orchestra (he literally wrote the book) as well as a conductor. He’s best known for his ‘autobiographical’ Symphonie fantastique, but Berlioz’s dramatic instincts also emerged in concert music such as Roméo et Juliette, operas, and music on an epic scale for civic occasions.

TE DEUM

The Te Deum is a hymn of praise, often sung for celebratory and ceremonial occasions. Musically it presents an opportunity for grand and joyous gestures and, in Berlioz’s case, a pretext for the amassing of hundreds of instrumentalists and singers to impressive effect!

Berlioz organises his Te Deum in a distinctive pattern of alternating ‘hymns’ and ‘prayers’ and he has reordered the Latin text to accommodate the design. The tenor sings before the finale in the prayer ‘Te ergo quaesumus’. The organ plays a significant role from the outset, and its preludes and interludes provide important contrasts of texture and colour.

Turn to page 20 to follow the text and translation.

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Some of the ideas to which Berlioz returned for his Te Deum setting came from early projects of ‘Musical funerary rites in memory of France’s men of renown’, and a Napoleonic march.

Berlioz had been upset by the convulsions following the July Revolution of 1848 – they had revived in his mind ideas of military glory. Berlioz’s English biographer David Cairns thinks Berlioz’s setting of the Te Deum, in 1849, was associated with these ideas, together with his passion for musical solemnities on a massive scale, and the need to reassert ancient values in a time of unrest and philistinism.

The First PerformanceThe Te Deum waited six years for a performance. In 1846 Berlioz had conducted his Requiem in the Church of St Eustache in Paris, and it was there that the Te Deum was eventually premiered, on 30 April 1855, as a kind of unofficial launching of the Paris International Exhibition.

There was an orchestra of 150, a double chorus of 200, and 600 children for the third choir. [Our performances feature more than 230 adult choristers and nearly 100 children.] The layout was part of Berlioz’s conception: the orchestra and the organ were at opposite ends of the church, and the composer insisted that the two choirs, at the same end as the orchestra, should be isolated from the third choir, of children, with two or three choir masters ‘to lead it and to communicate to it the conductor’s beat’. (The children’s choir was added years after the original composition, apparently after Berlioz had heard a charity children’s concert in St Paul’s, London in 1851. It is optional, but adds greatly to the effect, as you will hear.)

The composition of the Te Deum followed the accession to power in 1848 of Louis-Napoleon (far left, in an official portrait from 1855, after he was named Napoleon III). But in many ways Berlioz associated his music not with the nephew but with Napoleon Bonaparte (portrait by Jacques-Louis David, 1812).

Berlioz has produced a truly monumental work, with an unsurpassed quality of ritual grandeur.

Interior of St Eustache Church, Paris, where the first performance took place.

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The Organ and Spatial Effects

The treatment of the organ derives from Berlioz’s conviction that it is ineffective unless used in dialogue with the orchestra, not simultaneously. ‘Pope and Emperor’, wrote Berlioz, ‘speaking in dialogue from opposite ends of the nave’. This is what happens at the very beginning. Thereafter, the organ’s preludes and interludes provide a necessary contrast with the massiveness of the writing for the other forces. To keep the conductor in immediate communication with the organist, Berlioz suggested the use of an electric metronome, or failing that, someone in the organ loft to beat time, imitating the movements of the conductor. In the event, a friend of Berlioz from Brussels, Adolphe Samuel, was placed in the organ loft to do this, and the ensemble between the widely spaced groups was excellent.

The spatial idea written into the conception of the music inevitably requires some compromise in most concert halls, where the organ is at the same end as the choirs and orchestra. Any performance should try to convey the sense of a ceremonial event – this is music, one French critic has written, which you have to ‘be there’ to experience fully – not to be read or heard from a recording.

Berlioz’s Te Deum and his Requiem

Even without the prescribed spatial effects, the impact of the boldly juxtaposed textures, volumes and densities is impressive, and Berlioz has produced a truly monumental work. Cairns describes it as the concept of music as the ‘soul’ of a great church, filling and animating the body, an idea which, Berlioz says, first came to him as he stood for the first time in the nave of St Peter’s in Rome. The composer described the ‘Tibi omnes’ and the ‘Judex crederis’ movements as ‘Babylonian, Ninivitish pieces’, and the ‘Judex’, in particular, as surpassing ‘all the enormities I have been guilty of up to now…it’s a scene from Revelation’.

Berlioz wrote to Liszt after the Te Deum’s premiere: ‘The Requiem has a brother’. Both works make much of the contrast between the majesty of God and the littleness of man, and embody the use of space as an element of the conception (the chapel of the Invalides was the setting for the Requiem). But as Cairns points out, whereas in the Requiem the classical objectivity which was always an element of Berlioz’s art, in the midst of his Romanticism, was imposed on an emotional response to the liturgy, in the Te Deum it is the whole essence of the composition, giving the work an unsurpassed quality of ritual grandeur. Berlioz wrote with great certainty, he told Liszt: ‘no mistakes, no indecision’.

The organ of St Eustache Church – its placement meant that it was at the opposite end of the church from the performers

18

Order of the TextIn Berlioz’s Te Deum the liturgical text is drastically reordered, so that contrasting movements can alternate, headed by Berlioz ‘hymn’ and ‘prayer’ respectively. The entreating ‘Dignare’ separates the brilliant ‘Christe, rex gloriae’ from the splendid ‘Tibi omnes’, and ‘Te ergo quaesumus’, with its tenor solo, places a quiet prayer after the ‘Christe’ and before the ‘Judex crederis’. This last is held back so that the work can conclude with a picture of the judgment, in all its awe and terror. Berlioz thought it ‘without doubt the most imposing thing I have ever produced’.

Guide to ListeningAfter the grand opening, the organ declaims a descending theme, which dominates the first movement, and contains, in its fifth bar, a phrase giving a motto for the whole work. The suggestion of bell sonorities here may have been what Berlioz retained from a Te Deum setting he was shown in Dresden, by the 18th-century composer Hasse. A review of the first performance, possibly using material supplied by Berlioz himself, stated that the composer, using ideas from a projected work on the first Napoleon’s return from the Italian campaign, imagined ‘General Bonaparte making his entry beneath the cathedral vaults…the sacred canticle would resound on all sides,

Berlioz conducting a chorus. Caricature by Gustave Dore, 1850.

19

the banners wave, the side-drums roll, the cannons boom and the bells ring out in great peals’.

In the modal phrases of ‘Tibi omnes’, featuring the sound of women’s voices, Berlioz may have been remembering the sound of young girls singing the Eucharistic hymn at his first communion: ‘a heaven of love and pure delight, a thousand times more beautiful than the one I had been so often told about’.

Berlioz’s orchestral imagination is no less striking, throughout the Te Deum, than in any of his other works – an example is the accompaniment of the pleading women’s voices in ‘Te ergo quaesumus’, for cornets and trombones. Then, in the crowning ‘Judex crederis’, it is the ‘majestic baleful tones of the tenor trombone’ as Berlioz described them in his Treaty of Instrumentation, that come to the fore. Here the rhythm to which the initial words are set dominates the movement. The main theme, treated imitatively, is successively re-harmonised and built to massive climaxes. ‘Salvum fac populum’ provides a contrast in a more peaceful mood. Finally, after one more pounding return of ‘Judex crederis’, Berlioz returns to the traditional order of the liturgical text, ending with the words which are inspired by the terror of judgment: ‘let me never be confounded’.

Berlioz saves the effect of the ‘military’ percussion – the side drums, bass drum and cymbals, for the climaxes of the final movement, where they contribute to the idea of the judgement as a battle. He also wrote for them in two other movements for orchestra alone: a Prelude following the ‘Tibi omnes’, and a March to conclude the whole work ‘for the presentation of the colours’, which also asks for saxhorns and 12 harps! Berlioz indicated that the Prelude was to be omitted ‘If the Te Deum is performed neither for a Thanksgiving after a victory, not for any other Service of a military character’. The same presumably applies to the March, and these movements are not performed in a concert like this one.

DAVID GARRETT © 2006/2010

In addition to the double chorus, children’s choir and tenor soloists,

Berlioz’s Te Deum calls for a large orchestra of four flutes (one doubling

piccolo), four oboes (one doubling cor anglais), four clarinets (one

doubling bass clarinet) and four bassoons; four horns, two trumpets,

two cornets, as many as six trombones, and two tubas; timpani and a

large percussion section; two harps, organ and strings.

The SSO gave the first Australian performance of Berlioz’s Te Deum

in a 1967 Town Hall Proms concert conducted by John Hopkins, with the

Hurlstone Choir and Combined Sydney Choirs, and tenor soloist Raymond

McDonald. Most recently an excerpt was performed in the 2000 Sydney

Olympics Opening Ceremony, conducted by Edo de Waart.

Portrait of Hector Berlioz in 1850 by Gustave Courbet

20

Te Deum laudamus (Hymn)

Te Deum laudamus; te Dominum

confitemur.

Te aeternum Patrem, omnis terra veneratur.

Tibi omnes (Hymn)

Tibi omnes angeli, tibi caeli et potestates,

Tibi cherubim et seraphim incessabili voce

proclamant:

Sanctus, Sanctus, Sanctus: Deus Sabaoth.

Pleni sunt coeli et terra majestatis gloriae tuae.

Te gloriosus chorus apostolorum,

Te prophetarum laudabilis numerus.

Te martyrum candidatus laudat exercitus.

Te per orbem terrarum sancta confitetur

Ecclesia,

Patrem immensae majestatis;

Venerandum tuum verum et unicum Filium,

Sanctum quoque Paraclitum Spiritum.

Dignare (Prayer)

Dignare, Domine, die isto sine peccato nos

custodire.

Aeterna fac cum sanctis tuis in gloria

numerari.

Miserere nostri, Domine, miserere nostri!

Christe Rex gloriae (Hymn)

Tu, Christe, Rex gloriae,

Patris sempiternus Filius.

Tu, devicto mortis aculeo,

aperuisti credentibus regna caelorum.

We praise Thee, O God: we acknowledge Thee to

be the Lord.

All the earth doth worship Thee: the Father

everlasting.

To Thee all Angels cry aloud, the heavens and

the powers,

To Thee cherubim and seraphim continually do cry:

Holy, Holy, Holy, Lord God of Sabaoth.

Heaven and earth are full of the majesty of Thy glory.

The glorious company of the apostles praise Thee,

The goodly fellowship of the prophets praise Thee,

The noble army of martyrs praise Thee.

The holy Church throughout all the world doth

acknowledge Thee,

The Father of an infinite Majesty,

Thine honourable, true and only Son,

Also the Holy Ghost, the Comforter.

Vouchsafe, O Lord, to keep us this day without

sin.

Make us to be numbered with Thy saints in glory

everlasting.

O Lord, have mercy upon us, have mercy upon us.

Thou art the King of glory, O Christ,

Thou the everlasting Son of the Father.

When Thou hadst overcome the sharpness of death

Thou didst open the kingdom of Heaven to all believers

Enjoy the concert? Listen to some of your favourite concerts whenever and wherever you want with SSO Radio. Our on-demand audio player brings you selected SSO performances recorded by ABC Classic FM live at the Sydney Opera House.

sydneysymphony.com/watch-listen/audio-video/sso-radioHead to our website for more information:

21

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Tu ad liberandum suscepturus hominem,

non horruisti Virginis uterum.

Tu ad dexteram Dei sedes,

in gloria Patris.

Te ergo quaesumus (Prayer)

Te ergo quaesumus, famulis tuis subveni,

quos pretioso sanguine redemisti.

Fiat super nos misericordia tua, Domine,

quemadmodum speravimus in te.

Judex crederis (Hymn and Prayer)Judex crederis esse venturus.

In te, Domine, speravi:

non confundar in aeternum.

Salvum fac populum tuum,

et benedic hereditati tuae, Domine,

Per singulos dies benedicimus,

laudamus te et laudamus nomen tuum.

When Thou tookest upon Thee to deliver man,

Thou didst not abhor the Virgin’s womb.

Thou sittest on the right hand of God,

in the glory of the Father.

We therefore pray Thee, help Thy servants,

whom Thou hast redeemed by Thy precious blood.

O Lord, let Thy mercy lighten upon us,

as our trust is in Thee.

We believe that Thou shalt come to be our judge.

In Thee, O Lord, have I trusted:

let me never be confounded.

O Lord, save Thy people

and bless Thine heritage.

Day by day we magnify thee,

and we worship Thy name forever.

22

Charles Dutoit is one of today’s most sought-after conductors, having performed with all the major orchestras of the five continents. He has been a regular visitor to Sydney since 1977, and his most recent appearance with the SSO was in 2013.

He is Artistic Director and Principal Conductor of the Royal Philharmonic Orchestra, and recently celebrated his 30-year artistic collaboration with the Philadelphia Orchestra, receiving the title of Conductor Laureate. Each season he conducts the orchestras of Chicago, Boston, San Francisco, New York and Los Angeles, and he is also a regular guest on the stages in London, Berlin, Paris, Munich, Moscow, Beijing, Hong Kong and Shanghai, among others. His discography of more than 200 recordings has garnered him many awards, including two Grammys.

For 25 years, he was Artistic Director of the Montreal Symphony Orchestra. Other titled posts have included Music Director of the Orchestre National de France (1991–2001) and Principal Conductor then Music Director (1996–2003) of the NHK Symphony Orchestra in Tokyo, where he is now Music Director Emeritus. Supporting the development of a younger generation of musicians, Charles Dutoit has been Music Director of the Sapporo Pacific Music Festival and Miyazaki International Music Festival in Japan as well as the Canton

International Summer Music Academy in Guangzhou. In 2009 he became Music Director of the Verbier Festival Orchestra.

When still in his early 20s, he was invited by Herbert von Karajan to conduct the Vienna State Opera. He has since conducted at Covent Garden, the Metropolitan Opera, Deutsche Oper in Berlin, Rome Opera and Teatro Colón in Buenos Aires.

His honours and accolades include Grand Officier de l’Order national du Québec, Commandeur de l’Order des Arts et des Lettres (France), Honorary Officer of the Order of Canada, Honorary Citizen of the City of Philadelphia, and honorary doctorates from the universities of McGill, Montreal and Laval and the Curtis School of Music. In 2007 he received the Gold Medal of the city of Lausanne, his birthplace, and in 2014 he was given the Lifetime Achievement Award in the International Classical Music Awards.

Charles Dutoit’s musical training included violin, viola, piano, percussion, history of music and composition at the conservatoires and music academies of Geneva, Siena, Venice and Boston.

A globetrotter motivated by his passion for history and archaeology, political science, art and architecture, he has travelled in all 196 nations of the world.

Charles Dutoit conductor

THE ARTISTS

PR

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A K

ETT

ER

ER

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Passenger (Houston Grand Opera), Narraboth (Bavarian State Opera and Royal Opera House), Tamino (Washington National Opera, Los Angeles Opera and Royal Opera House), Pylades in Iphigénie en Tauride (Canadian Opera Company) and the North American premiere of Saariaho’s Adriana Mater (Santa Fe Opera). For Opéra National de Paris he has sung Lensky (Eugene Onegin), Flamand and Matteo; he has also sung Admète in Gluck’s Alceste (Vienna State Opera and Festival d’Aix-en-Provence), Steva Burja in Jenůfa (Bavarian State Opera and Deutsche Oper Berlin) and Don Ottavio in Don Giovanni (Munich Festival), as well as appearing in new productions of Handel’s Theodora and Eugene Onegin (Salzburg Festival).

In concert he has sung Mozart’s Requiem and Davide Penitente, Berlioz’s Te Deum (with Charles Dutoit and the NHK Symphony Orchestra), Schubert’s Fierrabras, Britten’s War Requiem and Cantata Misericordium, and Beethoven’s Fidelio – singing the role of Florestan for the first time – on a European tour. Other concert highlights include performances of Beethoven’s Ninth under conductors such as Bernard Haitink, Simon Rattle and David Robertson; Britten’s Serenade for tenor, horn and strings; Bruckner’s Te Deum; Berlioz Requiem; Stravinsky’s Pulcinella and Mendelssohn’s Elijah.

DA

RIO

AC

OS

TA

Joseph Kaisertenor

Canadian tenor Joseph Kaiser was born in Montreal, later returning there to study music at McGill University. In 2005 he made the transition from baritone to tenor and in 2007 made his Metropolitan Opera debut singing Romeo in Gounod’s Roméo et Juliette, returning the following month to sing Tamino in Mozart’s Magic Flute. He also starred as Tamino in the Kenneth Branagh film adaptation of The Magic Flute, released in 2007.

Enjoying success in opera and concert performances throughout North America and Europe, he is recognised by audiences for his beauty of tone, intelligent programming and innate sense of style and elegance.

His 2014–15 season included a debut at Opernhaus Zürich as Michel in Martinů’s Juliette. He returned to the Bavarian State Opera as Matteo in Strauss’s Arabella and Opéra de Montréal as Nikolaus Sprink in Silent Night. On the concert stage he performed Mendelssohn’s Die erste Walpurgisnacht (Orchestra of St Luke’s) at Carnegie Hall and Mozart’s Requiem (Dallas Symphony Orchestra), and he appeared in recital with soprano Julia Bullock and pianist Steven Blier.

Operatic highlights of past seasons have included A Midsummer Night’s Dream, Flamand in Capriccio, Narraboth in Salome and Grimoaldo in Rodelinda (all for Metropolitan Opera); The

24

Sydney Philharmonia Choirs

Sydney Philharmonia Choirs exists to share the joy of choral music with choristers and audiences alike. Founded in 1920, it has become Australia’s finest choral organisation and now regularly performs at the Sydney Opera House and other leading concert halls around the country. Brett Weymark has been the Music Director since 2003.

The choristers, numbering 1500 people, volunteer their time and talents to rehearsing and singing in extraordinary performances, not only in the organisation’s own concerts but in collaborations with major international artists and other organisations, including the Melbourne Symphony Orchestra and the Australian Ballet. In 2002, Sydney Philharmonia was the first Australian choir to sing at the BBC Proms (Mahler’s Eighth Symphony under Simon Rattle), returning again in 2010.

The choirs appear regularly in the SSO’s subscription series, most recently in Tristan und Isolde, conducted by David Robertson. This season they have also performed with the SSO in Holst’s Planets and Danny Elfman’s music from the films of Tim Burton, and in October will perform Beethoven’s Missa Solemnis under David Robertson. SPC also presents its own series of programs each year. In 2015 these include JS Bach’s St John Passion, The Armed Man: A Mass for Peace by Karl Jenkins, Fauré’s Requiem and Handel’s Messiah.

Later in September, Sydney Philharmonia Choirs will present a complete performance of Gershwin’s musical Of Thee I Sing with a choir of 400 and the original 1931 orchestrations.

Brett Weymark studied singing at the University of Sydney and conducting at the Sydney Conservatorium alongside studies in Europe and America. He has held positions with the Song Company, Opera Australia, Pacific Opera, Sounds Baroque, Cantillation and the University of Western Sydney, as well as working many of the major musical organisations in Australia, and in 2002 he was awarded a Centenary Award for his services to music.

In 2003 he was appointed Music Director of Sydney Philharmonia Choirs. He has conducted the SPC in premieres of works by composers such as Elena Kats-Chernin, Andrew Schultz and Peter Sculthorpe and has also prepared the choirs for conductors such as Simon Rattle, Charles Mackerras, Vladimir Ashkenazy, Paul McCreesh and Edo de Waart as well as Charles Dutoit. In 2005 he initiated the ChorusOz project, which now attracts a thousand singers each year. Recent highlights have included conducting the premiere of Jandamarra by Paul Stanhope and Steve Hawke (SSO), Haydn’s Creation (Hong King Philharmonic Orchestra), Bach’s St John Passion (SPC) and Handel’s Hercules (Canberra Choral Society).

BRETT WEYMARK Music Director

THE CHOIRS

KE

ITH

SA

UN

DE

RS

KE

ITH

SA

UN

DE

RS

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In 2020 Sydney Philharmonia Choirs celebrates its centenary. To find out about SPC concerts or joining one of the choirs, visit www.sydneyphilharmonia.com.au or facebook.com/sydneyphilharmonia

SOPRANOSShelley Andrews Debra Baker Georgina Bitcon Anne Blake Olga Bodrova† Nikki Bogard† Simone Brereton-Toldi Deborah Brown Natalie Brown† Anita Burkart‡ Charlotte Campbell‡ Meta Cohen‡ Liliane Cooley Pam Cunningham Shamistha De Soysa Josephine Deng‡ Soline Epain-Marzac Rachel Evans Lyudmyla Goncharova Natalie Gooneratne Judith Gorry Belinda Griffiths Kellie Hewitt-Taylor Rebecca Howard Carine Jenkins Clare Kenny‡ Yi-Hsia Koh‡ Karolina Kulczynska Grace Leonard† Yvette Leonard Alexandra Little† Maria Lopes† Gillian Markham† Bernadette Mitchell Georgia Moore† Sarah Moore

Esther Norie‡ Anna O’Bryan Jayne Oishi† Liz Propsting‡ Julia Schedlberger‡ Kimberley Stuart‡ Katrina Todd Narelle Vance† Sara Watts Bryony Weiss Jacqui Wilkins Siri Williams

ALTOSLeonie Armitage Gillian Behrens Jodie Boehme† Gae Bristow† Heather Burnett† Ananya Chakravorty‡ Kate Clowes Ruth Collerson Isabel Colman‡ Anne Cooke Rebecca Dawkins‡ Catriona Debelle† Vanessa Downing Alison Dutton Jan Fawke Natalie Fisher Penny Gay Sue Harris† Jenny Harry Kathryn Harwood Vesna Hatezic† Clara Hawkshaw‡ Cara Hitchins‡ Margaret Hofman Sarah Howell

Edwina Howes‡ Melinda Jefferson† Johanna Knoechel‡ Adele Kozak‡ Eleanor Kozak Emi Kubota Rachel Maiden Maythinee Maneepark Hannah Mason Janice McKeand Maggie McKelvey Madi Moore‡ Kathleen Morris‡ Penelope Morris Marj O’Callaghan Dympna Paterson Madeline Picard‡ Georgia Rivers Jan Shaw Meg Shaw Suzanne Sherrington‡ Megan Solomon Natasja Stul Erica Svampa Katherine Thompson Lia Weitzel‡ Priscilla Yuen‡

TENORSAmanda Baird Katie Blake Patrick Blake Jan Borrie Paul Boswell Andrea Clifford Vitor Cortes-Borges Malcolm Day

Giles Donovan Julie Dowsley Joshua Ebert Phoebe Ferguson Blade Fuller Jenny Gillman Adela Greenbaum Damien Hall* Steven Hankey Kaine Hayward* Jude Holdsworth Michael Kertesz Andrei Laptev* Greg Lawler Selwyn Lemos Vincent Lo Thomas MacDonald Frank Maio Donna McIntosh George Panaretos Camillo Sanchez Joel Scott* Martin Stebbings Paul Sutton* Joseph Toltz* Robyn Tupman Alex Walter

BASSESJock Baird Brian Banston Dominic Blake Simon Boileau William Bond Andrew Broten Peter Callaghan Edwin Carter Benjamin Caukwell* Andy Clare

Julian Coghlan Daryl Colquhoun Philip Crenigan Robert Cunningham Ian Davies John Donohoe* Nick Gilbert* Ashley Giles* Robert Green Eric Hansen Derek Hodgkins David Jacobs Timothy Jenkins Ian Jurd Simon Masterton* Mark McGoldrick Robert Mitchell Sean Moloney Ian Pettener Peter Poole Michael Ryan Robert Sherrington Theo Small Nicholas Tong Dallas Watts* Arthur Winckler Ben Yi Stephen Young Ken Zhang

* SP Voices † Performing in Debussy and Berlioz ‡ Performing in Debussy only

Brett Weymark Music Director David Francis General Manager Elizabeth Scott Music Director, VOX Chris Cartner Assistant Chorus Master Rehearsal PianistsLuke Byrne, Michael Curtain, Antonio Fernandez, Estella Roche

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Sydney Children’s Choir

LYN WILLIAMS oam Artistic Director & Founder

Lyn Williams is Australia’s leading director of choirs for young people. For more than 26 years, she has been the driving force behind three internationally acclaimed choral programs, working with hundreds of young Australian musicians each year. She has conducted Sydney Children’s Choir, Gondwana Voices, Gondwana Chorale and Gondwana Indigenous Children’s Choir in Australia and oversease. Lyn Williams is a recipient of the 2006 NSW State Award (Classical Music Awards), a Churchill Fellow and a composer. In 2004 she was awarded the Medal of the Order of Australia in recognition of her services to the arts.

Gondwana Choirs comprises the most accomplished choral groups of young people in Australia. Founded by Artistic Director Lyn Williams oam as Sydney Children’s Choir in 1989, the organisation has grown to include Gondwana National Choirs and Gondwana Indigenous Children’s Choirs. Gondwana Choirs has commissioned over 150 works by leading Australian composers and performs a significant number of Australian compositions each year nationally and internationally. Last year singers from all three arms of the organisation performed with the SSO in the premiere of Jandamarra – Sing for the Country by Paul Stanhope and Steve Hawke.

Sydney Children’s Choir is the choral hub of vocal excellence for children in years 1 through 12. It comprises 22 training and performance ensembles with the Senior Choir and newly formed Williams Choir as its leading ensembles. They regularly tour internationally and perform with the SSO and distinguished conductors such as Zubin Mehta, Charles Dutoit, Vladimir Ashkenazy and David Robertson.

Gondwana Choirs received the APRA/AMCOS Award for Excellence by an Organisation for its 2014 Artistic Program and significant contribution to Australian music since 1989

LYN

WIL

LIA

MS

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2016 SEASON NOW ON SALEPick the perfect SSO concert package.Have fun trying our new concert package selector to find packages you’ll love.SydneySymphony.com/Package-Selector

To find out more about Gondwana Choirs performances and programs visit gondwana.org.au

Cleo Arya Guian Balan Lucy Blomfield Holly Boswell Joel Brookes Amelia Brown Christina Burjan Mia Burjan Emelia Cawthron Aaron Chandra Honey Christensen Gracia Clifford Beatrice Colombis Rosemary Cook Emma Corcoran Stella Davy Alice Dawson-Damer Corey de Wit Jasmine Delaney

Gabriel Dillon Cassandra Doyle Noa Doyle Oscar Drew Iris Farrer Lily Fowler Gemma Golding Liam Green Talia Greenfield Maddalena Grigoletti-Labi Dominic Grimshaw Benjamin Hamilton Sel Hardaker Lafaele Hardman Ezra Hersch Rebecca Hilliard Emma Guitera Abel Hofflin

Kittu Hoyne Tovia Jakovsky-Coleman Benjamin Johnston Eleanor Jones Ellery Joyce Jonathon Kelley Emma Korrell Julia Krivoshev Eleanor Labi Iona Laird-Smith Chloe Langbein Isaac Lee Jiayi Liu Eloise Lowey Amity Lorenz Jackson Low Stephanie Macindoe Belle MacLeod

Aedan MacNamara Cecilia Maddox Tanvi Maroo Anna Marsh Ruth McKay Caitlin McNamara Gabrielle Montalbo Eloise Morrison Stella Mountain Jade Ng Elise Nolte Christopher Paoloni Rafael Partos Samuel Pavely Theo Picard Isabella Piggott Florence Poon Alexandra Raleigh Josh Reimer

Emma Renaud Ariana Ricci Lily Rodgers Elodie Roumanoff Etienne Roumanoff Julia Spiteri Elke Stampfl Claire Stephens Elsa Susnjara Asher Tarbox Eva Tarbox Leo Tarbox Jedda Thorley Piet Tombs Jessica Trevelyan Olivia Wei Sophie Whatling Lotti Wonhas Ysobel Yew

Lyn Williams oam Artistic Director & Founder Bernie Heard General Manager Sally Whitwell Pianist Sam Allchurch Assistant Chorusmaster Emma Barnett Choir Manager Stephanie Dillon Assistant Choir Manager

SYDNEY CHILDREN’S CHOIR

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Tasmanian Symphony Orchestra Chorus

The TSO Chorus was founded in 1992 to present concert performances of opera. In addition to performing with the TSO and touring regional Tasmania, the Chorus also appears regularly in festivals such as the Tasmanian International Arts Festival, Festival of Voices, MONA FOMA, Dark MOFO and Synæsthesia. The TSO Chorus is frequently invited to augment interstate symphonic choirs such as Sydney Philharmonia Choirs, Adelaide Festival Chorus and West

Australian Symphony Orchestra Chorus, and in 2012 augmented the WASO Chorus in Brahms’s Ein Deutsches Requiem with the Hong Kong Philharmonic Orchestra. Earlier this year, the Chorus gave the premiere of Richard Mills’ Remembrance with Victorian Opera. The TSO Chorus’s most recent appearance with the SSO was in 2013, performing Verdi’s Requiem with David Robertson.

June Tyzack studied piano and harpsichord at the Tasmanian Conservatorium of Music and Trinity College of Music, London, and later as a repetiteur at the Opera Studio of the Sydney Conservatorium, where she was subsequently appointed Chief Vocal Coach of the Opera Studio. In 2001 she was invited to be chorus master for a TSO Opera Gala and has continued in that role ever since. Under her direction the TSO Chorus has transformed from a seasonal chorus to a chorus working throughout the year, and has gained a national profile through collaborations

JUNE TYZACK Chorus Master

with interstate choirs. She has also captivated audiences with extreme performances in unusual Hobart venues, including the technical gallery of the Federation Concert Hall, the Spiegeltent and MONA.

SOPRANOSRosina Beaumont Karen Cockrill Carmelita Coen Christine Coombe Felicity Gifford Debra Jensen Felicity Kohut Bernadette Large Loretta Lohberger Stephanie McDonald Christine Ovens Julianne Panckridge

Meg Scanlan Sharon Sherman Yasmin Shoobridge

ALTOSClaire Blichfeldt Beth Coombe Sally Crosby Elizabeth Eden Ann Godber Helena Griggs Leigh Jabs Kirsten Jones

Marie Keane Mary McArthur Caroline Miller Sally Mollison Louise Rigozzi Henni Veit Gillian von Bertouch Beth Warren Susan Williams

TENORSPeter Ball Sally Brown

Michael Kregor Bill MacDonald Tony Marshall David Pitt James Powell-Davies Andrew Tulloch

BASSESJohn Ballard Allan Bull Peter Cretan Greg Foot

Michael Fortescue Peter Hepburn Sam Hindell Michael Hutch Tony Parker Philip Sabine Dick Shoobridge Anthony Sprent Grant Taylor

June Tyzack Chorus Master Andrew Bainbridge Assistant Chorus Master Alexis Hargrave Artistic and Chorus Coordinator

To learn more about the TSO Chorus visit www.tsochorus.com.au

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If you’d prefer to add just the Te Deum to your library, look for John Nelson’s recording with the Orchestre de Paris and its choir. Roberto Alagna is the tenor soloist and Marie-Claire Alain plays the Cavaillé-Coll organ of the Madeleine church. VIRGIN CLASSICS 545 4492

Broadcast Diary

September–October

abc.net.au/classic

Saturday 12 September, 8pmROMAN TRILOGYCharles Dutoit conductor Daniel Müller-Schott celloBerlioz, Schumann, Respighi

Saturday 26 September, 8pmANNE-SOPHIE MUTTER PLAYS DVOŘÁK Jakub Hrůša conductor Anne-Sophie Mutter violinDvořák, Beethoven

Saturday 10 October, 2pmSIBELIUS 2David Robertson conductor Andrew Haveron violinSculthorpe, Walton, Sibelius

Tuesday 20 October, 9.30pmBEETHOVEN’S MISSA SOLEMNISDavid Robertson conductor Susanna Phillips, Olesya Petrova, Stuart Skelton, Shenyang vocal soloists Sydney Philharmonia Choirs

SSO RadioSelected SSO performances, as recorded by the ABC, are available on demand: sydneysymphony.com/SSO_radio

SYDNEY SYMPHONY ORCHESTRA HOURTuesday 8 September, 6pmMusicians and staff of the SSO talk about the life of the orchestra and forthcoming concerts. Hosted by Andrew Bukenya.

finemusicfm.com

MORE MUSIC

SPANISH RAVELYou can hear Charles Dutoit conduct the Montreal Symphony Orchestra in Rapsodie espagnole and a whole lot more on the 4-CD album Ravel Orchestral Works. Pascal Rogé is the soloist in the two piano concertos and Catherine Dubosc sings Shéhérazade. If you have a favourite Ravel piece, chances are it’s included, and it’s the perfect collection for discovering the delights of his music.DECCA 475 6891

The Dutoit collection above includes the Alborada del gracioso and Pavane pour une infante défunte in their orchestral versions – both revealing the pervasive Spanish influence in Ravel’s music. In 1907 – the same year as Rapsodie espagnole – he also wrote the opera L’Heure espagnole (The Spanish Hour). You can see this, paired with L’Enfant et les sortilèges, in the Glyndebourne Festival productions from 2012, with the London Philharmonic Orchestra conducted by Kazushi Ono and a cast including Stéphanie d’Oustrac. FRA MUSICA 8 (DVD)

NOCTURNESFor more Debussy conducted by Charles Dutoit, look for the collection La Mer. In addition to the title work and Nocturnes, it contains Prelude to the Afternoon of a Faun and the orchestral masterpiece Jeux, all performed by the Montreal Symphony Orchestra.DECCA 478 4251

Debussy’s Nocturnes doesn’t belong to the tradition of the Chopin piano nocturnes. Even so, his title brings them to mind. Perhaps the finest recording ever made of the Chopin nocturnes is the one by Ivan Moravec (who died just recently) in 1965. In 2012 it was remastered by Supraphon for a new release and is worth seeking out.SUPRAPHON 4097

BERLIOZ BONANZABerlioz rarely did anything by halves, nor need you. If you’re after a Berlioz immersion there are several collections to look for. From Charles Dutoit and the Montreal Symphony Orchestra and Chorus there is a 17-CD collectors edition, Berlioz Masterworks, that includes nearly all the orchestral and choral works, although not the Te Deum. Among the treats: Symphonie fantastique with its sequel Lélio, the Roméo et Juliette dramatic symphony, and the Roman Carnival overture (which Dutoit will conduct with the SSO next week).DECCA

Other similarly generous collections to look for include The Berlioz Experience (10 CDs on Deutsche Grammophon) and Ultimate Berlioz (5 CDs on Decca).

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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 – 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

such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.

The SSO’s award-winning education program is central to its commitment to the future of live symphonic music, developing audiences and engaging the participation of young people. The orchestra promotes the work of Australian composers through performances, recordings and its commissioning program. Recent premieres have included major works by Ross Edwards, Lee Bracegirdle, Gordon Kerry, Mary Finsterer, Nigel Westlake and Georges Lentz, and the orchestra’s recordings of music by Brett Dean have been released on both the BIS and SSO Live labels.

Other releases on the SSO Live label, established in 2006, include performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras, Vladimir Ashkenazy and David Robertson. In 2010–11 the orchestra made concert recordings of the complete Mahler symphonies with Ashkenazy, and has also released recordings of Rachmaninoff and Elgar orchestral works on the Exton/Triton labels, as well as numerous recordings on ABC Classics.

This is the second year of David Robertson’s tenure as Chief Conductor and Artistic Director.

DAVID ROBERTSON THE LOWY CHAIR OF

CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

PATRON Professor The Hon. Dame Marie Bashir ad cvo

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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_musicians

If you don’t have access to the internet, ask one of our customer service representatives for a copy of our Musicians flyer.

MUSICIANS

David RobertsonTHE LOWY CHAIR OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

Dene OldingCONCERTMASTER

Andrew HaveronCONCERTMASTER

Toby ThatcherASSISTANT CONDUCTOR SUPPORTED BY CREDIT SUISSE, RACHEL & GEOFFREY O’CONOR AND SYMPHONY SERVICES INTERNATIONAL

FIRST VIOLINS Dene Olding CONCERTMASTER

Sun Yi ASSOCIATE CONCERTMASTER

Kirsten Williams ASSOCIATE CONCERTMASTER

Lerida Delbridge ASSISTANT CONCERTMASTER

Fiona Ziegler ASSISTANT CONCERTMASTER

Sophie ColeClaire HerrickGeorges LentzNicola LewisEmily LongAlexandra MitchellAlexander NortonLéone ZieglerVictoria Bihun†Amber Davis*Emily Qin°Andrew Haveron CONCERTMASTER

Jenny BoothAmber Davis

SECOND VIOLINS Kirsty Hilton Marina Marsden Marianne BroadfootEmma Jezek ASSISTANT PRINCIPAL

Freya FranzenEmma HayesShuti HuangStan W KornelBenjamin LiNicole MastersPhilippa PaigeBiyana RozenblitMaja VerunicaElizabeth Jones°Maria Durek

VIOLASRoger Benedict Tobias Breider Justin Williams ASSISTANT PRINCIPAL

Sandro CostantinoRosemary CurtinJane HazelwoodGraham HenningsJustine MarsdenFelicity TsaiAmanda VernerLeonid VolovelskyJacqueline Cronin*Anne-Louise Comerford Stuart Johnson

CELLOSUmberto ClericiCatherine Hewgill Leah Lynn ASSISTANT PRINCIPAL

Kristy ConrauTimothy NankervisElizabeth NevilleChristopher PidcockAdrian WallisDavid WickhamRebecca Proietto†

Fenella Gill

DOUBLE BASSESKees Boersma Alex Henery Neil Brawley PRINCIPAL EMERITUS

David CampbellSteven LarsonRichard LynnBenjamin WardJosef Bisits°

FLUTES Janet Webb Emma Sholl Rosamund Plummer PRINCIPAL PICCOLO

Nicola Crowe†

Carolyn Harris

OBOESDiana Doherty Shefali Pryor David PappAlexandre Oguey PRINCIPAL COR ANGLAIS

CLARINETSFrancesco Celata Christopher TingayCraig Wernicke PRINCIPAL BASS CLARINET

Alex McCracken†

Lawrence Dobell

BASSOONSMatthew Wilkie Fiona McNamaraJustin Sun†Melissa Woodroffe*Noriko Shimada PRINCIPAL CONTRABASSOON

HORNSBen Jacks Robert Johnson Geoffrey O’Reilly PRINCIPAL 3RD

Euan HarveyMarnie SebireRachel Silver

TRUMPETSDavid Elton Anthony HeinrichsRainer Saville*Rosie Turner°Paul Goodchild

TROMBONESRonald Prussing Scott Kinmont Nick ByrneChristopher Harris PRINCIPAL BASS TROMBONE

TUBASteve Rosse Chloe Higgins*

TIMPANIRichard MillerMark Robinson ASSISTANT PRINCIPAL

PERCUSSIONRebecca Lagos Timothy ConstableIan Cleworth*Kevin Man*Chiron Mellor*Brian Nixon*

HARP Louise Johnson Genevieve Huppert*

CELESTASusanne Powell*

ORGANDavid Drury*

° = CONTRACT MUSICIAN

* = GUEST MUSICIAN† = SSO FELLOW

GREY = PERMANENT MEMBER OF THE SYDNEY SYMPHONY ORCHESTRA NOT APPEARING IN THIS CONCERT

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BEHIND THE SCENES

Sydney Symphony Orchestra StaffMANAGING DIRECTORRory Jeffes

EXECUTIVE TEAM ASSISTANTLisa Davies-Galli

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC PLANNINGBenjamin Schwartz

ARTISTIC ADMINISTRATION MANAGER Eleasha Mah

ARTIST LIAISON MANAGERIlmar Leetberg

RECORDING ENTERPRISE MANAGER Philip Powers

LibraryAnna CernikVictoria GrantMary-Ann Mead

LEARNING AND ENGAGEMENT

DIRECTOR OF LEARNING AND ENGAGEMENT Linda Lorenza

EMERGING ARTISTS PROGRAM MANAGER Rachel McLarin

EDUCATION MANAGER Amy Walsh

EDUCATION OFFICER Tim Walsh

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA MANAGEMENT Aernout Kerbert

ORCHESTRA MANAGERRachel Whealy

ORCHESTRA COORDINATOR Rosie Marks-Smith

OPERATIONS MANAGER Kerry-Anne Cook

PRODUCTION MANAGER Laura Daniel

STAGE MANAGERCourtney Wilson

PRODUCTION COORDINATORSElissa SeedOllie Townsend

PRODUCER, SPECIAL EVENTSMark Sutcliffe

SALES AND MARKETING

DIRECTOR OF SALES & MARKETINGMark J Elliott

MARKETING MANAGER, SUBSCRIPTION SALES Simon Crossley-Meates

SENIOR SALES & MARKETING MANAGERPenny Evans

A/ SENIOR SALES & MARKETING MANAGER Matthew Rive

MARKETING MANAGER, WEB & DIGITAL MEDIA Eve Le Gall

MARKETING MANAGER, CRM & DATABASEMatthew Hodge

A/ SALES & MARKETING MANAGER, SINGLE TICKET CAMPAIGNSJonathon Symonds

DATABASE ANALYSTDavid Patrick

SENIOR GRAPHIC DESIGNERChristie Brewster GRAPHIC DESIGNER

Tessa ConnSENIOR ONLINE MARKETING COORDINATOR

Jenny SargantMARKETING ASSISTANT

Laura Andrew

Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlinBOX OFFICE SYSTEMS SUPERVISOR

Jennifer LaingBOX OFFICE BUSINESS ADMINISTRATOR

John RobertsonCUSTOMER SERVICE REPRESENTATIVES

Karen Wagg – CS ManagerRosie BakerMichael Dowling

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

EXTERNAL RELATIONSDIRECTOR OF EXTERNAL RELATIONS

Yvonne Zammit

PhilanthropyPHILANTHROPY MANAGER

Jennifer DrysdalePATRONS EXECUTIVE

Sarah MorrisbyPHILANTHROPY COORDINATOR

Claire Whittle

Corporate RelationsCORPORATE PARTNERSHIPS MANAGER

Belinda BessonCORPORATE PARTNERSHIPS EXECUTIVE

Paloma Gould

CommunicationsCOMMUNICATIONS & MEDIA MANAGER

Bridget CormackPUBLICIST

Caitlin BenetatosDIGITAL CONTENT PRODUCER

Kai Raisbeck

BUSINESS SERVICES

DIRECTOR OF FINANCE

John HornFINANCE MANAGER

Ruth Tolentino ACCOUNTANT

Minerva Prescott ACCOUNTS ASSISTANT

Emma Ferrer PAYROLL OFFICER

Laura Soutter

PEOPLE AND CULTUREIN-HOUSE COUNSEL

Michel Maree Hryce

Terrey Arcus AM Chairman Ewen Crouch AM

Ross GrantCatherine HewgillJennifer HoyRory JeffesDavid LivingstoneThe Hon. Justice AJ Meagher Goetz Richter

Sydney Symphony Orchestra CouncilGeoff Ainsworth AM

Doug BattersbyChristine BishopThe Hon John Della Bosca MLC

John C Conde ao

Michael J Crouch AO

Alan FangErin FlahertyDr Stephen Freiberg Simon JohnsonGary LinnaneHelen Lynch AM

David Maloney AM Justice Jane Mathews AO Danny MayJane MorschelDr Eileen OngAndy PlummerDeirdre Plummer Seamus Robert Quick Paul Salteri AM

Sandra SalteriJuliana SchaefferFred Stein OAM

John van OgtropBrian WhiteRosemary White

HONORARY COUNCIL MEMBERSIta Buttrose AO OBE Donald Hazelwood AO OBE

Yvonne Kenny AM

David Malouf AO

Wendy McCarthy AO

Leo Schofield AM

Peter Weiss AO

Anthony Whelan mbe

Sydney Symphony Orchestra Board

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SSO PATRONS

Maestro’s Circle

David Robertson

Peter Weiss AO Founding President & Doris Weiss

Terrey Arcus AM Chairman & Anne Arcus

Brian Abel

Tom Breen & Rachel Kohn

The Berg Family Foundation

John C Conde AO

Andrew Kaldor AM & Renata Kaldor AO

Vicki Olsson

Roslyn Packer AO

David Robertson & Orli Shaham

Penelope Seidler AM

Mr Fred Street AM & Dorothy Street

Brian White AO & Rosemary White

Ray Wilson OAM in memory of the late James Agapitos OAM

Supporting the artistic vision of David Robertson, Chief Conductor and Artistic Director

Chair PatronsDavid RobertsonThe Lowy Chair of Chief Conductor and Artistic Director

Roger BenedictPrincipal ViolaKim Williams AM & Catherine Dovey Chair

Kees BoersmaPrincipal Double BassSSO Council Chair

Umberto ClericiPrincipal CelloGarry & Shiva Rich Chair

Timothy ConstablePercussionJustice Jane Mathews AO Chair

Lerida DelbridgeAssistant ConcertmasterSimon Johnson Chair

Lawrence DobellPrincipal ClarinetAnne Arcus & Terrey Arcus AM Chair

Diana DohertyPrincipal OboeJohn C Conde AO Chair

Richard Gill oam

Artistic Director, DownerTenix DiscoveryPaul Salteri AM & Sandra Salteri Chair

Jane HazelwoodViolaBob & Julie Clampett Chair in memory of Carolyn Clampett

Catherine HewgillPrincipal CelloThe Hon. Justice AJ & Mrs Fran Meagher Chair

Robert JohnsonPrincipal HornJames & Leonie Furber Chair

Leah LynnAssistant Principal CelloSSO Vanguard Chair With lead support from Taine Moufarrige, Seamus R Quick, and Chris Robertson & Katherine Shaw

Elizabeth NevilleCelloRuth & Bob Magid Chair

Shefali PryorAssociate Principal OboeMrs Barbara Murphy Chair

Emma ShollAssociate Principal FluteRobert & Janet Constable Chair

Janet WebbPrincipal FluteHelen Lynch AM & Helen Bauer Chair

Kirsten WilliamsAssociate ConcertmasterI Kallinikos Chair

FOR INFORMATION ABOUT THE CHAIR PATRONS

PROGRAM, CALL (02) 8215 4625.

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Lerida Delbridge was appointed Assistant Concertmaster of the SSO in 2013. She is a founding member of the Tinalley String Quartet and was previously a member of the Melbourne Symphony Orchestra. SSO Council member and leading providore Simon Johnson has been following Lerida’s career since her days in the Australian Youth Orchestra and is delighted to support her chair.

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Learning & Engagement

SSO PATRONS

fellowship patronsRobert Albert AO & Elizabeth Albert Flute ChairChristine Bishop Percussion ChairSandra & Neil Burns Clarinet ChairIn Memory of Matthew Krel Violin ChairMrs T Merewether OAM Horn ChairPaul Salteri AM & Sandra Salteri Violin and Viola ChairsMrs W Stening Cello ChairKim Williams AM & Catherine Dovey Patrons of Roger Benedict,

Artistic Director, FellowshipJune & Alan Woods Family Bequest Bassoon ChairAnonymous Double Bass ChairAnonymous Trumpet Chair

fellowship supporting patronsMr Stephen J BellJoan MacKenzie ScholarshipDrs Eileen & Keith OngIn Memory of Geoff White

tuned-up!TunED-Up! is made possible with the generous support of Fred Street AM & Dorothy Street

Additional support provided by:Anne Arcus & Terrey Arcus AM

Ian & Jennifer Burton Ian Dickson & Reg HollowayMrs Barbara MurphyTony Strachan

major education donorsBronze Patrons & above

John Augustus & Kim RyrieBob & Julie ClampettHoward & Maureen ConnorsThe Greatorex FoundationJ A McKernanMr & Mrs Nigel Price

Sydney Symphony Orchestra 2015 Fellows

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Commissioning CircleSupporting the creation of new works.

ANZAC Centenary Arts and Culture FundGeoff Ainsworth AM

Christine BishopDr John EdmondsAndrew Kaldor AM & Renata Kaldor AO

Jane Mathews AO

Mrs Barbara MurphyNexus ITVicki OlssonCaroline & Tim RogersGeoff StearnDr Richard T WhiteAnonymous

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 4674philanthropy@sydneysymphony.com

A U S T R A L I A - K O R E AF O U N D A T I O N

Foundations

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Stuart Challender Legacy Society

Celebrating the vision of donors who are leaving a bequest to the SSO.

Henri W Aram OAM & Robin Aram

Stephen J BellMr David & Mrs Halina BrettR BurnsHoward ConnorsGreta DavisBrian GalwayMichele Gannon-MillerMiss Pauline M Griffin AM

John Lam-Po-TangPeter Lazar AM

Daniel LemesleLouise MillerJames & Elsie MooreVincent Kevin Morris &

Desmond McNallyMrs Barbara MurphyDouglas PaisleyKate RobertsMary Vallentine AO

Ray Wilson OAM

Anonymous (10)

Stuart Challender, SSO Chief Conductor and Artistic Director 1987–1991

bequest donors

We gratefully acknowledge donors who have left a bequest to the SSO.

The late Mrs Lenore AdamsonEstate of Carolyn ClampertEstate Of Jonathan Earl William ClarkEstate of Colin T EnderbyEstate of Mrs E HerrmanEstate of Irwin ImhofThe late Mrs Isabelle JosephThe Estate of Dr Lynn JosephThe Late Greta C RyanEstate of Rex Foster SmartJune & Alan Woods Family Bequest

IF YOU WOULD LIKE MORE INFORMATION ON

MAKING A BEQUEST TO THE SSO, PLEASE

CONTACT LUKE GAY ON 8215 4625.

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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.

Playing Your Part

DIAMOND PATRONS $50,000+Anne & Terrey Arcus am

In Memory of Matthew KrelMr Frank Lowy ac & Mrs Shirley

Lowy oam

Roslyn Packer ao

Paul Salteri am & Sandra Salteri

Estate of the late Rex Foster Smart

Peter Weiss ao & Doris WeissMr Brian White ao &

Mrs Rosemary White

PLATINUM PATRONS$30,000–$49,999Doug and Alison BattersbyMr John C Conde ao

Robert & Janet ConstableMr Andrew Kaldor am &

Mrs Renata Kaldor ao

Mrs Barbara MurphyVicki OlssonMrs W SteningMr Fred Street am &

Mrs Dorothy StreetKim Williams am & Catherine

Dovey

GOLD PATRONS $20,000–$29,999Brian AbelRobert Albert ao & Elizabeth

AlbertThe Berg Family FoundationTom Breen & Rachael KohnSandra & Neil BurnsEstate of Jonathan Earl

William ClarkJames & Leonie FurberI KallinikosHelen Lynch am & Helen

BauerJustice Jane Mathews ao

Mrs T Merewether oam

Rachel & Geoffrey O’ConorAndy & Deirdre PlummerGarry & Shiva RichDavid Robertson & Orli

ShahamMrs Penelope Seidler am

G & C Solomon in memory of Joan MacKenzie

Ray Wilson oam in memory of James Agapitos oam

Anonymous (2)

SILVER PATRONS $10,000–$19,999Geoff Ainsworth am

Christine BishopAudrey BlundenMr Robert BrakspearMr Robert & Mrs L Alison CarrBob & Julie ClampettMichael Crouch ao & Shanny

CrouchIan Dickson & Reg HollowayPaul EspieEdward & Diane FedermanNora GoodridgeMr Ross GrantThe Estate of Mr Irwin ImhofSimon JohnsonRuth & Bob MagidSusan Maple-Brown The Hon Justice AJ Meagher &

Mrs Fran MeagherMr John MorschelDrs Keith & Eileen OngMr and Mrs Nigel PriceKenneth R Reed am

Mrs Joyce Sproat & Mrs Janet Cooke

John Symond am

The Harry Triguboff FoundationCaroline WilkinsonJune & Alan Woods Family

BequestAnonymous (2)

BRONZE $5,000–$9,999Mr Henri W Aram oam

John Augustus & Kim RyrieStephen J BellDr Hannes & Mrs Barbara

BoshoffBoyarsky Family TrustPeter Braithwaite & Gary

LinnaneIan & Jennifer BurtonRebecca ChinMr Howard ConnorsDavid Z Burger FoundationDr Colin GoldschmidtThe Greatorex FoundationRory & Jane JeffesRobert JoannidesMr Ervin KatzBarbara MaidmentMora MaxwellTaine MoufarrigeRobert McDougallWilliam McIlrath Charitable

FoundationJ A McKernan

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Playing Your Part

SSO PATRONS

BRONZE PATRONS CONTINUED

Nexus ITJohn & Akky van OgtropSeamus Robert QuickChris Robertson & Katherine

ShawRodney Rosenblum am & Sylvia

RosenblumDr Evelyn RoyalManfred & Linda SalamonGeoff StearnTony StrachanMr Robert & Mrs Rosemary WalshIn memory of Geoff WhiteAnonymous

PRESTO $2,500–$4,999G & L BessonIan BradyMr David & Mrs Halina BrettMark Bryant oam

Lenore P BuckleMrs Stella ChenCheung FamilyDr Paul CollettEwen Crouch am & Catherine

CrouchProf. Neville Wills &

Ian FenwickeFirehold Pty LtdDr Kim FrumarWarren GreenAnthony GreggAnn HobanJames & Yvonne HocrothMr Roger Hundson &

Mrs Claudia Rossi-HudsonMr John W Kaldor AMProfessor Andrew Korda am &

Ms Susan PearsonIn memoriam

Dr Reg Lam-Po-TangProfessor Winston LiauwMrs Juliet LockhartRenee MarkovicHelen & Phil MeddingsJames & Elsie MooreMs Jackie O’BrienPatricia H Reid Endowment

Pty LtdJuliana SchaefferHelen & Sam ShefferDr Agnes E SinclairEzekiel SolomonJohn & Josephine StruttMr Ervin Vidor am &

Mrs Charlotte VidorLang Walker ao & Sue WalkerWestpac GroupMary Whelan & Robert

BaulderstoneYim Family FoundationDr John YuAnonymous (3)

VIVACE $1,000–$2,499Mrs Lenore AdamsonAntoinette AlbertRae & David AllenAndrew Andersons ao

Mr Matthew AndrewsMr Garry and Mrs Tricia AshSibilla BaerThe Hon Justice Michael BallDavid BarnesDr Richard & Mrs Margaret BellIn memory of Lance BennettMs Gloria BlondeG D BoltonJan BowenIn memory of Jillian BowersIn Memory of Rosemary Boyle,

Music TeacherRoslynne BracherWilliam Brooks & Alasdair BeckMr Peter BrownIn memory of R W BurleyIta Buttrose ao obe

Mrs Rhonda CaddyHon J C Campbell qc &

Mrs CampbellDebby Cramer & Bill CaukillMr B & Mrs M ColesMs Suzanne CollinsJoan Connery oam & Maxwell

Connery oam

Mr Phillip CornwellMr John Cunningham scm &

Mrs Margaret CunninghamDiana DalyDarin Cooper FoundationGreta DavisLisa & Miro DavisDr Robert DickinsonE DonatiProfessor Jenny EdwardsDr Rupert C EdwardsMalcolm Ellis & Erin O’NeillMrs Margaret EppsMr & Mrs J B Fairfax am

Julie FlynnDr Stephen Freiberg & Donald

CampbellMr Matt GarrettVivienne Goldschmidt &

Owen JonesIn Memory of Angelica GreenAkiko GregoryDr Jan Grose oam

Mr & Mrs Harold & Althea Halliday

Janette HamiltonMrs Jennifer HershonSue HewittDorothy Hoddinott ao

Kimberley HoldenMr Kevin Holland & Mrs Roslyn

Andrews

The Hon. David Hunt ao qc & Mrs Margaret Hunt

Mr Phillip Isaacs oam

Dr Owen JonesAron KleinlehrerMrs Gilles KrygerMr Justin LamDr Barry LandaBeatrice LangMr Peter Lazar am

Airdrie LloydGabriel LopataPeter Lowry oam & Carolyn

Lowry oam

Macquarie Group FoundationMelvyn MadiganDavid Maloney am & Erin

FlahertyJohn & Sophia MarMr Danny R MayMr Guido MayerKevin & Deidre McCannIan & Pam McGawMatthew McInnesI MerrickHenry & Ursula MooserMilja & David MorrisJudith MulveneyDarrol Norman & Sandra HortonMr & Mrs OrtisAndrew Patterson & Steven

BardyIn memory of Sandra Paul

PottingerMr Stephen PerkinsAlmut PiattiThe Hon. Dr Rodney Purvis am

& Mrs Marian PurvisDr Raffi Qasabian &

Dr John WynterMr Patrick Quinn-GrahamErnest & Judith RapeeIn Memory of

Katherine RobertsonMr David RobinsonTim RogersDr Colin RoseLesley & Andrew RosenbergJanelle RostronMr Shah RusitiIn memory of H St P ScarlettGeorge and Mary ShadVictoria SmythDr Judy SoperJudith SouthamMr Dougall SquairThe Honourable Brian Sully am qc

Mrs Margaret SwansonThe Taplin FamilyMildred TeitlerDr & Mrs H K TeyDr Jenepher ThomasKevin TroyJohn E Tuckey

Judge Robyn TupmanDr Alla WaldmanIn memory of Denis WallisMiss Sherry WangHenry & Ruth WeinbergThe Hon. Justice A G WhealyJerry WhitcombMrs Leonore WhyteA Willmers & R PalAnn & Brooks C Wilson am

Dr Richard WingEvan WongDr Peter Wong & Mrs Emmy

K WongGeoff Wood & Melissa WaitesSir Robert WoodsLindsay & Margaret WoolveridgeIn memory of Lorna WrightMrs Robin YabsleyAnonymous (20)

ALLEGRO $500–$999Nikki AbrahamsKatherine AndrewsMr & Mrs George BallBarlow Cleaning Pty LtdBarracouta Pty LtdSimon BathgateDr Andrew BellMr Chris BennettJan BiberMinnie BiggsJane BlackmoreMrs P M BridgesR D and L M BroadfootDr Peter BroughtonDr David BryantArnaldo BuchDr Miles BurgessPat & Jenny BurnettHugh & Hilary CairnsEric & Rosemary CampbellM D & J M ChapmanJonathan ChissickMichael & Natalie CoatesDom Cottam & Kanako ImamuraAnn CoventryMr David CrossMark Dempsey sc

Dr David DixonSusan DoenauDana DupereJohn FavaloroMrs Lesley FinnMr Richard FlanaganMs Lynne FrolichMichele Gannon-MillerMs Lyn GearingMr Robert GreenMr Geoffrey GreenwellMr Richard Griffin am

In memory of Beth HarpleyV Hartstein

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VANGUARD COLLECTIVEJustin Di Lollo ChairBelinda BentleyOscar McMahonTaine Moufarrige

Founding PatronShefali PryorSeamus R Quick

Founding PatronChris Robertson & Katherine

Shaw Founding Patrons

MEMBERSLaird Abernethy Elizabeth AdamsonClare Ainsworth-HershellCharles ArcusPhoebe ArcusPhilip AtkinLuan AtkinsonJoan BallantineAndrew Batt-RawdenJames BaudzusAndrew BaxterAdam Beaupeurt Anthony BeresfordDr Andrew BotrosPeter BraithwaiteAndrea BrownNikki BrownProfessor Attila BrungsTony ChalmersDharmendra ChandranLouis ChienPaul ColganClaire CooperBridget CormackKarynne CourtsRobbie CranfieldAsha CugatiJuliet CurtinDavid CutcliffeEste Darin-CooperRosalind De SaillyPaul DeschampsCatherine DonnellyJennifer DrysdaleJohn-Paul DrysdaleKerim El GabailiRoslyn FarrarNaomi FlutterAlastair FurnivalAlexandra Gibson

Sam GiddingsJeremy GoffHilary GoodsonTony GriersonLouise HaggertyJason HairPeter HowardJennifer HoyKatie HryceVirginia JudgePaul KalmarJonathan KennedyPatrick KokJohn Lam-Po-TangTristan LandersGary LinnaneDavid LoSaskia LoGabriel LopataRobert McGroryAlexandra McGuiganDavid McKeanSarah MoufarrigeJulia NewbouldNick NichlesKate O’ReillyPeter O’SullivanCleo PosaJune PickupRoger PickupStephanie PriceMichael RadovnikovicKatie RobertsonDr Benjamin RobinsonAlvaro Rodas FernandezAdam SadlerProfessor Anthony SchembriBenjamin SchwartzCecilia StornioloRandal TameSandra TangIan TaylorDr Zoe TaylorMichael TidballMark TrevarthenMichael TuffySarah VickAlan WattersJon WilkieYvonne ZammitAmy Zhou

SSO Vanguard

A membership program for a dynamic group of Gen X & Y SSO fans and future philanthropists

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“Together, we have an ambition to foster a love of orchestral music in school children of all ages, and to equip their teachers with the skills they need to develop this in our young people…”DAVID ROBERTSON SSO Chief Conductor and Artistic Director

PLEASE CONSIDER MAKING A TAX-DEDUCTIBLE DONATION TODAY

Benjamin Hasic & Belinda DavieSandra HaslamAlan Hauserman & Janet NashRobert HavardMrs A HaywardRoger HenningDr Mary JohnssonMrs Margaret KeoghAernout Kerbert & Elizabeth

NevilleDr Henry KilhamJennifer KingMrs Patricia KleinhansAnna-Lisa KlettenbergMs Sonia LalL M B LampratiDavid & Val LandaElaine M LangshawMargaret LedermanRoland LeeMrs Erna LevyMrs A LohanLinda LorenzaM J MashfordMs Jolanta MasojadaKenneth Newton MitchellMr David MuttonMr & Mrs NewmanMr Graham NorthDr Lesley NorthSead NurkicMr Michael O’BrienJudith OlsenDr Alice J PalmerDr Natalie E PelhamPeter and Susan PicklesErika PidcockDr John I PittAnne PittmanJohn Porter & Annie Wesley-

SmithMrs Greeba Pritchard

Michael QuaileyMr Thomas ReinerDr Marilyn RichardsonAnna RoMr Michael RollinsonMrs Christine Rowell-MillerJorie Ryan for Meredith RyanMr Kenneth RyanGarry E Scarf & Morgie BlaxillMrs Solange SchulzPeter & Virginia ShawDavid & Alison ShilligtonMrs Diane Shteinman am

Margaret SikoraColin SpencerTitia SpragueRobert SpryMs Donna St ClairFred & Mary SteinAshley & Aveen StephensonMargaret & William SuthersPam & Ross TegelMrs Caroline ThompsonPeter & Jane ThorntonRhonda TingAlma TooheyHugh TregarthenMrs M TurkingtonGillian Turner & Rob BishopRoss TzannesMr Robert VeelRonald WalledgeMiss Roslyn WheelerIn Memoriam JBL WattDr Edward J WillsDr Wayne WongDr Roberta WoolcottPaul WyckaertAnonymous (32)

SSO Patrons pages correct as of 7 July 2015

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SALUTE

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

PRINCIPAL PARTNER

EDUCATION PARTNERPLATINUM PARTNER

REGIONAL TOUR PARTNER MARKETING PARTNERVANGUARD PARTNER

PREMIER PARTNER

SILVER PARTNERS

s i n f i n i m u s i c . c o m

UNIVERSAL MUSIC AUSTRALIA

MAJOR PARTNERS

GOLD PARTNERS

Salute 2015_July_#25+.indd 1 3/08/2015 9:21 am